Wellington 24 (NHB Modern Plays) (eBook)

ACT ONE

Scene One: Fuselage

A busy factory floor full of WOMEN at work in brown overalls, curlers and headscarves. Everyone has a job to do. The voice of a CANADIAN OFFICER speaks. [His lines are direct transcript from the original short film (see References). You have the option of lifting the original audio from that short film should the director wish. The stage can remain as busy or quiet as wanted, with workers all doing their part.]

OFFICER. This is a bomber factory in Britain. The workers have arranged with their management and their joint production committee to build a bomber in the record time of thirty hours and they asked us to make a film record of it.

While some people cultivate victory gardens in their leisure hours, the people of this factory build bombers in their spare time. We went along with our cameras to try and keep pace with this record-breaking attempt. It was quite a job.

So one Saturday morning not so long ago, we had our cameras in position when the workers arrived at the factory.

Enter RUTH and EILEEN carrying two sections of fuselage. They’re interrupted by one of the many JOURNALISTS buzzing about the busy factory floor. RUTH loves to chat and, with her pristine make-up and rollers, she isn’t shy of a camera. EILEEN is quite the opposite and very serious about her work.

JOURNALIST 1. Would you like to tell us a bit about yourself?

RUTH. ME?

RUTH drops the framework, taken aback by their interest. An annoyed EILEEN carts it off.

Not much to tell really! I’m a hard grafter, keen to help – worked in a make-up factory before all o’ this. So if you’ve ever worn pressed powder, there’s a good chance I’m the one what pressed it!

JOURNO 1. My goodness! And now you’re –

RUTH. I’m a jigger. Well that’s not the word for it. I’m a – I lay the framework, on the bombers… So if you’ve ever flown a bomber, there’s a good chance I’m the one been putting it together!

…Funny that!

JOURNO 1. And your name? For the paper?

RUTH. Ruth Digby. Miss Ruth Digby.

JOURNO 1. Thank you, Miss Digby.

RUTH. I’ll find you later, sunshine.

She gets back to work, proud of herself. The CANADIAN OFFICER speaks again.

OFFICER. Everybody had the feeling of ‘well here we go’, so we all took a deep breath and got set for thirty hours of non-stop real hard work.

BONNIE, the foremost matriarch of the operation, walks across the factory floor.

JOURNO 2. May we get a quick line? For the Evening Leader?

BONNIE. Course! How’s this? Get out of my way, we’ve a record to break. Bonnie Simmons. S-I-M-M-O-N-S. You can quote me if you like.

OFFICER. The clock strikes nine and the record-breaking attempt begins. Two sections of the fuselage are carried in.

EILEEN crosses the factory floor carrying a riveter.

The dark girl with the riveter there is Eileen Daphne who used to work in a rayon factory. One of her brothers was killed in the naval action a little while back.

The fuselage parts are assembled in big frames they call jigs. These volunteer workers are giving the bonus they’re earning today to the Red Cross Aid to Russia Fund and they are out to break that thirty-hour record they have set themselves.

The WOMEN commence work. A few straggling JOURNALISTS desperate for their pull quote. Flashes of old cameras.

JOURNO 3. Miss – madame! Anything to say to the boys at war?

FACTORY GIRL. Yeah, tell ’em they’d better not crash this one – we’re working bloody hard on it!

Another GIRL slaps her hard across the arm.

JOURNO 1. What of doing a man’s work? What will your husbands think?

FG. Dunno, never had one. Why? You offering?

A few of the GIRLS laugh. A JOURNALIST chases a FACTORY GIRL.

JOURNO 4. Think you can really do this then? Break the record?

FG. Why couldn’t we?

JOURNO 4. Lot of heaving lifting, darling. Wouldn’t like to think of you putting your back out.

FG. Carry on like that and I’ll put yours out for you.

BONNIE. Everything okay here?

JOURNO 4. Just admiring your work!

The JOURNALIST walks away.

FG. I don’t like all this, Bonnie, feels like a bloody parade!

BONNIE. Smile for the cameras, girls!

FG. Will when I’ve something to smile about!

Another JOURNALIST pesters a FACTORY GIRL.

JOURNO 2. So, madame!

FG. Miss.

JOURNO. We’re all dying to know – how are you going to do it?

How on earth do you make a bomber fly in just one night and day?

FG. Dunno – we haven’t bloody done it yet!

FG. All this talking doesn’t help!

A few of the GIRLS laugh, mocking the JOURNALIST. The sounds of the factory floor seem to begin a rhythm.

You hear that?

FG. What did he say?

FG. How on earth do you make a bomber fly!

FG. In just one day and one night!

FG. How do we make a bomber fly?

FG. In just one night and day?

They laugh, imitating the JOURNALIST. All of the WOMEN are starting to talk over each other – there can be improvised shouts and jokes over the following dialogue. It should all feel natural.

The atmosphere on the factory floor changes, from busy to joyous. The excitement is bubbling. A working song begins. Yips and cheers from the GIRLS morph into a song which should feel as if it has formed organically, as though this is a song they often sing.

‘How Do You Make a Bomber Fly’

WOMEN.
Tell me how do you make a bomber fly,
In just one day

And just one night

Tell me how do you make a bomber fly

In just one night and day

Fix the jig into the rig

A strong jig, a sturdy jig

That’s how you make a bomber fly

In just one night and day

Fix the pit to the jig

And the jig to the rig

A strong jig, a sturdy jig

That’s how you make a bomber fly

In just one night and day

Fix the box to the pit

And the pit to the jig

And the jig to the rig

A strong jig, a sturdy jig

That’s how you make a bomber fly

In just one night and day

Fix the wires to the box

And the box to the pit

And the pit to the jig

And the jig to the rig

A strong jig, a sturdy jig

And that’s how you make a bomber fly

In just one night and day

Fix the blades to the wires

And the wires to the box

And the box to the pit

And the pit to the jig

And the jig to the rig

A strong jig, a sturdy jig

And that’s how you make a bomber fly

In just one night and day

Fix the wings to the blades

And the blades to the wires

And the wires to the box

And the box to the pit

And the pit to the jig

And the jig to the rig

A strong jig, a sturdy jig

And that’s how you make a bomber fly

In just one night and day

Fix the shell to the wings

And the wings to the blades

And the blades to the wires

And the wires to the box

And the box to the pit

And the pit to the jig

And the jig to the rig

A strong jig, a sturdy jig

And that’s how you make a bomber fly

In just one night and day

Put the skin on the shell

Fix the shell to the wings

And the wings to the blades

And the blades to the wires

And the wires to the box

And the box to the pit

And the pit to the jig

And the jig to the rig

A strong jig, a sturdy jig

And that’s how you make the bomber fly

In just one night and day

Put the paint on the skin

And the skin on the shell

Fix the shell to the wings

And the wings to the blades

And the blades to the wires

And the wires to the box

And the box to the pit

And the pit to the jig

And the jig to the rig

A strong jig, a sturdy jig

And that’s how you make a bomber fly

In just one night and day!

The song finishes with yips and laughs from the WOMEN.

BONNIE. Right, I want my factory floor clear – if you ain’t working get lost. If you are working get going. If you’re filming or what have you – just stay out the bleedin’ way.

RUTH and EILEEN are crossing the factory floor with another large piece of fuselage.

RUTH. Both his legs. Just like that! Gone from the knee. Poor lad might just as well have been at war.

EILEEN. At least he’s alive.

RUTH. What a waste – bloody good...