Heritage
(c) 2008 Harriet Smart
Pilot episode of TV drama
Project notes
This section contains one or more named notes about the project.
Storylines
Euan
Deborah
Kitteridge
Charlotte
Main Sheet
Euan |
Deborah |
Kitteridge |
Charlotte |
|
PART I |
Euan |
Deborah |
Kitteridge |
Charlotte |
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Part I | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SCENE 1 |
Kitteridge Kitteridge, the butler, drives up to Holbroke House. He stops the car and gets out to watch a skylark through his binoculars. EXT. HOLBROKE HALL - PARKLAND. DAY In morning sunlight a shiny, brightly coloured hatchback makes its way along a road through pasture and farmland. The road turns and the sumptuous landscape of a country house park is revealed: a lake with a graceful arched bridge over it, magnificent clumps of mature trees and finally HOLBROKE HALL, itself. It is a golden stone Elizabethan mansion, with huge, many-paned windows that glitter in the sun. The car stops at the side of the road and out climbs GEOFF KITTERIDGE, a man in his early fifties, dressed in very formal pin-striped trousers held up by braces, and a dazzling white shirt. He is holding a pair of binoculars with which he scans the horizon. Cut to Kitteridge's POV. A skylark is making its ascent in the dazzling sky. Cut back to Kitteridge as he lowers the binoculars. He looks delighted. |
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SCENE 2 |
Deborah Giles and Deborah are waking up. Giles insists on taking Deborah's temperature. He tells her they should have sex as it is the optimum moment in her cycle. She makes an excuse. INT DOWER HOUSE - BEDROOM. DAY Buried in the pale covers of a spectacular Victorian mahogany bed, DEBORAH and GILES WHICKHAM lie asleep as the morning sun gently lights the faded grandeur of their bedroom. The radio alarm comes on and we are straight into Radio 4. The bodies in the bed stir into life.
Giles, a tall, sturdily built, good looking man in his early thirties, climbs out of bed, putting on his gilt rimmed glasses. He is naked.
Giles picks up a thermometer and a clipboard from the bedside table. He tucks a pen behind his ear and then walks round to Deborah's side of the bed. He pulls back the covers, whilst looking at the chart on the clipboard. Deborah, shivers. In her early thirties, she is attractive and petite with tousled, pale hair, She is wearing baggy faded t-shirt and a pair of red walking socks.
Giles advances on her with the thermometer. His manner is confident and calmly professional.
Deborah's POV: the inside of the canopy of the four poster - swirling silk festoons and Giles looming over her with the thermometer. Cut to Giles as he paces the room for a minute, looking at his chart. The radio blethers. Deborah examines her fingernails (they are unpainted and short). Giles returns to the bedside and bends over her. He holds up the thermometer.
Deborah jumps out of bed and makes for the bathroom.
INT.DOWER HOUSE - BATHROOM CONTINUOUS A large, old-fashioned but comfortable bathroom. Deborah is standing over the basin drying her face. On the shelf above the basin is a row of vitamin jars with a notice stuck on the wall behind saying "EAT ME!" Deborah mechanically reaches for the first one, a huge pot of folic acid, then puts the pot back on the shelf.
INT. DOWER HOUSE - BEDROOM CONTINUOUS Deborah returns to find Giles piling up pillows on the bed. She frowns.
Giles pats the pillows.
She silences him with a kiss, to which he attempts to turn into an embrace, but she pulls herself away and and goes back towards the bathroom. Giles sits down on the bed and consults his clipboard again, looking a little disconcerted. |
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SCENE 3 |
Kitteridge Kitteridge brings morning tea to Vanessa. They discuss staffing for the party that evening. Vanessa wants him to take a trainee. He is reluctant to delegate but Vanessa insists. EXT. HOLBROKE HALL - ENTRANCE PORCH. DAY A huge pair of iron studded oak doors, set in an impressive stone archway. There are clanking and grinding noises and the doors swing open. Kitteridge appears on the doorstep rubbing his hands together. He is now wearing a black jacket and waiistcoat, as well as a discreet and sober tie. He smiles as he looks out at the countryside beyond. INT.HOLBROKE HALL - GREAT HALL. CONTINUOUS Kitteridge walks across a large ceremonial hall, where tattered battle flags hang from the ceiling on lances and huge portraits decorate the walls. At one end is an elaborate Jacobean carved screen, with a lattice-work balcony above, while at the other end two sets of stairs lead up to the first floor. In the middle of all this, a woman in an overall is buffing the black and white marble floor with a machine.
He gives her a friendly wave and a smile as he passes. INT.HOLBROKE HALL - PASSAGE WAY. CONTINUOUS. Kitteridge whistles "Oh what a beautiful morning" as he walks along a broad carpeted passage way, lined with paintings, china cabinets etc. INT.HOLBROKE HALL - FAMILY KITCHEN CONTINUOUS Kitteridge, still whistling, swings into a tastefully and expensively modernized kitchen. He removes the kettle which is boiling on the Aga. On the kitchen table is a tray laid up with a japanese tea service. He fills the teapot with boiling water, adjusts the layout, before hoisting the tray onto his shoulder, like the waiter in a Parisian brasserie. INT.HOLBROKE HALL - VANESSA'S SITTING ROOM. DAY Sitting in the lotus position in the centre of a large, sparsely furnished but architecturally spectacular room is LADY VANESSA LLOYD. At the floor length windows, saffron muslin curtains flap in the breeze. She is a beautiful woman in her late fifties, elegant and limber in jersey leggings and a close fitting top. She has her eyes closed and is taking slow, even deep breaths. Near to her is a low table with flowers arranged in a Japanese style. At the half open door, stands Kitteridge,holding his tray. He waits, watching until she comes out of her meditative trance. Vanessa stretches and Kitteridge taking this as his cue comes forward with the tray. She smiles at the sight of him. He puts the tray on the table and kneels at the table in order to make her a bowl of green tea. Vanessa sits with her knees tucked under her chin, watching him. He offers her the bowl of green tea and she takes it. Vanessa holds the bowl in both hands and sniffs the tea, enjoying the moment. Kitteridge watches every nuance of her movement with equal pleasure, before remembering himself and gathering up the dead petals from the flowers which have fallen onto the table. He gets to his feet, discreetly checking his trouser knees for dust.
a beat
He starts to leave.
He nods and leaves. |
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SCENE 4 |
Euan Euan arrives at the dilapidated cottage his father is renting. EXT. MULBERRY COTTAGE. DAY EUAN CORYDON, driving a battered old Renault hatchback peers through the windscreen as he pulls up outside a picturesque and remotely placed stone cottage. An estate agents' sign indicates the cottage has just been let. Euan climbs out of the car, pulling a well worn tweed overcoat round him. A gaunt, long limbed man in his early thirties, he stares at the cottage for a moment before opening the gate and going up the path to the front door. He knocks on the door and waits for an answer. INT. MULBERRY COTTAGE - LIVING ROOM. CONTINUOUS A dreary messy room, full of half unpacked cardboard boxes. There are two folding picnic chairs and a table covered in papers and dirty crockery.
The door opens. Euan comes in and looks around him.
The stairs go up directly from the room. Euan goes to the foot of them and then climbs up. INT. MULBERRY COTTAGE - LANDING. CONTINUOUS Euan turns the corner. There, through an open door, he sees JOHN JACQUES CORYDON, tall thin and in his eighties, sitting on the lavatory. He is reading the Times. Euan looks away hastily.
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SCENE 5 |
Euan John Jacques does not respond to Euan's friendly overtures. He does let him come for a walk with him, though. INT. MULBERRY COTTAGE LIVING ROOM. DAY Euan is warming his hands on the electric fire as John Jacques comes downstairs.
John Jacques ignores him, apparently preoccupied by some papers on the table.
John-Jacques sits down and starts putting on a pair of walking boots.
John-Jacques snorts with amusement at that.
John-Jacques is putting on his coat.
John-Jacques thinks about it.
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SCENE 6 |
Deborah Deborah at work with Vanessa. Vanessa alludes to the fertility situation - Deborah is not pleased. INT.HOLBROKE HALL - VANESSA'S OFFICE. DAY Vanessa, now formally dressed for business, is sitting at her desk, half glasses on her nose, peering at her lap-top screen. Her office is elegantly furnished with art works, chintz covered armchairs etc. The large windows have a spectacular view. Deborah comes in, also smartly dressed and carrying a pile of files.
She leans over and takes the mouse. In a moment the problem is resolved. Vanessa smiles.
Deborah sits down at the desk next to her and opens the top files.
Vanessa signs various bits of papers which Deborah passes to her.
Vanessa reaches out and squeezes Deborah round the shoulders
|