Made in Dagenham

'Made in Dagenham'
By
William Ivory
Keep On Running By The Spencer Davis Group, thunders over

titles and1
EXT. ESTATE IN DAGENHAM - DAY
RITA OGRADY and her husband EDDIE, both late twenties,

step onto the balcony of a flat on a massive housing
estate in East London. With them are their two children,
GRAHAM and SHARON.
They kiss the kids goodbye as another man, also in blue
overalls, emerges from the flats, clambers onto a bike
and sets off down the car-less streets. Rita and Eddie
grab their own bikes, and ride off into an ever
broadening stream of people.
2
EXT. ESTATE - DAY
On another part of the estate, a much

SANDRA, emerges from a flat, waves to
balcony above and hops onto her bike.
the white patent leather boots she is
balance something of a challenge.
3
younger woman,
her mum on a
She wobbles off,
wearing make
INT. ESTATE - DAY
Sandra filters in with the great tide of cyclists pouring

from the Estate beneath the baking sun. We see them from
high above. Sandra spots Eddie and Rita, calls out and
speeds up to join them.
4
INT. FORD MAIN PLANT - DAY

The tide has become a flood as more and more cyclists
freewheel through town and down a hill towards a massive
industrial complex with a blue neon sign above it: FORD
MOTORS.
As they approach the factory, the cyclists diverge, men
one way, women the other. Several people stop and kiss at
the point of divergence, including Eddie and Rita. Then
he pushes off towards the Main Plant, brand new and state
of the art while she turns her bike towards a crumbling
nineteen twenties monolith the River Plant. We follow
Rita, as she cycles between the blackened, paint peeled
buildings to a series of bike racks, There, along with
Sandra, Eileen, Brenda and Monica, she dismounts and
glancing at the hot sun, passes into the factory. MUSIC
FADES. CREDITS END. ACROSS THISDAGENHAM. ENGLAND. MAY 1968
10.08.09 ORANGE REVISIONS
1A
INT. RIVER PLANT - DAY
On the shop floor, a cramped, filthy, windowless place,

chatter and laughter rings out. The girls, nearly 200 of
them, roll down their overalls and tie the arms off in
front of them, revealing bras or camisoles. And as Rita
enters and moves to her bench, we drop to floor level and
see that nearly all of the women have now removed their
shoes. As Rita, threading up her sewing machine, wipes a
bead of sweat away from her face, we understand why: the
place is an oven! Rita grabs a box of vinyl pieces as
Eileen walks past, revealing a ferocious wired bra.
RITA
Bloody hell, Eileen, you got more support
there than the ArsenalEileen makes to retort but is interrupted by a the sound
of a hooter. Almost at once there is the noise of a
generator engaging and then a staggering cacophony as 200
sewing machines start to clatter away. Talk impossible,
the women get down to work.
Rita pulls several pieces from the box beside her and
picks up a car headrest frame. She arranges the vinyl
around the frame and starts to machine it into place. It
is hugely intricate but nevertheless she sews at
breathtaking speed and quickly completes the first item.
She places it on a trolley behind her and grabs the next
frame.
6
EXT. DAGENHAM HIGH STREET - DAY
Silence. The street is utterly deserted. And we see how

bare, how basic, how unlike the Swinging Sixties, is
Dagenham. And then, we see a lone figure, CONNIE, late
forties, cycling towards the plant as fast as she can.
7
Rita curses. One of her nails is chipped. She wipes sweat

away again and resumes her work at a ferocious speed,
finishing another headrest. As she reaches for the next
frame, Connie enters, flusteredCONNIE
Sorry Im lateRITA
(smiles; shouts)
Everything alright?
Connie looks across from threading her machine.
CONNIE
Yeah. Just overslept.
Connie takes off her shoes, places a washing up bowl of
water on the floor and stands in it. Then she turns to
her machine, hassled. But, suddenly, something drops from
above with a thud. Connie jumps, startled. It is a dead
bird, entangled in cotton threads. Already theres
laughter from those who saw the near miss. Connie tenses;
staring at the animal on her work bench with a steely
expression. Shes not in the mood. Instantly, more
laughter.
BRENDA
Least it didnt shit on you. They do that
sometimes. Fore they die.
Connie picks up the bird and marches to the bin with it.
Rita looks to the rafters where hundreds of other birds
hang dead. She then turns back to Connie, trying not to
laugh, as she arrives at her place. But immediately, the
hooter sounds again and the power to the machines is
switched off. The girls start to make themselves decentALBERT
Ladies...If I could just interrupt you a
secondRita looks to the far doorway. There, a man in his late
fifties, in blue overalls, waits, staring at the floor,
in a well practised manoeuvre. This is ALBERT FINCHAM.
RITA
Stand by your beds, men!
The girls laugh but all around there is also a hubbub of
excited chatter as they complete getting dressed. Connie,
however, hurries down the aisles and shunts the girls
forward.
CONNIE
Come on! Hurry upThe noise levels have risen considerably.
CONNIE (CONTD)
Get down the frontShe claps her hands and shouts to the back rowsCONNIE (CONTD)
Girls(turns; shouts)
In you come, AlbertHe enters and walks to the front. Connie moves across and
stands by Alberts side, facing the girls. He leans into
her.
ALBERT
Thank you, ConnieAlbert climbs onto a bench and the noise rises
accordingly. Voices are calling out: Whats happening,
then? What they decided? Albert struggles to speak over
the top.
ALBERT (CONTD)
Yeah. Alright...Hang on. Ill...If youd
just shut up a minute!
(They quieten)
(MORE)

ALBERT (CONTD)
Right, well...to quote Winston Churchill
himself: it aint the end. It aint even
the beginnin of the end. But it may well
be the end of the beg-
BRENDA
Albert, for fucks sake, get on with itThe women laugh. Several call out.
ALBERT
Please! Ladies! Im doin me best here-
3A
A shout that hes lovely when hes cross. Albert sags but
gradually, the girls are quiet. He nods, relieved.
ALBERT (CONTD)
Thank you...
(clears throat)
So...The deadline we set the management,
to respond to our complaint about how
theyve re-graded you...unskilled...has now passed.
(voices shout; serious this
time)
And they still aint got back to us(louder cries)
Which means!...you gotta vote! On the
threat we made in that original
communiqu: an immediate ban on all
overtime and a one day stoppage - to
happen on the 29th of May.
(silence. Eileen glances at
Rita, nervously)
All them for industrial action: hands up.
Ritas determined face. Her arm goes straight up. She
looks round. All of the other hands are up, too.
ALBERT (CONT'D)
Against?
(no one)
Thank you. 187 to nil. Im seein the
management first thing tomorrow mornin.
Ill inform em of your decision.
A stunned moment, then as Albert steps down, a huge cheer
and applause as and the women break into groups, talking
excitedly. Eileen grabs Rita.
EILEEN
We done it!
Rita looks nervous, too.
RITA
First time for everything...
BRENDA
Fuck em. Thats what I say. Every other
bugger round here goes on strike. Why
shouldnt we?
RITA
Yeah. Just...maybe dont put it like that
if you get interviewed by David Frost,
eh?
Everyone laughs and the girls return to their benches,

still chattering furiously. In the doorway, Albert
watches the women going back to their positions. A young
lad, BRIAN, passes by, sweeping the corridor. Albert
looks to him, indicating the girls.
ALBERT
I fought Rommel, you know. I was never
once scared like I am when I go in there.
The hooter sounds and the machines start up again.
Immediately the door slides shut, just as the girls begin
to disrobe.
8
INT. DAGENHAM DOCK CLUB - EVENING

The sports and social club has been decorated with
streamers and balloons. Young Girl by Gary Puckett plays
on a large portable record player, perched on the stage
at one end of the room. However, the dark suits and knee
length skirts of the packed dance floor bring to mind the
nineteen fifties, not the sixties.
The joint is jumping, nevertheless. And standing at a
corner table, Rita throws down a large gin before rushing
back to Eddie, caught in the thick of the dancing. Close
to him is Connie, with GEORGE, her husband, a couple of
years younger, angular and handsome, moving stiffly. Also
nearby are Eileen and Dave. Eddie spins Rita rather too
vigorously and she nearly goes over, laughing, as he
grabs her again. Then, suddenly, the music stops and
everyone is plunged into near darkness. Moans and
complaints from the floor as a Dave runs towards the
record player.
DAVE
Alright! Hold your horsesEILEEN
(to Dave)
This happens every timeMore shouts of derision.
CONNIE
He puts the wrong fuse in. I keep tellin
himThen suddenly a piano sounds out. Heads spin towards the
back of the room where the older folk are gathered.
RITA
Oh, God! Give him half a chance and hes
in there-
Albert is playing MY OLD MAN. The oldsters immediately

start singing along, to groans from the youngsters.
RITA (CONTD)
-Bleedin LiberaceBut then, the power is back on and Rita puts the record
player on again, drowning out Albert. Its Sandie Shaws,
Always Something There To Remind Me. A big cheer. Rita
and the others start dancing. She looks across to a
peeved Albert and winks at him. Hes not amused. Eddie
leans inEDDIE
Here, wheres Brenda gone?
Rita looks uneasy. She shrugs. Eddie nods and whisks her
off again.
9
INT. CAR - EVENING
A man grunts and thrusts. Hes having sex, eyes shut,

across the back seat of his motor. Beneath him, Brenda
stares at a tear along the seam of the front passenger
seat. The man opens his eyes and finally stops thrusting.
At last Brenda looks at him.
BRENDA
Your trim. Thatll be hangin right off
in a day or two, that will...
(points to tear on seam)
And I bet I know the girl what sowed it,
nall.
(nods, smugly. He is stunned)
Go on, then. Chop chop. Or well miss the
buffet.
He hesitates, then goes for it anyway. Brenda, head
rocking, looks back to the edge of the seat: typical.
10
INT. DAGENHAM DOCK CLUB - EVENING

Empty glasses are placed on a tray.
RITA
Right! Who wants another? George? Youre
finishedGEORGE
Naah. Be up all nightCONNIE
Go on! Let your hair down.
10
He relents. Connie pushes her own across.

CONNIE (CONTD)
Same again for me, ta!
Rita smiles, just as a figure lurches into her.
SANDRA
Whos next, then?
Sandra, in a much shorter skirt than the others, also
with a bee hive hair-do, wears a sash which says 21 TODAY
and sways alarmingly.
EDDIE
You sure you dont wanna sit down five
minutes, Sandra?
SANDRA
Youre jokin...
CONNIE
What about some food...?
(to Eileen)
She wont eat nothin...
(to Sandra)
Theres Scotch eggsSANDRA
(to Rita)
Ill have a snowball...Come on, George.
You aint tripped the whatsit with me
yet, have you?
She weaves back onto the floor and is soon involved in
something very sixties and very unstable. Rita watches
her, then looks back to George uneasily. He starts to
move, but its an effortALBERT (V.O.)
Do you mind, George...If I have this
one...?
They turn; Albert is staring across at Sandra; he bends
to one side, limbering up. Rita smiles at Alberts
gesture. He turns to Connie.
ALBERT (CONTD)
Like to keep me hand in...Jitterbug,
Twist. All them...
He takes a deep breath and prepares to stride outRITA
Yeah, well, dont overdo it...
(Albert turns to her)
Give yourself an heart attack...We need
you tomorrow10.08.09 ORANGE REVISIONS
Albert tuts, piqued. Then he strides out onto the floor.

Rita smiles.
11
EXT. DOCK CLUB - NIGHT
11
Sandra sways. Then Dave and Eileen take her by either arm
and set off, to escort her home. Finally, Rita and Eddie
are left alone in the still night air. Rita takes a deep,
contented breath. Then she kisses Eddie on the mouth.
EDDIE
What was that for?
RITA
Nothin. Like you. Thats all...
He is staring at her in wonder. And lust. He tries to
grab her.
EDDIE
Come hereRITA
OyShe skips away, laughing.
EDDIE
Ri-ta!
She turns and looks back at him.
RITA
Not out in the streetShe grins and runs off. He chases after her. She easily
keeps her distance.
EDDIE
Oh, youre better than that, are you!
RITA
Yes, I am, actually.
Then she goes over on one of her high heels. They laugh
together.
12
INT. RITAS HOUSE, KITCHEN - DAY

A big screaming guitar solo from Creams Crossroads- And
Rita re-tunes the radio, exhaling heavily. She feels
dreadful.
12
She settles on Born Free by Matt Monroe, then takes a

drag on a fag, finishes ironing a shirt and moves across
to a cooker where she removes a pan of beans from the
heat. She spoons them onto three plates, eggs and bacon
already in place, then pauses again, feeling sick. Rita
places the plates on the table. In front of Sharon, her
daughter (8) who is reading a comic. Graham, their eleven
year old son enters, still in his pyjamas.
RITA
Graham...Youre gonna be lateGRAHAM
I dont feel very well...
Rita frowns, crosses and feels Grahams forehead.
RITA
Youre not hot.
GRAHAM
Its me stomach.
Its said very quickly. Then he tucks into his breakfast.
Rita watches and frowns. Graham eats with the fork in his
left hand, his right, clenched. She takes it. He resists
but Rita fixes him with her gaze and he unclenches his
fist as she turns it over. His palm has angry red wields
across it. Rita is shocked.
GRAHAM (CONT'D)
I never done nothin(she looks him right in the
eye)
Honest.
She stares. Nods. Its enough.
RITA
Mr Clarke again?
He looks uncertain.
GRAHAM
Yeah.
Rita holds her temper. Just.
RITA
Have your breakfast and go and get
dressed(he makes to speak)
Ill deal with it...Itll be fine.
She says it with utter conviction. He nods, relieved.
13
10
INT. RITAS HOUSE, BEDROOM - DAY
13
Rita pulls back the sheets on their bed.

RITA
Oy! Lover boy!
Eddie lies face down on the bed. He wears nylon pyjama
bottoms. He moans.
EDDIE
Clear off. Im dyin.
RITA
Were all dyin. And we all gotta go to
work...Clean shirtShe drapes it over him. And walks to the door. She looks
back. He hasnt moved. She crosses, removes the shirt and
tips a bedside glass of water over his back. He yelps,
leaps up and she walks out.
14
EXT. FACTORY - DAY
14
As clouds gather, the men (and only men) go about their

business outside. GORDON, late twenties, drives a
motorised trolley cart, full of completed seats. They
load brand new, shining Ford cars onto transporters. But
then, a crack of thunder and it starts to rain15
INT. FACTORY FLOOR - DAY
15
The thunder of the factory. The women work in silence.

Sweat drips from Ritas face and she wipes her brow with
her sleeve. Shes moving with her usual speed, but with
something else, too; aggression, as she yanks hard at the
cotton threads she must cut off from around the
headrests. Then there is a moan. She turns. Connie has
stopped work and glugs from a bottle of Lucozade.
CONNIE
Never again, I swear.
Beside Connie, Eileen re-applies a cold flannel to the
back of her neck and Brenda downs a pint of milk. But
suddenly, spots of water are dripping through the roof.
CONNIE (CONTD)
OhShe looks up and grabs an umbrella which she wedges above
her station.
BRENDA
Alley-bloody-lujah10.08.09 ORANGE REVISIONS
11
Brenda and several other girls step right under the rain,
to cool down. Eileen turns to Connie.
EILEEN
Youll go mad, takin that up and
down...Its showers all day!
CONNIE
I dont care...Its dangerous. Water and
electrics...Innit?
BRENDA
What you talkin about? Youre standin
in a bowl of the bloody stuff!
Rita smiles, then sees Sandra who is ashen white,
hurriedly place a headrest on the DONE trolley, just as
its pushed away. Rita frowns and grabs the item as the
trolley is wheeled behind her. She inspects it.
RITA
Con!....Connie!
(Connie turns)
Sandras at it again(indicates a tear)
Youre gonna have to say somethinSandra, who blows bubble gum, sees Rita looking and
waves. Rita shouts.
RITA (CONT'D)
Dont wave you silly cow, Im moanin
about you...
Rita removes her own item, in order to repair Sandras
work. Then she looks back to Connie.
RITA (CONT'D)
We cant keep coverin for her.
(Connie looks worried)
Theyre gonna find out, Con. And then
theyll give her the boot.
CONNIE
Ill have a word.
ALBERT (O.S.)
Connie...Con!She turns. Albert, wearing a suit and union badge, stands
directly in front of them, beaming.
CONNIE
Albert.
Then, her eyes indicate the slip she is wearing. And all
of the other half dressed girls, too.
12
ALBERT
Oh, Christ!
He looks down, averting his gaze. Rita, grinning, calls
out.
RITA
Maaaaaaaa-n!
The hooter sounds and power is turned off to the benches
as the girls dress. But noise remains; excited chatter
filling the air. When Albert looks up the whole shop
floor has shoved around Connies bench.
CONNIE
You were sayin?
ALBERT
(instant smile again)
Meeting tomorrow. Ford headquarters. Down
at Warley!
The girls all glance at one another, stunned.
CONNIE
Youre jokinALBERT
(posh voice)
The machinists? The machinists are
threatening strike action... They
couldnt believe it!
(Chatter breaks out on the
floor. Albert leans in)
Right. Theyll have Hopkins there. Jones.
And Grant...Hes a right miserable sod.
Which means we need one more.
(Eileen frowns)
Little principle I learnt in the war,
Eileen: success in battle is very simple.
Turn up with more on your side than
theyve got on theirs and turn up when
theyre least expectin it.
(back to Connie)
In this case were booked in for two
thirty, so well get there at half
one...Monty Taylorll come from Union
head office, I make two, youre three, so(smiles; looks round)
-whos gonna be the extra man? Any
takers?
And instantly all noise has stopped. The girls stare back
at Albert uncertainly. He tuts, disappointed. He looks to
Brenda.
13
BRENDA
Fuck off!
ALBERT
Oh, come on...Its a day offAll hands go up in the air. Several people call out, too.
Albert looks over the rows of faces, just as stymied as
before. But then he notices Rita. Their gazes lock again.
And he smiles.
16
EXT. RIVER PLANT - DAY
16
Rita wipes down her bench and tosses the off cuttings and
threads in a bin. The women are done for the day. She
hurries towards the exit. But her way is suddenly
blocked, as a forklift truck tows in a massive trailer
load of dismantled, un-upholstered seats.
CONNIE
What you doin with them?
GORDON
This new Escort. Looks like they finally
designed something people like.
The driver jumps down, unhooking the load.
BRENDA
Well they can get fucked! Weve had our
vote! We aint doin no overtime!
GORDON
Yeah, you took the plunge at last...
He doesnt re-connect the trailer but climbs on board the
forklift, anyway, scoffing:
GORDON (CONTD)
Me and the boys was sayin: wedve gone
on strike years ago; just havin to turn
up in a pig hole like this! You know its
rainin in here, dont you?
And he drives off. The women stare at the seats, suddenly
aware of what they are doing. Rita, frustrated by the
delay, leans in to Connie.
RITA
Ill see you tomorrowCONNIE
Rita-
14
RITA (O.S.)
I gotta go!
And she has. Connie hesitates. Then she looks to the
girls and walks out. They follow her. Soon all that
remains are the seats, un-touched.
17
INT. WOMEN'S LOCKER ROOM- DAY
17
Rita is down to her underwear, already in high heels. She

slides a pencil skirt on, toppling against the cubicle
wallRITA
ChristThen she grabs a topThen she pulls on a top, runs in front of a mirror,
checks her teeth and is off18
EXT. STREET - DAY
18
Its stopped raining as Rita slides through a puddle on

her bike and stops. She jumps off and leans it against a
brick wall. She straightens her blouse and immediately
curses: one stocking is smeared with splashed up dirt.
She considers her options, then, glancing round, removes
it. Then the other one. Then she hurries round a corner
and approaches the Thomas A Becket Grammar School. It is
much leafier here and cars can be seen for the very first
time, most parked near the waiting mothers, gathered at
the gate. As Rita strides towards them, short skirted,
shapely legged, several women turn to look at her. Rita
stiffens slightly. A bell rings and the school starts to
let out.
19
INT. CLASSROOM - DAY
19
A teacher, fifties, cleans a blackboard as Rita enters

the classroom.
RITA
Mr Clarke?
(he turns)
I wondered if I could have a word?
He considers her.
TEACHER
Of courseHe motions to a chair. Rita hesitates; its a pupils and
rather small. She sits anyway. He smiles.
15
TEACHER (CONTD)
How may I help you?
His tone is clipped, Empire. Rita stares at the man.
There is no easy way. FinallyRITA
You hit my son.
He frowns, confused. But Rita, hearing it said, feels
stronger. And more angry.
RITA (CONTD)
On his hand. You caned him. And it aint
the first time.
TEACHER
Ah. Yes. OGrady...I remember.
He smiles; not the slightest hint of remorse. Rita is
wrong footed. He crosses the roomTEACHER (CONTD)
Forgot his protractor. And it isnt the
first time...
He nonchalantly collects some books. Rita flaresRITA
I dont care whether its the tenth time!
I dont want you doin it!
She stops; knows shes lost her temper but she holds his
gaze, nonetheless. He simply smiles, calmly.
TEACHER
Have you spoken to your husband about
this, Mrs OGrady?
RITA
(surprised)
What?...No...ITEACHER
I do find where matters of discipline are
concerned, thats usually the best routeRITA
Hes my son!
Again she flinches inwardly. But again he seems calm.
TEACHER
You live on the estate dont you?
Rita is confused but also on guard now-
16
RITA
I dont see whatTEACHER
We find that those boys who come to us
from the estate often have difficulty in
adjusting to the standards of behaviour
required in a school like this...Its not
really their fault. Their parents have
invariably never undergone the full
rigours of academic lifeHe looks at her quizzically. And now Rita struggles to
hold his gaze. The teacher continues, pleased.
TEACHER (CONTD)
So the boys can hardly look to them for
guidance...
Rita tries to keep her expression neutral.
TEACHER (CONTD)
But they do adapt...In time...And Im
sure your son will, too. If hes just
given the chance.
He smiles, comes across and holds out his hand to shake.
Rita stares at it, utterly shocked.
20
INT. SCHOOL - DAY
20
Rita walks blindly away from the classroom, turns down a

corridor and stops. Ahead is a dead end. She quickly
retraces her steps, passing back round the corner.
Another woman, LISA, waits outside the classroom now. She
turns to face Rita. She is of a similar age, thin, and
impeccably dressed in expensive high street fashion. She
frowns, sensing Ritas distress.
LISA
Are you alright?
She speaks with a posh voice. Rita trembles.
RITA
Fuck off!
Then Rita barges past her.
21
EXT. HIGH STREET/NEW KIOSK- DAY

Rita is shaking, upset and angry. She fumbles in her bag
but her packet of fags is empty.
21
16A
She walks towards a News Kiosk and steps to the front of

a small queue.
RITA
Ten John Player, please.
(hands across money)
Ta.
She looks down. A few magazines are laid out on top of a
tressel table. One of them is Vogue. Its cover shows
Jean Shrimpton with short, slicked down hair and panda
eyes: the sixties of popular memory. The byline reads:
ALL CHANGE. Rita picks it up.
RITA (CONT'D)
And this, thank you.
She stands tall as she passes it over.
17
22
OMITTED
22
23
INT. RITAS HOUSE - NIGHT
23
TV pictures of The Prague Spring. A Czech student drops a

flower down the barrel of a soldiers gun.
ANNOUNCER
Russia said it was monitoring the
situation closelyAudio fades.
RITA (O.S.)
Teas ready...
Sharon looks round from the telly. Rita stands by the
door, a tea towel in her hands. Eddie is dozing on the
sofa and starts to rouse himself. Graham is at a table by
the wall where he is doing his homework. He turns and
Rita smiles at him.
RITA (CONTD)
Alright? Need any help?
GRAHAM
Naah. Its easy.
He packs his stuff up. Rita looks at him guiltily. But
then he turns suddenly and sees her staring.
GRAHAM (CONTD)
Whats up?
RITA
Nothin...Youre a good lad. Thats all.
18
She ducks away from his gaze and moves to the TV. We see
that it is now showing an episode of The Magic
Roundabout; Sharon has turned over. But Rita switches
off.
SHARON
Aw, mumRita steps back into the kitchen. Eddie picks Sharon up
as he passes her. She giggles.
SHARON (CONT'D)
Here, Dad, Martine Clarkes got colour. I
seen it24
INT. KITCHEN - NIGHT
24
They start to sit round the table.

EDDIE
Yeah, well, well have colour soon. Once
you can rent emRita looks to Eddie who takes up his knife and fork.
RITA
Eddie...We cant go talkin about colour.
We aint paid for the fridge yet. And the
three piece is still on tick.
(he frowns; so?)
And now we got all this unrest at work.
EDDIE
(realising; laughing)
That! You had a vote, Rita. Unrests when
you actually come out and strike!
Ritas face falls and Eddie looks immediately guilty.
EDDIE (CONTD)
Hey, come on! Dont look like that. Im
only jokin...Im proud of you. We all
are...Stickin to your guns...We had a
book goin on the shop floor: no one
thought youd even take the vote. So(nods positively)
Well done!
Sharon smiles at her mother, too. Rita looks from her,
back to Eddie. She isnt sure quite how to take the
comment and finally she shrugs.
19
RITA
Well...It aint just a vote now. We got a
meetin tomorrow. With all the
bosses...And Im goin.
Her family stare back, stunned. She avoids eye contact.
RITA (CONTD)
So...Ill plate your tea up, in the
mornin. Then if Im a bit late back,
youll just need to heat it through.
Eddie nods relieved. And Rita feels suddenly piqued.
RITA (CONTD)
Apparently we go to a Berni Inn. On our
way there.
She takes a mouthful of her own food, still looking at
Eddie, a twinkle in her eyes.
24A
EXT. BERNI INN - DAY
24A
We see Connie, Rita, Albert and Monty enter the Berni

Inn.
25
INT. BERNI INN - DAY
25
Red velour and a deep blue carpet. And in a far corner of

the restaurant, Rita and Connie, facing Albert and Monty
around a table. The two men wear dark suits, Rita and
Connie smart dresses; both have their hair set. Monty
reaches across and pours more Blue Nun into a wine glass
beside his empty pint pot. Then he carries on talking to
Albert in hushed tones. Rita finishes a slice of Black
Forest gateaux and moans with delight.
CONNIE
Its alright, innit?
RITA
And that steak...
CONNIE
(whispering)
Its Monty, insists we come here, you
know...Long as the unions payin...
Rita smiles. Just as Monty leans across.
MONTY
Here, Rita...Word of adviceHe stops; uses the corner of the menu to poke between his
teeth. Rita stares.
MONTY (CONT'D)
-when we get there. Dont be lured in. If
they seem to be askin you a question,
just look at your notebook and Ill have
it. Above all, if I nod, you nod.
19A
20
Albert stares at Rita. She nods. But he keeps his eye on

her. However, Monty waves to a waiterALBERT
Monty?
MONTY
What? Thought wed have one o them
liqueur coffees. Panatella maybeALBERT
Yeah. We could...Its just...If we dont
go now, well end up bein on time.
Monty considers Albert. The waiter arrives.
MONTY
Yeah. Just the bill please.
Albert glances at Rita.
26
INT. FORD HEADQUARTERS, WARLEY - DAY
26
A young secretary rushes about her office.

SECRETARY
I...Im sorry...We werent expecting you
untilShe checks her appointments book. Albert and the others
are crowded around her desk, just inside the office.
ALBERT
Thats quite alright.
SECRETARY
Im not sure Mr HopkinsALBERT
Honestly. Its not a problem. Just let
him know, were here, anyway...At half
past. As arranged.
(She looks confused, then
hurries to an inner door)
And theres four of us. If you need an
extra chair.
Rita smiles slightly, looking to Albert; sly old dog.
27
INT. MEETING ROOM - DAY
27
Now Rita exhales, frustrated. She sits in a dark, hot

room with no windows. It is silent.
21
PETER HOPKINS Fords Head of Industrial Relations, late

thirties, sits beside two other men,GRANT and JONES both
middle aged, facing Monty, Albert, Rita and Connie. Rita
glances at the clock. Four fifteen. A black suited
PENTHOUSE STEWARDESS serves tea and coffee, no one says
thank you except Rita. FinallyGRANT
On a previous occasion, in a free vote,
the girls agreed to the new grading
structureALBERT
They did not agree, however, as to where
they would end up on it. Which is why
were sittin round this table!
Silence again. Rita fidgets.
HOPKINS
Look. I understand what the girls are
saying. I just dont think that they
appreciateMONTY
Id rather you didnt speak for the
girls, Mr Hopkins...None of us here knows
whats in their heads.
That comment makes Rita look across. She turns to Connie.
Her eyes are firmly on her note pad still.
HOPKINS
The fact remains, there is a formal
grievance procedure already in place. And
the machinists case will be heard. What
we cant do, is let them jump the queue(Rita frowns)
-or every other Ford employee who is
waiting on a decision, will want our
blood!
MONTY
Peter. Look...You know me. I aint got no
axe to grind with Ford. Am I right or am
I right?
HOPKINS
Youve always been very fair.
MONTY
Exactly...And were all men of the world
soRita looks to Albert. This is getting too much.
22
MONTY (CONTD)
-lets cut to the chase, shall we? Well
agree to re-convene in two weeks timeAlbert stiffens. Rita looks appalled.
ALBERT
Monty?MONTY
Wait. Listen...Well re-convene...and
well come back down here again for the
day...And at that point, youll guarantee
to look into the girls complaint.
ALBERT
The thing is, MontyMONTY
That way...you can go back to your bosses
and say the strikes off, cause of how
you handled todays negotiations...and we
can go back to the girls and say theyre
now your number one priority...In a few
weeks time.
Hopkins glances at the other Ford men; counts to three.
HOPKINS
That seems very fair.
ALBERT
Yeah, well, Im not sure the girlsMONTY
The girlsll be fine! So long as they
know theyre not just gettin fobbed off
by the management: the unionss settin
the terms. Thats what mattersRITA (O.S.)
Bollocks!
All heads turn. And Rita blinks. But its said. And she
means it, she realises. She turnsRITA (CONT'D)
Im sorry Albert but...It is.
Bollocks...Three hours, weve been
sittin here now and(to Monty)
Thats what matters to the girls?
Howre you qualified to talk about what
matters? To us?...
(MORE)
23
RITA (CONT'D)
(looks to Connie who stares
back amazed)
What matters is this-
She reaches into her bag and throws a pile of vinyl

cuttings, of the kind we saw her machine at the start, in
front of Hopkins.
RITA (CONT'D)
There. You put them together(spreads them out)
13 different bits. That makes up an head
rest cover...
GRANT
Ford property, I believeRITA
Oh, get stuffed(to Hopkins; on track)
What matters is that we have to take them
13 different bits of material and imagine
how they fit together...cause there
aint no template...and then we have to
sew em, all free hand, into the finished
article! Same with seat covers and door
trim. And that is not unskilled work.
Which is how youve re-graded us! Christ,
you have to take an exam to get on our
lineHOPKINS
Please, MissRITA
Mrs!...OGrady.
HOPKINS
Mrs OGrady, I understand your grievance.
ButRITA
Oh, no! No, no, no, no...Dont start with
all that again; all that I appreciate, I
sympathise...It aint difficult: were
entitled to semi-skilled. And the wages
what go with it(Hopkins makes to speak)
And!...as regards queue jumpin, we put
this complaint in months ago(Albert is impressed)
-and you done nothin about it. And we
both know why you done nothin nall,
dont we? Cause were women and the
women have never gone on strike. This is
the first time weve even suggested it.
(MORE)
24
RITA (CONT'D)
Which meant you thought you could keep
ignorin us...Well, hard bleedin cheese,
mate, cause its too late now!
Alberts face. And Connies.

RITA (CONT'D)
Were gonna do what we said we would. No
more overtime and an immediate twenty
four hour stoppage. And where it goes
from here, thats up to you. Cause we
only open our gobs when we mean it!
Rita stands. A moment. The others stand too, dazed. The
meeting is clearly over.
28
EXT. FORD HEADQUARTERS, WARLEY - AFTERNOON

Rita drags on a cigarette by Alberts car, an old Ford
Corsair. She looks worried. Connie is with her. She looks
nervous too. The reason is about twenty yards away, by a
phone box: Albert being railed at by Monty. After a
moment Monty storms into the box and dials. Albert walks
back.
ALBERT
Hes calling Branch. Tellin em what you
said.
RITA
(nods)
He seems a bit...
She shrugs, awkwardly. They all look back to the phone
box. Monty rants. Then Albert fixes Rita with a stare and
points a spindly finger. And he grins.
ALBERT
I knew....I knew. Up there(taps head. She frowns)
I wanted clever, Rita. Thats why I
picked you.
(she is stunned)
Bringin them cuttins in, though...that
was magnificent...I didnt expect that:
youd come preparedRITA
Oh, no. No. Grant was right. I was
nickin them...Eddie uses em to patch up
his tent. For when we go campin...
She nods at Albert apologetically. He stares.
28
ALBERT
Yeah. Well...All the same...
24A
25
And he walks off with as much dignity as he can muster.

At the car, he turns. He looks Rita in the eye.
ALBERT (CONTD)
Leave Monty to me.
Rita is wrong footed by Alberts rapid re-focusing.
Connie steps forwardCONNIE
And what about the factory? The girls.
What you gonna say to them?
ALBERT
Im not gonna say anythin, Con. Youre
in charge on the shop floor. Theyre your
business.
He smiles and ducks down into his car. Connie turns to
Rita.
CONNIE
You can speak to em. Its your bloody
fault.
She crosses to the car, too. And we see she is hiding a
smile, too. She clambers into the car. On Rita. Worried.
29
INT. RIVER PLANT - AFTERNOON
29
The girls are all hard at work when the hooter sounds.
Brenda and Eileen start to make themselves decent but
then stop when they see who it is: Rita, standing on a
bench, looking out over them. Connie is beside her, at
ground level. A beat. Rita hesitates, glances to Connie,
then looks back again. She shouts:
RITA
Everybody out!
A huge roar and the women push to the exit.
30
EXT. WESTMINSTER - DAY
30
Big Ben booms out and a new day dawns.

31
INT. BARBARA CASTLES WESTMINSTER OFFICES - DAY

Another pair of bare feet, the stockinged soles of which
scratch an itch beneath a large desk. Then, we see a sign
on the desk: SECRETARY OF STATE FOR EMPLOYMENT AND
PRODUCTIVITY and behind it, the petite figure of a woman
with flame red hair, pouring over a huge pile of manila
files.
31
26
BARBARA CASTLE
Now, I realise this is my first day in
the job...And it may be that Im missing
something hereShe speaks in a thick Lancashire accent which has poshed
up over the years. She looks up and stares at two clean
cut men in their twenties, her undersecretaries, who sit
opposite. Then she stands and walks from behind her desk.
She paces the room.
BARBARA CASTLE (CONTD)
But what I do know, is that when we were
elected two years ago, it was on a wave
of optimism, that the Labour Party would
utilise its close relationship with the
Unions to develop manufacturing industry;
to make it better serve the employer and
the employee
The man glance at each other uncertainly.
UNDERSECRETARY
I think that was part of the manifestoBARBARA CASTLE
It was, trust me.
Her tone is entirely rhetorical. She stares at the men.
Then she looks even more censoriousBARBARA CASTLE (CONTD)
So what exactly have you been doing?
Since nineteen sixty six?
UNDERSECRETARY #2
IBARBARA CASTLE
Two years! This department has had two
years to make a difference. Yet(stops herself)
Well... shall we see whats been achieved
in the last twelve months?
She goes back to her desk; checks notesBARBARA CASTLE (CONTD)
26,000 strikes. In the United Kingdom.
With 5 million working days lost as a
result. Unions and management barely
speaking to each other. Productivity
levels through the floor and our balance
of payments the wrong side of
catastrophic... its hardly the stuff to
set champagne corks popping, is it?
She stops; gathers herself.
BARBARA CASTLE
However, it is my intention
this trend... I have my own
that might be achieved. But
to hear your thoughts...
26aA
(CONTD)
to reverse
ideas as how
now Id like
The men glance at each other.

Dont all shout at once...
(looks them up and down)
Gentlemen.
32
INT. CONNIES HOUSE - DAY
32
The front room of a small terrace; simpler and less plush

than Ritas home. George sits in an armchair by the fire.
He looks pale. The newspaper is folded on his lap. He
blinks, a pronounced tic. And then Connie hurries in from
the kitchen.
CONNIE
Here you goShe carries a fizzy glass of something. She holds it out
to him.
CONNIE (CONTD)
Down in oneHe takes it. But then he doesnt drink it. He places it
on a small table beside him and sits back, picking up the
paper as if she isnt there.
CONNIE (CONTD)
You gotta drink it, George...
He looks at her. Surprised. Zones in again.
GEORGE
Yeah. Sorry...
26A
He downs it; winces.

CONNIE
Its the latest stuff, that.
Its...He...reckons youll really notice
a difference.
They stare at each other. He manages a smile. ThenGEORGE
You gotta go, have you?
She holds his gaze and forces a beaming smile.
CONNIE
Its important.
(grabs her jacket)
You know where Ill be...
(turns)
Just dont you be late.
She smiles, determined. He nods, unconvincingly. Then
shes off. George watches the closed door.
33
27
33
A great mob of the striking women are gathered by the

locked River Plant gates. Several of them wave placards
and banners, excited, calling out to the many men who are
cycling into the main plantBLOKE
Up the strikers...Specially you BrendaBRENDA
(flicking vees)
You wish!
BLOKE TWO
Gaaaaarn...give em what forRita smiles at Eddie who grins and winks as he sails by
on his bike.
DAVE
Get stuck in, girls!
Eileen spots Dave as he cycles in. She waves proudly.
Sandra, jiggling a banner, shouts outSANDRA
We want respect!
Rita and Brenda turn to Sandra. She wears tight slacks, a
tight blouse and is heavily made up.
BRENDA
What you done to your eyes?
28
SANDRA
Theyre amazin, arent they? Me best
friend showed me how.
EILEEN
This is a demonstration, you know, SandraSANDRA
And Im demonstratin...
(conspiratorially)
Theres scouts everywhere! Thats how
Twiggy got discovered. Just walkin down
the streetBRENDA
Up West, you dozy sod. Not DagenhamAnother whistle of support. Connie leans in to Rita.
CONNIE
I cant believe we done this...
RITA
Least they know were serious now. And we
aint quite as helpless as everyone seems
to think we are.
Rita looks proudly across at the girls34
34
Hopkins is uneasy. He walks through the empty River Plant

and looks at all the idle machines.
35
EXT. FORD HEADQUARTERS, MICHIGAN - MORNING
35
The sun beats down on one of the Great Lakes. Then we see
a gleaming building, sitting in a wide, open, vista. In
front of the building, glinting in the brightness is a
sign: FORD MOTOR COMPANY, USA.
36
INT. FORD HEADQUARTERS, MICHIGAN - MORNING

Air conditioning hums. In a light and airy space, a man
in his mid forties drops food into a huge aquarium whilst
speaking on the phone.
TOOLEY
Peter, Bobby here...What can I do for
you...?
36
37
28A
INT. FORD HEADQUARTERS, WARLEY - AFTERNOON

Hopkins sits in his cramped and dingy office, an old
electric fan dinging on a filing cabinet behind him.
37
29
HOPKINS
Weve got another dispute, Im afraid38
38
TOOLEY
Another one? Who is it this week?
He turns from the tank. That is new.
39
EXT. RIVER PLANT - AFTERNOON

Baby Come Back by The Equals blasts from a transistor
radio around which several of the girls dance. A crate of
beer lies on the floor. Deck chairs have now been found,
also, and many of the women sit in them, eating ice cream
wafers which Eileen dispenses from a large box. A bin
wagon passes and the driver slows, leans outDRIVER
Its a lot more fun on your picket than
ours usually are. I might join you later.
MONICA
Its women only, love.
The girls laugh, the bin waggon pips and accelerates
away, swerving past a van which pulls up beside the
women. Written on the vans side is: A.A. Horovitz
Greengrocer. The door opens and Brenda gets out. She has
several brown paper bags in her arms.
BRENDA
Teas up! Bananas, apples, pears!
The girls rush over to help themselves. Then from the van
steps Mr Horovitz, about twenty five and VERY good
looking. He also looks, however, exhausted. He removes
Brendas bike from the back of the van and places it on
the side. Brenda waves to him.
BRENDA (CONTD)
Thanks for the ride, Arthur!
He nods, embarrassed, clambers in and zooms off. The
girls are open mouthed.
EILEEN
Brenda!...You never-
39
30
BRENDA
Why? Hes gorgeous...And just as I was
leavin with the fruit, he goes: I
believe all the workers of the world
should unite. And I thought to meself, I
can help you with that one straight away,
mate.
She bites an apple and sits. Suddenly Connie smiles.
CONNIE
Yeah, well, much as Id like to hang
around, discussin solidarity for another
eight hours...Me dates hereGeorge crosses the road. He looks immaculate, wearing a
suit, his hair neatly Brycleemed. A couple of whistles as
he stops. He smiles. But he still looks slightly hollow
eyed.
RITA
Dont you scrub up nice...Whats goin
on?
CONNIE
(thrilled)
You made it.
GEORGE
Its our anniversary...
RITA
What?
A chorus of the girls calling out Connies name, cooing
and clapping.
RITA (CONTD)
Why didnt you say somethingCONNIE
I didnt wanna make a fuss...
(brightening)
So, say up yours to the management from
me, will you?! Were off.
She leaves to shouts of bye and enjoy yourselves.
BRENDA
Right. Whos for a game of pontoon?She produces cards. Just as there is an immense rumble of
thunder. Moans from the girls.
EILEEN
I knew it was too good to last-
31
SANDRA
Itll be fineAnd the rain comes. Squeals from the girls as they rush
about and gather up stuff.
MONICA
What we gonna do? Pubs arent openRita, gathering placards, looks at her watch.
RITA
I dunno...We have done a full daySANDRA
And I promised me mum Id cook tea.
RITA
(grinning)
Sod it! We registered the
protest...Hooters blowin
The girls cheer. The whole group runs around, packing,
shouting hurried good byes and dispersing.
BRENDA
Hey and Rita!(Rita looks round)
Well done!
(Rita frowns)
Was your gob got us here, wannit?
Brenda leaves. Beat. Rita smiles.
40
INT. CAFE - DAY
40
Albert's POV as he watches Rita struggling with the

placards, he bangs on the window to get her attention,
she comes over to the doorway of the caf.
RITA
AlbertALBERT
Just been round your house.
He wipes his face with his hanky. Rita watches him.
RITA
Why?
ALBERT
Cause I thought youda gone home ages
ago...Im lucky if I can get the lads to
hold out the full hour-
31A
32
Albert notices the placards and smiles. He then looks to

Rita who stares at him expectantly:
ALBERT (CONTD)
Oh...I wanted a quick chat, was all...
(indicates cafe)
Fancy a cuppa?
RITA
I cant. Sorry...I told Graham Id meet
him from school.
ALBERT
(checks time)
You got twenty minutes fore they tip
out, aint you?
She frowns; thats rather insistent. He looks up from his
watch, meeting her gaze. He smiles.
ALBERT (CONTD)
Im buyin.
41
INT. CAFE - DAY
41
Rita stares as Albert spoons three sugars into his tea.

He stirs and looks at her. She waits, a little edgy. Then
he adds one more. She makes to speakHe stirs againRITA
Albert, come on! Cough it up!
He looks her in the eye.
ALBERT
Alright...You wont win.
RITA
What?
ALBERT
This battle...Youre gonna loseRITA
But...we got a case. You said so. WeALBERT
Oh, dont get us wrong. You might get
Ford to back down over the gradin thing
but...Im talkin big picture. And in
that case, you aint even in the frame-
33
RITA
(irritated)
What do you mean were notALBERT
-Cause this disputes got nothin to do
with what skill level you are! Fords
decided to give you less money cause
they can...Theyre allowed to pay women a
lower wage than men.
She stares at him.
ALBERT (CONTD)
And not just Ford neither. The whole
country, Rita. Women gettin
less...because theyre women...
She stares at him. Shes already there but darent say
it. He shrugs.
ALBERT (CONTD)
Youll always come second, youll always
be dependent, youll always be fightin
for the scraps from the top table as long
asRITA
-we aint got equal pay...
ALBERT
Oh, Rita, if you knew how thick most of
the blokes I deal with are...
She stares. It makes sense. But shes scared. She looks
away. A second. She looks back, a new thought in her headRITA
Why? Why you bothered about us gettin
the same as the men?
He stares; knows Rita will accept only the whole truth.
He smiles fondly.
ALBERT
I got brought up by me mum...Me and me
brothers. Me dad cleared off when we were
nippers, so...
(nods)
She worked all her life at Ranley and
Coopers. Ball bearins...She paid aunt
Lilly for lookin after us durin the day
and...
He stares, forcing back the emotion. Then to Rita:
34
ALBERT (CONTD)
...it was hard. Especially cause she got
paid less than half what the blokes in
the factory was gettin. For doin the
same work...But there was never any
question it could be different...Not for
her.
(smiles, fondly at Rita)
You remind me of her, actually,
Rita...You got heart and...brains and(frowns)
-and someone has to stop those exploitin
bastards from gettin away with what they
been doin for years!
He looks back, his eyes filmed with water.
ALBERT (CONTD)
And you can. You can. If you make your
battle focus on the right target.
Rita stares, suddenly energised. But shes scared, too.
RITA
What about Connie? Shes Shop Steward. We
voted for herALBERT
And shes magnificent, Rita! At
organizin. And implementin. But this
needs...a leader. To inspire the girls.
To make the issues clear. And that aint
her. Not at the moment(Rita makes to speak)
And she knows it. Cause Ive already
spoke to her.
(Rita is shocked)
And shes more than happy to let you have
a go...More than.
(touches her arm
reassuringly)
Look...Dont say nothin now. Its a big
thing, I know that. Just...sleep on it,
will you? And let me know tomorrow...
(smiles, nods)
Here. Ill take them. Least I can do.
He picks up the placards and goes. Rita watches him.
42
EXT. SCHOOL - DAY
42
Rita glances at her watch as she hurries towards the

school. A group of the mothers wait. All under umbrellas.
Rita hesitates.
LISA (O.S.)
Do you want to wait in here?
34A
She turns. A brand new Ford escort is parked by the kerb,

and LISA is poking her head out of the drivers side
window. Rita recognises her immediately.
35
LISA (CONTD)
We have met. In the corridor outside Mr
Clarkes class.
(Rita stares. Lisa shoves
open the passenger door)
PleaseRita glances at the other mothers and suddenly feels a
surge of opportunity. With her nose in the air, she
hurries over and climbs in.
43
INT. CAR - DAY
43
Rita arranges herself.

RITA
Im drippin...
LISA
Its fine. Really...Ive been hoping to
bump into you for a day or two actually.
(Rita stiffens)
I wondered if youd care to sign a
letter...? To the headmaster. Im making
a formal complaint; about Mr Clarkes use
of the caneRITA
What?
LISA
He seems to think my sonsRITA
You mean...You were there for the same
reason as me?
LISA
Yes...He was...indiscreet enough to
mention why youd been in...I think he
was suggesting something hormonal was
happening about the school(bitter)
We should all calm down a bit.
RITA
-He just fobbed me off. He...I mean...Id
got it all worked out in me head; what I
was gonna say onlyLISA
Oh, you dont talk to Mr Clarke. You
listen...
(scoffs)
Hes a bully...Thats why he beats them
all10.08.09 ORANGE REVISIONS
36
Lisa stops. Rita stares at her impassioned face. And

relief floods her body.
RITA
You got a pen, then?
Lisa passes across the letter and pen. Rita signs. Hands
everything back.
RITA (CONT'D)
-That first time, when I saw you...
(Lisa frowns, confused)
Youre bein polite, not mentionin it, I
know you are, only...I was upset. As I
say and...I never use that sort of
language normally.
LISA
Dont you? I called Mr Clarke a complete
cock...
Rita is stunned; Lisa smiles. Children are now pouring
out of the school.
LISA (CONTD)
Here they are...
Lisa gets out. Rita, too.
44
EXT. SCHOOL - DAY
44
Lisa has an umbrella which she erects and then she moves
over to Rita who stands beside her, beneath it. Rita
glances across and suddenly, emboldenedRITA
That dress(Lisa turns, frowns)
I seen it. In Vogue...It really suits
you.
LISA
Thank you...Its Biba.
A second. Lisa looks back to the children. Rita does too.
And her chest swells ever so slightly.
45
INT. RITAS HOUSE - DAY
45
Rita places a mug of tea on a bedside table. Eddie is

dozing but now he opens one eye. Rita slips back into
bed, her red, nylon nightie crackling, and props herself
up against the headboard.
37
EDDIE
Ta, love...
(frowns)
What time is it?
RITA
SixEDDIE
We got another half an hourRITA
(distracted)
Yeah. Sorry. I was awake anyway, so...
She trails off. A beat. He turns on his side.
EDDIE
Well, now you are...Shame to waste an
opportunityHe nibbles her hip. She giggles.
RITA
Eddie!
He pulls himself up her body and kisses her neck. Shes
not really in the mood, though.
EDDIE
What?...Whats up?
RITA
Nothin...Im...I got stuff on me mind...
(she turns; dare she?)
Which...I didnt say nothin about last
night cause I wanted to get straight in
me own head firstEDDIE
Get what straight?
She looks at him for a long moment.
RITA
Ive decided to get a bit more involved.
In the dispute.
38
EDDIE
What dispute? Its happened...it was
yesterday.
RITA
Yeah, but...it aint settled yet, is it?
EDDIE
No, I know but...youve made your
gesture. Thats all I meanRITA
It wasnt a gesture. It was
a...strike...to get somethin!
EDDIE
Fine...Its not worth rowin over, is it?
He smiles. Then kisses her shoulder several times.
EDDIE (CONTD)
You got my support, Rita. You know that.
Whatever you wanna do.
RITA
Good. Thank you...
(he kisses her again)
Youre not just sayin that, are you?
EDDIE
(still kissing)
Hmmm?RITA
Cause you got an ulterior motive!
He finally straightens and looks at her.
EDDIE
Whats that mean?
She stares at his honest, open face. She grins.
RITA
Ill show you.
She kisses him and they slide down the bed.
46
46
Rita places her bike in the rack. She smiles as Brenda

dismounts, too. But then, both stare open mouthed as
Sandra arrives - in a pair of tiny shorts and a blouse
tied just below the bust. Sandra struggles to get her leg
over the bike seat.
39
BRENDA
Bloody hell Sandra, I think youve had a
bitve shrinkage in the washSANDRA
Theyre hot pants. Theyre Mary QuantsBRENDA
Well you should give em back to her.
They look fuckin painfulRITA
I think they look nice. Long as you can
breatheSANDRA
Course, I can...And its what Brenda
said, innit: it aint
Knightsbridge...Dagenham. So if youre
gonna get spotted, you have to stand out
that bit more. Well, I am doin...
She walks off. Brenda watches her, then looks to Rita.
BRENDA
Come on...
She sets off after Sandra but just as suddenly stops and
turns back.
BRENDA (CONTD)
Wannit great, though? Yesterday.
RITA
(surprised)
Bein on strike?
BRENDA
Yeah. Chance to be different...Was
lovely.
(smiles)
Felt like it all night.
RITA
What did you do?
BRENDA
Met the veg man, got blind drunk, then
went back to his place.
RITA
(confused)
ButBRENDA
Oh, it was different, Rita...
(winks)
Just ask him.
39A
She happily wanders in. Rita scoffs and follows.

47
INT. RIVER PLANT, CORRIDOR - DAY

Rita, a hint of a smile still on her face, walks towards
the factory floor, pulling her overalls around her waist
as she goes.
47
40
BUT then she stops. The notice board is directly ahead.

On it, MACHINIST rates of pay:
MEN: 19 7s 6d
WOMEN: 13 4s 2d
Rita stares. She looks determined. Then uneasy.
48
INT. FACTORY FLOOR - MORNING

Rita walks onto the floor. She stares at Connies space:
still unoccupied. She begins to thread up her machine.
Then she grabs some cuttings. And finally Connie rushes
inCONNIE
Im here! Just...ChristShe grabs her bowl and places it on the floor. Then she
pulls her overalls down and she stops - as she sees Rita
staring at her.
RITA
Connie, listen. ICONNIE
(shaking head)
RitaRITA
No! I have to say it! For me!
(stares at Connie)
If I was to get involved with Albert,
Con, its only cause...I got a gob on
me...Youre the heart beat of this place.
You always will be.
Connie smiles, fondly. Then:
CONNIE
Rita...Look at me. All at sixs and
sevens...Again(quietly)
I got enough on me plate at the moment,
without takin on the whole of British
Industry...
(nods)
You can do it. And you should.
Rita stares at Connie; makes to speak. But the hooter
sounds and the machines start up. The women smile and get
down to work.
48
49
41
49
Rita finishes an item, then notices Sandra, tongue out,

carefully completing a piece. She is pleased. Then the
hooter goes and the girls look across, on the point of
getting dressed. But it is Brian, so they simply
continue. He looks frustrated. Then scared; as he
realises he must enter anyway. This he does and at every
bench the women jiggle their bits, wolf whistle and
generally make life hell for him.
BRENDA
Hello Brian...That a cotton bob you got
in your pocket?...Or is it an hard on?
He reaches into a sack he is carrying and shoves a letter
straight at Brenda. She frowns but soon all the girls
have them. Rita opens her envelope and reads. She looks
furious and then catches Connies eye. A second and Rita
marches off.
As she arrives at the door, Albert appears, in his Ford
overalls, coming for her decision. She marches past him,
thunder on her face, glancing once at him as she strides
on. He grins.
ALBERT
(to himself)
That a yes, then?
And then, he sets off after her.
50
INT. CANTEEN - AFTERNOON
50
Monty Taylor, in his suit and Union badge, stares at the

letter. Albert is by his side. They are surrounded by the
girls.
MONTY
Ignore it.
RITA
Ignore it?
MONTY
Standard issue. Day after a walk out.
RITA
Have you seen the language?
(Eileen and Brenda nod)
Your flagrant and aggressive disregard
for the existing complaints
procedure...Tone of thatMONTY
They dont mean it.
41aA
RITA
So why they sayin it...?
MONTY
Cause...thats how weve always done it.
All the other strikes. Its like the
rules-
RITA
Oh, no!
(snatches letter back)
(MORE)
41A
42
RITA (CONT'D)
Were not playin that game...We aint
your men, remember. Were us. And we
wont be addressed in this manner.
(Cheer of agreement. Rita
stares at the girls)
All those in favour of not only
maintainin but increasin our current
industrial action by goin to an
immediate all out stoppage until an equal
pay settlement is reached-
MONTY
What?
Monty has spoken for them all. Mutterings of equal pay?
are heard everywhere. Rita turns to the girls:
RITA
Well, why not?
(stares at the trusting faces
of the girls)
Thats what this dispute is really about,
innit?!
Rita suddenly points to the lad seen earlier. He sweeps
out the canteen now.
RITA (CONTD)
Theyve put us on the same rate as
Brushin Brian! The lowest rate in the
whole factory...despite the fact that we
have got considerable skill.
(A few mumbled trues)
And theres only one possible reason for
that...Cause were women, and in the
work place women get paid less than menno matter what skill they got!
(More support. Agreement.
Shouts now.)
Which is why we gotta demand that from
now on, theres a level playin field and
rates of pay which reflect the job you
do, not whether youve got a dick or not(cheers of support)
This strike is about one thing and one
thing only: Fairness!
(To Monty; points)
Equal pay or nothin!
(huge cheer; Rita turns back
to the women)
All those in favour?
(every hand goes up)
Everybody out!!!!
43
Another cheer and Rita walks to the exit, stopping by the

door as a wave of the girls passes her and empties the
building. Monty looks panicked and glares at Albert.
Albert shrugs with a wry smile.
ALBERT
Nothin to do with me.
The women sweep out.
51
OMITTED
51
52
INT. HOPKINS OFFICE - AFTERNOON
52
Hopkins looks stunned. He stands beside a window held

open by a block of wood.
HOPKINS
An all out stoppage?!
Monty fidgets before Hopkins desk.
MONTY
Also...The specifics of the strike...Its
widened out a bit53
53
Hopkins appears in his doorway. He is ashen. He looks at

his secretary, then he mutters to himself:
HOPKINS
Christ...
54
54
Tooley listens on the phone. He is deadpan.

TOOLEY
Shit.
55
INT. UNION OFFICES - EVENING

BARTHOLOMEW
Fuckin Ada!
CLIVE BARTHOLOMEW, sixty, bearded, stares at Monty.
Another middle aged man, ROGERS, also glares at him.
55
44
BARTHOLOMEW (CONTD)
Equal pay! What were you thinkin, Monty?
MONTY
It wasnt me...It was Albert. He...He
went behind me backROGERS
ReallyMONTY
Hes a loose canon. He(grasping at straws)
I got him with me...You wanna haul
someone over the coals, hes your man;
the bloody trouble maker.
A beat. Bartholomew and Rogers exchange a glance. Then
Bartholomew nods to Monty.
56
INT. UNION OFFICES, ANTE CHAMBER - EVENING
56
Albert, still in Ford overalls, sits on a chair waiting.

Monty enters. He looks at Albert and sighs theatrically.
MONTY
I tried to protect you Albert. But you
are gonna get such a fuckin
bollockin...
Albert considers Monty and nods. He stands.
57
INT. UNION OFFICES - EVENING

Albert sits on another chair in the middle of the room.
Bartholomew paces up and down for a moment. ThenBARTHOLOMEW
This is awkward, Albert, you know that,
dont you? It jeopardises a whole...raft
of other negotiations the unions already
at loggerheads with the management overROGERS
Not to mention protocol. Theres ways of
goin on strike. Right ways and wrong
waysBARTHOLOMEW
Look...Comrade...Basically, you
encouragin these women...to get all
militant-
57
45
ROGERS
-shifts the resources away from the
blokes...who lets be straight, are the
ones at the coal faceBARTHOLOMEW
We aint unsympathetic! But...as a
union...we have to remember who comes
first...The Communist Party. And Marx
himself said: Men make their own
history. Thats men, Albert!
Monty sighs. He did warn Albert. Albert smiles.
ALBERT
Didnt he also say: progress can be
measured by the social position of the
female sex...Or was that a different
Marx? Was that Groucho?
Bartholomew makes to respond but Albert stands: his turn
now.
ALBERT (CONT'D)
Equal pay! Across the board! You tellin
me that aint worth fightin for? Course
it is! And you know it! Only causeve all
the in-fightin and the prejudice and the
sixteen other unions down at Ford all
lookin after their own little patch, you
aint even tried, have you? Well, you
listen to me. This...Rita...shes got a
bigger set of balls than the three of you
put together and she aint scared of
layin em on the line neither, so I, for
one, am gonna help her and if you are,
what you say you are, an organisation
pledged to support its members - which
everyone of them girls most definitely is
- then youll get off your fat, lazy
arses and youll help her, too! Good
fuckin evenin!
He storms out of the room. Rogers looks to Bartholomew.
Theyre fucked. A beat. They turn on Monty, furious. He
cowers. MUSIC STARTS: BORN TO BE WILD - STEPPENWOLF: Get
your motor runnin...
58
EXT. DAGENHAM TOWN HALL - DAY

A rally in front of the Town Hall before about fifty
people. Albert is on the platform with various other
officials. A banner reads A FAIR DAYS PAY FOR A FAIR DAYS
WORK. Rita is there, too. Albert finishes speaking and
Rita nervously steps forward. A long pause. And then Rita
sees Connie, Brenda and the girls. She begins10.08.09 ORANGE REVISIONS
58
46
RITA
(faltering)
I...work at Ford...As a machinist
and...Im here to put our point of view.
About whats goin on and how, it aint
fair. And also, how its part of
somethin bigger...much bigger...which is
equal pay...
She continues. A man in a threadbare coat, a camera
around his neck, takes out a notebook and starts writing.
HEADLINE: DAGENHAM GIRL STRIKERS
-IS DROPPED ONTO THE TRESSEL TABLE IN THE NEWSAGENT.
AND THEN FURTHER IMAGES FROM THE BURGEONING DISPUTE ARE
INTER-CUT WITH MORE NEWSPAPER ARTICLES. THEY START SMALL
BUT GET BIGGER, MOVING UP THE PAGE AS THE STRIKE GROWS.
59
EXT. DAGENHAM HIGH STREET - DAY
59
Rita addresses a crowd of onlookers. Thirty or so girls

are gathered around her, including Connie and Sandra who
hold up a banner proclaiming: SUPPORT THE FORD
MACHINISTS. Passing are a group of West Ham fans on the
way to a match with scarves and rattles. Several stop and
listen. Rita sounds much smoother.
RITA
Cause basically, Fords done what they
have, awarded us a pay cut, cause they
think no-onell really notice, because
were women. And womens pay has always
been less than mens...
MORE HEADLINES: PETTICOAT REBELLION GROWS etc.
60
60
Gordon and Frank arrive at the River Plants deserted

warehouse area on the forklift. They swing open two
massive doors. Inside, the store is packed with thousands
of finished headrests, seat covers and door trim. Both
men look at each other ruefully.
61
INT. CANTEEN - DAY
61
Rita addresses a mass of workers. She is noticeably more

confident and slicker.
RITA
And thats a tactic, not just the Ford
management, but all managements have
exploited, year after year: basin huge
profits on a wage system which is as
corrupt as it is unchallenged-
46A
47
A couple of men glance at each other and nod; fair point.

HEADLINE: FORD STRIKERS LEAD WOMENS RIGHTS MOVE
RITA
(CONTD)
Which begs the question, why? Why is it
like that? And the answer is, us! Because
weve never said no.
62
INT. FORD MAIN PLANT - DAY
62
In the more modern main plant, we see Albert, then Dave

who is holding up a copy of the Dagenham and Redbridge
Echo. BANNER HEADLINE: MANAGEMENT DENY CRISIS. Then we
hear Ritas voice, gliding, over the picture.
RITA
Weve meekly stepped forwards, despite
what weve seen with our mothers and our
grandmothers and weve taken our pay
packets and weve tugged our forelocks
and weve said thank you very much.
Well, no more! The time has come for all
women to say: Enough! We do not accept
this!
We hear applause. And see Eddie, smiling bashfully, as a
picture of Rita, campaigning, is pointed out to him,
beneath the banner.
63
EXT. TOWN HALL - DAY
63
The applause fades as Rita steps down from the platform.

She is immediately approached by several reporters and
other union officials.
ALBERT
Rita...
She turns. Albert indicates a young man who stands away
from the crush.
ALBERT (CONTD)
Theres a bloke here from The Times.
Rita tries not to react. MUSIC ENDS
64
EXT. TOOLEYS OFFICE - DAY

A copy of The Times lies on the polished desk in Tooleys
office. Tooley sits on one side of the desk and on the
other is a man with a leathery face and buzz cut hair.
Both men stare at a plastic box in the middle of the
desk. It is perforated with dark holes and has a thick
power cord running from it. Suddenly, from the box, a
silky smooth womans voice emanates
64
47aA
SECRETARY (V.O.)
Mr. Hardey is ready to speak now
gentlemen. Thank you so much for waiting.
Tooley and Kronnfeld glance at each other. A click. But
then nothing. Kronnfeld loses his nerve and leans forward
to speak. Hes beaten to itHARDEY (V.O.)
I though your boy said he could handle
this?
Kronnfeld stiffens. JEB HARDEY, sixty, boss of Ford
America, has a gruff, blue collar voice.
HARDEY (CONTD)
And do we even know what were dealing
with here? Socialist Workers Party;
Workers Revolutionary Party;
Revolutionary Communist Party?... Whos
she with?
Kronnfeld glances quickly at the impassive
then down, dry mouthed, to an open file on
is the duplicate of the one before Tooley.
Rita is uppermost on both. Kronnfeld takes
does his best.
Tooley and
his desk; it
A picture of
a breath and
KRONNFELD
We dont think shes with anyone, Sir. We
dont even think shes a communist. Shes
looks like shesHARDEY (V.O.)
-She looks like Rita Heyworth, goddamit,
I dont care! I wanna know why shes
acting like this!
Kronnfeld sits back, wide eyed. Hes done. Hes given it
his best shot. Tooley, unimpressed by Kronnfelds
disintegration, leans closer to the communications boxTOOLEY
The fact is, sir... she hasnt got a
background in politics, in or outside the
union... her husbands a moderate, so...
we think shes just got a beefHARDEY (V.O.)
A beef! Thats what shes got? Bobby, if
this woman gets what she wants and Ford
Motors is forced to introduce equal pay
for men and women in the UK... well end
up havin to do it right across the
world!
(threatening)
Do you understand that?
47aB
TOOLEY
Yes, sir.
HARDEY (V.O.)
So deal with it! Now!
A click. Beat. Kronnfeld looks like a man who has been
involved in a road accident. But, then he sighs relief as
he turns to Tooley
KRONNFELD
I guess youll be getting the next flight
outta here Bobby?
65
47A-48
EXT. GARDEN AT NUMBER TEN - DAY

Mrs Castle sighs, frustrated.
BARBARA CASTLE
Prime Minister...Im not sure you quite
appreciate the urgency of the
situation... as of 5pm yesterday there
were 405 strikes in progress
nationally...
Harold Wilson turns. He has a dog on a lead. Mrs Castle
looks at it distastefully. Wilson considers Mrs Castle
and then walks on. She follows, struggling, as her heels
sink into the grass. Two of her undersecretaries follow
her.
She stops suddenly. Because Wilson has stopped. Because
the dog is taking a crap. He looks at it fondly. Mrs
Castle winces; would say more. But Wilson is delighted by
the distraction.
HAROLD WILSON
Its always white when he goes to the
toilet. Yet he never eats anything white.
(Mrs Castle is stunned)
Mary gives him the odd fruit gumBARBARA CASTLE
Prime Minister!
He hears her aggrieved tone; looks across, awkwardly.
HAROLD WILSON
Im not saying I wont legislate. JustThe dog now trots on. Wilson gladly follows. And Mrs.
Castle, too! She will not be deflectedBARBARA CASTLE
What? Weve talked about this a hundred
times... Until you introduce new bills,
which give me the power to regulate the
Unions, I cannot get the country back to
workHAROLD WILSON
I understand that...
(she looks hopeful)
But we need to tread carefully; draw the
unions inHer heart sinks. The Undersecretary leans in.
65
48A
UNDERSECRETARY
We have to acknowledge that without the
unions there would be no Labour PartyShe stops; so does he.
BARBARA CASTLE
Young man! I was a member of the Trades
Union Movement while you were still at
your Mothers breast... so unless you
have something to add which goes beyond
the blindingly obvious, Id prefer it if
you kept quiet!
He slinks off. Mrs Castle totters on, catching up with
Wilson. She tries a different tone.
HaroldHe looks down. She has put her hand on his wrist.
-You asked me to do this job; you
appointed meHAROLD WILSON
Youre the best man in my cabinet,
Barbara, I often say thatHe laughs nervously. But his joke hasnt deflected her.
Shes staring at him. ALL woman.
BARBARA CASTLE
I cant do it without you, HaroldWilson finally turns away, graps a stick at throws it for
the dog.
I need you to...
Wilson stops dead. Then, from a dry throat, Wilson croaksHAROLD WILSON
Jack Scamp!
(her face falls)
Hes your man. Any... impasse... get Jack
in. Sits them all round a table; beer and
pork pie. Straight talking negotiation...
(nods)
Hes the way forward.
Mrs Castle takes a deep breath and nods. Seduction
failed, shes back in war mode.
48B
BARBARA CASTLE
Beer and pork pie... Might not do for the
latest one. Down at Ford.
(Wilson frowns)
187 Machinists. All women... Perhaps get
a finger buffet in, eh?
She turns, starts to walk, sinks, takes of her shoes then
strides back across the lawn, thunderous.
49-51
66
OMITTED
66
67
INT. TUBE - DAY
67
A city gent, in suit and bowler, stands silently with

many other commuters on their regular run into the City.
He looks uneasy. And as we pass along his carriage, we
see the girls crushed at its far end, chatting excitedly,
their protest paraphernalia causing considerable
disruption. The city gent looks distastefully away. But
then he leaps and his hand goes to his backside. Someone
has pinched his arse. Then we see Brenda, close by. She
smiles sweetly.
67A
EXT. LONDON TUBE
- DAY
67A
The girls emerge from the tube, blinking into the bright
sunlight. They are gossiping madly, excited and some, a
little overawed.
RITA
Come on, then, girls! Get yourselves
organised!
EILEEN
Anyone fancy a Wimpy?...Im starvinRita turns, distractedMONICA
We aint got time to see the sites, have
we?
RITA
No, we have not!
Now Sandra appears in tiny shorts and a skimpy top. She
looks round, urgently.
SANDRA
Wheres all the press, then?
CONNIE
We aint there yet!
BRENDA
We gotta get to parliament first, you
silly sodRITA
(frustrated)
Exactly!
BRENDA
So?...Which way is it?
51A
Rita looks round. Then she sighs, having to come cleanRITA

(to girls)
I think its this way, isnt it?
The girls all look in different directions. Clearly no
one knows.
68
EXT. PARLIAMENT - DAY
68
The girls arrive on a small lawned area outside the

Houses of Parliament.
*
*
RITA
Alright, ladies! This is a good spot.
Form up!
*
*
*
They put down their bags and begin unfurling the banners.
69
52
69
Mrs Castle sighs. She is leafing through more reports of

industrial unrest. Then she becomes aware of the pips
outside70
EXT. PARLIAMENT - DAY
70
The girls are gathered with their banners. A car toots...

and another. The girls wave. Men shout encouragement.
*
*
A driver leans from the cab of a passing van and calls

across.
DRIVER
Here, I finish work at four. Give us a
call!
His mate laughs. The girls wave back, blithely.
More people react and the girls shout back, giddy with
excitement.
*
*
CONNIE
Its unbelievable... I never thought wed
get this backing-
*
*
*
More pips and Rita frowns. She looks up, at the banner
she holds. A moment.
RITA
Girls...I think were not entirely
unfurled.
All of them look up to the banner. It says: WE WANT SEX
71
INT. BARBARA CASTLES WHITEHALL OFFICES - DAY
71
Mrs Castle looks out of her window. Sees the banner.

BARBARA CASTLE
I know the feeling.
She walks back to her stressful work.
71A
EXT. WESTMINSTER. DAY
71A
Outside we see Connie help Rita frantically untwist the

banner. WE WANT SEX EQUALITY is revealed. Rita,
flustered, gestures for the girls to re-group. Most are
giggling.
*
*
Reporters and photographers are approaching.
52A
Through the laughter, Sandra is suddenly aware that

photographers are taking pictures. She skips over to
them.
*
*
*
Rita turns to the approaching press.
CONNIE
Go on, Rita! Tell em how it is!-
*
*
But Rita is already stepping forward to meet the advance

as Sandra poses, off to one side.
*
*
The others stand and watch as Rita is engulfed by

reporters.
*
*
A man approaches Brenda. He is scruffy, bearded. He looks

at her.
*
*
MAN
Hello.
*
*
Brenda looks at him. Shes never seen anyone like him

before.
*
*
BRENDA
*
*
Hello.
He hands her a leaflet from a pile he is holding. She
looks at it. Its about a political rally. When she looks
back up he is gone.
*
*
*
The photographers finally finish taking pictures of

Sandra, she comes over.
*
*
SANDRA
Its quite interesting, politics. When
you get down to it.
*
*
*
72
53
INT. DOCK CLUB - DAY
72
A TV IMAGE. OF THE PROTEST JUST SEEN, OUTSIDE PARLIAMENT.

REPORTER
What makes this strike different-is that its not about a specific pay
settlementTHE TV PICTURE CUTS TO THE REPORTER AT WESTMINSTER. HE
TALKS TO CAMERA NOWREPORTER (CONTD)
-but the whole issue of sex
discriminationTHE TV PICTURE CUTS TO RITA. SHE IS BEING JOSTLED OUTSIDE
WESTMINSTER. FLASH BULBS POP AROUND HER AND MICROPHONES
ARE SHOVED INTO HER FACE.
A cheer in the background. And ON SCREEN we seeREPORTER (CONTD)
How long are the girls prepared to stay
out?
REPORTER TWO
It must be starting to bite nowRITA
As long as it takesREPORTER TWO
Does your husband support you in all
this?
Another cheer in the background.
EILEEN
He has to!
RITA
He...supports me...We always support the
men when they come out.
REPORTER
What about the other Ford women; in
Liverpool? Are they behind you?
RITA
They will be.
Several reporters call out. One persists.
REPORTER THREE
Does it bother you youve been described
as a Revlon Revolutionary?
54
REPORTER THREE (CONTD)

Have they been in touch? About doing some
modelling work for them.
Laughter from the reporters. Rita smiles.
RITA
I prefer to concentrate on the issues of
the strikeA PHOTO FLASHES. RITA TURNS HER HEAD TOWARDS IT. THEN THE
TV PICTURE CUTS TO OUTSIDE THE AMERICAN EMBASSY.
TV NEWSCASTER (V.O.)
-After the March protests in Grosvenor
Square, this months student riots in
ParisTV PICTURE IS REPLACED BY A TEST MATCH.
DAVE (V.O.)
Ha! Aint that somethin?
73
INT. DOCK CLUB - DAY
73
Dave and Eddie turn from the TV, pints in hand.

EDDIE
Yeah. Shes doin alright.
DAVE
And she mentioned you...On the
television...
(jabs finger at Eddie)
You gotta smart woman there, Eddie.
Eddie nods, uneasily. Then smiles. He glances at his
watch.
EDDIE
I gotta get goinDAVE
Already?
EDDIE
I know...I gotta fetch the kids...
(Dave frowns)
Rita reckons they wont be back til gone
six, so...I need to get em sorted.
He smiles ruefully at Dave and downs his pint.
GEORGE
You tell her to get her finger out. When
you see her.
55
And for the first time we notice George, sitting on a

stool by the bar. He stares at his half of mild, not
looking at Dave or Eddie.
GEORGE (CONT'D)
Gone on long enough now.
EDDIE
(laughing)
I dont think theyre deliberately
draggin it out, GeorgeGEORGE
Its alright for you and him. Two wages
in the house. Ive got me war pension and
Ive got what she earns. Thats it...I
cant afford a bastard strike.
EDDIE
I know that...And theyll settle it; soon
as they can.
George says nothing more. Eddie nods and goes.
74
EXT. LIVERPOOL FACTORY - DAY
74
A coach pulls up outside a factory gate. On it is

written: FORD, HALEWOOD. Rita gets off. Several of the
girls follow.
75
EXT. LIVERPOOL FACTORY - DAY

Rita stands on a soap box outside the main factory. She
is sweating, passionate, addressing a crowd of women.
RITA
-Youre doin the same work for Ford,
here in Liverpool, that were doin for
em down in Dagenham. So you know that
our job is skilled...But Im askin you
to think beyond that...Im askin you to
strike now for all women, not just
machinists, until every one of us gets
fairness and is entitled to the same pay
as men!...Will all those in favour, put
their hands in the air now, pleaseThey do. Rita beams, delighted.
75
76
56
INT. RITAS HOUSE - EARLY EVENING
76
The kids sit at the dining room table. Smoke spills from
the kitchen. They glance at each other. Look slightly
worried.
77
INT. RITAS HOUSE, KITCHEN - EARLY EVENING
77
The kitchen is a mess as Eddie, sweat dripping from his

nose, tries to fry a piece of liver. A huge flame leaps
up from under the pan as spitting oil hits the gas. Eddie
leaps back, cursing, then goes back to the food, his jaw
tight.
78
INT. RITAS HOUSE - EARLY EVENING
78
Eddie drops newspaper wrapped fish and chips onto

Sharons plate. Sharon glances at Graham. She is
struggling not to snigger as she undoes the package and
takes a chip. Graham laughs out loud as he receives his
bundle of food. Eddie looks thoroughly pissed off.
79
OMITTED
79
80
INT. BUS - EVENING
80
The girls drive back from Halewood. Rita, sitting at the

front, with Connie beside her, glances out over burnished
countryside, a low red sun throbbing in the sky. Across
the aisle, also at the front, Sandra has a transistor
radio on her lap, a single ear piece in. She starts to
sing, quietly as she looks out of the window-
57
SANDRA
Once upon a time, there was a tavern,
where we used to raise a glass or two(Brenda, next to her, looks
across)
Remember how we laughed away the hoursBrenda starts to sing. And then Connie joins in.
BRENDA, CONNIE
Think of all the great things we would doRita sings. And others, too. Sandra realises, then,
smiling, continues in full voice with the rest:
ALL
Those were the days, my friend, We
thought they'd never end, We'd sing and
dance forever and a day(Rita laughs)
We'd live the life we'd choose, We'd
fight and never lose, For we were young
and sure to have our way81
EXT. BUS - EVENING
81
The bus slips through the warm, summer nightALL (V.O.)

La La La La La La81A
EXT. HOPKINS HOUSE - DAY
81A
Hopkins opens his front door and approaches Tooley, who

is getting out of a taxi.
HOPKINS
Welcome. How was your flight?
TOOLEY
Long.
HOPKINS
Im so sorry to drag you over.
TOOLEY
Theyre taking this very seriously. Right
at the top.
HOPKINS
Come in. My wifes cooking dinner...
They walk into the house.
82
57A
INT. HOPKINS HOUSE - NIGHT

Hopkins passes into a modern, late sixties, detached
house. Tooley follows.
TOOLEY
Really, I dont want to be any trouble.
HOPKINS
Honestly...Least I can do...Let me take
your coat.
Hopkins wife appears in a pinny. Lisa.
HOPKINS (CONTD)
Lisa...This is Robert TooleyTOOLEY
Delighted to meet you at last.
LISA
Likewise.
They shake. Then Hopkins hands Tooleys coat to Lisa.
82
58
TOOLEY
I was saying to Peter; Im quite happy to
eat later; at the hotelHOPKINS
Nonsense! She loves to cook.
(glances at Lisa)
Dont you?..Just relax. Have a drink.
Ill run you back when were finished.
Hopkins passes his coat to Lisa too and ushers Tooley
through into the sitting room. Lisa looks at the coats
and then hangs them up.
83
83
Rita walks into the house, excited. The place is chaotic

but it seems hardly to register as she smiles, seeing
Eddie arriving at the foot of the stairs. He bends
stiffly to pick up some clothes, then straightens and
spots her. She beams.
EDDIE
Go alright, then?
RITA
I slaughtered em! Every single one come
out!
EDDIE
Well done.
He moves into the kitchen and starts to collect the
plates. She follows.
RITA
It was incredible though, Eddie! To start
with. A load of em said, while they was
happy to support their fellow
machinists...union solidarity and all
that...they didnt actually agree with
equal pay as a principal. Men deserved
more...Can you believe that?
He looks at her; her ebullience. And suddenly feels
troubled. But he manages a smile.
RITA (CONTD)
Ill go and check on the kids. Give em a
quick kiss.
She pecks him on the cheek and goes. He stares at the
cluttered table. His effort. Anger swells.
EDDIE
Yeah. I managed alright. Thanks.
84
59
INT. HOPKINS HOUSE - NIGHT

Lisa clears away. Bottles of beer sit on the table.
TOOLEY
Thank you.
HOPKINS
Can you bring some brandy glasses back in
with you?
She nods and smiles. Then turns to go.
TOOLEY
Lisa...You must have a quite head on your
shoulders...Peter tells me you read
history. At CambridgeLISA
YeahShe nods, proudly but then suddenly becomes aware of the
plates in her hand. She puts them on the sideboard.
TOOLEY
So whadda you make of our little problem;
over at the factory?
(nods to Peter)
Think maybe hes a bit too much velvet
glove and not enough iron fist?
She seems uncertain, then shrugs, relaxing.
LISA
I dont actually. Just the opposite. Look
at Vauxhall. They dont appear to have
any problem with the unions and that
seems to me because General Motors have a
much more collaborative approach to
management. Whereas at Ford, you seem
only to deal with the unions because you
have to...You tolerate them. And as a
result theyre much more entrenched and
aggressive in the way that they deal with
you.
Tooley looks at her. Then he smiles.
TOOLEY
Thats a very...progressive point of
view, Lisa.
(turns to alarmed Hopkins)
Isnt it?
He stares at Hopkins, his expression at once benign but
threatening. Hopkins hesitates, then turns to Lisa. He
smiles, but its a fragile thing. Then10.08.09 ORANGE REVISIONS
84
60
HOPKINS
Cheese.
LISA
What?
HOPKINS
Weve...got some
Stilton...Why dont you...get that
out?...Some grapes.
Lisa is wrong footed. She looks to Tooley for support. He
doesnt meet her eye.
TOOLEY
Thatd be terrific.
Hopkins smiles, relieved. Lisa colours; she is dismissed.
She picks up the plates, glances at her husband and
leaves the room.
85
INT. KITCHEN - NIGHT
85
Lisa drops the plates into the sink and leans back
against the draining board, trembling. On the table is a
copy of the Daily Mail, its headline: FORD WOMEN FIGHT
ON. Beneath it is a picture of a rally and a woman
speaking out. There is something familiar about the
woman. Lisa crosses and picks up the paper. Her face - as
she sees it is Rita.
86
EXT/INT. RITAS HOUSE - DAY
86
Rita checks the temperature on the oven. Then she crosses

to her bag which is on a chair beside the set kitchen
table and removes her purse. It is empty.
Her jaw tightens and she crosses to a cupboard near the
door. Inside is a metal box, full of shoe polish, cloths
and brushes. Also in there is a puncture repair kit. She
opens this and reveals some crumpled notes and a few
coins. She takes some of the cash, not all, and shoves it
into her wallet. She grabs her bag and hurries into the
hall.
87
EXT/INT. RITAS HOUSE - BALCONY - DAY

Graham is coming downstairs.
RITA
Its in the oven. Dont burn yourself-
87
60A
He wordlessly moves into the kitchen. And Rita pulls on a

jacket. She turns and stops. Sharon is there. Her hair is
in pig tails. One bunch is massively bigger than the
other, while one is a tangled mess.
RITA (CONTD)
What happened?
SHARON
Dad.
Rita stares and goes towards her. Then she stops.
61
RITA
I gotta go see Albert. Just tell him to
have another go.
Sharon slips into the kitchen and Rita ties on a head
scarf as Eddie comes down the stairs. She nods to the
kitchen.
RITA (CONTD)
s all ready...
(crosses to placards against
wall)
Youre alright gettin em off to school,
arent you?
He watches her pick up the placards.
EDDIE
Course.
She turns. Immediately he moves towards the kitchen.
RITA
Eddie(he stops)
Everythings okay, innit?
He stares at her, then shrugs.
EDDIE
Yeah. Why wouldnt it be?
She smiles, relieved and moves to the door. He watches
her, then fingers the collar of his shirt.
EDDIE (CONTD)
This is me last one.
RITA
What?
EDDIE
Shirt. I just noticed.
RITA
(wrong footed)
Yeah...Sorry. I missed washin Monday.
Ill do it tonight.
He nods. And walks into the kitchen. A second. Rita
stares at the empty doorway then leaves.
88
INT. DAGENHAM DOCK CLUB - DAY

The girls are queuing up for strike pay which Connie
hands out from a table near the stage. There is much
banter between the girls.
88
62
Rita passes Connie a sheet with names on it and removes

one covered with signatures.
CONNIE
Thanks RitaA young woman steps forwardMONICA
Monica DawsonCONNIE
There you goShe passes her the list. She signs and then Rita hands
her three notes. Monica stares at the money.
RITA
Its still three quid, love. Dont matter
how you count it!
MONICA
I know...just...bout covers me rent and
thats itEILEEN
Hey, Mon; youre short of anything, you
just gotta askEileen is next in line. Monica smiles, grateful. But then
she shakes her head.
MONICA
No. Im alright. Thanks. Ill manage.
CONNIE
Its all the Union can afford, Monica...
She nods. She knows that. And she goes, slipping the
money in her purse. Eileen steps forwardEILEEN
Eileen Scott.
She bends over to sign. Brenda waits two or three girls
behind her and lights a cigarette. She sucks greedily on
the fag, then notices a woman waiting behind her, about
thirty, looking longingly at the fagBRENDA
Its me last one. Sorry, love.
She shows her the empty packet. The girl smiles,
disappointed. She nods, looks ahead, towards Connie.
Brenda sighs. She takes her cigarette from her mouth, and
tears it in two.
62A
She lights one end against the other and then gives half
to the girl who beams, delighted.
89
63
INT. HOPKINS OFFICE - DAY
89
Monty stands with Grant and Hopkins. He tries to look

confident. In fact, hes uneasy. The whole room is. Then,
suddenly, the door bursts open and Tooley strides in, a
file under one arm. He slings it onto a far desk as
Hopkins tries to assert control.
HOPKINS
Monty. This is Mr Tooley. HeTOOLEY
I need you to break the strike for me, Mr
Taylor...As soon as you can.
Monty glances at Hopkins who also looks a little
surprised. Monty scoffs.
MONTY
Im not sure you appreciate whose side
Im onTOOLEY
Oh, yes, I do. Ive been going through
your fileMONTY
File?
TOOLEY
Youre on your side, Mr Taylor.
MONTY
I beg your pardon!? I(to Hopkins)
I dont have to listen to thisHe moves towards the door
TOOLEY
Keep going! And six months from now, your
union wont exist.
Monty stops. Despite himself. He turns back.
TOOLEY (CONTD)
Industry cant afford to pay women the
same rates as men. Fact. If its forced
to, it will collapse under the extra wage
bill, its workers will be laid off, their
union subscriptions will disappear and
so, finally, will the unions which
collect them. Thats you...Monty.
(MORE)
64
TOOLEY (CONTD)
Which means you will no longer have a
reason to visit these gentlemen here via(flips open file)
The Berni Inn, is it?...The Queens Head,
The Chequers(looks up)
Jeez, thats a lotve restaurants...Not
to mention the all expenses paid trips to
the party conferences. Union conferences(spots something)
To Paris! The Gallic rank and file. Good
on you, Monty!
Monty blinks; afraid. Tooley walks across and leans right

into him.
TOOLEY (CONTD)
These women get what they want, youre
fucked. So why dont you start thinking
less about what your union can do for you
and more what you can do for your
union...Go break the strike!
Monty trembles, humiliated, then walks numbly from the
office. A long silence. Tooley looks to the others.
TOOLEY (CONTD)
Personnel files...Everyones got a weak
spot. You just gotta find it.
90
90
The women are now on picket before their entrance gates.

They call out for Equal Pay, Equality... several chant;
We Want Justice! and Support Our Struggle! A lorry
delivering supplies turns away in support of them. the
Women all cheer. The lorry pips as it drives back up the
road.
As the lorry accelerates away Rita sees a figure
approaching-
65
RITA
Hello, love! Thought you werent comin(hands across money)
Got your strike pay. Albert let me have
itConnie looks at it, takes it and nods. But she is
hassled. She places her bag on the kerb beside several
others, then steps across to join the chatting girls.
Rita lowers her voice.
RITA (CONTD)
You alright?
CONNIE
Yeah...Fine.
Connie looks up the road. But she is aware of Rita
staring at her; not convinced. Connie sighs, then steps
back to rummage in her bag: a diversion. Rita moves over.
Connie lowers her voice.
CONNIE (CONTD)
-Was a loadve press outside the Labour
Exchange. They cornered George...
(Rita is confused)
Had he fought for a country where the
womend turn out to be more militant than
the men?RITA
Silly sods.
Connie frowns; thats not what she meant.
CONNIE
Yeah.
But then, a bell sounds briefly. Rita looks across. A
dark blue police van pulls up.
SANDRA
What they doin here?
Three or four policemen get out of the van.
BRENDA
Hello boys. Nothin too physical. Til
were on first name terms. Im BrendaThe girls all laugh. A young PC, about twenty, speaks:
COPPER
You gotta move.
The hilarity stops in an instant.
66
RITA
What?
COPPER
Youre trespassin.
RITA
No, we aint. Were picketinCOPPER
You cant. Not here.
CONNIE
(annoyed)
Yes, we can. Its our right!
COPPER
Not here!
He is firm. The girls are stunned.
COPPER (CONTD)
You can do it at the bottom of the High
Street(points way back to town)
But this road, all the way back to town,
Ford built. So its private property and
since youre on strike youre actually
out of contract which means you are
trespassin. You gotta move to the public
highwayCONNIE
We cant turn the lorries round from
thereCOPPER
Im sorry!...Look, whos in charge?
Everyone looks at Rita but Connie steps forward.
CONNIE
Im shop stewardRita turns, wrong footedCOPPER
Right. I need you to get these women out
of here.
He nods and then opens his arms wide as if to corral the
women up the roadCONNIE
Get your hands off meCOPPER
I aint touched you10.08.09 ORANGE REVISIONS
67
RITA
Its alright, ConnieCONNIE
No. It aint alright!
COPPER
(to Connie)
Will you just moveCONNIE
No!
Rita is worried, the situation starting to boilBRENDA
Yeah, sod off! We aint doin nothin
wrongThe women link arms. Connie is on the end of the line.
COPPER
You are! And you gotta shift!
He shoves Connie forwards. She pulls away.
CONNIE
Get off me! You ignorant buggerCOPPER
Right! LadsHe beckons the other coppers. And grabs Connie.
RITA
Leave her!
CONNIE
COPPER
Get off!
Come here-
Connie kicks her heel hard into his shin. He cries out,
letting go. But the other coppers grab her as the girls
shove back against them. A huge melee ensues. The press
take photos and Sandra tries to smile, even as shes
shoved one way and the other. In a moment, though,
Connie, screaming, is extracted, shoved in the van and
the coppers are away. Silence immediately falls and Rita
looks to Brenda, shocked.
91
INT. RIVER PLANT, CORRIDOR
- DAY
Monty stands looking out of a window at the aftermath of

the skirmish. A pay phone is close by, on the wall. Monty
feels sick.
91
92
68
INT. CONNIES HOUSE - AFTERNOON
92
A clock ticks. And ticks. Then we see George. He sits at

home. He is in an armchair but is perched right on the
edge of the seat. He looks at the time. Then back to a
spot on the far wall. He suddenly screws his eyes tight
shut and grimaces. A second and he opens his eyes again.
Wherever he is, hes utterly terrified.
93
INT. POLICE STATION - LATE AFTERNOON

Brenda, Rita and Eileen are all piled into the station
and Rita speaks to the uniformed desk clerk. She is
incredulous.
RITA
You cant just keep her in.
CLERK
We can do what we like while shes
hystericalRITA
Course shes hysterical! Shes been in a
bleedin police cell all afternoon(gathers her own emotions)
Please. Just let me speak to her.
CLERK
She aint allowed visitorsRITA
Im not visitin! Im tryin to sort
things outTOOLEY (O.S.)
Excuse me!...Can I help here?
Tooley pushes through the women.
TOOLEY (CONTD)
I only just found out...A question of
trespass, I gather? On Ford property?
CLERK
Who are you?
TOOLEY
(pushing ID over)
I represent Ford Motors, Sir, and we have
no desire to press charges here.
(Rita stares at Tooley,
immediately uneasy)
Protest is a basic right in all free and
democratic countries.
93
CLERK
Theres also a matter of assault-
68A
69
TOOLEY
Is that so? Well, Im quite sure it was a
minor thing. And with all these ladies
here as witnesses, plus the view of
another of my employees who clearly saw
the incident with the middle aged
woman...Im sure youd be just as happy
as me if it went right away.
The clerk hesitates, then bolts from his desk into a back
room. Tooley turns, smiles.
TOOLEY (CONTD)
Robert Tooley, Mrs OGrady. A pleasure to
meet you.
Shes shocked he knows her name. Then Tooley produces a
card from an inner pocket. He holds it outTOOLEY (CONTD)
Anytime you wanna come in, have a chat
with me...
(she takes the card)
Talk about settling this thing(she looks him in the eye)
Just give me a call.
(starts to go; looks back)
Its my job to make things happen, Mrs
OGrady. I can make all sorts of things
happen.
And hes gone.
BRENDA
Christ...I thought Boris Karloff was
scary.
Rita nods, gathering herself and her tumbling emotions.
RITA
Its fine. We can handle him...Shows how
much theyre frightened of us...Sendin
in the heavy brigadeA cheer of support. Rita makes to say moreBut a voice cuts through.
CONNIE
Can we go now...I wanna go home.
Connie is there; standing by an inner door which closes
behind her. She is visibly upset. The girls flock to her.
A half beat and Rita, a little awkward, goes, too.
93A
EXT. CONNIES HOUSE
69A
93A
Connie enters her house.
94
70
INT. CONNIES HOUSE - LATE AFTERNOON
94
Connie closes her door. She looks pale. A second as she

gathers herself. Then she walks towards the sitting room,
calling out, brightlyCONNIE
Im back, GeorgeBut there is no-one there, his chair empty.
CONNIE (CONTD)
George?
She passes into the kitchen. Nothing. And now shes
looking slightly anxious. She calls generally, to the
house...
CONNIE (CONTD)
Im home, loveAnd she hurries from the kitchen to the stairs. We see
her run up them.
CONNIE (CONTD)
George!
Then we hear her upstairs. Front bedroom, back bedroom
and running back down the stairs. She looks scared.
95
EXT. WASTELAND - LATE AFTERNOON
95
George wanders across a bleak, barren expanse of open

ground. His steps are jerky, ragged. He looks wretched.
96
EXT. DAGENHAM ESTATE - LATE AFTERNOON

We hear shouts from the girls. They are calling Georges
name as they search the estate. Rita and Connie appear at
the foot of a twitchell.
CONNIE
ChristRITA
Hell turn upCONNIE
I said. I said Id be back at twoRITA
ConnieCONNIE
(shouts)
George!
96
71
Rita looks stressed but knows she must remain calm.

97
EXT. WASTELAND - LATE AFTERNOON
97
Graham, still in school uniform, carrying a football,

heads home. He frowns; recognising the figure sitting on
a fly tipped bench. It is George. Graham moves over.
GRAHAM
Hello Mr Andrews...You alright?
George says nothing. There is a hint of spittle in the
corner of his mouth. Graham is unsure. He glances round,
then sits beside George.
GRAHAM (CONTD)
Just been playin football. I was Bobby
Moore...
(nothing from George)
I should get home for me teaHe starts to move. But George reaches out and takes his
hand. Graham is shocked at first; but then he looks into
Georges eyes and sees the fear. And shock gives way to
worry and he finally sits back, holding the older mans
hand.
98
EXT. EDGE OF WASTELAND - ESTATE - LATE AFTERNOON

Connie, Rita, Eileen, Monica all crying out for George.
And in them all we hear the gathering concern, the
insistence.
CONNIE
Oh, God! Where is heShe seems about to set off in another direction when she
stops. Her breath catches. There he is. Walking with
Graham. Graham still holding his hand. Graham bringing
him home. Connies eyes fill and she runs towards her
husband. Rita exhales, feeling the gathering pressure.
98
99
72
99
Gordon sits in the empty warehouse reading the paper. A

man with a clipped tash and severely parted hair stands
to one side shouting into the phone.
FRANK
Dont you take that tone with me! I(stops; listens; then-)
There arent any! Thats what Im sayin:
Youve had em all! There are no more
finished seats...full stop!
He slams the phone down. Then he takes a deep breath and
gathers himself. He walks past Gordon who looks up from
his paper.
GORDON
Frank!
Frank glances across
GORDON (CONT'D)
What do you want me to do, then?
FRANK
(matter of fact)
Go home.
GORDON
What?
Frank stops by the door. He turns; looks seriousFRANK
No more seats...no more job.
Frank leaves. Gordons face as he realises hes being
laid off. He is stunned. And angry.
100
INT. FORD MAIN PLANT - AFTERNOON
100
The assembly line stops.

101
101
Hopkins scrambles for his phone, terrified and dials102
EXT. DAGENHAM HIGH STREET - AFTERNOON
102
A pale Rita walks through Dagenhams deserted streets.

She is exhausted. But then, a man cycles up the hill.
Then another. She checks her watch and frowns. Too early.
73
But more sweep by until finally, a huge tide of cyclists

pass by her. One or two men glance at her as they go.
Finally, she stops an older man, moving slowly.
RITA
Whats goin on?
MAN
You done it...
(she is uncertain)
Theyve laid everyone off(she blinks)
Youve shut the factory down.
He rides on. Rita wobbles.
RITA
I...I gotta see Albert.
Rita runs off, through the tide of men flooding onto the
streets.
103

Tooley watches Hopkins who paces his office.
HOPKINS
Thats it. Were buggered! We cant make
cars with no bloody seats in em!
He inadvertently snaps a pencil hes holding. He throws
it in the bin.
TOOLEY
RelaxHOPKINS
Relax! The entire workforce of my main
plant is going home!
TOOLEY
Good.
(Hopkins blinks)
This is what we wantTooley is smiling, reasonable. Hopkins, incredulous,
makes to speakTOOLEY (CONTD)
Were trying to make the girls go back to
work.
(MORE)
103
74
TOOLEY (CONTD)
And now, weve got five thousand men out
of a job, as well...Their husbands and
boyfriends...Which means, in a very short
time, when those men cant afford their
booze and their soccer and their
gambling...theyll do our job for us...
104
INT. CAFE - NIGHT

Albert
Albert
beside
crisps
104
and Rita stare at the facade from inside a CAFE.

still wears his Ford overalls. A note pad sits
them on the table and several empty packets of
are screwed up in the ashtray.
ALBERT
Nows the critical time, Rita. You gotta
drive them girls forwardRITA
I know that!
She does. And he smiles, nodding, acknowledging it.

ALBERT
You need to keep an eye on the Union,
too. Now the ladsve all been made
redundant. Theyll be nervous. And Monty!
Fords rattled him. I can tell. So
careful what news you share with him!
She nods. Meets Alberts eye. He suddenly smiles and
clenches his fists.
ALBERT (CONTD)
Hold on tight, girl.
105
105
Rita hurries into the house. Shes flushed.

RITA
Im backShe nips into the kitchen which is in a mess. She opens
the fridge. It is bare. There is a tiny piece of cheese
and after checking it, she devours it. Then she walks
towards the front room.
RITA (CONTD)
Eddie?
She peers round the door. Its empty.
106
75
INT. RITAS HOUSE, BEDROOM - NIGHT
106
Rita slips into the bedroom. Eddie is laying in bed. He

is reading a Haynes motorcycle Manual. He looks across
and goes back to the book.
RITA
You alright?
EDDIE
Yeah...Been busy, have you?
She is instantly energized, moving to the bed and sitting
close, her gaze intense.
RITA
Final push, Eddie; we gotta plan. The
entire Main Plant closed down. Ford cant
afford thatHes looking at her now and she stops; realisesRITA (CONTD)
I mean...Im sorry, love...Its had to
come to this. For you and the lads...
He stares. Then looks back to the book.
EDDIE
Oh, dont you worry about us, Rita...We
was sayin on the way out, its nice warm
weather at the moment; if they cut the
gas off, well hardly notice.
He glances back and smiles. Then, its face in the book
again. Rita frowns. Is he joking? She stands and moves
across the room and starts to undress. She turns to him,
however; cant let it go.
RITA
Thing is, I know how you feel, love:
gettin laid off. Causeve all them
times us girlsve supported you men; and
its meant no work for us.
He looks across the room. His eyes fiery. Half a second
and he puts a lid on his emotions.
EDDIE
Yeah.
Then hes back to the book. She stiffens even more.
RITA
If youve got somethin on your mind,
Eddie-
76
EDDIE
Im fine...Id say.
Beat. She crosses to take off her make up.
RITA
Good. Cause I aint had the easiest of
days meselfClick! His half of the room plunges into darkness. Rita
stares across at Eddie, sees his hand move from the lamp
to the bed while his back remains resolutely turned
towards her.
107
INT. CONNIES HOUSE - NIGHT
107
Connie is in bed, asleep. George is beside her. Suddenly

he starts to pant. The panting gets louder and faster, as
if he is hyperventilating. Connie moans, starts to wake.
GEORGE
Fuckin skip, fuckin skipCONNIE
GeorgeGEORGE
Closin in! Hes...closinHe shouts out. Connie turns on the light.
CONNIE
George, George, stop itGEORGE
Ahh! Ah!
He cries out the last time, wide awake. Then he sees its
her. He blinks, starts to slow his breathing.
CONNIE
Its alright. Im here....Its okay.
She stares. He says nothing, whimpers. He looks at the
bed. Then he curses, feeling somethingGEORGE
Oh...
He shifts over. The bed is wet through.
CONNIE
It dont matter. Ill change it...HereShe drags him onto her side, towards the foot of the bed.
He watches her. Then his face twists.
77
GEORGE
What the fuck do you care?
(she is confused)
Youd sooner they threw us in the
sanatorium...Or the fuckin poor houseCONNIE
(wrong footed)
What?
GEORGE
(nodding; manic)
I know what youre up to...This strike.
Back your mates...Then when we havent
got a pot to piss in, with a bitve luck,
the Socialll have me, eh?
CONNIE
(upset)
No! YouGEORGE
And then you can move another one
in...Real fuckin man...Look after you
properCONNIE
(angry)
Dont say that!GEORGE
Give you a bitta cockCONNIE
George!
A second and he launches himself at herGEORGE
You fuckin cow, youHe knocks her backwards and drags himself up her body.
She immediately tries to pin his arms to his side but he
is flailing, crying out, howling like an animalCONNIE
Stop it! George! Stop it! Youre gonna
hurt me!
And then we see him bite her, on the shoulder, like he is
stuffing a rag in his own mouth. She cries out, in pain.
But she grits her teeth, baring it. And finally, his
wailing reaches a pitch and he slumps against her, spent
and sobbing. Connie looks bereft, her own eyes filling
immediately. She pulls him to her, holding his head
against her chest. His convulsing body shakes the whole
bed.
78
GEORGE
Im sorry...Im sorryShe holds him. And we pull back and see them both,
huddled together, in their small dark bedroom.
107aA
107aA
Tooley walks into the office where Grant is working. He

is tense and opens a drawer aggressively. Grant closes a
filing cabinet. Nothing. He sighs. But then he notices an
old copy of the Dagenham and Redbridge Echo, folded on
top of the cabinet. On it is a picture of Sandra, in hot
pants.
GRANT
Mr Tooley...
Tooley turns, eyes greedy; he heard a thought there107A
INT. BRENDAS HOUSE - AFTERNOON
107A
Several of the women are hanging out at Brendas house.

Monica and Eileen are making tea in the kitchen while
Rita talks to a couple of women in the living room.
Sandra reads a magazine, slightly distracted. Brenda
gives out garden produce from a sack, handing a
cauliflower to EileenEILEEN
Thanks loveBRENDA
No! Thanks not necessaryShe deposits the cauliflower besides Monica
BRENDA (CONTD)
-the pleasure was all mine.
Eileen smiles. ThenEILEEN
Here, I dont suppose you could get any
fruit could you? Ive had nothin but
cabbage soup all weekBrenda smiles and opens a cupboard. Inside is nothing but
a large pineapple.
BRENDA
Ta da!
MONICA
Bloody hell10.08.09 ORANGE REVISIONS
78A
EILEEN
Jesus. He must love youMonica steps closer, as if looking at the crown jewelsMONICA
Ive never had a real pineapple.
BRENDA
Help yourself.
MONICA
No...!
BRENDA
Go on.
Eileen excitedly starts cutting it up. Brenda moves to
Sandra.
BRENDA (CONTD)
Cauliflower or cabbage?
SANDRA
What?...
(realises what shes being
asked)
Oh... No thanks.
BRENDA
Go on. Take something.
SANDRA
No Im fine. I got to go actually.
She gets up finds her bag
SANDRA (CONTD)
Ill see you all later.
Monica enters as Sandra goes.
MONICA, RITA, ETC
See you Sandra.
RITA
She alright?
MONICA
Course she is. You know what shes like.
Always wishing she was somewhere else.
RITA
Yeah.
Brenda tips the sack upside down. One last cauliflower.
78B
BRENDA
This ones Connies. Where is she? I
aint seen her aroundEileen and Monica have brought out slices of Pineapple.
EILEEN
Dont worry. Ill take it for herRITA
No, Ill do it... I wanna talk to her.
Rita, clearly worried, slips the cauli in a straw basket.
EILEEN
Rita! It aint all your responsibility...
Rita stares at Eileen and smiles. But its fragile.
RITA
We gotta stand firm. Everyone of us! It
aint easy... And its gonna get harder
now. Cause we aint caved in how they
thought we would. Which means theyre
desperate... But weve got this far, so
we can get a bit further... as long as we
stick together.
She stops just as shes getting into her stride, the
others are trying to focus but really their attention is
on the pineapple they are devouring with loud slurps and
from which they look up at Rita. She sighs and smiles,
relaxing at last.
RITA (CONTD)
Give us some of that107B
OMITTED
107B
108
OMITTED
108
109
OMITTED
109
110
OMITTED
110
111
OMITTED
111
79
112
OMITTED
112
113
OMITTED
113
114
EXT. REAR OF CONNIES HOUSE - AFTERNOON
114
Rita passes down the side of Connies house.

RITA
Connie...You there?
She peeps over the wall. Connie is sitting on a chair by
the door, a bucket at her feet, peeling potatoes. Rita
smiles, stops straining and passes round the cornerRITA (CONTD)
I brought you a present. From Brendas
fellaShe ducks through the gate, holding out the Cauliflower.
Connie looks across at her. Rita is still smiling. She
places the cauliflower on the floor beside Connie.
RITA (CONTD)
Plus, Alberts been in touch; Unions
called a meetinShe straightens and looks at Connie
RITA (CONTD)
Sounds important; so we need toCONNIE
No...
(Rita frowns)
I... I dont think so.
RITA
(wrong footed)
I...?
Connie avoids eye contact as she clarifies what she
means.
CONNIE
Im not sure I can come with you.
RITA
What?
A beat. Finally Connie looks at Rita.
CONNIE
I...wanna step back a bit, Rita10.08.09 ORANGE REVISIONS
79aA
RITA
(alarm now)
ConnieCONNIE
I need to...I feel like IRita is panicky.
RITA
You cant just stopCONNIE
Im not stoppin! Im still on strike. I
still support you. I just(Rita makes to speak)
I cant be on the front line so
much!...Thats all.
RITA
(scared)
But...we need you...at the meetins
(shrugs)
And the younger girls; they look up to
youCONNIE
Youre in charge, Rita! You wanted to be
in charge! Of this dispute.
Rita looks upset by that one and it forces Connie to turn
away. She sighs and tries another tack.
CONNIE (CONTD)
I got arrested. They put us in a cell.
Its too much for me!
Again they make eye contact. And this time Rita knows
Connies making excuses. Connie sees this and exhales;
unable to keep up the pretence any longer. She scoffs,
sadly.
CONNIE (CONTD)
What do you want me to say, Rita? George
is ill. You know that! Hes touched. And
the strikes whippin everything up...I
gotta put him first(Rita makes to speak)
You dont understand!
(frowns)
Im not his wife no more. Im more like
his...sister or(stares at Rita)
(MORE)
79A
80
CONNIE (CONTD)
But Im his. And thats all hes got
left.
Rita stares at her friend, her heart breaking.

RITA
And I aint sayin you gotta give up on
him, Connie. Just...
(imploringly)
You count, too. Your life...And you gotta
allow it to blossom, just a bit...Or the
wars gonna destroy two people, Con! And
that would be so wrong.
Connie stares hard at Rita.
115
OMITTED
115
116
OMITTED
116
117
OMITTED
117
118
80A-82
INT. PHONE BOX - ESTATE - AFTERNOON
118
Sandra stands very upright in the phone box. She looks

agitated. The phone rings and she grabs it.
SANDRA
Hello(posher)
Hello...Yes...Yes, it is...Thats right.
I got your note, thank you. I was... busy
when you come round(stops; listens)
What?
(excited)
Really...?
(listens; then looks worried)
Oh, I see...Well, I dunno, about that, I(listens; brightens)
Yeah? That would be nice...I mean, it
makes sense, dunnit...Okay. Thank you.
She hangs up. She looks dry mouthed. But set on a course.
118A
EXT. DAGENHAM TOWN CENTRE - AFTERNOON
118A
Rita walks through town. She approaches a large brick

building: Department of Labour and Social Services,
Employment Exchange. One or two men pass inside and
several more are gathered in groups by the gate. Rita
sees them, crosses the road, and accelerates. She slows
at a bus stop. She lights a cigarette with unsteady
hands. Then she stops. Someone is there; it is Gordon.
She smiles, relieved.
RITA
Hello, GordonGORDON
Dont you fuckin hello me!
(she blinks, shocked)
You dont have to work. You got an
husband. My missus dont have to. You do,
cause its nice. Its a bit extra. But
you dont have to...I have to fuckin
work. To pay the electric and the food
and the coal. The fuckin basics. Only
now I cant. I cant shift what aint
there...You fuckin idiot.
He strides off. Rita doesnt move, feeling sick.
119
EXT. RITAS HOUSE - AFTERNOON
82A
119
Rita, shaken walks down the road, turns a corner and

stops: from her house, two men are wheeling her fridge
onto the back of a lorry. Eddie walks onto the doorstep,
watching the scene. Rita hurries over and turns to him.
EDDIE
We aint paid the HP... Last of my cash
went on the electric bill. How you set?
Her jaw tightens.
120
INT. RITAS HOUSE - AFTERNOON
120
Rita runs angrily into the kitchen. She goes straight for
the shoe polish box, pulls out the puncture repair kit
and opens it. It is bare. She looks furious-
121
EXT. RITAS HOUSE - AFTERNOON

Rita strides over to EddieRITA
You spent the moneyEDDIE
Eh?
RITA
You spent the last of the emergency. Out
the repair kit.
EDDIE
I had to pay the milk man.
RITA
Why?EDDIE
What dyou meanRITA
We coulda kept him off til next weekEDDIE
He wanted payin!RITA
And you shoulda told him we didnt have
it!
(he makes to speak)
Christ, Eddie, Im in charge of the
money!
EDDIE
Well, you aint much good at it are you!
Or we might have some left!
(she blinks, shocked; he
scoffs)
Welcome to the real world, Rita. This is
bein on strike: you run out of cash and
you end up screamin at each other.
She stares at him, ashen.
RITA
What happened to you?
Eddie walks back into the flat and Sharon walks out,
oblivious to their argument. Rita stares.
SHARON
(Tugging at Ritas sleeve)
Mum, are you coming in now?
Then her neighbour Marge lets herself in next door.
83
121
83A
MARGE (O.S.)
Rita!
Rita turns;
RITA
Hello, Marge.
She smiles; doing her best.
MARGE
I thought you lot were back at work?
RITA
No... no we...
She looks at Marge
RITA (CONTD)
Everything alright?
MARGE
Yeah its just... I was just finishing my
shift and Im sure I saw your Sandra...
She stops and frownsMARGE (CONTD)
Rita?
Rita is already hurrying back to the house, Sharon
gripped tightly in her hand.
RITA
Eddie! I gotta go out.
SHARON
But Mum... you said...
RITA
Im sorry love. Mummys got to do
something important, Daddy will look
after you
(shouts)
Eddie!
122
OMITTED
122
123
EXT. RIVER PLANT - AFTERNOON
84
123
Sandra waits outside the factory. She looks nervous. She

walks in.
124
OMITTED
124
125
INT. MAIN PLANT - AFTERNOON
125
Music plays quietly in the background as a photographer

in his late forties, bearded, leans in towards Sandra.
She wears an evening dress and long gloves. She is
positioned between the harsh machinery of the shop floor
and a brand new Ford Executive Saloon.
85
PHOTOGRAPHER
Terrific Sandra. Head a little higher.
SANDRA
Like that?
She twists. Looks over one shoulder. Shes a natural.
PHOTOGRAPHER
Yeeees! Beautiful!
And even as he says it, at the side, a door opens and
Rita and the other girls rush inPHOTOGRAPHER (CONTD)
Bit nearer...Flat hand on the roof.
And they stop, amazed. They stare at Sandra. She looks
extraordinary. Beautiful, transformed. And momentarily,
they are neutered, unsure what to do. But then Sandra, as
she turns, sees them.
PHOTOGRAPHER (CONTD)
Okay. Openinin the door now. Lookin
back to the machinesBut Sandra slows, cant do it with the girls watching.
And finally she stops. Then the photographer becomes
aware of the other women, too, Rita to the fore now.
Right...Not to worry...Why dont we have
a break...You can go back to the caravan,
Sandra. Get changed for the next set
up!...Youve done brilliantly.
Sandra stares at the girls and then rushes out in the
opposite direction, slipping on a silk dressing gown as
she goes.
126
INT. WARDROBE TRUCK - AFTERNOON
126
Sandra sits before a mirror, staring at herself. Then, in

the mirror, she sees Rita enter at the back of the
waggon. She turns. A moment.
SANDRA
Its all Ive ever wanted.
RITA
I know.
Sandras eyes fill. She shakes her head.
86
SANDRA
I dont really care about equal
pay...Still a shitty factory, with dead
birds and rain comin in and like a sauna
in the summer and dirty and(cries; screws up face)
I want more, RitaAnd now shes crying. Rita runs across.
RITA
HeyRita comes across and hugs her. When Sandra speaks its
between sobsSANDRA
Tooley said hed shown me photo...Out the
paper...And this photographerd said Id
got what it tookRITA
(fondly)
You haveSANDRA
Its for a brochure. Only trade but it
could lead on...Foot in the door, you
know(breath catches)
I dont wanna let you down. I justRITA
You aint let us down. You aint gone
back yet, have you...?
(Sandra looks to Rita
hopefully)
I mean, that is the deal, innit? They let
you do this shoot and you go back to
work... but the going back bit aint
happened yet so...
She smiles. And then Sandra looks horribly compromised
SANDRA
But...They wont use the photos, unless,
IShe stops; the choice is clear.
RITA
Sandra...You look amazin...I mean, you
are a model. You were doin it, in there.
They couldnt get better...You could
though...Now I seen it. You really
could...But its up to you in the end.
Rita walks out. Sandra looks pale.
86A
127
87
127
The photographer, now back, glances across to Brenda and

Eileen, nervously. And then Tooley suddenly appears. He
looks worried. He sees the two women also, and fears the
worst. But then, the far door opens and Sandra walks in.
She looks scared but determined as she crosses the shop
floorPHOTOGRAPHER
Brilliant, Sandra. Thats greatHe moves into position. Tooley looks triumphantly to
Brenda and Eileen who stand with Sharon.
Same as before. Loadsve oomph, loadsve
energy...
Sandra slips off the dressing gown
Loadsve, ChristHe stops. Sandra is down to her bikini. And written on
her body in red lipstick is: EQUAL PAY
SANDRA
Hows that look?
Tooley trembles with suppressed rage.
128
EXT. FACTORY - NIGHT
128
The factory is deserted; shut down still and creaking

with inactivity.
129
INT. CONNIES HOUSE - DAY
129
George sits in the kitchen. He has the paper before him

but doesnt read it. Then Connie enters. She is dressed
up and grabs a hand bag.
GEORGE
Youre goin are you?
She turns. Frowns.
CONNIE
You know I am. I said. Its an emergency
meetin...Rita asked me to go, special(He stares. Nods)
You gotta fight for what you believe in,
George. You know that. More than anyone.
88
He stares.
GEORGE
You think Id do the same again. If
another war come round?
CONNIE
I know you would...Cause youre an hero.
He stares. There is utter conviction on her face.
GEORGE
I love you.
She frowns. Wrong footed. Then there is a knock on the
door. It opens.
RITA
Con. You all set?...GeorgeRita smiles at George. Connie looks from Rita, back to
her husband. He smiles.
GEORGE
Go.
She does and the door closes. George smiles again.
130
INT. UNION OFFICES - AFTERNOON
130
Rita hurries into the outer chamber of the union offices,

where we saw Albert wait for his bollocking.
RITA
Sorry Im lateShe stops. Connie is already sitting there, waiting, with
Albert. Rita smiles, delighted that Connies back on
board and she makes to speak. But before she can, Albert
is to his feet and hurrying acrossALBERT
That dont matter. You gotta listenThe door opens and a secretary appears
SECRETARY
Ready for you now...
He leaves the doors open as he goes back inside the inner
sanctum. We see Bartholomew, Rogers, Monty and a couple
of other Union Reps waiting. Albert, placing his hands in
the small of the back of Rita and Connie, turns the women
in a wide arc towards the other room. At the same time he
lowers his voice and continues in a whisper-
88A
ALBERT
Theyve hung you out to dry. Lads in the
other unionsve had enough. Whatever they
say now, dont believe it and well sort
it out after(normal voice, turning)
This way, please, ladiesHe guides the women into the main chamber. Albert smiles
in a comradely way to the other men, then closes the door
behind him.
131
89
INT. UNION OFFICES - DAY
131
Ritas jaw is fixed. She glances at Connie.

BARTHOLOMEW
We are absolutely behind you still, Rita.
You and the girls...We aint sayin
otherwiseROGERS
And as you can see, we have got other
representatives from the other Unions
here to pledgeRITA
You aint got em all though, have youAlbert flashes her a glance. She bites itBARTHOLOMEW
No...But were very confident
well...prevail. The thing is, though, as
weve got the National Conference comin
up...down Weymouth...The most sensible
thing, probably, would be just to go to a
voteMONTY
Which would be the actual, final, and
bindin position, I believe, Comrade?
After which itd be out our hands.
BARTHOLOMEW
Thats right, Monty. But like I say,
were expectin full support.
He looks Rita in the eye.
132
INT. BARBARA CASTLES WESTMINSTER OFFICES - AFTERNOON
132
The line up of Barbara Castles posh, public school,

undersecretaries. They beam. Then we see Mrs Castle. She
looks uncertain.
UNDERSECRETARY
The Unions are turning!
UNDERSECRETARY TWO
The other unions, Minister! Normally,
they all band togetherShe turns on that oneBARBARA CASTLE
Yes. I gather its called Solidarity-
90
UNDERSECRETARY
Only, theyre not...Being solid. The men
want to return to work. So theyre
telling their unions to withdraw support
from the machinists union and to
actively put pressure on the women to end
the dispute...
(beams)
Theyll be back within the week.
Barbara Castle stares. Is that a tiny hint of
disappointment?
BARBARA CASTLE
Well see...
The men glance at each other, confused.
Youre assuming the girls will do as
theyre told.
She smiles and walks out of the room.
133
EXT. CONNIES HOUSE - DAY
133
Rita and Connie pass down the lane. They are fired up.
RITA
They must think we was born yesterdayCONNIE
That Montys a sly one, though, inni?
(mocking)
Will the Weymouth vote be bindin
Comrade?
RITA
(laughs)
See how he looks when we turn up down
there! Put our side of thingsThey pass through the gate.
CONNIE
Sod him...Youre right. We can deal with
him!
RITA
We can deal with anyone, Con!
They both laugh and Connie opens the door. She screams.
In the centre of the room, hanging from the ceiling, a
belt around his neck, is George. He is wearing his RAF
Best Blue. Rita makes a guttural, animal-like noise and
then runs into the house. Connie follows, realising what
Rita intends.
91
And Rita is there already, grabbing George round the

thighs and trying to take the weight off his neck.
134
EXT. CONNIES HOUSE - DAY
134
A police car and an ambulance are parked on the road. A

small crowd has gathered to watch. Rita is standing a
little away from the scene, staring at the house. She can
see Connie, through the front windows, on the settee, a
blanket around her shoulders, being passed a cup of tea
by a policewoman.
135
EXT. GRAVEYARD - DAY
135
The machinists are all gathered for Georges funeral. A

couple of RAF greatcoats can be seen. Possibly ex
crew...theyre Georges age. Connie stands with Brenda.
Rita is with Eddie and the kids. Albert is there, too.
The service nears its end and finally, the vicar closes
his prayer book and moves away. The crowd presses up to
Connie and people start to pass on their condolences.
RITA
Im sorry, Connie.
Connie nods, smiles, but doesnt look Rita in the eye.
CONNIE
No, youre not.
RITA
What?
CONNIE
You thought he was a millstone. You
thought he was keepin me backOne or two heads turn.
BRENDA
Hey, Connie thats enough!
Connie finally looks at Rita.
CONNIE
I should have been there.
Brenda leads Connie away. She has started to cry. Rita
watches, her expression frozen. Eddie takes her hand
supportively.
136
EXT. RITAS HOUSE - EVENING

Rita is alone now. We sense shes not been home all
afternoon. She walks slowly onto her street, exhausted.
136
91A
And then she stops. A car is parked close to her house.

Lisas. She climbs from the vehicle and smiles. Rita does
her best to return the gesture as she reaches the car.
RITA
This is a surprise.
LISA
Yeah. Im...sorry its so late...I nearly
didnt come at all.
Shes nervous. Rita is too numb to see it.
RITA
You wanna pop in? I...be honest, I aint
feelin the most chatty but-
92
LISA
No...I really dont want to keep you, I
justShe looks at Rita; and loses her nerve. She smiles
instead.
LISA (CONTD)
Mr Clarke has been asked to leave the
school.
(Rita frowns; the name cuts
through)
We won. Theyre getting rid of him.
Rita manages to smile.
RITA
Thats great. Thats...brilliant.
Lisa nods. A beat. Rita looks to her front doorLISA
Im married to Peter Hopkins. At the
factory...
(Rita is stunned)
Had a feeling you didnt know...And I
didnt know...who you were...the strike.
She nods emphatically and smiles. Rita frowns.
RITA
I...dont understand. I(suddenly upset)
If youve come here to tell me to back
off...I wasnt jokin; whats gone on
today and Im warning youLISA
Keep going! Please. Please keep going.
Rita looks down. Lisa has gripped her wrist. Then Rita
looks back into Lisas eyes.
LISA (CONTD)
Do you know who I am, Rita?
(Rita is confused)
Who I actually am? Im Lisa Burnett. Im
thirty one years old, with a first class
honours degree from one of the finest
universities in the world and my husband
treats me like Im a fool.
Rita blinks and Lisa smiles, fondlyLISA (CONTD)
When I studied...for my degree...I
was...very happy.
(MORE)

LISA (CONTD)
All sorts of reasons...Especially the
work...I loved to read about all these
extraordinary people. Making history. I
always wondered what it felt like...
(nods)
Let me know will you...When youve
finished doing it.
(kisses her on the cheek)
Dont let me down.
She gets into the car and drives off.
92A
137
93
INT. RITAS HOUSE - EVENING
137
Rita passes into her bedroom. She stares out of the

window. And suddenly, she starts to cry. Great sobs which
she bites back as she tries to keep quiet. And gradually,
as she clenches her fists, she manages to calm herself.
She takes a deep, steadying breath. Then she crosses the
room and looks at herself in the dressing table mirror.
She is a mess. A second and she grabs a hanky, licks it
and removes her smudged make up. Another beat. She stares
at herself, determined.
138
EXT. RITAS HOUSE - DAY
138
Eddies motorcycle is loaded with camping kit. He pushes

himself back from under the side car and stares at Rita
incredulously.
EDDIE
Youre goin? To Weymouth?
Then he looks back to his wife. She says nothing.
EDDIE (CONTD)
Its...the holiday, its...campin. We go
campinRITA
I cantEDDIE
Why cant youRITA
Because(gritted teeth)
If I dont see it through...Then it has
all been for nothin...
She stares at him. Then she picks up her case and walks
off down the street. He watches. His chest heaves. But
then, he looks compromised. And he calls outEDDIE
Rita!
He runs after her.
EDDIE (CONTD)
Rita!He catches her up. She turns.
RITA
What?
EDDIE
We gotta sort this out. Now!
(she makes to speak)
No...We have and...I know it aint been
good...between us lately(again she tries to speak)
Which...I aint about to make worse, I
promise, only...We gotta stop the rot orRITA
(weary)
EddieEDDIE
Listen to me!
His impassioned expression slows her. He focuses.
EDDIE (CONTD)
Look. If I aint...appreciated what you
done, properly...how youve come on
and...what youve achieved, all
that...then Im sorryShe doesnt want this; looks down the road.
RITA
I gotta catch a busEDDIE
Rita! I am sorry...But you aint been
perfect in all this either, you know...I
mean, just cause you believe in a
particular thing with all your heart,
that dont mean it actually is the most
crucial thing in the whole world...
RITA
This really aint the time, EddieEDDIE
Yes! It is! Cause it needs sayin! I know
you reckon Im not bothered about the
important things and I just...drift along
and Im more interested in fiddlin with
motorbikes and makin tents out of head
rest covers but...I do me best. You know?
(scoffs)
Christ, Im not out on the beer every
night or...screwin other women, or(a thought)
Ive never once raised me hand to you!
(MORE)
94
95
EDDIE (CONT'D)
Ever. Or the kids. And(He stops. She is smiling)
What? Why you lookin like that?-
RITA
Youre a saint. Thats what youre
tellin me, Eddie? Youre a bleedin
saint! Cause you give us an even break...
(thunderous)
Thats as it should be...Jesus! What do
you think this strikes been all about?
It aint about us gettin special
treatment, you know...Kid gloves...Its
been about fairness. Whats proper....And
you stand there now and lecture me about
countin me blessins...
(nods)
Well, youre right actually...You dont
knock us about, you dont drink, you
dont gamble, you do join in with the
family...
(through gritted teeth)
Thats-as-it-should-be!...Try and
understand that. Please. What youre
talkin about now...what Ive been
fightin for, the last few weeks...Same
thing...Rights. Not privileges.
She marches off and Eddie watches her go. He sways, as if
he has taken a punch.
139
EXT. DAGENHAM TOWN HALL - AFTERNOON
139
The last of the girls climbs onto a coach. Rita looks

back at the streets of Dagenham and climbs on also140
INT. COACH - AFTERNOON
140
The coach is full. Ritas seat is at the front as usual.

The seat next to her, Connies, is empty. Rita catches
Brendas eye and then she sits, alone.
141
INT. RITAS HOUSE - LATE AFTERNOON
141
Eddie sits at the kitchen table, thinking. He looks

shocked. He blinks, noticing the unpacked camping gear
leant against a couple of protest placards. He exhales
slowly. But then, Graham enters the room. He sits next to
his father. Eddie looks at him. Graham smiles. Its fine.
A long moment and Eddie straightens.
142
96
EXT. NEIGHBOURS HOUSE - LATE AFTERNOON
142
The kids stand with a woman on her doorstep and wave as

Eddie zooms off on his motorbike. He doesnt wave back.
143
EXT. ROAD IN WEYMOUTH - EVENING
143
A hotel with a plush facade, displaying a sign: The

Tadmarton Park Hotel, Weymouth, Dorset Welcomes The
Confederation of Shipbuilding and Engineering Unions.
144
INT. HOTEL IN WEYMOUTH - EVENING
144
The ballroom is crowded with Union delegates as the

Chair, up on stage, a northerner, consults his notes.
CHAIRMAN
Very good, gentlemen. And that brings us
to our main item...The ongoing dispute at
Ford Motors...Can I call on Monty Taylor,
Senior Convenor, Ford Dagenham.
The chairman squints. And out of the darkness comes
Monty. He mounts the stage and moves across to the Chair.
He whispers and then crosses to the lectern.
MONTY
Thank you Mr Chairman...I shall try and
be briefHe looks to the darkened hall, a glint in his eye.
145
EXT. HOTEL IN WEYMOUTH - EVENING
145
Eddie jumps off his bike and looks wildly round: Shit!
The seafront is a mass of hotels.
146

Monty is pushing on, scared, but desperate.
MONTY
-Of course we must represent all our
members...But me must also remember we
live in a democracy. And in a democracy,
the wishes of the majority must always
hold sway. ThereforeBRENDA (O.S.)
Monty Taylor! You two faced,
hypocritical, toe rag!
146
97
A kerfuffle by the door. Monty squints into the darkness.

The lights come on. The Dagenham contingent are there,
Eileen by the switch, banners at the ready.
MONTY
Now hang onBRENDA
No, you hang onMore rowdiness and shouts of Judas. The whole hall hums.
Several delegates stand to see whats happening. Monty
has moved to the front of the stage and calls out for the
girls to sit down and that hell explain, while they call
back at him. Finally Monty returns and shouts into the
microphone.
MONTY
Be quiet!
The noise shocks everyone into silence. Monty is
embarrassed and moderates his voice.
MONTY (CONTD)
Sorry...Gentlemen...Well sort this out
amongst ourselves laterSCOTSMAN
(shouts; stands)
Hey, Monty! Ive seen more of their mugs
on the front pages these last few weeks
than youve managed in twenty years!
(laughter from crowd)
I wouldnae mind hearin from em.
Shouts of support. Monty looks terrified.
MONTY
NoMore shouts of support. Monty shakes his head.
147
EXT. SEAFRONT - EVENING
147
Eddie walks down the seafront and stops. Parked up ahead

is a coach...From Dagenham. He runs past it and into the
Hotel outside which it is parked.
148
148
More shouts. Monty looks trapped. Then the sound of slow

stamping and clapping. Louder and louder. Then Brenda,
Eileen and the others step aside. Rita is there. She
walks towards the platform. And Monty looks sunk.
149
98
149
Eddie looks for a sign and runs towards the doors which
lead into the hall.
150
150
Eddie bursts into the hall and stops right at the back.
Rita is at the lectern, a light on her. All around is
still. She makes to speak then stops, gathering herself;
all of the emotion of the last few days sweeping over
her. She stares at the people in the hall, their faces
turned to her. Waiting...
RITA
My best friend lost her husband recently.
Durin the war he was a gunner in Fifty
Squadron in the RAF. He got shot down one
time...on a raid to Essen and even though
he managed to bail out, he was badly
injured. I asked him once, why hed
joined the raf and he said...they got the
best women...
(Laughter in the hall. She
nods, upset)
Which they did...
Eddie stares at Rita
RITA (CONTD)
But then he said, you had to do
somethin. And hed always wanted to go
up in a plane...
Her jaw tightens; she feels the cause start to flood
through her veins.
RITA (CONTD)
You had to do somethin...That was a
given. Cause it was a matter of
principle. You had to stand up; do what
was right, cause otherwise you wouldnt
be able to look yourself in the mirror.
(stares at hall)
When did that change? When did we, in
this country, start bein happy, to do
nothin? On what day did we decide we had
no duty to fairness no more?
(The hall is silent. She nods
slightly)
It has NOT changed.
(MORE)
99
RITA (CONTD)
That is NOT us...It is not you...And we
are only in this situation now, where
women get paid less money than men for
doing the same work...
(lets it sink in. Nods)
-because we was tricked. Those in power
kept tellin us: its fine. You dont
need to do the right thing cause theres
nothin needs fixin. And they said it
for so long, we ended up believin it was
right....Well it aint right!
Calls of support. Heads nod in agreement.

RITA (CONTD)
It was wrong at the start, its wrong
now, and itll be wrong forever!(shouts of agreement)
-unless you back us, you stand up, you
remember who you are and you accept, that
this is a matter of principle. Women are
entitled to the same rates of pay as men.
And that is it. No matter the cost, no
matter the difficulty, no matter them
that are gonna lose out, no human being
should be punished in the workplace
causeve how they was born!
(Cheers. Rita calls above
them-)
We are the working classes. The men and
the women. We are the furnace which fires
the world and without us no-body earns
tuppence happenny!
(big cheer)
We are not separated by sex, only by the
will of those who are not prepared to go
into battle for what is right - and those
who are!
The hall erupts. And leaps to its feet. Eddie sways.
151

Delegates pour out, talking excitedly about what they
have just witnessed. We briefly see Eddie again,
swallowed up by the crowd, being pushed backwards. And
then we see our girls, emerging thrilled and elated. We
hear odd snatches of conversation above a huge wall of
chatter-
151
100
BRENDA
(to another woman)
Im tellin you! You can see em! Scorch
marks right up the curtains where Montys
arse caught fireThe woman laughs. Rita smiles. Her chest still heaves.
Eileen grabs her wrist.
EILEEN
Come on, lets have a drinkRITA
We got no moneySANDRA
Were all signin it to Montys roomThe girls laugh. The scots delegate pats Rita on the
back. Some speech. Rita nods, but she is exhausted.
Brenda smiles at her.
BRENDA
Hey! Come on...Youre allowed to unwind a
bit, you know...
RITA
(nods)
Yeah. Cept we aint there yet, BrendaShe stops. She is looking over Brendas shoulder, to the
other side of revolving doors, where she can see, on the
spot where he has been spat out, Eddie. He stares in at
Rita. Then, suddenly, he turns and hurries off152
EXT. BEACH - NIGHT
152
Rita runs after the retreating Eddie. She calls out to

him.
RITA
Eddie...Eddie!
(he finally stops; turns)
What you doin here?
He looks at her; slightly confused. Then...
101
EDDIE
I...come to say sorry. I mean...I
thought...about what you said and(shrugs)
Youre right, I suppose...You are right.
(nods)
And it is amazin what you done...Rita
OGrady. And I wanna back you...I was
gonna tell you that. Only then I come in
when you was speakin and I heard you
and...you was...huge...you was...like a
forceHe cant express it. Then he looks at her fondly and
smiles.
EDDIE (CONTD)
And then I thought...
(shrugs)
Not sure me backin you makes that much
difference to be quiet honest. Where you
are now...
(serious; positive)
Anyway. You get back to your meeting or
whatever you gotta do. I should...
He nods, vaguely over his shoulder and sets off, walkingRITA
Eddie!
He turns again. She shakes her head.
RITA (CONTD)
Youve said some stupid things in your
time but...
She runs to him, embraces him and kisses him hard on the
mouth. She steps back. He looks stunned.
RITA (CONTD)
Of course you backin me makes a
difference. It makes all the difference
in the world.
She kisses him again.
153
INT. BARBARA CASTLE'S WESTMINSTER OFFICES - DAY

Mrs Castle is holding back the slightest of smiles. She
is looking at a sheet of paper on her desk while the
undersecretaries wait in a line.
BARBARA CASTLE
The bloody unions are back in line-
153
101A
UNDERSECRETARY
Its verbatim.
UNDERSECRETARY TWO
Our man was there.
BARBARA CASTLE
Well, well, well(looks to them)
So the strike remains solid. And
meanwhile, five thousand men have now
been laid off and the country has lost
export orders worth 8 million pounds...
(checks notes)
8 million.
She looks back to the undersecretaries.

UNDERSECRETARY TWO
It really does seem time to call in Sir
Jack.
BARBARA CASTLE
Good...Ill do that then. Ill appoint a
Court of Inquiry, which he can oversee.
And lets hope that does the job.
She smiles. The men glance at each other and stand.
BARBARA CASTLE (CONT'D)
Oh, yes. And one other thing...Set up a
meeting will you.
UNDERSECRETARY
Minister?
BARBARA CASTLE
With the machinists. Their leaders.
The men glance at each other.
UNDERSECRETARY
Pardon me?
BARBARA CASTLE
I want to meet them. At my St Jamess
Square Offices...At the earliest
opportunity.
UNDERSECRETARY
ButMrs Castle looks at them quizzically. Yes?
UNDERSECRETARY (CONTD)
The Minister doesnt. Do that. Never has
done.
UNDERSECRETARY TWO
Itll just encourage them.
UNDERSECRETARY
Give credence to their cause.
She looks at them. Long beat. She inhales. Then:
BARBARA CASTLE
Im whats known as a fiery red head...I
hate to make this a matter of
appearance...go all womanly on you
but...there you have it. And me standing
up like this(gets to her feet)
(MORE)
102
103

Is in fact, just that red headed
fieriness, leaping to the fore...
(voice rises furiously)
Credence! I will give credence to their
cause? My God. Their cause already has
credence. Its equal pay. Equal pay is
common justice. And if you werent such a
bunch of egotistical, chauvinistic,
bigoted dunderheads, youd realise it-
UNDERSECRETARY
IBARBARA CASTLE
This is an office run by incompetents.
And I am sick and tired of being
patronised, spoken down to and generally
indulged as if I was the May Queen!
(one of the men holds up a
tremulous finger, as if to
make a point-)
Set up the meeting!
The men scatter.
154
154
Tooley glaresTOOLEY
Whaddya mean, The Secretary of State is
gonna see the women? On whose say so?
Hopkins faces Tooley; scared.
HOPKINS
On her own, I gather...Apparently, Mrs
Castles quite a forceful womanTOOLEY
Is she!
He marches across the office and picks up his phone.
HOPKINS
Whatre you doing-?
TOOLEY
I represent Ford Motors. We are the
biggest car manufacturer in the world. We
pump millions of pounds into the UK
economy...
(he dials)
(MORE)
104
TOOLEY (CONT'D)
I think its time my bosses started
reminding one or two people of that fact.
154A
EXT. RITAS HOUSE - DAY
154A
Eddies motorcycle pulls up outside Ritas house. Albert

waits by the door. Rita looks concerned and quickly jumps
out of the side car, hurrying over to him. For once he
doesnt look entirely in control of his emotionsALBERT
Theres no need to panic, Rita. Only Ive
had a call...From Mrs Castles officeEddie
hears
drive
sheer
is clambering off the bike but turns suddenly as he

a sharp scream of excitement. He looks down the
to Rita who is turned to him, an expression of
delight on her faceRITA
Bloody ell!
She grins, thrilled!

155
INT. RITAS HOUSE - DAY
155
Now Rita looks concerned as she roots through her

wardrobe. She pulls out a dress and turns, holding it up.
Albert sits on a chair beside Eddie, Eddie still in his
bike gear, sitting on the bed, both gazing across at the
impromptu fashion show like rabbits caught in a full
headlight glare.
RITA
Too short.
She nods in agreement. Then she looks back and selects
another outfit. This she holds up.
RITA (CONTD)
Too formal.
She nods and she grabs another. She holds this up. But
this time she doesnt say anything. She looks to the
lads. Albert jumps at the opportunityALBERT
Lovely...that is...
(to Eddie)
Innit? ThatsEDDIE
Yeah.
They both nod. Her face falls
104A
RITA
You hate it...
She looks back to the wardrobe. The lads glance at each
other appalled.
RITA (CONTD)
I aint got anythin thats rightAnd then Rita stops; has an idea...
156
INT. HOPKINS HOUSE - DAY
156
Hopkins is back at home. He stares sickly at the front

page of the Telegraph which records the ongoing horror of
Fords plummeting sales figures. Then the door bell
rings. Hopkins waits for Lisa to answer. But it rings
again. He sighs and stands, crossing to the door. He
opens it. Rita. He is stunned.
RITA
Salright. I aint come to see you. Its
your missus I wanna talk to.
Lisa steps forward from behind Hopkins.
LISA
Rita...What are you doing here?
HOPKINS
Rita?!
RITA
I need a favour.
Hopkins is agog. Lisa nods.
LISA
Come insideHOPKINS
(annoyed)
LisaLISA
What!?
105
Her look is hard; combative. He has not seen it before.

She holds his gaze, furiously and he steps meekly to one
side. Rita enters the house.
157
INT. THE PRIME MINISTERS CAR - DAY
157
Harold Wilson puffs on his pipe as his official motor

sets off around St Jamess Square. Mrs Castle settles
next to him, having just got in. Wilson looks tense and
when Mrs Castle raises an enquiring eyebrow, he gets
straight to itHAROLD WILSON
Have you or have you not invited the Ford
women to your offices?
Mrs Castle hesitates, momentarily. Then:
BARBARA CASTLE
Prime ministerHAROLD WILSON
I have just spent the last half an hour
on the phone to Henry Ford the Second,
reassuring him that my government is not
on the side of the strikersBARBARA CASTLE
Its not a question of sides. We have to
grasp the nettleHAROLD WILSON
By aligning ourselves with the
machinists?
(she makes to deny this)
I wanted you to fix this! Not to make it
worse-!
BARBARA CASTLE
And I will fix it! If youd just...
(cant help it)
Bloody well support me!
This shocks them both. But Wilson can see her passion. He
nods. Go on.
I can resolve this dispute. I can get the
women working again... but I am going to
have to tell them that I agree with their
cause.
He understands instantlyHAROLD WILSON
No. Barbara, please10.08.09 ORANGE REVISIONS
105aA
BARBARA CASTLE
You know their right.
He sighs; his shoulders slump.
HAROLD WILSON
Now is not the timeBARBARA CASTLE
Harold, we talked about this in the
nineteen fifties, You were adamantHAROLD WILSON
I wasnt running the country then!
She looks away. Disappointed in him. He sighs. Long beat.
105A
HAROLD WILSON (CONTD)

See the women. If thats what you want to
do.
(she starts to speak;
grateful)
But! Whatever you do, do not upset Ford!
Im enough trouble with the Americans as
it is.
She nods, knowing that she is on a tightrope.
158
106
EXT. ROADSIDE - DAY
158
Rita strides through Dagenham. Pull back. She wears

Lisas Biba dress. Ahead, the other girls wait for her.
159
EXT. BARBARA CASTLE'S WESTMINSTER OFFICES - DAY
159
The rather splendid exterior of Mrs Castles offices.

160
160
The undersecretaries are struggling with a sofa. They put

it down, then straighten. They are sweating.
BARBARA CASTLE
There. Perfect...Actually...Maybe it was
better where we had it before(The men exchange glances)
Oh...dizzy me.
The men stagger back with the sofa and she turns away. Up
close we see she is nervous. She looks backBARBARA CASTLE (CONT'D)
Just the armchairs, then...
(she disappears from view)
And I want plenty of sherry.
107
161
OMITTED
161
162
OMITTED
162
163
108
EXT. BARBARA CASTLES WESTMINSTER OFFICES - DAY
163
The girls walk towards St Jamess Square, followed by the

press. A second crowd of photographers and a camera crew,
already in-situ, rush forwards to envelop them. Behind,
the press who have dogged them all day, also shove
forwards and a scrum ensues. Before long, one or two of
the girls look overwhelmed and panicky.
RITA
If you could just...can we get through
please(she, too, is struggling)
Youre blockin the way. YouCONNIE (O.S.)
Make some room, for Gods sakeRita stops. Looks across. Connie is coming towards her,
shoving reporters aside.
RITA
ConnieThe door opens and an undersecretary steps out.
UNDERSECRETARY
Ladies. Good morning...Could you keep
back please, gentlemenHe and a couple more of the staff shove the press back.
RITA
I...?
CONNIE
Im sorry Im late.
The two women stare, Ritas eyes fill. They embrace.
163 Cont.EXT. BARBARA CASTLES WESTMINSTER OFFICES - DAY
109
163 Cont.
REPORTER TWO (O.S.)

Rita! Rita! Can we have a final commentREPORTER THREE (O.S.)
RitaRITA
IAll of the girls are through the cordon and the reporters
are pushed back. But still they look formidableREPORTER TWO
Rita! Is equal pay really a possibility?
REPORTER THREE
What if Mrs Castle says no deal?
REPORTER TWO
How will you cope?
RITA
Cope? How will we cope?
She is aware of Connie beside her. Eileen, Sandra and
Brenda, too. Rita looks back to the reporter.
110
RITA (CONT'D)
Were women. Now dont ask such stupid
questions.
Rita turns to Connie and leads the girls back inside.
164
164
Mrs Castle checks the room; with sofas and armchairs

arranged in a circle it now looks like a living room
rather than a meeting place. She takes a deep breath and
crosses to a large armoire at the back of the room. She
opens it and selects a jacket from her closet. She plumps
for something rather old. She looks at herself in the
door mirror. Very sober. Then she checks shoes. The pair
weve seen on several occasions are discarded and a
plainer pair popped on. There is knock on the door. An
under secretary comes in
UNDERSECRETARY #2
Minister, theres a slight problem.
Mrs Castle turns to the secretary.
164A
164A
Mrs Castle walks into a smaller room. A man stands with

his back to us. He turns, its Tooley.
TOOLEY
Mrs Castle.
BARBARA CASTLE
Mr Tooley - I wasnt expecting you.
They shake hands.
TOOLEY
But you are meeting the women?
BARBARA CASTLE
I think its time I listened to their
argument. If youd care to wait Ill
inform you of any decisions we make.
She turns. Tooley watches her; his jaw suddenly tightensTOOLEY
You know, we basically want the same
thing, Mrs Castle...you and IShe stops and turns
110A
TOOLEY (CONTD)
We want to see Ford Motors employing
British workers.
BARBARA CASTLE
Ford is a vital part of our economy, Im
well aware of thatTOOLEY
Then dont make us go elsewhere to build
our cars...
It wobbles her. He smiles.
TOOLEY (CONTD)
If you dont help us hold the line here
and support us in our efforts to combat
the constant strikes which undermine our
ability to make cars at a profit...we
will take our factories elsewhere.
MRS CASTLE
Are you threatening me, Mr Tooley?
TOOLEY
Im just trying to stop 40,000 people
from losing their jobs, Mrs Castle.
Thats how many people we employ in this
country...Neither of us wanna take that
risk...surely?
She holds his gaze. Then she turns away.
164B
164B
Mrs Castle closes the door behind her and takes a deep
breath.
164C
164C
Brenda and Sandra look out of a window, pointing out the

sights. But theyre nervous. As is Connie who glances to
the door. But Rita, who is beside her, sitting on a sofa,
can concentrate only on her friend. FinallyRITA
ConnieConnie turns. Rita speaks with a hushed voice. She
smiles. Then fudges itRITA (CONTD)
Thanks for comin.
110B
Connie smiles. And Rita immediately leans closer inRITA (CONTD)

Im so sorryCONNIE
No! Dont. Its me that needs to
apologise(Rita frowns)
I loved George. More than anything. But
hes gone now. And its the right thing.
I thought that straightaway. And I felt
guilty...and I took it out on you but...
(nods head)
He aint sufferin and...he is better out
of it. I know that...Deep down. And you
gotta trust them feelins. Aint you?
Gotta follow your gut...You taught us
that.
Rita is amazed but before she can react, the door is
opened and an undersecretary is there.
UNDERSECRETARY
The Minister will see you nowThe women all look at each other.
165

They walk into the main office where Mrs Castle is
waiting in front of the grand fireplace.
RITA
Mrs Castle?
She turns and smiles
BARBARA CASTLE
I am...And youre Mrs OGrady. I
recognise you from the news.
She crosses and they shake.
RITA
Im pleased to meet you.
BARBARA CASTLE
And me, you.
Mrs Castle looks to the others.
165
110C
RITA
Sorry. This is Connie, Brenda and Sandra.
BARBARA CASTLE
Im delighted you could all come
They all nod. Mrs Castles brain is racing.
Please take a seat. Would you care for a
sherry?
Mrs Castle, nods to a strategically placed
undersecretary.
BRENDA
You aint got whiskey, have you?
The girls look to Brenda thunderously.
165A

Tooley is waiting still. He is brought a second cup of
tea. He looks irritated.
UNDERSECRETARY #2
Sugar?
TOOLEY
No.
The undersecretary takes the empty and leaves the full
cup. Tooley looks to the door. All alpha male
165A
111
166
OMITTED
166
167
INT. BARBARA CASTLE'S WESTMINSTER OFFICES - AFTERNOON
167
Mrs Castle places her jacket on her chair. Shes

delaying. Then she turns to Rita who sits directly
opposite, a small table between them.
BARBARA CASTLE
Ive been following your dispute very
closely. And I want to say how proud I am
of the battle youve fought. I fully
support the struggle for equal pay.
The girls look to each other, flushed with hope.
And you will have it...But in time.
RITA
What?
BARBARA CASTLE
Industry is going to object. The Lordsll
kick up a fuss. The pressll have a field
day...It isnt going to be easyRITA
What is, thats worth havin?
Mrs Castle makes to retort then stops and considers the
girls. This is difficult. But she drives onBARBARA CASTLE
Return to work, get back to your machines
and then you have my word that I will
push forward with your fightRITA
No!
The girls were all thinking it but Ritas vehemence still
surprises.
BARBARA CASTLE
Mrs OGradyRITA
That aint good enough(Barbara makes to speak)
We want somethin now! Somethin solid-
111A
MRS CASTLE
ButRITA
You got the authority, you(upset)
We thought...seein you, wedMRS CASTLE
In politics you sometimes have to play
the long gameRITA
We aint politicians! Were workin
women. And so are you!
Mrs Castle blinks. Rita too. A beat. Then Mrs Castle
straightens.
BARBARA CASTLE
Very well. What would it take...? To get
you back.
RITA
Excuse me?
BARBARA CASTLE
The something solid...And mark well, I
say some thing, not everything.
RITA
Wed need...guarantee of an Equal Pay Act
and...an immediate and...considerable
movement towards the male rate at Ford.
Mrs Castle considers them. Her eyes narrow.
BARBARA CASTLE
Seventy five per cent?
RITA
Ninety.
Mrs Castles eyes widen.
BARBARA CASTLE
Youre putting me in a very difficult
position...
167A
INT. BARBARA CASTLES WESTMINSTER OFFICES ANTE ROOM - DAY

167A
Mrs Castle closes the door behind her. Her brain races.
She turns to an undersecretary in the room.
BARBARA CASTLE
Get me the Prime Minister.
111AA
He picks up the phone. Mrs Castles jaw tightens.

167B
167B
Tooley waits, fidgeting. An undersecretary sticks his

head round the door with a teapot and an enquiring
expression.
TOOLEY
Whaddya think?
The undersecretary ducks away.
167C
167C
The women sit on the edges of their seats and wait. Rita
feels self conscious.
RITA
I wasnt too...aggressive?
BRENDA
Naah.
(looks to Sandra)
They have got rid of hangin aint they?
Connie simply squeezes Ritas hand.
167D
INT. BARBARA CASTLES WESTMINSTER OFFICES, ANTE ROOM - 167D

DAY
The undersecretary puts down the phone.
UNDERSECRETARY
Hes on a plane. Wont land until this
evening.
Mrs Castle says nothing. Just exhales, slowly. Then she
looks to the opposite ends of the room. Two doors. Two
choices. She takes a deep breath.
167E
INT. MRS CASTLES WESTMINSTER OFFICES - DAY
167E
Mrs Castle strides into Tooleys room. Tooley immediately

makes to speak- but Mrs Castle gets there first.
BARBARA CASTLE
That risk; you were talking about, Mr
Tooley. Im going to have to take it.
(he frowns)
All women are entitled to equal pay and I
intend to begin the process of enshrining
that fact in law. Whatever the cost.
(Tooley is ashen)
(MORE)
111AB

So, the question is...do you want to wait
until it is Law before you get your
machinists back to work, or do you want
to make a gesture now and see production
resume immediately?
Tooley stares at Mrs Castle. Endgame. Who will back down?
112
168
OMITTED
168
169
OMITTED
169
169A
OMITTED
169A
112A
169B
OMITTED
169B
169C
OMITTED
169C
169D
EXT. BARBARA CASTLE'S WESTMINSTER OFFICES - DAY
169D
Eileen, Monica and the other women wait patiently with

their banners. Albert appears and dispenses beers.
169E
169E
The women stare at empty glasses. Brenda takes a pull on

her whiskey.
BRENDA
Im gonna miss all this.
The girls smile but theyre so nervous. And then the door
opens. All heads turn and Mrs Castle walks slowly into
the room.
BARBARA CASTLE
We have a deal.
CONNIE
90%?
Suddenly, Barbara looks uneasy. She shakes her head. The
girls look worried.
BARBARA CASTLE
92...
Rita is stunned. She sees Mrs Castles twinkling smile.
And she, along with the girls, smiles.
RITA
Thank you!
Mrs Castle grabs a glass and toasts with Rita. Brenda
smiles and looks to Connie who is grinning, too.
112B
169E
169E
170
113
EXT. BARBARA CASTLE'S WESTMINSTER OFFICES - AFTERNOON
170
The women look tired as well as happy as they walk into

the sunlight. Mrs Castle stops as they are greeted by
camera flashes, and turns to Rita.
BARBARA CASTLE
Thats Biba... I saw it in a magazineRita nods to Mrs Castles outfit.
RITA
And thats C and A. Ive got one at
home... Seems we all dressed up... And
you dressed down... Who did that put at
an advantage do you think?
Mrs Castle laughs.
RITA (CONTD)
After you.
BARBARA CASTLE
Oh, no, young lady. After you.
Mrs Castle indicates that Rita should step forward first.
And Rita moves towards the crowd.
171
EXT. BARBARA CASTLE'S WESTMINSTER OFFICES - AFTERNOON

Black and white TV footage. Mrs Castle stands with the
girls. She clears her throat.
BARBARA CASTLE
Thank you...Thank you very much...Im
delighted to say that following our talks
this afternoon, getting down to the nitty
gritty, the 187 Ford machinists will be
going back to work on the 1st of July.
They will get an immediate pay rise of 7d
an hour which will put them at 92% of the
male rate. However, this is not an end to
it. As a result of our discussion, I can
announce that the government is fully
committed to the creation of an Equal Pay
Act and by the Autumn of this year, I
guarantee appropriate legislation will be
put into place to ensure that that act
becomes law.
She steps back. Cameras flash and reporters call out.
Rita breathes deeply, absorbing the scene.
171
114
She places her arms around Connie and with Sandra and
Eileen and Brenda, they form up as a group. They all
beam. SNAP. And the picture freezes.
THE STRIKE BY THE DAGENHAM SEWING MACHINISTS AND THE
SUBSEQUENT SETTLEMENT NEGOTIATED THAT AFTERNOON WITH MRS
BARBARA CASTLE DID INDEED LEAD TO THE INTRODUCTION OF AN
EQUAL PAY ACT. IT BECAME LAW IN 1970.
DISSOLVE TO:
172
EXT. FACTORY - DAY
172
The deserted factory. But then a bike comes over the

hill. A single bike. A woman is on it. Then comes another
and another. The women are leading the workforce back and
soon the whole road is awash with bikes and people, all
buffeted together, a vast sea of humanity, sweeping down
the road, back to their jobs.
THE END

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What was Rita's job at the Ford factory?

What was Rita's job at the Ford factory?

What led to the strike by the sewing machinists?

What led to the strike by the sewing machinists?

'Made in Dagenham'

Keep On Running By The Spencer Davis Group, thunders over

EXT. ESTATE IN DAGENHAM - DAY

RITA OGRADY and her husband EDDIE, both late twenties,

EXT. ESTATE - DAY

On another part of the estate, a much

INT. ESTATE - DAY

Sandra filters in with the great tide of cyclists pouring

INT. FORD MAIN PLANT - DAY

10.08.09 ORANGE REVISIONS

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INT. RIVER PLANT - DAY

On the shop floor, a cramped, filthy, windowless place,

10.08.09 ORANGE REVISIONS

10.08.09 ORANGE REVISIONS

EXT. DAGENHAM HIGH STREET - DAY

Silence. The street is utterly deserted. And we see how

INT. RIVER PLANT - DAY

Rita curses. One of her nails is chipped. She wipes sweat

10.08.09 ORANGE REVISIONS

10.08.09 ORANGE REVISIONS

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Everyone laughs and the girls return to their benches,

INT. DAGENHAM DOCK CLUB - EVENING

10.08.09 ORANGE REVISIONS

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Albert is playing MY OLD MAN. The oldsters immediately

INT. CAR - EVENING

A man grunts and thrusts. Hes having sex, eyes shut,

INT. DAGENHAM DOCK CLUB - EVENING

10.08.09 ORANGE REVISIONS

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He relents. Connie pushes her own across.

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Albert tuts, piqued. Then he strides out onto the floor.

EXT. DOCK CLUB - NIGHT

INT. RITAS HOUSE, KITCHEN - DAY

10.08.09 ORANGE REVISIONS

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She settles on Born Free by Matt Monroe, then takes a

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INT. RITAS HOUSE, BEDROOM - DAY

Rita pulls back the sheets on their bed.

EXT. FACTORY - DAY

As clouds gather, the men (and only men) go about their

INT. FACTORY FLOOR - DAY

The thunder of the factory. The women work in silence.

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