I didn't have enough time to be a Movie Detective and find Diane Keaton and Alan Alda in that scene in Manhattan Murder Mystery. (I "never" have any time!!!! I'm never home, I'm always at work!! I'm always at work and the work is never done!!!!!!!!!!!!!!!!!!!!!!
All of the above!!!!!!!!!!!!!!!!!!!
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[In this script, whenever it says the person's name and then "(voice over)" it means we can hear the person speaking and we know they are in the scene, but we don't see them; they are outside of the CAMERA shot.]
[In some movies "Voice Over" means an omnipotent voice from an unseen speaker who just tells the audience something about the story -- sets the scene...]
As far back as I can remember, I always wanted to be a gangster. To me, being a gangster was better than being president of the United States....I knew I wanted to be part of them. It was there that I knew I belonged....
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"It has such a lonely feeling."
PAUL
That's because I'm the only one here. And my assistant, Mrs. Dalton. I'm gonna have this place fixed up, then I'm gonna sell it. The money's gonna come in handy.
HELEN
It sure will.
Paul looks around, a bit worried.
PAUL
What's that noise?
HELEN
Where?
The CAMERA PANS to the other side of the room, where a middle-aged woman with curly auburn hair has just entered. She is Gladys Dalton, Paul's assistant. She is walking with the help of a cane.
PAUL
(voice over)
Oh, Mrs. Dalton. I didn't know you were here so early.
GLADYS
Oh, uh, I-I didn't know whether an-anyone was here. I-I'm sorry. I-I-I heard the noise and I thought...
PAUL
It's quite all right.
GLADYS
But, but, uh...
PAUL
It's quite all right.
GLADYS
I apologize.
PAUL
Quite all right.
GLADYS
All right.
Mrs. Dalton starts going out of the room and the CAMERA TILTS up on the stairway, on which Ted and Carol are still hiding.
HELEN
I'd love to really get an acting job. I've had it with this modeling.
PAUL
Maybe you won't have to work at all.
Ted and Carol are moving away from the stairway, which remains empty.
INT. The Liptons' Apartment - Night
CLOSE SHOT of the clock on the wall: the time is just after one o'clock. The room is completely dark and the clock is the only source of light. The CAMERA PANS to the bed and on Carol, who is asleep.
We hear a noise, like an object dropping down.
Carol instantly wakes up. She gets up and the CAMERA PANS to Larry, still asleep.
He wakes up, moves around in the bed, takes his glasses from the night-table and puts them on.
CAROL
(whispering in Voice Over)
Oh, my God.
Slowly, reluctantly, Larry gets out of the bed.
LARRY
What's the matter? (What's-a mattah?)
CAROL
Larry, come with me, okay?
Larry starts walking along the corridor.
LARRY
(in a sleepy groaning tone)
Oh -- geez -- I was...
CAROL
Come on.
LARRY
I was fast asleep. I was dreaming of round card girls.
Larry has reached the front hall. Carol is looking through the peephole of the front door.
CAROL
Okay. Uh, it looks like he's gone. Yeah. Yeah. He's gone.
LARRY
Oh, Christ. Not that again. Please -- you know...
CAROL
Listen, Larry. I want to take another look around his apartment. Yeah.
Carol walks back toward the bedroom. Larry follows her.
LARRY
What are you talking about? Where are you going?
CAROL
Listen.
LARRY
It's-It's one o'clock in the morn--
CAROL
He'll never be back, Larry.
LARRY
What? What?
CAROL
(in bedroom)
No, he's not coming back. Not for at least an hour, an hour and a half.
LARRY
What-what're you doing? You got his key?
CAROL
Yeah.
LARRY
You're kidding! What are you talking about? You can't do... Why... because you-you followed him to the movie house, you-you said there was nothing happening!
CAROL
No, wait a minute, look, he was with this young model type, and they were talking about money.
Carol is putting her shoes on.
LARRY
Well, so what? That's the...
CAROL
So, that's the motive.
LARRY
What... Hey, listen to me. Come here.
CAROL
What are you talking about?
Carol walks back through the corridor toward the front hall. Larry follows her.
LARRY
Come here. Wait a minute. Come here. Look, look.
CAROL
Come here. What do you mean, Larry?
LARRY
I've been thinking about you.
CAROL
(back in the front hall)
What do you mean?
LARRY
I think you gotta see... I gotta -- You gotta, you gotta go back to your shrink.
CAROL
What do you m--
LARRY
I want you to see Doctor Ballard again.
CAROL
Huh? Larry, I went for two years.
LARRY
I'm s... Yeah. I know. But you--
CAROL
Just come... come on.
LARRY
You know how General Motors will recall defective cars? Well, you gotta go in for a tune-up.
CAROL
Larry, we'll be in and out in five minutes.
LARRY
You got... No. No.
CAROL
Five. Only five.
LARRY
I... What... I'm telling you, I'm your husband! I command you to sleep!
He points to the bedroom.
-30-
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