PRETTY WOMAN
FINAL SCRIPT
by Jonathan Frederick Lawton
From the original script written by J.F. Lawton, with the help of
Stephen Metcalfe, Barbara Benedek, Robert Garland and probably
Garry Marshall (the director of the film) himself. This original
script itself was adapted from Lawton's first script called «Three
Thousand», which was a much darker story about prostitution and
drugs.
BLACK SCREEN
In white letters on the black screen :
TOUCHSTONE PICTURES
PRESENTS
AND THEN :
IN ASSOCIATION WITH
SILVER SCREEN PARTNERS IV
We hear voices over of people chattering and laughing.
MAN (voice over)
Broke in right on the two of them. Caught them.
MAGICIAN (voice over)
No matter what they say, it's all about money.
FADE TO :
PHILIP'S RESIDENCE - PATIO - EXTERIOR DAY
We are in Philip Stuckey's residence on the Hollywood Hills.
Apparently, a party is in progress.
Close Up on the Magician's hands and the hands of two ladies. The
magician is doing tricks with coins in the ladies' hands.
MAGICIAN (voice over)
So let's imagine, ladies, that you're a Savings and Loan
officer. Watch. One, two, three. See ?
On lady has got three coin in her hand, and the other one only
one. The magician takes the three coins from the first lady's
hand, and closes it. Then he takes the only coin from the other
lady's hand, but leaves it open. He puts the four coins in his
hand and closes it.
Credits appears in white capital letters on the screen.
MAGICIAN (voice over)
You've got it all, and we've got nothing. And you have all
four. Just take a look.
He opens his hand, which is empty. Then he opens the first lady's
hand, which contains the four coins.
WOMAN (voice over)
Oh !
MAGICIAN (voice over)
But I wouldn't trust you with real gold. That's why this
one's only worth about a penny.
He takes one of the coins from the first lady's hand, hides it in
his hand, and makes it appears again changed into a huge penny
coin.
End of the first set of credits.
MAN (voice over)
Hmm.
MAGICIAN (voice over)
And if you wonder where the other one went, watch.
His left hand moves to the first lady's' ear, and gets the missing
penny out of it.
PHILIP
A penny from the ear. How much for the rest ?
Philip Stuckey, the host, walks behind the magician. Philip is a
short man in his forties, with receding hair. He looks, at the
same time, obsequious and domineering. His guests laugh at his
joke. Philip moves toward a young man.
The camera follows Philip.
PHILIP
Have you seen Edward ?
THE YOUNG MAN
No, I haven't. Great party, Philip.
PHILIP
Well, my wife went to a lot of trouble : she called a
caterer.
He walks to a group of guest gathered around a large buffet table.
Behind the table, the balustrade of the patio, and in the
background, Hollywood Hills.
PHILIP
Excuse me, Ann. Howard, how are you ?
HOWARD
Philip, good. Hey, I understand Edward's taking over Morse
Industries.
PHILIP
Yeah, well, he's not here to get a suntan.
HOWARD
Can I get in on it ?
PHILIP
Yeah. Call me.
HOWARD
When ?
PHILIP
Just call me.
He turns to another guest and shake hands with him.
PHILIP
Uh, hi. I'm Philip Stuckey, Edward Lewis's lawyer.
THE GUEST
Hey, where's the guest of honor anyway ?
PHILIP
Well, if I know this fellow, he's probably off in a corner
somewhere charming a very pretty lady.
He turns to a charming lady talking with a man.
PHILIP
How are you ?
He gives her a kiss.
PHILIP'S RESIDENCE - STUDY - INTERIOR DAY
Very modern design. An artistic picture of a nude girl on the
wall.
Medium shot of Edward Lewis standing near the desk, talking on the
telephone. He is a very handsome man in his early forties. He is
very elegantly dressed, apparently with a very expensive suit.
EDWARD
I told my secretary to make the arrangements. Didn't she
call you ?
JESSICA (voice over on the telephone)
Yes, she did. I speak to your secretary more than I speak
to you.
EDWARD
I see.
JESSICA (voice over on the telephone)
I have my own life too, you know, Edward.
EDWARD
This is a very important week for me. I need you here.
He walks to the large bay window, overlooking Hollywood Hills.
JESSICA (voice over on the telephone)
But you never give me any notice. You just think I'm at
your beck and call.
EDWARD
I do not believe that you are at my beck and call.
JESSICA (voice over on the telephone)
Well, that's the way you always make me feel. Maybe I
should just move out.
EDWARD
If that's what you want, yes.
JESSICA (voice over on the telephone)
All right, when you get back to New York, we'll discuss it.
EDWARD
Now is as good a time as any.
JESSICA (voice over on the telephone)
That's fine with me, Edward. Good-bye.
She hangs up.
EDWARD
Good-bye, Jessica.
Edward looks down, through the bay window, to the party still
going on on the patio on the floor below. We can hear the chatter
from the party.
PHILIP'S RESIDENCE - STAIRWAY - INTERIOR DAY
Edward is going down the stairs followed by a young blonde man,
wearing a very elegant suit.
YOUNG MAN
Phil suggested that maybe I should take a lawy...
EDWARD
Phil is just my lawyer, okay ?
YOUNG MAN
Yes, sir.
EDWARD
How did the Morse stock open at the Nikkei ?
YOUNG MAN
I don't know.
PHILIP'S RESIDENCE - DOWNSTAIRS HALL - INTERIOR DAY
They have reached the downstairs hall. Edward looks at his watch
and then turns toward the young man. He is looking slightly angry.
EDWARD
You don't know ? Tokyo opened maybe ninety minutes ago. You
have to keep on top of these things, all right ?
YOUNG MAN
Done.
Two charming women walks near the two men. One of the woman turns
toward Edward.
CHARMING WOMAN
Hello, Mr. Lewis.
EDWARD
Hi. How're you doing ?
Edward shakes the woman's hand, who walks away, and turns back to
the young blonde man.
EDWARD
I want this whole thing... wrapped up as soon as possible.
I gotta get to New York by Sunday. I got tickets to the
Met.
YOUNG MAN
Yes, sir.
He moves across the crowd of guests, and reaches a servant, who
gives him his coat.
SERVANT
Your coat, Mr. Lewis.
EDWARD
Thank you.
He starts walking away with his coat in his hands, when he turns
around to the sound of a feminine voice.
SUSAN
Edward !
EDWARD
Susan !
Susan is a beautiful woman, in her late thirties, wearing an
elegant yellow silk blouse.
SUSAN
Hi.
EDWARD
Hi.
They kiss on both cheeks.
SUSAN
I was sorry to hear about Carter.
EDWARD
Oh, yeah. Thanks. Heard you got married.
They start walking slowly toward the exit of the house, Edward's
arm around Susan's waist.
SUSAN
Well... yeah. I couldn't wait for you !
She laughs.
EDWARD
Mmm... Mmm... Susan, tell me something.
SUSAN
Yes ?
They stop walking, and Edward faces Susan.
EDWARD
When you and I were dating, did you speak to my secretary
more than you spoke to me ?
SUSAN
She was one of my bridesmaids.
EDWARD
Hmm. Your husband's a very lucky guy.
They kiss again on the cheeks.
EDWARD
Bye.
SUSAN
Thanks, bye.
PHILIP'S RESIDENCE - LIVING ROOM - INTERIOR DAY
Medium shot of Philip seated in an armchair, talking to a
beautiful red-hair woman, seated in another armchair.
PHILIP
Do you ?
THE RED-HAIR WOMAN
Absolutely.
PHILIP
Wonderful.
Elizabeth, Philip's wife, walks rapidly toward Philip's armchair
and taps him on the shoulder. Elizabeth is a red-hair woman in her
forties. She is still nice-looking, and very elegantly dressed,
but she doesn't have anymore the attraction that a younger woman
can have on Philip.
ELIZABETH
He's leaving. Edward's leaving.
Philip looks toward the entrance of the house, and stands up.
PHILIP
Excuse me.
THE RED-HAIR WOMAN
Sure.
Philip walks rapidly away while Elizabeth looks at him with both
hand on her hips.
PHILIP'S RESIDENCE - PARKING - EXTERIOR DAY
Close shot on a beautiful car : a grey Lotus Esprit.
EDWARD (voice over)
Is this Mr. Stuckey's car ?
Medium shot of two Japanese parking valets, wearing white shirts,
black bow-ties and black vests, looking at him. One of them
answers him in Japanese. We don't understand what he says, but we
understand the word «Stuckey» in his sentence.
Medium shot on Edward standing near Philip's Lotus. Edward turns
around just as Philip is rushing toward him.
PHILIP
Edward, where you going ?
EDWARD
You got the keys to your car ?
PHILIP
Why, what's wrong with the limo ?
EDWARD
Look, the limo is buried back there. Darryl can't get it
out.
Darryl, Edward's chauffeur, is reading a newspaper, next to
another chauffeur. Darryl is a very tall and very strong-looking
Afro-American man. He raises his hand to show his helplessness
about the situation.
PHILIP
Mmm.
EDWARD
Please give me the keys.
Philip gives his car keys to Edward.
PHILIP
All right, look. I don't think you should drive. You're a
little excited. Don't drive my car. Let me work something
out here.
Philip runs toward the Japanese valets.
PHILIP
Fellas, what kind of a system is this ? Can you move these
cars out of here ?
Meanwhile, Edward has seated himself in the driver seat of the
Lotus Esprit. Philip comes back to him as Edward closes the door
of the car.
PHILIP
Look, Edward. Edward... Uh, are you familiar with a stick
shift ?
EDWARD
Uh, yeah.
PHILIP
Have you driven a shift ?
EDWARD
Yeah. Yeah. Yeah.
PHILIP
Listen, all right. Just be ginger with it. Don't...
We hear the gears of the manual box clashing under Edward's
unexperienced hand.
PHILIP
It's a new car. Don't, uh... Just don't...
EDWARD
Okay. I can do it.
Tires squeal as the car rushes forward.
The Japanese valets look up at the noise.
Edward has stopped after a couple of feet, and Philip runs to the
driver's door.
PHILIP
Edward ! Give me a break, please !
EDWARD
I love this car.
PHILIP
I love it too. Look, you don't even know where you're
going. You're gonna get lost in the dark !
The car rushes forward. Tires squeal as Edward accelerate down the
hill road.
The sky is slightly darker. Night is falling.
PHILIP (YELLING)
Beverly Hills is down the hill !
HOLLYWOOD HILLS - EXTERIOR EVENING AND NIGHT
Full shot of the Lotus Esprit driving along the streets of
Hollywood Hills. Edward has switched the lights on.
We hear the song «King of Wistful thinking», performed by Go West.
LYRICS
I don't need to fall at your feet. Just 'cause you cut me
to the bone. And I won't miss the way that you kiss me.
The sky is getting darker, and apparently, Edward doesn't know his
way very well around Hollywood Hills.
Long shot on the famous «HOLLYWOOD» sign up on Hollywood Hills
Back to the car driving on the roads of Hollywood Hills.
Aerial shot of the car coming to a dead end in a parking lot.
EDWARD (voice over)
Oh, shit.
The car backs up.
HOLLYWOOD - EXTERIOR NIGHT
Aerial overview of Hollywood.
The last set of credits starts in white capital letters on this
overview.
The music keeps on playing.
LYRICS
We were never carved in stone. If I don't listen to the
talk of the town. Then maybe I can fool myself. I'll get
over you I know I will. I'll pretend my ship's not sinking.
And I'll tell myself I'm over you.
The overview now shows Hollywood Boulevard.
LYRICS
'Cause I'm the king of wishful thinking.
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
Full shot on street level on Hollywood Boulevard.
The credits are still appearing and disappearing on the screen.
A man is selling maps, advertised by a huge board he is carrying,
and on which is written in red letters : «Maps of the Stars
Homes».
THE MAP VENDOR
Maps here. Maps.
Close Up on two hands exchanging money and drug. Then Close Up on
the faces of the two men.
THE DRUG DEALER (voice over)
Have a good one.
Medium shot of two prostitutes cruising on the sidewalk. A car
drives along the sidewalk, but doesn't stop.
MAN IN CAR (voice over)
What do you say, blondie ?
ONE OF THE PROSTITUTE
Hi, honey, want some fun ?
Close Up on the «Carole Lombard» Star on the Hollywood Boulevard
sidewalk.
Medium shot on two other prostitutes cruising on the sidewalk.
ONE OF THE PROSTITUTE
Hey, baby, you looking for a date ?
Larger shot on a car stopping near the prostitute
MAN IN CAR
Yeah, honey, we're looking.
PROSTITUTE
Well, here I am.
MAN IN CAR
I'm Al and this is my friend Joe. Get in the car.
Another very short view of Hollywood Boulevard, showing a Close
shot on a Chinese Restaurant. An then, a very fast horizontal
panning of the camera, which gives us a blurred picture. The
panning stops in :
SIDE STREET IN HOLLYWOOD - EXTERIOR NIGHT
Medium long shot on a very quiet side street near Hollywood
Boulevard. The street seems even much quieter after all the noise
and the hustle we've seen on the Boulevard itself.
The credits are still appearing and disappearing on the screen.
An ambulance is driving very fast along the street, with its siren
wailing. On the side of the ambulance is written : «Los Angeles
Fire Department», and below : «Paramedic».
The camera lets the ambulance go and moves to show us a shady-
looking building with a vertical neon sign saying «HOTEL», but
only the «H» and the «O» are lit, the others letters being out of
order.
The music fades out.
This building actually is partly a regular hotel, and partly a
place that rents small apartments on a monthly basis.
VIVIAN AND KIT'S APARTMENT - LIVING ROOM - INTERIOR NIGHT
We are in the small apartment rented by Vivian Ward and Kit De
Luca, two young prostitutes, whom we are going to know better
later on.
Close Up on a pretty woman buttocks, just covered by a very small
black lace panty.
An alarm clock is ringing.
The woman turns around, and shows us her stomach and her navel,
showing from under a pink T-shirt.
The camera pans up to the woman's arm and hand stopping the alarm-
clock.
Close-Up on several familial pictures pinned on the wall.
Close-Up on the woman putting on a white sleeveless close-fitting
T-shirt over her black lace bra. But we don't see the woman's
head.
Close-Up on the woman's hand picking up cheap jewels from a table,
and putting them on. On the table there is also an empty bottle of
a strong alcoholic beverage.
LOTUS ESPRIT - INTERIOR NIGHT
Close Up on Edward's face, driving the car. He seems a bit lost.
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
Medium long shot on the Lotus driving on Hollywood Boulevard.
We hear the song «Real Wild Child», performed by Christopher
Otcasek.
Credits keeps on appearing and disappearing on the screen.
LYRICS
Well, I'm just goin' to school like I'm real, real cool.
Gotta dance like a fool Got the message.
VIVIAN AND KIT'S APARTMENT - LIVING ROOM - INTERIOR NIGHT
Close-Up on a black stiletto-heel boot. The woman's hand is using
a black felt-pen to hide the clear spots on the heel of the boot.
LYRICS
And I gotta be a wild one Ooh, yeah. I'm a wild one.
Close-Up on the woman's hand pulling the zipper up along the side
of the boot.
LYRICS
Gonna break it loose. Gonna keep on moving wild.
Close-Up on the face of the woman, putting mascara on her
eyelashes. The woman is named Vivian Ward, and her head is covered
by a blonde wig.
LYRICS
Gonna keep on swinging, baby I'm a real wild child.
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
The Lotus is driving through a crossroad. The tires screech, and
the car swings a little. Apparently, Edward is still having
problems with his gear shift.
The camera follows the car for a couple of seconds.
VIVIAN'S HOTEL STAIRCASE - INTERIOR NIGHT
Close Up on Vivian's legs going down the stairway. Then the camera
moves backward and we see her in full. Another woman is going up
the stairs.
HOTEL MANAGER (voice over)
Now, wait a minute. You don't seem to understand me.
Vivian stop in mid-stairs.
HOTEL MANAGER (voice over)
That's my job. At the end of the month, I collect
everybody's rent.
Quick shot, through the bannister, of the manager talking to an
Afro-American woman.
Back to Vivian still standing on the stairs.
HOTEL MANAGER (voice over)
Now give me the money, or you're outta here.
Vivian goes back up the stairs.
VIVIAN AND KIT'S APARTMENT - BATHROOM - INTERIOR NIGHT
Close-Up on the toilet water tank, and Vivian's hands taking the
lid off. She then takes a green plastic box out of the water. She
opens the box and looks at the money hidden inside the box. There
is only one one-dollar bill left.
LYRICS
Gonna meet all my friends. Gonna have myself a ball. Gonna
tell my friends. Gonna tell them all.
VIVIAN AND KIT'S APARTMENT - LIVING ROOM - INTERIOR NIGHT
Vivian crosses the room.
LYRICS
That I'm a wild one. Ooh, yeah I'm a wild one.
Vivian opens a window and gets out of the room.
VIVIAN'S HOTEL - EXTERIOR NIGHT
High angle shot of Vivian going out of the window and on the
emergency exit.
LYRICS
Gonna break the news. Gonna keep on moving wild. Gonna keep
on swinging, baby. I'm a real wild child.
Vivian starts going down the emergency stairway.
SIDE STREET IN HOLLYWOOD - EXTERIOR NIGHT
A dark street around Hollywood. The Lotus is driving slowly. The
engine is revving, as the car turns around the corner of the
street.
LOTUS ESPRIT - INTERIOR NIGHT
Edward looks around him, visibly a bit anxious : he know he is
completely lost.
VIVIAN'S HOTEL - EXTERIOR NIGHT
Close Up on Vivian's face seen through the emergency ladder moving
down.
An old woman is looking at her from across the street.
Full shot on the building and Vivian going down the steps of the
emergency ladder.
Close shot on Vivian reaching ground level and walking away.
LYRICS
I'm a real wild one and I like wild fun. In a world going
crazy everything seems hazy.
Medium shot. Vivian walks though a gap in the wire fence behind
the hotel, and walks away on the street. The camera tilts slightly
up and we see a painted inscription on the wall of the hotel that
says «HOTEL - APTS».
LYRICS
I'm a wild one. Ooh, yeah, I'm a wild one. Gonna break the
news Gonna keep on moving wild.
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
Long shot. The shot is slightly high angled.
LYRICS
Gonna keep on swinging, baby I'm a real wild child.
End of credits.
The camera pans around and comes down to street level.
The music fades out.
We hear the voice of an Afro-American man yelling.
THE AFRO-AMERICAN (voice over)
Welcome to Hollywood ! Everybody comes to Hollywood got a
dream. What's your dream ? What's your dream ?
A young man with a red T-shirt and a white cap crosses the
boulevard on a skateboard. He reaches the sidewalk and gets lost
in the crowd. We see the Afro-American man. He is wearing a flashy
printed shirt. He crosses the boulevard coming toward us.
THE AFRO-AMERICAN
Hey, mister ? Hey, what's your dream ?
Medium shot on a group of three young men seated on the sidewalk.
One of them is the skateboard man we've just seen crossing the
boulevard.
The young man stands up. He has apparently given something
(drugs ?) to the two other ones.
SKATEBOARD MAN
Have a good one.
He jumps on his skateboard and rolls away. He passes Vivian who is
walking toward us.
With the street lights, we get a better view of Vivian. She is a
young woman in her early twenties. She is very tall and slim. She
is a beautiful woman, even though her prostitute outfit and heavy
make-up makes her a little less beautiful than she actually is.
She is wearing a red jacket and a man's very large cap on her
blonde wig. Underneath the jacket she is wearing her very short
sleeveless white top, which is attached to her also very short
blue skirt with a big metal ring. She is carrying a big bag
strapped on her shoulder.
A WOMAN (voice over)
What happened ?
A MAN (voice over)
Some chick. She bought it over there.
Medium shot just a little further on the street. A young plain-
cloth policeman is showing his badge to an afro-american man.
THE POLICEMAN
Detective Albertson. What do you know about that girl ?
THE AFRO-AMERICAN
I tell you, man. I don't know who she hang with.
Vivian walks behind them. She gives them a quick look, but doesn't
stop.
THE POLICEMAN
Come on, guy. We just pulled her out of a Dumpster in the
back. Who was her pimp ?
The camera follows Vivian, but we keep hearing what the two men
are saying.
THE AFRO-AMERICAN (voice over)
Cocaine her pimp. She a strawberry. She be out on these
streets day in, day out, trading her sorry self for some
crack.
Vivian stops, and looks at something we don't see on the sidewalk.
She turns her head away, not feeling well because of what she has
just seen.
THE POLICEMAN (voice over)
And what do you do ?
Back to the two men.
THE AFRO-AMERICAN
I'm cool.
THE POLICEMAN (snickering)
Oh, I'll bet.
He turns around. Two tourists, a male and a female are taking
snapshots of what is down on the pavement, and which we still
haven't seen.
THE POLICEMAN
Hey, hey, hey ! Excuse me ! Excuse me ! What are you, from
the press ?
THE FEMALE TOURIST
No, no. We're from Orlando.
The policeman looks at his uniformed colleague.
THE POLICEMAN
Oh, I don't believe this. Do you... I got tourists
photographing the body, Al.
The uniformed policeman starts pulling the tourists away.
Close-Up shot on a lit sign that says «The Blue Banana Club»,
Full shot from across the street, showing the entrance of the
club, with the sign, that we've just seen, above the door.
WOMAN (voice over)
What happened ?
ANOTHER WOMAN (voice over)
Man !
THE BLUE BANANA CLUB - MAIN ROOM - INTERIOR NIGHT
Close up on a woman's hips moving in rhythm with the sound of the
music. The camera tilts up and we discover she is painting a
fresco on the wall of the club. The fresco represents various
hippy-looking characters.
The camera pans along the fresco and then moves back into the
crowd of the club. People are dancing. We hear the song «Show Me
Your Soul» performed by Red Hot Chili Peppers.
LYRICS
In a world that can be so insane. I don't think it's very
strange for me to be in love with you.
Vivian crosses the dance floor and stops near a staircase leading
to the upper floor. She looks around, visibly looking for someone.
LYRICS
I wanna know more than your brain.
Vivian walks to the bar. The bartender is an older man, nicknamed
«Pops».
VIVIAN
Hey, Pops, has Kit been in here ?
POPS
Upstairs in the poolroom.
Vivian goes to the staircase and start walking upstairs.
LYRICS
Not something that I respected. And now I smile for your
affection. We have made a soul connection.
THE BLUE BANANA CLUB - UPSTAIRS POOLROOM - INTERIOR NIGHT
Close shot on Kit De Luca sitting down, and bobbing her head up
and down in rhythm with the music.
Kit is a girl in her early twenties. She is clearly shorter than
Vivian, and has dark hair. She looks a bit Latino. Actually she
from Italian origin. She is pretty, but not as beautiful as
Vivian, and more vulgar. She is wearing sunglasses and is absently
combing the front of her hairline.
LYRICS
Just for whom does your bell toll. Don't be cruel. Show me
your soul.
Kit suddenly realizes that someone is standing near her and
looking down at her. She stops combing her hair and looks up. She
takes her glasses off and smiles.
KIT
Yo, Viv !
Vivian doesn't smile back at her, and looks even a bit angry.
VIVIAN
Is it all gone ?
Instead of answering her friend's question, she points to the
people around her.
KIT
Carlos, you know my roommate, Vivian. This is Angel. That's
the Dude.
VIVIAN
I know everybody ! Is it all gone, Kit ?
KIT
Carlos sold me some great shit. We just had this party. I
was the hostess.
VIVIAN
I can't believe you bought drugs with our rent. What is
going on with you, Kit ?
Vivian grabs Kit's arm and makes her stand up.
KIT
I needed a little pick-me-up.
VIVIAN
Well, we need rent money !
Carlos stands up and faces Vivian. He is a young Latino man.
CARLOS
Yo, calm down, chica. She only owes me 200 more.
KIT
Carlos !
VIVIAN
Another 200 dollars ?
KIT
That was from way before.
CARLOS
That's right, 200, Vivian. But if you wanna work off her
money with me, we can work something out.
KIT
That's a very sweet offer, Carlos, but not now.
She grabs Vivian's arm and leads her to the staircase.
KIT
Come on, Viv. Come downstairs.
VIVIAN
Work out... Work out what ? What are we gonna work out ?
When they are gone, the girl named «Angel» looks at Carlos.
ANGEL
You really like her, Carlos ?
The music fades out.
THE BLUE BANANA CLUB - MAIN ROOM - INTERIOR NIGHT
Vivian and Kit are walking down the staircase.
VIVIAN
You took it while I was sleeping ?
KIT
You were unavailable for consultation.
Kit walks to the bar, and makes Vivian follow her.
KIT
Hey, let's go. Snack ! Snack !
She has reached the bar and starts picking bits of food in plates
on the counter.
KIT
Besides, it's my apartment.
VIVIAN
Yeah, well, I have to live there too, Kit.
KIT
Look, you came here. I gave you some money. I gave you a
place to stay...
Close Up on Kit's hands picking food (olives, onions, cherries...)
in the snack plates, and putting them on a paper napkin.
KIT
...and some valuable vocational advice. He was on my case.
I had to give him something.
Back to the two girls behind the bar.
KIT
So don't irritate me.
POPS
This ain't a buffet, Kit.
Kit moves around Vivian, sits on a stool at the bar, and starts
eating.
VIVIAN
Irritate you ? Irritate you ? I just saw a girl pulled out
of a Dumpster.
She sits down on another stool.
KIT
I know. Skinny Marie. But... she was a... a flake. She was
a crack head. Dominic was trying to straighten her out for
months.
We hear people shouting in the background and glass being broken.
The two girls turns their heads around for a second and then come
back to their conversation at the bar.
WOMAN (voice over)
Leave her alone !
MAN (voice over)
Leave her alone !
WOMAN (voice over)
Come on, Blake !
VIVIAN
Don't you want to get out of here ?
KIT
Get out of where ? Where the fuck you wanna go ?
SIDE STREET IN HOLLYWOOD - EXTERIOR NIGHT
A very quiet street.
Close shot on a tramp looking though some junks left over on the
sidewalk, in front of a house.
THE TRAMP
Aah, nothing but garbage.
Full shot on the street, seen from the other side of the street.
The Lotus Esprit stops at the tramp's level.
EDWARD (voice over)
Uh, excuse me.
The tramp lifts his head.
THE TRAMP
Huh ?
EDWARD (voice over)
Can you tell me how to get to Beverly Hills ?
THE TRAMP
You're here !
Close Up shot on Edward's face behind the wheel on his car.
THE TRAMP (voice over)
That's Sylvester Stallone's house right there.
He snickers.
Back to the full shot of the street with the Lotus and the tramp
behind it.
EDWARD (voice over)
Thank you.
THE TRAMP
You're welcome.
The car moves away.
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
Medium full shot on Vivian and Kit standing near a table on which
a man is selling some souvenirs. Another prostitute is leaning on
a tree. Kit walks toward the prostitute.
KIT
Hey, yo, Rachel.
RACHEL
What ?
KIT
Yeah. You see the stars on the sidewalk, babe ?
She is mentioning the stars of the Walk of Fame, embedded in the
sidewalk of the boulevard.
RACHEL
Yeah.
KIT
Well, Vivian and me, we work Bob Hope, we work the Ritz
Brothers, we work Fred Astaire, we work all the way down to
Ella Fitzgerald. This is our turf. We got seniority. You
better get off our corner.
RACHEL
Forgive me. I was just taking a rest here. Besides, she's
new.
KIT
Yeah. Well, I'm old, so go rest up by Monty Hall or Esther
Wilson.
RACHEL
Williams.
KIT
Esther Williams ! Where you belong !
RACHEL
Back off, Kit. You know, you're really becoming a grouch.
She walks away on the boulevard. Kit turns toward Vivian.
KIT
Am I really a grouch ?
VIVIAN
Yes. Sometimes.
KIT
Well, just 'cause I'm hungry. I'm gonna go get something to
eat.
We hear someone whistling, and then :
MAN (voice over)
Hey, girls.
Kit turns toward the boulevard, where the voice is coming from.
KIT
Hey, yo, baby !
Medium shot on an open convertible red car driving along the
boulevard. In the car, three young men, two in the front, one in
the back. The man sitting next to the driver, yells to the girls.
MAN IN THE CAR
How about a freebie ? It's my birthday.
The car keeps on moving on the boulevard and out of view.
Back on Vivian and Kit.
KIT
Dream on !
VIVIAN
It's looking really slow tonight.
She takes her cap off.
KIT
Yeah, well... maybe we should get a pimp, you know. Carlos
really digs you.
VIVIAN
And then he'll run our lives and take our money. No.
KIT
You're right. We say who, we say when, we say how much.
VIVIAN
Do you think I look like Carol Channing ?
Kit puts her hands on Vivian's blonde wig.
KIT
No ! I love this look. It's very glamorous. Glamour choice.
We hear brakes screeching. Kit turns around toward the noise.
KIT
Oh, yo, oh, yo. Catch this !
Full shot on the boulevard. The Lotus is driving along the
boulevard. The car bounces a little, while the gears are grinding.
Back to the two girls watching the car. Vivian points to it.
VIVIAN
Wait a minute. That's a Lotus Esprit.
We see the car passing in front of the girls. Apparently, it has
stopped a little further on the boulevard, because we hear its
brakes screeching.
Reverse angle shot showing the two girls with the stopped car
behind them.
KIT
No, that's rent. You should go for him. You look hot
tonight. Don't take less than a hundred. Call me when
you're through. Take care of you.
Vivian hugs Kit.
VIVIAN
Take care of you.
She takes her jacket off and puts it across her bag. She walks
slowly toward the car.
KIT (voice over)
Work it. Work it, baby. Work it ! Work it. Own it.
LOTUS ESPRIT - INTERIOR NIGHT
Edward is sitting behind the wheel.
EDWARD
Yes, you can handle this.
Close Up on Edward's hand trying to work the gearshift.
EDWARD (voice over)
First is here somewhere.
We hear the gears grinding, but the shift doesn't want to move
into first gear position.
Back to Edward sitting in his car. We see Vivian's back bending to
look through the passenger's window.
VIVIAN
Hey, sugar, you looking for a date ?
EDWARD
No, I wanna find Beverly Hills. Can you give me
directions ?
Reverse angle shot showing Vivian's face through the window
VIVIAN
Sure. For five bucks.
Reverse angle shot on Vivian's back.
EDWARD
Ridiculous.
VIVIAN
Price just went up to ten.
EDWARD
You can't charge me for directions.
Reverse angle shot on Vivian's face.
VIVIAN
I can do anything I want to, baby. I ain't lost.
Reverse angle shot on Vivian's back. She is standing up.
Reverse angle shot showing Vivian's standing body through the
window.
EDWARD
All right, okay ?
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
Full shot. On the other side of the boulevard, a little group of
people, including Carlos, is looking at the scene.
CARLOS
Is that Vivian ?
ANOTHER MAN
Where ?
Medium shot on the Lotus seen from the back. Vivian opens the
passenger door and climbs in.
EDWARD (voice over)
All right. You win, I lose. Got change for a twenty ?
LOTUS ESPRIT - INTERIOR NIGHT
Vivian grabs the 20 dollars bill, and puts it away.
VIVIAN
For twenty, I'll show you personal. Even show you where the
stars live.
EDWARD
Oh, that's all right. I already been to Stallone's.
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
On the other side of the boulevard, the little group is still
looking at the scene. They start crossing the boulevard.
LOTUS ESPRIT - INTERIOR NIGHT
VIVIAN
Right. Uh, down the street.
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
The little group is still crossing the boulevard.
CARLOS
Vivian, did you forget ? I told you don't take no dates
tonight.
LOTUS ESPRIT - INTERIOR NIGHT
Edward tries to start the car, but he just starts the windshield
wipers !
CARLOS (voice over)
Vivian !
VIVIAN
Let's go.
Close up on Edward's hand trying to work the gearshift.
CARLOS (voice over)
Hey, where you going, baby ?
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
Close Up on the Lotus rear license plate : «2QCE465»
CARLOS (voice over)
Vivian !
Larger shot on the car driving away.
VIVIAN (voice over)
Lights ! Lights would be good here.
Full shot on Hollywood Boulevard traffic, with the Lotus, seen
from the front in the middle of the traffic.
EDWARD (voice over)
I guess this is not the greatest time to be a hooker, is
it ?
Closer shot showing the couple seen through the windshield
VIVIAN
Look, I use condoms always. I get checked out once a month
at the free clinic. Not only am I better in the sack than
an amateur, I am probably safer.
LOTUS ESPRIT - INTERIOR NIGHT
EDWARD
I like that. That's very good. Should have that printed on
your business card.
VIVIAN
If you're making fun of me, I don't like it.
EDWARD
No, I'm not making fun of you.
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
The couple seen through the windshield.
EDWARD
No, I'm not making... I'm not. I wouldn't offend you. I'm
sorry.
Back on the boulevard. A traffic light going from amber to red. We
hear the tires screeching as the car stops.
LOTUS ESPRIT - INTERIOR NIGHT
EDWARD
What's your name ?
VIVIAN
What do you want it to be ?
Edward smiles to her.
VIVIAN
Vivian. My name is Vivian.
EDWARD
Vivian.
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
The light turned green, and the car starts.
VIVIAN (voice over)
So, what hotel you staying at ?
EDWARD (voice over)
The, uh, Regent Beverly Wilshire.
VIVIAN (voice over)
Down the block, right at the corner.
We hear gears grinding.
HOLLYWOOD - A WIDE STREET - EXTERIOR NIGHT
We are now off Hollywood Boulevard, in another wide street or
boulevard in Hollywood.
Full shot on the car moving away from us.
Medium shot of the couple through the windshield.
VIVIAN
Man, this baby must corner like it's on rails !
EDWARD
I beg your pardon ?
VIVIAN
Well, doesn't it blow your mind ? This is only four
cylinders.
LOTUS ESPRIT - INTERIOR NIGHT
Close Up on Edward's hand trying to change gears. It doesn't
really succeed, and we hear a grinding noise.
HOLLYWOOD - A WIDE STREET - EXTERIOR NIGHT
Back on the shot through the windshield.
EDWARD
You know about cars. Where did that come from ?
VIVIAN
Road and Track. The boys back home I grew up with, they
were really into American heavy metal : Mustangs,
Corvettes.
EDWARD
Ah.
LOTUS ESPRIT - INTERIOR NIGHT
VIVIAN
They bought them cheap and fixed them up. I paid attention.
So how is it you know so little about cars ?
EDWARD
My first car was a limousine.
VIVIAN
Oh.
EDWARD
So where is this...
He tries to shift gears and gets another grinding noise.
EDWARD
...heavy metal... home ?
VIVIAN
Milledgeville, Georgia. You know, I think you left your
transmission back there. You're not shifting right. This is
a standard «H».
EDWARD
Standard «H». Like I know what that means.
She laughs.
EDWARD
Have you ever driven a Lotus ?
VIVIAN
No.
EDWARD
You're gonna start right now.
HOLLYWOOD - A WIDE STREET - EXTERIOR NIGHT
Back on the shot through the windshield.
VIVIAN
You're joking.
EDWARD
No. It's the only way I can get you off my coat.
Medium shot on a lingerie shop.
We see Vivian's head, and then the camera follows her as she
climbs into the driver's seat. Edward closes his door on the
passenger's side. Vivian closes her door and puts her seat belt
on.
VIVIAN
Fasten your seat belts. I am taking you for the ride of
your life. I'm gonna show you what this car can really do.
Are you ready ?
EDWARD
I am ready.
VIVIAN
Hang on.
EDWARD
Okay.
VIVIAN
Here we go.
She adjusts the back-view mirror.
Medium close-up shot of the car seen from the back with the camera
set on the road. The car starts very fast, but also very
smoothly : it is now driven by very expert hands.
Several shots of the car racing along the streets.
Shot of the the couple through the windshield.
VIVIAN
This has pedals like a race car. They're really close
together. So it's probably easier for a woman to drive,
because they have little feet. Except me. I wear a size
nine.
LOTUS ESPRIT - INTERIOR NIGHT
VIVIAN
You know your foot's as big as your arm from your elbow to
your wrist ?
She shows her arm to Edward, who chuckles.
VIVIAN
Did you know that ?
EDWARD
No, I didn't know that.
VIVIAN
It's a little bit of trivia.
Edward looks at her and smiles.
HOLLYWOOD - A WIDE STREET - EXTERIOR NIGHT
Shot of the couple seen through the windshield.
EDWARD
Tell me, what kind of... what kind of money you girls make
these days ? Ballpark.
VIVIAN
Can't take less than a hundred dollars.
EDWARD
A hundred dollars a night ?
VIVIAN
For an hour.
EDWARD
An hour ? You make a hundred dollars an hour and you got a
safety pin holding your boot up ? You gotta be joking.
LOTUS ESPRIT - INTERIOR NIGHT
VIVIAN
I never joke about money.
EDWARD
Neither do I. Hundred dollars an hour. Pretty stiff.
She puts her right hand on Edward's zipper.
VIVIAN
Well, no. But it's got potential.
Edward doesn't react, but he looks at her in such a way that she
feels she has better take her hand off his zipper.
BERVERLY HILLS - EXTERIOR NIGHT
Several shots of the car driving fast in Beverly Hills.
REGENT BEVERLY WILSHIRE HOTEL - EXTERIOR NIGHT
The tires of the car squeal as it makes a last fast turn to stop
in front of the hotel.
Full shot. The Regent Beverly Wilshire Hotel is a very luxurious
hotel, certainly one of the most expensive hotel of the Los
Angeles area.
Medium shot on a uniformed attendant, who is standing near the
entrance of the hotel, and rushes to Edward's car.
Medium full shot on the Lotus parked in front of the hotel. The
attendant opens the passenger's door of the car, while Vivian
comes out of the car on her own.
HOTEL ATTENDANT
Good evening, Mr. Lewis. Will you be needing the car
anymore tonight ?
EDWARD (LAUGHING)
I... I hope not !
He gets out of the car. The attendant closes the door and then
moves away, while Vivian joins Edward on the sidewalk.
VIVIAN
Ah. You're here.
EDWARD
Yeah.
He looks at her for a couple of second, before talking again.
EDWARD
So you'll be all right ?
VIVIAN
Yeah, I'm gonna grab a cab with my twenty bucks.
EDWARD
Go back to your office.
She laughs.
VIVIAN
Yeah. My office. Yeah.
EDWARD
Well, thanks for the ride.
VIVIAN
See you.
EDWARD
Good-bye.
Edward starts turning around to go inside the hotel, but doesn't
do it, and instead looks back in Vivian's direction.
Medium shot on Vivian seated on the backrest of a public bench,
with her feet resting on the bench itself. She puts her cap back
on.
EDWARD (voice over)
No taxis ?
VIVIAN
No, I like the bus.
Edward walks to the bench on which Vivian is sitting.
Quick medium shot on the uniformed attendant watching the scene
with curiosity from the entrance of the hotel.
Back to Vivian and Edward.
EDWARD
I was thinking... Did you really say a hundred dollars an
hour ?
VIVIAN
Yeah.
EDWARD
Yeah... Well, if you don't have any prior engagements, I'd
be very pleased if you would accompany me into the hotel.
VIVIAN
You got it.
She gets off the bench and laughs.
VIVIAN
What is your name ?
They start walking toward the entrance of the hotel
EDWARD
Edward.
VIVIAN
Edward. That's my favorite name in the whole world !
He smiles.
EDWARD
No ?!
VIVIAN
I tell you what, this is fate, Edward. That's what this is.
EDWARD
Why don't you put this on ?
He puts his coat, which he was carrying on his arm, on Vivian's
shoulders, and then wraps it around Vivian's body, in order to
cover as much as he can of Vivian's very conspicuous outfit.
VIVIAN
Why ?
EDWARD
Well, this hotel is not the kind of establishment that
rents rooms by the hour.
VIVIAN
Ah.
REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR NIGHT
Medium shot on Edward and Vivian crossing the hotel lobby. While
walking, Vivian puts her arms into the sleeves of the coat. Then
she raises her eyes to look at the luxury around her.
VIVIAN
Wow !
EDWARD (voice over)
It's all right.
Medium full shot on the guests seated in comfortable armchairs
near the front desk. All these guests are very elegantly dressed,
and mostly middle-aged. They all look with curiosity at the
strange couple that just walked in.
VIVIAN (voice over)
Holy shit.
EDWARD
You're gonna be fine. Come with me. And stop fidgeting.
Another medium shots on seated guests staring at the couple.
Edward walks to the reception desk, with Vivian following him. A
very neatly dressed female receptionist is behind the counter.
FEMALE RECEPTIONIST
Good evening, Mr. Lewis.
EDWARD
Hello. You have messages ?
FEMALE RECEPTIONIST
Yes, we have several.
EDWARD
Thank you.
While Edward is looking through his messages, Vivian is leaning on
the wall near the reception desk and looks around her. She takes
her cap off, but one still can see her strange outfit underneath
the slightly open coat. She stares at a passing female guest who
stares back at her.
EDWARD
Could you send up some champagne and strawberries, please ?
FEMALE RECEPTIONIST
Of course.
She picks up the phone.
FEMALE RECEPTIONIST
Room service for Mr. Lewis, please.
Edward slowly walks away from the desk, taking Vivian along with
him.
Medium shot on the elevator doors. Edward and Vivian reach the
elevator, and Edward presses the call button. A middle-aged couple
is already waiting for it. They both look at Vivian. Vivian turns
around and notice their disapproving look. She raises her leg and
puts the tip of her boot on the high ash-tray set near the door of
the elevator, showing her thigh to the couple, and especially to
the man.
VIVIAN
Oh, honey. You know what's happened ? I've got a runner in
my pantyhose.
She laughs and turns to the middle-aged couple.
VIVIAN
I'm not wearing pantyhose.
We hear the ding of the elevator bell. Vivian puts her leg down.
The elevator door opens on Dennis, the young elevator attendant.
Vivian is the first one to walk in.
VIVIAN
Well, color me happy ! There's a sofa in here for two.
Edward wants to let the middle-aged couple enter the elevator
first. The man starts to move, but his wife holds him back.
REGENT BEVERLY WILSHIRE HOTEL - ELEVATOR - INTERIOR NIGHT
Reverse angle shot on Vivian sitting on the sofa at the back of
the cabin. She puts one leg on the sofa. Dennis looks at her and
smiles.
REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR NIGHT
Back on the entrance of the elevator. Edward starts to walk in the
cabin. The middle-aged couple remains outside.
EDWARD
First time in an elevator.
THE FEMALE OF THE MIDDLE-AGED COUPLE
Ah...
She turns her head toward her husband.
THE FEMALE OF THE MIDDLE-AGED COUPLE
Close your mouth, dear.
The door of the elevator closes.
REGENT BEVERLY WILSHIRE HOTEL - ELEVATOR - INTERIOR NIGHT
Dennis doesn't look at the couple behind him, but he still has a
very broad smile. Vivian stands up from the sofa.
VIVIAN
Sorry, I couldn't help it.
EDWARD
Try.
The elevator moves up. Dennis tries to look casual, but doesn't
really succeed.
REGENT BEVERLY WILSHIRE HOTEL - PENTHOUSE HALLWAY - INTERIOR NIGHT
Close shot on the elevator door. It opens.
DENNIS
Penthouse.
VIVIAN
The penthouse. Mmmm !
EDWARD
Yes.
Vivian gets out of the elevator.
EDWARD
To the left.
VIVIAN
Oh.
Edward gets out of the elevator. Dennis can't keep his eyes off
Vivian, and watches her walking in the hallway. Edward turns
around and looks at him a bit severely. Dennis wipes the smile off
his face, goes back into the cabin of the elevator and closes the
doors. The camera follows Edward walking away to the door of the
penthouse, where Vivian is waiting for him. He gets his magnetic
card out of his pocket.
Close Up on Edward's hands trying to insert the magnetic card into
the slot in the lock of the door. He sighs.
EDWARD
Oh, I miss keys.
PENTHOUSE - LIVING ROOM - INTERIOR NIGHT
Medium shot on the penthouse living room with the front door in
the background. Everything - the rug on the floor, the furniture -
is nice and very classy. All the lights are on. The front door
opens.
Edward walk in first, followed by Vivian. He switches more lights
on. Vivian closes the door and starts walking around the huge
living room. Edward looks at her.
EDWARD
Impressed ?
VIVIAN
You kidding me ? I come here all the time. As a matter of
fact, they do rent this room by the hour.
EDWARD
Sure they do.
Edward has been taking a newspaper left by an attendant on a small
table near the front door. He crosses the room and and drops the
newspaper on the desk. He sits down behind the desk, and starts
looking through his mail, while Vivian walks out on the terrace.
VIVIAN (voice over from the terrace)
Wow, great view ! I bet you can see all the way to the
ocean from out here.
EDWARD
I'll take your word for it, because I don't go out there.
Vivian walks in the room through another French window-door on the
other side of the desk. She puts her bag on an armchair.
VIVIAN
Why don't you go out there ?
EDWARD
I'm afraid of heights.
VIVIAN
You are ?
Edward nods his head.
VIVIAN
So how come you rented the penthouse ?
EDWARD
It's the best. I looked all around for penthouses on the
first floor, but I can't find one.
Vivian takes off Edward's coat and puts in on a sofa.
VIVIAN
Well, now that you have me here, what are you going to do
with me ?
EDWARD
Want to know something ? I don't have a clue.
VIVIAN
No ?
EDWARD
I hadn't exactly planned this.
VIVIAN
Well, do you plan everything ?
She takes her red jacket off.
EDWARD
Always.
VIVIAN
Yeah. Me too.
She sits down on an armchair.
VIVIAN
I'm actually... No, I'm not a planner. I wouldn't say I was
a planner. I would say I was, hum, a kind of «fly by the
seat of my pants» girl. You know, moment to moment. That's
me. That's... Yeah.
Edward, still seated behind his desk, watches her with a strange
look in his eyes. He suddenly realizes that perhaps he hasn't done
something very wise in bringing Vivian with him.
VIVIAN
Mm-hmm. You know, you could pay me. That's one way to maybe
break the ice.
EDWARD
Oh, yeah. I'm sorry. Uh, I assume cash is acceptable.
He takes his wallet out of this jacket.
VIVIAN
Cash works for me, yeah.
She stands up and walks to the desk. Edward puts the money on the
desk. She takes the money and sits on the desk. She puts the money
in one of her high boots.
EDWARD
You're on my fax.
VIVIAN
Well, that's one I haven't been on before.
She doesn't stand up but moves slightly in a very suggestive way.
Edward takes his fax, but doesn't seem to react at Vivian's
suggestive movements.
EDWARD
Cute. Very cute. Thank you.
She laughs, and zips one of her boots down. Out of the boot, she
takes several condoms wrapped in cellophane paper.
VIVIAN
All right. Here we go. Pick one. I got red, I got green, I
got yellow. I'm out of purple, but I do have one gold
circle coin left. The condom of champions. The one and
only. Nothing is getting through this sucker. What d'you
say ? Hmm ?
EDWARD
A buffet of safety.
VIVIAN
I'm a safety girl.
Edward stands up from his desk. Immediately Vivian reaches for his
zipper.
VIVIAN
All right, let's get one of these on you.
EDWARD
No, no. I...
He laughs awkwardly.
EDWARD
Why don't we just talk for a little bit, okay ?
He takes his jacket off, and puts it on the back of the desk
chair.
VIVIAN
Talk. Yeah... uh... okay. Edward, are you in town on, uh,
business or pleasure ?
EDWARD
Business, I think.
He walks away from the desk across the room.
VIVIAN
Business, you think.
She zips her boot back up, stands up and follows him across the
room.
VIVIAN
Well... let me guess.
Edward, now in his shirtsleeves, but still with his necktie and
his vest on, has seated himself in an armchair.
VIVIAN
That would make you... a lawyer.
She sits downs on a low pouf in front of his armchair.
EDWARD
A lawyer ?
VIVIAN
Mm-hmm.
EDWARD
What makes you think I'm a lawyer ?
VIVIAN
You've got that, um... sharp, useless look about you.
EDWARD
I bet you've known a lot of lawyers.
VIVIAN
I've known a lot of everybody.
The doorbell chimes. They both stand up.
VIVIAN
What is that ?
He turns around and find his face very close to Vivian's face, and
seems a little disturbed by it.
EDWARD
Champagne.
VIVIAN
Oh ! Well. Might as well make myself useful. Take a load
off.
The doorbell chimes again.
Vivian runs across the room to the front door and opens it. A room
service male attendant comes in carrying a loaded tray. Vivian
closes the door behind him.
ROOM SERVICE ATTENDANT
Good evening.
VIVIAN
Hi.
ROOM SERVICE ATTENDANT
Uh, where would you like it ?
VIVIAN
Where would we like it ?
Edward has seated himself back in the armchair.
EDWARD
Uh, over by the bar.
The attendant seems a little surprised by Vivian's outfit, but,
being a good luxury hotel attendant, he pretends not to notice,
and carries the tray onto the bar. After he has put the tray down,
he turns around and almost bumps into Vivian, who was standing
behind him.
VIVIAN
Excuse me !
She giggles.
ROOM SERVICE ATTENDANT
It'll be on your bill, Mr. Lewis.
EDWARD
Thank you.
The attendant doesn't move away and remains close to Vivian,
staring at her.
VIVIAN
What are you looking at ?
The attendant clears his throat.
VIVIAN
What is he looking at ?
Edward walks toward the attendant, and gives him some tip money.
EDWARD
Ah, yes. Here you go. Thank you very much.
ROOM SERVICE ATTENDANT
Thank you very much, sir. Have a nice night.
The attendant walks out of the room. Edward walks to the bar.
VIVIAN
A tip. Wow. I missed that one. Oh.
(in a much softer voice)
Stupid.
EDWARD
Don't worry about it.
Edward sets the champagne glasses on the bar.
VIVIAN
You mind if I take my boots off ?
She sits down on the steps that run across the room, separating it
in two slightly different levels.
EDWARD
Not at all.
VIVIAN
So, do you have a wife ? Girlfriend ?
She zips one of her boots down.
EDWARD
I have both.
VIVIAN
Where are they ? Shopping together ?
She takes her knee-length sock off. We hear the champagne bottle
cork popping off.
EDWARD
My ex-wife... is now in Long Island... in my ex-home...
with my ex-dog.
He brings her a glass of Champagne, which he sets down on the
floor besides her. Vivian is taking her other boot off.
EDWARD
There you go.
He walks back to the bar to take his own glass.
EDWARD
My ex-girlfriend, Jessica, is in New York... moving out of
my apartment even as we speak.
He looks at her, a bit surprised.
Vivian is draining her glass empty. Edward comes near her, with a
silver bowl in his hands. In the bowl are some fresh strawberries.
EDWARD
Why don't you try a strawberry ?
He takes the lid off the bowl and shows it to her.
VIVIAN
Why ?
EDWARD
It brings out the flavor in the champagne.
VIVIAN
Oh, groovy.
She takes a strawberry and eats it. Edward closes the bowl and
brings it back on the bar. He sits down on a stool.
VIVIAN
Pretty good. Don't you drink ?
EDWARD
No.
VIVIAN
Listen, I... I appreciate this whole seduction scene you've
got going, but let me give you a tip : I'm a sure thing,
okay ? So, I'm on an hourly rate. Could we just move it
along ?
EDWARD
Somehow I'm sensing that this time problem is a major issue
with you.
He stands up.
EDWARD
Why don't we just get through that right now ?
VIVIAN
Great, let's get started.
EDWARD
How much for the entire night ?
VIVIAN
Stay here ?
(SHE SNICKERS)
You couldn't afford it.
EDWARD
Try me.
VIVIAN
Three hundred dollars.
EDWARD
Done. Thank you. Now we can relax.
He takes the glass off her hand. She stands up.
VIVIAN
Are you sure you want me to stay for the entire night ? I
mean, I could just pop you good and be on my way.
She walks to the bar, where Edward is filling the glass with
Champagne.
EDWARD
To tell you the truth, I don't feel like being alone
tonight.
He gives her the glass, and she immediately drinks it. He sits
down on the stool.
VIVIAN
Why ? Is it your birthday or something ?
EDWARD
No.
VIVIAN
I mean, I have been the party at a couple of birthdays.
EDWARD
I bet you have.
VIVIAN
So what do you want me to do ?
He doesn't answer immediately, remains pensive for a couple of
seconds, and then looks at her. He laughs.
EDWARD
I don't know. I really don't know.
PENTHOUSE - BATHROOM - INTERIOR NIGHT
Close Up on the sink, and Vivian's hands been washed. She turns
the faucet off and takes an white towel to dry her hands.
The camera tilts up to Vivian's face, who walks to the door.
VIVIAN
I'll be out in just a minute. That champagne kind of got to
me.
She closes the door, and goes back to the sink. Edward re-opens
the door and enters the bathroom.
EDWARD
I didn't hear you. What did you say ?
Vivian hides something behind her back, but her hand in her back
can be seen in one of the bathroom mirror.
VIVIAN
Uh... I said I'd be out in just a minute.
Edward looks worried. He points to her
EDWARD
What is... What do you have in, uh, your hand there ? What
are you hiding ?
VIVIAN
Nothing.
He walks toward her and sighs. He grabs her by the arm and moves
her toward the door. He takes her hand bag
EDWARD
All right, look. I do not want any drugs here. I don't want
any of this. Get your things and your money and please
leave.
She gets rid of his hand.
VIVIAN
I don't do drugs, all right ? I... I stopped doing drugs
when I was fourteen.
EDWARD
What is this ? What is this ?
Close Up on Vivian's hand, which Edward is opening by force. She
was hiding a little box of dental floss. Edward has put Vivian's
bag under his arm.
EDWARD
This is dental floss.
She takes her dental floss back.
VIVIAN
Yeah ? So ? I had all those strawberry seeds. And you
shouldn't neglect your gums.
EDWARD
I'm sorry. Please continue.
VIVIAN
Thank you.
She walks to the sink. He start walking across the room, but stops
in his tracks, and looks at her. She turns around from the sink
and looks at him.
VIVIAN
Are you gonna watch ?
EDWARD
No, I'm going.
He gives the handbag back to her.
VIVIAN
Thank you.
EDWARD
It's just that, uh, very few people surprise me.
VIVIAN
Yeah, well, you're lucky. Most of them shock the hell out
of me.
He nods his head. She goes back to the sink and brings a piece of
dental floss to her mouth, stops, and brings it down. She turns
around.
VIVIAN
You're watching.
EDWARD
I'm going.
He closes the door. Vivian starts cleaning her teeth with dental
floss.
PENTHOUSE - LIVING ROOM - INTERIOR NIGHT
Close Up shot on the TV screen, where an old black and white
episode of «I love Lucy» is being played. It is episode 23 from
Season 5, called «Lucy's Italian Movie». Lucy is standing close to
a huge bucket full of grapes, and seems a bit reluctant to climb
into it. Behind her, a fat Italian lady is speaking Italian to
her.
We hear recorded laughs coming from the TV set.
The camera moves away from the TV set.
We hear Edward's voice speaking on the telephone.
EDWARD (voice over)
Yes, that may be true, Vance.
We hear Vivian laughing.
EDWARD (voice over)
Yes, I know, but I still need the numbers on Morse
Industries.
On the TV screen, the Italian fat lady is climbing into the bucket
full of grapes.
The camera keeps on moving away from the TV set, and we discover
Vivian sitting on the floor and drinking Champagne. And, behind
her, we see Edward sitting on an armchair near a small table on
which the telephone set is resting. Edward is writing on a
document resting on his laps.
EDWARD
Uh-huh. I've got them from London. I need them now from
Tokyo. I'll call down and get them when I want them. Thank
you very much.
He puts the phone down back on its hook.
Medium high angle shot on Vivian sitting on the floor, with all
kinds of goodies around her, including the Champagne bottle in its
bucket.
VIVIAN
I have a little carpet picnic here. Are you sure you don't
want a drink ?
Back on Edward, still writing on the document on his laps. He
snorts.
EDWARD
I'm high on life. Can't you tell ?
Quick shot on Vivian laughing.
Medium shot on the TV screen, where Lucy is putting a reluctant
foot in the bucket. Close Up on her foot reaching into the grapes.
She screams with a wide open mouth.
Back on Vivian changing position and lying on her stomach to be
more comfortable to watch TV. She laughs.
Edward watches her without moving from his armchair.
VIVIAN (voice over)
You know, I never saw this episode.
Edward chuckles. And then he stands up.
Vivian is still lying on the floor, laughing. Edward sits down on
the sofa next to her.
Shot on the TV screen, where Lucy is stomping the grapes, with a
disgusted face. We hear Vivian laughing very loudly.
Close Up on Vivian's face laughing and holding the glass of
Champagne. She looks up at Edward, still seated on the sofa.
Close shot on Edward looking at Vivian
Close Up shot on Vivian's face. She has a strange smile on her
face.
Close Up shot on Edward's face looking at Vivian.
Back to Vivian. We hear the recorded laughs coming from the TV
set. Vivian stands up on her arms and knees and walks on all four
toward the sofa.
Quick shot on the TV screen, where Lucy and the other woman are
stomping the grapes.
High angle shot on Vivian on her knees near the sofa. She puts a
hand up inside Edward's pants leg. Edward snorts.
On the TV screen, Lucy now seems to be enjoying her grapes
stomping.
Still resting on her knees, Vivian is taking her white top off her
shoulders. She slips it down, and because the top is attached to
the skirt, the skirt comes down with it. Vivian is now wearing
only her black lace underwear and bra. Vivian puts the top and the
skirt away from her on the floor, and bends down on the seated
Edward. Suddenly, she stands up and walks away. Edward seems
surprised. But she comes back with a cushion that she drops on the
floor, and then kneels on it. She takes the TV remote control from
the table by the sofa, and presses a button on it.
On the TV screen, Lucy and the Italian lady are still stomping the
grapes, but the sound shuts off.
Back to the sofa. Closer shot. Vivian puts the remote control back
on the table. Then she leans on Edward, and starts taking his
necktie off. Edward puts his hand on her hair, and seems
surprised : he hadn't realized it was a wig.
Quick shot on the TV screen, where Lucy and her Italian friend are
now dancing on the grapes.
Back to the sofa, where Vivian is taking Edward's pants off. She
opens his shirt on his chest, and bends on it.
Close Up on their two faces, very close to each other.
VIVIAN
What do you want ?
EDWARD
What do you do ?
VIVIAN
Everything. But I don't kiss on the mouth.
EDWARD
Neither do I.
She bends on his chest and starts kissing him on the chest, going
down. She stops to look at the TV.
On the TV screen, the Italian lady is throwing grapes in Lucy's
face.
Back to Vivian, who smiles and resumes her kissing job on Edward's
chest.
Close Up shot on Edward's face : he is inhaling very strongly.
PENTHOUSE - BATHROOM - INTERIOR NIGHT
Edward is in the shower, hot water pouring on his head. He opens
his eyes and seems to think about what just happened. He turns
around to turn the water off.
Close Up shot on the shower head. The water stops pouring from the
head.
PENTHOUSE - BEDROOM - INTERIOR NIGHT
Edward is just out of the bathroom, wearing a white bathrobe. He
puts his towel around his neck. He bends on the armchair, and
picks up one of Vivian's bracelet. The camera pans away from the
armchair, showing Vivian's clothes and stuff scattered around,
including her blonde wig.
Edward looks at Vivian's things, then turns his head around toward
the bed. He looks at the bed for a couple of seconds without
moving, then starts walking toward the bed.
Reverse angle shot, showing Vivian asleep on her stomach in the
bed, her long red hair scattered around her head.
Edward walks away from the bed.
PENTHOUSE - LIVING ROOM - INTERIOR NIGHT
Medium full shot in the dark room. Edward is sitting behind the
desk, working, the only light in the room being the lamp on the
desk.
REGENT BEVERLY WILSHIRE HOTEL - EXTERIOR DAY
Early morning.
Full shot on the façade of the hotel. Two men are cleaning the
sidewalk in front of the hotel, one with a water hose, the other
one with a big broom. A uniformed attendant is watching them,
standing near the main door of the hotel. The man holding the
broom walks toward the attendant.
THE MAN WITH THE BROOM
Hey, how you doing there ?
THE UNIFORMED ATTENDANT
All right.
REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR DAY
Medium full shot of the lobby.
At his early hour, there are not many guests in the lobby of the
hotel, only a chambermaid dusting a table, and three uniformed
attendants talking together.
Barnard Thompson, the manager of the hotel, crosses the lobby,
wearing a very elegant dark suit, and carrying a black briefcase.
Barnard Thompson will be later in the film nicknames «Barney» by
Vivian. It is this nickname that we shall use to refer to him in
the dialogues.
BARNEY
Good morning, gentlemen.
ONE OF THE UNIFORMED ATTENDANT
Good morning, Mr. Thompson.
BARNEY
Good morning, good morning.
He keeps on walking toward the reception desk.
ANOTHER ATTENDANT
Good morning, sir.
Behind the desk, three clerks, two females and one male
ONE OF THE FEMALE CLERKS
Good morning.
THE OTHER FEMALE CLERK
Good morning, Mr. Thompson.
A chambermaid is cleaning some leather armchairs around a low
table in front of the desk. Without interrupting his walk, Barney
turns his head toward her.
BARNEY
Good morning, Marjorie.
She waves her hand to him.
PENTHOUSE - LIVING ROOM - INTERIOR DAY
A uniformed waiter, with white glove, is setting the breakfast
table. Edward enters the room, wearing a dark-colored night-robe,
and with a wireless telephone receiver stuck between his head and
his shoulder.
EDWARD
Of course Morse is going to fight. It's to be expected.
He's run his company for a very long time now. I don't
think he's ready to have his name taken off the stationery.
Edward signs the bill the waiter has shown to him.
PHILIP'S RESIDENCE - DINING ROOM - INTERIOR DAY
Medium shot of Philip sitting behind the breakfast table. He is
talking to Edward on the telephone. On the table in front of him,
a cup, white china pots and a glass of orange juice.
PHILIP
He wants to meet you face to face, hmm...
PENTHOUSE - LIVING ROOM - INTERIOR DAY
EDWARD (whispering to the waiter)
Okay.
PHILIP (voice over from the telephone)
I wouldn't do it.
EDWARD
Sure, you wouldn't. But do it anyhow. Tonight. Dinner. Set
it up.
Edward sits on a chair at the breakfast table.
PHILIP'S RESIDENCE - DINING ROOM - INTERIOR DAY
PHILIP
Oh, Edward, Edward. I... Look, it's really not a good idea
that you see him.
A middle-aged maid walks behind him with a glass jar of coffee,
fresh from the percolator. She wants to pour some coffee in
Philip's cup, but, with his free hand, he moves her away.
PHILIP
Definitely not alone.
(HE CHUCKLES)
You know ? He's a feisty old guy. You know, we say the
wrong thing...
(He snaps his fingers)
...we could wind up in court.
The maid walks out of the room.
PENTHOUSE - LIVING ROOM - INTERIOR DAY
EDWARD
Well, you know, there's always a possibility things are
gonna go wrong.
The waiter leaves the room, and Vivian walks in from the bedroom,
wearing a white bathrobe.
EDWARD
That's why I enjoy this so much. Oh, by the way, Phil,
about your car.
PHILIP'S RESIDENCE - DINING ROOM - INTERIOR DAY
Suddenly, Philip has a worried look on his face.
PHILIP
Oh, God. What ?
PENTHOUSE - LIVING ROOM - INTERIOR DAY
Vivian stops in the middle of the room, behind Edward's back.
EDWARD
It corners like it's on rails.
PHILIP'S RESIDENCE - DINING ROOM - INTERIOR DAY
PHILIP
What ? What does that mean ?
PENTHOUSE - LIVING ROOM - INTERIOR DAY
PHILIP (voice over on the telephone)
Edward ? Edward !
He presses the «off» button on the telephone and puts it on the
table. He picks up his newspaper. Vivian has not moved from the
spot where she had stopped in the middle of the living room.
VIVIAN
Hi.
Edward turns around and smiles to Vivian.
EDWARD
Well, good morning.
She slightly touches her hair.
VIVIAN
Red.
EDWARD
Better.
VIVIAN
Y...You didn't wake me. I can see you're really busy. I'm
gonna be out of here in just a minute.
EDWARD
No, there's no hurry. Are you hungry ? You must be.
He stands up from the table.
EDWARD
Why don't you sit and have something to eat ?
She walks slowly to the table.
EDWARD
I, uh, took the liberty of ordering everything on the menu.
Close Up shot on the table. Edward takes off the metal lids that
were covering two plates. One has scrambled eggs and bacon, the
other one has pancakes and strawberries.
EDWARD
I didn't know what you'd like.
VIVIAN
Thanks.
EDWARD
All right ? Good.
Edward puts the lids on the table. Vivian takes a pancake and
walks slowly to the terrace. She seems embarrassed.
EDWARD
Did you sleep well ?
VIVIAN
Yeah, too good.
Vivian enters the terrace.
VIVIAN (voice over from the terrace)
I forgot where I was.
Edward has seated himself at the breakfast table and is working on
some documents.
EDWARD
Occupational hazard ?
She comes back into the room and chuckles.
VIVIAN
Yeah. Did you sleep ?
EDWARD
Uh, yes, a little, on the couch.
She sits down on the table near Edward.
EDWARD
I was, uh, working last night.
VIVIAN
You don't sleep, you don't do drugs, you don't drink, you
hardly eat. What do you do, Edward ? Because I know you're
not a lawyer.
He laughs.
EDWARD
That's right.
He looks at her sitting on the table, and points to the chairs
around the table.
EDWARD
There are four other chairs here.
VIVIAN
Oh.
She stands up and walks to an empty chair. She sits on it with one
foot on the chair and her knee up above table level. She goes on
eating breakfast.
VIVIAN
So what do you do ?
EDWARD
I buy companies.
VIVIAN
What kind of companies ?
EDWARD
Uh, I buy companies that are in financial difficulty.
VIVIAN
If they have problems, you must get them for a bargain,
huh ?
EDWARD
Well, the company I'm buying this week, I'm getting for the
bargain price of about one billion.
She almost chokes on her pancake.
VIVIAN
A billion dollars ?
EDWARD
Yes.
VIVIAN
Wow. You must be really smart, huh ?
He chuckles.
VIVIAN
I only got through the eleventh grade. How far did you go
in school ?
EDWARD
I went all the way.
VIVIAN
Your folks must be really proud, huh ?
He doesn't answer and just smiles.
She keeps on eating and tries to peak at the documents in front of
him.
PENTHOUSE - BATHROOM - INTERIOR DAY
Edward is in shirtsleeves and vest, in front of the mirror,
knotting his tie. Vivian walks in.
VIVIAN
So you don't actually have a billion dollars, huh ?
EDWARD
No, I get some of it from banks, investors. It's not an
easy thing to do.
She sits down on the table in front of him.
VIVIAN
And you don't make anything.
EDWARD
No.
VIVIAN
And you don't build anything.
EDWARD
No.
VIVIAN
So what do you do with the companies once you buy them ?
EDWARD
I sell them.
VIVIAN
Here, let me do that.
She grabs his necktie and starts knotting it properly.
VIVIAN
You sell them ?
EDWARD
Well, I... don't sell the whole company. I break it up into
pieces... and then I sell that off. It's worth more than
the whole.
Close Up shot on Edward's necktie, and Vivian's hands knotting it.
Back on a medium shot of Vivian working on Edward's tie.
VIVIAN
So it's sort of like, um, stealing cars and selling them
for the parts, right ?
EDWARD
Yeah, sort of. But legal.
EDWARD
Mm-hmm.
Close Up on Edward's tie, which is now very well knotted.
VIVIAN (voice over)
There. See, now it's perfect.
Edward puts a final hand on his tie.
EDWARD
Not bad. Not bad at all. Where'd you learn to do that ?
She stands up and goes out of the room.
VIVIAN
Well, I screwed the debate team in high school.
She comes back with his jacket, and helps him put in on.
VIVIAN
I had a grandpa ! He was nice to me. He liked ties on
Sundays. Mind if I, um, take a swim in your tub before I
go ?
EDWARD
Not at all. Just stay in the shallow end.
He goes out of the bathroom, followed, a couple of seconds later,
by Vivian.
PHILIP'S RESIDENCE - DINING ROOM - INTERIOR DAY
The breakfast has been cleared away. Philip's expensive leather
attaché-case is lying on the table, supporting a big agenda.
Philip is on the phone.
EDWARD (voice over on the phone)
Hello ?
PHILIP
Edward, it's Phil. Listen, I'm running out the door.
PENTHOUSE - BEDROOM - INTERIOR DAY
Medium shot. Edward is speaking on a regular cord phone.
PHILIP (voice over on the phone)
I just wanted to let you know, Morse is all set for
tonight.
EDWARD
Oh, that's good.
PHILIP (voice over on the phone)
He's bringing his grandson.
PHILIP'S RESIDENCE - DINING ROOM - INTERIOR DAY
PHILIP
He's grooming him to take over. I don't know.
PENTHOUSE - BEDROOM - INTERIOR DAY
EDWARD
Ah, yes. Very intense young man named David. He plays polo.
PHILIP'S RESIDENCE - DINING ROOM - INTERIOR DAY
PHILIP
Look, I gotta say this again. I don't like you going alone,
you know.
PENTHOUSE - BEDROOM - INTERIOR DAY
In the background, we hear Vivian singing «Kiss» by Prince... not
very well !
VIVIAN (singing in voice over)
I just want your extra time and your...
The rest of the song is covered by what Philip is saying to Edward
over the phone.
PHILIP (voice over on the phone)
Look... Well, I just think it'd be better if you... if you
went with a date.
VIVIAN (singing in voice over)
Uh-oh !
Edward walks out of the bedroom, carrying the telephone set.
PHILIP (voice over on the phone)
You know ? Keep it social.
He chuckles in the phone.
VIVIAN (singing in voice over)
Uh - uh - uh !
PENTHOUSE - BATHROOM - INTERIOR DAY
Still carrying the phone set and with the phone receiver on his
ear, Edward enters the bathroom.
VIVIAN (singing in voice over)
Got to know talk, baby, baby !
PHILIP (voice over on the phone)
Edward ? Did you hear me ?
EDWARD
Oh, yes. Yeah, I'm here.
He walks to the bathtub, where Vivian is immersed in a foam-bath.
She has earphones on her ears, and she is singing with her eyes
closed.
VIVIAN (SINGING)
If you want to impress me...
PHILIP (voice over on the phone)
What is that ?
Edward is standing near the bathtub, but Vivian, because of the
loud music in her earphones and her closed eyes, doesn't seem to
notice him.
VIVIAN (SINGING)
Oh-oh-oh...
EDWARD
Housekeeping is singing.
VIVIAN (SINGING)
Got to be too flirty, Mama...
PHILIP'S RESIDENCE - DINING ROOM - INTERIOR DAY
Philip seems a bit surprised by what he hears over the telephone.
VIVIAN (singing in voice over in the phone)
I know how to undress me...
Philip tries to concentrate on what he is saying to Edward.
PHILIP
Yeah... listen.
PENTHOUSE - BATHROOM - INTERIOR DAY
Edward is still standing near the bathtub with the telephone to
his ear.
PHILIP (voice over on the phone)
Edward, I know a lot of nice girls.
Edward snorts.
EDWARD
No, you don't.
Medium shot on the bathtub, where Vivian is still singing with her
eyes closed. We see the yellow walkman lying on the bathtub edge
near her head. She is holding the water faucet with one hand.
VIVIAN (SINGING)
I just want your extra time and your...
She makes loud kisses with her mouth.
VIVIAN (SINGING)
Kiss...
Back to Edward standing near the bathtub.
EDWARD
Besides, I already have one.
VIVIAN (singing in voice over)
If you want to impress me...
Edward starts walking around the bathtub to get closer to Vivian's
head.
EDWARD
You just concentrate on finding out what Morse is up to.
VIVIAN (SINGING)
Uh-uh, you can't be too flirty, mama.
EDWARD
I'm on my way.
High angle close-up shot on Vivian's head.
VIVIAN (SINGING)
I know how to undress me Mm-hmm...
Slight low angle shot of Edward. He has put the telephone set down
somewhere, and he is looking at Vivian, smiling.
VIVIAN (singing in voice over)
Yeah, baby...
He sits down on the bathtub edge.
VIVIAN (singing in voice over)
I want to be your fantasy. Well, maybe you could be mine.
Back to Vivian singing in the bathtub.
VIVIAN (SINGING)
Mm-hmm You just leave it. All up to me.
She opens her eyes and notices Edward sitting on the edge of the
bathtub close to her. She laughs.
Edward also laughs looking at her.
Vivian takes off her earphones, and puts them on the edge with the
Walkman.
VIVIAN
Don't you just love Prince ?
EDWARD
More than life itself.
VIVIAN
Don't you knock ?
EDWARD
Vivian, I have a business proposition for you.
VIVIAN
What do you want ?
EDWARD
I'm gonna be in town until Sunday. I'd like you to spend
the week with me.
Vivian smiles, not believing what she just heard.
VIVIAN
Really ?
EDWARD
Yes. Yes, I'd like to hire you as an employee. Would you
consider spending the week with me ?
She laughs awkwardly.
EDWARD
I will pay you to be at my beck and call.
VIVIAN
Look, I'd love to be your «beck and call girl», but, uh,
you're a rich, good-looking guy. You could get a million
girls free.
EDWARD
I want a professional. I don't need any romantic hassles
this week.
VIVIAN
If you're talking twenty-four hours a day, it's gonna cost
you.
EDWARD
Oh, yes, of course !
He stands up.
EDWARD
All right, here we go. Give me a ballpark figure. How
much ?
VIVIAN
Six full nights, days too. Four thousand.
EDWARD
Six nights at three hundred is eighteen hundred.
VIVIAN
You want days too.
EDWARD
Two thousand.
VIVIAN
Three thousand.
EDWARD
Done.
VIVIAN
Holy shit !
She laughs, and dives her head underwater.
Medium full shot of Edward bending over the bathtub.
EDWARD
Vivian ?
He talks louder for her to be able to hear him underwater.
EDWARD
Vivian, is that a yes ?
She taps her feet on the bottom of the bathtub.
Closer shot of Vivian coming out of the water, her face all
covered with foam.
VIVIAN
Yes.
She brushes the foam off her face. Edward dries her face with a
white towel. She spits water and laughs.
VIVIAN
Yes !
PENTHOUSE - LIVING ROOM - INTERIOR DAY
Edward is coming out of the bedroom, followed by Vivian. Vivian is
wearing a white bathrobe, and her head is wrapped in a white
towel.
Edward has taken his wallet out of his pocket and he is giving
several banknotes to Vivian.
EDWARD
I'll be gone most of the day. I want you to buy some
clothes.
Vivian looks at the thick wad of banknotes he just gave her.
VIVIAN
You really should think about traveler's checks.
Edward keeps on walking across the room, with Vivian following
him.
EDWARD
We may be going out evenings. You'll need something to
wear.
VIVIAN
Like what ?
EDWARD
Uh, nothing too flashy. Not too sexy.
He stops at the breakfast table, put some documents back in his
brief-case and closes it.
EDWARD
Conservative. You understand ?
VIVIAN
Boring.
EDWARD
Elegant. Any questions ?
He picks up his brief-case and walks to the front door.
VIVIAN
Can I call you Eddie ?
EDWARD
Not if you expect me to answer.
VIVIAN
I would've stayed for two thousands.
He had almost reached the door, but he comes back to face her.
EDWARD
I would've paid four. I'll see you tonight.
He walks to the front door.
VIVIAN
Baby, I'm gonna treat you so nice, you're never gonna wanna
let me go.
He has opened the door but he turns around.
EDWARD
Three thousand for six days. And, Vivian, I will let you
go.
He goes out and closes the door. Vivian smiles and speaks very
quietly.
VIVIAN
But I'm here now.
She laughs and runs toward the bedroom.
PENTHOUSE - BEDROOM - INTERIOR DAY
She laughs and screams, and jumps on the bed. Still laughing
wildly, she rolls on the bed.
VIVIAN
Three thousand dollars !
She kicks the bed with her foot. Then she remains quiet for a
couple of seconds, gets rid of the towel on her head, and sits up
on the bed.
VIVIAN
Oof !
She picks up the telephone set on the night table and puts it on
the bed.
VIVIAN AND KIT'S APARTMENT - KIT'S BEDROOM - INTERIOR DAY
Kit is asleep with a scarf spread on her head. She is wearing a
blue T-shirt. On the night table, various fast food items. The
phone rings. Kit starts up, and gets rid of the scarf. She pushes
the covers away, and, in the bed with her, we discover a Teddy
Bear with a red sweater. She picks up the phone from the floor.
KIT
Hello ?
PENTHOUSE - BEDROOM - INTERIOR DAY
Vivian is still seated on the bed, with the phone receiver on her
ear.
VIVIAN
I called and called. Where were you last night ?
VIVIAN AND KIT'S APARTMENT - KIT'S BEDROOM - INTERIOR DAY
Kit sits up on her bed, suddenly worried.
KIT
Ma ?
VIVIAN (voice over on the phone)
It's Viv.
Kit relaxes.
KIT
Oh. Hi. I had to party. Where are you ?
PENTHOUSE - BEDROOM - INTERIOR DAY
VIVIAN
Oh, man. Are you ready for this ? The guy ? The Lotus ? I
am in his hotel room in Beverly Hills. The penthouse. His
bathroom is bigger than the Blue Banana !
VIVIAN AND KIT'S APARTMENT - KIT'S BEDROOM - INTERIOR DAY
Kit has taken a big paper cup, with a straw stuck in it, from the
night-table.
KIT
Do I have to hear this ?
PENTHOUSE - BEDROOM - INTERIOR DAY
Vivian is getting very serious.
VIVIAN
Kit, he wants me to stay the whole week. And you know what
he's gonna give me ?
VIVIAN AND KIT'S APARTMENT - KIT'S BEDROOM - INTERIOR DAY
VIVIAN (voice over on the phone)
Guess. You'll never guess.
Kit drinks some soda from her cup.
VIVIAN (voice over on the phone)
Three thousand dollars.
KIT
Bullshit !
PENTHOUSE - BEDROOM - INTERIOR DAY
VIVIAN
I swear to God. And extra money to buy clothes.
VIVIAN AND KIT'S APARTMENT - KIT'S BEDROOM - INTERIOR DAY
Kit is walking around the room with the telephone receiver stuck
between her head and her shoulder.
KIT
Oh, man ! I am bummed. I gave that guy to you !
VIVIAN AND KIT'S APARTMENT - KITCHEN - INTERIOR DAY
Kit enters the kitchen and puts her soda cup on the table. The
room is a mess. Dirty dishes in the sink. Table covered with food
and junk. Clothes hanging to dry in the shower cubicle.
KIT
Three thousand. Really ? Is he twisted ?
Kit looks for something in the mess in the sink.
PENTHOUSE - BEDROOM - INTERIOR DAY
Vivian is now lying on her back with her legs on the pillow.
VIVIAN
No.
KIT (voice over on the phone)
Ugly ?
VIVIAN
He's good-looking !
KIT (voice over on the phone)
Well, what's wrong with him ?
VIVIAN
Nothing.
VIVIAN AND KIT'S APARTMENT - KITCHEN - INTERIOR DAY
Kit comes out of the shower cubicle with a toothbrush in her hand.
KIT
Did he give you the money yet ?
VIVIAN (voice over on the phone)
At the end of the week.
KIT
That's what's wrong with him.
PENTHOUSE - BEDROOM - INTERIOR DAY
Vivian turns around on the bed.
VIVIAN
Well, he gave me three hundred for last night. And, Kit ?
She sits on the bed.
VIVIAN
I'm gonna leave some at the front desk for you. I want you
to pick it up.
VIVIAN AND KIT'S APARTMENT - LIVING ROOM - INTERIOR DAY
Kit is brushing her teeth while speaking on the phone.
VIVIAN (voice over on the phone)
I'm at the Regent Beverly Wilshire. Write it down. Are you
writing it down ? You'll forget it. Write it down.
Kit sits down, picks up a felt pen and write on the plastic stool
she is sitting on.
KIT
Reg... Bev... Wil.
PENTHOUSE - BEDROOM - INTERIOR DAY
VIVIAN
Now, one more thing. Where do I go for the clothes ? Good
stuff, on him.
VIVIAN AND KIT'S APARTMENT - LIVING ROOM - INTERIOR DAY
She is still seated on the stool.
KIT
In Beverly Hills ?
VIVIAN (voice over on the phone)
Yeah.
KIT
Rodeo Drive, baby.
REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR DAY
Medium shot. Near the reception desk, the hotel manager, Barnard
«Barney» Thompson is talking with an Italian male guest and an
older lady seated in a wheelchair. The Italian guest is showing a
business card to Barney and talking in Italian.
Vivian crosses the lobby, dressed in the same prostitute outfit as
the day before, but without her wig. She has her large handbag
across her shoulder and her red jacket is tied around her waist.
Barney gives her a quick look, but goes back to his conversation
with the Italian guest. He takes the card the Italian is holding.
BARNEY
Ah !
Medium shot on the reception desk. Miss Wilson, a blonde
bespectacled receptionist girl is behind the desk.
VIVIAN
Hi.
MISS WILSON
Yes, ma'am. May I help you ?
Vivian puts an envelope on the desk.
VIVIAN
Yeah, I'm leaving this here for Kit De Luca. She's gonna
pick it up.
The receptionist takes the envelope and looks at it.
VIVIAN
Don't open that.
MISS WILSON
No, ma'am.
Back on Barney and the Italian guests.
[ SPEAKING ITALIAN ]
THE ITALIAN GUEST
Multo Grazie. Arrivederci.
BARNEY
Arrivederci.
Vivian walks near them, with the high heels of her boots clicking
on the floor. The Italian starts pushing the wheelchair. Barney
looks at Vivian.
THE ITALIAN GUEST
Andiamo.
Reverse angle shot on the lobby. Vivian keeps on walking quite
fast, and barely avoids bumping into an uniformed hotel attendant
loaded with luggage.
Reverse angle shot on Barney still standing at the same place. He
turns his head toward the desk.
BARNEY
Miss Wilson, do you know that lady ?
MISS WILSON
No, sir.
Barney turns back toward the departing Vivian.
REGENT BEVERLY WILSHIRE HOTEL - EXTERIOR DAY
Full shot of the building of the hotel.
We hear the song «Wild Women Do», performed by Natalie Cole.
LYRICS
Wild women do. And they don't regret it.
The camera pans down to street level and away from the hotel into
Rodeo Drive.
RODEO DRIVE - EXTERIOR DAY
The camera pans along the expensive shop along Rodeo Drive. Many
well-dressed people are walking on the sidewalk. Several are
carrying bags from the shops.
LYRICS
Wild women show what they're going through.
The camera crosses the street on a crosswalk. Vivian is walking on
this crosswalk.
LYRICS
Ooh ! Wild women do what you think you'll never.
Vivian looks at the pedestrians, so different from the ones she is
used to see on Hollywood Boulevard.
Several quick Close Up shots on various emblems above the shops :
«Louis Vuitton», «Chanel», «Diamonds on Rodeo» «Gucci»
LYRICS
What you only dream about wild women do.
Mediums shot. Vivian stops near a jewel shops and looks in the
window at the expensive jewels. She then moves away, looking
around and smiling.
LYRICS
Oh, yes, they do.
Vivian keeps on walking looking up at the emblems. She apparently
doesn't notice that several pedestrians are looking at her,
surprised by her «costume».
LYRICS
You tell me you want a woman who is simple as a flower.
Close shots on the beautiful clothes in the windows and then at
Vivian smiling and looking at the clothes.
LYRICS
Well, if you want me to act like that, you've got to pay me
by the hour.
A convertible BMV drives on the street. Both the male driver and
the female passenger are talking on their cell phones.
BOUTIQUE - INTERIOR DAY
A very expensive «boutique». A saleswoman and an old lady are
seated on a sofa. The saleswoman is showing some items of clothing
to the old lady. Through the window, we see Vivian walking toward
the entrance of the shop.
LYRICS
Wild women do and they don't regret it.
Close shot on another saleswoman, who is arranging some flowers in
a big vase. She is very neatly dressed and looks a bit snobbish.
Vivian enters the shop. The saleswoman seated on the sofa looks up
at her.
LYRICS
Oh, wild women show what they're going through.
A third saleswoman, wearing a black jacket and standing behind a
counter, looks up at Vivian. The saleswoman, who is arranging the
flowers, also looks at Vivian.
LYRICS
Oooh-whoo ! Ooh, yeah.
Vivian stops to look around and then walks to dresses hanging on a
rail, and starts looking at them.
LYRICS
Wild women do what you think you'll never.
The music fades out.
High angle shot on the whole shop. The saleswoman (Saleswoman #
1), who was arranging the flower, is now standing behind Vivian.
SALESWOMAN # 1
May I help you ?
VIVIAN
Well, I'm just checking things out.
SALESWOMAN # 1
Are you looking for something in particular ?
Medium shot on Vivian and the saleswoman. Vivian has moved away
from the hanging rail.
VIVIAN
No. Well, yeah. Uh... something... conservative.
She looks at a dummy wearing a very elegant suit. The saleswoman
looks up and down at Vivian's «costume», and answers with a forced
smile.
SALESWOMAN # 1
Yes.
Vivian walks away to watch other items in the shop.
VIVIAN
You got nice stuff.
SALESWOMAN # 1
Thank you.
VIVIAN
How much is this ?
Vivian looks at another dummy wearing a very elegant light-colored
dress. The saleswoman (Saleswoman # 2) with the black jacket has
joined them.
SALESWOMAN # 1
I don't think this would fit you.
VIVIAN
Well, I didn't ask if it would fit. I asked how much it
was.
The saleswoman # 1 turns toward her colleague.
SALESWOMAN # 1
How much is this, Marie ?
SALESWOMAN # 2
It's very expensive.
SALESWOMAN # 1
It's very expensive.
VIVIAN
Look, I got money to spend in here.
She starts walking nervously around the shop.
SALESWOMAN # 1
I don't think we have anything for you. You're obviously in
the wrong place. Please leave.
The two saleswoman are staring at Vivian, who seems thunderstruck
by this unexpected blow. She walks to the door, and leaves the
shop.
RODEO DRIVE - EXTERIOR DAY
Vivian is walking on the sidewalk of Rodeo Drive, among the very
elegantly dressed pedestrians. She has put her red jacket back on
and is keeping it close to her waist with one hand. She walks very
nervously, and her high heels don't help her to walk in a very
elegant way.
We catch snatches of the conversations taking place around Vivian.
WOMAN'S VOICE
Doctor's office ? Two blocks down and to your left.
MAN'S VOICE
Thank you.
Vivian seems almost annoyed by those uninteresting bits of
conversation. She keeps on walking.
REGENT BEVERLY WILSHIRE HOTEL - EXTERIOR DAY
Full shot in front of the hotel. Vivian is crossing the street.
Two businessmen in grey suits are talking just near the entrance
of the hotel.
ONE OF THE BUSINESSMEN
Tiffany is taking the corner space. They like the project.
We're very excited about the whole thing. Did you realize
that Via Rodeo is the first new street... in Beverly Hills
in seventy-five years ?
Closer shot of Vivian entering the hotel under the surprised stare
of the uniformed attendant at the door.
REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR DAY
Vivian crosses the lobby. Barney, the manager, who was standing
near the open door of an office, walks toward her.
BARNEY
Excuse me, miss, may I help you ?
VIVIAN
I'm going to my room.
She keeps on walking and Barney follows her.
BARNEY
Uh, do you have a key ?
She stops walking and turns around to face Barney.
VIVIAN
Oh. I forgot that cardboard thing. I'm on the top floor.
BARNEY
You're a guest here ?
VIVIAN
I'm with a friend.
BARNEY
And who would that be ?
VIVIAN
Edward.
BARNEY
Edward ?
The elevator bell dings and the elevator door opens.
VIVIAN
Edward... Edward, uh...
Barney nods his head.
BARNEY
Mm-hmmm.
Dennis comes out of the elevator. Vivian points at him.
VIVIAN
He knows me.
Barney turns toward Dennis.
BARNEY
Dennis.
Dennis walks toward his boss.
BARNEY
Dennis, did you just come off the night shift ? Hmm ?
DENNIS
Yes, sir.
Barney buttons the collar of Dennis' uniform.
BARNEY
Do you know this young lady ?
DENNIS
She's with Mr. Lewis.
Dennis speaks with a croaky voice, because Barney is slightly
strangling him while buttoning his uniform.
BARNEY
Mr. Lewis ?
VIVIAN
That's it. Edward Lewis ! Thanks, Dennis.
She slaps Dennis' shoulder, and moves into the elevator.
DENNIS
Evidently she joined him last night.
BARNEY
Thank you.
Barney moves away from Dennis and joins Vivian into the elevator.
Dennis puts his hands on his collar to open it and be able to
breathe properly.
VIVIAN (voice over from the elevator)
Oh, God ! What now ? What ? What ?
She comes out of the elevator, with Barney holding her elbow.
VIVIAN
What is with everybody today ?
They walk along the lobby, away from the elevator. Dennis looks at
them and smiles. Two business men, going into the elevator, also
look at them, surprised.
BARNEY
No, no. It's all right. Just come with me. We'll have a
little chat. Thank you. Dennis, thank you.
VIVIAN
I'm coming. I'm coming.
REGENT BEVERLY WILSHIRE HOTEL - MANAGER'S OFFICE - INTERIOR DAY
Close Up shot on a green plant, with, next to the plant, a metal
pot that looks a bit like a coffee pot. Barney's hand takes the
pot and starts watering the plant.
BARNEY (voice over)
Uh, what is your name, miss ?
VIVIAN (voice over)
What do you want it to be ?
Full shot of the office. Vivian is seated on a leather armchair in
front of an expensive-looking wooden desk, on which several
documents are scattered. On the left-hand side of the desk, the
total upper half of the wall is a large bay window protected from
the outside by vertical Venetian blinds. Under the bay window, a
small table on which is the plant Barney is watering.
BARNEY
Don't play with me, young lady.
VIVIAN
Vivian.
BARNEY
Thank you. Vivian.
Barney puts the pot down on the table and sits down on the desk
itself just in front of Vivian.
BARNEY
Well, Miss Vivian. Things that go on in other hotels don't
happen at the Regent Beverly Wilshire. Now, Mr. Lewis,
however, is a very special customer, and we like to think
of our special customers as friends. Now, as a customer, we
would expect Mr. Lewis to sign in any additional guests,
but as a friend, we're willing to overlook it. Now, I'm
assuming that you're a...
Barney bends his head down, and Vivian also bends her head down
before answering.
BARNEY
Relative ?
VIVIAN
Yes.
BARNEY
Mm-hmmm. I thought so. Then you must be his...
Same game of bending heads down.
VIVIAN
Niece ?
BARNEY
Of course. Naturally, when Mr. Lewis leaves, I won't see
you in this hotel again. I assume you have no other uncles
here.
Vivian shakes her head. She suddenly seems a bit tired by the
situation.
BARNEY
Good ! Then we understand each other. I would also
encourage you... to dress a little more appropriately.
that'll be all.
Vivian raises her hands and her voice.
VIVIAN
No, that's not all. That's what I was trying to do. I tried
to go... get a dress on Rodeo Drive today, and the women
wouldn't help me. And I have all this money now and no
dress !
Vivian takes the loose jumbled banknotes from her bag and shows
them to Barney.
VIVIAN
Not that I expect you to help me, but I have all of this,
okay ? I have to buy a dress for dinner tonight. And nobody
will help me.
Barney takes the money out of Vivian's hands, then takes a white
handkerchief out of the breast pocket of his jacket and gives it
to Vivian. Then he gives her her money back.
He walks around his desk, and picks up his telephone.
VIVIAN
Oh, man, if you're calling the cops. Yeah, call the cops.
That's great. Tell 'em I said hi.
BARNEY
Women's clothing.
Vivian looks up, a bit surprised.
BARNEY
Bridget, please.
Vivian looks at him, and then takes the handkerchief and loudly
blows her nose.
BARNEY
Yes, Bridget. Hello. This is Barnard Thompson here at the
Regent Beverly Wil...
(HE CHUCKLES)
Well, thank you. Yes, but I'd like you to do a favor for
me, please. I'm sending someone over. Her name is Vivian.
Vivian looks at him and smiles.
BARNEY (voice over)
She's a special guest. She's the niece of a very special
guest.
EDWARD'S OFFICE IN L.A. - MEETING ROOM - INTERIOR DAY
Full view of a screen, on which a film is being projected. This
film shows an aerial overview of the port of Long Beach and Los
Angeles, with a lot of industrial buildings along the wharves.
PHILIP (voice over)
Now, this is the jewel in Morse's crown : prime industrial
properties straddling the port of Long Beach and Los
Angeles.
Full shot of the meeting room, with the screen in the background.
Because of the dark in the room, people around the table are only
shadows. Edward is standing up near the screen.
PHILIP (voice over)
The real estate possibilities are endless, but most of the
yard we'll just level.
A young man, one of Philip's assistants, walks into the room and
to the place where Philip is seated. He bends down to whisper to
Philip.
THE YOUNG ASSISTANT
We just got the information, Mr. Stuckey.
PHILIP
Edward, we just got the Morse update. Don, can you hold the
projection, please ?
The projection stops. Philip stands up and switches the lights on.
He sighs and turns toward the young man.
PHILIP
Yeah, what ? Speak.
THE YOUNG ASSISTANT
Old Man Morse just got the inside track on a 350 million
dollar contract to build destroyers for the Navy.
Edward looks very pensive.
Philip snickers, and looks at the young man.
PHILIP
Navy contract. I can't believe this shit. I thought you
said they had nothing in the hopper on this one !
THE YOUNG ASSISTANT
I thought they didn't.
Shot on another man, named Mark, seated at the table.
MARK
Hey, you know, if that's true it could cost a lot more.
Those stocks could go through the roof.
PHILIP
Yeah, no shit, Sherlock.
The young man walks toward Edward, still standing up.
THE YOUNG ASSISTANT
Maybe we're lucky to get this information now, sir. See, we
can still walk away from it.
Edward doesn't answer and remains pensive.
PHILIP
Walk away ? Hey, forget it, pal. We got a thousand man-
hours in on this ! Nobody's walking away from anything !
Philip sits down at the table, next to Mark.
MARK
Philip, I think he's right.
PHILIP (raising his voice)
Forget it, Mark.
The two men start arguing, and since they are talking loudly
together, we don't understand what they say.
Edward, with a glass of water in his hand, comes to the table and
raises his voice.
EDWARD
Gentlemen, relax !
The arguments between Philip and Mark stops
EDWARD
Relax ! Who do we know on the Senate Appropriations
Committee ?
PHILIP
Senator Adams.
EDWARD
All right, Senator Adams. Let's find out where he is.
Philip stands up and the young man sits down in his chair.
EDWARD
The Navy's not going to spend 350 million dollar on
anything without going to Appropriations first.
He drinks his water.
PHILIP
I don't understand what's going on here today, gentlemen.
The young man is on the phone, trying to reach someone.
THE YOUNG ASSISTANT
Hello ?
EDWARD
That's why I hired you, Phil, to do my worrying for me.
He picks up his briefcase.
EDWARD
I'll be in your office. Bob, if you want to send over the
geologicals ?
BOB (voice over)
No problem.
EDWARD
Thank you.
He goes out of the room. Philip follows him.
Mark and the young blonde man sitting next to him are working on
the documents in front of them.
PHILIP (voice over)
Edward.
EDWARD'S OFFICE IN L.A. - RECEPTION HALL - INTERIOR DAY
Edward is about to enter Philip's private office. Philip is
standing behind him.
PHILIP
Listen, everything all set for the meeting tonight ?
Edward turns around to face Philip.
EDWARD
Mm-hmm.
We hear faint voices coming from the meeting room.
THE YOUNG ASSISTANT (voice over)
Yes, Senator Adams, please.
PHILIP
Who... Who is this girl you're going with ?
THE YOUNG ASSISTANT (voice over)
Yes.
EDWARD
Nobody you know.
He enters Philip's private office. Philip turns around to go back
in the meeting room, with a worried look on his face.
THE YOUNG ASSISTANT (voice over)
Yes, Edward Lewis Enterprises. Phil Stuckey. Yes, I have
him right here.
REGENT BEVERLY WILSHIRE HOTEL - WOMEN'S CLOTHING SHOP - INTERIOR
DAY
Full shot of the Women's clothing shop inside the hotel. Several
women and even one man walking around. Counters and shelves full
of women's clothing items. Hanging rails with dresses hanging on
them.
Vivian walks into the shop and starts looking around. Bridget
comes into the shop with a Mrs Rainey, a customer.
BRIDGET
Don't worry, Mrs. Rainey, I'll call you the minute it comes
in.
MRS RAINEY
Thank you.
BRIDGET
Have a nice day.
MRS RAINEY
Thank you.
The customer walks away and Bridget stops near Vivian who is
looking at something on a counter.
Closer shot of Vivian looking at her teeth in a mirror set on the
counter. She makes a face and brushes something off her teeth.
Bridget bends over the mirror.
BRIDGET
Hello. You must be Vivian. My name's Bridget.
They shake hands.
VIVIAN
Yeah, hi. Barney said you'd be nice to me.
They both laugh.
BRIDGET
He's very sweet. What are your plans while you're in town ?
VIVIAN
We're gonna have dinner.
She is ready to sit on the glass covering the counter, but Bridget
prevents her from doing so.
BRIDGET
Oh, don't sit on there, dear !
VIVIAN
Oh !
BRIDGET
You're gonna go out ? Dinner ?
VIVIAN
Mm-hmm.
BRIDGET
Well, you'll need a cocktail dress then. Come with me.
Larger shot showing the whole shop.
BRIDGET
Now, I'm sure we're gonna find something here that your
uncle will love. You're a size six, right ?
VIVIAN
Yeah. How'd you know that ?
BRIDGET
Oh, that's my job.
They start walking upstairs to the upper level.
VIVIAN
Bridg, he's not really my uncle.
BRIDGET
They never are, dear.
REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR DAY
Barney is going around a huge bunch of flowers, followed by two
Japanese, one male and one female. The man is speaking Japanese to
Barney. Vivian walks between them, carrying a garment bag over her
shoulder.
VIVIAN
Barney !
She quickly looks at the Japanese man.
VIVIAN
Sorry, mister.
Barney says a few words in Japanese to the Japanese guests.
VIVIAN
I got a dress !
BARNEY
Well, I'd rather hoped you'd be wearing it.
VIVIAN
Oh, no, I didn't want to get it messed up ! Listen, I got
shoes too. You wanna see ?
BARNEY
No, that won't be necessary. I'm sure they're quite lovely.
Thank you.
VIVIAN
Okay, well, listen. I didn't mean to interrupt you, but
Bridget was really great... and I just wanted to say
thanks. You're cool.
BARNEY
You're welcome, Miss Vivian.
She walks away, and Barney looks at her, with a slight smile on
his lips.
PENTHOUSE - LIVING ROOM - INTERIOR DAY
Medium shot of Vivian entering the room. She closes the door
behind her. The phone is ringing. We see the white telephone on a
low table in the forefront of the screen. Vivian drops her handbag
on the floor, rushes to the phone and picks it up.
VIVIAN
Hello ?
EDWARD'S OFFICE IN L.A. - RECEPTION HALL - INTERIOR DAY
Medium shot of Edward, seen from the waist up, standing up in the
reception hall of his office. He is on the phone. We occasionally
see shadows of people moving behind him.
EDWARD
Never, ever pick up the phone.
PENTHOUSE - LIVING ROOM - INTERIOR DAY
VIVIAN
Then why are you calling me ?
She sits down.
EDWARD (voicer over on the phone)
Did you buy clothes today ?
She squeezes the phone receiver between her head and her shoulder
to have a better look at the garment bag.
VIVIAN
I got a dress. A cocktail one.
EDWARD (voicer over on the phone)
That's good.
EDWARD'S OFFICE IN L.A. - RECEPTION HALL - INTERIOR DAY
EDWARD
I'll be in the hotel lobby, 7:45 sharp.
VIVIAN (voicer over on the phone)
What ? You're not coming up to the door ?
EDWARD
This isn't a date. It's business.
PENTHOUSE - LIVING ROOM - INTERIOR DAY
VIVIAN
Where are you taking me, anyway ?
EDWARD'S OFFICE IN L.A. - RECEPTION HALL - INTERIOR DAY
EDWARD
I'm taking you to a restaurant called the Voltaire.
PENTHOUSE - LIVING ROOM - INTERIOR DAY
EDWARD (voicer over on the phone)
Very elegant.
VIVIAN
All right. I'll meet you in the lobby, but only 'cause
you're paying me to.
EDWARD'S OFFICE IN L.A. - RECEPTION HALL - INTERIOR DAY
EDWARD
Well, thank you very much.
He puts the phone down.
PENTHOUSE - LIVING ROOM - INTERIOR DAY
Vivian also puts the phone down and smiles.
EDWARD'S OFFICE IN L.A. - RECEPTION HALL - INTERIOR DAY
Larger shot of the reception hall. We discover that Edward is
standing near the reception desk, behind which a female
receptionist is sitting. Behind her on the wall, a logo and
underneath it : «Lewis enterprises, inc.», and below : «Philip
Stuckey - Attorney».
EDWARD (to the receptionist)
Get her back for me, please.
The receptionist picks up the phone and starts dialing.
A blonde female secretary walks behind Edward and bends down to
speak to him.
THE SECRETARY
Mr. Stuckey wanted to see you.
EDWARD
Yes, tell him I'm in the middle of a very important phone
call.
The secretary walks away.
PENTHOUSE - LIVING ROOM - INTERIOR DAY
The phone rings. Vivian walks to the low table to pick it up.
VIVIAN
Hello ?
EDWARD'S OFFICE IN L.A. - RECEPTION HALL - INTERIOR DAY
EDWARD (smiling on the phone)
I told you not to pick up the phone.
PENTHOUSE - LIVING ROOM - INTERIOR DAY
VIVIAN
Then stop calling me.
EDWARD'S OFFICE IN L.A. - RECEPTION HALL - INTERIOR DAY
Edward laughs and puts the phone down.
PENTHOUSE - LIVING ROOM - INTERIOR DAY
Vivian also puts the phone down.
VIVIAN
Sick.
REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR DAY
Medium shot of Barney standing up in the lobby with his back to
us. One of his assistant, wearing a dark suit, crosses the lobby,
followed by an uniformed attendant.
Vivian rushes toward Barney.
VIVIAN
Barney !
Barney looks at her and notices she is still wearing her
prostitute costume.
BARNEY
It didn't fit ?
VIVIAN
Oh, no, no, no, no, no. Uh... I've got a little problem.
REGENT BEVERLY WILSHIRE HOTEL - DINING ROOM - INTERIOR DAY
High Angle Close Up Shot on a dinner table, showing a white china
plate with a smaller plate inside, and on either sides of the
plates, a full set of silver cutlery (three forks of various sizes
on the left-hand side of the plate, and a knife and three spoons
on the other side). In front of the plate, a napkin folded in a
glass.
BARNEY (voice over)
All right, Miss Vivian, one more time. Dinner napkin.
We see Vivian's hand taking the napkin.
VIVIAN (voice over)
Dinner napkin...
BARNEY (voice over)
MM-MMM
VIVIAN (voice over)
...laid gently in the lap.
The camera pans away and we discover Vivian seated at the table in
front of the plate. She puts the napkin on her laps and then her
elbows on the table
BARNEY (voice over)
Good. Elbows off the table.
She takes her elbows off the table.
BARNEY (voice over)
Don't slouch.
The camera moves away from the table and we get a larger shot of
the dining room. Uniformed waiters are setting tables behind
Vivian and Barney, who is standing up behind Vivian. He points to
the different forks on the table.
BARNEY
Shrimp fork, salad fork, dinner fork.
VIVIAN
I definitely have the salad fork. The rest of the
silverware is a little confusing.
The camera moves back again giving a full view of the dining room,
with Barney and Vivian's table in the forefront. A black case is
open on the table : inside a impressive collection of silver
cutlery.
Barney picks up the different forks and shows them to Vivian.
BARNEY
All right, if you get nervous, just count the tines. Four
tines : dinner fork. And sometimes there are three tines in
the salad fork. And sometimes...
REGENT BEVERLY WILSHIRE HOTEL - EXTERIOR LATE AFTERNOON
A large grey limousine is driving slowly on Rodeo Drive, and comes
to park in front of the hotel.
REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR LATE AFTERNOON
Edward crosses the lobby, carrying his briefcase. He stops to look
around, expecting to see Vivian waiting for him. He starts walking
again, still looking around him. Barney catches up with him.
Edward doesn't stop walking, and Barney has to talk while walking.
BARNEY
Pardon me, Mr. Lewis. I'm Mr. Thompson. I'm the manager of
the hotel.
Edward stops at a marble shelf with a row of courtesy telephones
on it. He hardly listens to what Barney is telling him.
EDWARD
Uh-huh. Excuse me, I just want to make one call.
He picks up a telephone but keeps looking around him. He seems a
bit worried.
BARNEY
Yes, um, sir. I have a message for you, sir.
EDWARD
From who ?
BARNEY
From your niece, sir.
Edward, for the first time, looks at Barney. His finger is on the
dial of the phone, but he doesn't dial.
EDWARD
My what ?
BARNEY
The young lady who's staying with you in your room, sir.
EDWARD
Oh. Hmm.
Edward smiles and puts down the telephone receiver which he had
already put to his ear.
EDWARD
I think we both know that she's not my niece.
BARNEY
Of course.
EDWARD
The reason I know that is that I am an only child.
BARNEY
Yes, sir.
EDWARD
What's the message ?
BARNEY
She's waiting for you in the lounge. Intriguing young lady,
Miss Vivian.
Edward remains pensive for a couple of seconds before answering.
EDWARD
Intriguing.
Edward picks up his briefcase which he had put on the telephone
shelf.
BARNEY
Have a good evening, sir.
EDWARD
Thank you, Mr... ?
He walks away.
BARNEY
Thompson. I'm the manager...
He takes his business card out of the pocket of his vest to give
it to Edward, but Edward is already gone.
BARNEY
...manager of the hotel, sir.
REGENT BEVERLY WILSHIRE HOTEL - LOUNGE - INTERIOR NIGHT
The lounge of the hotel is a cosy place with potted green plants,
comfortable armchair and soft piano music.
Medium shot of Edward entering the lounge. The camera then follows
Edward crossing the lounge toward the bar.
Larger shot of the lounge, with the bar in the background. There
are not many people at this early time of the evening.
Medium shot of the bar. Only one person is seated on a stool at
the bar. Even if we see only her back, we guess she is Vivian. But
Edward doesn't seem to recognize her, because he keeps looking
around for her.
As Edward is looking the other way from the bar, Vivian turns
around and looks at him. Edward walks a couple of steps toward the
door, and then turns around and eventually notices Vivian.
Medium shot on Edward. There is a look of surprise in Edward's
eyes when he recognizes Vivian.
Back to Vivian still seated at the bar. She doesn't look like the
Vivian we were used to see. She is wearing a very elegant dark-
colored cocktail dress. Her hair also has been very elegantly
styled.
Edward looks at her without moving for a few seconds.
She stands up from the bar and walks toward him.
VIVIAN
You're late.
EDWARD
You're stunning.
She laughs.
VIVIAN
You're forgiven.
EDWARD
Shall we go to dinner ?
He gives her his arm. She puts her arm inside his arm and they
walk across the lounge toward the exit.
RESTAURANT «LE VOLTAIRE» - INTERIOR NIGHT
High angle shot of the whole restaurant. It looks like a very
expensive place. Tables are scattered around the room and on the
gallery, but not too close to one another. In the middle of the
room, a larger table used only by the waiters.
We see Edward and Vivian crossing the room, with a maitre d'hotel
walking in front of them.
MAITRE D'HOTEL
This way, Mr. Lewis. Your party is waiting.
EDWARD
Stop fidgeting.
Closer high angle shot of Vivian and Edward walking toward a table
where two men, an old one and a younger one, are already seated.
EDWARD
Mr. Morse.
The two men stand up. The older one is James «Jim» Morse and the
younger one is his grandson, David Morse.
JAMES MORSE
Yes, Mr. Lewis. I'm Jim Morse.
They shake hands.
JAMES MORSE
This fireball is my grandson, David.
DAVID MORSE
Well, I don't know about the fireball part, but grandson is
true enough.
EDWARD
I'm pleased to meet you both. This is a friend of mine,
Vivian Ward.
VIVIAN
Hi. I'm really glad to meet you.
EDWARD
Mr. Morse. David.
She shakes hands with both men.
EDWARD
Please, sit.
The maitre d'hotel pulls the chair for Vivian. The men wait for
Vivian to be seated to sit down. Vivian has James Morse on her
right, Edward on her left, and David in front of her.
VIVIAN (SOFTLY)
Excuse me.
She stands up. Immediately, the maitre d'hotel pulls her chair,
and the three men stand up, to Vivian's surprise.
EDWARD
Where are you going ?
She smiles to the two other men.
VIVIAN
I'm going to the ladies' room.
The two Morse men smile back to her.
EDWARD
Upstairs, to the right.
VIVIAN
Okay. Excuse me.
She starts walking away.
EDWARD
Shall I order for you ?
She turns around.
VIVIAN
Yeah.
She stops, exhales, and says, in a more polite tone :
VIVIAN
Please do so. Thank you.
EDWARD
I'll do that.
She walks away. The three men sit down.
Close Up shot on a plate being laid in front of one of the guests.
On the plate, four appetizers, actually four canapés.
DAVID MORSE (voice over)
Mr. Lewis, my grandfather believes the men who create a
company...
The camera moves up from the plate to the guest's face. The guest
is Vivian, and she looks a bit worried by what has been brought to
her.
DAVID MORSE (voice over)
...should control its destiny.
Vivian turns to Edward.
VIVIAN
Where's the salad ?
David looks at Vivian, a bit surprised by what she just said.
Edward whispers to Vivian
EDWARD
Uh, the salad comes at the end of the meal.
VIVIAN
That's the fork I knew.
David smiles.
Vivian takes one of her forks and looks at it, then she puts it
back.
DAVID MORSE (voice over)
Let me, uh, put it another way. Between your public
statements and the rumors flying around on this thing, we
find it very hard to figure out what your real intentions
are.
Sensing Vivian's embarrassment, James Morse smiles to her.
JAMES MORSE
I don't know about you, but I've never been able to figure
which goes with what !
He points to the different forks around his plate. Vivian laughs.
David seems a bit annoyed by the fact that the conversation keeps
on deviating on menial subjects.
James Morse takes one of the canapés with his fingers and eats it.
Vivian smiles, and also takes the canapé with her fingers. She
wipes something out of it before eating it.
Edward smiles. He is happy that Vivian and James are getting along
so well.
Close Up on the table in front of Vivian. We see the waiter's hand
putting down a plate of snails in their shells.
DAVID MORSE (voice over)
You know, there was a time when we built ships the size of
cities. Men like my grandfather made this country.
Vivian looks at the snails and then at the waiter.
VIVIAN
Who ordered this ?
David seems more and more annoyed by the situation with Vivian.
THE WAITER (voice over)
The gentleman did, ma'am. Bon appétit.
Edward looks at Vivian.
EDWARD
These are escargot. It's French for snails. It's a
delicacy. Try it. David ?
David bends down on the table. His grandfather looks at him.
DAVID MORSE
Mr. Lewis, if you were to get control... and I don't think
you will... but if you did, what do you plan to do with the
company ?
Vivian is trying to figure out how to work the snail pincers.
Edward looks at David
EDWARD
Break it up and sell off the pieces.
Edward is trying to mime to Vivian how to use the snail pincers.
Closer shot on James Morse.
JAMES MORSE
I'm sure you'll understand I'm not thrilled at the idea...
of your turning forty years of my work into your garage
sale.
Vivian is still fighting with her snail pincers.
Close Up on Vivian's plate and her hands trying to use the snail
pincers.
EDWARD (voice over)
At the price I'm paying for this stock, Mr. Morse, you are
going to be a very rich man.
James Morse looks at Edward.
JAMES MORSE
I'm rich enough. I just want to head my shipyard.
Eventually, Vivian had succeeded in fitting one snail into the
snail pincers, but it flies away from the pincers.
The waiter, a white-hair man with a gentle face, catches it.
Edward looks at the waiter and then at Vivian.
VIVIAN SMILES
VIVIAN
Slippery little suckers.
Both Morse gentlemen smile.
THE WAITER (smiling)
It happens all the time.
Close Up on the table in front of Vivian. A ball of green ice
cream, in a silver cup, is being put down on the table.
Medium shot on the Morse gentlemen.
JAMES MORSE
I met your father. What's his name ?
EDWARD
Carter.
Vivian bits in a piece of leaf that was on the table, makes a
face, and takes it out of her mouth.
JAMES MORSE (voice over)
Yeah. Carter. Carter Lewis.
Medium shot on James Morse. Then medium shots on whomever is
talking.
JAMES MORSE
He's not quite the bastard everybody says he is.
EDWARD
No, I have the franchise on that.
JAMES MORSE
Does that make him proud ?
EDWARD
I doubt it. It doesn't really matter now. He passed away.
JAMES MORSE
Oh, I hadn't heard. I'm sorry.
VIVIAN
I'm sorry too.
EDWARD
Mr. Morse, you asked for this meeting. What can I do for
you ?
JAMES MORSE
Leave my company alone.
EDWARD
I can't do that. I own ten million shares.
JAMES MORSE
I'll buy your stock back.
EDWARD
You don't have the money.
DAVID MORSE
We will. We're getting a contract to build ten destroyers.
EDWARD
There will be no contract. The contract is now buried in
Appropriations Committee. And it will remain there.
DAVID MORSE
And how the hell did you pull something like that ? You got
dirty politicians in your pockets now or something ?
JAMES MORSE (voice over)
Easy, easy, calm down. Calm down, David.
Quick shots at Edward with a slight ironical smile on his face,
and then at Vivian, looking embarrassed.
JAMES MORSE
Mr. Lewis plays hardball.
EDWARD
Yes, yes, I do.
David slams his napkin on the table
DAVID MORSE
I've heard enough of this. Vivian, it was a great pleasure
to meet you. I'm sorry, Grandfather. I've gotta get some
air. Mr. Lewis.
He stands up and walks away.
JAMES MORSE
I'd better join my grandson. You two enjoy your dinner.
He stands up.
JAMES MORSE
I'm sure it'll be delicious. Good luck, miss.
Edward stands up. James Morse comes close to him.
JAMES MORSE
Watch out, Lewis. I'm gonna tear you apart.
EDWARD
I look forward to it, sir.
He walks away.
Vivian looks more and more embarrassed.
EDWARD
Rich people throw their napkins a lot, don't they ?
He sits down.
VIVIAN
He seems like a nice man.
EDWARD
I guess three thousand dollars does not buy loyalty, does
it ?
VIVIAN
I just mean it's sweet the way he's crazy about his
grandson.
Two waiters puts down plates in front of Edward and Vivian.
EDWARD
Oh, his grandson thinks he's a relic. He hates that he
does, but he does.
He makes a sign to the waiters who were wondering about the
missing guests.
EDWARD
No, just the two.
THE WAITER (voice over)
Yes, sir.
From her purse, Vivian takes out a little ketchup sealed pack, as
found in fast food restaurants, and starts tearing it open.
Edwards looks at her and smiles.
Close Up on Vivian's plate, where there are a piece of meat, a cob
of corn, a jacket potato sliced in two halves, and some salad. We
see Vivian's hand pouring ketchup from the pack on her meat.
Medium shot on the maitre d'hotel walking toward the waiter and
whispering in his ear. The waiter nods his head toward Vivian.
Close Up on Vivian's plate. She spread the ketchup on her meat
with her fork.
The maitre d'hotel walks away, bobbing his head in a deprecating
manner.
Vivian looks around and senses that something is wrong.
Edward smiles and looks at the waiter.
VIVIAN
It's ketchup.
The waiter smiles.
THE WAITER
Yes, sir.
EDWARD (voice over)
Check, please.
THE WAITER
Yes, sir.
The waiter walks away to get the check.
VIVIAN
Haven't they ever seen ketchup before ?
EDWARD
Not in this building.
PENTHOUSE - LIVING ROOM - INTERIOR NIGHT
Close Up on Vivian's bare feet putting on leather slippers.
VIVIAN (voice over)
Edward ?
PENTHOUSE - TERRACE - EXTERIOR NIGHT
Edward, still wearing his jacket and tie, is seated at the
entrance of the terrace, the back of his chair against the open
French window.
Vivian walks toward him, still wearing her cocktail dress.
VIVIAN
Edward, you said you never come out here.
He looks down at the feet of his chair.
EDWARD
Well, I'm only halfway out.
VIVIAN
Didn't say much in the car on the way home. You thinking
about dinner ? I was a maniac.
PENTHOUSE - LIVING ROOM - INTERIOR NIGHT
Medium shot of the terrace seen from the open French window.
VIVIAN
I mean, the business was good, I think. You know ?
Vivian sits down on the balustrade of the terrace.
VIVIAN
He's in trouble. You want his company. He doesn't want to
let it go.
EDWARD
Thanks for the recap.
VIVIAN
The problem is, I think you liked Mr. Morse.
PENTHOUSE - TERRACE - EXTERIOR NIGHT
Edward points his finger toward Vivian.
EDWARD
What I would like is for you to get down from there. You're
making me very nervous. Please come down.
VIVIAN
It's making you nervous ? What if I just leaned back a
little bit like this ?
She starts leaning back a little.
VIVIAN
Would you... Would you rescue me if I fell ?
EDWARD
Vivian, I'm serious. Come... I'm not looking.
VIVIAN
It's really high.
She takes her hands off the balustrade, and waves them up in the
air.
VIVIAN
Look, no hands, no hands ! Okay, all right. I'm sorry.
PENTHOUSE - LIVING ROOM - INTERIOR NIGHT
The terrace seen from the open French window.
She sits back and holds the balustrade with both hands.
EDWARD
The truth is, it really is totally irrelevant whether I
like this man or not.
PENTHOUSE - TERRACE - EXTERIOR NIGHT
EDWARD
I will not let myself become emotionally involved in
business.
VIVIAN
I know. Kit's always saying to me, «Don't get emotional
when you turn tricks». That's why no kissing. It's too
personal.
Edward is smiling.
VIVIAN
It's like what you're saying : You stay numb, you don't get
involved. When I'm with a guy, I'm like a robot. I just do
it.
Edward looks at her with an ironical smile on his face.
Vivian sighs and smiles.
VIVIAN
I mean... except with you.
EDWARD
Oh, of course, not with me. You and I are such similar
creatures, Vivian. We both screw people for money.
Vivian looks embarrassed.
VIVIAN
I was sorry to hear about your dad. When did he die ?
EDWARD
Last month.
VIVIAN
Do you miss him ?
EDWARD
I hadn't spoken to him in fourteen and a half years. I
wasn't there when he died.
VIVIAN
Do you want to talk about this ?
EDWARD
No.
PENTHOUSE - LIVING ROOM - INTERIOR NIGHT
The terrace seen from the open French window.
Vivian drops down from the balustrade, walks toward Edward and
kneels down beside his chair.
VIVIAN
Well, I tell you what, 'cause I got an idea.
PENTHOUSE - TERRACE - EXTERIOR NIGHT
Close Shot of Edward and Vivian.
VIVIAN
Let's watch old movies all night. We'll just veg out in
front of the TV.
EDWARD
«Veg out» ?
VIVIAN
Yeah. Be still like vegetables. Lay like broccoli.
He stands up.
EDWARD
Look, I'll tell you what. I'll be back. We'll do broccoli
tomorrow.
He strokes her chin very delicately. She stands up.
VIVIAN
Where are you going ?
EDWARD
I'm going downstairs for a while.
PENTHOUSE - LIVING ROOM - INTERIOR NIGHT
Later in the night.
Close Up on the TV screen. We see the closing scene of the film
«Charade», directed in 1963 by musical comedy actor Stanley Donen.
Regina (played by Audrey Hepburn) is talking with Peter (played by
Cary Grant).
REGINA (voice over from the TV)
Did you say marriage license ?
PETER (voice over from the TV)
Now, don't change the subject, just give me the stamp.
Regina throws her arms around Peter's neck
REGINA (voice over from the TV)
Oh, I love you, Adam, Alex, Peter, Brian, whatever your
name is.
The picture from the film, who was filling the whole TV screen,
suddenly becomes a smaller one in the center of the TV screen.
Four other pictures, from four other films, appears in each corner
of the TV screen.
REGINA (voice over from the TV)
Oh, I love you.
The camera moves back and we see the back of the sofa. There is
some stirring in the sofa, and we see Vivian's arm holding the
remote control and pressing on a button. The TV shuts off.
Close Up on Vivian's hand putting the remote control down next to
a clock that says three o'clock.
Medium shot on Vivian, wearing a white bathrobe, and putting her
hand through her hair. She picks up the telephone next to the
sofa, and presses a button on the telephone set.
VIVIAN
Hi, uh, I'm in the penthouse. The guy that was here, Mr.
Lewis, have you seen him down there anywhere ?
REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR DAY
Medium shot on the door of the elevator. It opens, revealing
Dennis, the elevator attendant, and, behind him, Vivian in her
white bathrobe. He takes her by the arm and guides her away from
the elevator.
They cross the lobby, where, at this time of the night, there are
only uniformed maids cleaning the place. Dennis guides Vivian to
the door of a room, from which piano music is coming out.
REGENT BEVERLY WILSHIRE HOTEL - MUSIC LOUNGE - INTERIOR NIGHT
Full shot of the room, which is very dark. In the background, we
see a stage with music stands on it. In front of the stage,
Edward, in shirtsleeves, is playing on a concert piano.
Closer shot on Edward playing the piano.
The actor Richard Gere, who plays the character of Edward,
actually plays live on the piano in that sequence. More, he
composed the piece he is playing.
Medium shot on the cleaning crew listening to him while working.
Vivian walks slowly toward the piano.
She stops behind Edward and folds her arms. Edward stops playing.
Full shot of the room. The cleaning crew applauds Edward. Vivian
walks closer to the piano.
EDWARD
Thank you. Thank you very much.
VIVIAN
I didn't know you played.
EDWARD
I only play for strangers.
Closer shot on the piano. Vivian leans on the piano.
VIVIAN
I was getting lonely upstairs all by myself.
Edward turns around.
EDWARD
Gentlemen, would you mind leaving us, please ?
Full shot of the room. The cleaning crew is leaving the room.
EDWARD
Thank you.
Close Up shot on Vivian's face.
VIVIAN
People always do what you tell them to do ?
Medium shot. Edward grabs Vivian by the waist and sets her in
front of him. We hear the piano keys as they are pounded by
Vivian's buttocks. Edward puts his forehead on Vivian's belly.
Vivian, her hand on his hair, looks down at him, with a strange
expression in her eyes.
Edward looks up and starts untying Vivian's bathrobe belt. Under
the bathrobe, Vivian is still wearing her cocktail dress.
Close Up on Vivian's face as Edward lifts her dress up.
VIVIAN
I guess so.
Edward grabs her, lifts her, and sits her on the piano. We hear
the piano keys being pounded by Vivian's feet.
Edward strokes her hair. He wants to kiss her, but she moves away.
Eventually, she puts her head into his neck, and kisses him on the
neck.
The bathrobe has fallen down on the piano. Edward spreads Vivian's
legs apart, and squeezes himself between those open legs.
Vivian lies down on the piano, while Edward is having sex with
her.
The camera slowly moves away from the piano, giving us a full shot
of the entire room.
We hear the piano key being pounded, and the camera goes down
behind some unspecified piece of furniture, making a fade-out to
black screen.
PENTHOUSE - BEDROOM - INTERIOR DAY
Vivian is asleep in bed. We hear the curtains being pulled, and we
see the daylight coming on Vivian's face. Vivian wakes up, scratch
her head and looks around her.
EDWARD (voice over)
Wake up. Time to shop.
Edward sits on the bed, and Vivian turns around to face him.
Edward has a MasterCard in his hand. He shows it to Vivian.
EDWARD
Now, if you have any trouble using this card, have them
call the hotel. All right ?
Vivian takes the card and sits up in bed.
VIVIAN
Oh ! More shopping.
Edward ties his shoelaces.
EDWARD
Mm-hmm. I'm surprised you didn't buy more than one dress
yesterday.
VIVIAN
Wasn't as much fun as I thought it was gonna be.
EDWARD
Why not ?
VIVIAN
They were mean to me.
EDWARD
Mean to you ?
Edward looks very surprised. Vivian nods «Yes».
RODEO DRIVE - EXTERIOR DAY
Medium full shot of Edward and Vivian crossing the street, holding
hands. Vivian is still wearing her blue very short skirt, but the
upper half of her body is covered by a white shirt, knotted at the
waist and with the sleeves rolled back on her arms. She is also
wearing regular woman's shoes, so she doesn't look like a
prostitute any more.
VIVIAN
People are looking at me.
They now walk on the sidewalk.
EDWARD
They're not looking at you. They're looking at me.
VIVIAN
The stores are not nice to people. I don't like it.
EDWARD
Stores are never nice to people. They're nice to credit
cards.
He stops walking and Vivian also stops.
EDWARD
Okay, stop fidgeting.
VIVIAN
All right.
EDWARD
Get rid of your gum.
She spits her gum, almost hitting two female pedestrians. One of
them jumps up.
EDWARD
I don't believe you did that.
Edward pulls her by the hand and they enter an expensive clothing
store.
CLOTHING STORE - INTERIOR DAY
Medium shot of Vivian and Edward standing near a hanging rail full
of dresses. Edward is holding Vivian's hand, who seems a little
embarrassed. A young well-dressed man approaches them : he is Mr.
Hollister, the manager of the store.
EDWARD
Yes ?
HOLLISTER
I am Mr. Hollister, the manager. May I help you ?
Edward shakes hand with him.
EDWARD
Edward Lewis.
HOLLISTER
Ah, yes, sir.
EDWARD
You see this young lady over here ?
Vivian joins the two men with a broad smile.
HOLLISTER
Yes.
EDWARD
Do you have anything in this shop as beautiful as she is ?
Vivian puts her head on Edward's shoulder.
HOLLISTER
Oh, yes.
Hollister understand he has made a blunder.
HOLLISTER
Oh, no ! No, no, no, I'm saying we have many things as
beautiful as she would want them to be. That's the point I
was getting at, and I think we can all agree with that.
That's why when you came in...
Edward takes Hollister's elbow and walks slightly away.
EDWARD
Excuse me. You know what we're gonna need here ?
HOLLISTER
...we knew from the first...
EDWARD
We're gonna need a few more people helping us. I'll tell
you why. We're going to be spending an obscene amount of
money in here. So we're going to need a lot more help
sucking up to us. That's what we really like. You
understand that.
Vivian smiles behind Edward.
HOLLISTER
Sir, if I may say so, you're in the right store and the
right city for that matter.
Later.
Medium shot of Vivian seated in a comfortable armchair with a
catalogue on her laps and Hollister kneeling at her side.
HOLLISTER
Anything you see here, we can do, by the way. Get ready to
have some fun. Okay ?
Vivian smiles.
VIVIAN
Okay.
Hollister makes a sign with his hand.
Full shot of the store. In the forefront, Edward is standing
behind a counter with a cordless telephone in his hand. He dials
on the telephone.
HOLLISTER
Mary Pat, Mary Kate, Mary Francis, Tovah, let's see it !
He stands up. A saleswoman is running toward Vivian with a dress
in her hands. She puts it on Vivian's laps, who puts the catalogue
away.
HOLLISTER
Come on. Bring it out, girls.
THE SALESWOMAN
Oh, this is absolutely divine.
Another saleswoman, also with a dress in her hand, is coming from
the other side.
Medium shot on Edward behind the counter. In the background, we
hear female voices, but we don't understand the words.
Hollister walks toward Edward.
HOLLISTER
Excuse me, sir, uh,
EDWARD
Yeah ?
HOLLISTER
Exactly how obscene an amount of money were you talking
about ? Just profane or really offensive ?
EDWARD
Really offensive.
HOLLISTER
I like him so much !
Edward takes the phone to his ear, and Hollister walks away.
We hear the orchestral music from the title song : «Pretty Woman»
Vivian is still seated on her armchair, looking at all the clothes
that the saleswomen are bringing to her.
She has a very bright red dress in her hand and she looks at
Edward.
Edward makes a face and nods «No».
A saleswoman put a black hat on Vivian's head.
Edward smiles and nods «Yes».
Hollister sits down near Vivian and a saleswoman brings a grey
dress. Vivian points to the dress and looks at Edward.
Edward makes a face and a «So-So» sign with his hand.
Slightly later.
Edward is standing near the counter, drinking coffee. In the
background, we see Vivian surrounded by saleswomen. Hollister
walks toward Edward.
The music stops.
HOLLISTER
Mr. Lewis, sir. Mr. Lewis, how's it going so far ? Pretty
well, I think.
EDWARD
I think we need some major sucking up.
HOLLISTER
Very well, sir. You're not only handsome, but a powerful
man. I could see the second you walked in here, you were
someone to reckon with...
Edward has put the coffee cup down and has taken the telephone
again. He turns toward Hollister.
EDWARD
Hollister.
HOLLISTER
Yes, sir.
EDWARD
Not me. Her.
He points toward the group of saleswomen surrounding Vivian.
HOLLISTER
I'm sorry, sir. I'm sorry.
He walks away from Edward and toward the group of saleswomen.
HOLLISTER
How we doing, ladies ?
EDWARD'S OFFICE IN L.A. - PHILIP'S ROOM - INTERIOR DAY
Philip sits down behind his desk and talks into the hand-free
telephone.
PHILIP
Oh, Edward, Edward. Where the hell are you ? The word's all
over the street.
CLOTHING STORE - INTERIOR DAY
Close shot of Edward on the phone, with Vivian trying on new
clothes in the background.
PHILIP (voice over on the phone)
Morse is gonna raise your offer, pal.
EDWARD
He's countering ?
(LAUGHING)
God, he is a tough old bird.
EDWARD'S OFFICE IN L.A. - PHILIP'S ROOM - INTERIOR DAY
EDWARD (voice over on the phone)
He knows the navy contracts are stalled. Where's he gonna
get the money ?
PHILIP
I don't know. He, uh... I think he's throwing in with the
employees.
CLOTHING STORE - INTERIOR DAY
EDWARD
He still needs someone to underwrite the paper.
EDWARD'S OFFICE IN L.A. - PHILIP'S ROOM - INTERIOR DAY
EDWARD (voice over on the phone)
Find out who it is. I'll be in the office in an hour.
PHILIP
Yeah, okay. You got it.
He presses a button on the telephone set to cut the call.
CLOTHING STORE - INTERIOR DAY
Edward gives his credit card to Vivian. Vivian is now dressed in a
very elegant brown suit, with a grey shirt underneath.
EDWARD
You're on your own. I have to go back to work. You look
great !
He walks toward the exit of the store, and near Hollister.
EDWARD
She has my card.
HOLLISTER
And we'll help her use it, sir.
Slightly later.
We hear the song «Oh, Pretty Woman», performed by Roy Orbison.
Vivian, wearing a black short dress, is dancing on the rhythm of
the music, surrounded by two saleswomen.
LYRICS
Pretty woman walking down the street.
Vivian comes out of a dressing cubicle, wearing a black sweater
and brown pants.
LYRICS
Pretty woman the kind I like to meet. Pretty woman.
Close Up shot of Vivian's back putting a beige silk blouse on.
LYRICS
I don't believe you. You're not the truth.
Vivian, wearing a light pink suit, whirls round.
LYRICS
No one could look as good as you. Mercy.
Vivian, wearing a white blouse, looks at some pieces of lingerie.
Vivian, wearing a brown dress with white dots, whirls round.
Close Up of Vivian's leg putting hoses on.
The volume of the music goes down.
Another department of the store : the shoe department. Vivian,
wearing a white suit with thin vertical stripes, is surrounded by
shoes. Hollister is kneeling beside her, and a salesman is helping
her try a new pair of shoes. Vivian smiles and looks at the
necktie worn by the salesman.
VIVIAN
Edward would love that tie.
Hollister turns toward his salesman.
HOLLISTER
Would you give her the tie ?
THE SALESMAN
The tie ?
HOLLISTER
Take off the tie. Give her the tie.
THE SALESMAN
The tie.
He starts taking off his tie.
HOLLISTER
He really wants to do this, by the way.
VIVIAN
He would go crazy about this tie.
A saleswoman walks toward them, carrying a large pizza in an open
cardboard box. Hollister looks worried.
HOLLISTER
Who ordered pizza ?
But Vivian seems very happy about the pizza.
The volume of the music goes back up.
RODEO DRIVE - EXTERIOR DAY
Close Up on a white parasol with flowers printed on it, looking a
bit Japanese. The parasol moves away from us and we discovers we
are back on Rodeo Drive.
LYRICS
Pretty woman, stop a while.
The camera moves away from the parasol, and Vivian appears on the
screen. She is wearing a very elegant white suit, long white
gloves, and a black hat.
LYRICS
Pretty woman, talk a while. Pretty woman give your smile to
me.
The camera backs up away from Vivian, and we notice she is
carrying several bags, certainly full of clothes. Men turn their
head to look at her.
LYRICS
Pretty woman Yeah, yeah, yeah.
BOUTIQUE - INTERIOR DAY
We are back inside the boutique, from which Vivian was very rudely
ejected, the day before, by some snobbish saleswomen. Through the
shop window, we see Vivian walking on the sidewalk.
She stops and looks inside the boutique.
LYRICS
Pretty woman, look my way.
The camera moves from the window to the street door of the
boutique.
LYRICS
Pretty woman, say you'll stay with me.
The volume of the music goes down, as Vivian enters the shop.
Saleswoman # 2 walks toward her.
SALESWOMAN # 2
May I help you ?
VIVIAN
No, thank you.
Vivian keeps on walking until she reaches Saleswoman # 1, who is
working on a hanging rail. Saleswoman # 1 was the one who actually
ejected Vivian from the boutique.
VIVIAN
Hi.
SALESWOMAN # 1
Hello.
The saleswoman has a broad smile.
VIVIAN
Do you remember me ?
Apparently, the saleswoman doesn't recognize this very elegant
woman as being the one she was rude to the day before.
SALESWOMAN # 1
No, I'm sorry.
VIVIAN
I was in here yesterday. You wouldn't wait on me.
SALESWOMAN # 1
Oh.
VIVIAN
You work on commission, right ?
SALESWOMAN # 1
Uh, yes.
Vivian shows her all the bags she is carrying.
VIVIAN
Big mistake. Big. Huge ! I have to go shopping now.
She walks away, leaving the saleswoman with a very surprised look
on her face.
The volume of the music goes back up.
REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR DAY
A uniformed attendant enters the lobby, carrying Vivian's shopping
bags. Behind him Vivian walks in.
LYRICS
Pretty woman don't walk on by.
The camera moves across the lobby, until it reaches Barney, the
managers, talking to two of his employees, one uniformed male and
one female. He has not noticed Vivian yet, because she is coming
behind him.
LYRICS
Pretty woman don't make me cry. Pretty woman.
Suddenly he sees her, and immediately stops talking to his
employees.
Reverse angle shot of Vivian's back, walking behind the uniformed
attendant, toward the elevator.
LYRICS
Don't walk away, hey.
Reverse angle shot on Barney, smiling.
PENTHOUSE - LIVING ROOM - INTERIOR DAY
Medium shot. Vivian has put the bags she was carrying on the
table, but has kept her purse, a vey elegant black leather item.
She opens it, takes some money out of it, and gives the money to
the uniformed attendant, who helped her carry her shopping bags.
The attendant smiles.
VIVIAN
Wait... Thank you.
The attendant walks away. Vivian takes her hat off and falls into
an armchair.
LYRICS
Oh, oh, pretty woman.
End of the music.
EDWARD'S OFFICE IN L.A. - EXTERIOR DAY
The modern building, where Edward's office in L.A. is located. The
number above the main entrance says «333». We hear male voices
over. We don't understand everything they are saying.
MAN (voice over)
Mister Lewis.
EDWARD (voice over)
Gentlemen.
EDWARD'S OFFICE IN L.A. - MEETING ROOM - INTERIOR DAY
Edward is standing up with his briefcase, smiling to the men of
his team around him. He moves to his chair at the meeting table.
Philip is trying to herd all his assistants out of the room.
PHILIP
Fellas, let's finish this up this afternoon, huh ?
Edward sits down. A blonde secretary joins the leaving group.
PHILIP
Jake, set something up with Blair. Around two o'clock, two-
thirty, would be good.
They all go out, leaving Edward and Philip alone.
PHILIP
You were right about Morse. He mortgaged everything he
owns, right down to his underwear, to secure a loan from
the bank.
He sits down next to Edward.
PHILIP
And it's not just any bank. Plymouth Trust, huh ?
EDWARD
Hmm.
Edward seems to be very pensive.
PHILIP
So, it goes without saying... that your business means a
lot more to them than our friend, Mr. Morse. So, all you
gotta do is call the bank.
He puts his hands on the telephone.
EDWARD
Yeah.
Still, a very tepid reaction from Edward. He just takes a small
glass and puts it in front of him on the table.
Philip looks at Edward with a worried look. He stands up.
PHILIP
Edward, excuse me for saying this, but what the hell is
wrong with you this week ? Are you giving Morse a chance to
get away ?
Edward has put another glass on top of the first one, and now he
puts a third one on top of the two other ones.
EDWARD
You know what I used to love when I was a kid, Phil ?
He puts a fourth glass on top of the other ones. Philip sighs.
PHILIP
What ?
EDWARD
Blocks. Building blocks. Erector sets.
PHILIP
So, I liked Monopoly. Boardwalk, Park Place. Wh-What's the
point ?
EDWARD
We don't build anything, Phil. We don't make anything.
PHILIP
We make money, Edward. We worked for a year on this deal.
It's what you said you wanted. I'm handing it to you.
Edward looks up at Philip.
PHILIP
Morse's jugular is exposed. It's time for the kill. Let's
finish this. Call the bank !
He moves the telephone toward Edward. Edward just smiles but
doesn't pick up the phone.
PENTHOUSE - LIVING ROOM - INTERIOR NIGHT
Close Up on a big Hi-Fi tuner-amplifier. We see Vivian's hand
setting the power on. Lights appear on the amplifier screen. A
sign says «102.70 Mhz». We hear some soft easy music. Vivian's
hand sets the volume a little higher.
Medium shot on a table, on which everything has been set for a
dinner for two. Three candlesticks with lighted red candles in
them are also set on the table. Vivian is seated on one of the
chair by the table. We see her from the back, but she seems to be
almost naked, except for what looks like a tie around her neck.
We hear a door opening, and then closing. Vivian puts her feet up
on the table. She is wearing black shoes. She puts the end of the
tie on the table : it is the tie she took from the salesman in the
store.
Edward crosses the room, without apparently noticing Vivian.
VIVIAN
How was your day, dear ?
Edward stops and looks at her.
EDWARD
Nice tie.
VIVIAN
I got it for you.
PENTHOUSE - BATHROOM - INTERIOR NIGHT
Close up shot on the bathtub faucet. We see Vivian's foot reaching
for the faucet, and the thumb of the foot trying to fit inside the
faucet.
EDWARD (voice over)
Well, my mother was a music teacher... and married my
father...
Close Up on Edward naked chest floating in the bathtub. Vivian's
hand is rubbing a washcloth on the chest.
EDWARD (voice over)
...whose family was extremely wealthy.
Medium shot on Vivian lying in the tub with Edward lying on top of
her. Her legs are spread open and her knees comes out of the water
on either side of Edward's body.
EDWARD
Then he divorced my mother to be with another woman. And he
took his money with him.
Vivian puts the washcloth down on the edge of the tub. She takes a
sponge.
Close Up shot on Edward's chest. Vivian rubs it with the sponge.
EDWARD (voice over)
And then she died. I was very angry with him.
Medium shot of the tub seen from the foot of the tub.
EDWARD
It cost me ten thousands dollars in therapy to say that
sentence : «I was very angry with him». I do it very well,
don't I ? I'll say it again. «I was very angry with him».
Vivian laughs, and Edward smiles.
EDWARD
Hello, my name is Mr. Lewis. I'm very angry with my father.
The camera moves slowly around the bathtub.
VIVIAN
I would've been angry at the ten thousands dollars.
EDWARD
My father was president of the third company I ever took
over. I bought it. I sold it off piece by piece.
VIVIAN
What'd the shrink say ?
EDWARD
He said I was cured.
Now the camera has come near the faucet.
Edward takes Vivian's hand in his.
VIVIAN
Well, so you got even. That must've made you happy.
Medium shot of Edward and Vivian in the tub.
VIVIAN
Did I mention my leg is 44 inches from hip to toe, so,
basically, we're talking about 88 inches of therapy...
She brings her feet up and wraps her legs around Edward's body.
VIVIAN
...wrapped around you for the bargain price of...
EDWARD & VIVIAN (together)
...three thousands dollars.
VIVIAN
Yeah.
FADE TO :
LOS ANGELES EQUESTRIAN CENTER - EXTERIOR DAY
Close Up shot on the lawn of the polo field. We hear an air-horn
blowing, and horses galloping.
The small polo white ball is in the middle of the shot. We see the
hooves of several horses approaching the ball. Then a mallet comes
down and strikes the ball away.
Medium shot on horse-backed players galloping on the field.
We hear the announcer on the Public Address.
ANNOUNCER (voice over from the P.A.)
Ebersol of the Falcons passes to Kennan.
Full shot of the field, with the camera on ground level, showing
the horses coming toward us.
Full shot of the players on the field.
ANNOUNCER (voice over from the P.A.)
This is Bill Fricker with Gwen Olsen...
Medium shot of spectators watching the game. They are all very
well-dressed, and evidently belong to the upper class of society.
ANNOUNCER (voice over from the P.A.)
...giving you play-by-play of this marvelous charity event.
Full shot of a lawn used as a parking lot with car parked among
people sitting in folding chairs and picnicking.
Philip and his wife Elizabeth are crossing the lawn. Philip is
carrying a basket and Elisabeth is carrying a large piece of
printed cloth, to be used as a tablecloth to picnic on it.
PHILIP
Watch where you're walking, because, if you step in
something, we're not going back in the car.
Elizabeth is ready to set the cloth at the foot of a tree.
PHILIP
Not too near the tree. I don't like the ants.
Polo players are galloping in the background. A couple approaches
Philip and Elizabeth. They all shake hands.
PHILIP
Hello. Have you seen Edward anywhere ?
Medium shot on Edward and Vivian standing near a car. Edward is
wearing a very elegant light-grey suit, and Vivian is wearing the
brown dress with white dots that we've seen her buy on Rodeo
Drive. She's also wearing a very elegant beige hat with a ribbon
matching her dress. And Edward is wearing the necktie Vivian gave
him.
VIVIAN
What if someone recognizes me ?
Larger shot of the couple.
EDWARD
Not likely. They don't spend too much time on Hollywood
Boulevard.
VIVIAN
You did.
He puts his hands around Vivian's waist, to grab her hands behind
her back.
EDWARD
Come on. Let go. Let go.
She eventually let him take her hands.
EDWARD
All right. You look great. You look like a lady. You're
gonna have a wonderful time.
Medium shot on the couple. She makes a face. He takes her hand and
drags her behind him
EDWARD
Okay. Don't fidget and smile.
She makes a broad smile, and walks behind him.
Close shot on the players on the field.
ANNOUNCER (voice over from the P.A.)
Humboldt's coming around to this side.
On the edge of the field, two well-dressed gentlemen, a young one
and and older one, are watching the game.
ANNOUNCER (voice over from the P.A.)
Toquenee is on Kennan. Penalty on that play.
The two gentlemen walk away from the field. The camera follows
them around a platform with a canopy above it. On the platform,
the announcer, a white-haired gentleman, is sitting at a table in
front of a microphone. On the other side of the platform, the
camera lets the two gentlemen go on their way and stops on a group
of four people : Edward, Vivian, Gwen and Gretchen. The two last
ones are the Olsen sisters, two very elegant blonde women, known
to be the gossip champions of Los Angeles upper class society.
Gwen is seated on a chair on the platform, next to the announcer,
when Gretchen is standing at the foot of the platform.
EDWARD
This is Gwen and Gretchen, the infamous Olsen sisters, who
have made marrying well an art form.
GWEN
Edward.
EDWARD
Be back in just a second. Hold on.
He walks away and Vivian remains with the Olsen sisters. In the
background, a waiter is working on a buffet table.
GWEN
So, you're the flavor of the month. Hmm.
She turns back to the man seated in front of the microphone.
Vivian looks a little disturbed by what Gwen just said.
GRETCHEN
Uh, she's just being testy. Edward's our most eligible
bachelor. Everybody is trying to land him.
Vivian nods her head and answers Gretchen with a sardonic tone.
VIVIAN
Well, I'm not trying to land him. I'm just using him for
sex.
She walks away. Gretchen laughs.
Medium shot on the edge of the field. A middle-aged couple is
seated on two chairs and looks at the game. Edward is standing
behind them. The couple claps their hands and yell to support
their favorite team. Vivian joins Edward behind the couple. Edward
claps his hands.
EDWARD
Well done.
Vivian claps her hands louder than Edward, and then yells with
wide movements of her hand.
VIVIAN
Well done. Whoo, whoo, whoo !
Close shot on the couple, who turns around to look at her.
Close shot on Edward and Vivian
VIVIAN
Tell me again why we're here.
EDWARD
Business.
VIVIAN
Business mingling ?
EDWARD
Yeah.
We hear an air-horn blowing noisily.
Close Up on the field. We see the legs of a horse galloping on the
field.
ANNOUNCER (voice over from the P.A.)
That's the chukker, ladies and gentlemen.
Larger shot on the field with the horses galloping on it.
ANNOUNCER (voice over from the P.A.)
Falcons, seven. Gems, four.
Medium shot on a group of spectators under an open tent. Among
them, Philip, with sunglasses on his nose, and a glass of
Champagne in his hand. He leaves the group.
PHILIP
Excuse me. Edward !
Larger shot on another open tent across the lawn from the other
one. Philip comes in and joins his wife.
PHILIP
Edward. Over here.
Edward walks in with Vivian. He shakes hands with Philip.
EDWARD
Phil.
PHILIP
Ah, good to see you.
EDWARD
Me too. I want you to meet a new friend of mine, Vivian
Ward.
PHILIP
Well, hi. Philip Stuckey, Vivian. This is my wife,
Elizabeth.
Vivian shakes hands with Philip, then with Elizabeth.
ELIZABETH
It's always a pleasure meeting one of Edward's girls.
A very elegant blonde lady walks toward them and then away from
them. Elizabeth turns around to look at her.
ELIZABETH
Oh, my God ! It's Tate Whitley Wallington.
She runs after Tate.
ELIZABETH
Tate ! It's me, Elizabeth, from Workout World.
The two men and Vivian watch her go.
PHILIP
Sort of an aerobics queen. Feel the burns. Well, let me get
you something to drink. Vivian, why don't you start with
that. Okay ?
He gives his Champagne glass to Vivian.
PHILIP
I'll be right back. Did you notice Senator Adams is here ?
EDWARD
Mm-hmm. I asked him.
PHILIP
That is why I have pledged my eternal love to you. Mmm !
He walks away.
VIVIAN
Real genuine guy. Who is he ?
EDWARD
He's my lawyer. He's all right.
VIVIAN
You could freeze ice on his wife's ass.
EDWARD
Maybe we'll try that later.
VIVIAN
Are these people your friends ?
EDWARD
I spend time with them, yeah.
VIVIAN
Well, no wonder.
EDWARD
No wonder what ?
VIVIAN
No wonder why you came looking for me.
Medium shot on the announcer's platform. Gwen Olsen is speaking in
the microphone.
GWEN
And I do need some help from you ladies and gentlemen in
the audience.
Medium shot on a group of spectators, who are walking under the
white ribbon which separates the audience from the polo field.
GWEN (voice over from the P.A.)
We need you to help replace some of the divots out here on
the grass.
Medium shot on guests seated around a table. They all stand up,
some still carrying their glass of Champagne.
GWEN (voice over from the P.A.)
So come on out now.
Medium full shot on the field. All those very elegant people from
the upper class society, with their glass of Champagne in hand,
stomps, with their feet, on the divots on the field.
ANNOUNCER (voice over from the P.A.)
Come on ! Come on, folks.
Close shot on the feet of the guests, stomping on the divots.
ANNOUNCER (voice over from the P.A.)
You heard her. The stomping of the divots.
Close Up on a very elegant high-heel shoe putting a divot back in
place.
Medium full shot of the announcer's platform. The white-haired
gentleman is sitting at the table on the platform, with Gwen at
his side. But he is not talking in the microphone. Another bearded
man, standing in front of the platform, is talking in a wireless
microphone. In front of the platform, people are walking under the
white ribbon to go on the field.
BEARDED ANNOUNCER
This is a time-honored tradition, ladies and gentlemen.
Medium full shot of Philip, alone in front of a row of empty white
folding chairs, sneezing and blowing his nose into a white
handkerchief.
ANNOUNCER (voice over from the P.A.)
As old as the game of polo itself.
Long high-angle shot of the field, where the guests are stomping
the divots.
Close shot on Vivian, without her hat, stomping the divots and
smiling.
ANNOUNCER (voice over from the P.A.)
Kings and queens used to do this.
Medium shot on Elizabeth, with a glass of Champagne in hand,
talking to Edward
ELIZABETH
She's sweet, Edward.
Back on Vivian, stomping the divots.
ELIZABETH (voice over)
Wherever did you find her ?
Back on Edward and Elizabeth.
EDWARD
976-BABE.
Elizabeth looks a bit surprised by Edward's joke.
Back on Vivian stomping the divots. Edward joins her.
ANNOUNCER (voice over from the P.A.)
Only one word of advice : Avoid the steaming divot !
Medium shot of Philip, seated on a chair, and looking at Vivian
and Edward.
Back to Vivian and Edward stomping the divots. Vivian laughs very
loudly, and Edward takes her in his arms.
Close shot on Philip, who seemed worried by what he sees.
Medium full shot of Vivian seated on the trunk of a red
convertible car. Her hat is on the trunk near her. A man takes one
of Vivian's shoes off to clean it. A woman is standing near the
car, watching the scene.
THE MAN
No, it's all part of the game of polo. You get to have your
shoes polished by a member of the club.
He looks at a dirty spot on the shoe.
THE MAN
I think I got something in the car that will buff that up.
He walks away with the shoe.
VIVIAN
Thank you.
Medium shot on David Morse walking toward Vivian. He is wearing
his polo player outfit : red shirt, with the name of his team
«L.A. Gems» and his number in the team «2», and white pants. He is
holding his helmet, his leather gloves and his riding crops in one
hand.
DAVID MORSE
Vivian, hi. David Morse.
Medium shot of Vivian, still seated on the car. She smiles. The
woman, who was talking with her, walks away.
THE WOMAN
Excuse me.
Vivian takes her hat, jumps from the car down on the ground, and
walks toward David.
VIVIAN
David.
DAVID MORSE
How are you ?
VIVIAN
I'm okay.
David looks at the hat Vivian is holding
DAVID MORSE
I thought that was you. I like this hat.
VIVIAN
It's new.
Medium shot on Philip watching Vivian talking with David Morse.
His wife Elizabeth joins him.
DAVID MORSE (voice over)
Yeah ?
VIVIAN (voice over)
Yeah !
ELIZABETH
What are you looking at ?
PHILIP
Edward's date.
Reverse angle shot on what Philip sees : David and Vivian talking
together, seen from a distance. We can't hear what they are
saying.
ELIZABETH (voice over)
I'm going for a ride with the Ritter's in their new car.
Okay, hon ?
Back on Philip. Elizabeth gives Philip a kiss on the cheek
PHILIP
Uh-huh.
Elizabeth understands that Philip has not heard a word of what she
just said.
ELIZABETH
Philip, I'm going to rip off all my clothes and do a naked
belly dance for the polo players.
PHILIP
Have fun.
Elizabeth walks away, looking a bit furious.
Back on Vivian and David, as watched by Philip. They are now
standing in front of David's horse, held by a young blonde girl.
DAVID MORSE
Come meet my horse, Vivian.
VIVIAN
Well, Edward's waiting for me. I don't want to...
DAVID MORSE
Come on. He's right here.
VIVIAN
Okay, I'll... Just for a second, though.
She walks toward the horse, looking back to watch for Edward.
VIVIAN
I didn't know you were playing today.
Medium shot of Philip and Edward walking between the stands.
EDWARD
Uh... I was asking for directions. There she was.
PHILIP
Oh, so you just ran into her ? That's great, Jesus !
PHILIP
So anyway, what does she do ? Does she... does she work ?
They stop walking in front of a stand, where waiters are pouring
Champagne for the guests.
EDWARD
She's in sales.
PHILIP
Sales ? That's terrific. That's good. What does she sell ?
EDWARD
Why do you want to know ?
PHILIP
Now just hear me out on this, okay ? I've known you a long
time. I... I see some differences in you this week, like
the tie, and, uh... I'm wondering if maybe this girl isn't
the difference, especially when I see her talking to David
Morse.
Different angle medium shot showing, behind Edward's back, Vivian
to David in the background. Edward turns around to look at them.
Medium close shot on Edward looking at Vivian, and Philip, looking
at Edward, with an inquisitive expression in his eye.
Closer shot on David and Vivian talking together near the horse,
still held by the young girl.
EDWARD (voice over)
I introduced them at dinner the other night.
PHILIP (voice over)
So what ? Now they're best friends ?
Back on Edward and Philip talking together.
PHILIP
I mean, this girl appears from out of nowhere. Now she's
talking to a guy whose company we're trying to buy. That's
a little convenient, don't you think ?
EDWARD
Don't be ridiculous.
PHILIP
Edward, how... how do you know that this girl... hasn't
attached herself to you because she's bringing information
back to Morse ? This happens ! Industrial espionage...
EDWARD
Phil, Phil, Phil ! Phil, listen to me.
PHILIP
What ?
EDWARD
She's not a spy. She is a hooker.
PHILIP
Oh !
EDWARD
She is a hooker. I picked her up on Hollywood Boulevard. In
your car.
Philip laughs.
PHILIP
Oh, you are...
EDWARD
Yes, yes.
PHILIP
Oh, man !
He keeps on laughing louder. He snorts.
PHILIP
You know, you're the only millionaire I ever heard of...
who goes looking for a bargain basement streetwalker, you
know ?
SENATOR ADAMS (voice over)
Edward !
EDWARD
I'm sorry I told you.
Edward walks toward Senator Adams, who is calling him. Philip
keeps on laughing.
EDWARD
Senator. Senator Adams, I'm pleased you could make it.
Medium shot on the Senator. Edward walks to him and shakes his
hand.
SENATOR ADAMS
Thank you. I hope the information I gave you was helpful.
Back on Philip, who walks away with a laughing face.
EDWARD (voice over)
Oh, absolutely, yes, and thank you for it.
Back on Edward with the senator.
EDWARD
There's no change, is there ?
SENATOR ADAMS
No, it's still bogged down.
Medium shot on Vivian, standing near a tree, with her hat in her
hand. She is smiling.
Philip walks behind her. Vivian stops smiling.
PHILIP
Having a nice time, Vivian ?
She smiles again.
VIVIAN
Yeah, I'm having a great time.
PHILIP
Must be quite a change from Hollywood Boulevard, hmm ?
She stops smiling and shows a very sad and worried face.
VIVIAN
What ?
PHILIP
Yeah, Edward told me. But don't worry : you're secret is
safe with me. Listen, maybe, uh, you and I could get
together sometime...
He touches her bare arm with his sunglasses.
PHILIP
...after Edward leaves.
VIVIAN
Yeah, sure. Why not ?
We sense that Vivian feels like crying, but she masters her
emotions and looks at Philip.
PHILIP
We'll just have to do that, hmm ?
He puts the tip of his fingers on her bare shoulder.
ELIZABETH (voice over)
Philip !
Philip turns around to look at his wife. Then he walks away.
Vivian remains on the same spot, with a very sad face.
GWEN (voice over from the P.A.)
Hi, tailgaters. I'd like to mention a couple of our silver
sponsors...
Close shot on Edward looking at Vivian. He smiles.
GWEN (voice over from the P.A.)
...Jacobs Distributors, Norrell Saddlery, and we'd like to
give a great big thanks to our platinum sponsor...
Back to Vivian. She doesn't look at Edward and keeps the same
sullen sad face.
GWEN (voice over from the P.A.)
Edward Lewis Enterprises.
Applause and air horn blowing.
Vivian crosses her arms, but doesn't look at Edward.
ANNOUNCER (voice over from the P.A.)
The ball is in for chukker number four.
PENTHOUSE - LIVING ROOM - INTERIOR EVENING
Medium shot on the main door. It opens and Edward comes in,
followed by Vivian.
Vivian closes the door, and Edward looks at his mail lying on a
small table. Vivian throws her hat and gloves on another table
with a nervous movement. Edward turns around to look at her.
EDWARD
You all right ?
VIVIAN
I'm fine.
She walks away.
EDWARD
Fine. That's good. Seven «fines» since we left the match.
Edward picks up his mail and newspaper, and walks behind her.
EDWARD
Could I have another word, please ?
The camera follows Edward in the room. In the background, across
the open door of the bedroom, we see Vivian entering the bathroom.
VIVIAN
Asshole ! There's a word.
She slams the bathroom door.
EDWARD
I think I liked «fine» better.
Edward drops his mail and newspapers on the desk.
Vivian opens the bathroom door, and stands near the open door.
VIVIAN
You know what ? Just tell me one thing : Why did you make
me get all dressed up ?
Edward walks toward her. The camera follows him.
EDWARD
Well, for one thing, the clothing was appropriate.
PENTHOUSE - BEDROOM - INTERIOR EVENING
Edward takes his jacket off.
VIVIAN
No, what I mean is, if you were gonna tell everybody I'm a
hooker, - why didn't you just let me wear my own clothes,
okay ?
Edward sits down on the bed.
EDWARD
I did not... I did not...
VIVIAN
I mean, in my own clothes, when someone like that guy
Stuckey comes up to me, I can handle it, I'm prepared.
Edward starts unlacing his shoes. Vivian walks away toward the
living room. The camera follows her.
PENTHOUSE - LIVING ROOM - INTERIOR EVENING
Vivian is trying unsuccessfully to open a bottle of Coca-Cola. In
the background, Edward is still sitting on the bed, taking his
shoes off.
EDWARD
I'm very sorry. I'm not happy with Stuckey at all for
saying or doing that. But he is my attorney. I've known him
for ten years.
Edward stands up and walks toward Vivian.
EDWARD
He thought you were some kind of an industrial spy. The
guy's paranoid.
VIVIAN
What are you, my pimp now ?
She puts the unopened bottle back on the table.
VIVIAN
You know, you think you can pass me around to your
friends ? I'm not some little toy !
She walks away toward the bedroom.
EDWARD
Look, you're not my toy, I know you're not my toy.
He walks behind her.
EDWARD
Vivian ! Vivian, I'm speaking to you. Come back here !
PENTHOUSE - BEDROOM - INTERIOR EVENING
Vivian was ready to enter the bathroom, but she turns around.
EDWARD
I hate to point out the obvious, but you are, in fact, a
hooker ! And you are my employee !
VIVIAN
Look, you don't own me. I decide, okay ? I say who. I say
when. I... I say who...
EDWARD
I refuse to spend the next three days fighting with you. I
said I was sorry. I meant it. That's the end of it !
VIVIAN
I'm sorry I ever met you.
She walks away into the bathroom
VIVIAN
I'm sorry I ever got into your stupid car !
He walks toward the bathroom, enters it and starts taking his tie
off in front of the mirror.
EDWARD
As if you had so many more appealing options.
Vivian comes back to the bathroom door, carrying a bunch of
clothes.
VIVIAN
I've never had anyone make me feel as cheap as you did
today.
EDWARD
Somehow, I find that very hard to believe.
She gets out of the bathroom with her arms full of clothes. She
picks up a small handbag and puts it on her shoulder. Then she
tries to pick up a larger handbag.
Close shot on the handbag, stuck under an armchair. We notice that
Vivian is bare feet.
Vivian finally succeeds in picking up the bag and put the straps
over her shoulder, on top of the smaller bag. Edward walks out of
the bathroom and joins her.
EDWARD
Where are you going ?
VIVIAN
I want my money. I want to get out of here.
She crosses her arms on her bunch of clothes. She has a very
sullen, sad face. Edward doesn't move for a couple of seconds,
then walks to the bed, to pick up his jacket. He gets his wallet
from the inside pocket of his jacket. He opens the wallet, and
gets a large wad of banknotes out of it.
Close up shot on the bed. We see the wad of banknotes falling on
the bed. They are all hundred-dollar bills.
Edward walks away toward the living room, and Vivian remains
without moving with her sullen sad face. She looks down at the
bed.
Close up shot on the wad of banknotes on the bed.
Back to Vivian, who hasn't moved. She starts walking away toward
the living room, without taking her money.
PENTHOUSE - LIVING ROOM - INTERIOR EVENING
Edward is standing near the desk, looking at his mail. Vivian
walks behind him, coming from the bedroom and going away toward
the front door. We hear the door opening. Edward looks up toward
the door. The door closes, and Edward looks very pensive. He looks
back into the bedroom.
PENTHOUSE - BEDROOM - INTERIOR EVENING
Close up on the bed, where the wad of banknotes is still lying.
REGENT BEVERLY WILSHIRE HOTEL - PENTHOUSE HALLWAY - INTERIOR
EVENING
Medium shot on Vivian, standing near the elevator, and nervously
pressing on the elevator call button.
VIVIAN
Come on !
Medium close shot on Vivian. We hear the penthouse door opening,
but Vivian doesn't look at it and keeps looking at the elevator in
front of her.
Larger shot. Edward is coming out of the penthouse, and he has
left the door open. He walks toward Vivian.
EDWARD
I'm sorry. I wasn't prepared to answer questions about us.
It was stupid and cruel. I didn't mean it. I don't want you
to go. Will you stay the week ?
VIVIAN
Why ?
EDWARD
I saw you talking to David Morse. I didn't like it.
VIVIAN
We were just talking.
He chuckles.
EDWARD
I didn't like it.
The elevator bell dings. The elevator door opens, and a smiling
Dennis appears.
DENNIS
Down ?
Close shot on Edward's face, and then on Vivian's face.
Dennis feels some tension between Edward and Vivian and stops
smiling. He goes back into the elevator, presses a button and the
door closes.
VIVIAN
You hurt me.
EDWARD
Yes.
VIVIAN
Don't do it again.
They look at each other for a couple of seconds, then slowly,
Vivian walks back to the penthouse. Edward follows her and takes
one of her handbags from her shoulder. They both enters the
penthouse and he closes the door behind him.
PENTHOUSE - BEDROOM - INTERIOR NIGHT
High angle shot above the bed. Edward and Vivian are lying in the
bed, presumably naked, but covered by a sheet from their waist
down. They are facing each other and talking.
VIVIAN
First guy I ever loved was a total nothing. Second was
worse. My mom called me a bum magnet. If there was a bum
within a fifty-mile radius, I was completely attracted to
him. That's how I ended up here. I followed bum number
three.
Slowly, the camera moves closer to them.
EDWARD
Mm.
VIVIAN
So here I was : no money, no friends, no bum.
EDWARD
So then you chose this as your profession ?
VIVIAN
I worked at a couple fast food places, parked cars at
wrestling. And I couldn't make the rent. I was too ashamed
to go home. That's when I met Kit. She was a hooker and
made it sound so great. So one day I did it.
The camera stops moving forward, having reached a medium close
shot, showing Vivian and Edward's heads and shoulders.
VIVIAN
I cried the whole time. But then I got some regulars and,
you know... It's not like anybody plans this. It's not your
childhood dream.
EDWARD
You could be so much more.
Close shot on Vivian's face.
VIVIAN
People put you down enough, you start to believe it.
Reverse shot on Edward's face.
EDWARD
I think you are a very bright, very special woman.
Reverse shot on Vivian's face.
VIVIAN
The bad stuff is easier to believe. You ever notice that ?
EDWARD'S OFFICE IN L.A. - EXTERIOR DAY
Long shot on the building, seen from across the street.
EDWARD'S OFFICE IN L.A. - RECEPTION HALL - INTERIOR DAY
Medium full shot on Philip, standing in front of the desk, and
talking to the receptionist girl.
PHILIP
No, I don't want to talk to him now. Tell him I'll call him
on Monday.
He walks away from the desk.
THE RECEPTIONIST
Yes, sir.
A blonde female secretary walks into the room, carrying a thick
pile of documents.
PHILIP
Where are you going ? Did he sign these ?
THE SECRETARY
No, he said he had to leave.
Philip walks nervously across the room.
PHILIP
He had to...
He meets Edward coming out of an office.
PHILIP
Edward, you can't disappear now. We're in this too deep.
EDWARD
Don't panic, Philip. Morse isn't going anywhere. I'll be
back here in the morning.
He stops at the reception desk.
EDWARD
Did you send the tickets to the hotel ?
THE RECEPTIONIST
Yes, sir.
EDWARD
Thank you.
He starts walking out of the room.
PHILIP
Where are you going ?
EDWARD
I have a date.
PHILIP
With the hooker ?
Edward stops walking. He doesn't seem very happy by what Philip
just said. He slowly turns around, facing Philip.
EDWARD
Be careful, Philip.
He walks away. Philip slowly turns around and walks into his
office.
PENTHOUSE - LIVING ROOM - INTERIOR EVENING
Medium shot of Edward standing in front of the closed bedroom
door. He is very elegantly dressed in black tuxedo and bow-tie.
When he hears the bedroom door opening, he crosses his arm and
leans on the bar.
The door opens and Vivian appears. She is very elegantly dressed
in a long red evening dress. She is also wearing long white
gloves. She walks into the room. She stops in front of Edward and
faces him. Edward moves around her.
VIVIAN
Do I look okay ?
EDWARD
Mmm.
VIVIAN
Mmm ?
EDWARD
Something's missing.
She looks at herself and at her tight-fitting dress.
VIVIAN
Well, nothing else is gonna fit into this dress. I'll tell
you that.
Edward picks up a mauve-colored box on the bar.
EDWARD
Well, maybe something in this box. I don't want you to get
too excited. This is only on loan.
He opens the box : it's a jewel box. Vivian comes closer to the
box and looks into it. What she sees looks like a very beautiful
and expensive necklace. She moves her hand to touch delicately the
necklace, but Edward snaps the lid of the box shut, almost
squeezing her finger into it.
VIVIAN
Oh !
She bursts out laughing loudly. Edward opens the box again.
Close shot in front of a mirror. Edward is fixing the necklace
around Vivian's neck.
VIVIAN
They really let you borrow this from the jewelry store ?
EDWARD
I'm a very good customer.
VIVIAN
If you were gonna buy this, how much would it cost ?
EDWARD
Quarter of a million.
Vivian laughs nervously.
VIVIAN
A quarter of a million dollars ?
Edward turns around Vivian, and his black-colored back blocks
completely our view of the scene, making some sort of fade-out /
fade-in with the next scene.
REGENT BEVERLY WILSHIRE HOTEL - ELEVATOR - INTERIOR EVENING
Edward's back is still blocking completely our view of the scene.
But then Edward moves to stand beside Vivian in the back of the
cabin of the elevator. She is carrying a small golden purse.
VIVIAN
So, where are we going ?
EDWARD
It's a surprise.
VIVIAN
If I forget to tell you later, I had a really good time
tonight.
EDWARD
Thank you.
Close shot on Dennis standing near the door of the cabin, and
smiling.
REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR EVENING
We hear the beginning of the orchestral music of «Fallen», written
and performed by Lauren Wood.
Vivian and Edward are getting out of the elevator and they start
crossing the lobby. Dennis comes out of the elevator to have a
better look.
Medium full shot on a desk. Two uniformed attendant are standing
near the desk. Another man, wearing a suit, is standing behind the
desk, and checking things in an open ledger. All three of them
look at the passing couple.
Vivian and Edward keep on walking across the lobby. He looks at
her. She touches her necklace.
Medium shot on the reception desk. Miss Wilson and another female
receptionist are standing behind the desk, talking with a guest.
They look at the couple and smile.
Barney is standing near a wall tapestry, talking to a guest. He
looks at the couple and seems very happy by what he sees.
Back on Vivian and Edward crossing the lobby.
EDWARD
When you're not fidgeting, you look very beautiful... and
very tall.
Vivian laughs.
REGENT BEVERLY WILSHIRE HOTEL - EXTERIOR EVENING
The big grey limousine, that Edward uses all the time, is leaving
the curb in front of the hotel.
LYRICS
You're a dream coming true. I can't believe how I have...
Close shot on the front left wheel of the limousine.
LYRICS
...fallen for you.
BURBANK AIRPORT - EXTERIOR EVENING
Long shot of the airport. The limousine enters the airport field,
and stops near a corporate jet plane. A red carpet is lying on the
ground between the limousine and the plane.
LYRICS
You are the one who's led me to the sun.
Medium full shot on the car. Edward comes out of the back of the
limousine. Darryl comes out of the driver's door and holds the
door for Vivian, who looks surprised to see the plane.
LYRICS
How could I know...
EDWARD
You don't want to go to San Francisco in a limousine, do
you ?
Darryl closes the back door, and stands near the car.
LYRICS
...I was lost without you.
VIVIAN
I've never been on a plane before.
LYRICS
And I want to tell you...
Edward walks, on the red carpet, toward the plane, followed by
Vivian. They talk together, but the lyrics of the song cover their
voices.
LYRICS
...you control my brain.
Long shot on the runway, with the corporate jet plane taking off.
The camera follows the plane.
LYRICS
And you should know that...
ABOVE LOS ANGELES - EXTERIOR EVENING
The jet plane is flying above L.A., with the sun setting down in
the background.
LYRICS
...you are life in my veins.
PILOT (voice over)
Well, it should be a pretty smooth flight, Mr. Lewis. The
weather is clear all the way up to San Francisco. We should
be there in about fifty minutes.
SAN FRANCISCO - AERIAL VIEW - EXTERIOR NIGHT
Extreme long aerial shot of San Francisco.
SAN FRANCISCO OPERA HOUSE - EXTERIOR NIGHT
Medium long shot of the main entrance of the opera house, with the
cars coming and going and dropping the spectators.
End of the music.
SAN FRANCISCO OPERA HOUSE - LOBBY - INTERIOR NIGHT
Full shot on the lobby, which is almost empty. Apparently, Edward
and Vivian are among the last spectators. Vivian, who seems a bit
nervous, is holding Edward's arm very tightly.
VIVIAN
We're late.
EDWARD
No, it's all right. Opening night never starts on time.
VIVIAN
Okay.
They walk near a stand, where a girl, wearing black tuxedo and
bow-tie, is distributing programs. Edward takes a program.
THE PROGRAM ATTENDANT
Program, sir.
EDWARD
Thank you.
SAN FRANCISCO OPERA HOUSE - BOX - INTERIOR NIGHT
The camera pans, from right to left, a succession of private boxes
in the medium upper level of the theatre. All the men are wearing
black tuxedoes and bow-ties, and all the women are wearing very
elegant and very expensive evening dresses.
We hear the instruments of the orchestra warming up.
The third box is empty, but an usher shows Edward and Vivian
through the door of the box.
USHER
Right this way, Mr. Lewis, sir.
Vivian enters first, followed by Edward. Vivian looks down from
the balustrade of the box. Edward shakes hand with Doris, an old
lady in the next box.
EDWARD
Doris.
DORIS
Edward, how are you ?
EDWARD
How nice to see you. Nice to see you.
The camera starts going away and down from the box.
EDWARD
Sir.
He shakes hands with Doris' husband.
DORIS' HUSBAND
Good evening, Edward.
EDWARD
Wonderful news. Congratulations.
Meanwhile, Vivian has moved to the corner of the balustrade.
VIVIAN
Hey, come here. You gotta look at this.
Medium close shot on the box. Edward, who, as we already know it,
is afraid of heights, doesn't want to move any closer to the
balustrade.
EDWARD
It's all right. I've already seen it.
VIVIAN
If you're afraid of heights, why do you get seats up here ?
EDWARD
Because they're the best.
He sits down, and Vivian also sits down. The ushers, who had
remained behind them, slightly bends down toward Edward.
USHER
Is there anything else, sir ?
EDWARD
No, thank you.
He shows them something underneath the balustrade, and then moves
away.
USHER
The glasses are there. Enjoy the opera.
VIVIAN
Oh !
She picks up the opera glasses.
VIVIAN
So, you said this is in Italian.
She tries to look through the glasses, but doesn't succeed in
setting them right on their handle.
EDWARD
Mm-hmmm.
VIVIAN
So how am I gonna know what they're singing. These are
broken.
Edward takes the glasses from Vivian's hand.
VIVIAN
Mine are broken.
EDWARD
No, no. That's okay It's all right.
He sets them right on their handle, and gives them back to Vivian.
VIVIAN
Oh.
EDWARD
You'll know. Believe me, you'll understand.
Vivian looks through the glasses, while the lights are switching
off and on, to warn the spectators that the opera is about to
begin.
EDWARD
The music's very powerful.
Mediums full shot on the two next boxes on the right of Edward's
box. The spectators, who understood the lights signal, are sitting
down.
Back to Edward's box. Medium close shot on Vivian and Edward.
Vivian is looking through her glasses.
VIVIAN
There's a band !
Medium shot on the two other boxes. The light are definitely
switched off, and ushers are closing the curtains on the exit
doors.
Back to Vivian and Edward. We hardly see them in the dark.
EDWARD
People's reactions to opera the first time they see it is
very dramatic. They either love it or they hate it. If they
love it, they will always love it. If they don't, they may
learn to appreciate it, but it will never become part of
their soul.
VIVIAN
Mmm.
The orchestra plays the overture of «La Traviata».
The lights, coming from the stage, enable us to see Vivian and
Edward's faces. Vivian is smiling broadly. Edward is concentrated
on the music and serious.
Close shot on Vivian's face. Still smiling broadly, she turns
briefly toward Edward, and then goes back looking at the stage.
She bends down on the balustrade to have a better look at the
stage.
SAN FRANCISCO OPERA HOUSE - STAGE - INTERIOR NIGHT
The sets and the costumes are beautiful and very classic in their
design. We see and hear the Love Duet of Act One in Violetta's
sitting room.
Violetta walks to the forefront of the stage, and the camera moves
away from her, showing, seen from the stage, Edward and Vivian in
their box.
The picture and the music dissolve to the Second Act in Violetta's
garden. Violetta is bending on Alfredo and singing.
SAN FRANCISCO OPERA HOUSE - BOX - INTERIOR NIGHT
Low angle shot of the box. Vivian turns toward Edward, and then
look back at the stage. Edward looks at her.
SAN FRANCISCO OPERA HOUSE - STAGE - INTERIOR NIGHT
Medium close shot on Violetta and Alfredo, in each other's arms.
Violetta keeps on singing.
SAN FRANCISCO OPERA HOUSE - BOX - INTERIOR NIGHT
Closer low angle shot on Edward an Vivian. The camera tilts up
toward their faces.
SAN FRANCISCO OPERA HOUSE - STAGE - INTERIOR NIGHT
Violetta kisses Alfredo on the mouth, and then walks away.
The music dissolves on the Final Scene of the Third Act, and the
picture dissolves on :
SAN FRANCISCO OPERA HOUSE - BOX - INTERIOR NIGHT
Medium close shot of Vivian and Edward. The camera moves closer to
Vivian's face : she is crying.
Close shot on Edward's face : he looks at Vivian.
Back on Vivian's face, crying.
Back on Edward's face.
Medium close shot on their both faces, seen in profile from their
right.
Last orchestral notes and applauses.
VARIOUS SPECTATORS (voices over)
Bravo ! Bravo ! Bravo ! Bravo ! Bravo !
Medium shot on Doris' box. Doris and her female friend are
applauding, sitting in front of the balustrade. The two husbands
are standing up behind them and also applauding.
Back to Edward's box. Close shot of Vivian standing up. She still
has tears in her eyes. She walks away from her seat, coming near
Doris' box.
DORIS
Did you enjoy the opera, dear ?
VIVIAN
Oh, it was so good, I almost peed in my pants.
DORIS
What ?
She seems a bit surprised by what she just heard. Vivian walks
away, and Edward turns toward Doris.
EDWARD
She said she liked it better than Pirates of Penzance.
DORIS
Oh !
Edward walks away, leaving a very pensive Doris. Apparently she
doesn't completely believe Edward's translation of Vivian's
words !
EDWARD
Yes. Good-bye now.
Still very pensive, Doris absently waves her hand to him.
REGENT BEVERLY WILSHIRE HOTEL - EXTERIOR NIGHT
Long shot from across the street. We see the limousine parking in
front of the hotel.
Medium long shot on the limousine parking. We hear Edward and
Vivian's conversation in voices over.
EDWARD (voice over)
No, don't touch..
VIVIAN (voice over)
I moved the queen. I like the queen.
EDWARD (voice over)
You can't move the queen.
Vivian laughs, still in voice over.
PENTHOUSE - LIVING ROOM - INTERIOR NIGHT
Vivian and Edward are seated on either side of a round table,
playing chess. The room is very dimly lit, and there are two lit
candles on the table. They are still wearing their opera clothes,
but Edward has taken his jacket off.
Slowly, the camera moves forward from an medium full shot of the
table and the two characters on either side of it, to a close shot
on the chess board.
EDWARD (LAUGHING)
Did you really do that ? Why don't we finish this
tomorrow ? It's really late, and I have to work.
VIVIAN
Why don't you not go to work tomorrow. Take the day off.
EDWARD
Me, not work ?
VIVIAN
Yeah.
EDWARD
I do own the company.
The picture dissolves into :
EDWARD'S OFFICE IN L.A. - EXTERIOR DAY
Aerial shot of Edward's office building. Actually there are two
twins towers.
EDWARD'S OFFICE IN L.A. - PHILIP'S ROOM - INTERIOR DAY
High angle shot on Philip's desk. Various documents are spread on
the desk. But set above these documents, there is a miniature
billiard table. And Philip is practicing his billiard with a
miniature billiard cue. He makes a shot and then looks at a
printed document lying next to the miniature table. He then moves
a ball on the billiard table.
A female secretary comes into view on the left of the screen. She
is handing some documents to Philip.
SECRETARY
Here are the storage reports you wanted, and Mr. Lewis
called.
Philip doesn't take the documents and she puts them on the desk.
PHILIP
What'd he say ?
SECRETARY
He said he's taking the day off.
Philip looks very surprised.
PHILIP
He's taking the day off ?
SECRETARY
That's what he said.
She walks away, leaving a very perplexed Philip.
LOS ANGELES - A PUBLIC PARK - EXTERIOR DAY
A beautiful public park in L.A.
A huge fountain with water works pouring gallons of water into the
pool.
Full shot of Edward and Vivian walking along the fountain, Vivian
walking on a low wall, and Edward walking in the lane. Vivian is
wearing a white dress with thin vertical stripes, and carrying a
little black purse. Edward is wearing a very elegant grey suit,
and he is carrying his leather briefcase.
VIVIAN
I'm starving. There's a snap dog vendor over there. Do you
have any money ?
She jumps down from the low wall and takes Edward's arm.
EDWARD
I have money. I don't know what a snap dog is, but I have
money.
VIVIAN
Well, I'm gonna give, um... you'll buy a snap dog. We'll
cop a squat under a tree somewhere.
EDWARD
Cop a what ?
VIVIAN
Cop a squat.
Later on a lawn in the park.
Medium close shot on a tartan red blanket spread on the lawn.
Vivian is kneeling on the blanket, with Edward seated next to her.
She has already taken one of Edward's shoes and socks off, and she
is taking the other sock off. Edward is talking on his cellphone.
EDWARD
All right, read the first two pages.
Medium full shot of the lawn. We see that Vivian and Edward are
sitting under a tree. Vivian takes the other sock off.
EDWARD
Okay... Mmm...
Vivian stands up, and takes Edward's cellphone away from his ear,
and shuts it.
EDWARD
I was talking to someone.
The picture dissolves into :
LOS ANGELES - A RIDING CLUB - EXTERIOR DAY
A riding club with white fences around the riding lawn.
Full shot of Vivian and Edward riding two horses. Edward is
wearing an open black shirt, and a pair of slacks. Vivian is
wearing riding pants and boots, a white shirt and a beige open
sweater.
Closer shot on Edward's face talking to Vivian while riding.
Medium shot. The two horses are riding next to each other and
Vivian is touching Edward's thigh.
Medium close shot on Vivian. She is smiling and looking very
happy.
Long shot on the riding lawn. Edward and Vivian are walking next
to each other, holding their respective horse by the reins.
Closer shot on Edward and Vivian walking with their horses.
The picture dissolve into :
LOS ANGELES - A SMALL STREET - EXTERIOR NIGHT
Full shot from across the street, looking into a small restaurant.
In the window, neon signs say «Good Food» and «Quick Grill».
Edward and Vivian are seated at the bar.
Closer shot on Edward and Vivian. Vivian is apparently explaining
something to Edward with a lot of hand movements.
The picture dissolves into :
LIMOUSINE - INTERIOR NIGHT
Edward and Vivian are seated next to each other inside the
limousine. Edward is wearing a suit and a tie, and Vivian is
wearing a purple dress.
EDWARD
Did you know that two of the Bach pieces that we heard
tonight... were found by Felix Mendelssohn in a butcher's
shop ? They were wrapping meat with the sheet music.
Vivian is not listening to Edward and she keeps looking through
the car window. She seems nervous.
EDWARD
What's with you ? You're fidgeting. What's wrong ?
VIVIAN
Um... There's a club up here that I'd like to stop into for
a second to see my roommate, if that's okay ?
EDWARD
Absolutely.
He raises his voice.
EDWARD
Darryl !
VIVIAN
Uh, Darryl, can you just pull up into the back alleyway,
please ?
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
Full shot of the boulevard.
The limousine slows down in front of «The Blue Banana». There are
several motorbikes parked in front of the club.
EDWARD (voice over)
The Blue Banana ?
VIVIAN (voice over)
The Blue Banana.
EDWARD (voice over)
Very colorful life you lead.
BACK ALLEYWAY - EXTERIOR NIGHT
Medium full shot of a very dark alleyway. Strange-looking people
are walking around.
The limousine enters the alleyway and stops.
Medium shot on two tough-looking guys looking at the limousine.
Medium shot of the limousine. Vivian is already out of it, and
Edward is coming out.
EDWARD
You say this is a nice place. I'm sure it's a very nice
place.
He closes the door of the car.
VIVIAN
I just wanna run in for a minute and see if she's there, so
just stay here.
A quick shot on people exchanging «things», maybe drugs.
Back to the limousine.
VIVIAN
I'm hoping they don't spot this limousine as it is.
EDWARD
I'll block it with my body.
He leans on the limousine.
Vivian walks away toward the entrance of the night club.
THE BLUE BANANA CLUB - MAIN ROOM - INTERIOR NIGHT
We hear the song «Fame 90», performed by David Bowie.
Medium shot on a metal staircase, with a young man and a young
woman standing at the bottom of the staircase.
Medium shot of a couple dancing in front of the fresco. The whole
club is bathed in red light. The camera starts panning to the
left, showing more people dancing.
LYRICS
Fame makes a man who'll take things over. Fame Lets him
loose and hard to swallow.
Vivian enters the room, looking for Kit.
LYRICS
Fame puts you there where things are hollow.
Customers start looking at Vivian, and at her elegant dress.
A CUSTOMER
Hey, Viv, you looking good, man. What'd you win, the
lottery or what ?
Vivian walks toward Rachel, one of the dancing girls.
VIVIAN
Hey, Rachel, have you seen Kit ?
RACHEL
No, not since, uh, Tuesday. Hey, and Carlos is looking for
her too.
A CUSTOMER (voice over)
Hiya, honey, you look great.
Vivian walks toward the bar and Pops, the bartender, standing
behind it.
VIVIAN
Hi, Pops. Thanks. Have you seen Kit ?
POPS
I think she went to Santa Barbara.
End of music.
BACK ALLEYWAY - EXTERIOR NIGHT
Close shot of a skate board and a pair of roller-shoes, rolling on
the alleyway ground.
Medium full shot on the entrance of the club. Edward is standing
facing the door. A group of tough-looking guys come behind him on
rollers and skate-board. Edward turns around to face them.
EDWARD
Hi.
We hear the muffled sound of the music, coming from the club.
THE BLUE BANANA CLUB - MAIN ROOM - INTERIOR NIGHT
We hear the music loud again.
Medium shot of Vivian, still standing near the bar and facing
Pops. She is writing something on a piece of paper.
VIVIAN
Here's my number where I'm gonna be for the rest of the
week. Have her call me or come by, okay ?
POPS
Okay, honey. Thanks.
VIVIAN
Thanks.
She walks away from the bar.
BACK ALLEYWAY - EXTERIOR NIGHT
Muffled sound of the music coming from inside the night club.
LYRICS
Fame, what you like is in the limo. Fame.
Mediums shot of Vivian coming out of the club. On the door, a sign
says «I.D. Required». Vivian stops when she sees the strange crowd
around Edward, then she starts walking again. She stops when she
gets near Edward. Among the tough-looking guys around Edward, we
recognize Carlos, still wearing his eternal hat, and another guy,
one of Carlos' lieutenants, wearing a leather jacket, and holding
a long stick in his hands.
VIVIAN
What's going on out here ?
EDWARD
I don't know. You left and all of a sudden I'm in the
middle of West Side Story.
CARLOS
I think you owe me some money, baby.
THE GUY WITH THE STICK
Two hundred dollars.
EDWARD
Why don't you go to school tomorrow ?
A girl, standing behind the group, starts giggling very stupidly.
CARLOS
Now I hear you got yourself a new job ?
VIVIAN
Let's just leave.
She starts walking away, but Carlos puts himself in her way.
CARLOS
You ain't going no place.
Edward takes a step forward.
EDWARD
Hey, hey, hey, hey, hey...
The guy, standing next to Carlos, takes a very long knife out of
his skateboard.
CARLOS
You're out of your neighborhood, home boy. This ain't no
Beverly Hills !
EDWARD
I don't believe this. He has this knife coming out of his
skateboard. He's going to stab me.
He turns toward the guy with the stick.
EDWARD
What are you gonna do, you gonna strangle me with a
Slinky ?
The stupid girl giggles again. Carlos turns toward her.
CARLOS
Shut up !
EDWARD
All right, okay, this is what's happening. You believe that
this person owes you money, right, two hundred dollars ?
CARLOS
That's right.
EDWARD
Why ?
CARLOS
Because this is my block.
Edward turns toward Vivian.
EDWARD
His block ?
VIVIAN
He's a drug dealer. It has to do with Kit. Let's just go,
Edward.
She starts walking away. But Carlos is in their way.
CARLOS
Edward. So how's it feel to be a trick ?
EDWARD
I am not a trick. This is a trick.
He points his hand toward Darry.
EDWARD
Darryl ! Left pocket.
Medium close shot on Darryl, standing near the limousine. He opens
his jacket, revealing a holster with a gun inside.
Back to the group around Vivian and Edward.
EDWARD
Isn't that incredible ? And he does have a permit. Thank
you, gentlemen.
He pushes Vivian in front of him and crosses the group. He stops a
couple of seconds near Carlos.
EDWARD
Don't you ever go near her again.
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
Full shot on the limousine driving away.
VIVIAN (voice over)
Does Darryl always carry a gun ?
EDWARD (voice over)
When he drives me, yes, always.
The picture dissolves into :
PENTHOUSE - BEDROOM - INTERIOR NIGHT
Through the open door of the bathroom, we see Vivian getting ready
for the night. She is wearing a sleeveless nightdress. She
releases her hair, which were tied in a bun, and walks out of the
bathroom. She stops and looks at the bed.
VIVIAN
He sleeps.
Reverse close shot on Edward asleep half-sitting in the bed. He is
bare-chested. Vivian walks between him and the camera. She sits
down on the bed.
Reverse close shot on Vivian's face. She is smiling. She gently
kisses her index finger.
Medium shot of Vivian and Edward. Vivian puts her finger on
Edward's lips. She slowly bends down toward his face, and kisses
him on the cheek, hesitates a second, then kisses him on the lips.
He slowly wakes up, and blinks his eyes. He answers to Vivian's
kisses. He raises up from the bed, kissing Vivian passionately.
The camera moves around the bed, while the couple is lying on it,
kissing passionately.
Vivian removes her nightdress, and goes back kissing Edward.
Later.
The camera tilts down from the head of the bed.
Edward is asleep, holding Vivian is his arm. She is still awake
and smiling. She gently strokes his arm.
VIVIAN
I love you.
She closes her eyes.
PENTHOUSE - LIVING ROOM - INTERIOR DAY
Medium shot on Edward seated at the breakfast table.
Edward is fully dressed, but without his jacket. He is eating
breakfast.
VIVIAN (voice over)
What are you thinking about sitting here all by yourself ?
Full shot on the breakfast table. Vivian is wearing a black
nightgown with flowers printed on it. She is looking at the
newspaper.
EDWARD
The fact that this will be our last night together, and
you'll finally be rid of me.
VIVIAN
Well, you've been pretty tough to take.
She sits down on a chair.
EDWARD
My business is almost over, so I'll be going back to New
York.
Quick close shot on Vivian's face, who seems very pensive.
Back to Edward.
EDWARD
I'd really like to see you again.
Vivian smiles.
VIVIAN
You would ?
EDWARD
Yes. Yes, I would, so I've arranged for you to have an
apartment, to have a car...
Vivian's smiling face saddens a bit.
EDWARD
...to have a wide variety of stores guaranteed to suck up
to you anytime you want to go shopping. Everything's done.
Vivian takes her head in her hand and bends down on the table. She
exhales.
VIVIAN
What else ? You gonna leave some money by the bed when you
pass through town ?
EDWARD
Vivian, it really wouldn't be like that.
VIVIAN
How would it be ?
EDWARD
Well, for one thing, it would get you off the streets.
VIVIAN
That's just geography.
Vivian stands up and walks to the terrace.
PENTHOUSE - TERRACE - EXTERIOR DAY
Medium full shot of Vivian walking out of the penthouse on the
terrace. In the background, we see Edward still seated at the
breakfast table. Vivian bends on the balustrade. Edward stands up,
and walks toward Vivian.
Slight low angle shot taken from outside the terrace, showing
Vivian bending on the balustrade.
EDWARD (voice over)
Vivian, what is it you want ?
Medium close shot on Edward standing by the terrace door.
EDWARD
What do you see happening between us ?
Back to Vivian bending over the balustrade.
VIVIAN
I don't know. When I was a little girl, my mama used to
lock me in the attic when I was bad, which was pretty
often. And I would... I would pretend I was a princess...
trapped in a tower by a wicked queen.
Edward is seriously listening to Vivian.
VIVIAN (voice over)
And then suddenly this knight...
Back to Vivian bending over the balustrade.
VIVIAN
...on a white horse with these colors flying would come
charging up and draw his sword. And I would wave. And he
would climb up the tower and rescue me.
She walks away from the balustrade and toward Edward.
VIVIAN
But never in all the time... that I had this dream did the
knight say to me, «Come on, baby, I'll put you up in a
great condo».
The phone rings inside the penthouse. After a couple of seconds,
Edward walks into the penthouse, and picks up the phone.
EDWARD
Yes.
Vivian starts walking into the room.
PHILIP (voice over on the phone)
I had to call.
PHILIP'S RESIDENCE - BATHROOM - INTERIOR DAY
Medium shot of Philip, wearing a dark-colored bathrobe, and
standing near the sink in his bathroom. On the counter next to the
sink, a lot of bottles and jars : perfumes and cosmetics. Philip
is calling from a wireless telephone.
PHILIP
I just got off the phone with James Morse. Get this.
PENTHOUSE - TERRACE - EXTERIOR DAY
Back to the same scene, with Vivian standing near the terrace
door, and looking a bit sad, and, in the background, in the
living-room, Edward on the telephone.
PHILIP (voice over on the phone)
He wants to meet with you today.
EDWARD
What about ?
PHILIP (voice over on the phone)
He wouldn't say.
PHILIP'S RESIDENCE - BATHROOM - INTERIOR DAY
Philip, the phone receiver stuck between his shoulder and his
head, is drying his hands on a white towel.
PHILIP
Edward, I think we got him. His nuts are on the block. We
got him !
He slams his towel on the counter.
PENTHOUSE - TERRACE - EXTERIOR DAY
Same shot. We hear Philip's laugh on the phone.
PHILIP (voice over on the phone)
Look, if he's really caving in, I want to get him to commit
his stocks to us this afternoon. Hmm ?
EDWARD
No, it's no good. If he's really caving in, I don't want to
wait until this afternoon. Have Morse meet me downtown this
morning. Good-bye.
He puts the phone down and grabs his jacket from a chair. He puts
his jacket on while walking toward Vivian.
EDWARD
I have to go now, but I want you to understand... I heard
everything you said. This is all I'm capable of right now.
It's a very big step for me.
She absently straightened his tie.
VIVIAN
I know. It's a really good offer for a girl like me.
EDWARD
I've never treated you like a prostitute.
He looks at her, then walks away toward the front door. Out of his
hearing, Vivian whispers :
VIVIAN
You just did.
We hear the front door closing.
REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR DAY
Medium shot on the front desk. Miss Wilson, the receptionist, is
standing behind the counter. She doesn't wear her large glasses,
but she looks a bit worried.
The camera slowly pans across the counter, and we discover Barney,
the manager, talking on the phone.
BARNEY
It's Barnard Thompson here, Miss Vivian.
The camera keeps on panning and we discover Kit, chewing gum, and
looking in a bad mood. On the top half of her body, she is only
wearing a bra made into a fabric with a panther-skin motif
BARNEY
Could you come down to the front desk ? There's someone
here who wants to speak to you. She says her name is Miss
De Luca...
Kit extends her hand to take the phone.
KIT
Let me talk to her. Let me... Let me just talk to her.
Barney gives the phone to Kit.
KIT
Yo, Viv, babe. Would you come down here ? The sphincter
police won't let me through. Okay.
She gives the phone back to Barney.
KIT
She's on her way.
BARNEY
Fine.
An uniformed attendant walks to the counter.
THE ATTENDANT
Mr. Thompson.
Barney turns toward him and Kit replaces the phone receiver on its
hook.
BARNEY
Yes.
THE ATTENDANT
The window washer is refusing to come down.
The attendant walks away.
BARNEY
It's a Saturday. Wait here, please.
(to Miss Wilson)
Watch her.
Barney walks away.
MISS WILSON (voice over)
Yes, sir.
Kit bends down on the counter polished surface and blows on it.
Miss Wilson looks at her with a perplexed eye.
Kit stands up and smiles to Miss Wilson. Further along the
counter, a couple of middle-aged customers stare at her. She turns
her face toward them.
KIT
Fifty bucks, Grandpa. For seventy-five, the wife can watch.
The couple walks away.
Miss Wilson looks at the leaving couple, then looks at Kit with a
suppressed smile.
Kit smiles back at her.
REGENT BEVERLY WILSHIRE HOTEL - SWIMMING POOL - EXTERIOR DAY
Long shot on the swimming pool, seen from the terrace above the
pool. A woman in bathing suit is coming up the stairs to the
terrace, drying her daughter with a pink towel.
Reverse medium shot on the stairs. Vivian and Kit are coming down
the stairs. The mother and her daughter are coming up. Vivian is
wearing a very elegant dark pink suit with a white shirt. Kit has
put a grey denim jacket over her panther-decorated bra, but she is
also wearing a very short and tight black skirt. Vivian has put
her arm in the crook of Kit's elbow.
The camera follows Kit and Vivian.
VIVIAN
Listen, I've been calling you.
KIT
Yeah, I know. They told me at the Banana you were looking
for me.
VIVIAN
You were supposed to come by Tuesday. I left the money at
the desk.
KIT
I was hiding out from Carlos.
VIVIAN
Well, if you picked up the money, you wouldn't have to
hide.
KIT
Hey, I was busy. I had a life, you know. Nino got beat up.
We had to visit him in the hospital. Rachel got arrested.
It was a mess. Anyway, I got the money.
Kit waves the envelope with the money inside.
KIT
Thank you very much for saving my ass. Now Carlos can get
off of it.
Now the two girls have reached the bottom of the stair, and they
are walking between the dinner tables surrounding the pool.
KIT
You know, he was talking about you last night. He would
bust something if he saw you in this outfit.
Reverse shot. The camera is a couple of yards in front of Vivian
and Kit, and we see the two girls coming toward us.
KIT
I was afraid to hug you up there. I might wrinkle you !
Vivian lets go of Kit's arm and laughs.
KIT
You look really good.
Vivian points to a table.
KIT
No, something with shade.
Vivian points to another table.
KIT
You clean up real nice. You sure don't fit in down on the
Boulevard looking like you do, not that you ever did.
Kit sits down. Then Vivian also sits down.
VIVIAN
Well, thanks, but it's easy to clean up when you got money.
KIT
Yeah. So, when does he leave ?
VIVIAN
Tomorrow.
KIT
You get to keep the clothes ?
VIVIAN
Yeah. Edward asked me if I wanted to see him again. But I
think... I think definitely no. I mean, it's just another
week, right ?
Kit has put her chewing gum into a teaspoon and she puts the spoon
on the table.
KIT
«Definitely no».
VIVIAN
Yeah.
Kits looks worried.
KIT
Oh, no.
VIVIAN
What ?
KIT
I know this weepy look on your face.
VIVIAN
Oh, no, you don't !
KIT
You fell in love with him.
VIVIAN
No. Kit, please. Stop it.
KIT
You've fallen in love with him ?
VIVIAN
Kit !
KIT
Did you kiss him ? On the mouth ?
VIVIAN
Uh, yeah, yeah... I did.
KIT
You kissed him on the mouth ?
VIVIAN
I did. It was nice.
KIT
You fall in love with him, and you kiss him on the mouth.
Did I not teach you anything ?
VIVIAN
Look, I'm not stupid, okay ? I'm... I'm not in love with
him. I just... I like him.
KIT
You like him ?
VIVIAN
Yeah.
KIT
You definitely like him. Well, he's not a bum. He's a rich,
classy guy.
VIVIAN
Who's gonna break my heart, right ?
KIT
Oh, no. Come on. You don't know that. Hey, he asked you,
right ? Maybe you guys could, like, um, you know, get a
house together. Like, buy some diamonds and a horse. I
don't know.
Vivian laughs.
KIT
Anyway, it could work. It happens.
VIVIAN
When does it happen, Kit ? When does it really happen ? Who
does it really work out for ? Did it work out for Skinny
Marie or Rachel ? No !
KIT
Those were very specific cases of crackheads.
VIVIAN
I just wanna know who it works out for. You give me one
example of somebody that we know that it happened for.
KIT
Name someone ?
VIVIAN
Yeah, one person that it worked out for.
KIT
You want me to give you a name or something.
VIVIAN
Yeah. I'd like to know.
Kit presses her hands on her temples.
KIT
Oh, God, the pressure of a name.
She sighs and takes her hands out of her temples.
KIT
Cinder-fucking-rella.
Vivian laughs. Kit starts laughing too.
EDWARD'S OFFICE IN L.A. - EXTERIOR DAY
The sidewalk in front of Edward's office building.
Medium shot of Edward walking from the curb, carrying his
briefcase. He climbs the stairs that reaches to the upper level of
the sidewalk and the entrance of the building. He slows down when
he hears a father talking to his son
THE FATHER (voice over)
If you do, I'll give you a piggy-back ride when you... See,
I told you so... Not quick enough for the old man !
He laughs. Edward stops to look at him.
Reverse shot on the father and his son. The father is wearing a
dark-blue tracksuit with advertisements printed on it. The son,
about ten year-old, is wearing a white shirt and beige slacks. The
father is carrying a cheap briefcase. They are running around a
lamp-post.
THE FATHER
Winner gets a piggy-back. Come on, saddle up, boy.
He bends down for his son to climb on his back. The son jumps on
his back. The father sighs.
Back on Edward, standing in the middle of the stairway, and
looking at the father with a smile.
THE FATHER (voice over)
Oh, Zachary ! Too many doughnuts.
Father and son laugh. Edward starts walking again.
Long shot on the large terrace in front of the building. Edward is
crossing it toward the entrance. He slows down to give a last look
the the father and his son.
EDWARD'S OFFICE IN L.A. - MEETING ROOM - INTERIOR DAY
Medium full shot on the long conference table. Edward is standing
behind his chair at the end of the table, in front of the bay
window. All the other ones are already seated. On Edward's right
hand side, James Morse and then David Morse. On Edward's left hand
side, Philip. The other seats are occupied by the various male
assistants.
PHILIP
Mr. Morse, you said this morning you wished to speak to Mr.
Lewis. Mr. Lewis is now listening.
Edward is pacing up and down in front of the bay window.
JAMES MORSE
I've reconsidered my position on your acquisition offer...
on one condition. I'm not so concerned about me, but the
people who are working for me.
PHILIP
It's not a problem. They'll be taken care of. Well, then,
gentlemen. If we could address ourselves to the contracts
in front of you. If you look at...
Edward hardly listens to what Philip says. He seems worried. He
raises a hand.
EDWARD
Excuse me, Phil.
Philip looks up at him.
EDWARD
Gentlemen, I'd like to speak to Mr. Morse alone. Thank you.
Philip seems surprised by what Edward just said. A bit
reluctantly, he says :
PHILIP
All right, gentlemen, you heard the man. Please wait
outside.
All the assistants stand up to leave the room.
EDWARD
You too, Phil.
Philip, still seated, looks up at Edward. He looks very surprised
and chuckles nervously.
PHILIP
What do you mean ?
EDWARD
I mean I would like to speak to Mr. Morse alone.
Philip stands up and points toward David Morse.
PHILIP
Why does he get to stay ?
James Morse makes a discreet sign to his grand-son to enjoin him
to leave the room.
Edward and Philip are standing, facing each other.
EDWARD
Please, please.
Reluctantly, Philip starts moving away.
PHILIP
I'll be right outside.
EDWARD
Good.
Philip leaves the room, followed by David.
EDWARD'S OFFICE IN L.A. - RECEPTION HALL - INTERIOR DAY
Medium close shot on the door of the meeting room. David is
leaving the room, and Philip closes the door behind him.
EDWARD'S OFFICE IN L.A. - MEETING ROOM - INTERIOR DAY
Full shot. Edward is still standing in front of the bay window. He
manipulates the control of the vertical Venetian blinds, to dim
the daylight in the room.
Close shot of James Morse looking at him questioningly.
EDWARD
Is that better ?
JAMES MORSE
It's all right.
Medium shot of Edward standing near the coffee table.
EDWARD
Would you like a cup of coffee ?
JAMES MORSE
Black.
Edward takes the coffee pot to pour the coffee. He sighs loudly.
EDWARD
Mr. Morse, my interests in your company have changed.
JAMES MORSE
What is it you're after now, Mr. Lewis ?
Edward brings the cup on the table in front of James.
EDWARD
Well, I no longer wish to buy your company and take it
apart. But I don't want anyone else to, either. And it is
still extremely vulnerable. So I find myself... in
unfamiliar territory. I want to help you.
JAMES MORSE
Why ?
EDWARD'S OFFICE IN L.A. - RECEPTION HALL - INTERIOR DAY
Medium shot on the meeting room door. Philip and David are
standing on either side of it. But they can't hear what is said
inside the room. Philip gives a quick look at David and walks away
toward the center of the hall.
EDWARD'S OFFICE IN L.A. - MEETING ROOM - INTERIOR DAY
Full shot of the room. Edward is now seated in his chair facing
James.
EDWARD
Mr. Morse, I think we can do something very special with
your company.
JAMES MORSE
What about our Navy contracts ?
EDWARD
Ah, they weren't dead. Just delayed. I... bluffed a little
bit.
Medium shot of James, who chuckles.
JAMES MORSE
You're very good at it.
EDWARD
Thank you very much. It's my job.
He bends down and chuckles. Then he stands up from his chair.
EDWARD
I think we can leave the details up to the others.
More slowly than Edward, James stands up.
JAMES MORSE
I find this hard to say without sounding condescending,
but... I'm proud of you.
He puts his hand on Edward's shoulder. Edward seems moved by this
gesture.
EDWARD
Thank you. I think we can let in the other suits now.
EDWARD'S OFFICE IN L.A. - RECEPTION HALL - INTERIOR DAY
Close shot on Philip, standing behind the meeting room door, and
sulking.
Larger shot, showing all the assistants, seated, and David,
standing on the other side of the door.
Edward opens the door.
EDWARD
Let's continue the meeting.
He goes back into the meeting room, followed by Philip, David and
all the assistants.
Through the open door, we see James Morse, standing at the back of
the room, near Edward's chair. He motions to the men to sit down.
JAMES MORSE
Come in, gentlemen. Sit down.
EDWARD'S OFFICE IN L.A. - MEETING ROOM - INTERIOR DAY
Medium shot of Philip coming into the room. Edward is smiling.
PHILIP
Edward, please, what was this all about ? Hmm ?
Edward slaps him on the arm.
EDWARD
It's all yours, Phil. Finish it up.
EDWARD'S OFFICE IN L.A. - RECEPTION HALL - INTERIOR DAY
Medium close shot on the door of the meeting room. Edward is
coming out. Before he closes the door, we see Philip bending down
on the table to look at the documents.
PHILIP (voice over, heard through the door)
Hold it. Hold it. These aren't signed ! These aren't
signed ! Could someone please tell me what the fuck is
going on here ?
Larger shot. Edward, with a broad smile on his face, walks away
from the door carrying his briefcase.
JAMES MORSE (voice over, heard through the door)
Mr. Lewis and I are going to build ships together.
EDWARD'S OFFICE IN L.A. - MEETING ROOM - INTERIOR DAY
Close shot on James Morse.
JAMES MORSE
Great big ships.
Close shot on Philip. He doesn't look very happy about this
unexpected situation.
EDWARD'S OFFICE IN L.A. - EXTERIOR DAY
Medium full shot on the limousine parked on the curb in front of
the building. Darryl is standing near the car. Edward gives his
briefcase to Darryl.
EDWARD
You know, I think I'm gonna go for a walk. Just stay here
for a while. I'll be back.
DARRYL
Yes, sir, Mr. Lewis.
Darryl sits down on the hood of the car, holding the briefcase in
his arms.
LOS ANGELES - A PUBLIC PARK - EXTERIOR DAY
Close shot on Edward's head and shoulders, walking up and down in
the park.
Medium full shot, showing Edward's full body. He has taken his
shoes and socks off, and he is holding them in his hand. He is
walking up and down barefoot in the grass.
Close Up shot on Edward's bare feet.
PENTHOUSE - LIVING ROOM - INTERIOR DAY
Close shot on Vivian's bare feet walking on the rug. The door bell
is chiming. Vivian puts down a large hat box on the floor, and she
walks to the front door. The camera tilts up and we see her full
body. She is wearing the same dark pink suit she was wearing when
she was with Kit by the swimming-pool. She opens the door to
Philip.
Close up shot on Vivian's face : she doesn't seem very happy to
see Philip.
Reverse shot on Philip, a strange sneer on his face.
PHILIP
Well, well. Hello again. I'm looking for Edward.
VIVIAN
Edward's not here. I thought he was with you.
PHILIP
No. Uh, Edward is definitely not with me.
He walks in without waiting for Vivian to invite him in.
He chuckles. Vivian closes the front door.
PHILIP
No, if Edward were with me...
He puts his briefcase down on the floor and walks into the room.
PHILIP
When. Actually, when... Edward was with me, he didn't blow
off billion dollar deals !
He walks to the bar and helps himself for a drink.
PHILIP
I think that, uh, Edward's with you. That's what I think.
Mind if I have a drink ?
He pours whisky in a glass without waiting for Vivian's answer.
VIVIAN
No.
He holds the glass toward her.
VIVIAN
No, thank you.
She walks away from him.
PHILIP
Well, I'll just wait.
She sits down on the sofa, crosses her legs on the couch and
starts writing in a notebook. Behind him, Philip sits down on a
stool near the bar.
VIVIAN
Uh, Edward will be back soon. Any minute, he'll be home.
Medium shot on Philip at the bar. He stands up and slowly walks
toward her. The camera follows him.
PHILIP
You know...
(HE CHUCKLES)
...this is not home. This is, uh, a hotel room. And, uh,
you are not... the little woman.
He sits down on the sofa, next to Vivian. She uncrosses her legs
and lets them down on the floor. He puts his glass on the low
table, crosses his fingers and snickers.
PHILIP
You're a hooker. Maybe you're a very good hooker, you
know ?
She puts her notebook on the low table.
PHILIP
Maybe if I do you, then I wouldn't care about losing
millions of dollars. Because I have to be very honest with
you right now, Vivian.
He moves slightly closer to her. She seems very tense by the
situation.
PHILIP
Right now I really do care. I really do. And right now I am
really pissed, you know ?
He moves his hand toward her bare leg. She glares at him.
PHILIP
Right now I am just freaking out. So maybe if I screw you,
huh...
He puts his hand between her legs. She moves it away.
PHILIP
...and take you to the opera, then I could be a happy guy,
just like Edward.
He keeps on trying to fondle her, and Vivian keeps on trying to
get rid of him.
VIVIAN
Hey, get off me !
They start fighting. He stands up.
PHILIP
Hey, hey ! Goddamn it !
She bites his hand.
PHILIP
Ow !
He slaps her face very hard. She falls down on the floor.
VIVIAN
Ow !
He kneels down beside her and grabs her.
PHILIP
Come on ! Come on ! I'll pay for it.
VIVIAN (SCREAMING)
Get off me ! Ow ! Get off me !
PHILIP
How much is it ? Twenty bucks, thirty bucks ?
VIVIAN (SCREAMING)
Get off me ! Get off me !
PHILIP
Fifty ? You a fifty dollars whore, Vivian ?
Edward, who has come silently into the room, grabs him from
behind, and forces him to stand up.
PHILIP
What are you doing ? Get off !
Quick shot on Vivian slowly getting up from the floor.
Back on Philip and Edward fighting.
EDWARD
Stop. I don't want to hurt you ! Stop it !
PHILIP
I don't know how to tell you this. You already did,
Edward !
Edward pushes him toward the front door, which is still open.
PHILIP
All right, all right.
EDWARD
Out. Out of here.
Philip falls down on the floor. He slowly stands back up
PHILIP
Look, she's a whore, man. She's a goddamn... Aah !
Edward very violently punches him in the face. Philip falls down
on the floor.
Quick shot on Vivian, seated on the sofa. She starts when she sees
Edward punching Philip.
Philip slowly stands up, his hand on his face. Edward looks at his
hand, who seems to hurt him after the violent punch he gave to
Philip.
EDWARD
Aah ! Damn. Shit. Goddamn !
He picks up Philip's briefcase and throws it through the open
door. It falls on the floor of the hallway.
PHILIP
I think you broke my nose.
EDWARD
Get out of here.
PHILIP (SCREAMING)
What is wrong with you ? Come on, Edward ! I gave you ten
years ! I devoted my whole life to you !
EDWARD
That's bullshit. This is such bullshit ! It's the kill you
love, not me ! I made you a very rich man doing exactly
what you loved. Now get out of here !
(YELLING)
Get out !
Philip, subdued, walks slowly out.
Quick shot on Vivian, still seated on the sofa, and still very
moved by what just happened.
Back to Edward, slamming the door behind Philip. He looks very
upset.
Later.
Close up on a box full of ice cubes. One of Edward's hands is
taking the cubes out of the box. The other hand, the one which hit
Philip, is wrapped in a white napkin. He puts the cubes in another
white napkin and wraps the napkin around the cubes.
VIVIAN (voice over)
Why do guys always know how to hit a woman right across the
cheek ?
Close up on Vivian's face. She is touching her red cheek.
VIVIAN
Wham ! And it feels like your eye is gonna explode. What do
they do ? Do they pull you aside in high school and show
you how to do this ?
We see Edward's hand holding the napkin with the ice inside. He
puts it on Vivian's cheek.
VIVIAN
Is that... Ow !
Even the light touch of the napkin seems to hurt her.
The camera moves slowly away, widening the shot, and showing
Edward in shirtsleeves bending over Vivian, without her jacket,
and lying on the sofa.
EDWARD
Not all guys hit.
VIVIAN
I heard about what you did with Morse.
EDWARD
That was a business decision.
VIVIAN
It was good.
EDWARD
It felt good.
VIVIAN
I think this is okay.
She moves his hand away, and slowly sits up in the sofa.
VIVIAN
I gotta get going.
EDWARD
Yes, I noticed you're packed. Why are you leaving now ?
VIVIAN
Edward, there'll always be some guy, even some friend of
yours, thinking he can treat me like Stuckey, thinking that
it's allowed. What are you gonna do ? You gonna beat up
everybody ?
EDWARD
That's not why you're leaving.
She stands up from the sofa.
Full shot on the sofa, with Vivian standing up and Edward still
seated.
VIVIAN
Look, you made me a really nice offer. And a few months
ago, no problem. But now everything is different, and
you've changed that. And you can't change back. I want
more.
Edward stands up from the sofa.
EDWARD
I know about wanting more. I invented the concept. The
question is how much more.
VIVIAN
I want the fairy tale.
EDWARD
Impossible relationships.
Vivian has put her jacket back on and she is putting her shoes on,
seated on the step that goes across the room.
EDWARD
My special gift is impossible relationships.
Full shot on the room. Edward has taken his wallet, and he is
taking money out of it. He throws the wallet on a table and sits
down on the steps next to Vivian.
Medium shot on the steps. Edward gives the money to Vivian.
EDWARD
Thank you.
VIVIAN
You're welcome.
She puts the money in the pocket of her jacket. He is holding a
business card in his hand.
If you ever need anything... dental floss, whatever... you
give me a call.
They both chuckle.
VIVIAN
I had a good time.
EDWARD
Me too.
She stands up from the steps, and starts collecting her luggage.
Edward, who had remained seated on the steps, stands up.
EDWARD
Do you want me to get you a bellboy ?
She is putting the garment bags on her arm.
VIVIAN
No, I got it.
He bends down to pick up a bag.
EDWARD
I'll carry this.
VIVIAN
Thanks.
She starts moving toward the front door. He walks ahead of her and
starts opening the door, then closes it.
EDWARD
Stay. Stay the night with me. And not because I'm paying
you, but because you want to.
VIVIAN
I can't.
She seems very sad. She opens the door. He holds it for her.
EDWARD
Good-bye.
She starts moving out, then stops and smiles to him
VIVIAN
I think you have a lot of special gifts.
EDWARD
Mmm.
Edward closes the door without looking at her.
REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR DAY
Close shot on the marbled floor. There is a black spot on it.
Barney and an uniformed attendant are kneeling on either side of
the black spot.
THE ATTENDANT
I didn't do it, sir.
BARNEY
No, no. Now, I didn't say that. I want you to call
maintenance and have them deal with this. You must delegate
authority.
Vivian's legs walk in and stop between the two men.
THE ATTENDANT
Yes, sir.
VIVIAN
Hi, Barney.
The camera tilts up and we see the faces of all of those three
people. The two men stand up
BARNEY
Miss Vivian.
The attendant doesn't move away and looks at Vivian with a light
smile. Barney looks at him.
BARNEY
Thank you.
The attendant walks away.
VIVIAN
I wanted to say good-bye.
BARNEY
Well, then, I gather you're not accompanying Mr. Lewis to
New York.
VIVIAN
Come on, Barney. You and me live in the real world... most
of the time.
BARNEY
Have you arranged for transportation ?
VIVIAN
I'm gonna call a cab.
BARNEY
Allow me.
He points to Darryl, whom we don't see, and calls him.
BARNEY
Darryl.
DARRYL (voice over)
Yes, sir.
Darryl walks near Vivian.
BARNEY
Please take Miss Vivian anywhere she wishes to go.
DARRYL
Yes, sir.
Darry walks away. Vivian holds her hand out to Barney. Barney
bends down and lightly kisses the extended hand. Then he shakes
it.
BARNEY
It's been a pleasure knowing you. Come and visit us again
sometime.
VIVIAN
Stay cool.
She slaps him on the arm and walks away. Barney turns around and
looks at her walking away.
REGENT BEVERLY WILSHIRE HOTEL - EXTERIOR DAY
Full shot on the limousine driving away from the curb in front of
the hotel.
We hear the song «It Must Have Been Love», performed by Roxette.
LIMOUSINE - INTERIOR DAY
Medium shot of Vivian seated in the back of the limousine, looking
very pensive.
LYRICS
Lay a whisper On my pillow. Leave the winter On the ground.
Vivian turns around to have a last look at the hotel.
LYRICS
I wake up lonely...
Vivian turns back and look absently in front of her, with the same
pensive, slightly sad, look on her face.
LYRICS
...The stare of silence In the bedroom And all around.
Touch me now.
BERVERLY HILLS - EXTERIOR DAY
Full shot on the limousine driving along the street.
LYRICS
I close my eyes And dream away.
The scene dissolves into :
PENTHOUSE - TERRACE - EXTERIOR EVENING
Medium shot taken from outside the terrace, of Edward standing
near the balustrade. His vest is open and he has taken his tie
off. He tries to look over the balustrade, but can't.
LYRICS
It must have been love, But it's over now. It must have
been good...
He walks away from the balustrade, and back into the penthouse.
LYRICS
...But I lost it somehow. It must have been love, But it's
over now.
The camera lets Edward go inside the penthouse and pans to the
right along the wall and the foliage decorating the terrace.
The picture dissolves into the foliage on the other side of the
French window and :
PENTHOUSE - TERRACE - EXTERIOR DAY
Next day.
LYRICS
From the moment we touched, Till the time had run out.
The camera pans to the left from the foliage to a medium shot on
the window.
Edward comes out on the terrace. He is fully dressed in an elegant
grey suit. The camera follows Edward. We hear some thunder
rumbling in the distance. Edward moves to the balustrade. He is
holding a jewel case in his hand. It is the one with Vivian's
necklace inside.
A bell boy is coming out on the terrace. He has some luggage in
his hands.
BELL BOY
Is that everything, sir ?
EDWARD
Yes. Yes, that's everything.
BELL BOY
I'll meet you downstairs, sir.
EDWARD
Thank you.
The bell boy walks away from the terrace, carrying luggage.
More thunder and end of the music.
VIVIAN AND KIT'S APARTMENT - LIVING ROOM - INTERIOR DAY
Close shot on kit, seen through the window. It's raining. She is
holding a picture of her and Vivian. She chuckles.
KIT
We look so dopey.
Medium shot inside the room. Kit is seated near the window,
holding a Teddy Bear on her laps. She stands up.
KIT
San Francisco's not that great, you know.
She walks toward Vivian, who is wearing slacks, a white T-shirt
and a dark jacket. Her hair is tied into a bun.
KIT
It's bad climate. It's foggy. It's unpredictable.
The camera moves back into a full shot of the room.
Vivian is putting things away in a bag.
VIVIAN
I'll wear a sweater.
KIT
What are you gonna do there ?
She sits down.
VIVIAN
Get a job. Finish high school. I got things I can do. I
used to make pretty good grades in high school.
KIT
Yeah, I could see that about you. I could see that.
She turns around to face Kit.
VIVIAN
Sure you won't come with me ?
Kit looks around her.
KIT
And leave all this ? Not in a million.
She laughs.
VIVIAN
Come here.
Kit stands up, puts the Teddy Bear down, and walks toward her.
Vivian takes some money out of her pocket. She puts the money in
the breast pocket of Kit's denim jacket.
KIT
Whoa. Whoa. What is this ?
VIVIAN
It's part of the Edward Lewis scholarship fund. We think
you got a lot of potential, Kit De Luca.
KIT
You do ? You think I got potential ?
VIVIAN
Oh, yeah. Don't let anybody tell you different, okay ?
KIT
Okay.
Vivian is crying.
VIVIAN
Take care of you.
She puts a cap on Kit's head.
KIT
No, I can't, I can't. It's your favorite.
She takes it off and gives it back to Vivian. She walks away.
KIT
What time's your bus ?
VIVIAN
An hour.
KIT
Yeah, well, I gotta split, 'cause good-byes make me crazy.
So, take care of you.
She hugs Vivian.
VIVIAN
Whoa.
Vivian slaps Kit's back, and then kisses her on the head.
REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR DAY
Medium shot from behind the front desk. Barney is behind the
counter, working on some paperwork. Miss Wilson is standing
besides him, with her large glasses back on her nose. Edward walks
to the desk. Barney smiles to him.
BARNEY
Mr. Lewis.
EDWARD
You don't have any messages for me, do you ?
BARNEY
No, I'm afraid not, sir.
Edward starts signing some documents on the counter.
EDWARD
I'll need a car to the airport also.
BARNEY
Of course. Darryl will take you wherever you need to go.
Darryl walks to the desk.
BARNEY
Darryl, the limousine out front, please ?
DARRYL
Yes, sir.
BARNEY
Thank you, Darryl.
Darryl walks away. Edward pushes the signed documents across the
counter to Barney.
EDWARD
One last thing.
BARNEY
Yes.
Edward gives the jewel box to Barney.
EDWARD
If you could possibly return this to Fred's for me, please.
BARNEY
Yes, of course. May I, sir ?
Edward chuckles.
EDWARD
Of course, please.
Barney opens the jewel box.
Close up on the necklace in the box. It is the one Vivian was
wearing at the Opera.
Close shot on Edward looking at the necklace with a sad face.
Then medium close shot on Barney, with a half-smile on his face.
BARNEY
It must be difficult to let go of something so beautiful.
Close up shot on the jewel box being closed by Barney.
Back to Barney.
BARNEY
You know, Darryl also drove Miss Vivian home yesterday.
Edward doesn't answer, but his face indicates he has taken the
information in.
Back to Barney.
BARNEY
I'll take care of it.
EDWARD
Thank you, Mr. Thompson.
Edward walks away, followed by the bell boy carrying his luggage.
Barney looks at him with a puzzled eye.
LIMOUSINE - INTERIOR DAY
Medium shot of Edward seated in the back of the limousine. He has
an absent look on his face. It is raining outside.
DARRYL (voice over, from the driver's seat)
Your plane is leaving as scheduled, sir, and you should be
back in New York on time.
Edward gives Darryl a quick look, then look absently through the
window. He must think about something that makes him smile a
little.
VIVIAN AND KIT'S APARTMENT - LIVING ROOM - INTERIOR DAY
Vivian is also looking absently through the window of her hotel
room.
HOLLYWOOD BOULEVARD - EXTERIOR DAY
Medium shot on a fast food stand on the street. Kit is standing in
front of the stand, talking to Angel, another prostitute whom we
have already briefly seen early in the film in the Blue Banana
Club. She is drinking Coca-Cola from a paper tumbler.
KIT
I'm gonna have to charge you a little more rent than
Vivian... because I've got this beauty course I'm looking
into. I'm not gonna be there that much, you know ?
Full shot showing the whole sidewalk with the food stand in the
middle. On the right of the food stand, a very small temporary
flower stand in front of a closed shop. While Kit keeps on talking
to her prospective roommate, Edward walks behind them.
KIT
'Cause you can't... You just can't turn tricks forever. You
gotta have a goal. Do you have a goal ?
Closer shot on the flower stand and the florist, a middle-aged
woman. Edward has just reached the stand.
ANGEL (voice over)
Well, I always wanted to be in the Ice Capades.
Edward is looking at the flowers.
THE FLORIST
Help you, love ?
Edward points to a bunch of flowers. The florist gives it to him.
EDWARD
There you go. Thank you very much.
He gives her money, takes the flowers and puts his wallet back
into his jacket inside pocket. He walks away.
Back to Kit and Angel at the food stand.
KIT
So, you got a lot of stuff you gotta move in ?
ANGEL
No, Carlos burned most of my stuff when I said I was moving
out.
VIVIAN AND KIT'S APARTMENT - LIVING ROOM - INTERIOR DAY
Medium full shot. Vivian is putting her handbag on her shoulder,
getting ready to move out of the room. She has already reached the
front door, when she hears a car honking repeatedly. She stops and
slowly turns around.
We hear music from La Traviata, a soprano solo.
Vivian drops the bag and walks toward the window. The music gets
louder and Vivian has a broad smile. She walks to the window.
SIDE STREET IN HOLLYWOOD - EXTERIOR DAY
High angle shot of the street, as seen from Vivian's hotel window.
The limousine is slowly driving toward the hotel. The roof of the
limousine is open, and the upper half of Edward's body is showing
through the open roof. He has the flowers in one hand and a black
umbrella in the other hand. The car is honking and moves closer to
the curb.
The car stops in front of the hotel. Edward raises one arm, the
one with the umbrella.
EDWARD
Vivian !
Close shot on the window. Vivian is laughing, but also ready to
cry.
High angle view of the roof of the car. Edward is waving both his
umbrella and his flowers. Darryl is coming out of the driver's
door.
EDWARD
Vivian !
Back to Vivian, waving to him.
VIVIAN AND KIT'S APARTMENT - LIVING ROOM - INTERIOR DAY
Vivian leaves the window.
EDWARD (voice over)
Princess Vivian ! Come down !
Vivian walks to another window, the one leading to the emergency
exit.
SIDE STREET IN HOLLYWOOD - EXTERIOR DAY
High angle shot of the limousine. Edward comes out of the car
through the roof and jumps on the sidewalk. Darryl, standing near
the car, watches the scene and smiles.
Medium close shot on the balcony of the emergency exit. Vivian has
come out of the room, and is smiling and looking down at Edward.
Medium close shot of Edward, standing on the sidewalk and looking
up at Vivian.
EDWARD
Had to be the top floor, right ?
VIVIAN (voice over, from the top of the building)
It's the best.
High angle shot of the emergency exit, seen from Vivian's balcony.
We see Edward through the metal steps leading to Vivian's level.
EDWARD
All right. I'm coming up.
Back on the sidewalk level of the emergency exit. Edward grabs the
emergency ladder with the hook of his umbrella, and brings it
down.
Back on Vivian's balcony. She unties her hair, an lets it wave
down.
Medium shot on the emergency exit. Edward is slowly climbing the
steps, with the flowers between his teeth.
Back to Vivian, looking down and smiling broadly.
Back to Edward on a landing of the emergency exit. He crawls on
it, with his back pressed against the wall.
Close shot on Edward's face, with the flowers between his teeth.
He stops moving and looks down.
High angle shot on the limousine, and Darryl, smiling
encouragingly to Edward.
Back to Edward's close shot. He resumes his crawling walk with his
back pressed against the wall.
Larger shot on the emergency exit landing. Edward reaches the
ladder leading to Vivian's landing, whose shadow we see moving
above Edward.
Low angle shot on Vivian's balcony. She walks on it to meet
Edward.
High angle shot, seen from Vivian's eyes, and showing Edward
walking up the last steps, holding the bannister very firmly.
Low angle shot on Vivian, standing on the top of the steps,
laughing and looking down at Edward.
Back to Edward, who lets go of the bannister, and opens his arms
to Vivian.
Close shot on Vivian walking down the steps. She reaches Edward,
who climbs another step to be at her level. Their faces are now
close to one another.
EDWARD
So what happened after he climbed up the tower and rescued
her ?
VIVIAN
She rescues him right back.
Slowly, their mouth meet, and they kiss passionately.
Full shot of Vivian's hotel and the emergency exit. On the steps
between the top landing and the one below, we see Edward and
Vivian kissing passionately.
End of La Traviata music.
We hear the voice of the Afro-American man we saw at the beginning
of the film, crossing Hollywood Boulevard.
THE AFRO-AMERICAN (voice over)
Welcome to Hollywood. What's your dream ?
The camera moves away from the hotel and we see the Afro-American
man coming down the street
THE AFRO-AMERICAN
Everybody comes here. This is Hollywood, the land of
dreams.
He crosses the street.
THE AFRO-AMERICAN
Some dreams come true, some don't. But keep on dreaming.
The picture moves away to the right of the screen, to be replaced
by a full black screen.
THE AFRO-AMERICAN (voice over)
This is Hollywood. Always time to dream, so keep on
dreaming.
The credits start rolling up while we hear the song «Pretty
Woman», performed by Roy Orbison.
LYRICS
Pretty woman, Walking down the street. Pretty woman, The
kind I like to meet. Pretty woman, I don't believe you.
You're not the truth. No one could look as good as you.
Mercy. Pretty woman won't you pardon me. Pretty woman I
couldn't help but see, Pretty woman, That you look lovely
as can be. Are you lonely just like me. Oh, pretty woman.
End of music.
A short silence, and then we hear the song «No Explanation»,
performed by Peter Cetera.
LYRICS
You really took me by surprise. You're someone I've needed
for a lifetime. Your heart was cleverly disguised, And it
didn't look that way in my mind. Tell me how could it be. I
was the last to know. Darling, I couldn't read what was in
your mind, To turn around and love me, With no Explanation.
I gave you everything I have. I didn't know that you would
take it With sweet consideration. And after all that we've
been through, I can't believe it's true Until I hear you
say. Ooh ! I know now, now, now. Ah ! No explanation. I
gave you everything I have. I didn't know that you would
take it.
The music slowly fades out
End of credits.
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