Pretty Woman

So let's imagine, ladies, that you're a Savings
and Loan
officer. Watch. One, two, three. See ?
PRETTY WOMAN
On lady has got three coin in her hand, and the

other one only
one. The magician takes the three coins from the
FINAL SCRIPT first lady's
hand, and closes it. Then he takes the only coin
from the other
by Jonathan Frederick Lawton lady's hand, but leaves it open. He puts the
four coins in his
hand and closes it.
From the original script written by J.F. Lawton,

with the help of Credits appears in white capital letters on the
Stephen Metcalfe, Barbara Benedek, Robert screen.
Garland and probably
Garry Marshall (the director of the film)
himself. This original MAGICIAN (voice over)
script itself was adapted from Lawton's first You've got it all, and we've got nothing. And
script called Three you have all
Thousand, which was a much darker story about four. Just take a look.
prostitution and
drugs. He opens his hand, which is empty. Then he opens
the first lady's
hand, which contains the four coins.
BLACK SCREEN
WOMAN (voice over)
Oh !
In white letters on the black screen :
MAGICIAN (voice over)

But I wouldn't trust you with real gold. That's
TOUCHSTONE PICTURES why this
one's only worth about a penny.
PRESENTS
He takes one of the coins from the first lady's

hand, hides it in
AND THEN : his hand, and makes it appears again changed
into a huge penny
coin.
IN ASSOCIATION WITH
End of the first set of credits.
SILVER SCREEN PARTNERS IV
MAN (voice over)

Hmm.
We hear voices over of people chattering and

laughing. MAGICIAN (voice over)
And if you wonder where the other one went,
MAN (voice over) watch.
Broke in right on the two of them. Caught them.
MAGICIAN (voice over) His left hand moves to the first lady's' ear,
No matter what they say, it's all about money. and gets the missing
penny out of it.
FADE TO :
PHILIP
A penny from the ear. How much for the rest ?
PHILIP'S RESIDENCE - PATIO - EXTERIOR DAY

Philip Stuckey, the host, walks behind the
We are in Philip Stuckey's residence on the magician. Philip is a
Hollywood Hills. short man in his forties, with receding hair. He
Apparently, a party is in progress. looks, at the
same time, obsequious and domineering. His
guests laugh at his
Close Up on the Magician's hands and the hands joke. Philip moves toward a young man.
of two ladies. The
magician is doing tricks with coins in the
ladies' hands. The camera follows Philip.
MAGICIAN (voice over)
1
PHILIP
Have you seen Edward ?
PHILIP
THE YOUNG MAN How are you ?
No, I haven't. Great party, Philip.
He gives her a kiss.
PHILIP
Well, my wife went to a lot of trouble : she
called a PHILIP'S RESIDENCE - STUDY - INTERIOR DAY
caterer.
Very modern design. An artistic picture of a

He walks to a group of guest gathered around a nude girl on the
large buffet table. wall.
Behind the table, the balustrade of the patio,
and in the
background, Hollywood Hills. 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
PHILIP very elegantly dressed, apparently with a very
Excuse me, Ann. Howard, how are you ? expensive suit.
EDWARD
I told my secretary to make the arrangements.
HOWARD Didn't she
Philip, good. Hey, I understand Edward's taking call you ?
over Morse
Industries.
JESSICA (voice over on the telephone)
Yes, she did. I speak to your secretary more
than I speak
PHILIP to you.
Yeah, well, he's not here to get a suntan.
EDWARD
HOWARD I see.
Can I get in on it ?

I have my own life too, you know, Edward.
PHILIP
Yeah. Call me.
EDWARD
This is a very important week for me. I need you
HOWARD here.
When ?
He walks to the large bay window, overlooking

Hollywood Hills.
PHILIP
Just call me.
But you never give me any notice. You just think
He turns to another guest and shake hands with I'm at
him. your beck and call.
PHILIP EDWARD
Uh, hi. I'm Philip Stuckey, Edward Lewis's I do not believe that you are at my beck and
lawyer. call.

THE GUEST Well, that's the way you always make me feel.
Hey, where's the guest of honor anyway ? Maybe I
should just move out.
PHILIP
Well, if I know this fellow, he's probably off EDWARD
in a corner If that's what you want, yes.
somewhere charming a very pretty lady.

He turns to a charming lady talking with a man. All right, when you get back to New York, we'll
discuss it.
2
Two charming women walks near the two men. One
of the woman turns
toward Edward.
EDWARD
Now is as good a time as any.
CHARMING WOMAN
JESSICA (voice over on the telephone) Hello, Mr. Lewis.
That's fine with me, Edward. Good-bye.
She hangs up. EDWARD

Hi. How're you doing ?
EDWARD Edward shakes the woman's hand, who walks away,

Good-bye, Jessica. and turns back to
the young blonde man.
Edward looks down, through the bay window, to

the party still
going on on the patio on the floor below. We can EDWARD
hear the chatter I want this whole thing... wrapped up as soon as
from the party. possible.
I gotta get to New York by Sunday. I got tickets
to the
Met.
PHILIP'S RESIDENCE - STAIRWAY - INTERIOR DAY
Edward is going down the stairs followed by a YOUNG MAN

young blonde man, Yes, sir.
wearing a very elegant suit.
He moves across the crowd of guests, and reaches

a servant, who
YOUNG MAN gives him his coat.
Phil suggested that maybe I should take a
lawy...
EDWARD SERVANT
Phil is just my lawyer, okay ? Your coat, Mr. Lewis.
YOUNG MAN EDWARD

Yes, sir. Thank you.
He starts walking away with his coat in his

EDWARD hands, when he turns
How did the Morse stock open at the Nikkei ? around to the sound of a feminine voice.
YOUNG MAN SUSAN

I don't know. Edward !
PHILIP'S RESIDENCE - DOWNSTAIRS HALL - INTERIOR EDWARD

DAY Susan !
They have reached the downstairs hall. Edward Susan is a beautiful woman, in her late
looks at his watch thirties, wearing an
and then turns toward the young man. He is elegant yellow silk blouse.
looking slightly angry.
SUSAN
EDWARD Hi.
You don't know ? Tokyo opened maybe ninety
minutes ago. You
have to keep on top of these things, all right ?
EDWARD
Hi.
YOUNG MAN
Done. They kiss on both cheeks.
3
SUSAN PHILIP
I was sorry to hear about Carter. Wonderful.
Elizabeth, Philip's wife, walks rapidly toward

EDWARD Philip's armchair
Oh, yeah. Thanks. Heard you got married. and taps him on the shoulder. Elizabeth is a
red-hair woman in her
forties. She is still nice-looking, and very
They start walking slowly toward the exit of the elegantly dressed,
house, Edward's but she doesn't have anymore the attraction that
arm around Susan's waist. a younger woman
can have on Philip.
SUSAN
Well... yeah. I couldn't wait for you !
ELIZABETH
She laughs. He's leaving. Edward's leaving.
Philip looks toward the entrance of the house,

EDWARD and stands up.
Mmm... Mmm... Susan, tell me something.
PHILIP
SUSAN Excuse me.
Yes ?
They stop walking, and Edward faces Susan. THE RED-HAIR WOMAN
Sure.
EDWARD Philip walks rapidly away while Elizabeth looks

When you and I were dating, did you speak to my at him with both
secretary hand on her hips.
more than you spoke to me ?
PHILIP'S RESIDENCE - PARKING - EXTERIOR DAY

SUSAN
She was one of my bridesmaids.
Close shot on a beautiful car : a grey Lotus
Esprit.
EDWARD
Hmm. Your husband's a very lucky guy. EDWARD (voice over)
Is this Mr. Stuckey's car ?
They kiss again on the cheeks.

Medium shot of two Japanese parking valets,
wearing white shirts,
black bow-ties and black vests, looking at him.
EDWARD One of them
Bye. answers him in Japanese. We don't understand
what he says, but we
understand the word Stuckey in his sentence.
SUSAN
Thanks, bye. Medium shot on Edward standing near Philip's
Lotus. Edward turns
around just as Philip is rushing toward him.
PHILIP'S RESIDENCE - LIVING ROOM - INTERIOR DAY
PHILIP
Medium shot of Philip seated in an armchair, Edward, where you going ?
talking to a
beautiful red-hair woman, seated in another
armchair.
EDWARD
You got the keys to your car ?
PHILIP
Do you ?
PHILIP
THE RED-HAIR WOMAN Why, what's wrong with the limo ?
Absolutely.
4
EDWARD
Look, the limo is buried back there. Darryl
can't get it PHILIP
out. It's a new car. Don't, uh... Just don't...
Darryl, Edward's chauffeur, is reading a

newspaper, next to EDWARD
another chauffeur. Darryl is a very tall and Okay. I can do it.
very strong-looking
Afro-American man. He raises his hand to show
his helplessness Tires squeal as the car rushes forward.
about the situation.
PHILIP The Japanese valets look up at the noise.

Mmm.
Edward has stopped after a couple of feet, and

Philip runs to the
EDWARD driver's door.
Please give me the keys.
Philip gives his car keys to Edward. PHILIP

Edward ! Give me a break, please !
PHILIP
All right, look. I don't think you should drive. EDWARD
You're a I love this car.
little excited. Don't drive my car. Let me work
something PHILIP
out here. I love it too. Look, you don't even know where
you're
going. You're gonna get lost in the dark !
Philip runs toward the Japanese valets.
The car rushes forward. Tires squeal as Edward

accelerate down the
PHILIP hill road.
Fellas, what kind of a system is this ? Can you
move these
cars out of here ? The sky is slightly darker. Night is falling.
Meanwhile, Edward has seated himself in the

driver seat of the PHILIP (YELLING)
Lotus Esprit. Philip comes back to him as Edward Beverly Hills is down the hill !
closes the door
of the car.
PHILIP HOLLYWOOD HILLS - EXTERIOR EVENING AND NIGHT

Look, Edward. Edward... Uh, are you familiar
with a stick
shift ? Full shot of the Lotus Esprit driving along the
streets of
Hollywood Hills. Edward has switched the lights
on.
EDWARD
Uh, yeah.
We hear the song King of Wistful thinking,
performed by Go West.
PHILIP
Have you driven a shift ?
LYRICS
I don't need to fall at your feet. Just 'cause
you cut me
EDWARD to the bone. And I won't miss the way that you
Yeah. Yeah. Yeah. kiss me.
The sky is getting darker, and apparently,

PHILIP Edward doesn't know his
Listen, all right. Just be ginger with it. way very well around Hollywood Hills.
Don't...
Long shot on the famous HOLLYWOOD sign up on

We hear the gears of the manual box clashing Hollywood Hills
under Edward's
unexperienced hand.
5
Back to the car driving on the roads of drives along the sidewalk, but doesn't stop.
Hollywood Hills.
MAN IN CAR (voice over)

Aerial shot of the car coming to a dead end in a What do you say, blondie ?
parking lot.
ONE OF THE PROSTITUTE
Hi, honey, want some fun ?
EDWARD (voice over)
Oh, shit.
Close Up on the Carole Lombard Star on the
Hollywood Boulevard
The car backs up. sidewalk.
Medium shot on two other prostitutes cruising on

HOLLYWOOD - EXTERIOR NIGHT the sidewalk.
Aerial overview of Hollywood.

ONE OF THE PROSTITUTE
Hey, baby, you looking for a date ?
The last set of credits starts in white capital
letters on this
overview. Larger shot on a car stopping near the
prostitute
The music keeps on playing.
MAN IN CAR
Yeah, honey, we're looking.
LYRICS
We were never carved in stone. If I don't listen
to the
talk of the town. Then maybe I can fool myself. PROSTITUTE
I'll get Well, here I am.
over you I know I will. I'll pretend my ship's
not sinking.
And I'll tell myself I'm over you.
MAN IN CAR
I'm Al and this is my friend Joe. Get in the
The overview now shows Hollywood Boulevard. car.
Another very short view of Hollywood Boulevard,

LYRICS showing a Close
'Cause I'm the king of wishful thinking. shot on a Chinese Restaurant. An then, a very
fast horizontal
panning of the camera, which gives us a blurred
picture. The
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT panning stops in :
Full shot on street level on Hollywood
Boulevard.
SIDE STREET IN HOLLYWOOD - EXTERIOR NIGHT

The credits are still appearing and disappearing
on the screen.
Medium long shot on a very quiet side street
near Hollywood
A man is selling maps, advertised by a huge Boulevard. The street seems even much quieter
board he is carrying, after all the noise
and on which is written in red letters : Maps and the hustle we've seen on the Boulevard
of the Stars itself.
Homes.
The credits are still appearing and disappearing

on the screen.
THE MAP VENDOR
Maps here. Maps.
An ambulance is driving very fast along the
street, with its siren
Close Up on two hands exchanging money and drug. wailing. On the side of the ambulance is written
Then Close Up on : Los Angeles
the faces of the two men. Fire Department, and below : Paramedic.
THE DRUG DEALER (voice over) The camera lets the ambulance go and moves to
Have a good one. show us a shady-
looking building with a vertical neon sign
saying HOTEL, but
Medium shot of two prostitutes cruising on the only the H and the O are lit, the others
sidewalk. A car letters being out of
6
order.
LYRICS
The music fades out. Well, I'm just goin' to school like I'm real,
real cool.
Gotta dance like a fool Got the message.
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
VIVIAN AND KIT'S APARTMENT - LIVING ROOM - Close-Up on a black stiletto-heel boot. The
INTERIOR NIGHT woman's hand is using
a black felt-pen to hide the clear spots on the
heel of the boot.
We are in the small apartment rented by Vivian
Ward and Kit De LYRICS
Luca, two young prostitutes, whom we are going And I gotta be a wild one Ooh, yeah. I'm a wild
to know better one.
later on.
Close-Up on the woman's hand pulling the zipper

Close Up on a pretty woman buttocks, just up along the side
covered by a very small of the boot.
black lace panty.
An alarm clock is ringing. LYRICS

The woman turns around, and shows us her stomach Gonna break it loose. Gonna keep on moving wild.
and her navel,
showing from under a pink T-shirt.
Close-Up on the face of the woman, putting
mascara on her
The camera pans up to the woman's arm and hand eyelashes. The woman is named Vivian Ward, and
stopping the alarm- her head is covered
clock. by a blonde wig.
Close-Up on several familial pictures pinned on

the wall. LYRICS
Gonna keep on swinging, baby I'm a real wild
child.
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 HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
head.
The Lotus is driving through a crossroad. The

Close-Up on the woman's hand picking up cheap tires screech, and
jewels from a table, the car swings a little. Apparently, Edward is
and putting them on. On the table there is also still having
an empty bottle of problems with his gear shift.
a strong alcoholic beverage. The camera follows the car for a couple of
seconds.
LOTUS ESPRIT - INTERIOR NIGHT

VIVIAN'S HOTEL STAIRCASE - INTERIOR NIGHT
Close Up on Edward's face, driving the car. He

seems a bit lost. 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
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT the stairs.
Medium long shot on the Lotus driving on HOTEL MANAGER (voice over)
Hollywood Boulevard. Now, wait a minute. You don't seem to understand
me.
We hear the song Real Wild Child, performed by

Christopher Vivian stop in mid-stairs.
Otcasek.
HOTEL MANAGER (voice over)

Credits keeps on appearing and disappearing on That's my job. At the end of the month, I
the screen. collect
everybody's rent.
7
Quick shot, through the bannister, of the Edward looks around him, visibly a bit anxious :
manager talking to an he know he is
Afro-American woman. completely lost.
Back to Vivian still standing on the stairs.

VIVIAN'S HOTEL - EXTERIOR NIGHT
HOTEL MANAGER (voice over)

Now give me the money, or you're outta here. Close Up on Vivian's face seen through the
emergency ladder moving
down.
Vivian goes back up the stairs.
An old woman is looking at her from across the

street.
VIVIAN AND KIT'S APARTMENT - BATHROOM - INTERIOR
NIGHT
Full shot on the building and Vivian going down
the steps of the
Close-Up on the toilet water tank, and Vivian's emergency ladder.
hands taking the
lid off. She then takes a green plastic box out
of the water. She Close shot on Vivian reaching ground level and
opens the box and looks at the money hidden walking away.
inside the box. There
is only one one-dollar bill left.
LYRICS
I'm a real wild one and I like wild fun. In a
LYRICS world going
Gonna meet all my friends. Gonna have myself a crazy everything seems hazy.
ball. Gonna
tell my friends. Gonna tell them all.
Medium shot. Vivian walks though a gap in the
VIVIAN AND KIT'S APARTMENT - LIVING ROOM - wire fence behind
INTERIOR NIGHT the hotel, and walks away on the street. The
camera tilts slightly
up and we see a painted inscription on the wall
Vivian crosses the room. of the hotel that
says HOTEL - APTS.
LYRICS
That I'm a wild one. Ooh, yeah I'm a wild one. LYRICS
I'm a wild one. Ooh, yeah, I'm a wild one. Gonna
break the
Vivian opens a window and gets out of the room. news Gonna keep on moving wild.
VIVIAN'S HOTEL - EXTERIOR NIGHT HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
High angle shot of Vivian going out of the Long shot. The shot is slightly high angled.
window and on the
emergency exit. LYRICS
Gonna keep on swinging, baby I'm a real wild
child.
LYRICS
Gonna break the news. Gonna keep on moving wild. End of credits.
Gonna keep
on swinging, baby. I'm a real wild child.
The camera pans around and comes down to street
level.
Vivian starts going down the emergency stairway.
The music fades out.
SIDE STREET IN HOLLYWOOD - EXTERIOR NIGHT

A dark street around Hollywood. The Lotus is We hear the voice of an Afro-American man
driving slowly. The yelling.
engine is revving, as the car turns around the
corner of the
street. THE AFRO-AMERICAN (voice over)
Welcome to Hollywood ! Everybody comes to
Hollywood got a
dream. What's your dream ? What's your dream ?
8
Vivian walks behind them. She gives them a quick
A young man with a red T-shirt and a white cap look, but doesn't
crosses the stop.
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 THE POLICEMAN
printed shirt. He crosses the boulevard coming Come on, guy. We just pulled her out of a
toward us. Dumpster in the
back. Who was her pimp ?
THE AFRO-AMERICAN The camera follows Vivian, but we keep hearing

Hey, mister ? Hey, what's your dream ? what the two men
are saying.
Medium shot on a group of three young men seated

on the sidewalk. THE AFRO-AMERICAN (voice over)
One of them is the skateboard man we've just Cocaine her pimp. She a strawberry. She be out
seen crossing the on these
boulevard. streets day in, day out, trading her sorry self
for some
crack.
The young man stands up. He has apparently given
something
(drugs ?) to the two other ones. 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
SKATEBOARD MAN just seen.
Have a good one.
THE POLICEMAN (voice over)

He jumps on his skateboard and rolls away. He And what do you do ?
passes Vivian who is
walking toward us.
Back to the two men.
With the street lights, we get a better view of

Vivian. She is a
young woman in her early twenties. She is very THE AFRO-AMERICAN
tall and slim. She I'm cool.
is a beautiful woman, even though her prostitute
outfit and heavy
make-up makes her a little less beautiful than THE POLICEMAN (snickering)
she actually is. Oh, I'll bet.
She is wearing a red jacket and a man's very
large cap on her
blonde wig. Underneath the jacket she is wearing He turns around. Two tourists, a male and a
her very short female are taking
sleeveless white top, which is attached to her snapshots of what is down on the pavement, and
also very short which we still
blue skirt with a big metal ring. She is haven't seen.
carrying a big bag
strapped on her shoulder.
THE POLICEMAN
A WOMAN (voice over) Hey, hey, hey ! Excuse me ! Excuse me ! What are
What happened ? you, from
the press ?
A MAN (voice over)

Some chick. She bought it over there.
THE FEMALE TOURIST
No, no. We're from Orlando.
Medium shot just a little further on the street.
A young plain-
cloth policeman is showing his badge to an afro- The policeman looks at his uniformed colleague.
american man.
THE POLICEMAN
THE POLICEMAN Oh, I don't believe this. Do you... I got
Detective Albertson. What do you know about that tourists
girl ? photographing the body, Al.
The uniformed policeman starts pulling the

THE AFRO-AMERICAN tourists away.
I tell you, man. I don't know who she hang with.
9
Close-Up shot on a lit sign that says The Blue THE BLUE BANANA CLUB - UPSTAIRS POOLROOM -
Banana Club, INTERIOR NIGHT
Full shot from across the street, showing the Close shot on Kit De Luca sitting down, and
entrance of the bobbing her head up
club, with the sign, that we've just seen, above and down in rhythm with the music.
the door.
Kit is a girl in her early twenties. She is

WOMAN (voice over) clearly shorter than
What happened ? Vivian, and has dark hair. She looks a bit
Latino. Actually she
from Italian origin. She is pretty, but not as
ANOTHER WOMAN (voice over) beautiful as
Man ! Vivian, and more vulgar. She is wearing
sunglasses and is absently
combing the front of her hairline.
THE BLUE BANANA CLUB - MAIN ROOM - INTERIOR

NIGHT
LYRICS
Just for whom does your bell toll. Don't be
Close up on a woman's hips moving in rhythm with cruel. Show me
the sound of the your soul.
music. The camera tilts up and we discover she
is painting a
fresco on the wall of the club. The fresco Kit suddenly realizes that someone is standing
represents various near her and
hippy-looking characters. looking down at her. She stops combing her hair
and looks up. She
takes her glasses off and smiles.
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 KIT
Your Soul performed by Red Hot Chili Peppers. Yo, Viv !
Vivian doesn't smile back at her, and looks even
a bit angry.
LYRICS
In a world that can be so insane. I don't think
it's very VIVIAN
strange for me to be in love with you. Is it all gone ?
Vivian crosses the dance floor and stops near a Instead of answering her friend's question, she
staircase leading points to the
to the upper floor. She looks around, visibly people around her.
looking for someone.
KIT
LYRICS Carlos, you know my roommate, Vivian. This is
I wanna know more than your brain. Angel. That's
Vivian walks to the bar. The bartender is an the Dude.
older man, nicknamed
Pops.
VIVIAN
I know everybody ! Is it all gone, Kit ?
VIVIAN
Hey, Pops, has Kit been in here ?
KIT
Carlos sold me some great shit. We just had this
POPS party. I
Upstairs in the poolroom. was the hostess.
Vivian goes to the staircase and start walking

upstairs. VIVIAN
I can't believe you bought drugs with our rent.
What is
going on with you, Kit ?
LYRICS Vivian grabs Kit's arm and makes her stand up.
Not something that I respected. And now I smile
for your
affection. We have made a soul connection.
KIT
I needed a little pick-me-up.
10
You were unavailable for consultation.
VIVIAN
Well, we need rent money ! Kit walks to the bar, and makes Vivian follow
her.
Carlos stands up and faces Vivian. He is a young

Latino man.
KIT
Hey, let's go. Snack ! Snack !
She has reached the bar and starts picking bits
CARLOS of food in plates
Yo, calm down, chica. She only owes me 200 more. on the counter.
KIT KIT
Carlos ! Besides, it's my apartment.
VIVIAN VIVIAN
Another 200 dollars ? Yeah, well, I have to live there too, Kit.
KIT KIT
That was from way before. Look, you came here. I gave you some money. I
gave you a
place to stay...
CARLOS
That's right, 200, Vivian. But if you wanna work Close Up on Kit's hands picking food (olives,
off her onions, cherries...)
money with me, we can work something out. in the snack plates, and putting them on a paper
napkin.
KIT
That's a very sweet offer, Carlos, but not now. KIT
...and some valuable vocational advice. He was
on my case.
She grabs Vivian's arm and leads her to the I had to give him something.
staircase.
Back to the two girls behind the bar.
KIT
Come on, Viv. Come downstairs.
KIT
So don't irritate me.
VIVIAN
Work out... Work out what ? What are we gonna
work out ? POPS
When they are gone, the girl named Angel looks This ain't a buffet, Kit.
at Carlos.
Kit moves around Vivian, sits on a stool at the

bar, and starts
ANGEL eating.
You really like her, Carlos ?
The music fades out. VIVIAN

Irritate you ? Irritate you ? I just saw a girl
pulled out
of a Dumpster.
NIGHT
She sits down on another stool.
Vivian and Kit are walking down the staircase.
KIT
I know. Skinny Marie. But... she was a... a
VIVIAN flake. She was
You took it while I was sleeping ? a crack head. Dominic was trying to straighten
her out for
months.
KIT
11
We hear people shouting in the background and Back to the full shot of the street with the
glass being broken. Lotus and the tramp
The two girls turns their heads around for a behind it.
second and then come EDWARD (voice over)
back to their conversation at the bar. Thank you.
WOMAN (voice over)

Leave her alone ! THE TRAMP
You're welcome.
MAN (voice over)

Leave her alone ! The car moves away.
WOMAN (voice over)

Come on, Blake ! HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
Medium full shot on Vivian and Kit standing near

VIVIAN a table on which
Don't you want to get out of here ? a man is selling some souvenirs. Another
prostitute is leaning on
a tree. Kit walks toward the prostitute.
KIT
Get out of where ? Where the fuck you wanna go ?
KIT
SIDE STREET IN HOLLYWOOD - EXTERIOR NIGHT Hey, yo, Rachel.
A very quiet street.

RACHEL
What ?
Close shot on a tramp looking though some junks
left over on the
sidewalk, in front of a house.
KIT
Yeah. You see the stars on the sidewalk, babe ?
She is mentioning the stars of the Walk of Fame,
THE TRAMP embedded in the
Aah, nothing but garbage. sidewalk of the boulevard.
Full shot on the street, seen from the other

side of the street. RACHEL
The Lotus Esprit stops at the tramp's level. Yeah.
EDWARD (voice over)

Uh, excuse me. KIT
Well, Vivian and me, we work Bob Hope, we work
the Ritz
The tramp lifts his head. Brothers, we work Fred Astaire, we work all the
way down to
Ella Fitzgerald. This is our turf. We got
seniority. You
THE TRAMP better get off our corner.
Huh ?
EDWARD (voice over) RACHEL

Can you tell me how to get to Beverly Hills ? Forgive me. I was just taking a rest here.
Besides, she's
new.
THE TRAMP
You're here !
KIT
Yeah. Well, I'm old, so go rest up by Monty Hall
Close Up shot on Edward's face behind the wheel or Esther
on his car. Wilson.
THE TRAMP (voice over)

That's Sylvester Stallone's house right there. RACHEL
Williams.
He snickers.
KIT
Esther Williams ! Where you belong !
12
VIVIAN
And then he'll run our lives and take our money.
No.
RACHEL
Back off, Kit. You know, you're really becoming
a grouch.
KIT
You're right. We say who, we say when, we say
She walks away on the boulevard. Kit turns how much.
toward Vivian.
VIVIAN
KIT Do you think I look like Carol Channing ?
Am I really a grouch ?
Kit puts her hands on Vivian's blonde wig.
VIVIAN
Yes. Sometimes.
KIT
KIT No ! I love this look. It's very glamorous.
Well, just 'cause I'm hungry. I'm gonna go get Glamour choice.
something to
eat.
We hear brakes screeching. Kit turns around
toward the noise.
We hear someone whistling, and then :
MAN (voice over) KIT

Hey, girls. Oh, yo, oh, yo. Catch this !
Kit turns toward the boulevard, where the voice Full shot on the boulevard. The Lotus is driving
is coming from. along the
boulevard. The car bounces a little, while the
gears are grinding.
KIT
Hey, yo, baby ! Back to the two girls watching the car. Vivian
points to it.
Medium shot on an open convertible red car VIVIAN

driving along the Wait a minute. That's a Lotus Esprit.
boulevard. In the car, three young men, two in
the front, one in
the back. The man sitting next to the driver, We see the car passing in front of the girls.
yells to the girls. Apparently, it has
stopped a little further on the boulevard,
because we hear its
brakes screeching.
MAN IN THE CAR
How about a freebie ? It's my birthday.
Reverse angle shot showing the two girls with
the stopped car
The car keeps on moving on the boulevard and out behind them.
of view.
Back on Vivian and Kit.
KIT
No, that's rent. You should go for him. You look
KIT hot
Dream on ! tonight. Don't take less than a hundred. Call me
when
you're through. Take care of you.
VIVIAN
It's looking really slow tonight. Vivian hugs Kit.
She takes her cap off.

VIVIAN
Take care of you.
KIT
Yeah, well... maybe we should get a pimp, you She takes her jacket off and puts it across her
know. Carlos bag. She walks
really digs you. slowly toward the car.
KIT (voice over)
13
Work it. Work it, baby. Work it ! Work it. Own
it.
Reverse angle shot showing Vivian's standing
body through the
window.
Edward is sitting behind the wheel. EDWARD

All right, okay ?
EDWARD
Yes, you can handle this. HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
Full shot. On the other side of the boulevard, a
little group of
Close Up on Edward's hand trying to work the people, including Carlos, is looking at the
gearshift. scene.
EDWARD (voice over)

First is here somewhere. CARLOS
Is that Vivian ?
We hear the gears grinding, but the shift

doesn't want to move
into first gear position. ANOTHER MAN
Where ?
Back to Edward sitting in his car. We see

Vivian's back bending to Medium shot on the Lotus seen from the back.
look through the passenger's window. Vivian opens the
passenger door and climbs in.
VIVIAN EDWARD (voice over)

Hey, sugar, you looking for a date ? All right. You win, I lose. Got change for a
twenty ?
EDWARD
No, I wanna find Beverly Hills. Can you give me LOTUS ESPRIT - INTERIOR NIGHT
directions ?
Vivian grabs the 20 dollars bill, and puts it

Reverse angle shot showing Vivian's face through away.
the window
VIVIAN
VIVIAN For twenty, I'll show you personal. Even show
Sure. For five bucks. you where the
stars live.
Reverse angle shot on Vivian's back.
EDWARD
Oh, that's all right. I already been to
EDWARD Stallone's.
Ridiculous.
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT

VIVIAN
Price just went up to ten.
On the other side of the boulevard, the little
group is still
looking at the scene. They start crossing the
EDWARD boulevard.
You can't charge me for directions.
Reverse angle shot on Vivian's face. LOTUS ESPRIT - INTERIOR NIGHT
VIVIAN VIVIAN
I can do anything I want to, baby. I ain't lost. Right. Uh, down the street.
Reverse angle shot on Vivian's back. She is

standing up. HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
14
The little group is still crossing the
boulevard. EDWARD
I like that. That's very good. Should have that
printed on
your business card.
CARLOS
Vivian, did you forget ? I told you don't take
no dates
tonight. VIVIAN
If you're making fun of me, I don't like it.

EDWARD
No, I'm not making fun of you.
Edward tries to start the car, but he just
starts the windshield HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
wipers !
The couple seen through the windshield.

CARLOS (voice over)
Vivian !
EDWARD
No, I'm not making... I'm not. I wouldn't offend
VIVIAN you. I'm
Let's go. sorry.
Close up on Edward's hand trying to work the Back on the boulevard. A traffic light going
gearshift. from amber to red. We
hear the tires screeching as the car stops.
CARLOS (voice over)

Hey, where you going, baby ?
Close Up on the Lotus rear license plate : EDWARD

2QCE465 What's your name ?
CARLOS (voice over)

Vivian ! VIVIAN
What do you want it to be ?
Larger shot on the car driving away.

Edward smiles to her.
VIVIAN (voice over) VIVIAN

Lights ! Lights would be good here. Vivian. My name is Vivian.
Full shot on Hollywood Boulevard traffic, with

the Lotus, seen EDWARD
from the front in the middle of the traffic. Vivian.
EDWARD (voice over)

I guess this is not the greatest time to be a HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
hooker, is
it ?
The light turned green, and the car starts.
Closer shot showing the couple seen through the

windshield VIVIAN (voice over)
So, what hotel you staying at ?
VIVIAN EDWARD (voice over)

Look, I use condoms always. I get checked out The, uh, Regent Beverly Wilshire.
once a month
at the free clinic. Not only am I better in the
sack than VIVIAN (voice over)
an amateur, I am probably safer. Down the block, right at the corner.
We hear gears grinding.

15
HOLLYWOOD - A WIDE STREET - EXTERIOR NIGHT VIVIAN
Oh.
We are now off Hollywood Boulevard, in another

wide street or
boulevard in Hollywood. EDWARD
So where is this...
Full shot on the car moving away from us.

He tries to shift gears and gets another
grinding noise.
Medium shot of the couple through the
windshield.
EDWARD
...heavy metal... home ?
VIVIAN
Man, this baby must corner like it's on rails !
VIVIAN
Milledgeville, Georgia. You know, I think you
EDWARD left your
I beg your pardon ? transmission back there. You're not shifting
right. This is
a standard H.
VIVIAN
Well, doesn't it blow your mind ? This is only
four EDWARD
cylinders. Standard H. Like I know what that means.
She laughs.
Close Up on Edward's hand trying to change EDWARD

gears. It doesn't Have you ever driven a Lotus ?
really succeed, and we hear a grinding noise.
VIVIAN
HOLLYWOOD - A WIDE STREET - EXTERIOR NIGHT No.
Back on the shot through the windshield.

EDWARD
You're gonna start right now.
EDWARD HOLLYWOOD - A WIDE STREET - EXTERIOR NIGHT

You know about cars. Where did that come from ?
Back on the shot through the windshield.
VIVIAN
Road and Track. The boys back home I grew up
with, they VIVIAN
were really into American heavy metal : You're joking.
Mustangs,
Corvettes.
EDWARD
No. It's the only way I can get you off my coat.
EDWARD
Ah.
Medium shot on a lingerie shop.
We see Vivian's head, and then the camera

follows her as she
VIVIAN climbs into the driver's seat. Edward closes his
They bought them cheap and fixed them up. I paid door on the
attention. passenger's side. Vivian closes her door and
So how is it you know so little about cars ? puts her seat belt
on.
EDWARD
My first car was a limousine. VIVIAN
Fasten your seat belts. I am taking you for the
ride of
16
your life. I'm gonna show you what this car can
really do.
Are you ready ?
HOLLYWOOD - A WIDE STREET - EXTERIOR NIGHT
EDWARD
I am ready.
Shot of the couple seen through the windshield.
VIVIAN
Hang on. EDWARD
Tell me, what kind of... what kind of money you
girls make
these days ? Ballpark.
EDWARD
Okay.
VIVIAN
Can't take less than a hundred dollars.
VIVIAN
Here we go.
EDWARD
She adjusts the back-view mirror. A hundred dollars a night ?
Medium close-up shot of the car seen from the

back with the camera VIVIAN
set on the road. The car starts very fast, but For an hour.
also very
smoothly : it is now driven by very expert
hands.
EDWARD
An hour ? You make a hundred dollars an hour and
Several shots of the car racing along the you got a
streets. safety pin holding your boot up ? You gotta be
joking.
Shot of the the couple through the windshield.
VIVIAN
This has pedals like a race car. They're really
close VIVIAN
together. So it's probably easier for a woman to I never joke about money.
drive,
because they have little feet. Except me. I wear
a size
nine. EDWARD
Neither do I. Hundred dollars an hour. Pretty
stiff.

She puts her right hand on Edward's zipper.
VIVIAN
You know your foot's as big as your arm from VIVIAN
your elbow to Well, no. But it's got potential.
your wrist ?
Edward doesn't react, but he looks at her in

She shows her arm to Edward, who chuckles. such a way that she
feels she has better take her hand off his
zipper.
VIVIAN
Did you know that ?
BERVERLY HILLS - EXTERIOR NIGHT
EDWARD Several shots of the car driving fast in Beverly

No, I didn't know that. Hills.
VIVIAN REGENT BEVERLY WILSHIRE HOTEL - EXTERIOR NIGHT

It's a little bit of trivia.
The tires of the car squeal as it makes a last

Edward looks at her and smiles. fast turn to stop
17
in front of the hotel.
Full shot. The Regent Beverly Wilshire Hotel is EDWARD

a very luxurious Good-bye.
hotel, certainly one of the most expensive hotel
of the Los
Angeles area. Edward starts turning around to go inside the
Medium shot on a uniformed attendant, who is hotel, but doesn't
standing near the do it, and instead looks back in Vivian's
entrance of the hotel, and rushes to Edward's direction.
car.
Medium shot on Vivian seated on the backrest of

Medium full shot on the Lotus parked in front of a public bench,
the hotel. The with her feet resting on the bench itself. She
attendant opens the passenger's door of the car, puts her cap back
while Vivian on.
comes out of the car on her own.
EDWARD (voice over)

No taxis ?
HOTEL ATTENDANT
Good evening, Mr. Lewis. Will you be needing the
car
anymore tonight ? VIVIAN
No, I like the bus.
Edward walks to the bench on which Vivian is
sitting.
EDWARD (LAUGHING)
I... I hope not !
Quick medium shot on the uniformed attendant
watching the scene
He gets out of the car. The attendant closes the with curiosity from the entrance of the hotel.
door and then
moves away, while Vivian joins Edward on the
sidewalk. Back to Vivian and Edward.
VIVIAN EDWARD
Ah. You're here. I was thinking... Did you really say a hundred
dollars an
hour ?
EDWARD
Yeah.
He looks at her for a couple of second, before VIVIAN
talking again. Yeah.
EDWARD EDWARD
So you'll be all right ? Yeah... Well, if you don't have any prior
engagements, I'd
be very pleased if you would accompany me into
the hotel.
VIVIAN
Yeah, I'm gonna grab a cab with my twenty bucks.
VIVIAN
You got it.
EDWARD She gets off the bench and laughs.
Go back to your office.
She laughs. VIVIAN

What is your name ?
VIVIAN They start walking toward the entrance of the

Yeah. My office. Yeah. hotel
EDWARD EDWARD
Well, thanks for the ride. Edward.
VIVIAN VIVIAN
See you.
18
Edward. That's my favorite name in the whole EDWARD
world ! You're gonna be fine. Come with me. And stop
fidgeting.
Another medium shots on seated guests staring at
He smiles. the couple.
Edward walks to the reception desk, with Vivian

EDWARD following him. A
No ?! very neatly dressed female receptionist is
behind the counter.
VIVIAN
I tell you what, this is fate, Edward. That's FEMALE RECEPTIONIST
what this is. Good evening, Mr. Lewis.
EDWARD EDWARD
Why don't you put this on ? Hello. You have messages ?
He puts his coat, which he was carrying on his

arm, on Vivian's FEMALE RECEPTIONIST
shoulders, and then wraps it around Vivian's Yes, we have several.
body, in order to
cover as much as he can of Vivian's very
conspicuous outfit.
EDWARD
Thank you.
VIVIAN
Why ? While Edward is looking through his messages,
Vivian is leaning on
the wall near the reception desk and looks
around her. She takes
EDWARD her cap off, but one still can see her strange
Well, this hotel is not the kind of outfit underneath
establishment that the slightly open coat. She stares at a passing
rents rooms by the hour. female guest who
stares back at her.
VIVIAN
Ah. EDWARD
Could you send up some champagne and
REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR strawberries, please ?
NIGHT
Medium shot on Edward and Vivian crossing the FEMALE RECEPTIONIST

hotel lobby. While Of course.
walking, Vivian puts her arms into the sleeves
of the coat. Then
she raises her eyes to look at the luxury around She picks up the phone.
her.
FEMALE RECEPTIONIST
VIVIAN Room service for Mr. Lewis, please.
Wow !
Edward slowly walks away from the desk, taking

EDWARD (voice over) Vivian along with
It's all right. him.
Medium shot on the elevator doors. Edward and
Vivian reach the
Medium full shot on the guests seated in elevator, and Edward presses the call button. A
comfortable armchairs middle-aged couple
near the front desk. All these guests are very is already waiting for it. They both look at
elegantly dressed, Vivian. Vivian turns
and mostly middle-aged. They all look with around and notice their disapproving look. She
curiosity at the raises her leg and
strange couple that just walked in. puts the tip of her boot on the high ash-tray
set near the door of
the elevator, showing her thigh to the couple,
VIVIAN (voice over) and especially to
Holy shit. the man.
19
VIVIAN Dennis doesn't look at the couple behind him,
Oh, honey. You know what's happened ? I've got a but he still has a
runner in very broad smile. Vivian stands up from the
my pantyhose. sofa.
She laughs and turns to the middle-aged couple.

VIVIAN
Sorry, I couldn't help it.
VIVIAN
I'm not wearing pantyhose.
EDWARD
Try.
We hear the ding of the elevator bell. Vivian
puts her leg down.
The elevator door opens on Dennis, the young The elevator moves up. Dennis tries to look
elevator attendant. casual, but doesn't
Vivian is the first one to walk in. really succeed.
VIVIAN REGENT BEVERLY WILSHIRE HOTEL - PENTHOUSE

Well, color me happy ! There's a sofa in here HALLWAY - INTERIOR NIGHT
for two.
Close shot on the elevator door. It opens.

Edward wants to let the middle-aged couple enter
the elevator
first. The man starts to move, but his wife
holds him back. DENNIS
Penthouse.
REGENT BEVERLY WILSHIRE HOTEL - ELEVATOR -

INTERIOR NIGHT VIVIAN
The penthouse. Mmmm !
Reverse angle shot on Vivian sitting on the sofa

at the back of
the cabin. She puts one leg on the sofa. Dennis EDWARD
looks at her and Yes.
smiles.
Vivian gets out of the elevator.
REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR

NIGHT
EDWARD
To the left.
Back on the entrance of the elevator. Edward
starts to walk in the VIVIAN
cabin. The middle-aged couple remains outside. Oh.
Edward gets out of the elevator. Dennis can't

EDWARD keep his eyes off
First time in an elevator. Vivian, and watches her walking in the hallway.
Edward turns
around and looks at him a bit severely. Dennis
wipes the smile off
THE FEMALE OF THE MIDDLE-AGED COUPLE his face, goes back into the cabin of the
Ah... elevator and closes the
doors. The camera follows Edward walking away to
the door of the
She turns her head toward her husband. penthouse, where Vivian is waiting for him. He
gets his magnetic
card out of his pocket.
THE FEMALE OF THE MIDDLE-AGED COUPLE

Close your mouth, dear. Close Up on Edward's hands trying to insert the
magnetic card into
the slot in the lock of the door. He sighs.
The door of the elevator closes.
EDWARD
REGENT BEVERLY WILSHIRE HOTEL - ELEVATOR - Oh, I miss keys.
INTERIOR NIGHT
PENTHOUSE - LIVING ROOM - INTERIOR NIGHT
20
EDWARD
Medium shot on the penthouse living room with It's the best. I looked all around for
the front door in penthouses on the
the background. Everything - the rug on the first floor, but I can't find one.
floor, the furniture -
is nice and very classy. All the lights are on.
The front door Vivian takes off Edward's coat and puts in on a
opens. sofa.
Edward walk in first, followed by Vivian. He

switches more lights VIVIAN
on. Vivian closes the door and starts walking Well, now that you have me here, what are you
around the huge going to do
living room. Edward looks at her. with me ?
EDWARD EDWARD
Impressed ? Want to know something ? I don't have a clue.
VIVIAN VIVIAN
You kidding me ? I come here all the time. As a No ?
matter of
fact, they do rent this room by the hour.
EDWARD
I hadn't exactly planned this.
EDWARD
Sure they do.
Edward has been taking a newspaper left by an
attendant on a small VIVIAN
table near the front door. He crosses the room Well, do you plan everything ?
and and drops the
newspaper on the desk. He sits down behind the
desk, and starts She takes her red jacket off.
looking through his mail, while Vivian walks out
on the terrace.
EDWARD
VIVIAN (voice over from the terrace) Always.
Wow, great view ! I bet you can see all the way
to the
ocean from out here.
VIVIAN
Yeah. Me too.
She sits down on an armchair.
EDWARD
I'll take your word for it, because I don't go
out there.
VIVIAN
I'm actually... No, I'm not a planner. I
Vivian walks in the room through another French wouldn't say I was
window-door on the a planner. I would say I was, hum, a kind of
other side of the desk. She puts her bag on an fly by the
armchair. seat of my pants girl. You know, moment to
moment. That's
me. That's... Yeah.
VIVIAN
Why don't you go out there ? Edward, still seated behind his desk, watches
her with a strange
look in his eyes. He suddenly realizes that
perhaps he hasn't done
EDWARD something very wise in bringing Vivian with him.
I'm afraid of heights.
VIVIAN
You are ? VIVIAN
Mm-hmm. You know, you could pay me. That's one
way to maybe
Edward nods his head. break the ice.
VIVIAN EDWARD
So how come you rented the penthouse ? Oh, yeah. I'm sorry. Uh, I assume cash is
acceptable.
21
He takes his wallet out of this jacket.
EDWARD
Why don't we just talk for a little bit, okay ?
VIVIAN
Cash works for me, yeah. He takes his jacket off, and puts it on the back
of the desk
chair.
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 VIVIAN
in one of her high boots. Talk. Yeah... uh... okay. Edward, are you in
town on, uh,
business or pleasure ?
EDWARD
You're on my fax.
EDWARD
Business, I think.
VIVIAN
Well, that's one I haven't been on before. He walks away from the desk across the room.
VIVIAN
She doesn't stand up but moves slightly in a Business, you think.
very suggestive way.
Edward takes his fax, but doesn't seem to react
at Vivian's She zips her boot back up, stands up and follows
suggestive movements. him across the
room.
EDWARD
Cute. Very cute. Thank you. VIVIAN
Well... let me guess.
She laughs, and zips one of her boots down. Out

of the boot, she Edward, now in his shirtsleeves, but still with
takes several condoms wrapped in cellophane his necktie and
paper. his vest on, has seated himself in an armchair.
VIVIAN VIVIAN
All right. Here we go. Pick one. I got red, I That would make you... a lawyer.
got green, I
got yellow. I'm out of purple, but I do have one
gold She sits downs on a low pouf in front of his
circle coin left. The condom of champions. The armchair.
one and
only. Nothing is getting through this sucker.
What d'you
say ? Hmm ? EDWARD
A lawyer ?
EDWARD
A buffet of safety. VIVIAN
Mm-hmm.
VIVIAN
I'm a safety girl. EDWARD
What makes you think I'm a lawyer ?
Edward stands up from his desk. Immediately

Vivian reaches for his
zipper. VIVIAN
You've got that, um... sharp, useless look about
VIVIAN you.
All right, let's get one of these on you.
EDWARD
EDWARD I bet you've known a lot of lawyers.
No, no. I...
He laughs awkwardly. VIVIAN

I've known a lot of everybody.
22
It'll be on your bill, Mr. Lewis.
The doorbell chimes. They both stand up.
VIVIAN EDWARD
What is that ? Thank you.
He turns around and find his face very close to The attendant doesn't move away and remains
Vivian's face, and close to Vivian,
seems a little disturbed by it. staring at her.
EDWARD VIVIAN
Champagne. What are you looking at ?
The attendant clears his throat.

VIVIAN
Oh ! Well. Might as well make myself useful. VIVIAN
Take a load What is he looking at ?
off.
Edward walks toward the attendant, and gives him

The doorbell chimes again. some tip money.
Vivian runs across the room to the front door

and opens it. A room EDWARD
service male attendant comes in carrying a Ah, yes. Here you go. Thank you very much.
loaded tray. Vivian
closes the door behind him.
ROOM SERVICE ATTENDANT

Thank you very much, sir. Have a nice night.
Good evening.
The attendant walks out of the room. Edward
VIVIAN walks to the bar.
Hi.
VIVIAN
ROOM SERVICE ATTENDANT A tip. Wow. I missed that one. Oh.
Uh, where would you like it ? (in a much softer voice)
Stupid.
VIVIAN
Where would we like it ? EDWARD
Don't worry about it.
Edward sets the champagne glasses on the bar.
Edward has seated himself back in the armchair.
VIVIAN
EDWARD You mind if I take my boots off ?
Uh, over by the bar.
She sits down on the steps that run across the

The attendant seems a little surprised by room, separating it
Vivian's outfit, but, in two slightly different levels.
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, EDWARD
he turns around and almost bumps into Vivian, Not at all.
who was standing
behind him.
VIVIAN
So, do you have a wife ? Girlfriend ?
VIVIAN
Excuse me !
She zips one of her boots down.
She giggles.
EDWARD
I have both.
23
EDWARD
No.
VIVIAN
Where are they ? Shopping together ?
VIVIAN
She takes her knee-length sock off. We hear the Listen, I... I appreciate this whole seduction
champagne bottle scene you've
cork popping off. 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
EDWARD along ?
My ex-wife... is now in Long Island... in my ex-
home...
with my ex-dog.
EDWARD
Somehow I'm sensing that this time problem is a
He brings her a glass of Champagne, which he major issue
sets down on the with you.
floor besides her. Vivian is taking her other
boot off.
He stands up.
EDWARD
There you go. EDWARD
Why don't we just get through that right now ?
He walks back to the bar to take his own glass.
VIVIAN
Great, let's get started.
EDWARD
My ex-girlfriend, Jessica, is in New York...
moving out of
my apartment even as we speak. EDWARD
How much for the entire night ?
He looks at her, a bit surprised.
VIVIAN
Vivian is draining her glass empty. Edward comes Stay here ?
near her, with a
silver bowl in his hands. In the bowl are some (SHE SNICKERS)
fresh strawberries. You couldn't afford it.
EDWARD EDWARD
Why don't you try a strawberry ? Try me.
VIVIAN
He takes the lid off the bowl and shows it to Three hundred dollars.
her.
EDWARD
VIVIAN Done. Thank you. Now we can relax.
Why ?
He takes the glass off her hand. She stands up.
EDWARD
It brings out the flavor in the champagne.
VIVIAN
Are you sure you want me to stay for the entire
night ? I
VIVIAN mean, I could just pop you good and be on my
Oh, groovy. way.
She takes a strawberry and eats it. Edward
closes the bowl and
brings it back on the bar. He sits down on a She walks to the bar, where Edward is filling
stool. the glass with
Champagne.
VIVIAN
Pretty good. Don't you drink ? EDWARD
To tell you the truth, I don't feel like being
alone
tonight.
24
He gives her the glass, and she immediately EDWARD
drinks it. He sits What is... What do you have in, uh, your hand
down on the stool. there ? What
are you hiding ?
VIVIAN
Why ? Is it your birthday or something ?
VIVIAN
Nothing.
EDWARD
No.
He walks toward her and sighs. He grabs her by
the arm and moves
her toward the door. He takes her hand bag
VIVIAN
I mean, I have been the party at a couple of
birthdays.
EDWARD
All right, look. I do not want any drugs here. I
don't want
EDWARD any of this. Get your things and your money and
I bet you have. please
leave.
She gets rid of his hand.
VIVIAN
So what do you want me to do ?
VIVIAN
I don't do drugs, all right ? I... I stopped
He doesn't answer immediately, remains pensive doing drugs
for a couple of when I was fourteen.
seconds, and then looks at her. He laughs.
EDWARD
EDWARD What is this ? What is this ?
I don't know. I really don't know.
Close Up on Vivian's hand, which Edward is

opening by force. She
PENTHOUSE - BATHROOM - INTERIOR NIGHT was hiding a little box of dental floss. Edward
has put Vivian's
bag under his arm.
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. EDWARD
This is dental floss.
The camera tilts up to Vivian's face, who walks

to the door. She takes her dental floss back.
VIVIAN VIVIAN
I'll be out in just a minute. That champagne Yeah ? So ? I had all those strawberry seeds.
kind of got to And you
me. shouldn't neglect your gums.
She closes the door, and goes back to the sink.

Edward re-opens EDWARD
the door and enters the bathroom. I'm sorry. Please continue.
EDWARD VIVIAN
I didn't hear you. What did you say ? Thank you.
Vivian hides something behind her back, but her
hand in her back
can be seen in one of the bathroom mirror. 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
VIVIAN and looks at him.
Uh... I said I'd be out in just a minute.
Edward looks worried. He points to her VIVIAN

Are you gonna watch ?
25
Industries.
EDWARD On the TV screen, the Italian fat lady is

No, I'm going. climbing into the bucket
He gives the handbag back to her. full of grapes.
The camera keeps on moving away from the TV set,

VIVIAN and we discover
Thank you. Vivian sitting on the floor and drinking
Champagne. And, behind
her, we see Edward sitting on an armchair near a
small table on
EDWARD which the telephone set is resting. Edward is
It's just that, uh, very few people surprise me. writing on a
document resting on his laps.
VIVIAN
Yeah, well, you're lucky. Most of them shock the EDWARD
hell out Uh-huh. I've got them from London. I need them
of me. now from
Tokyo. I'll call down and get them when I want
them. Thank
He nods his head. She goes back to the sink and you very much.
brings a piece of
dental floss to her mouth, stops, and brings it
down. She turns He puts the phone down back on its hook.
around.
Medium high angle shot on Vivian sitting on the

floor, with all
VIVIAN kinds of goodies around her, including the
You're watching. Champagne bottle in its
bucket.
EDWARD
I'm going. VIVIAN
He closes the door. Vivian starts cleaning her I have a little carpet picnic here. Are you sure
teeth with dental you don't
floss. want a drink ?
Back on Edward, still writing on the document on

PENTHOUSE - LIVING ROOM - INTERIOR NIGHT his laps. He
snorts.
Close Up shot on the TV screen, where an old

black and white
episode of I love Lucy is being played. It is EDWARD
episode 23 from I'm high on life. Can't you tell ?
Season 5, called Lucy's Italian Movie. Lucy is
standing close to
a huge bucket full of grapes, and seems a bit Quick shot on Vivian laughing.
reluctant to climb Medium shot on the TV screen, where Lucy is
into it. Behind her, a fat Italian lady is putting a reluctant
speaking Italian to foot in the bucket. Close Up on her foot
her. reaching into the grapes.
She screams with a wide open mouth.
We hear recorded laughs coming from the TV set.

Back on Vivian changing position and lying on
her stomach to be
The camera moves away from the TV set. more comfortable to watch TV. She laughs.
We hear Edward's voice speaking on the Edward watches her without moving from his
telephone. armchair.
EDWARD (voice over) VIVIAN (voice over)

Yes, that may be true, Vance. You know, I never saw this episode.
We hear Vivian laughing. Edward chuckles. And then he stands up.
EDWARD (voice over) Vivian is still lying on the floor, laughing.

Yes, I know, but I still need the numbers on Edward sits down on
Morse the sofa next to her.
26
Quick shot on the TV screen, where Lucy and her
Italian friend are
Shot on the TV screen, where Lucy is stomping now dancing on the grapes.
the grapes, with a
disgusted face. We hear Vivian laughing very
loudly. 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 Vivian's face laughing and holding
the glass of
Champagne. She looks up at Edward, still seated Close Up on their two faces, very close to each
on the sofa. other.
Close shot on Edward looking at Vivian

VIVIAN
What do you want ?
Close Up shot on Vivian's face. She has a
strange smile on her
face.
EDWARD
What do you do ?
Close Up shot on Edward's face looking at
Vivian.
VIVIAN
Back to Vivian. We hear the recorded laughs Everything. But I don't kiss on the mouth.
coming from the TV
set. Vivian stands up on her arms and knees and
walks on all four
toward the sofa. EDWARD
Neither do I.
Quick shot on the TV screen, where Lucy and the

other woman are She bends on his chest and starts kissing him on
stomping the grapes. the chest, going
down. She stops to look at the TV.
High angle shot on Vivian on her knees near the

sofa. She puts a On the TV screen, the Italian lady is throwing
hand up inside Edward's pants leg. Edward grapes in Lucy's
snorts. face.
On the TV screen, Lucy now seems to be enjoying Back to Vivian, who smiles and resumes her
her grapes kissing job on Edward's
stomping. chest.
Still resting on her knees, Vivian is taking her Close Up shot on Edward's face : he is inhaling
white top off her very strongly.
shoulders. She slips it down, and because the
top is attached to
the skirt, the skirt comes down with it. Vivian
is now wearing PENTHOUSE - BATHROOM - INTERIOR NIGHT
only her black lace underwear and bra. Vivian
puts the top and the
skirt away from her on the floor, and bends down Edward is in the shower, hot water pouring on
on the seated his head. He opens
Edward. Suddenly, she stands up and walks away. his eyes and seems to think about what just
Edward seems happened. He turns
surprised. But she comes back with a cushion around to turn the water off.
that she drops on the Close Up shot on the shower head. The water
floor, and then kneels on it. She takes the TV stops pouring from the
remote control from head.
the table by the sofa, and presses a button on
it.
PENTHOUSE - BEDROOM - INTERIOR NIGHT

On the TV screen, Lucy and the Italian lady are
still stomping the
grapes, but the sound shuts off. Edward is just out of the bathroom, wearing a
white bathrobe. He
puts his towel around his neck. He bends on the
Back to the sofa. Closer shot. Vivian puts the armchair, and
remote control back picks up one of Vivian's bracelet. The camera
on the table. Then she leans on Edward, and pans away from the
starts taking his armchair, showing Vivian's clothes and stuff
necktie off. Edward puts his hand on her hair, scattered around,
and seems including her blonde wig.
surprised : he hadn't realized it was a wig.
27
Edward looks at Vivian's things, then turns his
head around toward
the bed. He looks at the bed for a couple of BARNEY
seconds without Good morning, gentlemen.
moving, then starts walking toward the bed.
ONE OF THE UNIFORMED ATTENDANT
Good morning, Mr. Thompson.
Reverse angle shot, showing Vivian asleep on her
stomach in the
bed, her long red hair scattered around her
head. BARNEY
Good morning, good morning.
Edward walks away from the bed.

He keeps on walking toward the reception desk.

Medium full shot in the dark room. Edward is ANOTHER ATTENDANT
sitting behind the Good morning, sir.
desk, working, the only light in the room being
the lamp on the
desk. Behind the desk, three clerks, two females and
one male
REGENT BEVERLY WILSHIRE HOTEL - EXTERIOR DAY

ONE OF THE FEMALE CLERKS
Good morning.
Early morning.
Full shot on the faade of the hotel. Two men THE OTHER FEMALE CLERK
are cleaning the Good morning, Mr. Thompson.
sidewalk in front of the hotel, one with a water
hose, the other
one with a big broom. A uniformed attendant is A chambermaid is cleaning some leather armchairs
watching them, around a low
standing near the main door of the hotel. The table in front of the desk. Without interrupting
man holding the his walk, Barney
broom walks toward the attendant. turns his head toward her.
THE MAN WITH THE BROOM BARNEY

Hey, how you doing there ? Good morning, Marjorie.
She waves her hand to him.

THE UNIFORMED ATTENDANT
All right.
PENTHOUSE - LIVING ROOM - INTERIOR DAY

DAY A uniformed waiter, with white glove, is setting
the breakfast
table. Edward enters the room, wearing a dark-
Medium full shot of the lobby. colored night-robe,
and with a wireless telephone receiver stuck
between his head and
At his early hour, there are not many guests in his shoulder.
the lobby of the
hotel, only a chambermaid dusting a table, and
three uniformed
attendants talking together. EDWARD
Of course Morse is going to fight. It's to be
expected.
Barnard Thompson, the manager of the hotel, He's run his company for a very long time now. I
crosses the lobby, don't
wearing a very elegant dark suit, and carrying a think he's ready to have his name taken off the
black briefcase. stationery.
Barnard Thompson will be later in the film Edward signs the bill the waiter has shown to
nicknames Barney by him.
Vivian. It is this nickname that we shall use to
refer to him in
the dialogues.
PHILIP'S RESIDENCE - DINING ROOM - INTERIOR DAY
28
Medium shot of Philip sitting behind the
breakfast table. He is
talking to Edward on the telephone. On the table EDWARD
in front of him, That's why I enjoy this so much. Oh, by the way,
a cup, white china pots and a glass of orange Phil,
juice. about your car.
PHILIP PHILIP'S RESIDENCE - DINING ROOM - INTERIOR DAY

He wants to meet you face to face, hmm...
Suddenly, Philip has a worried look on his face.
PHILIP
EDWARD (whispering to the waiter) Oh, God. What ?
Okay.
PHILIP (voice over from the telephone) PENTHOUSE - LIVING ROOM - INTERIOR DAY
I wouldn't do it.
EDWARD Vivian stops in the middle of the room, behind

Sure, you wouldn't. But do it anyhow. Tonight. Edward's back.
Dinner. Set
it up.
EDWARD
Edward sits on a chair at the breakfast table. It corners like it's on rails.
PHILIP'S RESIDENCE - DINING ROOM - INTERIOR DAY PHILIP'S RESIDENCE - DINING ROOM - INTERIOR DAY
PHILIP PHILIP
Oh, Edward, Edward. I... Look, it's really not a What ? What does that mean ?
good idea
that you see him.

A middle-aged maid walks behind him with a glass PHILIP (voice over on the telephone)
jar of coffee, Edward ? Edward !
fresh from the percolator. She wants to pour
some coffee in
Philip's cup, but, with his free hand, he moves He presses the off button on the telephone and
her away. 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
PHILIP living room.
Definitely not alone.
(HE CHUCKLES)
You know ? He's a feisty old guy. You know, we VIVIAN
say the Hi.
wrong thing...
(He snaps his fingers)
...we could wind up in court. Edward turns around and smiles to Vivian.
The maid walks out of the room.

EDWARD
Well, good morning.

She slightly touches her hair.
EDWARD
Well, you know, there's always a possibility VIVIAN
things are Red.
gonna go wrong.
The waiter leaves the room, and Vivian walks in EDWARD

from the bedroom, Better.
wearing a white bathrobe.
VIVIAN
29
Y...You didn't wake me. I can see you're really
busy. I'm She comes back into the room and chuckles.
gonna be out of here in just a minute.
VIVIAN
EDWARD Yeah. Did you sleep ?
No, there's no hurry. Are you hungry ? You must
be.
EDWARD
He stands up from the table. Uh, yes, a little, on the couch.
She sits down on the table near Edward.

EDWARD
Why don't you sit and have something to eat ? EDWARD
I was, uh, working last night.
She walks slowly to the table.
VIVIAN
You don't sleep, you don't do drugs, you don't
EDWARD drink, you
I, uh, took the liberty of ordering everything hardly eat. What do you do, Edward ? Because I
on the menu. know you're
not a lawyer.
Close Up shot on the table. Edward takes off the

metal lids that He laughs.
were covering two plates. One has scrambled eggs
and bacon, the
other one has pancakes and strawberries.
EDWARD
That's right.
EDWARD
I didn't know what you'd like. He looks at her sitting on the table, and points
to the chairs
around the table.
VIVIAN
Thanks.
EDWARD
There are four other chairs here.
EDWARD
All right ? Good.
VIVIAN
Oh.
Edward puts the lids on the table. Vivian takes
a pancake and
walks slowly to the terrace. She seems She stands up and walks to an empty chair. She
embarrassed. sits on it with one
foot on the chair and her knee up above table
level. She goes on
eating breakfast.
EDWARD
Did you sleep well ?
VIVIAN
So what do you do ?
VIVIAN
Yeah, too good.
EDWARD
Vivian enters the terrace. I buy companies.
VIVIAN (voice over from the terrace)

I forgot where I was. VIVIAN
What kind of companies ?
Edward has seated himself at the breakfast table

and is working on
some documents. EDWARD
Uh, I buy companies that are in financial
difficulty.
EDWARD VIVIAN
Occupational hazard ? If they have problems, you must get them for a
bargain,
30
huh ?
EDWARD
EDWARD No.
Well, the company I'm buying this week, I'm
getting for the
bargain price of about one billion.
VIVIAN
And you don't build anything.
She almost chokes on her pancake.
EDWARD
No.
VIVIAN
A billion dollars ?
VIVIAN
So what do you do with the companies once you
buy them ?
EDWARD
Yes.
EDWARD
I sell them.
VIVIAN
Wow. You must be really smart, huh ?
VIVIAN
He chuckles. Here, let me do that.
VIVIAN
I only got through the eleventh grade. How far She grabs his necktie and starts knotting it
did you go properly.
in school ?
VIVIAN
EDWARD You sell them ?
I went all the way.
EDWARD
VIVIAN Well, I... don't sell the whole company. I break
Your folks must be really proud, huh ? it up into
pieces... and then I sell that off. It's worth
more than
He doesn't answer and just smiles. the whole.
Close Up shot on Edward's necktie, and Vivian's
hands knotting it.
She keeps on eating and tries to peak at the
documents in front of
him. Back on a medium shot of Vivian working on
Edward's tie.
PENTHOUSE - BATHROOM - INTERIOR DAY

VIVIAN
So it's sort of like, um, stealing cars and
Edward is in shirtsleeves and vest, in front of selling them
the mirror, for the parts, right ?
knotting his tie. Vivian walks in.
EDWARD
VIVIAN Yeah, sort of. But legal.
So you don't actually have a billion dollars,
huh ?
EDWARD
Mm-hmm.
EDWARD
No, I get some of it from banks, investors. It's
not an Close Up on Edward's tie, which is now very well
easy thing to do. knotted.
She sits down on the table in front of him. VIVIAN (voice over)
There. See, now it's perfect.
VIVIAN Edward puts a final hand on his tie.

And you don't make anything.
31
EDWARD
Not bad. Not bad at all. Where'd you learn to do PHILIP
that ? He's grooming him to take over. I don't know.
She stands up and goes out of the room.

PENTHOUSE - BEDROOM - INTERIOR DAY
VIVIAN
Well, I screwed the debate team in high school. EDWARD
Ah, yes. Very intense young man named David. He
plays polo.
She comes back with his jacket, and helps him
put in on.
PHILIP'S RESIDENCE - DINING ROOM - INTERIOR DAY
VIVIAN
I had a grandpa ! He was nice to me. He liked
ties on PHILIP
Sundays. Mind if I, um, take a swim in your tub Look, I gotta say this again. I don't like you
before I going alone,
go ? you know.
EDWARD PENTHOUSE - BEDROOM - INTERIOR DAY

Not at all. Just stay in the shallow end.
He goes out of the bathroom, followed, a couple
of seconds later, In the background, we hear Vivian singing Kiss
by Vivian. by Prince... not
very well !
PHILIP'S RESIDENCE - DINING ROOM - INTERIOR DAY VIVIAN (singing in voice over)
I just want your extra time and your...
The breakfast has been cleared away. Philip's

expensive leather The rest of the song is covered by what Philip
attach-case is lying on the table, supporting a is saying to Edward
big agenda. over the phone.
Philip is on the phone.
PHILIP (voice over on the phone)

EDWARD (voice over on the phone) Look... Well, I just think it'd be better if
Hello ? you... if you
went with a date.
VIVIAN (singing in voice over)
Uh-oh !
PHILIP
Edward, it's Phil. Listen, I'm running out the
door. Edward walks out of the bedroom, carrying the
telephone set.
PENTHOUSE - BEDROOM - INTERIOR DAY PHILIP (voice over on the phone)

You know ? Keep it social.
Medium shot. Edward is speaking on a regular

cord phone. He chuckles in the phone.
PHILIP (voice over on the phone) VIVIAN (singing in voice over)

I just wanted to let you know, Morse is all set Uh - uh - uh !
for
tonight.
PENTHOUSE - BATHROOM - INTERIOR DAY
EDWARD
Oh, that's good. Still carrying the phone set and with the phone
receiver on his
ear, Edward enters the bathroom.
He's bringing his grandson.
Got to know talk, baby, baby !
PHILIP'S RESIDENCE - DINING ROOM - INTERIOR DAY Edward ? Did you hear me ?
32
No, you don't.
EDWARD Medium shot on the bathtub, where Vivian is

Oh, yes. Yeah, I'm here. still singing with her
eyes closed. We see the yellow walkman lying on
the bathtub edge
He walks to the bathtub, where Vivian is near her head. She is holding the water faucet
immersed in a foam-bath. with one hand.
She has earphones on her ears, and she is
singing with her eyes
closed.
VIVIAN (SINGING)
I just want your extra time and your...
She makes loud kisses with her mouth.
VIVIAN (SINGING)
If you want to impress me...
VIVIAN (SINGING)
PHILIP (voice over on the phone) Kiss...
What is that ?
Back to Edward standing near the bathtub.

Edward is standing near the bathtub, but Vivian,
because of the
loud music in her earphones and her closed eyes,
doesn't seem to EDWARD
notice him. Besides, I already have one.

VIVIAN (SINGING) If you want to impress me...
Oh-oh-oh...
Edward starts walking around the bathtub to get

closer to Vivian's
EDWARD head.
Housekeeping is singing.
EDWARD
VIVIAN (SINGING) You just concentrate on finding out what Morse
Got to be too flirty, Mama... is up to.
PHILIP'S RESIDENCE - DINING ROOM - INTERIOR DAY VIVIAN (SINGING)

Uh-uh, you can't be too flirty, mama.
Philip seems a bit surprised by what he hears

over the telephone.
EDWARD
I'm on my way.
VIVIAN (singing in voice over in the phone)
I know how to undress me...
High angle close-up shot on Vivian's head.
Philip tries to concentrate on what he is saying

to Edward.
VIVIAN (SINGING)
PHILIP I know how to undress me Mm-hmm...
Yeah... listen.
Slight low angle shot of Edward. He has put the

telephone set down
PENTHOUSE - BATHROOM - INTERIOR DAY somewhere, and he is looking at Vivian, smiling.
Edward is still standing near the bathtub with VIVIAN (singing in voice over)
the telephone to Yeah, baby...
his ear.
He sits down on the bathtub edge.

PHILIP (voice over on the phone) VIVIAN (singing in voice over)
Edward, I know a lot of nice girls. I want to be your fantasy. Well, maybe you could
be mine.
Edward snorts.
Back to Vivian singing in the bathtub.
EDWARD
33
VIVIAN (SINGING) I want a professional. I don't need any romantic
Mm-hmm You just leave it. All up to me. hassles
this week.
She opens her eyes and notices Edward sitting on

the edge of the
bathtub close to her. She laughs. VIVIAN
If you're talking twenty-four hours a day, it's
gonna cost
Edward also laughs looking at her. you.
Vivian takes off her earphones, and puts them on

the edge with the EDWARD
Walkman. Oh, yes, of course !
He stands up.
VIVIAN
Don't you just love Prince ?
EDWARD
All right, here we go. Give me a ballpark
EDWARD figure. How
More than life itself. much ?
VIVIAN
Don't you knock ?
VIVIAN
Six full nights, days too. Four thousand.
EDWARD
Vivian, I have a business proposition for you.
EDWARD
Six nights at three hundred is eighteen hundred.
VIVIAN
What do you want ?
VIVIAN
You want days too.
EDWARD
I'm gonna be in town until Sunday. I'd like you
to spend EDWARD
the week with me. Two thousand.
Vivian smiles, not believing what she just

heard. VIVIAN
Three thousand.
VIVIAN
Really ? EDWARD
Done.
EDWARD
Yes. Yes, I'd like to hire you as an employee. VIVIAN
Would you Holy shit !
consider spending the week with me ?
She laughs, and dives her head underwater.

She laughs awkwardly.
Medium full shot of Edward bending over the

bathtub.
EDWARD
I will pay you to be at my beck and call.
EDWARD
Vivian ?
VIVIAN
Look, I'd love to be your beck and call girl,
but, uh, He talks louder for her to be able to hear him
you're a rich, good-looking guy. You could get a underwater.
million
girls free.
EDWARD
Vivian, is that a yes ?
EDWARD
34
EDWARD
She taps her feet on the bottom of the bathtub. Conservative. You understand ?
Closer shot of Vivian coming out of the water,

her face all VIVIAN
covered with foam. Boring.
VIVIAN EDWARD
Yes. Elegant. Any questions ?
She brushes the foam off her face. Edward dries He picks up his brief-case and walks to the
her face with a front door.
white towel. She spits water and laughs.
VIVIAN
VIVIAN Can I call you Eddie ?
Yes !
EDWARD
PENTHOUSE - LIVING ROOM - INTERIOR DAY Not if you expect me to answer.
Edward is coming out of the bedroom, followed by
Vivian. Vivian is
wearing a white bathrobe, and her head is
wrapped in a white VIVIAN
towel. I would've stayed for two thousands.
Edward has taken his wallet out of his pocket He had almost reached the door, but he comes
and he is giving back to face her.
several banknotes to Vivian.
EDWARD
EDWARD I would've paid four. I'll see you tonight.
I'll be gone most of the day. I want you to buy
some
clothes. He walks to the front door.
VIVIAN
Vivian looks at the thick wad of banknotes he Baby, I'm gonna treat you so nice, you're never
just gave her. gonna wanna
let me go.
VIVIAN He has opened the door but he turns around.

You really should think about traveler's checks.
Edward keeps on walking across the room, with EDWARD

Vivian following Three thousand for six days. And, Vivian, I will
him. let you
go.
EDWARD He goes out and closes the door. Vivian smiles

We may be going out evenings. You'll need and speaks very
something to quietly.
wear.
VIVIAN
VIVIAN But I'm here now.
Like what ?
She laughs and runs toward the bedroom.
EDWARD
Uh, nothing too flashy. Not too sexy.
He stops at the breakfast table, put some

documents back in his She laughs and screams, and jumps on the bed.
brief-case and closes it. Still laughing
wildly, she rolls on the bed.
VIVIAN
35
Three thousand dollars ! PENTHOUSE - BEDROOM - INTERIOR DAY
She kicks the bed with her foot. Then she

remains quiet for a VIVIAN
couple of seconds, gets rid of the towel on her Oh, man. Are you ready for this ? The guy ? The
head, and sits up Lotus ? I
on the bed. am in his hotel room in Beverly Hills. The
penthouse. His
bathroom is bigger than the Blue Banana !
VIVIAN
Oof !
VIVIAN AND KIT'S APARTMENT - KIT'S BEDROOM -
INTERIOR DAY
She picks up the telephone set on the night
table and puts it on
the bed. Kit has taken a big paper cup, with a straw
stuck in it, from the
night-table.
VIVIAN AND KIT'S APARTMENT - KIT'S BEDROOM - KIT

INTERIOR DAY Do I have to hear this ?
Kit is asleep with a scarf spread on her head.

She is wearing a PENTHOUSE - BEDROOM - INTERIOR DAY
blue T-shirt. On the night table, various fast
food items. The
phone rings. Kit starts up, and gets rid of the Vivian is getting very serious.
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 VIVIAN
from the floor. Kit, he wants me to stay the whole week. And you
know what
he's gonna give me ?
KIT
Hello ?
VIVIAN AND KIT'S APARTMENT - KIT'S BEDROOM -
INTERIOR DAY

VIVIAN (voice over on the phone)
Guess. You'll never guess.
Vivian is still seated on the bed, with the
phone receiver on her
ear. Kit drinks some soda from her cup.

VIVIAN Three thousand dollars.
I called and called. Where were you last night ?
KIT
VIVIAN AND KIT'S APARTMENT - KIT'S BEDROOM - Bullshit !
INTERIOR DAY
Kit sits up on her bed, suddenly worried. PENTHOUSE - BEDROOM - INTERIOR DAY
KIT VIVIAN
Ma ? I swear to God. And extra money to buy clothes.

It's Viv. VIVIAN AND KIT'S APARTMENT - KIT'S BEDROOM -
INTERIOR DAY
Kit relaxes.
Kit is walking around the room with the
telephone receiver stuck
between her head and her shoulder.
KIT
Oh. Hi. I had to party. Where are you ?
KIT
Oh, man ! I am bummed. I gave that guy to you !
36
Well, he gave me three hundred for last night.
And, Kit ?
VIVIAN AND KIT'S APARTMENT - KITCHEN - INTERIOR

DAY She sits on the bed.
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 VIVIAN
and junk. Clothes hanging to dry in the shower I'm gonna leave some at the front desk for you.
cubicle. I want you
to pick it up.
KIT
Three thousand. Really ? Is he twisted ? VIVIAN AND KIT'S APARTMENT - LIVING ROOM -
INTERIOR DAY
Kit looks for something in the mess in the sink.

Kit is brushing her teeth while speaking on the
phone.

I'm at the Regent Beverly Wilshire. Write it
Vivian is now lying on her back with her legs on down. Are you
the pillow. writing it down ? You'll forget it. Write it
down.
VIVIAN Kit sits down, picks up a felt pen and write on

No. the plastic stool
she is sitting on.
KIT (voice over on the phone)

Ugly ?
KIT
Reg... Bev... Wil.
VIVIAN
He's good-looking !
KIT (voice over on the phone) PENTHOUSE - BEDROOM - INTERIOR DAY
Well, what's wrong with him ?
VIVIAN
VIVIAN Now, one more thing. Where do I go for the
Nothing. clothes ? Good
stuff, on him.
VIVIAN AND KIT'S APARTMENT - KITCHEN - INTERIOR

DAY VIVIAN AND KIT'S APARTMENT - LIVING ROOM -
INTERIOR DAY
Kit comes out of the shower cubicle with a

toothbrush in her hand. She is still seated on the stool.
KIT KIT
Did he give you the money yet ? In Beverly Hills ?
Yeah.
At the end of the week.
KIT
Rodeo Drive, baby.
KIT
That's what's wrong with him.

DAY
Medium shot. Near the reception desk, the hotel

Vivian turns around on the bed. manager, Barnard
Barney Thompson is talking with an Italian
male guest and an
older lady seated in a wheelchair. The Italian
VIVIAN guest is showing a
37
business card to Barney and talking in Italian.
THE ITALIAN GUEST
Andiamo.
Vivian crosses the lobby, dressed in the same
prostitute outfit as
the day before, but without her wig. She has her Reverse angle shot on the lobby. Vivian keeps on
large handbag walking quite
across her shoulder and her red jacket is tied fast, and barely avoids bumping into an
around her waist. uniformed hotel attendant
Barney gives her a quick look, but goes back to loaded with luggage.
his conversation
with the Italian guest. He takes the card the
Italian is holding. Reverse angle shot on Barney still standing at
the same place. He
turns his head toward the desk.
BARNEY
Ah !
BARNEY
Miss Wilson, do you know that lady ?
Medium shot on the reception desk. Miss Wilson,
a blonde
bespectacled receptionist girl is behind the
desk. MISS WILSON
No, sir.
VIVIAN Barney turns back toward the departing Vivian.

Hi.

MISS WILSON
Yes, ma'am. May I help you ?
Full shot of the building of the hotel.
Vivian puts an envelope on the desk.

We hear the song Wild Women Do, performed by
Natalie Cole.
VIVIAN
Yeah, I'm leaving this here for Kit De Luca.
She's gonna LYRICS
pick it up. Wild women do. And they don't regret it.
The receptionist takes the envelope and looks at The camera pans down to street level and away
it. from the hotel into
Rodeo Drive.
VIVIAN
Don't open that.
RODEO DRIVE - EXTERIOR DAY
MISS WILSON
No, ma'am. The camera pans along the expensive shop along
Rodeo Drive. Many
well-dressed people are walking on the sidewalk.
Back on Barney and the Italian guests. Several are
carrying bags from the shops.
[ SPEAKING ITALIAN ]
LYRICS
Wild women show what they're going through.
The camera crosses the street on a crosswalk.
THE ITALIAN GUEST Vivian is walking on
Multo Grazie. Arrivederci. this crosswalk.
BARNEY LYRICS
Arrivederci. Ooh ! Wild women do what you think you'll never.
Vivian walks near them, with the high heels of Vivian looks at the pedestrians, so different
her boots clicking from the ones she is
on the floor. The Italian starts pushing the used to see on Hollywood Boulevard.
wheelchair. Barney
looks at Vivian.
Several quick Close Up shots on various emblems
above the shops :
38
Louis Vuitton, Chanel, Diamonds on Rodeo
Gucci
A third saleswoman, wearing a black jacket and
standing behind a
counter, looks up at Vivian. The saleswoman, who
LYRICS is arranging the
What you only dream about wild women do. flowers, also looks at Vivian.
Mediums shot. Vivian stops near a jewel shops

and looks in the LYRICS
window at the expensive jewels. She then moves Oooh-whoo ! Ooh, yeah.
away, looking
around and smiling.
Vivian stops to look around and then walks to
dresses hanging on a
rail, and starts looking at them.
LYRICS
Oh, yes, they do.
Vivian keeps on walking looking up at the
emblems. She apparently LYRICS
doesn't notice that several pedestrians are Wild women do what you think you'll never.
looking at her,
surprised by her costume.
The music fades out.
LYRICS High angle shot on the whole shop. The

You tell me you want a woman who is simple as a saleswoman (Saleswoman #
flower. 1), who was arranging the flower, is now
standing behind Vivian.
Close shots on the beautiful clothes in the

windows and then at
Vivian smiling and looking at the clothes. SALESWOMAN # 1
May I help you ?
LYRICS
Well, if you want me to act like that, you've VIVIAN
got to pay me Well, I'm just checking things out.
by the hour.
SALESWOMAN # 1
Are you looking for something in particular ?
A convertible BMV drives on the street. Both the
male driver and
the female passenger are talking on their cell Medium shot on Vivian and the saleswoman. Vivian
phones. has moved away
from the hanging rail.
BOUTIQUE - INTERIOR DAY

VIVIAN
No. Well, yeah. Uh... something... conservative.
A very expensive boutique. A saleswoman and an
old lady are
seated on a sofa. The saleswoman is showing some She looks at a dummy wearing a very elegant
items of clothing suit. The saleswoman
to the old lady. Through the window, we see looks up and down at Vivian's costume, and
Vivian walking toward answers with a forced
the entrance of the shop. smile.
LYRICS SALESWOMAN # 1
Wild women do and they don't regret it. Yes.
Close shot on another saleswoman, who is Vivian walks away to watch other items in the
arranging some flowers in shop.
a big vase. She is very neatly dressed and looks
a bit snobbish.
VIVIAN
Vivian enters the shop. The saleswoman seated on You got nice stuff.
the sofa looks up
at her.
SALESWOMAN # 1
Thank you.
LYRICS
Oh, wild women show what they're going through.
39
WOMAN'S VOICE
VIVIAN Doctor's office ? Two blocks down and to your
How much is this ? left.
Vivian looks at another dummy wearing a very

elegant light-colored MAN'S VOICE
dress. The saleswoman (Saleswoman # 2) with the Thank you.
black jacket has
joined them.
Vivian seems almost annoyed by those
uninteresting bits of
conversation. She keeps on walking.
SALESWOMAN # 1
I don't think this would fit you.
VIVIAN
Well, I didn't ask if it would fit. I asked how Full shot in front of the hotel. Vivian is
much it crossing the street.
was. Two businessmen in grey suits are talking just
The saleswoman # 1 turns toward her colleague. near the entrance
of the hotel.
SALESWOMAN # 1
How much is this, Marie ? ONE OF THE BUSINESSMEN
Tiffany is taking the corner space. They like
the project.
We're very excited about the whole thing. Did
SALESWOMAN # 2 you realize
It's very expensive. that Via Rodeo is the first new street... in
Beverly Hills
in seventy-five years ?
SALESWOMAN # 1
It's very expensive. Closer shot of Vivian entering the hotel under
the surprised stare
of the uniformed attendant at the door.
VIVIAN
Look, I got money to spend in here.
DAY
She starts walking nervously around the shop. Vivian crosses the lobby. Barney, the manager,
who was standing
near the open door of an office, walks toward
her.
SALESWOMAN # 1
I don't think we have anything for you. You're
obviously in
the wrong place. Please leave. BARNEY
Excuse me, miss, may I help you ?
The two saleswoman are staring at Vivian, who

seems thunderstruck
by this unexpected blow. She walks to the door, VIVIAN
and leaves the I'm going to my room.
shop.
She keeps on walking and Barney follows her.
BARNEY
Vivian is walking on the sidewalk of Rodeo Uh, do you have a key ?
Drive, among the very
elegantly dressed pedestrians. She has put her
red jacket back on She stops walking and turns around to face
and is keeping it close to her waist with one Barney.
hand. She walks very
nervously, and her high heels don't help her to
walk in a very
elegant way. VIVIAN
Oh. I forgot that cardboard thing. I'm on the
top floor.
We catch snatches of the conversations taking
place around Vivian.
BARNEY
You're a guest here ?
40
Dennis speaks with a croaky voice, because
VIVIAN Barney is slightly
I'm with a friend. strangling him while buttoning his uniform.
BARNEY BARNEY
And who would that be ? Mr. Lewis ?
VIVIAN VIVIAN
Edward. That's it. Edward Lewis ! Thanks, Dennis.
She slaps Dennis' shoulder, and moves into the

BARNEY elevator.
Edward ?
The elevator bell dings and the elevator door DENNIS

opens. Evidently she joined him last night.
VIVIAN BARNEY
Edward... Edward, uh... Thank you.
Barney nods his head. 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
BARNEY breathe properly.
Mm-hmmm.
VIVIAN (voice over from the elevator)

Dennis comes out of the elevator. Vivian points Oh, God ! What now ? What ? What ?
at him.
She comes out of the elevator, with Barney

holding her elbow.
VIVIAN
He knows me.
VIVIAN
Barney turns toward Dennis. What is with everybody today ?
They walk along the lobby, away from the

BARNEY elevator. Dennis looks at
Dennis. them and smiles. Two business men, going into
the elevator, also
look at them, surprised.
Dennis walks toward his boss.
BARNEY
BARNEY No, no. It's all right. Just come with me. We'll
Dennis, did you just come off the night shift ? have a
Hmm ? little chat. Thank you. Dennis, thank you.
DENNIS VIVIAN
Yes, sir. I'm coming. I'm coming.
Barney buttons the collar of Dennis' uniform.

REGENT BEVERLY WILSHIRE HOTEL - MANAGER'S OFFICE
- INTERIOR DAY
BARNEY
Do you know this young lady ? 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
DENNIS pot and starts watering the plant.
She's with Mr. Lewis.
BARNEY (voice over)

Uh, what is your name, miss ?
41
Niece ?
VIVIAN (voice over)

What do you want it to be ?
BARNEY
Of course. Naturally, when Mr. Lewis leaves, I
Full shot of the office. Vivian is seated on a won't see
leather armchair in you in this hotel again. I assume you have no
front of an expensive-looking wooden desk, on other uncles
which several here.
documents are scattered. On the left-hand side
of the desk, the
total upper half of the wall is a large bay Vivian shakes her head. She suddenly seems a bit
window protected from tired by the
the outside by vertical Venetian blinds. Under situation.
the bay window, a
small table on which is the plant Barney is
watering.
BARNEY
Good ! Then we understand each other. I would
also
BARNEY encourage you... to dress a little more
Don't play with me, young lady. appropriately.
that'll be all.
Vivian raises her hands and her voice.
VIVIAN
Vivian.
VIVIAN
No, that's not all. That's what I was trying to
do. I tried
BARNEY to go... get a dress on Rodeo Drive today, and
Thank you. Vivian. the women
wouldn't help me. And I have all this money now
and no
Barney puts the pot down on the table and sits dress !
down on the desk
itself just in front of Vivian.
Vivian takes the loose jumbled banknotes from
her bag and shows
them to Barney.
BARNEY
Well, Miss Vivian. Things that go on in other
hotels don't
happen at the Regent Beverly Wilshire. Now, Mr. VIVIAN
Lewis, Not that I expect you to help me, but I have all
however, is a very special customer, and we like of this,
to think okay ? I have to buy a dress for dinner tonight.
of our special customers as friends. Now, as a And nobody
customer, we will help me.
would expect Mr. Lewis to sign in any additional
guests,
but as a friend, we're willing to overlook it. Barney takes the money out of Vivian's hands,
Now, I'm then takes a white
assuming that you're a... handkerchief out of the breast pocket of his
jacket and gives it
to Vivian. Then he gives her her money back.
Barney bends his head down, and Vivian also
bends her head down
before answering. He walks around his desk, and picks up his
telephone.
VIVIAN
BARNEY Oh, man, if you're calling the cops. Yeah, call
Relative ? the cops.
That's great. Tell 'em I said hi.
VIVIAN
Yes. BARNEY
Women's clothing.
BARNEY Vivian looks up, a bit surprised.

Mm-hmmm. I thought so. Then you must be his...
Same game of bending heads down. BARNEY

Bridget, please.
VIVIAN
42
Vivian looks at him, and then takes the PHILIP
handkerchief and loudly Yeah, what ? Speak.
blows her nose.
THE YOUNG ASSISTANT

BARNEY Old Man Morse just got the inside track on a 350
Yes, Bridget. Hello. This is Barnard Thompson million
here at the dollar contract to build destroyers for the
Regent Beverly Wil... Navy.
(HE CHUCKLES)
Well, thank you. Yes, but I'd like you to do a Edward looks very pensive.
favor for
me, please. I'm sending someone over. Her name
is Vivian. Philip snickers, and looks at the young man.
Vivian looks at him and smiles.

PHILIP
Navy contract. I can't believe this shit. I
BARNEY (voice over) thought you
She's a special guest. She's the niece of a very said they had nothing in the hopper on this one
special !
guest.
THE YOUNG ASSISTANT

EDWARD'S OFFICE IN L.A. - MEETING ROOM - I thought they didn't.
INTERIOR DAY
Shot on another man, named Mark, seated at the

Full view of a screen, on which a film is being table.
projected. This
film shows an aerial overview of the port of
Long Beach and Los
Angeles, with a lot of industrial buildings MARK
along the wharves. Hey, you know, if that's true it could cost a
lot more.
Those stocks could go through the roof.
PHILIP (voice over)
Now, this is the jewel in Morse's crown : prime
industrial
properties straddling the port of Long Beach and PHILIP
Los Yeah, no shit, Sherlock.
Angeles.
Full shot of the meeting room, with the screen
in the background. The young man walks toward Edward, still
Because of the dark in the room, people around standing up.
the table are only
shadows. Edward is standing up near the screen.
THE YOUNG ASSISTANT

PHILIP (voice over) Maybe we're lucky to get this information now,
The real estate possibilities are endless, but sir. See, we
most of the can still walk away from it.
yard we'll just level.
Edward doesn't answer and remains pensive.

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
Philip. Walk away ? Hey, forget it, pal. We got a
thousand man-
hours in on this ! Nobody's walking away from
anything !
THE YOUNG ASSISTANT
We just got the information, Mr. Stuckey.
Philip sits down at the table, next to Mark.
PHILIP
Edward, we just got the Morse update. Don, can MARK
you hold the Philip, I think he's right.
projection, please ?
PHILIP (raising his voice)

The projection stops. Philip stands up and Forget it, Mark.
switches the lights on.
He sighs and turns toward the young man.
43
The two men start arguing, and since they are No problem.
talking loudly
together, we don't understand what they say.
EDWARD
Edward, with a glass of water in his hand, comes Thank you.
to the table and
raises his voice.
He goes out of the room. Philip follows him.
EDWARD Mark and the young blonde man sitting next to

Gentlemen, relax ! him are working on
the documents in front of them.
The arguments between Philip and Mark stops

PHILIP (voice over)
Edward.
EDWARD
Relax ! Who do we know on the Senate
Appropriations EDWARD'S OFFICE IN L.A. - RECEPTION HALL -
Committee ? INTERIOR DAY
Edward is about to enter Philip's private

PHILIP office. Philip is
Senator Adams. standing behind him.
EDWARD PHILIP
All right, Senator Adams. Let's find out where Listen, everything all set for the meeting
he is. tonight ?
Philip stands up and the young man sits down in Edward turns around to face Philip.
his chair.
EDWARD
EDWARD Mm-hmm.
The Navy's not going to spend 350 million dollar We hear faint voices coming from the meeting
on room.
anything without going to Appropriations first.
THE YOUNG ASSISTANT (voice over)

He drinks his water. Yes, Senator Adams, please.
PHILIP PHILIP
I don't understand what's going on here today, Who... Who is this girl you're going with ?
gentlemen.

The young man is on the phone, trying to reach Yes.
someone.
EDWARD
THE YOUNG ASSISTANT Nobody you know.
Hello ?
He enters Philip's private office. Philip turns

around to go back
EDWARD in the meeting room, with a worried look on his
That's why I hired you, Phil, to do my worrying face.
for me.

He picks up his briefcase. Yes, Edward Lewis Enterprises. Phil Stuckey.
Yes, I have
him right here.
EDWARD
I'll be in your office. Bob, if you want to send
over the REGENT BEVERLY WILSHIRE HOTEL - WOMEN'S CLOTHING
geologicals ? SHOP - INTERIOR
DAY
BOB (voice over)
44
Oh, don't sit on there, dear !
Full shot of the Women's clothing shop inside
the hotel. Several
women and even one man walking around. Counters
and shelves full VIVIAN
of women's clothing items. Hanging rails with Oh !
dresses hanging on
them.
BRIDGET
Vivian walks into the shop and starts looking You're gonna go out ? Dinner ?
around. Bridget
comes into the shop with a Mrs Rainey, a
customer.
VIVIAN
Mm-hmm.
BRIDGET
Don't worry, Mrs. Rainey, I'll call you the
minute it comes BRIDGET
in. Well, you'll need a cocktail dress then. Come
with me.
MRS RAINEY Larger shot showing the whole shop.

Thank you.
BRIDGET
BRIDGET Now, I'm sure we're gonna find something here
Have a nice day. that your
uncle will love. You're a size six, right ?
MRS RAINEY
Thank you. VIVIAN
Yeah. How'd you know that ?
The customer walks away and Bridget stops near

Vivian who is
looking at something on a counter. BRIDGET
Oh, that's my job.
They start walking upstairs to the upper level.
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. VIVIAN
Bridget bends over the mirror. Bridg, he's not really my uncle.
BRIDGET BRIDGET
Hello. You must be Vivian. My name's Bridget. They never are, dear.
They shake hands.

DAY
VIVIAN
Yeah, hi. Barney said you'd be nice to me. Barney is going around a huge bunch of flowers,
They both laugh. followed by two
Japanese, one male and one female. The man is
speaking Japanese to
Barney. Vivian walks between them, carrying a
BRIDGET garment bag over her
He's very sweet. What are your plans while shoulder.
you're in town ?
VIVIAN
VIVIAN Barney !
We're gonna have dinner.
She quickly looks at the Japanese man.

She is ready to sit on the glass covering the
counter, but Bridget
prevents her from doing so.
VIVIAN
Sorry, mister.
BRIDGET
45
Barney says a few words in Japanese to the PENTHOUSE - LIVING ROOM - INTERIOR DAY
Japanese guests.
VIVIAN
VIVIAN Then why are you calling me ?
I got a dress !
She sits down.
BARNEY
Well, I'd rather hoped you'd be wearing it. EDWARD (voicer over on the phone)
Did you buy clothes today ?
VIVIAN She squeezes the phone receiver between her head

Oh, no, I didn't want to get it messed up ! and her shoulder
Listen, I got to have a better look at the garment bag.
shoes too. You wanna see ?
VIVIAN
I got a dress. A cocktail one.
BARNEY
No, that won't be necessary. I'm sure they're EDWARD (voicer over on the phone)
quite lovely. That's good.
Thank you.
EDWARD'S OFFICE IN L.A. - RECEPTION HALL -

VIVIAN INTERIOR DAY
Okay, well, listen. I didn't mean to interrupt
you, but
Bridget was really great... and I just wanted to
say EDWARD
thanks. You're cool. I'll be in the hotel lobby, 7:45 sharp.
VIVIAN (voicer over on the phone)

BARNEY What ? You're not coming up to the door ?
You're welcome, Miss Vivian.
She walks away, and Barney looks at her, with a EDWARD

slight smile on This isn't a date. It's business.
his lips.

Medium shot of Vivian entering the room. She VIVIAN

closes the door Where are you taking me, anyway ?
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 EDWARD'S OFFICE IN L.A. - RECEPTION HALL -
on the floor, rushes to the phone and picks it INTERIOR DAY
up.
EDWARD
VIVIAN I'm taking you to a restaurant called the
Hello ? Voltaire.

INTERIOR DAY
Medium shot of Edward, seen from the waist up,

standing up in the EDWARD (voicer over on the phone)
reception hall of his office. He is on the Very elegant.
phone. We occasionally
see shadows of people moving behind him.
VIVIAN
All right. I'll meet you in the lobby, but only
EDWARD 'cause
Never, ever pick up the phone. you're paying me to.
46
EDWARD'S OFFICE IN L.A. - RECEPTION HALL - PENTHOUSE - LIVING ROOM - INTERIOR DAY
INTERIOR DAY
EDWARD
Well, thank you very much. VIVIAN
Then stop calling me.
He puts the phone down.

INTERIOR DAY
Edward laughs and puts the phone down.

Vivian also puts the phone down and smiles.

INTERIOR DAY
Vivian also puts the phone down.
Larger shot of the reception hall. We discover VIVIAN

that Edward is Sick.
standing near the reception desk, behind which a
female
receptionist is sitting. Behind her on the wall,
a logo and REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR
underneath it : Lewis enterprises, inc., and DAY
below : Philip
Stuckey - Attorney.
Medium shot of Barney standing up in the lobby
with his back to
EDWARD (to the receptionist) us. One of his assistant, wearing a dark suit,
Get her back for me, please. crosses the lobby,
followed by an uniformed attendant.
The receptionist picks up the phone and starts

dialing. Vivian rushes toward Barney.
A blonde female secretary walks behind Edward
and bends down to
speak to him.
VIVIAN
Barney !
THE SECRETARY
Mr. Stuckey wanted to see you. Barney looks at her and notices she is still
wearing her
prostitute costume.
EDWARD
Yes, tell him I'm in the middle of a very
important phone BARNEY
call. It didn't fit ?
The secretary walks away.

VIVIAN
Oh, no, no, no, no, no. Uh... I've got a little
problem.
REGENT BEVERLY WILSHIRE HOTEL - DINING ROOM -
INTERIOR DAY
The phone rings. Vivian walks to the low table
to pick it up.
High Angle Close Up Shot on a dinner table,
showing a white china
plate with a smaller plate inside, and on either
VIVIAN sides of the
Hello ? 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
EDWARD'S OFFICE IN L.A. - RECEPTION HALL - on the other side). In front of the plate, a
INTERIOR DAY napkin folded in a
glass.
EDWARD (smiling on the phone)

I told you not to pick up the phone. BARNEY (voice over)
All right, Miss Vivian, one more time. Dinner
napkin.
47
A large grey limousine is driving slowly on
We see Vivian's hand taking the napkin. Rodeo Drive, and comes
to park in front of the hotel.
VIVIAN (voice over)

Dinner napkin...
LATE AFTERNOON
BARNEY (voice over)
MM-MMM Edward crosses the lobby, carrying his

briefcase. He stops to look
around, expecting to see Vivian waiting for him.
VIVIAN (voice over) He starts walking
...laid gently in the lap. again, still looking around him. Barney catches
up with him.
Edward doesn't stop walking, and Barney has to
The camera pans away and we discover Vivian talk while walking.
seated at the table in
front of the plate. She puts the napkin on her
laps and then her
elbows on the table BARNEY
Pardon me, Mr. Lewis. I'm Mr. Thompson. I'm the
manager of
BARNEY (voice over) the hotel.
Good. Elbows off the table.
Edward stops at a marble shelf with a row of

She takes her elbows off the table. courtesy telephones
on it. He hardly listens to what Barney is
telling him.
BARNEY (voice over)
Don't slouch.
EDWARD
The camera moves away from the table and we get Uh-huh. Excuse me, I just want to make one call.
a larger shot of
the dining room. Uniformed waiters are setting
tables behind He picks up a telephone but keeps looking around
Vivian and Barney, who is standing up behind him. He seems a
Vivian. He points to bit worried.
the different forks on the table.
BARNEY
BARNEY Yes, um, sir. I have a message for you, sir.
Shrimp fork, salad fork, dinner fork.
EDWARD
VIVIAN From who ?
I definitely have the salad fork. The rest of
the
silverware is a little confusing.
BARNEY
From your niece, sir.
The camera moves back again giving a full view
of the dining room,
with Barney and Vivian's table in the forefront. Edward, for the first time, looks at Barney. His
A black case is finger is on the
open on the table : inside a impressive dial of the phone, but he doesn't dial.
collection of silver
cutlery.
EDWARD
Barney picks up the different forks and shows My what ?
them to Vivian.
BARNEY
BARNEY The young lady who's staying with you in your
All right, if you get nervous, just count the room, sir.
tines. Four
tines : dinner fork. And sometimes there are
three tines in
the salad fork. And sometimes... EDWARD
Oh. Hmm.
REGENT BEVERLY WILSHIRE HOTEL - EXTERIOR LATE
AFTERNOON
Edward smiles and puts down the telephone
receiver which he had
already put to his ear.
48
comfortable armchair and soft piano music.
Medium shot of Edward entering the lounge. The
camera then follows
EDWARD Edward crossing the lounge toward the bar.
I think we both know that she's not my niece.
Larger shot of the lounge, with the bar in the

background. There
BARNEY are not many people at this early time of the
Of course. evening.
Medium shot of the bar. Only one person is

EDWARD seated on a stool at
The reason I know that is that I am an only the bar. Even if we see only her back, we guess
child. she is Vivian. But
Edward doesn't seem to recognize her, because he
keeps looking
around for her.
BARNEY
Yes, sir.
As Edward is looking the other way from the bar,
EDWARD Vivian turns
What's the message ? around and looks at him. Edward walks a couple
of steps toward the
door, and then turns around and eventually
notices Vivian.
BARNEY
She's waiting for you in the lounge. Intriguing
young lady, Medium shot on Edward. There is a look of
Miss Vivian. surprise in Edward's
eyes when he recognizes Vivian.
Edward remains pensive for a couple of seconds

before answering. 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-
EDWARD colored cocktail dress. Her hair also has been
Intriguing. very elegantly
styled.
Edward looks at her without moving for a few
Edward picks up his briefcase which he had put seconds.
on the telephone
shelf.
She stands up from the bar and walks toward him.
BARNEY
Have a good evening, sir. VIVIAN
You're late.
EDWARD
Thank you, Mr... ? EDWARD
You're stunning.
He walks away.
She laughs.
BARNEY
Thompson. I'm the manager... VIVIAN
You're forgiven.
He takes his business card out of the pocket of

his vest to give
it to Edward, but Edward is already gone. EDWARD
Shall we go to dinner ?
BARNEY He gives her his arm. She puts her arm inside
...manager of the hotel, sir. his arm and they
walk across the lounge toward the exit.
REGENT BEVERLY WILSHIRE HOTEL - LOUNGE -

INTERIOR NIGHT RESTAURANT LE VOLTAIRE - INTERIOR NIGHT
The lounge of the hotel is a cosy place with High angle shot of the whole restaurant. It
potted green plants, looks like a very
49
expensive place. Tables are scattered around the The maitre d'hotel pulls the chair for Vivian.
room and on the The men wait for
gallery, but not too close to one another. In Vivian to be seated to sit down. Vivian has
the middle of the James Morse on her
room, a larger table used only by the waiters. right, Edward on her left, and David in front of
her.
We see Edward and Vivian crossing the room, with

a maitre d'hotel
walking in front of them. VIVIAN (SOFTLY)
Excuse me.
MAITRE D'HOTEL She stands up. Immediately, the maitre d'hotel

This way, Mr. Lewis. Your party is waiting. pulls her chair,
and the three men stand up, to Vivian's
surprise.
EDWARD
Stop fidgeting.
Closer high angle shot of Vivian and Edward EDWARD
walking toward a table Where are you going ?
where two men, an old one and a younger one, are
already seated.
She smiles to the two other men.
EDWARD
Mr. Morse. VIVIAN
I'm going to the ladies' room.
The two men stand up. The older one is James

Jim Morse and the The two Morse men smile back to her.
younger one is his grandson, David Morse.
EDWARD
JAMES MORSE Upstairs, to the right.
Yes, Mr. Lewis. I'm Jim Morse.
They shake hands. VIVIAN

Okay. Excuse me.
JAMES MORSE She starts walking away.

This fireball is my grandson, David.
EDWARD
DAVID MORSE Shall I order for you ?
Well, I don't know about the fireball part, but
grandson is
true enough. She turns around.
EDWARD VIVIAN
I'm pleased to meet you both. This is a friend Yeah.
of mine,
Vivian Ward.
She stops, exhales, and says, in a more polite
tone :
VIVIAN
Hi. I'm really glad to meet you.
VIVIAN
Please do so. Thank you.
EDWARD
Mr. Morse. David.
EDWARD
I'll do that.
She shakes hands with both men.
She walks away. The three men sit down.

Close Up shot on a plate being laid in front of
EDWARD one of the guests.
Please, sit. On the plate, four appetizers, actually four
canaps.
50
DAVID MORSE (voice over) Vivian smiles, and also takes the canap with
Mr. Lewis, my grandfather believes the men who her fingers. She
create a wipes something out of it before eating it.
company...
Edward smiles. He is happy that Vivian and James

The camera moves up from the plate to the are getting along
guest's face. The guest so well.
is Vivian, and she looks a bit worried by what
has been brought to
her. 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) DAVID MORSE (voice over)
...should control its destiny. You know, there was a time when we built ships
the size of
cities. Men like my grandfather made this
Vivian turns to Edward. country.
Vivian looks at the snails and then at the

VIVIAN waiter.
Where's the salad ?
David looks at Vivian, a bit surprised by what VIVIAN

she just said. Who ordered this ?
Edward whispers to Vivian David seems more and more annoyed by the
situation with Vivian.
EDWARD THE WAITER (voice over)

Uh, the salad comes at the end of the meal. The gentleman did, ma'am. Bon apptit.
Edward looks at Vivian.

VIVIAN
That's the fork I knew.
EDWARD
David smiles. These are escargot. It's French for snails. It's
a
delicacy. Try it. David ?
Vivian takes one of her forks and looks at it,
then she puts it
back. David bends down on the table. His grandfather
looks at him.
DAVID MORSE (voice over)

Let me, uh, put it another way. Between your
public DAVID MORSE
statements and the rumors flying around on this Mr. Lewis, if you were to get control... and I
thing, we don't think
find it very hard to figure out what your real you will... but if you did, what do you plan to
intentions do with the
are. company ?
Sensing Vivian's embarrassment, James Morse Vivian is trying to figure out how to work the
smiles to her. snail pincers.
Edward looks at David

JAMES MORSE
I don't know about you, but I've never been able
to figure
which goes with what ! EDWARD
Break it up and sell off the pieces.
He points to the different forks around his

plate. Vivian laughs. Edward is trying to mime to Vivian how to use
the snail pincers.
David seems a bit annoyed by the fact that the

conversation keeps Closer shot on James Morse.
on deviating on menial subjects.
JAMES MORSE
I'm sure you'll understand I'm not thrilled at
James Morse takes one of the canaps with his the idea...
fingers and eats it.
51
of your turning forty years of my work into your
garage Medium shot on James Morse. Then medium shots on
sale. whomever is
talking.
Vivian is still fighting with her snail pincers.
JAMES MORSE
Close Up on Vivian's plate and her hands trying He's not quite the bastard everybody says he is.
to use the snail
pincers. EDWARD
No, I have the franchise on that.
EDWARD (voice over)

At the price I'm paying for this stock, Mr.
Morse, you are JAMES MORSE
going to be a very rich man. Does that make him proud ?
James Morse looks at Edward.

EDWARD
I doubt it. It doesn't really matter now. He
passed away.
JAMES MORSE
I'm rich enough. I just want to head my
shipyard.
JAMES MORSE
Oh, I hadn't heard. I'm sorry.
Eventually, Vivian had succeeded in fitting one
snail into the
snail pincers, but it flies away from the
pincers. VIVIAN
The waiter, a white-hair man with a gentle face, I'm sorry too.
catches it.
Edward looks at the waiter and then at Vivian. EDWARD

Mr. Morse, you asked for this meeting. What can
I do for
you ?
VIVIAN SMILES
JAMES MORSE
VIVIAN Leave my company alone.
Slippery little suckers.
EDWARD
I can't do that. I own ten million shares.
Both Morse gentlemen smile.
THE WAITER (smiling) JAMES MORSE

It happens all the time. I'll buy your stock back.
Close Up on the table in front of Vivian. A ball

of green ice EDWARD
cream, in a silver cup, is being put down on the You don't have the money.
table.
Medium shot on the Morse gentlemen. DAVID MORSE

We will. We're getting a contract to build ten
destroyers.
JAMES MORSE
I met your father. What's his name ?
EDWARD
There will be no contract. The contract is now
buried in
EDWARD Appropriations Committee. And it will remain
Carter. there.
Vivian bits in a piece of leaf that was on the

table, makes a DAVID MORSE
face, and takes it out of her mouth. And how the hell did you pull something like
that ? You got
dirty politicians in your pockets now or
JAMES MORSE (voice over) something ?
Yeah. Carter. Carter Lewis.
52
JAMES MORSE (voice over) it ?
Easy, easy, calm down. Calm down, David.
Quick shots at Edward with a slight ironical VIVIAN

smile on his face, I just mean it's sweet the way he's crazy about
and then at Vivian, looking embarrassed. his
grandson.
JAMES MORSE Two waiters puts down plates in front of Edward

Mr. Lewis plays hardball. and Vivian.
EDWARD EDWARD
Yes, yes, I do. Oh, his grandson thinks he's a relic. He hates
that he
does, but he does.
David slams his napkin on the table
He makes a sign to the waiters who were

wondering about the
DAVID MORSE missing guests.
I've heard enough of this. Vivian, it was a
great pleasure
to meet you. I'm sorry, Grandfather. I've gotta
get some EDWARD
air. Mr. Lewis. No, just the two.
He stands up and walks away.
THE WAITER (voice over)

Yes, sir.
JAMES MORSE
I'd better join my grandson. You two enjoy your
dinner. From her purse, Vivian takes out a little
ketchup sealed pack, as
found in fast food restaurants, and starts
He stands up. tearing it open.
Edwards looks at her and smiles.

JAMES MORSE
I'm sure it'll be delicious. Good luck, miss.
Close Up on Vivian's plate, where there are a
piece of meat, a cob
Edward stands up. James Morse comes close to of corn, a jacket potato sliced in two halves,
him. and some salad. We
see Vivian's hand pouring ketchup from the pack
on her meat.
JAMES MORSE
Watch out, Lewis. I'm gonna tear you apart. Medium shot on the maitre d'hotel walking toward
the waiter and
whispering in his ear. The waiter nods his head
toward Vivian.
EDWARD
I look forward to it, sir.
Close Up on Vivian's plate. She spread the
ketchup on her meat
He walks away. with her fork.
Vivian looks more and more embarrassed. The maitre d'hotel walks away, bobbing his head
in a deprecating
EDWARD manner.
Rich people throw their napkins a lot, don't
they ?
Vivian looks around and senses that something is
wrong.
He sits down.
Edward smiles and looks at the waiter.
VIVIAN
He seems like a nice man.
VIVIAN
It's ketchup.
EDWARD
I guess three thousand dollars does not buy The waiter smiles.
loyalty, does
53
VIVIAN
I mean, the business was good, I think. You know
THE WAITER ?
Yes, sir.
Vivian sits down on the balustrade of the

EDWARD (voice over) terrace.
Check, please.
VIVIAN
THE WAITER He's in trouble. You want his company. He
Yes, sir. doesn't want to
let it go.
The waiter walks away to get the check.
EDWARD
Thanks for the recap.
VIVIAN
Haven't they ever seen ketchup before ?
VIVIAN
The problem is, I think you liked Mr. Morse.
EDWARD
Not in this building.
PENTHOUSE - TERRACE - EXTERIOR NIGHT

Edward points his finger toward Vivian.
Close Up on Vivian's bare feet putting on

leather slippers.
EDWARD
What I would like is for you to get down from
VIVIAN (voice over) there. You're
Edward ? making me very nervous. Please come down.
PENTHOUSE - TERRACE - EXTERIOR NIGHT VIVIAN

It's making you nervous ? What if I just leaned
back a
Edward, still wearing his jacket and tie, is little bit like this ?
seated at the
entrance of the terrace, the back of his chair
against the open She starts leaning back a little.
French window.
Vivian walks toward him, still wearing her VIVIAN

cocktail dress. Would you... Would you rescue me if I fell ?
VIVIAN EDWARD
Edward, you said you never come out here. Vivian, I'm serious. Come... I'm not looking.
He looks down at the feet of his chair.

VIVIAN
It's really high.
EDWARD
Well, I'm only halfway out. She takes her hands off the balustrade, and
waves them up in the
VIVIAN air.
Didn't say much in the car on the way home. You
thinking VIVIAN
about dinner ? I was a maniac. Look, no hands, no hands ! Okay, all right. I'm
sorry.

Medium shot of the terrace seen from the open

French window. The terrace seen from the open French window.
54
She sits back and holds the balustrade with both I hadn't spoken to him in fourteen and a half
hands. years. I
wasn't there when he died.
EDWARD
The truth is, it really is totally irrelevant VIVIAN
whether I Do you want to talk about this ?
like this man or not.
EDWARD
PENTHOUSE - TERRACE - EXTERIOR NIGHT No.
EDWARD PENTHOUSE - LIVING ROOM - INTERIOR NIGHT

I will not let myself become emotionally
involved in
business. The terrace seen from the open French window.
Vivian drops down from the balustrade, walks

VIVIAN toward Edward and
I know. Kit's always saying to me, Don't get kneels down beside his chair.
emotional
when you turn tricks. That's why no kissing.
It's too
personal. VIVIAN
Well, I tell you what, 'cause I got an idea.
Edward is smiling.
PENTHOUSE - TERRACE - EXTERIOR NIGHT
VIVIAN
It's like what you're saying : You stay numb, Close Shot of Edward and Vivian.
you don't get
involved. When I'm with a guy, I'm like a robot.
I just do
it. VIVIAN
Let's watch old movies all night. We'll just veg
out in
Edward looks at her with an ironical smile on front of the TV.
his face.
Vivian sighs and smiles.
EDWARD
Veg out ?
VIVIAN
I mean... except with you.
VIVIAN
Yeah. Be still like vegetables. Lay like
EDWARD broccoli.
Oh, of course, not with me. You and I are such
similar
creatures, Vivian. We both screw people for He stands up.
money.
Vivian looks embarrassed. EDWARD

Look, I'll tell you what. I'll be back. We'll do
broccoli
tomorrow.
VIVIAN He strokes her chin very delicately. She stands
I was sorry to hear about your dad. When did he up.
die ?
VIVIAN
EDWARD Where are you going ?
Last month.
EDWARD
VIVIAN I'm going downstairs for a while.
Do you miss him ?

EDWARD
55
the elevator.
Later in the night.
They cross the lobby, where, at this time of the

Close Up on the TV screen. We see the closing night, there are
scene of the film only uniformed maids cleaning the place. Dennis
Charade, directed in 1963 by musical comedy guides Vivian to
actor Stanley Donen. the door of a room, from which piano music is
Regina (played by Audrey Hepburn) is talking coming out.
with Peter (played by
Cary Grant).
REGENT BEVERLY WILSHIRE HOTEL - MUSIC LOUNGE -

REGINA (voice over from the TV) INTERIOR NIGHT
Did you say marriage license ?
Full shot of the room, which is very dark. In

PETER (voice over from the TV) the background, we
Now, don't change the subject, just give me the see a stage with music stands on it. In front of
stamp. the stage,
Edward, in shirtsleeves, is playing on a concert
piano.
Regina throws her arms around Peter's neck
Closer shot on Edward playing the piano.

REGINA (voice over from the TV)
Oh, I love you, Adam, Alex, Peter, Brian,
whatever your The actor Richard Gere, who plays the character
name is. of Edward,
actually plays live on the piano in that
sequence. More, he
The picture from the film, who was filling the composed the piece he is playing.
whole TV screen,
suddenly becomes a smaller one in the center of
the TV screen. Medium shot on the cleaning crew listening to
Four other pictures, from four other films, him while working.
appears in each corner
of the TV screen.
Vivian walks slowly toward the piano.
REGINA (voice over from the TV)

Oh, I love you. She stops behind Edward and folds her arms.
Edward stops playing.
The camera moves back and we see the back of the

sofa. There is Full shot of the room. The cleaning crew
some stirring in the sofa, and we see Vivian's applauds Edward. Vivian
arm holding the walks closer to the piano.
remote control and pressing on a button. The TV
shuts off.
EDWARD
Close Up on Vivian's hand putting the remote Thank you. Thank you very much.
control down next to
a clock that says three o'clock.
VIVIAN
Medium shot on Vivian, wearing a white bathrobe, I didn't know you played.
and putting her
hand through her hair. She picks up the
telephone next to the
sofa, and presses a button on the telephone set. EDWARD
I only play for strangers.
VIVIAN Closer shot on the piano. Vivian leans on the

Hi, uh, I'm in the penthouse. The guy that was piano.
here, Mr.
Lewis, have you seen him down there anywhere ?
VIVIAN
I was getting lonely upstairs all by myself.
REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR Edward turns around.
DAY
Medium shot on the door of the elevator. It EDWARD

opens, revealing Gentlemen, would you mind leaving us, please ?
Dennis, the elevator attendant, and, behind him,
Vivian in her
white bathrobe. He takes her by the arm and Full shot of the room. The cleaning crew is
guides her away from leaving the room.
56
see the daylight coming on Vivian's face. Vivian
wakes up, scratch
her head and looks around her.
EDWARD
Thank you.
EDWARD (voice over)
Wake up. Time to shop.
Close Up shot on Vivian's face.
Edward sits on the bed, and Vivian turns around

to face him.
VIVIAN Edward has a MasterCard in his hand. He shows it
People always do what you tell them to do ? to Vivian.
Medium shot. Edward grabs Vivian by the waist

and sets her in EDWARD
front of him. We hear the piano keys as they are Now, if you have any trouble using this card,
pounded by have them
Vivian's buttocks. Edward puts his forehead on call the hotel. All right ?
Vivian's belly.
Vivian takes the card and sits up in bed.

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 VIVIAN
bathrobe belt. Under Oh ! More shopping.
the bathrobe, Vivian is still wearing her
cocktail dress.
Edward ties his shoelaces.
Close Up on Vivian's face as Edward lifts her

dress up.
EDWARD
Mm-hmm. I'm surprised you didn't buy more than
one dress
VIVIAN yesterday.
I guess so.
Edward grabs her, lifts her, and sits her on the VIVIAN
piano. We hear Wasn't as much fun as I thought it was gonna be.
the piano keys being pounded by Vivian's feet.
Edward strokes her hair. He wants to kiss her, EDWARD

but she moves away. Why not ?
Eventually, she puts her head into his neck, and
kisses him on the VIVIAN
neck. They were mean to me.
The bathrobe has fallen down on the piano.

Edward spreads Vivian's EDWARD
legs apart, and squeezes himself between those Mean to you ?
open legs.
Edward looks very surprised. Vivian nods Yes.

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 Medium full shot of Edward and Vivian crossing
of the entire room. the street, holding
hands. Vivian is still wearing her blue very
short skirt, but the
We hear the piano key being pounded, and the upper half of her body is covered by a white
camera goes down shirt, knotted at the
behind some unspecified piece of furniture, waist and with the sleeves rolled back on her
making a fade-out to arms. She is also
black screen. wearing regular woman's shoes, so she doesn't
look like a
prostitute any more.
VIVIAN
Vivian is asleep in bed. We hear the curtains People are looking at me.
being pulled, and we
57
They now walk on the sidewalk.
HOLLISTER
Ah, yes, sir.
EDWARD
They're not looking at you. They're looking at
me.
EDWARD
You see this young lady over here ?
VIVIAN
The stores are not nice to people. I don't like Vivian joins the two men with a broad smile.
it.
HOLLISTER
EDWARD Yes.
Stores are never nice to people. They're nice to
credit
cards.
EDWARD
Do you have anything in this shop as beautiful
He stops walking and Vivian also stops. as she is ?
Vivian puts her head on Edward's shoulder.

EDWARD
Okay, stop fidgeting.
VIVIAN HOLLISTER
All right. Oh, yes.
Hollister understand he has made a blunder.

EDWARD
Get rid of your gum.
HOLLISTER
She spits her gum, almost hitting two female Oh, no ! No, no, no, I'm saying we have many
pedestrians. One of things as
them jumps up. 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.
EDWARD That's why when you came in...
I don't believe you did that. Edward takes Hollister's elbow and walks
slightly away.
Edward pulls her by the hand and they enter an

expensive clothing
store. EDWARD
Excuse me. You know what we're gonna need here ?
CLOTHING STORE - INTERIOR DAY

HOLLISTER
...we knew from the first...
Medium shot of Vivian and Edward standing near a
hanging rail full
of dresses. Edward is holding Vivian's hand, who
seems a little EDWARD
embarrassed. A young well-dressed man approaches We're gonna need a few more people helping us.
them : he is Mr. I'll tell
Hollister, the manager of the store. you why. We're going to be spending an obscene
amount of
EDWARD money in here. So we're going to need a lot more
Yes ? help
sucking up to us. That's what we really like.
You
understand that.
HOLLISTER
I am Mr. Hollister, the manager. May I help you
? Vivian smiles behind Edward.
Edward shakes hand with him.

HOLLISTER
Sir, if I may say so, you're in the right store
and the
EDWARD right city for that matter.
Edward Lewis.
58
about ? Just profane or really offensive ?
Later.
Medium shot of Vivian seated in a comfortable
armchair with a
catalogue on her laps and Hollister kneeling at EDWARD
her side. Really offensive.
HOLLISTER HOLLISTER
Anything you see here, we can do, by the way. I like him so much !
Get ready to
have some fun. Okay ?
Edward takes the phone to his ear, and Hollister
walks away.
Vivian smiles.
We hear the orchestral music from the title song

: Pretty Woman
VIVIAN Vivian is still seated on her armchair, looking
Okay. at all the clothes
that the saleswomen are bringing to her.
Hollister makes a sign with his hand.

She has a very bright red dress in her hand and
she looks at
Full shot of the store. In the forefront, Edward Edward.
is standing
behind a counter with a cordless telephone in
his hand. He dials Edward makes a face and nods No.
on the telephone.
A saleswoman put a black hat on Vivian's head.
HOLLISTER
Mary Pat, Mary Kate, Mary Francis, Tovah, let's Edward smiles and nods Yes.
see it !
Hollister sits down near Vivian and a saleswoman

He stands up. A saleswoman is running toward brings a grey
Vivian with a dress dress. Vivian points to the dress and looks at
in her hands. She puts it on Vivian's laps, who Edward.
puts the catalogue
away.
Edward makes a face and a So-So sign with his
hand.
HOLLISTER
Come on. Bring it out, girls. Slightly later.
Edward is standing near the counter, drinking

THE SALESWOMAN coffee. In the
Oh, this is absolutely divine. background, we see Vivian surrounded by
saleswomen. Hollister
walks toward Edward.
Another saleswoman, also with a dress in her
hand, is coming from
the other side. The music stops.
Medium shot on Edward behind the counter. In the

background, we HOLLISTER
hear female voices, but we don't understand the Mr. Lewis, sir. Mr. Lewis, how's it going so far
words. ? Pretty
Hollister walks toward Edward. well, I think.
HOLLISTER EDWARD
Excuse me, sir, uh, I think we need some major sucking up.
EDWARD HOLLISTER
Yeah ? Very well, sir. You're not only handsome, but a
powerful
man. I could see the second you walked in here,
you were
HOLLISTER someone to reckon with...
Exactly how obscene an amount of money were you
talking
59
Edward has put the coffee cup down and has taken get the money ?
the telephone
again. He turns toward Hollister.
PHILIP
I don't know. He, uh... I think he's throwing in
EDWARD with the
Hollister. employees.
HOLLISTER CLOTHING STORE - INTERIOR DAY

Yes, sir.
EDWARD
EDWARD He still needs someone to underwrite the paper.
Not me. Her.
He points toward the group of saleswomen EDWARD'S OFFICE IN L.A. - PHILIP'S ROOM -
surrounding Vivian. INTERIOR DAY
EDWARD (voice over on the phone)
Find out who it is. I'll be in the office in an
hour.
HOLLISTER
I'm sorry, sir. I'm sorry.
PHILIP
He walks away from Edward and toward the group Yeah, okay. You got it.
of saleswomen.
He presses a button on the telephone set to cut

the call.
HOLLISTER
How we doing, ladies ?
CLOTHING STORE - INTERIOR DAY
EDWARD'S OFFICE IN L.A. - PHILIP'S ROOM -

INTERIOR DAY Edward gives his credit card to Vivian. Vivian
Philip sits down behind his desk and talks into is now dressed in a
the hand-free very elegant brown suit, with a grey shirt
telephone. underneath.
PHILIP EDWARD
Oh, Edward, Edward. Where the hell are you ? The You're on your own. I have to go back to work.
word's all You look
over the street. great !
He walks toward the exit of the store, and near

CLOTHING STORE - INTERIOR DAY Hollister.
Close shot of Edward on the phone, with Vivian

trying on new EDWARD
clothes in the background. She has my card.
HOLLISTER
PHILIP (voice over on the phone) And we'll help her use it, sir.
Morse is gonna raise your offer, pal.
Slightly later.
EDWARD
He's countering ? We hear the song Oh, Pretty Woman, performed
by Roy Orbison.
(LAUGHING)
God, he is a tough old bird.
Vivian, wearing a black short dress, is dancing
on the rhythm of
the music, surrounded by two saleswomen.
EDWARD'S OFFICE IN L.A. - PHILIP'S ROOM -
INTERIOR DAY
LYRICS
EDWARD (voice over on the phone) Pretty woman walking down the street.
He knows the navy contracts are stalled. Where's
he gonna
60
Vivian comes out of a dressing cubicle, wearing
a black sweater HOLLISTER
and brown pants. He really wants to do this, by the way.
LYRICS VIVIAN
Pretty woman the kind I like to meet. Pretty He would go crazy about this tie.
woman.
A saleswoman walks toward them, carrying a large

Close Up shot of Vivian's back putting a beige pizza in an open
silk blouse on. cardboard box. Hollister looks worried.
LYRICS HOLLISTER
I don't believe you. You're not the truth. Who ordered pizza ?
Vivian, wearing a light pink suit, whirls round. But Vivian seems very happy about the pizza.
The volume of the music goes back up.

LYRICS
No one could look as good as you. Mercy.

Vivian, wearing a white blouse, looks at some
pieces of lingerie.
Close Up on a white parasol with flowers printed
on it, looking a
Vivian, wearing a brown dress with white dots, bit Japanese. The parasol moves away from us and
whirls round. we discovers we
are back on Rodeo Drive.
Close Up of Vivian's leg putting hoses on.
LYRICS
The volume of the music goes down. Pretty woman, stop a while.
Another department of the store : the shoe The camera moves away from the parasol, and
department. Vivian, Vivian appears on the
wearing a white suit with thin vertical stripes, screen. She is wearing a very elegant white
is surrounded by suit, long white
shoes. Hollister is kneeling beside her, and a gloves, and a black hat.
salesman is helping
her try a new pair of shoes. Vivian smiles and
looks at the
necktie worn by the salesman. LYRICS
Pretty woman, talk a while. Pretty woman give
your smile to
me.
VIVIAN
Edward would love that tie.
The camera backs up away from Vivian, and we
notice she is
Hollister turns toward his salesman. carrying several bags, certainly full of
clothes. Men turn their
head to look at her.
HOLLISTER LYRICS
Would you give her the tie ? Pretty woman Yeah, yeah, yeah.
THE SALESMAN BOUTIQUE - INTERIOR DAY

The tie ?
We are back inside the boutique, from which

Vivian was very rudely
HOLLISTER ejected, the day before, by some snobbish
Take off the tie. Give her the tie. saleswomen. Through the
shop window, we see Vivian walking on the
sidewalk.
THE SALESMAN
The tie. She stops and looks inside the boutique.
He starts taking off his tie.
61
LYRICS
Pretty woman, look my way.
Vivian shows her all the bags she is carrying.
The camera moves from the window to the street

door of the
boutique. VIVIAN
Big mistake. Big. Huge ! I have to go shopping
now.
LYRICS
Pretty woman, say you'll stay with me. She walks away, leaving the saleswoman with a
very surprised look
on her face.
The volume of the music goes down, as Vivian
enters the shop.
Saleswoman # 2 walks toward her. The volume of the music goes back up.
SALESWOMAN # 2 REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR

May I help you ? DAY
A uniformed attendant enters the lobby, carrying

VIVIAN Vivian's shopping
No, thank you. bags. Behind him Vivian walks in.
Vivian keeps on walking until she reaches

Saleswoman # 1, who is LYRICS
working on a hanging rail. Saleswoman # 1 was Pretty woman don't walk on by.
the one who actually The camera moves across the lobby, until it
ejected Vivian from the boutique. reaches Barney, the
managers, talking to two of his employees, one
uniformed male and
one female. He has not noticed Vivian yet,
VIVIAN because she is coming
Hi. behind him.
SALESWOMAN # 1 LYRICS
Hello. Pretty woman don't make me cry. Pretty woman.
The saleswoman has a broad smile. Suddenly he sees her, and immediately stops
talking to his
employees.
VIVIAN
Do you remember me ? Reverse angle shot of Vivian's back, walking
behind the uniformed
attendant, toward the elevator.
Apparently, the saleswoman doesn't recognize
this very elegant
woman as being the one she was rude to the day
before. LYRICS
Don't walk away, hey.
SALESWOMAN # 1 Reverse angle shot on Barney, smiling.

No, I'm sorry.

VIVIAN
I was in here yesterday. You wouldn't wait on
me. Medium shot. Vivian has put the bags she was
carrying on the
table, but has kept her purse, a vey elegant
black leather item.
SALESWOMAN # 1 She opens it, takes some money out of it, and
Oh. gives the money to
the uniformed attendant, who helped her carry
her shopping bags.
The attendant smiles.
VIVIAN
You work on commission, right ?
SALESWOMAN # 1 VIVIAN
Uh, yes. Wait... Thank you.
62
The attendant walks away. Vivian takes her hat EDWARD
off and falls into Hmm.
an armchair.
Edward seems to be very pensive.
LYRICS
Oh, oh, pretty woman.
PHILIP
So, it goes without saying... that your business
End of the music. means a
lot more to them than our friend, Mr. Morse. So,
EDWARD'S OFFICE IN L.A. - EXTERIOR DAY all you
gotta do is call the bank.
The modern building, where Edward's office in

L.A. is located. The He puts his hands on the telephone.
number above the main entrance says 333. We
hear male voices
over. We don't understand everything they are
saying. EDWARD
Yeah.
MAN (voice over)

Mister Lewis. Still, a very tepid reaction from Edward. He
just takes a small
glass and puts it in front of him on the table.
EDWARD (voice over)
Gentlemen.
Philip looks at Edward with a worried look. He
stands up.
EDWARD'S OFFICE IN L.A. - MEETING ROOM -

INTERIOR DAY
PHILIP
Edward, excuse me for saying this, but what the
Edward is standing up with his briefcase, hell is
smiling to the men of wrong with you this week ? Are you giving Morse
his team around him. He moves to his chair at a chance to
the meeting table. get away ?
Philip is trying to herd all his assistants out
of the room.
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.
PHILIP
Fellas, let's finish this up this afternoon, huh
?
EDWARD
You know what I used to love when I was a kid,
Edward sits down. A blonde secretary joins the Phil ?
leaving group.
PHILIP He puts a fourth glass on top of the other ones.

Jake, set something up with Blair. Around two Philip sighs.
o'clock, two-
thirty, would be good.
PHILIP
They all go out, leaving Edward and Philip What ?
alone.
EDWARD
PHILIP Blocks. Building blocks. Erector sets.
You were right about Morse. He mortgaged
everything he
owns, right down to his underwear, to secure a
loan from PHILIP
the bank. So, I liked Monopoly. Boardwalk, Park Place. Wh-
What's the
point ?
He sits down next to Edward.
EDWARD
We don't build anything, Phil. We don't make
anything.
PHILIP
And it's not just any bank. Plymouth Trust, huh
?
PHILIP
63
We make money, Edward. We worked for a year on for the faucet, and the thumb of the foot trying
this deal. to fit inside the
It's what you said you wanted. I'm handing it to faucet.
you.
EDWARD (voice over)

Edward looks up at Philip. Well, my mother was a music teacher... and
married my
father...
PHILIP
Morse's jugular is exposed. It's time for the Close Up on Edward naked chest floating in the
kill. Let's bathtub. Vivian's
finish this. Call the bank ! hand is rubbing a washcloth on the chest.
EDWARD (voice over)
...whose family was extremely wealthy.
He moves the telephone toward Edward. Edward
just smiles but
doesn't pick up the phone. 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
PENTHOUSE - LIVING ROOM - INTERIOR NIGHT on either side of Edward's body.
Close Up on a big Hi-Fi tuner-amplifier. We see

Vivian's hand EDWARD
setting the power on. Lights appear on the Then he divorced my mother to be with another
amplifier screen. A woman. And he
sign says 102.70 Mhz. We hear some soft easy took his money with him.
music. Vivian's
hand sets the volume a little higher.
Vivian puts the washcloth down on the edge of
the tub. She takes a
Medium shot on a table, on which everything has sponge.
been set for a
dinner for two. Three candlesticks with lighted
red candles in Close Up shot on Edward's chest. Vivian rubs it
them are also set on the table. Vivian is seated with the sponge.
on one of the
chair by the table. We see her from the back,
but she seems to be EDWARD (voice over)
almost naked, except for what looks like a tie And then she died. I was very angry with him.
around her neck.
Medium shot of the tub seen from the foot of the

We hear a door opening, and then closing. Vivian tub.
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 EDWARD
the salesman in the It cost me ten thousands dollars in therapy to
store. say that
sentence : I was very angry with him. I do it
very well,
Edward crosses the room, without apparently don't I ? I'll say it again. I was very angry
noticing Vivian. with him.
Vivian laughs, and Edward smiles.

VIVIAN
How was your day, dear ?
Edward stops and looks at her.
EDWARD
Hello, my name is Mr. Lewis. I'm very angry with
my father.
EDWARD
Nice tie.
The camera moves slowly around the bathtub.
VIVIAN
I got it for you. VIVIAN
I would've been angry at the ten thousands
dollars.
PENTHOUSE - BATHROOM - INTERIOR NIGHT
EDWARD
Close up shot on the bathtub faucet. We see My father was president of the third company I
Vivian's foot reaching ever took
over. I bought it. I sold it off piece by piece.
64
Full shot of the field, with the camera on
ground level, showing
VIVIAN the horses coming toward us.
What'd the shrink say ?
Full shot of the players on the field.
EDWARD
He said I was cured. ANNOUNCER (voice over from the P.A.)
This is Bill Fricker with Gwen Olsen...
Now the camera has come near the faucet.

Medium shot of spectators watching the game.
They are all very
Edward takes Vivian's hand in his. 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
VIVIAN charity event.
Well, so you got even. That must've made you
happy.
Full shot of a lawn used as a parking lot with
car parked among
Medium shot of Edward and Vivian in the tub. people sitting in folding chairs and picnicking.
Philip and his wife Elizabeth are crossing the

VIVIAN lawn. Philip is
Did I mention my leg is 44 inches from hip to carrying a basket and Elisabeth is carrying a
toe, so, large piece of
basically, we're talking about 88 inches of printed cloth, to be used as a tablecloth to
therapy... picnic on it.
She brings her feet up and wraps her legs around

Edward's body. PHILIP
Watch where you're walking, because, if you step
VIVIAN in
...wrapped around you for the bargain price something, we're not going back in the car.
of...
Elizabeth is ready to set the cloth at the foot

EDWARD & VIVIAN (together) of a tree.
...three thousands dollars.
PHILIP
VIVIAN Not too near the tree. I don't like the ants.
Yeah.
Polo players are galloping in the background. A

couple approaches
FADE TO : Philip and Elizabeth. They all shake hands.
PHILIP
Hello. Have you seen Edward anywhere ?
LOS ANGELES EQUESTRIAN CENTER - EXTERIOR DAY
Medium shot on Edward and Vivian standing near a

Close Up shot on the lawn of the polo field. We car. Edward is
hear an air-horn wearing a very elegant light-grey suit, and
blowing, and horses galloping. Vivian is wearing the
brown dress with white dots that we've seen her
buy on Rodeo
The small polo white ball is in the middle of Drive. She's also wearing a very elegant beige
the shot. We see the hat with a ribbon
hooves of several horses approaching the ball. matching her dress. And Edward is wearing the
Then a mallet comes necktie Vivian gave
down and strikes the ball away. him.
Medium shot on horse-backed players galloping on

the field. VIVIAN
What if someone recognizes me ?
We hear the announcer on the Public Address.

Larger shot of the couple.

Ebersol of the Falcons passes to Kennan.
EDWARD
65
Not likely. They don't spend too much time on This is Gwen and Gretchen, the infamous Olsen
Hollywood sisters, who
Boulevard. have made marrying well an art form.
VIVIAN GWEN
You did. Edward.
He puts his hands around Vivian's waist, to grab

her hands behind EDWARD
her back. Be back in just a second. Hold on.
He walks away and Vivian remains with the Olsen

EDWARD sisters. In the
Come on. Let go. Let go. background, a waiter is working on a buffet
table.
She eventually let him take her hands.
GWEN
So, you're the flavor of the month. Hmm.
EDWARD
All right. You look great. You look like a lady.
You're She turns back to the man seated in front of the
gonna have a wonderful time. microphone.
Vivian looks a little disturbed by what Gwen
just said.
Medium shot on the couple. She makes a face. He
takes her hand and
drags her behind him
GRETCHEN
EDWARD Uh, she's just being testy. Edward's our most
Okay. Don't fidget and smile. eligible
bachelor. Everybody is trying to land him.
She makes a broad smile, and walks behind him.

Vivian nods her head and answers Gretchen with a
sardonic tone.
Close shot on the players on the field.
ANNOUNCER (voice over from the P.A.) VIVIAN

Humboldt's coming around to this side. Well, I'm not trying to land him. I'm just using
him for
sex.
On the edge of the field, two well-dressed
gentlemen, a young one
and and older one, are watching the game. She walks away. Gretchen laughs.
ANNOUNCER (voice over from the P.A.) Medium shot on the edge of the field. A middle-
Toquenee is on Kennan. Penalty on that play. aged couple is
seated on two chairs and looks at the game.
Edward is standing
The two gentlemen walk away from the field. The behind them. The couple claps their hands and
camera follows yell to support
them around a platform with a canopy above it. their favorite team. Vivian joins Edward behind
On the platform, the couple. Edward
the announcer, a white-haired gentleman, is claps his hands.
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 EDWARD
and stops on a group Well done.
of four people : Edward, Vivian, Gwen and
Gretchen. The two last
ones are the Olsen sisters, two very elegant Vivian claps her hands louder than Edward, and
blonde women, known then yells with
to be the gossip champions of Los Angeles upper wide movements of her hand.
class society.
Gwen is seated on a chair on the platform, next
to the announcer,
when Gretchen is standing at the foot of the VIVIAN
platform. Well done. Whoo, whoo, whoo !
Close shot on the couple, who turns around to

EDWARD look at her.
66
Close shot on Edward and Vivian
PHILIP
Well, hi. Philip Stuckey, Vivian. This is my
wife,
VIVIAN Elizabeth.
Tell me again why we're here.
Vivian shakes hands with Philip, then with

Elizabeth.
EDWARD
Business.
VIVIAN ELIZABETH
Business mingling ? It's always a pleasure meeting one of Edward's
girls.
EDWARD A very elegant blonde lady walks toward them and

Yeah. then away from
them. Elizabeth turns around to look at her.
We hear an air-horn blowing noisily.
ELIZABETH
Close Up on the field. We see the legs of a Oh, my God ! It's Tate Whitley Wallington.
horse galloping on the She runs after Tate.
field.
ANNOUNCER (voice over from the P.A.) ELIZABETH

That's the chukker, ladies and gentlemen. Tate ! It's me, Elizabeth, from Workout World.
Larger shot on the field with the horses The two men and Vivian watch her go.
galloping on it.
ANNOUNCER (voice over from the P.A.) PHILIP

Falcons, seven. Gems, four. Sort of an aerobics queen. Feel the burns. Well,
let me get
you something to drink. Vivian, why don't you
Medium shot on a group of spectators under an start with
open tent. Among that. Okay ?
them, Philip, with sunglasses on his nose, and a
glass of
Champagne in his hand. He leaves the group. He gives his Champagne glass to Vivian.
PHILIP PHILIP
Excuse me. Edward ! I'll be right back. Did you notice Senator Adams
is here ?
Larger shot on another open tent across the lawn

from the other
one. Philip comes in and joins his wife. EDWARD
Mm-hmm. I asked him.
PHILIP
Edward. Over here. PHILIP
That is why I have pledged my eternal love to
you. Mmm !
Edward walks in with Vivian. He shakes hands
with Philip.
He walks away.
EDWARD
Phil. VIVIAN
Real genuine guy. Who is he ?
PHILIP
Ah, good to see you.
EDWARD
He's my lawyer. He's all right.
EDWARD
Me too. I want you to meet a new friend of mine,
Vivian
Ward. VIVIAN
You could freeze ice on his wife's ass.
67
You heard her. The stomping of the divots.
EDWARD Close Up on a very elegant high-heel shoe

Maybe we'll try that later. putting a divot back in
place.
VIVIAN Medium full shot of the announcer's platform.

Are these people your friends ? The white-haired
gentleman is sitting at the table on the
platform, with Gwen at
his side. But he is not talking in the
EDWARD microphone. Another bearded
I spend time with them, yeah. man, standing in front of the platform, is
talking in a wireless
microphone. In front of the platform, people are
walking under the
VIVIAN white ribbon to go on the field.
Well, no wonder.
BEARDED ANNOUNCER
EDWARD This is a time-honored tradition, ladies and
No wonder what ? gentlemen.
Medium full shot of Philip, alone in front of a

VIVIAN row of empty white
No wonder why you came looking for me. folding chairs, sneezing and blowing his nose
into a white
handkerchief.
Medium shot on the announcer's platform. Gwen
Olsen is speaking in
the microphone. ANNOUNCER (voice over from the P.A.)
As old as the game of polo itself.
GWEN Long high-angle shot of the field, where the

And I do need some help from you ladies and guests are stomping
gentlemen in the divots.
the audience.
Close shot on Vivian, without her hat, stomping

Medium shot on a group of spectators, who are the divots and
walking under the smiling.
white ribbon which separates the audience from
the polo field.
Kings and queens used to do this.
GWEN (voice over from the P.A.)
We need you to help replace some of the divots
out here on Medium shot on Elizabeth, with a glass of
the grass. Champagne in hand,
talking to Edward
Medium shot on guests seated around a table.

They all stand up,
some still carrying their glass of Champagne. ELIZABETH
She's sweet, Edward.

So come on out now. Back on Vivian, stomping the divots.
ELIZABETH (voice over)
Wherever did you find her ?
Medium full shot on the field. All those very
elegant people from
the upper class society, with their glass of Back on Edward and Elizabeth.
Champagne in hand,
stomps, with their feet, on the divots on the
field.
EDWARD
ANNOUNCER (voice over from the P.A.) 976-BABE.

Come on ! Come on, folks.
Elizabeth looks a bit surprised by Edward's

Close shot on the feet of the guests, stomping joke.
on the divots.
Back on Vivian stomping the divots. Edward joins

ANNOUNCER (voice over from the P.A.) her.
68
VIVIAN
David.
Only one word of advice : Avoid the steaming
divot !
DAVID MORSE
How are you ?
Medium shot of Philip, seated on a chair, and
looking at Vivian
and Edward.
VIVIAN
I'm okay.
Back to Vivian and Edward stomping the divots.
Vivian laughs very
loudly, and Edward takes her in his arms. David looks at the hat Vivian is holding
Close shot on Philip, who seemed worried by what

he sees. DAVID MORSE
I thought that was you. I like this hat.
Medium full shot of Vivian seated on the trunk

of a red
convertible car. Her hat is on the trunk near VIVIAN
her. A man takes one It's new.
of Vivian's shoes off to clean it. A woman is
standing near the
car, watching the scene. Medium shot on Philip watching Vivian talking
with David Morse.
His wife Elizabeth joins him.
THE MAN
No, it's all part of the game of polo. You get DAVID MORSE (voice over)
to have your Yeah ?
shoes polished by a member of the club.
VIVIAN (voice over)

He looks at a dirty spot on the shoe. Yeah !
THE MAN ELIZABETH

I think I got something in the car that will What are you looking at ?
buff that up.
He walks away with the shoe.
PHILIP
Edward's date.
VIVIAN
Thank you.
Reverse angle shot on what Philip sees : David
and Vivian talking
Medium shot on David Morse walking toward together, seen from a distance. We can't hear
Vivian. He is wearing what they are
his polo player outfit : red shirt, with the saying.
name of his team
L.A. Gems and his number in the team 2, and
white pants. He is ELIZABETH (voice over)
holding his helmet, his leather gloves and his I'm going for a ride with the Ritter's in their
riding crops in one new car.
hand. Okay, hon ?
Back on Philip. Elizabeth gives Philip a kiss on

DAVID MORSE the cheek
Vivian, hi. David Morse.
Medium shot of Vivian, still seated on the car. PHILIP

She smiles. The Uh-huh.
woman, who was talking with her, walks away.
Elizabeth understands that Philip has not heard

a word of what she
THE WOMAN just said.
Excuse me.
Vivian takes her hat, jumps from the car down on ELIZABETH
the ground, and Philip, I'm going to rip off all my clothes and
walks toward David. do a naked
belly dance for the polo players.
69
Why do you want to know ?
PHILIP
Have fun. PHILIP
Now just hear me out on this, okay ? I've known
you a long
Elizabeth walks away, looking a bit furious. time. I... I see some differences in you this
week, like
the tie, and, uh... I'm wondering if maybe this
Back on Vivian and David, as watched by Philip. girl isn't
They are now the difference, especially when I see her
standing in front of David's horse, held by a talking to David
young blonde girl. Morse.
DAVID MORSE
Come meet my horse, Vivian. Different angle medium shot showing, behind
Edward's back, Vivian
to David in the background. Edward turns around
to look at them.
VIVIAN
Well, Edward's waiting for me. I don't want
to... Medium close shot on Edward looking at Vivian,
and Philip, looking
at Edward, with an inquisitive expression in his
eye.
DAVID MORSE
Come on. He's right here.
Closer shot on David and Vivian talking together
near the horse,
still held by the young girl.
VIVIAN
Okay, I'll... Just for a second, though.
EDWARD (voice over)
I introduced them at dinner the other night.
She walks toward the horse, looking back to PHILIP (voice over)
watch for Edward. So what ? Now they're best friends ?
Back on Edward and Philip talking together.

VIVIAN
I didn't know you were playing today.
PHILIP
Medium shot of Philip and Edward walking between I mean, this girl appears from out of nowhere.
the stands. Now she's
talking to a guy whose company we're trying to
buy. That's
a little convenient, don't you think ?
EDWARD
Uh... I was asking for directions. There she
was.
EDWARD
Don't be ridiculous.
PHILIP
Oh, so you just ran into her ? That's great,
Jesus ! PHILIP
Edward, how... how do you know that this girl...
hasn't
attached herself to you because she's bringing
PHILIP information
So anyway, what does she do ? Does she... does back to Morse ? This happens ! Industrial
she work ? espionage...
They stop walking in front of a stand, where

waiters are pouring EDWARD
Champagne for the guests. Phil, Phil, Phil ! Phil, listen to me.
EDWARD PHILIP
She's in sales. What ?
PHILIP EDWARD
Sales ? That's terrific. That's good. What does She's not a spy. She is a hooker.
she sell ?
EDWARD
70
PHILIP
Oh !
SENATOR ADAMS
No, it's still bogged down.
EDWARD
She is a hooker. I picked her up on Hollywood
Boulevard. In Medium shot on Vivian, standing near a tree,
your car. with her hat in her
hand. She is smiling.
Philip laughs.
Philip walks behind her. Vivian stops smiling.
PHILIP
Oh, you are... PHILIP
Having a nice time, Vivian ?
EDWARD
Yes, yes.
She smiles again.
PHILIP
Oh, man ! VIVIAN
Yeah, I'm having a great time.
He keeps on laughing louder. He snorts.
PHILIP
Must be quite a change from Hollywood Boulevard,
PHILIP hmm ?
You know, you're the only millionaire I ever She stops smiling and shows a very sad and
heard of... worried face.
who goes looking for a bargain basement
streetwalker, you
know ?
VIVIAN
What ?
SENATOR ADAMS (voice over)
Edward !
PHILIP
Yeah, Edward told me. But don't worry : you're
EDWARD secret is
I'm sorry I told you. safe with me. Listen, maybe, uh, you and I could
get
together sometime...
Edward walks toward Senator Adams, who is
calling him. Philip
keeps on laughing. He touches her bare arm with his sunglasses.
EDWARD
Senator. Senator Adams, I'm pleased you could
make it. PHILIP
...after Edward leaves.
Medium shot on the Senator. Edward walks to him

and shakes his
hand. VIVIAN
Yeah, sure. Why not ?
SENATOR ADAMS We sense that Vivian feels like crying, but she
Thank you. I hope the information I gave you was masters her
helpful. emotions and looks at Philip.
PHILIP
Back on Philip, who walks away with a laughing We'll just have to do that, hmm ?
face.
He puts the tip of his fingers on her bare

EDWARD (voice over) shoulder.
Oh, absolutely, yes, and thank you for it.
ELIZABETH (voice over)

Back on Edward with the senator. Philip !
Philip turns around to look at his wife. Then he

EDWARD walks away.
There's no change, is there ?
71
Vivian remains on the same spot, with a very sad
face.
The camera follows Edward in the room. In the
background, across
GWEN (voice over from the P.A.) the open door of the bedroom, we see Vivian
Hi, tailgaters. I'd like to mention a couple of entering the bathroom.
our silver
sponsors...
VIVIAN
Close shot on Edward looking at Vivian. He Asshole ! There's a word.
smiles.
She slams the bathroom door.

...Jacobs Distributors, Norrell Saddlery, and
we'd like to
give a great big thanks to our platinum EDWARD
sponsor... I think I liked fine better.
Back to Vivian. She doesn't look at Edward and Edward drops his mail and newspapers on the
keeps the same desk.
sullen sad face.
Vivian opens the bathroom door, and stands near

GWEN (voice over from the P.A.) the open door.
Edward Lewis Enterprises.
Applause and air horn blowing. VIVIAN

You know what ? Just tell me one thing : Why did
you make
Vivian crosses her arms, but doesn't look at me get all dressed up ?
Edward.
Edward walks toward her. The camera follows him.

The ball is in for chukker number four.
EDWARD
Well, for one thing, the clothing was
PENTHOUSE - LIVING ROOM - INTERIOR EVENING appropriate.
Medium shot on the main door. It opens and

Edward comes in, PENTHOUSE - BEDROOM - INTERIOR EVENING
followed by Vivian.
Vivian closes the door, and Edward looks at his
mail lying on a Edward takes his jacket off.
small table. Vivian throws her hat and gloves on
another table
with a nervous movement. Edward turns around to
look at her. 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
EDWARD clothes,
You all right ? okay ?
Edward sits down on the bed.

VIVIAN
I'm fine.
EDWARD
She walks away. I did not... I did not...
EDWARD VIVIAN
Fine. That's good. Seven fines since we left I mean, in my own clothes, when someone like
the match. that guy
Stuckey comes up to me, I can handle it, I'm
prepared.
Edward picks up his mail and newspaper, and
walks behind her.
Edward starts unlacing his shoes. Vivian walks
away toward the
living room. The camera follows her.
EDWARD
Could I have another word, please ?
72
PENTHOUSE - LIVING ROOM - INTERIOR EVENING
EDWARD
I refuse to spend the next three days fighting
Vivian is trying unsuccessfully to open a bottle with you. I
of Coca-Cola. In said I was sorry. I meant it. That's the end of
the background, Edward is still sitting on the it !
bed, taking his
shoes off.
VIVIAN
I'm sorry I ever met you.
EDWARD She walks away into the bathroom
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 VIVIAN
for ten years. I'm sorry I ever got into your stupid car !
Edward stands up and walks toward Vivian. He walks toward the bathroom, enters it and
starts taking his tie
off in front of the mirror.
EDWARD
He thought you were some kind of an industrial
spy. The EDWARD
guy's paranoid. As if you had so many more appealing options.
VIVIAN
What are you, my pimp now ? Vivian comes back to the bathroom door, carrying
a bunch of
clothes.
She puts the unopened bottle back on the table.
VIVIAN
VIVIAN I've never had anyone make me feel as cheap as
You know, you think you can pass me around to you did
your today.
friends ? I'm not some little toy !
She walks away toward the bedroom. EDWARD

Somehow, I find that very hard to believe.
She gets out of the bathroom with her arms full
of clothes. She
EDWARD picks up a small handbag and puts it on her
Look, you're not my toy, I know you're not my shoulder. Then she
toy. tries to pick up a larger handbag.
He walks behind her. Close shot on the handbag, stuck under an

armchair. We notice that
Vivian is bare feet.
EDWARD
Vivian ! Vivian, I'm speaking to you. Come back Vivian finally succeeds in picking up the bag
here ! and put the straps
over her shoulder, on top of the smaller bag.
Edward walks out of
the bathroom and joins her.
PENTHOUSE - BEDROOM - INTERIOR EVENING
Vivian was ready to enter the bathroom, but she EDWARD

turns around. Where are you going ?
EDWARD VIVIAN
I hate to point out the obvious, but you are, in I want my money. I want to get out of here.
fact, a
hooker ! And you are my employee !
She crosses her arms on her bunch of clothes.
She has a very
sullen, sad face. Edward doesn't move for a
VIVIAN couple of seconds,
Look, you don't own me. I decide, okay ? I say then walks to the bed, to pick up his jacket. He
who. I say gets his wallet
when. I... I say who... from the inside pocket of his jacket. He opens
the wallet, and
73
gets a large wad of banknotes out of it.
VIVIAN
Close up shot on the bed. We see the wad of Why ?
banknotes falling on
the bed. They are all hundred-dollar bills.
EDWARD
Edward walks away toward the living room, and I saw you talking to David Morse. I didn't like
Vivian remains it.
without moving with her sullen sad face. She
looks down at the
bed.
VIVIAN
We were just talking.
Close up shot on the wad of banknotes on the
bed.
He chuckles.
Back to Vivian, who hasn't moved. She starts

walking away toward
the living room, without taking her money. EDWARD
I didn't like it.
PENTHOUSE - LIVING ROOM - INTERIOR EVENING The elevator bell dings. The elevator door
opens, and a smiling
Dennis appears.
Edward is standing near the desk, looking at his
mail. Vivian
walks behind him, coming from the bedroom and
going away toward DENNIS
the front door. We hear the door opening. Edward Down ?
looks up toward
the door. The door closes, and Edward looks very
pensive. He looks Close shot on Edward's face, and then on
back into the bedroom. Vivian's face.
Dennis feels some tension between Edward and

PENTHOUSE - BEDROOM - INTERIOR EVENING Vivian and stops
smiling. He goes back into the elevator, presses
a button and the
Close up on the bed, where the wad of banknotes door closes.
is still lying.
VIVIAN
REGENT BEVERLY WILSHIRE HOTEL - PENTHOUSE You hurt me.
HALLWAY - INTERIOR
EVENING
EDWARD
Yes.
Medium shot on Vivian, standing near the
elevator, and nervously
pressing on the elevator call button.
VIVIAN
Don't do it again.
VIVIAN
Come on ! They look at each other for a couple of seconds,
then slowly,
Vivian walks back to the penthouse. Edward
Medium close shot on Vivian. We hear the follows her and takes
penthouse door opening, one of her handbags from her shoulder. They both
but Vivian doesn't look at it and keeps looking enters the
at the elevator in penthouse and he closes the door behind him.
front of her.
Larger shot. Edward is coming out of the
penthouse, and he has
left the door open. He walks toward Vivian. PENTHOUSE - BEDROOM - INTERIOR NIGHT
High angle shot above the bed. Edward and Vivian

EDWARD are lying in the
I'm sorry. I wasn't prepared to answer questions bed, presumably naked, but covered by a sheet
about us. from their waist
It was stupid and cruel. I didn't mean it. I down. They are facing each other and talking.
don't want you
to go. Will you stay the week ?
74
VIVIAN
First guy I ever loved was a total nothing.
Second was
worse. My mom called me a bum magnet. If there EDWARD'S OFFICE IN L.A. - EXTERIOR DAY
was a bum
within a fifty-mile radius, I was completely
attracted to Long shot on the building, seen from across the
him. That's how I ended up here. I followed bum street.
number
three.
Slowly, the camera moves closer to them.
INTERIOR DAY
EDWARD
Mm. Medium full shot on Philip, standing in front of
the desk, and
talking to the receptionist girl.
VIVIAN
So here I was : no money, no friends, no bum.
PHILIP
No, I don't want to talk to him now. Tell him
I'll call him
EDWARD on Monday.
So then you chose this as your profession ?
He walks away from the desk.
VIVIAN
I worked at a couple fast food places, parked
cars at THE RECEPTIONIST
wrestling. And I couldn't make the rent. I was Yes, sir.
too ashamed
to go home. That's when I met Kit. She was a
hooker and A blonde female secretary walks into the room,
made it sound so great. So one day I did it. carrying a thick
pile of documents.
The camera stops moving forward, having reached

a medium close
shot, showing Vivian and Edward's heads and PHILIP
shoulders. Where are you going ? Did he sign these ?
VIVIAN THE SECRETARY

I cried the whole time. But then I got some No, he said he had to leave.
regulars and,
you know... It's not like anybody plans this.
It's not your Philip walks nervously across the room.
childhood dream.
PHILIP
EDWARD He had to...
You could be so much more.
He meets Edward coming out of an office.

Close shot on Vivian's face.
PHILIP
VIVIAN Edward, you can't disappear now. We're in this
People put you down enough, you start to believe too deep.
it.
Reverse shot on Edward's face. EDWARD

Don't panic, Philip. Morse isn't going anywhere.
I'll be
back here in the morning.
EDWARD
I think you are a very bright, very special
woman. He stops at the reception desk.
Reverse shot on Vivian's face.
EDWARD
VIVIAN Did you send the tickets to the hotel ?
The bad stuff is easier to believe. You ever
notice that ?
75
THE RECEPTIONIST
Yes, sir. She looks at herself and at her tight-fitting
dress.
EDWARD
Thank you. VIVIAN
Well, nothing else is gonna fit into this dress.
I'll tell
He starts walking out of the room. you that.
PHILIP
Where are you going ? Edward picks up a mauve-colored box on the bar.
EDWARD EDWARD
I have a date. Well, maybe something in this box. I don't want
you to get
too excited. This is only on loan.
PHILIP
With the hooker ? He opens the box : it's a jewel box. Vivian
comes closer to the
box and looks into it. What she sees looks like
Edward stops walking. He doesn't seem very happy a very beautiful
by what Philip and expensive necklace. She moves her hand to
just said. He slowly turns around, facing touch delicately the
Philip. necklace, but Edward snaps the lid of the box
shut, almost
squeezing her finger into it.
EDWARD VIVIAN
Be careful, Philip. Oh !
He walks away. Philip slowly turns around and She bursts out laughing loudly. Edward opens the
walks into his box again.
office.
Close shot in front of a mirror. Edward is

fixing the necklace
PENTHOUSE - LIVING ROOM - INTERIOR EVENING around Vivian's neck.
Medium shot of Edward standing in front of the

closed bedroom VIVIAN
door. He is very elegantly dressed in black They really let you borrow this from the jewelry
tuxedo and bow-tie. store ?
When he hears the bedroom door opening, he
crosses his arm and
leans on the bar.
EDWARD
I'm a very good customer.
The door opens and Vivian appears. She is very
elegantly dressed
in a long red evening dress. She is also wearing
long white VIVIAN
gloves. She walks into the room. She stops in If you were gonna buy this, how much would it
front of Edward and cost ?
faces him. Edward moves around her.
EDWARD
VIVIAN Quarter of a million.
Do I look okay ?
Vivian laughs nervously.
EDWARD VIVIAN
Mmm. A quarter of a million dollars ?
Edward turns around Vivian, and his black-

VIVIAN colored back blocks
Mmm ? completely our view of the scene, making some
sort of fade-out /
fade-in with the next scene.
EDWARD
Something's missing.
76
REGENT BEVERLY WILSHIRE HOTEL - ELEVATOR -
INTERIOR EVENING
EDWARD
Edward's back is still blocking completely our When you're not fidgeting, you look very
view of the scene. beautiful... and
But then Edward moves to stand beside Vivian in very tall.
the back of the
cabin of the elevator. She is carrying a small
golden purse. Vivian laughs.
REGENT BEVERLY WILSHIRE HOTEL - EXTERIOR EVENING
VIVIAN
So, where are we going ? The big grey limousine, that Edward uses all the
time, is leaving
the curb in front of the hotel.
EDWARD
It's a surprise.
LYRICS
You're a dream coming true. I can't believe how
I have...
VIVIAN
If I forget to tell you later, I had a really
good time Close shot on the front left wheel of the
tonight. limousine.
EDWARD LYRICS
Thank you. ...fallen for you.
Close shot on Dennis standing near the door of

the cabin, and BURBANK AIRPORT - EXTERIOR EVENING
smiling.
Long shot of the airport. The limousine enters

the airport field,
REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR and stops near a corporate jet plane. A red
EVENING carpet is lying on the
ground between the limousine and the plane.
We hear the beginning of the orchestral music of

Fallen, written
and performed by Lauren Wood. LYRICS
You are the one who's led me to the sun.
Vivian and Edward are getting out of the

elevator and they start Medium full shot on the car. Edward comes out of
crossing the lobby. Dennis comes out of the the back of the
elevator to have a limousine. Darryl comes out of the driver's door
better look. and holds the
Medium full shot on a desk. Two uniformed door for Vivian, who looks surprised to see the
attendant are standing plane.
near the desk. Another man, wearing a suit, is
standing behind the
desk, and checking things in an open ledger. All
three of them LYRICS
look at the passing couple. How could I know...
Vivian and Edward keep on walking across the

lobby. He looks at EDWARD
her. She touches her necklace. You don't want to go to San Francisco in a
limousine, do
you ?
Medium shot on the reception desk. Miss Wilson
and another female
receptionist are standing behind the desk, Darryl closes the back door, and stands near the
talking with a guest. car.
They look at the couple and smile.
Barney is standing near a wall tapestry, talking LYRICS

to a guest. He ...I was lost without you.
looks at the couple and seems very happy by what
he sees. VIVIAN
I've never been on a plane before.
Back on Vivian and Edward crossing the lobby.
77
LYRICS
And I want to tell you...
EDWARD
No, it's all right. Opening night never starts
Edward walks, on the red carpet, toward the on time.
plane, followed by
Vivian. They talk together, but the lyrics of
the song cover their
voices. VIVIAN
Okay.
LYRICS They walk near a stand, where a girl, wearing

...you control my brain. black tuxedo and
bow-tie, is distributing programs. Edward takes
a program.
Long shot on the runway, with the corporate jet
plane taking off.
The camera follows the plane.
THE PROGRAM ATTENDANT
Program, sir.
LYRICS
And you should know that...
EDWARD
Thank you.
ABOVE LOS ANGELES - EXTERIOR EVENING

The jet plane is flying above L.A., with the sun
setting down in SAN FRANCISCO OPERA HOUSE - BOX - INTERIOR NIGHT
the background.
The camera pans, from right to left, a

succession of private boxes
LYRICS in the medium upper level of the theatre. All
...you are life in my veins. the men are wearing
black tuxedoes and bow-ties, and all the women
are wearing very
PILOT (voice over) elegant and very expensive evening dresses.
Well, it should be a pretty smooth flight, Mr.
Lewis. The
weather is clear all the way up to San We hear the instruments of the orchestra warming
Francisco. We should up.
be there in about fifty minutes.
The third box is empty, but an usher shows

Edward and Vivian
SAN FRANCISCO - AERIAL VIEW - EXTERIOR NIGHT through the door of the box.
Extreme long aerial shot of San Francisco.

USHER
Right this way, Mr. Lewis, sir.
Vivian enters first, followed by Edward. Vivian
SAN FRANCISCO OPERA HOUSE - EXTERIOR NIGHT looks down from
the balustrade of the box. Edward shakes hand
with Doris, an old
Medium long shot of the main entrance of the lady in the next box.
opera house, with the
cars coming and going and dropping the
spectators.
EDWARD
Doris.
End of the music.
DORIS
SAN FRANCISCO OPERA HOUSE - LOBBY - INTERIOR Edward, how are you ?
NIGHT
Full shot on the lobby, which is almost empty. EDWARD

Apparently, Edward How nice to see you. Nice to see you.
and Vivian are among the last spectators.
Vivian, who seems a bit
nervous, is holding Edward's arm very tightly. The camera starts going away and down from the
box.
VIVIAN
We're late. EDWARD
78
Sir.
She tries to look through the glasses, but
doesn't succeed in
He shakes hands with Doris' husband. setting them right on their handle.
DORIS' HUSBAND EDWARD

Good evening, Edward. Mm-hmmm.
EDWARD VIVIAN
Wonderful news. Congratulations. So how am I gonna know what they're singing.
These are
broken.
Meanwhile, Vivian has moved to the corner of the
balustrade.
Edward takes the glasses from Vivian's hand.
VIVIAN
Hey, come here. You gotta look at this. VIVIAN
Mine are broken.
Medium close shot on the box. Edward, who, as we

already know it,
is afraid of heights, doesn't want to move any EDWARD
closer to the No, no. That's okay It's all right.
balustrade.
He sets them right on their handle, and gives

them back to Vivian.
EDWARD
It's all right. I've already seen it.
VIVIAN VIVIAN
If you're afraid of heights, why do you get Oh.
seats up here ?
EDWARD
EDWARD You'll know. Believe me, you'll understand.
Because they're the best.
Vivian looks through the glasses, while the

He sits down, and Vivian also sits down. The lights are switching
ushers, who had off and on, to warn the spectators that the
remained behind them, slightly bends down toward opera is about to
Edward. begin.
EDWARD
The music's very powerful.
USHER
Is there anything else, sir ?
Mediums full shot on the two next boxes on the
right of Edward's
box. The spectators, who understood the lights
EDWARD signal, are sitting
No, thank you. down.
He shows them something underneath the Back to Edward's box. Medium close shot on
balustrade, and then moves Vivian and Edward.
away. Vivian is looking through her glasses.
USHER VIVIAN
The glasses are there. Enjoy the opera. There's a band !
VIVIAN
Oh ! Medium shot on the two other boxes. The light
are definitely
switched off, and ushers are closing the
She picks up the opera glasses. curtains on the exit
doors.
VIVIAN Back to Vivian and Edward. We hardly see them in

So, you said this is in Italian. the dark.
79
SAN FRANCISCO OPERA HOUSE - BOX - INTERIOR NIGHT
EDWARD
People's reactions to opera the first time they Closer low angle shot on Edward an Vivian. The
see it is camera tilts up
very dramatic. They either love it or they hate toward their faces.
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 SAN FRANCISCO OPERA HOUSE - STAGE - INTERIOR
part of NIGHT
their soul.
Violetta kisses Alfredo on the mouth, and then

walks away.
VIVIAN
Mmm.
The music dissolves on the Final Scene of the
Third Act, and the
The orchestra plays the overture of La picture dissolves on :
Traviata.
The lights, coming from the stage, enable us to SAN FRANCISCO OPERA HOUSE - BOX - INTERIOR NIGHT
see Vivian and
Edward's faces. Vivian is smiling broadly.
Edward is concentrated Medium close shot of Vivian and Edward. The
on the music and serious. camera moves closer to
Vivian's face : she is crying.
Close shot on Vivian's face. Still smiling

broadly, she turns Close shot on Edward's face : he looks at
briefly toward Edward, and then goes back Vivian.
looking at the stage. Back on Vivian's face, crying.
She bends down on the balustrade to have a
better look at the
stage. Back on Edward's face.
Medium close shot on their both faces, seen in

SAN FRANCISCO OPERA HOUSE - STAGE - INTERIOR profile from their
NIGHT right.
The sets and the costumes are beautiful and very Last orchestral notes and applauses.
classic in their
design. We see and hear the Love Duet of Act One
in Violetta's VARIOUS SPECTATORS (voices over)
sitting room. Bravo ! Bravo ! Bravo ! Bravo ! Bravo !
Violetta walks to the forefront of the stage, Medium shot on Doris' box. Doris and her female
and the camera moves friend are
away from her, showing, seen from the stage, applauding, sitting in front of the balustrade.
Edward and Vivian in The two husbands
their box. are standing up behind them and also applauding.
The picture and the music dissolve to the Second Back to Edward's box. Close shot of Vivian
Act in Violetta's standing up. She still
garden. Violetta is bending on Alfredo and has tears in her eyes. She walks away from her
singing. seat, coming near
Doris' box.
SAN FRANCISCO OPERA HOUSE - BOX - INTERIOR NIGHT

DORIS
Did you enjoy the opera, dear ?
Low angle shot of the box. Vivian turns toward
Edward, and then
look back at the stage. Edward looks at her.
VIVIAN
Oh, it was so good, I almost peed in my pants.
SAN FRANCISCO OPERA HOUSE - STAGE - INTERIOR

NIGHT
Medium close shot on Violetta and Alfredo, in DORIS
each other's arms. What ?
Violetta keeps on singing.
She seems a bit surprised by what she just

heard. Vivian walks
80
away, and Edward turns toward Doris.
VIVIAN
Why don't you not go to work tomorrow. Take the
day off.
EDWARD
She said she liked it better than Pirates of
Penzance.
EDWARD
Me, not work ?
DORIS
Oh !
Edward walks away, leaving a very pensive Doris. VIVIAN
Apparently she Yeah.
doesn't completely believe Edward's translation
of Vivian's
words !
EDWARD
I do own the company.
EDWARD
Yes. Good-bye now. The picture dissolves into :
Still very pensive, Doris absently waves her

hand to him. EDWARD'S OFFICE IN L.A. - EXTERIOR DAY
Aerial shot of Edward's office building.

REGENT BEVERLY WILSHIRE HOTEL - EXTERIOR NIGHT Actually there are two
twins towers.
Long shot from across the street. We see the

limousine parking in
front of the hotel. EDWARD'S OFFICE IN L.A. - PHILIP'S ROOM -
INTERIOR DAY
Medium long shot on the limousine parking. We

hear Edward and High angle shot on Philip's desk. Various
Vivian's conversation in voices over. documents are spread on
the desk. But set above these documents, there
is a miniature
EDWARD (voice over) billiard table. And Philip is practicing his
No, don't touch.. billiard with a
miniature billiard cue. He makes a shot and then
looks at a
VIVIAN (voice over) printed document lying next to the miniature
I moved the queen. I like the queen. table. He then moves
EDWARD (voice over) a ball on the billiard table.
You can't move the queen.
A female secretary comes into view on the left

Vivian laughs, still in voice over. of the screen. She
is handing some documents to Philip.

SECRETARY
Here are the storage reports you wanted, and Mr.
Vivian and Edward are seated on either side of a Lewis
round table, called.
playing chess. The room is very dimly lit, and
there are two lit
candles on the table. They are still wearing Philip doesn't take the documents and she puts
their opera clothes, them on the desk.
but Edward has taken his jacket off.
Slowly, the camera moves forward from an medium PHILIP

full shot of the What'd he say ?
table and the two characters on either side of
it, to a close shot SECRETARY
on the chess board. He said he's taking the day off.
Philip looks very surprised.

EDWARD (LAUGHING)
Did you really do that ? Why don't we finish
this
tomorrow ? It's really late, and I have to work. PHILIP
He's taking the day off ?
81
All right, read the first two pages.
SECRETARY
That's what he said. Medium full shot of the lawn. We see that Vivian
and Edward are
sitting under a tree. Vivian takes the other
She walks away, leaving a very perplexed Philip. sock off.
EDWARD
Okay... Mmm...
LOS ANGELES - A PUBLIC PARK - EXTERIOR DAY
Vivian stands up, and takes Edward's cellphone

A beautiful public park in L.A. away from his ear,
and shuts it.
A huge fountain with water works pouring gallons

of water into the
pool. EDWARD
I was talking to someone.
Full shot of Edward and Vivian walking along the

fountain, Vivian The picture dissolves into :
walking on a low wall, and Edward walking in the
lane. Vivian is
wearing a white dress with thin vertical
stripes, and carrying a LOS ANGELES - A RIDING CLUB - EXTERIOR DAY
little black purse. Edward is wearing a very
elegant grey suit,
and he is carrying his leather briefcase. A riding club with white fences around the
riding lawn.
VIVIAN Full shot of Vivian and Edward riding two

I'm starving. There's a snap dog vendor over horses. Edward is
there. Do you wearing an open black shirt, and a pair of
have any money ? slacks. Vivian is
wearing riding pants and boots, a white shirt
and a beige open
She jumps down from the low wall and takes sweater.
Edward's arm.
Closer shot on Edward's face talking to Vivian

while riding.
EDWARD
I have money. I don't know what a snap dog is,
but I have Medium shot. The two horses are riding next to
money. each other and
Vivian is touching Edward's thigh.
VIVIAN Medium close shot on Vivian. She is smiling and

Well, I'm gonna give, um... you'll buy a snap looking very
dog. We'll happy.
cop a squat under a tree somewhere.
Long shot on the riding lawn. Edward and Vivian

are walking next
EDWARD to each other, holding their respective horse by
Cop a what ? the reins.
Closer shot on Edward and Vivian walking with

VIVIAN their horses.
Cop a squat.
The picture dissolve into :

Later on a lawn in the park.
Medium close shot on a tartan red blanket spread LOS ANGELES - A SMALL STREET - EXTERIOR NIGHT
on the lawn.
Vivian is kneeling on the blanket, with Edward
seated next to her. Full shot from across the street, looking into a
She has already taken one of Edward's shoes and small restaurant.
socks off, and she In the window, neon signs say Good Food and
is taking the other sock off. Edward is talking Quick Grill.
on his cellphone.
Edward and Vivian are seated at the bar.
EDWARD
82
Closer shot on Edward and Vivian. Vivian is VIVIAN (voice over)
apparently explaining The Blue Banana.
something to Edward with a lot of hand
movements.
EDWARD (voice over)
Very colorful life you lead.
The picture dissolves into :
BACK ALLEYWAY - EXTERIOR NIGHT

LIMOUSINE - INTERIOR NIGHT Medium full shot of a very dark alleyway.
Strange-looking people
are walking around.
Edward and Vivian are seated next to each other
inside the
limousine. Edward is wearing a suit and a tie, The limousine enters the alleyway and stops.
and Vivian is
wearing a purple dress.
Medium shot on two tough-looking guys looking at
the limousine.
EDWARD
Did you know that two of the Bach pieces that we Medium shot of the limousine. Vivian is already
heard out of it, and
tonight... were found by Felix Mendelssohn in a Edward is coming out.
butcher's
shop ? They were wrapping meat with the sheet
music.
EDWARD
You say this is a nice place. I'm sure it's a
Vivian is not listening to Edward and she keeps very nice
looking through place.
the car window. She seems nervous.
EDWARD He closes the door of the car.

What's with you ? You're fidgeting. What's wrong
?
VIVIAN
I just wanna run in for a minute and see if
VIVIAN she's there, so
Um... There's a club up here that I'd like to just stay here.
stop into for
a second to see my roommate, if that's okay ?
A quick shot on people exchanging things,
maybe drugs.
Back to the limousine.
EDWARD
Absolutely.
VIVIAN
He raises his voice. I'm hoping they don't spot this limousine as it
is.
EDWARD
Darryl ! EDWARD
I'll block it with my body.
VIVIAN He leans on the limousine.

Uh, Darryl, can you just pull up into the back
alleyway,
please ? Vivian walks away toward the entrance of the
night club.

NIGHT
Full shot of the boulevard.
We hear the song Fame 90, performed by David

The limousine slows down in front of The Blue Bowie.
Banana. There are
several motorbikes parked in front of the club.
Medium shot on a metal staircase, with a young
man and a young
EDWARD (voice over) woman standing at the bottom of the staircase.
The Blue Banana ?
83
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 EDWARD
left, showing more people dancing. Hi.
We hear the muffled sound of the music, coming

LYRICS from the club.
Fame makes a man who'll take things over. Fame
Lets him
loose and hard to swallow.
NIGHT
Vivian enters the room, looking for Kit.
We hear the music loud again.
LYRICS
Fame puts you there where things are hollow. Medium shot of Vivian, still standing near the
bar and facing
Pops. She is writing something on a piece of
Customers start looking at Vivian, and at her paper.
elegant dress.
VIVIAN
A CUSTOMER Here's my number where I'm gonna be for the rest
Hey, Viv, you looking good, man. What'd you win, of the
the week. Have her call me or come by, okay ?
lottery or what ?
Vivian walks toward Rachel, one of the dancing
girls.
POPS
Okay, honey. Thanks.
VIVIAN
Hey, Rachel, have you seen Kit ?
VIVIAN
Thanks.
RACHEL
No, not since, uh, Tuesday. Hey, and Carlos is She walks away from the bar.
looking for
her too.
BACK ALLEYWAY - EXTERIOR NIGHT

A CUSTOMER (voice over)
Hiya, honey, you look great.
Muffled sound of the music coming from inside
the night club.
Vivian walks toward the bar and Pops, the
bartender, standing LYRICS
behind it. Fame, what you like is in the limo. Fame.
Mediums shot of Vivian coming out of the club.

VIVIAN On the door, a sign
Hi, Pops. Thanks. Have you seen Kit ? says I.D. Required. Vivian stops when she sees
the strange crowd
around Edward, then she starts walking again.
She stops when she
POPS gets near Edward. Among the tough-looking guys
I think she went to Santa Barbara. around Edward, we
recognize Carlos, still wearing his eternal hat,
and another guy,
End of music. one of Carlos' lieutenants, wearing a leather
jacket, and holding
BACK ALLEYWAY - EXTERIOR NIGHT a long stick in his hands.
Close shot of a skate board and a pair of

roller-shoes, rolling on
the alleyway ground.
VIVIAN
What's going on out here ?
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 EDWARD
rollers and skate-board. Edward turns around to I don't know. You left and all of a sudden I'm
face them. in the
84
middle of West Side Story. Shut up !
CARLOS EDWARD
I think you owe me some money, baby. All right, okay, this is what's happening. You
believe that
THE GUY WITH THE STICK this person owes you money, right, two hundred
Two hundred dollars. dollars ?
EDWARD CARLOS
Why don't you go to school tomorrow ? That's right.
A girl, standing behind the group, starts

giggling very stupidly. EDWARD
Why ?
CARLOS
Now I hear you got yourself a new job ? CARLOS
Because this is my block.
VIVIAN Edward turns toward Vivian.

Let's just leave.
EDWARD
His block ?
She starts walking away, but Carlos puts himself
in her way.
VIVIAN
He's a drug dealer. It has to do with Kit. Let's
CARLOS just go,
You ain't going no place. Edward.
Edward takes a step forward. She starts walking away. But Carlos is in their
way.
EDWARD
Hey, hey, hey, hey, hey... CARLOS
Edward. So how's it feel to be a trick ?
The guy, standing next to Carlos, takes a very

long knife out of
his skateboard. EDWARD
I am not a trick. This is a trick.
CARLOS He points his hand toward Darry.

You're out of your neighborhood, home boy. This
ain't no
Beverly Hills !
EDWARD
Darryl ! Left pocket.
EDWARD
I don't believe this. He has this knife coming Medium close shot on Darryl, standing near the
out of his limousine. He opens
skateboard. He's going to stab me. his jacket, revealing a holster with a gun
inside.
He turns toward the guy with the stick.

Back to the group around Vivian and Edward.
EDWARD
What are you gonna do, you gonna strangle me EDWARD
with a Isn't that incredible ? And he does have a
Slinky ? permit. Thank
you, gentlemen.
The stupid girl giggles again. Carlos turns

toward her. He pushes Vivian in front of him and crosses the
group. He stops a
couple of seconds near Carlos.
CARLOS
85
EDWARD
Don't you ever go near her again. VIVIAN
I love you.
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT She closes her eyes.

Full shot on the limousine driving away.
VIVIAN (voice over) PENTHOUSE - LIVING ROOM - INTERIOR DAY

Does Darryl always carry a gun ?
Medium shot on Edward seated at the breakfast

EDWARD (voice over) table.
When he drives me, yes, always.
Edward is fully dressed, but without his jacket.

The picture dissolves into : He is eating
breakfast.
PENTHOUSE - BEDROOM - INTERIOR NIGHT VIVIAN (voice over)

What are you thinking about sitting here all by
yourself ?
Through the open door of the bathroom, we see Full shot on the breakfast table. Vivian is
Vivian getting ready wearing a black
for the night. She is wearing a sleeveless nightgown with flowers printed on it. She is
nightdress. She looking at the
releases her hair, which were tied in a bun, and newspaper.
walks out of the
bathroom. She stops and looks at the bed.
EDWARD
The fact that this will be our last night
VIVIAN together, and
He sleeps. you'll finally be rid of me.
Reverse close shot on Edward asleep half-sitting

in the bed. He is VIVIAN
bare-chested. Vivian walks between him and the Well, you've been pretty tough to take.
camera. She sits
down on the bed.
She sits down on a chair.
Reverse close shot on Vivian's face. She is

smiling. She gently
kisses her index finger. EDWARD
My business is almost over, so I'll be going
back to New
Medium shot of Vivian and Edward. Vivian puts York.
her finger on
Edward's lips. She slowly bends down toward his
face, and kisses Quick close shot on Vivian's face, who seems
him on the cheek, hesitates a second, then very pensive.
kisses him on the lips.
He slowly wakes up, and blinks his eyes. He
answers to Vivian's Back to Edward.
kisses. He raises up from the bed, kissing
Vivian passionately.
EDWARD
The camera moves around the bed, while the I'd really like to see you again.
couple is lying on it,
kissing passionately.
Vivian smiles.
Vivian removes her nightdress, and goes back

kissing Edward.
VIVIAN
You would ?
Later.
The camera tilts down from the head of the bed. EDWARD
Yes. Yes, I would, so I've arranged for you to
have an
Edward is asleep, holding Vivian is his arm. She apartment, to have a car...
is still awake
and smiling. She gently strokes his arm.
Vivian's smiling face saddens a bit.
86
lock me in the attic when I was bad, which was
pretty
often. And I would... I would pretend I was a
EDWARD princess...
...to have a wide variety of stores guaranteed trapped in a tower by a wicked queen.
to suck up
to you anytime you want to go shopping.
Everything's done. Edward is seriously listening to Vivian.
Vivian takes her head in her hand and bends down VIVIAN (voice over)
on the table. She And then suddenly this knight...
exhales.
Back to Vivian bending over the balustrade.
VIVIAN
What else ? You gonna leave some money by the
bed when you VIVIAN
pass through town ? ...on a white horse with these colors flying
would come
charging up and draw his sword. And I would
wave. And he
EDWARD would climb up the tower and rescue me.
Vivian, it really wouldn't be like that.
She walks away from the balustrade and toward

Edward.
VIVIAN
How would it be ?
VIVIAN
But never in all the time... that I had this
EDWARD dream did the
Well, for one thing, it would get you off the knight say to me, Come on, baby, I'll put you
streets. up in a
great condo.
VIVIAN The phone rings inside the penthouse. After a

That's just geography. couple of seconds,
Edward walks into the penthouse, and picks up
the phone.
Vivian stands up and walks to the terrace.
PENTHOUSE - TERRACE - EXTERIOR DAY

EDWARD
Yes.
Medium full shot of Vivian walking out of the
penthouse on the
terrace. In the background, we see Edward still Vivian starts walking into the room.
seated at the
breakfast table. Vivian bends on the balustrade.
Edward stands up, PHILIP (voice over on the phone)
and walks toward Vivian. I had to call.
Slight low angle shot taken from outside the

terrace, showing PHILIP'S RESIDENCE - BATHROOM - INTERIOR DAY
Vivian bending on the balustrade.
Medium shot of Philip, wearing a dark-colored

EDWARD (voice over) bathrobe, and
Vivian, what is it you want ? standing near the sink in his bathroom. On the
counter next to the
sink, a lot of bottles and jars : perfumes and
Medium close shot on Edward standing by the cosmetics. Philip
terrace door. is calling from a wireless telephone.
EDWARD PHILIP
What do you see happening between us ? I just got off the phone with James Morse. Get
this.
Back to Vivian bending over the balustrade.
PENTHOUSE - TERRACE - EXTERIOR DAY
VIVIAN
I don't know. When I was a little girl, my mama Back to the same scene, with Vivian standing
used to near the terrace
87
door, and looking a bit sad, and, in the I've never treated you like a prostitute.
background, in the He looks at her, then walks away toward the
living-room, Edward on the telephone. front door. Out of his
hearing, Vivian whispers :

He wants to meet with you today.
VIVIAN
You just did.
EDWARD
What about ? We hear the front door closing.

He wouldn't say. REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR
DAY
PHILIP'S RESIDENCE - BATHROOM - INTERIOR DAY Medium shot on the front desk. Miss Wilson, the
Philip, the phone receiver stuck between his receptionist, is
shoulder and his standing behind the counter. She doesn't wear
head, is drying his hands on a white towel. her large glasses,
but she looks a bit worried.
PHILIP The camera slowly pans across the counter, and

Edward, I think we got him. His nuts are on the we discover Barney,
block. We the manager, talking on the phone.
got him !
He slams his towel on the counter. BARNEY

It's Barnard Thompson here, Miss Vivian.
PENTHOUSE - TERRACE - EXTERIOR DAY The camera keeps on panning and we discover Kit,
chewing gum, and
looking in a bad mood. On the top half of her
Same shot. We hear Philip's laugh on the phone. body, she is only
wearing a bra made into a fabric with a panther-
skin motif
Look, if he's really caving in, I want to get
him to commit
his stocks to us this afternoon. Hmm ? BARNEY
Could you come down to the front desk ? There's
someone
here who wants to speak to you. She says her
EDWARD name is Miss
No, it's no good. If he's really caving in, I De Luca...
don't want to
wait until this afternoon. Have Morse meet me
downtown this Kit extends her hand to take the phone.
morning. Good-bye.
He puts the phone down and grabs his jacket from KIT
a chair. He puts Let me talk to her. Let me... Let me just talk
his jacket on while walking toward Vivian. to her.
Barney gives the phone to Kit.

EDWARD
I have to go now, but I want you to
understand... I heard
everything you said. This is all I'm capable of KIT
right now. Yo, Viv, babe. Would you come down here ? The
It's a very big step for me. sphincter
police won't let me through. Okay.
She absently straightened his tie.

She gives the phone back to Barney.
VIVIAN
I know. It's a really good offer for a girl like KIT
me. She's on her way.
EDWARD BARNEY
88
Fine. Reverse medium shot on the stairs. Vivian and
Kit are coming down
the stairs. The mother and her daughter are
An uniformed attendant walks to the counter. 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-
THE ATTENDANT decorated bra, but she is
Mr. Thompson. also wearing a very short and tight black skirt.
Vivian has put
her arm in the crook of Kit's elbow.
Barney turns toward him and Kit replaces the
phone receiver on its
hook. The camera follows Kit and Vivian.
BARNEY VIVIAN
Yes. Listen, I've been calling you.
THE ATTENDANT
The window washer is refusing to come down.
KIT
Yeah, I know. They told me at the Banana you
The attendant walks away. were looking
for me.
BARNEY
It's a Saturday. Wait here, please. VIVIAN
(to Miss Wilson) You were supposed to come by Tuesday. I left the
Watch her. money at
the desk.
Barney walks away.
KIT
MISS WILSON (voice over) I was hiding out from Carlos.
Yes, sir.
Kit bends down on the counter polished surface VIVIAN

and blows on it. Well, if you picked up the money, you wouldn't
have to
hide.
Miss Wilson looks at her with a perplexed eye.
Kit stands up and smiles to Miss Wilson. Further KIT

along the Hey, I was busy. I had a life, you know. Nino
counter, a couple of middle-aged customers stare got beat up.
at her. She turns We had to visit him in the hospital. Rachel got
her face toward them. arrested.
It was a mess. Anyway, I got the money.
KIT
Fifty bucks, Grandpa. For seventy-five, the wife
can watch. Kit waves the envelope with the money inside.
The couple walks away.

KIT
Thank you very much for saving my ass. Now
Miss Wilson looks at the leaving couple, then Carlos can get
looks at Kit with a off of it.
suppressed smile.
Now the two girls have reached the bottom of the

Kit smiles back at her. stair, and they
are walking between the dinner tables
surrounding the pool.
REGENT BEVERLY WILSHIRE HOTEL - SWIMMING POOL -

EXTERIOR DAY
KIT
You know, he was talking about you last night.
Long shot on the swimming pool, seen from the He would
terrace above the bust something if he saw you in this outfit.
pool. A woman in bathing suit is coming up the
stairs to the
terrace, drying her daughter with a pink towel. Reverse shot. The camera is a couple of yards in
front of Vivian
89
and Kit, and we see the two girls coming toward
us. Kits looks worried.
KIT KIT
I was afraid to hug you up there. I might Oh, no.
wrinkle you !
Vivian lets go of Kit's arm and laughs. VIVIAN

What ?
KIT
KIT I know this weepy look on your face.
You look really good.
Vivian points to a table. VIVIAN

Oh, no, you don't !
KIT
No, something with shade. KIT
You fell in love with him.
Vivian points to another table.
VIVIAN
No. Kit, please. Stop it.
KIT
You clean up real nice. You sure don't fit in
down on the
Boulevard looking like you do, not that you ever KIT
did. You've fallen in love with him ?
Kit sits down. Then Vivian also sits down.

VIVIAN
Kit !
VIVIAN
Well, thanks, but it's easy to clean up when you
got money. KIT
Did you kiss him ? On the mouth ?
KIT
Yeah. So, when does he leave ? VIVIAN
Uh, yeah, yeah... I did.
VIVIAN
Tomorrow. KIT
You kissed him on the mouth ?
KIT
You get to keep the clothes ? VIVIAN
I did. It was nice.
VIVIAN
Yeah. Edward asked me if I wanted to see him
again. But I
think... I think definitely no. I mean, it's KIT
just another You fall in love with him, and you kiss him on
week, right ? the mouth.
Did I not teach you anything ?
Kit has put her chewing gum into a teaspoon and

she puts the spoon
on the table. VIVIAN
Look, I'm not stupid, okay ? I'm... I'm not in
love with
him. I just... I like him.
KIT
Definitely no. KIT
You like him ?
VIVIAN
Yeah. VIVIAN
Yeah.
90
She sighs and takes her hands out of her
temples.
KIT
You definitely like him. Well, he's not a bum.
He's a rich,
classy guy. KIT
Cinder-fucking-rella.
VIVIAN Vivian laughs. Kit starts laughing too.

Who's gonna break my heart, right ?
EDWARD'S OFFICE IN L.A. - EXTERIOR DAY
KIT The sidewalk in front of Edward's office

Oh, no. Come on. You don't know that. Hey, he building.
asked you,
right ? Maybe you guys could, like, um, you
know, get a Medium shot of Edward walking from the curb,
house together. Like, buy some diamonds and a carrying his
horse. I briefcase. He climbs the stairs that reaches to
don't know. the upper level of
the sidewalk and the entrance of the building.
He slows down when
Vivian laughs. he hears a father talking to his son
THE FATHER (voice over)

KIT If you do, I'll give you a piggy-back ride when
Anyway, it could work. It happens. you... See,
I told you so... Not quick enough for the old
man !
VIVIAN
When does it happen, Kit ? When does it really He laughs. Edward stops to look at him.
happen ? Who
does it really work out for ? Did it work out
for Skinny Reverse shot on the father and his son. The
Marie or Rachel ? No ! father is wearing a
dark-blue tracksuit with advertisements printed
on it. The son,
about ten year-old, is wearing a white shirt and
KIT beige slacks. The
Those were very specific cases of crackheads. father is carrying a cheap briefcase. They are
running around a
lamp-post.
VIVIAN
I just wanna know who it works out for. You give
me one THE FATHER
example of somebody that we know that it Winner gets a piggy-back. Come on, saddle up,
happened for. boy.
He bends down for his son to climb on his back.

KIT The son jumps on
Name someone ? his back. The father sighs.
Back on Edward, standing in the middle of the

VIVIAN stairway, and
Yeah, one person that it worked out for. looking at the father with a smile.
THE FATHER (voice over)

KIT Oh, Zachary ! Too many doughnuts.
You want me to give you a name or something.
Father and son laugh. Edward starts walking

again.
VIVIAN
Yeah. I'd like to know.
Long shot on the large terrace in front of the
building. Edward is
Kit presses her hands on her temples. crossing it toward the entrance. He slows down
to give a last look
the the father and his son.
KIT
Oh, God, the pressure of a name.
91
INTERIOR DAY Philip, still seated, looks up at Edward. He
looks very surprised
and chuckles nervously.
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 PHILIP
window. All the other ones are already seated. What do you mean ?
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 EDWARD
the various male I mean I would like to speak to Mr. Morse alone.
assistants.
Philip stands up and points toward David Morse.
PHILIP
Mr. Morse, you said this morning you wished to
speak to Mr. PHILIP
Lewis. Mr. Lewis is now listening. Why does he get to stay ?
Edward is pacing up and down in front of the bay James Morse makes a discreet sign to his grand-
window. son to enjoin him
to leave the room.
JAMES MORSE Edward and Philip are standing, facing each

I've reconsidered my position on your other.
acquisition offer...
on one condition. I'm not so concerned about me,
but the
people who are working for me. EDWARD
Please, please.
PHILIP Reluctantly, Philip starts moving away.

It's not a problem. They'll be taken care of.
Well, then,
gentlemen. If we could address ourselves to the
contracts PHILIP
in front of you. If you look at... I'll be right outside.
Edward hardly listens to what Philip says. He

seems worried. He EDWARD
raises a hand. Good.
Philip leaves the room, followed by David.

EDWARD
Excuse me, Phil.

Philip looks up at him. INTERIOR DAY
Medium close shot on the door of the meeting
room. David is
leaving the room, and Philip closes the door
EDWARD behind him.
Gentlemen, I'd like to speak to Mr. Morse alone.
Thank you.

Philip seems surprised by what Edward just said. INTERIOR DAY
A bit
reluctantly, he says :
Full shot. Edward is still standing in front of
the bay window. He
manipulates the control of the vertical Venetian
PHILIP blinds, to dim
All right, gentlemen, you heard the man. Please the daylight in the room.
wait
outside.
All the assistants stand up to leave the room. Close shot of James Morse looking at him
questioningly.
EDWARD
You too, Phil. EDWARD
Is that better ?
92
your company.
JAMES MORSE
JAMES MORSE What about our Navy contracts ?
It's all right.
Medium shot of Edward standing near the coffee EDWARD

table. Ah, they weren't dead. Just delayed. I...
bluffed a little
bit.
EDWARD
Would you like a cup of coffee ? Medium shot of James, who chuckles.
JAMES MORSE
Black.
JAMES MORSE
You're very good at it.
Edward takes the coffee pot to pour the coffee.
He sighs loudly.
EDWARD
Thank you very much. It's my job.
EDWARD
Mr. Morse, my interests in your company have
changed. He bends down and chuckles. Then he stands up
from his chair.
JAMES MORSE
What is it you're after now, Mr. Lewis ? EDWARD
I think we can leave the details up to the
others.
Edward brings the cup on the table in front of
James.
More slowly than Edward, James stands up.
JAMES MORSE
EDWARD I find this hard to say without sounding
Well, I no longer wish to buy your company and condescending,
take it but... I'm proud of you.
apart. But I don't want anyone else to, either.
And it is
still extremely vulnerable. So I find myself... He puts his hand on Edward's shoulder. Edward
in seems moved by this
unfamiliar territory. I want to help you. gesture.
JAMES MORSE EDWARD

Why ? Thank you. I think we can let in the other suits
now.

INTERIOR DAY EDWARD'S OFFICE IN L.A. - RECEPTION HALL -
INTERIOR DAY
Medium shot on the meeting room door. Philip and

David are Close shot on Philip, standing behind the
standing on either side of it. But they can't meeting room door, and
hear what is said sulking.
inside the room. Philip gives a quick look at
David and walks away
toward the center of the hall. Larger shot, showing all the assistants, seated,
and David,
standing on the other side of the door.

INTERIOR DAY Edward opens the door.
Full shot of the room. Edward is now seated in

his chair facing EDWARD
James. Let's continue the meeting.
He goes back into the meeting room, followed by

EDWARD Philip, David and
Mr. Morse, I think we can do something very all the assistants.
special with
93
Through the open door, we see James Morse, EDWARD'S OFFICE IN L.A. - EXTERIOR DAY
standing at the back of
the room, near Edward's chair. He motions to the
men to sit down. Medium full shot on the limousine parked on the
curb in front of
the building. Darryl is standing near the car.
Edward gives his
JAMES MORSE briefcase to Darryl.
Come in, gentlemen. Sit down.
EDWARD
EDWARD'S OFFICE IN L.A. - MEETING ROOM - You know, I think I'm gonna go for a walk. Just
INTERIOR DAY stay here
for a while. I'll be back.
Medium shot of Philip coming into the room.

Edward is smiling.
DARRYL
Yes, sir, Mr. Lewis.
PHILIP
Edward, please, what was this all about ? Hmm ? Darryl sits down on the hood of the car, holding
the briefcase in
his arms.
Edward slaps him on the arm.
LOS ANGELES - A PUBLIC PARK - EXTERIOR DAY

EDWARD
It's all yours, Phil. Finish it up.
Close shot on Edward's head and shoulders,
walking up and down in
the park.
INTERIOR DAY
Medium full shot, showing Edward's full body. He
has taken his
Medium close shot on the door of the meeting shoes and socks off, and he is holding them in
room. Edward is his hand. He is
coming out. Before he closes the door, we see walking up and down barefoot in the grass.
Philip bending down
on the table to look at the documents.
Close Up shot on Edward's bare feet.
PHILIP (voice over, heard through the door) PENTHOUSE - LIVING ROOM - INTERIOR DAY
Hold it. Hold it. These aren't signed ! These
aren't
signed ! Could someone please tell me what the Close shot on Vivian's bare feet walking on the
fuck is rug. The door bell
going on here ? is chiming. Vivian puts down a large hat box on
the floor, and she
walks to the front door. The camera tilts up and
Larger shot. Edward, with a broad smile on his we see her full
face, walks away body. She is wearing the same dark pink suit she
from the door carrying his briefcase. was wearing when
she was with Kit by the swimming-pool. She opens
the door to
JAMES MORSE (voice over, heard through the door) Philip.
Mr. Lewis and I are going to build ships
together.
Close up shot on Vivian's face : she doesn't
seem very happy to
see Philip.
INTERIOR DAY
Reverse shot on Philip, a strange sneer on his
face.
Close shot on James Morse.
PHILIP
JAMES MORSE Well, well. Hello again. I'm looking for Edward.
Great big ships.
Close shot on Philip. He doesn't look very happy VIVIAN

about this Edward's not here. I thought he was with you.
unexpected situation.
94
PHILIP PHILIP
No. Uh, Edward is definitely not with me. You know...
(HE CHUCKLES)
He walks in without waiting for Vivian to invite ...this is not home. This is, uh, a hotel room.
him in. And, uh,
you are not... the little woman.
He chuckles. Vivian closes the front door.

He sits down on the sofa, next to Vivian. She
uncrosses her legs
and lets them down on the floor. He puts his
PHILIP glass on the low
No, if Edward were with me... table, crosses his fingers and snickers.
He puts his briefcase down on the floor and

walks into the room. PHILIP
You're a hooker. Maybe you're a very good
hooker, you
know ?
PHILIP She puts her notebook on the low table.
When. Actually, when... Edward was with me, he
didn't blow
off billion dollar deals !
PHILIP
Maybe if I do you, then I wouldn't care about
He walks to the bar and helps himself for a losing
drink. millions of dollars. Because I have to be very
honest with
you right now, Vivian.
PHILIP
I think that, uh, Edward's with you. That's what He moves slightly closer to her. She seems very
I think. tense by the
Mind if I have a drink ? situation.
He pours whisky in a glass without waiting for

Vivian's answer. PHILIP
Right now I really do care. I really do. And
right now I am
really pissed, you know ?
VIVIAN
No.
He moves his hand toward her bare leg. She
glares at him.
He holds the glass toward her.
PHILIP
VIVIAN Right now I am just freaking out. So maybe if I
No, thank you. screw you,
huh...
She walks away from him.

He puts his hand between her legs. She moves it
away.
PHILIP
Well, I'll just wait.
PHILIP
...and take you to the opera, then I could be a
She sits down on the sofa, crosses her legs on happy guy,
the couch and just like Edward.
starts writing in a notebook. Behind him, Philip
sits down on a
stool near the bar. He keeps on trying to fondle her, and Vivian
keeps on trying to
get rid of him.
VIVIAN
Uh, Edward will be back soon. Any minute, he'll
be home. VIVIAN
Hey, get off me !
Medium shot on Philip at the bar. He stands up

and slowly walks They start fighting. He stands up.
toward her. The camera follows him.
PHILIP
95
Hey, hey ! Goddamn it !
EDWARD
Out. Out of here.
She bites his hand.
PHILIP Philip falls down on the floor. He slowly stands

Ow ! back up
He slaps her face very hard. She falls down on

the floor. PHILIP
Look, she's a whore, man. She's a goddamn... Aah
!
VIVIAN
Ow ! Edward very violently punches him in the face.
Philip falls down
on the floor.
He kneels down beside her and grabs her.
Quick shot on Vivian, seated on the sofa. She

starts when she sees
PHILIP Edward punching Philip.
Come on ! Come on ! I'll pay for it.
Philip slowly stands up, his hand on his face.

Edward looks at his
VIVIAN (SCREAMING) hand, who seems to hurt him after the violent
Get off me ! Ow ! Get off me ! punch he gave to
Philip.
PHILIP
How much is it ? Twenty bucks, thirty bucks ? EDWARD
Aah ! Damn. Shit. Goddamn !
VIVIAN (SCREAMING) He picks up Philip's briefcase and throws it

Get off me ! Get off me ! through the open
door. It falls on the floor of the hallway.
PHILIP
Fifty ? You a fifty dollars whore, Vivian ?
PHILIP
Edward, who has come silently into the room, I think you broke my nose.
grabs him from
behind, and forces him to stand up.
EDWARD
Get out of here.
PHILIP
What are you doing ? Get off !
PHILIP (SCREAMING)
Quick shot on Vivian slowly getting up from the What is wrong with you ? Come on, Edward ! I
floor. gave you ten
years ! I devoted my whole life to you !
Back on Philip and Edward fighting. EDWARD

That's bullshit. This is such bullshit ! It's
the kill you
love, not me ! I made you a very rich man doing
EDWARD exactly
Stop. I don't want to hurt you ! Stop it ! what you loved. Now get out of here !
(YELLING)
Get out !
PHILIP
I don't know how to tell you this. You already
did, Philip, subdued, walks slowly out.
Edward !
Quick shot on Vivian, still seated on the sofa,

Edward pushes him toward the front door, which and still very
is still open. moved by what just happened.
Back to Edward, slamming the door behind Philip.

PHILIP He looks very
All right, all right. upset.
96
Later.
VIVIAN
Close up on a box full of ice cubes. One of I gotta get going.
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 EDWARD
the cubes in another Yes, I noticed you're packed. Why are you
white napkin and wraps the napkin around the leaving now ?
cubes.
VIVIAN (voice over) VIVIAN

Why do guys always know how to hit a woman right Edward, there'll always be some guy, even some
across the friend of
cheek ? yours, thinking he can treat me like Stuckey,
thinking that
it's allowed. What are you gonna do ? You gonna
Close up on Vivian's face. She is touching her beat up
red cheek. everybody ?
VIVIAN EDWARD
Wham ! And it feels like your eye is gonna That's not why you're leaving.
explode. What do
they do ? Do they pull you aside in high school
and show She stands up from the sofa.
you how to do this ?
Full shot on the sofa, with Vivian standing up

We see Edward's hand holding the napkin with the and Edward still
ice inside. He seated.
puts it on Vivian's cheek.
VIVIAN
VIVIAN Look, you made me a really nice offer. And a few
Is that... Ow ! months
Even the light touch of the napkin seems to hurt ago, no problem. But now everything is
her. different, and
you've changed that. And you can't change back.
I want
The camera moves slowly away, widening the shot, more.
and showing
Edward in shirtsleeves bending over Vivian,
without her jacket, Edward stands up from the sofa.
and lying on the sofa.
EDWARD
EDWARD I know about wanting more. I invented the
Not all guys hit. concept. The
question is how much more.
VIVIAN
I heard about what you did with Morse. VIVIAN
I want the fairy tale.
EDWARD
That was a business decision. EDWARD
Impossible relationships.
VIVIAN Vivian has put her jacket back on and she is

It was good. putting her shoes on,
seated on the step that goes across the room.
EDWARD
It felt good. EDWARD
My special gift is impossible relationships.
VIVIAN
I think this is okay.
Full shot on the room. Edward has taken his
wallet, and he is
She moves his hand away, and slowly sits up in taking money out of it. He throws the wallet on
the sofa. a table and sits
down on the steps next to Vivian.
97
VIVIAN
I can't.
Medium shot on the steps. Edward gives the money
to Vivian.
She seems very sad. She opens the door. He holds
it for her.
EDWARD
Thank you.
EDWARD
Good-bye.
VIVIAN
You're welcome. She starts moving out, then stops and smiles to
She puts the money in the pocket of her jacket. him
He is holding a
business card in his hand.
VIVIAN
If you ever need anything... dental floss, I think you have a lot of special gifts.
whatever... you
give me a call.
EDWARD
They both chuckle. Mmm.
Edward closes the door without looking at her.

VIVIAN
I had a good time.

DAY
EDWARD Close shot on the marbled floor. There is a
Me too. black spot on it.
Barney and an uniformed attendant are kneeling
on either side of
She stands up from the steps, and starts the black spot.
collecting her luggage.
Edward, who had remained seated on the steps,
stands up.
THE ATTENDANT
I didn't do it, sir.
EDWARD
Do you want me to get you a bellboy ?
BARNEY
No, no. Now, I didn't say that. I want you to
She is putting the garment bags on her arm. call
maintenance and have them deal with this. You
must delegate
authority.
VIVIAN
No, I got it.
Vivian's legs walk in and stop between the two
men.
He bends down to pick up a bag.
THE ATTENDANT
EDWARD Yes, sir.
I'll carry this.
VIVIAN
VIVIAN Hi, Barney.
Thanks.
The camera tilts up and we see the faces of all

She starts moving toward the front door. He of those three
walks ahead of her and people. The two men stand up
starts opening the door, then closes it.
BARNEY
EDWARD Miss Vivian.
Stay. Stay the night with me. And not because
I'm paying
you, but because you want to. The attendant doesn't move away and looks at
Vivian with a light
smile. Barney looks at him.
98
Stay cool.
BARNEY
Thank you. She slaps him on the arm and walks away. Barney
turns around and
looks at her walking away.
The attendant walks away.

VIVIAN
I wanted to say good-bye.
Full shot on the limousine driving away from the
BARNEY curb in front of
Well, then, I gather you're not accompanying Mr. the hotel.
Lewis to
New York.
We hear the song It Must Have Been Love,
performed by Roxette.
VIVIAN
Come on, Barney. You and me live in the real
world... most LIMOUSINE - INTERIOR DAY
of the time.
Medium shot of Vivian seated in the back of the

limousine, looking
BARNEY very pensive.
Have you arranged for transportation ?
LYRICS
VIVIAN Lay a whisper On my pillow. Leave the winter On
I'm gonna call a cab. the ground.
Vivian turns around to have a last look at the

BARNEY hotel.
Allow me.
He points to Darryl, whom we don't see, and LYRICS

calls him. I wake up lonely...
Vivian turns back and look absently in front of

BARNEY her, with the same
Darryl. pensive, slightly sad, look on her face.
DARRYL (voice over)
Yes, sir.
LYRICS
Darryl walks near Vivian. ...The stare of silence In the bedroom And all
around.
Touch me now.
BARNEY
Please take Miss Vivian anywhere she wishes to
go. BERVERLY HILLS - EXTERIOR DAY
Full shot on the limousine driving along the

DARRYL street.
Yes, sir.
Darry walks away. Vivian holds her hand out to LYRICS

Barney. Barney I close my eyes And dream away.
bends down and lightly kisses the extended hand.
Then he shakes
it. The scene dissolves into :
PENTHOUSE - TERRACE - EXTERIOR EVENING
BARNEY
It's been a pleasure knowing you. Come and visit Medium shot taken from outside the terrace, of
us again Edward standing
sometime. near the balustrade. His vest is open and he has
taken his tie
off. He tries to look over the balustrade, but
can't.
VIVIAN
99
The bell boy walks away from the terrace,
carrying luggage.
LYRICS
It must have been love, But it's over now. It
must have More thunder and end of the music.
been good...
He walks away from the balustrade, and back into VIVIAN AND KIT'S APARTMENT - LIVING ROOM -
the penthouse. INTERIOR DAY
Close shot on kit, seen through the window. It's
raining. She is
holding a picture of her and Vivian. She
LYRICS chuckles.
...But I lost it somehow. It must have been
love, But it's
over now.
KIT
We look so dopey.
The camera lets Edward go inside the penthouse
and pans to the
right along the wall and the foliage decorating Medium shot inside the room. Kit is seated near
the terrace. the window,
holding a Teddy Bear on her laps. She stands up.
The picture dissolves into the foliage on the

other side of the
French window and : KIT
San Francisco's not that great, you know.
PENTHOUSE - TERRACE - EXTERIOR DAY She walks toward Vivian, who is wearing slacks,
a white T-shirt
and a dark jacket. Her hair is tied into a bun.
Next day.
KIT
LYRICS It's bad climate. It's foggy. It's
From the moment we touched, Till the time had unpredictable.
run out.
The camera moves back into a full shot of the

The camera pans to the left from the foliage to room.
a medium shot on
the window.
Vivian is putting things away in a bag.
Edward comes out on the terrace. He is fully

dressed in an elegant
grey suit. The camera follows Edward. We hear VIVIAN
some thunder I'll wear a sweater.
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 KIT
necklace inside. What are you gonna do there ?
A bell boy is coming out on the terrace. He has
some luggage in
his hands. She sits down.
BELL BOY VIVIAN

Is that everything, sir ? Get a job. Finish high school. I got things I
can do. I
used to make pretty good grades in high school.
EDWARD
Yes. Yes, that's everything.
KIT
Yeah, I could see that about you. I could see
that.
BELL BOY
I'll meet you downstairs, sir.
She turns around to face Kit.
VIVIAN
EDWARD Sure you won't come with me ?
Thank you.
Kit looks around her.
100
Yeah, well, I gotta split, 'cause good-byes make
me crazy.
So, take care of you.
KIT
And leave all this ? Not in a million.
She hugs Vivian.
She laughs.
VIVIAN
Whoa.
VIVIAN Vivian slaps Kit's back, and then kisses her on
Come here. the head.
Kit stands up, puts the Teddy Bear down, and

walks toward her. REGENT BEVERLY WILSHIRE HOTEL - LOBBY - INTERIOR
Vivian takes some money out of her pocket. She DAY
puts the money in
the breast pocket of Kit's denim jacket.
Medium shot from behind the front desk. Barney
is behind the
counter, working on some paperwork. Miss Wilson
KIT is standing
Whoa. Whoa. What is this ? besides him, with her large glasses back on her
nose. Edward walks
to the desk. Barney smiles to him.
VIVIAN
It's part of the Edward Lewis scholarship fund.
We think BARNEY
you got a lot of potential, Kit De Luca. Mr. Lewis.
KIT EDWARD
You do ? You think I got potential ? You don't have any messages for me, do you ?
VIVIAN BARNEY
Oh, yeah. Don't let anybody tell you different, No, I'm afraid not, sir.
okay ?
Edward starts signing some documents on the

counter.
KIT
Okay.
EDWARD
Vivian is crying. I'll need a car to the airport also.
VIVIAN BARNEY
Take care of you. Of course. Darryl will take you wherever you
need to go.
She puts a cap on Kit's head.

Darryl walks to the desk.
KIT
No, I can't, I can't. It's your favorite. BARNEY
Darryl, the limousine out front, please ?
She takes it off and gives it back to Vivian.

She walks away.
DARRYL
Yes, sir.
KIT
What time's your bus ?
BARNEY
Thank you, Darryl.
VIVIAN
An hour. Darryl walks away. Edward pushes the signed
documents across the
counter to Barney.
KIT
101
Edward walks away, followed by the bell boy
EDWARD carrying his luggage.
One last thing. Barney looks at him with a puzzled eye.
BARNEY LIMOUSINE - INTERIOR DAY

Yes.
Medium shot of Edward seated in the back of the

Edward gives the jewel box to Barney. limousine. He has
an absent look on his face. It is raining
outside.
EDWARD
If you could possibly return this to Fred's for DARRYL (voice over, from the driver's seat)
me, please. Your plane is leaving as scheduled, sir, and you
should be
back in New York on time.
BARNEY
Yes, of course. May I, sir ? Edward gives Darryl a quick look, then look
absently through the
window. He must think about something that makes
Edward chuckles. him smile a
little.
EDWARD
Of course, please. VIVIAN AND KIT'S APARTMENT - LIVING ROOM -
Barney opens the jewel box. INTERIOR DAY
Close up on the necklace in the box. It is the Vivian is also looking absently through the
one Vivian was window of her hotel
wearing at the Opera. room.
Close shot on Edward looking at the necklace

with a sad face. HOLLYWOOD BOULEVARD - EXTERIOR DAY
Then medium close shot on Barney, with a half- Medium shot on a fast food stand on the street.
smile on his face. Kit is standing in
front of the stand, talking to Angel, another
prostitute whom we
have already briefly seen early in the film in
BARNEY the Blue Banana
It must be difficult to let go of something so Club. She is drinking Coca-Cola from a paper
beautiful. tumbler.
Close up shot on the jewel box being closed by

Barney. KIT
I'm gonna have to charge you a little more rent
than
Back to Barney. Vivian... because I've got this beauty course
I'm looking
into. I'm not gonna be there that much, you know
?
BARNEY
You know, Darryl also drove Miss Vivian home
yesterday. Full shot showing the whole sidewalk with the
food stand in the
middle. On the right of the food stand, a very
Edward doesn't answer, but his face indicates he small temporary
has taken the flower stand in front of a closed shop. While
information in. Kit keeps on talking
Back to Barney. to her prospective roommate, Edward walks behind
them.
BARNEY
I'll take care of it. KIT
'Cause you can't... You just can't turn tricks
forever. You
gotta have a goal. Do you have a goal ?
EDWARD
Thank you, Mr. Thompson.
Closer shot on the flower stand and the florist,
a middle-aged
woman. Edward has just reached the stand.
102
ANGEL (voice over)
Well, I always wanted to be in the Ice Capades. EDWARD
Vivian !
Edward is looking at the flowers.

Close shot on the window. Vivian is laughing,
but also ready to
cry.
THE FLORIST
Help you, love ?
Edward points to a bunch of flowers. The florist High angle view of the roof of the car. Edward
gives it to him. is waving both his
umbrella and his flowers. Darryl is coming out
of the driver's
door.
EDWARD
There you go. Thank you very much.
EDWARD
He gives her money, takes the flowers and puts Vivian !
his wallet back
into his jacket inside pocket. He walks away.
Back to Vivian, waving to him.
Back to Kit and Angel at the food stand.
VIVIAN AND KIT'S APARTMENT - LIVING ROOM -

INTERIOR DAY
KIT
So, you got a lot of stuff you gotta move in ?
Vivian leaves the window.
EDWARD (voice over)
Princess Vivian ! Come down !
ANGEL
No, Carlos burned most of my stuff when I said I
was moving Vivian walks to another window, the one leading
out. to the emergency
exit.
VIVIAN AND KIT'S APARTMENT - LIVING ROOM -

INTERIOR DAY SIDE STREET IN HOLLYWOOD - EXTERIOR DAY
Medium full shot. Vivian is putting her handbag High angle shot of the limousine. Edward comes
on her shoulder, out of the car
getting ready to move out of the room. She has through the roof and jumps on the sidewalk.
already reached the Darryl, standing near
front door, when she hears a car honking the car, watches the scene and smiles.
repeatedly. She stops and
slowly turns around.
Medium close shot on the balcony of the
emergency exit. Vivian has
We hear music from La Traviata, a soprano solo. come out of the room, and is smiling and looking
down at Edward.
Vivian drops the bag and walks toward the

window. The music gets Medium close shot of Edward, standing on the
louder and Vivian has a broad smile. She walks sidewalk and looking
to the window. up at Vivian.
SIDE STREET IN HOLLYWOOD - EXTERIOR DAY EDWARD

Had to be the top floor, right ?
High angle shot of the street, as seen from

Vivian's hotel window. VIVIAN (voice over, from the top of the
The limousine is slowly driving toward the building)
hotel. The roof of the It's the best.
limousine is open, and the upper half of
Edward's body is showing
through the open roof. He has the flowers in one High angle shot of the emergency exit, seen from
hand and a black Vivian's balcony.
umbrella in the other hand. The car is honking We see Edward through the metal steps leading to
and moves closer to Vivian's level.
the curb.
The car stops in front of the hotel. Edward
raises one arm, the
one with the umbrella. EDWARD
103
All right. I'm coming up.
Back on the sidewalk level of the emergency VIVIAN

exit. Edward grabs the She rescues him right back.
emergency ladder with the hook of his umbrella,
and brings it
down. Slowly, their mouth meet, and they kiss
passionately.
Back on Vivian's balcony. She unties her hair,

an lets it wave Full shot of Vivian's hotel and the emergency
down. exit. On the steps
Medium shot on the emergency exit. Edward is between the top landing and the one below, we
slowly climbing the see Edward and
steps, with the flowers between his teeth. Vivian kissing passionately.
Back to Vivian, looking down and smiling End of La Traviata music.

broadly.
We hear the voice of the Afro-American man we

Back to Edward on a landing of the emergency saw at the beginning
exit. He crawls on of the film, crossing Hollywood Boulevard.
it, with his back pressed against the wall.
THE AFRO-AMERICAN (voice over)

Close shot on Edward's face, with the flowers Welcome to Hollywood. What's your dream ?
between his teeth.
He stops moving and looks down.
The camera moves away from the hotel and we see
the Afro-American
High angle shot on the limousine, and Darryl, man coming down the street
smiling
encouragingly to Edward. THE AFRO-AMERICAN
Everybody comes here. This is Hollywood, the
land of
Back to Edward's close shot. He resumes his dreams.
crawling walk with his
back pressed against the wall.
He crosses the street.
Larger shot on the emergency exit landing.

Edward reaches the
ladder leading to Vivian's landing, whose shadow THE AFRO-AMERICAN
we see moving Some dreams come true, some don't. But keep on
above Edward. dreaming.
Low angle shot on Vivian's balcony. She walks on The picture moves away to the right of the
it to meet screen, to be replaced
Edward. by a full black screen.
High angle shot, seen from Vivian's eyes, and THE AFRO-AMERICAN (voice over)
showing Edward This is Hollywood. Always time to dream, so keep
walking up the last steps, holding the bannister on
very firmly. dreaming.
Low angle shot on Vivian, standing on the top of The credits start rolling up while we hear the
the steps, song Pretty
laughing and looking down at Edward. Woman, performed by Roy Orbison.
Back to Edward, who lets go of the bannister,

and opens his arms LYRICS
to Vivian. Pretty woman, Walking down the street. Pretty
woman, The
kind I like to meet. Pretty woman, I don't
Close shot on Vivian walking down the steps. She believe you.
reaches Edward, You're not the truth. No one could look as good
who climbs another step to be at her level. as you.
Their faces are now Mercy. Pretty woman won't you pardon me. Pretty
close to one another. woman I
couldn't help but see, Pretty woman, That you
look lovely
as can be. Are you lonely just like me. Oh,
EDWARD pretty woman.
So what happened after he climbed up the tower
and rescued
her ? End of music.
104
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.
105

Pretty Woman

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Pretty Woman

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So let's imagine, ladies, that you're a Savings

On lady has got three coin in her hand, and the

From the original script written by J.F. Lawton,

MAGICIAN (voice over)

He takes one of the coins from the first lady's

MAN (voice over)

We hear voices over of people chattering and

PHILIP'S RESIDENCE - PATIO - EXTERIOR DAY

MAGICIAN (voice over)

He gives her a kiss.

Very modern design. An artistic picture of a

JESSICA (voice over on the telephone)

He walks to the large bay window, overlooking

JESSICA (voice over on the telephone)

JESSICA (voice over on the telephone)

She hangs up. EDWARD

EDWARD Edward shakes the woman's hand, who walks away,

Edward looks down, through the bay window, to

Edward is going down the stairs followed by a YOUNG MAN

He moves across the crowd of guests, and reaches

YOUNG MAN EDWARD

He starts walking away with his coat in his

YOUNG MAN SUSAN

PHILIP'S RESIDENCE - DOWNSTAIRS HALL - INTERIOR EDWARD

Elizabeth, Philip's wife, walks rapidly toward

Philip looks toward the entrance of the house,

EDWARD Philip walks rapidly away while Elizabeth looks

PHILIP'S RESIDENCE - PARKING - EXTERIOR DAY

They kiss again on the cheeks.

PHILIP'S RESIDENCE - LIVING ROOM - INTERIOR DAY

Darryl, Edward's chauffeur, is reading a

PHILIP The Japanese valets look up at the noise.

Edward has stopped after a couple of feet, and

Philip gives his car keys to Edward. PHILIP

The car rushes forward. Tires squeal as Edward

Meanwhile, Edward has seated himself in the

PHILIP HOLLYWOOD HILLS - EXTERIOR EVENING AND NIGHT

The sky is getting darker, and apparently,

Long shot on the famous HOLLYWOOD sign up on

MAN IN CAR (voice over)

Medium shot on two other prostitutes cruising on

Aerial overview of Hollywood.

The music keeps on playing.

Another very short view of Hollywood Boulevard,

SIDE STREET IN HOLLYWOOD - EXTERIOR NIGHT

The credits are still appearing and disappearing

Close-Up on the woman's hand pulling the zipper

An alarm clock is ringing. LYRICS

Close-Up on several familial pictures pinned on

The Lotus is driving through a crossroad. The

LOTUS ESPRIT - INTERIOR NIGHT

Close Up on Edward's face, driving the car. He

We hear the song Real Wild Child, performed by

HOTEL MANAGER (voice over)

Back to Vivian still standing on the stairs.

HOTEL MANAGER (voice over)

An old woman is looking at her from across the

VIVIAN'S HOTEL - EXTERIOR NIGHT HOLLYWOOD BOULEVARD - EXTERIOR NIGHT

The music fades out.

SIDE STREET IN HOLLYWOOD - EXTERIOR NIGHT

THE AFRO-AMERICAN The camera follows Vivian, but we keep hearing

Medium shot on a group of three young men seated

THE POLICEMAN (voice over)

With the street lights, we get a better view of