STANLEY
(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.

STANLEY

CREDITS OVER.

INT.  THE TATE GALLERY, THIS YEAR.  DAY.

Flesh, seen very close.  The subdued sounds of visitors, who come into view as we draw back slowly so that the flesh tones are decipherable and a large painting is revealed.  It is of Stanley and Patricia in the nude.

PEOPLE wander, look at the pictures.  A YOUNG WARDER and an OLD WARDER stand guard.
TWO YOUNG PRIESTS pass the painting, eyes averted.
AN AGEING COUPLE pause, look at the painting, smile at each other tenderly and move on.
A GROUP OF MIXED GRAMMAR SCHOOL STUDENTS crowd the painting, making so much noise that the WARDERS loom.  TWO SCHOOLTEACHERS in charge move the students on.
A FAMILY...GRANDMOTHER, who laughs at the nude painting.  YOUNG MOTHER with TWO SMALL GIRLS who gaze at the picture attentively.  Their LITTLE BROTHER with pudding basin hair-cut, follows the family as they move on to the huge Resurrection painting on the end wall.
THE LITTLE BOY, detached from his group, gazes up at the Resurrection.

Dissolve into:

The older STANLEY pushing his pram.  He is at a distance, approaching us on a country lane.  Then the face of a woman in water, overlays.  She is lying like Ophelia - eyes closed, dark red hair entwined with flowers.  These images and Bach music, fade and are replaced with scenes of Cookham.

OPEN CREDITS.

Cookham Village.  The sun is shining on a rustic street, the time, the 1930s.

An atmosphere of unhurried tranquillity.  A MAN cycles by impossibly slowly, his spade tied to his bike.  TWO PLUMP LADIES, looking like Spencer paintings, their baskets laden, come out of the grocers, nodding to the GROCER in his white pinny, who bows them off cordially.  A GYPSY rag-and-bone goes by, his pony at the trot - past the War Memorial.  A motor car goes by...then peace.  A dog wanders into the middle of the road and has a nap.

EXT.  THE MAIN STREET.

We wander down the street and veer down a side lane towards the river.  Suddenly, we see glimpses of water, through lush willow.

EXT.  THE RIVER.

Shots of the river - the banks, trees dripping, water sliding over the weir - everything slidy and slippery, soft and enveloping.  And into our view, imperceptibly, comes the WOMAN in the water, floating in the shallows under densely overhanging willow.  We look at her - still, eyes closed.  Is she drowned?  Did she move or was it water rippling on her face?

CLOSE CREDITS.

			STANLEY  (O/S)
		(Cross)  Don't MOVE!

STANLEY'S face, furious, pokes through the leaves.  Irritably, he splodges into the water, brush in hand, to rearrange HILDA.  She opens her eyes, looks up mildly.  And laughs.

			STANLEY
		What are you laughing at?

She gets up and jumps him.  He protests - looking to see if anyone can see them.

			STANLEY
		Hilda!

She pulls him down in the water.

			STANLEY
		Oh all right.  

He drops his braces.

Later.  Carrying the painting gear they stroll along the river bank.  On the bridge they pause, arm in arm, to watch the fish, nuzzling each other.  The COLONEL and his WIFE approach.

			HILDA
		Good evening!

			COLONEL
		Ah, Hilda!  Glorious evening -

			WIFE
		Hilda, good evening.

			STANLEY
		(Stolidly)  Evenin'.

			COLONEL
		Yes - ah -

They walk on - looking back at HILDA and STANLEY, hearing them laugh.  We rejoin HILDA and STANLEY.

			STANLEY
		Horrible beasts -

			HILDA
		Stop muttering -

They turn up a lane towards the church.

			STANLEY
		(As they go in)  Marry a little squirt like that?

INT.  THE CHURCH.

STANLEY is up a scaffolding painting a huge mural.  HILDA watches him, eating beans out of a tin.

			STANLEY
		"She's gone off her head."

HILDA giggles.

			STANLEY
		Can't be for the size of him.

			HILDA
		Stanley!  We are in church.

He jumps down from a height, fetching up beside her.  He holds her to steady her and they look down at the flagstone.  It is engraved with a woman's head and the head of a baby.  HILDA traces the baby's head with her foot and smiles gently at STANLEY, who glances down briefly.

He takes her hand and they look up at the huge mural.

			STANLEY
		They think I'm simple.

			HILDA
		Stanley!

EXT.  At the top of the CHURCH TOWER.

STANLEY and HILDA look down at Cookham.

			HILDA
		A great artist's eye is never naive!

But STANLEY does not hear her.  He is gazing out at the view.

			STANLEY
		Look at it.

			HILDA
		What?

			STANLEY
		Cookham.

HILDA cranes for a look.

			STANLEY
		(Points)  I was born under that roof.

			HILDA
		Look - you can see our house.

But STANLEY frowns, leans back against the wall.

			HILDA
		What's the matter?

			STANLEY
		I miss it.
			HILDA
		What?

			STANLEY
		How it was.  Before sex.  That clear eye.  I miss that.

She takes both his hands, pulls him towards her, kisses him as we pull up and away from them.

			HILDA  (V/O)
		This is better.

MONTAGE.

HILDA in the garden draped in a sheet, posing, STANLEY drawing her.  ELSIE, the maid, takes the washing from the line, picks up all the plates and cups they have littered, goes indoors.

HILDA lying back in a punt dressed in purple, with kohled eyes.  STANLEY crouches close, shading in the drawing.

HILDA sitting in profile in the bedroom window seat.  From behind STANLEY'S head we see the simple, tender profile he has drawn.

In the studio.  STANLEY and HILDA, both naked to the waist, are drawing each other.  ELSIE looks in, gives a shriek and withdraws.  They take no notice of her and go on drawing.

INT.  THE BEDROOM.  NIGHT.

The bedroom is lit by candles.

STANLEY, in an old flannel shirt, kneels by the bed saying his prayers.  HILDA, in a white nightdress, brushes her hair, gets into bed - waits for him.  He leaps on her.

Later.  The candles are out.  The nightdress is on the floor.  STANLEY and HILDA are in each other's arms.

			STANLEY
		(Murmurs)  All right?

			HILDA
		Mmm.  (She snuggles into him.)  So wonderful - to be wet and open and never having to be shy and knowing every part of you -

			STANLEY
		Yes.  Funny to think of God dreaming it up.  Shall we do it again?

			HILDA
		(Simply)  Yes please.

INT.  THE KITCHEN.

HILDA, in her old dressing gown, hovers while ELSIE cooks breakfast.  She gets in the way as ELSIE deftly lays the kitchen table for two.

ELSIE holds up a tomato, HILDA nods, ELSIE slices it in half, adds it to the fry up.
			HILDA
		He's having a lie-in.  You're married, Elsie.  It's very -mmm - personal, isn't it!

			ELSIE
		Not 'alf!  (They look at each other and laugh.)  Ahh!  (As HILDA adds more lard to the frying pan)  Sorry - that's the soap flakes!  This is the lard.

HILDA steps back as ELSIE has to scrape the pan out to start again.

EXT.  COOKHAM.  DAY.

HILDA and STANLEY, shopping.  He carries some bamboo canes, a newspaper.  Waits outside as HILDA goes into the butcher's.  The BUTCHER sees STANLEY, wags his head in greeting.  THREE WOMEN walk by carrying flowers and become a Spencer painting.  STANLEY looks up the street - sees a YOUNG GIRL playing with a dog - she becomes a joyous painting of three girls and three dogs.  He smiles politely as HILDA emerges - takes her basket.  A WORKMAN goes by.

			WORKMAN
		'Lo Stan.

			STANLEY
		'Lo, Maurice.

They walk.  Ahead of them, a group of INCURABLES in light blue uniforms, with NURSES in attendance come into view.  STANLEY does not see them but HILDA does.  She wheels STANLEY swiftly into the greengrocers.  Shots of the paintings in the Sandon chapel to discordant music.

INT.  GREENGROCERS.

Through the window we see the INCURABLES pass.  Shots of the chapel paintings.

HILDA points to a pineapple.

INT.  THE CHURCH.

STANLEY on the scaffolding.  HILDA eats pineapple.

			STANLEY
		No...no...no!

			HILDA
		It's to meet the Kaiser!

He swings round, dangling his legs above her.

			STANLEY
		(Shakes his head)  Tells too many jokes.

EXT.  THE CHURCHYARD.

			HILDA
		Stan we can't bury ourselves all the -

			STANLEY
		All I need is this.  Feel it!  The life!  Coming up through the earth - can't you feel it?

He looks at her.  She doesn't feel it.  He walks off.

INT/EXT.  HILDA'S LITTLE CAR.

HILDA is concentrating on driving.

			STANLEY
		(Big sigh)  I shall just melt into the background.

She flicks him a look.  He is wearing a bright-gingery jacket, a searing yellow shirt and a hard blue tie.  She concentrates, chin out, on driving.

			STANLEY (V/O)
		Usual snobs I suppose - not a decent talent among 'em -
			HILDA
		Stanley could you shut up, I'm trying to double declutch.

			STANLEY
		Well don't expect me to open my mouth.

EXT.  HENRY LAMB'S STUDIO, CHELSEA - NIGHT.

Stone steps lead up to the first floor studio.
Through the enormous windows we see a party in progress.  As we draw closer we see STANLEY, centre of the room, holding forth.  AUGUSTUS JOHN, with DOROTHY HEPWORTH and PATRICIA PREECE arrive and bang on the door.  AUGUSTUS bangs again with his stick.  They are unheard.

INT.  HENRY'S STUDIO.

HENRY is dancing in the background, a hand on GWEN'S tit.  He calls to STANLEY en passant.

			HENRY
		Shut up, Cookham.

He kisses GWEN on the neck.  On the sofa DAPHNE raises an eyebrow at PANSY, HENRY'S wife, who merely lights a fag in a holder coolly.

			HENRY
		Bloody Pre-Raphaelites...Bloody provincials!

			STANLEY
		If I'm provincial, so's Caravaggio!

			DAPHNE
		Ignore him, Stanley.

He crosses to the window, lets in PATRICIA, who comes in legs first.  She is wearing no knickers.  In obeisance, STANLEY kneels.  She steps over him coldly, lets in DOROTHY and AUGUSTUS, who is paralytic with drink.

A little later.  AUGUSTUS, glazed, has been installed on a sofa.

			HENRY
		(Lifts his glass.  In STANLEY'S face)  The avant-garde!

			DAPHNE
		(Screeches)  To the radicals!

			STANLEY
		(Jumps up, furious)  And what's more radical than the real?  (To PATRICIA)  Aren't people real?  

But she walks away.

			PATRICIA (to DOROTHY)
		Is he anybody?

			STANLEY
		You're all the same - ooh, mustn't be old hat -  what's this kipper stuck to the wall, marvellous - well it might be, but not when it's avant-garde - you know what's wrong with the human race?

			HENRY
		(Stretched out on the floor)  They talk too much.

			STANLEY
		A fatal talent for adapting, especially to being less than human.

			DUDLEY TOOTH
		(Dreamy with drink)  Human?  Washed out on the Somme.

HILDA, alarmed, shakes her head at DUDLEY, indicating STANLEY.  He nods understandingly.

			STANLEY
		What do you lot know about being human?  All this fashion for Idea - you think that's what it takes to fill a canvas?  For the glory of God?  

PATRICIA pulls a face at DOROTHY.

			STANLEY
		To paint from Here...(he bangs his chest).  Anybody can do it from the mind...but from the Heart?

		It took me a year to sort out the Apple Gatherers.  I kept funking it.

PATRICIA stands up.

			PATRICIA
		Did you say the Apple Gatherers?  The one in the Tate Gallery?  (He nods)  You're Stanley Spencer!  (accusingly).

			STANLEY
		(Politely)  Yes?

			PATRICIA
		I thought your name was Cookham!

She turns on DOROTHY in a rage for not telling her.  Laughter from the others.

EXT.  OUTSIDE THE STUDIO - NIGHT.

The guests are leaving.  PANSY leans out of the window.

			PANSY
		Augustus forgot his teeth!

She throws them down.  DOROTHY catches them, goes after AUGUSTUS, walking down the middle of the road propped up by DAPHNE.  At the top of the steps HILDA pauses, talking to HENRY and DUDLEY.  At the bottom, STANLEY and PATRICIA watch as DOROTHY reaches AUGUSTUS.

			STANLEY
		Nice woman, Miss Hepworth.

			PATRICIA
		Dorothy?  She has heart.  If you like that sort of thing.

She gives him a thrilling look - touches his cheek with her gloved hand, goes off with DOROTHY, who nods a cordial farewell.  STANLEY looks up innocently as DUDLEY and HILDA descend the steps.

INT.  DOROTHY AND PATRICIA'S LONDON BASEMENT.  NIGHT.

DOROTHY makes two mugs of cocoa.  Brings one to PATRICIA.

			PATRICIA
		Well that was a waste of time!  Ugh.  (She waves away the cocoa.)

		Bloody Daphne Charlton in her bloody Schiaparelli jacket.

			DOROTHY
		Too many sequins.

			PATRICIA
		Not if they're black.

			DOROTHY
		Worse.

			PATRICIA
		You're the expert.

Fed up, she reaches across - into her velvet coat deep pocket, takes out a bottle of stolen gin, adds it to the coffee.  DOROTHY reacts.
			PATRICIA
		(Sudden fury)  Fashion is NOT vulgar.  Only to those who haven't the bloody style to pull it off.  Look at this place!

			DOROTHY
		Darling, it's the drink making you blue -

			PATRICIA
		Henry Lamb with his finger up every orifice - Augustus, paralytic - what were you saying to Hilda Carline?

			DOROTHY
		She was telling me how cheap the rents are out in Cookham.  They live for nothing.

			PATRICIA
		They?

			DOROTHY
		She and Stanley.  She's Hilda Spencer now.  She married Stanley Spencer.

			PATRICIA
		Whatever for?

INT.  STANLEY'S BEDROOM.  NIGHT.

HILDA, red hair spread out, is lying naked in the moonlight.  STANLEY, like a reverent satyr, kisses her all over.

INT.  PATRICIA AND DOROTHY'S BASEMENT.  NIGHT.

DOROTHY cuddles PATRICIA on the sofa.

			DOROTHY
		My poor love.  I'll think of something.  I promise.  (She gazes at PATRICIA'S profile, weak with love.)

EXT.  SIDE STREET OFF THE KING'S ROAD.  DAY.

DOROTHY emerges from the basement flat, walks to the corner, goes into a red telephone box, dials.  We see her talking.

EXT.  THE COUNTRYSIDE.  DAY.

A small train goes by.  Closer, we see DOROTHY sitting by the window.

EXT.  COOKHAM STATION.  DAY.

DOROTHY alights from the train, is met by HILDA.  They go off, arm in arm.

EXT.  COOKHAM HIGH STREET, DAY.

DOROTHY and HILDA, walking.  They pause briefly, look at the War Memorial.  Shots of Sandon chapel.

A little later, they veer across common ground to Moor Thatch, a detached cottage.  HILDA opens the gate for DOROTHY, who looks around her with interest.

INT.  MOOR THATCH.  DAY.

HILDA opens a window.

			HILDA
		That's better -

We follow them through to the outhouse.

			DOROTHY
		Oh yes.

			HILDA
		Patricia could use the north room -

			DOROTHY
		(Looking round at the drab outhouse)  Oh yes.

			HILDA
		Be wonderful to have you here.  I'd have someone to talk to!

They smile at each other.

MONTAGE.  PATRICIA and DOROTHY move to Moor Thatch.

INT.  THE BASEMENT FLAT.

DOROTHY packs.  PATRICIA gets in the way, stalks about, unconvinced.

Outside, HENRY helps put everything on his car.  They wait for PATRICIA to emerge.  They are hot and sweaty.  PATRICIA emerges, cool and beautiful.  But something is wrong.  Frantic searching.  Eventually DOROTHY finds PATRICIA'S teddy bear.  They drive off - PATRICIA in the back of the open roadster like Queen Mary.

INT/EXT.  MOOR THATCH.  DAY.

DOROTHY and HENRY tramp back and forth.  PATRICIA walks about, unimpressed, even daunted.

Later.  They see him off.  And go indoors.  Inside, PATRICIA stands.

			DOROTHY
		Well?  What do you think?

But PATRICIA, deflated, sits, clutching Billy, her bear.  She looks up.
			PATRICIA
		There'll be no-one to talk to!

DOROTHY sits beside her.

			DOROTHY
		The Spencers!  They're down the road...

PATRICIA pulls a face.

INT.  SPENCER BEDROOM.  DAY.

ELSIE, stripping the dirty sheets, sniffs them.

			ELSIE
		Phew!

She changes pillow slips, singing a hymn.  STANLEY comes in and watches her with pleasure as she bends over, showing her thighs.

			ELSIE
		Shan't be long, Mr Spencer.

			STANLEY
		No hurry.  (He dodges around the bed to help her tuck in, sniffs her as he passes.)  Mmmm, carbolic.  (Watches her as she thwacks the pillows with sturdy arms.)  I'll do you in your pinnie, Elsie.

			ELSIE 
		(Looks at him, quizzical)  Not tonight you won't.  I got a date with Clark Gable.

			STANLEY
		You don't like him better than me, do you?

			ELSIE
		Be that little 'tache I shouldn't wonder.

She smooths the cover and scoops up the dirty linen.

			ELSIE
		There.  You'll do.

She lifts her arms, carrying the linen, exposing her armpits.  STANLEY watches her go.

			STANLEY
		Oohh, I do love a head of hair under the armpits.

He combs his hair in front of the mirror, wets it with water from a vase of flowers, adjusts his shirt-collar and goes, pleased with himself.

EXT.  MOOR THATCH.  DAY.

STANLEY presents a large basket of windfall apples.  DOROTHY greets him with thanks.

EXT.  THE HIGH STREET.  DAY.

HILDA and DOROTHY see each other on opposite sides of the road - they cross and greet each other, smiling.

INT.  THE CHURCH.

HILDA shows DOROTHY STANLEY'S half-finished mural.  DOROTHY is awed.

EXT.  A FIELD BEYOND A LANE.  DAY.

DOROTHY, STANLEY, PATRICIA and HILDA leave the lane, cross a rising field with their painting gear.

Later.  In a beautiful dell, the four painters are drawing one another in a ring.  STANLEY is doing a mischievous, dancing DOROTHY.  DOROTHY is doing a sober study of HILDA, HILDA'S is a lively sketch of PATRICIA - PATRICIA is doing STANLEY as PAN - but she hasn't done much.

EXT.  STANLEY'S HOUSE.

HILDA comes up the path carrying the painting things as STANLEY pauses with DOROTHY and PATRICIA.  He agrees to carry their stuff back for them - waves to HILDA and goes after DOROTHY and PATRICIA.  On the steps ELSIE and HILDA watch.

			ELSIE
		Mr Spencer looks very cheerful.

			HILDA
		(As they go indoors)  I know!

			ELSIE (V/O from the kitchen)
		I think he enjoys having three wives!

HILDA laughs.

INT.  THE CHURCH.

STANLEY paints demonically.

EXT.  THE SIDE DOOR AT THE SPENCER'S.  DAY.

HILDA gets off her bike, takes shopping from basket.  Feels ill, staggers at door.

ELSIE comes out of kitchen, sees HILDA.

			HILDA
		It must be the heat.

INT.  DOROTHY'S STUDIO.  DAY.

DOROTHY shows STANLEY her canvasses.

			STANLEY
		Good...good...bit sober, that - nice, though - good...

A little later.  They come through to the sitting room.

			STANLEY
		Where does Patricia work?

DOROTHY leads through to the north parlour.  On the easel is a drawing, bold outline of a nude woman.  There is a sketchbook.  STANLEY ruffles through - only two slight sketches.  He looks out of the window - PATRICIA is lying asleep in a two-piece bathing costume.  STANLEY looks for a slightly long time - is aware of DOROTHY at his shoulder, smiles at her innocently.

EXT.  BY THE RIVER.  DAY.

Scenes of the river.  Signs of a picnic.  DOROTHY and HILDA are at their easels.  STANLEY and PATRICIA walk by the river.  PATRICIA laughs.  HILDA and DOROTHY smile at each other, pleased to hear their beloveds happy.  More scenes of the river.

Later.  The four sprawl on the grass drinking white wine.  STANLEY throws bread lazily at the swans.

Later.  The four are returning to the village, carrying their gear.  HILDA falters.  DOROTHY takes her stuff as STANLEY and PATRICIA go ahead, talking.  Discordant music as the INCURABLES appear.  Quick flashes of Sandon murals.  STANLEY stops dead in his tracks.  PATRICIA frowns, cross at being forced into the road.  STANLEY starts to shake.  HILDA runs forward, takes him in her arms as the NURSE smiles at her with understanding.  The poor INCURABLES move on.  Silence.

			PATRICIA
		What's the matter?

			HILDA
		Nothing.  You go on.  It's all right, Dorothy.

But DOROTHY helps her to lead STANLEY into the churchyard.  Still shaking, he is seated by them on a seat under a huge cathedral of willows.  HILDA holds him firmly.  Apart, PATRICIA watches, alert and curious.  HILDA looks up at DOROTHY.

			HILDA
		Before he volunteered for the infantry Stanley was a medical orderly.

During the next two lines, more shots of the Sandon Chapel murals.

			STANLEY  (V/O)
		(Dreadful smile)  Burying the meat.

			DOROTHY  (V/O)
		Sorry?

			STANLEY
		Arms, legs - even pricks!

			HILDA
		Stop it!
He shakes gently.

Brief shots of the Sandon Chapel.

			DOROTHY  (V/O)
		(Bitterly)  There's not a man in England who isn't dead or damaged.

A little later.

			STANLEY
		We were on a forced march.  Men crying for their mothers.  Men aren't brave, you know...they try to be.

Shots of Sandon Chapel.

			HILDA  (V/O)
		Darling -

			STANLEY  (V/O)
		I fell over.  That's me finished I thought.

The wind gets up.  The three of them look at the great branches overhead.

			HILDA  (V/O)
		And?

Shots of STANLEY in snow, surrounded with lights.

			STANLEY  (V/O)
		I don't know.  All of a sudden I was in the middle of light, shining down - all around me little flames in the snow.  "It's all right, Stan!"

They gape at him.

INT.  THE CHURCH.

HILDA, DOROTHY and STANLEY sit on the altar steps.  PATRICIA wanders nearby.

He turns away from the mural to them.

			STANLEY
		...there I was - warm - alive - part of it!  Even the...the stench - (he looks at them.)  I had tried to be like the saints but it's hard to believe in a life of sacrifice when the pus is shooting up in your eyes.

They react.

INT.  THE BEDROOM.  NIGHT.

HILDA and STANLEY in bed.  He goes on talking.

			STANLEY
		I thought - if I can just hang on to this blinding moment of worship - carry it inside me like the ark of the covenant, then I'll - well I'll get there - I mean, not that you can ever - God's unselfish because he has no self -still, I reckon I get nearer than most -

			HILDA
		(Strokes his hair)  You never told me.  Was it seeing those poor - ?

			STANLEY
		(Changing the subject)  I was just showing off.

			HILDA
		(Sees his wish to avoid Incurables, goes with him)  Because Patricia was making eyes at you?

			STANLEY
		Give me Dorothy any time.

			HILDA
		Liar.  (They snuggle.)

			STANLEY
		(Touches her hair)  You make me think of night.

He makes to roll on top of her.  She gasps in alarm.

			HILDA
		(In the dark)  Stan darling -

INT.  MOOR COTTAGE.  DAY.

PATRICIA stretched out on the chaise longue as STANLEY sketches her.

			PATRICIA
		(After a while)  Poor you.

			STANLEY
		Keep still.

			PATRICIA
		(Calls)  Dorothy!  Stanley's got some news.

DOROTHY appears at the door.

EXT.  HIGH STREET.  DAY.

THE VICAR and his FAT WIFE cross over to congratulate HILDA.  STANLEY, left out, stands back.  He looks round, sees DOROTHY and PATRICIA at a table in the tea shop, slopes off and joins them.

EXT.  THE SPENCER GARDEN.  DAY.

HILDA, feeling blissful, is in the hammock.
STANLEY at the studio window.  Then he appears, looming, startling her.

			HILDA
		Stan!

			STANLEY
		It's all right, Elsie's out.  (Climbs into the hammock.)

			HILDA
		Were you at the window?

			STANLEY
		Yes.  I love sending my thoughts to you.  It's like sending them home.  (Cuddles her.)  It's not going to make any difference is it?

			HILDA
		Of course not.

			STANLEY
		What do I have to do?

			HILDA
		Nothing.  Just love us both.

He lies back, head on hand.

			STANLEY
		I think I can manage that.

He jumps on her.

			HILDA
		Stan, no - be careful!

He rolls off her onto the ground in a huff.

			HILDA
		(Leans over)  Be careful, that's all I meant!

Furious, STANLEY goes around the side of the house, throws logs on an old home-made trolley.

A little later STANLEY plods down the road purposefully, towing the logs.  He cuts across the common to Moor Thatch.  At the back of Moor Thatch STANLEY stacks logs.  He looks in the window.  PATRICIA, in a pink silk wrap, is lying on the sofa smoking and listening to the gramophone.

INT.  MOOR THATCH.

STANLEY kneels before the fire.  He adds more logs, gets up as the fire blazes.

			PATRICIA
		Gorgeous.  (Pats for him to sit beside her.  He sits, smiles, friendly.  She sighs deeply.  He looks in enquiry.)

		It's so bloody being broke.

			STANLEY
		Dorothy works hard enough.

			PATRICIA
		So would I if I didn't have to spend my time hawking her stuff around London.

			STANLEY
		Why do that?

			PATRICIA
		Somebody has to.  How's Hilda?

			STANLEY
		Oh - you know.  (He grabs his hat, goes to the door, shrugs and goes.)

DOROTHY is at the kitchen door suddenly, making PATRICIA jump slightly.

			PATRICIA
		I'd rather you didn't spy on me if you don't mind.  What were you doing?

			DOROTHY
		Choosing a saucepan to hit you over the head with.

			PATRICIA
		Don't be vile.

			DOROTHY
		(Pours herself a drink.)  I'm not the one being vile in this house.

			PATRICIA
		Why put up with me, then?  (She snatches DOROTHY'S drink.)

DOROTHY looks down at her, exhales.

			DOROTHY
		You do make me laugh, of course -

PATRICIA, enraged, rises.

			PATRICIA
		What?!

She throws things at DOROTHY who hops about, dodging missiles.

			DOROTHY
		Ow!  I'm doing you the courtesy of being truthful!

			PATRICIA
		What for?  Honest people aren't truthful - only pigs!

Running out of things to throw she attacks DOROTHY.  They grapple, and DOROTHY enfolds her.
			DOROTHY
		Now stop it - stop it, Pixie - stop it - (the lamp falls over - there is only the light of the fire) you're all right - it's all right - I'm here -

Later DOROTHY, on the sofa, cuddles PATRICIA.

			PATRICIA
		You're a foul fiend.

			DOROTHY
		I am.

			PATRICIA
		If I didn't have to rush around London doing the selling -

			DOROTHY
		I'm grateful!

			PATRICIA
		All right for you skulking round this pathetic village - some of us are left to hold the fort.

			DOROTHY
		It's your good nature, dearest - (kisses her hair)...you naturally need to help people.

			PATRICIA
		I know.

She snuggles into DOROTHY'S arms.  Sighs deeply.  DOROTHY looks enquiry.

			PATRICIA
		I feel like Emperor Hirohito.

			DOROTHY
		What?

			PATRICIA
		When he came on the state visit.  King George put an arm on his shoulder one morning at breakfast, now the Emperor has English breakfast every day in memory of the ecstasy of it all...no-one was ever allowed to touch him before.

			DOROTHY
		Oh what a sad story.

They cuddle, watching the embers glow.

			DOROTHY
		Darling...

			PATRICIA
		Mmmm?

			DOROTHY
		Don't flirt with Spencer.

			PATRICIA
		I'm only trying to help - (as DOROTHY frowns enquiry) - his agent is Dudley Tooth!

			DOROTHY
		Not fair to lead him on though.

			PATRICIA
		Dreadful little oik.  Gives me the shudders.

			DOROTHY
		So you won't sit for him again?

			PATRICIA
		(He face odd in the firelight)  Are you mad?  You saw his sketches...he's drawn me all crooked!

INT.  SPENCER HOUSE.

HILDA, her hair loose, nursing her baby.  They look beautiful in the low light.  She murmurs to the child.

Across the room STANLEY is crouched on a stool like Rumpelstiltskin.  He is drawing with demonic energy, looking up, glaring, looking down.  HILDA murmurs to the child.

EXT.  THE HIGH STREET. DAY.

PATRICIA, in a smart suit and hat, strides along in high heels, DOROTHY dodging behind her.  It is Sunday.  PEOPLE are out in their best clothes.  PATRICIA is impeded by a family, the WOMAN wheeling a pram.

			PATRICIA
		Oh do get out of the way!

The WOMAN tilts the pram submissively into the gutter.  PATRICIA turns, jerks her head at DOROTHY, who has paused to help the WOMAN.  PATRICIA taps her wristwatch.  DOROTHY catches up and they stride together in the road.

			PATRICIA
		What is it about this idiot village!

Approaching the church they see several parked cars and quicken step.

INT.  THE CHURCH.

Around the font are AUGUSTUS, DAPHNE, HILDA, STANLEY, DUDLEY, HENRY and PANSY LAMB, GWEN RAVERAT, and ELSIE with other VILLAGERS in the pews.  Heads turn as DOROTHY and PATRICIA enter.  The VICAR resumes.  GWEN is holding the BABY.

			VICAR
		Suffer the little children to come unto me, and forbid them not, for such is the Kingdom of God.  Verily I say unto you -

PATRICIA gives STANLEY a dazzling smile.

			VICAR
		- whosoever shall not receive the Kingdom of God as a little child, he shall not enter therein...

Behind the VICAR, STANLEY'S mural glows.

			VICAR  (V/O)
		...and Jesus took up the children in his arms, and put his hands upon them - (AUGUSTUS winks at DAPHNE)...and blessed them.

A little later.  The VICAR trickles water on the BABY'S head.  HILDA watches entranced.  DUDLEY smiles, the others watch.  PATRICIA whispers to AUGUSTUS.

The unfinished mural glows in the slanting light.

INT.  THE STUDIO.  DAY.

STANLEY, on scaffolding, working on a large painting.  Sound of squeaky pram.  He looks down.  HILDA with the pram, gazes up at him.  She looks tired.

			HILDA
		Where are they?

			STANLEY
		What?

			HILDA
		My violets!  They took hours to pick!

STANLEY shrugs.

			HILDA
		You mean selfish pig!

She picks up a pail of water and throws it at him.

INT.  THE BATHROOM.  MOOR THATCH.

The bathroom has been made into a sensuous boudoir with silk shawls and coloured lamps.  A large bowl of violets on the ledge at the end of the bath.

PATRICIA is lying in the bath, reading.  She turns as DOROTHY puts her head round the door.

			DOROTHY
		You're not reading a book?

PATRICIA inspects the book.

			PATRICIA
		Oh - sorry, thought it was a duck-billed platypus.  (Laughs)  There - you see?  I do have a sense of humour.

DOROTHY sits on the side of the bath.

			DOROTHY
		Who says not?

			PATRICIA
		That fish-eyed Hilda Spencer.

She gets out of the bath.

			PATRICIA
		Apparently I'm a narcissist.

DOROTHY wraps her lovingly in a bath towel.

INT.  SMALL MAYFAIR ART GALLERY.

PATRICIA talking to HENRY, GWEN and DAPHNE.  DOROTHY is looking at the paintings.

			PATRICIA
		...so I asked Frankie Bacon what it meant, he said see the chap in Hampstead.

			GWEN
		Not Doctor Freud?

			PATRICIA
		That's the chappie.

			DAPHNE
		You saw the great Sigmund?

			PATRICIA
		I could have been seriously ill!

			HENRY
		Analyzed you, did he?

			PATRICIA
		I'm not a lunatic, thank you very much.

			GWEN
		What did he say?

			PATRICIA
		(Calls)  Dorothy.

DOROTHY approaches with PANSY.

			PATRICIA
		Narcissists!

			PANSY
		Oh I love their wonderful wet scent...

			DOROTHY
		(Shy in company)  Sorry?

			PATRICIA
		(Nudging DOROTHY)  We looked it up.  Go on - narcissism.

			DOROTHY
		(Ticking off on her fingers)  Oh.  Manipulating others -venomous rages -

			HENRY LAMB
		That's two you've won -

			PATRICIA
		Do you mind!  Hilda Spencer would try the patience of St Agnes!

			DAPHNE
		Why, what's she been doing?

			PATRICIA
		Nothing - sits about being natural, no wonder he's sick of her.

DOROTHY flicks an anxious look.

			GWEN
		Is he?  Sick of her?

			PATRICIA
		I didn't say that.

INT.  CHELSEA RESTAURANT.  DAY.

The GROUP around a check-clothed table, finishing lunch, heads together over the table.

			PATRICIA
		(Quietens the rest)  but give Spencer her due.  I AM a narcissist.

This stops them all dead.  HENRY stops, bottle in hand in the act of pouring.

			PANSY
		Are you darling?

PATRICIA takes the bottle, helps herself to what's left, sips tantalisingly.

			DOROTHY
		What do you mean?

			PATRICIA
		Oh God, she's a great block of wood and no nails sometimes.  Of Course I'm a Narcissist!

They gawp up at her as she puts on her coat.

			PATRICIA
		(Sighs at their stupidity)  Narcissus liked to gaze in pools because he was so Beautiful!

She strides off, pausing to pick up two large wrapped paintings by the door from the WAITER.

EXT.  CORK STREET.

PATRICIA goes into a gallery.  From outside we see her unwrap a painting, display it to the OWNER.

A little later.  PATRICIA, carrying the paintings, runs across the street.  It is raining.

Later, she plods around the corner with the paintings.  She looks grim.  A car passes and splashes her.

She turns another corner into Bond Street.  Across the road TWO WELL-DRESSED WOMEN come out, followed by a CHAUFFEUR with packages.  They get into a smart car and drive off.

PATRICIA is now wet through.  Burdened with the two paintings she pauses outside Sotheby's - beckons the uniformed porter to the steps.

			PORTER
		Can I help you, Madam?

			PATRICIA
		The Prince of Wales wants you to sell these.

She thrusts the paintings at him and squelches away.

EXT.  THE SPENCER GARDEN.

ELSIE and HILDA cooing over the BABY who is lying on a rug.

			ELSIE
		Look at her little fingers...ahh!

			HILDA (together)
		Ah!

			ELSIE
		Ah!  That wasn't wind - that was a smile.

STANLEY passing behind them with his painting stuff, scowls and trudges away.

INT.  MOOR THATCH.

PATRICIA in her silk kimono, drapes shawls over the chaise longue.  DOROTHY, paint splashed, comes in from the out-house where she paints.  PATRICIA looks up.

			PATRICIA
		I'm getting ready for Stanley.

DOROTHY goes out abruptly.

Later.  PATRICIA lies naked except for high heeled shoes on the chaise longue.

			STANLEY
		(Absorbed, one brush clasped in his teeth)  Keep still.

			PATRICIA
		Oh you are a bore.  I hate being looked at.

			STANLEY
		(Absently)  You love it.

She gets up, winds up the gramophone, puts on a record and dances for him.  He lies back on the chaise longue and watches, fascinated.  The music slows and stops.  She throws herself down on the chaise longue.  He sits beside her, giggles with excitement.  Touches her leg.  She draws the silk shawl over herself.  His hand creeps up under the shawl.  She murmurs, as if pleased.  He goes further.

			PATRICIA
		Stanley...

			STANLEY
		(Innocently)  Mmm?

He withdraws his hand, smells his fingers and smiles in ecstasy.

			STANLEY
		I still respect you!

This makes her bark with laughter.  She observes him, amused and objective.

			PATRICIA
		You know - occasionally...you're almost there.  Well -for an Englishman.

He gets up, out of face and furious, grabs his sketchbook, slings his jacket over his shoulder.

			STANLEY
		You'll be sorry you said that.

			PATRICIA
		(As he goes)  Why, what are you going to do to me?

STANLEY pokes his furious face round the door.

			STANLEY
		You know what you are!  (Goes.)

			PATRICIA
		(Calls)  I'm a lot of things!  (Then, thoughtfully, to herself)  What are you, little man?

INT.  THE STUDIO

STANLEY is working on his triptych, dodging about manically.  But it's no good.  He goes to look for HILDA.  She is in the kitchen with ELSIE, head to head over the kitchen table.  Excluded, he slams back into the studio, picks up a brush.

Later.  He throws down the brush, goes into the garden.  She is feeding the baby.  He watches, then goes up, pulls at her arm.

			HILDA
		Not now, Stanley.

The baby smiles up at her.

Later.  In the studio, BACH, loud.

			HILDA
		(Looks in.  Calls)  Did you want me?

A little later.  They are having a dreadful row.  STANLEY is painting demonically, HILDA stands like a guilty schoolgirl, trying to placate the BABY in her arms.

			STANLEY
		You're out in that garden all day - you don't paint - the most important thing about you, the reason I wanted you in the first place - When did you last lift a brush?

She makes to answer, then turns away, rocking the BABY.  He pursues her round the room.

			STANLEY
		I'm beginning to think the Hilda Carline I believed in doesn't exist, either that or you pay talent so little homage its a sin against the Holy Ghost.  If you don't treat God's gift with reverence it'll come back like a bullet and hit you in the face - not to mention what it does to me!

Having to raise his voice as the BABY cries, he grabs the BABY, and goes back to painting, the BABY under one arm.

			STANLEY
		It's not that I complain -

Later.  THE LOCAL CHEMISTS.

HILDA buys a dummy for the BABY.
STANLEY, wearing his shapeless hat, is still in full flood, oblivious of OTHER CUSTOMERS.

			STANLEY
		- but I must have some pleasure out of life.  Other people like my company -

A TALL MAN receives an enormous bottle of purple liquid from the CHEMIST, touches his hat to STANLEY as he leaves.

			STANLEY
		- people touch their hats to me -

			HILDA
		(To CHEMIST, paying him)  Thank you.

			STANLEY
		What's more, they listen to what I say!  (He is shouting as they leave the shop.  HILDA pauses, unwraps the dummy, puts it in the BABY'S mouth, pushes the pram away.  He calls after her.)  You don't listen any more!

			HILDA
		(As he catches up, speaks in a tired way)  Yes, I do.

			STANLEY
		(As they trudge side by side)  No you don't.  You keep dropping off!

INT.  THE BEDROOM.  NIGHT.

HILDA, in her nightie, is dropping asleep over the wash-stand.  STANLEY, on the other side of the bed, is undressing.  HILDA jerks awake - finishes washing.

			STANLEY
		(He hops about, taking off his socks)  There's nothing left for Stan.

			HILDA
		(Half asleep)  Sorry?

			STANLEY
		You've got what you're after - (he points at the sleeping BABY in the crib).

		I mean - look (he gestures at her).

HILDA, in her plain nightdress, does look dowdy.

			STANLEY
		How am I supposed to find you the most amazing muse who'll tantalise me - when you - look at you, you're all ...dropped!

He throws off his vest, now wears only a pair of sagging stockinette pants, one ball showing.

			STANLEY
		You know Hilda, I can't always feel like having sex with you if you don't make yourself more attractive to me.

HILDA looks at him.  And tries not to laugh.  This infuriates him.

INT.  THE CHURCH.

ELSIE, and her friend ENA are polishing the eagle on the pulpit.

			ELSIE
		Two whole days, not a word spoken.

			ENA
		Crikey.

			ELSIE
		It's been ever so peaceful.  (Whispers in ENA'S ear)  Now they're having a party.

THE VICAR'S WIFE, doing the altar flowers, is below them in a flash.

			ELSIE (Her POV)
		(Leans down from pulpit)  We've nearly finished.

			ENA
		...nearly finished.  (She has echolalia.)

			VICAR'S WIFE
		(Flashing her false teeth)  Did I hear you say a party - at the Spencer's?

			ELSIE
		Yes, for the new paintings.

			VICAR'S WIFE
		Oh.

			ELSIE  (VICAR'S WIFE'S POV)
		You'll like them, they're all about Jesus.

			ENA
		(She is small, we can just see her)...Jesus!

			ELSIE
		The raising of Jairus's daughter.  In Cookham High Street.

			ENA
		...High Street.

Shots of STANLEY'S triptych as ELSIE describes it.

			ELSIE
		There's Jesus in the first one, looking a bit surprised, and a woman floating underneath him, and Mrs Jameson from the coal merchant's on a rock.

			ENA
		- a rock -

			ELSIE
		It's ever so lively.

The VICAR'S WIFE looks doubtful.

			ELSIE
		Of course this is the main one - this is what they're all coming to see!

She nods meaningfully at the big mural of the Resurrection, draped and hidden.

The VICAR'S WIFE looks with venomous disapproval at the hidden mural.

			VICAR'S WIFE
		Indeed.

She stumps off, bends, scoops up the debris from the flowers and marches off down the nave.  ELSIE and ENA gleam.

ELSIE beckons to ENA, who follows her to the mural.  She helps ENA up - lifts the drape of the bottom left hand corner.  We see that one of the female figures is the VICAR'S WIFE, looking affronted.  ELSIE and ENA cackle.

			ELSIE
		Listen, I can't mess about here, there's a lot to do.

EXT.  BUTCHER SHOP.  DAY.

From outside the shop, we see ELSIE, inside, ordering for the party.  The BUTCHER takes a long string of sausages from the window.

EXT.  COOKHAM STREET.  DAY.

ELSIE comes towards us, laden.  She arrives back at the side gate as an ERRAND BOY arrives on a bike and slows to a halt at her side.  ELSIE looks in his basket, takes out a large fish and smells it doubtfully.

MONTAGE.  THE HOUSE, STUDIO & GARDEN.  DAY/NIGHT.
                  CHURCH & GRAVEYARD.  DAY/NIGHT.

ELSIE sweeping the hall.

STANLEY working at his `Jairus' paintings in the studio.

ELSIE scrubbing the front steps.

HILDA sitting on a low wall in the garden, gazing into space.  The BABY crawling around in the flower-bed behind the chair, about to eat a handful of dirt.

ELSIE removing cobwebs with a long feather duster, cursing when she gets one in the eye.

STANLEY in the church working furiously on the Resurrection painting.

ELSIE at the kitchen table, polishing silver, the BABY in a high chair watching her.

HILDA asleep in the hammock, mouth open.

STANLEY hurtling through the door of the church into the graveyard, and running down the churchyard path.  The OLD GRAVEDIGGER, peering out from the bottom of a grave, smiles at STANLEY as he passes.

ELSIE at the sink peeling a spud to join a huge pile, the BABY, still in the high chair, sucking on a cucumber.  Through the kitchen window we can see HILDA, dreamily wandering about the garden, picking flowers, and STANLEY, in the studio, painting the Jairus triptych.

ELSIE lifts the spuds into a hug pan.  The telephone goes.  ELSIE mutters, wipes her hands, goes out into the hall and answers the telephone.  She holds it out as STANLEY comes charging in from the studio.  He takes the phone from her making it all painty.  He speaks, listens and then grins like a schoolboy.  ELSIE sighs and goes back to the kitchen.  HILDA is sitting at the table, frowning down into a large recipe book.  Behind her a bunch of flowers has been carelessly chucked onto the draining board.

STANLEY grabbing a sketch book and pencil from the hall table and rushing out of the house down the road towards Moor Thatch.

ELSIE arranging the flowers in a vase.  HILDA pours flour from a large jar into a mixing bowl, the recipe book propped up on the table beside her.  The BABY in the high chair starts crying.  ELSIE leaves the kitchen with the vase of flowers.

STANLEY sketching PATRICIA in the garden at Moor Thatch.  She is wearing a white pleated skirt, and a loose diamond-patterned top.

ELSIE coming back into the kitchen.  HILDA is stirring a turgid mixture in the bowl.  Also on the table is a dirty nappy in a heap next to the bowl.  The BABY is crawling, bare-bummed, on the floor.  ELSIE removes the nappy with a look at HILDA.

STANLEY reaching forward to arrange PATRICIA'S skirt on her knee.

ELSIE, holding the BABY, freshly nappied, stands back and watches HILDA putting her mixture into an old enamel dish and then into the oven.  HILDA smiles at ELSIE and shows her a coloured illustration in the recipe book of an elaborate chocolate cake.

STANLEY, leaving the garden at Moor Thatch, smiling and waving at DOROTHY as he passes the window of her shed.  DOROTHY nodding back at him.

ELSIE putting the fish into a large kettle.  STANLEY rushing past her through the kitchen and giving her a smile as he steals a cake from a plate on the table.

HILDA from the hammock, watching STANLEY returning through the garden to the studio.  She gets up, dazed, wanders up the path, sees a deck chair and sits gratefully.

ELSIE putting a ham on the range to boil.

STANLEY adding a figure with a white pleated skirt to his Jairus painting.

ELSIE beating a cake mixture, adding eggs and putting the mixture into patty pans.

STANLEY walking quickly back up the churchyard path, the OLD GRAVEDIGGER shaking his head in amusement.

ELSIE taking two parts of sponge out of the oven.

STANLEY climbing the scaffold to the Resurrection painting.

ELSIE putting jam between the two layers of cake.

STANLEY running up and down the scaffolding planks putting the finishing touches to the Resurrection.

ELSIE dusting the top of her cake with icing sugar, then taking Hilda's cake out of the oven.  It's flat at one end and warped at the other.  ELSIE sniffs it, makes a face and looks out of the window.  HILDA is asleep in the deck chair.  ELSIE takes the cake outside and puts it down for the hens.

STANLEY and the OLD GRAVEDIGGER taking down the scaffolding poles from in front of the painting.

ELSIE receiving crates of drink at the side door.  She comes back into the kitchen, lugging a crate.  The BABY is sitting in the high chair, a mixing bowl in front of her and a large wooden spoon in her hand.  She gives ELSIE a messy chocolaty grin.

STANLEY and the OLD GRAVEDIGGER carrying scaffolding poles and planks down the churchyard path in the evening dusk.

ELSIE putting up a trestle table on the lawn outside the studio.  She covers the table with a white cloth and then loads it with piles of plates, glasses and cutlery.

STANLEY gazing up at the finished Resurrection, his eyes shining.

ELSIE sinking into the kitchen chair, her eyes glazing over with tiredness, the BABY standing at her feet tugging at her apron.

STANLEY, still looking up at the painting, the OLD GRAVEDIGGER joining him, his eyes shining too.

ELSIE asleep in the kitchen chair, the BABY asleep on her lap.

EXT.  THE HOUSE.  DAY.

Early evening light.  Everything is ready for the party.  There are Chinese lanterns hanging in the trees, not yet lit, and on the lawn, against the studio wall, a long trestle table has been set out for food and drink with an old brass candelabra at its centre.  A WHITE FIGURE appears at the bottom of the garden.  Another, BLACK-CLAD FIGURE follows, walking with measured steps up the centre of the lawn.  ELSIE comes out of the house carrying a large plate of sandwiches.  The BABY, dressed as a fairy, is balanced on her hip.  ELSIE is wearing an amateur theatrical Elizabethan serving-wench garb.  As the FIGURES get closer we see that they are PATRICIA, dressed in a short toga with a gold fillet in her hair, and DOROTHY in Victorian men's evening dress, with black tails, white tie, silver-topped cane and green carnation.  ELSIE, crossing the lawn towards the trestle table, stops dead in her tracks and shrieks.

			ELSIE
		Ooh, I'm ever so sorry - I didn't recognise you.

			PATRICIA
		Narcissus - Oscar Wilde!

ELSIE is totally baffled.  She hasn't heard of either of these people.  She grins awkwardly, gesturing at her own costume.  PATRICIA'S glance is cool.

			DOROTHY
		(Quite fancying her)  You look absolutely charming, Elsie.

			ELSIE
		Oh...thank you...

She turns back to the open kitchen door, and shouts...

			ELSIE
		They're here!

She continues over to the trestle table with the sandwiches.  STANLEY emerges from the kitchen carrying a tray of glasses.  He is dressed as HILDA, although he retains his own shoes and socks.  He sets the tray down on the trestle table and then turns and grins at PATRICIA and DOROTHY.  They don't recognise him at first, assuming he is a woman from the village come in to help with the catering.  Then they suddenly see who it is and are dumb-founded.

			STANLEY
		Well?

PATRICIA and DOROTHY don't know what to say.

			DOROTHY
		Yes...er...I think Patricia would like a drink, Stanley.

As STANLEY pours drinks, PATRICIA and DOROTHY turn to each other, repressing laughter.  HILDA comes from the kitchen, dressed as STANLEY, including his dreadful floppy felt hat.  She goes to STANLEY at the table and takes his glasses from him to make the image complete.  The two of them, turn and present themselves to PATRICIA and DOROTHY.  The door bell sounds.

			STANLEY
		Here we go!

ELSIE calls from inside the house.

			ELSIE  (V/O)
		I'll get it!

Voices are heard coming from the front door.

			AUGUSTUS (V/O)
		Aha!  A wench!

			HILDA
		Augustus!

			AUGUSTUS (V/O)
		And a wicked fairy!

			PATRICIA
		(Pulling a face.)  Guess.

			HILDA
		Don Giovanni?

			DOROTHY
		Casanova?

			STANLEY
		God?

They look towards the house, ready for AUGUSTUS'S appearance.  ELSIE emerges from the kitchen door, still carrying the BABY.  She looks a little bemused as she announces the guests' names.

			ELSIE
		Mr Augustus John, Mr and Mrs Henry Lamb, and Mr Dudley Tooth!

AUGUSTUS, HENRY, PANSY and DUDLEY come out of the house.  They are chattering amongst themselves as they arrive, but are struck dumb by the sight of the four characters standing in front of them.  The doorbell sounds again and ELSIE disappears into the house.  STANLEY, HILDA, DOROTHY and PATRICIA stand in mute amazement, observing the newcomers who are not in fancy dress.  STANLEY turns to HILDA whose face has fallen.

			STANLEY
		Didn't you say?

			HILDA
		Sorry...I forgot.

Laughter.  HILDA gestures apologetically as STANLEY is furious.

EXT.  THE FRONT DOOR.  DAY.

ELSIE opens the door, her face agape at the sight of the assembled group on the doorstep.  We look at them from her POV.  There is a MAN IN A GREEN SUIT with a GINGER CAT on his shoulder.  He is flanked by a FEROCIOUS WOMAN SCULPTOR and a BALD OLD WOMAN.  Beyond them, two or three cars have been parked in the road outside the house.

As they push past her into the house, the BALD OLD WOMAN tickles the BABY under the chin.  The BABY is not amused.  A raucous klaxon sound draws ELSIE'S attention back towards the street.  A very fancy and very long sports car draws up to the kerb.  It is driven by NANCY CUNARD.  Her black BOYFRIEND is sitting in the passenger seat.  Various VILLAGERS have gathered by now to watch the arriving guests.  The COLONEL and his WIFE, taking their dog for his walk, step back, amazed.

INT.  THE STUDIO.  DAY.

The studio is full of GUESTS, all listening to STANLEY explaining the meaning of the Jairus paintings, the VICAR and his WIFE amongst them.  PATRICIA and DOROTHY are standing in their fancy dress to one side of the room.  STANLEY is still dressed as Hilda.  As he speaks, even more GUESTS are squeezing in at the back.

			STANLEY
		...and there are various of us Cookhamites looking amazed at Jesus - you would, wouldn't you, Vicar?

PATRICIA whispers to DOROTHY, as STANLEY continues over.

			PATRICIA
		What do you think?

			DOROTHY
		Wonderful.

STANLEY points out the figures in the foreground of the right hand painting.

			STANLEY
		And here on the right a whole band of rejoicing villagers are declaring the wondrous nature of it all.

			PATRICIA
		Me in my new pleated skirt.  I can't see the rest of it.  Sunday painter.

DOROTHY shakes her head.

			DOROTHY
		No, no, no.

STANLEY continues to hold forth as GWEN pushes through the crowd to HILDA, who has perched herself on a table.  They watch and listen.

			GWEN
		How is he?

			HILDA
		(Gestures at STANLEY in full flow, smiles)  I glory in him.  When he lets me.

GWEN stands on tiptoe and peers around the room.

			GWEN
		Is Lamb here?

			HILDA
		Over by the window.

On the other side of the room HENRY catches GWEN'S eye.  STANLEY is talking to AUGUSTUS who is looming over the painting and nodding appreciatively.

			STANLEY
		Sometimes the paint just stains the canvas...here...and here...rather than sit on it.

			AUGUSTUS
		And diagonals, eh?  Saucy!

			STANLEY
		Look at that foot.  And these limbs - they're really...limby, don't you think?

			AUGUSTUS
		Wooah!

Everyone laughs.  DUDLEY turns to the rest of the GUESTS and starts a round of applause for the picture.

			AUGUSTUS
		Bravo!

STANLEY basks in the glory.  The VICAR stands on a chair and claps his hands for silence.

			VICAR
		And now if we could all walk over to St Michael's, Stanley has a surprise for us!

An excited buzz goes through the room as STANLEY and the VICAR push through the crowd, making for the door of the studio.
			AUGUSTUS
		About bloody time, Cookham!

EXT.  COOKHAM CHURCHYARD.  DAY.

The OLD GRAVEDIGGER watches by the vestry door as STANLEY and the VICAR and a large throng of GUESTS swarm up the path to the church.  STANLEY waves at him to join the party.

INT.  COOKHAM CHURCH.  DAY.

The whole party is gazing up at the Resurrection painting in complete silence.  We move across their faces.  HILDA is standing in the middle of the group, the BABY in her arms.

The OLD GRAVEDIGGER stands on one side of STANLEY, and PATRICIA on the other.  STANLEY talks briefly about the painting, referring to the fact that all the bodies in Cookham churchyard are resurrecting themselves.  Throughout his description he focuses almost exclusively on PATRICIA, obviously desperate to solicit her opinion. 

			STANLEY
		...all rising up out of their tombs...undoing all your good work, Albert!

The OLD GRAVEDIGGER grins back at STANLEY.

			GWEN
		It's heavenly, Stanley.

But STANLEY has already transferred his attention back to PATRICIA.  Some of the GUESTS have already noticed STANLEY'S manner towards PATRICIA and glance at HILDA.  She is smiling cordially.

			PATRICIA
		Hm...I think...

She strolls in front of the mural with a studied doubtfulness.  DUDLEY grimaces nervously.

			DUDLEY
		Marvellous work, Stanley, marvellous.

STANLEY waits, his eyes on PATRICIA.  She leans close, examining the canvas at eye-level, steps back.  A pause.

			PATRICIA
		A work of genius.

			STANLEY
		(Preening)  And you feel?

He claps himself on the heart and waits earnestly for PATRICIA'S response.

			PATRICIA
		Oh!...Ecstasy!

PATRICIA moves over to DOROTHY and, behind STANLEY'S back, rolls her eyes.  STANLEY looks round happily.  PATRICIA moves towards the main door of the church unseen by STANLEY as he continues.

			STANLEY
		Ecstasy!  Precisely!  Which is what all Art aspires to. And it's what makes a church the perfect setting...now look, I'm not trying to be Michelangelo or anything, well perhaps I am...why not, since I know I'm ready to take on the decoration of this whole church...every wall...every surface...

The VICAR moves forward.

			VICAR
		Well...now...Stanley...

DUDLEY catches the VICAR'S eye and gives him a subtle little gesture of reassurance.

			STANLEY
		I can do it in twenty years...it's right here in my head...a vast holy box filled with ecstatic images of life, love, Cookham...all of it ...a Cathedral of me!

			VICAR
		Yes, well, what a marvellous offer!

The church is flooded with daylight as PATRICIA opens the door.  The GUESTS all turn to look at her.  Dressed in her white costume with the light flooding in around her she looks like an angel.

			PATRICIA
		Come on!  This is supposed to be a party!

EXT.  THE GARDEN.  NIGHT.

The party is in full swing.  The Chinese lanterns have been lit all round the garden.  Warm light floods onto the lawn from the studio.  Couples dance in the studio and on the lawn.  HENRY and GWEN are dancing together.  HILDA is asleep, the BABY on her lap.  AUGUSTUS is surrounded by women.  DUDLEY, nearby, talks to the VICAR as PATRICIA walks past.

			PATRICIA
		(Beckons imperiously)  Dudley?

DUDLEY excuses himself and follows her.

			PATRICIA
		(As if calling a dog)  Dorothy?  Over here.

DOROTHY comes over to PATRICIA and DUDLEY.

			PATRICIA
		You were looking into the possibility of a show for me.

			DUDLEY
		It's not easy -

			PATRICIA
		You manage it for other people.

			DUDLEY 
		(To DOROTHY)  There was some interest in your portraits, Miss Hepworth.  I might be able to...

			PATRICIA
		All Dorothy's work is shown under my name.

			DUDLEY
		I'm sorry?  (Baffled.)  Is that your wish, Miss Hepworth?

			PATRICIA
		It's a private agreement...since I'm burdened with the selling.  (She stares at him with a frightening stare.)

			DUDLEY
		Well...I'll see what I can do.

			PATRICIA
		Yes, I think you should, otherwise...

The music happens to stop at this moment so that PATRICIA'S voice is very loud in the sudden silence. 

			PATRICIA
		...I shall have to marry that dirty little Stanley Spencer.

DUDLEY and DOROTHY are dumbfounded.  Several of the nearest GUESTS look round.

EXT.  THE GARDEN, BY THE RIVER.  NIGHT.

The moon is up.  GUESTS are sitting or lying on the grass.  NANCY CUNARD and her BOYFRIEND are lying in a moored punt.  PATRICIA is leaning picturesquely on a log, with STANLEY at her feet.  DUDLEY is sitting with his back against a tree.  DOROTHY sits in a wooden garden chair smoking a cigar.  AUGUSTUS is sprawled out on the grass surrounded by acolytes.

GWEN is lying on the grass.  HENRY sits on a low wall above her.  HILDA, holding the BABY, is sitting on a low bench with PANSY.

			GWEN
		Gauguin?  Not a man you'd care to meet on a dark night.

			DOROTHY
		(Blowing out a wreath of smoke)  Nor Bonnard.

			AUGUSTUS
		He drowns his in the bath! Hahaha!

			HENRY
		What about Degas?  (leans over GWEN)  `Je desire, mes amis...to peek through ze key 'ole...to see women washing zemselves like leetle cats.'

NANCY CUNARD puts her head up over the edge of the punt...

			NANCY CUNARD
		Lovely man, Degas.  Real sweetie.

...and then goes back to kissing her BOYFRIEND.
HENRY whispers in GWEN'S ear.

			STANLEY
		French pictures are wonderful.  What I don't understand is why people are such philistines about mine!

ELSIE arrives with the coffee.  HILDA gets up and hands him the BABY.

			HILDA
		Your women are honest, Stanley.

			STANLEY
		(Irritated)  I know that.

			HILDA
		Coffee, anyone?  Patricia?

HILDA starts to distribute the coffee.  STANLEY moves away from her and dumps the BABY on DUDLEY, who, baffled by it, dumps it on HENRY, who grins and dumps it on AUGUSTUS, who dandles it expertly on his knee.  The ACOLYTES glow.

Later.  STANLEY and PATRICIA are sitting by the river.  Noises come from NANCY and her BOYFRIEND, making love in the moored punt.  PATRICIA walks away along the towpath.  STANLEY stumbles after her.  DUDLEY is asleep at the foot of his tree, his face vulnerable and lonely in the moonlight.  DOROTHY, immobile.

EXT.  THE STREET OUTSIDE THE HOUSE.  NIGHT.

HILDA and PANSY help AUGUSTUS into his car, where the CHAUFFEUR meets them and lifts AUGUSTUS into the back seat.  PANSY climbs in after him.  As the CHAUFFEUR returns to the front seat, PANSY winds down the window.

			HILDA
		What about Henry?

			PANSY
		Oh, he'll find his way home.

HILDA watches the car drive off into the night.

INT.  THE GARDEN.  NIGHT.

Later.  The party is over.  HILDA and STANLEY clear up plates and glasses and put them on a tray.

			STANLEY
		I don't know what to do.  What shall I do?

			HILDA
		What did she say?

ELSIE appears from the kitchen and walks across the garden towards them.

			STANLEY
		She told me to...(seeing ELSIE, he stops.)

They watch ELSIE pick up the tray full of things and turn back to the house.

			HILDA
		Leave it till tomorrow Elsie.

			ELSIE
		All right.  I'll be off then.  Goodnight.

			STANLEY & HILDA
		(Together)  Goodnight!  And thanks!

STANLEY watches ELSIE go and then turns urgently back to HILDA.

			STANLEY
		She told me to go round!

			HILDA
		When?

			STANLEY
		Now!

INT.  MOOR THATCH.  NIGHT.

PATRICIA, in a gorgeous silk dressing gown, is sitting on the chaise, putting lotion on her arms and body.

			HILDA (V/O)
		What did you tell her?

			STANLEY (V/O)
		I said we had to clear up.

EXT.  THE GARDEN.  NIGHT.

STANLEY and HILDA are standing a few yards apart, looking intently at each other in the moonlight.

			HILDA
		Do you want to go?

			STANLEY
		Do you want me to?

			HILDA
		Stanley, I want whatever makes you happy.  If you want to go to Patricia, go.

STANLEY wavers for a moment, then quite suddenly bolts down the garden and disappears along the towpath by the river.  HILDA watches him go.

EXT.  RIVERSIDE.  NIGHT.

STANLEY runs along the towpath.  He stumbles and then hitches Hilda's dress up over his knees before cutting across the meadow towards Moor Thatch.

EXT.  MOOR THATCH.  NIGHT.

STANLEY approaches the cottage, ducks down along the front of the house.  He stops under the window then slowly rises, peering over the sill.  A warm glow of candlelight comes from the sitting room window.  He can see PATRICIA through the window, lying on the chaise, a candle burning on the little table beside her.

MUSIC.  J S BACH MAGNIFICAT - `SUSCEPIT ISRAEL'.

From STANLEY'S POV.  PATRICIA glows like a Renaissance painting, her robe falling off one of her shoulders.  She slowly lifts a brandy glass to her lips and takes the most delicate of sips.  STANLEY is enraptured.

EXT.  THE GARDEN.  NIGHT.

HILDA sits on the trestle table, her legs swinging gently to and fro.

EXT.  MOOR THATCH.  NIGHT.

Close up on STANLEY'S face, framed by Hilda's headscarf, slowly rising, his eyes glowing with wonder and excitement.

INT.  MOOR THATCH.  NIGHT.

PATRICIA raises the brandy glass to her lips then stops in mid sip.  She glances towards the window where she sees STANLEY'S face slowly appearing.  Their eyes meet for a moment and then STANLEY'S face suddenly disappears from the window.  PATRICIA glances over towards DOROTHY who is on her feet.  PATRICIA rises and walks over to the window.  She sits on the window-seat and looks out into the darkness.

EXT.  RIVERSIDE.  NIGHT.

STANLEY runs full-pelt back along the towpath.  He slows to a walk, gasping, as he nears the garden.  HILDA is sitting in the candle-light on the trestle table.  He looks back across the meadow and can just see the candle-lit window of Moor Thatch through the darkness.  He sighs deeply, then starts walking up towards the house.

EXT.  THE GARDEN.  NIGHT.

STANLEY walks up through the garden from the river.  He perches next to her and they both sit, legs dangling.

			HILDA
		What happened?

STANLEY looks at her.

			HILDA
		Did you sleep with her?

He shakes his head.  HILDA suddenly shifts herself off the table and walks off towards the kitchen.  STANLEY follows obediently.

INT.  MOOR THATCH.  NIGHT.

			DOROTHY
		(Stubs out her cigar)  Well?

She and PATRICIA look at each other.

INT.  THE KITCHEN.  NIGHT.

HILDA and STANLEY sit on opposite sides of the kitchen table, mugs of cocoa in front of them.  HILDA offers biscuits.  He shakes his head.  She starts to eat her way through them.  STANLEY drinks his cocoa.

			HILDA
		(Through a mouthful of biscuit)  Was she annoyed?

			STANLEY
		What?

			HILDA
		Because you didn't stay?

			STANLEY
		I don't know, I didn't ask.

			HILDA
		I should think she might be.  We might have offended her.  She may feel a fool, Stanley.  Perhaps you ought to...

			STANLEY
		What?

HILDA shrugs, uncertain.

			STANLEY
		I only looked through the window.

HILDA breathes a long sigh of relief.

			STANLEY
		She has these long fingers...Her shoulders stood out like peeled comice pears - it broke my heart just to look at her...

INT.  MOOR THATCH.  NIGHT.

PATRICIA is sitting on the chaise, staring in front of her.  DOROTHY is sitting at the other end of the chaise unable to take her eyes off her.

INT.  THE KITCHEN.  NIGHT.

STANLEY and HILDA are sipping their cocoa, staring over their mugs at each other.

			STANLEY
		She's after me, all right.

			HILDA
		Perhaps she's sex-starved.  That's probably it.

			STANLEY
		And I'm after her.

They look across the table at each other, wide-eyed with alarm.

INT.  MOOR THATCH.

DOROTHY, agitated, walks up and down.

			DOROTHY
		Why?!

			PATRICIA
		Because I refuse to be poor.

			DOROTHY
		That doesn't mean...

			PATRICIA
		I had to go into Woolworths the other day for a Pond's lipstick!  If anyone had seen me, well they wouldn't, they're all in Bond Street choosing lovely new ensembles for the spring.  (She sniffs.  DOROTHY sits on the back of the chaise, puts an arm around her.)  It's sickening.  Don't you find it sickening?  (DOROTHY shrugs.)  No, well it doesn't really matter for you.

			DOROTHY
		Whoops!

			PATRICIA
		Sorry!  Didn't mean to be rude.

			DOROTHY
		My dear, I adore it when you're vile.

			PATRICIA
		More fool, you.

PATRICIA slumps down in front of the sofa on the floor, hugging her teddy bear.

			PATRICIA
		Perhaps if I take Mr Billy I can go through with it.

Pause.

			DOROTHY
		If you want money, work!

			PATRICIA
		What's the point?  I'm totally unknown.

			DOROTHY
		But if you -

			PATRICIA
		For God's sake.  How are people to know me if I can't go about because I haven't a decent frock to my back?  That's how it works!

			DOROTHY
		But - dearest girl, why Stanley?

			PATRICIA
		Because he's there!  I'm thinking of you, as well as me.

			DOROTHY
		(Rises)  It's nearly four o'clock in the morning.  Drink?

			PATRICIA 
		(Goes up to her)  It won't make any difference to us.

			DOROTHY
		Won't it?  (Going into the kitchen.)

			PATRICIA
		Not in the slightest.  You'll see.

PATRICIA goes to the fire which is blazing up and opens the peignoir so that she can warm her body.  She calls across to DOROTHY.

			PATRICIA
		I'll have Horlicks.  Big mug.

			DOROTHY
		(At the door to the kitchen)  Oh, you are a tease!  Marry Stanley Spencer?  You wouldn't be seen dead.  (She goes into kitchen, banging a fist to the side of her head.)  Big mug...big mug!

In the sitting room PATRICIA'S face is cold.

EXT.  COUNTRY LANE.

Beyond the lane, an idyllic field.  As we track along the lane, we hear whispering and low laughter - a man's voice and a woman's voice.  At a distance below the brow of the rising field, we can just see two small figures, the WOMAN in a white dress.

			PATRICIA
		Flowers?  I thought you were doing me!

			STANLEY
		That is my hope and intention.
		Keep still.

			PATRICIA
		Why?

			STANLEY
		There's a big black beetle -

PATRICIA screeches.

			STANLEY
		(Strokes her)  There.  Better?

			PATRICIA
		(Seductively)  Much better.

INT.  SPENCER HOUSE.

HILDA, manhandling the pram through the door, hears STANLEY whistling cheerfully.  She looks into the studio.  He has a lot of new canvasses and is sizing them ready for painting.  She smiles.  He smiles up at her.

INT.  MOOR THATCH.  DOROTHY'S STUDIO.

PATRICIA puts two paintings up on easels - signs them with her name `Patricia Preece' - puts up two more.  She is humming to herself.  DOROTHY looks in.

			DOROTHY
		You sound cheerful.

PATRICIA looks wary.

			PATRICIA
		Why not?  Oh by the way, could you make yourself scarce again?

DOROTHY looks murderous.

Later.  PATRICIA, nude, lies on the chaise longue.  STANLEY draws.

			STANLEY
		Keep still, dammit!

			PATRICIA
		You haven't answered my question.

He draws.

			PATRICIA
		Stanley?

			STANLEY
		(Feels awkward)  I don't know.  I'll have to ask.

She flicks him a nasty look unseen.  STANLEY becomes absorbed again, gazes at her glowingly, and does a quick lovely sketch of her.

DOROTHY, in the outhouse, throws down her brush, takes her pork pie hat and slams out of the door, trudges off.

HILDA, at the window, BABY in arms, looks out, looking for STANLEY.  She turns away, puts the BABY down, and sits, her face expressionless.

Later - she is still sitting.  She jumps at the sound of the door.

			STANLEY (O/S)
		Hilda!  Hilda!

She rises, smiling, dashes downstairs.

STANLEY enters, vital and alive.

			HILDA
		(Going into kitchen)  You look happy.

			STANLEY
		I am, I am - What about you, ducky?

			HILDA
		I'm all right if you're all right.

He stands, rocking on his heels and grinning, eating a large piece of cake.  HILDA takes nappies from a pail, rinses them and hangs them, dripping and still soiled, over the range.  STANLEY moves out of the way.

			STANLEY
		She - um - she wants me to take her up to town.

			HILDA
		Oh?

			STANLEY
		To shop.

			HILDA
		You hate shopping.

			STANLEY
		Don't begrudge, Hilda.  She's down on her luck.

HILDA tries to conceal alarm.

EXT.  THE HIGH STREET.

We close on a tea shop.

INT.  TEA SHOP.

HILDA and DOROTHY lean over the small, round table in sober discussion.

A little later they emerge from the shop and pause outside.

			HILDA
		I'm sure you're right, Dorothy.  It's just that Stanley is - you know - he's not a worldly man -

			DOROTHY
		Neither's Patricia.  She's really quite a little girl underneath.

			HILDA
		So you think it's all right?

			DOROTHY
		Oh yes.

We draw back as they part and go their separate ways.  We follow HILDA.

			HILDA  (V/O)
		(Walking with a light step)  Nothing to worry about... nothing to worry about - ooh!

She dashes back for the BABY which she has left in the pram outside the teashop.  She wheels the pram gaily.

			HILDA
		(Aloud)  Nothing to worry about!

INT.  A SWISH LINGERIE SHOP, MAYFAIR.

THE MUSIC OF BACH.  STANLEY looks out of place on a little gilt chair.  He is wearing his funny, shapeless hat.  The MODDOM is showing boxes of lovely lingerie, taking them from tissue paper.  PATRICIA'S hands are everywhere - snatching and lifting.

			MODDOM
		Apricot - chartrooz?  Or the eau de nil?

PATRICIA scoops up the whole lot, retires behind a gold screen to try on.  STANLEY clears his throat.

			MODDOM
		Sir?

She looks at him, not impressed with his appearance.

			STANLEY
		Black?

			MODDOM
		Of course, sir.

She swoops low, showing fat thighs above her stocking tops - STANLEY cranes for a good look - emerges, flushed, with a foaming arm of black lingerie, goes towards screen (where PATRICIA is hanging her clothes as she undresses) - pauses, to lift a pair of fine black stockings, disappears behind screen - returns, smiles, as she bends, takes the bag containing PATRICIA'S newly bought shoes from beside STANLEY's chair, disappears, returns.  They wait.

The music surges.  PATRICIA emerges in black filmy camiknickers with lace trim black stockings and red, five-inch heeled shoes.  STANLEY is dazed with delight.

INT.  THE BEDROOM.  NIGHT.

HILDA is in bed, seems to be asleep as STANLEY creeps in.  He takes off his jacket and tie, goes out to the lavatory.  The lavatory flushes.  He comes back, slips into bed quietly not to wake HILDA.  In the low light we see that HILDA is wide awake.

INT.  THE OUTHOUSE.

DOROTHY is painting savagely, her face set.  She is doing a self-portrait.

EXT.  HIGH STREET.

PATRICIA and STANLEY.  She is talking animatedly.  PEOPLE look at them and comment.  PATRICIA pauses outside an antique shop to admire an elaborately dressed doll.

A little later they emerge.  PATRICIA is carrying the doll.  The VICAR, forced off the pavement, tips his hat, looks at them - the tall woman and the short man.

INT.  THE STUDIO.

HILDA sitting on a stool, legs splayed.  STANLEY on the floor, sketching her.

			HILDA
		You're making a fool of yourself.

			STANLEY
		No I'm not.

			HILDA
		Patricia's - well - she's sophisticated.

			STANLEY
		That's what I like about her!  Could you squat down, I want to get the inside of your thighs.

HILDA squats.  He draws, rapidly.

			STANLEY
		Oh damn, now I'm getting an erection.

HILDA rises, unbuttoning her blouse.

			HILDA
		Do you want to...?

			STANLEY
		No thanks.  I must finish this.  (He rubs out, blows on the paper)  No - you never see her going about like an old dish-rag, like a couple of bamboo sticks tied together - (HILDA gets up and goes out.)

		- now what?

INT.  THE CHURCH.  MATINS.

The ORGANIST is playing.

			STANLEY
		(To HILDA at his side)  Aren't you ever attracted to anyone else?

			HILDA
		(Whispers fiercely)  Of course not!

EXT.  THE CHURCHYARD.

The VICAR is saying good-day to his PARISHIONERS.  Beyond him, HILDA and STANLEY walk among the old gravestones.

Later they walk by the river.

			STANLEY
		I feel like a change, that's all.

			HILDA
		You mean you don't want me?

			STANLEY
		Of course I want you.  (He stops.)  The evidence is - you don't want me.

			HILDA
		I do!

			STANLEY
		No, you don't.  Except when I want to take Patricia to London.  Then - oh then it's "you can't have him, he's Mine".

He walks on, grumpy, steps on the bridge.  They look over at the water, side by side.  STANLEY throws sticks into the water.

			STANLEY
		I love sharing myself - throwing out nice bits of me for people to pick up - when I throw something to you you -  (she tries to speak.)  All this jealousy - why?  You're the one who's got everything - you're married to me, I'm famous, you've got the - the - 

			HILDA
		Our daughter.

			STANLEY
		What has Patricia Preece got?  I hope this isn't a mean streak, Hilda.  I wouldn't be keen on you at all if it wasn't for my spiritual feeling towards you.  If that begins to go - well...(He walks off.)

HILDA catches him up, stops him.

			HILDA
		Stanley - go to London.

			STANLEY
		You said it was a waste that no-one could share the wonderful feelings I gave you -

			HILDA
		It's all right.  If you want to got to London, go.

MONTAGE.  STANLEY and PATRICIA in London.

PATRICIA walks into the Ritz, followed by STANLEY.  She sees DAPHNE CHARLTON with friends, veers to greet them.  PATRICIA and STANLEY in a nightclub.  He is alertly interested, gets up to dance with PATRICIA.

At an avant-garde evening, PATRICIA and STANLEY are greeted by the BALD WOMAN.  GWEN and HENRY grin and wave.  They watch a MAN intoning weirdly.

In a posh jewellers, the ASSISTANT shows beautiful bracelets to PATRICIA and STANLEY.  She tries on a bracelet of aquamarines.  STANLEY murmurs to the ASSISTANT, is aghast at the price, hauls her out of the shop.

INT.  THE SPENCER HOUSE.

HILDA, wrapped in an old shawl, wanders through the studio.  She looks at some of Stanley's paintings with reverence and pain.  ELSIE, at the door, has the BABY - now a year old, clean and wrapped in a towel from the bath.  HILDA smiles, crosses, kisses BABY.  ELSIE takes the BABY upstairs.

INT.  CAFE ROYAL.

AUGUSTUS, HENRY, GWEN, STANLEY, PATRICIA, DUDLEY and DAPHNE are having a merry meal.

			AUGUSTUS
		Here's to crime!

INT.  THE HALL.

A suitcase.  HILDA comes through, wearing her coat and hat.  ELSIE appears with the BABY.  STANLEY comes out of the studio.  The atmosphere is awkward.  A knock on the door.  It is the VICAR.

			HILDA
		Oh - good-morning, Tom.
			VICAR
		Hullo, are you off somewhere?

			HILDA
		Just to see my mother -

			STANLEY
		For a break.

			VICAR
		(Picking up a strained atmosphere)  Well, I won't bother you with the altar fund just now.

			STANLEY
		Oh I'll be happy to -

He fishes for money as HILDA goes down the steps, followed by ELSIE carrying the BABY.

			VICAR
		That's very generous of you Stanley.  Most obliged.

HILDA gives STANLEY a last look.  He makes to approach her but she gets in the car with the BABY and drives off.  ELSIE waves.

STANLEY stands on the steps as the VICAR leaves.  Then races back into the house, grabs his jacket and sketchbook and makes off by the river path.

EXT.  A FIELD.

A glorious day.  Marguerites in bloom.  PATRICIA lies out beneath an open sunshade - white wine and glasses and a picnic basket beside her.  STANLEY is painting.  He looks around.

			PATRICIA
		(Calls)  What are you doing?

			STANLEY
		I'm trying to find a difficult problem.

			PATRICIA
		Oh, why?

			STANLEY
		Because an easy problem is not very interesting.

She gets up, strolls over and looks over his shoulder.

			PATRICIA
		(Looking over his shoulder at his small painting of cow parsley)  You said you'd do more landscapes.

			STANLEY
		(Flops down by her)  I'll do the landscapes of your legs, high up.

			PATRICIA
		Oh it's too early in the day to be dirty.

She flops back on the grass.  He crawls over to her - tickles her with a straw.  She turns away.  He starts to fondle her.

			STANLEY
		I'd like to be an ant, crawling all over you.

Her face, averted, is cold and impassive.

INT.  MOOR THATCH.

DOROTHY, PATRICIA and STANLEY are having supper.  PATRICIA eats heartily, helping herself.

			PATRICIA
		He's such a stubborn little thing!  Landscapes sell!  (No response from either of them.)  Somebody has to think about the pennies!  (She gets up, lifts down the wine bottle from the side table, refills her own glass, drinks heartily, leans forward intimately.)  I've been thinking...

A little later.  STANLEY and DOROTHY sit separately, PATRICIA prowls between them.

			PATRICIA
		...if I took over Stanley's affairs then he could concentrate on his work - on what he does best!  (She looms over STANLEY.)  You and Hilda are hopeless at money!

INT.  MRS CARLINE'S HOUSE, HAMPSTEAD.

MRS CARLINE and HILDA are at breakfast.  HILDA is reading a letter.  MRS CARLINE waits.  HILDA looks up.

			MRS CARLINE
		Well?

			HILDA
		He's talking of selling the house!  (She reads aloud)  "You're never here."  (She gasps)  I came away because he wanted me to!

She rises.  MRS CARLINE moves to support her.

			HILDA
		(Waves her MOTHER down, reads on)  He says he wants two wives.

			MRS CARLINE
		Two?  That won't go down well with God.

			HILDA
		(She reads) "I believe it is perfectly possible for me to have a strong spiritual closeness to more than one woman."

She looks up, stricken.  They gaze at each other.  HILDA reads on.

			HILDA
		"I must have what I need or I can't work."

			MRS CARLINE
		Oho!  Blackmail!

			HILDA
		He can't work, Mother!  That's unbearable!  Poor Stanley!

INT.  THE STUDIO.

STANLEY and PATRICIA, both naked.  Using mirrors, he is painting them.

			PATRICIA
		You know - these could be sensational.   Either that or we'll be arrested.

			STANLEY
		(Absorbed, doesn't hear)  Mmm?

			PATRICIA
		(Looking round)  This house should fetch a good price.  Enough to get a decent studio in London - you'd like that, wouldn't you?

			STANLEY
		No.

			PATRICIA
		Stanley -

			STANLEY
		Mmm?

			PATRICIA
		Stanley -

She forces his attention.

			PATRICIA
		You - dear heart - have to make up your mind.

			STANLEY
		Not if I don't want to.

			PATRICIA
		What do you want?

			STANLEY
		You know what I want - (he dives for her crotch - buries his face.)

			PATRICIA
		Oh.  Hullo Hilda.

STANLEY jerks up.  HILDA is in the doorway.
HILDA approaches.  PATRICIA gets up, looks challengingly at HILDA.  But HILDA'S gaze is so fearsome that PATRICIA grabs Stanley's jacket and legs it.  STANLEY pulls a furious face, grabs Patricia's kimono, and follows her out of the house.

EXT.  THE VILLAGE.

PATRICIA, fleet of foot, dodges VILLAGERS, makes for Moor Thatch.  Excitement from the VILLAGERS as STANLEY, in the kimono, follows her.

At Moor Thatch PATRICIA races up the path, throws herself indoors.  STANLEY arrives, tries the door.  It is locked.  He bangs on the door...VILLAGERS and PASSERS-BY straggle up.  STANLEY throws himself against the door.

			STANLEY
		Patricia - Patricia!

The door opens.  It is DOROTHY.

			DOROTHY
		Stanley, go away.  (Sees the ONLOOKERS)  Oh my God.  (Shuts the door on STANLEY.)

STANLEY squats on the steps.

INT.  THE BEDROOM.

PATRICIA looks out, sees the onlookers, is appalled.  Furious, she tips a slop-pail of water on STANLEY'S head.  Applause and laughter from the enlarging CROWD.

STANLEY, wet head like an otter, trudges back home, followed by ONLOOKERS.  His front door is locked.  Cheers and laughter.

ELSIE looks round from the side of the house, beckons him in by the kitchen door.

INT.  THE STUDIO. 

			HILDA
		I am not leaving this house.

He doesn't reply.

			HILDA
		I love you!

			STANLEY
		(Irritably)  I know that.

			HILDA
		We took vows before God!  Didn't you mean it?

			STANLEY
		I can't help myself.  My feelings have come all alive, I feel - dangerous.  You've got the baby!

			HILDA
		A hundred babies couldn't replace one Stanley.
			STANLEY
		She's a stunning woman.

			HILDA
		Patricia may not be what you think.

			STANLEY
		I've earned her.

			HILDA
		She's different.

			STANLEY
		That's what's so wonderful!  My one social achievement - what's more she studies me.

			HILDA
		And I don't?  (Needing air, she goes out into the garden.  He follows.)

			STANLEY
		To watch you trying to show interest is so bloody insulting, ducky, that most of the time I can't even bear to look at you.

Stricken, she sits abruptly on the garden seat.

			STANLEY
		You're not moved by me.

She can only gaze, her eyes full of tears.

			STANLEY
		Where's your joy?

			HILDA
		(Trembling)  You're my joy.

Later.  At the bottom of the garden they stand side by side, looking at the water.

			HILDA
		(Low)  If that's what you want.

			STANLEY
		It is what I want.

			HILDA
		I will do whatever you wish, Stanley.  For love.  Will you do the same for me?

He looks at her, but flinches and turns away.  She waits, but there is no response.  Sadly, she walks away up the garden path.

INT.  THE BEDROOM, MOOR THATCH.

PATRICIA is in bed playing the invalid.  STANLEY sits by her side, hat in hand.  DOROTHY comes in with a tray, pours medicine, gives it to PATRICIA.  She pours tea into two cups, hands one to STANLEY puts one by PATRICIA and goes silently.

Silently PATRICIA sips.  He takes her cup, plumps her pillow.  She lies back, sighs, pale on the pillow.  He watches reverently.  She closes her eyes, like a recumbent on a tomb.

			PATRICIA
		You'd better put the house in my name.

			STANLEY
		Beg your pardon?

PATRICIA opens her eyes.

			PATRICIA
		(Sits up.)  You don't need that great place now she's gone.  Sign it over to me - after all, it'll belong to both of us in the end.  After the divorce.

STANLEY reacts.

MONTAGE.  The seduction of STANLEY.

PATRICIA, in shimmering silks, and turban, bare-legged, comes down the studio stairs.
PATRICIA, nude except for boots, on a Victorian rocking horse.
PATRICIA as a Gainsborough lady.
PATRICIA as a Toreador.
PATRICIA as a Gangster.
STANLEY dodges about with a Brownie camera, photographing her.
PATRICIA appears as the Virgin Mary.  STANLEY is awed.  He puts down the camera - kneels at her feet.

EXT.  THE HIGH STREET.

STANLEY escorts PATRICIA.  He struts proudly.  Both of them ignore glances, giggles and disapproval.  They pause by the War Memorial.

STANLEY discreetly gives PATRICIA money and she disappears into the adjacent hairdresser - waving at him through the window.  He settles himself on the War Memorial steps, moving aside some jars of flowers.  He sits in the sun, happy - watching the world go by.  The PEOPLE turn into Stanley people, rounded, joyous, floating.  Bowls of flowers enwreath the coal cart, the Colonel's tourer, the women with their prams.  Even the Incurables, wending past, cease to gibber and grimace, and smile on STANLEY, beautiful and benevolent.  He looks into the hairdresser's window.  PATRICIA is wired up, having a perm.  He is daunted for a second but his joviality returns.  He takes out a packet of Players, and a sealed letter falls from his pocket.  He frowns, makes to trouser it again - but changes his mind - opens it - reads.

			HILDA (O/S)
		- oh Stanley, I miss you so much.  Can't you come, just for a day?  It's as though you've dropped a chopper on us.  I don't WANT to leave you - it's no good, you can't make me say it - not even for you because we both know it's not true...

By the river DOROTHY sits, motionless.  She holds a letter in her hand.

			HILDA (O/S)
		Is there anything YOU can do, Dorothy?

DOROTHY sits, then screws up the letter and lets it drop in the water and float away.

INT.  BOND STREET SHOP.

STANLEY and PATRICIA, shopping.  The ASSISTANT hands over the packages, STANLEY pays.

			PATRICIA
		(We follow them out into the street.  She pauses at the shop next door to look at handbags.)  Hilda has a very well situated family of her own...(opens the door into the shop) let them look after her.  (She sits, points imperially at a handbag to the ASSISTANT.  To the ASSISTANT)  I'll have the black as well.

INT.  THE CARLINE HOUSE.

MRS CARLINE and HILDA being served dinner.  HILDA is not eating.  The MAID and MRS CARLINE exchange worried looks as HILDA shakes her head to proffered food.

INT.  MOOR THATCH.

STANLEY is at the little desk, writing a letter.

			STANLEY (V/O)
		Do you think you could manage on two pounds a week? - 

He looks up and out of the window.  PATRICIA is stretched out on the grass sunning herself.  
			STANLEY (V/O)
		I'm short of work just now - no, it's not that, I want to spend the money on Patricia.  Paying you is like paying income tax.

EXT.  HAMPSTEAD HEATH.

HILDA, at a distance, sits alone on a seat.  MRS CARLINE, searching for her, sees her and hurries towards her.  HILDA sees her and rises.  They walk.

A little later.  They walk, side by side, in silence.

A little later.  They are walking.  HILDA stops suddenly.

			HILDA
		I don't belong here.  I don't belong anywhere.

MRS CARLINE takes her arm, urges her forward.

Back at the house the MAID opens the front door as they approach.

INT.  HILDA'S BEDROOM.

MRS CARLINE tucks HILDA into bed.

			HILDA
		(Looks up at her)  I seem to be in a moon world - not on this warm, loving earth at all.

INT.  A BOND STREET JEWELLERS.

The ASSISTANT snaps the aquamarine bracelet on PATRICIA'S wrist.  She holds it up for STANLEY'S inspection.  He kisses her hand.  The ASSISTANT smiles politely.  PATRICIA, triumphant, pecks STANLEY on the cheek.

INT.  HILDA'S BEDROOM.

Hunched up in bed she is writing to STANLEY.

			HILDA (V/O)
		Oh dear boy, I miss you so much.  Now they say I'm ill - something's happened to my eyes, I can't see properly -

INT.  MOOR THATCH.

DOROTHY, sitting with the cat on her lap, gets up as STANLEY and PATRICIA erupt through the front door.  She goes out without a word.  PATRICIA shrugs, throws down her hat, steers STANLEY to the writing table, plonks paper and pen before  him.  He lifts the pen, waits.

			PATRICIA
		(Dictates)  "Please discontinue writing."

			STANLEY
		"Dear Hilda?"

			PATRICIA
		(Frowns)  No, no, no.  Simply - Please discontinue writing - (he writes).  Your letters will be returned unopened...(he writes).  In future...(he writes and waits)...in future address all correspondence to my solicitor.  (He writes, puts down the pen but she hasn't finished.)  I wish no further connection with you.  (He falters, looks up, but her face is implacable.)

INT.  THE CARLINE DRAWING ROOM.

HILDA on the telephone.

			HILDA
		...but am I not worth keeping as a friend?  All I want is for you to be happy.  How can you be happy, darling, when you know I'm in such plight?

EXT.  HIGH STREET.

PATRICIA strides along in high heels, ignoring unfriendly stares and whispers.  She wheels into the hairdressers.

INT.  HAIRDRESSERS.

From the OWNER'S POV.  PATRICIA, in the doorway, flashes her engagement ring.  The OWNER reacts with reserve.

INT.  COOKHAM CHURCH.

Sunday morning service.  
ELSIE and ENA are side by side.

			VICAR
		Give peace in our time oh Lord.

			RESPONSE
		And grant us thy salvation.

			ELSIE
		(Whispers to ENA)  It's come!

			ENA
		What?  (Looks round)  Where?

			ELSIE
		This morning.  The decree absolute.

			VICAR
		Oh God make clean our hearts within us.  (Response follows.)

			ENA
		What?

			ELSIE
		It means they're not man and wife any more.

			VICAR
		Praise be the Lord.

			ENA
		Never!

			RESPONSE
		The Lord's Name be Praised.

Later.  ELSIE and ENA emerge from church.

			ELSIE
		I tell you this.  Somebody will be pleased.

			ENA
		...be pleased.

The VICAR'S WIFE bears down on them, seeking news.  They make off through the churchyard.

INT.  MOOR THATCH.
DOROTHY and PATRICIA are on their feet, facing each other.

			DOROTHY
		I can't take this seriously.

			PATRICIA
		Suit yourself.

			DOROTHY
		What the hell am I supposed to do?

PATRICIA approaches, takes DOROTHY'S arm intimately.

INT.  MAYFAIR SHOP.

PATRICIA trying on a pale, snaky dress.  DOROTHY watches, her face set.

INT.  A HAT SHOP.

PATRICIA, seated, tries on hats.  DOROTHY'S pain becomes unbearable.

INT.  THE CARLINE HOUSE.

MRS CARLINE answers the door to the DOCTOR.  They go upstairs.  In the bedroom HILDA is wraithlike.  The DOCTOR puts drops in her eyes.

MONTAGE.  The wedding.

STANLEY, head in the basin, washing his hair, whistling happily.

At Moor Thatch DOROTHY brings PATRICIA a beautiful breakfast.  PATRICIA is pleased at filmstar treatment.

At home, STANLEY showers, dresses.

At Moor Thatch, DOROTHY, in plain two-piece costume and flat shoes, with a large handbag, waits for the bride.  PATRICIA emerges down the stairs in the pale silk dress with picture hat.  

At home STANLEY hurtles down the stairs looking at his watch.  Makes to leave, dashes back for his old hat, hurtles down the steps and the path.

INT.  CAR.

DOROTHY is driving.  PATRICIA and STANLEY sit in the back.

The car arrives at the registry office.  STANLEY and PATRICIA get out and hurry up the steps to be greeted by HENRY and DUDLEY.  DOROTHY, forgotten, follows.

Inside the Registry Office, PATRICIA and STANLEY are flanked by HENRY and DUDLEY.  PATRICIA turns, hands her large bouquet to DOROTHY.

A little later.

			REGISTRAR
		I now pronounce you man and wife.

INT.  THE CARLINE HOUSE.

GWEN, just arrived, and MRS CARLINE, converse in the hall, look up as HILDA appears on the landing in her white nightdress.  They go up to her, catch her as her knees give way, take her into her bedroom.  GWEN comes out, closing the door discreetly.  She bends, picks up an old photo of Stanley, smooths it sadly.

Outside the Registry Office, STANLEY laughs with joy as HENRY takes photographs.

EXT.  STANLEY'S HOUSE.

The car drives up.  PATRICIA and STANLEY emerge.  DOROTHY makes to get out as well -they turn and look at her.  Realising that she is de trop she puts her leg back in and drives off.  STANLEY and PATRICIA are halfway up the path.  They go up the steps, he opens the door, then picks her up and staggers through to the studio, dumping her on the old sofa.  He can't wait.  He starts pulling off his clothes and jumps on her.  She draws away to the corner of the sofa, knees up against him.  He lunges, tries to get her knickers off.  There is an undignified and clumsy scuffle as she fights him off.  He gets one hand trapped in her knicker leg and is dragged with her as she lurches away.  She kicks him off and staggers out of the room, her knickers round her ankles.  He rises, in pain, and dumbfounded as the front door bangs.  He goes to the window as she flies out of the gate, tossing her knickers into the hedge.  We follow PATRICIA as she legs it up the road to Moor Thatch.  The VILLAGERS pause, come out of shop doorways.  An OLD MAN in a bathchair is sent spinning down the road, a basket of oranges is sent sprawling.  PEOPLE crane back for STANLEY but there is no STANLEY.  They settle for the glee of the disappearing PATRICIA.  Who, reaching the haven of Moor Thatch throws herself into DOROTHY'S arms as DOROTHY opens the door.  The VILLAGERS, kerbside, wait.  And along comes STANLEY.  A cheer goes up as he goes by.

INT.  MOOR THATCH.   DAY.

PATRICIA, in a coat, waits as DOROTHY manhandles cases and painting gear out to a waiting car.  STANLEY walks up.  They wave, get in the car.  The car drives off.  STANLEY looking small and lonely, walks off after them.

EXT.  THE HOUSE.  DAY.

STANLEY reaches his house.  He stands there, quite lost, goes in slowly, doesn't know what to do.  He crosses to the studio, looks around.  He bends to pick up some painting things but doesn't know what to do with them.  He sees the old pram, throws out the children's toys and blanket,  puts in his canvases, paints and easel and manoeuvres the pram out of the side door.  He trudges off down the road.

EXT.  THE MAIN ROAD.  DAY.

STANLEY walking along the main road.  PEOPLE turn and stare at him.  He is unaware of them.

MONTAGE.
PATRICIA and DOROTHY in a train dining car - PATRICIA eating heartily.

Arrival at Cornish cottage.  PATRICIA is enchanted by the view.

DOROTHY handling luggage.

Cornish views.

EXT.  COUNTRY ROAD.   DAY.

A single decker bus winds its way along the road.  As the bus comes closer, we see HILDA in a seat by the window, sitting alone.

Later, the bus pulls up in Cookham.  SEVERAL PEOPLE alight.  Then HILDA alights.

EXT.  THE APPROACH TO THE HOUSE.  DAY.

HILDA approaches the house.  She passes us and looks up at the house.  Making up her mind, she goes through the front garden and up the steps.  She knocks and turns and looks at her neglected garden.  She knocks again, tries the door and goes in.

INT.  THE HOUSE.  DAY.

HILDA, timid, looks into the sitting room, she goes towards the kitchen.

			HILDA
		Cooeee!

HILDA goes into the studio, in her coat, carrying her handbag.

			HILDA
		Elsie?  Cooee, Elsie?

There is a noise up on the scaffolding which makes her jump.  Her nerves are not in a good state.  She stumbles back and looks up.

(Her POV).  Sees STANLEY gazing at her from the scaffolding, his eyes shining.  HILDA is furious.

			HILDA
		You frightened me!

			STANLEY
		Hilda...

			HILDA 
		(Completely disorientated)  I'm sorry, I'll go.  I didn't know you'd be here, I thought you were...I've come for my things.

He looks at her with shining eyes and dashes down the ladder and comes towards her.

			STANLEY
		Hilda...
HILDA backs away.

			HILDA
		What is it?  What's the matter?  Why aren't you on holiday?  Where's Patricia?

			STANLEY
		She's in St Ives.

			HILDA
		Oh I see!...no, I don't see...why is she in St Ives and you...

			STANLEY
		It's all right, she's with Dorothy.

STANLEY shakes his head impatiently and grabs both of HILDA's hands and draws her forward.  He sits her down on a chair.

			HILDA
		What is it?  What's the matter?

			STANLEY
		I've been waiting for you.

He lifts a hand to keep her in her seat, dashes about, finds three canvases and sets them down around her.  They are paintings of himself and Patricia in the nude.  HILDA gets up and peruses the paintings with an intent, serious expression.  He waits, very tense, for her opinion.  Eventually she nods slowly.

			HILDA
		You've been taking risks.

			STANLEY
		Dudley says people with think them dirty.

HILDA doesn't reply.  She looks from one picture to the other.

			STANLEY
		What do you think?

She looks again at the paintings and then turns to look at him.

			HILDA
		I think they're very tender.

			STANLEY
		I knew you'd understand.  I miss you so much.

			HILDA
		I miss you.

			STANLEY
		I didn't mean any of it.

He starts to steer her into the garden with an arm round her.  She moves unwillingly.

			STANLEY
		Patricia said I had to say those things for the divorce.

			HILDA
		Stanley, that's no excuse.  (She makes as if to go.)

			STANLEY
		I know, but wait.  Look...

Under the apple tree there is a rug, with dishes of food, decorated with flowers.  He takes her hand like a child and draws her towards the picnic on the ground.

			STANLEY
		All your favourites...cherries, Spanish cheese, marmite toast...Oh, I nearly forgot...

He puts his hand in his pocket and takes out a porkpie, brushes it off and puts it down with the rest.

			HILDA
		I'm sorry, I'm not very...(but he kneels down in front of her with a dish in each hand.)

Reluctantly, she sinks down on the other side of the rug, takes a piece of marmite toast and tries to eat.  She has trouble swallowing.

			HILDA
		Could I...could I have a drink of water?

			STANLEY (jumping up)
		Oh!

STANLEY dashes into the house, HILDA looks round at her beloved garden.  He comes back brandishing a jug and two glasses.

A little later.

HILDA, now relaxed, sits side by side with STANLEY on the grass.  There are half drunk glasses of barley water in front of them.

			HILDA
		You dear, dear, face.  Oh Stanley!  (They kiss.)

		I've been so hungry!

He breathes deep and sniffs her.

			STANLEY
		Ooh...you smell of beech nuts.  Ohhh!

He kisses her again and begins to fondle her.

			HILDA
		Stanley, can we?

STANLEY groans, buries his face in her bosom, HILDA sighs deeply and holds him to her passionately.

Close in on the glasses of barley water.  The sound of gulls.

Two paint brushes descend on the glasses and are dipped in, staining the water in the glasses with a brilliant turquoise-blue.

Pull back to -

EXT.  THE BEACH AT ST IVES.  DAY.

DOROTHY and PATRICIA, wearing sun hats, are sitting on small folding chairs, working at easels, painting.  PATRICIA puts down her brush and suns her face.

			PATRICIA
		Oh, this is bliss.

She looks across at DOROTHY who is absorbed in her work.

			PATRICIA
		Why work so hard?  Stop, breathe, enjoy life.

			DOROTHY 
		(Still working)  Consider the lilies?

			PATRICIA 
		(Groans)  Don't!  You sound like Stanley Spencer.

			DOROTHY
		Your husband!

			PATRICIA
		At least we've got a decent property now.

PATRICIA gets up and wanders off amongst the rocks.  DOROTHY, alarmed, puts down her brush.

			DOROTHY
		We're staying on at Moor Thatch, aren't we?

			PATRICIA
		(Calls)  Of course.

			DOROTHY
		Then why do we need Stanley's house?

			PATRICIA
		(Turning round)  Income, silly!  (She wobbles, standing on an uneven rock.)  That house will let at a very decent rent.

			DOROTHY 
		(Gets up, knocking things over)  Are you saying...that the only reason you married...(she walks about, kicking sand)  I thought it was...I know you love a name...(she follows PATRICIA who walks away amongst the rocks)  I can't tell what to think (stumbling after her, she sits heavily on a rock)  I can't sleep.

PATRICIA leaps up on a rock behind her and looms in a sinister way.

			PATRICIA
		Don't I know!  (She confronts DOROTHY.)  You've been sweating like a back rasher...All very well...What about me?  I need sleep too, you know, I'm liable to get ratty.

DOROTHY pulls herself together and heaves a deep sigh.

			DOROTHY
		Sorry.

DOROTHY gets up and walks back to the paintings, followed by PATRICIA.  She looks at PATRICIA'S painting.

			DOROTHY
		It's good...coming on.

			PATRICIA
		It's finished!

			DOROTHY
		Oh.

DOROTHY makes to go and sit, to start work again.

			PATRICIA
		Dodo...This is supposed to be a holiday.

Finding it hard to work, DOROTHY walks away towards the water's edge and gazes out to sea, her back to Patricia.  PATRICIA stands, watching her, making up her mind about how to deal with this.  An idea occurs to her and she plods off across the sand, fetching up at DOROTHY's elbow.

			PATRICIA
		Why don't we go abroad?  (DOROTHY looks at her, her face lightening.)  We could live for nothing.  Stanley's rents would be more than enough.

DOROTHY, furious, wheels away and goes back up the sand.  PATRICIA follows her.

			DOROTHY
		It's out of the question.  (She begins to pack up her things.)  I may go abroad on my own.

			PATRICIA
		I'd rather you didn't.

			DOROTHY
		Then please don't ask me to live off Stanley Spencer.

EXT.  CLIFF TOP - DAY.

DOROTHY and PATRICIA walking back to their cottage.  PATRICIA follows DOROTHY who is carrying all the things.

			PATRICIA
		It's my money.  I'm the one who married him.  What have you done towards it?

			DOROTHY 
		(Stops walking)  How can you think of taking that man's house?  I have to stand by and watch you cavort in order to get him to sign over...

			PATRICIA
		I do not cavort.

			DOROTHY
		Don't tell me he's had nothing from you.

			PATRICIA
		Are you accusing me of selling myself?  (TWO HIKERS go by as she raises her voice.)  I am not a whore.  (THE HIKERS look startled and hurry on.)

			DOROTHY
		(Trudging on)  Then you have defrauded him.

PATRICIA runs after her and pulls her to a halt.

			PATRICIA
		I am doing this for you...Dodo, he hasn't even touched me,  (a YOUNG COUPLE with SMALL CHILDREN pass by) I promise...well not down there...(DOROTHY walks off again.)  Everything's arranged.  I'm prepared to sit for him, that's all...You just get on with the work and leave the rest to me.

EXT.  A CAKE SHOP, COOKHAM - DAY.

Through the window we can see STANLEY and HILDA.  They come out of the shop bearing a bag of buns and, laughing together, walk down the street.

As we follow them they meet some NEIGHBOURS who stop, surprised, and say `Hello'.  STANLEY waves proudly and walks on with HILDA.

The NEIGHBOURS, man and wife, look after them then look at each other, surprised.

EXT.  THE IRONMONGERS, COOKHAM - DAY.

STANLEY and HILDA are standing outside the shop.  The IRONMONGER comes out with a rake which he gives to STANLEY who pays him.

EXT.  THE VILLAGE, COOKHAM - DAY.

STANLEY and HILDA are walking in the village.  THE VICAR comes cycling by, stops and nearly falls over with surprise at seeing STANLEY and HILDA together.

			THE VICAR
		Mrs Spencer!

			HILDA
		Vicar...(She gives him her hand, cordially.)
STANLEY stands there, grinning.  THE VICAR looks from one to the other.

			THE VICAR
		I, err...I mean, um...well...well I never, there...well, there you are.  Hahaha!  Lovely weather!

He backs off with his bicycle, not knowing what to make of them.  STANLEY and HILDA laugh.

They walk on and come to the churchyard, look at each other and, with mutual consent, wander into the churchyard.

A little later.

STANLEY and HILDA sit on an old tombstone side by side, stolidly eating buns from the bag.

			STANLEY
		Manage another?

			HILDA 
		(Mouth full)  	Mmmm.  (She takes another bun.)

BIRD SONG.

A little later.

STANLEY and HILDA lie on the grass under a yew tree, in the beautiful old churchyard.  HILDA lies back, closing her eyes and lifting her face to a slant of sunlight.  STANLEY looks round the churchyard, takes a small sketchbook out of his pocket and starts sketching, quietly.

HILDA opens her eyes and leans over to see what he is doing.

			STANLEY 
		(Gestures to the churchyard)  The holy suburb of heaven, Hilda.

She smiles at him and then sits up, her hands around her hunched knees.

			HILDA
		Stan?  Do you think what we did last night was adultery?

			STANLEY 
		(Scratches his head and adjusts his glasses)  I don't see how it can be.

			HILDA
		It can, we're not married!

			STANLEY
		We are.  In the eyes of God we are.

Silence between them as they try to work it out.

Bird song.

She takes his hand and kisses his fingers.

			HILDA
		Shall I tell you something?...I don't care if it is adultery.
			STANLEY
		Good!  (He jumps up excited.)  Good!

He plucks a branch from a nearby tree and capers round her.  HILDA laughs and throws a bun at him, scrambles to her feet.  He picks up his rake, brandishes it.

			STANLEY
		You don't know how pleased that makes me.

			HILDA
		Never mind you!  What about me!  (She walks.)  I'm a fallen woman.  (She stops suddenly on the gravel path.)  Oh dear.

			STANLEY 
		(Catching up with her)  What?

HILDA turns as he wipes the sugar from his face.

			HILDA
		Patricia...How are we going to tell her?  Oh Stanley, how can we build happiness on someone else's misery?

			STANLEY
		No, that's all sorted out...everything's arranged.

			HILDA
		What do you mean?  You don't mean she's left you!

			STANLEY
		No, no, no, she's agreed!

			HILDA
		Agreed?  To what?

			STANLEY
		She's even invited us to St Ives together.

EXT.  THE HOUSE.  DAY.

STANLEY and HILDA have arrived home.  He chucks the rake down and they go up the steps and into the house.

			HILDA 
		(Following him indoors)  And you're saying there's no bad feeling?

			STANLEY 
		(Goes through to the studio)  None at all.  She says I'm an artist.  (He gesticulates around the studio at his work.)  I must have what I need.

			HILDA
		So, does this mean we're a family again?  I can come back?

			STANLEY
		I should think so...(He starts moving his paintings restlessly from one place to another.)  Patricia doesn't want to move in here, she wants to stay at the cottage with Dorothy.  She won't mind your being here, I'm sure she won't, she says she likes your cooking.

HILDA stands in the middle of the room.

			HILDA
		Stanley, I don't think I've got this clear.  Could you explain it to me?

			STANLEY
		There's nothing to explain.  It's all arranged!

HILDA follows him around as he moves restlessly.

			HILDA
		Are you sleeping with her?

			STANLEY
		Who?

			HILDA
		Patricia.  Who do you think I meant?

			STANLEY
		Not as such.

			HILDA
		Either you are, or you aren't.

			STANLEY 
		(Backed up against the wall)  She wants to wait, until you and I are sorted out.  (He slips past her.)  To tell the truth, we've had some...difficulties.

			HILDA
		What sort of difficulties?

			STANLEY
		She can't...manage it.  There's something wrong with her.

			HILDA
		You mean you haven't been to bed with her?  Not at all?

			STANLEY
		Not as such.

			HILDA
		Don't keep saying that.

			STANLEY
		So the arrangement is...

			HILDA
		Arrangement, whose arrangement?  What arrangement, Stanley?
			STANLEY
		That I can be married to both of you.  She says, when you and I are together again, she and I can do it too.  I can have her as well.  It's what I need.  She understands that.  She's not conventional, she's an upper-class woman.

			HILDA
		So what you're saying is, after all this dreadful misery, you throwing me off, saying you never wanted to see me again, that I was boring and ugly and made you feel low, now you say you didn't mean any of that, you love me and want me here in my own home again.  At least you think you want me...if Patricia allows it.  You want me here, back as I was before...as your mistress.

Silence.

STANLEY holds a painting brush in his hand, drops it and scrabbles about picking it up.

			HILDA
		Is that what you mean, Stanley?

			STANLEY
		Put like that, yes.

HILDA tips over the side table where STANLEY is putting back the painting brush, throwing everything on to the ground.

			HILDA
		I don't know which one of you I want to kill first.

STANLEY comes towards her.

			HILDA
		No!  No more, Stanley.  (She turns away and bumps into ELSIE.)  Ohhh!  Elsie...I'll write to you about my things.  (HILDA goes out through the door, we hear her voice.)  Thank you for packing them up.  I'll arrange a carrier.

STANLEY stands bewildered.  He starts to pick up the brushes from the floor and turns for a rag to mop up water.

EXT.  THE GARDEN, AUGUSTUS JOHN'S HOUSE.  DAY.

AUGUSTUS is fishing a trout stream.  He looks round and is surprised to see STANLEY standing there.

			AUGUSTUS
		What are you doing here?

STANLEY does not reply.  AUGUSTUS carries on fishing.

			AUGUSTUS
		What do you want?

			STANLEY
		Nothing.

Later.

AUGUSTUS and STANLEY are lying back in wicker chairs with cushions, watching beautiful CHILDREN running about, barefoot.

There are one or two MALE GUESTS and a number of BEAUTIFUL WOMEN walking about.  AUGUSTUS and STANLEY watch the scene with alert interest.

A pause.  The CHILDREN move further away.

			STANLEY
		I was thinking.

			AUGUSTUS
		What?

			STANLEY
		You know about women.

AUGUSTUS looks at him drily.

INT.  AUGUSTUS' HOUSE.

On the stairs, AUGUSTUS is going up to his studio, followed by STANLEY.

			STANLEY
		What I want to know is...why must a man have only one woman?  I mean, apart from the expense...why all this possessive business?

			AUGUSTUS
		Oh, I don't stand for that.

AUGUSTUS stops on the landing and begins to grope a COMELY YOUNG WOMAN.

			STANLEY
		Intimacy is important...

EXT.  THE GARDEN, AUGUSTUS' HOME.  DAY.

Some of THE WOMEN are doing archery, watched by THE CHILDREN.  STANLEY and AUGUSTUS stand apart.  They watch THE WOMEN drawing the bow.  DORELIA picks up the bow, gives them a long look and then shoots and gets a bull's eye.

			STANLEY
		(He looks around at all the women and the children)  What I need is a dozen homes, with me as father in each.  Men get irritable because they need a change of wife, maybe just for a while.

DORELIA comes up and puts an arm around AUGUSTUS' shoulder.

			AUGUSTUS
		Right.  Spunky little turps-rag like you should be ranging the hills like a white-assed collie.

He grins, walks off with DORELIA, leaving STANLEY open-mouthed.

EXT.  AUGUSTUS' GARDEN.   NIGHT.

A large table with food and drink.  PEOPLE and CHILDREN.

STANLEY sits on the grass looking miserable.  AUGUSTUS is sitting in a chair with a large drink in this hand.

			AUGUSTUS
		The thing with Hilda - you gotta get round her, man.

			STANLEY 
		(Miserable)  How?

DORELIA, looking incredibly beautiful, comes into view and walks up to them.  She's bearing a huge platter of fruit.

STANLEY obediently takes an apple.  She looks at him gravely and then moves off.  They watch her move away.

			AUGUSTUS
		Tell her she's beautiful.  (They watch DORELIA with the CHILDREN.)  The Rokeby Hilda - best bum in Christendom.

The WOMEN dance together and a YOUNG MAN plays a pipe.

			AUGUSTUS
		(Above the music)  Tell a few lies, Stanley!

EXT.  HILDA'S FAMILY HOME IN HAMPSTEAD.  DAY.

STANLEY in an old overcoat at the door, rings the bell.

INT.  DAY.

HILDA is sitting in the drawing room, her hands clasped, her mother, MRS CARLINE, comes into the room.  STANLEY is behind her.

			MRS CARLINE
		Hilda, here's Stanley.  Whomsoever God hath joined together, let no man put asunder.

			STANLEY
		I didn't know you were going to be here.  I thought it was to be just Hilda.

			MRS CARLINE
		I am here as the wakeful shepherd.  (Her labrador pants at her side.)

STANLEY looks at her.
			MRS CARLINE
		Stanley, someone must protect Hilda's interests.

			STANLEY
		Yes, me.

Silence.

			MRS CARLINE
		Well, rest assured, she has not discussed her private affairs with -

			STANLEY
		Why not?

			MRS CARLINE
		Because I have no wish to pry into the intimate details...

			STANLEY
		Why not?  Put your oar in, she's your daughter.  I don't understand you lot.

Pause.

			MRS CARLINE
		Very well...Hilda is unhappy.

			STANLEY
		There's no need for that, none at all.

			MRS CARLINE
		Splendid!  Let every mountain of selfishness be brought low and the highway of God be made plain.  Sherry?

			STANLEY 
		(Shakes his head irritably)  No, and I do wish you wouldn't keep bringing God into it.  I know He's in everything, but sometimes you just want to be left to get on with it without God there in the way, blinding you with His light.  I'm not saying you're wrong, Ma Carline, but there's no doubt about it, you do put God first sometimes, most of the time in fact.  Your God that is.

			MRS CARLINE
		My God, Stanley, what do you mean, my God?

			STANLEY
		Perhaps that's it, perhaps that's where the confusion comes in.  We all see Him differently because He's made us all separate, so's we all get a piece of the ineffable.

			MRS CARLINE
		No doubt, Stanley.  Now, why are you here and what is the position with the second Mrs Spencer?

			STANLEY
		I love her and I want Hilda to love her.

Both WOMEN look at him, amazed.
			STANLEY
		She's delicious!  There's a radiance...the way she glides into a room...She moves my imagination.

MRS CARLINE glances briefly at HILDA, who sits immobile and without expression.

Silence.  STANLEY and HILDA will not look at each other.

			MRS CARLINE
		Well it can't go on.  Stanley, if you are not prepared to wait patiently on divine wisdom...well, it's a frightful mess but you'd better say goodbye to Hilda, here and now.  And to your offspring.

			HILDA
		(Low)  Oh, he doesn't want offspring.

			STANLEY
		I've never made a fuss.  I'm very good with children.

			HILDA
		He's jealous of his own flesh!

			STANLEY
		What are you talking about?

			HILDA
		You go on and on about you and me, how we're one.  What are children if they're not us?  How can that not move you?  Without children, we die.  In more ways than one.

			STANLEY
		Hilda, I must talk to you...(he crouches at her feet, takes her hands.)

MRS CARLINE, seeing his warmth, smiles.

			MRS CARLINE
		Dear hearts.

She puts a hand on each of their heads and closes her eyes in prayer.  HILDA closes her eyes, STANLEY joins in then opens his eyes, waiting for it to be over.

			MRS CARLINE
		Amen.

			HILDA
		Amen.

			STANLEY
		Amen.

MRS CARLINE goes.

			STANLEY
		Still the same old Ma.

STANLEY grabs HILDA by the arm.

			STANLEY
		Come on.

He rushes her out of the room.

EXT.  THE HEATH - DAY.

STANLEY and HILDA.  He is talking vehemently.  She walks off.  He follows.

EXT.  THE CARLINE HOUSE - DAY.

STANLEY is looking up at the window where HILDA sits on the sill of her bedroom.

			STANLEY
		How can you leave me?  You are me.

HILDA looks down, anguished.

			STANLEY
		Please, can't you take me as I am...I need other women...(THE CARLINE DOMESTICS crowd at the kitchen window to listen.)  I need experience.  Then I'll be able to please you more...I'll know more.  (HILDA makes to move from the window.)  Patricia says I can have as many women as I want!  (Reactions from KITCHEN STAFF.)

HILDA turns back and leans down towards him.

He steps forward, gazing up at her.

			STANLEY
		I've never not wanted you.  Never.

She looks down, her hair falling like water over the sill.  Her gaze softens.  He moves closer, cranes up at her.

			STANLEY
		It's all right.  Honestly.  Patricia says it's all right.

HILDA jerks back, infuriated.  She bangs the window down.

			STANLEY 
		(Calls up)  She likes you!

He backs away, gazing up.  In the kitchen window THE STAFF laugh.

EXT.  MOOR THATCH, THE FRONT DOOR.  DAY.

STANLEY knocks on the door.  There is a pause.  He makes to knock again and the door is opened quite violently.  PATRICIA stands there.  She glares at him.
			PATRICIA
		I have asked you, Stanley, to use the tradesman's entrance.

She closes the door in his face.  STANLEY trudges round to the side door and knocks again.  Pause.  She comes to the door.

			PATRICIA
		It's not convenient!  (She slams the door in his face.)

STANLEY walks off across the green, very dejected.

INT.  GWEN'S SITTING ROOM.  EVENING.

A comely room.  The door bell rings.  BETTY, the maid, crosses to the hall and goes to open the front door.

As GWEN puts down a tray of drinks for guests, she looks up at the sound of BETTY'S voice.

			BETTY 
		(GWEN'S POV)  Go away!  Clear off with you!  Go on, off my steps...Hop it!

GWEN goes down the hall, cranes out over BETTY'S shoulder.  We see STANLEY standing at the bottom of the steps.  He looks dreadful, wearing an old coat.

			GWEN
		It's all right, Betty.  It's Mr Spencer.

BETTY looks from GWEN to STANLEY, amazed, then gives up and goes away.

STANLEY comes in.  GWEN looks at him, at the old coat, fastened with a safety pin.

			STANLEY
		Sorry, am I early?

			GWEN
		It doesn't matter.  (She helps him off with his coat.)  Stanley, you look awful.

STANLEY goes into the drawing room.  She follows him.

			GWEN
		How's Patricia?

			STANLEY
		I don't know, she won't let me in the house.

			GWEN
		Why not?  (She takes his hat and puts it on the side table.)

			STANLEY 
		(Accusingly)  Because Hilda won't come back!  Could you persuade her, Gwen, she'll listen to you.

			GWEN 
		(Sitting him down gently)  Stanley, I love you, you know that...but I can't go to Hilda for you.

STANLEY jumps up and walks about, agitated.

			STANLEY
		What's wrong with all you women?  You'll do it on the sly...but, not...no, no, not in the open.  I am not going to be a liar.  I must have things clear.

			GWEN 
		(Mixes him a drink)  The way you want it, you mean.

			STANLEY
		It's the way all men want it.  If they'd just be honest about it.  I'd like twenty wives.  I want to be able to go from house to house...to be made welcome...I'd like to...when one of them isn't, or when she's got...or having children...anyway, you feel more alive...It's getting in the way, all this... (he sits suddenly as though his legs had given way) and now just when I need the money, Dudley says he can't sell my work.

GWEN gives him a drink.

			STANLEY
		People think it's dirty.  I've been painting Patricia in the nude.

			GWEN 
		(Leaning against the table, sipping her drink)  Hardly avant garde.

			STANLEY
		Ah, but these are too real...pubic hair...

GWEN tries not to smile at his dismal expression.

			STANLEY
		She sends me out all the time to do landscapes to pay her bills.

			GWEN
		You mean Patricia?

			STANLEY
		She won't even let me in the cottage.  I'm only allowed in the kitchen.

			GWEN
		Patricia's in the cottage?  Moor Thatch?  Not with you?

			STANLEY
		With Dorothy.

			GWEN
		(Clocks this)  So where are you?

			STANLEY
		I'm at my house.  Well not in the house.  In the studio.  She's let the house.

			GWEN 
		(Bursts out laughing)  Poor old Stanley!  (She tries to stop, but the sight of Stanley sets her off again.)  Whah ha, what does Hilda say?

			STANLEY
		That she wants to shoot me.

			GWEN 
		(Puts down her drink as the doorbell goes)  Good, I'll get the cartridges!

GWEN waves BETTY back and answers the door herself.  DUDLEY and HENRY at the door.

			GWEN
		Dudley!...(seeing HENRY)  Henry Lamb is barred.  (She stands back for DUDLEY to come in.  HENRY follows him.)

			HENRY
		No, I'm not.

GWEN kisses DUDLEY on both cheeks and takes his coat and hat.

			GWEN
		Help yourself to drink.

DUDLEY goes into the drawing room.  We hear him talking to STANLEY.

			DUDLEY
		Stanley!  How are you?

			GWEN 
		(To HENRY)  Go away, Lamb.

			HENRY
		No.

GWEN looks at herself in the hallstand mirror, patting her hair.

			GWEN
		You're a thing of the past.

			HENRY
		No, I'm not.  (He comes and stands behind her and looks at her in the mirror.)

			HENRY
		Oh, come on, one more or less.

In the drawing room, STANLEY'S POV, HENRY stands in the doorway taking in STANLEY'S appearance.

			HENRY
		Stanley.  Is that you?

			STANLEY
		Of course it's me, who do you think it is?

			HENRY
		I thought it was Stan, Stan, the dirty old man.

STANLEY turns on HENRY, DUDLEY restrains him.

			GWEN
		(To keep the peace)  Food everyone?

			STANLEY
		Yes, please.

GWEN goes.  Silence.  STANLEY looks out of temper.

			HENRY
		Well, for God's sake!  We all know...you don't have to broadcast it.

			DUDLEY
		Henry...

			HENRY
		What does he think he's playing at?

			DUDLEY
		Stanley has a lot of worrying problems.

			HENRY
		You bet he has.

			STANLEY
		Simply because I'm trying to be honest!  (He jumps up, highly irritable.)  Unlike the rest of you, I'm trying to treat women with some sort of fairness.

			HENRY
		I see, straightforward good old Stan - forgive me, my dear chap, but bollocks.

			DUDLEY 
		(As STANLEY makes to go for HENRY)  Now, Stanley...

			HENRY
		You think you need to be simple to be clear?  Here?  (pointing to his temple.)  To guard the shrine?  Tend the talent?  Well, who am I to say?

			DUDLEY
		Perhaps Stanley's right.  When his life was simple - at Cookham, well, there was so much fine work.

			STANLEY
		But not now.  Now I'm painting pornography.

			HENRY
		I saw the picture of you and Patricia.

			STANLEY
		And?

			HENRY
		I wish I could afford to buy it.

			STANLEY
		Thank you.

STANLEY cries quietly.  DUDLEY gives him a handkerchief.

			DUDLEY
		It's all right, Stanley.  It's all right.

STANLEY cries openly, like a child.

EXT.  THE HIGH STREET.

PATRICIA striding along, head up, is cut by the COLONEL and his WIFE.  She is startled.

INT.  MOOR THATCH - DAY.

A tea table is laid in the sitting room, with cups and saucers for two, sandwiches and a large cherry cake.  HILDA sits in her hat and coat, clutching her handbag.

DOROTHY enters with a large teapot.  She sits and pours.

			DOROTHY
		It's very good of you.

			HILDA
		You asked me, Dorothy, and I'm here.

			DOROTHY
		How are you?

			HILDA
		You're thinner.

			DOROTHY
		Yes...I...I've lost weight.

She passes HILDA a cup of tea and offers a plate of sandwiches.  HILDA shakes her head.  She drinks tea but her hand is shaking.

			DOROTHY 
		(Takes the cup)  My dear Hilda.

HILDA rises aghast as PATRICIA enters, pushes her back on the sofa and sits beside her intimately.

			PATRICIA
		Hilda, I do absolutely need a word with you.

			DOROTHY 
		(Shocked)  Patricia, please.

HILDA, stunned, stares at PATRICIA, who jumps up, cuts herself a large slice of cake and eats voraciously.  HILDA looks at them both.

			HILDA
		Did Stanley ask you to invite me here?

			DOROTHY
		No, no.

			PATRICIA
		Nonononono!  Absolutely not.  It was my idea.

She waves aside the cup of tea that DOROTHY is trying to offer HILDA again.

			PATRICIA
		Won't you consider coming back to Cookham?  (She takes HILDA'S cup and drinks)  It is your home, after all.  (She drinks.)  I did try to resist him.  He's very forceful.  (She bangs the cup down towards DOROTHY for a refill.)

			HILDA
		I know, but you see, Stanley puts in everything in everything he does.  Because of that, he expects...

			PATRICIA
		He feels he can behave badly!  (She drinks the new cup of tea.)

			HILDA
		He simply doesn't think.

			PATRICIA
		Well, someone must...We're in the same boat, you and I, made use of for his pathological, paintings.  There is a dark side to Stanley, Hilda, that you know nothing about.  He has urges.

			HILDA
		So do I.

			PATRICIA
		Oh, sorry.  I thought it was a lower class sort of thing.

HILDA tries to rise but PATRICIA pulls her down.

			PATRICIA
		Please!  We're on the same side. (She lifts her cup, irritably, for yet more tea.  DOROTHY rises and takes out the teapot for more hot water.)

		(To HILDA)  Can't we solve this together?

Silence.

			HILDA 
		(In a low voice)  I will consider coming back to Cookham...If you will agree to leave Stanley.

			PATRICIA
		Leave?

			HILDA
		Divorce him.

			PATRICIA
		Oh, no I couldn't possibly do that.

			HILDA
		Why not?

			PATRICIA
		Apart from anything else, I should have to name you as co-respondent.  I couldn't do that to you, Hilda, I have far too much respect for you and the offspring.

DOROTHY, re-entering with a pot, stops short at this.

			HILDA
		You won't divorce him?  They will you agree to go away?

			PATRICIA
		Go away?

			HILDA
		Give me back my house and leave Stanley alone.

			PATRICIA
		May I remind you that you are speaking to his legal wife.  There is no question of my conveying my house back to you.  We need the income from the rent to live on.

			HILDA
		But it isn't yours.

			PATRICIA 
		(Losing her rag)  Of course it's mine!  I don't mind your renting back some of the effects, or any small thing of sentimental value.  I've already allowed Stanley some pieces for the studio.

			HILDA 
		(Bravely)  I should like my linen, please, and the china.

			PATRICIA
		I'm afraid it's all in use.  Stanley comes here for tea.  He brings friends - often without appointment.

			HILDA
		May I have my things, please.

			PATRICIA
		You were using double damask table napkins as paint rags!  Nothing's worth anything.  I can read the Times through the sheets and as for the china...did you ever have a decent dinner service?

PATRICIA follows HILDA, who makes for the door.

DOROTHY holds the teapot helplessly.  PATRICIA closes on HILDA as she tries to find the door handle.

			PATRICIA
		Please won't you reconsider?  It's putting me in such a bad light.  Nobody in the village will speak to me, I'm having a horrible time.  It's different for Stanley with no background, he's nowhere to fall...anyway, he's home and dry...

HILDA manages to open the door and starts to make off, down the path.  PATRICIA, in the doorway, calls.

			PATRICIA
		All I want is to clear the atmosphere.  If people saw us arm in arm it would solve everything - Dorothy and I could get on with our lives...

HILDA looks at her as though trying to discern something and then shakes her head, comes back to the doorstep.

			HILDA
		You say you are his wife, but you don't live with him.  He says there's nothing - that you and he don't - but if that's the case and you don't want your closeness to Miss Hepworth to be invaded, then what is Stanley but a means of paying your debts?

			PATRICIA
		Oh, for heaven's sakes!  We're artists!  (As HILDA turns away down the path)  We're not conventional people.  (She stops HILDA at the gate)  Look, if you insist, I'll throw in the bed linen and the china - I can't say fairer than that!

INT.  MOOR THATCH.  KITCHEN.

PATRICIA comes in and looks at DOROTHY, who is at the sink.

			PATRICIA
		She won't have it.

She returns to main room, picks up tray of tea things, comes back, hurls them into the sink, causing damage - DOROTHY picks up the debris.

EXT.  THE COMMON OUTSIDE MOOR THATCH.

HILDA walks away , quickly at first, but as she crosses the grass she begins to falter.  And collapses.  A WOMAN with a pram runs towards her, a MAN jumps off his bike and comes to her assistance.  PEOPLE converge.  A little later, HILDA, in the back seat of a car, cranes to look at her house, turning to gaze out of the back window.

INT.  MOOR THATCH.  THE OUTHOUSE.

DOROTHY paints.  She looks out at PATRICIA, sitting on garden seat and smoking savagely.

EXT.  THE HIGH STREET.

The VICAR'S WIFE and the COLONEL'S WIFE watch STANLEY across the road, wheeling his pram.  They gossip, heads together.  

A little later.  STANLEY, passing the churchyard, gets a salute from the old GRAVEDIGGER.  STANLEY nods dismally.

INT.  HARLEY STREET.

HILDA sits.  A PSYCHIATRIST leans across the desk to her, kindly.

EXT.  HARLEY STREET.

MRS CARLINE and HILDA leave.

INT.  THE OUTHOUSE.

DOROTHY paints savagely.

Outside, PATRICIA walks up and down the window, interfering with DOROTHY'S concentration.  She puts down the brush.

EXT.  BY THE RIVER.

STANLEY paints.  TWO PEOPLE pause to watch him.  He is painting HILDA, with leaves.

INT.  HILDA'S BEDROOM.

HILDA sits.
Later.  HILDA sits, in different clothes.  The MAID enters, takes away uneaten food.
Later.  HILDA sits by the window.  She looks different.  Is she recovering?

INT.  THE OUTHOUSE.

DOROTHY painting a portrait of PATRICIA.  PATRICIA is sitting for her.

INT.  THE STUDIO.

STANLEY gazing at his portrait of HILDA.

INT.  THE BEDROOM.

HILDA sitting.  Her face is alive again, determined.

EXT.  THE CARLINE HOUSE.

The MAID comes round the side of the house.  Looks up.  HILDA is standing on the ledge outside her bedroom window.

EXT.  A PRIVATE MENTAL HOME.

In the garden PATIENTS are sitting with NURSES and ATTENDANTS.  DUDLEY walks up the main path and into the building.

INT.  HILDA'S ROOM.

HILDA, in her hat and coat, sits in an armchair.  DUDLEY puts fruit in a bowl.

			DUDLEY
		I'm sure you'll be comfortable here.

Silence.  He doesn't know what to say.

			HILDA
		How is Stanley?

			DUDLEY
		He's - he's - worried, of course.  How are you, Hilda?

			HILDA
		Me?  (Puzzled.)

DUDLEY, not knowing what to do, sits.

			HILDA
		He wrote me a letter.

			DUDLEY
		Yes?

			HILDA
		He mustn't come here, Dudley.  He hates illness.  Anyway, he has to make up his mind!  Dithering between me and Patricia!  Poor woman!

DUDLEY gestures sympathetically.

			HILDA
		It's so worrying.  How can it be a happy marriage if they're in debt?

A NURSE enters, smiles brightly and helps HILDA off with her coat.  HILDA takes off her hat and jabs a hat pin through it with a sudden savagery.  THE NURSE takes it away from her carefully.
			DUDLEY
		I must dash.  I have to...ah...I'll bring you some books. (He takes her hand.)  Try and rest.

HILDA jerks away, sits abruptly by the little writing desk by the window, rummages in her handbag.  DUDLEY, wanting to go, doesn't quite know what to do.  She turns and looks at him sharply.

			HILDA
		I've written to Buckingham Palace.

			DUDLEY
		I beg your pardon?

			HILDA
		To complain.

DUDLEY is baffled.  He crosses and kisses her, lightly, on the top of her head, makes to go.

			HILDA
		Just a minute.

HILDA is writing a cheque.  She tears it out and hands it to DUDLEY.

			HILDA
		Tell Stanley he is not to worry.

			DUDLEY 
		(Reads the cheque)  Hilda...this is for fifty thousand pounds!

EXT.  COOKHAM.

PATRICIA strides along the street.  She turns up a lane to a very small, lowly , dilapidated cottage with rotting thatch.  She opens the door.

			PATRICIA
		Stanley!

She goes round to the back, treading over an old bike with nettles growing through it - looks around, and sees STANLEY siting before an easel.  She bears down on him, looks over his shoulder.  He is painting a landscape.

			PATRICIA
		Good.

She wheels and goes.  STANLEY looks after her briefly.  He looks miserable.  PATRICIA, on the other hand, comes towards us, swinging out of the lane onto the High Street in a good mood.  She goes into the hairdressers.

INT.  THE HAIRDRESSER'S.

The OWNER, doing the one CUSTOMER in the salon, looks up as PATRICIA observes the empty salon.

			PATRICIA
		Oh good, you can give me a set.
			OWNER
		We're busy.

			PATRICIA
		I beg your pardon?

			CUSTOMER
		I think you heard what she said.

			PATRICIA
		Well bugger you.  (She goes out, slams the door.)

On the street, WOMEN hiss her.  This shakes her.

INT.  A HOSPITAL.  PRIVATE WARD.

HILDA is in bed.  STANLEY, sitting on the bed, holds her hand.  He jumps down guiltily when the NURSE comes in.

			NURSE
		Here we are.  (Puts down a tray of bread and butter and tea.)  Ten minutes, Mr Spencer.  (She goes.)

STANLEY jumps into bed with her, hands her the cup of tea.  She shakes her head.

			HILDA
		You have it, Stanley.  (He drinks.)

He helps himself to tea and bread and butter.  She watches him eat.

			HILDA
		You look thin.

			STANLEY
		Oh, never mind me.

			HILDA
		I thought they were going to murder us all. What came over me, Stanley?

			STANLEY
		You're better now.

			HILDA
		But why did I think such things?

			STANLEY
		God talked to you.

			HILDA
		Letting me think things like that?

			STANLEY
		Perhaps He was talking a little more inconveniently than usual.  (She looks away.  He closes in on her.)  I've got this little cottage now, down the road from where we were.  It's...

But he finds it hard to say that the cottage is comfortable.

			STANLEY
		Anyway, I've made up my mind.

Silence.

			STANLEY
		I'm going to divorce Patricia, then we can get married again.  You'd like that, wouldn't you - me and you, man and wife, together in the eyes of God?

			HILDA
		(Takes his hand)  Let me get better first.  I get tired, and then these silly things creep into my head.

He cuddles her.

			STANLEY
		Oh my love.  You're such a marvellous present to me.  I want to paint and paint you.  There's so Much! - I haven't started to get you right.  You're so...deep.

She opens her arms and they embrace.  The NURSE enters, affronted to find STANLEY in the bed.

			NURSE
		Mr Spencer!

STANLEY leaps out of bed, getting caught up in the bed linen and knocking the tray over.

EXT.  STANLEY'S COTTAGE.

A MAN in a brown overall knocks on the door.  STANLEY, in old pyjamas, answers.  He brightens, and watches with joy as TWO MEN deliver a double bed, manhandling the pieces with difficulty up the stairs.

Later.  STANLEY puts a cover on the double bed, smooths it and stands back, pleased.

INT.  HOSPITAL.  HILDA'S ROOM.

STANLEY on his feet.  HILDA in bed.

			STANLEY
		(By the window)  I keep seeing you...

We see his paintings and sketches of her.

			STANLEY
		...your hand on the table with the knuckles all knuckled, and your hair hanging down like water.  I need you where I can touch you, look at you.

			HILDA
		But you know every crevice, every cross-hatch surface of me.  Am I there in your heart, though?  In a way that makes it possible for us to be together?

STANLEY, in a fury, sweeps her books to the floor.

			STANLEY
		Is there no basis which would guarantee me from wanting to bang you on the head and throttle you?

He looms over here.  She flinches.

			STANLEY
		You look Down all the time!

			HILDA
		Stanley -

			STANLEY
		Look Up!  I want our life to be bliss - love on love!  Why not?!

Later.  He sits by the bed, calm now.

Silence.

HILDA'S face is cold and still, eyes like pebbles.

			HILDA  
		(She speaks dully)  I will have nothing to do with Patricia Preece.  I will not breathe the air she breathes.

Silence again.

			HILDA
		(Becomes human again, mutters)  I can't bear the idea of divorce.

			STANLEY
		Why?

			HILDA
		Because it means you had her for a wife.  You didn't!

EXT.  THE GARDEN AT MOOR THATCH.  DAY.

STANLEY is sitting under a tree, his hat in his hands as DOROTHY comes out of the house.

			DOROTHY
		I'm sorry, Stanley, she won't see you.

			STANLEY
		Why not?

			DOROTHY 
		(Sits on the bench with him)  She says she doesn't see the point.

			STANLEY
		Well I do.  Did you put it to her?  There will be no problem with the money, she'll be top of the list, Hilda insists.

DOROTHY looks in her lap.  Round the corner PATRICIA leans against the wall of the house listening, tracing with her foot in the gravel.

			DOROTHY
		She is worried about money.  (She looks up with a brief smile.)  That's always been a problem as we both know.

			STANLEY
		I should be well off by now.  As it is, I'm deep in debt.

			DOROTHY
		Yes, I'm afraid it's that that concerns her.  (PATRICIA traces the gravel.)

			STANLEY
		What's she got to worry about, the courts would be on her side.  They were with Hilda.

			DOROTHY
		Ah, but you see, she isn't sure what her situation would be in the case of an annulment.

			STANLEY
		I'd pay her anyway.  (PATRICIA lifts her head.)

			DOROTHY
		Yes, I'm sure, but with two households, your daughter's school fees, doctors' bills...How is Hilda?

			STANLEY
		Fine.  Absolutely her old self again.  I'm bringing her back to the cottage.

			DOROTHY
		Oh, I didn't know.  Is she installed?  (PATRICIA shows impatience.)

			STANLEY
		Not as such...Look, try again.  I'm not getting anywhere.

			DOROTHY
		I honestly don't think there's any point.  Not for an annulment.  If you were talking of divorce...well, Patricia did mention the possibility of settling a sum of money on her.

			STANLEY
		How much?  (PATRICIA peers at them, intent.)

			DOROTHY
		I couldn't say.

			STANLEY
		It's all the same in any case.  I haven't got any.

PATRICIA dashes out from behind the corner of the house.

			PATRICIA 
		(To DOROTHY)  You see?  And he has the nerve to turn up here, cap in hand - well let it be understood.  There are no favours here.  It's for you to maintain me, your legal wife.

			STANLEY
		Why?  I've given you everything - my house - I married you because you wanted it, the minute the ring was on your finger you wouldn't let me through the door!  I've looked a complete fool to the whole world, I don't know how I've kept my sanity.  As for what you did to Hilda it's enough to put me in mind of murder.

			PATRICIA
		Dorothy, please be a witness to that threat.

			STANLEY 
		You...have the mouth of a pike, the beak of a cuttle fish and the eyes of a conger eel.

			PATRICIA
		Oh, really?  Well, you common little man, you can take your hat and go because there's nothing for you here.

			STANLEY
		Too right!  I've done you all the favours!

			PATRICIA
		You?  What have you ever done for me?  Did you help me get a show?  No, of course you -

			STANLEY
		If I didn't pull more strings it's because you don't work!  All you do is spend money and crawl around that Bloomsbury lot.

			PATRICIA
		Who've been a damn sight more use to me than you every were!

			STANLEY
		So you suck up to them.

			PATRICIA
		How dare you insult my friends!

			STANLEY
		Friends?  You don't know the meaning of the word.  You're trade...I've seen better class in Bermondsey market.

			PATRICIA
		I should like my father to hear you say this.

			STANLEY
		That's not likely.  I've never been allowed near the poor little bugger.  You cleaned him out before you started on her...and then me!  What is it about you that makes you think you're some sort of princess?  That you just have to grace us with your beauty and your wit.  Not to mention your talent.  You are not beautiful.  You lack wit.  You smell like an old fox and you are sinning against the Holy Spirit when you dare to parade before the world calling yourself an artist!

PATRICIA spits in his face.

			PATRICIA
		I suggest, you little guttersnipe, that you begin to take me seriously.  You and your hag can do and say what you want.  There will be no annulment.  I am Mrs Stanley Spencer.  You will continue to support me and you and your sad ugly mistress can learn to live with that.  Get out.

She goes.

			DOROTHY
		I'm sorry.

			STANLEY
		You can't honestly be taking her side.

			DOROTHY
		Who else will?

STANLEY looks at her and goes.  PATRICIA returns.

			PATRICIA
		Has he gone?

			DOROTHY
		Yes.

PATRICIA sits on the bench and crumples and starts to cry.  DOROTHY puts an arm round her.

			DOROTHY
		Don't give way to despair, darling.

			PATRICIA 
		Oh God, I'm sick of myself.

			DOROTHY 
		Don't give way.

INT.  HOSPITAL - DAY.

GWEN and STANLEY in a hospital corridor.  They talk quietly.  A NURSE beckons them in to Hilda's room.  STANLEY stands by the door as GWEN sits by HILDA who looks very ill.  GWEN takes HILDA'S hand, bends over her and kisses her.  She then leaves, brushing past STANLEY with tears in her eyes.  STANLEY closes  up, fetches a chair and sits by HILDA.

			STANLEY
Well?

			HILDA
		They're going to take off my breast.

			STANLEY
		Oh ducky, which one?

			HILDA
		The left.

			STANLEY
		Betsy...you'll still have Beatrice.  You'll be an Amazon, dearest.  That's all right, one of a brave and noble race of women.

			HILDA
		I hated telling you.

			STANLEY
		It'll be all right.  I'm here.

INT. DAY.

STANLEY sits by HILDA'S bed.
Later.
Stanley sits by HILDA'S bed.
Later.
STANLEY by HILDA'S bed.  She turns her head slowly and smiles at him.

INT. - THE HOSPITAL.

A long corridor.  STANLEY, looking small and alone.  He holds his hat.  DUDLEY and GWEN arrive.  He makes to go back into the room but they coax him away gently.  His legs almost give way for a moment.

EXT.  COOKHAM CHURCHYARD.

INT.  CHURCH.

HILDA'S funeral service is in progress.

EXT.  CHURCHYARD.

The MOURNERS leave the graveside quietly.  They pause.  STANLEY is by the grave.  The others look at one another and walk away, leaving STANLEY alone.

EXT.  STANLEY'S COTTAGE.

INT. AND EXT.

A small wake in progress with DUDLEY, GWEN, PANSY, DAPHNE, AUGUSTUS, ELSIE, ENA, DORELIA, HENRY, and the VICAR and his WIFE and VILLAGERS.  Through the small window we see STANLEY approaching.  GWEN moves to greet him but he dashes straight up the little staircase.  The OTHERS react.  His pain is hard to take.

INT.  TINY COTTAGE BEDROOM.

STANLEY has laid HILDA'S things on the tiny wash-stand.  He touches them - picks up her comb, smells it, combs his hair.  He goes to the closet - touches her clothes.  He takes out her old cardigan, and puts it on.  He sits on the bed.  He has come to the end of himself.  Outside, in the garden, people are talking.  It offends him.  He gets up - goes to the window.  Outside there are surging willows, and black clad PEOPLE...in the sky, black rooks.  Without thinking, he puts his hand in the pocket of his black suit, takes out a sketch book and pencil and starts to sketch.

The scene outside becomes a series of STANLEY paintings of people and birds flying among the willows.  At first black and grey, they begin to be coloured and to be scenes of Boulter's Lock, and happy festivity, full of colour and light.

INT.  BUCKINGHAM PALACE.

STANLEY, his hair now grey, receives his Knighthood.

EXT.  Same scene as at the beginning.

STANLEY, at a distance, approaches us on a country lane, pushing his pram.

EXT.  COOKHAM VILLAGE.  DAY.

A general view of the High Street.  An ERRAND BOY rides past on a bicycle with a basket full of things.  AN ELDERLY MAN crosses with his dog.  We pass down the street and away over common land, to the path where STANLEY is sitting on his little chair.  His easel is set up with a canvas and his old pram is nearby.  A WOMAN with a shopping basket passes by.  She's young, comely.

			STANLEY 
		(Calls out)  Morning Phyllis.

But MRS BELLAMY can only giggle at the sight of him and hurry off.  A WORKMAN cycles by on the path.

			WORKMAN
		Morning Mr Spencer.  Oh, I got that wrong, aint I?  (He skids to a halt on the dirt.)  Be Lord Spencer now, eh?

			STANLEY 
		(Laughs happily)  No.  It's Sir Stanley.

THE WORKMAN gets off his bike, reverently.

			WORKMAN
		My word!

			STANLEY
		I still fart, you know.

That makes the WORKMAN laugh.  He touches his cap, gets on his bike and rides off.
STANLEY sits back on his little stool.  He gazes round at the trees, the river beyond and the sky.  Looks briefly at the half-finished canvas.

			STANLEY
		Up at five as usual, ducky.  I cooked myself a proper breakfast this morning, and washed up.  Sun's coming.

ELSIE comes across the green.

			ELSIE
		Morning, Sir Stanley!

			STANLEY
		(Smiles happily)  Morning, Elsie.

			ELSIE
		Not working, then?

			STANLEY
		I'm waiting for the light on that puddle so's I can begin where I left off yesterday.

			ELSIE
		We're ever so pleased.  All of us.  Puts Cookham on the map, ey?  Sir Stanley!

			STANLEY
		I know!  (They both laugh.)

			STANLEY
		Still...

			ELSIE
		Still.

They savour the moment.

			ELSIE
		Well, I must get on.  I've got to cut some greens for his dinner.

STANLEY watches her go.

			STANLEY
		Never did get those buttocks right.  (He looks up at the sky.)  What I need...is a good English wind to blow away all that cloud.  I want a clear sky and a good mix of blues, then I'll knock it down with tone.

THE VICAR rides by.

			VICAR
		Congratulations, Stanley.

Across the green, PATRICIA and DOROTHY walk to do their shopping in the village.  TWO BOYS arrive and watch STANLEY work.  We close in on the VICAR, who, as he passes DOROTHY and PATRICIA, salutes.

			VICAR
		Good morning Mrs Hepworth, Mrs Spencer.

			PATRICIA 
		(Calls out)  Lady Spencer, if you don't mind.

They come along the road towards us, as THE VICAR rides off behind them.

			PATRICIA
		Common little man...Well, they're all going to have to bend the knee to me now.

On the green THE BOYS, BRIAN and TIM, lean close.  TIM is climbing on the railing by the edge of the field.  BRIAN looks at the painting with serious intent.

			BRIAN
		Why are all the people funny shapes?

ELSIE, returning with her greens along the path, waves, and then bends to do up her shoe, presenting her large bum.  STANLEY looks across at her whilst he is painting and THE BOYS laugh.

SUMMERS, a reporter, hurries after PATRICIA and DOROTHY.  THE VICAR has pointed them out.  He catches them up, slightly breathless.

			SUMMERS
		Lady Spencer?  I do beg your pardon.  I wondered if I might have a few words.

			PATRICIA
		Who are you?

			SUMMERS
		The Times.  Congratulations on your elevation, much deserved if I may say.

He walks along with them, in the gutter, trying to keep up with them.  Over on the green, THE BOYS are absorbed by Stanley's painting.

			BRIAN
		We've got a painting of Jesus at school.

			TIM
		With a lamp in his hand.

			BRIAN
		Outside the privy.

			STANLEY 
		(Painting)  Yes.  I think I may have seen that one.

			BRIAN
		Yours are good, though.

They watch STANLEY work.

EXT.  THE WAR MEMORIAL - DAY.

PATRICIA and DOROTHY are sitting on a park seat with SUMMERS in attendance.
			SUMMERS
		Was it a surprise, the knighthood, ladies?...after all, Sir Stanley's from quite an ordinary background, I mean before -

			PATRICIA 
		(Rising)  This is Miss Hepworth.  Dorothy Hepworth.  We are both painters of repute.  You might make a note of that.

SUMMERS realises he's losing her.

			SUMMERS 
		(Calls)  I believe you are no longer living together.

PATRICIA glares at him, fearfully.

			DOROTHY
		Sir Stanley needs a good deal of solitude for his work.

			SUMMERS
		I mean as man and wife.

			DOROTHY
		I don't think we need to go any further with this.

PATRICIA turns to go.

			SUMMERS
		Sorry, didn't mean to intrude.  (He follows them.)  If I could just have a few words about Sir Stanley's work.

			PATRICIA 
		(Turns on him)  Most of Stanley Spencer's work, in my estimation, and I was trained at the Slade, is either vulgar, or deranged.  Good day.

PATRICIA goes, leaving DOROTHY and SUMMERS standing by the War Memorial.  DOROTHY makes to follow her and then pauses.  SUMMERS is after her immediately.

			SUMMERS
		Miss Hepworth?

			DOROTHY
		I...(She leans on her umbrella, undecided.)

			SUMMERS
		Yes?

DOROTHY turns and looks around the village.  She looks at the memorial, at the trees, at the street and then at SUMMERS.

			DOROTHY
		I'd like to say that Sir Stanley Spencer is rightly acclaimed as one of England's greatest painters.  He has, how shall I say...there is a sort of unique, human clumsiness about his work.  It's deliberate, of course.  He paints people, trapped, as it were, in their own flesh, pinned down to this earth and yet they seem to soar and he makes that seem so very possible.  You'll have to look very hard to find a better draughtsman, and for invention, he has no peer.  Everything is celebrated and revered with the most tender spiritual equality.  I'd particularly draw your attention to Sir Stanley's colours.  Without shouting, they nonetheless show the most infinite variety of subtlety and tone.  Very English.

During the above, there are shots of Cookham, the trees, Stanley's paintings, real people mixed with Stanley, so that the Montage becomes a whole, the one indistinguishable from the other.

			SUMMERS
		Thank you, Miss Hepworth.

			DOROTHY
		Good day to you.

Over on the green, THE BOYS are still leaning over STANLEY'S shoulders.  They watch, absorbed.  The church clock sounds the hour.

			TIM
		Ooh!  Come on, our Brian!  `Bye, Mr Spencer.

			BRIAN
		So long, Mr Spencer.

			STANLEY 
		(Busy)  `Bye-bye.  `Bye.

THE VICAR cycles past again.  The town goes quiet.  STANLEY works.  Birdsong.  THE COLONEL and his WIFE approach.

			COLONEL
		Morning.  (STANLEY, slightly surprised, nods and smiles.)

			COLONEL'S WIFE
		(Fawning)  Congratulations, Sir Stanley.

STANLEY smiles politely.  The COLONEL peers at the painting.

			COLONEL
		Funny angle, that.

			STANLEY
		It's the short perspective.

The COLONEL looks baffled.

			STANLEY
		I'm seeing things a bit from above, don't you know, the way God would see them.  Looking down, with love.

			COLONEL
Oh, ah, yes...I see.

COLONEL and HIS WIFE go.

PHYLLIS returns in a hurry, laden with shopping and giggles in a friendly way as she passes.  STANLEY smiles.  She is pretty.

Alone he works, humming a hymn to himself.  He looks up from time to time at the scene he is painting.

			STANLEY (V/O)
		Remember when I came down to Devon that time, and we slept in a beach hut and you said the sea was like opals?  Oh, ducky, I feel so close.  It makes me feel nearer to heaven with you there.  I see this great picture of God and all His Angels sitting on all these beautiful clouds and on His left hand sits Bach and on His right hand, Stanley!  I'm only joking, of course.  You'll love this when it's done.  I'm doing Christ glorying in His gorgeousness, lying down amongst buttercups - rather far from Holy Writ I daresay, but, well...

			STANLEY
		You know what, Hilda?  I think the artist is mediator between God and Man.  Like the saint, he performs miracles.  With God's help, of course...God's at his elbow, telling him what to rub out.

STANLEY stops work and sits still, his hands slack in his lap.

			STANLEY (V/O)
		You didn't look after yourself, you know.  You should have done.  For me and the girls.  You should have thought about yourself more.  Made sure you were happy.  Then you wouldn't have been so ill...we wouldn't have to...

He can't go on.  There are tears on his face.  It takes a while to recover.

			STANLEY
		I'm not lonely.  (He looks up at the sky.)...I loved being with you, but I enjoy it on my own.  You're here in my imagination.  In some ways it's better.  I make up the answers for you and sometimes...well... sometimes they suit me better, I hope you don't mind.  (He looks round and sees PEOPLE in the distance.)  People often ask me if I'm lonely.  I say no, I'm not lonely.  I've had a great love.  I've been blessed.  God blessed me with a talent, and a great love.  Now I'm alone to get on with the work.

STANLEY lifts his brush again, dips and mixes paint.

			STANLEY (V/O)
		Sorrow and sadness is not me.

A little later.  STANLEY rises and stretches.  He looks down at his canvas and looks pleased with what he sees.

			STANLEY (V/O)
		Beautifully done.

He packs up his things as we draw away from him, and puts them in the pram and trudges off, until we can't see him any more.  The camera closes in on a piece of foliage that becomes part of the Resurrection in The Tate.  THE SMALL BOY looks up at the picture during the credits.

END CREDITS.

THE SMALL BOY walks off.