SCRIPT EXTRACT ONLY
THE BALLAD OF JOHNNY WALFORD
or A Quantock Tragedy
TREATMENT by Ralph Hoyte 2004
“John Walford was a young charcoal burner of Over Stowey, a village set in
the Quantock Hills of Somerset. A stalwart and prepossessing young man,
he became engaged to Ann Rice, the local miller’s daughter, and all the
villagers approved what promised to be a happy country romance.
Unluckily the couple became estranged and they parted.
Walford’s occupation as a charcoal burner used to take him from home for
several nights at a stretch when he would sleep rough in a hut on the hills
above Stowey near the wood fires which he tended throughout the night.
During one of these expeditions he became acquainted with a young
woman from the village. She was described as “a poor, stupid girl, almost
an idiot, slovenly in dress and ordinary in person, yet possessing a
considerable degree of natural craftiness” (sic). Walford later declared that
he was pestered by this ‘pathetic creature’ before he yielded to her
‘importunity’. In a few months he was obliged to marry her and maintain
their child.
For a time they appeared to live together fairly happily, but secretly
Walford was finding life with this ‘half-witted creature’ unbearable
(alternative versions have her taunting him with the mess he’d made of his
life by marrying her).
One evening the two of them went to fetch some cider from the Castle of
Comfort, a small village inn. On the way, according to Walford’s last
confession, a quarrel broke out between them and he could no longer
contain his suppressed anger and resentment at the tragic hash he had
made of his life. He struck her a violent blow and then seeing that she lay
motionless at his feet realized with horror that he had killed her …”
The account goes on to detail John’s unsuccessful attempts to get rid of
the body, his capture and sentencing (at which “even the judge broke
down in tears at his predicament”), his tearful farewell to ‘his true love’ –
Ann Rice – and his hanging.
This Somerset tragedy caught the attention of Wordsworth, it having
occurred just a few years before he moved to the nearby small country
house of Alfoxton to be near his friend Coleridge (there was another love
triangle going on there involving Dorothy Wordsworth). Wordsworth wrote a
poem on the tragedy which was never finished, perhaps because the poet
decided it was too harsh a subject for verse, and the Wordsworth family
decided that it should remain unpublished. The tragedy caught my
attention because of its pathos; because ‘Wordsworth couldn’t write it’ and I
can; because, despite having happened in 1797, it invokes very modern
themes of love, death, sexual desire, inevitability and despair; and because
it is set in the heart of the South West, in these strange, mysterious hills
called the Quantocks, hills which are not high, which are totally accessible
from the Motorway system, yet somehow ‘offset’ both geographically and in
feeling from 21st century England.
‘The Ballad of Johnny Walford’ is played out in two time zones with 3
characters in the present (2004) and the same 3 in the past (1797). They
are the modern Ann -, John Walford, and Ada -; and the historical Ann
Rice, John Walford, and Jane Shorney (who I have renamed ‘Ada’).
The two time zones are indicated by the ‘feel’ of the sets. I sometimes wish
to ‘blur’ the timeframe. I am certainly not looking for ‘period authenticity’,
but for intended and unintended anachronisms (eg. Ada in 1797 shoots
John with a semi-automatic pistol). There is no need for expensive and
impossible ‘authentic re-creations’.
‘The Ballad of Johnny Walford’ : PLOT
John (literally) bumps into Ada in a bar. He’s an item with Ann, but has lost
his job and works away from home weeks. He’s not ‘looking for nooky’ but
there’s something about Ada (maybe it’s her body mods, maybe it’s her
attitude) and they end up in bed together. She kills him (or does she? or
has this taken place in the past? or is this going to take place?) and/or he
kills her (who kills whom?). The thing with Ann implodes, either as a result
of Ada and/or for other reasons. Body-mod’d Ada is acting increasingly
strangely – and is pregnant. John realizes he’s made a mistake and wants
Ann back – but she’s not having it. And there’s Ada and the child. John’s in
the retort glass and we’re watching him squirm. Ada knows John wants out
– and back to Ann. She wants John, too. Ann for her is a symbol of petit-
bourgeois respectability which she hates (perhaps because that’s what she
wants). One evening things come to a head. John kills Ada and his child.
He is tried, sentenced and hanged on a gibbet at Walford’s Gibbet. His
body is left to rot in an iron cage suspended on the gibbet. The body
remains suspended from the gibbet for exactly twelve months from the date
he had committed the murder. On that very day what is left falls to the
ground and, by common consent, is buried 10 feet down under the gibbet.
It is there to this very day.
THE BALLAD OF JOHNNY WALFORD
or A Quantock Tragedy
by
Ralph Hoyte
DRAFT: SAMPLE ONLY: 15 PAGES
May 2004
SC1. INT. YOUNG TRENDY NOISY BAR – NIGHT
[JOHN (PRESENT) IS A STALWART, PREPOSSESSING YOUNG MAN OF
23. HE IS DRINKING WITH HIS MATES. ADA (PRESENT) IS 19. SHE ‘S
SPIKY, WITH BODY MODS. SHE’S DRINKING WITH HER MATES. JOHN
HAS JUST BOUGHT A ROUND AND IS CARRYING DRINKS BACK. HE
BUMPS INTO ADA AND SPILLS DRINK ON HER]
JOHN:
Whoops, sorry.
ADA:
Watch it, jerk!
JOHN:
I didn’t mean -
[LOOKS AT HER. ADA CURLS HER LIP]
JOHN:
- to
ADA:
Fuck off.
JOHN
Look, I’ll –
ADA:
I said ‘fuck off’, jerk-face.
[TURNS AWAY TO HER FRIENDS]
JOHN:
I’ve lost my job and I’m getting married.
[YOU CAN TELL FROM THE ANGLE OF HER HEAD/SHOULDER THAT
SHE’S REGISTERED THIS, BUT SHE DOESN’T RESPOND]
SC2. EXT. QUANTOCKS – DAY
[JOHN (PAST) IS PLAYED BY SAME ACTOR. ADA (PAST) IS PLAYED BY
SAME ACTOR AS ADA IN THE PRESENT]
[JOHN AND ADA ARE DRESSED IN PERIOD COSTUME – RURAL – BUT
PERIOD AUTHENTICITY IS OTHERWISE NOT SOUGHT. ANACHRONISMS
WELCOMED]
[COLOUR PALETTE IS THE VERDANT GREENS OF HIGH QUANTOCK
MOOR, WHITES AND BEIGES OF JOHN AND ADA’S CLOTHES]
[SILENT FILM: CAMERA PANS VERY SLOWLY OVER SCENE. THEN
OVER DEAD WOMAN’S DITCH. JUST GREEN-BANKED UNEVEN DITCH
WITH STRAGGLY GROWTH OF WIND-RAVAGED SILVER BIRCH
(ACTUALLY NEOLITHIC WALLED ENCLOSURE). FLEETING GLIMPSE OF
SOMETHING IN DITCH. CAMERA CONTINUES, COMES BACK AGAIN]
[SLIGHTLY LONGER FLEETING GLIMPSE]
[SCENE FLASHES ON AND OFF IN STROBE-LIKE EFFECT TILL IT
SETTLES DOWN. THERE’S A WOMAN LYING IN THE DITCH. SHE’S
POORLY BUT NEATLY DRESSED, LOOKS PERFECT. IS SHE ALIVE /
DEAD / SLEEPING? CAMERA ‘WALKS’ AROUND HER. THERE’S
SOMETHING WRONG ABOUT HER POSITION]
[ADA. SHE’S DEAD]
[AS CAMERA PANS OVER HER, HER HEAD SWIVELS – DESPITE BEING
DEAD – ROBOT-LIKE, UNNATURALLY. SHE OPENS HER EYES AND
LOOKS DIRECTLY AT CAMERA]
[PAUSE]
[SUDDENLY SHE JERKS UPRIGHT LIKE A PUPPET ON A STRING.
CAMERA ZOOMS INTO HER EYES, WE BECOME LOST IN HER DEAD
EYES]
[FLASHBACK, BUT RUN IN REVERSE: NIGHT: A MAN IS DRAGGING HER
TO THE DITCH AND DUMPING HER IN, THEN RUNNING OFF]
[ZOOM OUT OF EYES. RETURN TO ADA SITTING STIFFLY UPRIGHT IN
DITCH LOOKING AT SOMETHING. WE TRACK HER GAZE – A MAN IS
STRIDING OFF OVER THE FIELD. SHE PUTS HER HANDS TO HER
MOUTH AND YELLS (SILENT!) BUT HE DOESN’T RESPOND. HE’S
DISAPPEARING INTO A COPSE. SHE JERKS TO HER FEET]
[CUT IN NATURAL SOUNDS OF LOCATION IE BIRD NOISES, WIND,
TREES]
[ADA HITCHES HER SKIRTS UP AND RUNS JERKILY, FRANTICALLY
AFTER MAN OVER THE LUSH HIGH MOOR]
SC3.INT/EXT. VILLAGE SPAR SUPERMARKET – DAY
[ANN IS 23, YOUNG, PROFESSIONAL, WELL DONE-OUT WOMAN;
WORKS IN A BUILDING SOCIETY]
[JOHN (PRESENT) AND ANN ARE SHOPPING. THEY ARE OBVIOUSLY
INTIMATE. ANN IS CARRYING A SHOPPING BASKET WITH SUGARPUFFS,
MILK AND CAT FOOD]
ANN
Toilet paper –
JOHN
Here – locally-produced charcoal from sustainable sources. [READS
FROM PACKAGE] “The wood in this product comes from well-managed
forests, independently certified in accordance –“
ANN
Ye OK, barbeque’d be nice. Stick it in. No – too heavy. You carry it.
[THEY CONTINUE DOWN AISLE]
ANN
I’m sure it used to be here somewhere. Why do supermarkets shift things
around? Where is it, Johnny? Go fetch!
JOHN
[DOES WILLING RETRIEVER THING INCLUDING HANGING-OUT TONGUE
AND PANTING] Arf arf …
[GOES OFF. REAPPEARS WITH TOILET PAPER]
JOHN
Pink, yellow or sick? I got sick.
[AHEAD OF THEM THERE’S A CUT FLOWER STAND. JOHN PUTS DOWN
CHARCOAL AND TAKES A BUNCH OF ARTIFICIALLY BEAUTIFUL
FLOWERS GROWN IN HOTHOUSES IN KENYA OUT AND LOOKS
MUSINGLY AT THEM]
ANN
[CONSULTING SHOPPING LIST] Kitchen roll.
JOHN
Platform 9, I believe. Just go through the wall and take the Hogwart’s
Express.
[SUDDENLY THRUSTS FLOWERS AT HER]
JOHN
Here.
ANN
What?
[AMBIGUOUS REACTION]
ANN
Mm…
JOHN
I know I’ll be away a lot, but –
ANN
So it’s flowers, then. Don’t forget the charcoal.
JOHN
Mrs Walford …
ANN
[INCREDULOUS] What?
JOHN
With these flowers I do thee wed. Marry me.
ANN
[TESTINGLY] John?
[JOHN DOES THE ‘FRIENDS’ ACTOR-LY MOUTH AND HAND THING]
[ANN CAN’T DECIDE WHETHER HE’S WINDING HER UP OR NOT]
ANN
White or puce –
JOHN
Vindaloo. I’m asking you to marry me.
ANN
Uh – [BLINKS AND IS OBVIOUSLY FLUMMOXED]
[THEY HAVE ‘A MOMENT’]
JOHN
[YELLS] OK! Don’t then!
[HE STOMPS OUT OF STORE AND HEADS OFF UP STREET]
ANN
[TO HERSELF] Kitchen roll. Oh dear. Ohhh dear. Ann … Rice. Mrs …
[VACILLATES]
ANN
Where’s my shopping list? He’s gone off with my shopping list!
[RUSHES TO TILL]
[TO TILLPERSON]
ANN
Here, hang on to these for a sec, will you – I – I forgot to get any money.
Be right back.
[BELTS OUT OF DOOR, RUNS INTO STREET. UP STREET]
ANN
[YELLS AFTER HIS RETREATING BACK] John! The shopping list! Oh fuck
it –
ANN
[SHOUTS AFTER HIM] Yes!
[HER ‘YES’ ECHOES OFF THE BUILDINGS AS THE CAMERA SOARS AND
CIRCLES]
SC4.INT. ADA’S BEDROOM – EARLY MORNING
[SUN STREAMING THROUGH BLINDS. ADA CURLED UP NEXT TO JOHN]
[SHE OPENS ONE EYE, SNAPS OPEN OTHER IN SUDDEN FLASH OF
SHOCK. CLOSES BOTH EYES. GRIMACES, HAND UP TO EYES,
SQUEEZES EYES. OPENS BOTH EYES]
[JOHN OPENS BOTH EYES AT SAME TIME. THEY STARE AT EACH
OTHER IN INCOMPREHENSION]
[ADA TURNS AWAY, SLIDES TO EDGE OF BED. SITS ON EDGE AND
LIGHTS UP. SUN THROUGH CIGARETTE SMOKE]
JOHN:
Um –
[ADA DOESN’T RESPOND, JUST BLOWS SMOKE NOISILY]
[BIG FAT CAT APPEARS ROUND CORNER, RUBBING HIMSELF AGAINST
DOOR JAMB]
ADA:
[INTAKE OF BREATH] Fat Kitty! Fat Kitty!
[STUBS OUT CIGGY, CRAWLS TOWARDS CAT MAKING WELCOMING
NOISES, PICKS HIM UP AND CUDDLES HIM]
JOHN:
I like your –
ADA:
Don’t!
JOHN:
I just –
ADA:
Out! [POINTS TO DOOR]
JOHN:
Now just a minute!
[ADA GETS UP, CAT DANGLING FROM ONE HAND, MOVES PURPOSELY
TO DRAWER. PULLS IT OPEN. HER HAND GOES IN, COMES OUT WITH
9MM SEMI-AUTOMATIC PISTOL]
ADA:
Now!
JOHN:
You, you –
[GUN GOES OFF. SCREEN GOES BLANK]
SC5. EXT. QUANTOCKS – DAY
[NATURAL SOUNDS OF LOCATION IE QUANTOCK BIRD NOISES, WIND,
TREES. THEN SILENT!]
[ADA IS RUNNING FRANTICALLY AFTER MAN. CAMERA ZOOMS IN TO
HER POCKET. ONE HAND IS IN HER POCKET. SHE PULLS OUT SAME
9MM SEMI-AUTOMATIC PISTOL AS IN 3. ]
[LONG SHOT: WE WATCH HER CATCHING UP WITH MAN]
[SLO-MO CLOSE-UP OF HER HAND COMING OUT OF POCKET WITH
GUN. JUMP BACK TO LONG SHOT. WE GET SOUND AGAIN]
SFX: [OF GUN GOING OFF]
SC6. INT. YOUNG TRENDY NOISY BAR – NIGHT
[REPEAT OF 1.]
[YOUNG TRENDY NOISY BAR]
[JOHN IS DRINKING WITH HIS MATES, ADA WITH HERS]
[JOHN HAS JUST BOUGHT A ROUND AND IS CARRYING DRINKS BACK]
[BUMPS INTO ADA AND SPILLS DRINK ON HER]
JOHN
Whoops, sorry.
ADA
[CONVERSATIONALLY] Did you know I have 2 half sleeves? Left arm is
traditional Sailor Jerry style, right arm is Japanese style; Celtic Artwork on
my tummy, a Full Tribal backpiece that extends from my shoulders to my
arse, left nipple and a lizard tat on my left hip?
JOHN
You don’t say.
ADA
I do say.
[SHE STARTS HUMMING TO HERSELF. GETS UP AND LANGUIDLY
UNBUTTONS HER BLOUSE, LETS IT DROP TO HER WAIST TO SHOW
OF HER BODY MODS. PIROUETTES. WHOLE BAR SILENT. THEN
SOMEBODY WHISTLES. ADA PULLS UP AND TUCKS IN HER BLOUSE
AGAIN]
ADA
Catch!
[SHE FLIPS JOHN A COIN FOR THE JUKEBOX]
[HE SIDLES OVER TO PUT IT IN. JERKS HEAD AT ADA TO ASK WHICH
DISC]
ADA
Old skool punk, hip hop, organic techno. Mm - 80's glam rock, Elvis; classic
rock. [HE PUTS COIN IN JUKEBOX AND 18thc COUNTRY DANCE BLARES
OUT] [ADDRESSES JOHN] 18th century trad. Mmm - may I have the
pleasure, sirrah?
JOHN
No, I insist. The pleasure is all mine
[MOVES TO HER, CUSTOMERS MOVE TO MAKE SPACE]
ADA
La, Sir, Thou art most bold –
[THEY DO TRADITIONAL COUNTRY DANCE OF THE PERIOD]
SC7. EXT. QUANTOCKS – LATE SUMMER’S DAY
[SLOW, ATMOSPHERIC, SOFT-EDGED]
[ENGLISH BUCOLIC IDYLL]
[JOHN AND ANN – OR IS IT JOHN AND ADA? WE ARE NOT SURE: SOME
OF THE LONGER SHOTS LOOK AS IF SHE MIGHT BE WEARING 18c
CLOTHING. THEY ARE STROLLING ARM IN ARM THROUGH THE
COMBES AND SOFT-ROLLING CURVES OF THE QUANTOCKS: AWE-
INSPIRING CATHEDRALS OF GREAT OLD BEECHES, BREATH-TAKING
SWEEP OF DISTANT VIEWS OF THE BRISTOL CHANNEL, THE GREAT
RISE AND FALL OF EXMOOR TO THE WEST, THE LEGEND-HAUNTED
WETLANDS OF SEDGEMOOR TO THE NORTH-EAST]
[THE TWO DESCEND FROM HILLS, POSE IN TRADITIONAL STYLE AT
TRADITIONAL STILE WITH CORNFIELD AND VIEW OF BRISTOL
CHANNEL IN BACKGROUND, GET OVER STILE AND DISAPPEAR INTO
CORNFIELD]
SC8. EXT. QUANTOCKS – LATE SUMMER’S DAY
[JOHN IS LYING ON HIGH MOOR, LIMBS AKIMBER. BLOOD SPATTERED.
GREAT OOZING DARK HOLE WHERE HIS HEART USED TO BE]
[ADA IS STANDING NEXT TO HIS BODY. ONE FOOT ON CORPSE]
ADA
[THEATRICALLY BLOWS SMOKE OFF END OF GUN AS IN ALL THE
WESTERNS] So the old cow wanted ya, did she?
[YELLS AT EDGE OF MOOR]
ADA
Ann! Come n’ geddim!
[WAITS, LISTENING]
ADA
One fine n’ upstanding young man waiting up here for ya!
[CUPS HANDS TO MOUTH]
ADA
A-a-ann! Come n’ geddim!
[WAITS, LISTENING]
ADA
Cow, cow, cow! You – oh!
[DOES LITTLE JUMP OF FRUSTRATION, KICKS CORPSE]
ADA
Bloody geddup, you. Fuck me again. I said fuck me again! Ohhhh…
[SHE LIFTS HER DRESS AND SHOWS HER SWOLLEN BELLY TO THE
CORPSE]
ADA
See this ‘ere? Johnny, see this ‘ere? You’re MINE! ‘Ere’s the proof. MINE!
Geddit? An’ you know how that got in ‘ere?
[SHE FRANTICALLY PULLS AT JOHN’S BREECHES, EXPOSING HIM. SHE
STRADDLES HIM, RIDES HIM, COMES WITH A GREAT SHRIEK. CLOSES
HER EYES AND SLUMPS]
ADA
Like that. Oh Johnny, Johnny.
[SHE OPENS HER EYES. SHE’S BLOOD-SPATTERED. LOOKS
DIRECTLY AT ANN WHO’S STANDING NEXT TO THEM]
- TBC –