Scene 1: Tunnel Collapse

SX: 'WEIGHT OF THE WORLD' BY ALEXANDER WOLFE

IN THE CENTER OF THE SPACE ARE SEVERAL BENCHES CONNECTED END TO
END. AT ONE END IS OTTO THE GERMAN SAPPER LISTENING TIM. THEIR
DIGGING IS IN TIME WITH THE ANVIL HITS OF THE SONG. THEIR
MOVEMENTS ARE IN SYNC. THE OTHER CHARACTERS ARE DOING SOMETHING
RELATED TO THEIR CHARACTER STORY.
Music continues until the two tunnel teams become close. Both TIM
and OTTO appear to be setting up some explosives which is set off
at the same time, trapping both characters
LX: BLACKOUT W/ EXPLOSION FX
Pause
LX: SPOTLIGHT ON CHORUS MEMBER
CHORUS:
Behind that long and lonely trenched line
To which men come and go, where brave men
die,
There is a yet unmarked and unknown shrine,
A broken plot, a soldiers cemetery.
There lie the flower of youth, the men who
scornd
To live (so died) when languished Liberty:
Across their graves flowerless and unadorned
Still scream the shells of each artillery.
When war shall cease this lonely unknown spot
Of many a pilgrimage will be the end,
And flowers will shine in this now barren
plot
And fame upon it through the years descend:
But many a heart upon each simple cross
Will hang the grief, the memory of its loss.
LX: TUNNEL LIGHT ON CENTRAL ROSTRUM
OTTO:
Hilfe! Das bergwerk gescheitert , ich bin
gefangen!

TIM:
...where am I....
TIM and OTTO start to get up realising where they are
TIM: (CONT'D)
John! Its the Bosh!!!
OTTO:
Nein ... Nein ... ich will nicht hier sterben
down!
TIM:
Shut up!! SHUT UP
OTTO:
Nein! Nein! er.. Please we're both dead
anyway
TIM:
...No... we can't be
TIM scrambles around checking the walls trying to find a way out.
Pair remain frozen looking at each other before cautiously
backing off. There is a long pause. Both are very hesitant.
OTTO:
I'm sorry... there's no getting out, the fuse
tripped before I got out we're both trapped.
TIM:
You bastard... If you had waited a second
longer I would have got you first
OTTO:
You were doing the same?
TIM:
Yeah I did... just didn't let the fuse go...
OTTO:
Then fuck you. You deserve to die as much as
I do then.
TIM:
Back off. I'm given orders I just follow

them, and oddly one of them was to kill

people in those uniforms.
OTTO:
Look we're both dead either way. I just want
to die peacefully, we have about 40 minutes
of air left, I'm not going to fight you. I'm
tired of this...
Pause. TIM lowers his weapon.
OTTO: (CONT'D)
I don't want to fight...
Pause.
OTTO: (CONT'D)
So what's your name?
TIM:
Haha! Really? Small talk with the guy you
tried to kill?
OTTO:
So you want to just sit here in silence?
Pause
TIM:
Private Tim Merchant
OTTO:
Private Otto Baumann. Thank you.
TIM:
There's no point fighting, as you said we're
both dead anyway, its unnecessary effort.
OTTO:
At least its quite down here... no guns or
artillery.
TIM:
We were just two people anyway, dying for
someone else's disputes. I mean what is it
really for?

OTTO:
Nothing, thousands are dying for a few feet
of ground, and its ruining the world. And to
think I was going to get married...
TIM:
To who?
OTTO:
Surprisingly enough to an English girl
SX: THE LANDING BY ALEXANDER WOLFE
SAPPERS MOVE OFF ROSTRUM, WHICH ARE PULLED TO EITHER SIDE, AND
BENCHES SLID ALONG CENTRE TO MAKE TRAIN CARRIAGE
Scene 2: A Nurse Named Violet
ON THE TRAIN. OTTO SITS ON THE BENCHES AS IF IT WERE THE CARRIAGE
OF A TRAIN. CHARACTERS WHO ARE NOT IN THE MAIN SCENE SIT IN THE
CARRIAGE WITH OTTO.
OTTO:
My beloved baby, don't be angry that I
haven't written for so long, but now that we
are at war there is so terribly much to do
that I scarcely know whether I'm coming or
going. I'm sorry for my writing, but I can't
do any better than this as I'm on the train
to the front at the moment and I arrive
tomorrow morning. War has reached me already
as I am sleeping in the straw and instead of
going on leave to see my beloved baby I am
off to some field in France and God grant
that we will see each other again. Pray for
your Otto, as when he is in the greatest
danger he will be thinking of you. Write to
me often, for I am so unhappy that I might
have to lose you and never be able to see you
again. I think of you and kiss your little
picture which I keep next to my heart and
will have until I die.I close my letter with
the request to give your mother my heartfelt
regards, and remain, embracing you tenderly
with my warmest greetings and kisses, loving
you forever faithfully and sincerely, your
Otto.

VIOLET stands on the central dais, back to back with NURSE 1 and
NURSE 2 They all speak in the form of a soundscape until COVE
begins to speak.
NURSE 1:
The trenches of the first world war.
NURSE 2:
Artillery ripping the sky apart.
VIOLET:
Sheltering the in the dirt.
NURSE 2:
Men lived and died on the front line, and
women took on new roles back home: factory
worker, farm owner - the bread-winner.
VIOLET:
There were women on the frontline too,
alongside the men. But that bit tends to be
forgotten.
NURSE 1:
Less well remembered.
Cpt COVE is addressing the audience
COVE:
And lastly, there will be women working at
the advance first aid station being set up
along the trenches as of next week. They are
to be treated with no less courtesy than any
of you fine gentlemen could possibly afford
because lets face it when youre lying there
wounded its her whos going to be stood over
you holding a scalpel and a bone saw, am I
understood?
LX: LIGHT FOCUSES IN ON SURGERY
COVE exits and the focus shifts to VIOLET conducting an operation
on the rostrum. There is a German Soldier there who is screaming.
The NURSES are trying to calm him down.
VIOLET:

Reduce the bleeding, get some bandages to

bind the upper arm, they did an awful job of
this at the dressing station.
NURSE 1:
He's German? Should we be treating him?
NURSE 1 brings bandages to the table.
VIOLET:
Hes a soldier. Were here to treat wounded
soldiers. And soak this swab in tincture of
iodine, we need to clean the wound.
NURSE 2:
Tincture ran out this morning.
VIOLET:
Damn.
(To soldier)
Look at me, you are going to be okay, if you
stay calm this will go quicker.
(To nurses)
Private Merchant generally carries a hipflask; the alcohol will have to do. Go find
him
NURSE 2 leaves to find the SOLDIER, who is sitting nearby
VIOLET: (CONT'D)
How long will it take them to get a bloody
translator down here?
NURSE 1:
I don' think they care that much, they just
want them alive.
NURSE 2 brings in TIM, he is on a crutch.
TIM:
My hipflask?
NURSE 2:
For an important medical procedure. It could
save a man's life, now hand it over.
TIM:

Sure, right! Anything to help a fellow Tommy

eh?
TIM hands over the alcohol and winks. NURSE 2 turns from him and
hurries back to the first aid station. VIOLET soaks a cloth in
the alcohol.
VIOLET:
Okay this is going to sting but just take
deep breaths...
VIOLET swabs the
pain. The nurses
him calm. VIOLET
back and comment

soldiers wounds with the cloth, he screams in

are clearly uncomfortable but are trying to keep
and the SOLDIER then freeze as NURSE 1 & 2 step
on the scene.

NURSE 2:
I always hate these sort of days; I'm never
sure if what I am doing is right or wrong.
We're shooting them down out there and then
we're just fixing them again. But I guess
they aren't going to fight us anymore and we
can't just leave them there right? But then
they would kill our men given the chance? But
Violet keeps us on the right path.
NURSE 1:
But she keeps herself distracted with her
work. She will always be the thing we can
count on when everything else changes so
quickly. Without her I don't think I could
cope with it all when the next lot come from
the dressing station. At the end of the day
we aren't the ones killing, and we are
treating everyone. So that must be the right
thing?
VIOLET:
Thats the last of the P.O.W.s for today
She checks her watch. The nurses move the soldier back to the
bench
VIOLET:
We should be rotated to the stationary in an
hour. Unless theres an emergency we can take

a rest! Well done ladies. Someone go and tell

the captain that they are ready for
transportation to prison camps.
NURSE 2 washes hands in a bowl and leaves to find COVE. VIOLET
and NURSE 1 sit on stools where they have been operating and
talk.
VIOLET: (CONT'D)
Its strange isnt it. To think this place
was once just another bit of countryside. Or
a village. Or something. Now its changed so
much you can hardly tell.
NURSE 1:
You can't even hear the birds anymore.
VIOLET:
Yeah, the bombs have scared them off I wander
if they will ever come back?
NURSE 1:
See we've just got used to the noise now, I
barely even notice it.
VIOLET:
People do that - get used to things. Its
only when things change it seems unusual.
Out there I've seen bakers, miners, teachers,
and youd never know it. Mostly they act like
they've been soldiers forever.
VIOLET is lost in thought. NURSE 1, looking down at the German
soldier they have just treated, she talks more to fill the
silence than anything else.
NURSE 1:
Your man's German isn't he.
VIOLET seem uncomfortable about the topic.
VIOLET:
My Otto? Yes he is....
NURSE 2:
What? He's a German?!

NURSE 1:
Why do you think she cares so much?
VIOLET:
Erm...
NURSE 1:
You realise he's killing our people? As in my
husband!
NURSE 2:
And my brother!
VIOLET:
Its not my fault he's on the other side!
NURSE 2:
(sarcastic)
Oh yeah, sorry Violet, that makes it all
okay then...
VIOLET:
We are all in this war, he has to fight for
his side like we have to fight for ours!
NURSE 1:
You sound just like one of them.
NURSE 2:
Now we know why you care so much!
VIOLET:
Hey us women have to be strong, German or not
everyone relies on us.
NURSE 1:
I don't have a problem with my job as I'm
here to help, but be engaged to one... I
always thought you seemed attached...
Pause. NURSE 1 and 2 realise they shouldn't be getting so upset.
They calm down slightly.
NURSE 2:
Are you not constantly paranoid?
VIOLET:

Yeah of course I am...

NURSE 1:
And do you actually believe you will see him
again if he's not....
VIOLET:
I don't know, I try to get on with what I
have to do.
NURSE 2:
Well if you think we're unhappy imagine what
Tim will say when he finds out.
VIOLET:
Please girls, don't! I understand you're
upset but please!
NURSE 1:
It would make our job ten times worse if
everyone did know, you've heard how Tim talks
about the Bosch.
NURSE 2:
I really don't see what's in it for me...
NURSE 1:
It's just.... It's been a few months and I
haven't heard from mine. My Larry. But he's
out there somewhere.
VIOLET:
Oh God, I'm sorryNURSE 1:
No, don't be.... I've not had bad news so
that must be good news... right?
It is clear she doesn't believe her own words. Another pause
before almost simultaneously they both say.
VIOLET:
I'm sorryNURSE 1:
I shouldn't have-

They meet each others eyes again before VIOLET touches NURSE 1s
arm and says.
VIOLET:
Perhaps not looking back is whatll keep us
sane.
Hold the moment for a time. They are interrupted by a sudden
knocking on a post, SOLDIERS 1 and 2 have arrived.
TIM:
Hello ladies, and how is life in the clearing
centre? I was wondering if youd finished
with my hipflask, I mean Id do anything for
you ladies but that stuff doesnt come cheap
out here! And how are the wounded? Does it
look like were winning yet? By God, this is
a Bosh uniform? What's going on here?
VIOLET stands up quickly.
VIOLET:
Theyre from the wounded prisoners of war
from the German advance last night. And
youre not supposed to be in here. Have your
flask back.
VIOLET thrusts the flask back into SOLDIER 1's hands.
TIM:
Its bloody empty! Youve been wasting good
quality whisky on cleaning some Sausage
Eaters wounds? I wouldnt bother knocking
them down out there if I knew you were in
here standing them back up again while I
wasnt looking!
VIOLET:
How dare you! These are brave soldiers who've
left their homes, just like you! Get out of
my ward!
The SOLDIERS leave though SOLDIER 1 throws one last remark over
his soldier.
TIM:

You dont find men in these trenches. We're

soldiers, people with rifles and uniform and
no history. And a soldier will shoot another
soldier when an officer tells him to, just
because the other ones wearing the wrong
colour uniform.
He turns to go again, leaving VIOLET on her feet shaking with
rage and emotion. The SOLDIERs path is impeded however by NURSE
2, returning with Cpt COVE who takes in the scene.
COVE:
Ah, Private Merchant, correct me if Im
wrong. And you wouldn't be causing some kind
of trouble in this ward which you are not
allowed to be in would you?
VIOLET regains her composure.
VIOLET:
Private Blakely was here for the return of a
hipflask of alcohol we borrowed to sterilise
the wound of a German P.O.W. sir.
COVE:
Was he? Good. Because I would hate to think
you were causing trouble Merchant. Do you
know why it is that we take such good care of
our prisoners of war?
TIM:
No sir...
VIOLET:
Because they're just people, the same as our
lads sir, and ours are being treated the
same.
COVE:
Correct. A few hundred yards in the direction
our lads are having the exact same treatment.
So if we start kicking the heads in of these
men that would give the Bosh the right to do
the same. And since you are already here,
perhaps you wouldn't mind lending a hand in
lifting the P.O.W.s who cant walk into the
ambulances.

There is a sudden flurry of motion as the soldiers aid in packing

away the first aid tent before clearing the stage, leaving VIOLET
alone on the rostrum.
SX: 'SOMETHING THAT LASTS' BY ALEXANDER WOLFE LOW VOLUME
LX: SILHOUETTE LIGHT AND FOCUS ON IN FRONT OF STEP
VIOLET:
Otto It feels so long since you last wrote I
am starting to miss you dearly, despite all
the work keeping me busy. Whenever a new
truck of wounded parks up outside the
clearing station I am so scared that I will
see your face. Of course, I cant allow the
others to see how jumpy I am becoming, as
they rely on me so much. I must appear
strong. As strong as any soldier out there.
OTTO goes to down to VIOLET, she is oblivious to him. While
VIOLET talks OTTO walks behind trying to reach her but never
quite making it. There is a Frantic Assembly style movement
between them.
LX: LIGHT ON BENCHES AND ROSTRUM
VIOLET: (CONT'D)
Thinking about soldiers today A rather
unpleasant man named Merchant said that men
stop being men when they become soldiers. I
know that cant be true, because of you how
you still write to me, despite my being on
the other side. What should that matter,
its just a case of where we were born right?
Who can help that? Anyway, if there is any
truth in Merchants words then please, when
this war is over, remember how to stop being
a soldier with a rifle and a uniform and no
past, and learn how to be yourself again. I
think that might be the only way we can know
peace.
Movement piece concludes with VIOLET walking off towards the
benches leaving OTTO alone. The set is moved back to tunnel set
up.

LX: TUNNEL LIGHTING

OTTO and TIM return to the rostrum to talk
OTTO:
I never found out if she got any of my
letters. The constant disapproval from my
C.Os made it difficult to send anything.
TIM:
Well I can imagine they thought it was
because you were sleeping with the enemy! And
we probably thought the same.
OTTO:
You know what I shouldn't have mentioned it.
Why should I if your still just going to
insult me?
TIM:
Well excuse me if I think treating wounded
P.O.Ws is sadistic when they are just going
to be thrown back out to shot again!
Pause
TIM: (CONT'D)
What did you say her name was again?
OTTO:
I'm not talking about it anymore.
TIM:
Oh come on, look I'm sorry. It's just hard to
come to grasps with the fact I'm in the last
hour of my life.
OTTO:
Fine. She's called Violet.
Pause
TIM:
Last name?
OTTO:
Boyens?

TIM:
You shitting me!
OTTO:
What?
TIM:
Was she at Armentieres?
OTTO:
Um yeah I think so...
TIM:
I'm so sorry... she's up there now...
OTTO is in shock
OTTO: (CONT'D)
WHAT?! I'VE GOT TO GET UP THERE!!
OTTO bursts up to try and start digging at the wall. TIM grabs
him to get him to calm down.
TIM:
No you said it yourself! We can't get out
you'll bring the roof down!
OTTO:
She's so close! I can't die down here!
TIM:
Calm down!
TIM pushes OTTO back and punches him.
TIM: (CONT'D)
Pull yourself together man! Do you want to
die here scrabbling for breath? Look at me.
LOOK AT ME. She will be thinking of you I
know it. She loves you, otherwise she
wouldn't have got so pissed when I called you
lot sausage eaters. We all have someone but
she will be looked after. Please don't make
me have to punch you again. It just makes it
harder for the both of us. I'm sorry.

OTTO:
...she's so close.... SHE'S SO BLOODY CLOSE!!
TIM:
I'm sorry. But the C.Os are understanding,
they'll make sure she knows what happens... I
hope they know what happened. Cove was always
the best, he understood everyone's point of
view, would never let us near the P.O.Ws
because he knew how we felt. It was a sad day
when he left....
Scene 3: Capt. Wilfred Cove
SX: 'RUN BOY RUN' BY WOODKID
LX: LIGHTS ON STEPS AS OTTO AND TIM MOVE BEHIND THEM.
CHARGE OVER PARAPET. SEVERAL CHARACTERS INCLUDING CPT. WILFRED
COVE CLIMB OVER STEPS IN SLOW MOTION, BENCHES ARE ARRANGED AS
THEY WERE IN THE ORIGINAL SCENE.
Everyone advances along the floor, with COVE moving down the
benches towards the rostrum. Everyone freezes as COVE steps on
once the music builds.
SOLDIER:
Sir! Get Down!
The other soldiers fall around COVE apart from
try and advance until COVE is shot. The others
floor (girl from The Crucible style). COVE is
alone, he talks from his lying position on the

two others. They

lower him to the
left onstage
floor.

SX: AMERICAN BEAUTY SOUNDTRACK

IMAGE: the young COVE being trained to fire it by an irate
schoolmaster. This is done as a movement piece, narrated by the
Captain
COVE:
Military record of Captain Wilfred Cove.
First stages of military training undertaken
at secondary school, involving but not
limited to six months of Saturdays spent in
the worthwhile pass time of firing machine
guns and rifles into straw men on the far end

of the rugby field, being shouted at all the

while by Schoolmaster Collins.
Pause
COVE: (CONT'D)
I always preferred chess really.
IMAGE: COVE marches up and down the benches saluting to the
audience on either side.
COVE: (CONT'D)
Of course after that tame taster of so-called
glorious warfare, I traded in my school
blazer and straw targets for a smart
officer's uniform and live ammunition. Spent
nine years marching around the colonies,
keeping the peace.
IMAGE: COVE takes the hand of ETHEL They move around as she hand
a letter to him and they part
COVE: (CONT'D)
Promoted to Captain and met my lovely wife. I
had a family, for a time: then came the Great
War, and I was marching overseas again.
SX: 'AMERICAN BEAUTY' SOUNDTRACK FADES TO SILENCE.
Rostrum are pulled apart and TIM sits with two other soldiers
discussing desertion.
Soldiers hush their discussion
COVE: (CONT'D)
Private Blake and Owens, I must say that I
have bloody good eyes, you know why?
SOLDIERS:
No Sir!
COVE:
It's because I know you should both be on
reconnaissance patrol tonight. If I can see
you on patrol from all the way back here, my
eyes must be amazing, do you take my point?

SOLDIERS:
Yes sir!
The two soldiers hurry away into the shadows.
COVE:
Not you Private, I want a word with you
TIM:
Me sir? I was doing nothing wrong, you can't
prove nothing!
COVE:
No, but I know I heard you planning desertion
and encouraging it in others. You're right, I
can't prove it. But I know all the same.
TIM and COVE return to the dugout. This is made by the benches
being slid out at angles. COVE brings chess board with him.
SX: 'TIME' BY HANZ ZIMMER ON LOW VOLUME
COVE: (CONT'D)
Do you play private?
TIM:
No sir, but I know the game.
COVE:
Well let's see if I can't teach you a thing
or two. You take whites.
TIM:
What do I get if I win sir?
COVE:
If you win? Against me lad? I'll give you a
promotion. You move first, whites always do.
I was never quite sure why....
TIM moves the knight
COVE: (CONT'D)
Well there's your first mistake right away!
Pause as COVE takes his move almost instantly without any though
needed.

COVE: (CONT'D)
The King can't ride out, with his knights.
They'd be cut down before they got half way
there. It's about the Pawns, easily
sacrificed, never remembered. Only this war
ain't a game, lad. We're not pieces. We're
people. And we're going to be remembered by
someone out there. Who wants to be remembered
as a coward, eh?
Silence as the next few moves are taken. TIM takes his time to
try and think about what he is doing. COVE makes his moves
straight away. TIM looks down at the board.
COVE starts to take his time more.
TIM:
Every day I wake to the sound of artillery,
and I know that I'm lost in that pit
somewhere, among the dying men, and I always
know... That I'll be next
COVE:
Well I won't try and pretend that you won't
be. But the same goes for me, or any man in
this trench. We're all scared, but if we all
deserted, who would be left to hold the line?
But do you know the real reason you won't
leave? Because I'll be holding onto your
boots!
TIM becomes very tentative uncomfortable about the topic
TIM:
So... why don't you leave Sir? You could, you
know. There'd be no one holding onto you.
SX: VOLUME INCREASES ON MUSIC
MOVEMENT PIECE: COVE looks at picture on dugout wall from
daughter. Looks down at the game. He rises, in a dreamlike state
and walks towards the stage as the set is put back into the
tunnel set up.
LX: LIGHT ON ETHEL AT END OF THE HALL AND LIGHTS FOCUSES IN ON
TUNNEL CORRIDOR.

COVE starts to walk down the benches and is pushed off by a

patrolling soldier. Two CHORUS catch him and push him back up.
COVE makes his way to the end of the benches and is stopped
several time by people in his way which he pushes past. As COVE
reaches the end of the benches he reaches for ETHEL and is
lifted. He is then lowered and pushed back to where he started.
COVE falls on the floor
LX: SILHOUETTE LIGHT AND LIGHT ON THE CENTRAL STEPS FADES IN
COVE closes his eyes seeming to accept his fate as a firing squad
silhouette appears.
Narrating again
COVE:
Of course that little lesson with the chess
game taught me a thing or two, too. Turns out
it's never too late for a teacher to learn. I
realised that no matter how important the
pawns were, they needed their big, high
ranking Knight... Or perhaps Bishop... To
lead them. And that meant that I couldn't get
distracted, no matter how much I might want
to, otherwise I'd lose the game. To amateurs
at that.
SX: AMERICAN BEAUTY SOUNDTRACK RETURNS
LX: LIGHTING ON STEPS, SAME SEQUENCE AS START OF SCENE
Initial movement over the parapet returns COVE walks down the
centre as soldiers die around him
COVE: (CONT'D)
And so I realised that the reason I did not
dessert, the reason I led these men, was not
for fear of some firing squad, or court
martial, but because leaving them in this
hell without a leader would be... Wrong. My
dear - please, forgive me for not coming
home.
COVE is shot and falls to the floor
COVE: (CONT'D)

The stars look so peaceful from here...

He dies.
Scene 4: News to Ethel
COVE remains in place as ETHEL moves and sits down next to him,
though doesn't notice him there.
ETHEL:
My dear Ethel. Heaven send that by your next
birthday or mine come to that this
terrible war will be over and that we may
both be spared and united on each of our
birthdays and those of our dear little
kiddies and for many years to come. I had a
letter from your mother yesterday and she
speaks of you as being wonderfully brave and
cheerful under the circumstances. I am sure
no man realizes more than I do what a brave
and good wife I am blessed with and I thank
God for it. I can now quite understand the
Late Lord Kitcheners preference for
bachelors as soldiers. He must have realized,
although a bachelor himself, that it is not
the cowards fear of death but the fear that
by death many a good soldier may thus be
prevented from re-joining the wife and family
he loves so much. I have just that very
feeling myself at times when the shells are
dropping all around us and the air is
whistling with them.
TRAIN GUARD blows whistle
TRAIN GUARD:
Boarding now for the 11.47 to London Kings
Cross. The 11.47, London Kings Cross will be
leaving shortly.
ETHEL remains where she is as everyone moves around her and sets
up train formation
VERA:
Ethel! Ethel the trains leaving, come on!
TRAIN GUARD:
Final call for the 11.47, London Kings

Cross. Excuse me madam, if you intend to be

boarding this train please do so now.
VERA:
Ethel what are you doing?
The scene slows to a freeze. MARY is calling back to ETHEL and
the TRAIN GUARD is leaning over her. ETHEL continues to read from
the letter.
ETHEL:
This morning another terrific bombardment
started from our guns. It is impossible for
me to adequately describe it but I will
endeavour to picture it to you.
COVE stands up from a seat on the train to talk.
COVE:
Wealdstone, you must suppose was once a
little village by itself with houses built
in the true village style, not in batches.
CHORUS get up from seats on train to talk.
CHORUS 1:
The roads here are more like cart tracks over
muddy fields. Everywhere as far as the eye
can reach is barren and desolate and every
single thing upon it is directly appertaining
to war. Every man, every cart or wagon, every
telephone wire, even in the very air one only
sees aeroplanes all is to one purpose.
CHORUS 2:
You must now imagine that behind you one can
see huge guns in a line and in lines one
behind the other. These lines disappear from
view with the broken and devastated woods.
CHORUS 1:
-crash go the guns all around.
EVERYONE:
All at the same second
CHORUS 1:

You look around and far away you see the guns
belching out huge flames and volumes of smoke
in quick succession and you realize that
there are more guns than one could see
before.
CHORUS 2:
The earth veritably trembles and the shells
from the many batteries behind you rush over
through the air, screaming and whistling
according to their size and altitude.
CHORUS 1:
You turn to speak to a friend.
CHORUS 2:
But the noise compels you to shout into his
ear if you want to make yourself heard.
Everyone returns to their seats as CHORUS 1 continues to talk.
CHORUS 1:
This poor description will give you some idea
of a bombardment. I must leave you to imagine
it from a German point of view! It is a
marvel if even one escapes such a hail.
COVE:
Your watch is still going strong and has
become the watch of the cellar and
detachment. Whats the time, Cove? is the
order of the day. Will close tonight,
darling, and tumble in. It is late and Im
writing these few lines after a good game of
chess by a candle which reminds me that
times up. Goodnight my darling. Longing
ETHEL:
- and hoping for a letter from you tomorrow.
TRAIN GUARD:
Excuse me madam? Are you intending to board
this train?
VERA runs joins the TRAIN GUARD.
VERA:

Ethel what are you doing, come on!

ETHEL:
Oh! Yes, of course!
VERA and ETHEL board the train, everyone else creates the
carriage around them.
VERA:
Ethel what's going on? They nearly left
without you!
ETHEL:
I know, I was Distracted, thats all.
VERA:
Distracted? I couldve pushed you off that
bench and you wouldnt have noticed, you were
in a world of your own! What was that you
were reading?
ETHEL takes out the letter.
ETHEL:
Oh this? Its a letter from Wilf
ETHEL lapses into silence again as her eyes are drawn to the
page.
VERA:
Wilfred? You said you'd had no letters in
weeks.
ETHEL:
No, I havent, but Ive taken to carrying
this one around with me. So I can use it for
bookmarks, you know and also to keep it
close. I find it helps to keep it close. Ive
not seen him in months! Months! The girls are
forgetting what their father looks like Im
forgetting the sound of his voice!
VERA:
Ethel, listen. I know this must be impossible
for you But he would come home if he could.
You know he would.

ETHEL:
Do you know what he wrote in one of his
letters to little Marjorie? He said he was
sorry that he could not come back home for
Christmas, but there were men in his
detachment that were more deserving of the
Christmas leave than he was. Did that mean he
could have come back to us but chose not to?
Did he think that other families were more
deserving of their father home for Christmas
than his own daughters? Hes left us! Hes
left us alone!
VERA:
Ethel, listen to what youre saying! How
could you?
ETHEL:
How can we just accept this? People seem to
say Yes its sad and expect us to get on
with our lives! But it's painful to know that
you wont see your husband and you don't know
when you will! And your daughters would never
see their father until Until
ETHEL is overcome and get upset, after a moment she regains her
composure. VERA reaches out to touch the letter in ETHEL's hand.
VERA:
Youve got this. Why would he write if he
didnt care?
ETHEL:
Its not the same. Its just words.
VERA:
I know it can feel like that when hes so far
away but theres meaning behind those words.
Just think, they were written with you in
mind, and travelled half a continent to reach
you! And now you carry them around with you
everywhere you go, re-reading them countless
times! Id say you still cared for each
other.
ETHEL:
Youre right it just all builds up I your

head to make you feel so alone.

VERA:
Don't worry he's out there.
VERA goes back to her paper before looking up again.
VERA: (CONT'D)
Ill accompany you home once we get to
London.
ETHEL:
What? Vera, thats miles out of your way,
theres no need!
VERA:
It wasn't an offer.
The TRAIN GUARD starts to make his was down the carriage checking
tickets.
VERA: (CONTD)
Whos looking after the girls?
ETHEL:
Oh, mum managed to make it round to watch the
place just before I left the house this
morning.
They are interrupted by the TRAIN GUARD.
TRAIN GUARD:
Your tickets please?
Location shift to narrow hallway at ETHEL's house.
ETHEL:
Mother, were back! And Veras stopped by for
a quick tea, I think theres a bag or two
left in the cupboard! Would you put the
kettle on if youre near the kitchen?
ETHEL's MOTHER appears.
MOTHER:
Keep your voice down, the girls are in bed at
last! Here, I thought I should give you this

first. Its marked from France, it arrived

this morning just after you left.
MOTHER hands ETHEL the telegram
MOTHER: (CONT'D)
Well, Vera, why dont we go and put the
kettle on through in the kitchen and you can
help me find the teabags, Im sure Ethel
moves them every time I come round! You come
through when youre ready Ethel. Well leave
you to it.
MOTHER and VERA exit. ETHEL opens the letter slowly.
ETHEL:
We regret to inform you that Captain W. CoveETHEL lets the letter fall to her feet and muffles a sob.
COVE stands on the central steps
LX: LIGHT FOCUSES ON CENTER
COVE:
Hello Ethel...
ETHEL looks out shocked and confused.
ETHEL:
Wilf!
COVE:
Yes its me. Well....
ETHEL:
I... I can't accept this.... I can't
COVE:
Then youd better read the rest.
ETHEL picks the letter back up. Sh reads with great difficulty.
ETHEL:
"We regret to inform you that Captain. W.
Cove, 96378 of The Lincolnshire Regiment, 1st
Battalion is missing in action presumed

dead." - I I started to doubt you. I started

to imagine, because you were so far away I
dont know what I thought!
COVE:
I know, I know. Distance can make anyone
doubt themselves.
ETHEL:
You knew?
COVE:
I'm your husband, I'm meant to know these
things
They both smile.
ETHEL:
I don't want to do this without you.
COVE:
Remember me, but I want you to move on.
Remember the good times. And look after our
daughters, theyll need you. And dont forget
to be you, because living for somebody else
is just pointless.
Pause
ETHEL:
I'm going to miss you Wilf.
COVE:
Ethel... I will miss you too.
LX: LIGHTS RETURN TO WARM HOMELY FEELING.
VERA re-appears from the kitchen.
VERA:
Ethel you're low on milk, should I pop round
the corner to see ifVERA sees the letter on the floor and rushes over to pick it up.
MOTHER has followed her, and seeing ETHEL rushes over.
MOTHER:

Oh Ethel! Mary what is it?

VERA:
Bad news. The worst.
MOTHER:
Oh Ethel I'm so sorry... We should tell the
girls.
ETHEL snaps out her shocked state.
ETHEL:
No, not yet. We shouldnt wake them. Tell
them when they wake.
Pause
LX: PRESET
Set goes to tunnel set up.
SX: 'EXO-GENESIS OF A SYMPHONY PT. 3' BY MUSE
COVE and ETHEL have a Frantic Assembly style movement piece.
Set returns to tunnel and TIM and OTTO take their places.
LX: TUNNEL LIGHT
OTTO:
Its sickening, how many families have been
destroyed, how many people will never return
home, lost forever. Everyday Id tell myself
that I would make it to the end. That I
wouldnt become one of the men Id see every
day, being wrapped up and buried far away
from home or being left for the crows. Id
tell myself that Id see my family again, Id
see my home again and go back to enjoying the
long warm summers as I used to, seeing the
fields green and peaceful. I promised myself
that Id see Violet again. But now Still
better than being left for the crows I guess.
TIM:
What I said earlier about you and Violet...

OTTO:
It's fine.
TIM:
No it's just that I never realised that you
were the same as anyone else split apart by
the war. I don't know why, maybe it's because
I learned to hate anyone that spoke in a
different accent but you were two people in
love. Separated by something neither of you
could control.
OTTO:
Thank you. After the battle, after Cove died.
What happened to you? Where you sent home or
did you go back to fighting?
TIM:
I was shot in the battle, and spent several
months recovering. Someone changed me in that
hospital....
Scene 5: Veras Search
VERA comes and sits down next to the rostrum, reading a letter.
SX: 'DINOSAUR SONG' BY ALEXANDER WOLFE
LX: PRESET
VERA is writing a letter as the scene builds around her.
LX: HOME LIGHT SAME AS IN SCN 4. LIGHT ALSO ON ROSTRUM.
SX: MUSIC FADES
ROSCOE:
Dearest little wife. Sometime perhaps I can
tell you about this letter and you may
appreciate it more than you do now. My
shelter tent is leaking all over and I have
about two inches of candle for my heat. It
has been raining for two days and nights so
you can possibly imagine some of the pains we
have. The very things we want we cannot getmatches and such small things. You have read
of sunny France well it isnt. We men all fed

tonight on slum and coffee. What slum is I

dont quite know but its meat and a lot of
stuff mixed in a sort of soup form.
ROSCOE steps down from rostrum.
LX: LIGHT FADES ON ROSTRUM
VERA:
Get over here dear as the little cook. But no
joking you could do well out here even if you
only know how to boil water for a time. Well
my dearest Ill tell you good night early,
hit the hay because Ill need some sleep.
Good night, your loving husband, Ros.
MOTHER enters from the far end of the room.
MOTHER:
Dear I just thought I would bring round some
carrot cake cheer you up and have a bit of a
laugh about what they are trying to pass for
egg substitute now.
VERA:
Thank you mother but I'm fine.
MOTHER:
Oh, well I'll go get some plates in case you
change your mind.
MOTHER walks through to get some plates, VERA gets up and paces
slightly, looking worried.
MOTHER: (CONT'D)
Have you heard anything from Ross?
VERA calls back but in uncomfortable about talking. She has her
back to where MOTHER is.
VERA:
Yes I got a letter this morning
MOTHER:
Wonderful, and how is he? Sticking it to the
Hun I hope!

VERA:
He's fine mother
MOTHER comes back with the plates and sits down. VERA remains
standing.
MOTHER:
Just fine?
VERA:
Well, whenever he writes he seems... distant.
He's just complaining, listing all his
problems like he doesn't care about anything
else.
MOTHER:
Well you do have to remember what he has to
go through.
VERA:
But I see the letter the other girls get. I
see what Wilf sends to Ethel and I see how he
plays it down, how he doesn't want her to
worry. Yet Ross.. he just says it.
MOTHER:
Vera...
VERA:
Did you hear that Allisons father has signed
up now? Janes brother as well and Robert
left just this morning to fight in France. I
cant sit back anymore, I need to do
something to help.
MOTHER:
But Vera theres nothing you can do.
VERA:
Jane was saying that theyre accepting
volunteers to work as ambulance drivers,
helping wounded soldiers. Id know Id be
doing some good instead of waiting here for
news.
MOTHER:
No, Vera you can't. It's too dangerous for a

young girl to be so close to the fighting!

VERA is annoyed by this, she was expecting MOTHER to be proud of
her.
VERA:
I've got to do something. I wouldn't even be
that close to the fighting. The military
don't allow the VAD to be on the front-line
anyway.
MOTHER:
Vera if you could please just consider what
youd be doing. Why dont you come and stay
with your father and I for a bit, just for a
few days and youll realise youre just
lonely in this house. Youll realise you
dont want to be away from your family in
another country.
VERA stands up, almost defiant.
VERA:
Mother Im sorry. Ive made up my mind.
A line of volunteers form and Vera joins the back of it. VIOLET
is sat ticking off names as they pass and the volunteers form a
group. After every volunteer joins the group the VOLUNTEER stands
and addresses the group.
VOLUNTEER:
I would like to personally thank you new
volunteers in joining the voluntary aid
detachment. As a member of the voluntary aid
detachment your main duties will be to the
transportation of seriously wounded soldiers
from the casualty clearing stations to
hospitals further away from the front-line.
Youll work two seven-hour shifts a day,
sometimes longer if its needed. We always
need someone working round the clock. Vera is
it? You'll be taking the first shift with
Violet. She will show you ropes. I suggest
the rest of you get some sleep.
The other volunteers exit leaving VERA and VIOLET alone.

VIOLET:
You're Vera?
VERA:
Yes
VIOLET:
Wonderful, I expect your nervous. We all are
at the start but you'll get used to it don't
worry. If you stayed focused and listen you
will be fine. We aren't on the front line but
there will still be risks on the road. Here
help me with this.
They start moving the set.
VIOLET: (CONT'D)
You okay?
VERA:
Its just difficult, being so close to the
fighting and hearing the artillery shells,
knowing there are men dying only a few miles
away. Back home I never realised how hard it
would be.
VIOLET:
Don't worry we all go through it but it'll
get easier. You will realise that every
soldier we get to this hospital will be
another life saved. Youre making a
difference for the better, and your helping
these men go home. I think that's a pretty
good thing.
VERA:
I guess your right.... thank you.
VIOLET exits. VERA gets onto the rostrum as those as the rest of
the cast get into position for going over the top.
LX: LIGHT FOCUS ON HOSPITAL SET UP
VERA: (CONT'D)
Ross. The last few months have been the most
horrific of my entire life. It feels like 10
men die for every 1 that gets to the hospital

alive. Though Violet was right, every soldier

that survived was another tragedy prevented,
though I feel like I am just recycling them
and shipping them back out to be shot again.
Violet is a good friend, and has helped me
adjust to life. I haven't heard from you for
so long but I haven't given up hope. Please
write soon. I am off to Ypres soon, so
enclosed is my new contact address. Love,
Vera.
VERA sits upset about ROSS. She then addresses the audience as
the going over the top starts again, but they go towards the
stage.
LX: LIGHT ON CENTRAL STEPS SHOWING TIM BEING SHOT
VERA:
The English first attempt to breakthrough
began on the morning of August 1st 1917. The
English casualties were massive and wed
never been so close to the frontline, we
could hear the screams of men and the German
machine guns alike. Of the initial company
that went over the top only one private made
it back to the clearing station alive. The
private had taken a bullet wound in his right
shoulder and his left knee trying to protect
his company captain. By the time he made it
to the ambulance he was barely conscious and
still heavily bleeding, I knew hed die if we
didnt get to the hospital quickly.
TIM falls onto the rostrum, which are pushed along as VERA talks.
LX: LIGHT ON CENTRAL STEPS FADE
VERA: (CONT'D)
Can you hear me? Hello?
TIM is unresponsive.
VERA: (CONT'D)
His bandages aren't tight enough, he's losing
too much blood we need to hurry.
VERA then breaks off to talk as the rostrum is pushes into its

final position like a bed on a ward. He is given blankets and a

pillow.
VERA: (CONT'D)
In the end we didn't lose him, we made it to
the nearest hospital and they were able to
stop the bleeding. I dont know what it was,
maybe the fact that he was the only one left
alive in his company, maybe it was the fact
that so many other men had died in the back
of the ambulance but I just knew that I
couldnt let him die. A few days later I went
to see him again.
TIM is trying to write a letter but drops his pen. VERA enters to
pick it up. TIM takes it without saying anything
VERA: (CONT'D)
A thank you might be nice
TIM:
I didn't need any help
VERA:
I was just....
TIM:
I didn't need any help.
VERA:
Fine, I just came to see if you were still
alive anyway.
TIM:
And why would you be so interested in me
particularly?
VERA:
I just like to know the people I transport
make it.
TIM:
Wait, it was you in the ambulance?
VERA:
Yes.

TIM:
...Nurses said I could have dies if you
hadn't sorted out my leg... Thank you
Pause.
VERA:
so who are you writing to?
TIM:
My sister, shell probably of heard that I
was injured and I was writing to let her know
Im alright.
VERA:
Well I'm sure she'll be glad to here from
you. Anyway I'll leave you to it.
VERA begins to walk away.
TIM:
I'm sorry I didn't catch your name?
VERA:
Vera.
TIM:
Nice to meet you Vera, I'm Tim.
They both smile. VERA goes back to her position before meeting
TIM.
VERA:
Every time I could, Id try to visit Tim. I
kept thinking about him. Id never kept
visiting wounded soldiers before but for some
reason something was different. It was wrong
I knew it was. But we actually connected on
an emotional level, rather than just for
monetary interest...
TIM:
To begin with I assumed she was just
following standard procedure that she would
always visit wounded soldiers she had saved.
But after a few visits I began to think
something was different.

VERA:
It felt wrong, that I was having feeling for
a soldier I had only just met when my own
husband could be lying dead somewhere. But
Tim actually wanted to see me and wouldnt
think about himself all the time. I knew I
shouldn't, but I realised that
TOGETHER:
I loved him/her
SX: DIRTY PAWS BY OF MONSTERS AND MEN
Frantic assembly movement piece between VERA and TIM.
SX: MUSIC FADES
TIM:
Even after I recovered from my injuries I
couldnt stop thinking about her. Id try to
look for her at the clearing stations in the
trenches but could never see her. I
considered deserting and trying to find her,
but I had to stay for all the other soldiers
standing by my side in the trenches. I wrote
her a letter asking her to marry me and
promised myself that if I couldnt find her
and if I survived the war that Id find a way
to give her the letter. But then I saw
someone I recognised...
VIOLET is helping lie a soldier down, TIM goes to help.
VIOLET:
Thanks. You seem cheerier...
TIM:
I wanted to help, I know what its like.
VIOLET:
Well I appreciate it. Thank you.
TIM:
Actually I was wandering if I could as a
favour?

VIOLET:
Yes?
TIM:
I have this letter. I was wandering if you
could give it to Vera? I haven't seen her in
a while and I knew you two spoke a lot.
VIOLET:
I'm so sorry I thought you knew... two weeks
ago her ambulance was hit by I stray
artillery shell. I'm so sorry.
TIM drops the letter and falls as he starts coughing and wheezing
SX: 'SINKING MAN' BY OF MONSTERS AND MEN
Each couple does a waltz style movement breaking away
occasionally to move part of the set. Eventually everyone goes
onto the stage behind the screen leaving OTTO and TIM on the
rostrum for the last scene.
LX: SLOW FADE INTO PRESET
Eventually everyone goes onto the stage behind the screen leaving
OTTO and TIM on the rostrum for the last scene.
Final Scene: Yellow Light
SX: 'YELLOW LIGHT' BY OF MONSTERS AND MEN, LOW VOLUME
LX: TUNNEL LIGHT
ORIGINAL SETUP WITH OTTO AND TIM LYING. OTTO IS PROPPING HIMSELF
UP WHILE TIM IS ON HIS BACK STRUGGLING FOR BREATH.
OTTO:
Hey, are you still with me?
TIM:
Air's getting thin - hard to breathe.
OTTO:
Yeah I guess our time's almost up.
TIM tries to prop himself up

TIM:
Do you think they're still up there? They're
still fighting?
OTTO:
Ha! Perhaps they've made peace after all
these years.
They both laugh at the joke, alone in the dark. As they laugh,
TIM cries out and clutches his chest in pain.
OTTO: (CONT'D)
But no they'll still be up there... The war
to end all wars the call it.... but what if
this one never ends? Its odd. Up in the
trenches I always thought we were fighting
you for some reason. It made sense, because
you were The Enemy. Now I've met you Im
not so sure.
TIM:
Im not The Enemy. And neither are you. Were
both just people. Its The War thats the
real enemy. And the only way to win is to
stop fighting.
OTTO:
We stopped fighting. I guess that means we
won?
TIM:
Yeah I guess we have... and our prize? We're
stuck here.
OTTO:
It's been an honour.
They shake hands
TIM:
Likewise, Otto
The men collapse as their breathing becomes more shallow.
SX: MUSIC FADES UP
LX: TUNNEL LIGHT FADES. SILHOUETTE LIGHT AND SIDE STEP LIGHTS UP

OTTO and TIM get up looking around at what is happening they head
towards it where all the other characters are waiting to accept
them.
As TIM and OTTO enter the stage they go into the silhouette
screen.
LX: LIGHT FADES TO BLACKOUT
Fin.