OPEN
•
MATCHPOINT
by
Woody Allen
•
• Dreamworks SKG
"MATCH POINT" (2005)
STATS132pages122scenes16,663words61%dialogue40characters
Words
- dialogue10,15161%
- action4,87129%
- other1,6419.8%
Scenes
location
- INT 78
- EXT 42
- INT/EXT 1
- UNKNOWN 1
time
- DAY 66
- NIGHT 10
- CONT 24
- UNKNOWN 22
EXT. TENNIS COURT -- DAY
In slow motion, a tennis ball passesback and forth.
CHRIS (V.O.)
The man who said "I'd rather be lucky than good" saw deeply into life. People are afraid to face how great a part of life is dependent on luck. It's scary to think so much is out of one's control there are moments in a matchwhen the ball hits the top of the net, and for a split second it can either go forward••• orfall back. With a little luck, it goes forward.•.and you win. Or maybeit doesn't••• andyou lose.
FADE TO BLACK:
EXT. TENNIS CLUB LONDON --DAY
Chris walks along a fence.He carries a letter and familiarizes himself withthe tennis club manager's name.
CHRIS
(mumbles)
Mr. Townsend.
He glances around at clubmembers playing tennis.
CUT TO:
INT. TENNIS CLUB TOWNSEND'S OFFICE -- DAY
Townsend enters throughthe doorway, clutching Chris'resume.
TOWNSEND
(to Chris)
Just this way.
Chris follows behindas Townsend gestures, readingoff Chris' previous job positions.
TOWNSEND
So ..•theBeachClub Marbella, tennis instructor...StanfordHouse, Forte Village.Sardina.••
•
CHRIS
• Yes. I had a good deal of
experience.
TOWNSEND
Yeah, so I see. And I've heard very good things. You don't miss playing professionally?
CHRIS
(sighs)
Thank God every day I don't haveto do it. I hate the whole tennis tour thing. Constant travelling and I was never going to be Rusedski or Agassi. You have to really want it. Not that I have their talent.
TOWNSEND
Well, your credentials and references are excellent. And you want to live in London?
CHRIS
Very much. Very much.
• TOWNSEND
(softly) Mmm. (beat) We have a very exclusivemembership here. (beat) You can begin this weekend?
CHRIS
Thank you. Thank you verymuch.
CUT TO:
EXT. SIDE STREET --DAY
Establishing.
ESTATEAGENT (V.O.)
Er,that's your sofa.•.
CUT TO:
•
• INT.CHRIS'S FLAT -- CONTINUOUS
ESTATE AGENT
••• whichalso doublesup as a bed. Which is great,you know, 'cause you can be watching sometelly, you ain't got the hassleof having to go to a bedroom.You can just open it up, get yourkip .••Er, kitchen just through there••.
Chris looks through the doorway into the kitchen.
ESTATE AGENT
All your amenities-- fixtures, fittings,washer/dryer, all that stuff. Lovelyview, not overlooked. So, er, it'sall good.
CHRIS
This is twohundred and twenty-five a week?
ESTATE AGENT
Well, it'sLondon, mate. Bang,
• mate. You know,if you don't like
it, move toLeeds. D'you know what I mean? (beat) ••.You gota wok? It's one of those oriental sortof conical pans?
CHRIS
No, no,no •..
ESTATEAGENT
The geezerwho was in here before, he leftone in there. You're welcometo it. I'll throw that in.
CHRIS
I'll takeit.
ESTATEAGENT
(nods)
That's agood choice.
CUT TO:
•
•
INT. BURGERJOINT -- EVENING
Chris is seated at a table, eating. He looksat a magazine, reaches for a drink.
CUT TO:
EXT. TENNIS CLUB COURT-- DAY
A montage of male and female clubmembers play tennis with Chris, who instructs.
CHRIS
••. verygood ..•
CUT TO:
INT. CHRIS'S FLAT -- NIGHT
Chris is on the sofabed, readingDostoyevsky's "Crime and Punishment". He sets it down andpicks up another book: "The Cambridge Companion to Dostoevskii".
• CUT TO:
EXT. TENNIS COURT-- DAY
Townsend walks with Tom Hewettand introduces him to Chris.
TOWNSEND
Chris Wilton..•this isTom Hewett.
They shake hands.
TOM
Very nice to meet you.How do you do.
CHRIS
Good morning, Tom. Pleasure.
TOWNSEND
I think Chris wouldbe the perfect instructor for youand he's very patient. Great atanalyzing a player's faults.
•
TOM
•
(exhales) I'mso out of practice. I mean, I haven't played since university and Iloved it but, um, I haven't picked up a racket in bloody ages, so •••
CHRIS
Don't worry, it comes back. What you can't do is rush in, be discouraged.
TOM
Okay.
TOWNSEND
(steppingaway)
Well, good luck.
TOM
Thank you very much.
Townsend shakes Tom's hand, then turns andwalks away .
CHRIS
• (gesturesto the other
sideof the court) over here.
TOM
Brilliant.
CUT TO:
EXT. TENNIS COURT-- LATER
Tom and Chris play tennis.
CUT TO:
EXT. TENNIS CLUB TERRACE --DAY
Tom and Chris sit at a table.
TOM
Okay, so who was better, or tougher? Henman or Aghassi?
• CHRIS
They were both great.
TOM
•
Yeah, I know, but I mean you, you held your own more than admirably.
CHRIS
For a while.
Tom lights a cigarette.
CHRIS
But as the game goes on you seehow really good they are.
A waitress places the billonto their table.
CHRIS
I'll get this.
TOM
No, no, no, no.
CHRIS
No, please Tom. I insist,I insist•
TOM
No, no, no, no, no, no.Get your
• dirty great forehand off.
Tom looks down at the bill.
CHRIS
Thank you. I'll getthe next one.
TOM
So, do you need a liftafter this?
CHRIS
Actually, I'm lookingfor a music store. I want tobuy some CD's.
TOM
Music around here?
CHRIS
Mmm-hmm.
TOM
I think there's oneon the Fulham Road .
CHRIS
And they'll havea decent opera
•
section?
TOM
•
Opera? You like opera, really?
CHRIS
Yeah. I love opera.
TOM
Popa gives loads tothe Royal in Covent Garden. Iknow this is gonna sound a bit weirdbut ••. wouldyou like to go to the operatomorrow night?
CHRIS
To the opera?
TOM
Yeah. We've gota box and someone's not coming. It'sLa bloody Traviata.
CHRIS
My God. I'd loveto. Are you sure it's not an imposition?Can I at least pay formy seat?
• TOM
It's not an imposition,it'd be an absolute pleasure.I just like the fact thatwe both share a love for opera. Brilliant.
CUT TO:
EXT. ROYALOPERAHOUSE -- NIGHT
Establishing.
CUT TO:
INT. ROYALOPERAHOUSE BOX -- CONTINUOUS
Eleanor sitswith Chloe and Alex.
ALEC
So?
ELEANOR
So I saidto David and Melissathat we would seethem ••.
•
Tom enters, followed by Chris. •
TOM
Evening all.
CHLOE
Hello.
TOM
(toEleaor)
Hello, mum.
He leans in and kisses her onthe cheek.
ELEANOR
Hello, sweetie. Very niceto see you.
ALEC
(toEleanor)
Where are you going to seethem?
TOM
Oh, this is, this is Chris,Chris, this is my father, Alec ••.
• ELEANOR
Ah •••
Chrisand Alec shake hands.
CHRIS
Hello, good to meetyou.
ALEC
I hear you're an incredibletennis player. I played onceand then I gave up, and then Iwent back, then I gave up, then I wentback •••
TOM
Oh rubbish. Anyway..•
CHRIS
I'msure Tom exaggeratedmy game.
ALEC
Ijust got bored .
CHRIS
(toEleanor)
Hello. Good evening.How are you?
•
ELEANOR
•
Very niceto meet you.
TOM
And this ismy sister.•.
Tom kisses Chloe's head.
CHRIS
My pleasure.
ELEANOR
There's achair somewhere.
TOM
•.• Chloe.
Chris and Chloe shake hands.
CHLOE
Hello.Hi, I'm Chloe. Nice to meet you.
CHRIS
Hello,Chloe. Hi.
• ELEANOR
(referringto the seats) There'stwo more there.•.
CUT TO:
LATER
Tom, Chris, Alec, Chloe, and Eleanorwatch the opera. Chloe glancesover at Chris, sitting nearby.
CUT TO:
INT.TOM'S OFFICE -- DAY
Tom is Seated at a cluttered desk,clutching a cordless telephone receiver and toyingwith a cigarette lighter.
TOM
(intophone)
Yeah,well, the olds say thankyou verymuch for the er, lovely flowers.They said it wasvery thoughtfuland totally unnecessary.
•
(MORE)
TOM (cont'd)
But, er, off the record welldone, A plus, 'cause they love thatsort
•
of thing.
CUT TO:
INT. CHRIS'SFLAT -- CONTINUOUS
Chris talksto Tom on his mobile phone.
CHRIS
(into phone)
Oh, they're lovelypeople. And your sister's very bright.
CUT TO:
INT. TOM'S OFFICE --CONTINUOUS
TOM
(into phone)
Frighteningly soat times ••. Buter, anyway, shethought you were terrific and shewanted to invite you to our housewith the parents
• on Sunday.Er, 'causethey're
having a party,there'll be some good people.And, er, I'll play you some greatmusic because dad's got an epic collection•••
CUT TO:
EXT. HEDLEYESTATE TENNIS COURT -- DAY
Chris and Tom playtennis. Chloe watches fromafar, clutching a tennis racket.
TOM
Chlo-Chlo,do you wanna have a knock with Chrisfor a bit? It's just that it'sfive o'clock somewheredarling, and I've got some seriouscocktail's to start making.
(to Chris)
Irish Have you ever had a Cuba Libre or aCaipirinha?
•
CHLOE
•
No, it'd be really boring for Chris to play with me on my own.
TOM
Well it's really boring for him to play with me but he's a good sport. And anyway ••. you'vegotbetter legs than I've got. Chop-chop.
CHRIS
Don't be silly. I teach peoplewho have never held a racket.
CHLOE
I'm so bad.
Tom turns, exits.
CHRIS
That's how you get better. Playing with a stronger player. Come on.
CHRIS
Okay.
• They begin playing.
CUT TO:
EXT. HEDLEY ESTATE SWIMMINGPOOL TERRACE-- DAY
Chloe and Chris walk along theterrace.
CHLOE
Was I dreadful?
CHRIS
Not at all. You have avery unique style.
CHLOE
Yeah, it's called clumsey.How did you get to be so good,anyway? Tom says you played some ofthe greats.
CHRIS
For me, it was a way outof a poor existence. Caught theeye of a good coach. I don't know. Itall came so easy at first.
•
CHLOE
•
Do you enjoyteaching?
CHRIS
Notreally. I mean, it's okay for now but I'dcut my throat if I thought Ihad to do it forever. I'd liketo dosomething with my life. You know,special. I'd like to make a contribution.
CHLOE
So you'rea poor boy from Ireland come toLondon.
CHRIS
I loveit. It's so exciting and alive.I've never seen so much art ortheatre. Not that I've taken much advantage of it yet.
CHLOE
Well, look, if you'd like someone to show you around•••! grew up in Belgravia, I'd be happy to takeyou toall the good places.
•
CHRIS
That'd be great. On one condition: Ibuy the tickets.
CHLOE
Oh dear, is that going to be an issue?
CHRIS
I'm afraid it is. I'm veryold fashioned. But actually Idid read something about the exhibitionin the Saatchi Gallery.
CHLOE
That's perfect. It'd bemy pleasure to take you.
CHRIS
You're very kind to offerthis. Can I at least give you some free tennis lessons?
CHLOE
Okay, it's a deal. How about
•
Wednesday for the Saatchi?
CHRIS
• I can do that.
CHLOE
Shall we meet for lunch first?
CHRIS
It's a date. I'd better get ready. Your guests will be arriving soon.
CHLOE
Yeah, yeah, of course. Go.
CHRIS
A sweaty tennis player's hardly what they expect.
CUT TO:
EXT. HEDLEYESTATE GROUNDS --DAY
Guests mill about on the lawn.
• CUT TO:
INT. HEDLEYESTATE STAIRS-- CONTINUOUS
Chris enters, brushing offhis suit jacket. He passes through a doorway and into the library,then down another corridor, and approaches a ping pongtable.
NOLA (O.S.)
So -- who's my nextvictim? You?
CHRIS
I haven't played tabletennis in quite a while.
NOLA
Would you like to playfor a thousand pounds a game?
CHRIS
What did I walk into?
They play. Chris smashesthe ping pong ball across thetable. He smiles.
NOLA
What did I walk into?
•
CHRIS
• It's like this.May I?
NOLA
Please.
CHRIS
You have to leanin •..andhit through theball.
NOLA
I was doing justfine until you showed up.
CHRIS
Ah, the storyof my life. So tell me ...what'sabeautiful young Americanping-pong player doing minglingamongst the British upper class?
NOLA
Did anyoneever tell you you play a very aggressivegame?
CHRIS
• Did anyoneever tell you you've
very sensuallips?
NOLA
Extremely aggressive.
CHRIS
I'm naturallycompetitive. Is it off putting?
NOLA
I'llhave to think about thatfor a while.
TOM (O.S.)
Ah, there you are. I wantedto introduceyou to Chris Wilton•..
Tom enters, clutching a drink.
TOM
Chris Wilton this is NolaRice. My fiancee.
NOLA
Aha -- so you're the tennispro.
•
TOM
•
••. Hello,darling.
He kisses her on the cheek.
CHRIS
...My pleasure.
NOLA
He was trying to have his way with me over the table.
TOM
Oh really? Yeah, well, you'd better watch out for this one. He's made a living out of hustling.
NOLA
I'll be ready for you next time.
She turns, kisses Tom.
NOLA
I'll see you outside•
TOM
• Oh yeah.
She exits.
TOM
(sighs)
She's quite something, isn't she.
CHRIS
How long have you been together?
TOM
Oh, six months ••• Jesus,yeah,six months! She came over to study acting and I met her at a party that I'd crashed and she'd crashed and one thing led to another. Obviously it's taken motherquite a long time to get used to theidea that I'm serious but to be honest with you, mother's always hadthis funny little agenda for me which doesn't really involve marryinga struggling actress. Especiallyan American one. But I am crazyabout her.
•
(MORE)
TOM (cont'd)
Anyway, I thinkwe should all go to dinnernext week. What do you
•
think?
CHRIS
I'd love to.
TOM
Excellent.Now, Irish, how about a little dropof Scottish before supper?
CHRIS
Why not.
TOM
Lead on.Quickly.
CUT TO:
EXT.SAATCHI GALLERY/EMBANKMENT -- DAY
Chloeand Chris walk together.
CUT TO:
•
EXT.THAMESEMBANKMENT -- DAY
Chloeand Chris, together.
CUT TO:
EXT.ST. JAMES PARK -- DAY
Chloeand Chris glance at Buckingham Palace,the Queen's Guardsin the background.
CUT TO:
INT.CINEMA -- DAY
Chrisand Chloe are seated in a nearempty auditorium.
CHLOE
Theseafternoons have been great. I'm soglad your schedule allows you somuch time off•
•
• CHRIS
Yes, it's fun. Although it wouldn't hurt to have a few more pupils.
CHLOE
Do you need money?
CHRIS
God, no. I'm fine. It's very sweet of you to ask but I don't.
CHLOE
I'm only asking because I care about you.
They kiss passionately.
CHLOE
Shall we go to your place ormine?
CHRIS
I don't think mine's quitewhat you're used to •
CHLOE
Shut up. I think yours'llbe just
•
great.
They kiss again.
CUT TO:
INT. CHRIS'S FLAT -- DAY
Chloe and Chris make loveon Chris's sofabed.
CUT TO:
EXT. STREET/BELGRAVIAHOUSE-- DAY
Establishing.
CUT TO:
INT. BELGRAVIA HOUSE LANDING/LIVINGROOM -- DAY
Eleanor and Chloe walktogether.
•
ELEANOR
•
You've been seeing a lotof Chris Wilton lately, I understand.
CHLOE
Yeah. He's very nice.
ELEANOR
I liked him. I just don't understand what he's aimingfor.
CHLOE
He certainly doesn'twant to be a tennis pro for therest of his life.
Alec, seated nearby,overhears.
ALEC
Well, I find himvery likeable. He's found hisway up the only way open to him and he'snot trivial. I had a very interestingconversation with him the otherday about Dostoyevsky.
• CHLOE
Can't we do somethingfor him? A place in one ofyour companies or something?
ALEC
Has he expresseda desire?
CHLOE
No, but he'sopen, you know, about his future.
ALEC
Uh-huh.
CHLOE
He reallywants to make something of his life.
ELEANOR
Chloe --be careful. Tom's involved with a woman Ihave reservations about. Don"trush off.
CHLOE
Tom's happywith Nola. You're
•
prejudicedcause she's American.
ELEANOR
•
She'sspoiled and temperamental.
CHLOE
She'san actress, they're emotional.
ELEANOR
She'sdeluding herself and she's moody. She's not right for Tom.
ALEC
Who areyou talking about?
ELEANOR
Nola.
ALEC
Oh.
CUT TO:
INT.LOCANDA LOCATELLI -- NIGHT
Chloe enters a restaurant and spots Chrisseated at the bar. • Shewalks over to him.
CHLOE
Haveyou been waiting ages?
CHRIS
Hello.Not at all.
CHLOE
Trafficwas awful. The others'll be here ina minute. They're probably stuck init somewhere.
(towaiter)
Can Ihave a champagne cocktail, please?
CHRIS
One ofyour father's associates spoketo me today about the possibilityof a job. Did you say anything?
CHLOE
Look, Ijust told papa to keep his eyes openif anything juicy opened up.
•
(MORE)
CHLOE (cont'd)
So you could have first option.•.if you wanted it. You're not cross are
•
you?
CHRIS
God, no. It's extremely thoughtful of you.
The waiter brings Chloe's drink.
CHRIS
Thanks.
CHLOE
What do you think?
CHRIS
I'm gonna have to think aboutit. I've never really seenmyself in the business world.
CHLOE
Mhh-hmm. So, what doyou see for yourself, you know, inthe future?
CHRIS
I don't know really.I mean, I'm
• sure its a great opportunity.
CHLOE
I'm think it is.Papa said it's a chance to learnthe business. And if things go well,he'll see to it, you know ••. thatyoumove upquickly or whatever.
CHRIS
I've always feltso-so about office work.
CHLOE
It's not exactlyoffice work. Think of it more as astepping stone.
CHRIS
To •.•?
CHLOE
To a bigger job,more responsibility,greater earning potential, Idon't know. You"ve always saidhow much you admire papa's accomplishments.
•
CHRIS
•
Of course. Imean -- it's strange but comingwhere Icome from, I've always admiredmen like your father. Wealthybut not stuffy. Enjoying his fortune.Having a grand time, supportingthe arts.
CHLOE
Well, he'd reallylike to open some doors for you,that's all.
CHRIS
He's a verygenerous man.
CHLOE
He respects how you'vepulled yourselfup against the odds ..• You don't seemvery enthusiastic.
CHRIS
I'm sorry.I hope my hesitation isn't upsetting.
CHLOE
No, no, notat all. It's just that,
• you know,you've always talked
aboutmaking a contribution and ••• I'msorry.
CHRIS
I will. Ipromise.
Theykiss.
Chloe seesTom and Nola enter the restaurant.She waves.
CHRIS
Oh good.
CHLOE
Hello.
TOM
Hi, guys.
Chloe andNola begin chattering.
CUT TO:
•
• SAME-- A FEW MINUTES LATER
Chrispulls the chair out for Chloe as she seats herself at a table.
CHLOE
...Don'tworry, thetraffic was awful.
TOM
It'smy fault. I draggedNola to the classic car showat Excel.
CHLOE
Really?
TOM
Itwas unbelievable. I swear my trousershave barely dried.
CHLOE
Oh God. Shutup •
TOM
Wellyou love your cars, though,
• don'tyou Chris?
CHRIS
I thinkthe old ones are beautiful.
TOM
Ah.
NOLA
Yeah, Ilike the old ones. But Tom likes allthose new ones with the gadgetsand .•.
Tom nods,raises his eyebrows.
NOLA
I want anAston Martin.
CHRIS
I drivean Aston Martin.
TOM
Really?
•
• CHRIS
Yeah, I used to work for a man and I used to wash his cars for him. He was very, very particular about•••
Chloe turns and takes a menu fromthe waiter.
CHLOE
Thank you.
CHRIS
••• takingcare of them so I hadto wash them every day with a toothbrush.
NOLA
I want as Aston Martin or one of those vintage convertibles.
TOM
Well, when we're marriedwe'll collect vintage cars. Just aslong as I can have a DB9 with allthe trimmings. Okay?
He kisses her. •
TOM
In fact, Hedley is perfectfor keeping all those cars.In fact, speaking of Hedley •..
CHLOE
Should we order, causehe's waiting•••
TOM
Oh, frightfully sorry.
TOM
I'll have the bakedpotato with truffles. That'll belovely. Yum- yum.
NOLA
I'd like the same,please.
WAITER
Nothing to start?
TOM
• Oh, I think the winelist.
CHLOE
•
I'll have the caviar blinis, please.
CHRIS
Er, roast chicken.
CHLOE
God, boring! Honestly, they have the greatest caviar blinis here. You should try them.
CHRIS
That's okay.
He passes her the menu.
CHLOE
No, do you like caviar?
CHRIS
So-so.
CHLOE
So-so?
• CHLOE
He's been brought up as a good boy to always order modestly. I'm very sorry.
TOM
He'll have the blinis.
CHLOE
My goodness, was your father anoil rigger who specialized in etiquette?
CHRIS
Er, he was kind of austere.
CHLOE
Chris' dad was a bit of areligious fanatic.
TOM
Oh Christ•
CHRIS
After he lost both his legshe foundJesus.
•
TOM
• God. Sorry, but itjust doesn't
seem like a fairtrade.
CHLOE
What were you sayingabout Hedley?
TOM
Oh, papa's invitedus for some shooting.
CHLOE
Oh, really?
TOM
Mmm-hmm.
NOLA
Guess I'dbetter bring a different change ofclothes. I don't think yourmother appreciated what I brought lasttime.
TOM
I thinkthat was your swimsuit. She's justused to slightly more
• fabric.
CHLOE
I'm sureif she knew you'd worn it in a movieshe'd suddenly find it chic.
TOM
True.
CHRIS
Haveyou done many movies?
NOLA
Itwas a commercial, not a movie.
TOM
Butyour eyes went straight toher, if youknow what I mean.
NOLA
I don'tthink my career has really gone asplanned.
TOM
Oh,you just need a break.
CHRIS
• I think it's important to be lucky
in anything.
CHLOE
Well, I don't believe in luck. I believe in hard work.
TOM
Mrnm.
CHRIS
Oh, hard work is mandatory, but .••I mean, it seems scientists are confirming more and more that all existence is here by blind chance. No purpose. No design.
CHLOE
Well, I don't care. I love every minute of it.
CHRIS
And I envy you for it•
TOM
• What was it.•.the, er .••thevicar
used to say? "Despair is thepath of least resistance." Itwas something odd, wasn't it. Itwas very strange.••
CHRIS
I think that faith isthe path of least resistance.
TOM
Oh God.
CHLOE
Oh God. Can we changethe subject, please?
TOM
Oh God.
CHLOE
Nola was talkingabout acting which is much more interesting.
TOM
Mrnm.
•
NOLA
•
No, I was just saying that I think I'm giving acting a second thought. I just can't bear people in my hometown to think I've failed. Not that I'm ever going back to Colorado. Ever.
The waiter returns.
WAITER
Have you decided on a wine?
TOM
Two bottles of Puligny-Montrachet. Thank you.
CUT TO:
EXT. A SWISS OFFICE BUILDING-- DAY
Establishing•
CHRIS (V.O.)
Good morning. Chris Wilton.
•
ROD (V.O.)
Rod Carver. Good to meet you.
CHRIS (V.O.)
Good to meet you.
CUT TO:
INT. HEWETTINC MAIN OFFICE-- CONTINUOUS
Rod introduces Chris toAlan Sinclair.
ROD
You'll be working underAlan Sinclair here.
CHRIS
Hi Alan. How are you?
ROD
At first, you may findthe, er, assignments a little,um, unchallenging but that'll soon change as you, er, appreciatehow
•
things wash here.
ALAN
•
It's basically nine to five.
ROD
Yes, yes. So you'll haveplenty of time to keep up the backhand ifyou like.
ALAN
Now if you're okaywith the package,we'd liketo beginthe first ofthe month.
CHRIS
I'm surethe salarywon't be a problem.
Chrisand Alan shake hands.
CHRIS
Good tomeet you, Alan.
ALAN
Good.And to you •
CHRIS
• And Rod.
Chrisand Rod shake hands.
ROD
I'm sureyou'll be happy here. Excitingthings are happening.
CHRIS
I 'm sureIwill.
CUT TO:
INT.CHRIS'S FLAT -- EVENING
Chrisand Chloe enter.
CHLOE
I can'ttell you how happy I am you'vetaken that job. It's such goodnews •
CHRIS
Here,I brought you this to celebrate.
•
He hands her a gift. •
CHLOE
Wow. Thank you. Believe me, in no time you'll be running that division.
(unwrappingthe gift)
You're so much more on the ball than Alan Sinclair. He's nice but..•uninspiring.
CHRIS
It's very rare --
He points to the CD case asshe pulls it from the wrapping.
CHRIS
It has some beautiful ariason it. And his voice expresses -- everything that's tragic about life.
CHLOE
You find it tragic, doyou?
CHRIS
• And you?
They kiss passionately.
CHLOE
I love it. Let's stayat home and have dinner and listento the tragedy. I'm gonna open oneof those bottles ofwine I got you.
CHRIS
Ah, Puligny-Montrachet. Inever heard of it beforeTorn orderedit. Now I'm addicted.
CHLOE
Torn andNola invitedus to go and see a film with themtonight but I told them we're busy.
CHRIS
Oh•..? But we haveno plans. Well, no special plans.
CHLOE
• I thought we saidwe'd stay in?
CHRIS
•
Yeah, but itwasn't written in stone? We could've joinedthem.
CHLOE
We still can if you'dprefer it,
CHRIS
It's not a caseof preferring it. It's just we alwayshave fun with them and -- you lovefilms.
CHLOE
Well shall Icall them?
CHRIS
I mean, sure,unless you'd rather not.
CHLOE
Well ••• itmightbemore fun just the two ofus. The wine, the opera..•
CHRIS
Mmrnm•••Absolutely.Ijust figured,
• we can stayin any, any night
and •.•they'refreeand suggested a film.What's the film?
CHLOE
I don'tknow, but if you'd prefer it.•.
CHRIS
I am inthe mood for a film.
CUT TO:
EXT. CINEMA-- NIGHT
Chloeand Chris stand beneath an illuminatedmarquee that readsTHE MOTORCYCLE DIARIES. A taxipulls up.
TOM
(gettingout of taxi)
Thankyou so much, fella. Oh, hang on. I'mhaving problems with the door.There we go •
•
CHLOE
• (to Tom)
Hello Sweetie.
TOM
Hi guys.One second.
Tom reachesin his trouser pocket for some money andhands it tothe driver.
TOM
Thereyou go, fella. Thanks very much. Good luckwith the sky blues.
TAXIDRIVER
Oh yeah,cheers.
Tom flicks away a cigarette butt, then stepsover to Chloe.
CHLOE
Where isshe?
TOM
Nola got a migraine at the last moment and unfortunately she can't make it
•
CHLOE
Oh no. Is she gonna be all right?
TOM
-- but she sends her love••• Yeah, she'sgonna be fine.
(beat)
Hell with her. Motorcycle Diaries!
CHLOE
I bet that was her choice. I can't believe this is what you really want to see.
CUT TO:
INT. CHRIS'S FLAT -- NIGHT
Chloe and Chris lie on thesofabed, embracing.
CHLOE
• Everybody likesyou at work. Papa
says he's heardgreat things. You're avery clever boy ..•
CUT TO:
EXT. RALPH LAUREN CLOTHING STORE/KING'SROAD
Chris exits clutching a shopping bag andbegins walking along the pavement. He notices Nola nearby. He waves.
CHRIS
Hey.
NOLA
Hey.
CHRIS
Hi.
NOLA
How are you? What are doinghere?
CHRIS
I was, er, just looking fora sweater.
NOLA
Uh-huh.
CHRIS
The kind Tom has. It it cashmere?
NOLA
Um, it's vicuna. Vicuna.
CHRIS
Vicuna? Right.
NOLA
Yeah.
CHRIS
Where are you going?
NOLA
Oh, I'm just, er,having a nervous breakdown•
CHRIS
• Why?
NOLA
•
So ••. well,Ihave an audition in ten minutes and, as usual, my confidence level which started off at a ten is now a zero.
CHRIS
Don't worry, you'll be great.
NOLA
Yeah. I'm gonna be late, so ••• are you walking? You wanna walk?
CHRIS
Yeah, sure.
NOLA
Oh, my agent was supposed to meet me but he cancelled. So that's •..awful.I'm alone to just •••
CHRIS
Would you like me to come along for moral support?
• NOLA
Yes. That would be great. If you •.•
CHRIS
Sure. It's not a problem. No, it's not a problem.
NOLA
If it's not a problem. Okay.
CHRIS
I used to get really tense before big tennis matches.
NOLA
Uh-huh.
CHRIS
Um, have you ever tried yoga?
NOLA
No •
CHRIS
No?
•
CUT TO:
•
EXT. MONUMENT/ROYAL COURTTHEATRE -- DAY
Chris paces, waiting for Chloe to return fromher audition.
NOLA
Hi. Hello. Hi.
CHRIS
Oh, hey. How was it?
NOLA
Blew that. It just works, you know, at home, but ••• Idon'tknow, I just can never really pull through in the end.
CHRIS
You will. You will.
NOLA
Yeah. You know what, I could actually use a drink just to pull myself together -- a little bit•
CHRIS
• Sure.
NOLA
Okay.
CHRIS
This way .••
CUT TO:
INT. BAR -- DAY
Chris and Nola are seatedat a bar. Nola drains her wine glass and hands it to a waitress.
NOLA
What was I saying?Um, my sister went to college fora couple of years, but I'm likeyou, I'm self taught. You should seemy sister. She's..•she's verybeautiful but she's lost in drugsand •.•
CHRIS
I'm sure she's notmore beautiful
•
that you are.
NOLA
•
What I am is sexy.But Linda -- my sister is classicallybeautiful.
CHRIS
So you are awareof your affect on men?
NOLA
Beforemy parents split they used to put her inthese pageants.
CHRIS
Mmm-hmm.
NOLA
It's just a joke.
CHRIS
What didyour father do?
NOLA
um.•• heleft.And never sent any money.And my mother could never hold down a job.
• CHRIS
No?
NOLA
No. Herproblem was that she drank.
CHRIS
Mrnm.How didyou meet Tom?
NOLA
Um, we metat a party. He saw me across theroom and he honed in on me like aguided missile. And I liked him rightoff. You know, I thought,um, well I think he's very handsome.Don't you?
CHRIS
Very.And he asked you to marry him?
NOLA
Mrnm.Well,he swept me off ofmy feet withpresents and you know ••• whatdidIknow about that
• kind oflife? I'm just a starving
actress fromBoulder, Colorado.
CHRIS
•
Mmm.
NOLA
Mmm. I hadanother bad marriage behindme. That's another reason she hatesme.
CHRIS
Who?
NOLA
Eleanor.Tom's mother. She wants him tomarry this girl named Olivia who I thinkis a distant cousin. I don't know.It's, it's sick. It's such aninbred family. It's.•.
CHRIS
And was it love at first sight for you too?
NOLA
Um.•.Ithought he was very handsome.You know, and I told you Iwas just••.Iwas overwhelmed with
• attention.So, what about you and
Chloe?
CHRIS
She'svery sweet.
NOLA
Mmm. Sheis very sweet. And she wants to marry you.
CHRIS
I don'tthink her mother would approveof that either.
NOLA
No. No, it's different. I don'tbuy intoEleanor, and she knows it,but you •..arebeing groomed.
CHRIS
Mmm.
NOLA
You mark my words. They almostdied when they thought Chloe hadrun off with some guythat ran a gastropub
•
in thecity. (MORE)
NOLA (cont'd)
But ...you'regonna do very well for yourself -- unless you blow it.
•
CHRIS
And how am I going to blow it?
NOLA
By makinga pass at me.
CHRIS
And what makes you think that's gonnahappen?
NOLA
Men always seem to wonder. They think I'd be something very special.
CHRIS
And areyou?
NOLA
Well noone's ever asked for their money back.
CHRIS
Where was all this confidence when you needed it in the audition?
NOLA
I'vehad too much to drink. Can you getme a cab?
CHRIS
Sure.
CUT TO:
EXT.HEDLEYESTATE DRIVEWAY -- DAY
Alec'sMercedes pulls through the gateand up to the front of the house.His chauffeur opens the cardoor for him.
ALEC
Thankyou. You were driving abit fast,weren't you?
CUT TO:
EXT. HEDLEYESTATE STABLES -- DAY
Chloe, Tom, Nola,and Chris walk throughthe stables.
CHLOE
• Which one is he in?
TOM
Second one, over there.
CHLOE
So, do you think he'sgonna be all right?
TOM
Well, yeah, Carmichaelcame and a had a look at himthe other week and he said that..•
NOLA
Oh he's so sweet.
TOM
Basically, the problemwith the right hind is gonna,well, it should have dissipatedfully already but •.•
NOLA
Tom, can I feedhim?
•
TOM
Yeah, yeah,wack him some hay.
CHLOE
Tom, do you thinkhe's gonna be able to playon Sunday?
TOM
Well, hewill play on Sunday ••• but it's just theproblem with the fact that it's onlyLopez who can ride him and he'sinjured at the moment.
NOLA
(to horse)
Hey baby.
TOM
I mean,we're just having a bloody nightmarewith injuries.
NOLA
(to horse)
You're sobeautiful.
• CUT TO:
•
INT. HEDLEYESTATE GUNROOM -- DAY
Alec lifts shotgun parts from a cluttered benchand assembles them.
ALEC
(toChris, nearby)
What would you say to the idea of taking a business course at school that the company would pay for?
CHRIS
I don't know.
ALEC
I've had very good feedback on your work, and the beginning of next year there's going to be a very significant position opening up. One that carries a great deal of responsibility and pays accordingly. Plus there are a number of perks: expense account, driver, etcetera. We had been focusing on someone else, but it's
• obvious to me that you and Chloe
have become close, although I wouldn't consider it if I didn't think you were qualified.
CHRIS
I'd hate to disappoint you.
Reveal Tom standing in the doorway.
TOM
Oh, excuse me.
ALEC
Come on, Chris.
TOM
We're nearly ready.
CHRIS
Thanks Tom.
CUT TO:
•
•
EXT. HEDLEYESTATE GROUNDS -- DAY
A clay pigeon flies through the air,then crashes to the ground.
Tom clutches a shotgun. Chloe,Alex, and guests stand watching.
TOM
(toChris)
Never mind, fella.
Chris lowers his shotgun and removeshis ear defenders. He turns, looks at Tom.
TOM
This is basically a tune-up forthe grouse season which is startingup.
CHRIS
Oh.
TOM
But it's, um, bloody goodfun.
• CHLOE
Don't frighten him.His shooting's not really up to histennis, poor thing.
ALEC
I'll make an accomplishedgrouse shooter of him yet.Don't you worry, Chris.
TOM
Quite right, papa.
ALEC
Come on, Chloe.
CUT TO:
INT. HEDLEYESTATE CHLOE'S BEDROOM -- DAY
Chris enters to findChloe lying on the bed reading abook .
CHRIS
Hi, darling.Have you seen my Strindberg book?
•
• CHLOE
No.
CUT TO:
INT. HEDLEYESTATE LIVING ROOM-- DAY
Tom and Nola play chess. Alec enters.
ALEC
How did the audition go?
NOLA
Oh, it was pretty awful, I'm afraid.
TOM
It"s her own fault, bless her. She just tightens up.
ALEC
Well, I'm sure something worthwhile will come along •
NOLA
• Unfortunately, there's just not
anything right now that I'm not great for.
Eleanor, seated nearby, reacts.
ELEANOR
So how long do you keep itup?
NOLA
How long?
ELEANOR
Well if time passes and nothing significant materializes, how long do you keep on going beforeyou decide that••• totry something else?
TOM
Ihardly think Nola's reachedthat point, mother •
•
ELEANOR
•
I'm not saying that.All I'msaying is you give acting a try fora time and if you keepbeing disappointed you have to askyourself the question: "Is thisreally what I want in my life? Isthis •.• whatI want?"
NOLA
Well I do askmyself that.
ELEANOR
See? It's only logical,Tom. Especially fora woman. It's a particularlycruel business for a woman, and asyou get older, and time passes, ifnothing happens it gets harder andharder.
ALEC
Eleanor,Nola isn't exactly over the hill•
ELEANOR
I'm not saying "now".
•
ALEC
Oh.
ELEANOR
But I'ma great one for facing up to realities.
TOM
Wellyour take on these realities is yourown opinion and nothing else.And frankly, not everybody else isinterested in hearing about them.
ALEC
Tom,don't you raise your voice to yourmother, please.
ELEANOR
Well. ..
TOM
I'm notraising my voice. And I'm sorry,papa, but she's always on Nola'scase, continually
•
discouragingher via•.• innuendoes.
ELEANOR
All I'm saying is acting's so will- o'-the-wisp. Those that have it know it right off. To pursue it because you don't want to admit defeat to friends back home is, frankly, unrealistic. I'm sorry but that's the way I feel.
NOLA
Excuse me.
TOM
Nola --
NOLA
It's okay. I'd like to be alone, thanks.
Nola turns and goes.
TOM
(toEleanor)
Well thank you very much. And I'm sorry if I'm raising my voice now but you know that's her Achilles'
• heel emotionally.
ALEC
He's right, Eleanor. I think you've had one too many G and T's.
CUT TO:
INT./EXT. HEDLEYESTATE -- DAY
Chris wanders the estate lookingfor Nola.
Finally, he spots her.
CHRIS
I was looking for you.
NOLA
I was upset. I just wantedto be alone.
CHRIS
I don't mean to intrude.
NOLA
•
I need a drink.
CHRIS
•
I likeyou when you drink. You get flirtatious.
NOLA
Do I?
CHRIS
Yeah. Confident.
NOLA
I don't think this was a good idea. You shouldn't have followed me here.
CHRIS
Do you feel guilty?
NOLA
Do you?
This kiss passionately.
NOLA
We can't do this.
• CHRIS
I know.
Again, they kiss.
NOLA
This can't lead anyplace•••
They pull at each other's clothes•••
CUT TO:
INT. BUSINESS SCHOOL CLASSROOM-- DAY
Chris, seated in the classroomwith other students, looks up from his studies and admireshis surroundings.
CUT TO:
INT. ROYAL OPERA HOUSE BOX-- NIGHT
Chris and Chloe sit nextto one another watching a female performer on the stagebelow. Tom, seated behind them, reaches into his jacketand takes out a mobile phone.
• TOM
Hello? (to Nola, nearby) Darling, I think it's for you.
Nola takes the phone from him.
TOM
But take it outside.
Nola stands and steps throughthe doorway into the corridor outside.
NOLA (INTO PHONE)
Well there's hope at least.Er, when's the call back? Just letme know when you hear anything atall 'cause I really think I couldbe great in this part. Yeah, okay, bye.
Chris enters the corridor andwalks up to her •
CHRIS
Why have you been so coldto me?
•
NOLA
I haven't been cold.
CHRIS
Yes you have. Ever sincewe came back from the countryside,you've been distant, evasive.
NOLA
I don't want to encourageanything. What happened, happened,Chris. I mean, the momentwas very out of control for many reasons.I was upset, I was drinking, andthe storm was overpowering.
CHRIS
Oh, stop rationalizing.
NOLA
I'm not rationalizing.Passions are passions but we're bothvery involved with otherpeople •
CHRIS
• You're not such a goodactress, you
know. It's not possible.
• NOLA
Look, you daydreamed about making love to me and I'm not saying the fantasy didn't cross my mind, okay? We had our moment. But, you know, let's move on, get back to reality. Chris, we're gonna be brother and sister-in-law.
CHRIS
You were exactly as I pictured you'd be making love.
He moves in to kiss her but shepushes him away.
NOLA
Chris, forget it. It's over.
CUT TO:
EXT. CARTIER BONDSTREET --DAY
Chris exits a jeweller's storeclutching several bags and walks to his Jaguar. A chauffeurholds the rear passenger door open for him. •
CHRIS
Thanks.
Unexpectedly, he seesHenry across the street.
CHRIS
Henry! Hey, how are you?
HENRY
Chris. All right. God,look at you man!
CHRIS
Good to see you.
They approach one another.
HENRY
Yeah, looks like you'redoing all right for yourself, aren'tyou?
CHRIS
Thanks. Are you stilldoing the tennis tour?
•
• HENRY
Yeah, I love it. I love it. Look at this car.
CHRIS
Yeah? Oh don't worry. It's not mine. It's the company's.
HENRY
Yeah. I, I, I know you found it a bit of a grind, didn't you? But I'm still circling the globe, deluding myself.
CHRIS
I just couldn't stand it.
HENRY
No. No, I heard you went into business.
CHRIS
I'm a wheel in an office if you can believe it•
HENRY
• A big wheel.
CHRIS
It's who you know, Henry. I got involved with a woman. Verynice •. Family's got nothing but money,big estate, servants, polo ponies.All quite lovely.
HENRY
Hey, look, I understand. Itbeats getting your heart broken allthe time by the top seeds.
CHRIS
Isn't it amazing how much oflife turns on whether the ball goesover the net or comes rightback at you?
HENRY
I always admired your game though, you know?
CHRIS
Thanks.
•
HENRY
•
You werevery steady. Cool under pressurebut creative. You could be a poetwith the racket like Laver was.
CHRIS
I lostto you as much as I beat you.
HENRY
No.When I played you, you never beatyourself. I'm telling you, a coupleof bounces the other way you might'vebeaten some of those top seeds.
CHRIS
Listen,can I buy you lunch?
HENRY
That's.•• whataboutnext time I'm intown? Give me your number?
CHRIS
Certainly.Um, I'm moving into a
• new flatso this is my business
card.You should call me any time.
HENRY
Very impressive.
CHRIS
So goodto see you, Henry. You look very,very well.
HENRY
And you mate. You look very,very well.
CHRIS
Ican buy us lunch. Put iton the expenseaccount, so ..•
HENRY
Very well.
CHRIS
•..docall•
•
HENRY
•
Good. Yeah, yeah. Bye.
CUT TO:
INT. BELGRAVIAHOUSE LIVING ROOM -- EVENING
Guests mill about chattering.
ALEC
••• Oh my God••.
CHLOE
••• Rightthere. She's got glasses on.
ALEC
But why on earth•..whyon earth did your mother invite her?
CHLOE
She met her at the supermarket yesterday and invitedher •
ALEC
• The supermarket?
CHLOE
Yes.
CHRIS
••. Canyou play thepiano?
CHLOE
No, I'm terrible atthe piano.
Eleanor steps behindthem.
ELEANOR
So -- when areyou two getting married?
CHLOE
Mummy!
ALEC
Oh gosh, Eleanor!
ELEANOR
Oh, don't lookso surprised. You've been like twopeas in a pod for a
•
long time now.
CHLOE
•
Stop it.
ALEC
Eleanor, please. That's•..
ELEANOR
Don't tell me the subject hasn't come up.
CHLOE
Mummy, come with me. You need a strong cup of coffee.
ALEC
Oh dear, dear, dear.
ELEANOR
Well ••.
CHLOE
Come on.
Eleanor turns and followsChloe •
ALEC
• Eleanor doesn't holdback when
she's had a few.
CHRIS
Er, look, it's a reasonable question. Chloe andI have discussed it.
ALEC
Eleanor and Iwould be delighted to welcome you to thefamily. Tom would love you asa brother-in-law and whatever youtwo need, you can always rely on us.
CHRIS
I appreciate that.
CUT TO:
INT. BELGRAVIAHOUSE HALLWAY/RECEPTION ROOM --EVENING
Chris wanders down stairwaysand through corridors, sipping his drink. •
CUT TO:
•
INT. BELGRAVIAHOUSE-- EVENING
Tom and Nola kisspassionately in the pantry. Nola removes her underwear.
TOM
Um, um, um, um, darling, one second. I just think we,um •..
Startled, she straightensher top and gestures -- Chris stands outside inthe garden, watching through a window.
TOM
You two have met, haven'tyou? I'm sure you've met .•.
CUT TO:
EXT. BELGRAVIAHOUSE GARDEN -- MOMENTS LATER
Tom and Nola greetChris .
CHRIS
I'm sorry. Um, who'dhave thought?
•
TOM
What? That we werehiding in the pantry? It was allher fault you know. Like how can Ihelp if she gets turned on by sexualintimacy in places where we know we'regonna get caught?
NOLA
You were .•• You!Theriskybusiness was your idea.
TOM
All men who see youwant to attack you. Isn't that right,Christopher?
(Chris frowns)
Oh God, are youall right?
CHRIS
I'm fine. I shouldn'tbe drinking on an empty stomach ••.
CUT TO:
•
•
EXT. VILLAGE CHURCH -- DAY
Establishing.
CUT TO:
INT. VILLAGE CHURCH -- CONTINUOUS
Chloe andChris stand at the altar.
VICAR
I now pronounceyou man and wife. You may kissthe bride.
Chris pullsback Chloe's veil -- they kiss.
CUT TO:
INT. MODERNFLAT -- DAY
Chris and Chloeenter the flat•
CHRIS.
• Oh my god.This is incredible.
CHLOE
Isn't is?
CHRIS
What's uphere?
CHLOE
That's abedroom.
CHRIS
Mmmm.
CHLOE
There's anotherbedroom through there. Thebathroom and a kitchen..•alittle terrace•.•
CHRIS
Wow.
CHLOE
But lookat this view.
•
• CHRIS
Oh, it's breathtaking.I just -- wish I could affordit.
CHLOE
Oh, don't bringthat up again. You know it givespapa pleasure to help. Come on.Look at the light coming throughevery day.
CHRIS
It's beautiful.It's huge. I'm gonna get lostin here or something.Did I tell you I'm scared of heights?
CHLOE
Really?
CHRIS
Yeah.
CHLOE
I want youto make me pregnant.
CHRIS
•
Chloe --we discussed this. It's very quick.
CHLOE
It's notquick, we've been sleeping together forages. And I want three childrenand I want them when I'm _v::,ung.
'nim.'
CHLOE
Come on,you can do it. You've got a powerfulserve.
CUT TO:
rzcNNISCLUB COURT-- DAY
play tennis. Tom accidentallyhits the ball net~
CHRIS
Where are you?
•
TOM
•
I know, I know. I'm sorry.Not good. Listen, I've gotto tell you something.
CHRIS
What?
TOM
Well, Nola and I-- broke up.
CHRIS
No?
TOM
Yeah. Or I shouldsay I called it off.
CHRIS
I thought youwere gonna get married.
TOM
Yeah, well, it'srather embarrassingto say but I think mother ratherpoisoned the well on
• that one.Not that I have any
intention inmarrying Olivia- sodding-Allredwho's her main candidate.God, no.
CHRIS
I'm sorry. Idon't understand.
TOM
I suppose "thewhole truth, nothing but thetruth, so help me God" part of the situationis that••• I'vemet someoneelse. Yeah. I've met someone andI fell in love and I just knew rightaway. Although the fact thatmy mother is in seventh heaven abouther ••• Ikeeptrying to tellmyself it isn't a factor, but .•• youknow whatImean.
CUT TO:
INT. HEWETTINC CHRIS' OFFICE -- DAY
Chrisdials Nola's phone number butreceives an automated • message:
FEMALEAUTOMATED VOICE
•
The number you are calling isnot available. The number you are calling not available.
He hangs up the phone.
CUT TO:
EXT. RESIDENTIAL STREET --DAY
Chris walks alongthe pavement, then climbs the steps to an apartmentbuilding where acustodian stands repairing the intercom.
CHRIS
Excuse me.
Chris presses the intercombutton.
CUSTODIAN
Are you looking forMiss Rice?
CHRIS
Yes.
•
CUSTODIAN
She's gone. Saw heryesterday. She"s, er, she's givenup the apartment.
CHRIS
Did she say where?
CUSTODIAN
Not to me.
CHRIS
Thanks.
CUSTODIAN
That's all right.
Chris turns andheads back down the steps, discouraged.
CUT TO:
INT. MODERN FLAT BEDROOM NIGHT
Chloe and Chrisare lying in bed. •
CHLOE
•
What are you thinking about?
CHRIS
Nothing. Just business.
CHLOE
Mmm-hmm. You know it's been over a week since we made love.
CHRIS
Oh, Chloe, I'm beat.
CHLOE
Am I being rejected?
CHRIS
Of course not.
CHLOE
Okay, I can take a hint. Meanwhile, I don't know what's wrong. All my cousins get pregnant so easy.
CHRIS
Look •.•It'llhappen. I'm just
• really tired. Kiss?
They kiss.
CHRIS
Sweet dreams.
He lays back and switchesoff the light.
CUT TO:
INT. VILLAGE CHRUCH-- DAY
Heather and Tom standat the altar.
VICAR
I now pronounce youman and wife. You may kiss thebride.
Tom pulls back Heather'sveil and kisses her.
HEATHER
Just in time. I'm almoststarting to show.
•
• He restshis head against hers.
CUT TO:
INT. TATE MODERNGALLERY -- DAY
Chloe and Carol admirea painting.
CAROL
Well, you have to see a fertility doctor.
CHLOE
I know. We've tried everything.
CAROL
What about this?
They studythe painting closely.
CHLOE
His brush strokes arereally intense, aren't they?
CAROL
•
Yeah. I don't like it.
CAROL
No. Would you everconsider adopting?
CHLOE
No, absolutelynot. Iwant my own children.
They step overto another painting.
CAROL
This one?
CHLOE
Um, sort of.
CAROL
Did I tellyou Victoria Phyfe is pregnant?
CHLOE
Really?
• CAROL
She's sohappy.
CHLOE
•
Whoa.
CAROL
Her and herhusband just found each other.All their neuroses intertwine soperfectly and it just works like acharm. After all the unhappy relationships, they met during a traffic accident.
CHLOE
God.
CAROL
I know, it'sgreat.
CUT TO:
INT.HEWETTINC CHRIS' OFFICE -- DAY
Chris clutches the telephone receiver•
CHRIS
Well, our lawyers are going over it
• aswe speak ••. You'llhavea draft
by Friday. I promise. If I have to work allnight •.• Okay.Thankyou. Thanks.
He hangs up, leans back in his chair, loosenshis shirt collar.
CHRIS
Samantha,can I have two aspirin, please?
A moment later, Samantha enterswith a glass of water and tablets.
CHRIS
Thanks.
He takes the tablets from her andpops them in his mouth.
CHRIS
Tellme, Samantha -- do you ever feel claustrophobicin here?
SAMANTHA
No,not really.
•
CHRIS
•
Oh Christ! I've gotto meet my wife at the TateModern. There'sa new painter shewants to show me. If they call back, Samantha,tell them Friday. Not before.Goodnight.
He exits.
CUT TO:
EXT. SIDE-STREET/TATE MODERNGALLERY-- DAY
Chrisenters.
CUT TO:
INT. TATEMODERN GALLERY-- DAY
Chriswanders around the gallery, looking for Chloe.She spotshim first .
CHLOE
Chris --
•
CHRIS
Oh, Iwas lookingfor you. Hi Carol.
CAROL
Hi, Chris.
CHRIS
How areyou, darling?
CAROL
Good.
CHLOE
They'vegot the most amazing new artistshere.
CHRIS
Yeah?
CAROL
I wantyou to see this woman from St. Ives.
• CHLOE
Oh, yes.
Chris happens to notice Nola standing in the neardistance, • admiring a large canvas.
CHRIS
Look, where are you going to be?
CHLOE
Why?
CHRIS
I have to make a phone call and I can't get any reception down here.
CHLOE
Well, we'll be over there. But hurry 'causethey're closing soon.
CHRIS
I'm coming.
CHLOE
Okay.
CHRIS
Okay.
• Chris walks across the galleyto Nola.
CHRIS
Hello. What a surprise.
NOLA
I, um••• Imoved back into town.
CHRIS
I didn't know you'd lefttown.
NOLA
Yeah. I was really upsetabout everything that happenedso I just went back to America tolook for a job.
CHRIS
I thought you hatedthat place.
NOLA
Anyplace but here•
CHRIS
I looked for you.
•
NOLA
•
For what?
CHRIS
You're still so angry. Where are you living?
NOLA
In town. Why?
CHRIS
You live alone?
NOLA
Why are you asking me these questions? Aren't you still married?
CHRIS
Can I meet you for a drink? Where can I reach you? Come on •••
Chloe approaches.
CHLOE
My goodness. Hello.
•
CHRIS
My darling. Look who I bumped into.
CHLOE
Hi.
NOLA
Hi.
CHLOE
How are you.
NOLA
I'm good. How are you?
CHLOE
You look great.
NOLA
Thanks. How's Tom?
CHLOE
He's fine. Really well.
NOLA
•
Yeah, I heard he got married.
CHLOE
•
Yeah. They've got a baby.
NOLA
Oh.
CHLOE
You know Tom, all settled down.
Carol approaches.
CAROL
Okay, I think I've found it.
CHLOE
Do you two know each other? This is my friend, Carol. This is Nola.
CAROL
Hi.
NOLA
Hi •
CHLOE
We've been looking everywherefor
• this video installation.We can't
find it at all. Will you excuseus? I think it's on the third floor, isn't it?
CAROL
Yeah. No, no, I think it'sback there.
Carol and Chloe step away.
CHRIS
(toNola)
Say your phone number.
NOLA
What's the point?
CHRIS
Just say your phonenumber.
NOLA
Chris•
CHRIS
Please...Say yourphone number.
•
• NOLA
02079460996.
CHRIS
I'll call you.
He exits.
CUT TO:
EXT. STREET/DOCTOR'SOFFICE -- DAY
Chris follows Chloedown the steps.
CHLOE
I think he really knowswhat he's doing. Didn'tyou get a good feeling abouthim?
CHRIS
To me, fertilitydoctors are a cut above witch doctors•
CHLOE
Oh, yeah. Wellhe's not like the
• last one.
They arrive at Chris'Jaguar.
CHLOE
I feel like it'sgonna happen this time.
CHRIS
You go ahead.I've got a few meetings.
CHLOE
I'll dropyou.
She climbs inside.
CHRIS
No, it's okay.It's nearby. I'll walk.
CHLOE
Okay •
CHRIS
• See you athome.
CHLOE
•
Bye.
He blows hera kiss as the Jaguar pulls away.
CUT TO:
INT. NOLA'S FLAT --DAY
Nola and Chrislie together on the bed kissingpassionately.
CUT TO:
INT.NOLA'S FLAT -- LATER
Chris is now seatedon the edge of the bed.
CHRIS
You have avery charming flat. The area'snot as run-down as you said it was •
NOLA
Um, Iwas lucky to find it on such
• short notice.
CHRIS
Mmm-hmm.
NOLA
I meanit's not perfect. The building'sbeen burglarized a coupleof times and the woman down the hallhas mice but •.• youknow, the lobby'sdecent. The key word is cheap.
CHRIS
Mmm.What time is it.
NOLA
Time foryou to go.
CHRIS
It's sohard to leave you ...
Theykiss.
CUT TO:
•
INT. MODERNFLAT -- MORNING
Chris andChloe are seated at either end of a diningtable.
CHLOE
How'd you sleep?
CHRIS
Good.
CHLOE
God, didyou seethat stuff on the news lastnight about that earthquakein China?
CHRIS
Mmm. Terrible.
CHLOE
And therewas this whole thing about how theydiscovered an entirelynew planet•
CHRIS
Yeah?
•
CHLOE
Yeah.
(beat)
I went lookingfor space to rent forthe new gallery yesterday. Papa'sgetting so into the idea.
CHRIS
It shouldbe good for you. I've got to goto work.
CHLOE
Oh, really?
CHRIS
Mmm-hmm.
CHLOE
Iwas kind of hoping we might, you know ••. beforeyouwentto work. It'smy time of the month and rememberthe doctor said we really shouldtry and do it as often aswe possiblycan in the morning.
•
CHRIS
•
Darling, I'm gonna be late.
CHLOE
Come one, it'll be fun. Wait, I've got to take my temperature first.
She places a thermometer in hermouth.
CUT TO:
EXT. STREET/NOLA'S FLAT -- DAY
Nola and Chris walk along thepavement.
NOLA
So, you wanna meet the sametime next week?
CHRIS
Let me come up.
NOLA
We just spent an hour at thehotel. Don't tell me thatyou .•.
•
CHRIS
I'm sorry. I can'thelp it. You drive me crazy.
NOLA
You're gonna be late forwork.
CHRIS
I don't care. Corne on.
They enter theNola's apartment building together.
CUT TO:
INT. FLATS STAIRS --CONTINUOUS
Chris andNola kiss as they climb the stairs to her flat. A door opens toreveal Mrs. Eastby.
NOLA
Oh, Mrs. Eastby,hello•
MRS. EASTBY
• Oh, hello.
NOLA
Hey, did you get that, uh, pest control •.•
MRS. EASTBY
Oh. Yes. Yes. The traps work better with a little peanut butter. It's much better than cheese despite the popular notion that cheese is best.
NOLA
Oh, this is, er, Mr. Harris.
CHRIS
Good afternoon. How are you?
MRS. EASTBY
Hello, hello.
CHRIS
Good to meet you.
NOLA
See you later.
MRS. EASTBY
• Bye-bye.
NOLA
Bye.
Nola and Chris enter Nola's flat.
CUT TO:
INT. NOLA'S FLAT -- CONTINUOUS
Chris tosses Nola's handbag tothe floor and pulls off his jacket. Nola pushes the door closed,removes Chris' tie, and blindfolds him with it as sheunbuttons his shirt.
CUT TO:
INT. LOCANDA LOCATELLI RESTAURANT/BAR-- NIGHT
Heather and Tom are seatedwith Chris and Chloe•
•
TOM
• But I think that Bruton Street
would be perfect for the gallery because it's just right in the thick of things and .•.it'lljust be a natural success I think, because you"re great at picking out paintings and bric-a-brac.
HEATHER
Yeah.
CHLOE
Knowing my luck, I'll get pregnant the minute it opens.
TOM
Yeah, well, you can manage both. I mean, Heths didn't have a problem giving up Adair when we first had Rosie.
HEATHER
Remember, we did have a lot ofhelp though.
• TOM
Hmm.
HEATHER
But the nanny left us.She got a part in a movie.
CHLOE
No?_
HEATHER
Yeah.
TOM
Oh, actually,you know, you know who we bumped intothe other day? Obviously youknow but .••
HEATHER
Yeah.
TOM
••. Nola .
CHLOE
Well, I toldyou, we saw her ••. when
•
was it? Agesago now.
CHRIS
•
Mrrun.
TOM
Yeah.Well I think she"s now working in a boutique on Ledbury Road. Ithink it's Paul or Joe's or something.
HEATHER
Mrrun.
TOM
But she'sjust such an odd girl. I mean shestill looks great. Sorry but it'strue. Er -- but something'sjust••• changedin her face.I mean I, we barely spoke.
HEATHER
Tom saidshe looked a bit hard.
TOM
Yeah, well, she's always, you know, been alady of the sauce so to speak.And I think it kind of runs
• inthe family, but ..•Idon't know.
Imean she's still got that "come hither"look.
CHLOE
Is shegoing out with anyone?
TOM
Strangely,I forgot to ask.
Burt and Phoebe approach.
BURT
Hello, Tom.
PHOEBE
Hello.
TOM
Hello,fella.
BURT
What are you doing here?
TOM
We just popped in for a bitof, you
•
know, local tagliatelle.
CHLOE
•
My goodness, how are you?
PHOEBE
Good to see you. What a lovely family gathering.
BURT
Well, you should have told us you'd made a, a, we'd have made a sextet•••
TOM
.••a sextet. We could have had one of those.
PHOEBE
Are you guys going to Hedley next month?
CHLOE
(to Heather)
••. Yeah,we're gonna try.Aren't we?
HEATHER
• Yeah, we're gonna try, yeah.I know
Tom's dying to get away.
BURT
Hey, I was yelling at youthe other day. You didn't, you didn"thear me.
CHRIS
Me?
BURT
Yeah, you were hailinga cab on Melcombe Street about,er, what, five o'clock? I'd havegiven you a lift.
CHRIS
I was?
TOM
Where's Melcombe Street?
CHRIS
No, not me.
•
BURT
•
Yes -- Imean it certainly looked likeyou.
CHLOE
Where isMelcombe Street?
CHRIS
No, I'mafraid you're mistaken. But peopleare always taking me for otherpeople. So •..
BURT
I'd havesworn it was you.
CHLOE
Well, itcertainly wouldn't be Chrishailing a cab. He's completelydependant on our driver. Very annoying.
TOM
Quiteright .
BURT
You shouldcheck for early
• Alzheimer's,you're forgetting. I'm
sureI'm right.
CHRIS
No,you are mistaken. But .•• thank you forthinking of me.
TOM
I thinkthe only thing that comes outof this conversation is that you'reboth nuts.
BURT
Yeah,well, you're an authority on that.
TOM
Or drunk.
BURT
Look,we'd better be going. Look, callme .
TOM
I willdo.
•
CHRIS
•
Enjoy your supper.
HEATHER
Bye. Seeyou.
BURT
Thanks.
Burt and Phoebe step away.
TOM
(to Heather/Chloe/Chris)
.....Nuts..
CUT TO:
INT. HEWETTINC CHRIS' OFFICE -- DAY
Chris enters.
CHRIS
Good afternoon,Ingrid... Samantha, what do we have for this afternoon?
• SAMANTHA
Er, justthe Sarazin people at two.
CHRIS
Can we pushit an hour? I should be back in time but if I'm not, please make them comfortable.
SAMANTHA
Yeah.
Rod, standing at the reception desk,overhears their conversation.
ROD
Chris-- where are you off to?
CHRIS
I'msorry, Rod. I've got an appointment.
ROD
We have Sarazin and Company this afternoon.
•
CHRIS
• I should be back in time but if I'm
not, please start without me.
ROD
Really?
CHRIS
It's okay. It's important. Trust me.
CUT TO:
EXT. STREET -- DAY
Nola and Chris walk together.
NOLA
It's ridiculous to go back tomy place. Once we get there you'll have less than an hour.
CHRIS
Look, it's not that I'm miserable with Chloe, it's just..•
NOLA
I don't wanna talk about Chloe any more.
CHRIS
Listen, it's just I'm bored! I mean, she's very nice but..•
NOLA
Chris!
CHRIS
Are you in a badmood?
NOLA
Yes, I am in a badmood.
CUTTO:
IN'l'.BAR-- DAY
Chris and Nola sitat the bar .
•
NOLA
• I just blew another audition. I'm
so sick of the acting thing, it's just not working out.
CHRIS
It's a hard field. You have to keep plugging at it.
NOLA
I'm sick of plugging. Tom's mother was right. It just gets to a point. Or should I say your mother-in-law?
CHRIS
Hey, look -- let's not go into one of those, okay?
NOLA
I don't know what I'm doingwith you. You're never gonna leave Chloe.
CHRIS
Maybe I will.
NOLA
•
Don't say that unless youmean it.
CHRIS
Chloe's just so desperate to get pregnant. I mean, it's mechanical. I don't know what I'd do if I couldn't see you. Really, Imean it •.
CUT TO:
INT. BELGRAVIAHOUSE LIVING ROOM-- DAY
Torn,Chloe and family are seatedaround a Christmas tree.
TOM
Merry bloody Christmas.
ELEANOR
Lovely.
CHLOE
How many cigarettes areyou gonna smoketoday?
•
TOM
• A million, at least.
ELEANOR
Please don't start smoking.
CHLOE
Well, it is Christmas.
ELEANOR
It's such a pity.
TOM
Corne on,just a little one.
ELEANOR
If you think you're going to be living forever, you're not .••
Elsewhere, Chris talks softlyinto his mobile phone.
CHRIS
(to Nola)
I wanted to wish you a Merry Christmas. I've been thinking about you •.•Imay be able to get away
• tomorrow for an hour or so .•• Okay.
See you then. Bye-bye.
ALEC
There you are, Chris••.
Alec enters from the stairway.
ALEC
Chloe tells me you've sustained some personal loss inthe market over the past fewmonths .••
CHRIS
Well, I guess I'vebeen a little bit careless, notconcentrating. And of course I thoughtI made good decisions but ...
ALEC
Well, who could havepredicted. Look I don't wantyou and Chloe to worry. You'll alwayshave a safety net•
CHRIS
• You're too generous,sir.
ALEC
• Oh, no, you've madeChloe happy and
that means a greatdeal to Eleanor and me ...
CUT TO:
INT. NOLA'S FLAT --DAY
Chris rubsbaby oil onto Nola's back. They kiss.
DISSOLVE TO:
EXT. HEDLEYESTATE LANDSCAPED GARDEN -- DAY
Chloe andothers are seated around a table. Burt stands behindPhoebe, toying with her hair. Chris and Tom clutch cups oftea.
CHLOE
Well Ithink it's going to be an amazingholiday. Don't you, Chris?
CHRIS
• Yes.
PHOEBE
Oh,we have a choice of sleeping on theboat or in the different hotels.
TOM
Ah,_boat.Every time.
BURT
Boat.
PHOEBE
Good. Isay the boat.
CHLOE
Do youknow he's never been to the GreekIslands?
TOM
What?
PHOEBE
No?
•
CHLOE
• No, he's never been.
PHOEBE
You'lllove it.
CHRIS
No. Ihave been to Athens but I hear the Islandsare paradise.
TOM
Oh, thatreminds me, we have to go to Sardiniato pop in on Brook and DougieWinston.
PHOEBE
Oh good.
BURT
Oh God.
HEATHER
No, no,the house is beautiful•
TOM
No, Brook'sfine, Dougie's a
• nightmare,but ...
CHLOE
Sounds soromantic, doesn't it? Mykonosand Crete.
PHOEBE
Yeah.
TOM
Yeah.
PHOEBE
I'm soanxious to see all the beautifulold temples and theaters.
TOM
Oh God.
HEATHER
Yeah. Oh,I'll do that with you.
CHLOE
You know,I bought Chris an ancient Greek fertilitycharm. Do you remember?
•
CHRIS
• I'll never forget.
CHLOE
I sent off for that fertility thing. He had to put it under his pillow for two months. And absolutely nothing happened, of course. Poor thing. I'd just subjected him to the torture.
TOM
They think he's firing blanks.
CHLOE
Oh, shut up!
CHRIS
(into mobile phone)
Hello?
NOLA (ON PHONE)
I miss you .
CHRIS (INTO PHONE)
I can't get away right now.
•
NOLA (ON PHONE)
Well you have to. When canyou get here?
CHRIS (INTO PHONE)
Tomorrow. No, Monday.Look ••. it'sa three day weekend. Tuesday.
NOLA (ON PHONE)
Chris, I need to seeyou.
CHRIS (INTO PHONE)
I'll see what I can do.I'll call you right back.
He lowers the phone andends the call.
CHLOE
(continuing)
...I would love tomeet Barbra Streisand.
TOM
Oh, she's meant to bereally lovely. She's with thatother
• American fella.
CHLOE
• (re: phone call)
Who was that?
CHRIS
Oh, I'm such an idiot. I forgot to sign some papers. I have to drive into town.
CHLOE
Oh, you can't go. It's a bank holiday weekend. The traffic'll be terrible. I mean, we've all got plans.
CHRIS
I don't mean today.
CHLOE
Well surely it can wait a coupleof days.
CHRIS
Yes, I'm sure it can •..
CUT TO:
•
INT. HEDLEYESTATE DINING ROOM-- EVENING
Tom, Heather, Eleanor,Alec, Chris, and Chloe are seated around a dining table.
ALEC
I think tomorrow we shouldgo for a morning ride.
ELEANOR
Mmm-hrmn.
ALEC
I've some lovely new horses.
TOM
Do you rememberwhen Chris came here first and hehad some serious qualms about riding?
CHLOE
Well, this morninghe was talking about buying a horseof his own.
•
TOM
• No?
CHLOE
Yeah.
The housekeeper leans in to Chris.
HOUSEKEEPER
Telephone call, sir. She said it was important.
CHRIS
Excuse me.
TOM
(toAlec)
Tomorrow morning then?
ALEC
Do you want to come?
CHLOE
That bloody phone has not stopped ringing all weekend!
• TOM
I know.
CHLOE
It's so irritating.
CUT TO:
INT. HEDLEYESTATE HALLWAY-- CONTINUOUS
Chris follows the housekeeperto the phone. He picks up the receiver.
CHRIS (INTO PHONE)
Hello?
NOLA (ON PHONE)
I tried to call yourmobile but it's off.
CHRIS (INTO PHONE)
Are you mad callingme here?
NOLA (ON PHONE)
When, when are you comingover?
•
CHRIS (INTO PHONE)
• I'm trying to make it for tomorrow.
NOLA (ON PHONE)
I can't wait till tomorrow. I'm going crazy.
CHRIS (INTO PHONE)
What the hell's the matter?
NOLA (ON PHONE)
I'm pregnant.
CHRIS (INTO PHONE)
I'll••• talkto you tomorrow.
He slowly lowersthe receiver.
CUT TO:
INT. DINING ROOM-- CONTINUOUS
Chris enters.
CHLOE
• (continuing)
•.•It was lack ofenough vegetables or something.
ELEANOR
I wonder if that'swhy they took lemons and oranges.
TOM
Well, they onlyhad biscuits. Well, that's whereRose's Lime Cordial originated•••
Chris sits down besideChloe.
CHLOE
Who keepscalling?
CHRIST
It was Samantha,my secretary. I'm afraid Iwon't be able to go riding tomorrow. Ican't help
TOM
I thoughtSamantha said she was going toher parents this weekend?
•
CHRIS
• I know it, it's allmy fault. Poor
girl. It's no big deal. I'llpop back into town. Thewhole thing'll take a few hours and it'llbe off my mind. I promise.
TOM
That's a shame.
CHLOE
It's really sad.
ELEANOR
Well, it is a pitybecause I think it's unfair forSamantha too, frankly.
HEATHER
Yeah.
ALEC
Well, it'sunfortunate, but you know Chrishas a lot of responsibility.
• ELEANOR
Well, anyway,less said... Let's notworry about it.
TOM
Slave driver.
CUT TO:
INT .NOLA'S FLAT --LATER
Chrispaces.
CHRIS
How thehell did you get pregnant?
NOLA
I toldyou that weekend last month thatwe needed to be careful and I didn'thave protection, but you couldn'twait.
CHRIS
Whatunbelievably bad luck, Christ, I can'tget my wife pregnant no
• matterhow hard I try.
(MORE)
CHRIS (cont'd)
And the minute you're unprotected, Iknock you up.
•
NOLA
It's 'causeyou love me and you don't love her.
CHRIS
Is that your interpretation?
NOLA
It's a child conceived out of genuine passion not as part of some fertility project.
CHRIS
Well I'll go with you and we'll get it sorted.
NOLA
I'm not doing that again.
CHRIS
Again? What's that supposed to mean?
NOLA
• It's the third time. I did it once
when I was younger and then I did it for Tom. I didn't want to buthe insisted.
CHRIS
Nola, I really can't see anyother way.
NOLA
Why can't r just have it?
CHRIS
And then what?
NOLA
And we'll raise it together.
CHRIS
That's obviously notpossible.
NOLA
Why? You hate your job,you hate your life. I mean itseems like a blessing. It's a sign.
•
CHRIS
• Look, Nola. I have to go. I'm
juggling six things at the same time just to make this trip to the city look legit. I'll talk to you on Tuesday.
NOLA
Chris -- you must .••I expect you to do the right thing, okay? I'm not walking away from this.
CUT TO:
INT. MODERN FLAT - DAY
CHLOE
Is anything the matter? You seemed very gloomy all weekend?
CHRIS
I wanted to talk toyou •
CHLOE
What about?
•
CHRIS
Us.
CHLOE
Is something wrong?
CHRIS
Yeah. There is.
CHLOE
What? If you're stilltaking a hammering financiallyin the market, you knowit's not a problem.
CHRIS
I can't keep leaningon your father, Chloe.
CHLOE
Papa getsmore pleasure out of helping hisfamily than all the possessionshe owns. You know that.
(beat)
What is it?
• (MORE)
CHLOE (cont'd)
Is it something to do with those phone calls you kept getting?
• 'Cause you acted really strangely
after each of them. (beat) Are you having an affair?
CHRIS
Am I having an affair?
CHLOE
Yeah, that'swhat I asked.
CHRIS
(beat)
No.
CHLOE
You are.
CHRIS
Of course I'm not. Don'tbe silly.
CHLOE
Do you not loveme any more?
CHRIS
• Oh course I loveyou.
CHLOE
Well what'swrong?
CHRIS
I just feel likeI'm letting you down.
CHLOE
You're not. Isit because I'm not getting pregnant?
CHRIS
I just••• feelsoguilty. So terribly guilty.
CHLOE
Listen, Chris,we've both been to the doctor.We're both perfectly healthy. I canconceive and you're perfectly capableof making a woman pregnant. Isit me? Have I been horribly pushyand obnoxious on the subject? Look,I just want a baby. I want to haveour baby. We haven't
• been lucky yet,that's all.
CHRIS
• Oh, Chloe.
Chris kissesher forehead.
CHLOE
Let's get off thesubject. Having a child shouldbe somethingthat makes us bothhappy and excited, not a causeof all this tension and anxiety and •..
They embrace.
CUT TO:
EXT. PARK-- DAY
Chris andHenry are seated on a park bench.
CHRIS
I had totalk to somebody. I'm really suffering•
HENRY
• Whateveryou tell me -- goes no
further.
CHRIS
I'm contemplatingleaving my wife for anotherwoman.
HENRY
Uh-huh.
CHRIS
Butwhen the time came to tell her ••.Icouldn'tdo it.
HENRY
Yeah,well, it's not the easiest thing inthe world to do, is it?
CHRIS
It'scrazy. I can see no real futurewith this other woman,and I have avery comfortable lifewith my wife .
HENRY
Yeah,but if you don't loveher.
•
CHRIS
• I'm not sayingI don't love her.
Just not inthe way I feel about thiswoman.
HENRY
Right.
CHRIS
Maybe it'sfinally the difference between loveand lust. But what the hell am I goingto do if I leave Chloe. I don'tfool myself that I haven't gottenused to a certain kind of living.Am I supposed to give it allup? For what?
HENRY
Is it fora woman you love?
CHRIS
To livehow? Where? To work as what?
HENRY
Well, itseems to me that you,
• you're pretty good at what you're
doing.There must be another job in anotherfirm that you can just,you know ...
CHRIS
Let's face it. I'm the boss's son- in-law.And he loves me.
HENRY
Doesn't seem to me like youwant thisother woman enough to giveup everythingyou've achieved forit.
CUT TO:
INT. BAR -- DAY
Chris and Nola are seated at a table.
CHRIS
We're going away for threeweeks. When I get back, I'll tellher .
•
NOLA
•
When you get back?!What am I supposed to do? Stopplaying games with me!
CHRIS
I'm not playing gameswith you.
NOLA
Why don't you justtell her now then, huh? I'dthink you'd want to stop living sucha sham.
CHRIS
Look it'snot easy.
NOLA
Why not? Ifyou're so bored at home with her andyou're so crazy about me,which isall you ever tell
CHRIS
I don'twanna mess this holiday up for everybody,okay? It's a big blow.And it's gonna make a huge
• impacton everyone.
NOLA
How canyou go on vacation with a woman thatyou know you're gonna leavethe minute you get back?
CHRIS
Shh!Keep your voice down.
NOLA
You wannaknow how I feel, huh? I'm jealous,okay? I don"t like the ideaof you making love with her. I don't likethe idea of you going offisland-hopping with her. It's romantic!
CHRIS
Hey.Keep your voice down. You know Imake love to her. And you know it'sroutine. For God's sakes, can'tyou wait a few weeks?
NOLA
Yeah.I just wanna know that
• something'sgonna happen, youknow?
CHRIS
•
It will. (beat) It will.
NOLA
Okay.
CUTTO:
INT. ART GALLERY-- DAY
Chris enters to find Chloe clutchinga notebook.
CHLOE
The holiday's off.
CHRIS
Why? What happened?
CHLOE
Maurice Lewis has to go in foran operation.
CHRIS
• Why?
CHLOE
Disc in his back or something.He can't walk. Anyway, he needs recovery time and everyonethought we should just move it tillafter the summer.
CHRIS
Mmm-hmm.
CHLOE
Let me just pack up my stuff.We should probably walk tothe opera, it's so close.
CHRIS
Yeah.
Chris's mobile phone rings.He answers.
NOLA (ON PHONE)
Hello?
Chris slowly lowers themobile phone and rests it against his • lips.
NOLA (ON PHONE)
• Hello?
He ends the call and places the phone back in hispocket.
CUT TO:
INT. ROYAL OPERA HOUSE -- NIGHT
Chris, Chloe, Alec, Eleanor, and Tom are seatedtogether watching the opera below.
CUT TO:
INT. MODERN FLAT -- DAY
Chloe folds laundry while Alec conferswith Chris.
ALEC
An opportunity has arisen, Chris, which I think may be a very lucrative one for you •
CHRIS
• Really?
ALEC
We're structuring something with a Japanese company. It's an independent operation. There's a great deal of money to be made. And my thought was, anyone in on the ground floor stands to profit hugely, assuming our predictions are correct, and they are.
Eleanor enters.
ALEC
Eleanor, I've just told Chris the good news.
ELEANOR
Mrnmm,but what would make me the happiest has nothing to dowith money. I'd like you to makeme a young grandmother.
ALEC
Oh ...
•
CHLOE
• You already are a young
grandmother.
ELEANOR
Yes. Tom and Heather are trying for their second but I'd like you to be a mother. Oh, all right. Don't look at me like that. I'll be quiet. What would you like for your birthday?
CHLOE
I don't know.
CHRIS
Your birthday?
CHLOE
Great. You forgot.
CHRIS
I didn't actually. I bought you something already•••
CHLOE
Ha ha. So my hints worked ••• Muromy, we are trying. We just don't want to .••
ELEANOR
All right, I'm sorry.
Chris raises his mobile phone to hisear.
CHRIS (INTO PHONE)
Hello?
NOLA (ON PHONE)
Chris?
He moves to exit.
CHRIS
Excuse me.
ALEC
By means•
CHLOE
•..Iweigh as much as I did.Look, please relax, okay?
•
ELEANOR
• Yes, darling. I spoke out ofturn.
I'm sorry.
ALEC
What areyou two bickering about?
ELEANOR
Nothing.
CUT TO:
INT. MODERN FLAT BEDROOM -- CONTINUOUS
From afar, Chris watches over Chloe, Alec, and Eleanor as he speaks secretively into the mobile phone.
CHRIS (INTO PHONE)
Itold you not to call me, I'd call you.
NOLA (ON PHONE)
Well, I,I, I was waiting for you to call.I've been waiting a week.
• CHRIS (INTO PHONE)
Well, there's always people around andI can't talk.
NOLA (ON PHONE)
When are you coming home?
CHRIS (INTO PHONE)
In abouttwo weeks.
NOLA (ON PHONE)
About two weeks! You said the whole trip was three weeks!
CHRIS (INTO PHONE)
Yeah, right. Three weeks.
CHLOE (O.S.)
Chris,muromyand papa are leaving...
CHRIS
Okay,okay .
NOLA {ON PHONE) Who is that? What country are you
• in?Your mobile's been impossible.
CHRIS (INTO PHONE)
•
Itold you. I'm in Greece. And there'salways people around so I can'ttalk. I said I'd be home soon andI will call you.
NOLA (ON PHONE)
I'm justlonely. I'm anxious. Can you just please tell Chloe as soon asyou get home. I just want this situationresolved.
(beat)
Do youmiss me?
CHRIS (INTO PHONE)
Okay.Bye, bye.
Frombelow, Chloe calls up to him.
CHLOE
Chris,is everything okay?
CHRIS
Yeah,everything's fine. Are you leavingalready?
• CHLOE
Yeah •..
CUT TO:
EXT.ASPREY'S -- DAY
Nola exitsa shop clutching several bags.She stops when she sees Chris,unaware of her, getting intohis car. Nola watches, stunned,as the car pulls away.
CUT TO:
INT. NOLA'S FLAT --EVENING
NOLA {INTO PHONE) Chris,it's Nola. Where have I reachedyou?
CHRIS (ON PHONE)
Sardinia.I'll be back in fiveor sixdays, okay?
Nola hangs up the phone. •
CUT TO:
EXT. MODERN FLATS -- DAY
Chris exits his apartment building. His chauffeur,John, stands nearby.
CHRIS
Good morning, John.
CHAUFFER
Oh, you'reearly, sir. I'll bring the cararound.
CHRIS
Yes.
The chauffeur goes to fetch the car just asNola arrives unexpectedly.
NOLA
You liedto me. You lied to me!
• CHRIS
Oh Jesus. Quiet!
NOLA
Iwanna see Chloe!
CHRIST
Quiet,quiet.
NOLA
Iwanna talk to Chloe.
CHRIS
Look, Christ, Christ. No, no, no, listen.Listen, I can explain.
NOLA
Iwanna talk to Chloe/ You're a lair!You're a liar! You're a liar!
CHRIS
I canexplain. I can explain. I•..taxi!
Chris hails a taxi.
•
NOLA
• I'm not going anywhere with you.
I'm not going anywhere with you. I'm not going anywhere with you.
CHRIS
Taxi! Okay, calm down. Calm down, Nola. Nola, calm down. Calm down.
NOLA
You're a liar! You're a liar! You're a liar! You're a liar!
CHRIS
Calm down. I came home deliberately, I came home early. Sshh!
NOLA
Sshh, sshh, sshh. Calm down. Calm ••• calmthefuck down! Iwanna talk to Chloe! I wanna talkto Chloe! I wanna talk to Chloe.You liar! You're a liar!
Chris pushes her into a taxi. •
CHRIS
Sshh, sshh.
NOLA
You're a liar!
He gets inside the taxiwith Chloe and closes the door. The taxi pulls away.
CUT TO:
INT. NOLA'S FLAT -- DAY
CHRIS
••.I decided to cut thetrip short because all this is eatingaway at roe.I only came backthe day before yesterday because Ineed a week in the city to dealwith Chloe without you breathing down my neck.
NOLA
You're driving me crazy!I don't know whether to believeyou or not.
•
CHRIS
• Please believe me, Nola.
NOLA
Well, did you tell her?
CHRIS
I was about to when youcalled.
NOLA
What does that have todo with anything?
CHRIS
I got flustered.
NOLA
Oh, please!
CHRIS
I was all setto tell her and then you called and then Ifelt guilty about tellingyou that I'm still in Greece•
NOLA
• You said Sardinia.
CHRIS
I, I was talkingfast. I, I didn't want her to know whatI was talking about.
NOLA
Well, she hasto know eventually.
CHRIS
I can't tellher.
NOLA
Then I will.
CHRIS
Nola, stop!
NOLA
Well, this iscrazy. We're having a child together.
CHRIS
We don't haveto have a child together. Itwould make life a hell
• of a lot simpler we didn't.
NOLA
• Yeah, simplerfor you but not for
me.
CHRIS
It occurred to me that even if you had the child, I could help you out financially.
NOLA
That's not enough.
CHRIS
Nola, be reasonable.
NOLA
That's exactly what Tom said when he broke off our engagement. Being reasonable got me where I am right now.
CHRIS
So you're threatening me? If I don't do what you say, you're gonna go to my wife?
• NOLA
Were you lying to me? All those times we made love, all those conversations, were you lying to me then?
CHRIS
Of course I wasn't lying.
NOLA
Tell Chloe. Someone has to explain the situation. Either you do it or I'll do it.
CHRIS
Okay, okay. I'll do the right thing.
CUT TO:
•
• INT.MODERNFLAT BEDROOM -- NIGHT
Chris lies in bed awake next to Chloe, who is sleeping. Distraught, he sits up on the edge of the bed andrubs his face.
CUT TO:
EXT. HEDLEY ESTATE GUNROOM -- DAY
Chris enters the darkened room and places histennis bag onto abench. He approaches a gun cabinet and unlocksit.
He opens the glass door, takes out a shotgun,dismantles it, and placesgun parts and ammo into the tennisbag.
CUT TO:
INT.HEDLEY ESTATE LIVING ROOM -- DAY
Heather sits reading. Chloe enters•
CHLOE
Haveyou seen Chris?
•
HEATHER
A minute ago. He went that way.
Heather points. Chloe steps in that directionand continues through a doorway and into the hallway.
CHLOE
Chris?Chris?
CUT TO:
INT.HEDLEY ESTATE GUNROOM -- CONTINUOUS
Chris zipsthe tennis bag shut andcloses the gun cabinet door.
CHLOE (O.S.)
Chris?Where are you, Chris?
CUT TO:
•
• INT. HEDLEYESTATE HALLWAY --CONTINUOUS
Chloe continues her search forChris.
ELEANOR(O.S)(FROM UPSTAIRS)
Chloe, are you there?
CHLOE
Have you seen Chris anywhere?
ELEANOR
No. Could you come up for a minute? I want you to give me some advice about this address.
CHLOE
Yeah, ok.
CUT TO:
INT. NOLA'S FLAT --DAY
CHRIS
I'm telling Chloe tomorrow.
•
NOLA
You say that every dayand you always back out. I'mback where I started. I want somethingdone, Chris. If you don'thave the nerve to do it, I'll do it.
CHRIS
That would be revengefor you against the whole Hewettfamily, wouldn't it?
NOLA
What the hell is thatsupposed to mean? My theory isyou want me to tell Chloe so youdon't have to do it yourself.
CHRIS
My God, it seems likeyou've had this whole thingchecked out by some psychiatrist.
•
NOLA
• Iwish. Iwish Ihad someone to
confidein but it's all so damn secretive.Look, Chris, if I don't do somethingabout this, we're gonnagrow apart. I'm having your child!
CHRIS
I'mtelling her tomorrow, Nola. What more do you want me to do?
NOLA
What more? Tell her now! Tell her tonight!
CHRIS
Ican't, not before she goes to sleep.It wouldn't be the right time. Nola, tomorrow is fine. What time will you get back from work?
NOLA
Same timeI always get off. Six- thirty.
• CHRIS
So you'll be home by a quarter to seven?
NOLA
Yeah. Chris, you make me say these things - I hate myself for them.I justwant us to be together.
CHRIS
We will be.
CUT TO:
INT. MODERN FLAT KITCHEN -- NIGHT
Chris enters, followed by Chloe.
CHLOE
You were very nervy all throughthe ballet. Did you hate it?
CHRIS
No, I'm just all out of sorts.
•
CHLOE
•
Yeah. I thought you were gonna pass out.
CHRIS
Low blood sugar. I'll be better soon.
CHLOE
I still can't do it with you tonight. I'm not over my little dose of whatever.
CHRIS
ow.
She looks down at Chris's tennis bag, then crouchesand unzips it.
CHLOE
Did the cleaner put one of my tennis shirts in with your gear?
CHRIS
No. What are you doing?
• CHLOE
Really? Just let me have a quick look. I can't find it anywhere.
CHRIS
No. Look, I'll check. I'll check. I've got everything arranged in there.
CHLOE
Okay. I wasn't gonna disturb anything.••I don't know where else it can be. She's always bloody mixing my stuff in with yours.
Chris removes her shirt and thenzips the bag back up.
CHRIS
Is this it?
He realizes that a shotgun cartridgehas fallen out of the bag and onto the floor. Chrispicks it up and places it into his pocket•
CHLOE
See? I knew it. She alwaysbloody
•
does that. (MORE)
CHLOE (cont'd)
I've got to have words with her about it. It's really••• Whatdid
• you just put in your pocket?
CHRIS
Oh, it's justmy pill box.
CHLOE
What do youmean apill box?
CHRIS
A pill box. You know whata pill box looks like.
CHLOE
Letme have alook at it. What pills areyou taking?
CHRIS
No -- they'rejust my pills. I need them. No,no, no, it's for stress, 'cause you stressme so much.
(changingthe subject)
Guess what?
CHLOE
What?
•
CHRIS
I got ticketsfor the theatre for tomorrow night.
CHLOE
You haven't? That's not like you.
CHRIS
Mmm-hmm.
CHLOE
What for?
CHRIS
"TheWoman in White".
CHLOE
I heard it's great. I thought you hated musicals.
CHRIS
No, that's not so. And anyway, you love his music .
CHLOE
• Well that's great.
CHRIS
Mmm.
CHLOE
I'll have to meetyou outsidethe theatre 'cause I'llbe coming straight from the gallery.
CHRIS
Why don't you takethe chauffeur? I'll grab a taxi andwith any luck I can get an hourof tennis in.
CHLOE
You're so sweet.You know how much I wanted to see that.
CHRIS
Mmm.
CHLOE
All right, come tobed, 'cause you're tired,my darling .
CHRIS
Okay I will•••
•
CUT TO:
INT. BOUTIQUE --DAY/ EXT. CITY STREET DAY
Nola standsbehind the counter speaking to Chris on her mobile phone.
Elsewhere, onthe other end of the call, Chriswalks along the pavementof astreet.
NOLA (INTO PHONE)
Hello?
CHRIS (INTO PHONE)
Hello, Nola?When you get off work today come righthome. I have some good news.Everything's taken care of but I'm reluctantto talk on the phone. You'vegot to meet me right after work.We have, er, plans to make .
•
NOLA (INTO PHONE)
• Okay. Um, I'll cancel my agent
appointment. It's good. This is good. I'llsee you soon. Bye.
She hangs up the phone.
CO-WORKER
(toNola)
Was ithim?
NOLA
Yeah ..•
CUT TO:
INT. HEWETTINC CHRIS' OFFICE -- DAY
Chris and Rod stand talking with several Japanese businessmen.
ROD
So, you'll have to be prepared to cash flow the first six months•..Is that right, Chris? A half year?
•
CHRIS
Mmm. Er, yes. A half year should do it, maybe less.
ROD
Good. Jolly good. Well ••.
Rod shakes hands with the businessmen.
ROD
See you next time.
CHRIS
Arigato •••Arigato•••
The businessmen turn to leave.
ROD
(toChris)
I thought you showed some interesting ideas there for developing their capacity.
CHRIS
I'm excited about this venture,
• Rod.
ROD
• Good, good. Playing a little tennis
later?
CHRIS
Yes. Yes.
ROD
Amazing energy. Love it. Envy it.
CUT TO:
EXT. STREET/APARTMENTBUILDING -- DAY
Chris enters Nola's apartmentbuilding carrying the tennis bag.
CUT TO:
INT. APARTMENT BUILDING --CONTINUOUS
Chris climbs the stepsand stops off at Mrs. Eastby's apartment. He knockson the door.
• MRS. EASTBY
Yes?
CHRIS
Er, hello. Um, I'm Chris.I'm a friend of Nola's, yourneighbor from next door. Er,we met here last, er ••.
MRS. EASTBY
I'm sorry - I don'tlet anybody in.
CHRIS
But, but you do notremember? We met, er ••• sheaskedyousomething about your troublewith your mice, and you mentioned somethingabout peanut butter.
MRS. EASTBY
Oh -- oh, yes. Yes.
CHRIS
Yes. Yes. I'm ChrisWilton. The tennis instructor.
•
MRS. EASTBY
• Oh. Well, what's the trouble?
CHRIS
Er, no trouble at all really and I, I don't mean to disturb you. I was wondering if I could look at your TV, TV reception. Er, we seem to have trouble next door.
MRS. EASTBY
Oh, with the TV?
CHRIS
Yes. Um, we're getting some interference and it's Nola's favorite TV night, so, um, I don't know if it's the aerial on the roof or if it"s us.
MRS. EASTBY
It's in there•••
She opens the door and points into herliving room •
CHRIS
• Thank you.
Chris enters the flat.
MRS. EASTBY
••• Ihaveto take my medicine•.•
Mrs. Eastby steps into the kitchen.Meanwhile, Chris opens the tennis bag and attemptsto quickly assemble the rifle parts.
MRS. EASTBY (O.S.)
There was no trouble before.I had it on and it worked just fine. Didn't you say your name was Harris?
Chris finishes assemblingthe gun, stalks into the kitchen, and shoots Mrs. Eastby dead.
Afterwards, he goes throughher things and tosses belongings on~o the floor, making herapartment look like the scene of a random burglary•
There is a knocking atthe door.
•
IAN (O.S.)
•
Mrs. Eastby? It's Ian. Mrs. Eastby? Mrs. Eastby, it's Ian. I'm going down to the corner shop. Can I get you anything? (beat) Mrs. Eastby, are you all right?
CUT TO:
EXT. APARTMENT BUILDING -- MOMENTS LATER
Ian exits the building and runs into Nola.
IAN
Hi, princess.
NOLA
Hi.
IAN
D'you ever get that portable CD player we talked about?
NOLA
• Yes, I did. Thank you so much for
helping me.
IAN
Excellent••• Seeyou later. Bye-bye.
NOLA
Okay bye.
CUT TO:
INT. APARTMENT BUILDING CONTINUOUS
Chris positions himself atthe top of the stairway and takes aim with the shotgun. Below,Nola enters.
CHRIS
Nola ...
She turns. Chris fires.
CUT TO:
•
• EXT. APARTMENT BUILDING -- LATER
Chris exits hurriedly with the tennis bag, andbumps into a passerby.
CHRIS
Excuse me, •.
CUT TO:
EXT. STREET/PALACE THEATRE-- CONTINUOUS
Chloe waits at the ticket booth. She dialsher mobile phone and holds it to her ear.
CHLOE (INTOPHONE)
Hello. Where are you?
CUT TO:
INT. TAXI -- CONTINUOUS
Chris is seated in the rear of thetaxi with a mobile phone. •
CHRIS (INTO PHONE)
I'm almost there. I'll be two minutes.
CUT TO:
INT. PALACE THEATRE CLOAKROOM-- LATER
Chris and Chloe enter.
CHRIS
(tocloakroom attendant)
Good evening.
CLOAKROOM ATTENDANT
Hello.
Chris places the tennis bagonto the counter.
CHRIS
How much?
CLOAKROOM ATTENDANT
That's two pounds, please.
•
CHRIS
• Two pounds ••.
The attendant lifts the tennis bag and places it beneaththe counter as Chris carefully places two pound coins ontothe counter.
CHRIS
My tickets?
CLOAKROOMATTENDANT
Yes, thank you •••
CUT TO:
INT. PALACE THEATRE AUDITORIUM -- EVENING
Chloe and Chris watch the play.
CUT TO:
EXT. STREET/APARTMENT BUILDING -- EVENING
Police cars are parked outside.
CUT TO:
INT. MRS. EASTBY'S FLAT HALLWAY/LIVING ROOM --CONTINUOUS
Forensics photographers and police officersmill about the crime scene.
POLICEMAN
It's aterrible mess in there, sir.
PARRY
Well, Ithink it's pretty obvious what's happened here. Er, someone's robbedand killed the old lady. As he, orthey, were running out they've run into the Rice woman comingso they've shot her too. Either out of panic, or because they sawa chance to make an additionalscore. Poor unsuspecting soulcame home at the wrong moment.
POLICEMAN
He'scleared out the house of all prescriptiondrugs, sir.
PARRY
• Oh no, it's definitely a drugs-
related robbery. He might have known there was an old lady living in Flat 8. Probably cased her. Was surprised by running into the other woman.
POLICEMAN
She picked the wrong time to come home. Some people just don't have any luck •••
CUT TO:
EXT. APARTMENT BUILDING -- CONTINUOUS
Detective Inspector Dowd interviewsIan.
IAN
Yeah, I, I just spoke to her.This is unbelievable. Um••.half anhour ago I came down the stairs,knocked on Mrs. Eastby's door 'cause I couldn't.••
•
DETECTIVE
(to Dowd)
Do you need anything fromthe car?
DOWD
Yeah. You can tell, er,the Exhibits Officer to geta move on 'cause this is gettingridiculous.
IAN
This is ..•yeah,this isquite important. She usuallybakes today and I thought maybe she'drun out of stuff. So I askedher if she needed anything andthen ••.
DOWD
So, half an hourago?
IAN
She didn't answer ...Yeah,halfan hour ago. Yeah •
DOWD
You spoke to her?So whoever it was
• was still in there.
IAN
• That's terrifying. I can't believe
that. So, someone was in there•.•
DOWD
And, er, you, um, you spoke to Nola Rice and did she say anything?
FORENSICS OFFICER
Sorry to interrupt. Er, could we send the photographers in now, please?
DOWD
Er, no, er, hang on. If you just wait. We've just got to get the Exhibit Officer in there first.
Dowd gestures to the Forensics Officer.
DOWD
Er, Chris, Chris, can you, um, liaise with this man here?Wait, wait, wait, wait. Er, just catch him there.
• IAN
..•Well, I ran, yeah, I bumpedinto Nola right here.
SERGEANT
Er, Scene of Crime will beon their way very shortly, all right?
DOWD
Yeah, er •..
IAN
Yeah, I spoke ..•Ibumped intoher here. We talked and, er,we chatted. I recommended a pieceof music equipment. She'dbought it.•• yeah,and, er ••.
DOWD
Music equipment? What wasthat?
IAN
Nothing•.• Er,it was aportable CD player which readsMP3's, CD re- writes...
•
PARRY
• It's drugs, gov. Someoneafter
money for some drugs.
IAN
Well, Mrs.Eastby wasn't wealthy.
PARRY
They don't care.
DOWD
Drugs?
PARRY
Yeah, definitelydrugs. Someone after money for 'em,and, er .•.they'llkillyou for a pound, you know.
IAN
Well, it's asorry state of affairs, isn'tit?
PARRY
Well, it'snot as if the old lady had any enemies.She rarely went
• out. Um, useda shotgun.
IAN
A shotgun?That's a ••. that'sabit obvious,isn't it? Somebody must've seen something.
DOWN
Oh,_notif it was sawn-off. They can make thempretty small.••
(to offscreenwoman)
Catherine,love, you can't park there.Leave that clear. We've got the SOCOcoming down .•.
CUT TO:
INT.MODERN FLAT -- MORNING
Chloe isseated at a table wearing a dressinggown.
CHLOE
Did youlike the musical last night?
•
CHRIS
• Yeah, I did. It was good fun.
Pretty music.
CHLOE
Yeah. He's very good. I'm gonna get tickets for mummy and papa.
CHRIS
Good.
CHLOE
(reactingto a newspaper article)
Oh my God.
CHRIS
What? What is it?
CHLOE
Oh my God! Nola. Nola Rice.
CHRIS
What?
CHLOE
• She was killed in a burglary.A
drugs burglary.
CHRIS
What? Here, let me see that. Jesus Christ!
CHLOE
Apparently she was coming home from work and, and, and someone who was already there who'd burgled another flat and -- and shot an old lady-- ran into Nola by chance and --she was entering the building andhe was running out and he shot her.
CHRIS
Oh my God.
A cordless phone rings. Chloeanswers.
CHLOE (INT
Hello? Yeah -- yeah, we've just this second read it. Isn't itjust terrible?
• CUT TO:
• INT. BELGRAVIA HOUSE KITCHEN -- CONTINUOUS
Eleanor leans on a table with the newspaper in frontof her.
ELEANOR (INTOPHONE)
I never got along with her, but this is just tragic.
CHLOE (INTOPHONE)
Does Tom know?
ELEANOR ( INTOPHONE)
I've just called him. He can't believe it.
CUT TO:
INT. MODERN FLAT -- CONTINUOUS
CHLOE (INTOPHONE)
I know. Wait, wait, that must be him. I'll call you back •
She presses a button on the phone. •
CHLOE (INTOPHONE)
Hello? Yeah, we've just read it and mummy just called.
CUT TO:
INT. TOM'S OFFICE -- CONTINUOUS
TOM (INTO PHONE)
Well, yeah, yeah, I know. I mean, wrong place at the wrong time. I mean, I, I suppose she must've••• I mean, disturbed a burglar or, or burglars or whatever. I mean, it doesn't, it doesn't say how many of them there were ...
CUT TO:
•
INT. MODERN FLAT -- CONTINUOUS
CHLOE (INTO PHONE)
Well, even mummy's really shaken up and you know they weren't exactly friends.
CHRIS
It says here that there's been a rise in drug related crime in the area over the past year•••
CHLOE (INTO PHONE)
Did you hear that? Yeah. I just can't believe it. It's just•..I know •..
CUT TO:
INT. HEDLEYESTATE LIVING ROOM --DAY
Eleanor sits reading a magazine.Chloe approaches•
CHLOE
• Mummy.
ELEANOR
Mmm-hmm? Mrnm-hmm?
CHLOE
I've got something to tell you.But I want Chris to be here. - (callsout) Chris?
(toEleanor)
Where'd he go?
ELEANOR
I don't know.
CHLOE
He was just in here. Chris?Chris? He was just here••.
ELEANOR
Well, what did youwant totell me?
CHLOE
Just wait. Wait,wait. Chris?
- CUTTO:
• INT. HEDLEY ESTATE GUNROOM-- CONTINUOUS
Chris empties theremaining shotgun shells and stolen jewelry from the tennis bag.
CHLOE (O.S.)
Where are you? Chris?
CUT TO:
INT. HEDLEY ESTATE LIVING ROOM -- CONTINUOUS
ELEANOR
Well, what didyou want to tell me?
CHLOE
Well, I justreally want him to be here. Hang on,there he is.
Chris enters.
CHLOE
There you are!Can we tell her now?
• CHRIS
Sure.
CHLOE
Well, Iwanted you to be here.
ELEANOR
Well, whatis it?
CHLOE
Mummy.•.youcan finally crack open the champagne.It looks like I'm pregnant.
ELEANOR
When didyou hear?
CHLOE
This morning.
ELEANOR
Oh, I'm sodelighted.
CHLOE
Oh, good.
•
----------- ---------------------------
ELEANOR
• Alec? Come here.
CHLOE
Oh, we're both walking on air.
ELEANOR
Well, you're walking on air, your husband looks a bit shell-shocked.
CHLOE
'CauseI've exhausted him, poor thing.
ALEC
(enters)
What?
ELEANOR
Chloe's pregnant.
ALEC
Oh, what a great day. Oh, my darling, congratulations•
ELEANOR
• I'm absolutely thrilled. I couldn't
be more pleased.
CHLOE
Thank you so much. It's such a relief.
The housekeeper enters and approachesChris.
HOUSEKEEPER
Excuse me, sir. Excuse me.
CHRIS
Yes?
HOUSEKEEPER
Phone call, sir. Your secretary.
CHRIS
Okay ..•
ELEANOR
It's wonderful, isn't it?Look at her, doesn't she look gorgeous.
ALEC
•
Oh, well done.
CHLOE
• Margaret, I'm pregnant!
HOUSEKEEPER
Congratulations! That's wonderful.
CHRIS
Thank you, Margaret.
Chris goes to the phone and lifts the receiver.
CHRIS (INTO PHONE)
Sam?
CUT TO:
INT. HEWETTINC CHRIS' OFFICE -- CONTINUOUS
Samantha is seated at a desk, clutchinga telephone receiver.
SAMANTHA (INTO
...Yeah, there's a message foryou that a Mike Banner, Detective Mike Banner called. Er, he wants youto call him at Shepherds Bush Police
• Station•..Yeah. No, I don't think
it's urgent but, er, he left a number.
CUT TO:
INT. HEDLEYESTATE LIVING ROOM-- CONTINUOUS
CHRIS (INTO PHONE)
Banner? You better give me the number. Mmm-hmm. Okay, thanks Samantha. Bye.
ELEANOR
Sweetheart..•! bet itwas that night...Well, the last timeyou went, he said everythingwas fine, didn't he?
CHLOE
Yes and he just mademe completely calm down •
ELEANOR
Oh, I just can't believeit. It's
• marvellous.
CHLOE
•
Granny would have loved it.I wish she could be here.
Tom and Heather enter.
TOM
Thank God. Thank God.
HEATHER
Congratulations!
CUT TO:
EXT. HEDLEYESTATE PATIO/LANDSCAPED GARDEN -- DAY
Chris paces, clutchinghis mobile phone.
CHRIS (INTO PHONE)
Detective Banner,please. This is Chris Wilton. Oh,hello. This is Chris Wilton. You called?
• CUT TO:
INT. POLICE STATION OFFICE -- CONTINUOUS
Detective Bannersits at a desk.
BANNER(INTO PHONE)
Oh, yes. Iwas wondering if there was a timeyou could drop in here. Or,-if it'smore convenient, we can come and seeyou.
CUT TO:
INTERCUT: HEDLEYESTATE/POLICE STATION
CHRIS (INTO PHONE)
In reference towhat?
BANNER (INTO PHONE)
I'd rather notexplain on the phone. It's justa few questions and I'm sureyou'd prefer to be discreet•
CHRIS (INTO PHONE)
• I've no reasonto bring a lawyer,
do I?
BANNER(INTO PHONE)
• I certainly hope not.
CUT TO:
EXT. EMBANKMENT -- DAY
Chris walks, glancing around suspiciously.He stops at an embankment and throws Mrs. Eastby's jewelryand other trinkets from the staged robbery into theriver.
The last item he throws is Mrs. Eastby'swedding ring. Chris does not notice as it bounces off the embankmentrailing, and drops onto the ground.
CUT TO:
INT. POLICE STATION CID OFFICE -- DAY
Chris follows Detective Dowd to DetectiveBanner's desk.
DOWD
Chris Wilton.•.Detective Banner.
• CHRIS
Good afternoon.
Chris shakes Banner's hand.
BANNER
How do you do? Take a seat.
CHRIS
Thank you.
BANNER
This is nothing to be alarmed about. We're just doing a routine investigation into the BettyEastby- Nola Rice murders.
CHRIS
Mmm-hmm.
BANNER
Were you acquainted with eitherof the victims?
CHRIS
Peripherally I knew Nola Rice.
•
BANNER
• How?
CHRIS
She was engaged for a time to the man who's now my brother-in-law.
BANNER
That's, uh, Tom Hewett?
CHRIS
That's correct. Er, they broke up. A year ago. More.
BANNER
Mmm-hmm. When did you last see her?
CHRIS
Oh God, I can't remember •..Atthe Tate Modern. My wife and I ran into her. But that was a long time ago.
BANNER
Have you seen her since?
CHRIS
• Not that I recall.
BANNER
Have, um •••haveyou ever seen this?
Banner removes a diary from an evidencebag.
CHRIS
No ••• Whatisit?
BANNER
Are you aware that Nola Rice kept a diary?
CHRIS
No.
BANNER
As you can see •.• you'reallover it.
CHRIS
Yes, I can see that.
•
BANNER
• Do you still claim that youhaven't
seen her except for more that a year ago at the Tate Modern?
CHRIS
You can't blame me for tryingto hide the fact that I hadan affair with her. But you peoplehave to protect me here. I hopeyou don't think I had anything todo with her murder?
BANNER
How long did your affairgo on?
CHRIS
It began casuallywhen she was still engaged to Tom.They broke up, she moved away.She came back and I ran into her atthe Tate Modern and it beganagain. God, have a heart. Mywife is gonna have a baby. Thiswill devastate her .
BANNER
Did you promisethat you were going
•
to leave yourwife and marry Miss Rice?
CHRIS
No, I did not.I mean, it's possible thatshe had that fantasy, And obviouslyshe wrote that I did, but.I triedto finesse that point with her. Ididn't want the sexual relationshipto end but I'm not gonna breakup my home. My wife and I are tryingvery hard to have a baby. We'veseen several fertility doctors.You can check that out if you likebut I beg you to be discreet.
BANNER
But you didlead her on ...sothat she hadthe impression you were unhappyat home.
CHRIS
I triedto tip-toe around it and not leadher on but she's going to
• believewhat she wants to believe.
(MORE)
CHRIS (cont'd)
Look, don't irresponsibly run roughshod over this and wreck
• people's lives. I mean, there is no
case because I would not harm anyone, much less Nola Rice. Isn't it obvious that somebody killed her neighbor and she walked in when it was happening? God, I beg you, don't go on a fishing expedition over this and wreck people's lives. My family, my marriage is at stake.
BANNER
we just have to check out everything in a murder case.
CHRIS
Okay, but I'm not your man. I know it's not the most honourablething to cheat on your wife but thatdoes not make me a murderer.
BANNER
We're obligated to review the situation. I understand it's sensitive stuff for you. And ifwe have to talk to you againwe'll do everything in our power tokeep it
•
very private. Your personal life's your own. We're not makingany moral judgements, just investigating a crime.
CHRIS
I understand. Look, if youhave to get.in contact with me again, which, God in heaven, I hopeyou don't, please call me on my mobile. I'll leave you my number •••
BANNER
Thanks. Oh, um, one otherthing. Do you own or have accessto a shotgun?
CHRIS
Me? No. Um, my father-in-lawshoots on the estate but notme. You can check it out but, er, Ibeg you to consider mine and hisposition•
BANNER
Of course.
•
CHRIS
• Thank you.
Chris stands,shakes Banner's hand, then exits. Bannerturns his attentionto Detective Dowd.
BANNER
So, what doyou think?
DOWD
I think it'swhat it looks like. Someone robbedand killed Mrs. Eastby,was surprised leaving, and killed NolaRice.
BANNER
Yeah, I know.I know, it's got drug robberywritten all over it.
DOWD
He's 'spectinga baby. Okay, he's not gonnawin a medal for fidelity butwe canfind out discreetly enoughwhether the Hewetts had a shotgununaccounted for. I don't think thathe would know the first thing aboutstealing one though.
•
Nevermind sawing one off. It's a bit of a stretch.He's got no previousconvictions. Not even a speedingticket. The coroner says that Eastbywas killed first.
BANNER
Yea!,.
DOWD
There'sno sign of a forced entry.
BANNER
So,Mrs. Eastby knew the killer if she lethim in.
DOWD
Well,come on, Mike. Ninety per cent ofthe crimes we go out on, peopleopen their doors and invite thecriminals in.
BANNER
Yeah, Iknow, you're right. I'm justthinking out loud. It's just
• he's gota real motive.
DOWD
• Yeah, maybe.
BANNER
I'm torn because theRice murder was clearly an a[le1IJ11111glilbutI'd love to pursue it a littlemore. But I'm reluctant tofish around and cause problems foreverybody.
DOWD
Well, if somethingdevelops, we can pursue it. I doubt ifanything's gonna drop intoour laps.
CUT TO:
FLAT BEDROOM -- NIGHT
inbed alone. Elsewhere, Chris sleepsslumped table in front of a laptop computer.
CUT TO:
• DREAM SEQUENCE
'c::"satthediningtable and is shockedto find Nola in the room with him.
NOLA
Chris.
CHRIS
..•Itwasn't easy, but when the time came Icould pull the trigger. You neverknow who your neighbors are tillthere's a crisis. You can learnto push the guilt under the rug and ••• goon.You haveto. Dtherwise,it overwhelms you.
And whatabout me? What about the next-doorneighbor? I had no involvementin this awful affair. Is thereno problem about me having --an innocent bystander?
CHRIS
• The innocent are sometimes slain to
make way for a grander scheme. You were collateral damage.
MRS. EASTBY
So was your own child.
CHRIS
Sophocles said, "To never have been born may be the greatest boon of all."
NOLA
Prepare to pay the price, Chris. Your actions were clumsy. Full of holes. Almost like someone begging to be found out.
CHRIS
It would be fitting if I were apprehended and punished.At least there would be some small signof justice. Some small measure ofhope for the possibility of meaning•.•
CUTTO:
•
INT. BANNER'S FLAT BEDROOM-- NIGHT
Banner sits up bed, his wifeasleep next to him.
BANNER
Chris Wilton killed them. Isee how he did.
WIFE
•..What?
CUT TO:
INT. POLICE STATION CID OFFICE -- DAY
Dowd, seated, preparespaperwork.
BANNER
It's as we speculatedand said was too elaborate butthat's what he did.
(MORE)
•
BANNER (cont'd)
He killed the next-doorneighbor first to throw us off the scene,
• and set up the appearanceof a
robbery. He waited inthe hall. He knew she'd be back the sametime as usual and he killed hermaking it seem like she surpriseda burglar running out. He plannedit all so he could make the theatrein time to strengthen his alibiif one became necessary.Now, I haven't figured out theweapon problem, and I know it's a lot toask a jury but the correctnessof it came to me in my sleep, and I am goingto break this case.
DOWD
I hate to bethe bearer of bad news, Mike.
BANNER
What?
DOWD
Not thatyour dream isn't of primary interestto a jury.
•
BANNER
What's thebad news?
DOWD
Therewas another shooting in the area lastnight, four a.m. A drug addictkilled. Looks like a drug sale turnednasty.
BANNER
What, andhe confessed to killing two women beforehe died?
DOWD
No, hedidn't have to. The old woman'swedding ring was right in hispocket.
BANNER
No.
DOWD
Name anddate engraved right on it•
BANNER
• I don'tbelieve it.
DOWD
• Iknow. I know. Your case looked
good,lots of motive. But his motive was pretty strong, too. Heroin. Junkie with a long sting of convictions.Killed by one of his own,no doubt. (beat) Come on, I'll buy you breakfast. You can traumatize me with the rest of your dreams.
BANNER
No, wait. What if Wilton did it, threw the jewels away, this guy findsthem.
DOWD
I don't know. See what tonight's dream tell you. I'm sure a jury'll be interested. Come on.
BANNER
I give up .
DOWD
I knew Wilton didn't do it. He's
•
another poor schmuck who cheated on his wife. When you see those pictures of Nola Rice, you can see why though, eh?
BANNER
What a world. Am I right, eh?
They grab their jackets and exit.
CUT TO:
INT. MODERN FLAT -- DAY
Chris, Chloe, and familyenter carrying a newborn baby.
ALEC
Careful, careful. I'm always afraid they'll drop.
TOM
Oh, chill out, dad .
•
ALEC
• Babies are so, so soft. Right.
Champagne.
HEATHER
I think he's got your eyes,Chloe.
CHLOE
Really?
ELEANOR
I think he's got yourcoloring, darling. I really do.
CHLOE
Mummy, you can't tell anythingyet. They change all the time.
TOM
(toasting)
My nephew.
ELEANOR
Uncle, Uncle Tom. Oh,look at these flowers.••
• TOM
No, he does looklike Christopher. Actually, speakingof which, didn't you move into AlanSinclair's old office.
CHRIS
Mmm-hrom.
TOM
You lucky swine.
CHLOE
Oh, mummy, look,he's dreaming.
TOM
(to Heather)
Let's work on numbertwo. Come on.
CHLOE
Come on, he isa handsome boy. Look at that face.
ELEANOR
Lorna sent some lovelyflowers.
•
TOM
• Yeah, he's gorgeous.
ALEC
Right, here we are.
Alec enters with a bottle ofchampagne and glasses on a tray.
ELEANOR
I'll pass them round, shallI?
ALEC
Mmm-hmm. Please do.
ELEANOR
Chloe, darling, have one.
ALEC
With parents like Chloeand Chris, this child will be greatwith anything he sets hismind to.
Eleanor hands Tom a glassof champagne•
TOM
Thank you, mummy. Do youknow what, I don't care if he'sgreat. I just
•
hope that he's lucky.
HEATHER
Oh, lovely.
ELEANOR
What a lovely thought.
CHLOE
Mummy, are you sureI'm allowed champagne?
ELEANOR
Yes, yes. Just atiny weeny bit•••
ALEC
Yes, of course youare.
TOM
You haven't had anyfor months, Chloe. I'd get itdown you now while you can •
ALEC
Isn't he handsome?My God, he's
• handsome.
CHLOE
• Bet you any money the next one's a
girl.
CHRIS
Mmm.
ELEANOR
He's got the most adorable cheeks •.•
ALEC
••. Justsoextraordinarily handsome. I wonder what he's thinking.
CHLOE
Well, you know, they said he was a thinker. The nurses•••
ELEANOR
Deep thoughts. Deep thoughts.
ALEC
Here we are.
(toasting)
• To Terrence.
TOM
And all that sail on him.
CUT TO:
BLACK•
•