Actor/Actress

          Cast

        Soundtrack

          Images

          Info/News

• Links
  
• Behind the scenes
  
• About the production
  
• Screenplay
  
• Quotes
  
• View Guestbook
  
• Sign Guest book
  
• Credits

Screenplay (Continued)

EXT. KENWOOD HOUSE - DAY

Now closer to the house, William approaches a barrier -- where

he is himself approached.

SECURITY:

Can I help you?

WILLIAM:

Yes -- I was looking for Anna Scott...

SECURITY:

Does she know you're coming?

WILLIAM:

No, no. She doesn't.

SECURITY:

I'm afraid I can't really let you 

through then, sir.

WILLIAM:

Oh right. I mean, I am a friend -- I'm

not a lunatic but -- no, you basically...

SECURITY:

... can't let you through.

At that moment -- thirty yards away, William sees trailer door

open. Out of it comes Anna -- looking extraordinary -- in a

velvet dress; full, beautiful make-up; rich, extravagant hair.

She has a necessary cluster of people about her. Hair, make-up,

costume and the third assistant who has collected her.

She walks a few yards, and then casually turns her head. And

sees him. Her face registers not jut surprise, certainly not a

simple smile. His being there is a complicated thing. 

Cut back to him. He does a small wave. She pauses as the whole

paraphernalia of the upcoming scene passes between them. The

movie divides them. But then she begins to walk through it, and

followed by her cluster, she makes her way towards him. When

she reaches him, the security guard stands back a pace, and her

people hold back. She doesn't really know what to say...

ANNA:

This is certainly... ah...

WILLIAM:

I only found out you were here 

yesterday.

ANNA:

I was going to ring... but... I didn't

think you'd want to...

The third assistant is under pressure.

THIRD ASSISTANT:

Anna.

She looks around. The poor third is nervous -- and the first is

approaching.

ANNA:

(to William)

It's not going very well -- and it's

our last day.

WILLIAM:

Absolutely -- you're clearly very busy.

ANNA:

But... if you could wait... there are things to say.

WILLIAM:

Okay.

ANNA:

Drink tea -- there's lots of tea.

She is swept away, four people touching her hair and costume.

KAREN:

Come and have a look...

EXT. KENWOOD PARK - DAY

As they make towards the set...

KAREN:

Are you a fan of Henry James?

WILLIAM:

This is Henry James film?

EXT. KENWOOD HOUSE - DAY

A complicated shot is about to happen -- with waves of extras --

and a huge moving crane. They end up next to the sound desk.

KAREN:

This is Harry -- he'll give you a pair of

headphones so you can hear the dialogue.

Harry the sound man is a pleasant, fifty-year-old balding

fellow. He hands him the headphones.

HARRY:

Here we go. The volume control is on 

the side.

WILLIAM:

That's great.

William, the headphones on, surveys the scene -- the cluster is

full 100 yards from the action, to allow a gracious sweeping

wide-shot. He watches Anna. She is with her co-star in the 

Henry James film -- let's call him James.

JAMES:

We are living in cloudcuckooland -- 

we'll never get this done today.

ANNA:

We have to. I've got to be in New York

on Thursday.

JAMES:

Oh, stop showing off.

He studies an actress a few yards to the left.

JAMES:

God, that's an enormous arse.

ANNA:

I'm not listening.

JAMES:

No, but seriously -- it's not fair -- so

many tragic young teenagers with 

anorexia -- and that girl has an arse 

she could perfectly well share round 

with at least ten other women -- and

still be beg-bottomed.

ANNA:

I said I'm not listening -- and I think,

looking at something that firm, you and

your droopy little excuse for an 'arse'

would be well-advised to keep quiet.

Back by the desk, William is listening and laughs. That's his

girl. Anna prepares.

ANNA:

So I ask you when you're going to tell

everyone, and you say...?

JAMES:

'Tomorrow will be soon enough.'

ANNA:

And then I... right.

JAMES:

Who was that rather difficult chap you 

were talking to on the way up?

ANNA:

Oh... no one... no one. Just some...

guy from the past. I don't know what 

he's doing here. But of an awkward

situation.

EXT. HAMPSTEAD HEATH - DAY

Cut back to William -- he has heard.

WILLIAM:

Of course.

He takes off the headphones and puts them gently down.

WILLIAM:

Thank you.

HARRY:

Anytime.

William walks away. The moment of hope is gone. He couldn't

have had a clearer reminder.

INT. BACKROOM OF THE BOOKSHOP - DAY

The next day. William is hard at work, doing the accounts in a 

dark small room with files in it. Martin pops his head in.

MARTIN:

I have to disturb you when you're 

cooking the books, but there's a 

delivery.

WILLIAM:

Martin, can't you just deal with this

yourself?

MARTIN:

But it's not for the shop. It's for you.

WILLIAM:

Right. Tell me, would I have to pay a wet

rag as much as I pay you?

They head out, Martin behind him, incomprehensively rubbing

his hands -- he's in a very good mood.

INT. BOOKSHOP - DAY

William enters -- and there stands Anna -- in a simple blue

skirt and top.

ANNA:

Hi.

WILLIAM:

Hello.

ANNA:

You disappeared.

WILLIAM:

Yes -- I'm sorry -- I had to leave... I

didn't want to disturb you.

ANNA:

Well... how have you been?

WILLIAM:

Fine. Everything much the same. When

they change the law Spike and I will 

marry immediately. Whereas you... 

I've watched in wonder. Awards, glory

...

ANNA:

Oh no. It's all nonsense, believe me.

I had no idea how much nonsense it all 

was -- but nonsense it all is...

(she's nervous)

Well, yesterday was our last day 

filming and so I'm just off -- but I 

brought you this from home, and...

It's quite a big wrapped parcel, flat -- 3 foot by 4 foot, 

leaning against a bookshelf.

ANNA:

I thought I'd give it to you.

WILLIAM:

Thank you. Shall I...

ANNA:

No, don't open it yet -- I'll be 

embarrassed.

WILLIAM:

Okay -- well, thank you. I don't know

what it's for. But thank you anyway.

ANNA:

I actually had it in my apartment in New

York and just thought you'd... but, 

when it came to it, I didn't know how to

call you... having behaved so... badly,

twice. So it's been just sitting in the

hotel. But then... you came, so I 

figured... the thing is... the thing is

... 

WILLIAM:

What's the thing?

Then the door pings. In walks the annoying customer, Mr. Smith.

WILLIAM:

Don't even think about it. Go away 

immediately.

Mr. Smith is taken aback and therefore completely obedient.

MR. SMITH:

Right. Sorry.

And he leaves.

WILLIAM:

You were saying...

ANNA:

Yes. The thing is... I have to go away

today but I wondered, if I didn't, 

whether you might let me see you a bit...

or, a lot maybe... see if you could...

like me again.

Pause as William takes this in.

WILLIAM:

But yesterday... that actor asked you 

who I was... and you just dismissed me

out of hand... I heard -- you had a 

microphone... I had headphones.

ANNA:

Do you expect me to tell the truth about my

life to the most indiscreet man in 

England?

Martin edges up.

MARTIN:

Excuse me -- it's your mother on the

phone.

WILLIAM:

Can you tell me I'll ring her back.

MARTIN:

I actually tried that tack -- but she 

said you said that before and it's been

twenty-four hours, and her foot that 

was purple is now a sort of blackish

color...

WILLIAM:

Okay -- perfect timing as ever -- hold

the fort for a second will you, Martin?

Martin is left with Anna.

MARTIN:

Can I just say, I thought 'Ghost' was a

wonderful film.

ANNA:

Is that right?

MARTIN:

Yes... I've always wondered what 

Patrick Swayze is like in real life.

ANNA:

I can't say I know Patrick all that 

well.

MARTIN:

Oh dear. He wasn't friendly during the

filming?

ANNA:

Well, no -- I'm sure he was friendly --

to Demi Moore -- who acted with him in

'Ghost.'

She's kind in here, not sarcastic.

MARTIN:

Oh right. Right. Sorry. Always been

a bit of an ass.

William returns a little uneasy.

MARTIN:

Anyway... it's lovely to meet you. I'm

a great fan of yours. And Demi's, of 

course.

Martin leaves them.

WILLIAM:

Sorry about that.

ANNA:

That's fine. There's always a pause 

when the jury goes out to consider its

verdict.

She's awaiting an answer.

WILLIAM:

Anna. Look -- I'm a fairly level-

headed bloke. Not often in and out of

love. But...

He can't really express what he feels.

WILLIAM:

... can I just say 'no' to you 

and leave it at that?

ANNA:

... Yes, that's fine. Of course. I...

you know... of course... I'll just...

be getting along then... nice to see 

you.

WILLIAM:

The truth is...

He feels he must explain.

WILLIAM:

... with you, I'm in real danger. It

looks like a perfect situation, apart 

from that foul temper of yours -- but my

relatively inexperienced heart would, 

I fear, not recover if I was once again

... cast aside, which I would 

absolutely expect to be. There are too

many pictures of you everywhere, too 

many films. You'd go and I'd be... 

well, buggered, basically.

ANNA:

I see.

(pause)

That reality is a real 'no,' isn't it?

WILLIAM:

I live in Notting Hill. You live in

Beverly Hills. Everyone in the world

knows who you are. My mother has 

trouble remembering my name.

ANNA:

Okay. Fine. Fine. Good decision.

She pauses.

ANNA:

The fame thing isn't really real, you

know. Don't forget -- I'm also just a

girl. Standing in front of a boy. 

Asking him to love her.

She pauses. She kisses him on the cheek.

ANNA:

Bye.

Then turns and leaves. Leaving him.

INT. TONY'S RESTAURANT - DAY

The restaurant is in the middle of being deconstructed. The 

pictures are gone off the walls -- a kettle on a long extension

lead is on the bare table behind. They're all sitting there.

WILLIAM:

What do you think? Good move?

HONEY:

Good move: when all is said and done,

she's nothing special. I saw her 

taking her pants off and I definitely

glimpsed some cellulite down there.

BELLA:

Good decision. All actresses are mad 

as snakes.

WILLIAM:

Tony -- what do you think?

TONY:

Never met her, never want to.

WILLIAM:

Brilliant. Max?

MAX:

Absolutely. Never trust a vegetarian.

WILLIAM:

Great. Excellent. Thanks.

Spike enters.

SPIKE:

I was called and I came. What's up?

HONEY:

William has just turned down Anna Scott.

SPIKE:

You darth prick!

Bella is casually looking at the painting that sits beside 

William. It is the original of the Chagall, the poster of which

was on his wall.

BELLA:

This painting isn't the original, is 

it?

WILLIAM:

Yes, I think that one may be.

BERNIE:

But she said she wanted to go out with

you?

WILLIAM:

Yes -- sort of...

BERNIE:

That's nice.

WILLIAM:

What?

BERNIE:

Well, you know, anybody saying they 

want to go out with you is... pretty

great... isn't it...

WILLIAM:

It was sort of sweet actually -- I mean,

I know she's an actress and all that, so

she can deliver a line -- but she said 

that she might be as famous as can be --

but also... that she was just a girl,

standing in front of a boy, asking him 

to love her.

They take in the line. It totally reverses their attitudes.

WILLIAM:

Oh sod a dog. I've made the wrong 

decision, haven't I?

They look at him. Spike does a big nod.

WILLIAM:

Max, how fast is your car?

Back

Screenplay Continued

Home