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Romance-cleaned-1

Dataset card Data Studio Files
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INT. [EX25]'S BATHROOM - NIGHT [EX2] washes her face and grabs a bottle of Scope, taking a big swig. A KNOCK sounds at the door [EX2] Go away [EX3] opens the door and looks at her sister with the smuggest of all possible grins. [EX3] Dinner taste better on the way out? Gives her a "don't even start" look. [EX3] ...
INT. CLUB - NIGHT Onstage, the all-female band GIGGLEPUSS is parlaying their bad girl sass into a ripping punk number. Near the stage is a joyful mass of pogo-ing teens AT THE BAR [EX9] bellies up and looks around the club. Gigglepuss finishes a song. [EX24] Hello, out there. We're Gigglepuss and we're from Olympi...
INT. A SMALLER APARTMENT, KITCHEN - A NIGHT REMEMBERED A younger [FRL] stands in a bathrobe, noticeably pregnant, cooking at a stove -- reading instructions from a propped up cookbook. [EX15] SINATRA IS BLASTING as she sings along, in full voice, without inhibitions; [FRL] "SHE'S LOVES THE THEATRE BUT NEVER COMES LAT...
EXT. BATHROOM Sbe exits the bathroom and stops at the sight of what is happening at the table. [MRL], hand on face, is embarrassingly being serenaded by the Mariachis, who now play a mournful "Tears in Heaven." She smiles at the image, in fact the poetry charms her. [FRL] moves forward, grinning, fishes some bucks ou...
EXT. HOTEL STEPS - NIGHT [MRL] and [FRL] join the rest of the congregation outside on the steps of the hotel. [MRL] looks on as his daughter and son-in-law head to an awaiting car. [EX17] stops and throws the bouquet behind her. It is caught by Aunt Maddie, who in turn throws it and it is caught by [MRL]'s `all grown ...
INT. MANSFIELD CARRIAGE - DAY.3 15 * LORD and [EX4] sit together, [EX6] beside them. [FRL] and [EX2] ride backwards. [EX3] I have reason to speak with you alone, [FRL]. [FRL] is quietly alarmed. [FRL] Have I wronged you, Papaa? [EX3] You have done no such thing.
INT. STUDIO CONTROL ROOM - CONTINUOUS [EX7] Thank [EX24]. [EX7] pats the [EX16]'s shoulder, heads out of the room.
INT. MACGUFF HOUSE - KITCHEN - NIGHT [EX8] sits at the kitchen table with a mug of coffee and an issue of Dog Fancy. [FRL] enters nonchalantly, drinking a giant slushie. [EX8] Where the hell have you been, Junebug? [FRL] I drove to St. Cloud to show [EX13] and [EX12] the ultrasound. And I wound up staying for a cou...
EXT. PLATTE CITY MOTEL. NIGHT. The four lawmen, among them the [EX23] from the cafe, edge their way across the lawn, past the first garage, past the second. Before they reach the door of [FRL] and [MRL]'s cabin, the window smashes and there are blasts of gunfire. One cop is hit and falls, the others run back to the ...
INT. [FRL]'S LIVING ROOM NIGHT AS PIAF PLAYS on the stereo -- A knock at the door. [FRL] GOES TO THE DOOR -- Then refuses to answer it at first. She hides in a corner. Bites her fist. [EX24]'S VOICE [FRL]! You gotta be in there -- I can hear that crazy Mexican singer! [FRL] smiles slightly, and opens the door. [EX...
INT. [MRL]'S VOLVO - NIGHT [FRL] glances at [MRL], might ask him more questions but he seems to be wrestling with his own thoughts. Finally.. . [FRL] I think I'm warm enough now. She reaches for the heater dial, he does as well -- their hands TOUCH. And hold a moment too long. An electric current connecting them. [...
INT. [EX4]'S BEDROOM - CONTINUOUS The room is dark. A groggy [EX4] is in bed on the phone. His wife lies beside him, eyes open, listening. [EX4] [EX5]? What's going on? [EX5]'S VOICE The guy we're doing? He's disappeared from the map. I can't find him anywhere. [EX4] Okay, what happened right before he disappea...
INT. [MRL]'S PRIVATE OFFICE - NIGHT [MRL] sits at his desk, is on the phone. A TELEVISION NEWSCAST is doing a report on Congressional reaction to the events of the day. ROB [EX22] is talking. [MRL] [EX3], tell the speaker to wait. I want to talk to him. No, I'll be right down. [EX22] ...Last night, the price of his ...
INT. SOLATANO HOUSE/ATTIC - DAY MONTAGE OF SCENES SHOWING [MRL] AS HE REPLACES THE BROKEN WINDOW PANE.
INT. APT. BUILDING - LIVING ROOM - DAY We are back at [MRL]'s new place. [FRL] WANDERS THE ROOM TOPLESS but covering her breasts with a PILLOW. She continues to WAX NOSTALGIC about her father. [FRL] The colonel had green eyes and shiny boots. I worshipped him. He was so handsome in his uniform. [MRL]'S VOICE What a...
EXT. RURAL ROADS - LATER THAT NIGHT [MRL] speeds, the windows open, WIND WHIPPING, DIRE STRAITS BLASTING. The Camaro turns and brakes and turns again, kicking up gravel, raising hell. The car slides to a stop.
INT. [FRL]'S HOTEL HALLWAY [EX28] runs down the hotel hallway, followed by [MRL], they come to a corner and [FRL] jumps out, scaring them, they laugh and continue on together. 10/29/07
EXT. MOVIE THEATRE - NIGHT The marquee reads: "FRANK SINATRA -- EDW. G. ROBINSON -- 'A HOLE IN THE HEAD' -- CINEMASCOPE -- AIR CONDITIONED." [EX9] buys a ticket at the box office.
INT. CHURCH - DAY.3 12 * REVEREND DAVINIER, white wigged, stands at the pulpit. REVEREND DAVINIER ...for it is the power of God unto salvation to every one that believeth. So saith Christ the Lord. Amen. [EX7] Amen. A FLAME as a YOUNG MAN lights a candle by the altar. He sings, choir-like, the word `amen' rather than s...
EXT. PUBLIC PLAZA/PARK - NIGHT [MRL] is sitting on a bench. Behind him is a giant, digital billboard displaying an ad of an owl in slow motion swooping down and eating it's prey.
INT. [MRL]'S OFFICE � DAY CLOSE SHOT � [MRL] AND [EX7] [MRL] Why didn't you call me? [EX7] I just did, but they said you left. This is a pickle, [MRL], this is a pickle. [MRL] All right now, what happened? How did it start? [EX7] How does anything like this ever start? All I know is the bank called our loan. [MR...
INT. TANYA'S ALASKAN HOME - DAY [EX12], on the phone, stands at the picture window --
INT. [EX9]�S TIRES, [MRL]�S OFFICE - LATE AFTERNOON [MRL] is behind his desk, his tie loosened, on the phone... [MRL] ...I have no idea what our inventory level is, that�s why I�m asking you... A KNOCK at the door... [MRL] Look, just send us what you sent us last month, okay...? And keep doing that until further notice...
EXT. GREENSBORO BALLPARK DAY [EX24] WINDS AND DELIVERS -- The batter swings, and: CUT TO:
[EX5] SITS DOWN NEXT TO A PLAYER -- [EX20], [EX5] Hi, I'm [EX5]. [EX20] I'm married. [EX12] FASHIONS A SMALL CROSS OUT OF CHICKEN BONES and rubs it on his bat. [EX20] notices this. [EX20] What's that? [EX12] Chicken bone cross take the curse off this bat and bring me hits. [EX20] You a God damn witch? [EX12] Yes...
EXT. STREET TACO TRUCK - NIGHT [MRL], [FRL] and [EX28] walk up to a typical L.A. Taco truck on the side of the street. There is nothing fancy looking about it. [FRL] No. [MRL] Yeah. [FRL] Really? [MRL] It's really good. JUMP CUT: They're sitting on milk crates by the truck, ready to take their first bite, [FRL] di...
INT. MACGUFF HOUSE - DINING ROOM - NIGHT [FRL], her father [EX7], her stepmother [EX8], and LIBERTY BELL sit at a very typical kitchen table, eating dinner. [EX7] shovels food while chatting about his day. [EX7] You should have seen this octopus furnace. I had to get out my Hazmat suit just to get up in there... [FR...
INT. CORRIDOR CLOSE SHOT [EX16] is there too, now, and he and Endicott are pounding on the door. [EX16] What's going on in there?
INT. SUBURBAN - MORNING [FRL] and [EX2], both in front seats, eating doughnuts and coffee. They stop. POV -- Through the windshield is an endless sky and a rolling sea of land. [EX2] Gee, this looks like a fun place. [FRL] Don't they believe in signs here? [EX2] What would they say? "Ten miles to big rock." "Twent...
INT. DAY. WINNARDS FARM - [FRL]'S BEDROOM. GOLDENROD REVISIONS 09 [EX5] enters [FRL]'s bedroom. She stares at the bed. She runs her hand over the cotton percale. She puts on [FRL]'s slip and looks at herself in the mirror. [EX14] Hello [EX5]... [EX5] spins round. The door closes. [EX14] is standing behind it. He is ...
EXT. PUB - NIGHT [FRL] exits the pub, just as a cab pulls up. As [MRL] exits one side, [FRL] gets into the other, as the cab pulls away again. FADE TO BLACK. FADE IN:
INT. LIVING ROOM � NIGHT CLOSE SHOT [FRL] leads [MRL], who is carrying a couple of the kids on his back, to a position in front of the Christmas tree. [FRL] Come on in here now. Now, you stand right over here, by the tree. Right there, and don't move, don't move. I hear 'em now, [MRL], it's a miracle! It's a miracle...
INT. TOWNHOUSE - [EX3]'S BEDROOM - DAY [EX3] hangs up the phone. She instantly becomes calm and returns to doing her nails.
INT. NEW YORK BAR - DAY [EX22], Groom #3, hears about [FRL]'s wedding.
INT. OFFICE HALL - DAY [EX3] leads [MRL] down the hall. [EX3] How are you today? [MRL] Not great. [EX3] Here we are. [MRL] glimpses [EX3] smiling coquettishly at [EX4].
INT. HALLWAY [FRL] peers into her father's room. He's sleeping. She tiptoes to the staircase and down. Sneaking out.
EXTREME CLOSE ON - THE VAN'S DOOR LOCK It LOCKS AUTOMATICALLY. The [EX38] yanks at the door. [EX38] It's locked and the keys are inside I [MRL] casually turns his camera on, gives [EX36] a "tough break" look, heads for the scene, as [EX36] and his crew scramble around the van. CUT TO: ON A TV � ...
INT. LOBBY - DAY The next morning. As [MRL] passes through the lobby, he hears the plaintive PLINKING of a PIANO. Curious, he goes to the dining room and peers in. The tables have yet to be set for the evening and, except for [EX4], the room is empty. [MRL] What the hell are you doing? [EX4] What's it look like I...
EXT. RUNWAY - [MRL]'S POV - NIGHT
INT. [EX1]'S APARTMENT - LIVING ROOM - DAY [EX1] sits -- Verdell looks up at him. [EX1] walks to the door. He turns the lock... then checks that they are locked... checks again to make sure he turned them in the correct direction... turns from the door... then back to check once more. And again... and again... an...
INT. [EX]'S HOUSE -LIVING ROOM -NIGHT [FRL] reaches the ground floor with [EX3] on her heels. She's almost to the door but [EX3] blocks her. [EX3] Bells, I know I'm not around much, but I can change that. We can do more things together. She takes a breath, hating herself for what she's about to say.. . [FRL] Li...
INT. [EX29]'S HOUSE - DAY [EX29] is sitting defiantly in a chair in the middle of the living room. She is being interrogated but she is not going to talk. There's a clock on the mantel. [MRL] is in the room with [EX29]'s mother and father. [EX29]'S MOTHER [EX29], this is not acceptable. [EX29]'S FATHER I...
INT. [EX6]'S APARTMENT The doctor gone, mother and daughter arguing. [EX6] There is a seriously goofy man behind this. You are not allowed to block out that fact. [EX12] Do you really want to go back to the runt doctors in Emergency who keep telling us they can't help? [EX6] It lets a crazy man into our lives. [EX...
EXT. CITY VIEW HOSPITAL - LATER A MASSIVE HOSPITAL looms over a quiet residential area. 45
EXT. [MRL] HOUSE - NIGHT [FRL] parks her PREVIA on the street. She walks up to the house and rings the doorbell. [MRL]'S MOM answers, visibly annoyed. Her eyes drift down to [FRL]'s middle. [FRL] [MRL]'s mom was possibly attractive once. But now she looks a hobbit. The fat one that was in The Goonies. [MRL]'S MOM H...
EXT. [MRL]'S CAR - CONTINUING [MRL] stops the car where it is and jumps out, slamming the door in anger. The REPORTERS swarm around him as he gets out of the car. They continue to pound him with questions as he walks to church steps. An OLDER [EX1] smacks him on the shoulder with a newspaper. He turns in astonishme...
EXT. SKY -- NIGHT [EX36]'s helicopter speeds toward the City.
INT. [EX2]'S APARTMENT - STUDIO [EX17] is striking blatantly sexual poses to the increasingly uneasy [EX2]. [EX2] Exactly what is your previous experience? [EX17] How about that pose? This is not fun... Give me some direction. [EX17] has instinctively put [EX2] on the defensive. He tries not to show it. [EX2] Nothi...
EXT. DAY. THE FIELD. . [MRL] strides back across the field, chucking the mushrooms in the mud on his way. 68 AUTUMN. 68 68aa POSY DRAWING 68aa GOLDENROD REVISIONS 09 43A.
INT. PENTHOUSE BEDROOM - MORNING [FRL] is still asleep. She is face down on the bed, the sheets just covering her to her waist. [MRL] stares down at her. He gently reaches out and runs a finger down the soft line of her spine. [FRL] murmurs contentedly. [FRL] Mmm. Hi. [MRL] smiles at her softly. And then: [MRL...
INT. CAB - NIGHT [FRL] hits her head as they get in. [MRL] yells to the driver to go, but he doesn't understand. Through the windshield they see the Bartender and sidekick coming with baseball bats. They hear a bang on the door and [EX17] hops in. He makes sure she is ok and shouts something to the Driver, and they ...
INT. O'SHEA APARTMENT - [FRL]'S GUEST ROOM - NIGHT [FRL] continues to read the letter. [MRL] Enclosed is my most prized possession... my journal. For a long time I considered it my trophy. A sordid collection of my conquests. If you really want to know the truth, then please read it. No more lies.
INT. [MRL]'S CORRIDOR - DAY [EX1] calms himself down. He then opens the bathroom door again -- and looks in.
INT. SCHOOL. DAY The [EX8] are already in place, dotted round, as the GIRLS come in. There are cries of `Here they come'. Then the [EX6] comes in. [EX6] Good morning, ladies. Gentlemen, please welcome your new fellow- students, treat them with courtesy, please. Not far from [MRL], a [EX11] sits across the aisle, vir...
INT. [EX22]'S CAR - DUSK [FRL] You know that dream where you're walking down the street naked and everyone is looking at you? [EX22] I love that dream. [FRL] That was nothing compared to this humiliation, nothing. [EX22] But he saw you, right? [FRL] He said hello.
INT. COFFEE BAR � PRESENT 35 [EX1] Is it really so bad? I couldn't lie to her. [MRL] Don't you know that no matter how often girls tell you they want honesty, they never really mean it? Nobody does! [EX1] Look, I fucked up, alright? I didn't know what to say. [MRL] It's too bad it ended like this. I'm really sorry. [EX...
INT. EPISCOPAL CHURCH. EVENING A play is in progress. The set includes a long ark with a sail built on a platform behind the altar. Two teenagers crouched in the wings ripple a narrow, blue sheet across the foot of the stage. The rest of the room is dim, with tall candles flickering along the center aisle. The beams a...
EXT. AIRPLANE - NIGHT Landing lights come on.
EXT. FIFTH AVENUE - TIFFANY'S - A SCULPTED GLASS HEART - DAY formed by two dancers bending over backwards, awash in pink light and spotlighted in white. [EX9] and [FRL] are among a few other people -- couples mostly -- looking in the windows. Each one a variation on the heart motif. They move to a window -- "...
15 INT. HOSPITAL ROOM - DAY [MRL] sits up in bed. Lt. Villiers and Sgt. McManus stand by his side. Dr. Hirsch sits observing. [MRL] I'm sorry if I conflict with your report, but [EX2] and I were not attacked by a man. LT. VILLIERS So you've said. SGT. McMANUS He may have a point, Lieutenant. Two strong boy...
EXT. THUNDERBIRD AND WHALE BOOKSTORE/STREETS - NIGHT [FRL] exits, thumbing through a BOOK she just bought. She heads down the sidewalk, but then hears FOOTSTEPS behind her. She turns, doesn't see anyone. She puts the book in her shoulder bag and continues. UNKNOWN POV - ON [FRL] -someone's following her. She looks ar...
[MRL] just looks at her. [FRL] Please. [MRL] Hold on. [MRL] disappears for a moment, then returns, pulling on a T- shirt. He climbs out of his window, drops to the ground. [MRL] looks at her. [FRL] You asked me what was missing. [MRL] What? [FRL] From basketball. [MRL] you woke me up to tell me that? [FRL] It...
INT. BROOKLYN LIVING ROOM -- HOUR LATER THE CAMERA makes a CIRCUIT of the THINNING CROWD. [EX15] blows out candles, dumps ash trays, and collects empties. [FRL], rubbing a knuckle into her sleepy eye, descends the stairs. She sees [EX8] talking to [EX6], and walks over to them -- [EX8] Sweet dreams? [FRL] I had no ...
INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHT [EX2] WAKES. [MRL] I can't find my wedding video. Mom, wake up. [EX2] What is it? [MRL] Where's my wedding video? Led Zeppelin continues. [MRL] SR. WAKES, LOOKING AT THE ALARM CLOCK. [MRL] SR. It's after three o'clock! What are you doing?
INT. STAIRS � NIGHT MEDIUM SHOT The three children are at the top of the stairs. They are in their pajamas. [MRL] Kids! [MRL] starts to run up the stairs, and the old familiar knob on the banister comes off in his hand. He kisses it lovingly and puts it back, then continues up the stairs. [MRL] [EX43] � kids � [EX...
EXT. CRONIN'S GRILL -- AFTERNOON Crowded outdoor restaurant in the business district. [MRL] sits down opposite Bob [EX16], still making a few notes. [MRL] Gimme a second here... [EX21]... Arizona contract... new glass cabinet... [EX16] You okay? [MRL] I'm fine. What's up? [EX16] I came here to let you go. [MRL] ...
TIPS HIS HEAD BACK AND DUMPS THE PILL INTO HIS MOUTH. DRINKS WATER, OPENS MOUTH WIDE AND STICKS HIS TONGUE OUT to show he swallowed. [MRL] WALKS, SPITTING OUT THE PILL. PILL LANDS ON FLOOR.
INT. COCKPIT - NIGHT GROUND CONTROL Flight two-zero-niner, this is Denver Flight Control. You're approaching some rough weather. Please climb to forty-two thousand feet. [EX12] Roger, Denver. There is a KNOCK on the cockpit door. [FRL] and [EX27] enter. [FRL] We have a visitor. [EX12] Hello. [EX16] Hi. [FRL] Thi...
INT. APARTMENT - LATER [MRL] has more than fifty self-help books on a shelf by his bed. He reads from one called "Six Steps to Getting Over Him." [MRL] "So he broke your heart. You've been sad and depressed for weeks. Perhaps you've turned to drinking or even drugs. And nothing's helped. Now what? Should you binge on...
CAMERA PANS R. OVER SEVERAL HOUSES AS INTERIOR LIGHTS ARE TURNED ON. [EX2] Stop it! Stop it! Stop it!
INT. MARK LEWMAN'S HOUSE - DAY [MRL] is talking to [FRL]. [MRL] Hey, [FRL]? [FRL] Hey mister. [MRL] She loves the dress. She just went to try it on. [FRL] Really? I picked a good one! [MRL] Yeah. [FRL] Oh good. [EX11] comes running in, wearing the pink dress. [MRL] Hi, look how cute that is! Is it comfortable?...
INT. [FRL]'S GARAGE/DANCE STUDIO - DAY [FRL] HOLDS UP THE NEWSPAPER AND A BOOK. [FRL] Football stays out of this place, so does "Lord of the Flies." [MRL] Wait, wait, no, no, no, what are you doing? I'm behind on my syllabus. [FRL] I don't give a fuck. [MRL] What the hell are you doing? [FRL] STEPS TO DOORWAY -- ...
INT. RECEPTION - NIGHT The band let rip on a funky tune. The congregation fill the dance-floor. [MRL] leads [FRL] back into the room and heads straight for the dance-floor. As they pass relatives along the way, [MRL] introduces them to [FRL]. Much hugging and kissing ensues. [MRL] and [FRL] dance a boogie. [EX33] an...
EXT. ABANDONED FARMHOUSE - ROOF - SUNSET [MRL] and [FRL] sit on the ridge of the farmhouse roof . [MRL] I think my dad was like [EX1] is. Some guys are just dare-devils. I bet [EX1] once that he couldn't do a back-flip off the garage roof into a big pile of leaves. And he did it. [FRL] One time [EX2] and I snuck out...
EXT. PARK - DAY [MRL] sits on a bench in a park on a rooftop wedged between tall buildings. There's not really any view besides the trees in the immediate foreground. People sunbathe and exercise. He sits, eating a sandwich, his device next to him. He looks at the device, then out at what she's looking at. [MRL] What...
EXT. SIDEWALK � NIGHT CLOSE SHOT Just as [MRL] breaks through the door, [EX15] arrives in his police car. He gets out and heads for the door, to run into [MRL] as he comes out. [EX15] Oh, it's you! He grabs for [MRL], who lets him have one square on the button, knocking him down, then continues running down the str...
INT. [MRL]'S BEDROOM - MORNING It is very early, and [MRL] is still asleep. As we PULL BACK, WE REVEAL that he is alone in his bed. The PHONE RINGS. [MRL] picks it up-- [MRL] Yeah...put him through. [EX3], it is 5:00 a.m. You gotta get yourself a life, man. Yeah...all right. He hangs up the phone and looks around t...
EXT. [MRL]'S APARTMENT BUILDING - DAY Establishing. CUT TO:
EXT. [MRL]'S CASTLE - PORTICO - TWILIGHT Dressed in white flannels, [EX1] offers his invitation to a doorman who shrugs. [EX1] And I mean everyone: from every walk of life, from every corner of New York City, this kaleidoscopic carnival spilled through [MRL]'s door... A gaggle of gorgeous, but obviously low-class gi...
INT. [EX1]'S ROOM - NIGHT As he enters. [EX2] It's [EX6]. [EX1] is quickly out of his chair -- the dog in one mitt... he thrusts it at [EX2]. [EX1] Here. Take the dog. As he speeds him out... [EX2] Good luck.
12 EXT. DENSE FOREST - DAY The camera is handheld, running furiously through the almost dense greenery. On the soundtrack are the footfalls and heavy breathing of the runner. The camera abruptly stops and turns, sharply looking about, the panting continuing. The breathing gets louder and harder, then too loud wh...
EXT. MCCALL AND WRIGHT HOUSES - CONTINUOUS [MRL] crosses the grass to [FRL]'s window, knocks quietly. Long beat, then [FRL] sleepily stumbles to her window, wearing boxers and a tank top. She pushes it open and [MRL] pulls himself through...
INT. COCKPIT - NIGHT [MRL] over hears conversation on radio. [EX36] This is a goddamn waste of time. There's no way he can land this plane! Route 'em into Lake Michigan and at least avoid killing innocent people!
INT. PASSENGER CABIN - NIGHT [EX23] is talking to passengers and demonstrating. [EX23] In a moment we'll ask you to assume crash positions. Your life jackets are located under your seat.
INT. [FRL]'S APARTMENT - BEDROOM - DAY [FRL], 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. [EX16] is watching. She takes the photo of her and [EX16] dressed up hot in hooker clothes and packs it. [EX16] So whatta' y...
EXT. MOSS FARM. MIDDLE OF THE NIGHT. The car pulls up outside the slightly ramshackle farm of [EX25] MOSS, C.W.'s father, in Arcadia, Louisiana. It sits, for a moment, in the dark. Then C.W. honks the horn. A few seconds pass, and the porch light comes on. OLD [EX3] MOSS comes out in his pajamas and peers into the...
INT. HEATHROW / O.N.S. BOOTH - DAY A phone rings behind the counter. [EX8] picks up. [EX8] O.N.S., Heathrow branch. Hold on. [EX8] [FRL] it's for you. Some guy called [MRL]. [FRL], stands nearby, holding a clipboard, about to head out onto the floor. She looks at [EX8]. She thinks for a beat, then shakes her head, s...
INT. ROYCE PUBLISHING - MORNING [FRL] walks through the cubicles and nods hello to her staff, who all look busy on the phone. When she turns the corner, they stop their "conversations" in mid sentence and hang up.
EXT. PAXTON SPEED BOAT - DAY Unlike the bulky yacht, this boat is built for speed and maneuverability. [MRL] starts her up. [FRL] Move over, I'm driving. [FRL] cuts in front of [MRL] and grabs the wheel. [MRL] You don't know where we're going. [FRL] opens up the throttle and they are off. [FRL] It doesn't matter. ...
EXT. COUNTRY ROAD - NIGHT [MRL] takes [FRL]'s hand and pulls her toward some invisible place. [FRL] Where -- what -- are we -- ? He keeps tugging her. She follows him. Laughing. [MRL] Stand right here. [FRL] Where? He leans down and lifts one of her feet a foot from the other. He notices a large bruise on h...
INT. KENWOOD HOUSE. DRAWING ROOM - NIGHT 26 * [EX6] is at the pianoforte. She sings, plays hard, for [EX12]' attention, gazing up at him as he stands beside her. [EX9] Is she `OUT'?? [EX4] Not quite. [EX2] Any day now. [EX9] raises an amused eyebrow - precocious creature! [EX11] offers [FRL] a discreet smile, as she si...