I'LL BE SEEING YOU

by

G.E. FARRELL

FADE IN:


INT. RACHEL'S HOUSE--DAYTIME


A one-family home on a residential street in New York State where the camera goes through the house while a television newscast is heard.


NEWSCASTER


United States Naval aircraft continue
to bomb targets in Iraq today for
the eighth consecutive day. No American
casualties are reported though antiaircraft
fire in Baghdad is heavy. The casualties
since the air war began are six Allied
servicemen and women killed, twenty-four
wounded and three missing. The Allied
Command has still not released the date of
the expected launching of the ground war
for security reasons. However, aboard various
ships in the Gulf, United States Marines are...

CUT TO:


INT. RACHEL'S HOUSE--HALLWAY--DAYTIME


The telephone on a small table in the hall next to the stairway of the home. After a long moment the telephone rings. The television stops. The telephone rings two more times before a woman's hand enters the frame from the left and picks up the receiver.
The camera follows the receiver to Rachel's face. She is approximately seventy-five years old though her years have not slowed her or diminished her faculties.

RACHEL

Hello?...No, she's not in at the moment,
but I expect her back at any time now.
May I help you?...I'm her grand aunt...Oh!
Is it Jack? Lieutenant Blaine? Has
he been found?....Oh... Of course.
I understand...Just a minute. I'd like
to write that down...Lieutenant Anthony Corso.
Can she call you when she comes in?...Oh.
I understand...Yes, I'll tell her...Goodbye.

(Before she hangs up the receiver, a key is heard in the front door.)
Just a minute! I think she's
coming now....Hello?...Damn!
CUT TO:

INT. RACHEL'S HOUSE--HALLWAY--DAYTIME

She hangs up the receiver as the front door opens and Jennifer enters. Jennifer is approximately twenty-two years old. She carries a number of bags and parcels.

JENNIFER

Hello, Aunt Rachel. How are you?

RACHEL

All right. How are you? (She goes toward
Jennifer.) Can I help you with those things?

JENNIFER

No thank you. If you could close the door though....

RACHEL

Of course.
CUT TO:
INT. RACHEL'S HOUSE--DAYTIME

She goes to the front door and closes it while Jennifer goes into the living room, drops her packages, sits wearily on the couch and kicks off her shoes.

JENNIFER
I am beat. God, I hate shopping. Call
me a traitor to womanhood if you want,
but I hate it. All the people and the
snooty sales clerks. I did buy the cutest
dress for Stacy's wedding though. Let me
show it to you.
CUT TO:
INT. RACHEL'S HOUSE-- LIVING ROOM--DAYTIME

Rachel sits on the arm of the couch while JENNIFER attempts to collect her packages.

RACHEL

Jennifer, you just got a call from a
Lieutenant Anthony Corso of the Navy.
(Jennifer stops collecting the packages and looks at Rachel without moving.)

JENNIFER

Is it Jack? Have they found him?

RACHEL
He wouldn't tell me anything. Not
even if he was calling about Jack.
He's coming to see you personally.

JENNIFER

Oh no!

RACHEL

Don't assume anything until he gets
here and tells you what it's about.
It may be nothing at all.

JENNIFER

If it was good news, he would have told
you on the phone.

RACHEL

Not necessarily.

JENNIFER

He's dead. They've found him and he's dead.
I know he is.

RACHEL

You know nothing of the kind. Wait and see
what the lieutenant has to say. He may be
fine but he didn't tell me because I'm
only your aunt.

JENNIFER.

No. Good news is for every body; only
bad news is reserved. He's dead. I must
have been out of my mind to fall in
love with a flier.
CUT TO:

INT. RACHEL'S HOUSE--LIVING ROOM--DAYTIME

She goes to the window and looks out with her back to Rachel.

RACHEL

You're jumping to conclusions. You don't
know anything yet.

JENNIFER

Please Aunt Rachel! The last thing I need
right now is comfort from somebody who
doesn't know what I'm going through.
You've probably never been in love in
your whole life.
(Rachel looks away. She then crosses to an easy chair and sits without speaking. She looks down at the floor. Jennifer turns to look at her.)

JENNIFER

Oh, Aunt Rachel. I'm so sorry. I didn't
mean that. I didn't mean any of it. Please
forgive me. I didn't know what I was saying.
CUT TO:
INT. RACHEL'S HOUSE--LIVING ROOM--DAYTIME

She goes to Rachel and kneels in front of her.

JENNIFER
I'm just a fool, you know that. I'm so sorry.

RACHEL

That's all right. There's nothing to forgive.
I know what you're going through, at least
something of what you're going through.
(She runs her fingers through Jennifer's hair.)

JENNIFER

What do you mean?

RACHEL

Oh, it's not important.

JENNIFER

Please tell me.

RACHEL

It was a long time ago; you really
wouldn't be interested.

JENNIFER

I would. Please tell me.

RACHEL

I've never told anybody, not even your
mother or grandmother. Not a soul in
all these years. I too loved a flyer once.
It was in London during the war, the
Second World War that is.
JENNIFER

World War Two! I thought that all of the
flyers were white during that war.

RACHEL

Not all flyers; there were quite a few
black flyers from the Tuskegee Institute
and other places. He wasn't one of them
though.

JENNIFER

You mean...

RACHEL

I mean he was a white man.

JENNIFER

You fell in love with a white man during
World War Two? During segregation?

RACHEL

There was no segregation in Europe, except
among the Americans there.

CUT TO:
Old newsreel footage of Hitler and his generals conversing cheerfully. Next are films of German troops marching before the Arc de Triomphe in Paris. Next are films of burning buildings and refugees being strafed by German aircraft.
CUT TO:
EXT. CITY STREET--DAYTIME--CLOUDY

(Black and white film in a grain similar to that of movies of the early 1940's should be used for the flashback scenes.)

London in the Autumn of 1942 where Rachel, a young woman, enters from the left. The streets are wet and people passing behind her carry open umbrellas as does she. She wears a fedora like hat and a trench coat. Unknown to her, a piece of white paper has adhered to the crown of the hat. She holds out her hand to learn if the rain has stopped. Satisfied that it has, she closes the umbrella, shaking the water from it as she does so.

Stephen enters from the right. He is a young flyer in uniform, a captain. When he sees Rachel, he stops and stares at the young woman with white paper stuck to her hat. She notices him and is annoyed.

RACHEL
Excuse me. I don't think that it's
very polite to stare at someone
even if you are surprised to see a
Negro woman here.

STEPHEN

You're American!
RACHEL

I beg your pardon.

STEPHEN

I said that you're an American.

RACHEL

Of course I'm American. Is that your
excuse for being rude?

STEPHEN

Was I rude? I didn't mean to be.

RACHEL

Where I come from it's rude to stare
at people, English or American, and
that includes Negroes.

STEPHEN

I apologize. I meant no offense.
I didn't even know that I was staring.
But where I come from people who wear
paper on the outside of their hats
expect to be looked at. Is that
protection against the blackout?

RACHEL

What paper? What are you talking about?
(She takes the hat off and examines it.)
Oh! How did that get there? It must
have been the wind. I'm sorry for
accusing you of...

STEPHEN

That's all right; you didn't know.
What's an American girl doing in London
during a war?

RACHEL

There are quite a few Americans here.

STEPHEN

I know that. I'm on an airbase full of
them but they're all men.

RACHEL

Are they? That's very interesting. It's
been so nice talking with you, Captain,
but I believe my bus is coming, so if
you'll excuse me...

STEPHEN

I didn't mean any offense. I'm kind of
new here and didn't know there were
American civilians here is all. Please
don't take it wrong.

RACHEL

You've just arrived in England?

STEPHEN

About four weeks ago. This is my first
pass; I've been flying since I got here.
Even if I'd had a pass, I wouldn't have been
able to use it. This is my first time in
London.

RACHEL

You're a pilot?

STEPHEN

A co-pilot.

RACHEL

Bombers.

STEPHEN

How did you know?

RACHEL

There have been American airmen in England
since the beginning of the year.

STEPHEN

Oh?

RACHEL

Yes. And they come to London every
other day. Between missions.
STEPHEN

Not if they're based at Sherburn they don't.
It's a four hour trip each way.

RACHEL

No, that's true.

STEPHEN

You seem to know a lot about airmen.

RACHEL

They were the only Americans here for
quite some time. Most English people
that I meet seem to think that I should
know all of them.

STEPHEN

Are they disappointed when they find out
that you don't?

RACHEL

Some of the women are. They don't
understand American race relations
and hope that I can introduce them
to the white Americans.

STEPHEN

Why do they want to meet them?

RACHEL

That's a joke; isn't it?

STEPHEN

Is it?

RACHEL

I'm starting to feel uncomfortable.
I don't really know why they want to
meet them. It could be because all of
their men are away or maybe they want to
look after the spiritual well being of
our fighting men. How is your spirit?

STEPHEN

To be honest, spirits are what I was
looking for before I saw that white
flag on your hat.

RACHEL

That is a terrible pun.

STEPHEN

I take it back.

RACHEL

You were joking though when you asked
why they wanted to meet American men.

STEPHEN

I was joking.

RACHEL

Thank goodness; I was starting to worry
about losing the war.

STEPHEN

There's no need to worry about a thing.

RACHEL

Isn't there? Well, I guess you'd like
to get back to your search for spirits.
You've only a brief pass.

STEPHEN

Yeah, we...Hey, listen. Why don't you
join me? If you have nothing else to do
right now, that is. I could use somebody
who knows her way around.

RACHEL

You're joking again.

STEPHEN

No I'm not.

RACHEL

Then you're crazy.

STEPHEN

Why? because I'm white and you're
not? Hell, there's a war on. Besides,
I don't know anybody else.

RACHEL

That's very flattering, but I'm afraid
that I'll have to say no. I have quite a
lot to do just now including going back
to work.

STEPHEN

I've only got until the day after tomorrow
and you could help me find the sights so
I don't waste any time.

RACHEL

Do you really expect that line to work?

STEPHEN

It's no line; it's a two day pass. Cross my heart--

RACHEL

Don't say it! I get the idea. I'd love to
help you out, out of common charity for a
madman if for no other reason. I'm sorry
that you have such a short leave and no one
to guide you to London's landmarks but I
can't do anything about it, not now. I'm
sorry. If you'll go to the USO I'm sure
you'll find someone to give you directions
and maybe even a map.

STEPHEN

That's all right. It was just an idea.
I didn't mean to...So long. I hope your
bus comes soon.

RACHEL

Thank you.
(He walks away. After a moment, she calls after him.)
Captain!

STEPHEN

Yeah?

RACHEL

I could meet you for a drink later.
I really haven't had much opportunity
to speak with too many Americans here.

STEPHEN

You don't have to do that.

RACHEL

Aren't you carrying the lonely soldier act a bit far?

STEPHEN

The what?

RACHEL

I would like to meet you later for a drink.

STEPHEN

Really?

RACHEL

Why do I feel like I'm being had here? Really.

STEPHEN

All right. Where?

RACHEL

Do you know the Connaught Hotel?

STEPHEN

No.

RACHEL

You really are new here. Do you know where Hyde Park is?

STEPHEN

I'll find it.

RACHEL

Good. I'll meet you in the ballroom
of the Connaught Hotel at eight-thirty.

STEPHEN

I'll be there. By the way, what's your name?

RACHEL

Rachel Kearns of Passaic, New Jersey.

STEPHEN

We're almost neighbors. I'm Stephen
Mulholland of Glens Falls, New York.

RACHEL

Pleased to meet you.

STEPHEN

Likewise. The Connaught Hotel at eight-thirty.

RACHEL

Right.

STEPHEN

I'll be there.

RACHEL

And I'll be there too.

STEPHEN

I think your bus is coming.

RACHEL

Yes, it is. I'll see you this evening.

STEPHEN

You bet.

He watches as her bus arrives and she climbs aboard.
CUT TO:

INT. LONDON BUS--DAYTIME--CLOUDY

The interior of the bus, Rachel moves among the
passengers squeezing past many on the crowded vehicle until
she is near the rear. The bus starts up again. She looks out
the window to see Stephen watching her. He then waves at her. She smiles.
CUT TO:
EXT. CITY STREET--DAYTIME--CLOUDY

Stephen remains at the bus stop watching the bus until
it disappears from view. He then places his hands in his
pockets and goes off to the left.

CUT TO:
INT. OFFICE--DAYTIME

An office where a number of people work at old wooden desks. The workforce consists entirely of women and elderly men. Rachel enters, removes her hat and coat, places them on a coat tree that already holds a number of hats and coats and crosses to a desk where she sits down and reviews some notes.

Emily Lord enters from the right and stands next to the desk and waits for Rachel to notice her. She is an English woman of about Rachel's age.

RACHEL

Oh, hello, Emily. I didn't see you
there. I'm sorry.

EMILY
You didn't see me but I saw you earlier.
You were talking to a good looking Yank
airman.

RACHEL

Was he really good looking?

EMILY

No Cary Grant perhaps, but with all the
men away, any male without a foot growing
from his forehead or irreversible senility
is at least passable. Who was he?

RACHEL

Stephen Mulholland of Glens Falls, New York.

EMILY

A friend from home, eh?

RACHEL

No. I just met him today. He thought that
a piece of paper stuck to my hat might be a
blackout precaution.

EMILY

Did he? Well, in the current crisis, brawn
is more important than brains anyway. And
it does show a bit of imagination. What
was he like?

RACHEL

I don't know. I only just met him.

EMILY

You don't have to show him your knickers to
figure out what he's like. You must have
received some impression from talking with him.

RACHEL

I don't know; I haven't thought about it. He
seemed nice enough if a bit fresh.

EMILY

Cheeky, eh?

RACHEL

A bit.

EMILY

A little cheek is a good thing in a man,
especially these days when everything
is so regulated. When are you going to
see him again?

RACHEL

What makes you think that I'm going to
see him again?

EMILY

Oh, Rachel. You are, aren't you? If
not, I hope you'll do a friend a favor
and introduce us. Tell him I'm easy; men
like that. It's true anyway. Now don't
look at me that way. I know what men like
and give it to them. You should try it
sometime. You might like it too. God
knows there are few enough men around;
you have to use all you have to get them
and keep them. Believe me, if you don't
someone else will. You are going to see
him again, aren't you? I know that
you're suspicious of men but even you
wouldn't pass up a chance like this.

RACHEL

I'm not suspicious of men; I'm just
careful. Besides, he's white. In America
a white man and black woman do not date.

EMILY

Why not?

RACHEL

It's the law in many places.

EMILY

(Laughs heartily, a high pitched piercing laugh)
You mean that America has laws telling you
who you can farm with and who you can't?

RACHEL

Yes.

EMILY

You Yanks are the strangest people.

RACHEL

It's nothing to be laughed at, at least
not if you sit where I do.

EMILY

You mean in the back of the omnibus?

RACHEL

In some places, yes. It's all part of the system.

EMILY

(Laughs again)
I'm sorry, Rachel.
(Laughs yet again. Then she stops, dabs her eyes with a handkerchief and becomes serious.)
Well this isn't America and it's not
part of the system here. If you like a
man, you go after him regardless of his skin.

RACHEL

Yes, I'm sure. I could just see you with an
Indian or a Malay.

EMILY

Never mind that. Besides, we're talking about
you. It shouldn't be the color you're after
anyway you know.

RACHEL

You are the worst, Emily.

EMILY

Really? Well I'm not here trying to decide
whether to see a man because of his color,
am I? And even if I am the worst, there's
nothing wrong with either of us that a man
can't fix, no matter his color.

RACHEL

That's assuming that he feels the same way,
which I doubt. And even if I was attracted
to him, I don't want to get hurt like...like
so many others have been. I am meeting him
tonight at the Connaught Hotel though.

EMILY

There's a good girl. If the conversation
flags, mention my name.

RACHEL

I will.

EMILY

Aren't you the confident one? Not a bit afraid
of the competition, are you?

RACHEL

I'm only meeting him for a drink. He's new
in London and asked me to show him around,
that's all. Don't go reading into it what's
not there.

EMILY

A mission of mercy, is it?

RACHEL

Exactly.

EMILY

Maybe I should go with you; two mercies are
better than one.

RACHEL

If you like. We're meeting at eight-thirty.

EMILY

Damn! This is my late night. I'll just
have to steal him from you some other time.
Just my luck. I get a chance to romance a
real man and the schedule betrays me. It's
enough to make a girl show up on time every
bleeding day.

RACHEL

You can't be serious.

EMILY

No, I suppose I'm not ready for anything so
drastic yet. But one never knows when
the man shortage can become life
threatening. Drastic remedies may be necessary.
Do you know that I've even had dreams of
Mr. Short? Can you imagine?

RACHEL

Mr. Short!

EMILY

It's true. Who knows what power may be
lurking beneath those shiny seated trousers.
There may be good reason for them to droop
until the crotch is down to his knees. There
may be latent reservoirs of virility in old
Mr. Short of which we are unaware. You've
got to help me, Rachel.

RACHEL

I would, but I've only just met the man.

EMILY

He must have friends. He's an airman. They
belong to squadrons and groups and things like
that.

RACHEL

I'll try.

EMILY

I knew I could depend on you. Thank you. You
don't know what it means to me. You've
never suffered the horror of dreaming about
Mr. Short. I'd best return to my desk now.
Gestapo Bob is due and he'll surely stop by to
say hello and see how much work I've completed.

RACHEL

I'll talk to you later.
CUT TO:

INT. HOTEL RESTAURANT--NIGHT


The restaurant has many customers but is not filled to capacity. Most of the men, and many of the women, are in uniform. The majority of men are British but there are uniforms of many countries. A band is playing and a woman is singing "The Last Time I saw Paris". Stephen enters hurriedly from the right and stands at the top of three steps that separate the entrance from the dining area. He looks about the room for some moments, then checks his watch and looks about again. While he is searching the crowd, a maitre'd enters from the left.

MAITRE'D

May I help you, sir?

STEPHEN

No, thank you. I'm just looking for
someone. I don't see her though. What
time do you have?

MAITRE'D

Eight thirty-five.

STEPHEN

Same here. I thought my watch was slow
and I'd missed her.

MAITRE'D

Would you like a table, sir? Your guest
can join you when she arrives.

STEPHEN

Yeah, that's a good idea.

MAITRE'D

Follow me please.
CUT TO:
INT. HOTEL RESTAURANT--NIGHT

Stephen follows the Maitre'd through a jumble of small tables to one which is not occupied where the Maitre'd pulls out a chair for him. Stephen continues to check his watch and look about the room.

STEPHEN

Thank you.

MAITRE'D

Would you like refreshment while you wait, sir?

STEPHEN

Yes, I would. Beer. American.

MAITRE'D

Beer?

STEPHEN

Yeah. American.

MAITRE'D

If I may be so bold, sir. You are new here,
are you not?

STEPHEN

Does it show that much?

MAITRE'D

Unmistakable, I'm afraid. Americans seem
to be impatient creatures, but when they've
been here for some time they tend to become
somewhat less impatient. Your habit of
referring to your watch so often gives
you away, sir. However, I shouldn't worry.
Travel about London is difficult these
days and appointments are often delayed.
I'm sure your guest will arrive shortly.

STEPHEN

That sure puts my mind at ease.

MAITRE'D

I hope so. A waiter will be here with your
drink in a moment.
(The Maitre'd exits.)
CUT TO:
INT. HOTEL RESTAURANT

Stephen lights a Chesterfield cigarette and looks about again. After a moment, he sees Rachel who has just entered the restaurant and stands so that she can see him. She sees him, smiles and comes to the table where he holds a chair out for her.

RACHEL

Thank you. I'm sorry that I'm late. Have
you been waiting long?

STEPHEN

Yes. I was here at eight-thirty on the dot.

RACHEL

Were you really?

STEPHEN

Cross my heart, hope to...

RACHEL

All right. I believe you.

STEPHEN

Do you? To be honest, I just got here a
few minutes ago. But it was close to
eight-thirty.

RACHEL

I thought so.

STEPHEN

I didn't think you were going to show up.
Then when you weren't here, I thought
that you might've been here and left.

RACHEL

I'm sorry but getting around London is not
what it was before the war. You must expect
fifteen to thirty minutes lateness for
all appointments with civilians, often more
than that. A delayed fuse bomb exploded
three streets from where I live and all traffic
has been thrown into chaos.

STEPHEN

Were there any casualties?

RACHEL

Quite a few, I'm afraid. I see that you
haven't left though I was so late.

STEPHEN

I don't give up that easily. Besides, the
Maitre'd or whatever you call him told
me that travel around London is difficult
and people are often late.

RACHEL

Did he?

STEPHEN

He did. As a matter of fact he gave me a
lecture on the impatience of Americans
and the calming effect to be gained by
being in England. And he was right;
my patience was rewarded.

RACHEL

Yes it was, wasn't it?

STEPHEN

Would you mind if I asked you a question?
(The waiter enters with Stephen's drink which he places before Stephen.)
Would you like a drink?

RACHEL
(To the waiter.)
Whiskey and water, please.

Waiter

Yes, madam.
(He exits.)

RACHEL

Is that what you were going to ask me?
If I wanted a drink?

STEPHEN

No.

RACHEL

Well? Ask away. As long as I may reserve
the right not to answer.

STEPHEN

It's not too personal. I'm just curious
about what brought Rachel Kearns of
Passaic, New Jersey, to London, England,
at a time like this.

RACHEL

That's not difficult to answer. I came here
three years ago; the war didn't start until
after I'd arrived. It was a sort of gift
from Uncle Adolf, the war that is.
Actually, I didn't believe that it would happen
when I made the trip. I suppose I swallowed
all of that Chamberlain nonsense about peace in
our time.

STEPHEN

Why didn't you go home again when it started?

RACHEL

I don't know. Many did return home. I like
my job here. And when it did start,
it was exciting. Nothing happened for the
longest time, then came the Battle of
France, Dunkirk and the Blitz. There was a
charm and excitement to being here where it
was happening, at least in the beginning.
The sharing of the hardships and the shortages,
the nights in the shelters and the underground.
It soon became tedious though; the death
and destruction and the lack of everything.
I still prefer it here though. America is
too far from it all. And if I left now,
I would feel as though I were running away.

STEPHEN

Makes sense. What is your job?

RACHEL

I'm an assistant to a publisher. What
made you become a pilot?

STEPHEN

I don't like walking.

RACHEL

You chose a dangerous way to avoid it.

STEPHEN

I don't know that the infantry is any safer
but I do know it's harder on the feet.

RACHEL

You're joking.

STEPHEN

Yeah. That's the standard response.

RACHEL

Really, why did you become a flyer?

STEPHEN

I knew that I wanted to be a flyer when I
joined up, I don't know why. Maybe it
was those movies about pilots in the last war,
you know? "Wings"' "The Dawn Patrol", things
like that. Anyway, when I enlisted, I
volunteered for the Air Corps. It's nothing
like the movies though; no Gary Cooper or
Errol Flynn in this one. Do you still work
for the publisher?

RACHEL

Yes. We're both with the Ministry of Information.

STEPHEN

Propaganda?
(The waiter returns and serves RACHEL's drink.)

RACHEL
(To waiter)
Thank you.
(The waiter exits.)
Yes, some of what I do is propaganda.
What did you do before the war?

STEPHEN

I was in Law School. Syracuse University.
I was in the middle of my second year when
the Japs bombed Pearl Harbor. When the
semester ended, I joined up.

RACHEL

Will you go back to it?

STEPHEN

I don't know. Being a lawyer doesn't exactly
light a fire under me, especially after
flying daylight missions over enemy territory.
To be honest, being a lawyer didn't really appeal
to me before the war. It's so gray.

RACHEL

I'd imagine that it is rather drab after this.
Some of it must be interesting though.

STEPHEN

Not to me. Except for the money of course.
They make a lot of money. Too much probably.

RACHEL

You're right of course. But if they want to
bomb me with money, you'll hear no complaint
from me. What did you do before you entered
law school?

STEPHEN

Worked my way through college, Syracuse,
at my father's gas station in the summers
and at another one near the campus in the
winter. Sort of gassing cars so that one
day I could gas clients.

RACHEL

You really don't like the thought of
becoming a lawyer, do you?

STEPHEN

No I don't. It doesn't matter now though,
does it?

RACHEL
What do you mean?

STEPHEN

I'm going to be in the Army for the rest
of my life.

RACHEL

Don't say that.

STEPHEN

Please don't misunderstand me. What I mean
is the war's going to go on for years,
maybe forever.

RACHEL

It has to end some day. Even the last one
ended after four years.

STEPHEN

That was the last one. Germany didn't overrun
the continent in the last one. This one's
been going on for over three years already and
where are we? It'll be years before we
invade Europe. Then we have the Japs to
finish after the Krauts; it's going to be a
long time.

RACHEL

I hope you're wrong. But I'm afraid you're not.

STEPHEN

Ce le guerre.

RACHEL

I had no idea that you were multi-lingual.

STEPHEN

One of my many talents.

RACHEL

Really? Many talents?

STEPHEN

Sure. Many. As in lots. Lots of talents.
But I'm not really multi-lingual.

RACHEL

Oh? Would've fooled me.

STEPHEN

That's all the French I know, except for
oui. I'll probably pick up some of the
profanity when we get to France, if not
all of it. I'm good at that. Did I tell
you how much I appreciate that you agreed
to meet me? I still can hardly believe
it even though I'm looking at you across
the table.

RACHEL

I think you're trying to turn my head,
Captain. I must tell you that flattery
will get you nowhere. But don't stop trying.
Would you like another drink?

STEPHEN

Sure. Why not? If I can find the waiter.
(He looks about.)
There's Major Dorney!

RACHEL

Who?

STEPHEN

Our squadron adjutant.
(He waves to someone off camera. Major Dorney enters. He is in his mid to late forties, gray at the temples, tall, erect.)

DORNEY

Captain Mulholland. Don't get up; we're
off duty here. Every man in the group must
be in London tonight. I just saw two
of your buddies at the Royal: Lehane
and O'Reilly. I knew you couldn't be
very far away.
(Only now does Dorney notice Rachel. He stares at her for a long moment with his mouth open.)

STEPHEN

Rachel Kearns, this is Major Dorney, my
squadron's Adjutant. Miss Kearns and I
are old friends.
DORNEY

Are you?

STEPHEN

We met about five hours ago.

DORNEY

Captain Mulholland rarely misses a beat.

RACHEL

So I'm learning. It's a pleasure to meet you, Major.

DORNEY

Likewise. Oh! Excuse me. You must think
I'm rude as hell.
(Dorney leans over the table and offers his hand to Rachel who shakes it.)

RACHEL

Not at all.

DORNEY

It's a pleasure to meet you, Miss Kearns.
(He bows slightly. RACHEL smiles.)

STEPHEN

Are you enjoying your stay in town, sir?

DORNEY

Yes I am. I'm supposed to meet someone here
but I don't see them.

STEPHEN

They're probably delayed. Getting around town
is difficult what with the war and all.

DORNEY

You sound like a real veteran. Been here a
few hours, eh?

STEPHEN

Yes, sir. Just.

DORNEY
Well, I'd better keep looking so I don't
miss her. It's been nice meeting you,
Miss Kearns. I hope to have the pleasure
again some time.

RACHEL

Goodbye, Major. It was nice meeting you too.

DORNEY

Yes, well, if you'll excuse me. I'll see
you at briefing on Monday, Captain Mulholland.

STEPHEN

I'll be there, sir.

(DORNEY goes off.)

RACHEL

He seems very nice.

STEPHEN

Yes, he liked you too.

RACHEL

I could tell.

STEPHEN

He was just surprised is all.

RACHEL

So am I, surprised that is. You seem
to like him.

STEPHEN

I do. He's a good man.

RACHEL

So he seems.

STEPHEN

He is. Unfortunately, he can't fly
because of his eyes or something so he
has to be satisfied with paper work.
He's a good man though. A businessman in civilian life.
RACHEL

What type of business?

STEPHEN

I don't know; I never talked to him about
it. I hope he finds whoever he's looking for.

RACHEL

I'm sure he will. She's probably held up.
It's difficult getting around town what with
the war and all.

STEPHEN

Very funny.
CUT TO:

INT.: HOTEL-BALLROOM

Jack Lehane and Frank O'Reilly enter enter from behind Rachel. They are also American airmen. Lehane is a captain, O'Reilly a lietenant. They are slightly drunk and they sit at the table unannounced.

STEPHEN

What are you two up to now?

LEHANE

We're tailing Dorney to check out the
woman he's meeting.

O'REILLY

Right. Tailing Dorney. Clandestine stuff.
Just ignore us. Act like we're not here.

STEPHEN

One thing of which I'm sure is that you're not
all there.

O'REILLY

He's looking this way. Don't let him see us.

LEHANE

See us? He's lucky he can see his face in
the mirror when he shaves in the morning. The
guy's blind as the proverbial bat.

O'REILLY
Listen. Come closer.
(Lehane and O'Reilly put their heads together and whisper.)

LEHANE

You're right. It is rude. But what can you
expect from a flyer? The younger generation
you know.

O'REILLY

While carrying on our reconnaissance of
Dorney, we have discovered that you
have been meeting here with an unknown
dark and mysterious young lady. I want you
to be aware that it has been noted.

LEHANE

For your own good that is. We want you to
know for your own good. It's been noted.
(To Rachel) I'm Jack Lehane.
(He stops when he notices that Rachel is black. His eyes open wide. He then looks at Stephen, then back to Rachel. O'Reilly is also looking from one to the other.)
You're...You're...

RACHEL

American?

O'REILLY

Yeah, American. (He looks at Stephen)
American. The real thing.

STEPHEN

This is Rachel Kearns, a friend of mine.
This is Captain Lehane and Lieutenant
O'Reilly.

RACHEL
(Rachel appears embarrassed and uncomfortable for the first time.)
How do you do?

LEHANE

Right. I'm Jack Lehane. This is Frank
O'Reilly.

RACHEL

Nice to meet you both. I'm Rachel Kearns.

O'REILLY

Rachel? Rachel? Wasn't there a Rachel
in the Bible? A woman of incomparable rectitude
as I recall. Was there not?

STEPHEN

Got me. Never did do too well in Bible class.

O'REILLY

Agnostic.

LEHANE

Where'd Dorney go? I don't see him. He
must've slipped away.

O'REILLY

Impossible. Not with us on his trail. We'll
find him or die in the attempt. Unless of
course he's been kidnaped by the enemy. Then
we'll have to go back to drinking.

LEHANE

We must leave you now, Rachel Kearns, and
return to the chase. No rest for Bulldog
Drummond. Alas, parting is such sweet sorrow.
Tell my wife I love her even though her mother
looks like a fullback. Au revoir, Mon Capitan.

O'REILLY

Me too.
(They go off.)
CUT TO:

INT. HOTEL-BALLROOM-EVENING

RACHEL

Do those men fly airplanes too?

STEPHEN

They're my pilot and navigator. And among
the best.

RACHEL

Why are they following Major Dorney?
STEPHEN

They want to see if he's really meeting a
woman or if it's just a rumor. Dorney's a
middle aged bachelor and sort of
like the Scoutmaster. The guys like to
kid him.

RACHEL

I see.

STEPHEN

Look, I'm sorry about all that. I didn't
expect to meet anybody I know here and...
I don't mean that the way it sounds.

RACHEL

I understand.

STEPHEN

Do you?

RACHEL

Yes I do. Captain Lehane's married, is he?

STEPHEN

Yes. So's Frank O'Reilly. Why?

RACHEL

I have a friend who is pining for
masculine attentions is all.

STEPHEN

There's a whole airbase full of single men
where I'm stationed. She can get all the
attention she wants there. Or I could
bring a couple of friends down next week
if you want.

RACHEL

That would be good of you. She said to say
that she's easy.
(Stephen puts his head back and laughs so loudly that he attracts the attention of nearby diners. RACHEL is embarrassed.)

STEPHEN

That will make her very popular, at least
among the guys that I know.

RACHEL

I'll bet it will.
CUT TO:
INT. HOTEL-BALLROOM-EVENING

The bandstand where a singer gets up and approaches the microphone.

SINGER

I'd like to sing a song that you all must
know and I'd like you to join me if you will.

The band plays "We'll Meet Again". The singer begin the song and the patrons join in including, after a few moments, Stephen and Rachel. When it is completed the patrons applaud.

RACHEL

That was fun.

STEPHEN

If you can stand my singing.
(The band begins to play "I'll Be Seeing You".)

RACHEL

Oh! I love this song.

STEPHEN

Would you like to dance?

RACHEL

Dance? We can't dance together.

STEPHEN

Why Not?

RACHEL

You know why not.

STEPHEN

Let's not be that way.
(Rachel hesitates, thinks a moment, listens to the music.)
Do you think we should?

STEPHEN
If you don't mind.

RACHEL

I don't know... Yes, let's.

STEPHEN

All right.
CUT TO:
INT. HOTEL BALLROOM-EVENING

They rise and move to the dance floor.

STEPHEN

You know, I hope I don't say this wrong, but
I don't care about your color. I like you;
I have from the first time we met. Maybe in
America it would be different but we're
not in America. I don't want to seem too
forward but I don't want you to feel
uncomfortable either.

RACHEL

That's very nice of you.

STEPHEN

No it's not. If you're uncomfortable, I'm
uncomfortable.

RACHEL

That makes sense.

STEPHEN

You're not married or engaged or anything,
are you?

RACHEL

No. Nothing like that at all.

STEPHEN

Good. I wouldn't want to step on somebody
else's dream.

RACHEL

Dream?

STEPHEN

Isn't that what love is? The dream that we all
wish to dream?

RACHEL

Love? You're moving a bit fast, aren't you?

STEPHEN

There's a war on.

RACHEL

At the speed that you move, it won't be on for long.

STEPHEN

I should slow down.

RACHEL

Yes, you should. You should indeed. (A pause)
I never thought of it that way but you may be
right. You are a philosopher, Captain
Mulholland. Unfortunately, there is little
time for dreaming right now.

STEPHEN

If we don't dream now we may never get
another chance.

RACHEL

You may be right again. But I would feel
guilty dreaming when there's so much that has
to be done.
(They dance quietly for a brief moment.)
The first time I heard this song I went
right out and bought a recording.

STEPHEN

It's lovely.

They dance without speaking. STEPHEN's hands go around RACHEL's waist. She takes his left hand and holds it out at shoulder level and moves his right hand higher on her back. He makes a face of mock disappointment. RACHEL smiles. Both expressions fade slowly as they move about the dance floor that has now become crowded. Rather than speak, they look into each other's eyes as they dance until the song ends after a musical break and a repetition of the lyrics. They return to their table.
CUT TO:
INT. HOTEL BALLROOM-EVENING

STEPHEN

After you ma'am. (They sit.) If only we
could hold this moment, if only we could
freeze ourselves in this time and place.

RACHEL

I've never known anybody to talk like
you do. Though I love hearing what you
say.

STEPHEN

I'm glad of that. I was afraid that you might
think that I was moving too fast again.

RACHEL

You are moving too fast. It's getting late.
I have to go.

STEPHEN

And our moment in time will be gone forever.

RACHEL

Blame it on the war. I have to be up early
tomorrow.

STEPHEN

Maybe there will be other moments.

RACHEL

Thank you, but I don't think so.

STEPHEN

Are you sure?

RACHEL

Quite sure. Goodnight.

STEPHEN

Goodnight? I'll see you home.

RACHEL

That's not necessary. You stay and enjoy
yourself. You've only a short pass.

STEPHEN

It's only short when I'm with you.

RACHEL

You're not only a philosopher, Captain
Mulholland; you're also a charmer.

STEPHEN

Can I at least go to the door with you?

RACHEL

There's no need of that. Please stay here
and enjoy yourself. I can find the door.
Goodbye.
CUT TO:

INT.-HOTEL BALLROOM-EVENING

She goes, leaving him standing red faced as he watches her go. Stephen sits down again. He sips his drink and then looks into it as though it is gasoline. Lehane and O'Reilly return and sit down.

O'REILLY

We're back. (Stephen does not look at them.)
We lost Major Dorney. He got away from us.

LEHANE

He's a sly dog that Dorney. I'll bet she's
a knockout. Where's your friend gone to?

STEPHEN

Home. Or so she says.

O'REILLY

May be just as well.

STEPHEN

Why's that?

LEHANE

You know why. We got guys in the crew from
the South and it ain't going to help morale
for them to think you're going around with

a Negro woman on your arm.

O'REILLY

I wish my wife was that pretty though.
Ever seen Lena Horne? One of the most
beautiful women I ever seen.

STEPHEN

I'm not bedding her and there's no reason
why the crew has to know anything about it.

LEHANE

Those things get around; you know that, Mul.

STEPHEN

It doesn't matter anyhow. She's gone.

O'REILLY

I'd go after her. (Lehane Looks at him.)
I would. I don't care what the crew thinks.
(To Stephen) They depend on us just as much
as we depend on them. They have to get along
with us just as much as we do with them. More,
since we're officers.

LEHANE

You've just undone everything I've been trying
to do.

O'REILLY

Don't thank me.

LEHANE

Well, I'll be damned if it isn't old Dorney.
CUT TO:
INT. THE HOTEL BALLROOM--EVENING

Dorney is standing at the bar talking to an attractive Englishwoman in a Women's Auxiliary Army uniform.
CUT TO:
INT. THE HOTEL BALLROOM--EVENING

The table where Stephen and the other two sit.

O'REILLY
The old fox has good taste.

STEPHEN

He sure has.
CUT TO:

Newsreels of German airplanes filling the sky. Next are pictures of German bombers dropping their loads on English cities. Films of German forces advancing in Africa.
CUT TO:

EXT. THE BUS STOP--DAY

Rachel enters and joins the small cue where she opens a newspaper and reads. After a few minutes, Stephen enters. He sees Rachel and approaches.

STEPHEN

Any good news?

RACHEL

Well, hello. Following me, are you?

STEPHEN

Not at all. A gentlemen does not follow a
lady. I'm on my way to breakfast at the USO.
Purely coincidental.

RACHEL

Is that so?

STEPHEN

It is. Anything good in the paper?

RACHEL

Retreat in North Africa.

STEPHEN

That's bad. Your bus is coming.

RACHEL

So it is. Well, enjoy your breakfast.

STEPHEN

I will.
(The bus arrives and the cue moves onto it. As Rachel nears the door, Stephen speaks again.)
Why don't you meet me for lunch?
It'll only be for a little while and I
won't bother you again. Cross my heart..

RACHEL

All right. But if you say that again, I'll
crown you.

STEPHEN

It's a deal. Where and when?

RACHEL

I don't know. Hyde Park, the meadows.

STEPHEN

I'll find it.

RACHEL

Ask a bobbie. Twelve noon.
(She gets on the bus. An elderly woman just back of Rachel looks at Stephen very queerly. He blows her a kiss which takes her aback. He then turns and walks away.)

CUT TO:

EXT. PUBLIC PARK--DAYTIME

STEPHEN enters. He walks along a path where he passes a policeman in steel helmet. The policeman is of late middle age. He gives STEPHEN a casual salute of recognition by touching his gloved hand to the brim of his helmet. Stephen returns the salute and continues on. He meets an elderly lady selling flowers. He stops, buys a flower, smiles at the woman and continues on. He stops, looks about and waits.

A group of five little boys enter. Seeing Stephen they stop and examine him. They talk among themselves, then argue. One is chosen to approach while the others watch, ready to bolt if trouble ensues. The boy approaches Stephen cautiously, smiles.
CUT TO:

EXT. PUBLIC PARK--DAYTIME

Boy
(He salutes.)
Hello, Yank.

STEPHEN
(Smiles and returns the boy's salute.)
Hello, Brit.

Boy
(Nervously)
Got a bob, Yank?

STEPHEN
A bob, is it? That's a lot. How about this?

He tosses him a coin. The boy catches it and stares at it. He looks at Stephen with his mouth open.

Boy
Thank you, sir.

CUT TO:
EXT. PUBLIC PARK--DAYTIME

He turns toward his companions who are watching in fascination. He walks toward them but after a few steps he stops, looks at the coin, looks at his mates, looks at the coin, again at his friends, then turns away and runs. They run after him.
CUT TO:
EXT. PUBLIC PARK--DAYTIME

RACHEL enters.

RACHEL
You've made a friend I see.

STEPHEN
A fleeting friend it looks like. He'll
probably be in Scotland before they catch
up to him. Oh! I got this for you.
(He hands her the flower.)

RACHEL
Thank you, you shouldn't have. It's very
pretty though.

STEPHEN
That's how I knew that it would fit you
perfectly the first moment I saw it among
all those lesser flowers. (She smiles.) I
only wish that I could make the sun come
out for you.

RACHEL
I think you're trying to sweep me off
my feet, Captain Mulholland. But my
mind's made up. It would be nice to
see the sun though. But then, the clouds
keep the bombers away. I guess that's
their silver lining.

STEPHEN
Let's not talk about the war.

RACHEL
Very well. What shall we talk about?

STEPHEN
The future?

RACHEL
Isn't that the same thing? At least the
immediate future?

STEPHEN
You've got me there. We'll just have to talk
about the here and now then. Would you like
to sit down?

RACHEL
All right but I have to get right back; we only
get thirty minutes for lunch. How about right
here?
(She bends to feel the surface of a bench.)
It's dry.

STEPHEN
This is fine.
CUT TO:
EXT. PUBLIC PARK--DAYTIME
They sit, she on his left.

STEPHEN
Now let's see. What can we talk about that
pertains to the here and now? We've already
done the weather. I know. Do you believe
in love at first sight?

RACHEL
No. Are you enjoying your time off?

STEPHEN
I'm enjoying the time that I spend with you.
For the rest of it, I just sort of poke around.

RACHEL
You should visit the sights: the Tower
of London, the British Museum, St. Paul's
Cathedral . London has a great
deal to offer. There are also the
lunchtime concerts, cinemas, theaters, all
sorts of things. As a matter of fact, I
thought that you were going to do just that.

STEPHEN
I did a little bit. I saw London Bridge
and Westminster Abbey. Almost everything
is sandbagged though.

RACHEL
What about the pubs? There are plenty of those,
and some are quite historic.

STEPHEN
I went to one yesterday afternoon, after I left
you at the bus stop.
RACHEL
Just one?

STEPHEN
Just one. Why? Did I seem to be
drunk when I met you last night?

RACHEL
No. I just thought that the super masculine
flyer's image required plenty of alcohol to
maintain it.

STEPHEN
Not if it comes in what passes for beer in
this country.

RACHEL
I've heard complaints about that. Is it
really so bad?

STEPHEN
Yes. It's warm, dark, bitter stuff.
Definitely an acquired taste I'd say.

RACHEL
Not a taste that you're anxious to acquire
I take it.

STEPHEN
Not at all anxious to acquire. The beer matches
the weather though.

RACHEL
You'll never become an Englishman with an
attitude like that.

STEPHEN
Never?

RACHEL
Never. You're a Yank through and through.

STEPHEN
I guess I can live with that. It's too bad
though. I had hopes of joining the RAF. It's
the uniform I guess. Though they would be
more appropriate if they were gray instead of blue.

RACHEL
Take care now. Jokes about the Royal Air
Force will not endear you to the natives.
The English are very touchy about the lads
as they call them. Especially since the Battle
of Britain. Negative comments about them are
sure to cause ill feelings and, likely, fist fights.

STEPHEN
I wasn't commenting on the RAF either positively
or negatively. I was only referring to the gray
sky and the blue of their uniforms which
is a contrast.

RACHEL
Makes no difference. The RAF, their uniforms,
their habits, their equipment are all
unavailable for such comments.

STEPHEN
I stand rebuked. Far be it from me to be a
rude guest. I withdraw my comment whatever
it was about.

RACHEL
Good for you. I'm afraid I'll have to go now.

STEPHEN
You've only been here a few minutes.

RACHEL
I'm sorry.
(She rises. After a moment, he does the same.)
I've had a very nice time. I only wish that
I could stay longer but I must get back.

STEPHEN
How about tonight? I have to be back early
but I could see you for a little while.

RACHEL
(Hesitates a moment while looking at him curiously.)
You're very persistent, aren't you?

STEPHEN
I am when I want something very badly.

RACHEL
And what is it that you want so badly?

STEPHEN
You. I mean to spend some time with you.

RACHEL
(She again hesitates, unsure. She shakes her head slightly as if to say no.)

RACHEL
I can't. I'm sorry. I just can't.

STEPHEN
How about seven-thirty at your place?

RACHEL
You just don't want to understand, do you?

STEPHEN
Where is it?

RACHEL
Where is what?

STEPHEN
Where you live.

RACHEL
Have you heard anything that I've said?

STEPHEN
Every word.

RACHEL
And you understand the English language?

STEPHEN
Mostly. They speak it funny over here though.

RACHEL
I really have to go.

STEPHEN
Seven-thirty then?

RACHEL
All right. Seven-thirty. Not at my place
though.

STEPHEN
Why not?

RACHEL
I have nothing there. I couldn't
offer you anything. There are shortages
here because of the war you know.

STEPHEN
I'll bring all we need with me. I can get it
at the field.

RACHEL
Can you do that?

STEPHEN
I can and will. If you want me to that is.

RACHEL
All right. That would be nice. Seven-thirty.

STEPHEN
Seven-thirty it is.

RACHEL
I really must get back now.

STEPHEN
Do you mind if I walk back with you?

RACHEL
Not at all.

STEPHEN
Good. Then you can give me your address.
CUT TO:

EXT. PUBLIC PARK--DAYTIME

They walk together taking the path that Stephen had used earlier. They pass the policeman and flower vendor who stand together and watch them as they pass. Stephen and Rachel smile at them. They do not smile back. As Stephen and Rachel exit the frame at the right, the flower vendor says something to the policeman that makes him laugh, then smiles in agreement while they watch after the young couple.
CUT TO:
INT. RACHEL'S LONDON FLAT--NIGHT
A one bedroom apartment tastefully furnished though quite small and slightly cramped. The shot is of the door. After a moment, a knock is heard. When there is no response, another knock is heard. Rachel enters and opens the door. Stephen is there with a carton of groceries in his arms.

RACHEL
My goodness! Is it Christmas already?
Where did you get all of that? You won't
get in trouble, will you?

STEPHEN
Of course not.

RACHEL
It's so much.

STEPHEN
Not even a greeting? Not even a peck on the
cheek? May I at least come in?

RACHEL
Oh! I beg your pardon. Please come in.
(He leans his cheek toward her. She gives him a kiss.)
How are you?

STEPHEN
Fine.

RACHEL
I can't remember the last time I saw so much
food in one place at the same time, at
least not since the war began. And never in
this flat.

STEPHEN

There's lots more where this came from.
Matter of fact, they're rationing all over
America to bring you these few goodies,
so you'd better enjoy them. Where should I
put it?
CUT TO:
INT. RACHEL'S LONDON FLAT--NIGHT

RACHEL
Here on the table. Just let me move these
things. What did you bring?

STEPHEN
Just what I could get hold of on short
notice. A canned ham, some peaches,
potatoes, pretzels, Spam? How the hell did
that get in there.

RACHEL
I like Spam.

STEPHEN
You do? The shortages here must be worse
than I thought. I brought some beer and a
bottle of rye, some ginger ale and cigarettes.

RACHEL
I don't smoke.

STEPHEN
I do. You want to make a snack or mix the drinks?

RACHEL
Though I'm not the world's best cook, I'm a
better cook than I am a bartender, so I'll
do the kitchen chores.

STEPHEN
I was hoping you'd say that.

RACHEL
You'll still have to help with the dishes.
Rye and ginger ale for me.

STEPHEN
How'd you know I was going to ask?

RACHEL
Process of elimination; I knew that you
weren't going to ask me to go for a ride
in your airplane.

STEPHEN
Clever, aren't you?

RACHEL
And you thought that I was nothing but sheer
beauty. Are you hungry now?

STEPHEN
No. I only ate a little while ago. Whenever
you're hungry is fine with me.

RACHEL
All right. Then I'll put this stuff in the kitchen.
(She takes the carton from the table and grunts at the weight.)

STEPHEN
I'll do that.

RACHEL
It's all right.
(She goes off.)
CUT TO:
INT.-RACHEL'S LONDON FLAT-NIGHT

STEPHEN
The beer should be kept cold.

RACHEL (O.S.)
I'm aware of that. I'm an American, you know.
CUT TO:
INT. RACHEL'S LONDON FLAT--NIGHT
Rachel re-enters shortly with a glass of beer that she hands to Stephen and an empty glass.

RACHEL
Let me know when you feel hungry.

STEPHEN
I will. No ice?

RACHEL
No ice. I don't use it anyway.

STEPHEN
That's very British of you.
(He makes a drink of rye and ginger ale.)

RACHEL
Very British.
(He hands her the drink.)
Thank you.
(She sips it.)
Oh, that's good.

STEPHEN
Not too weak?

RACHEL
Nor too strong.

STEPHEN
Good.
(An awkward silence ensues during which they drink, smile, drink, smile, etc.)
You look even prettier than you did
yesterday or this afternoon. Don't
laugh, I'm serious. Usually when
you remember somebody, they look better
in your mind than they are. You're different.
You look better in the flesh.

RACHEL
So to speak.

STEPHEN
Yeah.

RACHEL
Thank you.

STEPHEN
You think it's just a line.

RACHEL
No. I believe you. Did you fly airplanes
before the war?

STEPHEN
You don't really believe me, do you?

RACHEL
I do believe you; nobody's ever told me
anything like that before. Now don't pout;
I said that I believe you.

STEPHEN
I'm not pouting. No, I didn't fly airplanes
before the war. I was in school.

RACHEL
Do you like flying?

STEPHEN
I love it. There's nothing like it. Just you,
your crew and the machine way above everything
else, where only the birds and God can go.
There's nothing in the world like it. It's
almost as good as.... Excuse me. It was almost a slip.
RACHEL
It's all right. Why, you're blushing.

STEPHEN
No I'm not.

RACHEL
You are. You're blushing. A big bomber
pilot like you...

STEPHEN
Co-pilot. And I'm not blushing. I'm just
a bit embarrassed by my thoughtlessness,
that's all.

RACHEL
It looked like a blush to me.

STEPHEN
You want another drink?

RACHEL
No thank you. I've plenty left in this one.
(She kisses his cheek.)

STEPHEN
What was that for?

RACHEL
For being embarrassed by your thoughtlessness.
And for blushing.

STEPHEN
I wasn't blushing. You know, I'm getting kind
of hungry after all.

RACHEL
I give up. You weren't blushing. Why don't you
sit down?

STEPHEN
Thank you. Mind if I smoke?

RACHEL
Please do. I'll get you an ashtray.
(She goes off while he takes out a cigarette and lights it. She returns with an ashtray. He smiles his thanks.)
Tell me about yourself. What I mean is
not your name and where you come from but
about you, Stephen Mulholland.

STEPHEN
There's nothing that I can tell you. My
name and where I come from are about all
there is. I'm from Glens Falls, New York,
I worked at my father's service station,
went to college and was in law school. When
the war started I dropped out to join the Army. It's
not much for twenty-five years I guess, but
that's it.

RACHEL
Are your parents still alive?

STEPHEN
My mother is; my father died two years ago.

RACHEL
I'm sorry.

STEPHEN
Thank you. And yours?

RACHEL
Alive and well in Passaic, New Jersey,
with my brother and two sisters. They still
want me to come home though their letters
are neither so frequent nor so frantic as they
were during the Blitz. I don't know if they
feel I'm safer now or they've accepted that I'm
here for the duration.

STEPHEN
I'd be worried too if I were your parents.
This is no place for a girl...

RACHEL
This happens to be my home, Captain Mulholland.
And there are thousands of women in London,
both British and American.

STEPHEN
I was going to say: but I'm glad that you're here.

RACHEL
You're very sweet, do you know that?

STEPHEN
Yes, as a matter of fact I do.

RACHEL
So you do, do you?

STEPHEN
I am also handsome, dashing,
intellectually brilliant and loaded with
sex appeal.

RACHEL
You forgot humble.

STEPHEN
I usually do.

RACHEL
What would you say if I told you that I
think your bluster is just a pose to conceal
your fear and loneliness?

STEPHEN
I'd say you've been reading Freud.

RACHEL
Would you?

STEPHEN
I would. You may be right though. We're all
scared and lonely over here, aren't we? We'd
all like to get this thing over with so we
can go back home. Mind if I have another drink?

RACHEL
I'll get it for you.

STEPHEN
Don't get up; you worked today. I can help myself.

RACHEL
You don't like talking about it, do you?

STEPHEN (O.S.)
No. How's your drink?

RACHEL
Fine. I'm really not fond of liquor. It
will soon be Thanksgiving back home.

STEPHEN
A few more weeks. They don't celebrate it here?

RACHEL
No. It's strictly an American holiday.
Does the Army give you a Thanksgiving meal?

STEPHEN
I don't know; this will be my first Thanksgiving
in the Army. They'll try, I guess. You know,
we should have a Thanksgiving dance at the base.
We could use one of the hangars. Would you go?

RACHEL
Sure I would. I'd love to go.

STEPHEN
I'll ask Major Dorney about it. Maybe he can
get Special Services to rig something for us.
We haven't done anything like that since we've
been here. At least I don't think we have.
It would be a good morale booster.

RACHEL
It's a very good idea.

STEPHEN
Maybe you know some women who would
like to go. Like that woman you mentioned
to me last night.

RACHEL
Emily. I'm sure she'd be happy to go.
Only too happy to go. And there are others
that I could ask.

STEPHEN
Good. Sort of have the natives meet the
invaders without weapons, you know?

RACHEL
Yes, it should work out well.

STEPHEN
Yeah. You didn't know that I was a man of
ideas, did you?
(He moves a bit closer to her.)

RACHEL
I never doubted it for a moment.

STEPHEN
I hesitate to expose to you the breadth
of my imagination, an imagination that
produces ideas as frequently as General
Motors produces cars.
(He moves closer still.)

RACHEL
I hesitate to imagine which of those
ideas is being produced by the General
Motors of imaginations as we speak.

STEPHEN
Madam, you do me a disservice. Need I remind
you that I am an officer and a gentleman?

RACHEL
You needn't. But please allow me to enquire,
while we're enquiring, why is it that officer
always comes before gentleman? What I mean is:
does it take precedence? When a choice must
be made, is one an officer or a gentleman?
I've never been sure.
STEPHEN
I've never had to choose.

RACHEL
No? Then I won't make you choose tonight.
(She moves away from him.)

STEPHEN
I'm not sure that I understand.

RACHEL
I'm sure that you do. Have you finished your
drink again? You have quite a thirst,
Captain. Would you like another?

STEPHEN
Not right now. Have you been in this place
since coming to London?

RACHEL
Yes. My employer found it for me.

STEPHEN
It's very nice.

RACHEL
Thank you. It's cozy and convenient. And
not too dear. One can't ask for much more.

STEPHEN
No.

RACHEL
And it's escaped the bombing so far.

STEPHEN
One of the few that has it looks like.

RACHEL
Yes, I've been lucky. If a bomb had hit
this building, I think I would have returned
home. Losing my home and all my possessions,
as few as they are, and possibly getting
injured would have forced me to return.
I'm sure that my parents would have insisted.

STEPHEN
That's understandable.

RACHEL
Have you flown many missions?

STEPHEN
Quite a few. I try to forget the number
but it's impossible.
RACHEL
Isn't there a limit? Some number that fulfills
your obligation?

STEPHEN
Not yet. There are rumors that they're
going to make it twenty-five missions for a
full tour, but it hasn't been made S.O.P.
yet, Standard Operating Procedure.

RACHEL
Are you a long way from twenty-five?

STEPHEN
Not really. The way they're sending us up
almost every day we'll probably get to
twenty-five pretty soon, a few weeks at most.

RACHEL
Maybe it will be policy by then and you can go
home. I hope so.

STEPHEN
Why's that?

RACHEL
Why do I hope so?

STEPHEN
Yeah.

RACHEL
Because the sooner your tour is finished,
the sooner you'll be out of harm's way.

STEPHEN
Does that mean that you care?

RACHEL
Of course I care. Isn't our being here
proof of that?

STEPHEN
There's also a bad side to finishing a tour,
though not as bad as not finishing of course.
I go home and won't see you again.

RACHEL
Next to going home that can't be so bad.

STEPHEN
It would be to me.

RACHEL
By the time you finish your tour, we may not
be speaking to each other, we may want nothing
to do with each other.

STEPHEN
I don't think that's going to happen. From the
time we first spoke I knew that we were destined
for each other.

RACHEL
That was only yesterday.

STEPHEN
How long does it take? Especially these days?

RACHEL
I don't know but....

STEPHEN
I'd better slow down. I didn't mean to
frighten you.

RACHEL
I'm not frightened. I'm just... I don't know
what I am.

STEPHEN
How about a drink?

RACHEL
Please.
CUT TO:
INT. RACHEL'S LONDON FLAT--NIGHT

He makes drinks. When he gives RACHEL her drink, she takes his hand and pulls him down until his face is near her own. She kisses his cheek. Then they kiss each other with a long passionate kiss.

STEPHEN
Excuse me.

He goes off. While he's gone, RACHEL repairs her lipstick and pats her hair back into place. STEPHEN returns.

RACHEL
I had hoped to play that record for you, the
one I told you about last night when we
were dancing, but I dropped it today while
taking it out of its sleeve and broke it.
Shattered it actually. Sometimes I am
unbearably clumsy. I don't know if I'll
ever be able to get another copy.

STEPHEN
That's all right. Maybe I can get a copy for
you at the field or, if not, have it sent from
home.

RACHEL
Do you really think you could? I'll be happy
to pay you for it. I doubt that there's a copy
in all of England after the bombing.

STEPHEN
Do you like it that much?

RACHEL
Yes I do. It reminds me of loneliness and love
and loss, all of the things brought to the fore
by this damned mess we're living through.

STEPHEN
I thought you said you liked it.

RACHEL
Liked what?

STEPHEN
The song.

RACHEL
I do.

STEPHEN
But then you said that you hate it.

RACHEL
No I didn't. Oh! The war is what I hate,
not the song. You're silly sometimes, do
you know that?

STEPHEN
Just trying to cheer you up; you seemed
to be slipping into a fit of melancholy there
for a minute. Besides, what else do you expect
from a man who leaves a perfectly good country
to fly an airplane over places where people
try to shoot him down?

RACHEL
I never thought of it like that. It is kind
of silly, isn't it? And frightening. I hope
you never change, silly or not.

STEPHEN
If that's all you wish, I'll stay silly the
rest of my days. Would you like me to stand
on my head? It's the least I can do for so
lovely a lady.

RACHEL
No, thank you, my lord. (After a moment) You
know, I hope you won't think me childish but
when I think of you and all of the others so
far from home, so heroic, I want to cry. To come
so far, to leave all behind to risk
your lives...(She cannot continue.)

STEPHEN
Who's trying to turn who's head now?
There's nothing heroic about it; it's a job,
that's all. And a dull job at that.

RACHEL
I'm sorry. I really don't mean to be weepy.

STEPHEN
That's all right. (After a pause) Nobody
ever called me a hero before.

RACHEL
All of you fighting this bloody war are
heroes regardless what you think.

STEPHEN
I guess I'll just have to live with it then.
It won't be easy but I'll grit my teeth and carry
on.

RACHEL
I'm sure you will.

STEPHEN
This hero's going to kiss you.

RACHEL
It's about time. (They kiss.) I like that.

STEPHEN
Then get ready for too much of a good thing.

RACHEL
Slow down now. It's good but we've only recently met.

STEPHEN
It's only a kiss.

RACHEL
Wars are started with only a shot.

STEPHEN
What's that supposed to mean?

RACHEL
Would you like another drink?

STEPHEN
No.
RACHEL
Snack?

STEPHEN
No.

RACHEL
Sulk?

STEPHEN
It's impossible to be angry with you.

RACHEL
I'd like to hear you say that after
knowing me for six months. Or even
one month.

STEPHEN
I will.

RACHEL
You have the future all planned, have you?

STEPHEN
Our future.

RACHEL
Really? Well, why don't you tell me about it?

STEPHEN
There's not much to tell. I'm going to win the
war and take you back to America.

RACHEL
Just like that.

STEPHEN
Just like that.

RACHEL
Uncle Adolph may have a different view.

STEPHEN
He'll just have to change it. The Yanks
are here now; the Jerries might as well
call it a day cause it's as good as over.
It's only a matter of time.

RACHEL
Time is exactly the problem. Are you one
of those Americans who believe that we can
do anything simply by virtue of our being
Americans?

STEPHEN
Aren't you?

RACHEL
I'm afraid not. The English, the French,
the Russians, all have been defeated. Germany
controls the entire continent. We may not be
able to get it back like the cavalry in a Western
movie.

STEPHEN
I've only been here a little while but the Brits
don't look beaten to me. And the Russians are
still fighting. We're just what they both need
to win this thing. And that's what we're going
to do.

RACHEL
I wish that I could be as confident as you are.

STEPHEN
Trust me.

RACHEL
I'd like to but you don't know what these people
have been through.

STEPHEN
No, I don't, but we're going to win this war,
both here and in the Pacific. Believe me.
Now let's talk about something else, like
that dress you're wearing. I should have
told you earlier that it's very nice.

RACHEL
Thank you. It's the only nice one I have left
and I'm afraid that it's seen better days too.

STEPHEN
It looks fine.

RACHEL
You're very complimentary.

STEPHEN
There's a reason.

RACHEL
I know there is. And I'll bet that I know
what it is.

STEPHEN
You're a real woman of the world, aren't you?
But I'll bet you don't know what it is.
I'll bet you don't know at all.

RACHEL
There's only one way to find out, isn't there?

STEPHEN
The reason is that you have a
lot to be complimented about.

RACHEL
You're either too good to be true, or the
quickest man on his feet that I've ever met.

STEPHEN
Jesus, before I was sweet.

RACHEL
You are sweet. Did your friends ever find
Major Dorney last night?

STEPHEN
Yes, they did. Right where he was before
they went looking for him, at the bar.

RACHEL
At the Connaught?

STEPHEN
Yeah.

RACHEL
They all came back?

STEPHEN
Yeah.

RACHEL
Did they say anything about me?

STEPHEN
Yeah. Lehane said that he was worried that
the Southern boys in the crew might not
understand. But O'Reilly said that it was
none of their business and that you're as
pretty as Lena Horne.

RACHEL
Will that be a problem?

STEPHEN
The crew? I don't think so. We've been
together for months now. We trained
together in the States and came over here
together. We get along very well. And
I'm their favorite officer.

RACHEL
I'm glad of that. But I'm not as pretty
as Lena Horne.

STEPHEN
Sure you are.

RACHEL
Have you ever seen Lena Horne?

STEPHEN
I don't even know who she is.(Looks at his
watch.) Man, where's the time gone? It's
getting late; I should be going.

RACHEL
We haven't had anything to eat.

STEPHEN
I'm not hungry, and I have to get back
early. Briefing for our mission is at
five o'clock and I want to get a few hours
sleep.

RACHEL
This is very sudden. Did I say something
to make you angry? I didn't mean to.

STEPHEN
I'm not angry. I told you this afternoon
that I have to get back early. I have a
mission in the morning; it's part of the job.
I'll be back though, just as soon as I can.

RACHEL
All right. At least I'll have food for you
next time, and I expect you to be hungry.
I hope you can stay longer then too.

STEPHEN
So do I. I'll see you soon, eh?
CUT TO:
INT. RACHEL'S LONDON FLAT--NIGHT
He goes toward the door, then turns toward her.

STEPHEN
Goodnight.

RACHEL
Please don't go. You can sleep here and
go back when you wake; I'll stay up to
make sure you're on time.
CUT TO:
INT. RACHEL'S LONDON FLAT--NIGHT
She goes to him. They look at each other for a long moment. He picks her up, she reclines her head on his shoulder. He carries her off.
CUT TO:
Newsreel of air combat between American bombers and German fighter aircraft. Interior films of American bomber crewmen doing their jobs. Included are films of bombers being damaged in flight and destroyed by the fighters.

EXT. CITY STREET--DAY

A rainy London street with sandbagged building facades and taped windows. It is raining heavily. People pass glumly, hurrying along to get out of the rain. Rachel enters from left. She walks slowly, calmly, almost joyfully. Though she does not smile broadly, she appears happy with the happiness of one who is in love with a person who loves her.

She carries the umbrella that she carried when she met Stephen, though it is open now of course. As she approaches her destination, she slows her step when she thinks she recognizes a figure ahead through the rain.
CUT TO:
EXT. CITY STREET--DAY

The view from Rachel's perspective of the street before her. Approximately one block away is the figure of a man standing in the rain.
CUT TO:
EXT. CITY STREET--DAY

Rachel walks slowly at first. She then speeds her step as she approaches the man.
CUT TO:
EXT. CITY STREET--DAY--RAINING

Stephen standing in the rain smiling while watching Rachel's approach.

STEPHEN
Hello.

RACHEL
Hello. What are you doing here? I thought
that you were on a mission.

STEPHEN
It was postponed because of the weather.
It's expected to clear this afternoon so we
can take off, so I decided to come down and
see you.

RACHEL
You drove all that way? And still have to
drive back? Are you out of your mind?

STEPHEN
I had to see you.

RACHEL
You're all wet. Come inside.

STEPHEN
No. I can't. I have to start back right away.
If the weather clears suddenly and I'm not
there to take off, I'll be court-martialed.

RACHEL
Are you even supposed to be here?

STEPHEN
Not really. I'm technically absent without
leave but it's not important. I wish we had
time to sit down somewhere and talk.

RACHEL
About what?

STEPHEN
I don't know. Us, this, anything, everything.

RACHEL
There will be time when you get back.

STEPHEN
That's just it. If we don't take off until
this afternoon, we won't get back until
late tonight, early tomorrow actually. It'll
be too late to see you. That's why I came here
this morning.

RACHEL
Have you been here long?

STEPHEN
I don't know. How long is long?

RACHEL
Well, how long have you been waiting here?

STEPHEN
About fifteen or twenty minutes I guess.

RACHEL
You've been standing here in the pouring
rain all that time? You are out of your
mind.

STEPHEN
You're probably right.

RACHEL
I know I'm right. Why didn't you come around
to the flat?

STEPHEN
I didn't think that I'd get there in time
before you left for work. Besides, I knew
that you would be coming this way.

RACHEL
You'd better get back before you get in trouble.

STEPHEN
You want me to leave?

RACHEL
No! Of course not. But I don't want
you to get into any trouble either.
I'd hate to think of you being restricted
to the field for a month.

STEPHEN
The old man would never do that. I wouldn't
want to miss takeoff though. I'd be letting
the other guys down. Doesn't look much like
we'll be going anywhere for a while yet though.

RACHEL
Can you afford to take that chance?

STEPHEN
To see you, I'd take any chance.

RACHEL
The things you say. I wish we could spend the
whole day together, but I have to go too.
I'm already late.

STEPHEN
Yeah. I shouldn't be holding you up like this.

RACHEL
No, you shouldn't. And I shouldn't let
you. Suppose that everybody stopped to chat
on the way to work; we'd have a difficult
time winning this damned war. I'm awfully glad
you did though.

STEPHEN
So am I. If only the war would go away for
a while, just a short time. But then if it
wasn't for the war we never would have met.

RACHEL
Yes, that's true. That's the only good
thing to come out of it. I hate to say
it but I really do have to go now.

STEPHEN
I know you do. Just another minute.
If the mission's canceled, I'll be here
when you get out of work.

RACHEL
If it's not canceled, call me when you get
back. No matter what time it is.

STEPHEN
I will if I can. We may be diverted to
another field if the weather's rough or we're
low on fuel or something. If that happens,
I'll have Major Dorney give you a call to tell
you that all is well. I'm going to miss you.

RACHEL
It's only for a day or so.

STEPHEN
It's still too long. I'd better go.
CUT TO:
EXT: CITY STREET-DAY

Rachel kisses her fingers and places them on his lips.

RACHEL
So long.
(He takes her in his arms and kisses her.)

STEPHEN
Goodbye.
CUT TO:

EXT. CITY STREET--DAY
He turns from her and walks away without turning around. She watches him go. Suddenly, her face reveals that fear has overtaken her. Emily enters,
CUT TO:

EXT. CITY STREET--DAY
EMILY
Here! What's this? What are you doing
standing out in the rain? Don't you
have better sense than that. And look at
the time. You want to get like me? Having
to smile at those old goats just to keep
your job? Come on now, Rachel. Is that him?
Is that your flyer there?

RACHEL
That's him.

EMILY
Can't see him very well in this rain but
he looks like a good one. Are you all right?

RACHEL
I'm all right.

EMILY
Come on now. Let's get inside here.

They exit.
CUT TO:
INT.RACHEL'S LONDON FLAT--NIGHT

The telephone which is on a small table. The BBC news broadcast can be heard on the radio.

RADIO ANNOUNCER
The battle in the desert continues
with Allied forces pushing the retreating
enemy back towards Tripoli. In the air war,
British forces again struck at Germany
bombing industrial targets in the Ruhr
Basin. Losses were light.

American forces bombed targets in France
last evening hitting U Boat facilities
near the Channel and the Atlantic Coast.
American losses were moderate. In the
Pacific, the battle for Guadalcanal....

The telephone rings. At the second ring, the radio is turned off. At the third ring, Rachel's hand enters the frame from the left. The camera follows the receiver as it is raised to her ear. She looks weary, as though in need of sleep.

INT. RACHEL'S LONDON FLAT--NIGHT

RACHEL
Hello?....Yes, this is she....Who?...Oh!
Major Dorney. Stephen said that you might
call. How are you?...Is something wrong?
Has something happened?...Oh no!...Are
you sure?...Yes. Yes, thank you.

She hangs up the receiver and slowly deflates until she sits on the floor weeping inconsolably.
CUT TO:

INT. RACHEL'S HOUSE--LIVING ROOM--DAY

Rachel and Jennifer sit next to each other on the couch. This scene is in color.

RACHEL
Stephen and his entire crew were killed
on that raid, including Lehane and O'Reilly.
I left London after that. I just couldn't
remain there any longer.

JENNIFER
All you had with him was three days?

RACHEL
Two days and a few minutes actually.
(She pauses for a moment.)
Time itself was different then. A
few days were like a lifetime to some.
It was all that some people had. And many
others had even less.

JENNIFER
You must have suffered terribly.

RACHEL
Suffering was everywhere, the whole world
was in agony. But I would gladly go through
it again just to have those few days with him.

The doorbell rings. The two women look at each other, recalling that they were waiting for a visitor. Rachel takes Jennifer's hand and begins to rise.
CUT TO:
INT. RACHEL'S HOUSE--LIVING ROOM--DAY

JENNIFER
No! I'll answer it.
CUT TO:
INT. RACHEL'S HOUSE--LIVING ROOM--DAY

She rises and goes slowly to the door.
CUT TO:
INT. RACHEL'S HOUSE--HALLWAY--DAY

She takes a breath and opens the door. Lieutenant Corso is there in uniform. Jennifer looks at him but does not speak.

CORSO
My name is Anthony Corso, Lieutenant Corso.
I called about an hour ago. I'm looking
for Jennifer Murrow Blaine.

JENNIFER
I'm Jennifer Blaine.

CORSO
May I come in?

JENNIFER
Oh! Yes. Of course. Forgive me.
(Corso enters and turns toward Jennifer who closes the door and turns toward him. Rachel enters from the right and stands near Jennifer.)
This is my great aunt who you spoke to
when you called.

CORSO
Nice to meet you, ma'am.
CUT TO:
INT.: RACHEL'S HOUSE-HALLWAY-DAY
Rachel nods in acknowledgment.

CORSO
Well, I've come from the Naval Station
in New York. I should say I was sent.
Your husband, Lieutenant Blaine, has
been found. He's alive though wounded.
CUT TO:

INT." RACHEL'S HOUSE-DAY
Jennifer covers her mouth with both hands to stifle a scream of relief. She turns to Rachel who takes her in her arms while Jennifer sobs.

RACHEL
Thank God. Is he badly injured?
CUT TO:

INT.: RACHEL'S HOUSE-HALLWAY-DAY

CORSO
I understand that he has a broken arm
and is suffering from exposure, but nothing
serious.
CUT TO:

INT.: RACHEL'S HOUSE-HA;;WAY-DAY

JENNIFER
Oh thank you. Thank you so much.

RACHEL
Where is he?

CORSO
He's on his way home right now.
I've been authorized to take you to him.
He should be landing at McGuire Airfield
in a few hours. I can drive you right there.

JENNIFER
Yes. Oh yes. Can we go right now?

CORSO
I'm afraid we'll have to go right now if you
want to be there when the plane lands.

JENNIFER
Yes. I mean I do. Oh, Aunt Rachel.

RACHEL
Go to him. And give him my love.

JENNIFER
My bag. Where's my bag? Will we have time
to stop and get him some chocolates?
He loves chocolates.

CORSO
Sure.

Jennifer locates her handbag. She and Corso leave, Corso nodding to Rachel before he goes out the door.

RACHEL
Goodbye, Lieutenant. And thank you.
CUT TO:
RACHEL'S HOUSE--HALLWAY--DAY

She stands at the open door to watch Corso open the car door for Jennifer, close it and go around to the driver's side and get in. Jennifer is checking her lipstick and patting her hair into place.

Jennifer does not look back at Rachel as they drive away. Rachel remains at the door, a tear rolling down her cheek. Her younger self dances with Stephen to "I'll Be Seeing You" in a transparency while she watches them drive away. The older Rachel dissolves while the younger Rachel and Stephen complete the dance to the title song. At the end of the song the scene dissolves.

THE END