JOURNEY’S

END

By R. C. Sherriff
 R. C. SHERRIFF
• Born in southwest London in 1896

• Began working as an insurance clerk in 1914

• Served as an officer in the army during WWI until he was

severely wounded in 1917
• After war he worked in insurance and then studied History at
New College, Oxford
• He started writing plays to raise money for a rowing boat

• His seventh play was based on his experiences at war

• A 21-year-old Laurence Olivier played the main character in its

first performance
• He won an Academy award and nominated for two BAFTAs for
his screenplays
• Journey’s End brought him the most success in comparison to
his other plays and ran for 595 performances when it was first
shown in 1928
W H AT D I D Y O U T H I N K O F A C T O N E ?
 ACT ONE
SUMMARY
• Officer Osborne - second in command of C
Company - and Commanding Officer
Hardy are in a dugout. Hardy and Osborne are
from different companies.
• They discuss the Commanding Officer of C
Company, a man called Dennis Stanhope.
While they converse a new young
officer, Raleigh, enters the dugout. We find out
that he too has known Stanhope in the past.
• Stanhope enters the scene. He asks for a drink
and shows little sympathy for an officer’s
complaints of neuralgia.
• Stanhope and Osborne discuss the possibility
of a German attack in the following days.
 ACT TWO SCENE
ONE
• Early on Tuesday morning Osborne and Raleigh discuss
their past lives before the war. They talk about rugby and
how slowly time passes in the trenches. Poignantly, they
reflect on how the Germans are just normal decent people.
• Stanhope tells his officers that a captured German soldier
has revealed that an attack on their men is planned for two
days’ time.
• In World War One it was normal practice to check and
sometimes censor soldiers’ letters home, but officers’ letters
were usually allowed through unchecked. However,
Stanhope - because he is so worried about Raleigh
revealing his alcoholism to his sister - insists on checking
his letter home.
• On reading it he finds that Raleigh has only the highest
praise for Stanhope, describing him to Madge as “the finest
officer in the battalion and the men simply love him".
Stanhope seems to feel ashamed at his initial mistrust.
 ACT TWO SCENE
TWO
• The Colonel arrives to inform Stanhope that Raleigh
and Osborne will participate in an imminent raid on
the Germans.
• An officer called Hibbert tells Stanhope that he is
suffering from neuralgia - shooting facial pain - and
can no longer cope. Stanhope will not allow him to
go sick and threatens execution for desertion if he
does.
• Eventually Stanhope - using the powers of
persuasion and leadership that the officers respect
him for - convinces Hibbert to stay.
• Osborne seems resigned to his fate, but he and
Trotter express their disapproval of the timing of the
raid. Raleigh on the other hand is unaware of the
extreme danger and looks forward to the excitement
of battle.
 ACT THREE SCENE
ONE
• It is obvious that Stanhope too thinks a daylight raid is
ridiculous and dangerous, but the Colonel is adamant. He tells
Stanhope, "It’s no good getting depressed.”
• The audience gradually begin to question just how much the
army superiors really care about those on the front line.
• Again, Osborne talks acceptingly about the plans and
Stanhope insists - unconvincingly - that all will be well.
• We see Osborne and Raleigh quoting a passage from Alice in
Wonderland in the moments before the raid. They are trying
to keep calm, but admit they are nervous and have “a sort of
empty feeling inside”.
• A young German soldier is captured in the raid, but Osborne
and six other men are killed. Raleigh is wounded.
• Stanhope finds it difficult to hide his contempt for the
Colonel’s apathy about their deaths.
 HOW TO WRITE
COMPELLING
DIALOGUE
• The characters involved all need a ‘goal’ or an ‘aim’
• Contrasts in character and personality can heighten
the drama
• Write how people speak, not how they write
• Differentiating speech patterns can enhance character
depth
• Vary your line length and sentence structure,
depending on the mood you want to create
• Bring the drama to a climax, but not too early
• Stage directions are not essential, but can embellish
the character’s presentation
Stanhope: some bread and cheese.
Stanhope broods over the table. Stanhope : Are you telling me — you’ve been feeding with the men ?
Mason! Raleigh : Well, Sergeant Baker suggested
Mason (outside) : Yessir ! Stanhope : So you take your orders from Sergeant Baker, do you ?
Stanhope : You can bring Mr. Raleigh’s dinner. Raleigh : No, but
Mason : Very good, sir. Stanhope : You eat the men’s rations when there’s barely enough for each man
[Mason brings a plate of steaming food, gathering up and taking away some of ?
the used crockery . Presently Raleigh comes slowly down the steps . He pauses Raleigh : They asked me to share.
at the bottom , takes off his helmet , and hesitates. Stanhope : Now, look here. I know you’re new to this, but I thought you’d
Stanhope is sitting at the table puffing at the remains of his cigar. There is have the common sense to leave the men alone to their meals. Do you think
silence except for the rumble of the guns. they want an officer prowling round eating their rations, and sucking up to
Stanhope : I thought I told you to come down to dinner at eight o’clock ? them like that ? My officers are here to be respected — not laughed at.
Raleigh : Oh, I’m sorry. I didn’t think you — er Raleigh : Why did they ask me — if they didn’t mean it ?
Stanhope : Well ? You didn’t think I — er — what ? Stanhope : Don’t you realise they were making a fool of you ?
Raleigh : I didn’t think you’d — you’d mind — if I didn’t. Raleigh : Why should they ?
Stanhope : I see. And why do you think I asked you — if I didn’t mind ? Stanhope : So you know more about my men than I do ?
Raleigh : I’m sorry. [ There is silence. Raleigh is facing Stanhope squarely .
Stanhope : Well, we’ve kept your dinner. It’s ready for you here. Raleigh : I’m sorry then — if I was wrong.
Raleigh : Oh, it’s awfully good of you to have kept it for me, but — I — I had Stanhope : Sit down.
something to eat up there. Raleigh : It’s all right, thanks.
Stanhope : You — had something to eat up there ? What do you mean, exactly Stanhope (suddenly shouting) : Sit down !
? [Raleigh sits on the box to the right of the table .
Raleigh : They brought the tea round while I was on duty. I had a cup, and
Stanhope speaks quietly again . Stanhope : What are you looking at ?
I understand you prefer being up there with the men than down here with us? Raleigh (lowering his head) : Nothing.
Raleigh : I don’t see what you mean. Stanhope : Anything— about me ?
Stanhope : What did you tell Hibbert ? Raleigh : No.
Raleigh : Hibbert ? I — I didn’t say [After a moment's silence , Raleigh speaks in a low, halting voice .
Stanhope : Don’t lie. I’m awfully sorry, Dennis, if— if I annoyed you by coming to your company.
Raleigh (rising) : I’m not lying ! Why should I lie ? Stanhope : What on earth are you talking about ? What do you mean ?
Stanhope : Then why didn’t you come down to supper when I told you to ? Raleigh : You resent my being here.
Raleigh : I — I wasn’t hungry. I had rather a headache. It’s cooler up there. Stanhope : Resent you being here ?
Stanhope : You insulted Trotter and Hibbert by not coming. You realise that, I Raleigh : Ever since I came
suppose ? Stanhope : I don’t know what you mean. 1 resent you being a damn fool, that’s
Raleigh : I didn’t mean to do anything like that. all. (There is a pause.) Better eat your dinner before it’s cold.
Stanhope : Well, you did. You know now — don’t you ? Raleigh : I’m not hungry, thanks.
[Raleigh makes no reply . He is trying to under-stand why Stanhope’s temper Stanhope : Oh, for God’s sake, sit down and eat it like a man !
has risen to a trembling fury . Stanhope can scarcely control his voice . Raleigh : I can’t eat it, thanks.
{Loudly.) I say — you know now, don’t you ? Stanhope (shouting) : Are you going to eat your dinner ?
Raleigh : Yes, I’m sorry. Raleigh : Oh ! Good heavens ! Don’t you understand ? How can I sit down and
Stanhope : My officers work together . I’ll have no damn prigs. eat that — when — (his voice is nearly breaking) — when Osborne’s — lying
Raleigh : I’ll speak to Trotter and Hibbert. I didn’t realise — out there
[Stanhope raises his cigar . His hand trembles so violently that he can scarcely [Stanhope rises slowly. His eyes are wide and staring ; he is fighting for breathy
take the cigar between his teeth . Raleigh looks at Stanhope, fascinated and and his words come brokenly.
horrified .
Stanhope : My God ! You bloody little swine ! You think I don’t care — you think you’re the only soul that cares !
Raleigh : And yet you can sit there and drink champagne — and smoke cigars
Stanhope : The one man I could trust — my best friend — the one man I could talk to as man to man — who understood
everything — and you think I don’t care
Raleigh : But how can you when ?
Stanhope : To forget, you little fool— to forget ! D’you understand ? To forget ! You think there’s no limit to what a man can
bear ?
[He turns quickly from Raleigh and goes to the dark corner by Osborne’s bed. He stands with his face towards the wall , his
shoulders heaving as he fights for breath .
Raleigh : I’m awfully sorry, Dennis. I — I didn’t understand.
[Stanhope makes no reply .
You don’t know how — I
Stanhope : Go away, please — leave me alone,
Raleigh : Can’t I
[Stanhope turns wildly upon Raleigh
Stanhope : Oh, get out ! For God’s sake, get out !
[Raleigh goes away into his dug-out , and Stanhope is alone . The Very lights rise and fall outside , softly breaking the darkness
with their glow — sometimes steel-blue , sometimes grey. Through the night there comes the impatient grumble of gunfire that
never dies away.
 ACT THREE SCENE
THREE
• This final scene takes place at dawn on Thursday morning. It is pitch
dark and there is silence apart from “the distant mutter of the guns”.
Stanhope is woken by Private Mason - the cook - and is drowsy and
cold.
• There is tension in the dugout as the men and the audience wait for
the attack.
• It is finally here, having first been mentioned two days earlier. Hibbert
is frightened and reluctant to go out, but with encouragement from
Stanhope and Mason he leaves to fight.
• The battle begins. The Sergeant Major arrives to tell Stanhope that
Raleigh has been badly injured, his spine is broken. Raleigh is carried
into the dugout and Stanhope gets Osborne’s bed ready for him.
• It becomes clear that Raleigh is dying. Stanhope stays by his side,
comforting him. He attempts conversation, but there is no reply.
• Stanhope is called to leave as the battle intensifies.

• As he ascends the steps to the battle the dugout roof collapses, with
Raleigh’s body inside.
• The fate of the other characters is left ambiguous, but we assume they
all die.
H W : R E S E A R C H A T H E M E O F ‘ A C H R I S T M A S C A R O L ’ B Y C H A R L E S D I C K E N S
A N D P R E P A R E T O T A L K A B O U T I T F O R A T L E A S T 2 M I N U T E S E A C H A T T H E
B E G I N N I N G O F N E X T L E S S O N

O P T I O N A L H W : W R I T E A S C E N E W H E R E T W O P E O P L E H A V E A N A R G U M E N T