漂亮女人4

   
 
PRETTY WOMAN
PART 11EXT. EQUESTRIAN CENTER - ANOTHER ANGLE - LATE AFTERNOON
In another group of PEOPLE.
ANOTHER MAN
You look awfully familiar, Vivian.
Haven't we run into one another
at the spa in La Costa?
VIVIAN
Well, I do often spa there.
EXT. EQUESTRIAN CENTER - ANOTHER ANGLE - LATE AFTERNOON
Edward and Elizabeth Stuckey watch Vivian laugh and chat with
a group of WOMEN.
ELIZABETH STUCKEY
Edward, she's marvelous. Warm
and witty and down to earth.
EDWARD
(with pleasure)
She is, isn't she.
ELIZABETH STUCKEY
So unlike your usuals. Where on
earth did you find her?
Edward smiles enigmatically. Taking an hors d'oeuvres off a
passing WAITERS's tray, he starts forward.
EXT. EQUESTRIAN CENTER - ANOTHER ANGLE - LATE AFTERNOON
A WOMAN
We're good together. He has to
admit it. I've been just what
he wants me to be. I say the
right things, I know the right
people, I give wonderful parties.
No question, no arguments, no
embarrassments. It works for both
of us.
That makes Vivian think. And then she smiles as she sees Edward
approaching. Vivian moves to him.
VIVIAN
Edward, these women here, I don't
think any of'm like the guys
they're with. They're just into
it for the money.
EDWARD
I'm sure that's true for some of them.
VIVIAN
I thought I was the pro. These
women make me feel like an
amateur.
EDWARD
(a beat)
Ready to stomp sod?
EXT. EQUESTRIAN CENTER - ON THE FIELD - LATE AFTERNOON
IN A SERIES OF SHOTS TO MUSIC
The CROWD engages in sod stomping. They drink champagne. They make a dance out of it. They laugh. Shoes get stuck in the
mud. It's ludicrous -- these people in their suits and fancy
clothes, replacing divots and stepping over the horse shit.
In a corner of the field, grazing horses stare, seemingly in
disbelief.
Vivian is having a wonderful time. And then, as she moves
towards the outside of the crowd she sees someone staring at
her from over among some of the riders and grazing horses.
David Kross smiles at Vivian. She hesitates... and then she
crosses towards him.
EXT. EQUESTRIAN CENTER - ANOTHER ANGLE - LATE AFTERNOON
DAVID KROSS
Hi.
VIVIAN
Hi. I never thought stomping
in grass could be so much fun.
DAVID
(laughs)
I like your hat.
VIVIAN
Huh? Oh... yeah. S'okay?
(pleased; a moment)
Uhm... how're... business things
going.
DAVID
Let's not talk about it, it's too
depressing. Come on, I'll show
you Thunder.
VIVIAN
Please, we hardly know each other.
DAVID
Thunder's a horse. Come on.
EXT. EQUESTRIAN CENTER - ANOTHER ANGLE - LATE AFTERNOON
They approach the sweating mount. David Kross caresses the
horses muzzle.
DAVID
Hey, big guy, you getting tired,
yet? I am. This is Vivian.
(a beat; and then:)
You two been together long? You
and Edward?
VIVIAN
No.
DAVID
Hope to be?
To Vivian's surprise, the question causes a pang inside.
VIVIAN
It's... it's not like that.
DAVID
I see. Well. Maybe that means
you'd have lunch with me sometime
then.
Vivian is suddenly silent. She looks away.
DAVID (cont'd)
I'm sorry, am I being too forward?
VIVIAN
You don't know anything about me.
DAVID
I'd like to find out. You don't
know anything about me either.
That's why people have lunch.
But something holds Vivian back, a feeling.
EXT. EQUESTRIAN CENTER - IN THE CROWD - LATE AFTERNOON
William Stuckey turns... stops... stares. He sees Vivian and
David Kross standing together. He stares, his mind racing, and
anxious, angry look on his face.
EXT. EQUESTRIAN CENTER - LATE AFTERNOON
Stuckey has Edward off to the side. He is talking to him in
a low, earnest voice.
STUCKEY
Fill me in on this. How'd you
and Vivian meet?
EDWARD
We just did.
STUCKEY
(grinning)
Come on, you can tell me. I sure
would like to know where a guy
runs into a girl as attractive
as this.
EDWARD
The night I left your house, I
was lost. I was looking for
directions.
STUCKEY
And you just happened to run into
her. Great. What's she do? She
work?
EDWARD
Yes...
STUCKEY
Doing what?
EDWARD
Vivian's in sales.
STUCKEY
Sales, really? That's great.
What does she sell?
Edward's eyes narrow.
EDWARD
Why do you want to know?
STUCKEY
Hear me out. I've known you a
long time. I see a difference
in you this week. Like that tie.
I'm suddenly wondering if this
girl's not the difference.
Especially when I see her talking
with David Kross.
EXT. EQUESTRIAN CENTER - ANGLE ON VIVIAN
Vivian turns away from the bar, now holding two glasses of
champagne. She scans the crowd for Edward.
EXT. EQUESTRIAN CENTER - ANGLE ON EDWARD AND STUCKEY
EDWARD
She met him at dinner last
night... I like this tie.
STUCKEY
So now they're best friends?
Edward, this girl appears out of
nowhere and now I see her talking
to a guy whose company we're
trying to buy. It's too
convenient.
EDWARD
You're being ridiculous.
STUCKEY
Industrial espionage is not
ridiculous. Edward, how do you
know she hasn't attached herself
to you so she can bring Kross back
information?
EDWARD
Christ, Bill, she's not a spy,
she's a hooker. I picked her up
off Hollywood Boulevard.
EXT. EQUESTRIAN CENTER - ANGLE ON VIVIAN
as she hear loud sudden LAUGHTER. She turns. She sees that
it's Stuckey laughing. Smiling, Vivian starts towards them with
two glasses of champagne.
EXT. EQUESTRIAN CENTER - ANGLE ON STUCKEY AND EDWARD
STUCKEY
I swear to God, you are the only
millionaire I ever heard of who'd
go looking for a goddam bargain
streetwalker!
Edward sees Vivian coming.
EDWARD
Let's drop it, shall we?
Edward turns. He smiles gently as Vivian quietly approaches
and hands him his glass of champagne.
A group of BUSINESSMEN are standing a short distance away.
One of them calls out:
MAN
Edward! May we have your opinion
on something?
EDWARD
(to Vivian and Stuckey)
Excuse me a moment.
He moves to join the group of men. Stuckey gives Vivian a
broad smile.
STUCKEY
Having a good time, Vivian?
VIVIAN
Yeah. Thanks.
STUCKEY
All this must be quite a change
from Hollywood Boulevard.
Vivian looks as if she's been struck.
VIVIAN
What?
STUCKEY
It's okay. Edward told me. Your
secret's safe with me.
Stuckey runs his hand up her arm.
STUCKEY (cont'd)
What do you charge, Vivian?
Maybe you and I could get together
after Edward leaves.
VIVIAN
(forcing a bitter smile)
Yeah. Sure. Why not. Call me
at the Regent Beverly Wilshire.
STUCKEY
I just might do that.
He moves away. Vivian turns. Edward looks up from his
conversation, sees her looking at him. He smiles, raises his
glass in a small toast. A moment. Vivian toasts him back.
 
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PRETTY WOMAN
PART 12INT. PENTHOUSE - NIGHT
They enter. Edward switches on a light. Vivian comes down the
steps into the room. Edward follows after her.
EDWARD
You're awfully quiet. You haven't
said a word since the party.
As Edward touches her shoulder, Vivian suddenly spins and
explodes with anger.
VIVIAN
You asshole! I can't believe what
a --!
EDWARD
Vivian, what the --
Tears well in Vivian's eyes as she yells at him.
VIVIAN
Clean the slut up, take her out,
huh?! What are you trying to
prove!? I'm not a piece of meat
for you to offer to your friends!
EDWARD
I don't know what you're talking
about.
VIVIAN
I've been with stinking old men
who've made me want to puke but
I've never had anyone make me feel
as dirty as you did tonight.
EDWARD
Would you please calm down. Tell
me what happened.
VIVIAN
Stuckey! He wants an
"appointment" with me after you
leave. You my pimp now or did
he think that up on his own?
Edward looks guiltily away.
EDWARD
What was I supposed to do?
(a beat)
I told the truth. Why should the
truth upset you? It's not as if
you're from a convent.
VIVIAN
I want my fucking money. I'm
getting out of here. I don't want
anything more to do with you.
EDWARD
Can we talk about this? Can you
just try to calm down?
VIVIAN
Your goddamned friend, he thinks
the only reason I'm with you is
for the money.
A tear falls from Vivian's eyes.
VIVIAN
(defiantly)
Well, it's true. Just pay me
what you owe me and I'm gone.
EDWARD
Vivian...
VIVIAN
Pay me! Before I pick up this
chair and smash your face in.
EDWARD
Fine. I'm only here a couple
of more days and I'm not going
to spend them fighting with you.
VIVIAN
Fuck off.
EDWARD
I'll call you a cab. If you want
the clothes, pack them up.
Vivian stands quietly for a moment. And then she turns and
walks into the bedroom.
INT. PENTHOUSE BEDROOM - NIGHT
Vivian starts roughly picking up her clothes in the dim light
of the bedroom. As she does she starts crying. With each item
of clothing the tears come down harder. Edward appears at the
doorway. His face is genuinely concerned.
EDWARD
Vivian... I'm sorry. I wasn't
prepared for questions about us.
It was an idiotic and insensitive
thing I did. I should have known
that it would hurt you.
VIVIAN
I'm not hurt. It doesn't hurt
you when somebody pisses on you,
it just pissed you off.
EDWARD
I really am sorry.
Vivian lets the clothes fall from her arms. Sobbing, she stands
limply.
VIVIAN
You hurt me.
Edward goes to her and wraps his arms around her shoulders.
She touches his hand. He sits on the bed. He pulls her to him
and wraps his arms around her, holds her tight.
EDWARD
I'll make it up to you.
INT. BROKERAGE HOUSE - DAY
Edward, carrying a briefcase, moves jauntily down a long
hallway. Stuckey trails after him.
STUCKEY
This is no time to disappear.
We're in too far.
EDWARD
Bill? Stop panicking. Kross
isn't going anywhere and I don't
need to spend the rest of the day
watching his stock go down. I'll
be in the office tomorrow.
STUCKEY
Promise me you'll read those
contracts by then.
EDWARD
Goodbye, Bill.
Stuckey stops. He calls after Edward.
STUCKEY
Shit... By tomorrow, Edward!
Edward hurries on.
EXT. REGENT BEVERLY WILSHIRE - DAY
Edward exits out of his limo and walks to the front doors.
INT. HOTEL LOBBY - DAY
Edward smiles, moving jauntily to the elevators. Mr. Thomas
at the front desk notices Edward's happy mood.
MR. THOMAS
Good afternoon, Mr. Harris.
EDWARD
Afternoon.
Edward's attention is taken by the glittering jewelry display
in the hotel jewelry store window. He detours from the
elevators and moves to the window for a closer look. He thinks
a moment and enters the jewelry store.
INT. PENTHOUSE - AFTERNOON
Vivian comes out of the bedroom into the living room wearing
an elegant red sequined evening dress. She looks incredibly
beautiful. She sees the phone. A thought occurs to her and
going to it, she picks it up. Waits.
VIVIAN
C'mon, Kit...
No answer. She hears someone at the door. She hangs up.
Edward enters. He is carrying a small case. He stops at the
sight of Vivian.
VIVIAN
Do I look okay?
EDWARD
(a small smile)
Hmm... let's see... no, there's
something missing.
He holds up the small case.
VIVIAN
What's that?
EDWARD
I don't want you to get too
excited... these are on loan...
however...
Vivian's jaw drops. Edward is holding a diamond and ruby
necklace in his hands, holds it as if it might melt if he
breathed too hard. Edward behind Vivian, fastens the
necklace around her neck.
EDWARD
This is made for a princess.
I think she'd approve of you
wearing it tonight. There.
Come look.
He leads her to a mirror. She stares at her reflection.
VIVIAN
Edward, I can't.
EDWARD
Shush. Of course you can.
VIVIAN
What if I lose it?
EDWARD
You won't.
VIVIAN
What if someone tries to steal
it?
EDWARD
I'll guard them and you with my
life.
EDT. BURBANK AIRPORT - DAY
A limo pulls onto the tarmac at Burbank Airport. A PILOT in
a leather jacket and sunglasses hurries forward to open the limo
door. Edward -- now wearing evening clothes -- and Vivian climbs
out of the limo.
PILOT
Your plane is ready to go, Mr.
Harris.
EDWARD
Very good.
VIVIAN
Plane?
Taking her arm, Edward leads her across the tarmac.
EDWARD
You don't want to go all the way
to San Francisco in a limousine,
do you? I don't.
VIVIAN
Where are you taking me!?
EDWARD
To meet some friends. Rudolpho,
a poet... Benoit, a landlord...
Mimi, a flower maker...
VIVIAN
Huh?
EDWARD
The opera.
Up ahead is a waiting private jet, its engines already HUMMING.
She is speechless. Edward grins, loving the look on her face.
EXT. BURBANK AIRPORT - DAY
The corporate jet takes off down the landing strip.
INT. CORPORATE JET - DAY
Edward and Vivian are alone in the passenger lounge of the jet.
Vivian can't believe the cabin. It is a comfortable room
featuring a long couch that curves across two walls, built in
bar, television and stereo. Edward is once again, going over
papers.
VIVIAN
I've never been on a plane
before.
EDWARD
I'm glad you like it. Now be
quiet, I've really got to read
these.
Vivian fluffs her hair up. She makes a happy, excited growling
sound -- Rrrrr! A wicked gleam comes to her eye.
She walks over to Edward and stands in front of him. He looks
up. She parts the thigh high slit in her gown to expose silken
quarters. She begins to unfasten the garters one at a time.
EDWARD
Vivian, what do you think you're
doing?
Edward watches silk stockings slide down Vivian's lovely legs.
VIVIAN
Being quiet.
She reaches out and gently caresses Edward's face. Edward sets
down his papers.
 
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PRETTY WOMAN
PART 13EXT. SAN FRANCISCO - SUNSET
The setting sun casts an incredibly glow over the city and the
coast.
VIVIAN (O.S.)
You ever been in love with anyone?
INT. CORPORATE JET - SUNSET
Vivian is at the window, looking out. She carefully puts her
earrings back on. She stares, mesmerized by the skyline, the
golden gate bridge in the distance. She turns. Edward is
buttoning his shirt. He is silent.
VIVIAN
Sorry. You're not paying me to
ask you question like that.
EDWARD
Vivian. I'm paying you to be
you. Be you.
(a beat)
Have you? Ever been in love with
anyone?
VIVIAN
You mean, besides Elvis?
(turning back to the
window)
I'm a human being. Sure. Once.
First time I ever ran away from
home, I got as far as Atlanta.
I met this boy. He'd been with
his parents on their way to
Chicago. They stopped at a gas
station. He went to the john.
When he came back they'd split.
We sorta started looking out for
each other. Aw, he was sweet.
And boy, was he good looking,
y'know, dark hair and eyes.
The chicken hawks were on him all
the time. He hated that.
Sometimes we'd find a safe place
to crash nights and we'd curl up
together and we'd talk about all
these crazy things. The two of
us getting married someday.
Having kids. Stupid stuff.
EDWARD
What happened to him?
A moment. Vivian shrugs.
VIVIAN
My father found me. Dragged me
home. I don't know why, he never
seemed to like me much when I was
there.
(a bitter smile)
'Cept when he was drunk, then he
liked me a whole lot.
(a moment)
I made it back to Atlanta a year
later. Andy was gone.
Silence. Vivian stares out the window.
VIVIAN
Aw, but things sure look fine
when you're sitting way up high.
Edward moves close to Vivian and putting an arm around her
shoulders, stares with her out at the view. Vivian rests her
head against him.
EXT. SAN FRANCISCO OPERA HOUSE - NIGHT
An airport limo pulls to a stop in front of the San Francisco
Opera House. The DRIVER walks around back and opens the
passenger door. Edward emerges and helps Vivian out.
INT. S.F. OPERA HOUSE LOBBY - NIGHT
Edward puts his hand on Vivian's elbow as they walk through
the elegant lobby.
EDWARD
Some people say that opera is an
acquired taste, but I don't
believe it. You can always tell
when someone goes to the opera
for the first time. They either
love it or hate it. Those who
love it will always love it; those
who hate it might come to
appreciate it, but they'll never
truly love it.
Vivian is wide eyed as they walk past a beautifully lit fountain with several graceful statues in its center. Everywhere she looks she sees elegantly dressed WOMEN and prosperous looking MEN. It makes her nervous. Without realizing it, she raises a protective hand up to her necklace. She looks as if she suspects someone is going to step up and steal it.
EDWARD
Viv? I really doubt if anyone
here is going to try and grab it.
Vivian reluctantly lowers her hands.
INT. S.F. OPERA HOUSE LOBBY - ANOTHER ANGLE - NIGHT
A crowd of PEOPLE mill around the lobby, heading toward their
seats. Vivian is aware of the looks she draws as she passes
-- curious, even envious looks from the WOMEN, appreciative
glances from the MEN. Her hands again rises nervously to her
necklace.
EDWARD
They all think you look very
beautiful, Vivian.
Vivian gives him a grateful look. Relaxing, she lowers her hand
from the necklace. With a flourish, he offers his arm. She
takes it. They start forward.
INT. S.F. OPERA HOUSE BOX - NIGHT
Edward and Vivian take their seats in a box high above the
stage.
VIVIAN
If it's in Italian, how will I
know what they're saying?
EDWARD
I'll whisper some of the main
parts of the story to you. But
you'll be surprised how much you
understand. The music conveys
the story more powerfully than
any words.
VIVIAN
But don't they have it in
English?
EDWARD
Vivian, don't be afraid of what
you don't know. That's the fun
of it.
The lights dim.
VIVIAN
(resigned)
Okay. Even if I hate it, I'm
glad you brought me.
The orchestra begins to play. Vivian's eyes focus intensely
on the stage, as if a new world is about to be revealed to her.
INT. S.F. OPERA HOUSE STATE - NIGHT
IN A MONTAGE OF IMAGES AND MUSIC - LA BOHEME is performed.
The lights from the stage dance across Vivian's face. Edward
leans over to translate the tenor's aria.
EDWARD
What am I? I am a poet. Not
a man of wealth but one rich in
dreams. You have come to replace
my vanished dreams. I dwell now
only in your eyes.
The MUSIC ebbs and swells. The sets and costumes change. The
story continues.
Edward again leans close to Vivian.
EDWARD
And now she asks Rudolpho if he
still thinks her beautiful --
Vivian raises a hand and gently covers Edward's mouth. Her eyes
are fixed on the stage. She doesn't need his help.
The emotions building inside Vivian swell as the music is
reaching its tragic climax. Her lips tremble. Her eyes fill
with tears. Edward glances at her. He studies her a long
moment, watching the emotions play unashamedly across her face.
Strangely moved, he takes Vivian's hand.
As the opera ends, they are both swept away by it.
INT. S.F. OPERA HOUSE BOX - NIGHT
As the lights come up, Vivian wipes off her tear-ruined
mascara. She sighs, happy. The WOMEN in the next box smile
at her.
OLDER WOMAN
Did you enjoy the opera, dear?
VIVIAN
(tearfully)
It was so beautiful I just about
pissed my pants.
Edward smiles at the now shocked looking Older Woman and he
and the still misty Vivian exit.
INT. CORPORATE JET - NIGHT - LATER
Edward and Vivian sit side by side.
EDWARD
If you'd gone on about how much
you liked it, I'm not sure I'd
have believed you.
VIVIAN
I more than liked it.
EDWARD
I know. I'm glad.
VIVIAN
Did you?
EDWARD
Yes. I've never enjoyed it more.
Thank you.
Vivian looks at him a moment. And then, leaning slowly forward
she kisses him gently on the mouth. He looks at her surprise.
He puts his arms around her and kisses her back. It is the
first time they've kissed and they make it very special.
EXT. CORPORATE JET - NIGHT
The plane flies in the night. Back to L.A.
INT. REGENT BEVERLY WILSHIRE PENTHOUSE BEDROOM - NIGHT
IN A SERIES OF CROSS FADES Edward and Vivian make love.
Equally giving, equally taking. No masks, no shields.
INT. PENTHOUSE BEDROOM - NIGHT - LATER
In the darkened bedroom, Edward and Vivian lie together.
Edward cradles Vivian. Her back rests against his chest. His
arm is over her body.
She takes Edward's hand in her hands and carefully examines
it; marveling at the fingers, the tiny hairs on the back. She
gently kisses the palm.
VIVIAN
Love you...
She clutches Edward's hand tightly to her breast. She closes
her eyes, ready to sleep now.
INT. PENTHOUSE BEDROOM - ANGLE ON EDWARD - NIGHT
His eyes open. Vivian's whispered endearment has filled with
him with sudden confusion and uncertainty. He stares into the
dark, wondering what to do with the woman in his arms.
INT. PENTHOUSE - OUTDOOR PATIO - MORNING
The phone rings. Edward immediately reaches out and picks it
up. He is dressed in a robe. Breakfast is on the umbrella'd
table in front of him.
EDWARD
Yes?
INT. STUCKEY'S HOME - LIBRARY- MORNING - INTERCUT
Stuckey, not even dressed yet, paces around his desk.
STUCKEY
Did I wake you?
EDWARD
I'm up.
STUCKEY
I had to call. I jus got off
the phone with James Kross. Get
this. He wants to see you.
Today.
EDWARD
Why?
STUCKEY
He wouldn't say. Edward... I
think we got him. His nuts are
on the block and we got him.
(silence)
You there?
EDWARD
Give me twenty minutes.
STUCKEY
We'll be there. Listen, if he's
really caving in, we'll go from
there down to the office. I want
him to commit his stock to us this
morning.
Edward hangs up. His mind seems on other things. He rises.
INT. PENTHOUSE BEDROOM - MORNING
Vivian is still asleep. She is face down on the bed, the
sheets just covering her to her waist. Edward stares down at
her. He gently reaches out and runs a finger down the soft line
of her spine. Vivian murmurs contentedly.
VIVIAN
Mmm.
(opening her eyes;
looking at him)
Hi.
Edward smiles at her softly. And then:
EDWARD
Better get dressed. We're having guests.
INT. PENTHOUSE BEDROOM - DAY
Vivian is wearing her yellow dress. She stares at herself in
the bedroom mirror. Her hair... her make-up... she realizes
how different she is now, realizes that she likes it.
Edward comes out of the bathroom. He crosses to the closet
for a tie.
VIVIAN
Here. Let me.
She comes over, starts to tie his tie for him. He is very
aware of the closeness of her. She smiles at him. He smiles;
puts his hand on her stopping her for a moment. Looking up,
she sees that he is serious now; no more jokes. He releases
her hand.
EDWARD
(quietly)
One more night and you're finally
rid of me.
VIVIAN
Yeah, you've been pretty tough to take.
EDWARD
I have to go to New York
tomorrow.
Vivian says nothing.
EDWARD (cont'd)
But I'll be back in Los Angeles.
Soon. I'd like to see you again.
I thought we could work out
something... An arrangement.
Vivian is silent.
EDWARD (cont'd)
I'll get you an apartment, buy
you a car --
Vivian sighs, letting something go inside. Finished with his
tie, she turns away.
EDWARD (cont'd)
What is it?
VIVIAN
(not unkindly)
What else? You gonna leave some
cash by the bed when you pass
through town?
EDWARD
It wouldn't be like that. I want
to get you off the street. You'll
have a different kind of life.
What's wrong with that?
VIVIAN
I'm sorry. That's very sweet,
Edward, and I know you mean it...
She is silent.
EDWARD
Vivian, I've thought about this
a lot. This is the best solution.
VIVIAN
(shakes her head "no,"
then continues tying
his tie)
When I was a little girl, my
mother locked me in the attic when
I was bad, which was pretty often.
I'd stare out the window up there
and make believe I was a princess
trapped in the tower by the wicked
queen. Then suddenly a knight
on a white horse with his bright
colors flying would ride up.
Rescue me from the tower, and then
we'd ride off... but never, ever
in all the times I had that dream
did the knight say, "Come on baby,
I'll put you up in a great condo."
She finished his tie.
EDWARD
Vivian, life's not a fairy tale.
VIVIAN
(softly; to herself)
I know.
(a beat)
Hey, don't mind me. I'm being
stupid.
(more)
I'll think about it, okay? It's
a real good offer for a whore.
EDWARD
I've never treated you like a
whore.
VIVIAN
(not mean)
You just did.
The doorbell suddenly rings in the living room.
 
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PRETTY WOMAN
PART 14INT. PENTHOUSE LIVING ROOM - DAY
Edward enters the living room. Vivian slowly enters behind
him. Edward opens the front door. Mr. Kross slowly enters.
He looks very old and tired; so much so that Edward has to mask
his surprise.
KROSS
Mr. Harris.
EDWARD
How are you, Mr. Kross.
KROSS
Not bad for a man who hasn't
slept in four nights. I'll get
used to it.
An angry, reluctant looking David Kross is behind his father.
Stuckey brings up the rear. Edward and David give one another
perfunctory nod. Stuckey smugly winks at Edward. Edward closes
the door and leads them all down the stairs.
Vivian is very troubled at Kross's appearance. He gently nods
at Vivian.
KROSS
Young lady.
VIVIAN
Hello.
(to David)
Hi.
DAVID
Hello, Vivian.
STUCKEY
Let's not waste time here, shall
we? Mr. Kross, you said this
morning, you wished to speak with
Mr. Harris. Mr. Harris is now
listening.
Kross has to fight down his humiliation at Stuckey's tone. He
turns to Edward.
KROSS
Yes. I'm here to tell you that
I've reconsidered my position on
your acquisition offer.
EDWARD
Expected... offer.
KROSS
Of course, yes. After the
expected filing period is over,
I'm going to recommend to the
board that we accept your bid.
EDWARD
(a moment)
You're making the right decision,
sir.
Stuckey glances triumphantly at Edward. He is surprised to
see that there doesn't seem to be any victory in Edward's face.
Edward is silent. Kross interprets his silence as second
thoughts.
KROSS
I'll see you on one condition.
I'm not so concerned for me but
the people who have worked for
me...
Vivian is disturbed watching this tired looking man.
STUCKEY
(quickly)
They'll be taken care of. Won't
they, Edward?
Kross ignores Stuckey. He looks to Edward. Edward slowly
nods.
KROSS
I'll sign anything you want then.
STUCKEY
Today.
Kross nods tiredly. His voice is very soft.
KROSS
Today.
Vivian abruptly turns and disappears into the bedroom,
obviously upset. The men all watch her go. Edward hesitates.
He turns to Kross:
EDWARD
Excuse me, please?
He heads to the bedroom.
INT. PENTHOUSE BEDROOM - DAY
Vivian is sitting on the bed, on the phone.
VIVIAN
Hello. Is Kit DeLuca there?
When she comes in will you have
her call Vivian Wells at 560-30000.
Yes. Okay.
She hangs up as Edward comes in.
VIVIAN
What did you do to him?
EDWARD
What do you mean?
VIVIAN
Last time I saw him he was this
strong guy. Now he's beaten.
And you liked him.
EDWARD
Vivian, I want you to listen to
me. The man realized that it
would be better for his future
and his son's future, if he
cooperated.
VIVIAN
Right.
EDWARD
It's not your concern. It's...
business, that's all.
VIVIAN
Business.
EDWARD
Yes. The man made a business
decision.
VIVIAN
It's all just business to you.
Him. Me. Your life.
Everything's business.
EDWARD
It's what I do for a living.
It's how I make money.
Silence.
EDWARD
I'll be back in a few hours.
We'll talk about this later.
INT. PENTHOUSE LIVING ROOM - DAY
Edward enters the living room. The men look at him
expectantly.
EDWARD
We'll continue this down at the
office.
He heads for the door.
EXT. PENTHOUSE PATIO - DAY
Vivian stands at the railing, unhappily looking out at the city
beyond. The phone RINGS. She turns and hurries inside.
INT. PENTHOUSE LIVING ROOM - DAY
Vivian answers the phone.
VIVIAN
Lo?
INT. HOTEL LOBBY - DAY - INTERCUT
Mr. Thomas is standing behind the front desk, a rather strained
expression on his face.
MR. THOMAS
Barnard Thomas here. Miss
Vivian, I wonder if you might come
down to the front desk. There's
someone here to see you.
VIVIAN
Me?
MR. THOMAS
I'd send them up, but sadly, I
don't trust the young lady to find
you on her own.
A hand reaches out and wrenches the phone away from Mr. Thomas.
Kit, heavy make-up, skimpy outfit, chewing gum, cigarette and
all, keeps her voice just below a bellow.
KIT
Viv? Where are you, babe?
(glaring at Mr. Thomas)
The sphincter-police won't let
me through.
INT. HOTEL LOUNGE - DAY
Kit finishes slurping on a big, frosty ice cream soda. She
smacks her lips like a happy, little girl. Vivian isn't having
anything.
VIVIAN
Yes, I'm glad you're clean but
I've been calling and calling.
KIT
Was that you?
VIVIAN
Who did you think?
KIT
Carlos. I still owe him two
hundred bucks...
VIVIAN
Kit, I left that money for you
days ago.
KIT
Yeah. I just got it.
An OLDER COUPLE walk past the table. They stare at Kit.
KIT
Fifty bucks, grampa. For
seventy-five, the wife can watch.
Horrified, the elderly couple hurry away.
VIVIAN
Kit...
KIT
Everybody keeps starin' at me.
VIVIAN
Yeah... I know what you mean.
KIT
What do you know? You look good.
All dressed up.
(meaning it)
You clean up real nice.
(giggling)
You sure don't fit in down on
the Boulevard, lookin' like you
do. Not that you ever did anyway.
VIVIAN
You think I fit here where they
just about chew your food for you?
KIT
Where do you fit?
Vivian is silent, then.
VIVIAN
(suddenly)
I kissed him, Kit. On the mouth.
KIT
Honey, you're not supposed to
do that.
VIVIAN
I know. I stopped pretending
and started liking it with him
for real.
KIT
Oh, my god, you mean it was good?
VIVIAN
(miserably)
It was great.
KIT
Dummy.
VIVIAN
He wants to set me up in a place,
give me some money.
KIT
I pray for that.
VIVIAN
(nods)
All I'm doing is feeling lousy
about it. I don't know what to
do. What do I do, Kit?
KIT
Go for the bucks.
VIVIAN
I don't care about bucks.
(a beat)
I might love this guy.
KIT
Wow, are you in deep shit.
(a sigh)
You know he'll break your heart.
Vivian is silent again.
KIT (cont'd)
I blame myself here. First time
I laid eyes on ya', I knew you
were too complicated to be a
whore.
Vivian nods. Her face is filled with confusion.
INT. BROKERAGE HOUSE - CONFERENCE ROOM - DAY
Edward stands at the window looking out. There is something
about his somber demeanor that both reflects the look we've just
seen on Vivian and suggests the way we saw him at the top of
the story.
Jake enters, a pile of papers under his arm. He begins laying
them out on the conference table.
JAKE
Congratulations, sir.
EDWARD
What?
JAKE
Mr. Kross is just getting off
the phone with his stock broker.
It's finished. You've won.
Edward says nothing.
JAKE
Who are you going after next, sir?
EDWARD
Who indeed...
He turns as Stuckey, James and David Kross, and Vance enter
the room. They surround a conference table. Kross sits, the
papers laid out in front of him. Stuckey hands Kross a pen.
A SECRETARY lays out finger food. They wait for her to leave
before they speak.
STUCKEY
If we can get these letters of
intent out of the way now... Mr.
Harris and I would like to ask
you some questions about your
company.
DAVID
Dad, excuse me, but that's
inappropriate. You're under no
obligation to answer any questions
at all.
KROSS
Could we at least wait till after
the filing period?
Stuckey glances to Edward for help. Edward is silent; indeed
it's as if something is twisting inside of him. Stuckey plunges
ahead.
STUCKEY
Mr. Harris is preparing a bid
based on our speculation of the
corporation's net worth. The
price he ultimately pays for your
father's stock will be based on
that bid. The more we know, the
higher our bid can be.
KROSS
It's in my best interest to
cooperate, David.
DAVID
If he throws himself on your
sword, you promise to take care
of him and his family, huh?
David stares at him.
STUCKEY
That's unfair!
DAVID
You bed it is.
(to Edward)
You're everything he said you
were.
(to his father)
Do what you have to do, Dad.
Just don't expect me to watch it.
He exits. A moment. Kross looks at Edward with a resigned
smile.
KROSS
He's young. He hasn't learned
how to lose gracefully yet. I'll
sign your papers. And I'll answer
your questions. Whatever you
want.
He sighs. He picks up the pen. He's about to sign.
EDWARD
Stop. For just a moment.
(a moment)
Mr. Kross, I'd like to ask you
a few questions before you sign.
You realize that you're a target.
If you weren't mine, you'd be
someone elses, correct?
KROSS
Yes.
EDWARD
If you had a... reprieve, what
would do?
STUCKEY
(quickly)
I don't think there's any sense
in --
EDWARD
Let him answer.
KROSS
I... I would take advantage of
it.
EDWARD
How?
Kross looks uncertain. He gropes for an answer.
KROSS
I... I don't know. There...
there wasn't time...
EDWARD
I suppose you'd find out soon
enough that you have assets you
presently don't seem aware of,
wouldn't you? The waste
processing licenses at that
abandoned shipyard of yours, you'd
certainly find out about that.
Surprise suddenly flares in Stuckey's eyes.
STUCKEY
Oh, my god... Edward, no!
EDWARD
I suppose you'd use them as
collateral on new loans, wouldn't
you?
STUCKEY
Have you lost your mind?
KROSS
(to Stuckey)
Quiet.
(to Edward)
Would I get the loans?
EDWARD
This time I imagine you would,
yes.
(as if thinking about it)
Hmm...
(a moment)
With all this in mind, Mr. Kross,
I can't logically make a formal
bid on your company, can I?
KROSS
(a small smile)
You'd be initiating a financial
battle you'd ultimately lose, Mr.
Harris.
EDWARD
You're very right. I think the
best thing we could all do is go
home.
STUCKEY
What!?
EDWARD
Have a good day, gentlemen.
He exits from the room. Stuckey follows.
 
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PRETTY WOMAN
PART 15INT. BROKERAGE HOUSE - DAY
Edward is walking down the hall. Stuckey comes out of the
office and calls after him.
STUCKEY
(calls)
Edward, what happened? What kind
of move was that?
Edward silently goes into the elevators. The doors close.
STUCKEY
(yells)
Dammit Edward, speak to me.
Stuckey heads back to the conference room.
EXT. OFFICE BUILDING - LATE AFTERNOON
Edward comes out of the building. His Chauffeur leaps to open
the limo door.
EDWARD
No... take the car back to the
hotel. I need to walk.
He sets off across Century Park East.
INT. PENTHOUSE - EVENING
Vivian is in the living room, pacing, edgy, the doorbell rings.
She turns. It rings again.
She opens it. Stuckey is standing outside with a small
briefcase. He looks agitated. He tries to hide it.
STUCKEY
Well, well... Hello again. I'm
looking for Edward.
Vivian just stares at him.
VIVIAN
Edward's not back. I thought
he was with you.
Stuckey walks past her and down the steps into the living room.
STUCKEY
No, I'll just have to wait then,
won't I?
There is a bar set up. Stuckey sets his briefcase down. He
crosses to the bar.
STUCKEY (cont'd)
Mind if I have a drink?
VIVIAN
No.
He pours liquor in a glass. He fires it down. It seems to
calm him a bit.
STUCKEY
Do you want to know what he did?
Do you want to know what the crazy
son of a bitch did? He handed
the whole thing back to Kross!
On a silver platter. For no
reason! What was he thinking,
I mean, what was going through
his goddam head? Why?
(pours another drink)
What was all that benevolent
crap? What are we going to
become, a philanthropic
foundation? I'll probably be the
director of several worthwhile
charities.
VIVIAN
I think it's great.
Stuckey glares at Vivian.
STUCKEY
I bet. A lousy whore and you're
the gum in a hundred million
dollar deal.
VIVIAN
(mocking)
Aw, come on, Bill. It's just
business.
He looks at her a moment.
STUCKEY
But what do I know, maybe you're
worth it. Come on, show me.
Let's see your act.
He grabs her wrist.
VIVIAN
Get out!
STUCKEY
Don't worry. I'll pay for it.
What a you charge? Huh? Twenty,
thirty, fifty bucks, maybe? Are
you a fifty dollar whore?
He tries to kiss her and pulls her down on the couch on top
of him.
VIVIAN
Are you crazy?
She bites his hand. Stuckey slaps her. Vivian starts flailing
back. But Stuckey is too strong. Vivian staggers back at the
force of another slap. Stuckey slams her up against a wall and
starts rubbing up against her.
STUCKEY
You got a mean streak in you,
don't you.
He tries to kiss her again.
STUCKEY (cont'd)
Is that what he likes about you?
Huh? Answer me!
And suddenly a HAND lands on Stuckey's shoulder. Stuckey turns
his head, startled.
INT. PENTHOUSE - REVERSE ANGLE - STUCKEY'S P.O.V.
Edward, murder in his eyes, belts Stuckey across the room.
INT. PENTHOUSE - NIGHT - BACK TO SCENE
Stuckey falls on the ground. Edward rushes forward, berserk
with rage, to hit Stuckey again. His fist hits the top of
Stuckey's head, hurting Edward's hand more than Stuckey's skull.
Vivian rushes out of room to bathroom. Again Stuckey tries
to rise. Edward kicks him in the butt, sends him headfirst into
the bar. Glasses and bottles CRASH to the floor. Stuckey again
tries to rise. And collapses. Edward rubs his fist. They're
not used to this violence and both stare at each other panting.
STUCKEY
You broke my nose.
EDWARD
I think I broke my hand.
(a beat)
You're fired.
STUCKEY
Edward, we've been together ten
years.
EDWARD
And I don't like what we've
become. I'll cover any losses
you have on this one. Now get
out, you asshole!
STUCKEY
All this because of that whore!
EDWARD
Yes.
Edward pushes Stuckey out the door and throws his briefcase
after him.
STUCKEY
Edward, think about what you're
--Edward slams the door in his face. Edward stands there,
reflecting on what he's done.
EDWARD
(to himself, almost proud)
Well, I didn't plan that!
INT. PENTHOUSE BEDROOM - NIGHT - LATER
Edward holds an icepack to Vivian's cheek.
VIVIAN
Why do guys always know how to
hit a woman? Right across the
cheek, wham, so it feels like your
eye is gonna explode. What do
they do, take you all aside in
high school and show you how?
It pisses me off!
EDWARD
Not all men hit. And no one is
going to hit you anymore.
VIVIAN
Right.
(softening)
You're quite the Sir Galahad
today, aren't ya'?
(a beat)
I heard what you did with Kross.
EDWARD
It was a business decision.
Vivian looks at him.
EDWARD
I got tired of hating my father.
VIVIAN
(a small smile)
It was good.
EDWARD
It felt good.
Edward looks on the bed at her suitcases.
EDWARD
You're packing.
VIVIAN
(nods)
I'm leaving.
(a moment)
Don't ya see? If I stay with
you like you want me to, there'll
always be some guy, your friends
eve, treatin' me like that...
thinkin' they're allowed to. What
are you gonna do, fight'm all?
No. I'll take my money now,
please.
A moment. Edward reaches for his wallet. He counts out bills.
He places them in Vivian's suitcase. He puts his arms around
Vivian.
VIVIAN
Aw, don't... no...
EDWARD
Stay with me tonight. Not
because you're being paid to.
Stay with me because you want to.
VIVIAN
I do. I do want to. That's why
I'm leaving.
(turning to him)
That's what you given me, see?
I know what I want now. I want
a guy like you for real. Not
because you buy me things and give
me money. The nicest thing you
ever done for me is hold my hand.
You gonna give me that?
Edward is silent.
VIVIAN
I didn't think so.
EDWARD
Vivian...
VIVIAN
It's not your fault. You're
right. Kit's right.
(looks him right in the eye)
But I want the fairy tale.
INT. HOTEL LOBBY - EVENING
Vivian comes out of the elevators. A BELLMAN sees her and
springs forward, reaching for her bags.
BELLMAN
Let me take those, miss.
VIVIAN
Thanks.
Vivian sees Mr. Thomas behind the front desk.
VIVIAN
I'll be out front in a minute.
I got a cab comin'.
The bellman moves away. Vivian walks to the front desk.
VIVIAN
Hi, Barney!
MR. THOMAS
(looking up)
Miss Vivian.
VIVIAN
Look I just wanted to say
goodbye.
MR. THOMAS
Mr. Harris doesn't check out
until tomorrow.
VIVIAN
Yeah, well, I check out today.
MR. THOMAS
You're not accompanying him to
New York?
VIVIAN
(lightly)
Come on, Barney, you and me live
in the real world.
(a beat)
You don't know how to treat a girl
like anything but a lady, Mr.
Thomas.
MR. THOMAS
Certain ladies make that very
easy... Vivian.
(turning to the desk clerk)
John, call a limousine for our
guest, please. Have it take her
anywhere she wishes to go. Bill
the hotel.
(turning back to Vivian)
See you again sometime soon.
Vivian smiles softly at him. She turns and walks for the door.
 
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 PRETTY WOMAN
PART 16EXT. HOLLYWOOD BLVD. - DAY
A long silver limo drives down Hollywood Blvd.
INT. LIMO - DAY
The LIMO DRIVER pushes the button that rolls down the screen
between back and front seats.
DRIVER
You're sure this is the right
street, ma'am?
VIVIAN
Yes. 1312. It's a big apartment
building.
EXT. VIVIAN'S APARTMENT BUILDING - DAY
The limo pulls to a stop in front of a rundown apartment
building on a dirty Hollywood side street. The Limo Driver,
a large Latino man, steps out of the car and walks around to
the passenger door. As he does, he surveys the surroundings
uncomfortably. Ths is rough neighborhood. He opens the door.
Vivian steps out.
LIMO DRIVER
Maybe I should go with you. This
doesn't look like a good place
for a lady to be alone.
Several PEOPLE pass. All of them stare at the car, at the
driver, at Vivian in her lovely clothes.
VIVIAN
I'll be okay. I'm home. Thank
you.
The driver, confused, watches her hurry up the steps to the
apartment building. He drives off.
INT. APARTMENT LOBBY - DAY
Vivian walks toward her apartment. The Landlord is sitting
at the front desk in a dirty undershirt.
LANDLORD
Hey, we announce guests here.
You a relative of somebody?
Vivian lowers her sunglasses.
LANDLORD (cont'd)
Viv -- is that you?
VIVIAN
Yeah, it's me.
She keeps walking.
LANDLORD
You lookin' good, Viv'. Nice
threads. I gotta find time to
shop.
INT. PENTHOUSE - DAY
Edward stands at the penthouse window, looking out. He is
dressed now, ready for travel. There is something about his
expression, his somber demeanor that suggests the way we saw
him at the very top of the story. A BELLMAN enters from the
bedroom, rolling a luggage loaded dolly along in front of him.
BELLMAN
Is that everything, sir?
EDWARD
(turning from the
window)
That's everything.
The Bellman exits, closing the door behind him. The phone
rings. Edward crosses to it, picks it up. The Maid comes in,
looks around.
MAID
The lady, she go?
EDWARD
Yes. She go.
INT. HOTEL LOBBY - DAY
Edward with the Bellhop heads to the front door. He's leaving.
BELLHOP
Do you have a car taking you to
the airport, sir?
EDWARD
Yes.
INT. VIVIAN'S APARTMENT - BEDROOM - DAY
Vivian, looking fresh scrubbed without make-up, is wearing
clean jeans, a nice looking shirt and a suit jacket. Her
bureau's are open. She is packing. Kit is watching. She takes
the photo of her and Kit dressed up hot in hooker clothes and
packs it.
KIT
So whatta' you going to do in
San Francisco?
VIVIAN
Get a job and probably go back
to school. Figure out what I'm
gonna be.
KIT
What kind of school?
VIVIAN
School, school. Regular. I used
to get pretty good grades in
school, you know.
KIT
So did I. I made it with the
principal.
(recites)
Study hard And get a "B." Lift
your dress and an "A" you'll see.
They both laugh but too hard.
VIVIAN
Want a pair of boots?
KIT
Do I!? Momma!
Taking them, she sits on the bed and puts them on.
VIVIAN
You sure you won't come with me?
KIT
And leave all this? Not in a
million.
They laugh together.
KIT (cont'd)
What time's your bus?
VIVIAN
Couple a hours.
KIT
Yeah. Well... I gotta split.
Goodbye's make me crazy.
VIVIAN
Cool your jets a second.
(going to her purse)
Here's some money.
KIT
No. You took care of rent,
that's enough.
VIVIAN
I want to. For food, got it?
Eat something before the wind
blows you away.
KIT
I'm gonna pay you back next time
I see ya, babe. Just wait, I'm
gonna do something real nice for
you some day.
They hug.
KIT (cont'd)
Shit, I'm gettin' all weepy now.
Kit begins backing out of the room.
KIT (cont'd)
Take care of you, okay? Take
care of you. Love ya...
Kit turns and hurries out of the apartment.
EXT. HOLLYWOOD BOULEVARD - DAY
Kit enters the falafel stand on Hollywood Boulevard.
INT. FALAFEL STAND - DAY
Kit enters, sits at the counter.
KIT
Coffee, Chan. And maybe a
grilled cheese on white, okay?
A very young GIRL is sitting just down the counter from Kit.
Kit nods at her.
KIT
Hey, how you doin'. You new,
huh?
GIRL
Yeah. Got a cigarette?
KIT
Sure.
She passes the girl down the pack. She strikes a match, lights
her cigarette for her. The girl inhales deep, lets it out with
a sigh. She looks towards the window.
GIRL
Jeez, did the wacko in the suit.
Kit turns to look.
KIT'S P.O.V. - HOLLYWOOD BLVD.
Outside, across the street, Edward has accosted two
PROSTITUTES; one blonde, one a red haired black one.
INT. FALAFEL STAND - DAY - BACK TO SCENE
Kit rises.
KIT
Chan? Keep the sandwich warm,
I'll be back.
She heads out the door.
EXT. HOLLYWOOD BOULEVARD - DAY
Edward is still talking to the prostitutes.
EDWARD
I'm looking for a girl, Vivian,
young, dark hair, big eyes...?
They shake their heads.
EDWARD
She's mouthy. Sort of
difficult...?
PROSTITUTE 1
Ain't seen her, wouldn't know
her.
PROSTITUTE 2
What's wrong with us, man? Two
for the price a one, what ya say?
EDWARD
(disappointed)
Thank you. No.
They turn and walk away. Edward stands there, not knowing
what to do next. He looks discouraged and lost.
KIT (O.S.)
Edward Harris, as I live and
breathe!
Edward quickly turns to find Kit staring at him. Kit smiles,
triumphantly.
KIT (cont'd)
Yeah. Boy, you're just like she
said.
She turns and starts away. She stops, turns back.
KIT (cont'd)
You comin' or not? I don't got
all day, I got a grilled cheese
waitin'.
Edward follows Kit.
INT. VIVIAN'S APARTMENT - DAY
Vivian sits on her bed, lost in thought. Her bags are packed,
ready to go. With a sigh she rises. She picks up the bags,
exits the room.
Vivian stands in the dreary living room, looking at it, taking
it all in for the last time. She suddenly looks more than a
little bit frightened to be leaving. She musters resolve. She
goes to the door, opens it and exits, closing it behind her.
Silence. Vivian suddenly comes back in. She puts down her
bags. She crosses to the kitchen where she takes coffee
can/piggy bank from the shelf. She puts some more bills into
it, places it back where Kit will find it.
She turns and starts again for the door.
She stops. She hears something. MUSIC. An aria from La
Boheme. Faint. Seemingly coming from nowhere. She dismisses
it -- she's hearing things. She opens the door. Stops. The
music is louder and getting louder now -- it's not her
imagination. She hurries over to the window.
EXT. VIVIAN'S APARTMENT BUILDING - DAY
Vivian comes out onto the fire escape. She stares in wonder.
A snow white limo comes up the street. A necktie has been tied
to the antennae like a knight's token. The MUSIC from La Boheme
is BLARING from the car's stereo. Edward is standing on the
car's seat, his head and body up through the open sunroof. The
wind blows at his hair. He is smiling.
Everywhere on the street people are staring; the BUMS, the
PUSHERS, the PASSERBY'S, the TOURISTS.
Vivian doesn't know whether to laugh or cry.
The car comes to a stop in front of the Vivian's building.
Vivian's landlord comes out the front door. His eyes go wide
in disbelief.
Edward disembarks from the limo by coming up through the
sunroof. He leaps nimbly to the ground. He crosses to the entrance
of the alleyway, looking up at Vivian on the fire escape.
VIVIAN
You are really lost this time.
Edward wordlessly holds up a hand for her.
With a sudden cry of joy, Vivian comes down the fire escape.
She stops at the bottom stair. Edward comes forward and sweeps
her into his arms. They kiss.
He carries her to the limo as if she's weightless. Her feet
never touch the ground.
The car door closes behind them. The limo drives away.
The people of the street watch it go.
 
 
THE END
 
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