155
pages
English
Documents
1998
Le téléchargement nécessite un accès à la bibliothèque YouScribe Tout savoir sur nos offres
155
pages
English
Ebook
1998
Le téléchargement nécessite un accès à la bibliothèque YouScribe Tout savoir sur nos offres
Publié par
Publié le
01 janvier 1998
Nombre de lectures
3
Licence :
Langue
English
Publié par
Publié le
01 janvier 1998
Nombre de lectures
3
Licence :
Langue
English
Screenplay by Bo Goldman
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EXT. ANNANDALE-ON-HUDSON, N.Y. - 4:00 AM
A patch of water. PULL BACK TO REVEAL more water.BACK FARTHER TO REVEAL an expanse of river, up the bank to massive lawn running up to a great, classic Hudson River manor house; the country estate of William Parrish.
INT. PARRISH COUNTRY ESTATE - 4:00 AM
MOVE THROUGH French doors that lead from a wide terrace into an expansive living room, DOWN wide corridors lined with Bierstadt and Cole paintings, the Hudson River School, mists and trees and small boats and distant humans.
INT. PARRISH BEDROOM - 4:00 AM
MOVE THROUGH the doorway to reveal a master bedroom furnish- ed with exquisite simplicity, revelatory of its sleeping occupant, WILLIAM PARRISH, 64, a warm but commanding face, a man of maturity yet who exudes a glow of enthusiasm.
Although asleep, there is an uncommon restlessness to him. Parrish grips his upper arm as if in pain.Now the severity of the pain wakes him, he squeezes his arm.The wind comes up, through the wind a VOICE is heard distantly, or is it the wind itself:
... Yes.
Parrish blinks, has he heard something, has he not, he is not sure, he releases his arm, his grimace of pain fades, the discomfort seems momentarily to have subsided.
He rises now, crosses to the bathroom.As he pees, a breeze outside the window, the wind again, but then the Voice comes up:
Yes...
It is unmistakably a Voice, it is not the wind, Parrish has heard something, he looks around, but no one is there.He can't finish peeing, turns back to his bedroom.All beweild- ered, Parrish looks around once more, climbs back into bed, trying to trace the source of what he has heard or hasn't heard; he is not sure.
He pulls the covers up now, not a SOUND, tries to close his eyes.
Yes.
Parrish sits up again, frightened, but still there is no one there, he seems fraught with indecision, should he get up, should he not, what is happening?He looks out: absolute stillness and silence, CRICKETS chirp down by the river, a light FLICKERS from a shadboat, Parrish closes his eyes but then they flutter open, he glances up at the ceiling and finally, exhausted, falls back asleep.
EXT. REAR TERRACE, PARRISH COUNTRY ESTATE - NEXT MORNING
The great lawn infested with workmen, planting stakes, un- rolling a huge canvas tent, gardeners fashioning topiary and adding landscaping of their own, crews setting up platforms, speakers, lights.Ubiquitous is ALLISON, 35, Parrish's older daughter, foremen competing for her attention and she relishing every moment.
A Painter approaches.
The big tent, Miss Allison --
Paint is rust and moss green. Medieval colors -- Daddy's like an old knight.
A Florist stops her.
The head table --?
What about it?
The flowers, ma'am--?
Freesia, freesia, everywhere.Daddy loves freesia -- and you, over there, lights.Not too bright.I'm looking for a saffron glow -- sort of tea- dance twenties.
EXT. GREAT HALL, COUNTRY ESTATE - MORNING
Parrish, groomed for the day, trots down the stairs, observ- ing the activity outside through the windows.He checks his watch, strides down the hall, encounters MAY, 50, a family retainer who is opening the doors to the terrace as Parrish passes.
What do you think of all this, May?
It's going to be beautiful.And Miss Allison says the President may come.
Oh, the President's got better things to do than come to my birthday party.
(smiling)
What?
Parrish grins, continues on, is intercepted by Allison who, on catching sight of him, bounces in from the terrace.
Daddy!
Hi, Allison --
Have you got a minute?
Not much more.Big day in the big city.What's on your mind?
Fireworks.Update -- we're con- structing the number '65' on the barge, archers from the State College at New Paltz will shoot flaming arrows at it, when it catches fire it will give us the effect of a Viking funeral with none of the morbidity... The Hudson River Authority says, for you, they'll make a special dispensation - of course there'll be an overtime bill for the Poughkeepsie Fire Dept...
Allison, I trust you.This is your thing.
But it's your birthday.
Parrish smiles complaisantly, they continue on into a break- fast room where SUSAN, 30, Parrish's younger daughter, is grazing at a table laden with cereals and fruits and coffee.
Good morning, Dad.
Hi, honey.
(to Susan)
I'm Allison, you're 'honey'.
(smiling)
Drew called from the AStar, they're still two minutes away.
Drew's aboard?
He wanted to ride back down with you. Now sit and relax, get some- thing in that flat tummy of yours --
But Parrish only pours coffee.
(to Allison)
You coming?
You've got patients waiting, I've got three hysterical chefs, one loves truffles, the other hates truffles, the third one doesn't know what truffles are.I'd better drive down.
Parrish gazes at the going-on outside which are increasing in intensity.
(unconsciously)
I hate parties --
Calm down, Daddy, you'll see, you're going to love it.
Isn't it enough to be on this earth sixty-five years without having to be reminded of it.
No.
Allison goes, Susan observes Parrish fidgeting.
Will you relax?I know it is a big deal day --
How did you know?
Drew told me.
Does Drew tell you everything?
I hope so.
You like him, don't you?
Yeah.I guess so.
A moment.
I don't like to interfere.
...Then don't.
The helicopter CHOPS in overhead.
-- Here comes our boy now -- Shall we?
EXT. COUNTRY ESTATE - MORNING
A BUTLER and May carry the overnight bags for the family as led by Parrish, they hurry towards the helicopter.En route they pass QUINCE, 38, Allison's husband, who is perched at a portable bar with AMBROSE, the head caterer, tasting wines.
...This shit's not bad.
-- The late harvest Riesling, Mr. Quince, a possibility for dessert.
(pointing to another bottle) And that?
Pinot Grigio.We're considering it for the appetizer.
Ambrose takes a sip, swishes the wine in his mouth, spits it in a bucket.
What do you do that for?
Well sir, it's 9:30 in the morning.
9:30's almost 10:30.Where I come from, the sun's over the yardarm, m'boy, and the cocktail lamp is lit.
Quince drains his wine, presents it for a refill, when he is hailed by Allison.
Quince!Everybody's waiting!
Quince downs this glass too, runs for the helicopter as DREW, 34, a young man going places, emerges from it, approaches Parrish and Susan.
(to Susan)
Hello, Beautiful.
Hi.
Drew kisses her, over her shoulder he glances at Parrish.
Good morning, Drew.Thanks for coming out.
Well, it's a big day.Wanted to line up a few ducks before kickoff. Any thoughts?Last minute refine- ments or variations?
'Thoughts'?Not a one -- but I did hear a voice last night.
A voice?
In my sleep.
What'd it say?
'Yes'.
'Yes' to the deal?
Maybe, who knows?You know how voices are.Let's go.
Quince comes running up now.
Hi, Bill --
Good morning, Quince.
How're you doing--?
I'm doing great.You ready?
I am, this is it.B Day.
How's that, Quince?
Bontecou Day.Going to close with Big John -- Look at you, Bill, all cool as a cat and over at Bontecou's, I'll bet he's shitting in his pants.
(to Quince)
Honey, please.
Okay.All aboard - New York, New York!
Remember everybody, tonight, dinner in the city at Daddy's.You too, Drew.We've still got some loose ends --
Not my birthday again?
You're only six-five once.
Thank God.Now could we go?Let's get this day started.
Drew ushers everybody on, first Parrish, then Susan and Quince, Drew the last to climb on, shuts the door behind him As Allison hurries away from the whirling rotors.
INT. ASTAR HELICOPTER - DAY
The configuration of seats has Drew beside Parrish, in front of them Quince and Susan opposite each other in single seats. Just as Drew removes color-coded folders from his attache case and spreads them out for Parrish on his tray table, the pilot waves to Drew, indicating 'phone call'.Drew gets up and heads for the cockpit, Parrish scans the folders, glances over at Susan who is making some notes on a file of her own. He motions to her to please come sit beside him, she checks that Drew is still busy in the cockpit, tucks her papers into her carryall, and crosses over to Parrish who folds away the work that Drew set before him into his tray table, locks it.
I thought you were in a meeting--?
I am.With you.
He peers up ahead at Drew, on the telephone and gesticulat- ing intensely, right at home in the cockpit despite the CHOP of the blades and the pilot pressed up against him.
Do you love Drew?
...There's a start for a meeting.
I know it's none of my business --
Susan doesn't answer for a moment, then impulsively kisses her father on the cheek.
No, it's none of your business.
Another moment.
Do you love Drew?
You mean like you loved Mom?
Forget about me and Mom -- are you going to marry him?
Probably.
A moment.
(smiles)
Don't get carried away.
Uh oh --
Susan, you're a hell of a woman. You've got a great career, you're beautiful --
And I'm your daughter and no man will ever be good enough for me.
Well, I wasn't going to say that --
What were you going to say?
Listen, I'm crazy about the guy -- He's smart, he's aggressive, he could carry Parrish Communications into the 21st century and me along with it.
So what's wrong with that?
That's for me.I'm talking about you.It's not so much what you say about Drew, it's what you don't say.
You're not listening --
Oh yes, I am.Not an ounce of excitement, not a whisper of a thrill, this relationship has all the passion of a pair of titmice.
Don't get dirty, Dad --
Well, it worries me.I want you to get swept away.I want you to levitate.I want you to sing with rapture and dance like a dervish.
That's all?
Be deliriously happy.Or at least leave yourself open to be.
'Be deliriously happy'.I'm going to do my upmost --
He smiles.
I know it's a cornball thing but love is passion, obsession, someone you can't live without.If you don't start with that, what are you going to end up with?I say fall head over heels.Find someone you can love like crazy and who'll love you the same way back.And how do you find him?Forget your head and listen to your heart.I'm not hearing any heart. (a moment) Run the risk, if you get hurt, you'll come back.Because, the truth is there is no sense living your life without this.To make the journey and not fall deeply in love -- well, you haven't lived a life at all. You have to try.Because if you haven't tried, you haven't lived.
Bravo.
Aw, you're tough.
I'm sorry.But give it to me again. The short version.
Stay open.Who knows?Lightning could strike.
Silence.
Forgive the lecture --
I won't.And when I tell Drew about it, he won't either.
You won't tell him, and even if you did, he'd clock it and punch it into his laptop in order to pull out some key phrases when he gives the Commencement Speech at Wharton.
You're terrible.
I know.But I'm the only father you've got.
She kisses him on the cheek.
Thank God.
He doesn't care.But thanks anyway.
EXT. 34TH STREET HELIPAD, NEW YORK CITY - DAY
The AStar lands, an attendant, waiting with a luggage cart, rushes to open the door and unload the bags.The passengers, Parrish paired with Quince, Drew with Susan, file off the rooftop through a door which opens into an elevator.
INT. ELEVATOR, NEW YORK CITY - DAY
Parrish, Susan, Drew and Quince face forward as they ride downwards.
Hey, this is it, the hour approach- es, I'm getting all excited.So what do you think, is it -- (indicates Drew and Parrish) -- just the 'Executive Committee' or could you guys use me?
Quince, m'man, thanks for the offer, but it's all set for just me and Bill. More people might --
I know.Gum up the works.
Parrish is about to make some reassuring comment to Quince when the Voice suddenly intrudes: