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INT. SANITARIUM - [EX2]'S OFFICE - WINTER - DAY
The [EX2] leans forward.
[EX2] Watching you...?
[EX1] Yes. He was watching me. In fact, I know now that [MRL] was always watching me...
[EX2] And how do you know that?
[EX1] Because I got an invitation... I was the only one.
FADE IN IMAGE: An immaculate CHAUFFEUR, i... |
INT. [EX6]'S APARTMENT BUILDING, STAIRWAY/HALLWAY - DAY
As she bounds the stairs, comes to her apartment door and jiggles with the keys, a strange prescient whimpering sound coming from her. As she enters the apartment.
[EX6] Hello? Hello?
VOICE Mrs. Connelly, I'm in here.
The worst confirmed, she moves down the na... |
INT. LOCKER ROOM - DAY
[MRL] opens a locker and points. We don't see at what.
[MRL] Put this on. I'll meet you outside.
[FRL] But I don't...
[MRL] Ah. Put it on.
|
INT. PICK-UP TRUCK - DAY
[EX2] doesn't know what to do.
[MRL] Put the key in and turn it. The right pedal is gas, the other one's the brake.
[EX2] I don't know if I can with my leg.
[MRL] Well, there's only one way to find out. Give it a little gas.
She awkwardly puts her prosthetic foot on the gas pedal. Too much... |
INT. THE BUS -- DAY
[EX2], [EX3], [EX30] AND [EX14] as the Supremes, singing "Stop in the Name of Love" at the front of the bus.
[EX24] I love winning, [MRL], you hear me? I love it. Teach me everything.
[MRL] It's time you started working on your interviews.
[EX24] What do I gotta do?
[MRL] Learn your clich�s. St... |
INT. KITCHEN - DAY
[MRL] is at the cupboards, putting away groceries as [EX12] rolls into the kitchen, her CHAIR HUMMING.
[MRL] He had the ball. He was going for a touchdown.
[EX12] Can you be serious?
CONTINUED:
[MRL] What day is today?
[EX12] Wednesday.
[MRL] No.
They are not smiling at their little jokes, bu... |
EXT. FARMER'S MARKET - MOMENTS LATER
The fruits and vegetables and flowers become a blur as [FRL] runs out of the Farmer's Market. [MRL] chases after her.
[MRL] Nothing happened.
[FRL] Get away from me.
[MRL] runs in front of her, forcing her to stop.
[MRL] Nothing happened!
[FRL] You said, "they're not mine."
[... |
EXT. [MRL]'S CASTLE - DANCE FLOOR - NIGHT
As [FRL] and [MRL] dance, [FRL] murmurs thrillingly.
[FRL] Is all this made entirely from your own imagination?
[MRL] No... You see you were there all along, in every idea, in every decision... Of course, if anything is not to your liking, we can change it...
[FRL] It's per... |
INT. [MRL]'S BEDROOM - NIGHT
[EX5] is back at the controls. [EX4]'s at the door with [EX3].
[EX5] [EX19], they've disappeared again.
[EX4] Oh dear.
[EX3] I'm so sorry, [EX19], you must be tired.
He nods, distractedly. She smiles to herself as he heads back to the equipment.
|
INT. [MRL]' BEDROOM -- MORNING
The room is bathed in golden light. [FRL] lies naked under the covers asleep on her stomach. Her brow is tense and one of her hands is slightly clenched.
ANGLE ON [MRL], standing in the doorway, watching her, his face a portrait of conflicted thoughts.
Finally, she stirs. Smiling and s... |
54 EXT. RESIDENTIAL STREET - NIGHT
A taxi pulls up in front of a block of flats. An attractive couple gets out. The [EX16] pays the driver and the cab drives off.
[EX4] Which one, [EX17]?
[EX16] Number thirty-nine, but let's go `round the back.
[EX4] Why?
[EX16] Come on, we'll give [EX19] a scare.
[EX4]... |
INT. BROOKLYN KITCHEN -- CONTINUOUS
[MRL] stands off to the side, wearing his devil's horns, sipping a drink, watching an EIGHT-YEAR-OLD BOY bob for apples, while other BOYS and GIRLS cheer him on.
[EX9], wearing his king costume, supervises, as the boy, wildly sputtering, struggles to bite into a renegade Granny Smi... |
INT. SOLATANO HOUSE/KITCHEN - EVENING
[MRL] SR. That's it.
[EX2] Okay.
DISSOLVE TO:
|
EXT. POLICE JAIL PARKING LOT - DAY as [EX1] and [FRL] walk to their car. They are interrupted by one of their lieutenants, [EX4], walking their way and stopping to stare at [FRL]. She meets his look.
[EX4] You trying to be a bad-ass, Pogue?
She is straightforward, not rebellious.
[FRL] I just dealt with the situatio... |
EXT. ROCKY GORGE. DAY
[MRL] hikes through a pass wearing an extremely large back-pack with stakes, metal poles, and two bed-rolls strapped to the bottom. He wears a compass on a string around his neck.
CUT TO:
A binocular shot of [MRL] emerging from the woods into a wide meadow. The grass comes up to his chest and f... |
INT. [MRL]'S APARTMENT - LATER
Light from a weak lamp, lots of shadows, as romantic as [MRL]'s apartment will ever get. Outside the window, the city looks like a thousand jewels, gleaming.
[FRL] cradles a drink in her hand as she moves slowly about the room, slipping, in and out of the shadows as if they were veils... |
EXT. VONDELSTRAAT ROW HOUSES - LATER
[MRL] and [FRL] stand outside [EX23]'s white house.
[FRL] I'm so excited I can barely breathe.
[MRL] As opposed to other days...? She playfully hits him. He takes her arm, picks up the oxygen tank, and up they go towards his front door. As they approach, there's a noticeable NOIS... |
INT. PASSENGER CABIN - NIGHT
[EX30] is singing to the two black dudes.
[EX30] 'What you want, Baby I got, What you need, You know I got it. All I'm askin' for Is a little respect When you come home.'
|
INT. NIGHT. A RESTAURANT.
[EX6] is standing by the window on his phone.
[EX6] [EX3], you know what it's like. [EX23]'s off to New York tomorrow. We can never find a window. Should be home around ten. He puts the phone down.
GOLDENROD REVISIONS 09 64A.
|
EXT. PARSONAGE ROOF - NIGHT
[MRL] carries [FRL] out a large attic window. The finished large telescope is set up. Pointing at the sky. She's in her nightgown, wrapped in a blanket.
[FRL] It's beautiful... Thank you.
But she looks at the lights of the house and streets around them.
[FRL] I don't know what we'll be a... |
EXT. MILL GROVE HIGH SCHOOL - PARKING LOT - MORNING
The tires squish the grey slush puddle as the busses pull into the dreary parking lot. School is back in session.
|
INT. COMMON ROOM -- NIGHT 49 [EX11] sleeps while the TV proclaims golf products. [MRL] comes in and quietly shuts it off. [EX11] gurgles and rolls over. [EX11] ...swallowed a bug... [MRL] goes to his room. [EX1]'s bed is empty. He shakes his head, picks up a key from his desk, and leaves. DISSOLVE TO: |
INT. [FRL]'S HOUSE - CONSERVATORY/ATRIUM - NIGHT
Checking to make sure no one has seen, [FRL] slips quietly through a set of doors, into the conservatory... [MRL] is not far behind... A secret rendezvous.
|
reads: CHICAGO INTERNATIONAL AIRPORT [EX40]
|
EXT. RUNWAY - NIGHT
Landing gear snaps off; plane starts to slide on its belly.
[EX57]
is heading toward a building. On the side of the building is a billboard with a man drinking milk.
|
EXT. SOHO STREET -- NIGHT
The threesome, in high spirits, bangs open a fire door. [EX11] is beside herself, frantically half-screaming --
[EX11] I don't believe it! I don't believe it!
[EX10] I think what Miss Harris is trying to say, is that you've strained her credulity.
[FRL] Really? Better put some ice on that.... |
EXT. THE STADIUM -- NIGHT
THE PLAYERS EXIT -- The Groupies wait in a cluster. The wives wait in another group. [EX20]'s wife sees [EX20].
[EX20]'S WIFE There's Daddy! Wave to Daddy!
-- P.O.V. [EX20] COMING OUT OF THE CLUBHOUSE -- Another player has his arm around [EX20], consoling him. The wife knows.
[EX20]'S WIFE... |
INT. [MRL]/[EX30]'S ROOM - CONTINUOUS
[MRL] stands at an ironing board, ironing a T-shirt.
[FRL] Hey.
[MRL] Hey, what's up.
[FRL] You weren't at my game.
[MRL] Yeah, sorry about that. I had this meeting with this guy.
[MRL] pulls on the T-shirt.
[MRL] You win?
[FRL] Yeah, I hit a three at the buzzer.
[MRL] Th... |
[MRL]'S OFFICE - DAY
A large modern architectural firm in a Chicago high- rise. Lake Michigan out the window. A large space with several architects consulting, drafting, etc. [MRL] is at his desk, working. An older colleague, [EX3], comes over to him. [EX3] has a mustache, smokes a pipe; he's kind but a lit... |
INT. RADAR ROOM
[EX44] Captain, he's dropping off fast. Almost seven hundred.
|
INT. FOSSIL FUEL WAR ROOM - DAY
|
EXT. AIRPLANE - NIGHT
THUNDER and lightning as plane is diving.
|
INT. [EX4]'S BEDROOM
Dark. She wears a black eye-shield. Her waitress uniform hangs over a chair.
[EX4] I'm not getting up to drive you somewhere. What're you doing home?
|
INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHT
[MRL] SR. WAKES.
CUT TO:
[MRL] PACES IN HIS PARENTS BEDROOM.
[MRL]
I just can't believe [EX26]'s teaching that book to the kids. I mean the whole time -- let me just break it down for you -- the whole time you're rooting for this Hemingway guy to survive the war and to be... |
EXT. PARSONAGE - EARLY MORNING
The Yugo parked in the driveway. The morning paper lying on the grass. [MRL] paces in front of the front porch. Incapable of ringing the bell, lacking the courage, lacking the right words.
Upstairs, the curtains move.
|
INT. HOSPITAL ROOM - DAY
[EX2]'s boyfriend, [EX19], writhes in pain on a hospital bed, clutching his crotch. His worried MOTHER is beside him, clutching her chest with one hand and trying to soothe him with the other.
[EX19] It hurts so bad.
A [EX23] enters, with a satisfied smile and a diagnosis.
[EX23] Chlamydia.... |
INT. [MRL]'S APARTMENT - NIGHT
[MRL] sits in the quiet living room. The scene is fading.
[MRL] [EX16].
VOICE-OVER On the couch. Dark. Quiet. I wondered if I had made a terrible mistake. I almost reached for the phone about a thousand times. I thought I could take it back, erase it, explain I had momentarily lo... |
INT. DINING ROOM - NIGHT
The scene looks the same. [FRL] sits with her family, having family dinner.
[FRL] I got sent to the Principal today.
Her parents seem more impressed than upset. This is definitely a first.
[EX5] What did you do?
[FRL] I used inappropriate language in English class. But we're reading a book... |
WE SEE [MRL] AS HE LOOKS INTO A CABINET OF VIDEOTAPED FOOTBALL
GAMES.
[MRL] He's got all his Eagles videos and not one video of my wedding!
[MRL] SEARCHES THROUGH THE VIDEOTAPES.
[MRL] Is it here? I mean....?
[MRL] SR. Patty!
[EX2] It's probably in the attic.
|
INT. DAY. WINNARDS FARM - THE KITCHEN.
[EX5] is shakily pouring a pot of tea.
[EX14] Right. Now put two sugars in and stir it. OK. That's a decent cup. Which is lucky [EX5] cos if it had been shit, I'd be on the phone to the extremely scary local cops right now.
[EX5] Please don't tell my mum.
[EX14] I knew it was ... |
INT. [EX10]'S LIBRARY � DAY
MEDIUM SHOT
[EX10] seated behind his desk, his goon alongside him. Standing in front of the desk is a distinguished-looking man, obviously the president of the bank. He is mopping his brow with his handkerchief.
[EX10] [MRL], there is a rumor around town that you've closed your doors. Is ... |
INT. ADJOINING ROOM - KITCHEN - HALLWAY - DAY
[MRL] is lying on his bed in the adjoining room, staring at the ceiling. O.S., we faintly hear the SOUND of running water, and from time to time the CLATTERING OF DISHES.
After a while, [MRL] gets up and goes into the kitchen.
He remains in the doorway and watches [FRL] ... |
EXT. HOUSE - DAY-FLASHBACK
THE HOUSE WHERE [MRL] AND [EX26] LIVED. [MRL]'S POV GOES TO HOUSE.
[MRL]
I left work early -- which I never do, by the way, but I got in a fight with [EX6], the high school
|
INT. CREEK HOUSE - NIGHT
In the midst of packing, [FRL] has made dinner for [EX2] and [EX3]. In the midst of eating, [EX3] asks:
[EX3] Shouldn't we have invited [MRL] over?
[EX2] I did. He said he had work to do until late.
[FRL] remains silent.
|
INT. OUTER OFFICE BUILDING AND LOAN � DAY
FULL SHOT
The offices are unchanged, still small-time and old-fashioned. The same office force, albeit a few years older: [EX8] and [EX13]. Seated on a chair is a middle-aged man with a brief case. The outer door opens and [MRL] enters:
[MRL] Extra! Extra! Read all about it!... |
INT. CHAPEL - THAT MOMENT
It is [FRL]'s turn to enter. They all turn expectantly. Too much time passes. [EX26] plays the organ, then stops. [FRL] swings back and forth in the foyer doorway.
[EX9] Honey, are you okay?
[FRL] stops ringing the bell and pulls herself together. She walks into the aisle looking a lit... |
INT. LORING HOUSE - UPSTAIRS HALLWAY - DAY
[FRL] opens the bathroom door and instantly BUMPS into [EX13].
[FRL] Whoops! Yikes, I didn't expect to see you up here.
[EX13] Sorry. I was just getting something.
[FRL] Did your wife send you up here to spy on me?
[EX13] What? No! Do we come off like paranoid yuppies or ... |
INT. HOSPITAL HALLWAY - MOMENTS LATER
Dr. Wright and Orderlies rush [FRL] down the hallway on a GURNEY. [MRL] runs with them. Trying to keep up.
[FRL] What's going on?! Where are you taking me?
[FRL] disappears into an OR. [MRL] watches DOCTORS and NURSES descend on her. [EX22] puts her hand on his arm.
[EX22] You ... |
EXT. SWIMMING LAKE. DAY
[MRL] is sitting on the pier watching as [EX12], RUDOLF and [EX10] swim competitively out to a pontoon, then turn back, full of energy and high spirits. [MRL] watches for a while, then suddenly he gets up and starts to run away from them all.
[EX10] [MRL]. You all right?
But [MRL] is running ... |
82 INT. CULLEN HOUSE - LIVING ROOM - DAY [MRL] guides [FRL] into the large, bright house. Walls of glass look out on the river. Everything's open and white. Historical objects are tastefully placed throughout.
HEAR Verdi's �La Traviata: Libiamo ne' lieti calici� coming from another room. [FRL] is enraptured. [FRL] It'... |
EXT. CAR.
The camera goes outside the car and pulls back, way back, to reveal a police car quietly driving up behind the car. The car stops a good distance away and one man gets out, the only occupant of the car. He is tall, dressed in the uniform of the Texas Ranger. He draws his gun and slowly approaches the car ... |
INT. KITCHEN - DAY
[EX4] comes stumbling up the basement stairs with an old movie projector and a roll-up screen.
MRS. BAKER What's all this?
[EX4] sets the projector down and hands his mother the tiny ribboned box.
[EX4] Go on.
[MRL] watches from the kitchen doorway as Mrs. Baker pulls the ribbon off the box. In... |
INT. LIBRARY - CONTINUOUS
[FRL] tries on another of her FATHERS MILITARY UNIFORMS complete with HAT.
[FRL] [EX8] will be happy. I went there yesterday with [EX2].
Her mother joins her inside. She carries the FATHERS BOOTS.
[FRL] She's preparing a family museum.
[FRL]'S MOTHER Of course, I'm not sending the boots. ... |
INT. ABANDONED FARM HOUSE. A WIDE SHOT OF THE PARLOR LIVING ROOM. DAY.
The room is bare. In the middle [FRL] is waking, having slept on a couple of car seats covered with an old piece of tattered blanket. There are windows behind her. She looks about bewildered.
[FRL] [MRL]...
She starts to panic and runs to th... |
EXT. HOLLYWOOD BLVD. - NIGHT
The Ferrari peels out, fishtails madly and SCREAMS up the street.
|
EXT. BEACH - DAY
It's cold. [MRL] and [FRL] walk, all bundled up. She points at a house up the beach.
[FRL] Our house! Our house!
She runs ahead, laughing. The scene is decaying. [MRL] chases after her.
[MRL] Clem, c'mon, we've got to hide you. Remember?
He grabs her arm and yanks and they are in:
|
INT. [FRL]'S BEDROOM
[MRL] enters her bedroom.
[FRL] That's my closet. Those are my clothes and my pictures. There is a single rack holding up some clothes. Her pictures are taped to the wall. [MRL] sits on her bed.
[FRL] Why do you leave everyone? Why did you let me go? [MRL] thinks for a moment.
CUT TO PAST
|
INT. [FRL]'S HOTEL ROOM MORNING
[EX28] runs towards camera chasing a tennis ball that [FRL] threw for him. He runs back and jumps onto the bed, waking [MRL]. He's sleepy, she's happy, wants him to wake up.
[FRL] Ah, you're awake! [EX28] says it's time to get up, he says he has the day off.
[MRL] He talks to you too?... |
INT. CORRIDOR OUTSIDE PRESS ROOM MED. SHOT
[EX8] comes from the direction of the stairs and crosses toward door to Press Room. He pauses a moment, puts his hand in his pocket, pulls out some bills, counts them and opens the door.
|
She redoes the SOUNDS for him. He JOINS her. Their ANIMAL SOUNDS BLEED INTO...
CUT TO:
|
INT. SUBURBAN, ON ANOTHER MONTANA BACK ROAD - LATER THAT DAY
[FRL], showered and changed, is trying to follow Mr. Peterson's directions to [MRL]'s ranch -- written on Peterson motel stationary. She is lost once again.
[FRL] ... after left, stay on main road until rise, then... What bloody rise?!? What main road!?
Sh... |
INT. HELLER HOME - FOYER - EVENING - 6 YEARS EARLIER
The front door opens and [FRL] pushes [EX10] FRANCIS - 80's, Alzheimer's - into the middle class home. NAPOLEON - an ill- trained dog - greets them with jumps and licks
[FRL] Get down Napoleon! Get down!
GLENDA HELLER - 50's, desperate - peeks her head out of the ... |
EXT. AIRPLANE - NIGHT
THUNDER and lightning.
|
INT. COCKPIT - NIGHT [MRL] sees airport and points it out to [FRL].
INSERT - AIR SPEED GAUGE
Speed is increasing.
|
From inside, VOICES begin to sing HAPPY BIRTHDAY. [MRL], his curiosity piqued, follows.
|
INT. LOS ANGELES FORUM - NIGHT
The crowd erupts as a Laker player dunks the ball on a fast
break.
ANGLE ON
Laker announcers [EX41] and [EX42].
[EX41]
Stu, this game is in the refrigerator. The door is closed, the lights are out, the butter's hard and the Jell-Oooooo's jigglin'.
[EX42] And here come the subs.
AN... |
EXT. THE VALLEY OF ASHES - DAY
As the train pulls off, [EX1], exasperates, chases [EX3].
[EX1] What are we doing?
[EX3] Trust me!
[EX1] Wait a second would you!?
[EX3] Dominate [EX1]! Dominate!
PAN DOWN TO DISCOVER: [EX3] and [EX1] outside a small garage.
A sign reads: "GEORGE B. [EX6]. Cars Bought and Sold."
|
INT. HALLWAY BY REVEREND SULLIVAN'S OFFICE - MOMENTS LATER
[MRL] looks into the Reverend's office.
[MRL]'S POV
Reverend Sullivan is sitting behind his desk, examining legal-looking documents and records. He takes his glasses off, rubs his eyes.
BACK TO SCENE
[MRL] knocks. The Reverend looks up, furrows his b... |
A EXT. POLICE STATION - NIGHT - [FRL]'S POV A
Two Attendants hoist a metal gurney into an ambulance. On it, [EX12]'s dead, white, bloody bare FEET peek out from under a sheet, resting at a disturbingly unnatural angle. Off [FRL], chilled.. .
SMASH TO:
FLASH POP TO [MRL]'S BLACK EYES
FLASH POP TO [MRL]'S COLD WHITE ... |
INT. PARK HYATT BAR - NIGHT
Melodramatic '70s Japanese music plays. [MRL] sits alone, hating himself, at the bar. The redheaded [EX9] takes a break, and a seat next to him.
CUT TO:
|
INT. CAFETERIA - NOON
[MRL] eats alone, ignored by [EX1] and [EX3]. [FRL] approaches with her tray, red-faced, tearful.
She hesitates about sitting -- feeling bad that [MRL]'s being diminished, ostracized. She thinks he doesn't see her. But as she turns to leave, he pulls a chair out for her and smiles. She sits. [MR... |
INT. [MRL]'S CAR - DRIVING
[EX28], victorious, sits in Elliot's lap in the front seat, while [MRL] drives and [EX8] is squeezed in back in her chicken outfit.
[EX7] You remember when [MRL] was funny? And he could actually, like, talk, in complete sentences?
[EX8] Funny? Funny? I don't think so Fun maybe, but not fun... |
INT. BANK � DAY
CLOSE SHOT � DEPOSIT SLIP DESK
[EX7] looks around for the money envelope. It is not there. He looks puzzled, thinks hard, then a look of concern creeps into his eyes. He starts thumping his pockets, with increasing panic, and looks in the waste paper basket on the floor. He finally rushes through the... |
INT. CARMEN'S HOUSE OF FLOWERS - NIGHT
A high school [EX47] is behind the counter, talking to a friend on the phone. Her back is to the door when [MRL] walks in with a couple of SECRET SERVICE AGENTS scrambling to keep up. [MRL] begins surveying the various flowers that are behind the glass.
[EX47] At the basketball ... |
INT. MOTEL BEDROOM. [FRL] AND [MRL]. DUSK.
[MRL] reaches her, and for a moment both stare with fanatic intensity at each other, [FRL] trying desperately to keep a straight face. They are nose to nose, unblinking. [MRL] gives her a big raspberry, waggling his fingers in his ears like a kid. She laughs.
[FRL] I ha... |
INT. [EX2]'S LIVING ROOM - DAY
[MRL]'s POV: [EX2] and [EX1] kiss lovingly.
|
INT. GRISHAM MILL - LATE AFTERNOON
--He's crouched in a dark corner. But then he sees a SHADOW move blindingly fast past him. He jerks around, then another SHADOW flies past, too fast to follow. He BOLTS!
He runs up a flight of stairs, harsh lights from the exterior of the mill striating him. He moves as fast as huma... |
EXT. AIRPLANE - NIGHT
THUNDER and lightning.
|
EXT. HEATHROW / TERMINAL 3 - DAY
A Taxi pulls up. [MRL] gets out, pays the driver and hurries into the Terminal.
|
INT. COMMON ROOM -- [MRL]'S SUITE - EVENING 22 [MRL]'s dormitory suite: four bedrooms off a common room, which has three battered couches, a coffee table, and in a corner, several small fridges and two televisions in a pile. Christmas lights are still up. A neon `Guinness' sign dwarfs it all. [MRL] and [EX8] are here, ... |
INT. [MRL]'S APARTMENT
He has bought a shelf unit that "needs some assembly" and he's at work with a screwdriver, his new chair and table nearby, the phone on the floor. PHONE RINGS, and he picks it up.
[EX15]
|
INT. LANCASTER ROOM - DAY
Huge room -- full of press. Row after row of journalists, cameras at the front, TV cameras at the back. [FRL] clearly gives press conferences very rarely, because this one is positively presidential. She sits at a table at the end of the room, beside [EX8]: on her other side is [EX9], the ... |
INT SUPERMARKET - DAY
[MRL], in a robe and boxer shorts, buys milk, OJ, cigarettes, Jack Daniels, and twinkies.
The CLERK eyes him suspiciously.
|
EXT. THE PASTURE - EARLY MORNING
[EX14], hat tipped low, is riding his horse, leading some young horses, exercising them in the morning pasture. He sees [EX2], walking with her cane, coming across the pasture.
[EX14] Hi...
She stops. After a beat;
[EX2] Would you let me ride your horse?
[EX14] Have you talked to [... |
INT. [MRL]'S ROOM - EVENING
As [MRL] opens his door to his room, a FedEx package falls in his path.
He opens it - large carpet swatches fall out with a note
"[MRL] - WHICH ONE DO YOU WANT FOR YOUR STUDY? I LIKE THE BURGUNDY, BUT WHATEVER YOU WANT. LOVE, L"
He looks at them for a second, they all look the same, and ... |
INT. DANCING ELK SCHOOL - CORRIDOR - DAY
We're behind that same WAISTBAND, as [FRL] walks through the students. Now, people seem to part the waters for the belly.
|
INT. [EX1]'S BUNGALOW - LIVING ROOM - CONTINUOUS
[FRL] He is in love with me...
[EX1] enters, but is shocked to discover that [MRL] is not there. [FRL]'s merely been admiring the flower display...
[EX1] That's funny.
[FRL] What's funny?
KNOCK. KNOCK. Someone is at the door.
[EX1] One moment...
|
EXT OFFICE BUILDING - DAY
[MRL] and [FRL], who have ridden together to work, stand outside the building.
[FRL] You wanna --
[MRL] No you go first.
[FRL] It doesn't matter to me.
[MRL] Whatever you want.
A CO-WORKER passes.
CO-WORKER Hey [FRL]. [MRL].
[EX12] Hey./ Hi.
[FRL] joins the co-worker and walks in.
[F... |
EXT. MAIN STREET BEDFORD FALLS � NIGHT
MEDIUM CLOSE SHOT
[MRL] comes out of the bank into the falling snow. He crosses the street, tugs at the door of his old car, finally steps over the door, and drives off.
|
EXT. BRYN MAWR DORMITORY - DAY
[FRL] approaches her dorm. She stops as she sees [MRL] waiting beside the entrance. She turns and walks away.
|
EXT. [EX27]'S HOUSE - DAY
[FRL] knocks on the door, rain falling around her, wind blowing strong. [EX27] opens the door. Sees her. [EX27] [FRL]. Are you okay?
[FRL] Yeah, I just... is [EX6] here? He wasn't at home...
[EX24] appears behind [EX27].
[EX24] He's with [EX26] and [EX21], keeping an eye on things. I'm... |
EXT. CLINIC - CONTINUOUS - PRESENT DAY
[FRL] Give me the keys.
Blue Valentine Official Green Script as of 6/9/09
She digs into his pocket and fishes them out. She marches to the car, gets in the driver's seat, starts the car - the radio blasts at high decibels. [MRL] bangs on the passenger side window. [FRL] flips t... |
INT. CHICAGO DISPATCH - NIGHT
McCROSKEY Two more minutes! They could be miles off course.
[EX36] That's impossible. They're on instruments!
|
EXT. GEORGE WASHINGTON BRIDGE - MORNING [MRL]�s Ferrari speeds down the bridge, toward Jersey... |
INT. [MRL]'S APARTMENT LOBBY - DUSK
Close on [EX6] entering the lobby in the foreground. She looks heavy and burdened. [MRL] enters the lobby behind her.
[MRL] Hey, [EX6].
[EX6] Hi, Theo. How are you?
[MRL] Well, good actually. Really good.
[EX6] Really? Great.
The elevator doors open and they step in.
|
EXT. ESTATE - ROAD - DAY
[FRL] jogs up a dirt road on her morning run. THIRTY YARDS BEHIND HER - a golf cart drives off a meadow and lands on the road. [MRL] is driving.
[FRL] looks back and scowls. [MRL] catches up to her.
[MRL] Need a lift?
[FRL] No thank you.
[MRL] How are you today?
[FRL] Give it up.
[MRL] O... |
EXT. BEAUFORT HIGH PARKING LOT - MORNING [MRL], [EX3], [EX1], [EX2]. [EX1]'s pickup is parked by [EX2]'s Cabriolet. RADIOS ON, BLASTING the same station, same song: JOHN FOGERTY's "Rock and Roll Girls."
[EX1] Women are definitely evolving into men.
[EX3] The moustaches on some girls. Unbelievable.
[EX2] Why is [FRL]... |
INT. [MRL]'S APARTMENT - NIGHT
[EX5] and [EX3] have sex on the floor next to [MRL]'s bed.
|
INT. HALLWAY - KITCHEN - DAY
Hallway.
The front door of the apartment is unlocked. [MRL], in city clothes, enters with two big shopping bags full of cut flowers. He puts down the bags, takes off his coat, hangs it in the closet.
The TELEPHONE RINGS. [MRL] takes the bags and carries them in the kitchen, puts them in ... |
[MRL] He must know what a small town is.
BOOOOMMM! A storming wind bangs open the French windows!
As [EX1] moves to shut them, he glimpses [MRL]...
|
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