漂亮女人1

   
 
PRETTY WOMAN
PART 1EXT. 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!
 
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PRETTY WOMAN
PART 2INT. 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.
 
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PRETTY WOMAN
PART 3INT. 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 - NIGHTEdward 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.
 
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