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
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