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ALL SCRIPTS




                                  SAVING MR. BANKS





                                     Written by

                              Kelly Marcel & Sue Smith






          EXT. MARYBOROUGH PARK - AUSTRALIA - DAY (1906)


                         OVER BLACK:
          MUSIC - string violins treat us to a familiar song opening
          and then a voice - male.

           TRAVERS (V.O.)

                          (SINGING)
           Winds in the East
           Mist coming in--

                         FADE IN:
          A whoosh of wind spins us around in a blue sky, spinning,
          spinning until we slow to a stop and find ourselves amongst
          white fluffy clouds. A shadow (oddly shaped like an umbrella)
          dances amongst the nimbus.

           TRAVERS (V.O.)
           --Like something is brewing,
           about to begin--
          The shadow's direction becomes purposeful - taking us down
          through the clouds, whipping us on the wind towards a small
          town in the distance.

           TRAVERS (V.O.)
           --Can't put me finger on what lies

                          IN STORE--
          Downwards and downwards until it skittishly circles a large,
          bustling park and then swoops us into the lavish gardens.
          There, a ten-year-old girl plays in the lush grass; she puts
          the finishing touches to a miniature version of the large
          park she sits in - benches made from twigs, trees from
          flowers, picnic cups from acorns - and gives a satisfied nod.
          She wraps her arms tightly around her chest, lifts her face
          to the sky, a half-smile threatening to break across her
          concentrated face. This is the young P.L. TRAVERS (whom we
          will also know as GINTY.)

           TRAVERS (V.O.)
           --But I feel what's to happen, all

                          HAPPENED BEFORE--
          Her little brow is furrowed with imagination and then, all of
          a sudden, the smile breaks free as something in her mind
          becomes real.

                         

          INT. SHAWFIELD ST - PAMELA'S OFFICE - LONDON - MORNING (1961)

          P.L. TRAVERS sits in her rocking chair (in the same position
          as above) arms clasped tightly around her body, face to the
          sky. Older, beautiful; striking blue eyes aid her air of
          stiff and steely determination.
          Her office is a canvas of a life well travelled. Buddha
          smiles from every corner, framed poetry and letters adorn the
          walls alongside pictures of Pamela throughout the years with
          men we will not come to know and everywhere, china hens sit
          on shelves, their wings clasped to their chests, brooding.
          Despite the multitude of objects, the room is peaceful,
          white.
          Downstairs the doorbell rings.
          Pamela closes her eyes, breathes.
          It rings again, Pamela shakes her head, tuts. She stands up,
          smooths down her skirt with flat palms. Breathes.

          INT. SHAWFIELD ST - DOWNSTAIRS HALLWAY - MORNING

          Pamela opens the front door and squints as a flood of
          sunlight and cherry blossom petals float over the threshold.
          DIARMUID RUSSELL (45) - bright, youthful - waits to be asked
          inside. Pamela is not pleased to see him.

                          DIARMUID
           Mrs Travers.

                         

          INT. PAMELA'S LIVING ROOM - MORNING

          Pamela and Diarmuid sit in silence. Diarmuid looks at her,
          she looks out of the window.

                          DIARMUID PAMELA
          You're ready to--? Like pink clouds on sticks.

                         

                          DIARMUID
           Excuse me?

                          PAMELA
           The cherry blossoms

                          (BEAT)
           I was trying to think of what they--
          Diarmuid looks at his watch.

                          DIARMUID
           The car should be here, may I use--

                          (THE PHONE)

                          PAMELA

                          (OVER)
           I cancelled it.

                          DIARMUID
           You--?

                          (PANICKED)
           What? Pamela!

                          PAMELA
           Mrs Travers.

                          DIARMUID
           Mrs Travers, please, why--
           (sugaring his tone)
           Why would you cancel the car?

                          PAMELA
           I shan't be going.
          Diarmuid buries his face in his hands.

                          DIARMUID
           We've been through this--

                          PAMELA
           I've changed my mind.

                          DIARMUID
           You can't.

                          PAMELA
           With all due respect Mr Russell I
           am on very good terms with my own
           faculty and exceedingly confident
           in its decision making
           capabilities.
          Diarmuid's shoulders visibly sag, he lets out a long
          frustrated breath.

                          DIARMUID
           You made an agreement. Do you
           understand? A verbal agreement.

                          PAMELA
           Why in the world are you speaking
           to me as if I am a neonate?

                          DIARMUID

                          HE'LL--

                          PAMELA
           He'll what? Sue? He is most welcome
           to every penny I don't have.

                          DIARMUID

                          LOOK--

                          (HE SIGHS)
           --I've represented you for a long
           time. I like to think of you as a

                          FRIEND--
          Pamela snorts.

                          DIARMUID (CONT'D)
           I like to think of it, believe me I
           know it's not reciprocated.

                          (BEAT)
           I would never suggest you do
           something that would cause you
           anguish but there's no more money
           Pamela-- Mrs Travers. Simply no
           more. Sales have dried up, no more
           royalties. You refuse to write
           further books so--

                          (BEAT)
           Do you understand? I'm frightened
           that you don't understand what that
           means.
          Pamela looks out of the window, the cherry blossom her focus.

                          PAMELA
           I know what he's going to do to her-
           - she'll be cavorting and
           twinkling! Careening towards a
           happy ending like a kamikaze--

                          DIARMUID
           --We've been trying to do this deal
           for twenty years! He's agreed to
           both your stipulations. No
           animation, script approval-- I--

                          PAMELA
           Use her to pay my bills? If I
           believed in a hell I'd be sitting
           in its waiting room--

                          DIARMUID

                          (OVER)
           --script approval! He's never
           granted anything like that before!
           I don't know what else to--
          He looks around.

                          DIARMUID (CONT'D)
           Where is Polly?

                          PAMELA
           I fired her.
          Diarmuid shakes his head, sighs.

                          PAMELA (CONT'D)
           It's just as well. It seems I can't
           afford her anymore anyway!
          Pamela looks to the ceiling, breathes.

                          PAMELA (CONT'D)

                          (MOMENTARILY SOFT)
           You don't know how much she means
           to me.

                          DIARMUID
           Polly?

                          PAMELA
           Of course not Polly!
          Pamela huffs, digs her heel into the rug.

                          PAMELA (CONT'D)
           (it's a filthy word)
           Los Angeles.

                          DIARMUID
           You have only to go there and work
           for two weeks. Collaborate. That's
           it. You haven't signed the rights
           over, yet.

                          PAMELA
           Yet!

                          DIARMUID
           You must make it work Mrs Travers--

                          PAMELA
           Oh I must, must I?

                          DIARMUID
           You need the money. I don't want
           you to see you-- (broke).

                          PAMELA

                          (OVER)
           Stop saying money! It's a filthy,
           disgusting word!

                          DIARMUID
           I am picking up the telephone Mrs

                          TRAVERS--
          Diarmuid gets up.

                          PAMELA
           I have final say?

                          DIARMUID
           You do.

                          PAMELA

                          (TO HERSELF)
           I have final say.

                          (TO DIARMUID)

                          (MORE)

                          PAMELA (CONT'D)
           And if I don't like what they are
           doing to her?

                          DIARMUID
           You don't sign the papers. He
           cannot make the film unless you
           grant the rights.

                          (BEAT)
           It's an exploratory trip--
          Pamela looks at the cherry blossom again, a piece floats away
          from the tree and sticks to her living room window.

                          DIARMUID (CONT'D)
           What do you say?

                          PAMELA

                          (TO HERSELF)
           I want to keep my house.

                         

          EXT. MARYBOROUGH PARK - DAY

          A large hand taps Ginty on the shoulder, she looks up and
          smiles. TRAVERS GOFF (35) is handsome and rugged, a wild
          poetic look, like Ted Hughes or Dylan Thomas.

                          TRAVERS
           Excuse me ma'am, have you seen my
           daughter? I was quite sure I had
           left her around here somewhere!
          Ginty giggles.

                          TRAVERS (CONT'D)
           Her name is Helen, no, Shirley, erm-
           - goodness! I've quite forgotten!
           Could it be Prunella?

                          GINTY
           No!

                          TRAVERS
           Pamela?

                          GINTY
           No.

                          TRAVERS
           You're right still doesn't sound
           quite-- I'm sure I have a special
           name for her--

                          GINTY
           Ginty!

                          TRAVERS
           Why, thank you ma'am! Ginty it is
           of course!

                          (BEAT)
           Now, have you seen her?

                          GINTY
           It's me!
          Travers puts his nose right up to hers, peering into her
          face.

                          TRAVERS
           Gosh! So it is! Well, thank
           goodness for that! I was positive I
           was going to be beheaded for losing
           Her Highness The Royal Princess
           Ginty Mc Featherfluffy!

                          GINTY
           You can't lose me!

                          TRAVERS
           Never. I promise. I will never lose
           you!
          He swings her up onto his shoulders and gallops off through
          the park, neighing like a horse.

                          TRAVERS (CONT'D)
           Hurry now! We mustn't be late! The
           adventure is about to begin!

                         

          INT. PLANE - DAY

          Pamela is hot and bothered trying to wrestle a bulging carpet
          bag into an overhead locker.

                          FLIGHT ATTENDANT
           Can I help you?

                          PAMELA
           I'm perfectly capable thank you.
          The flight attendant tries to help anyway.

                          PAMELA (CONT'D)
           They've used all the space; so
           greedy.
          She glares at the people around her.

                          FLIGHT ATTENDANT
           I'll take it Madam. I can put it
           up here -

                          PAMELA
           I don't want it up there. I want it
           here, in the corresponding holding
           area for my assigned seat!

                          FLIGHT ATTENDANT
           The flight's closing in just a few
           moments Ma'am. I'll have to take
           it.
          Pamela narrows her eyes at the attendant as if to say `I dare
          you.' A woman, with an infant, stands up.

                          WOMAN

                          (TO ATTENDANT)
           You can put my bag up front
           instead.
          The flight attendant smiles thankfully and replaces the
          woman's bag with Pamela's.

                          PAMELA

                          (TO WOMAN)
           Will the child be a nuisance? It's
           an eleven hour flight.

                          WOMAN

                          (TAKEN ABACK)
           Er-- no, I--

                          PAMELA
           Jolly good.
          Pamela gives her a watery smile and takes the seat next to
          the window, she looks out at the tarmac.
          She closes her eyes, takes a deep breath, opens her eyes
          again and tucks her feet tidily together. She folds her hands
          neatly into her lap and looks straight ahead.

                          PAMELA (CONT'D)

                          (TO HERSELF)
           I hope we crash.
          The passenger across the aisle hears her, horrified!

                         

          EXT. GOFF RESIDENCE - MARYBOROUGH - DAY (1906)

          BIDDY (3) and MARGARET - the girls mother, delicate, weak -
          stand outside of their lavish red-bricked home. Suitcases
          bulge at their feet. Margaret breathes a sigh of relief as
          she sees Travers hurrying towards them, he swings Ginty from
          his shoulders and plops her on the ground.

                          MARGARET
           The carriage?

                          TRAVERS
           Who needs a carriage my love? A
           stroll is a gift!
           (beat, excited)
           Everybody ready?

                          GINTY & BIDDY
           Yes. Yep!
          Margaret takes her youngest child MOYA (1) from the nanny.

                          TRAVERS
           Come along my team! We mustn't miss
           the train.

                          MARGARET
           (to her staff)
           Thank you so much. For everything.

                          GINTY

                          (TO NANNY)
           See you soon Katie Nanna!
          She picks up her own case; Katie Nanna turns away,
          heartbroken.

                          TRAVERS
           Walking bus!
          The family get into line, one behind the other, Travers in
          the lead.

                          TRAVERS (CONT'D)
           Don't forget Andrew!
          Ginty takes Andrew's leash, her own case and somehow helps
          her sister too.

                          TRAVERS (CONT'D)
           Ready? And off we go!
          Passersby tut and shake their heads at the noisy display as
          Travers and the girls march down the street.

                          TRAVERS (CONT'D)
           Left, right, left, right! Coming
           through!
          Margaret stays for a beat, longingly taking in and storing a
          picture of the home she leaves behind.

                         

          EXT. DOWNTOWN MARYBOROUGH - DAY

          The procession continues into the bustling downtown.

          EXT. TRAIN STATION - DAY

          It's hectic as tickets are purchased and a CLERK marks a
          chalkboard with destinations and mileage. Ginty stops, looks
          at the list. The last city is--

                          GINTY

                          ALLORA--

                         

          EXT. COUNTRYSIDE - DAY

          The Great Western Queensland train chugs its way Westward
          from the verdant green of Maryborough toward the brown cake
          of Allora.

                         

          EXT. ANGLE ON MARYBOROUGH - DAY

          As it disappears. Ginty stands on the last train platform,
          watching her home, her past, fade into the distance.
          Ginty's face speaks resignation as it, and the train, recede
          as billowing white smoke and dust fill the frame.

                         

          INT. PLANE - DAY

          Pamela jolts in her seat, her eyes flit open. She's disturbed
          by her dreams, she flicks her hand in front of her face as if
          somehow batting the memories away. She sighs loudly and digs
          her heel into the carpet of the plane.

                         

          INT. LAX - ARRIVALS - DAY

          A bleary eyed Pamela carries her two bags into the arrivals
          area. She's immediately hit by dazzling sunlight and a sea of
          signs bearing the names of various passengers and companies:
          she scans Paramount, Warner Brothers, MGM, finally falling
          upon her own name - P.L. Travers - underneath "Walt Disney
          Presents".

                          PAMELA
           Oh does he indeed?
          She approaches the uniformed driver (RALPH - Mickey Mouse on
          his lapel) who bursts into a beaming smile.

                          RALPH
           Travers? P.L. Travers?

                          PAMELA
           Mrs.

                          RALPH
           Welcome, Mrs P.L. Travers! Welcome
           to the City of Angels.
          Pamela sneers. He grabs her bags.

                          RALPH (CONT'D)
           Let me take those.

                          PAMELA
           I'm perfectly capable of-- Oh,
           nevermind.
          Ralph ushers Pamela through the doors--

                         

          EXT. LAX - DAY

          --and into the sunlight.

                          RALPH
           Sun came out to say hello just to
           you.

                          PAMELA
           Don't be preposterous.
          Pamela sniffs the air.

                          PAMELA (CONT'D)
           It smells. Like--

                          RALPH
           Jasmine.

                          PAMELA
           --chlorine and sweat.
          Ralph chuckles.

                          PAMELA (CONT'D)
           It's dreadful.

                         

          EXT. LIMOSINE - DAY

          The shiny black, tinted windowed limo cruises up La Cienega
          Blvd, passing all kinds of monstrous architecture and garish
          billboard advertising.

                         

          INT. LIMOSINE - DAY

          Pamela is diminutive on the back seat of the sprawling car.
          She eyes the champagne on ice, the flutes clinking in the in-
          car bar.

                          PAMELA

                          (TO HERSELF)
           Absurd.
          Ralph looks at her in the rearview.

                          RALPH
           You okay back there Mrs P.L.
           Travers?

                          PAMELA
           It's not Mrs P.L. It's just Mrs--
           Oh, it's so hot.

                          RALPH
           No problemo! We got a brand new air
           conditioning system, Missus; cool
           you right down in no time. Just
           about make you feel like you're in
           good old Engerland again! Things
           they can put in cars these days--
           (he shakes his head in

                          AMAZEMENT)
           Gosh almighty.
          Pamela presses her fingers to her temples. She looks around,
          finds a button, pushes it and the screen rises between
          passenger and driver miraculously relieving her of Ralph's
          natter.

                          RALPH (CONT'D)
           (happy as a clam)
           No problemo.

                         

          EXT. BEVERLY HILLS HOTEL - DAY

          With its pink facade and flag flying turrets the hotel
          resembles a candy castle simmering under a midday sun.
          The limo glides into the forecourt.

                         

          INT. SUITE - BEVERLY HILLS HOTEL - DAY

          A porter opens the door to Pamela's suite and places her
          belongings on a luggage stand in the hallway.

                          PORTER
           Would you like me to unpack for you
           ma'am?

                          PAMELA
           Unpack?

                          PORTER
           To take your items from their cases
           and hang them in the wardrobe
           ma'am.

                          PAMELA
           Young man, if it is your wish to
           handle ladies garments I suggest
           you take employment in a
           launderette.
          The porter has no idea what to say, he hovers at the door.

                          PAMELA (CONT'D)
           Yes?
          His eyes flick to his empty palm and back to Pamela. She
          closes the door on him.

                          PAMELA (CONT'D)
           Odd.
          She turns and for the first time takes in--

                          PAMELA (CONT'D)
           Oh my.
          --The LUDICROUS suite she has been assigned; it is opulent
          beyond imagine but it's classy decor has been rather
          diminished by the array of Disney gifts splattered across
          every surface of the room.

                          PAMELA (CONT'D)
           Oh no, no, no.
          Disney Flowers, Disney champagne, Disney exotic fruit
          baskets, Disney chocolates, Disney posters, cuddly Donald,
          Pluto and Minnie toys and - taking up the entire bed - the
          BIGGEST stuffed Mickey Mouse imaginable. Imagine it. Nope.

          BIGGER!
          Pamela cannot contain her horror. She stares at it in disgust
          for a moment, and then her eyes fall upon three pears in the
          fruit basket. She stops still for a second before rushing
          over and picking them out. She turns them over in her hands
          before an enormous wave of panic washes over her.

                          PAMELA (CONT'D)
           (muttering to the pears)
           This won't do.
          She throws open the balcony doors for fresh air and is
          greeted with dry arid heat, dust, dazzling sunlight--

                         

          EXT. GOFF HOUSE - ALLORA - DAY

          --Arid heat, dazzling sunlight. Travers, Margaret and the
          children climb stand in a line at the top of a pathway. From
          their perspective all there is to see is a cloud of swirling
          red dust; it obscures and then gradually reveals her new
          home. The surrounding land yellow and burnt - unlike the lush
          greens of Maryborough. The house is ramshackle and meagre.
          A swayback white nag wanders near a solitary tree and a few
          skinny chickens strut about the porch.

                          TRAVERS
           A palace! Complete with mighty
           steed.

                          GINTY
           And chickens.

                          MARGARET

                          OH--
          Travers puts an arm around her shoulder.

                          TRAVERS
           We'll build beautiful memories here
           my angel.
          Margaret offers him a trusting smile.

                          MARGARET
           Yes.
          Travers takes Ginty and Biddy's hands and they run towards
          their new home. The chickens scatter.

                          TRAVERS
           (in the distance)
           --in this house you get to share a
           bedroom!
          Margaret looks at the surrounding area, there's simply
          nothing but barren land and red dust for miles.

                         

          EXT. BEVERLY HILLS HOTEL - POOL - DAY


                         UNDERWATER
          SPLOSH! A green bomb disturbs the tranquil surface and then
          another SPLOSH!
          We rise through the water to see Pamela on her balcony
          throwing the pears, one by one, into the swimmer-free
          swimming pool.

                         

          INT. BEVERLY HILLS HOTEL - SUITE - CONTINUOUS


                          PAMELA
           Good riddance.
          She breathes a sigh of relief and closes the balcony doors.

                          PAMELA (CONT'D)

                          (TO HERSELF)
           Well, first things first.
          She gathers up the Disney paraphernalia and shoves it all in
          a closet.
          She picks up her bags and goes through to the bedroom where
          the BIGGEST stuffed Mickey Mouse imaginable takes up the
          entire bed. Imagine it. Nope. BIGGER!

                          PAMELA (CONT'D)
           Good Lord.
          Pamela drops her bags, grabs Mickey and places him on the
          floor, facing the wall.

                          PAMELA (CONT'D)

                          (TO MICKEY)
           And you can stay there until you
           learn the art of subtlety.
          Pamela opens her carpetbag and begins to unpack. She takes
          from it a bottle of pills, which she places on her night
          stand, followed by another bottle and another and another.
          The potions keep coming, as do creams and books and make-up,
          the bag is endless. Things, things and more things come
          streaming out of it and once the night stand is full she uses
          windowsills and any other available surface for her miniature
          Buddhas. Finally she takes out an impossibly large framed
          picture of herself. She holds it up, admires it, takes down
          an existing painting and replaces it with her own image.

                          PAMELA (CONT'D)
           There.
          Pamela is restless, she looks around the room, stands in
          front of a full length mirror, admiring herself. She turns
          her face slightly to catch it at its best angle. She leans
          forward and explores the contours of her face, surprisingly
          unlined for a woman of her years. She smiles, full of vanity.

                          PAMELA (CONT'D)

                          (SATISFIED)
           Yes.
           (answering an imaginary

                          QUESTION)
           Well, no, I don't suppose I do
           mind.
          She laughs, but Pamela finds joy difficult so it comes out as
          an ugly snort.

                          PAMELA (CONT'D)
           Now, really! Flatterer!
           (then scolding herself)
           Silly girl.
          She turns her attention away from the mirror and picks up a
          remote control staring at it with bemusement. She points it
          at the television hitting random buttons until suddenly the
          TV bursts into life.

                          PAMELA (CONT'D)
           Oh!
          She clicks again, the TV goes off, again and it's on. A
          housewife advertises dish soap with glee, as if dish soap is
          the greatest thing ever invented.

                          PAMELA (CONT'D)
           Soap for the brains.
          She changes the channel and stares blankly at a man on a
          black and white screen. It takes a moment before she realizes
          that staring back at her is the charming, moustached, kindly
          face of WALTER ELIAS DISNEY (58) on The Wonderful World of
          Disney Show. Pamela raises an eyebrow--

                          PAMELA (CONT'D)
           Well, well-- There you are.

          CU: TV SCREEN
          Walt is ringing a little bell but no sound comes out.

                          WALT
           Don't worry! There's nothing wrong
           with your television set. This is a
           pixie bell, the sound is much too
           high for human ears.
          Tinkerbell flies into shot.

                          WALT (CONT'D)
           Oh there you are Tink!
          She covers Walt in fairy dust.

                          WALT (CONT'D)

                          (LAUGHING)
           Hey! Get that stuff off of me!

                          (TO AUDIENCE)
           You know, a little sprinkling of
           fairy dust can make you fly!
          Pamela can't help but be drawn in for a tiny moment and then
          just as quickly, narrows her mistrusting eyes at Walt and
          switches him off.

                          PAMELA
           Off! That's how we deal with you.

                         

          EXT. SUITE - BEVERLY HILLS HOTEL

          A tray of untouched dinner sits outside the door.

          INT. SUITE - BEVERLY HILLS HOTEL - NIGHT

          Pamela lies in bed awake, staring at the ceiling, she shakes
          her head - trying to free it of whatever is trapped in there.
          The moonlight casts a shadow of Mickey on the wall beside her
          bed.

                         

          EXT. BEVERLY HILLS HOTEL - MORNING

          Pamela waits under the hotel awning, dressed immaculately,
          not a hair out of place. The limo pulls up to the curb and
          Pamela groans as she sees Ralph jovially jump out of the car
          and rush round to open the passenger door.

                          RALPH
           Good morning Mrs!

                          PAMELA
           It's not Mrs, it's-- Oh, why do I
           bother? We're just not going to get
           it right are we?

                          RALPH
           Hm?

                          PAMELA
           Will it be the same driver every
           day?

                          RALPH
           (oblivious to her tone)
           Yes ma'am! I'm all yours.

                          (BEAT)
           Sun came out again!

                          PAMELA
           You say it like you're surprised.
           Like the sun is particular about
           whom it appears for. It seems you
           think that I am responsible for
           it's miraculous dawning every day.
           For goodness sake, it's California!

                          RALPH
           It certainly is!
          He gestures for her to get in.

                          RALPH (CONT'D)
           (trying a British accent)
           Madame.
          Pamela grimaces.

          INT. LIMOSINE - CONTINUOUS

          Pamela tucks her legs in and folds her hands into her lap.
          Ralph climbs into the driver's seat.

                          PAMELA
           (as much to herself as

                          RALPH)
           I would so much rather be
           accountable for the rain.

                          RALPH
           Oh, that's sad.

                          PAMELA
           Sad is entirely the wrong emotion.
           I shan't bother explaining why;

                          IT'LL SIMPLY
           (she makes gesture for
           flying over his head)
           Zip!

                          RALPH
           Okey dokey.

                          PAMELA
           The rain brings life!

                          RALPH
           So does the sun.

                          PAMELA
           Be quiet!

                          RALPH
           Yes ma'am.
          Ralph starts the engine and drives away.

                         

          EXT. DISNEY STUDIOS - BURBANK - DAY

          THREE MEN in suits wave at the limo as it drives through the
          enormous gates of Disney's Burbank Studio and pulls up in a
          very twee forecourt.
          They are: DON DAGRADI (45) and the SHERMAN BROTHERS, ROBERT
          (34), he leans on an old worn cane and RICHARD (31), who has
          a bright, sunny, almost cartoon-ish face.
          Don opens the car door for Pamela and puts out a hand to help
          her from the vehicle but she pushes it away.

                          DON
           Pamela! Good morning!

                          PAMELA
           It is so discomfiting to hear a
           perfect stranger use my first name.
           Mrs Travers. Please.
          The Sherman's look at each other. Uh oh.

                          DON
           I do apologize, Mrs Travers.

                          (BEAT)
           I am Don DaGradi, the script
           writer.

                          PAMELA
           Co-script-writer. I shall certainly
           be having my say Mr. DiGraydi.

                          DON
           Gradi. Wonderful! I welcome it.

                          PAMELA
           If indeed we ever sign off on a
           script.
          Bob and Dick flash each other a look. What the fu ?

                          DON
           Uh. Okay, so this is the rest of
           your team, Dick and Bob Sherman!
           Music and lyrics.

                          (TO SHERMANS)
           Boys, this is the one and only Mrs
           P.L. Travers, creator of our
           beloved Mary.

                          PAMELA
           Poppins.

                          DON
           Who else?

                          PAMELA
           Mary Poppins. Never ever just Mary.
           (to Dick and Bob)
           A pleasure to meet you, though I
           fear we shan't be acquainted for
           too long.

                          BOB
           Excuse me?

                          PAMELA
           These books simply do not lend
           themselves to chirping and
           prancing. No. Certainly not a
           musical. Now, where is Mister
           Disney? I'd very much like to get
           this started and finished as
           briskly as is humanly possible.

                          BOB
           Don?

                          DICK PAMELA
          Not a music--? If you'll point me in his
           direction?

                         

                          DON
           Uh-- erm. Ha! We had planned a
           little tour of the studio for you

                          MRS TRAVERS--

                          PAMELA
           No thank you.

                          DON
           --Wanted to show the place off.

                          PAMELA
           No one likes a show off.
          Pamela takes herself off in the direction of a building.

                          DON
           Mrs Trav-- it's a long way to--
          Don hurries behind her, Bob looks like he is about to murder
          the woman and Dick is finding the whole thing incredibly
          amusing.

                         

          EXT. DISNEY STUDIOS - BURBANK - DAY

          The Shermans, Don and Pamela are riding through the studios
          on a golf buggy.

                          PAMELA
           I am perfectly capable of walking.
          A couple of Disney characters (Donald and Goofy) bounce up to
          the golf cart, waving brightly. Goofy opens his arms to
          Pamela for a hug and she recoils in horror.

                          PAMELA (CONT'D)
           Shoo! Go away!
          The characters stop bouncing and Di Gradi gives them a nod
          meaning `beat it'.

                          PAMELA (CONT'D)
           Ghastly.
          Bob and Dick Sherman are in shock.

          INT. DISNEY - EXTERIOR OFFICE - DAY

          Don leads Pamela into the plushly appointed outer office,
          where DOLLY - a young, perky secretary - smiles brightly at
          her.

                          DON

                          (TO DOLLY)
           Could you let--

                          PAMELA
           (over, to Dolly)
           Would you let Mister Disney know I
           have arrived please?
          Dolly loses her smile at the terse tone, nods curtly and
          picks up the phone.

                          DOLLY
           (whispering into phone)
           She's here!

                          DON
           A word of advice Mrs Travers, if I
           may.

                          PAMELA
           You may. Whether I heed it or not
           will be another matter entirely.

                          DON
           Wow. Uhm. It's just that he can't
           stand being called Mr Disney. We
           are all on a first name basis here.

                          (TO DOLLY)
           Dolly! Is he--?
          We hear a man's cough before a beaming Walt Disney, in the
          flesh, appears at the end of the corridor, his arms
          outstretched.

                          WALT
           Well, there ya are at last!
          Pamela gets up, smooths down her skirt, and makes her way
          serenely towards the man, who rushes down the corridor to
          greet her.

                          WALT (CONT'D)
           Oh my dear gal!
          Pamela is open mouthed.

                          WALT (CONT'D)
           You can't imagine how excited I am
           to finally meet you!
          Pamela doesn't know what to do with this amount of
          enthusiasm. She extends a formal hand before he manages to
          get her in an embrace.

                          PAMELA
           Oh!
          He squeezes her tight and then lets go. Pamela struggles to
          compose herself, she hasn't been that close to a man in
          decades!

                          PAMELA (CONT'D)
           Hum-- ah. It's an honour, Mister
           Disney.
          Disney winces.

                          WALT
           Walt, you gotta call me Walt, ya
           know. `Mister Disney' was my old
           man.
          There's a hint of something mournful in the way he says `old
          man.'

                          WALT (CONT'D)
           Come here! Come here!
          He links his arm through hers, much to her chagrin, and leads
          her into his interior office past an imposing floor to
          ceiling cabinet bursting with Academy Awards.

                         

          INT. DISNEY - INTERIOR OFFICE - DAY

          He smiles at TOMMIE - who mans the second desk.

                          WALT
           Tommie, say hi to the one and only
           P L Travers!

                          TOMMIE
           Hi there! It's so nice to--
          But Pamela has already been whisked through to Disney's
          personal office.

                         

          INT. DISNEY'S OFFICE - DAY

          Disney's office is tastefully furnished and filled with
          pictures of his daughters and wife. Framed posters of his
          films provide splashes of color to the cream walls.

                          WALT
           Have a seat, sit down.
          He gestures to a comfy couch in the corner but Pamela takes a
          seat in front of Walt's desk instead, glancing at the sign
          above it: We Can Make Them Live. Walt perches on the edge of
          the desk, close to her, gazing at her.

                          WALT (CONT'D)
           Ya know, I can't believe it. P.L.
           Travers, right here, in my office,
           after all these years-- almost
           twenty of `em.
           (shakes his head)
           Twenty. Long. Years.
          Pamela narrows her eyes.

                          WALT (CONT'D)
           Wish ya coulda' seen me then Pam!
           As lean as a whippet I was! A race
           horse!
          Interestingly, she doesn't pull him up on using her first
          name and shortening it too!

                          WALT (CONT'D)
           But now, here you are. Look at you!
           I could eat you up!

                          PAMELA
           That wouldn't be appropriate.
          He turns a photo of his daughters - Diane and Sharon - to
          face Pamela.

                          WALT
           When Diane here was seven years old
           I-- can I get you a drink? Coffee?
           Soda?

                          PAMELA
           A pot of tea would be most welc--

                          WALT

                          (OVER)
           She was seven years old and I was
           walking past her bedroom and there
           she was on her bed reading to
           Sharon, and well, they were just
           giggling their little socks off!
           (he picks up the phone,
           presses a button)
           Tommie, pot of tea please dear--
           You're a doll.
           (he puts the phone down)
           She's a doll. Anyways I asked them
           "Girls, what's so funny?" And Diane
           said to me, "Mary Poppins daddy!"
           Well, I had no idea what a Mary
           Poppins was! And then she gave me
           your book. And by gosh!
          He stands up and throws his arms in the air to emphasise his
          point.

                          WALT (CONT'D)
           My imagination was caught on fire!
           And I mean ON FIRE! And those
           embers have burned ever since-- as
           you know.

                         

                          PAMELA WALT
          I do. Twenty years!

                         

                          PAMELA WALT
          Yes. Twenty. So you keep I've been asking, asking,

                         SAYING-- ASKING--

                         
          Pamela stops talking and waits for Disney to calm down.

                          WALT (CONT'D)
           I got old asking.
          He sits back down on his desk.

                          PAMELA
           What a charming story.

                          WALT
           About my getting old?

                          PAMELA
           About your daughters.

                          WALT
           Yeah I suppose it is.
           (he looks at the picture)
           They're both women now. Gosh! Can
           you believe it?

                          PAMELA
           Children grow up.

                          WALT
           Now Pam, a man can't break a
           promise to his kids. No matter how
           long it takes to keep. No matter
           how long! You might've kept me
           dangling all this time but now we
           gotcha!

                          PAMELA
           Gotcha indeed! Mister Disney, if
           you have dangled then it is at the
           end of a rope you have fashioned
           for yourself.

                          WALT

                          PAMELA--

                          PAMELA
           I was quite clear when you
           approached me the first time that
           she wasn't for sale and clear again
           when you approached me a year later
           and clear again when you approached
           me every annum for the subsequent
           18 years. Honestly, I feel
           corralled, ensnared--

                          WALT
           Pam, Pam, the last thing I want is
           to make you feel--

                          PAMELA
           My name, if you please, is MRS
           Travers.

                          WALT
           You see, I promised them. That's a
           fact. You got kids?

                          PAMELA

                          NOT--

                          WALT

                          (OVER)
           I have never, I swear, never broken
           a promise to either one of my
           Disney girls.

                          PAMELA
           Well, that's very honourable of you

                          BUT--

                          WALT
           That's what being a daddy is all
           about right?

                          PAMELA

                          (DEEP BREATH)
           Is it?

                          WALT
           This movie isn't just going to make
           my kids happy. It's going to make
           ALL kids happy! You see my guys are
           gonna do things with it that are,
           well, are revolutionary.
          He's up again.

                          WALT (CONT'D)
           REVOLUTIONARY,Pam!

                          PAMELA

                          OH DEAR--
          Pamela rubs her temples as she watches him fly about the
          room.

                          WALT
           Mary Poppins will literally fly off
           the pages of your books!
          The door opens and Tommie comes in with the tea, Walt
          gestures for her to bring it to him.

                          WALT (CONT'D)
           Now imagine! This magical woman who
           has only lived in your head, you'll
           be able to meet her, speak to her,
           hear her sing.
          Tommie places the tray on Walt's desk and leaves the room.
          Walt picks up the tea pot.

                          PAMELA
           Yes, this singing, I am glad you've
           come to that.
           (addressing his tea

                          MAKING)
           Milk first!
          Walt puts the pot down immediately like a scolded child and
          picks up the milk jug, he pours.

                          PAMELA (CONT'D)
           That's right. Now the tea--
          He picks up the pot again and pours the tea.

                          PAMELA (CONT'D)
           And a spoonful of sugar.
          He stirs.

                          PAMELA (CONT'D)
           You don't mean for this film to be
           a musical?

                          WALT

                          (TAKEN ABACK)
           I absolutely do!
          He presents her with the cup.

                          PAMELA
           No.

                          WALT
           No?

                          PAMELA
           No.
          She takes a sip, he waits anxiously to see if his tea is any
          good.

                          PAMELA (CONT'D)
           Not bad. No, Mister Disney, Mary
           Poppins does not sing.

                          WALT
           Oh yes she does!

                          PAMELA
           When?

                          WALT
           In your books!

                          PAMELA
           Those aren't songs! They're
           recitations. She is not a giddy
           woman, she does not jig! Singing is
           frivolous and wholly unnecessary
           for a governess, an educatress. No.
           It would just ruin it.
          Walt is baffled. He takes a sip of tea, it's disgusting, he
          spits it back into his cup surreptitiously, then coughs
          loudly. Pamela's jaw drops.

                          PAMELA (CONT'D)
           I won't have her turned into one of
           your silly cartoons.
          Walt takes a sharp breath on `silly' and then plasters the
          smile back on.

                          WALT
           Tell ya what. You just listen to
           what my Sherman boys have come up
           with and if they don't knock your
           socks off then I'm the King of
           England.
          Pamela rolls her eyes.

                          PAMELA
           If you're the King of England then
           you shan't exist and knowing the
           little of you I do; I shouldn't
           think you would like that very
           much.

                          WALT
           Bet you would.
          She smirks, as does he.

                          PAMELA

                          (BEAT)
           I do quite like Greensleeves.

                          WALT
           Greensleeves huh?

                          PAMELA
           Come to think of it. That's a song
           I wouldn't object to.

                          WALT
           Greensleeves.

                          PAMELA
           Yes.
          He's not sure if she's playing with him.

                          WALT
           Pam, I want you to know that the
           last thing I would do, the very
           last thing, is tarnish a story I
           have cherished.
          He moves closer to her, takes her hand, she needs it for her
          teacup, it's awkward.

                          WALT (CONT'D)
           (gazing into her eyes)
           The pages are worn down to tissue,
           dog eared and falling out. I have
           poured over them gripped,
           tormented. Because I love Mary
           Poppins, you got to share her with
           me.
          Pamela is torn between finding Disney captivating and totally
          barking.

                          WALT (CONT'D)
           A course nothing happens without
           your say so. Absolutely Nothing.

                          PAMELA
           Quite right.
          She extricates her hand.

                          WALT
           It's all in the rights agreement.
           As approved by your agent, Dermot.

                          PAMELA
           Diarmuid.

                          WALT
           Darmitt.
          Disney hands the rights agreement and a pen to her, Pamela
          takes it without looking and folds it up.

                          PAMELA
           (waving the agreement)
           A live action film. No animation.

                          WALT
           Live action.

                          PAMELA
           I'd like that on tape.

                          WALT
           Hm?

                          PAMELA
           Your promise-- and all the
           discussions we have here-- on tape.

                          WALT
           Tape you say.
          She pops the rights document in her bag. Walt's joviality,
          his bright demeanour, vanishes in a split second.

                          PAMELA
           Ah there you are.

                          (BEAT)
           Mary Poppins and the Banks's,
           they're family to me.

                          WALT
           I understand. I do.

                          PAMELA
           Well then!
          She stands up and smooths down her skirt.

                          PAMELA (CONT'D)
           Shall we begin?
          He holds out his hand for her to shake.

                          WALT
           Let's make something wonderful.
          She leaves his hand hanging in mid air.

                          PAMELA
           Let's see if that's at all
           possible.
          Pamela gets up, smooths down her skirt, snorts at a picture
          of Disney in a silly hat astride a model train and
          purposefully strides out of the room, a smile across her face
          that Disney does not see.

                          WALT

                          (PERPLEXED)
           Woah.

                          (BEAT)
           Damn.

                         

          EXT. VERANDAH - DUSK

          Travers sits, looking out at the dimming sky, playing a
          mournful air on his tin whistle, Ginty curled up in his lap,
          Andrew the dog asleep beside him. Margaret steps out onto the
          veranda an almost imperceptible glance at the half-empty
          bottle at his feet.

                          MARGARET
           It's rather late--
          Travers continues to play.

                          MARGARET (CONT'D)
           Biddy and Moya are already asleep.
          Travers takes the pipe from his lips and sighs.

                          TRAVERS
           Ginty.
          He kisses her cheek and gently lifts her from his lap.

                          GINTY
           Good night father.

                          (BEAT)
           `night mother.

                          MARGARET
           Good night dear.
          Margaret strokes her hand over Ginty's hair as the little
          girl slips into the house but hovers unseen by the door,
          watching her parents. Travers pats his knee and Margaret
          perches on it.

                          TRAVERS
           I'll make us a good life.

                          (BEAT)
           I promise.

                          (BEAT)
           I'll make you proud again.
          Margaret strokes Travers face and turns her face to the sky.

                          MARGARET
           Look at the stars.

          INT. REHEARSAL ROOM - DAY

          Pamela sits at a large meeting table as Dolly bustles around
          her placing refreshments. Pamela lays out her pencils one by
          one, makes sure her notebook is `just so.'
          A bowl of fruit is set down upon her notebook and she
          snatches it away, glaring at the table which is now laden
          with every type of snack and beverage imaginable from bagels
          to candy, coffee to soda, there are exotic fruits, enormous
          bouquets of flowers.

                          PAMELA
           (peering around a vase at

                          DAGRADI)
           What is all this jollification?

                          DON
           We have a whole script to get
           through. It's gonna be a long day
           Mrs T.
          She shoots him dead with a killer stare.

                          DON (CONT'D)
           --ravers.

                          PAMELA
           We could save a starving country
           with benefaction from this room
           alone! Ugh, It's so vulgar.
          She gets up and moves the giant bouquet of flowers off the
          table and plops it on top of Dick's piano. Bob moves it from
          the piano to the floor.

                          BOB

                          (SEETHING)
           That is a very expensive piano.

                          PAMELA
           And these are beautiful blooms
           butchered for our visual and nasal
           enjoyment when we could have just
           as easily gone to the window,
           looked out and gazed upon them
           happily minding their own business
           and very much still alive.
          Bob hasn't a clue what to say. Pamela smoothes down her skirt
          and re-takes her seat.
          Everybody waits.
          Pamela flicks her eyes at the tape recorder which Don duly
          turns on.

                          PAMELA (CONT'D)
           Let us begin.
          She perches her glasses on her nose and raises an eyebrow at
          the cover of her script - "Walt Disney's Mary Poppins."

                          PAMELA (CONT'D)
           Hm.
          A rustling of papers and one or two uneasy glances as the
          men, too, open their scripts.

           DON DAGRADI PAMELA

                          (READING) (READING)
          Scene one. Exterior Cherry Scene one. Ext. Ext? What's
          Tree Lane. London. Day. Bert-- Ext?

                         
          Dick and Bob cover their faces with the embarrassment of it
          all.

                          DON
           Exterior. It means the scene is
           taking place outside.

                          PAMELA
           Ah, I see, an abbreviation.

                          (BEAT)
           Scene One. Exterior--

                          (BEAT)
           Oh, I'm sorry Mr DaGradi, did you
           feel you should--?

                          DON
           No, No, Mrs Travers please go
           ahead.

                          PAMELA
           Yes, I do think it's best. I've the
           most practise. Readings of my books
           you know? Anyway--

                          (BEAT)
           Scene one. Exterior. 17 Cherry Tree
           Lane, London. Day.
          She nods.

                          PAMELA (CONT'D)
           Yes. That's good, that can stay.

                          DICK

                          (LAUGHING)
           That's just the scene heading!

                          PAMELA
           --Though I do think we should say
           number 17, instead of just 17, yes?
           It's proper.

                          BOB & DICK
           No one's going to see it.

                          PAMELA
           I will see it.
          She makes a note in her script and looks to the others who
          are dumbstruck.

                          PAMELA (CONT'D)
           Write it down, write it down, chop
           chop.
          Don makes the note and is ready to move on but Pamela is
          staring at Dick and Bob. They dutifully pick up their pencils
          and note their scripts too.

                          PAMELA (CONT'D)
           Is that on the tape?
          Don glances towards the swirling tape recorder and nods.

                          DON
           Yes.

                          PAMELA
           Good-- onwards.
          They are interrupted by DOLLY carrying a new tray of
          refreshments.

                          DOLLY
           I'm sorry to interrupt.

                          PAMELA
           Is this a joke?

                          DOLLY
           Excuse me?

                          PAMELA
           Do you think you are a comedienne?

                          DOLLY
           I'm sorry I don't understand.
          Dolly gingerly places the tray on the table and hovers,
          distributing fruit and biscuits within reachable distance.

                          PAMELA
           Unbelievable.
          Pamela shakes her head but decides to ignore Dolly and carry
          on.

                          PAMELA (CONT'D)
           Scene One. Exterior. Number 17
           Cherry Tree Lane. London. Day.

                          (MORE)

                          PAMELA (CONT'D)
           Bert, a one-man band--
           (she looks up)
           The rumour is that this is to be
           your Mister Van Dyke is it?

                          DICK
           We do hope so!

                          PAMELA
           Hmmm, we'll see about that. He's
           totally wrong, totally and utterly.

                          BOB
           Dick is one of the greats!

                          PAMELA
           Dick Van Dyke? Robert, my dear,
           Olivier is one of the greats,
           Burton, Guinness - greats without
           question.
           (speaking loudly into the

                          TAPE RECORDER)
           I can assure you Dick Van Dyke is
           not.
           (back to script)
           Bert, a one-man band plays to a
           small gathering outside the gates
           to the park.

                          (BEAT)

                          BERT SAYS--
           (she looks to Don)
           You can do Bert.

                          DON
           (through gritted teeth)
           Thank you.

                          (BEING BERT)
           Alright Ladies and gents, comical
           poem, suitable for the occasion--
          Dick jumps up and sits at the piano.

                          DON (CONT'D)
           --extemporized and thought up
           before your very eyes! Alright,
           here we go--
          Dick begins to play and sing, he pounds the keys with gusto,
          smiling away, acting it out with all his heart and soul,
          almost unable to contain himself with glee. Bob occasionally
          joins in for a word or two but is much more serious, eyeing
          Travers for her every reaction.

                          DICK

                          (SINGING)
           Room here for everyone gather
           around,

                          THE CONSTABLE'S

                          BOB/DICK
           "responstable."

                          DICK
           Now, how does that sound?

                          PAMELA
           No no no no no no no.
          Dolly winces on everyone's behalf and leaves the room.

                          PAMELA (CONT'D)
           Responstable is not a word.

                          DICK

                          (EXCITED)
           We made it up!

                          PAMELA
           Well, un-make it up.
          Dick quickly hides the next set of sheet music entitled:

          SUPERCALIFRAGILISTICEXPIALIDOCIOUS.

                          PAMELA (CONT'D)
           I've a thought! I've always liked
           Ta Ra Ra Boom De Ay. Now, that
           would be a wonderful song for the
           film! Oh! And Admiral Boom could
           sing it! Do you see?
          Dick's fingers crunch the piano keys.

                         

          EXT. SUITE - BEVERLY HILLS HOTEL - EVENING

          Pamela's door opens a crack and another half-eaten room
          service meal appears as she kicks it into the hallway. She
          shuts the door quickly behind her.

                         

          INT. SUITE - BEVERLY HILLS HOTEL

          Pamela lies awake staring at the ceiling.

                          PAMELA
           Irresponstable.

                         

          EXT. FIELD - NEAR GOFF HOUSE - DAY


                         CLOSE ON:
          A tiny park, about half a metre square - it has grass, tiny
          trees made from flowers, a small hole filled with water for a
          pond, park benches made with twigs and miniature wooden
          clothes-peg people. Ginty puts the finishing touches to the
          bandstand and sits back, staring in wonder.
          The moment is broken with the sound of hooves as her father
          appears, atop his horse.

                          TRAVERS
           Ahhh, there's my girl.
          The horse moves up to her.

                          TRAVERS (CONT'D)
           That's it Albert. Give Ginty a
           smooch. There's a good boy, give
           her a little smooch.
          The velvety muzzle of the horse "smooches" Ginty's neck and
          ear as Travers climbs down from the nag.

                          TRAVERS (CONT'D)
           Poor old Albert; he's your secret
           uncle you know? But a miserable,
           horrid witch turned him into a nag.

                          GINTY
           Why did she do that?!

                          TRAVERS
           Because she hated the sound of his
           laugh.

                          GINTY
           Poor Uncle Albert! How can we fix
           him?

                          TRAVERS
           We have to teach the witch how to
           be happy again.

                          GINTY
           How?

                          TRAVERS
           I'm not quite sure darling.

                          (BEAT)
           Your mother's been calling you for
           a good hour. I shouldn't go if I
           were you, she's after little slaves
           for housework!

                          (RECITING YEATS)
           Ah, I must scrub and bake and sweep
           Till stars are beginning to blink

                          AND PEEP;
           And the young lie long and dream in

                          THEIR BED
           Of the matching of ribbons for
           bosom and head.
          Travers sighs, let's the words ring in his ears, touches the
          end of daughter's nose.

                          TRAVERS (CONT'D)
           Do you want to know what it feels
           like to fly Ginty?
          She nods. He hauls himself onto Albert, leans down and swings
          Ginty up so she is facing him.

                          TRAVERS (CONT'D)
           You trust me?
          She nods and wraps her arms around him looking backwards over
          his shoulder.
          He grips her firmly around the waist and she spreads her
          arms.

                          TRAVERS (CONT'D)
           Gee up, Albert. Yah!
          Travers kicks the horse into a trot, then into a canter, he
          points a finger in the air as if shooting for the stars.

                          TRAVERS (CONT'D)
           Yah!
          Ginty squeals with delight.

                         

          INT. LIMOSINE - MORNING

          Pamela looks out of the window at the palm trees, the empty
          sidewalks. She looks dazed, extremely tired--

                          PAMELA
           Nobody walks.

                          RALPH

                          (SADLY)
           Leisurely stroll's a gift.

                         

          EXT. LAUREL CANYON - MORNING

          The limo floats along the windy canyon roads, cresting the
          top of the hill and revealing an awe inspiring vista.

                          RALPH
           Beautiful ain't it?

                          PAMELA
           (refusing him the

                          SATISFACTION)
           If you like that sort of thing.

                          RALPH
           I do.

          EXT. FIELD - ALLORA - DAY

          Travers and Ginty gallop at great speed. The horse kicking up
          great clods of earth as they hurtle away into the distance.

                         

          INT. REHEARSAL ROOM - DAY

          Don DaGradi and the Shermans are escorting Pamela along a row
          of storyboard illustrations for the film. Dolly trundles
          along behind, carrying a tray with a cup of tea on it which
          Pamela occasionally picks up and takes a sip from.

                          DON
           We do find it helps to have a
           visual. It's fun!
          She stops in front of a sketch of the Banks house.

                          PAMELA
           No, no, no. Goodness no.

                          DICK
           No?

                          PAMELA
           The Banks house doesn't look like
           that! My house is a terraced house
           with a pink door, white bricked
           with a crack in the gable. The
           window frames are lead-lined and
           the flower boxes grow pink
           nasturtiums to go with the pink

                          DOOR AND--
           (gesturing to the tape

                          RECORDER)
           Did we get that?
           (to herself, slightly

                          HYSTERICAL)
           Oh dear, it's all a big mistake.
           It's all wrong.

                          DON
           It's all wrong?

                          PAMELA
           It's too grand! The Banks family -
           they're normal, everyday sort of
           people. This isn't normal. It isn't
           everyday! They're not aristocrats!

                          DICK
           Interesting.
          Don allows a tiny smile. She is right. Pamela lingers over a
          picture of the parrot head umbrella, a split second of
          something like recognition on her face and then she simply
          moves on.

                          PAMELA

                          (TO HERSELF)
           Okay.
          She stops again in front of a sketch of Mrs Banks wearing a
          suffragette ribbon.

                          PAMELA (CONT'D)

                          (SIGHING)
           Do I even have to say it?

                          DON
           Um-- yeah?

                          PAMELA
           Why in the world have you made Mrs
           Banks a silly suffragette?

                          BOB
           I wonder if Emmeline P would agree
           with that adjective--

                          PAMELA
           Quite possibly, looking back.
          Dick mouths `oh my god!'

                          DON
           It does seem strange that Mrs Banks
           allows her children to spend all of
           their time with the nanny when she
           has no job to speak of--

                          PAMELA
           Are you calling Mrs Banks
           neglectful?

                          BOB
           Yep.

                          DON
           No! Of course not! We just felt
           that if she had a job it would go
           some way to explaining--

                          PAMELA
           Being a mother is a job. A very
           difficult job and one that not
           everybody is up to, that not
           everybody should have taken on in
           the first place!
          The boys see that Pamela is talking about something
          meaningful to her and they begin to soften for a brief
          moment, until--

                          PAMELA (CONT'D)
           I will NOT have her called Cynthia!
           Absolutely not. It feels unlucky.
          Dick makes a curly wurly cuckoo sign at Bob.

                          PAMELA (CONT'D)
           No it should be something warm, a
           bit sexy.
          They all nearly choke at the word `sexy' coming out of her
          mouth.

                          PAMELA (CONT'D)
           How about Mavis?

                          DON
           Sybil?

                          BOB
           Sure.

                          PAMELA
           Prudence?

                          DICK
           Gwendolyn?

                          BOB
           Great.

                          PAMELA
           Winifred!

                          DON
           I could go with Winifred.

                          PAMELA
           Yes, that's because it's very good.
          She comes to the next sketch and stops abruptly in front of
          it, a split second of utter confusion crosses her face.

                          PAMELA (CONT'D)
           This isn't Mr Banks?
          She turns to face Don and the boys.

                          PAMELA (CONT'D)
           This isn't him.

                          DON
           Ahm, yeah, that's him--

                          PAMELA
           He has a set of moustaches!

                          DON
           In the books he--

                          PAMELA
           I told the illustrator I didn't
           like the facial hair but she chose
           to ignore me. This is MY film and
           this time around I shall have MY
           way.

                          DOLLY
           (clearing her throat)
           Mrs Travers, it was a specific
           request, from Walt.
          Pamela doesn't acknowledge that Dolly has spoken; Dolly
          flushes.

                          PAMELA
           (to the boys)
           Why?
          Everyone shrugs, they don't know why.

                          PAMELA (CONT'D)
           He didn't, he doesn't, Mr Banks is
           clean shaven!
          Bob buries his face in his hands and let's out a long, loud,
          unashamed moan.

                          BOB
           Does it mattterrrrrrr?!

                          DON
           Bob, Bob, Bob--
          Pamela stares at Bob.

                          PAMELA
           You can wait outside!
          She points at the door, ordering him out with her finger. Bob
          is literally stunned. Dick stifles a laugh.

                          PAMELA (CONT'D)
           I shan't say it again Robert.
          Bob storms out of the room (as fast as his limp and cane will
          allow him) slamming the door and from behind it we hear:

           BOB (O.S.)

           KILL ME! KILL ME NOW!

                          PAMELA

                          (TO DICK)
           What is wrong with his leg?

                          DICK
           He got shot.

                          PAMELA
           Hardly surprising.
          Pamela smiles sweetly.

                          PAMELA (CONT'D)
           Can I expect anymore drama from
           anyone else?

                         

          INT. BAR/LOBBY - BEVERLY HILLS HOTEL - LATE AFTERNOON

          Pamela enters the lobby and heads for the elevator. She spies
          the bar, full of people laughing, exclaiming, enjoying one
          another's company. She takes it in melancholically for a
          second and then jabs the elevator button repeatedly, relieved
          when the doors finally slide open.

                         

          INT. GOFF HOUSE - WASHROOM - ALLORA - MORNING

          Travers faces his reflection in the mirror as Ginty looks on
          from the doorway. He picks up his razor and begins to scrape
          away the stubble.

                          GINTY
           Why do you do that?

                          TRAVERS
           For you my dear!
           (he flicks the blade in
           the air like a swordsman)
           Swish! Which kind of kisses do you
           prefer Gintamina? Swoosh! Scratchy
           ones or silky ones?

                          GINTY

                          (THINKS)
           Silky ones.
           A man must shave for to spare his
           daughter's cheeks! Swish!

                         

          INT. BEVERLY HILLS HOTEL - SUITE - MORNING

          Pamela stares at herself in the clouded bathroom mirror. She
          runs a finger through the steam on the glass.

                          PAMELA
           Swish.
          And again.

                          PAMELA (CONT'D)
           Swoosh.

          INT. DISNEY STUDIOS - CORRIDOR - DAY

          Dolly, carrying a tray of cakes, stops at the rehearsal room
          door where fractious voices ring out.

           PAMELA (O.S.)
           Stop! Stop! Stop! What on earth are
           you talking about? Supercali--?
           Supercali-- or whatever the
           infernal thing is!

                          DICK
           It's something to say when you
           don't know what to say!

                          PAMELA
           Well I always know what to say.
          The slamming of a piano lid. Dolly pushes the door open with
          her foot.

           PAMELA (O.S.) (CONT'D)
           If you so much as step one foot in
           here with that tray I shall scream!
           One cannot live on cake alone!

                         

          INT. DISNEY OFFICE - DAY

          Dolly stands in Disney's office.

                          DISNEY
           Hit me with it.

                          DOLLY
           She has a lot of-- ideas.

                          DISNEY
           Ya? What kind of ideas?

                          DOLLY
           About how she, uh, sees things.

                          DISNEY
           And just how does she `see' things?
          Dolly sighs and pulls out a note pad.

                          DOLLY

                          (READING)
           The name Cynthia has been changed
           to Winifred.

                          WALT
           Okay that'll work.

                          DOLLY
           She won't approve Dick Van Dyke.
          Walt laughs, Dolly allows herself a little giggle too.

                          DOLLY (CONT'D)
           The sketches of the Banks house
           make it look too opulent, there
           must be no hint of romance between
           Mary Poppins and Bert, she wants to
           know why Mr Banks has been given a
           moustache, the--

                          WALT
           I asked for that.

                          DOLLY
           Yes. They did tell her but she
           wants to know why.

                          WALT
           Because I asked for it.

                          DOLLY
           Right. Of course. Uh-- the tape
           measure Mary Poppins uses to record
           Jane and Micheal's height must be a
           roll tape, not a ruler, we must add
           gravi-- gravitas, she says.

                          DISNEY
           Gahd! Anything else?

                          DOLLY
           She only wants green vegetables and
           broth, I don't know what that is
           but she wants it in the room from
           now on and oh! She doesn't want the
           colour red in the film-- at all.

                         

          INT. REHEARSAL ROOM - DAY

          Dick, Don and Pamela sit around the meeting table. Bob hovers
          by the door in a right humph. Disney prefers to stand,
          grazing occasionally from a bowl of candy.

                          PAMELA
           I've simply gone off the colour.
          Their mouths are agape.

                          PAMELA (CONT'D)
           You did say I was to have final say
           did you not?

                          DISNEY
           We can't make the film without the
           colour red! It's set in London for
           pete's sake.

                          PAMELA
           And?

                          DISNEY
           There's buses and mail boxes and
           guards uniforms-- heck! The British
           flag! Pamela, I'm not sure why

                          YOU'RE--

                          PAMELA
           I understand your predicament Mr
           Disney, I do. I just-- hm-- I don't
           know what it is, I'm just suddenly
           very anti-red. I shan't be wearing
           it ever again.
          Disney comes and sits on the table in front of Pam and locks
          eyes with her.

                          DISNEY
           Is this a test Pam? Are you
           requiring proof of how badly I
           wanna make you happy so that we can
           create this beautiful thing
           together?
          Pamela averts her eyes for a split second, embarrassed about
          `creating something beautiful' with Walt, but quickly
          recovers and eyeballs him right back.

                          PAMELA
           I took you at your word Mr Disney
           and it seems my first stipulation
           has been denied. There will be many
           more, so-- perhaps we should just
           call it quits and I should hand you
           back these?
          She takes the rights agreement out of her bag and offers it
          to him.
          Disney smiles at Pamela.

                          DISNEY
           Alright. No red in the film.
          Pamela glances at the tape recorder.

                          DON
           What?!

                          DICK
           Walt?
          Don and the Shermans can't believe he has given in! Disney
          strides out of the room.

          INT. DISNEY STUDIOS - CORRIDOR - CONTINUOUS

          Disney marches down the corridor away from the rehearsal
          room. He stops, turns, goes back to the door, puts his hand
          on the handle, stops himself and moves on.

                         

          INT. REHEARSAL ROOM - CONTINUOUS

          Dick, Don and Bob are left astounded. They look at one
          another.

                          BOB
           He doesn't have the rights--
          All three turn their heads to turn to her.

                          PAMELA
           Quite.
          Pamela smiles a broad satisfied smile at the boys, smooths
          down her skirt and opens the script.

                          PAMELA (CONT'D)
           Now, If you're insisting upon this
           musicality you feel is SO important
           for my film then I suggest I hear
           one of your ditties.
          No one is in the mood to sing for her.

                          PAMELA (CONT'D)
           I shall keep an open mind!

                          DICK
           Nanny?

                          DON
           Yeah, do nanny.
          Dick begins to play--

                          BOB

                          (SPOKEN)
           Wanted a nanny for two adorable
           children.
          Pamela sighs, so do Don and Bob.

           DICK (CONT'D) PAMELA
          If you want this choice (expecting Dick to stop)
          position, No no! They can't make deman--
          have a cheery disposition--

                         
          But Dick ignores her and carries on.

                          DICK

                          ROSY CHEEKS--

                          BOB PAMELA
          No warts! Who in the world put that
           in?!

                         

           DICK (CONT'D) PAMELA
          Play games, all sorts! Hm.

                         

           DICK (CONT'D) PAMELA
          You must be kind, you must be Well of all the ridiculous--!

                         WITTY
          very sweet and fairly pretty

                         

           DICK (CONT'D) PAMELA
          Take us on outings, give us Completely defeats the--

                         TREATS

                         
          Bob and Don are trying to stop themselves from laughing as
          Dick barrels right over everything Pamela says, almost as if
          the two of them are doing a duet.

           DICK (CONT'D) PAMELA
          Sing songs, bring sweets No sweets!

                         

           DICK (CONT'D) PAMELA
          Never be cross or cruel Who would give a child cast--
          Never give us castor oil or ?

                         GRUEL

                         
          Dick grimaces (a la Michael Banks.)

                          DICK (CONT'D)
           Love us as a son and daughter

                          BOB PAMELA
          And never smell of barley What in the world does
          water smelling of barley water have
           to do with anything?

                         

                          BOB
           You wrote that in your book! She
           wrote that in her--!

                          DON
           Yeah, I think--

                          DICK PAMELA
           (over) You can't say that--
          If you won't scold and

                         DOMINATE US

                         

           DICK (CONT'D) PAMELA
          We will never give you cause Hate is too strong a wor--
          to hate us--

                          DICK PAMELA
          We won't hide your spectacles (into tape recorder)
          so you cant see Nobody's listening to me!

                         

                          DICK PAMELA
           Put toads in your bed-- Ridiculous!

                         

           DICK (CONT'D) PAMELA
          Or pepper in your tea No.

                         

                          DICK
           Hurry, Nanny!

                          MANY THANKS
           Sincerely,
           Jane and Michael Banks:
           Jane and Michael Banks.

                          PAMELA
           Well I simply don't know what to
           say. That's the worst song I've
           ever heard.

                          (BEAT)
           Ever.

                          DICK
           Alright.

                         

          INT. DISNEY'S OFFICE - LATE AFTERNOON

          Walt stands looking out of his window.

                         DISNEY POV:
          Pamela sits on a bench, her feet tucked together, her arms
          clasped around her body, her face to the sky. She sits
          perfectly still until the limo pulls up and Ralph gets out,
          patiently waiting beside the car so as not to disturb her.
          Pamela, opens her eyes and Ralph nods hello. He opens the
          back door for her and she climbs in.

                          WALT
           Tommie!
          Tommie appears in his office with a glass and hands it to
          Walt.

                          TOMMIE
           Scotch Mist.

                          WALT
           What do you think?

                          TOMMIE
           What do I think I-- what?

                          WALT
           You're a woman.

                          TOMMIE
           That's a canny observation Walt.

                          WALT
           What am I missing?

                          TOMMIE
           You think the female of the species
           has some kind of psychic insight
           when it comes to others of her
           kind?
          Walt continues to stare out of the window.

                          TOMMIE (CONT'D)
           We don't.

                          (BEAT)
           You'll get yourself an ulcer with
           all that unriddling. Give it up.
          Tommie waits for a response but he's still window bound,
          filled with intrigue as he watches the car disappear.

                          WALT

                          (UNDER)
           That woman.

                         

          INT. BAR/LOBBY - BEVERLY HILLS HOTEL - LATE AFTERNOON

          Pamela enters the lobby and heads for the elevator. She spies
          the bar again, a few people chatting over cocktails. The
          elevator doors open but she chooses to go and sit at the bar
          instead.

                          BARMAN
           Good afternoon Ma'am. What can I
           fix you?

                          PAMELA
           A pot of tea.

                          BARMAN
           Sure thing.
          Pamela looks around at the other women in the bar, all
          glamorous, coiffured, very different to the practical Mrs
          Travers.
          The tea pot arrives.

                          PAMELA
           Thank you. Tea is a balm for the
           soul don't you agree?
          But the barman has already moved on to another patron.
          Time moves swiftly, the teapot is drained, the customers come
          and go. The barman talks with another customer further along
          the bar. Nobody notices Pamela. In this setting she looks
          like a little old lady, awkwardly perched on a stool, staring
          into her empty cup.

                         

          EXT. BELHATCHETT BANK OF AUSTRALIA - ALLORA - DAY

          Ginty - in a rather tattered school uniform - is diminutive
          in front of the huge double doors to the bank. An upright,
          top hatted gentleman holds the door of the bank open
          chivalrously for her.

                         

          INT. BELHATCHETT BANK OF AUSTRALIA - ALLORA - CONTINUOUS

          Ginty and the man enter the bank.

                          GINTY
           Thank you.
          A bank worker tips his hat to the gentleman.

                          BANK WORKER
           Good afternoon Mr Belhatchett.
          Cashiers look up from their posts and nod courteously.
          Ginty and RANDOLPH BELHATCHETT are startled for a second by a
          loud crash. Their eyes flit to the glass door of Travers'
          office. The etching on the glass reads:

          TRAVERS GOFF - BANK MANAGER

                         

          INT. TRAVERS OFFICE - DAY

          Travers has just dropped (purposefully) a tray of coins on
          the floor. He has a wild edge to him, he may well have been
          drinking.

                          TRAVERS

                          (TO CLERK)
           Belhatchett. Bell. Hatchett. Ha!
           It's a ridiculous moniker!

                          CLERK

                          SIR--

                          TRAVERS
           And Mr Belhatchett has complained
           that I opened his stupid bank five
           minutes late has he? Hahaaa!
           (in a comedy voice)
           Time's Money, Goff, y'know! Time's
           money my man!
          The clerk laughs nervously.

                          TRAVERS (CONT'D)
           Bell Hatchett! Beautiful hatchet.
           That's what it means. And I suppose
           if the poor dumb lambs on his
           downs, are five minutes late with
           their calving, or they don't drop
           dead on schedule when he wants a
           roast, he takes to them with the
           business end of his beautiful
           hatchet.
          Travers wields a glinting letter opener in the air, stabbing
          piles of papers, filing cabinets, desks.

                          TRAVERS (CONT'D)
           There, whack! That'll teach you for
           not dropping your bairns on
           schedule. Whack! Whack! Whack!
          Travers looks at the figure standing outside his door and his
          eyes widen.

                          TRAVERS (CONT'D)
           Whack. Whoops!
           (through the door)
           Mr Belhatchett! Allow me to--
          Travers pushes the door open to reveal Ginty at his side and
          is felled.

                          TRAVERS (CONT'D)
           Ginty!

                          RANDOLPH
           I want you gone.
          All eyes fall upon the little girl whom everyone seems to
          have forgotten. Travers is overcome with embarrassment and
          guilt.

                          TRAVERS
           Sweet thing! What are you doing
           here?
          Ginty looks up at Belhatchett and the manager.

                          GINTY
           You said today was--

                          TRAVERS
           Ice cream day! Yes! I did! What
           kind of father am I?

                          GINTY

                          (SCARED)
           Are you fired again?

                          TRAVERS
           Ah, yes it does seem that--

                          RANDOLPH

                          (TO GINTY)
           No. No sweetheart-- he isn't.

                          TRAVERS

                          (TO GINTY)
           Just wait in my office for a second
           darling.
          Randolph walks away, stopping to whisper in Travers ear.

                          RANDOLPH
           If you can't straighten up for your
           own sake. Do it for your daughter.
           (muttering to himself)
           Irresponsible.
          Travers holds out his arms to Ginty and she runs into them.

                          TRAVERS
           Ice cream is so rare because it
           only comes from Siberian cows. Did
           you know that?!

                          (BEAT)
           Brrrrrrrr!

                         

          EXT. RIVER - ALLORA - DAY

          Ginty and Travers sit by the river. Ginty eats an enormous
          ice cream and Travers sips continuously from his hip flask.

                          TRAVERS
           We share a Celtic soul, you and I.
           This world is just an illusion,
           Ginty old girl. As long as we hold
           that thought dear, they can't break
           us. Money, money, money. Don't you
           buy into it Ginty! It'll bite you
           on the bot!
           How did we end up here eh? Look at
           it. Barren. Breathless.
           Get as far away from this place as
           possible my love. Find yourself a
           patch of green.

                          (HE SIGHS)
           It's a chimera you know? The world,
           the bank, you and I, Mr Randolph-
           whackety-whack-Belhatchett. All an
           illusion.
          He stares across the river, experiencing a wave of deep
          melancholy. Ginty looks up at him, aware of his profound
          unhappiness, but unable to understand its source.

          EXT. SUITE - BEVERLY HILLS HOTEL - NIGHT

          Another untouched meal in the hallway.

                         

          INT. SUITE - BEVERLY HILLS HOTEL - NIGHT

          Pamela lies in the dark, the phone pressed to her ear.

                          PAMELA

                          (INTO PHONE)
           I loathe this place, Mr Russell.
           How can a place so sunny be so
           cold?
          We don't hear what Diarmuid says.

                          PAMELA (CONT'D)
           I meant heartless. I'm afraid a
           jumper wouldn't suffice. It's
           bringing up these-- it's so hot and
           stuffy I feel like I am being
           attacked. These odd dreams, like my
           subconscious is after me. Punishing
           me for entertaining the idea that I
           might hand her over. I am at war
           with myself Mr Russell.

                          (BEAT)
           The script is ghastly, exactly as I

                          EXPECTED--

                          (BEAT)
           Yes, a few more days and then I'll

                          DECIDE--

                          (BEAT)
           I know, I know I need the money.
           The money. The money.

                          (TO HERSELF)
           Money. It'll bite you on the--

                          (INTO PHONE)
           It's all an illusion you know Mr
           Russell? All an illusion.

                          (BEAT)
           Very well. Good morning and
           goodnight.
          She hangs up the phone, and continues sitting upright. Wide
          awake. Staring into the darkness.
          Pamela checks through her multitude of pill bottles for
          something to help her. Nothing. She groans as she drags
          herself out of bed, pacing the room, counting steps.

                          PAMELA (CONT'D)
           Serves me right. Money, money,
           money. Bit me on the bot.
          Her eyes stray to the big Mickey Mouse. She drags it onto the
          bed with her and climbs back under the covers, clinging onto
          the stuffed toy for comfort.

          INT. REHEARSAL ROOM - MORNING

          The room is decidedly more lively, with sketches of the cast
          and models of the sets all about the place. And of course,
          the requisite abundance of brightly coloured food now
          accompanied by some healthier options - vegetables and a
          fluorescent looking soup.
          Bob and Dick are at the piano. Don sits in the corner,
          sketching energetically on his notepad what seems to be a
          cartoon sketch of Pamela Travers.

                          DICK
           It's gotta be like a slogan!

                          BOB
           Her prescription for life.

                          DICK
           Yeah! Yes! A stitch in time!

                          BOB
           An apple a day.

                          DON
           (from across the room)
           Time and tide wait for--

                          BOB
           Sugar!

                          DICK
           Sugar?

                          DICK (CONT'D)
           What? That's not--

                          BOB
           Jeff had vaccination day at school
           yesterday.

                          DICK
           Ouch.

                          BOB
           No ouch.

                          DICK
           No ouch?

                          BOB
           Sugar. They put it in a cube.

                          DICK
           Medicine in sugar?

                          BOB
           Cube's an odd word.

                          BOB (CONT'D)
           Spoonful?
          Dick throws his hands and legs in the air almost falling off
          his stool!

                          DON

                          (UNDER)
           Yeah, we have sugar.

                         

          EXT. DISNEY STUDIOS - BURBANK - MORNING

          Pamela steps from the car and Walt is there to greet her.

                          WALT
           May I walk with you?

                          PAMELA
           I'm sure your country doesn't have
           any laws about sharing a pavement.
          As they walk the sound of the piano filters out of the
          rehearsal room window and down onto the lot.

                         

          INT. REHEARSAL ROOM - MORNING

          Dick is playing about with a verse.

                          BOB
           Go back to the chorus.

                          DICK & BOB
           (singing it incorrectly)
           Just a spoonful of sugar helps the
           medicine go down!

                          BOB
           Wait! WAIT! She always does what's
           unexpected.
           She goes UP the bannisters.
          Dick is confused.

                          BOB (CONT'D)
           So go up.
          Dick plays a high note.

                          BOB (CONT'D)
           Try B.
          He takes a pencil from behind his ear and marks Dick's sheet
          music. Dick immediately begins finding the tune on the piano

                          DICK & BOB
           (singing `down' in an up

                          KEY)
           Just a spoonful of sugar helps the
           medicine go down.
          Don looks up from his sketching.

                          DICK
           Yes!
          The sound of Walt's cough signals his imminent arrival.

                          DON
           Man is in the forest.
          Pamela and Walt enter the room.

                          DON (CONT'D)

                          (TO WALT)
           I want you to hear this.
           (to the boys)
           Play him what you got.
          Walt takes a seat beside the piano. Pamela folds her arms
          across her chest defiantly.

                          DICK
           It's just a chorus--

                          BOB
           Tell us what you think.
           He knows dum dum
           Will help dum dum dum duuuum!
          Bob whistles what will end up being the Robin's part of the
          song.

                          DICK

                          (SINGING)
           Just a spoonful of sugar helps the
           medicine go down--
           the medicine go do-own,
           medicine go down
           Just a spoonful of sugar
           helps the medicine go down
           In a most de da dee daaa!

                          BOB
           We'll work out the other lyrics.

                          DICK
           You see how it goes up on the word
           down?

                          BOB
           On the word down it goes up!

                          PAMELA

                          (UNHAPPY)
           Up.

                          DON
           It's ironic.

                          PAMELA
           Is it?

                          WALT
           Forget ironic, it's iconic.
          Pamela rolls her eyes.

                          PAMELA

                          (SARCASTIC)
           Bravo.

                          WALT
           I won't be able to stop singing
           that for weeks!

                          PAMELA
           It seems enormously patronising to
           me. The very sort of annoying tune
           you would have playing in your
           themed park I daresay. All giddy
           and carefree, encouraging children
           to face the world unarmed. All they
           need is a spoon and some sugar and
           a brain full of fluff and they're
           equipped with life's tools.
           Wonderful!
          Dick is completely deflated.

                          WALT
           What's your point Pam?

                          PAMELA
           MRS Travers! My point is that,
           unlike yourself, Mary Poppins is
           the very enemy of sentiment and
           whimsy. She is truthful, she
           doesn't sugar coat the darkness in
           the world that these children will
           eventually come to know. She
           prepares them for it, she deals in
           honesty. One must clean one's room;
           it won't magically do it itself!
          She waves the script in the air.

                          PAMELA (CONT'D)
           This whole script is flim flam!
           Where is its reality? Where is its
           heart, where is the gravitas?
          She opens a window and flings the script out.

                          PAMELA (CONT'D)
           No weight Mister Disney! See?
          Dick, Don and Bob look out of the window as the pages flutter
          downwards and spread themselves over the Disney lot.

                          WALT
           No whimsy or sentiment says the
           woman who sends a flying nanny with
           a talking umbrella to save the
           children.

                          PAMELA
           You think Mary Poppins is saving
           the children Mr Disney?
          Pamela sighs, shakes her head.

                          PAMELA (CONT'D)
           Oh dear.

                         

          EXT. DISNEY STUDIOS - LATE AFTERNOON

          Pamela makes her way to the bench she waits on for Ralph.
          She sits down, wraps her arms around herself, closes her
          eyes.

                          PAMELA

                          (TO HERSELF)
           It goes up.

                         

          EXT. BACK PADDOCK - ALLORA - DAY

          Margaret sweats as she hangs out laundry whilst desperately
          shushing her screaming infant.

                          MARGARET
           There there. Shush shush now--
          Ginty and Biddy run in and out of the sheets, chasing a large
          hen that squawks and flaps its wings trying to escape the
          girls.

                          MARGARET (CONT'D)
           (to the girls)
           If you could just--

                          TRAVERS

                          (CALLING)
           Ahoy Goffs!
          The girls and Margaret look up, surprised to see Travers so
          early.

                          GINTY
           Father!
          She runs at him and swings her high into the air with one
          arm, catching Biddy with the other.

                          MARGARET
           What a lovely surprise! Did you
           finish early?

                          TRAVERS
           I couldn't stop thinking about my
           beautiful girls on this beautiful
           day in this beautiful place and I
           thought to hell with it!
           (to Ginty and Biddy)
           And what do we say about beauty
           ladies?

           GINTY/BIDDY/TRAVERS
           A thing of beauty is a joy forever!

                          MARGARET

                          BUT--

                          TRAVERS
           Buts are for goats my love!
          He dips her and smooches her.

                          GINTY & BIDDY
           Urgh!

                          TRAVERS
           (whispering to Margaret)
           I'll put in extra hours tomorrow.

                          (TO GINTY)
           What are we playing?

                          GINTY
           The hen got out and we've been
           trying to catch her!
          Travers spies the clucking demon.

                          TRAVERS
           That's no hen! That's Aunt Ellie,
           your mother's horrendiferous
           sister!

                          GINTY

                          (LAUGHING)
           That's a made up word!

                          BIDDY
           Really?!

                          GINTY
           Not the aunt!

                          (BEAT)
           Quick! Catch her before she flies
           away on the--

                          TRAVERS/GINTY
           East Wind!
          Travers throws his jacket to the ground and begins to chase
          the hen, tearing through the clean sheets and treading them
          into the ground.

                          MARGARET
           Oh!

                          TRAVERS
           I'll wash them again my love!
          Margaret look at the dirty sheets and shrugs.
          The kids run after their father squealing and giggling as the
          poor little hen runs for its life. Even the dog joins in,
          Margaret goes to retrieve the discarded jacket and sees a
          whisky bottle protruding from the inside pocket, she slips it
          back inside - out of sight, out of mind.

                          TRAVERS (CONT'D)
           Go Sergeant Ginty! Fell the beast!
          Ginty dives on the hapless bird, who pecks her soundly and
          scarpers. It's chaos. Travers, the girls, the dog and the
          evasive hen running into each other, falling over each other,
          cursing and laughing.

                          GINTY
           Aunt Ellie!

                          TRAVERS
           Oh she's a foul fowl!

                         

          INT. TRAVER'S BEDROOM/CHILDREN'S BEDROOM - EVENING

          Biddy and Moya sleep but Ginty is awake, the hen snuggled
          firmly under her arm. She can hear the tense voices of her
          parents.

                          MARGARET
           --darling, it's just that um-- a

                          LITTLE CONCERNED--

                          TRAVERS
           --Meg sweet, I had a throat scratch-

                          -

                          MARGARET
           --the bank is getting you down
           again? Perhaps my sister--

                          TRAVERS
           God no! No. I can endure. I will
           endure. For the girl's sake-- Just,
           please-- not Ellie.

                          MARGARET
           Oh my dear--
          Travers weeps and Ginty closes her eyes, buries her little
          face in the hens feathers.

                          GINTY

                          (WHISPERING)
           Foul fowl.

                         

          INT. SUITE - BEVERLY HILLS HOTEL - NIGHT

          Pamela sits up in bed - leaning back into the open arms of
          Mickey Mouse - applying face cream, then hand cream, her face
          is screwed into a twist of unhappiness.

                         

          EXT. DISNEY STUDIOS - BURBANK - NIGHT

          Disney sits on Pamela's bench, deep in contemplation.
          Piano music tinkles from somewhere in the building and then a

                         VOICE--

                          DICK
           All around the cathedral
           the saints and apostles
           look down as she sells her wares
          Walt is dragged from his thoughts and gets up to follow the
          sound.

                          DICK (CONT'D)
           Although you can't see it
           you know they are smiling
           Each time someone shows that he

                          CARES--

                         

          INT. DISNEY STUDIOS - BURBANK

          Walt walks towards the music room, visibly moved by the song,
          a cough rattling in his throat.

          INT. REHEARSAL ROOM - NIGHT

          Also in lamplight, Dick Sherman sits at his piano. Bob asleep
          on a couch in the corner. Walt pushes the door open, Dick
          knows he's there but keeps tinkling away.

                          DICK
           Though her words are simple and few
           listen, listen, she's calling to

                          YOU--
           "Feed the birds, tuppence a bag
           tuppence, tuppence, tuppence a
           bag."

                          WALT
           That'll work.
          Dick nods, still playing. Walt makes his way to the piano,
          sighs, sits next to Dick on the stool.

                          WALT (CONT'D)
           She's going to say no isn't she?

                          (BEAT)
           Woman's a conundrum.
          Dick stops playing and flicks to a new page of sheet music.

                          DICK
           A man has dreams of walking with

                          GIANTS
           To carve his niche in the edifice

                          OF TIME

                          (SINGING)
           Before the mortar of his zeal
           Has a chance to congeal
           The cup is dashed from his lips
           The flame is snuffed aborning
           He's brought to rack and ruin in

                          HIS PRIME--
          Walt laughs out loud, he sings with Dick reading the lyrics
          from the music sheet.

                          WALT & DICK
           My world was calm, well ordered,

                          EXEMPLARY
           Then came this person, with chaos
           in her wake
           And now my life's ambitions go with
           one fell blow
           It's quite a bitter pill to take.

                          WALT
           Inspired by someone we know?

                          DICK

                          (FEIGNING INNOCENCE)
           You'd have to ask Bob.
          The men smile, bittersweet.

                          DICK (CONT'D)
           She might surprise us all.

                          WALT
           She won't.

                          DICK
           You don't know that.

                          WALT
           I do. I know it, I know it only too
           well.

                          (BEAT)
           I've fought this battle from her
           side. Pat Powers, he wanted the
           mouse and I didn't have a bean back
           then.
          Dick raises his eyebrows.

                          WALT (CONT'D)
           He was this big terrifying New York
           producer and I was just a kid from
           Missouri with a sketch of Mickey
           but-- it woulda' killed me to give
           him up.
          Walt peers down at the sleeping Bob.

                          WALT (CONT'D)
           Honest to god killed me. That
           mouse, he's family.

                          (BEAT)
           Go home.
          Walt leaves the room.

                         

          EXT. BEVERLY HILLS HOTEL - POOL - NIGHT

          Pamela sits by the pool, arms clasped around her, looking at
          the stars. The pink and green of the hotel shimmers in the
          water making it look like a chalk painting.

           TRAVERS (V.O.)
           The world is an illusion Ginty.

                         

          EXT. GOFF HOUSE - ALLORA - LATE AFTERNOON

          Ginty sits on the front step of the porch, arms clasped
          around her body, face to the sky.
          The sounds of the evening closes in - crickets, the last
          deafening chorus of the birds.
          Travers walks up the path to their home, trailing his suit
          jacket over his shoulder, his shirt and tie loosened. His
          shirtsleeves are marked with sweat. His face is a study of
          something close to despair.
          He looks up to see Pamela sitting on the front step and
          immediately arranges his features into a bright smile of
          greeting.

                          TRAVERS
           Ahh the Countess Mary Sparklestick!
           Pray tell me, what are you
           concentrating so hard on?

                          GINTY
           I am laying eggs!

                          TRAVERS
           Really!? Fabulous!

                          GINTY
           Today I am a hen.

                          TRAVERS
           Indeed! I can see the feathers
           sprouting as we speak!
          Margaret steps out onto the veranda, takes one look at her
          husband and knows he is drunk.

                          MARGARET
           Helen Goff, would you lay the table
           for supper please?

                          GINTY
           I'm not Helen!

                          TRAVERS

                          (OVER)
           She can't possibly lay a table;
           she's busy laying eggs!

                          MARGARET
           I need-- (help.)

                          TRAVERS
           She's laying!

                          MARGARET
           (her face contorts in

                          PAIN)
           I'm sorry!
          She goes back indoors and slams the door behind her. Ginty
          gets up to go indoors and Travers catches her by the arm.
          He swallows hard, eyes welling.

                          TRAVERS
           (urgent, his voice

                          BREAKING)
           Don't you ever stop dreaming Ginty
           my love. You can be anyone you want
           to be. Anyone.

                          GINTY
           I want to be like you.

                          TRAVERS
           Don't.

                          (HE CHOKES)
           Don't leave yourself always
           searching for-- something--
          He coughs to stop a crying jag and leaves her alone on the
          porch.
          Ginty is unnerved by her Travers' demeanor, she creeps around
          to the side of the house where she watches her father appears
          in the window of the washroom. She doesn't know what to do as
          he leans his head against the wall and breaks down sobbing.

                         

                         

                         OMITTED

                         

          INT. LIMO - MORNING

          Ralph looks at Pamela in his rear-view, she seems weak, the
          steely fight flown away on the East wind. Her arms wrapped
          around her chest, her face turned to the window.

                          RALPH
           Ya alright Mrs?
          Pamela doesn't even hear him.

                         

          INT. ALLORA SCHOOL - AFTERNOON

          Ginty stares out of the window, in a daydream, a paintbrush
          in her hand, dripping colour down her arm.
          She is nudged to the present by her teacher, MRS CORRY.

                          MRS CORRY
           Helen Goff? Wake up dear. You want
           your banner to be ready for the
           fair don't you?
          Ginty turns back to her painting - her banner reads:

                         ALLORA FAIR
          Around the words Ginty is painting a gorgeous carousel with
          stunning horses, one of which is white with roses on its
          bridal.

                         

          INT. FAIRGROUND - ALLORA - DAY

          Margaret, Biddy and Ginty walk into the fairground. Tents are
          erected, farmers show off their sheep, children clutch sticks
          of cotton candy and a carousel spins with one stunning white
          horse amongst the drearier others, roses upon its bridal.

                          BIDDY
           Mrs Brill said Father's presenting
           the medals.

                          MARGARET
           (a flutter of pride)
           He is indeed! On behalf of the
           bank.

                         

                         

          INT. REHEARSAL ROOM - MORNING

          Pamela stares out of the window, not really concentrating on
          what's going on in the room.

                          DON
           Mrs Travers?
          Again, she doesn't hear.

                          DON (CONT'D)
           Mrs Travers?
          Pamela looks at Don.

                          DON (CONT'D)
           We were just saying that we'd like
           to play you the song in the bank.

                          (BEAT)
           Would that be good?
          Pamela nods, noncommittal.

                          DON (CONT'D)
           (as Dawes Snr)
           So you have tuppence? May I be
           permitted to see it?
           (changing voice to Michael

                          BANKS)
           No, I want it to feed the birds!
           (back to Dawes Snr)
           Fiddlesticks boy! Feed the birds
           and what've you got?

           DON/DICK/BOB
           Fat birds!

                          DICK
           (singing more sotto than

                          USUAL)
           But! If you invest your tuppence
           wisely in the bank

                         

          EXT. FAIRGROUND - ALLORA - DAY


           DICK (V.O.)
           Safe and sound--
          A small stage and dais stand central of the event over which
          a large sign reads:

           SPONSORED BY THE BELHATCHETT BANK OF AUSTRALIA

           DICK (V.O.)
           Soon that tuppence safely invested
           in the bank will compound--
          The Allora townsfolk are out in force. Ginty walks with her
          family. Her father attempting to memorise speech notes as
          they pass through the crowds.

           DICK (V.O.)
           And you'll achieve that sense of

                          CONQUEST--
          Margaret nudges him as Randolph Belhatchett and his family
          walk past.

                          TRAVERS
           (clears his throat)
           Mr Belhatchett.
          Randolph looks at Travers, then at Travers shaking hands, his
          family nod and move on. Margaret looks upset by this.

           DICK (V.O.)
           As your affluence expands--
          Travers buys two immense sticks of fairy floss and hands them
          to Ginty and Biddy.

                          MARGARET
           Travers, Biddy's stomach--

                          TRAVERS
           Oh, for Gods' sake, Meg, stop
           whinnying like an old nag will you?
          Margaret is aghast at being spoken to like that in public but
          she keep her mouth shut.
          Ginty notices Travers eyes stray towards the refreshments
          tent.

                          GINTY

                          (PANICKED)
           Father-- will you ride the carousel
           with me!?
          But the refreshment tent has Travers in its grip.

                          TRAVERS
           Meet you there in a blink of an
           eye!

                         

          INT. REHEARSAL ROOM - DAY

          As before.

                          DICK

                          (SINGING)
           In the hands of the directors
           who invest as propriety demands.

                         

          EXT. FAIRGROUND - ALLORA - DAY

          Ginty stands with her family at the carousel, eyeing the
          refreshment tent.

                          MARGARET

                          (TO GINTY)
           I'll take Biddy to get ready for
           her dance.

                          (BEAT)
           Where's your father?
          Margaret sees the direction of Ginty's gaze. Her face falls
          but she takes Biddy by the hand and heads for the stage.

                          MARGARET (CONT'D)
           Come on Biddy.

                         

          INT. REFRESHMENT TENT - DAY

          Ginty appears in the tent's entrance. On first glance she
          sees only an unidentified group of local drinkers. Relief
          begins to dawn and she turns away.
          It is then that she hears Travers laugh, and turns back to
          see the group part, revealing Travers at its centre.

                          TRAVERS
           Indeed, a published poet--
          She takes a deep breath and moves forward, grabs Travers
          hand.

                          GINTY
           Father, come and look. Biddy's
           dancing.

                          TRAVERS
           In a moment, my princess. I'm
           talking.

                          (BEAT)
           Back in Ireland, I miss her green

                          HILLS SO--

                          GINTY
           But she's-- she really wants you to
           watch, Dad. You'll miss it.

                          TRAVERS
           Not now Biddy!

                          GINTY
           I'm Ginty.

                          TRAVERS
           Ginty! Shoo!
          Devastated, Ginty doesn't know what to do, she pulls at his
          shirt sleeve again.

                          GINTY
           You said don't give up.
          A waiter approaches and takes her by the arm, leading her
          away.

                          WAITER
           Excuse me, Miss. It's gentlemen
           only in this section of the tent.
           I think you'll be more comfortable
           at the far end.

                          (BEAT)
           Are you alright sweetheart?

                          GINTY

                          (TO WAITER)
           I'm scared my father is--
          Despairing she looks up and sees her mother, carrying Moya,
          in the entrance. Her mother's face falls and crumples.

                         

          EXT. FAIRGROUND - ALLORA - CONTINUOUS

          Travers steps heavily, one at a time, up the steps onto the
          dais, and finds his way to the speaker's podium. Margaret
          and Ginty watch, hearts in mouths, Biddy blissfully unaware.

                          TRAVERS
           Good afternoon, distinguished
           guests, our biggest supporter Mr
           Randolph Belhatchett and his lovely
           wife, ladies and gentlemen, boys
           and girls!
          Randolph looks at Travers with displeasure and then at one of
          the bank staff.

                          RANDOLPH
           Why is he speaking for the bank?

                          BANK WORKER
           He's the manager.

                          TRAVERS
           I'm honoured to be here on behalf
           of the Belhatchett Bank of
           Australia. Shortly, it will be my
           very pleasant duty to present the
           awards to our young performers. But
           before I begin, I'd like to say a
           very few words to our very youngest
           citizens about the role of the -
           er, the Bank in our community.
          Ginty allows herself to breathe. So far, so good.

                          MARGARET
           He's using too many `verys'. He
           always says `very' too much when

                          HE'S--
          She can't say it. Ginty takes her mother's hand but Margaret
          pushes the hand away.

                         

          INT. REHEARSAL ROOM - CONTINUOUS

          Pamela turns away from Don and the Shermans and takes herself
          to look at a sketch of Mr Banks, pinned to the wall, he still
          has a moustache.

                          DON
           (as Dawes Snr)
           Very well, my boy, give me the

                          MONEY

                          (AS MICHAEL)
           No I won't I want it to feed the
           birds!
           (as Dawes Snr)
           Banks!

                          (AS BANKS)
           Yes sir. Now Micheal...

                          DICK
           When you deposit tuppence in a bank
           account,

                          (MORE)

                          DICK (CONT'D)
           Soon you'll see that it blooms into
           credit of a generous amount

                          SEMIANNUALLY

                         

          EXT. FAIRGROUND - ALLORA - CONTINUOUS

          Travers is now in lip synch with Dick Sherman.

           TRAVERS DICK (V.O.)
          And you'll achieve that sense And you'll achieve that sense
          of stature of stature
          As your influence expands as your influence expands
          To the high financial strata To the high financial strata
          That established credit now That established credit now

                         COMMANDS-- COMMANDS--

                         

                         

          INT. REHEARSAL ROOM - CONTINUOUS

          Don is up and singing with the boys. They are enjoying
          themselves so much that they don't notice Pamela's eyes well
          slightly.

           DON/DICK/BOB
           You can purchase first and second

                          TRUST DEEDS
           Think of the foreclosures!
           Bonds! Chattels! Dividends! Shares!

                         

          EXT. FAIRGROUND - ALLORA - CONTINUOUS

          As before.

                          TRAVERS
           Bankruptcies! Debtor sales!
           Opportunities!
           All manner of private enterprise!
           Shipyards! The Mercantile!
           Collieries! Tanneries!
           Incorporations! Amalgamations!
           Banks!

                         

          INT. REHEARSAL ROOM - CONTINUOUS

          As before.

                          DON
           (as Dawes Snr)
           While stand the banks of England.
           England stands!

          EXT. FAIRGROUND - ALLORA - CONTINUOUS

          There's a smattering of applause, Travers is encouraged,
          Margaret and Ginty look relieved, even hopeful.
          But then Travers momentarily looks lost, a slight breeze tugs
          the speech notes from his hand and they float down in front
          of the dais.

                          TRAVERS
           Uhmm. Thank you kindly. Thanking
           you. Now-- what, what am I doing
           next? Oh! It's a marvellous idea to
           encourage children to open
           accounts. My daughter, the Princess
           Ginty-- she's-- uh.
           (looks at Ginty)
           How old are you? Come up here.
          Ginty - what? Me?
          Ginty glances to her mother and then, on trembling legs,
          makes her way forward and up the stairs onto the dais.
          Margaret watches, growing uneasy.

                          TRAVERS (CONT'D)
           Ginty has a bank account-- and
           that's good. Give her a drink!
          The audience is shocked.

                          TRAVERS (CONT'D)

                          (MUMBLING)
           I mean give her a hand.
          Everyone is beginning to look uncomfortable.

                          TRAVERS (CONT'D)
           I shall return in just a moment to
           present the awards. But right now I
           must-- relieve myself.
          Gasps from the audience.
          Margaret - dying.

                          TRAVERS (CONT'D)
           Give us your shoulder, Ginty, will
           you? I'm busting. There's a good
           girl.
          Father and daughter walk towards the edge of the stage,
          Travers leaning on Ginty's shoulder. The shameful glare of
          Allora burning into them.

           DON (O.S.)
           When fall the banks of England,
           England falls!
          Travers somehow loses his footing before reaching the steps
          and topples off the stage. There's an audible, horrible snap
          as he lands in an undignified pile. But, despite his ugly
          injury, Travers cannot stop laughing.

                         

          INT. REHEARSAL ROOM - CONTINUOUS

          The boys are laughing, congratulating one another.

                          DON
           I love it!

                          DICK
           You think Walt's gonna like it?
          Pamela takes a last look at the Mr Banks picture and spins
          around viciously.

                          PAMELA
           Why did you have to make him so
           cruel?
          The boys jubilance is halted immediately.

                          PAMELA (CONT'D)
           He was not a monster!

                          DON
           Who are we talking about? I'm
           confused.

                          PAMELA
           You all have children yes?

                          DON
           Yes.

                          DICK BOB
          Yep. Yes.

                         

                          PAMELA
           And do those children write you
           letters, make drawings for you?

                          DON
           Of course.

                          DICK
           Mine like to make folded paper--

                          PAMELA
           (cutting him off)
           And would you tear up those gifts?
           In front of them?!
          Silence. They know where this is going.

                          PAMELA (CONT'D)
           It's a dreadful thing to do! I
           don't understand! Why must father
           tear up the advertisement his
           children have written and throw it
           in the fireplace!? Why won't he
           mend their kite? Why have you made
           him so unspeakably awful?

                          (BEAT)
           For all the world to see, in
           glorious technicolor? You claim to
           make them live-- if that happens
           can't he? Can't they at least live
           well?
          Pamela chokes back a sudden rush of distress.

                          PAMELA (CONT'D)
           I can't bear it.

                          (SOFTLY)

                          PLEASE DON'T--
          The boys are shocked at the level of upset.

                          PAMELA (CONT'D)
           Please don't-- I'll feel like I let
           him down again--
          She leaves the room, head hung.

                         

          INT. TRAVERS BEDROOM - GOFF HOUSE - DAY

          Travers is in bed, his leg elevated and set with plaster. He
          is shaking badly with DT's, his mood is poisonous.
          Ginty sits on the edge of the bed as the DOCTOR packs up his
          bag.

                          TRAVERS
           I don't suppose there's any more
           you can give me for the pain?
          The doctor shakes his head at Travers wanton greed for more.

                          DOCTOR
           (leaving the room)
           When will enough be enough Travers?

                          GINTY
           I've brought you something father.

                          TRAVERS
           Be a darling Ginty my old pal! Help
           father out won't you?
          Ginty is wary.

                          TRAVERS (CONT'D)
           In my washroom-- there's a bottle
           of medicine that father needs--

                          GINTY
           Mother took it away.
          Travers slams his fist on the bed, scaring Ginty.

                          TRAVERS
           Godammit!
          Nervous, hopeful, Ginty withdraws a folded sheet of paper
          from her pocket.

                          GINTY
           I wrote a poem for you. It - it
           won first prize, at school.
          Travers takes the page, tries to hold it steady in his
          shaking hand.

                          GINTY (CONT'D)
           Would you like me to read it to
           you?
          The agony as Ginty watches the shaking hand. Finally, the
          humiliation is too much for Travers. He scans the page
          rapidly and lowers his hand.

                          TRAVERS
           It's hardly Yeats, is it?
          Ginty is devastated. But more than this there's a hardening
          in her small face, a sense of disillusionment that so far
          she's held in check. Here are the first signs of the Pamela
          to come.

                         

          INT. DISNEY STUDIOS - BURBANK - DAY

          Pamela rushes from the rehearsal room, down the corridor, her
          face twisted, desperately trying to maintain composure. Don
          rushes out after her.

                          DON
           Mrs Travers!
          He stops, recognizing she doesn't need to be followed.

          INT. KITCHEN - GOFF HOUSE - DAY

          Ginty rummages through kitchen cabinets, drawers, the trash
          but doesn't find what she's looking for.

                         

          EXT. DISNEY STUDIOS - BURBANK - DAY

          Pamela rushes past Minnie Mouse and Daisy Duck, through the
          lot, past Ralph - who's taking his lunch at the cafeteria -
          and towards a patch of green, a communal lawn at the back of
          a soundstage.

                         

          EXT. GOFF HOUSE - DAY

          Ginty fights the smell of the warm rubbish in the midday sun
          as she ransacks the outdoor trash cans, finally finding what
          it is she's looking for.

                         

          EXT. GRASS AREA - DISNEY STUDIOS - BURBANK - DAY

          Pamela flops down onto the ground, digging her fingers into
          the dirt and lawn.

                         

          INT. TRAVERS BEDROOM - GOFF HOUSE - DAY

          Ginty creeps into her father's room, he sleeps fitfully, and
          presses the half-full bottle into his hand. Covering both
          hand and bottle with his bed covers before leaving the room.

                         

          EXT. GRASS AREA - DISNEY STUDIOS - BURBANK - DAY

          Pamela picks a daisy, finds a stray twig and arranges them in
          the grass.

                          RALPH
           Mrs?
          Pamela looks up, her eyes are red rimmed but she's not
          crying.

                          RALPH (CONT'D)
           I, uh, brought you a tea.
          He hands her the tea in a takeaway cup.

                          PAMELA
           It's blasphemy to drink tea from a
           paper cup.
          Ralph, shifts nervously from foot to foot. He's not quite
          sure what to say to her or why he brought the tea.
          Pamela puts the tea down and continues to fiddle with bits
          and pieces of twig and bloom that she's plucking from the
          area around her.

                          RALPH
           Everything okay Ma'am? Would you
           like me to drive you home?

                          PAMELA
           All the way to England? Yes,
           please.
          Ralph lowers himself onto his haunches.

                          RALPH
           You got family back there Mrs?

                          PAMELA
           You're an impertinent man you know?
           You ask an awful lot of questions
           that have no relevance to you being
           able to carry out your duties.

                          RALPH

                          (LAUGHING)
           I know! I do, do that. Yes!

                          PAMELA
           And you have no barometer.
          Ralph is confused.

                          PAMELA (CONT'D)
           Let us say that I haven't family
           who'd notice whether I was halfway
           across the world or sitting in my
           living room.
          She pulls a thread from the hem of her skirt, ties two twigs
          together.

                          RALPH

                          MA'AM; I--
          Ralph sees that she has a little collection of things, he
          looks around for some more. Pamela takes a stick and digs a
          small line through the grass then hands it to him.

                          PAMELA
           Make a little furrow, there.
          Ralph dutifully does as he's told, looking over his shoulder
          for fear of being caught digging holes in Disney soil.
          Ralph pokes the ground, thinking.

                          RALPH
           I gotta kid.

                          PAMELA
           Well, most people do.

                          RALPH
           Jane-- she's got all kinds of
           troubles.
          Pamela raises an eyebrow.

                          RALPH (CONT'D)
           Handicapped you know? Myelitis-- 
           transverse.

                          (BEAT)
           She's in a wheelchair see? That's
           why I concern myself with the
           weather-- sunny day she can sit out
           in the garden. Rainy day I have to
           leave her cooped up inside.

                          (BEAT)
           Worry `bout the future, but then I
           stop cuz you can't do that. Only
           today.
          Pamela takes the plastic lid off the paper cup and pokes
          holes in it.

                          PAMELA
           Now look.
          She takes the lid, twigs now sticking out of the poked holes
          and places it in the centre of what we now see is one of
          Pamela's tiny parks, she gently rest a leaf on the twig
          struts forming a roof.

                          PAMELA (CONT'D)
           It's a band stand.
          She takes the cup of tea and gently pours the steaming liquid
          into Ralph's trench, which runs all the way around the park.

                          RALPH
           A river!

                          PAMELA

                          (CORRECTING HIM)
           Lake.

                          RALPH
           Lake.

                          (BEAT)
           Hey! I wish I could take her there!
          He points at the miniature park.

                          PAMELA
           Wouldn't that be nice?

          INT. GINTY BIDDY & MOYA'S BEDROOM - NIGHT

          Ginty, Biddy and Moya sleep soundly, Ginty clutching the poem
          to her chest.
          The door creeps open and Margaret stands in the shadows
          looking at her children, tears stream down her face but she
          seems calm, something has crossed over in her eyes. There's
          just nothing there--

                          MARGARET

                          (WHISPERING)
           I know you gave it to him.
           (squeezing Ginty's hand)
           All the hope is in the bottom of
           that bottle, Helen.

                          GINTY
           Mother?

                          MARGARET
           I want you to take care of the
           children.
          Ginty is groggy, she doesn't understand.

                          MARGARET (CONT'D)
           Watch over them.
          Ginty sits up.

                          MARGARET (CONT'D)
           I know you love your father more.
           But one day you'll understand.

                          GINTY
           What?
          Margaret leaves the room and Ginty is straight out of bed
          following her. Behind, in the room, Moya has awoken and is
          crying.

                         

          EXT. GOFF HOUSE - ALLORA - NIGHT

          Ginty runs out onto the porch where she sees her mother in
          her white nightdress striding purposefully through the garden
          like some ethereal ghost.

                          GINTY
           Mother!
          She runs out into the yard but stops as she hears Biddy.

           BIDDY (O.S.)
           Ginty!
          Ginty turns back to the house and then back towards her
          mother but Margaret has disappeared into the darkness.

                          GINTY

                          (CALLING)
           Mother! Mother!
          The baby is screaming now.

                         

          INT. GINTY BIDDY & MOYA'S BEDROOM - NIGHT

          Ginty wrenches the eiderdown off the bed and wraps Biddy in
          it, she scoops Moya up from the crib.

                          BIDDY
           Where's ma?

                          GINTY
           Once upon a time there were three
           little girls alone in a house.
           They were frightened of the big
           wide world just outside the door.
          She takes them through the hallway, stopping momentarily
          outside the door to her fathers bedroom. It is slightly ajar
          and he looks incredibly frail and delirious.

                          GINTY (CONT'D)
           They were so afraid.
          She moves forward, her eyes flit to the front door, expecting
          her mother to be standing there any minute but there is
          nothing.

                         

          EXT. CREEK - NIGHT

          The mud-stained hem of Margaret's nightdress sweeps along the
          ground, as her feet move towards, and then into, the water of
          the creek. One step, two, three, the water coming up over her
          ankles, soaking the nightgown.

           GINTY (V.O.)
           But the stars were guarding them,
           they glittered as they spoke "We
           shall send a guide to show them the
           way to the magical ladder which
           will bring them all the way up to

                          SEE US"

                         

          EXT. LIVING ROOM - GOFF HOUSE - NIGHT

          Biddy and Moya are calming as Ginty places the girls in front
          of the fireplace.

                          GINTY
           And who do you think those
           sparkling messengers sent? Who was
           it that came flying through the
           starry, starry sky to carry us up
           to see them?
          Ginty wraps Moya in a blanket and puts her in Biddy's arms.

                          BIDDY
           An elf?

                         

          EXT. PORCH - GOFF HOUSE - NIGHT

          Ginty begins to untie Albert from the fence still speaking to
          the girls through the window.

                          GINTY
           Their old Uncle Albert of course!
           (beat, to Biddy)
           Stay right here, be good--
          Ginty climbs atop the horse.

                          BIDDY
           Are you going to the sky?

                          GINTY
           I'm going to find the end of the
           story so I can bring it back for
           you!

                          BIDDY
           Is it happy?

                         

          EXT. PADDOCK - NIGHT

          Ginty rides fast, desperately searching the darkness for her
          mother and turning back frequently to check that the lamp
          still burns on the porch.

                         

          EXT. CREEK - NIGHT

          Margaret is up to her neck in the freezing water of the
          creek. Shivering cold. She wills herself forward into the
          water. She wants to sink down and simply float away.
          From behind her comes the clip clopping of hooves. Margaret
          turns her head and there, atop the horse, is Ginty.
          Margaret begins to weep.
          Ginty jumps down from the horse and rushes to her mother,
          wading into the water to grab hold of her.
          Ginty bobs up and down in front of her mother in the deep
          water.

                          MARGARET
           Sometimes a person we love, through
           no fault of his own, can't see past
           the end of his nose.

                          GINTY
           It's time to go home, ma.
          She reaches out her hand--

                         

                         OMITTED

                         

          INT. SUITE - EVENING

          Pamela looks through a stack of books intently, jotting
          something down on a piece Beverly Hills Hotel stationery
          every now and then.
          Presently, the phone rings. Pamela almost jumps out of her
          skin. She rushes to grab it.

                          PAMELA

                          (INTO PHONE)
           Mrs Travers! Hello!

                         

          INT. DISNEY'S OFFICE - BURBANK - EVENING.

          Walt sits at his desk, flicking through cartoon drawings of
          penguins.

                          WALT
           (coughs into phone)
           Pam!

          INTERCUT BETWEEN PHONE CALLS AS NECESSARY.

                          PAMELA

                          (DISAPPOINTED)
           Mr Disney.

                          WALT
           Callin' to check up on you.

                          PAMELA
           Are you a doctor?

                          WALT
           Hm?

                          PAMELA
           Check ups are for medical
           practitioners no?

                          WALT
           Pam, are you always so battle
           ready? P.L. Travers in her breast
           plate and chain mail, sword up in
           the air and off with your head!

                          PAMELA
           What can I do for you Mister
           Disney?

                          WALT
           Please, I beg of you, please please
           call me Walt.

                          PAMELA
           Walt-- er.

                          WALT
           I heard things didn't go so well
           today.

                          PAMELA
           They went as well as they've gone
           every other day that I've been
           here. I don't recall `special'
           phone calls from you on any of
           those other evenings.

                          WALT
           What's this all about Pam? Really?
          Silence.

                          WALT (CONT'D)
           I'm wondering what I have to do to
           make you happy.

                          PAMELA
           Ha!

                          WALT
           Aren't you wondering that too?
          Silence.

                          WALT (CONT'D)
           (he has an idea)
           You know, you've never been to
           Disneyland! It's the happiest place
           on Earth!
           (shouting away from the

                          PHONE)
           Tommie! Cancel my morning tomorrow.
           I'm taking a ride with my favorite
           author!

                          (INTO PHONE)
           Any excuse.

                          PAMELA
           I cannot tell you how uninterested,
           no, positively sickened I am at the
           thought of going to see your dollar
           printing machine Mr-- Walter.
          She notices Mickey's innocent eyes staring at her and gently
          turns his face away.

                          WALT
           Oh come on! When does anybody get
           to go to Disneyland with Walt
           Disney himself?!

                          PAMELA
           Disappointments are to the soul
           what the thunderstorm is to the
           air.
          Walt slams the phone down. Pamela stares at it in shock!

                          PAMELA (CONT'D)
           Hello? Hello? He hung up! I'm! I! I
           can't believe he hung up!
          Walt leans back in his chair and grins, Tommie enters.

                          WALT
           I'm not a violent man Tommie but if
           Mrs P.L. Travers were to get hit by
           a large truck I--
           (he doesn't allow himself

                          TO FINISH)

                         

          INT. REHEARSAL ROOM - DAY

          Dick, Bob and Don are drained. They stare at each other in
          silence. Just the look tells us how much this all means to
          them. It's desperate. Walt flings the door to the room open.

                          WALT
           Okay boys. We gotta fix this.

                         

          INT. GOFF HOUSE - TRAVERS BEDROOM - ALLORA - MORNING

          Ginty sits beside her father, he is restless and sweating in
          his sleep as she wipes his face with a damp sponge.
          The sound of a buggy pulling up outside breaks the silence.

           MARGARET (O.S.)
           Oh my!
          And then a new voice, clear as a crystal bell.

           AUNT ELLIE (O.S.)
           Margaret, my poor child. I simply
           had to come. We must fix this.
          Travers eyes spring wide open in horror.

                          TRAVERS
           The Aunt.

                         

          INT. GOFF HOUSE - ALLORA - MORNING

          A parrot headed umbrella hangs from the back of a chair.
          An enormous carpetbag - similar to the one Pamela carries -
          plonked on the living room table and there beside it,
          upright, imposing and matronly is AUNT ELLIE herself. Hair
          scraped back, hands neatly perched inside her apron pocket -
          a very different version but Mary Poppins all the same.
          Ginty looks on in awed silence as Ellie begins to remove an
          endless supply of belongings from her bag.

                          ELLIE
           Now, I've brought every new fangled
           treatment available in Sydney.
          Biddy is open mouthed.

                          ELLIE (CONT'D)
           Close your mouth please Biddy, we
           are not a codfish.
           (to both girls)
           I spy a multitude of jobs to be
           done!

                          MARGARET
           They've been so worried-- I've--

                          ELLIE
           Do stop babbling nonsense! I'm here
           now and I shall fix everything.

                          (BEAT)
           Girls!

                          (BEAT)
           Feverfew and camomile to lower his
           body temperature. Garlic, sorrel,
           sage. Deadly nightshade. And if
           those don't work-- well I shouldn't
           like to say.
          Young Pamela and Biddy look on in a kind of bewildered trance
          as item after item emerges from the carpetbag.

                          ELLIE (CONT'D)
           --tincture of horseradish--

                          LAUDANUM--
           (to Ginty and Biddy)

                          (MORE)

                          ELLIE (CONT'D)
           I thought I had made it quite clear
           you were to begin helping.
          Ellie claps her hands together.

                          ELLIE (CONT'D)
           Spit spot!

                         

          INT. LIMOSINE - MORNING

          Ralph drives along solemnly. Pamela looks out of the window,
          confused.

                          PAMELA
           Where are we--? This isn't the way.

                          RALPH
           Change of venue this morning
           apparently.

                          PAMELA
           (realizing where she's

                          BEING TAKEN)
           Ugh.

                          RALPH
           I was thinking about our-- tea
           party?

                          PAMELA
           I'm sure I don't know what you're--

                          RALPH

                          (OVER)
           Yesterday, the little park.

                          PAMELA
           Little park? I haven't a clue what
           you're talking about.

                          RALPH

                          BUT--

                          PAMELA
           Concentrate on the road. Always
           chitter chattering!

                         

          EXT. DISNEYLAND ENTRANCE - DAY

          Ralph drives Pamela up to the entrance to the park. Two
          security guards stop the car briefly and then the gates pull
          open to reveal Walt Disney waiting for Pamela.

          INT. CAR - CONTINUOUS

          Ralph is goggle-eyed at seeing Walt.

                          RALPH
           Oh! Isn't that nice? Holy mackerel!
           Wowzers. Never met him myself but
           there he is! Right there. Real.
           Living, breathing. Oh boy!

                         

          EXT. DISNEYLAND - DAY

          Ralph jump out of the car to let his passenger out but Disney
          is there first.

                          WALT
           Welcome to the Magic Kingdom!
          Pamela steps out of the car and her eyes nearly pop out of
          her head with brightness of the place, unbelievable colour
          and excitement.

                          PAMELA
           Is it all like this?
          Pamela pops a headache pill.

                          WALT
           Yup! Isn't it wonderful?
          Ralph hovers at the car, filling his eyeballs with as much
          Walt Disney as he can get before he has to drive away.

                          PAMELA
           Do you always get everything you
           want Walter?

                          WALT
           Pretty much!

                          PAMELA
           With the exception to the rights to
           my books of course!

                          WALT
           War ain't over yet Pam!
          Walt takes Pamela by the arm and leads her through the gates
          and a murmur goes through the crowds as they gawp. A YOUNG
          WOMAN breaks free and rushes up to Walt.

                          YOUNG WOMAN
           I love you so much! Can I--?
          She proffers a pen and paper but Walt is prepared, he takes a
          signed postcard with his face on it from his top pocket and
          hands it to the woman.

                          PAMELA

                          (DISGUSTED)
           Pre-signed?

                          WALT

                          (TO WOMAN)
           You should get hers too.
           (gesturing to Pamela)
           This woman's a bona fide genius!
          The woman looks expectantly at Pamela who just snorts. she
          realizes she's getting nothing and, clutching her precious
          postcard to her chest, melts back into the crowd who part
          like the red sea for Walt and his guest.

                         

          EXT. MAIN STREET - DISNEYLAND - CONTINUOUS

          Walt and Pamela make their way down Main Street. Walt stops
          anyone from getting too close by immediately handing out
          postcards to anyone who gets near.

                          WALT
           In Adventureland there is a tree--
           this is a fun fact. A titbit.

                          PAMELA
           Tidbit.

                          WALT

                          (OVER)
           It has three million leaves, four
           million flowers.

                          PAMELA
           Gosh.

                          WALT
           And they said only God could make a
           tree!
          Pamela rolls her eyes.
          There is a protracted silence as they walk, both encompassed
          by their own thoughts. The sunshine, the joyful crowds just
          background colour.
          They pass by a store front and Walt glances up at the window.
          It reads: Elias Disney Contractor Est. 1895. Pamela notices
          the look but doesn't say anything.

                          WALT (CONT'D)
           Where did she come from?

                          PAMELA
           Who?

                          WALT
           I think you know who.

                          PAMELA
           She flew in through the window one
           day.

                          WALT
           Through the window huh?
          Pamela nods curtly.

                          WALT (CONT'D)
           It's just that easy isn't it Mrs
           Travers?
          He sees right through her.

                          WALT (CONT'D)
           I know you don't wanna be here so
           I'm gonna take you to one ride-- my
           favourite amusement and then I'll
           set you free.
          Way ahead of them the carousel spins in the distance.

                         

          EXT. KING ARTHUR'S CAROUSEL - DISNEYLAND - DAY

          The carousel slows to a halt and a herd of excited children
          climb down from the horses and disappear into the park.

                          WALT
           Mrs Travers, I would be honoured if
           you would ride Jingles. She's Mrs
           Disney's favourite horse.
          He escorts Pamela to a beautiful white horse, roses on it's
          bridal.

                          PAMELA
           No thank you. I'm happy to watch.

                          WALT
           No greater joy than that seen
           through the eyes of a child.
          Pamela looks at the children climbing onto the carousel.

                          WALT (CONT'D)
           There's a child in us all.

                          PAMELA
           Maybe in you Mister Disney, but
           certainly not I.

                          WALT
           Get on the horse Pamela!
          Pamela sighs and allows Walt to help her onto the horse.

                          WALT (CONT'D)
           When we first met, you said to me
           `they're family.'

                          PAMELA
           I said what?

                          WALT
           Mary Poppins, the Banks's, they're
           family.

                          (BEAT)
           The boys have had an idea for your
           Mister Banks. I think it'll make
           you happy.

                          PAMELA
           You brought me all the way out here
           to tell me that?

                          WALT
           No. I brought you all the way out
           here for monetary gain. Had a wager
           with the boys that I couldn't get
           you on a ride. I win!
          He clambers onto his own horse, gestures to the ride
          controller and off they go!
          Pamela gently bobs up and down, Walt waves to her and she
          sees the unbridled thrill from the child in Mister Disney
          spilling out. The tiniest, tiniest of smiles threatens to
          surface on her lips as he points a finger in the air as if
          shooting for the stars.

                          WALT (CONT'D)
           Yah!

                         

          INT. TRAVER'S BEDROOM - ALLORA - DAY

          Travers has a violent coughing fit, he looks to his hand,
          disturbed to see blood there. He grimaces at Ellie who has
          her back to him as she folds clothes, a look of deep
          satisfaction on her face.

                          ELLIE
           Well begun, is half done!
          His face softens as his hazy gaze falls upon Ginty, outside
          the window, sweeping. Their eyes meet for a brief moment, an
          unspoken understanding of what is to come, before his close
          with tiredness.

          INT. REHEARSAL ROOM - DAY

          All the tables have been pushed to the walls, Don is just
          pushing the last one away as Pamela comes in, followed by
          Dolly with the tray carrying Pamela's tea.

                          DON
           Good morning Mrs Travers!
          She looks at the new arrangement of the room.

                          PAMELA
           What horrors have you in store for
           my beautiful characters today, hm?
          Bob clenches a fist but Dick gives him a look that says: keep
          calm.

                          DON
           Now, Mrs Travers you sit here.
          He ushers her to a chair facing the centre of the room. He
          hands pages to Bob and pages to Dolly. Don and Dolly drop to
          their knees so that they are half the height of Bob.
          Pamela raises an eyebrow.

                          DON (CONT'D)
           We thought about what you said Mrs
           Travers and Mr Banks isn't cruel.
           He isn't. We've got a new ending
           for the film. Oh god, I hope you
           like it.
          Bob pulls a kite out from behind his back.

                          DON (CONT'D)

                          (AS MICHAEL)
           Michael says, "He mended it! It's
           wonderful!"

                          DOLLY

                          (AS JANE)
           However did you manage it?

                          PAMELA

                          (TO HERSELF)
           He mended it?
          Dick strikes a chord on the piano.

                          DICK

                          (SINGING)
           With tuppence for paper and strings
           You can have your own set of wings
           With your feet on the ground
           You're a bird in flight
           with your fist holding tight
           To the string of your kite
           Oh oh oh oh
          Bob takes the hands of Don and Dolly and he dances around
          with them (awkwardly as they are still on their knees and Bob
          has a limp.) Pamela's eyes on the fixed kite.

                          DICK & BOB
           Let's go fly a kite
           Up to the highest height
           Let's go fly a kite and send it

                          SOARING
           Up through the atmosphere
           Up where the air is clear
           Oh let's go fly a kite
          Don notices Pamela's foot tapping, he stands up.

                          DON
           And then Mrs Banks goes to fetch
           her suffragettes ribbon.

                          DOLLY
           (as Mrs Banks)
           "A proper kite needs a proper tail
           don't you think?!"
          Don drops to his knees again.

           BOB/DICK/DON/DOLLY
           Let's go fly a kite
           Up to the highest height
          Is Pamela humming too?!

           BOB/DICK/DON/DOLLY (CONT'D)
           Let's go fly a kite and send it

                          SOARING
          Don bows to Pamela puts his hand out to her and to his
          surprise, she accepts and they begin to waltz. Pamela is
          surprisingly elegant and accomplished.

           BOB/DICK/DON/DOLLY/PAMELA
           Up through the atmosphere
           Up where the air is clear
           Oh let's go fly a kite
          Everybody is up and dancing, it's like something out of a
          Disney movie!

                          DICK
           When you send it flying up there
           All at once you're lighter than air
          Dolly breaks away and rushes from the room.

                          DICK (CONT'D)
           You can dance on the breeze over
           houses and trees--

                         

          INT. DISNEY OUTER OFFICE - DAY

          Dolly pants her way to the top of the stairs, and sees Walt
          just about to enter his office.

                          DOLLY
           Mr Disney! Walt!
          Walt spins around.

                          DOLLY (CONT'D)
           I'm sorry to interrupt. It's just
           she-- she's dancing! Mrs Travers.
           She's dancing with Don!
          He cracks a great big smile.

           DICK (V.O.)
           With your fist holding tight
           To the string of your kite

                         

          INT. REHEARSAL ROOM - DAY

          As before.

           BOB/DICK/DON/PAMELA
           Oh Oh Oh Oh
           Let's go fly a kite
           Up to the highest height
           Let's go fly a kite and send it

                          SOARING
           Up through the atmosphere
           Up where the air is clear
           Oh let's go fly a kite!
          They all collapse in a heap, exhausted and thrilled.

                          PAMELA
           Well.

                          BOB
           Well?

                          PAMELA
           Yes! He fixes the kite! Oh, I love
           it!
          Dick punches the air.

                          PAMELA (CONT'D)
           Though proper English would be `Let
           us go and fly a kite.'
          Bob glares at her.

                          PAMELA (CONT'D)
           But I might be willing to overlook
           that.

                          BOB
           Did we get that on tape?
          Everybody sighs with relief and Pamela looks to the
          caricature of Mr Banks with deep warmth.

                         

          INT. TRAVERS BEDROOM - GOFF HOUSE - EVENING

          Ginty sits with her father, he's a shadow of his former self,
          extremely ill. The shaking has stopped, his lips are parched
          and blueish.

                          TRAVERS
           Look at you-- all ship shape.
          Travers reaches up a shaking hand and musses up Ginty's
          perfectly plaited hair.

                          GINTY
           I re-wrote the poem father.
          Travers doesn't respond. Ginty reaches into her pocket, takes
          out tuppence.

                          GINTY (CONT'D)
           The aunt gave me tuppence.
          She shows it to him in her open palm.

                          GINTY (CONT'D)
           Shall I buy you something father?

                          TRAVERS

                          (BARELY AUDIBLE)

                          PEARS--

                         

          INT. SUITE - BEVERLY HILLS HOTEL - NIGHT

          Pamela sits bolt upright in bed, panicked.

                          PAMELA
           Father?

          EXT. GOFF HOUSE - ALLORA - DAY

          Ginty skips off the porch, clutching her tuppence. Chattering
          to herself about pears.

                         

          EXT. LAUREL CANYON - MORNING

          The limo crests the top of the hill.

                         

          INT. LIMO - MORNING

          Ralph admires the view as he always does.

                          PAMELA
           Do you know you're quite right? It
           is beautiful. Exquisite.

                          RALPH
           It's always new.

                         

          INT. REHEARSAL ROOM - DAY

          Pamela leans on the piano peering at her script. The boys are
          dotted about the room; all are mid-work.

                          DON

                          (TO PAMELA)
           So Jolly Holiday's in?

                          PAMELA
           As you wish.
          Pamela is genuinely curious.

                          PAMELA (CONT'D)
           Now, how in the world does Mister
           Disney propose to train penguins to
           dance?!

                          BOB
           Are you serious?

                          PAMELA
           I've heard about his implausibly
           leaved trees so I assume he does
           have some insane penguin wrangling
           scheme but it does seem rather far
           fetched. Can you train penguins?

                          DON

                          (LAUGHING)
           No I don't think you can train an

                          ACTUAL--

                          DICK

                          (OVER)
           They're animated.
          Pamela is confounded.

                          PAMELA
           Sorry?

                          DON
           Dick.

                          DICK
           Cartoons.
          He draws a little squiggle in the air to illustrate his
          point.

                          DON
           Dick.
          Pamela's face turns beetroot red, she pushes herself away
          from the table and storms out of the room, slamming the door
          behind her.

                          DON (CONT'D)
           Crap.

                          DICK
           What? Are we getting real penguins?

                         

          INT. DISNEY - OUTER OFFICE - DAY

          Pamela comes storming into the offices suite. Dolly smiles up
          from her desk.

                          DOLLY
           Good afternoon Mrs Travers!

                          PAMELA
           Where is Mister Disney?

                          DOLLY
           If you'd like to take a seat--

                          PAMELA
           I would not like to take a seat
           thank you. I would like to--
          She heads for Disney's office and Dolly is up and running
          after her down the corridor.

                          DOLLY
           Mrs Travers, please!
          Pamela blows past Tommie's desk.

                          PAMELA

           DISNEY!

                         

          INT. WALT'S OFFICE - DAY

          Pamela pushes open Walt's doors, catching him in the midst of
          signing a stack of postcards of his grinning face, an unlit
          cigarette in his pen hand.

                          TOMMIE
           Walt, I'm so sorry.

                          WALT
           Don't worry Tommie, please close
           the door.
          Disney gestures to his cigarette.

                          WALT (CONT'D)
           Never let anybody see me smoking.
           I'd hate to encourage bad habits.
           Please, sit down.

                          PAMELA
           I shall not sit in the seat of a
           trickster! A fraudster! A sneak!

                          WALT

                          PAMELA--

                          PAMELA

           MRS TRAVERS. PLEASE!

                          WALT
           Mrs Travers, what in the world has
           upset you so?

                          PAMELA
           Penguins!
          Walt is confused.

                          PAMELA (CONT'D)
           Penguins have very much upset me
           Mister Disney! Animated, dancing
           penguins! Now, you have seduced me
           with the music Mr Disney, yes you
           have. Those Sherman boys have quite
           turned my head but I shall not be
           moved on the matter of cartoons.
           Not one inch sir!

                          WALT
           It's a sequence--

                          PAMELA
           You promised me. You promised me
           that this film would not be an
           animation!

                          WALT
           And it isn't!

                          PAMELA
           So they're real penguins?

                          WALT
           No they're animated.

                          PAMELA

                          (SUDDEN REALIZATION)
           Oh.
           (to herself, smiling

                          RUEFULLY)
           You foolish old woman.
          Pamela reaches into her purse and pulls out the assignment of
          rights papers and leaves them on the table.

                          PAMELA (CONT'D)
           Good day Mister Disney.
          She turns on her heel and leaves. Disney stares at the pages
          aghast.

                          WALT
           Pam! Pamela! Mrs Travers! Wait!

                         

          INT. DISNEY - OUTER OFFICE - DAY

          Pamela flies past Dolly's desk.

                          PAMELA
           Please call my driver and have him
           pick me up.

                          DOLLY
           Yes ma'am, when?

                          PAMELA

           NOW!

                         

          EXT. DISNEY STUDIOS - DAY

          Pamela flees to her bench, wrapping her arms around herself.
          Disney comes after her.

                          WALT
           Please Mrs Travers-- You must
           listen.

                          PAMELA
           You shouldn't make promises you
           can't keep, especially to children,
           they hold on to them you see? And
           those promises they just sit there
           inside of them, like little doses
           of poison, all those broken
           promises, eating away forever.

                          WALT
           Pamela? I don't understand why this
           is so hard for you. Please, make me

                          UNDERSTAND--

                          PAMELA
           The books weren't written for the
           children. They were written for the
           promise breakers.

                          WALT
           The promise breakers? Mrs Travers I-

                          -
          But she's gone, face to the sky, eyes closed, breathing.

                          WALT (CONT'D)
           Mrs Travers?
          Ralph pulls up and gets out of the car.

                          RALPH
           Woah! Mister Disney!

                          WALT
           Hi.

                          RALPH
           Hi! I'm such a huge fan. It's such
           an honour to--
          He suddenly sees that Pamela is more deeply entrenched in
          herself than usual and his priority becomes her.

                          RALPH (CONT'D)

                          (TO WALT)
           Excuse me.
          Ralph moves past Walt and gently taps Pamela on the shoulder,
          she opens her eyes, relieved to see him.

                          RALPH (CONT'D)
           You ready to go Mrs?

                          PAMELA
           Yes. Thank you.

                          WALT

                          PAMELA--

                          PAMELA

                          (TEARING UP)
           I'm so sorry Mister Disney. To have
           put everyone to so much trouble.

                          WALT
           You must reconsider. You must.

                          PAMELA
           I simply can't give her up. Not
           yet. Perhaps not ever. I don't know

                          WHY

                          DISNEY
           You do know why!

                          PAMELA
           I can't, he's--

                          DISNEY
           He's?

                          PAMELA
           I just-- Goodbye Mr Disney.
          She goes to get in the car and Disney puts a hand to stop her
          but Ralph blocks it.

                          RALPH
           The lady's ready to go now sir.
          Walt steps away and Ralph closes the door to the car.

                          WALT
           He's?
          Walt watches the car disappear, wracked with frustration and
          confusion. He takes a seat on Pamela's bench and wraps his
          arms around himself and looks to the sky.

                         

          EXT. LAX - DAY

          Ralph climbs out of the limo and opens the back door for
          Pamela. He gestures for a valet to come and take her bags and
          opens the trunk of the car.

                          RALPH
           It's been a pleasure driving you
           Mrs.

                          PAMELA
           No one likes a fibber.

                          RALPH

                          (CHUCKLES)
           I really have enjoyed it. Didn't
           know who you were at first and then
           guess what?

                          PAMELA
           You found out?

                          RALPH
           I was telling my daughter all about
           my day and how I was driving this
           nice writer lady, Mrs Travers for
           Mr Disney and--

                          PAMELA

                          AND--

                          RALPH

                          AND--
           (he leans into the

                          PASSENGER WINDOW)
           And she makes me go to her bedroom
           and get this!
           (he pulls out a Mary

                          POPPINS BOOK)
           Can't stop reading it. I'm very
           slow mind you.
          Pamela smiles.

                          PAMELA
           Would you like me to sign it?

                          RALPH

                          (DELIGHTED)
           Would you?!

                          PAMELA
           I'd be honoured.
          Ralph hands her his pen and she begins to write.

                          PAMELA (CONT'D)
           Your daughters name?

                          RALPH
           Jane.

                          PAMELA
           Really?

                          RALPH
           Uh huh. Like the girl in the book.

                          PAMELA
           (reading as she writes)
           To Jane and her dearest father--
           (she looks at him)
           I've just this instant realized I
           don't know your name.

                          RALPH
           Ralph.
          She shakes his hand.

                          PAMELA
           Pamela.

                          RALPH
           Pamela.

                          PAMELA
           You're the only American I have
           ever liked, Ralph.
          Ralph is chuffed to bits.

                          RALPH
           May I ask why?

                          PAMELA
           No. Now take this--
          She hands him the piece of Beverly Hills Hotel stationery
          with her notes on.

                          RALPH

                          (READING)
           Albert Einstein, Van Gogh,
           Roosevelt, Frida Kahlo--

                          (BEAT)
           What is this?

                          PAMELA
           They all had difficulties. Jane can
           do anything that anyone else can
           do, do you understand?
          Ralph looks at her in awe.

                          PAMELA (CONT'D)
           Look at the bottom.

                          RALPH
           Walt Disney!

                          PAMELA
           Deficiencies in concentration and
           hyperactive behavior. Explains
           everything!
          Pamela turns to leave.

                          RALPH
           Thank you Mrs.
          Pamela doesn't look back.

                         

          INT. DISNEY - OUTER OFFICE - LATE AFTERNOON

          Tommie and Dolly silence their gossiping as a tired and
          broken Walt Disney appears in front of them.

                          WALT
           She's gone?
          Tommie looks down at her paperwork and nods at Walt
          apologetically.

                          TOMMIE
           Flight left 10 minutes ago.
          Tommie hands him the itinerary, he glares at it.

                          WALT
           (expecting to read her

                          NAME)

                          PAMELA TRA--

                          (BEAT)
           Goff? Who's Helen Goff?

                          TOMMIE
           Her. That's her real name.
          Walt is confused.

                          DOLLY
           Yuh, didn't you know? She's all
           hoity toity. British this and
           British that and she's really an
           Aussie called Helen Goff. Stuck up--

                          WALT
           Then who's Travers?
          Tommie and Dolly look at each other and shrug.

                          WALT (CONT'D)
           (smiles to himself)
           I've been talking to the wrong
           person.

                         

          EXT. GOFF HOUSE - DAY

          Ginty skips up the path, clutching a brown paper bag. She
          ruffles Andrew's fur before entering the house.

          INT. GOFF HOUSE - DAY

          Ginty senses something wrong, she hears hushed, urgent and
          emotional voices in the hall. She pokes her head into the
          hallway. There, huddled together, whispering are her mother,
          the doctor and Aunt Ellie.
          Ellie is holding a pile of blood stained sheets.
          Ginty stands frozen, trying to still the panicked beating of
          her heart.
          Margaret spies Ginty and moves towards her as if in slo-mo.
          There are flecks of blood on her dress. She is ashen,
          shattered. She comes down to Ginty's level.

                          MARGARET

                          DADDY--
          Ginty cannot react.
          Margaret sweeps her into her arms and Ginty drops the brown
          paper bag; it tears and scatters pears all over the floor.
          Ginty's eyes fix on Aunt Ellie's umbrella on the back of the
          chair, drawn into its beady black eyes.

                          GINTY
           I want to see my father.

                          MARGARET
           No, you mustn't.

                          GINTY
           I want to see him!
          Suddenly she turns into a wildcat - lashing, thrashing,
          biting, screaming. Nothing will stop her seeing Travers.

                          AUNT ELLIE
           Let her go Margaret.
          Margaret is forced to let go and Ginty runs for her father's
          bedroom.

                         

          INT. TRAVERS' BEDROOM - DAY

          Ginty stands in the bedroom, a long way from the bed. She
          stands there, it seems, for an eternity. Then, finally, step
          by step she draws closer. The empty bottle on the floor. The
          sheets twisted, still wet with sweat, flecked and spotted
          with blood. The front of her father's nightdress is also
          bloodstained. Ginty's eyes reach his face. Travers lies, eyes
          open, mouth open, teeth slightly red-stained, neither
          peaceful nor distressed. Just-- nothing.

                          GINTY
           I dropped the pears.
          She perches on the edge of the bed and takes his hand.

                          GINTY (CONT'D)
           I'm sorry daddy.
          Ellie appears in the doorway, Ginty addresses her without
          turning around.

                          GINTY (CONT'D)
           You promised you would fix
           everything.

                         

          EXT. SHAWFIELD STREET - LONDON - DAY

          A black London Taxi pulls up outside the house. Pamela climbs
          out of the car, struggling to pull her huge Mickey Mouse out
          too.

                         

          INT. SHAWFIELD STREET - LONDON - DAY

          Pamela moves through the vestibule, lugging her suitcase.

                          PAMELA
           Hello house.

                         

          INT. PAMELA'S LIVING ROOM - NIGHT

          Pamela sits in a chair in the living room watching in
          darkness. She gently closes her eyes, ringed with sadness and
          a lifetime's despair.
          There's a knock at the door and she jolts awake, she doesn't
          know how long she's been asleep but it's black outside. She
          gets up and rushes to the door as quickly as her feet will
          take her.
          She swings it open.

                          PAMELA
           Oh dear god!
          Standing on the doorstep is Walt Disney. Pamela is, quite
          literally, speechless.

                          WALT
           It was one heck of a job getting a
           seat on the very next flight, let
           me tell you.

                          PAMELA
           But, you always get what you want
           eventually. Isn't that right
           Walter?
          He looks down at her hand clenched into a fist and shaking.

                          WALT
           How about you show me how to make
           one of those nice English pots of
           tea?

                         

          INT. PAMELA'S DRAWING ROOM - NIGHT

          Pamela sits at the table, as Disney carries in a tray with a
          teapot, a milk jug, a sugar bowl and two cups. These he
          places on the table and proceeds to pour tea.

                          PAMELA
           Milk. The milk goes in first.
          He attends to it.

                          WALT
           I remember.

                          PAMELA
           And whiskey. I'll have whiskey in
           mine.
          Disney follows her gesture to the whiskey decanter. She takes
          it from him and pours a generous slug into her teacup.

                          WALT

                          (SURPRISED)
           Oh.

                          (BEAT)
           Oh well, when in Rome!
          He pours a slug into his tea too.

                          PAMELA
           You've come to change my mind. To
           beat me into submission.

                          WALT
           No, I've come because you misjudge
           me.

                          PAMELA
           How do I misjudge you?

                          WALT
           You look at me and you see some
           kind of Hollywood King Midas.

                          (MORE)

                          WALT (CONT'D)
           You think I've built an empire and
           that I want to use your Mary
           Poppins as just another brick in my
           kingdom. You think I see her with a
           carpetbag full of greenbacks.

                          PAMELA
           And don't you?

                          WALT
           If that was all it was would I have
           pursued an cranky, stubborn dame
           like you for twenty years? I'd've
           have saved myself an ulcer!

                          (BEAT)
           No, you expected me to disappoint
           you and so you made sure I did. You
           see, I think life disappoints you,
           Mrs Travers. I think it's done
           that a lot. Maybe Mary Poppins is
           the only person in your life who
           hasn't.

                          PAMELA
           Mary Poppins isn't real.

                          WALT
           Oh, no, that's not true. She's real
           as can be to my daughter's and to
           thousands of other children--
           adults too. She's been there as a
           nighttime comfort to a heck of a
           lot of people.

                          PAMELA
           Well, Where is she when I need her?
           Hm? I open the door to Mary Poppins
           and who should be standing there
           but Walt Disney!
          He laughs.

                          WALT
           Mrs Travers, I am so sorry. I hoped
           this would be a magical experience
           for you, for all of us. But I let
           you down-- and in doing so, I've
           broken a twenty year old promise to
           my girls.

                          (BEAT)
           I've been wracking my brains,
           trying to figure out why this has
           been so hard for you and I--

                          (BEAT)
           You see, I have my own Mr Banks.
           Mine had a moustache.

                          PAMELA
           Ah! Not true then that Disney
           created man in his own image?

                          WALT
           But it is true that you created
           yourself in someone else's yes?
          She doesn't answer. Walt takes mouthful of laced tea and
          coughs a little.

                          WALT (CONT'D)
           Ever been to Kansas City, Mrs
           Travers? Do you know Missouri at
           all?

                          PAMELA
           Can't say I do and as I have no
           plans to ever set foot on American
           soil again I'm afraid I never will.

                          WALT
           It's mighty cold there in the
           winters. Bitter.
          Walt stops talking, catches himself, looks away and then
          gives in. His enthusiasm completely disappears and he's
          suddenly as ragged and as weary as Pamela.

                          WALT (CONT'D)
           (it pours out)
           My dad, Elias Disney, he owned a
           newspaper delivery route there.
           Thousand papers. Twice daily.
           Morning and evening edition. Elias,
           he was a tough businessman. A save-
           a-penny anywhere you can type of
           fella so he wouldn't employ any
           delivery boys, he just used me and
           my big brother Roy. I was eight
           then-- eight years old.

                          (BEAT)
           Like I said, those winters were
           harsh and old Elias didn't believe
           in new shoes until the old ones
           were worn right through so--

                          (BEAT)
           Honestly, Mrs Travers, the snow
           would be up to here--
          He gestures to his knees.

                          WALT (CONT'D)
           You'd push through it like wading
           through molasses.

                          (MORE)

                          WALT (CONT'D)
           And the cold and the wet would be
           seeping through the shoes and the
           skin would be raw and peeling from
           our faces-- and sometimes I'd find
           myself sunk down in the snow,
           waking up, cuz I must've passed out
           for a moment-- I dunno. Then
           school, too cold to figure out an
           equation. And back into the snow so
           by the time we got home it'd be
           just getting dark, and every part
           of you would sting like crazy as it
           slowly came back to life in the
           warmth. My mother would feed us
           dinner and then it'd be time to go
           out again for the evening edition.

                          (BEAT)
           Best be quick Walt, best be quick
           or poppa's gonna show you the
           buckle end again boy.
          Walt smiles at Pamela, sips his tea.

                          WALT (CONT'D)
           Now, I don't tell you all this to
           make you sad Mrs Travers, I don't.
           I love my life - it's a miracle.
           And I loved my daddy, boy I loved
           him. But, there isn't a day goes by
           where I don't think of that little
           boy in the snow and old Elias with
           his fist and strap and I'm just so
           tired-- I'm tired of remembering it
           that way. Aren't you tired Mrs
           Travers? We all have our tales but
           don't you want to find a way to
           finish the story? Let it all go and
           have a life that isn't dictated by
           a past?

                          (BEAT)
           It's not the children she comes to
           save. It's their father.

                          (BEAT)
           It's your father--?

                          (BEAT)
           Travers Goff.

                          PAMELA
           I don't know what you think you
           know about me Walter--

                          WALT
           You must've loved and admired him a
           lot to take his name--

                          PAMELA

                          I--

                          WALT
           Mrs. Travers. It's all about him
           isn't it? All of this. Everything.
          Pamela looks at her hands, they're shaking.

                          WALT (CONT'D)
           Forgiveness. It's what I learned
           from your books.

                          PAMELA
           I don't need to forgive my father.
           He was a wonderful man.

                          WALT
           No, you need to forgive Helen Goff.
           Life is a harsh sentence to lay
           down for yourself.
          Pamela looks down at the table top.

                          WALT (CONT'D)
           Give her to me, Mrs Travers. Trust
           me with your precious Mary Poppins.
           I won't disappoint you. I swear
           that every time a person goes into
           a movie house - from Leicester to
           St Louis, they will see George
           Banks being saved. They will love
           him and his kids, they will weep
           for his cares, and wring their
           hands when he loses his job. And
           when he flies that kite, oh! They
           will rejoice, they will sing. In
           every movie house, all over the
           world, in the eyes and the hearts
           of my kids, and other kids and
           their mothers and fathers for
           generations to come, George Banks
           will be honoured. George Banks will
           be redeemed. George Banks and all
           he stands for will be saved.
           Maybe not in life, but in
           imagination. Because that's what we
           storytellers do. We restore order
           with imagination. We instill hope
           again and again and again. Trust
           me, Mrs Travers. Let me prove it to
           you. I give you my word.

                         

          INT. PAMELA'S KITCHEN - NIGHT

          Pamela is alone. The unsigned rights papers in front of her
          on the table. She looks at Mickey who occupies the chair
          opposite her, her face softens under his gaze.

                          PAMELA
           Enough.

          EXT. ANIMATION BUILDING - THREE YEARS LATER - DAY

          Disney employees pass by a giant movie poster which reads:
          MARY POPPINS - OPENING SOON! Walt exits the building. He's
          but a few steps out of the door when Tommie appears behind
          him.

                          TOMMIE
           Walt.
          She hands him a sheet of paper.

                          TOMMIE (CONT'D)
           Invitation list for the premiere.

                          WALT
           Is that everyone?

                          TOMMIE
           Not everyone.
          She looks at Walt questioningly.

                          WALT

                          (SIGHS)
           We'll premiere in London as well.
           It'll be more convenient for her.
          Tommie holds his look.

                          WALT (CONT'D)
           There'll be cameras, press,
           interviews-- I have to protect the
           picture.

                          TOMMIE
           Okay.
          Walt walks away, he's lost a bit of steam. Tommy watches him
          go.

                         

                         

                         OMITTED

                         

          INT. PAMELA'S OFFICE - DAY.

          Pamela taps away on her typewriter with gusto. She pings the
          return and breathes, satisfied.

                          PAMELA
           I should say so too.
          The doorbell sounds, voices.
          Pamela begins to tap again.

           POLLY (O.S.)
           Mrs Travers!
          Pamela tuts, tries to carry on with her work.

           POLLY (O.S.) (CONT'D)
           Mrs Travers!
          Pamela rises from her chair, smoothes down her skirt.

                          PAMELA
           For goodness sake!
          She rises from her chair, smoothes down her skirt and makes
          her way to the front door.

                          PAMELA (CONT'D)
           Please don't screech like an
           alleycat!

                         

          INT. PAMELA'S LIVING ROOM - DAY

          Pamela and Diarmuid sit together. Pamela is quite changed,
          she looks younger, radiant, worry free.

                          DIARMUID
           I am so pleased to hear that Mrs
           Travers.

                          PAMELA
           I should think you'll have a draft
           very soon.

                          (CALLING OUT)
           Polly! Where's that tea?

                          (TO DIARMUID)
           It's coming along marvelously!
          Polly kicks the door open with her foot and plonks the tea
          down in front of Pamela and Diarmuid. She sneezes twice,
          doesn't bother to pour and turns to leave.

                          PAMELA (CONT'D)

                          (TO POLLY)
           Would you pour please?

                          POLLY
           You're perfectly capable of doing
           it yourself.
          Polly leaves, Pamela rolls her eyes.

                          PAMELA
           She's quite the worst maid I've
           ever had!

                          DIARMUID
           So why do you keep her?

                          PAMELA
           I don't know-- she reminds me of
           me.
          Diarmuid laughs.

                          DIARMUID
           Do you have a title?

                          PAMELA
           Mary Poppins in the Kitchen.

                          DIARMUID
           Wonderful. Should we start talking
           about the film rights?
          Pamela narrows her eyes at him.

                          PAMELA
           NEVER again.

                          DIARMUID
           Okay.

                          (BEAT)
           Now, tell me, Have you got your
           tiara for the premiere?

                          PAMELA
           Oh, I'm not going.

                          DIARMUID
           Why not?

                          PAMELA
           Hollywood premieres are not for old
           trout like me. Anyway, it's not

                          CONVENIENT--

                          DIARMUID
           He hasn't invited you, has he?
          Pamela doesn't reply.

                          DIARMUID (CONT'D)
           Mary Poppins wouldn't stand for
           that.

                         

          INT. PLANE - DAY

          Pamela is hot and bothered trying to wrestle her cabin
          baggage into an overhead locker. The same flight attendant
          from the top of the film appears.

                          FLIGHT ATTENDANT
           Can I help you?

                          PAMELA
           I'm perfectly capable thank you.
          The flight attendant recognizes her with something akin to
          horror.

                          FLIGHT ATTENDANT
           Suit yourself-- ma'am.

                          PAMELA

                          (CHEERY)
           I shall!

           CAPTAIN (O.S.)
           Ladies and gentlemen, good
           afternoon and welcome aboard this
           flight to Los Angeles. Just a few
           announcements before we begin our
           taxi for takeoff--
          Pamela takes the seat next to the window, she looks out at
          the tarmac.
          She closes her eyes, takes a deep breath, opens her eyes
          again and tucks her feet tidily together. She folds her hands
          neatly into her lap and looks straight ahead.

                         

          INT. DISNEY STUDIOS - OUTER OFFICE - DAY

          Walt enters the outer office walking briskly towards his own
          office.

                          WALT
           Morning Dolly.
          Dolly opens her mouth to speak but he's already past and

                         APPROACHING--

                         TOMMIE'S DESK
          Tommie sits, arms crossed and stares, half bemused at Walt.

                          WALT (CONT'D)
           What?
          Tommie nods toward his office. Pamela is sitting in a chair,
          back to them.

                          PAMELA
           Me again!

                         

          INT. DISNEY OFFICE - DAY

          Walt semi-recovers as quickly as possible and enters his
          office.

                          WALT
           Mrs Travers! How wonderful to see
           you. What brings you to--

                          PAMELA
           I'm here for my premiere.

                          WALT
           Great!

                         

                         

                          PAMELA
           I didn't receive my invitation, but
           I just assumed the American postal
           service had fallen down on the job
           as per usual.
          She smiles sweetly.

                          WALT
           I'll have a-- uh, replacement sent
           to your hotel right away.

                          PAMELA
           That's very kind, Mr Disney. I knew
           you wouldn't have forgotten me.

                          WALT
           Pam, how could I?

                          PAMELA
           How indeed? You did, after all,
           assure me that I wouldn't be
           disappointed.

                         

          INT. SUITE - BEVERLY HILLS HOTEL - DAY

          The porter lets Pamela into her room, and doesn't even bother
          hovering for a tip.
          Pamela turns and it's like deju vu - the flowers, the
          chocolates, the champagne, a VIP invitation to the premiere
          of Walt Disney's Mary Poppins. And, of course, the ubiquitous
          stuffed Mickey Mouse.

                          PAMELA

                          (TO MICKEY)
           I thought I left you in London.

                         

          EXT. BEVERLY HILLS HOTEL - FORECOURT - NIGHT

          Pamela looks wonderful in a long white gown with turquoise
          silk gloves to her elbows and matching wrap falling from her
          shoulders.

                          PAMELA

                          (TO DOORMAN)
           Would you call me a taxi please?

                          DOORMAN
           Absolutely.
          The doorman goes to find her a cab and in his absence a limo
          pulls up to the kerb. Pamela doesn't dare get her hopes up
          but the door swings open and there he is, her favorite person
          in America.

                          RALPH
           Had a feeling a certain friend of
           mine might be needing me tonight.

                          PAMELA
           Ralph!
          She rushes to him and they give each other a friendly hug.

                          RALPH
           You look like a million bucks!
           Let's get you to the ball.
          He opens the back door for her and she climbs in.

                         

          EXT. GRAUMAN'S CHINESE THEATER - HOLLYWOOD - NIGHT

          It's spectacular! Disney's biggest Hollywood opening. Bulbs
          flash continuously as limo after limo pulls up at the red
          carpet. Ushers are dressed as English bobbies. Reporters
          stand on podiums in colourful suits, Penguins dance their
          hearts out in front of the theater. Pearly Kings and Queens
          play for the onlookers. Crowds and crowds of fans scream
          every time a bulb flashes, waving their autograph books and
          posters in the air. Every Disney character imaginable bounces
          up and down the lines of well-wishers, hugging them, dancing
          for them, signing their booklets. Hollywood Blvd is
          completely shut down and the atmosphere is like the happiest
          party you could ever go to.

                         

          INT. LIMO - NIGHT

          Ralph takes the car slowly through the crowds. Onlookers
          press their faces against the windows trying to make out who
          is inside. Pamela is nervous, everyone else has someone with
          them but Pamela must brave the crowd alone.

                         

          EXT. GRAUMAN'S CHINESE THEATER - HOLLYWOOD -NIGHT

          The limo stops at the edge of the carpet and Ralph jumps out.
          He rushes round to Pamela's side and helps her from the car.
          Immediately a round of flashes go off and Pamela puts her arm
          up to shield her eyes. It's too much.

                          RALPH
           (in her ear)
           This is your night. None of this
           would be possible without you.
          She brings her arm down, straightens her dress and breaks
          into a smile, making her way down the carpet to frantic
          whispers amongst the press and autograph hunters of: "Who is
          that?" "Is that anyone?" Pamela spots Walt, Dick Van Dyke and
          Julie Andrews being interviewed together up ahead.
          Mickey Mouse bounces down the carpet and slows-- he and
          Pamela lock eyes for a brief moment. He holds out his gloved
          hand, she takes it and together they watch as a huge toy
          train chugs to a halt on the blvd and hundreds upon hundreds
          of coloured balloons fly out of it's roof and into the air.

                         

          EXT. GRAUMAN'S CHINESE THEATRE - NIGHT

          Pamela moves through the spangling, glittering, perfect
          toothed Hollywood crowd and no-one pays any attention to her.

                         

          INT. GRAUMAN'S CHINESE THEATRE - AUDITORIUM - NIGHT

          The auditorium is jam packed. Pamela is seated in front of
          Walt Disney. Don, the Shermans and their families are in the
          same row as her - Bob Sherman next to her. The lights begin
          to dim. The overture begins--
          We stay close on Pamela as the sounds of the overture fade
          and the melody of a single tin whistle playing one of Travers
          old melody's rings in her ears.
          We hear snippets of the film in the background but we remain
          with Pamela.
          She looks around at the faces in the audience - laughing,
          humming, sad, happy, joyous.
          Intercut with images from Pamela's childhood and the voices
          of Bert and Jane -
          Ellie's parrot head umbrella--

                          BERT
           You know, begging your pardon, but
           the one my heart goes out to is
           your father.
          The carousel horses at the Allora fair--

                          BERT (CONT'D)
           There he is in that cold, heartless
           bank day after day, hemmed in by
           mounds of cold, heartless
           money.
          The tuppence and rolling pears--

                          BERT (CONT'D)
           I don't like to see any living
           thing caged up.
          Uncle Albert with Ginty on his back, carrying her river
          soaked mother back to the house--

                          JANE
           Father in a cage?
          Ginty pressing the final bottle into her father's hand--

                          BERT
           They makes cages in all sizes and
           shapes, you know.
          The image of the dead Travers in his bloodstained bed--

                          BERT (CONT'D)
           Bank-shaped some of 'em, carpets
           and all.

                          DISSOLVE TO:
          Children in the audience, their little faces tilted upwards.
          Rapt.

                          MICHEAL
           You won't ever leave us will you?

                          JANE
           Whatever would we do without you?

                          MARY POPPINS
           I shall stay until the wind
           changes.
          And then an image from the film:
          George Banks walks away from us down the misty tree-lined
          London street, on his way to be fired from the bank.
          Walt Disney watches with quiet satisfaction.
          Pamela however has tears coursing down her face. Her
          shoulders heave as she tries desperately not to sob out loud
          but people are noticing, looking at her.
          Disney leans forward, placing a hand on her shoulder. She
          reaches up and grips it tightly, unable to speak.

                          WALT
           It's all right, Mrs Travers. It's
           alright. Mr Banks is going to be
           all right. I promise.
          Pamela nods in gratitude, but cannot contain her sobs. It's
          all pouring from her now, in one immense catharsis.

                          PAMELA
           No, no. It's just that-- I can't, I
           can't abide cartoons!
          We stay on her face as we bring up the final song of the
          film: Let's Go Fly A Kite. The audience around her are
          smiling, laughing, singing along. Pamela, the tears, silent
          now, still pouring down her cheeks as she slowly begins to
          mouth along with the lyrics.
          And in her head one final image appears.
          Travers gaze falls upon Ginty, outside his bedroom window,
          sweeping. Their eyes meet for a brief moment, an unspoken
          understanding of what is to come, before his close with
          tiredness.

           TRAVERS (V.O.)
           Never. I promise. I will never lose
           you.

                          DISSOLVE TO:

                         

          EXT. MARYBOROUGH PARK - DAY

          The shadow of an umbrella leaves the ten-year-old Ginty
          sitting in the lush grass, arms wrapped tightly around her
          chest, face to the sky as a smile breaks free across her
          face.

           TRAVERS (V.O.)

                          (SINGING)
           Winds in the East
           Mist coming in--
          The shadow of an umbrella, floats higher and higher--

                          TRAVERS
           --Like something is brewing,
           about to begin--
          And further and further--

                          TRAVERS (CONT'D)
           Can't put me finger on what lies in

                          STORE--
          We give chase but cannot catch up--

                          TRAVERS (CONT'D)
           But I feel what's to happen, all

                          HAPPENED BEFORE--
          And the umbrella floats up, up, up into the atmosphere and

                         AWAY--

                          FADE OUT:

                         END

                          


Saving Mr. Banks



Writers :   Kelly Marcel  Sue Smith
Genres :    Comedy  Drama


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