REMEMBRANCE DAY

FRED MANNERING, 65, HAS DEMENTIA.  AT THIS MOMENT HE IS DANCING. HE DOES A WALTZ AND THEN STOPS, BEFORE STARTING A TANGO. HE IS DANCING ON HIS OWN.

FRED   Come on, Annie, come on. You can do better than this. Come on.

"ANNIE" OBVIOUSLY STUMBLES.

FRED   Now, Annie dear, what have I told you? Nice and easy, no need to panic. Now then, let's start again, eh?

FRED AND "ANNIE" GET IT RIGHT THIS TIME, AND COMPLETE THE DANCE.

FRED   You did it, Annie, you did it! That's my girl.

DOCTOR JACK SLOPE, MID 30'S, IS A KINDLY, BUT PROFESSIONAL MAN. HE LOOKS ON HALF PITYINGLY AT THE CRYING WOMAN IN HIS OFFICE, JULIA MANNERING, AND EXCHANGES A GLANCE WITH A NURSE, WHO SHOVES A BOX OF TISSUES IN FRONT OF HER.

JULIA    Sorry, sorry, I'm being silly. I'm sorry. It's just -

SHE BRAKES DOWN AGAIN. THE NURSE, AMELIA, WAVERS BY THE DOORWAY.

AMELIA   Should I make some tea?

JACK   Yes. Yes - I think that's a good idea. Now, Miss Mannering, Miss -

JULIA    Yes! Yes, I'm listening. Sorry.

JACK   I appreciate your position, I really really do. But you must understand that there is nothing I can do - you knew this was going to happen. You both did.

JULIA   I just didn't realise that it would mean forgetting me. He's my Dad; we've done so much together. But now he can't remember that I'm his daughter.

JACK   Yes, yes, I do understand. It must be very difficult. But it doesn't mean that he doesn't love you, he just -

AMELIA   Here's your tea, Miss Mannering. Did you want sugar?

JULIA   No, thank you.

FRED LOOKS AROUND FEARFULLY. HE DOESN'T KNOW WHAT TO MAKE OF HIS SURROUNDINGS, HE CASTS ABOUT WEARILY.

FRED   Where was I now? Annie? Annie, dear! What's this?

HE PICKS UP THE REMOTE CONTROL FOR THE TV AND EXAMINES IT, PRESSING BUTTONS AT RANDOM.

FRED   What does this do?

HE PRESSES A BUTTON AND THE TV FLASHES ON, VOLUME BLARING OUT AT HIM. HE CRIES OUT, DROPPING THE REMOTE IN SHOCK.

FRED   How do I turn it off? How do I - Annie! Annie, I need you! Annie!

JACK SIGHS AND CROSSES TOWARDS JULIA, WHO GAZES AT HIM WEARILY.

JACK   I don't know how to make this easier for you. Maybe you should go for some counselling, I have some numbers -

JULIA   I'm not mad.

JACK   No, grief counselling, that sort of thing.

JULIA   He's not dead.

JACK   Sorry, it's not like that. You're just under a lot of stress, I'm just suggesting that there's someone who can help you better than I am doing now.

JULIA   You might as well.

JACK   I'm sorry?

JULIA   You might as well refer me, because there's nothing else you can do, that's all. I should be off; I've got stuff to do.

JACK    I hope I've been some help.

JULIA   Yes, thank you. Sorry, I left half the tea.

AMELIA   That's alright, don't worry. I suggest you go home and relax, put your feet up - that sort of thing.

JULIA   I'll do that.

SHE EXITS. JACK MAKES A SYMPATHETIC NOISE, PICKS UP SOME PAPERS AND PREPARES TO LEAVE.

JACK   Right, well, I've a meeting now, so would you mind just filing these away for me? It would be a great help.

AMELIA   Alright.

JACK EXITS.

NURSE    Filing was not the reason I came into medicine, but it seems to be the only thing I do around here - expect make tea and offer biscuits. I hate that woman; Julia Mannering. Well, no, I don't hate her; I hate the case, I hate how she comes in, cries and then leaves. Every time I see her coming in all I can think is "here we go again..." And then I hate myself for hating her. It's not her fault. Her Dad has dementia; he's forgotten that she exists. She's been with him for thirty five years and now, in the matter of one, she's wiped from his memory. She looks at him, and still sees her Dad, but he looks at her and sees a stranger. I can't imagine how she feels. It must be horrible.

FRED    That's my Annie; she's my wife. Mine, can you believe it? I'm this ugly old thing and she's there, dapper as anything. I don't think I'd ever dreamt of getting someone like her. We're both twenty, we married last month. I love her. She's beautiful, like the sun setting over a river - that's because she has orange hair. Such a beautiful colour - orange. I close my eyes that's all I can see. She's not in right now; you know all those things woman get up to.

He sits down. There's a beat and then;

FRED   Where am I? I don't remember - I can't - 

She's dead. My Annie's dead, and I'm all alone. He starts to cry, piteously. Oh, Annie. You've gone and now I'm in this place, I don't even know where it is. I think it's a hospital. I'm not ill though - I'm not. I need you Annie, I need you. Annie, please, please come back to me.

JULIA   When he was diagnosed, I went onto the internet and researched Dementia. I remember reading it and thinking that all of this couldn't ever happen to my Dad. I always thought he was strong, made of iron, handled anything that was thrown at him coolly and without a fuss. That's how he took the news, when the doctor told him. He shrugged and said "Me old noggin deserves a rest anyhow." But it's not like that. At the moment it's like his brains constantly working, trying to make sense of what's happening to him. I wonder sometimes whether underneath the madness he can see it, that he knows that he's falling apart. I know he'd hate it, if he can. That's the very worst part of it all.

JULIA NOW ENTERS INTO THE SITTING ROOM, WHERE FRED IS NOW SAT STARING WILDLY AROUND. HE SEES JULIA BUT DOES NOT RECOGNISE HER, IGNORING HER PRESENCE.

JULIA   Hello, Dad. It's me.

He looks at her.

FRED    Where am I? Do you know where we are? I think we must be in a hospital, but no one's telling me anything. Have you seen Annie?

JULIA   No, no, I haven't seen her.

FRED   Oh.

JULIA   I'm going to make some tea, would you like some?

FRED   Are you a nurse?

JULIA   No. Would you like some tea?

FRED   Tea? Alright, then. You're not bad looking, you know. As my Annie isn't here, what do you say that you and I have some -?

JULIA   Tea it is then. You just sit down and relax, Dad.

FRED   I'm not your Dad.

JULIA   But -

FRED   I think you are mixing me up with someone else, love. Try the next room.

JULIA   Fine. I will, thank you. I'm going to make some tea, would you like some?

FRED    Thought you'd never ask - well, go on!

JULIA GOES OUT OF THE ROOM. FRED LAUGHS AND THEN STARTS TO LOOK ABOUT ONCE MORE, INVESTIGATING THE CUPBOARDS AND EVEN LOOKING UNDER THE SOFA. HE IS TRYING TO FIND OUT WHERE HE IS. JULIA COMES BACK IN.

JULIA   Dad! What are you doing there?

FRED   I told you, I'm not your Dad.

JULIA   Sorry. It must be my memory.

FRED   He speaks half to himself, and partly to Julia. I pride myself on having a particularly good memory, I do. You ask me, absolutely anything, I'll know it. I loved school, I could tell you a few stories about my school days I could. But you look a posh bird any-road, so you probably went to one of those fancy boarding schools?

JULIA   No, I went to the local one.

FRED   Ah, I'm a great believer in the national system, I am.

JULIA    Fondly. I know you are.

FRED   Suspiciously. How did you know?

JULIA   I just -

FRED   You've been spying on me; you are one of those nurses!

JULIA   I'm not a nurse. I live here.

FRED   And where's here?

JULIA   Bewildered. Your house. I live with you; I've always lived with you.

FRED   Who are you again?

JULIA    That's the kettle, it's just boiled.

FRED   Oh, making some tea? Could I have a cuppa?

JULIA RUSHES OUT, HAND OVER HER MOUTH - SHE IS TRYING TO STOP HERSELF FROM CRYING. FRED LOOKS MYSTIFIED AND THEN SITS BACK DOWN; LOOKING AROUND WITH AN AIR OF INTEREST NOW, NOT FEAR.

FRED    My house, eh? I have done well.

SCENE 2

FRED IS NOW 20 AND IT IS 1962. HE IS SKULKING OUTSIDE A HAT SHOP, GLANCING INSIDE EVERY SO OFTEN.

ANNIE STEPS OUT OF THE SHOP, CARRYING HER SHOPPING AND A HAT BOX. FRED STEPS OUT TO REVEAL HIMSELF AND SHE BUMPS STRAIGHT INTO HIM AND DROP THE BOX IN SHOCK.

FRED   I'm sorry. I sorry. I didn't mean -

ANNIE   Don't worry about it.

FRED   Here let me help you with that.

ANNIE   It's quite alright.

FRED    No, please, I'd like to help. Let me take something.

ANNIE    Oh, alright then. You can take this one, it's not the heaviest but it's got the tinned stuff in so it's a bit awkward.

FRED   My name's Fred Mannering, what's yours?

ANNIE   Annie Greggs.

FRED   Where do you want me to take this to? Going home?

ANNIE   That's right. Getting tired already?

FRED   No! I was just wondering...

ANNIE    It's alright, I live three streets away - you know, near that pub, the Queen's Arms? Ooooh, my Ma will kill me for telling you that. I'm not meant to talk to strangers.

FRED   Bit old for that, aren't you?

ANNIE   Well, that's what I say too. But she won't listen.

FRED    To the audience   I've been watching her for weeks, you know, just looking. I like her hair, the way it shimmers in the light. I dreamt what she'll be like, and now I know that we were meant to be. I'll never forget Annie, never in my whole life. Life wouldn't be worth living without her, now that I've talked to her and all.

Returning to Annie; So then, The Queen's arms, tonight, for a drink?

ANNIE   Alright then, you're on. Though don't let my Ma know, or I'm dead already.

THEY EXIT.

AMELIA IS WORKING, JACK COMES UP BEHIND HER AND SHE JUMPS UP, FALLING INTO HIS ARMS - THEY KISS. JULIA WATCHES AS THE OLDER FRED CRIES LIKE A CHILD ON HER SOFA. FRED (YOUNGER) AND ANNIE WALK IN, ARM IN ARM, LAUGHING AT A JOKE THAT FRED'S JUST TOLD.

ANNIE   Well I've had a grand night. I hope we can do this again.

FRED   So do I. Did you really enjoy it, you're not just being nice?

ANNIE   Honestly, I've had more fun in the last few hours than I have for years.

FRED   I'm glad.

THEY WAVER TOWARDS EACH, NEARLY KISSING AND THEN DRAWING BACK.

THEY TALK HURRIEDLY AND AT THE SAME TIME;

FRED   Well, I had lots of fun too. I like that pub - maybe we should try somewhere else next time? I'll take you dancing.

ANNIE    Look at the time, I had no idea it was so late. I should be off. My ma will be frantic already. Dancing, yes, I like dancing! I look forward to it.

FRED AND ANNIE   Goodnight.

SCENE 3

AMELIA AND JACK BREAK AWAY FROM EACH OTHER.

JACK    Amelia - I need to talk to you about something.

AMELIA   What?

JACK   We've been seeing each other for over a year now.  I think - I just feel -Well - when thinking about your financial situation and my social position, I think it is time that you and I got married.

AMELIA   What?

JACK   I just asked you -

AMELIA   I know what you asked. I can't believe you would even consider it. Don't you know me at all?

JACK   Of course I do. I want to marry you. Look - Mr White is retiring next year and I could have a chance at becoming leading director, Amelia.

AMELIA   How could you presume that I would marry you just so you can enhance your position, and how dare you threaten me on my financial means. I thought you loved me, Jack.

JACK    I thought you would want to marry me.  

AMELIA   Not if the only reason you asked is so that you can have more friends.

JACK    I think you've misunderstood. I only meant that I could be in a better position for marriage if - She interupts angrily.

AMELIA   What is there to not understand, Jack? You want me to marry you, just so you can have more friends. I always knew you were pompous, but I didn't know you would actually stoop to this.

CK    You don't understand - you've got it all wrong -

AMELIA   Don't waste your breath.

SHE PUSHES PAST HIM AND LEAVES THE ROOM.

JACK    Oh, bugger....

HE SITS DOWN AND PUTS HIS HEAD IN HIS ARMS.

SCENE 4

FRED IS NOW SAT BY JULIA. HE IS LOOKING AT PHOTO ALBUMS, OF HIS WEDDING DAY.

FRED   Annie looked beautiful, she really did. I stood there, at the top of that church, and when she entered I remember thinking that I'd come to the wrong wedding.

JULIA   How old were you?

FRED   20 years old, still a young nipper. Plain ignorant and silly, we were, thinking we were invincible, could go anywhere and achieve anything we liked. Ah, I'll never forget it. Have you ever got married?

JULIA   No. I thought a man was going to propose once, but he never did. Turned out he was cheating on me; some blonde from marketing.

FRED   Never mind; probably just as well. Your beautiful too, you know, look a lot like my Annie, now I come to think of it. Any man to turn you down was a fool.

JULIA STARTS TO CRY A LITTLE.

JULIA   Thank you.

FRED   Here, don't cry. Come here now. That's it.

THEY HUG EACH OTHER.

FRED   You need to go and speak to your Ma or Pa about this. You need to share your feelings to someone close, not to an old idiot like me. Who's your Dad? Would I know him?

JULIA   No. You wouldn't know him.

FRED   Sorry, my memories gone a bit haywire at the moment; are you my nurse? What's your name again?

JULIA   Julia.

FRED   If I had had a daughter, I would have called her Julia. Julia Mannering. It sounds so right, don't you think.  I would of liked a daughter, just like you. If I had had the chance. If only I had had that chance.

JULIA   I've got to - I have to - I'm sorry...

JULIA RUSHES OUT, TRYING TO HOLD BACK THE TEARS THAT KEEP COMING. FRED WATCHES HER GO, SURPRISED, BUT THEN GOES BACK TO THE SOFA.

IT IS 1965. FRED IS PACING AGITATEDLY OUTSIDE THE DOCTORS ROOM IN THE HOSPITAL. ANNIE COMES OUT AFTER TALKING TO THE DOCTORS.

FRED   Annie dear - is it? Are you - ?

ANNIE   Yes. We're going to have a baby, Fred. 

FRED   Yes! Oh Annie, I'm so proud of you.

THEY EMBRACE, FRED TWIRLING ANNIE ROUND OFF HER FEET. THEY'RE SHOUTING AND LAUGHING WITH HAPPINESS.

ANNIE   If it's a boy, can we call him Robert, like my Father?

FRED    If it's a girl, can we call her Julia? I love that name, Annie.

ANNIE   I love you, Fred.

JULIA FACES THE AUDIENCE, PLEADING FOR THE ANSWERS TO HER QUESTIONS.

JULIA   Why can't he remember me? Tell me, please. I need to know. I love him, so very much. Why can't he love me anymore? Mum! Mum, please! I need you, Mum! Please; someone, anyone. (To one member of the audience); What would you do? Why are you just sat there, watching this. I need help, and you sit there in that seat without a care. (Turning away with a wail); Oh Mum! I need you now, more than ever before. You should be here, helping me. Mum, Mum, Mum. Please!

END OF ACT ONE