Scene 1: London Courtroom
(Tagline: London, 1845. An external view of a large stone courthouse, standing in one London's broader, nicer streets. People and wagons are passing. Some of the people are well-dressed in the fashions of the day- this is one of London's nicer districts- but many are poor and ragged. Cut to the inside of large, shadowy courtroom. Jane Fraser, a ragged girl of ten, is standing in the dock. The judge is sitting on the bench, and next to him is the clerk, with a sheaf of papers and a pen. The twelve men of the jury, are sitting opposite the witness box. An assortment of the public, rich and poor, are sitting in the galleries.)
Judge: (the judge is a serious looking man with a loud, authoritative-sounding voice. He looks very reliable and important) Order! Order!
(Public falls silent. Throughout the following proceedings, the court clerk is busily making notes.)
Judge: We are gathered here for the trial of Miss Jane Fraser, for the theft of this necklace. (He holds up an impressive pearl necklace.) Miss Fraser, how do you plead?
Jane: Not guilty.
Judge: Not guilty, what, Miss Fraser?
(Jane says nothing.)
Judge: Not guilty, Your Honour.
1st Juryman: (Whispering) He'll like you better if you say it.
(Jane says nothing. Through all the following proceedings she sits still and silent.)
Judge: (giving up) Gentlemen of the jury, I have been informed that this necklace comes to two hundred pounds. It was in a jewellery shop, a very reputable one, run by a Mr Drebber of very good standing, and it was stolen by the young lady. How it was stolen I shall allow Mr Drebber to explain for himself. Mr Drebber!
(Mr Drebber enters. He is a very wealthy manufacturer of fine jewellery, and wears very well-cut clothes. He is outraged by the whole business and assumes a deeply injured air. The judge hands Mr Drebber the Bible and oath card.)
Mr Drebber: I swear by the Almighty God to tell the truth, the whole truth and nothing but the truth.
Judge: Thank you. Proceed.
Mr Drebber: I had locked up my shop for the night. This was at about half past ten. I shut the shop at five, you see, but I always have a final lock up before I go to bed. And then I heard the glass in my shop window break. Well, of course I knew at once it must be burglars. I ran down at once with the gun and I found the necklace gone and by window broken.
Judge: Do you always have a gun?
Mr Drebber: I keep it in my room, Your Honour.
Judge: Thank you Mr Drebber, that will be all.
Mr Drebber: Needless to say the necklace is a great loss to me. It was very valuable.
Judge: We understand that, I'm sure, sir.
Mr Drebber: A great loss, Your Honour. It is not the first time my shop has been broken into, but it is the first time something of such great value has been taken.
Judge: That will be all, Mr Drebber.
(Mr Drebber leaves.)
Judge: Mr Drebber reported his loss to the police. The police began a search, for the necklace was of great value. They eventually found Miss Fraser endeavouring to sell the necklace at a second hand shop. Messrs Whit and Hanly arrested her. Messrs Whit and Hanly!
(Messrs Whit and Hanly enter the court. They are both competent members of the Metropolitan Police, and quite used to giving testimony in court. The judge hands Whit the Bible.)
Whit: I swear by the Almighty God to tell the truth, the whole truth and nothing but the truth. (Passes the Bible to Hanly.)
Hanly: I swear by the Almighty God to tell the truth, the whole truth and nothing but the truth.
Judge: Mr Whit, will you proceed?
Mr Whit: Yes, Your Honour. Well, Hanly and I went to the second hand shop because in the past, it has been a fence, Your Honour. And we found the young lady in the shop, with the goods on her, Your Honour.
Judge: And what did you do then, Mr Whit?
Mr Whit: Arrested her at once, Your Honour.
Judge: And Mr Hanly, can you back this up?
Mr Hanly: It's quite as he says, Your Honour.
Judge: Thank you Mr Whit, Mr Hanly, that will be all.
(Mr Whit and Mr Hanly leave.)
Judge: Now, that's almost everything, but first, Miss Fraser, do you have anything to say?
1st Juror: (whispering) At least say you didn't do it!
Judge: No talking to the prisoner! Very well. Gentlemen of the jury, you have heard everything. You may now go to deliberate your verdict.
Mr Hendryk: I would like to ask a few questions, Your Honour.
Court clerk: Is he allowed to do that?
Judge: I... well, I have to admit I don't know. But I think, really, he ought to be.
(Approving noises from the public.)
Judge: Order! Very well, Mr...
Mr Hendryk: Hendryk, Your Honour. Daniel Hendryk.
Judge: Are you the children's charity man?
Mr Hendryk: Yes, Your Honour, I work with London's poor children.
Judge: Very well, Mr Hendryk, let's hear what you have to say.
Mr Hendryk: Thank you, Your Honour. Now, Miss Fraser, do you know how old you are?
Mr Hendryk: I see. Is it just you and your parents at home, Miss Fraser?
Jane: Me and my Ma.
Mr Hendryk: Where is your father, Miss Fraser?
Jane: I don't know.
Mr Hendryk: And what does your mother do, Miss Fraser?
Mr Hendryk: For a living.
Jane: She's a seamstress.
Mr Hendryk: And do you have a job, Miss Fraser?
Jane: (looking animated for the first time) Yeah, I'm a thief!
Mr Hendryk: Did anyone ever tell you it was wrong to steal, Miss Fraser?
Mr Hendryk: Do you go to school, Miss Fraser?
Mr Hendryk: Can you read?
Jane: Only my name. My Ma taught me. But she taught me that.
Mr Hendryk: I see. Erm... do you go to church, Miss Fraser? Sunday School? Say your prayers?
Mr Hendryk: Where is your mother, Miss Fraser? Did she not come to your trial?
Jane: She's sick. She hasn't been able to work for two weeks.
Mr Hendryk: I see. Thank you, Miss Fraser. Your Honour, I have seen many children in similar circumstances in London, and wish to suggest that instead of putting Miss Fraser on trial you place in my care.
Judge: That is very irregular.
Jane: Me? Go and live in some children's charity? No thanks! They sew all day and then they work in a factory and then they die.
Judge: Miss Fraser, the gentleman is being very kind.
Mr Hendryk: What do you want, Miss Fraser?
Jane: To be a fine lady and live in a big house!
Judge: I see. Now, if you have quite finished, Mr Hendryk, the jury will withdraw for their deliberations.
(The jury withdraw. A cut signalling the passage of time. The jury re-enter, everyone in the same places as before, the crowd talking amongst themselves.)
2nd Juror: We find the prisoner guilty, Your Honour.
Mr Hendryk: But we recommend mercy.
Judge: Very well, guilty. Sentence, transportation for ten years.
(A few cries of "Shame" from the public.)
Mr Hendryk: Your Honour, considering the age and background of the prisoner-
Judge: Mr Hendryk, that's enough! You have had your say, I am the judge. I'm sorry, if it were merely cloth or food, or even money, but two hundred pounds!
Mr Hendryk: It strikes me as rather foolish that Mr Drebber keeps that necklace unattended.
Judge: We are not trying Mr Drebber, we are trying Miss Fraser. Now, I have passed the sentence, the case is over.
Scene 2: Southampton
(Tagline: Southampton. The docks. A few massive stone warehouses stand behind the docks. In the harbour are massive wooden sailing ships. The docks are very noisy and crowded with people from all backgrounds. A line of ragged women and girls in manacles are threading their way through the docks, under armed guard. Jane looks very tired, still wearing her ragged dress, with a small leather pouch slung on her belt. They arrive at the prison ship, a large sailing ship with "Albatross" printed across her bows. Armed guards stand in front of the ship. The gangplank is lowered and the women nearer the front stare with fear into the doorway in tAlbatross' side.)
1st Guard: All aboard.
(The women begin to walk onto the ship. One woman refuses to go.)
Woman: Oh, no! No!
2nd Guard: On board, ma'am. At once!
Woman: No, I don't want to! I don't want to go to Australia! I didn't do anything wrong! Please!
(Two guards drag her onto the ship. The other women watch silently.)
Woman: No! For the love of God!
(It is Jane's turn to enter the ship now, which she does without looking back.)
Scene 3: Albatross
(Direct continuation of previous scene. Jane enters the doorway. There is a long, low, dim wooden corridor. The last women enter the ship and the gangplank is raised behind them. Now the only light comes from one lantern and the sunlight through the cracks. The wardress enters. The wardress is a middle-aged woman is sombre dress, with an earnest manner.)
Wardress: I am Miss Ridgeway. I am the wardress here. You are to call me Miss Ridgeway or ma'am. You are, as you are all aware, here because you have sinned. I am here to ensure that you sin no more. I am also responsible for your meals, and such like. Do you understand?
Women: (ragged chorus) Yes ma'am.
Wardress: Good, now, I will show you to your rooms.
(The wardress begins unchaining women and showing them to rooms off the corridor. She comes to Jane.)
Wardress: Come this way.
(She leads Jane through a door into her room. It is a narrow wooden cell, low-ceilinged, with no light and no furniture. There is a ring in the wall. The wardress attaches Jane's chain to this ring.)
Wardress: Now, don't try to undo the chain, because you can't.
(Jane says nothing. The wardress leaves. Jane is left standing alone in her cell. Cut to show the passage of some time. Jane is now sitting on the floor. The light coming through the cracks is barely existent.)
Voice from afar: Anchor up!
(Distant rattling of chains. The wardress opens the door. The light in the passage seems very bright now.)
Wardress: Here's some food.
(She gives Jane a piece of bread.)
Jane: (not looking at her) Thank you, ma'am.
Wardress: We have just left Southampton. Oh, and I should tell you that the chaplain will be round in the morning.
(Jane says nothing. The wardress leaves. Jane eats her bread in a couple of mouthfuls and curls up on the floor. She lies awake in the dark. Rats scuffle in the walls. One tear slides down Jane's cheek, and only one. Then she lies stony-faced in the dark.)
Scene 4: The same
(Jane is sitting on the floor of her cell. The chaplain enters. The chaplain is a middle-aged, grim-faced man, who especially keen on those bits of the Bible involving sin.)
Chaplain: Well, Miss Fraser, have you thought about what I said last time?
Jane: No, sir.
Chaplain: Miss Fraser, need I remind you that an unrepentant sinner is eternally damned?
(Jane says nothing.)
Chaplain: Miss Fraser, unless you are willing to get down on your knees and beg, you only possible hope is for great eternal suffering. You do know what suffering is don't you?
Jane: Horrible things.
Chaplain: Yes, very great pain. You see, Miss Fraser, it is very wicked to steal. It is one of God's most holy Commandments. Thou shalt not steal.
(Jane says nothing.)
Chaplain: And if you do not repent, you will be punished.
Jane: I have been punished.
Chaplain: You have received the punishment of man, for breaking the laws of man, and you will receive the punishment of God, unless you are willing to ask for His forgiveness.
Chaplain: You are trying my patience and you are trying the Lord's.
(Jane says nothing.)
Chaplain: I will leave you to think over that, I will see you in the morning.
(The chaplain exits.)
Chaplain: (off) Ah, guard, I've just been to see the prisoner in number ten. Keep an eye on her, she's not as docile as some.
Guard: (off) She seems docile enough to me, sir. Sometimes I feel sorry for the poor soul.
Chaplain: (off) She has committed a very serious crime.
Guard: (off) I know that, sir. But still, Australia is the other side of the world.
Chaplain: (off ) Yes, well, goodnight.
Guard: (off) Goodnight, sir.
Scene 5: Australia
(Tagline: South Australia, four months later. The Albatross arrives in a small bay by a settlement, with buildings and farms. The Albatross stops, and lowers her anchor. Jane is sitting in her cell. The wardress opens the door.)
Wardress: Miss Fraser, get up.
(Jane gets up. The wardress unlocks her chain from the ring and leads her out into the corridor. There the other women are waiting, chained in line. The wardress chains Jane onto the back of the line and leads them out of the ship. Outside the ship there are soldiers. The wardress stops the women on the dock .)
Wardress: Well, this is Australia. Goodbye.
(Wardress goes back into Albatross. The women are left standing on the shore. The Governor approaches. He is an experienced Governor, with an authoritative manner.)
Governor: I am Governor Foster. You will call me Governor. Now, this is a penal colony. You are the prisoners and you must follow the rules. You will live in the barracks here, and you will work either in the fields or in the weaving shed. You will obey me, the guards and the wardresses, and if you behave well, you may get a ticket of leave.
(Wardress Myers arrives. She is the penal colony's own wardress. She is a young woman who takes her duties very seriously.)
Governor: This is wardress Myers. She will take you now.
Wardress Myers: I am wardress Myers and if you will please follow me I will show you to your rooms.
(Wardress Myers undoes the women's chains and leads them down the lane. At the end of the lane, where the open bush starts, are a bunch of kangaroos.)
Jane: Oh! What are they?
Wardress Myers: Kangaroos.
Jane: I like kangaroos.
(Wardress Myers leads the women to a dormitory block, with guards on the door. She leads them inside. It is a large wooden hut with a dirt floor and a line of bunks. On each bunk is a blanket and above each one is a wooden shelf.)
Wardress Myers: This is the bunkhouse. Now, you'll get up when the bell goes and go to work. We'll sort your jobs out tomorrow. Then you'll sleep here every night. Sundays are off, but you have to go to church in the morning. Do you all understand?
(The women nod.)
Wardress Myers: Very well. You stay here. I will go and get you some bread to eat.
(Wardress Myers leaves. The women begin choosing bunks, squabbling among themselves. Jane stands in the corner. Martha calls to her.)
Martha: Come on lass, you can have this bunk here.
(Jane and sits on the bed next to Martha.)
Jane: Thank you ma'am.
Martha: My name's Martha, not ma'am.
Jane: Thank you Martha.
Martha: What's your name, lass?
Martha: What did a nice girl like you do to get sent to Australia?
Jane: Stole a necklace.
Martha: That doesn't seem like much!
Jane: It was worth two hundred pounds.
Martha: Two hundred! Lord!
Jane: What did you do?
Martha: Well, I can hardly not tell you after I asked you! I was working in a big house and I stole some nice silver pots.
(At this point Wardress Myers enters with bread.)
(Martha, Jane and the other women run and grab pieces of bread. Martha and Jane take theirs back to their bunks.)
Martha: Well, I reckon this place could be worse. However, it could be better.
Martha: All I hope is to get a ticket of leave real soon. Then I can run off and get married. That's what I want.
Jane: I want to be rich.
Martha: Good plan!
(Wardress Myers returns.)
Wardress Myers: Lights out in two minutes! Lights out in two minutes!
Jane: Goodnight Martha.
Martha: Goodnight, lass.
Scene 6: Church
(The interior of the little wooden penal colony church. The service has just finished. The chaplain, a man called Roberts, is moving among the congregation, talking to them. He arrives at Jane. Roberts is a middle-aged man, with a kind, soothing way of speaking.)
Roberts: Hello, young lady. I'm the chaplain, Mr Roberts. What is your name, young lady?
Jane: (she is getting up to leave, still wearing her belt pouch) Jane Fraser, sir.
Roberts: I must say, you seem rather young to be out here. What did you do, Miss Fraser?
Jane: Steal a necklace and it cost two hundred pounds.
Jane: To sell it.
Roberts: I see, well, how long must you stay here?
Jane: Ten years, the man said.
Roberts: Well, by that time you should be quite grown up and able to do well in the world. Just be a good girl and read your Bible every day and everything will come right.
Jane: I can't.
Roberts: Can't what?
Jane: Can't read.
Roberts: I see. Well, many people can't. Soon, I hope, someone wise will teach all children to read. In the meantime-
(He looks around the now empty church.)
Roberts: I'm not busy- and there is no worthier occupation than teaching one's flock... Supposing I give you reading lessons? On your spare afternoons. Would that be all right?
Jane: Oh, yes, thank you, sir!
Roberts: Well, there's no time like the present. Suppose we begin now? Sit down on that bench (they sit down in the front pew, Roberts holding his Bible.) Now the first verse goes "In the beginning God created the Heaven and the Earth". Now you can see this here is a capital I and that there is an n.
(Fade out. The scene shifts. They are still in the same positions but now it is much darker outside.)
Roberts: Now that there is a d- Lord, is that the time?
Roberts: You should go, it must be nearly tea.
Jane: Yes sir. Thank you sir.
(Roberts goes to put his Bible away and Jane hurries out of the church and runs across the grass. The sun is setting behind the bunkhouse.)
Scene 7: Penal colony
(The sun is rising in the distance, far across the bush at the other end of the bunkhouse. Tagline: Four years later. Jane, Martha and a group of other women are crossing the street in front of the courtyard. Jane is older and still ragged, still with her belt pouch. Then a group of horsemen charge into the other side of the colony. The women on that side of the colony shriek. The guards come running.)
Jane: What's going on?
Martha: It's outlaws.
(Jane and two other women run to see the fighting.)
Martha: Jane, what are you doing? Come back, you stupid girl!
(The fight between the outlaws and the guards is waxing fast and furious. The outlaws seem to be getting the upper hand. The women have either run indoors or are standing round in a circle watching in fascination. The women who were with Jane have vanished. Suddenly Jack rides past, on his horse. Jack is about Jane's age, with a confident manner. Jack reaches down and grabs Jane's hand.)
Jack: Come on if you want to get out of this Hell-hole!
(Jane swings herself up into the saddle in front of him and they gallop off, after the rest of the outlaw band. A couple of bullets crash past Jane's head. They ride on, fast, out across the bush, and eventually come to a shack. Here they pull up. Jack swings himself down and hands Jane down.)
Jack: You go inside.
(Martha goes into the shack with the other outlaws: Bill, Matthew and Nathanial.)
Scene 8: The shack
(A one-roomed shack with a little loft above and a lean-to at the side where the horses are kept. An old deal table, a bench, a couple of rickety stool and a line of hammocks are the only furniture. In the corner is a pile of obviously stolen goods. Jack enters straight after Jane. Bill turns to address the outlaws. Bill is an old convict, and quite a while an outlaw, with a tough, no-nonsense demeanour.)
Bill: All right, lads- who are you?
Jane: Jane Fraser, sir.
Jack: That's all right, Jack, I brought her.
Jane: Why? What do you want?
Jack: Nothing, but I reckon you don't want to spend the rest of your life in a penal colony. But if you do, you're welcome to leave.
Jane: I don't ever want to go back there.
Jack: That's all right then. Miss- Fraser, isn't it?- will stay here. And everyone's gonna be nice to her, you understand, lads?
Bill: You don't tell me what I do or do not understand.
Jack: Shut it.
Matthew: (Matthew is a young man with a firm, way of speaking.) Can't we just look at the stuff?
Bill: All right. Well, I got a couple of boxes of cash. Pound coins, tons of 'em.
Nathanial: (a rather shy boy not much older than Jack) I've got these.
Bill: Sugar, tons of sugar. This should fetch a good price. Matthew?
Matthew: Some of the dosh from the officers' quarters. Not much of it but it's cash.
Nathanial: Where's Parker?
Jack: I got these. Tea and whiskey.
Bill: Good whiskey! Good lad.
Matthew: Can we eat now?
Bill: Sure, eat and drink. And be merry, eh, lads?
(Matthew produces some bread and a bit of cheese. Jack opens a bottle of whiskey and they pass it round.)
Bill: This is the life, eh?
(Jane is hanging back shyly.)
Jack: Sit down, Miss Fraser, on the bench next to me.
(Jane sits down and accepts some bread and the bottle.)
Jack: I'm Jack Norton, by the way. This is Bill, Nathanial and Matthew.
Bill: Tomorrow we can all go down to the trading station at Riverlea and sell the stuff and buy whatever. We'll be rich soon, lads.
Matthew: All right.
(The others gather round.)
Jack: Do you play, Miss Fraser?
Jack: I'll teach you.
Bill: All right, who's dealing?
Bill: I'll deal.
Jack: All right. So, he deals, that's the buck, that's to show who's dealer. Now, we all make bets while he shuffles.
Bill: Two shillings.
Jack: Two shillings and sixpence.
Nathanial: One shilling.
Matthew: Two shillings.
Jane: I haven't any money.
Jack: It's all right, you can be on my team.
Matthew: You can't have help, that's not fair!
Jane: I'm not much help!
Matthew: True enough.
(Bill is dealing.)
Jack: Now, we've got a Jack, that's good, but what we really want is an ace, so we go Jack, ten, eight, seven- ooh, we've got another ten...
(Fade out. Cut to similar scene, later. It's darker, someone has lit a candle. The stack of coins on the table has grown considerably and the game has wrapped up, people collecting their winnings.)
Matthew: All right, I'm turning in.
Bill: Before you lose more?
(The outlaws begin scrambling into hammocks.)
Jane: Where will I sleep?
Jack: You can sleep in the loft. I'll show you.
(Jack leads the way up a ladder into the loft, a small space, empty except for a couple of sacks.)
Jane: I didn't think outlaws slept on hammocks and sacks.
Jack: How do you think we sleep?
Jane: In beds! With sheets!
Jack: We will. When we get rich. We're new to the game yet.
Jane: I want to be rich, have a nice house.
Jack: We will. By the way, I suppose you have a gun?
Jane: No, we weren't allowed them in the penal colony.
Jack: Here, have mine.
Jane: What do I do with it?
Jack: I'll give you proper lessons in the morning. Basically, she's all loaded up. Don't pull that. That's the trigger. Here, put it in the holster. And if you have to, pull that.
Jane: Thank you.
Jack: All right. Now, have you any things? Cos if you have, it might be a bit tricky to get them out of the penal colony, to say the least.
Jane: No, all my things are here. (Opens her belt pouch.) My comb, a bit of ribbon, a pin, oh, and this. (She takes out a tiny wooden peg with a rag tied round it.) Annabelle. Ma gave her to me, when I was a baby.
Jack: Where's your Ma now?
Jane: In England. Probably dead.
Jack: Hard luck!
Jane: I know, right? And yours?
Jack: Parents dead. Sister dead, brother in an English orphanage.
Jane: Hard life.
Jack: Aye, well, I'll see you in the morning.
(Jack scrambles back down the ladder and Jane makes a bed for herself among the sacks.)
Scene 9: The shack
(Jane wakes up. The outlaws are talking downstairs. Jane hurriedly combs her hair and ties a ribbon in it and goes downstairs.)
Jack: Morning, Miss Fraser.
Jane: Morning, Mr Norton. Morning, everybody.
Nathanial: Morning, Miss.
Bill: You sit down, have something to eat.
(Jane sits down and takes a piece of bread.)
Jane: Thank you, sir.
Bill: None of that. This ain't a bloody penal colony any more. I'm Bill, you understand?
Jane: Yes... Bill.
Bill: Today we go into Riverlea. Sell the goods.
Matthew: They should get a good price.
Bill: Aye, we'll feast tonight.
(By now everyone has finished their bread.)
Bill: All right, come on, everybody. Let's get saddled up.
(They all go outside to where the horses are waiting in a lean-to shed round the side of the shack. Harry and the others are cropping the grass by the lean-to door.)
Jack: This is my horse, Harry. Erm... You don't have a horse, do you?
Bill: She's useless. She knows nothing about guns and she doesn't have a horse.
Jack: She's not useless! Mind your manners!
Bill: Don't tell me to mind my manners!
Jack: I'll do what I like! Stop me if you can!
Matthew: Will you two stop fighting?
Bill: Nobody asked you- oh, all right. When we've finished at Riverlea we can catch you a pony.
Jack: Ride on mine.
(Jack swings himself up into the saddle and takes Jane's hand.)
Jack: Now swing yourself up next to me. Here, you have the stirrup.
(Jane swings herself up into the saddle and sits rather precariously on the front of the saddle. The others mount and sling their sacks over the saddle.)
Jack: All right?
Jane: All right.
(They set off, across a dirt track across the bush.)
Scene 10: Riverlea
(A small Australian town, with a huddle of houses, a public house, a small warehouse and fields with cattle. The people look curiously at the outlaws as they pass by. They stop outside the warehouse and tie their horses to the posts. Jack gets down and helps Jane down and they go into the shop. It's a big, dim wooden warehouse, with bags of grain, coal and metal tools lying around. Behind the counter is Mr Halliday. He is well-dressed and reasonably prosperous-looking.)
Bill: Got some stuff to sell this morning, Mr Halliday.
Mr Halliday: Good. What have you got.
Bill: Sugar and tea.
Mr Halliday: Three shillings for the sugar, two for the tea.
Bill: Three shillings? Four.
Mr Halliday: Three.
Bill: Four or I ain't selling.
Mr Halliday: Three and a half and I'm robbing myself.
Bill: Listen, Halliday, if you don't give us what we want, I can shoot you, loot your shop and burn it down.
Mr Halliday: You don't do that unless you want the troopers set on you.
Jack: We can settle troopers, Mr Halliday.
Mr Halliday: Well, I don't know about that. But say, who's that young lady you have with you?
Bill: He picked her up. Latest penal colony we raided. Don't know why. It ain't like there aren't women in all the public houses.
Matthew: We don't have all day. Are you gonna buy or aren't you?
Mr Halliday: All right. But three and a half's my final offer.
Matthew: Come on Bill. We are crooks. We need more dosh, we get it.
Nathanial: We can do without a shoot out, we lost Parker only yesterday.
Bill: Well, all right, we might have a shoot out later, anyway, if the raid goes wrong.
Mr Halliday: Very well, lady, gents. Here's five and a half shillings.
Bill: Here's the stuff. Come on lads, Miss, let's get gone.
Nathanial: Where to?
Bill: Well, I fancy seeing Doll over at the Staff of Life. All right lads?
Jack: You want to go to the pub, Miss Fraser, or shall we go home?
Jane: If we go home, will you teach me how to shoot?
Jane: Then I'd like to home, please.
Jack: Me and Miss Fraser's going back to the ranch. See you there later.
Bill: All right. C'mon then you lot.
Matthew: Wait, we'd better divide up the dosh.
Jack: Yeah, you ain't gonna blow my share in at the Staff of Life.
Bill: All right, we've six pounds and two shillings in all. Divide that between the four of us-
Jack: Five of us.
Jack: What about Miss Fraser?
Bill: What about her? She ain't earned any of it.
Bill: No buts!
Jack: Well, all right. It's all right, Miss Fraser, you can have half my share.
Bill: We divide it into four and that's what? One pound, ten shillings and tuppence each.
(The outlaws begin the difficult process of sharing it out.)
Jack: (taking his share from Bill) Thanks. Come on, let's go.
(Bill, Matthew and Nathanial leave. Jack goes to get Harry.)
Jane: Can I have my share now? There are some things I want to buy.
Jack: Sure. Here's half.
Jane: (going back into the warehouse) Won't be long.
(Jack follows her in.)
Jack: I might as well buy myself another gun.
Scene 11: The shack
(Jack is riding Harry with Jane in front of him, carrying a parcel. Jack pulls up Harry, swings himself down and hands Jane down after him.)
Jane: I do like having a new dress. And a knife and all. It's like being rich. And do you like this?
(She pulls out a simple metal chain.)
Jack: It's beautiful.
(Jane clips it on her neck.)
Jane: Thanks. I'll run and put the dress upstairs- I should really keep the knife on me, shouldn't I?- and I'll be back in a minute.
(Jane runs into the shack. Jack leads Harry round to the lean-to and un-tacks him. He fastens his rein to the pole of the lean- to. Jane comes running back.)
Jack: Oh, hello. Do you want me to teach you shooting now?
Jane: Yes, please.
Jack: (leading Jane out to the open ground in front of the shack) Well, Miss Fraser-
Jane: Call me Jane.
Jack: All right. Call me Jack. Well, Jane, take your gun and hold it like so (getting his own gun out to demonstrate as she obeys) and hold it in your good hand. Which is your good hand? Right? Right, and now hook your fingers round the trigger...
(Fade out. Camera moves back across the bush. Then the other outlaws come back from the Staff of Life. Shots ring out across the prairie.)
Bill: All right?
Jack: All right. I'm just teaching Jane to shoot.
Bill: Well good, she needs to know how to shoot because this afternoon we're going on a raid.
Matthew: Miss Fraser needs a horse first. We can't go on overworking poor Harry forever.
Bill: Fair point. We can do that on the way.
Jane: All right.
Bill: Now, let's eat. We can't go holding up wagons hungry.
Scene 12: The shack
(The outlaws are all tacking up. Jack gets onto Harry and Jane climbs up in front of him, more confidently now.)
Bill: All right?
General ragged chorus: Yes.
(They set off.)
Jane: Is it difficult? Doing hold-ups?
Jack: Nah, not really. Just shoot straight if it comes to shooting. And hope it won't.
Jane: (laughing) I can do the hoping! I'm not sure how good I am at shooting!
Jack: Pretty good.
Jane: Good. You done it a lot? Hold-ups, I mean.
Jack: That was what I got sent to Australia for in the first place. Holding up wagons.
Jane: When was that?
Jack: Four years ago. I was only ten.
Jane: Same here.
Jack: Well, none of us have much luck, do we, eh?
Jane: No, we don't.
(They arrive at a herd of horses, grazing in a large, rough meadow by the side of the path. There's a small house in the distance. No one is around.)
Bill: Quick, while we're alone. Miss Fraser, get down. Matthew, you grab him.
(Bill and Matthew get down, corner the nearest horse, Fred, and sling a rope round his neck. Jane jumps down. Fred shies away, struggling against the rope. Jack and Nathanial scramble down and soothe Fred. Bill throws the rope to Jane.)
Bill: I'll hold him steady. You get on now.
(Jane looks at the horse.)
Jane: I haven't a stirrup.
Jack: I'll lift you on.
(Jack lifts Jane up onto Fred. Fred tries to buck but Matthew and Bill haul on the ropes.)
Jack: Easy, easy, boy.
(Fred calms down.)
Jack: You all right now?
Jane: I think so.
(The others back away. Fred stays still.)
Jane: I'm still not sure what I'm supposed to do.
Jack: Just tap your heels to make him go faster. Here, I'll hook the rope round his nose, and over his head. Just hold it like a rein. Pull it to make him stop. All right?
Jane: All right.
(The others climb back into their saddles. They set of, Jack riding next to Jane.)
Jane: I'm gonna call him Fred.
Jack: Good name.
(They continue down the road for some time. They arrive at a place where the track runs past a hill.)
Bill: All right. This is the main route from Riverlea to the coast. All the wagons come this way.
Jane: I haven't seen anybody.
(Cut. The outlaws have been waiting for some time. A wagon arrives, it's only passengers a poor and ragged man and woman. Jane starts to draw her gun.)
Bill: No good. No pickings there.
(The wagon rolls out of sight. Then another wagon comes up the road up the road, a big supply wagon for the colonies inland, with two horses and six men guarding it.)
Bill: (whispering) Now!
(The outlaws draw their guns and dash over the top of the hill into the path, Jane kicking frantically at Fred. The outlaws have the advantage because their guns are in their hands and the guards' are in their belts.)
Bill: Stand and deliver!
(One of the guards on the wagon tries to draw but Matthew shoots him. The others sit and wait.)
Bill: What are you carrying?
Second guard: Iron, sugar, whiskey.
Matthew: Iron's heavy. And not very valuable.
Bill: I know that, Matthew! The sugar should be worth a pretty penny, though. And whiskey's always handy.
Jack: I don't suppose you have any money do you?
Third guard: Would you believe me if I said no?
Bill: No. Now, empty your purses.
(The guards begin rummaging for their purses. Jack, Jane and Nathanial go round to the wagon while Bill and Matthew keep the guards held up. A fourth of the guards near Jack draws his gun.)
Jane: Look out!
(Jack grabs at the gun, which fires into the air. It falls on the ground. Jack draws his own gun and shoots the guard. The third guard draws his gun and shoots Nathanial. The bullet slams into his shoulder and he slumps in the saddle. A fifth guard takes aim at Bill but Bill shoots him. Meanwhile the sixth guard also draws, positioned between Jane and the others. Jane yanks on the trigger, the gun kicks and she nearly drops it, but she shoots the guard in the head. Jack shoots the third guard. Now only the second guard is left alive.)
Bill: Jack, Miss Fraser, see to Nathanial.
(Jack and Jane get down from the saddle and see to Nathanial.)
Jack: He's alive!
Jane: He's bleeding pretty bad.
Jack: I'll shove my hanky in it. That'll have to do until we get back to the ranch. Thank God the guard's aim was off.
Bill: Now, you stay here while we clear out, and if you ever think to come get us later, just don't that's all.
Second guard: I won't.
Bill: Right, now, load up.
(The outlaws load up their saddle bags with the loot.)
Matthew: Good day.
Second guard: Good day, sirs.
(The outlaws depart quickly, Jack holding Nathanial in to his saddle. Jane rides next to Jack.)
Jane: That was my first.
Jack: You did real good. Reckon you or Bill or both would be dead otherwise.
Jane: So I am useful, then?
Jack: Yes, sure. You all right?
Jane: Yes. I felt very... clever, killing someone.
Jack: Folk usually do, I think.
(The outlaws ride on.)
Scene 13: The shack
(The outlaws arrive back at their shack. Jack and Matthew pull Nathanial down from the saddle. The outlaws carry their loot into the hut.)
Bill: Put him down in his hammock.
(They lower Nathanial into his hammock.)
Bill: Now, where's it bleeding? The shoulder? All right. Now, hold still, Nathanial, lad. Hold onto him, Jack.
(Jack holds onto Nathanial. Bill takes out his knife and cuts the remains of the bullet and powder out of the wound. It hurts and Nathanial winces.)
Bill: That's all right, now. Now, Nathanial, pass me a blanket.
(Nathanial hands him a blanket and Bill ties it round the wound, to staunch the flow of blood.)
Bill: You'll have to stay a long time in doors. But eventually you'll be all right. Thank God it didn't hit anything important. Now, let's look at the stuff.
Jack: Five bags of sugar. Ten bottles of whiskey.
Matthew: Ten pounds! That's two pounds each.
Jack: We'll be rich!
Jane: Yes. We'll be rich all right. Two pounds. I can put a bit by for a house.
Scene 14: The shack
(Tagline: Two years later. It's early morning in front of the shack in the bush. The outlaws are gathered round outside. Bill has his horse and a large pile of belongings with him.)
Bill: Well, it was a decent little house but I can't say I'll be sorry to have a little place for me and Doll to share.
Nathanial: We'll be all right.
Bill: You start scouting round for houses of your own (to Jane) especially you. You can't spend forever in a loft above a lot of rough men. Well, I'll see you tonight. Tonight we'll hold up a trading post.
Jack: All right, see you then. Give Doll my regards.
Bill: I will.
(Bill swings himself onto his horse and sets off. The others go back inside.)
Jane: (to Jack) It's true what he said about buying a house.
Jack: Do you reckon we can afford one?
Jane: I reckon. How much have we got saved up in all? Ten pounds, between us, I would say.
Jack: Are you thinking of anywhere in particular?
Jane: A couple of miles south of Bill's place there's a little farm. The people are going out to the Interior so we should be all right.
Jack: All right. Well, it's not far away. Suppose we go and look it over.
Jane: Right. Well, no time like the present. Let's go saddle up.
(They go round to the lean-to and collect Fred and Harry. They saddle up and ride off- Jane much more easily now.)
Scene 15: The farm
(Jack and Jane arrive at the farm. It's a nice little house, larger, than the shack, with a couple of scrappy-looking fields. They dismount.)
Jack: Well, it ain't much of a farm.
Jane: But we're not gonna farm it.
(She knocks at the door. Mrs Smith opens it. Mrs Smith is a middle-aged woman, with shabby clothes and a drawn face from the hard life.)
Mrs Smith: Yes, who are you?
Jane: Morning, how much is your house?
Mrs Smith: Eight pounds. That's two rooms, a loft and a stable. I'm Mrs Smith, by the way. My Richard's in town.
Jane: That's all right, isn't it?
Jane: We'll buy it, we'll buy it now. Here's the money.
Mrs Smith: (rather startled) Thank you, Miss. Wait, are you...?
Jack: Never mind who we are. Eight pounds is eight pounds.
Mrs Smith: Of course.
Jane: What time will you be out?
Mrs Smith: We'll be gone tomorrow. We were always gonna leave as soon as we got an offer. And we'll leave the furniture, it won't go in the wagon and I dare say we can get some in the interior.
Jack: All right, we'll be here tomorrow. Thanks, ma'am.
Mrs Smith: Thanks, would you like, well, we haven't got much. Would you like some bread?
Jane: No, thanks, Mrs Smith. That's all right.
Scene 16: The shack
(Jane and Jack arrive back at the shack and dismount. They leave the horses out by the lean-to and go into the shack.)
Matthew: Where have you two been?
Jane: We bought a house!
Matthew: Well, good for you. Was it that one south of Bill's place.
Jack: That's the one.
Nathanial: How much did it cost?
Jane: Eight pounds.
Matthew: Eight pounds!
Jack: Well, that's what comes of not blowing the lot of cards and booze.
Matthew: No, just most of it!
Nathanial: And presents for Sarah.
Matthew: Women are expensive, as one day you'll find out for yourself. Now, I reckon we should have a bit to eat. I expect Bill will have some at his place, he'll be here soon.
(They get out bread and beef and a whiskey bottle and sit round the old table.)
Nathanial: I hear there are good pickings in that trading post. A lot of ships have just come in.
Matthew: I hope they have more sugar. Tea's no good any more. The price has come down.
Jack: Hi Bill. Me and Jane have bought that place next to yours.
Bill: Good for you. Well, has everybody eaten?
Bill: Then let's go.
(They go outside, saddle up, and ride off.)
Scene 17: The trading post
(A wooden warehouse on a dirt road, surrounded by about ten armed guards. The outlaws approach as dusk begins to fall. The horses tethered outside the trading post wicker as the outlaws' horses approach.)
Bill: Guns out.
Bill: All right. Now!
(The outlaws burst out in front of the trading post. The guards open fire but they are mostly too late. Five guards are killed straight away.)
(A couple of guards drop their guns. Jane and Matthew snatch a bag of sugar and Matthew slings it over the front of the saddle. Then a couple of guards dash round the corner of the trading post and open fire. Bill is killed and his horse left standing riderless and panicky in the middle of the scene. Jack grabs a small metal strong box then realises what has happened and dashes over. But Bill's head is very badly damaged and he is quite obviously dead.)
Jack: He's dead!
(A bullet whizzes past Jane's head. Fred screams and nearly throws her.)
Matthew: Come on!
(Jack grabs Bill's horse's rein. The outlaws gallop off. The guards are still shooting at them and the outlaws fire back over their shoulder.)
Scene 18: The shack
(It is very dark now. The outlaws ride up to the shack and stop outside, a subdued bunch. They dismount and untack.)
Jane: We should go and see Doll.
Matthew: Should we all go?
Jack: Yes, I reckon we should.
Matthew: We should take the stuff in first.
Jane: Yes, all right.
(The outlaws take the stuff into the shack and leave it in the corner.)
Jane: Poor Bill. I rather liked him in the end.
Nathanial: Aye, I reckon he was a good boss.
Jack: He was not-
Jane: Your boss? Aye, we've heard that one often enough.
(They have left all the stuff in the corner.)
Jane: I reckon we should take Bill's share for Doll.
Jack: Good idea.
Matthew: We've got three pounds in the box. If we take her two, the rest'll come to about two pounds each, right?
Matthew: Come on then.
(They go outside and remount. They set of into the night.)
Scene 19: Bill's place
(A neat farmhouse that obviously has several rooms. A proper stable round the back. The outlaws dismount and leave their horses outside. Jane knock on the door. It is opened by Doll, a middle-aged woman, wearing a flimsy, slightly cheap-looking dress that's obviously meant to be smart.)
Jane: Hello Doll. It's us.
Doll: Why, hello you lot. What's up? Do come in.
(The outlaws come in. A kitchen. Simple but pleasant. A simple hearth, a plain deal table, a couple of chairs by the table. There's a rag rug in front of the fire and a nice piece of pottery on the window ledge, which has proper curtains in it. There are a couple of cupboards.)
Doll: Do sit down. Jane, you have the chair, you fellows will just have to sit on the table.
Jane: Doll, we're very sorry but, well, Bill's dead.
(Doll stares in utter incomprehension.)
Jane: Yes, ma'am, dead.
Nathanial: We're sorry.
Doll: In a raid?
Doll: Oh God (starting to cry). God!
Jane: Do you want a drink?
Doll: Yes, there's some whiskey in the cupboard.
Jane: All right.
(She gets a bottle of whiskey and pours some into a glass and takes it to Doll. Doll gulps it down and looks a little steadier.)
Doll: I think... I think... I need to lie down.
(Walks unsteadily to the bedroom.)
Jane: Let me help.
(Jane follows her and they go into the bedroom. It has a little double bed with blankets and a box at the foot of the bed. There are curtains in the window. Doll sits down on the bed.)
Doll: Oh Jane! Jane, I loved Bill. I know he wasn't exactly a saint. But…
Jane: He was a good man.
Doll: Jane, it's a hard life.
Jane: I know.
Doll: Have you ever thought ... if Jack...?
Jane: (utterly astonished) Jack?
Doll: I thought- but, well.
(Jane sits down on the bed, still startled.)
Doll: I... I'll be all right now, I think. Tell the others thanks.
Jane: Oh, here. It's his share from the last raid.
Doll: Thank you.
Jane: Good night then.
Doll: Good night.
(Jane goes back into the kitchen, where the others are still gathered round.)
Jack: Her all right?
Jane: She's all right.
Matthew: We'd better get going then.
(They leave, saddle up and ride off into the night.)
Scene 20: The Smiths' farm
(Jack and Jane are standing in the middle of the floor in the Smith's house, with a couple of boxes on the table beside them. There is a bench by the table, and wooden shutters on the windows but that is all.)
Jane: Well, it is nice having our own little place.
Jack: Aye, it's fine.
Jack: Why what?
Jane: Well I was gonna say, why are we having our own place, together, not separate? But what I really meant was, why did you rescue me from the penal colony?
Jack: (thinking) You know, I don't know. I reckon I felt sorry for you. I mean, those penal colonies are hell. I spent four years in one, too.
Jane: Well, nobody likes penal colonies. There were enough other women.
Jack: I guess I thought you were plucky.
Jack: Well, when Matthew shot that guardsman's head to pieces right next to you, some young girls wouldn't have stuck around after that.
Jane: I didn't think... You know, Jack, what Doll said, about Bill, she said, Jane, have you thought, if Jack...
Jack: I ain't planning on dying, swee-
Jane: What were you gonna say?
Jane: It just made me think, and I realised... I love you Jack. And... I think you love me.
Jack: At least since that first raid.
(Jane laughs. Then she kisses him.)
Jack: I do love you, sweetheart.
(They kiss again and again, laughing, then the long, hysterical kisses, and the camera pulls back out the window, and the sound of Jane and Jack talking and laughing fade.)
Scene 21: The same
(Tagline: Ten years later. It's early morning. Jack comes out of the house, a young man now, Jane following him, also grown up, wearing quite a nice dress, but a loose, cotton one.)
Jane: Well, have fun.
Jack: I will.
Jane: See you later, right?
(She kisses him and he rides away. Jane goes back into the house. The house has more decoration now- needlework flowers on the wall, a porcelain animal on the window ledge, a rug by the fireplace. In the house is a pile of stolen sugar sacks. After a time there is a knock at the door. Jane picks up her gun and, holding it behind her back, opens the door. Fylde, an outlaw is there.)
Fylde: I was told Norton would be here.
Jane: I'm Mrs Norton. Well, not legally.
Fylde: All right (goes into the house). You got the stuff?
Jane: (closes the door and stands in the middle of the room, holding the gun in her hand) Sure.
Fylde: This it?
Fylde: How much do you want for it?
Jane: Three pounds.
Fylde: Three pounds? Not a chance.
Jane: Three pounds or you don't get the stuff.
Fylde: Look, the whole reason I smuggle is because it's cheap. If it's pricey, what's the point of me doing it?
Jane: I think you'll find it pretty cheap compared to the market stuff, Mr Fylde.
Fylde: Why should I pay anything at all for it, eh? Why shouldn't I just take the stuff and kill you and go. You're only a girl, alone in the house. Really, you're fellow shouldn't have left you.
Jane: (raising her gun a little) He wouldn't have if he didn't know I could get a good price for that sugar and come out alive. Now, give me the three pounds and scram outta here.
Fylde: (reaching for his own gun) Supposing I say no?
Jane: You really don't want to do that. Come on, this needn't turn into a shoot out. Give me the money and go, or I'll shoot you before you can raise that gun.
Fylde: (eyes up the distance between Jane, the door, the sugar, her gun, his own gun) All right. Three pounds. (He flings it on the table.) May it rot your pockets!
(He grabs the sugar and leaves. Jane sticks her gun in her belt and sits down. After a minute, there's another knock on the door. Jane holds her gun behind her back again. She opens the door to a trooper.)
Trooper: Mrs Norton?
Trooper: Could I speak to your husband?
Jane: He's out.
Trooper: When will he be back?
Jane: This evening.
Trooper: Where's he gone?
Jane: The cattle market in Riverlea.
Trooper: I see. Who was the gentleman who left just now?
Jane: A neighbour. Is it illegal now to visit your neighbours?
Trooper: I see. And it's not illegal, but a gent, when you're husband's out...
Jane: I see.
Trooper: Ma'am, the truth is, we reckon your husband's in with a lot of bushrangers.
Jane: That's not true.
Trooper: I think-
(Jane shoots him. Then she drags the body out into the bush and leaves it in a shrub. Then she goes back into the house. She is scrubbing the blood off her hands when Jack comes in, with Matthew, Nathanial- older now- and Will. Will is a young man with a easy, courteous manner, very confident with an easy smile.)
Jane: Hello, you're back quick.
Jack: (kissing her) Hello, love. Everything been all right?
Jane: Right enough, but who's this?
Jack: This is Will Johnson.
Jane: How do you do?
Jack: This is my young lady, Jane Fraser.
Will: How do you do, Miss Fraser.
(The outlaws assemble on the hearth rug. Jane gets a bottle of whiskey and sits on the edge of the table. She takes a swig and passes the bottle on.)
Jane: So, Mr Johnson, how did you get here?
Will: I was a gold digger. Got tired of gold digging. And just when I thought I'd try my hand at something else, who turns up at the same station but your husband and his men? So I think, instead of a one-sided fight, I'll give them a hand and claim a share of the pickings. And it worked fine.
Jack: It's always nice to have another hand.
Jane: Yes, it is, oh, Matthew, how's Sarah?
Matthew: All right. Doin' grand. In fact, I'll tell you something, maybe there'll be a kid along soon, bit early to tell, yet.
Jack: So, you sold the sugar?
Jane: Yes, but then a trooper came and pestered me with questions, so I shot him.
Jack: Well, that's all right then.
Nathanial: I tell you, though, these troopers are everywhere now. They used to be hardly anywhere.
Jack: Oh, we'll be all right. Settled troopers before, we have.
Nathanial: That's true enough.
Matthew: Come on, Jack, let's divide up the spoils.
Scene 22: The same
(It's early evening. Jane is standing outside the house, fussing Fred when Jack, Nathanial, Matthew and Will come riding back.)
Jack: Hello love. (Dismounts and kisses Jane.)
Jane: How went the stealing?
Jack: The stealing went good, sweetheart, real good, the station didn't put up much of a fight. I'll tell you this, Jane.
Jack: A hundred pounds, between us, a hundred bloody pounds.
Jane: God! That's- that's tons!
Matthew: I know, right, I reckon we'll be rich, eh?
Jane: Very, very rich!
(They all go into the house. Jane passes the bottle round, as usual.)
Jack: So, a hundred pounds between the four of us, that's what? Twenty-five quid, I reckon.
Matthew: Now, that's not fair. It was me that actually grabbed that strongbox.
Nathanial: And me!
Jack: Now, come on, we agreed at the start, fair shares for all.
Matthew: Well, still, I got the strongbox!
Will: I shot a trooper.
Jack: So did I! And nearly got shot too!
Jane: Now, come on, boys, cool it!
Matthew: I want at least half!
Jack: Well, you're not bloody getting half!
Matthew: I nearly got shot! I could have died!
Jack: So could we all!
Will: Admit this is just because you want more money!
Matthew: So what if I do? We're bushrangers, not a charity picnic!
Nathanial: If you only want more because you actually got that strongbox, so did I!
Matthew: I won't have anybody cheating me!
(He draws his gun and shoots at Jack but the bullet flies into the wall above Jack's head. Then Jack shoots at Matthew and so does Will and one of them hits him. He falls down dead.)
Jack: Well, then, are the rest of us agreed. Fair shares?
Nathanial: Aye, I reckon.
Jack: Then that's thirty-three pounds one shilling...
Jane: And ten pence.
Jack: And ten pence. Agreed?
Jack: All right. And tomorrow we go to Riverlea and break into the bank there.
Jack: You coming with us, sweetheart?
Jane: Yeah, it's been a while since I been on a raid.
Nathanial: All right, and now I'm going home.
Jane: Good night.
Scene 23: Riverlea
(The town is larger now. It has a couple more shops, some new houses and a bank on the main street. The people are rather less ragged-looking. Will, Jane, Jack and Nathanial gallop into town. They pull up outside the bank. They fling themselves off the horses. Then they draw their guns and run into the bank. It is a very small bank, with a rack of iron strongboxes in the rack behind the counter. Mr Thomson the bank manager is standing behind the counter. A fairly well-dressed young woman is standing by the door.)
Jack: Hands up!
(Thomson and the woman both raise their hands.)
Jack: Young lady have you any money?
Thomson: Excuse me, sir. That is illegal.
Will: Shut up!
Jane: Honestly if you please. (The woman hesitates.) Your purse if you please.
(The woman reluctantly hands over her purse. Jane takes it and empties it out.)
Jane: Three shillings.
Thomson: Leave at once or I call the troopers.
Jack: You own this bank?
Thomson: Yes sir, I am Mr Thomson.
Jack: Get us all the money. All of it.
Thomson: Yes sir.
(Thomson produces a bunch of keys and begins opening the boxes. Outside the bank a crowd is gathering.)
Thomson: Someone call the troopers! Troopers! Troopers!
(Jack shoots Thomson. The outlaws grab some of the money and Will manages to lug a small strongbox out. They scramble onto their horses just as the troopers arrive. The crowd scrambles back, leaving the route clear. The young woman from the bank begins to scream. The outlaws gallop of and the troopers chase them, shooting. Nathanial is killed.)
Jane: Oh, God, they've killed Nathanial.
(The outlaws eventually escape into the bush outside Riverlea. They wait until they have definitely outrun the troopers before stopping. Then they pull up the horses under a large shrub and sit under it. The horses are very tired and the outlaws are also out of breath.)
Jack: How much have we got?
Will: Two pounds, three pounds, ten pounds, another ten.
Jane: Three shillings. Five pounds. Ten pounds.
Jack: Ten pounds.
Jane: Four pounds six shillings.
Jack: Twenty... good God!
Jane: Fifty pounds! Oh, God!
Will: One hundred and twenty pounds nine shillings.
Jack: Well, Christ, that's a lot.
Jane: Best yet. What was our last record. A hundred. Well, this is more, isn't it?
Will: Aye, but what are we going to do now?
Jack: How do you mean?
Will: We robbed a bank. Not a warehouse or a station out in the bush or a wagon train. A bank. And we stole one hundred and twenty pounds.
Jane: Nine shillings.
Will: Never mind the shillings, ma'am. The point is, the whole country'll be swarming with troopers in a minute. They've wanted us for ages.
Jack: Yes, they have.
Will: So what I say is, we can hardly just go home. They know more or less where we live.
Jane: Not even for our things?
Jack: All our money's at home.
Will: All right, so we divvy up the new pickings, then we go home tonight, under cover of the dark, grab what we can and scram outta here.
Jack: All right.
Scene 24: The Smiths' farm
(It's late at night. Will, Jack and Jane ride slowly up to the house, just dim silhouettes in the dark. They don't carry a light. They pull up at the back of the farm.)
Jane: (whispering) We're here.
(They dismount, still carrying their bags. Jack pushes up the back window and they climb through. Once inside, they push down the window and slowly and silently push down the shutter. Only then does Jane light a candle and put it on the table.)
Jack: (whispering) Here's the money. (Takes a sack from the corner by the fireplace and fastens it over his shoulder.)
Will: Anything else valuable?
Jane: (whispering) I'll get a couple of clothes. (She goes into her room- it's so dim we do not need more than a dim impression of a bed and a chest- and pulls a couple of dresses from the chest and puts them into her bag. Then she goes out into the kitchen where Jack is waiting. On impulse, she grabs the needlework flowers from the wall and the pot decoration from the window ledge.)
Jack: (whispering) All done?
Jane: (whispering) All done.
Will: (whispering) I've got my bag.
(Jack snuffs out the candle and pushes up the shutter. They creep outside. Immediately a flurry of shots come out of the dark. Jack and Jane duck against the wall. Then silence.)
Trooper: Are they dead?
(Faint sound of people moving in the dark. Silhouettes of troopers move in the dark.)
Other trooper: I can't hear anything.
First trooper: I think they're dead.
(The silhouettes fade as the troopers move of into the dark.)
Jack: Let's go.
(They scramble onto the horses.)
Another trooper: They're not dead!
(They gallop of into the night, the outlaws' guns and the troopers' guns blaze in the dark.)
Scene 25: Big Rock City
(It's dawn. The sun is just rising over the horizon. Big Rock City is a small town, smaller than Riverlea. There is only one building that isn't a private house and that's a small inn with a sloping roof with a painted sign over the door saying Big Rock City Inn, in rather wonky handwriting.)
Jane: Here we are, Big Rock City.
Will: Looks all right.
Jane: I reckon we should stay here.
Jack: All right.
Will: There's a public house over there.
Jane: We'd look a bit funny asking for a room first thing in the morning.
Jack: Not half so funny as being found aimlessly hanging round the edges of town.
Will: That looks funny straight away.
Jane: I would be glad to sit down.
(They ride down the street of Big Rock City, a few of the townspeople turning to look at them as they pass.)
Jane: Hey look.
(A poster is nailed to the front of a house, rather scrappily written but plainly legible. It says: Fifty pounds to anyone who knows anything about Jack Norton. Twenty-five pounds to anyone who knows anything about Jane Norton or Will Johnson.)
Will: What's it say?
Jane: It offers money.
Jack: That's my name. And that's yours, Jane.
Will: What else does it say?
Jane: Can't you read at all?
Will: No, can you?
Jane: A bit, the chaplain taught me in the penal colony.
Jack: And Jane tried to teach me.
Jane: A-n-y-o-n-e w-h-o k-n-o-w-s…
Jack: It's a reward, isn't it? A reward for us.
Will: How much money?
Jane: Fifty- I think that's for you, Jack. Twenty... something, for me... and you, Mr Johnson.
Jack: Do you think we'd better go?
Will: No. I think we should get a room at once where nobody will find us.
Jack: All right, then.
(They ride up to the inn, dismount and Jane knocks in the door. Mr Grey opens it. Mr Grey is middle-aged, with shabby but tidy and clean clothes.)
Mr Grey: Yes, morning.
Jack: We'd like a room, Mr Johnson.
Will: Probably two, if you have them, Mr...
Mr Grey: Grey, sir. Samuel Grey. Bill! Get their horses! You come in.
(The young boy Bill appears.)
Bill: Morning, ma'am, sirs.
Jane: Mornin' .
(Bill takes the horses' reins and Will tosses him a coin. He grabs it.)
(Bill hurries off with the horses. The outlaws go into the inn, taking all their luggage with them. The public bar is a plain wooden room. It has a wooden bar stretched across the corner, and a few battered wooden tables. There are stairs at the back of the room. Mrs Grey is standing behind the bar. She is about the same age as her husband and is wearing a plain cotton dress and looks very tidy, very attentive, smiling kindly.)
Mr Grey: This is my wife, Liza.
Jane: Morning, ma'am, how do you do?
Mrs Grey: How do you do? What do you want, then?
Jack: Couple of rooms, please.
Mrs Grey: Right. Course. How many nights?
Jack: We don't know.
Mrs Grey: Well, it's a shilling a night, and that's with food as well.
Jane: Fine, thanks. So that's two shillings then.
Mrs Grey: That's right.
(Jack hands over a shilling and Will another. Mrs Grey locks them behind her bar in a strong box.)
Mrs Grey: I'll take you up. (She leads them up the narrow stairs at the back of the room. There is a little landing at the top, with another flight of stairs and three doors leading off.)
Mrs Grey: You can have these two here. Everything inside is quite settled I think. Come down later if you need a drink. And anything else, just yell.
Mrs Grey goes back downstairs. Jane and Jack go into one room. Will into another. The room Jane and Jack have is small but clean. It has a narrow double bed, with a little blanket. Jack and Jane dump the luggage near the door.)
Jane: (Sitting on the bed) Well, I reckon we'll be all right here for a bit, at least until tomorrow.
Jack: Aye. (Sits next to her.) That money should last a good bit. We're doing all right. (Kisses her.)
Jane: And in the meantime, I reckon I'll sleep.
Jack: Don't see why not. I could do with a bit, too.
(Jane lies down on the bed, her gun still on one hip, and falls asleep and Jack sits for a minute watching her sleep. Then he lies down next to her, also with his gun still, and in a minute is asleep too.)
Scene 26: The same
(It is clearly some time later. Jack and Jane are still on the bed asleep. Jack stirs slightly and wakes up, and that wakes Jane up. The boxes have gone from near the door but neither Jack and Jane notice that.)
Jack: Morning love.
Jane: What time is it?
Jack: About midday I reckon.
Jane: Wonder if Mr Johnson's all right?
Jack: Let's go and see.
(They go out onto the landing and knock at the next door.)
(No answer. Jane knocks hard on the door.)
Jane: Are you there?
Jack: He must be asleep.
Jill: All right.
(She goes along the little bit of landing to her room.)
Jane: Jack! The boxes with the money in! They've gone.
Jack: Mr Grey...?
Jack: He didn't...
Jane: What are we going to do?
Jack: Leave. At once.
( And that moment there is a commotion outside, with galloping horses. Jane is nearest to the window and she looks out. Below the inn are a couple of dozen troopers or more, scrambling down from their horses.)
Jack: Who is it?
Jack: (going to join her at the window) How many?
Jane: Er... all of them.
Jack: (looking out) God! There are!
(At that moment there is a loud knock at the door.)
Jack: You know, I wish I hadn't had a fight with poor Matthew.
Jane: Oh my God! Sarah!
(Downstairs there is the clattering of someone opening the door.)
Jack: Come on, we can't stay here.
(They grab their bags and Jack studies the situation out the window. Most of the troopers have gone from the line-of-sight from the window. Jack pushes up the window and hands Jane up.)
Jack: Go on!
(Jane swings herself out onto the sloping roof and Jack follows her. There are feet coming up the stairs behind them. Then they wriggle down onto the ground, landing hard. They pull out their guns. They run round the back of the inn to where the stables are. There are four more troopers there. Two of them open fire. Jack fires back and one of the troopers is killed. But the next bullet kills him. Jane fires but misses and a bullet smashes into her shoulder. She collapses.)
Trooper: Are they dead?
(Another trooper walks over to them.)
Second trooper: I think so.
First trooper: All right.
Second trooper: But hadn't we better-
(A great commotion round the front. One of the troopers runs round to the back of the building.)
Third trooper: He's escaped! Johnson's escaped. Oh, you've got the others, that's good.
First trooper: Where's he gone?
(They dash off.)
Third trooper: I don't know.
(They disappear round the corner of the inn. Jane is lying on the ground, covered in blood, not moving. At that moment Will appears. Jane stirs slightly.)
Will: Jane? (He moves over to her and sits on the ground.)
(Cut to Jane's point of view. Will's face blurry above her. Will's voice from very far away.)
Will: Come with me.
(Cut back from Jane's POV. Jane stirs faintly and shakes her head a little.)
Jane: (barely audible) ...No...
Will: (quiet and vindictive) Bitch... (he takes a knife, and slits very deliberately down her cheek. He jumps up.)
(The troopers run yelling round the side of the house. Will flees.)
Scene 27: The same
(Everything much the same as it was at the end of the last scene, except some time has clearly passed. The troopers have gone. Jane is lying still on the floor. Her breathing his very shallow. The pool of blood on the floor around her is bigger. The cut on her face is bleeding too now. Melville arrives. He sees the two bodies lying on the ground and goes over to Jane.)
Melville: Miss? Miss?
(Jane does not answer. Melville kneels down beside and takes her wrist. A pulse is beating there. Melville looks around. He sees Jack lying on the ground. He goes over to him.)
(Melville checks Jack's pulse, but he's obviously dead. Melville goes back to Jane. Then he slings Jane's bag onto his back and picks her up.)
(Still no answer. Melville stands up, carrying Jane, and carries her through the bush behind the inn, quite a way off.)
Scene 28: The Melvilles' place
(Melville arrives at his home. It is a small house, with a collection of outhouses behind it.)
(Mrs Melville comes out of the house. A young woman, wearing a poor dress.)
Mrs Melville: What is it?
Melville: I found a girl-
Mrs Melville: (seeing Jane) Good God!
(Melville carries Jane into the house. It is a plain family kitchen, with a big wooden table with three chairs. There are some cupboards in the corner. There is a rug in front of the fire. A few doors lead off into other rooms.)
Mrs Melville: Put her on the rug.
(Melville lowers Jane onto the rug.)
Melville: I think she's been shot.
(They kneel down on the rug next to Jane.)
Mrs Melville: I think it's in her shoulder.
(Mrs Melville pulls back the blouse on Jane shoulder. A deep, ragged wound is showing. Jane moans.)
Mrs Melville: I'll try and stop it bleeding.
Melville: I'll get some water.
Mrs Melville: The clean from the pump.
(Exit Melville, outside. Mrs Melville takes a handkerchief from her blouse and presses it against the wound, trying to staunch the bleeding.)
Mrs Melville: Miss, are you all right?
(Ella enters, from outside. Ella is about six, with a cotton dress and bare feet.)
Ella: Who's that lady?
Mrs Melville: We don't know, but she's hurt. Go out and play.
Ella: What's wrong with her?
Mrs Melville: I think she's been shot.
(Enter Melville, carrying two buckets of water.)
Melville: Is she all right?
Mrs Melville: I don't know- go and play, love.
(Ella runs out.)
Melville: I'll wash it.
(He gets some rags and wets them and begins washing Jane's shoulder.)
Mrs Melville: I reckon we should try to take the bullet out.
Melville: I'll get a knife.
(Gets a knife from a cupboard. He kneels down on the rug and begins tentatively to cut her shoulder. Jane gasps and the blood flows faster.)
Mrs Melville: Be careful.
(Melville cuts out the bullet and tosses it aside. He begins mopping at the blood on Jane's shoulder with a damp cloth.)
Mrs Melville: I'll bandage her up. I'll get some more cloth. (She gets more cloth from a cupboard and bandages Jane's shoulder tightly.) There, she should be all right, now.
Melville: I'll get her a blanket. (He goes into the other room and comes back with a blanket.) There, that'll be all right.
(Melville and Mrs Melville leave.)
Scene 29: The same
(Jane is lying on the rug, with a blanket over her. It's early morning and the sunlight is pouring in through the windows. Mrs Melville is busying herself around the table. Ella is sitting in her chair, and baby Harry is lying on one end of the table, wrapped in a blanket. Jane wakes up.)
Mrs Melville: Are you awake?
Jane: Er... yes. Who... (sitting up)
Mrs Melville: Fred! Fred!
(Melville hurries in.)
Mrs Melville: I'm Grace Melville, Miss.
Ella: I'm Ella.
Mrs Melville: This is my husband Fred. Are you all right?
Jane: Yes, thank you. (She stands up, rather stiffly, and winces.)
Mrs Melville: Be careful, you had a bullet in that shoulder until a couple of days ago.
Jane: A couple of days?
Melville: That's right. I found you on Tuesday. It's Thursday now.
Jane: You found me?
Melville: That's right-
Jane: Jack! Oh, my God, Jack!
Melville: If you mean the young fellow you were with, Miss, he's dead.
Jane: Dead! Oh, no, Jack!
Melville: I'm sorry, Miss.
(Jane bursts into tears. Mrs Melville helps her into a chair.)
Mrs Melville: Would you like a drink?
Mrs Melville: Whiskey?
(She hurries and gets a bottle from the cupboard. She hands the bottle to Jane and Jane takes a couple of swallows. She calms down.)
Melville: Are you all right!
Jane: Yes, thanks. (She wipes the tears off her face.)
Melville: Who shot you?
Ella: You got shot by bushrangers?
Mrs Melville: Oh, did I say? This is Ella. The baby's Harry. Yes, there used to be tons round here. They're finally clearing them out.
Ella: They've finished one gang. The man who told the troopers is in prison.
Jane: What man?
Melville: Oh, it's all round the town. Man called Will Johnson told the troopers where the other man in his gang was.
Mrs Melville: What was the other man's name?
Melville: It was Jack or something, wasn't it?
Mrs Melville: Wasn't there a girl?
Melville: Jack... Miss, could these bushrangers have been the ones that shot you?
Jane: I don't think so. One of them called the other one Sam.
Melville: No, there was never anyone called Sam in that gang.
Jane: So what's happened to them now?
Mrs Melville: The man's dead. The girl escaped. The man Will has got a massive reward.
Melville: Aye, he's in prison for what? Four years?
Mrs Melville: Something like that.
Melville: But he'll be a rich man when he gets out.
Jane: Where's he in prison?
Mrs Melville: Dunno. Sydney, I expect.
Jane: I have to go. Thank you for everything.
Melville: But you can't go now.
Jane: Did you bring my bag?
Mrs Melville: (handing it to her) It's here.
Jane: All right. Thanks a lot.
Melville: But seriously- you've just been shot.
Jane: I'm sorry. You're very kind. (Digs out a purse.) Here's a shilling for the trouble.
Mrs Melville: But-
(Jane is already leaving.)
Scene 40: Sydney
(Tagline: Sydney, four years later. The scene is a paved street in the middle of Sydney. The houses are low stone buildings built close next to each other. The street is crowded with people and traffic. In one street is a little stone house. In the window of a room in the top corner we see Jane. She is wearing a very simple blouse and skirt. The cut on her cheek still has a scar. She is sitting on a stool by the window. The only other piece of furniture in the room is a pile of blankets on the floor in the corner. There is a wooden box in another corner. On the corner are the pot ornament from the Smiths' place a sewing box and the stub of a candle. On the wall is the piece of embroidery from the Smiths' place. Beside Jane are two piles of linen, one with holes in, one without. Jane has a bit of linen on her lap. She is finishing sewing up a hole in it. She finishes the sewing and lays the piece of linen down on the pile without holes. Then she gets up and hurries out of the room, locking up behind her. Outside are the stairs. She goes downstairs and out of the front door into the street. She goes down the street then turns into another. Here is the prison. Jane approaches the main gate. By the main gate is a little office and in the office is Violet, a well-dressed young prison governor's daughter.
Violet: Good morning?
Jane: Good morning. Is a Mr Will Johnson coming out today?
Violet: I'll check that. (She takes a large book and leafs through it.) No, I'm sorry, we don't.
Jane: But you must do!
Violet: I'm sorry, ma'am, you are?
Jane: His sister. His sister Hannah. I said I'd meet him when he came out.
Violet: I'm sorry, ma'am, there is no Mr Johnson here.
Jane: Then where is he?
Governor: (off) Violet! Violet!
Governor: (entering) Your mother wants you.
Violet: Coming. Oh, could you deal with this lady please?
Governor: Of course.
(Violet leaves. The governor takes up his position in the office. He is a brisk, confident, prosperous-looking man with an air of authority.)
Governor: Can I help you, ma'am?
Jane: I'm looking for a Will Johnson. I thought he was coming today.
Governor: And you are, ma'am?
Jane: His sister. Hannah.
Governor: I see.
(He looks through his book.)
Governor: This is the only Will Johnson we've ever had. He was released a year ago.
Jane: A year ago?
Governor: That's right.
Jane: What did he do? When was he sentenced?
Governor: He was a bushranger. He received three years for it and a large reward for turning in his fellows.
Jane: I see. Do you know where he is now?
Governor: No, ma'am I'm afraid not. He'll be a rich man now, you know. He didn't just get the reward. He took all the gang's money as well.
Jane: I see. Thank you, sir.
Governor: Well, I'm sorry I couldn't be more help.
Jane: It's all right, thank you.
(Jane hurries away.)
Scene 40: The hotel
(A street in Sydney. A stone building has a sign above the entrance stating simply, Town Hotel. Jane hurries along the street to it and goes up the steps. Inside is a hallway. It is a large, plain wood-panelled room. At one side is a door leading into a dining room. Against the other wall is a desk. Behind this desk sits the receptionist, a rather nervous young woman in a smart dress.)
Jane: Good morning.
Receptionist: Good morning, miss.
Jane: Excuse, me, only I've just come out from England. On the boat, you know. And I was wondering if my brother were staying here.
Receptionist: Staying here?
Receptionist: What's his name?
Jane: Will Johnson.
Receptionist: I'm sorry, miss, we have nobody of that name staying here.
Jane: It might have been quite a while ago.
Receptionist: I'll check, miss. (She looks in a book.) Oh, yes Miss, but that was about a year ago.
Jane: That sounds about right.
Receptionist: Is that all right, miss? I'm sorry I couldn't be more help...
Jane: Do you know where he went?
Receptionist: I'm sorry, miss, I can't say for sure...
Jane: Please try to remember!
Receptionist: Well, I seem to remember him. Nice man. Polite. Where did he go. He mentioned, casual, you know, it might have been to the gold fields.
Jane: Thank you. That's very helpful.
(Jane hurries out.)
Scene 41: The gold fields
(Tagline: Two years later, Queensland goldfields. The scene is a prospector's camp. The tents are small and ragged, the people are still more ragged. The general appearance is pretty squalid. Jane approaches, still carrying her leather bag. Her blouse and skirt are now very ragged, she is still carrying the same bag. She looks thin and tired. She approaches a prospector, a tired-looking man in ragged clothes.)
Jane: Please, sir.
Jane: How long have you been here?
Prospector: Who are you?
Jane: I'm looking for my brother, he might have been here three years ago.
Prospector: I was here three years ago. God, sometimes I think I've been here forever.
Jane: Then you'll know him.
Prospector: Maybe. What's his name?
Jane: Will. Will Johnson.
Prospector: I see. Yes, I remember him. He left here a while ago, though.
Jane: Do you know where he went? Did he find any gold?
Prospector: No gold. Not that he needed much. Plenty of money, he had. Went way out west to farm cattle, I think. Or maybe to Darwin.
Jane: Thank you. (She turns to leave.)
Prospector: I don't know for sure. He said he might have gone to one of the big towns to try to get into business...
(Jane walks slowly away.)
Scene 42: Adelaide
(Tagline: Adelaide, ten years later. A street in Adelaide. A large, imposing-looking hotel stands in the middle of the street. The sign declares The Grand Hotel. Jane walks slowly up the street. She is still poor and hungry, still carrying her little bag. The scar on her cheek has faded to a faint silver mark. She enters the hotel. This hotel lobby is carpeted. The receptionist is sitting behind a large mahogany desk.)
Receptionist: Good morning.
Jane: Good morning. Erm, do you have a Will Johnson staying here?
Receptionist: Erm... are you all right, ma'am? You look a bit... tired.
Jane: I'm fine, thank you.
Receptionist: I'll just look in my register, then. We did until recently. He left a week ago.
Jane: Do you know where he went?
Receptionist: He was asking about the boats. The boats to England.
Jane: I see, thank you, I'll ask there.
Scene 43: The head office of Adelaide harbour
(The scene is a bare, wooden room, with a couple of chairs and a table covered in leaflets for the various shipping lines. There is a desk against one wall with the clerk behind it. On the desk is a pile of papers. Jane enters the room and approaches the desk.)
Clerk: Good morning, ma'am.
Jane: Good morning. When is the next boat to England, please?
Clerk: She leaves tomorrow, ma'am. Gloria, she's called. Going to Southampton.
Jane: Thank you, how much is a third class ticket?
Clerk: Ten shillings, ma'am.
Jane: Oh... I see. Thank you.
Clerk: Are you all right, ma'am?
Jane: Thank you, yes.
(Jane hurries out. She goes down the street and leans against a house.)
Jane: Please, give me some money! Any money! Please, oh sir...
(They ignore her.)
Scene 44: A bar
(It is dark now in the street. Through the windows of a cheap bar, Jane is going from table to table.)
Jane: Please, some money, any money... (She says the same thing at table after table and is ignored.)
Jane: (approaching a man in the corner near the bar) Please, sir, do you have any money?
Man: Well, what do you want it for?
Jane: I'm very poor. I want ten shillings for a third-class passage on Gloria, leaving tomorrow for England.
Man: I see. Have you nothing you can sell?
Jane: No, well, yes, a couple of things, but they wouldn't fetch ten shillings and they're the only things I have to remind me of my dead husband... (near to tears)
Man: What about getting a job? Working for the money over?
Jane: I have to get that ship! (Becoming desperate) I've waited so long for- (she breaks off)
Man: I see. I reckon you want that boat pretty bad.
Jane: I do, sir.
Man: If you do something for me, I'll pay you.
Jane: I haven't got time-
Man: It's a quick job.
Jane: (sitting down) And you'll give me ten shillings for it?
Man: My starting rate... would be a hundred pounds. No, because I think you're real down on your luck, a hundred and fifty pounds.
Jane: A. Hundred. And. Fifty. Pounds?
Man: That's right.
Man: Straight down to business. I like that. Now, see here, (lowering his voice) I've been running a... business. You know how it is. Anything that comes into the country you have to pay tax on. Puts the price up. Some people would rather not pay the extra. I cater to them.
Jane: You're a smuggler.
Man: And... redistribution of property.
Jane: I've known plenty of people who redistribute property. Did it myself for a bit.
Man: Well, I'd got myself nice and comfy in the business, when who comes along but a fellow called Jackson. Now, this Jackson's been bothering me for a while and what I want is for you to take him out.
Jane: I can do that.
Man: Good! If you don't mind me saying, I thought a lady might not like that kind of business. But you seem pretty happy with it.
Jane: Do you know where he is? 'Cos I ain't got time to be following him round town for ever. My boat leaves tomorrow and I intend to get her.
Man: He's always in Joe's Bar at this time.
Jane: All right. I want the money now.
Man: Now you know I can't do that! You might not keep the deal.
Jane: You might not.
Man: All right, half the money now. Half when you've finished. I'll still be here all night, so you'll know where to find me.
(He hands her a bundle of notes.)
Man: Seventy-five now, seventy-five when you've finished.
Scene 45: Joe's bar
(Jane is hurrying down a street in the dark, outside a small, pub with a rickety hand-painted sign over the door, saying Joes Bar. Jane goes into the bar. It is small and dark and rather grotty-looking. Jackson is sitting in a corner by himself.)
Jane: (hurrying from table to table) Is a Mr Jackson in here? Mr Jackson?
(Nothing but blank looks, a few shakes of the head.)
Jane: (approaching Jackson) Excuse me, are you Mr Jackson?
Jackson: I might be. Who's asking?
Jane: I have something very important to tell you.
Jackson: I see. What's that?
Jane: You'll have to come outside.
(Jackson stands up.)
Jackson: This'd better be worth my time.
Jane: It will be.
(She leads him outside into the street.)
Jackson: All right, now spit it out.
Jane: I can't, not where there are people around, come over here.
(Jane leads Jackson up an alleyway across the street.)
Jackson: Look, what the hell is this? Who are you?
Jane: This is very important.
Jane: It's about a trading ship.
(Jane is pulling her gun out of the waistband of her skirt, keeping it out of sight of Jackson.)
Jackson: I see.
Jane: (staring at a point behind Jackson's shoulder) Oh, my God!
(Jackson spins round. Jane swings the gun up and shoots him through the head. Jackson falls down dead.)
A few people in the street: (off) What was that?
(Jane slips away.)
Scene 46: Back in the other bar
(Jane comes back in to the other bar, where the man is still sitting in the corner by the bar. Jane walks over to him and sits down.)
Jane: I've done it.
Man: All right. (He hands her some more notes under the table.)
Jane: Hell, I feel so rich now! How much do you reckon a first class passage costs?
Man: Maybe twenty pounds?
Jane: Hell, I have some spare. I could go shopping, buy some proper clothes. Buy one of those new guns. God, it's been ages since I had new clothes. (Standing up.) Thanks.
Man: All right. I hope you get- whatever it is you want in England.
Scene 47: Southampton
(Tagline: Southampton. The docks are crowded with people and steam ships. The Gloria, a large steamer with her name blazoned across the bows, pulls into dock. The gangplank is lowered. Jane leaves, carrying a suitcase, now. She is smartly dressed, in the fashion of middle-class women at the time, with a high, corseted dress, a hat and probably gloves. She looks around the docks. Then she makes her way through the crowd to a large, attempting-to-be-grand hotel. She goes into the lobby. There is a threadbare rug on the floor, and some chairs in the lounge area on the other side of the room. The receptionist is sitting behind a big black desk.)
Jane: Good morning. Have you had a Mr Will Johnson staying here recently?
Receptionist: Good morning. Could I take a name please, ma'am?
Jane: Hannah Johnson. I'm his sister.
Receptionist: Yes, I think we did have a Mr Johnson staying with us. With a young lady with him, ma'am.
Jane: Thank you. Did he say where he was going?
Receptionist: He asked about trains, ma'am.
Jane: Where is the station?
Receptionist: It's just a few streets away, ma'am. It's very well-signposted.
Jane: Then I'm sure I'll be able to find it. Thank you.
Receptionist: Pleasure, ma'am.
Scene 48: The station
(A large, busy station. Jane approaches a desk marked enquiries. The man behind the desk is writing on some papers.)
Jane: Good morning.
Man: Good morning, ma'am. Can I help?
Jane: Do you recall, if there was a man, (here she can provide a description of the man playing Will in more detail)? With a lady with him?
Man: I don't know, ma'am. So many people use this station every day. Why do want to know?
Jane: I'm his sister. I've just got back from Australia and I want to meet him.
Man: Did he not send you his address?
Jane: He probably did, but it must have got lost.
Man: Ah, yes, long-distance post usually does that. But I'm afraid I don't know if I can help you, ma'am.
Jane: A couple of weeks ago. Wealthy man.
Man: A, now there was a man like that. A couple of weeks ago, yes. I heard the young lady call him Will.
Jane: That'll be him. You don't remember where he bought tickets for, do you?
Man: I do, ma'am. It was a place called Sunnyhill, in Surry.
Jane: Could I get a ticket for Sunnyhill?
Man: Yes, that's two shillings.
(The money and ticket are exchanged.)
Jane: Thank you very much.
Man: Pleasure, ma'am. And I hope you find your brother.
(Jane hurries off in the direction of the trains.)
Scene 49: Sunnyhill
(A little country station, probably just a platform, with a little hut for a ticket office. The village is small and very rural. The train pulls in. Jane gets out, along with a couple more passangers. She goes over to the ticket hut.)
Jane: Excuse me, I'm looking for my brother. I think he lives here. Do you know if he does?
Ticket collector: What's his name, miss?
Jane: His name's Will. Will Johnson.
Ticket collector: Ah, there's a Will Johnson living here, all right. That'll be the Will Johnson living in the big house at the end of the village.
Jane: Thank you.
Ticket collector: Pleasure, miss.
Scene 50: The big house.
(It's night time. The grounds of a large country house. Jane hurries across the lawn. There is a window on the ground floor. She stops and listens at it. No noise. She tries the lock. It's locked. Jane takes a bit of wire out of her pocket, snaps it in half, and uses the two halves to pick the lock. She pushes the window up. Then she takes her gun- a new, smart, barrel-loading revolver- in her hand, and climbs agilely through the window. She is in a large, comfortably-furnished living room. She pushes down the window. Then Violet comes into the room. She hurries in dreamily, turns to shut the door, and then looks round and notices Jane standing in the middle of the room with her gun.)
Jane: Does Mr Will Johnson live her?
Violet: (attempting to be dignified) Who are you?
Jane: Someone who'll shoot your head off if you don't give me what I want.
Violet: (frightened) What do you want with him?
Jane: I reckon he does live here, then. Where is he?
Violet: I don't... oh, please...
(Jane raises the gun. Then she looks properly at Violet.)
Jane: The Governor's daughter from Sydney!
Violet: Yes, I am. But who are you...
Jane: Well, as I said, where's Will?
Violet: In his bedroom... Upstairs on the left... Oh, please don't shoot!
Jane: Stay where you are. (Jane goes to the door, keeping Violet covered. Then she leaves, just as Violet dissolves into sobbing.)
(Jane is now in an opulent wood-panelled hallway. Several doors and a grand staircase lead off it. She goes upstairs. She goes through the first door on the left. It is a bedroom, with a double bed and some cupboards. Sitting on a chair, in his shirt and trousers, having just removed his jacket, is Will. On the little table beside him is a revolver. He looks up as Jane comes in, then sees the gun and springs up.)
Jane: Don't try to get that gun. I'll kill you before you do.
Will: What the hell...? What is the meaning of this?
Jane: Who am I?
Will: (shocked and angry) I don't know.
Jane: Try again. Who am I, Will?
Jane: Yes, me.
Will: But you're dead. I left you, bleeding to death.
Jane: Are you sure?
Will: Well, obviously not now.
Jane: I don't think you ever were. You had a lot of money, Will. That's clear. Money you stole of my husband. You could have settled down. But no, you kept travelling round. And now you have a gun-
Will: In case of robbers!
Jane: I think you always feared.
Will: Who cares what I may or may not have feared. What do you want?
Jane: To kill you. No, don't even look at that gun, you'll only die faster.
Will: Kill me then.
Jane: Not yet. I want to know why.
Will: Why what?
Jane: Why you betrayed us.
Will: I wanted to live. I didn't want to be hanged. And I wanted the money! They offered quite a reward. It was mostly the money.
Jane: Why? (she gestures at her cheek)
Will: You wouldn't come with me. I reckon I'd have saved you, if you had.
Jane: You mean- no...
Jane: Very well. That's all. (She raises the gun.) And now a courtesy you did not extend to my husband. Any last words?
Will: To Hell with you!
(Jane shoots him through the head. Then she leaves the room and walks slowly down the stairs, like a woman in a trance. She opens the door and goes out of the house. No sooner has she left the house than policemen come dashing round the corner of the house. Jane raises her gun but they surround her.)
Scene 51: Back at the inn in Big Rock City
(Brief flashback to Jane standing in the room at the inn with Jack, when the troopers surround the inn, knock on the door, etc.)
Scene 52: The big house
(As at the end of scene 50.)
Policeman: Ma'am, drop your gun
(Jane hangs onto it, staring around her.)
Policeman: Ma'am, if you do not drop your weapon, we shall have to shoot.
(Jane drops the gun and raises her hands.)
Policeman: Thank you, ma'am. And now, if you'll come with us...
(Another policeman steps forward with handcuffs. Jane stretches out her hands and the policeman puts the handcuffs on her wrists. Then the policemen lead her off into the dark.)
Scene 53: A courtroom
(The interior of a large London courtroom, very grand. There is a clock on the wall, which says about one. Jane is standing in the box, still in the same clothes as in the previous scene, only without the gloves and hat. The judge sits in his place. He has a calm, emotionless manner of speaking. The prosecuting lawyer sits in his place. Violet is sitting at the back, in mourning black. The galleries are fairly full, a quiet, watchful, crowd.)
Judge: This court will come to order! Mrs Jane Norton, you are accused of the wilful murder of Mr Will Johnson. How do you plead?
Jane: Not guilty, Your Honour.
Judge: Very well, swear in the jury.
(Clerk escorts in twelve jurymen.)
Judge: You have been summoned to hear the case of Mrs Jane Norton.
(Jury take their places.)
Clerk: Now, Mrs Norton, these are the men who are to try you. Are you satisfied with the members of this jury? If you object to any or all of them, you are you must do so before they are sworn, and your objection will be heard.
Jane: I'm satisfied, Your Honour.
Judge: Very well. Swear them in.
(The clerk passes a Bible and oath card down the line.)
Each juryman in turn: I swear by the Almighty God that I will faithfully try the defendant and give a true verdict according to the evidence.
Judge: Very well, now before we start on the trial proper, there is a small business that needs clearing up. You have given your name as Mrs Jane Norton, a widow, of no permanent address. Is that correct?
Jane: Yes, Your Honour.
Judge: We have in the interval searched assiduously for widows of the name Jane Norton, but we have not found any widows of the name of Jane Norton. We have certainly not found any born in Southwark.
(Jane says nothing.)
Judge: I recommend you tell the court your real name.
Jane: (reluctantly) Jane Fraser.
Judge: Your husband's name was Fraser, then?
Jane: Yes, Your Honour.
Judge: Or possibly you were not married to him at all.
Jane: I was, Your Honour.
Judge: Which church?
Jane: I don't remember.
Judge: I find that improbable. Do you have a certificate?
Jane: I lost it.
Judge: (more kindly) I think the more truthful you are with the court, the better it will be for you. Was your husband's name Fraser?
Jane: No, Your Honour.
Judge: (more briskly) Thank you. So your real name is Jane Fraser?
Jane: Yes, Your Honour.
Judge: You were not married to the man Norton?
Jane: No, Your Honour.
Judge: And you have no claim on the name?
Jane: No, Your Honour.
Judge: So you really were born in Southwark at the time you stated?
Jane: Yes, Your Honour.
Judge: I'm afraid we'll have to check that in the parish records, as we usually do.
Jane: Yes, Your Honour.
(The judge and the court clerk begin busying themselves with their papers. The clock is shown to move forward about an hour and a half. The clerk re-enters, carrying a parish record book.)
Judge: You have here the parish records?
Clerk: Yes, Your Honour.
Judge: Give them here please.
(Clerk hands them to the judge.)
Judge: (reading) Southwark parish church registers the birth of Jane Fraser to (with distaste) Miss Jessica Fraser-
Someone in the galleries: Like mother like daughter!
(General laugh from the galleries.)
Judge: Order! Fifth of February 1835. I will now give this to the jury to inspect.
(The judge hands the book to the clerk, who hands it to the nearest juryman, who passes it down the line. They each study it in silence, but the fifth juryman turns over the page.)
Fifth juryman: Look. It says here. Twelfth of March, 1845, Miss Jane Fraser was convicted of gross larceny. Sentence: deportation.
Judge: That is irrelevant to the trial.
Prosecution lawyer: On the contrary, I consider it very relevant. You will recall a famous case of a bushranger girl who went under the name Jane Norton.
Judge: I maintain that it is irrelevant. The defendant's previous life should not be a concern of the court.
Prosecution lawyer: You wanted that document brought in, Your Honour.
Judge: I wanted it brought in so we could establish the defendant's real identity.
Prosecution lawyer: I consider part of the defendant's real identity whether or not she is the bushranger Jane Fraser who caused such a sensation back in the sixties.
Judge: (beginning to lose his temper) I am the judge! It is irrelevant!
Prosecution lawyer: It is relevant because if this lady is the Jane Fraser who became Jane Norton in Australia, that would provide more evidence for the prosecution.
Judge: Given that you are a lawyer for the prosecution, Mr- Grey, is it?
Prosecution lawyer: Yes, Your Honour.
Judge: I would find it hardly surprising that you wish to find more evidence for the prosecution.
Prosecution lawyer: Mrs Johnson has been asked why the defendant might wish to kill her husband. If the defendant has led a disreputable life in Australia it might provide a reason.
Judge: But the defendant's previous record-
Prosecution lawyer: But Your Honour-
Judge: Do not interrupt me! The defendant's previous record does not stand as evidence in court.
Prosecution lawyer: But Your Honour, the evidence of character witnesses is accepted. Why can this evidence not be taken on the same level as that?
Prosecution lawyer: And if you fear for the effect on the jury, Your Honour, I would argue that the idea has already become impressed on the minds of the watching public and will be all over London by this evening, and if you dismiss this jury and call another it will be impressed on their minds too.
Judge: Well, it's true what you say about character witnesses. And I guess it's also true that the damage has been done now. We can at least try to establish whether it is true.
Prosecution lawyer: Do I have permission to put a question to the accused?
Judge: Oh, go ahead.
(Throughout these proceedings Jane has been sitting still and quiet. She doesn't look at the prosecution lawyer when he speaks.)
Prosecution lawyer: Are you the Jane Norton of Australia, who became fairly well-known as a bushranger's- erm, lady friend, and indeed as a bushranger in your own right?
Jane: No, sir.
Judge: All right, this is getting ridiculous.
Prosecution lawyer: I wish to telegram Australia.
Judge: If you must.
Prosecution lawyer: I wish to speak to the court clerk.
Judge: Very well.
Prosecution lawyer: I want you to telegram to Australia at once. Tell them that we want to know about Jane Norton and we might have found her here.
Judge: Now, listen. This is a trial, not a detective investigation. We should be considering the evidence set before us.
(The court clerk hurries out, ignoring him.)
Judge: I believe that we are committing a great judicial irregularity, essentially to satisfy the morbid curiosity of a few members of the public.
Prosecution lawyer: But you've agreed now, Your Honour. And if the lady did used to be a bushranger, think what a service we would be doing to society by convicting her of a capital charge.
Judge: That is precisely what we are trying to avoid, convictions based on imaginary past offences.
Prosecution lawyer: Well, if there isn't much evidence, we can always dismiss it, Your Honour, there is that option.
Judge: I know what my options are, thank you! Now, I suppose there is nothing for it but to wait.
(Time passes, as indicated by the clock. The court clerk returns, bearing a pile of typewritten papers.)
Court clerk: Here it is.
Judge: Thank you. I will read it to the court. (reading) Jane Fraser was sent to Australia in 1845 and escaped into the bush with a party of bushrangers in 1849. A lady called Jane Norton has been for a long suspected of being associated with, or active involvement in, such activities commonly known as bushranging, including cattle rustling, armed robbery and murder. Around 1861, all members of the gang were believed to be killed, except the lady, who is believed to have escaped troopers and disappeared, never to be heard of since. (not reading any more) This is, I assume, a summary of the reports you received from Australia? Court clerk: Yes, Your Honour.
Judge: I suppose I had better let the jury see that now. (He passes it to the court clerk, who passes it to the nearest juryman, who passes it down the line.)
Judge: Now, after that highly irregular and extremely time-consuming diversion- for which I apologise to the jury and the public- we will return to regular procedure. You will recall, we had established the true identity of Miss Fraser. Now, if the prosecuting lawyer would like to examine, in the usual manner.
(Prosecuting lawyer gathers his notes.)
Prosecuting lawyer: Miss Fraser I put it to you that you are the woman Jane Norton described in the documents just read, and that you stole, murdered and whored your way around Australia.
Judge: (very angrily) Nothing more about that!
Jane: (simultaneously) That's a lie!
Prosecuting lawyer: What's a lie?
Jane: I did not whore!
Prosecuting lawyer: So you admit to the theft and murder?
Jane: I... no.
Prosecuting lawyer: I see. Very well, coming to the events of the fifteenth, did you break into Mr Johnson's house?
Jane: (coldly) No.
Prosecuting lawyer: Did you kill Mr Johnson?
Prosecuting lawyer: (producing Jane's revolver) Have you seen this before?
Prosecuting lawyer: Very well, I will now call a witness. Mrs Violet Johnson!
(Violet stands up and makes her way to the witness box.)
Prosecuting lawyer: Mrs Johnson. You will please be sworn in.
(Clerk hands Violet Bible and oath card.)
Violet: Do I just read it off?
Judge: Yes, Mrs Johnson. With your hand on the Bible.
Violet: I swear by the Almighty God that the evidence I shall give shall be the truth, the whole truth and nothing but the truth.
Judge: Thank you.
(Clerk takes Bible and oath card back.)
Prosecuting lawyer: Will you describe, in your own words, what took place on the night of the fifteenth?
Violet: I and my husband were going upstairs to bed. I had gone up but I had not undressed. Then I wanted to go down to get my sewing box. I went down to the drawing-room. I went into the room and this lady was standing in the room with a gun.
Prosecuting lawyer: Are you sure it was this lady?
Violet: Oh yes.
Prosecuting lawyer: What happened then, Mrs Johnson?
Violet: She waved the gun at me (beginning to cry) and asked me where my husband was. I asked her who she was.
Prosecuting lawyer: Calm down, ma'am, you're all right now. What did she answer to that?
Violet: (calming down a little) She didn't. She just asked me where he was.
Prosecuting lawyer: And what did you say to that?
Prosecuting lawyer: Very well. Please continue.
Violet: She left. I waited a bit, then went out into the hall. She wasn't there, so I ran out into the village and called the police and I told them there was a mad woman with a gun in my house.
Prosecuting lawyer: What happened then, Mrs Johnson?
Violet: I came back with the police. I let them in through the kitchen door and we went to look for Will- for my husband. And we found him (breaking down again) upstairs in our bedroom. Dead! He'd been shot through the head.
Judge: Did you know yourself he had died from being shot, Mrs Johnson?
Violet: Yes, Your Honour. There was a big hole in his head (sobbing) and she had a gun, so of course I knew he had been shot...
Prosecuting lawyer: Very well, what happened then?
Violet: They took me back to the police station and Miss Fraser was there. They had arrested her.
Prosecuting lawyer: That is all. Thank you, Mrs Johnson.
Judge: Not quite. Mrs Johnson, how long have you been married to this man Will Johnson?
Violet: Seven years, Your Honour.
Judge: I see. And are you aware of any incident in your husband's life that may lead anyone to wish his death?
Violet: Several years ago, in Australia, he was mixed up with a group of bushrangers. I suppose one of them might have had some reason to kill him.
Judge: Oh, God. We're back there again. Very well, erm... tell us a bit about your husband Mrs Johnson. About yourself and how you met him.
Violet: Well, I was the daughter of a prison Governor-
Judge: In Australia?
Violet: Yes, Your Honour.
Judge: You were born in Australia?
Violet: No, Your Honour, I went to Australia when I was three.
Judge: I see. Continue, please.
Violet: I was the daughter of a prison governor there. I met Will, well he was in prison there, and we only spoke a couple of times, but afterwards he started coming to see me. He'd had a difficult life.
Judge: Order! You will have a chance to speak later, Miss Fraser. Do continue, Mrs Johnson.
Violet: Well, he went away for a couple of years but then he came and married me. We travelled about a good deal and after a while we came to England. And then... (tears up again)
Judge: I see. Thank you Mrs Johnson. One last thing. Was your husband, at the time of the murder, armed?
Violet: No, his gun was on the table a little distance away. I don't think he used it.
Judge: I see. Thank you. Now, unless Mr Grey has anything else to say-
Mr Grey: No, Your Honour.
Judge: You may go.
(Violet returns to the back of the hall.)
Mr Grey: I think that's about it for the prosecution , Your Honour.
Judge: I think it is. All right, the defence. Now Miss Fraser, you don't have a lawyer, do you?
Jane: No, Your Honour.
Judge: Why not? Can you not afford one?
Jane: No, Your Honour.
Judge: I thought you had quite a lot of money, Miss Fraser, you travelled first class on the boat to England, did you not?
Jane: I had a bit of money but I spent it all, Your Honour.
Judge: How did you get this money, Miss Fraser?
Jane: In Australia, Your Honour.
Judge: But how?
Jane: I won it at bingo.
Judge: At bingo?
Judge: Well, they must play high stakes bingo in Australia, if you can go from having not enough money to afford a lawyer to buying a first class ticket halfway round the world. Did you spend it all on that ticket?
Jane: And clothes, Your Honour.
Judge: I see. Well, yes, I see. Very well, you must conduct your own defence, Miss Fraser.
Jane: I haven't really anything to say. I don't know who killed Will Johnson. I never went to his house. I've never seen that woman. I don't know about any of this.
Prosecuting lawyer: I will cross-examine, then. If you have never seen that woman, how did she recognise you?
Jane: (perfectly calm) She must be lying.
Prosecuting lawyer: Why would she do that?
Jane: I have no idea.
Prosecuting lawyer: (holding up Jane's gun again) And you deny ever having seen this?
Jane: I deny it.
Prosecuting lawyer: I see. That's all for the cross-examination, Your Honour.
Judge: Well, I don't have any questions to put to the defendant. I guess the jury should deliberate on a verdict.
Court clerk: Come this way, please. (Leads the jury out. Everyone settles down to wait. Jane is perfectly composed. The clock on the wall advances about half an hour. The jury are heard knocking on the door. The clerk goes and leads them back in to their places.)
Judge: You have reached a decision?
One of the jury: Yes, Your Honour.
Judge: And what is it?
Same juryman: Guilty, Your Honour.
Judge: Very well. Miss Jane Fraser, you are found guilty of the wilful murder of Mr Will Johnson. Is there anything you have to say?
Jane: Yes, Your Honour. There's no more denying so I admit it! I fell in law with Jack Norton. And he fell in love with me. When the gang fell to bits this Johnson man sold us out to the troopers. He got a lot of money for it. (voice rising, increasingly uncontrolled) And they killed my husband! Well, practically my husband. All right, he wasn't exactly a good man. I know that. But I loved him! (suddenly breaks down in loud sobbing.)
(There is a brief pause. Then after a while Jane looks up and her sobs become quieter.)
Judge: Very well. I must now consider the verdict. Murder, as I'm sure you know, is a capital offence. There has been amassed various evidence pointing to your previous illegal activities in Australia. In fact, the evidence is that you were wanted in connection with very serious crimes. Possibly, I admit, that evidence was not brought forth at the proper time. Now, however, is the proper time. And judging by your statement that your, er, husband, for simplicity's sake, wasn't a very good man, you are fully aware that he, at least, committed crimes. However, this is merely a side line. The point is, you shot a man. Probably in cold blood. Now, I appreciate that you have had severe provocation. (sympathetically) I understand that you suffered a great deal from your husband's death. Any woman would. And I appreciate that your life, particularly your early life, has not always been easy. However, (brisker) considering the severity of your crime and the fact that you have one other proven record for serious felony, I am afraid, Miss Fraser-
(Jane has gradually stopped crying and now sits still and quiet.)
Judge: -I sentence you be taken from this place and hanged by the neck until you are dead. May God have mercy on your soul.
(Silence. Jane still doesn't move.)
Judge: And do you now, Miss Fraser, have anything you wish to say to the court.
Jane: (quietly and looking down at the dock in front of her.) No, Your Honour.
Scene 54: A cell
(A small stone cell with no windows. The metal-bar door opens onto a corridor. The only light comes from a lamp on the other side of the bars in the corridor. Outside in the passage, a guard is pacing back and forth. Inside the cell is a solid stone bench against the wall. Jane is sitting on this bench, still wearing her smart new dress. She stares absently into space. After a moment she reaches into her dress pocket and pulls out the little pot animal and the peg doll. She holds them in her lap. The priest comes to the door of the cell. He carries a Bible in his hands and has an earnest, kindly manner.)
Priest: Miss Fraser.
(Jane ignores him.)
Priest: Miss Fraser, may I come in?
Jane: If you want.
Priest: (calling to the guard) Could you open the door, please?
(The guard hurries to the door and opens it.)
Priest: Thank you. (He goes in.) May I sit down?
Jane: If you want.
Priest: I, er, I'm a priest.
(Jane says nothing.)
Priest: If you need me to help you...?
Jane: You can't possibly me. The only way anyone could help me is by showing me Jack walking through that door alive.
Priest: That is not going to happen, Miss Fraser.
Jane: I thought you believed in miracles?
Priest: Yes, but the dead don't normally get up and walk about because we want them to. I want to know if there is anything else I can do to help you, Miss Fraser.
(Jane says nothing.)
Priest: I could, er, help you to pray.
(Jane says nothing.)
Priest: Of course you may prefer to make your peace with the Lord by yourself, but if you do want me to help...
Jane: Forget it. I'm going to Hell.
Priest: You shouldn't assume that, Miss Fraser.
Jane: Will said I'd go to Hell.
Priest: Don't think like that. He can't damn you. Just repent of the wrongs you have done- whatever you have done in Australia, as well in England- and everything will come right in heaven.
Jane: Which is more than it did on Earth.
Priest: Pray for forgiveness and you will get it.
Jane: I don't want it! I don't care! I killed Will, I got what I wanted.
Priest: I see.
Priest: What are those?
Jane: A bit of pot and a peg doll.
Priest: I see.
Priest: Well, good night Miss Fraser.
(Jane says nothing.)
Priest: Well, good night.
(The priest gets up and leaves.)
Scene 55: The gallows
(A large, bare, whitewashed room, with a gallows in the middle. The hangman and his assistant are standing on top of the gallows. Jane is led in by two guards, with a priest following. Jane is very pale and her dress is rather dishevelled-looking now, but she is perfectly calm. The priest stands in one corner of the room. The guards lead Jane up onto the gallows. They step back.)
Hangman: So, Miss Fraser, any last words?
Jane: Go to Hell!
Hangman: So, stand here. Stand still.
(The hangman puts her head in the noose and nudges her into place over the trapdoor. Then he steps back and pulls the lever. The trapdoor gives and Jane falls through and is left hanging in the air.)
Scene 56: The graveyard
(It's late in the evening. The street is dark and most of the camera is occupied by a wrought iron gateway. The writing on it says Aldgate Paupers' Graveyard. The camera goes through the gates to the back corner of the graveyard. The graveyard is filled with straight lines of small stone headstones. In the back corner, two grave-diggers are digging a shallow grave. The headstone is already in place. They are muffled up against the cold and work busily and in silence. Beside them is a small, plain wooden coffin. The two grave-diggers finish digging as the snow begins to fall. The grave-diggers lift the coffin and drop it into the grave. Then they throw the earth back over it. They fill in the grave and walk away. For a moment the camera rests on the headstone, which reads: Jane Fraser, 1835-1875. Then the camera pulls to another headstone, in the row behind and a few place further down. The headstone is leaning over and the grave is ragged and untended, but it is still possible to read: Jessica Fraser, 1816-1845. Then the camera swings up into the dark.)
(Fade to black.)