My Darling - By Ayesha Abrahams

Written By: Ayesha Abrahams

Category: Scriptwriting

Competition: Global Poetry and Creative Writing Competition 2026

Join us in exploring "My Darling," a heartfelt script by Ayesha Abrahams, presented as part of the Global Poetry and Creative Writing Competition 2026. This piece, set in the aftermath of World War II, delves into the tender dynamics of the Ardolf family as they grapple with the return - or absence - of a beloved family member. Ayesha Abrahams' work in the Creative Writing category poignantly captures the resilience of love and the complexities of familial bonds in challenging times.

About the Work

"My Darling" is a deeply moving script that weaves between past and present, utilizing rich imagery and emotive dialogue to convey the enduring impact of war on a family. Through the lens of the Ardolf family, Ayesha Abrahams skillfully portrays themes of love, grief, and hope. The script's use of contrasting timelines enhances its emotional depth, while the evocative soundtrack selections underscore the nostalgic and poignant mood of the narrative.

My Darling

Original Submission by Ayesha Abrahams

"My Darling" written by

Ayesha Abrahams

My Darling Script

Characters:

Mother - Gail Ardolf

Son 1 - Griffith Ardolf

Son 2 - Hadrian Ardolf

Father - Adryan Ardolf

Grandmother (Mother's side) - Marian Smith Mother in law - Elizabeth Ardolf

Soundtrack:

Ala - Jeop Beving

Daydream in D for cello - Eric Kinny

NOTE:

RED TEXT IS THE PAST AND BLACK TEXT IS THE PRESENT

2.

INT. LONDON. ARDOLF RESIDENCE - GRIFFITH AND HADYRAN'S SHARED ROOM - 1945 - MORNING

In a brightly natural lit room, GRIFFITH and HADRYAN ARDOLF are playing around while everything is in slow motion and ALA BY JEOP BEVING is playing in the background.

GAIL ARDOLF walks into the room and dresses them in their formal attire. Gail kisses them on their foreheads and the boys run out of the room.

THE CAMERA FOLLOWING THE BOYS CLOSELY FROM BEHIND.

Everything is still in slow motion and the boys are running down the stairs into the kitchen and see MARIAN SMITH by the stove cooking breakfast.

The boys joyfully sit at the table

(The camera goes around the table and up the staircase to Gail, who is in the bathroom fixing her hair and makeup and then follows Gail down the stairs into the kitchen.)

Gail kisses Marian on the cheek and sits next to the boys, who are smiling and eating their breakfast happily.

Marian hands Gail her breakfast and Ala by Jeop Beving fades away.

GAIL

(clearing her throat)

Are you boys excited for today,

hmm?

The boys nod in excitement.

GAIL (CONT'D)

(smiling)

What are you excited about?

GRIFFITH

(with food in his mouth)

Papa is finally coming home!

HADRYAN

And he can tell us all about his

adventures!

The boys looks at each other and pretend to shoot with their finger guns. Marian washes her hands in the sink and approaches Gail.

3.

MARIAN

(a hand on Gail's

shoulder)

And what are you most excited

about?

Gail looks up towards Marian and smiles

GAIL

That we can finally feel like a

family again.

Marian kisses the top of Gail's head and walks off into the hallway.

GAIL (CONT'D)

Let's hurry up our breakfast, boys.

Gail happily eats with the boys and then gets up from her seat, walks towards the sink and she sets the plate down, looking out the kitchen window to the garden and smiles softly.

THE SCENE FADES AWAY

INT. LONDON - ARDOLF RESIDENCE - KITCHEN - 1938 - NIGHT

THE CAMERA IS FOCUSED ON GAIL, 6 MONTHS PREGNANT, WASHING THE DISHES WHILE IN THE BACKGROUND, MARIAN AND ADRYAN ARE LAUGHING AND TALKING AT THE TABLE. SCENE IS SLIGHTLY MUTED. SOUNDS FROM OUTSIDE ARE HEARD FROM THE OPEN KITCHEN WINDOW

Adryan walks up to Gail, placing a hand on the small of her back and she stops.

ADRYAN

Why don't you sit down and I will

wash these up, hmm?

THE CAMERA IS RECORDING FROM THE HALLWAY AND GAIL WALKS TOWARDS THE TABLE WITH HER RIGHT HAND ON HER LOWER BACK AND SHE SITS ACROSS FROM MARIAN AND HOLDS HER HAND.

Adryan hums while washing the dishes and Marian gets up.

MARIAN

Early night for me, kiddos. Don't

stay up too late.

Marian gives Gail a kiss on her forehead and walks off into the hallway.

4.

A few seconds pass by and Adryan breaks the silence.

ADRYAN

I can't believe that we are going

to have twins!

Adryan turns around to see Gail with her eyes closed and he smiles softly

Adryan turns back around to the sink and finishes off the rest of the dishes.

He wipes his hands and walks up to her, squats and rubs her thigh gently.

ADRYAN (CONT'D)

Love, why don't we go upstairs?

(THE CAMERA FOLLOWING FROM BEHIND THEM)

He puts an arm around her waist and they walk to their bedroom.

INT. ARDOLF RESIDENCE - MAIN BEDROOM - 1938 - NIGHT Gail and Adryan lay in bed, she lays on his chest.

He plays with her hair while humming a song and kisses the top of her head.

INT. THE PRESENT - ARDOLF RESIDENCE - KITCHEN - 1945 - MORNING

Standing by the sink, Gail turns around and sighs heavily. Walks into the highway, up the stairs and into the boys shared room.

INT. LONDON. ARDOLF RESIDENCE - GRIFFITH AND HADYRAN'S SHARED ROOM - 1945 - MORNING

GAIL

What did you two make Papa?

The boys shuffle around the room to find their pieces of papers on their bedside table and run up to Gail and hand her the papers.

5.

THE CAMERA SHOWS TWO, VERY BADLY DRAWN PICTURES OF THEIR FAMILY.

GAIL (CONT'D)

Aw, I think Papa will love these

very much.

She kisses their heads while they run around the room. She leaves the room.

THE CAMERA FOLLOWS FROM BEHIND HER AS SHE LEAVES.

INT. ARDOLF RESIDENCE - MAIN BEDROOM - 1945 - MORNING

Gail sits on the bed and sighs heavily while looking around the room.

EXT. LONDON - 1945 - DAY

Gail locks the front door.

CAMERA IS FOCUSED ON GAIL AND IN THE BACKGROUND MARIAN IS HOLDING THE BOY'S HANDS, THE BACKGROUND SLIGHTLY BLURRED.

Gail turns around and walks to the edge of the pavement, calling for a taxi.

A taxi stops in front of them and they all climb inside.

EXT/INT. LONDON - TAXI - 1945 - DAY

Everyone is sitting in order.

The camera is focused on Gail as she stares outside and light instrumental music is playing in the background from the radio.

EXT. LONDON. PADDINGTON TRAIN STATION - 1945 - DAY

Gail, Marian, Hadryan AND Griffith enter the station and Gail scans the setting before carrying on. They all walk to a platform and stand and wait.

(DAYDREAM IN D FOR CELLO plays in the background) The camera is far behind the family as they eagerly wait for Adryan. A train stops in its tracks and soldiers climb off, one by one.

6.

Gail looks into the crowd of soldiers hoping to find Adryan, a small smile on her face.

Suddenly, the captain walks up to Gail, with Adryan's cap in his hand, and tells her (INAUDIBLE) that Adryan did not make it through the war.

Gail stands still in shock, the captain offers a small smile and nod, ruffling Griffith's hair and walks away slowly.

She pulls the boys into a hug on the floor and Marian comforts them by rubbing their backs soothingly.

THE CAMERA MOVES FURHER AWAY AND AROUND THE ARDOLF FAMILY THERE ARE OTHER PEOPLE REUNITING WITH THEIR LOVED ONES.

The scene fades away along with the song.

INT. LONDON - ARDOLF RESIDENCE - KITCHEN - 1945 - DAY

Gail is sitting at the kitchen table with a cup of water in front of her. She finishes the last sip and sets her head in her hands, resting on her legs.

Griffith walks into the kitchen and hugs Gail.

GRIFFITH

Mama, what's wrong?

Gail sniffles and picks her head up.

GAIL

Nothing, baby. Why don't you go and

play with your brother in your

room, hmm?

Griffith gives Gail a quick kiss on her forehead before he runs up the staircase, oblivious that his father has passed away.

Gail gets up from the chair and walks up to her bedroom. THE CAMERA FOLLOWING GAIL FROM BEHIND.

INT. ARDOLF RESIDENCE - MAIN BEDROOM - 1945 - DAY

Gail hesitantly opens Adryan's wardrobe and takes his clothes out, gently leaving them in a box in the corner of the room.

Marian stands in the doorframe and watches.

7.

MARIAN

Are you okay, sweetheart?

Gail turns around and smiles at her mother, who offers a sympathetic look.

GAIL

(voice shaking)

You know...none of this feels real

and I know, I know that this is how

life goes eventually but I...I

can't shake this aching feeling

that at any moment now he's going

to walk through the front door

and...everything is going to make

sense again.

Gail gives up with cleaning out Adryan's clothes and moves towards the bed, sitting down with a sigh and her hands on her lap.

GAIL (CONT'D)

(quietly defeated)

I just didn't want this for the

boys. They need their dad...

(a beat of silence)

Just as much as I need my husband.

MARIAN

Oh honey, I know it's hard but

it'll all heal with time. You just

need to be strong for your boys

because they also need their

mama...

GAIL

Just...give me time...

Gail sits on the bed and stares blankly at the floor. Marian walks up to her and rubs her back gently.

MARIAN

If you ever need anyone to talk to,

I'm right here, you know that.

Gail lifts her head towards Marian.

After a few moments, Marian walks out of the room and closes the door.

Gail drops back onto the bed and closes her eyes.

8.

THE PAST. ARDOLF RESIDENCE - GARDEN - DAY - 1938

It's a sunny morning and Adryan is planting and humming to himself while Gail is admiring him from the backdoor frame.

She smiles happily and waddles towards him, standing beside him with a hand on his shoulder.

ADRYAN

(looking up at Gail and

softly chuckling)

Well good morning to you too.

He stands up, smiling at her, brushing the dirt off his knees and giving her a kiss on her forehead.

She smiles and he crouches down face to face to her growing stomach.

ADRYAN (CONT'D)

And how are you two treating mama,

huh?

Gail sighs heavily and covers her eyes with her hand.

GAIL

(sighing)

They are a living hell. I must've

twisted till about two in the

morning. Probably kicked you a few

times.

Adryan looks up to her.

ADRYAN

(grinning)

Oh I know...

Gail giggles softly at him an he stands up smiling at her before kissing her forehead once again.

GAIL

(smiling)

So...what are you growing? I hope

not tomatoes again.

Gail looks at his face with a slight scowl from the sun hitting her face.

Adryan looks to the garden, pulls his lips tight and scowls, avoiding eye contact.

9.

ADRYAN

Um...tomatoes? But get this,

they're going to grow so fast this

season that maybe even the boys

will be able to pick their first

batch.

Gail laughs as he tries to explain himself, her head leaning back and Adryan looks at her with a soft smile.

GAIL

(giggling)

As if newborns will have the

ability to pick tomatoes. Plus you

do realise that everything in this

garden is just tomatoes, right?

Adryan looks at the garden and smiles, triumphantly.

ADRYAN

Yep, I know. Your favourite.

Gail looks at Adryan with a smile.

A knocking sound is heard and both Gail and Adryan look towards the backdoor.

The scene fades away.

THE PRESENT. ARDOLF RESIDENCE - MAIN BEDROOM - MORNING - 1945

Gail is sleeping with the covers over her waist. The knocking sound is heard faintly.

GAIL IS ONLY IN FOCUS

MARIAN (O.S.)

(in a slight whisper that

gradually grows louder)

Gail...Gail...Gail

Gail stirs around in her sleep and the door opens. Marian walks up to Gail and shakes her awake.

MARIAN (CONT'D)

Gail...we have a visitor.

Gail slowly opens her eyes.

Huh?

GAIL

10.

MARIAN

There's a visitor downstairs.

Marian leaves the room and Gail gets up from the bed and wraps a throw-over around her.

She goes to Griffith and Hadrian's bedroom and opens their door to find them asleep.

She walks down the staircase into the hallway and stops.

INT. ARDOLF RESIDENCE - HALLWAY - MORNING - 1945

ELIZABETH (O.S.)

How is Gail? She seems to

very...closed off, is how I would

put it.

Gail sighs heavily before shaking her head.

INT. ARDOLF RESIDENCE - KITCHEN - MORNING - 1945

She walks into the kitchen to see Elizabeth sitting, in the corner, on a stool.

GAIL

Good morning, Elizabeth

Gail walks to the sink, gets a cup of water and walks back to the table, sitting down on an empty chair.

ELIZABETH

Good morning to you too. You should

know that my son was a very loved

person of this community and

visitors are to be expected. Don't

keep them waiting.

GAIL

(bluntly)

Nice to see you too.

Elizabeth hands a flyer to Gail.

ELIZABETH

(voice 'breaking')

I thought you might need this more

than I do.

Gail stares at the 'emotional support' flyer in disbelief and looks up towards Elizabeth.

11.

GAIL

I...I can't do this right now.

Elizabeth wipes her eyes with a tissue and looks to Marian, stood at the stove.

MARIAN

(trying to sound

encouraging)

I know this might be a lot for you

right now, sweetheart, but maybe

this might work. You know...to help

you...

Gail stares at Marian and then back at Elizabeth.

GAIL

(voice slightly composed)

I said that I can't and I get it,

being a mother myself, you both

want to help me but I'm not in the

right headspace to sit in a room

full of strangers and talk about a

life I had built with my husband, a

private life at that, and act as if

that'll make me feel better.

GAIL (CONT'D)

(voice slightly raised)

Nothing is going to convince me to

go to some...some stupid "support"

program!

GAIL (CONT'D)

(voice breaking)

Nothing is going to miraculously

bring him back to life as much as

I'd give everything for that, so

once again, thank you but I'm

rejecting your offer.

ELIZABETH

(condescending)

Oh now you are just overreacting.

Relax.

Gail gets up from her seat and places a hand on the table.

GAIL

(infuriated)

No! You don't come to my house and

tell me what's good for me or not!

I said it once and i won't repeat

myself again, I will not go.

(MORE)

12.

GAIL (CONT'D)

(A BEAT OF SILENCE) Do.

You. Understand?!

There's a long silence.

The smallest smirk appears on Elizabeth's face.

ELIZABETH

Well, you always did think that the

world revolves around your

feelings.

Gail stares at her in disbelief.

GAIL

(voice firm)

All I have ever done while being

married to Adryan was show you

respect and even though he isn't

here anymore, I am not going to

cross that line...but you are

pushing it right now. Either accept

the fact that I'm rejecting your

offer or get out of my house.

ELIZABETH

Don't you ever, ever, speak to your

mother-in-law like that again!

GAIL

(rolling her eyes and

throwing her hands into

the air)

Oh please.

Elizabeth stares at Gail and stands in her same position, Marian shakes her head.

MARIAN

Ladies, please...I understand that

you're both grieving.

Gail and Elizabeth look at Marian, who directs her eyes to Elizabeth.

MARIAN (CONT'D)

You come to my daughter's home to

offer help to which she declined.

The least that you could do is

respect her decision and walk off.

If it makes you feel any better

then why don't you go for a

session?

13.

Marian looks to Gail.

MARIAN (CONT'D)

Love, I understand...but don't let

your anger and grief get the better

of you. Know where you're coming

from. Go upstairs to cool down,

it'll do everyone some good.

Gail bites down on her trembling bottom lip as if reconsidering and walks out of the kitchen.

INT. ARDOLF RESIDENCE - HALLWAY - MORNING - 1945

Gail rests her head against the hallway wall and inhales sharply.

ELIZABETH (O.S.)

You should really sort your

daughter out.

MARIAN (O.S.)

(firmly)

I understand your anger but this is

not how you speak about my

daughter. And to my face.

Elizabeth's stool scrapes the floor and walks up to the front door.

ELIZABETH (O.S.)

He loved you very much, Gail. I

just wanted you to know that but

you must understand this...you

might have lost your husband

(voice softens)

But I lost my son too.

CAMERA FOCUSES ON GAIL AS SHE CRIES SILENTLY.

The front door closes.

INT. ARDOLF RESIDENCE - KITCHEN - MORNING - 1945

Gail walks into the kitchen as Marian stares at her sadly and walks out of the kitchen.

14.

INT. LONDON. ARDOLF RESIDENCE - GRIFFITH AND HADYRAN'S SHARED ROOM - 1945 - MORNING

Gail walks into the boy's bedroom and climbs into Hadryan's bed, hugging him tightly.

Gail stares out the window and kisses Hadyran's forehead. He stirs in his sleep.

HADRYAN

What's wrong, mama?

Gail looks down at Hadyran.

GAIL

(whispering)

Nothing baby, go back to sleep.

Gail kisses his forehead once again.

The scene fades away.

THE PAST. ARDOLF RESIDENCE - GAIL'S BEDROOM - EVENING - 1938 Adryan is lying on the bed, reading a book.

Gail opens the door and Adryan's gaze turns towards her.

GAIL

(frustrated)

I can't take this anymore!

Adryan closes the book, takes his reading glasses off and puts it down on the bedside table.

ADRYAN

(pats Gail's spot on the

bed)

What happened? Hmm?

Gail climbs into bed and lays down on her back.

Adryan shifts next to Gail and kisses her temple.

GAIL

These kids are going to be the end

of me, I swear to God!

Adryan chuckles.

15.

GAIL (CONT'D)

I don't know why you are laughing

as if you're the one going through

this.

ADRYAN

(chuckling)

True. I'm sorry.

Adryan kisses her forehead and gently takes her right hand tracing circles on it.

GAIL

How are your tomatoes?

ADRYAN

Well, they're most centainly are

not in pain.

Gail chuckles

ADRYAN (CONT'D)

I'm thinking of starting to grow

something else.

GAIL

(sarcastically)

Oh really now?

They chuckle softly.

ADRYAN

What do you suggest?

GAIL

Maybe a flower?

Adryan hums and kisses her forehead.

ADRYAN

How about lillies? Your favorite.

The scene fades away.

INT. THE PRESENT - ARDOLF RESIDENCE - GRIFFITH AND HADRYAN'S BEDROOM - 1945 - AFTERNOON

Gail wakes up in a shock and looks around the room. Toys and shoes are scattered around the floor.

She gets up from the bed, walks to the door and stops, looks behind her at the two unmade beds and sighs.

16.

She makes the beds and tidies up the room, opens the door and stands in the hallway.

INT. ARDOLF RESIDENCE - HALLWAY - MORNING - AFTERNOON - 1945

Gail hears laughter from the lounge and smiles, walking into the bathroom.

INT. ARDOLF RESIDENCE - BATHROOM - AFTERNOON - 1945

Gail stares at herself and rubs her eyes, opens the tap and washes her face and dries it with a towel, walks out and down the stairs into the hallway.

INT. ARDOLF RESIDENCE - HALLWAY - AFTERNOON - 1945

Gail walks past the photos of Adryan and her that are hanging on the wall and touches them one by one.

She comes to a solo picture of him and she kisses her right middle and index finger and places them on his face.

INT. ARDOLF RESIDENCE - LIVING ROOM - AFTERNOON - 1945

Gail walks into the room and sees the boys playing with their toys on the floor and Marian on the couch eating a slice of cake.

She looks at her mother in confusion.

INT. ARDOLF RESIDENCE - KITCHEN - AFTERNOON - 1945

Gail walks into the kitchen and sees that the table is filled with food.

She picks up the only card and reads it.

INT. ARDOLF RESIDENCE - LIVING ROOM - AFTERNOON - 1945 With the card in hand, she walks into the room.

GAIL

Where did this come from?

Marian sets down her plate, ignores Gail and stands up. Gail walks back to the kitchen, Marian follows close behind.

17.

INT. ARDOLF RESIDENCE - HALLWAY - AFTERNOON - 1945

MARIAN

(not looking at Gail)

The boys are not going to take the

news lightly. You know that, right?

Gail stands by the sink with a cup in her hands, tilts her head in agreement and pours water in the cup and sips on it slowly.

MARIAN (CONT'D)

And delaying it won't make it

easier.

Gail ignores Marian, finishes the cup of water and places the cup into the sink and walks just past Marian.

GAIL

Well, what do you suggest I do?

Marian stares at Gail blankly.

MARIAN

Telling them sounds like a good

start.

Gail lets out a deep sigh and leaves the kitchen.

INT. ARDOLF RESIDENCE - LIVING ROOM - AFTERNOON - 1945 Gail sits on the couch and the boys run up to her.

Mama!

HADRYAN

She kisses their foreheads and tickles them.

GRIFFITH

Where is papa?

HADRYAN

Yeahhh! Where is he? I want to hear about all his stories!

There's a small silence.

GAIL

Remember when Papa used to talk

about the soldiers in the sky? The ones that protect us?

The boys nod in unison.

18.

GAIL (CONT'D)

Yes, so, Papa is with them now

The boys look at each other, confused.

GRIFFITH

Well, when is he coming back?

GAIL

(lips trembling)

When it's finally time for us to

meet him, baby.

The boys sit with Gail silently.

Marian stands in the doorframe.

Suddenly, there's a knock on the door.

Marian walks to the door and opens it.

MARIAN (O.S.)

Good morning

PASTOR ALLEN (O.S.)

Good morning. Paster Allen. I

wanted to pay my respect for the

loss of

Gail walks to the door and sees an old aged man standing at the door.

Pastor Allen is wearing a black blazer, suit pants and a white shirt along with a long black tie, holding a book.

Marian leaves into the kitchen.

GAIL

Good morning, Pastor Allen. Come

in.

Pastor Allen nods and walks to the kitchen.

Gail closes the door behind him.

INT. ARDOLF RESIDENCE - KITCHEN - AFTERNOON - 1945

Pastor Allen sits at the table with his book placed in front of him.

Gail stands by the stove with Marian at the sink.

Tea?

GAIL

PASTOR ALLEN

19.

Water is fine, thank you.

Gail nods and fills a glass of water, handing it to him, her hand slightly shaking.

Thank you.

PASTOR ALLEN (CONT'D)

Gail nods and Pastor Allen smiles, finishing the glass of water in one gulp.

PASTOR ALLEN (CONT'D)

(nods)

Oh how rude of me.

He sets down his glass, swallows, places his hands on his lap and looks to Gail.

PASTOR ALLEN (CONT'D)

I'm quite on a mission to visit the

homes of the lost soldiers in this

community and pay my respects to

the fellow families.

Pastor Allen gives a small tight lipped smile.

PASTOR ALLEN (CONT'D)

I pray that you are doing well and

that I know this time is a very

difficult one but please know that

you are always welcomed at the

Church with open arms, no matter

how long it has been since you've

set foot in one.

Pastor Allen looks to Marian.

PASTOR ALLEN (CONT'D)

I know how some people might not

feel welcomed because of how long

it has been since they've been for

service and their sins piling up.

Pastor Allen looks back to Gail.

PASTOR ALLEN (CONT'D)

But please know that God is all

forgiving and the most merciful so

do not hesitate to come. Even if

it's just to sit in silence.

(MORE)

20.

PASTOR ALLEN (CONT'D)

I'm always there, too, if you need

someone to listen.

Pastor Allen smiles softly and slowly stands up.

Gail straightens up and sniffs, wiping at her nose.

GAIL

Thank you so much, Pastor. Really.

Marian defiantly looks at Gail and gives Pastor Allen a small quick smile when he looks her way.

Pastor Allen looks back at Gail and places a hand on her shoulder.

PASTOR ALLEN

Anytime, dear.

Gail escorts him to the door and he leaves.

INT. ARDOLF RESIDENCE - LIVING ROOM - AFTERNOON - 1945 Gail walks into the living room.

GAIL

Boys, why don't we go for a nice

walk?

Yay!

GRIFFITH AND HADRYAN

Marian enters the living room.

MARIAN

I think I'll just stay here. Relax

for a little.

GAIL

Oh, come on, mum! We're all going!

GRIFFITH

Yeah! Come on, nana!

Gail grabs the boys and spins them around the room, giggling. Marian stands in the archway of the room and watches quietly.

EXT. LONDON - PARK - 1945 - AFTERNOON

Gail walks with the boys hand in hand.

21.

Marian walks closely behind them with a scarf tied under her chin.

The boys let go of Gail's hands and run to a pile of leaves and kick it.

Gail stops and observes the boys.

Marian stands beside her and smiles.

MARIAN

Nice to see you relaxed.

Gail keeps her gaze on the boys and squints softly at the comment.

GAIL

Had a change of perspective.

Marian looks to Gail deeply with a smile and back at the boys.

GRIFFITH

(smiling proudly)

Mama! Mama!

GAIL

You boys enjoy yourselves!

Gail smiles and walks towards the pile of leaves.

Marian smiles softly, observing the moment and then walks over to the bench and sits down.

THE CAMERA PANS OUT AND MOVES TO HIGHER GROUND AND SLIGHTLY ABOVE THE PARK. IT THEN MOVES TO THE SKY AND FADES INTO THE NEXT SCENE.

EXT. LONDON - MARKET - 1938 - AFTERNOON

Adryan and Gail are walking around the local market.

He has a basket filled with a variety of fruit and vegetables while she walks beside him with a hand on her lower back.

VENDOR

Fresh tomatoes here! Get your fresh

tomatoes!

The seller's call catches Adryan's attention and quickly averts his eyes towards the store.

22.

ADRYAN

Ooh! Let's go there.

Gail chuckles and they walk up to the stall.

Adyran looks around at all the tomatoes.

ADRYAN (CONT'D)

You have some lovely tomatoes

here...

He picks up a tomato and looks at the seller.

VENDOR

(proudly)

Just like I said. Straight from the

garden.

ADRYAN

Grow some myself.

The seller averts his gaze towards Gail.

VENDOR

Well, aren't you a lucky lady.

Gail laughs and places her hand on her bump.

GAIL

Don't I know it.

All three laugh.

Gail looks at Adryan in a slightly loving daze that catches him off guard.

IN THIS SCENE, WHEN THE CAMERA IS ON GAIL AND ADRYAN, THE BACKGROUND BECOMES A BLUR TO INDICATE HER DAZE.

ADRYAN

You alright, love?

GAIL

Huh? Oh yes, I'm fine.

Adryan collects the bag of tomatoes and they walk off together.

ADRYAN

When we get home tonight, I'm going

to make tomato soup for the four of

us. How does that sound?

23.

GAIL

(smiling)

Hmmm, sounds perfect!

Gail smiles as she looks up to him, who is looking down at her and smiling lovingly.

THE SCENE FADES AWAY.

INT. ARDOLF RESIDENCE - MAIN BEDROOM - 1945 - AFTERNOON

Gail is cleaning out their room and there are boxes everywhere which indicates she's getting rid of his clothing to either move or give to the boys.

As she's cleaning, a letter falls out from under a box she picked up.

Her brows furrow slightly as she turns around to see the envelope and sets down the box by the bed.

She picks up the letter, goes to Adryan's side of the bed and sits down, tearing open the letter.

She opens the letter and holds it with slightly shaky hands.

ADRYAN (V.O.)

Gail, if you're reading this

letter, it's because I couldn't

make it back home to you and the

boys. I have my doubts about

writing you this but so be it.

THE CAMERA FOCUSES ON GAIL AS TEARS STREAM DOWN HER CHEEKS.

ADRYAN (V.O.) (CONT'D)

I have always loved you and the

boys, you know that and don't let

anyone convince you otherwise.

Especially my mother.

OFF CAMERA GAIL CHUCKLES SOFTLY AND SNIFFS.

ADRYAN (V.O.) (CONT'D)

I pray to God everyday that He

protects all of you from any harm

that may come your way.

24.

ADRYAN (V.O.) (CONT'D)

My darling, raise our boys with the

silent strength you carry everyday,

you might not think you have it but

trust me, I've seen it.

INT. LONDON. ARDOLF RESIDENCE - GRIFFITH AND HADYRAN'S SHARED ROOM - 1945 - MORNING

Gail and the boys are standing in the brightly lit room.

It looks as though she's getting them ready for school and she leans down to them at eye level and tell them something to which the boys nod firmly and she kisses their foreheads, bringing them into a group hug.

ADRYAN (V.O.)

My darling, continue my gardening

legacy, for my sake. Even if it is

only tomatoes, it's forever yours

now. I apologise for not being able

to grow your lillies.

EXT. ARDOLF GARDEN - GAIL AND ADRYAN - LATE MORNING - 1938

Gail is waddling towards Adryan. When she reaches him, he stands to his full height with a smile on his face and places a kiss on her forehead.

She laughs at something he tells her and he goes down to pick up a ripe tomato, bringing it to her and she bites into it with a satisfied face.

ADRYAN (V.O.)

My darling, I have carried your

name in every last breath of mine

and I now carry it with me in

death.

INT. ARDOLF RESIDENCE - MAIN BEDROOM - 1945 - EVENING Gail is laying on her side as tears run down her cheeks.

ADRYAN (V.O.)

I hate myself for having to let you

go on with life without me but

remember that our boys will always

be a reminder of the love we

shared.

25.

INT. PHOTOBOOTH STUDIO - 1947

Gail and the boys are at a studio taking a new family picture.

The boys sit on stools in front of Gail.

Suddenly, Adryan walks onto set lightly and stands next to Gail, his hands placed behind his back.

ADRYAN (V.O.)

My darling, my darling, my darling,

oh how I love you.

FOR THIS SCENE, ADRYAN'S LAST LINE OF THE LETTER, IT PLAYS WHILE THEY'RE TAKING THE FAMILY PICTURE AND HIS VOICE SORT OF ECHOES JUST AS THE SCENE FADES OUT.

EXT. ARDOLF GARDEN - THE BACKYARD GARDEN - EARLY AFTERNOON - 1948

Gail and the boys are kneeling in front of the garden and patting a piece of dirt, planting something.

HADRYAN

(slightly annoyed)

Why are we only planting a lily?

Griffith pushes Hadryan's shoulder.

GRIFFITH

(firmly)

Because it's mama's favourite!

Gail shakes her head, chuckling softly.

GAIL

Boys...enough. Please.

She looks at Griffith with a stern look.

GAIL (CONT'D)

Are you done?

Griffith puts his head down in defeat and nods, looking up at her through his bangs with a small smile.

She smiles softly back at him.

GAIL (CONT'D)

(grunting softly as she

pats the dirt)

(MORE)

26.

GAIL (CONT'D)

This was papa's last wish...and so,

I'm fulfilling it...

The boys get up and dust their knees.

GRIFFITH

(playfully)

Can we go play now, mama?

Gail lets a quiet defeated sigh.

GAIL

(sweetly)

Go on, boys.

The boys run off and Gail is still sitting in front of the freshly planted flower.

She looks up and ahead at the scenery, the wind blowing softly in her face.

GAIL (CONT'D)

(softly)

This if for you, darling...and for

everything we had.

THE END

About the Competition

The Global Poetry and Creative Writing Competition 2026, hosted by Hashtag Kalakar, celebrates the power of words and creativity. This prestigious event invites participants worldwide to showcase their talents in various categories, offering a platform for new and established voices to share their unique stories and perspectives. The competition fosters a vibrant community of writers, all contributing to the rich tapestry of global literature.

We extend our heartfelt gratitude to Ayesha Abrahams for sharing "My Darling" with us in the Global Poetry and Creative Writing Competition 2026. This touching script offers a profound exploration of family and memory, leaving a lasting impression on all who encounter it. We thank Ayesha for her contribution and look forward to seeing more of her creative endeavors in the future.

About Hashtag Kalakar

Hashtag Kalakar is a creative platform dedicated to providing artists, writers, singers and other creative talents with opportunities to showcase their work and reach wider audiences through competitions, features and creative initiatives.