PROJECT SUBMISSION PACK
FILM: Time of Their Lives
DATE: July 2015
1. Submission Form p2
2. Information Pack p3
3. Sales Estimates p5
4. Script Report p6
5. Script p9
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PROJECT TITLE: Time of their Lives DATE: 05.06.15
APPLICANT DETAILS APPLICANT CONTACT DETAILS NAME: Paula Crickard ADDRESS: 249 Grays Inn Road POSITION: Producer COMPANY Finite Films TEL: 07817518389 EMAIL: [email protected]
PROJECT DETAILS PRODUCER/S Sarah Sulick (Honeytrap, The BUDGET: £2m and CREDITS Waiting Room) PRODUCTION Bright Pictures (UK) Finite (UK) Telegael Tele Roger Goldby COMPANIES & (EIRE) GENRE: Comedy drama NATIONALITY:
NAME CREDITS (1 or 2) Approached Confirmed DIRECTOR Roger Goldby The Waiting Room, Love & Marriage CAST 1 Dame Joan Collins Dynasty, Pacific Palisades CAST 2 Pauline Collins Shirley Valentine, Quartet CAST 3 Franco Nero Die Hard 2, Django Unchained CAST 4
SHOOTING SCHEDULE – Prep, Principal, Post, delivery SHORT SYNOPSIS / LOGLINE prep August - September Produced by Sarah Sulick for Bright Pictures, TOTL also has THE Shooting Sept 27-November 3rd KING’S SPEECH designer Eve Stewart on board, together with three- Post Nov-Feb time Oscar® winner Sir Tim Rice who will executive produce and oversee the soundtrack.
Joan Collins plays a former Hollywood star who escapes her London retirement home and travels to France to gate-crash her ex-husband’s funeral. Pauline Collins plays a housewife with a failing marriage who joins Collins on the trip. Along the way, the pair becomes romantically embroiled with a reclusive Frenchman played by Franco Nero.
FINANCE DETAILS FINANCIER NATURE OF INVESTMENT AMOUNT £ % BUDGET Proposed Approached Confirmed Telegael Equity 1m 50 Private EIS 250k 10 NIS Equity 100 5 Irish Gov. Tax credit 300k 15 % Premiere Stakeholder Proposed Corridor 1st Telegael, NIS TBC recoupment BOND schedule 2nd for all 3rd EIS AUDITOR financiers: 4th 5th
SALES INFORMATION SALES AGENT: Fortissimo SALES ESTIMATES CONTACT: LOW: 2m TEL: MEDIUM: 3.3m EMAIL: HIGH: 5.1m
TERRITORY DISTRIBUTOR MG RIGHTS TBC
COPRODUCTIONS COUNTRY % SPEND DETAILS N/A Ireland 70% Telegael Studios UK 30% Norther Ireland & England
A BRIGHT PICTURES PRODUCTION
A FEATURE FILM BY THE ACADEMY AWARD NOMINEE ROGER GOLDBY
THE TIME OF THEIR LIVES JOAN COLLINS PAULINE COLLINS FRANCO NERO IT’S NEVER TOO LATE TO HIT THE ROAD
UK / English / Drama, Comedy / Pre-production THE TIME OF SYNOPSIS: THE TIME OF THEIR LIVES is a feel-good character-driven comedy from writer- THEIR LIVES director Roger Goldby (THE WAITING ROOM, CALL THE MIDWIFE). With an all-star cast including Hollywood legend and Golden Globe® winner Joan Collins, BAFTA® Award- BY ROGER GOLDBY
CAST: Joan Collins as Helen Pauline Collins as Priscilla designer Eve Stewart on board, together with three-time Oscar® winner Sir Tim Rice Franco Nero as Albert who will executive produce and oversee the soundtrack.
CREW: Joan Collins plays a former Hollywood star who escapes her London retirement Produced by: Sarah Sulick home and travels to France to gate-crash her ex-husband’s funeral. Pauline Collins Writer: Roger Goldby plays a housewife with a failing marriage who joins Collins on the trip. Along the way, the pair becomes romantically embroiled with a reclusive Frenchman played by Three-time Oscar Winner Franco Nero. Executive Producer: Sir Tim Rice ABOUT THE DIRECTOR: Write r/Director – Roger Goldby Multi Award-winning, 3-time Oscar Nominated Production Designer: Eve Stewart
Oscar and BAFTA-nominated WAITING ROOM and together they formed Bright Pictures. The company’s mission is Director of Photography: Danny Cohen BSC Casting Directors: John & Ros Hubbard Rupert Graves, premiered at the Edinburgh International Film Festival in 2007 where DIRECTOR’S SELECTED FILMOGRAPHY: it was selected for “Best of the Fest”. INSPECTOR GEORGE GENTLY (TV, 2015) CALL THE MIDWIFE (TV, 2013) for the US; and E1 Entertainment for Canada. It was released in UK cinemas in 2008 LOVE & MARRIAGE TV, 2 and was critically acclaimed. THE WAITING ROOM (feature, 2007) LILIES CUTTING IT TV, 2 director who works all over the world. His recent TV credits include “INSPECTOR HEARTS AND BONES TV, 2 GEORGE GENTLY (Company Pictures) for BBC One, ”CALL THE MIDWIFE” (Neal Street) IT’S GOOD TO TALK (Short, 1997) for BBC One, “LOVE AND MARRIAGE” (Tiger Aspect) for ITV, “HUSTLE” (Kudos) for BBC One, and “DEATH IN PARADISE” (Red Planet) for BBC One.
HEAD OFFICE E-mail: [email protected], Ph: +31 20 627 3215 Van Diemenstraat 100, 1013 CN Amsterdam, The Netherlands ASIA OFFICE E-mail: [email protected], Ph: +852 2311 8081 Unit A, 26/F., 289-295 Hennessy Road, Wanchai, Hong Kong
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PROJECT COVERAGE FORM
TITLE: The Time of Their Lives AUTHOR: Roger Goldby SUB TO: Alena Walker SUB BY: Paula Crickard FORM: Script LENGTH: 105 pages BASED ON: N/A LANGUAGE: English BUDGET: £2 million GENRE: Comedy drama LOCATION: London, France PERIOD: Contemporary READER: Lucy Barrick DATE: 3/7/15
ELEMENTS: PRODUCER: Paula Crickard, Sarah Sulick DIRECTOR: Roger Goldby WRITER: Roger Goldby ACTORS: Joan Collins, Pauline Collins, Franco Nero
LOGLINE: An ageing actress persuades a downtrodden grandmother to travel with her to France for the funeral of an old friend
COMMENT SUMMARY: Thelma and Louise meets Shirley Valentine in a sweet, if contrived, OAP comedy drama. Tapping into the grey pound market exemplified by The Best Exotic Marigold Hotel, this has the benefit of well-loved, high-profile actresses Joan Collins and Pauline Collins, as well as similar glamorous locations, in this case the South of France. The examination of female friendship is nicely done, as is the love triangle between the two women and the rich, sexy Frenchman. However, the plot is cheesy and the sentiment rather too clearly designed to tug at the heartstrings.
Excellent (4) Good (3) Fair (2) Poor (1) PREMISE X STORYLINE X CHARACTERISATION X DIALOGUE X STRUCTURE X PACE X ORIGINALITY X AUDIENCE APPEAL X TOTAL 15 6
OVERALL SCORE: 21/32 = 66%
CHARACTERS: PRISCILLA (70s) a longsuffering wife, mother and grandmother HELEN (70s) a former famous actress now living in a care home FRANK (72) Priscilla's mean and bitter husband ALBERT (70s) A rich and famous Frenchman
PREMISE: Priscilla, a grandmother, is browbeaten by her awful husband. She gets sucked into the world of 70-year-old former actress Helen, who is clinging to the last vestiges of her youth and attractiveness. The pair run off to France to attend the funeral of a director that Helen knew – but both women have their secret reasons for wanting to get away. They are also both swept off their feet by rich, handsome Albert, who comes to their aid when their car breaks down. But with a love triangle burgeoning and the women's pasts catching up with them, the truth will have to come out eventually.
SYNOPSIS: Highgate swimming ponds, London, July. PRISCILLA (70s) swims expertly, then returns home to her unpleasant, moody husband FRANK (72). She says it would've been George's 40th birthday, and is shocked when Frank replies, "if it hadn't been for you". At the same time, HELEN (70s) puts on her wig and make-up in a nearby care home, and packs a small suitcase. Frank and Priscilla are in the local shop, arguing, when Helen comes in to buy cigarettes. Outside, she drops her purse. Priscilla helps Helen with her bags and on to a coach full of care home residents. But the DRIVER shuts the doors and drives off. Priscilla tries to explain but the CARER doesn't want to hear. Helen says she should just enjoy the free trip to the seaside. She then adds that she's going to drown herself when they get there. A furious Frank watches the coach drive off.
Priscilla's daughter SARAH drops her kids JOE and POLLY off with a panicked Frank. Priscilla tries to call home from a service station but nearly misses getting back on the coach. Priscilla tells Helen that her husband is dead. At the seaside, Helen and Priscilla go for a drink. Helen is a famous former actress and her dear friend, director Jerry Standing, just died. His funeral is in France in a few days. Helen says she needs to go in order to reinvigorate her career, and tries unsuccessfully to persuade Priscilla to accompany her. Helen walks off. Priscilla tries to phone home, but finds her purse is missing. She talks to Frank, who is as rude and unpleasant as ever. Priscilla is on the coach back, and sees Helen on the hard shoulder. In an attempt to force her onboard, the driver and carer step off. REG gets into the driver's seat. Priscilla helps Helen onboard, who tells Reg to shut doors, leaving the driver and carer outside. Reg drives the coach (badly) to the ferry terminal, and the two women leave.
Helen and Priscilla sneak on to a ferry with another OAP party. Helen pretends to faint to distract the PASSPORT CONTROL OFFICERS. On board, Helen is drinking heavily. Priscilla sees her missing purse in Helen's bag. As they leave the ferry, Priscilla leaps into the water to save a LITTLE BOY from drowning. Next morning, she comes to in hospital. Helen is smartly dressed, and says they have to leave – and that she "found" Priscilla's purse. A JOURNALIST is waiting outside. Helen tries to woo the cameras but they are actually interested in Priscilla's heroics. The boy's MOTHER thanks Priscilla, but she angrily tells her she should be more careful. Priscilla says she's going home, and Helen tells her she knows her husband isn't dead – she saw him with her at shops, and he's a bully and a tyrant. She asks how Priscilla lost her son – she says he drowned. Helen says they're the same, but Priscilla walks off.
Sarah is worried and calls the police. A POLICEWOMAN is attempting to interview a grumpy Frank when the TV news shows Priscilla and Helen in France. Priscilla goes to the ferry terminal. Helen unsuccessfully attempts to hitchhike to Il De Re. She's giving up hope when a taxi pulls up – with Priscilla inside. They go to dinner. Priscilla says Frank blames her for George's death – he drowned in the river when she took her eyes off him to deal with his sister. Helen says she never married or had kids (but we see her looking wistful). They decide to go to the funeral, and steal a car. En route, they run out of petrol. They're stranded in the middle of nowhere, but are rescued by ALBERT (70s, long hajr), who recognises Priscilla from the news. He drives down deserted roads to a huge chateau. His severe nurse SYLVIE answers the door, and says she'll phone for a taxi, but Helen forces her way in and Albert tells her to look after his guests.
The trio have dinner. There are romantic sparks between Albert and Priscilla. Helen is very forward, especially when Albert admits he's rich and famous. Priscilla is troubled by her arthritis, and Albert comes to her bedroom and brings her a joint to smoke. Helen is jealous. The next morning Priscilla goes for a swim in the pool and Albert joins her – naked. Despite Sylvie's protestations, Albert offers to drive them to the funeral. When they arrive at the hotel, Albert is greeted by paparazzi. Priscilla is going to knock on Helen's door but Albert wants to take her out for dinner a deux. She agrees, but Helen overhears everything. Upset, she goes to Jerry's house. His daughter LUCY (50) and granddaughter ELEANOR (12) are there, and happy to see Helen. She's touched but emotional. Lucy says producer HARRY in town, and Helen's face drops. Lucy asks her to visit them after funeral. Helen asks if Lucy ever tried to find her real mother, and she says no.
Albert says she Priscilla could come and stay with him, but she gets cold feet. She sees Helen in the hotel bar, singing My Way. Lucy has followed her and listens, as does Priscilla. Helen is superb. But she's devastated when she sees Lucy, who looks disgusted and leaves. Priscilla goes to Albert's room. They spend the night together. When she wakes up in the morning, he's dead. Priscilla panics, and Helen says they can't tell anyone, because the funeral's at noon. But a MAID discovers the body and the MANAGER calls the police. Priscilla sees Frank, Sarah and the children arrive. Sarah says she must come home. But Helen begs her and they take Albert's car to funeral. The funeral is a star-studded affair. Harry is angry to see Helen there, and says they had a deal. Lucy gives a moving reading of a poem. But then Helen stands up and tells everyone that she's Lucy's real mother. Lucy and her HUSBAND ask Helen to leave. Outside, Priscilla and Helen are taken in by a POLICE OFFICER, to be questioned over Albert's death.
The police let the women go – Albert died of a heart attack. Helen and Priscilla have a furious row over her behaviour. Helen leaves. Priscilla returns to the hotel, and Frank is still horrible. They start driving home, and Priscilla is crushed into the back seat of the car with the kids. She finally speaks up and tells Frank it's not her fault that George died. She makes Sarah let her out of the car. Franks says he's sorry but it's too little, too late. Priscilla walks away happily. She tries to find Helen, but she's checked out of the hotel. Priscilla realises she's gone to the beach to kill herself. She finds her, fully clothed, up to her waist in the water. Priscilla tells her she did the right thing in reaching out to Lucy, and let's her know that she's left Frank. Now they can enjoy the rest of their lives.
COMMENTS AND SUGGESTIONS:
Aimed fairly and squarely at the grey pound, this is Thelma and Louise meets Shirley Valentine (and even has Pauline Collins attached to star!).
This starts well, with the two very different women forced together. It also has two mature female characters who are well-rounded and far from perfect. Helen's a selfish egomaniac, while Priscilla's a doormat, and each is reluctant to take responsibility for their own happiness. But we see them forced to confront their own issues due to their sudden friendship, and that's believable and rewarding.
The love triangle with the two women and Albert is good, with both of them seeing him as a way out of their predicaments. The way he rides to the rescue, and turns out to be rich, famous, handsome – and available – is a nice touch. And when Priscilla and Albert spend the night together, it's actually really sweet and tender. Sadly, the writer totally ruins this by having things descend into farce when Albert dies in the night. From then on, it's all a bit naff.
There is also a bit too much cheap sentiment and melodrama. The device of a dead child is rather a convenient way to pile on some grief and regret, and feels manipulative. And even with Priscilla's deep guilt, I still wonder whether she'd put up with her cartoonishly unpleasant husband for so long. And having the threat of suicide hanging over Helen is also a lazy plot device. Similarly, it's abundantly clear that Helen had given up a child as a young woman. But the writer at least refrains from having a tearful mother/daughter reunion.
There are some funny moments, such as Albert getting naked in the swimming pool, and Helen saying to Priscilla, "admit it, you thought I was dead", or when she describes the upcoming funeral as " just like the Academy Awards, a little sadder, but not much". Helen's incredible vanity and bitchiness would also provide humour. There's also a lot to be made of Joan Collins sending herself up, which would be very enjoyable.
POTENTIAL: Basically, with Joan Collins, Franco Nero and Pauline Collins in the lead roles, this will sell – certainly in the UK and potentially in Europe. International appeal would be more limited, however. But with the addition of a few well-loved character actors in supporting roles, and the benefit of glorious, sunny South of France locations, this could be very appealing to mature audiences. The script could do with being less farcical and cartoonish, and a bit more subtle, but again I think there's enough here to satisfy a general audience. THE TIME OF THEIR LIVES by Roger Goldby
An original screenplay
Revised Ninth Draft March 2015
Contact: Sarah Sulick Bright Pictures Ltd. 52 Talbot Road London N6 4QP Tel: 0208 341 4268 1.
1 EXT. HIGHGATE OUTDOOR SWIMMING PONDS, LONDON - MORNING 1 Dawn over London. PRISCILLA (sprightly 70’s) wearing a one piece swimming costume, swimming hat and goggles, hurries across damp grass towards a wooden jetty. She climbs down the short ladder and without hesitation immerses herself into the water and pushes off, breaking into a slow but expert front crawl. PRISCILLA swims steadily across the pond, her body just breaking the mist as she goes.
2 INT. OLD PEOPLE’S HOME. HELEN’S BEDROOM - DAY 2 Close up on last remains of a crumbly red lipstick being painstakingly applied to lips, a wavy line of eye liner being drawn beneath an eye, cheeks being rouged. Cut to reveal HELEN (70’s) a striking heavily made up woman sitting at a dressing table in a small drab institutional bedroom. Dressed in drab slacks and a plain blouse and cardigan she is busy adjusting a by contrast glamorous jet black wig which has seen better days. Taking great care to make sure it is sitting straight and that no grey hairs are showing.
3 EXT. HIGHGATE OUTDOOR SWIMMING PONDS, LONDON - MORNING 3 At the other side PRISCILLA floats on her back, motionless, eyes closed, lost in thought.
4 INT. OLD PEOPLE’S HOME. HELEN’S BEDROOM - DAY 4 HELEN carefully folds an old but well preserved Chanel suit and places it in a small case. Then from inside a diary HELEN takes out a battered old black and white publicity still of her in her 20’s, posed, achingly beautiful. She looks at it, then back in the mirror where she puts on a smile, cocking her head to one side flirtatiously to mimic the photograph. Satisfied she relaxes the pose and puts the photograph away in her bag.
5 EXT. HIGHGATE WOODS - MORNING 5 The morning sun rises through the trees. PRISCILLA, rolled towel under her arm, wanders through the woods, stopping every now and again to carefully add a flower to a small bunch she has collected. 2.
6 INT. OLD PEOPLE’S HOME. HELEN’S BEDROOM - DAY 6 HELEN fastens a necklace with a small gold locket round her neck. Adjusting it to sit correctly she clasps the locket for a moment, closing her eyes in thought. She is interrupted by knocking on her door. MATRON (V.O.) Hurry up, we’re all waiting.
7 PRISCILLA'S DINING/LIVING ROOM - DAY 7 PRISCILLA carefully arranges the flowers in a small vase, she hesitates before placing them on a neatly laid breakfast tray. Picking up the tray she goes through to the dining/living room where FRANK (72), her husband is waiting at the table reading the newspaper. He barely looks up as she arranges the contents of the tray carefully in front of him, just so, leaving the flowers to last. PRISCILLA Aren’t they pretty. FRANK ignores her as she pours his tea. PRISCILLA (cont’d) (Hopeful) Make today a little special? FRANK looks up at her blankly. PRISCILLA (cont’d) (Taking a deep breath) It’s George’s birthday, he would have been 40 today. FRANK (Looking up at her) If it hadn’t been for you, you mean? PRISCILLA looks at him in shock. FRANK (cont’d) Take them away. PRISCILLA hesitates for a second then picks them up. FRANK (cont’d) Anyway, you shouldn’t pick wild flowers. It spoils it for everyone else. She retreats back into the kitchen. 3.
8 INT. PRISCILLA’S BEDROOM - DAY 8 PRISCILLA sits at her dressing table, the vase of flowers in front of her. Using a small key to open a drawer below the mirror, she takes out a small flat box, opens the lid and removes a photograph wrapped in tissue paper. She carefully unwraps it to reveal an old colour photograph of a smiling little boy age 4 in a small card frame. He’s positively beaming, PRISCILLA sits for a moment and looks at his smiling face, she touches her lips and brushes her fingers on the photograph. PRISCILLA (Voice wavering with emotion) Happy birthday George. Her hands shaking, she takes the photograph and lays it back on top of the tissue paper, is about to wrap it back up, but can’t, she makes a decision. She lifts the picture up and places it carefully next to the flowers. She takes a tissue from her sleeve and wipes her eyes, adjusts the photograph a little, then leaves.
9 INT. OLD PEOPLES HOME, CORRIDOR - DAY 9 HELEN, supporting herself with a walking stick, handbag slung round her neck, makes her way slowly down the corridor. The MATRON passes by. MATRON Off to a premiere are we! HELEN ignores her. MATRON (cont’d) Hurry up you're keeping everyone waiting. MATRON moves to take HELEN by the arm but HELEN pushes her away. MATRON (cont’d) Suit yourself. MATRON shakes her head and leaves HELEN alone.
10 EXT. OLD PEOPLES HOME, ROW OF SMALL SHOPS - DAY 10 A very ordinary OLD PEOPLE’S HOME right on a busy main road next to small row of shops. In the pouring rain two eastern European CARERS with poor english are trying to corral an ill disciplined group of elderly people with varying degrees of senility and poor mobility onto a coach. 4.
HELEN stands in the entrance and carefully puts an orange plastic carrier bag on her head to protect her wig from the rain, she picks up her stick and sets off past the coach and away from the group. CARER (Calling out To HELEN) And where do you think you’re going?! HELEN ignores her and walks on. The CARER’S have to deal with the other residents.
11 INT. SMALL LOCAL SUPERMARKET - DAY 11 A small queue of frustrated customers has formed behind HELEN who is slowly counting out small change to pay for cigarettes at the check out. She is still wearing the plastic bag on her head. Her attention is caught by a raised voice. FRANK (V.O.) (Angry) What are these? HELEN looks up to see FRANK at the next checkout angrily brandishing a packet of biscuits at PRISCILLA who is keeping her head down packing shopping into her trolley. CHECKOUT ASSISTANT (Helpful) Biscuits? PRISCILLA I thought we’d try something different? FRANK (Curt) Put them back I don’t want them they’re too expensive. The CHECKOUT ASSISTANT shakes her head at his rudeness. FRANK (cont’d) I said put them back! HELEN watches to see what PRISCILLA will do, PRISCILLA hesitates a moment, then resigned she takes them. PRISCILLA I’m very sorry, apparently we don’t want these. 5.
CHECKOUT ASSISTANT (Super Kind) Don’t you worry, some people don’t know what they’re missing! Would you like a bag? PRISCILLA No thank you, we are trying to save the environment. CHECKOUT ASSISTANT Good for you. HELEN turns away shaking her head, putting the last coin into the exasperated CHECKOUT ASSISTANT’S hand, she takes the cigarettes and leaves.
12 EXT. SMALL LOCAL SUPERMARKET - DAY 12 PRISCILLA leads FRANK out of the shop, they shelter from the rain under the awning. FRANK Money doesn’t grow on trees you know. PRISCILLA ignores him, her attention is caught by shouting. CARER TWO (V.O.) (Calling out) Hurry up, you are keeping everyone waiting! CARER TWO is leaning out of the coach shouting at HELEN who is struggling to make her way over, her bag now slung precariously over one arm, her stick in one hand, orange carrier bag on her head, and trying to smoke at the same time. The CARER ducks back in to get out of the rain. HELEN’S purse drops out of her open bag. It’s clear that no one is going to come to her aid, so PRISCILLA, leaving the trolley with FRANK, sets out into the rain. FRANK (Irritated) What are you doing now?! PRISCILLA gets to HELEN, picks up the purse and hands it out to her. PRISCILLA Excuse me you dropped your purse. HELEN looks at her, does not take it. HELEN (Deadpan) There’s nothing in it. 6.
A moment, then HELEN takes the purse from rather baffled but relieved PRISCILLA. PRISCILLA Do you need a hand? HELEN I thought you’d never ask. HELEN hands PRISCILLA her bag and they walk over to the coach. FRANK furious, watching from the safety of the shop awning. PRISCILLA Going anywhere nice? HELEN I doubt it. PRISCILLA steers her to the coach door which opens as they get to it. CARER ONE makes no move to help. HELEN heaves herself on expecting PRISCILLA to follow. FRANK (Shouting) What are you doing?! Ignoring him PRISCILLA follows, carrying HELEN’S bag up the steps into the coach.
13 INT. COACH - DAY 13 PRISCILLA follows HELEN down the aisle to a seat at the back, unnoticed by PRISCILLA the DRIVER closes the doors and starts to indicate. HELEN sits down heavily in empty seat at the back, PRISCILLA hands her the bag and turns to leave as the coach begins to pull out into the busy traffic. PRISCILLA (Realising) Excuse me. The coach joins the traffic, PRISCILLA can see FRANK under the shop awning shouting at the departing coach. HELEN carefully removes the plastic bag from her head, gingerly feeling round her wig to make sure it’s all in place. PRISCILLA (cont’d) Could you stop the bus please. She is ignored. PRISCILLA makes her way unsteadily down towards the front. PRISCILLA (cont’d) Could you let me off please! A CARER turns to see what is going on. 7.
CARER TWO Sit down! PRISCILLA (Starting to panic) This is a mistake, I need to get off! The driver has to break suddenly to avoid a car in front. PRISCILLA is nearly thrown to the floor. DRIVER (Shouting, angry) Sit down before we have an accident! PRISCILLA I need to get off! CARER TWO Sit down! PRISCILLA But I shouldn't be here. CARER TWO Neither should I. NOW SIT DOWN, DON'T MAKE ME COME BACK THERE! PRISCILLA looks back, she can just about make out the Supermarket receding in the distance through the rain and spray from the road. The coach speeds up suddenly and PRISCILLA nearly falls backwards. She turns and carefully makes her way back to the empty seat next to HELEN who is applying some crumbles of red lipstick. She sits down, dazed. HELEN Why on earth did you get on? PRISCILLA I was helping you! HELEN See where that got you! PRISCILLA Where are we going? HELEN A day at the seaside. PRISCILLA doesn't know what to say. HELEN takes in her expression. HELEN (cont’d) How amusing. 8.
PRISCILLA What am I going to do? HELEN Go to the beach. PRISCILLA But I can't. HELEN (Grinning) Well you are now. PRISCILLA I should go and explain. HELEN I wouldn't bother, they don't care and they won't believe you. PRISCILLA Of course they will. HELEN Trust me, they won't, it's too late now anyway, you might as well enjoy your free day out. HELEN looks at her a moment. HELEN (cont’d) Looks like you could do with one. PRISCILLA sits back. HELEN (cont’d) (Straight) I’m going to drown myself when we get there. PRISCILLA turns, unsure, not knowing quite how to take this. HELEN gives her a bright breezy grin, PRISCILLA smiles nervously, then turns to look out of the window, thinking. The coach travels on.
14 EXT. PRISCILLA'S HOUSE - DAY 14 FRANK is waiting anxiously just inside the front door, a car pulls up, SARAH at the wheel. SARAH stays in the car as her two children JOE and POLLY get out. FRANK calls over. FRANK Your mother's disappeared! SARAH What? Where is she? 9.
FRANK She went off on a coach! SARAH Why? FRANK How should I know! SARAH I've got to get to work. FRANK (Urgent) What am I going to do with these two? SARAH Think of something, she'll be back soon, got to go. And she drives off.
15 EXT. MOTORWAY - DAY 15 The coach speeds down the motorway.
16 INT. SERVICE STATION - DAY 16 PRISCILLA is in a public phone booth, anxiously waiting for the phone to be answered, she can see the last of the residents getting back onto the coach outside. JOE Hello? PRISCILLA (Urgent) Joe, I need to speak to Grandpa. JOE Granny, where are you? PRISCILLA At a service station, can you get Grandpa. FRANK (V.O.) (Shouting) Who is it? PRISCILLA sees the residents being ushered back onto the coach. 10.
JOE He’s very cross Granny. When are you coming back? PRISCILLA Soon as I can, look.. The last of the residents are getting on. PRISCILLA (cont’d) Oh dear, I’ve got to go. JOE (V.O.) It’s Grandma. Sound of phone being taken from JOE she’s about to hang up. FRANK (V.O.) You idiot where are you?! PRISCILLA brings the phone back up, the coach doors close and it starts to move. PRISCILLA (Desperate) There’s ham in the fridge Frank. PRISCILLA hangs up and rushes off.
17 EXT. SERVICE STATION - DAY 17 The RESIDENTS stare out of the windows as PRISCILLA hurries up to the coach which is slowly navigating it’s way out of the car park. PRISCILLA (Frantic) Wait, please. It doesn’t slow as it steers away from her, desperate she cuts through between parked cars to try and head it off. The coach is picking up speed, PRISCILLA is slowed as she has to dodge round a car door as it opens. The coach now has a clear run to the exit. PRISCILLA really struggling, she runs as fast as she can, the coach is speeding up, one last effort she runs out just in time to get in front of it. The coach screeches to a halt narrowly missing her. PRISCILLA bends over trying to get her breath back, nearly collapses, then staggers round to the door, it opens, she pulls herself on. DRIVER What the hell are you playing at?! Exhausted, barely able to speak, she pauses a moment by the two CARERS. 11.
PRISCILLA (Out of breath, almost incoherent) I’m so sorry... I just....I got on your bus by mistake earlier, but can I stay with you today and just go back when you do... if that is alright? CARER ONE Just sit down! PRISCILLA makes her way down the aisle, out of breath she plumps down next to HELEN who is staring at her with interest. HELEN That was impressive. PRISCILLA (Out of breath) Thank you. The coach moves off.
18 EXT. COUNTRY ROAD NEAR SEA - DAY 18 The sun is now shining, the coach barrels gayly along. HELEN (V.O.) I can see the sea!
19 INT. COACH, COUNTRY ROAD NEAR SEA - DAY 19 PRISCILLA turns to look out of the window at the sea. HELEN Told you it’d be worth it. Pause as PRISCILLA takes in the view. PRISCILLA I haven’t been to the seaside for years. HELEN Why not? PRISCILLA Oh, you know, it’s a long way. HELEN Your husband doesn’t like to travel? 12.
PRISCILLA Not any more, no. PRISCILLA turns to look at the view, then without looking round continues with... PRISCILLA (cont’d) He’s dead. HELEN (Intrigued) Really? PRISCILLA composes herself as she looks out at the view, then turns back to HELEN. PRISCILLA (Sighs) Yes. Pause. PRISCILLA (cont’d) (Feeling guilty) I was sorry to see him go. PRISCILLA looks back out of the window shocked by what she has said. HELEN looks at her with renewed interest and holds out her hand. HELEN Helen, the only sane one on the bus apart from you, hopefully? PRISCILLA turns to her. PRISCILLA Priscilla. Nice to meet you. They shake hands, HELEN smiles. The coach speeds on.
20 EXT. POOLE - DAY 20 The coach drives into a gorgeous sea side town.
21 EXT. PIER - DAY 21 PRISCILLA walks with HELEN at the rear of the group shuffling up the pier to get some fresh air. PRISCILLA There is something very familiar about you. I feel as if we've met. HELEN I doubt that. 13.
HELEN wheels PRISCILLA round with surprising strength and starts walking in the opposite direction to the group. HELEN (cont’d) Come on I need a drink.
22 INT. GRAND BUT FADED VICTORIAN HOTEL, BALLROOM - DAY 22 HELEN and PRISCILLA sit at a table overlooking a dance floor, a group of elderly people are thoroughly enjoying themselves ballroom dancing. A WAITER places two gin and tonics on the table. HELEN I’m afraid I’m a little short. PRISCILLA Of course. PRISCILLA takes out a distinctive red purse and pays the waiter, HELEN notices with interest that it’s full of money. PRISCILLA (cont’d) I don’t normally drink in the day. HELEN This isn’t normally. (Raising her glass) Here’s to us. PRISCILLA (A little bemused) To us. They both drink. HELEN suddenly leans dramatically forward right into PRISCILLA’S startled face. HELEN (Dramatic and distraught) You’re a rat, a lying cheating rat! PRISCILLA (Shocked) Excuse me? Still in PRISCILLA’S face. HELEN (Insistent) I never want to see you again! PRISCILLA is about to get up, HELEN restrains her then starts to sing/hum a tune in a high reedy voice, a moment, then PRISCILLA recognizes it and starts to join in. It becomes a rousing theme, PRISCILLA conducts, it ends in a flourish, and laughter. 14.
PRISCILLA Morty and Me! HELEN Yes. PRISCILLA looks at her. PRISCILLA (Putting her hand to her mouth) Oh my God. You’re Helen Shelly! How exciting, I’ve never met a real film star before! I thought you were wonderful. I was a real fan. HELEN takes the newspaper cutting from her passport and hands it to PRISCILLA. HELEN Good, because I need your help Priscilla. PRISCILLA puts down her near empty glass and takes the paper. PRISCILLA Really! My help? HELEN nods smiling. PRISCILLA reads. PRISCILLA (cont’d) Jerry Standing, celebrated British film director died peacefully on 5th July at home. Funeral July 10th, La Flotte, Ile De Re, France. PRISCILLA looks up. HELEN (Voice breaking with emotion) He was a dear friend, and a wonderful director. I need to say goodbye to him properly. PRISCILLA Of course you do. HELEN looks at PRISCILLA, waiting. HELEN Well I can’t go on my own can I!? PRISCILLA No. (Pause) Why not? 15.
HELEN I’d never make it! I need you to help me. Can you speak French? PRISCILLA (Tentative) A bit. HELEN Good. PRISCILLA I can’t go to France! HELEN You've got this far. PRISCILLA Yes, but that's by mistake! HELEN That’s how the best things happen! (HELEN grabs her arm and pulls her close) Can you keep a secret? (PRISCILLA nods) I am not really famous any more. You thought I was dead didn’t you?! PRISCILLA looks sheepish. HELEN (cont’d) Listen, I’m broke, I have nothing, what you see is what you get. You can’t get old in Hollywood. I came back here to have my damn knees done on the NHS and it’s killing me! This funeral is my last chance. Everyone who is anyone will be going to it. Agents, producers, studio heads, film stars. It'll be just like the Academy Awards, a little sadder, but not much. I’m going to reinvent myself. Out of the ashes! PRISCILLA is struggling to take all this in. Unsure what to say. HELEN (cont’d) I’m not going back to that home. I’d rather sleep rough. We could have an adventure. PRISCILLA I know, but I can’t. 16.
HELEN (Giving up) Course you can’t. HELEN drains her drink then leans over and grabs PRISCILLA’S drink and drains that too. PRISCILLA If you can wait till I can organize myself properly, perhaps I could come. HELEN Too late he’ll be in the ground in 3 days. PRISCILLA It’s just such short notice. HELEN heaves herself up with difficulty and leans on her stick. HELEN I probably won’t make it now, but unlike you, I haven’t given up yet. I really thought you’d help, that you’d seize the day. PRISCILLA can’t respond. HELEN (cont’d) We’d have made a good team. HELEN gives her one last pitying look then turns to leave. HELEN (cont’d) Have a nice life, what’s left of it. PRISCILLA watches frozen and disconsolate as HELEN stalks off, scything her way straight across the busy dance floor causing chaos amongst the elderly dancers. She disappears from view. PRISCILLA on her own, crestfallen, watches the couples recover and get back into their rhythm.
23 INT. HOTEL RECEPTION - DAY 23 PRISCILLA stands at a public phone box desperately searching through her bag for her purse.
24 INT. GRAND BUT FADED VICTORIAN HOTEL, BALLROOM - DAY 24 PRISCILLA hurries back over to the table, it’s empty, she checks the seats, gets down on her hands and knees to check the floor, but no sign of her purse. 17.
25 INT. HOTEL RECEPTION - DAY 25 The RECEPTIONIST kindly hands PRISCILLA a telephone. RECEPTIONIST It’s ringing. PRISCILLA Thank you so much, I will pay you back I promise. The phone rings and rings and rings. Finally it's picked up. FRANK (V.O.) Hello. PRISCILLA (Excited) Frank, you’ll never guess who I just met! FRANK (V.O.) (Abrupt) Speak up I can't hear you. PRISCILLA (Very loud) You’ll never guess who I just met! FRANK (V.O.) Where the hell are you?! PRISCILLA Helen Shelly! FRANK (V.O.) (Shouting) What the hell are you playing at?! The RECEPTIONIST looks over. PRISCILLA She wanted me to go to a funeral in France. FRANK (V.O.) France?! PRISCILLA All of Hollywood will be there. (Takes a deep breath) Would you have minded if I had gone? FRANK (V.O.) Of course I would! PRISCILLA She really needs me. 18.
FRANK (V.O.) I don’t care! You can’t go! PRISCILLA Only for a few days Frank. FRANK (V.O.) Are you going senile?! PRISCILLA No! FRANK (V.O.) (Really shouting) Then come home! PRISCILLA moves the phone away from her ear a moment, the RECEPTIONIST smiles at her sympathetically, PRISCILLA embarrassed turns back to the phone. PRISCILLA Of course. I’ll be home soon. PRISCILLA hangs up, smiles briefly at the RECEPTIONIST then leaves.
26 EXT. SEAFRONT - DAY 26 The elderly residents are filing back onto the coach, PRISCILLA quietly joins the end of the queue to get on she looks for HELEN but can’t see her. CARER ONE is talking to a couple of POLICEMEN by the door. PRISCILLA stops and addresses the CARERS. PRISCILLA Sorry to interrupt, just checking that it’s still alright to get a lift back with you? The CARER irritably gestures for her to get on, PRISCILLA climbs aboard.
27 INT. COACH - DAY 27 The coach makes it’s way out of town on a busy dual carriage way running next to the sea. PRISCILLA sits next to HELEN’S empty seat looking out the window, sadly watching as the sea recedes into the distance. Suddenly the coach pulls over onto the hard shoulder, a couple of residents nearly fall off their seats. The two CARERS quickly get off the coach. The residents on that side all craning to look out of the window. They can hear shouting. HELEN (V.O.) Get off me! 19.
PRISCILLA’S face lights up, she gets up and hurries down the aisle to the front and sure enough there is HELEN, standing on the hard shoulder, the two CARERS and the FAT COACH DRIVER trying to force her back onto the coach. HELEN I’m not going back, you can’t make me, this is kidnapping! CARER ONE Get on and shut up! An elderly man REG has eagerly taken the opportunity to slip into the drivers seat. CARER ONE (cont’d) Get back to your seats all of you. Reg! PRISCILLA stands at the door. PRISCILLA She doesn’t want to come back. The CARERS are trying to manhandle HELEN up the steps onto the coach. HELEN falls on her knees and calls out in pain. HELEN You are hurting me! Something snaps inside PRISCILLA. PRISCILLA (Shouts, furious) Leave her alone! Momentarily stunned the CARERS step back. PRISCILLA (cont’d) Here, let me help you, it’s OK. PRISCILLA reaches down and gently pulls HELEN to her feet and onto the coach. HELEN looks round and thinking fast. HELEN (Urgent) Shut the door Reg! REG immediately closes the doors leaving the CARERS outside. CARER ONE Open the door! PRISCILLA What are you doing?! HELEN Can you drive this coach Reg? 20.
REG With my eyes closed, drove one for 40 years! The CARERS are trying to open the doors with the emergency lever. HELEN (Urgent) Keep your eyes open and put your foot down, the last ferry goes in half an hour and I need to be on it. REG Sit down everyone! PRISCILLA Oh my God! REG starts to ease the coach forward, the CARERS running alongside banging on the door. PRISCILLA (cont’d) We’re going to get into terrible trouble! HELEN Of course we will! REG pulls out into the traffic, too slowly, causing mayhem behind. He puts his foot down and starts to accelerate away. The RESIDENTS cheer.
28 EXT. DUAL CARRIAGE WAY - DAY 28 They are headed towards a roundabout, a little too fast. REG Right where did you say we are going? HELEN The ferry terminal. REG Here we go, hold tight! They hit the roundabout at speed, narrowly missing other traffic. Round they go. PRISCILLA Reg! They speed round the roundabout, leaning very precariously, the residents having to hold on tight to stay in their seats. 21.
HELEN This one! Sure enough there are signs to the ferry. The coach barrels round, missing the exit. HELEN (cont’d) Reg! REG Sorry! One more time. PRISCILLA I think I’m going to be sick! REG indicates, and turns off. The coach speeds off down the road in the direction of the ferry. HELEN turns to PRISCILLA and grabs her hand pulling her close. HELEN (Excited) You coming with me? A moment then PRISCILLA nods. PRISCILLA Yes. HELEN (Grinning) I knew you would! PRISCILLA smiles, pleased.
29 EXT. FERRY PORT - DAY 29 The coach approaches the terminal, a little to quickly. PRISCILLA (V.O.) Reg, slow down. REG I’m trying! PRISCILLA Reg!
30 INT. COACH - DAY 30 REG My foot is stuck! PRISCILLA Well get it off! 22.
REG I can’t, it’s gone to sleep! HELEN Oh Christ. PRISCILLA tries to lift REG’S leg, it won’t budge. The coach is careering towards the terminal building at an alarming speed. Desperate, she spots the hand brake. People outside the terminal have spotted the speeding coach and are starting to panic. PRISCILLA pulls on the brake, slowly at first, the coach makes a terrible sound, swerves a little, she pulls harder. PRISCILLA Come on! The Residents hold on for dear life and shout as the terminal building is getting closer, a car swerves out of their way. PRISCILLA pulls hard on the brake, it doesn’t seem to be slowing them, then there is a terrible sound, and the engine stalls and dies, the brake engages properly and the coach comes to a slow halt, just in front of the terminal doors. Silence apart from the creaking of the engine as time stands still, disaster has been averted. Then PRISCILLA is rudely shaken by HELEN who grabs her arm and all the commotion rushes back in. HELEN (Urgent) Quick before they stop us. Open the door Reg. He opens the doors, people clamour to check everyone is OK. HELEN pushes past dragging PRISCILLA behind her. REG (Dazed) Good luck! HELEN Thanks Reg, you’re a doll, but thank God you retired. HELEN drags PRISCILLA away from the scene as the other residents start to get up and get off too.
31 INT. FERRY PASSENGER TERMINAL - DAY 31 HELEN leads PRISCILLA to the group exit where the tail end of a large group of pensioners are being counted through. PRISCILLA (Trying to stop) We must get a ticket! 23.
HELEN (Pulling her on) No, we haven't got time, just follow me and act old. HELEN manoeuvres in front of two ELDERLY MEN who graciously let them in front of them. As they all shuffle forward, one of the ELDERLY MEN looks at HELEN, thinking he knows her but can’t quite place her, he is about to say something but HELEN and PRISCILLA are counted through. The TOUR GUIDE stops the two ELDERLY MEN. TOUR GUIDE Sorry, are you part of the group? ELDERLY MAN Yes. TOUR GUIDE Are you sure? It's just that everyone has gone through now. ELDERLY MAN (A little hesitant) We thought we were. TOUR GUIDE So you are not sure? The ELDERLY MEN look at each other a little confused. PRISCILLA looks back as she and HELEN walk on. PRISCILLA We've got to tell them! HELEN Be quiet, come on, we've nearly made it.
32 INT. FERRY TERMINAL, PASSPORT CONTROL - DAY 32 Now part of the TOUR GROUP, HELEN and PRISCILLA approach passport control, arm in arm. PRISCILLA (Panic) Now what are we going to do? HELEN You don’t know me, just keep moving no matter what happens, OK? PRISCILLA nods. They are next, two old ladies in front of them. Suddenly HELEN drops to the floor in a heap. The PASSPORT officer and another official rush over. PRISCILLA, shocked, bends to help. 24.
PRISCILLA (Concerned) Helen?! Oh my God. HELEN opens her eyes briefly to urgently indicate for PRISCILLA to keep going. PRISCILLA (cont’d) (Relieved and suddenly remembering HELEN’S instructions) Right, sorry, of course. She quickly gets up as the officials get there. PRISCILLA (cont’d) Think she’s fainted, I’ve no idea who she is. Though she looks familiar. As the officials gather round HELEN, PRISCILLA moves away, towards the now briefly unmanned PASSPORT control booth, she hesitates, then rather self consciously slips through. She dares a look back, no one is following her, the PASSPORT OFFICER is knelt down by HELEN. PASSPORT OFFICER (V.O.) (To HELEN) Madam? Can you hear me? HELEN (V.O.) Course I can hear you, you’re shouting in my ear! PRISCILLA heads onto the ship.
33 INT. FERRY - DAY 33 HELEN catches up with PRISCILLA. PRISCILLA (excited) We did it! I can't believe it! HELEN (Short) No thanks to you! PRISCILLA What do you mean? HELEN You are going to have to buck your ideas up if we are going to make this funeral. (To a Steward) Where’s the bar? 25.
PRISCILLA I’m doing my best! He points the direction and HELEN and PRISCILLA set off. PRISCILLA now a little unsure at HELEN’S sudden change in mood.
34 INT. FERRY, BAR - DAY 34 PRISCILLA sits at a table massaging one of her hands to try and ease pain, HELEN hands her an orange juice and takes a slurp on a gin and tonic. She takes out a small mirror from her bag and busies herself checking her hair. HELEN So when did your husband pass away? PRISCILLA (Momentarily thrown) Sorry? HELEN When did he die? PRISCILLA (Recovering) Frank? HELEN If that’s his name, yes. PRISCILLA Oh, a long time ago. HELEN What was he like? PRISCILLA Quite nice. HELEN Really? PRISCILLA takes a deep breath. PRISCILLA Well... HELEN snaps her mirror shut and puts it back into her bag, as she does PRISCILLA catches a glimpse of her distinctive red purse. She can’t believe it. HELEN looks curiously at PRISCILLA. HELEN What? You alright? You sure you won’t have a proper drink? 26.
PRISCILLA looks at her, is about to speak, but stops herself, and gets up. PRISCILLA I think I need to get some air, watch us leave. HELEN As you like. I'm not going anywhere. PRISCILLA nods and smiles then leaves the bar.
35 EXT. FERRY DECK - DAY 35 PRISCILLA stands at the back of the ship as it pulls out of port, watching as the shore recedes, stuck.
36 INT. PRISCILLA’S HOUSE LIVING ROOM - DAY 36 SARAH has just come in from work, she stands over FRANK who is trying to read the paper. POLLY and JOE watching TV but also listening in. SARAH I don’t understand Dad, where is she?! FRANK I’ve told you, she’s gone to France! SARAH She must have said more than that! He looks at the paper again, and then as if it’s completely normal. FRANK To help Helen Shelly, they are going to a funeral apparently. SARAH Who’s Helen Shelly? FRANK (Short) Don’t you know anything?! She was a film star in the 60’s, went off the rails, was a drunk, I’m sure she’s dead. SARAH This doesn’t make any sense? 27.
FRANK That’s your mother. SARAH I’m calling the police. FRANK There’s no need for that! SARAH Yes there is! SARAH goes to the phone.
37 INT. FERRY - DAY 37 HELEN is fast asleep opposite PRISCILLA, a row of empty glasses in front of her. PRISCILLA checks around to make sure no one’s watching, then cautiously leans across the table and reaches for HELEN’S bag. HELEN (Eyes still closed, sleepy) I’m really glad you decided to come. PRISCILLA quickly sits back. HELEN (cont’d) (Eyes still closed) I know I’m not the easiest person to get along with, but I think we’ll make a great team. HELEN opens her eyes, looks at PRISCILLA. HELEN (cont’d) Don’t look so worried, we’re going to have fun.
38 EXT. FERRY GANG WAY - EVENING 38 PRISCILLA helps an unsteady HELEN down the gang way to customs and beyond.
39 EXT. HARBOUR - EVENING 39 HELEN has revived and is walking as fast as she can, PRISCILLA a little behind. HELEN You are slower than me, and I’m a cripple. Can't you hurry up, he'll be in the ground soon! 28.
PRISCILLA has stopped. HELEN (cont’d) Come on! PRISCILLA I’d like my purse back please. HELEN looks at her, deadpan. PRISCILLA (cont’d) (Firm) I saw it in your bag. I’d like it back. Now please, so I can go home. HELEN Don't be ridiculous, you can't leave now! Suddenly they are both distracted by terrible shouting, PRISCILLA turns to see a LITTLE BOY (3) running right at her, his worried parents in the distance shouting for him to stop. PRISCILLA automatically bends to catch him but he suddenly changes direction and veers right over the harbour edge. Time stops for a moment as his little body falls to the water. PRISCILLA looks to HELEN a moment who is paralysed in horror, then she turns back, and without hesitation PRISCILLA jumps in after him. She falls, hits the water, it's cold, she gasps for air, but as she has reacted so quickly the little boy is still at the surface and she is able to grab him and hold his head above water. Other bodies join her almost immediately to help. PRISCILLA hugs the little boy to her. Refusing to let go. They are both helped to the side. The chaos, water, struggle out of which we begin to see image of a small boy smiling at us to then reveal it’s the photograph from the start of the film of the little boy GEORGE smiling up at us. Light falls across the picture as we CUT TO.
40 INT. PRISCILLA’S HOUSE - NIGHT 40 Close on FRANK as he looks in on PRISCILLA’S empty room, he sees the photograph of GEORGE. He looks at it a moment, the sweet little boy smiling, the small vase of wild flowers. Then he turns and shuts the door behind him.
41 EXT. HOSPITAL - MORNING 41 A couple of amateur looking photographers, and a young spotty journalist with a local TV crew wait expectantly outside the main entrance. 29.
42 INT. HOSPITAL WARD - MORNING 42 HELEN has transformed herself now wearing the smart Chanel suit we saw her pack earlier. She stands excited looking out of the window at the press. She rushes over to PRISCILLA who is asleep along with the rest of the ward. HELEN looks round to make sure no one is watching, then shakes PRISCILLA awake. HELEN Priscilla, wake up. We need to get going. PRISCILLA opens her eyes, obviously not immediately sure where she is. HELEN (cont’d) We are going to be on television, you’re a hero! But you have to get up now. PRISCILLA (Blurry with sleep) Who are you? HELEN Helen Shelly! For God’s sake. All coming back to her. PRISCILLA Is the little boy alright? HELEN Yes! He’s fine. He won’t be going swimming again in a hurry. PRISCILLA wipes her eyes, she is crying. HELEN (cont’d) What is it? PRISCILLA I’m sorry. It’s just I, it’s just.. it was a shock.... HELEN Come on, cheer up, you saved his life! You deserve to be celebrated. PRISCILLA Do I really? HELEN Yes! And so do I! It’s so exciting! You will stay won’t you? PRISCILLA looks at HELEN. 30.
HELEN (cont’d) (Imploring) I don’t know what I’d do without you. PRISCILLA nods. HELEN (cont’d) (Relief) Thank you. And I’ve got another piece of good news, I found your purse! She holds it up, triumphant. HELEN (cont’d) It was only in your jacket pocket! Caught up in the lining. PRISCILLA looks at her a moment, then takes the purse.
43 EXT. HOSPITAL - DAY 43 HELEN and PRISCILLA emerge from the main doors and the local press move forward. PRISCILLA looks in a daze as HELEN instinctively works the slightly surprised local press, in her element, to HELEN it seems to grow into a mass of paparazzi, we go into slow motion, back in time, suddenly transformed, every inch the film star, a mass of flash bulbs firing, charisma, smiling, gorgeous, turning this way, that way, flirting with the cameras. HELEN’S FANTASY moment is broken as the local TV JOURNALIST (25) puts a microphone to PRISCILLA and instead of a Cannes press pack it’s brought back down to earth with the few local hacks and local TV crew. JOURNALIST (Broken English) What a brave thing to do! For anyone, but if you forgive me, at your age? You must be a very confident swimmer! PRISCILLA is unsettled as she looks around her. PRISCILLA Oh, not really.... HELEN (Interrupting) It’s such a pleasure to be here. In France, you have always been so loyal to me. 31.
The JOURNALIST momentarily turns to HELEN slightly bemused not quite understanding then back to PRISCILLA. JOURNALIST (Broken English) What made you do it? PRISCILLA I’m... HELEN Well it’s lovely to be back. And so glad to see that I haven’t been forgotten. The JOURNALIST hesitates, thrown. PRISCILLA It’s OK, she’s better at this than me! JOURNALIST (Broken English) I don’t understand, who rescued the little boy? PRISCILLA I did. But this is Helen Shelly! They look at HELEN blankly. PRISCILLA (cont’d) She’s a film star. Morty and Me, she played “Me”. They all look very confused. PRISCILLA (cont’d) Not ME, me, the character me.... HELEN Stop. PRISCILLA (Getting into her stride) It’s her you should be talking to, she’s back, ready to work, she’s looking for a job. Bad knees but she’s a great actress. HELEN They aren’t interested in me darling, it’s you. PRISCILLA She’s the real star. 32.
HELEN Thank you, we really must be going, lovely to meet you all, don’t want to over tire her after her dip in the channel! HELEN urges PRISCILLA away. HELEN (cont’d) (Under her breath to PRISCILLA) You are humiliating me. They don’t want to know, we are going. MOTHER (V.O.) (Calling out) Wait! They turn and there rushing over are the MOTHER and FATHER and the LITTLE BOY that PRISCILLA saved. The TV crew turn and start filming. The MOTHER embraces PRISCILLA who is mortified. MOTHER (halting English, starting to cry) We want to thank you so much. The MOTHER pushes her son forward, PRISCILLA is in shock and takes a step back. MOTHER (cont’d) (In French to her son) What do you say? He is tongue tied, scared. PRISCILLA It doesn’t matter, he doesn’t have to say anything. MOTHER (In French to her son) No, he wanted to, he’s just nervous now say it in English, come on, you can say it, (slowly) thank you. PRISCILLA It wasn’t his fault. PRISCILLA looks at the little boy who is nervous and clinging to his mother. Then she looks at the MOTHER. PRISCILLA (cont’d) (Vehemently addressing the MOTHER) (MORE) 33. PRISCILLA (cont’d) No. It was your fault...You must be more careful. The PARENTS look taken aback. HELEN looks intently at PRISCILLA. PRISCILLA (cont’d) (Forceful) Never let him out of your sight. MOTHER It was an accident. PRISCILLA There is no such thing. The MOTHER is clearly shocked by this as PRISCILLA turns and walks away. HELEN (Awful French/English combination) Terribly desole, mais we have to en y vas. She turns to go.
44 EXT. HOSPITAL - DAY 44 HELEN hurries after PRISCILLA. HELEN Priscilla, wait please. PRISCILLA I’m going home. HELEN No, you can’t. PRISCILLA Well I am. HELEN Scurrying back to your husband? PRISCILLA stops. HELEN (cont’d) Why did you lie? PRISCILLA How dare you presume to know about me?! 34.
HELEN Because I watched you both in the supermarket. The happy couple! PRISCILLA looks at her. HELEN (cont’d) He’s a tyrant! You let him walk all over you for a packet of biscuits! PRISCILLA stunned. HELEN (cont’d) Your precious husband is a nasty bully who you wish was dead. PRISCILLA (Shaky) And what are you? PRISCILLA turns to leave. HELEN (Desperate to keep her there) How did you lose your child? PRISCILLA stops, turns back to face HELEN. PRISCILLA (Furious) He drowned Helen. That’s how I “lost” him. HELEN You see, I knew it! We’re the same you and me. PRISCILLA We are not the same! PRISCILLA turns and walks off, HELEN follows but can’t keep up. HELEN We are. We are. Priscilla, wait for me! But PRISCILLA strides off towards the main road leaving HELEN struggling as fast as she can.
45 INT. PRISCILLA'S DINING/LIVING ROOM - AFTERNOON 45 FRANK is sitting in his usual chair, a POLICEWOMAN next to him trying to get him to talk, SARAH is pacing, POLLY and JOE watching TV. 35.
FRANK I don’t know what all this fuss is about. POLICEMAN We would like to find your wife. The POLICEMAN looks at SARAH for help. POLLY/JOE (Shouting) Granny! They all turn round, and there is a photograph of PRISCILLA outside the hospital in France on the TV news. NEWS READER And finally, a remarkable story, reclusive disgraced former Hollywood bad girl Helen Shelly has emerged from hiding in France and helped rescue a French toddler from the sea with her friend a British pensioner Priscilla Williams. Shots of the docks. NEWS READER (cont’d) Priscilla Williams jumped 20 feet into the icy waters to rescue a toddler who had fallen in, (the camera pans down to show the drop) then in a reunion with the rescued child and his parents started to blame them for the accident. They cut to clip of PRISCILLA berating the MOTHER. PRISCILLA (V.O.) It was your fault, you must be more careful... Back to the NEWSREADER NEWS READER A strange end to a remarkable story that has captured France. SARAH is shocked, she looks over at FRANK who has a stunned expression on his face and won’t return her gaze.
46 EXT. STREET - DAY 46 In pain, HELEN hobbles out of the hospital onto the main road, she scans left and right but PRISCILLA has gone. 36.
She is totally spent, her knees are killing her, she staggers to a bench and collapses onto it, dishevelled and exhausted.
47 EXT. FERRY PASSENGER TERMINAL - AFTERNOON 47 PRISCILLA gets out of a taxi and enters the terminal.
48 INT. FERRY PASSENGER TERMINAL - AFTERNOON 48 PRISCILLA at ticket desk. PRISCILLA A single ticket to England please.
49 EXT. STREET - AFTERNOON 49 The road is very busy with commuter and port traffic, huge container lorries roar past. HELEN standing at side of road with her arm out trying to hitch a lift, she’s almost blown over by a passing truck behind which a car then does slow, HELEN moves expectantly forward, the car slows almost to a halt, the DRIVER takes a look at her, does not like what he sees and accelerates away. Montage - Another car slows and does stop. HELEN leans down to the window. HELEN (Slowly, bad french/english combination) Je need un lift de Il De Re? Driver shakes his head and pulls away. Cut A group of teenagers honk the horn and shout abuse at her as they pass. Cut Another car has stopped. HELEN (cont’d) Il De Re, est que far? a lift, pour moi? The DRIVER shakes his head and starts to wind his window up. HELEN (cont’d) Hey, come on, Je am Helen Shelly, Morty and Me? Grand movie star, I just need a lift. 37.
Cut HELEN shouts after a truck. HELEN (cont’d) For Christ’s sake arrete! Cut
50 EXT. HARBOUR - AFTERNOON 50 The FERRY pulls slowly out of the harbour setting course for England.
51 EXT. STREET - AFTERNOON 51 HELEN leans on her stick, ready to give up, a taxi slows and stops, without waiting to be rejected HELEN just opens the passenger door and gets in and there is PRISCILLA. HELEN You didn’t get very far. PRISCILLA Neither did you. Pause. HELEN Where are we going then? PRISCILLA I don’t know about you but I’m starving.
52 INT. RESTAURANT - EVENING 52 Silence, they eat, and drink, a half drunk bottle of red wine in front of them. HELEN Why did you come back? PRISCILLA (Quiet) You were right. I do sometimes wish Frank was dead. HELEN Why? PRISCILLA Because he blames me for George’s death. He has never forgiven me. 38.
HELEN What happened? Silence a moment as PRISCILLA gathers herself. PRISCILLA (With great difficulty) George was only 4, we used to picnic by the river, he loved it. Frank never came, he was always too busy. I only turned my back for a second to deal with his sister who was making a fuss and he was gone. He jumped in, he thought he could swim. PRISCILLA closes her eyes and breaths hard trying to control herself, HELEN secretly wipes tears from her own eyes. PRISCILLA (cont’d) I went after him, but I was too late. HELEN reaches across the table and takes PRISCILLA’S hand. PRISCILLA (cont’d) (Struggling but failing to hold back the tears, she breaks down) Frank refuses to talk about it. I just needed to have a break. I haven’t ever been able to get away. HELEN (Smiling) Until you met me! PRISCILLA (Laughs) Until you kidnapped me. HELEN I’m glad. I knew we’d make a good team. PRISCILLA Did you really? HELEN looks at her a moment, then they both burst into laughter. HELEN (Laughing) Course I didn’t, I had no bloody idea! PRISCILLA smiles, recovering. 39.
PRISCILLA Why did you say you think we are the same? HELEN Did I? PRISCILLA Yes, you said we are the same you and I. I think we are pretty different! A moment, HELEN looks at PRISCILLA. HELEN I like you Priscilla, that’s why. PRISCILLA smiles. PRISCILLA I like you too. Enough of me, what about you? You’ve had such an exciting life. HELEN Had? I’m not dead yet. And surely you’ve read all there is to know? PRISCILLA I don’t follow tittle tattle, as far as I’m concerned you made some great films, broke a few hearts, then disappeared. HELEN That just about sums it up nicely! PRISCILLA You never married or had any children? HELEN No! God forbid.... no. HELEN’s hand involuntarily goes to the locket round her neck a moment. PRISCILLA So why reappear now? HELEN looks at PRISCILLA a moment. HELEN Because I want another chance. A smile spreads on PRISCILLA’S face. 40.
PRISCILLA Shall we go and get you a job then?
53 INT. TRAIN STATION - NIGHT 53 PRISCILLA at ticket counter the OFFICIAL shaking his head.
54 EXT. BUS STATION - NIGHT 54 The queue for a crowded bus, get to the door, it’s very full, HELEN turns away, refuses to get on.
55 EXT. RENTAL CAR OFFICE - NIGHT 55 PRISCILLA and HELEN stand outside the closed car rental office looking at a tourist map of France. HELEN Can you drive? PRISCILLA Yes but I don’t have a driving licence. Anyway it’s closed. A group of migrant workers head past them into the vehicle compound to join other workers who are valeting the cars. HELEN looks at PRISCILLA.
56 EXT. CAR RENTAL DEPOT - NIGHT 56 HELEN and PRISCILLA walk surreptitiously amongst the cars. PRISCILLA (Anxious) This is a very bad idea. HELEN It’s a car rental, we will pay later, it’s not a problem, where are your balls woman?!
57 EXT. CAR RENTAL DEPOT - NIGHT 57 The WORKERS busy cleaning, a CAR emerges driving slowly and a little erratically through them towards the exit.
58 INT. RENTAL CAR - NIGHT 58 PRISCILLA concentrating really hard. PRISCILLA They are going to stop us. 41.
HELEN They won’t, just two old ladies going for a drive. But a WORKER looks up to see who’s driving, HELEN gives him a smile and a wave. He watches them pass a moment, then calls out to a colleague. HELEN (cont’d) Put your foot down. PRISCILLA accelerates, the car lurches forward, the WORKERS running, up ahead one of them is dashing to close the gates. PRISCILLA Look! HELEN Faster. PRISCILLA puts her foot down, but has not changed gear, the car speeds forward making a terrible noise. The WORKER has just made the gate and is closing one side. PRISCILLA We won’t make it! HELEN Change gear! Awful screeching of the gear, but PRISCILLA gets into 2nd and speeds forward. The WORKER has one gate closed, tries to close the other side, but has to leap out of the way as PRISCILLA squeezes the car through just in time.
59 EXT. FRENCH STREET - NIGHT 59 PRISCILLA lurches out onto the main road. HELEN and PRISCILLA whoop for joy until they see car driving straight at them. PRISCILLA What’s he doing?! HELEN (Shrieking suddenly) We are on the wrong side of the road! PRISCILLA looks a car is baring down on them. She swerves out of the way onto the other side of the road just in time. Horn blares. 42.
60 EXT. ROAD OUT OF TOWN - NIGHT 60 They drive out of the town, approaching a big junction. HELEN is trying to program the sat nav. PRISCILLA I think I’m getting the hang of it now. HELEN Thank God for that. How do you spell it again? PRISCILLA I l D e R e. HELEN It’s so fiddly. She presses the selection, the map comes up and calculates the route. HELEN (cont’d) 5 hours, that looks right. The first instruction comes up. SAT NAV (French) At the round about take the 3rd exit E1 HELEN It’s in French! Typical! PRISCILLA Can you change it to English? HELEN No! You understand French, just follow the route on the map, don’t need the instructions, it will be fine.
61 EXT. ROUNDABOUT - NIGHT 61 They hit the roundabout. SAT NAV (In French) Take the 3rd exit signed E1. PRISCILLA (V.O.) 3rd exit, then it said another number? 43.
62 EXT. ROAD - NIGHT 62 They take the 3rd exit the road ahead divides up to left onto the motorway straight on smaller road. HELEN That was right. SAT NAV (In French) Bear left onto E1. PRISCILLA Now what. HELEN What did it say, the map is not clear. PRISCILLA I couldn’t understand. They miss the turning, the SAT NAV recalculates. HELEN Seems OK, just drive it will tell us where to go.
63 EXT. ROAD - NIGHT 63 65 They drive off away from the main route off down a small 65 country road. HELEN (V.O.) Looks like we go straight for a bit now. PRISCILLA (V.O.) It’s a very small road? HELEN (V.O.) Just stay on the right side of it!
64 INT. CAR - NIGHT 64 HELEN is now asleep, PRISCILLA drives down a straight road lined with plane trees, a canal running next to it. She checks the SAT NAV, seems OK. Her hands hurt a little, she opens the window to get a breeze and try and keep her awake.
65 INT. CAR - NIGHT 65 HELEN still comatose, PRISCILLA drives, tired, hunched forward concentrating on the road, no street lighting, the headlights picking out the road in front. 44.
Her hands are very sore, she’s finding it hard to hold the steering wheel, the road suddenly bends sharply, the wheel slips through her fingers a moment and the car swerves dangerously close to the curb, regaining control just in time.
66 EXT. COASTAL ROAD - NIGHT 66 The car drives past then slows, engine stuttering, cutting out, it coasts to a stop slewed awkwardly across the road. All quiet apart from the creaking of the hot engine cooling down.
67 INT. CAR - NIGHT 67 Quiet. PRISCILLA sits there, exhausted, slowly takes her hands off the steering wheel, they are stiff and painful, she tries to start the car, the key is hard to grip, it turns over but won’t bite. HELEN wakes. HELEN (Groggy) Are we there yet? PRISCILLA (Short) No! I’ve no idea where we are. HELEN Why have we stopped. PRISCILLA I think we’ve run out of petrol. She tries the engine again, no luck. HELEN I don’t believe this. Isn’t that an elementary mistake?! PRISCILLA What was I supposed to do? HELEN Stop and buy some? PRISCILLA In a stolen car?! I haven’t driven for 20 years, I forgot, you just went to sleep. HELEN I was tired. 45.
PRISCILLA I’m tired! I’m so exhausted I could barely drive! HELEN You could have stopped for a sleep. PRISCILLA I’m trying to get you to this funeral! HELEN My funeral at this rate. PRISCILLA closes her eyes trying to stay calm. PRISCILLA What are we going to do now? HELEN How should I know, I don’t have all the answers, now might be a good idea for you to start thinking for yourself? PRISCILLA can’t take anymore, she opens her door and gets out. HELEN (cont’d) What are you doing? PRISCILLA Thinking for myself. We need to get help. HELEN I can’t walk anywhere! PRISCILLA Wait here then. (Pointed) I will get help. PRISCILLA starts to walk off, HELEN watches her a moment through the windscreen. HELEN No, wait for me! She struggles to get out, PRISCILLA pauses. HELEN (cont’d) (Sarcastic) Oh, don’t worry about me, I’m fine! She starts after PRISCILLA who does not wait, but carries on. 46.
68 EXT. COASTAL ROAD - NIGHT 68 HELEN totters along on her heels behind PRISCILLA who’s getting further in front. HELEN Hold your horses, don’t forget I’m disabled here! She staggers off after PRISCILLA into the gloom.
69 EXT. COAST ROAD - NIGHT 69 It’s dark, and it’s started to rain. Now PRISCILLA walks briskly some way in front, HELEN really struggling behind. HELEN Stop! I need to rest. PRISCILLA Go back to the car then. HELEN Not on my own! PRISCILLA keeps walking.
70 EXT. COUNTRY ROAD CROSS ROADS - NIGHT 70 HELEN now on her own, arrives at a cross roads. HELEN stops not sure which way to go, PRISCILLA is out of sight. HELEN (Calling out) Priscilla! Which way have you gone? Can you come back here please! (Desperate) Priscilla! Nothing. HELEN (cont’d) PRISCILLA! Come back!
71 EXT. COUNTRY ROAD - NIGHT 71 It’s raining hard, PRISCILLA walks on, wet, cold, upset, alone, shivering.
72 EXT. COUNTRY ROAD - NIGHT 72 HELEN, shivering, struggling, trudges along the road in the opposite direction, wipes rain from her face or is that a tear? She trips and falls, badly, cries out in pain, no one comes, slowly she struggles to her feet again and hobbles on. 47.
73 EXT. COUNTRY ROAD - NIGHT 73 PRISCILLA slows, then stops. Listens, all she can hear is the rain, the wind, the sea. She hesitates, then turns round and retraces her steps.
74 EXT. COUNTRY ROAD CROSS ROADS - NIGHT 74 PRISCILLA anxiously searching for HELEN, comes to the cross roads where she left her, no sign of her anywhere, PRISCILLA hurries on, worried.
75 EXT. COUNTRY ROAD - NIGHT 75 Pouring with rain, PRISCILLA can see the abandoned car, she hurries over to it, looks inside, it’s empty. PRISCILLA Oh God what have I done. (Calling out) Helen? She looks around, nothing, she’s about to move on when she hears a faint voice. HELEN (V.O.) Over here. PRISCILLA turns, can’t see anything. PRISCILLA Helen?! HELEN (V.O.) (Weak) Here, for Gods sake. PRISCILLA rushes round the car, HELEN is huddled on the ground next to the car. PRISCILLA kneels down, looks at her. PRISCILLA What are you doing? HELEN You locked the car you idiot! PRISCILLA I’m so sorry. PRISCILLA’S attention is caught by lights, she looks up, there’s a car coming! PRISCILLA (cont’d) A car, there’s a car! 48.
PRISCILLA runs out into the middle of the road, frantically waving her arms up and down, the car doesn’t seem to be slowing. PRISCILLA (cont’d) Stop, help. The car is coming very fast, PRISCILLA isn’t going to budge. PRISCILLA (cont’d) (Desperate) Stop! Finally just in time it sees her and screeches to a halt just in front of her. PRISCILLA recovers a moment then rushes round to the drivers side of a large vintage convertible Citreon. The window is wound down, an elderly man ALBERT (70’s) with very long hair, dressed in his pyjamas looks out at her. PRISCILLA (cont’d) (Halting French) Can you help us please? He looks at her, a moment of recognition, then a broad smile. ALBERT (In Good English) You rescued the little boy in Cherbourg? PRISCILLA (Relief) Yes, yes I did, we need help, my friend is, is ill, please. ALBERT (In Good English) Of course. ALBERT gets out of the car, pyjamas and bare feet! PRISCILLA leads him over to HELEN who looks up at him in horror. HELEN Who the hell is this?! PRISCILLA He’s going to help us. HELEN To an early grave! PRISCILLA leans down to help HELEN up, ALBERT does the same, HELEN leans away from him. HELEN (cont’d) He’s wearing pyjamas! 49.
PRISCILLA (Urgent) I know, but at the moment he is our only option, come on. HELEN allows herself to be helped.
76 EXT. COUNTRY ROAD - NIGHT 76 ALBERT drives, HELEN and PRISCILLA shiver in silence. PRISCILLA Thank you so much for this. Silence, no response, HELEN and PRISCILLA share a worried look. PRISCILLA (cont’d) Where are we going? He ignores them. Pulls the car off the road down a rough track. Oh shit. PRISCILLA (cont’d) Perhaps we could get out now? Silence. PRISCILLA (cont’d) Could you stop the car we would like to get out now please! PRISCILLA puts her hand on the door handle, about to open it when out of the gloom they sweep through imposing gates and up a gravelled drive in front of a large chateaux.
77 EXT. CHATEAU - NIGHT 77 ALBERT pulls up by the front door which opens as he gets out. Gesturing for them to follow he goes over to the front door where a severe looking woman SYLVIE (40) is waiting. PRISCILLA and HELEN look at each other. HELEN opens her door. HELEN I don’t know about you, this place is impressive, I’d rather take my chances in there than wait out here. They hear raised voices talking in French coming from inside as PRISCILLA supports HELEN over to the front door, then SYLVIE stands barring their way. 50.
SYLVIE (In French) There is a hotel in the next town I will call you a taxi, wait there. She goes to shut the door but HELEN gets her stick in the way. A brief tussle ensues, HELEN backed by PRISCILLA forces their way in. HELEN Don’t you know who I am? I am a very famous actress. About to die from exposure. Get out of my way.
78 INT. CHATEAU ENTRANCE HALL - NIGHT 78 SYLVIE picks up a telephone and dials. ALBERT stands there in his pyjamas looking a little unsure. SYLVIE (In French) I am calling the police. PRISCILLA No. HELEN What is she saying? PRISCILLA She’s calling the police. HELEN Don’t you dare! HELEN goes to grab the phone but SYLVIE holds her off. SYLVIE (In French) Hello, yes.... She is cut off, looks up to see ALBERT holding the end of the cord having pulled it out of the wall. ALBERT (In French) They are staying here. SYLVIE (In French) They can’t. SYLVIE tries to grab the telephone cord, but ALBERT pulls away. 51.
SYLVIE (cont’d) (In French) But sir you are not... ALBERT (Shouting in French) They are my guests, show them to rooms, find them something to wear, then they can come and join me for supper. She hesitates. ALBERT (cont’d) (In French) Now Sylvie. Reluctantly SYLVIE sets off up the stairs brusquely indicating for them to follow. PRISCILLA (In French) Thank you sir. ALBERT nods and goes, PRISCILLA and HELEN follow SYLVIE slowly up the stairs. HELEN That was you told. SYLVIE ignores her. HELEN (cont’d) I know you understand. (Back to PRISCILLA) Nice place, do you think he’s single. PRISCILLA Shush. HELEN (Back to SYLVIE) Is he your boss or your husband, or both? SYLVIE ignores her. HELEN (cont’d) Hellooo? Forget it. Well he’s obviously loaded! We’ve landed on our feet!
79 INT. CHATEAU UPSTAIRS CORRIDOR - NIGHT 79 SYLVIE leads them down a long and magnificent corridor, this place is impressive. In the middle SYLVIE opens doors to rooms side by side. 52.
SYLVIE (Curt, English) There are clothes in the wardrobes.
80 INT. CHATEAU PRISCILLA’S ROOM - NIGHT 80 PRISCILLA enters her room, shuts the door. It’s beautiful, large, with french windows open onto a balcony over looking the sea, it’s idyllic. PRISCILLA catches sight of herself in the wardrobe mirror, she looks a wreck, her dress soaked through. She cautiously opens the wardrobe, and low and behold it’s full of beautiful dresses. Carefully she selects one and takes it out, enjoying the feel of expensive fabric, then checking that no one is watching she puts it up against herself and looks in the mirror.
81 INT. CHATEAU ENTRANCE HALL - NIGHT 81 PRISCILLA comes downstairs alone, wearing the elegant evening dress, she looks gorgeous, it’s as if it was made for her. All is quiet, she hesitates a moment, not sure where to go, then cautiously opens the door that ALBERT had come from.
82 INT. CHATEAU LIVING ROOM - NIGHT 82 PRISCILLA comes into a large living room, beautifully furnished, a fire burning in the fireplace above which is a large portrait of a striking middle aged woman, something looks familiar about her, PRISCILLA looks more closely, she realises she is wearing the same dress. She quickly turns to leave, too late, there is ALBERT, and he’s transformed, now smartly dressed and looking great. PRISCILLA (Mortified) Oh my God, I’m so sorry, I’ll go and change! ALBERT (Smiling) Please don’t, it’s lovely to see it worn again, you look very elegant, it suits you. PRISCILLA Your wife? ALBERT Yes, she passed away a long time ago. 53.
PRISCILLA I’m sorry to hear that. Me too. He looks at her. PRISCILLA (cont’d) I mean, my husband, he is dead. ALBERT I’m sorry. PRISCILLA Yes, so am I. (Quickly to change the subject) Thank you for helping us. ALBERT A pleasure. Saving that little boy was a very brave thing to do. I saw you on the TV and wanted to meet you, and here you are! My dream came true. PRISCILLA blushes. PRISCILLA I hope I won’t disappoint. The door opens abruptly, HELEN, makes a grand entrance in her dishevelled Chanel suit, her face falls as she sees PRISCILLA all dressed up and looking so lovely. HELEN You scrub up well. PRISCILLA I’m going to change. ALBERT No you are not, let’s eat. He walks over to open French windows that lead onto a terrace over looking the sea, they follow.
83 EXT. CHATEAU, DINING ROOM - NIGHT 83 They sit at a long table, HELEN finishes off her glass of wine and ALBERT pours her another one. HELEN So you are rich? ALBERT A little. 54.
HELEN (Hopeful) And famous? ALBERT Unfortunately. HELEN And now you are a recluse? ALBERT shrugs. HELEN (cont’d) Locked away in this beautiful house with Nurse Ratched. How utterly miserable. Is that why you drive about in your pyjamas? ALBERT smiles. HELEN (cont’d) Fame can make you crazy. We are very similar, except you obviously have a lot of money and are still famous! HELEN takes another drink. HELEN (cont’d) I like a man with a good head of hair. ALBERT acknowledges the compliment. HELEN (cont’d) Is your wife dead or just gone shopping? PRISCILLA Helen! ALBERT Dead. HELEN There’s no point beating around the bush at our age. I think we all need company and a little love at this time of life. I know I do. (Turning to PRISCILLA) You don’t get much of that do you? PRISCILLA is embarrassed and doesn’t know how to respond. ALBERT watches her. 55.
HELEN (cont’d) Although I’m not sure love is all it’s cracked up to be. She takes another drink. PRISCILLA and ALBERT make brief eye contact, he smiles reassuringly at her. HELEN (cont’d) (To ALBERT) Have you ever been in love? ALBERT Yes. HELEN Good for you! I don’t think Priscilla has, have you? PRISCILLA ignores her. HELEN (cont’d) And you know, up until now, neither had I! If you know what I mean?! She takes ALBERT’S hand in hers. In good humour he lets her, and then kisses her hand. HELEN (cont’d) The French are so romantic! ALBERT I’m Italian. Not letting go of his hand. HELEN Even better! Italians are the best lovers! PRISCILLA’S glass of wine slips out of her hand and spills all over the table. PRISCILLA Oh! I'm so sorry. HELEN You nearly gave me a heart attack! PRISCILLA I'm afraid I left my arthritis tablets behind in the rush and my hands are rather painful and useless. HELEN You need a drink. 56.
PRISCILLA It's been rather a long day, and I think I ought to go to bed. ALBERT I will come with you, I’ve got just what you need. HELEN Easy tiger!
84 INT. CHATEAU - NIGHT 84 PRISCILLA follows ALBERT through the chateau, a little nervous as to why he is accompanying her. PRISCILLA I’m fine you know, just need to rest. He ignores her.
85 INT. CHATEAU, STAIRCASE - NIGHT 85 They walk upstairs together, ALBERT gently takes her arm in his, PRISCILLA not sure what to do, but does not resist. PRISCILLA I'm not used to all this travel. ALBERT I never go anywhere anymore. PRISCILLA Neither do I normally.
86 EXT. CHATEAU UPSTAIRS CORRIDOR - NIGHT 86 ALBERT and PRISCILLA still arm in arm walk down the corridor, PRISCILLA stops at her bedroom, ALBERT carries on. PRISCILLA Good night. He doesn’t seem to hear her. PRISCILLA waits a moment for a response, odd, she shrugs then goes into her room.
87 INT. CHATEAU, PRISCILLA'S ROOM - NIGHT 87 PRISCILLA, struggling with her hands, sits at the dressing table trying to brush out her hair. The door opens, ALBERT comes in. 57.
PRISCILLA (Surprised) Oh, hello. ALBERT sits on her bed and lights up a joint. PRISCILLA (cont’d) I’m afraid I don’t smoke. ALBERT inhales deeply, holds the smoke in his lungs then exhales. ALBERT Neither do I. He passes the joint to PRISCILLA. ALBERT (cont’d) But I make an exception for drugs, medicinal purposes only of course. PRISCILLA looks at the smoking joint. ALBERT (cont’d) It will help your hands I promise. PRISCILLA looks at the joint, petrified.
88 INT. CHATEAU UPSTAIRS CORRIDOR - NIGHT 88 HELEN totters up outside PRISCILLA’S room, unsteady on her feet, and can hear laughter coming from inside. HELEN Priscilla. Stifled laughter. HELEN listens. HELEN (cont’d) What’s so funny?
89 INT. CHATEAU PRISCILLA’S ROOM - NIGHT 89 PRISCILLA holding the joint freezes. HELEN (V.O.) Are you laughing at me? PRISCILLA (Still giggling) No, of course not. HELEN (V.O.) Just in case she told you her husband was dead, he isn’t, he’s alive and well. 58.
90 INT. CHATEAU PRISCILLA’S ROOM - NIGHT 90 PRISCILLA looks at ALBERT in embarrassment. PRISCILLA (Quiet) I’m sorry. ALBERT shrugs. ALBERT (Quiet) He is a very lucky man. PRISCILLA Yes, I suppose he is. ALBERT How are your hands? PRISCILLA Much better thank you. The door opens HELEN stands there. HELEN What are you saying? Stop whispering! They both look at her, can’t help smiling. HELEN (cont’d) (Furious) What the hell are you playing at? ALBERT gets up and leaves. ALBERT (In French) Sweet dreams. HELEN What’s that smell, have you been smoking?! PRISCILLA gets up. PRISCILLA I just need to sleep now. PRISCILLA ushers HELEN out. HELEN You’ve been smoking drugs! PRISCILLA I might have. Go to bed. 59.
She closes the door. HELEN (V.O.) He’s mine, keep your hands off him! PRISCILLA locks her door. PRISCILLA (To herself) No he’s not, he’s mine, finders keepers losers weepers! PRISCILLA lets out an involuntary giggle.
91 EXT. CHATEAU - DAY 91 It is very early, another beautiful day, sun glinting off the sea. 92 INT. CHATEAU, UPSTAIRS CORRIDOR - DAY 92 PRISCILLA wakes up to the sound of the sea, and the light of the sun breaking through the curtains, it’s bright, she winces, her head hurts. It takes her a moment to realise where she is, feeling groggy she gets up and goes out onto the balcony.
93 EXT. PRISCILLA’S BALCONY - MORNING 93 Shading the morning sun from her eyes she looks out, the sea, and down below on the lawn there is a swimming pool glinting in the early morning light, it looks very inviting, that’s what she needs.
94 EXT. CHATEAU LAWN - MORNING 94 PRISCILLA hurries across the wet grass to the pool in a dressing gown, and bare feet. She gets to the edge of the pool, looks around, all quiet, contemplates the water a moment, checks the windows of the Chateau once more, then very quickly slips off her dressing gown, wearing a borrowed swim suit she slips into the water. It’s cold! PRISCILLA Oh! She swims hard to warm herself, getting to the end she stops for breath and turns and there is ALBERT walking down to the pool. ALBERT Thought I’d join you. PRISCILLA Really, it’s very cold, I wouldn’t. 60.
ALBERT Just what I need. He sheds his gown to reveal nothing underneath. PRISCILLA turns away. PRISCILLA Oh! He gets into the pool. ALBERT (In French) My God! You were right. PRISCILLA Keep moving, you’ll get used to it. They both laugh as they swim away from each other. They turn and swim back towards each other. ALBERT Do you come here often? PRISCILLA (laughing) No. They swim on, turn, back towards each other, laughing in anticipation of what to say next. PRISCILLA (cont’d) Zut Alors! ALBERT Ooo La La! They laugh. PRISCILLA turns and is shocked to see HELEN accompanied by furious looking SYLVIE. SYLVIE (Short to ALBERT) You should not be swimming! HELEN Some of us have a funeral to get to. Tomorrow! Unless you’ve forgotten why we are here Priscilla? PRISCILLA (Chastened) No I haven’t. ALBERT gets out revealing himself full frontal to HELEN and SYLVIE. 61.
HELEN My God! SYLVIE Oh Monsieur! ALBERT laughs as he puts on his robe. PRISCILLA swims to the steps and gets out, ALBERT holds her robe for her. HELEN This is unbelievable! ALBERT I’ll take you to the funeral. SYLVIE (In French) No you can’t! ALBERT (In French, firm) Get the car ready Sylvie. Yes, we better get started.
95 INT. PRISCILLA’S HOUSE KITCHEN - DAY 95 Close up on a phone as it starts to ring, pull focus to see outside through the closed window - SARAH corralling the kids and a reluctant FRANK into her car, they can’t hear it ringing, she takes his hand and leads him to the passenger door, he gets in.
96 INT. CHATEAU LIVING ROOM - DAY 96 PRISCILLA surreptitiously in the living room on the phone, she lets it ring a moment more. The door opens and PRISCILLA quickly hangs up, SYLVIE stands there. PRISCILLA Just calling home, no answer, must be out. SYLVIE (In English) What do you two want? PRISCILLA Nothing. HELEN (V.O.) Oh, there you are. HELEN and ALBERT arrive. ALBERT OK? 62.
PRISCILLA (Blushing) Yes, fine, sorry, just coming. She goes, sliding past SYLVIE, who takes her arm a moment. SYLVIE (Quiet) Look after him. PRISCILLA I will.
97 EXT. CHATEAU, FRONT ENTRANCE - DAY 97 SYLVIE watches anxiously as ALBERT, PRISCILLA and HELEN get into the very grand old Citroen convertible, the top down, HELEN bags the front passenger seat, shooting PRISCILLA a little triumphant look. PRISCILLA gets in the back. ALBERT starts the car, it roars into life, he puts it into drive and eases the grand car forward down the drive leaving concerned SYLVIE behind.
98 EXT. CHATEAU GATES - DAY 98 They approach the end of the drive and the main road. ALBERT puts his foot down and they lurch out onto the road and away.
99 EXT. COUNTRY ROAD - DAY 99 They drive through the beautiful French countryside, roof down, wind in their hair. PRISCILLA in the back looking on as HELEN, one hand on her wig to hold it in place, puts her other hand on ALBERT’S arm. ALBERT glances at HELEN and smiles, PRISCILLA tries to catch his eyes in the rear-view mirror, but he doesn’t look at her.
100 EXT. MEADOW BY A RIVER - DAY 100 They have stopped for a picnic by a river, a beautiful spot. They sit eating in the car, HELEN and ALBERT still in the front, her wig in place if a little disordered. ALBERT pours champagne into a glass for HELEN, looks to PRISCILLA, she shakes her head, he chinks glasses with HELEN, PRISCILLA raises her empty hand lamely.
101 EXT. MEADOW BY A RIVER - DAY 101 Meal finished. ALBERT downs a glass of champagne, gets out of the car. 63.
ALBERT Anyone fancy a little walk, I need to stretch my legs. HELEN/PRISCILLA Yes. ALBERT Great. PRISCILLA (Off HELEN’S look) Actually no, you go, I’m a little tired after my swim. ALBERT Really? HELEN You do look tired. PRISCILLA Do I? HELEN For God’s sake, yes you do, and you just said you did! Give me strength. He gets out and helps HELEN out. They walk away, PRISCILLA watching, then ALBERT turns and looks back at her, gives her reassuring smile and a shrug as if to say sorry. PRISCILLA smiles back and makes a face as if to say, no worries, he turns away and links arms with HELEN, PRISCILLA looks on, jealous despite herself.
102 EXT. BRIDGE ACROSS SEA TO ILE DE RE - EVENING 102 They drive over the magnificent bridge across the small spit of sea that separates ILE DE RE from the mainland.
103 EXT. ST MARTIN DE RE - EVENING 103 ALBERT drives them slowly into the centre of a small beautiful seaside town. PRISCILLA enjoying taking it all in, HELEN on the other hand looks anxious, sits lower in her seat, pulls her scarf over her head and hides behind her dark glasses.
104 EXT. HOTEL - EVENING 104 They pull up outside a grand old hotel overlooking the square and harbour. 64.
Immediately the MANAGER comes out with other staff, they have obviously been expecting ALBERT and a big fuss is made as they get out of the car, a few members of the public approach him for autographs holding books for him to sign. ALBERT opens PRISCILLA’S door, they end up arm in arm with photographers snapping away. HELEN struggles out unaided, scowling. HELEN Help me! PRISCILLA goes to her. HELEN (cont’d) This is a ridiculous circus. PRISCILLA I’d thought you’d like it. HELEN Well you have no idea. HELEN drags her into the hotel.
105 INT. HOTEL CORRIDOR - NIGHT 105 PRISCILLA comes out of her room, she goes to the next door and hovers, wondering whether to knock.
106 INT. HOTEL HELEN’S ROOM - NIGHT 106 HELEN lies fully dressed curled up on the bed. She opens her eyes, listening.
107 INT. HOTEL CORRIDOR - NIGHT 107 PRISCILLA is about to knock when a door further down opens and ALBERT comes out. ALBERT (Quiet, urgent) Stop, don’t. PRISCILLA looks at him. PRISCILLA (Mouthing) Why? ALBERT (Quiet) Can I buy you dinner? 65.
PRISCILLA (Whispering) Yes, but... ALBERT (Quiet) No! Just us. PRISCILLA hesitates, not sure what to do. PRISCILLA (Whispering) Isn’t that a bit rude? ALBERT No. PRISCILLA hesitates a moment, then goes past HELEN’S door and allows ALBERT to take her arm. ALBERT (cont’d) Quick.
108 INT. HOTEL, HELEN’S ROOM - NIGHT 108 HELEN lies on the bed having heard the whole exchange, she listens as their footsteps move off.
109 EXT. ST MARTIN DE RE - NIGHT 109 ALBERT and PRISCILLA, arm in arm, the whole town seems to be out enjoying itself.
110 INT. HOTEL, HELEN’S ROOM - NIGHT 110 Desolate, HELEN has dragged herself to the dressing table, she contemplates her sorry self in the mirror, closes her eyes a moment, then carefully opens the locket that hangs from her necklace. Inside is a tiny lock of dark hair, she very gently touches it, not daring to take it out. She sits a moment in thought, then, closes the locket, her mind made up, she gets up gathers her stick and leaves.
111 EXT. ROAD BY SEA - NIGHT 111 A taxi drives along, HELEN, looks out at the sea, then her reflection in the window, she makes a nervous adjustment to her wig.
112 EXT. ST MARTIN DE RE - NIGHT 112 At a village store ALBERT buys a locally made shell necklace for PRISCILLA. 66.
A little embarrassed and self conscious she tries it on. As she looks at herself in the mirror, fingering the necklace she focuses on her wedding ring, a moment of doubt. This is broken by ALBERT telling her it looks lovely, the stall holder agreeing.
113 EXT. LA FLOTTE - NIGHT 113 The taxi enters the village square which is dominated by a church, houses either side, it pulls up outside a large house, steps up to a front door which is open. HELEN Can you wait please. The TAXI DRIVER nods, takes out a cigarette. HELEN gets out. Stands looking up at the grand house. Taking a deep breath she climbs the steps up to the open front door. It leads to a large hallway dominated by a grand staircase, empty, silent. HELEN (cont’d) Hello? Nothing, she’s about to take a step inside when a door opens upstairs, there’s a patter of feet, and a striking little girl ELEANOR (12) with a cute blond bob comes running down the stairs. She stops when she sees HELEN and looks at her with piercing blue eyes, a moment as they take each other in, HELEN in shock. ELEANOR (In French, direct) Who are you? HELEN can’t respond. ELEANOR (cont’d) (In French) What do you want? HELEN (Weak) Nothing, sorry. ELEANOR (In English from now on) Are you English? HELEN bottles it, she turns and goes, the LITTLE GIRL, curious, follows. HELEN makes her way down the steps to the waiting TAXI. ELEANOR (cont’d) Wait. I can speak English. HELEN stops. 67.
ELEANOR (cont’d) I’m half English. HELEN looks at her. HELEN What is your name? ELEANOR Eleanor, what’s yours? LUCY (V.O.) (In English) Eleanor, what are you doing? HELEN freezes, looks past ELEANOR to the house. ELEANOR Out here mummy. HELEN rooted to the spot looks up as a strikingly attractive woman LUCY (50) comes out onto the top step. HELEN is mesmerized. LUCY Come inside, it’s late. ELEANOR This lady is from England. I was practising my english. LUCY (Smiling warmly) Hello, that’s kind, come inside now, big day tomorrow. Sorry, I hope she wasn’t bothering you? HELEN Not at all. LUCY pauses a moment looking at HELEN. LUCY Sorry, do I know you? HELEN I don’t think so. LUCY Are you here for dad’s funeral? HELEN Yes. LUCY Oh my God, I do know you, you are Helen Shelly! 68.
HELEN can’t speak. LUCY (cont’d) Aren’t you? HELEN nods. LUCY (cont’d) Oh, dad would be so pleased! HELEN I doubt that. LUCY Come in, please, you must come in a moment, I want to show you something. HELEN looks reluctant. LUCY (cont’d) Please. HELEN starts up the steps.
114 INT. LARGE HOUSE ON THE SQUARE - NIGHT 114 LUCY leads HELEN to a door. LUCY You haven’t changed a bit. How amazing. HELEN follows LUCY into a study.
115 INT. STUDY - NIGHT 115 LUCY shows HELEN in. LUCY Dad’s study, and there you are, pride of place! She indicates the wall above a large desk, and there is a huge film poster for MARTY AND ME, a gorgeous young HELEN smiling down at them. HELEN looks up at herself, then at LUCY, overcome. ELEANOR Is that you? LUCY Yes it is! ELEANOR Wow, you are beautiful. 69.
LUCY This was your first film wasn’t it? HELEN nods, unable to speak. LUCY (cont’d) Dad’s first hit. HELEN has tears in her eyes. LUCY (cont’d) Oh, I’m sorry, I didn’t mean to upset you, I just got a bit excited to see you here. I’m so sorry. LUCY goes to hug HELEN, but HELEN moves away. HELEN (Wiping her tears) Don’t be. I’m being stupid. LUCY Did we meet when I was small? HELEN I don’t think so, I better go. HELEN moves to the door. LUCY Really, stay for a drink, something to eat? Harry’s in town you know. HELEN looks round concerned. LUCY (cont’d) Still doing deals! I expect he’d love to see you if you could face it!? HELEN No, no thank you, I really should be going. HELEN makes her way out.
116 EXT. LARGE HOUSE ON THE SQUARE - NIGHT 116 LUCY takes HELEN’S arm to help her down the steps to her taxi. LUCY Please come and see us after the funeral. HELEN stops at the taxi door. 70.
HELEN (Full of emotion) Jerry, I bet he was a good dad? LUCY The best. HELEN And Violet? LUCY I miss her very much. A moment. LUCY wipes a stray tear from her eye. HELEN You never thought to .... LUCY Find my real mother? No, no, I was very happy, didn’t want to spoil that. HELEN Of course. LUCY is crying, HELEN hesitates a moment, can see that she is about to break down and takes her in her arms, they embrace, LUCY lets the tears flow. LUCY I’m sorry. HELEN (Comforting) No, please, don’t be. LUCY breaks apart and wipes her eyes composing herself. HELEN (cont’d) You did the right thing you know. LUCY looks at her not understanding. HELEN realises she has gone too far. HELEN (cont’d) Goodbye. HELEN breaks away not able to look and gets into the taxi. It drives off. LUCY watches her go unsettled.
117 INT. TAXI - NIGHT 117 HELEN in a state looks in rear view mirror and sees LUCY who stares after the car. 71.
118 INT. RESTAURANT - NIGHT 118 ALBERT and PRISCILLA are lead to a table in a fancy restaurant, staff and customers stand and applaud, ALBERT takes it in his stride, PRISCILLA self conscious.
119 INT. RESTAURANT - NIGHT 119 PRISCILLA and ALBERT sit, the waiter pours two glasses of champagne for them. ALBERT smiling and adoring, PRISCILLA is distracted, she can’t help glancing over at a young couple at the table next to them. They are obviously newly in love, can’t take their eyes off each other, talking animatedly, holding hands across the table. ALBERT raises a glass of champagne to PRISCILLA. ALBERT To you. She looks back at him, and raises her glass, they both drink, but PRISCILLA can’t keep it up. PRISCILLA I shouldn't be here. Silence, ALBERT lowers his glass, his smile fades. PRISCILLA (cont’d) I’m too old for this. ALBERT You are never too old! PRISCILLA I have a family, they need me. ALBERT (With regret) They’ll have you back soon...unless. PRISCILLA looks at him. PRISCILLA Unless? ALBERT Ah, it’s a stupid idea. PRISCILLA What? ALBERT Nothing. PRISCILLA Tell me! 72.
ALBERT (Laughing) Unless you stay with me. PRISCILLA can't reply for a moment. ALBERT (cont’d) Stupid idea I know! PRISCILLA looks away. ALBERT (cont’d) It wouldn’t be that bad would it?! A moment. Then PRISCILLA gets up. PRISCILLA I’m sorry. I should go. She leaves, ALBERT’S face falls, dismay as he watches her go.
120 INT. HOTEL BAR - NIGHT 120 The bar is buzzing, a male pianist and female singer are performing. HELEN sits at the front on her own, she’s been drinking. A song comes to an end, HELEN drains her glass and gets up. Staggering a little, she goes over to the pianist. He is a little surprised as this rather odd but striking elderly lady stands in front of him, wig slightly askew. HELEN I would like to sing please. PIANIST (French, smiling) Really? HELEN Yes. The PIANIST looks at the singer, she shrugs, why not? PIANIST What would you like to sing? HELEN You’ll see. HELEN takes the microphone from the SINGER and faces the crowd, who quieten, wondering what is coming. HELEN (cont’d) Good evening. 73.
A few of the crowd answer back with good evenings, there’s a couple of laughs. HELEN (cont’d) Excuse me for intruding on your evening. I am Helen Shelly. Some of you of a certain age might know who I am, most of you will probably not. She pauses a moment gathering her thoughts, getting nervous in front of an audience. HELEN (cont’d) I would like to sing you a very famous song. (she looks out at the crowd) Frank and I once ran in the same circles so I feel able to give this a go with his blessing. She closes her eyes to block out the audience, takes a deep breath and without accompaniment she starts to sing. HELEN (cont’d) And now, the end is near... It’s shaky, but not bad, the pianist starts to accompany her, the audience silent, not sure what to make of this. HELEN (cont’d) And so I face the final curtain. My friends, I'll say it clear; I'll state my case of which I'm certain. I've lived a life that's full - I've travelled each and every highway. Unseen by HELEN, LUCY has arrives at the back of the bar, she stares at HELEN singing, can’t believe it. HELEN (cont’d) And more, much more than this, I did it my way. Some cheers. LUCY not sure what to do.
121 INT. HOTEL RECEPTION - NIGHT 121 PRISCILLA, downcast, walks into reception. She is about to carry on up to her room, but stops as she hears the singing coming from the bar. HELEN (V.O.) Regrets? I've had a few, But then again, too few to mention. (MORE) 74. HELEN (V.O.) (cont'd) I did what I had to do And saw it through without exemption.
122 INT. HOTEL BAR - NIGHT 122 LUCY watches HELEN who is completely absorbed in the song. Her passion moves the audience who are now all paying attention, some join in. HELEN I planned each charted course, Each careful step along the byway, And more, much more than this, I did it my way. Applause. Buoyed by the audience response HELEN looks out properly for the first time and sees LUCY. Their eyes meet. Thrown, HELEN hesitates, the pianist looks up, HELEN recovers and continues uncertainly, the pianist readjusts. PRISCILLA enters, taking in HELEN up at the front and the rapt audience. HELEN (cont’d) (With great gusto) I've loved, I've laughed and cried, I've had my fill - my share of losing. But now, as tears subside, I find it all so amusing. HELEN can’t keep her eyes off LUCY, she is starting to sing directly to her. LUCY doesn’t know where to look, but can’t leave. PRISCILLA is mesmerized by HELEN who is now looking every inch the star she once was, growing in stature with every word. HELEN (cont’d) To think I did all that, And may I say, not in a shy way - Oh no. Oh no, not me. I did it my way. HELEN totally focused on LUCY, who gives her a disgusted look, then to HELEN’S horror starts to leave. Oblivious to this PRISCILLA wipes tears from her face. HELEN (cont’d) (Desperate to LUCY, willing her to stay) For what is a man? What has he got? If not himself - Then he has naught. To say the things he truly feels And not the words of one who kneels. The record shows I took the blows And did it my way. 75.
HELEN finishes. LUCY disappears amidst applause, cheers and whistles! A triumph, but HELEN is distraught, she drops the microphone and starts after LUCY but is immediately waylaid by well wishers, a standing ovation. PRISCILLA applauds, wipes her eyes, HELEN pushes forward in pursuit of LUCY, PRISCILLA tries to catch her, but HELEN ignores her and leaves, PRISCILLA snubbed, confused.
123 EXT. HOTEL - NIGHT 123 HELEN rushes out of the hotel, desperate, she sees LUCY being helped into a car by her HUSBAND. He glances over at her, HELEN steps back, he pauses, then is called into the car and they drive off. HELEN slumps, defeated.
124 INT. HOTEL STAIRS - NIGHT 124 PRISCILLA walks purposefully upstairs.
125 INT. HOTEL CORRIDOR - NIGHT 125 PRISCILLA stands in the middle of the corridor, turns to a door, hesitates, then knocks.
126 INT. HOTEL STAIRS - NIGHT 126 HELEN slowly makes her way up the stairs on her own.
127 INT. HOTEL CORRIDOR - NIGHT 127 PRISCILLA waits, the door opens and ALBERT stands there. PRISCILLA It isn’t a stupid idea. He smiles, stands away from the door and she goes in.
128 INT. HOTEL, PRISCILLA’S ROOM - NIGHT 128 PRISCILLA and ALBERT are facing each other just by the door. PRISCILLA is very nervous. PRISCILLA I can’t get this stupid grin off my face! ALBERT You have a lovely smile. PRISCILLA I feel like a teenager again. 76.
ALBERT That’s good! ALBERT moves a little closer, he puts his hand gently on PRISCILLA’S shoulder and draws her closer to him. He smiles, she smiles, feeling a little nervous now. ALBERT moves closer and gently kisses her on her lips. He moves back to check she is OK. She is, so he kisses her again, this time she responds, they embrace and kiss passionately.
129 INT. HOTEL, HELEN’S ROOM - NIGHT 129 HELEN comes into her room. The door closes, she stands a moment in the dark, swaying a little, then roughly pushes the covers back on the bed and gets in. Pulls the covers loosely up over her clothes, kicks her shoes free and brings her legs up into a foetal position. She lies, staring into space, then closes her eyes.
130 INT. HOTEL, PRISCILLA’S ROOM - NIGHT 130 PRISCILLA pulls away a moment and looks at ALBERT. PRISCILLA (Unconvincing) Perhaps I should go to my room now? ALBERT (Smiling) If you like. She smiles at him. ALBERT pulls away, turns and starts to undress. PRISCILLA pauses, then goes to the other side of the bed and pauses a moment. PRISCILLA Would you mind turning the lights off? ALBERT gives her a look as if to say “really?”, then turns the main light off. In darkness PRISCILLA discreetly starts to undress, they get into bed and turn to face each other. ALBERT Are you OK? PRISCILLA (Not really no!) Yes, are you? ALBERT You are shaking. PRISCILLA I’m nervous. 77.
He smiles and kisses her, she kisses back, we leave them be.
131 EXT. HOTEL - MORNING 131 The sun shines brightly on the empty square and the quiet hotel.
132 INT. HOTEL, PRISCILLA’S ROOM - MORNING 132 PRISCILLA wakes slowly, she turns to look at ALBERT, who isn’t there. For a moment, she’s not sure if she was dreaming, or where she is, but then she sees his clothes on the back of the chair. She gets up and goes to the bathroom door which is shut. She knocks, no answer. PRISCILLA Albert? Nothing. Cautiously she tries the door, it isn’t locked, she opens it, the bathroom is empty. She turns back into the room and as she does she sees ALBERT face down, naked, on the floor by his side of the bed, almost under it. PRISCILLA (cont’d) Oh my God. She rushes over and kneels down by him. His face against the carpet, eyes closed, calm and very still. PRISCILLA (cont’d) Albert? She cautiously touches his face, he’s stone cold. PRISCILLA (cont’d) Oh My God, no, please, no. There’s a knock at the door, PRISCILLA freezes. Sound of key in the door. MAID (V.O.) (In French) House keeping. PRISCILLA rushes to the door and forces it closed. PRISCILLA (In French, urgent) Later please. The key is taken out, sound of someone moving off. PRISCILLA quickly pulls her clothes on and leaves the room. 78.
133 INT. HELEN’S ROOM - DAY 133 HELEN lies on the bed covers over but still dressed in clothes from the day before. She is disturbed by knocking on her door.
134 INT. HOTEL CORRIDOR - DAY 134 PRISCILLA hurries out, the MAID is knocking on HELEN’S door. PRISCILLA (Broken French) Excuse me, but I need to speak to my friend. HELEN (V.O.) Go away. PRISCILLA (In French) Please? The MAID shrugs, moves on, fed up.
PRISCILLA (cont’d) (Trying to keep her voice down) Helen. HELEN (V.O.) Go away I said. PRISCILLA Helen, it’s me, I need you. HELEN (V.O.) I’m not going, leave me alone. PRISCILLA Please, it’s urgent! Silence. PRISCILLA (cont’d) Helen! HELEN (V.O.) For God’s sake, it better be. PRISCILLA anxiously waits, looking nervously at the MAID who hovers a bit further down the corridor. The door opens, HELEN is still dressed in her clothes from the day before, she looks terrible, eyes squinting, hand on her forehead. HELEN What do you want? 79.
PRISCILLA (Urgent whisper) He’s dead. HELEN (Normal volume) Who’s dead? PRISCILLA (Whisper) Shush! Albert’s dead. HELEN looks at her. PRISCILLA (cont’d) Quick, please come. PRISCILLA takes HELEN and goes to her room.
135 INT. HOTEL, PRISCILLA’S ROOM - DAY 135 They enter, HELEN sees ALBERT lying there, a moment as she takes it in. HELEN What did you do?! PRISCILLA Nothing! HELEN Said the actress to the bishop! PRISCILLA We went to sleep, I didn’t hear anything, he was like this when I woke up. It’s awful. What are we going to do? HELEN We? HELEN (cont’d) Well at least he died happy. PRISCILLA Oh God. HELEN looks at ALBERT’S lifeless body lying naked on the floor, a moment. HELEN (Quiet) There but for the grace of God go I. 80.
PRISCILLA We’ve got to tell someone. HELEN (Making a decision) What time is it? (She sees the bedside clock) Oh my God, why didn’t you say, it’s 10.30, the funerals at 12, we’re going to be late! PRISCILLA What? We can’t go now, we have got to report this, I’m going to speak to reception. HELEN We’ll never get to the funeral if you do that! PRISCILLA I don’t care, this is more important! PRISCILLA goes to the door. HELEN No, pull yourself together, there’s nothing we can do now, and he wouldn’t have wanted us to make a fuss! PRISCILLA I have to. PRISCILLA’S gone. HELEN thinks, she hurries over to where ALBERT’S clothes have been left on a chair and starts to go through his pockets. MAID (V.O.) (In Shock, In French) My God! HELEN turns, the MAID has returned, she looks at HELEN standing there with ALBERT’S car keys and wallet in her hand. HELEN He’s just sleeping, leave him alone. MAID (In French) He’s dead. HELEN Don’t exaggerate. 81.
MAID TWO (In French) Albert Rosetti is dead! HELEN (Kindly) He had to go sometime. HELEN moves past her HELEN (cont’d) We all do darling. (To herself as she leaves) But not just yet.
136 INT. HOTEL RECEPTION - DAY 136 PRISCILLA is with the manager. PRISCILLA (In French, distressed) I am very sorry, but a man has died in my room. The MANAGER and RECEPTIONIST look at her incredulous. PRISCILLA (cont’d) (In French) His name is Albert Rosetti. MANAGER (In French, in shock) Albert Rosetti?! PRISCILLA (Reverting to English, flustered) Yes, I’m really so sorry, I think he must have had a heart attack. RECEPTIONIST (In French) My God! Albert Rosetti is dead? PRISCILLA Yes, I know, it’s a terrible shock. MANAGER (In French) Wait here please. The MANAGER picks up the phone and dials. PRISCILLA looks round, HELEN hurries down the stairs. MANAGER (cont’d) (French) Police please. 82.
PRISCILLA worried. PRISCILLA Really? Is that necessary? HELEN See what you’ve done, come on, there’s nothing you can do now, I can’t be late for this funeral. PRISCILLA No, this isn’t all about your career! The MAID runs down the stairs and over to the RECEPTIONIST, pointing at PRISCILLA. MAID (In French) She killed Albert Rosetti! PRISCILLA No I didn’t! MAID (In French, and pointing at HELEN) She stole his wallet! SARAH (V.O.) Mum! PRISCILLA freezes then turns to see her worst nightmare come true as SARAH, FRANK and the CHILDREN come through into reception. SARAH I don’t believe it, we’ve found you! The KIDS run up and hug her. POLLY/JOE Granny! HELEN (Aside to PRISCILLA) Bugger, this is all we need. Stand your ground. SARAH stoney faced walks up to PRISCILLA and HELEN, FRANK on her arm. HELEN takes PRISCILLA’S hand. PRISCILLA (Struggling) What a nice surprise. 83.
FRANK You’ve lead us on a merry dance. SARAH Where have you been mum?! HELEN She’s been having a holiday with me. SARAH Excuse me? Who are you? HELEN Her friend. PRISCILLA This is Helen Shelly, you know Frank, the film “Morty and Me?” SARAH (Getting upset) Mum! How could you do this, are you ill? I’m really worried about you. FRANK I think she’s finally lost the plot. PRISCILLA No Frank, I haven’t lost the plot, and I’m not ill, I’m fine. FRANK So why did you bugger off then? PRISCILLA struggling to justify it. PRISCILLA Well, I just did, there we are, there really is nothing to worry about. SARAH Well, I’m not so sure, I think you should see a doctor when we get home. PRISCILLA I’m not ill! FRANK You must be. I want to go home. SARAH Yes dad, I know, we are going to go right now, kids in the car. 84.
PRISCILLA Right now? SARAH Yes, we can make the evening ferry and I can get to work tomorrow. Come on dad, mum, let’s go. They can hear approaching police sirens. FRANK I need the lavatory first! SARAH Ok, we’ll see you in the car. FRANK Yes, but I don’t know where it is. SARAH Ask! FRANK I don’t speak French. SARAH Right, fine, kids do you need the loo? Get in the car please mum, we will be out in a minute. SARAH takes FRANK off. HELEN walks PRISCILLA to the front entrance. RECEPTIONIST You must wait here for the police!
137 EXT. HOTEL - DAY 137 HELEN ushers a reluctant PRISCILLA out the front. HELEN Come on, quick, lets get out of here. We haven’t much time, quick I’ve got the car keys. PRISCILLA What? HELEN (Desperate) I need to get to this funeral, and I can’t go without you. The sirens are getting closer. POLLY and JOE are getting into their car. 85.
POLLY Over here Granny. PRISCILLA I should stay Helen. HELEN Surely you don’t want to go home with them? PRISCILLA torn. HELEN (cont’d) Look, please, I’m begging you, you said you’d help, we’ve got this far, and it’s so close now. PRISCILLA I know, but, all this. HELEN Well this funeral is my one chance to make amends. PRISCILLA How, by getting a job, I don’t understand? HELEN No, there’s more to it than that. PRISCILLA What? POLICE cars pull into the car park. HELEN You’ll see. If I don’t make it I will die. PRISCILLA Don’t be ridiculous. HELEN I’m not Priscilla, I’ve never been more serious! They have reached ALBERT’S car, HELEN opens it. PRISCILLA about to get in. PRISCILLA (Suddenly panicking) What have I done! I’ve got to tell them what happened to Albert. PRISCILLA pulls away from the car. 86.
HELEN No. Get in. PRISCILLA Frank, I can’t leave Frank. HELEN (Urgent) Listen Priscilla. You did not kill Albert. He was an ill old man who died happy! And Frank, he can wait, he’s not going anywhere, you can explain it all to him, later! Whatever you like, but now Priscilla, I have to get to this funeral otherwise when you are gone I will have nothing. I need you to take me there, please! PRISCILLA looks at her, then starts the car as the POLICE come out of the hotel. PRISCILLA drives off. SARAH runs out.
138 EXT. COUNTRY ROAD BY THE SEA, ILE DE RE - DAY 138 PRISCILLA drives, anxious, HELEN busying herself holding on to her wig. PRISCILLA I think I was falling in love with him. HELEN looks askance at her. PRISCILLA (cont’d) He’d asked me to come and live with him. HELEN That would have gone down well.
139 EXT. LA FLOTTE - DAY 139 PRISCILLA drives the grand car into the small seaside village, people stop and look at them, there is a real buzz of excitement in the air, the place has been invaded by the glamour of Hollywood and the whole town are out on the streets to gawp. They arrive outside the church. HELEN pulls her headscarf over her head and puts dark glasses on, she opens the door and gets out. 87.
140 EXT. LA FLOTTE, CHURCH - DAY 140 They move up to the church past bored photographers and camera crews, HELEN lags behind nervously tugging at her headscarf to make sure she’s concealed. PRISCILLA stops by the door to wait for her. HELEN looks extremely anxious, PRISCILLA takes her arm and they both head inside.
141 INT. CHURCH - DAY 141 It takes a moment for them to adjust to the darkness of the church after the bright sunshine outside; it’s beautiful, magical, much bigger on the inside, glorious diffuse light shining through stained glass and space heavy with incense. The funeral is in full swing, middle of a hymn. HELEN leads PRISCILLA down the aisle looking for a space, it’s packed, HELEN quickly steers PRISCILLA into a pew, they push in. As they do an elderly man in front, HARRY, turns round, HELEN freezes when she sees him and tries to hide her face. HARRY looks at her, his face falls as he recognises her. HARRY SCHNEIDER (Harsh whisper) Helen? My God. What the hell are you doing here? PRISCILLA looks at him not understanding. HARRY SCHNEIDER (cont’d) (Urgent) You’ve got a nerve. You shouldn’t be here. Leave. HELEN No, I have every right. HARRY SCHNEIDER We had a deal! HELEN Jerry’s gone, deal’s off now. HARRY SCHNEIDER How dare you spoil this for her! I won’t let you, you must Leave. PRISCILLA What is going on? Someone shush’s them, as the hymn has ended and LUCY has made her way up to the lectern. The congregation sit as LUCY stands to address the congregation. LUCY (Voice full of emotion) Welcome. (MORE) 88. LUCY (cont'd) It’s lovely to see you all here, Dad would be very impressed! Well not really, he would have expected it! (Laughter from the congregation) LUCY wipes her eyes. HELEN is transfixed, PRISCILLA looks at her, follows her gaze to LUCY and begins to work it out. LUCY (cont’d) I’d like to read you this poem which he chose especially for today. LUCY steadies herself and starts to read. LUCY (cont’d) Do not stand at my grave and forever weep, I am not there; I do not sleep. On PRISCILLA who is transfixed. LUCY (cont’d) I am the thousand winds that blow. I am the diamond glints on snow. I am the sunlight on ripened grain. I am the gentle autumn’s rain. PRISCILLA is very moved, crying openly, HELEN hidden by her glasses and scarf seems unnaturally contained. LUCY (cont’d) When you awaken in the morning hush, I am the swift uplifting rush Of quiet birds in circled flight. I am the soft stars that shine at night. Do not stand at my grave and forever cry. I am not there. I did not die. LUCY pauses a moment to collect herself. PRISCILLA (Quiet to herself) Thank you. LUCY Thank you dad, for everything. I love you. The congregation stand and applaud. PRISCILLA joins in, she is smiling through her tears. HELEN applauds hard staring at LUCY. The applause dies down and the congregation sit, but HELEN stays standing, overcome, applauding a little longer, now exposed, people turn to look, LUCY spots her and freezes. 89.
HELEN I am here, you are not alone. The congregation turn, HELEN removes her dark glasses and scarf. PRISCILLA looks up at her questioning. HELEN (cont’d) I’m your mother. A gasp from the congregation. PRISCILLA can’t believe it. LUCY’S HUSBAND sitting in the front pew gets up. HELEN (cont’d) Lucy? LUCY stays where she is at the lectern in shock, LUCY’S HUSBAND comes up to them. LUCY’S HUSBAND (Firm) Leave. HELEN No. PRISCILLA Yes, you must. HELEN You don’t tell me what to do! Then LUCY speaks, voice amplified by the microphone. LUCY (Shaky but decided) I’d like you to go please. HELEN Please, I’ve come all this way to see you, I want to be here for you now, if you’ll let me? Comments, calls from the congregation for her to leave. LUCY You are not my mother. This hits HELEN. PRISCILLA Helen, she wants you to go, come on, please. HELEN But I am. LUCY Go! 90.
HELEN is stunned. PRISCILLA takes HELEN’S arm, this time she allows herself to be taken to the aisle, everybody staring. HELEN I am her mother. What are you all looking at?! (Furious to PRISCILLA) Let go of me! PRISCILLA lets go, HELEN tries to regain her composure, looking now at HARRY. HELEN (cont’d) (Firm) I want a job Harry. HARRY shakes his head in disbelief. HELEN shrugs, not going anywhere. HELEN (cont’d) You owe me. HARRY relents and nods assent. HELEN then puts her glasses back on, trying to be every inch the movie star as she makes her exit down the aisle, stunned, wiping a stray tear from her cheek.
142 EXT. CHURCH, LA FLOTTE - DAY 142 PRISCILLA and HELEN emerge from the church into bright sunlight, both of them blinded for a moment, they are suddenly surrounded by the noise from a crowd of onlookers, the media with microphones and cameras thrusting forward aggressively. JOURNALIST ONE Is it true you were with Albert Rosetti when he died? HELEN (confused) What? A couple of POLICEMEN push through the crowd followed by SARAH, FRANK and the CHILDREN. POLICEMAN (Broken English) We need you to come to police station. JOURNALIST TWO Were you lovers? SARAH looks at PRISCILLA. FRANK is confused. 91.
PRISCILLA (Overcome) I’m... CROWD MEMBER (French) Murderer! POLICEMAN Come with us please. The POLICE escort HELEN and PRISCILLA through the crowd to a waiting police car.
143 EXT. CHURCH, LA FLOTTE - DAY 143 POLICE hold back the journalists and crowd as HELEN and PRISCILLA are bundled into a waiting police car. SARAH tries to stop them. SARAH Where are you taking her?! But they ignore her and they are driven off through the crowd.
144 INT. POLICE CAR - DAY 144 The drive through the village. PRISCILLA and HELEN in silence.
145 INT. POLICE STATION OFFICE - DAY 145 PRISCILLA is questioned by a DETECTIVE in faltering English. DETECTIVE So, you found him? PRISCILLA (Mortified) I did. DETECTIVE You had been with him all night? PRISCILLA nods. DETECTIVE (cont’d) And he was fine when you went to bed? All she can do is nod. 92.
DETECTIVE (cont’d) But when you woke up he was on the floor dead? PRISCILLA (Quiet) Yes. DETECTIVE That must have been a nasty shock? PRISCILLA nods. DETECTIVE (cont’d) Ok, that is all, thank you.
146 INT. POLICE STATION ENTRANCE HALL - DAY 146 PRISCILLA sitting, waiting, anxious, looks up as door opens. HELEN (V.O.) I had nothing to do with it, please let me go, I have an important meeting to get to! HELEN is ushered out by a DETECTIVE. DETECTIVE (Firm to HELEN) Wait here please. He returns to the office, shutting the door, they are alone. HELEN I’ve got to get a message to Harry somehow. PRISCILLA I can’t believe you lied to me. HELEN Yes, well, get over it. PRISCILLA Why didn’t you tell me? HELEN Because I couldn’t face this! Your judging disapproval. PRISCILLA You might have had a chance if you hadn’t gate crashed her father’s funeral! 93.
HELEN Oh, please. Give me a break. So It didn’t work out, boo hoo, that’s life! I didn’t plan to get up like that, but unlike you, I was actually moved to do something! I wanted her to know who I was. Keeping that secret for 50 years was killing me. If she doesn’t want to know, I get that, she’s clearly much better off without me. But at least I’ve tried! PRISCILLA What do you mean by that? HELEN “I think I love him” “He asked me to come and live with me.” Pathetic. You could never have done it. Pause. PRISCILLA reeling. HELEN (cont’d) I've never heard anything more ridiculous. Thank God Albert died, before you could make more of a fool of yourself! PRISCILLA shocked. HELEN (cont’d) What I’d give to be a fly on the wall when you explain all this to Frank! Though to be honest he deserves it. I’m amazed you lasted this long! PRISCILLA Stop, please. HELEN I'm just telling you the truth, and you don't like it. Silence. PRISCILLA looks at her. PRISCILLA (Quivering with fury) The truth is that you are a deeply unpleasant and selfish woman who thinks of no one other than herself. God how I wish I could have a second chance with George. You had your chance and you blew it. 94.
HELEN looks at her stunned. HELEN Some friend you turned out to be. PRISCILLA I am not your friend. HELEN looks at her a moment, takes this in, then goes to the front door, opens it and looks outside. PRISCILLA (cont’d) You can’t leave. HELEN Watch me. HELEN slips out, the door closes, PRISCILLA left on her own. She thinks, listens, then gets up and is about to follow when the door opens, she sits immediately and SARAH comes in. SARAH What the hell is going on mum?! The DETECTIVE comes out into the hallway, PRISCILLA turns instantly guilty. DETECTIVE Where is Madame Shelly? A moment, PRISCILLA thinks desperate for an excuse. PRISCILLA (In French) The toilet. DETECTIVE OK, well you can both go. PRISCILLA Really? DETECTIVE Yes, he had a heart attack like you thought. His assistant called, he was very ill. PRISCILLA takes this in. DETECTIVE (cont’d) I think you made him happy? PRISCILLA can’t respond. DETECTIVE (cont’d) (Smiling) He was a great man. You will tell your friend? 95.
PRISCILLA Yes. DETECTIVE Good luck. He goes.
147 INT. SARAH’S CAR - DAY 147 Silence as SARAH drives back through the village. SARAH We are leaving as soon as possible to catch the last ferry. PRISCILLA nods. SARAH (cont’d) Dad is lying down, he doesn’t feel very well. I don’t think he really understands what has gone on with that man. PRISCILLA takes this in. SARAH (cont’d) I think we should keep it that way don’t you? PRISCILLA Yes, but I would like to... SARAH (Interrupting) I don’t want to know about it either thank you. PRISCILLA nods. SARAH (cont’d) We just need to get back to normal. PRISCILLA Yes.
148 EXT. LA FLOTTE, CHURCH - DAY 148 HELEN walks into the square in front of the church, the media vans and press all packing up, funeral obviously over. She heads over to the fancy hotel in the square. 96.
149 INT. HOTEL MAIN SQUARE, RECEPTION - DAY 149 HELEN anxious approaches reception, a few folk from the funeral turn and stare. HELEN Is there a Harry Schneider staying here? The RECEPTIONIST checks her lists. RECEPTIONIST He’s checked out. On HELEN, dismay.
150 INT. SMALL HOTEL, CORRIDOR - DAY 150 PRISCILLA is led by SARAH down a hotel corridor and left at a door, SARAH walks away leaving PRISCILLA.
151 INT. HOTEL MAIN SQUARE, LADIES REST ROOM - DAY 151 HELEN sits at the counter of the rest room looking at herself in the mirror. She slowly start to remove the pins that secure her wig.
152 INT. SMALL HOTEL BEDROOM - DAY 152 PRISCILLA quietly enters the room, the curtains are closed, FRANK is asleep on the bed. She carefully shuts the door and looks at him a moment, a vulnerable old man. She then dutifully starts to pick up and fold the few clothes that are lying about and put them into the open small suitcase. PRISCILLA zips up the bag. FRANK has woken up. FRANK I don’t feel well. PRISCILLA (Concern) Do you need to see a doctor? FRANK No, I need to go home, with my wife. PRISCILLA I’m sorry I’ve caused all this fuss. We’ll be home soon. Silence. FRANK What is wrong with you then? 97.
Silence. PRISCILLA takes up his shoes and sits on the end of the bed ready to tell him. FRANK (cont’d) Get off! You’re squashing me! PRISCILLA gets up and stands with his shoes. FRANK (cont’d) Why did you make such a spectacle of yourself jumping into the sea? Stupid thing to do, could have killed yourself. PRISCILLA I had to. FRANK Doesn’t bring George back though does it? Silence PRISCILLA shocked. FRANK (cont’d) Does it? PRISCILLA No but.. FRANK But nothing. Pass my shoes. PRISCILLA looks at him. FRANK (cont’d) My shoes! She hesitates, then passes them over, and walks to the door. FRANK (cont’d) Where are you going now?! PRISCILLA (Just about holding it together) I’ll see you downstairs.
153 INT. SMALL HOTEL, CORRIDOR - DAY 153 Outside the door she stands and takes a deep breath. Then pulls herself together and walks away down the corridor. 98.
154 EXT. VILLAGE - DAY 154 SARAH drives them through the village, FRANK in the front seat, PRISCILLA squashed in with the children in the back. FRANK fiddles with the lever by his seat and then moves his chair back right into PRISCILLA’S knees. They stop at a traffic light, the traffic is very congested, PRISCILLA is in real discomfort. A large executive car pulls up next to them, PRISCILLA looks over, it’s HARRY SCHNEIDER, he’s on his mobile, PRISCILLA thinks a moment then winds down her window. PRISCILLA (Calls over) Mr Schneider? HARRY looks at her, and PRISCILLA indicates for him to wind his window down. Perplexed and still talking on his phone he does. SARAH looks round to see what is going on. PRISCILLA (cont’d) Mr Schneider, sorry to bother you like this! HARRY SCHNEIDER (To person on phone) Hang on a moment, (To PRISCILLA) Yes, hello, do I know you? FRANK (Short) Who is she talking to?! PRISCILLA I’m a friend of Helen Shelly. Did she catch up with you? He looks at her a moment. HARRY SCHNEIDER Thank God no. Frankly I hope she does us all a favour and disappears back to where she came from. HARRY’S car starts to move off, he winds up his window. PRISCILLA, thinking, looks at her knees squashed up by FRANK’S seat. FRANK The sooner we get you home the better. PRISCILLA hesitates a moment, then opens her door and gets out. 99.
SARAH Mum?! PRISCILLA goes to FRANK’S window. FRANK What are you doing? Get back in. She looks down at him. PRISCILLA I need to find my friend. FRANK Don’t be ridiculous, get back in. PRISCILLA And there is something I want to say. I’m sorry George died when he was with me, but it was not my fault. And I don’t want to bring George back Frank. I know I can’t do that, I just want to be able to remember him for the lovely boy he was. These last few days have made me realise how miserable I have been. I need to enjoy the rest of my life, and I intend to do that, starting right now. FRANK is speechless. Car behind honks it’s horn, SARAH starts to get out but PRISCILLA looks at SARAH. PRISCILLA (cont’d) (Firm to SARAH) No, stay there, please. SARAH stays seated. Car’s honk horns from behind. PRISCILLA (cont’d) I love you very much, you’ll be alright. (To POLLY and JOE) Look after your mum, I’ll see you both very soon. She stands, struggling but committed and is about walk off. FRANK Wait! She looks back in, FRANK is fishing something out of his pocket, he hands her a small envelope. PRISCILLA opens it, inside is the photograph of GEORGE from the beginning. She looks at FRANK, he can’t look at her, just stares ahead. PRISCILLA Thank you. 100.
FRANK nods, but still unable to look at her. FRANK I’m sorry. PRISCILLA looks at him, moved, FRANK finally turns to look at her, a moment. FRANK (cont’d) Will you come home now? She looks at GEORGE, back to FRANK, then too overcome to speak, she shakes her head, turns before it’s too late and walks away.
155 EXT. STREET, LA FLOTTE - DAY 155 PRISCILLA walks, wiping tears from her face. FRANK starts to get out. PRISCILLA looks round, FRANK is coming after her, she spots an unattended bicycle, checks that no one is watching, grabs it, gets on with difficulty and cycles off, a little wobbly at first, but soon getting the hang of it. FRANK left behind.
156 EXT. CHURCH, LA FLOTTE - DAY 156 PRISCILLA cycles into the square, media vans leaving, no sign of HELEN. Executive cars leaving the main hotel on the square, PRISCILLA cycles over.
157 INT. HOTEL ON MAIN SQUARE - DAY 157 PRISCILLA approaches reception. PRISCILLA (In French) Excuse me, but was Helen Shelly here? RECEPTIONIST (In French) Who? PRISCILLA (In French) Old lady, Chanel suit, lots of make up, big hair? RECEPTIONIST (In French) Ah, yes, annoying, yes, but she has gone. 101.
158 INT. HOTEL ON MAIN SQUARE, BAR - DAY 158 PRISCILLA scans the bar, no sign of HELEN.
159 INT. HOTEL ON MAIN SQUARE, LADIES ROOM - DAY 159 PRISCILLA looks into the rest room, it’s empty, she checks the cubicles, no one. She is about to leave when she spots something in the small waste paper basket. She bends down and fishes out HELEN’S wig, crumpled and pathetic, she looks at it.
160 INT. HOTEL ON MAIN SQUARE, LADIES ROOM - DAY 160 The door slams shut leaving it empty.
161 EXT. HOTEL ON MAIN SQUARE - DAY 161 PRISCILLA clutching the wig runs out of the hotel, stopping a young man. PRISCILLA (In French) Where’s the beach? He points the way.
162 EXT. ROAD TO BEACH - DAY 162 PRISCILLA cycles as fast as she can to the beach.
163 EXT. BEACH - DAY 163 PRISCILLA runs through the dunes and onto the beach, she scans the sand, families, couples, kids playing. No sign of Helen, then, looking to the surf one person stands out, they are fully dressed, it’s HELEN, up to her knees in the surf. PRISCILLA runs towards her. PRISCILLA Helen! HELEN can’t hear, PRISCILLA runs, a rather incongruous figure.
164 EXT. BEACH SURF - DAY 164 PRISCILLA reaches the surf. PRISCILLA Helen! 102.
HELEN is out up to her thighs in water and can’t hear. PRISCILLA takes off her shoes and wades in.
165 EXT. SEA - DAY 165 PRISCILLA wades out and joins HELEN, who turns, surprised to see her. HELEN Go away! PRISCILLA No, I won’t. HELEN looks out to sea, she looks naked without her wig, the wisps of her grey hair blow about her face. HELEN (Heartfelt) I have made such a mess of my life. PRISCILLA shakes her head. PRISCILLA No, no you haven’t, no more than I have or anyone else for that matter. Please come out. HELEN I just wanted to meet her, that’s all. PRISCILLA I would have done exactly the same. HELEN Would you? PRISCILLA Perhaps a little differently! But yes, of course I would have. Please come out. You can’t give up now. PRISCILLA takes HELEN’S hand. HELEN I’m not sure I have the strength. PRISCILLA I do. HELEN starts to cry, allows PRISCILLA to gently move her out of the surf towards the sand. 103.
HELEN (Heartfelt) I am so sorry. PRISCILLA shakes her head. PRISCILLA No, you were right. About a lot of things. HELEN I’ve always regretted leaving her you know? PRISCILLA I know. HELEN I genuinely am pleased she has had a happy life. PRISCILLA Yes, I know. They have reached the sand. PRISCILLA takes HELEN in her arms and they hug tight. HELEN I’m sorry for what I said to you. PRISCILLA You are a good person Helen. So am I. The sooner we both realise it the better. PRISCILLA pulls apart so she can look HELEN in the eye. PRISCILLA (cont’d) Now can we be friends again? HELEN I’d like that. PRISCILLA So would I. Especially as now I’ve left Frank. HELEN You haven’t! PRISCILLA I think I have. HELEN looks at her mock stern. PRISCILLA (cont’d) I have left him! 104.
HELEN Good for you. PRISCILLA smiles. HELEN (cont’d) So. PRISCILLA So. PRISCILLA hands her the wig. HELEN takes it, laughs at how ridiculous it looks in her hand, then throws it into the sea, tousles her hair. HELEN Now what? PRISCILLA holds up the car keys. PRISCILLA I don’t know about you, but I fancy going for a drive? HELEN smiles. We crane up and away as they turn together arm in arm and head off into the sunset.
THE END