Cement-Garden
Script created with Final Draft by Final Draft, Inc.
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SECOND DRAFT
THE CEMENT GARDEN
Screenplay
by
Andrew Birkin
Based on the novel
by
Ian McEwan
(c) 1992 Laurentic Film Productions Ltd
and Neue Constantin Films GmbH
STYLE NOTES
As a simple metaphor - and at the risk of sounding
pretentious - this story is like an air-balloon, tethered
to reality by two restraining ropes: the father and the
mother. When the father dies, the first rope is severed,
and the stability of the children begins to drift; with the
death of the mother, the second mooring is cut, and the
balloon starts to float slowly away, gaining height and
distance from reality as the kids become almost weightless,
losing all sense of gravity. As Jack observes near the
end, "I feel like I've been asleep for as long as I can
remember.... I feel sort of weightless, just like I'm
floating about in space."
In order to convey this very gradual transition from
reality into sureality, the film will adopt several simple
devices, so subtly executed that the audience is never
aware of the technique - only the subconscious effect.
Dividing the running time into 10 reels of 10 minutes each,
the first reel will be shot with maximum depth of focus.
The sound "depth" will similarly be omnidirectional. We
will then stop down the image at the approximate rate of
one f-stop per reel, thus steadily decreasing the depth of
focus until the final reel, which will be shot wide open,
even when out of doors in broad daylight. The depth-of
focus factor is indicated in the scene headings, d/f 10
being the equivalent of f.22 on a standard lens, d/f 1 =
f1.4. The evident effect will be a gradual loss of all
background detail, so that by the end, only the children
will be sharp: everything else will have become plasma.
Similarly, the sound will foreshorten, so that by the final
reel, all extraneous sound will have been eliminated. As
an additional aural effect, the sound will steadily spread
from mono into stereo as the film progresses, the degrees
of increment being exactly related to the simultaneous
foreshortening of sound depth.
Only in the very last shot, where reality (in the form of
the blue light of the police car) finally intrudes, will
both picture and sound gradually regain a certain depth.
The image will slowly increase in depth of focus by closing
the aperture (while simultaneously increasing the light
source) while the sound will similarly deepen. The last
reel (scene 133 onward) will be shot at progressively
faster speeds - 24fps thru 32fps, then resuming 24fps for
the last shot. The cuts will also become steadily softer -
2 frame mixes, lengthening to 8 frame mixes by the end.
In the second half of the film, certain props that have
assumed a new importance in the kids' lives (the book that
Jack reads, the cot, etc) will appear to be fractionally
larger, whereas other things no longer important to them
(clocks, etc) get smaller. The colours of certain objects
or clothes will also intensify (e.g. Julie's green swimming
costume) while the surrounding landscape - the dried up
grass in the garden - will fade to a washed-out colour.
Four-walled rooms may also lose their rigidity, angles
becoming greater or lesser than 90 degrees. Finally, the
music that is heard coming from Julie's transistor will
increasingly slip wave bands, as though our balloon is
slowly drifting further and further away from the earth.
It should be stressed that none of these effects must ever
be overtly conspicuous to the audience. It is an overall
sensation into which we gradually slip, a seamless
transition into a landscape imperceptibly enshrouded in
mist.
1. EXT. HOUSE & ROAD - EARLY SPRING - [d/f: 10] DAY
FADE UP on a nondescript suburban house, viewed from the far
side of a deserted road. It could be almost any place, in
any country, in any post-60s period. The house is detached,
with a small front garden, walled on either side thus
obscuring the neighbours from view. There are two paths: one
leads to a side entrance; the other to the front door via a
short flight of steps. JACK - a languid teenager of fifteen -
lounges at the top, rereading a comic in an apathetic manner.
The SOUND of an approaching truck can be heard; it presently
pulls up outside the house.
DRIVER
This number eighty-two?
Jack looks up, nods, carries on reading. The DRIVER opens
the door, jerks his thumb at the back of the truck.
DRIVER
Cement?
Jack glances up, shrugs. The front-door opens behind him and
Jack's FATHER emerges, holding a clipboard against his hip.
The Driver addresses him impatiently.
DRIVER
Cement??
Jack rises slowly to his feet beside his Father, who is
afflic-ted with a permanent smokers' cough. He is a thin,
frail, ex-civil servant type of about 50, who still retains
an air of authority and precision about him despite a gloomy
resemblance to Neville Chamberlain. He nods with slow
deliberation, indicating the sacks with his pipe-stem.
FATHER
Fifteen.
A hand makes a savage chop at a steel pin - the truck's tail
gate falls away to reveal tightly-packed sacks of cement.
2. EXT. PATH & SIDE OF HOUSE - [d/f: 10] DAY
The Father leads the way along the side path of the house.
The DRIVER and his MATE follow, both shouldering sacks of
cement and both whistling shrilly completely different tunes.
Their faces are covered in a fine, pale dust that gives them
a ghostly look. Jack appears in L/S, pausing to watch.
JACK'S POV: The Father stands beside the open coal hatch,
supervising the MEN as they heave their sacks down the chute.
3. EXT. HOUSE & ROAD - [d/f: 10] DAY
As the MEN remove the last remaining sacks from the truck,
two children return home from school: SUE (12), buried in a
book, and her younger brother TOM (7) who trails behind.
4. EXT. PATH & SIDE OF HOUSE - [d/f: 10] DAY
Jack is still leaning against the fence as the MEN pass him
with the last of the sacks. He watches briefly, then glances
toward the house as the SOUND of a portable radio grows
louder.
JACK'S POV: A girl - JULIE (17) - is barely visible in a
window above. She looks briefly down at the activity
outside, then turns away, taking her music with her.
5. INT. COAL CELLAR & POV UP THRU HOLE - [d/f: 10] DAY
The Father stands silhouetted in the open hatch above,
watching the last of the sacks slide down the f/g chute into
the cellar. The DRIVER hands him a delivery note - he turns
aside to sign it as Jack moves up alongside him and stares
down into the f/g cellar, then flips the hatch shut with his
foot.
6. INT. DINING ROOM - [d/f: 10] NIGHT
The Father presides at the head of the family dinner table,
scraping black shards from his pipe. He glances towards us,
frowning to see Jack, slouching with his elbows on the table.
Jack stares briefly back at his Father, then across at Julie -
the girl seen earlier at the kitchen window. She is slim and
dark-eyed, with a disruptive, intimidating quietness about
her.
Beyond them are Sue, Tom, and their MOTHER - a frail, thin,
unobtrusive sort of person.
MOTHER
I really think you should send the
cement back, dear.
FATHER
(to Jack)
Don't they teach you any manners
at school? If your mother goes
to the trouble of cooking you a
decent meal, then the least you
can do is eat it.
JACK
Don't like mutton.
MOTHER
I'm sure if you telephoned them and
told them you changed your mind...
FATHER
It's pork.
JACK
Don't like pork.
TOM
I'll have it!
FATHER
Jack - just eat it up properly.
MOTHER
Not if Jack doesn't want to. As
long as it's not wasted - that's
the main thing.
Mum takes the plate from Sue and cuts up the meat for Tom -
evidently her favourite. He squeezes up to her, as of habit,
leaning his head on her arm - much to the Father's
irritation.
MOTHER
Why not ring them in the morning
and tell them you've changed your
mind?
FATHER
Out of the question.
MOTHER
But you've put so much work into
that garden...
FATHER
It's a mess. It's full of weeds.
It's out of control. And sit up
properly, Thomas - let your mother
eat her food in peace.
MOTHER
I really think you should sleep on
it, dear...
FATHER
It'll be much tidier from now on -
and there's an end to it.
7. INT. BATHROOM - [d/f: 10] NIGHT
TIGHT on Jack's reflection, studying his face in the mirror.
He draws closer, inspects a couple of pimples... then locks
into his own gaze. He stares at himself a moment, pouts his
lips, lifts his hand up -- kisses it as though kissing a
mouth.
A pause, then he lifts our whole FRAME IMAGE (i.e. the
mirror) out of SHOT, leaving only the blank wall beyond.
8. INT. LANDING & STAIRS - [d/f: 10] NIGHT
The Father switches off the hall light and climbs the stairs
towards us. His feet reach the landing and approach the
bathroom door, where movement can be seen beyond the crack at
the bottom. The Father rattles the handle.
FATHER
Who's in there?
Beat.
JACK (O/S)
Me.
FATHER
What are you up to?
JACK (O/S)
I'm on the lav.
FATHER
Well get a move on.
Presently the door opens and Jack emerges, somewhat flushed.
FATHER
Why is it you're always in the
bathroom when I want to use it?
Jack shrugs. The Father enters the bathroom, shutting the
door behind him, and Jack starts to walk away. A beat, then -
FATHER (O/S)
Have you been using this?
Jack turns to see his Father holding up a razor.
FATHER
Well kindly don't. I don't want to
catch your germs thanks very much.
The Father shuts the door. Jack pauses a moment, staring
after him with a vague and faintly wilful look. The door
opens again.
FATHER
And Jack? I'll be needing your
assistance tomorrow, so you'll come
straight home after school - right?
Jack nods. The Father closes the door, sliding home the
bolt.
9. EXT. SCHOOL - [d/f: 10] DAY
A large, noisy school at the end of the day. Teenage KIDS
swarm through the gates, among them Jack and Julie. They
reach the corner where Julie meets up with some girlfriends.
The girls - from JACK'S POV alluring, erotic, forbidden -
regard him as though he were a creature from an alien and
infinitely inferior planet. Julie gives him a casually
dismissive wave.
Jack watches as Julie and her friends head off, then he
ambles away in the other direction.
10. EXT. ROAD THROUGH WASTELAND - [d/f: 10] DAY
The noise of kids cuts to the relative silence of a derelict
wasteland, through which a road stretches toward a hazy
skyline of tower blocks several miles away.
Jack wanders home along the road, which is bordered on both
sides by the remnant shells of prefab homes. He reaches a
pathway leading across the wasteland, glances behind him to
make sure the coast is clear, then cuts along it.
11. EXT. PREFABS & WASTELAND - [d/f: 10] DAY
Stumps of concrete rise up through the undergrowth in f/g
like tombstones in an overgrown cemetery. Jack leaves the
path and clambers down the rubble slopes of an old basement.
12. EXT. OLD HOUSE - [d/f: 10] DAY
Jack lounges on his back, his tie loose about his collar, his
shirt undone. He is lying on the floor of what was once a
cellar, idly blowing smoke-rings into the sunlight that
streams in from above. By his side are his school satchel
and a soft-porn magazine - the latter having been recently
put to good use. He takes another lingering drag, then spits
onto the wall, sizzling out the dog-end as it dribbles down.
13. EXT. BACK GARDEN & ROCKERY - [d/f: 10] DAY
The Father is at work in his ornamental garden at the back of
the house, measuring distances between wooden pegs with a
tape-measure and jotting down the results on his clipboard.
He is wearing a pair of enormous rubber gloves, and has to
pull back the wrist flap to look irritably at his watch.
The walled garden is a veritable labyrinth of narrow little
paths that make elaborate detours to visit flowerbeds only a
few feet away. Peeling gnomes with fishing rods squat by a
pond with a blue plastic bottom, while further back is a
large rockery, where a spiral path leads to a flat summit,
presided over by a plaster statue of a dancing Pan.
We find Jack leaning against the corner of the house,
watching his Father in the distance. He sees him again
glance at his watch and look around. Jack backs out of
sight.
The Father kneels on the ground in f/g, jotting on his
clipboard between fits of coughing. He pauses to brush away
a fly, then sees Jack strolling across the garden toward him.
FATHER
Where have you been?
JACK
Extra maths. I came as quickly as
I could.
If it's a pun, Jack doesn't milk it.
FATHER
Well... you'd better put something
on - it's a messy job we've got
ahead of us.
14. INT. CELLAR & POV UP THRU HOLE - [d/f: 10] DAY
Jack zips up a moth-eaten boiler-suit taken from a rusting
metal locker, shuts the tin door, then picks up a spade.
Raising the spade above his head in the manner of an
executioner, he brings it hurtling down on a bag of cement,
splitting it from end to end and disgorging its grey, powdery
contents onto the floor of the cellar.
The Father stands framed in the open hatch above, silhouetted
against a white, featureless sky. Jack calls up to his
Father, who hauls the bucket of cement up the chute, then
moves off.
15. EXT. HOUSE & FRONT GARDEN - [d/f: 10] DAY
Jack shovels sand from a large pile into a wheelbarrow.
16. EXT. HOUSE & BACK GARDEN - [d/f: 10] DAY
The Father kneels by a wooden frame, hammering pegs alongside
it. A bee buzzes by his face. He flicks it aside with his
handkerchief, mops his brow, while Jack tips the sand onto a
nearby pile of cement. The Father catches sight of Tom,
taking a short cut to the top of the rockery.
FATHER
Hey Thomas - use the path - what do
you think it's there for?
Tom shrugs - glances at Jack, who winks a grin.
17. INT. KITCHEN - [d/f: 10] DAY
Jack fills a bucket with water from the kitchen sink. Sue
kneels on the floor in the b/g, measuring Julie's leg for a
dress she's making. Jack watches them while the bucket
fills.
18. EXT. HOUSE & BACK GARDEN - [d/f: 10] DAY
Jack pours on water while his Father mixes the sand and
cement, then kneels, smooths out the soft grey mixture with
the flat side of a short plank. Jack stands beyond, mixing
more cement.
Jack slowly kneels into f/g, picks up a handful of wet
cement, lingeringly squeezes it so that it oozes out between
his fingers. As he does so, the Father starts to cough, then
leans back on his haunches in the b/g, steadying himself with
his hand as if suffering a momentary blackout.
CAMERA TIGHTENS on Jack. As the OOZING SOUND gains
prominence, so does another SOUND - the faint beat of a
pulse, indistinct at first, but gradually increasing as the
sequence continues --
19. INT. CELLAR - [d/f: 10] DAY
In a TIGHT MONTAGE: Jack splits another bag of cement -
20. EXT. HOUSE & FRONT GARDEN - [d/f: 10] DAY
Jack refills the wheelbarrow with sand --
21. INT. KITCHEN - [d/f: 10] DAY
Jack refills the bucket with water --
22. EXT. HOUSE & BACK GARDEN - [d/f: 10] DAY
Jack mixes the cement, then wheels the barrow towards us,
tips the cement onto the ground, CAMERA PULLING BACK as he
does so to include the Father kneeling in f/g. Jack leans
forward --
JACK
I need to go to the lav.
The Father looks at Jack - gives him a weary nod. Jack
ambles back to the house while his Father smooths out the
concrete.
23. INT. BATHROOM - [d/f: 10] DAY
Jack gazes at himself in the mirror above the washbasin, his
face streaked with dried cement. A brief pause, then he
leans forward, grips the mirror with both hands, unhooks it
from its nail and lifts it down, CAMERA HOLDING on the barren
wall behind. The heartbeat quickens -
24. EXT. HOUSE & BACK GARDEN - [d/f: 10] DAY
The Father wheels the barrow to the pile of cement in f/g --
25. INT. BATHROOM - [d/f: 10] DAY
Jack kneels on the floor of the bathroom, holding the mirror
in front of him --
26. EXT. HOUSE & BACK GARDEN - [d/f: 10] DAY
The Father mixes a fresh supply of cement --
27. INT. BATHROOM - [d/f: 10] DAY
Jack places the mirror on the floor, undoes his boiler-suit --
28. EXT. HOUSE & BACK GARDEN - [d/f: 10] DAY
The Father wheels the barrow toward the next section of
garden to be cemented over. CAMERA SLOW-ZOOMS toward him --
29. INT. BATHROOM - [d/f: 10] DAY
SHOOTING OVER Jack's shoulder as he masturbates, CAMERA SLOW
ZOOMING in on him, watching his own reflection in the mirror -
30. EXT. HOUSE & BACK GARDEN - [d/f: 10] DAY
Matching SLOW-ZOOM in on the Father as he pauses, seeming to
struggle as though unable to breathe. Short, staccato
breathing OVERLAPS --
31. INT. BATHROOM - [d/f: 10] DAY
SLOW-ZOOMING in on Jack as he bends forward, holding himself
above the mirror with his spare hand --
32. EXT. HOUSE & BACK GARDEN - [d/f: 10] DAY
The SLOW-ZOOM HOLDS on the Father as he suddenly tips the
barrow forward, the cement spilling out into f/g. As he does
so, the SUBJECTIVE SOUND peaks in a series of short, staccato
gasps, followed by silence.
TIGHT on the Father, his eyes contorted in a death-spasm --
33. INT. BATHROOM - [d/f: 10] DAY
TIGHT on Jack's reflection in a tight spasm. The silence
holds briefly - followed by a long, drawn-out sigh...
34. EXT. HOUSE & BACK GARDEN - [d/f: 10] DAY
The SIGH continues as the Father's face hits the f/g cement
in SLOW MOTION, the impact causing a slight ripple in the wet
surface. The SOUND dies to silence, the ripple subsides.
35. INT. BATHROOM - [d/f: 10] DAY
Jack sits on the edge of the lavatory, zipping up his boiler
suit. He gets up, wipes the mirror clean and hangs it back
on the wall. Noises can be heard from the hallway below,
followed by Julie's urgent voice on the telephone, summoning
help. Jack listens with mild curiosity, but her words are
inaudible. He examines a spot in a cursory manner, then
turns and leaves.
36. EXT. HOUSE & ROAD - [d/f: 10] LATE AFTERNOON
TWO AMBULANCEMEN carry a stretcher covered by a bright red
blanket to an ambulance parked outside the house. Julie,
Sue, Tom and their Mother follow behind, clutching hands.
The Mother climbs into the back of the ambulance while Julie
stands on the pavement comforting Sue and Tom.
Jack appears in the distance, standing at the top of the side
path. He leans against the wall of the house, watching as
the ambulance drives off down the road.
37. EXT. PATH & SIDE OF HOUSE - [d/f: 10] LATE AFTERNOON
Jack walks back up the path. He pauses by the kitchen door,
noticing something O/S in our direction.
38. EXT. HOUSE & BACK GARDEN - [d/f: 10] LATE AFTERNOON
Jack kneels down in f/g beside the soft cement. He gazes at
the impression of his Father, still visible, then smooths it
away with his hand.
FADE TO BLACK.
39. EXT. HOUSE & ROAD - SUMMER - [d/f: 9] DAY
FADE UP on the house, viewed from the far side of the road.
For the first time we see that the House is without immediate
neighbours. A blind shoots up in one of the windows with the
rush and crack of a whip --
40. INT. JACK'S BEDROOM - [d/f: 9] DAY
JACK'S POV of his bedroom, briefly OVER-EXPOSED by the sudden
rush of daylight. A FIGURE is silhouetted against the
window, holding the blind-cord and looking toward us.
Jack sits up in bed, rubbing his eyes. He glances down at
his alarm-clock on the floor, gives it a rattle.
MOTHER
It's you that's run down, Jack -
not your clock.
His Mother moves toward him, weaving her way through the
shambles of his bedroom. Jack starts to move --
MOTHER
You lie there a moment. I think
it's high time you and I had a
little chat.
JACK
I'm going to be late....
MOTHER
Another five minutes won't make any
difference.
Jack reluctantly draws the sheets over him as his Mum sits on
the edge of the bed.
MOTHER
Look at me, son. I want to look at
your eyes.
She leans forward, examines his baggy eyes.
MOTHER
Your pupils are very large - did
you know that? And there are bags
under your eyes even though you've
just woken up. Do you know why
that is?
(Jack shrugs)
You know what I'm talking about - I
can see you do. You're growing into
a young man now, Jack, and I'm very
proud of you. I know growing up's
difficult, but there are things you
can do - and things you can not do
- to make it that much easier on
yourself. If you carry on the way
you're going, you're going to do
yourself a lot of damage to your
growing body.
JACK
Damage...?
MOTHER
Just look at yourself. You can't
get up in the mornings, you're
tired all day, you're moody, your
room's like a pigsty, you don't
wash yourself properly, you're rude
to your sisters - and me. And we
both know why that is, don't we?
Jack looks decidedly uncomfortable, but says nothing.
MOTHER
I don't want to alarm you, but I
think you ought to know that...
that every time you do - it - it
takes two full pints of blood to
replace it.
Jack looks somewhat perturbed at this intelligence. His Mum
softens with a smile.
MOTHER
You don't mind me saying this to
you, do you?
(Jack shakes his head)
It's only what your father'd have
told you if he was still alive.
And who knows, one day you might
turn round and thank me for
telling you what I've been
telling you.
Jack smiles weakly in response. Mum leans forward, ruffles
his hair with a affectionate kiss.
MOTHER
Now hurry up and get dressed...
there's clean clothes on the chair.
I've got to go to the hospital this
afternoon, so you'll have to bring
Tom home after school and take care
of him.
JACK
Why can't Julie?
MOTHER
I'm asking you, Jack. Julie has
enough to do as it is as well as
all her homework. And Sue's got
netball practice so it'll just have
to be you for a change. He is your
brother you know. Now hurry along.
Breakfast is ready downstairs.
And Mum goes, leaving a disgruntled Jack.
41. INT. HALLWAY & STAIRS - [d/f: 9] DAY
Jack ambles downstairs, still doing up his shirt. He catches
sight of himself in the mirror at the foot of the stairs,
pausing briefly to comb his hair with his fingers.
42. INT. KITCHEN - [d/f: 9] DAY
The Mother is making Tom his breakfast as Jack enters. Sue
and Julie are at the table - both reading school books. Jack
takes an apple from a bowl, glances at the clock, then at
Julie.
JACK
Come on, Julie - we'll be late.
MOTHER
You've got time to eat breakfast.
Mum places a bowl of porridge in Jack's place.
JACK
(ignoring Mum)
Are you coming or not?
JULIE
(without looking up)
You go on ahead.
JACK
But we'll be late for school.
JULIE
I said you go on ahead. I got
things to do.
Jack looks peeved. He glances at Sue.
JACK
What about you, Sue? You coming?
SUE
(without looking up)
Not going yet.
JACK
Tom?
TOM
I'm going with Sue.
Jack glares at them.
MOTHER
Do eat your breakfast, Jack...
Jack stomps out of the room, slamming the door behind him.
43. EXT. HOUSE & ROAD - [d/f: 9] DAY
Jack roots about in a ruined prefab on the other side of the
road, watching the house. Presently Julie emerges, turning
quickly to stop the door slamming - her coat, skirt and
petticoat spinning with her. She turns up her collar, then
sets off down the road, slinging her satchel over her
shoulder.
44. EXT. ROAD & WASTELAND - [d/f: 9] DAY
Jack catches up with Julie, lunging playfully at her wrist.
JACK
Carry your satchel, miss?
Julie pulls away and carries on walking. Jack dances
backwards in her path like Squirrel Nutkin.
JACK
Wanna race? Wanna fight?
Julie lowers her eyes broodily.
JACK
What's wrong?
JULIE
Nothing.
JACK
Are you pissed off?
JULIE
Yes.
JACK
With me?
A beat, then Julie turns on him.
JULIE
You're just so bloody - selfish.
All you think about's yourself.
You never think about mum... all
you think about is me, me, me.
She turns and walks on, leaving Jack stung.
JACK
I'll go back then.
JULIE
Suit yourself.
Jack stands, watching her drift away.
45. EXT. HOUSE & ROAD - [d/f: 9] DAY
Jack wanders back to the house, passing Sue and Tom. Sue is
reading a book, her satchel strapped tight and high across
her shoulders. Tom drags his heels a few yards behind. She
mutters to him to hurry up, but neither of them react to
Jack.
46. EXT. PATH & SIDE OF HOUSE - [d/f: 9] DAY
Jack walks round the side of the house to the back garden and
looks through the kitchen window.
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