Woman in the Red Corvette. Starring: Charlize Theron as Francine Galloway, Will Poulter as Joshua Pembroke, Peter Dinklage as Billy, and Julia Roberts as Merriam.
1.
WOMAN IN THE RED CORVETTE
By
Daniel Patrick Rodrigues
{Costarring: Jamie Costa as Mike,
and Madelaine Petsch as Sophia}
FADE IN:
EXT. CITY STREET L.A. CALIFORNIA - DAY
JOSHUA, a late 30s to early 40s man with a good build and short blond hair, and has a unique
look to him drives up to a stop light in his high wheelbase TRUCK. Josh turns to his left and notices
FRANCINE sitting in the passenger seat of a gorgeous 1969 CONVERTABLE RED CORVETTE.
MIKE the DRIVER (fit blond surfer type) and Fran get in a heated argument, and Mike points a
gun her way. Josh is fearful for the woman. The light turns green and the Red Corvette speeds off ahead
of Josh's truck. Josh sees where the corvette turns and he follows. After a mile or so he loses sight of
the red corvette.
CROSSFADE:
EXT. DENNY'S PARKING LOT - CONT.
Josh notices the corvette parked at the local DENNY'S and he pulls into the lot to park also.
CUT TO:
INT. DENNY'S RESTAURANT - CONT.
Josh walks into the restaurant, and right in his line of sight are Fran and Mike sitting at a booth.
He walks briskly straight to the table they are sitting at ignoring the hostess's greeting. Fran and
Mike looks up to see Josh staring peering back and forth between the two. Fran puts her
hand over her brow, then looks back up and Mike is sheepishly nervous.
FRAN
Oh my god.
MIKE
What the fuck?
Josh holds his stare on Fran.
JOSH
You, ok?
Without waiting for an answer from Fran, he switches to focus on Mike.
JOSH
Get up. I said Get up!
Mike slides further in the booth seat to put himself out of reach of Josh's energy.
MIKE
Whoa dude, none of this is what it seems. Easy we can explain.
Suddenly the DIRECTOR BILLY (little person) shouts out, then emerges from behind a partition.
BILLY
Cut! God damn it.
CUT TO:
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2.
EXT. DENNY'S PARKING LOT - CONT.
The small band of film crew load gear into a large U-HAUL while Josh and Francine talk next to
Josh's truck. Billy loads gear with frustration while glaring at Fran and Josh often.
BILLY
Fran, we need to talk!
Fran looks over at Billy.
FRAN
Yeah, no shit. Sorry...um yeah, we will - tonight, ok?
Billy slams the door of the U-Haul shut, gets in and drives off. PULL FOCUS from Billy driving off to
Josh and Fran.
JOSH
I'm sorry Ms. Galloway; I had no idea it was for a movie.
FRAN
No no don't worry about it. It's my fault for letting a stuntman act in my
film, he was fucking improvising and I went with it. That's what
happens on gorilla shoots.
JOSH
What's a gorilla shoot?
Fran gives Josh a curious look.
FRAN
What brings you from England anyway?
JOSH
I'm here on business.
FRAN
Obviously not the movie business. What kind...never mind I gotta go.
Fran walks away to her RED CORVETTE hops in, starts the beast, revs the beautiful sounding
engine's rumble, then pulls up next to Josh.
FRAN
Good luck on whatever Joshua.
JOSH
You can call me Josh.
Fran let's out a brief giggle.
FRAN
You're odd, but I like that.
Fran puts on her RAY BAN SUNGLASSES, then jets out of the parking lot. Josh watches her drive
away with befuddled awe.
FADE OUT:
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3.
FADE IN:
EXT. CITY STREET L.A. CALIFORNIA - DAY
A FEW HOURS EARLIER.
Fran and her driver cruise the strip in a CLASSIC CONVERTABLE RED CORVETTE. Traffic is
stop and go, but the nice morning sun keeps Fran in a good mood. Mike glances around the interior of
the car.
FRAN
What are you doing? Billy is in my ear, he's rolling.
MIKE
I'm trying to locate the hidden cameras.
FRAN
Knock it off.
MIKE
I'm going to pull my prop gun on you during the argument, go with it.
FRAN
What?
CUT TO:
CLOSE ON Billy in the passenger seat of a VAN in the next lane within eyeshot of the corvette.
He's wearing earbuds and holding a microphone. SOPHIE, a beautiful 30s with long flowing red hair
woman is behind the wheel of the van and also wearing earbuds.
BILLY
No, improv! Stick to the script just this once...please.
SOPHIE
What are they arguing about? That's not in the script.
CUT TO:
CLOSE ON Mike and Fran in the Corvette.
FRAN
What are you doing?
MIKE
There's a putz staring at us from that rig, go with it maybe Billy will
use it.
FRAN
Put that fucking thing away, I'm getting an earful right now. I'm...
MIKE
Ok, ok god damn. Just thought it'd make a cooler scene.
CUT TO:
The light turns green, and traffic starts to move. ZOOM OUT to WIDE ANGLE, we see the
RED CORVETTE and Josh's TRUCK drive ahead next to each other, then RED steps on it and
disappears in the clog of vehicles surrounding them.
FADE OUT:
____________________________________________________________________________________
4.
FADE IN:
EXT. DENNY'S PARKING LOT - DAY
EARLIER CONTINUED FROM SCENE 2, BILLY/SOPHIA PERSPECTIVE.
Billy gruffly loads film equipment into the VAN, Sophia helps. Billy keeps looking at Fran and
Josh nearby talking. Billy wonders what bullshit Fran is feeding Josh.
CUT TO:
ANGLE ON Billy and Sophia finishing up loading, getting into the CAB of the van, and then wait.
SOPHIA
What are you pissed about?
BILLY
You want to know what I'm pissed about? We're broke. There's no
more money, she hasn't paid me my upfront, and she's in denial. Now
we have a stalker who is trying to be a hero all because the driver
decided to improvise.
SOPHIA
She paid me.
BILLY
What?!
CUT TO:
____________________________________________________________________________________
5.
EXT. PROSPECT PICTURES LOT - DAY
We see Billy and Sophia at the entrance checking in with the security guard, then drive around
the backlot almost as if they're lost, then Fran walks out in front of the van without out hesitation,
Sophia slams on the breaks. Billy sticks his head out the window.
BILLY
You paid the gaffer? Fran...Fran!
Fran ignores Billy, keeps on walking by, and disappears behind an open side door in one of the studio
lot buildings. Sophia parks in a spot with a sign that has Billy's last name on it that reads, Mr. McKay.
CUT TO:
ANGLE ON Billy and Sophia in the cab of the van.
SOPHIA
I don't have to go do I.
BILLY
MERRIAM's bark is worse than her bite. You'll be fine.
SOPHIA
That's not what I've heard.
CUT TO:
INT. PROSPECT PICTURES OFFICE - CONT.
Fran and Merriam are making small talk about red wine when there's a knock and an immediate
entrance by Billy and Sophia.
MERRIAM
Where's the stunt driver Mike?
BILLY
I fired him.
MERRIAM
Who is she? Never mind. Sit down so we can get started.
SOPHIA
Hello Mrs....(interupted by Billy)
FRAN
It's just Merriam.
SOPHIA
Oh, uh sorry.
MERRIAM
Miss you can go.
SOPHIA
You want me to leave?
MERRIAM
Yes. (hand gesture)
Sophie sheepishly and quietly leaves.
FRAN
I'm not going to fire her.
CUT TO:
___________________________________________________________________________________
_
6.
INT. PROSPECT PICTURES OFFICE - CONT.
Merriam sits comfortably behind her desk. Fran and Billy hesitate to speak first so Merriam does.
MERRIAM
This production is fucked. What happened Fran?
FRAN
Crypto.
BILLY
Oh my god.
MERRIAM
We can't distribute; you're in breach of contract.
BILLY
What about my fee?
MERRIAM
Insurance will cover that along with the rest of the skeleton crew
you were working with. Thought you had sound and editing on board?
BILLY
I opted to do it myself.
FRAN
I'm sorry Merriam, I fucked up.
CONT.
____________________________________________________________________________________
7.
CONT.
BRAD PITT, GEORGE CLOONEY, AND SODERBERGH barge into the office without knocking,
script in hand.
PITT
Merriam, we need a note on this scene, I think I should die they don't.
CLOONEY
If he dies, we have to rewrite the entire finale.
Soderbergh looks at Merriam and shrugs. She points at Billy, and Fran.
MERRIAM
I'm in a meeting.
Brad, George, and Steven notice Billy and Fran.
PITT
Billy, wow congrats on your Doc Oscar, real honor to meet you.
CLOONEY
Love your work Billy, seen all your Docs.
They go over and shake Billy's hand, Soderbergh stays put and just nods in respect. (almost a bow)
Merriam is annoyed. They also acknowledge Fran, she reciprocates but rolls her eyes.
BILLY
Thank you, ditto.
MERRIAM
Brad, you live. There's your note ok bye.
Pitt, and Clooney bicker under their breath as they head out the door. Sophia sneaks in and smiles at
the A list stars as they depart. Sophia closes the door behind them and stays there just in case she's
kicked out again.
CONT.
____________________________________________________________________________________
8.
CONT.
MERRIAM
Ok where were we? Oh yeah, you're fucked.
BILLY
If I'm good, I'm going.
MERRIAM
Checks in the mail Billy, thanks for the work you've already done.
We'll do something with the footage down the road, A behind the scenes
what happened doc for streaming.
Billy leaves with Sophia following behind. She closes the door gently as if not to anger Merriam more.
MERRIAM
You're his first feature. He'll never work on another one, left a bad taste.
FRAN
I ruined everything, the one decent chance to come back strong,
and I fucking blew it.
MERRIAM
Fuck it, it happens, we've both been through worse. Is it cliché to drink
wine right now?
Fran smiles and shakes her head no.
CROSSFADE:
Fran and Merriam sit comfortably on the office sofa, BOTTLE OF WINE EMPTY, but some still
left in their glasses.
MERRIAM
Now that I got some liquid courage, I should tell you the owner of that
crypto company you lost your ass on called the studio.
FRAN
What the fuck?
MERRIAM
You're in the news. The bro who created it named famous investors.
The interviewer informed him about your independent film you're self-
financing.
FRAN
God I'm done. Why would he call the studio?
MERRIAM
Here's the interview.
Merriam puts her phone in front of Fran and they watch together. BRIEF CLOSE ON the crypto
bro on the phone screen. It's Josh.
CUT TO:
WIDE ANGLE on the two women glaring at the phone, Fran stands up and starts pacing the room.
MERRIAM
What?
FRAN
I never knew what he looked like until now. Joshua
fucking Pembroke. Well, I'll be damned, we met today by chance.
MERRIAM
Really?
FRAN
The universe is unreal.
MERRIAM
We're drunk; I'll have my driver take you home.
FADE OUT:
____________________________________________________________________________________
9.
FADE IN:
INT. FRAN'S HIGH-RISE CONDO, L.A. CALI - NIGHT
We see Fran go to her WINE RACK pull a bottle then pop the cork with a corkscrew.
STEADYCAM - Fran makes her way around her posh - glass window condo with a view - Fran
finds the couch and plops, she drinks straight from the bottle. A few seconds later the downstairs
buzzer goes off in her home, loud and ringy. Fran goes to her inhouse speaker to answer.
FRAN
Who is it?
CUT TO:
EXT. HIGH-RISE CONDO FRONT DOOR - CONT.
CLOSE ON Sophia at the front door of the building next to the speaker.
SOPHIA
It's me. Can we come up to talk?
CUT TO:
Fran swigs from the wine.
FRAN
You're supposed to say, (accent) It's Dracula I've come to suck your blood.
Fran bursts out laughing, then abruptly stops.
FRAN
I'm drunk Sophia, I'm not good company go home.
CUT TO:
ANGLE ON both Sophia and Josh at the front door of the building speaker.
SOPHIA
Josh Pembroke is with me.
FRAN
Wow, I really do have a stalker. I'm calling the police.
JOSH
No don't do that we'll leave.
SOPHIA
We're leaving Fran. I'll call you later, ok? (beat) Fran?
CUT TO:
Fran is passed out slouching upright on her couch - bottle of wine in her hand nearly spilling.
A nice loud snorty snore escapes her breath; she stirs herself long enough to put the wine bottle
gently on the coffee table as if to reaffirm, she's in complete control drunk or not.
FADE OUT:
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10.
FADE IN:
INT. DENNY'S RESTAURANT - NIGHT
WIDE ANGLE - Sophia and Josh share a table - waiting for their food to arrive. The dining room is
half full of some typical hustle and bustle.
CUT TO:
ANGLE ON them.
JOSH
I'm not a stalker.
SOPHIA
I know. I practically had to beg you to meet with me. Thanks for trying
any way. Fran is going through it since...you know.
JOSH
I feel terrible, I mean it's my fault all of it. It was a coincidence I saw
them on the road, - what are the odds? Love her car, awesome car.
SOPHIA
That car inspired her to write her film and want to make it. That and she
wanted to revive her career.
JOSH
What's her movie about.
SOPHIA
Her character's father is in and out of prison and the car was a gift. Her
uncle wants the car because it's worth a small fortune and when she
refuses the uncle wrecks it, but she can't prove he did it. If the uncle can't
have it no one can, something like that - oh and her father finds out and
when he gets out of prison her dad nearly kills his brother. It's a whole
problematic criminal type plot. I haven't read the whole script, that's the
gist though.
JOSH
Wow, I think you summed it up pretty well. There's our food.
CUT TO:
The WAITRESS clears the table and takes Josh's card.
JOSH
I'm leaving tomorrow back to London.
SOPHIA
What about Fran? How are we going to fix this?
JOSH
We? (beat) I tried. (beat) I...
SOPHIA
Try harder!
They get stares from restaurant patrons. Josh looks her in the eye.
JOSH
Ok. How?
FADE OUT:
____________________________________________________________________________________
11.
FADE IN:
INT. LAX AIRPORT - DAY
Josh and Fran wait in line to board their flight at their gate. A random woman asks Fran for a selfie
with her - she agrees and makes the fan's day. Immediately after Fran takes out a prescription
bottle and pops a pill.
JOSH
You, ok?
FRAN
Yeah...uh no not really, I have claustrophobia. (beat) This valium should
help. I'll be fine.
JOSH
You're just mentioning this now? We have six thousand miles of flight.
FRAN
Shhh, I'm trying not to think about it.
JOSH
You have enough of those?
FRAN
Yup.
The line starts moving to board.
FRAN
Oh, shit.
JOSH
What?
FRAN
I took the valium too late.
JOSH
We're in first class, that should help. Roomier.
CUT TO:
Josh and Fran are seated. Fran grabs a barf bag and starts to breath in and out into it. A FLIGHT
ATTENDANT COMES BY.
ATTENDANT
Ms. Galloway, are you ok?
Fran reaches for the air vent above and turns it on full blast directly over her head, hair flying wild.
FRAN
Yes, the relaxant should kick in soon thank you.
The Attendant walks away and Fran starts breathing into the barf bag again. Josh holds her free hand.
JOSH
Close your eyes. Imagine a lamb in an open meadow full of beautiful
spring flowers, the sun is out, feel the warmth on your face.
FRAN
It's not working.
CUT TO:
RANDOM PASSENGERS GAWKING AND TUNED IN - CURIOUS AND CONCERNED FOR
THE STAR.
THE STAR.
CUT TO:
CLOSE ON Josh and Fran's faces.
CUT TO:
JOSH (VOICE OVER)
(BRIEFLY INTERCUT BAMBI SCENE IN MEADOW)
The LAMB IS BAMBI. A HUNTER stalks in the woods nearby, and THE MOTHER DEER searches
frantically.
CUT TO:
Fran RELAXES, then visibly gets sad. The PLANE LIFTS OFF.
STAY CLOSE ON their faces then PAN DOWN to Fran squeezing Josh's hand.
FADE OUT:
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12.
FADE IN:
INT. JUMBO JET FIRST CLASS - DAY
ANGLE ON Josh and Fran in their perspective seats. Fran shows signs the valium kicked in, she
shakes Josh awake as the attendant stops by. Josh stirs.
FRAN
Wake up. What do you want to drink?
JOSH
(groggy)
Oh, uh coke zero.
CUT TO:
We see their trays are down with food plates mostly eaten. PAN UP ANGLE ON Fran and Josh's
faces.
FRAN
So, what'd you think?
JOSH
Oh, your script. (briefly holds it up) I liked it. Why was the corvette
worth so much? Sorry actually I skimmed through it.
FRAN
(grabs the script back)
It was the first one off the line. Do you know how rare that is?
JOSH
Is that why Amerie's uncle wanted to kill her dad?
FRAN
No. Tim wanted revenge because Roland her father ruined his life
a few years back and the corvette situation pushed Tim over the edge.
JOSH
How?
FRAN
(rolls eyes)
Never mind. (beat) How were you going to make things right?
I fucked up investing in your dumb crypto scheme in the first place so
forgive me if I stay pissed off at you. And don't say you're going to
read the script then don't, I hate that bullshit.
JOSH
You're right. I don't mean to be an asshole; I just got a lot on my mind.
FRAN
Don't we all. I'm not doing this for you, I wanted to sue you, but...
JOSH
Sophia.
FRAN
She believes in you for some reason.
FADE OUT:
____________________________________________________________________________________
13.
FADE IN:
FLASHBACK:
INT. SOPHIA'S APT. L.A. CALI - DAY
Sophia sits on her bed with a laptop open and Fran on IPHONE SPEAKER.
SOPHIA
Are you seeing this?
FRAN
Where? I don't see it.
SOPHIA
There in the upper right corner of the page - it says 'The new PEM coin
collapses in less than a week after introduction.'
FRAN
Ok I see it. (beat) Shit I lost everything. (cry sniffle)
SOPHIA
What do you mean everything? I thought you invested a little bit.
CUT TO:
EXT. CALI COAST PARKING WITH VIEW - CONT.
Fran is in her RED CORVETTE convertible, eyes and cheeks teary.
FRAN
I've never done anything like this before. We need two million more for
budget marketing and I had to invest five million to get that return in a
few days according to the fucking experts.
SOPHIA
Oh, Francine I'm so sorry. What are we going to do?
Fran
Nothing, we're fucked. Don't say a word to Billy, he can't know yet,
that man is a walking ball of stress. I need to call his wife to fix this.
CUT TO:
INT. SOPHIA'S APT. L.A. CALI - CONT.
Sophia is walking in her living room and plops herself down on her plush couch, phone to ear -
laptop in hand.
SOPHIA
Who's his wife?
FRAN
Merriam.
SOPHIA
The head of Prospect Pictures?! No fuckin' way. How long have
they been together?
FRAN
A while. Now that you know you can't say shit about that either.
I'm trusting you, Merriam is my best friend, and I don't have to tell you
the Hollywood shit storm aftermath if it got out. (beat) Love ya, bye.
(click)
Sophia leans back into the couch - EYES WIDE staring at the wall.
SOPHIA
Aw man.
END FLASHBACK.
FADE OUT:
____________________________________________________________________________________
14.
FADE IN:
BACK TO PRESENT.
INT. JUMBO JET FIRST CLASS - NIGHT
Fran starts to look sick; she puts her hand to her forehead like she's straining to think - she breaths
heavy with eyes squinted. Fran reaches for Josh's hand and grabs it tightly.
FRAN
I think I'm having a panic attack.
JOSH
The valium not working?
FRAN
It's wearing off. Have any more Bambi stories?
JOSH
I can finish the story about how I came into my fortune.
FRAN
The whole last MacNeil on his death bed and a DNA search - snore fest.
JOSH
This part isn't. Gets dark and bloody.
FRAN
Ok fine. Start talking or I'm getting a drink.
JOSH
I doubt if I can tell it like it was told to me, but back in the fourteen
hundreds Scotland, the Braveheart era if you know what I mean,
on one of many Isles...
CROSSFADE:
____________________________________________________________________________________
15.
FLASHBACK:
EXT. SCOTLAND, ISLE OF BARRA - DUSK
SWEEPING AERIAL.
We see a large village across an open grassy field, Houses and huts intermingled with muddy paths,
and partially covered cobbled roads. A few villagers meander about doing various tasks and tendering
to livestock in their rickety fenced yards, some folks walking the muddy paths disappearing into
random doorways.
CASTLEBAY, SCOTLAND 1432
IN THE AGES OF OLD, A FATEFUL SCOTTISH FAMILY UPHEAVEL NEARLY DETROYS
A POWERFUL CLAN'S LEGACY.
ZOOM IN AND CROSSFADE THROUGH THE DOOR OF A VILLAGE HOUSE:
INT. MACNEIL CLAN HOME - DUSK
MARY and JAMES sit around the large rustic emblem crested carved table, a pot of stew steams
over a low fire in their fireplace. Mary gets up to stir the pot. Grim faces all around.
MARY
Have you spoken to your brother yet?
Mary reaches for a ladle in a metal carafe on the floor and pours out two cups of mead, then goes
back to the table sliding one brew to James.
JAMES
No.
MARY
Well, you've done it then. I warned you about the consequences.
JAMES
Shut up. I'll handle JOHN.
MARY
What do you mean?
JAMES
(slams fist to table - some mead spills)
Mary, I swear you better shut it.
Mary notices a SHIP in the light of the downing sun with an ENGLISH FLAG through their opened
window.
MARY
James, they're here.
James turns to look. From their POV they both see John leaping of his boat that's loaded with fish -
running up the hill toward the house.
CUT TO:
INT. MACNEIL CLAN HOME - CONT.
John bursts through the door winded and flustered.
JOHN
The English are in the harbor!
CUT TO:
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16.
EXT. VICINITY OF MACNEIL CLAN HOME - CONT.
James and John swing swords at each other, stumbling with every clash of steel - the high ping
ringing out and echoing down the hill to the sea. They stop a moment exhausted from trying to kill
or maim one another. A BAND OF ENGLISH SAILORS AND THEIR COMMANDER appear near
the brother's battle, they watch and listen with important interest.
JOHN
You betrayed our family. All of Scotland!
JAMES
I did it to prevent war. (beat) We would have been
slaughtered, our family name buried.
The golden light of sunset washes over the English envoy, and the MacNeil brothers as they look
to see many of the villagers gather around them. Mary with her own sword in hand and wearing
MAIDENS BATTLE ARMOR steps through the muddy ground to invade John's and James's space.
MARY
My fool of a husband should have discussed this with you long ago.
The whole of Barra is in consensus. I'm sorry. We're sorry.
JOHN
No, I'm the fool.
John leaves to board his boat, the town and English men stare and watch as John sails away.
CUT TO:
ANGLE ON Mary and the British crew. Mary steps close to the Commander.
MARY
There is no deal.
Mary raises her sword. The Commander looks at Mary with confusion. The Sailors reach for their
swords, but before they could protect their Captain, Mary cuts of his head - the Commander's head
rolls a couple feet away as his torso collapses to the ground. The Villagers cut down the Sailors in
seconds and the English envoy all lay dead.
CUT TO:
ZOOM OUT - AERIAL PAN ACROSS ISLE AND OUT OVER THE OCEAN TO JOHN'S BOAT.
CROSSFADE:
BACK TO PRESENT DAY
INT. JUMBO JET FIRST CLASS- NIGHT
CLOSE ON Josh in his passenger seat, and Fran just in view wearing sunglasses.
JOSH
Turns out the deal with the British was actually a trap and James didn't
want his brother to know, rumor was to have an heir survive incase
full blown war broke out with the English, how he knew John would
leave is a mystery. What if he didn't leave how would've it been different?
John MacNeil migrated to England and went under the name Pembroke,
and the rest is history. It did lead to war, but John Pembroke didn't care,
him and his wife ignored politics and lived a quiet life in the countryside
running their bakery.
CUT TO:
WIDER ANGLE ON Josh and Fran in their first-class seats. Fran let's out a snore-snort, Josh looks
over and realizes Fran is asleep, but relieved for her at the same time. Josh looks at her with fondness.
Josh whispers.
JOSH
I'll tell you the rest later.
FADE OUT:
____________________________________________________________________________________
17.
FADE IN:
INT. FRAN'S HIGH-RISE CONDO L.A. CALI - NIGHT
Sophia is sitting on Fran's couch with her laptop open to movie editing software. She rapidly
maneuvers the mouse arrow to an object in the scene on screen and paints in some light to make
it pop. (beat) She closes the editor page and looks at entertainment news clicking on TMZ.
A THUMBNAIL showing Fran and Josh walking into a ritzy hotel together in New York city
stands out on the website. Headline reads; FRANCINE GALLOWAY SEEN WITH FAILED
PEMCOIN CRYPTO START UP BRO JOSHUA PEMBROKE. Sophia clicks play video.
(THUMBNAIL VIDEO OF FRAN AND JOSH PLAYS) ANGLE ON over shoulder.
The TMZ reporter POV runs up to Fran being escorted by Josh and intercepts them before they enter
the Hotel.
REPORTER
Ms. Galloway TMZ - how is your independent film going? Is it DOA?
And who is this gentleman?
FRAN
We're just on a layover before we go to London, this is strictly
business.
JOSH
Yes, that's right absolutely. I reached out to Ms. Galloway after I
heard what happened, uh yes, I learned the hard way unfortunately,
but I'm refocused and ready to help.
REPORTER
What about all of the other investors?
JOSH
There's a class action being sett....
Fran interrupts and grabs Josh's arm to go and go quickly straight for the hotel revolving door.
FRAN
Thank you.
REPORTER
Hey Pembroke irony is dead with a name like that! Well, there
they go Hollywood's newest couple, B lister Fran G. and the
former billionaire investor Joshua Pem-Broke.
PULLBACK CIRCLE ANGLE ON Sophia.
Sophia closes her laptop and stares off out the window at the beautiful city lights.
SOPHIA
fuck.
CONT.
____________________________________________________________________________________
18.
CONT.
CIRCLE PAN TO SIDE VIEW (FRAN IN FRAME ON PHONE FACE)
Sophia opens her cell and calls Fran on FaceTime. Fran picks up and they chat.
FRAN
Hi!
SOPHIA
How's London?
FRAN
Cloudy. Joshua is showing me around tomorrow.
SOPHIA
You're hanging out? I thought it was supposed to be all about
business, I mean I'm the one who got you to agree to go. Why are
you sightseeing with him?
FRAN
I've never been here before I wanna see some stuff. You, ok?
SOPHIA
Sorry, trying to get this done in time for the Oscar submission.
Billy is uh putting me under the gun, you know how he gets.
FRAN
Find the footage? I put files all over the place.
SOPHIA
Yeah, no problem. You're right the view here is amazing.
FRAN
Stay as long as you want, I might be here longer than expected,
A lot of lawyers back and forth. Oh, and I'm meeting his parents
tomorrow.
SOPHIA
It's late where you're at, get some sleep I gotta go bye.
After Sophia ends FaceTime abruptly; she grabs a couch pillow and screams into it. Her cell rings, but
she pushes decline. It rings again, and she pushes decline again. She waits for her phone to ring a
third time. (beat) Staring at the screen. Silence. A text from Fran pops up on her phone screen that reads
- I'll call you tomorrow (heart emoji). Sophia lays her forehead onto the top of her knees in a cliché
sign of emotion.
FADE OUT:
____________________________________________________________________________________
19.
FADE IN:
EXT. LONDON STREET/SIDEWALK - DAY
We see Fran and Josh head into a large bakery; Josh holds the door for Fran. Onlookers gawk at the
Hollywood star, but don't bug her - a few smile and point.
CUT TO:
INT. PEMBROKE BAKERY - CONT.
There's a long double tall glass case full of BAKED TREATS including CUSTARD TART PIES.
The bakery is nice and busy, but the crowd inside part and make way for Fran and Josh like they're
royalty. Fran looks intently at the goods, while Josh eyeballs the custard tarts with judgement.
GEORGE an older bearded man hair as white as snow wearing classic baker garb appears seemingly
out of nowhere.
GEORGE
Son, can you go make some tarts? Running low and your mum is
under the weather.
Josh disappears in the back kitchen without hesitation. A brief curious look comes across Fran's face.
George fills a tray with treats and a carafe of tea, then takes it over to a booth table across the room.
He waves Fran over to sit with him and she obliges, she's fascinated by the decor along the way, the
crowd of customers fall in line at the counter, and a bakery WORKER tends to them.
CUT TO:
ANGLE ON Fran and George at the booth. Fran takes a bite of the custard tart put in front of her,
then takes a sip of tea.
FRAN
Oh my god this is incredible.
GEORGE
Joshua's recipe practically saved the bakery. It brought the customers
back. My boy is a natural.
FRAN
He works here?
GEORGE
Still does, since he was ten. Loves it, every day after school he'd
help out. Only child not many friends. Ms. Galloway don't worry
about losing that investment, we still have plenty of money we've got
you covered.
FRAN
Oh, um I thought we're discussing that at the law firm.
GEORGE
So sorry to bring that up, there's a time and place. So are you and
Joshua a couple now?
Josh pokes his head out from the doorway of the kitchen.
JOSH
No dad, we're not a couple.
A random customer giggles out loud, and Josh disappears again. LIZ comes in the entrance door,
and goes right over to the booth where Fran and George are and sits down next to George who acts
surprised.
GEORGE
Feeling better? This is my wife, Elizabeth.
LIZ
Nice to meet you Ms. Galloway. (beat) You're so beautiful in person.
Are you boinking my son? The telly said you're a couple.
A loud voice from the kitchen.
JOSH
No mom!
GEORGE
Liz you're embarrassing the boy.
The few customers and the bakery worker stop and stare for a moment, then go back to normal.
FRAN
It was lovely to meet you two, I think I'll head back to the hotel.
Fran gets up and the worker rushes over with a bag, then fills it with the treats and hands the full bag
to her. Fran smiles and accepts it gracefully. Fran turns toward the exit door at the sound of a familiar
voice. WHIP PAN AND ANGLE ON SOPHIA STANDING JUST INSIDE. WHIP PAN AGAIN
TO JOSH STANDING IN THE DOORWAY OF THE KITCHEN. ZOOM OUT WIDE - ANGLE
ON BAKERY ROOM.
JOSH
Sophia?
Surprised look on Josh's face, but Fran who has a knowing smile waves her over.
SOPHIA
Hi.
FADE OUT:
____________________________________________________________________________________
20.
FADE IN:
FLASHBACK.
2 DAYS AGO
EXT. BILLY'S RITZY MODERN HOUSE L.A CALI - DAY
Sophia steps up to the huge twelve-foot-tall door surrounded by mirrored glass windows laptop in hand
and she stares at her reflection for a few seconds then leans in closer - she notices red cheeks and left
over tears and wipes the eye water away - she takes a step toward the relatively large artsy doorbell, but
before she can ring it, the door opens just enough for Billy to step out to greet her.
BILLY
Sophia, you shouldn't be here. What do you want?
SOPHIA
How did you know I was...
BILLY
Security cameras. What is it? I'm busy.
SOPHIA
(Hands over the laptop)
The lighting touch ups are done; that's Fran's - the files are a mess,
good luck.
Sophia turns to leave in a hurry, but Merriam comes out to intervene before she can. Billy scrambles
for an excuse.
BILLY
Merriam is here on business. Oscar stuff.
MERRIAM
Knock it off Billy, she knows. Come inside I'll make tea.
We're working on Oscar stuff. If you tell anyone Billy and I
are married we'll have to kill you.
Billy rolls his eyes as he closes the huge front door behind them as they go inside.
CUT TO:
____________________________________________________________________________________
21.
INT. BILLY'S RITZY MODERN HOUSE L.A. CALI - CONT.
Billy jaunts off down the art filled hallway, out of sight from Merriam and Sophia who are
simultaneously steeping tea and making themselves comfortable on the immaculate living room's
plush sofa.
MERRIAM
Billy, come out and be a good host, don't be an asshole!
Billy yells back from the room in the hallway.
BILLY
I'm busy!
MERRIAM
I can't believe Fran told you. If it ever got out it would ruin us.
SOPHIA
Why?
MERRIAM
No good reason, cancel culture that's just the way it works.
Billy from the room in the hallway again.
BILLY
She's on the Board at the Oscars and I've won two so far.
MERRIAM
It looks bad. Anyway, Fran thinks you're in love with that crypto
guy. Are you?
SOPHIA
So, the movie isn't getting made?
MERRIAM
It's being turned into a doc, that's what Billy does so it all works out in
the end.
Billy rushes out of the room in the hallway and stands next to Merriam to show her some outtake
files on the laptop from - Woman in the Red Corvette.
BILLY
Look at this. It's gold, hand me the next statuette already. Hey Sophia,
if you're in love with that loser go to England and tell him. Gold!
Billy rushes back down the hallway and into the room he's busy in.
SOPHIA
I can't afford that.
MERRIAM
We got you covered, I'll put it on the doc expense account.
Billy yells again from the hallway room.
BILLY
Gold!
FADE OUT:
____________________________________________________________________________________
22.
FADE IN:
INT. PEMBROKE BAKERY - DAY
BACK TO PRESENT CONTINUED FROM SCENE 20
CLOSE ON Josh's face - blushed cheeks and experiencing rapid eye blinking, he rushes back
into the kitchen.
CUT TO:
WIDE ANGLE ON INTERIOR. Fran waves for Sophia to come over - Sophia takes a look around the
bakery on her way to their booth.
CUT TO:
ANGLE ON George and Liz - they get up from the table to meet and greet Sophia in an animated way.
Fran hugs Sophia and after introductions the bakers go back to work to get the waiting line caught up
and Josh brings over a tray of treats to the booth and sits with the ladies. Sophia digs in.
SOPHIA
(mouth full of pie)
Mmm oh my god. Sorry I'm starving. (ok sign and nod toward Josh)
JOSH
Glad you like it.
SOPHIA
I'm not in love with Josh, I'm not here for him, I'm here for you
Fran, big news I couldn't tell you over the phone.
JOSH
Love? Not here for me, here for her? I'm lost.
FRAN
Sorry Joshua my bad, forget all that. What's the big news Sophia?
SOPHIA
First, Mike and I are back together. Second, I wanted the big news to be
a surprise and couldn't tell you until it was approved.
JOSH
Who's Mike?
FRAN
The stunt driver who can't act that I fired.
JOSH
Oh him. Excuse me I've got a kitchen to clean.
Josh goes back to work helping out and his parents who do some visual checking in after over hearing
everything said. Fran and Sophia have a brief quiet moment until Josh is out of ear shot. Liz brings
Fran and Sophia, some drinks.
LIZ
You both seem like nice people, I trust neither of you will break my
son's heart whatever you're conniving.
Liz smiles at them as she returns to her customers.
FRAN
Are you really back with Mike?
SOPHIA
No.
FRAN
So, what's the big news?
SOPHIA
Did Josh tell you the Scottish brothers story?
FRAN
Yeah. What about it.
SOPHIA
I pitched it to Merriam and she loved it. If you're down with the idea,
this is how Josh can make it up to you, invest in the budget.
FRAN
(beat) No one goes behind my back to pitch a
movie to Merriam. Un-fucking believable, you're a Gaffer,
not an actress, not a producer, a fucking gaffer. Stay in your lane.
Fran gets up and storms out. Customers and the bakers stare and Josh comes out of the kitchen
to see what the yelling was about. After Fran leaves - things go back to business as usual and Josh
sits at the booth with Sophia.
CUT TO:
____________________________________________________________________________________
23.
INT. PEMBROKE BAKERY - CONT.
ANGLE ON Josh and Sophia in the booth.
SOPHIA
Merriam should've warned me about this, but she just let me...ugh.
Fran has never been pissed at me before. (beat) Now what? You know
gaffers are fucking important to a movie.
JOSH
I can show you around London while Fran cools off.
SOPHIA
Mike! He was lagging behind but should've been here by now.
JOSH
Oh.
Sophia gets a text from Mike, and it reads - I got intercepted on the sidewalk up the street from
the bakery by Fran, she's pissed. What did you say to her? We're in an Uber headed to God knows
where.
SOPHIA
Oh no.
JOSH
What?
CUT TO:
EXT. RANDOM LONDON STREET - CONT.
ANGLE ON Fran and Mike in the backseat of the Uber. Fran notices Mike texting.
FRAN
Who are you texting?
MIKE
Sophia. Why?
Fran quickly grabs Mike's phone from his hands and starts typing to Sophia.
CUT TO:
EXT. PEMBROKE BAKERY FRONT/SIDEWALK - CONT.
Sophia and Josh step out the door of the bakery; she gets another text from Mike's phone. Sophia
stops in her tracks to look. CLOSE ON THE SCREEN It reads - This is Fran, if you respond to Mike's
texts today I'll make sure he never works in Hollywood again. Sophia texts back - Really? Then a text
response reads - As an actor. Mike is mine for the day.
CUT TO:
EXT. RANDOM LONDON STREET - CONT.
(Backseat of the Uber) Fran tosses Mike's phone back to him and it bounces off his lap
and onto the floor, Mike reaches for it then brushes it off with a disgruntled look on his face.
FRAN
Hey driver, can you recommend a nice touristy spot?
CUT TO:
EXT. PEMBROKE BAKERY FRONT/SIDEWALK - CONT.
Sophia and Josh loiter - a flock of pigeons' land on the bakery awning and let loose some left-over
rainwater and splashes them good, Sophia shakes off her phone.
SOPHIA
It's just us today. Take me somewhere without pigeons.
FADE OUT:
____________________________________________________________________________________
24.
FADE IN:
INT. BILLY'S RITZY MODERN HOUSE L.A. CALI - DAY
Billy yells from his special room in the hallway and Merriam goes in there to see if he's ok.
Movie posters line the wall, movie props line extravagant shelves, and his two Oscars sit proudly on
either side of his computer, he's there in his high-end chair and Merriam puts her hands on his
shoulders.
MERRIAM
Babe, what's wrong?
BILLY
Look at this. I don't have enough footage, especially interviews
for a full-length doc, and I don't have enough time to get more to
make the festival deadline. No festival, no qualification, no Oscar
submission. I'm fucked.
MERRIAM
Prospect Pictures is fucked; we're just going to have to endure the heat.
We might be ok though.
BILLY
You're cooking?
MERRIAM
I'm cooking. You know I rarely take the weekend off, let's make
a drink, relax and sit poolside for once.
BILLY
Bedroom?
MERRIAM
Ok maybe a quickie before the pool.
CUT TO:
WIDE ON THEIR POOL. We see Merriam swimming a lap then steps out, grabs her towel, and
gracefully splays out on the pool recliner next to Billy who is shirtless and in shorts soaking up the sun.
He grabs his cocktail and takes a sip. Merriam drinks hers too.
ANGLE ON The seemingly happy couple.
MERRIAM
When are we going to come out? It's been four years.
BILLY
I've thought about it.
MERRIAM
No one really gives a shit about us just the clicks, but enquiring minds
wanna know.
BILLY
Let's go with the flow, when the time's right, we'll know.
MERRIAM
I taught you that.
BILLY
Speaking of flow. Join me.
Billy gets up and brings over two innertubes and hands one off to Merriam. They both pick up their
drinks and carefully plop on the tubes one following the other in the water - drinks spilling they
laugh together and decide to forget the tubes. Putting drinks aside they meet each other at the
bottom of the pool stairs kneeling necks deep and they gently kiss.
FADE OUT:
____________________________________________________________________________________
25.
FADE IN:
INT. THE BRITISH MUSEUM - DAY
Fran and Mike stop at the Rosetta Stone.
FRAN
Look at this, it's over 5000 years old. The beginning of human
language. It's beautiful.
MIKE
How do you know that?
FRAN
I minored in world history in college.
MIKE
Wow really?
FRAN
No not really, I just asked Gemini.
MIKE
Why do bullshit me like that? You never liked me, I don't
get it. You know I'm a nice guy, always respectful, always
on time.
FRAN
But a shitty actor. Stick to stunt driving. What are you doing here
anyway? You're not really back together with Sophia, she told me.
MIKE
True.
FRAN
Then what the fuck? Wait people are staring.
Fran leads Mike by the elbow to sit down at a nearby bench.
MIKE
I begged Sophia if I could go, but not for her.
FRAN
Then who?
MIKE
(beat) You.
FRAN
Mike, It's your lucky day. I've been hot for you since I first meet you.
MIKE
But you treated me like shit every day on set.
They both go in to kiss at the same time and yowzah it's passionate. Right at that moment
Josh and Sophia come around the corner and almost stop at the Rosetta Stone, but they notice
Fran and Mike kissing so they keep on going straight to the bench where the star and stuntman are.
JOSH
Your boyfriend is kissing Fran
SOPHIA
I can see that Sherlock.
Fran and Mike stop kissing as Sophia and Josh go right up to them. Sophia gives the two a dirty
and frustrated look, then feels embarrassed, then angry. Very awkward vibe too.
SOPHIA
Mike, you promised!
CUT TO:
____________________________________________________________________________________
26.
26.
INT. GREAT COURT RESTAURANT - DAY
They squirm at a table in silence; the SERVER brings their round of drinks and asks a question.
SERVER
Ms. Galloway can I...
FRAN
Sure.
Fran stands and knocks over a drink - another server rushes over to clean up the mess and the
selfie with the star captures the chaos in the background. Josh gets up to leave and the two
servers finish cleaning up. Fran goes to Josh and gently puts her hand on his elbow.
FRAN
Please stay. (beat) Joshua.
CUT TO:
ANGLE ON Fran, Josh, Mike and Sophia are seated at the table in that order. (food not there yet)
JOSH
Why the charade? Such an overused trope too. Pretend to be
together to make another person jealous. Movie people. (shakes head)
SOPHIA
It wasn't to make you jealous. I didn't want you to know I like
you.
JOSH
You mean love?
SOPHIA
Yes, love.
JOSH
I don't believe in love at first sight.
SOPHIA
I don't either, it was love at third sight. It's terrifying to make the
first move for a woman. I'm sorry I lied.
JOSH
My last girlfriend played mind games, and I broke up with her
because of it so I guess you already ruined your chances with me.
MIKE
More women are making the first move these days. Why is that?
SOPHIA
M.G.T.O.W. men going their own way.
MIKE
Men going their own way?
FRAN
Mike. (makes shhh sign - finger to lips)
The servers bring their food and start placing and ask the usual follow up questions. Josh
positions to leave.
JOSH
Think I'll go my own way.
Sophia steps out from the table toward Josh.
SOPHIA
Wait.
Josh turns away from her and leaves. Everyone including the servers are frozen staring.
CUT TO:
WIDE ANGLE of the entire restaurant's patrons also staring - quiet with bated breath. The second
Josh is gone the restaurant comes back to life. Sophia still standing remains there in shock.
FADE OUT:
____________________________________________________________________________________
27.
FADE IN:
INT. HOTEL IN LONDON - NIGHT
Fran is crossed legs sitting and relaxing upright on a luxurious double bed chatting with Sophia
on her phone. (facetime)
SOPHIA
I didn't think you'd hook up with my ex.
FRAN
You're ok with it right?
SOPHIA
Yeah, I'm fine with it, but the webs are getting to be a little much.
I mean I do have a crush on Josh, but how are we going to pull this off?
You're mad at me and I'm supposed to do the impossible with
the adorable Magoo who wants nothing to do with me now.
FRAN
Ha ha ha ha ha Magoo. Mike just turned off the shower he'll be out soon.
Go with the flow, I got it covered.
SOPHIA
You're like twenty years older than Mike. Why him?
FRAN
He's cute and within in my age rule. I'm too old for Leonardo
and Mike wants me so...what's a cougar to do? Bye.
Mike comes out of the bathroom with only a towel wrapped around his waist - eight pack abs and all.
He joins Fran on the bed.
MIKE
I heard you laughing. What was that about?
FRAN
I just got off the phone with Sophia; she called Josh adorable Magoo.
MIKE
That is funny. I don't see it; he looks like a buffed Marine to me.
What's the British equivalent?
FRAN
I don't know, google it.
Mike turns off the bedside lamp and whips off his towel, then lays on his side facing Fran smiling.
MIKE
Google this.
Fran who is in full cute pajamas semi-belly flop dives onto Mike. They kiss.
CROSSFADE:
____________________________________________________________________________________
28.
INT. PEMBROKE BAKERY - DAY
We see Sophia ordering some croissants from George Pembroke. He half smiles and hands her the
mouthwatering delights. There's a wee bit unease in George's smile and Sophia picks up on it.
SOPHIA
Good morning Mr. Pembroke. Is Josh here?
GEORGE
He's here, but he won't talk to you or Ms. Galloway. It's best if you
take those perfect croissants and go. Before she sees you.
SOPHIA
Who?
Liz Pembroke appears out of thin air behind Sophia and startles her.
LIZ
Me.
Sophia jumps and lets out a mousy scream. George sees out the last customer and turns the open sign
hanging on the door around to closed, then he opens a secondary door next to the kitchen and
disappears up a spiral staircase, he stumbles - catches himself topping it off with an expletive.
The mysterious secondary door closes automatically behind him.
GEORGE
Bloody hell! We need an elevator, Elizabeth!
LIZ
He says that every time he trips for the last 26 years. Can we talk?
SOPHIA
Where does that lead to?
LIZ
We live above the bakery.
SOPHIA
Oh cool. Convenient. Did you close?
LIZ
Just taking a short break, this won't take long.
SOPHIA
You're making me nervous Mrs. Pembroke.
LIZ
(smiling)
Call me Liz dear.
CUT TO:
INT. HOTEL IN LONDON - CONT.
Fran and Mike in their room get ready to leave.
FRAN
Wait, let's order room service, I don't feel like going in public today.
MIKE
That's a great idea. What's for dessert? (eyebrow raises)
FRAN
Dessert? Don't get your hopes up buddy, I've got a meeting with
Pembroke lawyers at eleven.
Fran dials the room phone at the same time her personal iPhone rings. She hands off the room phone
to Mike.
FRAN
Here order for us, Billy is calling.
CONT.
____________________________________________________________________________________
29.
CUT TO:
INT. PEMBROKE BAKERY - CONT.
ANGLE ON Sophia and Liz in the booth. Sophia starts in on a croissant chewing nervously.
LIZ
We have eyes and ears everywhere, and I don't like what I'm hearing.
SOPHIA
You're spying on us?
LIZ
Yes. Ever since our family unexpectedly inherited over a Billion
Pounds there has been countless scammers trying to screw us over,
and your little famous crew are no exception, so I think it would be
best if you told me the truth about what you're really up to.
CUT TO:
INT. HOTEL IN LONDON - CONT.
In their room Mike kicks back after ordering breakfast and Fran answers Billy's call. (facetime)
FRAN
Hello Billy.
BILLY
I cobbled together about forty-five minutes, but I need an
interview with you to push it closer to one hour, and I make the
festival deadline.
FRAN
Which one?
BILLY
C'mon the only two that matters, Sundance and Cannes.
FRAN
Ok, I'll have Mike help me. He'll want second unit pay.
MIKE
You talking about me?
BILLY
I don't know any second unit directors named Mike.
FRAN
Mike Frankenheimer, the stunt driver.
BILLY
The stunt driver I fired?
FRAN
I fired. He's here with me now, he's a natural like his uncle John
Frankenheimer was, we've got this. I'll send the footage tomorrow.
BILLY
Wish I had known that earlier. Your reputation precedes you, Fran.
FRAN
I know, break a leg. Give my love to Merriam, talk to
you soon, bye.
BILLY
Thank you thank you, and I will, bye.
CUT TO:
ANGLE ON Mike.
MIKE
I'm not related to the late John Frankenheimer.
Fran comes into frame and lays on Mike in bed, then slides off to his side, and puts a pillow under
her head to get comfortable.
FRAN
I know.
CUT TO:
____________________________________________________________________________________
30.
INT. PEMBROKE BAKERY - CONT.
WIDE ANGLE. We see Liz and Sophia together in the booth and Sophia is very expressive and
animated in her arm movements as she explains to Liz things unintelligible to us.
CUT TO:
CLOSE ON Liz and Sophia.
SOPHIA
And that's why we did it. (beat) I'm so sorry.
George comes over to the booth where Liz and Sophia are - he offers a can of Guiness draught
he picked up from the refreshment cooler to Sophia. She takes it, cracks it, then takes a long swig.
She takes a breath after like she just swam up from the depths of the sea.
SOPHIA
That's good, thanks.
GEORGE
Did My wife mention I'm to blame for losing half our fortune by
starting Pemcoin? Joshua warned us, but I didn't listen. Only have
three hundred thirteen million left, have to be frugal from here on out.
Sophia in the middle of taking another swig off the Guiness half chokes and spits a little out, she
coughs to clear her throat.
LIZ
(gives George a light slap on his shoulder)
Oh, George she doesn't need to know all of our business. Thank you for
telling me the truth Sophia, see that wasn't so bad. We can build trust
from here.
GEORGE
No harm, no foul I always say.
SOPHIA
I better go. Thanks again for being so understanding. Whew, I
drank that beer a little fast.
Sophia treads carefully to the door to leave and Liz escorts her out - George turns the sign to open.
As Sophie heads down the sidewalk Liz and George notice a line of people waiting to get in.
The patrons pour in and the adorable old bakers couple make way. George quietly asks his wife a
question.
GEORGE
Did you get everything you need?
LIZ
She spilled the beans as they say, so yes, I did.
GEORGE
Well?
LIZ
It's as much as I suspected, you don't need to fret the details love,
Merriam and I have it well in hand.
GEORGE
Ok, I trust ya love. (kisses Liz on her cheek)
LIZ
By the way dear, we have One Billion-Three Hundred Thirteen
Million. We're not going broke any time soon. Take the dough out of
your ears next time I have something important to tell you.
GEORGE
I like it when your mean to me. (gentle smack on Liz's bottom)
The last person in line comes through the door and gives the couple a wry smile as they join the
other patrons who are pointing and vying for the treats they want.
FADE OUT:
____________________________________________________________________________________
31.
31.
FADE IN:
INT. LAW OFFICE LONDON - DAY
Josh and his LAWYER JOHN M. wait in posh chairs at a huge conference desk, with large windows
over Mainstreet. A beautiful modern wall clock READS 11:11 a.m. - Josh looks annoyed and just as
the clock turns to 11:12 Fran opens the door and makes herself comfortable in a chair on the other side
of the table. And before the door can close completely on a slow close Sophia and Mike come in and do
the same. Mike slides his chair close to Fran's and Sophia sits farther away in Isolation.
FRAN
Sorry I'm late. Mike scoot over.
Fran's LAWYER FREYA M. enters a minute later after everyone else and stands next to Mike waiting
for him to get up and exit the chair. Fran stares at Mike with a get a clue expression, he pops up and sits
in a wandering chair somewhere.
JOHN
Freya, it's not like you to be late, but now that we're all here let's begin.
FREYA
My apologies, but our son's school conference went long.
Josh leans over to John and half whispers.
JOSH
I didn't know your ex-wife is Fran's lawyer.
JOHN
It's ok it won't change the outcome and there's no conflict of interest
since we're divorced.
JOSH
Why is Mike here? None of this concerns him.
FRAN
He's with me.
JOSH
With you? (beat) You've got to go Mike.
Mike goes to leave.
FRAN
Mike sit down.
Mike looks at Josh and loses the stare down.
MIKE
See you back at the hotel Fran.
And Mike is out in a hurry.
FRAN
Sophia you better go too, these guys are acting like - how do you say?
Wankers.
JOHN
Sophia can stay. The Pembroke family has learned some new information
just this morning that affects this entire settlement. I've already shared
discovery with your lawyer Ms. Galloway and my client would like to
rework the deal.
Fran glances at Freya then turns her eagle eye to Sophia.
FRAN
Sophia what did you do?
SOPHIA
I'm sorry, Mrs. Pembroke said if I didn't tell the truth, you would be sued.
JOHN
George and Liz have friends all over London, you should be careful
what you talk about in public.
Fran leaves the comfort of her chair with blood pressure elevated and storms towards the door, but
stops next to Josh and eyes him down, then lets him have it.
FRAN
You spied on me. Keep your fucking money. You're a dumb fuck for
trying to do a crypto start up in the first place, you're all wankers
including you Sophia, fuck y'all I'm outta here.
Fran continues her storm out.
JOSH
I guess that makes you a dumb fuck too for investing.
Fran puts on the brakes while holding the door open and turns to look back at Josh.
FRAN
I am.
Then Fran is gone, and everyone in the conference room is quiet and solemn. A wimper breaks the
silence.
CUT TO:
ANGLE ON Sophia.
SOPHIA
This is my fault.
CUT TO:
ANGLE ON Josh.
JOSH
No, it's my fault.
CUT TO:
____________________________________________________________________________________
32.
INT. L.A. CALI PROSPECT PICTURES OFFICE - DAY
Merriam is at her desk reading a spec script when a text notification pops up on her phone from
Billy, it reads -TMZ Fucked us! She opens the text and the video attached is titled - Merriam
Rossi the Head of Prospect Pictures Seen Frolicking with Director Billy McKay in his L.A.
Mansion Pool. Merriam watches the few second video, then semi-slams her phone face down.
MERRIAM
Fuck!
Merriam calls Billy FaceTime, he answers immediately.
BILLY
Babe, everyone knows.
MERRIAM
How could this happen? I thought you had cameras and alarms and all
that bullshit. Goddamn it I wanted it to be on our terms. I guess we're out.
CUT TO:
FLASHBACK.
EXT. STRIP MALL PARKINGLOT - DAY
We see Billy slyly handing over a wad of cash to a PAPARAZZI in front of a popular coffee
house franchise.
BILLY
Make sure you get at least twenty seconds of footage of us getting cozy in
the pool. The fence camera will be out of commission, and if we're
not out there wait, and don't be seen.
PAPARAZZI
You got it.
CUT TO:
BACK TO PRESENT.
INT. PROSPECT PICTURES OFFICE - CONT.
ANGLE ON (follow) Merriam looking at Billy on FaceTime and also pacing back and forth.
BILLY
I don't know how they got past the security cameras, I'll get someone
out here to take a look at the system.
MERRIAM
I'm going to get kicked off the board and this might scare off potential
buyers. We're busted.
BILLY
Buy? What's for sale?
MERRIAM
This godforsaken film company! I'm sorry I didn't tell you sooner.
BILLY
Oh shit, that's what you're cooking.
Incoming call, it's Sophia.
MERRIAM
Sophia is calling gotta go. (hangs up on Billy)
CUT TO:
WIDE ANGLE ON whole room - SOMEONE knocks then comes into the office
SOMEONE
Tarantino is here for the meeting.
Merriam answers Sophia.
MERRIAM
Sophia just a sec, (glances at Someone) tell Tin Tin apologies
something came up I have to cancel.
Someone SIGHS and leaves disappointed. Merriam puts her phone to her ear.
MERRIAM
Sophia.
SOPHIA
Fran is missing and she's not answering her phone.
MERRIAM
Fuck, when it rains it pours. Try the Find My phone thingy.
SOPHIA
Already did, it must be off. She walked out without finalizing.
MERRIAM
What happened?
SOPHIA
I fucked up, I'm so sorry Merriam.
MERRIAM
No, you didn't, you're just a pawn.
SOPHIA
What?
FADE OUT:
____________________________________________________________________________________
33.
FADE IN:
FLASHBACK.
INT. DENNY'S RESTAURANT L.A. CALI - DAY
The usual hustle and bustle you see in a restaurant, but it's not too busy - Merriam and Sophia are off in
a corner booth out of everyone's earshot. Sipping on tea and coffee.
CUT TO:
ANGLE ON Merriam and Sophia.
MERRIAM
This coffee is so much better here since they started using Night Shift
brand. I'm telling you this in confidence and I'd like you to do a favor
for me Sophia, no obligation of course.
SOPHIA
Ok, what?
MERRIAM
I want you to go to London and keep tabs on Fran's progress with
the settlement. Keep your ears open and let me know if things go smooth
or not.
SOPHIA
You want me to spy?
MERRIAM
Yeah. Can you handle it? I don't ask for favors lightly, I'll owe you.
SOPHIA
Why did Fran have to be there in person, I thought stuff like that could be
done digitally?
The SERVER comes by.
SERVER
Top off?
MERRIAM
Mmm yes. (beat for server to leave) There's a stipulation, crypto bro's
parents wanted Fran to be there in person. I'm not surprised probably
fans, also something about the mom is good at reading people and
thought it was all around better to do it that way. Weird.
SOPHIA
Is it true Prospect is up for sale?
MERRIAM
That reminds me.
SOPHIA
I don't know if I'm going, I need to think about it.
MERRIAM
Once the studio is sold, If the new owners keep me aboard, I'll give you
your own movie to direct. How's that for returning the favor? Oh, and
don't say a word to Fran, if we get a buyer, I want it to be a surprise.
Can you imagine if The Pembroke's made an offer? I emailed them
suggesting they could own Prospect as part of a new deal.
SOPHIA
What am I supposed to tell Fran why I traveled to London?
MERRIAM
Support and company.
SOPHIA
Can I tell her we discussed the true story period piece set in Scotland
and you might green light it?
MERRIAM
(wry smile)
Sure.
CUT TO:
____________________________________________________________________________________
34.
FLASHBACK CONT.
INT. SOPHIA'S HOUSE, L.A. CALI. - DAY
We see Sophia packing and ringing Mike FaceTime. Clothes all over her bed next to an open suitcase,
nervously she folds and stuffs a small backpack with miscellaneous things. Mike answers.
MIKE
Sophia, this is unusual. What's going on?
SOPHIA
I'm going to London to support Fran. Leaving tomorrow morning.
MIKE
Support? Why what's wrong, she ok?
SOPHIA
She's fine, it's more emotional support for the...wait. Do you have
feelings for Fran?
MIKE
Take me with you, I'll be your support. If anyone asks, we got back
together, that way Fran won't suspect I'm in love with her.
SOPHIA
Mike! When did that happen?!
CUT TO:
BACK TO PRESENT.
INT. THE OSCARS CEREMONY - NIGHT
We see Billy standing on the stage with an Oscar statuette in his hand, huge red curtains hang in the
background like an old theater that has just been refurbished. The Rockettes stand in a row behind Billy
for some reason and WILL SMITH is in the middle, the Rockettes and Will start doing high kicks, then
stop and leave the stage, music plays for a second then stops, and Merriam appears like magic next to
Billy, everyone is in Tuxes and looking sharp and Merriam is as beautiful as ever in her flowing gown.
Will Smith pops his head around the corner and yells. SWISH PAN THE STARS IN THE AUDIENCE
360 degrees and back to ANGLE ON Billy.
WILL
And the Oscar goes to!
BILLY
I'm already up here!
MERRIAM
(leans toward the mic)
We're married, it's all over the news.
BILLY
(points to the audience)
Number three Tom, number three, I've got you beat.
(raises the gold statuette high above his head)
Gold! (jogs off)
Will Smith does the MOON DANCE to Michael Jackson's Beat It. SWISH PAN to CLOSE ON
TOM HANKS FACE, Tom mouths Fuck You and his hand raises up in slow motion - MIDDLE
FINGER HIGH.
CUT TO:
INT. BILLY'S/MERRIAM'S BEDROOM - DAY
Merriam shakes the bed to wake Billy; he stirs and blinks wildly for a moment to focus, he realizes
he was dreaming.
BILLY
I just had the coolest dream.
MERRIAM
It's all-over social media, and these goddamn memes. Shit this is
embarrassing.
BILLY
What, that you're married to someone short in stature?
MERRIAM
No, that's your issue. That the world acts like they already knew
we were secretly together. Look at the TMZ headline. (holds screen to his
face, then sits on edge of bed) (beat) Headline reads - It's About Time
They Admit What We All Suspect, Married? That Paparazzi did get a
nice angle of us in the pool though. Your fans are pissed at me, they
have all kinds of conspiracy theories. How did I become the villain in this
story? Fuck, I don't need this shit right now, Fran is missing and she's not
answering my calls or texts.
BILLY
She's fine. She texted me last night, I just forgot to tell you.
MERRIAM
(stands up)
Where is she?
Billy gets out of bed puts on a robe, then heads out of the bedroom and down the hall, Merriam
follows him to where he preps making coffee.
BILLY
I need to call Tom Hanks; I want him on my next project.
The coffee maker kicks in and starts brewing.
MERRIAM
Where is Fran?
BILLY
As soon as I remember where I left my phone, I'll let you read the text.
I remember. (goes to fridge grabs phone off shelf - hands it to Merriam)
ANGLE ON phone. Merriam opens Billy's phone screen and goes right to the text. It reads - I'm fine.
(heart emoji) Let Merriam know and tell her I'm pissed at her ttys. Billy's text back reads - Ok -
Merriam texts Fran on Billy's phone - Where the fuck are you? Merriam gets a text notification on
her own phone, she opens it. PAN to Billy pouring coffee into his cup.
MERRIAM
Why did she go there?
BILLY
(sips coffee)
Where?
MERRIAM
Scotland. (beat) Oh, she's scouting location.
CUT TO:
____________________________________________________________________________________
35.
EXT. ISLE OF BARRA, SCOTLAND - NIGHT
WIDE AERIAL OF MAIN TOWN, CASTLEBAY.
It's a beautiful clear night, the moonlight illuminating the calm water causes sparkling on the
tips of the small waves, a few fishing boats gently rock back and forth in the harbor, and the town's
lights seamlessly blend with the stars on the horizon. It's quiet except for the sounds of lapping water
on the shore.
CUT TO:
INT. CRAIGARD HOTEL - BAR - CONT.
ANGLE ON Fran at the bar with a local craft stout in hand. She finishes it off and gets up to leave, but
hesitates for a moment to get the BARTENDER'S attention an old timer with a beard as white as snow
and an accent as thick as mud. It's not too busy and the few local patrons in the bar mind their own
business.
FRAN
Excuse me is there someone that I can hire to show me around
Barra tomorrow?
BARTENDER
Not that I can think of off the top of my head Ms. Galloway.
FRAN
Oh, you recognize me?
BARTENDER
Everyone here loves your movies; they're being respectful and giving you
your space.
FRAN
I appreciate that. You ever hear of an old story about the history of this
island, two brothers who had a falling out and one changed his name?
BARTENDER
Nothing concrete, but I heard that the last MacNeil before he died was
looking for anyone who was even remotely related to pass on his
fortune to. Lucky bastard who ever won that lotto.
FRAN
How were the MacNeil's so wealthy, what kind of business?
BARTENDER
No business, just sold some land to the government to make it
officially belong to Scotland.
FRAN
How much land?
BARTENDER
The whole Isle of Barra.
FRAN
Wow. (beat) What's your name?
BARTENDER
FINLAY, but everyone calls me FIN.
FRAN
Nice to meet you Fin, I'm Francine, but everyone calls me Fran.
A couple rounds on me Fin, put it on my tab. (starts to leave)
FIN
Thank you, it was nice meeting you too, have a good rest of your night.
As soon as Fran disappears upstairs the few patrons get up from where they were sitting and gather at
the bar to ask Fin about talking to the movie star. They almost speak simultaneously, but Fin puts a
kybosh on it.
FIN
Sorry fellas, ladies maybe next time, I'm about to close. Sleep proper.
The patrons with some disappointment mumble to one another as they head back to their tables.
Fin smiles as he finishes up with his closing duties.
FADE OUT:
____________________________________________________________________________________
36.
FADE IN:
INT. PEMBROKE BAKERY UPSTAIRS HOME - NIGHT
It's late tea with the Pembroke family, later than usual, but they gather to discuss unresolved family
matters. Their dining space and kitchen are all one large room designed as a smaller scale version
of the one downstairs in the bakery store. A lot of stainless steel mixed with traditional charm
surround them and their large round country table, they sip tea occasionally between words.
JOSH
Mum, did you actually have people spy on Fran and Sophia?
Liz
No, I just suggested that might be the case and I gave Sophia the chance
to come clean about what they were up to, and she did.
JOSH
That's so manipulative Mum. How is anyone involved in this deal
supposed to have trust. One of the biggest movie stars in the world is
angry with me and doesn't want to be found, Sophia and Mike are
going home and the settlement isn't settled. Dad what do you think?
GEORGE
Your mother is the MacNeil, she's the boss, I'm just along for the ride.
LIZ
Joshua, you're our only child, you'll inherit the fortune when we're gone
we have to be very careful. Truth is you and Fran are two peas in a pod,
and it just happens she needs a guide on Barra to show her around.
JOSH
I'm not buying any of this. So, you've wrapped everything up in a bow,
barely an inconvenience.
LIZ
Just like the movies dear. Mike and Sophia are going to Barra, Merriam
and her husband the director um Billy are flying here to London, and if
you agree to the terms this family will own Prospect Pictures and our
family story will be made into a movie.
JOSH
I thought Mike was in love with Fran.
LIZ
He's on the fence. (beat) Merriam and I have been corresponding from the
beginning. And fyi Fran isn't in on most of it so she may get upset when
she finds out the truth, I am sorry son, but it is what it is. Everybody wins.
JOSH
(stands and knocks over his tea)
What about choice?! We get some money and you think it's ok to be a
conniver. You're a conniver and Dad he's a lump on a log just doing
everything you want. Bollocks! (storms off)
GEORGE
If the boy decides otherwise, I'm not going to be a lump on a log,
I'll support him even if it means enduring your wrath.
LIZ
Me too love, me too. (sips tea)
FADE OUT:
____________________________________________________________________________________
37.
FADE IN:
EXT. BARRA ISLE, CASTLEBAY - NIGHT
Sophia and Mike sit on a blanket on a grassy knoll in front of the Castlebay Hotel admiring the water
on another cloudless beautiful starry night. Near empty bottles of beer in their hands, Mike finishes his,
then lays down on his side - head resting on palm and still looking outward to the sparkling horizon.
MIKE
Breathtaking, isn't it? Guy at the service desk said it's rare to get so many
clear days in a row and that we should take advantage of it while it lasts.
SOPHIA
Yeah, well, I don't feel up to doing anything.
MIKE
The tangled webs we weave. What are the odds Josh signs.
SOPHIA
I can't believe Fran got over it so quickly. It's all riding on Josh now.
Merriam called me a pawn back in the states, rich people are assholes.
MIKE
Damn. (beat) Regular people can be too though.
SOPHIA
Not like that.
MIKE
So, are we going to be just friends then?
SOPHIA
Yup.
CUT TO:
____________________________________________________________________________________
38.
INT. HOTEL IN LONDON - CONT.
Billy and Merriam lay in their bed watching television, Billy channel surfs until he finds something he's
interested in, they're a little sweaty from intimate activity.
BILLY
I worked on this doc as a cameraman when I was first starting out.
MERRIAM
Is that snake eating a gator? Eww.
BILLY
They're invasive in the Everglades, still a big problem too. I was working
at Disney World at the same time and that's where I met Ken Burns and...
MERRIAM
And you convinced him to watch your short doc on Hummingbirds, then
he hired you and the rest is history yadda yadda yadda.
BILLY
(smiling)
I've told you that story a million times. Great story though, luckiest
day of my life, besides marrying you.
MERRIAM
I know you hired that photographer from TMZ to get us in the pool
together.
BILLY
I figured when you said, "I guess we're out" without a hint of anger
you knew. I don't know what I was thinking, sorry that's not like me.
MERRIAM
I can't judge, look at all the bitch scheming I did to try and secure the
future of Prospect.
BILLY
Do think Josh will come around?
Merriam gets up and sits at the edge of the bed.
MERRIAM
If I were Josh, I would tell everyone to fuck off. (heads toward the
bathroom) I'm going to take a shower.
Billy gets up and follows.
BILLY
Wait for me, make it a bath. (beat) A bath.
FADE OUT:
____________________________________________________________________________________
39.
FADE IN:
INT. LAW OFFICE LONDON - DAY
John M. looking all lawyer-y and dapper sits across from Merriam and Billy around the overly sized
table. Liz, George, and Fran walk in together, they sit on the left side of John M., then Merriam and
Billy slide over in their big office chairs on wheels to the right side closer to John M., Freya M.
comes in with an additional stack of documents and places it on the table in front of John, then
leaves just as quickly. John hands out the copies of the terms of contract to each person.
JOHN M.
Ok, before we get started read and sign the signatures in
escrow agreement. You do understand Mr. and Mrs. Pembroke you're
still on the hook to the terms of this contract on the purchase of Prospect
Pictures even if Joshua doesn't want to be a part of this.
LIZ
We understand.
JOHN M.
It won't be a simple power of attorney transfer; a Trust will be involved,
It's all in the language.
MERRIAM
And the sale of Prospect goes through either way, even if Joshua, doesn't
want any part of it. Correct?
JOHN M.
Yes, and the separate payout to Fran is also automatically triggered at
closing of the deal no matter what.
BILLY
Sounds like everything is covered, and then some.
GEORGE
Shall we sign now, we've got to get back, baking waits for no one.
MERRIAM
Fran, what are you going to do next?
FRAN
Take my Red Corvette waiting for me and ask Joshua if he wants to
go on a drive around London.
MERRIAN
Francine Galloway, you didn't. Did you?
CUT TO:
____________________________________________________________________________________
40.
EXT. PEMBROKE BAKERY - DAY
Fran and Josh linger over the Red Corvette parked curbside directly in front of the bakery.
Customers come and go from the bakery; business is good the bustle brisk.
FRAN
No, I bought it in Scotland. I saw it and thought serendipity.
JOSH
Looks a lot like yours. How much?
FRAN
A lot. This one is a 79, mine is a 69. Go on a drive with me.
JOSH
Are you trying to butter me up? Because it won't work. I thought you
were on Barra.
FRAN
I was, beautiful place, and the locals are nice people. Well?
JOSH
I don't know.
FRAN
I'll let you drive.
JOSH
The steering is on the left.
FRAN
Don't bs me you did fine in America with that big ass redneck truck.
An ELDERLY STRANGER going to the bakery side steps over to Fran and Josh to put in his two cents
worth.
STRANGER
Forgive me for interrupting Mr. Pembroke, I've seen your story on one of
them Hollywood gossip YouTube channels and frankly get over yourself.
A beautiful movie star is flirting with you, go on the drive or you're an
idiot.
JOSH
Apparently, I'm famous and an idiot. How rude Sir.
STRANGER
You're welcome. (smiles and heads into the bakery)
CUT TO:
CLOSE ON Josh in the driver's seat, then PULL FOCUS from Josh to Fran smiling while looking over
at him.
CUT TO:
WIDE ANGLE on the street and Red Corvette struggling to get smoothly merged with traffic.
We see Josh lean his head out the window to get a clearer look at traffic, then he makes his move to
zipper in between commuters and finds the gap successfully.
NEEDLE DROP: "WHAT ABOUT LOVE?" BY HEART.
MONTAGE of the Red Corvette driving by famous tourists' spots, Tower of London; Big Ben &
The Houses of Parliament; The British Museum.
END OF MONTAGE.
CUT TO:
We see the Red Corvette stop and park in front of the British Museum in the No Waiting Zone, and
Josh and Fran quickly get out and switch seats, so Fran is now the driver moving forward.
Fran zips off like a pro race driver, and Josh's head gets glued to the back of his seat. The Red
Corvette disappears out of frame while the Museum building is left lingering in frame for a
moment - A UK POLICE CRUISER WITH TYPICAL YELLOW AND BLUE BATTENBURG
CHECKS ON THE DOOR PANEL SHRIEKS BY SIRENS BLARING IN THE SAME DIRECTION,
FRAN DROVE OFF.
FADE OUT:
____________________________________________________________________________________
41.
FADE IN:
INT. HOTEL IN LONDON - DAY
Billy and Merriam putt around their hotel room gathering things and clothes packing their suitcases
when her phone rings. She reaches for it on the nightstand to see who's calling. It's TARANTINO,
a big time Hollywood veteran director.
MERRIAM
It's Tin Tin calling FaceTime.
BILLY
Answer it.
CUT TO:
ANGLE ON the screen of Merriam's phone, she answers.
MERRIAM
Tin Tin, so what do you think?
TARANTINO
Mrs. McKay. Wow, secretly married for years, well congrats.
MERRIAM
Thank you, we really don't have a good excuse for hiding it, after
we were outed the story lasted for about one day.
TARANTINO
Is Billy there? Tell him I said hi. Love your work.
BILLY
Hey Quentin, you too.
TARANTINO
The Logline sounds epic, loved the pitch, a betrayed bother
from a powerful Scottish clan and a Kurosawa scale battle
between the English and the Scotts on Barra and it's all true.
I'm in, I'll do it, send me the script when it's ready.
MERRIAM
Great! The script is already done, Mrs. Pembroke gave our writers
everything they needed weeks ago, most of the family history from
official verified documents, and a little oral history from her that falls
in the artistic liberty area.
TARANTINO
We'll discuss my fee in person and let me know when the Scottish
government ok's shooting on location. You mentioned a local film crew
I'm ok with that and I want Billy to be my cinematographer.
BILLY
Really? Wow yeah ok. Thanks Tin Tin.
TARANTINO
Billy, no one gets to call me that except for Merriam. Don't do it again.
See you soon.
MERRIAM
Alright Tin Tin, thanks again see you soon, bye. Unpack. (beat) No wait,
Stay packed, we need to find a rental on Barra.
BILLY
Holy shit I'm the cinematographer.
MERRIAM
One last dip in the pool?
BILLY
Ok.
They both start digging in their suitcases for the swimsuits.
FADE OUT:
____________________________________________________________________________________
42.
FADE IN:
EXT. ST. AGNES HEAD, CORNWALL - DUSK
WIDE ANGLE ON The Red Corvette on a gravel pull-off in the cliff-top Car Park. The Ocean below is
awash with golden light as the sun is close to setting, the scene is breathtaking and silhouettes of
seagulls occasionally enter the frame.
CUT TO:
INT. RED CORVETTE - CONT.
Fran and Josh's POV through the windshield: As the sun starts to dip into the water on the horizon,
a swirl of deep three-toned yellow-orange-lavender hues reflect on the few clouds becoming rainbow
cotton candy. Their eyes lock for a moment as a seagull's cry is heard - they look away and then look
out through the windshield toward the beauty of nature and see what heaven on earth could be.
FRAN
This is as romantic as it could get.
JOSH
You're not in love with me, are you?
FRAN
No, but I like you.
JOSH
I like you too. (beat) My Mum thinks we're two peas in a pod.
The only thing I can think of why is we're both only children.
FRAN
Only lonely children. Maybe someday you can meet my mom. (beat)
Mum.
JOSH
I'd like that. (beat) What about Mike?
FRAN
Mike shmike. Just a fling, it was a mistake. It should've been you
Joshua. My god our lives are movie tropes on the nose dialogue and all.
JOSH
I like it when you call me by my full name.
FRAN
I like saying it. (beat) Shooting on location for Barra starts soon
I think, Merriam is waiting on the director, it's between Nolan and
Tarantino.
JOSH
Is Barra the official title?
A text notification comes in on Fran's phone. She quickly opens it to read.
FRAN
Well, look at that Quentin fucking Tarantino is directing.
We should be getting back. Thanks, Joshua, for going today,
and I understand if you never forgive me.
JOSH
If I can forgive my mum, I can forgive you. (beat) Let's stay
and watch the sun fully set.
Josh holds his arms open as an invitation to cuddle, Fran scoots close to him and puts her head on his
chest, the contentment and comfort are palpable. The shape of the clouds turns to whisps and the colors
shift to a deep orange with pink and purple highlights from the horizon to the shore.
FRAN
Are you buttered up?
JOSH
Well and buttered.
They both look each other in the eyes, and both let out their version of a giggle. They adjust to
delicately kiss, then prolong it into a crescendo of passion. Then as if someone hit a light switch they
stopped kissing and sighed back into the cuddle exactly as they were before. The sun sets and the color
with it. Fran sits up and starts the car; they give each other one more knowing look before the long
drive back in the dark.
CUT TO:
WIDE ANGLE of the Car Park and the moonlight sparkling on the surface of the water down below.
We see the woman in the red corvette back out and away from the fenced edge of the cliff and drive out
of frame.
CUT TO:
INT. RED CORVETTE - CONT.
ANGLE ON Fran and Josh from audience POV through windshield.
FRAN
That was nice of the cop not to give us a ticket earlier.
JOSH
Yeah, it was. It was nice of you to give him an autograph.
FRAN
Yeah, it was.
CUT TO:
AERIAL ANGLE ON the red corvette speeding up and zooming off - headlights illuminating the road
to help stay in the lines, and the rev of the engine echoing loud in their ears and ours.
FADE OUT:
____________________________________________________________________________________
43.
FADE IN:
EXT. ISLE OF BARRA, SCOTLAND - DAY
AERIAL WIDE ANGLE ON a large swath of open grassy hillside above the town of CASTLEBAY,
an obvious movie production with dozens of 1400s TIME PERIOD APPROPRIATE COSTUMED
STUNT PEOPLE IN ENGLISH AND SCOTTISH BATTLE CLOTHING are prepping and finding
their marks. Green screen walls litter the landscape toward the water and town buildings to erase local
property to be replaced digitally with Wooden Ships of the time and more ancient style stone huts.
ZOOM IN TRACKING SHOT THROUGH THE SET: We see details of the battle clothing of the
English: heavy canvas vests reinforced with small steel plates riveted inside, steel greaves, couters,
vambraces, and steel kettle hats. The Scottish: Leine Croich, a quilted linen dyed yellow - covered in
chainmail, pointed conical steel helmets called Bascinets with a curtain of mail to protect the neck.
Actors, stunt extras, and outer edge film crew do last minute preparations for the one-take.
TRACKING SHOT CONTINUES right up to ANGLE ON TARANTINO in his director's chair,
headset on, monitor next to his chair, and various film crew stand alongside him under large canopies.
CUT TO:
WIDE ANGLE on Tarantino, film crew, and some stunt extras in their battle garb caught in frame.
Tarantino grabs a BULLHORN from a table next to him, puts it up to his mouth and does his thing.
TARANTINO
(bullhorn)
We've rehearsed this for days and the storm coming in would
enhance this shot a million times better and save us a ton fuck of money
on FX so let's get this in one-take please. If anyone fucks up their
choreography just keep going no matter what unless I say cut! Anything
unusable we'll fix in post. Ok good hit the lights.
PAN ANGLE ON Sophia flipping a big switch at a large power box - the light panels surrounding the
set - crack on to shining bright creating gorgeous cinematic shadow and contrast.
TARANTINO
Billy!
PAN ANGLE ON Billy, he looks over the lens housing, then through the lens, double checks control
button positions, then gives the thumbs up signal. Merriam walks into frame and stands next to her
husband Billy, coffee in hand she takes a sip. Mike in full Scottish battle garb puts his face in the
camera and shakes his head while letting his tongue flail at the same time, then backs off jumping up
and down like a boxer ready to fight, Merriam yells at him, Billy rolls his eyes, and PAN ANGLE ON
Sophia, she turns red from embarrassment.
CUT TO:
We see Fran and Josh standing under their own little corner of the canopy, and for a brief moment
PULL FOCUS to Liz and George just behind sitting comfortably in chairs, Liz does a little celebration
clap, then smiles fondly at it all. PULL FOCUS BACK to Fran and Josh.
FRAN
Here we go.
JOSH
This is incredible.
CUT TO:
WIDE ANGLE ON Tarantino in his chair, bullhorn still in hand, film crew, and some stunt extras in
battle garb just in frame, and Mike also still bouncing with ready to go energy waits for -
TARANTINO
(bullhorn)
Roll camera! (beat) Action!
A sudden burst of action between the acting stunt extras warriors clash bodies and armor with loud
clinks and screams of pain, swords swinging ferociously slashing and stabbing, soldiers fall, some
progress to attack others. The predicted storm rolls in with a boom of thunder. ZOOM OUT
TRACKING SHOT of the intense battle TO WIDE ANGLE AERIAL OF THE ENTIRE SET
IN ACTION - CONTINUE TO ZOOM OUT INTO THE CLOUDS - FADE TO BLACK.
____________________________________________________________________________________
44.
FADE IN:
EXT. HAMPSTEAD GARDEN SUBURB ENGLAND - DAY
AERIAL ON Posh houses made of red brick and beautiful sculpted yards at every home, one
house stands out a little more than the others with vines growing on the face and an immaculate front
yard full of perfectly round artful Topiary of various sizes.
TWO YEARS LATER
ZOOM IN to the STANDOUT HOUSE, at the DOOR CROSSFADE through seamlessly to
the INTERIOR living room.
CUT TO:
ANGLE ON a classic antique English sofa where we see Fran and Josh sitting with feet up on an
ottoman nicely cozied up next to each other with tv remote in Fran's hand. Their interior is twice as
gorgeous than outside and the room is fittingly by design a small, but ritzy billionaire's castle.
FRAN
I have it cued up right at his speech. I heard it's a doozy.
Ready?
JOSH
Alrighty.
CUT TO:
ANGLE ON The tv from POV of the couple. Fran pushes play on the remote, the tv screen comes
alive with sweeping academy music - we see Tarantino jaunt on stage to the microphone followed by
an army of cast, crew, and producers, they all stand behind the director as if posing for a group picture
at a large family gathering, Merriam, Billy, Sophia and Mike can clearly be seen on the corner out of
the bunch of people despite the wide angle of the stage, Billy is holding his own OSCAR statuette as
well, everyone looks fabulous. Tarantino is handed his Oscar then he turns to the mic.
TARANTINO
Since I thanked everyone by name after my best director win tonight,
and went over my time, I'll make this one quick, with permission from
my friend and colleague Billy McKay to use, (holds statuette high)
Gold!
Merriam makes her way to the mic for her speech, Tarantino steps aside all smiles, and they hand
her two Producer Oscar statuettes.
MERRIAM
My friend, incredible actress, and colleague Francine Galloway
Pembroke couldn't be here tonight, so I'm accepting this Oscar on her
behalf. Thank you everyone thank you, thank you, thank you. When this
true story movie, Isle of Barra miraculously fell on our laps two years ago
it saved us, it saved Prospect Pictures! Thank you to the Pembroke family.
Gold!
CUT TO:
ANGLE ON Fran and Josh as cozy as ever right up next to each other on their English antique sofa,
Fran turns off the tv.
FRAN
We should revisit Woman in the Red Corvette.
THE END
FADE TO BLACK:
NEEDLEDROP: "WHAT ABOUT LOVE?" by HEART.
CREDITS ROLL.
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