MY SISTER SUFFRAGETTE

based on a true story

by

Judith Cooper

Judith Cooper53 Thornton RoadBalham, LONDON07950 498 743judysands@hotmail.com

EXT. RACECOURSE- DAY

Caption- Epsom Derby Day, 1913

Thundering hooves.

GALLOPING HORSES around a racetrack.

CUT TO:

EXT. GRANDSTAND - DAY

Top hats and tails mingle with parasols and feathered hats. ARISTOCRATIC MEN use their racing binoculars to eye up PRETTYWOMEN. Polite chatter and flirtatious giggles.

In the cheaper seats BOOKIES shout the odds amidst clothcaps and cheap ribbons; raucous cheering as the HORSES flashpast the finishing post.

EXT. ENTRANCE TURNPIKE - CONTINUOUS

Through the entrance turnpike walk THREE YOUNG GIRLS, hatslow over their faces and wearing heavy overcoats. Passers-by look at them strangely- it is a hot day.

The GIRLS reach the stand and then separate, moving offpurposefully into the crowd.

EXT. CHEAP SEATS - CONTINUOUS

One of the GIRLS/ANNIE (20, thin, wild red-hair) is pushingher way through the dense crowd. She is shoved back, elbowedand knocked again, this time hard enough that she falls tothe ground.

Upset, she fishes out a piece of TORN NEWSPRINT from herovercoat pocket. On it there is a picture of an attractiveyoung woman CHRISTABEL PANKHURST.

She touches it reverently for a moment and it seems to giveher strength.

ANNIE(whispering to herself)Remember, deeds not words.

GUNSHOT heralds the beginning of another race. ANNIE looksup. The HORSES leap forward.

She gets to her feet, eyes glazed. She walks forward slowly.

The HORSES bunch together and sweep past the first corner.

ANNIE pushes her way through the CROWD. The reverberationof galloping hooves gets louder.

2.

ANNIE (CONT'D)Deeds not words.

The JOCKEYS crouch in their saddles. The HORSES strain theirnecks. The CROWD lean forward to catch their first glimpse.

ANNIE takes a last look at the PICTURE OF CHRISTABEL, nodsand removes her overcoat to reveal a simple white dress witha bunch of purple, green and white ribbons and a small bannerpinned to her chest that reads:

'votes for women'.

She raises the PICTURE to her lips and kisses it. The HORSESget closer and closer. Mud flying; raised whips; mouthsfoaming.

ANNIE closes her eyes, whispering to herself.

ANNIE (CONT'D)Deeds not words. Deeds not words.

The HORSES turn Tattenham corner.

ANNIE takes a deep breath.

HORSES stream past her. As the main bunch approaches ANNIEsuddenly darts under the railing, straight into the path ofthe flying hooves.

Black.

Screaming.

The groan of a HORSE in pain.

ANGLE ON

The crowd gives a universal GASP OF HORROR. The second girlSYLVIA (mid 20s, artistic and sensitive, slightly ungraceful)turns to see what has caused the consternation.

CROWD MEMBERSIt's the King's Horse!

SYLVIA'S overcoat falls from her grip as she looks upon thescene in dismay. She is wearing the same white, simple dressas ANNIE. She rushes forward with the crowd onto theracetrack.

Suddenly, the third girl (EVELYN, 20s and attractive) appearsand drags SYLVIA back.

EVELYNWe need to get out of here.

3.

SYLIVAWe can't leave her.

EVELYNIt's not safe. Come on.

She starts pulling SYLVIA away.

SYLIVAWhy did she do it. I don'tunderstand..

Suddenly the crowd around ANNIE parts for a moment. SYLVIAsees ANNIE'S hand clutching the PICTURE OF CHRISTABEL.

The sight of it brings horror to her face.

SYLVIANo. Oh no.

She is dragged off. Around the newsprint PICTURE OFCHRISTABEL the noise and the chaos fades.

FADE IN:

Caption: Manchester, 1898

INT. CHRISTABEL'S BEDROOM - CONTINUOUS

The newsprint picture of CHRISTABEL morphs into the realface of YOUNG CHRISTABEL (17, pretty and clever) as she standsin front of a mirror trying on a hat. She regards herselfcritically before discarding it and trying on another. AYOUNG SYLVIA (15) sits on the bed behind her and giggles.

SYLVIAIt's just a hat Christabel.

CHRISTABELYou socialists always underestimatethe power of clothes.

She considers the effect of the second hat.

SYLVIAWhat do you mean "you socialists"? You're one too.

CHRISTABEL tries to adjust one of the ribbons more jauntily. Outside the WINDOW it is raining heavily.

CHRISTABELNo. Father is a socialist.

She gives up on the ribbon and ditches the hat.

4.

CHRISTABEL (CONT'D)Mother is a socialist because Fatheris; you are a socialist because Motherand Father are. I find it allincredibly tedious.

SYLVIA gives an uncertain laugh.

SYLVIAI know you're not serious. You justlike to vex Mother with that talk.

CHRISTABEL raises her eyebrows at SYLVIA in the mirror.

CHRISTABELI don't like lost causes.

SYLVIA still doesn't know whether to believe her sister. CHRISTABEL has put a green hat on.

SYLVIAWho are you meeting that clothes areso important?

CHRISTABELEliza's brother is expected home.

SYLVIABilly Montfort? Brainless BillyMontfort? I thought you didn't likelost causes?

In spite of herself CHRISTABEL laughs and throws a hat ather sister.

CHRISTABELBrainless he might be but his uncleis a duke and his father has the earof the prime minister.

SYLVIAOoo!

CHRISTABEL screws her face up at her.

CHRISTABELIt's got to be better than standingaround in the mud while father getsheckled on his soap box.

EMMELINE (O.S.)Girls? Girls! Hurry now, your fatheris leaving.

SYLVIA gets up quickly.

5.

SYLVIAWell I hope you don't expect yoursocialist sister to curtsey at yourwedding. In fact I better not come-I won't have anything to wear.

CHRISTABEL directs a mock kick at SYLVIA as her sister skipsout of the room.

INT. HALLWAY - CONTINUOUS

SYLVIA comes running down the stairs. Her mother EMMELINEis at the bottom (40s, elegant and still beautiful) puttingon her gloves. Her father RICHARD (short, bearded,sympathetic eyes) is watching his wife affectionately.

SYLVIAChristabel isn't coming. She has aprior engagement with hats.

RICHARDHats eh? What is the plight of theminers compared to the complicationsof couture?

CHRISTABEL appears on the landing above the stairs.

CHRISTABELMother, I have nothing to go with mygreen print.

EMMELINEWhat about your straw bonnet?

CHRISTABELI can't wear that in the rain.

RICHARDAre these pangs of dressing on mybehalf daughter? Or is there someoneelse commanding your attention today?

SYLVIA smirks slightly while EMMELINE looks at her eldestenquiringly. CHRISTABEL looks at her father warily.

CHRISTABELI thought I would visit Eliza.

EMMELINEOut of the question my dear. Youknew your father was speaking today.

CHRISTABELI was going to bring her to the rally.

(MORE)

6.

CHRISTABEL (CONT'D)You're always saying we need to getthe upper classes on board.

RICHARD smiles at his eldest daughter quizzically.

RICHARDMy dear If you manage to bring Elizato the rally I will think that worthyof the most enormous new hat you canpossibly imagine.

SYLVIA giggles, CHRISTABEL bites her lip knowing her fatherhas check-mated her. EMMELINE oblivious to the game thathas been played out nods satisfied.

EMMELINEI'll tell Johnson to have the gigready for you and Eliza later. Nowwe really must go.

She strides out of the door. CHRISTABEL flounces back intoher room, slamming the door. SYLVIA and her FATHER exchangea smile.

RICHARDAnd what have you got there?

SYLIVAMy sketchbook. I'm going to drawyou making your speech.

RICHARDPerhaps it is I who needs a new hat!

He gives her a nudge and a wink.

SYLVIAYou must promise not to move toomuch.

RICHARDI will do my best.

He gives her a hug and she returns it happily.

RICHARD (CONT'D)I shall miss you when you go to Italyon that scholarship Sylvie.

They turn and walk out of the door together.

FADE OUT\FADE OUT:

BLACK

7.

The sound of a pencil sketching on a pad. Background noiseof a brass band playing, wind, coughing and general movementof a large gathering of people. We hear Richard speaking aswe begin to make out the scene slowly.

RICHARD PANKHURST (O.S.)...It is time to make a stand andtake what is rightfully yours. Theprivileges of the wealthy comedirectly from the sweat on your brow,the callouses on your hands. It isnot good enough...it is not....ah

A dull THUD and a gasp from the crowd.

EMMELINERichard!

COLOUR returns suddenly. SYLVIA is running towards the podiumwhere her FATHER lies collapsed and her MOTHER is desperatelytrying to revive him.

DISSOLVE TO:

EXT. FUNERAL - DAY

A weeping SYLVIA clings to EMMELINE. Two younger children,a girl and a boy, hold each other's hands and look at theirmother and sister worriedly. Next to them stands CHRISTABEL,singularly alone and stony faced as she watches the simplecasket being lowered into the ground.

KEIR HARDIE (50s, bearded, compassionate, ex-miner) dressedin tweed, reads a eulogy.

INT. HAT SHOP - DAY

CHRISTABEL, dressed as a shop assistant, arranges hats inthe window. Her fellow SHOP ASSISTANT folds fabric behind along wooden counter.

The door CLANGS. A well-dressed and obviously rich womanenters.

CHRISTABEL recognises her and moves to greet her with a smile

CHRISTABELLady Gantry!

LADY GANTRY stops short in mystification.

CRISTABELIt's Christabel Pankhurst.

8.

There is still no sign of recognition and Christabel isstarting to get a little embarrassed in front of the otherassistant.

CHRISTABELI went to school with Eliza. Wewere friends.

LADY GANTRY looks Christabel up and down.

LADY GANTRYYou went to school with Lizzie? Butit's very expensive. Whatever areyou doing here?

CHRISTABEL'S cheeks are beginning to redden.

CHRISTABELMy father died and left debts.

Recognition begins to dawn on LADY GANTRY.

LADY GANTRYOh. He was the one who joined thoseawful socialists wasn't he?

Beat.

CHRISTABELYes. Is Eliza with you?

Now it is LADY GANTRY'S turn to look slightly embarrassed.

LADY GANTRYNo. You see we have Lord Brumfitt'sson staying with us. So she reallycan't afford to be associating with...I mean...perhaps it might be betterif you didn't see her, just at themoment.

CHRISTABEL goes rigid. LADY GANTRY puts a hand on her armcoaxingly.

LADY GANTRY (CONT'D)You do understand don't you. Youknow how important it is for a girlto get comfortably settled.

LADY GANTRY has the good grace to look a little embarrassedas she realises she's talking to someone who obviously isn'tcomfortably settled. She removes her hand.

9.

CHRISTABEL (steely)Is there anything I can help youwith Lady Gantry?

LADY GANTRYWell, Upon second thoughts no. Nottoday. Thank-you.

She pulls on her gloves and exits the shop.

The other SHOP ASSISTANT watches CHRISTABEL sympatheticallyas with a ram-rod straight back she begins to tidy some hats.

EXT. MANCHESTER UNIVERSITY ENTRANCE. - LATER

CHRISTABEL is dragging her feet home from work. She stopsto watch the UNIVERSITY STUDENTS milling and chatting light-heartedly.

There are a FEW WOMEN amongst them. One of them, who hasbeen handing out leaflets, sees her and comes over, thrustinga leaflet into her hand.

It reads: Suffrage meeting at Dean Hall, 2pm

UNIVERSITY GIRLDo you attend?

CHRISTABELWhat? Oh. No.

The UNIVERSITY GIRL looks her up and down.

Beat.

UNIVERSITY GIRLThey offer scholarships you know.

CHRISTABEL gives her a look of dislike.

CHRISTABELThere's no point. Women aren'tallowed to do anything.

UNIVERSITY GIRLIf we do not possess the educationof men how will we ever change that?

CHRISTABEL's attention is caught.

EXT. ITALIAN COUNTRYSIDE - DAY

SYLVIA is sitting on a hill sketching intently alongsideother art students. In front of them is a typical,picturesque Tuscan village.

10.

Most of the artists are sketching the landscape. SYLVIA issketching the workers cutting the hay in the field nearby.

Their TUTOR (Italian with rather Byronic curls and a largemoustache) walks behind peering at all their pads.

TUTORGood. Good. Ah. Excellente! Tonot paint the obvious. Very good.

SYLVIA looks up, realising he is commenting on her picture. She smiles a little uncertaintly and hunches back over itagain as the others look on enviously. Only the girl sittingnext to her smiles.

EXT. VILLA - DAY

In a typical Italian shaded, stone courtyard the studentsare all sitting at a long wooden table eating lunchaccompanied with wine. SYLVIA is reading a letter sittingnext to her friend, the same girl who smiled at her.

MALE ARTISTTuscany- you have served us well butnow we move on, to the beating heartof every artist- Firenze!

The others clap, laugh and toast his exuberance. SYLVIAfolds her letter looking a little downcast.

SYLIVANot me.

They all look at her confused.

FRIENDWhy not?

SYLVIA nods at her letter.

SYLVIAMy sister has started a law degree. Mother needs me to help in the shop.

MALE ARTISTYour mother wants you to discardyour soul to work in a shop?!

FRIENDThat's so unfair.

SYLVIAI don't mind, honestly. Father wasa lawyer and Christabel is so clever.

11.

MALE ARTISTYes but they won't let her be a lawyerno matter how clever she is. She'sa woooman!

He collapses into wine-induced giggles. SYLVIA looks at himresentfully but her friend's sympathetic gaze calms her.

SYLVIAI've loved it here but I miss myfamily. It will be nice to go home.

She looks around at the disbelieving faces cheerfully.

SYLVIA (CONT'D)And I'm sure I will still get a chanceto paint.

MALE ARTISTBah! England has no soul; noinspiration. It is the assassin ofart.

He throws himself dramatically across the table and the otherslaugh and throw bits of bread at him. SYLVIA attempts tojoin in but her heart isn't in it.

INT. LAW FIRM- WAITING ROOM - DAY

A dark, wood panelled room lined with PORTRAITS of dusty,old men. Behind a large desk a bespectacled, female SECRETARYignores CHRISTABEL, sitting anxiously on the edge of herchair opposite. Without warning the SECRETARY suddenly stops,listens intently and then nods at Christabel.

SECRETARYYou may go in now

CHRISTABEL has not heard anything. She looks at the stillclosed door and then back at the SECRETARY uncertainly. TheSECRETARY motions her forward impatiently.

INT. LAW FIRM- OFFICE - CONTINUOUS

A smaller wood panelled room. Behind another large desk sittwo men in frock coats. SIR JOHN (70s) has Victorian whiskersand silver hair. MR BAXTER (50s) is clean shaven and neat. He stands as CHRISTABEL enters and offers his hand.

MR BAXTERChristabel. How lovely to see you. How is your dear mother?

CHRISTABEL shakes his hand and glances uncertainly at SIRJOHN who is glaring at her.

12.

CHRISTABELWell, thank-you Mr Baxter

MR BAXTERGood, good. Sit down. How can wehelp you?

CHRISTABEL begins nervously

CHRISTABELMr Baxter, I'm not sure if you knowbut I have just finished a law degree.

MR BAXTERHave you?

SIR JOHN (barking tone)Ridiculous! Shouldn't be allowed.

CHRISTABEL is startled. MR BAXTER gives no sign of havingheard anything.

CHRISTABELI...I passed with the highest honoursof any student in my year.

MR BAXTERYou have obviously inherited a greatdeal from your father.

SIR JOHNHmpf. Before his damn politicalnonsense.

CHRISTABEL also attempts to ignore SIR JOHN

CHRISTABELAs my father's old law firm, I thoughtyou might look kindly upon my cause. In short, Mr Baxter, I have come toask for a job.

MR BAXTER'S surprise is obvious.

SIR JOHNWhat's that? I didn't hear. Whatdid she say?

MR BAXTER lets the silence drag out deliberately beforeleaning forward quizzically.

MR BAXTERA job?

13.

CHRISTABELI thought perhaps I could be takenon as a legal secretary and whenwomen are finally admitted to thelaw society...

SIR JOHNAdmit women to the Society? Never!

CHRISTABEL has had enough.

CHRISTABELSir John, women have been lawyers inAmerica for over thirty years. Itcan only be a matter of time...

SIR JOHN thumps the desk alarmingly.

SIR JOHNThe colonies may do what damn foolthings they please. Women will neverbe lawyers in this country. Turn usinto a laughing stock. Burst intotears if a judge looked at you.

CHRISTABEL is about to retort angrily. MR BAXTER intervenessmoothly.

MR BAXTERSir John please.

He turns back to CHRISTABEL.

MR BAXTER (CONT'D)Miss Pankhurst, women do not evenhave the vote in this country, norlook as if they are ever likely to.

CHRISTABELWe both know this Tory government ison its way out. In its place willbe a new, reforming Liberalgovernment.

MR BAXTERYet I have not heard that any of itsproposed reforms include giving womenthe vote. Nor opening up theprofessions to them.

He leans back and surveys CHRISTABEL'S reaction.

MR BAXTER (CONT'D)Not even your father's beloved LabourParty, proposes such a thing.

14.

CHRISTABEL is silenced.

MR BAXTER (CONT'D)And as for giving you a secretarialjob...I'm afraid you are a littleover qualified and certainly muchtoo ambitious for such a post.

His face is bland. Hers stormy. She stands angrily.

CHRISTABELGentlemen. I was under the impressionthis was a progressive firm. I waswrong. If I do nothing else with mylife I will prove you wrong also. Good day to you.

CHRISTABEL storms out, slamming the door.

SIR JOHNHmpf. I'm never wrong.

INT. ANOTHER WOOD PANELLED ROOM - DAY

CHRISTABEL is in a different chair opposite a different manin a waistcoat and whiskers.

WAISTCOATED LAWYERYou want to do what?

He breaks into a peal of laughter.

INT. A THIRD WOOD PANELLED ROOM - DAY

A third chair and a third lawyer this time with a moustacheand spats and a deeply condescending manner.

MOUSTACHED LAWYERIt's unthinkable my dear. This iswhy women really shouldn't be allowedto go to university

INT. A FOURTH WOOD PANELLED ROOM - DAY

This time the varnish is peeling somewhat and the lawyerbehind the desk is in a checked coat and a flashy manner.

CHECK COATED LAWYERWhat kind of a ramshackle law firmdo you think this is? We would belaughed out of court.

15.

INT. 2ND PANKHURST HOUSE -HALLWAY - LATER

CHRISTABEL enters, untying her hat, depressed and dispirited. She hears the noise of a gathering in the front room andlethargically peeps through the door to see what it is.

INT. PANKHURST HOUSE -DRAWING ROOM- MOMENTS LATER

In the small front drawing room, A DOZEN WOMEN are seated,engaged in an enthusiastic buzz of chatter and earnest debate. EMMELINE hands around plates of sandwiches and cakes, talkinganimatedly

EMMELINE...it's incomprehensible to thinkthat half the population should bewithout the vote. I simply cannotunderstand the opposition arguments.

TERESA (50s, no-nonsense, Scottish woman) takes a sandwich.

TERESAWe have to stop it being pushed tothe bottom of the agenda again.

EMMELINE nods in agreement and looks up to see CHRISTABELstanding in the doorway. She smiles with pleasure. But thesight of their gathering has lashed CHRISTABEL into a temper.

EMMELINEChristabel my dear. Join us.

CHRISTABELI don't think so Mother.

EMMELINE is startled by her daughter's contemptuous tone. CHRISTABEL enters the room and faces the other women whohave gone silent.

CHRISTABEL (CONT'D)You will all sit here and talk forhours about how outrageous it iswomen do not have the vote. Howterrible it is the Labour Party isn'tin government. Then you will kisseach other good-bye and do it allagain at the same time, next week

EMMELINE is horrified.

EMMELINE (hisses)That is quite enough!

16.

CHRISTABELHow long have you all been campaigningfor the vote? 10? 20 years? Yet,here we all are, still no betterthan slaves. Still asking politelyif someone wouldn't mind seeing theirway to giving us our rights.

TERESAAnd tell me lassie, what have youever done to get women the vote?

CHRISTABELLet me tell you something Teresa. Iwill do something about it. Do...deeds, not words.

She turns on her heel and leaves, swiftly followed by a deeplyembarrassed EMMELINE who closes the door behind them.

INT. PANKHURST HOUSE- HALLWAY - CONTINUOUS

EMMELINE (furious undertone)Christabel Pankhurst! What on earthhas come over you? You have gonetoo far this time.

CHRISTABELNo mother. It is you who have nevergone far enough.

SYLVIA comes down the stairs above them to investigate thenoise just in time to see CHRISTABEL turning on her heel andwalking back out the door closely followed by an emotionalEMMELINE.

EMMELINEWhere are you going? I forbid youto leave this house.

CHRISTABEL gets on her bicycle.

CHRISTABELI've had quite enough of beingforbidden to do things thank-you.

CHRISTABEL pedals off quickly as a bewildered SYLVIA followsher Mother out of the house.

EMMELINE (distressed)She is always so angry thesedays...ever since your father died.

SYLVIA comforts her mother watching a disappearing CHRISTABELworriedly.

17.

EXT. MANCHESTER- SIDEWALK- LATER

CHRISTABEL rides her bicycle without purpose, not sure whereshe's going or what she's trying to prove. She sees menputting up a banner over the front door of a hall and stopsfor a better look, as do TWO MEN in frock coats and top hats.

The banner reads: 'Manchester Liberal Association is proudto present the rising new star of the party, Mr David LloydGeorge, speaking on the Free Trade Issue. 7pm. Friday 17October. Tickets at the door.'

FROCK-COATED MAN 1Not sure about this Lloyd Georgefellow. Clever, but you get theimpression he only cares aboutnewspaper headlines.

FROCK-COATED MAN 2Mmm...not like Gladstone...

They turn and walk off talking together but their words havecaught CHRISTABEL's attention. She looks back at the banneras the glimmer of an idea dawns.

INT. MANCHESTER LIBERAL ASSOCIATION MEETING- EVENING

A large, noisy hall fills rapidly. On the podium is LLOYDGEORGE (40s, short, neat moustache, clever eyes), goingthrough his speaking notes. Around him the GREAT AND THEGOOD of Manchester greet each other self-importantly.

CHRISTABEL enters from the back, clutching a rolled up pieceof canvas to her chest and searching for a seat. Someone soyoung and attractive is noticed and she becomes conscious ofthe stares and flustered because she cannot find a seat. LLOYD GEORGE too has looked up and noticed her. PEOPLE stoptheir conversations as she passes.

She loses her nerve, turns and runs back out. Intrigued,LLOYD GEORGE watches her go.

EXT. STREET OUTSIDE MEETING - CONTINUOUS

CHRISTABEL closes her eyes, clenches her fists and bangs theback of her head against the wall- upset with herself.

(O.S.) RUNNING STEPS.

CHRISTABEL opens her eyes.

A breathless SYLVIA is standing in front of her.

18.

SYLVIAOh thank-goodness I've found you. Mother is in such a state.

CHRISTABEL grabs SYLVIA'S arm.

CHRISTABELSylvie. You have to help me.

SYLVIAYes of course.

Beat.

SYLVIA (CONT'D)To do what?

INT. LIBERAL MEETING - LATER

LLOYD GEORGE is in mid-speech. CHRISTABEL, her confidencereturned, forces people to stand and let them past. Seeingher back again puts LLOYD GEORGE off his speech slightly.

LLOYD GEORGE...how much do we...er...do weconsider ourselves under obligationto the summary parts of our empire.

The girls sit, surrounded by nudges. CHRISTABEL starts tounroll the canvas and gives one end to a bemused SYLVIA.

CUT TO:

INT. MEETING- LATER

LLOYD GEORGE...finally, are we prepared tosacrifice our own economies of livingto benefit those living in ourcolonies...

CHRISTABEL watches the politician intently.

LLOYD GEORGE (CONT'D)This is the question we must askourselves when we consider thisbill...

CHRISTABEL (whispers)Now!

She hauls SYLVIA up standing on her chair and they unfurlthe banner.

19.

CHRISTABEL (loudly) (CONT'D)I have another question. Mr Lloyd-George

EVERYONE turns. SYLVIA peeps over the top of the banner tosee that it says:

'Votes for Women'

Her surprise is obvious and she snaps a look at her sister.

CHRISTABEL (CONT'D)Would a liberal government give womenthe vote?

LLOYD GEORGE is taken off-guard.

LLOYD GEORGEREr...

The officious LIBERAL PARTY CHAIRMAN, sitting next to LLOYDGEORGE, jumps to his feet.

LIBERAL PARTY CHAIRMANYoung lady you are out of order. The time for questions is at the endand they must be in writing.

CHRISTABEL smiles winningly.

CHRISTABELBut since the honorable member hasstopped he could answer now don'tyou think? Saves so much time.

A few laughs ripple around the hallway but a GREY-SUITED MANin front of the girls is not impressed. He turns in hisseat and tries to grab at the banner.

GREY-SUITED MANGet down you harpies!

Panicked, SYLVIA whips the banner away causing him to stumbleover his chair. As the chair begins to tip CHRISTABEL usesher foot to help it over. The GREY-SUITED MAN crashes tothe floor.

CHRISTABELI'm sorry sir, what did you say?

SYLVIA giggles in spite of herself and all hell breaks loose.

CHRISTABEL (CONT'D)Run!

20.

GROUPS OF MEN try to grab at the girls and give chase asthey run along the chairs to escape. OTHERS are desperatelytrying to escape the scene. CHRISTABEL nimbly leaps onto achair in front.

CHRISTABEL (CONT'D)All we want is a simple yes or no.

She leaps again as a HAND almost succeeds in grabbing her.

LIBERAL PARTY CHAIRMANPolice! Police!

POLICE appear from the back of the hall blowing whistles,truncheons at the ready. SYLVIA gulps in fright and tugsCHRISTABEL's sleeve.

SYLVIAWe need to go.

CHRISTABELWe need to get arrested.

SYLVIA stops short.

SYLVIAWhat?!

POLICE CONSTABLES rush in on them, pinioning the girl's armsto stop them struggling. Silence descends as A POLICESERGEANT (large, calm) approaches with a measured step. LLOYD GEORGE leans forward as he watches the scene.

SERGEANTRight you two, if you don't comequietly we will throw you out ontothat there street.

CHRISTABELSurely you should arrest us forcausing a public disturbance Sergeant?

SERGEANTWell you can thank your lucky starsI'm in a good mood.

He motions to the CONSTABLES to follow him. SYLVIA, relieved,stops struggling. CHRISTABEL, on the other hand, panics andfights as she is carried inexorably towards the door.Desperately she calls out.

CHRISTABELSergeant?

He looks back wearily.

21.

SERGEANTWhat? Are you going to calm down?

CHRISTABELI'm afraid not.

Closing her eyes, she takes a deep breath and SPITS on theSERGEANT.

GASPS.

SYLVIA, horrified, nearly faints. LLOYD GEORGE's eyebrowsspring high- he is both surprised and a little impressed.

Long beat.

The SERGEANT wipes the spittle off his face menacingly.

CHRISTABEL sticks her chin up defiantly.

CHRISTABEL (CONT'D)I really do think you ought to arrestus now Sergeant.

INT. POLICE STATION - LATER

CHRISTABEL and SYLVIA are walked past police cells filledwith prostitutes, drunks and petty criminals.

PROSTITUTEOho...look at that nice dress. Oo'sbeen a naughty girl then.

A DRUNK with no teeth and grimy face rushes to the bars ofhis cell and sticks his tongue out through them.

SYLVIA shrinks, afraid. CHRISTABEL, puts an arm around herprotectively.

SYLVIAI don't understand. Why did you dothat? You hate political campaigning!

CHRISTABELI never saw the point before.

SYLVIABut why did we have to get arrested?

CHRISTABELWe have to show them we're serious.

SYLVIAWho? Who will care? Except Mother?

22.

At the thought of her mother SYLVIA starts crying andCHRISTABEL hugs her.

CHRISTABELTrust me Sylvie.

INT. MAGISTRATES COURT - MORNING

MAGISTRATE (elderly and bucolic) is addressing the court. In the dock stands an eager CHRISTABEL and a terrified SYLVIA. In the public gallery sits EMMELINE with her two youngestchildren, her eyes fixed on her daughters worriedly.

MAGISTRATE... shocking and very unbecomingbehaviour. I fine you 50 shillings. Do not let me hear of repeat conduct. I understand your Mother will paythe fine. She needs to see the Clerkof the Court.

The MAGISTRATE prepares to stand.

CHRISTABEL (in a clear voice)I refuse to let my mother, or anyoneelse, pay my fine, your Honour.

The MAGISTRATE is stunned into silence by this unexpectedness.

CHRISTABEL (CONT'D)And I intend to repeat this conductagain and again. I simply cannotrecognise laws when I am allowed nosay in their creation.

MAGISTRATECreating laws! You're a woman!

CHRISTABELExactly.

MAGISTRATE (angrily)In that case you will go to jailyoung lady.

CHRISTABEL smiles and holds out her hands for the chains. The MAGISTRATE is outraged at her continuing impertinence.

MAGISTRATE (CONT'D)Take them away! Take them away!

The court is abuzz. EMMELINE tries to rush forward but isstopped by the barriers and a POLICEMAN. CHRISTABEL seesher and lifts her voice so it can be heard above the clamour.

23.

CHRISTABELTell the newspapers. Tell them!

EMMELINE stops struggling looking at her daughter arrestedlyas they are both led away from court. Her youngest SON tugsat her sleeve.

SONWhat's going to happen to them?

The scene morphs into a series of spinning newspaper frontpages.

Manchester Guardian- 'My daughters are martyrs for the vote'

The Times- 'Shocking scenes as girls defy the law for vote'

Daily Herald- 'We will go to jail for the vote'

EXT. OUTSIDE THE PRISON GATES - DAY

CHRISTABEL and SYLVIA, tired and grimy, take the first stepoutside of the heavy prison door on their release. Immediately a brass band starts up and a crowd of women andreporters rush in on the girls clamouring for their attention.

As bulbs flash CHRISTABEL sees EMMELINE across the crowd andthey exchange a glance of shared understanding and approvalof each other. SYLVIA is looking around in utter amazement. CHRISTABEL laughs at her expression and hugs her.

CHRISTABELDidn't I tell you? This is just thebeginning!

DISSOLVE TO:

EXT. PARK - DAY

FOUR POLICEMEN are being set upon by a large group of MILITANTWOMEN led by TERESA.

TERESAI'd advise you to start arrestin usnow laddie.

BLACK

Newspaper headline: The Manchester Guardian- More prisonprotests by women.

BLACK

24.

EXT. ELECTION CAMPAIGN - DAY

An MP addresses an open air meeting without much success aswomen, including CHRISTABEL, EMMELINE, SYLVIA and TERESAthrow rotting fruit and vegetables at him.

DISSOLVE TO:

EXT. PARK - DAY

EMMELINE stands on a soap-box surrounded by an enormous CROWDof women who are a mix of rich and poor.

EMMELINEWe have been patient long enough! Our polite appeals have fallen ondeaf ears. It is time to force thepoliticians to listen by any meanswe can.

Mass cheering from the CROWD. CHRISTABEL standing to oneside, surveys it all with a smile.

EXT. ELECTION CAMPAIGN- DAY

An open car carrying TOP-HATTED POLITICIANS is suddenlysurrounded by a huge CROWD of women who beat the bonnet andshout slogans at them. An OLD WOMAN (in black) chases one as he attempts to flee, beating him with her umbrella.

OLD WOMANYou wicked, wicked man! Why won'tyou give us the vote.

DISSOLVE TO:

Newspaper Headline: The Manchester Guardian- Women flock toPankhurst militant campaign for the vote

INT. HALL - POLITICAL ADDRESS - EVENING

A POLITICIAN is giving a speech in an old theatre whensuddenly MILITANT WOMEN pop up from under the stage and swingdown from the eaves with banners "Votes for Women" flyingbehind them.

EXT. OUTSIDE - CONTINUOUS

WOMEN have chained themselves to the locked doors, preventinganyone from leaving the hall.

CHAINED WOMENNot until you give women the vote!

DISSOLVE TO:

25.

Newspaper Headline: Daily News- Militant suffragette campaignreaches London.

EXT. LONDON- FLEET STREET - DAY

The previous newspaper banner morphs into the sign outsidethe Daily News building on Fleet Street.

Horses, carts and carriages compete with noisy new motorcars, omnibuses and the steady hum of printing machines andshouts of street traders.

Small boys run out of the buildings with bundles of newspapersunder their arms.

A motorcar pulls up by the sidewalk and out jumps HENRYNEVINSON (early 40s, athletic and weather beaten). He paysthe taxi driver and walks into the building.

INT. EDITORS OFFICE - MOMENTS LATER

The editor, MASSINGHAM, (60s, thickset and moustached) isbehind his desk reading through newspaper copy. Behind himon the wall are various front pages, framed. He looks up ashis door opens. The busy hum of a newsroom is heard brieflyas HENRY enters.

MASSINGHAMNevinson! Good to see you. How wasRussia?

HENRY deposits himself into a chair without being asked.

HENRYCold. Depressing. There was quitea bit of blood.

MASSINGHAM puts his copy down and surveys his reporter overhis glasses.

MASSINGHAMThat revolution was never going tosucceed, you know that.

HENRYAnd the Tsar is making sure no oneis left to give it another try.

HENRY gets up and paces the room impatiently.

HENRY (CONT'D)You know, just once I'd quite liketo report on a revolution that isn'tlost before it starts.

26.

MASSINGHAM watches Henry's pacing with amusement.

MASSINGHAMOh come now, lost causes are yourspecialty.

HENRYAre they?

MASSINGHAM picks up a newspaper and tosses it across thedesk.

MASSINGHAMOf course they are and here's another.

HENRY picks up the paper curiously. It has a front pagePICTURE OF CHRISTABEL.

EDITORWe're calling them thesuffragettes...militants as opposedto those who ask for the vote nicely.

HENRYPankhurst? That name sounds familiar.

EDITORMmm...Father was Richard Pankhurst-lawyer and the first professionalman to join the Labour Party. Thiseldest daughter, Christabel, she'sthe one to watch.

HENRYWhat are they doing?

EDITORWhat aren't they doing old chap. Attacking ministers, getting arrested-behaving in thoroughly unladylikeways. They've got everyone'sattention finally.

HENRY re-examines the picture with interest

MASSINGHAMThey're organising a demonstrationin Hyde Park tomorrow. Get yourselfdown there.

EXT. HYDE PARK - DAY

Glorious sunny day. The park is awash with 500,000SUFFRAGETTES, dressed in white with sashes of green, whiteand purple.

27.

They step off specially commissioned BUSES and TRAINS. Theycarry PLACARDS and BANNERS. Some wear BADGES in the shapeof prison gates, others are selling POSTCARDS of EMMELINEand CHRISTABEL. Some operate stalls selling POTTERY andJEWELLERY in the suffragette colours while others sellNEWSPAPERS titled:

'Votes for Women'

There are massive PLATFORMS all over the park with variousspeakers. Behind them are elaborately designed banners:

The Women's Social and Political Union (WSPU)

Many FAMILIES and COUPLES are treating it as a day out. Opportunistic SELLERS have set up ice-cream and funfairstalls.

HENRY walks amongst the crowd observing all with bemusement. Recognising CHRISTABEL on one of the platforms he makes abeeline for it.

CHRISTABEL...a woman may be educated as alawyer, a doctor, a nurse, a teacheryet she has no rights; no voice. Aman may be a drunkard, a wife-beater,a gambler, a liar yet he is alloweda say on which laws we women mustsubmit to!

MALE HECKLER'Ere, don't you wish you were a man?

CHRISTABEL (sweetly)Don't you wish you were?

The CROWD cackles with laughter. HENRY smiles and tries toget closer but is firmly blocked. Looking around he espiesa temporary scaffolding with SYLVIA perched at the topsketching the scenes below.

HENRYAhoy up there.

SYLVIA is startled.

HENRY (CONT'D)The name is Henry Nevinson. I'm areporter. Might I share your perch?

SYLVIAHenry Nevinson? The famous warcorrespondent?

28.

HENRY is surprised.

EXT. SYLVIA'S PERCH - CONTINUOUS

SYLVIA looks at HENRY shyly as he sits down next to her.

HENRYYou're never going to tell me youhave read my articles?

SYLVIAMy father read your book on the slavetrade and we were never allowed hotchocolate again.

The pride in her voice seems incongruous with the words. HENRY laughs.

HENRYI'm even more surprised to be greetedso affably. Your Father, however,sounds like an excellent man.

SYLVIAHe was.

She turns away, caught by sudden emotion. HENRY is aperceptive man.

HENRY (gently)What was his name?

SYLVIADr Richard Pankhurst.

The penny drops.

HENRYPankhurst? You are one of the famoussisters, responsible for all of this?

He gestures to the enormous CROWD. SYLVIA's distantexpression disappears and she is shy again.

SYLVIANot really. Christabel insists Ikeep studying at art college. But Idid all the banners.

HENRY re-examines the ones dotted around the park.

HENRYThey're very good.

29.

SYLVIA shines at the compliment. HENRY looks down and seesthat SYLVIA is sketching her sister speaking to the crowd. It is drawn in the manner you might draw a heroic Boadicea.

HENRY (CONT'D)And that is Christabel?

They both look at the sketch. SYLVIA with pride.

SYLVIAYes. She plans it all. She knowsexactly what needs to be done.

HENRY gazes at the picture and then down to where CHRISTABELis still speaking. SYLVIA continues looking at the picture.

SYLVIA (CONT'D)She's very beautiful isn't she?

HENRYYes.

SYLVIA looks up to see his entranced expression.

SYLVIAWould you like to meet her?

Before he can reply SYLVIA has packed up her sketching andis already clambering down the scaffolding.

EXT. ON THE GROUND - CONTINUOUS

CHRISTABEL comes off-stage to huge applause. Well-wishers,mostly young women, surge forward, surrounding andoverwhelming her.

At the back of the crowd SYLVIA waves but CHRISTABEL failsto make headway.

HENRY forces his way through and holds his hand outcommandingly. Taken aback, she nevertheless accepts it.

He steers her through the press of people masterfully andthen makes both girls run to a MARQUEE set up in the middleof the park with a sign that reads:

'Speakers and WSPU executives only'

INT. MARQUEE - CONTINUOUS

Inside the marquee SMALL GROUPS of well-dressed people chatand take refreshments.

CHRISTABEL and SYLVIA are laughing as they race in leaving adesperate throng outside still straining to catch a glimpse.

30.

CHRISTABELWell...a veritable knight-in-shining-armour Mr...?

SYLVIAHenry Nevinson. The famous warreporter.

CHRISTABEL looks from SYLVIA'S starstruck gaze to HENRY, nowwith more interest.

HENRYIt's the first time I've had to rescuea heroine from her own admirers.

CHRISTABEL laughs.

CHRISTABELWell most are very young. They obsessabout the vote instead of love.

HENRYYou're not exactly an ancientyourself.

CHRISTABELI have never had time for such things.

HENRYNo time for love? How sad.

CHRISTABEL is not proof against his palpable charm and aflirtatious note enters her voice.

CHRISTABELOn the contrary, I have alwaysconsidered myself rather fortunate.

FREDERICK (O.S.)Well I never! Henry Nevinson in theflesh!

ALL turn at this interruption. FREDERICK PETHICK-LAWRENCE(early 50s, wealthy and genial, former lawyer) is walkingfrom the other side of the marquee. HENRY smiles in pleasedrecognition, CHRISTABEL is not so pleased.

HENRYFred! What on earth are you doinghere?

FREDERICKI might ask you the same thing oldman. Thought you were trying to getyourself shot in Moscow.

31.

They both laugh and shake hands with obvious affection.

MARGARET (O.S.)Henry?

MARGARET PETHICK-LAWRENCE (late 40s, tall and expensivelydressed with a charming, organising manner) has also caughtsight of HENRY and embraces him.

HENRYBut what are you both doing here? You were buying up houses for thewar orphans when I left South Africa.

FREDERICKWe were, we were. Then Margot heardabout all the daring deeds thesegirls here were doing...

Nods to CHRISTABEL and SYLVIA

FREDERICK (CONT'D)...and she couldn't bear to be outof the action of course

FREDERICK looks fondly at his wife who smiles back at him

MARGARETIt's true- I lead him a sorry dancedo I not Henry?

HENRYHe would be a sorrier and more boringperson if you did not.

FREDERICKThanks very much.

MARGARETAnd I see you have already metChristabel and Sylvia.

MARGARET turns to CHRISTABEL.

MARGARET (CONT'D)Girls, I wonder if you and your motherwould mind if we invite Henry tonight?

CHRISTABELThere's no need to ask us Margaret. It's your house.

MARGARETNo dear. I insist you consider ityour home as well.

32.

She takes HENRY's arm.

MARGARET (CONT'D)Christabel lives with us at ClementsInn. It saves her having to trekback and forward to Manchester. Wehave turned the downstairs into theoffices of the WSPU. Jackson neverstops complaining as you can imagine. Now Henry do say you will cometonight.

They begin to all walk towards the entrance.

HENRYI have given up refusing youanything...it never does the leastgood.

MARGARETThat's just the spirit I so admirein my husband.

INT. CLEMENTS INN- UPSTAIRS- DRAWING ROOM- EVENING

CHRISTABEL, dressed elegantly for the evening, sits alone ata small writing DESK going through a document. A MAID appearsin the doorway.

MAIDMr Henry Nevinson.

MAID bobs and leaves. CHRISTABEL rises as HENRY enters, herinitial surprise soon replaced with an amused smile.

CHRISTABELGracious, you are early. That isnot at all good manners Mr Nevinson.

HENRYMy apologies. I've always been ahopeless dinner guest. My anticswith soup have long horrified mysister and her friends.

CHRISTABEL laughs and motions him to a chair.

HENRY (CONT'D)In truth I was late filing my storyand so changed in town and came heredirectly. I hope I haven't disturbedyou?

They both sit.

33.

CHRISTABELNot at all. I was just taking thechance to catch up on some reading.

Beat.

CHRISTABEL gives him a glance that is half appraising, halfflirtatious.

CHRISTABEL (CONT'D)So...will your article approve ofour little event today I wonder?

HENRYIt is, I hope, fair and objective.

CHRISTABELMmm. All reporters claim that, yet Ifind newspapers have editors whotend to be very partial indeed.

HENRY wryly smiles at this truth.

HENRYIn this case your cause has both my,and my editor's, fullest support.

CHRISTABEL is pleased but quickly hides it. Mischief flickersacross her face.

She stands and moves over to the drinks cabinet.

CHRISTABELI find it interesting that you aresuch a supporter of women's rightsMr Nevinson, when it is rumouredthat you treat your wife ratherbadly...

She turns with a limpid look.

CHRISTABEL (CONT'D)Drink?

The attack is a success. HENRY is taken completely off guard.

Beat.

HENRYMy wife and I treat each other badly,as many do when trapped in unhappymarriages Miss Pankhurst.

Their EYES lock but HENRY recovers fast.

34.

HENRY (CONT'D)It is our inability to divorce withoutdamaging her reputation that promptsmy passionate support for reform ofthe Marriage Act. Gin and tonicplease.

CHRISTABEL turns to make the drink.

CHRISTABELYou do not think that yournumerous...allegedly numerous...affairs damage your wife's reputation?

HENRY considers CHRISTABEL'S back as she pops ice into theglass.

HENRYNo. They damage mine. My wiferemains the soul of honour and virtue. Any of her friends will tell you.

CHRISTABEL is returning with the drink. HENRY stands quickly,taking her by surprise, capturing her hand beneath his onthe glass. CHRISTABEL doesn't know what to do.

HENRY (CONT'D)I'm no saint Miss Pankhurst, but Ican fight for a better world asardently as any Virgin Mary.

CHRISTABEL's eyes widen at the inferred reference. HENRYleans forward, much closer than good manners allow. Thereis a moment of tension. Is he going to kiss her?

CHRISTABEL is utterly frozen.

At the last minute HENRY grins wolfishly, releases her andsits back down with his drink.

HENRY (CONT'D)And in such a world I will no doubtreceive my just desserts.

Annoyed, CHRISTABEL flounces back to her chair.

CHRISTABELHow touching.

HENRYI am a very sensitive soul. Else Icould not have become the victim ofromance so many times...allegedly.

35.

HENRY's eyes challenge her to smile but she refuses torespond, smouldering at him instead.

At that moment MARGARET, FREDERICK, EMMELINE AND SYLVIA allfile into the room, breaking the moment.

MARGARETHenry! You naughty man. How dareyou show up so early. I despair ofyou.

INT. CLEMENTS INN- DINING ROOM - LATER

Long, mahogany DINING TABLE. SERVANTS are serving soup. SNATCHES of conversation as the night goes on.

EMMELINESylvia. Why are you not wearingthat dress I bought you?

SYLVIA looks embarrassed.

SYLVIABut it is so fine Mama.

EMMELINEOh child. You cannot spend yourentire life in paint-spattered smocks.

To Margaret

EMMELINE (CONT'D)I've never known a girl who cares solittle about herappearance...Christabel, on the otherhand, has always had very good taste,even from a child...

Margaret smiles sympathetically at Sylvia's discomfort.

Later- SERVANTS serve the fish course.

FREDERICK...the place is thick with Boers. Henry takes his horse and heads outon his own with the parting words'well someone needs to know what thehell is going on out there!'

ALL laugh except for CHRISTABEL who watches HENRYsurreptitiously under her eyelashes. HENRY is mildlyembarrassed. The MAID re-enters.

MAIDMr Hardie.

36.

She bobs and leaves as KEIR HARDIE (recognisable from hisreading the eulogy at the father's funeral) enters.

EMMELINEKeir!

FREDERICKHardie! Good man. Come in, comein. Sit yourself down.

KEIRNo, no. Forgive this intrusion. Ijust had to congratulate you on yourtriumph today. Half a million women! Better than we ever hoped.

He smiles genially on the assembled group. HENRY noticesSYLVIA'S worshipful expression as she gazes at KEIR.

CHRISTABELThank-you Keir. We couldn't havemanaged without your help.

KEIRThat's not true but it was my pleasureall the same.

MARGARETKeir, won't you sit down and sharesome supper with us. I have seenwhat you cook for yourself!

KEIR laughs.

KEIRA simple miner doesn't need fancyfood and it's soup kitchen nighttonight.

He nods to CHRISTABEL.

KEIR (CONT'D)But I look forward to victory overthe government. They cannot saythere is no support for women havingthe vote now!

KEIR dons his cloth tweed hat and prepares to go.

CHRISTABELKeir, about that other matter. Wepropose to start at the Runfold by-election. I thought you might wantthe chance to warn your candidate.

37.

KEIR'S bonhomie is deflated a little. He nods more soberly.

KEIROf course. Thank-you.

SYLVIA looks suspiciously from KEIR to CHRISTABEL. EMMELINEis obviously embarrassed. She gets up from the table.

EMMELINEI will see you out Keir.

As they leave they fall into conversation with the ease ofold friends. FREDERICK turns to HENRY.

FREDERICKSalt of the earth that man. Knowhim Henry?

HENRY, intrigued by what has just passed, replies with hiseyes still on CHRISTABEL and SYLVIA.

HENRYOnly by reputation. I would verymuch like to know him better. Whathe's done with the Labour Party....

He is interrupted by SYLVIA, whose eyes have not leftCHRISTABEL.

SYLVIAWhat did you mean? What other matter?

The OTHERS stop in surprise. CHRISTABEL is composed butslightly irritated.

CHRISTABELI'm not sure this is the place Sylvia.

SYLVIAWhy not?

CHRISTABEL gives her sister a warning look.

CHRISTABELMr Nevinson does not need to witnessa discussion about strategy.

HENRY is enjoying the situation. MARGARET and FREDERICKlook deprecating.

HENRYOh don't mind me. Discussion onstrategy is exactly what I wouldlike.

38.

CHRISTABELI said 'need' not 'like'.

HENRY laughs. SYLVIA cuts him off.

SYLVIAWhat did you mean by it? Why wouldhe need to warn his candidate?

CHRISTABEL sighs resignedly.

CHRISTABELThe WSPU executive has taken adecision to oppose all who do notsupport us. In some cases thatincludes Labour Party candidates.

SYLVIA is aghast.

SYLVIAWhat?

CHRISTABELOur sole purpose is to get the vote. Keir knows very well that quite afew of his members do not want womento have it.

SYLVIABut Father helped set up the LabourParty. Keir is one of our oldestfriends. How can we do such a thing?

CHRISTABELOur family is not the same as theWSPU. You need to remember that.

SYLVIA stands, knocking over her chair in her agitation. She struggles to find words in the heat of her emotion.

SYLVIAIt...doesn't feel right

EMMELINE re-enters. SYLVIA appeals to her.

SYLVIA (CONT'D)What about Father?

EMMELINE catches up quickly.

EMMELINEI don't like it either my dear butyour sister is right.

39.

She puts out her arms to SYLVIA but SYLVIA shakes her headagain and runs blindly out of the house.

DOOR SLAMS

Long beat.

Everyone is silent and embarrassed. EMMELINE sighs but calmlytakes her seat and replaces her napkin.

EMMELINE (CONT'D)South Africa sounds like a veryinteresting country Mr Nevinson. You must tell me more about it.

INT. CLEMENTS INN- DOWNSTAIRS- HALL- LATER

HENRY is putting on his coat and preparing to leave. CHRISTABEL waits to see him out.

CHRISTABEL (stiffly)I'm sorry you had to witness thatrather undignified family scene.

HENRYBut I enjoyed it. The only scenesenacted in my family are over whocheated at Bridge, not politicalstrategy.

CHRISTABEL smiles reluctantly.

CHRISTABELAnd who does cheat at Bridge?

HENRYI do. I can't bear the smug look onmy brother's face when he wins.

It provokes a laugh from CHRISTABEL. Henry smiles withunderstanding.

HENRY (CONT'D)Younger siblings are designed to betroublesome. Part of evolution.

He steps outside and surveys the passing traffic for a hackney-cab.

CHRISTABEL (impulsively)Mr Nevinson, I wonder if you mightbe interested in a littledemonstration we are having atTrafalgar Square, a week on Tuesday?

40.

HENRY's eyes glint as he takes her hand and kisses it.

HENRYYou must never doubt my interestMiss Pankhurst.

CHRISTABEL's lips twitch involuntarily and she pulls herhand away. He grins and leaves with a nonchalant wave.

CHRISTABEL closes the door behind him, a small smile playingaround her mouth. It is still there as she mounts the stairsand enters the sitting room

INT. CLEMENTS INN- UPSTAIRS- SITTING ROOM - CONTINUOUS

MARGARET, FREDERICK and EMMELINE are dissecting the eveningover a cup of tea.

EMMELINE...his poor wife has much to put upwith from what one hears.

FREDERICKHenry's a good egg.

MARGARETPoor Lydia. I think he married herbecause he was bored.

FREDERICKOh come, he's hardly in the countrymost of the time.

MARGARETExactly. He runs off to every warzone he can find while she stays athome with the children... Andunfortunately women find him veryfascinating.

As she speaks MARGARET watches CHRISTABEL who has enteredand cast herself down in a chair.

CHRISTABELA very good example of why marriageis the scourge of women.

MARGARET hands her a cup of tea.

EMMELINE (wistfully)Ah but you take no account of lovemy dear.

CHRISTABELWhich shows what a weakness it is.

41.

MARGARET laughs.

MARGARETSo speaks a woman who has neversuffered its pangs or its delights.

She looks fondly at her husband. CHRISTABEL rolls her eyesslightly.

CHRISTABELAnd I shall take good care that Inever do. Look at all the womenlove has ruined. Look at Aunt Mary.

EMMELINE sighs in acknowledgement but MARGARET laughs again.

MARGARETGood heavens my dear. Anyone wouldthink you were 90 years old not 22.

EXT. LONDON STREET - NIGHT- LATER

SYLVIA walks with her head bowed, lost in thought. She turnsa corner into Embankment and sees a SOUP KITCHEN set up onthe pavement.

Behind a trestle table, serving, is KEIR. He speaks cheerilyto people as they collect their bowls.

SYLVIA looks at those waiting- an OLD MAN whose hands shakeuncontrollably as he tries to grip the bowl, a YOUNG MOTHERand her THREE CHILDREN, all horribly starved, who snatchtheir food and consume it within seconds. A WAR VETERAN whohas lost a leg- he hops awkwardly and needs help to sit andeat.

A YOUNG WOMAN, stares back at Sylvia from sunken, resentfuleyes and, despite the warm weather, wraps a threadbare scarfmore tightly around her head.

SYLVIA is distressed and doesn't notice KEIR approachingher.

KEIRLass! What are you doing out onyour own at this time?

SYLVIAOh. I'm alright.

He gives her his arm and they walk along the river in silencefor a few moments, she with her head down, frowning.

SYLVIA (CONT'D)Keir, I can't agree with Christabel!

42.

KEIR is startled , but then smiles kindly and pats her hand.

KEIRAch. Don't worry your head aboutit. I'm afraid she's right. Noteveryone in the Labour Party believesas strongly as I do about the rightsof women.

SYLVIABut the Labour Party is our onlyhope to change society and help thepoor and working classes!

KEIR looks at her sympathetically.

KEIRPolitics is a messy business my lass. That's why I do this.

He motions back towards the soup kitchen.

SYLVIA stares back at the growing queue. At the faces ofthose losing hope.

SYLVIACan I help?

INT. CLEMENTS INN- OFFICES - DAY

CHRISTABEL is working in her office when SYLVIA knocks gentlyon the door. TWO YOUNG WOMEN are standing behind her.

CHRISTABELHello. Where have you been? I wasjust preparing to send out a searchparty.

SYLVIAI've been helping Keir with some ofhis projects in the East End.

CHRISTABEL stiffens a little.

CHRISTABELHave you?

SYLVIAYes, and I've been recruiting.

She smiles and steps aside.

SYLVIA (CONT'D)This is Flora and this is Annie.

43.

Two girls step forward shyly. One is ANNIE from the EpsomDerby scene at the beginning. They are both dressed asfactory workers. FLORA (20, tall, bony and no nonsense)steps forward and shakes CHRISTABEL'S hand firmly.

FLORAWhatever you want us to do- you justtell us miss Christabel.

CHRISTABEL is a little taken aback at FLORA's forthrightmanner and ANNIE'S intense stare, but smiles.

CHRISTABELThank-you. But there's no need tocall me miss. Where are you from?

FLORAWe work in the Bryant match factorydown on Bow. But we aint treated asproper 'uman beings. Workin 16 hourdays and paid less than a man in thesame job. If we go sick we lose thejob. Annie's wages go to her drunkof a dad and I've got 10 little 'unsto feed.

CHRISTABEL10! Gracious. Are they all yours?

FLORALor miss what do you take me for- ableedin cow? Nah, that's me ma, andshe's just about had enough of itall if you know what I mean.

CHRISTABEL looks to SYLVIA for a translation but her sisteris equally bemused.

FLORA (explanatory) (CONT'D)About to pop her clogs, cark it...

CHRISTABEL interrupts.

CHRISTABELOh yes, I see. Well you are bothvery welcome. I think you will bean asset to our cause.

FLORAI think we will be as well. Youdon't want to mess with me when I'mriled and I'm gettin very riled abouthow we women are treated.

CHRISTABEL laughs but stifles it quickly.

44.

CHRISTABELExcellent. Well you're just in time. Sylvia will you ask Margaret toorganise Flora and Annie for Tuesday?

Both SYLVIA and FLORA nod and go but ANNIE stays for anintense and awkward moment.

ANNIEI see you in the papers all the time. I think you're wonderful.

She turns and flees.

EXT. TRAFALGAR SQUARE - DAY

The square is crowded with WOMEN. On the plinth between thetwo lions, facing Whitehall, EMMELINE is giving a speech. Behind her are CHRISTABEL, MARGARET and OTHERS.

Moving amongst the crowd, SUFFRAGETTES hand out leaflets.

The screech of POLICE WHISTLES breaks the air.

POLICE force their way through the crowd to the plinth andarrest EVERYONE including FLORA and ANNIE who rush from theCROWD to their defence.

INT. COURTROOM - DAY

CLERK OF THE COURT (O.S.)All rise

The JUDGE (mid 50s, disapproving and old-fashioned) enters.

In the DOCK facing him are CHRISTABEL, EMMELINE and MARGARET.

In the PUBLIC GALLERY sit FREDERICK, SYLVIA, KEIR and otherWSPU SUPPORTERS including EVELYN SHARPE (recognisable fromthe Epsom Derby race scene).

In the PRESS GALLERY sits HENRY along with other JOURNALISTSall writing busily.

JUDGEMiss... Pankhurst is it? It sayshere you are conducting the defencecase.

CHRISTABELYes your honour.

The JUDGE looks deeply unimpressed.

45.

JUDGEHmphf. Well get on with it then.

CHRISTABELI call my first witness. Thehonorable Mr David Lloyd George MP.

A buzz of interest ripples around the courtroom. The JUDGEsits up a little and looks at his notes more closely.

LLOYD GEORGE is calm amidst the excitement at his entrance. He walks unhurriedly to the witness box to take his oath.

CHRISTABEL (CONT'D)You are Mr David Lloyd George? PrivvyCouncillor and Chancellor of theExchequer?

LLOYD GEORGEYes.

CHRISTABELWere you present at the meetingaddressed by Mrs Pankhurst, MrsPethick-Lawrence and myself atTrafalgar Square on the day inquestion?

LLOYD GEORGEI was there for about 10 minutes.

CHRISTABELAnd did you see a copy of the billsthat were distributed to members ofthe audience?

LLOYD GEORGEI was handed one, yes.

He addresses the JUDGE.

LLOYD GEORGE (CONT'D)It invited me to rush the House ofCommons.

The JUDGE nods at him approvingly. CHRISTABEL immediatelyrecalls his attention.

CHRISTABELAnd what did you think you were beingasked to do?

LLOYD GEORGEI really could not possibly interpretthe document.

46.

CHRISTABELIt seems to me that this word 'rush'is at the bottom of the prosecution'scase. What does it mean to you?

LLOYD GEORGEI cannot say.

CHRISTABELYou cannot offer any definition ofthe word 'rush'?

LLOYD GEORGENo.

CHRISTABEL turns to the gallery and rolls her eyes.

CHRISTABELNo wonder you wish to reform theeducation system

The crowd laughs.

JUDGEMiss Pankhurst!

LLOYD-GEORGE is now a little more wary. CHRISTABEL picks upa heavy tome from the desk in front of her.

CHRISTABELLet me help you. In Chamber's EnglishDictionary one of the meanings ofthe word is 'an eager demand'. Wouldyou agree with that?

LLOYD GEORGEI will not attempt to compete withChamber's dictionary.

CHRISTABEL'On the rush' we are told means in ahurry. Would you say, Mr LloydGeorge, there was anything illegalabout being in a hurry?

JUDGEThat is a question for me to decideMiss Pankhurst, not the witness.

CHRISTABELWould you say, Chanceller, that thisbill invited you to join us, to go,in a hurry, to the House of Commonsto make an eager demand for the vote?

47.

The CROWD laughs delightedly and even LLOYD GEORGE repressesa smile. The judge bangs his gavel irritably.

LLOYD GEORGEI could not possibly provide anopinion.

CHRISTABELIt appears Chancellor, that you havevery few opinions. Let us try andfind one.

She leans forward over her table.

CHRISTABEL (CONT'D)Do you think women should have thevote?

JUDGEMiss Pankhurst! There will be nograndstanding in my courtroom.

CHRISTABEL ignores him. She locks eyes with LLOYD GEORGEwhose calm never slips.

Beat

LLOYD GEORGEIt might interest you to know MissPankhurst that, in fact, I do.

GASPS. CHRISTABEL can't believe her luck. She recoversswiftly and tries to press home her advantage.

CHRISTABELWill you promise to give it to usbefore the end of this parliament?

LLOYD GEORGENo.

The courtroom erupts. WSPU MEMBERS are on their feet shoutingat LLOYD GEORGE but both he and CHRISTABEL seem oblivious,their eyes locked on one another.

JUDGEOrder! Order or you will all haveto leave.

CHRISTABELBefore the end of the next parliament?

LLOYD GEORGENo.

48.

The courtroom erupts again. The JUDGE bangs his gavelconstantly while turning a little puce in the face.

JUDGEI'm warning you. All of you.

CHRISTABELYou refuse to do this yet you believewe should have it?

LLOYD GEORGEPrecisely so. It's called politicsMiss Pankhurst.

EMMELINE stands in outrage.

EMMELINEYou are a man without princples sir!

MARGARET restrains her. LLOYD GEORGE smiles at CHRISTABELand raises his eyebrows slightly.

JUDGEI have had enough of this. No furtherquestions. This witness is dismissed.

LLOYD GEORGE nods, obviously amused at the ensuing scene hehas caused, and leaves as calmly as he entered while courtofficials struggle to restrain the CROWD. CHRISTABEL sitsback down, staring into space.

INT. COURT - LATER

JUDGEI am not convinced by the brazencase for the defence from MissPankhurst. ...I am in no doubt thatyou are all guilty of the charges asread. You seem to me to be a mostdetermined and persistent set ofoffenders and therefore any sentenceneeds to act as a deterrent. MrsMargaret Pethick-Lawrence, I sentenceyou to six weeks imprisonment. MissChristabel Pankhurst 10 weeksimprisonment. Mrs Emmeline Pankhurst,in your role as leader of this rally,I sentence you to three monthsimprisonment.

There is shock and anger amongst the CROWD at the length ofthe sentences. They begin to nosily protest. The JUDGEbangs his gavel.

49.

JUDGE (CONT'D)Case dismissed.

HENRY watches as the three women are led out of court. CHRISTABEL glances back, vulnerable for the first time.

INT. PRISON INTERVIEW ROOM- DAY

HENRY stares out of a small, barred window. He turns as thedoor opens and CHRISTABEL is led in by a big, beefy WARDRESS. CHRISTABEL'S hands are shackled and she wears grey prisondress with arrows on it.

WARDRESS (unshackling Christabel)10 minutes.

The door slams behind her. CHRISTABEL, rubs her wristspainfully. She has lost her confident attitude.

CHRISTABELAs you can see I have put on my mostattractive outfit.

HENRYIndeed. I never knew arrows couldbe such a fashionable accessory. Yet you never see them in themagazines.

CHRISTABEL attempts a smile and takes the CHAIR he draws outfor her. He sits opposite, scanning her face

HENRY (CONT'D)Is it very bad?

Her head jerks up slightly at his insight

CHRISTABELOh. Well. We are surviving. Motheris positively thriving in fact. Iswear she enjoys going to prison.

HENRYAnd you?

Beat

CHRISTABELI feel I have been buried alive.

She stands and paces the room.

CHRISTABEL (CONT'D)I hate not knowing what is going onin the world.

50.

HENRYWell there I hope to be of someservice. I have been given permissionto bring you today's papers.

He removes them from his bag and places them on the table. CHRISTABEL grabs at them greedily. She stops and looks atHENRY a little shyly.

CHRISTABELThank-you.

HENRYIt is entirely self-interested. There's a very interesting opinionpiece in the Daily News. Page 18.

She smiles and obediently opens the paper at the correctpage. After reading for a few minutes she lowers it slowly.

CHRISTABELI'm not sure I would class this asobjective or fair reportage MrNevinson.

HENRYI know. Terrible how journalisticstandards are slipping these days.

CHRISTABELShocking. One doesn't know what tobelieve.

Her spirit returned, they share a laughing glance before heleans forward and grabs her hand.

HENRYI believe it.

EXT. PRISON - DAY

The heavy brick walls loom with the hint of noise in thebackground.

INT. PRISON CELL - CONTINUOUS

CHRISTABEL sits on the floor of a dark and dank cell, apicture of misery. The noise resolves into distant singing.

INT. EMMELINE'S CELL - CONTINUOUS

EMMELINE stands four-square in the middle of her cell singingThe March of the Women (a song created for the suffragettes)in a strident alto. She conducts even though she is theonly one there.

51.

INT. OTHER CELLS - CONTINUOUS

All the WOMEN PRISONERS join in, singing with defiance.

INT. CHRISTABEL'S CELL - CONTINUOUS

CHRISTABEL alone is silent with her head bowed.

INT. CHRISTABEL'S CELL - NIGHT

CHRISTABEL is trying to sleep curled up against the cellwall. She becomes aware of a soft tapping on the other sideof the wall.

MARGARET (O.S.)Christabel?

CHRISTABEL sees a chink between one of the bricks but shecannot make anything out when she looks through it.

CHRISTABELMargaret?

INT. MARGARET'S CELL - CONTINUOUS

MARGARETHave you heard? Your mother hasgone on hunger strike until theyallow her to see you.

INT. CHRISTABEL'S CELL - CONTINUOUS

CHRISTABELOh.

She droops back down apathetically. A moment later thoughher head jerks back up and a soft exclamation escapes her.

CHRISTABEL (CONT'D)Mother, you're a genius.

INT. BALLROOM - EVENING

A large and opulent ballroom is decorated with a large bannerthat reads:

'Our heroic hungerstrikers'.

MEN and LADIES, dressed in expensive evening wear and jewels,cluster in front of a stage on which there is a BAND. Infront of the BAND, CHRISTABEL is making a speech- thinnerbut dressed elegantly in an velvet green dress. Green hasbecome her signature colour with some element of it in allher outfits.

52.

CHRISTABEL...and no, this is not some extremenew diet, as The Times cartoonisthas conjectured...although it is thefirst time I've been able to fitinto this dress...

Ripple of laughter around the room.

ANGLE ON

SYLVIA is standing at the back of the room, ungainly in herbrown evening dress. HENRY, choosing from the luxuriousbuffet, spies her and approaches with a plate of smoked salmonstill in his hand.

HENRYAre you alright?

She looks at him blankly.

SYLVIAAll this fuss because a few womenwent without food for a few days.

She looks towards the buffet with disgust.

SYLVIA (CONT'D)It's like a roman orgy. It couldfeed the poor of the East End for aweek. Starvation isn't a choice forthem.

HENRY blinks and surreptitiously puts down his plate.

SYLVIA (CONT'D)I'm sorry. I didn't meant to rant.

HENRY shakes his head soothingly, but with touch of wryness.

ANGLE ON

CHRISTABEL...make no mistake we will not bestopping our campaign of defiance. But we can only continue our strugglewith your generous support anddonations which are so important...

BACK TO SCENE

SYLVIAMy father used to say that if youdid not live your life to help others

(MORE)

53.

SYLVIA (CONT'D)you were not worth the upbringing. I used to think that's what we weredoing... But now... I just don'tknow anymore...The WSPU seems to bedominated by rich women who don'tcare about the poor.

HENRYSylvia you are helping others. Towin the vote for a woman, any woman,cannot but help all women.

SYLVIA gives HENRY a long look.

SYLVIAYou sound like Christabel.

She walks off.

INT. HALL - DAY

Graduation scene. STUDENTS, in single file and in graduationdress, walk up on stage to collect their certificates. SYLVIAwaits her turn and as she goes up the stairs, EMMELINE,CHRISTABEL, MARGARET, FREDERICK, FLORA and ANNIE applaudwildly in the crowd.

INT. HOTEL - DAY

ALL are enjoying an elegant afternoon tea. A waiter ispouring champagne and everyone is smiling. As the waiterleaves CHRISTABEL taps her glass.

CHRISTABELA toast! To my very talented sisterwho can now officially be called anartist!

EMMELINE & OTHERSHear, hear.

They all raise their glasses to SYLVIA who looks embarrassed.

EMMELINEYour father would be proud of you.

She smiles at SYLVIA fondly and takes her hand. FLORA, whohas taken a wary sip of champagne has decided that she quitelikes it and drains the glass.

FLORAThat's the stuff!

ANNIE leans forward shyly.

54.

ANNIEWhat will you do now Sylvia?

SYLVIA laughs.

SYLVIAI don't really know.

EMMELINEYou will become artist in chief forthe WSPU of course.

She hands around a plate of small, delicate cakes.

CHRISTABELShe already is...although you mayhave to find some paying commissionsas well.

FLORA stops just as she is about to bite into a cake.

FLORAWhy?

CHRISTABELIt's impossible for the WSPU to paySylvia anything.

EVERYONE stops short. CHRISTABEL sips her tea calmly.

MARGARETI'm sure it would be fine Christabel.

CHRISTABELNo it wouldn't. Mother and I arepaid as part of the executive. Tohave another Pankhurst on the payrollwould open us up to "family party"allegations.

EVERYONE looks uncomfortably at SYLVIA and then away. CHRISTABEL, who had assumed this must be obvious, seesSYLVIA's distress with surprise and then concern.

CHRISTABEL (CONT'D)You see that don't you Sylvie?

SYLIVAYes. Of course.

She keeps her eyes downcast however.

55.

CHRISTABELWe have so many rich and noble womenjoining our cause. They will allwant their portraits painted dressedin WSPU colours I'm sure. I willsubtly suggest it to them. You willend up being the richest of us all. You'll see.

MARGARETIndeed let me be the first to placea commission with you my dear.

EVERYONE smiles and returns to their tea, the awkwardnessstill hanging in the air.

INT. SMALL LONDON FLAT - LATER

The front door of a rather dingy and unappealing flat opensand SYLVIA enters.

She turns on a flickering electric light and canvasses andtheir looming shadows soon crowd the room. She distractedlyruns her fingers over the oil paints- Some are of womencampaigning for the vote with slogans written beneath, othersare those faces from the soup kitchen with large eyes thatstare out at her. Finally she comes to a small sketch ofher Father giving a speech. She picks it up and in doing soshe notices that in one of the flats opposite a young FATHERis playing with his CHILDREN who all squeal delightedly.

SYLVIA'S body sags against the window and tears spring toher eyes as she leans her face against the window panewatching this image of family bliss.

KNOCKING at the door.

INT. FRONT DOOR - CONTINUOUS

SYLVIA opens the door to KEIR who has a gift under his armand beams as she opens the door.

KEIRThere she is! The fully fledgedartist! Congratulations my dear.

He stops as he notices her woe-begone face.

KEIR (CONT'D)Why lass...what is it?

SYLVIAIt's nothing.

KEIR puts the gift down and takes her shoulders.

56.

KEIRIf there's one thing more than 50years of life has taught me it'sthat women never cry over nothing.

SYLVIA breaks down, sobbing against Keir's chest. He holdsher soothingly.

SYLVIAEverything feels wrong. I feel wrong.

She eventually recovers and pulls back, a little embarrassed.

KEIRWhat you need is a good meal andsome laughs. You girls are all fartoo serious. Always thought so. Come, clean up those pretty eyes andwe shall take you out.

SYLVIA smiles at him gratefully. She giggles a little as heshoos her to get ready.

INT. SMALL RESTAURANT - LATER

SYLVIA and KEIR are eating sausages and mash on a small tablecovered in a red, gingham table cloth. The restaurant isfull of working class men and women on a night out. A candleflickers between them, SYLVIA laughs hysterically as KEIRtells a cheeky anecdote.

EXT. BANKS OF THE THAMES - LATER

SYLVIA's hand is looped through KEIR'S arms and she iswatching the lights flicker on the water. She stops tobreathe in the beauty of it.

KEIRFeeling better?

SYLVIA returns his look with a smile.

SYLVIAYes.

Their eyes catch and sexual tension suddenly sparks. KEIRcatches himself and turns away but SYLVIA draws him backand, shocked at her own daring, kisses him.

A VERY YOUNG SYLVIA P.O.V. GARDEN - DAY

SYLIVADaddy why must we help the poor?

57.

YOUNG SYLVIA (10) is in the garden lying on her stomachdrawing. RICHARD is in a chair reading while YOUNG CHRISTABEL(12) sits in a tree threading daisies. The two youngerchildren chasing each other around the garden.

RICHARDBecause that is what it is to behuman. To love your fellow man, orwoman, is to care about their lives.

SYLIVAWhat is love?

CHRISTABEL snorts.

CHRISTABELA fairy tale.

RICHARD looks at his eldest daughter for a moment.

RICHARDYes. All love is a wonder. And oneday you will fall deeply in lovewith someone as I did with yourMother. When you discover they loveyou in return...as your sister says,it is a fairy tale.

DISSOLVE TO:

INT. LIVING ROOM - EVENING

EMMELINEI never wanted to marry your father.

Tea is being served. KEIR, SYLVIA, EMMELINE, MARGARET,FREDERICK and CHRISTABEL are there. CHRISTABEL and FREDERICKare looking through a document together and CHRISTABEL nodsand then leaves the room.

SYLVIA looks taken aback.

EMMELINE (CONT'D)Oh don't look so horrified my dear. Don't you remember Keir?

KEIR chuckles at the memory

EMMELINE (CONT'D)I wanted to make a political statementagainst the establishment. I wasvery firmly fixed on living in sinas my duty to the Labour Party.

General laughter.

58.

EMMELINE (CONT'D)But your father wouldn't hear of it. He said it would be hardest for ourchildren.

She smiles tenderly at SYLVIA. A shadow crosses KEIR'S face. He rises.

KEIRI must be going I'm afraid.

EMMELINEOh what a shame. Back to Scotland? Do give my love to Lilly when yousee her.

KEIR looks uncomfortable. SYLVIA quickly rises.

SYLVIAI'll see you out.

INT. HALL - CONTINUOUS

KEIR avoids SYLVIA's eye as she helps him with his jacket. She grabs his arm urgently.

SYLVIAWhen are you coming back?

KEIR doesn't respond.

SYLVIA (CONT'D)Why don't you look at me?

KEIR finally looks up with the desperate look of a moral mantorn in two.

KEIRYour father was my great friend.

SYLVIA, now understanding, puts her hand up to his cheek.

SYLVIAI don't think he would mind if heknew how happy you make me.

SYLVIA now takes one of his hands and raises it to her cheekbefore kissing it. KEIR finally gives in and caresses hercheek before kissing her on the lips. He leaves quickly.

SYLVIA closes the door and turns- to see CHRISTABEL on thestairs staring at her.

Long beat.

59.

The inhabitants of the living room intrude upon the scene.

FREDERICK (O.S.)Well I think I might be off to bed.

CHRISTABEL glances towards the living room and back at SYLVIA.

CHRISTABELYou better come to my room.

INT. CHRISTABEL'S ROOM - LATER

CHRISTABEL is pacing the room when SYLVIA gingerly enters. She whirls on her.

CHRISTABELWhat on earth was that?

SYLVIA cringes slightly in the face of CHRISTABEL'S wrath.

CHRISTABEL (CONT'D)Keir? Keir? It's too...repulsive!

SYLVIADon't say that.

CHRISTABELI suppose I shouldn't be surprised;not since father died.

SYLVIAThat's not what this is. I loveKeir and he loves me.

CHRISTABELDon't be ridiculous. It'sinconceivable. Do you know whatMother will do if she finds out.

SYLVIA's defiance wilts a little. Another thought hasoccurred to CHRISTABEL.

CHRISTABEL (CONT'D)What if the papers find out? Wewill be ruined. The campaign willdisintegrate.

She whirls on SYLVIA.

CHRISTABEL (CONT'D)You must end it. Now.

SYLVIANo. Please. He makes me so happy.

60.

CHRISTABEL advances on her until SYLVIA's back is up againstthe wall.

CHRISTABELHe's married...with children. Yousay I'm trying to ruin the Party-you would destroy him and it.

SYLVIA looks guilt-stricken under the force of CHRISTABEL'Sargument. CHRISTABEL senses she is weakening. She takesSYLVIA'S arms and speaks more urgently.

CHRISTABEL (CONT'D)No happiness can ever come from this. You must...you have to give him up,for his sake as well as yours.

Tears well up in SYLVIA'S eyes and although she shakes herhead it is clear she is breaking. She begins to sob.

CHRISTABEL puts her arms around her comfortingly.

In the distance a doorbell RINGS.

Beat

Sound of running FOOTSTEPS and then a TAP at Christabel'sdoor. SYLVIA recovers herself slightly and sits in a chairdowncast as CHRISTABEL opens the door. MARGARET is on theother side holding a note.

MARGARETMy dear. We've just had a messagefrom Holloway. It's thehungerstrikers. They are feedingthem...by force!

INT. PRISON CELL - DAY

ANNIE is screaming and struggling as four WARDRESSES dragher to a chair in the middle of a cell and tie her to it. They clamp her FACE, tip her back on the CHAIR and force herMOUTH open. She attempts to bite a FINGER and is SLAPPEDacross the mouth.

A DOCTOR approaches and forces a TUBE through her NOSTRILuntil it reaches the back of her throat. LIQUID is pumpedthrough the tube.

ANNIE gags and gasps for air, almost drowning. The TUBE ispulled back roughly. She vomits all over herself. TheWARDRESSES untie her and she collapses onto the groundretching and sobbing for air.

61.

INT. HENRY'S HOUSE - LATER

Furious KNOCKING on a front door. A SERVANT moves unhurriedlyto open it. CHRISTABEL pushes past him unceremoniously.

CHRISTABELI wish to speak to Mr Nevinson, now.

HENRY, his attention caught by the sound, appears at thedoorway to his library.

HENRYThank-you Jefferies.

After a rather interested look at CHRISTABEL and then HENRY,the SERVANT (JEFFERIES) walks off reluctantly. CHRISTABELbrandishes the newspaper.

CHRISTABELWho wrote this? Did you know of it?

With a warning look at the slowly retreating SERVANT, HENRYmotions CHRISTABEL into the library and closes the door behindthem. He looks weary.

INT. HENRY'S LIBRARY - CONTINUOUS

HENRYYou are referring to the editorial.

CHRISTABEL'Looked at objectively there is somejustification in the government'smove to forcibly feed these women'!?!

HENRYThat's why I resigned from the DailyNews last night.

He moves past her and continues packing the suitcase thatlies open upon on his desk. CHRISTABEL is taken aback.

CHRISTABELResigned?

HENRYA letter will appear in the Timesexplaining that I am unable todenounce torture in Russia yet condoneit here in England.

CHRISTABELOh.

She unconsciously sits down to take it in.

62.

CHRISTABEL (CONT'D)What will you do?

HENRYI'm going up north. The ManchesterGuardian has offered me some work.

CHRISTABELOh.

Beat.

CHRISTABEL (CONT'D)How long will you be away?

HENRYI don't know. It has been made clearto me that people think I have beengetting a bit too close to your cause.

Long beat.

CHRISTABELWhat do you think?

He looks up and their eyes connect.

Beat.

HENRYI think they are probably right.

CHRISTABEL looks away in confusion.

HENRY (CONT'D)You had better leave now. My wifeis away for the week and I'm afraidI have rather busy neighbours.

CHRISTABEL stands, blushing but defiant.

CHRISTABELWhat if I don't wish to go?

Tentatively CHRISTABEL touches his hand on the desk. Herbreathing is ragged as she slowly brings her eyes up to lookat his. He looks at her questioningly and then tenderly ashe takes her hand in his own.

INT. BEDROOM - EVENING

ANNIE is lying in a bed, thin and gaunt and very weak. FLORAholds her hand while SYLVIA attempts to feed her gruel.

63.

The door opens and CHRISTABEL enters. ANNIE smiles weakly. SYLVIA does not look at her sister.

CHRISTABELOh my poor Annie.

ANNIE clears her throat painfully.

ANNIEI didn't give in. They had to letme go.

CHRISTABELYou did terrifically well.

Tears well up in ANNIE'S eyes at this commendation.

FLORAI have to admit, I never thought shewas made of such stuff.

SYLVIAAnnie, you need to eat.

ANNIE'S eyes are fixed on CHRISTABEL'S face

ANNIEYou won't go?

CHRISTABELI won't leave you.

INT. BEDROOM - LATER

ANNIE is sleeping and FLORA leaves the room with the bowl. SYLVIA finally lets ANNIE'S hand go and stands to faceCHRISTABEL at the foot of the bed.

SYLVIA (low voice)Ten times they force-fed her. Shecannot go through it again.

CHRISTABELIf she does it will be of her ownfree will.

SYLVIAWe've been hungerstriking for monthsnow and the government shows no signof giving us the vote, instead theytorture us.

The criticism hits a nerve. CHRISTABEL stiffens.

64.

SYLVIA (CONT'D)Why don't we join forces with theLabour Party? To achieve the votefor all men and women. You couldconvince the doubters, I know it.

CHRISTABELDoes this mean you haven't endedyour affair with Keir?

SYLVIA looks away.

DISSOLVE TO:

KEIR (V.O.)My darling, I've known for a longtime that I am no good for you. Ihave been living an April dream. I'm a tired old man in a tired body. You are young, lovely and talented.

SYLVIADon't say these things!

INT. ANNIE'S BEDROOM - CONTINUOUS

SYLVIA has a bitter look on her face.

SYLVIAI didn't need to.

CHRISTABEL nods.

CHRISTABELThen I want no more talk of this. We continue hunger-striking.

SYLVIAWhere will it end? Does someonehave to die?

Beat.

CHRISTABELOf course not.

The silence was a bit too long, her tone a bit too insincere. SYLVIA looks at CHRISTABEL with horror and whips away, runningout of the room. CHRISTABEL sighs and follows her slowly.

As the door closes, ANNIE'S eyes open- fully awake.

65.

INT. CLEMENTS INN- WSPU OFFICE - DAY

HENRY walks through the office waving and greeting all ofthe girls working there. He is followed by giggles andadmiring glances.

Only ANNIE, still looking ill and weak, gives him a sourlook. SYLVIA is absorbed in a drawing.

INT. CHRISTABEL'S OFFICE - CONTINUOUS

CHRISTABEL's desk is piled with papers and folders. She islooking out of the window distractedly when HENRY appears.

HENRYIt is a beautiful day. And you arefar too beautiful to be hidden awayfrom it.

CHRISTABEL smiles delightedly.

CHRISTABELYou're back! Oh, but I have far toomuch to do.

HENRYVery poor excuse. I can't possiblyaccept it. Besides, exercise clearsthe head. You will be a well-oiledmachine when you return.

CHRISTABEL laughs and gives in.

INT. CLEMENTS INN OFFICES - CONTINUOUS

As they leave SYLVIA finally looks up, just in time to seeCHRISTABEL'S face as she looks up into HENRY'S. An arrestedexpression enters her face as she watches them go.

EXT. PARK - LATER

Dressed up in winter coats, HENRY and CHRISTABEL walk arm inarm through Green Park, laughing and talking animatedlytogether.

INT. CLEMENTS INN- CHRISTABEL'S OFFICE - LATER

CHRISTABEL is back at her desk but still failing to do anywork. FLORA bustles in with a pile of paperwork which shedumps in front of CHRISTABEL.

FLORABetter get yer back into it- thatlot needs to be done by tonightapparently.

66.

ANNIE follows with another pile which she puts down gently. CHRISTABEL looks at both piles unenthusiastically.

ANNIEI told Mr Nevinson you didn't havetime for a walk but he doesn't listen.

CHRISTABEL (smiling to herself)No. He's very determined that way.

ANNIE stalks out, slamming the door behind her much to FLORA'Sbemusement who is following and has to open it again.

SYLVIA passes her in the doorway and CHRISTABEL'S dreamyexpression disappears. She starts busying herself withpaperwork.

SYLVIADid you have a nice afternoon?

CHRISTABEL does not look up.

CHRISTABELI did, thank-you.

SYLVIAFunny how you are allowed to be happywhen I am not.

CHRISTABELDon't be ridiculous. Henry and Iare just friends. I can speak tohim freely.

SYLVIAYou cannot do that with the rest ofyour family?

CHRISTABEL looks away

CHRISTABELIt's different.

SYLVIAYou're in love with him.

CHRISTABEL rolls her eyes but still does not look at hersister directly

SYLVIA (CONT'D)Even if you don't know it yourself. But when you do...I wonder if youwill be able to give him up as youthink it so easy to do?

67.

She stalks out leaving CHRISTABEL uncomfortable. She triesto work but after a moment throws her pen down in irritation.

INT. NATIONAL GALLERY - DAY

CHRISTABEL and HENRY are wandering around the gallery arm inarm but CHRISTABEL is preoccupied.

HENRYDo you know a girl called Christabel? I swear she was here with me a minuteago but she seems to have disappeared.

CHRISTABELSorry. A lot on my mind.

HENRYCampaign not going to plan?

CHRISTABELI never thought it would take thislong. And the truth is I'm not surewhere to go from here. We have somany women hungerstriking and beingforce fed that we don't have enoughto heckle ministers at by-elections. The troops are growing weak and I'mrunning out of ideas.

HENRYPerhaps Uncle Henry has a solution.

INT. CLEMENTS INN OFFICES - DAY

CHRISTABEL, FREDERICK, EMMELINE, SYLVIA and MARGARET all sitaround a table having a meeting. CHRISTABEL is reading froma document.

CHRISTABELIt will be called 'the conciliationbill'. It grants women the vote onthe same terms as men which means noworking class women would be eligible. The government has promised itssupport in exchange for a six monthtruce, starting immediately.

She looks up to see the effect of her words on her audience. FREDERICK and MARGARET look at each other doubtfully.

SYLVIACut out working women? But they arethe ones who most need the vote!

68.

MARGARETCan we really afford to lose oursupport amongst working class women?

CHRISTABELThe reality is that no government isgoing to give working women the votewhen working men do not have it.

SYLVIA stands impatiently.

SYLVIASo why do we not campaign for allpeople to have the vote?

CHRISTABELBecause that would take another 20years. We need the vote now, anideal world can come later.

SYLVIA is about to hotly reply when her mother's inflexibletones interrupt.

EMMELINEIt is out of the question to acceptthis proposal

EVERYONE turns to look at her.

EMMELINE (CONT'D)A six month truce will cover thecoronation.

CHRISTABELYes.

EMMELINEImpossible.

CHRISTABELMother, the coronation is the greatestlever we have. The government isdesperate for it to go smoothly. This may be our only chance to getlegislation in place this year.

EMMELINEExactly! The next session ofparliament does not start until afterthe coronation. We have no guaranteesthis government will keep their sideof the bargain.

CHRISTABEL pushes a pile of newspapers forward.

69.

CHRISTABELI'm not sure we have any choice. Weare running out of troops.

On the top is a headline:

All suffragettes to get six month minimum sentences.

EMMELINEThen we recruit more.

CHRISTABELMother you're not listening. Henrysays we must prove to the public andthe government that we are capableof peace as well as militancy.

EMMELINE stands haughtily.

EMMELINEMr Nevinson's opinion is of morevalue than your own mother's?

Beat.

Everyone looks uncomfortable. CHRISTABEL looks away.

EMMELINE (CONT'D)My daughter, your youth and energyand cleverness have inspired us all. You have made your Mother very proud. But I have had more years at thisgame than you or Mr Nevinson. I tellyou this government cannot be trusted.

Beat.

CHRISTABEL does not look at her mother. She shuffles papersin the awkward silence. EMMELINE is deeply hurt.

EMMELINE (CONT'D)But, my opinion is obviously notwanted.

She stalks out of the room quickly followed by SYLVIA. CHRISTABEL watches them go, biting her lip distractedly.

CHRISTABELI admit I don't trust Lloyd-George. But Henry has 80 MP's on side already.

FREDERICKI think it's our best chance yet.

70.

MARGARET nods in assent. There is silence as everyone mullson the past exchange

MARGARETPerhaps we could put on a peacefulmarch the day before the coronation-as a reminder to the government?

INT. METHODIST HALL, CENTRAL LONDON - DAY

Thousands of women mill in the main circular hall. Some aredressed in the uniforms of their professions including nurses,academics, mill workers in clogs and shawls etc Thespectacular high domed roof magnifies the noise.

MARGARET is busily organising the women into variousdivisions.

At the front entrance of the hall A WOMAN appears carrying asuitcase and dressed unfashionably. She is small and a bitfrumpy. She looks around at the crowd with wonder and putsher suitcase down.

SYLVIA, busily helping some of the mill worker girls withtheir sashes, stops in surprise when she sees her but thenruns towards her eagerly.

SYLVIAAunt Mary!

THE WOMAN/AUNT MARY turns and beams in return.

SYLVIA (CONT'D)What are you doing here?

They embrace affectionately.

SYLVIA (CONT'D)Let me find Mother. She'll be sopleased.

INT. CADOGAN HALL - MOMENTS LATER

CHRISTABEL and EMMELINE are having a rather heated debatebut in hushed tones to one side of the milling crowd

CHRISTABELAll I'm asking is that you don't dowhat you always do....

EMMELINEWhat is that supposed to mean?

EMMELINE suddenly catches sight of AUNT MARY and she breaksoff and moves towards her sister.

71.

EMMELINE (CONT'D)Mary?

They embrace more gracefully but still affectionately.

EMMELINE (CONT'D)Why did you not write and tell meyou were coming?

AUNT MARYI didn't know until this morning!

She looks at her suitcase which SYLVIA is now holding. Itssignificance sobers everyone a little.

AUNTY MARYI've left. He doesn't know.

CHRISTABEL exchanges a glance with SYLVIA, both concerned. EMMELINE is delighted.

EMMELINEI'm so glad.

They embrace again.

AUNT MARYCan I join you? It all seemstremendously exciting.

EMMELINEYou shall walk with me at the headof the procession.

They walk off arm-in-arm. CHRISTABEL and SYLVIA draw togetherwatching them go.

SYLVIADo you think he'll come after her?

CHRISTABELHe's bound to. You know how vicioushe is. We will have to find somewherefor her to hide.

SYLVIA nods.

SYLVIAWill you march with them at the front?

CHRISTABEL does not look at SYLVIA.

CHRISTABELNo. Not today. Mother will lead.

72.

SYLVIA is surprised but CHRISTABEL walks off before she canask any questions.

EMMELINE and AUNT MARY step up onto the stage. Order hasmiraculously made neat, military-style divisions of the crowd.

EMMELINE waits for perfect silence.

EMMELINEWe have been peaceful and restrainedfor six months. We have kept ourpromise. Today we remind thegovernment of theirs.

CHEERING. EMMELINE again waits again for silence.

EMMELINE (CONT'D)Ladies. Let us march on parliament.

Wild CHEERING. EMMELINE, followed by an awe-struck AUNTMARY, descends from the stage majestically. The CROWD partsbefore her and she moves gracefully out of the hall.

She is followed with military precision by the rest of thecrowd until only CHRISTABEL and FREDERICK are left in thesilent hall on their own.

EXT. LONDON STREET - MOMENTS LATER

As the women make their way towards parliament house numerousmotorised POLICE VANS appear from the other direction.

ANGLE ON

The vans pull up and hundreds of BOBBIES emerge, assemblinginto a police cordon swiftly.

BACK TO SCENE

The women sing "The March of the Women". As they get closerone of the EAST END SUFFRAGETTES taps SYLVIA on the shoulder.

EAST END SUFFRAGETTEEre, Miss Sylvie. I don't like thelook o this. That there is Tom O'Flanagan...a right nasty piece ofwork

SYLVIAYou know the policeman?

A woman beside the first EAST END SUFFRAGETTE also has herattention caught

73.

2ND EAST END SUFFRAGETTEThey've brought in East End coppers. That's Mick Wanstead over there. And Jack Griffiths.

SYLVIAWhy would they do that?

She looks back at the police cordon confused. As she watchesthe POLICE SERGEANT steps up to meet EMMELINE at the head ofthe march

SEARGEANTThis procession is an illegalgathering. By the order of HisMajesty you will now disperse.

EMMELINEWe march peacefully. We offer noviolence. We are within our rights.

SEARGEANTI say what's the law. Take her.

TWO POLICEMAN detach themselves from the cordon and pickEMMELINE up bodily, clamping her arms by her side.

At this signal the rest of the POLICE charge into the MARCHINGWOMEN, laying about them with truncheons. As she is carriedaway EMMELINE is indomitable.

EMMELINEWe will not be intimidated. We willnot show fear.

AUNT MARY rushes forward to try and save her sister. She ishit across the face and crumples to the ground unconscious.

ANGLE ON

SYLVIA is frozen. But as her aunt falls she rushes into thefray.

SYLVIANo!

A SWARTHY POLICEMAN grabs MARGARET from behind and leersinto her ear.

SWARTHY POLICEMANYou a fine looking woman. What youneeds is a right good fuck, eh.

MARGARET wrenches herself free.

74.

MARGARETI'm already very well satisfied thank-you.

She gives him a stinging slap across the face. He holds hischeek and an ugly look enters his face. MARGARET shows thefirst signs of fear as he gets a better grip on his truncheon. He is suddenly joined by another TWO POLICEMEN. She is hitto the ground and kicked by them all until she is leftbleeding.

Elsewhere GRLS are being dragged off into alleys and sexuallyassaulted by POLICE and others are being beaten and attacked.

EXT. LONDON STREET - LATER

DOORS are slammed shut on motorised police and driven offleaving behind a street strewn with women battered andbruised, as if in some medieval battlefield.

Onto this scene arrive a panting CHRISTABEL and FREDERICKwho are brought up short at the sight of the carnage.

FREDERICKMargaret. Margaret!

He starts searching frantically. CHRISTABEL is transfixedin horror.

INT. CLEMENTS INN SITTING ROOM - NIGHT

HENRY stands in the room, hat in hand watching a clock tickmonotonously. The DOOR opens and CHRISTABEL enters, paleand tired. HENRY catches her hands in his.

HENRYHow are you?

She whips her hands away impatiently.

CHRISTABELI'm fine. Aunt Mary on the otherhand could die tonight the doctortells us.

HENRYI'm so sorry

CHRISTABELThey had no right. No right! Itwas a peaceful march. Lloyd Georgewill regret this day's work.

She starts pacing the room.

75.

HENRYI'll swear he didn't know. He wentdown himself to order the release ofyour mother and sister. He said itshould not have happened.

CHRISTABELOh? They were only supposed to beatthem, not arrest them? They broughtin East End police Henry.

HENRY grabs her arms to stop her.

HENRYLloyd-George has promised a governmentinquiry. It will turn out to besome over-eager police inspector whofelt women needed a lesson.

CHRISTABEL calms down a bit.

HENRY (CONT'D)Don't do anything rash. Wait untilafter the coronation and the fate ofthe conciliation bill is known.

Beat.

CHRISTABEL looks unconvinced.

HENRY (CONT'D)If you spoil the coronation the Kingwill work against you ever gettingthe vote. You will have given thegovernment what they want.

CHRISTABEL bites her lip.

CHRISTABELMother is so angry. What if she'sright? I've let them trick us. I've done this to Aunty Mary. Itwill be my fault if she dies.

HENRY puts his arms around her forcefully, calming heragitation.

HENRYIt's not your fault. Don't let yourMother make you think that.

CRISTABELI'm so tired.

She buries her head into his chest.

76.

EXT. CORONATION DAY- DAY

London's streets are filled with CHEERING CROWDS waving FLAGSand HANKERCHIEFS as the GILT CARRIAGE carrying the soon-to-be George V passes by.

INT. CLEMENTS INN SITTING ROOM - CONTINUOUS

CHRISTABEL stands at a window dressed in black watching thecrowds and the bands marching past. EMMELINE, also in black,appears in the doorway behind.

EMMELINEAre you ready? The hearse is leaving.

CHRISTABEL turns. EMMELINE is straight backed and rigid. Behind her SYLVIA is weeping.

She nods. Putting on her black gloves she follows her mothermeekly out of the room.

INT. HOUSE OF COMMONS - DAY

The public gallery is filled with SUFFRAGETTES all dressedin severe black. In the front row sits EMMELINE, CHRISTABEL,SYLVIA, MARGARET and EVELYN. HENRY arrives at last andCHRISTABEL gives him a brief, uncertain glance. He smilesat her encouragingly.

ANGLE ON

KEIR is on his feet, addressing the house of commons.

KEIR...there can no longer be anyprevarication from this government. Entitling women to the same rightsas men is centuries overdue. I urgethe house to support this bill.

There is muted applause as KEIR sits. Some of his own membersresolutely refuse to clap.

SPEAKERThe right honorable chancellor MrLloyd George.

As he stands LLOYD GEORGE looks very deliberately up at thepublic gallery before he takes his position at the rostrum. CHRISTABEL narrows her eyes suspiciously.

LLOYD GEORGEI understand the good and honorableintentions of all those who have

(MORE)

77.

LLOYD GEORGE (CONT'D)brought forward this bill. I thankthem for their efforts. But thisproposal is ill-conceived and canonly ever stand as a temporarymeasure. The government would takea wider view. And so I announcetoday the introduction of a universalmanhood suffrage bill which will seeall working men entitled to a vote.

The COMMON'S explodes. The LABOUR MP's are on their feetcheering wildly. The TORY MP's shout and gesture angrily. KEIR, looks singularly alone and miserable and he looks upat the public gallery, distressed. LLOYD GEORGE rises aboveit calmly.

LLOYD GEORGE (CONT'D)The bill will be drawn up in such amanner to enable universal femalesuffrage at a later, unspecifieddate, when circumstances andlegislative opportunity presentsitself.

ANGLE ON

The SUFFRAGETTES, except CHRISTABEL, are on their feetshouting. HENRY, after a disbelieving look at what ishappening on the floor, never takes his eyes off her. EMMELINE too turns to look at her accusingly.

EMMELINEWe are betrayed.

CHRISTABEL is frozen to her chair. LLOYD GEORGE, returns tohis seat and this time there is no mistaking his mocking nodtowards her.

CHRISTABEL's face hardens. She stands quickly. Immediatelythe SUFFRAGETTES are silent.

Long beat.

CHRISTABELThis means war.

She turns and sweeps past HENRY without a second glancefollowed by a satisfied EMMELINE and the rest of theSUFFRAGETTES.

INT. CLEMENTS INN OFFICES - DAY

Hive of activity. BLINDS are drawn over the windows and theELECTRIC LIGHTS are on. WOMEN run to and fro.

78.

On the tables a large collection of weapons including HAMMERSand STONES are being amassed.

KNOCK at the door.

EVELYN lifts a corner of the blind. She opens the doorquickly with a coy smile

EVELYNHello Mr Nevinson.

HENRY enters and looks around, disturbed.

EVELYN (CONT'D)It's the new campaign. Top Secret.

INT. CHRISTABEL'S OFFICE - CONTINUOUS

CHRISTABEL is sorting through papers. Across her desk SYLVIAchallenges her.

SYLVIAThe government has offered universalsuffrage. Surely that is our ultimategoal?

CHRISTABELDon't be naive.

SYLVIABut shouldn't we at least...

CHRISTABEL loses her temper.

CHRISTABELWho's in charge here? You or me?

SYLVIA is silenced.

CHRISTABEL (CONT'D)I'll thank you not to forget it.

HENRY appears in the doorway.

CHRISTABEL (snaps) (CONT'D)What are you doing here?

SYLVIA looks from one to the other and silently leaves.

HENRYStonethrowing will rob you ofeverything you've achieved.

79.

CHRISTABELOh I think your wonderful conciliationbill has already done that.

HENRYI know it didn't go to plan todaybut you will regret this.

CHRISTABEL stops and raises her eyebrows at him dangerously.

CHRISTABELThere are plenty of things I alreadyregret, thank-you.

HENRYI know you're angry...

He tries to take her hand but she pulls away from himfuriously.

CHRISTABELGo back to your wife Henry. I havework to do.

He stares at CHRISTABEL. She turns her back on him, returningto her papers. After a long moment he leaves without a word.

Beat.

CHRISTABEL attempts to calmly sit down on her chair. A spasmof frustration consumes her and she rips the document she'sholding to shreds.

CHRISTABEL (CONT'D)Damn you. Damn you all to hell.

EXT. OXFORD CIRCUS - MORNING

Dawn. MUFFLED FIGURES dart furtively along the desertedstreets in front of SHOP WINDOWS.

LAMP LIGHTERS, extinguishing the gas lamps along the street,look at them curiously.

EMMELINE and MARGARET remove their hoods and check to seeeveryone is assembled.

MARGARET blows on a whistle.

EMMELINE removes A HAMMER from under her cloak with a flourishand smashes the shop window dramatically.

The rest of THE MUFFLED FIGURES follow suit and the sound ofsmashing glass echoes up and down the surrounding streets.

80.

MONTAGE

All over London WOMEN smash SHOP WINDOWS, CAR WINDOWS, andSTREETLAMPS with STONES, HAMMERS, and PLANKS OF WOOD.

INT. CLEMENTS INN OFFICES - LATER

SYLVIAI will not do something I don'tbelieve in!

SYLVIA and CHRISTABEL are in the now empty Clements Innoffices.

CHRISTABEL sighs with exasperation.

CHRISTABELFine.

She walks towards her office but is followed by SYLVIA.

SYLVIAFather would never agree with what we are doing. He was againstviolence.

CHRISTABEL whirls on her.

CHRISTABELWhy do you insist on putting Fatheron a pedestal? He was no god, hewas a man. Just a man.

Suddenly ANNIE runs through the front door, dishevelled andstruggling for breath.

ANNIEChristabel! They have arrested yourmother and Mrs Pethick-Lawrence onsomething called sed...sedition.

SYLVIA and CHRISTABEL stare at her in shock.

ANNIE (CONT'D)And they're comin' for you. Now.

SYLVIA (horrified)Sedition is a hanging offence.

CHRISTABEL is already pacing, thoughts running through herhead like wildfire.

CHRISTABELI can't let them arrest me. Butwhere...where can I go?

81.

ANNIEStay with me. No one would findyou.

CHRISTABEL gives ANNIE a brilliant smile.

CHRISTABELPerfect. Thank-you Annie. I mustpack. You destroy any documentsrelating to the campaign.

ANNIE, now radiantly happy, nods vigorously and startsgathering up piles of folders and papers.

CHRISTABEL turns to run upstairs but SYLVIA stops her.

SYLVIAYou're leaving mother to face thison her own?

CHRISTABELIt would be a disaster for us all toget arrested.

SYLVIAShe will die for you if you let her.

CHRISTABEL sighs impatiently at the look on her sister'sface.

CHRISTABELThey are unlikely to hang anybody

She shoves past SYLVIA and runs upstairs.

EXT. STREET OUTSIDE CLEMENT'S INN OFFICES - MOMENTS LATER

ANNIE and a heavily veiled CHRISTABEL emerge cautiously fromthe front door. Looking around furtively they cross thestreet and disappear quickly around the corner.

Within seconds a POLICE VAN screeches around the oppositestreet corner and pulls up in front of the offices.

As the POLICEMEN beat on the front door, SYLVIA stands atthe window, motionless.

INT. HOLLOWAY PRISON - DAY

A gate clangs and two white coated DOCTORS, carryinginstruments for force feeding, and a WARDRESS march along along corridor lined with cells. They reach the last celland stop.

82.

INT. PARLIAMENT HOUSE, COMMONS LOBBY - DAY

SYLVIA accompanied by an uncertain looking FLORA is grabbingMP's as they walk past.

SYLVIAPlease. Help free my mother. Please.

They all avoid her or remove her clinging hands from theirovercoats as if she were diseased. SYLVIA looks increasinglydesperate and teary.

INT. HOLLOWAY PRISON - CONTINUOUS

The WARDRESS unlocks the gate. As it swings open a PLATE OFSOUP flies past her ear and narrowly misses the doctors. They exchange a worried look.

INT. CELL - CONTINUOUS

EMMELINE stands at the back of the cell, a caged tigress. As the bullish WARDRESS steps inside EMMELINE picks up herPANNEKIN of water and throws it also. Although it missesits mark the WARDRESS is drenched.

WARDRESS (gritted teeth)I've had just about enough of youMrs High and Mighty.

EMMELINE watches her warily.

Beat.

EMMELINE races for the chamber pot and holds it aloft.

EMMELINEIt's full.

THE WARDRESS can hear it sloshing. She stops.

Beat.

The WARDRESS weighs her up.

WARDRESS (yells)Guards! Reinforcements in cell nine!

EMMELINE addresses the DOCTORS.

EMMELINEIf you do this the women will riotin the streets. The government willpretend they never gave the order.

83.

WARDRESSGuards!

The DOCTORS look at each other again doubtfully. Anothershake of the chamberpot sees the end of their meagre courage.

DOCTOROh let her starve herself to death.

They back up out of the cell.

DOCTOR (CONT'D)If we're lucky they might even hangher and that'll be the end of it.

The WARDRESS reluctantly follows them with a last, viciouslook at EMMELINE. The GATE clangs shut. EMMELINE sinks tothe floor as her knees give way.

DISSOLVE TO:

EXT- HOLLOWAY - DAY

Outside of Holloway prison SYLVIA lies on a stretcher,throwing up bile having gone on hungerstrike. FLORA attendsto her. Surrounding them is a CORDON OF WOMEN with linkedarms who hold placards that read:

"Release Mrs Pankhurst"

FLORAYou can't keep this up much longer.

SYLVIAI have to.

INT. HOLLOWAY PRISON - EMMELINE'S CELL- LATER

Inside the prison EMMELINE lies on her pallet, gaunt with aplate of untouched food and water next to her. In aneighbouring cells tough-looking fellow female inmates lookon worriedly.

EXT. HOLLOWAY PRISON - LATER

SYLVIA looks equally close to deaths door. FLORA holds herhand anxiously. A HORSE AND CART pulls up on the street andKEIR gets out forcing his way through the cordon. He kneelsdown beside SYLVIA.

KEIRIt's over. They are releasing yourmother today.

84.

Tears begin to stream down SYLVIA'S face and KEIR gathersher into his arms and walks back to the cart carrying her.

INT. BEDROOM - NIGHT

A different but equally sparse bedroom. CHRISTABEL and ANNIEare lying in a small bed together asleep.

ANNIE opens her eyes and sits up on her elbow to look atCHRISTABEL. She watches her rhythmic breathing for a momentand stretches out her hand to touch her face but fails atthe last minute.

Instead she kisses the back of CHRISTABEL's shoulder. Shelies back down and watches CHRISTABEL breathe.

INT. EMMELINE'S ROOM - NIGHT

EMMELINE is sitting up in bed, gaunt, but eager and watchingthe door. SYLVIA, equally gaunt, sits in a chair watchingher worriedly. There is a NOISE outside and it opensrevealing MARGARET and FREDERICK.

The disappointment on EMMELINE'S face is clear.

MARGARET moves towards EMMELINE holding out her hands.

MARGARETOh my dear Emmeline. You look sopale and thin.

She kisses EMMELINE on the cheek.

EMMELINEMargaret, you look positively well.

MARGARET laughs.

MARGARETYes well that's what an enforcedholiday to Canada does for you.

EMMELINEThe fiends seized all your assets?

FREDERICK takes a chair beside the bed and nods.

FREDERICKWe took all the portable goods butmy bank manager is no longer my friendI fear.

EMMELINEOh I'm so sorry, my dear friends.

85.

A second NOISE outside. EMMELINE drops MARGARET'S hand inher eagerness to see who it is.

SYLVIA obediently opens the door and another heavily cloakedfigure enters the room. It is CHRISTABEL, with ANNIEfollowing closely at her heels.

EMMELINE claps her hands with pleasure.

EMMELINE (CONT'D)Oh you have come at last!

CHRISTABEL kisses her mother calmly on both cheeks.

CHRISTABELHello Mother. I'm sorry I could notcontact you before. Margaret.Frederick.

She embraces them both.

CHRISTABEL (CONT'D)Life has been somewhat cloak anddagger. Very exciting but makesplanning a campaign difficult.

SYLVIA opens the door to FLORA who enters with steaming mugsof coffee and lays them down on a nearby table before handingthem out.

FLORAThere you go. I've added a bit ofScotsman to warm yer all up.

She winks at FREDERICK who grins delightedly and takes aneager sip. FLORA looks at ANNIE.

FLORA (CONT'D)You look like you could do with agood feed an all scarecrow.

ANNIE shakes her head resolutely.

CHRISTABELGo Annie. I know you must be hungry. I'll be down soon.

ANNIE reluctantly follows FLORA out of the room. CHRISTABELwatches the door close before she begins.

CHRISTABEL (CONT'D)Well now we're all here finally. Iwant to unveil the next stage of ourcampaign.

86.

MARGARET and FREDERICK look at each other, uncertain. EMMELINE is unable to take her eyes off her daughter. CHRISTABEL takes out a sheaf of papers and places them onthe end of the bed. SYLVIA returns to her seat slowly.

FREDERICK picks one up and reads it frowningly.

FREDERICKI don't understand?

CHRISTABELMartyrdom is finished.

FREDERICKBut stone-throwing was disaster! Businesses call for our heads whenbefore they put signs of support intheir windows

CHRISTABELBut they are unable to ignore us

MARGARET has also started reading the papers.

CHRISTABEL (CONT'D)We continue the stone-throwing andin the Autumn, the logical next step.

Beat.

FREDERICK AND MARGARET look at her mystified.

CHRISTABEL (CONT'D)Arson.

Both FREDERICK and MARGARET are taken aback.

FREDERICKYou can't be serious? That'sterrorism.

CHRISTABELAttacks will be on empty buildingsand property only.

FREDERICKNo British government will give into such tactics.

CHRISTABELIreland is much closer to self-ruleprecisely because of such tactics.

Beat.

87.

MARGARET leans forward with a diplomatic smile.

MARGARETChristabel I know the last few monthshave been difficult.

CHRISTABEL stiffens and raises her eyebrows.

MARGARET (CONT'D)But Frederick and I believe the onlything to do is to allow yourself tobe arrested. They will be forced tohold another trial. You are sobrilliant in the courtroom that youcannot fail to run rings around them. The publicity will be immense. Itwill embarrass the government mostseverely.

EMMELINE snaps.

EMMELINEThere is absolutely no need forChristabel to be arrested. Who knowswhat charges they might throw ather. She might be force-fed. Itcan serve no possible purpose.

MARGARETI believe we need more high profilemartyrdom such as that of LadyConstance Lytton. Her brother theEarl has attacked the governmentmost damagingly.

EMMELINE is about to retort when CHRISTABEL interrupts.

CHRISTABELNo. I told you. Martyrdom is dead. The government is about to pass whatLloyd George is already calling the'cat and mouse' act. All prisonerson hungerstrike will be releasedonly to be rearrested again to finishtheir sentences as soon as they appearin public.

Now it is MARGARET's turn to be silenced.

CHRISTABEL (CONT'D)It will cause chaos and sentenceswill never be finished.

88.

FREDERICKBut such a law will take up enormousamounts of police time. We cannotknow how harshly they will enforceit.

CHRISTABELI am not prepared to conduct acampaign on ifs and maybes. We needdecisive action.

Beat.

MARGARETYou appear to have made your mind upalready.

EMMELINE rears up in defence.

EMMELINEAnd you appear to have lost thestomach for the fight along withyour money.

FREDERICK stands, blazingly angry.

FREDERICKThat is an infamous suggestion!

CHRISTABEL cuts him off never taking her eyes off MARGARETand never raising her voice.

CHRISTABELIf you cannot support this decisionyou are welcome to leave the WSPU.

Beat.

MARGARET looks at CHRISTABEL with narrowed eyes. FREDERICKis shocked into silence. EMMELINE nods with approval.

CHRISTABEL (CONT'D)We cannot be divided on such matters. Our strength depends on speed andthe unquestioning implementation ofdecisions.

FREDERICKI call this ingratitude.

EMMELINEEverything is for the cause. Theindividual is nothing compared toit.

89.

FREDERICKOne individual appears to be.

EMMELINEYou dare to imply my daughter...

MARGARETEnough! Please.

MARGARET stands, calm and dignified.

MARGARET (CONT'D)I have never liked campaigns ruledby committee but nor do I likedictatorships. A letter announcingour resignation will appear in thepaper next week.

CHRISTABEL's gaze does not waver.

MARGARET (CONT'D)We could destroy the WSPU if we wantedto.

CHRISTABELYou could certainly try.

FREDERICK is about to explode with indignation. MARGARETplaces a warning hand on his arm and he immediately subsides

MARGARETHowever, we have both put too muchtime, effort and money into thiscampaign to see it destroyed byinfighting.

CHRISTABEL imperceptibly relaxes. She nods at MARGARET.

CHRISTABELThat is gracious of you. I am notungrateful I assure you.

MARGARET gives her an ironic look and puts on her gloves. She takes FREDERICK's arm and nods at EMMELINE and CHRISTABELcoldly before sweeping out of the room.

INT. KITCHEN - LATER

A farmhouse kitchen with a large iron stove. CHRISTABELsits at a sturdy wooden table in the middle eating a coldsupper washed down with a mug of tea. SYLVIA stands on theother side of the table, her arms folded, visibly upset.

90.

SYLVIABut the Pethick-Lawrences are ourfriends and greatest supporters!

CHRISTABELYou always said there were too manyrich people in the WSPU.

SYLVIA is aghast.

SYLIVAThey have lost everything because ofus.

CHRISTABELThey made their own choice freelyknowing what the risks were.

SYLIVAThey followed you. They believed inyou? Doesn't that mean anything?

CHRISTABEL finishes her meal. Taking her plate and cup sheplaces it neatly on the sideboard before facing SYLVIA.

CHRISTABELEverything depends on this last stage. If it fails we are finished. Youare either with me or against me.

She looks at SYLVIA, questioningly.

Long beat.

SYLVIA hesitates but eventually looks away.

SYLIVAOf course I'm with you. I'm yoursister.

CHRISTABEL nods and gives a wry smile. She suddenly givesSYLVIA an unexpected hug, taking her sister by surprise.

CHRISTABELGood. Now I better go. I'll sendword soon.

She puts her hat on and disappears out of the front door towhere a motorcar is waiting. ANNIE opens the door for herand gets in behind her. The CAR drives off into the night.

EXT. LARGE HOUSE - NIGHT

THREE WOMEN cut through a WIRE FENCE and creep stealthily upa hill towards the silhouette of a large, MANOR HOUSE.

91.

As they get closer we see a gleaming, new CAR parked in thedriveway. Checking the coast is clear, One of the WOMENlights a paraffin soaked RAG and drops it into the FUEL TANKbefore running clear.

The CAR explodes.

INT. NATIONAL MUSEUM - DAY

The ROKEBY VENUS painting is slashed by a WOMAN in WSPUcolours

INT. PARLIAMENT HOUSE, MINISTERS OFFICE - EVENING

An MP at his DESK jumps for his life as three large stonessmash through the window behind him. As the stones come astop it can be seen they have 'Votes for Women' painted onthem

EXT. LONDON STREET - DAY

A SUFFRAGETTE stands on a street corner selling 'Votes forWomen'.

A group of ANGRY SHOP OWNERS emerge and attack her, throwingher to the ground- beating and kicking her viciously.

EXT. WAREHOUSE IN THE DOCKS - NIGHT

The windows of a large, looming warehouse are broken quietly.

A GROUP OF SUFFRAGETTES with blackened faces lean ladders upagainst the walls and climb up and through the broken windows. Those left down below, including SYLVIA, keep a watchful eyeon GROUPS OF MEN laughing and strolling down the main, gas-lit street nearby.

The WINDOWS glow with a golden light. The SUFFRAGETTES whowere inside are rapidly reversing down the ladders. TONGUESOF FIRE leap up in the windows, catching the attention ofone of the MEN in the main street.

The women motion silently to each other to leave and theymelt noiselessly into the darkness.

SYLVIA is left alone watching the flames consume thewarehouse.

ONE of the men stops and, seeing the flames, puts up a warningshout.

WAREHOUSE MANOi boys! The warehouse is goin up! Come on or we won't 'ave jobs in themornin'.

92.

SYLVIA is a picture of guilt as a hand reaches out and pullsher back into the darkness.

DISSOLVE TO:

EXT. EPSOM RACECOURSE, 1913 - DAY

The scene morphs into the scene at the beginning with SYLVIAbeing dragged backwards by EVELYN as she stares with horrorat the PICTURE OF CHRISTABEL held in ANNIE's dead hand.

SYLVIANo. No. No.

EXT. LONDON STREET - DAY

Annie's hearse is being pulled through streets lined withsilent crowds. Following it are a long line of SUFFRAGETTESdressed in white and WSPU sashes. FLORA beats a drum at thehead of the procession, grief-stricken.

Behind her march SYLVIA and next to her is KEIR. SYLVIA isstruggling to contain her sobs. KEIR surreptitiously givesher hand a squeeze.

HENRY detaches himself out of the crowd when he sees SYLVIAand walks beside her.

HENRYIs she here?

SYLVIA shakes her head.

SYLIVAI thought she would be. For Annie.

She begins to sob again. HENRY searches the crowd with anair of desperation.

There is a scuffle and a disturbance in front. EMMELINEsuddenly appears out of nowhere standing on the bonnet of acar. SYLVIA gasps.

SYLVIAWhat is she doing? They'll arresther!

EMMELINELet us not allow Annie to have givenher life in vain. Let us rememberher great sacrifice and dedicate...

POLICE WHISTLES split the air and in seconds there is chaos. SYLVIA rushes forward with FLORA as the rest of theSUFFRAGETTES move to block the police from getting to her.

93.

FLORAQuick. Get her in the car.

FLORA jumps in the drivers seat and starts the engine asSYLVIA and KEIR desperately haul EMMELINE inside, closingthe door as it jerks off out of the crowds.

In the midst of the milling crowd CHRISTABEL heavily veiledand in disguise watches the car go.

She turns and sees HENRY, standing lost and alone next tothe hearse. A flicker of emotion crosses her face. But ashe turns in her direction she melts into the surroundingthrong.

INT. SYLVIA'S STUDIO - NIGHT

SYLVIA is taking off her mother's shoes as EMMELINE startscoming round.

SYLVIAIt's ok. I'm here.

EMMELINE starts coughing. SYLVIA gets her a glass of water.

SYLIVAWhy did you do it? You're not wellenough yet.

EMMELINEWe must rally the troops. Annie'sdeath has been a shock but Christabelmust not come out of hiding.

SYLVIA'S face is ironic.

SYLVIAMust not or will not?

Under EMMELINE'S sudden hot gaze SYLVIA stands quickly.

SYLIVAI'll get you some tea.

She goes to the kitchen. EMMELINE leans back on the pillowsand looks around her.

EMMELINEI've never been to your flat before. It's very small.

Beat.

EMMELINE (CONT'D)Is that damp on the ceiling?

94.

FLORA knocks on the door and enters immediately with KEIR.

FLORAStroke a luck Mr Keir knowing whereto get petrol around here.

KEIR and SYLVIA exchange a look implying it might not beluck.

KEIRCome along Emmeline, we better getyou out of here. We can't be surethe police aren't watching the flat.

SYLVIAMother please say you'll stop doingthis.

EMMELINEI will not let Christabel be beatenby that wicked Welshman Lloyd-George. We need to show him...

She starts couging again. KEIR gives SYLVIA a sympatheticlook as he carries her mother out of the flat.

KEIRI think it might be better if youdidn't try to speak Emmeline.

INT. DIFFERENT HOUSE- DRAWING ROOM - EVENING

SYLVIA sits in a country house drawing room in front of anenormous fire. Leaning forward on the large, stuffed armchairshe stares into the flames unseeingly.

A movement distracts her and CHRISTABEL is standing besideher, taking off her coat and hat. SYLVIA seems unsurprisedand she takes CHRISTABEL'S coat off her and hangs it up.

SYLIVAShe's been asking for you

CHRISTABELHow is she?

SYLVIAVery weak but insisting she can attendthe Manchester by-election this week.

CHRISTABEL nods disinterestedly. She keeps her eyes trainedon SYLVIA intently.

CHRISTABELAnd you?

95.

SYLVIA avoids CHRISTABEL's gaze.

SYLVIAI'm fine.

Beat.

CHRISTABELI think I better see her alone.

INT. DRAWING ROOM - LATER

CHRISTABEL reappears. SYLVIA who has been dozing by thefire, gets up yawning.

SYLVIADoes she want her tea?

She starts picking up the teatray beside her.

CHRISTABELShe doesn't wish to see you any more.

SYLVIA is confused. It is late and she is tired. She rubsher eyes.

SYLVIAI don't understand.

CHRISTABEL warms her hands in front of the fire and thenturns to face SYLVIA.

CHRISTABELYou've restarted your affair withKeir haven't you?

SYLVIA is guilty as charged. She drops the tea-tray with acrash.

Beat.

CHRISTABEL (CONT'D)Did you think I wouldn't find out?

SYLVIA's shaking legs will hold her no more and she sinks tothe ground trying to clean up the tea things. She tries totake in what she knows CHRISTABEL has just done.

CHRISTABEL (CONT'D)You realise you can no longer beassociated with the WSPU don't you?

SYLIVAYou told Mother?

96.

CHRISTABELShe was bound to find out. I feltit better it came from me than somegossip mongerer.

SYLVIAHow could you?

CHRISTABELI told you to end it! Stop actingas if this is my fault. You arereaping the rewards of your ownactions.

Long beat.

The fire crackles and spits into the gulf of silence betweenthem.

SYLVIAI used to be so proud that you weremy sister. You were everything Iwanted to be. But now...you're nolonger there. You don't let anybodyin but you don't let anybody out.

She stands. Shards of broken china slip from her lapunnoticed to the floor.

SYLIVAWhy would you do this to me? I'myour sister. Your sister!

She ends on a sob before running out of the room. CHRISTABELremains perfectly still and emotionless.

EXT. HAMPSTEAD HEATH - DAY

HENRY is walking along the heath. It is a beautiful day andthere are many out enjoying the sunshine. Laughter andchildren's shouting. By contrast HENRY is hunched over withhis hands crammed into his pockets, looking at the ground ashe walks.

He crests the rise of a hill. CHRISTABEL is at the top,staring over LONDON. He checks in surprise and she turns atthe sudden movement.

Seeing HENRY she walks quickly in the other direction. HENRYleaps forward and grabs her arm.

CHRISTABELLet me go.

97.

HENRYNot until you talk to me.

He does not slacken his grip and after a moment she stopsstruggling and stands still, her chin up defiantly.

She turns and walks to the bench a few meters away and sitsdown, straight backed. HENRY follows and sits beside her.

Beat

HENRY (CONT'D)Why don't you answer my letters?

CHRISTABELYou know why.

HENRYNo I don't. I don't. I love you. I want to marry you.

CHRISTABEL looks at him incredulously.

CHRISTABELHave you lost your mind?

HENRYYou didn't even read my letters? Lydia is dead. Six months ago.

CHRISTABEL stands and then sits and then stands again. Shewalks a few steps trying to regain her thoughts. Behind herHENRY stands watching, waiting.

CHRISTABELSo you want a replacement for poor,dead Lydia. Someone to mother yourchildren while you swan off to anotherwar, another young woman.

HENRY shakes his head

HENRYYou know that isn't true. Not withyou.

CHRISTABELOh really? Because your track recordis so convincing?

HARRY stands and grabs her by her arms again

HENRYI know I was not a good husband.

(MORE)

98.

HENRY (CONT'D)I knew it every day of my marriage. But I didn't love her. I love youas I have never loved anyone in mylife. I thought you knew that.

He looks into her eyes. Hers search his face.

HENRY (CONT'D)Do you love me?

She is weakening. He leans in closer.

HENRY (CONT'D)Please. Say you'll be mine.

The words act like a cold bucket of water on her. Shewrenches free from him.

CHRISTABELNo!

She moves a few steps, breathing heavily looks back at HENRYwho is confused.

CHRISTABEL (CONT'D)I am not yours. I will never be soweak again.

She runs off leaving HENRY to watch her go before he sinksto the ground with his head between his hands.

DISSOLVE TO:

EXT. HAMPSTEAD HEATH - DAY

War planes fly over the top of Hampstead Heath. Soldiersnow train with their packs and guns up and down the hillsand down on the streets, army trucks trundle up and down theroads carrying the supplies of war.

EXT. HAMPSTEAD HEATH - DAY

At the entrance to the park CHRISTABEL is standing on asoapbox surrounded by women who applaud and wave theirnewspapers that read:

Brittannia and underneath

Formerly Votes for Women

CHRISTABELWe must not put our country in danger.

(MORE)

99.

CHRISTABEL (CONT'D)We cannot let Germany win this war.As of today the WSPU will cease allmilitancy and instead direct everyeffort to helping win this war!

Cheering and waving of UNION JACK FLAGS and WSPU RIBBONS.

EXT. EAST END- PACIFIST DEMONSTRATION - DAY

SYLVIA is addressing a large crowd of workers

SYLVIA...that's why we say No! No to ouryoung men sent to die for theimperialist dreams of rich men. Noto the hunger and starvation of theirfamilies and No to the butchery andsenseless waste of this war!

Wild applause, especially from a group of young, W0RKINGWOMEN who gaze at SYLVIA with adoration. She leaves theplatform and pushes her way through the crowd embarrassed byall the congratulations and compliments.

As she emerges she is pulled up short at the sight of EMMELINEstanding on the street opposite staring at her. Beside heris another OLDER SUFFRAGETTE.

EMMELINE marches across the street to face her daughter.

EMMELINEI'm ashamed of you. That you cansay such wicked things. I'm ashamedyou bear the name Pankhurst. Youare no daughter of mine.

SYLVIA looks as if she has been whipped across the face. The OLDER SUFFRAGETTE makes a more determined effort to dragEMMELINE away, this time with more success

INT. LONDON- KEIR'S FLAT - EVENING

A small, plain room with a crackling FIRE and a blackenedTEAPOT perched above it. SYLVIA is on the floor, sobbing,her head on KEIR's knee.

She raises her head

SYLVIAThe worst of it was she seemed angrierabout the fact I was speaking at ananti-war demonstration than anythingelse. She!

(MORE)

100.

SYLVIA (CONT'D)Who ran "stop the war" campaigns in1898! Christabel has bewitched her!

KEIRYour mother has always been easilyfired up for a cause my dear. I'mnot sure it matters which cause.

SYLVIA stands and picks up a newspaper from a pile besideKEIR'S chair and holds it up and shakes it.

The headline reads: Somme campaign drags on. 20,000 dead inone day.

SYLVIAHow can anyone who was married toFather think this is right? She'sashamed of me? I'm ashamed of her!

KEIR's face changes as he looks at the paper and he nodssadly. Seeing it SYLVIA is remorseful.

SYLVIA (CONT'D)I'm sorry. I'm ranting. Let me getsome tea.

KEIR leans forward and pulls her to him.

KEIRNo. Stay with me for a moment.

He holds her hard, burying his head into her chest. Shecradles it and kisses it. KEIR moves his head so he isstaring into the fire.

KEIR (CONT'D)You're right lass. What have wecome to? Sending our sons toslaughter like animals.

Beat. The teapot bubbles and steams unnoticed.

KEIR (CONT'D)I feel old my love. All my lifeI've fought for a better world. Butthis...I'm not strong enough to fightthis madness.

SYLVIA kisses his forehead and then his hands.

SYLVIATomorrow is another day and we willfight it together.

(MORE)

101.

SYLVIA (CONT'D)The working men will refuse to fight. Socialism will triumph. It will. You'll see.

KEIRWill I?

Beat.

KEIR leans back and lets her go.

KEIR (CONT'D)I must pack for Scotland tomorrow.

SYLVIA's face changes. She stands and starts tidying thepapers pointedly.

KEIR watches her pityingly

KEIR (CONT'D)You know I must see her. She hasbeen a good and faithful wife to anundeserving husband. I owe her therespect of marriage even if I canlonger give her my love.

SYLVIA nods, deeply unhappy.

KEIR (CONT'D)And then I will come back to you. Ipromise my love, my own love.

He stands and takes her face in his hands and kisses her. She returns the embrace passionately.

INT. ALL GOODS SHOP - DAY

SYLVIA is paying for some shopping and carries it in a large,brown paper bag on her hip. She looks cheerful and smilesand waves goodbye to the SHOPKEEPER.

EXT. STREET - CONTINUOUS

She steps onto the street and adroitly sidesteps TWO RUNNINGCHILDREN. She hums to herself a little. She walks past aNEWSPAPER SELLER.

NEWSPAPER SELLERRead all about it? Labour Leaderdies at home in Scotland. Read allabout it. Stroke takes first LabourMP. Read all about it.

102.

As his words sink in SYLVIA stops and her SHOPPING BAG fallsto the ground. She whirls to see the newspaper headlinesabove a picture of KEIR.

She stands motionless for a moment and then, dazed andunaware, she steps into the street in front of a MOTORCAR.

INT. HOSPITAL - DAY

SYLVIA lies in a white-sheeted, cast-iron bed, surrounded bycurtains. There is a gap between the curtains and throughit NURSES walk to and fro efficiently. From the white-sheetedoutlines in bed there is the occasional groan of pain.

SYLVIA lies perfectly still and rarely blinks.

An INDISTINCT SHAPE in the distance walks towards her andeventually resolves into CHRISTABEL standing at the gaplooking down at her. SYLVIA makes no sign of recognition.

CHRISTABEL steps inside and shuts the curtains behind her.

CHRISTABELFlora told me you were hurt.

SYLVIA does not move. After a moment, CHRISTABEL sits inthe only chair provided.

CHRISTABEL (CONT'D)I'm sorry about Keir.

At this SYLVIA turns her face slightly to look at CHRISTABELdisbelievingly.

CHRISTABEL (CONT'D)He was a good man.

Beat.

Tears start slipping silently down SYLVIA's face as she staresat the ceiling. CHRISTABEL is slightly alarmed.

CHRISTABEL (CONT'D)Shall I call the nurse?

SYLVIA turns her head again slightly towards CHRISTABEL.

SYLVIAYou, who are so fond of telling Mothernews. Tell her this- I'm carryinghis child.

SYLVIA rolls away so her back is to her sister and curls upinto the foetal position.

103.

CHRISTABEL sits dead straight in her chair, shocked.

DISSOLVE TO:

INT. PRIME MINISTERS OFFICE - DAY

Caption: 1917

CHRISTABEL is ushered through a door with a sign.

Prime Minister's Office

It's a large, comfortably furnished room. LLOYD GEORGE iswriting at a mahogany desk. He looks up as she enters butcontinues writing.

LLOYD GEORGEAh. Good. Please sit down.

He finishes his letter and then sits back in his chair,regarding CHRISTABEL measuringly.

LLOYD GEORGE (CONT'D)I'll come straight to the point. Ihave inherited something of a mess.

He stands and starts pacing the room energetically.

LLOYD GEORGE (CONT'D)This war is wiping out a generationof men. Our army is underequippedand generalled by buffoons.

He turns to CHRISTABEL

LLOYD-GEORGEWe need more from our factories andour farms and these damn Communistsare trying to convince the men whoare left to strike.

He returns to his desk preoccupied. CHRISTABEL gives a small,satisfied smile.

CHRISTABELThere are no men left, but there arewomen.

LLOYD GEORGEYes.

CHRISTABEL relaxes.

104.

CHRISTABELAnd you want my help to convincethem to do your war work. How thetables turn Mr Prime Minister. Andin return?

LLOYD GEORGE is not unappreciative of the irony of thesituation. The politician's lips twitch slightly.

LLOYD GEORGEWell you know I've always thoughtwomen should have the vote.

EXT. DOWNING STREET - LATER

An exultant CHRISTABEL comes down the stairs in Number 10 asSYLVIA is ushered through the front door by a policeman. They both stop in surprise.

SYLVIAWhat are you doing here?

After a moment CHRISTABEL shrugs and trips down the rest ofthe stairs.

CHRISTABELSame as you I imagine. Lloyd Georgeis in negotiating mode.

SYLVIANegotiating what?

CHRISTABELThe vote in return for women workingin his war factories.

SYLVIA'S eyes widen.

SYLVIAThe vote for all women?

CHRISTABEL is irritated by her naivety.

CHRISTABELOf course not. He's leading agovernment of Tories. It's stillthe vote.

SYLVIANo it's not! It's giving more powerto the rich and expecting the poorto pay for it.

105.

CHRISTABELOh for heaven's sake. Have you neverheard the phrase 'Don't look a gifthorse in the mouth'?

SYLVIA's face reddens.

SYLVIAHave you never heard of compassionand pity?

CHRISTABEL rolls her eyes and turns to walk off.

SYLVIA (CONT'D)I don't know why I bother. You didn'teven go and see Henry when he wasdying...

CHRISTABEL's world has suddenly slipped off kilter. Shestops dead. She slowly faces her sister, the blood drainingfrom her face.

CHRISTABEL (whispers)What?

SYLVIA is discomforted. CHRISTABEL comes back towards her,her eyes wide and staring.

CHRISTABEL (CONT'D)Henry's dead?

SYLVIA hesitates slightly.

SYLVIANo.

CHRISTABEL's eyes never waver from SYLVIA'S.

SYLVIA (CONT'D)He was in a coma for months and nobodyexpected him to live. But he'srecovering.

Relief floods through CHRISTABEL, who closes her eyes briefly.

CHRISTABELWhat happened?

SYLVIAHe was shot. He wouldn't let thedoctors take the bullet out and hegot blood poisoning.

Beat.

106.

CHRISTABELWhere is he?

SYLVIA now looks deeply uncomfortable.

SYLVIAChristabel I shouldn't have...

CHRISTABEL's arm shoots out and grips SYLVIA's painfully

CHRISTABELWhere is he?!

Beat.

SYLVIAThorncombe Hospital.

CHRISTABEL turns and runs out of the front door of No.10.

INT. SURREY- THORNCOMBE HOSPITAL - DAY

CHRISTABEL walks through the hospital that still shows signsof its former life as a country house. Room after room isfilled with WOUNDED MEN bandaged or lying still in white-sheeted beds. Their groans and occasional agonised shrieksaffect CHRISTABEL. She walks more quickly through thecorridors until she finds a NURSE who points her outside.

EXT. GARDENS THORNCOMBE HOSPITAL - CONTINUOUS

Beautifully landscaped gardens dotted with MORE WOUNDED MENin WHEELCHAIRS or on CRUTCHES and their VISITORS. CHRISTABELwalks, searching.

She suddenly ducks for cover behind a large tree.

After a few moments she peers out from behind it to see HENRYin a wheelchair with his back to her a few yards off. Besidehim is EVELYN SHARPE, the almost forgotten bit-player. Herhand is placed protectively on his shoulder. With them arethe PETHICK-LAWRENCES who exclaim in delight at somethingHENRY tells them. EVELYN shows them a ring on her engagementhand. There are hugs, smiles and hands shaken all round.

ANGLE ON

MARGARETHave you set a date?

EVELYNHe's only just asked me!

They ALL laugh. FREDERICK checks his watch.

107.

FREDERICKDamnation. We have to go.

MARGARETYou should have told us sooner! Weshall take you both out for acelebratory lunch.

EVELYNI'll come up with you. I've left mycoat in the ward.

She turns to HENRY tenderly.

EVELYN (CONT'D)Will you be all right darling?

HENRYOh I can just about hold my ownagainst the ducks.

She laughs and kisses the top of his head before walking offwith the PETHICK-LAWRENCES.

BACK TO SCENE

CHRISTABEL sags against the tree, unable to stand, unable totake in what she has just seen.

HENRY wheels himself past her tree but she has not noticed. He looks over and does a double-take as he realises who itis.

HENRY (CONT'D)Christabel?

CHRISTABEL jumps. For a moment they stare at each other.

HENRY (CONT'D)What are you doing here?

CHRISTABEL searches for composure.

CHRISTABELI...I didn't know...you werehurt...until today.

Beat.

HENRYYou are the last person I expectedto visit.

CHRISTABEL's mouth twists.

108.

CHRISTABELSo it seems.

HENRY's looks at her frowningly.

CHRISTABEL (CONT'D)Congratulations. I had no idea youand Evelyn were so close.

HENRY looks back at where they had all been standing,realising CHRISTABEL must have overheard.

CHRISTABEL give as slight derisive snort and looks away.

CHRISTABEL (CONT'D)You are efficient. Chasing a war,lying in a coma, yet still you foundtime to get engaged.

At this HENRY wheels himself to confront her, blazingly angry.

HENRYHow dare you! I walked in front of abullet because you rejected me. Iwouldn't let them take it out becauseI wanted to die.

CHRISTABEL is shocked. He checks his anger and calms himselfslightly.

HENRY (CONT'D)I have children. Evelyn loves me. You cannot. I must make the best ofit.

HENRY wheels himself around to leave.

CHRISTABELI never said I didn't love you.

HENRY is stopped in his tracks.

Long beat.

He turns slowly to stare at her. CHRISTABEL's face crumplesslightly as the silence drags on.

CHRISTABEL (CONT'D)Do you love her?

HENRY looks away.

Long beat.

109.

HENRYNo you can't do this. You can't. She doesn't deserve to be hurt.

CHRISTABEL puts her hand up to her face as if to ward off ablow.

CHRISTABELOh God.

At that moment EVELYN appears.

EVELYNHere you are. I thought you wouldbe down by the...

She stops short, catching sight of CHRISTABEL.

She looks suspiciously from HENRY to CHRISTABEL. HENRYrefuses to look at either of them and stares off into thedistance. CHRISTABEL turns with a brittle smile and blinkingback her tears.

CHRISTABELEvelyn. How nice to see you. Ithought I would call in. Henry wasalways such a friend to our campaignwas he not?

EVELYN is silent, undeceived by CHRISTABEL's chatter.

CHRISTABEL (CONT'D)I'm afraid I must go. Such a lot todo. Lloyd-George is giving us thevote you know.

Nobody reacts. CHRISTABEL's defiance is crumbling by thesecond. She gives a last look at Henry.

CHRISTABEL (CONT'D)Good-bye.

She turns and runs off. EVELYN and HENRY appear frozen. EVELYN's eyes are fixed on HENRY who stares straight ahead.

Long beat.

HENRYWell my dear. Shall we continue tothe lake?

Beat.

EVELYNOnly if you want to Henry.

110.

Beat.

HENRY winces slightly, unseen by EVELYN, but he quicklyregains control and holds out his hand.

HENRYOf course. It's a lovely day for awalk.

She looks at him searchingly before taking his hand and theymove off together.

DISSOLVE TO:

EXT. HYDE PARK - SPEAKERS CORNER- DAY

Caption: 1917 general election

CHRISTABEL stands on a platform speaking surrounded by anenormous crowd including EMMELINE who never takes her eyesoff her. But CHRISTABEL's speech is lethargic. She checksher notes constantly

CHRISTABELAnd furthermore...and furthermore itis imperative that we have a womanin parliament...to...to

WOMEN IN THE CROWD look at each other, wonderingly. SomeMEN start to snigger. EMMELINE watches with bewilderment.

INT. SMALL BREAKFAST PARLOUR - MORNING

EMMELINE and CHRISTABEL are eating toast. CHRISTABEL staresout of the window listlessly. EMMELINE is reading the paperindignantly.

EMMELINEHave you seen this? Have you?

She reads.

EMMELINE (CONT'D)"In a historic moment yesterday NancyAstor became the first woman electedto parliament. Ironically she nevercampaigned for the vote nor tookpart in a single suffragedemonstration."

She throw the paper down in a temper.

EMMELINE (CONT'D)I hope you're happy.

111.

CHRISTABEL ignores her mother and continues to stare out ofthe window listlessly.

INT. SYLVIA'S STUDIO - DAY

In a large, light-filled flat SYLVIA is in a painting smockpainting. Along the walls are illustrations she's done forvarious campaign posters including "Free Ethiopia", and "Joinour comrades in Russia to fight oppression". Through adoorway into a sitting room sits a small toddler intentlytrying to thread beads onto a string. As SYLVIA paints shewatches the boy with a maternal smile.

A knock at the door interrupts her work. She wipes her handsof paint.

SYLIVAStay there sweetheart. Mummy willanswer it.

CHRISTABEL is in the doorway. She is dressed in shades ofblack and grey and already seems considerably older than inthe previous scene. SYLVIA, stands still staring at hersister.

CHRISTABELCan I come in?

SYLVIA moves aside to let her sister pass watching her warily. CHRISTABEL walks in, taking off her coat. She sees thetoddler, now standing at the door looking interestedly atthe new arrival, and smiles.

Before CHRISTABEL can say anything to him SYLVIA rushes pasther and gathers the boy up in her arms.

SYLIVACome along Richard. It's time foryour nap.

She carries the boy off into another room, ignoring hisprotests. CHRISTABEL wanders the room looking at thepictures.

SYLVIA returns.

CHRISTABELHe's a handsome little boy. Did youname him after Father?

SYLVIAWhy are you here?

CHRISTABEL doesn't respond for a moment, continuing to walkthe room looking at the paintings.

112.

CHRISTABELI don't know.

Beat.

SYLVIAHow is Mother?

CHRISTABELExactly the same. Both her daughtersare a sore disappointment. Losingthe election was rather unforgivableon my part...although not quite asbad as having an affair, and a child,with one of her oldest friends.

SYLVIA doesn't quite know how to respond. She busies herselfwith her usual solace, making tea. CHRISTABEL continues towalk round the room staring at the pictures.

Eventually she stops at the entrance to the galley kitchenand watches SYLVIA make the tea.

CHRISTABEL (CONT'D)I think I came with some idea ofapologising. But it all seems a bitfutile.

SYLVIA pouring the tea.

SYLIVAApologise for what?

CHRISTABEL gives a rather hopeless shrug and a mirthlesslaugh.

CHRISTABELI don't know.

SYLVIA looks at her for a moment. She picks up a mug andhands it wordlessly to her sister who takes it and continuespacing the room without drinking it.

SYLVIAPerhaps for taking my family awayfrom me? I no longer have a father,mother or any sisters or brothers.

CHRISTABEL takes a long time to turn to look at SYLVIA butwhen she does she has a hard, bitter look on her face.

CHRISTABELDo you expect me to feel sorry foryou? You have a son.

113.

CHRISTABEL gestures towards the paintings.

CHRISTABEL (CONT'D)You have your art...and the one thingI always envied...

She gazes at the paintings, touching them lightly with afinger.

CHRISTABEL (CONT'D)Passion...passion to maintain yourendless causes.

Beat.

CHRISTABEL (CONT'D)And your new lover.

SYLVIA blanches at the reference.

CHRISTABEL (CONT'D)I would take that over Mother anyday.

The two sisters stare at each other, the bitterness almost aliving object in the air between them. Eventually CHRISTABELputs the mug of tea down.

CHRISTABEL (CONT'D)I should go.

SYLVIA makes no response and CHRISTABEL picks up her hat andcoat and puts them on efficiently.

CHRISTABEL (CONT'D)Thanks for the tea.

She motions towards the cup and disappears. SYLVIA staresat the offending mug as she listens to CHRISTABEL'S footstepsreceding down the stairs. As they fade she returns to herpainting but even as she tries to lay a delicate brush strokeon canvas she has lost her concentration. She throws itdown again.

She looks out the window and sees CHRISTABEL walking downthe street. It is the same walk, confident, straight-backed,head held high. SYLVIA watches her with a reluctantfascination.

INT. SMALL BREAKFAST PARLOUR - MORNING

CHRISTABEL is eating breakfast looking lethargically out ofthe window. There is a knock at the door. A maid bobs beforehanding CHRISTABEL a medium sized, square, object, tied upin brown paper and string.

114.

CHRISTABEL looks at it curiously and rips the paper. TheMAID leans over her shoulder, eager to see what it is.

It is the portrait of CHRISTABEL that SYLVIA was sketchingat the initial Hyde Park rally. In the corner is SYLVIA'ssignature.

CHRISTABELWas there a note?

MAIDNo ma'am.

CHRISTABELThank-you.

The MAID leaves and CHRISTABEL sits back down at the tablelooking at the portrait. She tries to eat her breakfast butafter one mouthful gives up. She looks into the eyes of herown portrait, sinking into it.

In the background, out of focus, a door opens and anindistinct figure enters.

EMMELINEChristabel? Christabel!

BLACK

CAPTION: Christabel Pankhurst moved to America and became anevangelist preacher, predicting the second coming of Christ. She died in her home in Los Angeles sitting perfectly uprightand alone in a chair.

Sylvia Pankhurst continued as a committed campaigner forsocialism, communism and Ethiopian independence. She diedin Ethiopia and was given a state funeral.

Emmeline Pankhurst, mystified by her eldest daughter's newcareer, returned to Britain and completed her swing awayfrom socialism by joining the Conservative Party. She dieda month short of her 70th birthday. Her funeral was thelast great spectacle of the suffragette movement. The DailyMail described it as "attended like a dead general in themidst of a mourning army".

ENDS