Vivienne Westwood Pitch
Pitch for
Vivienne Westwood
Vivienne Westwood Pitch
Pitch for
Vivienne Westwood
The following scripts designed for a considered pitch to Vivienne Westwood, the first of which was filmed...
Synopsis: Vivienne Westwood Project
The primary intention of these works is to deliver a feeling that pop culture has reached a point of exhaustion. A cyclical appetite for consumption and disposal means that even delivering the whole world is not enough; to the point of our own destruction.
The films focus contrasts Vivienne Westwood’s environmental concerns with a culture frustrated that it cannot satisfy itself. “What more do you want” questions our consumption, and is a measure of the wake up call we require.
The backstreet alley, the skyscraper under construction and the morning beach are empty, grey, dirty environments, the world we ignore at the cost of our next pop fix. Contrast with the illuminate crisp image of our bright green and blue Earth. An exhausted teenage girl, a young girl and a young man present the whole ideal world and rage at their ungrateful recipient. Their clothes and their actions scream at the harm we cause through ignorance and vanity.
Westwood 1/3 - "Beach"
EXT. BEACH
FADE IN:
STEADY SHOT
Dunes in the foreground, the beach and sea lead to a
horizon in background. Waves lap the shoreline.
It is a dewy morning.
The long legs of a girl dressed in an evening dress climb
over the dunes and onto the beach. Barefoot she carries her
shoes by their slender straps.
CUT TO:
STEADY SHOT
A man in a suit swimming towards the shoreline.
CUT TO:
WIDE TRACKING SHOT LOW LEVEL
The girls feet moving down the beach
CUT TO:
STEADY SHOT
The swimmer is much larger in the camera now, closer to
shore.
CLOSE UP
The girls face, tired after a long night out.
CUT TO:
FRONTAL SHOT
The swimmer is now on his feet wading through the last few
yards of the sea. He is a man fully dressed in a wet ruined
tuxedo suit, and retrieves from his inner pocket a small
box.
CUT TO:
CLOSE UP
The mans face is exhausted and determined as he approaches
the waiting girl.
STEADY SHOT
The full height of the waiting girl on the beach, with
dunes behind her.
CUT TO:
WIDE TRACKING SHOT
The man walking up the beach, cliffs and horizon in the
background. The woman comes into shot as he approaches her,
and he stops.
He holds out the small box. Hands it to the girl. He opens
the box in her hands.
CUT TO:
CLOSE UP
The woman's face is coloured by the blue green shading that
the globe emits.
She is impressed for a second, but then no longer. She
drops it on the floor. The man is rejected. She begins to
walk away.
MAN
(desperate)
What more do you want?
The girl continues to walk, leaving the man with the spoilt
globe lying at his feet.
Westwood 2/3 - "Alley"
EXT. BACKSTREET ALLEY
VIEW FROM ABOVE
A grotty alley. Plastic bag blowing in the wind.
CUT TO:
PAN RIGHT TO LEFT
Walls coated in graffiti.
CUT TO:
HANDHELD SHOT
A damaged garage door.
CUT TO:
HANDHELD SHOT
A crashed shopping trolley
CUT TO:
DESCEND FROM ABOVE
A girl kneeling in the corner crouched into a ball, head
bowed, waiting in the rain, almost hiding from it. A square
of pristine white fabric is draped over her outstretched
hand and covers a mysterious object she holds onto.
CUT TO:
CLOSE UP ON THE GIRL
She is waiting, seriously, almost praying.
CUT TO:
HANDHELD SHOTS OF LADIES & GENTS WALKING; SPEED OF PACE
ALTERING FROM SLOW-MO TO REGULAR SPEED
A parade of well dressed ladies and gentlemen transcend
upon the alley. All move with purpose and grandeur.
Classically dressed - top hats and tails for the gents,
evening gowns for the ladies. They stop and stand their
ground.
CUT TO:
CLOSE UP
The girl raises her head, prepares to make the
confrontation.
CUT TO:
THE GIRL MOVES TOWARDS THE CROWD MOVING FROM SLOW MO TO
REGULAR SPEED
She approaches the crowd from the opposite end of the
alley. Dressed in Westwood attire of a punk sensibility.
She is clearly exhausted but determined and has a look of
edgy desperation and always with the mysterious object held
in her outstretched covered
In front of them all with little more ceremony she removes
the cloth and reveals a floating illuminated globe of the
planet earth.
CUT TO:
THE GLOW OF THE GLOBE COLOURS THE WHOLE ALLEY AND ALL OF
THE STARING FACES - A BRILLIANT BLUE / GREEN
Pause
CUT TO:
HANDHELD POV OF THE GIRL - THE CROWDS STARING FACES
Their is a slight rumbling, a little disturbance in the
crowd, they are not impressed and begin to turn away. The
girl looking less amused than before grabs the globe and
launches it into the small crowd screaming at them.
CUT TO:
THE GLOBE FLIES THROUGH THE AIR IN SLOW MO; THE GIRL
HURLING AND SCREAMING IN THE BACKGROUND
CUT TO:
The crowd splits and in the middle of them lies the globe
broken on the floor.
CUT TO:
BLACK SCREEN SUBTITLED:
What more do you want?Westwood 3/3 - "Sky Scraper"
INT. SKYSCRAPER UNDER CONSTRUCTION
The top floor of a skyscraper. The building is under construction. There are no walls, allowing extended views over the city. The entire level is clear except for the occasional plastic sheet blowing in the wind between the pillars.
A parade of socialites walk onto the floor assembling in an ordered fashion spread throughout the area.
A young girl walks onto the floor. She desperately runs around bustling the waiting crowd an inch to the left, an inch to the right. When the crowd is ready the girl runs to the back of the room pulls on a cord unravelling large maps of the world dangling from the ceiling in front of each unimpressed viewer. The socialites begin to leave. As they filter out they turn to see the girl exhausted drops to her knees.
Girl
(quietly)
What more do you want?She is left with the maps blowing in the wind.
Benefit Campaign Scripts
Benefit Campaign Scripts
Benefit Campaign Scripts
Benefit Campaign Scripts
A series of commercial scripts designed to pitch for Benefit Make-up. Created to bring the colourful and vibrant brand of Benefit to the fore by placing modern lighthearted scenarios within the setting of various different film genres...
BENEFIT 1/5 - "Hammer Horror"
INT. LOUNGE
The girls are both laid out horizontal on sofas...
RACHEL
That was a funny night
REBECCA
Funny odd or funny laugh laugh
RACHEL
Funny odd; lots of characters
around this evening
REBECCA
Any cute characters?
RACHEL
No, it was a bit of a horror
show...
WE GO TO A SHADOWY BLACK & WHITE
Rebecca sits up like Frankensteins monster, arms extended
in front of her and plunders her way across the room.
Rachel gets up and meets her with a dab of product...
RACHEL (cont'd)
Here have a dab of this and calm
yourself down
WE RETURN TO NATURAL COLOUR
They resume sofas laughing and self amused.
FADE TO BLACK.BENEFIT 2/5 "Monster Movie"
INT. HALLWAY IN THE HOUSE
Rebecca applies finishing touches in the hallway mirror.
Rachel walks down the stairs, apparently ready to leave.
REBECCA
You're about to break the record
RACHEL
(cracking up)
No I'm not I've just some
finishing touches...
She moves into the mirror space, Rebecca heads to the front
door.
REBECCA
You just know the traffic will be
horrendous by now
RACHEL
...whats The rush are there
monsters on our tail?
WE GO CRACKLY BLACK & WHITE
POV: FRONT DOOR
EXT. STREET
The street is ruptured through the middle, lamp posts
fallen cars on their sides, people running and screaming. A
giant claw plunges into the street and a giant roar fills
the air...
Rachel and Rebecca stare in horror at the monster rampage.
Rachel opens her clutch bag and offers a pot of product to
the beast high up.
REBECCA
That should help ease the old
stress lines
The screaming and roaring stop.
WE RETURN TO NATURAL COLOUR
RACHEL
(cheekily)
Ready... Well come on I'm not
waiting all day
They shut the door behind and leave.
FADE TO BLACK.
BENEFIT 3/5 "Sci-Fi Saturday"
EXT. COUNTRY CLUB BALCONY
Rachel and Rebecca stand under the moonlight each with a
man, getting lots of attention.
Rebecca sends a signal to Rachel across the party.
RACHEL
(to the gent)
Oh, you'll have to excuse me but
my friend needs rescuing
WE GO TO A RUSTY BLACK & WHITE
A dozen flying saucers surround the horizon, searchlights
illuminate the night sky, screaming is heard in the
background, men and women run in panic from the UFOs
closing in.
She makes her way to Rebecca, and cuts in as all are
stunned...
RACHEL (cont'd)
(to the other gent)
I must borrow my friend for a
momento?
REBECCA
What's going on?
RACHEL
I thought you needed rescuing
Rebecca realises what is going on. She reaches high into
the sky and plucks a flying saucer out of the night air,
between her fingers it becomes a jar of product and she
applies a dab...
REBECCA
Here have a dab of this and calm
down.
WE RETURN TO REGULAR COLOUR
The panic halts, the lights return to normal.
REBECCA (cont'd)
I was trying to say that this guy
is really cute
RACHEL
Oh, we have really got to work on
our rescue signals.
FADE TO BLACK.
BENEFIT 4/5 "Spies"
INT. DRESSING ROOM / VANITY ROOM
Rebecca sits at the dressing table making herself beautiful. Rachel is at the long mirror fitting her evening
dress.
RACHEL
Are you taking your phone?
REBECCA
Oh yes, are you taking a set of
keys?
RACHEL
Yes I am
Rebecca turns to face Rachel
AS SHE DOES THE PICTURE BECOMES VINTAGE BLACK AND WHITE
The girls are both styled from the 40s, each in ankle
length evening gowns. Rebecca stands up seriously.
REBECCA
You do understand how important
this mission is?
Rebecca grabs a tiny pistola from the dresser opens the hip
length split in her gown and secures the weapon on the leg
of her panties.
RACHEL
(surprised)
Well I do now
REBECCA
I hope so because any foul ups
could jeopardise all chances of
having a jolly good time out this
evening
Rachel lights and drags her extended filtered cigarette.
RACHEL
You don't need to worry about me.
Here, have a little of this...With cigarette in mouth Rachel opens the hip length split in her skirt and removes from her panties a little jar of product that she opens and duly applies a dab to the end of Rebeccas nose.
WE RETURN TO NATURAL VISUAL
REBECCA
Oh thanks hun don't mind if I doRachel makes a pretend gun with her fingers and pretends to fire.
FADE TO BLACK.BENEFIT 5/5 "Western"
INT. KITCHEN
Rachel is sat at the breakfast bar applying product,
Rebecca is pouring some drinks.
REBECCA
We are going to have to leave
soon
Rachel spies over her pocket mirror at Rebecca.
RACHEL
Hey, if we had been born in the
states do you think we would be
cowgirls getting ready to go out
right now?
WE GO SEPIA. PALE DRENCHED.
As Rebecca turns to face Rachel the kitchen is a saloon the
breakfast bar a long bar, the girls are both cowgirls,
Rebecca tending to the drinks.
REBECCA
(posh English attempt at
southern accent)
Sure darlin', but we need to work
on the old square dancin routine,
and match us up with some rootin
tootin cowboys
RACHEL
(posh English attempt at
southern accent)
And I could do with a dab of what
you got behind the bar, after
ridin' rough shod all day long on
the prairie partner
Rebecca produces a small jar of cream and offers to Rachel
who takes a dab and applies to her face.
REBECCA
That should ease those worry
lines
RACHEL
Ooh, that's great, do you have
anything for my horse?
WE RETURN TO NATURAL VISUAL
REBECCA
Um no, actually.
FADE TO BLACK.Scarlet Affair
SCARLET AFFAIR
Scarlet Affair
SCARLET AFFAIR
Scarlet Affair is a short film script based in London and centred around a corporate type and his affair with a younger lady.
Scarlet Affair by Andrew Dorrall
INT. HOME OFFICE
A 40 something man sits at his desk in his home study, gazing at some old photographs
in the lamplight.
(Photograph 1)
THE MAN, YOUNGER WITH A SIMILAR AGED WOMAN LYING IN A FIELD
NIGEL
(thoughtfully, emotionally)
The world never stands still. Not for a moment.
(Photograph 2)
THE WOMAN ON A BEACH IN THE WINTER, WRAPPED UP WARMLY, MAKING A SILLY POSE TO THE
CAMERA
NIGEL (cont'd)
It never once occurred to me to stop, to enjoy my
life.
(Photograph 3)
THE COUPLE ASLEEP TOGETHER IN THE CORNER OF A SOFA, THE FEMALE HELD BY AND HUGGED INTO
THE MALE
NIGEL (cont'd)
That was my fault. But it was not me that I was
hurting.
(photograph 4)
THE GIRL A MATURE TEENAGER, POSES A WAVE FOR THE CAMERA. THE BACKGROUND A LARGE SPORTS
HALL, SHE IS DRESSED IN A LEOTARD AND OUT OF BREATH, JUST COMPLETED A GYMNASTIC
ROUTINE
NIGEL (cont'd)
For all that I had achieved, I could not stop
myself wandering, I could not still my world...
(photograph 5)
THE COUPLE OLDER NOW ON THEIR WEDDING DAY STANDING ON A PATH WITHIN BEAUTIFUL GARDENS
AND A SHIMMERING LAKE IN THE BACKGROUND
NIGEL (cont'd)
And I put to risk all I had. And that which meant
most to me.
(photograph 6)
THE COUPLE STOOD ON THE STEPS OUTSIDE A HOUSE, THE MAN HANDING A SINGLE ROSE TO THE
PREGNANT WOMAN
NIGEL (cont'd)
My Diane.
FADE TO:
EXT. HYDE PARK - DAYTIME
A glorious day in Hyde Park. Throughout the park picnic blankets are scattered around
and people are spending time in the sun. We head towards the shade of a tree,
underneath which a couple sit intimately, sipping champagne. Our man is dressed in a
suit with shoes and jacket off, trouser legs and sleeves rolled up, tie loose and top
button undone. He is very well groomed and approaching middle age, clearly a man of
position. The girl has long blonde hair and is very animated, in her early twenties,
wearing a classy summer dress, barefoot and hair down.
SCARLET
I came to London three years ago. It suits me. I
would go out of my mind if I was still living in
the little village. I like the busy ness, and the
hustle and the bustle, and I like being in this
park.
NIGEL
And your dreams. Your ambitions? Are they in
London? Are you fulfilling the things you set out
to achieve?
SCARLET
To leave the village was my goal. I had to get
away from that place.
NIGEL
Now everything is here for you my dear. You are a
beautiful young woman with the whole world at your
very mercy. You are in an enviable position, you
are young and beautiful and you have nothing to
lose.
SCARLET
I have some things. But here one can live without
everybody in the village knowing your ins and your
out's.
NIGEL
No matter where you are, people will always be
interested in knowing YOUR ins and out's. You have
an attitude, your very manner is begging to be
asked.
SCARLET
What does my manner have to do with all of those
nosey parker's?
NIGEL
My dear, you have only the slightest idea of the
image you leave upon a man. You demand to be the
centre of attention. Because of the way you look,
yes, the way you dress, perhaps. More importantly
and you are yet to realise, but the manner in
which you carry yourself.
Scarlet moves to sit astride Nigel, taking his glass she pours champagne.
SCARLET
And what makes you think I don't realise the
manner in which I carry myself?
NIGEL
Manner is something you will learn in time to
carry, up until now manner has carried you, along
with good breeding.
Scarlet moves in to kiss Nigel. In the distance opposite the couple a man with a
camera snaps a photo.
NIGEL (cont'd)
(noticing the photographer)
More please
Scarlet places the champagne glass against his lips and tips it into his mouth. Nigel
looking beyond Scarlet is disturbed.
NIGEL (cont'd)
I feel rather suspicious of that man. He is a
peeping Tom.
SCARLET
Why? Nobody knows where we are. What we are doing.
What is a peeping Tom?
The man with the camera walks away from the park.
NIGEL
Perhaps. This is very high risk you know.
SCARLET
Your marriage. Why be married? Why be married and
be here with me?
NIGEL
There are many merits of marriage, I fear I may
have forsaken.
A slight indiscretion in the wrong place, a few
photographs in a brown envelope and that my dear
would be the end. All it would take is a dirty
little peeping Tom.
SCARLET
Or a nosey parker.
CUT TO:
INT. NIGELS HOME
Nigel enters his house. Rather grand it is the well decorated home of a middle class
family. He takes off his coat and hangs it up. He walks through the house to the
kitchen.
INT. KITCHEN
Nigel finds a note placed upon a microwave meal. He picks the note and reads:
Dinner cold. Thought you would be back early for once.
CUT TO:
INT. BEDROOM - NIGHT
Nigel enters his dark bedroom where his wife is already asleep in bed. Nigel wanders
over to the curtain and looks out of the window, as he does we hear a car start and
drive off. He moves back from the window.
CUT TO:
INT. CORRIDOR OF OFFICES
Diane and a young man exit from an office. The door shuts behind them. On the door is
written:
HARRISON DETECTIVE AGENCY
CUT TO:
EXT. RESTAURANT - NIGHT
Mature and attractive, Diane converses with the young man. He offers his arm, and she
accepts, they walk.
CUT TO:
INT. HOTEL BAR
Diane and the young man sit at the quiet hotel bar
DIANE
I tell myself that there is always another way...
YOUNG MAN
The thoughts always lead to the same place...
FADE IN:
INT. HALLWAY - MORNING
The post box in the front door opens and some mail is shoved through and drops to the
floor. Nigel in his dressing gown walks down the stairs and collects the mail.
DIANE
(from the kitchen)
Is that the mail?
Nigel heads towards the kitchen wary of a confrontation.
INT. KITCHEN - MORNING
Diane is fully dressed and very smart. An executive, she is a power player yet
feminine and attractive in her forties.
DIANE
There might be something for me.
Nigel deals through the mail in his hands. He stops at a hand delivered brown envelope
marked only with Diane's name on it. The package reads:
PHOTOGRAPHS - DO NOT BEND
Nigel looks up and to his surprise sees that Diane has also stopped and is looking
directly at the package.
DIANE (cont'd)
That's it. Is it?
She acts cool.
DIANE (cont'd)
Just leave it on the counter will you darling?
Nigel places it on the breakfast bar in the Kitchen.
NIGEL
I missed dinner again last night.
(beat)
I am sorry
DIANE
Thank you for that.
NIGEL
Things are difficult...
DIANE
Listen I would like to meet for lunch. Today, can
you make it?
NIGEL
I did have something in but I can scrap it.
DIANE
I must run or I will be late
As she walks past Nigel she picks up the brown envelope
DIANE (cont'd)
I will contact you about lunch.
She leaves the house. Nigel slumps to the stool head sunk in hands.
CUT TO:
INT. OFFICE - DAYTIME
Nigel sits in his office behind his desk. His mind is not with his work. He picks up
his phone.
NIGEL
Scarlet, could you pop in here please?
With a sly smirk, carrying a notebook and pencil Scarlet glides through the door into
the office closing the door behind.
SCARLET
What'll it be Mr?
NIGEL
I have bad news.
SCARLET
Oh.
NIGEL
I am going to have to cancel our lunch.
SCARLET
Your wife. Does she know something?
NIGEL
I, don't know.. Its not that. Listen Scarlet...
SCARLET
Listen Scarlet?
NIGEL
This situation is...
SCARLET
You have to end us?
NIGEL
This isnt what I want to do, but it is what I must
do.
SCARLET
You want to end us?
NIGEL
For that I can only say that I am sorry.
SCARLET
Then why did you start?
NIGEL
I did not intend this. I was going out of my mind
before I met you. I also came from a sleepy
village to London... I think I needed this kind of
pace in my life.
He looks her up and down.
NIGEL (cont'd)
Your kind of pace in my life.
SCARLET
And now?
NIGEL
And now the pace is set, I am trying to keep up.
There is a knock at the door.
NIGEL (cont'd)
(to the door)
Hold on
(to Scarlet)
Scarlet...
SCARLET
I will be okay. I have my own problems. I hope
everything is fine for you.
As Scarlet leaves the room a secretary enters with a brown envelope and places it on
Nigels desk.
SECRETARY
Mail for you.
She leaves. Nigel looks in shock at the same brown envelope he saw this morning, now
with his name written on it and his wifes crossed out. It is hand delivered. He shuts
the office door and approaches the envelope. He opens it and slides out a series of
photographs. He picks up the phone.
NIGEL
Please cancel my schedule for this afternoon. I
will be leaving my office for the rest of the day
now.
CUT TO:
EXT. BUSY LONDON HIGH STREET
Nigel leaves the building flinging his jacket around his shoulders, at pace he walks
down the street holding the photographs in front of him. As he reaches Shatesbury
Avenue he stops and looks high up to the sign on the wall. It reads:
SHAFTESBURY AVENUE
We see the first photograph is of that very sign. Nigel shuffles the photo to the back
and the second photo is of a no.38 bus.
CUT TO:
EXT. SHAFTESBURY AVENUE
A no.38 Bus approaches.
CUT TO:
INT. NO.38 BUS
Nigel stands in the bus and looks at the next photo which is of Hyde Park Corner.
CUT TO:
EXT. HYDE PARK CORNER
The bus stops and Nigel jumps off. He crosses the road and walks into the park.
CUT TO:
EXT. HYDE PARK
All around people are sunbathing, relaxing. The next picture is of a tree offering
shade. Nigel heads towards it.
In the distance standing under the tree along side a picnic blanket is Diane. Nigel
slows and approaches cautiously.
NIGEL
Hello
DIANE
(nervously)
Hello sweetheart.
They both stand rigid, afraid of each other.
NIGEL
I don't understand.
DIANE
My darling I wanted to surprise you. I have
neglected you recently.
She reaches tentatively her arm to his.
DIANE (cont'd)
I wanted to make up.
They sit down on the blanket.
DIANE (cont'd)
My darling I have to tell you something. I have a
confession to make. When I was out for a work meal
two weeks ago, it wasn't with work. I did in fact
have dinner with someone I rather should not have.
NIGEL
I see.
FADE TO:
INT. HOTEL BAR
Diane and the young man sit at the quiet hotel bar
DIANE
I tell myself that there is always another way...
YOUNG MAN
The thoughts always lead to the same place...
FADE TO:
EXT. RESTAURANT - NIGHT
Mature and attractive, Diane converses with the young man. He offers his arm, and she
accepts, they walk.
CUT TO:
FADE IN:
INT. VAGUE HOTEL CORRIDOR
Diane and a young man exit from a room. The door shuts behind them.
DIANE
We had a few drinks, but that is as far as it
went. Oh I felt so guilty. My thoughts betrayed me
and I feel so awful, can you forgive me my
darling? It was so silly, he was half my age and
coming from a rocky marriage himself. I was so
silly to let it into our marriage.
NIGEL
Well, please don't worry about it. No harm done.
You just had dinner for goodness sakes. You are my
wife. I love you.
DIANE
Oh dear, thank you for being so reasonable.
She dries her tears.
DIANE (cont'd)
Would you like some drink?
NIGEL
Please.
They sit and enjoy the picnic.
NIGEL (cont'd)
So what made you think of doing this?
DIANE
It was just the first thing I could think of. I
took the pictures yesterday and they arrived this
morning. I know this is your favourite spot in
London and...
NIGEL
I am flattered.
(beat)
Diane, this other man, it is all over now isn't
it?
DIANE
Oh yes, it was ridiculous of me to even think it,
he was half my age and having a terrible time
himself. He was suspicious of his wife having an
affair.
NIGEL
Really?
DIANE
Yes. I advised him in the end to hire a private
investigator
FADE TO:
INT. CORRIDOR OF OFFICES
Diane and a young man exit from an office. The door shuts behind them. On the door is
written:
HARRISON DETECTIVE AGENCY
FADE TO:
a peeping Tom would find out for him finally one
way or the other, photographic evidence. And then
he can get on with his life.
CLOSE UP ON NIGELS FACE
The realisation dawns upon Nigel.
THE END.
The Johnson Cologne
The Johnson Cologne
The Johnson Cologne
The Johnson Cologne
A short series of commercial comedic scripts for a prospective cologne.
Johnson 1/3 SCIENTISTS
INT. Lab
One scientist approaches another
HUMPERDINK
Charles. I need to speak to you
right now.
CHARLES
Did you see the results?
HUMPERDINK
Yes. My God, yes. Do you
understand, it could mean
our lives. This goes all
the way to Johnson.
CHARLES
Look, it'll never get past
quarantine, and even if it
did the four-seven-zero report
will never give it the light of
day. It can't. Engineering
would never approve.
HUMPERDINK
It doesn't matter.
CHARLES
It matters. Without approval
it can never get an exit visa
and then...
HUMPERDINK
Engineering are in on it.Pause for a beat.
CHARLES
What will you do?
HUMPERDINK
I must call my wife. Get your
family out as far away...
what is that cologne your
wearing?
Johnson 2/3 LOVERS
EXT. A CITY PARK
A MAN AND A WOMAN MEET
GORDON
Thank you for meeting me.
LUCY
I had no choice really, but its OK.
GORDON
You know for what it's worth...
LUCY
...Well? You can't even say you're
sorry. Now and after everything
that has happened.
GORDON
The thing is.
LUCY
What? What is the thing? Did I
imagine everything? Was it all a
dream?
GORDON
Lucy stop it. There is more to
this whole thing than you know.
(Lucys manner changes)
LUCY
What? What is it? Have you kept
something from me? This is just
typical. You can't keep anything
from me Gordon. Johnson will find
out and that will be bad for us both.
GORDON
That never has to happen, don't even
think about that.He grabs her and they embrace.
GORDON
(CONTINUED)
I would never let anything like that
happen.
LUCY
What is that cologne you are wearing?
Johnson 3/3 FRIENDS
EXT. HIGH STREET
A smart, casually dressed woman bumps into an old friend.
JANET
Helen, Helen Johnson is that you?
HELEN
Oh, my, Janet hello, how are you?
JANET
I'm wonderful, it's so good to see
you. How are you? How is Bradley?
How was the honeymoon? oh my goodness
we have so much to talk about.
HELEN
Oh it was wonderful, so romantic, I
could have stayed forever. I heard
about you're good news as well,
congratulations.
JANET
Oh thank you, you know I really
think things are starting to look
up. After last year and everything
that... well I didn't know what
might happen.
HELEN
Oh I know.. Its so good to see you.
I've even got a little tear in my eye.
JANET
Oh Helen you are such a little
peach. Listen what are you doing right
now, we have to have a natter, lets go
and get a coffee...Janet stops in her tracks. Her face slowly becomes disgusted.
HELEN
What is the matter?
JANET
What cologne are you wearing?