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Romance-cleaned-1

Dataset card Data Studio Files
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INT. [FRL]'S APARTMENT - NIGHT [FRL] lies in bed with [EX8].
EXT. FOOT OF DRIVEWAY - MOMENTS LATER [MRL] faces [FRL]. [MRL] Hey. [FRL] I heard what you did. Thank you. He nods, but quickly changes the subject. [MRL] She great or what? [FRL] Why are you doing all this? To impress me? [MRL] No. But are you -- impressed? She smiles. CONTINUED: [FRL] Like fire. [MRL] ...
EXT. DAY. COPSE Opposite her she sees [FRL] descending through the copse.
EXT. HOUSE � NIGHT CLOSE SHOT [EX24] beside lighted window pulls down the shade as [MRL] blows his whistle.
EXT. ROAD The Camaro swerves. TIRES SQUEALING. A LOUD, HEART- SEARING THUMP. The old man -- sideswiped, drops to the asphalt. The CAMARO SLAMS into a light pole. CRUNCHING METAL. TINKLING GLASS.
INT. KITCHEN - DAY [MRL] and [FRL] are in the playpen. [MRL]'s oversized mother reaches down as she hurries by and pats [MRL] on the head. MOTHER How's my baby boy? She's gone. [MRL] I really want her to pick me up. It's weird how strong that desire is. [FRL] holds his hand. He looks over at her. [FRL] You kno...
INT. BISHOP HOUSE. DAY [EX13] listens on the telephone with a strained look on his face. [EX14] watches him intently. [EX13] Oh, dear God. [EX13] grabs [EX14] by the wrist. He says grimly: [EX13] Get the boys. [EX14] raises her megaphone to her mouth. She shouts: [EX14] Let's go! Right now!
EXT. CREEK HOUSE - NIGHT We follow [EX14] running towards the creek house, fastening a good shirt. He's dressed and cleaned for dinner. He's late.
INT. [MRL]'S LIVING ROOM - EVENING [MRL] in a towel rushes downstairs, having just had a shower. He shoots past [EX1]. [MRL] Bollocks, bollocks, bollocks. Have you seen my glasses? [EX1] No, 'fraid not. [MRL] Bollocks. This happens every time I go to the cinema. Average day, my glasses are everywhere -- everywher...
INT. [EX2]'S OFFICE [EX2] paces and dictates to a secretary. [MRL] He hired a secretary that he could dictate to.
INT. HALLWAY -- NIGHT [FRL] stops in the hallway to see that [MRL] Maguire has arrived at the back-kitchen door. She watches unseen as Maguire shakes hands with [EX28] the Nanny and is hit suddenly by a flying hug from [EX11]. He gives the kid an athletic bag, which is filled with state-of-the-art promotional athlet...
INTERCUT BETWEEN TWO LOCATIONS: [MRL] sits on his bed, on the phone, working and eating his breakfast. He's watching [FRL]'s wedding tape again. [EX4] is cooking an elaborate breakfast. [EX8] rushes around getting ready for work. He is on the phone to [MRL]. [EX4] Yes, well, my theory was that she may be running ...
INT. LUGGAGE AREA -- MORNING [FRL] looks through the rubber flaps of the luggage conveyor belt. She clutches a cup of coffee. In the background, other SMI agents' grab their bags and exit. [FRL] [EX11]! [EX11]! Maguire enters picture, joining her as she looks into the dark depths behind the flaps. [MRL] Can I hel...
INT. TRIPLE DOOR BAR - LATER [FRL] with [MRL] and his friends: [EX3] and [EX2]. [EX3] [FRL], has [MRL] told you that in addition to being an Uber driver he also has a one-man show? [FRL] No, he did not tell me that. Do you really? [MRL] It's really nothing. It's just something I'm fiddling around with. 23 [FRL] ...
INT. TOWNHOUSE - LIVING ROOM - DAY [EX3] is sitting in front of the television, scowling. ON TV - A HIDDEN VIDEO OF [EX6] AND [EX4] IN THE LIVING ROOM. [EX6] plays Beethoven's "Moonlight Sonata" at the piano while [EX4] listens and sways to the music. ANGLE ON: LIVING ROOM - [EX3] Enough with the music. Fuck her ...
INT. WONG BROTHERS' DELI - SECONDS LATER [MRL] walks into the brightly lit deli... [EX7], 20s, is with his 80-year-old GRANDFATHER behind the counter. There's a NERDY COLLEGE KID at the salad bar, a drunken DEPARTMENT STORE SANTA at the liquor display, a WOMAN with a BABY in an aisle and... ...a BLACK [EX24], 30s, with...
EXT. TERRACE - DAY A little later. They're in the thick of the script. [MRL] 'Message from command. Would you like them to send in the HKs?' [FRL] 'No, turn over 4 TRS's and tell them we need radar feedback before the KFT's return at 19 hundred -- then inform the Pentagon that we'll be needing black star cover fro...
INT. CAR. [MRL] Come on! Get it out!
HALLWAY - DAY [EX3] tries to pull away as [EX2] drags her by the hair between two rows of lockers. [EX3] Let go! [EX2] You set me up. [EX3] I just wanted -- [EX2] What? To completely damage me? To send me to therapy forever? What? [EX3] No! I just wanted [EX7] walks up [EX7] Ladies? Shall we take a trip to my...
INT. HALLWAY - CONTINUOUS Sure enough, it seems as if most of the party is listening at the door - falling all over each other to hear. Nearest to the door is the bully, who is pleasantly surprised by the noise inside.
EXT. THE ALLEY BEHIND THE WHOREHOUSE -- NIGHT Several of the Hookers follow to watch. [MRL] is drunk and lost. [EX24] in control. [EX24] C'mon, we got nothin' to fight about. [MRL] You fuck! [EX24] Why am I a fuck? [MRL] Why are you a fuck? 'Cause you got talent. I got brains. But you got talent! You're God damn l...
INT. RECEPTION - NIGHT The doors open and [MRL] and [FRL] enter. Heads turn. [EX18] looks up and sees [MRL] with [FRL]. She shakes her head. [EX17] sees [MRL] and gets up. She joins him. [MRL] Hey. [EX17] Hi. [MRL] I didn't go. [EX17] I'm glad. Off [EX17]'s look, [MRL] turns to [FRL]. [MRL] This is [FRL]. A... f...
EXT. AIRFIELD - NIGHT Ambulances, fire trucks, and police cars start to move. [EX36] Airport vehicles take positions one and two.
INT. [FRL]'S BEDROOM - NIGHT [FRL] paces her room, not wanting to sleep/dream. She eyes the phone, waiting for it to ring. BEEEEP -- [FRL] Me again. I just... need to hear your voice...
INT. DAY. EWEDOWN - THE PUB. [MRL] is lying on one of the seats, his head on [EX11]'s lap. [EX11] I'm going to move on soon, [MRL]. [MRL] No way... GOLDENROD REVISIONS 09 [EX11] Don't know if I can stick a winter here. The way the light disappears; it's doing me in. I'm a blue sky girl. Got to have some warmth. [M...
EXT. THE NORTHWEST EXECUTIVE ENTRANCE - DAY In front of the guardhouse, [EX7] and her new colleague, [FRL] , are being cleared. [FRL] Hi, my name's [FRL] . [EX7] He just needs your driver's license. [EX7] hands the guard her license. [FRL] I'm from Virginia. [EX7] He doesn't care. [FRL] I'm here for a meeting wi...
EXT. AIRFIELD - NIGHT Ambulances, firetrucks, and police cars speed toward runway. They are followed by a baggage truck, fuel truck, a taxi, Coke truck, an ice cream truck, farm machinery, and a cement mixer. [EX36] Air Force positions number four and five. All ambulances to position three.
INT. RAINBOW ROOM - DUSK [EX9] and [FRL] walking toward their table with the MAITRE D'. [FRL] sits down, looks at the view. [EX9] starts to sit, revealing a spectacular view of the EMPIRE STATE BUILDING directly behind him. [FRL]'s smile fades. [EX9] Is something wrong. [FRL] shakes her head. MAITRE D' ...
EXT. ROAD - DAY A short time later. [EX6] is now driving. [EX6] I'm sure, [EX2], they did something real off for you to feel this way... But when it comes to your partners -- or your kid -- things will always be off for you unless you set it straight. Maybe this thing happened to you just to give you that chance. [E...
EXT. STREET MED. SHOT The truck and taxicab crash and the screen blacks out. DISSOLVE TO:
EXT. STREET - AFTERNOON [MRL] and [EX17] walk arm in arm, [MRL] in cool clothes and sunglasses trying to look cool, [EX17] making a point about something. [MRL] checks out how cool he looks with her as they walk by a store window REFLECTION. [MRL] We went out for two years, and for every single minute I felt as thou...
INT. LOCKER ROOM -- DAWN PLAYERS THROW THEIR GEAR into their travel bags. A PAPER BEER CUP IS TAPED TO THE WALL -- With a sign: "Married men deposit wedding rings here for road trips". CLOSE ON THE CUP -- A ring is dropped in, and another, and... We begin hearing [FRL]'s VOICE OVER: [FRL] A woman should never ask...
EXT. HOSPITAL - DAY [MRL] exits the Hospital. [MRL] Taxi! A taxi pulls up. [MRL] Heathrow please. As quick as you can. [MRL] gets in as the Taxi speeds away.
INT. COCKPIT - NIGHT [FRL] enters with dinners. [EX12] Hey, we've been waiting for you. A little bit late tonight. [FRL] Who wants to be first? [EX16] Go ahead, Clarence, I got it. [EX12] removes his headset, [FRL] puts tray down. [FRL] How's the weather? [EX16] Not so good. We've got some heavy stuff ahead of u...
INT. [EX6]'S RESTAURANT - DAY ANGLE ON WAITRESS [EX6] CONNELLY talks with another MOTHER -- a customer. You would not guess it, but her working hours tend to be the most carefree time of the day. She is telling a story about her son for the umpteenth time. [EX6] Look at you, you're all better. MOTHER It's that new ...
[MRL] turns the corner into bumper to bumper traffic. No problem, the traffic magically opens up for him, cars instantly swerving right and left clearing a path for [MRL]. He waves as he passes. [MRL] And the last shall be first. EXT. POLICE TRAINING CENTER - DAY A POLICE DOG, HANK, performs some standard TAKE DOWNS ...
EXT. CENTRAL PARK - MORNING [MRL]�s Ferrari racing through the park...
[EX34] HAPPY HOLIDAYS! As another carol begins, [MRL] wraps his arms around [FRL] and kisses her. He pulls away, looks deeply into her eyes, and whispers with passionate sincerity -- [MRL] I love you, [FRL]. For an instant, her eyes flare as though she were surprised. Then her eyes fill with tears. She tries to spea...
INT. PARK HYATT BAR - NIGHT [MRL], still in his tuxedo and make-up from the shoot, sits alone having a drink. A JAZZ BAND FROM SAUSALITO performs. The [EX25] is a middle-aged woman with red wavy hair, dressed in red, and takes her singing very seriously. She sings a slow version of "Parsley, Sage, Rosemary and Thyme"....
66 INT. [FRL]'S FLAT - DAY [FRL] sits holding [MRL]'s torn T-shirt. She is trying to read her book, but is just too distracted. The phone rings and she runs for it. [FRL] Hello? No, Dr. Hirsch, he hasn't come back yet. Yes, I will, doctor, but I just feel so helpless sitting here doing nothing. Thank you, ye...
INT. SEELBACH HOTEL - BATHROOM - MORNING In the bath, [FRL]'s grips the letter in her trembling hands. [EX1] What was in the letter? A deep breath, a last look, and then, [FRL] opens her hand... The letter comes to pieces like snow. [EX4] I don't know. She wouldn't tell me. But before the letter disappears comple...
IN THE KITCHEN: We see 10-year-old [MRL] watching his mother [EX5] and father kiss quickly, politely, and then his father leaves quickly. [EX2] remains in silhouette through the shot. DIFFERENT DAY, IN [MRL]'S BEDROOM: [MRL] watches [EX2] and [EX5] kiss, and [EX2] leave - more like a performance than anything real. DIF...
INT. [EX5]'S ROOM - NIGHT [MRL] I have to have a life. I have to do things that I want with people my own age. It's none of your business who I am going out with. I don't give a good goddam if you're angry -- [EX5] This is the one I like. [MRL] starts back to his bedroom.
INT. [EX6]'S GARAGE - CONTINUOUS As [EX3] and [EX1] enter the dim garage, [EX6], a nervous, spiritless man, appears from the back office. [EX3] Hello [EX6]! How's business? [EX6] I can't complain. When are you going to sell me that car? [EX3] I've got my man working on it. [EX6] Works pretty slow, don't he? [EX3]...
INT. BEDROOM-- NIGHT Fierce, driving jazz. [FRL] and [MRL] making out on bed. Getting hotter. The music gets wilder. Finally it is impossible to ignore, and [MRL] collapses backwards on the bed laughing. She is left frozen, her arms open but he is gone. [FRL] What is this MUSIC? They both crack up, and she kisses h...
INT. LOCKER ROOM - DUSK The female players continue to celebrate as they undress. [EX26] Shoot, you see that crowd? We need to be playing in the Sports Arena. [EX28] Hell yeah. They give each other a pound. [EX21] looks at [FRL], standing in her shorts and sports bra. [EX21] Oh damn, Mon. [FRL] What? [EX21] I ...
INT. HELLER HOME - VARIOUS - CONTINUOUS - PRESENT DAY In THE KITCHEN, [EX1] climbs in through the old dog door. She sees her father kneeling on the floor at her mother's feet. Perplexed, she pulls at her bottom lip with her finger. [FRL] releases herself from [MRL]'s grip and goes to her suitcase. She carries it up th...
[MRL] STEPS CLOSER, LEANING TOWARD [EX26]. WHISPERS INTIMATELY
INT. WOODS - MORNING [MRL] and [FRL] tramp through the woods to FIND -- [EX6] leaning against a tree. His expression is hard. [EX6] You're still alive. [FRL] I've been calling you. [EX6] Couldn't drop by? [MRL] He thinks I'm keeping you away. [EX6] Stay the hell out of my head! [FRL] Dad grounded me, Jake. We're ...
INT. THE SLAUGHTERED LAMB - NIGHT The rain is loud on the roof and beating on the windows. The gathered continue to drink, play chess and darts, but all are silent and contemplative. [EX4] Perhaps they'll be safe in the rain. The [EX6] slams his hand on the table. Shouts: [EX6] No one brought them here! N...
INT LANCASTER HOUSE - DINING ROOM - ANOTHER NIGHT Where [FRL] is having dinner with her parents. [EX1] [EX27] called today. The PET Scan is set for the eighth. [FRL] nods. This could be a source of worry but she's not going to think about that right now. She's upbeat. And she's actually eating, which her parents can't...
INT. KINGS FAMILY RESTAURANT - NIGHT The Devils' faithful cheer as [EX4] and his guys enter! The place is packed. [EX7] and [FRL] drink coffee while [MRL] eats his brownie. They're all excited. [FRL] Do you have a favorite band? [MRL] I think The Smiths are my favorite. [FRL] Are you kidding!? I love The Smiths! Th...
INT. VAGUE SPACE Vague reenactments of memories intermingle in this undefined space: The young girl being raped by the man in the car. A soldier on a battlefield looking at his slaughtered friends. A couple fighting, from the woman's point of view. [EX22] I...I... I... find you physically repulsive! I can't even ...
EXT. ARCADIA STREET. MID-MORNING. A street in Arcadia. The car is parked. [FRL] and [MRL] walks toward the car carrying big bags of groceries and supplies and put them inside. [MRL] What happened to C.W.? [FRL] He stopped off in that hardware store to get light bulbs for his daddy. [MRL] opens the door of the dr...
INT. THE PRESS BRIEFING ROOM - EARLY MORNING [EX5] is on her last drops of energy and patience. [EX56] [EX5], will the President ever respond to Senator [EX22]'s question about being a member of the American Civil Liberties Union? But instead of hands going up, the PRESS CORPS suddenly stands. [EX5] turns to see [MR...
EXT. THE ROUND PEN - DAY [MRL] stands in the pen with Pilgrim. He looks to see [FRL] and [EX2] approaching but makes no acknowledgement. He turns his focus back to Pilgrim. [FRL] and [EX2] appear. [EX2] takes a position a distance away from the pen. [FRL] moves in closer, beside [EX17] with one leg up on the pen fenc...
INT. REVEREND'S OFFICE [MRL] doesn't sit. [MRL] I'd like to take [FRL] to dinner on New Year's Eve. REV. SULLIVAN That won't be possible. He looks back to his papers. End of conversation. [MRL] I'm sorry I haven't always treated [FRL] the way -- I should have. She deserves better. Reverend Sullivan glances up....
EXT. COUNTRY ROAD, CT. - EARLY MORNING Pilgrim is first to find his legs. [EX1]'s horse, its leg broken at the ankle, walks in a confused state. [EX1]'s foot is helplessly caught in the stirrup... [EX2] ... [EX1]'s foot was caught in the stirrup... she couldn't get up, she was so scared... I saw this truck, coming ar...
INT. TUBE - NIGHT The old woman travels in the commuter tube over Manhattan. It's late, the tube is mostly empty. She has earphones on. SECOND [EX2] I remember [MRL] and I were having breakfast --
INT. [MRL]'S HOTEL ROOM - CONTINUOUS He is finding it very hard to gloat. [EX4] is annoying him. [MRL] Look -- I'll be in there later today. I'll come by and tell you all about it. [EX4] You're coming here? [MRL] Yeah. [EX4] Then come for dinner. [MRL] Okay, we'll order out. [EX4] Order out like a Philistine, w...
EXT. TOWN STREETS - DUSK TO DAWN [MRL] and [FRL] wander side by side down the sidewalks and streets of the town. They walk and talk about - small towns and big cities, school and work, dreams and nightmares, being old and being young, etc. Blue Valentine Official Green Script as of 6/9/09 [MRL] Where's you house? [...
INT. BEDROOM. DAY. Running from the window, she flings open a closet and grabs a dress, and shoes. She slips on the shoes, and flings the dress on, running out the door as she does. The camera tracks with her, moving as fast. As she runs down the stairs she buttons up the dress.
INT. LIVING ROOM -- NIGHT [MRL], who is playing with a kaleidoscope on the table, looks up to see [EX11]. [EX11] Hi. [MRL] Hi [EX11].
INT. COCKPIT - NIGHT DRAMATIC MUSIC as we see [MRL]'s ominous look of recognition. [MRL] Yes, Captain [EX36]. Read you loud and clear.
INT. TOWER - NIGHT [EX36] sighs in relief as controllers and Mrs. [EX12] dash from room.
EXT. WASHINGTON, D.C. STREET - NIGHT [FRL] driving toward the house where [EX9]'s parents live. DR. MARCIA FIELDSTONE Do you think there's somebody out there you could love as much as your wife? Maybe even more? [MRL] It's hard to imagine. And cut back and forth between the car and the houseboat. [MRL] a...
INT. HOTEL LOBBY - DAY [FRL] 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 [FRL] exit out the front door. [FR...
EXT. WOODS - NIGHT Rhi sits, bored and uncomfortable, while her parents smile at the campfire for an, again, awkwardly long moment.
INT. PENTHOUSE BEDROOM - MORNING [MRL] comes out into the bedroom. [FRL] quickly follows. They move through the bedroom into the living room. [MRL] 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 [FRL]. [MRL] I want you to go out and buy some dec...
INT. A HOSPITAL. [FRL] is lying in bed with her brand new nose bandaged up. He face is covered in bruising. She is panicking - experiencing a loss of self.
INT. READY ROOM ON AIRCRAFT CARRIER � NIGHT CLOSE SHOT [EX2] is fastening the helmet of his flying clothes. He waves as he exits through the door. JOSEPH'S VOICE [EX2]... [EX2] [EX9] topped them all. A Navy flier, he shot down fifteen planes.
INT. [FRL]'S HOTEL ROOM [FRL] is sitting on the bed, gently petting [EX28]. [FRL] He's sweet. He misses your Dad. She stops. Gets up, nervous, and walks past [MRL] into the next room. [MRL] follows her in. They pause uncomfortably, [FRL] suddenly leans in and kisses him. Before it goes to far... [MRL] Maybe we, we c...
INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men.
INT. DINER- EVENING [EX11] Here you go. [FRL] Thank you. [MRL] LOOKS AT THE MENU. THE [EX11] STANDS, WAITING. [MRL] I'm gonna have a bowl of your Raisin Bran. [FRL]'S PERPLEXED. [FRL] Tea. THE [EX11] TAKES THE MENUS FROM THEM AND WALKS AWAY. [EX11] Be right back. [MRL] You look nice. [FRL] Thanks. THE [EX11]...
INT. NIGHT. STONEFIELD - THE KITCHEN. [EX6] strolls in. He's ecstatically happy. [EX3] is getting something out of the Aga. [EX3] Oh poor you - was it awful? [EX6] Bloody terrible. Didn't move till well past Chiswick. But look, I nipped into Fortnums... He hands her a package. [EX3] All my favourite teas - Oh! He e...
INT. TRAFALGAR SUITE CORRIDOR - DAY [MRL] exits fairly despondent and heads for the door. [EX7] is in the corridor calling on his mobile phone. [EX7] How was she? [MRL] Fabulous. [EX7] Wait a minute -- she took your grandmother's flowers? [MRL] can't think his way out of this. [MRL] Yes. That's right. Bitch. ...
INT. [MRL]'S APARTMENT - NIGHT [MRL] checks his machine: zero messages. VOICE-OVER That's it. I'm just gonna-- Without a moment's hesitation, he dials the phone. VOICE-OVER I'm gonna tell her I'm through playing games and -- RECORDED VOICE The number you have dialed has been disconnected. [MRL]'s eyes bug.
INT. COCKPIT - NIGHT [EX12] Thank you, Omaha. Two-zero-niner out. Victor, we're running into a heavy storm, can you... [EX12] turns to see [EX15] slumped over the console. Dramatic MUSIC. [EX12] Victor! Roger, take over! [EX12] lifts [EX15] onto ground.
INT. [MRL]'S APARTMENT - NIGHT [EX4] is at the machine. [EX4] We got him back. [EX5], I think I'm just going to have to get through this manually. We're running late.
INT. TAXI - MOMENTS LATER [FRL] jumps in. The cabbie looks at her in the rearview mirror [EX28] You're not an escaped mental patient, are you? [FRL] Kind of.
INT. RED LOBSTER - NIGHT [FRL] and [EX15] sit in a booth at a dimly-lit RED LOBSTER. [FRL] looks beautiful. The `A' on her shirt is sequined. [FRL] I can't believe you brought me to the nicest restaurant in town. This is swank. I was beginning to think that there was no such thing as class. [EX15] Yeah. What's bette...
INT. STABLES, THE DYER HORSE FARM - MORNING There are several horses in their stalls. [EX2] and [EX1] enter, talking, carrying their English saddles. [EX1] stops at a stall, disappearing into it as she says "Hello?"..., [EX2] continues to the end stall. Pilgrim stands looking at her. [EX2] Hello, beautiful boy. He'...
INT. MACGUFF HOUSE - [FRL]'S BEDROOM - NIGHT [FRL]'s BEDROOM is decorated with punk posters: The Damned, The Germs, the Stooges, Television, Richard Hell, etc. She picks up a hamburger-shaped phone to call her best friend, [EX3].
EXT. SUBURBAN STREETS - MORNING
EXT. [EX]'S HOUSE - DAY [FRL] exits to find [EX3] greeting the driver, [EX5] BLACK, 16, Quileute Indian, amiable with long black hair, and hints of childish roundness in his face. The two of them help [EX5]'s father, [EX4] BLACK , into a wheelchair. [EX3] [FRL], you remember [EX4] Black. [EX4] Glad you're finally he...
INT. [EX32]'S WAITING ROOM - DAY A female [EX32] in surgical scrubs holds Verdell as [EX1] finishes filling out some forms. On opposite sides of the waiting room, a very large black dog and a tiny Chihuahua sit patiently with their owners. [EX32] Anything unusual in the dog's diet? [EX1] No. Everybody gets their ow...
INT. SHOWERS - DAY The cowboy Cells a Coffee [EX31], as he shields his java from the spray of the shower.
INT. FRIED CHICKEN CAFE. The camera remains stationary in this scene, in this position. A lunch counter sweeps down the center of the screen. We are at one end of the counter. In the f.g., a [EX23] sits drinking coffee, absorbed in his cup. In the b.g., at the other end of the counter, by the Exit door, [EX5] and C...
EXT. LIBRARY -- SUNRISE 76 Students work in the library as light refracts through icicles in the window. But if I did I would kneel down and ask Him Not to intervene When it came to you
INT. [EX2]'S HOSPITAL ROOM - NIGHT [FRL] enters. No one else is there. She places the suitcase on a chair and opens it. She takes out the INDIAN LUCKY CHARM and some horse books, and places them on her bedside table. She takes care to prop up the Lucky Charm. She wets a cloth with some water from a pitcher and gently...
EXT. DURHAM BALLPARK -- DUSK A BLACK GOSPEL GROUP at a mike at home plate, singing: [EX34] I come to the garden alone, When the dew is still on the roses, And the voice I hear, whispering in my ear,. The Son of God discloses -- [FRL] SPRINKLES [EX17]'S ASHES on the pitcher's mound, as: [EX7] SITS IN THE DUGOUT FILL...
INT. CAFETERIA - DAY [EX8] and [EX10] flank [EX9] as he shovels food into mouth. [EX9] You were right. She's still pissed. [EX10] Sweet love, renew thy force! [EX9] Man -- don't say shit like that to me. People can hear you. [EX8] (exasperated) You humiliated the woman! Sacrifice yourself on the altar of dignity...
INT. HALLWAY/[FRL] & [EX3]'S BEDROOM - MORNING [EX2], fully dressed except for her boots, tiptoes past a partially opened bedroom door. Her father [EX3] is asleep, alone, on his huge king size bed.
INT. PASSENGER CABIN - NIGHT [MRL] We laughed, we talked, we danced, I never wanted it to end and I guess I still don't. But enough about me. I hope this hasn't been boring for you. CAMERA WIDENS to reveal Mrs. Elderly's legs dangling next to him. She has hung herself. [MRL] It's just that when I start to talk about...
INT. IRON SKILLET RESTAURANT - DAY [EX1] sits at the counter at the rear of the busy diner sipping an iced tea. He sees [EX9] enter -- she pulls a dollar bill out of her purse as she approaches the cash register near the front door. She calls out to a waitress who is fetching an order from the grill. [EX9] Excuse me...
INT. CLUB FOYER - NIGHT [EX9] walks up to [EX22], who's frisking a badly mowhawked PIERCED EYEBROW [EX5]. [EX22] pulls a SWITCHBLADE out of the boy's inside pocket. [EX22] Next time, leave the Bic at home, [EX23]. [EX23] It's a bottle opener. [EX22] pushes him inside the club, then sees [EX9]. [EX22] , my man. T...
INT. [FRL]'S HOTEL [MRL] remembers [FRL] on her hotel bed the night they met, messing up his hair, kissing for the first time. BACK TO PRESENT
19 INT. CHILDREN'S WARD - DAY A ward with seven or eight beds in it, all occupied. She goes to a little Pakistani boy named [EX13]. [FRL] Hello, [EX13]. [EX13] No. [FRL] No what? [EX13] No. [FRL] Well, all right then, be that way. Here, swallow this. [EX13] No. [FRL] pours a glass of water, gives the p...
INT. DAY. WINNARDS FARM - [FRL]'S BEDROOM. [EX5] plonks herself down at [FRL]'s PC. [EX5] We have to get him back down here. I'm sending him a valentine. GOLDENROD REVISIONS 09 [EX2] No you are not! [EX5] From her address. [EX2] He'll think it's from [FRL], you dipshit. [EX5] But I know it'll be from me. Subject...
INT. [MRL] AND [EX1]'S ROOM � MORNING 85 [MRL] enters and takes off his coat. [EX1] sits up, annoyed. [MRL] Man, I'm sorry. Go back to sleep. [EX1] What's the point? I have to be up in 15 minutes anyway. Not that I could sleep. [MRL] I didn't sleep either, but for some reason I'm still refreshed. I feel great. [EX1] st...