MAYTIME

Screenplay by Pam Gems

Copyright © Pam Gems
Pam Gems is hereby identified as author of this work in accordance with section 77 of the Copyright, Designs and Patents Act 1988. The author has asserted her moral rights. 

All rights whatsoever in this play are strictly reserved and application for performance etc. should be made before rehearsal to Rose Cobbe, United Agents, 12-26 Lexington Street, London W1F 0LE, UK. Tel: +44 (0) 20 3214 0800.
http://unitedagents.co.uk/agents/rose-cobbe/. Assistant: Dan Usztan. Email: dusztan@unitedagents.co.uk Tel: +44 (0) 20 3214 0873. No performance may be given unless a licence has been obtained.

MAYTIME

EXT.  THE CONCHO.  DAY.

Aerial view of the Concho, the mountain behind Marbella.  Swinging round we see the sea sparkling below and move down verdant hillside, past immaculate golf courses to a discreet pueblo in the Moorish style, enveloped in lush greenery around a generous swimming pool.

EXT.  THE PUEBLO GARDENS.  DAY.

The path through the gardens is fringed with palms and exotic flowering trees.  A brook babbles by the path.  Birdsong.  Further off, a workman sings a passionate love song.  The wind sighs in the trees.

The mood is wrecked by a stocky, middle-aged woman in a bowling team cloth hat who crosses ahead of us, laden with shopping.  We follow her as she plods in the heat.  She pauses to rest.  And looks around, her face alive at the beauty.

The harsh dreadful sound of a lone trumpet.  MAY FRAMPTON jumps.

Around the corner her mouth drops.  A funeral cortege is leaving the pueblo, the ornate, glass-sided carriage drawn by plumed horses.  The mourners, in black, follow...the first, alone, a small man, LUIS GARCIA, in a black suit.  Behind him the PRIEST and LUIS'S grown-up SON and DAUGHTER.  MAY FRAMPTON is moved by the small sad procession.  She puts her hand to her mouth, gazes at LUIS in pity and her eyes fill with tears.  The trumpet sound recedes as the procession wheels out of sight.  MAY stands watching.  And jumps at the sound of raucous shrieks of laughter.

			MAY (Voice Over)
		Oh no!

We follow her gaze.  By the pool under an umbrella pine, are seated YOUNG LYNN and her MOTHER, and three FRENCHWOMEN, ELIETTE, SIMONETTE and HENRIETTE.  MAY hurries to pass them at a distance.

			ELIETTE
		(Calls)  Madame Frampton!  Madame Frampton - you have my aubergine?

			MAY
		Bugger.

She sighs heavily, trudges towards the group under the pine.

Later.  MAY sitting at the table.  JUAN, the young waiter, refills glasses with Lanjaron mineral water.  HENRIETTE, who is slightly cross-eyed, leers up at him as the other two FRENCHIES shriek.  JUAN escapes with a quick grimace at MAY, who shrugs.

			MAY
		What's so funny about losing your wife?

ELIETTE moues eloquently.

			MAY
		She was in a lot of pain.

The FRENCHIES are unmoved.  MAY rises, bends, getting hot, and fishes for ELIETTE'S aubergine...the string bag is caught in the chair leg.  She slaps the aubergine on the table.

			MAY
		You owe me ten pesetas.

ELIETTE nods regally without moving.

			SIMONETTE
		(As MAY leaves.)  We propose consolation c'est tout.

MAY, puzzled, turns, walking backwards, frowning at them.

			ELIETTE
		For the bereaved one - 

			SIMONETTE
		- the new weedowair...

LYNN shrieks with laughter.

MAY crosses the open area with its tables and chairs and trees, barges through the garden gate of the end house with her shopping.

INT.  MAY'S KITCHEN.  DAY.

			MAY (V/O)
		(Bangs down shopping on table)  Bloody French.  If it's not food, it's clothes - if it's not clothes, it's sex!

EXT.  MAY'S LUSCIOUS GARDEN.  DAY.

MAY emerges from the vine-covered patio in flip-flops, nursing a bitter lemon.  Her painting is on an easel.  She does some touching up.

			MAY
		(Mock French accent) "These seats are tekken!" 
		Some welcome.
		They're bitches.
		That man is heart-broken.

Dispirited, she puts down her brush and strolls, pausing at the flamboyant bougainvillea, at the oleander tree.  She bends to sniff a beautiful deep red rose, and straightens, looks around at the garden, relaxing.

			VIC  (O/S)
		Not bloody salad again!

He comes out onto the patio, dumping his golf clubs.
			VIC
		Am I a bloody rabbit, or what?

She stamps into the house, glaring at him, emerges with her sun hat and bag.

			MAY
		Right!

She jerks her head towards the gate.  Rage crosses her face but he lumbers after her.

EXT.  THE PORT.  MARKET DAY.

VIC and MAY are seated at an outdoor café, overlooking the market stalls.  VIC already has his napkin tucked into his neck as a WAITER, with a flourish, places a huge oval platter before him.  It contains half a pig's head, a whole fish with an accusing eye, chops, sausages, prawns and oysters, vegetable trimmings, and a mountainous fringing of chips.  VIC bends, knife and fork in hand, his nose twitching like a rabbit.  MAY'S chair scrapes.  VIC looks up as MAY rises.

			VIC
		Where are you - ?

			MAY
		Just going for a quick faint - I mean walk -  (At a safe distance)  practice my Spanish!

A little later.  MAY wanders through the market.  She touches a bronze heron, fingers a beautiful Indian scarf, looks down at a stall of hideously painted stones, looks up at the OWNER, who looks like his stones, moves swiftly on, lifts a brick-heavy loaf on the next stall.

			HIPPY STALL-OWNER
		Very good for constipation.

MAY nods, smiling politely.

Music, flamenco, from a cafe makes her pause.  A YOUNG MAN circles a YOUNG WOMAN gravely.  MAY is drawn towards them.  She takes a quick snap, and, on their stall, sees a small painting of a Rhode Island Red hen, fluffed up on the nest.  She picks it up, gazes, frowning with longing for home.  As she looks around, everything is noisy and glaring.

			MAY (V/O)
		What am I doing here?

She puts down the painting and walks off.

A heavy hand is clamped on her shoulder.  Looming over her is a STALLHOLDER, heavy and swarthy in a pale blue nylon suit.  He holds the painting of the hen, smiles at her invitingly.

MAY takes it in her hands.  The gentle hen looks up at her mildly as the STALLHOLDER spits on the painting over her shoulder and rubs it with his finger.

			STALLHOLDER
		(Triumphant)  Antiguo!

			MAY
		No! - nuevo!

			STALLHOLDER
		Nuevo? - no!  Antiguo!

			DANCER
		(Brother, shouts, hoarse in Spanish)  Go for the testicles - ask twenty!

			STALLHOLDER
		(To MAY)  Twenty thousan' pesetas!

BROTHER stands with the GIRL, watched by her MOTHER, AUNTIE and TWO NEPHEWS.

MAY smiles in disbelief, walks on, pursued by BLUE SUIT.

			MAY
		(Over her shoulder)  Five.

			STALLHOLDER
		(Affronted, then)  Fifteen?

			BROTHER
		(In Spanish)  She'll pay ten!

			MAY
		Six.

			STALLHOLDER
		(Looking wan)  Twelve - las' offer.

			BROTHER
		(In Spanish)  On your knees, English -

			BLUE
		(In Spanish)  She will pleasure me.  (In English)  Twelve - special price - you have beautiful face - (VIC's face looms through the Indian scarves.)

			VIC
		What's going on?

			MAY
		(Clocking VIC)  I'm yours, caballero.  Ten.  (In Spanish)  But not on the knees, you cheeky devil.

His jaw drops, but he beams like a child at the money.  BROTHER, forgetting himself, hugs the GIRL.  And catches the MOTHER'S triumphantly menacing eye.  He stands, humbled and caught.  The TWO NEPHEWS lick their ice-creams rhythmically as MAY walks off with her trophy.

			VIC
		(Following her)  How much!?

			MAY
		I see you got caught!  (VIC is carrying one of the heavy loaves.)

BLUE SUIT, waving the money, points majestically to the cafe, jerks his head for the OLD MAN guarding the van to mind the stall.  The OLD MAN nods, opens the back of the van, takes out another picture, this time of two hens.  There are stacks of them in the van.  The others follow BLUE SUIT into the cafe to celebrate as the OLD MAN props up the two-hen painting reverently, scooping up dust, spitting, and throwing the dust on the painting to make it antiguo.

INT.  MAY'S DOWNSTAIRS LOO.  DAY.

MAY'S picture.  She stands back, hammer in hand, straightens picture.  She sits on the lavatory, gazing at the hen.

			MAY (V/O)
		I still can't believe it.  May Frampton from Bradford - (Loud banging on the door.)  What's the matter?

			VIC (O/S)
		What do you think?

She comes out and he pushes past her, slams the door.

			MAY (V/O)
		I wonder what they put in that bread?

She wanders down the garden.

			MAY (V/O)
		Oleander - bougainvillea - nights like velvet - stars big as plates - 

			VIC
		(Calls)  May!

			MAY
		What?

INT.  OUTSIDE THE DOWNSTAIRS LOO.  DAY.

MAY hands VIC a toilet roll.

A little later.  In the garden.

			VIC  
		(Hitching up his braces)  ...tomatoes all the wrong shape, no decent tobacco or proper bread - was that rabbit we had last night?

			MAY
		No!
		It was lapin.

			VIC
		(Following her)  Well, I'm telling you now, I'm having second thoughts.

			MAY
		What d'you mean?

			VIC
		Let's face it, I haven't had as much support from you -

			MAY
		Oh come on -

			VIC
		I'm beginning to feel marginalised! (he pronounces it with a hard `g'.)  You're gabbing your head off all day, who am I supposed to talk to? 

			MAY
		There's Lynn's mother - she's English.

			VIC
		I'm not interested in bloody women's insides!

			MAY
		Don't swear, Vic.

			VIC
		At least the Madimoyselles are worth talking to.

MAY stops in her tracks, mouth open.

			MAY
		You don't mean those Frenchies?

			VIC
		Very sophisticated women.

MAY gapes at him, astonished.

But VIC, with a groan, shuffles back to the lavatory, dropping his braces.

INT.  MAY'S BEDROOM.  NIGHT.

VIC is snoring, mouth open.  MAY is awake.  She looks across at him and laughs briefly - lies back, remembering.

EXT.  MAY'S HOUSE IN BRADFORD.  NIGHT.

VIC is being removed on a stretcher to an ambulance.  MAY is at his side.

INT.  HOSPITAL WARD.  DAY.

VIC is in bed, looking scared.  MAY walks away with the CONSULTANT.

			CONSULTANT
		There's nothing wrong with his chest.  Is he a hypochondriac?

			MAY
		You could say so.  Did You tell him he needed a warmer climate?

			CONSULTANT
		No - Sister Reilly.  She's a bit of a wag.

			MAY
		Hmm.  She may have done me a good turn.

They exchange a smile.

INT.  MAY'S HOUSE, BRADFORD.  EVENING.

VIC, by the fire, rug over knees, tray of medication at elbow.  MAY brandishes papers.

			MAY
		You'll never get another offer like this for the business...you're robbing him blind.  It's your health I'm thinking of, Vic.

			VIC
		I'm not too bad.

		What's wrong with Bournemouth?

			MAY
		Damp.  I've had a word with the consultant.  (Moves in closer)  A warmer climate.  Or else.

INT.  VIC'S FACTORY.  DAY.

The farewell do.  VIC, at the top table, is being toasted.  Some boos.  He scowls.

EXT.  LONDON AIRPORT.  DAY.

VIC is getting agitated.  He berates MAY as she pushes the luggage.  The tannoy announces the departure of the flight for Malaga.

MONTAGE.  MARBELLA.

INT.  THE AGENCY.  DAY.

VIC and MAY enter SENOR ORDONEZ'S small office.  MAY looks excited, VIC looks suspicious of this foreigner.

SENOR ORDONEZ, young and gentle, rises to his feet.

			ORDONEZ
		Senor, Senora - 

VIC and MAY before a vast new apartment block.  A SMART OLD WOMAN in high heels comes out, followed by five miniature poodles.  VIC and MAY watch her totter away round the corner, the dogs at her heels.

INT.  AN APARTMENT.

A GIRL in leopard skin flips a limp arm at them.  It looks like a whorehouse.

EXT.  A PUEBLO IN THE HILLS.

Screaming children round the pool.  VIC and MAY look dismayed.

EXT.  PAVEMENT CAFE.  DAY.

VIC and MAY, exhausted, with cool drinks.  TWO ELDERLY WOMEN, grave in black and wearing mantillas, go by.  MAY is given new life by their grace.  She hauls VIC to his feet.

EXT.  PUEBLO ENTRANCE.  DAY.

SENOR ORDONEZ'S car spurts to a halt in the forecourt, and disgorges the SENOR, MAY and VIC.  MAY looks around, entranced.  The SENOR leads her through the gardens.  VIC plods behind.

Emerging from the jungle of garden MAY is thrilled by the sight of the sea, so close.  She takes in the long, low café, the terrace, and the discreet pool, fringed with umbrella pines.  Shyly, she allows herself to be led by the SENOR past other RESIDENTS sitting in the sun.  She turns to VIC, who scowls.  They follow the SENOR up external steps to a first floor apartment.

INT.  APARTMENT.  DAY.

MAY and VIC in the apartment.

			MAY
		And this is all you've got left?

			SENOR
		I am sorry.

			MAY
		(Crossing to window)  There's no view of the sea!

The SENOR shrugs, apologetic.  MAY, disappointed, picks up her bag.

			SENOR
		(Softly)  We do avunass.

			MAY
		Sorry?

			VIC
		What's he saying?

			MAY
		I think he says he's got a house.

VIC'S expression darkens ominously.

EXT.  GARDEN GATE.

The SENOR opens the garden gate of the end house.  MAY follows him up the path of the lush garden.  She looks around at the vines, the palms, the roses.

			MAY
		Oh Vic!

INT.  THE HOUSE.  DAY.

VIC has sat down to rest his feet.  His face is black.

			VIC
		We're here to look at an apartment, not a bloody house.  (MAY goes out into the garden.)  It's twice the price!

EXT.  THE GARDEN.  DAY.

VIC plods away firmly to the gate.

SENOR ORDONEZ looks at MAY with gentle sympathy.  She looks at the large piece of unmade up ground alongside the garden wall, littered with builder's rubble.  VIC looms up behind her.

			VIC
		Look at this bloody mess...typical.

			SENOR
		Don' worry.  We make beautiful - tarmac - parking or visitors.

			MAY
		No.  Don't do that.  Knock down this wall and rebuild round the edge.  I fancy a big garden.

			SENOR
		Si, Senora.  Agreed.

			VIC
		Have you gone mad?  They'll want a fortune for this!

			SENOR
		No, no, same price.  Same price, Senor.

MAY and VIC are gobsmacked.

			SENOR
		(Softly in VIC'S ear)  Good investment, Senor.

MAY looks at VIC.  Who looks sly.

EXT.  MAY'S END HOUSE, THE PUEBLO.  DAY.

MONTAGE.  MAY and VIC move in.  VIC pays the Spanish removal men.  MAY carries stuff in.

The van drives off.  MAY, pooped, pulls off the cloth protecting her hair, looks out at the view of the sea, and the pool, and the palms and pines.  She decides to go and sit under the shady pine by the pool, makes for it.

			ELIETTE
		(French accent, calls)  These seats are taken!

ELIETTE, followed by SIMONETTE, with a day-glo rinse, and HENRIETTE, dumpy, and dressed in weird white draperies, pass MAY and install themselves at the big round table under the pine.  MAY falters.

			GUDRUN
		(Calls from cafe terrace)  French.

MAY turns, looks up, sees two comfortable looking Swedish women.

			GUDRUN
		I am Gudrun, this is Kristin.

A little later.  MAY with GUDRUN and KRISTIN.  KRISTIN shows MAY her beautiful embroidery.

			MAY
		So Lanky - the tall one - ?

			GUDRUN
		Eliette.

			KRISTIN
		With boutique in Old Marbella -

			GUDRUN
		Chic but not good.

MAY looks enquiry.

			KRISTIN
		(Drinking ice-cream soda through two straws.)  No room for titties.
MAY nods.

			GUDRUN
		The friend who is wearing bright hair is Simonette.  She is sad.

			MAY
		Oh?

			KRISTIN
		Divorce.

MAY nods sympathetically.

			GUDRUN
		(Whispers)  The alimony is not enough.

			MAY
		(Takes another look at the Frenchies)  And the funny-looking one?

The two SWEDES shrug.

			KRISTIN
		Henriette.

			GUDRUN
		As we are saying in Sweden - leg of the milk stool missing -

			KRISTIN
		Needing one more herring in the tin.

			MAY
		Oh - barmy.  Have they been here long?

			GUDRUN
		Everyone here is new.

			KRISTIN
		From somewhere else.

MAY nods.

			GUDRUN
		Don't worry.  They are French.

			KRISTIN
		We are Swedish.

EXT.  THE GOLF CLUBHOUSE.  DAY.

VIC approaches from the course.  MAY stranded, tries to approach him but is impeded as people grab at food at the terrace table.  MAY accepts a drink from a WAITER, looks round, sees how many LONE WOMEN stand, smiling bravely.  An ELDERLY AUSTRIAN BARONESS pockets food.  MAY grins, watches the FRENCHIES close on VIC.

			MAY (V/O)
		You'll get nowt there, girls.

GUDRUN and KRISTIN approach with LUIS GARCIA.

			GUDRUN
		May - are you knowing Senor Garcia?  He is chairman of Red Cross Fund...we are helping.

LUIS kisses MAY'S hand.

A little later.  MAY strolls with the SWEDES.  An IMPORTANT MAN talks loudly.

Two PORTLY GERMANS pass in day-glo golf gear.

			KRISTIN
		Gottfried and Helga...

			GUDRUN
		From Stuttgart...

			KRISTIN
		Making little guns and bullets.

KRISTIN indicates the table.  As MAY approaches the food ELIETTE puts a red-nailed claw on her shoulder, wheels her round to meet SHENA DRUCKER.

			ELIETTE
		(Toadying)  This is our new resident, Madame Frampton.  From England.

			GUDRUN
		Her husband's in oil - big wheel.

			SHENA DRUCKER
		(Giving MAY the once-over)  From England, huh?  Do you play bridge?

			MAY
		Sorry no.

			SHENA DRUCKER
		Pity.

She turns away.  MAY, furious and out of face, walks off.  She turns, watching the noisy, vulgar opportunistic groups.  The ELDERLY AUSTRIAN BARONESS steps back into dog dirt, and irritably clicks her fingers for a WAITER, who proffers a white linen napkin.  She wipes her shoe, hands it back to him.  The noise surges.  And then - silence.  Below the terrace a SMALL NEAT WOMAN walks across followed by her caddy.  GUDRUN comes up behind MAY, followed by KRISTIN.

			GUDRUN
		Madame Liu.

			KRISTIN
		Billionaire!  I would so much like some of that money.

They watch MADAME LIU.
			GUDRUN
		What for?

			KRISTIN
		To make my factory.  (To MAY)  For teaching embroidery.

They watch MADAME LIU step into the golf cart.  She is driven away.

INT.  TOUR BUS.  DAY.

The aged tour bus sounds on its last legs.  MAY and VIC, GUDRUN and KRISTIN, LYNN and her MOTHER, ELIETTE, HENRIETTE and SIMONETTE, and SENOR GARCIA.

The bus coughs its way up a beautiful mountain road.  Wonderful views of mountains and sea.  MAY, her face alight, turns to VIC, but he is reading the Financial Times.

Later.  The bus pulls into a vineyard.

INT.  THE CAVES.  CANDLELIGHT.

The tour are shown the serried ranks of wine bottles.

A little later.  The tasting.  People are getting merry - even LYNN'S MOTHER cracks a smile.  GUDRUN and KRISTIN are very jolly.

Later.  The DRIVER helps the tour onto the bus.  KRISTIN tries on his hat.

The bus rolls along to the sound of the tour, singing inside.  It swings into a Vivero -a nursery.  Most of the tour go into the shop but MAY makes for the plants.  She walks among them, in heaven, pausing to read labels.  She watches a white egret, sits on the rim of a round, ornamental fountain, watching fat, peaceful goldfish.  Shouting and laughter make her look up.  Across from her are rustic steps up to an ornamental grotto, above a pool with one big stepping stone - built to display water plants.  Children are running up the steps - leaping down onto the stone, and then across to the further bank.  Shouts of Olé as each child succeeds.  LYNN, GUDRUN and KRISTIN, merry with drink, run up the steps.  LYNN jumps, to cheers and Olés, GUDRUN pauses and leaps - more cheers.  KRISTIN takes a merry leap - and misses - cracking her head on the stone.  The NURSERYMAN, short and sturdy, leaps into the water in the shocked silence.  He turns KRISTIN over.  Her innocent blue eyes gaze skywards.

The NURSERYMAN straightens up.

			NURSERYMAN
		Morté.

The tour stand, shocked.

Later.  The tour stand about silent.  The DRIVER smokes.  The NURSERYMAN and SHOPGIRLS watch as the AMBULANCE MEN put KRISTIN into the ambulance.

MAY stands, expressionless, as the ambulance is driven off.  She turns, looking at the trees, the beautiful, live flowers.

INT.  GUDRUN AND KRISTIN'S HOUSE IN THE PUEBLO.  DAY.
The nursery flowers become the flowers on KRISTIN'S embroideries.  They are everywhere.  GUDRUN and MAY serve food to the mourners.  ELIETTE helps herself.  MAY turns, tips the rest of her serving plate into the open bag of the OLD AUSTRIAN BARONESS, and walks off.  She prowls, looking at the embroideries - so innocent with simple clear colours.

			MAY
		(As GUDRUN joins her)  Why?  Why Kristin?

GUDRUN'S eyes fill with tears.  They jump as LYNN shouts.

			LYNN
		Look!  Rain!

Outside the rain is bucketing down.  GUDRUN and MAY look out at the rain.  From outside, their faces are splashed and blurred through the glass.

EXT.  MAY'S PATIO.  DAY.

Rain.  Everything drips.

INT.  MAY'S KITCHEN.  DAY.

She irons savagely.

			MAY
		Why?  There was no vice in her.  Come all this way to fall in a paddling pool - what sort of ending is that?

She bangs down the iron, sits abruptly.

Door bangs.  VIC comes in.

			VIC
		What's up with you?

			MAY
		Nothing.  It's the rain.

			VIC
		I've books us a trip to Tangier - get some bloody sun.

EXT.  TANGIER.  DAY.

A wet day.  MAY and VIC walk off down a street pursued by BOYS.  VIC shoves them away with his stick.  They run off - only TWO LADS follow, at a discreet distance.  At the far end of the street VIC indicates a cafe.  MAY shakes her head.  Furious, he goes in on his own.

Across the road is a small park.  MAY crosses to the park and sits.  The BOYS stand by.  MOHAMMED, the elder, leans forward.

			MOHAMMED
		Lady, why do you cry?

			MAY
		Because I'm sad.

He nods wisely.

			MAY
		I lost a friend.  An accident.

MOHAMMED nods with understanding, jerks his head towards his brother, HASSAN, who is playing football with a stone.  HASSAN is lame.  MAY looks at the BOYS, opens her purse.  They come close.  She empties her purse in MOHAMMED'S hand.  He takes the money and shares it with his brother.  Who smiles a radiant smile and limps away very fast.  MAY shows MOHAMMED her empty purse, shakes her head - no more money.

			MOHAMMED
		I stay.  As your man.

They sit in the rain together.

EXT.  MARBELLA

A Saint's Day.  The TOWN BAND, followed by CHILDREN carrying skulls.  Followed by PENITENTS in Klu Klux Klan gear (and trainers).  Followed by WOMEN, young and old, some in wheelchairs, all grave and stunning in black wiht veiling and mantillas.  Then the heavy, swaying float with JESUS, looking infinitely sad and loving, above MEN buckling and sweating under the weight.  WOMEN and CHILDREN follow, bearing flowers.

EXT.  MARBELLA CEMETERY.  DAY.

MAY and GUDRUN, carrying flowers, walk past the serried ranks of tombs, one above the other.  They stop before a blank space.  A WORKMAN comes forward.  GUDRUN gives him a plaque.  They stand back as he screws it onto the front of the tomb.  GUDRUN leans forward to inspect the inscription.

			GUDRUN
		Yah.  It's good.  (Turns to MAY)  You think so?

MAY steps forward to read the brass plaque.  It reads `KRISTIN KRISTIANSEN', and, underneath - `MISSED'.

MAY'S lips twitch.

They place the flowers in small containers, and leave.

EXT.  PAVEMENT CAFE IN ORANGE SQUARE.  DAY.

MAY and GUDRUN drink soberly.  GUDRUN looks round.

She is surrounded by the three FRENCHIES.

			ELIETTE
		We are back!

			MAY
		How was Seville?

			ELIETTE
		Amazing!

HENRIETTE shrieks.  They wait for her to stop.

			SIMONETTE
		Five bands -

			ELIETTE
		Huge procession - seven floats!

			SIMONETTE
		Soldiers in togas!  Sexy!

			HENRIETTE
		Whee!

They sit.

			ELIETTE
		Oh, I am thirsty!

A little pause - then GUDRUN hails the WAITER.

			ELIETTE
		Ah, merci.  Simonette?

			SIMONETTE
		Champagne cocktail?

			ELIETTE
		Pourquoi pas?  And the same for La Petite.  Seville was merveilleuse...

She takes out a pale blue envelope, displays beautiful, large, coloured postcards of the floats in the Seville parade.  MAY is taken with the close-ups of the Madonna's head - wooden tears moulded on her delicate cheeks.

			MAY
		These are beautiful.  Where can I buy them?

			ELIETTE
		Only in Seville.

She snatches back the pack of cards and shoves them in the envelope as the drinks arrive.

			MAY
		I'll buy one if you like.

			ELIETTE
		(Ignoring her, to GUDRUN)  So what will you do - now that your friend is -

		(To MAY)  	Fifty pesetas.
			ELIETTE  (Cont'd)
		(To GUDRUN)  Important not to be alone - do you know the new Viennese café?  Formidable.  Come - a new experience for you - we can join you - try some sensational charcuterie.

She hauls GUDRUN up.

			GUDRUN
		May?

But MAY looks up, blank behind dark glasses.

			ELIETTE
		Au 'voir, Madame.

			SIMONETTE
		Au 'voir -

			HENRIETTE
		Yuh - ha-ha-ha!  Ha ha!

She scurries after the others.  The WAITER presents MAY with the bill, as ELIETTE throws the postcards in a litter bin, and squires GUDRUN away.

MAY hurries over and retrieves the postcards, puts them in her bag.  She leaves money on the table, and, crossing the square in a bad mood, sees an elegant small shop with the name "ELIETTE".  She goes in.

INT.  BOUTIQUE.  DAY.

MAY looks round.  A thin, snooty young FRENCHWOMAN looms.

			YOUNG WOMAN
		Madame?

			MAY
		How much is the little handbag in the window?

			YOUNG WOMAN
		(Without a flicker)  Eighty thousand pesetas, madame.

			MAY
		How much?

The GIRL turns away, sneering.

			MAY
		I'll have it.

The GIRL, momentarily surprised, recovers, puts it on the counter, finds swish paper and fancy ribbon, starts to pack the bag.

			MAY
		Hang on a minute.

She reaches out - looks inside.

			MAY
		This lining's made of rayon.  It should be suede.  You've got a fake here.

			GIRL
		(Offended)  I don't think so.

			MAY
		Well I know so - I've got two already.  Is everything in this shop fake?

			GIRL
		Not at all.

			MAY
		I'll need to have a word with the Mayor.  Who owns this place - she needs denouncing.

			GIRL
		Madame de Tattier would never allow...(she follows MAY out of the shop)  Madame... Madame -

			MAY
		(Waving her off and continuing downhill - calls)  Expect a visit from the police.

The girl stops, aghast.  MAY crosses the road, laughing.

A little later, in a minor road leading to the beach, MAY'S joy evaporates.  She flattens herself against a garden hedge as a YOUNG FAMILY, MAN, WOMAN and TWO YOUNG CHILDREN, romp past.  An ELDERLY COUPLE, arm in arm, approach and pass her, smiling politely.  MAY turns to watch them go, then walks off towards the beach.

At the water's edge she slips off her shoes, and enjoys the relief of the cool water.  She paddles along the water's edge, pauses to pick up a beach ball and throw it back to a group of boys, and, a little further on, smiles as a YOUNG MOTHER introduces a FAT BABY to the water.  A little further on there is a happy group picnicking, shouting and laughing, eating and drinking.  They spread down to the water's edge and MAY picks her way through the group apologetically.  She walks on, feeling more and more depressed.  She stops, looks out to sea.  She scuffles a foot in the sand, picks up a stone and skims it across the surface of the sea.  Laughter from the group behind her.

			MAY
		(Aloud)  Oh Christ I'm fed up.

She is arrested by a low whining sound.  She walks up the beach to the pretty grove adjacent to exotic hotel gardens.  WAITERS move among the GUESTS around the pool.   The sound is repeated, now a sad howling.  The WOMEN by the pool hear it.  MAY walks up to the grove.  TWO GIRLS in bikinis follow and the MAITRE D' in linen jacket and dark trousers.

			MAY
		I think something is hurt.

			MAITRE D
		Please -

He pushes past her politely.  MAY turns aside, parts the tall growth.  A DOG looks up piteously, wags his tail.  The MAITRE D' arrives behind MAY, as other GUESTS stroll over.

			MAITRE D'
		De Nada.  Only a dog.

Some people turn away.  Others come forward.

			WOMAN GUEST
		Oh...poverino...

			MAITRE D'
		Probably a car.  (Calls)  Manuel, a spade - Senora - (he tries to shoo MAY away as the WAITER approaches).  Something heavy quickly - this sound is not attractive for the guests -

			MAY
		It's just his leg -

			MAITRE D'
		Madame, please -

			SNOOTY GUEST
		Oh for God's sake put it out of its misery.

A GARDENER arrives with a spade.

			MAITRE D'
		Get rid of it.

			MAY
		No.

			MAITRE D'
		Quickly.

			MAY
		No!

They try to push past her.  The MAITRE D' puts a hand on her shoulder.  And blanches at her fierce gaze.

			MAY
		Don't you dare!

She bends, picks up the dog, which howls.  Protests from the crowd.

			GUESTS
		Madame, s'il vous plait!  You stupid woman!  Senora, por favor!

MAY backs away.

			MAITRE D'
		(Wheedling)  Senora, what you think...?

MAY fetches up against a tree.  They converge on her.

			LITTLE MAY
		Leave this lady, please.

They all turn.  It is MADAME LIU, impeccable in pale linen.  GUESTS whisper.  The MAITRE D' steps forward, bows.

			MAITRE D'
		Madame.

He indicates the unfortunate dilemma.

			MAY
		It's just a clean break, I could set it meself.

MADAME LIU'S mouth twitches, as if hiding amusement.  She steps forward.  MAY steps forward.  They look at the dog, who looks up sadly.  The others converge around them.

			MAY
		You can't kill it.

			LITTLE MAY
		(Softly)  They are afraid that the guests will be disturbed.

			MAY
		I'll disturb them!

She is surprised.  The little woman giggles, her gloved hand over mouth.

			LITTLE MAY
		A veterinary surgeon?

MAY nods.  She follows LITTLE MAY through the gardens, but, with the weight of the dog is soon left behind.  Emerging onto a large parking area, MAY is confronted by LITTLE MAY, standing by a large blue Rolls.  A dignified CHAUFFEUR holds open the door.  They assist MAY into the car.  The dog whimpers as it is placed on her lap.

EXT.  OUTSIDE LITTLE MAY'S HOUSE.  DAY.

The Rolls approaches.  The massive gates open and the Rolls purrs along the drive, halts before a beautiful low-built enormous house.

At the house MAY hands the dog, his leg now splinted and bandaged, to the  CHAUFFEUR.  Flanked by the TWO MAYS he walks up the shallow broad steps.  At the top, an ELDERLY MAID waits to escort the patient inside.

EXT/INT.  LITTLE MAY'S COURTYARD.  DAY.

In the inner courtyard, MAY looks round, open eyed, at modern statues, beautiful trees in pots.  She turns to LITTLE MAY.  LITTLE MAY beckons.

INT.  AN ART GALLERY.  DAY.

LITTLE MAY shows MAY her paintings.  MAY takes her time, totally absorbed.  LITTLE MAY watches her keenly.  

INT.  LITTLE MAY'S SALON.  DAY.

The two MAYS are having tea.

			MAY
		I was only at art school for a year.  Then Dad died.

LITTLE MAY, pouring tea, pauses.

			MAY
		I took up nursing.

LITTLE MAY nods.

EXT.  LITTLE MAY'S GARDENS.  DAY.

The two MAYS stroll.  LITTLE MAY points out favourite trees.

They arrive at the front of the house.  HONORÉ, the chauffeur, stands by the car.  As MAY turns to say goodbye a pack of ill-assorted mongrels bound around the corner and encircle LITTLE MAY.  MAY shakes her head in wonder.

			LITTLE MAY
		Not the dogs of a rich person?

MAY laughs, caught out.  LITTLE MAY smiles.

HONORÉ opens the car door.  MAY makes to get in.

			LITTLE MAY
		You will come again, to see the invalid?

			MAY
		I'd like to.  (She puts out her hand.)  May Frampton.  May.

			LITTLE MAY
		I too am May.  May Liu.

EXT.  THE CLUBHOUSE.  DAY.

MRS DRUCKER and her toady, the snooty Englishwoman, LADY HARPER, wheel their clubs up to the clubhouse.  As they do the TWO MAYS come out talking animatedly and walk to their waiting caddies.  MRS DRUCKER and LADY HARPER are gobsmacked.

EXT.  THE TENNIS CLUB.  DAY.

A game in progress watched by the THREE FRENCHWOMEN, MRS DRUCKER, LADY HARPER and ACOLYTES.  The women's attention is diverted from the game by the arrival of the TWO MAYS into the Mayor's box.

INT.  CHARITY DRESS SHOW.  NIGHT.

The SNOBS, at the dress show, are puzzled as the TWO MAYS dissolve with laughter at the increasingly idiotic clothes.  Uncertainty reigns.

INT.  THE HEALTH CLUB.  DAY.

MRS DRUCKER, EVE HARPER, THE ELDERLY DERANGED BARONESS, and the THREE FRENCHIES, wearing towels and towelling gowns, in the solarium.

			MRS DRUCKER
		They look ridiculous together.

			LADY HARPER
		That accent!

Sitting separately, the THREE FRENCHIES ponder.

			SIMONETTE
		Perhaps une amitie amoureuse?

			ELIETTE
		Love affair?!  (Shrieks with laughter.)

HENRIETTE shrieks.

Both groups have their heads together, look up disconcerted, as MAY emerges from the sauna.

			MAY
		By gum it's hot in there!

She dives into the pool.  MRS DRUCKER flicks a look and BARBIE, her P/A, is ready with a towel as MAY emerges.  MAY, surprised, thanks her, lies out.

Later.  In the café area MAY sits with GUDRUN, close to the table with the FRENCHIES.  MRS DRUCKER calls across.

			MRS DRUCKER
		I'm giving a little dinner party tomorrow.

Who is she asking?  MAY thinks it can't be for her.  ELIETTE leans across.
			ELIETTE
		Charmant.  At what time?

MAY grins as MRS DRUCKER glares at her P/A, who shrugs.

			MAY
		Eliette and Simonette and - er - whatsit are real partygoers, aren't you, girls?

They look at her suspiciously.

			MRS DRUCKER
		Do join us Mrs - ah - Frampton - with your husband of course.

			MAY
		What's it in aid of?

			P/A
		Mental health.

			MAY
		Thank you very much.

			MRS DRUCKER
		We'd love Madame Liu to come.

			LADY HARPER
		She does so much for charity.

			P/A
		Perhaps you could -

			MAY
		No.  Shouldn't think so.

Silence.  The FRENCH eat the free nuts and fruit voraciously.

			MRS DRUCKER
		Known her long?

			MAY
		Beg your pardon?

			LADY HARPER
		Madame Liu?

MAY puts out her hand for some nuts.  All gone.  She finishes her drink and she and GUDRUN rise to go.

			MAY
		No.  We just get on.

They seem to want more.

			MAY
		She...she's good with dogs.

She follows GUDRUN.  MRS DRUCKER turns to her P/A.
			MRS DRUCKER
		Get a dog.

The P/A rises obediently.

			MRS DRUCKER
		A good one.

EXT.  PUERTO BANUS.  DAY.

MAY sits at an outdoor restaurant.  She looks at her watch.  SENOR GARCIA passes, sees MAY, comes over.

			MAY
		Good morning.

SENOR GARCIA kisses her hand.

			SENOR GARCIA
		My daughter was here, from Burgos.

			MAY
		With the children.  I saw them.  She's lovely.  You must be very proud.

He smiles.  She invites him to sit.  He beckons a WAITER, MAY shakes her head, he orders himself a drink.

			MAY
		I have a son and daughter.  My daughter is expecting her first child.

			SENOR GARCIA
		Ah - wonderful.  And your son?

			MAY
		In Australia.  (He waits.)

			MAY
		He...he and his father don't get on.  He's very bright - a scientist!

They look up as VIC looms over them.

			MAY
		You look as though you're enjoying yourself.

			VIC
		(Nods to SENOR GARCIA)  Know anything about boats?  (The SENOR shrugs politely.  VIC lifts MAY by the elbow.)  Excuse us.  (GARCIA rises politely.)

He ushers MAY across the road and down one of the trots, with boats moored each side.  Screams from the stern of a largish motor launch.  The THREE FRENCHWOMEN are installed.  DAFTIE (HENRIETTE) waves a bottle.
			SIMONETTE
		Surprise!

DAFTIE shrieks.  ELIETTE smiles like a pleased cat.  She pours champagne, offers the glass to MAY as she steps aboard.

			MAY
		Whose boat is this?

They shriek with laughter.

			SIMONETTE
		Surprise!

			ELIETTE
		Surprise.

VIC disappears below, followed by MAY.  The following conversation V/O as the SKIPPER, ALONZO, and his BOY, LUCA, put boat gear aboard, jostling ELIETTE and causing heart-throb glances from SIMONETTE and HENRIETTE.

			MAY  (V/O)
		You never said a word!  How much did it cost?...

			VIC  (V/O)
		...do the run to Gibraltar - get some decent British grub!

			MAY  (V/O)
		Ceylon tea and Danish bacon, you mean?

			VIC  (V/O)
		No need to get nasty.

The FRENCHIES preen in the cockpit in their smart sunhats and heavy makeup.  VIC emerges, struts the deck in his nautical gear.

EXT.  THE VERANDAH, LITTLE MAY'S.  DAY.

The TWO MAYS share the seat overlooking the lake.  They rock with laughter.

			LITTLE MAY
		More...more!

LITTLE MAY settles back to listen.

EXT.  THE BOAT.  DAY.

The boat putters majestically out of harbour, the FRENCHIES holding onto their large hats.  VIC is at the wheel, watched nervously by ALONZO.

INT.  THE INTERIOR OF THE BOAT.  DAY.

MAY hums happily, preparing an elegant tray of food.

EXT.  THE COCKPIT.  DAY.

ALONZO at the wheel.  The passengers sun themselves.  VIC, on his feet, surveys his boat, preening majestically.

The PASSENGERS and VIC relax with drinks.

INT.  THE GALLEY.  DAY.

MAY picks up the tray, ready to serve.  The boat lurches.  And rolls again.  Screams from the deck.  MAY looks out of the door.  ALONZO is yelling at LUCA in Spanish.  LUCA puts up the dodger as rain begins to fall.  Suddenly everything is dark grey.  Visibility disappears.  The squall hits and lays the boat on its side.  VIC is knocked off his feet, scrambles for his hat.  The FRENCHIES lose their cool and plunge about screaming.  MAY hauls them below.  HENNA RINSE hurls herself into the saloon getting a small gash on her forehead and DAFTIE'S dog is thrown below and is sick on MAY'S canvas shoes.  ELIETTE, feeling sick, puts her head outside, has her head scarf whipped away and her hairdo ruined and staggers back again.  MAY gleams.  She fetches seasick pills, administers them and tucks in the THREE FRENCHIES, slaps a large plaster on HENNA'S face, fetches an oily and goes on deck.  She stands by ALONSO, enjoying the weather as VIC holds on grimly, then is sick over the stern.

EXT.  A SMALL PORT, NEW AND ELEGANT.  DAY.

The boat puts in and is tied up.  Sun once more.  ALONZO helps everyone ashore.  The FRENCHIES huddle, wan.

MAY turns to VIC, points at the bedraggled FRENCHIES.

			MAY
		(Hisses to VIC)  For God's sake take them for a drink.

VIC, in his yellow top and white ducks, herds the FRENCHIES away.  MAY stands on deck, watching them go.  She turns into the saloon to clear up.

Later.  MAY emerges on deck in her sunhat, nods to ALONZO and LUCA, strolls off along the quay to join the others.  She saunters, enjoying the sun on her face after the storm.

A broadwalk with smart new shops.  MAY window shops, sighing at the pretty clothes.  She pauses, arrested at a jeweller's by a collar made of pieces of silver, flattened and slightly twisted.  It glows on blue velvet.  MAY yearns for it.  She looks up.  Inside the shop VIC is capering round the three FRENCHWOMEN.

INT.  THE JEWELLERY SHOP.  DAY.

MAY enters, and stands just inside the door, taking stock.  VIC is encouraging the WOMEN to buy.  DAFTIE leers up at him, showing off a bracelet on her arm.

			VIC
		Very nice...very nice...have what you want!

DAFTIE veers away and plunders another display, causing havoc.  ELIETTE stands before a mirror assessing a bejewelled snake belt around her narrow waist.  HENNA tries on heavy earrings, discards them for even heavier cascades of stones dripping onto her shoulders.  MAY crosses to VIC who, seeing her, moves off.  She closes.  He moves off again.  MAY gestures - what does he think he's doing?

But he gives her a nasty look.  HENNA plants herself before him - does he like the necklace that goes with the earrings.  VIC grins approval.  MAY picks up a cheap little stick pin from a tray on the counter.

			MAY
		I fancy this, Vic.

He scowls at her.

			VIC
		What do you want that for?

MAY puts the pin down.  She catches the eye of the shrewd WOMAN OWNER of the shop, who has missed nothing.  MAY shrugs.

A little later.  HENNA wears the earrings and necklace, ELIETTE her snake belt, DAFTIE is decorated with the only hideous parure in the shop, great nuggets of ginger stone round her neck, in her hair and on her arms and fingers.  VIC holds out his gold card.

MAY follows the party out of the shop, VIC surrounded by the WOMEN.  They walk off.  She watches them go thoughtfully and then her eye catches the sight of the silver necklace.  She goes back in the shop.  The OWNER takes the necklace from the window.  MAY emerges, carrying her package.

INT/EXT.  THE VERANDAH.  DAY.

MAY and LITTLE MAY on the seat.

			MAY
		At least when you buy it yourself you get what you want.

But she looks miserable.  LITTLE MAY observes her.

			LITTLE MAY
		(Softly)  Until the devil in your heart spoils it for you!

LITTLE MAY rises, offers her hand.

			LITTLE MAY
		Come.

EXT.  IN THE HILLS. DAY.

The Rolls turns off the main road, driving along a gladed lane.
Later.  A picnic, above a small lake, seen below in the trees.  HONORÉ and the two MAYS eat and drink peacefully.

Later.  LITTLE MAY lies against a bank, her hat shielding her face.  MAY, arms round her knees, sighs.

She realises that LITTLE MAY is observing her from under the hat.

			MAY
		My son Michael -

			LITTLE MAY
		Not coming.

			MAY
		Going straight from Melbourne to Boston - they need him.

			LITTLE MAY
		What he does is important.  Saves lives.

MAY nods, miserable.  LITTLE MAY rises and MAY joins her.  They descend a pretty path to a winding lane.  As they turn the corner A HUGE HIDEOUS MAN jumps out, roaring.  LITTLE MAY cries out.  THE MAN backs away, making noises and lumbers off round the bend.

			MAY
		It's all right.  (She goes forward.  Turns back to LITTLE MAY)  We frightened him.

LITTLE MAY follows doubtfully, with a look back for HONORÉ.

Handsome wrought iron gates, open.  On the gate the name "Casa del Lago".  Beyond, a comely old dwelling around a courtyard.  A NUN crosses the open arch.  The TWO MAYS approach.  A GARDENER doffs his hat.  They pass through to the courtyard.

An OLDER NUN comes forward, smiling.

			SISTER CLEMENTIA
		Welcome.

			LITTLE MAY
		I am sorry, we intrude.

The residents, some grown up, some children, crowd round the visitors.  They are mostly mentally or physically handicapped.

Later.  Followed by children the TWO MAYS are shown the kitchen garden by CLEMENTIA and a YOUNG NUN.  The UGLY MAN is brought forward.  MAY puts out her hand in greeting.  He kisses it.

			CLEMENTIA
		And this is Antonio...

			MAY
		Oh - Antonio?
He speaks in urgent Spanish.  CLEMENTIA listens.

			CLEMENTIA
		He hopes you were not incommoded.  He seeks a fox.  Antonio is our hen keeper.

Later.  Tea at a long table in the courtyard.  All eyes are on the visitors.  Until a small car hurtles into the courtyard disgorging MOTHER SUPERIOR, who approaches, swinging her briefcase.

EXT.  THE GARDENS OF THE CASA.  DAY.

MAY and LITTLE MAY walk the kitchen garden with MOTHER SUPERIOR.

			MAY
		And the garden feeds everyone - staff and residents?

			MOTHER SUPERIOR
		Oh yes.

			LITTLE MAY
		(Looks round, says softly)  This is very fine.

			MOTHER SUPERIOR
		We have room here for forty residents only, alas -

			MAY
		Can't you extend?  Plenty of land.

			MOTHER SUPERIOR
		But little money.  So much could be achieved but...whose misery is the greatest?  The child dying in Africa?  The old - the dispossessed?

			MAY
		Any help from the government?

			MOTHER SUPERIOR
		It tries to cut the cake fairly.

			MAY
		(As they walk back towards the house)  Perhaps we could do something?

			MOTHER SUPERIOR
		Too late, I fear.  (She turns to face them)  You have arrived on a day of despair.

INT.  MOTHER SUPERIOR'S OFFICE.  DAY.

The TWO MAYS listen as the MOTHER SUPERIOR talks soberly.

EXT/INT.  IN THE CAR.  DAY.
			MAY
		So you're saying although there are three alternatives for the reservoir -

			LITTLE MAY
		This place has been chosen.

			MAY
		And the children's home will be flooded?

			HONORÉ
		Urbanisation Madame May.  Profitable.

			MAY
		Well I think that's rotten.  Drowning a beautiful valley...

She gazes out of the car glumly.  Inside the car no-one speaks as they purr along the beautiful countryside.

EXT.  THE LOCAL MARKET.  DAY.

MAY reaches out for fruit - fills a bag, watched benignly by the STALL OWNER, who points to a nice one.

			GUDRUN  (V/O)
		Maybe she is ill.

			MAY
		Not a word - no message - nothing.  All I get is "The Senora is not available."

At the bus stop they wait, shouting over noisy schoolchildren.

			GUDRUN
		You know what they say about Madame Liu?

			MAY
		What?

			GUDRUN
		She is running a Tong!

			MAY
		What?

The children hurl past them onto the bus, which jolts off.  Grumpy, MAY steps into the road, forcing a cab to stop.

INT.  THE CAB.  DAY.

GUDRUN and MAY, their shopping on their laps.

			GUDRUN
		...and her grandfather was a General under Chiang-Kai-Shek.  When Mao came they leave quick, for America.  The daughter marries a Congressman and the son is now incredible rich, in Hong-Kong.

			MAY
		Running a Tong?

			GUDRUN
		So they say.

She eats a peach.

			MAY
		What is a Tong?

			GUDRUN
		You don't know?

			MAY
		No.

			GUDRUN
		Me neither.

MAY sighs, takes a peach.

EXT.  THE GOLF CLUB.  DAY.

VIC gets out of a golf cart with DRUCKER, the oil man, and a MR VAUGHAN.

			DRUCKER
		Oh sure.  Vic's pretty close to Madame Liu, ain't that so, Vic?

			VIC
		Oh aye.  I give her the odd bit of advice.  You know, woman on her own...

They go into the club house.

EXT.  THE BEACH.  DAY.

MAY sits, alone, sifts sand through her fingers.

EXT.  THE PUEBLO GARDENS.

MAY walks through the pueblo gardens with shopping.  She crosses by the pool.  The FRENCHIES sit in their usual spot.  She veers to avoid them.

			MAY
		May!...

Beyond the ETTES, LITTLE MAY'S car draws to a halt.  HONORÉ opens the door and LITTLE MAY steps out.  The ETTES crane, whispering.

MAY hurries across, opens the garden gate, ushers LITTLE MAY in.  Behind her, HONORÉ carries a bottle of champagne and a bunch of flowers.  LITTLE MAY walks up the path gaily.

			LITTLE MAY
		Champagne for celebration, but I know it give you gas so nice cup of Darjeeling...yes?

Later.  On the patio.  MAY pours tea.  HONORÉ sits in a basket chair, smoking a Panatella, with a glass of wine. 

			MAY
		You've kept me awake at night!

			LITTLE MAY
		I am sorry.

			LITTLE MAY
		We have been busy.

HONORÉ inclines his head civilly.

MAY leans forward, intrigued.

			LITTLE MAY
		A valley has been acquired.  And a quarter of a mountain.

			HONORÉ
		Half, Madame.

LITTLE MAY nods.  She leans close to MAY.

			LITTLE MAY
		We are the trustees, you and I.  We safeguard the house and the farm for the nuns and all who live there - goats, lambs, donkeys, chickens, the fish in the ponds, gardens and orchards...

MAY gazes at her.

			LITTLE MAY  (V/O)
		It is my present, for you.  To make up for your disappointment not to see your beloved son.  Michael is needed in America and so poor ugly Antonio must be your chevalier for now.

MAY reacts.

INT.  MAY'S SITTING ROOM.  DAY.

LITTLE MAY hands MAY a list.  MAY scans the paper.

			MAY
		I can't do this.

		(She reads from the list.)  Princess Brunhilde... Lady Harper - Lorena Black, the movies star? - (looks up) the old Baroness is gaga -  

			LITTLE MAY
		But very rich!  (LITTLE MAY reads over MAY'S shoulder)  Senor Garcia...your friend Gudrun Christiansen - the padre - they are friends -

			MAY
		Why not you?

LITTLE MAY looks inscrutable.

			MAY
		I shan't know what to say!

LITTLE MAY gives her a disbelieving look.

			LITTLE MAY
		Speak with passion!

INT.  LITTLE MAY'S SALON.  EVENING.

Present are the SHEIKHA FAHRI, her daughters FARRIDA and FAWZIAH, SENOR GARCIA, GUDRUN, THE ELDERLY AUSTRIAN BARONESS, COUNTESS BRUNHILDE VON LUDENDORFF, blonde and very beautiful, LORENA BLACK, a British film star and her husband GEOFFREY, a producer.  The hum of conversation.  LITTLE MAY waves a gentle hand for quiet.

			LITTLE MAY
		We then are agreed.  The first event to support the Casa del Lago will be a film premiere.

Mild applause.

The SHEIKHA'S daughters are excited.

			FARRIDA
		We will sell programmes -

			FAWZIAH
		And tickets -

They are quelled by a mild look from their mother.

			FAWZIAH
		Mother, we are modern Islamic women!

			BRUNHILDE
		Bravo!

A little applause.

			LITTLE MAY
		So.  We are agreed.  May - you have something to say, please?

MAY gives her a fearsome look, rises, helpless and dismayed.

			MAY
		Look...ah...ah...I know you're all involved in...in things...you can't open a newspaper without......and this is just one home.  For handicapped children, and for those who have nowhere else to go.  The unwanted.  I saw a few of those when I was nursing - patients waiting for relatives, for phone calls that never came.  These are people without defence...the nuns because of their faith, the residents...well, they're the way God made them.  Thanks to Madame Liu - the Casa's been saved from redevelopment.  Now it's down to us.  Every town should have such a refuge...an open door, a place where children can come to get their health back.  A haven.  We all have so much... so much.  (She sits abruptly.)

Applause.  LUIS GARCIA takes MAY'S hand, guides her to a seat.  MAY feels silly.

			BRUNHILDE
		Bravo.

Applause - people smile at MAY.

			LITTLE MAY
		Thank you, May.  Date for the premiere - the twenty-fourth.  We meet in one week.

Everyone rises, animated.

			AUSTRIAN BARONESS
		Did anyone run my bath?

EXT.  THE TENNIS CLUB.  DAY.

On court YOUNG LYNN is getting beaten by a fearsome SPANISH WOMAN with a moustache.  MAY and GUDRUN wince.

Later.  MAY and GUDRUN leaving the tennis match.

			MAY
		(Groans)  What the heck am I going to wear?

			ELIETTE
		(Close behind them)  Pas de problème!

			MAY
		(Turns)  Sorry?

ELIETTE sidles up.

			ELIETTE
		A dress for the premiere?  Tout simple!  Marcelline!

She clamps a red-nailed claw on MAY'S shoulder, eyes gleaming.

GUDRUN escapes.  MAY is caught.

EXT/INT.  ELIETTE'S BUBBLE CAR.  DAY.

MAY, squashed inside, cringes as ELIETTE drives erratically.

EXT.  MARBELLA OLD TOWN.  DAY.

ELIETTE parks on the pavement, scattering pedestrians.

			ELIETTE
		(Sneers)  Tourists!

She stalks up an alley, raps an imposing knocker.  A TINY WOMAN answers.

			ELIETTE
		Bonjour Celine.

			CELINE
		(High voice like a bat)  Bonjour Mesdames.

They follow her in.

INT.  MARCELLINE'S ESTABLISHMENT.  DAY.

MARCELLINE is seated on a sort of throne.  She is tall, even thinner than ELIETTE, with a fearsome face lift, her mouth a thin red line.  She and ELIETTE kiss four times, exchange rapid French, leaving MAY stranded.

			ELIETTE
		(Murmurs)  The film premiere -

MARCELLINE advances.  CELINE hobbles forward with MARCELLINE'S glasses in a heavily jewelled case.

MARCELLINE stalks around MAY, looms close.

She clicks her fingers and CELINE totters back and forth with bolts of cloth.  Some of these MARCELLINE hurls over MAY.  ELIETTE murmurs to MAY.

			ELIETTE
		Mousseline de soie...ah - satin du Roi...Marcelline, tu es genie, oh, alors!...

They survey MAY, encrusted in jewelled lime.  MAY lurches forward to look in a glass, blenches.

			ELIETTE
		Cover the arms, non?

			MARCELLINE
		(Nods in a marked manner)  But the neck is good!

			ELIETTE
		Souvent parmi les grosses.

MAY begins to smoulder.

MARCELLINE prowls around MAY, advancing and receding like the Grand Inquisitor.  The others wait...ELIETTE and CELINE humbly, MAY with increasing rebellion.

			MARCELLINE
		(At last)  A cloak.

			MAY
		Cloak?

			MARCELLINE
		Absolument.

She sweeps up a huge swatch of purple cloth.

			MARCELLINE
		(Throwing it over MAY)  Comme ça.

			ELIETTE
		Oui, d'accord...oh, alors...Marcelline!  (To MAY)  It is an honour...normalement she never cuts above size eight.

			MARCELLINE
		And for en haut - (she shoves a jewelled bandeau with a huge feather on MAY'S head.)

			MAY
		(Grabbing her bag, and tripping over the purple cloth)  Ooh - sorry - forgot -

She lunges for the exit.

			MARCELLINE
		Quoi?

			CELINE
		Madame, I mos' measure...

			ELIETTE
		What are you doing?

			MAY
		My appointment with Igor - (catches sight of herself in a glass, rips off the headdress) - head therapy!

EXT.  THE STREET.

ELIETTE'S car is being trashed by louts.
MAY emerges from the alley and watches with a broad grin.

INT.  LITTLE MAY'S SEWING ROOM.  DAY.

ADRIANA adjusts the hem of a dress on MAY.

			MAY
		Now they're not speaking to me.

			LITTLE MAY
		A bonus!  And your husband?

			MAY
		Bad luck.  (Surprised)  He's coming.  Not that he's put his hand in his pocket.

Later.  The dress, with a coolie jacket over, is finished.  It is softly coloured and MAY looks lovely.  She can't stop looking at herself.  The three WOMEN survey MAY in the glass soberly and are satisfied.

EXT.  A HOARDING, MARBELLA.  DAY.

Shot of a poster advertising the charity film premiere.  A large sticker reads "TONIGHT".

EXT.  THE FORECOURT OF THE LOCAL CINEMA, A LARGE BUILDING.  DAY.

Vans and lorries making deliveries of flowers and food.

INT.  MAY'S BEDROOM.  EVENING.

MAY is dressing for the film premiere.

			VIC  (O/S)
		Where is it?!

			MAY
		What?

VIC enters.

			VIC
		My dinner jacket!

			MAY
		In the wardrobe.

			VIC
		It bloody isn't!

She pushes past him, takes out his dinner suit, swathed in plastic.
			VIC
		How was I - what's all - ?

			MAY
		Cleaned and pressed.

			VIC
		It wasn't dirty.

			MAY
		It smelt of wardrobe.

He scowls at her, furious.

			VIC
		Don't be so bloody stupid.

INT.  LITTLE MAY'S SALON.  DAY.

LITTLE MAY is on the telephone.  Her face is set as she listens - something is the matter.  She puts down the phone and sits, immobile.

INT.  MAY'S HOUSE.

			VIC
		(Dressing)  What time's this rubbish of yours supposed to start?

			MAY
		Oh - ah - about eleven.

			VIC
		Bloody stupid.

			MAY
		(Hopeful)  Don't come then.

			VIC
		(Evasive)  No...well.

She looks at him, frowning and puzzled.

THE CARRETERA.  DAWN.

INT.  LITTLE MAY'S ROLLS.

The two MAYS are returning from the film premiere...HONORÉ (in dinner jacket) at the wheel.

MAY leans back, closing her eyes in ecstasy.

			MAY
		What is it about French films?  And French men.  Why is it that they get better looking as they get older?

She turns to LITTLE MAY, but LITTLE MAY is elsewhere.  HONORÉ turns his head.

			HONORÉ
		Sex, Madame.

			MAY
		Oh.

The car purrs along in silence.  LITTLE MAY puts a gloved hand on MAY'S knee.

			LITTLE MAY
		May...

		I must ask of you big favour.

		The party - for Friends of Casa Lago - alas, I must be in Hong Kong.

			MAY
		Let's postpone -

			LITTLE MAY
		Important to keep alive the group.

			MAY
		What would you like me to do?

			LITTLE MAY
		Give party - in your garden.  I will provide staff and food and wine -

			MAY
		May, I couldn't!

			LITTLE MAY
		Honoré will see to all - send out invitations -

			MAY
		Parties aren't my style - I'm not formal -

			HONORÉ
		(Turns)  Fancy dress, Madame - !

			MAY
		Oh no!

			HONORÉ
		Au courant this year.

He drives on smoothly.

			MAY
		I suppose - if everyone looks silly -
She slides a look at LITTLE MAY and they fall into one of their giggling fits.

Later.  The Rolls draws up outside MAY'S house.  HONORÉ jumps out, opens the door for MAY.  She leans in to say goodbye to LITTLE MAY. 

			MAY
		How long will you be away?

			LITTLE MAY
		I am not sure.

They kiss cheeks.  HONORÉ escorts MAY to her door.  She stops short.

			MAY
		Good God, I forgot about Vic!

			HONORÉ
		No, no, Madame - he was with les mamselles - they left together.  Au 'voir.

He smiles at her and goes.  MAY stands, puzzled...goes into the house.

INT.  MAY'S HOUSE.

			MAY
		Vic?

She stands, listening.  All is silent.  MAY walks through to the sitting room, dropping her stole and bag.  She stands, pulling a face.

			MAY
		I can't give a party!

EXT.  MAY'S GARDEN.  NIGHT.

Fairy lights in the trees - groups of chairs and small tables - a long buffet table laden with food and drink, manned by LITTLE MAY'S staff.

MAY, in a black dress with gold trim, a mantilla, and a rose at her waist, strolls with GUDRUN who is dressed as a Viking.  They pass SIMONETTE, who has come as the Folies Bergere, with intense decolletage, ELIETTE as Cleopatra, with asp, and HENRIETTE in an indecipherable muddle of garments with what looks like an inverted colander on her head.  SENOR GARCIA, as a MATADOR, presents MAY and GUDRUN with a red rose each and they join him at the buffet for a glass of wine.  The TRIO finish setting up under a tree and begin to play quietly.  TWO CHILDREN circle gravely, arms high.

Later.  THREE YOUNG STUDENTS, dressed as TROUBADOURS, with mandolin, sing a plaintive song.

YOUNG LYNN is entranced.

Later.  The TRIO are playing dance music.  MAY is dancing with SENOR GARCIA - excuses herself...he bows to GUDRUN who dances with him as VIC and GOTTFRIED and ANOTHER MAN appear.  They are wearing sailing gear.

			MAY
		You said you weren't coming!

			VIC
		(Genial with drink)  No I didn't!  (He pushes past her to go and change.)

GOTTFRIED holds up his dinner jacket, swathed in plastic.

			GOTTFRIED
		I have all day on the boat carried my smoking - (he leans close, his breath making MAY blench) - for you I wish to make a solid good impression -

MAY waves him towards the house.  The THIRD MAN hovers.

			MAY
		It's Mr Vaughan, isn't it?

			VAUGHAN
		Is it all right?  I haven't got an invite -

			MAY
		Come and have a drink -

Later.

GOTTFRIED, very drunk, has MAY on the dance floor.  He bumps into the BARONESS and MR VAUGHAN, cannons into LYNN and her TROUBADOUR (they are already an item, wheels MAY round so that she cannons into the PADRE who totters into the goldfish pond and has to be fished out.  MAY pulls away from GOTTFRIED, shoves him into ELIETTE'S eager arms.  DAFTIE, dancing alone, lets out incessant shrieks.

Later.

The GUESTS straggle out onto the beach for the firework display.  Oohs and aahs at the bursts and rockets.  MAY looks round at the happy faces.

A little later.

Only the hand-held fireworks are left.  DAFTIE dives into the box, has fireworks in each hand - reels away, screeching with them.

			MAY
		For God's sake go after her Vic - she's a menace to herself and everybody else -

VIC lumbers off in the dark after the flaming DAFTIE.

Later.

The remaining GUESTS around a bonfire.  LYNN is arm in arm with her TROUBADOUR - SIMONETTE is hanging on to MR VAUGHAN, who looks terrified.  The STUDENTS begin to hum and sing the Slaves Chorus from Nabucco.  Applause.  Then ELIETTE pipes up with a high, nasal rendering of `Non, je ne regrette' and is cheered.
Later.

The GUESTS are moving off.  The sound of car doors closing and cars moving off.

Little May's STAFF carry boxes from the garden into the lane.  LYNN passes MAY in the arms of the STUDENT, looks back blissfully at MAY with a small wave.

MAY looks round, picks up a discarded bottle, makes for the garden gate.  She looks up at the stars.

			MAY
		(V/O)  You're a long way from Bradford, May.

			MR VAUGHAN
		(Making MAY jump)  Sorry to bother you, Mrs Frampton, but I think your downstairs toilet is out of order.

MAY sighs and plods up the garden path, followed by MR VAUGHAN.

INT.  THE BREAKFAST ALCOVE.  DAY.

MAY in contented mood sits in her dressing gown with orange juice and coffee.  The morning papers, unread, are on the table.  Thumps as VIC comes downstairs.

			MAY
		D'you want something?

A slight groan.  VIC has a hangover.

			MAY
		Serves you right.  You were tanked up last night.  I don't know why you bother with a boat, it's just somewhere to scoff ale.

			VIC
		Will you shut up?

			MAY
		No.

He blunders about.  She gets him some Andrews.  He drinks it, picks up the paper and starts to read.  Despite his hangover, there is something cocky about him which annoys her.

			MAY
		Fish curry for lunch?  I was going to do something fancy, then I though no, he won't like it.

			VIC
		Not necessarily.

			MAY
		You've changed your tune.

			VIC
		There's a lot I've changed.

			MAY
		Glad to hear it.  What do you fancy then?

			VIC
		Can you do blanket di voh?

			MAY
		(Surprised)  Well no, not in a hurry I can't.  I'll have a go tomorrow if you want.

			VIC
		Don't worry.  You have to know how.

He takes the papers out to the patio.  MAY makes a mug of tea for him, takes it out, hears him grunt loudly.

			VIC  (O/S)
		Well, well.  Well, well, well!

As she puts down his tea, he thrusts the newspaper at her.

			VIC
		Something to interest you there.

MAY picks up the paper.  On the front page is a picture of LITTLE MAY and her son JOHN.  MAY has to sit down.  The headline reads: "JOHN LIU ARRESTED"...and a smaller headline reads: "Alleged Drug Baron".

			VIC  (V/O)
		I always knew there was something wrong with that Chink of yours.  

MAY goes out to the lavatory.

			VIC
		What did she want with you for a start?

MAY comes out of the lavatory.

			VIC
		It'll be your neck soon!

MONTAGE.

In the golf club CRONIES talk, turning to VIC as he enters, for information. 

PRINCESS BRUNHILDE having her nails done is shown the headlines. 

In the health club, the FRENCHIES pore over the free newspapers.
MAY on the 'phone.  No reply, puts it down.  On television, the news in Spanish.  Madame Liu's name is mentioned.  On English TV the news of John Liu's arrest and mention of his mother "the reclusive Madame Liu, well-known for her philanthropy, and as a UNICEF representative."

MAY, alone in the house, lies back on a chair, eyes closed.  The telephone rings.  She hurries to it.

			MAY
		Hullo?  Who?  No, I've nothing to say to you.

She slams down the 'phone.  It rings again.  She takes it off the hook.

Later.  MAY sees VIC approaching with his golf clubs.  She slides a chop under the grill.

The telephone rings.

			MAY
		Hullo...hullo yes?  Honoré!  She is - ?  Yes of course - right away, of course.

She turns off the grill, runs for her hat and jacket, grabs the car keys from the side table.

			VIC
		Where d'you think you're going?

He has his napkin under his chin.

			VIC
		Are you not cooking?

			MAY
		No!

			VIC
		(Rises, throwing down his napkin)  What!

EXT.  THE PUEBLO.

MAY drives off at speed, alerting the FRENCHIES, who rise a trois from their place by the pool.

EXT.  THE ROAD.  DAY.

MAY drives.

EXT.  LITTLE MAY'S GATES.  DAY.

REPORTERS and CAMERAMEN.  As she approaches, MAY slows, daunted.  But the gates open for her.  She drives up to the house.

INT.  LITTLE MAY'S SALON.  DAY.

Chaos.  The SHEIKHA and her DAUGHTERS try to organize STAFF, LAWYERS, DOCTORS and telephone calls.  In the middle LITTLE MAY sits, a small white figure.  MAY watches her, puzzled and alarmed.  LITTLE MAY looks across at her.  And away.

Later.  Now only TWO LAWYERS sit conferring with LITTLE MAY.  MAY sits, her eyes on LITTLE MAY.  FARRIDA and FAWZIAH hold the doors and man the telephone.

EXT.  A BACK EXIT.  NIGHT.

The SHEIKHA and HER DAUGHTERS are driven away, followed by MAY in her car.  At the exit, cameras flash.  On the road MAY drives, face set.

INT.  MAY'S HOUSE.  NIGHT.

She enters quietly, tiptoes upstairs past the bedroom door, listening at the door, briefly.  All is quiet.

Later, in the bath, she lies, exhausted.

			MAY  (V/O)
		It can't be true.  How would I feel if it were Michael!...oh Little May...

As she leaves the bathroom in her dressing room, closing the door gently, the doorbell rings shrilly.

			MAY
		Now what?!

Alarmed, she runs down the stairs and opens the front door.

On the steps stands ELIETTE in a light belted mac.  Behind her comes SIMONETTE in hooded velvet cloak.  ELIETTE pushes past MAY and walks through to the sitting room.  SIMONETTE grimaces apologetically, follows ELIETTE.  MAY, baffled, closes the door, follows them into the room.

			ELIETTE
		Where are they?

			MAY
		Who?

			ELIETTE
		You don't know?

		You mean - ?

			SIMONETTE
		You are not aware?

MAY looks from one to the other.  And her eye catches a large envelope, propped up against the figurine of a Norwegian girl on the mantlepiece.  Her name is scrawled on the envelope.  MAY reads, fragments visible under her hand..."can stand so much neglect...master in my own house...never knowing where you are..."  She turns the page..."if you won't cook for me, others will.  I'm making my own arrangements."  MAY looks up.

			MAY
		I think he's gone.

			SIMONETTE
		Oui, oui!

			MAY
		He's left me?

			ELIETTE
		D'accord, oui, yes!  With Henriette!

			MAY
		What?!

			SIMONETTE & ELIETTE
		Henriette!!

			MAY
		Daftie?  Vic's gone off with Daftie?

They don't quite know who she means, look at each other.  And are then affronted as she bursts out laughing.

EXT.  MAY'S PATIO.  DAY.

MAY, is talking on a mobile telephone.

			MAY
		Chloe?  How's my grandson?  (Listens and laughs.  Listens)  Actually, life feels like the Rhone in full flood!  Thirty years with the world's worst old cheeseparer, I end up on a Costa, friend to a Chinese billionairess with a
			MAY  (Cont'd)
		tycoon son on an international drugs charge... and my old man's done a bunk with a 50 per cent short of a Euro French frog!

INT.  CAFE.  DAY.

MAY and GUDRUN having coffee.

			MAY
		He'll probably cut me off without a penny.  I'm surprised he hasn't already.

			GUDRUN
		Go to bank, May and withdraw money.

			MAY
		Yes.  Yes I should.  (She sips her drink.)

			GUDRUN
		Ah...manana...

			MAY
		Manana...

They drink dreamily.

INT.  THE PUENTE ROMANO HOTEL.  DAY.

Standing are LYNN and ROMARIO, MAY, GUDRUN, the SHEIKHA'S DAUGHTERS, LUIS GARCIA, MR VAUGHAN and LYNN'S MOTHER.  A WAITER refills their glasses as the PRINCESS BRUNHILDE taps her glass.  Silence.

			BRUNHILDE
		To Lynn and Romario.  To a happy life together.

			FARRIDA
		And many children!

			FAWZIA
		And not all boys!

Laughter.  LYNN and ROMARIO are toasted.  Only Lynn's MOTHER looks grim.  BRUNHILDA excuses herself from MAY'S side, takes MR VAUGHAN'S hand, introduces him to Lynn's MOTHER, returns.  MAY watches MR VAUGHAN chatting agreeably and Lynn's MOTHER thawing.

			MAY
		(Laughs, then)  Thank you for coming.

			BRUNHILDE
		(Points to herself)  Five stepfathers, gold-monogrammed luggage and no fixed address.  I envy those two.  They have something real.

			MAY
		You made it possible - you lent them your beach house!

BRUNHILDE laughs.  They look happily at the TWO LOVEBIRDS.

			MAY
		Mission accomplished - now, what about you?

			BRUNHILDE
		I think - a nice farmer - not much time for reading but a good sense of humour and kind -

			MAY
		I'll see to it.  It's been a good day hasn't it?

She turns as a POLICEMAN touches her discreetly on the shoulder.

			POLICEMAN
		Senora Frampton?

			MAY
		That's me.

She looks up at him, alarmed.

EXT.  THE CARRETERA.  DAY.

The police car moves swiftly, cutting in.

Inside, MAY sits with the POLICEMAN.

EXT.  RONDA.  DAY.

The police car crosses the bridge into Ronda.

The police car draws up outside a private clinic.

INT.  THE CLINIC.  DAY.

MAY hurries behind a NURSE.  At the end of the corridor a YOUNG DOCTOR, in a brown suit, comes to meet her.

			DOCTOR
		Senora Frampton?  (MAY nods)  I am sorry.  So sorry.

MAY frowns up at him, puzzled.

The DOCTOR looks at her gently, dark-eyed.

But she sits down abruptly.

			DOCTOR  (O/S)
		You wish to see him?

His voice seems far away.  MAY looks up, gets up uncertainly, follows the DOCTOR along the pale pink corridor and turns a corner.  At the end of this passage, on a yellow seat under the Venetian blind, sits DAFTIE, looking like a forgotten heap of laundry.  She seems unaware of MAY, who follows the DOCTOR into a little room.

VIC lies on a bed, all his high colour gone, his face, in death, already beginning to look bony.  MAY crosses as the DOCTOR leaves, closing the door.  She looks at VIC for a long moment.

			MAY  (O/S)
		Oh Vic, what have they done to you?

She sits.

And sits.

A little later.  The light is beginning to go.

			MAY  (O/S)
		I'm to blame.  

		No wonder you were bad-tempered.

		All those jokes behind your back.

		I was rotten to you.

The room is almost dark.

She bends, kisses his brow.

			MAY
		Who would have thought it?  Making a bolt for it like that!

		Good on you, mate.

Suddenly the room is cold.  MAY shivers.  She bends, kisses VIC, lays her hand against his cheek, and leaves.

INT.  THE CORRIDOR OUTSIDE.

HENRIETTE is still huddled on the yellow seat.  She looks up at MAY, terrified.  MAY takes her gently by the elbow.

			MAY
		(Gently)  Come on - let's get you something to drink.

EXT.  PROTESTANT GRAVEYARD.  DAY.

VIC'S interment.  Present are MAY, her daughter CHLOE, GUDRUN, LYNN, her MOTHER, ROMARIO, MR VAUGHAN, GOTTFRIED, LUIS GARCIA, HONORÉ, and golf club FRIENDS.  MAY'S face, behind her dark glasses, is immobile.

The ceremony ends.  People begin to move away.  A screech of car wheels, heads are turned.  ELIETTE and SIMONETTE assist HENRIETTE to the open grave.  With a shrieking wail she throws herself in.  Bedlam.

INT.  THE LOCAL SOLICITOR'S OFFICE.  DAY.

MAY sits across from the Spanish solicitor.  She looks amazed.

			MAY
		Well I'll be buggered!

			SOLICITOR
		(Rising politely)  Perdone?

EXT.

The TWO MAYS sit by the lake, surrounded by dogs.  LITTLE MAY is dressed for travelling.

			MAY
		I'd no idea he was worth so much.

			LITTLE MAY
		You will be safe?

			MAY
		More than that.  There's nothing for Michael, of course, but I shall put that right.

She throws a stone in the lake.

			MAY
		He was always jealous of Michael.

Silence.

			MAY
		When - ah - when is the - ?

			LITTLE MAY
		The trial?  They say soon.

			MAY
		And John is - ?

			LITTLE MAY
		Well.

They rise as HONORÉ appears.  They walk towards the Rolls at the front of the house.

			MAY  (V/O)
		...I'll see to everything while you're away...

			LITTLE MAY
		Thank you, May.

At the car, LITTLE MAY says farewell to the dogs, embraces ADRIANA.  She and MAY hug.

			MAY
		How long will you - ?

			LITTLE MAY
		As long as I am needed.

			MAY
		I'll miss you.

			LITTLE MAY
		I too.

They embrace and she is driven away.

EXT.  BY THE POOL.  DAY.
MAY and GUDRUN in the seats by the pool.  The FRENCHIES pass by at a safe distance.

			MAY
		At least they don't bag the best table any more.

		I wonder if they put her up to it - they're evil enough -

			GUDRUN
		(Puzzled)  I am sorry - evil?

			MAY
		(Looks at GUDRUN'S open face)  I doubt you'd understand, Gudrun.

			GUDRUN
		I understand bad doings by people.

			MAY
		Aye.  Vic left me a fit man.  Five days of Daftie he ends up on a slab.

			GUDRUN
		Yah.  Dead.

			MAY
		Only one thing to do.

			GUDRUN
		(Alarmed)  What?

			MAY
		Spend money.

MONTAGE.

MAY and GUDRUN spend money.  MAY buys a car - they get a tortoiseshell kitten each - they buy clothes and garden furniture.

INT.  THE PUEBLO CAFE.  EVENING.

MAY, GUDRUN, LYNN, ROMARIO, MOTHER, LUIS GARCIA having dinner.  MAY displays a new jacket.  The FRENCHIES watch silently.

Later.  MAY walks across to her house, carrying smart shopping bags, waves goodbye, lets herself in.

INT.  MAY'S HOUSE.  NIGHT.

She walks about, eyeing her kingdom, looks at the garden, tickles the cat.  Can't settle.  She tries to read, throws down the book, sits on the swing seat, swings slowly.  She is lonely.

The doorbell peals.  It peals again.  She goes to the gate and opens it.  LUIS GARCIA is there.  With flowers.  She is glad to see him - smiles as he enters.

INT.  THE BEDROOM.  NIGHT.

MAY stands by the window.  LUIS walks sadly away across the pueblo terrace.  MAY watches him go, her face sad.

Later, in bed.  MAY ponders.

			MAY  (V/O)
		How can I take my clothes off at my age?   (Sighs)  He's a lovely man.

INT.  LUIS'S BEDROOM.  NIGHT.

LUIS, sad and lonely, gets undressed, takes off his socks.

INT.  MOTHER SUPERIOR'S OFFICE.  DAY.

MOTHER and MAY are sitting together doing accounts.  A NUN taps the window urgently.  Then there is a tap at the door.  SISTER CLEMENTIA sticks her head round the door.  She and MOTHER whisper.  MAY listens.

			MOTHER
		The radio tell that Senor Liu is free.  It was brief, foreign news, but the Sisters are sure.  The name of John Liu is cleared, and he is free.

MAY sits.  MOTHER fetches a glass of water.

			MOTHER
		(Softly)  Our patron is blessed.

			MAY
		Yes.

INT.  PUEBLO CAFE.  DAY.

MAY is joined by GUDRUN, who waves for JUAN, the waiter.  As he approaches DAFTIE hurtles in, thrusts a tabloid paper before MAY, bobs like a small child and goes, scurrying across to the TWO FRENCHIES by the pool.  MAY and GUDRUN look at the paper.  A large headline reads: LIU LIBRE.

A little later.  GUDRUN reading and translating.

			GUDRUN
		"...under the...the circumstance, all charge against John Liu have been...are dropped."

MAY takes the paper from her, frowns.

			GUDRUN  (V/O)
		All over - yah?
			MAY
		I suppose so.

			GUDRUN
		He is innocent!

MAY grimaces.

			GUDRUN
		Juan - Punt e Mes, dos, por favor!  He is not in prison, May.

			MAY
		No.

			GUDRUN
		So we are happy, yah?

She smiles her open smile.  JUAN brings the drinks.

			MAY
		Yah.  We're happy.

EXT.  MALAGA AIRPORT.  DAY.

The airport is full of activity.  But away across the tarmac a private jet lands.

MAY and HONORÉ await LITTLE MAY.  Eventually a small, bent figure appears.  She shuffles towards them.  MAY and HONORÉ are horrified.

INT.  IN THE MERCEDES.  DAY.

MAY and LITTLE MAY sit side by side as the car rolls along the Carretera.  MAY slides a look at the tiny, pinched face.

			MAY
		Everything's fine at the Casa del Lago...

LITTLE MAY inclines her head slightly.

			MAY
		The speech therapist's working with Antonio, Luca's stopped spitting, he's helping Salvatore crack stones for the rockery, the new dentist's arrived, and his wife's agreed to do hygiene.

No reply.  HONORÉ turns in the driving seat.

			HONORÉ
		Madame will see new things in her garden.

			MAY
		Yes!  The roses from England have taken like magic, big fat buds already.  The lion dung from the zoo helps keep the rabbits away - well that's what they say.

HONORÉ flicks her a smile.  But there is no response from LITTLE MAY.  They drive in silence.

			MAY
		May, you look awful.

LITTLE MAY turns to MAY.  Her eyes are like black coals.

			LITTLE MAY
		He is guilty.

INT.  TONI'S RESTAURANT.  NIGHT.

Loud, passionate flamenco music.  A flurry of black skirts as the flamenco dancing pair turn.

In the audience, at a table are MAY, LUIS, GUDRUN, LYNN and ROMARIO.  They clap to the music.

A slow solo from an older WOMAN DANCER, and then a fiery TOUT ENSEMBLE.

EXT.  MAY'S HOUSE.  NIGHT.

LUIS helps MAY inside.

INT.  MAY'S SALON.  NIGHT.

MAY has put on some music. It comes to an end.  LUIS has his arm around MAY.  He sits up.

			MAY
		Now Luis, you don't -

			LUIS
		May...please...I wish...you know what I wish.

			MAY
		Loom -

			LUIS
		(Gets on one knee)  May.  I ask with all my heart to you -

			MAY
		It's that damned music, it's made you all mushy.  Come on, before that knee of yours plays up.

			LUIS
		Not until you answer me.

She laughs and he gets up and kisses her.

A little later.

			MAY
		You're going to feel an awful fool in the morning.

			LUIS
		No.  You know my heart.  (Kisses her)  So fine woman.

			MAY
		Get on.

			LUIS
		I mean it.  I ask once more.

			MAY
		Ask me next week.  When you're sober.

			LUIS
		I ask you tomorrow.  In Cordoba.

			MAY
		Ah...Cordoba...

EXT.  THE ROAD.  DAY.

LUIS'S car bowls along.

In the car are MAY, LUIS, LYNN and ROMARIO, and Lynn's MOTHER with the picnic basket.  An atmosphere of happy anticipation.

			LYNN
		(To her MOTHER)  Look - Madame Liu's house.  

The car is approaching the long walls of LITTLE MAY'S house.

			LYNN
		(To MAY)  How is she?

			MAY
		Oh, you know.

			LYNN
		She'll be relieved it's all over.

			LYNN'S MOTHER
		Men!

They settle back.  The car reaches LITTLE MAY'S gates.

			MAY
		(To ROMARIO, who is driving)  Stop the car!

EXT.  LITTLE MAY'S.  DAY.
ROMARIO drives up to the main entrance.  MAY dashes inside and into the courtyard.  CARLOS, the major-domo, and ADRIANA appear, surprised.

			MAY
		Quick - la Senora - donde es la Senora?

Without waiting she runs up the stairs.

			ADRIANA
		Asleep, Senora...sleeping!

Upstairs MAY knocks, tries the door.  It is locked.

			MAY
		Fetch a key.

CARLOS takes out a key.  But there is a key on the inside, he cannot get his key in the lock.  MAY bangs on the door.

			MAY
		May, - May, it's me, May!  May! - it's May!

They listen.  Silence.

			MAY
		(Running along the corridor to go back downstairs)  Fetch a ladder - quick!

EXT.  THE GARDEN.  DAY.

THE GARDENER goes up the ladder, looks in the bedroom window, turns aghast.

			MAY
		Climb in!  Open the door - the bedroom door!

He climbs in the window.

INT.  THE BEDROOM.  DAY.

They rush in.  LITTLE MAY, face smooth and white, appears dead.  Letters are propped up by the bed.  MAY swiftly puts them in her pocket, yells to HONORÉ as he runs in.

			MAY
		Get her on her feet, get her walking -

He and CARLOS lift LITTLE MAY.  MAY dials.

INT.  PRIVATE CLINIC.  DAY.

MAY and HONORÉ wait.  TWO DOCTORS emerge.

			MAY
		Well?

The OLDER DOCTOR nods.

			MAY
		You pumped her?

			YOUNGER DOCTOR
		Yes.

			MAY
		Is she awake?

The YOUNGER DOCTOR shakes his head.

			OLDER DOCTOR
		She is sleeping naturally.  Better to -

			MAY
		I'll sit with her.

			OLDER DOCTOR
		Of course, Senora.

He ushers her through the door.

INT.  THE ROOM.  DAY.

LITTLE MAY lies, eyes closed, seeming to displace no volume at all.  MAY stands by the bed, looks down.  She smooths the bed sheet automatically, turns, pulls a chair close and sits.

			MAY
		May?  Now listen.  I want you to rest.  (She leans forward)  If you think I'm giving up on you you've got another thing coming.

Dissolve to later.  MAY sits.  LITTLE MAY sleeps.

Later.  MAY sits, half asleep.  She leans forward as LITTLE MAY stirs.  LITTLE MAY looks up, with deep anger.

			LITTLE MAY
		What is this?

She tries to struggle, angry.  MAY holds her.

			MAY
		We'll talk about it later.

EXT.  TERRACE OF BEACH CAFE.  DAY.

LUIS and MAY.

			MAY
		Now she won't see me.

			LUIS
		She is angry.

			MAY
		She blames me for -

			LUIS
		It will pass.

			MAY
		Will it?  Luis!  (Leans forward)  She thinks he's guilty.  Her own son.  She thinks the plantations in Burma - in Colombia - in Turkey - everything she owns - the houses, the paintings - all bought with drug money - that's what she believes.

THE PROPRIETOR puts down two plates heaped with grilled fish in variety.  MAY pushes her plate away, helps LUIS to vegetables, watches him eat.

			LUIS
		(Looks up from his plate)  Of course you are not able to think of my question.

			MAY
		Question?

			LUIS
		What I have asked to you.

			MAY
		Oh - that.

She looks at him and sighs - looks out to sea.

			LUIS  (V/O)
		I will be patient.

			MAY
		Luis, she won't speak to me.

INT.  MAY'S PATIO.  DAY.

She sits with the cat on her lap.  She jumps up, goes inside to the telephone - picks it up, puts it down.  Gazes at the telephone.  It is obstinately silent.

EXT.  OLD MARBELLA.  DAY.

GUDRUN and MAY window shop.  But MAY'S mind is elsewhere.

EXT.  THE BEACH.  DAY.

MAY walks.

EXT.  THE COURTYARD OF THE CASA DEL LAGO.  DAY.

MAY walks with the MOTHER SUPERIOR.  She is alerted by HONORÉ, who runs towards them, crosses to him.	

			MAY
		Honoré!

			HONORÉ
		Madame, I think -

			MAY
		What is it, is she - ?

			HONORÉ
		A change -

The MOTHER SUPERIOR already has the car door open.

			MOTHER
		We pray.

The car is driven off at speed.

INT.  LITTLE MAY'S HOUSE.

MAY goes upstairs.  ADRIANA is at the bedroom door.  MAY goes in.  Sounds from the bathroom.  LITTLE MAY is sitting on the edge of the bath, racked with sobs.  MAY takes her in her arms.

A little later.  MAY cradles LITTLE MAY on the day bed.

			MAY
		Go on - cry it out -

LITTLE MAY sobs.

			LITTLE MAY
		What is the use?

		I may cry until I die...what is achieved?

Later.  LITTLE MAY is on her feet, pacing.

			LITTLE MAY
		Everything must go - houses, land, pictures - everything -

			MAY
		May, your money came from your husband, not your son.

			LITTLE MAY
		But since his death - "Mother I make you rich - rich!"  Tainted all of it - misuse and destruction -

		All to go.  All.

			MAY
		We'll talk in the morning.
But LITTLE MAY turns on her, looking a small, malignant old woman.

			LITTLE MAY
		You want me to live?

			MAY
		You know I do.

			LITTLE MAY
		Very well then.

They look at each other.

INT.  THE PICTURE GALLERY.  NIGHT.

MAY walks along the gallery, absorbed in the wonderful pictures.

EXT.  MARBELLA.  DAY.

The streets decorated for Christmas.  The windows are crammed with glacé fruits and plump local almonds and expensive gifts.  MAY, carrying packages, is hailed by PRINCESS BRUNHILDE in Orange Square.  They sit.

A little later.

			PRINCESS
		By next year a new pool and six staff cottages!

A WAITER brings coffee.

			PRINCESS
		How is Madame Liu?

MAY shakes her head, looks away.

			PRINCESS
		The business of the son?  (Shrugs)  He is free.  (At MAY'S sober face)  The world knows he has paid off the police of course...

			MAY
		How do you live with that?

Silence.
			MAY
		She wants to give everything away.

			PRINCESS
		(Shrugs, thinks)  Well - why not?

EXT.  BEACH.

MAY walks along the deserted beach.

EXT.  CASA MORISCO.  DUSK.

A SLIM MAN in a beautiful suit runs lightly up the steps and crosses the courtyard silently.

EXT.  OUTSIDE THE COURTYARD AT THE CASA MORISCA.  DAY.

MAY halts, gets out of her car, retrieves Christmas presents for LITTLE MAY and the staff.

ADRIANA approaches, smiling, takes the presents.  MAY retains a small box, goes into the salon.  No MAY, sitting rigidly in her chair.  MAY begins to search.  She goes from room to room, in and out of the courtyard, becoming alarmed.  She plunges into the garden, not knowing which way to go.

MAY, searching through the gardens.  At a distance, by the swimming pool, sits a young girl in a blue-patterned bathing suit and a pink floral cap, dangling her legs in the water.  MAY approaches.  And stops.

The girl turns round.  It is LITTLE MAY.

MAY approaches as LITTLE MAY waves.  She smiles up at MAY.  Her face is as it was before, the lines gone.  MAY gazes at her.

			MAY
		You look wonderful!

LITTLE MAY smiles, dips her hand in the water, lets the drops fall playfully.  MAY kicks off her shoes, puts her feet in the water.

			LITTLE MAY
		What have you been doing?

			MAY
		Shopping for Christmas presents.

			LITTLE MAY
		(Playful) Good!  Something for me?

MAY, startled by the playful tone, is flustered.

			MAY
		Of course.

She puts down the small present.  LITTLE MAY smiles.  They sit.  Birds twitter, harsh, in the bushes.  A MAID, in the house, bursts into harsh Spanish song.  Then silence.

			LITTLE MAY
		(Soft)  I am happy.

MAY looks at the smooth face, shakes her head in confusion.

			LITTLE MAY  (O/S)
		John is dead.

MAY is shocked.
			MAY
		John?

LITTLE MAY looks at her, eyes shining.

			LITTLE MAY
		He has killed himself.

MAY can think of nothing to say.  Unable to look at LITTLE MAY, she looks away.

			LITTLE MAY  (O/S)
		Each time he arrives he says - no, it is not true.  He laughs, and scolds me for my thoughts.

MAY looks at her briefly, waits.

			LITTLE MAY
		On Sunday he came again to see me.

The song again from the kitchen, urgent and wailing.  Then quiet.  LITTLE MAY sighs.

			LITTLE MAY
		This time he did not laugh.

Silence.

			MAY
		Did you know he was going to kill himself?

			LITTLE MAY
		He asked my permission.

MAY jumps to her feet.

			MAY
		May!  He's your son!

The song is now a low sobbing growl.  LITTLE MAY looks up.

			LITTLE MAY
		Yes.

She gets up.

			LITTLE MAY
		He is happy.  I have made him happy so I am happy.

She steps across the terrace and into the pool house where ADRIANA waits with a highly coloured kimono.   She steps out again.

			MAY
		You let him?

LITTLE MAY inclines her head.

Silence.

			MAY
		What did you do?  Give him the pills?  Hand him the knife?

Silence.

			MAY
		Please.  I'm trying to understand.  He came here...he was here?

			LITTLE MAY
		Yes.

			MAY
		And you helped him do himself in.

			LITTLE MAY
		Yes.

Silence.

			MAY
		May please.  Help me.  For the life of me I ...(Silence)  I can't take this.

LITTLE MAY sits on the terrace wall bench abruptly.  She looks up at MAY without expression.

			MAY
		Help me.

LITTLE MAY looks at her.  MAY steps back.

			MAY
		If we were true friends - equals - you would - you'd make me understand! 

LITTLE MAY shudders briefly.

			MAY
		I'm sorry.  I shouldn't have said that.  I apologise.  What sort of friend am I, adding to the agony?

Silence.

			LITTLE MAY
		(Low)  I have no agony.

		I am happy.

			MAY
		You're happy.

		Happy.

		Happy because your son is dead.  Happy because you've encouraged your own child to take his life.  To murder himself.  You helped your child to commit murder.  And you're happy.

			LITTLE MAY
		Yes.  I am happy.

			MAY
		Are you mad, woman?

		Why do people want to kill themselves?

		When?

		I'll tell you when.

		When they're Ill!  Not rational!

		Is that what you do for people who are ill?
		How can you sit there?  What sort of protector are you - a woman who kills her own flesh and blood?

Silence.
			LITTLE MAY
		I am happy.

Silence.

			MAY
		No you're not.  You're out of your mind.  Well God help you when you come back for I won't be there to pick up the pieces.

As LITTLE MAY makes to rise.

			MAY
		I'll see myself out.

She begins to walk off, turns.

			MAY
		For God's sake woman, get into some decent mourning.  You're his Mother!

EXT.  OUTSIDE MAY'S HOUSE.  NIGHT.

LUIS arrives - knocks - waits.  He goes round to the garden gate, rings bell - waits.  Goes away sadly.

EXT.  MAY'S GARDEN.  NIGHT.

MAY sits alone in the garden.  The cat jumps down from the wall and walks away along the path.  MAY sits.

Later.  MAY rises and goes into the house.

EXT.  THE PUEBLO.  DAY.

JUAN sweeps the cafe steps - ELIETTE crosses, LYNN'S MOTHER talks to MR VAUGHAN under the umbrella pine - the laundry van arrives, GUDRUN comes out to receive her laundry.

INT.  MAY'S HOUSE.  DAY.

MAY sits by the telephone, undecided.  She gets up - looks round her house - room to room.  She goes out into her beloved garden, tending favourite plants.  Then suddenly marches into the house and picks up the telephone.

EXT.  THE CARRETERA DE CADIZ.  DAY.

LITTLE MAY'S Rolls purrs along the road.

EXT.  MAY'S HOUSE.  DAY.

ELIETTE and SIMONETTE crane as SENOR ORDONEZ, the estate agent, knocks on MAY'S door.

EXT.  MAY'S GARDEN.  DAY.

SENOR ORDONEZ takes down the particulars of the house as MAY points out the garden, the view.  The garden gate bell rings.  She excuses herself, opens the gate.

LITTLE MAY is standing there.  She is wearing black.

INT.  MAY'S SITTING ROOM.  DAY.

			LITTLE MAY
		You are selling your house?

			MAY
		Yes.

			LITTLE MAY
		You are going away?

			MAY
		Yes.

Silence.

			MAY
		There's nothing to keep me here.

Silence.

			LITTLE MAY
		I am wearing black.

			MAY
		I thought they wore white for mourning in China.

			LITTLE MAY
		I am not in China.

Silence.

			LITTLE MAY
		(Politely)  Help me, please.

MAY, who has been unable to look at her, looks at her.

Later.  In the garden, the two MAYS walk.  We overhear them.

			LITTLE MAY
		...he wanted so much, to please his father.  My husband was of the old school.  Not close.

Later.  They are still pacing.

			MAY
		Vic was jealous of Michael from day one.  That was my fault.  I didn't love him.  I loved the children but not Vic.

Later.  MAY escorts LITTLE MAY to the garden gate and out to her car.  HONORÉ opens the car door for LITTLE MAY.  LITTLE MAY looks up at MAY.

			LITTLE MAY
		We are agreed?

			MAY
		Yes, yes - oh yes!

LITTLE MAY gives a little smile, climbs into the car.

MAY watches the car drive away.

INT.  THE PICTURE GALLERY AT THE CASA MORISCO.  DAY.

MAY walks along the line of pictures, studying them intently.  As she reaches the further end she looks up.  TWO MEN in brown coat overalls enter.  They are followed by a soberly dressed OFFICIAL carrying a list.  The MEN begin to remove the paintings.

INT.  CASA DEL LAGO.  MOTHER SUPERIOR'S OFFICE.  DAY.

The MOTHER SUPERIOR, LITTLE MAY and MAY pore over architectural plans.  A YOUNG ARCHITECT explains details.  MAY shakes her head firmly, extends her hands...something must be wider (the space between beds).  The ARCHITEECT agrees, makes a note.  LITTLE MAY looks at MAY with pride.

EXT.  CASA MORISCO.  DAY.

A burst of music - the March of the Toreadors as we close in to the majestic gates.  The curved sign over the gates has been changed.  It now reads CLINICA JOHN LIU.

The gates are opened by TWO GATEKEEPERS and a stream of cars enter, followed by a bus full of children.

EXT.  THE CLINICA COURTYARD.  DAY.

The opening ceremony for the new clinic is in progress.  A Spanish PRINCESS cuts a red ribbon to applause from the audience and the children.  A SMALL CHILD is helped forward to present a bouquet of red carnations.  She is badly crippled and the PRINCESS snatches her up in her arms in time to prevent a fall.  Cameras flash.

			MAY
		(On the platform, in LITTLE MAY'S ear)  Good publicity, that...(making LITTLE MAY giggle.)

EXT.  BY THE LAKE.  DAY.

A swimming race in progress.  Some physically handicapped children are helped along.  A TINY BOY wins, is applauded.  Another BOY dog paddles in, last.  DAFTIE leans down to him.

			DAFTIE
		Go fast...fast!

Later.  An egg and spoon race.  A LITTLE GIRL scuttles ahead despite a leg brace.  But she drops her egg and it rolls away.  The OTHER CONTESTANTS abandon the race to help her retrieve it.  Laughter and applause.

MAY and LITTLE MAY and the MOTHER SUPERIOR stand with GUDRUN and LUIS GARCIA watching the happy children, nurses, parents and friends.  LYNN and ROMARIO pass by with their TWINS in a buggy and wave.

Later.  MAY and LITTLE MAY stand on a knoll together as we draw back from the garden, the new CLINICA.  Now we have an aerial view, now of the area with the sparkling sea, the coast, the majestic Concho mountain.

Music.

			MAY  (O/S)
		Who'd have thought it?

END