Can you copy and paste it as plain text?
Can you copy and paste it as plain text?
Hi:
Here it is. Basically, there are 2 couples, Karen and Robert who are engaged and their friends, the 2nd couple, Ian and Elizabeth. Ian and Elizabeth have had bad past relationships (which they haven't shared with each other) and have mutually agreed to have a "no strings" relationship.
Elizabeth is now obsessed with trying to get the upper hand in this non-relationship. I don't know which scene to pick.
Thank you for your help!
18 INT. KAREN'S BEDROOM - NIGHT 18
Front cover of a book. The title: "WHO'S AFRAID OF VIRGINIA
WOOLF." Karen reads the book in bed. Robert walks into the bedroom. Karen shoves the book under the covers. Robert rummages through an overnight bag, pulls out papers.
KAREN
Maybe she wanted me and he didn't.
ROBERT
Your parents divorce had nothing
to do with you.
KAREN
Maybe he wanted me and she didn't.
ROBERT
I'm staying with my original
answer.
KAREN
Maybe she never wanted to be
writing partners. Maybe he never
wanted to be writing partners.
A look of revelation from Karen.
KAREN
(continuing)
What if being writing partners
destroyed their marrriage. And now
we're going to be -
ROBERT
Don't even say it.
Robert walks off into the bathroom. The sound of water
RUNNING.
ROBERT (O.S.)
You're never going to figure this
out.
Karen takes the book out from under the covers, flips pages.
KAREN
You don't know that. How do you
know that? There has to be a
reason for two people falling out
of love and into hatred.
(taps the book)
Just look at George and Martha.
Something must've happened to make
my parents throw away a twenty
year marriage -- and partnership.
The water goes OFF.
ROBERT (O.S.)
Are you still reading that book?
Didn't I buy you Shakespeare's
comedies?
Karen winces at being caught, shoves the book back under the
covers.
KAREN
Tragedy can be comical, in a
deeply disturbed way.
Robert walks out of the bathroom. He sits by Karen, gives her a kiss. As he kisses her he reaches under the covers, takes the book, tosses it away.
ROBERT
Your parents may be George and
Martha but we are not, and it's
going to be a beautiful wedding.
KAREN
Especially since the maid of honor
and best man are growing closer.
Maybe we should have them over for
dinner.
Robert gets up, goes over to his bag, rifles through papers.
ROBERT
No, we should not. We're not
getting involved. They won't last
the summer.
KAREN
How do you know that? You don't
know that. She wasn't always like this and
it's just dinner.
Robert turns to Karen.
ROBERT
Look, if they make it, that's
fine. If not, it wasn't meant to
be. Manifest Destiny. It's their
life, not ours.
KAREN
Manifest Destiny was about U.S.
land expansion in the eighteen
hundreds.
Robert comes over with a small pile of papers, crawls into bed.
ROBERT
You know what I mean. Their
relationship will either expand or
not expand but not because of us.
We're out of it. Agreed?
Karen sighs. Robert waits.
KAREN
Manifest Destiny. We're out of it.
ROBERT
Good.
Robert picks up the papers, reads.
ROBERT
(continuing)
Karen, why is the happy couple in
our play, a comedy, filing for
divorce?
Karen looks away, embarrassed.
33 INT. ELIZABETH'S BEDROOM - MORNING 33
Elizabeth wakes up. She looks over at Ian. He sleeps. She
creeps out of bed and slips out the door.
IAN in bed. One eye opens.
34 INT. ELIZABETH'S KITCHEN - MORNING 34
Elizabeth puts up a pot of coffee as she whispers into the
phone.
ELIZABETH
Guess who's here. Yes he is. It
took three hours. I finally did
it! I have the upper hand!
A NOISE is heard from the bedroom.
ELIZABETH
(continuing)
I've got to go. Call you later.
35 INT. KAREN'S APARTMENT - MORNING 35
Karen holds the phone. Robert looks at her for explanation.
She smiles sheepishly.
36 INT. ELIZABETH'S KITCHEN - A FEW MINUTES LATER 36
Ian shuffles into the kitchen, dressed. Elizabeth is on air
as she pours coffee for them both. He lights a cigarette.
ELIZABETH
Now that we've mastered breakfast,
how about a cozy lunch?
IAN
I can't.
ELIZABETH
You've been working non-stop. You
can have lunch.
IAN
I'm meeting someone for lunch.
ELIZABETH
Having business lunches with
clients doesn't count. Trust me.
IAN
Not a client. A friend.
Elizabeth comes back down to terra firma.
ELIZABETH
OH -- a friend. Lydia?
IAN
Uh-hunh.
Elizabeth is completely deflated.
ELIZABETH
Lydia's back. That's great.
(subtitle: What does
she mean to you?)
IAN
Mmhmm.
(subtitle: None of
your business.)
Elizabeth bangs plates around as she puts them away.
ELIZABETH
How long did you say you've known
her?
(subtitle: How long
were you sleeping
with her?)
IAN
I don't know - a while.
(subtitle: I'm not
going to tell you.
ELIZABETH
So, you're going to meet at a
restaurant?
(Subtitle: You're
going to her hotel,
aren't you?)
IAN
Maybe.
(subtitle: Maybe.)
ELIZABETH
That'll be nice. The two of you
can catch up.
(subtitle: I don't
care if you sleep
with her.)
IAN
Un-hunh.
(subtitle: Yes you
do.)
Ian gets up to leave. He goes to kiss her.
IAN
(continuing)
See you for dinner?
She gives him a quick kiss with a plastic smile and nods her head.
37 INT. KAREN'S APARTMENT - MORNING 37
ELIZABETH PACES AS KAREN MUNCHES TOAST AND WATCHES.
KAREN
You actually still have the upper
hand.
Elizabeth stops pacing.
ELIZABETH
How do you figure?
KAREN
Well, he's seeing you tonight, so
you've broken the one day on,
three days off.
Elizabeth is back to pacing.
ELIZABETH
No, no. He still has the upper
hand. He has the lunch thing. That
supercedes the one day on, three
days off.
(stops, thinks, paces
again)
Okay, okay. He's not the only
person who can have lunch.
Robert walks into the kitchen. Elizabeth stops, looks right
at him. She walks up to him, snaps her purse up from the
table nearby.
ELIZABETH
(continuing)
He's not the only person who can
have lunch.
Elizabeth struts out.
Robert looks to Karen.
ROBERT
Promise you won't tell me.
KAREN
Okay, but I don't know how long I
can hold out.
