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Pretty Woman

Whenever people ask me what I've "done" as a writer, the easiest answer is "Pretty Woman". Instant credibility. But what I don't go into is the fact I never got screen credit on it. I feel I should have, but at the end of the day it doesn't really bother me. It wasn't my story. The original script - 3000 - was written by a fine writer, J.F. Lawton. The Julia Roberts character was a coke addicted street walker. The Richard Gere character was a manipulating socio-path. It was gripping, dark and moody and was very real. What it wasn't was a romantic comedy. And yet someone at Disney - perhaps it was Jeffrey Katzenberg - thought it could be. They believed it so much they'd already hired the director, Gary Marshall, who was sort of the Sidney Lumet of comedy and they'd hired Julia Roberts, who was not yet Julia Roberts but was undoubtably going to be. What they hadn't yet figured out was the script - how to take a stark, dark drama and turn it into a fairy tale. I was one of about a dozen writers they met with. I'm not even sure I was all that interested in the project. I got the job because of one word - Pygmalion. By George Bernanrd Shaw. Eliza Doolittle and Henry Higgins. My Fair Lady. It was like the whole room went - oh, fuck, yes, of course. Shows what a little background in the theatre can do for you. So. Below is the first 20 pages of Pretty Woman - at least it's the first 20 to the draft I have.

PRETTY WOMAN

by J.F. Lawton, Stephen Metcalfe and Barbara Benedict

EXT. 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!
INT. 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.
INT. 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 - NIGHT
Edward 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.
EDWARD
It's a very good year.
VIVIAN
Oooh, thank god.
Edward laughs softly. She sips it. To her surprise, really likes it. Edward lifts a lid on a silver bowl to reveal a dozen enormous strawberries.
EDWARD
Try a strawberry.
VIVIAN
Why?
EDWARD
Because they bring out the flavor of the champagne.
VIVIAN
Jesus, you act like you're seducing some Valley girl you picked up in a dance club.
EDWARD
Vivian... the meter's running... cooperate.
A moment. She slowly eats a strawberry. The juice of it stains her lips. Her eyes are like smoke as she takes a sensuous sip of champagne, licks away the stain of the strawberry. His eyes haven't left her.
EDWARD
(softly)
You really are a very beautiful girl.
VIVIAN
(husky-voiced)
Just a romantic, that's you.
EDWARD
Yes...
Her mouth is so wet and inviting... he leans closer...
VIVIAN
Me too.
He's about to kiss her...
VIVIAN (CONT'D)
Not on the lips. He freezes. She pulls his head down to her breast.
INT. PENTHOUSE BEDROOM - NIGHT
Edward and Vivian on the bed. He is on his back, his shoulder and head resting against the headboard. She is astride him, hands resting on his chest, rocking... in control, confident... very much liking the fire she's kindled in his eyes.
INT. PENTHOUSE BEDROOM - CLOSE ANGLE ON THEIR FACES - NIGHT
EDWARD
(touching her breasts)
What do you like?
VIVIAN
If I want you to turn me on I'll pay you three hundred. Just lay back and let me drive.
Smiling, Vivian reaches behind her, touching him. He tries not to groan. She's moving faster now. Edward suddenly pulls her violently to him, he rolls her over...
INT. PENTHOUSE BATHROOM - SHOWER - NIGHT
A heavy spray of water comes down upon Edward. He stands there quietly letting it wash over him. He turns off the shower, steps out of the stall, picks up a towel and dries himself.
INT. PENTHOUSE BEDROOM - NIGHT
Edward stares. His expensive clothes are on the floor, haphazardly dropped everywhere. Vivian's clothes, as tattered as they are, are neatly folded and piled on a chair. The incongruity of it touches Edward in a sad way. He looks toward the bed. Vivian is fast asleep. Her heavy makeup has long since been rubbed off. Asleep, her wary, smart-ass attitude is gone. She looks like a sweet, gentle girl. He stares at her a moment longer. He turns, goes into the living room. Vivian opens her eyes. Through the open door she sees Edward sitting in a living room chair. He is reading contracts.