by Jonathan Lawton & Stephen Metcalfe
EXT. A HOUSE IN THE HOLLYWOOD HILLS — NIGHT
The view of downtown Los Angeles from the enormous, ornate house
is extraordinary. A small outdoor dinner party is in progress.
A MAGICIAN is entertaining guests. Playing cards and coins
appear and disappear in his nimble hands.
INT. HOUSE STUDY — NIGHT
EDWARD HARRIS stands at the window, impassively looking down
at the party. Edward is a handsome, well groomed man of around
forty. He looks tired; the kind of fatigue that can’t be cured
by a night’s sleep.
EDWARD
(a murmur)
Left pocket.
And indeed, down below, the magician pulls the coin from the
left pocket of the incredulous WOMAN’s silk blazer. More
laughter and applause.
The study is in keeping with the rest of the house. Luxurious.
Everything the best. WILLIAM STUCKEY, Edward’s contemporary,
is a crafty looking lawyer who is the party host. VANCE is an
investment banker. His assistant JAKE, is a financial
researcher. The other men are INVESTMENT BANKERS. They are
in dark suits and power ties. On the table are stacks of
documents and folders, the name «KROSS INDUSTRIES» is prominent
on many of the folders.
INVESTMENT BANKER 1
Our banks certainly doesn’t want
to discourage Harris Enterprises
from investing in California.
We think this is a great new venue
for you but you’ve got to
understand the mergers and
acquisitions market is changing.
With the upswing in inflation we
have to make these offerings
tempting to offset the risk.
VANCE
Look, we’re talking about hard
assets and a straight liquidation.
We have over a thousand man hours
in this deal.
STUCKEY
(losing patience)
This is a «no brainer». There’s
no risk for you. No one has ever
lost money backing Mr. Harris.
INVESTMENT BANKER 2
Not yet. But ship building is
a new endeavor for you…
STUCKEY
(cuts him off)
Come on. You know we’re not
going to go into ship building.
Besides, you’re the ones with the
troubled track record, not us!
INVESTMENT BANKER 3
Bill, be reasonable. If you’re
really going to digest Kross
Industries that quickly eighteen
should not be such a problem.
Besides, I don’t think there’s
anywhere else you can go for the
money in the time you have.
EDWARD
It’s unacceptable.
Edward turns from the window. He hasn’t miss a thing. All
eyes are on him.
EDWARD
Draymen Heux has offered me
seventy-five in the pool at
sixteen and a half. I can secure
the other half personally. You
have until tomorrow morning to
make me a better offer.
The bankers speechlessly stare at him.
EDWARD
The meeting is over, gentlemen.
He turns away. The bankers look at one another. They rise.
Silence as they exit. When the door closes. Stuckey explodes
with laughter.
STUCKEY
Hah! Did you see the look on
their faces?
VANCE
You don’t think we pushed too
hard?
STUCKEY
NO way! They’ll come back. They
can’t afford not to. Edward,
that bluff was beautiful.
EDWARD
Maybe I should have made it
rhyme.
The others stare at him, uncertain. Stuckey laughs. The
others follow suit.
EDWARD
(looking at his watch)
Well! It’s late. We’ve been
at this long enough.
Stuckey rises. Edward ushers Vance and Jake toward the door.
EDWARD
Gentlemen, enjoy the party. The
magician’s wonderful.
Vance and Jake exit.
EDWARD
(calling after them)
Watch your left pocket.
A BUTLER has entered the room.
BUTLER
Phone call, Mr. Harris. It’s Miss
Charles.
STUCKEY
Cynthia? Is she coming out?
EDWARD
We’re about to find out. Go on.
Take care of your guests.
Stuckey exits the room as Edward crosses to the telephone.
EDWARD
(into phone)
Where are you, Cynthia?
(beat)
I see.
(pausing, getting angry)
No, I don’t expect you to be at
my beck-and-call. Are you coming
or not?
INT. HOUSE — STAIRWAY — NIGHT
Edward descends the long, curved stairway. He has Vance in
tow.
EDWARD
(all business)
Prepare the filing papers. Have
them ready by the middle of the
week. I’ll tell you when to
submit them.
The PEOPLE talking and drinking on the stairway gravitate
toward Edward.
A MAN
Edward!
EDWARD
(turning on the charm)
Yes!
THE MAN
Will we see you at the polo
matches Wednesday?
EDWARD
Wouldn’t miss it.
(abruptly; to Vance)
I want this done fast and easy.
No slip-ups. I want to be back
in New York by Saturday. Got it?
He deftly keeps making his way through the crowd.
INT. HOUSE — THE DOWNSTAIRS HALL — NIGHT
Stuckey is sipping champagne and talking to a beautiful
WOMAN in a tight sheath of an evening dress. An elegant woman
ELIZABETH STUCKEY approaches from behind him. She taps him on
the shoulder and he turns, startled.
ELIZABETH
Bill?
STUCKEY
(flustered)
Oh… Hi, honey… Millicent,
uh, uh, Millicent.
MILLICENT
Lowell.
STUCKEY
Lowell, right. My wife,
Elizabeth.
ELIZABETH
(ignoring her)
Is Edward leaving?
Stuckey looks up to see Edward moving quickly toward the door.
Stuckey abruptly leaves the two woman together to follow Edward.
EXT. THE HOUSE — NIGHT
Edward comes out of the house. Jags, a limo with waiting
DRIVER and two BMW’s pack the circular driveway behind a black
Ferrari. The limo driver leaps to attention at the sight of
Edward. Edward stands, making an obvious effort to keep his
impatience under control. Stuckey comes out of the house and
down the walk.
STUCKEY
What’s up, where you going?
EDWARD
Give me your car keys, will you,
I’m going back to my hotel.
STUCKEY
At least stay for a drink. This
party’s for you.
EDWARD
Apologize to Elizabeth for me.
Stuckey gropes uncertainly in his pocket for keys.
STUCKEY
Listen, there’re some major local
talent inside just dying to meet
you…
EDWARD
(as if delighted)
Really? Some high class gold
digger who speaks French better
than I do?
(turning away)
No, thank you. I just got off
the phone with one.
STUCKEY
Cynthia’s not coming?
EDWARD
No.
Edward grabs the keys out of Stuckey’s hand. He crosses to a
black Ferrari and gets in.
STUCKEY
Let your driver take you. We’ll
move the cars…
Edward starts the car.
STUCKEY
Can you drive a stick?
The car lurches forward with a squeal of wheels and promptly
stalls.
STUCKEY
Edward, give me a break!
With a squeal of tires, the Ferrari bucks out of the driveway
and… stalls again.
EDWARD
Love this car! Is it new?
STUCKEY
Yes! And you don’t even know
where you’re going!
Edward starts it again and heads uncertainly uphill. Stuckey
watching, throws up his hands.
STUCKEY
That’s the wrong way!
CREDITS BEGIN AS IN A SERIES OF CROSSCUTS:
EXT. HOLLYWOOD HILLS — NIGHT
The Ferrari, moving fast through the Hollywood Hills, passes
large, beautiful homes… Edward shifts, grinding gears…
EXT. HOLLYWOOD HILLS — NIGHT
The Ferrari comes to a red light and pulls up next to a Dodge Colt.
The GIRL in the Colt looks at Edward and his car admiringly.
Edward feeling confident now, revs the engine. The light turns
green. Edward immediately stalls the Ferrari. The Colt leaves
him in the dust.
INT. FERRARI — NIGHT
Edward drives. He blinks, shakes his head as if trying to rid
himself of his own tired thoughts.
EXT. HOLLYWOOD HILLS — NIGHT
The Ferrari comes to the intersection of OUTPOST and FRANKLIN,
stops. Edward gets out of the car. He looks at the street
signs. He has no idea where he is. He signs. He gets back
in the car and takes off on Franklin heading East.
EXT. A SIDE STREET IN HOLLYWOOD — NIGHT
A crumbling old apartment building. Dark alley ways, deserted
parking lot.
The Ferrari — blink and you miss it — motors past the building,
looking very out of place on the street.
PANNING UP A building facade of lit windows and metal fire
escape. One window in particular. A GIRL stands there in a
short kimono, looking down. And then she turns away.
INT. VIVIAN’S APARTMENT — NIGHT
A SERIES OF SHOTS to see her dressing.
INT. VIVIAN’S APARTMENT — NIGHT
VIVIAN turns and stares at herself in a grainy, cracked bedroom
mirror. She is twenty years old and a prostitute. Make-up
applied to give her a hard, older look doesn’t quite succeed.
She’d be innocently beautiful without it. She is wearing tiny
shorts, a tight tube top, thigh high boots. She stares at
herself, not really liking what she sees. A moment. She signs,
turns off the light and walks out of the bedroom.
INT. APARTMENT BUILDING HALLWAY — NIGHT
Faded, peeling walls. Thread bare, dirty carpet. Vivian locks
the apartment door behind her and starts down the dim hallway.
A door suddenly opens, startling her. An unshaved, enormously
pot bellied MAN in a stained t-shirt stares at Vivian with pig
eyes.
LANDLORD
Vivian.
Vivian turns some «tough» on him.
VIVIAN
Yeah, what?
LANDLORD
Rent. You’re late.
VIVIAN
Don’t give me that. Kit gave it
to you yesterday, cash.
LANDLORD
Kit give me nothin’.
VIVIAN
(suddenly uncertain)
You bullshittin’ me?
LANDLORD
Of rent I do not bullshit.
Vivian hurries at a run back down the hallway.
LANDLORD
By the end of the week or you’re
otta here.
(a beat)
By the way, you look very nice
tonight!
INT. VIVIAN’S APARTMENT — KITCHEN
Vivian pulls a coffee can off a shelf. She pulls off the top.
It’s empty. She tosses the can away, starts for the door. She
opens it.
INT. APARTMENT HALLWAY — NIGHT
Down the hallway, the landlord is standing in front of his open
doorway, talking to a FAT WOMAN. They both glance up.
Vivian quickly closes the door. She doesn’t want to deal with
them.
EXT. APARTMENT BUILDING — NIGHT
Vivian comes off the fire escape onto the sidewalk. She hurried
away.
EXT. HOLLYWOOD BLVD. — NIGHT
Vivian walks along, urgently looking for something… someone.
A BABBLING STREET-TYPE goes by happily talking to himself.
He wears an «I Love Hollywood» t-shirt.
Vivian passes TOURISTS but doesn’t notice them any more than
she pays attention to the VAGRANT she passes further on, huddle
in a doorway.
A LONG-HAIRED KID on a SKATEBOARD goes by dropping off little
bags to various STREET-TYPES.
A BARKER-TYPE stands in front of a photo store urging tourists
to come in and take a photo with a cardboard cut-out of a movie
star. Some go in.
Vivian hurries past a group of rubbernecking JAPANESE TOURISTS.
A BLACK PROSTITUTE in a mini skirt strolls toward her. A car
passes. The DRIVER stares at Vivian with interest. She ignores
him. The black prostitute approaches the car.
PROSTITUTE
Hey, baby, you lookin’ for a date?
The Driver looks her over. The Black Prostitute gets in the
car and it drives away.
A GROUP OF MEN, mostly drug dealers, hang out at an all night
coffee shop. They WHISTLE and make obscene gestures and SOUNDS
as Vivian hurries by. She ignores them and goes next door into
a falafel stand. Half a dozen PEOPLE sit at dirty tables inside.
INT. FALAFEL STAND — NIGHT
Behind the counter are a MAN and a WOMAN, Vietnamese cooks
frying food, trying to ignore the unsavory crowd camped in the
shop.
VIVIAN
Chan, you seen Kit tonight?
COOK 1
Hi, hi! No see nothing.
VIVIAN
You do, tell her I’m looking for
her.
COOK 2
Looking good, bay-bee.
VIVIAN
Yeah, you too, D’Nai. If Kit
comes in here, tell her stay.
Both of them nod and smile at Vivian. Vivian exits.
EXT. HOLLYWOOD BLVD. — NIGHT
Skateboard zips by a GROUP. We SEE a police car parked at the
entrance to an alcove. Also, an ambulance. The bubblegum
lights are going. A CROWD has gathered. The happy man with
the «I Love Hollywood» t-shirt and a POLICE OFFICER are engaged
in tense conversation.
COP
They just pulled her out of a
dumpster in the back. Now talk
to me.
MAN
I tell you, man, I don’t know who
she hang with.
COP
She have a pimp?
MAN
Cocaine her pimp, man. She a
strawberry. She be out on these
streets, day in, day out, tradin’
her sorry ass for crack. And
now she dead from it.
Vivian rushes up to join the outskirts of the crowd as the body
of a YOUNG GIRL is pulled out of an open dumpster and carried
towards the waiting ambulance. For a moment Vivian thinks
it’s… no, Vivian turns grimly away.
Vivian surveys the dark street. And suddenly sees who’s she’s
looking for. Walks.
EXT. HOLLYWOOD BLVD. — WIG SHOP — NIGHT
We SEE a young, tough-looking MAN and WOMAN trying on wigs.
The STOREKEEPER is a man wearing a dress and wild wig. The
girl, KIT, is around 18, is dark haired and thin. The young
man, CARLOS, has his arm sloppily draped across Kit’s shoulder.
They giggle about something, both obviously high. Kit looks
up, bleary-eyed. She stops. Vivian is standing in front of
her.
VIVIAN
You spent it on drugs, didn’t you?
KIT
Hi, Viv. Carlos, you know my
roommate, Viv.
CARLOS
Lookin’ good, baby.
VIVIAN
(ignoring him)
Did you blow it all, Kit? Is it
all gone?
KIT
Carlos had some great rock.
VIVIAN
I bet.
(beat)
That was our rent!
Carlos attempts to put an arm around Vivian’s shoulders.
CARLOS
Calm down, Chica.
Vivian throws him off.
CARLOS
Ey! What is it you wan’, baby?
I can fix you up.
VIVIAN
Beat it, scum bucket!
CARLOS
You kiss your mother with that
mouth? Your frien’ still owes
me 200.
VIVIAN
(to Kit)
Let’s go.
Skateboard appears suddenly, blocking Vivian and Kit’s path.
VIVIAN
Get out of my face or I’ll have
those cops on your ass in two
seconds.
Carlos glares at her. He looks down toward the lights of the
cop cars. One of the POLICEMEN looks towards them, curiously.
Vivian waves at the cop.
CARLOS
(threatening to Vivian)
Don’t take no dates tonight,
chica, you got one with me.
Vivian grabs Kit by the arm and pulls her across the Boulevard.
INT. FALAFEL STAND — NIGHT
Vivian and Kit sit at a table sipping tea. Vivian is still
mad at her.
VIVIAN
We worked for that money. We
were gonna put together enough
to get out of that dump we live
in, get off this street.
KIT
Viv… don’t be stupid. We’re
whores.
Vivian looks like she wants to weep. Or scream. She does
neither. She slowly nods. Kit’s sorry she said that.
KIT (cont’d)
So I blew our stash. We could
make it all back with one good
night on the streets.
VIVIAN
I just saw somebody pulled out
of a dumpster. I wonder how much
she made tonight?
KIT
Don’t be mad at me. I’ll pay
you back. I promise.
VIVIAN
I thought you were giving up that
drug shit.
KIT
I will. I’m trying.
(a beat)
Meanwhile I got some crack left,
you wanna get high?
VIVIAN
No, let’s go to work. Okay?
KIT
Okay.
(then touches her hand)
I’m sorry I said your dream was
stupid.
EXT. HOLLYWOOD BLVD. — NIGHT
Edward’s Ferrari turns onto Hollywood Blvd., finally out of
the Hollywood Hills.
EXT. HOLLYWOOD BLVD. — NIGHT
Vivian and Kit are out trying to hustle John’s in passing cars.
Vivian strikes a sexy pose at the bus stop. Kit is talking to
another prostitute, RACHEL.
KIT
No no, honey. You see these
stars on the sidewalk. Me and
Vivian work from Don Ameche all
the way up to Roy Rogers.
This is our office. We got
seniority. Get off our corner.
RACHEL
I was just taking a rest here.
Besides, she’s new.
(points to Vivian)
KIT
But I’m old. Go rest up by Monty
Hall or Debra Paget where you
belong.
Rachel walks off.
VIVIAN
(looks at passing cars)
Looks slow tonight.
KIT
Maybe we should get a pimp.
Carlos likes you and —
VIVIAN
Forget it. We work for it. We
keep it.
They keep hustling.
KIT
I can’t handle this tonight.
I’m going home.
VIVIAN
(stares at her)
That crack is burning a hole in
your pocket. There isn’t even
milk in the fridge. The rent’s
due. Now come on —
EXT. HOLLYWOOD BLVD. — ANGLE ON FERRARI — NIGHT
KIT (O.S.)
(suddenly)
Hey, hey — There’s a rent.
EXT. HOLLYWOOD BLVD. — BACK TO SCENE — NIGHT
VIVIAN
He’s not gonna want us.
The Ferrari goes by and stops.
EDWARD
(calls out to Vivian)
Excuse me.
KIT
(excited)
Don’t take less than a hundred.
You look hot tonight. And
remember, don’t mouth off. They
don’t like that.
VIVIAN
Okay. Go home. But take it easy
on that shit.
Kit gives Vivian a quick hug.
KIT
You’re the greatest. I’ll wait
up for you.
And then Kit is off, moving quickly away. Vivian turns. She
stares at the Ferrari, loathing it and all it represents. And
then it’s as if Vivian turns a switch. She fluffs her mane of
hair, throws her shoulders back, thrusting her breasts out and
sashays towards the car, a sexy, friendly smile on her face.
In the driver’s seat of the Ferrari, Edward is looking furious
and distracted. Vivian leans over the passenger window.
VIVIAN
Hey Sugar, you lookin’ for a date?
EDWARD
What’s that?
VIVIAN
You looking’ for some company?
EDWARD
Uh, no. How do I get to Beverly
Hills?
VIVIAN
What?
(dropping the come on)
You gonna tell me you’re lost?
EDWARD
Yes.
VIVIAN
Great. What do I look like a
tourguide?
Edward takes a good look at her.
EDWARD
(a beat)
No, you look like a hooker.
VIVIAN
Actually, I’m a movie star out
for a walk.
EDWARD
Good. Can you tell me how to
get to Beverly Hills?
VIVIAN
Sure. For five bucks.
EDWARD
That’s ridiculous.
VIVIAN
The price just went up to ten.
EDWARD
Why don’t you just do it out of
the kindness of your heart?
VIVIAN
(sweetly)
Sit… and spin.
EDWARD
Sit-and-spin.
(amused)
Alright… why not?
He pulls out his money clip.
Vivian suddenly freezes. On the sidewalk up ahead, Carlos and
Skateboard. Carlos flashes an evil, menacing grin. He motions
to Skateboard, they start forward.
EDWARD
(holding up a bill)
You have change for a twenty.
Vivian pulls open the door of the car and jumps in.
VIVIAN
For twenty, Ill show you
personal. Drive.
Edward stares at her. She smiles sweetly.
VIVIAN (cont’d)
Make a «U-ee». Beverly Hills
is the other way.
The Ferrari pulls away, passing Carlos on the sidewalk.
INT. FERRARI — MOVING — NIGHT
VIVIAN
Nice car. Yours?
EDWARD
(as he grinds the
gears; wincing)
No.
VIVIAN
Stolen?
EDWARD
Not exactly.
He smiles. Vivian smiles back.
VIVIAN
Mind if I turn on some heat?
EDWARD
If you can figure it out, be my
guest.
Vivian reaches out, turns on the heat.
EDWARD
Very good. You’re obviously
mechanical.
VIVIAN
(laughs)
You’re not from L.A., huh?
EDWARD
New York.
VIVIAN
What motel you staying at?
EDWARD
Hotel.
VIVIAN
Okay, what hotel?
EDWARD
Regent Beverly Wilshire. I bet
you know it.
VIVIAN
(annoyed at his tone)
Yeah, I peed in the fountain there
once. Give me a break.
Edward glances over, amused. It hits him that she really is
an attractive girl.
EDWARD
What’s your name?
VIVIAN
What do you want it to be?
(a beat)
Vivian, my name’s Vivian.
EDWARD
You like being a hooker, Vivian?
VIVIAN
It pays.
EDWARD
So do day jobs.
VIVIAN
(sarcastic)
Day jobs, yeah. I’ve tried them.
(a beat)
Turn right.
EXT. SANTA MONICA BLVD. — NIGHT
The Ferrari glides along a seedy, West Hollywood section of
Santa Monica.
INT. FERRARI — MOVING — NIGHT
EDWARD
Must be dangerous. Hooking.
VIVIAN
Tell me about it. L.A. is
suffering from a wacko epidemic.
And who knows where half the guys
I pick up have been. I mean, I
use condoms. Always. And I get
checked out once a month at the
free clinic. Not only am I better
in the sack than an amateur, I’m
probably safer.
EDWARD
Very good. You ought to have
that printed up on your business
card.
VIVIAN
(a moment)
If you’re making fun of me, I
don’t like it.
EDWARD
Sorry. If I did, I didn’t mean
to.
Vivian unconsciously bites her fingernails.
EDWARD
Ugly habit, biting your nails.
VIVIAN
You don’t know habits, you think
this is ugly.
But she puts her hands in her lap. She looks out the window.
She’s safe from Carlos.
VIVIAN
Okay, pull over. Let me out.
I’ve got to get back to work.
Edward pulls the Ferrari to the curb and stops.
VIVIAN (cont’d)
Stay on this street and you’ll
hit Beverly Hills.
EDWARD
What do you charge for company,
Vivian?
VIVIAN
Company would cost you… a
hundred dollars.
EDWARD
For the whole night?
VIVIAN
For an hour.
EDWARD
You’re joking.
VIVIAN
I never joke about money.
EDWARD
Neither do I.
(a moment; amused)
A hundred bucks an hour though.
That’s pretty stiff.
She reaches across the seat. Her hand goes in his lap.
VIVIAN
No, but it’s getting there.
EDWARD
Vivian, how much to put up with
me for the entire night?
VIVIAN
You couldn’t afford it.
Vivian starts to get out of the car.
EDWARD
Try me.
A moment. Vivian’s sexy smile comes on.
VIVIAN
Three hundred.
EDWARD
Fine.
VIVIAN
What’s your name, lover.
EDWARD
Edward. My name is Edward.
VIVIAN
Edward… you got it!
Edward gets out of the car. Vivian looks at him confused.
EDWARD
Get in. This side.
VIVIAN
What?
EDWARD
You know how to drive a stick?
Vivian moves around the car.
VIVIAN
Better believe it.
EDWARD
Then let’s go. It’s worth 300
just so I don’t have to drive.
They get in the car.
INT. FERRARI — NIGHT
She starts the car, revs it.
VIVIAN
Here we go Edward.
EXT. HOLLYWOOD BLVD. — NIGHT
The Ferrari peels out, fishtails madly and SCREAMS up the
street.
EXT. REGENT BEVERLY WILSHIRE HOTEL — NIGHT
Thousands of tiny white lights sparkle along the walls of the
Regent Beverly Wilshire Hotel. Bright flags are illuminated
by carefully placed spotlights. The Ferrari SCREAMS into the
driveway and comes to a jarring stop by the front door.
INT. FERRARI — NIGHT
Edward takes a moment to get his breath. He gestures toward
the back.
EDWARD
My raincoat’s in the back. Put
it on.
VIVIAN
Why?
EDWARD
You may feel more comfortable.
This is not the kind of place that
rents rooms by the hour.
VIVIAN
You mean they don’t have hookers.
EDWARD
Every place has hookers, but if
this hotel has hookers, they don’t
look like they’re…
VIVIAN
Off the boulevard.
EDWARD
Exactly.
INT. REGENT BEVERLY WILSHIRE HOTEL LOBBY — NIGHT
As they walk in, Vivian is tying the trenchcoat.
VIVIAN
Great. Now I took like a hooker
in a trenchcoat.
She looks up. She stops in her tracks. The lobby is bright
and spacious, filled with thick carved wood paneling. Even at
this hour there is a great deal of activity. MEN in business
suits and WOMEN in furs and jewels are passing by. Vivian’s
face quickly conceals the sudden awe she feels at the sight of
all this luxury. Vivian matter of factly reaches out and takes
Edward’s arm.
VIVIAN
So let’s go.
Edward guides them across the lobby. They reach the elevators
and go inside.
INT. HOTEL — ELEVATOR — NIGHT
The young ELEVATOR OPERATOR is dressed in a clean red uniform
that seems just a bit too tight. As the elevator doors close
he nods toward Edward.
OPERATOR
Evening, sir.
EDWARD
Good evening. Penthouse.
VIVIAN
Penthouse. My, my.
She sees the operator glancing at her.
VIVIAN
The penthouse. And step on it.
INT. HOTEL — HALLWAY — NIGHT
Edward and Vivian come out of the elevator into a hallway
leading to a single doorway with two heavy wood doors. Edward
pulls out his key and unlocks the doors. With a gentle push
the door slide open in unison. Edward gestures to Vivian to
go inside. She does. Edward closes the doors behind her.
INT. HOTEL — PENTHOUSE — NIGHT
As Vivian steps into the room she has the sensation of falling
off the top of the building. In front of her is a sunken living
room with massive windows revealing the sparkling lights of the
city below. For the first time, she is speechless. Edward
closes the door and walks past her down the steps to the living
room. Edward picks up a phone. Vivian checks out the room.
EDWARD
(into the phone)
Room service.
(to Vivian)
What do you drink?
VIVIAN
Diet coke.
EDWARD
(into the phone)
Send up a bottle of Crystal
champagne.
VIVIAN
Can I have some chips?
EDWARD
(into the phone)
— and a bowl of strawberries.
Thank you.
Vivian makes her way down the steps to the living room. She
stares at the view.
EDWARD
(to Vivian)
Impressed?
Vivian is impressed but she’s not going to admit it.
VIVIAN
You kidding? I come here all the
time. As a matter of fact they
do rent this room by the hour.
Edward smiles. He sits down in a comfortable chair and leans
back. Vivian looks at him.
VIVIAN (cont’d)
Well, now that you have me for
the night, what are you going to
do with me?
EDWARD
Want to know something? I don’t
quite know. I hadn’t planned
this.
VIVIAN
Do you plan everything?
EDWARD
(a small smile)
Always.
VIVIAN
Well, the meter’s running, it’s
your money. Speaking of which,
cash’ll do. In advance.
EDWARD
Fair enough.
He rises. Takes out his wallet. Standing over her, he drops
THREE crisp, new hundred dollar bills in Vivian’s lap. She
picks up the bills, stares at them, trying not to be impressed.
She puts the money in her jacket. She realizes Edward is
standing over her as if waiting.
She leans forward, reaches out to unzip his pants. He abruptly
turns away.
EDWARD
Let’s talk some more first.
VIVIAN
Right.
(brightly)
So! In town on business?
EDWARD
(taking off his jacket)
Uh-huh.
VIVIAN
Let me guess, you’re a… lawyer.
EDWARD
(loosening his tie)
And why do you say that?
VIVIAN
(a small smile)
I dunno… you have that sharp,
useless look.
Edward almost smiles. He sits across from her again.
EDWARD
Sounds like you’ve known a lot
of lawyers.
VIVIAN
I’ve known a lot of everybody.
A chime goes off to indicate there’s someone at the door.
EDWARD
Champagne.
He starts to sit up. Vivian motions for him to stay put.
VIVIAN
Hey. I might as well make myself
useful.
Edward sits back down. Vivian waltzes up the steps and opens
the front door. A WAITER comes into the room with a silver
cart; on it is a bucket of champagne and a covered bowl.
WAITER
Where would you like it?
VIVIAN
Where would we like it?
EDWARD
Where would we like it? Here’ll
be fine.
The Waiter carries it down the steps and sets it in the middle
of the living room. He turns and heads back up the stairs and
pauses near Vivian, staring. Vivian stares back at him.
VIVIAN
What are you looking at?
The Waiter glances away uncomfortably and exits. Vivian closes
the door behind him. Vivian marches back down the stairs.
EDWARD
I think he wanted you to tip him.
VIVIAN
Tsk. Excuse me, I didn’t think
he had change for a hundred.
Edward crosses to the silver stand. Vivian watches with
interest as he twirls the champagne bottle in the ice bucket.
VIVIAN (cont’d)
You have a wife? Girlfriend?
EDWARD
I have both.
Edward lifts the bottle out. He deftly pops the cork on the
bottle without losing a drop of champagne.
VIVIAN
Where are they? Shopping
together?
EDWARD
They should be. They’re both good
at it.
Edward pours the champagne into a single long stemmed glass and
hands one to Vivian.
EDWARD (cont’d)
My ex-wife lives in London in what
used to be my home.
My girlfriend is in New York
moving out of my apartment even
as we speak. Cheers.
He drinks, nods approvingly.
EDWARD
It’s a very good year.
VIVIAN
Oooh, thank god.
Edward laughs softly. She sips it. To her surprise, really
likes it. Edward lifts a lid on a silver bowl to reveal a dozen
enormous strawberries.
EDWARD
Try a strawberry.
VIVIAN
Why?
EDWARD
Because they bring out the flavor
of the champagne.
VIVIAN
Jesus, you act like you’re
seducing some Valley girl you
picked up in a dance club.
EDWARD
Vivian… the meter’s running…
cooperate.
A moment. She slowly eats a strawberry. The juice of it stains
her lips. Her eyes are like smoke as she takes a sensuous sip
of champagne, licks away the stain of the strawberry. His eyes
haven’t left her.
EDWARD
(softly)
You really are a very beautiful
girl.
VIVIAN
(husky-voiced)
Just a romantic, that’s you.
EDWARD
Yes…
Her mouth is so wet and inviting… he leans closer…
VIVIAN
Me too.
He’s about to kiss her…
VIVIAN (cont’d)
Not on the lips.
He freezes. She pulls his head down to her breast.
INT. PENTHOUSE BEDROOM — NIGHT
Edward and Vivian on the bed. He is on his back, his shoulder
and head resting against the headboard. She is astride him,
hands resting on his chest, rocking… in control, confident…
very much liking the fire she’s kindled in his eyes.
INT. PENTHOUSE BEDROOM — CLOSE ANGLE ON THEIR FACES — NIGHT
EDWARD
(touching her breasts)
What do you like?
VIVIAN
If I want you to turn me on I’ll
pay you three hundred. Just lay
back and let me drive.
Smiling, Vivian reaches behind her, touching him. He tries not
to groan. She’s moving faster now. Edward suddenly pulls her
violently to him, he rolls her over…
INT. PENTHOUSE BATHROOM — SHOWER — NIGHT
A heavy spray of water comes down upon Edward. He stands there
quietly letting it wash over him. He turns off the shower,
steps out of the stall, picks up a towel and dries himself.
INT. PENTHOUSE BEDROOM — NIGHT
Edward stares. His expensive clothes are on the floor,
haphazardly dropped everywhere. Vivian’s clothes, as tattered
as they are, are neatly folded and piled on a chair. The
incongruity of it touches Edward in a sad way. He looks toward
the bed. Vivian is fast asleep. Her heavy makeup has long since
been rubbed off. Asleep, her wary, smart-ass attitude is gone.
She looks like a sweet, gentle girl. He stares at her a moment
longer. He turns, goes into the living room. Vivian opens her
eyes. Through the open door she sees Edward sitting in a living
room chair. He is reading contracts.
EXT. REGENT BEVERLY WILSHIRE HOTEL — MORNING
The sun is coming up as HOTEL EMPLOYEE hoses down the sidewalk
in front of the hotel.
INT. HOTEL LOBBY — MORNING
A WOMAN EMPLOYEE is vacuuming the lobby. She sees something
and pauses. She pulls a dead leaf from one of the potted
plants.
INT. HOTEL HALLWAY — MORNING
The elevator doors open and A WAITER rolls a cart out into the
hallway. He takes it to the doors of the penthouse. He rings
the bell.
EDWARD (O.S.)
It’s open.
INT. PENTHOUSE LIVING ROOM — MORNING
The Waiter wheels in a table of food, coffee, champagne and
orange juice. Edward dressed in suit pants, white shirt and
suspenders, stands in the living room talking into a cordless
phone. Edward points the Waiter to the dining table.
EDWARD
(into the phone)
Sorry. Go ahead.
INT. STUCKEY’S HOUSE — MORNING — INTERCUT
William Stuckey is behind his desk.
STUCKEY
Kross knows we’re after his
company. He wants to talk with
you. I don’t think you should.
INT. PENTHOUSE LIVING ROOM — MORNING
The Waiter returns. Edward signs the bill. The Waiter exits.
EDWARD
I want to.
STUCKEY
Edward, if the three of us sit
down together we might as well
announce our plans in the Wall
Street Journal.
EDWARD
I’ll see him alone. Everyone
knows you’re my muscle. We’ll
make it social. Tell Kross I’ll
meet him for dinner. Tonight if
you can arrange it.
STUCKEY
You shouldn’t go alone. He might
claim that you tried to black mail
him.
EDWARD
Bill, we’re businessmen, not the
damn mafia. I’ll see you in the
office. By the way, about your
car…
STUCKEY
Oh, god, what?
EDWARD
(smiling)
I’ll bring it back.
Edward hangs up. He pours a glass of orange juice and takes
a sip, thinking. Something makes him turn. Vivian, wearing
a monogrammed hotel terry robe, is standing uncertainly in the
bedroom doorway.
EDWARD
Good morning.
VIVIAN
You didn’t wake me. I’ll be out
of here in a minute.
EDWARD
No hurry. Would you like some
breakfast?
She’s hungry and the breakfast looks great.
VIVIAN
Only if you do.
Edward sits. Waits. Vivian sits across from him. Edward
serves them breakfast.
EDWARD
Did you sleep well?
VIVIAN
Yeah. Too good. I forgot where
I was.
EDWARD
Occupational hazard?
She looks at him sharply, sees that he means no offense,
relaxes.
VIVIAN
Where’d you go?
EDWARD
I took the couch. I had some work
to do.
(hesitating)
About last night…
VIVIAN
Oooh, Baby, you were the best.
I was beside myself.
EDWARD
Mmm, I could tell.
VIVIAN
I just hope it was worth three
hundred bucks.
EDWARD
I’d say you give a good dollar
value.
They share a small smile. They eat.
EDWARD
Do you ever… enjoy it?
VIVIAN
I like guys if that’s what you’re
asking. Not that I trust’m.
EDWARD
No? Why’s that?
VIVIAN
«Occupational hazard».
A moment. Edward chuckles. Vivian grins.
VIVIAN (cont’d)
what do you do anyway?
EDWARD
I buy companies.
VIVIAN
No shit. They expensive?
He almost smiles. She almost smiles back.
EDWARD
The one I’m buying this week will
cost around 150 million.
VIVIAN
… dollars?
He nods. This time Vivian is impressed.
VIVIAN (cont’d)
You are major league, baby. Your
mother must be very proud.
Edward is oddly pleased at her reaction.
INT. PENTHOUSE BEDROOM — DAY
The closet door is open. Edward reaches for a tie. In the
closet are about a dozen expensive looking suits, shirts, shoes,
etc. She follows him in.
VIVIAN
So what a ya do with the companies
once you buy’m?
EDWARD
(fumbling with the tie)
I sell them.
VIVIAN
What? Why?
She undoes his knot and starts over.
VIVIAN (cont’d)
At ease, let me do that. Part
of the all night services.
EDWARD
By breaking up a company’s assets
—
VIVIAN
What are assets?
EDWARD
Vivian —
VIVIAN
C’mon, I might buy a company some
day.
EDWARD
Assets are anything of value a
company owns. Sometimes the
pieces are worth more than the
whole. By selling them off, I
make a profit.
VIVIAN
Sorta like stealing cars and
selling’m for parts, huh?
EDWARD
Not… quite.
VIVIAN
There, see? Now the emblem is
right in the middle of the knot.
EDWARD
Where’d you learn to do this?
VIVIAN
(sarcastic)
I fucked the debate team in high
school. Tsk. I had a grampa.
He liked ties on Sundays. You
mind if I take a swim in your
bathtub before I hit it?
EDWARD
Don’t drown.
Vivian turns and heads toward the bathroom. He follows her
into the bathroom.
INT. PENTHOUSE BATHROOM — DAY
Vivian turns on the water in the tub. It fills the tub in a
torrential rush.
VIVIAN
You could hold a pep rally in
here!
The phone on the marbled bathroom wall suddenly rings. Edward
reaches for it.
EDWARD
(into the phone)
Yes.
INT. STUCKEY’S HOUSE — INTERCUT
Stuckey is walking around his desk.
STUCKEY
Edward, it’s me. Kross is all
set for tonight.
INT. PENTHOUSE BATHROOM — DAY
Vivian stares curiously at the bidet.
STUCKEY
Listen, I gotta say this again,
I don’t like you going alone.
She turns it on. The water hits her in the face.
EDWARD
(stifling a chuckle)
I’m a big boy.
There are lotions and shampoos and bubblebaths on the edge of
the tub. Vivian regards them like a kid in a candy shop.
STUCKEY
Let me at least get you a date.
Keep it social.
Edward watches as Vivian smells some bubble bath. She smiles.
Her eyes ask Edward if it’s okay to…? He nods.
STUCKEY
Edward, did you hear me?
EDWARD
I’m here.
STUCKEY
I know a lot of nice girls.
Vivian pours the bubblebath into the swirling water. There’s
something about the look on her face… the way she bites her
lower lip… curious, sensual…
EDWARD
I have one.
Edward hangs up the phone as Vivian curiously turns on the
television. The sound blares. She fumbles to turn it down.
Edward reaches over and turns it off.
EDWARD
All right. How much for the week?
VIVIAN
What?
EDWARD
I’m in town until Saturday.
She look at him like he isn’t speaking English.
EDWARD
Do-you-want-to-stay-here-
for-the-week?
It takes Vivian a moment to respond.
VIVIAN
It’d cost you.
EDWARD
Of course. How much?
VIVIAN
Five full nights… days too?
Edward nods. Vivian hesitates… it’s got to be enough to
really change things… She shoots for the moon again.
VIVIAN
Four thousand.
EDWARD
Vivian, may I point out five more
nights at three hundred a night
is only 1,500.
VIVIAN
But you want days too.
EDWARD
All right, two thousand.
VIVIAN
Three.
EDWARD
Done.
VIVIAN
Holy shit.
And then, quickly getting herself back together, she flips on
the sexy smile.
VIVIAN (cont’d)
Sugar, you got it. I will treat
you like a prince. Anything,
anyway you want.
EDWARD
I’m not just talking about sex.
VIVIAN
Look butthead, I’ll treat you so
nice you’ll never want to let me
go, okay?
EDWARD
Three thousand for five days.
And Vivian, I will let you go.
INT. PENTHOUSE BEDROOM — MORNING
Edward comes out into the bedroom. Vivian quickly follows.
They move through the bedroom into the living room.
EDWARD
I’ll be out most of the day.
He reaches into his pocket for a money clip. He peels off
bills. He hands the cash to Vivian.
EDWARD
I want you to go out and buy some
decent clothes.
Vivian’s eyes go wide at the amount of money.
EDWARD
Nothing too flashy, not too sexy.
Conservative. Understand?
INT. PENTHOUSE ENTRANCE WAY — DAY
They’re at the front door.
VIVIAN
Yeah, you want me to dress like
your high class girlfriend.
You’re wasting your money though.
All I’m gonna do is hang around
the hotel. As a matter of fact,
I may never get out of that
bathtub.
Edward opens the door, he starts to exit. He turns back.
EDWARD
Think again. I’m taking you out
to an important dinner with me
tonight.
The door closes in her face.
INT. OUTSIDE THE PENTHOUSE DOOR — DAY
VIVIAN (O.S.)
(from inside)
What? Are you crazy?
Edward smiles to himself.
EDWARD
Probably.
INT. PENTHOUSE BATHROOM — DAY
Vivian is stretched out in the hot bubble bath. The TV is on.
She clicks the remote control in her hand.
VIVIAN
Three thousand…
She lies back into the soapy water and disappears. She suddenly
pops back up, laughing.
VIVIAN
Three thousand!
A thought occurs to her. She reaches for the cordless phone.
She dials. She waits. She is about to disconnect when the
phone is answered.
KIT (O.S.)
‘Lo.
VIVIAN
Kit! Where’ve you been?
KIT (O.S.)
I was asleep. You woke me. You
okay?
VIVIAN
Kit, listen, the guy last night,
the one in the Ferrari, I’m at
this hotel, the Regent Beverly
Wilshire, it’s this absolutely
unbelievable place and he’s hired
me for a whole week and Kit,
listen, he’s paying me three
thousand bucks! We can get out
of the apartment. We can get out
of this town. We can do anything!
(silence)
Kit? Hey, you there?
KIT (O.S.)
Why’d he want you?
That hurts. Perhaps because Vivian’s been wondering the same
thing.
VIVIAN
He… he just does.
KIT (O.S.)
I’m sorry, Viv’. Carlos has been
on my back.
(a beat)
Did you get the money up front
like I taught ya’?
VIVIAN
Three hundred for last night and
he gave me extra to buy some
clothes. Now listen, I’m gonna
leave an envelope for you at the
front desk.
Give me two hundred to the scum
bucket and the other hundred to
that asshole landlord for part
of the rent. Spend it on drugs
and I’ll pull your hair out.
KIT
I’m getting dressed now. I’ll
be over. Bye.
VIVIAN
Hey Kit, where do I go for the
clothes? Good stuff on him.
KIT (O.S.)
(brightening)
In Beverly Hills?
VIVIAN
Yeah.
KIT (O.S.)
Baby! Rodeo Drive.
INT. HOTEL LOBBY — DAY
Vivian comes out of the elevator and crosses the lobby. She
is back in her hooker clothes. She leaves an envelope at the
front desk.
MR. THOMAS, the prim, middle-aged hotel manager, steps out from
his office. He stares in surprise and displeasure as he sees
Vivian exit out the front door. Vivian doesn’t notice the odd
stares she gets from two well-dressed MIDDLE-AGED WOMEN who are
just entering.
EXT. RODEO DRIVE — DAY
Vivian is looking wide-eyed and delighted and yes, more than
a bit overwhelmed. She passes store windows… and MORE STORE
WINDOWS… and still MORE STORE WINDOWS. Each display is more
beautiful and expensive than the one before.
Vivian is also aware that she is getting odd looks. From
PASSERBY’S. Two beautiful dressed GIRLS her own age look at
her, turn away and giggle. The uniformed GUARDS that stand at
attention in front of many of the stores, stare at her
suspiciously.
Feeling more and more uncomfortable, Vivian comes to a posh
woman’s boutique. She hesitates for a moment. She enters.
INT. BOUTIQUE — DAY
Vivian is no sooner in the door than she is subject to the
disapproving stare of a SALESWOMAN standing behind the counter.
SALESWOMAN
(cooly)
May I help you?
VIVIAN
I’m just looking, thanks.
Vivian tiptoes through the shop as if it was filled with
delicate glass objects. She cautiously examines a dress. The
Saleswoman quickly comes around the counter and approaches her.
SALESWOMAN
Are you looking for something in
particular?
VIVIAN
Yes. Something… conservative.
SALESWOMAN
Yes…
Vivian eyes the Saleswoman, puzzled at her tone. She examines
a dress.
VIVIAN
You have beautiful things.
(no reply)
How much is this?
SALESWOMAN
I don’t think it would fit you.
VIVIAN
(beginning to get the
drift)
I didn’t ask if it would fit.
I asked how much it was.
SALESWOMAN
It’s very expensive.
Vivian’s body tenses as she stares at the Saleswoman.
VIVIAN
What is with you?
SALESWOMAN
(unblinking)
Excuse me?
VIVIAN
I’m going to spend money.
SALESWOMAN
I don’t think we have anything
for you here. You’re obviously
in the wrong place.
Vivian is speechless. She turns and stomps toward the door.
She stops and spins around staring at the Saleswoman. Vivian
flips her off. She throws the door open and storms outside.
The Saleswoman calmly strolls back to her counter and returns
to her place.
EXT. RODEO DRIVE — DAY
Vivian comes out onto the street and stands, lost. She takes
a deep breath, trying to control herself. Two WOMEN, in elegant
designer outfits, stroll by, eyeing Vivian as if she were a
freak. Vivian suddenly feels naked. She turns and hurries
away.
INT. HOTEL LOBBY — DAY
Vivian enters the lobby, upset, nervous and paranoid. She feels
an emptiness in her stomach at the sight of all the luxury
around her. She hurries toward the elevators.
At the front desk, Mr. Thomas, once again spots her. He crosses
the lobby and deftly cuts her off from the elevator.
MR. THOMAS
May I help you Miss?
Vivian stops, practically shaking with terror.
VIVIAN
I’m just going to my room.
MR. THOMAS
You’re a guest here?
VIVIAN
I’m — I’m with a friend.
MR. THOMAS
And who is that?
VIVIAN
I… Edward…
Vivian’s face is filled with confusion. She doesn’t know his
name. The elevator doors open behind them. She spots the
Operator.
VIVIAN
(blurting it out)
He knows me.
Mr. Thomas turns and eyes the Operator curiously. The Operator
looks back at them innocently. With a smooth gesture Mr. Thomas
waves the Operator over.
MR. THOMAS
Do you know this young lady?
The Operator nods.
OPERATOR
She’s with Mr. Harris.
MR. THOMAS
(surprised)
Mr. Harris?
OPERATOR
She apparently joined him last
night.
Mr. Thomas waves the Operator away.
MR. THOMAS
Why don’t you come with me. We’ll
chat for just a moment.
He takes Vivian gently but firmly by the arm and leads her off.
INT. HOTEL OFFICE — DAY
In a richly furnished office, Mr. Thomas places Vivian in a
comfortable chair and then leans against the edge of his desk.
MR. THOMAS
What’s your name?
VIVIAN
Vivian.
MR. THOMAS
Miss Vivian… things that go
on in other hotels don’t happen
at the Regent Beverly Wilshire.
Vivian says nothing.
MR. THOMAS (cont’d)
Mr. Harris, however, is a very
special customer. And we like
to think of our special customers
as friends. As a customer, we
would expect Mr. Harris to sign
in any additional guests. But
as a friend, we’re willing to
overlook it, I’m assuming you’re
a… relative?
Vivian finds herself nodding.
MR. THOMAS (cont’d)
I thought so. You must be his…?
VIVIAN
Niece?
MR. THOMAS
Of course. Naturally when Mr.
Harris leaves, I won’t see you
in this hotel again.
Vivian bites her lower lip, nods.
MR. THOMAS (cont’d)
Good. We understand one another.
(as a gentle
afterthought:)
I would also encourage you to
dress in a more appropriate
manner.
Vivian’s face screws up as she tries hard not to cry.
VIVIAN
That’s what I was trying to do.
She can’t help it, the tears come. Vivian pulls out the money
Edward gave her. She drops it on the desk. It’s a moist-
looking wad now.
VIVIAN (cont’d)
I was trying to get some other
clothes… but…
they wouldn’t… they made me feel
like shit…
She can’t go on. Mr. Thomas politely glances at the money.
He unfolds it, smoothes it and hands it back to her. He sighs.
He picks up the phone. He dials.
MR. THOMAS
(into the phone)
Women’s clothing.
(beat)
Bridget, please.
Vivian is staring at him.
MR. THOMAS (cont’d)
Bridget, hello, this is Barnard
Thomas over at the Regent Beverly
Wilshire. Well, thank you, that’s
flattering. I’d like to ask a
favor of you. I’m going to send
someone over. Her name is Vivian.
She’s a guest of ours. A very
special guest.
He glances at Vivian. With those simple words, he’d made her
feel better.
MR. THOMAS (cont’d)
She’s from out of town and she
needs a little help in dressing.
Perhaps you could help her out.
Thank you very much. She’ll be
right over.
He sets the phone down and smiles patronizingly at Vivian.
MR. THOMAS (cont’d)
There you are. If you have any
other problems, come ask for me
personally. I’m Mr. Thomas.
VIVIAN
Barney.
She smiles mischievously.
EXT. FORT OF LOS ANGELES — DAY
A sleek corporate helicopter flies over the port.
EXT. BUILDING ROOFTOP — DAY
Edward, Vance, Stuckey and Jake walk toward the building’s
edge. They look out over the empty shipyard as Vance describes
it.
VANCE
Okay… this is the jewel in
Kross’s crown. We can strip out
all the heavy equipment. Some
of the cranes are very valuable
overseas. The Japanese are
salivating for them.
STUCKEY
Prime industrial property
straddling the Port of Long Beach
and Los Angeles. It gives me a
hard-on.
Edward points toward one of the edges of the shipyard.
EDWARD
What’s that long building over
there?
JAKE
Storage, I think.
EDWARD
Not with those smokestacks it’s
not.
VANCE
Let me check.
Vance pulls out a notebook.
JAKE
The real estate possibilities
are endless. Most of the yard
we’ll just level. I talked to
a couple of developers, under the
table, of course, and they said
—
EDWARD
You what?
JAKE
I talked to some developers about
the land.
STUCKEY
What kind of an idiot are you?
You don’t talk about this to
anyone.
JAKE
They’re close friends, they’d
never breathe a word —
STUCKEY
(to Vance)
Where did you dig this moron up?
VANCE
He’s right, Jake, that was an
incredibly stupid thing to do.
It won’t happen again, Edward.
I’ll pull him off the project
immediately.
EDWARD
Don’t bother.
STUCKEY
What!?
EDWARD
We don’t have the time to bring
someone new up to speed.
Besides…
(not unkindly, to Jake)
You’ve already impressed everyone
you need to, haven’t you?
JAKE
It won’t happen again, Mr. Harris.
Vance has found what he was looking for in his notebook.
VANCE
This is interesting. That
building is storage now, but it
used to be a smelting plant. They
closed it down after World War
II.
EDWARD
I want our lawyers to check into
the toxic waste licences on them
right away. I want to know if the
permits are still valid and what
kind of limits are on them.
STUCKEY
Jesus, yes. It’s a long shot but
if the permits are still in
effect, they’re worth a fortune.
He turns away. The other follow Edward back toward the
stairs.
EDWARD
What time’s diner tonight?
STUCKEY
Eight o’clock. Kross is bringing
his son. Very bright kid, watch
yourself with him. Who’s this
girl you’re taking?
EDWARD
No one you know.
INT. SAKS — SECOND FLOOR — DAY
The elevator opens and Vivian walks out and surveys the room
nervously. She walks toward the women’s clothing section.
BRIDGET, a large friendly woman, spots her and quickly
approaches.
BRIDGET
You must be Vivian.
Vivian nods.
BRIDGET (cont’d)
Let’s look at you…
She steps back, regards Vivian with a professional eye.
BRIDGET (cont’d)
Where are you from, dear?
VIVIAN
(pause)
Georgia.
BRIDGET
No wonder. For starts, you should
know that hot pants are horrid,
even when you do have the legs
to carry them off. What are your
plans while you’re in town?
VIVIAN
Well… I might be going out to
dinner.
BRIDGET
You’ll want a cocktail dress
then. Turn. You have a beautiful
figure. A little too out in the
open but simply lovely. Size six?
Do you need shoes?
VIVIAN
I dunno. Do thigh high, leather
boots go with a cocktail dress?
BRIDGET
(calling out)
Philip! We’ll need shoes!
Bridget leads Vivian towards the racks of clothes. She pulls
out a dress.
BRIDGET
Your uncle will like this.
VIVIAN
He’s not really my uncle.
BRIDGET
They never are, dear.
INT. HOTEL LOBBY — LATE AFTERNOON
Mr. Thomas is behind the desk. He looks up. Vivian is standing
there, a happy look on her face. She holds up a garment bag.
VIVIAN
I got a dress.
MR. THOMAS
(dryly)
I rather hoped you’d be wearing
it.
VIVIAN
I didn’t want to get it messed.
I got shoes too. Wanna see?
MR. THOMAS
That’s all right. I’m sure
they’re quite lovely.
VIVIAN
They were real nice to me there.
They treated me, y’know… nice.
Thanks, Barney.
Mr. Thomas tries not to wince at the familiarity.
MR. THOMAS
You’re very welcome, Miss Vivian.
She smiles at him. He watches as Vivian turns and walks toward
the elevator. The provocative way her hips move just naturally
attracts the attention of a MALE PASSERBY. And the white gloved
ELEVATOR MAN literally leaps to press the elevator button for
Vivian who rewards him with a happy smile. Mr. Thomas sighs.
INT. PENTHOUSE — LATE AFTERNOON
The phone is ringing Vivian enters. She hurries to pick it up.
VIVIAN
Hello?
The phone keeps ringing — it has more than one line. Vivian
frantically punches buttons.
VIVIAN (cont’d)
Hello? What? Hello?
INT. STUCKEY’S OFFICE — LATE AFTERNOON — INTERCUT
Edward is in a private office.
EDWARD
Never answer the phone. Ever.
VIVIAN
Tsk, believe me, this will be the
last time.
EDWARD
Did you buy some clothes?
VIVIAN
I got a dress, yeah.
EDWARD
Just one? Christ… I hope it’s
appropriate.
VIVIAN
It’s very tasteful. I think
you’ll especially like the zipper
in the crotch.
(silence)
I’m — joking.
EDWARD
Let’s hope so. You’ll get some
more clothes tomorrow. I’ll be
pushed for time so meet me in the
hotel lobby at seven forty-five
sharp. Got it?
VIVIAN
No, I don’t «got it». Even the
farmboys back in Georgia come to
the door when they’re taking you
on a date.
EDWARD
This isn’t a date.
VIVIAN
Go by yourself then. Where you
taking me anyway?
EDWARD
The Rex.
VIVIAN
Any good?
EDWARD
I think you’ll approve.
VIVIAN
… all right. I’ll meet you in
the lobby. But only cause you’re
paying me to.
EDWARD
Thank you very much.
Vivian slowly sets the phone down. The phone rings again.
Vivian, very carefully, punches the flashing button and picks
it up.
VIVIAN
Hello?
EDWARD
I thought I told you not to answer
the phone.
VIVIAN
Oooh!
Edward hangs up. He smiles to himself.
Vivian bites her fingernails, looking nervous. The doorbell
RINGS. Vivian looks up, startled. She rises, moves to answer
it.
It’s the Spanish MAID. She nods politely at Vivian.
MAID
Housekeeping. I come to turn
down the bed. 5:00, I turn down
the bed.
VIVIAN
What?
The Maid points to her hotel badge, trying to explain.
MAID
Housekeeping. I come to turn
down the bed.
VIVIAN
Okay.
The Maid enters.
VIVIAN
Is there a trick to it?
INT. PENTHOUSE BEDROOM — LATE AFTERNOON
The Maid turns down the bedspread.
VIVIAN
Is that all? You just fold back
the bedspread?
MAID
I also place las chocolates on
the pillow.
VIVIAN
Oooh, I love those.
MAID
I leave extras, miss.
VIVIAN
Thanks! Consuelo, are all rich
people so lazy they can’t do this
on their own?
Consuelo shrugs.
INT. HOTEL LOBBY — LATE AFTERNOON
Mr. Thomas is still behind the desk, working when a soft voice
startles him.
VIVIAN
Barney.
He looks up. He sighs. Vivian still hasn’t changed.
MR. THOMAS
What is it, Miss Vivian?
VIVIAN
Edward is taking me to some fancy
place for dinner. The Rex. Ever
been there?
MR. THOMAS
It’s a bit beyond my… range,
shall we say.
VIVIAN
Yeah, mine too. Is it like,
y’know, normal?
MR. THOMAS
I think you’ll find it normal
enough.
VIVIAN
Will I like it?
MR. THOMAS
You’ll like it fine.
VIVIAN
Okay. Thanks, Barney. You’re
the best.
She turns away.
MR. THOMAS
Just mind which fork you use.
Vivian turns abruptly back, a horrified look on her face.
VIVIAN
Fork?
INT. HOTEL DINING ROOM — LATE AFTERNOON
CLOSE ANGLE — PLACESETTING
An elegant formal placesetting complete with a myriad of
different size forks, spoons, stacked china plates and crystal
glassware.
ANGLE ON MR. THOMAS AND VIVIAN
sit across from one another at a fully set table.
MR. THOMAS
In fifteen minutes I can teach
you everything you need to know
to dine with the Queen. First,
as you pick up the knife you shift
your fork to the left hand.
VIVIAN
But I always eat like this.
MR. THOMAS
Either you’re European or badly
brought up.
VIVIAN
Hmmm… I vonder vich.
(giggles)
MR. THOMAS
Actually, some of the richest
people I know have the worst
manners. Of course, Mr. Harris,
being of old money, knows his way
around a table. All right now,
pay attention please. Salad fork.
VIVIAN
What if they serve soup?
MR. THOMAS
They will serve salad.
VIVIAN
But what if they serve soup?
MR. THOMAS
Then you use your soup spoon.
VIVIAN
(smiles)
I like steak.
MR. THOMAS
(picking up the
appropriate utensil)
Then you would use your—
VIVIAN
Steak spoon!
(laughs)
Mr. Thomas swallows his exasperation.
WE PULL BACK from their table to reveal the cavernous, empty
banquets room, each table is set and ready for the dinner
service.
MR. THOMAS
Miss Vivian —
VIVIAN
Maybe I’ll just order a burger,
Barney, that way I can eat with
my hands.
MR. THOMAS
Miss Vivian… there’s a salon
here in the hotel. Instead of
worrying unnecessarily about table
manners, why don’t you just have
your hair done instead?
VIVIAN
Professionally?
INT. SALON — LATE AFTERNOON
Vivian sits in a salon chair. The last customer, THANE, a
young man of about twenty with his long hair pulled back in a
pony tail, tilts her head one way and then another, eyeing her
professionally.
VIVIAN
I have a friend who has a friend
who does Cher’s wigs.
THANE
I hate him already.
(a beat)
All set?
VIVIAN
Yeah… what a ya say we chop
it all off and bleach the tips.
THANE
Darling? Trust me.
INT. HOTEL LOBBY — EVENING
Edward enters and looks around the lobby. No Vivian. Annoyed.
Edward crosses to a house phone and picks it up. He’s about
to dial when:
MR. THOMAS
Good evening, Mr. Harris.
Edward looks at him blankly.
MR. THOMAS
Barnard Thomas, manager of the
hotel.
EDWARD
Of course, yes. If you’ll excuse
me just a moment —
MR. THOMAS
I have a message for you from your
«niece», sir.
EDWARD
My what?
MR. THOMAS
The young lady staying in your
room?
Edward’s eyes narrow. He hangs up the phone.
EDWARD
I think we both know she’s not
my niece.
Mr. Thomas looks uncomfortable.
EDWARD (cont’d)
Does this hotel have any problem
with that?
MR. THOMAS
Mr. Harris, a guest of yours, is
a guest of ours and shall be
treated accordingly. The young
lady asked me to tell you that
she is waiting for you in the
lounge.
EDWARD
Thank you.
He starts towards the lounge.
MR. THOMAS
Very intriguing young woman, Miss
Vivian.
His tone stops Edward in his tracks.
MR. THOMAS (cont’d)
Have a good evening, sir.
And off he goes, leaving Edward to wonder what the hell
transpired during the afternoon.
INT. HOTEL LOUNGE — NIGHT
Edward enters the lounge. He looks around, not seeing Vivian.
And suddenly his eyes go back to… the beautiful girl with the
beautifully styled hair in the beautiful black cocktail dress
at the piano bar. Edward tries to hide his surprise as Vivian
rises, moves elegantly towards him. She smiles.
VIVIAN
You’re late.
Such a beautiful woman deserves an apology and so, without
thinking:
EDWARD
I’m sorry.
VIVIAN
You’re forgiven.
She waits expectantly. He holds out an arm. She takes it.
INT. REX RESTAURANT — NIGHT
Vivian comes out of the ladies room. She walks forward past
the MAITRE’D’S station. She stops. She takes a breath… and
then walks forward.
INT. REX — ANOTHER ANGLE — LOOKING DOWN
Vivian moves down a marble starircase, through the elegant
restaurant toward a far table. Her beauty and natural grace
draw approving stares. She is like a queen moving through a
ballroom.
At a secluded table, Edward sits in conversation with two men.
JAMES KROSS, in his early 70’s, a bulky self-made millionaire
industrialist. Sitting next to him is his son and second in
command, DAVID KROSS, a handsome man in his early thirties.
All of them rise as Vivian comes to the table. David Kross
holds out Vivian’s chair for her. Surprised, she nods her
thanks. In front of her is an enormous placesetting. She
smiles down at the utensils, filled with confidence.
Waiters have placed a delicate salad down in front of each of
them. Vivian proudly reaches for her salad fork. But then she
sees that Kross has picked up the fork closest to his plate and
is digging into his salad with that.
Vivian looks to see what Edward will do. He doesn’t seem
interested in eating yet. Neither does David Kross. Feeling
a sudden panic, Vivian puts her fork down.
KROSS
So young man, I understand you
are trying to take over my
company.
A moment. The abruptness of the question takes Edward back for
a moment. But then he almost smiles.
EDWARD
Please don’t patronize me, Mr.
Kross. Our ages mean nothing
here.
Kross and David look at each other.
DAVID
Mr. Harris, we know you’ve
purchased at least twenty percent
of our stock. We also know you
plan to file a formal bid for a
majority share.
EDWARD
Twenty-five percent.
KROSS
Mr. Harris, I built Kross
Enterprises myself. I know every
man who ever worked there by his
first name. I know their wives…
and their children. If your
intention is to take over my
company and turn it into a
glorified real estate deal, think
again.
Edward, thankfully, now reaches for his salad fork and begins
to eat. Relieved, Vivian picks up hers. They all eat for a
moment.
EDWARD
What do you suggest, Mr. Kross?
WAITERS approach, some to clear the salad plates, some to put
down the next course. Vivian, thinking she’s got to finish,
quickly stuffs her mouth with the rest of her salad. She is
reluctant to let the Waiter take her fork.
KROSS
What would it take to buy our
stock back? Name your price.
EDWARD
To get me in a mood to sell —
double what I paid. But your
company doesn’t have enough
capital right now to buy anything.
DAVID
We’re on the verge of closing
a large navy contract. Double
is ridiculous but we can assure
you a healthy profit on your
shares. We would give you a
promissory note…
EDWARD
You’re not getting any navy
contracts.
Vivian can see that both father and son are stunned by this
news.
DAVID
There’s no way you could know
that.
EDWARD
But I do know. I also know your
lines of credit are over-extended.
If I don’t buy your company,
someone else will…
(looking up)
Ah, the escargot.
Escargot are put down in front of everyone. Vivian stares at
them dubiously. She picks up what she assumes is the next
«right» fork. She picks up a snail. The two do not fit.
Flustered, she doesn’t know what to do. No one else seems to
be eating. And now a Waiter comes and places escargot forks
at each place. Vivian picks it up with a sigh of relief.
VIVIAN
(softly, to the Waiter)
Scume me, what are these things?
WAITER
(bending to whisper)
Escargot, mademoiselle.
EDWARD
(leaning close to
whisper)
Snails.
Vivian stares at them, horrified. She, like James and David
Kross, no longer seem interested in eating. Edward eats with
pleasure.
EDWARD
Mr. Kross, I’m not here to sell
you my stock. On the contrary,
I’m here to buy yours.
KROSS
(angry)
You’ve got a lot of nerve.
EDWARD
No. What I have is a lot of
money.
KROSS
I know all about you, Mr. Harris.
When you buy companies, they have
a way of disappearing. Even the
pension funds are stripped clean.
The last three companies you took
over were cut up in so many
pieces, widows were left without
their retirement checks.
EDWARD
(calmly)
What I did with those companies
was perfectly legal.
KROSS
I don’t question the legality
of what you do. It’s your
morality that makes me sick. I
will not allow my company to be
raped by a man like you.
EDWARD
(angry now)
It is not your company. It’s a
public company. And I am going
to acquire it. Either I buy from
the other stock holders, or I buy
from you.
Vivian struggles with her escargot.
EDWARD (cont’d)
I would suggest that you and your
board cooperate with me, rather
than fight a battle you don’t have
the ammunition to win.
Vivian suddenly ZINGS her snail across the table. Everyone
looks to her.
VIVIAN
Slippery little suckers…
Kross rises.
KROSS
If you’ll excuse me young lady,
Mr. Harris…
(turns to David)
Deal with this, David, you know
where we stand. I need to go
someplace and puke.
He rises. He exits.
DAVID
(to Edward and Vivian)
Men like my father built this
country. He was no saint. He
screwed people. But for every
guy he stepped on, he gave a
hundred a good job.
Edward is silent.
VIVIAN
He seems like a nice man.
David looks at Vivian as if seeing her for the first time.
EDWARD
We can reach an understanding on
this.
DAVID
I don’t think so. You should
know we’re going to fight you with
every resource we have.
EDWARD
Do what you have to do. I don’t
take it personally.
DAVID
I do. I take it all very
personally.
(to Vivian)
Very nice meeting you, Vivian.
David Kross gets up and leaves. Vivian and Edward sit in
silence.
EDWARD
(a beat)
And that’s the way the game is
played.
VIVIAN
Some game. Screwin’ some poor
slob out of his retirement.
Edward says nothing. But Vivian can see she’s hit a nerve.
VIVIAN
Snails for dinner. No wonder
everybody is in such a bad mood.
A Waiter appears at the table.
WAITER
Are we ready for the next course,
sir?
EDWARD
No. Bring a check, please.
INT. PENTHOUSE LIVING ROOM — NIGHT
Edward’s face is pensive and thoughtful as he stares out of
the glass window down at the city lights. He quickly drains
his champagne glass. Vivian moves to stand next to him.
She refills his glass from the bottle.
EDWARD
Thank you.
He drinks. Silence.
VIVIAN
You’re upset, huh?
EDWARD
Upset. No. I never get upset
about business.
VIVIAN
You liked the guy, though.
EDWARD
Whether I liked him or not is
irrelevant. It’s business.
There’s no emotion involved in
business… if you want to
survive.
VIVIAN
(excited)
We’re the exactly the same! Kit
keeps telling me don’t get
emotional when you turn tricks
— that’s why no kissing — it’s
too personal.
The key is like you’re saying,
stay numb, don’t get involved —
when I’m with a guy, I’m a robot,
I just do it.
(realizing what she’s
saying and quickly
recovers)
Except with you. At your price
I give my all…
Edward laughs.
VIVIAN (cont’d)
Let’s not talks about this heavy
stuff. Come on, relax.
Vivian comes up behind him. She begins to rub his shoulders.
EDWARD
That… is very good.
A moment. Edward is silent. Turns him, unknots his tie,
unbuttons his collar.
VIVIAN
Know what we’re gonna do in a
little while then? We’re gonna
call Domino’s and have’m deliver
a bigass pizza. We’re gonna eat
it in bed. We’re gonna veg’ out
and watch television.
EDWARD
Television?
VIVIAN
Yeah, it’s this box, it has
pictures, sound. You don’t have
to use your brain at all.
EDWARD
I have work to do.
VIVIAN
Uh-uh. No work.
Smiling, she softly kisses his throat.
VIVIAN (cont’d)
See… what you haven’t figured
out yet…
She kissed his neck. She fumbles with his belt.
VIVIAN (cont’d)
Is that while you’re the boss
everyplace else… I’m the one
in charge here.
She kisses his chest.
VIVIAN (cont’d)
You… just think you are.
She starts to kneel down. He stops her. They stare at one
another for a moment. He releases her. She smiles. She
starts to undress him.
INT. PENTHOUSE BEDROOM — MORNING
Vivian is asleep. She turns over, slowly waking. Her hand
goes out to touch Edward and encounters nothing but empty bed.
Vivian comes awake with a sudden start. She look around
momentarily frightened, not sure where she is. Sighing with
relief, she lies back down. She sees Edward’s American Express
card on the pillow next to her.
EDWARD (O.S.)
Wake up, Vivian. Time to shop.
Edward comes out of the bathroom and moves toward the bed.
He is tying his tie. Vivian sits up and ties it for him. He
smiles at her.
EDWARD
I still don’t understand why you
only bought one dress.
VIVIAN
I wasn’t as much fun as I
thought it was going to be.
EDWARD
Why not?
VIVIAN
Well, you know those cold bitches
that work in those stores and try
to intimidate you? It works.
EDWARD
Was someone rude to you?
VIVIAN
I had a little problem in one
store. I wasn’t dressed right.
I don’t know what to say. I don’t
belong there. Maybe I’ll just
go back to Bridget. She was cool.
EDWARD
Vivian, you belong wherever you
are. I don’t care how you were
dressed, they were the ones who
were wrong, not you.
Edward sits on the bed.
EDWARD (cont’d)
People aren’t going to respect
you unless you respect yourself.
(a beat)
The next time someone is rude to
you, you stare at them right here.
He softly touches her, right between the eyes.
EDWARD (cont’d)
It’s an old trick I use,
especially with bankers. Works
every time. Will you try it?
VIVIAN
(confidently)
Okay.
EDWARD
Good.
VIVIAN
(a beat)
Come with me?
Edward looks at his watch. Vivian covers it with her hand.
VIVIAN
Please.
INT. BOUTIQUE — DAY
A beautiful, chic women’s shop. The haughty SALESGIRL
approaches Vivian near a rack of dresses. Edward hovers in the
b.g.
VIVIAN
(nervous)
Hello. Can you help me?
The Salesgirl looks Vivian up and down. A Pause. Vivian gives
her «the stare» and straightens up. We see the Salesgirl’s
reaction change.
VIVIAN
(confidently)
I’m looking for a dress, nothing
too flashy, not too sexy,
conservative. In a size six.
SALESGIRL
(uncomfortable under
Vivian’s stare)
Do… do you have a charge
account with us?
Vivian smiles and draws out Edward’s American Express card.
The Salesgirl nods and quickly moves to a rack of dresses to
find Vivian’s size.
INT. BOUTIQUE — DAY — IN A SERIES OF CUTS
Vivian tries on different clothes under Edward and the
Salesgirl’s supervision.
Vivian comes happily out of the dressing room wearing a low
cut, spangled and fringed outfit. Edward shakes his hand. The
Salesgirl holds a classic tweed ensemble over Vivian’s outfit.
Vivian scowls.
VIVIAN
(sighing)
I look like fucking Nancy Reagan.
INT. BOUTIQUE — ANOTHER ANGLE
The Salesgirl shows Edward clothes by Ann Taylor. He turns
to find Vivian happily holding up a tiny, low cut leather dress.
Edward shakes his head in mock disapproval. Vivian scowls.
INT. BOUTIQUE — ANOTHER ANGLE — LATER
Vivian is wearing an elegant pastel dress. Edward is standing
at the store’s bar, watching and talking on the telephone.
INT. STUCKEY’S OFFICE — DAY — INTERCUT WITH EDWARD
Stuckey and Vance are pouring over stock reports, talking to
Edward on the speaker phone.
VANCE
Kross came out of his corner
swinging. He started buying up
all available stock as soon as
the market opened.
EDWARD
(almost to himself)
He’s a tough old son of a
bitch…
Edward is watching Vivian. She pulls the hem of her skirt up
to mid thigh. She looks hopefully over to Edward. Edward
shakes his head.
VANCE
It’s up to ten and a quarter.
EDWARD
Offer nine and a half. Bring
them back down to earth.
STUCKEY
Goddamit! Where is he getting
the money to fight?
EDWARD
Someone’s loaning it to him.
Get on it right away.
STUCKEY
Our contract guys are working
on the Kross pension funds.
There’s another forty million
there. We can bleed’m dry.
There is a sudden hesitation in Edward’s eyes. He watches as
Vivian tries on a hat. She preens for him. He smiles.
EDWARD
(to Vance & Stuckey)
Put the pension funds on hold
until I say otherwise.
STUCKEY
(surprised)
We’re letting them slide?
EDWARD
I want the treatment plant
licenses to be top priority right
now.
STUCKEY
But, Edward…
EDWARD
Do it.
Edward hangs up and takes a long look at Vivian. She moves
to him.
EDWARD
(looks at his watch)
You’re on your own now, Vivian.
I’ve got to get to work. Be
sensible and you can keep
everything. Spend too much and
it all goes back.
Vivian hugs him again.
EXT. RODEO DRIVE — DAY
Vivian walks along Rodeo Drive. She looks lovely in the pink
dress and new, white shoes. A pretty, white hat is the final
touch. She carries a bag containing her old clothes. She stops
at a trashcan and ceremonially throws the offending items away.
INT. TORIE STEELE BOUTIQUE — SHOPPING MONTAGE
We SEES Vivian in each department within the store with
different SALESPEOPLE. She happily and confidently tries on
a variety of dresses, hats, shoes, accesarries, etc.
1) Vivian is in a dressing stall. She tosses a dress out
to a waiting SALESWOMAN.
VIVIAN
Not me!
2) A SALESWOMAN holds a long, purple evening gown.
VIVIAN
(imitating Bridget)
Horrid!
3) Vivian is admiring a pair of beautiful suede dress pumps.
Her attention is drawn to the SALESMEN’S exotic hand-painted
tie.
VIVIAN
Where’d you get your tie?
4) Vivian stands in front of an enormous tie rack with the
Salesman, a dozen wild, swirling designed ties are hanging over
his outstretched arm. Vivian picks out the brightest one and
smiles.
EXT. RODEO DRIVE — DAY
Vivian’s arms are filled with clothing boxes and bags. She
feels like she owns the block. A well-dressed MAN passes by,
smiling politely. Vivian’s nose lifts as she happily ignores
him.
Suddenly Vivian stops. She’s about to pass the shop she was
thrown out of. Vivian takes a breath and enters the shop.
INT. BOUTIQUE — DAY
Vivian enters. The moment she steps through the door, Vivian’s
courage leaves her.
The saleswoman is waiting on a CUSTOMER.
SALESWOMAN
(to the customer)
Isn’t this lovely? I think it
would look wonderful on you.
Vivian musters her courage. She takes a deep breath and starts
forward.
SALESWOMAN
(to her customer)
Would you like to try it on?
VIVIAN
‘Scume me.
Both the saleswoman and her customer look up. The saleswoman
smiles pleasantly.
SALESWOMAN
Yes?
VIVIAN
Do you remember me?
SALESWOMAN
No, I’m sorry, I don’t.
VIVIAN
I was in here yesterday.
Vivian slowly raises her middle finger. The recognition starts
to dawn in the saleswoman’s eyes. Vivian’s courage begins to
return.
VIVIAN
Yeah. That’s right. It’s me.
I want you to know something.
You made me feel terrible. I
wasn’t dressed right and you said
I didn’t belong here. Well, I
do. You’re the one that was
wrong, not me. And I want to tell
you something else. I’m never
gonna shop here again as long as
I live.
And with that, Vivian turns and walks out.
The saleswoman is stunned. A beat. The customer thrusts the
dress into the saleswoman’s arm as if offended by Vivian’s
speech and leaves the store also.
INT. HOTEL LOBBY — DAY
Mr. Thomas looks up from the desk. And stares. Vivian and a
BELLHOP stroll through the hotel entrance and across the hotel
lobby to the elevator. The bellhop’s arms are packed with boxes
and shopping bags. Mr. Thomas can’t help it. He smiles to
himself.
INT. PENTHOUSE LIVING ROOM — DAY
Vivian opens the front door for the Bellhop who carries in her
packages. She motions for him to place them on the couch. He
does. Vivian happily tips him with a five dollar bill. He
exits. The door closes.
VIVIAN
Wheee!!!
Vivian does a giddy spin and falls onto the couch.
INT. BROKERAGE HOUSE MEETING ROOM — DAY
Stuckey enters. Edward is standing at the end of a long
meeting table. He is serving himself coffee from a tray.
STUCKEY
(gloating)
You were right. Kross mortgaged
everything he has down to his
grandson’s college tuition to
secure loans from a bank. Not
just any bank. One we do business
with.
Edward just sips his coffee.
STUCKEY (cont’d)
It goes without saying that your
business means a great deal more
to them than our friend Kross’s.
(a beat)
All you have to do is make a call.
Edward is silent. Stuckey is again surprised.
STUCKEY
Excuse me for saying this but what
is wrong with you this week?
First, you go soft on the pension
funds. Now, you’re giving him
the chance to get away? As of
two minutes ago, you are committed
to the tune of over fifty million
dollars —
EDWARD
Come on, Bill, don’t talk to me
about how much money’s involved.
It’s my money.
STUCKEY
And some of it’s mine. Edward,
his jugular’s exposed.
Edward hesitates. Then:
EDWARD
Get the bank on the phone for me.
INT. PENTHOUSE — EVENING
Edward enters. He closes the door. He turns. And stops. A
beautiful, candlelit, food laden table has been set up in the
middle of the room. Champagne and wine chills in a bucket.
A fire burns in the fireplace. Music is playing.
VIVIAN (O.S.)
Hi.
Edward turns. And stares again. Vivian stands in the bedroom
doorway. She is wearing an exquisite silk dressing gown. She
looks incredibly beautiful.
VIVIAN
I thought maybe you’d like dinner.
EDWARD
Thank you. I would.
(he fingers her dressing
gown)
Nice.
VIVIAN
Wait till you see what I have
on underneath.
EDWARD
Please.
She opens the dressing gown. What she has on underneath is
absolutely nothing. Edward crosses to her. Taking her in his
arms, he lifts her up and kisses her breasts.
VIVIAN
What about dinner?
EDWARD
Dinner can wait.
INT. PENTHOUSE BATHROOM — NIGHT
The bathroom is lit by candles. Vivian and Edward are in the
marble tub. Vivian sits behind Edward. She lazily washes his
shoulders and back with a large sponge.
VIVIAN
You always been rich?
EDWARD
No.
VIVIAN
Seems like it. I guess it’s easy
to get used to, huh?
EDWARD
Easier than learning how to be
poor.
(a moment; and then:)
My father’s family was wealthy.
When I was young there were cars
and houses, private schools,
nannies. But then my father
divorced my mother to marry
another woman. And he took his
money with him.
Silence.
VIVIAN
Keep talkin’. I like hearin’.
EDWARD
Not much to tell. I went to
public school. Went to
university on scholarship. Went
to work for an investment firm.
In eight years I owned it.
(and then; growing very
quiet)
My father was chairman of the
board of the third company I ever
went after. I swallowed that
company and shit out the pieces.
One of the pieces was him.
Vivian softly traces small patterns on Edward’s shoulders with
a finger.
VIVIAN
You still mad at’m?
EDWARD
He died a long time ago.
She gently rests her head on his back.
EXT. HOTEL ROOM — DAY
PANNING BELLIES People are sunbathing by the pool.
Overweight… lobster red… old and stretch-marked… fishy
white… and then gorgeous. The gorgeous is Vivian. She is
wearing a miniscule bikini and sunglasses.
WAITER (O.S.)
Miss Vivian?
She looks up. A young WAITER, looking a little dry-mouthed at
the sight of her, is holding a telephone.
WAITER
You have a call. Mr. Harris.
VIVIAN
(taking the phone)
Hi, baby.
(a moment)
I’ll be ready. Bye.
She hangs up. She looks at the Waiter, confused.
VIVIAN
What do you wear to polo?
EXT. THE LOS ANGELES EQUESTRIAN CENTER — LATE AFTERNOON
Horses and riders crash and careen on the playing field. An
enthusiastic crowd cheers.
DOWN OFF THE EDGE OF THE FIELD
a tailgate party using Cadillacs and Rolls Royces is in
progress. Horses and riders thunder by a crowd of very
well-dressed, successful-looking people — celebrities, execs,
socialites, aficionados — most of whom ignore the game. They
are there to see and be seen much more than to watch a polo
match.
EXT. EQUESTRIAN CENTER — LATER AFTERNOON
Vivian and Edward make their way towards the party. Edward is
wearing his new tie. Vivian is looking very chic and beautiful
in one of her new outfits. Not that it’s helping — the place,
the people, the wealth — everything here suddenly has her
overwhelmed. She suddenly stops.
VIVIAN
You’re really pushing it,
bringing me here.
EDWARD
I think it’s exciting.
VIVIAN
What id we run into someone I
know?
EDWARD
I really doubt anyone here
frequents Hollywood Boulevard.
VIVIAN
You did.
A VOICE calls out.
STUCKEY (O.S.)
Edward!
They turn. William Stuckey is with a group of people. He waves
them over.
STUCKEY (cont’d)
Come on! Over here!
Edward takes Vivian’s arm and leads her forward.
EXT. EQUESTRIAN CENTER — LATE AFTERNOON
Stuckey grins and shakes Edward’s hand.
STUCKEY
(looking at Vivian)
Well, well, well…
Vivian dislikes this guy on sight. Dislikes the frosty looking
woman at his side.
EDWARD
Bill, I’d like you to meet Vivian.
STUCKEY
(holding out a hand;
smiling)
Bill Stuckey, Vivian. My wife,
Elizabeth.
VIVIAN
Hi.
Elizabeth Stuckey stretches her thin lips in a cold smile.
STUCKEY
Lots of fun people here. Let me
get you two some champagne.
He moves quickly away.
ELIZABETH STUCKEY
Excuse me.
She moves to greet someone else. Vivian and Edward survey the
milling CROWD.
VIVIAN
(sarcastic)
Real genuine guy.
EDWARD
He’s good at what he does.
VIVIAN
You could freeze ice on his wife’s
ass. She anything like your ex?
EDWARD
(a small smile)
Shall we mingle?
EXT. EQUESTRIAN CENTER — ON THE FIELD — LATE AFTERNOON
A goal is scored.
IN A SERIES OF CUTS
Edward watches and guides her, Vivian sips champagne and meets
and chats and wins over different PEOPLE.
EXT. EQUESTRIAN CENTER — ANOTHER ANGLE — LATE AFTERNOON
A group of PEOPLE.
WOMAN
I simply love your dress, Vivian.
VIVIAN
This old thing?
WOMAN
Of course, a figure like yours
can wear anything. You must work
out constantly.
VIVIAN
I lead a very physical life.
OLDER MAN
Are you into running, Vivian?
VIVIAN
I’m into walking. I walk a lot.
EXT. EQUESTRIAN CENTER — ANOTHER ANGLE — LATE AFTERNOON
In another group of PEOPLE.
ANOTHER MAN
You look awfully familiar, Vivian.
Haven’t we run into one another
at the spa in La Costa?
VIVIAN
Well, I do often spa there.
EXT. EQUESTRIAN CENTER — ANOTHER ANGLE — LATE AFTERNOON
Edward and Elizabeth Stuckey watch Vivian laugh and chat with
a group of WOMEN.
ELIZABETH STUCKEY
Edward, she’s marvelous. Warm
and witty and down to earth.
EDWARD
(with pleasure)
She is, isn’t she.
ELIZABETH STUCKEY
So unlike your usuals. Where on
earth did you find her?
Edward smiles enigmatically. Taking an hors d’oeuvres off a
passing WAITERS’s tray, he starts forward.
EXT. EQUESTRIAN CENTER — ANOTHER ANGLE — LATE AFTERNOON
A WOMAN
We’re good together. He has to
admit it. I’ve been just what
he wants me to be. I say the
right things, I know the right
people, I give wonderful parties.
No question, no arguments, no
embarrassments. It works for both
of us.
That makes Vivian think. And then she smiles as she sees Edward
approaching. Vivian moves to him.
VIVIAN
Edward, these women here, I don’t
think any of’m like the guys
they’re with. They’re just into
it for the money.
EDWARD
I’m sure that’s true for some of
them.
VIVIAN
I thought I was the pro. These
women make me feel like an
amateur.
EDWARD
(a beat)
Ready to stomp sod?
EXT. EQUESTRIAN CENTER — ON THE FIELD — LATE AFTERNOON
IN A SERIES OF SHOTS TO MUSIC
The CROWD engages in sod stomping. They drink champagne. They
make a dance out of it. They laugh. Shoes get stuck in the
mud. It’s ludicrous — these people in their suits and fancy
clothes, replacing divots and stepping over the horse shit.
In a corner of the field, grazing horses stare, seemingly in
disbelief.
Vivian is having a wonderful time. And then, as she moves
towards the outside of the crowd she sees someone staring at
her from over among some of the riders and grazing horses.
David Kross smiles at Vivian. She hesitates… and then she
crosses towards him.
EXT. EQUESTRIAN CENTER — ANOTHER ANGLE — LATE AFTERNOON
DAVID KROSS
Hi.
VIVIAN
Hi. I never thought stomping
in grass could be so much fun.
DAVID
(laughs)
I like your hat.
VIVIAN
Huh? Oh… yeah. S’okay?
(pleased; a moment)
Uhm… how’re… business things
going.
DAVID
Let’s not talk about it, it’s too
depressing. Come on, I’ll show
you Thunder.
VIVIAN
Please, we hardly know each other.
DAVID
Thunder’s a horse. Come on.
EXT. EQUESTRIAN CENTER — ANOTHER ANGLE — LATE AFTERNOON
They approach the sweating mount. David Kross caresses the
horses muzzle.
DAVID
Hey, big guy, you getting tired,
yet? I am. This is Vivian.
(a beat; and then:)
You two been together long? You
and Edward?
VIVIAN
No.
DAVID
Hope to be?
To Vivian’s surprise, the question causes a pang inside.
VIVIAN
It’s… it’s not like that.
DAVID
I see. Well. Maybe that means
you’d have lunch with me sometime
then.
Vivian is suddenly silent. She looks away.
DAVID (cont’d)
I’m sorry, am I being too forward?
VIVIAN
You don’t know anything about me.
DAVID
I’d like to find out. You don’t
know anything about me either.
That’s why people have lunch.
But something holds Vivian back, a feeling.
EXT. EQUESTRIAN CENTER — IN THE CROWD — LATE AFTERNOON
William Stuckey turns… stops… stares. He sees Vivian and
David Kross standing together. He stares, his mind racing, and
anxious, angry look on his face.
EXT. EQUESTRIAN CENTER — LATE AFTERNOON
Stuckey has Edward off to the side. He is talking to him in
a low, earnest voice.
STUCKEY
Fill me in on this. How’d you
and Vivian meet?
EDWARD
We just did.
STUCKEY
(grinning)
Come on, you can tell me. I sure
would like to know where a guy
runs into a girl as attractive
as this.
EDWARD
The night I left your house, I
was lost. I was looking for
directions.
STUCKEY
And you just happened to run into
her. Great. What’s she do? She
work?
EDWARD
Yes…
STUCKEY
Doing what?
EDWARD
Vivian’s in sales.
STUCKEY
Sales, really? That’s great.
What does she sell?
Edward’s eyes narrow.
EDWARD
Why do you want to know?
STUCKEY
Hear me out. I’ve known you a
long time. I see a difference
in you this week. Like that tie.
I’m suddenly wondering if this
girl’s not the difference.
Especially when I see her talking
with David Kross.
EXT. EQUESTRIAN CENTER — ANGLE ON VIVIAN
Vivian turns away from the bar, now holding two glasses of
champagne. She scans the crowd for Edward.
EXT. EQUESTRIAN CENTER — ANGLE ON EDWARD AND STUCKEY
EDWARD
She met him at dinner last
night… I like this tie.
STUCKEY
So now they’re best friends?
Edward, this girl appears out of
nowhere and now I see her talking
to a guy whose company we’re
trying to buy. It’s too
convenient.
EDWARD
You’re being ridiculous.
STUCKEY
Industrial espionage is not
ridiculous. Edward, how do you
know she hasn’t attached herself
to you so she can bring Kross back
information?
EDWARD
Christ, Bill, she’s not a spy,
she’s a hooker. I picked her up
off Hollywood Boulevard.
EXT. EQUESTRIAN CENTER — ANGLE ON VIVIAN
as she hear loud sudden LAUGHTER. She turns. She sees that
it’s Stuckey laughing. Smiling, Vivian starts towards them with
two glasses of champagne.
EXT. EQUESTRIAN CENTER — ANGLE ON STUCKEY AND EDWARD
STUCKEY
I swear to God, you are the only
millionaire I ever heard of who’d
go looking for a goddam bargain
streetwalker!
Edward sees Vivian coming.
EDWARD
Let’s drop it, shall we?
Edward turns. He smiles gently as Vivian quietly approaches
and hands him his glass of champagne.
A group of BUSINESSMEN are standing a short distance away.
One of them calls out:
MAN
Edward! May we have your opinion
on something?
EDWARD
(to Vivian and Stuckey)
Excuse me a moment.
He moves to join the group of men. Stuckey gives Vivian a
broad smile.
STUCKEY
Having a good time, Vivian?
VIVIAN
Yeah. Thanks.
STUCKEY
All this must be quite a change
from Hollywood Boulevard.
Vivian looks as if she’s been struck.
VIVIAN
What?
STUCKEY
It’s okay. Edward told me. Your
secret’s safe with me.
Stuckey runs his hand up her arm.
STUCKEY (cont’d)
What do you charge, Vivian?
Maybe you and I could get together
after Edward leaves.
VIVIAN
(forcing a bitter smile)
Yeah. Sure. Why not. Call me
at the Regent Beverly Wilshire.
STUCKEY
I just might do that.
He moves away. Vivian turns. Edward looks up from his
conversation, sees her looking at him. He smiles, raises his
glass in a small toast. A moment. Vivian toasts him back.
INT. PENTHOUSE — NIGHT
They enter. Edward switches on a light. Vivian comes down the
steps into the room. Edward follows after her.
EDWARD
You’re awfully quiet. You haven’t
said a word since the party.
As Edward touches her shoulder, Vivian suddenly spins and
explodes with anger.
VIVIAN
You asshole! I can’t believe what
a —!
EDWARD
Vivian, what the —
Tears well in Vivian’s eyes as she yells at him.
VIVIAN
Clean the slut up, take her out,
huh?! What are you trying to
prove!? I’m not a piece of meat
for you to offer to your friends!
EDWARD
I don’t know what you’re talking
about.
VIVIAN
I’ve been with stinking old men
who’ve made me want to puke but
I’ve never had anyone make me feel
as dirty as you did tonight.
EDWARD
Would you please calm down. Tell
me what happened.
VIVIAN
Stuckey! He wants an
«appointment» with me after you
leave. You my pimp now or did
he think that up on his own?
Edward looks guiltily away.
EDWARD
What was I supposed to do?
(a beat)
I told the truth. Why should the
truth upset you? It’s not as if
you’re from a convent.
VIVIAN
I want my fucking money. I’m
getting out of here. I don’t want
anything more to do with you.
EDWARD
Can we talk about this? Can you
just try to calm down?
VIVIAN
Your goddamned friend, he thinks
the only reason I’m with you is
for the money.
A tear falls from Vivian’s eyes.
VIVIAN
(defiantly)
Well, it’s true. Just pay me
what you owe me and I’m gone.
EDWARD
Vivian…
VIVIAN
Pay me! Before I pick up this
chair and smash your face in.
EDWARD
Fine. I’m only here a couple
of more days and I’m not going
to spend them fighting with you.
VIVIAN
Fuck off.
EDWARD
I’ll call you a cab. If you want
the clothes, pack them up.
Vivian stands quietly for a moment. And then she turns and
walks into the bedroom.
INT. PENTHOUSE BEDROOM — NIGHT
Vivian starts roughly picking up her clothes in the dim light
of the bedroom. As she does she starts crying. With each item
of clothing the tears come down harder. Edward appears at the
doorway. His face is genuinely concerned.
EDWARD
Vivian… I’m sorry. I wasn’t
prepared for questions about us.
It was an idiotic and insensitive
thing I did. I should have known
that it would hurt you.
VIVIAN
I’m not hurt. It doesn’t hurt
you when somebody pisses on you,
it just pissed you off.
EDWARD
I really am sorry.
Vivian lets the clothes fall from her arms. Sobbing, she stands
limply.
VIVIAN
You hurt me.
Edward goes to her and wraps his arms around her shoulders.
She touches his hand. He sits on the bed. He pulls her to him
and wraps his arms around her, holds her tight.
EDWARD
I’ll make it up to you.
INT. BROKERAGE HOUSE — DAY
Edward, carrying a briefcase, moves jauntily down a long
hallway. Stuckey trails after him.
STUCKEY
This is no time to disappear.
We’re in too far.
EDWARD
Bill? Stop panicking. Kross
isn’t going anywhere and I don’t
need to spend the rest of the day
watching his stock go down. I’ll
be in the office tomorrow.
STUCKEY
Promise me you’ll read those
contracts by then.
EDWARD
Goodbye, Bill.
Stuckey stops. He calls after Edward.
STUCKEY
Shit… By tomorrow, Edward!
Edward hurries on.
EXT. REGENT BEVERLY WILSHIRE — DAY
Edward exits out of his limo and walks to the front doors.
INT. HOTEL LOBBY — DAY
Edward smiles, moving jauntily to the elevators. Mr. Thomas
at the front desk notices Edward’s happy mood.
MR. THOMAS
Good afternoon, Mr. Harris.
EDWARD
Afternoon.
Edward’s attention is taken by the glittering jewelry display
in the hotel jewelry store window. He detours from the
elevators and moves to the window for a closer look. He thinks
a moment and enters the jewelry store.
INT. PENTHOUSE — AFTERNOON
Vivian comes out of the bedroom into the living room wearing
an elegant red sequined evening dress. She looks incredibly
beautiful. She sees the phone. A thought occurs to her and
going to it, she picks it up. Waits.
VIVIAN
C’mon, Kit…
No answer. She hears someone at the door. She hangs up.
Edward enters. He is carrying a small case. He stops at the
sight of Vivian.
VIVIAN
Do I look okay?
EDWARD
(a small smile)
Hmm… let’s see… no, there’s
something missing.
He holds up the small case.
VIVIAN
What’s that?
EDWARD
I don’t want you to get too
excited… these are on loan…
however…
Vivian’s jaw drops. Edward is holding a diamond and ruby
necklace in his hands, holds it as if it might melt if he
breathed too hard. Edward behind Vivian, fastens the
necklace around her neck.
EDWARD
This is made for a princess.
I think she’d approve of you
wearing it tonight. There.
Come look.
He leads her to a mirror. She stares at her reflection.
VIVIAN
Edward, I can’t.
EDWARD
Shush. Of course you can.
VIVIAN
What if I lose it?
EDWARD
You won’t.
VIVIAN
What if someone tries to steal
it?
EDWARD
I’ll guard them and you with my
life.
EDT. BURBANK AIRPORT — DAY
A limo pulls onto the tarmac at Burbank Airport. A PILOT in
a leather jacket and sunglasses hurries forward to open the limo
door. Edward — now wearing evening clothes — and Vivian climbs
out of the limo.
PILOT
Your plane is ready to go, Mr.
Harris.
EDWARD
Very good.
VIVIAN
Plane?
Taking her arm, Edward leads her across the tarmac.
EDWARD
You don’t want to go all the way
to San Francisco in a limousine,
do you? I don’t.
VIVIAN
Where are you taking me!?
EDWARD
To meet some friends. Rudolpho,
a poet… Benoit, a landlord…
Mimi, a flower maker…
VIVIAN
Huh?
EDWARD
The opera.
Up ahead is a waiting private jet, its engines already HUMMING.
She is speechless. Edward grins, loving the look on her face.
EXT. BURBANK AIRPORT — DAY
The corporate jet takes off down the landing strip.
INT. CORPORATE JET — DAY
Edward and Vivian are alone in the passenger lounge of the jet.
Vivian can’t believe the cabin. It is a comfortable room
featuring a long couch that curves across two walls, built in
bar, television and stereo. Edward is once again, going over
papers.
VIVIAN
I’ve never been on a plane
before.
EDWARD
I’m glad you like it. Now be
quiet, I’ve really got to read
these.
Vivian fluffs her hair up. She makes a happy, excited growling
sound — Rrrrr! A wicked gleam comes to her eye.
She walks over to Edward and stands in front of him. He looks
up. She parts the thigh high slit in her gown to expose silken
quarters. She begins to unfasten the garters one at a time.
EDWARD
Vivian, what do you think you’re
doing?
Edward watches silk stockings slide down Vivian’s lovely legs.
VIVIAN
Being quiet.
She reaches out and gently caresses Edward’s face. Edward sets
down his papers.
EXT. SAN FRANCISCO — SUNSET
The setting sun casts an incredibly glow over the city and the
coast.
VIVIAN (O.S.)
You ever been in love with
anyone?
INT. CORPORATE JET — SUNSET
Vivian is at the window, looking out. She carefully puts her
earrings back on. She stares, mesmerized by the skyline, the
golden gate bridge in the distance. She turns. Edward is
buttoning his shirt. He is silent.
VIVIAN
Sorry. You’re not paying me to
ask you question like that.
EDWARD
Vivian. I’m paying you to be
you. Be you.
(a beat)
Have you? Ever been in love with
anyone?
VIVIAN
You mean, besides Elvis?
(turning back to the
window)
I’m a human being. Sure. Once.
First time I ever ran away from
home, I got as far as Atlanta.
I met this boy. He’d been with
his parents on their way to
Chicago. They stopped at a gas
station. He went to the john.
When he came back they’d split.
We sorta started looking out for
each other. Aw, he was sweet.
And boy, was he good looking,
y’know, dark hair and eyes.
The chicken hawks were on him all
the time. He hated that.
Sometimes we’d find a safe place
to crash nights and we’d curl up
together and we’d talk about all
these crazy things. The two of
us getting married someday.
Having kids. Stupid stuff.
EDWARD
What happened to him?
A moment. Vivian shrugs.
VIVIAN
My father found me. Dragged me
home. I don’t know why, he never
seemed to like me much when I was
there.
(a bitter smile)
‘Cept when he was drunk, then he
liked me a whole lot.
(a moment)
I made it back to Atlanta a year
later. Andy was gone.
Silence. Vivian stares out the window.
VIVIAN
Aw, but things sure look fine
when you’re sitting way up high.
Edward moves close to Vivian and putting an arm around her
shoulders, stares with her out at the view. Vivian rests her
head against him.
EXT. SAN FRANCISCO OPERA HOUSE — NIGHT
An airport limo pulls to a stop in front of the San Francisco
Opera House. The DRIVER walks around back and opens the
passenger door. Edward emerges and helps Vivian out.
INT. S.F. OPERA HOUSE LOBBY — NIGHT
Edward puts his hand on Vivian’s elbow as they walk through
the elegant lobby.
EDWARD
Some people say that opera is an
acquired taste, but I don’t
believe it. You can always tell
when someone goes to the opera
for the first time. They either
love it or hate it. Those who
love it will always love it; those
who hate it might come to
appreciate it, but they’ll never
truly love it.
Vivian is wide eyed as they walk past a beautifully lit
fountain with several graceful statues in its center.
Everywhere she looks she sees elegantly dressed WOMEN and
prosperous looking MEN. It makes her nervous. Without
realizing it, she raises a protective hand up to her necklace.
She looks as if she suspects someone is going to step up and
steal it.
EDWARD
Viv? I really doubt if anyone
here is going to try and grab it.
Vivian reluctantly lowers her hands.
INT. S.F. OPERA HOUSE LOBBY — ANOTHER ANGLE — NIGHT
A crowd of PEOPLE mill around the lobby, heading toward their
seats. Vivian is aware of the looks she draws as she passes
— curious, even envious looks from the WOMEN, appreciative
glances from the MEN. Her hands again rises nervously to her
necklace.
EDWARD
They all think you look very
beautiful, Vivian.
Vivian gives him a grateful look. Relaxing, she lowers her hand
from the necklace. With a flourish, he offers his arm. She
takes it. They start forward.
INT. S.F. OPERA HOUSE BOX — NIGHT
Edward and Vivian take their seats in a box high above the
stage.
VIVIAN
If it’s in Italian, how will I
know what they’re saying?
EDWARD
I’ll whisper some of the main
parts of the story to you. But
you’ll be surprised how much you
understand. The music conveys
the story more powerfully than
any words.
VIVIAN
But don’t they have it in
English?
EDWARD
Vivian, don’t be afraid of what
you don’t know. That’s the fun
of it.
The lights dim.
VIVIAN
(resigned)
Okay. Even if I hate it, I’m
glad you brought me.
The orchestra begins to play. Vivian’s eyes focus intensely
on the stage, as if a new world is about to be revealed to her.
INT. S.F. OPERA HOUSE STATE — NIGHT
IN A MONTAGE OF IMAGES AND MUSIC — LA BOHEME is performed.
The lights from the stage dance across Vivian’s face. Edward
leans over to translate the tenor’s aria.
EDWARD
What am I? I am a poet. Not
a man of wealth but one rich in
dreams. You have come to replace
my vanished dreams. I dwell now
only in your eyes.
The MUSIC ebbs and swells. The sets and costumes change. The
story continues.
Edward again leans close to Vivian.
EDWARD
And now she asks Rudolpho if he
still thinks her beautiful —
Vivian raises a hand and gently covers Edward’s mouth. Her eyes
are fixed on the stage. She doesn’t need his help.
The emotions building inside Vivian swell as the music is
reaching its tragic climax. Her lips tremble. Her eyes fill
with tears. Edward glances at her. He studies her a long
moment, watching the emotions play unashamedly across her face.
Strangely moved, he takes Vivian’s hand.
As the opera ends, they are both swept away by it.
INT. S.F. OPERA HOUSE BOX — NIGHT
As the lights come up, Vivian wipes off her tear-ruined
mascara. She sighs, happy. The WOMEN in the next box smile
at her.
OLDER WOMAN
Did you enjoy the opera, dear?
VIVIAN
(tearfully)
It was so beautiful I just about
pissed my pants.
Edward smiles at the now shocked looking Older Woman and he
and the still misty Vivian exit.
INT. CORPORATE JET — NIGHT — LATER
Edward and Vivian sit side by side.
EDWARD
If you’d gone on about how much
you liked it, I’m not sure I’d
have believed you.
VIVIAN
I more than liked it.
EDWARD
I know. I’m glad.
VIVIAN
Did you?
EDWARD
Yes. I’ve never enjoyed it more.
Thank you.
Vivian looks at him a moment. And then, leaning slowly forward
she kisses him gently on the mouth. He looks at her surprise.
He puts his arms around her and kisses her back. It is the
first time they’ve kissed and they make it very special.
EXT. CORPORATE JET — NIGHT
The plane flies in the night. Back to L.A.
INT. REGENT BEVERLY WILSHIRE PENTHOUSE BEDROOM — NIGHT
IN A SERIES OF CROSS FADES Edward and Vivian make love.
Equally giving, equally taking. No masks, no shields.
INT. PENTHOUSE BEDROOM — NIGHT — LATER
In the darkened bedroom, Edward and Vivian lie together.
Edward cradles Vivian. Her back rests against his chest. His
arm is over her body.
She takes Edward’s hand in her hands and carefully examines
it; marveling at the fingers, the tiny hairs on the back. She
gently kisses the palm.
VIVIAN
Love you…
She clutches Edward’s hand tightly to her breast. She closes
her eyes, ready to sleep now.
INT. PENTHOUSE BEDROOM — ANGLE ON EDWARD — NIGHT
His eyes open. Vivian’s whispered endearment has filled with
him with sudden confusion and uncertainty. He stares into the
dark, wondering what to do with the woman in his arms.
INT. PENTHOUSE — OUTDOOR PATIO — MORNING
The phone rings. Edward immediately reaches out and picks it
up. He is dressed in a robe. Breakfast is on the umbrella’d
table in front of him.
EDWARD
Yes?
INT. STUCKEY’S HOME — LIBRARY- MORNING — INTERCUT
Stuckey, not even dressed yet, paces around his desk.
STUCKEY
Did I wake you?
EDWARD
I’m up.
STUCKEY
I had to call. I jus got off
the phone with James Kross. Get
this. He wants to see you.
Today.
EDWARD
Why?
STUCKEY
He wouldn’t say. Edward… I
think we got him. His nuts are
on the block and we got him.
(silence)
You there?
EDWARD
Give me twenty minutes.
STUCKEY
We’ll be there. Listen, if he’s
really caving in, we’ll go from
there down to the office. I want
him to commit his stock to us this
morning.
Edward hangs up. His mind seems on other things. He rises.
INT. PENTHOUSE BEDROOM — MORNING
Vivian is still asleep. She is face down on the bed, the
sheets just covering her to her waist. Edward stares down at
her. He gently reaches out and runs a finger down the soft line
of her spine. Vivian murmurs contentedly.
VIVIAN
Mmm.
(opening her eyes;
looking at him)
Hi.
Edward smiles at her softly. And then:
EDWARD
Better get dressed. We’re having
guests.
INT. PENTHOUSE BEDROOM — DAY
Vivian is wearing her yellow dress. She stares at herself in
the bedroom mirror. Her hair… her make-up… she realizes
how different she is now, realizes that she likes it.
Edward comes out of the bathroom. He crosses to the closet
for a tie.
VIVIAN
Here. Let me.
She comes over, starts to tie his tie for him. He is very
aware of the closeness of her. She smiles at him. He smiles;
puts his hand on her stopping her for a moment. Looking up,
she sees that he is serious now; no more jokes. He releases
her hand.
EDWARD
(quietly)
One more night and you’re finally
rid of me.
VIVIAN
Yeah, you’ve been pretty tough
to take.
EDWARD
I have to go to New York
tomorrow.
Vivian says nothing.
EDWARD (cont’d)
But I’ll be back in Los Angeles.
Soon. I’d like to see you again.
I thought we could work out
something… An arrangement.
Vivian is silent.
EDWARD (cont’d)
I’ll get you an apartment, buy
you a car —
Vivian sighs, letting something go inside. Finished with his
tie, she turns away.
EDWARD (cont’d)
What is it?
VIVIAN
(not unkindly)
What else? You gonna leave some
cash by the bed when you pass
through town?
EDWARD
It wouldn’t be like that. I want
to get you off the street. You’ll
have a different kind of life.
What’s wrong with that?
VIVIAN
I’m sorry. That’s very sweet,
Edward, and I know you mean it…
She is silent.
EDWARD
Vivian, I’ve thought about this
a lot. This is the best solution.
VIVIAN
(shakes her head «no,»
then continues tying
his tie)
When I was a little girl, my
mother locked me in the attic when
I was bad, which was pretty often.
I’d stare out the window up there
and make believe I was a princess
trapped in the tower by the wicked
queen. Then suddenly a knight
on a white horse with his bright
colors flying would ride up.
Rescue me from the tower, and then
we’d ride off… but never, ever
in all the times I had that dream
did the knight say, «Come on baby,
I’ll put you up in a great condo.»
She finished his tie.
EDWARD
Vivian, life’s not a fairy tale.
VIVIAN
(softly; to herself)
I know.
(a beat)
Hey, don’t mind me. I’m being
stupid.
(more)
I’ll think about it, okay? It’s
a real good offer for a whore.
EDWARD
I’ve never treated you like a
whore.
VIVIAN
(not mean)
You just did.
The doorbell suddenly rings in the living room.
INT. PENTHOUSE LIVING ROOM — DAY
Edward enters the living room. Vivian slowly enters behind
him. Edward opens the front door. Mr. Kross slowly enters.
He looks very old and tired; so much so that Edward has to mask
his surprise.
KROSS
Mr. Harris.
EDWARD
How are you, Mr. Kross.
KROSS
Not bad for a man who hasn’t
slept in four nights. I’ll get
used to it.
An angry, reluctant looking David Kross is behind his father.
Stuckey brings up the rear. Edward and David give one another
perfunctory nod. Stuckey smugly winks at Edward. Edward closes
the door and leads them all down the stairs.
Vivian is very troubled at Kross’s appearance. He gently nods
at Vivian.
KROSS
Young lady.
VIVIAN
Hello.
(to David)
Hi.
DAVID
Hello, Vivian.
STUCKEY
Let’s not waste time here, shall
we? Mr. Kross, you said this
morning, you wished to speak with
Mr. Harris. Mr. Harris is now
listening.
Kross has to fight down his humiliation at Stuckey’s tone. He
turns to Edward.
KROSS
Yes. I’m here to tell you that
I’ve reconsidered my position on
your acquisition offer.
EDWARD
Expected… offer.
KROSS
Of course, yes. After the
expected filing period is over,
I’m going to recommend to the
board that we accept your bid.
EDWARD
(a moment)
You’re making the right decision,
sir.
Stuckey glances triumphantly at Edward. He is surprised to
see that there doesn’t seem to be any victory in Edward’s face.
Edward is silent. Kross interprets his silence as second
thoughts.
KROSS
I’ll see you on one condition.
I’m not so concerned for me but
the people who have worked for
me…
Vivian is disturbed watching this tired looking man.
STUCKEY
(quickly)
They’ll be taken care of. Won’t
they, Edward?
Kross ignores Stuckey. He looks to Edward. Edward slowly
nods.
KROSS
I’ll sign anything you want then.
STUCKEY
Today.
Kross nods tiredly. His voice is very soft.
KROSS
Today.
Vivian abruptly turns and disappears into the bedroom,
obviously upset. The men all watch her go. Edward hesitates.
He turns to Kross:
EDWARD
Excuse me, please?
He heads to the bedroom.
INT. PENTHOUSE BEDROOM — DAY
Vivian is sitting on the bed, on the phone.
VIVIAN
Hello. Is Kit DeLuca there?
When she comes in will you have
her call Vivian Wells at 560-30000.
Yes. Okay.
She hangs up as Edward comes in.
VIVIAN
What did you do to him?
EDWARD
What do you mean?
VIVIAN
Last time I saw him he was this
strong guy. Now he’s beaten.
And you liked him.
EDWARD
Vivian, I want you to listen to
me. The man realized that it
would be better for his future
and his son’s future, if he
cooperated.
VIVIAN
Right.
EDWARD
It’s not your concern. It’s…
business, that’s all.
VIVIAN
Business.
EDWARD
Yes. The man made a business
decision.
VIVIAN
It’s all just business to you.
Him. Me. Your life.
Everything’s business.
EDWARD
It’s what I do for a living.
It’s how I make money.
Silence.
EDWARD
I’ll be back in a few hours.
We’ll talk about this later.
INT. PENTHOUSE LIVING ROOM — DAY
Edward enters the living room. The men look at him
expectantly.
EDWARD
We’ll continue this down at the
office.
He heads for the door.
EXT. PENTHOUSE PATIO — DAY
Vivian stands at the railing, unhappily looking out at the city
beyond. The phone RINGS. She turns and hurries inside.
INT. PENTHOUSE LIVING ROOM — DAY
Vivian answers the phone.
VIVIAN
Lo?
INT. HOTEL LOBBY — DAY — INTERCUT
Mr. Thomas is standing behind the front desk, a rather strained
expression on his face.
MR. THOMAS
Barnard Thomas here. Miss
Vivian, I wonder if you might come
down to the front desk. There’s
someone here to see you.
VIVIAN
Me?
MR. THOMAS
I’d send them up, but sadly, I
don’t trust the young lady to find
you on her own.
A hand reaches out and wrenches the phone away from Mr. Thomas.
Kit, heavy make-up, skimpy outfit, chewing gum, cigarette and
all, keeps her voice just below a bellow.
KIT
Viv? Where are you, babe?
(glaring at Mr. Thomas)
The sphincter-police won’t let
me through.
INT. HOTEL LOUNGE — DAY
Kit finishes slurping on a big, frosty ice cream soda. She
smacks her lips like a happy, little girl. Vivian isn’t having
anything.
VIVIAN
Yes, I’m glad you’re clean but
I’ve been calling and calling.
KIT
Was that you?
VIVIAN
Who did you think?
KIT
Carlos. I still owe him two
hundred bucks…
VIVIAN
Kit, I left that money for you
days ago.
KIT
Yeah. I just got it.
An OLDER COUPLE walk past the table. They stare at Kit.
KIT
Fifty bucks, grampa. For
seventy-five, the wife can watch.
Horrified, the elderly couple hurry away.
VIVIAN
Kit…
KIT
Everybody keeps starin’ at me.
VIVIAN
Yeah… I know what you mean.
KIT
What do you know? You look good.
All dressed up.
(meaning it)
You clean up real nice.
(giggling)
You sure don’t fit in down on
the Boulevard, lookin’ like you
do. Not that you ever did anyway.
VIVIAN
You think I fit here where they
just about chew your food for you?
KIT
Where do you fit?
Vivian is silent, then.
VIVIAN
(suddenly)
I kissed him, Kit. On the mouth.
KIT
Honey, you’re not supposed to
do that.
VIVIAN
I know. I stopped pretending
and started liking it with him
for real.
KIT
Oh, my god, you mean it was good?
VIVIAN
(miserably)
It was great.
KIT
Dummy.
VIVIAN
He wants to set me up in a place,
give me some money.
KIT
I pray for that.
VIVIAN
(nods)
All I’m doing is feeling lousy
about it. I don’t know what to
do. What do I do, Kit?
KIT
Go for the bucks.
VIVIAN
I don’t care about bucks.
(a beat)
I might love this guy.
KIT
Wow, are you in deep shit.
(a sigh)
You know he’ll break your heart.
Vivian is silent again.
KIT (cont’d)
I blame myself here. First time
I laid eyes on ya’, I knew you
were too complicated to be a
whore.
Vivian nods. Her face is filled with confusion.
INT. BROKERAGE HOUSE — CONFERENCE ROOM — DAY
Edward stands at the window looking out. There is something
about his somber demeanor that both reflects the look we’ve just
seen on Vivian and suggests the way we saw him at the top of
the story.
Jake enters, a pile of papers under his arm. He begins laying
them out on the conference table.
JAKE
Congratulations, sir.
EDWARD
What?
JAKE
Mr. Kross is just getting off
the phone with his stock broker.
It’s finished. You’ve won.
Edward says nothing.
JAKE
Who are you going after next, sir?
EDWARD
Who indeed…
He turns as Stuckey, James and David Kross, and Vance enter
the room. They surround a conference table. Kross sits, the
papers laid out in front of him. Stuckey hands Kross a pen.
A SECRETARY lays out finger food. They wait for her to leave
before they speak.
STUCKEY
If we can get these letters of
intent out of the way now… Mr.
Harris and I would like to ask
you some questions about your
company.
DAVID
Dad, excuse me, but that’s
inappropriate. You’re under no
obligation to answer any questions
at all.
KROSS
Could we at least wait till after
the filing period?
Stuckey glances to Edward for help. Edward is silent; indeed
it’s as if something is twisting inside of him. Stuckey plunges
ahead.
STUCKEY
Mr. Harris is preparing a bid
based on our speculation of the
corporation’s net worth. The
price he ultimately pays for your
father’s stock will be based on
that bid. The more we know, the
higher our bid can be.
KROSS
It’s in my best interest to
cooperate, David.
DAVID
If he throws himself on your
sword, you promise to take care
of him and his family, huh?
David stares at him.
STUCKEY
That’s unfair!
DAVID
You bed it is.
(to Edward)
You’re everything he said you
were.
(to his father)
Do what you have to do, Dad.
Just don’t expect me to watch it.
He exits. A moment. Kross looks at Edward with a resigned
smile.
KROSS
He’s young. He hasn’t learned
how to lose gracefully yet. I’ll
sign your papers. And I’ll answer
your questions. Whatever you
want.
He sighs. He picks up the pen. He’s about to sign.
EDWARD
Stop. For just a moment.
(a moment)
Mr. Kross, I’d like to ask you
a few questions before you sign.
You realize that you’re a target.
If you weren’t mine, you’d be
someone elses, correct?
KROSS
Yes.
EDWARD
If you had a… reprieve, what
would do?
STUCKEY
(quickly)
I don’t think there’s any sense
in —
EDWARD
Let him answer.
KROSS
I… I would take advantage of
it.
EDWARD
How?
Kross looks uncertain. He gropes for an answer.
KROSS
I… I don’t know. There…
there wasn’t time…
EDWARD
I suppose you’d find out soon
enough that you have assets you
presently don’t seem aware of,
wouldn’t you? The waste
processing licenses at that
abandoned shipyard of yours, you’d
certainly find out about that.
Surprise suddenly flares in Stuckey’s eyes.
STUCKEY
Oh, my god… Edward, no!
EDWARD
I suppose you’d use them as
collateral on new loans, wouldn’t
you?
STUCKEY
Have you lost your mind?
KROSS
(to Stuckey)
Quiet.
(to Edward)
Would I get the loans?
EDWARD
This time I imagine you would,
yes.
(as if thinking about
it)
Hmm…
(a moment)
With all this in mind, Mr. Kross,
I can’t logically make a formal
bid on your company, can I?
KROSS
(a small smile)
You’d be initiating a financial
battle you’d ultimately lose, Mr.
Harris.
EDWARD
You’re very right. I think the
best thing we could all do is go
home.
STUCKEY
What!?
EDWARD
Have a good day, gentlemen.
He exits from the room. Stuckey follows.
INT. BROKERAGE HOUSE — DAY
Edward is walking down the hall. Stuckey comes out of the
office and calls after him.
STUCKEY
(calls)
Edward, what happened? What kind
of move was that?
Edward silently goes into the elevators. The doors close.
STUCKEY
(yells)
Dammit Edward, speak to me.
Stuckey heads back to the conference room.
EXT. OFFICE BUILDING — LATE AFTERNOON
Edward comes out of the building. His Chauffeur leaps to open
the limo door.
EDWARD
No… take the car back to the
hotel. I need to walk.
He sets off across Century Park East.
INT. PENTHOUSE — EVENING
Vivian is in the living room, pacing, edgy, the doorbell rings.
She turns. It rings again.
She opens it. Stuckey is standing outside with a small
briefcase. He looks agitated. He tries to hide it.
STUCKEY
Well, well… Hello again. I’m
looking for Edward.
Vivian just stares at him.
VIVIAN
Edward’s not back. I thought
he was with you.
Stuckey walks past her and down the steps into the living room.
STUCKEY
No, I’ll just have to wait then,
won’t I?
There is a bar set up. Stuckey sets his briefcase down. He
crosses to the bar.
STUCKEY (cont’d)
Mind if I have a drink?
VIVIAN
No.
He pours liquor in a glass. He fires it down. It seems to
calm him a bit.
STUCKEY
Do you want to know what he did?
Do you want to know what the crazy
son of a bitch did? He handed
the whole thing back to Kross!
On a silver platter. For no
reason! What was he thinking,
I mean, what was going through
his goddam head? Why?
(pours another drink)
What was all that benevolent
crap? What are we going to
become, a philanthropic
foundation? I’ll probably be the
director of several worthwhile
charities.
VIVIAN
I think it’s great.
Stuckey glares at Vivian.
STUCKEY
I bet. A lousy whore and you’re
the gum in a hundred million
dollar deal.
VIVIAN
(mocking)
Aw, come on, Bill. It’s just
business.
He looks at her a moment.
STUCKEY
But what do I know, maybe you’re
worth it. Come on, show me.
Let’s see your act.
He grabs her wrist.
VIVIAN
Get out!
STUCKEY
Don’t worry. I’ll pay for it.
What a you charge? Huh? Twenty,
thirty, fifty bucks, maybe? Are
you a fifty dollar whore?
He tries to kiss her and pulls her down on the couch on top
of him.
VIVIAN
Are you crazy?
She bites his hand. Stuckey slaps her. Vivian starts flailing
back. But Stuckey is too strong. Vivian staggers back at the
force of another slap. Stuckey slams her up against a wall and
starts rubbing up against her.
STUCKEY
You got a mean streak in you,
don’t you.
He tries to kiss her again.
STUCKEY (cont’d)
Is that what he likes about you?
Huh? Answer me!
And suddenly a HAND lands on Stuckey’s shoulder. Stuckey turns
his head, startled.
INT. PENTHOUSE — REVERSE ANGLE — STUCKEY’S P.O.V.
Edward, murder in his eyes, belts Stuckey across the room.
INT. PENTHOUSE — NIGHT — BACK TO SCENE
Stuckey falls on the ground. Edward rushes forward, berserk
with rage, to hit Stuckey again. His fist hits the top of
Stuckey’s head, hurting Edward’s hand more than Stuckey’s skull.
Vivian rushes out of room to bathroom. Again Stuckey tries
to rise. Edward kicks him in the butt, sends him headfirst into
the bar. Glasses and bottles CRASH to the floor. Stuckey again
tries to rise. And collapses. Edward rubs his fist. They’re
not used to this violence and both stare at each other panting.
STUCKEY
You broke my nose.
EDWARD
I think I broke my hand.
(a beat)
You’re fired.
STUCKEY
Edward, we’ve been together ten
years.
EDWARD
And I don’t like what we’ve
become. I’ll cover any losses
you have on this one. Now get
out, you asshole!
STUCKEY
All this because of that whore!
EDWARD
Yes.
Edward pushes Stuckey out the door and throws his briefcase
after him.
STUCKEY
Edward, think about what you’re
—
Edward slams the door in his face. Edward stands there,
reflecting on what he’s done.
EDWARD
(to himself, almost
proud)
Well, I didn’t plan that!
INT. PENTHOUSE BEDROOM — NIGHT — LATER
Edward holds an icepack to Vivian’s cheek.
VIVIAN
Why do guys always know how to
hit a woman? Right across the
cheek, wham, so it feels like your
eye is gonna explode. What do
they do, take you all aside in
high school and show you how?
It pisses me off!
EDWARD
Not all men hit. And no one is
going to hit you anymore.
VIVIAN
Right.
(softening)
You’re quite the Sir Galahad
today, aren’t ya’?
(a beat)
I heard what you did with Kross.
EDWARD
It was a business decision.
Vivian looks at him.
EDWARD
I got tired of hating my father.
VIVIAN
(a small smile)
It was good.
EDWARD
It felt good.
Edward looks on the bed at her suitcases.
EDWARD
You’re packing.
VIVIAN
(nods)
I’m leaving.
(a moment)
Don’t ya see? If I stay with
you like you want me to, there’ll
always be some guy, your friends
eve, treatin’ me like that…
thinkin’ they’re allowed to. What
are you gonna do, fight’m all?
No. I’ll take my money now,
please.
A moment. Edward reaches for his wallet. He counts out bills.
He places them in Vivian’s suitcase. He puts his arms around
Vivian.
VIVIAN
Aw, don’t… no…
EDWARD
Stay with me tonight. Not
because you’re being paid to.
Stay with me because you want to.
VIVIAN
I do. I do want to. That’s why
I’m leaving.
(turning to him)
That’s what you given me, see?
I know what I want now. I want
a guy like you for real. Not
because you buy me things and give
me money. The nicest thing you
ever done for me is hold my hand.
You gonna give me that?
Edward is silent.
VIVIAN
I didn’t think so.
EDWARD
Vivian…
VIVIAN
It’s not your fault. You’re
right. Kit’s right.
(looks him right in the
eye)
But I want the fairy tale.
INT. HOTEL LOBBY — EVENING
Vivian comes out of the elevators. A BELLMAN sees her and
springs forward, reaching for her bags.
BELLMAN
Let me take those, miss.
VIVIAN
Thanks.
Vivian sees Mr. Thomas behind the front desk.
VIVIAN
I’ll be out front in a minute.
I got a cab comin’.
The bellman moves away. Vivian walks to the front desk.
VIVIAN
Hi, Barney!
MR. THOMAS
(looking up)
Miss Vivian.
VIVIAN
Look I just wanted to say
goodbye.
MR. THOMAS
Mr. Harris doesn’t check out
until tomorrow.
VIVIAN
Yeah, well, I check out today.
MR. THOMAS
You’re not accompanying him to
New York?
VIVIAN
(lightly)
Come on, Barney, you and me live
in the real world.
(a beat)
You don’t know how to treat a girl
like anything but a lady, Mr.
Thomas.
MR. THOMAS
Certain ladies make that very
easy… Vivian.
(turning to the desk
clerk)
John, call a limousine for our
guest, please. Have it take her
anywhere she wishes to go. Bill
the hotel.
(turning back to Vivian)
See you again sometime soon.
Vivian smiles softly at him. She turns and walks for the door.
EXT. HOLLYWOOD BLVD. — DAY
A long silver limo drives down Hollywood Blvd.
INT. LIMO — DAY
The LIMO DRIVER pushes the button that rolls down the screen
between back and front seats.
DRIVER
You’re sure this is the right
street, ma’am?
VIVIAN
Yes. 1312. It’s a big apartment
building.
EXT. VIVIAN’S APARTMENT BUILDING — DAY
The limo pulls to a stop in front of a rundown apartment
building on a dirty Hollywood side street. The Limo Driver,
a large Latino man, steps out of the car and walks around to
the passenger door. As he does, he surveys the surroundings
uncomfortably. Ths is rough neighborhood. He opens the door.
Vivian steps out.
LIMO DRIVER
Maybe I should go with you. This
doesn’t look like a good place
for a lady to be alone.
Several PEOPLE pass. All of them stare at the car, at the
driver, at Vivian in her lovely clothes.
VIVIAN
I’ll be okay. I’m home. Thank
you.
The driver, confused, watches her hurry up the steps to the
apartment building. He drives off.
INT. APARTMENT LOBBY — DAY
Vivian walks toward her apartment. The Landlord is sitting
at the front desk in a dirty undershirt.
LANDLORD
Hey, we announce guests here.
You a relative of somebody?
Vivian lowers her sunglasses.
LANDLORD (cont’d)
Viv — is that you?
VIVIAN
Yeah, it’s me.
She keeps walking.
LANDLORD
You lookin’ good, Viv’. Nice
threads. I gotta find time to
shop.
INT. PENTHOUSE — DAY
Edward stands at the penthouse window, looking out. He is
dressed now, ready for travel. There is something about his
expression, his somber demeanor that suggests the way we saw
him at the very top of the story. A BELLMAN enters from the
bedroom, rolling a luggage loaded dolly along in front of him.
BELLMAN
Is that everything, sir?
EDWARD
(turning from the
window)
That’s everything.
The Bellman exits, closing the door behind him. The phone
rings. Edward crosses to it, picks it up. The Maid comes in,
looks around.
MAID
The lady, she go?
EDWARD
Yes. She go.
INT. HOTEL LOBBY — DAY
Edward with the Bellhop heads to the front door. He’s leaving.
BELLHOP
Do you have a car taking you to
the airport, sir?
EDWARD
Yes.
INT. VIVIAN’S APARTMENT — BEDROOM — DAY
Vivian, looking fresh scrubbed without make-up, is wearing
clean jeans, a nice looking shirt and a suit jacket. Her
bureau’s are open. She is packing. Kit is watching. She takes
the photo of her and Kit dressed up hot in hooker clothes and
packs it.
KIT
So whatta’ you going to do in
San Francisco?
VIVIAN
Get a job and probably go back
to school. Figure out what I’m
gonna be.
KIT
What kind of school?
VIVIAN
School, school. Regular. I used
to get pretty good grades in
school, you know.
KIT
So did I. I made it with the
principal.
(recites)
Study hard And get a «B.» Lift
your dress and an «A» you’ll see.
They both laugh but too hard.
VIVIAN
Want a pair of boots?
KIT
Do I!? Momma!
Taking them, she sits on the bed and puts them on.
VIVIAN
You sure you won’t come with me?
KIT
And leave all this? Not in a
million.
They laugh together.
KIT (cont’d)
What time’s your bus?
VIVIAN
Couple a hours.
KIT
Yeah. Well… I gotta split.
Goodbye’s make me crazy.
VIVIAN
Cool your jets a second.
(going to her purse)
Here’s some money.
KIT
No. You took care of rent,
that’s enough.
VIVIAN
I want to. For food, got it?
Eat something before the wind
blows you away.
KIT
I’m gonna pay you back next time
I see ya, babe. Just wait, I’m
gonna do something real nice for
you some day.
They hug.
KIT (cont’d)
Shit, I’m gettin’ all weepy now.
Kit begins backing out of the room.
KIT (cont’d)
Take care of you, okay? Take
care of you. Love ya…
Kit turns and hurries out of the apartment.
EXT. HOLLYWOOD BOULEVARD — DAY
Kit enters the falafel stand on Hollywood Boulevard.
INT. FALAFEL STAND — DAY
Kit enters, sits at the counter.
KIT
Coffee, Chan. And maybe a
grilled cheese on white, okay?
A very young GIRL is sitting just down the counter from Kit.
Kit nods at her.
KIT
Hey, how you doin’. You new,
huh?
GIRL
Yeah. Got a cigarette?
KIT
Sure.
She passes the girl down the pack. She strikes a match, lights
her cigarette for her. The girl inhales deep, lets it out with
a sigh. She looks towards the window.
GIRL
Jeez, did the wacko in the suit.
Kit turns to look.
KIT’S P.O.V. — HOLLYWOOD BLVD.
Outside, across the street, Edward has accosted two
PROSTITUTES; one blonde, one a red haired black one.
INT. FALAFEL STAND — DAY — BACK TO SCENE
Kit rises.
KIT
Chan? Keep the sandwich warm,
I’ll be back.
She heads out the door.
EXT. HOLLYWOOD BOULEVARD — DAY
Edward is still talking to the prostitutes.
EDWARD
I’m looking for a girl, Vivian,
young, dark hair, big eyes…?
They shake their heads.
EDWARD
She’s mouthy. Sort of
difficult…?
PROSTITUTE 1
Ain’t seen her, wouldn’t know
her.
PROSTITUTE 2
What’s wrong with us, man? Two
for the price a one, what ya say?
EDWARD
(disappointed)
Thank you. No.
They turn and walk away. Edward stands there, not knowing
what to do next. He looks discouraged and lost.
KIT (O.S.)
Edward Harris, as I live and
breathe!
Edward quickly turns to find Kit staring at him. Kit smiles,
triumphantly.
KIT (cont’d)
Yeah. Boy, you’re just like she
said.
She turns and starts away. She stops, turns back.
KIT (cont’d)
You comin’ or not? I don’t got
all day, I got a grilled cheese
waitin’.
Edward follows Kit.
INT. VIVIAN’S APARTMENT — DAY
Vivian sits on her bed, lost in thought. Her bags are packed,
ready to go. With a sigh she rises. She picks up the bags,
exits the room.
Vivian stands in the dreary living room, looking at it, taking
it all in for the last time. She suddenly looks more than a
little bit frightened to be leaving. She musters resolve. She
goes to the door, opens it and exits, closing it behind her.
Silence. Vivian suddenly comes back in. She puts down her
bags. She crosses to the kitchen where she takes coffee
can/piggy bank from the shelf. She puts some more bills into
it, places it back where Kit will find it.
She turns and starts again for the door.
She stops. She hears something. MUSIC. An aria from La
Boheme. Faint. Seemingly coming from nowhere. She dismisses
it — she’s hearing things. She opens the door. Stops. The
music is louder and getting louder now — it’s not her
imagination. She hurries over to the window.
EXT. VIVIAN’S APARTMENT BUILDING — DAY
Vivian comes out onto the fire escape. She stares in wonder.
A snow white limo comes up the street. A necktie has been tied
to the antennae like a knight’s token. The MUSIC from La Boheme
is BLARING from the car’s stereo. Edward is standing on the
car’s seat, his head and body up through the open sunroof. The
wind blows at his hair. He is smiling.
Everywhere on the street people are staring; the BUMS, the
PUSHERS, the PASSERBY’S, the TOURISTS.
Vivian doesn’t know whether to laugh or cry.
The car comes to a stop in front of the Vivian’s building.
Vivian’s landlord comes out the front door. His eyes go wide
in disbelief.
Edward disembarks from the limo by coming up through the
sunroof. He leaps nimbly to the ground. He crosses to the entrance
of the alleyway, looking up at Vivian on the fire escape.
VIVIAN
You are really lost this time.
Edward wordlessly holds up a hand for her.
With a sudden cry of joy, Vivian comes down the fire escape.
She stops at the bottom stair. Edward comes forward and sweeps
her into his arms. They kiss.
He carries her to the limo as if she’s weightless. Her feet
never touch the ground.
The car door closes behind them. The limo drives away.
The people of the street watch it go.
THE END
Что бы там ни говорили, дело в деньгах.
Итак, дамы, представьте, что вы — менеджер по сбережениям и ссудам.
Смотрите. Раз, два, три. Видите?
У вас всё, а у нас ничего.
Все четыре у вас. Взгляните.
Но настоящее золото я бы вам не доверил. Вот почему это стоит всего одно пенни.
Если вам интересно, куда делось второе, смотрите.
Пенни из уха. Сколько за всё остальное?
— Вы не видели Эдварда?
— Нет. Классная вечеринка, Филипп.
У жены была куча неприятностей. Она заказала всё на дом.
— Простите. Говард, как дела?
— Хорошо, Филипп. Я так понял, Эдвард захватывает Морс Индастриз?
— Да, он не загорать приехал.
— Можно примазаться?
— Да, ты только позвони мне.
— Когда?
Да звони, и всё. Привет. Я Филипп Стаки, юрист Эдварда Льюиса.
— А где почётный гость?
— Не знаю!
Наверное, забился в укромный уголок и…
очаровывает какую-нибудь красотку. Как дела?
Я попросил секретаршу всё подготовить. Разве она тебе не звонила?
Да, звонила. Я с твоей секретаршей говорю чаще, чем с тобой.
Понятно.
Знаешь, Эдвард, у меня тоже есть своя жизнь.
Это очень важная неделя для меня. Ты нужна мне здесь.
Ты никогда меня не предупреждаешь! Считаешь, я вся в твоём распоряжении!
Я так не считаю.
Но я постоянно так себя чувствую.
Может, мне надо съехать из твоей квартиры.
Если ты этого хочешь — пожалуйста.
Вернёшься в Нью-Йорк, и мы это обсудим.
Сейчас очень подходящее время для обсуждения.
Ну, тогда всё, Эдвард. Прощай.
Прощай, Джессика.
— Фил предложил мне…
— Фил — мой юрист. Ясно?
Каков сегодня индекс Никкей у акций Морса?
— Не знаю.
— Ты не знаешь?
Токийская биржа открылась полтора часа назад. Надо внимательно следить.
— Здравствуйте, мистер Льюис!
— Здравствуйте!
Я хочу, чтобы всё было сделано как можно быстрее.
Мне надо вернуться в Нью-Йорк к воскресенью, …
…у меня билеты в оперу.
— Ваш плащ, мистер Льюис.
— Спасибо.
— Эдвард!
— Сюзан!
Привет!
— Жаль, что с Картером так вышло.
— О, да. Спасибо.
— Слышал, ты вышла замуж?
— Ну… Да.
Не дождалась тебя.
— Сюзан, скажи-ка мне…
— Что?
Когда мы с тобой встречались, …
…ты говорила с моей секретаршей чаще, чем со мной?
Она была моей подружкой на свадьбе.
Твоему мужу очень повезло. Пока.
Спасибо. Пока.
— А ты?
— Конечно.
Он уходит. Эдвард уходит.
— Прошу прощения.
— Да, конечно.
Это машина мистера Стаки?
Эдвард, ты куда?
— У тебя есть ключи от машины?
— А чем тебе лимузин не нравится?
Лимузин заставлен машинами, Дэррилу не выехать.
— Пожалуйста, дай мне ключи.
— Не думаю, что тебе надо садиться за руль, …
…ты немного взволнован. Не бери мою машину.
Я сейчас что-нибудь придумаю. Ребята, как здесь всё устроено?
Вы можете убрать те машины оттуда? Слушай, Эдвард… Эдвард?
Ты умеешь ездить на ручной передаче?
— Да.
— Слушай, ты только аккуратнее …
…с ней, это
В статье рассказывается реальная история, послужившая основой для написания сценария к фильму «Красотка». Показано, каким образом компания Дисней изменила финал картины, полностью исказив изначальный посыл автора произведения, превратив его из поучительного в поощряющий проституцию.
История появления мелодрамы «Красотка» была необычной. Автор сценария Джонатан Фредерик Лотон в то время был 28-летним начинающим сценаристом. В начале восьмидесятых он приехал в Лос-Анджелес «завоевывать Голливуд», и поначалу у него не очень получалось. Был соавтором двух сценариев, по которым позже были сняты фильмы, не имеющие особого успеха.
Однажды он познакомился с молодой женщиной, которая рассказала ему реальную историю своей подруги. И Джонатан сразу понял, что из этого может получиться интересный сценарий для будущего фильма.
А история следующая. Молодая красивая девушка работала в одном из нью-йоркских агентств по оказанию эскорт услуг. И вот однажды её заказал молодой и успешный бизнесмен, которые приехал в Нью-Йорк из американской глубинки на деловые переговоры.
Для соответствующего антуража и чтобы произвести на важных деловых партнеров благоприятное впечатление, ему понадобилась красивая спутница на роль молодой супруги, которая бы его сопровождала на приемах и неформальных встречах.
Помимо установленной оплаты агентству, он пообещал заплатить самой девушке за неделю такой работы три тысячи долларов в качестве личного вознаграждения, если та всё сделает как надо.
Для восьмидесятых годов это были очень серьёзные деньги за подобную работу. Тем более, что ей ничего особенного не надо было делать. Лишь посещать с ним светские мероприятия и ужины в изысканных ресторанах.
Вдобавок ко всему, этот бизнесмен купил ей шикарные наряды для подобных мероприятий и вёл себя с девушкой подчеркнуто уважительно, даже когда они оставались наедине.
И на свою беду, она влюбилась в клиента. За те несколько дней, пока она изображала его супругу, ей показалось, что всё так и есть на самом деле, и что она тоже ему нравится, и их чувства взаимны. По условиям договора она не должна была ему оказывать интимные услуги, но в один из вечеров в гостинице, где проживал бизнесмен, у них случилась близость, причем по инициативе самой девушки.
Когда дела у него в Нью-Йорке завершились, и пришло время возвращаться домой, он отсчитал девушке обещанные три тысячи долларов и холоднокровно с ней попрощался, чуть ли не насильно высадив из машины. Но перед этим он «спустил с небес на землю» бедную девушку, которая возомнила себе бог знает что, и жёстко объяснил ей, кто она есть на самом деле.
Финал история оказался трагическим. Девушка не взяла у него деньги, хотя они были ей очень нужны, и молча удалилась. А через день после расставания покончила с собой, осознав, что у неё нет того будущего, которое она для себя задумала, а жить по старому уже не могла.
Джонатан буквально за неделю написал сценарий к фильму с коротким названием «3000», символизирующим стоимость мечты и жизни своей героини. А посыл будущего фильма был вполне понятный и предназначался подобным молодым девушкам как предостережение о безысходности такого жизненного выбора.
Он послал сценарий в несколько кинокомпаний и на его удивление откликнулась только компания «Walt Disney», на которую он почти не рассчитывал. Они были готовы купить сценарий, но при условии, что частично его переработают и сделают из мрачной драмы в стиле арт-хаус, весёлую комедию со счастливым концом. В сценарии почти всё оставили как есть, кроме финала фильма, в котором главный герой всё-таки делает героине предложение.
Такой финал в корне изменил замысел автора. Вместо предостережения и порицания подобной деятельности, этот фильм её, наоборот, романтизировал.
По материалам сайта Конт
Дополнительные материалы по теме
1. Подробно посыл фильма проанализирован в статье «Красотка» (1990): Добрый оскал проституции.
2. Оценка идейного и воспитательного посыла фильма «Красотка» пользователями сайта КиноЦензор.
По итогам 35 голосований на сайте КиноЦензор фильм получил 3.35 баллов.
1. Результаты блока голосования «Чему учит» (+37/-184). Оценка воспитательно-нравственного посыла произведения:
Доброта 8/ Эгоизм 16
Трудолюбие 3/ Лень 12
Совестливость 2/ Бесстыдство 29
Честность 4/ Лживость 15
Скромность 0/ Распущенность 33
Дружелюбие 7/ Агрессивность 5
Ответственность 3/ Безответственность 19
Воля 4/ Безволие 16
Щедрость 4/ Алчность 21
Мудрость 2/ Глупость 18
2. Оценка зрительских симпатий: 4,8 баллов
3. Сцены с алкоголем, табаком и другими наркотиками: Есть 35/ Нет 0
4. Наличие эротических сцен: Есть 32/ Нет 3
5. Пошлый юмор или обсуждение пошлых тем героями: Есть 27/ Нет 8
6. Уровень сцен насилия и жестокости: 1.5 баллов
7. Вредная пропаганда (деструктивные идеи, внедряемые в сознание зрителя):
- Отсутствует 3%
- Пропаганда свободных отношений, измен, сексуальных отношений до брака 97%
- Пропаганда гомосексуализма, ЛГБТ и других извращений 9%
- Пропаганда преступного образа жизни, девиантного и аморального поведения 69%
- Пропаганда презрительного отношения к институту семьи, материнству, воспитанию детей 43%
- Пропаганда потребительства, культа денег, гедонизма и индивидуализма 91%
- Пропаганда культа внешности и вещей для достижения успеха, социального признания 91%
- Пропаганда ложных исторических концепций, искажение исторических событий 9%
- Пропаганда безрассудства или инфантилизма 46%
- Пропаганда уныния и упадничества, формирование депрессивных настроений 9%
- Иные деструктивные идеи (укажите в комментарии) 80%
Дисней: Отравленные сказки
From Wikipedia, the free encyclopedia
| Pretty Woman | |
|---|---|
Theatrical release poster |
|
| Directed by | Garry Marshall |
| Written by | J. F. Lawton |
| Produced by |
|
| Starring |
|
| Cinematography | Charles Minsky |
| Edited by |
|
| Music by | James Newton Howard |
|
Production |
|
| Distributed by | Buena Vista Pictures Distribution |
|
Release date |
|
|
Running time |
119 minutes |
| Country | United States |
| Language | English |
| Budget | $14 million |
| Box office | $463.4 million |
Pretty Woman is a 1990 American romantic comedy film directed by Garry Marshall, from a screenplay by J. F. Lawton. The film stars Julia Roberts and Richard Gere, and features Héctor Elizondo, Ralph Bellamy (in his final performance), Laura San Giacomo, and Jason Alexander in supporting roles.[1]
The film’s story centers on Hollywood prostitute Vivian Ward and wealthy businessman Edward Lewis. Vivian is hired to be Edward’s escort for several business and social functions, and their relationship develops during her week-long stay with him.
The film’s title Pretty Woman is based on the 1964 song «Oh, Pretty Woman» by Roy Orbison. The original screenplay was titled “3,000,” and was written by then-struggling screenwriter J. F. Lawton. It is the first film on-screen collaboration between Gere and Roberts; their second film, Runaway Bride, was released in 1999.
Originally intended to be a dark cautionary tale about class and prostitution in Los Angeles, the film was re-conceived as a romantic comedy with a large budget. The film received mixed reviews, though Roberts received a Golden Globe Award and a nomination for the Academy Award for Best Actress for her performance, which catapulted her to stardom. In addition, screenwriter J. F. Lawton was nominated for a Writers Guild Award and a BAFTA Award.
The film saw the highest number of ticket sales in the US ever for a romantic comedy,[2] with Box Office Mojo listing it as the number-one romantic comedy by the highest estimated domestic tickets sold at 42,176,400, slightly ahead of My Big Fat Greek Wedding (2002) at 41,419,500 tickets.[3] The film grossed US$463.4 million worldwide and at the time of its release, was the fourth-highest-grossing film of all time worldwide, behind only E.T. the Extra-Terrestrial ($619 million at the time), Star Wars ($530 million at the time) and Indiana Jones and the Last Crusade ($474 million at the time).
Plot[edit]
Edward Lewis, a high-powered corporate raider from New York, buys and dismantles struggling companies, selling off the assets for profit. He wants his girlfriend Jessica to accompany him during a business trip, but fed up with being his «beck and call girl», she breaks up with him. Leaving a business party in the Hollywood Hills, Edward takes his lawyer’s Lotus Esprit sports car and accidentally ends up on Hollywood Boulevard in the city’s red-light district. There he encounters prostitute Vivian Ward. As he is having difficulties driving a manual transmission car, he pays Vivian to drive him to the Regent Beverly Wilshire Hotel. Edward then impulsively hires her for the night, and despite some awkwardness, finds her charming and has sex with her.
The next day, Edward asks Vivian to play his girlfriend that week at a series of business events he is attending while attempting a takeover of shipbuilder James Morse’s company. Edward offers Vivian $3,000 and a new wardrobe for six days. Vivian excitedly accepts, but when she attempts to go shopping on Rodeo Drive, she is turned away by the rude, snobbish saleswoman and turns to Barney, the hotel’s manager, for help. He teaches her proper etiquette and arranges for her to buy a cocktail dress for an important business dinner that evening. At the dinner meeting, Edward introduces Vivian to James and his grandson David; the latter is being groomed to take over the company after his grandfather dies. The business meeting does not go well and James and David are unimpressed by Edward’s wanting to buy and sell off their company. Edward is impressed by Vivian’s transformation and opens up to her, revealing details about his personal and business life, including his turbulent relationship with his late father, Carter, from whom he was estranged at the time of his death.
When Edward’s attorney, Phillip, suspects Vivian is a corporate spy after seeing her talking to David at a polo game, Edward reveals how they met. Phillip later crudely propositions Vivian for her services after Edward is finished with her. Vivian is hurt and furious at Edward for exposing her. Edward apologizes, revealing he was jealous of Vivian talking to David, and realizes Vivian’s straightforward personality is rubbing off on him. Edward takes Vivian by private jet to see La traviata at the San Francisco Opera. The story of a prostitute who falls in love with a rich man moves Vivian. She later breaks her «no kissing» rule before having sex with Edward. After mistakenly believing Edward is asleep, Vivian admits she loves him.
As his return to New York is imminent, Edward offers to help Vivian get off the streets and suggests putting her up in a nice condo and giving her an allowance, promising to visit her regularly. Vivian is offended by the offer, as Edward is still treating her like a prostitute, and recalls a childhood fantasy of being rescued from her abusive home by a knight on a white steed. Edward meets with James but, changed by his experience with Vivian, chooses to work with him to save his company instead of dismantling it. Phillip, furious that Edward’s new direction has cost him a fortune, goes to the hotel to confront him but finds only Vivian. Blaming her for Edward’s changing character and angered at Edward’s business decision, he attempts to rape her. Edward arrives and punches Phillip, then fires him.
With his business in Los Angeles complete, Edward asks Vivian to stay with him one more night, but only if she wants to, not because he is paying her. She gently refuses and leaves. Edward re-thinks his life, and while being driven to the airport he has the chauffeur detour to Vivian’s apartment building. He climbs out through the white limousine’s sunroof and ascends the fire escape to rescue Vivian just like the knight in her fantasy.
Cast[edit]
- Richard Gere as Edward Lewis, a rich corporate raider from New York
- Julia Roberts as Vivian Ward, a free-spirited Hollywood prostitute whom Edward hires to be his escort for a week
- Ralph Bellamy as James Morse, owner of Morse Industries, a troubled shipbuilding company Edward plans to take over
- Jason Alexander as Phillip Stuckey, Edward’s insensitive lawyer
- Héctor Elizondo as Barnard «Barney» Thompson, the dignified and soft-hearted hotel manager
- Laura San Giacomo as Kit De Luca, Vivian’s sarcastic wisecracking best friend and roommate who taught her the prostitution trade
- Alex Hyde-White as David Morse, James Morse’s grandson, who is being groomed to take over the Morse’s shipbuilding company
- Amy Yasbeck as Elizabeth Stuckey, Phillip’s wife
- Elinor Donahue as Bridget, a friend of Barney Thompson who works in a women’s clothing store
- John David Carson as Mark Roth, a businessman in Edward’s office
- Judith Baldwin as Susan, one of Edward’s ex-girlfriends whom he runs into at Phil’s party at the beginning of the film. She has recently married and Edward’s secretary was a bridesmaid.
- James Patrick Stuart as the day bellhop
- Dey Young as a snobbish saleswoman in a clothing store
- Larry Miller as Mr. Hollister, the manager of a clothing store where Vivian buys her new wardrobe
- Hank Azaria as a detective
Production[edit]
Development[edit]
The film was initially conceived as a dark drama about prostitution in Los Angeles in the 1980s.[4] The relationship between Vivian and Edward also originally involved controversial themes, including Vivian being addicted to drugs; part of the deal was that she had to stay off cocaine for a week. Edward eventually throws her out of his car and drives off. The original script by J. F. Lawton, called 3000,[5] ended with Vivian and her prostitute friend on the bus to Disneyland.[4] Producer Laura Ziskin considered these elements detrimental to a sympathetic portrayal of Vivian, and they were removed or assigned to Kit. The deleted scenes have been found, and some were included on the DVD released for the film’s 15th anniversary.[4] In one, Vivian tells Edward, «I could just pop ya good and be on my way», indicating her lack of interest in «pillow talk». In another, she is confronted by a drug dealer, Carlos, then rescued by Edward when the limo driver Darryl gets his gun out.
Though inspired by such films as Wall Street and The Last Detail,[5] the film bears a resemblance to Pygmalion myths: particularly George Bernard Shaw’s play of the same name, which also formed the basis for the Broadway musical My Fair Lady. It was Walt Disney Studios then-president Jeffrey Katzenberg who insisted the film be re-written as a modern-day fairy tale and love story, as opposed to the original dark drama. It was pitched to Touchstone Pictures and re-written as a romantic comedy.[6] The title 3000 was changed because Disney executives thought it sounded like a title for a science fiction film.[7]
Casting[edit]
The casting of the film was a rather lengthy process. Marshall had initially considered Christopher Reeve, Daniel Day-Lewis, Kevin Kline, and Denzel Washington for the role of Edward, and Albert Brooks,[8] Sylvester Stallone, Al Pacino and Burt Reynolds turned it down.[9][10] Pacino went as far as doing a casting reading with Roberts before rejecting the part.[11] Sam Neill, Tom Conti and Charles Grodin tested for the part along with Roberts.[12] Gere initially refused but when he met with Roberts, she persuaded him and he eventually agreed to play Lewis.[13] He reportedly started off much more active in his role; but Garry Marshall took him aside and said «No, no, no, Richard. In this movie, one of you moves and one of you does not. Guess which one you are?»[14]
Julia Roberts was not the first choice for the role of Vivian, and was not wanted by Disney. Many other actresses were considered. Marshall originally envisioned Karen Allen for the role; when she declined, auditions went to many better-known actresses of the time including Molly Ringwald,[15] who turned it down because she felt uncomfortable playing a prostitute.[citation needed] Winona Ryder auditioned, but was turned down because Marshall felt she was «too young». Jennifer Connelly was also dismissed for the same reason.[4] Emily Lloyd turned it down as it conflicted with her shooting for the film Mermaids.[16] Drew Barrymore, Brooke Shields, Uma Thurman, and Kristin Davis auditioned for the role of Vivian.[17]
Meg Ryan, who was a top choice of Marshall’s, turned it down as well. According to a note written by Marshall, Mary Steenburgen was also among the first choices. Diane Lane came very close to being cast (the script was much darker at the time); they had gone as far as costume fittings, but due to scheduling conflicts she could not accept. Michelle Pfeiffer turned the role down, saying she did not like the script’s «tone.»[18] Daryl Hannah was also considered but believed the role was «degrading to women».[18] Valeria Golino declined, doubting it would work with her thick Italian accent.[citation needed] And Jennifer Jason Leigh had auditioned.[19] Lea Thompson unsuccessfully auditioned for the role as she thought the film was a drama.[20] When all the other actresses turned down the role, 21-year-old Julia Roberts, a relative unknown, with only the sleeper hit Mystic Pizza (1988) and the yet-to-be-released Steel Magnolias (1989), for which she would be nominated for the Academy Award for Best Supporting Actress, won the role of Vivian. Her performance made her a star. J. F. Lawton, writer of the original screenplay, has suggested that the film was ultimately given a happy ending because of the chemistry of Gere and Roberts.[5]
Veteran actor Ralph Bellamy, who plays James Morse, appears in his final acting performance before his death in 1991. Jason Alexander, who had also recently been cast for his role as the bumbling George Costanza in Seinfeld, was cast as Philip Stuckey. A VHS copy of Pretty Woman would appear in Seinfeld’s apartment in later seasons of Seinfeld as a homage to Alexander’s participation in the film.
Filming[edit]
The film’s budget was substantial, at $14 million, so producers could shoot in many locations.[4] Most filming took place in Los Angeles, California, specifically in Beverly Hills, and inside soundstages at Walt Disney Studios in Burbank. The escargot restaurant the «Voltaire» was shot at the restaurant «Rex,» now called «Cicada». Scenes set in the Beverly Wilshire Hotel lobby were shot at the Ambassador Hotel in Los Angeles. Filming commenced on July 24, 1989, but was immediately plagued by problems. These included Ferrari and Porsche declining the product placement opportunity for the car Edward drove, neither firm wishing to be associated with prostitutes.[4] Lotus Cars saw the placement value and supplied a Silver 1989+1⁄2 Esprit SE (which was later sold).[21]
The shooting was a generally pleasant, easy-going experience, as the budget was broad and the shooting schedule was not tight.[4] While shooting the scene where Vivian is lying down on the floor of Edward’s penthouse, watching reruns of I Love Lucy, Garry Marshall had to tickle Roberts’ feet (out of camera range) to get her to laugh.[22] The scene in which Gere playfully snaps the lid of a jewelry case on her fingers was improvised, and her surprised laugh was genuine. The red dress Vivian wears to the opera has been listed among the most unforgettable dresses of all time.[23]
During the scene in which Roberts sang a Prince song in the bathtub, slid down, and submerged her head under the bubbles; she emerged to find the crew had left except for the cameraman, who captured the moment on film. In the love scene, she was so stressed that a vein became noticeable on her forehead and had to be massaged by Marshall and Gere. She also developed a case of hives, and calamine lotion was used to soothe her skin until filming resumed.[4] The filming was completed on November 30.[24]
Shelley Michelle acted as body double for Roberts in risqué scenes and the film’s publicity poster.[25]
Reception[edit]
Box office[edit]
In its opening weekend, the film was at number one at the US box office, grossing $11,280,591 and averaging $8,513 per theater.[26] Despite dropping to number two in its second weekend, it grossed more with $12,471,670.[26] It returned to number one at the US box office in its sixth weekend and was number one for three weeks. It was in the Top 10 movies in the US for 16 weeks.[26] In Australia, it was number one for 12 weeks and was number one for nine consecutive weeks in the UK. As of September 29, 2009, it has grossed $178,406,268 in the United States and $285,000,000 in other countries for a total worldwide gross of US$463,406,268.[3] It was the fourth highest-grossing film of the year in the United States and Canada[27] and the third highest-grossing worldwide.[28] The film was Disney’s highest-grossing film ever, surpassing Three Men and a Baby, and remains Disney’s highest-grossing R-rated release.[29][30][31]
Critical response [edit]
On review aggregator Rotten Tomatoes the film holds an approval rating of 66 percent based on 73 reviews, with an average rating of 6.10/10. The website’s critical consensus states, «Pretty Woman may be a yuppie fantasy, but the film’s slick comedy, soundtrack, and casting can overcome misgivings.»[32] On Metacritic, the film has a weighted average score of 51 out of 100, based on 18 critics, indicating «mixed or average reviews».[33] Audiences polled by CinemaScore gave the film an average grade of «A» on an A+ to F scale.[34]
Owen Gleiberman of Entertainment Weekly gave the film a «D», saying it «starts out as a neo-Pygmalion comedy» and with «its tough-hooker heroine, it can work as a feminist version of an upscale princess fantasy.» Gleiberman also said it «pretends to be about how love transcends money,» but «is really obsessed with status symbols.»[35] On its twentieth anniversary, Gleiberman wrote another article, saying that while he felt he was right, he would have given it a «B» today.[36] Carina Chocano of The New York Times said the movie «wasn’t a love story, it was a money story. Its logic depended on a disconnect between character and narrative, between image and meaning, between money and value, and that made it not cluelessly traditional but thoroughly postmodern.»[37]
Accolades[edit]
| Award | Category | Nominee(s) | Result |
|---|---|---|---|
| Academy Awards[38] | Best Actress | Julia Roberts | Nominated |
| BMI Film & TV Awards | Film Music Award | James Newton Howard | Won |
| Most Performed Song from a Film | «It Must Have Been Love» – Per Gessle | Won | |
| British Academy Film Awards[39] | Best Film | Arnon Milchan, Steven Reuther and Garry Marshall | Nominated |
| Best Actress in a Leading Role | Julia Roberts | Nominated | |
| Best Screenplay – Original | J. F. Lawton | Nominated | |
| Best Costume Design | Marilyn Vance | Nominated | |
| César Awards | Best Foreign Film | Garry Marshall | Nominated |
| David di Donatello Awards | Best Foreign Actress | Julia Roberts | Nominated |
| Golden Globe Awards[40] | Best Motion Picture – Musical or Comedy | Nominated | |
| Best Actor in a Motion Picture – Musical or Comedy | Richard Gere | Nominated | |
| Best Actress in a Motion Picture – Musical or Comedy | Julia Roberts | Won | |
| Best Supporting Actor – Motion Picture | Hector Elizondo | Nominated | |
| Golden Screen Awards | Won | ||
| Jupiter Awards | Best International Actress | Julia Roberts | Won |
| Kids’ Choice Awards | Favorite Movie Actress | Won | |
| People’s Choice Awards | Favorite Comedy Motion Picture | Won | |
| Writers Guild of America Awards[41] | Best Screenplay – Written Directly for the Screen | J.F. Lawton | Nominated |
- It ranks on No. 21 in AFI’s 100 Years… 100 Passions.
Music[edit]
The soundtrack features the songs (among others);
- «Oh, Pretty Woman» by Roy Orbison, which inspired its title
- Roxette’s «It Must Have Been Love», originally released in December 1987, reached No. 1 on the Billboard Hot 100 in June 1990. The soundtrack also features
- «King of Wishful Thinking» by Go West
- «Show Me Your Soul» by Red Hot Chili Peppers
- «No Explanation» by Peter Cetera
- «Wild Women Do» by Natalie Cole and
- «Fallen» by Lauren Wood
The soundtrack has been certified triple platinum by the Recording Industry Association of America (RIAA).[42]
The opera featured in the film is La Traviata, which also served as inspiration for its plot. The highly dramatic aria fragment that is repeated is the end of «Dammi tu forza!» («Give me strength!»), from the opera. Roberts sings the song «Kiss» by Prince while she is in the tub and Gere’s character is on the phone. Background music is composed by James Newton Howard. The piano piece Gere’s character plays in the hotel lobby was composed and performed by Gere. Entitled «He Sleeps/Love Theme», this piano composition is inspired by Bruce Springsteen’s «Racing in the Street».
Musical adaptation[edit]
A stage musical adaptation of the film opened on Broadway on July 20, 2018, in previews, officially on August 16 at the Nederlander Theatre.[43] This follows an out-of-town tryout at the Oriental Theatre in Chicago, which will run from March 13 to April 15, 2018. The musical has music and lyrics by Bryan Adams and Jim Vallance; the late Garry Marshall and J. F. Lawton wrote the book; and Jerry Mitchell is the director and choreographer.[44] The Chicago and Broadway cast featured Samantha Barks, in her Broadway debut as Vivian and Steve Kazee as Edward. Barks finished her run as Vivian on July 21, 2019, and was replaced by Jillian Mueller the following evening, with Brennin Hunt, of Rent fame, assuming the role of Edward.[44] Orfeh portrayed Kit, and Jason Danieley played Philip Stuckey. Eric Anderson portrayed the role of Mr. Thompson and Kingsley Leggs played the role of James Morse.[43]
References[edit]
- ^ «Pretty Woman». Turner Classic Movies. Archived from the original on August 16, 2016. Retrieved June 17, 2016.
- ^ Prince, Rosa (March 21, 2012). «Richard Gere: Pretty Woman a ‘Silly Romantic Comedy’«. The Daily Telegraph. London. Archived from the original on November 9, 2014. Retrieved April 4, 2018.
- ^ a b «Pretty Woman (1990)». Box Office Mojo. Archived from the original on May 1, 2012. Retrieved September 29, 2009.
- ^ a b c d e f g h Pretty Woman: 15th anniversary (DVD). Buena Vista Home Entertainment, Touchstone. 2005.
- ^ a b c Kate Erbland (March 23, 2015). «The True Story of Pretty Woman’s Original Dark Ending». Vanity Fair. Archived from the original on January 28, 2018.
- ^ Hilary Lewis (August 26, 2016). «8 Movies With Major Title Changes». The Hollywood Reporter. Archived from the original on August 31, 2016. Retrieved August 27, 2016.
- ^ Stewart, James B. (2005). DisneyWar. New York: Simon & Schuster. p. 110. ISBN 978-0-7432-6709-0.
- ^ «The Lost Roles of Albert Brooks». June 30, 2011. Archived from the original on July 4, 2021. Retrieved June 15, 2021.
- ^ «‘Pretty Woman’ Casting Information and Trivia». IMDb. Archived from the original on February 26, 2007. Retrieved May 17, 2007.[unreliable source?]
- ^ Reimann, Tom (April 25, 2019). «Surprising Behind-the-Scenes Facts about Pretty Woman». Collider. Archived from the original on January 2, 2023. Retrieved January 2, 2023.
- ^ Pacino, Al (June 15, 2007). ««Al Pacino Interview»«. Larry King Live (Interview). Interviewed by Larry King. CNN. Archived from the original on June 21, 2007. Retrieved June 16, 2007.
- ^ «Pretty Woman». Archived from the original on April 9, 2016.
- ^ TODAY (March 24, 2015). «‘Pretty Woman’ Cast Reunites 25 Years Later – TODAY». Archived from the original on November 16, 2017. Retrieved September 10, 2017 – via YouTube.
- ^ Tiffin, George (2015). A Star is Born: The Moment an Actress becomes an Icon. Head of Zeus. p. 493. ISBN 978-1-78185-936-0.
- ^ Corcoran, Monica (June 28, 2008). «Molly Ringwald: Pretty in Pucci». Los Angeles Times. Archived from the original on March 8, 2009. Retrieved January 8, 2013.
- ^ Arnold, Ben (July 27, 2016). «Emily Lloyd: The Unluckiest Actress In Hollywood History?». Yahoo! Movies. Archived from the original on May 19, 2017. Retrieved December 16, 2018.
- ^ «‘Pretty Woman’: 25 years later». March 18, 2015. Archived from the original on September 5, 2021. Retrieved September 5, 2021.
- ^ a b «Darly Hannah Pleased to Decline Pretty Woman». Archived from the original on October 13, 2007. Retrieved August 20, 2007.
- ^ Kachka, Boris (December 4, 2005). «Lone Star: Jennifer Jason Leigh Plays an Extroverted Striver in Abigail’s Party, Now, that’s a stretch». New York Magazine: 2. Archived from the original on October 16, 2012. Retrieved September 29, 2007.
- ^ «Lea Thompson’s Disastrous «Pretty Woman» Audition — «Late Night with Conan O’Brien»«. YouTube. Archived from the original on December 11, 2021.
- ^ «Lotus Espirit SE Pretty Woman Movie Car». Archived from the original on March 14, 2018. Retrieved March 22, 2018.
- ^ Peng, Chelsea (March 24, 2015). «16 Things You Never Knew About ‘Pretty Woman’«. Marie Claire. Archived from the original on August 3, 2020. Retrieved September 3, 2020.
- ^ Henderson, Jessica (February 28, 2012). «The 20 Greatest Movie Dresses of All Time». Marie Claire. Archived from the original on April 14, 2016. Retrieved September 3, 2020.
- ^ «PRETTY WOMAN (1990)». Archived from the original on October 16, 2019. Retrieved October 16, 2019.
- ^ «Emilia Clarke suffered in vain: here are 13 famous nude scenes that were actually performed by body doubles». The Telegraph. April 11, 2017. Archived from the original on April 7, 2021. Retrieved March 30, 2021.
- ^ a b c «Pretty Woman (1990)—Weekend Box Office». Box Office Mojo. Archived from the original on September 30, 2009. Retrieved September 29, 2009.
- ^ «1990 Yearly Box Office Results». Box Office Mojo. Archived from the original on December 6, 2006. Retrieved September 29, 2009.
- ^ «1990 Yearly Box Office Results». Box Office Mojo. Archived from the original on April 26, 2009. Retrieved September 29, 2009.
- ^ Groves, Don (January 10, 1994). «Japan ends year with ‘Cliffhanger’«. Variety. p. 24.
- ^ «‘Pretty Woman’ now top Disney grosser». Variety. September 3, 1990. p. 4.
- ^ «DOMESTIC GROSSES BY MPAA RATING». Archived from the original on August 20, 2016. Retrieved July 4, 2016.
- ^ «Pretty Woman». Rotten Tomatoes. Archived from the original on January 2, 2013. Retrieved November 15, 2022.
- ^ «Pretty Woman Reviews». Metacritic. Archived from the original on April 16, 2011. Retrieved September 29, 2009.
- ^ «Find CinemaScore» (Type «Pretty Woman» in the search box). CinemaScore. Archived from the original on January 2, 2018. Retrieved March 25, 2019.
- ^ Gleiberman, Owen (March 23, 1990). «Pretty Woman». Entertainment Weekly. Archived from the original on April 27, 2009. Retrieved September 29, 2009.
- ^ Gleiberman, Owen. «‘Pretty Woman’: 20 Years after My Most Infamous Review (Yes, I gave it a D), Here’s My Mea Culpa—and Also My Defense». Entertainment Weekly. Archived from the original on September 22, 2012. Retrieved July 15, 2011.
- ^ Chocano, Carina (April 11, 2011). «Thelma, Louise and All the Pretty Women». The New York Times. Archived from the original on April 1, 2017. Retrieved February 28, 2017.
- ^ «The 63rd Academy Awards (1991) Nominees and Winners». Academy of Motion Picture Arts and Sciences. Archived from the original on October 20, 2014. Retrieved October 20, 2011.
- ^ «BAFTA Awards: Film in 1991». BAFTA. 1991. Archived from the original on January 3, 2020. Retrieved September 16, 2016.
- ^ «Pretty Woman – Golden Globes». HFPA. Archived from the original on August 2, 2021. Retrieved July 28, 2021.
- ^ «Awards Winners». wga.org. Writers Guild of America. Archived from the original on December 5, 2012. Retrieved June 6, 2010.
- ^ «American album certifications – Soundtrack – Pretty Woman» Archived April 8, 2022, at the Wayback Machine. Recording Industry Association of America. May 1, 1991. Retrieved April 8, 2022.
- ^ a b Clement, Olivia. » ‘Pretty Woman’ Musical Finds Its Broadway Home, Sets Summer 2018 Opening» Archived November 24, 2017, at the Wayback Machine Playbill, November 22, 2017
- ^ a b McPhee, Ryan. «Jason Danieley Joins Broadway-Bound ‘Pretty Woman’ Musical» Archived October 7, 2017, at the Wayback Machine Playbill, October 6, 2017
External links[edit]
- Pretty Woman at IMDb
- Pretty Woman at AllMovie
- Pretty Woman at the TCM Movie Database
- Pretty Woman at the American Film Institute Catalog
- Pretty Woman at Disney A to Z
- Pretty Woman at Box Office Mojo
From Wikipedia, the free encyclopedia
| Pretty Woman | |
|---|---|
|
Theatrical release poster |
|
| Directed by | Garry Marshall |
| Written by | J. F. Lawton |
| Produced by |
|
| Starring |
|
| Cinematography | Charles Minsky |
| Edited by |
|
| Music by | James Newton Howard |
|
Production |
|
| Distributed by | Buena Vista Pictures Distribution |
|
Release date |
|
|
Running time |
119 minutes |
| Country | United States |
| Language | English |
| Budget | $14 million |
| Box office | $463.4 million |
Pretty Woman is a 1990 American romantic comedy film directed by Garry Marshall, from a screenplay by J. F. Lawton. The film stars Julia Roberts and Richard Gere, and features Héctor Elizondo, Ralph Bellamy (in his final performance), Laura San Giacomo, and Jason Alexander in supporting roles.[1]
The film’s story centers on Hollywood prostitute Vivian Ward and wealthy businessman Edward Lewis. Vivian is hired to be Edward’s escort for several business and social functions, and their relationship develops during her week-long stay with him.
The film’s title Pretty Woman is based on the 1964 song «Oh, Pretty Woman» by Roy Orbison. The original screenplay was titled “3,000,” and was written by then-struggling screenwriter J. F. Lawton. It is the first film on-screen collaboration between Gere and Roberts; their second film, Runaway Bride, was released in 1999.
Originally intended to be a dark cautionary tale about class and prostitution in Los Angeles, the film was re-conceived as a romantic comedy with a large budget. The film received mixed reviews, though Roberts received a Golden Globe Award and a nomination for the Academy Award for Best Actress for her performance, which catapulted her to stardom. In addition, screenwriter J. F. Lawton was nominated for a Writers Guild Award and a BAFTA Award.
The film saw the highest number of ticket sales in the US ever for a romantic comedy,[2] with Box Office Mojo listing it as the number-one romantic comedy by the highest estimated domestic tickets sold at 42,176,400, slightly ahead of My Big Fat Greek Wedding (2002) at 41,419,500 tickets.[3] The film grossed US$463.4 million worldwide and at the time of its release, was the fourth-highest-grossing film of all time worldwide, behind only E.T. the Extra-Terrestrial ($619 million at the time), Star Wars ($530 million at the time) and Indiana Jones and the Last Crusade ($474 million at the time).
Plot[edit]
Edward Lewis, a high-powered corporate raider from New York, buys and dismantles struggling companies, selling off the assets for profit. He wants his girlfriend Jessica to accompany him during a business trip, but fed up with being his «beck and call girl», she breaks up with him. Leaving a business party in the Hollywood Hills, Edward takes his lawyer’s Lotus Esprit sports car and accidentally ends up on Hollywood Boulevard in the city’s red-light district. There he encounters prostitute Vivian Ward. As he is having difficulties driving a manual transmission car, he pays Vivian to drive him to the Regent Beverly Wilshire Hotel. Edward then impulsively hires her for the night, and despite some awkwardness, finds her charming and has sex with her.
The next day, Edward asks Vivian to play his girlfriend that week at a series of business events he is attending while attempting a takeover of shipbuilder James Morse’s company. Edward offers Vivian $3,000 and a new wardrobe for six days. Vivian excitedly accepts, but when she attempts to go shopping on Rodeo Drive, she is turned away by the rude, snobbish saleswoman and turns to Barney, the hotel’s manager, for help. He teaches her proper etiquette and arranges for her to buy a cocktail dress for an important business dinner that evening. At the dinner meeting, Edward introduces Vivian to James and his grandson David; the latter is being groomed to take over the company after his grandfather dies. The business meeting does not go well and James and David are unimpressed by Edward’s wanting to buy and sell off their company. Edward is impressed by Vivian’s transformation and opens up to her, revealing details about his personal and business life, including his turbulent relationship with his late father, Carter, from whom he was estranged at the time of his death.
When Edward’s attorney, Phillip, suspects Vivian is a corporate spy after seeing her talking to David at a polo game, Edward reveals how they met. Phillip later crudely propositions Vivian for her services after Edward is finished with her. Vivian is hurt and furious at Edward for exposing her. Edward apologizes, revealing he was jealous of Vivian talking to David, and realizes Vivian’s straightforward personality is rubbing off on him. Edward takes Vivian by private jet to see La traviata at the San Francisco Opera. The story of a prostitute who falls in love with a rich man moves Vivian. She later breaks her «no kissing» rule before having sex with Edward. After mistakenly believing Edward is asleep, Vivian admits she loves him.
As his return to New York is imminent, Edward offers to help Vivian get off the streets and suggests putting her up in a nice condo and giving her an allowance, promising to visit her regularly. Vivian is offended by the offer, as Edward is still treating her like a prostitute, and recalls a childhood fantasy of being rescued from her abusive home by a knight on a white steed. Edward meets with James but, changed by his experience with Vivian, chooses to work with him to save his company instead of dismantling it. Phillip, furious that Edward’s new direction has cost him a fortune, goes to the hotel to confront him but finds only Vivian. Blaming her for Edward’s changing character and angered at Edward’s business decision, he attempts to rape her. Edward arrives and punches Phillip, then fires him.
With his business in Los Angeles complete, Edward asks Vivian to stay with him one more night, but only if she wants to, not because he is paying her. She gently refuses and leaves. Edward re-thinks his life, and while being driven to the airport he has the chauffeur detour to Vivian’s apartment building. He climbs out through the white limousine’s sunroof and ascends the fire escape to rescue Vivian just like the knight in her fantasy.
Cast[edit]
- Richard Gere as Edward Lewis, a rich corporate raider from New York
- Julia Roberts as Vivian Ward, a free-spirited Hollywood prostitute whom Edward hires to be his escort for a week
- Ralph Bellamy as James Morse, owner of Morse Industries, a troubled shipbuilding company Edward plans to take over
- Jason Alexander as Phillip Stuckey, Edward’s insensitive lawyer
- Héctor Elizondo as Barnard «Barney» Thompson, the dignified and soft-hearted hotel manager
- Laura San Giacomo as Kit De Luca, Vivian’s sarcastic wisecracking best friend and roommate who taught her the prostitution trade
- Alex Hyde-White as David Morse, James Morse’s grandson, who is being groomed to take over the Morse’s shipbuilding company
- Amy Yasbeck as Elizabeth Stuckey, Phillip’s wife
- Elinor Donahue as Bridget, a friend of Barney Thompson who works in a women’s clothing store
- John David Carson as Mark Roth, a businessman in Edward’s office
- Judith Baldwin as Susan, one of Edward’s ex-girlfriends whom he runs into at Phil’s party at the beginning of the film. She has recently married and Edward’s secretary was a bridesmaid.
- James Patrick Stuart as the day bellhop
- Dey Young as a snobbish saleswoman in a clothing store
- Larry Miller as Mr. Hollister, the manager of a clothing store where Vivian buys her new wardrobe
- Hank Azaria as a detective
Production[edit]
Development[edit]
The film was initially conceived as a dark drama about prostitution in Los Angeles in the 1980s.[4] The relationship between Vivian and Edward also originally involved controversial themes, including Vivian being addicted to drugs; part of the deal was that she had to stay off cocaine for a week. Edward eventually throws her out of his car and drives off. The original script by J. F. Lawton, called 3000,[5] ended with Vivian and her prostitute friend on the bus to Disneyland.[4] Producer Laura Ziskin considered these elements detrimental to a sympathetic portrayal of Vivian, and they were removed or assigned to Kit. The deleted scenes have been found, and some were included on the DVD released for the film’s 15th anniversary.[4] In one, Vivian tells Edward, «I could just pop ya good and be on my way», indicating her lack of interest in «pillow talk». In another, she is confronted by a drug dealer, Carlos, then rescued by Edward when the limo driver Darryl gets his gun out.
Though inspired by such films as Wall Street and The Last Detail,[5] the film bears a resemblance to Pygmalion myths: particularly George Bernard Shaw’s play of the same name, which also formed the basis for the Broadway musical My Fair Lady. It was Walt Disney Studios then-president Jeffrey Katzenberg who insisted the film be re-written as a modern-day fairy tale and love story, as opposed to the original dark drama. It was pitched to Touchstone Pictures and re-written as a romantic comedy.[6] The title 3000 was changed because Disney executives thought it sounded like a title for a science fiction film.[7]
Casting[edit]
The casting of the film was a rather lengthy process. Marshall had initially considered Christopher Reeve, Daniel Day-Lewis, Kevin Kline, and Denzel Washington for the role of Edward, and Albert Brooks,[8] Sylvester Stallone, Al Pacino and Burt Reynolds turned it down.[9][10] Pacino went as far as doing a casting reading with Roberts before rejecting the part.[11] Sam Neill, Tom Conti and Charles Grodin tested for the part along with Roberts.[12] Gere initially refused but when he met with Roberts, she persuaded him and he eventually agreed to play Lewis.[13] He reportedly started off much more active in his role; but Garry Marshall took him aside and said «No, no, no, Richard. In this movie, one of you moves and one of you does not. Guess which one you are?»[14]
Julia Roberts was not the first choice for the role of Vivian, and was not wanted by Disney. Many other actresses were considered. Marshall originally envisioned Karen Allen for the role; when she declined, auditions went to many better-known actresses of the time including Molly Ringwald,[15] who turned it down because she felt uncomfortable playing a prostitute.[citation needed] Winona Ryder auditioned, but was turned down because Marshall felt she was «too young». Jennifer Connelly was also dismissed for the same reason.[4] Emily Lloyd turned it down as it conflicted with her shooting for the film Mermaids.[16] Drew Barrymore, Brooke Shields, Uma Thurman, and Kristin Davis auditioned for the role of Vivian.[17]
Meg Ryan, who was a top choice of Marshall’s, turned it down as well. According to a note written by Marshall, Mary Steenburgen was also among the first choices. Diane Lane came very close to being cast (the script was much darker at the time); they had gone as far as costume fittings, but due to scheduling conflicts she could not accept. Michelle Pfeiffer turned the role down, saying she did not like the script’s «tone.»[18] Daryl Hannah was also considered but believed the role was «degrading to women».[18] Valeria Golino declined, doubting it would work with her thick Italian accent.[citation needed] And Jennifer Jason Leigh had auditioned.[19] Lea Thompson unsuccessfully auditioned for the role as she thought the film was a drama.[20] When all the other actresses turned down the role, 21-year-old Julia Roberts, a relative unknown, with only the sleeper hit Mystic Pizza (1988) and the yet-to-be-released Steel Magnolias (1989), for which she would be nominated for the Academy Award for Best Supporting Actress, won the role of Vivian. Her performance made her a star. J. F. Lawton, writer of the original screenplay, has suggested that the film was ultimately given a happy ending because of the chemistry of Gere and Roberts.[5]
Veteran actor Ralph Bellamy, who plays James Morse, appears in his final acting performance before his death in 1991. Jason Alexander, who had also recently been cast for his role as the bumbling George Costanza in Seinfeld, was cast as Philip Stuckey. A VHS copy of Pretty Woman would appear in Seinfeld’s apartment in later seasons of Seinfeld as a homage to Alexander’s participation in the film.
Filming[edit]
The film’s budget was substantial, at $14 million, so producers could shoot in many locations.[4] Most filming took place in Los Angeles, California, specifically in Beverly Hills, and inside soundstages at Walt Disney Studios in Burbank. The escargot restaurant the «Voltaire» was shot at the restaurant «Rex,» now called «Cicada». Scenes set in the Beverly Wilshire Hotel lobby were shot at the Ambassador Hotel in Los Angeles. Filming commenced on July 24, 1989, but was immediately plagued by problems. These included Ferrari and Porsche declining the product placement opportunity for the car Edward drove, neither firm wishing to be associated with prostitutes.[4] Lotus Cars saw the placement value and supplied a Silver 1989+1⁄2 Esprit SE (which was later sold).[21]
The shooting was a generally pleasant, easy-going experience, as the budget was broad and the shooting schedule was not tight.[4] While shooting the scene where Vivian is lying down on the floor of Edward’s penthouse, watching reruns of I Love Lucy, Garry Marshall had to tickle Roberts’ feet (out of camera range) to get her to laugh.[22] The scene in which Gere playfully snaps the lid of a jewelry case on her fingers was improvised, and her surprised laugh was genuine. The red dress Vivian wears to the opera has been listed among the most unforgettable dresses of all time.[23]
During the scene in which Roberts sang a Prince song in the bathtub, slid down, and submerged her head under the bubbles; she emerged to find the crew had left except for the cameraman, who captured the moment on film. In the love scene, she was so stressed that a vein became noticeable on her forehead and had to be massaged by Marshall and Gere. She also developed a case of hives, and calamine lotion was used to soothe her skin until filming resumed.[4] The filming was completed on November 30.[24]
Shelley Michelle acted as body double for Roberts in risqué scenes and the film’s publicity poster.[25]
Reception[edit]
Box office[edit]
In its opening weekend, the film was at number one at the US box office, grossing $11,280,591 and averaging $8,513 per theater.[26] Despite dropping to number two in its second weekend, it grossed more with $12,471,670.[26] It returned to number one at the US box office in its sixth weekend and was number one for three weeks. It was in the Top 10 movies in the US for 16 weeks.[26] In Australia, it was number one for 12 weeks and was number one for nine consecutive weeks in the UK. As of September 29, 2009, it has grossed $178,406,268 in the United States and $285,000,000 in other countries for a total worldwide gross of US$463,406,268.[3] It was the fourth highest-grossing film of the year in the United States and Canada[27] and the third highest-grossing worldwide.[28] The film was Disney’s highest-grossing film ever, surpassing Three Men and a Baby, and remains Disney’s highest-grossing R-rated release.[29][30][31]
Critical response [edit]
On review aggregator Rotten Tomatoes the film holds an approval rating of 66 percent based on 73 reviews, with an average rating of 6.10/10. The website’s critical consensus states, «Pretty Woman may be a yuppie fantasy, but the film’s slick comedy, soundtrack, and casting can overcome misgivings.»[32] On Metacritic, the film has a weighted average score of 51 out of 100, based on 18 critics, indicating «mixed or average reviews».[33] Audiences polled by CinemaScore gave the film an average grade of «A» on an A+ to F scale.[34]
Owen Gleiberman of Entertainment Weekly gave the film a «D», saying it «starts out as a neo-Pygmalion comedy» and with «its tough-hooker heroine, it can work as a feminist version of an upscale princess fantasy.» Gleiberman also said it «pretends to be about how love transcends money,» but «is really obsessed with status symbols.»[35] On its twentieth anniversary, Gleiberman wrote another article, saying that while he felt he was right, he would have given it a «B» today.[36] Carina Chocano of The New York Times said the movie «wasn’t a love story, it was a money story. Its logic depended on a disconnect between character and narrative, between image and meaning, between money and value, and that made it not cluelessly traditional but thoroughly postmodern.»[37]
Accolades[edit]
| Award | Category | Nominee(s) | Result |
|---|---|---|---|
| Academy Awards[38] | Best Actress | Julia Roberts | Nominated |
| BMI Film & TV Awards | Film Music Award | James Newton Howard | Won |
| Most Performed Song from a Film | «It Must Have Been Love» – Per Gessle | Won | |
| British Academy Film Awards[39] | Best Film | Arnon Milchan, Steven Reuther and Garry Marshall | Nominated |
| Best Actress in a Leading Role | Julia Roberts | Nominated | |
| Best Screenplay – Original | J. F. Lawton | Nominated | |
| Best Costume Design | Marilyn Vance | Nominated | |
| César Awards | Best Foreign Film | Garry Marshall | Nominated |
| David di Donatello Awards | Best Foreign Actress | Julia Roberts | Nominated |
| Golden Globe Awards[40] | Best Motion Picture – Musical or Comedy | Nominated | |
| Best Actor in a Motion Picture – Musical or Comedy | Richard Gere | Nominated | |
| Best Actress in a Motion Picture – Musical or Comedy | Julia Roberts | Won | |
| Best Supporting Actor – Motion Picture | Hector Elizondo | Nominated | |
| Golden Screen Awards | Won | ||
| Jupiter Awards | Best International Actress | Julia Roberts | Won |
| Kids’ Choice Awards | Favorite Movie Actress | Won | |
| People’s Choice Awards | Favorite Comedy Motion Picture | Won | |
| Writers Guild of America Awards[41] | Best Screenplay – Written Directly for the Screen | J.F. Lawton | Nominated |
- It ranks on No. 21 in AFI’s 100 Years… 100 Passions.
Music[edit]
The soundtrack features the songs (among others);
- «Oh, Pretty Woman» by Roy Orbison, which inspired its title
- Roxette’s «It Must Have Been Love», originally released in December 1987, reached No. 1 on the Billboard Hot 100 in June 1990. The soundtrack also features
- «King of Wishful Thinking» by Go West
- «Show Me Your Soul» by Red Hot Chili Peppers
- «No Explanation» by Peter Cetera
- «Wild Women Do» by Natalie Cole and
- «Fallen» by Lauren Wood
The soundtrack has been certified triple platinum by the Recording Industry Association of America (RIAA).[42]
The opera featured in the film is La Traviata, which also served as inspiration for its plot. The highly dramatic aria fragment that is repeated is the end of «Dammi tu forza!» («Give me strength!»), from the opera. Roberts sings the song «Kiss» by Prince while she is in the tub and Gere’s character is on the phone. Background music is composed by James Newton Howard. The piano piece Gere’s character plays in the hotel lobby was composed and performed by Gere. Entitled «He Sleeps/Love Theme», this piano composition is inspired by Bruce Springsteen’s «Racing in the Street».
Musical adaptation[edit]
A stage musical adaptation of the film opened on Broadway on July 20, 2018, in previews, officially on August 16 at the Nederlander Theatre.[43] This follows an out-of-town tryout at the Oriental Theatre in Chicago, which will run from March 13 to April 15, 2018. The musical has music and lyrics by Bryan Adams and Jim Vallance; the late Garry Marshall and J. F. Lawton wrote the book; and Jerry Mitchell is the director and choreographer.[44] The Chicago and Broadway cast featured Samantha Barks, in her Broadway debut as Vivian and Steve Kazee as Edward. Barks finished her run as Vivian on July 21, 2019, and was replaced by Jillian Mueller the following evening, with Brennin Hunt, of Rent fame, assuming the role of Edward.[44] Orfeh portrayed Kit, and Jason Danieley played Philip Stuckey. Eric Anderson portrayed the role of Mr. Thompson and Kingsley Leggs played the role of James Morse.[43]
References[edit]
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- ^ Prince, Rosa (March 21, 2012). «Richard Gere: Pretty Woman a ‘Silly Romantic Comedy’«. The Daily Telegraph. London. Archived from the original on November 9, 2014. Retrieved April 4, 2018.
- ^ a b «Pretty Woman (1990)». Box Office Mojo. Archived from the original on May 1, 2012. Retrieved September 29, 2009.
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- ^ a b c Kate Erbland (March 23, 2015). «The True Story of Pretty Woman’s Original Dark Ending». Vanity Fair. Archived from the original on January 28, 2018.
- ^ Hilary Lewis (August 26, 2016). «8 Movies With Major Title Changes». The Hollywood Reporter. Archived from the original on August 31, 2016. Retrieved August 27, 2016.
- ^ Stewart, James B. (2005). DisneyWar. New York: Simon & Schuster. p. 110. ISBN 978-0-7432-6709-0.
- ^ «The Lost Roles of Albert Brooks». June 30, 2011. Archived from the original on July 4, 2021. Retrieved June 15, 2021.
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- ^ Tiffin, George (2015). A Star is Born: The Moment an Actress becomes an Icon. Head of Zeus. p. 493. ISBN 978-1-78185-936-0.
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- ^ a b «Darly Hannah Pleased to Decline Pretty Woman». Archived from the original on October 13, 2007. Retrieved August 20, 2007.
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- ^ «Lea Thompson’s Disastrous «Pretty Woman» Audition — «Late Night with Conan O’Brien»«. YouTube. Archived from the original on December 11, 2021.
- ^ «Lotus Espirit SE Pretty Woman Movie Car». Archived from the original on March 14, 2018. Retrieved March 22, 2018.
- ^ Peng, Chelsea (March 24, 2015). «16 Things You Never Knew About ‘Pretty Woman’«. Marie Claire. Archived from the original on August 3, 2020. Retrieved September 3, 2020.
- ^ Henderson, Jessica (February 28, 2012). «The 20 Greatest Movie Dresses of All Time». Marie Claire. Archived from the original on April 14, 2016. Retrieved September 3, 2020.
- ^ «PRETTY WOMAN (1990)». Archived from the original on October 16, 2019. Retrieved October 16, 2019.
- ^ «Emilia Clarke suffered in vain: here are 13 famous nude scenes that were actually performed by body doubles». The Telegraph. April 11, 2017. Archived from the original on April 7, 2021. Retrieved March 30, 2021.
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- ^ «1990 Yearly Box Office Results». Box Office Mojo. Archived from the original on December 6, 2006. Retrieved September 29, 2009.
- ^ «1990 Yearly Box Office Results». Box Office Mojo. Archived from the original on April 26, 2009. Retrieved September 29, 2009.
- ^ Groves, Don (January 10, 1994). «Japan ends year with ‘Cliffhanger’«. Variety. p. 24.
- ^ «‘Pretty Woman’ now top Disney grosser». Variety. September 3, 1990. p. 4.
- ^ «DOMESTIC GROSSES BY MPAA RATING». Archived from the original on August 20, 2016. Retrieved July 4, 2016.
- ^ «Pretty Woman». Rotten Tomatoes. Archived from the original on January 2, 2013. Retrieved November 15, 2022.
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- ^ «Find CinemaScore» (Type «Pretty Woman» in the search box). CinemaScore. Archived from the original on January 2, 2018. Retrieved March 25, 2019.
- ^ Gleiberman, Owen (March 23, 1990). «Pretty Woman». Entertainment Weekly. Archived from the original on April 27, 2009. Retrieved September 29, 2009.
- ^ Gleiberman, Owen. «‘Pretty Woman’: 20 Years after My Most Infamous Review (Yes, I gave it a D), Here’s My Mea Culpa—and Also My Defense». Entertainment Weekly. Archived from the original on September 22, 2012. Retrieved July 15, 2011.
- ^ Chocano, Carina (April 11, 2011). «Thelma, Louise and All the Pretty Women». The New York Times. Archived from the original on April 1, 2017. Retrieved February 28, 2017.
- ^ «The 63rd Academy Awards (1991) Nominees and Winners». Academy of Motion Picture Arts and Sciences. Archived from the original on October 20, 2014. Retrieved October 20, 2011.
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- ^ «American album certifications – Soundtrack – Pretty Woman» Archived April 8, 2022, at the Wayback Machine. Recording Industry Association of America. May 1, 1991. Retrieved April 8, 2022.
- ^ a b Clement, Olivia. » ‘Pretty Woman’ Musical Finds Its Broadway Home, Sets Summer 2018 Opening» Archived November 24, 2017, at the Wayback Machine Playbill, November 22, 2017
- ^ a b McPhee, Ryan. «Jason Danieley Joins Broadway-Bound ‘Pretty Woman’ Musical» Archived October 7, 2017, at the Wayback Machine Playbill, October 6, 2017
External links[edit]
- Pretty Woman at IMDb
- Pretty Woman at AllMovie
- Pretty Woman at the TCM Movie Database
- Pretty Woman at the American Film Institute Catalog
- Pretty Woman at Disney A to Z
- Pretty Woman at Box Office Mojo