The Grail Knight, Part 2. (A radio script)

SCENE 11. INT. AT HOME. LATER

MUM'S FOOTSTEPS, CARRYING A TRAY. SHE KNOCKS ON A DOOR

P:: (FROM BEYOND THE DOOR) Leave me alone.

MUM: I know you said you wanted to be left alone, but I've brought you some beans on toast.

P: (FROM BEYOND THE DOOR) Oh. You'd better come in then.

MUM OPENS THE DOOR, ENTERS THE ROOM. THE CROCKERY RATTLES.

MUM: What are you doing in here? Using the internet?

P: Well a bit. In fact I'm renouncing the world. I need to research how to do it.

MUM: Is it something for school?

P: Not exactly.

MUM PUTS THE TRAY DOWN.

P: Thanks Mum. Beans on toast are my favourite.

MUM: Shouldn't you sit in a corner and go "OHHHHHHHM"?

P: Yeah. I might try a bit of that later.

MUM: Well not too much later, it's getting on. What are you doing tomorrow?

P: I might do a bit more renouncing and then go and see Mr. Singh again.

MUM: No football tomorrow? You always play on a Sunday.

P: Oh yeah. I think I'll do that instead.

MUM: Good night dear.

P: Night Mum.

THEY HUG, THEN MUM LEAVES AND THE DOOR CLOSES.

 

SCENE 12. EXT. THE FOOTBALL PITCH. NEXT DAY.

A GAME IS IN PROGRESS, A FEW SPECTATORS GIVE AN OCCASIONAL SHOUT. RUNNING AND KICKING THE FOOTBALL

P: (V.O.) I was playing at centre back. Steaming towards me was Gavin with the ball at his feet. I was the last defender apart from the goalie.

SPECTATOR 1: Come on Gavin.

SPECTATOR 2: Come on.

GAVIN RUNS IN CLOSE.

P: (V.O.) He was attacking, feinting to pass left but then darting to his right. I matched him, he wasn't getting past.

THEY BOTH RUN, THEN A HEAVY COLLISON, ONE BODY CRUNCHES INTO THE GRASS.

P: (V.O.) I was down, Gavin had ridden my challenge.

SPECTATOR 1: Shoot.

P: (V.O.) I got straight up, but felt dizzy. I watched Gavin shoot. The goalie saved.

DISAPPOINTMENT FROM THE SPECTATORS.

P: (V.O.) My cheek felt wet, there was a bit of blood on my hand. The coach was waving me off. (TROTTING)

COACH: Get that cleaned up. (CLOSE) Look lad, you want to be be a player . You need to start playing the professional game. You're the last defender, you stop the attacker by any means whatsoever. You understand me? Winning mentality.

P: (V.O.) I nodded.

COACH: Get yourself off.

 

SCENE 13. INT. CABIN, THE PRINCESS OF KASHMIR, LATER

RIVER SOUNDS OUTSIDE.

SINGH: What has happened to you? Did you walk into a wall? A very big, hard, wall?

P: Football. I get carried away sometimes.

SINGH: It looks like you got carried off this time. I have some special ointment.

HE RUMMAGES FOR THE OINTMENT.

P: So you've been looking for the Holy Grail for 15 years?

SINGH: Yes, and to my shame I have failed almost completely. According to the books it's either in Glastonbury Tor or Chalice Hill.

P: Where's that?

SINGH: Actually it's where one would expect it to be, in the middle of Arthur's kingdom. Arthur's heartland was Wales and the South West of England, that's where most of the Britons were pushed when the Saxons invaded Britain.

P: Well if you know roughly where it is, why don't you have a look?

SINGH: There have been thousands and thousands of people all over there . It is near the Glastonbury festival, it swarms with people. Nobody has ever found any trace of it. I'm afraid it is lost to us. Ah here's the ointment.

P: I don't see why you have given up so easily.

SINGH: Oh you don't eh? Hold still while I just apply this ointment.

P: No I don't. Do you still have these books?

SINGH: Yes the books are in the forward cabin. You think that a pair of young eyes could see further than those of a tired old man?

P: I should think so. Let me have a go at it.

SINGH: I will get the books. There that should fix up those scratches on your face.

P: Let's get the books!

SCENE 14. INT. SCHOOL. NEXT DAY (MONDAY)

QUIET CLASSROOM.

SMAKE: Today we're going to be reprising the difference between expository writing, descriptive writing, persuasive writing and narrative writing.

P: (V.O.) Monday morning, double English with Mr Smake.

SMAKE: Today our aims and objectives are...

P: Sir?

SMAKE: Yes? Have I baffled somebody already?

P: Sir you've misled everybody already.

SMAKE: What's this?

THE CLASS GOES QUIET.

P: Sir that thing you said about Pepsi was quite wrong sir.

SMAKE: What what?

P: Pepsi never used the catch phrase 'Come Alive With Pepsi'.

SMAKE: Yes they did young man.

P: It was actually 'Come Alive! You're in the Pepsi Generation'. That's what they used. So you see it couldn't have been translated the way like you said it was.

SMAKE MOVES JUST A FEW FEET AWAY FROM P.

SMAKE: Are you trying to undermine my authority?

P: And it wasn't Japan where they had a problem, it was in China.

SMAKE: I want you to go and see the principal, stand outside her door and tell her that you have been trying to disrupt my class. I want you to go right now.

P STANDS UP TO GO.

P: I'm going sir, I'm going. But not to stand outside the principal's office. I'm just going.

SMAKE: Sit down.

P: We're all being lied to and you're a part of it.

THERE ARE GASPS FROM OTHER MEMBERS OF THE CLASS. SMAKE MOVES VERY CLOSE TO P

SMAKE: (CLOSE) Sit down I say.

P WALKS TO THE DOOR, OPENS IT, GOES THROUGH IT, CLOSES THE DOOR.

SCENE 15. INT. AT HOME. LATER

DISTINCTIVE DOORBELL.

MUM: Just a minute.

SHE WALKS TO THE DOOR, AND OPENS IT.

P: Hello Mum. Couldn't find my key again

HE ENTERS.

MUM: Where have you been? I've been worried sick.

P: I left school early, but I've borrowed some books from Mr. Singh.

MUM: What happened at school?

P: I might be getting excluded.

MUM: What!

P: They don't teach you the proper stuff. Just the 3 'R's.

MUM: What are you talking about? Never mind, it'll be all right. You go upstairs and I'll bring you up something to eat

P: I've got an awful lot of reading to do.

MUM: What're all these books?

SHE EXAMINES THE BOOKS.

MUM: 'Life of Gildas'. 'The Traveller's Guide to Mystic Glastonbury' What's all this? This one's got Latin in it. Off you go upstairs.

P GOES UPSTAIRS.

MUM: What are they teaching them these days? Latin!

THEIR DISTINCTIVE DOORBELL GOES. MUM WALKS TO THE DOOR, OPENS IT.

SERGEANT: Good evening. I'm Sergeant Leeds and this is Police Constable Black.

MUM: Yes?

SERGEANT: There's been some trouble at the school, one of the teachers has made a complaint about your son.

MUM: Oh? Do you have some ID?

SERGEANT: Here you are.

MUM: Not a very good likeness is it?

BLACK: Is he home?

MUM: Do you have a warrant Constable?

SERGEANT: We don't have a warrant. There's no need for any of that. Not yet.

BLACK: I see that your upstairs light has just come on.

MUM: Do you bother everyone who has an upstairs light on?

SERGEANT: If we all cooperate things will all work out. May we come in?

MUM: I'm sure the teacher will feel better tomorrow. I need to have an early night. Good evening.

SHE CLOSES THE DOOR.

 

 

 

 

SCENE 16. INT. THE CABIN OF THE PRINCESS OF KASHMIR. NEXT DAY.

RIVER SOUNDS OUTSIDE.

SINGH: Have you had breakfast yet young man?

P: All I've had is porridge and toast. And a right ear bashing.

SINGH: No tea?

P: Uh, no.

SINGH: Would you prefer a British Cuppa or an Indian adrak wali chai?

P: Could I try the wally tea?

SINGH: Ah! Good selection.

SINGH MAKES THE TEA.

P: Look at this.

P: (V.O.) I showed him a picture of Glastonbury Tor.

SINGH: Yes. That's one possible place for the Grail.

P: See the terraces along the sides of the Tor?

SINGH: Yes . Those ledges all around the Tor are a mystery. The conventional thinking is that their purpose was a flat space to grow crops.

P: Even though they're not.that suitable for crops.

P: (V.O.) Now I showed him a picture of the Step Pyramid in Egypt.

SINGH: A pyramid.

P: See any similarities?

SINGH: The steps on the pyramid look a bit like the terraces on the Tor.

P: And what was the purpose of the step pyramid?

SINGH: It was to house the body of a dead king. (BEAT) You think that King Arthur is buried under Glastonbury Tor!

P: Could be.

SINGH: You are a very intelligent young man. What are you doing tomorrow?

P: Not much.

SINGH: Then tomorrow we will get the train down to Glastonbury.

SCENE 17. INT. TAXI. DAY

(DIESEL) TAXI CLATTERING ALONG.

P: (V.O.) The outskirts of Glastonbury. Loads of people here for the winter solstice. Druids, flower power people, Wiccans, Pagans and just civilians.

P: Here's a passage from one of your books. "When traveling across the Tor the liege man may take the direct way and will find it short and easy. But the wrongdoer will take the long way, and may be taken down into the underworld."

: The Tor isn't vast. There's a path straight to the top. What could 'the long way' be?

SINGH: Doubtless just a metaphor.

(DIESEL) TAXI COMES TO A HALT.

DRIVER: Here you are gents, this is the hotel.

SINGH: Very good.

SINGH HANDS OVER SOME MONEY.

DRIVER: Thank you sir. Let me give you a hand with the luggaage.

SINGH, P AND THE DRIVER GET OUT.

 

SCENE 18. EXT. OUTSIDE THE HOTEL, CONTINUOUS

A BUSY STREET. TAXI IDLING. DRIVER PICKS UP SOME LUGGAGE AND CARRIES IT.

P: Thank you. It's busy here isn't it?

DRIVER: They're likely here for some festival, there's always a ritual going on.

P AVOIDS A PASSERBY.

P: Ooops. Excuse me.

DRUID 1: Joy and blessings.

WICCAN: Blessed be.

P: Uh right.

P, SINGH AND THE DRIVER WALK TO THE HOTEL AND ENTER.

SCENE 19. INT. INSIDE THE HOTEL, CONTINUOUS

THEY APPROACH RECEPTION, AND RING A BELL. THE RECEPTIONIST ARRIVES.

RECEPTIONIST: Welcome to Glastonbury.

SINGH: Thank you. I booked yesterday, name of Singh.

RECEPTIONIST: Ah ... yes. Rooms 101 and 301. Just up the stairs, or there's a lift just over there. When you've settled in we are still serving afternoon tea in the restaurant. Here are your keys.

DRIVER: I'll give you a hand with the cases.

RECEPTIONIST: Enjoy your stay.

SCENE 20. INT. RESTAURANT. SOON AFTER

A QUIET RESTAURANT

WAITRESS: What can I get for you?

SINGH: Do you have any ginger tea?

WAITRESS: I'm afraid we don't. You could get some at one of the alternative shops.

SINGH: Can I have a Darjeeling with a slice of lemon.

P: Just a cup of tea please.

WAITRESS: Thank you.

SHE WALKS OFF

P: There's enough time for us to check out the Tor, look for the entrance.

SINGH: The logical place would be at the base or perhaps right at the top.

P: In the step pyramid the entrance was actually half way up the side, then there's a stairway down to the burial chambers . I've done some calculations.

SINGH: Calculations? You have? On your own?

P: It's not too hard once you get into it. The shortest day of the year was considered to be extremely important. Assuming the entrance lines up with the solstice sun, and it's the same angle as the step pyramid, I've calculated where it should be.

SINGH: Rather large assumptions.

P: May as well give it a try.

SINGH: Well it's just up the road. We'll have our tea then have a look, shall we?

SCENE 21.EXT. GLASTONBURY TOR. SHORTLY AFTER

P AND SING ARE SLIGHTLY OUT OF BREATH WITH CLIMBING.

P: It's quite impressive.

SINGH: Indeed.

NEARBY FOOTSTEPS.

P: Apparently they call it the Isle of Glass.

SINGH: In ancient times when the fields were flooded, I suppose it could have looked very tranquil, like a piece of glass.

THE OTHER FOOTSTEPS STOP.

DRUID 1: Well met again. Greetings and felicitations to you both. I feel that I must speak. That is not why it is called the Isle of Glass.

P: No?

DRUID 1: Have you heard of the Fata Morgana?

SINGH: Of course.

P: What's that?

DRUID 1: It's an extremely rare optical illusion, but manifests often here, if you see the Tor from a distance.

P: What happens?

DRUID 1: A second Tor appears hanging in the air, slightly smaller, but upside down.

P: Like in a mirror.

DRUID 1: That's it. All to do with temperature inversions. There will be a mist tonight, the Tor will be at it's most beautiful...

P: Thank you.

DRUID 1: ... and it's most dangerous. Beware young man . According to our lore, the Tor is designed to catch spirits passing in the mist.

P: I shall attend.

DRUID 1: It may be that our meeting was not by chance.

SINGH: May God preserve you.

DRUID 1: I respect your beliefs. May you gain the bounty of the Earth Mother.

DRUID 1 LEAVES.

P: (Quietly) The entrance should be somewhere over there. Let's have a really good look.

FADE OUT

 

SCENE 22. INT. THE RESTAURANT. LATER

THEY ARE EATING.

P: Well maybe I did the calculations wrong.

SINGH: That was a big assumption about the Winter Solstice.

P: Did you hear what the guy said about the mist?

SINGH: I believe 'the guy' was a Druid. What was it that he said?

P: "The Tor is designed to catch spirits passing in the mist."

SINGH: (to waitress) Miss, can we have some more tea?

P: It must mean something, The stuff in the books, and the Druid's stuff. The Tor is thought to be able to trap spirits.

SINGH: It probably just means that it captures people's hearts.

P: In the mist?

THE WAITRESS ARRIVES WITH THE TEA, PLACES ONE CUP DOWN

WAITRESS: The ginger tea for you, sir?

SINGH: That's it, thank you.

SINGH STIRS HIS TEA

WAITRESS: Your tea sir.

THE WAITRESS PUTS THE OTHER TEA DOWN.

P: Thank you.

P: (V.O.) I watched Singh stirring his tea. He started in the middle then spiraled out to the edges. I watched the steam rise.

P: (BEAT) That's it. "The long way" is a labyrinth, a spiral labyrinth. And what is it that you can see in the mist?

SINGH: What?

P: The breath.

SINGH: Breath? You mean your own breath?

P: It's misty now, let's go.

 

SCENE 23. EXT. GLASTONBURY TOR. DUSK.

P AND SINGH ARE WALKING. THEY PAUSE.

P: It was stunning before, but It looks distinctly other-worldly in the mist.

SINGH: Which is surprisingly thick.

P: The base is about here. We'll start to ascend in a long spiral, winding round and round.

SINGH: I've read something of this supposed labyrinth. It has it's own, rather more complex lay out.

P: As there are no proper walls, we can follow a spiral.

THEY RESUME WALKING.

P: (V.O.) We walk on for over an hour, alone on the Tor. What is it that we're looking for? Then I see it, and I know that we have found it.

P: There! You see it?

THEY STOP WALKING.

SINGH:: I can see ... something.

P: (V.O.) In the heavy mist, it looked as though a small patch of the ground was 'steaming'.

THEY WALK ON SLOWLY, THEN STOP.

P: (V.O.) The grass looked just like the rest. I stuck in a small trowel I had liberated from the hotel, ( TROWEL DIGGING ) and after a couple of inches came on some loose rocks and stones.

SINGH: You may have found something. Do you think it's this entrance that you're looking for?

P:: Yeah. Looks like that's it. Smells stale, old. And that hole is kinda small.

TROWEL STOPS. P CATCHES HIS BREATH AND SITS BACK

P: (V.O.) I looked into the hole with my torch. It was about hip width as far as the light reached. I looked at him. He wasn't in the best of health, there was no way he would make it. He looked back at me.

SINGH: You just sit here. I'll go back to the hotel and get some help.

P: (V.O.) And he was off before I could reply. After twenty feet he had disappeared into the mist.