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                             THE BEST EXOTIC MARIGOLD HOTEL



                                      Written by

                                      Ol Parker





          Based on the book THESE FOOLISH THINGS by Deborah Moggach


                         

                         
                                                                  10/01/11

                         

                         

                         1 OVER BLACK 1
          Muffled music; soothing, generic.

                         AUTOMATED VOICE
          Thank you for your patience.
          Your call is important to us. We
          will be with you shortly.

          2 INT. MANSION FLAT, LONDON - DAY 2

          A neat, well-appointed flat, tastefully decorated. Framed
          against a large window which looks out over the city, an
          elegant woman in her 70's: EVELYN GREENSLADE. She's on the
          phone, on hold.
          On the desk in front of her is a brand new laptop computer;
          the screen reads 'Getting Started ...'

                         AUTOMATED VOICE

                         (ON PHONE)
          Thank you for your patience.
          Your call is important to us. We
          will be with you shortly.
          Evelyn's patience is strained nonetheless. She taps her
          fingers on the desk.
          AUTOMATED VOICE (cont'd)

                         (ON PHONE)
          Thank you for your patience.
          Your call is -
          A slightly-accented voice finally interrupts.

                         FEMALE VOICE
          Mrs Greenslade, thank you for

                         WAITING -

                         EVELYN

                         (OVERLAPPING)
          Yes, now if you could stay on the
          phone for a moment and talk to
          me, just talk to me. I'm not
          even clear, I don't actually
          understand what it is I'm trying
          to order. Is wireless the same
          as wi-fi? And what do either of
          them have to do with broadband?

                         FEMALE VOICE
          Mrs Greenslade, since the account
          is not in your name, before we
          can make any changes we need to
          speak to the account holder. Can
          I please talk to the account
          holder?

                         

                         

                         

                         
          

                         EVELYN
          What?

                         FEMALE VOICE
          I'm asking if I can speak to the
          account holder. Before we can
          make any changes -

                         EVELYN
          You can't talk to him, no.

                         (BEAT)
          He's dead. He died. There's
          only me.

          3 INT. CORRIDOR/JUDGES CHAMBERS. INNS OF COURT - NIGHT 3

          GILES, a judge in full wig and robes, moves quickly down a
          corridor. He passes other judges, going the opposite way.
          He arrives at the office of GRAHAM DASHWOOD, goes in.
          GRAHAM is at his desk. His robes are on a hanger, his wig
          is on a stand beside him.

                         GILES
          We're late.

          4 INT. CORRIDOR. INNS OF COURT - NIGHT 4

          Moments later. Graham and Giles walk down the corridor.

                         GRAHAM
          Bloody retirement parties. Hard
          cheese, soft wine, and endless
          speeches. Why do people do that?
          No one ever said about any kind
          of party: it was a wonderful
          occasion, just a shame that the
          speeches were so short.

                         GILES
          it'll be you one day.

                         GRAHAM
          One day very soon.

                         GILES
          You've been saying that for
          years.
          They walk into a large room, full of lawyers.

          4A INT. HALL. INNS OF COURT - CONTINUOUS 4A

          At one end of the hall, a very old JUDGE is giving a very
          dull speech.

                         

                         

                         

                         
           3.

                         JUDGE
          An occasion such as this leads
          one to cast ones mind back to the
          days when I first entered my
          pupillage. I had the very good
          fortune of serving as a junior to
          Mr Justice Stancombe
          Graham's not listening any more. He's looking around the
          room. At the old, tired faces.

                         JUDGE (CONT'D)
          . the unwelcome news that I
          would transfer Chambers, bringing
          to mind the old adage a fronte
          praecipitium, a tergo 1upi
          Everything seems to slow down, the judge's mouth moving
          more and more sluggishly, though his voice remains the
          same. The effect is strange .. then the sound of laughter.

                         GRAHAM
          This is the day.
          Everyone looks round at him. He's almost as surprised as
          they are that he's spoken out loud.

                         GILES
          Graham?

                         GRAHAM
          This is the day.
          He turns and walks out.

          5 INT. HOSPITAL - DAY 5

          Staff bustle around a busy A & E ward. MURIEL lies on a
          bed in the corridor.
          The Head Nurse, KAREN, rushes past.

                         MURIEL
          Listen, young lady. I want a cup
          of tea, and I want it now.

                         KAREN
          The trolley will be along
          shortly.

                         MURIEL
          How hard d'you have to fall down
          before you get some proper
          attention? Hours I've been lying
          here, and not a single doctor has
          come to see me.

                         

                         

                         

                         
           3A.

                         KAREN
          Now that's not quite true, is it
          Mrs Donnelly?

                         (MORE)

                         

                         

                         

                         
           4.

                         KAREN (CONT'D)
          A doctor did try and examine you,
          and you sent him away.

                         MURIEL
          That one?
          She looks up to the far end of the ward, where a doctor is
          washing his hands. He's black.

                         MURIEL
          He can wash all he likes, that
          colour's not coming out. I want
          an English doctor.

                         KAREN
          An English doctor? Why didn't
          you say so? I'll get one right
          away.
          She goes away, comes back moments later with a tall,
          handsome doctor. The bad news for Muriel is

                         KAREN (CONT'D)
          This is Dr Ghujarapartidar. And
          this is Mrs Donnelly.

          5A EXT. NEW HOUSING ESTATE - DAY 5A

          A crescent of identical bungalows, part of a brand new
          retirement facility.
          A mobility scooter carrying an elderly resident trundles
          down the road.

          ESTATE AGENT (O.S.)
          .. with an unlimited range of
          leisure opportunities just a
          stone's throw away...

          6 INT. NEW HOUSING DEVELOPMENT - DAY 6

          A young estate agent, EVAN, is showing DOUGLAS and JEAN
          around a very small, and very beige bungalow.

                         EVAN
          So as I say, what you're looking
          at here is very competitively
          priced, you can't get better
          value for your grey pound.
          Another little feature, not
          necessary right now, but give it
          a couple of years

                         (POINTS)
          . rails on the walls to help
          you get around, and down here, a
          panic button in case of a sudden
          fall, brings the Warden running.

                         

                         

                         

                         
           4A.

                         JEAN
          What if we fell somewhere else?

                         EVAN
          Sorry?

                         JEAN
          It's just that we might not
          manage to plan our sudden fall in
          the exact corner where the button
          is.

                         EVAN
          Yeah. As I say -

                         

                         

                         

                         
           5.

                         JEAN
          And would it be possible to get
          the rail to go through the middle
          of the room as well?

                         DOUGLAS

                         DARLING

                         JEAN
          To help us get across, not just
          around?

                         DOUGLAS

                         (TO EVAN)
          Could we have a moment, please?
          Thanks. Thanks so much.
          Evan goes.

                         JEAN
          Thirty years in the Civil Service
          and this is all we can afford?

                         DOUGLAS
          Would it help if I apologized
          again?

                         JEAN
          No. But try it anyway.

          7 INT. BAR - NIGHT 7

           JUDITH (40ish) is sitting opposite someone. We don't see
           whom.

                         JUDITH
          And then after that I worked as a
          systems analyst for a few years
          but I just found it so dull, what
          I really wanted was to do
          something that was more creative,
          that matched my ...

                         (BEAT)
          I'm sorry. On the form they
          asked for our age bracket, and
          the age we wanted to meet . and
          in both cases I ticked 35-45.
          Now we see the man she's talking to. It's NORMAN. He's
          dapper, nice looking. And at least 70.

                         NORMAN
          That's right, yes. So did I.
          They're at a speed dating evening. Numbered tables, etc.

                         NORMAN (CONT'D)
          Anyway, don't stop. Something

                         MORE CREATIVE

                         

                         

                         

                         
           6.

                         JUDITH
          How old are you?

                         NORMAN
          Early 40's.

                         JUDITH
          D'you mean you were born in the
          early 40's?

                         NORMAN
          Judy, I know what you're asking -

                         JUDITH
          It's Judith.

                         NORMAN
          Judith. And trust me, I've still
          got it.
          The bell goes; the signal for the women to get up and move
          along to the next table. Judith leaves without looking
          back.

                         NORMAN (CONT'D)
          I just can't find anyone that
          wants it.
          Another hopeful candidate arrives opposite Norman. And
          looks crestfallen at what's on offer.

          8 INT/EXT. BEDROOM/STAIRS/HALL. FAMILY HOUSE - DAY 8

          MADGE is in her bedroom. She's arguing with her son-in-law
          CRAIG. Madge's suitcases are by the door.

                         CRAIG
          This is crazy. You're crazy.
          You can't just up and leave like
          this.

                         MADGE
          And yet if you watch me, that's
          exactly what you'll see happen.
          She picks up her suitcases, heads out of the room. Madge's
          daughter JESSICA is on the landing.

                         JESSICA
          What's going on?

                         CRAIG
          Your mother's lost it.

                         JESSICA
          My mother never had it.

                         

                         

                         

                         
           7.

                         CRAIG
          Talk to her. She doesn't listen
          to me.

                         MADGE
          Nobody listens to you.
          She heads down the stairs. Craig and Jessica follow.

                         MADGE (CONT'D)

                         (TO JESSICA)
          It's one of the great mysteries
          of life that someone so vibrant
          and fascinating as my daughter
          should choose to spend her life
          with this fraction of a man.

                         JESSICA
          I still don't understand what's
          going on.

                         CRAIG
          I just asked her to babysit. And
          now she says she's leaving.
          They're at the bottom of the stairs. Jessica's children,
          LIAM and KATIE, are watching.

                         JESSICA
          But you love babysitting.

                         MADGE
          I loved it last night.

                         LIAM
          We had pizza and stayed up late.

                         MADGE
          And the night before.

                         KATIE
          We had Chinese and stayed up
          late.

                         LIAM
          If you don't go, tonight we could
          do a curry.

                         MADGE
          It's tempting, my darlings, but
          you know why I must leave.

                         LIAM
          We know.

                         KATIE
          (to her parents)
          Being here is stopping her
          finding a husband.

                         

                         

                         

                         
           8.

                         CRAIG
          Another one?

          LIAM AND KATIE
          Bye Granny.

                         MADGE
          Don't let the buggers get you
          down.
          Madge turns to go.

                         CRAIG
          How many husbands have you had,
          anyway?
          She turns back, smiles.

                         MADGE
          Including my own?
          Then she's out of the front door, and heading for the taxi.

                         JESSICA
          Mother? Mother!

          9 INT/EXT. TAXI - DAY 9

           Moments later. Madge climbs into the back of the cab.

                         TAXI DRIVER
          Name the place, darling. Where
          are you going?
          Madge smiles.

                         MADGE
          I have absolutely no idea.

          10 INT. MANSION FLAT - DAY 10

          Evelyn, whom we saw earlier on the phone, is in the living
          room. Her son CHRISTOPHER is there. And her lawyer

          HAROLD.

                         CHRISTOPHER
          There's no other way There
          just isn't. Harold told us this 
          three months ago.

                         HAROLD
          And I'm afraid matters have only
          got worse.

                         

                         

                         

                         
           8A.

                         CHRISTOPHER
          We can't wait any longer. We
          need to put this flat on the
          market, and at least make a start
          at paying off Dad's debts.

                         

                         

                         

                         
           9.
          Christopher turns to Harold.

                         CHRISTOPHER (CONT'D)
          I've talked it through with Polly
          and the boys, and of course we 
          all agreed. Ma will move in with 
          us. 

                         HAROLD
          I think that's best, Evelyn.
          It's what Hugh would've wanted.
          They wait for confirmation from Evelyn. None comes. 

                         CHRISTOPHER
          Good. Settled. End of
          discussion.

                         EVELYN
          That's what your father used to
          say. 

                         CHRISTOPHER

                         MA - 

                         EVELYN
          When there'd never really been 
          any discussion at all. 

                         CHRISTOPHER
          I want to look after things for 
          you. 

                         EVELYN 
          Like he did for forty years 

                         CHRISTOPHER 
          Yes. 

                         EVELYN
          And look how that turned out. 
          She turns to Harold 

                         EVELYN (CONT'D)
          How can any of us know what Hugh
          would've wanted? And would he
          have seen fit to tell us anyway?

                         (BEST)
          Obviously the flat has to be
          sold.
          (Best, then to Christopher)
          And you're very kind. And dear
          Polly. But no, I won't be coming
          to live with you.

                         

                         

                         

                         
            9A.

          11 INT. HOSPITAL - DAY 11

          Muriel has now been transferred to a ward. She is
          listening to DR GHUJARAPARTIDAR.

                         DR GHUJARAPARTIDAR
          You need a new hip, Mrs Donnelly.
          It's not a difficult operation.

                         MURIEL
          Easy for you to say, you're not
          having it.

                         DR GHUJARAPARTIDAR
          Regardless. You do need a new
          hip.

                         MURIEL
          I'm not getting it from you.

                         

                         

                         

                         
          2nd Green Revisions I0/01/11 10.

                         DR GHUJARAPARTIDAR
          Not me personally, no.

                         MURIEL
          Not any of your lot.

                         DR GHUJARAPARTIDAR
          I see.

                         MURIEL
          So when do I have the operation?

                         DR GHUJARAPARTIDAR
          I'm afraid you'll be on a waiting
          list for at least six months.

                         MURIEL
          At my age, I can't plan that far
          ahead. I don't even buy green
          bananas.

                         DR GHUJARAPARTIDAR
          There is another way. Our
          hospital trust is funding a new
          pilot scheme, that will enable us
          to out-source you to another
          hospital, where they can perform
          the procedure almost immediately,
          and at a fraction of the cost.

                         MURIEL
          Is it local?

                         DR GHUJARAPARTIDAR
          That depends how you define
          local.

          12 INT. EVELYN'S FLAT/CHRISTOPHER'S OFFICE - NIGHT 12

          Evelyn is on the phone to her son Christopher. They're
          both sitting at computers. Evelyn's new-found dexterity is
          impressive.
          Around Evelyn's room are packing boxes, some already full.

                         CHRISTOPHER

                         (ON PHONE)
          When did you get a computer?

                         EVELYN
          How far along is the progress
          bar? The strip at the bottom
          that tells you -

                         CHRISTOPHER
          I know what it is. What are you
          showing me anyway?

                         

                         

                         

                         
           11.
          The webpage has come up. It's a picture of a beautiful old
          building. And underneath is written 'THE BEST EXOTIC

          MARIGOLD HOTEL'.
          As Christopher gapes in horror, he hears a mellifluous
          Indian voice.

                         INDIAN VOICE
          'Come and spend your autumn years
          in an Indian palace with the
          sophistication of an English
          country manor. Steeped in the
          tradition of the Raj, tucked away
           on the outskirts of Jaipur .'

          13 INT. INTERNET CAFE - DAY 13

          The mellifluous tones continue. Madge mouths the words to
          herself as she scans the same web-page.

                         INDIAN VOICE
          it exudes historical
          ambience and is graced with
           breathtaking surroundings .'

          14 INT. SALON - DAY 14

          Jean whom we earlier saw looking at the bungalow, is at
          the hairdressers. Her stylist ABI listens to her reading a
          computer printout for the same hotel. Which looks classy,
          elegant, and welcoming.
          Madge's voice bleeds into Jean's.

                         JEAN

                         (READING)
          'Lofty terraces, open courtyards,
          domes, arches and canopied
          balconies transport one back in
          time.'

                         ABI
          I wouldn't mind going there
          myself.

          15 EXT. GOLF COURSE - DAY 15

          In the background, a train rumbles along the Piccadilly
          Line towards Heathrow.
          Douglas, Jean's husband, is on the green with his friend
          SIMON. Douglas is lining up a tricky putt.

                         SIMON
          There won't be any golf courses.

                         

                         

                         

                         
           12.

                         DOUGLAS
          Just as well. I can't afford the
          green fees.

                         SIMON
          But a retirement home?
          Douglas misses his putt.

                         DOUGLAS
          It's a luxury development, where
          all the residents are in their
          golden years.

                         SIMON
          Like the Costa Brava.

                         DOUGLAS
          Yes. But with more elephants.
          Simon holes out.

          16 INT. JUDGES CHAMBERS - DAY 16

          Graham, the judge, is in his office. It's nearly empty;
          his entire life is being packed away.
          His friend Giles watches him put more things in boxes.

                         GILES
          How long have we known each
          other? And you've never once
          talked about India.

                         GRAHAM
          D'you want these books?

                         GILES
          You might need them again.
          Graham smiles at him, calls out.

                         GRAHAM
          Mrs Megson!
          His cleaner, MRS MEGSON, comes in.

                         MRS MEGSON
          Sir?
          Graham takes a beautiful vase off the shelf, gives it to
          her.

                         GRAHAM
          I want you to have this.

                         MRS MEGSON
          Are you sure?

                         

                         

                         

                         
           13.

                         GRAHAM
          Absolutely. There's a slight
          crack on the bottom. But I think
          you might know something about
          that already.
          Mrs Megson goes.

                         GRAHAM (CONT'D)
          I used to live there. A long
          time ago.

          17 INT. BASEMENT BEDSIT. EARLS COURT - DAY 17

          A bedsit. Slightly down at heel, and sparsely furnished.
          Norman, whom we met speed dating, is talking to someone.
          We don't see who.
          Quietly, in the background, Radio 2 music from an old
          battery radio.

                         NORMAN
          I have to go. I do. And I could
          say I wish you'd come, but I've
          never lied to you. We both know
          I need more than you can offer.
          We know that. Don't we?
          We see who's sitting in front of him. An ancient
          dachshund.

                         NORMAN (CONT'D)
          (to the dog)
          Don't make that face at me.
          Norman's Polish landlady, MRS JELLINEK, is at the door.

                         MRS JELLINEK
          (to her dog)
          You. Upstairs.
          The dog hops off the chair, and leaves. Norman watches him
          go.
          MRS JELLINEK (cont'd)
          Any warm clothes you have use for
          no more, I take them. And not
          forget to leave keys when you go.
          She leaves. Norman is left alone.

                         NORMAN
          I'll miss you too.

                         

                         

                         

                         
            14.

          18 EXT. HOUSING ESTATE - DAY 18

          The district ambulance driver, JACKSON, is pushing Muriel
          in a wheelchair across a housing estate.

                         MURIEL
          You know who'll be there, don't
          you? Indians. Loads of them, A
          sea of brown faces and black
          hearts, all greasy haired and
          reeking of spices. Never see one
          on their own, do you? No,
          becuase they hunt in packs. All
          the better to rob me blind and -

                         JACKSON
          You know what? You can take it
          from here.

                         MURIEL
          You're supposed to see me into my
          flat. That's what they said.

                         JACKSON
          My wife is from Mumbai.
          He heads off. Muriel shouts after him.

                         MURIEL
          No good moaning to me, mate. You
          married her!
          But he's gone.
          Muriel wheels herself on over the bumpy ground.

          19 EXT. PASSENGER DROP-OFF. STANSTED AIRPORT - EVENING 19

          A reluctant Christopher is pushing a trolley carrying
          Evelyn's cases to the terminal.

                         CHRISTOPHER
          You're sure your tickets are in
          order?

                         EVELYN
          They should be. The hotel paid
          for them. I'm sure they'd
          rather have us there than not.
          And its fantastically cheap for
          the first three months.

                         CHRISTOPHER
          I wonder why.
          They walk on in silence.

                         CHRISTOPHER (CONT'D)
          How will we know you're alright?

                         

                         

                         

                         
           15.

                         EVELYN
          I'll call. They do have phones
          there, you know. Or you can
          just read my blog.

                         CHRISTOPHER
          Your what?

                         EVELYN
          On the interweb. You can log in
          whenever you like, read my news.

                         CHRISTOPHER
          I just hope the first item will
          be announcing your return. I
          don't suppose they'll be paying
          for the journey back...?
          Evelyn stops. They've reached the terminal.

                         EVELYN
          Could you please, before I go,
          say one thing that is supportive?
          Because I've never done anything
          like this before.

                         CHRISTOPHER
          Without Dad, you never did
          anything at all. And i don't
          think you'll be able to cope.

                         EVELYN
          Well. I suppose we'll find out,
          won't we?
          They head into the building.

          20 INT. CHECK-IN AREA. AIRPORT - EVENING 20

          Madge is at the First Class Check-In desk.

                         MADGE
          And the connecting flight to
          Jaipur is first class too?
          The check-in girl nods, hands Madge back her passport.

                         MADGE (CONT'D)
          I tell you, it's tough to get
          upgraded nowadays. I had to
          flirt so hard with the travel
          agent, it was practically phone
          sex.

          21 INT. SECURITY AREA. AIRPORT - EVENING 21

          The light is fading.

                         

                         

                         

                         
           15A.
          Norman appears to be relishing a detailed search from a
          female Security Guard.

                         NORMAN
          Come on. Thorough as you like
          Muriel is waiting to collect her bag from the belt.

                         SECURITY GUARD
          We'd like to take a look in this
          bag, Madam, if you don't mind.
          He lifts the bag onto a table. It's heavier than he
          thought.

                         

                         

                         

                         
           16.
          SECURITY GUARD (cont'd)
          What you got in here anyway?
          He opens the bag, stares in astonishment.

                         MURIEL
          PG Tips. Brown sauce. Ten jars
          of Marmite. Thirty one packets
          of Chocolate Hobnobs. Pickled
          onions. Pickled eggs. And
          pickle.

                         SECURITY GUARD
          No liquids on the plane.

                         MURIEL
          What does that mean?

                         SECURITY GUARD
          It means you can't take the
          pickled onions. Or the pickled
          eggs.

                         (BEAT)
          The pickle's fine.

          22 INT. BOARDING GATE. AIRPORT - EVENING/NIGHT 22

          The passengers from Flight 1045 to Delhi are seated at the
          gate, waiting to board.
          Muriel is wheeled up by an attendant and parked at the end
          of the only remaining row of empty chairs. Douglas and
          Jean are already sitting there.
          Jean smiles politely as Graham sits down a couple of seats
          away.
          Norman arrives, carrying his battery radio, sees an empty
          place between Jean and Madge, who is sitting at the end.
          He smiles knowingly at Madge as he sits.
          Finally Evelyn takes the only available space, between
          Graham and Douglas.
          And there the seven passengers wait patiently, unaware of
          their common fate.
          The sound of a jet engine, quiet at first, finally engulfs
          them.

          23 EXT. RUNWAY. INDIA - DAWN 23

          The plane cruises down through a stunning sunset, and lands
          at Delhi Airport.

                         

                         

                         

                         
            17.

          24 INT. AIRPORT TERMINAL, DELHI - DAY 24

          Evelyn, Douglas, Jean and Graham are descending on an
          escalator. Madge is a few steps up.

                         JEAN
          Obviously one's read one's
          Kipling, but we view this as an
          opportunity to explore another
          culture, as well as making new
          friends. And a retired judge is
          just the class of guest one was
          hoping for, isn't it Douglas?

                         DOUGLAS
          I'm sorry?

                         GRAHAM

                         (TO EVELYN)
          And is this your first time in
          India?

                         JEAN
          You don't seem like an
          experienced traveller.

                         EVELYN
          I'm not. Although one has read
          one's guidebooks.
          Jean blinks. Evelyn and Graham share a smile. Douglas
          hides his. And Madge sees it all.
          As they head towards the baggage carousel, they're met by
          Muriel and Norman, emerging from the elevator. Norman is
          pushing Muriel's wheelchair.

                         NORMAN
          Norman Cousins.

                         MADGE
          Madge Hardcastle. A pleasure.

                         NORMAN
          Play your cards right, it could
          be.
          Madge stares at him. A voice comes over the tannoy.

                         AIRPORT ANNOUNCER
          Ladies and gentlemen, we regret
          to inform you that owing to bad
          weather, Flight 105 to Jaipur has
          been cancelled. The airline is
          happy to arrange

                         CUT TO:

                         

                         

                         

                         
            18.

          25 INT. AIRPORT. DELHI - DAY 25

          Hours later. The airport is deserted, except for the
          Marigold Hotel party, who sit slumped and exhausted on
          another row of seats, with Muriel's wheelchair at the other
          end.
          After a moment, Graham says

                         GRAHAM
          Alright. Plan B.

          26 INT. DELHI AIRPORT - DAY 26

          Moments later. They're all moving briskly through the hi-
          tech, ultra-modern, beautifully air-conditioned building.

                         JEAN
          Of course it's a good idea. Who
          can you trust if not a High Court
          Judge?

                         DOUGLAS
          And this way we see more of the
          country.
          Norman is pushing Muriel's wheelchair.

                         NORMAN
          (leaning down, to

                         MURIEL)
          If anyone asks, say you're my
          mother. I don't want people to
          think we're together.

                         MURIEL
          In your dirty dreams.

                         JEAN
          Douglas, these are not words that
          often pass my lips, but you may
          actually be right. The country
          seems to be rather more civilised
          than one originally thought.

          27 EXT. DELHI BUS STATION - EVENING 27

          Moments later. Our heroes are in the middle of an
          extraordinary scene. Stifling heat, deafening noise; the
          chaos, the bustle, the grime, the crowds, the life.
          They're surrounded by taxi drivers, baggage
          handlers,beggars etc. All clamouring for their attention.
          Evelyn looks a little shocked. Jean is traumatized, a
          handkerchief to her face.

                         

                         

                         

                         
           19.
          Graham, at the ticket booth, triumphantly holds up a
          fistful of tickets.

                         GRAHAM
          (shouting over the din)
          The bus will drop us in the
          centre of town. We can take tuk-
          tuks the rest of the way!
          They follow him through the hordes. And see their bus.
          It's absolutely rammed. People are practically hanging out
          of the windows.

                         MADGE
          There's not enough room.

                         GRAHAM
          It's time to prove the first and
          only rule of India: there's
          always room.
          He starts to fight his way to the door. Evelyn's at the
          back. She stops, for a moment, looks around her.

                         EVELYN
          What larks, Pip.
          Douglas is just ahead of her. He turns, smiles.

                         DOUGLAS
          Let's hope so.

          28 EXT. HIGHWAY - EVENING 28

          Muriel's wheelchair is strapped to the back of the bus,
          which is screaming down the six-lane highway. A huge tower
          of luggage is piled precariously on the roof.
          The road appears to be complete chaos; cars, buses, even
          cows overtaking each other.
          The bus pulls into the outside lane to follow a truck which
          is overtaking some slower vehicles. As the truck pulls back
          into the inside lane, it reveals a huge truck barrelling
          towards them on the wrong carriageway.
          Norman, sitting at the front, screams his last scream...

                         NORMAN

          NOOOOOOO... . U
          At the last minute, the bus pulls back into the inside
          lane. The Indians on the bus take absolutely no notice.

          29 INT. BUS - EVENING 29

          Norman is grinning from ear to ear.

                         

                         

                         

                         
           20.

                         NORMAN
          I'm loving this!
          Evelyn is sitting next to Madge.

                         EVELYN
          A few months ago I was organising
          the church flowers.

                         MADGE
          Are you struggling with the
          feeling you're not in control of
          your circumstances?

                         EVELYN
          A little.

                         MADGE
          You know what the shortest prayer
          in the world is?

                         EVELYN
          No.

                         MADGE
          Fuck it.
          Evelyn laughs.

                         MADGE (CONT'D)
          You're not doing the church
          flowers any more. May as well
          enjoy the ride.
          Douglas is watching a nice Indian family. They're having a
          picnic. The father notices Douglas looking, offers him
          some food.
          Douglas makes the namaste gesture, takes some happily.

                         JEAN
          Are you insane? "Avoid all food
          not from a reputable vendor, it
          will have been washed with impure
          water."
          Douglas keeps eating, with great enjoyment.

                         DOUGLAS
          It's just a sandwich.

                         JEAN
          Marvellous. Then I'll have the
          ham, cheese, and streptococcus,
          please. Or perhaps the bacteria,
          lettuce and tomato.
          Douglas turns to Muriel.

                         

                         

                         

                         
           21.

                         DOUGLAS
          Would you like some of this? I
          believe it's aloo ka paratha.

                         MURIEL
          If I can't pronounce it, I'm not
          eating it.
          The cacophony of horns continues. Jean screams, as another
          collision looms.

          30 EXT. COUNTRYSIDE - DUSK 30

          The last of the light. The bus moves on through a beautiful
          landscape.

          31 INT. BUS - NIGHT 31

          Everyone is asleep, or trying to sleep.
          Except Muriel. She reaches into her bag, and carefully
          removes a biscuit. She surreptitiously lifts it to her
          mouth, and starts to chew.
          Madge has fallen asleep on Evelyn's shoulder. But Evelyn
          is still awake, as is Graham.

                         EVELYN
          How long since you were here?

                         GRAHAM
          Forty years.

                         EVELYN
          As long as I was married.

                         (BEAT)
          He died recently. My husband.

                         GRAHAM
          I'm sorry.

                         EVELYN
          D'you think we're going to be
          alright?

                         GRAHAM
          God, don't ask me. I'm more
          scared than you are.
          They both smile, sit in silence for a bit.

                         GRAHAM (CONT'D)
          Yes. I think it's going to be
          extraordinary.

                         

                         

                         

                         
            22.

          32 EXT. BUS - DAWN 32

          The sun rises. A beautiful, pearly dawn.
          The bus drives through the great gates of Jaipur. Below,
          the city shimmers in the heat. It's a magnificent sight.

          EVELYN (O.S.)
          What exactly is a tuk-tuk?

          33 EXT. JAIPUR STREET - DAWN 33

          Our heroes are squashed into a pair of them, facing
          forwards and backwards, attempting not to swallow too much
          dust as they wheel crazily through the teeming morning
          streets of the city. They stare in amazement at the world
          racing past them.
          A scooter overtakes. A young man is driving, his
          girlfriend riding side-saddle on the back. Her sari
          billows out behind her. Douglas and Evelyn both watch her,
          struck by this image of beauty, youth and vitality.

          34 EXT. STREET/GARDEN PATH. MARIGOLD HOTEL - MORNING 34

          The tuk-tuks have pulled up, and our travellers emerge,
          exhausted and dirty, staring through some garden gates at
          the Marigold Hotel. Once a beautiful building, once
          possibly even luxurious, it is clearly in the process of
          being given at least half the face-lift it badly needs.
          Parts of the building are freshly painted, some of the
          ornate balconies are crumbling, and one wall is clad with
          crazily skewed bamboo scaffolding. A huge old tree towers
          over an untended garden, its branches poking into the
          windows of the building.

          34A EXT. ROOFTOP. MARIGOLD HOTEL - MORNING 34A

          A young man leans out from an upper balcony to see the
          arrival below: SONNY KAPOOR (early 20's).
          He deposits a paint pot and brush on a parapet, and races
          off across the rooftop.

          34B EXT. GARDEN PATH/COURTYARD. MARIGOLD HOTEL - MORNING 34B

          Dazed and horrified, the travellers wander up the pathway.
          A cow standing in front of them is pushed into the garden
          by a couple of young houseboys who then run to the tuk-tuks
          to collect their luggage.

                         

                         

                         

                         
            23.

          34C EXT. STAIRWAY/COURTYARD. MARIGOLD HOTEL - MORNING 34C

          Sonny clatters down the steep steps, and comes tearing out
          onto a verandah, as the travellers arrive in the courtyard
          below. He spreads his arms wide.

                         SONNY
          Welcome to India!!!
          They stare up at him.

          35 EXT/INT. COURTYARD/HALLWAY.BEDROOM. MARIGOLD HOTEL - DAY 35

          The courtyard is not without charm, although somewhat
          delapidated. A fountain at the centre does not look as if
          it has seen water in years, and faded awnings are strung up
          haphazardly.
          Sonny is leading Madge into the darkness of the building,
          towards her room.

                         SONNY
          This is a building of the utmost
          character, which means that
          perhaps not everything will
          function in the way you expect it
          to. But as the manager and chief
          executive supervising officer of
          the Marigold Hotel, I can tell
          you with great pride that the
          building has stood for centuries,
          and will stand for many more, in
          100% shipshape condition. Please
          follow me, carefully avoiding
          that naughty stone there
          round this corner, leading us
          most successfully all the way to
          . your bedroom!
          The room is very small, comfortable, and tastefully
          decorated. But there's no door.

                         MADGE
          Where?

                         SONNY
          Here. In here.

                         MADGE
          My dear man. Rooms have doors.
          What you're showing me here is an
          alcove.

                         SONNY
          The door is coming soon, most
          definitely.

                         MADGE
          How soon?

                         

                         

                         

                         
           24.

                         SONNY
          Let us not concern ourselves with
          details, Mrs Hardcastle. Rather
          than speaking of doors, we should
          instead take pleasure in the
          freedom to roam.

                         MADGE
          Does your room have a door?

                         SONNY
          Oh yes.

                         MADGE
          Then that's where I'll be
          staying.

          36 EXT. UPPER COURTYARD, MARIGOLD HOTEL - DAY 36

          Douglas and Jean arrive at their room. Douglas goes in
          through the arched doorway, promptly comes back out again.

                         DOUGLAS
          Bird in the room! Bird in the
          room!
          Jean pushes him aside, goes on in. Several pigeons are
          flying around in some panic.

          37 EXT/INT. VERANDAH/BEDROOM. MARIGOLD HOTEL - DAY 37

          Evelyn arrives at her room, goes on in.
          The room is light and airy. And rather nice. But all the
          furniture is covered in sheets.
          As Evelyn stands there, Sonny comes rushing in, yanks all
          the sheets off, and runs out again.

          38 EXT/INT. BEDROOMS/TERRACE. MARIGOLD HOTEL - DAY 38

          Muriel wheels herself towards her room. Standing inside is
          a male nurse, AJIT.
          Muriel swivels her chair around. Graham is just going into
          his room.

                         MURIEL
          There's an Indian in there!
          Graham smiles, goes on into his room. Which is dusty, but
          comfortable and pleasant.
          He looks around with satisfaction.

                         

                         

                         

                         
            25.

          39 EXT. STAIRWAY, MARIGOLD HOTEL - DAY 39

           Norman is laboriously climbing the stairs to his room. He
          stops, catches his breath.

          40 EXT. TERRACE, MARIGOLD HOTEL - DAY 40

          Ajit is attempting to explain himself to Muriel.

                         MURIEL
          My what?

                         AJIT
          Your physiotherapist. To help
          with your recovery after the
          operation.

                         MURIEL
          You're not touching me.

                         AJIT
          Traditionally that is how
          physiotherapy is practised.

          41 EXT. ROOF, MARIGOLD HOTEL - DAY 41

          Norman comes out onto the roof of the hotel. His room is
          right in front of him, a kind of penthouse cabin. A bed,
          but not much else. The trees poke in through the open
          window.
          He walks through the room, hangs his battery radio on a
          hook and leans out of the balcony, surveying the view.

                         NORMAN
          This'll do.

          42 INT. RECEPTION - DAY 42

          Jean is confronting Sonny.

                         JEAN
          I want to stay at the other
          hotel, the one in the brochure.

                         SONNY
          Mrs Ainslie, prepare to be
          amazed. This is that very
          building!

                         JEAN
          You've Photoshopped it!

                         SONNY
          I have offered a vision of the
          future.

                         (MORE)

                         

                         

                         

                         
           26.

                         SONNY (CONT'D)
          Of course I had hoped that by now
          it would be the present. But in
          India we have a saying:
          everything will be alright in the
          end. So if it is not alright,
          then it is not yet the end.

                         JEAN
          What will start to make this
          alright is for you to give us a
          refund.

                         SONNY
          Of course if that is what you
          desire, you must have it.
          Absolutely no problem, I will
          refund you completely.

                         JEAN
          You will? Straight away?

                         SONNY
          Without question, Mrs Ainslie, I
          most definitely will. Straight
          away in three months.

          43 INT. GRAHAM'S ROOM. MARIGOLD HOTEL - DAY 43

          Graham is taking some things out of his bag: an old map of
          Jaipur, sepia-tinted photographs of a British family during
          the Raj, official documents yellowing with age.
          He picks up a photograph, looks at it.
          From outside, we can hear Ajit, the physiotherapist

          AJIT (O.S.)
          a stay of five days and it is
          done under general anaesthesia.
          A hip replacement usually takes
          only two hours

          44 EXT. TERRACE. MARIGOLD HOTEL - DAY 44

          Ajit's explanation continues. Muriel is trying not to
          panic.

                         AJIT
          Your surgeon will remove the top
          end of the thigh bone, and insert
          an artificial bone instead. A
          most routine procedure.

                         MURIEL
          Have you got a marker pen on you?

                         AJIT
          Why?

                         

                         

                         

                         
           27.

                         MURIEL
          I want to mark it. So you don't
          take the wrong hip.

          45 EXT. UPPER VERANDAH. MARIGOLD HOTEL - DAY 45

          Douglas is on his way down the stairs.
          Evelyn comes out of her bedroom.

                         EVELYN
          Oh, hello.

                         DOUGLAS
          Is everything alright?

                         EVELYN
          I was just going to find the
          manager.

                         DOUGLAS
          I'm afraid he's dealing with my
          wife. Or vice versa.

                         EVELYN
          I promised I'd call my son, to
          tell him I'd arrived, and -

                         DOUGLAS
          And the phone in your room
          doesn't work. May I?

          45A INT. EVELYN'S ROOM. MARIGOLD HOTEL - DAY 45A

           Douglas picks up the very old-style phone. Evelyn is
          watching.

                         DOUGLAS (CONT'D)
          Now, did you try jiggling it a
          bit?

                         EVELYN
          Yes, did that.

                         DOUGLAS
          Did you kind of bang it lightly
          on the desk a few times?

                         EVELYN
          That too.

                         DOUGLAS
          Hmm.
          He twists off the mouthpiece of the receiver, lifts the
          receiver carefully. And blows on it.

                         

                         

                         

                         
           28.

                         EVELYN
          How did you come to be here? In
          India.

                         DOUGLAS
          I invested our - well, my -
          retirement money in our
          daughter's internet company. She
          assured me that as soon as the
          start-up actually started up, and
          the conversion from virtual to
          actual proved sufficiently
          viable, then she would be able to
          pay it all back.

                         EVELYN
          I'm not sure I understand what
          most of those words mean.

                         DOUGLAS
          It turns out neither did she.
          Douglas has put the mouthpiece back on, holds the receiver
          to his ear.

                         DOUGLAS (CONT'D)
          There you are. Good as new.

                         EVELYN
          Really?

                         DOUGLAS
          No, of course not. I've got no
          idea what I'm doing.
          Evelyn bursts out laughing.

                         DOUGLAS (CONT'D)
          Now, would you like me to not fix
          that chair? Because I can do
          that too.

          45B EXT. STAIRWAY. MARIGOLD HOTEL - NIGHT 45B

          The houseboys are struggling with the unequal task of
          pulling Muriel's wheelchair, with Muriel in it, up the
          narrow steps.

          SONNY (O.S.)
          In honour of your arrival, a
          special welcome British roast for
          you all!

          46 EXT. UPPER COURTYARD - NIGHT 46

          A group of mismatched table and chairs, that constitute the
          dining area of the hotel.

                         

                         

                         

                         
           29.
          Sonny is serving up a meal. His guests, wearing garlands
          of marigolds, listen politely.

                         SONNY
          .Cooked lovingly by myself and
          my most loyalist factotum and
          helper, Young Wasim ...
          He points to YOUNG WASIM. Who is about 80, and is sitting
          in the corner, fast asleep.

                         MADGE
          Roast what?

                         SONNY
          A wonderful taste of Blighty.

                         MADGE
          Roast what?

                         SONNY
          Roast goat curry.

                         DOUGLAS
          Yes please.

                         JEAN
          So the upshot is that he's spent
          all our money getting us here,
          and we can't leave till he's made
          some more.
          Muriel has arrived at her table.

                         SONNY
          Gentle friends, you have found
          your way to this place,
          bequeathed to me by my beloved
          father, that I have raised from
          the ruins of his broken dreams,
          and renamed The Best Exotic
          Marigold Hotel For The Elderly
          And Beautiful. Yes, I use the
          words most deliberately...
          Norman is not looking very well at all. Sonny doesn't
          notice, keeps on going.

                         SONNY (CONT'D)
          .You have all heard the chimes
          at midnight, and long in tooth
          have youbecome. Who knowshow
          many daysyou have left?But we
          are mosthonoured that youhave
          chosen tospend that time with
          us.
          Norman's head suddenly tips forward, and he falls from his
          chair onto the floor.

                         

                         

                         

                         
           30.
          General panic. Everybody crowds round, but no one knows
          what to do.

                         SONNY (CONT'D)
          Let me through, please. My
          brother is a doctor.
          He kneels next to Norman, and checks his watch as he feels
          for a pulse.
          Everybody waits. And then

                         SONNY (CONT'D)
          This man is dead.
          An appalled silence.

                         SONNY (CONT'D)
          Please, we must cover his face.
          We should preserve his dignity at
          this terrible moment.
          Madge looks around. All there is is a napkin. She passes
          it Sonny, who lays it over the face of Norman.
          Who promptly coughs.

                         DOUGLAS
          He just coughed. I heard him
          cough!

                         EVELYN
          He moved! He's alive!

                         MADGE
          He's fainted, that's all.
          Sonny shakes his watch next to his ear. It's stopped.
          Norman sits up.

                         NORMAN
          What's going on? Did I nod off?
          Everyone crowds round Norman, helps lift him back up.
          Except Muriel. She just stares at them all.

                         MURIEL
          Hell. I'm in hell.

          47 EXT. STREET. MARIGOLD HOTEL - DAWN 47

          The sun rises. A washer-man bicycles up to the hotel, a
          load of clean sheets balanced on his handlebars.
          Shopkeepers on the street are beginning to set out their
          wares.

                         

                         

                         

                         
           31.

          EVELYN (V.0.)
          Day Nine. Old habits die easier
          than we think, and new ones form.

          48 INT. EVELYN'S ROOM, MARIGOLD HOTEL - DAWN 48

          Evelyn is typing - hunt and peck - at her computer. Beside
          her, the classified pages of the local newspaper.

          EVELYN (V.0.)
          No longer do I reach out in the
          morning for Radio 4. My news
          comes instead from the Jaipur

                         HERALD

          49 EXT. STREET, MARIGOLD HOTEL - DAY 49

          A sign reads: 'THE BEST EXOTIC MARIGOLD HOTEL FOR THE

          ELDERLY AND BEAUTIFUL - OPEN FOR BUSINESS.'
          Sonny affixes a sticker: 'NOW WITH GUESTS!'

          EVELYN (V.0.)
          . Soon I might even grow
          accustomed to the storm of car
          horns and vendors.

          50 EXT. STREET, CENTRAL JAIPUR - DAY 50

          The main road in Jaipur is chaotically busy. Crowds,
          bikes, cows, dust, noise, and laughter.
          Sonny's battered old car has broken down. Madge is in the
          front seat, Douglas and Jean in the back.
          Sonny is aiming a couple of kicks at the engine.

          EVELYN (V.0.)
          Can there be anywhere else in the
          world that is such an assault on
          the senses?

          51 EXT/INT. PUBLIC RECORDS OFFICE, JAIPUR - DAY 51

          An office out of a Kafka novel; cloth bags containing files
          are piled all around the room, floor to ceiling.
          Graham is seated at a desk, in front of a sober official.
          He is filling in a form.

          EVELYN (V.0.)
          Those who know the country of old
          just go about their business.
          But nothing can prepare the
          uninitiated for this riot of
          noise and colour ...

                         

                         

                         

                         
            32.

          51A EXT. JANTAR MANTAR OBSERVATORY. JAIPUR - DAY 51A

          Norman seems less interested in the astonishing geometric
          devices of the ancient observatory than in the female
          tourists who have come to see them...

          52 EXT. STREET, CENTRAL JAIPUR - DAY 52

          The chaos and din of the street is even more mind-boggling.
          Madge now has the bonnet up, and is studying the engine.
          Douglas stands in the street, staring in wonderment around
          him.
          Inside the car, Jean looks utterly traumatized, shrinking
          lower in her seat as a horde of kids swarm at the windows,
          shouting, wheedling, gesticulating. Sonny does his best to
          wave them away.

          EVELYN (V.0.)
          ... for the heat, the motion, the
          perpetual teeming crowds. Sonny
          is conducting his own personal
          assault on our senses

          53 INT. UPPER COURTYARD, MARIGOLD HOTEL - NIGHT 53

          The guests look on with trepidation, as another meal is
          laid before them.

          EVELYN (V.0.)
          with the flow of exotic
          dishes he demands daily from the
          kitchen. Mooli Moong Dal.
          Baghara Baingan. Banjari Gosht.
          Paneer Methi Chaman ...
          As the list unfolds, the guests, one by one, enter their
          bathrooms; a litany of doors closing
          Until Norman.
          EVELYN (V.0.) (cont'd)
          Mutton Vindaloo ...
          Norman lies on his bed, reading the Kama Sutra.
          He spins the book round, in order to study an illustration
          more intently.

          54 INT. HOSPITAL, JAIPUR - DAY 54

          The hospital puts the NHS to shame. It's hi-tech, bright,
          and spanking clean.

                         

                         

                         

                         
           33.
          Sonny pushes Muriel through the doors of the lobby. The
          reception area is a forest of dark skin. Muriel is rigid
          with fear.

          EVELYN (V.0.)
          Initially you're overwhelmed.
          But gradually you realise: it's
          like a wave. Resist, and you'll
          be knocked over ...
          Sonny is in discussion with some doctors.
          Then he turns to see that Muriel has vanished. Through the
          window Muriel can be seen frantically wheeling herself away
          down the path...
          EVELYN (V.0.) (cont'd)
          Dive into it, and you'll swim out
          the other side.

          55 EXT/INT. STREET/ROOM, MARIGOLD HOTEL - DAY 55

          Madge is exchanging some coins with a street trader in
          return for a mobile phone.
          In her room, Madge scans a phone directory, and dials a
          number.

          EVELYN (V.0.)
          This is a new and different
          world.

          56 INT. EVELYN'S ROOM, MARIGOLD HOTEL - DAY 56

          Evelyn is finishing her blog. She picks up the paper,
          checks something.

          EVELYN (V.0.)
          The challenge is to cope with it.

          57 EXT. GARDEN, MARIGOLD HOTEL - DAY 57

          Evelyn is coming down the path to the gate.

          EVELYN (V.0.)
          And not just cope ... but thrive.

          58 EXT. STREET, JAIPUR - DAY 58

          Evelyn is walking down a rough street on the outskirts of
          the city. Kids are everywhere, laughing, shouting, doing
          tricks, begging.
          Evelyn approaches them, holding up a piece of paper.

                         

                         

                         

                         
           34.

                         EVELYN
          Please, can anyone direct me to
          this address?
          Evelyn's piece of paper gets passed around: none of the
          kids can read. An older boy finally points. Suddenly
          there's lots of pointing.

                         EVELYN (CONT'D)
          Thank you.
          She goes to move, but the kids are still all around her.

                         EVELYN (CONT'D)
          I'm sorry, I don't . I don't
          really have much ...
          She gives them the contents of her pockets.

                         EVELYN (CONT'D)
          Alright? Alright now? Goodbye.
          She starts to walk, is surprised that the entire posse of
          kids walks with her. In fact, the group seems to be
          growing exponentially. She looks like the Pied Piper.

          59 INT. DOUGLAS AND JEAN'S ROOM, MARIGOLD HOTEL - DAY 59

          Douglas is getting ready to go out. Jean clearly isn't.

                         DOUGLAS
          Graham was talking about this
          marvellous temple. I thought you
          might want to come with me.

                         JEAN
          I'm your wife. Have we met?

                         DOUGLAS
          You'd really rather stay here all
          day?

                         JEAN
          Given the alternative, yes.

                         DOUGLAS
          When I walk out in the morning,
          the street kids all smile at me.

                         JEAN
          Because you give them money.

                         DOUGLAS
          One does this trick where he
          holds his hands out in front of
          himself, and then swings through
          his own arms. Got to be worth a
          rupee or two.

                         (MORE)

                         

                         

                         

                         
           34A.

                         DOUGLAS (CONT'D)

                         (BEAT)
          I'll go on my own then.

                         

                         

                         

                         
            35.

          60 EXT. CHAND POLE STREET. JAIPUR - DAY 60

          The road is absolutely rammed; with cars, bikes and
          rickshaws. All honking horns, all seemingly headed in
          different directions.
          Evelyn has somehow made it to the central reservation. She
          takes a deep breath, and plunges into the maze of traffic,
          heading for the other side.

          61 EXT. RICKSHAW. SUBURBAN ROAD, JAIPUR - DAY 61

          Graham is in a rickshaw. The rickshaw driver, PRAVESH, is
          driving it through a neighborhood in transition. Skeletal
          structures of a new India rise above the houses.

          61A EXT. BUILDING SITE/STREET. JAIPUR - DAY 61A

          Some kids playing cricket.
          The rickshaw weaves its way through them and comes to a
          halt.
          Graham gets out, and stands in the street, dwarfed by a
          huge modern building, some months away from completion.

                         GRAHAM
          This can't be right, surely?

                         PRAVESH
          I am thinking so, saab.

                         GRAHAM
          But there were houses all along
          here . these were homes.

                         PRAVESH
          I can take you some other
          place..?

                         GRAHAM
          No. That'll do for now. Thank
          you.
          He hands over some money, and Pravesh pedals away.
          Graham turns to look at the boys playing cricket. One of
          them, SANJAY, is batting.

                         GRAHAM (CONT'D)
          Excuse me. There used to be

                         HOUSES HERE

                         SANJAY
          All knocked down.

                         GRAHAM
          And the people? The families?

                         

                         

                         

                         
           36.

                         SANJAY
          They move.
          Graham nods, turns to look at the giant structure that has
          taken over, then turns back.

                         GRAHAM
          Don't grip so tightly with your
          right hand.
          Sanjay looks puzzled.

                         GRAHAM (CONT'D)
          On the bat. The right is just a
          guide. Keep your left elbow
          high, play down the line of your
          arm, and then you'll hit through

                         THE BALL
          Sanjay looks at him, squinting in the sun.

          62 INT. CORRIDOR. HOSPITAL - DAY 62

          Ajit is wheeling Muriel through the hospital.

                         MURIEL
          When can I go back to England?

                         AJIT
          As soon as you can walk onto the
          plane. How does the hip feel?

                         MURIEL
          They must have got lucky.

                         AJIT
          It's strange. I think the more
          operations they perform, the
          luckier they get.
           He glances down at Muriel, who betrays no signof getting
           Ajit's joke.

          63 EXT. MARKET. BACK STREETS - DAY 63

          Evelyn is still searching for the right address. She's
          turned off the main road, and is heading down a narrow side
          streets. The city has become denser, and the walls seem to
          have closed in.
          She pushes her way through the crowded market.

                         

                         

                         

                         
            37.

          63A EXT. PASSAGE/COURTYARD - DAY 63A

          Uncertain, Evelyn turns down a narrow alley, and suddenly
          finds herself in an enclosed courtyard strewn with
          makeshift washing lines. The atmosphere is faintly
          threatening.
          As she tries to find her way out, she becomes aware that
          she is being watched: the walls are full of doorways, and
          people have come out to stare at her. She has stumbled
          into their home.
          Evelyn tries to suppress her panic, turning from one face
          to another.

                         EVELYN
          I'm so sorry. I didn't realise -
          She backs into a kind of flatbed trolley, piled high with
          cooking utensils, which clatter noisily to the ground. She
          goes to pick them up.

                         EVELYN (CONT'D)
          Oh, I'm dreadfully sorry...
          A man is staring at her: SURESH.

                         SURESH
          Yes.

                         EVELYN (CONT'D)
          I'm sorry, I'm just trying to get
          to this address.

                         SURESH
          Yes.

                         EVELYN
          Do you understand me? Can you
          help me find this place?

                         SURESH
          Yes.

                         EVELYN
          Is that yes you understand, or
          yes you can help me?

                         SURESH
          Yes.
          Some of the children who have gathered laugh at this, and
          the tension is broken slightly.

                         EVELYN
          Let's go with both, shall we?

                         

                         

                         

                         
            38.

          63B EXT. STREET. JAIPUR - DAY 63B

          Suresh's flatbed trike is rolling down the street, piled
          impossibly high with bundles of brightly-coloured textiles.
          On the back, enthroned in the fabric, is Evelyn.

          64 EXT. WASTELAND - DAY 64

          Graham is playing cricket with the teenagers. He's good,
          too. He whacks a ball off into the distance.

                         GRAHAM

                         (TRIUMPHANT)

          YES!
          A boy runs off to fetch the ball. Graham half-runs, half-
          walks to the other end, then turns for a second run,
          breathing heavily. Then walks back to the crease, gets
          ready for the next delivery.
          It's hot and he's tired, but he hasn't felt this good for
          years.

                         SANJAY
          Give me the ball. I can take
          him.
          He turns cheerily to Graham.

                         SANJAY (CONT'D)
          Down is where you're going,
          Uncle.

                         GRAHAM
          Come on. Do your worst.
          They're both enjoying the banter, as Sanjay heads back to
          the beginning of his run-up, then turns and sprints in to
          bowl.
          As Graham watches Sanjay running towards him, Sanjay seems
          to slow, his movements becoming sluggish, never seeming to
          reach the crease. He looks at the faces of the other boys,
          frozen, waiting. The ball seems to take forever to leave
          Sanjay's hand.
          Graham steps back, completely fails to play a stroke, and
          is bowled.

                         SANJAY
          That's what I'm talking about! I
          felt the need, the need for -
          Graham still hasn't moved.

                         SANJAY (CONT'D)
          Are you alright, Uncle?
          Graham finds his voice at last.

                         

                         

                         

                         
           39.

                         GRAHAM
          Yes. Yes, I'm fine.

          65 EXT. STREET/CALL CENTRE BUILDING - DAY 65

          Suresh brakes, stops outside a glass-clad high-rise
          building.

                         SURESH
          Yes.
          Suresh helps Evelyn down off the back.

                         EVELYN
          Thank you.

                         SURESH
          Yes.

                         EVELYN
          This is it?

                         SURESH
          Yes.

                         EVELYN
          Then thank you. You're very
          kind.

                         SURESH
          Yes.
          He rides off. Evelyn looks nervously up at the building.

          66 INT. OPERATIONS ROOM. CALL CENTRE - DAY 66

          A brightly-lit open plan office on a high floor of the
          building. The city sprawls magnificently below.
          Partitions divide off the cubicles. Within them sit rows
          of workers, all early 20's, all with headsets clamped to
          their ears. As chaotic as the streets of Jaipur are, this
          place is immaculate, controlled and efficient.
          We hear snatches of what they're saying.

                         TELEMARKETERS
          Thank you for talking to us today
          We do appreciate your call
          while I have you on the
          phone, can I talk to you about
          our special offers . your call
          is important to us . now is
          there anything else I can help
          you with ... shouldn't take more
          than five minutes . your custom
          is valuable to us

                         (MORE)

                         

                         

                         

                         
           39A.

                         TELEMARRETERS (CONT'D)
          I'm afraid I'll have to refer
          that to my supervisor just a
          routine security check before we
          start . Thank you for talking
          to us today
          Through a glass partition, Evelyn can be seen sitting at a
          desk, talking to someone.

                         

                         

                         

                         
            40.

          67 INT. SUPERVISOR'S OFFICE. CALL CENTRE - DAY 67

          JAY (late 20's) is talking to Evelyn.

                         JAY
          You're sure I can't offer you
          something? We have English
          Breakfast Tea. Building Tea, as
          you call it.

                         EVELYN
          Builder's tea. It's called
          builder's tea. And no, I'm fine.
          Thank you.

                         JAY
          Tell me then. How can I help
          you?
          Beat.

                         EVELYN
          I don't think you can. I'm
          sorry, I shouldn't have come.
          She stands.

                         JAY

                         WAIT -

                         EVELYN
          I saw your advertisement in the
          local paper, and it specifically
          mentioned the ability to talk to
          older people. But this is not
          what I imagined ...

                         JAY
          You came for a job?

                         EVELYN
          I've wasted your time.

                         JAY
          Mrs Greenslade. Everyone working
          here is a graduate of a good
          university. This is a place for
          ambitious people. Young people.

                         EVELYN
          I see that. Good day.

                         JAY
          Please. One second.
          Evelyn stops.

                         JAY (CONT'D)
          It is really builder's tea?

                         

                         

                         

                         
           41.

                         EVELYN
          Yes. We dunk biscuits into it.

                         JAY
          You dunk?

                         EVELYN
          It means lowering a biscuit into
          your tea, letting it soak in
          there, then trying to calculate
          the exact moment just before it
          dissolves to whip it up to the
          mouth, and enjoy the blissful
          union of biscuit and tea
          combined.

                         (BEAT)
          It's more relaxing than it
          sounds.

                         JAY
          Perhaps you can help us after
          all.

          68 INT. OPERATIONS ROOM. CALL CENTRE - DAY 68

          A few minutes later. From the open-plan office Evelyn can
          be seen talking to Jay.
          One person watching is SUNAINA (20's). She's talking on
          the phone.

                         SUNAINA
          We do appreciate your custom,
          which is very important to us.
          And can I draw your attention to
          our special -
          But the person at the other end has hung up. Sunaina
          starts to dial another number.
          Then the clock hits 11, and a buzzer sounds. Sunaina gets
          up, heads for the door.

          69 EXT. FORECOURT. CALL CENTRE - DAY 69

          Dozens of motorcycles are parked in front of the building.
          People are hanging around chatting and smoking.
          Sonny arrives on his motorcycle, a bag of marigolds
          strapped to the pillion seat.
          Sunaina, who is with some friends, spots him, comes over.
          She smiles as he pulls her to him.

                         SUNAINA
          I get two breaks in eight hours.
          Explain to me why I would want to
          waste one of them with you -

                         

                         

                         

                         
            42.
          He kisses her. She kisses him back.

                         SONNY
          Leave this place. Come and work
          for me.

                         SUNAINA
          You can't afford me.

                         SONNY
          I cannot afford anything.

                         SUNAINA
          Still tempting. I miss you. Am
          I coming round tonight?

                         SONNY
          Let's meet somewhere else. I
          will rent a hotel room.

                         SUNAINA
          Sonny, you own a hotel. It has
          many rooms.

                         SONNY
          Some of them now occupied. With
          actual real guests.

                         SUNAINA
          Paying guests?

                         SONNY
          Why must you nitpick? It is not
          an attractive quality.

                         SUNAINA
          It isn't?
          They kiss again, start to make out a bit. Then

           JAY (O.S.)
          Sunaina!
          They turn to see Jay who has come out of the Call Centre.

                         JAY (CONT'D)
          (calling, to Sonny)
          You can let go of my sister now.
          Break's over.

                         SONNY
          Hello Jay.

                         JAY
          Sonny boy.

                         SONNY
          Don't call me that.
          Jay smiles, holds the door open for Sunaina.

                         

                         

                         

                         
           43.

                         JAY
          Let's go.

          70 EXT. GARDEN - EVENING 70

          Jean is sitting in a chair, reading. Graham comes up the
          path.

                         JEAN
          Good evening, Your Honour.

                         GRAHAM
          Mrs Ainslie. I hope you had a
          good day. What did you get up
          to?

                         JEAN
          Well, I started in my bedroom,
          where I had a lovely couple of
          hours giving all the cockroaches
          names. Then after a lunch that
          will long have a place in my
          heartburn, I came out here
          and stared blindly at a book
          waiting for someone - anyone to
          rescue me. And how glad I am it
          was you.

                         GRAHAM
          Why would you not go out?
          There's so much to see.
          Jean had hoped for some appreciation of her wit, and is
          floored by his question. She can hardly understand, let
          alone tell him, the depths of her discomfort.

                         GRAHAM (CONT'D)
          Open your eyes, Mrs Ainslie. All
          life is here, I tell you.
          Jean stares at him. He goes on through the archway into
          the hotel. Then stops.

                         GRAHAM (CONT'D)
          I could talk to the chef, if you
          like. Perhaps get you some
          grilled chicken, plain rice.

                         JEAN
          I would appreciate that very
          much.
          Graham goes on in. Jean just sits there. Wishing he'd
          come back out again.

                         

                         

                         

                         
            44.

          71 EXT. TERRACE. MARIGOLD HOTEL - NIGHT 71

          Muriel is back. She's in her chair, on the terrace outside
          her room.
          A young hotel worker, ANOKHI, brings out a tray of food to
          her.
          Muriel watches her, but Anokhi is deferential, won't meet
          Muriel's eyes. She puts the tray down and leaves.
          Muriel just sits there, glaring balefully into the night,
          the untouched tray of food by her side.

          72 EXT. UPPER COURTYARD - NIGHT 72

          Evelyn comes into the dining area. Graham is there, at a
          table in the corner.

                         GRAHAM
          Good evening.

                         EVELYN
          Good evening.
          Evelyn sits at her table.

                         EVELYN (CONT'D)
          I trust you had a good day?

                         GRAHAM
          I'd rather hear about yours.

                         EVELYN
          I got a job. My first. Ever.
          I'm going to be a sort of
          cultural advisor.

                         GRAHAM
          A role I'm sure you'll perform
          with great distinction.
          He's about to inquire further, when Evelyn sees Douglas and
          Jean emerge from their room.

                         EVELYN
          Perhaps if you wouldn't mind
          keeping that news to yourself.

                         GRAHAM
          I'm flattered you shared it with
          me.
          He turns to greet the new arrivals.

                         GRAHAM (CONT'D)
          Good evening, the Ainslies.

                         

                         

                         

                         
           45.

                         EVELYN
          Have you had a good day?

                         DOUGLAS
          Spectacular.

                         (TO GRAHAM)
          I went to the temple you told me
          about. A place of meditation and
          peace, quite stunning.

                         JEAN
          So spiritual, I bet you hardly
          noticed the smell of elephant
          dung.

                         DOUGLAS
          No elephants, sadly. Still none.

                         (TO GRAHAM)
          I thought I might see you there.
          Where did you get to instead?

                         JEAN
          Yes, where do you get to every
          day?

                         GRAHAM
          Well, I've just finished telling
          Mrs Greenslade all about it.
          Evelyn registers the lie, but says nothing.

                         JEAN
          I'm sure she wouldn't mind
          hearing it again.
          She waits. But Graham is as elusive as he is tactful.

                         GRAHAM
          I talked to the chef for you. He
          said it will be no problem.

                         JEAN
          Did you hear that, Douglas?
          Plain grilled food; manna from
          heaven.

                         DOUGLAS
          I don't have to have it too, do

          I?

                         JEAN

                         (TO GRAHAM)
          I don't know how to thank you.

                         DOUGLAS

                         (TO EVELYN)
          You really should see this
          temple.

                         

                         

                         

                         
           46.

                         EVELYN
          I'd like that very much.

                         DOUGLAS
          But maybe take a clothes peg for
          your nose.

          73 EXT. COURTYARD/UPPER VERANDAH, MARIGOLD HOTEL - NIGHT 73

          Graham and Evelyn emerge through the arch heading for their
          rooms.
          Graham starts down the stairs.

                         EVELYN
          Goodnight.

                         GRAHAM
          Goodnight to you.
          He seems about to say something else. She waits for a
          moment, then walks on.

                         GRAHAM (CONT'D)
          Mrs Greenslade?

                         EVELYN
          Evelyn.

                         GRAHAM
          Can I show you something?

          74 INT. GRAHAM'S ROOM - NIGHT 74

          Moments later. Evelyn is sitting in front of Graham's
          collage.

                         GRAHAM
          I grew up here. Just a short
          drive away. It was a big house,
          and we had servants, everyone
          did. We knew their wives, their
          children. One boy, Manoj, became
          my friend. We played a lot of
          cricket together, played anything
          we could. And that's how it
          stayed for years. Until one
          night, he became something more.

                         (BEAT)
          We had a few months, we had that.
          There was a weekend in Udaipur,
          we sat by a lake and watched the
          sun go down, and I remember
          thinking . I will never be this
          happy again. And I was right.
          Because quite suddenly it was
          over. We'd fallen asleep, and
          they found us.

                         (MORE)

                         

                         

                         

                         
           47.

                         GRAHAM (CONT'D)

                         (BEAT)
          For me it was bad enough. But I
          already knew who I was, and I
          think my family had guessed. For
          Manoj, the disgrace was absolute;
          a double taboo. His father was
          fired, they were sent away, all
          of them. I don't know what I
          could've done, but it should've
          been more than nothing. I put up
          no fight. I let it happen.

                         (BEAT)
          Soon afterwards I went to
          England, to University. I always
          told myself I'd come back. But I
          never did.

                         EVELYN
          Until now.

                         GRAHAM
          And now I think .. what if I am
          the last person on earth he wants
          to see?
          Evelyn says nothing.

                         GRAHAM (CONT'D)
          I don't think I can go through
          with it.

                         EVELYN
          Do you want to see him again?

                         GRAHAM
          Yes. Yes. Oh yes.

                         EVELYN
          Then you must.

          75 EXT. TEMPLE/STREET. MARIGOLD HOTEL - DAY 75

          As the bell tolls, the faithful arrive at the temple for
          morning prayers.

          75A EXT. UPPER VERANDAH/SERVANTS COURTYARD - DAY 75A

          Evelyn stands outside her room, listening to the bells,
          sipping a cup of tea, pensive. She looks down into a
          dilapidated part of the building, where the staff are
          housed. Women in bright saris go about their business.

          76 INT/EXT. MURIEL'S ROOM/VERANDAH, MARIGOLD HOTEL - DAY 76

          From her wheelchair, Muriel is re-making her bed. She
          tucks in a perfect hospital corner.

                         

                         

                         

                         
           48.
          She looks up. Anokhi is on the verandah, replacing her
          untouched supper tray with breakfast. Anokhi is about to
          leave, but stops.
          Then she goes to fetch Muriel's jar of pickle from the
          windowsill, and places it on the table.
          Muriel watches, then wheels herself outside, looks at the
          tray.
          From outside, Sonny's voicecan be heard.

          SONNY (O.S.)
          And so now that we are fully
          operational, Mr Maruthi, it is
          clear that with a small injection
          of funds for the Phase Two
          Development ...

          77 EXT. GARDEN/COURTYARD. MARIGOLD HOTEL - DAY 77

          Brimming with confidence, Sonny is walking a wealthy
          investor, MR MARUTHI, around the grounds. Some builders
          are dismantling scaffolding.

                         SONNY
          .. the Best Exotic Marigold
          Hotel can rise like a phoenix to
          its previous state of glory. And
          when I say small injection, I
          mean small in the sense of medium-
          sized. Possibly larger.

                         MR MARUTHI
          This hotel was never glorious.

                         SONNY
          Just the phoenix part then.

                         MR MARUTHI
          How many rooms will there be?

                         SONNY
          Many.

                         MR MARUTHI
          How many?

                         SONNY
          A great amount. Plenty of rooms,
          no question.
          They've arrived in the courtyard.

                         SONNY (CONT'D)
          I am not a details man, Mr
          Maruthi.

                         

                         

                         

                         
           49.

                         MR MARUTHI
          Nor was your father.
          They see Muriel on her verandah.

                         SONNY
          Mr Maruthi, I present to you one
          of our beloved guests. Dear Mrs
          Donnelly, please describe in as
          much detail as you desire your
          experience of the ambience and
          atmosphere of the Best Exotic
          Marigold Hotel.

                         MURIEL
          Kill me. Kill me now.
          Sonny steers Mr Maruthi towards the reception, speaks
          quietly.

                         SONNY
          The wheel is spinning. But the
          hamster is dead.
          He stops, as he sees an elegant older woman standing in the
          doorway. This is the redoubtable MRS KAPOOR.

                         SONNY (CONT'D)
          Mummyji! What are you doing
          here?

                         MRS KAPOOR
          You called. I came.

                         SONNY
          I couldn't have called. The
          phones don't work.

                         MRS KAPOOR
          That's why I came.

          78 INT. SONNY'S OFFICE. MARIGOLD HOTEL - DAY 78

          Moments later. Sonny closes the door behind him.
          His mother starts going through the contents of his desk.

                         MRS KAPOOR
          Who was that man out there?

                         SONNY
          The contents of this desk are
          mine. Don't open the drawers. I
          must insist you don't open the
          drawer.
          Mrs Kapoor opens the drawer.

                         

                         

                         

                         
           50.

                         SONNY (CONT'D)
          Tell me why you have come.

                         MRS KAPOOR
          Do I need a reason to visit my
          favourite son?

                         SONNY
          No. He is in his mansion in
          Delhi.

                         MRS KAPOOR
          My second favourite.

                         SONNY
          He went to Kerala to make his
          fortune.

                         MRS KAPOOR
          But make it, he did.

                         SONNY
          As I will make mine. I have a
          dream, Mummyji. A most brilliant
          one: to out-source old age. And
          not just for the British. There
          are many other countries where
          they don't like old people too.

                         MRS KAPOOR
          Your brothers own a third of the
          hotel each, they are entitled to
          a third of the profits.

                         SONNY
          Success does not happen
          overnight, Mummyji. This is blue
          sky thinking, and it requires
          long-term strategy and patience.

                         MRS KAPOOR
          How is your girlfriend?

                         SONNY
          I look forward to you meeting
          her.

                         MRS KAPOOR
          And I look forward to you meeting
          the woman you will marry. She is
          from a good family in Delhi.

                         SONNY
          I can marry as I choose, Mummyji.
          I need no permission.

                         MRS KAPOOR
          I presume it is your girlfriend
          who teaches you such nonsense.
          One reason not to marry her.

                         

                         

                         

                         
           51.

                         SONNY
          What if I love her?

                         MRS KAPOOR
          An even better reason. Now send
          Young Wasim to the car for my
          luggage.

                         SONNY
          He cannot carry, he has a dicky
          back ... wait, your luggage? How
          long are you staying?

                         MRS KAPOOR
          As long as it takes.

          79 INT. BATHROOM. DOUGLAS AND JEAN'S. MARIGOLD HOTEL - 79


                         DAY
          Jean is looking out of her bathroom window, down into the
          courtyard.
          She sees Graham come out of his room. She turns back to
          the mirror, looks at herself.

          80 EXT. MURIEL'S TERRACE. MARIGOLD HOTEL - DAY 80

          Near to Muriel, Anokhi is sweeping the floor.

                         MURIEL
          You won't get the dirt out like
          that.
          Anokhi just smiles at her radiantly.

                         MURIEL (CONT'D)
          I worked in service for years,
          looked after a lovely house. I
          kept it spotless. You need a bit
          more pressure on that brush.
          Graham walks past, on his way out.

                         GRAHAM
          She won't speak English. She's
          what used to be called an
          Untouchable. An outcast, born
          below society. To a good Hindu,
          even her shadow is polluted.
          He greets Anokhi in Hindi, and heads for the door.

                         MURIEL
          Where d'you go every day? Is it
          a woman? Nip round there for a
          curry and a bit of afters?

                         

                         

                         

                         
           52.

                         GRAHAM
          I don't think so. I'm gay.
          Although nowadays more in theory
          than practice. Good day.
          He leaves. A moment later, Jean comes rushing out.
          Immediately she realises two things; first, that Graham has
          already gone. And second, that Muriel is watching her.

                         JEAN
          Good morning.
          Muriel says nothing.

                         JEAN (CONT'D)
          Lovely day.
          Still nothing from Muriel.

                         JEAN (CONT'D)
          Lovely.

                         (BEAT)
          Lovely.
          She turns and goes back in.
          Muriel thinks for a while, then turns to Anokhi.

                         MURIEL
          Long old life, isn't it?

          81 EXT. VICEROY CLUB - DAY 81

          A classic colonial building, straight out of the English
          Raj.
          Madge is being shown around by an elderly secretary, MR

          DHARUNA.

                         MR DRARUNA
          The Viceroy Club was opened by
          the great Lord Kitchener himself,
          and many of the fixtures have
          remained unchanged since then.

                         MADGE
          Yes, I see that. Perhaps you
          could tell me a little about the
          clientele? Any maharajahs?
          Wealthy widowed land-owners?

                         MR DHARUNA
          It is not the policy of this club
          to divulge details of our
          members.
          They go past a very handsome older Indian man. Who
          radiates wealth and privilege.

                         

                         

                         

                         
           53.
          MR DHARUNA (cont'd)
          Good morning, Your Excellency.

                         MADGE
          Where do I sign up?

                         MR DHARUNA
          The admission fee is 120,000
          rupees, and thereafter 15,000
          rupees each month.

                         MADGE
          I wonder if I might get a little
          discount. Owing to my status.

                         MR DHARUNA
          Your status, madam?

                         MADGE
          Yes. One was rather hoping to
          fly under the radar, but one is a
          member of the Royal Family.

                         MR DHARUNA
          Which member, madam?

                         MADGE
          I'm Princess Margaret.

                         MR DHARUNA

                         (BOWING SLIGHTLY)
          It is most surely an honour to
          meet you. And may I say how well
          you look. Especially taking into
          account that you died nine years
          ago.

                         (BEAT)
          Your real name please, madam.
          And 120,000 rupees.

          82 INT. PUBLIC RECORDS OFFICE - DAY 82

          Graham comes into the chaotic office.
          The bookish official, MR CHIDAMBRAM, is behind the desk.

                         GRAHAM
          Good morning.

                         MR CHIDAMBRAM
          Good morning, Sir. Did I not say
          that we will contact you when
          there is information regarding
          your inquiry?

                         GRAHAM
          Yes, you did say that. You did.

                         

                         

                         

                         
           54.

                         MR CHIDAMBRAM
          While it is most pleasant to see
          you, your presence does not
          actually accelerate our
          investigation.

                         GRAHAM
          I'll try not to come in tomorrow.

                         MR CHIDAMBRAM
          I expect I will see you then.

          83 INT. CALL CENTRE - DAY 83

          None of the operators are on the phone. Instead they are
          sitting in a semi-circle, looking curiously at Evelyn. Who
          is sitting next to Jay, a little daunted by the attention.

                         EVELYN
          .You ring in the morning.
          Let's assume the person answering
          will be a woman. She will have
          had her breakfast. Tea or
          coffee. Semi-skimmed milk,
          always. If she's under 50 she'll
          be contemplating yet another
          diet, over 50 she'll have more or
          less given up, and be eating
          toast. The radio may be playing,
          or more likely daytime TV. A
          chat show, or a programme with a
          moderator speaking to a panel of
          young women whose boyfriends have
          all slept with their mothers.
          The girlfriends' mothers, I mean,
          not their own. Although
          Anyway, then the boyfriends
          usually come out, and everybody
          fights.
          Sunaina is in the audience. She calls out.

                         SUNAINA
          I'm not surprised people hang up
          on us.
          Laughter.

                         EVELYN
          That's the point. When the phone
          rings and it's this robot
          nobody wants a machine, but it's
          almost worse when it's a person
          behaving like one. All these
          sales cliches just strung
          together. 'Your call is
          important to us'. Is it? Well
          then sound like it.

                         

                         

                         

                         
           55.

                         SUNAINA
          'Your custom is valuable'.

                         EVELYN
          Right. That one. Don't ever say
          that.

                         SUNAINA
          'Service is our middle name'.

                         EVELYN
          Yes, when your middle name is

                         ACTUALLY

                         SUNAINA
          Shantanu.

                         EVELYN
          Which is beautiful. You people
          are young, vibrant, real. I'm
          sure the typical housewife would
          enjoy talking to each and every
          one of you.

                         SUNAINA
          Her morning sounds like fun.
          What are you doing here?
          Beat.

                         EVELYN
          I suppose I'm not typical
          anymore.

                         (TO JAY)
          Is that the sort of thing?

          84 INT. MADGE'S ROOM - EVENING 84

          Madge is at her mirror, doing her make-up with great care.
          She looks beautiful.

          85 EXT. VICEROY CLUB BAR - EVENING 85

          Madge walks up the gravel path towards the magnificent
          building. She's superbly dressed, looks great. She goes
          up to the BARMAN.

                         MADGE
          Excuse me. Would there be any
          wealthy single men in tonight?

                         BARMAN
          There is one.
          Madge puts some money into his breast pocket.

                         

                         

                         

                         
           56.

                         MADGE
          Perhaps you could seat me next to
          him?

                         BARMAN
          This way, madam.
          He leads her along across the terrace. Madge follows,
          checking her hair, her breath, etc.
          The barman reaches an ornate suite of furniture. There's
          someone sitting there, his back to us, an elegant arm
          draped over the side of the chair.

                         BARMAN (CONT'D)
          His Royal Highness Prince Michael
          of Kent.
          The man rises from his chair and turns. And Madge is left
          staring at Norman.
          There's a pause. Then Madge reaches into the barman's
          breast pocket, and removes her money.

                         MADGE
          I'll have that back, thank you
          very much.

          86 EXT. MARIGOLD HOTEL - EVENING 86

          Graham comes through the courtyard, heads for his room.
          Muriel is on her verandah.

                         GRAHAM
          Good evening.
          Muriel nods at him, and he goes on into his room.
          A moment later, Jean sits down next to Muriel.

                         JEAN
          You know where he goes. I know
          you know. But you won't tell me.
          Muriel says nothing.

                         JEAN (CONT'D)
          I can get Hobnobs out here, you
          know. I know a way.

                         (BEAT)
          As many as you want. Milk or
          plain.
          Long pause.

                         MURIEL
          Public Records Office.

                         

                         

                         

                         
           57.

                         JEAN
          Thank you.

          87 EXT. WELL - EVENING 87

          A huge construction, centuries old, with a series of steps
          reaching down deep into the earth, so people can climb down
          to get their water.
          Young couples sit on the steps in the evening heat, boys
          leap into the water.
          Sonny and Sunaina are watching the swimmers.

                         SONNY
          My father used to bring me to
          this well to swim. He said the
          water was better, and so were the
          people we would meet.

                         (BEAT)
          He would have liked you so much.
          Sunaina smiles at this.

                         SONNY (CONT'D)
          My mother doesn't want us to be
          married.

                         SUNAINA
          She hasn't met me yet.

                         SONNY
          She doesn't need to meet you
          Sunaina absorbs this.

                         SONNY (CONT'D)
          She knows you are not from Delhi.
          That you have no family money,
          and work in a call centre. You
          are a part of a new India she
          cannot welcome.

                         SUNAINA
          Isn't this where you tell her
          what you want?

                         SONNY
          That conversation will be easier
          when the hotel is a success.

                         SUNANINA
          Do you love me?

                         

                         

                         

                         
           58.

                         SONNY
          I have found a new investor. I
          am most optimistic that he will
          enable us to move forward with
          Phase Two of the Marigold Hotel

                         PROJECT

                         SUNANINA
          Shouldn't you finish Phase One
          first?

                         SONNY
          In business, if you stand still,
          you move backwards. No, I have
          that wrong. If you stand still,
          you are overtaken by people going
          the other way. Wait -

                         SUNAINA
          You didn't answer the question.
          Do you love me?

                         SONNY
          My feelings for you cannot be
          reduced to a single word.

                         SUNAINA
          It's a nice word, Sonny. And
          people like hearing it.

                         SONNY
          Sunaina, please. My mother is
          wrong. It is you who are too good
          for me.

                         SUNANINA
          You say that a lot. You
          shouldn't I'll start to believe
          you.
          They watch the boys in the water.

          88 INT. VICEROY CLUB BAR - NIGHT 88

          Madge and Norman are sitting together. Norman is looking
          across at the bar, where an attractive older ex-pat lady is
          sitting, thus far resisting Norman's attempts to catch her
          eye.

                         NORMAN
          I still think you're cramping my
          style.

                         MADGE
          Please. You have no style to
          cramp.

                         

                         

                         

                         
           58A.

                         NORMAN
          That lady at the bar keeps
          looking at me.

                         MADGE
          As one would something in a
          museum.

                         NORMAN
          Why must you mock? I just want
          to feel young again, to be needed
          as much as I need, if only for
          one night, one wonderful night.
          Tell me you don't know how that
          feels.

                         

                         

                         

                         
           59.
          Silence for a bit.

                         MADGE
          Give me a minute. Then join us.
          She gets up, heads towards the bar. Where she sits a
          couple of seats away from the woman. Who is called CAROL.
          She sits there a moment, then sighs, and starts to talk to
          the barman.

                         MADGE (CONT'D)
          Rejected again. Many years ago,
          that man over there gave me the
          most extraordinary night of my
          life. He may seem coarse and
          uncouth, but that only disguises
          a tenderness and an exquisite
          sensitivity to a woman's needs
          Norman arrives at the bar.

                         NORMAN
          Those drinks not ready yet?
          Madge turns to Carol.

                         MADGE
          They say patience is passion
          tamed.
          Carol smiles.

                         MADGE (CONT'D)
          I'm Madge.

                         CAROL
          Carol.

                         MADGE
          And this . is Norman.

                         CAROL
          How do you do?

                         NORMAN
          Carol? As in Christmas?
          Madge winces.

                         CAROL
          I suppose.

                         NORMAN
          Great.
          Silence.

                         

                         

                         

                         
           60.

                         MADGE
          So what brings you to Jaipur,
          Carol?

                         NORMAN
          Yes, Carol. What brings you to
          Jaipur?

                         CAROL
          I run a small boutique travel
          agency. But I've actually lived
          here all my life. My father
          worked in the Foreign Office.
          Another silence.

                         NORMAN
          You're very fit.

                         CAROL
          I beg your pardon?

                         MADGE
          Oh god.

                         NORMAN
          I mean you look like you keep
          yourself in shape. Physically.

                         CAROL
          Well, I did join a gym last year.
          It cost a fortune, and I didn't
          get any fitter. Apparently you
          have to actually go.
          Madge laughs. Norman doesn't. Then realizes that it was a
          joke, lets out a too-loud bray of laughter.

                         CAROL (CONT'D)
          And so what do you do, Norman?

                         NORMAN
          Me?

                         CAROL
          Yes.

                         NORMAN
          Oh. I'm

                         MADGE
          Norman's in business.

                         CAROL
          Really?

                         NORMAN
          Yes.

                         

                         

                         

                         
           61.

                         CAROL
          What business?

                         NORMAN

                         (TO MADGE)
          You tell her.

                         MADGE
          Import-Export.

                         NORMAN
          Although these days there's
          rather more Ex- than Im-, if you
          see what I mean.

                         CAROL
          I'm afraid I don't.
          Madge gets up.

                         MADGE
          I have to splash some water on my
          face. Please God I drown in it.
          She heads for the bathroom.
          Norman and Carol share another silence.

                         CAROL
          Well look, it's been lovely
          chatting.

                         NORMAN
          No it hasn't.

                         CAROL
          No. It hasn't. But I really

                         MUST -

                         NORMAN
          Carol?
          She was about to go, stops.

                         NORMAN (CONT'D)
          Can we drop all this pretence?
          And start again? I'm not
          charming. I'm not good at
          repartee. And I'm not a
          plutocrat with the sexual
          capacity of a rutting rhino. My
          name is Norman. And I'm lonely.

                         CAROL
          My name is Carol. So am I.

          89 INT. VICEROY CLUB BAR - NIGHT 89

          Minutes later. Madge comes out of the bathroom.

                         

                         

                         

                         
           62.

          EVELYN (V.0.)
          Day 22. Like Darwin's finches,
          we are slowly adapting to our
          environment. And when one does
          adapt, my god, the riches that
          are available.
          Madge looks across the bar. And is startled to see Norman
          and Carol chatting up a storm, laughing together.
          As she watches, Norman orders more drinks, then turns
          smiling back to his new friend.
          Madge walks slowly out of the bar, and into the night.

          90 INT. EVELYN'S ROOM. MARIGOLD HOTEL - MORNING 90

          Evelyn is at her computer, typing.

          EVELYN (V.0.)
          There is no past that we can
          bring back by longing for it

          91 EXT. PATH/GARDEN. MARIGOLD HOTEL - DAY 91

          Ajit is pushing Muriel down to the gate for her morning
          constitutional.

                         EVELYN
          . only a present that builds
          and creates itself as the past
          withdraws ...

          92 INT. SUPERVISOR'S OFFICE. CALL CENTRE - DAY 92

          Jay is counting out cash into Evelyn's hand; her first
          paycheck.

                         EVELYN
          And India, like so many things in
          life, like life itself I suppose,
          is about what you bring to it.

          93 EXT. JAIPUR STREET - DAY 93

          Ajit is pushing Muriel through a poor neighborhood. Muriel
          is looking left and right, astounded by the life she sees.

                         MURIEL
          Where's this? Where are we?

                         AJIT
          Janta Colony Kachi Basti.

                         MURIEL
          What happened to my usual route?

                         

                         

                         

                         
           63.

                         AJIT
          Anokhi has invited you to her
          home.

                         MURIEL
          You didn't tell me.

                         AJIT
          You'd have said no.

          94 INT. DOUGLAS AND JEAN'S ROOM. MARIGOLD HOTEL - DAY 94

          Jean is sitting, reading a book.

                         JEAN
          Will you check in at the bank?
          Douglas emerges from the bathroom.

                         DOUGLAS
          I checked yesterday. And the day
          before. As requested.

                         (BEAT)
          Will you be staying in again?

                         JEAN
          Why do you ask that every
          morning?

                         DOUGLAS
          Because I hope for a different
          answer. Because I think you'll
          be hurt if I don't. And because
          it's not healthy for you to spend
          all day and every day in the
          confines of the hotel.
          He goes back into the bathroom. Jean changes the subject.

                         JEAN
          I didn't sleep a wink. The tap
          in there never stops dripping.

          DOUGLAS (O.S.)
          I talked to Young Wasim about it.

                         JEAN
          What did he say?

          DOUGLAS (O.S.)
          No idea. It was in Hindi.
          Douglas comes out of the bathroom, holding the tap.

                         DOUGLAS (CONT'D)
          I thought I might get it fixed
          myself.

                         

                         

                         

                         
           63A.

                         

                         

                         

                         
           64.

                         DOUGLAS
          No time like the present.
          Actually I say that, but I
          enjoyed yesterday, and I'm
          optimistic about tomorrow too.

                         JEAN
          I wish I could say the same.

                         DOUGLAS
          So do I.
          He goes.
          Jean sits for a while, looking utterly disconsolate and
          lost. Then she gets up, goes over to the balcony.
          Down below she can see Graham leaving.

          95 EXT. LOWER COURTYARD - DAY 95

          Madge is sitting on a chair. Norman arrives.

                         NORMAN
          Your Madgesty.

                         MADGE
          I gather the night went well.

                         NORMAN
          Would you like to hear about it?

                         MADGE
          Not in the least.

                         NORMAN
          Good. Because you're going to.
          Two drinks, some sexually charged

                         BANTER -
          Douglas comes out, carrying a tap. And heads out of the
          archway.

                         DOUGLAS
          Morning. Lovely day.

                         MADGE
          Good morning.
          They watch him leave.

                         NORMAN
          Two drinks, some sexually charged
          banter, and we were heading back
          to her place. Bidding the
          rickshaw farewell, I walked her
          to the door.

                         (MORE)

                         

                         

                         

                         
           65.

                         NORMAN (CONT'D)
          And there, my young friend, I
          leaned forward, and I kissed her.
          Beat.

                         MADGE
          And?

                         NORMAN
          And what?

                         MADGE
          Is that all? You didn't seal the
          deal?

                         NORMAN
          We have a date next week.

                         MADGE
          What is wrong with you?

                         NORMAN
          I wanted to prolong the
          anticipation. To spend some time
          with the knowledge that soon I'm
          going to eat, drink, and laugh
          with someone, hold her to me,
          kiss her softly. Then go back to
          her place and get my end away.

          96 EXT. MARKET - DAY 96

          The market is buzzing with commerce. Evelyn is at a stall
          selling fabrics, talking to the vendor, AKRAM.

                         EVELYN
          (holding up a pashmina)
          Bow much for this, please Kitna

                         PAISE

                         AKRAM
          One thousand rupees Ek hazaar

                         RUPIA

                         EVELYN
          Thank you.
          She reaches for her wallet. Then Douglas speaks from
          behind her.

                         DOUGLAS
          No no, forgive me. That's not
          how it works.

                         

                         

                         

                         
           65A.
          Evelyn turns, happy to see him.

                         

                         

                         

                         
           66.

                         EVELYN
          Good morning.

                         DOUGLAS
          And to you. Sorry to butt in,
          but you don't ask him how much he
          wants, you just tell him how much
          you'll pay.

                         (TO AKRAM)
          She'll give you two hundred.
          Absolutely no more, final offer.

                         AKRAM
          One thousand rupees.

                         DOUGLAS
          Pity.

                         (TO EVELYN)
          Now walk away. Walk away.

                         EVELYN

                         BUT -

                         DOUGLAS
          I know what I'm doing.
          Evelyn complies, and they turn and walk away.

                         EVELYN
          Yes. The thing is, you see, I
          did actually want to buy that.
          To brighten up my room.

                         DOUGLAS
          He'll come after us.

                         EVELYN
          Do you think so?

                         DOUGLAS
          Absolutely. This is how the game
          is played. Just keep on walking.
          They push through the crowds.

                         DOUGLAS (CONT'D)
          He's playing it cool, but he'll
          come.
          They keep walking.

                         DOUGLAS (CONT'D)
          He's playing it very cool.
          They keep walking. Then Douglas stops. Evelyn looks at
          him.

                         

                         

                         

                         
           67.

                         DOUGLAS (CONT'D)
          He's not coming.

                         CUT TO:
          Moments later. They're back at Akram's stall. Evelyn
          counts out the money.

                         EVELYN
          Eight hundred and fifty, nine
          hundred, nine hundred and fifty,
          one thousand.
          She turns to Douglas, smiles.

                         EVELYN (CONT'D)
          You'll get him next time.
          Then she notices something.

                         EVELYN (CONT'D)
          Why are you carrying a tap?

          97 INT. MARIGOLD HOTEL, DOUGLAS AND JEAN'S ROOM - DAY 97

          Jean gives up on the sentence she has already read a
          hundred times, and snaps her book shut. She stands, then
          sits again.
          Then stands.

          98 EXT. SWEEPER COLONY - DAY 98

          Ajit is now pushing Muriel through a poverty-stricken slum.
          The people live on the streets, or in collapsing tin
          shacks. Everywhere there is struggle and deprivation.
          And yet the pervasive atmosphere is nowhere near as
          depressing as we would expect. The colours are bright, the
          smiles on the children's faces even brighter.
          Not that Muriel can recognise the joy, of course. She's
          horrified by her surroundings. And acutely aware of the
          stares of the slum-dwellers.

          98A EXT. ANOKHI'S HUT - DAY 98A

          A primitive brick and cement hut, one of the few amongst
          dwellings made mostly from sticks and plastic bags.
          A bunch of young kids are fascinated by Muriel's
          wheelchair, pushing it around and taking turns to sit on
          it.

                         

                         

                         

                         
            68.

          99 INT. ANOKHI'S HUT - DAY 99

          Muriel sits on the only chair.
          Opposite - squashed together as if posing for a photograph -
          are all the generations of Anokhi's family: Anokhi herself,
          her husband, mother, grandmother, and several children.
          They all smile at Muriel.
          A long pause. Then Muriel turns to Ajit.

                         MURIEL
          How soon can I leave?

          100 INT/EXT. HARDWARE SHOP - DAY 100

          Douglas is talking to JAMSHED, who works behind the
          counter. Evelyn sits outside.

                         DOUGLAS
          You see what I think, and of
          course I'm no expert, is that the
          valve seat has eroded, so we'll
          need the washer changed and a new
          seat re-ground.
          Douglas glances back at Evelyn. Who betrays not the
          slightest scepticism.
          Jamshed studies the tap.

                         JAMSHED
          The gland nut has come away from
          the spindle.

                         DOUGLAS
          Well of course, it could be that
          too. Can you fix it?

                         JAMSHED
          Not cheaply. Not cheaply. Most
          expensively indeed.
          Jamshed takes the tap to a workstation at the back, starts
          to fiddle with it. Douglas joins Evelyn.

                         DOUGLAS
          I was in a tuk-tuk the other day,
          didn't seem to be taking the
          usual route back to the hotel.
          It turned out that the driver had
          decided to take me to another
          hotel, that he was sure I would
          prefer. And of course one wants
          to believe that he genuinely had
          my welfare at heart, and that it
          wasn't run bg his brother-in-law.

                         (MORE)

                         

                         

                         

                         
           69.

                         DOUGLAS (CONT'D)
          One wants to trust, in general,
          don't you think? But you never
          really know, do you?
          Jamshed stops fiddling with the tap. And takes a hammer to
          it.

                         EVELYN
          The day I met my husband was the
          day the fair came to town. My
          girlfriend and I went on the
          carousel. Her horse was fine.
          But when the ride began I felt
          mine give a little, like it might
          collapse. Then these strong arms
          were around me, holding the horse
          together. And a voice in my ear
          said "Just trust me". And I did.
          Without question. Until the day
          he died.

                         DOUGLAS
          How wonderful.

                         EVELYN
          The sale of our flat went through
          last week. I had to sell it to
          pay off Hugh's debts.

                         (BEAT)
          I've been forced to get a job out
          here. Which, in fact, I love.
          But even at Sonny's rates, I
          still couldn't make ends meet.
          After what my own husband did to
          our life savings.

                         (BEAT)
          So no. You're right. You never
          know.
          Jamshed holds up the tap. Which is now in several parts.

                         JAMSHED
          No good. You must be buying
          another.

          101 EXT. PATHWAY/GATE/STREET, MARIGOLD HOTEL - DAY 101

          Jean walks down the path to the gate.
          She stops, looks fearfully at the chaotic sea of humanity
          outside. She's unable to move.
          Finally, she steps out. And is of course immediately
          assaulted by the assorted kids, beggars, street vendors,
          etc.
          As anxiety begins to engulf her, she quickens her pace,
          brushing through them as best she can, until she is almost
          running.

                         

                         

                         

                         
            70.

          102 INT. ANOKHI'S HUT - DAY 102

          Muriel is still at the tea party.
          Anokhi speaks. Ajit translates.

                         AJIT
          She wants to thank you for your
          kindness.

                         MURIEL
          I haven't been kind.

                         AJIT
          You're the only one that
          acknowledges her.
          Anokhi brings out a plate of food.

                         ANOKHI
          Tarkha dhal. Chapati.

                         MURIEL
          I'm not eating that.

                         AJIT
          You will insult her very deeply
          if you do not.
          Muriel looks up. They're all still watching, waiting
          smiling.
          She looks at Anokhi's grandmother, as dignified as she is
          old.
          Muriel reaches out, takes something off the tray. And has
          a bite. It's not too bad.

                         MURIEL
          I'd still rather a Scotch Egg.
          Then she sees something through the open doorway: the
          children have turned her wheelchair on its side and are
          spinning the wheels.
          She's on her feet in a flash.

                         MURIEL (CONT'D)
          Get off! Get off it, you dirty
          thieving bastards!
          Several terrified faces turn.
          One little girl starts to cry.
          Everyone is staring at Muriel.

                         MURIEL (CONT'D)
          I didn't see. They were playing.
          I'm sorry. I'm sorry

                         

                         

                         

                         
            71.

          103 EXT. STREET. JAIPUR - DAY 103

           Jean is now in a tuk-tuk, lurching and weaving through the
           traffic, a handkerchief clasped firmly over her mouth,
           panic in her eyes.

          104 INT. STAIRCASE/CORRIDORS/OFFICE. PUBLIC RECORDS OFFICE.104


          JAIPUR - DAY
          The corridors are full of people patiently waiting their
          turn to grapple with a vast bureaucracy.
          Reaching the top of the staircase, Jean takes it all in.
          She walks down another corridor. Then stops.
          Through a doorway, she sees Graham at the desk, talking to
          Mr Chidambram.

                         CUT TO:
          In the office.

                         GRAHAM
          But I've filled out that form.
          I've given it to you. Many
          times.

                         MR CHIDAMBRAM
          There is a process. You are
          making an enquiry. For each
          enquiry a form must be filled in.

                         GRAHAM
          But it's the same enquiry I make
          every day.

                         MR CHIDAMBRAM
          And therefore the same form you
          must fill in.
          Graham glances towards the doorway, catches sight of Jean.
          Their eyes lock, then Jean pulls back out of sight,
          panicked.

          104A INT.CORRIDOR, PUBLIC RECORDS OFFICE. JAIPUR - DAY 10414A

           Jean is hurrying down a corridor. Behind her, Graham
           emerges from a doorway, and calls to her

                          GRAHAM
           Mrs Ainslie... .?

                         105 OMITTED 105

                         

                         

                         

                         
           72.

          106 INT. TEA ROOM. JAIPUR - DAY 106

          Later. Jean and Graham are sitting in an elegant tea room.
          Jean is still very shaken.

                         JEAN
          I don't know how you can bear
          this country. What do you see
          that I don't?

                         GRAHAM
          Unutterable beauty. Everywhere.
          In the light, the colours, the
          smiles, the people who see life
          as a privilege not a right, and
          so teach me something every day.
          The waiter brings their tea.

                         JEAN
          Is this milk pasteurized?

                         WAITER
          Yes madam.

                         JEAN
          But that's not true, is it?
          You're just lying to me right now

                         GRAHAM
          It'll be fine.
          The waiter goes.

                         GRAHAM (CONT'D)
          It's a pleasant surprise to see
          you out and about.

                         JEAN
          Is it?
          She looks at him.

                         GRAHAM
          Yes. That's progress. Where
          were you going?

                         

                         

                         

                         
           73.

                         JEAN
          To the bank. I . was going to
          the bank. Not that there's any
          reason to think something has
          changed. But our daughter, you
          see, she did promise, and one
          does try to remain optimistic.
          One has to. Otherwise

                         OTHERWISE
          Graham worries she might be about to break down. He
          reaches across the table, puts his hand on hers.
          She leans forward, puts her other hand over his, holds on
          tightly.
          Graham is startled. He tries gently to pull back, but she
          holds on.

                         GRAHAM

                         JEAN -

                         JEAN
          Oh god. Is it possible you feel
          the same?
          She brings his hand to her mouth, kisses it.

                         JEAN (CONT'D)
          The way you talk to me. Your
          compassion, your understanding
          .. the wonderful, tender
          consideration, it had to be more
          than just -

                         GRAHAM
          I'm gay.
          She stares at him. Beat.

                         JEAN
          As in ... happy?
          Graham says nothing. Jean lets go of his hand.

                         JEAN (CONT'D)
          Yes. I see. Of course I see.
          The ghastly inappropriateness of it all settles on them
          both.

                         JEAN (CONT'D)
          I appear to have humiliated
          myself. And embarrassed you.

                         GRAHAM
          I'm not embarrassed.
          Jean smiles wanly, grateful for his lie.

                         

                         

                         

                         
           74.

                         JEAN
          Like I said. This country is
          driving me mad.

                         (BEAT)
          Shall we go?

          107 EXT/INT. DOUGLAS AND JEAN'S ROOM. MARIGOLD HOTEL - DAY107

           Evelyn is outside in the courtyard. We don't see Douglas.

                         EVELYN
          Anything?

          DOUGLAS (O.S.)
          Not yet.
          Evelyn waits a moment.

                         EVELYN
          How about now?

          DOUGLAS (O.S.)
          One second.
          Another pause.
          DOUGLAS (O.S.) (cont'd)
          Oh good lord.

                         EVELYN
          What?

          DOUGLAS (O.S.)
          Listen.
          The sound of a flowing tap.
          DOUGLAS (O.S.) (cont'd)
          And now ...
          The tap stops.
          DOUGLAS (O.S.) (cont'd)
          No drip.
          He appears in the doorway, triumphant.

                         DOUGLAS (CONT'D)
          No drip!
          He walks towards her, hand in the air.

                         DOUGLAS (CONT'D)
          Hi-five !
          Evelyn just looks at him. She's never hi-fived anyone in
          her life.
          After a moment Douglas puts his hand down.

                         

                         

                         

                         
           75.

                         DOUGLAS (CONT'D)
          I've never done that before. It
          just seemed appropriate.
          Jean has appeared at the other side of the courtyard.
          Douglas senses her mood, moves towards her.

                         DOUGLAS (CONT'D)
          Darling!

                         EVELYN
          Mrs Ainslie, how are you? Did
          you have a good day?
          Jean doesn't answer. She's staring at Douglas. Who looks
          so happy.

                         DOUGLAS
          Let me tell you about ours. Your
          husband of many a year, who has
          never even known which end of a
          hammer to use, has actually
          managed to -

                         JEAN

                         (SUDDENLY INTERRUPTING)
          We have to get out of here.

                         DOUGLAS
          What did you say?

                         JEAN
          I can't stay in this country a
          moment longer.

                         DOUGLAS
          Why ...?

                         EVELYN
          Do excuse me.
          She makes a tactful exit. Jean is going past Douglas into
          their room.

                         DOUGLAS
          I don't understand

                         JEAN

                         (INTERRUPTING)
          Pick a reason. Pick ten. The
          climate, the squalor, the poverty
          She goes past him into their room.

                         

                         

                         

                         
            76.

          108 INT. DOUGLAS AND JEAN'S ROOM - CONTINUOUS 108


                         JEAN
          . we should never have come.
          This whole trip is a grotesque
          fantasy. It's time to go home.
          Jean starts to pack. Irrationally, compulsively.

                         DOUGLAS
          Who's paying for the tickets?

                         JEAN
          (not hearing him)
          Look at us. A group of self-
          deluding old fossils traipsing
          around as if it's our bloody gap
          year. Humiliating ourselves

                         DOUGLAS
          Not us, we can't pay. And I
          don't see you asking our friends

                         BACK HOME

                         JEAN

                         (OVERLAPPING)
          .. We should just face up to the
          truth. That we're all old, we're
          all past it. That's the real
          truth, the raw, unvarnished fact
          of the matter. All we're good
          for now is the beige bloody
          bungalow with the sodding panic
          button in the sodding corner ...
          She stops packing, and subsides onto the bed, crying
          quietly.
          Nobody speaks for a while.

                         DOUGLAS

                         (GENTLY)
          We just have to make the best of
          it, darling. I really think
          that's the best thing to do.

                         JEAN
          Yes, well. When I want your
          opinion, I'll give it to you.

          109 INT. MEEHAR CLINIC - MORNING 109

          An impossibly small roadside clinic.
          Norman is sitting there, the only man in three rows of
          brightly dressed women.
          DR RAMA comes out of the consulting area.

                         

                         

                         

                         
           77.

                         DR RAMA
          Mr John Smith.
          No response. The doctor looks at Norman, who has forgotten
          his own alias.
          DR RAMA (cont'd)
          Mr John Smith?
          Norman jumps up.

                         NORMAN
          That's right! Me!

          110 EXT/INT. MARKET/OPERATIONS ROOM. CALL CENTRE - DAY 110

          Sonny is at the flower market, sitting on his motor bike,
          waiting for the flower vendor to tie up his bundle of
          marigolds. He's on his phone.

                         SONNY
          Come on. Pick up pick up pick
          up.
          The phone is answered at the other end.

                         SONNY (CONT'D)

                         (INTO PHONE)
          Sunaina, I must see you. I must.
          If I cannot hold your body
          against mine, I swear I will go
          mad.
          We cut to the call centre. It's not Sunaina on the phone,
          but Jay, who is standing next to her.

                         SONNY'S VOICE

                         (ON PHONE)
          I yearn for you, I burn for you,

                         I -

                         JAY
          I think it's my sister you're
          burning for there, Sonny boy.

                         SONNY
          Thank you, Jay. Thank you.
          Jay hands the phone to Sunaina.

                         SUNAINA
          Hey.

                         SONNY
          Private line, Sunaina. Do those
          words mean nothing to you?

                         

                         

                         

                         
           78.

                         SUNAINA
          He took the phone. What could I
          do?

                         SONNY
          I miss you. I miss you every
          moment. Come and see me.
          Tonight.

                         SUNAINA
          I cannot tonight. It is my
          parents 25th wedding anniversary.
          Tell your mother that.

                         SONNY
          Come after. Come late

                         SUNANINA
          You'll be asleep.

                         SONNY
          I'll be waiting.

                         SUNANINA
          You'll be asleep. But i can wake
          you in that special way...

                         SONNY
          You will sneak in?

                         SUNAINA
          I'm not ashamed.

                         SONNY
          Neither am I. Absolutely not.
          There is no shame. You do not
          have to sneak.

                         (BEAT)
          All the same, if you did want to
          be very quiet, and not let anyone
          see you, it couldn't hurt.

          111 INT. CONSULTING ROOM - DAY 111

          Norman is talking to DR RAMA.

                         NORMAN
          I'm worried there's no lead in my
          pencil.

                         DR RAMA
          OK. I don't know what that
          means.

                         NORMAN
          No snap in my celery.

                         DR RAMA
          I'm still not quite with you.

                         

                         

                         

                         
           78A.

                         NORMAN
          I plan to party hearty tonight,
          but I can't guarantee that my
          love gun will fire.

                         DR RAMA
          Mr Smith -

                         NORMAN
          Will the lance dance, and the
          trouser lion roar?

                         DR RAMA
          What is your problem?

                         

                         

                         

                         
           79.

                         NORMAN
          I don't know if I can still have
          sex.

                         DR RAMA
          Ah.

                         NORMAN
          I'm not a young man anymore,
          doctor. And I'm a little bit
          scared. Truth be told, I'm a lot
          scared.

                         DR RAMA
          How long since you've been with a
          woman?

                         NORMAN
          What's today?

                         DR RAMA
          Monday.

                         NORMAN
          Six years.

                         DR RAMA
          I've got some pills that'll help.

          112 EXT. SERVANTS COURTYARD. MARIGOLD HOTEL - DAY 112

          The back of the hotel, where Sonny envisages his Phase Two
          development. Very dilapidated.
          Anokhi is cleaning pots. Young Wasim sits in the corner.
          Ajit has just wheeled Muriel into the courtyard.

                         MURIEL

                         (TO ANOKHI)
          I wanted to tell you something...
          Anokhi looks up.

                         MURIEL (CONT'D)

                         (TO AJIT)
          Tell her. Tell her I was glad to
          come, glad she invited me.
          Ajit translates.

                         MURIEL (CONT'D)
          Glad to meet her family. Her
          grandmother. Her kids.
          Ajit translates. Anokhi speaks.

                         

                         

                         

                         
           80.

                         AJIT
          She asks if you have children?

                         MURIEL
          I looked after somebody else's.
          Ajit translates.

                         MURIEL (CONT'D)
          This one family, years I was with
          them. I ran the house, looked
          after the money, did it all,
          cared for them like they were my
          own.
          Ajit starts to translate. But Muriel doesn't wait.

                         MURIEL (CONT'D)
          That's the mistake, see. You
          don't want to get like that, to
          start feeling part of something.
          One day they decided I needed
          some help. I was grateful, I
          tried to teach her. Not just the
          books, but how to crisp up the
          bacon like the gentleman
          preferred it, the way the little
          one liked to have her hair
          brushed. The things you only
          know if you care. But then they
          said I was no longer useful to
          them. Thanked me for my service.
          As if that's all it was.

                         (BEAT)
          I got a flat in the end. I'm the
          only one in the building not a
          foreigner. More Indians there
          than here! But before I came to
          this place, my biggest problem
          was what to do with all the time
          I had. Because that flat's so
          small, I can have the whole place
          spotless in half an hour. And
          then what am I supposed to do for
          the rest of the day?
          There's silence for a bit. Then Ajit speaks.

                         AJIT
          Did you want me translate that as
          well?
          Muriel smiles. It's the first time we've seen this.
          Muriel stops, thrusts something into Ajit's hand.

                         MURIEL
          Give her these.

                         

                         

                         

                         
           81.
          Ajit hands Anokhi what Muriel gave him: a packet of
          Chocolate Hobnobs.
          This time it's Muriel who cannot meet Anokhi's eye. Tries
          to hide her desire to leave. Ajit turns her chair and
          pushes her away.
          Over this, the sound of singing

          113 EXT. ROOFTOP. MARIGOLD HOTEL - EVENING 113

          Norman's on his rooftop, under the primitive spout of water
          that passes as his shower. Hanging from a nail in the wall,
          the battery radio is pumping out a bizarre Indian cover
          version of the Chic song "Le Freak".
          Norman is naked, and singing along lustily.

                         NORMAN
          Aaaaaah, freak out! Le freak,
          c'est chic .. Aaaah, freak out!
          Feet slapping in the soapy water, he performs a nifty disco
          move.

          114 INT. SONNY'S OFFICE. MARIGOLD HOTEL - EVENING 114

          Sonny is in his office, going through the accounts.
          There's a strange ringing somewhere nearby. He pays no
          attention, then stops and thinks for a moment. Then
          realises what it is.
          He sweeps the pile of papers off the desk, starts
          frantically looking for the telephone.

          115 EXT. UPPER COURTYARD. MARIGOLD HOTEL - EVENING 115

          Graham and Evelyn are having drinks.

                         EVELYN
          I've been getting out and about
          as much as I can, but I feel I've
          hardly scratched the surface. And
          of course I'd love to see
          Udaipur. The lake you talked
          about.

                         GRAHAM
          I'd love to take you. Perhaps -
          He breaks off. Douglas and Jean have come in. Jean looks
          rather desperate.

          EVELYN AND DOUGLAS

                         (SIMULTANEOUSLY)
          Good evening.

                         

                         

                         

                         
           81A.
          An awkward moment. Graham stands.

                         

                         

                         

                         
           82.

                         GRAHAM
          Good evening, Mrs Ainslie.
          Please allow me.
          He pulls a chair out for her. She shoots him a look of
          passionate gratitude for his exquisite sensitivity.

                         JEAN
          You're very kind. But I rather
          think I'll turn in early.
          Goodnight everyone.
          She goes into her room.

          116 EXT. COURTYARD. MARIGOLD HOTEL - EVENING 116

          Muriel is sitting outside her room, doing the crossword.
          Madge is coming through the arch, stops dead.
          Norman is standing in front of her, on his way out. He
          looks transformed. And rather handsome.

                         MADGE
          Is this it?

                         NORMAN
          This is it.

                         MADGE
          You're not worried about the
          danger of having sex at your age?
          Norman shrugs.

                         NORMAN
          If she dies, she dies.
          He leaves. Sonny sprints into the courtyard.

                         SONNY
          Progress, Mrs Donnelly, Mrs
          Hardcastle! The wheel is turning
          most assuredly in our favour!
          He shoots up the stairs.

          117 EXT. UPPER COURTYARD. MARIGOLD HOTEL - EVENING. 117

          Douglas, Graham and Evelyn are looking at the menu.
          Sonny bursts in.

                         SONNY
          Mr Dashwood! Everybody! Great
          news!

                         

                         

                         

                         
           83.

                         GRAHAM
          What is it, Sonny?

                         SONNY
          They are working, they are
          working!

                         GRAHAM
          That is great news. What are
          working?

                         SONNY
          The telephones of the Marigold
          Hotel.

                         GRAHAM
          Well, congratulations.

                         SONNY
          Thank you. I must tell
          everybody. I must tell my
          mother!
          He runs off. Comes back.

                         SONNY (CONT'D)
          Oh wait. You have a phone call.

          118 EXT. STREET, POOR NEIGHBOURHOOD. JAIPUR - EVENING 118

          Graham, Evelyn, and Douglas are walking quickly up a quiet
          street.

                         GRAHAM
          It's a false alarm. There's no
          way they could find anything in
          that office. They probably just
          picked an address at random, just
          to keep me off their backs. I'm
          sure that's what happened. It's
          going to be nothing. Don't you
          think it's going to be nothing?

                         EVELYN
          I think you should knock on the
          door and see.

                         GRAHAM
          Yes. Yes I should.

                         (BEAT)
          Yes.

          119 EXT. HOUSE - EVENING 119

          Some men sit under a tree, playing cards.

                         

                         

                         

                         
           84.
          Across the street, Graham approaches a house. At a polite
          distance, Evelyn and Douglas wait. Graham knocks at the
          open door.
          A woman, GAURIKA, appears. She stares at Graham.

                         GRAHAM
          I'm sorry to disturb you so late.
          My name is Graham Dashwood. A
          long time ago I -

                         GAURIKA
          I know who you are.
          Beat.

                         GRAHAM
          I am afraid I don't know you.

                         GAURIKA
          I am Gaurika. The wife of Manoj.

                         GRAHAM
          (after a fraction of a

                         BEAT)
          I'm very pleased to meet you.
          And if you could, if you would
          tell him that I called around,
          I'd appreciate that very much,

                         AND -
          He breaks off. She's walked past him, looking to the other
          side of the road.
          He turns to look at the men playing cards. Gaurika calls in
          Hindi.
          A beautiful-looking man looks up. MANOJ.
          He looks across at the house. Stands up slowly as Graham
          walks across the street towards him.
          Graham reaches him. The two men just stand there for a
          moment. Then they hug very tightly.
          From the steps of the house, Gaurika watches.
          Evelyn looks at her, fascinated.
          Across the street, Manoj and Graham are still holding each
          other, unable to let go.

          120 EXT. STREET - NIGHT 120

          Douglas and Evelyn are walking.

                         DOUGLAS
          (a tiny bit sloshed)

                         (MORE)

                         

                         

                         

                         
            85.

                         DOUGLAS (CONT'D)
          First time going in to London
          with my dad, on his commute...
          He'd always been so extraordinary
          to me, so unique. But there he
          was standing on the station
          platform, utterly
          indistinguishable from all the
          other men in suits. And then of
          course a few years later I was
          one of them... Hated my job.
          Hated it.

                         (BEAT)
          Sorry, talking too much. Blame a
          good dinner out.

                         EVELYN
          What was she thinking?

                         DOUGLAS
          I beg your pardon?

                         EVELYN
          His wife. Manoj's wife. She
          knew who Graham was. Had he told
          her?

                         (BEAT)
          D'you think we'll find out
          tomorrow?

                         DOUGLAS
          Not me, I'm heading up to the
          Badi Mahal Palace. Very excited,
          been reading all about it.

                         EVELYN
          Tell me.

                         DOUGLAS
          I would, if I could remember a
          word.
          Evelyn laughs. Then Douglas suddenly grabs her. And pulls
          her out of the way of a motor bike, zooming past them.
          Sunaina hasn't realised she nearly hit them, and powers on
          towards the Marigold.
          Douglas and Evelyn stand for a moment, startled, holding
          each other. Something passes between them that embarrasses
          them both. Then they part quickly, guiltily.
          They're outside a small restaurant, and with exquisite
          timing, a group of musicians start to play a romantic tune.

                         WAITER
          Come, please. Nice meal,
          please...

                         

                         

                         

                         
           86.

                         DOUGLAS

                         (NAMASTE GESTURE)
          We've eaten, thank you...
          They continue on their way. Slightly further apart than
          before.

          121 EXT. MARIGOLD HOTEL - NIGHT 121

          It's the middle of the night, and everything's quiet Or
          as quiet as it can be in the middle of the usual night-time
          Indian cacophony.
          Sunaina parks her bike outside the hotel, goes on in.

          122 INT. BEDROOM, MARIGOLD HOTEL - NIGHT 122

          Sonny is sleeping peacefully.

          123 EXT. COURTYARD, MARIGOLD HOTEL - NIGHT 123

           Sunaina moves across the courtyard.
           Not sneaking, exactly. But making no sound.

          124 INT. BEDROOM, MARIGOLD HOTEL - NIGHT 124

           Sonny sleeps on.

          125 INT. CORRIDOR, MARIGOLD HOTEL - NIGHT 125

           Sunaina is definitely sneaking now. She aims down the
          passage towards Sonny's room.

          126 INT. BEDROOM, MARIGOLD HOTEL - NIGHT 126

           Sonny stirs, but doesn't wake up.

          127 INT. BEDROOM, MARIGOLD HOTEL - NIGHT 127

           Sunaina comith esno te bedroom.
           She takes off her clothes. And climbs, naked, into bed
           beside the sleeping figure.

          128 INT. BEDROOM, MARIGOLD HOTEL - NIGHT 128

          A loud scream.
          In a different bed, in a different room, Sonny wakes up.
          And remembers.

                         

                         

                         

                         
            87.

          129 INT. BEDROOM, MARIGOLD HOTEL - NIGHT 129

          It's Sunaina that's screamed. Because she's in bed with
          Madge.
          Who couldn't be happier.

                         MADGE
          A midnight booty call. How
          utterly marvellous.

          130 INT. CORRIDOR, MARIGOLD HOTEL - NIGHT 130

          Sonny hares out of his temporary bedroom, and races down
          the corridor, towards Madge's room.

          131 INT. BEDROOM, MARIGOLD HOTEL - NIGHT 131

          Sunaina has jumped out of the bed and across the room,
          grabbing one of Madge's generous scarves to cover her
          nakedness.

                         SUNAINA
          I'm so sorry, I'm so sorry . I
          don't know what your name is, but
          I'm incredibly sorry.

                         MADGE
          Don't be. Most action I've had
          in weeks.

                         SUNAINA
          If you could just please not

                         MENTION -
          Sonny bursts in.

                         SONNY
          Do not worry, Mrs Hardcastle! I
          can explain each and every thing!
          Hesees Sunaina.

                         SONNY (CONT'D)
          Oh my god you are naked.
          He turns to Madge.

                         SONNY (CONT'D)
          Mrs Hardcastle, I must apologise
          with deep and profound sincerity -

                         SUNAINA
          How could you not tell me you
          weren't in your room!

                         

                         

                         

                         
           88.

                         SONNY
          Yes, Sunaina, to you too I must
          apologise with equally deep and
          profound sincerity. Now go. Get
          out. Quickly.

                         SUNAINA
          I'm going. Just let me get
          dressed, and -

                         SONNY
          No no, quicker than that. You
          must leave, before -
          MrsKapoor flings open the door.

                         MRS KAPOOR
          What is going on here? Who
          screamed?
          She sees the nearly-naked Sunaina.
          MRS KAPOOR (cont'd)
          No no no no no. No! This is a
          respectable hotel, not a brothel.

                         (TO SUNAINA)
          You, get out.

                         (TO MADGE)
          And Mrs Hardcastle, I expected
          better of you. Actually, this is
          exactly what I expected of you,
          but nevertheless -

                         SUNAINA
          Mrs Kapoor, I'm Sunaina.

                         MRS KAPOOR
          Since I will not be paying for
          your services, your name is of no
          interest to me.

                         (BEAT)
          How do you know mine?
          Sunaina is shocked to realise that Mrs Kapoor doesn't know
          her name. Sonny steps forward reluctantly.

                         SONNY
          Because this . is my Sunaina.

                         MRS KAPOOR
          The girl who my son described as
          not too modern.

                         MADGE
          This is getting interesting.

                         MRS KAPOOR

                         (TO SUNAINA)
          Tell me, please.

                         (MORE)

                         

                         

                         

                         
           89.
          MRS KAPOOR (cont'd)
          Is there anyone in this building
          you haven't slept with?

                         SONNY
          Mummyji, do not get the wrong
          idea. Sunaina was not here to be
          with Mrs Hardcastle. She was
          here to have sex with me!
          Mrs Kapoor turns to Sunaina. Who is speechless.

                         MRS KAPOOR
          This is the sort of woman you
          are. OK. Each to her own. But
          do not ever try and tell me that
          you are suitable wife for my son.

                         (BEAT)
          Find your clothes and go. I
          don't expect to see you again.

          132 EXT. GARDEN/PATHWAY. MARIGOLD HOTEL - NIGHT 132

          Sunaina is leaving the hotel, angry and humiliated. Evelyn
          and Douglas are coming up the path.

                         EVELYN
          Sunaina?
          And now Sunaina is even more humiliated.

          132A EXT. STREET. MARIGOLD HOTEL - NIGHT 132A

          Sunaina roars away on her scooter.

                         DISSOLVE TO:

          133 EXT. STREET. MARIGOLD HOTEL - DAWN 133

          The same street. The sun is just coming up, and traders are
          setting up their stalls, spreading their wares on rugs on
          the ground.
          One trader is unloading some fruit. A few guava roll off
          the edge of his wagon.
          Someone picks them up for him. It's Graham, who smiles as
          he puts them back. The trader gives him a fresh one.
          Graham takes it, and walks on, munching the delicious
          fruit. A contented man.

          134 EXT. GARDEN. MARIGOLD HOTEL - DAWN 134

          Norman is sitting on a stone bench under a spreading tree.

                         

                         

                         

                         
           90.

          GRAHAM (O.S.)
          How did it go?
          Norman turns, to see Graham standing above him.

                         NORMAN
          I have seen the top of the
          mountain. And it is good.
          Graham nods, sits down next to him. They gaze out at the
          waking city.

                         GRAHAM
          I saw someone yesterday, a man I
          hadn't seen for many years. A
          man I've loved all my life.
          Norman is a bit startled by this.

                         NORMAN
          A man... .?

                         GRAHAM
          Yes.

                         NORMAN
          Carry on.

                         GRAHAM
          (smiling, unperturbed)
          I didn't know how he'd been in
          the meantime, didn't want to
          guess. I brought disgrace upon
          him and his family, and imagined
          he might hate me for it.

                         (BEAT)
          But we talked all night. He's
          been happy. He's led a peaceful
          life, married to a woman who
          understood him and loved him
          nonetheless. But he's never
          forgotten me. That's what he
          said.

                         (BEAT)
          I asked his forgiveness anyway.
          He said he had nothing to forgive
          me for. That instead I should
          forgive myself.

                         (BEAT)
          All that time. All that time I
          believed I'd sentenced him to a
          life of shame. When I was the
          one in prison.

                         (BEAT)
          But not any more.

                         

                         

                         

                         
           91.
          Silence for a while.

                         NORMAN
          Top of the mountain.

                         GRAHAM
          Yes.
          Norman smiles, then stands and goes on inside.
          Graham settles back into his chair, looks out at the world.

                         GRAHAM (CONT'D)
          Not any more.

          135 EXT. COURTYARD/VERANDAH, MARIGOLD HOTEL - DAWN 135

          Norman comes into the courtyard. Madge, sipping from a cup
          of chai, calls down from her verandah.

                         MADGE
          How was the night?

                         NORMAN
          Rather special.
          He leaves. Madge just stares after him.

          136 EXT. STAIRCASE. MARIGOLD HOTEL - DAWN 136

          Norman on the stairs to his room.
          He stops, catches his breath.

          137 EXT. GARDEN. MARIGOLD HOTEL - DAWN 137

          Graham is watching a stunningly beautiful bird. A snow
          crane; white and magnificent. It's on the grass in front
          of him.
          Then it opens its huge wings, takes off. And flies up into
          the bright blue sky. It's an extraordinary sight.
          As Graham watches the snow crane swoop and dip, it appears
          suddenly to slow and stall, until it seems to hang in the
          air, almost motionless.

          138 EXT. ROOFTOP. MARIGOLD HOTEL - DAWN 138

          Norman crosses the rooftop to his bedroom. He comes
          inside, sits on the bed.

          139 EXT. GARDEN, MARIGOLD HOTEL - MORNING 139

          Graham is still sitting in the garden.

                         

                         

                         

                         
           92.

          EVELYN (O.S.)
          You're back.
          He doesn't turn round. Evelyn has come out to the garden.
          She goes over to him.

                         EVELYN (CONT'D)
          It's been rather an extraordinary
          night all round. First tell me
          your news, and then -
          She breaks off.
          Graham is dead.

          139A EXT. COURTYARD. MARIGOLD HOTEL - DAY 139A


          EVELYN (V.0.)
          Day 45. Of course it was
          inevitable. Put enough old
          people in the same place, it
          won't be too long before one of
          them goes...
          Jean, Douglas, Madge, Norman and Muriel shocked and sobered

          140 EXT. COUNTRYSIDE - DAY 140

          A train is crossing the endless fields.

          141 INT. TRAIN - DAY 141

          Evelyn stares out of the window. Madge, Norman, Douglas
          and Jean are behind her. Opposite sits Manoj. Evelyn
          turns to look at him, and at Gaurika, Manoj's wife, who
          sits beside him.

          EVELYN (V.0.)
          We all know it'll happen, but few
          of us know when. Graham died of
          a heart attack, evidently not his
          first. So he had a better idea
          than most what was coming, he
          just neglected to tell us. His
          prerogative.

          142 EXT. LAKE - DAWN 142

          Three white vehicles are driving across a narrow causeway,
          which barely rises above the surface of the lake. They
          seem to be floating. Clouds of dust billow behind them.

                         

                         

                         

                         
           93.

          EVELYN (V.0.)
          There was talk of sending the
          body home, but Manoj felt he
          should have a Hindu burial. At
          the place they had visited
          together. Not a holy place.
          Although for them perhaps it was.

          143 EXT. FUNERAL PYRE, RUINS - DAY 143

          A ruined garden, surrounded by the waters of the lake,
          crumbling pillared porticoes and arches. What must once
          have been a royal retreat is now long abandoned and
          overgrown.
          Graham's friends stand watching the pyre, transfixed by the
          flames. Manoj, dressed in white, stands with Gaurika. He
          recites a Hindi prayer.

          EVELYN (V.0.)
          A body takes a long time to be
          consumed. Many hours for the
          mourners to remember their dead.
          The fire must be lit at dawn, and
          by sunset, there must be nothing
          left but ash.

          144 EXT. LAKESIDE - SUNSET 144

          Stripped to the waist, Manoj walks into the water, holding
          a bowl.

          EVELYN (V.0.)
          Where do our souls go? is that
          all of us that is left behind?
          Perhaps the most we can ask is
          that when we do shuffle off, we
          do so knowing that we were loved
          Manoj pours Graham onto the water. The ashes shim r and
          dance, caught in the gentle currents.

          145 EXT. SERVANT'S GARDEN. MARIGOLD HOTEL - DAY 145

          Muriel and Anokhi are in the servants' garden. Young Wasim
          sits silently in the corner.

                         MURIEL
          So there's a process, they call
          it pickling. I have no idea what
          it is, or how they do it, but
          whoever invented it was a smart
          man. But the real genius was the
          one who introduced an onion into
          the system. That I could never
          have thought of.

                         

                         

                         

                         
           94.
          Ajit looks at her, ready to translate.

                         MURIEL (CONT'D)
          No, forget it.
          Muriel is looking out at the yard. She sees Mrs Kapoor,
          talking to some surveyors. They're mapping out the
          building.
          Mrs Kapoor sees Muriel watching her, comes over to them.

                         MRS KAPOOR
          Mrs Donnelly, what are you doing
          here? You should not be here,
          talking with this one.

                         MURIEL
          I'm helping her clean. If these
          pots get any dirtier, you'll have
          to serve the food with
          penicillin.

                         MRS KAPOOR
          We have other rooms. Go to one
          of them instead. While this is
          still a hotel.
          She turns back to the surveyors.

                         MURIEL

                         (TO AJIT)
          What's her problem? What's
          happening here?
          Ajit can't answer. But he knows a man who can.
          He points to Young Wasim.

                         AJIT
          He can tell you.

          146 EXT. ROOFTOP BAR, BHARATPUR PALACE HOTEL. UDAIPUR - 146


                         EVENING
          A stunning view over the city. Madge is having a drink
          with Norman. Douglas is sitting on the wall, but keeps
          looking down towards the stairs.

                         MADGE
          When someone dies, you think
          about your own life. And in my
          case, there is less of it in
          front of me than behind. And I
          don't want to grow older. I
          don't want to be condescended to,
          ignored and marginalised by
          society. To become peripheral to
          the action.

                         (MORE)

                         

                         

                         

                         
           95.
          MADGE (coat' d)
          I don't want to be the first
          person let off the plane in a
          hostage crisis.
          They laugh together. And don't even see Douglas go.

          147 EXT. LANDING. BHARATPUR PALACE HOTEL - EVENING 147

          The landing is large, and open to the sky. Evelyn has just
          come up the stairs to go to her room. She's leaning against
          the stone baluster.

                         DOUGLAS
          I wondered where you'd been.
          Evelyn turns. Douglas is on the stairs above her.

                         DOUGLAS (CONT'D)
          We're all up top, having a drink.

                         EVELYN
          I went to see Gaurika. Manoj's
          wife. I wanted to ask her what
          she knew. And the answer was
          that she knew everything, that
          he'd loved another man, and
          always would. He told her when
          the marriage was arranged.

                         (BEAT)
          They had no secrets from each
          other, none.
          Suddenly she's crying. Unable to stop.
          Douglas puts his arms around her, and holds her to him.

                         EVELYN (CONT'D)
          And that's right, don't you see?
          That must be right. Because what
          is the point of a marriage in
          which nothing is shared?
          Her words hang in the air. They stand there for a moment.
          Jean has come out of her room, and stands there, watching
          them.

                         JEAN
          Mrs Greenslade, might I have my
          husband back now?
          They spring apart.

                         JEAN (CONT'D)
          Douglas?
          She walks off back into the room. Douglas turns to Evelyn.

                         

                         

                         

                         
           96.

                         DOUGLAS

                         FORGIVE ME

                         EVELYN
          Yes, of course.

                         DOUGLAS
          Forgive me.
          Evelyn goes quickly to her room, leaving him standing
          there.

          148 INT. DOUGLAS AND JEAN'S ROOM - EVENING 148

          Douglas closes the door.

                         DOUGLAS
          She was upset.

                         JEAN
          Spare me your explanations.
          D'you think I'm jealous?

                         DOUGLAS
          I don't see why else you would
          have embarrassed me. And Evelyn.

                         JEAN
          You were already doing a
          perfectly good job of
          embarrassing yourself. Can you
          imagine how ghastly it's been for
          everyone to watch you mooning
          around after that simpering doe-
          eyed ex-housewife, taking
          advantage of her loneliness and -

                         DOUGLAS
          God, can you hear yourself? Can
          you? Do you have any idea what a
          terrible person you've become?
          Jean is stunned into silence.

                         DOUGLAS (CONT'D)
          All you give out is this endless
          negativity, a refusal to see any
          kind of light and joy even when
          it's right in your face, and a
          desperate need to squash any sign
          of happiness in me or anyone else
          .. it's a wonder I don't fling
          myself at the first kind word or
          gesture that comes my way. But I
          don't. Out of some dried-out
          notion of loyalty and respect,
          neither of which I ever bloody
          get in return.

                         

                         

                         

                         
           97.
          There's a long silence.

                         JEAN
          I checked my emails. This came.
          She hands him a piece of paper.

          149 EXT. ROOFTOP BAR. BHARATPUR PALACE HOTEL - EVENING 149

          Evelyn comes onto the terrace, and heads for Madge and
          Norman. She picks up Madge's glass.

                         MADGE
          Are you alright?

                         EVELYN
          I just need some water.
          She drains the glass.

                         MADGE
          That was a gin and tonic.

                         EVELYN
          Yes. I know that now.

                         MADGE
          What's happened?

                         NORMAN
          Good evening, the Ainslies.
          Douglas and Jean are approaching them.

                         MADGE
          How are you both?

                         JEAN
          We're particularly well.
          Douglas, tell them our news.
          She looks to him, waits. He says nothing.
          So she turns, and smiles.

                         JEAN (CONT'D)
          We're going home.

          150 EXT. EVELYN'S VERANDAH/KITCHEN. MARIGOLD HOTEL - DAY 150

          Sonny is with his investor, Mr Maruthi. They emerge from
          the upper courtyard onto the terrace overlooking the back
          of the hotel.

                         

                         

                         

                         
           98.

                         SONNY
          And so I would ask you to loosen
          the strings on your purse, Mr
          Maruthi, and to do it most
          rapidly. So that Phase Two
          Development of the Best Exotic
          Marigold Hotel can begin with
          immediate effect.
          Mr Maruthi looks down, sees Muriel. She's with Anokhi,
          Ajit, and Young Wasim.
          He calls down to her.

                         MR MARUTHI
          Mrs Donnelly, I believe.
          Sonny spots the danger, tries to lead Mr Maruthi away.

                         SONNY
          And now if you would please be
          following me to the ground floor

                         ROOMS
          Mr Maruthi ignores him, calls down again.

                         MR MARUTHI
          How are things at the hotel?

                         SONNY
          Mr Maruthi -

                         MURIEL

                         (CALLING BACK)
          Better. They're going better.
          Sonny takes a moment to recover.

                         SONNY
          You see? Profound satisfaction.
          Such is the inevitable result of
          a prolonged stay at the Marigold
          Hotel.
          And now Mr Maruthi has spotted something else. The
          surveyors, who are still taking their measurements.

                         MR MARUTHI
          What are those men doing?

                         SONNY
          (Glancing back for a moment)
          Working for me, Mr Maruthi. To
          create a home for the elderly so
          wonderful that they will simply
          refuse to die! Stare death in
          the face and say-

                         (MORE)

                         

                         

                         

                         
           98A.

                         SONNY (CONT'D)
          (follows Mr Maruthi's

                         GAZE)
          What are those men doing?

                         

                         

                         

                         
            99.

          151 EXT. KITCHEN/SERVANT'S GARDEN. MARIGOLD HOTEL - DAY 151

          Moments later. Through the window, Muriel watches Sonny
          confronting his mother.

                         SONNY
          Mummyji, what is going on here?

                         MRS KAPOOR
          I have spoken to your brothers.
          They want to sell the hotel.
          These men are here to value the
          building.

                         SONNY
          They are valuing the land. My
          brothers do not care about the
          building. They will knock it
          down.

                         MRS KAPOOR
          They could just wait a month for
          it to fall down of its own
          accord.

                         SONNY
          You joke, Mummyji, but inside I
          know you are not laughing. You
          do not want to see this dream
          destroyed. Send these people
          away.

                         MRS KAPOOR
          No, my son. It is too late.

          152 INT. SONNY'S OFFICE - NIGHT 152

          Mrs Kapoor is at the desk, going through the accounts.
          Sonny stands opposite her.

                         SONNY
          Mummyji, please -

                         MRS KAPOOR
          These figures do not support your
          argument.

                         SONNY
          There is still time to turn
          things around. With a small
          injection of funds, we can -

                         MRS KAPOOR
          Who is trusting you with that
          money? Eh? You, who cannot run
          a chai stand. Just like your
          father.

                         

                         

                         

                         
           100.
          Beat. Then Sonny speaks quietly.

                         SONNY
          Do I remind you of him so much?
          Is that why you must be cruel to
          me?

                         MRS KAPOOR
          You think I am cruel?

                         SONNY
          You loved my father. And he
          loved this hotel.

                         MRS KAPOOR

                         (FIERCELY)
          Two mistakes. There will not be
          a third.

                         (BEAT)
          Say goodbye to all this, Sonny.
          And come with me to Delhi. Your
          life will become easier.

                         SONNY
          Not easier, Mummyji. Smaller.
          He leaves.
          Mrs Kapoor comes back to the desk, fiddling with some
          paperwork, discomfited.
          She turns to the doorway. Muriel is there, in her chair.

                         MRS KAPOOR
          Mrs Donnelly. Can I help you?

                         MURIEL
          Depends. Do you know how to use
          a computer?

                         MRS KAPOOR
          I assume you are joking.

                         MURIEL
          Mrs Ainslie said she had an
          address where I could get some
          things I need. Some biscuits.
          She said I could get them on the
          line.

                         MRS KAPOOR
          I wish you luck.
          Mrs Kapoor smiles, and leaves.
          Muriel watches her go, then turns to the computer.
          Her fingers fly across the keyboard.

                         

                         

                         

                         
            101.

          153 INT. TRAIN - NIGHT 153

          The train rattles its way through the night. Jean is
          chatting away, in a better mood than we've seen her for
          some time. Evelyn listens in silence.

                         JEAN
          The whole thing is actually
          tremendously exciting. Not just
          getting on a plane, but getting
          on a plane and turning left.

                         NORMAN
          Turning left?

                         JEAN
          First class. And home in time
          for our 40th wedding anniversary.
          We haven't yet decided how to
          mark the occasion.

                         MADGE
          Perhaps a minute's silence?

          154 INT. SONNY'S OFFICE, MARIGOLD HOTEL - NIGHT 154

           Ajit keeps watch, while Muriel is at the printer. Waiting
           as it disgorges pages.

                         155 OMITTED 155

          155A EXT. STREET. JAIPUR STATION - DAY 155A

          The tuk-tuks are lined up.

                         NORMAN
          (hailing a tuk-tuk)
          Two should fit us all, I think.

                         EVELYN
          I'm actually going to walk.
          Apparently they're getting ready
          for a festival.

                         DOUGLAS
          Perhaps you'd like one of us to
          accompany you.

                         MADGE
          I'm happy to walk with you.

                         

                         

                         

                         
           102.

                         EVELYN
          I'll be fine.
          Evelyn speaks to both Douglas and Jean.

                         EVELYN (CONT'D)
          I'm delighted for your daughter's
          success. I wish you all every
          happiness.

                         JEAN
          Thank you.
          Evelyn turns, and walks away.

          156 INT. TUK-TUX - DAY 156

          Douglas and Jean are in the tuk-tuk with Madge and Norman.
          There is a sombre atmosphere.
          A motor-bike hurtles past them, going the other way.

                         DOUGLAS
          Was that Sonny?

          157 INT. CHRISTOPHER'S HOUSE, LONDON - DAY 157

           A phone is ringing. Christopher is still in bed, his wife
           Polly asleep next to him.
          He answers.

                         CHRISTOPHER

                         YES
          (can't believe his ears)
          Ma?

          158 EXT. PHONE BOOTH. TICKET OFFICE. JAIPUR STATION - DAY 158

          Evelyn stands under the awning of the ticket office.

                         EVELYN
          I just wanted to hear your voice.

                         (BEAT)
          No, I'm sorry, I didn't think
          about the time . How are you?
          And Polly? The boys . how are
          the boys?
          She listens to him. She's holding back tears.

                         EVELYN (CONT'D)
          Oh good, I'm glad you've been
          reading it. Yes. Yes, I've made
          some very good friends.

                         (BEAT)
          No, I'm fine, of course I am.

                         

                         

                         

                         
           103.
          As much as she had wanted to speak to him, she now wants
          the conversation to be over.

                         EVELYN (CONT'D)
          I think my money is running out,
          I'd better go. Goodbye for now,
          darling. I'll call again later.
          She hangs up. And stays there with her hand on the phone.
          Out on the street, Sonny is pulling up. She looks over to
          him.

                         SONNY
          Mrs Greenslade. Where are the
          others?

                         EVELYN
          They're on their way to the
          hotel.
          Sonny looks around, at a loss.

                         EVELYN (CONT'D)
          What's the matter?

                         SONNY
          I wanted to warn you before you
          see for yourself of the most
          momentous changes that are
          occurring, absolutely all of them
          without question for the very
          positive.

                         EVELYN
          What are you talking about?

                         SONNY
          I am delighted to announce the
          closing of the Best Exotic
          Marigold Hotel, and the joyful
          return of all of its inhabitants
          to their home country.

                         EVELYN
          What?

          159 EXT. GARDEN PATH. MARIGOLD HOTEL - DAY 159

          Norman and Madge have arrived back at the hotel.
          Mrs Kapoor is breaking the news to them.

                         MRS KAPOOR
          Please relax in the knowledge
          that your journey home is being
          arranged, and paid for by the
          hotel.

                         

                         

                         

                         
           104.

                         MADGE
          Our journey here was arranged and
          paid for by the hotel, and look
          how that went. I'd rather walk
          back to England.

                         NORMAN
          I'd rather not go back at all.
          A voice comes behind them. Carol has come out of the
          courtyard.

                         CAROL
          Why would you have to?

          160 EXT. JAIPUR STATION - DAY 160

          Sonny and Evelyn are still talking.

                         SONNY
          And for myself the news is even
          better. I shall be moving to
          Delhi to live with my mother, and
          furthermore I shall be wed to a
          most suitable person of her
          choice, whom I look forward very
          much to meeting before I spend
          the rest of my life with her.

                         EVELYN
          But what about your girlfriend?

                         SONNY
          She is no longer my girlfriend.

                         EVELYN
          This is a disaster.

                         SONNY
          Then we must treat it just the
          same as we would treat a triumph,
          is that not what your Mr Kipling
          tells us? Although of course,
          here we have a problem. Because
          I, Sunil Indrajit Kapoor, have
          never had a triumph, so of course
          I do not know how to treat one.
          No, all I have had is an constant
          series of disasters interspersed
          with the occasional catastrophe,
          an unending stream of total -

                         EVELYN
          Sonny, do you love her? Sunaina?

                         

                         

                         

                         
           105.

                         SONNY
          Most deeply.

                         EVELYN
          Have you told her you love her?

                         SONNY
          It is because I love her that I
          must not tell her. She can do so
          much better than me.

                         EVELYN
          And you have told her that?

                         SONNY
          Many times.

                         EVELYN
          Good. Women love it when you say
          that kind of thing. It's a
          powerful aphrodisiac.

                         SONNY
          Really?

                         EVELYN
          No, of course not. Go and find
          her right now, before you lose
          her forever. Her future is hers
          to choose, and so is yours. You
          can have anything you want,
          Sonny. You just need to stop
          waiting for someone to tell you
          you deserve it. Or you can just
          keep failing yourself, and
          hurting the ones you love -

                         SONNY
          Mrs Greenslade, stop drilling!
          You have struck oil!
          He goes to his bike, climbs on, and rockets off.

          161 EXT. UPPER COURTYARD. MARIGOLD HOTEL - DAY 161

          Madge is sitting, pensive. Carol comes in.

                         MADGE
          Where's Norman?

                         

                         

                         

                         
           106.

                         CAROL
          Packing.

                         MADGE
          But we don't have to leave yet.

                         CAROL
          I asked him to come and stay with
          me.

                         MADGE
          Is that wise? I'm not sure he's
          trained.

                         CAROL
          You think it's too soon.

                         MADGE
          It doesn't matter what I think.

                         CAROL
          It is too soon. But at our age we
          can't afford the luxury of taking
          it slow. And it's either this or
          he goes home and I don't want
          him to go home.
          Madge looks at her for a while. Then smiles.

                         MADGE
          I wish you both the very best.

                         CAROL
          You haven't met anyone?

                         MADGE
          Single by choice. Just not my
          choice.

                         (BEAT)
          I actually think it might be
          over. For me. With men. And if
          that's gone, I'm not quite sure
          what's left.

                         BEAT

                         CAROL
          Did you know Norman brought
          pills? The first night he stayed
          with me?

                         MADGE
          They obviously did the trick.

                         CAROL
          I saw them in his pocket. I
          didn't want it to be like that.
          So when I had the chance I
          swapped them.

                         (BEAT)

                         (MORE)

                         

                         

                         

                         
           106A.

                         CAROL (CONT'D)
          He went all night on two aspirin.

                         (BEAT)
          It's never over.
          Norman appears with his one bag and his battery radio.

                         NORMAN
          Ready?

                         

                         

                         

                         
            107.

          162 EXT. STREET, CENTRAL JAIPUR - DAY 162

          Sonny roars through the streets on his bike.

          163 EXT. STREET. MARIGOLD HOTEL - DAY 163

          Evelyn approaches.
          She sees a taxi waiting outside the hotel.

          164 EXT. STAIRCASE, MARIGOLD HOTEL - CONTINUOUS 164

          The houseboy is carrying Douglas and Jean's bags down to
          the car.

          165 EXT. COURTYARD, MARIGOLD HOTEL - CONTINUOUS 165

          Evelyn comes into the courtyard. Muriel is sitting there.
          The two women stare at each other.

                         MURIEL
          Do you want him to see you?

          165A EXT. STREET. JAIPUR 165A

          Sonny is waiting at a junction, texting into his mobile
          phone.

          166 INT. DOUGLAS AND JEAN'S ROOM, MARIGOLD HOTEL - DAY 166

          Douglas is checking they haven't left anything. Jean is at
          the door. She's impatient.

                         JEAN

                         DOUGLAS

          166A INT. CALL CENTRE - DAY 166A

          Sunaina picks up her mobile, looks at the message.

          167 EXT/INT. TAXI/STREET. MARIGOLD HOTEL - DAY 167

          Jean is sitting in the taxi, which is driven by BARUM.
          Douglas climbs in.
          A beat.

                         DOUGLAS
          My wallet, I forgot my wallet.
          One second.
          Before Jean has a chance to say anything, he goes back in.

                         

                         

                         

                         
           108.
          She watches him go.

          168 EXT. COURTYARD, MARIGOLD HOTEL - CONTINUOUS 168

          Douglas comes back into the courtyard, heads towards the
          staircase to Evelyn's room.
          Then Muriel speaks from her verandah.

                         MURIEL
          She's not back yet.
          Douglas stops. Beat.

                         DOUGLAS
          Right.

                         (BEAT)
          Then perhaps you could tell her I
          said goodbye.
          He turns and walks out.

          169 INT. EVELYN'S ROOM, MARIGOLD HOTEL - CONTINUOUS 169

          Evelyn is at her window, listening. She turns to watch him
          leave.

          170 EXT. MARIGOLD HOTEL - CONTINUOUS 170

          Douglas gets back into the taxi.

                         DOUGLAS
          (slamming the door)
          False alarm. Had it the whole
          time. Let's go.

                         171 OMITTED 171

          172 EXT. CALL CENTRE - DAY 172

          Sonny roars into the forecourt, gets off his bike, and runs
          into the building.
          A SECURITY GUARD goes to stop him, but Sonny's already
          running up the stairs.

          172A INT. STAIRWELL/LANDING. CALL CENTRE - DAY 172A

          Sonny keeps going up, floor after floor.

                         

                         

                         

                         
           109.

                         SONNY

                         (YELLING)
          Sunaina! Sunaina!
          He reaches the seventh floor.
          Jay appears on the landing above him.

                         JAY
          What's going on?
          Sonny is doubled over, totally out of breath. Holds up a
          finger.

                         JAY (CONT'D)
          Sonny?

                         SONNY
          I need to see Sunaina!

                         JAY
          Her shift's not over. And when
          it is, she doesn't want to see
          you.
          Beat.

                         SONNY
          Jay, you are the son my mother
          wished I was; an intelligent man,
          with a strong head for business.
          You see things as they are, not
          as you wish them to be. So fuck
          off out of my way.
          Jaydoesn't move.

                         SONNY (CONT'D)
          Or you can give her a message.
          Sunaina is standing against the wall, unseen by Sonny,
          listening.

                         SONNY (CONT'D)
          Tell her from me what I should
          have told her the day we met.
          What I will announce to anyone
          who asks. And many who do not.
          Sunaina speaks to Jay.

                         SUNAINA
          Including your mother?

                         JAY

                         (TO SONNY)
          Including my mother?

                         SUNAINA
          His mother.

                         

                         

                         

                         
           110.

                         JAY

                         (TO SONNY)
          Your mother.

                         SONNY
          I will tell every mother in the
          land.

                         SUNAINA

                         (TO JAY)
          What will you tell them?

                         JAY

                         (TO SONNY)
          What will you tell them?

                         SONNY
          The only thing that matters in
          this world. That I love you.
          And always will.

                         (BEAT)
          And by you, I mean Sunaina, Jay,
          not you. Although if you are to
          be my brother-in-law, I hope we
          can become better friends.

                         SUNAINA
          Why is he only saying this now?

                         JAY

                         (TO SUNAINA)
          You ask him.

                         SUNAINA
          Why are you only saying this now?

                         SONNY
          Because, Sunaina, love of my
          life, no more will I believe that
          I am not worthy, for only by
          loving you as you deserve will I
          become so.
          On Sunaina's face as she hears this.

          173 EXT. STREET, CENTRAL JAIPUR - DAY 173

          The cacophonous sound of drumming: a small band of players
          are beating out a deafening, syncopated rhythm as the
          Ganeshi festival begins to unfold.
          Sonny is on his bike, Sunaina riding side-saddle on the
          back. They're speeding through the city.
          Sonny rockets through an arch way up a side street, is
          confronted by a huge traffic jam. The Ganeshi procession is
          bringing everything to a standstill.
          He does a U-turn, speeds off back the way they came.

                         

                         

                         

                         
            111.

          174 INT/EXT. TAXI/STREET - DAY 174

          Douglas and Jean are sitting in the traffic jam.

                         DOUGLAS
          It's funny. They call it rush
          hour, but nothing actually moves.

                         (BEAT)
          It's not that funny.

                         (BEAT)
          Although I suppose it's all about
          context, isn't it? I mean -

                         JEAN
          Douglas?

                         DOUGLAS
          Yes?

                         JEAN
          If you say one more word, I'll
          kill you with my thumbs.

          174A EXT. COURTYARD. MARIGOLD HOTEL - DAY 174A

          Muriel sits alone in the courtyard, under her awning.
          Then Carol and Norman appear from reception, followed by
          Mrs Kapoor. They cross towards the arch.

                         MURIEL
          Where d'you think you're going?

                         MADGE
          You may well ask.
          Madge is sitting under the shade of a tree..

                         NORMAN
          We're moving in together.

                         MURIEL
          Already?

                         CAROL
          That point has been made.

                         MRS KAPOOR
          The hotel is closing.

                         MURIEL
          Doesn't have to.
          Silence. Everyone stares at Muriel.
          She takes out the spreadsheets.

                         

                         

                         

                         
           112.

                         MURIEL (CONT'D)
          I've been going over the
          accounts.

          174B EXT. STREET, CENTRAL JAIPUR - DAY 174B

          If anything, the traffic is now worse. Jean and Douglas's
          taxi has progressed a few yards, and is now wedged into the
          arch. The Ganeshi procession is completely blocking the far
          entrance to the archway.
          Jean gets out, looks at the sea of unmoving traffic ahead
          and behind.

                         JEAN
          This is ridiculous. It could go
          on for hours. There's no way
          we're ever going to get out of
          here.

                         DOUGLAS
          Maybe there is.
          A rickshaw arrives next to them, swerving through the
          traffic. It is ridden by IFTI.

                         JEAN
          You. Can you get us to the
          airport?

                         IFTI
          Sorry long way sore legs not
          possible.

                         JEAN
          I'll give you everything I have.

                         IFTI
          Step right in mind your head
          let's go.

                         JEAN
          Come on, Douglas. Come on!
          Douglas gets the suitcases out of the trunk of the cab.

                         IFTI
          Sorry no manage people and cases.

                         JEAN
          (grabbing her suitcases)
          What?

                         IFTI
          Not possible. Two person, no
          cases; one person, and cases.

                         

                         

                         

                         
           113.

                         JEAN
          (taking off her watch)
          How about if I give you something
          else? My watch?

                         IFTI

                         (TAKES IT)
          Sure. Thank you. Still not
          possible.

                         DOUGLAS
          We'll get another flight. We can
          go back to the hotel, and leave
          in the morning.

                         JEAN
          No.

                         DOUGLAS
          Jean, you heard what he said. He
          can't do it.

                         JEAN
          He can do one person, and cases.

                         DOUGLAS
          Yes, but

                         JEAN
          Could fate find a better way to
          tell us what we need to hear?

                         DOUGLAS
          Which is what?

                         JEAN
          That it's over. It was over a
          long long time ago.

                         DOUGLAS
          This is not the time to talk
          about this. Let's wait till we

                         GET-

                         JEAN
          I have to go, Douglas.

                         DOUGLAS
          I won't let you.

                         JEAN
          No, you'll want to come after me.
          Chase me to the airport and tell
          me everything will be fine.
          But please don't. Because the
          truth is we both deserve more
          than we've had. You're just too
          kind and too loyal to admit it.

                         

                         

                         

                         
           113A.
          Beat.

                         JEAN (CONT'D)
          I will be alright.

                         (SHE SMILES)
          I'm turning left.
          She climbs onto the rickshaw.

                         

                         

                         

                         
           114.
          As the drumming intensifies, Douglas stands holding his
          suitcase, watching her weave through the traffic and out of
          sight.

          174C EXT. STREET. MARIGOLD HOTEL - DAY 174C

          Sonny and Sunaina roar towards the hotel, drive into the
          gate and up the path...

          175 EXT. STREET/COURTYARD. MARIGOLD HOTEL - DAY 175

          Mrs Kapoor is studying the spreadsheets.

                         MRS KAPOOR
          I don't know what any of these
          figures mean.
          Sonny and Sunaina drive into the courtyard, screech to a
          halt.
          They dismount.

                         SONNY
          Mummyji? Mummyjit

                         MRS KAPOOR
          Right here, you do not need to
          shout.

                         SONNY
          Do you remember what my father
          used to say? That nothing happens
          unless first we dream. Like him
          I have dreamt, Mummyji, and like
          him, I have failed. The Marigold
          Hotel is crumbling into dust.
          And it turns out I can live with
          that. But the one thing I will
          not do is live without this girl.
          To whom I did not introduce you
          properly before.

                         (BEAT)
          This is Sunaina Shantanu Palawat.
          The woman I love, and wish to
          marry.

                         SUNAINA
          I am very pleased to meet you,
          Mrs Kapoor.

                         

                         

                         

                         
           115.
          Sunaina puts out her hand. Mrs Kapoor will not take it.

                         MRS KAPOOR
          (shaking her head)
          No. I forbid it. I forbid this
          match. Utterly and completely.
          Do you hear me, Sonny? This
          cannot happen.
          And then a low, rumbling sound comes from the corner. Like
          a quiet volcano.
          Young Wasim is speaking. It's a long, poetic and heartfelt
          speech.
          Unfortunately it's in Hindi.

                         MADGE
          What is he saying?

                         MURIEL
          What he said to me, I imagine.
          She turns to Sunaina.

                         MURIEL (CON'TD)
          Can you help?

                         SUNAINA
          He is saying . he is saying
          that he has been with this family
          as long as he can remember.
          Given them a lifetime of service.
          And that he remembers another
          fight, between two young people
          and their parents. And he
          remembers the moment where the
          young man stood up to his mother

                         MRS KAPOOR
          . and said yes, I want to marry
          this woman. Yes, she is from a
          different community. But she is
          smart, she is beautiful, and I
          love her.
          Long pause.
          MRS KAPOOR (cont'd)
          I don't know who he's talking
          about.
          She offers Sunaina her hand.
          MRS KAPOOR (cont'd)
          Take care of my favourite son.
          Sunaina shakes her hand.

                         

                         

                         

                         
           116.

                         NORMAN
          So I'm not clear now. Am I
          staying or going?

                         MURIEL
          Depends how you read the
          accounts.

                         SONNY
          The accounts?

                         MURIEL
          Turns out the original plan is
          good, it works. Just not in the
          hands of an imbecile.

                         SONNY
          I knew that plan was good!

                         MURIEL
          What the place needs is more
          money.

                         SONNY
          Unfortunately my investor, Mr
          Maruthi has decided that while he
          greatly admires my endeavors, he

                         CANNOT -

                         MURIEL
          He's reconsidered.

                         SONNY
          You spoke to him?

                         MURIEL
          So long as there is someone to
          help the manager.

                         SONNY
          The manager needs no help.

                         SUNAINA
          Sonny...

                         SONNY
          The manager needs a little help.

                         MURIEL

                         (TO NORMAN)
          So will you stay?
          Norman looks at Carol.

                         NORMAN
          I'd like to.

                         

                         

                         

                         
           117.

                         CAROL
          In the shack on the roof?

                         NORMAN
          I sleep in the trees.

                         SONNY

                         (TO CAROL)
          We have a double room. Bathroom
          ensuite. And a fully working
          door.
          He points to Graham's room.

                         SONNY (CONT'D)
          A guest has recently checked out.
          Madge can't believe he just said that.

                         CAROL
          I'll think about it.

                         MURIEL

                         (TO MADGE)
          Mrs Hardcastle ? You're staying.

                         MADGE
          On my own?

                         MURIEL
          You're off your game. Lost your
          confidence, maybe. But you're a
          thoroughbred. You'll be back.
          Madge smiles.

                         MURIEL (CON'TD)
          And what about you, Mrs
          Greenslade?
          Evelyn has come down, unnoticed by all. Except Muriel.

                         EVELYN
          What about me, Mrs Donnelly?

                         MURIEL
          We haven't talked much, you and

          I.

                         EVELYN
          My loss, evidently.

                         (BEAT)
          I'm not sure what I should do.
          Nothing here has quite worked out
          as I hoped.

                         

                         

                         

                         
           117A.

                         MURIEL
          Most things don't. But sometimes
          what happens instead is the good
          stuff.

                         (BEAT)

                         (MORE)

                         

                         

                         

                         
           118.

                         MURIEL (CONT'D)
          Haven't you got work in the
          morning?
          Evelyn nods.

                         MURIEL (CONT'D)
          Besides, he'll be back.

                         EVELYN
          You don't know him. He's the
          most loyal man I've ever met.

                         MURIEL
          50,000 rupees says I'm right. At
          your current salary that should
          take you three months to pay off.
          Muriel stands up. Everybody stares. She starts to walk
          slowly but proudly across the courtyard. She reaches the
          doorway, turns back.

                         MURIEL
          If you'll excuse me, someone's
          waiting to help me make mango
          chutney. Why did no one tell me
          about that stuff?

                         MRS KAPOOR
          Who is the new assistant manager?

                         MURIEL
          Why? Are you thinking of
          applying for the job?
          She gestures for her wheelchair.
          Sonny rushes up with it. She sinks down.

                         MURIEL (CONT'D))
          That's enough exercise for one
          day.

          175A EXT. AIRPORT ROAD. JAIPUR - EVENING 175A

          Jean sits in the rickshaw, surrounded by her luggage,
          carried by Ifti's strong legs towards her future.

          EVELYN (V.0.)
          Day 51. The only real failure is
          the failure to try.

          175B INT. EVELYN'S ROOM, MARIGOLD HOTEL - EVENING 175B

          Evelyn is at her computer typing.

                         

                         

                         

                         
           119.

          EVELYN (V.0.)
          And the measure of success is how
          we cope with disappointment. As
          we always must.

          175C EXT. STREET, CENTRAL JAIPUR - NIGHT 175C

          Douglas, still holding his suitcase, is surrounded by
          Ganeshi drummers, silhouetted against the lights of the
          city.
          The sound fades as he disappears into the celebration, and
          is replaced by the gentle sound of temple bells, ringing
          for morning prayers.

          EVELYN (V.0.)
          We came here, and we tried. All
          of us, in our different ways.

          176 INT. EVELYN'S ROOM, MARIGOLD HOTEL - MORNING 176

          Evelyn is still sitting, fully dressed in her room. She's
          been up all night.
          Her alarm clock buzzes. She turns it off.

          177 EXT. EVELYN'S TERRACE, MARIGOLD HOTEL - MORNING 177

          Evelyn comes out of her room, walks across the terrace.

          178 EXT. COURTYARD, MARIGOLD HOTEL - MORNING 178


          EVELYN (V.0.)
          Some achieved more than others.
          but we did our best. Nothing
          else matters.
          Evelyn walks through the courtyard, and on out of the
          hotel.

          179 EXT. GARDEN/PATHWAY, MARIGOLD HOTEL - MORNING 179

          Evelyn walks down the path towards the street.
          Then Douglas comes through the gate, with his suitcase.
          They stand there, looking at each other for a moment.

                         EVELYN
          Good morning.

                         

                         

                         

                         
           120.

                         DOUGLAS
          It is, isn't it?

                         EVELYN
          You're still here.

                         DOUGLAS
          I missed the plane.

                         EVELYN
          What about Jean?

                         DOUGLAS
          She didn't.
          Beat.

                         DOUGLAS (CONT'D)
          (putting down his

                         SUITCASE)
          I had quite an interesting night,
          actually. I met the same taxi
          driver, but this time I let him
          take me to his brother's hotel.
          Which turned out to be less of a
          hotel, and more of a brothel,
          really. They gave me this pipe,
          said it was apple tobacco, but
          that's not what we called it when
          I was a student. So I made my
          excuses and left, wanted some
          time to think. This city at
          night is extraordinary.

                         (BEAT)
          Of course the apple tobacco
          helped.

                         (BEAT)
          Guess what? I finally saw an
          elephant.
          Silence for a bit.

                         EVELYN
          I'm late for work.
          She goes past him.

                         DOUGLAS
          Um ...
          She stops, turns.

                         DOUGLAS (CONT'D)
          What time do you finish?

                         EVELYN
          I get back about 5.

                         DOUGLAS
          Tea time.

                         

                         

                         

                         
           121.

                         EVELYN
          Yes.

                         DOUGLAS
          How do you take it?

                         EVELYN
          With a little milk.
          She turns and walks away.
          She's smiling.

          180 EXT. MARKET, JAIPUR - DAY 180


          EVELYN (V.0.)
          Perhaps it's true: we don't stop
          playing because we grow old, we
          grow old because we stop playing.
          Douglas is haggling with a motorbike mechanic. He seems to
          be having more success with the price than in earlier days.

          180A EXT. ROOFTOP, MARIGOLD HOTEL - DAY 180A

          Carol is lying on Norman's bed, reading a book, while he
          washes his socks in a bucket.

          EVELYN (V.0.) (CONT'D)
          All we really know about the
          future is that it will be
          different.

          181 EXT. VICEROY CLUB. JAIPUR - DAY 181

          Madge is chatting vivaciously to someone. It's the elegant
          older man we saw earlier. And he seems utterly smitten.

          EVELYN (V.0.) (CONT'D)
          So we must celebrate the changes.

          182 EXT. STREET. JAIPUR - DAY 182

          Sonny and Sunaina race through the streets on his
          motorbike. Sonny raises a fist in salute.

          EVELYN (V.0.)
          Let them come. Bring them on.
          Because as someone once said,
          everything will be alright in the
          end ...

                         

                         

                         

                         

          Coming from the other direction, another motorbike, Douglas
          at the handlebars, returning Sonny's greeting.
          And on the pillion seat, riding side-saddle, her scarf
          flying in the breeze, is Evelyn, on her way home from work.
          EVELYN (V.0.) (cont'd)
          So if it's really not alright,
          then trust me: it's not yet the
          end.

                         

                         

                         

                         

                         
 


Best Exotic Marigold Hotel, The



Writers :   Ol Parker
Genres :   Comedy  Drama


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