As noted, the plot is simple.
In short order, however, we are introduced to Williams, the head of the Department where Peter is newly employed. He is a distant figure…
As noted, the plot is simple. And yet, it reflects some interesting narrative choices. For example, the story begins from the perspective of Peter Wakeling and for a time, we may think of him as the story’s Protagonist. It’s a smart choice to use Peter as the primary narrative point of view, at least in Act One, as being an outsider entering the world of the Public Works Department, we learn along with Peter about the highly bureaucratic nature of this workplace.
In short order, however, we are introduced to Williams, the head of the Department where Peter is newly employed. He is a distant figure, almost mythical the way Middleton, Hart, and Rushbridger defer to Williams. And he remains aloof as he sends Peter off on a bureaucratic wild goose chase to help a group of three women in their vain attempt to get the government to transform a plot of urban land, destroyed by a German bomb in World War II, into a children’s playground. Off we follow Peter and the women. No luck. Their trek brings us back to Williams who shelves the paperwork, then surprisingly announces he’s leaving his post two hours early.
At this point (20), the narrative pivots to Williams and it becomes clear he is the story’s Protagonist. We know this not only because his actions dominate the next 50 plus pages, but the character undergoes the most significant personal transformation.
Act II is divided into neat sequences:
20-29: Williams discovers he has six to nine months to live. This news causes him to reflect on his life and he realizes he has missed out on living.
29-45: Williams intersects with Sutherland who leads Williams on a drunken night through an amusement park and risque stripper performance. The sequence ends with Williams singing one of his deceased wife’s favorite songs: The Rowan Tree.
45-56: Williams-Margaret, Part One. Williams begins to open up to his feelings fueled in part by Margaret’s bubbly world view and Williams growing infatuation with the young woman. Margaret shares the nickname the Public Works employees use for Williams: Mr. Zombie. [We will discuss this in the Theme article].
56-61: Williams, Michael, and Fiona. What should be said, isn’t. Williams doesn’t tell his son that he (Williams) is dying. Michael doesn’t do Fiona’s bidding and bring up the subject of dispensing savings Williams has.
61-75: Williams-Margaret, Part Two. Williams finds Margaret at her new job, then confesses to her that he is dying (he has yet to tell his son). It is here where Williams confronts his Mr. Zombie nickname and confesses to Margaret that when his wife was alive and Michael was young, he (Williams) was a different person. He says: “When my Maker calls me, I wish at least for him to find me… living.” And that spurs Williams into action.
75-77: Williams is determined to take on the neglected children’s playground project.
It is here where the narrative takes a surprising twist: 77-78 pivots to the memorial service for Williams. What that means is the much of the rest of the story takes place as an extended flashback.
77-97: The story of how Williams dedicated himself to one final goal: Getting that children’s playground built.
The final pages offer some divergence between script and film. Whereas the script spends a good deal of time with the Peter-Margaret romance, the movie minimizes that storyline and keeps the focus on Williams. Which leads to the final scene: Peter and the policeman who recalls Williams on the playground, swinging in one of the children’s swings, singing The Rowan Tree. The implication is that by the end, Williams has achieved something (the playground) which will be a legacy, but more important, he has prepared for his death and reunion with his beloved wife.
Simple plot, but some intriguing twists. Next: Characters.