Experimental fiction short in which a woman finds a spiritual reprieve from the traumatizing pressures of organized religion, noise, pollution, bustle and sex in the city. A country path runs next to trees and a dilapidated wooden fence. A ruined church can be seen in the distance. Amidst the sounds of birds chirping and water running, the religious music of a male choir gradually grows in volume. Titles (appear over water; the chapel's archway is reflected in the pool): in between...

Experimental fiction short in which a woman finds a spiritual reprieve from the traumatizing pressures of organized religion, noise, pollution, bustle and sex in the city. A country path runs next to trees and a dilapidated wooden fence. A ruined church can be seen in the distance. Amidst the sounds of birds chirping and water running, the religious music of a male choir gradually grows in volume. Titles (appear over water; the chapel's archway is reflected in the pool): in between peace a film by Richard Woolley Looking up at the stone arch, the camera pans around the interior of the roofless church. In the black and white world of her room, a woman's hand changes the dial on her radio, and the choral music is exchanged for modern rock, The Who's 'Teenage Wasteland.' In contrast to the colour, exterior scenes in both city and country locations, all the shots of the woman in her room are in black and white. As cars and people bustle on the city streets, the woman turns off the radio and folds her hands in prayer. Accompanied by the rumbling sound of a motor, the camera makes a swift and shaky journey through a churchyard, only to crash into a gravestone with the sound of an automobile accident. In her bed, the woman lights a cigarette; so does a long-haired man standing on the city street. As bombs and machine guns sound, the man puts on a gas mask, crosses the road, and appears on the country path. He removes his gas mask, runs through the graveyard and put his ear to the door of the ruined church. When the sleeping woman knocks her alarm clock onto the floor and it begins to ring, the motors of the city begin to sound, but the man in the churchyard puts his fingers in his ears, and the religious choir replaces them. Arms outstretched and cross-like, he stands in one of the chapel's arched windows and moves his mouth with the choir. On the lawn below, two men stand and watch, and one raises a finger to his lips, 'Shhh.' But the music of the choir mixes with sounds of sex as the woman writhes on her bed and a shadow invades her room and eventually obscures her form completely. Scenes of city and countryside whiz by outside the window of a moving vehicle, inter-cut with images of the woman's straining, open mouth and accompanied by a fast, jazz flute. In the churchyard, the white-clad woman, now in colour, too, kneels and prays with the man standing high above her in the window of the ruined church. Standing in the graveyard, he holds out his arms, and, when she runs to him and takes his hand, he leads her to listen at the door. She shakes her head as the motor sounds return, but he covers one of her ears and presses the other to the door. She smiles as she hears two women conversing about ordinary things. When her alarm clock rings, the girl wakes up in her bed, opens her eyes, and smiles. As the chorus of 'Teenage Wasteland' resumes, the image freezes and the credits emerge from her mouth in a jumble of letters. Ending Titles: girl: sue maddok boy: r. woolley camera: j. mills