(back to pp. 12-17)<\/a>
<\/p>\n[scrippet]INT. HARRODS FOOD HALL — DAY<\/p>\n
The two of them wander through the place, among the painted tiles and displays of food.<\/p>\n
JOY
\nSo if you don’t have family here, or business, why do you stay in London?<\/p>\n
GUNTER
\nI suppose I am the eternal tourist. These people, their lives and surroundings…they fascinate me. I cannot seem to leave.<\/p>\n
JOY
\nThese surroundings? They’re a little commercial.<\/p>\n
Gives her an appraising look.<\/p>\n
GUNTER
\nTrue. But there are many places less so.<\/p>\n
JOY
\nSo show me someplace uncommercial.<\/p>\n
EXT. ST. CLEMENT DANES CHURCH — DAY<\/p>\n
The Royal Air Force’s little church in Fleet Street. They ENTER.[\/scrippet]
\n
\n[scrippet]INT. ST. CLEMENT DANES CHURCH — DAY<\/p>\n
They walk up the silent center aisle, past the slate tablets carved with the names of RAF units, up to the stained-glass window commemorating the RAF’s war dead.<\/p>\n
JOY
\nWhat a beautiful place…<\/p>\n
GUNTER
\nSaint Clement Danes is where the Royal Air Force remembers their people who died in the wars. I come here sometimes, to think, and hear the bells.<\/p>\n
JOY
\nOdd kind of place for a young tourist to hang out.<\/p>\n
The church’s bells start to RING the hour, the familiar “Oranges and lemons…” nursery tune.<\/p>\n
GUNTER
\nHear them? “Oranges and lemons, say the bells of Saint Clements…”<\/p>\n
JOY
\nAnd Dick Whittington heard them and became Lord Mayor, right?<\/p>\n
GUNTER
\nA different story.
\n(beat)
\nThey fought such a tremendous battle, all those young men, at the start of the great war. But many of the people who remember what they did are dying now… It’s important not to forget.<\/p>\n
Joy is troubled by his somberness.<\/p>\n
JOY
\nDid you have relatives who —<\/p>\n
GUNTER
\nNo. I simply feel the loss. So many stupid mistakes made then. So much youth and loyalty wasted, so many lives cut short…and maybe it didn’t have to be. All very sad.<\/p>\n
JOY
\nBut it’s just history now.<\/p>\n
He looks at her sadly, as if not entirely convinced.<\/p>\n
GUNTER
\nYou’re right, of course.<\/p>\n
They walk out, slowly: not touching: he won’t let her that close. Joy notices: looks thoughtful as she follows him out.<\/p>\n
INT. ORMONDE HOTEL — NIGHT<\/p>\n
Gunter and Joy go to the desk: Gunter gets his key.<\/p>\n
GUNTER
\nPerhaps we will see each other tomorrow?<\/p>\n
JOY
\nUh, not tomorrow, there’s some dumb husband-and-wife thing Harry and I have to do at the computer show.
\n(beat)
\nMaybe the day after?<\/p>\n
GUNTER
\nThat would be delightful. Guten abend, then —<\/p>\n
He bows to her again, actually clicking his heels, and heads off. Joy pauses by the front desk to talk to Mrs. Lewisham: then her cellphone RINGS. Joy ANSWERS, and Mrs. Lewisham watches with covert understanding as Joy’s face changes during the call.<\/p>\n
JOY
\nHello?
\n(listens)
\nOh, hi! Listen, when are you — Oh. No, of course not — no, I’m fine. It’s OK. I went out and — sorry, sure, what time tomorrow? — Fine, I’ll see you then. Yeah. Bye.<\/p>\n
She hangs up, DISAPPOINTED.<\/p>\n
DORIS
\nHe’s not coming back tonight?<\/p>\n
JOY
\nHe has to go to York for a sales meeting. He’ll stay there overnight and come back tomorrow.<\/p>\n
DORIS
\nI’m so sorry. I know how it can be.<\/p>\n
JOY
\nDoes Mr. Lewisham have to travel much?<\/p>\n
Nervously, Doris starts tidying behind the desk.<\/p>\n
DORIS
\nOh, no. He’s retired now, you know.<\/p>\n
JOY
\nThat must be nice for you, having him around all the time again.<\/p>\n
DORIS
\nYes, yes of course… it’s hard when they can’t be with you.
\n(musing, distant look)
\nThough it could be much worse —<\/p>\n
JOY
\n(just being polite)
\nOh? How?<\/p>\n
DORIS
\n(snaps out of it, shocked)
\nOh, goodness, excuse me, I’ve got to get the laundry ready…<\/p>\n
She hurries off. Joy watches her go, bemused.<\/p>\n
INT. ORMONDE HOTEL ROOM — NIGHT<\/p>\n
Joy is in pajamas, in bed, pillows punched up behind her. The TV is on; she’s reading another guidebook. An Erickson commercial comes on.<\/p>\n
COMMERCIAL ANNOUNCER
\nOnly Erickson brings you so much computing power for your pound. With the world-beating speed of the new Arion ten-fifty processor —<\/p>\n
Joy drops the book in exasperation and pitches a pillow at the screen.<\/p>\n
JOY
\nOh, go away!<\/p>\n
She grabs the remote and channel-surfs rapidly through various unacceptable alternatives: news on CNN (all bad), a dull documentary on the BBC, something on ITV that’s dull, something on Carlton that’s dull…<\/p>\n
JOY
\nSo much for the land of quality television.
\n(beat: unhappy)
\nOh, Harry…<\/p>\n
She chucks the remote onto the table and starts reading again, leaving the TV on.<\/p>\n
INT. ORMONDE HOTEL ROOM — NIGHT<\/p>\n
Joy is ASLEEP, propped against the pillows, book lying open on her lap. All lights are off except the one on the bedside table. The TV, still on, is showing yet another truly awful infomercial.<\/p>\n
A hand reaches into shot and turns the TV off —<\/p>\n
Joy WAKES WITH A START and sees George standing in the room…mostly. He’s leaning RIGHT THROUGH THE WALL to shut the TV off — and here he stands caught in the act, literally half-in and half-out of the room.<\/p>\n
Joy SCREAMS and pulls the covers up around her in a slightly absurd protective gesture. George flinches, starts to retreat. But then Joy POINTS at him, terrified but now also indignant, like someone catching a pet doing something naughty.<\/p>\n
JOY
\nDon’t you dare move! You stay right where you are!<\/p>\n
George does, looking both upset and bemused.<\/p>\n
JOY
\nWhat are you doing?<\/p>\n
GEORGE
\nTurning off the TV. It wastes energy.<\/p>\n
JOY
\nI mean what are you doing in my room?!<\/p>\n
GEORGE
\nIt’s a long story.<\/p>\n
JOY
\n(beginning to get it)
\nYou’re — you’re a ghost! You’re a real English ghost!<\/p>\n
GEORGE
\nI don’t know if ghost is the word.<\/p>\n
JOY
\nWill you please either come in all the way or get out?
\n(hurried beat)
\nNever mind “out”, just get in here!<\/p>\n
George steps all the way in, abashed.<\/p>\n
JOY
\nYou really are a ghost! Oh my gosh –what do I — Do you need me to do something so you can rest?<\/p>\n
GEORGE
\nI am resting. Thirty years, I worked for Bletchley and Coone. You want punishment, try forty years of being a chartered accountant! Hardly any holidays! No pension plan! Now I finally get to relax, and it’s very nice, thank you.<\/p>\n
JOY
\nBut you’re dead.<\/p>\n
GEORGE
\nIt happens to the best of us.<\/p>\n
JOY
\nBut most dead people don’t — stay.<\/p>\n
GEORGE
\nSome do. Hardly anybody notices.<\/p>\n
JOY
\nI guess not. You don’t look transparent or anything.
\n(suspicious but interested)
\nWhat kind of ghost things can you do? Go invisible or something!<\/p>\n
GEORGE
\nYou mean turn myself off like a lightbulb? That’s just fairy tales. Some people see us. Some can’t until someone convinces them to. Some never can at all.<\/p>\n
JOY
\nAre there a lot of you?<\/p>\n
GEORGE
\nHere? Twenty rooms… eighteen “ghosts.”<\/p>\n
JOY
\nMy gosh. No wonder this place looks so…<\/p>\n
GEORGE
\n“Dead?” Yes.
\n(beat)
\nI must say, you’re taking this very well.<\/p>\n
Joy jumps up out of bed, throws a robe on over her pajamas.<\/p>\n
JOY
\nNo I am not! As soon as I can get in touch with my husband —<\/p>\n
GEORGE
\n(not provocative: just sad)
\n— and tell him that the hotel is haunted —<\/p>\n
Joy stops and looks at him.<\/p>\n
JOY
\nYou said “eighteen ghosts”.<\/p>\n
GEORGE
\nYou and your husband are the only “live ones” at the moment, yes. Except for my wife.<\/p>\n
JOY
\nGunter…<\/p>\n
GEORGE
\nGunter’s been around this neighborhood since August 1940. The bomber he was flying crashed just a few streets from here.<\/p>\n
Joy is flabbergasted. Then the reaction turns to anger.<\/p>\n
JOY
\nYou just get out of my room. And stay out of my way. I need to have a talk with your wife.
\n[\/scrippet]
\n
\n(to pages 26-31)<\/a>
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