GREEN EYED WOMAN
By: William Morroni
WGA registered 2000
INT. AMY'S ARTIST LOFT - MORNING
CREDITS OVER
AMY painting; her brush mixes colors on the palette, dabs
paint on the canvas, her eyes glance from the palette to the
canvas, her hand (diamond engagement ring flashing) grabs a
bigger brush from the tray, she licks her lips, mixes a new
color, spreads more paint on the canvas. Etc. END CREDITS
AMY steps back from the easel and holds out the brush to eye
the proportions of the painting against the unseen subject.
AMY thirtyish, with long hair that's backlit like a halo from
the big loft windows. She has a gentle beauty and angelic
smile. Her smock, hands and even her face have smudges of
paint. She smiles. THE PAINTING, it is a portrait of a naked man, JOHN, sprawled
in a wicker bed, the twisted sheets cover his genitalia.
John is in his twenties. Handsome and well built. In the
painting he is asleep. JOHN (O.S.)
Mornin'... Past the painting, the real JOHN sits up in the wicker bed
and stretches. JOHN
... You been paintin' me again. AMY
You inspire me. She goes to the bed and kisses him.
JOHN
Umm! You inspire me! He pulls her into bed. The ALARM CLOCK BEEPS.
JOHN
Damn! JOHN sits up and turns off the alarm. Amy tries to pull him
back down. AMY
Don't go. JOHN
...Gotta work, Lover... He gently disengages himself from Amy and gets up.
AMY
It's high fashion, isn't it... He walks toward the bathroom, pausing to look over the
painting. AMY
...All those beautiful, thin. Young
girls hanging on you... JOHN
Yup. And they call it work. She pelts him with pillows and clothing, driving him back
into the bathroom and knocking over the easel. JOHN
Hey! Stop! Enough... He SLAMS the bathroom door as a tube of paint splatters against
it. JOHN (O.S.)
...I LOVE YOU! The SHOWER (O.S.) comes on.
Amy sets up the easel and painting. She gazes lovingly at
the painting, absentmindedly twisting the engagement ring on
her finger. AMY
(yelling)
DON'T FORGET THE OPENING AT THE GALLERY
TONIGHT. AND DON'T USE UP ALL THE HOT
WATER! JOHN
(Yelling O.S.)
COME WASH MY BACK! AMY goes into the bathroom.
INT. LOFT'S BATHROOM - DAY
AMY enters and sits on the toilet. JOHNS' shape can be seen
through the translucent shower stall. AMY
Don't go. JOHN leans out of the shower.
JOHN
You're jealous... AMY looks away. John grabs her and drags her SCREAMING into
the shower, clothes and all. AMY
DON'T! STOP! BEAST! John smothers her protests with a kiss, then slips the wet
artists smock from her shoulders. JOHN
Don't be jealous, sweetheart... I've
had all the beautiful, young models
I'll ever want. Most were too worried
about their hair or make-up to be any
good in bed and the rest didn't have
the brains to be any good out of bed.
(He kisses her) Give me a horny old
broad anytime. AMY
Your awful! Let me go! She tries to push him away but he holds her tighter and starts
tickling her. She squirms and LAUGHS as he continues to tickle
her until the foreplay becomes love-making. EXT. ART GALLERY - NIGHT
The gallery sign reads: WENTWORTH GALLERY, beneath it a car
pulls up and AMY & JOHN get out. They join the well dressed
crowd that's entering the Gallery as a VALET drives their car
off. JOHN is carrying a large portfolio case. INT. ART GALLERY - NIGHT
AMY & JOHN enter and pause to look over the crowd. Amy sees
someone she knows and waves her over. Across the crowded
gallery, MARCY, an attractive brunette of 25, waves back at
AMY. MARCY makes her excuses to the people she is with, grabs
a drink from a passing WAITRESS'S tray and joins Amy and John. ANGLE ON ELAINE WENTWORTH
Watching AMY and JOHN. She is well preserved 4Oish and dressed
in a power suit. She turns to the LADY standing next to her. ELAINE
Now there's a real work of art. JOHN watches while AMY and MARCY hug and air kiss.
For a moment ELAINE strips JOHN with her eyes then she makes
her excuses to the lady she is with and walks toward Amy et
al. MARCY
..And if your show is a success here,
she owns galleries in New York, London,
Paris, and Hong Kong. Elaine Wentworth
and her galleries can make you or break
you, so smile and nod and for god sake
let me do the talking... MARCY looks over and sees Elaine coming toward them.
MARCY
... Here she comes now. Hello, Ms.
Wentworth. How are you? ELAINE
Marcy isn't it? MARCY
Yes, your secretary said you'd be able
to look over my artists' portfolio
tonight. This is Amy Henderson, you're
going to love her work, if we can... ELAINE
And who is this... Elaine nods toward John.
AMY
My fiancée, John this is Ms. Went... ELAINE
Call me Elaine. And congratulations
to the both of you... She points at the portfolio.
ELAINE
... That your work? MARCY
Yes, if we could go to your office... ELAINE
Certainly. JOHN
Since you ladies are off to talk
business I think I'll just look around.. He hands the portfolio to Marcy and kisses Amy.
JOHN
... Nice meeting you Elaine. ELAINE
The pleasure is mine... The three ladies watch John's buns as he wanders off.
ELAINE
... . You're a very lucky lady Amy.
My second husband had buns like that,
trouble was he served them up to any
bimbo he could con or corner. I finally
caught him with my maid. Had to let
them both go. Marcy glares at Amy and makes like she is zipping her lips,
silencing Amy before she says something she'll regret. MARCY
Shall we check out the pictures now
and the buns later. ELAINE
Good idea. Ladies... Elaine motions Amy and Marcy toward her office.
DISSOLVE
INT. ELAINE'S OFFICE - NIGHT
The PORTFOLIO lies open on a desk as ELAINE slowly flipS from
glossy photo to photo, each is a color picture of a painting,
one modern, one impressionistic. One cubistic, one landscape,
and the last is a nude of John. ELAINE
Very nice...Lovely...Nice lines...I
like your colors.. Good composition...
Strong style... Great choice of
subjects. ELAINE smiles at Amy.
ELAINE
...A very impressive portfolio... Elaine goes to the office's inside window and looks out over
her gallery. ELAINE
...naturally I'll need to see the real
paintings and this show runs through
the end of this month. MARCY
And contracts need to be drawn up. ELAINE
Naturally... Isn't that your fiancée,
Dear? Elaine points out the office window. AMY and Marcy join her
at the window. LOOKING OVER THE CROWDED GALLERY
JOHN is standing in front of a painting, studying it. A big
busted WAITRESS walks up and stands next to him, after a moment
she smiles up at John. He returns the smile and they chat
for a moment. Then the waitress strolls off, leaving John
staring after her. An attractive BLACK-HAIRED WOMAN walks up
and talks to John. She takes a piece of paper and a pen from
her purse, writes on the paper and gives the note to John.
They chat some more, smiling at each other, then the woman
walks off. John watches her then swivels his head around as
a strikingly beautiful girl walks by. ELAINE (O.S.)
All men are pigs.. .I'll want something
new, different, something with the
paint still wet. Your portfolio is
great, but if you want to show in my
galleries... BACK ON ELAINE, AMY & MARCY
AMY glares down at JOHN on the Gallery floor, her face turning
red with jealousy. ELAINE
... you need to be able to produce
great art, on demand. Go home and
paint me something new, I'll be by in
a week to look at it. Now you better
go get your fiancée before he hurts
his neck.... DISSOLVE
INT. AMY'S ARTIST LOFT - DAY
An ARTIST PALETTE, black paint splats on it, a wide brush
angrily stirs it around then splats on more paint. AMY,
angrily mixes paint, the canvas in front of her is empty.
Behind her, JOHN is getting dressed. JOHN
It's not like I did anything...Christ.
I looked at the pictures too...All men
look, hell. If I didn't appreciate
beautiful women I wouldn't be normal...
You should worry when I stop checking
out pretty girls.. Where the hell is
my brown shirt... He goes to the closet and grabs a shirt.
JOHN
... Did you see what some of those
paintings were selling for...? Are
you going to get a show there...? He walks over to Amy.
JOHN
...You got nothing to be jealous about,
honest Love... He goes to kiss her but she ducks and keeps angrily mixing
paint. JOHN
...listen, in five years when I'm the
Marlboro man and you're a famous artist,
we'll look back at last night and laugh. AMY
Ha! JOHN
I'll be done by dinner. He exits.
For a moment Amy pauses, then with renewed anger she begins
sketching rapidly on the canvas. FADE IN CLASSICAL CHAMBER MUSIC
DISSOLVE
(Production note: The following sequence should be composed,
lit, and art directed to look like a classical Rembrandt or
Rubens painting.) INT. VICTORIAN BEDROOM - DAY
SHOWER NOISES (O.S.) from bathroom. ALICE, the maid, is making
the canopied bed. JOHN, wrapped in a towel, steps out of the
bathroom. He has a dashing goatee. JOHN
Alice! Come here you little Vixen! ALICE
No more! I told you the last time, no
more! She starts for the door, but John cuts her off and she retreats
back to her side of the bed. JOHN
Don't you like working here? I know
we pay you more then you could make
anywhere else. ALICE
You know I can't afford to lose this
job. JOHN
Then come here and keep your boss happy. He starts to circle the bed and Alice backs away.
ALICE
What about your wife? JOHN
That old bitch. She's off to her
gallery to set up another showing,
probably make another fortune before
noon and definitely wouldn't be back
till then... He fakes to rush her and dives across the bed, catching her
wrist as she tries to get away. He pulls her across the bed. JOHN
...So dear Alice, we have plenty of
time. ALICE
Please, sir, let me go. Stop that! He nibbles his way down her arm. Throughout the love-making
she keeps protesting until she locks her lips on his neck.
He tries to stop her but she holds on, giving him a giant
hickey on his neck. After he orgasms he gets up and goes to
the dresser mirror. JOHN
Christ! Look what you've done! ALICE
(Laughs) JOHN
So, you think this is funny! He dives at her and misses.
ALICE
No! Don't! Please! He chases her around the room, finally catching her and tossing
her back on the bed. He locks his lips on her neck, sucking
till he raises a huge hickey. She alternates between
protesting and moaning with pleasure. When he finishes he
jumps up and admires his work. JOHN
There! Now we're even. She rushes to the mirror and inspects her hickey.
ALICE
Beast! Animal! What is your wife
going to say! INT. VICTORIAN FOYER - DAY
AMY enters. Followed by her CHAUFFEUR. He carries her
portfolio into the den. ANY (CALLING)
JOHNNY? I'm Hoooome! She starts up the staircase.
INT. VICTORIAN BEDROOM - DAY
ALICE & JOHN look panic-stricken.
AMY (O.S.)
JOHN! I finished early! You up yet! JOHN
Get dressed, quick! Alice points at her neck.
JOHN
Damn! Get out of here! Alice grabs her maid's uniform and rushes out the side door
as John runs into the bathroom. As soon as both doors are
shut. AMY strolls in the bedroom door and looks around. AMY
ALICE! Alice comes in the side door, still straightening out the
skirt on her uniform. ALICE
Yes, Ma'am? AMY
Why isn't this room done yet? ALICE
I was doing the sitting room first,
Ma'am, until your husband finished his
bath. AMY
Oh! Okay then. Alice exits as John steps out of the bathroom. He's got a
towel wrapped around his waist and his face is covered with
shaving cream clear down to his neck. JOHN
Honey! You're home early! What a
pleasant surprise! Let me finish
shaving and I'll join you for lunch. AMY
I got a better idea. She steps close to him and starts tugging at his towel
JOHN
Hey, I gotta shave... AMY runs her finger down his cheek and wipes the shave cream
off. He backs up and she advances. AMY
Feels pretty smooth to me. For a second she's suspicious then forgets it.
AMY
...just wipe it off. JOHN
Come on Amy, I just got up... AMY
Don't you want me...? JOHN
Sure, but not right now, I gotta shave! AMY
Let's get kinky, wipe the shaving cream
off on me! All over me! She lunges at him and he jumps back to the bathroom door.
JOHN
Behave, Amy. Alice is right next door. AMY
It's been weeks, John. I'm here. I'm
hot and I'm yours ! JOHN
And I'm in the bathroom... He closes the bathroom door on her.
AMY
I'm gonna need you to model for me
today. JOHN (O.S.)
Ahhh? Sure. INT. VICTORIAN STUDIO - DAY
AMY stands at a blank canvas.
AMY
Well? JOHN
In a minute, honey. AMY grabs a piece of gray chalk and starts sketching the
background on the canvas. JOHN steps in wearing a robe, the
turned up collar hides his neck. JOHN
OK, where? AMY
About time. On the pedestal...left
hand on the column. John steps up on the pedestal and leans on the waist high
piece of Roman column. AMY
Well...? The robe! JOHN
It's chilly in here... AMY goes to John and corrects his position, guiding him around
so he is at an angle to the light pouring in the large studio
windows. AMY
Come on... She starts to take off the robe.
JOHN
I'll do it, I'll do it. He turns so the side with the hickey is away from her, then
takes off the robe, tossing it into a corner. AMY
Hand on hip... and more this way. She pulls him back around, revealing his neck. The hickey is
covered by a piece of taped on gauze. AMY
God! What...? JOHN
Shaving accident... AMY looks skeptical.
JOHN
... I couldn't find any band-aids. Amy angles his heads so he is looking off over the column.
AMY
There, now hold it... She goes to the easel and starts quickly sketching.
AMY
...Does it hurt? JOHN
What? AMY
The cut. JOHN
Oh! Not really. INT. VICTORIAN DINING ROOM - NIGHT
The kitchen door swings open and ALICE enters carrying a
serving tray. As Alice leans past AMY, to ladle out the soup,
Amy gets a clear look at Alice's neck, the large hickey clearly
visible over the collar of her uniform. AMY
Thank you Alice. Alice exits.
AMY
... Did you see that? JOHN
See what, dearest? AMY
That hickey on Alice's neck. JOHN
No, I didn't notice. AMY
It was hard to miss... John tries to hide his blush by concentrating on his soup.
AMY
... I wonder who gave it to her, I
didn't think she had a lover. . John nervously straightens the collar on his turtleneck
sweater. AMY
Maybe I should talk to her about it. JOHN
No! I mean we shouldn't nose about in
our servants affairs, I mean business.
It wouldn't be appropriate. AMY
Aren't you just a tiny bit curious? JOHN
No, I don't think we should be gossiping
about the hired help. AMY
Well, I still think I should talk to
her about covering that hickey up,
what if one of our friends drops in
and sees it, what'll they think? JOHN
I think we should mind our own business! AMY
Well, all right. They both busily eat their soup. Amy looks up at John, curious
and suspicious. She quickly looks back down when John looks
up at her. He nervously straightens his collar over the
bandage. INT. VICTORIAN BATHROOM - NIGHT
JOHN finishes getting ready for bed, checking the bandage on
his neck to make sure it's secure. He exits the bathroom and
AMY enters. She washes her face, opens the medicine cabinet
and takes out toothpaste. She pauses, staring into the cabinet
then takes out a tin of band-aids. Opening the tin, she spills
out a dozen large band-aids. Amy glares after John and slowly
puts the band aids back into the cabinet. INT. VICTORIAN BEDROOM - NIGHT
JOHN is already in bed, apparently asleep. AMY comes out of
the bathroom turns out the light and climbs into bed next to
John. She leans over John, examining the bandage on his neck.
Carefully, Amy lifts one corner of the bandage trying to peek
under it. John stirs in his sleep and Amy quickly moves away
then slowly moves back, again trying to peek under the bandage.
She peels back enough of the bandage to see part of the hickey.
Her face reddens, her breathing becomes ragged, in a rage she
rips off the bandage. John SCREAMS and sits up, grabbing his
neck. JOHN
WHAT THE HELL! AMY
DAMN RIGHT, WHAT THE HELL IS THAT! She points at the hickey. He realizes what's happened and
jumps out of bed. JOHN
I can explain, honey! Honest! It's
not what you think. Amy gets out on the other side of the bed.
AMY
PIG! BEAST! ANIMAL! How could you... JOHN
It's not a hickey, Love, it's...it's a
bruise. I walked into the shower door
and... AMY
LIAR! WHAT AM I, STUPID...! She starts throwing things at him, first from the end table
by the bed then from her make-up table. He dances and uses a
pillow as a shield. She screams at him while he pleads with
her. AMY
. ..YOU FUCKED MY MAID! IN MY HOUSE!
IN MY ROOM! ON MY BED! LIAR! YOU
PIG! JOHN
I'm sorry, Baby. I couldn't help
myself! Honest, sweetheart. She threw
herself at me. Jesus, Lover, we only
did once, on my mother's grave. I
swear! He zigs when he should have zagged and gets conked on the
head with a crystal perfume bottle. His eyes roll up and he
falls onto the bed, out cold. AMY
My God! Johnny.. ! Shocked, Amy cradles John in her arms.
AMY
...I'm sorry, Baby! Oh God, don't
die, I love you, Baby. Johnny?
Johnny? John moans. Amy is thrilled that he's not dead.
AMY
. .I'm sorry, Lover. I'm sorry, Baby! JOHN
My head. She showers the new bruise on his forehead with kisses.
AMY
I'm sorry... I'm sorry... JOHN
No Baby, no. I'm sorry, I'll never be
unfaithful again. Please, lover, give
me one more chance, please forgive me,
Baby. I can't live without you. She stops kissing his bruised head.
JOHN
It'll never happen again, I swear. I
love you. For a second they stare into each others eyes, her with
suspicion, him with sincerity, then they kiss passionately. AMY
God, I love you. They kiss again, then she hugs him. Rocking gently. A tear
wells from her closed eyes. JOHN
Never again, Lover, I swear. We can see the lie in his self-satisfied smirk. He wipes the
smirk from his face as he passionately kisses Amy and gently
pulls her down onto the bed. INT. VICTORIAN DINING ROOM - NIGHT
A FAT UGLY MAID comes out of the kitchen and serves dessert
to AMY and JOHN. JOHN
I had the cook make your favorite, my
Love. John takes a spoon full of the parfait, turning his head away
from Amy and revealing that he now has a hickey on each side
of his neck, the new one much bigger then the old one. JOHN
Yuck! This isn't right, I'm going to
talk to the cook... AMY
It's okay, dear, just needs a little
more sugar. JOHN
No, I asked for this special, it's
your favorite, I'm just going to make
sure the hired help knows that we won't
settle for slipshod work. He exits into the kitchen, for a moment the open door reveals
the cook, who is the same BLACK-HAIRED WOMAN John met at the
Gallery. JOHN
Ms. Johnson, how long have you been
working for... Their conversation becomes a MUMBLE as the kitchen door swings
closed and blocks the sound. Amy picks at her dessert,
watching the kitchen door. It swings open as the Maid comes
out with an empty tray. For a moment Amy can see John and
the Cook, they are holding hands. JOHN
. . Come on, Sweetheart, this Saturday,
OK...? Then the door swings closed. AMY is very curious and slides
her chair closer to the kitchen end of the table. The maid
finishes stacking dishes on the tray and exits into the
kitchen, for a moment the door stays open. JOHN
. . Sure. .Baby, bring her, we'll make
it an orgy... AMY's face goes red as the door swings closed. She jumps up
and heads for the door, furious. Suddenly, she turns away
from the door and angrily circles the table, then plops into
her chair. Fuming. The maid comes out of the kitchen carrying
the empty tray. Again the door hangs open for a moment,
revealing John and the Cook finishing kissing. JOHN
I gotta get back in there now... The Cook starts to protest but he silences her with a finger
to her lips, then the door swings closed. The maid finishes
clearing off the table. Amy fights to regain her composure,
wipes the tear from her cheek, and puts on a smile for JOHN,
who enters and stands behind her chair. The maid exits. JOHN
Well, that won't happen again, Lover. AMY
Thanks, Honey. I don't know what I'd
do without you. Promise me you'll
always love me. He kisses her on the cheek and goes to his chair.
JOHN
Promise... You know you're the only
girl for me. AMY
Yes, dear...And I intend to make sure
it stays that way. JOHN
Excuse me? AMY
Nothing, Honey. EXT. PUBLIC LIBRARY - DAY
AMY goes into the library.
INT. LIBRARY - DAY
A RACK OF BOOKS with titles like, "Witchcraft", "Spells and
Potions", "101 Magic Spells". Etc. AMY enters and looks
over the books, she pulls out an old dusty volume and leafs
through it, smiling. AMY stops on a page titled, "LOVE
POTION". Her finger runs down the list of ingredients stopping
at one that calls for a strand of the victim's hair. INT. VICTORIAN KITCHEN - DAY
On the counter is a BLACK COMB next to the old book which is
open to the "Love Potion" recipe. AMY takes a strand of hair
from the comb and stirs the hair into a steaming pot. ANOTHER ANGLE - KITCHEN WINDOW
A breeze ruffles the open windows curtains.
BACK ON BOOK
The page blows over to a recipe labeled "Transmutation". AMY
turns away from the stove and checks the recipe book, without
noticing the page has changed. She grabs the next ingredient
and continues making her potion. After stirring in another
two ingredients she goes to the refrigerator and takes out a
bunch of grapes, carefully dips them into the pot a couple of
times, then puts them back into the frig. JOHN (O.S.)
... Nothing to worry about, she said
she'd be gone all day... Amy tosses the rest of the potion into the garbage, pot and
all, then hides in the kitchen pantry. JOHN, ALICE, AND THE COOK enter.
JOHN
... you girls get together something
for a picnic and I'll get some wine. He grabs the key to the wine cellar and goes down the stairs.
PEEKING OUT A CRACK IN THE PANTRY DOOR.
Alice gets a wicker basket from one of the cabinets and starts
putting utensils and dishes into it. THE COOK goes to the
refrigerator and takes out cold cuts and fruit, including the
grapes. Everything is stuffed into the basket as John comes
back carrying a few bottles of wine. The cook grabs the
basket. John grabs the two women and they exit laughing and
giggling. AMY comes out of the pantry, peeks out the door, then sneaks
out after them. EXT. VICTORIAN MANSION - DAY
JOHN, ALICE AND THE COOK exit and walk off toward the woods,
the cook is carrying the basket while John is grabbing both
girls' butts and kissing them. Amy sneaks after them using
the shrubbery for cover. EXT. THE WOODS - DAY
A stream trickles by a giant old tree with a rope swing hanging
from one thick branch. JOHN, ALICE AND THE COOK enter. While
Alice spreads a tablecloth on the ground the Cook lays out
the food and John pours the wine. AMY sneaks up, hides behind a bush and watches them.
The threesome dissolves into an orgy, flowing from the blanket
to the swing and back. AMY watches with growing anxiety as the threesome copulate
while feeding each other cold cuts, vegetables, sweets, wine,
everything but the grapes. After both women have orgasmed,
John cums and all three relax. Amy is fit to be tied, until
she sees Alice finally reach for the grapes and feed one to
John. MASTER ANGLE
Like a classical Rubens or Rembrandt, John sits on the swing,
a naked girl on his lap another at his feet, the picnic spread
out in the foreground and the stream and tree used as frames.
Suddenly, John starts to writhe around on the swing. Johns'
face twists in pain. Amy stares in surprise. Alice and the
Cook go wide eyed. Hair sprouts from Johns' legs. Amy watches
in horror. John claws at the swing, his nails growing long
and black. Alice & the Cock watch in horror. John SCREAMS
in pain. Alice & the Cook SCREAM. Horns burst from Johns'
head. AMY
NOOOOOOOO! CLASSICAL MUSIC CRESCENDO AND ENDS
DISSOLVE
INT. ARTIST'S LOFT - NIGHT
The ARTISTS PALETTE, a brush quickly dabs paint, then the
brush moves to the canvas where it dabs once then hovers. ANOTHER ANGLE
AMY Exhausted and covered in paint. She stares at the
painting, dabs one more time, then puts down the brush and
palette and slowly shuffles toward the bathroom. THE PHONE RINGS
Amy pauses and listens as her machines answers after the THIRD
RING. AMY
(from answering machine)
Hello, we're way too busy to try and
find the phone in this mess, so just
leave a message and we'll get back to
you, promise! BEEP
MICHELE (O.S.)
Hi Amy! Congratulations! I'm so
excited for you! Marcy just told me!
I'm dying to meet him, and see the
engagement ring. I'm having a pool
party Saturday, you have to come and
bring the fiancée. Oh. Marcy and I
are shopping tomorrow and I know you'll
wanna come too. Call me! Bye! CLICK
She finishes shedding her smock and clothes as she goes into
the bathroom. SOUND OF SHOWER (O.S.).
JOHN (0.S.)
Hi. Honey! I'm home! ANOTHER ANGLE - JOHN
He crosses to the painting revealing it complete for the first
time. It is like the MASTER ANGLE above, John on the swing,
a girl on his lap and one at his feet, only John is a satyr
and the two girls are wood nymphs. JOHN
Different. I LIKE IT, LOVE! INT. LOFT BATHROOM - NIGHT
SOUND OF SHOWER
AMY'S shape can be seen through the shower door.
JOHN (O.S.)
REMINDS ME OF THE CLASSICS, AS GOOD AS
ANY REMBRANDT OR RUBENS...HONEY...? KNOCK ON DOOR
JOHN (O.S.)
Want me to do your back...? The door opens and JOHN strolls in and gets undressed.
JOHN
...I think the reason I really like it
is cause it's different then what you've
been painting. AMY
Yeah. I like it too, but I'm
exhausted... John smiles.
JOHN
Not too exhausted, I hope. Naked, he climbs into the steamy shower. She GIGGLES.
AMY
Tell me again how much you like it. JOHN
Like it. I love it! It's great, A
work of genius! A masterpiece! DiVinci
would be jealous. She giggles, then laughs and finally moans as John kisses her
more and more passionately between each compliment. AMY
I should still be mad at you...!
Ohhhh...! Yes, kiss right there...!
Oh, I love you! JOHN
I love you, my little... AMY
Shut up and kiss me...a little to the
right... EXT. MELROSE BLVD. - DAY
THREE TIGHT FEMALE ASSES strolling down the blvd.
AMY (O.S.)
So what could I do, I let him... AMY, MICHELLE AND MARCY are strolling up the street.
MICHELE
You're a wicked women, Amy. How did
John like it? AMY
He wouldn't let me do it to him. Said
he had a job modeling B.V.D.s. A COUPLE OF MEN walk by and pause to check out the girls butts,
then walk on. MARCY
Don't you think you should wear a scarf
or something. MICHELE
Look at that darling sweater! The girls stop to look in a store window. AMY is the middle,
MARCY, her agent, and MICHELE, her best friend, flank her.
There is a big hickey on AMY'S neck. MARCY
The color's not right for you, Michele. They continue strolling up the street.
MICHELE
...So what are you going to do, keep
the big jerk or throw the bum out. AMY
I don't know. Sometimes, like last
night, I love him so much it hurts and
sometimes I'm so jealous I could kill
him. MARCY
If you're getting rid of him, I'll
take him MICHELE
Marcy! MARCY
Well Michele, you haven't seen him
yet. He's gorgeous! Amy dear, you
better get use to being jealous. MICHELE
He can't be that good looking, do you
have a picture of him? AMY
As a matter of ....... She looks around, then points.
AMY
That's John. MARCY and Michelle turn and look
MELROSE BLVD BILLBOARD - MATTE EFFECT
A liquor advertisement showing JOHN in a tuxedo surrounded by
beautiful women in short, tight cocktail dresses. All the
women are clinging to him as he holds up a glass of Scotch on
the rocks. BACK ON AMY, MARCY & MICHELE
MARCY
And good in bed, too. MICHELE
Get use to being jealous. MARCY
It's simple, just lock him in your
bedroom and never let him out.. MICHELE
Except to bring him to my pool party
this Sunday, you are coming. Aren't
you? AMY
Wouldn't miss it, but you have to
promise to not to wear that yellow
bikini. MICHELE
(Points at billboard)
If you bring him, I won't wear a thing. AMY
Slut! MICHELE
Tramp! MARCY
You bimbos want to stand around calling
each other names, or go ruin your
figures with Italian food! MICHELE & AMY
Bitch! The three women walk off laughing and chatting.
EXT. PATIO AND POOL - DAY
A ROW OF POOL LOUNGE CHAIRS, each occupied by a BEAUTY in a
bikini. GUYS hang around drinking and hitting on the girls.
AMY and JOHN are sunning themselves on the last two lounge
chairs. JOHN
Time to roll over, honey. They roll over in unison. John looks over at the pool and
waves. ANOTHER ANGLE - MICHELE
In a practically non-existent yellow bikini, waves back then
dives into the pool. BACK ON JOHN & AMY
JOHN
You should do a portrait of your friend,
what's-her-name, with the great body
and the yellow bikini. AMY
Michele. Yeah, I'd like to paint her...
You thirsty? JOHN
I could use a Lite, what you want? He starts to get up, but she motions for him to stay.
AMY
I'll go, I need to stretch. She gets up, gives him a quick kiss and heads for the patio
and bar. ANOTHER ANGLE - THE BAR.
AMY walks up and makes herself a drink. She turns and looks
back at JOHN. MICHELE comes out of the pool and dries herself
in front of him. They appear to be chatting and it's obvious
that Michele is flirting with John. MARCY joins Amy, for a
moment they both watch John and Michele then Amy angrily turns
and makes herself another drink. MARCY
I didn't talk to him much, but he seems
like a real nice guy. Usually the
good looking ones are either jerks or
gay. You're very lucky. AMY
Yeah, lucky. John's definitely not
gay. Marcy and Amy watch as Michele and John talk and laugh. John
gets a paper and pen from the beach bag near his chair and
writes something as Michele talks. He sticks the note in his
wallet and they continue chatting. MARCY
Don't get jealous over nothing, Amy.
He didn't impress me as a jerk, you
know how you can tell by the way a guy
looks at you or leers at you. John
just looked, he didn't leer. I don't
think you have to worry about him... Down by the pool, Michele is handing suntan lotion to John,
who spreads it on her back. MARCY
I think you have to worry about Michele! AMY
I better get back down there, thanks
Marcy. MARCY watches as Amy takes a beer to John. There is a awkward
conversation and Michele walks off. John and Amy go back to
sunning themselves but it's obvious they are annoyed with
each other. MARCY takes a drink and shakes her head. EXT. ARTIST'S LOFT - NIGHT
JOHN and AMY drive up and park. They get out of the car,
each slamming the door. They stomp into the building,
separately, each slamming the door. INT. ARTIST'S LOFT - NIGHT
AMY enters, slamming the door, then JOHN enters, slamming the
door. They stomp around the loft getting ready for bed and
carefully avoiding each other. JOHN
Your impossible. She doesn't say anything, just glares at him.
JOHN
This silent routine has been going on
for hours and I've had it up to here. He draws a finger across his throat.
JOHN
Now talk to me.. say something! AMY
Pig! JOHN
What I do? AMY
I saw you and Michele. JOHN
Oh? Saw what! She's your friend. AMY
I saw her flirting with you. JOHN
Right! She flirted with me. What did
you want me to do, be rude? AMY
What about the other thing? JOHN
What other thing? Amy goes to the dresser and takes the note from his wallet
and opens it. AMY
Just what I thought... (She waves the
note)...Michele's phone number. JOHN
So? AMY
Soooo!? So what are you doing with
her phone number. Gonna call her up
for a private showing of that yellow
string she was not wearing? JOHN
You're crazy. Insane! You gotta get
a grip on reality. AMY
Crazy! If I don't have reason to be
jealous then what the hell are you
doing with Michele's phone number?
(She waves the note) John turns away from Amy, thinking fast.
JOHN
I can't take this. I won't go through
life with a woman who is so insecure,
so jealous, so overly possessive, she
goes nutso every time I talk to a woman.
As much as I love you, you're driving
me away. If you don't stop it, you're
going to ruin the best thing that ever
happened to me. Amy waves the note.
AMY
You sure Michele isn't the best thing
to ever happen to you. Frustrated, John grabs her, she struggles but he just pulls
her closer. JOHN
You're going to be my wife. And when
you're my wife, your friends are going
to be my friends. So I'm getting all
of your friends phone numbers. What
if you get sick and go to a hospital.
Wouldn't you want me to call all your
friends and tell them to come and visit
you... He kisses her.
AMY
A likely story. Angrily. John grabs the note from her hand, crumples it and
tosses it into the garbage. INSERT. The note flies into the nearly empty garbage pail.
JOHN
There! That's what I think of your
friend Michele. Now can we stop this
silly fighting and get to silly making
up, I have an early call in the morning. He starts tickling her.
AMY
Stop that! I'm mad at you! John! He chases her around the loft, laughing and tickling her.
She continues to protest, only now she is laughing and
giggling. Finally they fall into bed. EXT. ARTIST'S LOFT - NIGHT DISSOLVE TO DAY
JOHN comes out, gets into his car and drives off.
INT. ARTIST'S LOFT - DAY
AMY is asleep, alone. She rolls over and reaches for John,
but doesn't find him. AMY
John? Honey. Groggy, she sits up, grabs the alarm clock and checks the
time. Realizing he has already left for work she gets up and
heads into the bathroom, tripping over the garbage pail. She
pushes the pail back into place, then changes her mind and
grabs the pail and looks through it. Not finding the note.
She pours the contents of the pail onto the kitchen table and
carefully goes through them. The note is definitely not there. AMY
That two-timing, conniving, lying... She goes to her easel, grabs the palette and begins throwing
paint on the blank canvas. Accenting each verbal epithet
with a splat of paint. AMY
... sack of donkey droppings. If I
ever catch him even looking at that
slut, tramp, cunt, bitch, I'll...
I'll... She breaks down and starts crying. Angry at herself for breaki-
ng down, she wipes away the tears and works out her frustration
by painting. Her paint brush strokes on big gobs of pastel
colored paint. FADE IN JAZZ MUSIC
DISSOLVE
(Production note: The following sequence should be composed,
lit and art directed to suggest the impressionistic school of
painting.) INT. RANCH STYLE HOUSE - DAY
An eight ounce glass. One at a time ice drops into the glass.
PHONE RINGS (O.S.)
BEEP OF ANSWER MACHINE (O.S.)
JOHN (O.S.)
(phone filtered)
Leave a message and I'll call you back. "BEEP" (O.S.)
White wine pours into the glass.
SEXY FEMALE VOICE (O.S.)
(phone filtered)
Hi John, it's Sally. Congratulations,
you got the job. The whole spread,
G.Q. cover and main photo article. We
start tomorrow early. Looking forward
to working with you, Ta-ta, Love. CLICK. (O.S.) The machine hangs up.
AMY finishes filling the glass with wine. She is older,
haggard, and a little drunk. She sticks the half empty wine
jug in the refrigerator, grabs her drink and goes through the
living room to the enclosed back patio/studio. ANOTHER ANGLE - PATIO/STUDIO
AMY enters and sits at her easel. She stares at the empty
canvas, sipping her wine. She picks up the palette and brush
and begins painting. THE CANVAS reveals the straight lines of a tic-tac-toe game.
EXT. RANCH STYLE HOUSE - DAY
JOHN drives up and goes into the house. He is in sweats and
carrying a gym bag. INT. RANCH STYLE HOUSE - DAY
JOHN enters drops his bag on the sofa and goes out to the
patio/studio. JOHN
Hi, Honey. AMY
You gotta call from your girlfriend. She finishes her drink in one gulp and leaves him looking
after her as she heads for the kitchen. JOHN
Don't start in, and do you have to
drink? It isn't even noon. He goes into the living room and plays back his message as
AMY comes back in the Patio and sits at her easel. AMY
I bet you're looking forward to working
with her! John returns to the patio and stands looking over AMY's
shoulder. JOHN
Did nothing again this morning, huh? AMY
Just took a message from your current
slut. JOHN
What about your painting? AMY
I lack inspiration, but I bet Sally is
inspired! JOHN
There's no talking to you when you're
like this. He starts to leave, then changes his mind.
JOHN
Sally is being a real friend throwing
this gig our way, the assignment is a
real choice plum and we can use the
money, hell, you haven't sold a painting
in over a year. He heads into the living room and dials the phone while AMY
sits, sipping and fuming. JOHN
Hello, Sally? Yeah, I just now got
in...Ahuh... O.K....Good, I'll see you
then. Bye. AMY
(Under her breath)
Ta-ta, Love. John hangs up the phone.
JOHN
I'm gonna lie down for a while. He starts undressing on his way down the hall to the master
bedroom. PHONE RINGS
JOHN
Get that, it might be Sally again. Amy answers it.
AMY
Hello? Hello, anyone there? ANOTHER FEMALE VOICE
(phone filtered)
Ahhh? Sorry wrong number. AMY hangs up, and goes back to her easel.
PHONE RINGS
John leans out of the bedroom.
JOHN
I'll get it in here. He ducks back into the bedroom and the PHONE STOPS RINGING.
AMY sneaks through the living room and down the hall to the
bedroom door. She puts her ear to the door, but can only
hear MUMBLING. After a moment she rushes out of the hall and
back to her easel and drink. John comes out of the bedroom
pulling his clothes back on. JOHN
That was my agent, I got a fashion gig
for this afternoon. I won't be home
till late. AMY gets up, heading for the living room.
AMY
If you love me don't go, stay with me!
I can't stand you going to some slut's
bed, please stay with me. JOHN
It's like being in a prison here.
You, all the time watching me and
accusing me of cheating. I'm just
going to work, we need the money! AMY
Then let me come with you. I'll just
watch. Promise. I won't say a word.
Please, John. JOHN
You know that doesn't work. And don't
you come down and surprise me like you
did last month. I will not be spied
on, or embarrassed like that again,
you understand? She is hanging on him now.
AMY
Just love me, John. No one else, please
stay with me, don't go to her. John tries to gently dislodge himself but she won't let go.
JOHN
Work, Amy. I have to go to work, that's
all. AMY
Liar! You're going to fuck the bitch
on the phone. I won't let you, you're
mine! She clings to him and he fights to push her away.
JOHN
Stop it! Stop it, Amy. Behave
yourself, or I swear I'll leave you!
I don't want to, but I can't take this
anymore. Between your drinking, your
jealousy, and your possessiveness,
you're driving me away. AMY
I'm sorry, I'll be good, I'll be better
than that other woman.. She awkwardly tries to rub against him. He finally pushes
her away and she collapses on the floor. JOHN
Just stop it! I gotta work, and you
better not come down there drunk again
and make a scene. If you do, I
swear...I swear I'll leave you for
good! He bends down and lovingly touches her cheek.
JOHN
It's just work, honey. I'll be home
late. AMY
LIAR! She tosses her drink at him but he's too quick and ducks out
the front door. AMY
Asshole. She burst out in tears.
EXT. RANCH STYLE HOUSE - DAY
JOHN leans against the door, shakes his head with regret,
gets into his car and drives off. INT. MARCY'S APARTMENT - DAY
THE PHONE RINGS
MARCY dressed in a robe, answers the phone.
MARCY
Hello? Amy? Are you crying? I can't
right now. My boyfriend is on his way
over. Stop that, Amy, he loves you...I
know...he's not gonna leave for...there
is no other women...you should be
painting...right...why don't we get
together tomorrow...yeah, Michele and
I are doing an exercise class.. when
was the last time you got out... no...
that's right... getting out will do
you some good... OK... we'll talk
tomorrow... I gotta go now.. promise..
bye. She hangs up, shakes her head and goes back to doing her make-
up. EXT. ATHLETIC CLUB - DAY
WOMEN & MEN exit and enter the busy club.
INT. WOMEN'S LOCKER ROOM -- DAY
AMY sits on the bench, dressing. MARCY is towel drying next
to her, behind them MICHELE comes out of the shower. OTHER
WOMEN come and go in various states of dress and undress. AMY
...I just don't know, And it's driving
me nutso! I can't paint. I drink too
much and talk about bitchy.. If he's
cheating on me I've already lost him.
And if he's not, I'm driving him to
it, and I can't stop myself... MICHELE
I know, hire a private investigator. AMY
John would be furious! He'd leave me! Michele finishes drying and sits next to Amy while she dresses.
MICHELE
If he's an asshole who's sleeping around
on you, a private investigator will
get you the proof your attorney needs
to take the creep for everything he's
worth. He'd leave you, but his money
would stay. MARCY
But what if he's not sleeping around? AMY
Yeah! John'd be furious, he still
hasn't forgiven me for following him
that one time. MICHELE
That's cause you're an amateur, John
would never catch a real P.I. following
him. MARCY
Don't they cost a lot? MICHELE
A good one is not cheap. AMY
Well, John is. I can't afford to be
hiring anybody. MARCY
I think you should just forget about
being jealous. Concentrate on working.
Paint and be a loving wife. If he
doesn't love you, sooner or later he'll
screw up and you can throw him out and
start a new life. MICHELE
Thank you, Dear Abby. MARCY
And "hire a private investigator " was
such a great advice? MICHELE
Better than "be a loving wife". MARCY
I've seen the slime balls you date so
I can understand why you'd want them
followed. MICHELE
At least I get a man, not the old farts
you get. MARCY
SLUT! MICHELE
BITCH! Amy gets up, grabs her gym bag, and starts to exit.
MARCY
Hey, Amy!? AMY
I have to be getting home... MICHELE
It'll all work out. You'll see, Amy. MARCY
Yeah! AMY
I know, but I better be going. John
will expect dinner when he gets home. She exits.
MARCY
We were a lot of help. MICHELE
Poor thing, I know how she feels.
It's the not knowing for sure that
drives you crazy. MARCY
There's nothing we can do. MICHELE
I don't know, maybe there is... MARCY
What? MICHELE
I could test John. If he's that type
of man all I'd have to do is supply
the opportunity. If he doesn't take
the bait, we can tell Amy she has
nothing to worry about. MARCY
What happens if he takes the bait? MICHELE
I have a good time and Amy finds out
for sure what kind of man she's married
to. MARCY
That's a horrible idea! Besides, he'd
never hit on his wife's best friend. MICHELE
Don't you read Cosmo? It's always the
wife's best friend. Michele finishes dressing and exits.
MICHELE
Bye Marcy watches her leave.
MARCY
Damn! INT. MICHELE'S BEDROOM - DAY
MICHELE, in a robe, sits at her vanity and dials the phone.
MICHELE
Hello...? John...? Michele, Amy's
friend... Right...fine, and you..?
No, actually it's you I wanted to talk
to... I need a little favor, and I was
hoping Amy wouldn't mind lending me
her husband... My keys fell behind the
refrigerator and it's too heavy.. No,
it wouldn't take a strong man like you
long at all... Are you sure you don't
mine?.. .Later this afternoon will be
fine... Thanks...I'll see you then. She hangs up, smiling.
INT. AMY'S RANCH STYLE HOUSE - DAY
JOHN hangs up the living room phone and heads to the bedroom.
AMY watches from the kitchen where she is getting a glass of
wine. AMY
Who was that on the phone? JOHN
Michele, your friend. I'm gonna stop
by her place after the gym, she needs
some help moving her frig. He exits down the hall.
AMY
A likely story. She goes to take a drink of wine, then stops and pours the
wine down the sink. INT. MICHELE'S BEDROOM - DAY
MICHELE at her vanity putting on make-up; powdering her
forehead, rouge on her cheek, false eye-lashes, eye shadow,
eyebrow pencil, lipstick, nail polish, perfume dabbed behind
her ears and in her cleavage. EXT. AMY'S RANCH STYLE HOUSE - DAY
JOHN, carrying his gym bag, exits the house, gets into his
car and drives off. AMY exits the house, gets into her car
and drives off after John. INT. MICHELE'S BEDROOM - DAY
MICHELE at her dressing mirror dressing for her seduction;
various panties, bras, garters, nylons. Her facial reactions;
no, no, maybe, definitely. She settles on a set of lingerie
and poses in front of the mirror. EXT. ATHLETIC CLUB - DAY
JOHN drives up and goes into the club. AMY drives by, makes
a U-turn and parks. She settles down to watch the gym. INT. MICHELE'S BEDROOM - DAY
MICHELE as she tries on clothes; dresses, skirts and blouses,
slacks and halter tops, kimonos. Shorts and tee shirts,
finally settling on a off the shoulder peasant blouse and
semitransparent full skirt. EXT. ATHLETIC CLUB - DAY
AMY is still watching the gym. She slouches down as JOHN
comes out of the gym and drives off. AMY makes a U-turn and
follows him. INT. MICHELE'S BEDROOM - DAY
MICHELE stands on the bed and unscrews the light bulb from
the ceiling fixture. She bangs the bulb on the ceiling a
couple of times, screws it back into the fixture then goes to
the bedroom door and tries the light switch. INSERT: CEILING LIGHT FIXTURE.
It doesn't light.
Michele smiles at the success of her work, then closes the
drapes. From a dresser drawer she takes candles and places
them about the room then sprinkles perfume on the bed before
exiting. EXT. PARK - DAY
JOHN drives through the park, followed by AMY.
INT. MICHELE'S KITCHEN - DAY
MICHELE drops her keys behind the refrigerator. She puts a
six-pack of beer into the refrigerator, takes out a tray of
cheese snacks and exits the kitchen. EXT. MICHELE'S APARTMENT BUILDING - DAY
JOHN drives up and goes in, AMY follows discreetly.
INT. MICHELE'S LIVING ROOM - DAY
MICHELE puts the snack tray on the coffee table, selects a
ROMANTIC TAPE and puts it on the stereo. From the bookshelves
she takes a book of erotic paintings and puts it prominently
on the coffee table. She checks around one last time to see
if she has forgotten anything, remembers something and rushes
back into the bedroom. INT. APARTMENT HALLWAY - DAY
The elevator stops and JOHN gets out and heads down the hall.
AMY, tired and winded, peeks out of the door marked, "STAIRS". INT. MICHELE'S BEDROOM - DAY
MICHELE takes a condom from her dresser and slips it under
the pillow on the bed. KNOCKING ON FRONT DOOR (O.S.)
Michele checks herself one last time in the mirror then rushes
out of the bedroom, pausing long enough to place the wicker
garbage basket just inside the door. INT. MICHELE'S APARTMENT HALLWAY - DAY
JOHN is knocking on Michele's door. MICHELE opens the door.
MICHELE
Hello! Come on in! She drags him into the apartment. Down the hall, Amy sneaks
out the door marked "Stairs", tiptoes up to Michele's door
and puts her ear to it. INT. MICHELE'S LIVING ROOM - DAY
MICHELE practically pushes JOHN onto the sofa.
MICHELE
I'm sooo glad you could come...Cheese
puff? She grabs the snack tray and bends over offering him a cheese
puff. ANOTHER ANGLE
He can practically see down her blouse as she leans over. He
takes a puff. MICHELE
I bet you'd like a cold beer, I'll be
right back. She walks to the kitchen, seductively wiggling her butt at
him. At the kitchen she stops and looks back at him. MICHELE
Caught you watching, you naughty man. She disappears into the kitchen.
Looking uncomfortable, John thumbs through the book on the
coffee table. INSERT: EROTIC BOOK.
JOHN turns from raunchy page to raunchy page.
Embarrassed, John quickly closes the book and looks up as
Michele enters. Michele practically exposes her breasts as she leans over the
coffee table and offers a tray with a couple of beers and
glasses on it, to John. MICHELE
Here you go, a couple of nice cold
ones... She waves her painted fingernails in front of her breasts.
MICHELE
Would you open them please? My nails... JOHN
Oh. Sure. She sits next to him as he pours a beer. MICHELE tries to
snuggle close to him but John nervously moves away. JOHN
You wanted me to move the refrigerator? EXT. MICHELE'S APARTMENT HALLWAY - DAY
AMY is bent over, her ear to the door. Behind her a MAN comes
out of the next apartment and notices Amy. Her skirt is hiked up practically exposing her butt to the
strange man. The Man admires AMY's butt for a moment, then sneaks up behind
Amy and leans over her, joining her in listening at the door. INT. MICHELE'S KITCHEN - DAY
JOHN is struggling to pull the refrigerator from its niche.
MICHELE
Let me help. She wraps her arms around John, pressing her body against his
and together they struggle to pull out the refrigerator. MICHELE's hands and arms rub against his chest, her breasts
rub on his back, her thighs rub against his legs. She licks
her lips with excitement. He is straining to pull out the
refrigerator. ANOTHER ANGLE
The refrigerator suddenly slides out, tumbling John and Michele
to the kitchen floor. JOHN
Oh, sorry! You OK? MICHELE
Yeah. I rather enjoyed it. He tries to get off her, but she clings to him for a moment.
MICHELE
You're very strong. He breaks away from her and offers his hand to help her up.
She clutches his hand to her breast as he pulls her up. He
tries to keep her at arms length but she pulls herself close
to him, gazing lovingly into his eyes. He looks away,
embarrassed. JOHN
Your keys? MICHELE
Oh, Yeah! She lets go of John and bends behind the refrigerator, making
sure to hike up her skirt and expose as much leg as she can. MICHELE
(Over her shoulder)
I can't find them, help me look . John bends over her.
JOHN
There! He points and Michele reaches and grabs the keys, then wiggles
her butt against John's crotch, while looking back at him. MICHELE
Thanks, big boy. Need some help putting
that big think where it belongs?
(a beat)
I mean the refrigerator. John steps back to let her out from behind the refrigerator.
JOHN
No, I think I can do it myself. Michele steps back and watches as John shoves the refrigerator
back into its niche. She steps close to him and runs a finger
around his chest. MICHELE
While I have a big strong man here,
could you help me in the bedroom. JOHN
I don't think that would be appropriate,
after all I'm... MICHELE
Don't be silly... She steps away from him.
MICHELE
.. the light is out in my bedroom I
just wanted you to replace the bulb,
you're so much taller than me. JOHN
Oh! I'm sorry I thought...Where's
this light. MICHELE
This way. He follows her out of the kitchen and down the dark hall to
the bedroom. INT. MICHELE'S APARTMENT HALLWAY - DAY
AMY is still bent over, her ear to the door. The STRANGE MAN
is still bent over her, listening, but not touching her. He
stands up straight, admiring her butt. Slowly he reaches out
and starts to lift her skirt. Startled, she whirls around
and pushes the man back. AMY
Hey! What the hell do you think you're
doing? MAN
Sorry, I figured why just listen when
we could, you know... AMY
Pervert! She slaps him and ducks into Michele's apartment, quietly
closing the door behind her. INT. MICHELE'S LIVING ROOM - DAY
AMY finishes closing the door and leans against it, relieved.
MICHELE & JOHN are disappearing down the dark hall. JOHN
I can't see. MICHELE
I told you the light is out, just
through this door... Amy sneaks into the kitchen, out of sight of the hall, then
carefully peeks down the hall, as John opens the bedroom door
and steps in. INT. MICHELE'S BEDROOM - DAY
JOHN steps into the dark room and stumbles over the wicker
basket, falling to the floor. MICHELE deliberately falls on
top of him. She makes no effort to get up. JOHN
Sorry, I tripped over something... MICHELE
That's OK, I kinda like this... He tires to disengage himself but she clings to him.
MICHELE
... don't you? He firmly pushes her off.
JOHN
I can't do this... He gets up.
JOHN
...Where's the broken light? He offers his hand to help her up and again she clutches it
to her breast and he has to disengage himself. She draws
herself up, seemingly resigned. MICHELE
It's the overhead light, I'll get a
bulb. On the way to the dresser, she closes the door and puts the
basket against the wall. At the dresser she lights a candle
which she uses to get a bulb from the closet. INT. MICHELE'S HALLWAY - DAY
AMY sneaks down the hall and puts her ear to the door.
MICHELE
The bed's kinda shaky so I better spot
you. Amy peeks in the key hole.
KEYHOLE MATTE:
JOHN is standing on the bed with MICHELE kneeling on the bed
and supporting him by hugging his legs. INT. MICHELE'S BEDROOM - DAY
MICHELE slides her hands up and down his thighs while he
struggles to change the light bulb. As soon as he succeeds,
the light comes on and Michele trips him so he falls onto the
bed with her on top. She attacks him, rubbing his hands first
on her breast then under her skirt. She kisses him working
down from his lips to his cock, while he just lies there. MICHELE
Come on, big boy, I know you find me
attractive. INT. MICHELE'S HALLWAY - DAY
AMY is still peeking through the keyhole.
AMY
Slut! INT. MICHELE'S BEDROOM - DAY
MICHELE'S skirt is hiked up to her waist her blouse is pulled
down. With one hand she is rubbing JOHN'S hand over her body,
with the other she is massaging his cock and she's trying to
kiss him passionately. He is trying to gently disengage
himself. JOHN
Please, Michele...you have to
stop...what if someone finds out? MICHELE
I wouldn't tell, and if you don't tell,
no one will ever know. JOHN
I'll know, and I vowed to be faithful. He tries harder to pin her arms but she keeps wiggling free.
INT. MICHELE'S HALLWAY - DAY
AMY still peeks through the key hole.
AMY (WHISPERS)
Oh, John. Stay strong my love MICHELE
Come on, I've seen you watching me.
You want this body. JOHN
What about Amy? Aren't you suppose to
be her friend? MICHELE (0.S.)
She'll never know. It'll be our little
secret. INT. MICHELE'S BEDROOM - DAY
MICHELE & JOHN are still struggling on the bed.
JOHN
I can't... MICHELE
Oh! Yes you can. See. She indicates his swelling member.
JOHN
No! I promised. I gave my word! I
can't be unfaithful to the woman I
love. He redoubles his efforts to hold her off.
MICHELE
I know you want me. Come on, just
this once. He finally pushes her off and jumps up.
JOHN
I said no! INT. MICHELE'S HALLWAY - DAY
A smiling AMY watches through the keyhole.
MICHELE (O.S.)
Please, John. I want you. JOHN (O.S.)
And risk losing the woman I love? No
way...! AMY (WHISPERS)
Oh John, my love... JOHN (O.S.)
I'm out of here. Amy jumps up and rushes down the hall.
INT. MICHELE'S BEDROOM - DAY
MICHELE clings to John as he heads toward the door. She
struggles to keep his fly open as he struggles to pull it
closed. MICHELE
I know you want me! John! Take me! He finally pushes her down on the bed.
JOHN
STOP IT! I DON'T WANT YOU! I LOVE
SOMEONE ELSE! He exits.
MICHELE
John! JOHN! ASSHOLE! SHIT HEAD! EXT. MICHELE'S APARTMENT HALLWAY - DAY
AMY rushes out of Michele's apartment, down the hall and into
the door marked "Stairs". After a moment JOHN comes out of
the apartment and goes into the elevator. MICHELE (O.S.)
PENCIL DICK! CREEP! JERK! FAGGOT!
COCK SUCKER! EXT. MICHELE'S APARTMENT - DAY
AMY rushes out, gets into her car and drives off. After a
moment JOHN walks out, gets into his car and drives off in a
different direction. EXT. AMY'S RANCH STYLE HOME - DAY
AMY pulls up and rushes into the house.
INT. AMY'S BEDROOM - DAY
AMY rushes in and stops at her mirror to look herself over.
AMY
I gotta change... before he gets here... AMY rushes around the room pulling her clothes off and
frantically trying on various outfits, finally settling on a
full skirt and halter top. She puts on rouge, eye makeup, lipstick, perfume and combs
out her hair. FULL ANGLE
Amy checks herself out in the mirror, pleased by what she
sees and the prospect of John coming home. AMY
Oh, John, I love you so much. . She picks up the alarm clock and checks the time.
AMY
... but where are you? She rushes out of the bedroom.
INT. AMY'S KITCHEN - DAY
AMY rushes in, takes a picnic basket from the closet and fills
it with chilled wine, glasses, cheese, grapes, and finally a
checked tablecloth, then exits. EXT. AMY'S BACK YARD - DAY
AMY shakes out the checkered tablecloth and spreads it near
the pond/pool in the nicely grassed back yard. AMY lays out
the picnic, puts the wine into an ice bucket, and then sits
on the table cloth and careful arranges her full skirt to
show off her legs. We end on a impressionistic-like shot of
the pond water shimmering in the hazy sunlight with Amy, the
picnic and the pond lilies in the foreground. JOHN (O.S.)
AMY? YOU HOME? HELLO? AMY
I'M OUT HERE, LOVER! ANOTHER ANGEL
Behind AMY, JOHN & MARCY walk out of the back door, hand in
hand. JOHN
Amy, we have something to tell you. Marcy moves close to John, clinging to him possessively.
AMY'S smile fades as she realizes what he means. Tears run
down Amy's cheeks as she turns her back on John and Marcy.
FREEZE ON THE IMPRESSIONISTIC PICTURE OF AMY, HER BACK TO US,
AND THE POND AND PARK LIKE BACK YARD SHIMMERING IN THE HAZY
SUNLIGHT OF THE PARK LIKE BACKYARD. JAZZ MUSIC CRESCENDO AND FADES OUT
MATCH DISSOLVE
INT. ARTIST'S LOFT - NIGHT
A IMPRESSIONISTIC PAINTING.
AMY brushes on the last dabs of paint, then puts down her
brush and steps back to admire her work. Satisfied, she turns
out the lights, goes to the bed and collapses. THE PHONE RINGS
INSERT: PHONE ANSWERING MACHINES LIGHTS UP AND CLICKS ON.
JOHN
(O.S. Phone filtered)
Hello... Got you! I bet you thought
you were talking to me, well your not.
We're not even here. You were talking
to a machine. You can curse me out
after the beep. BEEP! AMY rolls over, exhausted, but doesn't get up.
MARCY
(O.S. Phone filtered)
Amy? It's Marcy. Good news. Meet me
tomorrow morning at the Blecker Street
bistro at ten. Ms. Wentworth called,
she'll be coming by your place tomorrow
at noon to look over your work. We
have to plan and prepare. I hope you
get this message. Call me first thing
in the morning. Bye. Amy rolls over and goes back to sleep.
JOHN enters. He goes to the bed and lovingly pulls a blanket
over Amy, then goes to the easel, takes the painting to the
window and admires it in the moonlight. EXT. ARTIST'S LOFT - DAY
ELAINE WENTWORTH drives up and parks. She goes into the
building. INT. ARTIST'S LOFT - DAY
JOHN is pumping iron in a corner of the large loft.
KNOCK AT THE DOOR
John answers it, finding ELAINE. She looks John over and
smiles in appreciation. ELAINE
Well, you're a pleasant surprise. Is
Amy home? JOHN
She's due back soon... Elaine? ELAINE
I'm flattered you remembered... She reaches out to touch his sweaty biceps.
ELAINE
... My, but you're in good shape. JOHN
I've been working out, come on in. John ushers her in and closes the door.
EXT. ARTIST'S LOFT - DAY
MARCY & AMY drive up, park and go into the building.
INT. LOFT BUILDING LOBBY - DAY
MARCY & AMY stroll in and get into the elevator, Marcy checks
her watch. MARCY
We have twenty minutes, that should be
enough time to straighten out the
paintings. Put you're best pieces in
front and get rid... The door closes, the floor indicator climbs from one to five.
INT. LOFT'S TOP FLOOR HALLWAY - DAY
The floor indicator climbs from five to ten and stops, the
door opens and MARCY & AMY step out of the elevator. AMY
What about the still life, the green
one? MARCY
Oh yeah. That one...put it under the
bed. They walk down the hall, suddenly Amy hears something and
motions Marcy to stop. (O.S.) ELAINE'S and JOHN'S GIGGLING AND MUMBLING can be heard
coming from inside the loft. Amy and Marcy sneak up on the loft door and listen.
MARCY
What...? AMY
Shhhh...! Amy puts her ear to the door.
AMY
...I can't make out what they're saying. MARCY
Who is it? BURST OF GIGGLING AND LAUGHING from inside the loft.
AMY (WHISPERS ANGRILY)
John... John and some women. Amy takes out her keys and quietly unlocks the door.
INT. ARTIST'S LOFT - DAY
The front door swings slowly open and AMY & MARCY step in.
ANOTHER ANGLE - JOHN & ELAINE
She is lying on the work-out bench pumping a barbell with 20
lbs. on it. John stands over her spotting the barbell. Their
laughing stops when they realize they are being watched. For
a moment there is an embarrassed silence, then Elaine gives
the barbell to John and sits up. ELAINE
Oh, you're back. MARCY
Ms. Wentworth! You're early. ELAINE
Yes. I find that if I arrive early I
get to see all of an artist's work,
not just the pieces the agent wants me
to see. . . She points to the large stack of paintings in the corner of
the loft. ELAINE
... Is this all of your work, Amy? AMY
Yes, except for my two newest paintings.
They're still drying over there. She points to the easel where the impressionistic painting is
drying, with the satyr painting leaning next to it. ELAINE
Good, let's get to work. PAINTINGS are stacked against the loft wall, the last one is
the satyr painting. ELAINE holds the impressionistic painting,
admiring it. ELAINE
Very good, I'm very impressed,
especially with these last two. She puts the impressionistic painting against the wall.
JOHN, AMY & MARCY sit at the kitchen table.
MARCY
Do we get a showing? ELAINE walks down the row of paintings. Giving them one last
look. She stops at the first one, an awful green still-life
and turns it against the wall, then joins John, AMY and Marcy
at the table. ELAINE
You're very good, definitely good enough
to be shown at one of my galleries. JOHN & AMY
YEAH! EEEK! They jump up, both excited by the good news.
JOHN
This calls for champagne. He heads for the refrigerator.
ELAINE
You two celebrate, Marcy and I need to
discuss the contract. Marcy stands up.
MARCY
My office or yours? ELAINE
Mine. JOHN
I'll walk you ladies down, this isn't
the best neighborhood. ELAINE
Thank you. He ushers them to the front door.
JOHN
Be back in a minute, honey. AMY
I'll open the champagne John and Marcy exit, Elaine pause at the door.
ELAINE
Save some of those paintings for your
children. I predict that they'll be
worth a fortune after your death.
(a beat)
Oh, I really admired the artistic risk
you took with your last two paintings,
classical and impressionistic. Complete
the trilogy for me. Paint something
modern, something today, something
that will show the full range of your
talent. AMY
I'll try. Elaine exits behind Marcy and John. Amy is so excited she
grabs the champagne and dances around the apartment, grabbing
two wine glasses as she goes by the kitchen cabinet. Finally
winded, she leans against the window and looks down. LOFT'S PARKING LOT
JOHN ushers ELAINE and MARCY out of the building. For a moment
they all chat, then Elaine and Marcy kiss John and drive off. BACK ON AMY
No longer happy, she is again jealous and suspicious. AMY
goes to the easel and sets up a fresh canvas. The ARTIST'S PALLET as Amy angrily begins mixing bright red
paint. FADE IN ROCK MUSIC
DISSOLVE
(Production note: The following sequence is composed, lit
and art directed to look like modern art.) EXT. ARTIST'S LOFT - NIGHT
Rain streams down the loft's big windows while inside JOHN &
AMY are fighting. He breaks away from her and crosses to the
front door. She throws a vase at him. He ducks and rushes
her. She flails at him with her fists. He knocks her down
and heads back to the door. She clutches at his leg and is
dragged half way across the room before dropping off and
collapsing in tears on the floor. He grabs one of the last
three paintings piled in the corner of the loft and exits,
slamming the door. AMY goes to the kitchen and pours herself
a large glass of vodka. She looks five hard years older, her
eyes puffy from crying, her skin wrinkled from booze. Down at the buildings front entrance JOHN runs out and opens
the door to his car, protecting the painting from the Rain with his body. After sticking the painting into the car
he pauses and looks up at the apartment window. He is still
handsome. But no longer boyish or innocent. His hair is
starting to go grey and he's sporting a mustache. He flips
the window the finger, gets into his car and drives off INT. ARTIST'S LOFT - NIGHT
AMY finishes her glass of vodka and tosses the glass at the
two remaining paintings in the corner of the loft. INSERT: THE GLASS BREAKS AGAINST THE WALL
Jagged pieces of glass scattered on the floor in front of the
paintings. AMY crosses the room, selects a piece of glass and calmly
slices the top painting. She keeps striking at the paintings
more and more violently until she is in a frenzy. She grabs the next painting, a green still-life, and slashes
at it. Missing the painting, she accidentally cuts her wrist. INSERT: Amy's good hand clutches at her cut wrist, blood
flowing from between her fingers. AMY
Oh God! Amy rushes into the bathroom.
INT. LOFT'S BATHROOM - NIGHT
AMY rushes in and plunges her bleeding hand into the sink.
Blood flows into the sink and GURGLES down the drain. EXT. ART GALLERY - NIGHT
RAIN WATER gurgles down the drain in front of the gallery.
JOHN arrives, parks and enters the gallery, again protecting
the painting with his body. Through the rain-distorted window
we see ELAINE come out of her office and greet John with a
big kiss. She admires the painting then negotiates with John
for a moment. He takes her money and she puts the painting
aside. Elaine aggressively tries to seduce him, pulling
herself close to him and wrapping her leg around his. He
looks at his watch and pleads a prior engagement. After a
deep and sexy kiss he rushes out and drives off, leaving a
horny and disappointed Elaine watching him go. She takes the
painting and exits into the back store room. INT. GALLERY STORE ROOM - NIGHT
ELAINE enters and puts the painting in a back corner with the
rest of AMY'S paintings. INT. ARTIST'S LOFT - NIGHT
AMY, pale from the loss of blood, staggers out of the bathroom,
her wrist wrapped in a blood soaked towel. She picks up the
phone and dials 911. AMY
Help...I've cut myself...helll... She passes out.
EXT. NIGHTCLUB - NIGHT
JOHN drives up and gets out of his car. A PARKING ATTENDANT
rushes over and they talk for a moment. The Attendant passes
a small folded white paper bag to John, who pays the attendant
with Elaine's money. The attendant pockets the money and
drives the car off as John heads into the club, waving at
some friends. INT. NIGHTCLUB BATHROOM - NIGHT
JOHN enters, looks around then enters the last cubicle.
INSIDE CUBICLE
John anxiously takes out a spoon, lighter and hypodermic
needle. Johns' is anxious, eager with anticipation, while
his hands stumble to make his fix. He pours the powder from
paper bag to spoon, heats it, draws it into the hypo, and
ties off his arm. EXT. ARTIST'S LOFT - LOOKING INTO AN AMBULANCE - NIGHT
A HYPODERMIC NEEDLE as it slides into AMY'S arm. AMY is white,
unconscious. An ATTENDANT applies a pressure bandage to her
wrist while she receives blood intravenously. The SECOND
ATTENDANT closes the rear door of the ambulance, walks through
the CROWD OF ONLOOKERS and drives the ambulance off, SIREN
BLARING and lights flashing. JOHN drives up and starts to get out of his car. A NEIGHBOR
steps up and talks to him, pointing after the ambulance.
John drives after the ambulance. EXT. HOSPITAL - NIGHT
The third floor window.
INT. HOSPITAL WAITING ROOM - NIGHT
JOHN sits leafing through a magazine. While MARCY paces back
and forth. A DOCTOR enters. DOCTOR
John? JOHN
That's me. How is she, doc? John and Marcy gather around the doctor.
DOCTOR
She's out of danger. I gave her a
sedative, she'll sleep tonight. Was
there a note, or any unusual behavior? JOHN
A note? MARCY
What are you saying, Doctor? DOCTOR
It is unusual for attempted suicides
to deny the attempt, but it does happen
occasionally. However, the nature of
the wound is consistent with a suicide
attempt. In my opinion it was self
inflicted... JOHN
Suicide? Jesus. DOCTOR
You had no indication? She hasn't
been depressed, unable to work, had
violent mood swings, or been drinking,
or using drugs? JOHN
Well... MARCY
I didn't think she was that... DOCTOR
The people closest to the victim are
often the last to realize. She is
still claiming it was accidental and
if no note is found I won't file a
formal police report, but I will note
my suspicions in her medical file. MARCY
What should we do? DOCTOR
Amy will be released tomorrow afternoon.
I suggest you get her professional
help and not leave her alone. I'll be
prescribing an antidepressant and a
mood leveler. He pauses at the door and looks back and John and Marcy
DOCTOR
She'll be OK. You two go home and get
some sleep. Marcy looks at John.
MARCY
I'm not tired at all, you? John shakes his head.
JOHN
I could use a drink. Marcy checks the time.
MARCY
Too late to go out. My place or yours? JOHN
Mine. We better check for a note. INT. ARTIST'S LOFT - NIGHT
JOHN & MARCY enter, turn on the lights and look around.
There is a Blood soaked towel, a pool of blood by the phone,
the slashed picture and trail of blood from the corner to the
bathroom. JOHN
There's vodka in the cabinet, beer and
wine in the frig. Make me a screwdriver
and I'll clean up this mess. Marcy goes to the kitchen and takes out two glasses.
MARCY
I knew she was depressed after the
critics panned her show two years ago.
. . but I had no idea... John takes out a bucket and starts filling it in the bathroom
sink. JOHN
She hasn't painted a thing since then,
and she's been impossible to live with,
between her drinking and fits of
jealousy... Marcy pours vodka into the glasses then drops in ice and pours
in orange juice. MARCY
She's always been jealous, if she spent
more time painting and less time
worrying... John mops up the blood and rinses the mop in the bucket.
JOHN
Still, suicide... We were having
troubles, I haven't been working much,
and you know how much we've made off
her painting, money's been tight and
we haven't... haven't been... Marcy looks up at that last remark, puts the drinks on a tray
and exits the kitchen area. MARCY
.. Don't blame yourself. I work with
lots of artist types. Marcy carries the drinks into the living area of the loft and
sets the tray on the coffee table. MARCY
There's something about creating art,
something psychological that makes the
most creative people, the most self
destructive people. Look at Van Gogh,
he tried to kill himself a dozen times
and finally died broke and insane, now
his paintings sell for millions John looks up at that remark, then quickly looks away as he
puts the mop and bucket behind the sofa. JOHN
If Amy had died, what would her painting
be worth? MARCY
Hard to say, they certainly would
appreciate. Her best paintings would
be worth ten times what they're worth
now. But she didn't die, besides.. Marcy looks at the two damaged paintings that are still in
the corner of the loft. MARCY
...You don't have any paintings left.
Where'd they all go? JOHN
She's been selling them to that
Wentworth lady, one by one as we need
the money. MARCY
Well, god forbid, if Amy dies, Ms.
Wentworth has made another fortune... She hands John a drink.
MARCY
This subject is too morbid. To life! She holds up her drink and John joins her in a toast.
JOHN
To love! Their eyes lock. He leans forwards and kisses her, she
responds. They eagerly cling to each other for a moment,
kissing passionately, then Marcy gasps for breath. MARCY
I've wanted to do that for years. JOHN
Me too. He clutches at her.
MARCY
Wait! There's something I always wanted
to do. She steps to the middle of the studio and spreads a large
canvas tarpaulin on the floor, stands in the middle of the
tarpaulin and slowly takes off her clothes. Fascinated, John
watches. MARCY
Paint me. Excited, John grabs the paint and enthusiastically attacks
her body, covering it in colors, using first brushes then his
fingers. He grabs tubes of paint and squeezes them empty,
tossing the crushed tubes back on the paint tray. Marcy and
John get more and more excited as he paints her more erotic
parts. When he's done he grabs a Polaroid and takes a picture.
Unable to resist longer, John grabs her and they make love on
the canvas, spreading paint everywhere. After the climax,
they lie among the colors and finish their drinks. MARCY
That was fantastic, real art. They chuckle.
JOHN
We could do this all the time. MARCY
What about Amy? JOHN
Maybe she'll succeed next time. MARCY
That's sick. JOHN
What if we had twenty of her best
paintings? MARCY
But we don't. JOHN
Not yet... MARCY
But you're talking about... JOHN
Accidents happen, and Amy has already
tried to kill herself once. MARCY
No, that's crazy... He kisses her, hard.
JOHN
The world loses a rich bitch, and a
jealous bitch and we get a fortune in
paintings and each other. But I need
you to sell the paints and alibi me.
And you need me to get to Wentworth
and Amy. Together we can make...Art! MARCY & John on the painted canvas tarpaulin.
MRCY
How... How would you... do it? The Polaroid picture is on the edge of the tarpaulin, it is
stuck in a gob of paint,. JOHN
Easy... first I'd have to arrange to
meet Elaine at her gallery, alone.
I'll call her tomorrow, before I get
Amy... INT. ELAINE'S OFFICE - DAY
The PHONE RINGS and ELAINE answers it.
ELAINE
Hello.. Oh. Hi John,. ..Great. You...?
What...? I Don't believe it... Is she
OK...? I understand... I can believe
things are tight...I'm always willing
to help you out.. Tonight...? Sure,
OK.... You're not going to run off
again...OK. I'll leave the lights
on.. Bye. She licks her lips and smiles in anticipation.
INT. ARTIST'S LOFT - DAY
JOHN ushers AMY in. Still pale, a little shaky, and bandaged
at the wrist, Amy settles onto the sofa. John goes into the
kitchen and gets two wine glasses and a bottle of good wine. AMY
That Doctor really thinks I tried to
kill myself... She takes two vials of pills from her purse and reads the
labels. AMY
Do we have a P.D.R., I want to know
what these are? John joins her on the sofa.
JOHN
I got your favorite wine, to celebrate
your getting out of the hospital. AMY
That's sweet, but this one says no
alcohol... She indicates a vial of pills, then puts the pills down and
grabs the wine. AMY
...Besides, isn't this your favorite
wine? He takes the bottle from her and heads for the kitchen.
JOHN
We'll save it for later, this is too
Expensive a bottle to waste. He puts the wine in the frig and returns with a glass of water.
AMY
I need to talk, John. I want to
explain... John holds the glass of water out to her.
JOHN
First you have to take your pills. AMY
They make me feel drowsy... He takes a pill from each bottle and gives them to her.
Reluctantly she takes her medicine. AMY
...and I don't want to sleep, I want
to love you, I need you, John. JOHN
I know, sweetheart. Come on, I'll
help you.... He helps her up from the sofa. Half way to the wicker bed
she collapses against him and he half drags her the rest of
the way. AMY
Don't leave me. Don't let me go to
sleep. I have to talk to you, need
to... to love you... She tries to clutch at him, kiss him, but she is too drugged
to stay sitting on the edge of the bed and collapses back
into bed. JOHN
Sure, lover, whatever you say... He puts her feet up on the bed, then goes to the big windows
and pulls the shades, darkening the room. AMY
Please John, don't leave.. .me... AMY can barely hold her head up to watch John.
JOHN finishes closing the shades and walks toward her,
gradually GOING OUT OF FOCUS. AMY (O.S.)
...love. . .me. . please. JOHN
Of course I love you. Just trust me
and everything will be OK, promise... EXT. WENTWORTH GALLERY - NIGHT
JOHN drives up and goes into the gallery carrying a briefcase.
Through the window we see John walk through the Gallery and
join ELAINE in her office. The shades on the office are
closed, blocking our view. INT. ELAINE'S OFFICE - NIGHT
ELAINE
What's in the brief case? JOHN
A surprise for later. ELAINE
I love surprises, but where's the
painting? JOHN
I didn't come to sell a painting this
time. ELAINE
Then why did you come? He grabs her and kisses her passionately. After a moment she
comes up for a breath. ELAINE
Well, it's about time. JOHN
I want to take my time, and I don't
want to be interrupted. How about you
lock up? EXT. ART GALLERY - NIGHT
Through the window ELAINE can be seen walking out of her
office, locking the front door, and turning off the lights. INT. ELAINE'S OFFICE - NIGHT
JOHN is sitting at her desk. ELAINE enters.
ELAINE
Where were we? She sits on his lap and they kiss. The petting gets heavy as
he gradually strips her to the waist. She is begging him to
take her on the desk when he suddenly stops. JOHN
No, not here... in the store room. ELAINE
The store room? JOHN
Its part of the surprise. Come on. He grabs the briefcase and offers his hand to help her off
the desk. INT. GALLERY - NIGHT
JOHN leads the half naked ELAINE into the store room.
INT. STORE ROOM - NIGHT
JOHN sits ELAINE on the work bench and continues seducing
her. When they are both finally naked, he picks her up and
tosses her into a bin full of bubble pack packing material.
They climax by bursting nearly every bubble. ELAINE
That was worth the wait... but what
about my surprise? JOHN
Do you want it now? ELAINE
Yes. JOHN
Then close your eyes. She does. He grabs the briefcase, opens it, takes out rubber
gloves and puts them on, then takes out a plastic garbage
bag, and a loaded coke pipe. He lights the pipe, takes a big
hit and exhales it into the bag, holding the end tight so the
smoke doesn't leak out. ELAINE
Well? JOHN
Just one second.. Darling. He slips the bag over her head and ties the straps around her
neck. When she starts to struggle he holds her naked body,
pinning her arms and preventing her from escaping. ANOTHER ANGLE - THEIR FEET
Her kicking feet burst the bubble pack until she finally stops
struggling. INT. ARTIST'S LOFT - NIGHT
AMY wakes, suddenly sitting up and swinging her feet to the
floor. AMY
John? John! She gets up, turns on the lights and looks around the empty
loft. AMY
You promised. She staggers into the bathroom. SOUND OF RUNNING WATER AND
SPLASHING (O.S.). She comes out of the bathroom and looks
around. She see's the crushed tubes of paint on the paint tray, then
looks over and see's the rolled up tarpaulin. AMY crosses to the tray and examines it, curious, then goes
to the tarpaulin. She pulls out the end and notices that one
side is still covered with wet paint. Amy pushes the tarpaulin
over and starts to unroll it, stopping when she gets to the
Polaroid, still stuck to the edge of the roll. INSERT: POLAROID
AMY'S eyes go wide in surprise, then her face reddens with
anger. EXT. ALLEY BEHIND ART GALLERY - NIGHT
MARCY drives up towing a small covered trailer. She parks
the trailer in front of the garage door at the back of the
gallery. The garage door opens and JOHN comes out carrying a
few of Amy's paintings. He stacks them in the trailer, then
kisses Marcy. MARCY
Is it.. done? He nods.
JOHN
Help me clear out the paintings. They go into the storeroom.
INT. ARTIST'S LOFT - NIGHT
The VIAL OF PILLS, clearly labelled. "DANGER - FATAL IF TAKEN
WITH ALCOHOL". AMY takes out a few capsules and starts
emptying the capsules onto a piece of paper. EXT. ALLEY BEHIND ART GALLERY - NIGHT
JOHN and MARCY carry out the last of Amy's paintings and stack
them into the trailer, which John locks shut. JOHN
That's all of them. MARCY
What about the others? Some of them
are worth a lot. JOHN
Don't get greedy, it'll trip us up.
Get going, I'll be along in an hour. She gets in her car and drives off. John takes a spool of
fine wire from his pocket and places it on the ground in front
of the garage door, leaving the end of the wire lying across
the threshold, he steps inside and closes the door. The spool
of wire jerks against the closed door then starts unwinding. INT. ARTIST'S LOFT - NIGHT
A BENT SPOON as Amy heats the capsules' contents to a bubbling
liquid, then sucks up the liquid with a long hypodermic. INT. GALLERY STORE ROOM - NIGHT
JOHN lifts the dead ELAINE out of the packing bin and sits
her on the stool, propping her up on the work bench. He hoists
up the packing bin, places the next box on the assembly line
under the bin and releases the catch, pouring all the bubble
pack into the box. He seals the box and slides it along the
assembly line to the rest of the out going boxes. Then he
empties the brief case onto the work bench. INSERT: The briefcase contains a small bag of cocaine, small
bottle of ether, a bent spoon and a book of matches. INT. ARTIST'S LOFT - NIGHT
AMY carefully pushes hypodermic needle through the sealed
cork on the bottle of Johns favorite wine, then injects the
poison. INT. GALLERY STORE ROOM - NIGHT
The coke pipe and spoon rest near ELAINE'S pale left hand.
JOHN lifts the hand and places the matchbook under it. He
takes the other hand and places a match between the thumb and
first finger, then carefully loops the fine wire around the
fingers to hold the match in place. Next, he places the match
between the striker and the cover of the matchbook, making
sure ELAINE'S dead hand rests securely on the cover of the
matchbook. Finally, he opens the can of ether and places it
near the matches. ANOTHER ANGLE
JOHN checks his work, satisfied he takes the plastic bag off
ELAINE and stuffs it in the briefcase. He exits by the store
room door, flipping the bolt so it locks behind him. INT. ARTIST'S LOFT - NIGHT
AMY sets the wine bottle into a ice bucket and places it and
a couple of glasses near the sofa, then starts putting on her
sexiest underwear. EXT. ALLEY BEHIND ART GALLERY - NIGHT
The fine wire runs from the garage door, half way down the
block to John's car, in the window of the car and onto the
seat next to JOHN. He looks at his watch, smiles and starts
winding up the fine wire. INT. ART GALLERY STORE ROOM - NIGHT
ELAINE'S dead hands as the wire suddenly jerks on her right
hand, pulling her thumb and first finger. The match is pulled
from between the match books' cover and the flint. The match
flares. ELAINE'S right hand is pulled off the table, swinging at her
side and letting the loop of wire falls off her fingers. The store room bursts into flames
EXT. ALLEY BEHIND ART GALLERY - NIGHT
MUFFLED EXPLOSION
SMOKE pours out from around the garage door. JOHN is quickly
winding up the wire. When he gets to the loop he puts the
spool in the briefcase and drives off. INT. ARTIST'S LOFT - NIGHT
AMY sits on the sofa, staring at the door.
INSERT: The loft's front doorknob RATTLES and starts to turn.
AMY arranges herself so she is sprawled sexily across the
sofa, then smiles big. JOHN enters and stops when he sees AMY on the sofa.
JOHN
You're up. AMY
I've been waiting for you, eagerly. JOHN
I was hoping you'd be asleep. He goes to the loft's big windows and opens one.
AMY
I've chilled your favorite wine. Shall
I pour you a glass? JOHN
No, not now. AMY frowns, then smiles, redoubling her determination. She
gets up and walks seductively across the loft, joining John
at the open window. She drapes herself around his neck and
looks up at him. AMY
First, we kiss... She kisses him, he holds her tight and turns her so her back
is to the window. AMY
...Then I'll get you a glass of wine. JOHN
I'm sorry. He grabs her, pinning her arms to her side and starts backing
her toward the open window. AMY
Hey, that hurts... JOHN
I don't hate you, I just can't live
with you... AMY
What...? JOHN
... and you're worth more dead than
alive... He bends her over the window sill. AMY looks down at the
street far below, horrified as she realizes what is happening.
She struggles, but he is too strong. LOOKING DOWN AT THE STREET
AMY (O.S)
... STOP... YOU FUCK... ASSHOLE...! BACK ON AMY & JOHN
He pushes the struggling AMY farther out the window.
JOHN
...Think of it this way...I'm making
you famous... He leans over and kisses her one last time. She spits in his
face and he lets her go. AMY
NO... STOOOOOOOOOOOoooooooop! AMY falls from the window to the street below. He looks after
her for a moment then takes a piece of paper from his pocket
and places it on the kitchen table. On his way out the door
he pauses long enough to grab the bottle of wine from the ice
bucket. JOHN
Too good a wine to waste... He toasts with the bottle toward the window.
JOHN
Thanks, Marcy and I can use this to
celebrate! He locks the door behind him as he exits.
INSERT: THE NOTE ON THE KITCHEN TABLE
It's typed and reads:
No inspiration, No art, No life!
No sorrow, please.
EXT. THE LOFT APARTMENT BUILDING - NIGHT
LOOKING DOWN FROM THE ROOF. JOHN steps out of the building,
walks around AMY'S bloody and broken body and quickly drives
off, leaving AMY lit by the street lights. PUSH IN QUICK AND
FREEZE so the buildings, windows, street lights and cars are
distorted but the center subject, AMY lying dead on the street,
is sharp and clear. This shot should look like a modern art
painting, with the radical angle looking down the side of the
building, the street lights and the bright red of AMY's blood
splashed on the black street. ROCK MUSIC CRESCENDO
MATCH DISSOLVE
INT. ARTIST'S LOFT - DAY
A PAINTING, it is a duplicate of above. AMY, teary-eyed,
stares at the painting while twirling the engagement ring on
her finger. She is covered with smudges of paint. After a
moment she jumps up and rushes to the dresser by the bed,
pulls out a drawer, takes it to the window and begins tossing
the BVD's and socks out the window. When the drawer is empty
she grabs a bunch of shirts from the closet and tosses them
out the window. EXT. JOHN'S CAR - DAY
JOHN whistles as he drives around the corner to his building.
THROUGH THE WINDSHIELD
His clothes rain down from the loft's window. As he pulls
into a parking space a pair of pants land on his windshield. ANOTHER ANGLE
John gets out of the car and examines the pants.
JOHN
Damn! He looks up at the window as more clothes land on him.
JOHN
AMY! SWEETHEART! AMY looks out the window.
AMY
I'M NOT TALKING TO YOU! She ducks back in and more clothes rain out.
JOHN
STOP! AMY! WHAT ARE YOU DOING! She looks back out the window.
AMY
BREAKING UP WITH YOU! IT'S OVER! I
CAN'T TAKE ANYMORE! LOOK OUT! JOHN
BUT HONEY! WHAT DID I DO? He ducks as a suitcase comes flying out the window and nearly
beans him. AMY
WHAT DIDN'T YOU DO! IT'S OVER, FINI
KAPUT! I NEVER WANT TO SEE YOU AGAIN! She takes off her engagement ring and tosses it out the window.
He catches it. JOHN
BUT.. BUT SWEETHEART! WHERE CAN I GO? AMY
I'M SURE YOU'LL HAVE NO TROUBLE FINDING
SOMEONE'S BED TO SLEEP IN! She SLAMS the window shut.
JOHN
Women! Crazy! He begins picking up his clothes and putting them into the
suitcase. INT. ARTIST'S LOFT - DAY
AMY sits on the window sill crying. She dries her eyes, looks
out the window and starts sobbing again. DISSOLVE TO:
A PAINTING IN A WOODEN SHIPPING CRATE
A wooden cover is nailed over the painting and TWO MOVING MEN
carry it out, revealing AMY & MARCY on the sofa. MARCY
He's miserable... AMY
I don't want to talk about it. MARCY
...You're miserable... AMY
I don't want to talk about it. She prepares the next painting to be boxed.
MARCY
...He just wants to talk, he wants to
know why you dumped him... AMY
I don't want to talk about it. MARCY
.. At least tell me why you dumped
him. AMY
I don't want... MARCY
..to talk about it, I know. The two men return.
AMY
This one next. She indicates the painting she has prepared.
MARCY
If you don't talk to him now, you're
going to have to talk to him at the
opening. AMY frowns.
EXT. ART GALLERY - NIGHT
Well dressed PEOPLE crowd into the gallery Through the window
a CROWD OF PEOPLE can be seen milling around the room dividers,
admiring Amys' painting. The same CATERERS as before mingle,
carrying trays of champagne. MARCY, ELAINE and AMY watch
from Elaine's office. Across the street, JOHN watches for a moment then steps into
a door way, disappearing into the shadows. INT. ELAINE'S OFFICE - NIGHT
ELAINE, MARCY and AMY watch the crowd thru the window. Elaine
points. ELAINE
There, in the brown sport coat, the
art critic for the Times, Fred York. THROUGH WINDOW
A MAN in a brown sport coat moves from painting to painting
dictating notes into a mini-recorder. MARCY
We should go introduce you, Amy. INT. ART GALLERY SHOW ROOM - NIGHT
MARCY, ELAINE & AMY come out of the office and stroll toward
the ART CRITIC. ELAINE
Fred. How are you enjoying the show? FRED
Wonderful... simply wonderful, Elaine. MARCY
I'm sure you're anxious to meet the
artist responsible. . AMY notices a commotion at the front door.
THE FRONT DOOR
FOUR MEN IN TUXEDOS, carrying instrument cases that make it
obvious they are a string quartet, are trying to come in the
front door. One of the WAITRESSES and the BLACK-HAIRED WOMAN
are keeping them out, an argument is starting. The black-
haired woman indicates that they should go around the back,
and the quartet exits. MARCY (V.O.)
Mr. York, this is Amy Henderson. YORK (V.O.)
A pleasure to meet such a gifted artist.
I love your work. The waitress and the black-haired woman turn, revealing that
they are the same ladies who catered the first opening and
populated Amy's first fantasy. ELAINE (V.O.)
Amy. Amy! BACK ON AMY, ELAINE, MARCY & FRED
AMY
Sorry...it's a pleasure to meet you,
sir. I'm glad you liked my paintings. FRED
Liked? My review tomorrow can never
do it justice, I don't have the words,
the vocabulary, to describe the emotions
your work evokes. The black-haired woman steps up and whispers in Elaine's ear.
ELAINE
Excuse me, something's come up that
needs My attention. She walks back toward the store room with the dark-haired
woman. FRED
A great patron of the arts, and you,
my dear, may be her greatest find... Again AMY's attention is distracted by a commotion at the
door. THE FRONT DOOR
A MAN IN A CLOWN SUIT, carrying a huge bunch of heart-shaped
balloons and a large, elaborately wrapped box is trying to
enter. Again, the waitress rushes to stop him, this time
quickly indicating that he should go around to the back. FRED (V.O.)
...I'd like to do a nice long interview
with you, where you trained, your
mentors, maybe we can do a lunch? BACK ON AMY, MARCY & FRED
Marcy is watching Amy, concerned.
MARCY
Amy? Lunch? AMY
Oh! Yes, lunch would be fine, excuse
me, please. Amy walks through the crowd to the store room door, passing
MICHELE on the way, but not noticing her. Michele watches Amy, then follows her.
Amy stops at the door listening.
ELAINE (O.S.)
I'm telling you it's canceled, they
broke up. INT. GALLERY STORE ROOM - NIGHT
ELAINE and the BLACK-HAIRED WOMAN are arguing with the QUARTET.
MAN
Well, no one told us, and we get paid
whether we play or not. ELAINE
I didn't hire you. John, the ex-
fiancee, took care of all these
arrangements. It was his idea, he
should have canceled you. See him for
your money... The CLOWN comes in the back door
ELAINE
...And who are you? CLOWN
Bozo the clown, who do you think?
Where's the engagement party? INT. ART GALLERY - NIGHT
AMY listens at the store room door, MICHELE steps up behind
her. MICHELE
John was suppose to cancel it. AMY whirls around, surprised to find Michele standing behind
her. AMY
You knew? MICHELE
Sure, remember the first time I met
John... INSERT FLASH BACK:
JOHN & MICHELE AT THE POOL. They are talking and Michele
gives John her phone number. MICHELE (V.O.)
... at my pool party. He told me then
he was planning to throw you a surprise
engagement party. I gave him my number
'cause he wanted my help planning it... BACK ON MICHELE & AMY
MICHELE
The clown was my idea, I know how you
love'em. It's really a shame you two
broke up. ELAINE & THE BLACK-HAIRED WOMAN come out of the store room
and bump into Amy and Michele. ELAINE
Oh! I'm sorry! You heard? AMY
Yes. BLACK-HAIRED WOMAN
Everything was suppose to be canceled,
we didn't want to...to disturb you
during the opening. AMY
You were in on this? BLACK-HAIRED WOMAN
Of course. Your fiancee, excuse me,
your ex- fiancee hired us almost a
month ago... INSERT FLASH BACK:
JOHN TALKING TO THE WAITRESS AND THE BLACK-HAIRED WOMAN during
their first visit to the gallery. DARK-HAIRED WOMAN (V.O.)
... During the last opening here at
the gallery. He ordered a fully catered
affair. We're going to have to charge
him a lot, even though it's all just
sitting in our truck... BACK ON AMY, MICHELE, ELAINE & THE BLACK-HAIRED WOMAN.
ELAINE
I hope this isn't too upsetting, Amy
dear. I had my misgivings when John
approached me with this party idea.
If I had known then that you were
thinking of breaking off the engagement
I never would have agreed. . INSERT FLASH BACK:
LOOKING OUT LOFT WINDOW AT JOHN TALKING TO MARCY AND ELAINE
down in the parking lot. AMY (V.O.)
He talked to you when you came to look
over my work. ELAINE (V.O.)
You two seemed so much in love, and it
seemed like such a great idea, combine
an engagement party with the opening,
if I had known... BACK ON AMY, ELAINE, MICHELE & AND THE BLACK-HAIRED WOMAN
ELAINE
... I hope this isn't too upsetting. AMY
No...No, it's not upsetting, not at
all... She starts backing away from them, smiling.
AMY
... in fact, its great! It's wonderful!
I've been so wrong and now it's so
right. I've got to go now! Thank
you, all of you! She turns and rushes out of the gallery.
ELAINE
I think she is upset. EXT. ART GALLERY - NIGHT
AMY rushes out of the crowded gallery and stops at the curb
as the PARKING VALET joins her. VALET
Ticket please? Flustered, Amy looks about for her purse
AMY
Ohhhhh! It's in my purse... Behind Amy, MICHELE, MARCY, ELAINE, THE WAITRESS AND THE BLACK-
HAIRED WOMAN come up to the window and watch her. AMY
... It's the white Toyota, please just
get it. Across the street, JOHN steps out form the dark doorway onto
the sidewalk. JOHN
Amy? Amy, please talk to me... AMY
John! Oh, John, I'm so sorry... He steps out in the street.
JOHN
...I love you, Amy, please take me
back... She steps out into the street.
AMY
... Please forgive me, John, I want
you back... JOHN
Oh, Amy! AMY
I love you, John! They rush into the middle of the street and into each others
arms; oblivious to the traffic jam they're causing, or the
people in the gallery watching them. They kiss passionately.
Behind them, the valet is trying to direct the traffic around
them while through the window the waitress and the black-haired
woman can be seen running back to the store room. All the
people are applauding. John and AMY continue kissing. Amy comes up for air.
AMY
Forgive me? JOHN
Shut up and kiss me! HIGH ANGLE MASTER
MICHELE, Marcy and Elaine, followed by all the people in the
gallery, the CLOWN with his balloons, the band and the
caterers, loaded with food and drink, pile out of the gallery
and crowd around AMY and John, congratulating them. INT. ARTISTS' LOFT - DAY
JOHN, in a tux, kicks in the front door and carries AMY, in a
wedding dress, into the loft. He takes her straight to the
bed, which is decorated in white lace with paper bells
and hearts, and they make love. FREEZE ON THEM NAKED IN EACH
OTHER'S ARMS. MATCH DISSOLVE
A sketch of them naked, in a lovers embrace.
ROLL END CREDITS
FADE OUT
THE END
