HE JESTER'S DAUGHTER
A "reading" screenplay by
Peter D. Wilson
A greatly expanded treatment of the story "Ernscar" in the author's collection
"Pebbles from a Northern Shore"
Copyright Peter D. Wilson 2011
Peter D. Wilson asserts his right under the UK Copyright, Designs and Patents Act 1988 to be identified as the author of this work.
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Disclaimer
This script is a work of fiction, and any resemblance therein to persons in real life is coincidental.
Cover photograph: Lindisfarne Castle, Northumberland, UK;
Copyright Peter D. Wilson 2011
CONTENTS
Characters
Opening
Arson
Portrait
Nicholas
Alison
Letter
Frustration
Insomnia
Stratagem
Betrothal
Dreams
Conclusion
Author
MAIN CHARACTERS
GEOFFREY: A retired businessman in his mid–fifties who after building up a successful engineering works from scratch has sold it for a good price and used the proceeds to buy Ernscar Castle; cultured and good–natured.
HELEN: His wife, the one conventionally religious member of the family; anxious for grandchildren – so long as they are conceived in wedlock.
JOHN: Geoffrey and Helen's son, about 30, with an unspecified professional job in a city some distance away. Single, would like to marry, but after an abortive near–engagement some years back is nervous of forcing the issue. Tends to flippancy if conversation becomes serious.
ANNE: His girl friend. An art gallery attendant, no oil painting herself but pleasant in appearance and manner.
BRIAN: An old friend of Geoffrey's, and John's godfather. After a wild youth he has astonished everyone by gaining a chair of theology at a respectable university. Ready as the occasion suggests to be either jocular or serious in treating the subject, though never portentous.
ROBERT: Fifteenth–century Lord Ernscar, intelligent, humane by the standards of his time, anxious for good government in a time of conflicting political interests under a weak and incompetent king.
JUSTIN: Bishop of the local diocese. Robert's oldest and closest friend, a partner in trying to keep some order in the political situation; glad to forget his ecclesiastical dignity when staying at Ernscar.
NICHOLAS: Justin's favourite page, first met as a child, later in his mid–teens; orphaned and treated almost as a son. More arty than chivalric, though no wimp.
ALISON: Daughter of Robert's Fool, much the same age as Nicholas and forming an instant rapport with him; pretty, cheerful and teasing.
Setting
Mostly in or around Ernscar Castle, somewhere in the north of England; a few interior scenes in mediaeval Bruges.
Time
The present day and the 1430s.
Back to Contents
FADE UP TO THE STREET IN FRONT OF A FASHIONABLE ART GALLERY: PRESENT TIME
A Friday evening. John drives up, parks in front of the gallery and hoots. Anne emerges from it with a weekend case which after a quick kiss John puts in the boot. They drive away out of the town.
CUT TO A WINDING COUNTRY ROAD
As the car progresses the road ahead is seen through the windscreen from the rear seat. Views to the side are restricted by hedges and occasional trees. Opening credits may roll before the dialogue.
JOHN: Not far now. You're very quiet.
ANNE: A bit nervous.
JOHN: They'll love you, believe me.
ANNE: I'm just afraid of making some dreadful gaffe.
JOHN: Not you!. And if you did, they'd probably just laugh it off.
ANNE: I do want to make a good impression.
JOHN: Of course you do. And you will – you can't help it.
ANNE: I wish I could be so sure. Especially after being late getting away.
JOHN: They'll understand. Dad was an engineer, after all – he knows as well as anyone that you can't just drop a job when it needs to be finished.
Pause.
JOHN: Nearly there. You see that tall tree about half a mile ahead? With a couple of shorter ones beside it?
ANNE: Yes?
JOHN: Just round that bend you'll get the first view of the house.
ANNE: I've been imagining a country cottage with roses or clematis round the door. But it's probably nothing like that at all.
JOHN: Didn't I tell you?
ANNE: I don't think so.
JOHN: Then it'll be a surprise for you.
ANNE: Something special?
JOHN: It is, rather. But you'll see.
Pause. The car reaches the trees and rounds the corner. Ahead, perched on an outcrop of rock, is Ernscar Castle – much modified over the years, but still showing its early origins. The setting sun, dipping below a layer of cloud, casts a golden light on it.
ANNE: Wow! Is that it?
JOHN: It is.
ANNE: Stop a moment, will you?
John stops. Anne gazes for a while in appreciation.
ANNE: Hmm. Very impressive.
JOHN: Yes, though it's actually quite small, as castles go.
ANNE: Still not exactly a country cottage. Don't tell me that's your ancestral home!
JOHN (laughing): Hardly. Dad bought the place when he retired.
ANNE: It must have cost a packet.
JOHN: Actually the place had been neglected for ages and was going for – well, not a song, but a good deal less than an opera. It needed a lot doing to it.
ANNE: So the total bill must still have been pretty steep.
JOHN: Yes, but luckily he'd got a good price for the business, and Mum won a lottery jackpot about then too. So we do have all mod. con.
ANNE: Thank goodness for that! But come on, we'd better get a move on.
CUT TO THE CASTLE COURTYARD.
John and Anne arrive at the main door. Anne alights, John takes two cases from the boot. Geoffrey and Helen emerge and greet Anne.
HELEN: So here you are at last!
JOHN: Sorry we're late –
HELEN: No, I mean we've been waiting for months to meet Anne.
GEOFFREY: Yes, why have you kept her to yourself for so long? Welcome to Ernscar, Anne.
ANNE: Thank you, Mr. –
GEOFFREY: Oh, for goodness' sake, no formality. I'm Geoffrey, this is Helen. Now do come in.
CUT TO THE ENTRANCE HALL.
The group enters.
HELEN: Dinner's pretty nearly ready, so don't bother changing. I don't want to upset Mabel – a girl from the village who does most of our cooking. She can be a bit temperamental. But you'd probably like to freshen up.
ANNE: Yes, please.
HELEN: I've put you in a room overlooking the garden – I hope that's all right?
ANNE: Yes, of course, I'm sure it will be.
HELEN: I'll let John take you up – I must see how Mabel's getting on. Will a quarter of an hour be enough for you, Anne?
ANNE: Yes, thank you.
HELEN: Right.
FADE OUT.
Back to Contents
FADE IN TO A 15th CENTURY TOWN STREET
The street is not immediately recognisable as mediaeval since a timber–framed house is burning fiercely and little else can be seen through the swirling smoke. Vague figures are scurrying around in ineffectual activity or stand gaping. The roof collapses in a burst of flame and sparks that engulf the remaining structure.
DISSOLVE TO THE SAME, SOME HOURS LATER.
Daylight and an outward zoom show more of the street. Justin is gazing at the smouldering ruin, attended by town officials including Hobbs, the constable.
JUSTIN: Terrible! What about the family?
HOBBS: All perished, my lord. Not a chance of getting out – the fire spread too fast.
JUSTIN: Do we know how it happened?
HOBBS: No mystery there. It was started deliberately. We've got the culprit.
JUSTIN: Already? Are you sure?
HOBBS: No doubt of it. He's confessed – swearing blind of course that he didn't mean to hurt anyone..
JUSTIN: How did you get to him?
HOBBS: He was in the alehouse last night, roaring drunk, cursing Will Palmer and swearing to get his own back. Dozens of people heard him. It was obvious.
JUSTIN: Getting his own back – for what?
HOBBS: That legal case against you that Will got dismissed last month.
JUSTIN: Oh, it was that Watkins fellow, was it?
HOBBS: Yes, that's him.
CUT TO THE TOWN GATE.
Nicholas, aged nine, and his uncle Matthew arrive on a single horse. Evidently unaware of the tragedy, they are tracked through the streets until they see the ruin, then stop in horror. Nicholas wails and bursts into tears.
CUT BACK TO JUSTIN AND HIS GROUP.
Justin spots the arrivals and goes to meet them. Matthew dismounts. Neither wastes time on formalities.
JUSTIN: Matthew! This is a terrible business.
MATTHEW: What happened?
JUSTIN: Arson, I'm afraid.
MATTHEW: Did anyone ...?
Justin shakes his head sadly.
JUSTIN: But I see one of the family is safe, thank God. It isn't quite as bad as we thought.
MATTHEW: Bad enough. But Nicholas has been staying with us for a few days.
JUSTIN: Lucky for him – as far as it goes. But what's going to happen to him now?
MATTHEW (doubtfully): Well, of course he'd be welcome to live with us – only it's a bit difficult ...
JUSTIN: There is another possibility. Would you mind if I took him into my household? He's been to the palace often enough with Will, he knows some of the people there ...
MATTHEW: Mind? I'd be delighted. It's very good of you, my lord ...
JUSTIN: Not at all. It's something I can do for Will. He did a good deal for me.
MATTHEW: Well, Nicholas, what do you think of that? Would you like to go and stay with the bishop?
Nicholas, in shock, nods dumbly, Matthew lifts him down, Justin puts an arm round his shoulder and they walk off together, Nicholas carrying his little pack of belongings. Matthew remains in discussion with Hobbs.
FADE OUT.
Back to Contents
FADE IN TO THE APPROACH TO THE CASTLE IN THE PRESENT TIME.
John's car approaches as before. The action freezes at the first sight of the castle. A sequence of still shots at the same place in varying weather follows with Anne in different seasonal costumes. The last merges into continuing action, with cloud clearing from the west and an occasional rumble of thunder.
ANNE: Ah. It's almost like coming home.
JOHN: Good. And it looks as though we'll be spared a soaking.
ANNE: Thank goodness! I was a bit worried when we passed through that downpour.
JOHN: Think we'd get washed away?
ANNE: No, but I've only just had my hair done. Getting out of the car into anything like that would have ruined it in seconds.
JOHN: Just as well it's clearing, then.
CUT TO THE CASTLE COURTYARD.
The car drives up to the door. John takes luggage from the boot, Anne alights, Helen emerges and embraces her.
HELEN: Hello, dear. It's lovely to see you again.
ANNE: Lovely to be here. I'm so sorry to be late – again. I just couldn't get away.
HELEN: That's all right. Dinner isn't quite ready yet – though it's pretty close.
Geoffrey also comes out and takes one of the suitcases.
JOHN: I could manage, you know.
GEOFFREY: Afraid I'll expect a porter's tip?
JOHN: Where do you find a porter these days?
GEOFFREY: On a Miss Marple DVD, perhaps. Can't think of anywhere in real life.
HELEN: Well don't stand around arguing. Come inside.
CUT
The Jester's Daughter Page 1