David Hare Plays 2

by David Hare

  63. INT. APARTMENT. NIGHT

  In Barbara’s darkened apartment the trunks have been pulled to the centre of the room, and her belongings are half packed into them. She is sitting on the edge of the bed and in the room distantly you can see the same flickering image on the TV behind her – Thieu in black and white.

  Barbara Yes. The television’s on.

  Chesneau (voice over) The Ambassador went to get rid of him this morning. He still seems to think it’s going to help him get talks.

  Barbara is staring ahead, detached.

  Barbara Does that mean …?

  Chesneau (voice over) Yeah. We start the big evacuation. All our effort’s now to get people out.

  Barbara does not react. He goes on with false enthusiasm.

  (voice over) The wraps are really off. It’s really beginning.

  Barbara Ah well, good.

  Chesneau (voice over) Yes. Well, we’re pleased.

  Pause. Barbara waiting. Chesneau’s voice changes tone.

  (voice over) Barbara, are you planning … are you going to leave yet?

  Barbara No. (She looks down.) I’ve nothing. I’ve no life out there. Also … Bob … (Her need is suddenly naked.) I miss you … can we meet?

  64. INT. BAR. NIGHT

  Continuous. Chesneau stands by the bar, turned away from the others, phone in hand, listening. He pauses a moment.

  Chesneau I’d like to see you. But I have to go to the airport tonight.

  65. EXT. OCKHAM’S HOUSE. NIGHT

  Ockham’s house seen from the front in the near darkness, late at night. Just a glint of light on the front steps and into it at once steps a short, beautifully dressed dandy. He stops a moment. It is Thieu. Then Chesneau’s voice from the dark, tactful.

  Chesneau Sir.

  Behind Thieu, unseen in the dark, a couple of bodyguards whisper quietly but urgently. Thieu nods and moves down the steps, out of the light. At once we see a black car drawn up in the driveway. Judd holding the back door open. The small figure gets silently into the car. Judd goes round the back and closes the trunk, which is crammed with many fine leather suitcases. Chesneau is waiting at the passenger door and the two of them get into the seats, slipping in like French gangsters. Chesneau starts the engine. Then looks in his rear mirror where he can see Thieu’s face staring straight ahead.

  Sir, if you could … if you could just keep down.

  66. EXT. STREET. NIGHT

  The black car moving smoothly through the now silent curfewed streets. The only moving object on a still landscape. As it goes by we see Judd and Chesneau, but the back is apparently empty.

  67. INT. CAR. NIGHT

  Chesneau intent on driving, looking around. Judd beside him looks in the mirror, shifts slightly.

  Judd (quietly) Are you, em … are you going to join your family, sir?

  Thieu’s voice from the floor of the back of the car.

  Thieu No. They are buying antiques. (He nods judiciously, then looks quickly at Chesneau, alert for trouble from outside.) They have already gone to London.

  We see Thieu for the first time. He is sitting on the floor of the car, right down at the back. His two bodyguards are squeezed beside him. Judd’s voice.

  Judd (voice over) London’s nice at this time of year.

  68. INT. GYMNASIUM. DAY

  A wide shot of the huge empty gymnasium which the DOA will use as evacuation headquarters. It is almost empty but for some trestle tables which stand waiting, stacked at the side of the building. Old basketball nets hang from the ceiling.

  Barbara (voice over) So it began, the delayed evacuation …

  69. INT. GYMNASIUM. DAY

  Fiedler at the centre of the gym. Now teams of marines all around as he describes how he wants everything laid out.

  Fiedler Tables … Lines of applications … Vietnamese exit papers over there … (With each instruction he gestures hugely.)

  70. INT. GYMNASIUM. DAY

  The scene being transformed. Tables being set up. Men arriving with temporary office equipment. Catering equipment passed hand to hand along a human chain. Fiedler on the move, pointing to where everything is to go, receiving attendant soldiers as they come to him for instruction.

  Barbara (voice over) Out at the airport they transformed the gym …

  Fiedler points to one corner.

  Fiedler Kitchens. (Then to a pile of equipment.) Gas burners. (He points again.) Toilet facilities …

  A Soldier has come up to him, pointing to a fresh mound of PX goods.

  Soldier Sir, this is three hundredweight of franks and beans.

  They stand, laughing easily.

  71. INT. GYMNASIUM. DAY

  The scene transformed completely. Tables set out in immaculate rows. Men waiting behind them to receive the lines. Ropes set out to define the lines. Kitchen staff waiting with gleaming equipment. In the space of a few hours, a perfect logistical operation has been finished, and the team for the job now stands waiting.

  Barbara (voice over) They built a facility they called Dodge City.

  Fiedler at the centre of the room turns to an attendant officer.

  Fiedler OK, everyone. Open the doors.

  Part Three

  72. INT. TAXI. DAY

  Fade-up. Barbara in the back of a taxi going through the streets of Saigon. They are very crowded. On the sidewalks people are gathering round the street traders, who have huge piles of goods stacked around them.

  Barbara (voice over) The last few days the streets were always busy … all the objects people needed to unload …

  Watching the sidewalks going by from behind the glass.

  Wherever you went, air-conditioning units … fridges … televisions … stoves …

  73. INT. APARTMENT. DAY

  Barbara’s apartment now cleared out. The luggage neatly stacked at the centre of the room. Around the walls and shelves have been cleared. On a rail in the corner of the room there are still a few dresses and Barbara is now handing one to her Maid.

  Barbara Have this, OK?

  Maid Yes, thank you. (She holds it up delightedly against her body.) Hey, it’s good, it really looks good …

  Barbara looks at her a moment.

  Barbara You know it means that soon I’ll be leaving?

  Maid Oh yes. (The Maid turns with unconcern, and stands delightedly with a mirror.) Hey, I’m going to look good.

  74. INT. CERCLE SPORTIF. DAY

  Barbara in the women’s locker room at the Cercle Sportif. It is deserted. Grey ranks of closets. She has opened her locker and is pouring old tennis gear on to the floor.

  Barbara (voice over) Suddenly at last the Cercle Sportif was deserted …

  75. EXT. CERCLE SPORTIF. DAY

  A few solitary Frenchmen in chic costumes sit by the large, slightly green pool with Doric pillars behind. The odd servant brings them iced drinks. They read Le Monde.

  Barbara (voice over) Only the French still sit by the pool … As if the Americans had only come briefly and the French had never expected they would stay.

  76. INT. CERCLE SPORTIF. DAY

  Barbara sitting alone with a drink, staring out, in the part where we earlier saw them playing cards. A waiter comes across with a bunch of roses. She is suddenly beginning to look old.

  Barbara (voice over) The Foreign Minister I’d played bridge with sent me roses. Later I found out he’d already gone … (She smiles up at the waiter, puts the flowers carelessly aside. Voice over) Like so many … without any warning. The Americans got him away in the night.

  77. INT. GYMNASIUM. DAY

  The gym, transformed again. Now crammed with evacuees in long lines, some of whom have been sleeping on the spot, waiting for their turn for their applications to be processed. The place is patrolled at the side by GIs in olive drab. Judd is pushing his way through the crowd with a short Vietnamese of about 45, who has an overstuffed suitcase. He is trying to reach Colonel Fiedler who is still at the centre of things, but by now worn down, frazzled.
Judd has to shout to make himself heard.

  Judd Colonel, I’m wondering … This is a friend of mine.

  Fiedler Everyone seems to have so many friends.

  Judd He’s a tailor. He made shirts for the Embassy.

  Fiedler looks at him a moment, then turns to Judd.

  Fiedler Any idea why he’s decided to go?

  Judd turns to the tailor and speaks to him in Vietnamese. As he answers, Judd translates.

  Judd Everyone else is going … all his friends have already left.

  Fiedler Yeah, OK … (He looks at the tailor hopelessly.) Well, why not then? (He reaches across for a couple of exit papers from an officer’s pile on a nearby table.) Tell him he may have to wait for a while.

  78. INT. BANK. DAY

  The bank as normal, peaceful now, in contrast to the airport. Everything in its familiar place. Barbara working at her desk. Quoc appears beside her.

  Quoc Miss Dean, I’m afraid we have lost Mr Haliwell.

  Barbara What?

  He reaches out with an envelope.

  Quoc He asked to pass you on this. (She looks up, then goes and opens the door of Haliwell’s office.)

  79. INT. OFFICE. DAY

  The office is empty. The desk cleared. The ledgers in a tidy pile at the side of the desk. The Times still in its place. A coat hangs on the coat rack. Barbara moves into the office, reading the letter. Quoc follows her in.

  Quoc He went for lunch and he left you this message.

  Barbara Yes.

  She has opened it. Inside there is a note and an airline ticket. She looks at the ticket, then turns as if to resume normality.

  Well, thank you, Quoc.

  Quoc lingers, surprised he is being dismissed.

  Quoc Are you leaving?

  Barbara What?

  Quoc Will you follow him?

  She looks at him a moment.

  Barbara What do you think I should do?

  Quoc raises his eyebrows slightly.

  Quoc I would say yes. It will come anyway. Better you do it as soon as you can.

  80. INT. BANK. DAY

  The back area. Everyone diligently at work, as Quoc and Barbara come out of Haliwell’s office. She makes for the desk, pauses a moment, reaches for the cardigan which is draped round the back of the chair.

  Quoc No, leave that. It is less suspicious.

  She nods and begins to move away.

  Barbara Yes.

  Quoc But your handbag … if you want cigarettes …

  He is pointing to the bag which is left on the chair. Barbara realizes and dips down to pick it up.

  Barbara Yes. Thank you.

  Quoc No. You are welcome.

  They stand looking at each other.

  Barbara Goodbye, Quoc.

  Quoc Goodbye, Miss Dean.

  81. INT. BANK. DAY

  At once a high shot of the bank at work. Barbara walking quickly down the stairs and out the main door.

  82. INT. CORRIDOR. DAY

  The busy corridor at the CIA Headquarters, fifth floor. Chesneau is coming down the corridor. He is wearing a helmet, and his hand is stuffed with papers. Judd is coming from the other direction, also in a helmet.

  Chesneau What’s the news?

  Judd There’s been a second ultimatum. It says all US personnel must withdraw …

  They keep on moving together towards the office.

  If we don’t get out there’s going to be bloodshed … (He turns back ironically.) The Ambassador says they still want to talk.

  83. INT. OFFICE. DAY

  The office is as busy as ever, but all the secretaries who are otherwise dressed normally are wearing helmets. The effect is very odd. As soon as she sees him coming through, Linda gets up to talk to Chesneau, who is coming in talking to Judd.

  Chesneau And we’re expecting an attack on the airport …

  Linda Bob …

  Chesneau nods to Judd that he’ll join him in a minute, recognizing the seriousness of Linda’s tone. She silently nods him over to the quiet corner of the office. They go to a filing cabinet which has a Thomson sub-machine-gun lying incongruously on top of it.

  There’s a woman downstairs.

  Chesneau frowns.

  The woman who came with you …

  Chesneau Ah yes. (He stands a moment, not knowing what to do.)

  Linda … last Christmas …

  He nods.

  Chesneau Put her in a room. I’ll be down when I can.

  84. INT. EMBASSY. DAY

  Barbara is walked down the ground-floor passage of the Embassy by two Marines. They open a door, and inside is a deserted office, which has been cleared. It is empty. Barbara goes in. The walls are decorated by pictures of America, posters of the Rockies, Manhattan, etc.

  Barbara Thank you.

  The two men go, closing the door. She sits down, alone.

  85. INT. BANK. DAY

  Quoc sitting at his desk, as usual. The work of the bank going on. A couple of tellers laughing, during the slack period. Then a third teller signals to Quoc to come over. A young American Woman is at the other side of the counter.

  Woman I’m so sorry. I need my credit cleared. Is the manager here?

  Quoc Yes of course. I’ll just speak to him. (He reaches through the guichet and takes her cheque book.) Will you hold on a moment, please?

  We see him walk into the manager’s office, having tapped three times on the door. He goes in. A pause. The tellers chatter, oblivious. Then after a few moments he comes out again, closing the door behind him. He rejoins the tellers and customer.

  The manager says, yes, we can pay on this. (He pushes the book back.) Would you like to make out your cheque?

  86. EXT. EMBASSY. NIGHT

  The American Embassy seen from outside. The huge white building. The night is silent around it, but high in the building lights burn.

  87. INT. OCKHAM’S OFFICE. NIGHT

  A very low-key briefing, dead of night. Ockham at his desk, the few trusted analysts around the room. Ockham tired. There are cans of Heineken on his desk.

  Ockham The North is going to give us twenty-four hours. It’s been negotiated. That’s how long they’re willing to hold off. Washington is insisting no phoney heroics. We are only to take essential locals with us at the end.

  Chesneau What does that mean?

  Ockham It means what we want it to, Bob. (He smiles, bitterly.) They’ve never known anything of what it’s like here. (He looks down, uncharacteristically emotional.) Meanwhile please … your work is nearly over. I’d advise you all to try and get some sleep.

  88. INT. EMBASSY. NIGHT

  Barbara asleep in a chair in the Embassy office. Chesneau standing over her in the near dark. She looks abandoned. Chesneau speaks to her asleep.

  Chesneau I’m sorry, I was working.

  She wakes. Looks at him. Smiles.

  Barbara What?

  Chesneau I didn’t forget you.

  Barbara I couldn’t face leaving.

  Chesneau No, it’s all right.

  Barbara Haliwell went …

  Chesneau In that case he must have caught the last plane. (He moves away.) The airport’s gone.

  Barbara in real panic looks across at him.

  Barbara Oh Bob, have I been very stupid?

  Chesneau No. You can helicopter out. The Jolly Green Giants. We’re bringing them into downtown Saigon.

  Barbara looks at him, puzzled.

  Barbara But how do you know …?

  Chesneau There’s an agreement. They’re giving us exactly twenty-four hours. And everyone’s ready. All American citizens have been issued with assembly points. (He smiles.) They’re waiting for a signal.

  Barbara smiles also, in anticipation.

  Barbara You play ‘White Christmas’?

  Chesneau Yes. They’re serious.

  Barbara I thought it was a joke.

  Chesneau It’s a joke. It’s serious as well.

  They smile at each other, the old humour be
tween them, the old tone of voice.

  The radio station plays Bing Crosby, and all Americans know it’s the end.

  89. EXT. EMBASSY COMPOUND. NIGHT

  The empty compound outside the Embassy streaked with searchlights which are now on for the night The noise of gunfire has now died. From the dark, running very lightly, come two GIs and an Officer, making for a huge tree which dominates the compound. One GI stumbles slightly as he reaches it.

  First GI Shit.

  Officer Keep it quiet.

  Second GI How the hell …? (He gestures despairingly at the huge chainsaw he is carrying.) There’s no way he ain’t going to hear it.

  Officer It’s the Ambassador’s favourite tree.

  The First GI makes a signal of despair and looks up at the great branches of the tamarind. The Officer shrugs.

  We’ve gotta do it. We need the landing space. (He nods at the Second GI.) Nothing for it. Let’s go.

  The two men start the chainsaw. The petrol motor is deafening.

  Jesus.

  It bites into the trunk. At once, at a high window, way up on the top floor of the Embassy, the stricken figure of the Ambassador appears, like a prisoner shouting from behind his bullet-proof glass.

  Ambassador What the hell is going on here?

  90. INT. APARTMENT. DAY

  There are some bags, packed, in the centre of the room. Chesneau stands alone in the living room. He is looking at his watch. It says 7:45. Barbara is out of sight, gathering stuff from the bedroom. She calls to him from there.