Description: Festival of Britain logo. Title with drawn carousel & credits.

A smartly-dressed woman points at a map outside Battersea Park and enters. She joins a queue at the West Gate turnstiles to the Pleasure Gardens, reading a magazine. Inside, she fiddles with her handbag as she approaches the “House of Bewlay” pipes & tobacco display, then walks towards a stilt-walker near the entrance to the Grand Vista. The stilt-walker bends to shake the hand of a child in the crowd.

The woman passes a toilet block; a girl in a summer dress waves promotion leaflets. The woman pauses to put on gloves, but drops one. A lothario in a shabby suit bends to return it, smiling suggestively. She looks wary. He glances back as he leaves and trips comically. She heads round the back of the Riverside Theatre without noticing, as he dusts himself down. A signpost shows facilities and attractions. She passes a busy Kia Ora stand, where a second young man in a dark jacket is drinking juice.

An elderly woman sits on a deckchair by a Riverside Theatre sign; a billboard advertises “The Old Time Marionettes”. The smartly-dressed woman jots down details and looks at production photos. The second man throws away his carton. She passes the box office; he approaches an outdoor stage. Views of the “Punch and Judy” audience, including the woman, who smiles, laughs, moves on. A puppet bows, holding a big stick.

The woman passes sightseers lining the Thames embankment at Terrace Walk; and the Eldorado Ice-Cream pavilion, which is approached by the second man. She heads towards the Terrace Tea Shop; he scoffs an ice-cream sandwich by the Miranda Mermaid Fountain. He sees her, gets up and walks purposefully in her direction. She enjoys the view by the Amphitheatre, then moves on. He crams his ice cream sandwich into his mouth.

The woman approaches the entrance of a Tree Walk. Light shines through the leaves of a sturdy tree holding lit models - a snail, a hen, a cat on a swing, a dragon. She reads “Sight and Sound” at the Vista Tea Houses, lighting a cigarette. The second man asks if he can join her. She turns her head away. View across the tea rooms, towards the dance pavilion and helter-skelter, as a couple of women settle down with a child. The woman acknowledges him, but continues to smoke, read, drink tea. He settles down to munch a jam tart, drink juice, lick his fingers. She stubs out her cigarette with an expression of distaste. He starts on another pastry, tries to suppress a belch, then offers the woman his third. She looks up at a decoration.

An expectant crowd waits at the Guinness Festival Clock, some on the Tree Walk. Decorated pulleys move and a figurine of a man with an umbrella emerges. Clock doors, decorated with seals balancing pints, open. Inside, two toucans plunge their beaks in and out of a clock-leafed tree. The tower opens like a propeller; cut-out figures hang from revolving blades. The figurine retracts, doors close, the propeller folds. The crowd disperses, the man and woman together. He talks animatedly, she listens, as they pass through flower gardens.

Views: white delphiniums wave in the breeze near café tables; wire statues on the Giant Rotundas; the Vista Arcades; the rectangular pond and steeple-topped pavilions of the Grand Vista. The man suggests they join a crowd by the Big Top at the Ranelagh Beer Garden. A clown gives him a balloon animal. Fountains gush, jets twirl at Fountain Lake. The man, waving his balloon animal, almost bangs into a mirror-paned wall of the Dance Pavilion. He sticks out his tongue. The balloon bursts, as the woman covers her ears. They walk on, past a busy food stall.

The couple pass a mural, “MOGGO, the largest CAT ALIVE”. The man fails to convince the woman to try the “Joy Glide” helter-skelter. She watches as he races up, holding his mat, whizzes down and returns, exhilarated. They explore the fair, talking and laughing. Spinning rides and signs (“The Whip”, the Waltzer, a swing ride, a rotary arm aeroplane, the “Jets”). The man smiles, as he passes by in a rotary arm carriage. The woman shields her eyes with a gloved hand and waves. They walk on. He gets on “John Collins Big Dipper”, now calm, now rackety and fast. She swings her bag below. He races along beside the ride, urging her to follow. She walks slowly, some way behind. He buys a ticket for the Big Wheel (decorated with painted passengers, a man in the embrace of two excited women). He waits his turn, gets on. His ecstatic face rises and falls as he waves. She is barely visible below. A sign points “To the Living Pixie” (“Jolly” “Unusual”, on successive seats). The woman’s bag swings, her foot taps. She looks round uncertainly, then sees someone and smiles.

A middle-aged man in a smart suit is among crowds near the Emmett Railway. He inspects the wares (and ventriloquist’s dummy) in a jewellery shop. The woman waves, hurries towards him. The Big Wheel turns. The man in the dark jacket begins to retch. The woman walks arm in arm with the smartly-suited man, chatting familiarly. He asks a question – presumably, what she has been up to - and she pauses. Behind them - “Human Icicles – Frozen Alive”. The younger man runs from the Big Wheel, passing an igloo, seeking his new friend. The smartly-dressed couple walk on. The young man passes a sign - “Duck and Drakes - The Children will love it”, then stands disconsolate by a chilly chalet near the Big Dipper. He turns to go. A rotary arm plane passes by, and he walks past a mural advertising the Chimpanzee Nursery. The smart couple pass a coconut shy. The young man joins a snack-eating crowd. He looks lasciviously at photos of thrill-seekers on the Rotor - sexy, daring young women (stocking tops!) pinned, writhing, by G-force to the wall, the floor dropped away.