Lost in Translation Script En

COMBINED CONTINUITY & SPOTTING LIST

LOST IN TRANSLATION

FEATURE

(Running Time: 101:31) PRODUCED BY: FOCUS FEATURES Aspect Ratio: EXHIBITION FOOTAGE: Represents Length Of Reel From First Frame Picture To Last Frame

Picture

EXHIBITION FOOTAGE # OF TITLES

REEL 1A/B: 1702.05 103 REEL 2A/B: 1853.00 192 REEL 3A/B: 1925.09 165 REEL 4A/B: 1937.14 132 REEL 5A/B: 1717.10 83

TOTALS: 9136.06 675 TOTAL EXHIBITION FOOTAGE: 9,136.06 (9,136 FEET AND 6 FRAMES) TOTAL NUMBER OF TITLES: 675 NOTE: Subtitles In Italics Indicates Voice Over, Narration, Or Song Lyrics. -/ Next To Title # Indicates Subtitle Continues Over Two Or More Shots.

Date: 06/16/2003 This Script Prepared By: CASABLANCA CONTINUITY 11934 Tabor Street Los Angeles CA 90066 Tel. (310) 397-7741 Fax (310) 391-3041 Email [email protected]

LOST IN TRANSLATION – COMBINED CONTINUITY & SPOTTING LIST – REEL 1A/B PAGE 1

COMBINED CONTINUITY SPOTTING LIST TITLES & FOOTAGES & DIALOGUE

SC#: FOOTAGE/ TITLE#: TITLE: START: FINISH: TOTAL: SHOT DESCRIPTION/ DIALOGUE: START MEASURING 00.00 AT PICTURE START MARK IN ACADEMY LEADER. LABORATORY: 1ST SCENE START: 39.00 2ND SCENE START: 114.11 3RD SCENE START: 136.08 4TH SCENE START: 144.07

13.00 FADE IN: FOCUS FEATURES LOG0 FADES UP/OFF SCREEN, READS:

FOCUS FEATURES

1 39.00 INT. CHARLOTTE’S HOTEL ROOM. DAY MS REAR ANGLE CHARLOTTE’S LOWER BACK, BUTT AND LEGS AS SHE LAYS ON HER SIDE ON BED HORIZONTAL IN FRAME R TO L. MT # FADES UP/OFF, READS:

FOCUS FEATURES presents CHARLOTTE STRETCHES HER LEGS SLIGHTLY. MT # FADES UP/OFF, READS:

in association with TOHOKUSHINSHA

MT # FADES UP/OFF, READS:

an AMERICAN ZOETROPE/ ELEMENTAL FILMS production

MT # FADES UP, READS:

LOST IN TRANSLATION FADE TO BLACK. MT # FADES OFF.

1-1 NARRATIVE TITLE: TITLE OF FILM- LOST IN TRANSLATION. (Lost means both the meaning of a word or phrase is improperly understood when translated, and lost as in a person who’s lost their way)

90.00 97.00 7.00


SAME SHOT CONT. AIRPORT GREETING (VO FILTERED THRU LOUDSPEAKER)- (SPEAKS JAPANESE) Welcome

to new Tokyo International

Airport. (SPEAKS

JAPANESE).

1-2 ITAL

AUTOMATED VOICE (TO AIRPORT TRAVELERS)- Welcome to New Tokyo International Airport.

107.06 113.00 5.10

2 114.11 INT/EXT. LIMOUSINE/TOKYO. NIGHT CU LOW SIDE ANGLE BOB IN BACK SEAT OF LIMO, LIGHTS OF CITY PASSING R TO L IN BG. BOB GLANCES OUT WINDOW TO BG.

3 136.08 MS ABOVE WAIST FROM OUTSIDE REAR PASSENGER WINDOW ON BOB, TRACK BACK ALONG WITH CAR.

4 144.07 MLS OUT FRONT WINDSHIELD MOVING BG TOWARD TOKYO BUILDINGS.

5 153.11 MS ABOVE WAIST TRACKING BG WITH LIMO ON BOB IN BACK SEAT STARING FG OUT WINDOW.

6 158.08 MLS LOW ANGLE BOB’S POV TRACKING BG ALONG BUILDINGS BATHED IN NEON.

7 167.03 MCU SIDE ANGLE BOB IN LIMO LOOKING BG AT CITY PASSING ALONG WINDOW R TO L.

8 171.11 CU LOW SIDE ANGLE BOB LOOKING BG OUT WINDOW AS CITY PASSES BG R TO L.


9 179.03 MLS BOB’S POV CITY STREETS, BUILDING PASSING BY WINDOW R TO L. THEN PAN L ONTO PEDESTRIANS ON CROSSWALK.

10 185.10 MCU BOB LOOKING RFG OUT WINDOW AS CITY IN BG PASSES RFG TO BG.

11 190.00 MLS LOW ANGLE BOB’S POV OUT WINDOW ON BUILDINGS MOVING PAST FRAME R TO L, PICK UP LARGE BILLBOARD PHOTO AD OF BOB.

12 195.13 MLS CLOSER LOW ANGLE UP ON LARGE BILLBOARD AD OF BOB HOLDING DRINK AND TRACK PAST POSTER L TO R.

13 202.02 MCU BOB IN LIMO RUBS HIS EYES, LOOKS OUT WINDOW R. HE GLANCES UP.

14 209.15 MLS ELABORATE NEON SIGN, RED RECTANGLE OVER A BLUE FLASHING CIRCLE.

15 221.00 EXT. TOKYO HYATT HOTEL. NIGHT MLS BOB’S LIMO PULL UP TO ENTRANCE FROM BG. TWO ATTENDANTS MOVE TO LIMO FROM L AND R.

16 234.15 INT. GARAGE LEVEL ENTRANCE. TOKYO HYATT HOTEL. NIGHT MS ABOVE WAIST SIDE ANGLE MS. KAWASAKI EXTENDS HAND R. MS. KAWASAKI- Welcome to Tokyo.

1-3 -/ MS. KAWASAKI (TO BOB)- Welcome to Tokyo. My name is Kawasaki.

235.00 240.02 5.02


17 236.04 MS PAST MS. KAWASAKI REAR ANGLE LFG ONTO BOB BG AS HE STEPS FG, ANOTHER PERSON ENTERS REAR ANGLE IN RFG. BOB- Thank you very much.

MS. KAWASAKI (0S OVERLAPPING)- My name is Kawasaki.

1-4 MS. KAWASAKI (TO BOB)- – Nice to meet you. BOB (TO MS. KAWASAKI)- – Thank you.

240.07 242.01 1.10 18 240.05 MS BOB REAR SIDE ANGLE STANDS OPPOSITE MS. KAWASAKI AND OTHER REPRESENTATIVES FROM SUNTORY COMPANY. BOB (OS)- Thank you, I’ve heard of you.

MS. KAWASAKI (OVERLAPPING)- Nice to meet you.

BOB (OS)- Thank you.

MAN WITH BAG (OVERLAPPING)- This for you.

1-5 -/ MAN WITH BAG (TO BOB)- – This is for you. (This: and small gift bag) BOB (TO MAN WITH BAG)- – Thank you.

242.06 244.10 2.04

19 243.02 ECU SIDE ANGLE PAIR OF HANDS PASSES SMALL SHOPPING BAG R TO BOB’S HANDS. BOB (OS)- Thank you.

MS. KAWASAKI (OS OVERLAPPING)- And this is Mr.…


20 245.02 MS ABOVE WAIST OTS ON BOB. MS. KAWASAKI (OS CONT)- Mori from Suntory.

BOB- Hi.

MS. KAWASAKI (OS)- And Mrs.…

1-6 -/ MS. KAWASAKI (TO BOB)- This is Mr. Mori from Suntory, and Mrs. Chibata. (Suntory: a Japanese maker of whiskey)

245.07 249.14 4.07

21 248.02 MS ABOVE WAIST SIDE ANGLE PAST MAN FROM SUNTORY L ONTO MS. KAWASAKI WHO GESTURES BG TO MRS. CHIBATA FRONT ANGLE. MS. KAWASAKI (CONT)- Chibata.

BOB (OS)- Hey,…

1-7 -/ BOB (TO CHIBATA)- I need that. (that: a boxed gift bottle of Suntory)

250.06 251.08 1.02

22 249.15 ECU SIDE ANGLE BOB’S HANDS TAKE GIFT BOX AND MESSAGE FROM MS. KAWASAKI’S HANDS. BOB (OS CONT)- I need that.

MS. KAWASAKI (OS)- And this is Mr.…

23 252.02 MCU MR. AWINAMI AND ANOTHER MAN RBG. MS. KAWASAKI (OS CONT)- Awinami.

AWINAMI- Nice to meet you.


24 255.03 ECU HANDS ON L PASS CARD TO BOB’S HANDS RFG. BOB (OS)- Hi. Thank you.

MS. KAWASAKI (OS)- And this is…

1-8 BOB (TO ALL)- Thank you. Thank you.

258.07 261.06 2.15 25 257.06 MS BOB REAR ANGLE FG BOWS TO MS. KAWASAKI, OTHERS FG BG AS EACH ONE PASSES A CARD TO BOB. MS. KAWASAKI (CONT)- Taka.

BOB (OS OVERLAPPING)- Thank you. Thank you.

MS. KAWASAKI (OVERLAPPING)- And you need me to pick you up in

the morning?

1-9 MS. KAWASAKI (TO BOB)- You need me to pick you up in the morning? (pick you up: with a car)

261.14 264.07 2.09

1-10 BOB (TO MS. KAWASAKI)- – Okay. MS. KAWASAKI (TO BOB)- – Okay, see you tomorrow.

264.12 268.00 3.04 26 264.12 MS ABOVE WAIST OTS ON BOB. BOB- Okay.

MS. KAWASAKI (OS OVERLAPPING)- Okay. See you tomorrow. Okay?

BOB (OVERLAPPING)- Great. Short and sweet. Very

Japanese. I like that.

1-11 -/ BOB (TO ALL)- Great. Short and sweet. Very Japanese. I like that. (Short and sweet: the greeting was kept brief and pleasant)

268.06 272.07 4.01


27 272.02 CU SIDE ANGLE MS. KAWASAKI. BOB (OS CONT)- Okay.

MS. KAWASAKI (OVERLAPPING)- My pleasure.

BOB (OS OVERLAPPING)- Yeah.

1-12 MS. KAWASAKI (TO BOB)- My pleasure.

272.12 274.03 1.07

28 274.15 MS ABOVE WAIST OTS ON BOB EXITS R. BOB (CONT)- Get some sleep, will ya? We’re all,

you’re all really tired, I’m sure.

MS. KAWASAKI (OS OVERLAPPING)- Okay. (LAUGHS)

1-13 BOB (TO ALL)- Get some sleep. You’re all really tired, I’m sure.

274.10 279.12 5.02

1-14 MS. KAWASAKI (TO BOB)- Good night.

281.04 282.06 1.02 29 281.03 MS AS BOB STARTS FG FROM MS. KAWASAKI AND OTHERS, TAKES MANILA ENVELOPE FROM FEMALE HOTEL EMPLOYEE L, STOPS AND REMOVES SHEET OF PAPER FROM ENVELOPE. MS. KAWASAKI (CONT)- Good night.

BOB- Thank you. Thank you. Thank

you. What’s this? Something

good?

1-15 BOB (TO MS. KAWASAKI & ALL, THEN HOTEL PERSON)- Thank you. Thank you. What’s this? Something good? (this: m anila envelope)

282.11 289.00 6.05

30 292.03 CU DOWN ON SHEET OF PAPER – FAXED NOTE. IT READS: “YOU FORGOT ADAM’S BIRTHDAY. I’M SURE HE’LL UNDERSTAND. HAVE A GOOD TRIP. L”

1-16 NARRATIVE TITLE: NOTE ON PAPER You forgot Adam’s birthday. I’m sure he’ll understand. Have a good trip. L

292.05 299.05 7.00


31 299.12 MS BOB WALKS TO RFG AWAY FROM MS. KAWASAKI AND ENTOURAGE. SHORT AIDE ON L ACCOMPANIES BOB. BOB- Thank you.

32 304.10 INT. HOTEL ELEVATOR. NIGHT MS ABOVE WAIST BOB STANDING IN CENTER SURROUNDED BY HALF DOZEN MEN A GOOD FOOT SHORTER. BOB LOOKS UP.

33 317.02 INT. LOBBY, TOKYO HYATT HOTEL. NIGHT MS BOB ENTERS L AND IS USHERED FG BY MALE HOTEL EMPLOYEE AND TRACK BACK WITH THEM WALKING FG. CONCIERGE- Mr. Harris, welcome to Park Hyatt

Tokyo. This way please.

BOB (OVERLAPPING)- Thank you.

BOB SHAKES HANDS WITH ANOTHER MALE EMPLOYEE HE PASSES ON L. MALE STAFF (OS)- Mr. Harris, MALE STAFF (CONT)- please to welcome.

BOB- Thank you.

MALE STAFF- Have a nice evening.

BOB- Thank you.

1-17 CONCIERGE (TO BOB)- Mr. Harris, welcome to Park Hyatt Tokyo. This way, please.

317.08 322.08 5.00


SAME SHOT CONT. PAN L AS BOB AND FIRST EMPLOYEE CROSS FRAME FG R TO L, CONTINUE TO BG. BOB PAUSES A MOMENT, SHAKES HANDS WITH FEMALE EMPLOYEE SIDE ANGLE ON L FEMALE STAFF (OS)- Mr. Harris, welcome to Park Hyatt

Tokyo. Enjoy your stay with us.

BOB (OS OVERLAPPING)- Thank you very much. Thank you

very much.

BOB MOVES BG, BOWS TO MAN ON R, THEN CONTINUES TO BG AS GUESTS PASS MOVING BG TO FG. HOTEL VALET WHEELS SUITCASE BG FOLLOWING BOB.

34 353.11 INT. BOB’S HOTEL ROOM. NIGHT. MS BOB SITTING ON THE SIDE OF HIS BED IN ROBE AND SLIPPERS LOOKING L, SITTING SKYLINE IN BG. HE LOOKS FG.

35 366.04 MS TV SET WITH FLOWERS ON SCREEN – AFTER HOURS PROGRAMMING.

36 373.12 INT. HOTEL LOUNGE. NIGHT MLS DOWN LOUNGE WITH BAND AND SINGER BG, COCKTAIL TABLES LFG TO BG AND BAR STRETCHING FG TO RBG.

37 386.11 MS JAZZ SINGER AND GUITARIST. JAZZ SINGER- (SINGING) I’m in your arms.

1-18 ITAL

JAZZ SINGER (TO LOUNGE)- I’m in your arms.

393.14 400.14 7.00


38 401.09 MS ABOVE WAIST SIDE ANGLE MAN WITH CIGAR SEATED AT TABLE LOOKING R. JAZZ SINGER (OS CONT)- (SINGING) And you are kissing

me.

1-19 -/ ITAL

JAZZ SINGER (TO LOUNGE)- And you are kissing me.

402.08 408.12 6.04

39 406.12 MCU SIDE ANGLE ANOTHER MAN, ASIAN GUEST, WITH CIGARETTE LOOKING L AS HAND FG POURS BEER INTO GLASS. JAZZ SINGER (OS CONT)- (SINGING) But there seems to

be… (FADES OFF)

1-20 -/ ITAL

JAZZ SINGER (TO LOUNGE)- But there seems to be...

410.02 416.01 5.15

40 413.12 CU OTS MAN HOLDING BRANDY SNIFTER AND CIGARETTE.

1-21 BUSINESSMAN #2 (TO BUSINESSMAN #1)- You know who that is?

428.00 429.08 1.08

1-22 BUSINESSMAN #1 (TO BUSINESSMAN #2)- It looks like him but it’s not him.

430.09 433.09 3.00

41 418.13 MS ABOVE WAIST SIDE ANGLE BOB AT BAR SIPS FROM DRINK, HOLDS CIGAR. HE RUBS BRIDGE OF NOSE, FOLDS ARMS AND LOOKS DOWN, SMOKES. BUSINESSMAN #1 (OS)- You see that guy?

BUSINESSMAN #2 (OS)- Yeah.

BUSINESSMAN #2 (OS)- You know who that is?

BUSINESSMAN #2 (OS)- It’ looks like him but it’s not him.

BUSINESSMAN #1 (OS)- Can you believe it? He’s here with

us. I’m gonna talk to him.

BUSINESSMAN #2 (OS OVERLAPPING)- Shut up. Shut up.

1-23 BUSINESSMAN #1 (TO BUSINESSMAN #2)- Can you believe it? He’s here with us.

435.00 442.00 7.00


1-24 BUSINESSMAN #1 (TO BOB)- – Bob Harris? You’re awesome. (awesome: colloquial for fantastic) BUSINESSMAN #2 (TO BOB)- – “Sunset Odds” –- Loved it. (“Sunset Odds”: fictional movie Bob HarrIs starred in)

443.11 451.06 7.11 SAME SHOT CONT.

BUSINESSMAN #1 (OS)- Bob? Bob Harris? You’re

awesome, man.

BUSINESSMAN #2- “Sunset Odds” – loved it.

BUSINESSMAN #1- Man, that car chase. I couldn’t

believe it.

HE LOOKS UP AND R AND PAN R AND PICK UP TWO AMERICAN BUSINESSMAN ACROSS BAR SEATED SIDE ANGLE OPPOSITE.

1-25 BUSINESSMAN #1 (TO BOB)- That car chase. I couldn’t believe it.

451.11 455.05 3.10

1-26 BUSINESSMAN #1 (TO BOB)- Four buses - He took that thing and everything exploded.

455.10 460.00 4.06

1-27 BUSINESSMAN #2 (TO BOB)- Did you do your own driving?

461.05 465.00 3.11

1-28 BOB (TO BUSINESSMEN)- I did.

466.09 467.11 1.02

1-29 BUSINESSMAN #1 (TO BOB)- What are you doing here?

468.06 470.03 1.13

42 455.10 MS ABOVE WAIST SIDE ANGLE BOB. HE NODS. BUSINESSMAN #1 (OS CONT)- Four buses and he took that thing

and everything exploded like that.

BUSINESSMAN #2 (OS)- Incredible.

BUSINESSMAN #1 (OS OVERLAPPING)- I heard that he did his own driving.

BUSINESSMAN #2 (OS)- I don’t know. Did you do your own

driving?

BOB- I did.

BUSINESSMAN #1 (OS)- So, what’re you doing here?

BOB- Um, s eeing friends. Seeing

friends.

1-30 BOB (TO BUSINESSMEN)- Seeing friends.

474.14 477.14 3.00


SAME SHOT CONT.

BUSINESSMAN #1 (OS)- Great.

BUSINESSMAN #2 (OS)- We’re here on business. Later.

BUSINESSMAN #1 (OS)- See ya, Bob.

BOB (OS OVERLAPPING)- Keep it up.

BOB PUTS CIGAR IN MOUTH, TAKES DRINK AND RISES, EXITS LFG.

1-31 BUSINESSMAN #2 (TO BOB)- We’re here on business.

481.02 483.02 2.00

43 488.10 INT. BOB’S HOTEL ROOM. NIGHT MS DOWN ON BOB STRETCHED ON HIS BACK ON BED AWAKE, FEET LFG, HEAD IN RBG. HE GLANCES LBG.

44 496.04 MCU DIGITAL ALARM CLOCK WHICH READS: 4:20.

45 501.05 MLS SIDE ANGLE BOB ON BACK STRETCHED OUT IN BED FROM L TO R, ARMS OUT. HE LIFTS HEAD.

46 515.08 MCU FAX MACHINE AS PAPER MOVES FROM SLOT TO FG.

47 520.07 MS SIDE ANGLE BOB ON BACK IN BED HEAD LIFTED LOOKING LBG.

48 523.08 MS DIGITAL CLOCK.


49 526.00 MS SIDE ANGLE BOB ON BACK IN BED LOOKING LBG, THEN LFG.

50 529.13 MCU FAX MACHINE SPITTING OUT FAX.

51 537.09 ECU DOWN ON FAX SHEET WITH HANDWRITTEN NOTE. MOMENTS LATER A SECOND FAX WITH DRAWING OF BOOKCASE COMES OUT, FALLS ON TOP OF FIRST FAX.

52 554.05 CU SIDE ANGLE BOB IN BED FACING TOP OF FRAME.

53 560.11 INT. CHARLOTTE’S HOTEL ROOM. NIGHT LS OUT WINDOW ONTO CITY LIGHTS BG PAST CHARLOTTE OUT OF FOCUS IN FG SITTING SIDE ANGLE ON WINDOW SILL, THEN SHIFT FOCUS FG TO MS CHARLOTTE. SHE TURNS HEAD, LOOKS LFG.

1-32 CHARLOTTE (TO JOHN)- Are you awake?

581.00 582.14 1.14 54 575.15 INT. CHARLOTTE’S ROOM. NIGHT MS JOHN FG, CHARLOTTE BEHIND HIM BG BOTH LYING ON THEIR SIDE IN BED IN FRAME HORIZONTAL R TO L FACING FG. JOHN ROLLS ONTO HIS BACK AND CHARLOTTE SNUGGLES UP AGAINST HIM. HE PUTS HIS ARM AROUND HER. CHARLOTTE- You awake? John.

JOHN (OS WHISPERS)- Go to sleep.

1-33 CHARLOTTE (TO JOHN)- John?

590.04 591.09 1.05


55 615.04 MCU JOHN AND CHARLOTTE, FACES TURNED FG, THEN PAN UP, R AS CHARLOTTE SITS UP. MCU SIDE ANGLE CHARLOTTE FACING R.

56 635.12 INT. BOB’S ROOM. DAY MLS BOB IN BED FG AS BLINDS BG OPEN AUTOMATICALLY FLOODING THE ROOM WITH LIGHT.

57 644.01 MS SIDE ANGLE BOB SITS UP IN BED SUDDENLY, LOOKS BG, TURNS FG LOOKS L.

58 658.11 INT. BOB’S HOTEL BATHROOM. DAY MCU SIDE ANGLE BOB IN SHOWER STALL. BOB- Ah.

HE LIFTS SHOWER HEAR UP INTO FRAME, TIGHTENS IT, BENDS A LITTLE TO GET UNDER WATER. HE ROTATES L AND BACK TAKING SHOWER.

59 694.07 INT. CHARLOTTE’S HOTEL ROOM. DAY LS OUT WINDOW TOKYO SKYLINE, TALL SKYSCRAPER CENTER AND PAN R. JOHN (OS)- Mushi mushi. Uh, yeah,…

1-34 -/ JOHN (TO PRODUCER, THEN CHARLOTTE)- Yeah, I’m coming now. Okay.

700.08 705.00 4.08


60 701.02 CU CHARLOTTE HEAD AGAINST PILLOW IN FRAME FROM L FACE TURNED FG. SHE ROLLS OVER BG. JOHN (OS CONT)- I’m coming now. Okay. I gotta go

to work.

CHARLOTTE (OS)- Okay.

1-35 JOHN (TO CHARLOTTE)- I gotta go to work.

707.03 709.05 2.02

61 712.02 MS SIDE ANGLE PAN R WITH JOHN WALKING QUICKLY R, EXITS THRU DOOR. JOHN- I love you. I’ll, I’ll see you later.

CHARLOTTE (OS)- Okay. Bye.

1-36 JOHN (TO CHARLOTTE)- – I love you. I’ll see you later. CHARLOTTE (TO JOHN)- – Bye.

712.02 715.14 3.12

62 716.11 MCU SIDE ANGLE CHARLOTTE SITTING UP IN BED LOOKS FG.

63 727.01 INT. CHARLOTTE’S ROOM. DAY MS SIDE ANGLE CHARLOTTE SITTING ON WINDOW SILL LOOKING OUT WINDOW TO BG.

64 732.00 INT. HOTEL ELEVATOR. DAY MS SIDE ANGLE BOB LFG IN FULL ELEVATOR, CHARLOTTE RBG. BOB TURNS FG YAWNS. HE LOOKS BG AT CHARLOTTE WHO LOOKS AT HIM, SMILES, LOOKS BACK R. SHE EXITS RFG.

65 775.06 INT. COMMERCIAL STUDIO. DAY MS PAN R ACROSS SHOOTING CREW, CAMERA, SOME SITTING OTHER STANDING, AND PICK UP BOB IN TUXEDO IN PLUSH ARMCHAIR ON SET.


66 798.03 MS DIRECTOR AND SUNTORY REP AMONGST EQUIPMENT AND CREW. DIRECTOR WALKS FG, ZOOM BACK. MS ABOVE WAIST AS DIRECTOR PACES FG AND BG, GESTURING TO R AS PEOPLE BG WATCH. DIRECTOR- Mr. Bob-san. (SPEAKS

JAPANESE)

67 826.06 MS BOB IN CHAIR AS DIRECTOR HALF OFF FRAME PACES ACROSS FRAME FG TO L AND R. SLOW ZOOM IN. DIRECTOR (OS CONT)- (SPEAKS JAPANESE)

68 837.13 MS ABOVE WAIST DIRECTOR LOOKING R GIVES INSTRUCTIONS, TURNS PROFILE TO R. DIRECTOR (CONT)- (SPEAKS JAPANESE)

69 844.15 MS BOB IN CHAIR ON SET LOOKING UPPER LFG. DIRECTOR (OS CONT)- (SPEAKS JAPANESE)

70 850.05 MS ABOVE WAIST DIRECTOR LEANS R, GESTURES GIVING DIRECTIONS. DIRECTOR (CONT)- Suntory time.


71 852.09 MCU PAN DOWN R TO BOB SIDE ANGLE IN CHAIR FACING L AS MS. KAWASAKI LEANS FG BESIDE HIM TRANSLATING. SHE LOOKS L, GESTURING. MS. KAWASAKI- Um, he want you to turn, look in

camera.

1-37 -/ MS. KAWASAKI (TO BOB)- He wants you to turn, look in camera. Okay? (He: the commercial’s director)

853.02 859.07 6.05

1-38 BOB (TO MS. KAWASAKI)- That’s all he said? (all: everything)

862.03 863.14 1.11

1-39 MS. KAWASAKI (TO BOB)- Yes. Turn to camera.

864.03 867.11 3.08

1-40 BOB (TO MS. KAWASAKI)- Does he want me to turn from the right…

872.06 878.06 6.00

72 856.04 MCU PAST MS. KAWASAKI SIDE ANGLE ON L ONTO BOB. MS. KAWASAKI RISES OUT OF FRAME AS BOB TURNS IN CHAIR LOOKING L. MS. KAWASAKI (CONT)- Okay?

BOB- That’s all he said?

MS. KAWASAKI- Yes. Turn to camera.

BOB- Alright, does he want me to, to

turn from the right, or... turn from

the left?

1-41 -/ BOB (TO MS. KAWASAKI)- or turn from the left?

879.14 881.10 1.12

73 881.01 MS ABOVE WAIST MS. KAWASAKI AND PAN L AS SHE WALKS L, STOPS SIDE ANGLE FACING L. MS. KAWASAKI- (SPEAKS JAPANESE)

74 887.02 MS ABOVE WAIST DIRECTOR RUBS LIPS THINKING. MS. KAWASAKI (OS CONT)- (SPEAKS JAPANESE)


75 890.11 MS BOB IN CHAIR. MS. KAWASAKI (OS CONT)- (SPEAKS JAPANESE)

76 895.06 MS ABOVE WAIST PAST DIRECTOR SIDE ANGLE LFG ONTO MS. KAWASAKI. MS. KAWASAKI (CONT)- (SPEAKS JAPANESE)

77 901.03 MS ABOVE WAIST DIRECTOR. HE WALKS FG, TOUCHES WATCH. DIRECTOR- (SPEAKS JAPANESE)

78 908.14 MS ABOVE WAIST BOB AS DIRECTOR REAR ANGLE FG CROSSES FRAME R TO L. DIRECTOR (OS CONT)- (SPEAKS JAPANESE)

79 917.15 MS ABOVE WAIST SIDE ANGLE DIRECTOR BENDS POINTING R, GESTURING. DIRECTOR (CONT)- (SPEAKS JAPANESE)

MS. KAWASAKI (OS OVERLAPPING)- Right side…

1-42 -/ MS. KAWASAKI (TO BOB)- Right side, and with intensity.

920.08 926.06 5.14

80 922.10 MS ABOVE WAIST MS. KAWASAKI BENDS FG TRANSLATING FOR BOB SEATED SIDE ANGLE ON R. MS. KAWASAKI (CONT)- and with intensity.


81 927.06 MS BOB WITH MS. KAWASAKI BENT INTO FRAME FROM L AS DIRECTOR PACES ACROSS FRAME R TO L IN FG. MS. KAWASAKI (OS CONT)- Okay?

BOB (OS)- Is that everything?

BOB (CONT)- I mean, it seemed like he said

quite a bit more than that.

MS. KAWASAKI (OS OVERLAPPING)- Oh.

1-43 BOB (TO MS. KAWASAKI)- Is that everything? It seemed like he said more than that. (that: your explanation) (He: the director)

829.12 934.15 105.03

82 935.01 MS ABOVE WAIST BOB AND MS. KAWASAKI AND SWISH PAN L TO DIRECTOR GESTURING DRAMATICALLY LOOKING R. DIRECTOR- (SPEAKS JAPANESE)

83 941.01 MS BOB IN CHAIR HOLDING GLASS WITH DRINK LOOKS UP L TO MS. KAWASAKI BARELY IN FRAME, THEN HE LOOKS FG AS DIRECTOR’S TORSO CROSSES FG L TO R. DIRECTOR (OS CONT)- (SPEAKS JAPANESE)


84 950.07 MS ABOVE WAIST SIDE ANGLE DIRECTOR BENT R GESTURING. DIRECTOR (CONT)- (SPEAKS JAPANESE)

MS. KAWASAKI (OS OVERLAPPING)- Like…

1-44 -/ MS. KAWASAKI (TO BOB)- Like an old friend, and into the camera. (Like an old friend: act like you’re an old friend to the audience)

954.08 958.12 4.04

85 955.02 MCU BOB WITH MS. KAWASAKI SIDE ANGLE IN FRAME FROM L. BOB NODS MS. KAWASAKI (CONT)- an old friend, and into the camera.

BOB- Okay.

DIRECTOR (OS)- (SPEAKS JAPANESE)

1-45 BOB (TO MS. KAWASAKI)- Okay.

961.00 962.08 1.08

86 967.09 MS ABOVE WAIST DIRECTOR LOOKING R LUNGES R AS HE GESTURES. DIRECTOR (CONT)- (SPEAKS JAPANESE) Suntory

time. Okay?

87 972.00 MS BOB. BOB- Okay.

88 974.08 MS ABOVE WAIST DIRECTOR POINTS R. DIRECTOR- Okay?


89 977.04 MS ABOVE WAIST BOB NODS.

90 978.14 MS ABOVE WAIST PAN L AS DIRECTOR WALKS BG RAISES ARM. DIRECTOR (OS)- (SPEAKS JAPANESE)

91 982.10 MS ABOVE WAIST BOB.

92 984.08 MS DIRECTOR WITH ARM RAISED AND MS. KAWASAKI STANDING BESIDE HIM. DIRECTOR- (SPEAKS JAPANESE)

93 986.05 MS SIDE ANGLE BOB IN CHAIR PAST CLAPPER PULLED OFF FRAME L. HE REACHES FOR GLASS R THEN PAN L PICK UP MONITOR WITH BOB ON SCREEN. DIRECTOR (OS CONT)- (SPEAKS JAPANESE)

94 995.15 MS ABOVE WAIST SIDE ANGLE BOB HOLDING GLASS LOOKING FG. BOB- For relaxing times – make it

Suntory time.


1-46 BOB (TO AUDIENCE)- For relaxing times... make it Suntory time. (Suntory time: an advertising slogan – time for drinking Suntory whiskey)

996.02 1002.12 6.10


95 1006.08 MS DIRECTOR WALKS FG, PAN R AS CROSSES FRAME FG, PICK UP BOB IN CHAIR BG AS DIRECTOR KNEELS REAR ANGLE LFG AND MCU OTS ON BOB. DIRECTOR (CONT)- (SPEAKS JAPANESE)

96 1014.07 MCU DIRECTOR LOOKS L AT BOTTLE HE HOLDS, THEN FG. DIRECTOR (CONT)- (SPEAKS JAPANESE)

97 1019.08 MCU OTS ON BOB. MS. KAWASAKI ENTERS LBG, BENDS FG ALONGSIDE BOB AND TRANSLATES. BOB SMILES, NODS. DIRECTOR (OS CONT)- (SPEAKS JAPANESE)

MS. KAWASAKI (OVERLAPPING)- Could you do it slower and more

intensity?

1-47 MS. KAWASAKI (TO BOB)- Could you do it slower and more intensity? (it: your dialogue)

1024.12 1031.12 7.00

98 1036.04 MCU DIRECTOR PAN UP AS HE STANDS, POINTS FG SMILING, EXITS R. DIRECTOR- Suntory time.

1-48 DIRECTOR (TO BOB)- Suntory time.

1039.10 1041.05 1.11

99 1043.04 MCU BOB REVEALED AS DIRECTOR EXITS FRAME L. DIRECTOR (OS CONT)- (SPEAKS JAPANESE)


100 1048.09 MS DIRECTOR AND MS. KAWASAKI AS DIRECTOR POINTS RFG. DIRECTOR (CONT)- (SPEAKS JAPANESE)

1-49 BOB (TO AUDIENCE)- For relaxing times...

1066.03 1069.03 3.00 101 1052.15 MCU BOB LOOKS R, PULLS GLASS OF WHISKEY INTO FRAME FROM R, HOLDS IT IN FRAME LOOKING FG, TAKES DRINK, LOOKS OFF FRAME LFG. BOB- For relaxing times... make it

Suntory time.


1-50 BOB (TO AUDIENCE)- make it Suntory time.

1072.00 1075.08 3.08

102 1088.06 INT. TOKYO SUBWAY. DAY MS ABOVE WAIST SIDE ANGLE CHARLOTTE LOOKING AT SUBWAY MAP. PEOPLE PASS FG.

103 1095.00 INT. SUBWAY STATION PLATFORM. DAY MS CHARLOTTE WAITING, ANOTHER WOMAN ON R, BUSINESSMEN STANDING BG. TRAIN ENTERS, SPEEDS THRU FRAME FG R TO L.

104 1104.00 INT. SUBWAY CAR. DAY MCU PAST JAPANESE MAN SIDE ANGLE LFG ONTO CHARLOTTE AND PAN DOWN TO MAGAZINE IN MAN’S LAP.

105 1111.07 INT. SUBWAY STATION PLATFORM. DAY MS ABOVE WAIST AS CHARLOTTE EXITS SUBWAY CAR AMONGST CROWD OF PEOPLE MOVING L TO R.


106 1118.02 INT. SUBWAY STATION. DAY MS ABOVE WAIST LOW ANGLE CHARLOTTE LOOKING FG OVER TOP OF FRAME WHILE ON ESCALATOR MOVING UPPER BG AND TRACK BG. SHE LOOKS BG.

107 1122.10 CU LOW SIDE ANGLE CHARLOTTE LOOKING LFG AND TRACK L WITH HER ON ESCALATOR MOVING UPPER L. SHE LOOKS L.

108 1127.09 EXT. TOKYO STREET. DAY MLS CHARLOTTE AMIDST CROWDED STREET WALKS FG.

109 1132.12 EXT. TEMPLE GROUNDS. DAY MS CHARLOTTE WALKS FG THEN PAN R AS SHE REACHES FG, TURNS R AND WALKS BG TOWARD TEMPLE.

110 1148.01 INT. BUDDHIST TEMPLE. DAY MS CHARLOTTE ENTERS BG THRU DOORWAY, STEPS FG INTO TEMPLE.

111 1152.04 MLS REAR ANGLE TRACK R PAST POST AND REVEAL WORSHIPPERS SEATED FG WATCHING MONKS BG.

112 1155.15 MS ABOVE WAIST CHARLOTTE TRACK BACK WITH CHARLOTTE WALKING FG.

113 1161.03 MS REAR ANGLE MONK HITS LARGE GONG WITH PADDED MALLET.

114 1164.08 MS REAR ANGLE MONK PERFORMING CEREMONY.


115 1172.15 MS ABOVE WAIST CHARLOTTE STEPS RFG.

116 1179.11 MLS REAR ANGLE MONKS PERFORMING CEREMONY.

117 1183.09 MS ABOVE WAIST CHARLOTTE.

118 1190.14 INT. CHARLOTTE’S HOTEL ROOM. DAY LS HIGH ANGLE OUT WINDOW DOWN ON CITY, BUILDINGS. LAUREN (VO FILTERED THRU PHONE)- Hello?

1-51 ITAL

CHARLOTTE (TO LAUREN)- – Lauren? LAUREN (TO CHARLOTTE)- – Charlotte. Hey.

1202.04 1205.14 3.10

1-52 ITAL

LAUREN (TO CHARLOTTE)- – Oh my God, how’s Tokyo? CHARLOTTE (TO LAUREN)- – It’s great here.

1208.10 1214.12 6.02

1-53 CHARLOTTE (TO LAUREN)- I don’t know – I went to this shrine today…

1216.06 1219.05 2.15

1-54 CHARLOTTE (TO LAUREN)- and there were these monks chanting…

1220.05 1227.02 6.13

1-55 CHARLOTTE (TO LAUREN)- and I didn’t feel anything. (feel: emotionally)

1228.00 1232.00 4.00

1-56 CHARLOTTE (TO LAUREN)- And... I don’t know...

1234.05 1239.05 5.00

119 1201.11 MCU SIDE ANGLE CHARLOTTE ON PHONE FACING L. CHARLOTTE (INTO PHONE)- Lauren.

LAUREN (VO FILTERED THRU PHONE)- Charlotte, hey.

CHARLOTTE (INTO PHONE)- Hey.

LAUREN (VO FILTERED THRU PHONE)- Oh, my God. How’s Tokyo?

CHARLOTTE (INTO PHONE)- It’s great here. It’s really great.

Um, I don’t know, I went to this

shrine today, and, um, there were

these monks and they were

chanting, and I didn’t feel

anything. You know. And, um, I

don’t know, I even tried Ikebana

and John is using these hair

products, I just…

SHE WIPES TEAR FROM HER EYE.

1-57 CHARLOTTE (TO LAUREN)- I even tried Ikebana and John is using these hair products… (Ikebana: the Japanese art of beautifully arranging cut stems, leaves, and flowers in vases and other containers)

1239.10 1244.12 5.02


1-58 CHARLOTTE (TO LAUREN)- I just... I don’t know who I married.

1245.07 1247.09 2.02 120 1245.04 MS REAR ANGLE CHARLOTTE SEATED TALKING ON PHONE FACING WINDOW BG. CHARLOTTE (OS CONT)- I don’t know who I married.

LAUREN (VO FILTERED THRU PHONE)- Can you wait a second. Just hold

on,…I

1-59 -/ ITAL

LAUREN (TO CHARLOTTE)- Can you wait a second? I’ll be right back.

1247.14 1251.07 3.09

1-60 ITAL

LAUREN (TO CHARLOTTE)- Sorry. What were you saying?

1255.15 1258.13 2.14

1-61 CHARLOTTE (TO LAUREN)- Nothing. It’s okay. I’ll call you later.

1259.02 1262.04 3.02

1-62 ITAL

LAUREN (TO CHARLOTTE)- Have a fabulous time. Call me when you get back. Bye.

1262.09 1268.04 5.11

121 1250.11 MCU SIDE ANGLE CHARLOTTE ON PHONE. SHE HANGS UP RECEIVER FG, BURIES FACE IN HAND AND CRIES, WIPES TEARS FROM HER FACE. LAUREN (VO FILTERED THRU PHONE CONT)- I’ll be right back.

CHARLOTTE (INTO PHONE)- Okay, sure.

LAUREN (VO FILTERED THRU PHONE)- Sorry. What were you saying?

CHARLOTTE (INTO PHONE)- Nothing. It’s okay. I’ll call you later,

okay?

LAUREN (VO FILTERED THRU PHONE)- Okay. Have a fabulous time. You

know. Call me when you get back,

okay? Bye.

CHARLOTTE (INTO PHONE)- Bye.

LAUREN (VO FILTERED THRU PHONE)- Love you.

CHARLOTTE (CRIES)

1-63 ITAL

LAUREN (TO CHARLOTTE)- Love you.

1269.10 1270.10 1.00


122 1305.03 INT. CHARLOTTE’S HOTEL BATHROOM. DAY CU CHARLOTTE APPLYING LIPSTICK.

123 1322.02 INT. CHARLOTTE’S HOTEL BATHROOM. DAY ECU CHARLOTTE PULLING HAIR BACK, TOUCHING HAIR.

124 1335.06 INT. CHARLOTTE’S HOTEL ROOM. DAY MS ABOVE WAIST SIDE ANGLE CHARLOTTE LAYS ACROSS BED ON BACK L TO R, HER HEAD TURNED FG. SHE TURNS HEAD BG, THEN LOOKS UP.

125 1348.07 INT. CHARLOTTE’S HOTEL ROOM. DAY MS HIGH ANGLE DOWN ON CHARLOTTE REACHING UP FG ADJUSTING MOBILE.

126 1360.08 MS LOW REAR ANGLE UP AT CHARLOTTE STANDING ON BED IN SWEATER AND UNDERPANTS ADJUSTING MOBILE, THEN SHE STEPS BG OFF BED, SITS ON BED HOLDING FOOT. CHARLOTTE (OS)- Oh, shit. Ow.

1-64 CHARLOTTE (TO HERSELF)- Ow. (expression of pain)

1374.01 1375.12 1.11

1-65 JOHN (TO CHARLOTTE)- At the fitting today they had all these rock and roll clothes. (fitting: when costume person has the band John is photographing try on clothes)

1381.11 1388.11 7.00 127 1381.09 INT. CHARLOTTE’S HOTEL ROOM. NIGHT MS HIGH SIDE ANGLE DOWN ON JOHN KNEELING ON FLOOR PACKING CAMERA EQUIPMENT IN CASES. CHARLOTTE ENTERS RFG AND STEPS OVER CASES PASSING JOHN GOING BG, EXITS RBG. JOHN (OS)- At the fitting today they had all

these rock and roll clothes. But,

but, but the band wasn’t tough at

all.

1-66 JOHN (TO CHARLOTTE)- But the band wasn’t tough at all. (tough: that is, in persona)

1389.09 1391.09 2.00


1-67 JOHN (TO CHARLOTTE)- The label guy just kept saying “More lock and loll.” (label guy: the executive from the record company) (lock and loll: John is imitating Japanese executive trying to say “rock and roll.”)

1391.14 1395.02 3.04

1-68 JOHN (TO CHARLOTTE)- But it’s much better if they’re just skinny and nerdy like they came in. (nerdy: bookish and shy) (came in: entered the studio)

1395.07 1400.09 5.02

1-69 JOHN (TO CHARLOTTE)- They’re making them wear all these Keith Richards clothes… (Keith Richards: guitarist for the Rolling Stones)

1401.10 1405.07 3.13

SAME SHOT CONT. JOHN (CONT)- The label guy just kept saying

“More lock and loll,” but, but it’s

just so much better if they’re just

skinny and nerdy like they came

in, y’know. I mean, they’re making

them wear all these Keith

Richards clothes and it’s just sort

of ridiculous. They should just let

them be who they are, don’t you

think? I mean -

1-70 JOHN (TO CHARLOTTE)- and it’s ridiculous. They should let them be who they are, don’t you think?

1405.12 1411.04 5.08

128 1411.11 MS ABOVE WAIST SIDE ANGLE AS CHARLOTTE KNEELS ON BED LOOKING DOWN FG. CHARLOTTE- Yeah.

JOHN (OS)- Yeah,…

1-71 CHARLOTTE (TO JOHN)- Yeah.

1412.05 1414.00 1.11

129 1414.10 MS SIDE ANGLE JOHN KNEELING ON FLOOR WITH CASES AND EQUIPMENT L. JOHN (CONT)- that’s exactly what I was saying,

but then you,…

1-72 JOHN (TO CHARLOTTE)- Yeah, that’s exactly what I was saying.

1414.11 1417.09 2.14

130 1417.11 MS ABOVE WAIST SIDE ANGLE CHARLOTTE WRAPS SCARF AROUND NECK, LOOKS BG AT MIRROR, THEN FG. JOHN (OS CONT)- y’know, you try to, I mean, I mean,

y’know, that’s, that’s what I think.

1-73 JOHN (TO CHARLOTTE)- But you try... I mean... That’s what I think.

1417.14 1424.12 6.14


SAME SHOT CONT.

CHARLOTTE- Do you think this is done?

1-74 CHARLOTTE (TO JOHN)- Do you think this is done? (this: scarf she’s knitting)

1425.12 1427.08 1.12

131 1427.12 MS ABOVE WAIST HIGH SIDE ANGLE JOHN LOOKS FG, THEN BENDS R. JOHN (OS)- I don’t know. I don’t know.

1-75 JOHN (TO CHARLOTTE)- I don’t know.

1433.02 1435.07 2.05

132 1435.08 MS ABOVE WAIST CHARLOTTE HOLDING UNFINISHED SCARF WITH KNITTING NEEDLES STILL IN THEM.

133 1438.12 MS ABOVE WAIST REAR ANGLE JOHN LOOKS FG THEN BG. JOHN (OS)- Would you, would you please

stop…

JOHN (CONT)- smoking?

1-76 JOHN (TO CHARLOTTE)- Would you please stop smoking?

1440.00 1444.02 4.02

134 1444.05 MS ABOVE WAIST SIDE ANGLE CHARLOTTE LOOKS BG AT MIRROR. CHARLOTTE- I like to. I don’t really smoke that

much.

1-77 CHARLOTTE (TO JOHN)- I like to. I don’t really smoke that much.

1444.07 1447.09 3.02

135 1447.15 MS ABOVE WAIST REAR ANGLE DOWN ON JOHN LOADING PHOTOGRAPHIC EQUIPMENT INTO BRIEFCASES. JOHN (OS)- It’s just so bad for you,….

1-78 -/ JOHN (TO CHARLOTTE)- It’s just so bad for you.

1448.06 1452.04 3.14


136 1451.08 MS ABOVE WAIST SIDE ANGLE CHARLOTTE UNWRAPS SCARF FROM AROUND NECK LOOKING LOWER FG. JOHN (OS CONT)- though.

CHARLOTTE- Well, I’ll stop later.

1-79 CHARLOTTE (TO JOHN)- I’ll stop later.

1452.09 1454.04 1.11

137 1456.14 EXT. TOKYO. NIGHT LS PAN R ACROSS CITY SKYLINE. ESTABLISHING.

138 1464.01 EXT. TOKYO HYAT T HOTEL. NIGHT. MS LIMO MOVES FG AND VALET OPENS DOOR AND BOB EMERGES FROM CAR STARTS TO R. VALET (OS)- Welcome back, Mr. Harris.

FEMALE VALET- Yes, Mr. Harris. Please.

139 1481.07 INT. BOB’S HOTEL ROOM. NIGHT CU TELEVISION WITH JAPANESE AEROBICS SHOW.

140 1485.11 MS ABOVE WAIST BOB. HE LIFTS REMOTE AIMS LFG.

141 1496.04 CU TELEVISION WET WITH JAPANESE TOUGH GUY TYPE WALKING FG ON STREET. PICTURE CHANGES TO MAN IN PINK SHIRT EXERCISING. PICTURE CHANGES TO OLD FOOTAGE OF “SATURDAY NIGHT LIVE” WITH “BOB” ON SCREEN.



143 1516.03 CU TV SET WITH YOUNG “BOB” ON SCREEN. IMAGE CHANGES TO CHASE SCENE AS COP CAR RACES FG ON STREET.

144 1524.04 MS ABOVE WAIST BOB LOOKS L, POINTS REMOTE FG AND RISES, EXITS L.

1-80 WOMAN (TO BOB)- – Mr. Harris? BOB (TO WOMAN)- – Yes?

1543.02 1545.07 2.05

1-81 WOMAN (TO BOB)- Mr. Kazu sent me. May I enter? (Mr. Kazu: evidently some executive from Suntory)

1545.14 1550.14 5.00

145 1535.02 MCU REAR ANGLE AS BOB ENTERS LFG, PEERS BG THRU PEEP HOLE IN ROOM DOOR, PULLS DOOR OPEN TO FG AND STEPS L AND REVEAL PREMIUM FANTASY WOMAN BG. MCU OTS ON WOMAN. BOB STEPS OFF L AND WOMAN STARTS FG INTO ROOM. PREMIUM FANTASY WOMAN- Mr. Harris?

BOB (OS)- Yes.

PREMIUM FANTASY WOMAN- Mr. Kazu sent me.

BOB (OS)- Oh.

PREMIUM FANTASY WOMAN- May I enter? Thank you.

1-82 WOMAN (TO BOB)- Thank you.

1555.06 1556.08 1.02

1-83 WOMAN (TO BOB)- You like massage?

1557.00 1559.04 2.04 146 1556.09 INT. BOB’S HOTEL ROOM. NIGHT MS SIDE ANGLE PREMIUM FANTASY WOMAN STANDS OPPOSITE BOB WHO SITS ON FOOT OF BED. PREMIUM FANTASY WOMAN- You like massage?

BOB- I don’t think I, I like massage

anymore.

1-84 BOB (TO WOMAN)- I don’t think I like massage anymore.

1560.02 1565.09 5.07


SAME SHOT CONT.

PREMIUM FANTASY WOMAN- Mr. Kazu sent…

1-85 -/ WOMAN (TO BOB)- Mr. Kazu sent premium fantasy. (premium fantasy: implying of a sexual nature)

1565.15 1570.00 4.01

147 1568.00 MS PAST BOB SEATED REAR ANGLE RFG ONTO WOMAN WHO LIFTS LEG PUTTING FOOT ON BOB AND LIFTS SKIRT POINTING TO STOCKINGS. PREMIUM FANTASY WOMAN (CONT)- premium fantasy. My stockings.

Lip (mispronouncing “rip”) them.

1-86 WOMAN (TO BOB)- My stockings. Lip them. (Lip: mispronouncing “rip”.)

1571.14 1576.14 5.00

1-87 WOMAN (TO BOB)- Lip my stockings.

1581.10 1585.10 4.00

1-88 WOMAN (TO BOB)- Yes, please. Lip them

1587.08 1591.14 4.06

148 1577.08 MS ABOVE WAIST SIDE ANGLE PREMIUM FANTASY WOMAN STANDING L AND BOB SEATED R AS WOMAN MOVES HAND DOWN HER LEG. PREMIUM FANTASY WOMAN (CONT)- Lip my stockings. Yes, please, lip

them.

BOB- What?

1-89 -/ BOB (TO WOMAN)- What?

1595.11 1596.11 1.00

149 1596.09 MS ABOVE WAIST OTS ON WOMAN. PREMIUM FANTASY WOMAN- Lip them.

1-90 WOMAN (TO BOB)- Lip them.

1597.00 1599.04 2.04


150 1602.00 MS ABOVE WAIST PAST WOMAN’S HIP ONTO BOB. PREMIUM FANTASY WOMAN (OS CONT)- Hey! Lip my stockings!

BOB- Hey, lip them? Lip them? What?

PREMIUM FANTASY WOMAN (OS OVERLAPPING)- Hey! Yes.

1-91 WOMAN (TO BOB)- – Hey! Lip my stockings! BOB (TO WOMAN)- – Hey! Lip them? What?

1602.02 1609.02 7.00

1-92 WOMAN (TO BOB)- Lip them – like this.

1609.09 1611.12 2.03

1-93 BOB (TO WOMAN)- Rip them? You want me to rip your stocking?

1614.00 1618.12 4.12

151 1609.12 MS PAST BOB SEATED REAR ANGLE RFG ONTO WOMAN WITH LEG UP POINTING TO HER STOCKINGS. PREMIUM FANTASY WOMAN (CONT)- Lip them. Like this. Lip this.

BOB (OS)- Rip them?

PREMIUM FANTASY WOMAN- Rip. Yes.

BOB (OS)- You want me to rip your

stockings?

PREMIUM FANTASY WOMAN- Yes. Rip my stockings, please.

1-94 -/ WOMAN (TO BOB)- Yes. Rip my stockings, please.

1619.01 1621.13 2.12

1-95 BOB (TO WOMAN)- You want me to rip your stockings. Okay.

1622.02 1625.15 3.13 152 1621.07 MS ABOVE WAIST PAST WOMAN AND LEG ONTO BOB. BOB- Rip your stockings. You want me

to rip your stockings. Okay, alright.

I’m gonna rip your stockings…

PREMIUM FANTASY WOMAN (OS OVERLAPPING)- Yes. Please. Please. Please. Yes.

1-96 -/ BOB (TO WOMAN)- I’ll rip them and you tell Mr. Kazu we had a blast. (blast: a fantastic experience)

1626.12 1632.15 6.03


153 1628.10 MS BOB REAR ANGLE RFG AND WOMAN STANDING FRONT ANGLE OPPOSITE AS BOB TOUCHES HER LEG. IMMEDIATELY THE WOMAN FLAILS ARMS AND FALLS SIDEWAYS BELOW FRAME R. BOB (OS CONT)- and you tell Mr. Kazu, y’know, we

had a blast.

PREMIUM FANTASY WOMAN (OVERLAPPING)- Oh, no, no, no. Mister, Mr. Harris.

PREMIUM FANTASY WOMAN (OS CONT)- Oh, my God.

1-97 -/ WOMAN (TO BOB)- Oh, no! Mr. Harris! Oh, my God! Don’t touch me!

1633.04 1639.11 6.07

154 1636.11 MS SIDE ANGLE BOB SITS ON BED AS WOMAN WRITHES AND KICKS ON THE HER BACK ON THE FLOOR, OBSCURED BY BED. PREMIUM FANTASY WOMAN (OS CONT)- Don’t touch me! Please, Mr. Bob

Harris, don’t touch me. Just rip my

stockings.

1-98 WOMAN (TO BOB)- Mr. Bob Harris, don’t touch me! Just rip my stockings.

1640.00 1647.00 7.00

155 1647.11 MS ABOVE WAIST SIDE ANGLE BOB AS WOMAN’S LEGS LOWER BG KICK UP AND DOWN. BOB LOOKS UP PLEADINGLY, STANDS. PREMIUM FANTASY WOMAN (OS CONT)- Oh, no, Mr. Harris. Oh, no, help.

Help.

BOB (OVERLAPPING)- Yiy, yiy.

1-99 WOMAN (TO BOB)- Oh, no – Help. Help.

1652.00 1657.00 5.00


156 1657.09 MS SIDE ANGLE AS BOB STANDS WALKS BG AND TRIES TO HELP PREMIUM FANTASY WOMAN UP OFF FLOOR AS SHE FLAILS AND KICKS. PREMIUM FANTASY WOMAN (OS CONT)- Help, please. Help please. Mr.

Harris – help, please. Oh, help

me. Help, help me.

BOB (OVERLAPPING)- Okay, careful with those. Alright.

C’mon. C’mon.

1-100 BOB (TO WOMAN)- Okay – careful with those. (those: the heels of her shoes)

1659.12 1662.12 3.00

157 1668.08 MS ABOVE WAIST PAST BOB’S LEG AS HE TIRES TO PULL WOMAN UP FROM FLOOR. PREMIUM FANTASY WOMAN (CONT)- Let me go,…

158 1670.12 MLS SIDE ANGLE AS WOMAN ON FLOOR PULLS BOB OVER AND HE FALLS ONTO BED, THEN STANDS AND TRIES TO LIFT WOMAN BUT SHE PULLS HIM BACK DOWN ONTO FLOOR, ROLLS HIM OVER AND STARTS CLIMBING ATOP HIM. PREMIUM FANTASY WOMAN (OS CONT)- Mr. Harris. Oh, no, let me go. Oh –

let me go. Let me go.

BOB (OVERLAPPING)- C’mon. C’mon. C’mon. Oh, crap.

1-101 WOMAN (TO BOB)- Oh, let me go. Please.

1675.00 1680.09 5.09


159 1381.13 MS AS BOB STRUGGLES WITH PREMIUM FANTASY WOMAN ON FLOOR. PREMIUM FANTASY WOMAN (OS CONT)- Please let me go. Oh, no. Mr...

BOB (OS OVERLAPPING)- God, with pleasure. BOB (CONT)- Oh.

1-102 BOB (TO WOMAN)- God, with pleasure.

1682.07 1684.01 1.10

160 1685.14 MLS SIDE ANGLE BOB STRUGGLES WITH WOMAN STILL ON BACK ON FLOOR. HE STEPS OVER HER, TRIES TO WALK R BUT SHE GRABS HIS LEG, HOLDS ON FOR DEAR LIFE, TOPPLING HIM AGAIN. BOB FALLS TO FLOOR. THE LIGHTS GO OUT. PREMIUM FANTASY WOMAN (OS CONT)- Bob Harris, don’t let me go. No.

No. Oh, no, Mr. Bob Harris. Oh.

Oh, please. Let me go, please.

1-103 WOMAN (TO BOB)- Oh, let me go. Please.

1698.08 1702.02 3.10

161 1703.03 INT. HOTEL RESTAURANT. DAY MS SIDE ANGLE BOB AT WINDOW TABLE, CITY BG, EATS.

1715.05 LAST FRAME PICTURE. END OF REEL 1AB.




1 12.00 EXT. TOKYO. DAY LS LOW ANGLE UP AT BUILDING AS DINOSAUR IMAGE MOVES ACROSS FACADE.

2 18.08 MLS CHARLOTTE WITH UMBRELLA STANDING ON STREET CORNER AMONGST OTHER PEDESTRIANS WAITING TO CROSS STREET.

3 22.10 MS SIDE ANGLE CHARLOTTE CROSSES STREET L TO R WITH OTHER PEDESTRIANS. PAN R.

4 28.10 LS PAN R WITH CHARLOTTE CROSSING STREET WITH OTHER PEDESTRIANS.

5 32.10 LS LOW ANGLE BUILDINGS, TALL BUILDING R.

6 35.13 MS CHARLOTTE WITH UMBRELLA WALKING ACROSS STREET TO FG AS PEOPLE PASS FRAME ALL AROUND L TO R AND R TO L.

7 40.13 MLS SIDE ANGLE PAN L WITH CHARLOTTE WALKING AMONGST PEOPLE R TO L SHE GLANCES UPPER FG.


8 47.02 LS LOW ANGLE UP AT TALL BUILDING WHICH NOW HAS IMAGE OF ELEPHANTS WALKING ACROSS, THEN PAN DOWN AND PICK UP PEOPLE ON STREET.

9 53.06 MCU CHARLOTTE WALKING FG, EXITS FRAME LOWER LFG.

10 59.06 INT. TOKYO HYATT HOTEL LOBBY. DAY MS MLS. KAWASAKI STANDS SIDE ANGLE R AS OTHERS FROM SUNTORI AND PRESS AGENT SIT BG WAITING. MS. KAWASAKI LOOKS UP FROM WATCH TO L.

11 62.12 MS BOB AND OTHERS IN OPEN ELEVATOR AND TRACK BACK AS PEOPLE WALK FG, BOB WALKS FG. MS. KAWASAKI (OS)- Hi.

12 69.08 MS SIDE ANGLE MS. KAWASAKI WALKS L, HAND EXTENDED AS PEOPLE PASS L TO R EXIT R. PRESS AGENT STANDS. MS. KAWASAKI (OS CONT)- Mr. Harris. Good…

2-1 -/ MS. KAWASAKI (TO BOB)- Mr. Harris, good morning.

70.04 73.09 3.05

13 72.15 MS ABOVE WAIST BOB WALKS FG AS MS. KAWASAKI REAR ANGLE WALKS BG TO HIM. MS. KAWASAKI (OS CONT)- morning.

BOB- Hi.


14 75.06 MS ABOVE WAIST SIDE ANGLE PRESS AGENT, OTHERS WALK R TO L TO GREET BOB. PAN L PICK UP BOB WHO SHAKES HANDS WITH PRESS AGENT. PRESS AGENT- Hi. We just got a request from

Tanabe Mori.

PRESS AGENT (OS CONT)- He is the Johnny Carson of Japan.

2-2 PRESS AGENT (TO BOB)- We got a request from Tanabe Mori – the Johnny Carson of Japan.

75.08 81.04 5.12

15 81.06 MCU SIDE ANGLE PRESS AGENT. PRESS AGENT (CONT)- It is a big honor to be invited to…

2-3 -/ PRESS AGENT (TO BOB)- It is a big honor to be invited on his show.

81.11 85.05 3.10

16 84.09 MCU MR. AWINAMI, PAN L TO OTHER MAN. PRESS AGENT (OS CONT)- his show.

MS. KAWASAKI (OS)- Can you stay here…

2-4 -/ MS. KAWASAKI (TO BOB)- Can you stay until Friday?

86.00 88.09 2.09

17 87.02 MCU OTS ON PRESS AGENT WITH BOB PARTIAL IN FRAME SIDE ANGLE L. AND PAN R TO INCLUDE MS. KAWASAKI SIDE ANGLE LOWER R. MS. KAWASAKI (CONT)- until Friday?

BOB (OS)- Um,…

2-5 BOB (TO PRESS AGENT)- I’m surprised and honored, but I think I need to check with my agent. (check: confer) (agent: talent representative)

91.02 96.10 5.08 18 89.15 MS ABOVE WAIST SIDE ANGLE BOB L, PRESS AGENT R, OTHERS BG. BOB LOOKS R AND PRESS AGENT RFG. BOB (CONT)- I’m surprised and honored, but I

think I need to check with my

agent. I believe I may have a

previous commitment.

2-6 BOB (TO PRESS AGENT)- I believe I may have a previous commitment.

96.15 100.01 3.02


SAME SHOT CONT.

MS. KAWASAKI (OS OVERLAPPING)- Okay. Okay.

19 100.04 MCU OTS BOB, THEN PRESS AGENT TURNS FG AND HE AND BOB AND OTHERS WALK AND EXITS R. PRESS AGENT (OS)- Sure.

MS. KAWASAKI (OS OVERLAPPING)- Okay. I understand. Shall we go?

BOB- Yes.

2-7 MS. KAWASAKI (TO BOB)- Okay. I understand. Shall we go?

101.00 104.03 3.03

20 108.00 INT. PHOTOGRAPHER’S STUDIO. DAY MS 2 STUDIO CREW, ONE STANDING SIDE ANGLE HOLDING REFLECTING UMBRELLA AND ANOTHER FRONT ANGLE BG AND PAN SLIGHTLY R.

21 110.10 MCU MAN AS HAND BG SLIDES FILTER INTO LIGHT.

22 113.00 MS TWO MEN IN SILHOUETTE. TRACK R MOVE BEHIND WOMAN’S HEAD.

23 115.03 MCU PAN L PICK UP CREW PERSON.

24 118.00 MS BATTERY TYPE BOX AND HAND PUSHING BUTTONS AND [PAN UP PICK UP CREW PERSON BENDING DOWN.


25 121.01 MCU ANOTHER CREW PERSON ADJUST FLAP. ZOOM OUT.

26 125.05 MS ABOVE WAIST WOMAN SIDE ANGLE IN SILHOUETTE AND PAN R WITH HER AS SHE CARRIES PROP DRINKS R.

27 129.00 MCU 2 EXECUTIVES IN SUIT AND TIES.

28 133.05 ECU SIDE ANGLE GLOVED HANDS HOLDING TWO GLASSES WITH PRETEND LIQUOR.

2-8 ITAL

FRED (TO BOB)- I think you should do it. (it: the Japanese TV show)

139.00 140.06 1.06

2-9 BOB (TO FRED)- No, hear this, Fred. I gotta be on a plane Thursday night.

140.11 147.11 7.00

2-10 ITAL

FRED (TO BOB)- We’re looking into it, but they really want you to stay for that show.

148.00 153.14 5.14

29 138.09 MS BOB SITTING ON STOOL FACING BG TALKS ON CELL PHONE AS SEVERAL PEOPLE SURROUND HIM TENDING HIM, PINNING JACKET BEHIND HIM, WOMAN IN FRONT OF HIM FIXING HIS MAKE-UP, MAN FIXING HIS HAIR. TWO MEN STAND LBG AS WOMAN WITH DRINKS ENTERS AND HANDS THEM GLASSES. PEOPLE CROSS BG MOVING R AND L. TRACK IN CIRCLING SLOWLY R AS MAN TESTS LIGHT. FRED (VO FILTERED THRU PHONE)- I think you should do it.

BOB (OS)- No, here this, Fred. I gotta be on a

plane Thursday night.

FRED (VO FILTERED THRU PHONE)- We’re looking into it, Bob, but they

really want you to stay to do that

talk show Friday. Apparently it’s a

really big deal. He’s the...

2-11 ITAL

FRED (TO BOB)- Apparently it’s a really big deal. He’s the – (big deal: prestigious appearance)

154.10 158.12 4.02


2-12 BOB (TO FRED)- The Johnny Carson of Japan, yeah.

159.01 161.13 2.12

2-13 ITAL

FRED (TO BOB)- These people are paying you a lot. Could you consider it?

162.08 167.10 5.02

2-14 BOB (TO FRED)- I already have. I have to get out of here as soon as I can. (here: Tokyo)

167.15 173.15 6.00

2-15 ITAL

FRED (TO BOB)- Alright. You’re scheduled to leave Friday, but we’ll hold it ‘til Saturday.

174.10 180.00 5.06

2-16 BOB (TO FRED)- You’re breaking up. There’s no reception in this studio. (breaking up: your voice is fading in and out)

180.14 186.10 5.12

SAME SHOT CONT. BOB (OS OVERLAPPING)- Johnny Carson of Japan. Yeah.

FRED (VO FILTERED THRU PHONE)- Bob, these people are paying you

a lot. Do you think you could

consider it?

BOB (OS)- I already have. Y’know, I, I gotta

get outta here as soon as I can.

FRED (VO FILTERED THRU PHONE)- Alright, you’re scheduled to leave

Friday, but we’ll hold it until

Saturday –

EVERYONE EXITS LFG OR RFG EXCEPT FOR MAN WITH DRINK AND WOMAN DOING MAKE-UP. BOB (OS)- Alright, now, hold it, you’re

breaking up, Fred. There’s no

reception in this studio. Forget it.

Call me back.

BOB CLOSES CELL PHONE, HANDS IT TO WOMAN WHO EXITS R AS BOB TURNS ON STOOL FACES FG NOW HOLDING DRINK.

2-17 BOB (TO HIMSELF, FRED)- Forget it. Call me back. (Forget it: an dismissive expression regarding the conversation)

187.04 189.06 2.02

30 199.01 MS PHOTOGRAPHER LOOKING FG STANDING BEHIND CAMERA ON TRIPOD, OTHERS BG AND MAN SIDE ANGLE LFG. PHOTOGRAPHER- Can you…

2-18 PHOTOGRAPHER (TO BOB)- Can you put your hands close to face, please?

203.00 207.02 4.02


31 203.14 MLS BOB ON STOOL WITH BACKDROP BG, LIGHTS AND UMBRELLAS AROUND AND PHOTOGRAPHER REAR ANGLE RFG. BOB PUTS HAND TO HIS EAR. PHOTOGRAPHER (OS CONT)- put your hands close to face,

please?

BOB- I’m sorry, Naka – what?

2-19 BOB (TO PHOTOGRAPHER)- I’m sorry – what?

207.07 208.14 1.07

32 208.15 MS PHOTOGRAPHER WITH OTHERS STANDING L AND R. PHOTOGRAPHER PUTS HAND TO HIS CHEEK. PHOTOGRAPHER- Can you put your hand close your

face, close your face?

2-20 PHOTOGRAPHER (TO BOB)- Can you put your hand close your face?

209.04 215.08 6.04

2-21 BOB (TO PHOTOGRAPHER)- I don’t get that close to the glass until I’m on the floor. (Bob is joking, implying he only gets that close when he’s so drunk he’s on the floor)

220.07 224.07 4.00 33 216.00 MS ABOVE WAIST BOB HOLDING GLASS PUTS HAND TO CHEEK. HE LOWERS HAND, GESTURES FG. BOB- I mean, I don’t get that close to the

glass until I’m on the floor, y’know.

How’s this?

PHOTOGRAPHER (OS)- Yes.

2-22 BOB (TO PHOTOGRAPHER)- How’s this? (this: with the glass this close)

225.00 226.05 1.05

34 229.03 MS ABOVE WAIST PHOTOGRAPHER WITH OTHERS BG WATCHING. PHOTOGRAPHER (CONT)- You, you want a whiskey?

2-23 -/ PHOTOGRAPHER (TO BOB)- You want a whiskey?

229.07 231.11 2.04


35 231.07 MS ABOVE WAIST BOB DRINKS FROM GLASS. BOB- This is not whiskey, this is ice tea.

If you gave me real whiskey –

2-24 BOB (TO PHOTOGRAPHER)- This is not whiskey, this is ice tea. If you gave me real whiskey –

235.08 240.04 4.12

36 240.12 MS PHOTOGRAPHER LOOKS FG THRU CAMERA. THEN MOVES HEAD R AWAY FROM CAMERA AND GESTURES TOWARD HIMSELF. PHOTOGRAPHER- I need mysterious face. Can you

show mysterious, mysterious?

2-25 PHOTOGRAPHER (TO BOB)- I need mysterious face. Can you show mysterious?

241.00 247.00 6.00

37 247.05 MS ABOVE WAIST BOB PUTS HAND TO EYE. BOB- I, I think I know what you want.

You want this, right?

2-26 BOB (TO PHOTOGRAPHER)- I think I know what you want. You want this, right? (this: Bob strikes an expression)

247.05 251.00 3.11

38 251.09 MS PHOTOGRAPHER LOOKING THRU CAMERA. PHOTOGRAPHER- I need more mysterious and, uh –

2-27 PHOTOGRAPHER (TO BOB)- I need more mysterious.

251.09 255.00 3.07

39 255.01 MS ABOVE WAIST BOB TOUCHING FACE. BOB- More mysterious. Yeah, I, I’ll just

try to think where the hell’s the

whiskey, y’know?

2-28 BOB (TO PHOTOGRAPHER)- More mysterious. I’ll try to think where the hell’s the whiskey. (the hell’s: mild vulgar emphatic )

255.12 260.14 5.02


40 261.15 MS PHOTOGRAPHER LOOKING THRU CAMERA AS HELPER STANDS SIDE ANGLE L, OTHER BG. PHOTOGRAPHER- You are a movie star,…

2-29 -/ PHOTOGRAPHER (TO BOB)- You are a movie star, yes?

266.02 270.04 4.02

2-30 BOB (TO PHOTOGRAPHER)- Yes. I should be doing movies.

270.09 273.12 3.03 41 268.12 MLS PAST PHOTOGRAPHER REAR ANGLE RFG ONTO BOB BG. PHOTOGRAPHER (OS CONT)- yes?

BOB- Yes. I should be doing movies,

but–

PHOTOGRAPHER (OS OVERLAPPING)- You should be... Yeah. And the

Lat (meaning “Rat”) Pack?

2-31 -/ PHOTOGRAPHER (TO BOB)- And the Lat Pack – You know Lat Pack? (Lat: mispronunciation of “Rat” ) (Rat Pack: term used to identify group of men who were part of Frank Sinatra’s entourage, such as Dean Martin, Sammy Davis Jr., Joey Bishop, etc)

274.09 280.00 5.07

42 276.07 MS ABOVE WAIST PHOTOGRAPHER. PHOTOGRAPHER (CONT)- Lat Pack – You know Lat Pack?

2-32 BOB (TO PHOTOGRAPHER)- – Rat Pack? PHOTOGRAPHER (TO BOB)- – Lat Pack, yes. Please.

281.04 285.00 3.12 43 280.07 MS ABOVE WAIST BOB. HE NODS, THEN BRINGS HAND TO FACE AND LOOKS FG WITH DEBONAIR EXPRESSION. BOB CHANGES EXPRESSIONS AS LIGHTS FLASH. BOB- Rat – Rat Pack? Oh, Rat Pack..

PHOTOGRAPHER (OS OVERLAPPING)- Lat Pack, yes, please.

PHOTOGRAPHER (OS)- Can you more tension, please?

2-33 PHOTOGRAPHER (TO BOB)- Can you show more tension, please?

295.00 297.06 2.06


2-34 PHOTOGRAPHER (TO BOB)- You’re so gentleman, yes?

307.04 310.00 2.12 SAME SHOT CONT.

BOB- More...?

PHOTOGRAPHER (OS)- You’re so gentleman, yes?

BOB- A ring-a-ding-ding?

PHOTOGRAPHER (OS)- Yeah.

2-35 BOB (TO PHOTOGRAPHER)- A ring-a-ding-ding. (Phrase that Dean Martin used to say, imitating a bell)

311.00 313.00 2.00

44 315.01 MS PHOTOGRAPHER, OTHERS STANDING BG. PHOTOGRAPHER (CONT)- Yeah. Sinatra. You know Sinatra?

2-36 PHOTOGRAPHER (TO BOB)- Sinatra. You know Sinatra?

315.11 318.08 2.13

2-37 BOB (TO PHOTOGRAPHER)- O’ Blue Eyes. (One of many names used for Frank Sinatra)

320.14 322.10 1.12

2-38 PHOTOGRAPHER (TO BOB)- This is good, yeah.

325.03 326.08 1.05

2-39 BOB (TO PHOTOGRAPHER)- That’s more Dino. (This expression is more like Dean Martin.) (Dino: nickname for Dean Martin)

327.05 329.15 2.10

45 318.12 MS OTS BOB. LIGHTS FLASH. BOB MAKES DIFFERENT EXPRESSIONS AS PHOTOGRAPHER’S HEAD SILHOUETTED REAR ANGLE RFG MOVES SIDE TO SIDE. HELPER ENTERS RFG, MOVES BESIDE CAMERA ON L AND STARTS CHANGING LENS. BOB- Ol’ Blue Eyes.

PHOTOGRAPHER (OS)- Yeah. Is good. Yeah.

BOB- That’s more of Dino. That’s Dino.

PHOTOGRAPHER (OS)- Yeah, yeah, yeah. Okay.

BOB- Joey Bishop, would you like?

PHOTOGRAPHER (OS)- Yes. Thank you.

2-40 BOB (TO PHOTOGRAPHER)- – Would you like Joey Bishop? PHOTOGRAPHER (TO BOB)- – Yes, thank you.

335.00 339.06 4.06


46 339.07 MS ABOVE WAIST PHOTOGRAPHER AS HELPER SIDE ANGLE ON R

2-41 PHOTOGRAPHER (TO BOB)- Are you drinking? No? (Will you be going drinking?)

347.11 350.00 2.05

2-42 BOB (TO PHOTOGRAPHER)- Am I drinking? As soon as I’m done. (done: finished here)

350.06 353.10 3.04

2-43 PHOTOGRAPHER (TO BOB)- – Close your hands, please. BOB (TO PHOTOGRAPHER)- – Close it?

354.08 359.14 5.06

47 347.11 MS BOB AS PHOTOGRAPHER REAR ANGLE RFG TAKES PICTURES. BOB LOOKS L, THEN FG, PUTS HAND TO EAR, THEN FACE. PHOTOGRAPHER (OS)- Are you drinking? No?

BOB- Am I drinking?

PHOTOGRAPHER (OS)- Yeah.

BOB- As soon as I’m done.

PHOTOGRAPHER (OS)- Close your hands, please.

BOB- Huh?

PHOTOGRAPHER (OS)- Close your hand. Yeah.

BOB- Close it?

PHOTOGRAPHER (OS)- Yes. Close you face, please.

Yeah.

BOB (OVERLAPPING)- Close my face? Okay.

PHOTOGRAPHER (OS OVERLAPPING)- Yes, sorry.

2-44 PHOTOGRAPHER (TO BOB)- Yes. Close you face, please. Yes, sorry.

360.04 365.14 5.10


48 366.07 MS PHOTOGRAPHER LOOKS FG ABOVE CAMERA, SIDESTEPS R. PHOTOGRAPHER (CONT)- And, uh, Double-O-Seven.

2-45 PHOTOGRAPHER (TO BOB)- And Double-O- Seven. (007 – James Bond)

368.02 370.06 2.04

49 371.02 MLS BOB WITH PHOTOGRAPHER REAR ANGLE RFG, HELPER REAR ANGLE LFG. BOB- He drinks martinis, but, okay, I got

it.

PHOTOGRAPHER (OS)- Double-O Seven, yeah?

2-46 BOB (TO PHOTOGRAPHER)- He drinks martinis, but okay – I got it.

371.12 374.08 2.12

50 376.01 MS PHOTOGRAPHER LOOKING FG AROUND CAMERA, OTHERS BG. PHOTOGRAPHER (CONT)- Loja Moore? (Mispronouncing

“Roger”)

BOB (OS)- Loja Moore?

PHOTOGRAPHER (OVERLAPPING)- Loja Moore.

2-47 PHOTOGRAPHER (TO BOB)- – Loja Moore? (Loja: mispronouncing Roger) BOB (TO PHOTOGRAPHER)- – Loja Moore?

376.09 380.06 3.13

51 381.04 MS OTS ON BOB. PHOTOGRAPHER (OS CONT)- You know? Roger Moore?

BOB- Roger Moore?

PHOTOGRAPHER (OS OVERLAPPING)- Yeah.

BOB- Okay.

2-48 BOB (TO PHOTOGRAPHER)- Roger Moore? Okay. (The actor who played James Bond)

384.01 388.05 4.04


SAME SHOT CONT.

PHOTOGRAPHER (OS OVERLAPPING)- Okay.

BOB- Okay. Okay, I, I always think of

Sean Connery.

2-49 -/ BOB (TO PHOTOGRAPHER)- I always think of Sean Connery. Seriously. (Sean Connery: first actor to play James Bond)

389.00 391.13 2.13

52 390.14 MS PHOTOGRAPHER LOOKING FG THRU CAMERA AS HELPER ENTERS R, STANDS SIDE ANGLE BESIDE CAMERA. BOB (OS CONT)- Seriously.

PHOTOGRAPHER (OVERLAPPING)- No, no.

BOB (OS)- Didn’t you get the Sean Connery

one over here?

PHOTOGRAPHER (OS)- No. Roger Moore. Okay.

BOB (OS OVERLAPPING)- Okay.

2-50 BOB (TO PHOTOGRAPHER)- Didn’t you guys get the Sean Connery one over here?

392.07 395.04 2.13

2-51 PHOTOGRAPHER (TO BOB)- This Roger Moore? No. Yeah, okay. (This: the expression Bob is making now)

401.00 407.02 6.02 53 397.12 MS OTS BOB KIDS AROUND DOING DIFFERENT EXPRESSIONS, POINTS FG, LOOKS L, SWIVELS ON STOOL POINTS FG AS LIGHTS FLASH. PHOTOGRAPHER (OS)- Yeah. This Roger Moore? No.

Yeah, ‘kay. Yeah, ‘kay. Good.

More.

2-52 -/ PHOTOGRAPHER (TO BOB)- Good. More, please.

410.07 415.00 4.09


54 413.03 MS PHOTOGRAPHER LOOKING FG THRU CAMERA. PHOTOGRAPHER (CONT)- Please.

BOB (OS)- You mean more, or Roger Moore

again?

PHOTOGRAPHER (OVERLAPPING)- Yeah, yeah.

2-53 BOB (TO PHOTOGRAPHER)- You mean more, or Roger Moore again?

415.05 417.08 2.03

55 419.01 MS ABOVE WAIST BOB HOLDING UP GLASS. PHOTOGRAPHER (OS CONT)- Good. And sexy.

2-54 PHOTOGRAPHER (TO BOB)- Good. And sexy.

421.14 425.09 3.11

56 428.07 INT. HYATT HOTEL LOUNGE. NIGHT. LS HIGH ANGLE THRU LOUNGE WINDOW ON CITY LIGHTS AT NIGHT, PAN R. JAZZ SINGER (OS)- (SINGING) Are...

2-55 -/ ITAL

JAZZ SINGER (TO LOUNGE)- Are you going …

435.12 441.08 5.12

57 437.11 MS JAZZ SINGER AT MICROPHONE. JAZZ SINGER (CONT)- (SINGING) you going…

58 440.15 MS BOB IN TUX, BOW TIE UNDONE, SITTING BACK TO BAR FACING FG. JAZZ SINGER (OS CONT)- (SINGING) to Scar–...

2-56 -/ ITAL

JAZZ SINGER (TO LOUNGE)- to Scarborough Fair?

442.05 449.00 6.11


59 444.01 MS CHARLOTTE SITTING SIDE ANGLE AT TABLE WITH JOHN AND OTHERS IN GROUP ACROSS TABLE BG. CHARLOTTE LOOKS FG. JAZZ SINGER (OS CONT)- (SINGING) borough Fair?


2-57 ITAL

JAZZ SINGER (TO LOUNGE)- Parsley, sage,…

454.06 458.15 4.09 61 453.14 MLS JAZZ SINGER WITH PIANIST LBG. JAZZ SINGER (CONT)- (SINGING) Parsley, sage,

rosemary and thyme.

2-58 ITAL

JAZZ SINGER (TO LOUNGE)- rosemary and thyme.

459.04 466.04 7.00

62 466.15 MS BOB SIPS FROM DRINK.

63 471.10 MS CHARLOTTE SIDE ANGLE LOOKING FG AT TABLE WITH JOHN AND OTHERS BG. SHE SMILES.

64 475.11 MS JAZZ SINGER FINISHES SINGING, NODS. JAZZ SINGER- Thank you. We’re glad to be here.

We’re Sausalito.

2-59 JAZZ SINGER (TO LOUNGE)- Thank you. We’re glad to be here. We’re Sausalito. (Sausalito: the lounge band’s name, from a city in California)

478.14 484.14 6.00

65 485.11 MS CHARLOTTE SIDE ANGLE AT TABLE CLAPS, OTHERS IN HER PARTY ALSO CLAP.

66 488.07 MS BOB SNAPS HIS FINGERS.

67 492.12 MS ABOVE WAIST SIDE ANGLE ON CHARLOTTE LOOKING FG AS SHE APPLAUDS.


68 494.08 MS ABOVE WAIST BOB SNAPPING HIS FINGERS.

69 499.08 MS ABOVE WAIST SIDE ANGLE CHARLOTTE CLAPPING LOOKS L.

70 501.13 MS BOB PUFFS ON CIGAR.

71 505.12 MS SIDE ANGLE ON CHARLOTTE AS WAITER MOVES IN FROM L AND STANDS BESIDE HER REAR ANGLE OBSCURING HER. JOHN (OS IN BG)- Yeah,…

72 511.11 MS ABOVE WAIST SIDE ANGLE CHARLOTTE HOLDS OUT SAKE CUP, GLANCES FG. JOHN (OS CONT IN BG)- y’know.

CHARLOTTE- Send these over to that table over

there.

2-60 CHARLOTTE (TO WAITER)- Send these over to that table over there. (these: bowl of nuts or something from Charlotte’s table)

512.07 516.07 4.00

73 517.01 MS BOB PUTS SNIFTER DOWN AS WAITER ENTERS RFG, GOES BG TO BOB AND HANDS HIM SAKE CUP, THEN GESTURES FG. CHARLIE (OS IN BG)- The old temple.

JOHN (OS IN BG)- Old temple?

CHARLIE (OS IN BG)- Yeah.


SAME SHOT CONT. JOHN (OS IN BG)- Oh, it’s beautiful, man.

CHARLIE (OS IN BG)- Hindu temple.

JOHN (OS IN BG)- Hindu?

CHARLIE (OS OVERLAPPING IN BG)- Hindu, Bali.

JOHN (OS OVERLAPPING IN BG)- Oh,…

74 528.05 MS ABOVE WAIST SIDE ANGLE CHARLOTTE LOOKS FG. CHARLIE (OS CONT IN BG)- Hindu, right.

JOHN (OVERLAPPING OS CONT IN BG)- oh, they’re, they’re,…

75 530.06 MS ABOVE WAIST BOB LIFTS SAKE CUP IN “THANK YOU,” DRINKS. JOHN (OS CONT IN BG)- really?

CHARLIE (OS IN BG)- Yeah, yeah.

JOHN (OS IN BG)- Well, what’s, what’s, in Japan, is it,

is it, is it mainly…


76 538.09 MS ABOVE WAIST SIDE ANGLE CHARLOTTE LOOKING FG LOOKS L. JOHN (OS CONT IN BG)- Buddhism here, or is it –?

CHARLIE (OS OVERLAPPING IN BG)- Yeah, it’s…

77 541.02 MS SIDE ANGLE BOB. HE RISES, LOOKS FG AND WALKS R, EXITS. CHARLIE (OS CONT IN BG)- Buddhism. Yeah, yeah. She’s

playing..

JOHN (OS IN BG)- Oh, she, she plays... guitar?

78 554.03 MS ABOVE WAIST SIDE ANGLE CHARLOTTE LOOKING FG. SHE TURNS HEAD BG AND SHIFT FOCUS TO INCLUDE JOHN AND OTHERS IN BG.

79 557.14 INT. ELEVATOR. NIGHT MCU AS BOB WALKS FG INTO ELEVATOR, TURNS REAR ANGLE AND STANDS RFG. ELEVATOR DOORS CLOSE PICKING UP BOB’S REFLECTION ON INSIDE OF DOORS.

80 581.01 INT. HOTEL GYM. NIGHT MLS HIGH REAR ANGLE BOB ON SKI TYPE TREADMILL WITH CITY LIGHTS BG. AUTOMATED WOMAN’S VOICE (VO FILTERED)- (INDISTINCT)


81 596.11 MS SIDE ANGLE BOB ON SKI TYPE TREADMILL. IT INCREASES SPEED AND BOB HAS DIFFICULTY MANAGING IT, HOLDING ONTO HANDLES. BOB- Help!

2-61 BOB (TO EMPTY GYM)- Help!

609.00 610.00 1.00

82 610.09 MLS HIGH REAR ANGLE BOB ON TREADMILL TRIES TO SLOW MACHINE. AUTOMATED WOMAN’S VOICE (VO FILTERED)- (INDISTINCT)

83 627.05 MS SIDE ANGLE BOB ON TREADMILL PRESSING BUTTONS SLOWING MACHINE. FINALLY HE JUMPS OFF TO BG, EXITS L. AUTOMATED WOMAN’S VOICE (VO FILTERED)- (INDISTINCT)

84 639.14 INT. HOTEL LOBBY. DAY MLS AS BOB ENTERS HALF LIMPING, PAN R AS HE WALKS R, PICK UP MS. KAWASAKI, PRESS AGENT, OTHERS AS BOB PASSES THEM CROSSING FRAME L TO R, THEN HOLD AS BOB WALKS BG TOWARD HOTEL DOORS WITH MS. KAWASAKI, ENTOURAGE FOLLOWING. MS. KAWASAKI (OS)- Good morning.

PRESS AGENT (OS)- Good morning.

MR. AWINAMI (OS)- Good morning.

BOB- Good morning.


2-62 MS. KAWASAKI (TO BOB)- – Are you okay? BOB (TO MS. KAWASAKI)- – Yeah. Fine.

651.02 654.00 2.14 SAME SHOT CONT.

MS. KAWASAKI- Are you okay?

BOB- Yeah. Fine.

MS. KAWASAKI (OS)- Car is outside. Shall we go?

CHARLOTTE (VO)- That’s what I told him, y’know.

2-63 MS. KAWASAKI (TO BOB)- The car is outside. Shall we go?

656.05 659.00 2.11

85 668.06 INT. HOTEL LOBBY. DAY MS ABOVE WAIST REAR ANGLE JOHN AND CHARLOTTE ARM IN ARM AND TRACK BG FOLLOWING THEM AS THEY WALK BG THRU LOBBY. COUPLE, EMPLOYEE PASSES ON R WALKING TO FG. JOHN (OS)- Yeah, yeah.

CHARLOTTE (OS)- He never listens to me.

JOHN (OS OVERLAPPING)- Yeah.

86 678.06 MS ABOVE WAIST KELLY REVEALED AS JOHN AND CHARLOTTE REAR ANGLE IN FG MOVE BG. KELLY (OS)- John?

2-64 -/ KELLY (TO JOHN)- John? Oh my God. John, what are you doing here? (here: in Tokyo at this hotel)

678.14 685.14 7.00


87 680.15 MCU 2 SHOT JOHN AND CHARLOTTE. THEY TURN FACING L AS JOHN REMOVES ARM FROM AROUND CHARLOTTE. KELLY (OS CONT)- Oh my God. John…

88 683.13 MCU OTS BETWEEN JOHN L AND CHARLOTTE R ONTO KELLY. JOHN STEPS OFF FRAME L KELLY (CONT)- what are you doing here?

JOHN (OS)- Oh, well, y’know,…

2-65 JOHN (TO KELLY)- I’m here shooting a band. What are you doing here? (shooting band: photographing a musical group.)

689.04 693.11 4.07

2-66 KELLY (TO JOHN)- I’m here promoting that action movie I did.

694.00 697.05 3.05

89 687.12 MS KELLY WITH JOHN AND CHARLOTTE REAR ANGLE LFG AND RFG. KELLY MAKES FAKE KARATE KICK L AT JOHN. JOHN (CONT)- I’m, I, we’re, I’m just here, shootin’

a band. What about you? What

are you doing?

KELLY (OVERLAPPING)- I’m here promoting that action

movie I did. Yah! Y’know.

(LAUGHS)

JOHN (OS)- Oh! Yeah. (LAUGHS)

KELLY (OVERLAPPING)- Yeah, I’m doing twenty million

interviews a day.

2-67 -/ KELLY (TO JOHN)- I’m doing twenty million interviews a day. It’s crazy. (It’s crazy: my schedule of interviews is hectic)

699.05 703.08 4.03


2-68 JOHN (TO KELLY)- – Right. KELLY (TO JOHN)- – God, It’s so good to see you.

703.10 707.04 3.10

2-69 KELLY (TO JOHN)- So how long are you gonna be here?

708.02 710.04 2.02

2-70 JOHN (TO KELLY)- We’re here for a week. I’m gonna go shoot in Pukewaka. (shoot: take pictures) (Pukewaka: place in Japan)

711.00 716.10 5.10

90 701.15 MS ABOVE WAIST CHARLOTTE FRONT ANGLE AS KELLY AND JOHN STAND OPPOSITE EACH OTHER SIDE ANGLE LFG AND RFG. KELLY (CONT)- It’s crazy. God, it’s so good to see

you.

JOHN (OVERLAPPING)- Yeah, yeah.

KELLY- So how long you gonna be here?

JOHN GESTURES BG TO CHARLOTTE INTRODUCING HER. JOHN- Uh, well, we’re here for a week,

y’know. I’m gonna go shoot in

Pukawaka. (LAUGHS)

KELLY (OVERLAPPING)- Oh! Oh! It’s amazing, it’s amazing

there.

JOHN (OS)- Yeah. Oh, oh, yeah.

2-71 KELLY (TO JOHN)- Oh, it’s amazing there.

716.15 721.15 5.00

91 722.13 MS ABOVE WAIST OTS ON KELLY LAUGHING. KELLY (LAUGHS) JOHN (LAUGHS)

92 727.10 MCU CHARLOTTE WITH JOHN SIDE ANGLE RFG. JOHN- Yeah. Oh, this is, this is my wife,

Charlotte.

2-72 JOHN (TO KELLY)- Oh, this is my wife, Charlotte. (this: Charlotte is standing beside him)

728.14 732.04 3.06


93 732.05 MS ABOVE WAIST OTS ON KELLY WHO SHAKES CHARLOTTE’S HAND RFG, THEN LOOKS L IN DISBELIEF, LAUGHS. JOHN (OS CONT)- Yeah.

KELLY (OVERLAPPING)- Hi, it’s really nice to meet you.

Hello. (LAUGHS)

CHARLOTTE (OS OVERLAPPING)- It’s nice to meet you.

JOHN (OS OVERLAPPING)- Yeah. (LAUGHS)

2-73 KELLY (TO CHARLOTTE, THEN JOHN)- Hi, it’s really nice to meet you. Hello. (Hello: mild reproof to John for neglecting to introduce Charlotte sooner)

732.09 737.11 5.02

94 740.00 MCU CHARLOTTE WITH JOHN SIDE ANGLE RFG LAUGHING. KELLY (OS)- I, oh --

JOHN (OVERLAPPING)- Yeah, yeah, …

95 743.06 MS ABOVE WAIST OTS BETWEEN JOHN AND CHARLOTTE REAR ANGLE LFG AND RFG ONTO KELLY WHO POINTS LFG AT JOHN. JOHN LOOKS R LAUGHING, REACHES OUT TO R. JOHN (CONT)- yeah, yeah.

KELLY- John. John.

JOHN- Huh?

KELLY- You are my favorite photographer.

2-74 KELLY (TO JOHN)- John – You are my favorite photographer.

745.11 750.02 4.07


SAME SHOT CONT.

JOHN (OS)- Oh, no. (LAUGHS)

KELLY (OVERLAPPING)- No, you are. I only want you to

shoot me.

2-75 KELLY (TO JOHN)- You are. I only want you to shoot me.

750.07 754.06 3.15

2-76 KELLY (TO JOHN)- It’s true.

756.06 759.00 2.10 96 754.08 MS AS JOHN REAR ANGLE PUTS ARM AROUND CHARLOTTE, THEN THEY SEPARATE AND REVEAL KELLY FRONT ANGLE IN BG. KELLY GRABS HER ARMPIT. JOHN (LAUGHS)

KELLY (OVERLAPPING)- It’s true. (LAUGHS) Oh, my God, I

have the worst b.o. right now, I’m

so sorry.

JOHN (OVERLAPPING)- Oh. Oh.

2-77 KELLY (TO JOHN, CHARLOTTE)- My God, I have the worst b.o. right now, I’m so sorry. (b.o.: abbreviation for body odor)

760.02 764.06 4.04

97 764.07 MS ABOVE WAIST JOHN SIDE ANGLE RFG GRABS NOSE, CHARLOTTE FRONT ANGLE BG WATCHING AS KELLY SIDE ANGLE ON L PUSHES JOHN R. KELLY (OS)- (LAUGHS) No – no, no. So, listen,

um,

JOHN (OVERLAPPING)- Yeah.

2-78 -/ KELLY (TO JOHN)- So, listen – let’s all go out for a drink sometime.

766.13 771.03 4.06

98 768.08 MS ABOVE WAIST OTS ON KELLY. KELLY (CONT)- let’s all go out…


99 769.12 CU CHARLOTTE WITH JOHN PARTIAL IN FRAME SIDE ANGLE R. KELLY (OS CONT)- for a drink sometime.

JOHN- Yeah.

KELLY (OS)- Yeah?

2-79 KELLY (TO JOHN)- Call me. Listen – I’m under Evelyn Waugh. (under: registered at the hotel under the name of) (Evelyn Waugh: an English writer)

774.02 779.12 5.10

2-80 KELLY (TO JOHN)- Okay?

782.11 784.03 1.08

100 772.13 MS ABOVE WAIST PAST JOHN REAR ANGLE LFG ONTO KELLY. SHE PUTS FINGER TO HER LIPS, THEN LAUGHS, GESTURES WITH FINGERS UP. JOHN (OS)- Yeah. Yeah. Yeah, okay, okay.

KELLY (OVERLAPPING)- Yeah? Y’know, call me. Okay?

Alright, listen, I’m under Evelyn

Waugh.

JOHN- Oh. Oh, oh, oh. I, yeah. Okay,

yeah. (LAUGHS)

KELLY (OVERLAPPING)- Ssh. Okay? (LAUGHS) Okay,

aragato, aragato. (LAUGHS)

JOHN (OVERLAPPING)- Yeah,…

2-81 -/ KELLY (TO JOHN)- – Arigato. Arigato JOHN (TO KELLY)- – Yeah. Mushi mushi.

786.02 791.05 5.03


101 788.12 MS ABOVE WAIST CHARLOTTE WITH JOHN SIDE ANGLE RFG LOOKING BG AS KELLY ENTERS LBG WALKING OFF TO BG LOOKING FG AND LAUGHING, POINTING AS SHE GOES. JOHN WAVES GOODBYE. JOHN (OS CONT)- yeah. Mushi mushi. (LAUGHS)

KELLY (SCREAMS, LAUGHS)

102 792.11 MS ABOVE WAIST JOHN AND CHARLOTTE. THEY TURN SIDE ANGLE FACING EACH OTHER. JOHN (LAUGHS)

CHARLOTTE- Evelyn Waugh?

JOHN- What?

CHARLOTTE- Evelyn Waugh was a man.

2-82 CHARLOTTE (TO JOHN)- Evelyn Waugh? Evelyn Waugh was a man.

793.10 798.12 5.02

2-83 JOHN (TO CHARLOTTE)- C’mon, she’s nice. (she: Kelly)

799.07 802.05 2.14

2-84 JOHN (TO CHARLOTTE)- Not everybody went to Yale. (Yale: Excellent U.S. university)

804.13 808.00 3.03

2-85 JOHN (TO CHARLOTTE)- It’s just a pseudonym, for Christ’s sake.

811.04 814.03 2.15

2-86 CHARLOTTE (TO JOHN)- Why do you have to defend her?

814.08 816.10 2.02

103 799.03 MCU SIDE ANGLE JOHN AND CHARLOTTE OPPOSITE EACH OTHER. JOHN- Oh, c’mon. She’s nice. What,

y’know, y’know, not everybody

went to Yale. Oh, it’s just a

pseudonym for Christ’s sake.

THEY WALK BG. CHARLOTTE (OS)- Why do you have to defend her?

JOHN- Well, why do you have to point out

how stupid everybody is all the

time?

2-87 JOHN (TO CHARLOTTE)- Why must you point out how stupid everyone is all the time? (point out: make known)

817.05 822.01 4.12


2-88 JOHN (TO CHARLOTTE)- I thought it was funny. Forget it. (it: her misuse of Evelyn Waugh’s gender)

822.06 824.12 2.06

2-89 PRODUCER (TO JOHN)- John – We have to go.

829.07 831.14 2.07

SAME SHOT CONT.

CHARLOTTE (OS)- No, I thought it was funny. Forget

it.

JOHN (OS)- Well –

MLS JOHN AND CHARLOTTE STOP AND TURNS SIDE ANGLE FACING L AS PRODUCER ENTERS FROM L, EXITS BACK L. JOHN TURNS R TO CHARLOTTE, GIVE HER A KISS. PRODUCER (OS)- Hey, John.

JOHN- Oh, yeah.

PRODUCER (OVERLAPPING)- We gotta go.

JOHN- Oh.

CHARLOTTE- Bye.

2-90 CHARLOTTE (TO JOHN)- Bye.

834.10 835.12 1.02

104 840.13 INT. CHARLOTTE’S HOTEL ROOM. DAY MLS HIGH REAR ANGLE CHARLOTTE SITTING ON FLOOR AGAINST SIDE OF BED FACING WINDOW BG. DR. KENGARD (VO FILTERED)- Did you ever wonder what your

purpose in life is?

2-91 - ITAL

DR. KENGARD (TO AUDIENCE)- Did you ever wonder what your purpose in life is?

841.10 845.12 4.02


2-92 ITAL

DR. KENGARD (TO AUDIENCE)- This book is about finding your soul’s purpose or destiny.

846.01 851.03 5.02 105 845.14 MS ABOVE WAIST SIDE ANGLE CHARLOTTE WITH HEADPHONES ON. SHE LIFTS CD JEWEL CASE UP INTO FRAME, READS IT. SHE FLIPS IT OVER. DR. KENGARD (VO FILTERED)- This book is about finding your

soul’s purpose or destiny. Every

soul has a path. But sometimes,

that path is not clear.

2-93 -/ ITAL

DR. KENGARD (TO AUDIENCE)- Every soul has a path. But sometimes, that path is not clear.

851.08 857.09 6.01

106 857.03 ECU BACK OF CD CASE IN CHARLOTTE’S HAND WITH MAN’S PHOTO ON IT. DR. KENGARD (VO FILTERED)- The inner map theory is an…

2-94 -/ ITAL

DR. KENGARD (TO AUDIENCE)- The inner map theory is an example…

858.04 860.14 2.10

2-95 ITAL

DR. KENGARD (TO AUDIENCE)- of how each soul begins with an imprint all compacted into a pattern…

861.03 867.00 5.13 107 860.04 MS SIDE ANGLE CHARLOTTE READING BACK OF CD CASE. SHE SMILES TO HERSELF. DR. KENGARD (VO FILTERED)- example of how each soul begins

with an imprint, all compacted into

pattern that has been selected by

your soul before you’d even gotten

here.

2-96 ITAL

DR. KENGARD (TO AUDIENCE)- that has been selected by your soul before you’d even gotten here. (here: into this world and life)

867.05 872.05 5.00

2-97 KELLY (TO PRESS CONFERENCE)- The reason I like Japan the best out of all Asian countries…

881.09 888.09 7.00 108 873.05 INT. HOTEL LOBBY. DAY MS CHARLOTTE WALKS FG UP HALL, PAN L AS SHE TURNS L THEN WALKS BG PASSING RECEPTIONS DESK R AND OTHER GUESTS WALKING BG TO FG. KELLY (OS)- Y’know, I guess the reason why I

like Japan the best out of all Asian

countries is because I really feel

close to, um, Buddhism. Um,…

2-98 KELLY (TO PRESS CONFERENCE)- is because I really feel close to, um, Buddhism.

888.14 895.06 6.08


2-99 KELLY (TO PRESS CONFERENCE)- I really believe in reincarnation.

895.14 899.07 3.09

2-100 KELLY (TO PRESS CONFERENCE)- That’s part of what drew me to “Midnight Velocity” (drew me to: attracted me to) (“Midnight Velocity”: fictional movie Kelly is promoting)

899.12 904.12 5.00

2-101 KELLY (TO PRESS CONFERENCE)- because although Keanu dies, he gets reincarnated. (Keanu: Keanu Reeves, the actor)

905.02 911.12 6.10

109 895.12 INT. HOTEL BALLROOM. DAY MS CHARLOTTE ENTERS AND WALKS FG, PAN L AS SHE CROSSES FG R TO L, THEN WALKS BG. REVEAL LARGE PRESS CONFERENCE BG AS CHARLOTTE STOPS RFG FACING BG. KELLY (OS CONT)- I really feel, I really believe in

reincarnation. That’s part of what

drew me to “Midnight Velocity” as

well because although Keanu

dies, he eventually gets

reincarnated. So there’s hope.

There’s…

2-102 -/ KELLY (TO PRESS CONFERENCE)- So there’s hope. There’s hope in reincarnation, I think.

912.12 917.06 4.10

110 914.08 MS ABOVE WAIST CHARLOTTE LEANING AGAINST DOORFRAME L. KELLY (OS CONT)- hope in reincarnation, I think.

JOURNALIST (OS)- What was it like working with

Keanu Reeves?

2-103 JOURNALIST (TO KELLY)- What was it like working with Keanu Reeves?

918.04 921.11 3.07

2-104 KELLY (TO PRESS CONFERENCE)- He was always giving m e ideas

922.04 927.12 5.08

2-105 KELLY (TO PRESS CONFERENCE)- and really helpful. He made me feel really comfortable.

928.07 933.00 4.09

2-106 KELLY (TO PRESS CONFERENCE)- We both have two dogs, we both live in L.A.,… (L.A.: Los Angeles)

933.08 939.06 5.14

111 922.04 MLS OVER HEADS OF PRESS IN CHAIRS REAR ANGLE ONTO KELLY AND TRANSLATOR AT TABLE ANSWERING QUESTIONS. FLASH BULBS GO OFF. KELLY- He was always so, he was always,

y’know, giving me ideas and

y’know, really helpful. He made

me feel really comfortable, so –

and we both have two dogs, and

we both live in L.A., so we have all

these different things in common.

So, y’know, we both really like,

um, Mexican food and yoga and

karate. (LAUGHS)

2-107 KELLY (TO PRESS CONFERENCE)- so we have all these different things in common.

939.11 943.09 3.14


2-108 KELLY (TO PRESS CONFERENCE)- We both really like Mexican food …

944.07 949.02 4.11 SAME SHOT CONT.

2-109 KELLY (TO PRESS CONFERENCE)- and yoga and karate

950.02 954.12 4.10

112 955.02 MS ABOVE WAIST CHARLOTTE WALKS BG, THEN EXITS L AROUND DOOR FRAME. TRANSLATOR (OS)- (SPEAKS JAPANESE)

113 961.03 INT. HOTEL CONFERENCE ROOM. DAY MLS WOMEN IN BG DOING IKEBANA. CHARLOTTE LFG, STANDS REAR ANGLE LOOKING BG INTO ROOM. SHE WALKS BG.

114 973.08 MS REAR ANGLE WOMAN AND TEACHER, OTHERS BG AND PAN R.

115 979.06 MS ABOVE WAIST CHARLOTTE, TRACK L WITH HER AS SHE WALKS L ALONG TABLE, PEOPLE DOING IKEBANA. PICK UP TEACHER IN KIMONO L WHO COMES ALONGSIDE CHARLOTTE, THEN WALKS WITH HER L. JAPANESE TEACHER (OS)- (SPEAKS JAPANESE)

CHARLOTTE- Hello. Hi. Um –


116 996.03 MS SIDE ANGLE CHARLOTTE AS TEACHER ESCORTS HER TO L. CHARLOTTE (OS CONT)- Um... (LAUGHS) Okay. (PAUSE)

Okay.

TRACK L, PASS BEHIND WOMAN FG AS CHARLOTTE, TEACHER STOP AND TEACHER TAKES FLOWER STEM, HANDS IT TO CHARLOTTE, POINTS FG TRYING TO SHOW HER WHAT TO DO.

TEACHER- (SPEAKS JAPANESE)

CHARLOTTE- Okay.

CHARLOTTE PUTS STEM INTO BASKET AS TEACHER CROSSES BEHIND TO R, LOOKS ON AND NODS SMILING AS CHARLOTTE LOOKS AT HER. THE TEACHER EXITS R.

117 1040.01 MCU WOMAN OUT OF FOCUS TOUCHING FLORAL STEM FG IN FOCUS.

118 1044.12 MCU CHARLOTTE LOOKING R, LIFTS FLORAL STEM INTO FRAME.

119 1055.01 MCU HIGH SIDE ANGLE WOMAN WORKING ON IKEBANA.

120 1062.05 INT. CHARLOTTE’S HOTEL BATHROOM. DAY MLS SIDE ANGLE CHARLOTTE SITTING IN BATHTUB.


121 1071.10 INT. CHARLOTTE’S HOTEL ROOM. NIGHT MS HIGH ANGLE DOWN ON CHARLOTTE ON HER BACK ON BED, UNABLE TO SLEEP, JOHN ASLEEP BESIDE HER. SHE REACHES R, TURNS ON LIGHT, PICKS UP REMOTE CONTROL, POINTS IT FG.

122 1095.12 MCU TV AS IT GOES ON SHOWING STRANGE JAPANESE GAME SHOW, WOMAN EATING NOODLES.

123 1102.12 MS ABOVE WAIST CHARLOTTE ON BED, FEET RFG, LOOKING FG AS JOHN SLEEPS BESIDE HER, FACE IN FRAME FROM L.

124 1105.13 INT. BOB’S HOTEL ROOM. NIGHT CU TV SET WITH GAME SHOW, WOMAN EATING NOODLES.

125 1111.05 MS HIGH ANGLE BOB AWAKE IN BED ON BACK POINTS REMOTE CONTROL FG.

126 1114.13 CU TV WITH SAMURAI MOVIE PLAYING.

127 1120.08 MS HIGH ANGLE BOB ON BACK IN BED.

128 1124.15 CU TV WITH SAMURAI MOVIE AS SAMURAI STAGGERS L WITH SWORD IN STOMACH, FALLS.

129 1132.04 MS HIGH ANGLE BOB IN BED POINTS REMOTE FG.


130 1136.08 INT. HOTEL CORRIDOR. NIGHT MS REAR ANGLE CHARLOTTE WALKS DOWN HALL TO BG.

2-110 BOB (TO WAITER)- He got married a couple a times. (He: unknown subject of their conversation; obviously some actor)

1144.09 1147.07 2.14

2-111 BOB (TO WAITER)- To some nice women. Beautiful women, too.

1150.14 1154.01 3.03

2-112 BOB (TO WAITER)- You and I would be crazy for these women. (crazy: madly desirous of)

1154.06 1157.08 3.02

2-113 BOB (TO WAITER)- But there were always rumors. And I never liked his acting …

1158.06 1164.06 6.00

131 1144.06 INT. HOTEL BAR/LOUNGE. NIGHT MS HIGH ANGLE BOB SITS AT BAR TALKING WITH BARTENDER WHO STANDS REAR ANGLE RFG. CHARLOTTE ENTERS BG WALKS FG, TAKES SEAT BESIDE BOB AS BARTENDER STEPS BG TO ASSIST HER. BOB- Well, he got married a couple a

times. To some nice women.

Beautiful women, too. I mean, you

and I would be crazy for these

women, but there were always

rumors. And I never liked his

acting so I never gave a damn

whether he was straight or not.

CHARLOTTE (OS)- Thank you.

2-114 BOB (TO WAITER)- so I never gave a damn whether he was straight or not. (straight: heterosexual)

1164.11 1168.03 3.08

2-115 WAITER (TO CHARLOTTE)- What can I get you?

1173.06 1175.02 1.12

2-116 CHARLOTTE (TO WAITER)- I’m not sure.

1176.03 1179.05 3.02

132 1170.15 MS CHARLOTTE L AND BOB R SEATED AT BAR AS CHARLOTTE TURNS BG TALKING TO BARTENDER STANDING BETWEEN THEM. BOB HOLDS UP HIS GLASS. CHARLOTTE (CONT)- Hey. Thank you.

WAITER- What can I get you?

CHARLOTTE- Um, I’m not sure. Um –

BOB- For relaxing times... make it

Suntory time.

WAITER (OVERLAPPING)- Suntory time.

2-117 BOB (TO CHARLOTTE)- For relaxing times... make it Suntory time.

1184.03 1191.01 6.14


133 1191.02 MS ABOVE WAIST SIDE ANGLE OTS ON CHARLOTTE LOOKING FG. CHARLOTTE- Um, I’ll have a vodka tonic.

2-118 CHARLOTTE (TO WAITER)- I’ll have a vodka tonic.

1195.04 1197.11 2.07

134 1197.12 MS ABOVE WAIST SIDE ANGLE BOB AS BARTENDER WALKS BG, EXITS RBG. WAITER (OS)- Okay.

CHARLOTTE (OS OVERLAPPING)- (LAUGHS) Thanks.

2-119 CHARLOTTE (TO BOB)- So what are you doing here? (here: in Tokyo)

1209.05 1211.05 2.00

2-120 BOB (TO CHARLOTTE)- A couple a things.

1214.06 1216.04 1.14

2-121 BOB (TO CHARLOTTE)- Taking a break from my wife, forgetting my son’s birthday…

1217.07 1221.07 4.00

2-122 BOB (TO CHARLOTTE)- and getting paid two million dollars to endorse a whiskey…

1222.12 1228.14 6.02

2-123 BOB (TO CHARLOTTE)- when I could be doing a play somewhere.

1230.05 1234.05 4.00

2-124 BOB (TO CHARLOTTE)- But the good news is that the whiskey works. (works: does its job, makes you feel good)

1240.05 1243.05 3.00

135 1204.01 MS 2 SHOT CHARLOTTE L AND BOB R SEATED AT BAR NEXT TO EACH OTHER. CHARLOTTE- So what are you doing here?

BOB- Uh, couple a things. Taking a

break from my wife, forgetting my

son’s birthday and, uh, getting

paid two million dollars to endorse

a whiskey when I could be doing a

play somewhere.

CHARLOTTE- Oh.

BOB- But the good news is the whiskey

works.

CHARLOTTE (LAUGHS)

BOB- What are you doing?

2-125 BOB (TO CHARLOTTE)- What are you doing? (that is, here in Tokyo)

1255.04 1256.08 1.04


2-126 CHARLOTTE (TO BOB)- My husband’s a photographer, so he’s here working.

1261.00 1264.12 3.12

2-127 CHARLOTTE (TO BOB)- I wasn’t doing anything so I came along.

1267.12 1270.10 2.14

2-128 CHARLOTTE (TO BOB)- And we have some friends that live here.

1270.15 1273.12 2.13

SAME SHOT CONT.

CHARLOTTE- Um, my husband’s a

photographer, so he’s here

working, and, um, I wasn’t doing

anything so I came along. And we

have some friends that live here.

CHARLOTTE PULLS OUT CIGARETTE. BOB LIGHTS CIGARETTE FOR HER. BOB- How long you been married?

2-129 BOB (TO CHARLOTTE)- How long you been married?

1275.04 1276.15 1.11

136 1277.00 MS ABOVE WAIST SIDE ANGLE OTS ON CHARLOTTE AS BOB RFG LIGHTS HER CIGARETTE. CHARLOTTE- Mm, thank you. Mm, two years.

2-130 CHARLOTTE (TO BOB)- Two years.

1282.00 1283.05 1.05

2-131 BOB (TO CHARLOTTE)- Twenty-five long ones. (long ones: years)

1285.00 1286.14 1.14 137 1284.07 MS CHARLOTTE AND BOB AS WAITER BG BETWEEN THEM BRINGS CHARLOTTE HER DRINK, PUTS DOWN NAPKIN. BOB- Twenty-five long ones.

CHARLOTTE- Oh. Well, you’re probably…

2-132 -/ CHARLOTTE (TO BOB)- You’re probably just having a mid-life crisis.

1290.02 1294.04 4.02

138 1291.00 MS ABOVE WAIST SIDE ANGLE ON CHARLOTTE AS WAITER OFF FRAME R PUTS DOWN DRINK, BOB PARTIAL IN FRAME SIDE ANGLE RFG. CHARLOTTE (CONT)- just, uh, having a mid-life crisis.

Did you buy a Porsche yet?

2-133 CHARLOTTE (TO BOB)- Did you buy a Porsche yet? (Porsche: name of an Italian sports car)

1295.12 1297.06 1.10


139 1300.08 MS ABOVE WAIST OTS SIDE ANGLE ON BOB LOOKING FG. BOB- Y’know, I was thinking about

buying a Porsche.

2-134 BOB (TO CHARLOTTE)- I was thinking about buying a Porsche.

1301.03 1304.03 3.00

140 1304.13 MS ABOVE WAIST SIDE ANGLE PAST BOB RFG ONTO CHARLOTTE. SHE TAKES PUFF ON CIGARETTE, LOOKS FG. CHARLOTTE- Twenty-five years. That’s, uh, well,

it’s impressive.

2-135 CHARLOTTE (TO BOB)- Twenty-five years. That’s.... impressive.

1310.12 1317.12 7.00

141 1319.05 MS ABOVE WAIST SIDE ANGLE OTS ON BOB. BOB- Well, you figure you sleep one

third of your life.

2-136 BOB (TO CHARLOTTE)- You figure you sleep one third of your life. (figure: think, estimate)

1323.00 1328.02 5.02

2-137 BOB (TO CHARLOTTE)- That knocks off eight years of marriage right there,…

1328.07 1331.07 3.00 142 1328.05 MS ABOVE WAIST SIDE ANGLE PAST BOB’S PROFILE RFG ONTO CHARLOTTE LOOKING FG HOLDING CIGARETTE. BOB (CONT)- That knocks off eight years of

marriage right there, so, y’know,

you’re down to sixteen and

change and,…

2-138 -/ BOB (TO CHARLOTTE)- so you’re down to sixteen and change. You’re a teenager at marriage. (change: term used for less than a whole number, usually in monetary terms)

1331.14 1338.11 6.13

143 1335.08 MS ABOVE WAIST SIDE ANGLE OTS ON BOB LOOKING FG AS HE TALKS, GESTURES. BOB (CONT)- y’know, you’re just a teenager at

marriage. You can drive it but you

can, there’s still the occasional

accident. Y’know.

CHARLOTTE (OS OVERLAPPING)- Yeah. (LAUGHS)

2-139 BOB (TO CHARLOTTE)- You can drive it but … there’s still the occasional accident. (it: making marriage analogous to a car, or a teenager with a car)

1339.00 1344.02 5.02


2-140 BOB (TO CHARLOTTE)- What do you do?

1348.08 1349.14 1.06

2-141 CHARLOTTE (TO BOB)- I’m not sure yet, actually. I just graduated last spring. (graduated: college)

1357.02 1362.08 5.06

2-142 BOB (TO CHARLOTTE)- – What did you study? CHARLOTTE (TO BOB)- – Philosophy

1364.07 1368.07 4.00

2-143 BOB (TO CHARLOTTE)- I hear there’s a good buck in that racket. (buck: colloquial for income) (racket: slang term for a vocation)

1370.06 1373.02 2.12

2-144 CHARLOTTE (TO BOB)- So far it’s pro-bono.

1378.12 1381.04 2.08

2-145 BOB (TO CHARLOTTE)- I’m sure you’ll figure out the angles. (angles: ways of making philosophy lucrative)

1384.02 1386.14 2.12

144 1347.11 MS FRONT ANGLE CHARLOTTE L AND BOB R AT BAR. BOB- What do you do?

CHARLOTTE- Um, I’m not sure yet, actually. I

just graduated last spring.

BOB- And what did you study?

CHARLOTTE- Philosophy.

BOB- I hear there’s a good buck in that

racket.

CHARLOTTE- (LAUGHS) Yeah. Well, so far it’s

pro-bono.

BOB- Huh. Well, I’m sure you’ll figure

out the angles.

CHARLOTTE- Maybe. I hope your…

2-146 -/ CHARLOTTE (TO BOB)- I hope your Porsche works out. Cheers to that. (Cheers: a toast of goodwill)

1392.07 1398.11 6.04

145 1393.10 MS ABOVE WAIST SIDE ANGLE ON CHARLOTTE WITH BOB PARTIAL IN FRAME RFG. THEY LIFT GLASSES, TOAST. CHARLOTTE (CONT)- Porsche works out. Cheers to that,

huh?

BOB- Cheers to that. Kum…

2-147 -/ BOB (TO CHARLOTTE)- Cheers to that. Kum pai. (Kum pai: Japanese expression of a toast while drinking, as in “to your health”)

1399.02 1402.04 3.02


146 1401.05 MS ABOVE WAIST SIDE ANGLE OTS ON BOB WITH CHARLOTTE’S PROFILE OUT OF FOCUS LFG. BOB (CONT)- pai.

147 1413.15 MS ABOVE WAIST SIDE ANGLE ON CHARLOTTE, BOB’S PROFILE OUT OF FOCUS RFG. CHARLOTTE- I wish I could sleep.

BOB- Hm,…

2-148 -/ CHARLOTTE (TO BOB)- – I wish I could sleep. BOB (TO CHARLOTTE)- – Me, too.

1418.13 1422.13 4.00

148 1421.11 MS ABOVE WAIST SIDE ANGLE PAST CHARLOTTE’S PROFILE LFG ONTO BOB DRINKING. BOB (CONT)- me, too.

149 1428.03 MS ABOVE WAIST SIDE ANGLE PAST BOB’S PROFILE RFG ONTO CHARLOTTE LOOKING FG, THEN L.

150 1431.10 MLS HIGH SIDE ANGLE DOWN ON BOB, CHARLOTTE AT BAR, OTHER FARTHER BG.

151 1435.10 INT. HOTEL POOL. DAY MLS OVER POOL ONTO CITY BG THRU HUGE WINDOW AS PEOPLE DOING EXERCISE IN POOL WITH INSTRUCTOR STANDING SIDE ANGLE LBG. EXERCISE INSTRUCTOR- (SPEAKS JAPANESE)


152 1442.10 MS ABOVE WAIST LOW SIDE ANGLE BOB STANDING IN WATER LOOKING OVER TOP OF FRAME FG. EXERCISE INSTRUCTOR (OS CONT)- (SPEAKS JAPANESE)

153 1447.06 MLS INSTRUCTOR TEACHING EXERCISE CLASS TO PEOPLE IN POOL REAR ANGLE IN FG. EXERCISE INSTRUCTOR (CONT)- (SPEAKS JAPANESE)

154 1452.14 MS HIGH REAR ANGLE DOWN ON BOB IN POOL AGAINST SIDE. HE LOWERS GOGGLES, DIVES BG EXITING FRAME. EXERCISE INSTRUCTOR (OS CONT)- (SPEAKS JAPANESE) One, two

three, four. And one, two, three,

four. One –

155 1470.11 MS ABOVE WAIST SIDE ANGLE UNDER WATER TRACKING R WITH BOB AS HE SWIMS TO R.

156 1477.15 MS UNDER WATER BOB’S POV MOVING L PASSING WOMEN’S LEGS JUMPING UP AND DOWN DOING EXERCISES.

157 1485.04 MS ABOVE WAIST UNDER WATER BOB SWIMS FG, PAN R AS HE SWIMS ACROSS FG L TO R AND EXITS.


158 1491.15 INT. VIDEO ARCADE. DAY MCU CHARLOTTE TRACK BACK WITH HER WALKING FG THRU ARCADE.

159 1496.10 MS ABOVE WAIST REAR ANGLE KID PLAYING VIDEO GAME

160 1498.13 MCU VIDEO SCREEN, THEN PAN L PICK UP TEENAGER SIDE ANGLE PLAYING GAME, THEN PAN DOWN R AS HE BEATS DRUM WITH ELECTRONIC STICKS. PAN R BACK TO VIDEO SCREEN.

161 1518.04 MS ABOVE WAIST CHARLOTTE TRACK BACK AS SHE WALKS FG THRU ARCADE LOOKING L.

162 1524.07 MS JAPANESE TEENAGER, CIGARETTE DANGLING FROM LIP PLAYS ELECTRIC GUITAR SIDE ANGLE ON L AS GIRL BG LEANS AGAINST GAME WATCHING.

163 1537.14 MS ABOVE WAIST CHARLOTTE LOOKING FG AT TEENAGER PLAYING GUITAR STANDING SIDE ANGLE RFG. SHE SMILES.

164 1549.10 MS TEENAGER PLAYS GUITAR WHILE GIRL STAND RBG WATCHING, NODDING HER HEAD TO MUSIC.

165 1556.06 MS ABOVE WAIST REAR ANGLE TEENAGE IN WHITE T-SHIRT JUMPS UP AND DOWN PLAYING VIDEO GAME.


166 1561.12 ECU CHARLOTTE LOOKING LFG.

167 1565.06 MS REAR ANGLE KID JUMPING UP AND DOWN PAN UP FROM HIS LEGS TO TORSO.

168 1575.12 MCU TRACK BACK WITH CHARLOTTE WALKING THRU ARCADE LOOKING RFG, LBG.

169 1585.06 MS ABOVE WAIST SIDE ANGLE TEENAGER IN WHITE T-SHIRT JUMPING UP AND DOWN PLAYING GAME, OTHERS PLAYING GAMES BG.

170 1597.13 EXT. TOKYO INTERSECTION. DAY LS HIGH ANGLE ON STREET AS PEDESTRIANS CROSS MOVING FG AND BG.

171 1603.05 INT. CHARLOTTE’S HOTEL ROOM. NIGHT MCU REAR ANGLE CHARLOTTE FG IN SILHOUETTE OUT OF FOCUS WITH LIGHTS OF SKYSCRAPERS BG, THEN CHARLOTTE LOOKS L AS JOHN’S ARMS ENTER AND WRAP AROUND HER NECK EMBRACING HER. JOHN (OS)- Oh. Oh, oh, (LAUGHS).


2-149 CHARLOTTE (TO JOHN)- How did it go? (it: today’s photo session)

1614.06 1615.11 1.05

2-150 JOHN (TO CHARLOTTE)- It was good. I’m tired.

1616.00 1619.08 3.08

2-151 JOHN (TO CHARLOTTE)- I gotta go downstairs and meet Kelly for some drinks.

1621.04 1624.13 3.09

2-152 JOHN (TO CHARLOTTE)- She wants to talk about some photo thing.

1625.02 1628.03 3.01

2-153 CHARLOTTE (TO JOHN)- Maybe I’ll go downstairs with you.

1628.08 1630.08 2.00

2-154 JOHN (TO CHARLOTTE)- – You want to come? CHARLOTTE (TO JOHN)- – Yeah, sure.

1632.03 1636.00 3.13

172 1611.13 MS REAR ANGLE JOHN AND CHARLOTTE IN SILHOUETTE AT WINDOW, CITY BG AS JOHN WRAPS ARMS AROUND CHARLOTTE. HE LETS GO, STEPS L REMAINS FACING BG AS SHE TURNS FRONT ANGLE LEANING AGAINST SILL LOOKING L AT HIM. THEY EXIT LFG. JOHN (OS CONT)- Oh.

CHARLOTTE (OS)- How’d it go, hon?

JOHN (OS)- Oh, it was good, y’know. I’m tired.

CHARLOTTE- Yeah.

JOHN (OS)- Yeah, I, I, I gotta go downstairs

and meet Kelly for some drinks.

She wants to talk about some

photo thing, I don’t really know.

CHARLOTTE- Maybe I’ll go downstairs with you.

JOHN- Oh, you want to come?

CHARLOTTE- Yeah, sure.

JOHN- Okay. Yeah.

2-155 JOHN (TO CHARLOTTE)- Okay. Yeah.

1637.08 1641.00 3.08


173 1644.00 INT. HOTEL BAR/LOUNGE. NIGHT MLS JAZZ SINGER SINGING RBG WITH PIANIST SIDE ANGLE L BG PLAYING. WAITER ENTERS L WITH TRAY OF FOOD. JAZZ SINGER- (SINGING) You stepped out of a

dream.

174 1653.10 MCU KELLY LEANING FG GESTURING. KELLY- Everyone is always “Kelly, you are

anorexic.”

2-156 KELLY (TO ALL AT TABLE)- Everyone is always “Kelly, you are anorexic.” (is always: lazy way of saying “always telling me”)

1653.12 1658.14 5.02

2-157 KELLY (TO ALL)- And I’m like “No, I’m not.”

1659.03 1661.08 2.05

2-158 KELLY (TO ALL)- I eat so much junk food you wouldn’t believe it. (junk food: unhealthy packaged snack food or cheap food)

1662.13 1665.14 3.01

2-159 KELLY (TO ALL)- It’s just because I have a high metabolism.

1666.04 1668.04 2.00

2-160 JOHN (TO KELLY)- I thought you were anorexic.

1668.12 1671.01 2.05

2-161 KELLY (TO JOHN)- Everybody does. Everybody thinks that.

1671.06 1674.00 2.10

175 1659.02 MS KELLY, JOHN AND CHARLOTTE SEATED AROUND TABLE WITH FOURTH PERSON, KELLY’S BOYFRIEND SEATED REAR ANGLE IN FG, KELLY SIDE ANGLE ON L, CHARLOTTE R AND JOHN FRONT ANGLE CENTER BG. KELLY (CONT)- And I’m like “No, I’m not.” I eat all

kinds, I eat so much junk food you

wouldn’t believe it. It’s just ‘cause I

have a high metabolism.

JOHN (OVERLAPPING)- Oh, that – it’s, uh, ‘cause I thought

you were anorexic, too. Yeah.

KELLY (OS OVERLAPPING)- Everybody does. Everybody thinks

that.

JOHN- ‘Cause you look so. y’know–

2-162 -/ JOHN (TO KELLY)- – Because you look so – KELLY (TO JOHN)- – Thank you. I know.

1674.06 1678.12 4.06


176 1676.11 MS OTS ON KELLY WITH JOHN SIDE ANGLE ON R. JOHN- Yeah, yeah.

KELLY (OVERLAPPING)- Thank you. I know. But it’s, I eat

whatever. I have a really high

metabolism.

2-163 KELLY (TO ALL)- But I eat whatever. I have a really high metabolism.

1679.12 1682.14 3.02

177 1683.05 MS KELLY, JOHN AND CHARLOTTE AROUND TABLE AND BOYFRIEND REAR ANGLE IN FG. JOHN- Yeah.

KELLY- But, um…

178 1687.14 MS KELLY WITH JOHN SIDE ANGLE ON R AND CHARLOTTE IN PROFILE PARTIALLY IN FRAME RFG. KELLY (CONT)- my dad is an anorexic.

2-164 KELLY (TO ALL)- But my dad is an anorexic.

1690.06 1694.01 3.11

179 1695.05 MCU OTS SIDE ANGLE ON CHARLOTTE. CHARLOTTE- Really?

JOHN (OS)- Oh, really?

2-165 CHARLOTTE. (TO KELLY)- Really?

1696.00 1698.08 2.08


2-166 KELLY (TO ALL)- He fought on the American side of the Bay of Pigs in Cuba… (Bay of Pigs: a failed U.S. invasion of Cuba defeated at Cuba’s Bay of Pigs)

1701.08 1707.05 5.13

2-167 KELLY (TO ALL)- and he was taken prisoner.

1708.04 1710.02 1.14

180 1699.04 MS OTS ON KELLY WITH JOHN SIDE ANGLE ON R. KELLY- Yeah, he, um, fought on the

American side of the Bay of Pigs

in Cuba and he was taken

prisoner, and the whole time he

was there they tortured him about

food.

2-168 -/ KELLY (TO ALL)- and the whole time he was there they tortured him about food.

1710.07 1715.03 4.12

181 1714.12 MCU OTS ON CHARLOTTE. SHE LOOKS FG. KELLY (OS CONT)- Every day they told him they put…

2-169 -/ KELLY (TO ALL)- Every day they told him they put poison in the food…

1715.09 1719.09 4.00

182 1718.03 MS BOB TURNED SIDE ANGLE ON STOOL LOOKING BG TALKING TO WAITER STANDING FRONT ANGLE. STARTS WALKING TO R. KELLY (OS CONT)- poison in the food, so they

would…

2-170 -/ KELLY (TO ALL)- so they would make themselves throw up after every meal.

1720.05 1725.02 4.13

183 1721.02 MCU OTS ON CHARLOTTE. SHE LOOKS LFG. KELLY (OS CONT)- always make themselves throw it

up after every meal.

184 1725.05 MS KELLY, JOHN AND CHARLOTTE AROUND TABLE WITH FOURTH GUY REAR ANGLE IN FG. JOHN- That’s horrible. That’s terrible

BENZO (OS)- Some crazy shit.

2-171 JOHN (TO KELLY)- That’s horrible.

1725.07 1726.14 1.07


185 1733.00 MS OTS ONTO KELLY AND JOHN. KELLY- Don’t you think he sounds kind of

goofy?

JOHN (OVERLAPPING)- No.

BENZO (OS)- Well, y’know that breaky,…

2-172 JOHN (TO KELLY)- Do you think that sounds goofy? (goofy: silly)

1733.06 1735.06 2.00

186 1736.03 MS KELLY, JOHN AND CHARLOTTE AROUND TABLE AS CHARLOTTE LOOKS FG. BENZO (OS CONT)- right?

187 1738.03 MS BOB LIFTS GLASS. BENZO (OS CONT)- Well, I been like takin’ it to the next

level and…

188 1741.13 MLS OTS ON CHARLOTTE LOOKING FG AT TABLE WITH KELLY, JOHN, OTHER GUY. BENZO (OS CONT)- shit. I’ll take that and put a delay

on it.

189 1746.05 CU SIDE ANGLE FOURTH GUY. BENZO (CONT)- (MAKES DRUM MACHINE

SOUNDS)


190 1750.01 MCU OTS ON CHARLOTTE. SHE LOOKS FG. BENZO (OS CONT)- So it’s like, involving the beat,

so…

2-173 -/ BENZO (TO CHARLOTTE)- So it’s like, involving the beat – sounds hella-large on the track. (it: his music) (hella: contemporary slang for extra) (track: the music song)

1750.06 1757.06 7.00

191 1754.00 MS BOB TOPPLES L FEIGNING BOREDOM. BENZO (OS CONT)- it’s like, sounds hella-large…

192 1756.07 MCU OTS ON CHARLOTTE. BENZO (OS CONT)- on the track.

193 1757.15 CU SIDE ANGLE FOURTH GUY. BENZO (CONT)- Y’know what I’m sayin’?

2-174 BENZO (TO CHARLOTTE)- You know what I’m saying?

1758.00 1759.05 1.05

2-175 CHARLOTTE (TO BENZO)- No.

1760.12 1761.14 1.02 194 1759.15 MCU HIGH ANGLE OTS ON CHARLOTTE. CHARLOTTE- No.

BENZO (OS)- No? You don’t listen to hip-hop.

CHARLOTTE- Uh –

2-176 BENZO (TO CHARLOTTE)- You don’t listen to hip-hop. (hip-hop: a style of music)

1762.14 1764.11 1.13

195 1765.14 MCU OTS ON KELLY WHO RAISES HER HANDS. KELLY- Oh, my God, you guys gotta listen

– I tried this power cleanse.

2-177 KELLY (TO ALL)- Oh God, you guys gotta listen. I tried this power cleanse. (power cleanse: an intestinal cleanser)

1766.00 1771.12 5.12


196 1771.13 MCU OTS ON CHARLOTTE. KELLY (OS CONT)- It’s so amazing. Okay, promise me

you’ll try it.

2-178 KELLY (TO ALL)- It’s so amazing. Promise me you’ll try it.

1772.12 1776.00 3.04

197 1776.01 MCU KELLY LEANING FG WITH JOHN’S PROFILE LEANING INTO FRAME FROM R. KELLY (CONT)- Will you try this power cleanse?

2-179 -/ KELLY (TO ALL)- I did it last week and it’s amazing.

1776.06 1780.01 3.11

2-180 CHARLOTTE (TO JOHN)- John, I’ll be right back.

1780.06 1781.10 1.04 198 1778.07 MCU OTS ON CHARLOTTE AS SHE RISES, EXITS FRAME R. KELLY (OS CONT)- I did it last week and it’s amazing.

And it’s so good to just get the

toxins out of your body, y’know.

CHARLOTTE (OVERLAPPING)- John, I’ll be right back.

2-181 (OPTIONAL) KELLY (TO ALL)- It’s so good to get the toxins out of your body.

1781.15 1785.12 3.13

199 1785.13 MLS OTS AS CHARLOTTE STANDS, STARTS FG.


2-182 CHARLOTTE (TO BOB)- – Hello. BOB (TO CHARLOTTE)- – Hello.

1797.13 1800.13 3.00 201 1796.00 MS ABOVE WAIST OTS ON CHARLOTTE WHO ENTERS FRAME RBG, STANDS FRONT ANGLE. CHARLOTTE- Hello.

BOB (OS)- Hello.

CHARLOTTE- Do you ever switch seats?

2-183 CHARLOTTE (TO BOB)- Do you ever switch seats?

1801.02 1802.10 1.08


202 1802.11 MS ABOVE WAIST PAST CHARLOTTE’S ARM ONTO BOB. BOB- Uh, I like this one. If I fall,

someone will notice.

2-184 -/ BOB (TO CHARLOTTE)- I like this one. If I fall, someone will notice.

1806.10 1811.00 4.06

203 1810.08 MS ABOVE WAIST OTS ON CHARLOTTE. SHE SMILES BROADLY, LAUGHS. CHARLOTTE- (LAUGHS) Yeah. So... you having

a nice time?

2-185 CHARLOTTE (TO BOB)- Yeah. So are you having a nice time?

1813.00 1818.00 5.00

204 1818.08 MS ABOVE WAIST PAST ARM ONTO BOB. BOB- Can you keep a secret?

2-186 BOB (TO CHARLOTTE)- Can you keep a secret? I’m trying to organize a prison break.

1819.06 1825.08 6.02

205 1825.10 MS ABOVE WAIST OTS ON CHARLOTTE. BOB (OS CONT)- I’m looking for, like, an

accomplice.

CHARLOTTE- (LAUGHS)

2-187 BOB (TO CHARLOTTE)- I’m looking for an accomplice.

1825.13 1828.15 3.02

206 1830.03 MS ABOVE WAIST PAST ARM ONTO BOB. BOB- We’d have to first get out of this

bar, then the hotel…

2-188 -/ BOB (TO CHARLOTTE)- We’d have to first get out of this bar, then the hotel…

1830.11 1837.05 6.10

207 1836.15 MCU OTS ON CHARLOTTE SMILING. BOB (OS CONT)- then the city and then the country.

2-189 -/ BOB (TO CHARLOTTE)- then the city and then the country. Are you in or you out? (in or out: part of my plan or not)

1837.11 1843.01 5.06


208 1841.06 MS ABOVE WAIST PAST ARM ONTO BOB. BOB (CONT)- Are you in or you out?

2-190 CHARLOTTE (TO BOB)- – I’m in. I’ll go pack my stuff. BOB (TO CHARLOTTE)- – Get your coat.

1844.06 1850.01 5.11 209 1843.06 MCU OTS UP AT CHARLOTTE. SHE EXITS L. CHARLOTTE- I’m in. I’ll go pack my stuff –

BOB (OS)- Get your coat.

CHARLOTTE- (LAUGHS) See ya.

BOB (OS)- Perfect.

2-191 CHARLOTTE (TO BOB)- See ya. (See you later)

1850.09 1851.14 1.05

210 1853.03 MS ABOVE WAIST BOB AS CHARLOTTE IN FG EXITS R, BOB LOOKS R WATCHING HER. BOB (OS CONT)- I hope you’ve had enough to… BOB (CONT)- drink. It’s gonna take courage.

2-192 BOB (TO CHARLOTTE)- I hope you’ve had enough to drink. It’s gonna take courage (It: Bob’s prison break)

1853.03 1857.09 4.06

1865.00 LAST FRAME PICTURE. END OF REEL 2AB.




1 12.00 INT. CHARLOTTE’S HOTEL ROOM. DAY MS ABOVE WAIST HIGH REAR ANGLE DOWN ON JOHN AS HE PICKS UP SUITCASES FROM FLOOR, STANDS, PAN R AS HE CROSSES FRAME L TO R.

2 14.02 MS JOHN CARRIES LUGGAGE TO BG AS CHARLOTTE SITS SIDE ANGLE ON BED ON R. JOHN BRINGS TWO BOTTLES OF CHAMPAGNE FROM BG AND PUTS THEM ON BED FOR CHARLOTTE. JOHN (OS)- Oh, look, the label got me these.

3-1 JOHN (TO CHARLOTTE)- Oh – the label got me these. (label: the record company) (these: bottles of champagne)

14.08 19.08 5.00

3 20.05 MS ABOVE WAIST SIDE ANGLE CHARLOTTE. SHE TAKES ONE OF THE BOTTLES, BEGINS TO UNWRAP IT. CHARLOTTE- Oh, I love Cristal. You wanna have

some?

3-2 CHARLOTTE (TO JOHN)- I love Cristal. You wanna have some? (Cristal: brand of champagne)

20.06 23.06 3.00

4 23.07 MS ABOVE WAIST AS JOHN STANDS FACES FG, PUTS ON SPORTS JACKET. JOHN- Well, I, I, I gotta go. I mean...

3-3 JOHN (TO CHARLOTTE)- I have to go.

28.06 30.08 2.02


5 32.09 MS ABOVE WAIST SIDE ANGLE CHARLOTTE SEATED ON BED HOLDING CHAMPAGNE BOTTLE.

6 34.09 MS ABOVE WAIST JOHN. HE COMES RFG, AND PAN R AS HE BENDS FG. JOHN- Y’know, you,…

3-4 -/ JOHN (TO CHARLOTTE)- You don’t have to stay. (stay: in Tokyo)

35.06 38.14 3.08

3-5 CHARLOTTE (TO JOHN)- You don’t have to go, do you?

40.04 42.08 2.04

3-6 CHARLOTTE (TO JOHN)- I know, you’ll be working. I’ll have a much better time here. (better time: more fun)

46.12 52.00 5.04

3-7 CHARLOTTE (TO JOHN)- I’ll call Charlie and those guys. (those guys: Charlie’s friends)

52.05 54.07 2.02

3-8 JOHN (TO CHARLOTTE)- Yeah, call those guys. I’m gonna be back on Sunday

54.12 60.06 5.10

7 36.05 MS ABOVE WAIST SIDE ANGLE CHARLOTTE AS JOHN LEANS INTO FRAME FROM L, KNEELS ON BED OPPOSITE HER. MS ABOVE WAIST SIDE ANGLE 2 SHOT JOHN AND CHARLOTTE FACING EACH OTHER. THEY KISS. JOHN (CONT)- you don’t have to stay.

CHARLOTTE- You don’t have to go, do you?

JOHN- Oh, (LAUGHS) Well, I, I –

CHARLOTTE- I know, I know – you’re gonna be

working the whole time. I’ll have a

much better time here. Y’know, I’ll

call Charlie and those guys.

JOHN (OVERLAPPING)- Yeah, call those guys, y’know,

and, and, and I’m, I’m gonna be

back on Sunday and I, uh... I love

you, y’know.

3-9 JOHN (TO CHARLOTTE)- I love you.

62.12 64.06 1.10


3-10 CHARLOTTE (TO JOHN)- I’ll see ya, okay?

79.08 81.05 1.13 8 65.00 MCU OTS ON CHARLOTTE AS SHE AND JOHN REAR ANGLE LFG KISS. HE EXITS LFG. CHARLOTTE- I’ll see ya, okay?

JOHN (OS)- Yes. It’s gonna be a couple of

days

CHARLOTTE- Bye.

3-11 CHARLOTTE (TO JOHN)- – Bye. JOHN (TO CHARLOTTE)- – I love you.

85.00 87.10 2.10

9 86.04 MS JOHN IN DOORWAY WITH SUITCASES. HE EXITS LEAVING ROOM R. DOOR CLOSES. JOHN- I love you.

10 91.00 MCU CHARLOTTE.

11 94.11 MS HIGH ANGLE DOWN ON CHARLOTTE ON BED LOOKING R TOWARD WINDOWS.

12 98.00 INT. CHARLOTTE’S HOTEL ROOM. DAY ELS HIGH OUT WINDOW ON TOKYO AND PAN L, PICK UP CHARLOTTE REAR ANGLE SEATED ON SILL, THEN CIRCLE L AROUND HER TO MCU HIGH ANGLE AS SHE STARES L OUT WINDOW, THEN PAN L OFF HER ACROSS MORE CITY AND BUILDINGS.

13 153.01 MS ABOVE WAIST SIDE ANGLE ON CHARLOTTE SITTING ON WINDOW SILL, KNEES UP TO HER CHEST, AND TRACK R PAST HER, CIRCLE R AROUND HER PUTTING HER REAR ANGLE LOOKING AT CITY BG.


14 174.04 INT. HOTEL POOL. NIGHT LS BOB DIVES FG INTO POOL, SWIMS FG.

3-12 BOB (TO CHARLOTTE)- Hello. How are you?

187.02 190.00 2.14 15 182.07 INT. CORRIDOR OUTSIDE HOTEL POOL. NIGHT MS ABOVE WAIST CHARLOTTE IN HOTEL ROBE WALKING FG, PAN L AS SHE CROSSES FRAME R TO L AND TURNS L GOING BG AND REVEAL BOB IN HOTEL BATHROBE COMING FG. THEY ALMOST COLLIDE, STOP AND MS ABOVE WAIST OTS ON BOB. CHARLOTTE (LAUGHS) BOB- Hello.

CHARLOTTE (OS)- Hello.

BOB- How are you?

CHARLOTTE (OS OVERLAPPING)- Good. How are you?

3-13 CHARLOTTE (TO BOB)- Good. How are you?

190.05 191.15 1.10

16 192.00 MCU PAST ARM ONTO CHARLOTTE.

17 194.00 MS ABOVE WAIST OTS ON BOB.

18 197.08 MCU PAST ARM ONTO CHARLOTTE. SHE SHRUGS.

19 200.04 MS ABOVE WAIST BOB WITH CHARLOTTE SIDE ANGLE RFG. BOB- Cool pool, isn’t it?

CHARLOTTE- Yeah, it’s nice.

3-14 BOB (TO CHARLOTTE)- – Cool pool, isn’t it? (Cool: fun, interesting) CHARLOTTE (TO BOB)- – Yeah, it’s nice.

200.05 204.05 4.00


20 205.06 MCU PAST ARM ONTO CHARLOTTE. SHE TOUCHES BACK OF HER NECK. CHARLOTTE (CONT)- Get any sleep?

3-15 CHARLOTTE (TO BOB)- Get any sleep?

207.12 209.05 1.09

3-16 BOB (TO CHARLOTTE)- Not yet. How about you?

210.04 213.02 2.14 21 210.01 MS ABOVE WAIST BOB WITH CHARLOTTE SIDE ANGLE RFG. BOB- Not yet. How about you?

CHARLOTTE- No. Not yet.

3-17 CHARLOTTE (TO BOB)- No. Not yet.

214.05 217.01 2.12

22 217.02 MCU PAST ARM ONTO CHARLOTTE. CHARLOTTE (CONT)- (CHUCKLES) How long are you

staying for?

3-18 CHARLOTTE (TO BOB)- How long are you staying?

218.13 220.15 2.02

23 221.00 MS ABOVE WAIST BOB, CHARLOTTE SIDE ANGLE RFG. BOB- I’ll be in the bar for the rest of the

week.

CHARLOTTE (LAUGHS)

3-19 BOB (TO CHARLOTTE)- I’ll be in the bar for the rest of the week.

221.12 224.10 2.14

3-20 CHARLOTTE (TO BOB)- That’s good.

228.08 230.14 2.06 24 227.06 MCU PAST ARM ONTO CHARLOTTE. CHARLOTTE- Well, that’s good. Um, I’m going

out with some friends later if you

want to come.

3-21 CHARLOTTE (TO BOB)- I’m going out with some friends later if you want to come. (going out: to a party or club for the evening)

233.00 236.12 3.12


25 237.12 MS ABOVE WAIST OTS ON BOB. CHARLOTTE RFG WALKS BG DOWN CORRIDOR AS BOB WALKS FG, EXITS RFG. BOB- Sure.

CHARLOTTE- Okay. I’ll see you later.

BOB- Okay.

CHARLOTTE (OS)- See ya.

3-22 CHARLOTTE (TO BOB)- Okay. I’ll see you later.

240.15 244.05 3.06

26 251.09 INT. BOB’S HOTEL ROOM. NIGHT MS BOB IN ROBE EMPTIES CONTENTS OF FED-EX BOX. AND CARPET SAMPLES FALL OUT.

27 261.02 MCU HIGH ANGLE DOWN ON CARPET SAMPLES FALLING ONTO FLOOR.

28 262.09 MS BOB PUTS BOX DOWN, READS NOTE.

3-23 BOB (TO HIMSELF)- Bob, which one do you want for your study? (which one: of the carpet samples)

268.00 270.12 2.12 29 268.00 ECU NOTE IN BOB’S HAND. IT READS: “BOB. WHICH ONE DO YOU WANT FOR YOUR STUDY? I LIKE THE BURGUNDY, BUT WHATEVER YOU WANT. LOVE –L.” BOB (OS)- Bob, which one do you want for

your study? I like the burgundy,

but whatever you want.

BOB’S HAND LOWERS NOTE BELOW FRAME.

3-24 BOB (TO HIMSELF)- I like the burgundy, but whatever you want.

271.11 275.03 3.08


30 275.04 MS BOB LOOKING DOWN, PAN DOWN AS SHE SQUATS, LOOKS THRU CARPET SAMPLES ON FLOOR, FLIPS THEM OVER. HE PUTS CHIN ON HAND THINKING. BOB- Which one’s burgundy?

3-25 BOB (TO HIMSELF)- Which one’s burgundy?

294.04 295.14 1.10

31 296.03 INT. CHARLOTTE’S HOTEL ROOM. NIGHT MS CHARLOTTE’S REFLECTION REAR ANGLE IN BATHROOM MIRROR BG. CHARLOTTE (OS)- Hold on. Hold on.

SHE ENTERS ROOM COMING OUT OF BATHROOM FROM L, GOES BG TO DOOR. PAN R WITH HER. CHARLOTTE OPENS DOOR AND REVEAL BOB IN WILDLY COLORFUL SHIRT. HE WALKS FG.

3-26 CHARLOTTE (TO BOB)- Hold on. (Wait)

299.10 302.14 3.04

32 307.07 MCU CHARLOTTE SMILING LOOKING R, THEN FG. CHARLOTTE- (LAUGHS) You really are having a

mid-life crisis, huh?

3-27 CHARLOTTE (TO BOB)- You really are having a mid-life crisis.

311.04 314.10 3.06

33 314.12 MS ABOVE WAIST BOB WITH CHARLOTTE REAR SIDE ANGLE L. BOB LOOKS AT HIS SHIRT. PAN L AS BOB CROSSES FRAME FG R TO L PASSING CHARLOTTE AND GOES BG INTO BATHROOM, EXITS L BOB- Really?

CHARLOTTE- Mmm.

BOB (OVERLAPPING)- I was afraid of that. I kept telling… BOB (OS CONT)- myself that, y’know,…

3-28 BOB (TO CHARLOTTE)- Really? I was afraid of that. I kept telling myself… (afraid of that: that his shirt would look to outlandish)

315.06 322.01 6.11


3-29 BOB (TO CHARLOTTE)- that I just wanted to be ready in case we go to war tonight.

322.06 326.06 4.00

3-30 BOB (TO CHARLOTTE)- My bathroom is messier than yours.

331.14 334.12 2.14

3-31 BOB (TO CHARLOTTE)- And it’s not like you’re not trying. Will you cut the tag off for me? (tag: store tag off his new shirt)

343.04 348.11 5.07

3-32 CHARLOTTE (TO BOB)- You’re too tall.

354.01 355.12 1.11

34 322.06 MS CHARLOTTE FRONT ANGLE FRAME R AS BOB’S REFLECTION APPEARS IN BATHROOM LBG. BOB REMOVES HIS SHIRT, REVERSES IT, PUTS IT BACK ON. BOB (OS CONT)- I just wanted to be ready in case

we go to war tonight. My bathroom

is messier than yours. (PAUSE)

And it’s not like you’re not trying.

Here, will you cut the tag off for

me.

RE-ENTERS ROOM FROM L.

CHARLOTTE- Sure.

BOB STANDS FRONT ANGLE AS CHARLOTTE STANDING BEHIND HIM CUTS TAG. CHARLOTTE (CONT)- You’re too tall.

BOB STEPS FG, SITS. CHARLOTTE REMOVES TAG. BOB- Uh, anybody ever tell you you may

be too small?

CHARLOTTE (LAUGHS)

3-33 BOB (TO CHARLOTTE)- Anybody ever tell you you may be too small?

360.14 363.14 3.00

35 365.01 CU BOB LOOKING L WITH CHARLOTTE’S HANDS BEHIND HIM REMOVING TAG. BOB LOOKS DOWN FG. BOB- Whose is this? “A Soul’s Search:

Finding…

3-34 -/ BOB (TO CHARLOTTE)- Whose is this? “A Soul’s Search: Finding Your True Calling.” (this: Charlotte’s audio book)

365.06 371.01 5.11


36 369.10 CU CHARLOTTE LOOKING DOWN. BOB (OS CONT)- Your True Calling.”

CHARLOTTE- I don’t know.

3-35 CHARLOTTE (TO BOB)- I don’t know.

371.08 372.15 1.07

3-36 BOB (TO CHARLOTTE)- I have that. (that: Charlotte’s audio book)

375.04 376.11 1.07 37 373.02 CU BOB. BOB- I have that.

CHARLOTTE- (LAUGHS) Did it work out for you,

then?

3-37 CHARLOTTE (TO BOB)- Did it work out for you? (work out: prove successful)

377.00 379.05 2.05

38 380.08 CU CHARLOTTE LOOKING DOWN LAUGHING. CHARLOTTE (LAUGHS)

39 382.02 CU BOB WITH CHARLOTTE BG REMOVING TAG. BOB- Obviously

3-38 BOB (TO CHARLOTTE)- Obviously.

382.06 384.00 1.10

3-39 CHARLOTTE (TO BOB)- Okay.

386.13 387.15 1.02 40 386.12 CU CHARLOTTE LOOKING DOWN, LOOKS L, THEN UP TO FG AS BOB STANDS OUT OF FRAME LFG, CROSSES FRAME L TO R AND CHARLOTTE TURNS BG. CHARLOTTE- Okay.

BOB (OS)- Okay. Where’s your shoes?

CHARLOTTE (OS)- They’re over here.

3-40 BOB (TO CHARLOTTE)- – Where are your shoes? CHARLOTTE (TO BOB)- – They’re over here.

393.08 396.13 3.05


41 396.14 MS ABOVE WAIST REAR ANGLE BOB TURNS SIDE ANGLE R PUTTING ON JACKET. BOB- Where’s your room key?

3-41 BOB (TO CHARLOTTE)- Where’s your room key?

397.03 398.10 1.07

42 398.13 MCU REAR ANGLE CHARLOTTE TURNS LOOKS L. CHARLOTTE (OS)- It’s in m y bag.

3-42 CHARLOTTE (TO BOB)- It’s in my bag.

399.02 400.08 1.06

43 400.09 MS ABOVE WAIST BOB PUTTING ON JACKET. BOB- And where’s your bag?

3-43 -/ BOB (TO CHARLOTTE)- – And where’s your bag? CHARLOTTE (TO BOB)- – It’s right here. (around her waist)

401.12 404.12 3.00

44 403.00 MCU REAR ANGLE CHARLOTTE TURNS FACING L CHARLOTTE- It’s right here.

45 405.01 MS BOB AND CHARLOTTE AS BOB HOLDS OPEN DOOR, BACKS OUT AND EXITS R DOWN HALL AND CHARLOTTE FOLLOWS. BOB- Let’s go.

CHARLOTTE (OS)- Wait.

BOB- There’s the elevator. I gotta go.

CHARLOTTE (OS OVERLAPPING)- Hey!

3-44 BOB (TO CHARLOTTE)- Let’s go. There’s the elevator. I gotta go. (There: down the corridor)

406.00 409.14 3.14


46 411.08 INT. NIGHTCLUB. NIGHT MLS HIGH ANGLE PAST LARGE REFLECTING BALL HANGING FG ONTO PEOPLE MINGLING FG AND BG.

47 416.06 MCU SIDE ANGLE PAN R WITH CHARLIE MOVING THRU CROWD TO R AND EMBRACES CHARLOTTE WHO ENTERS FROM R. CHARLIE- Hi, how are you?

CHARLOTTE (OS OVERLAPPING)- Hi.

48 419.06 MS ABOVE WAIST PAST BOB REAR ANGLE IN RFG ONTO CHARLIE AND CHARLOTTE HUGGING.

49 420.14 MS ABOVE WAIST CHARLIE AND CHARLOTTE HUGGING SIDE ANGLE IN FG, BOB STANDING RBG LOOKING UP L. CHARLOTTE AND CHARLIE SEPARATE AND CHARLOTTE TURNS BG INTRODUCING BOB. CHARLIE- Ooh.

CHARLOTTE (OS)- Um, Bob, this is Charlie Brown.

3-45 -/ CHARLOTTE (TO BOB)- Bob, this is Charlie Brown.

424.00 427.05 3.05


50 427.00 MS ABOVE WAIST BETWEEN CHARLOTTE PROFILE LFG AND BOB REAR ANGLE RFG ONTO CHARLIE BG AS HE AND BOB SHAKE HANDS. CHARLIE SIDESTEPS L. CHARLIE- Nice to meet you.

BOB (OS OVERLAPPING)- Hi. Nice to meet you. How are

you?

CHARLIE (OVERLAPPING)- Nice to meet you.

3-46 BOB (TO CHARLIE)- Hi. Nice to meet you.

428.00 430.02 2.02

51 431.15 MS ABOVE WAIST OTS ON BOB LOOKING L. CHARLIE (OS CONT)- This is Bambi.

3-47 -/ CHARLIE (TO BOB)- – This is Bambi. BOB (TO BAMBI)- – How are you, Bambi?

432.02 435.00 2.14

52 433.04 MS ABOVE WAIST BETWEEN CHARLOTTE AND BOB REAR ANGLE IN FG ONTO CHARLIE AND LBG AND BAMBI RBG SHAKING BOB’S HAND. BOB (OS)- How are you, Bambi.

3-48 CHARLOTTE (TO BOB)- Why do we call you Charlie Brown?

436.08 439.00 2.08 53 434.09 MCU OTS ON CHARLIE. CHARLOTTE- His real names Hayashi but – why

do we call you Charlie Brown for?

CHARLIE (OVERLAPPING)- Yeah, yeah, yeah – Y’know,

everybody said…

3-49 -/ CHARLIE (TO CHARLOTTE)- Everybody say I look like Charlie Brown. (as in the comic character Charlie Brown)

439.05 444.02 4.13


54 439.12 MCU CHARLOTTE AND CHARLIE. CHARLIE (CONT)- Charlie Brown looks like, uh, –

Charlie Brown, Snoopy, man.

55 445.03 MS ABOVE WAIST OTS BETWEEN CHARLIE AND CHARLOTTE ONTO BOB. CHARLOTTE MOVES L. BOB- Alright.

CHARLOTTE (OS)- Alright, I’ll be right back.

56 446.11 MS ABOVE WAIST CHARLOTTE COMES FG AS BAMBI CROSSES FRAME FG TO L. CHARLIE (OS)- Yeah, yeah, yeah, yeah.

57 448.12 MS ABOVE WAIST REAR ANGLE BOB RFG AS CHARLIE L ESCORTS BOB BG. CHARLIE (OS CONT)- Bob, over here – these are my

friends – Very beautiful.

3-50 CHARLIE (TO BOB)- These are my friends. Very beautiful.

451.01 455.01 4.00

58 455.07 MS ABOVE WAIST YOUNG WOMAN IN WHITE T-SHIRT AS CHARLIE ARM EXTENDS INTO FRAME FROM L, PAN A LITTLE L TO INCLUDE ANOTHER PRETTY YOUNG JAPANESE WOMAN. CHARLIE (OS CONT)- She’s, uh, “B”, and she’s, uh, Rico,

and she’s, uh, Myumi.

3-51 CHARLIE (TO BOB)- She’s “B”, and she’s Rico and she’s Myumi.

455.09 461.02 5.09


59 461.07 ECU SIDE ANGLE BOB NODDING FACING LBG. BOB- Myumi, how are you. I’m Bob.

3-52 -/ BOB (TO MYUMI)- Myumi, how are you? I’m Bob.

461.08 463.12 2.04

60 463.09 MS ABOVE WAIST TWO YOUNG WOMEN, “B” AND RICO AS ARM GESTURES INTO FRAME FROM L. TWO WOMEN- Hi, Bob.

CHARLIE (OVERLAPPING)- Bob, from United States, man.

GIRL ON LEFT- Oh.

3-53 CHARLIE (TO GIRLS)- Bob from United States, man.

464.14 468.08 3.10

3-54 BOB (TO GIRLS)- Maybe you’d like to sing back up for me? (back up: when a small group of singers provides background for a main singer)

473.00 475.02 2.02 61 472.09 MCU YOUNG GUY SURFER TEACHER LOOKING UP TO FG WITH TWO GIRLS BG. BOB (OS)- Maybe you’d like to sing backup

for me?

CHARLIE (OS)- This is my surfing teacher.

3-55 -/ CHARLIE (TO BOB)- – This is my surfing teacher. (This is: man to whom Charlie is introducing Bob) BOB (TO CHARLIE)- – He’s your surfing teacher?

475.07 479.12 4.05

62 477.13 CU SIDE ANGLE BOB RFG WITH SURFER GUY BG BOTTOM OF FRAME. BOB- He’s your surfing teacher?

CHARLIE (OS)- Sometime, sometime.

BOB- Alright. You’re a surfer?

3-56 BOB (TO SURFER)- You’re a surfer?

481.01 483.02 2.01


63 483.03 MS LOW ANGLE UP AT BIG BLUE HANGING BALL.

64 486.11 MCU SIDE ANGLE CHARLOTTE IN SILHOUETTE.

65 489.06 CU SIDE ANGLE GUY WITH CIGARETTE HELD BETWEEN TEETH.

66 491.15 MS – MS ABOVE WAIST CHARLIE SIDE ANGLE RFG, GIRLS BG, OTHER GUY REAR ANGLE LFG.

67 495.06 MCU SIDE ANGLE BOB IN PARTY, PAN L.

68 498.00 MS PAN L ACROSS CLUB GOERS IN SILHOUETTE, HANGING BALLS.

69 501.02 MS REAR ANGLE SEVERAL GUYS AT CLUB AROUND TABLE.

70 505.08 MS CHARLOTTE REAR ANGLE LFG TALKS WITH GUY WITH BLACK HAIR FRONT ANGLE IN BG. THEN LEAN INTO EACH OTHER, GIVE KISS ON CHEEK.

71 511.02 MCU BARTENDER AND PAN DOWN TO HAND PALM UP AS HE PUTS PILLS IN IT. HAND PULLS OUT OF FRAME R.

72 517.05 MS ABOVE WAIST BARTENDER AND PAN R TO MCU SIDE ANGLE BOB.


73 520.13 MS ABOVE WAIST CHARLIE WITH ANOTHER GUY SIDE ANGLE LFG.

74 522.13 MS PEOPLE UPPER BG IN SILHOUETTE DANCING.

75 526.04 MS ABOVE WAIST SIDE ANGLE BOB WITH SHADOWS CRISSCROSSING FACE, TURNS FG LOOKING AROUND ROOM.

76 528.13 MS PEOPLE SITTING ON FLOOR UNDER HANGING BALLS AND PAN UP.

77 533.12 INT. CLUB. NIGHT MS ABOVE WAIST SIDE ANGLE BOB AND BIG GUY FACING EACH OTHER LEANING AGAINST WALL TALKING. BIG GUY- (SPEAKS FRENCH)

BOB- Oh, oui, oui, the Emperor’s house.

Cool.

3-57 BOB (TO BIG GUY)- Oui, oui – the Emperor’s house? Cool. (the Emperor: Japanese Emperor)

537.07 541.00 3.09

78 541.01 INT. CLUB. NIGHT MS FRONT ANGLE BOB R AND BIG GUY L SITTING IN BOOTH TALKING. BIG GUY- (SPEAKS FRENCH)

BOB- Yeah.

BIG GUY- (SPEAKS FRENCH)

BOB- Oui.


79 553.10 INT. CLUB. NIGHT MLS BOB AT TABLE L AND PEOPLE IN BOOTHS R AS CHARLOTTE WALKS UP FROM BG. BOB (CONT)- Oui. Right.

80 558.13 MS ABOVE WAIST AS CHARLOTTE WALKS BG TO FG TO BOB HALF IN FROM FRONT ANGLE ON L. PAN L AS BOB TURNS LOOKS R AT CHARLOTTE. BOB (OS CONT)- You don’t have anything,… BOB (CONT)- do you have anything be–

CHARLOTTE- Hey.

BOB- Hey.

3-58 -/ BOB (TO CHARLOTTE)- – Hey. How you doing? CHARLOTTE (TO BOB)- – Good. How are you?

564.05 567.08 3.03

81 565.04 MLS AS CHARLOTTE SITS IN BOOTH LOWER R SIDE ANGLE OPPOSITE BOB AT TABLE L. BOB (CONT)- How you doing?

CHARLOTTE- Good. How are you?

82 567.08 MS ABOVE WAIST BOB. BOB- My Japanese is getting better. We

started speaking English.

3-59 BOB (TO CHARLOTTE)- My Japanese is getting better. We started speaking English.

567.13 571.05 3.08


83 571.15 MS CHARLOTTE AND PAN DOWN R TO INCLUDE GUY IN BERET IN BOOTH BESIDE HER.

84 577.08 MS PAST BOB AT GIRL AT TABLE L AND CHARLOTTE WITH GUYS IN BOOTH R AS THEY ALL TURN LOOK BG.

85 582.11 MLS OVER HEADS AT CHARLIE REAR ANGLE BG AT BAR.

86 585.04 MS ABOVE WAIST REAR ANGLE CHARLIE THROWS SOMETHING BG AT BARTENDER.

87 588.00 MCU TWO GUYS LAUGHING THEN PAN UP OFF THEM PICK UP MLS REAR ANGLE CHARLIE THROWING THINGS AT BARTENDER BG.

88 590.14 MS ABOVE WAIST BOB TURNS LOOKS BG.

89 592.00 MLS AS CHARLIE RUNS FG FROM BAR WHILE BARTENDER FIRES BB GUN UPPER RFG. CHARLIE (OS)- Whoa, guys…

90 594.08 MS ABOVE WAIST CHARLOTTE LFG AND BOB START RUNNING LFG. CHARLIE (OS CONT)- get out,…


91 596.01 MS AS CHARLOTTE, THEN BOB THEN CHARLIE BEHIND THEM RUN FG UP AISLE. CHARLIE (OS CONT)- get out.

92 596.14 MS JUMPS DOWN FROM BARTOP TO FG SHOOTS BB GUN UPPER RFG.

93 599.12 MS ABOVE WAIST CHARLOTTE THEN BOB CROSS FRAME FG EXIT RFG.

94 601.13 EXT. TOKYO STREET. NIGHT MS BOB R AND CHARLOTTE L RUN FG WITH CHARLIE AND BAMBI BG FOLLOWING. TRACK BACK. BOB LOOKS BG. CHARLOTTE- Wow.

95 604.14 MLS BARTENDER RUNNING FG WITH BB GUN.

96 606.03 MS ABOVE WAIST REAR ANGLE BOB TURNS FACING FG AS HE RUNS BACKWARD TO BG.

97 608.15 MLS BARTENDER RUNNING FG WITH BB GUN.

98 610.06 MS REAR ANGLE CHARLIE, BAMBI IN SILHOUETTE FG AND BOB BG RUNNING BG. BOB (OS)- Who are these guys, anyway?


99 612.08 MS CHARLIE , CHARLOTTE AND BOB, AND BAMBI RUNNING FG LAUGHING, LOOK BG AS THEY RUN. CHARLIE STOPS, TURNS BG RAISING ARMS.

100 617.03 MLS BARTENDER WITH BB GUN.

101 619.03 MS ABOVE WAIST BOB PAN R TO CHARLOTTE.

102 621.04 MS CHARLIE AND BAMBI, PAN R AS BAMBI THROWS SOMETHING RFG.

103 625.10 MS-LS PAST CHARLIE AND BAMBI REAR ANGLE IN FG ONTO BARTENDER BG AS BARTENDER SHOOTS BB GUN AND CHARLIE, BAMBI TURN AND RUN FG. BOB (OS)- Oh, no.

104 630.04 MS BOB LFG AND CHARLOTTE TURN BG AND START RUNNING BG. BOB (OS CONT)- Oh.

105 632.11 MS AS CHARLOTTE L AND BOB R RUN FG, EXIT RFG REVEALING CHARLIE AND BAMBI BG FACING BG AS BARTENDER COMES FG.


106 635.15 INT. VIDEO/GAMBLING ARCADE. NIGHT MS REAR ANGLE TRACK BG FOLLOWING BOB AND CHARLOTTE RUNNING BG THRU ARCADE, SLOT MACHINES.

107 644.01 MS AS CHARLOTTE AND BOB RUN FG THRU ARCADE AND PEOPLE SEATED AT SLOT MACHINES, TRACK R AS THEY RUN R MOVING FROM AISLE TO AISLE.

108 649.01 MLS TRACK R PAST MACHINE PICK UP BOB AND CHARLOTTE DOWN ROW OF SLOTS AND THEY RUN FG, THEN EXIT R.

109 653.14 EXT. STREET. NIGHT LS BOB AND CHARLOTTE BG RUN FG AS CARS CROSS FRAME FG, THEN PAN R AS THEY WALK BRISKLY R.

110 661.14 MS SIDE ANGLE PAN L AS BOB STEPS L KNOCKS ON TAXI DOOR, REVEAL CHARLOTTE STANDING R. TAXI EXITS FRAME LFG AND BOB STANDS SIDE ANGLE LOOKS BG. BOB- Hi. Oh, come on.

3-60 BOB (TO TAXI)- Oh, come on.

668.00 669.05 1.05

111 669.10 MS-LS CHARLIE REAR ANGLE IN SILHOUETTE IN FG WAVES AND BOB, CHARLOTTE APPEAR LBG AND RUN FG ACROSS STREET. CHARLIE (OS)- Hey, guys! Over here. Hurry up.

Hurry up.

CHARLOTTE (OS OVERLAPPING)- Wait!

3-61 CHARLIE (TO CHARLOTTE, BOB)- Hey, guys! Over here. Hurry up.

670.04 675.04 5.00


SAME SHOT CONT.

BOB (OS OVERLAPPING)- Our tour guide.

3-62 BOB (TO CHARLOTTE)- It’s our tour guide. (It: referring to Charlie)

676.05 677.12 1.07

112 677.15 LS SIDE ANGLE PAN L AS CHARLOTTE AND BOB RUN ACROSS STREET R TO L, CLIMB INTO TAXI. CHARLIE (OS CONT)- Hurry up!

.

113 688.03 EXT. TOKYO STREET. NIGHT LS CARS MOVE TAXI MOVES TO BG.

114 693.07 INT. CHARLIE’S HOUSE. NIGHT MS ABOVE WAIST CHARLIE FACING R TURNS FG AND THEN BG AND PAN L AND MOMENTARILY PICK UP CHARLOTTE LOWER L BG. CHARLIE SIDE ANGLE RFG TAKES PICTURE. CHARLOTTE (OS)- Yeah?

CHARLIE (OS)- Gorgeous, gorgeous.

CHARLOTTE (OVERLAPPING)- Gorgeous.

CHARLIE- Ah, blond and…

3-63 -/ CHARLIE (TO CHARLOTTE, OTHER GIRL)- Gorgeous. Blond and black.

694.14 699.14 5.00

115 698.15 MS HIGH ANGLE DOWN ON CHARLOTTE SITTING ON FLOOR REAR ANGLE LOOKING FG OVER SHOULDER IN SEXY POSE, OTHER GIRL SITTING AGAINST SOFA L. CHARLIE (OS CONT)- black, right. (LAUGHS)


116 703.09 MS OTS HIGH ANGLE DOWN ON CHARLOTTE AND OTHER GIRL POSING. CHARLOTTE (LAUGHS)

117 707.13 MS HIGH SIDE ANGLE CHARLOTTE FG AND OTHER GIRL BG FACING L. CHARLOTTE LOOKS UP TO FG. BOB (OS)- Cheese.

3-64 -/ BOB (TO CHARLOTTE)- Cheese. Cheese-oh. (Cheese: What one says when they’re having their picture taken) (Cheese-oh: Bob is making it humorous, as if it were Japanese)

708.00 710.10 2.10

118 709.06 MS PAST GIRL AND CHARLOTTE SIDE ANGLE SITTING ON COUCH LFG LOOKING BG UP AT BOB STANDING TAKING THEIR PICTURE. BOB (OS CONT)- Cheese-oh.

CHARLOTTE- Cheese.

119 712.05 CU GUY WITH FUZZY HAIR AND MUSTACHE.

120 714.11 MS ABOVE WAIST GIRL WITH BLACK HAIR, GUY IN CAP R SITTING ON SOFA AS GUY WITH TATTOO’S ON ARM SITS ON BACK OF SOFA SIDE ANGLE, TOUCHES FISTS WITH GUY IN CAP, LOOKS FG, EXTENDS HAND SHAKING HANDS. TATTOO GUY- Hi, I’m (INDISTINCT) Nice to meet

you.

CHARLOTTE (OS)- I’m…

3-65 TATTOO GUY (TO CHARLOTTE)- Hi. Nice to meet you.

719.03 722.12 3.09


121 723.01 MS ABOVE WAIST PAST ARM ONTO CHARLOTTE SHAKING HANDS. CHARLOTTE (CONT)- Charlotte. Nice to meet you.

3-66 CHARLOTTE (TO TATTOO GUY)- I’m Charlotte. Nice to meet you.

723.02 725.04 2.02

122 725.06 MS LOW ANGLE OTS UP AT GUY WITH TATTOO ARMS. TATTOO GUY- Hi.

123 730.05 MS PAST CHARLIE REAR ANGLE RFG SITTING OPPOSITE ANOTHER GUY.

124 732.13 ECU SIDE ANGLE CHARLOTTE IN SILHOUETTE.

125 734.13 MS ABOVE WAIST BOB R SITTING NEXT GUY WITH SHOT GLASS L. GUY WITH SHOT GLASS- Last weekend, like, I went surfing.

BOB- Right.

3-67 GUY WITH SHOT GLASS (TO BOB)- Last weekend, I went surfing.

734.15 738.15 4.00

126 739.15 CU SIDE ANGLE GUY WITH CAP LAUGHING. GUY WITH SHOT GL ASS (OS)- African people, y’know…

3-68 -/ GUY WITH SHOT GLASS (TO BOB)- African people are some of my friends.

740.03 744.05 4.02


127 743.05 MS ABOVE WAIST SIDE ANGLE GUY HOLDING CIGARETTE FACING DOWN L LAUGHING. GUY WITH SHOT GLASS (OS CONT)- they are some of my friends. And,

like…

3-69 -/ GUY WITH SHOT GLASS (TO BOB)- And we camp on the beach.

745.08 750.14 5.06

128 747.10 MS ABOVE WAIST BOB R AND GUY WITH SHOT GLASS L LOOKING AT EACH OTHER TALKING. GUY WITH SHOT GLASS (CONT)- we camp over there, like, on the

beach

129 751.11 MS ABOVE WAIST SIDE ANGLE GUY WITH NECKLACE LIGHTS CIGARETTE. GUY WITH SHOT GLASS (OS CONT)- We made a kind of like street

performance.

3-70 GUY WITH SHOT GLASS (TO BOB)- We made a kind of street performance.

753.12 758.00 4.04

3-71 BOB (TO GUY WITH SHOT GLASS)- Wait a minute – what kind of weed is it? (weed: marijuana)

758.05 761.02 2.13 130 758.02 MS ABOVE WAIST GUY WITH DARK SUNGLASSES AND GIRL WHO HOLDS BOTTLE. BOB (OS)- Wait a minute, what kind of weed

is it?

GUY WITH SHOT GLASS- I…

3-72 -/ GUY WITH SHOT GLASS (TO BOB)- I don’t know.

762.00 763.07 1.07

131 762.06 MS ABOVE WAIST SIDE ANGLE CHARLIE DANCING, OTHERS AROUND HIM. GUY WITH SHOT GLASS (OS CONT)- don’t know.


132 766.01 MCU CHARLOTTE DANCING.

133 769.06 ECU SIDE ANGLE GIRL WITH BLACK HAIR DANCING.

134 772.09 MS CHARLIE , CHARLOTTE, SEVERAL OTHERS IN GROUP DANCING.

135 776.00 MS PAST TATTOO ARM GUY RFG, OTHER GUY DANCING ONTO BOB BG PICKING UP GLASS.

136 780.07 CU SIDE ANGLE CHARLOTTE DANCING, LAUGHING.

137 783.12 MS BOB, CHARLIE OTHERS DANCING.

138 788.05 MCU OTS ON BLACK HAIRED GIRL DANCING. BOB REAR ANGLE RFG JOKINGLY PULLS HER SWEATER OFF HER SHOULDER.

139 794.03 MS ABOVE WAIST TATTOO GUY AND OTHER GUY EMBRACING, HALF WRESTLING, D ANCING.

140 801.08 MCU LOW ANGLE UP AT BOB HAVING FUN DANCING.

141 805.12 INT. KARAOKE CLUB. NIGHT ECU CHARLIE BENT FG SINGING INTO MICROPHONE. CHARLIE- (SINGING) (INDISTINCT)


142 808.02 MS ABOVE WAIST GIRL WITH MULTI COLORED HAIR. PAN DOWN RIGHT TO GUY FROM PARTY.

143 810.03 LS FROM OUTSIDE BUILDING ON KARAOKE ROOM WHERE BOB, CHARLOTTE, CHARLIE ARE PARTYING SINGING. ZOOM INTO WINDOW. CHARLIE (OS)- (SINGING) I watch it right here.

144 814.12 MCU LOW ANGLE CHARLIE SINGS INTO MICROPHONE LEANING FG. CHARLIE (CONT)- (SINGING) Made you a moron.

3-73 -/ ITAL

CHARLIE (TO ALL)- It made you a moron – a potential H bomb. (H bomb: Hydrogen bomb)

815.04 821.14 6.10

145 819.03 CU TV WITH KARAOKE SCREEN AND LYRICS. CHARLIE (OS CONT)- (SINGING) a potential H bomb.

146 824.11 MS ABOVE WAIST LOW ANGLE MULTI-COLOR HAIR GIRL SPINNING. CHARLIE (OS CONT)- (SINGING INDISTINCT)

147 827.01 MCU LOW ANGLE CHARLIE SINGING BENT FG. CHARLIE (CONT)- (SINGING INDISTINCT)


148 833.10 MS SIDE ANGLE CHARLOTTE RFG, BOB BOTTOM OF FRAME LOOKING L AND PAN L PICK UP CHARLOTTE ON TABLE/STAGE SINGING. CHARLIE (CONT)- (SINGING) There’s no future.

(INDISTINCT)

3-74 ITAL

BOB (TO ALL)- As I walk through this wicked world…

849.00 856.00 7.00

3-75 ITAL

BOB (TO ALL)- searching for light in the darkness…

858.12 863.08 4.12

3-76 ITAL

BOB (TO ALL)- of insanity

863.11 867.02 3.07

149 844.02 INT. KARAOKE ROOM. NIGHT MS SIDE ANGLE BOB PICKS UP MICROPHONE. PAN DOWN R TO CHARLIE THEN BACK UP L TO BOB TURNED FRONT ANGLE SINGING. MS ABOVE WAIST AS BOB SINGS, TURNING BG, R AND L. BOB- (SINGING) As I walk through this

wicked world, searching for light in

the darkness of insanity. I ask

myself…

3-77 ITAL

BOB (TO ALL)- I ask myself…

868.08 871.08 3.00

3-78 ITAL

BOB (TO ALL)- is all hope lost?

873.02 877.05 4.03 150 871.11 CU LOW ANGLE BOB SINGING, LEANING FG THEN BACK. BOB- (SINGING) is all hope lost? Is

there only pain and hatred…

3-79 ITAL

BOB (TO ALL)- Is there only pain and hatred…

878.08 884.02 5.10

151 884.12 MCU KARAOKE TV SCREEN WITH SONG LYRICS. BOB (OS CONT)- (SINGING) and misery?

3-80 ITAL

BOB (TO ALL)- and misery?

884.12 888.02 3.06

3-81 ITAL

BOB (TO ALL)- And each time I feel like this inside…

889.13 895.01 5.04 152 889.10 MCU CHARLOTTE IN PINK WIG LOOKING UP TO RFG LAUGHING, THEN PAN R ACROSS GUESTS, BAMBI, GIRL WITH BLACK HAIR. BOB (OS CONT)- (SINGING) And each time I feel

like this inside, there’s…

3-82 -/ ITAL

BOB (TO ALL)- there’s one thing I want to know.

895.07 900.07 5.00


3-83 ITAL

BOB (TO ALL)- What’s so funny about peace, love and understanding?

901.04 908.04 7.00 153 895.13 CU OUT OF FOCUS SIDE ANGLE ON CHARLIE, THEN PAN L AND UP PICK UP BOB SINGING WITH MICROPHONE. HE BENDS DOWN L. BOB (OS CONT)- (SINGING) one thing I want to

know,…

BOB (CONT)- (SINGING) what’s so funny about

peace, love and understanding?

PAN L OFF BOB ACROSS BAMBI, OTHER GUY, CHARLOTTE AND ANOTHER WOMAN, THEN PAN BACK R ACROSS CHARLOTTE, OTHER GUY, BAMBI. ALL, CHARLOTTE- Whoa!

BOB (OS)- (SINGING) What’s so funny about

peace, love and understanding?

3-84 ITAL

BOB (TO ALL)- What’s so funny about peace, love and understanding?

911.07 918.07 7.00

3-85 ITAL

CHARLOTTE (TO ALL)- I’m winkin’ at ya. I’m gonna make you, make you,

923.10 930.05 6.11 154 921.10 INT. KARAOKE ROOM. NIGHT MS ABOVE WAIST SIDE ANGLE CHARLOTTE IN WIG SINGING, CHARLIE BG. CHARLOTTE DANCES TO BG AS CHARLIE EXITS R. CHARLOTTE- (SINGING) I’m winkin’ at ya. CHARLOTTE (OS CONT)- (SINGING) I’m gonna make you,

make…

3-86 -/ ITAL

CHARLOTTE (TO ALL)- make you notice.

930.11 933.13 3.02


155 929.10 MS ABOVE WAIST CHARLOTTE SINGING. SHE MOVES FG, POINTS AS CHARLIE ENTERS RBG SINGING BACKUP. CHARLOTTE (CONT)- (SINGING) you, make you notice.

Gonna use my arms.

3-87 -/ ITAL

CHARLOTTE (TO ALL)- Gonna use my arms. Gonna use my legs.

935.10 941.12 6.02

156 938.00 MS BOB SITTING WITH ARM AROUND TWO GIRLS LOOKING LFG SMILING. CHARLOTTE (OS CONT)- (SINGING) Gonna use my legs.

157 941.15 MS LOW ANGLE CHARLIE REAR ANGLE AND CHARLOTTE FRONT ANGLE SINGING. CHARLOTTE (CONT)- (SINGING) Gonna use my style.

3-88 -/ ITAL

CHARLOTTE (TO ALL)- Gonna use my style. Gonna use my sassy. (sassy: sex appeal)

943.04 949.06 6.02

158 945.10 MCU LOW ANGLE CHARLOTTE SINGING, MOVING SHOULDERS. CHARLOTTE (CONT)- (SINGING) Gonna use my sassy.

159 950.11 MS HIGH ANGLE OTS DOWN ON BOB AND TWO GIRLS LOOKING UP TO FG. CHARLOTTE (OS CONT)- (SINGING) Gonna use my fingers.

3-89 ITAL

CHARLOTTE (TO ALL)- Gonna use my fingers.

950.11 953.08 2.13

160 954.03 MCU LOW ANGLE CHARLOTTE SINGING. SHE TURNS L. CHARLOTTE (CONT)- (SINGING) Gonna my, my, my…

3-90 -/ ITAL

CHARLOTTE (TO ALL)- Gonna use my, my, my imagination.

954.04 961.00 6.12


161 958.08 MCU PAN UP R TO CHARLOTTE AND CHARLIE BOTH SIDE ANGLE AGAINST EACH OTHER FACING L SINGING. CHARLOTTE (CONT)- (SINGING) imagination. Oh,

‘cause I’m…

3-91 -/ ITAL

CHARLOTTE (TO ALL)- ‘Cause I’m gonna make you see…

962.06 967.11 5.05

162 965.08 MS ABOVE WAIST LOW ANGLE UP AT CHARLOTTE R SINGING, CHARLIE L. CHARLOTTE (CONT)- (SINGING) gonna make you see...

nobody else here...no one like me.

3-92 -/ ITAL

CHARLOTTE (TO ALL)- nobody else here...no one like me.

969.00 975.02 6.02

163 974.06 MCU HIGH ANGLE DOWN ON BOB, ARM AROUND GIRL L. HE SHAKES HIS HEAD.

164 977.02 MCU LOW SIDE ANGLE CHARLOTTE LOOKING DOWN TO FG SINGING. CHARLOTTE (CONT)- (SINGING) I’m special,…

3-93 -/ ITAL

CHARLOTTE (TO ALL)- I’m special, so special –

977.04 983.02 5.14

165 978.14 MCU HIGH ANGLE BOB. CHARLOTTE (OS CONT)- (SINGING) so special --

BOB (OVERLAPPING)- (SINGING) Special.

CHARLOTTE (OS)- (SINGING) I gotta have…

3-94 -/ ITAL

CHARLOTTE (TO ALL)- I gotta have some of your attention. Give it to me.

984.12 991.12 7.00


166 986.00 MS ABOVE WAIST LOW ANGLE UP AT CHARLIE L, CHARLOTTE R SINGING. CHARLOTTE (CONT)- (SINGING) some of your attention.

Give it to me.

3-95 CHARLOTTE (TO ALL)- Ladies and gentlemen, Mr. Bob Harris.

992.13 996.06 3.09

3-96 BOB (TO ALL)- Thanks. This is hard. (This: singing this song)

999.08 1002.00 2.08

167 992.13 INT. KARAOKE ROOM. NIGHT ECU SIDE ANGLE CHARLOTTE WITH MICROPHONE, CHARLOTTE- Ladies and gentlemen, Mr. Bob

Harris.

THEN SHIFT FOCUS BG AS CHARLOTTE TURNS BG HANDS MICROPHONE TO BOB REVEALED MCU SIDE ANGLE IN BG. BOB DOWN BOOZE FROM SHOT GLASS, BRINGS MICROPHONE TO LIPS. BOB- Thanks. This is hard. Oh.

(SINGING) I could…

3-97 -/ ITAL

BOB (TO ALL)- I could feel at the time…

1014.11 1020.02 5.07

3-98 ITAL

BOB (TO ALL)- there was no way of knowin’.

1020.12 1024.09 3.13 168 1015.13 CU-MCU PAST BOB OUT OF FOCUS SIDE ANGLE RFG ONTO CHARLOTTE SIDE ANGLE BG, THEN SHIFT FOCUS TO BOB AS HE SINGS INTO MICROPHONE. BOB (CONT)- (SINGING) feel at the time there

was no way of knowin’, fallen

leaves in the…

3-99 -/ ITAL

BOB (TO ALL)- Fallen leaves in the night.

1026.06 1031.06 5.00

3-100 ITAL

BOB (TO ALL)- Who can say where they’re blowin’.

1031.15 1037.03 5.04 169 1030.01 MS ABOVE WAIST CHARLOTTE AND CHARLIE. PAN L OFF THEM PICK UP GIRL WITH BLACK HAIR, THEN BAMBI. BOB (OS CONT)- (SINGING) night who can say

where they’re blowin’. As free as

the wind,…

3-101 ITAL

BOB (TO ALL)- As free as the wind…

1038.00 1041.06 3.06


3-102 ITAL

BOB (TO ALL)- hopefully learnin’.

1044.08 1048.04 3.12

3-103 ITAL

BOB (TO ALL)- why the sea on the tide

1048.10 1053.12 5.02

3-104 ITAL

BOB (TO ALL)- has no way of turnin’.

1055.00 1059.12 4.12

3-105 ITAL

BOB (TO ALL)- More than this,…

1065.00 1068.02 3.02

3-106 ITAL

BOB (TO ALL)- you know there’s nothing.

1070.02 1076.04 6.02

170 1042.04 CU SIDE ANGLE BOB WITH MICROPHONE, CHARLOTTE AND CHARLIE OUT OF FOCUS IN BG. SHIFT FOCUS BG TO CHARLOTTE WHO SMILES, LAUGHS. BOB (CONT)- (SINGING) hopefully learnin’, why

the sea on the tide has no way of

turnin’. More than this, you know

there’s nothing. More…

3-107 -/ ITAL

BOB (TO ALL)- More than this…

1076.08 1080.01 3.09

171 1077.01 CU OTS BOB SINGING. BOB (CONT)- (SINGING) than this…

172 1080.02 MCU CHARLOTTE. BOB (OS CONT)- (SINGING) tell me one…

3-108 -/ ITAL

BOB (TO ALL)- tell me one thing…

1082.02 1086.14 4.12

3-109 ITAL

BOB (TO ALL)- More than this…

1087.08 1091.12 4.04 173 1084.07 CU SIDE ANGLE BOB SINGING LOOKING FG, GLANCING UP R. BOB (CONT)- (SINGING) thing. More than this,

ooh, there’s nothing.

3-110 ITAL

BOB (TO ALL)- ooh, there’s nothing.

1093.08 1099.08 6.00

174 1100.06 INT. CORRIDOR OUTSIDE KARAOKE ROOM. NIGHT MS SIDE ANGLE CHARLOTTE IN WIG SITTING ON BENCH SMOKING. BOB ENTERS FROM DOOR BG, COMES FG AND SITS BESIDE CHARLOTTE. HE TAKES HER CIGARETTE, SMOKES.


175 1145.08 MS ABOVE WAIST BOB L AND CHARLOTTE R AS BOB PASSES CIGARETTE BACK TO CHARLOTTE. SHE RESTS HER HEAD ON HIS SHOULDER. SMOKES.

176 1172.00 INT. TAXI/ EXT. TOKYO. LS LOW ANGLE UP AT LIGHTED TOWER, TRACK R ACROSS BRIDGE.

177 1177.09 ELS CITY SKYLINE TRACK R ACROSS BRIDGE, PICK UP LIGHTED SUSPENSION BRIDGE IN BG.

178 1183.04 LS OUT CAR WINDOW ON LIT SUSPENSION BRIDGE, TRACK R. THEN BG AS CAR TURNS MOVES BG GOING OVER BRIDGE.

179 1214.09 MLS OUT CAR WINDSHIELD MOVING BG OVER BRIDGE. SHOT GOES OUT OF FOCUS.

180 1218.07 EXT. TOKYO STREETS. NIGHT MLS TRACK R ACROSS PEDESTRIANS, CARS, BUILDINGS.

181 1221.06 EXT/INT. TAXI. NIGHT MS ALONG SIDE OF CAB ON CHARLOTTE SEATED IN BACK SEAT LOOKING FG THRU CLOSED WINDOW. TRACK BACK.

182 1232.09 MLS LOW ANGLE CHARLOTTE’S POV MOVING L TO R PASSES BUILDING AND NEON SIGNS.


183 1237.113 ECU CHARLOTTE LOOKING FG THRU WINDOW, HER HEAD TILTED R. CITY LIGHTS REFLECT IN WINDOW.

184 1246.06 MCU SIDE ANGLE CHARLOTTE IN BACK SEAT OF CAB. SHE LOOKS FG.

185 1254.01 MCU SIDE ANGLE BOB IN BACK SEAT OF CAB SLEEPING.

186 1261.04 MCU SIDE ANGLE CHARLOTTE TURNS LOOKING R, SMILING.

187 1273.00 MS TRACKING R ACROSS BLURRED NEON LIGHTS.

188 1281.13 INT. HALL OUTSIDE CHARLOTTE’S ROOM. NIGHT MLS REAR ANGLE BOB CARRIES CHARLOTTE TO BG.

189 1293.00 MS TRACK BACK WITH BOB AS HE CARRIES CHARLOTTE FG, TURNS AND EXITS L.

190 1309.09 LS BOB CARRIES CHARLOTTE R INTO ROOM, EXITS R.

191 1321.07 INT. CHARLOTTE’S HOTEL ROOM. NIGHT MS HIGH ANGLE AS BOB LAYS CHARLOTTE ON THE BED, KNEELS BESIDE BED L AS CHARLOTTE SAYS ASLEEP ON HER SIDE FACING L.

192 1334.15 MS ABOVE WAIST REMOVES CHARLOTTE’S SHOES, PUTS THEM DOWN R.


193 1337.10 MS HIGH ANGLE AS BOB REAR ANGLE LFG PULLS COVERS OVER CHARLOTTE ON SIDE ON BED FACING L.

194 1342.10 MS ABOVE WAIST OVER CHARLOTTE FG ACROSS FRAME L TO R ON BED REAR ANGLE ONTO BOB LOOKING DOWN AT HER.

195 1355.02 MCU CU HIGH ANGLE DOWN ON CHARLOTTE ON HER SIDE IN BED UNDER COVERS. SHE SMILES.

196 1363.07 MS ABOVE WAIST OVER CHARLOTTE ACROSS FRAME L TO R REAR ANGLE ONTO BOB LOOKING DOWN FG AT HER. HE REACHES R, DIMS LIGHT, STANDS AND EXITS L..

197 1384.11 INT. HALL OUTSIDE CHARLOTTE’S HOTEL ROOM. NIGHT MS ABOVE WAIST BOB PULLS DOOR CLOSED, THEN TRACK BACK WITH HIM WALKING FG UP CORRIDOR.

3-111 BOB (TO HIS WIFE)- Hey, those carpet samples –

1438.02 1441.04 3.02

3-112 BOB (TO HIS WIFE)- You were right about the burgundy. It wasn’t even close. (it… close: the choice between the samples)

1442.00 1446.06 4.06

3-113 BOB (TO HIS WIFE)- Blows the others away. (the burgundy choice far outshines the others)

1447.06 1449.11 2.05

198 1429.11 INT. BOB’S HOTEL ROOM. NIGHT MS PAN R ACROSS DESK, PICK UP CARPET SAMPLES LEFT ON FLOOR BG, THEN CONTINUE PAN DOWN R AND PICK UP MS ABOVE WAIST SIDE ANGLE BOB LYING ON BACK ON BED IN FRAME HORIZONTAL FROM L TALKING ON PHONE. BOB (OS)- Hey. Hey, y’know, those carpet

samples – you were right about

the burgundy. It wasn’t even close.

Blows the others away. I saw a

great house tonight that you

would’ve loved and…

3-114 BOB (TO HIS WIFE)- I saw a great house tonight that you would’ve loved…

1455.00 1461.00 6.00


3-115 BOB (TO HIS WIFE)- and that burgundy would’ve been good in this house. .

1462.00 1465.12 3.12

3-116 BOB (TO HIS WIFE)- This guy designed his own house and built it.

1467.03 1471.01 3.14

3-117 BOB (TO HIS WIFE)- He’s a fashion guy. All these fashion people were there. (fashion: the fashion industry)

1478.03 1483.02 4.15

3-118 BOB (TO HIS WIFE)- And there were Japanese surfers there,

1484.10 1488.14 4.04

3-119 BOB (TO HIS WIFE)- and the guy was playing really great music.

1490.03 1496.07 6.04

3-120 BOB (TO HIS WIFE)- I should’ve found out what it was. I’ll try to bring some back.

1496.12 1503.07 6.11

3-121 BOB (TO HIS WIFE)- Tell her I said she’s gotta eat something. (her: Bob’s daughter)

1516.10 1519.08 2.14

3-122 BOB (TO HIS WIFE)- Yeah, tell her I said she has to eat something.

1523.02 1527.00 3.14

SAME SHOT CONT. BOB (CONT INTO PHONE)- that burgundy would’ve been good

in this house, really. Y’know, a guy

designed his own house and built

it. He’s a fashion guy. Y’know, all

these fashion people were there.

And, uh, there were Japanese

surfers there, and the guy was

playing really, really, really great

music. I should’ve found out what

it was and brought some, I’ll bring

some back. I’ll try to find out.

HE SITS UP FACING L. BOB (OS INTO PHONE)- Tell her I said she’s gotta eat

something. (PAUSE) Yeah, tell her

I said she has to eat something.

(PAUSE) Eat. Tell her I said so.

BOB’S WIFE (VO FILTERED THRU PHONE – BARELY AUDIBLE)- I’m glad you’re having fun.

3-123 BOB (TO HIS WIFE)- Eat. Tell her I said so.

1531.08 1536.00 4.08

3-124 BOB (TO HIS WIFE)- It’s not fun, it’s just… very different. (it: his visit in Tokyo)

1544.02 1549.04 5.02

3-125 BOB (TO HIS WIFE)- I might not be up. It’s like four. (up: still awake)

1563.00 1567.06 4.06

199 1544.02 CU HIGH ANGLE DOWN ON BOB AS HE LAYS BACK DOWN ON BED, FACES FG.

BOB (INTO PHONE)- It’s not fun, it’s just, it’s just very,

very different. (LONG PAUSE) I

might not be up, it’s, it’s, like four.

(PAUSE) No, actually, they gave

me tomorrow off.

3-126 BOB (TO HIS WIFE)- No, they gave me tomorrow off. (off: no work)

1574.04 1577.01 2.13


3-127 ITAL

(OPTIONAL) BOB’S WIFE (TO BOB)- Alright, thanks for checking in. I gotta go. (checking in: making contact)

1586.10 1590.12 4.02

3-128 BOB (TO HIS WIFE)- Have a great night. I mean have a great morning.

1591.01 1598.01 7.00

3-129 ITAL

(OPTIONAL) BOB’S WIFE (TO BOB)- Good night, Bob.

1599.14 1601.08 1.10

3-130 BOB (TO HIS WIFE)- Good night. I love you.

1602.05 1608.10 6.05

200 1577.02 MS ABOVE WAIST SIDE ANGLE BOB ON HIS BACK ON BED IN FRAME FROM L BOB’S WIFE (VO FILTERED THRU PHONE)- Alright, well, thanks for checkin’ in.

I gotta go.

BOB (INTO PHONE)- Alright, have a great, great night. I

mean, I guess have a great

morning, huh?

BOB’S WIFE (VO FILTERED THRU PHONE)- Good night, Bob.

BOB (INTO PHONE)- Good night. I love you. BOB (OS CONT)- That was a super idea.

HE HANGS UP PHONE BG, ROLLS BACK FACING TOP. FADE TO BLACK. FADE UP TO:

3-131 BOB (TO HIMSELF)- That was a super idea. (sarcastically saying that the phone call was not a good idea – it didn’t go well)

1613.03 1615.13 2.10

201 1630.00 EXT. GOLF COURSE. DAY LS-MLS BOB WALKS FG, PUTS DOWN TEE AND PREPARES TO HIT BALL. MOUNTAIN LOOMS IN BG. BOB TAKES PRACTICE SWING TO R, THEN TURNS SIDE ANGLE FACING BG AND HITS BALL BG, PICKS UP TEE AND WALKS BG.

202 1722.04 INT. SUSHI RESTAURANT. DAY MS SIDE ANGLE CHARLOTTE AND BOB SEATED AT SUSHI BAR LBG WITH SUSHI CHEF STANDING SIDE ANGLE RFG. BOB- Just feeling tight, y’know?

Shoulders and neck.

3-132 BOB (TO CHARLOTTE)- Just feeling tight. Shoulders and neck. (tight: muscles are stiff)

1724.00 1727.12 3.12


SAME SHOT CONT.

CHARLOTTE (OS)- Mm hm.

BOB- So I called down and,…

3-133 BOB (TO CHARLOTTE)- So I called down… (called down: phoned to the hotel’s front desk)

1729.04 1730.14 1.10

3-134 BOB (TO CHARLOTTE)- and had a shiatsu massage in my room.

1732.00 1737.04 5.04

3-135 CHARLOTTE (TO BOB)- That’s nice.

1737.09 1739.05 1.12

3-136 BOB (TO CHARLOTTE)- And the tightness has completely disappeared…

1739.10 1744.01 4.07

203 1731.01 MCU SIDE ANGLE 2 SHOT CHARLOTTE LFG AND BOB BG FACING R. BOB (CONT)- and had a, uh, shiatsu massage in

my room.

CHARLOTTE (OS)- Mm, that’s nice.

BOB- And um, the tightness has

completely, uh, disappeared –

CHARLOTTE (OS)- Hm.

BOB- and been replaced by...

unbelievable pain.

3-137 BOB (TO CHARLOTTE)- and been replaced by... unbelievable pain.

1744.12 1751.07 6.11

204 1751.08 MCU SIDE ANGLE PAST BOB RFG ONTO CHARLOTTE LOOKS FG, HAND ON CHEEK. CHARLOTTE (LAUGHS) BOB (OS)- Just…

3-138 -/ BOB (TO CHARLOTTE)- Just staggering, unbearable pain.

1753.03 1757.00 3.13


205 1753.12 MCU SIDE ANGLE OTS ON BOB LOOKING FG, R. BOB (CONT)- Just staggering, unbearable pain.

CHARLOTTE (OVERLAPPING)- Ugh, that’s too bad.

3-139 CHARLOTTE (TO BOB)- I’m in pain. I got my foot banged up and –

1759.14 1765.14 6.00 206 1758.01 MCU SIDE ANGLE OTS ON CHARLOTTE LOOKING DOWN FG, LIFTS KNEE INTO FRAME AS BOB HALF OFF FRAME R LOOKS AT FOOT BELOW FRAME. BOB (OS)- Yeah.

CHARLOTTE- I’m in pain. I got my foot banged

up and – wanna see it?

3-140 CHARLOTTE (TO BOB)- Wanna see it?

1766.10 1767.13 1.03

207 1767.14 MS SIDE ANGLE CHARLOTTE AND BOB AT BAR LBG, TWO SUSHI CHEFS STANDING R. BOB- How do you say no?

3-141 BOB (TO SUSHI CHEF)- How do you say no?

1769.08 1771.05 1.13

3-142 BOB (TO CHARLOTTE)- – Oh, my God. CHARLOTTE (TO BOB)- – I know.

1772.02 1775.12 3.10 208 1771.11 MCU SIDE ANGLE PAST BOB RFG ONTO CHARLOTTE WITH KNEE UP IN FRAME. BOB (OS CONT)- Oh, my God.

CHARLOTTE- I know.

BOB (OS)- That’s, how, when did you do this?

CHARLOTTE- I did it the other day. It hurts,

y’know.

3-143 BOB (TO CHARLOTTE)- – When did you do this? (this: injured the toe) CHARLOTTE (TO BOB)- – I did it the other day. It hurts.

1777.12 1782.09 4.13


3-144 BOB (TO CHARLOTTE)- – Didn’t you feel any pain? CHARLOTTE (TO BOB)- – Yeah, it really hurt.

1782.14 1787.09 4.11

3-145 BOB (TO CHARLOTTE)- That toe is almost dead.

1788.12 1791.05 2.09

SAME SHOT CONT.

BOB (OS)- Didn’t you feel any pain? Your –

CHARLOTTE- Yeah, it really hurt. It was –

BOB- That, that toe is almost dead.

CHARLOTTE (LAUGHS) BOB (OS)- I think…

3-146 -/ BOB (TO CHARLOTTE)- I gotta take you to the doctor. You can’t put that back in the shoe.

1793.00 1798.04 5.04

3-147 CHARLOTTE (TO BOB)- No. You don’t think so?

1798.09 1800.14 2.05 209 1793.09 MCU SIDE ANGLE OTS ON BOB, LOOKS FG, MAKES FACE. BOB (CONT)- I gotta take you to the doctor. You

can’t, uh, just put that back in the

shoe.

CHARLOTTE (OS)- No. You don’t think so?

BOB- Well, you oughta go to a doctor or

you leave it here.

CHARLOTTE (LAUGHS)

3-148 BOB (TO CHARLOTTE)- You oughta go to a doctor or you leave it here. (here: at the restaurant)

1801.06 1804.14 3.08

210 1807.14 MS ABOVE WAIST SUSHI CHEF. BOB (OS)- He’s smiling.

3-149 -/ BOB (TO CHARLOTTE, THEN THE SUSHI CHEF)- He’s smiling. You like that idea? (He: the sushi chef)

1808.10 1811.10 3.00

211 1809.14 MS SIDE ANGLE CHARLOTTE AND BOB SEATED LBG, CHEF STANDING RFG WITH OTHER CHEF BG. BOB (CONT)- You like that idea?


212 1812.07 MCU OTS SIDE ANGLE ON BOB LOOKING FG. BOB (CONT)- See, they love black toe over in

this country.

CHARLOTTE (LAUGHS)

3-150 BOB (TO CHARLOTTE)- They love black toe over in this country.

1812.07 1815.06 2.15

3-151 BOB (TO SUSHI CHEF)- You got a sharp knife?

1816.05 1818.05 2.00 213 1815.07 MS SIDE ANGLE CHARLOTTE AND BOB SEATED LBG, CHEF RFG AND BG. BOB (CONT)- You got a sharp knife? Gotta be,

y’know, in this country,

somebody’s gotta prefer a black

toe.

CHARLOTTE (OVERLAPPING)- (LAUGHS)

3-152 BOB (TO CHARLOTTE)- In this country, gotta be somebody prefers a black toe.

1819.06 1825.02 5.12

3-153 BOB (TO CHARLOTTE)- Brack toe. (Bob is imitating Japanese accent, meaning to say “black”)

1826.06 1828.02 1.12 214 1825.03 MCU SIDE ANGLE 2 SHOT CHARLOTTE LFG AND BOB BG. BOB LOOKS R. BOB (CONT)- Uh, brack toe. Or we should

probably hang around till someone

orders it.

3-154 BOB (TO CHARLOTTE)- Or we should probably hang around till someone orders it.

1829.12 1833.05 3.09

215 1833.13 MS SIDE ANGLE CHARLOTTE AND BOB SEATED LOWER L, CHEF STANDING RFG. BOB (CONT)- Hey, what’s with the straight face?

3-155 BOB (TO SUSHI CHEF)- Hey, what’s with the straight face? (straight face: very serious expression)

1834.10 1836.10 2.00


3-156 BOB (TO CHARLOTTE)- Hospital regulations. Get in there. (there: the wheel chair)

1837.08 1840.05 2.13 216 1837.01 INT. HOSPITAL LOBBY. DAY MLS BOB HOLDS WHEELCHAIR FOR CHARLOTTE WHO SITS IN IT IN VESTIBULE, THEN BOB PUSHES CHAIR FG AS SLIDING DOORS OPEN. HE LIFTS CHAIR IN MOCK WHEELIE PASSING MAN PUSHING CHAIR BG. BOB (OS)- Hospital regulations. Get in there.

CHARLOTTE (OS CONT)- Alright. Thank you.

BOB (OS OVERLAPPING)- Alright.

CHARLOTTE- Careful, okay? No, don’t.

3-157 CHARLOTTE (TO BOB)- No, don’t. (don’t: push it fast)

1850.06 1852.06 2.00

217 1852.14 MS REAR ANGLE FOLLOWING BOB PUSHING WHEELCHAIR BG, TURNS R TO READ REGISTRY INDEX. CHARLOTTE (OS CONT)- No.

BOB (OVERLAPPING)- Hey, use the horn, fella.

3-158 BOB (TO GUY PUSHING WHEELCHAIR)- Hey, use the horn, fella. (as if wheelchairs had horns like cars to avoid collisions)

1853.06 1855.10 2.04

218 1858.15 MCU PAN UP REGISTRY INDEX.

3-159 BOB (TO CHARLOTTE)- Let’s try mixed internal.

1864.11 1867.02 2.07 219 1864.10 MS REAR ANGLE BOB PAN L TRACK BG AS HE PUSHES CHAIR BG, PASSING DRUNK MAN IN SUIT R WITH BANDAGE ON FOREHEAD. BOB LOOKS R AT HIM IN PASSING. BOB (OS)- Let’s try mixed internal.

(COUGHS)

CHARLOTTE (LAUGHS)

BOB- Switched to beer, huh?

3-160 -/ BOB (TO GUY WITH BANDAGE)- Switched to beer, huh? You might want to switch to sake.

1870.06 1874.09 4.03


220 1872.00 MLS BOB PUSHES CHARLOTTE IN WHEEL CHAIR TO FG ALMOST HITTING MAN WALKING BG AS MAN WITH BANDAGE STANDING L WATCHES. BOB (CONT)- You might want to switch to sake.

CHARLOTTE (OVERLAPPING)- No. Stop.

3-161 BOB (TO MAN AT COUNTER)- We need a doctor. For her. Emergency Room.

1889.02 1894.05 5.03 221 1876.09 MS ABOVE WAIST BOB PUSHES CHAIR TO RECEPTION WITH MAN IN BLUE JACKET ON PHONE SIDE ANGLE R AND CHARLOTTE STANDS INTO FRAME, STANDS SIDE ANGLE ON L. MS ABOVE WAIST OTS ON CHARLOTTE L AND BOB R WHO REMOVES SUNGLASSES. MAN (SPEAKS JAPANESE) CHARLOTTE- Hi.

BOB- Hi. Yeah. We need a doctor. For,

uh, her. Emergency Room.

CHARLOTTE (OVERLAPPING)- ‘Cause I have... It’s not an

emergency. I just hurt my foot.

MAN (SPEAKS JAPANESE)

3-162 CHARLOTTE (TO MAN AT COUNTER)- It’s not an emergency. I just hurt my foot.

1894.13 1898.09 3.12

222 1903.03 MS MAN AT RECEPTION WITH CHARLOTTE REAR ANGLE IN FG, BOB STANDING SIDE ANGLE ON L. MAN PUTS PIECE OF PAPER ON COUNTER, POINTS R. MAN (SPEAKS JAPANESE)

BOB (OS)- Okay, do we fill this out?

3-163 -/ BOB (TO MAN AT COUNTER)- Okay, do we fill this out? We go over there? Which number? (this: paper in Bob’s hand) (there: Bob’s pointing other end of lobby.)

1909.09 1915.00 5.07


223 1912.00 MS ABOVE WAIST OTS ON CHARLOTTE AND BOB. MAN (SPEAKS JAPANESE)

BOB (OVERLAPPING CONT)- We go over there? Which

number?


224 1920.10 MS PAST CHARLOTTE AND BOB REAR ANGLE LFG ONTO RECEPTION MAN RBG WHO POINTS R.

225 1925.01 MS ABOVE WAIST OTS ON CHARLOTTE AND BOB AS MAN REAR ANGLE RFG GESTURES TO L. BOB AND CHARLOTTE TURN L. BOB- We’re not goin’ to another

hospital, so whatever you say is

okay. Alright.

3-164 BOB (TO MAN AT COUNTER)- We’re not going to another hospital, so whatever you say.

1925.08 1929.14 4.06

226 1932.06 MS PAST CHARLOTTE SIDE ANGLE LFG ONTO MAN BG AS BOB ENTERS FRAME AND HE AND CHARLOTTE EXIT R. BOB (OS CONT)- Could you put that back in the

garage for us? C’mon.


3-165 BOB (TO MAN AT COUNTER)- Could you put that back in the garage for us? (that: the wheelchair.)

1933.00 1935.08 2.08

1937.09 LAST FRAME PICTURE. END OF REEL 3A/B.




1 12.00I NT. X-RAY EXAMINATION ROOM. DAY MS CHARLOTTE SITTING SIDE ANGLE ATOP X-RAY TABLE AS TECHNICIAN BG PUTS STRIP OF FILM ON HER TOE, REACHES UP.

2 20.14 INT. HOSPITAL WAITING AREA. DAY MS BOB STANDS SIDE ANGLE L UP AGAINST DOOR FACING L, PEOPLE SEATED R, RECEPTIONS COUNTER BG.

3 25.09 INT. HOSPITAL WAITING AREA. DAY MS BOB SITTING NEXT TO OLD MAN IN WHITE CAP WITH CANE, TWO WOMEN SEATED BACK LBG. BOB NUDGES OLD MAN WHO LOOKS AT HIM. PERSON CROSSES FRAME FG R TO L, BOB POINTS FG.

4 40.12 MCU LOW ANGLE PAN L WITH BOX MOVING BG TO FG THEN CROSSING FG R TO L.


5 45.10 INT. EXAMINATION ROOM. DAY MS ABOVE WAIST SIDE ANGLE OTS ON DOCTOR POINTING TO X-RAY OF CHARLOTTE’S FOOT ON LIGHT BOARD. DOCTOR LOOKS FG. DOCTOR- (SPEAKS JAPANESE)

4-1 BOB (TO OLD MAN)- Japan.

84.00 85.00 1.00 6 55.10 INT. WAITING AREA. DAY MS BOB SITTING WITH OLD MAN. OLD MAN GESTURES WITH HAND AND BOB IMITATES. OLD MAN- (SPEAKS JAPANESE)

BOB- Indeska?

OLD MAN- (SPEAKS JAPANESE) Japan.

BOB- Japan.

OLD MAN- Emperor. Japan Emperor.

BOB- Japan –

OLD MAN- Emperor,

BOB- After...?

OLD MAN- Emperor.

BOB- Japan...?

OLD MAN- (SPEAKS JAPANESE)

4-2 BOB (TO OLD MAN)- Japan... After... Japan?

89.11 96.05 6.10


SAME SHOT CONT.

BOB- Nunnen?

OLD MAN MAKES CIRCLE MOTION WITH HAND AND SO DOES BOB. OLD MAN (HUMS) BOB (HUMS) OLD MAN LAUGHS. BOB- (HUMS) How’s that song go?

4-3 BOB (TO OLD MAN)- How does that song go? (Bob’s joking because Old Man is humming)

135.11 137.09 1.14

7 137.13 INT. EXAMINATION ROOM. DAY MCU SIDE ANGLE CHARLOTTE. DOCTOR (OS)- (SPEAKS JAPANESE)

8 144.06 MS ABOVE WAIST LOW SIDE ANGLE OTS UP AT DOCTOR POINTING TO X-RAY OF FOOT ON BOARD. DOCTOR (CONT)- (SPEAKS JAPANESE)

9 150.02 INT. HOSPITAL WAITING AREA. DAY MS ABOVE WAIST CHARLOTTE ENTERS EMERGING FROM X-RAY ROOM, STANDS IN DOORWAY LOOKING FG SMILING. CHARLOTTE- Is that for me?

4-4 CHARLOTTE (TO BOB)- Is that for me? (that: stuffed pillow Bob is holding)

157.00 158.02 1.02

10 158.06 MS BOB SITTING WITH STUFFED PILLOW ANIMAL. BOB- Yeah, it can be for you.

4-5 BOB (TO CHARLOTTE)- It can be for you. (It: pillow)

160.10 162.12 2.02


11 167.07 EXT. HOSPITAL DRIVEWAY. DAY MS LOW REAR ANGLE CHARLOTTE AND BOB WALK BG UP DRIVEWAY.

12 173.14 INT. CHARLOTTE’S HOTEL ROOM. DAY MS SIDE ANGLE CHARLOTTE IN LONG T-SHIRT SITTING ON BED OPENS BOOK.

13 179.01 ECU OTS HIGH ANGLE DOWN ON OPEN BOOK AS CHARLOTTE REMOVES PHOTOGRAPH FROM SIDE POCKET.

14 183.06 MS SIDE ANGLE CHARLOTTE LOOKS AT PICTURE.

15 188.06 ECU PICTURE OF CHARLOTTE AND JOHN HELD IN CHARLOTTE’S HAND. SHE SHIFTS PICTURE TO ANOTHER SHOT OF HER AND JOHN.

16 197.11 ECU SIDE ANGLE CHARLOTTE.

17 202.03 INT. BOB’S HOTEL ROOM. DAY MLS BOB PRACTICING PUTTING IN HIS ROOM PUTS GOLF BALL FG. HE PUMPS FIST.


4-6 ITAL

CHARLOTTE (TO BOB)- Bob, it’s Charlotte. I’m gonna meet Charlie and the guys…

213.04 219.04 6.00

4-7 ITAL

CHARLOTTE (TO BOB)- at this place “Orange” around ten. I’ll fax you a map to get there.

219.09 226.07 6.14

18 208.08 EXT. TOKYO NEIGHBORHOOD. NIGHT LS ELEVATED SUBWAY MOVING L TO R WITH BUILDINGS BG, PAN R AND DOWN AND PICK UP BOB GETTING OUT OF TAXI HOLDING PIECE OF PAPER, WALKS R. CHARLOTTE (VO)- Hey, Bob, it’s Charlotte. Um, I’m

gonna meet Charlie and those

guys at this place called Orange

around ten, so I’ll fax you a map

on how to get there. I hope you

can come and meet us. Bye.

4-8 ITAL

CHARLOTTE (TO BOB)- I hope you can come and meet us. Bye.

226.12 229.12 3.00

19 244.02 INT. STRIP CLUB. NIGHT MS TOPLESS GIRL DANCING ON LIT CIRCULAR PEDESTAL, GUY ON SOFA R.

20 250.05 MS BOB SITTING, NODS. LEGS OF GIRL DANCING PARTIALLY IN FRAME RFG.

21 256.03 LS SIDE ANGLE DOWN CLUB AS GIRL DANCES ON PLATFORM R, BOB SITTING L, OTHERS SITTING LFG AND BG. GIRL BENDS OVER BACKWARDS.

22 264.12 MS BETWEEN GIRL’S LEGS ON BOB REACHING FG AS IF KEEPING GIRL FROM FALLING. HE GLANCES UP UNCOMFORTABLY.

23 274.12 LS SIDE ANGLE DOWN CLUB WITH GIRL DANCING R, BAR BG AND BOB SEATED L. CHARLOTTE ENTERS RFG AND WALKS LBG TO BOB.


24 278.13 MS BOB TAPS EMPTY SPOT OF SOFA BESIDE HIM AS CHARLOTTE ENTERS LFG AND CROSSES TO RBG SITS BESIDE BOB.

4-9 CHARLOTTE (TO BOB)- How long have you been here?

285.00 286.12 1.12

4-10 BOB (TO CHARLOTTE)- I couldn’t say.

288.11 290.06 1.11

4-11 CHARLOTTE (TO BOB)- Where’s Charlie and those guys?

291.06 293.09 2.03

25 285.00 MCU PAST BOB SIDE ANGLE LFG ONTO CHARLOTTE TURNED FRONT ANGLE. SHIFT FOCUS FROM CHARLOTTE TO BOB THEN BACK TO CHARLOTTE. CHARLOTTE- How long have you been here?

BOB- I couldn’t say.

CHARLOTTE- Where’s Charlie and those guys?

BOB- Um, they’re takin’ a dance class.

4-12 BOB (TO CHARLOTTE)- They’re taking a dance class. (Bob is sarcastically referring to Charlie and others having strippers dance for them)

297.02 299.08 2.06

26 306.04 MLS CHARLIE SITTING AS ANOTHER TOPLESS GIRL DANCES IN FRONT OF HIM REAR ANGLE.

27 310.09 MS BOB AND CHARLOTTE.

28 315.15 MLS GIRL BENDS THEN ROLLS COMPLETELY OVER ON PLATFORM FG ENDS UP ON HANDS AND KNEES REAR ANGLE.


29 326.02 MCU SIDE ANGLE BOB RFG AND CHARLOTTE BG LOOKING FG. BOB NODS AND THEY RISE, EXIT R. BOB- Can I get you a couple drinks?

CHARLOTTE- Let’s go.

BOB- Okay.

CHARLOTTE (OVERLAPPING)- Okay.

4-13 BOB (TO CHARLOTTE)- – Can I get you some drinks? CHARLOTTE (TO BOB)- – Let’s go.

327.06 330.14 3.08

30 334.01 MS BOB STANDS AS CHARLOTTE EXITS L. BOB STEPS FG, WOMAN’S LEG PART IN FRAME LFG AS BOB SEMI-BOWS FG, THEN EXITS L. BOB (OS)- Thank you.

4-14 BOB (TO STRIPPER)- Thank you.

335.02 336.08 1.06

31 338.15 EXT. TOKYO STREET. NIGHT. MS SIDE ANGLE TRACK R AS PEDESTRIANS WALK S TO R AND R TO L.

32 342.03 MLS CHARLOTTE AND BOB RUN FG AND PAN R ZOOMING OUT. BOB- He’s got blockers.

4-15 BOB (TO CHARLOTTE)- He’s got blockers. (blockers: players in American football who run in front of person with ball)

344.07 345.12 1.05

33 347.02 MS ABOVE WAIST REAR ANGLE FOLLOWING BOB RUNNING BG PULLING CHARLOTTE ALONG BY THE HAND. BOB (OS CONT)- They’ve got room to run.

4-16 BOB (TO CHARLOTTE)- They’ve got room to run. (They: Bob and Charlotte)

348.08 350.04 1.12


34 350.10 MS BOB AND CHARLOTTE RUNNING FG ZIG-ZAGGING L AND R, BOB PULLING CHARLOTTE BY HAND, ZOOM OUT AS THEY RUN FG. BOB (CONT)- He’s cutting back. He cut back.

He’s dancin’, he’s dancin’.

Where’d…

4-17 -/ BOB (TO CHARLOTTE)- He’s cutting back. He’s dancin’. Where did he go? (Cutting back: term in American football for zig-zagging)

351.12 358.07 6.11

35 357.11 MCU REAR ANGLE TRACK BG FOLLOWING CHARLOTTE AND BOB AND THEN THEY STOP TURN LOOK L. BOB (OS CONT)- he go?

36 361.04 MS ABOVE WAIST BOB L AND CHARLOTTE R LOOKING LFG.

37 363.08 LS LONG RECTANGULAR BILLBOARD WITH BOB ON IT IN AD FOR SUNTORY LIQUOR. CHARLOTTE (OS)- There you are.

4-18 CHARLOTTE (TO BOB)- There you are. (There: referring to Bob on billboard ad)

364.00 365.11 1.11

38 369.05 MCU SIDE ANGLE BOB AND CHARLOTTE LOOKING L. BOB WAVES HELLO TO L. CHARLOTTE (CONT)- Say hi.

4-19 CHARLOTTE (TO BOB)- Say hi.

370.10 372.04 1.10

39 376.11 MS SIDE ANGLE CHARLOTTE AND BOB FACING L AS BOB WAVES, PEOPLE PASSING RBG TO RFG BEHIND THEM, THEN THEY RUN EXIT L. CHARLOTTE- Hi. You ready? C’mon.

4-20 CHARLOTTE (TO BOB)- You ready? C’mon!

380.04 383.14 3.10


40 386.15 INT. HOTEL LOBBY OUTSIDE RESTAURANT/LOUNGE. NIGHT MS KELLY SINGS KARAOKE, BARTENDER IN BG AT BAR. KELLY- Thank you, Tokyo!

4-21 KELLY (TO PEOPLE IN LOUNGE)- Thank you, Tokyo.

388.12 391.03 2.07

41 391.04 MS ABOVE WAIST AS BOB AND CHARLOTTE ENTER COMING OUT OF ELEVATOR L, THEN TURN START FG. KELLY (OS CONT)- (SINGING) Nobody does it better.

4-22 ITAL

KELLY (TO PEOPLE IN LOUNGE)- Nobody does it better. (it: be a lover)

391.10 398.08 6.14

4-23 ITAL

KELLY (TO PEOPLE IN LOUNGE)- Makes me feel sad for the rest.

401.12 408.12 7.00 42 398.09 MS KELLY SINGING, HER BOYFRIEND SITTING SIDE ANGLE L AND BARTENDER IN BG. TRACK R. KELLY (CONT)- (SINGING) Makes me feel sad for

the rest. Nobody…

4-24 -/ ITAL

KELLY (TO PEOPLE IN LOUNGE)- Nobody does it…

412.12 417.00 4.04

43 413.07 MS TRACK BACK WITH BOB AND CHARLOTTE WALKING FG. KELLY (OS CONT)- (SINGING) does it…

4-25 ITAL

KELLY (TO PEOPLE IN LOUNGE)- half as good as you.

417.08 422.02 4.10 44 417.05 MS KELLY SINGING, TRACK R. KELLY (CONT)- (SINGING) half as good as you.

(LAUGHS) Baby, you’re…

4-26 -/ ITAL

KELLY (TO PEOPLE IN LOUNGE)- Baby, you’re the best.

423.12 429.04 5.08

45 427.07 MS ABOVE WAIST BOB AND CHARLOTTE TRACK BACK AS THEY WALK FG START CROSSING FRAME TO L. KELLY (OS CONT)- (SINGING) the best. You too.

4-27 -/ KELLY (TO COUPLE IN LOUNGE)- You, too. Both of you.

429.09 432.09 3.00


46 431.09 MS KELLY SINGING, TRACK R PICK UP COUPLE SEATED SIDE ANGLE ON L LAUGHING. KELLY (OS CONT)- Both of you. (SINGING) I wasn’t

lookin’,…

4-28 -/ ITAL

KELLY (TO PEOPLE IN LOUNGE)- I wasn’t lookin’…

435.06 439.02 3.12

4-29 ITAL

KELLY (TO PEOPLE IN LOUNGE)- but I’m glad I found you

440.05 444.08 4.03 47 438.14 MS SIDE ANGLE AS BOB AND CHARLOTTE WALK L, PAN L WITH THEM AND HOLD AS THEY RUN BG, EXIT FAR LBG. KELLY (OS CONT)- (SINGING) but I’m glad I found

you. I tried to hide from your love,

yeah.

CHARLOTTE (LAUGHS)

4-30 ITAL

KELLY (TO PEOPLE IN LOUNGE)- I tried to hide from your love.

446.00 453.00 7.00

48 454.06 INT. CHARLOTTE’S HOTEL ROOM. NIGHT MS WINDOW WITH CITY LIGHTS AND BUILDINGS FAR BG THRU WINDOW, THEN PAN DOWN REVEAL CHARLOTTE ON HER SIDE IN BED FACING FG IN FRAME FROM R.

49 472.07 INT. CHARLOTTE’S HOTEL ROOM. NIGHT MCU SIDE ANGLE CHARLOTTE SITS UP IN BED.

50 481.05 CU SIDE ANGLE CHARLOTTE WITH HEAD DOWN.

51 488.12 INT. CHARLOTTE’S HOTEL ROOM. NIGHT MCU REAR ANGLE CHARLOTTE REACHES BG TURNS ON LIGHT, SITS UP FACING R.


52 503.05 INT. CHARLOTTE’S HOTEL ROOM. MS ABOVE WAIST REAR ANGLE CHARLOTTE SITTING ON SIDE OF BED PUTS ON SWEATER.

53 517.03 INT. CHARLOTTE’S HOTEL ROOM. NIGHT MS AS CHARLOTTE’S REFLECTION IN WINDOW WALKS L TO R ACROSS FRAME.

54 521.14 INT. CHARLOTTE’S HOTEL ROOM. NIGHT MS SIDE ANGLE CHARLOTTE SITTING IN CHAIR PICKS UP MAGAZINE, BEGINS LOOKING THRU IT.

55 531.11 INT. CHARLOTTE’S HOTEL ROOM. NIGHT MS ABOVE WAIST HIGH SIDE ANGLE DOWN ON CHARLOTTE IN CHAIR LOOKING OFF L THINKING.

56 540.08 MCU BOTTOM OF ROOM DOOR AS NOTE IS SLIPPED FG UNDER DOOR.

57 542.11 MS ABOVE WAIST HIGH ANGLE DOWN ON CHARLOTTE IN CHAIR LOOKS BG BELOW FRAME, GETS UP AND EXITS FG, PAN UP LS CITY IN BG THRU WINDOW.

58 557.15 MCU REAR ANGLE CHARLOTTE’S CALVES, FEET STEPPING BG AND SHE BENDS INTO FRAME, PICKS UP NOTE AND STANDS BACK UP OUT OF FRAME.



60 570.01 CU HIGH ANGLE DOWN ON ENVELOPE IN CHARLOTTE’S HAND, SHE TURNS IT OVER AND PULLS OUT NOTE. IT READS:

FROM: MR. HARRIS MESSAGE: ARE YOU AWAKE?

4-31 NARRATIVE TITLE: MESSAGE ON PAPER- FROM: MR. HARRIS. MESSAGE: ARE YOU AWAKE?

576.09 578.04 1.11

61 578.05 MCU CHARLOTTE LOOKING DOWN, SMILES AND TURNS L, EXITS L.

62 585.11 INT. BOB’S HOTEL ROOM. NIGHT MS PAST BOB AND CHARLOTTE REAR ANGLE ONTO TV BG, BOB LAYING ON STOMACH ON BED WITH FEET FG AND CHARLOTTE SITTING AGAINST SIDE OF BED.

63 592.01 MCU TV WITH MOVIE WITH SUBTITLES. IN JAPANESE.

64 597.11 MS ABOVE WAIST 2 SHOT CHARLOTTE SITTING L ON FLOOR AGAINST FOOT OF BED AND BOB LAYING STOMACH DOWN ON BED FACING FG DRINKING SAKE. CHARLOTTE TAKES UP BOTTLE TO POUR MORE SAKE.

65 605.09 MCU TV.

66 609.01 MS ABOVE WAIST CHARLOTTE AND BOB AS BOB HOLDS BOTTLE POURS MORE SAKE INTO CHARLOTTE’S CUP, PUTS BOTTLE DOWN BELOW FRAME FG.


67 619.13 MCU LOW ANGLE TV WITH MONICA VITTI IN MOVIE. CHARLOTTE (OS)- Y’know, the first time I saw you,

you were wearing a tuxedo at the

bar.

4-32 CHARLOTTE (TO BOB)- The first time I saw you, you were wearing a tuxedo at the bar.

621.11 626.13 5.02

68 627.11 MCU ABOVE WAIST HIGH ANGLE OTS DOWN ON CHARLOTTE LOOKING UP FG. SHE DRINKS, TURNING SIDE ANGLE TO L. CHARLOTTE (CONT)- You were very dashing. I liked the

mascara.

4-33 CHARLOTTE (TO BOB)- You were very dashing. I liked the mascara. (dashing: debonair, sophisticated)

628.00 633.12 5.12

69 640.03 MCU SIDE ANGLE OTS ON BOB LOOKING RFG. BOB- But the first time I saw you was in

the elevator.

4-34 BOB (TO CHARLOTTE)- But the first time I saw you was in the elevator.

643.04 646.11 3.07

4-35 CHARLOTTE (TO BOB)- – Really? BOB (TO CHARLOTTE)- – You don’t remember?

647.05 650.07 3.02 70 646.15 MS ABOVE WAIST CHARLOTTE SIDE ANGLE L LEANS R TOWARD BOB LAYING STOMACH DOWN ON BED TO FG, LOOK L AT HER. CHARLOTTE- Really?

BOB- You don’t remember?

CHARLOTTE- I guess you do kind of blend in,

huh? (LAUGHS)

4-36 CHARLOTTE (TO BOB)- I guess you do kind of blend in. (blend in: that is, don’t stand out among a crowd)

655.08 658.14 3.06


71 661.13 MCU HIGH ANGLE OTS DOWN ON CHARLOTTE LOOKING UP TO FG. CHARLOTTE (CONT)- Did I scowl at you?

4-37 CHARLOTTE (TO BOB)- Did I scowl at you?

662.14 664.14 2.00

72 665.04 MCU SIDE ANGLE OTS ON BOB LOOKING RFG. BOB- No, you smiled.

4-38 -/ BOB (TO CHARLOTTE)- – No, you smiled. CHARLOTTE (TO BOB)- – I did?

666.09 670.06 3.13

73 668.03 MCU HIGH ANGLE OTS DOWN ON CHARLOTTE. CHARLOTTE- I did?

4-39 BOB (TO CHARLOTTE)- Yes, a compete accident, a freak. I haven’t seen it since. (freak: a bizarre occurrence)

670.11 675.01 4.06 74 670.08 MCU SIDE ANGLE OTS ON BOB LOOKING RFG. BOB- Yes, it was a compete accident,

a freak. I haven’t seen it since.

Just that one time.

4-40 -/ BOB (TO CHARLOTTE)- Just that one time. Like that, but bigger.

675.11 679.14 4.03

75 677.05 MCU OTS HIGH ANGLE DOWN ON CHARLOTTE. BOB (OS CONT)- Like that, but bigger. Bigger. Hm,

might be –

4-41 BOB (TO CHARLOTTE)- Bigger.

682.05 683.12 1.07

76 686.09 MCU SIDE ANGLE OTS ON BOB LOOKING RFG SMILING. BOB (CONT)- well, not that big.

4-42 BOB (TO CHARLOTTE)- Not that big.

686.12 688.08 1.12


77 690.14 MS ABOVE WAIST CHARLOTTE SIDE ANGLE ON FLOOR L AND BOB ON BED ON STOMACH FACING FG. THEY BOTH LOOK UPPER RFG.

78 699.15 MLS BETWEEN BOB AND CHARLOTTE REAR ANGLE L AND R ONTO TV BG. ACTRESS (VO THRU TV FILTERED)- Marcello, come here. Hurry up.

DISSOLVE TO:

4-43 CHARLOTTE (TO BOB)- Why do they switch the “R’s” and the “l’s” here? (they: The Japanese)

714.14 718.04 3.06

4-44 BOB (TO CHARLOTTE)- For yucks. To mix it up. (yucks: colloquial slang for a joke, laughs) (mix it up: variety)

720.07 724.08 4.01

4-45 BOB (TO CHARLOTTE)- They have to amuse themselves because we’re not making them laugh.

726.08 730.14 4.06

4-46 CHARLOTTE (TO BOB)- Let’s never come here again because it would never be as much fun.

736.08 742.04 5.12

79 708.09 INT. BOB’S HOTEL ROOM. NIGHT LS HIGH ANGLE OUT WINDOW ON CITY LIGHTS AND PAN R REVEAL REFLECTION IN WINDOW OF MS SIDE ANGLE CHARLOTTE SITTING ON BED BESIDE BOB LYING ON BED ON STOMACH L TO R FACING R. BOB JUMPS UP ONTO KNEES, LAYS BACK AGAINST HEADBOARD L. CHARLOTTE (OS)- Why do they switch the “R’s” and

the “l’s” here?

BOB (OS)- Oh, for yucks. Y’know, just to mix

it up. They have to amuse

themselves. ‘Cause we’re not

makin’ ‘em laugh.

CHARLOTTE- (LAUGHS) Let’s never come here

again ‘cause it would never be as

much fun.

BOB- Whatever you say. You’re the

boss.

4-47 BOB (TO CHARLOTTE)- Whatever you say. You’re the boss.

747.01 750.07 3.06


4-48 CHARLOTTE (TO BOB)- I’m stuck. (That is, in my life in general)

758.09 760.05 1.12

4-49 CHARLOTTE (TO BOB)- Does it get easier? (it: living, being an adult)

766.03 768.03 2.00

4-50 BOB (TO CHARLOTTE)- No.

769.08 770.14 1.06

4-51 BOB (TO CHARLOTTE)- Yes. It gets easier.

774.04 779.07 5.03

4-52 CHARLOTTE (TO BOB)- Oh yeah? Look at you. (Look at you: sarcastic, saying not if I use you as an example)

781.03 785.05 4.02

4-53 BOB (TO CHARLOTTE)- Thanks.

788.12 790.05 1.09

4-54 BOB (TO CHARLOTTE)- The more you know who you are and what you want,…

793.11 798.11 5.00

4-55 BOB (TO CHARLOTTE)- the less you let things upset you.

800.06 806.08 6.02

4-56 CHARLOTTE (TO BOB)- I just don’t know what I’m supposed to be.

814.05 817.08 3.03

4-57 CHARLOTTE (TO BOB)- I tried being a writer, but… I hate what I write.

822.07 828.04 5.13

4-58 CHARLOTTE (TO BOB)- I tried taking pictures, but… they’re so mediocre.

831.07 838.07 7.00

4-59 CHARLOTTE (TO BOB)- Every girl goes through a photography phase.

839.10 844.02 4.08

4-60 CHARLOTTE (TO BOB)- You know? Like horses? (Meaning every girl goes through a time of loving horses while growing up.)

845.07 847.11 2.04

4-61 CHARLOTTE (TO BOB)- Taking dumb pictures of your feet.

849.10 855.14 6.04

80 758.06 INT. BOB’S HOTEL ROOM. NIGHT MS ABOVE WAIST HIGH DOWN ON CHARLOTTE L AND BOB R LAYING SIDE BY SIDE ON THEIR BACKS ON BED FACING FG. THEY TALK, ALTERNATELY GLANCING TOWARD EACH OTHER L AND R. CHARLOTTE- I’m stuck. Does it get easier?

BOB- No. Yes. It gets easier.

CHARLOTTE- Oh yeah? Look at you.

BOB- Thanks.

CHARLOTTE (LAUGHS) BOB (CONT)- The more you know who you are,

and what you want, the less you

let things upset you.

CHARLOTTE- Yeah. I just don’t know what I’m

supposed to be. You know. I tried

being a writer, but... I hate what I

write. And I tried taking pictures,

but... they’re so mediocre, y’know.

I mean, every girl goes through a

photography phase. Y’know, like

horses? Y’know? Take, uh, dumb

pictures of your feet.

BOB- You’ll figure that out. I’m not

worried about you. Keep writing.

CHARLOTTE ROLLS ONTO SIDE FACING BOB R, RESTS HEAD ON PILLOW. BOB SHIFTS A LITTLE TO THE R.

4-62 BOB (TO CHARLOTTE)- You’ll figure that out. I’m not worried about you.

859.05 866.05 7.00


4-63 BOB (TO CHARLOTTE)- Keep writing.

872.01 873.11 1.10

4-64 CHARLOTTE (TO BOB)- But I’m so mean.

881.14 884.04 2.06

4-65 BOB (TO CHARLOTTE)- Mean is okay.

887.05 889.05 2.00

4-66 CHARLOTTE (TO BOB)- What about marriage? Does that get easier?

901.01 904.12 3.11

4-67 BOB (TO CHARLOTTE)- That’s hard.

915.05 917.01 1.12

4-68 BOB (TO CHARLOTTE)- We used to have a lot of fun.

926.03 928.12 2.09

4-69 BOB (TO CHARLOTTE)- Lydia would come with me when I made the movies…

931.06 936.06 5.00

4-70 BOB (TO CHARLOTTE)- and we would laugh about it all.

937.01 940.09 3.08

SAME SHOT CONT. CHARLOTTE- But I’m so mean.

BOB- Mean’s okay.

CHARLOTTE- Yeah. (PAUSE) What about

marriage? Does that get easier?

BOB- That’s hard. (PAUSE) We used to

have a lot of fun. Lydia would

come with me when I made the

movies and we would laugh about

it all. Now she doesn’t want to

leave the kids, and…

4-71 BOB (TO CHARLOTTE)- Now she doesn’t want to leave the kids.

943.11 947.03 3.08

4-72 BOB (TO CHARLOTTE)- And she doesn’t need me to be there.

951.14 956.11 4.13 81 947.08 CU SIDE ANGLE BOB ON BACK ON BED FACING TOP OF FRAME. BOB (CONT)- she doesn’t…need me to be there.

The kids miss me,…

4-73 -/ BOB (TO CHARLOTTE)- The kids miss me, but they’re fine.

957.00 961.08 4.08

82 958.03 CU CHARLOTTE ON HER SIDE FACING FG. BOB (OS CONT)- but they’re fine.

83 961.12 CU SIDE ANGLE BOB FACING TOP OF FRAME. HE GLANCES FG. BOB (CONT)- It gets a whole lot more

complicated when you have kids.

4-74 BOB (TO CHARLOTTE)- It gets a whole lot more complicated when you have kids. (It: marriage, life)

965.08 970.14 5.06


84 971.14 CU CHARLOTTE ON HER SIDE FACING FG. CHARLOTTE- Yeah. It’s scary.

4-75 CHARLOTTE (TO BOB)- It’s scary. (It: marriage, life)

972.02 974.08 2.06

85 975.01 CU SIDE ANGLE BOB FACING UP. BOB- The most terrifying day of your

life…

4-76 -/ BOB (TO CHARLOTTE)- The most terrifying day of your life is the day the first one is born.

980.02 985.04 5.02

86 983.00 MCU CHARLOTTE ON HER SIDE FACING FG. BOB (OS CONT)- the day the first one is born.

CHARLOTTE- Yeah. Nobody ever tells you that.

4-77 CHARLOTTE (TO BOB)- Nobody ever tells you that.

988.08 990.12 2.04

4-78 BOB (TO CHARLOTTE)- Your life, as you know it…

992.14 998.02 5.04 87 991.02 CU SIDE ANGLE BOB FACING UP. HE LOOKS FG. BOB- Your life, as you know it, is gone.

Never to return.

4-79 BOB (TO CHARLOTTE)- is gone. Never to return.

999.05 1005.08 6.03

88 1006.06 MCU CHARLOTTE ON SIDE HORIZONTAL IN FROM L FACING FG. SHE SMILES. BOB (OS CONT)- But they learn how to walk and

they learn how to talk and…

4-80 BOB (TO CHARLOTTE)- But they learn how to walk and they learn how to talk…

1009.04 1013.04 4.00

4-81 BOB (TO CHARLOTTE)- and you want to be with them.

1015.14 1020.05 4.07

4-82 BOB (TO CHARLOTTE)- And they turn out to be the most delightful people…

1021.14 1027.14 6.00

89 1013.11 CU SIDE ANGLE BOB FACING UP SHIFTS A BIT. BOB (CONT)- and you want to be with them. And

they turn out to be the most

delightful people you will ever

meet in your life.

4-83 BOB (TO CHARLOTTE)- you will ever meet in your life.

1029.03 1032.02 2.15


90 1032.03 MCU CHARLOTTE ON HER SIDE. CHARLOTTE- Hm, that’s nice.


1033.08 1035.08 2.00

91 1035.12 CU SIDE ANGLE BOB FACING TOP RUBS EYE, CLOSES EYES. BOB- Where’d you grow up?

4-85 BOB (TO CHARLOTTE)- Where did you grow up?

1056.05 1058.02 1.13

4-86 CHARLOTTE (TO BOB)- I grew up in New York, then I moved to Los Angeles…

1060.14 1067.01 6.03

4-87 CHARLOTTE (TO BOB)- when John and I got married, but it’s so different there.

1067.06 1073.04 5.14

92 1058.06 MCU CHARLOTTE ON SIDE FACING FG CLOSES EYES. CHARLOTTE- Well, I grew up in New York, and

then I moved to Los Angeles when

John and I got married, but it’s so

different there.

BOB (OS)- Yeah, I know.

4-88 BOB (TO CHARLOTTE)- I know.

1075.05 1077.00 1.11

4-89 CHARLOTTE (TO BOB)- John thinks I’m so snotty. (snotty: arrogant)

1081.00 1084.07 3.07 93 1079.03 MS HIGH ANGLE DOWN ON CHARLOTTE AND BOB ON BED, CHARLOTTE L ON HER SIDE WITH KNEES DRAWN UP AND BOB ON HIS BACK FACING FG. HE PUTS HIS HAND ON CHARLOTTE’S FOOT. CHARLOTTE- John thinks I’m so snotty.

BOB (CHUCKLES) BOB- You’re not hopeless.

FADE TO BLACK.

4-90 BOB (TO CHARLOTTE)- You’re not hopeless.

1115.02 1117.06 2.04


94 1128.07 INT/EXT. TRAIN/JAPAN COUNTRYSIDE. DAY LS OUT WINDOW ON TOWN FG AND MT. FUJI LOOMING FAR BG TRACK L.

95 1138.08 MCU REAR ANGLE CHARLOTTE LOOKS R OUT WINDOW. SHE WEARS HEADPHONES.

96 1146.13 MCU CHARLOTTE IN TRAIN SEAT WITH HEADPHONES, LOOKS L.

97 1152.08 MLS-LS CHARLOTTE’S POV OUT TRAIN WINDOW MOVING R AS OCEAN, TELEPHONE AND ELECTRIC WIRES, HOUSES PASS BY WINDOW R TO L.

98 1158.14 LS OUT WINDOW MOVING L TO R AS BUILDINGS. HILLTOP PASS R TO L. PAN L TAKING IN VIEW OF WATER.

99 1171.03 INT. TRAIN STATION. DAY MLS HIGH ANGLE DOWN ON PEOPLE WAITING SITTING ON BENCHES, PAN UP TO HANGING SIGNPOST IN JAPANESE.

100 1179.07 EXT. TRAIN PLATFORM. DAY MS-MLS PAST RAILROAD EMPLOYEE REAR ANGLE IN FG ONTO BULLET TRAIN MOVING BG TO FG INTO STATION.

101 1186.10 EXT. TRAIN PLATFORM. DAY MLS AS CHARLOTTE FRAME R WALKS FG, EXITS R, TRAIN STOPPED AT STATION L FACING FG.


102 1193.01 EXT. TEMPLE GROUNDS. DAY MLS LOW ANGLE UP AT TREE BRANCHES, PAN DOWN.

103 1201.05 MS GROUP OF TEENAGE GIRLS IN SCHOOL UNIFORM HANGING AROUND TALKING.

104 1205.10 LS REAR ANGLE CHARLOTTE CLIMBS STEPS TO TEMPLE BG.

105 1216.13 MS CHARLOTTE WALKS FG.

106 1227.13 LS REAR ANGLE CHARLOTTE L STOPS, STANDS WATCHING WEDDING PROCESSION MOVING FAR BG TO FG.

107 1237.02 MS ABOVE WAIST CHARLOTTE LOOKING DOWN, THEN WALKS FG.

108 1242.06 MS-MLS AS CHARLOTTE REAR ANGLE LFG EXITS L AS WEDDING PROCESSION BG MOVES FG UP PATH.

109 1254.14 MS ABOVE WAIST SIDE ANGLE PAN R CHARLOTTE WALKS R THRU TREES.

110 1268.01 MS SIDE ANGLE PAN R WITH BRIDE AND GROOM HOLDING UMBRELLA WALKING TO R.



112 1279.03 MCU SIDE ANGLE GROOM THEN BRIDE ENTER L , PAN R WITH THEM WALKING R, THEN PAN DOWN TO GROOM’S EXTENDED HAND AS BRIDE PUTS HER HAND IN HIS, THEN PAN BACK UP AND THEY EXIT R.


114 1307.11 EXT. TEMPLE GARDENS. DAY MLS REAR ANGLE CHARLOTTE WALKS BG STEPPING FROM STONE TO STONE IN POND.

115 1325.02 EXT. TEMPLE GARDENS. DAY ECU PAPER LEAVES AS PRAYERS ON TREE, PAN R AND SHIFT FOCUS BG TO MS ABOVE WAIST ON CHARLOTTE AS SHE TIES PAPER ONTO BRANCH.

116 1338.03 MS SIDE ANGLE CHARLOTTE TYING PAPER ONTO BRANCH. SHE TURNS, EXITS R.

117 1355.13 EXT. TEMPLE GROUNDS. DAY LS SIDE ANGLE CHARLOTTE WALKS ACROSS COURTYARD L TO R, PAN R AS SHE CROSSES FRAME, WALKS BG TOWARD TEMPLE.

118 1393.04 INT. BOB’S HOTEL ROOM. DAY LS OUT WINDOW ON CITY SKYSCAPE, PAN R PICK UP MCU OTS ON BOB’S REFLECTION IN MIRROR, EYES CLOSED. HE POPS THEM OPEN.


119 1402.12 INT. BOB’S HOTEL ROOM. DAY ECU BOB’S HAND TAKES RAZOR FROM SINK TOP, PAN R AS HE UNWRAPS IT.

120 1410.14 CU OTS ON BOB’S REFLECTION IN MIRROR STARING AT TINY RAZOR PUZZLED.

121 1417.15 MS REAR ANGLE BOB SHAVING, FACE REFLECTED IN MIRROR WITH CITY IN BG. HE REACHES L, ANSWERS PHONE.

4-91 ITAL

FRONT DESK MAN (TO BOB)- Mr. Harris? A fax for you.

1428.08 1431.10 3.02

4-92 BOB (TO FRONT DESK MAN)- Can you send it up? Just slide it under the door for me?

1434.00 1439.14 5.14

122 1425.04 MCU OTS ON BOB’S REFLECTION TALKING ON PHONE. HE HANGS UP PHONE OFF FRAME R. BOB (INTO PHONE)- Hello?

FRONT DESK MAN (VO FILTERED THRU PHONE)- Mr. Harris?

BOB (INTO PHONE)- Yes.

FRONT DESK MAN (VO FILTERED THRU PHONE)- A fax for you.

BOB (INTO PHONE)- Okay. Can you send it up? You

think you can just kick it under the

door for me, slide it under the door

for me, please?

FRONT DESK MAN (VO FILTERED THRU PHONE)- Do you want I send it to your

room?

4-93 ITAL

FRONT DESK MAN (TO BOB)- Do you want I send it to your room?

1441.00 1443.12 2.12


SAME SHOT CONT.

BOB (INTO PHONE)- Just slide it under the door,

please. Thank you.

MAN AT FRONT DESK (VO FILTERED THRU PHONE)- Thank you, Mr. Harris.

BOB (INTO PHONE OVERLAPPING)- Okay. Alright, bye.

4-94 BOB (TO FRONT DESK MAN)- Just slide it under the door, please. Thank you.

1444.01 1447.02 3.01

123 1451.03 INT. HOTEL LOBBY. DAY MLS SIDE ANGLE MS. KAWASAKI FRAME L FACING L AS BOB ENTERS COMING OUT OF ELEVATOR RBG, THEN WALKS L AVOIDING BEING SEEN. PAN L WITH HIM AS HE EXITS L BEHIND WALL, HOLD ON MS. KAWASAKI, MORI AND PRESS AGENT. MS. KAWASAKI (SPEAKS JAPANESE)

124 1467.07 EXT. STREET OUTSIDE HOTEL. DAY MS BOB PAN L AS HE CLIMBS OVER SHORT HEDGE TO L STARTS CROSSING STREET, STOPS AS CAMPAIGN VAN WITH STREAMERS MOVES FG AND MAN RUNS ALONGSIDE WAVING ARMS.

125 1484.13 MS ABOVE WAIST PAN L AS VAN WITH MAN AND TWO WOMEN IN RED BLAZERS LEAN OUT WINDOW WAVING MOVES R TO L, EXITS L.

126 1489.06 MCU SIDE ANGLE BOB LOOKS BG, THEN PAN L AS HE RUNS BG CROSSING STREET THRU TRAFFIC.


127 1502.10 EXT. TOKYO STREET. DAY MLS SIDE ANGLE PAN R AS BOB PACES R TALKING ON CELL PHONE. BOB (OS INTO PHONE)- Hey, Ms. Kawasaki – it’s Bob

Harris.

4-95 BOB (TO MS. KAWASAKI)- Ms. Kawasaki – it’s Bob Harris.

1503.10 1508.00 4.06

128 1509.02 MS BOB TALKS ON CELL PHONE, UNFOLDS PIECE OF PAPER. BOB (CONT INTO PHONE)- Yes, I would love to do his talk

show. I would.

4-96 BOB (TO MS. KAWASAKI)- Yes, I would love to do his talk show.

1509.10 1516.02 6.08

129 1517.15 ECU HIGH ANGLE DOWN ON UNFOLDED PIECE OF PAPER IN BOB’S HAND WITH HAND DRAWN MAN AND NOTE ON IT. BOB (OS CONT)- Mm hm. I would love to change

my plans and stay.

4-97 BOB (TO MS. KAWASAKI)- I would love to change my plans and stay.

1518.14 1523.02 4.04

4-98 TALK SHOW HOST (TO AUDIENCE)- Ladies and gentlemen,…

1561.10 1564.08 2.14 130 1524.00 INT. TALK SHOW STUDIO. DAY MLS TALK SHOW HOST SITS RBG FACING RFG AS ASSISTANT DIRECTOR COUNTS DOWN STANDING REAR ANGLE LFG, THEN KNEELS SIDE ANGLE IN FRONT OF HOST HOLDING CUE CARD. BOB IS PARTIALLY VISIBLE FAR RBG BEHIND SET. STAGE MANAGER (OS)- (SPEAKS JAPANESE)

TALK SHOW HOST- (SPEAKS JAPANESE) Ladies

and gentlemen,…

TALK SHOW HOST (OS CONT)- Mr. Bob Harris. (SPEAKS

JAPANESE)

4-99 TALK SHOW HOST (TO AUDIENCE)- Mr. Bob Harris.

1564.13 1570.02 5.05


4-100 TALK SHOW HOST (TO BOB)- C’mon, Bob. C’mon Bob.

1581.00 1584.00 3.00

4-101 TALK SHOW HOST (TO BOB)- Nice to meet you.

1588.07 1591.04 2.13

4-102 TRANSLATOR (TO BOB)- He wants to tell you to stand.

1611.11 1614.07 2.12

4-103 TALK SHOW HOST (TO BOB)- Japanese dance step.

1614.10 1616.14 2.04

SAME SHOT CONT. TRACK LBG PAN R PICKIN UP BOB AND MS. KAWASAKI SHOW TRANSLATOR TALKING WITH OTHER WOMAN REAR ANGLE, THEN BOB AND TRANSLATOR WALK FG. SHOW HOST ENTERS R AND STANDS SIDE ANGLE ON L CLAPPING AS BOB AND TRANSLATOR WALK FG. ZOOM OUT. HOST OPENS ARMS, GIVES BOB BIG HUG, SHAKES HIS HAND. TALK SHOW HOST (CONT)- Woo! C’mon, Bob. C’mon Bob.

(SPEAKS JAPANESE) Nice to

meet you. (SPEAKS JAPANESE)

TRANSLATOR- (INDISTINCT)

ZOOM BACK AS BOB AND TRANSLATOR SIT AT DESK AND HOST STANDS L CLAPPING, DOES STRANGE DANCE. BOB STANDS CLAPPING. TALK SHOW HOST- (SPEAKS JAPANESE)

TRANSLATOR- He wants to tell you to stand.

TALK SHOW HOST- Japanese dance step. (SPEAKS

JAPANESE)

TRANSLATOR (OS OVERLAPPING)- Uh, yes – Japanese dance step.

BOB- Do I have to dance with him?

TALK SHOW HOST- (SPEAKS JAPANESE) (LAUGHS)

TRANSLATOR- Welcome, Bob.

4-104 BOB (TO TRANSLATOR)- Do I have to dance with him?

1618.06 1620.08 2.02


SAME SHOT CONT.

BOB- What?

TRANSLATOR- He’s saying “Welcome, Bob. “

4-105 TRANSLATOR (TO BOB)- He’s saying “Welcome, Bob.”

1637.05 1639.11 2.06

131 1640.00 INT. LIMOUSINE. NIGHT MCU BOB TAKES PIECES OF PAPER OUT OF BREAST POCKET LOOKS THRU THEM.

132 1657.04 ECU POLAROID PHOTO IN BOB’S HAND OF CHARLOTTE AT PARTY.

133 1661.11 MCU BOB.

134 1671.15 INT. HOTEL SPA ROOM. NIGHT. MLS BOB SITS IN LARGE TILE TUB, HEAD VISIBLE ABOVE TUB SIDE. HE SITS UP, REACHES FG AND ANSWERS CELL PHONE, TURNS SIDE ANGLE FACING L. BOB (INTO PHONE)- Hello?

LYDIA (VO FILTERED THRU PHONE)- Bob?

4-106 ITAL

BOB (TO WIFE)- – Hello? WIFE (TO BOB)- – Bob?

1699.02 1701.14 2.12

4-107 BOB (TO WIFE)- Hi Lydia.

1705.03 1706.14 1.11 135 1702.03 MS BOB IN TUB TALKING ON CELL PHONE. HE RECLINES, SINKING BELOW WATER WITH ONLY HIS HEAD ABOVE SURFACE FACING LFG AS HE TALKS. BOB (INTO PHONE)- Hi, Lydia.

LYDIA (VO FILTERED THRU PHONE)- Is this a bad time?

4-108 ITAL

WIFE (TO BOB)- Is this a bad time?

1707.08 1709.09 2.01


4-109 BOB (TO WIFE)- No, it’s always a good time.

1711.08 1713.15 2.07

4-110 ITAL

WIFE (TO BOB)- Your burgundy carpet isn’t in stock. It’s gonna take twelve weeks. (in stock: in the store)

1715.07 1722.07 7.00

4-111 ITAL

WIFE (TO BOB)- Did you like any of the other colors?

1723.00 1725.09 2.09

4-112 BOB (TO WIFE)- Whatever you like. I’m completely lost. (lost: unable to decide)

1731.00 1735.04 4.04

SAME SHOT CONT.

BOB (INTO PHONE)- No, it’s always a good time.

LYDIA (VO FILTERED THRU PHONE)- Look, um, your burgundy carpet

isn’t in stock. It’s gonna take

twelve weeks. Did you like any of

the other colors?

BOB (INTO PHONE)- Whatever you like. I’m, I’m

completely lost.

LYDIA (VO FILTERED THRU PHONE)- It’s just carpet.

4-113 -/ ITAL

WIFE (TO BOB)- It’s just carpet. (It’s: the decision at hand)

1737.04 1739.14 2.10

4-114 BOB (TO WIFE)- That’s not what I’m talking about.

1741.08 1743.12 2.04

4-115 ITAL

WIFE (TO BOB)- What are you talking about?

1744.01 1746.08 2.07

4-116 BOB (TO WIFE)- I don’t know – I just want to get healthy.

1750.12 1754.04 3.08

4-117 BOB (TO WIFE)- I want to take better care of myself.

1754.12 1758.00 3.04

136 1739.09 MLS SIDE ANGLE BOB IN TUB TALKING ON CELL PHONE. BOB (INTO PHONE)- That’s not what I’m talking about.

LYDIA (VO FILTERED THRU PHONE)- What are you talking about?

BOB (INTO PHONE)- I don’t know, I just want to get

healthy. Y’know, I want to take

better care of myself. I would like

to start eating healthier.

4-118 BOB (TO WIFE)- I would like to start eating healthier.

1759.03 1763.05 4.02

4-119 BOB (TO WIFE)- I don’t want all that pasta.

1764.03 1766.09 2.06 137 1763.11 MS BOB SITS UP IN TUB STILL ON PHONE. HE TURNS FACING FG A MOMENT, LEANS ON SIDE OF TUB. BOB (INTO PHONE CONT)- I don’t want all that pasta. I would

like to start eating, like, Japanese

food.

4-120 BOB (TO WIFE)- I would like to start eating Japanese food.

1770.00 1773.09 3.09


SAME SHOT CONT.

LYDIA (VO FILTERED THRU PHONE)- Well, why don’t you just stay there

and you can have it every day?

4-121 ITAL

WIFE (TO BOB)- Why don’t you stay there and you can have it every day?

1776.08 1781.05 4.13

4-122 BOB (TO WIFE)- How are the kids doing?

1789.04 1791.12 2.08

4-123 ITAL

WIFE (TO BOB)- They’re fine. They miss their father…

1793.04 1797.09 4.05

4-124 ITAL

WIFE (TO BOB)- but they’re getting used to your not being here.

1797.14 1801.07 3.09

4-125 ITAL

WIFE (TO BOB)- Do I need to worry about you, Bob?

1802.01 1804.14 2.13

4-126 BOB (TO WIFE)- Only if you want to.

1808.02 1810.09 2.07

4-127 ITAL

WIFE (TO BOB)- I got things to do. I gotta go.

1815.04 1819.04 4.00

4-128 BOB (TO WIFE)- Okay.

1820.01 1821.08 1.07

4-129 ITAL

WIFE (TO BOB)- I’ll see you– I mean, I’ll talk to you later.

1823.07 1827.03 3.12

138 1784.06 MLS BOB IN TUB TALKING ON PHONE. BOB (INTO PHONE)- How are the kids doing?

LYDIA (VO FILTERED THRU PHONE)- They’re fine. They miss their father

but they’re getting used to your not

being here. Look, do I need to

worry about you, Bob?

BOB (INTO PHONE)- Only if you want to.

LYDIA (VO FILTERED THRU PHONE)- Bob, I got things to do. I gotta go.

BOB (INTO PHONE)- Okay.

LYDIA (VO FILTERED THRU PHONE)- I’ll see you la – I mean, I’ll talk to

you later.


LYDIA (VO FILTERED THRU PHONE)- Okay, bye.

BOB (INTO PHONE)- Bye.

HE HANGS UP PHONE, PUTS IT DOWN FG ON TOWEL, THEN SINKS BELOW TUB SIDE.

4-130 ITAL

WIFE (TO BOB)- Okay. Bye.

1829.07 1832.04 2.13


139 1857.10 INT. SAUNA. NIGHT MS TWO GERMAN BUSINESSMEN SITTING SIDE ANGLE LFG SIDE BY SIDE AND BOB LAYING ON BENCH BG HORIZONTAL IN FRAME FROM R. TWO BUSINESSMEN (SPEAK GERMAN)

140 1877.06 INT. BOB’S HOTEL ROOM. NIGHT ECU TV SHOWING BOB AND HOST ON SHOW BOTH LEANING FG INTO CAMERA LENS. THEY SIT BACK INTO MCU. TALK SHOW HOST- (SPEAKS JAPANESE)

141 1890.07 MS ABOVE WAIST BOB SITTING ON END OF BED LOOKING LFG. TALK SHOW HOST (VO FILTERED)- (SPEAKS JAPANESE) We have…

142 1894.06 ECU TV SCREEN BOB’S APPEARANCE ON TALK SHOW AS HOST, BOB AND TRANSLATOR SIT FACING FG AND HOST LEANS FG WITH HANDS TOGETHER AND ANIMATED HEART SHAPED GRAPHIC APPEARS. BOB IMITATES HOST. HEART GRAPHIC FILLS SCREEN, THEN HOST REAPPEARS FRAME L. TALK SHOW HOST-(VO ON TV FILTERED CONT)- Matthew Smellick.

BOB (VO ON TV FILTERED)- Matthew Snellick.

TALK SHOW HOST (VO ON TV FILTERED)- (SPEAKS JAPANESE)



4-131 JAZZ SINGER (TO BARTENDER)- Hi. Champagne. Thanks.

1932.01 1935.14 3.13 144 1914.12 INT. HOTEL RESTAURANT/ LOUNGE. NIGHT MS ABOVE WAIST SIDE ANGLE ON BOB AT BAR. JAZZ SINGER ENTERS FROM R, SITS NEXT TO BOB BG, TURNS FG ENGAGES IN CONVERSATION. JAZZ SINGER (OS)- Thank you. Thank you so much.

We’ll take a really short break and

we’ll see you in a minute.

JAZZ SINGER (CONT)- Hi. Uh, champagne. Thanks. Hi.

4-132 JAZZ SINGER (TO BOB)- Hi.

1945.06 1946.14 1.08

1949.14 LAST FRAME PICTURE. END OF REEL 4A/B




1 12.00I NT. X-RAY EXAMINATION ROOM. DAY MS CHARLOTTE SITTING SIDE ANGLE ATOP X-RAY TABLE AS TECHNICIAN BG PUTS STRIP OF FILM ON HER TOE, REACHES UP.

2 20.14 INT. HOSPITAL WAITING AREA. DAY MS BOB STANDS SIDE ANGLE L UP AGAINST DOOR FACING L, PEOPLE SEATED R, RECEPTIONS COUNTER BG.

3 25.09 INT. HOSPITAL WAITING AREA. DAY MS BOB SITTING NEXT TO OLD MAN IN WHITE CAP WITH CANE, TWO WOMEN SEATED BACK LBG. BOB NUDGES OLD MAN WHO LOOKS AT HIM. PERSON CROSSES FRAME FG R TO L, BOB POINTS FG.

4 40.12 MCU LOW ANGLE PAN L WITH BOX MOVING BG TO FG THEN CROSSING FG R TO L.


5 45.10 INT. EXAMINATION ROOM. DAY MS ABOVE WAIST SIDE ANGLE OTS ON DOCTOR POINTING TO X-RAY OF CHARLOTTE’S FOOT ON LIGHT BOARD. DOCTOR LOOKS FG. DOCTOR- (SPEAKS JAPANESE)

4-1 BOB (TO OLD MAN)- Japan.

84.00 85.00 1.00 6 55.10 INT. WAITING AREA. DAY MS BOB SITTING WITH OLD MAN. OLD MAN GESTURES WITH HAND AND BOB IMITATES. OLD MAN- (SPEAKS JAPANESE)

BOB- Indeska?

OLD MAN- (SPEAKS JAPANESE) Japan.

BOB- Japan.

OLD MAN- Emperor. Japan Emperor.

BOB- Japan –

OLD MAN- Emperor,

BOB- After...?

OLD MAN- Emperor.

BOB- Japan...?

OLD MAN- (SPEAKS JAPANESE)

4-2 BOB (TO OLD MAN)- Japan... After... Japan?

89.11 96.05 6.10


SAME SHOT CONT.

BOB- Nunnen?

OLD MAN MAKES CIRCLE MOTION WITH HAND AND SO DOES BOB. OLD MAN (HUMS) BOB (HUMS) OLD MAN LAUGHS. BOB- (HUMS) How’s that song go?

4-3 BOB (TO OLD MAN)- How does that song go? (Bob’s joking because Old Man is humming)

135.11 137.09 1.14

7 137.13 INT. EXAMINATION ROOM. DAY MCU SIDE ANGLE CHARLOTTE. DOCTOR (OS)- (SPEAKS JAPANESE)

8 144.06 MS ABOVE WAIST LOW SIDE ANGLE OTS UP AT DOCTOR POINTING TO X-RAY OF FOOT ON BOARD. DOCTOR (CONT)- (SPEAKS JAPANESE)

9 150.02 INT. HOSPITAL WAITING AREA. DAY MS ABOVE WAIST CHARLOTTE ENTERS EMERGING FROM X-RAY ROOM, STANDS IN DOORWAY LOOKING FG SMILING. CHARLOTTE- Is that for me?

4-4 CHARLOTTE (TO BOB)- Is that for me? (that: stuffed pillow Bob is holding)

157.00 158.02 1.02

10 158.06 MS BOB SITTING WITH STUFFED PILLOW ANIMAL. BOB- Yeah, it can be for you.

4-5 BOB (TO CHARLOTTE)- It can be for you. (It: pillow)

160.10 162.12 2.02


11 167.07 EXT. HOSPITAL DRIVEWAY. DAY MS LOW REAR ANGLE CHARLOTTE AND BOB WALK BG UP DRIVEWAY.

12 173.14 INT. CHARLOTTE’S HOTEL ROOM. DAY MS SIDE ANGLE CHARLOTTE IN LONG T-SHIRT SITTING ON BED OPENS BOOK.

13 179.01 ECU OTS HIGH ANGLE DOWN ON OPEN BOOK AS CHARLOTTE REMOVES PHOTOGRAPH FROM SIDE POCKET.

14 183.06 MS SIDE ANGLE CHARLOTTE LOOKS AT PICTURE.

15 188.06 ECU PICTURE OF CHARLOTTE AND JOHN HELD IN CHARLOTTE’S HAND. SHE SHIFTS PICTURE TO ANOTHER SHOT OF HER AND JOHN.


17 202.03 INT. BOB’S HOTEL ROOM. DAY MLS BOB PRACTICING PUTTING IN HIS ROOM PUTS GOLF BALL FG. HE PUMPS FIST.


4-6 ITAL

CHARLOTTE (TO BOB)- Bob, it’s Charlotte. I’m gonna meet Charlie and the guys…

213.04 219.04 6.00

4-7 ITAL

CHARLOTTE (TO BOB)- at this place “Orange” around ten. I’ll fax you a map to get there.

219.09 226.07 6.14

18 208.08 EXT. TOKYO NEIGHBORHOOD. NIGHT LS ELEVATED SUBWAY MOVING L TO R WITH BUILDINGS BG, PAN R AND DOWN AND PICK UP BOB GETTING OUT OF TAXI HOLDING PIECE OF PAPER, WALKS R. CHARLOTTE (VO)- Hey, Bob, it’s Charlotte. Um, I’m

gonna meet Charlie and those

guys at this place called Orange

around ten, so I’ll fax you a map

on how to get there. I hope you

can come and meet us. Bye.

4-8 ITAL

CHARLOTTE (TO BOB)- I hope you can come and meet us. Bye.

226.12 229.12 3.00

19 244.02 INT. STRIP CLUB. NIGHT MS TOPLESS GIRL DANCING ON LIT CIRCULAR PEDESTAL, GUY ON SOFA R.

20 250.05 MS BOB SITTING, NODS. LEGS OF GIRL DANCING PARTIALLY IN FRAME RFG.

21 256.03 LS SIDE ANGLE DOWN CLUB AS GIRL DANCES ON PLATFORM R, BOB SITTING L, OTHERS SITTING LFG AND BG. GIRL BENDS OVER BACKWARDS.

22 264.12 MS BETWEEN GIRL’S LEGS ON BOB REACHING FG AS IF KEEPING GIRL FROM FALLING. HE GLANCES UP UNCOMFORTABLY.

23 274.12 LS SIDE ANGLE DOWN CLUB WITH GIRL DANCING R, BAR BG AND BOB SEATED L. CHARLOTTE ENTERS RFG AND WALKS LBG TO BOB.


24 278.13 MS BOB TAPS EMPTY SPOT OF SOFA BESIDE HIM AS CHARLOTTE ENTERS LFG AND CROSSES TO RBG SITS BESIDE BOB.

4-9 CHARLOTTE (TO BOB)- How long have you been here?

285.00 286.12 1.12

4-10 BOB (TO CHARLOTTE)- I couldn’t say.

288.11 290.06 1.11

4-11 CHARLOTTE (TO BOB)- Where’s Charlie and those guys?

291.06 293.09 2.03

25 285.00 MCU PAST BOB SIDE ANGLE LFG ONTO CHARLOTTE TURNED FRONT ANGLE. SHIFT FOCUS FROM CHARLOTTE TO BOB THEN BACK TO CHARLOTTE. CHARLOTTE- How long have you been here?

BOB- I couldn’t say.

CHARLOTTE- Where’s Charlie and those guys?

BOB- Um, they’re takin’ a dance class.

4-12 BOB (TO CHARLOTTE)- They’re taking a dance class. (Bob is sarcastically referring to Charlie and others having strippers dance for them)

297.02 299.08 2.06

26 306.04 MLS CHARLIE SITTING AS ANOTHER TOPLESS GIRL DANCES IN FRONT OF HIM REAR ANGLE.

27 310.09 MS BOB AND CHARLOTTE.

28 315.15 MLS GIRL BENDS THEN ROLLS COMPLETELY OVER ON PLATFORM FG ENDS UP ON HANDS AND KNEES REAR ANGLE.


29 326.02 MCU SIDE ANGLE BOB RFG AND CHARLOTTE BG LOOKING FG. BOB NODS AND THEY RISE, EXIT R. BOB- Can I get you a couple drinks?

CHARLOTTE- Let’s go.

BOB- Okay.

CHARLOTTE (OVERLAPPING)- Okay.

4-13 BOB (TO CHARLOTTE)- – Can I get you some drinks? CHARLOTTE (TO BOB)- – Let’s go.

327.06 330.14 3.08

30 334.01 MS BOB STANDS AS CHARLOTTE EXITS L. BOB STEPS FG, WOMAN’S LEG PART IN FRAME LFG AS BOB SEMI-BOWS FG, THEN EXITS L. BOB (OS)- Thank you.

4-14 BOB (TO STRIPPER)- Thank you.

335.02 336.08 1.06

31 338.15 EXT. TOKYO STREET. NIGHT. MS SIDE ANGLE TRACK R AS PEDESTRIANS WALK S TO R AND R TO L.

32 342.03 MLS CHARLOTTE AND BOB RUN FG AND PAN R ZOOMING OUT. BOB- He’s got blockers.

4-15 BOB (TO CHARLOTTE)- He’s got blockers. (blockers: players in American football who run in front of person with ball)

344.07 345.12 1.05

33 347.02 MS ABOVE WAIST REAR ANGLE FOLLOWING BOB RUNNING BG PULLING CHARLOTTE ALONG BY THE HAND. BOB (OS CONT)- They’ve got room to run.

4-16 BOB (TO CHARLOTTE)- They’ve got room to run. (They: Bob and Charlotte)

348.08 350.04 1.12


34 350.10 MS BOB AND CHARLOTTE RUNNING FG ZIG-ZAGGING L AND R, BOB PULLING CHARLOTTE BY HAND, ZOOM OUT AS THEY RUN FG. BOB (CONT)- He’s cutting back. He cut back.

He’s dancin’, he’s dancin’.

Where’d…

4-17 -/ BOB (TO CHARLOTTE)- He’s cutting back. He’s dancin’. Where did he go? (Cutting back: term in American football for zig-zagging)

351.12 358.07 6.11

35 357.11 MCU REAR ANGLE TRACK BG FOLLOWING CHARLOTTE AND BOB AND THEN THEY STOP TURN LOOK L. BOB (OS CONT)- he go?

36 361.04 MS ABOVE WAIST BOB L AND CHARLOTTE R LOOKING LFG.

37 363.08 LS LONG RECTANGULAR BILLBOARD WITH BOB ON IT IN AD FOR SUNTORY LIQUOR. CHARLOTTE (OS)- There you are.

4-18 CHARLOTTE (TO BOB)- There you are. (There: referring to Bob on billboard ad)

364.00 365.11 1.11

38 369.05 MCU SIDE ANGLE BOB AND CHARLOTTE LOOKING L. BOB WAVES HELLO TO L. CHARLOTTE (CONT)- Say hi.

4-19 CHARLOTTE (TO BOB)- Say hi.

370.10 372.04 1.10

39 376.11 MS SIDE ANGLE CHARLOTTE AND BOB FACING L AS BOB WAVES, PEOPLE PASSING RBG TO RFG BEHIND THEM, THEN THEY RUN EXIT L. CHARLOTTE- Hi. You ready? C’mon.

4-20 CHARLOTTE (TO BOB)- You ready? C’mon!

380.04 383.14 3.10


40 386.15 INT. HOTEL LOBBY OUTSIDE RESTAURANT/LOUNGE. NIGHT MS KELLY SINGS KARAOKE, BARTENDER IN BG AT BAR. KELLY- Thank you, Tokyo!

4-21 KELLY (TO PEOPLE IN LOUNGE)- Thank you, Tokyo.

388.12 391.03 2.07

41 391.04 MS ABOVE WAIST AS BOB AND CHARLOTTE ENTER COMING OUT OF ELEVATOR L, THEN TURN START FG. KELLY (OS CONT)- (SINGING) Nobody does it better.

4-22 ITAL

KELLY (TO PEOPLE IN LOUNGE)- Nobody does it better. (it: be a lover)

391.10 398.08 6.14

4-23 ITAL

KELLY (TO PEOPLE IN LOUNGE)- Makes me feel sad for the rest.

401.12 408.12 7.00 42 398.09 MS KELLY SINGING, HER BOYFRIEND SITTING SIDE ANGLE L AND BARTENDER IN BG. TRACK R. KELLY (CONT)- (SINGING) Makes me feel sad for

the rest. Nobody…

4-24 -/ ITAL

KELLY (TO PEOPLE IN LOUNGE)- Nobody does it…

412.12 417.00 4.04

43 413.07 MS TRACK BACK WITH BOB AND CHARLOTTE WALKING FG. KELLY (OS CONT)- (SINGING) does it…

4-25 ITAL

KELLY (TO PEOPLE IN LOUNGE)- half as good as you.

417.08 422.02 4.10 44 417.05 MS KELLY SINGING, TRACK R. KELLY (CONT)- (SINGING) half as good as you.

(LAUGHS) Baby, you’re…

4-26 -/ ITAL

KELLY (TO PEOPLE IN LOUNGE)- Baby, you’re the best.

423.12 429.04 5.08

45 427.07 MS ABOVE WAIST BOB AND CHARLOTTE TRACK BACK AS THEY WALK FG START CROSSING FRAME TO L. KELLY (OS CONT)- (SINGING) the best. You too.

4-27 -/ KELLY (TO COUPLE IN LOUNGE)- You, too. Both of you.

429.09 432.09 3.00


46 431.09 MS KELLY SINGING, TRACK R PICK UP COUPLE SEATED SIDE ANGLE ON L LAUGHING. KELLY (OS CONT)- Both of you. (SINGING) I wasn’t

lookin’,…

4-28 -/ ITAL

KELLY (TO PEOPLE IN LOUNGE)- I wasn’t lookin’…

435.06 439.02 3.12

4-29 ITAL

KELLY (TO PEOPLE IN LOUNGE)- but I’m glad I found you

440.05 444.08 4.03 47 438.14 MS SIDE ANGLE AS BOB AND CHARLOTTE WALK L, PAN L WITH THEM AND HOLD AS THEY RUN BG, EXIT FAR LBG. KELLY (OS CONT)- (SINGING) but I’m glad I found

you. I tried to hide from your love,

yeah.

CHARLOTTE (LAUGHS)

4-30 ITAL

KELLY (TO PEOPLE IN LOUNGE)- I tried to hide from your love.

446.00 453.00 7.00

48 454.06 INT. CHARLOTTE’S HOTEL ROOM. NIGHT MS WINDOW WITH CITY LIGHTS AND BUILDINGS FAR BG THRU WINDOW, THEN PAN DOWN REVEAL CHARLOTTE ON HER SIDE IN BED FACING FG IN FRAME FROM R.

49 472.07 INT. CHARLOTTE’S HOTEL ROOM. NIGHT MCU SIDE ANGLE CHARLOTTE SITS UP IN BED.

50 481.05 CU SIDE ANGLE CHARLOTTE WITH HEAD DOWN.

51 488.12 INT. CHARLOTTE’S HOTEL ROOM. NIGHT MCU REAR ANGLE CHARLOTTE REACHES BG TURNS ON LIGHT, SITS UP FACING R.


52 503.05 INT. CHARLOTTE’S HOTEL ROOM. MS ABOVE WAIST REAR ANGLE CHARLOTTE SITTING ON SIDE OF BED PUTS ON SWEATER.

53 517.03 INT. CHARLOTTE’S HOTEL ROOM. NIGHT MS AS CHARLOTTE’S REFLECTION IN WINDOW WALKS L TO R ACROSS FRAME.

54 521.14 INT. CHARLOTTE’S HOTEL ROOM. NIGHT MS SIDE ANGLE CHARLOTTE SITTING IN CHAIR PICKS UP MAGAZINE, BEGINS LOOKING THRU IT.

55 531.11 INT. CHARLOTTE’S HOTEL ROOM. NIGHT MS ABOVE WAIST HIGH SIDE ANGLE DOWN ON CHARLOTTE IN CHAIR LOOKING OFF L THINKING.

56 540.08 MCU BOTTOM OF ROOM DOOR AS NOTE IS SLIPPED FG UNDER DOOR.

57 542.11 MS ABOVE WAIST HIGH ANGLE DOWN ON CHARLOTTE IN CHAIR LOOKS BG BELOW FRAME, GETS UP AND EXITS FG, PAN UP LS CITY IN BG THRU WINDOW.

58 557.15 MCU REAR ANGLE CHARLOTTE’S CALVES, FEET STEPPING BG AND SHE BENDS INTO FRAME, PICKS UP NOTE AND STANDS BACK UP OUT OF FRAME.



60 570.01 CU HIGH ANGLE DOWN ON ENVELOPE IN CHARLOTTE’S HAND, SHE TURNS IT OVER AND PULLS OUT NOTE. IT READS:

FROM: MR. HARRIS MESSAGE: ARE YOU AWAKE?

4-31 NARRATIVE TITLE: MESSAGE ON PAPER- FROM: MR. HARRIS. MESSAGE: ARE YOU AWAKE?

576.09 578.04 1.11

61 578.05 MCU CHARLOTTE LOOKING DOWN, SMILES AND TURNS L, EXITS L.

62 585.11 INT. BOB’S HOTEL ROOM. NIGHT MS PAST BOB AND CHARLOTTE REAR ANGLE ONTO TV BG, BOB LAYING ON STOMACH ON BED WITH FEET FG AND CHARLOTTE SITTING AGAINST SIDE OF BED.

63 592.01 MCU TV WITH MOVIE WITH SUBTITLES. IN JAPANESE.

64 597.11 MS ABOVE WAIST 2 SHOT CHARLOTTE SITTING L ON FLOOR AGAINST FOOT OF BED AND BOB LAYING STOMACH DOWN ON BED FACING FG DRINKING SAKE. CHARLOTTE TAKES UP BOTTLE TO POUR MORE SAKE.

65 605.09 MCU TV.

66 609.01 MS ABOVE WAIST CHARLOTTE AND BOB AS BOB HOLDS BOTTLE POURS MORE SAKE INTO CHARLOTTE’S CUP, PUTS BOTTLE DOWN BELOW FRAME FG.


67 619.13 MCU LOW ANGLE TV WITH MONICA VITTI IN MOVIE. CHARLOTTE (OS)- Y’know, the first time I saw you,

you were wearing a tuxedo at the

bar.

4-32 CHARLOTTE (TO BOB)- The first time I saw you, you were wearing a tuxedo at the bar.

621.11 626.13 5.02

68 627.11 MCU ABOVE WAIST HIGH ANGLE OTS DOWN ON CHARLOTTE LOOKING UP FG. SHE DRINKS, TURNING SIDE ANGLE TO L. CHARLOTTE (CONT)- You were very dashing. I liked the

mascara.

4-33 CHARLOTTE (TO BOB)- You were very dashing. I liked the mascara. (dashing: debonair, sophisticated)

628.00 633.12 5.12

69 640.03 MCU SIDE ANGLE OTS ON BOB LOOKING RFG. BOB- But the first time I saw you was in

the elevator.

4-34 BOB (TO CHARLOTTE)- But the first time I saw you was in the elevator.

643.04 646.11 3.07

4-35 CHARLOTTE (TO BOB)- – Really? BOB (TO CHARLOTTE)- – You don’t remember?

647.05 650.07 3.02 70 646.15 MS ABOVE WAIST CHARLOTTE SIDE ANGLE L LEANS R TOWARD BOB LAYING STOMACH DOWN ON BED TO FG, LOOK L AT HER. CHARLOTTE- Really?

BOB- You don’t remember?

CHARLOTTE- I guess you do kind of blend in,

huh? (LAUGHS)

4-36 CHARLOTTE (TO BOB)- I guess you do kind of blend in. (blend in: that is, don’t stand out among a crowd)

655.08 658.14 3.06


71 661.13 MCU HIGH ANGLE OTS DOWN ON CHARLOTTE LOOKING UP TO FG. CHARLOTTE (CONT)- Did I scowl at you?

4-37 CHARLOTTE (TO BOB)- Did I scowl at you?

662.14 664.14 2.00

72 665.04 MCU SIDE ANGLE OTS ON BOB LOOKING RFG. BOB- No, you smiled.

4-38 -/ BOB (TO CHARLOTTE)- – No, you smiled. CHARLOTTE (TO BOB)- – I did?

666.09 670.06 3.13

73 668.03 MCU HIGH ANGLE OTS DOWN ON CHARLOTTE. CHARLOTTE- I did?

4-39 BOB (TO CHARLOTTE)- Yes, a compete accident, a freak. I haven’t seen it since. (freak: a bizarre occurrence)

670.11 675.01 4.06 74 670.08 MCU SIDE ANGLE OTS ON BOB LOOKING RFG. BOB- Yes, it was a compete accident,

a freak. I haven’t seen it since.

Just that one time.

4-40 -/ BOB (TO CHARLOTTE)- Just that one time. Like that, but bigger.

675.11 679.14 4.03

75 677.05 MCU OTS HIGH ANGLE DOWN ON CHARLOTTE. BOB (OS CONT)- Like that, but bigger. Bigger. Hm,

might be –

4-41 BOB (TO CHARLOTTE)- Bigger.

682.05 683.12 1.07

76 686.09 MCU SIDE ANGLE OTS ON BOB LOOKING RFG SMILING. BOB (CONT)- well, not that big.

4-42 BOB (TO CHARLOTTE)- Not that big.

686.12 688.08 1.12


77 690.14 MS ABOVE WAIST CHARLOTTE SIDE ANGLE ON FLOOR L AND BOB ON BED ON STOMACH FACING FG. THEY BOTH LOOK UPPER RFG.

78 699.15 MLS BETWEEN BOB AND CHARLOTTE REAR ANGLE L AND R ONTO TV BG. ACTRESS (VO THRU TV FILTERED)- Marcello, come here. Hurry up.

DISSOLVE TO:

4-43 CHARLOTTE (TO BOB)- Why do they switch the “R’s” and the “l’s” here? (they: The Japanese)

714.14 718.04 3.06

4-44 BOB (TO CHARLOTTE)- For yucks. To mix it up. (yucks: colloquial slang for a joke, laughs) (mix it up: variety)

720.07 724.08 4.01

4-45 BOB (TO CHARLOTTE)- They have to amuse themselves because we’re not making them laugh.

726.08 730.14 4.06

4-46 CHARLOTTE (TO BOB)- Let’s never come here again because it would never be as much fun.

736.08 742.04 5.12

79 708.09 INT. BOB’S HOTEL ROOM. NIGHT LS HIGH ANGLE OUT WINDOW ON CITY LIGHTS AND PAN R REVEAL REFLECTION IN WINDOW OF MS SIDE ANGLE CHARLOTTE SITTING ON BED BESIDE BOB LYING ON BED ON STOMACH L TO R FACING R. BOB JUMPS UP ONTO KNEES, LAYS BACK AGAINST HEADBOARD L. CHARLOTTE (OS)- Why do they switch the “R’s” and

the “l’s” here?

BOB (OS)- Oh, for yucks. Y’know, just to mix

it up. They have to amuse

themselves. ‘Cause we’re not

makin’ ‘em laugh.

CHARLOTTE- (LAUGHS) Let’s never come here

again ‘cause it would never be as

much fun.

BOB- Whatever you say. You’re the

boss.

4-47 BOB (TO CHARLOTTE)- Whatever you say. You’re the boss.

747.01 750.07 3.06


4-48 CHARLOTTE (TO BOB)- I’m stuck. (That is, in my life in general)

758.09 760.05 1.12

4-49 CHARLOTTE (TO BOB)- Does it get easier? (it: living, being an adult)

766.03 768.03 2.00

4-50 BOB (TO CHARLOTTE)- No.

769.08 770.14 1.06

4-51 BOB (TO CHARLOTTE)- Yes. It gets easier.

774.04 779.07 5.03

4-52 CHARLOTTE (TO BOB)- Oh yeah? Look at you. (Look at you: sarcastic, saying not if I use you as an example)

781.03 785.05 4.02

4-53 BOB (TO CHARLOTTE)- Thanks.

788.12 790.05 1.09

4-54 BOB (TO CHARLOTTE)- The more you know who you are and what you want,…

793.11 798.11 5.00

4-55 BOB (TO CHARLOTTE)- the less you let things upset you.

800.06 806.08 6.02

4-56 CHARLOTTE (TO BOB)- I just don’t know what I’m supposed to be.

814.05 817.08 3.03

4-57 CHARLOTTE (TO BOB)- I tried being a writer, but… I hate what I write.

822.07 828.04 5.13

4-58 CHARLOTTE (TO BOB)- I tried taking pictures, but… they’re so mediocre.

831.07 838.07 7.00

4-59 CHARLOTTE (TO BOB)- Every girl goes through a photography phase.

839.10 844.02 4.08

4-60 CHARLOTTE (TO BOB)- You know? Like horses? (Meaning every girl goes through a time of loving horses while growing up.)

845.07 847.11 2.04

4-61 CHARLOTTE (TO BOB)- Taking dumb pictures of your feet.

849.10 855.14 6.04

80 758.06 INT. BOB’S HOTEL ROOM. NIGHT MS ABOVE WAIST HIGH DOWN ON CHARLOTTE L AND BOB R LAYING SIDE BY SIDE ON THEIR BACKS ON BED FACING FG. THEY TALK, ALTERNATELY GLANCING TOWARD EACH OTHER L AND R. CHARLOTTE- I’m stuck. Does it get easier?

BOB- No. Yes. It gets easier.

CHARLOTTE- Oh yeah? Look at you.

BOB- Thanks.

CHARLOTTE (LAUGHS) BOB (CONT)- The more you know who you are,

and what you want, the less you

let things upset you.

CHARLOTTE- Yeah. I just don’t know what I’m

supposed to be. You know. I tried

being a writer, but... I hate what I

write. And I tried taking pictures,

but... they’re so mediocre, y’know.

I mean, every girl goes through a

photography phase. Y’know, like

horses? Y’know? Take, uh, dumb

pictures of your feet.

BOB- You’ll figure that out. I’m not

worried about you. Keep writing.

CHARLOTTE ROLLS ONTO SIDE FACING BOB R, RESTS HEAD ON PILLOW. BOB SHIFTS A LITTLE TO THE R.

4-62 BOB (TO CHARLOTTE)- You’ll figure that out. I’m not worried about you.

859.05 866.05 7.00


4-63 BOB (TO CHARLOTTE)- Keep writing.

872.01 873.11 1.10

4-64 CHARLOTTE (TO BOB)- But I’m so mean.

881.14 884.04 2.06

4-65 BOB (TO CHARLOTTE)- Mean is okay.

887.05 889.05 2.00

4-66 CHARLOTTE (TO BOB)- What about marriage? Does that get easier?

901.01 904.12 3.11

4-67 BOB (TO CHARLOTTE)- That’s hard.

915.05 917.01 1.12

4-68 BOB (TO CHARLOTTE)- We used to have a lot of fun.

926.03 928.12 2.09

4-69 BOB (TO CHARLOTTE)- Lydia would come with me when I made the movies…

931.06 936.06 5.00

4-70 BOB (TO CHARLOTTE)- and we would laugh about it all.

937.01 940.09 3.08

SAME SHOT CONT. CHARLOTTE- But I’m so mean.

BOB- Mean’s okay.

CHARLOTTE- Yeah. (PAUSE) What about

marriage? Does that get easier?

BOB- That’s hard. (PAUSE) We used to

have a lot of fun. Lydia would

come with me when I made the

movies and we would laugh about

it all. Now she doesn’t want to

leave the kids, and…

4-71 BOB (TO CHARLOTTE)- Now she doesn’t want to leave the kids.

943.11 947.03 3.08

4-72 BOB (TO CHARLOTTE)- And she doesn’t need me to be there.

951.14 956.11 4.13 81 947.08 CU SIDE ANGLE BOB ON BACK ON BED FACING TOP OF FRAME. BOB (CONT)- she doesn’t…need me to be there.

The kids miss me,…

4-73 -/ BOB (TO CHARLOTTE)- The kids miss me, but they’re fine.

957.00 961.08 4.08

82 958.03 CU CHARLOTTE ON HER SIDE FACING FG. BOB (OS CONT)- but they’re fine.

83 961.12 CU SIDE ANGLE BOB FACING TOP OF FRAME. HE GLANCES FG. BOB (CONT)- It gets a whole lot more

complicated when you have kids.

4-74 BOB (TO CHARLOTTE)- It gets a whole lot more complicated when you have kids. (It: marriage, life)

965.08 970.14 5.06


84 971.14 CU CHARLOTTE ON HER SIDE FACING FG. CHARLOTTE- Yeah. It’s scary.

4-75 CHARLOTTE (TO BOB)- It’s scary. (It: marriage, life)

972.02 974.08 2.06

85 975.01 CU SIDE ANGLE BOB FACING UP. BOB- The most terrifying day of your

life…

4-76 -/ BOB (TO CHARLOTTE)- The most terrifying day of your life is the day the first one is born.

980.02 985.04 5.02

86 983.00 MCU CHARLOTTE ON HER SIDE FACING FG. BOB (OS CONT)- the day the first one is born.

CHARLOTTE- Yeah. Nobody ever tells you that.

4-77 CHARLOTTE (TO BOB)- Nobody ever tells you that.

988.08 990.12 2.04

4-78 BOB (TO CHARLOTTE)- Your life, as you know it…

992.14 998.02 5.04 87 991.02 CU SIDE ANGLE BOB FACING UP. HE LOOKS FG. BOB- Your life, as you know it, is gone.

Never to return.

4-79 BOB (TO CHARLOTTE)- is gone. Never to return.

999.05 1005.08 6.03

88 1006.06 MCU CHARLOTTE ON SIDE HORIZONTAL IN FROM L FACING FG. SHE SMILES. BOB (OS CONT)- But they learn how to walk and

they learn how to talk and…

4-80 BOB (TO CHARLOTTE)- But they learn how to walk and they learn how to talk…

1009.04 1013.04 4.00

4-81 BOB (TO CHARLOTTE)- and you want to be with them.

1015.14 1020.05 4.07

4-82 BOB (TO CHARLOTTE)- And they turn out to be the most delightful people…

1021.14 1027.14 6.00

89 1013.11 CU SIDE ANGLE BOB FACING UP SHIFTS A BIT. BOB (CONT)- and you want to be with them. And

they turn out to be the most

delightful people you will ever

meet in your life.

4-83 BOB (TO CHARLOTTE)- you will ever meet in your life.

1029.03 1032.02 2.15


90 1032.03 MCU CHARLOTTE ON HER SIDE. CHARLOTTE- Hm, that’s nice.


1033.08 1035.08 2.00

91 1035.12 CU SIDE ANGLE BOB FACING TOP RUBS EYE, CLOSES EYES. BOB- Where’d you grow up?

4-85 BOB (TO CHARLOTTE)- Where did you grow up?

1056.05 1058.02 1.13

4-86 CHARLOTTE (TO BOB)- I grew up in New York, then I moved to Los Angeles…

1060.14 1067.01 6.03

4-87 CHARLOTTE (TO BOB)- when John and I got married, but it’s so different there.

1067.06 1073.04 5.14

92 1058.06 MCU CHARLOTTE ON SIDE FACING FG CLOSES EYES. CHARLOTTE- Well, I grew up in New York, and

then I moved to Los Angeles when

John and I got married, but it’s so

different there.

BOB (OS)- Yeah, I know.

4-88 BOB (TO CHARLOTTE)- I know.

1075.05 1077.00 1.11

4-89 CHARLOTTE (TO BOB)- John thinks I’m so snotty. (snotty: arrogant)

1081.00 1084.07 3.07 93 1079.03 MS HIGH ANGLE DOWN ON CHARLOTTE AND BOB ON BED, CHARLOTTE L ON HER SIDE WITH KNEES DRAWN UP AND BOB ON HIS BACK FACING FG. HE PUTS HIS HAND ON CHARLOTTE’S FOOT. CHARLOTTE- John thinks I’m so snotty.

BOB (CHUCKLES) BOB- You’re not hopeless.

FADE TO BLACK.

4-90 BOB (TO CHARLOTTE)- You’re not hopeless.

1115.02 1117.06 2.04


94 1128.07 INT/EXT. TRAIN/JAPAN COUNTRYSIDE. DAY LS OUT WINDOW ON TOWN FG AND MT. FUJI LOOMING FAR BG TRACK L.

95 1138.08 MCU REAR ANGLE CHARLOTTE LOOKS R OUT WINDOW. SHE WEARS HEADPHONES.

96 1146.13 MCU CHARLOTTE IN TRAIN SEAT WITH HEADPHONES, LOOKS L.

97 1152.08 MLS-LS CHARLOTTE’S POV OUT TRAIN WINDOW MOVING R AS OCEAN, TELEPHONE AND ELECTRIC WIRES, HOUSES PASS BY WINDOW R TO L.

98 1158.14 LS OUT WINDOW MOVING L TO R AS BUILDINGS. HILLTOP PASS R TO L. PAN L TAKING IN VIEW OF WATER.

99 1171.03 INT. TRAIN STATION. DAY MLS HIGH ANGLE DOWN ON PEOPLE WAITING SITTING ON BENCHES, PAN UP TO HANGING SIGNPOST IN JAPANESE.

100 1179.07 EXT. TRAIN PLATFORM. DAY MS-MLS PAST RAILROAD EMPLOYEE REAR ANGLE IN FG ONTO BULLET TRAIN MOVING BG TO FG INTO STATION.

101 1186.10 EXT. TRAIN PLATFORM. DAY MLS AS CHARLOTTE FRAME R WALKS FG, EXITS R, TRAIN STOPPED AT STATION L FACING FG.


102 1193.01 EXT. TEMPLE GROUNDS. DAY MLS LOW ANGLE UP AT TREE BRANCHES, PAN DOWN.

103 1201.05 MS GROUP OF TEENAGE GIRLS IN SCHOOL UNIFORM HANGING AROUND TALKING.

104 1205.10 LS REAR ANGLE CHARLOTTE CLIMBS STEPS TO TEMPLE BG.

105 1216.13 MS CHARLOTTE WALKS FG.

106 1227.13 LS REAR ANGLE CHARLOTTE L STOPS, STANDS WATCHING WEDDING PROCESSION MOVING FAR BG TO FG.

107 1237.02 MS ABOVE WAIST CHARLOTTE LOOKING DOWN, THEN WALKS FG.

108 1242.06 MS-MLS AS CHARLOTTE REAR ANGLE LFG EXITS L AS WEDDING PROCESSION BG MOVES FG UP PATH.

109 1254.14 MS ABOVE WAIST SIDE ANGLE PAN R CHARLOTTE WALKS R THRU TREES.

110 1268.01 MS SIDE ANGLE PAN R WITH BRIDE AND GROOM HOLDING UMBRELLA WALKING TO R.



112 1279.03 MCU SIDE ANGLE GROOM THEN BRIDE ENTER L , PAN R WITH THEM WALKING R, THEN PAN DOWN TO GROOM’S EXTENDED HAND AS BRIDE PUTS HER HAND IN HIS, THEN PAN BACK UP AND THEY EXIT R.


114 1307.11 EXT. TEMPLE GARDENS. DAY MLS REAR ANGLE CHARLOTTE WALKS BG STEPPING FROM STONE TO STONE IN POND.

115 1325.02 EXT. TEMPLE GARDENS. DAY ECU PAPER LEAVES AS PRAYERS ON TREE, PAN R AND SHIFT FOCUS BG TO MS ABOVE WAIST ON CHARLOTTE AS SHE TIES PAPER ONTO BRANCH.

116 1338.03 MS SIDE ANGLE CHARLOTTE TYING PAPER ONTO BRANCH. SHE TURNS, EXITS R.

117 1355.13 EXT. TEMPLE GROUNDS. DAY LS SIDE ANGLE CHARLOTTE WALKS ACROSS COURTYARD L TO R, PAN R AS SHE CROSSES FRAME, WALKS BG TOWARD TEMPLE.

118 1393.04 INT. BOB’S HOTEL ROOM. DAY LS OUT WINDOW ON CITY SKYSCAPE, PAN R PICK UP MCU OTS ON BOB’S REFLECTION IN MIRROR, EYES CLOSED. HE POPS THEM OPEN.


119 1402.12 INT. BOB’S HOTEL ROOM. DAY ECU BOB’S HAND TAKES RAZOR FROM SINK TOP, PAN R AS HE UNWRAPS IT.

120 1410.14 CU OTS ON BOB’S REFLECTION IN MIRROR STARING AT TINY RAZOR PUZZLED.

121 1417.15 MS REAR ANGLE BOB SHAVING, FACE REFLECTED IN MIRROR WITH CITY IN BG. HE REACHES L, ANSWERS PHONE.

4-91 ITAL

FRONT DESK MAN (TO BOB)- Mr. Harris? A fax for you.

1428.08 1431.10 3.02

4-92 BOB (TO FRONT DESK MAN)- Can you send it up? Just slide it under the door for me?

1434.00 1439.14 5.14

122 1425.04 MCU OTS ON BOB’S REFLECTION TALKING ON PHONE. HE HANGS UP PHONE OFF FRAME R. BOB (INTO PHONE)- Hello?

FRONT DESK MAN (VO FILTERED THRU PHONE)- Mr. Harris?

BOB (INTO PHONE)- Yes.

FRONT DESK MAN (VO FILTERED THRU PHONE)- A fax for you.

BOB (INTO PHONE)- Okay. Can you send it up? You

think you can just kick it under the

door for me, slide it under the door

for me, please?

FRONT DESK MAN (VO FILTERED THRU PHONE)- Do you want I send it to your

room?

4-93 ITAL

FRONT DESK MAN (TO BOB)- Do you want I send it to your room?

1441.00 1443.12 2.12


SAME SHOT CONT.

BOB (INTO PHONE)- Just slide it under the door,

please. Thank you.

MAN AT FRONT DESK (VO FILTERED THRU PHONE)- Thank you, Mr. Harris.

BOB (INTO PHONE OVERLAPPING)- Okay. Alright, bye.

4-94 BOB (TO FRONT DESK MAN)- Just slide it under the door, please. Thank you.

1444.01 1447.02 3.01

123 1451.03 INT. HOTEL LOBBY. DAY MLS SIDE ANGLE MS. KAWASAKI FRAME L FACING L AS BOB ENTERS COMING OUT OF ELEVATOR RBG, THEN WALKS L AVOIDING BEING SEEN. PAN L WITH HIM AS HE EXITS L BEHIND WALL, HOLD ON MS. KAWASAKI, MORI AND PRESS AGENT. MS. KAWASAKI (SPEAKS JAPANESE)

124 1467.07 EXT. STREET OUTSIDE HOTEL. DAY MS BOB PAN L AS HE CLIMBS OVER SHORT HEDGE TO L STARTS CROSSING STREET, STOPS AS CAMPAIGN VAN WITH STREAMERS MOVES FG AND MAN RUNS ALONGSIDE WAVING ARMS.

125 1484.13 MS ABOVE WAIST PAN L AS VAN WITH MAN AND TWO WOMEN IN RED BLAZERS LEAN OUT WINDOW WAVING MOVES R TO L, EXITS L.

126 1489.06 MCU SIDE ANGLE BOB LOOKS BG, THEN PAN L AS HE RUNS BG CROSSING STREET THRU TRAFFIC.


127 1502.10 EXT. TOKYO STREET. DAY MLS SIDE ANGLE PAN R AS BOB PACES R TALKING ON CELL PHONE. BOB (OS INTO PHONE)- Hey, Ms. Kawasaki – it’s Bob

Harris.

4-95 BOB (TO MS. KAWASAKI)- Ms. Kawasaki – it’s Bob Harris.

1503.10 1508.00 4.06

128 1509.02 MS BOB TALKS ON CELL PHONE, UNFOLDS PIECE OF PAPER. BOB (CONT INTO PHONE)- Yes, I would love to do his talk

show. I would.

4-96 BOB (TO MS. KAWASAKI)- Yes, I would love to do his talk show.

1509.10 1516.02 6.08

129 1517.15 ECU HIGH ANGLE DOWN ON UNFOLDED PIECE OF PAPER IN BOB’S HAND WITH HAND DRAWN MAN AND NOTE ON IT. BOB (OS CONT)- Mm hm. I would love to change

my plans and stay.

4-97 BOB (TO MS. KAWASAKI)- I would love to change my plans and stay.

1518.14 1523.02 4.04

4-98 TALK SHOW HOST (TO AUDIENCE)- Ladies and gentlemen,…

1561.10 1564.08 2.14 130 1524.00 INT. TALK SHOW STUDIO. DAY MLS TALK SHOW HOST SITS RBG FACING RFG AS ASSISTANT DIRECTOR COUNTS DOWN STANDING REAR ANGLE LFG, THEN KNEELS SIDE ANGLE IN FRONT OF HOST HOLDING CUE CARD. BOB IS PARTIALLY VISIBLE FAR RBG BEHIND SET. STAGE MANAGER (OS)- (SPEAKS JAPANESE)

TALK SHOW HOST- (SPEAKS JAPANESE) Ladies

and gentlemen,…

TALK SHOW HOST (OS CONT)- Mr. Bob Harris. (SPEAKS

JAPANESE)

4-99 TALK SHOW HOST (TO AUDIENCE)- Mr. Bob Harris.

1564.13 1570.02 5.05


4-100 TALK SHOW HOST (TO BOB)- C’mon, Bob. C’mon Bob.

1581.00 1584.00 3.00

4-101 TALK SHOW HOST (TO BOB)- Nice to meet you.

1588.07 1591.04 2.13

4-102 TRANSLATOR (TO BOB)- He wants to tell you to stand.

1611.11 1614.07 2.12

4-103 TALK SHOW HOST (TO BOB)- Japanese dance step.

1614.10 1616.14 2.04

SAME SHOT CONT. TRACK LBG PAN R PICKIN UP BOB AND MS. KAWASAKI SHOW TRANSLATOR TALKING WITH OTHER WOMAN REAR ANGLE, THEN BOB AND TRANSLATOR WALK FG. SHOW HOST ENTERS R AND STANDS SIDE ANGLE ON L CLAPPING AS BOB AND TRANSLATOR WALK FG. ZOOM OUT. HOST OPENS ARMS, GIVES BOB BIG HUG, SHAKES HIS HAND. TALK SHOW HOST (CONT)- Woo! C’mon, Bob. C’mon Bob.

(SPEAKS JAPANESE) Nice to

meet you. (SPEAKS JAPANESE)

TRANSLATOR- (INDISTINCT)

ZOOM BACK AS BOB AND TRANSLATOR SIT AT DESK AND HOST STANDS L CLAPPING, DOES STRANGE DANCE. BOB STANDS CLAPPING. TALK SHOW HOST- (SPEAKS JAPANESE)

TRANSLATOR- He wants to tell you to stand.

TALK SHOW HOST- Japanese dance step. (SPEAKS

JAPANESE)

TRANSLATOR (OS OVERLAPPING)- Uh, yes – Japanese dance step.

BOB- Do I have to dance with him?

TALK SHOW HOST- (SPEAKS JAPANESE) (LAUGHS)

TRANSLATOR- Welcome, Bob.

4-104 BOB (TO TRANSLATOR)- Do I have to dance with him?

1618.06 1620.08 2.02


SAME SHOT CONT.

BOB- What?

TRANSLATOR- He’s saying “Welcome, Bob. “

4-105 TRANSLATOR (TO BOB)- He’s saying “Welcome, Bob.”

1637.05 1639.11 2.06

131 1640.00 INT. LIMOUSINE. NIGHT MCU BOB TAKES PIECES OF PAPER OUT OF BREAST POCKET LOOKS THRU THEM.

132 1657.04 ECU POLAROID PHOTO IN BOB’S HAND OF CHARLOTTE AT PARTY.

133 1661.11 MCU BOB.

134 1671.15 INT. HOTEL SPA ROOM. NIGHT. MLS BOB SITS IN LARGE TILE TUB, HEAD VISIBLE ABOVE TUB SIDE. HE SITS UP, REACHES FG AND ANSWERS CELL PHONE, TURNS SIDE ANGLE FACING L. BOB (INTO PHONE)- Hello?

LYDIA (VO FILTERED THRU PHONE)- Bob?

4-106 ITAL

BOB (TO WIFE)- – Hello? WIFE (TO BOB)- – Bob?

1699.02 1701.14 2.12

4-107 BOB (TO WIFE)- Hi Lydia.

1705.03 1706.14 1.11 135 1702.03 MS BOB IN TUB TALKING ON CELL PHONE. HE RECLINES, SINKING BELOW WATER WITH ONLY HIS HEAD ABOVE SURFACE FACING LFG AS HE TALKS. BOB (INTO PHONE)- Hi, Lydia.

LYDIA (VO FILTERED THRU PHONE)- Is this a bad time?

4-108 ITAL

WIFE (TO BOB)- Is this a bad time?

1707.08 1709.09 2.01


4-109 BOB (TO WIFE)- No, it’s always a good time.

1711.08 1713.15 2.07

4-110 ITAL

WIFE (TO BOB)- Your burgundy carpet isn’t in stock. It’s gonna take twelve weeks. (in stock: in the store)

1715.07 1722.07 7.00

4-111 ITAL

WIFE (TO BOB)- Did you like any of the other colors?

1723.00 1725.09 2.09

4-112 BOB (TO WIFE)- Whatever you like. I’m completely lost. (lost: unable to decide)

1731.00 1735.04 4.04

SAME SHOT CONT.

BOB (INTO PHONE)- No, it’s always a good time.

LYDIA (VO FILTERED THRU PHONE)- Look, um, your burgundy carpet

isn’t in stock. It’s gonna take

twelve weeks. Did you like any of

the other colors?

BOB (INTO PHONE)- Whatever you like. I’m, I’m

completely lost.

LYDIA (VO FILTERED THRU PHONE)- It’s just carpet.

4-113 -/ ITAL

WIFE (TO BOB)- It’s just carpet. (It’s: the decision at hand)

1737.04 1739.14 2.10

4-114 BOB (TO WIFE)- That’s not what I’m talking about.

1741.08 1743.12 2.04

4-115 ITAL

WIFE (TO BOB)- What are you talking about?

1744.01 1746.08 2.07

4-116 BOB (TO WIFE)- I don’t know – I just want to get healthy.

1750.12 1754.04 3.08

4-117 BOB (TO WIFE)- I want to take better care of myself.

1754.12 1758.00 3.04

136 1739.09 MLS SIDE ANGLE BOB IN TUB TALKING ON CELL PHONE. BOB (INTO PHONE)- That’s not what I’m talking about.

LYDIA (VO FILTERED THRU PHONE)- What are you talking about?

BOB (INTO PHONE)- I don’t know, I just want to get

healthy. Y’know, I want to take

better care of myself. I would like

to start eating healthier.

4-118 BOB (TO WIFE)- I would like to start eating healthier.

1759.03 1763.05 4.02

4-119 BOB (TO WIFE)- I don’t want all that pasta.

1764.03 1766.09 2.06 137 1763.11 MS BOB SITS UP IN TUB STILL ON PHONE. HE TURNS FACING FG A MOMENT, LEANS ON SIDE OF TUB. BOB (INTO PHONE CONT)- I don’t want all that pasta. I would

like to start eating, like, Japanese

food.

4-120 BOB (TO WIFE)- I would like to start eating Japanese food.

1770.00 1773.09 3.09


SAME SHOT CONT.

LYDIA (VO FILTERED THRU PHONE)- Well, why don’t you just stay there

and you can have it every day?

4-121 ITAL

WIFE (TO BOB)- Why don’t you stay there and you can have it every day?

1776.08 1781.05 4.13

4-122 BOB (TO WIFE)- How are the kids doing?

1789.04 1791.12 2.08

4-123 ITAL

WIFE (TO BOB)- They’re fine. They miss their father…

1793.04 1797.09 4.05

4-124 ITAL

WIFE (TO BOB)- but they’re getting used to your not being here.

1797.14 1801.07 3.09

4-125 ITAL

WIFE (TO BOB)- Do I need to worry about you, Bob?

1802.01 1804.14 2.13

4-126 BOB (TO WIFE)- Only if you want to.

1808.02 1810.09 2.07

4-127 ITAL

WIFE (TO BOB)- I got things to do. I gotta go.

1815.04 1819.04 4.00


1820.01 1821.08 1.07

4-129 ITAL

WIFE (TO BOB)- I’ll see you– I mean, I’ll talk to you later.

1823.07 1827.03 3.12

138 1784.06 MLS BOB IN TUB TALKING ON PHONE. BOB (INTO PHONE)- How are the kids doing?

LYDIA (VO FILTERED THRU PHONE)- They’re fine. They miss their father

but they’re getting used to your not

being here. Look, do I need to

worry about you, Bob?

BOB (INTO PHONE)- Only if you want to.

LYDIA (VO FILTERED THRU PHONE)- Bob, I got things to do. I gotta go.


LYDIA (VO FILTERED THRU PHONE)- I’ll see you la – I mean, I’ll talk to

you later.


LYDIA (VO FILTERED THRU PHONE)- Okay, bye.


HE HANGS UP PHONE, PUTS IT DOWN FG ON TOWEL, THEN SINKS BELOW TUB SIDE.

4-130 ITAL


1829.07 1832.04 2.13


139 1857.10 INT. SAUNA. NIGHT MS TWO GERMAN BUSINESSMEN SITTING SIDE ANGLE LFG SIDE BY SIDE AND BOB LAYING ON BENCH BG HORIZONTAL IN FRAME FROM R. TWO BUSINESSMEN (SPEAK GERMAN)

140 1877.06 INT. BOB’S HOTEL ROOM. NIGHT ECU TV SHOWING BOB AND HOST ON SHOW BOTH LEANING FG INTO CAMERA LENS. THEY SIT BACK INTO MCU. TALK SHOW HOST- (SPEAKS JAPANESE)

141 1890.07 MS ABOVE WAIST BOB SITTING ON END OF BED LOOKING LFG. TALK SHOW HOST (VO FILTERED)- (SPEAKS JAPANESE) We have…

142 1894.06 ECU TV SCREEN BOB’S APPEARANCE ON TALK SHOW AS HOST, BOB AND TRANSLATOR SIT FACING FG AND HOST LEANS FG WITH HANDS TOGETHER AND ANIMATED HEART SHAPED GRAPHIC APPEARS. BOB IMITATES HOST. HEART GRAPHIC FILLS SCREEN, THEN HOST REAPPEARS FRAME L. TALK SHOW HOST-(VO ON TV FILTERED CONT)- Matthew Smellick.

BOB (VO ON TV FILTERED)- Matthew Snellick.

TALK SHOW HOST (VO ON TV FILTERED)- (SPEAKS JAPANESE)



4-131 JAZZ SINGER (TO BARTENDER)- Hi. Champagne. Thanks.

1932.01 1935.14 3.13 144 1914.12 INT. HOTEL RESTAURANT/ LOUNGE. NIGHT MS ABOVE WAIST SIDE ANGLE ON BOB AT BAR. JAZZ SINGER ENTERS FROM R, SITS NEXT TO BOB BG, TURNS FG ENGAGES IN CONVERSATION. JAZZ SINGER (OS)- Thank you. Thank you so much.

We’ll take a really short break and

we’ll see you in a minute.

JAZZ SINGER (CONT)- Hi. Uh, champagne. Thanks. Hi.

4-132 JAZZ SINGER (TO BOB)- Hi.

1945.06 1946.14 1.08

1949.14 LAST FRAME PICTURE. END OF REEL 4A/B




1 12.00 INT. BOB’S HOTEL ROOM. DAY MS HIGH ANGLE BOB IN BED UNDER THE COVERS, FEET FG AND HEAD BG. HE LIFTS HEAD, LOOKS R.

2 18.00 MS EMPTY PLATE AND LEFTOVER FOOD ON TABLE, COFFEE POT.

3 20.10 MS HIGH ANGLE DOWN ON BOB UNDER THE COVERS. HE SITS UP ON HIS ELBOWS.

4 33.08 MS PAST BOB’S PROFILE OUT OF FOCUS LFG ONTO CHAMPAGNE BOTTLE AND TWO NEAR EMPTY GLASSES ON WINDOW SILL RBG. JAZZ SINGER (OS)- (SINGING) You got an oasis …

5 40.05 MCU HIGH ANGLE DOWN ON BOB IN BED LETS HEAD FALL BACK AGAINST PILLOW. JAZZ SINGER (OS CONT)- (SINGING) send your camel to

bed. Shadows paintin’…


6 45.10 MS HIGH ANGLE BOB UNDER COVERS, FEET FG, AS JAZZ SINGER ENTERS LFG CROSSES FRAME IN ROBE AND EXITS RFG, THEN RE-ENTERS RFG MOVING TO L. JAZZ SINGER (OS CONT)- (SINGING) our faces, traces.

7 51.10 MCU SIDE ANGLE BOB UNDER COVERS, HALF FACE PEEKING OUT FG AS JAZZ SINGER CROSSES FRAME FG R TO L EXITS L. BOB SITS FURTHER UP LOOKING FG, FALLS BACK AGAINST PILLOWS. JAZZ SINGER (OS CONT)- (SINGING) Romance in our head.

Heaven’s holdin’ our half moon.

8 63.00 INT. HALL OUTSIDE BOB’S ROOM. DAY MCU REAR ANGLE CHARLOTTE LFG KNOCKING ON DOOR.

9 64.10 INT. BOB’S HOTEL ROOM/ HALL OUTSIDE ROOM. DAY MS HIGH DOWN ON BOB UNDER COVERS. HE JUMPS UP OUT OF BED, EXITS L. BOB- I got it.

5-1 BOB (TO JAZZ SINGER)- I got it. (I’ll answer the knock on the door)

69.14 71.02 1.04

10 72.04 MCU OTS ON BOB AS HE OPENS DOOR.

11 75.13 MCU OTS ON CHARLOTTE. CHARLOTTE- (CHUCKLES) Have a rough night?

5-2 CHARLOTTE (TO BOB)- Have a rough night? (rough: rowdy and late)

77.04 78.12 1.08


12 79.03 MCU OTS ON BOB HOLDING DOOR AJAR. CHARLOTTE (OS CONT)- Um…

5-3 -/ CHARLOTTE (TO BOB)- I’m going to that sushi place in Dikinyama. Want to come? (Dikinyama: a plaza in Tokyo)

82.10 88.15 6.05

13 83.00 MCU OTS ON CHARLOTTE. CHARLOTTE (CONT)- I’m going to that place, that sushi

place in Dikinyama. You wanna

come?

14 89.01 MCU OTS ON BOB. BOB- Yeah, but I can’t right now.

5-4 BOB (TO CHARLOTTE)- Yes, but I can’t right now.

89.08 91.08 2.00

15 91.11 MCU OTS ON CHARLOTTE. SHE GLANCES QUICKLY LOWER FG PAST HIM THEM BACK UPPER FG. CHARLOTTE TURNS BG. CHARLOTTE- Hm.

JAZZ SINGER (OS)- (SINGING) You got in an oasis.

send your camel to bed.

CHARLOTTE (OVERLAPPING)- Yeah, I guess you’re busy, huh?

JAZZ SINGER (OS OVERLAPPING)- (SINGING) Shadows play on our

faces, traces.

5-5 CHARLOTTE (TO BOB)- I guess you’re busy.

99.13 101.15 2.02

16 109.00 MCU BOB AS CHARLOTTE EXITS LFG. HE CLOSES DOOR.


5-6 BOB (TO WIFE)- Hello?

122.12 124.02 1.06

5-7 ITAL

WIFE (TO BOB)- It’s Lydia, your wife.

129.07 132.07 3.00

17 114.15 EXT. TOKYO STREET. DAY MLS BOB ON CELL PHONE WALKING FG UP CROWDED STREET BEHIND MANY PEDESTRIANS WALKING TO FG AND TO BG. BOB (INTO PHONE)- Hello? Hello?

LYDIA (VO FILTERED THRU PHONE)- It’s Lydia, your wife.

BOB (INTO PHONE)- Oh, I’m, I couldn’t hear ya.

5-8 -/ BOB (TO WIFE)- I couldn’t hear you.

132.12 135.02 2.06

5-9 ITAL

WIFE (TO BOB)- Do you want to talk to Zoe?

136.06 138.12 2.06 18 134.14 MCU SIDE ANGLE TRACK R WITH BOB WALKING R TALKING ON CELL PHONE, FINGER IN HIS EAR. LYDIA (VO FILTERED THRU PHONE)- Do you want to talk to Zoe?

BOB (INTO PHONE)- Yeah.

LYDIA (VO FILTERED THRU PHONE)- Zoe, come say hello …

5-10 -/ ITAL

WIFE (TO DAUGHTER ZOE)- Zoe, come say hello to your father.

141.13 144.13 3.00

19 143.07 MLS OVER CROWDED STREET OF PEOPLE GOING FG AND BG ONTO BOB WALKING FG TALKING ON PHONE. LYDIA (VO FILTERED THRU PHONE)- to your father.

ZOE (VO FILTERED THRU PHONE)- No.

LYDIA (VO FILTERED THRU PHONE)- Uh, she just ran into the …

5-11 -/ ITAL

WIFE (TO BOB)- – She ran into the other room. BOB (TO WIFE)- – It’s okay.

147.00 151.14 4.14


20 148.10 MCU SIDE ANGLE TRACK R WITH BOB WALKING R TALKING ON PHONE. LYDIA (VO FILTERED THRU PHONE)- other room.

BOB (INTO PHONE)- It’s okay. It’s okay.

5-12 ITAL

WIFE (TO BOB)- Her ballet recital is Sunday. Don’t forget.

153.04 158.04 5.00 21 152.07 MS BOB WALKING FG TALKING ON PHONE SURROUNDED BY CROWDED STREET. LYDIA (VO FILTERED THRU PHONE)- Okay, um, her ballet recital is

Sunday. Don’t forget.

BOB (INTO PHONE)- I didn’t forget.

5-13 BOB (TO WIFE)- I didn’t forget.

158.09 160.00 1.07

5-14 ITAL

WIFE (TO BOB)- Travel safely. I’ll see you soon.

161.02 165.02 4.00 22 160.11 MCU SIDE ANGLE TRACK R WITH BOB WALKING R TALKING ON PHONE. HE LOOKS BACK L, THEN BG. LYDIA (VO FILTERED THRU PHONE)- Well, travel safely. I’ll see you

soon.

ZOE (VO FILTERED THRU PHONE)- Mommy.



167.10 168.12 1.02


23 168.13 MS ABOVE WAIST HIGH ANGLE ON BOB WALKING FG TALKING ON PHONE. HE LOWERS PHONE. LYDIA (VO FILTERED THRU PHONE)- Okay. Bye.


5-16 ITAL


169.01 171.09 2.08

24 175.11 INT. RESTAURANT. DAY MS CHARLOTTE AND BOB SITTING OPPOSITE EACH OTHER IN BOOTH, CHARLOTTE SIDE ANGLE ON L AND BOB R FACING FG UP AGAINST WALL.


26 187.02 MS ABOVE WAIST BOB. CHARLOTTE (OS)- Well,…

5-17 -/ CHARLOTTE (TO BOB)- Well, she is closer to your age. (she: the Jazz Singer)

190.04 193.03 2.15

27 190.15 MS ABOVE WAIST ON CHARLOTTE. CHARLOTTE (CONT)- she is closer to your age.

28 193.04 MS ABOVE WAIST ON BOB.

5-18 CHARLOTTE (TO BOB)- You could talk about things you have in common…

197.10 201.08 3.14 29 195.12 MS ABOVE WAIST ON CHARLOTTE. CHARLOTTE- You could talk about things you

have in common, like, um, growing

up in the Fifties.

5-19 CHARLOTTE (TO BOB)- like growing up in the 50’s.

204.06 206.08 2.02


5-20 CHARLOTTE (TO BOB)- Maybe she liked the movies you were making in the 70’s…

208.08 212.00 3.08

5-21 CHARLOTTE (TO BOB)- when you still were making movies.

212.05 215.00 2.11

30 207.05 MS ABOVE WAIST BOB. CHARLOTTE (OS CONT)- Maybe she liked the movies you

were making in the Seventies,

when you still were making

movies.

BOB- Wasn’t there anyone else there to

lavish you with attention?

5-22 -/ BOB (TO CHARLOTTE)- Wasn’t there anyone else there to lavish you with attention? (there: Where Charlotte just visited)

216.06 220.06 4.00

31 220.01 MS ABOVE WAIST CHARLOTTE WITH ARMS FOLDER, REACHES R FOR MENU.

5-23 BOB (TO WAITRESS)- I’m switching to beer. Okay? Beer.

234.05 239.02 4.13 32 224.14 MS CHARLOTTE AND BOB IN BOOTH AND WAITRESS ENTERS L STANDS REAR ANGLE AT TABLE PUTS DOWN GLASSES OF SODA. BOB HANDS GLASSES BACK TO HER. BOB- I’m switchin’ to beer. Okay? Beer.

(SIGHS)

CHARLOTTE- I can’t tell the difference.

5-24 CHARLOTTE (TO BOB)- I can’t tell the difference. (the difference: between the different pictured items on the menu)

245.12 247.14 2.02

33 248.00 ECU MENU IN CHARLOTTE’S HANDS SHOWING SIX IDENTICAL PICTURES.


34 251.11 MS CHARLOTTE AND BOB IN BOOTH WITH WAITRESS STANDING REAR ANGLE FG. BOB HOLDS MENU FACING FG FOR WAITRESS, POINTS TO PICTURE AND HOLDS UP TWO FINGERS, MOTIONS FOR CHARLOTTE AND HIMSELF. WAITRESS TAKES MENUS, EXITS L. BOB- We’ll have two of these, okay?

5-25 BOB (TO WAITRESS)- We’ll have two of these. (these: Bob points to pictured items on the menu)

256.13 258.13 2.00


36 258.15 MS ABOVE WAIST CHARLOTTE, PAN L AS WAITRESS PUTS DOWN 2 PLATES OF FOOD ON TABLE, CONTINUE PAN UP L REVEAL SECOND WAITRESS WITH LARGE BEER

37 301.00 MS CHARLOTTE IN BOOTH SIDE ANGLE ON L AS SECOND WAITRESS REAR ANGLE RFG PUTS DOWN GLASS OF BEER, EXITS L AND REVEAL BOB IN BOOTH.

38 315.02 INT. CHARLOTTE’S HOTEL ROOM. NIGHT MS CHARLOTTE IN BED ON HER SIDE ACROSS FRAME FEET R, HEAD L. SHE SITS UP, TURNS ON LIGHT, GETS OUT OF BED FG AND EXITS RFG.

39 339.08 EXT. FRONT OF HOTEL. NIGHT MS-MLS BOB IN KIMONO WALKS LFG TO BG WHERE DOZEN OR SO GUESTS STAND AROUND IN CLOTHES OR PAJAMAS.


40 345.11 MS ABOVE WAIST BOB TURNS FG, FIREMAN AND SEVERAL PEOPLE IN BG. PEOPLE CROSS FG L TO R EXIT R, FIREMAN ENTERS LFG WALKS TO R.

41 357.09 MS THRU PEOPLE MILLING FG ONTO CHARLOTTE STANDING BG IN TANK TOP, PAJAMA BOTTOMS AND OVERCOAT.

42 365.07 MS ABOVE WAIST BOB WALKS FG, EXITS LFG.

43 369.11 LS SIDE ANGLE BOB WALKS L TO WHERE CHARLOTTE STANDS. FIRETRUCK WITH FIRE OFFICIALS LFG, CROWD OF PEOPLE RBG.

44 374.12 MS OTS AS BOB WALKS FG. PEOPLE MILL BG.


46 381.01 MS ABOVE WAIST OTS ON BOB STEPS FG, STOPS, HOLDS ARMS ASIDE, SMILES. CHARLOTTE (OS)- That was…

5-26 -/ CHARLOTTE (TO BOB)- That was the worst lunch. (That: the lunch they shared earlier)

386.14 389.01 2.03

47 387.08 MS ABOVE WAIST PAST ARM ON CHARLOTTE SEMI SMILING. CHARLOTTE (CONT)- the worst lunch.

BOB (OS)- So bad.

5-27 -/ BOB (TO CHARLOTTE)- So bad. What kind of restaurant makes you cook your own food?

390.02 396.12 6.10


48 391.13 MS ABOVE WAIST OTS ON BOB. BOB (CONT)- What kind of restaurant makes

you cook your own food?

49 397.14 MS ABOVE WAIST PAST ARM ONTO CHARLOTTE .

50 402.12 MS ABOVE WAIST OTS ON BOB.

51 407.10 MS ABOVE WAIST PAST ARM ON TO CHARLOTTE. CHARLOTTE- When are you leaving?

5-28 CHARLOTTE (TO BOB)- When are you leaving?

408.08 410.06 1.14

52 411.01 MS ABOVE WAIST OTS ON BOB. BOB- Tomorrow.

5-29 BOB (TO CHARLOTTE)- Tomorrow.

414.13 416.01 1.04

53 418.00 MS ABOVE WAIST OTS ON CHARLOTTE LOOKING R, THEN FG. CHARLOTTE- I’ll miss you.

5-30 CHARLOTTE (TO BOB)- I’ll miss you.

423.14 425.08 1.10

54 428.09 MS ABOVE WAIST OTS ON BOB, MOTIONS WITH HEAD R.

55 437.11 CU HIGH ANGLE DOWN ON BOB’S FEET IN SLIPPERS.

56 439.06 MS ABOVE WAIST OTS ON CHARLOTTE LOOKING DOWN, THEN FG, SMILES.


57 446.03 INT. HOTEL RESTAURANT/ LOUNGE. NIGHT MLS PIANIST SIDE ANGLE LBG AND GUITARIST RBG. PIANIST- (SINGING) I’m so into you.

5-31 ITAL

PIANIST (TO LOUNGE)- I’m so into you… (into: in love with)

449.00 451.09 2.09

58 453.08 MS OTS SIDE ANGLE ON PIANIST PLAYING, SINGING INTO MICROPHONE. PIANIST (CONT)- (SINGING) Whoo hoo.

59 458.02 MCU SIDE ANGLE 2 SHOT CHARLOTTE L AND BOB R AT BAR TURNED FACING EACH OTHER. PIANIST (OS CONT)- (SINGING) When you walked into

the room…

5-32 ITAL

PIANIST (TO LOUNGE)- When you walked into the room…

466.14 471.12 4.14

60 472.00 MS OTS SIDE ANGLE ON PIANIST. PIANIST (CONT)- (SINGING) there was voodoo…

5-33 -/ ITAL

PIANIST (TO LOUNGE)- there was voodoo in the vibe. (voodoo in the vibe: a sense of magic in atmosphere)

473.02 478.02 5.00

61 475.05 MCU SIDE ANGLE 2 SHOT CHARLOTTE AND BOB FACING EACH OTHER. HE EXTENDS HAND, SHE PUTS HER IN HIS. PIANIST (OS CONT)- (SINGING) in the vibes.

62 482.11 CU OTS ON BOB. PIANIST (OS CONT)- (SINGING) I was captured…

5-34 -/ ITAL

PIANIST (TO LOUNGE)- I was captured by your style… (style: way of walking and being)

484.02 488.08 4.06


63 486.07 CU CHARLOTTE, TEARY EYED. SHE LOOKS R. PIANIST (OS CONT)- (SINGING) by your style, but I

could…

5-35 -/ ITAL

PIANIST (TO LOUNGE)- but I could not catch your eyes. (catch your eye: get your attention)

490.07 495.05 4.14

64 491.10 MCU SIDE ANGLE 2 SHOT CHARLOTTE AND BOB. PIANIST (OS CONT)- (SINGING) not catch your eyes.

BOB- I don’t’ want to leave.

5-36 BOB (TO CHARLOTTE)- I don’t want to leave.

503.03 505.03 2.00

65 505.07 CU CHARLOTTE. CHARLOTTE- So don’t. Stay here with me.

5-37 CHARLOTTE (TO BOB)- So don’t. Stay here with me.

507.14 511.00 3.02

66 511.09 CU OTS ON BOB. HE RESTS CHEEK AGAINST FIST. CHARLOTTE (OS CONT)- We’ll start a jazz band.

5-38 CHARLOTTE (TO BOB)- We’ll start a jazz band.

514.03 516.09 2.06

67 520.09 MCU SIDE ANGLE CHARLOTTE AND BOB. PIANIST (OS)- (SINGING) I am so into you,

baby–


68 529.14 INT. ELEVATOR. NIGHT MS CHARLOTTE L AND BOB R FRONT ANGLE AGAINST BACK OF ELEVATOR. HE MOTIONS TO R WITH HIS HEAD TWICE. HE LEANS L BOB- Good night. Okay.

CHARLOTTE (OVERLAPPING)- Good night. (LAUGHS)

GIVES HER A KISS, STARTS FG AND STOPS, THROWS HANDS UP AND LEANS BACK AGAIN AGAINST BACK WALL OF ELEVATOR. CHARLOTTE- Okay. Good night.

BOB (OVERLAPPING)- Okay, good night.

THEY LEAN CENTER AND GIVE A QUICK KISS, THEN CHARLOTTE EXITS LFG AND BOB WALKS FG, STOPS MCU, PRESSES BUTTON OFF FRAME LFG, STEPS BACK BG.

5-39 BOB (TO CHARLOTTE)- Good night.

562.00 563.10 1.10

69 605.01 INT. BOB’S HOTEL ROOM. LONG SHOT OUT WINDOW ON CITY, TOWER CENTER.

70 608.08 MS ABOVE WAIST REAR SIDE ANGLE BOB. HE LOOKS AT WRISTWATCH.

71 614.07 INT. CHARLOTTE’S HOTEL ROOM. DAY MS MESSY ROOM, EMPTY UNMADE BED.


72 618.01 CU HIGH ANGLE DOWN ON FAX MACHINE AS PAPER COMES OUT. HEART SHAPED DRAWING WITH NOTE READS: “CHARLOTTE – SEE YOU TONIGHT. I MISS YOU. JOHN”

5-40 NARRATIVE TITLE: NOTE ON FAXED PAPER- “Charlotte – See you tonight. I miss you. John.”

630.05 635.10 5.05

5-41 BOB (TO HOTEL PERSON)- I’ll be one minute.

647.03 648.12 1.09

5-42 BOB (TO CHARLOTTE)- Charlotte, I’m down in the lobby and I’m leaving now.

665.07 670.03 4.12

5-43 BOB (TO CHARLOTTE)- I was calling to see if you still have my jacket …

673.00 677.09 4.09

73 636.01 INT. HOTEL LOBBY. DAY MS TRACK BACK WITH BOB AND MALE AND FEMALE HOTEL EMPLOYEES BEHIND HIM WALKING FG. BOB SHAKES HAND WITH HOTEL EMPLOYEE L, CONTINUES FG, MALE HOTEL STAFF (OS)- Good morning, Mr. Harris. Have a

nice a flight.

BOB (OVERLAPPING)- Thank you. Thank you. I’ll be one

minute.

PAN L AS HE CROSSES FG R TO L, WALKS BG INTO SMALL ROOM WITH HOTEL PHONE. BOB PICKS UP PHONE, TURNS FRONT ANGLE. BOB (INTO PHONE)- Charlotte, I’m down in the lobby

and I’m leaving now. Um, I was

calling to see if you still have my

jacket, if you could you bring it

down, but you’re not there, so this

is goodbye, and, uh,...

WOMAN ENTERS BG WALKS FG AROUND BOB, LOOKS AT HIM AS SHE PASSES.

5-44 BOB (TO CHARLOTTE)- if you could bring it down but you’re not there, so this is goodbye.

678.11 685.02 6.07


74 688.04 MS ABOVE WAIST BOB ON PHONE AS SEXY WOMAN FG WALKS LFG, EXITS LFG. BOB (INTO PHONE CONT)- so, I guess, good-bye and enjoy

my jacket which you stole from

me.

PEOPLE CROSS FRAME FG AS BOB HANGS UP PHONE, WALKS FG.

5-45 BOB (TO CHARLOTTE)- So, goodbye and enjoy my jacket which you stole from me.

694.10 701.10 7.00

5-46 MS. KAWASAKI (TO BOB)- – How are you? BOB (TO MS. KAWASAKI)- – I’m good. How are you?

716.11 720.12 4.01 75 713.05 INT. LOBBY/ELEVATOR BANKS. DAY MLS SIDE ANGLE SEXY WOMAN WAITING FOR ELEVATORS AS BOB ENTERS LFG, PAN R AND HE WALKS BG AND REVEAL MS. KAWASAKI, AWINAMI, PRESS AGENT MRS. CHIBATA WAITING. MS. KAWASAKI (OS)- Hello.

BOB (OS)- Hello.

MS. KAWASAKI- How are you?

BOB (OS)- I’m good. How are you?

BOB SHAKES EVERYONE’S HAND AS TWO HOTEL EMPLOYEES STAND LBG WAITING. SEXY WOMAN WALKS OVER TO BOB, TAPS HIS SHOULDER. BOB TURNS SIDE ANGLE TO L FACING HER, SHAKES HER HAND. PRESS AGENT- Mr. Harris.

MS. KAWASAKI (OS)- Did you enjoy your, your trip?

5-47 MS. KAWASAKI (TO BOB)- Did you enjoy your trip?

725.11 727.10 1.15


5-48 BOB (TO MS. KAWASAKI)- I had a great time.

727.15 730.13 2.14

5-49 SEXY WOMAN (TO BOB)- Excuse me – Aren’t you Bob Harris?

735.11 738.11 3.00

SAME SHOT CONT.

BOB (OS)- I had a great time, a very good

time.

SEXY WOMAN- Excuse me. Aren’t, aren’t you Bob

Harris?

BOB- Yes, I am.

SEXY WOMAN- Wow. I’m such a big fan. It’s so…

BOB (OVERLAPPING)- Thank you…

5-50 -/ SEXY WOMAN (TO BOB)- Wow. I’m such a big fan. It’s so nice to meet you. (Wow: expression of amazement) (fan: admirer)

739.00 743.08 4.08

76 741.14 MS CHARLOTTE WALKS FG WITH COAT. SEXY WOMAN (OS CONT)- nice to meet you. What are you

doing…

BOB (OS OVERLAPPING)- very much. Nice to meet you, too.

5-51 -/ SEXY WOMAN (TO BOB)- What are you doing here in Japan?

743.13 746.03 2.06

77 744.10 MS SIDE ANGLE BOB SHAKING SEXY WOMAN’S HAND, MS. KAWASAKI AND OTHERS BG, THEN BOB WALKS FG AS CHARLOTTE ENTERS LFG AND THEY STAND OPPOSITE EACH OTHER FG AS CHARLOTTE GIVES BOB COAT. SEXY WOMAN (CONT)- here in Japan?

BOB- I have to go right now. Excuse me

one second.

SEXY WOMAN (OVERLAPPING)- Oh. Well –

5-52 BOB (TO SEXY WOMAN)- I have to go right now. Excuse me.

746.12 750.05 3.09


5-53 BOB (TO CHARLOTTE)- – Thank you. CHARLOTTE (TO BOB)- – Your welcome.

754.11 757.03 2.08 SAME SHOT CONT.

BOB- Hi.

CHARLOTTE (OS)- Hi.

BOB- Thank you.

CHARLOTTE (OS)- You’re welcome.

BOB- Thought I’d missed you.

5-54 -/ BOB (TO CHARLOTTE)- I thought I’d missed you.

757.08 759.00 1.08

78 758.12 MCU OTS UP AT BOB.

79 764.00 MCU PAST ARM ON CHARLOTTE.

80 767.10 MCU OTS UP AT BOB.

5-55 CHARLOTTE (TO BOB)- Are you going right now?

770.12 772.02 1.06 81 770.09 MCU AROUND ARM ON CHARLOTTE. CHARLOTTE- Are you going right now?

BOB (OS)- Yeah. I got…

5-56 -/ BOB (TO CHARLOTTE)- Yeah, I got my bodyguards right here.

772.07 775.05 2.14

82 773.03 MCU OTS ON BOB. BOB (CONT)- my bodyguards right here.

CHARLOTTE (LAUGHS)


83 779.10 MCU AROUND ARM ONTO CHARLOTTE. SHE SHRUGS.

84 784.04 MCU OTS UP AT BOB. HE SHAKES HIS HEAD. BOB- Alright. Aren’t you gonna wish me

have a good “fright” or something?

CHARLOTTE (OVERLAPPING) (LAUGHS)

5-57 BOB (TO CHARLOTTE)- Aren’t you going to wish me a good “fright” or something? (fright: Bob is making a joke on Japanese pronunciation of flight)

787.09 792.13 5.04

85 792.14 MCU AROUND ARM ONTO CHARLOTTE LAUGHING, LOOKING DOWN, THEN FG. CHARLOTTE- Yeah, right.

5-58 CHARLOTTE (TO BOB)- Yeah, right.

793.02 794.12 1.10

86 796.15 MCU OTS UP AT BOB SMILING.

87 802.11 MCU AROUND ARM ON CHARLOTTE. CHARLOTTE- Okay. Well, bye.

BOB (OS)- Right

5-59 CHARLOTTE (TO BOB)- Okay. Well, bye.

803.13 806.15 3.02

88 807.09 MCU OTS ON BOB. CHARLOTTE EXITS LFG AS BOB TURNS BG. MS. KAWASAKI- Can I take one more picture?

5-60 MS. KAWASAKI (TO BOB)- Can I take one more picture?

810.14 813.04 2.06

89 813.08 MCU SIDE ANGLE BOB NODS, TURNS AND LOOKS LFG. BOB- Sure.


90 817.15 MS BOB, PRESS AGENT, OTHERS REAR ANGLE RFG AS MRS. CHIBATA BG TAKES PICTURE. MS. KAWASAKI (OS)- Hai.

91 820.11 MCU BOB WITH MS. KAWASAKI, PRESS AGENT LBG. BOB LOOKS FROM FG TO LFG, THEN FG. MS. KAWASAKI (CONT)- Hai.

92 832.03 MS CHARLOTTE STEPS BG INTO ELEVATOR, TURNS FRONT ANGLE AS ELEVATOR DOORS CLOSE OVER HER.

93 842.06 MCU BOB STARING FG, MS. KAWASAKI AND PRESS AGENT LFG BESIDE HIM. HE LOOKS LFG.

94 849.11 INT/EXT. HOTEL LOBBY. DAY LS THRU HOTEL DOORS ON LIMOUSINE PARKED SIDE ANGLE AS BOB GETS IN BACK AND HOTEL VALET SHUTS TRUNK, BOWS AND LIMO PULLS OUT EXITING L.

95 864.02 INT/EXT. LIMOUSINE. DAY MCU BOB AS CITY PASSES BY FG TO BG. LIMO STOPS

96 887.10 MS ABOVE WAIST SIDE ANGLE BOB FROM OUTSIDE CAR AS HE LOWERS WINDOW LOOKS FG.


97 892.10 MLS BOB’S POV WHAT LOOKS LIKE CHARLOTTE WALKING BG. AMONGST CROWDED STREET FULL OF PEOPLE MOVING FG AND BG.

98 897.08 CU BOB IN LIMO, PUSHES OPEN DOOR AND EXITS R. BOB- Hey, hold on here. Let me out. BOB (OS CONT)- Thank you.

5-61 BOB (TO LIMO DRIVER)- Hold on here. Let me out. (Stop the limousine. Let me out)

898.07 901.12 3.05

99 903.02 EXT. STREET. DAY MLS DOWN STREET AS PEOPLE WALK FG AND BG.

100 907.07 MLS BOB LOOKING FG THRU CROWDED STREET WALKS BRISKLY FG.

101 911.12 MS REAR ANGLE WHAT APPEARS TO BE CHARLOTTE WALKING BG AMONG PEOPLE.

102 915.11 MLS BOB WALKS FG THRU CROWD.

103 920.11 MS REAR ANGLE WHAT LOOKS LIKE CHARLOTTE WALKING BG, PEOPLE IN FG CROSS FRAME.

104 925.00 MLS BOB WALKS QUICKLY FG THRU CROWD.


105 933.10 LS BOB APPROACHES WOMAN, CROWDS OF PEOPLE L AND R WALK FG AND BG. WOMAN TURNS. BOB (OS)- Hey.

106 938.05 CU CHARLOTTE.

107 943.04 MCU SIDE ANGLE BOB L AND CHARLOTTE R AS HE STEPS CLOSE, THEN PULLS HER TO HIM. THEY EMBRACE.

108 958.03 CU BOB WITH CHARLOTTE’S HEAD AGAINST HIS SHOULDER. HE STROKES THE BACK OF HER HAIR.

109 966.08 CU TOP CHARLOTTE’S FACE AGAINST BOB’S SHOULDER CRYING.

110 976.12 CU BOB HOLDING CHARLOTTE TO HIM. BOB (WHISPERS INAUDIBLY)

111 983.10 ECU CHARLOTTE AGAINST BOB’S SHOULDER. CHARLOTTE (OS)- Okay.

112 988.06 MLS BOB AND CHARLOTTE IN EMBRACE STANDING SIDE ANGLE AMIDST CROWDS MOVING FG AND BG.


113 998.09 CU OTS ON CHARLOTTE AS BOB LEANS INTO FRAME FROM LFG AND THEY KISS.

114 1006.05 ECU OTS SIDE ANGLE ON BOB KISSING CHARLOTTE.

115 1008.10 CU OTS ON CHARLOTTE KISSING BOB. THEY SEPARATE. SHE SMILES.

116 1014.05 ECU OTS ON BOB.

117 1016.11 ECU CHARLOTTE FACING LFG. BOB LEANS IN FROM LFG KISSES HER CHEEK.

118 1020.00 CU OTS ON BOB EXITS R. BOB- Bye.

119 1022.05 ECU CHARLOTTE, TEARS IN HER EYES. CHARLOTTE- Bye.

5-62 CHARLOTTE (TO BOB)- Bye.

1023.00 1024.05 1.05

120 1024.13 MS ABOVE WAIST PAST CHARLOTTE’S HEAD REAR ANGLE RFG ONTO BOB AS HE EXITS R. BOB- Alright.



122 1028.09 MS REAR ANGLE BOB WALKS BG TURNED LOOKING FG, TURNS FRONT ANGLE AS HE CONTINUES BG.

123 1037.12 ECU CHARLOTTE.

124 1041.08 MLS BOB FRONT ANGLE WALKING BG SMILING AS PEOPLE CROSS FG L AND R. FINALLY BOB TURNS BG.

125 1053.01 ECU CHARLOTTE TURNS BG.

126 1054.14 ECU CHARLOTTE HEAD BOWED WALKS FG, EXITS LFG.

127 1057.10 MS ABOVE WAIST CHARLOTTE WALKS BG, TURNS LOOKS FG AS SHE GOES.

128 1061.08 LS REAR ANGLE BOB WALKS BG AMONGST PEOPLE.

129 1064.01 MS CHARLOTTE TURNS REAR ANGLE CONTINUES BG DOWN CROWDED STREET.

130 1067.09 MS HIGH ANGLE CHARLOTTE WALKS FG UP STREET FILLED WITH PEOPLE BG ALSO WALKING FG. SHE EXITS BELOW FRAME RFG.


131 1079.00 INT/EXT. LIMOUSINE. DAY MCU AS BOB ENTERS LIMO FROM R, SITS BACK SEAT AND CLOSES DOOR, NODS LFG. THE LIMO BEGINS MOVING FG. BOB- Alright.

5-63 BOB (TO LIMO DRIVER)- Alright.

1090.08 1091.12 1.04

132 1102.05 MLS LIMO SIDE ANGLE PULLS L FROM CURB, EXITS L AS PEOPLE FG, BG WALK.

133 1106.06 MLS REAR ANGLE LIMO MOVES BG DOWN STREET.

134 1113.13 MCU BOB IN BACKSEAT OF MOVING LIMOUSINE AS CITY PASSES FG TO BG.

135 1127.15 MCU OTS ON DRIVER’S GLOVED HANDS ON WHEEL AND PAN L MLS OUT FRONT WINDSHIELD MOVING TO BG THRU CITY.

136 1142.06 EXT. CITY. DAY LS SKYSCRAPER AND TRACK R.

137 1150.07 MS OUT FRONT WINDSHIELD MOVING BG PAN UP TO SIGN OVER FREEWAY, PAN DOWN.

138 1156.09 MLS SIGN ON FREEWAY, PAN DOWN AS CAMERA MOVES UNDER IT.

139 1163.00 MLS REAR ANGLE LIMO AND TRACK BG FOLLOWING IT AS IT GOES INTO TUNNEL.


140 1168.04 MS-LS TRACKING R ACROSS BUILDING, REVEAL TV TOWER BG.

141 1174.00 LS DOWN EMPTY STREET TRACKING BG, BUILDING ON L AND R.

142 1178.06 MLS-LS TRACKING BG MOVING ALONG ROAD PASSING BUILDINGS L AND R.

143 1194.03 LS TRACKING L MOVING ACROSS CITY BUILDINGS, THEN PAN L AND CONTINUE TRACKING BG ALONG ROAD, SKYSCRAPER BG. 1216.13 FADE TO BLACK. BEGIN END CREDITS.

Written and Directed by

Sofia Coppola

Produced by Ross Katz

Sofia Coppola

Executive Producers Francis Ford Coppola

Fred Roos

Associate Producer Mitch Glazer

Bill Murray

Scarlett Johansson

Giovanni Ribisi

Anna Faris

Fumihiro Hayashi

Director of Photography

Lance Acord

Editor Sarah Flack

Costume Designer

Nancy Steiner


END CREDITS CONT. Production Designers

Anne Ross K.K. Barrett

Line Producer Callum Greene

Original Music by

Kevin Shields

Music Producer Brian Reitzell

Sound Designer Richard Beggs

BEGIN CRAWL

First Assistant Director Takahide Kawakami

Co Producer

Stephen Schible

Additional Japanese Unit Roman Coppola

Cast

In Order of Appearance Charlotte Scarlett Johansson Bob Harris Bill Murray Ms. Kawasaki Akiko Takeshita Press Agents Kazuyoshi Minamimagoe Kazuko Shibata Take Concierge Ryuichiro Baba Bellboy Akira Yamaguchi Jazz Singer Catherine Lambert Sausalito Piano Francois Du Bois Sausalito Guitar Tim Leffman American Businessman No.1 Gregory Pekar American Businessman No.2 Richard Allen John Giovanni Ribisi Commercial Director Yutaka Tadokoro Suntory Client Jun Maki Premium Fantasy Woman Nao Asuka Stills Photographer Tetsuro Naka Makeup Person Kanako Nakazato Charlie Fumihiro Hayashi Hiroko Hiroko Kawasaki Bambie Daikon Kelly. Anna Faris Kelly’s Translator Asuka Shimuzu Ikebana Instructor Ikuko Takahashi Bartender (Ny Bar) Koichi Tanaka Aerobics Instructor Hugo Codaro P Chan Akiko Monou French Japanese Club Patron Akimitsu Naruyama Bartender (Nightclub) Hiroshi Kawashima Hiromix Hiromix


END CREDITS CONT. Nobu Nobuhiko Kitamura Nao Nao Kitman Hans Akira Kun Kunichi Nomura Charlie’s Friend Yasuhiko Hattori Mr. Valentine Shigekazu Aida Hospital Receptionist Kazuo Yamada Old Man Akira Motomura Doctor Osamu Shigematu TV Host Mathew Minami TV Translator Kei Takyo Politician Ryo Kondo Politician’s Aides Yumi Ikeda Yumika Saki Yuji Okabe German Hotel Guests Diedrich Bollman Georg O.P. Eschert Carl West Mark Willms Sexy Businesswoman Lisle Wilkerson Stand In For Mr. Murray Blake Crawford Stand In For Ms. Johansson Angela Panetta

Crew Line Producer (Japan) Kiyoshii Inoue Chief Assistant Director Hiroya Igawa Second Assistant Director Taiichi Sugiyama Second Second Assistant Directors Motonobu Kato Shu Fujimoto Production Supervisor Anthony G. Katagas Production Office Coordinator Kazuko Shingyoku Production Coordinator Masahiro Yoshikawa Assistant Production Office Coordinators Masako Matsumura Ai Ichiki Office Production Assistants Hitoshi Abe Maremi Watanabe Taro Miyake Production Consultant Hiroko Kawasaki Product Placement Coordinator Ashley Bearden Japanese Casting Ryoichi Kondo Additional Japanese Casting Stephanie Hayman Casting Assistants Hauko Sone Daiki Chiba Akira Yamaguchi Hiroto Nakagaki Casting P.A. Miwa Sakaguchi Production Accountant (Japan) Natsuko Nezu Assistant To Natsuko Nezu Tomoko Kojima Production Accountant (USA) John Finn Script Supervisor Eva Z.Cabrera


END CREDITS CONT. Script Translation Kimiko Onishi Assistant Editor Jamie Kirkpatrick Additional Assistant Editor Susan Finch Editing Facilities Red Car Post, Jennifer Letterman First Assistant Camera Mark Williams Second Assistant Camera Takuro Ishizaka Loader Takuji Murata Camera Operator Lance Acord Additional First Assistant Nobuko Uranishi Additional Second Assistant Yasushi Miyata Still Photography Yoshio Sato Camera Equipment Clairmont Camera (La) Production Sound Mixer Drew Kunin Boom Operator Kira Smith Dailies Synching Sound Design Yurta Inc. Gaffer Yuji Wada Best Boy Electrician No.1 Yoshio Ishikawa Best Boy Electrician No.2 Michiaki Kamochi Electricians Masayuki Nishimura Takeshi Kagami Key Grip Satoshi Tsuyuki Best Boy Grip Akira Kanno Art Director Mayumi Tomita Assistant Art Directors Ryo Sugimoto Momoko Nakamura Art Dept. Coordinator Rika Nakanishi Leadman Toru Takahashi Set Decorators Towako Kuwajima Tomomi Nishio Assistant Set Decorators Tomiko Ishiyama Hitomi Nimura Additional Assistant Set Decorators Ryo Nobuka Takahiro Kikuchi Property Master Keisuke Sakurai Assistant Property Master Chie Che Assistant Designer Michelle Tomaszewski Wardrobe Supervisors Anita Brown Haruka Takahashi Set Costumer Masae Sakurai Bilingual Assistant Yoko Takeuchi Wardrobe Supervisor (Kyoto) Noriko Hattori Key Hair and Makeup Artist Morag Ross Hair/Makeup Akemi Assistant Hair/Makeup Yoko Sato Fukushi Kawata


END CREDITS CONT. Unit / Key Location Manager Keizo Shukuzaki Location Coordinator Mikiko Anzai Assistant Location Manager Takuya Kaneko Key Set Pa Hiroshi Harada Set Pa’s Tomohiko Seki Koji Hirano Location Manager (Kyoto) Kiyoshi Kurokawa Bilingual Coordinator Brian Kobo Bilingual Assistants Yumiko Sekiguchi Katumi Nakane Eriko Miyagawa Hirohito Gotou Stunt Coordination Hirofumi Nakase Drivers Eiji Fujii Akira Ebata Sakae Kaminaka Minoru Tsuruno Tomoo Senuma Kiyotaka Inagaki Additional Drivers Yuki Shimizu Osamu Sasaki Assistant To Ross Katz Jonathan Ferrantelli Assistant To Sofia Coppola Susan Hebert Assistants To Bill Murray Kumi Tanaka Koichi Tanaka Assistant To Scarlett Johansson Naoki Takagi Assistant To Giovanni Ribisi and Anna Faris Sayuri Kanamori Legal Services Provided by Epstein, Levinsohn, Bodine, Hurwitz and Weinstein Llp. Susan H. Bodine Andrea Cannistraci Alison Cohen Armstrong Hirsch Jackoway Tyerman & Wertheimer George T. Hayum Barry W. Tyerman Production Attorney (Japan) Atsushi Naito Esq. Insurance by Dennis Reiff & Associates Dennis Reiff, Ross Miller Additional Insurance (Japan) Ryu Insurance Agency Co., Ltd. Researcher Shari Chertok TV Clip Editor Howard Shur Karaoke Video Editor Yuji Oshige Karaoke Camera Operator Anne Rice Supervising Sound Editor Michael Kirchberger Adr/Dialogue Editor David Cohen Fx Editor Julia Shirar Additional Adr Editors Deborah Wallach George Berndt Assistant Sound Editor Everett Moore


END CREDITS CONT. Sound Intern Matthew Hartman Music Editor Richard Beggs Foley Supervisor William Storkson Foley Recordist Jory K. Prum Foley Artist Marnie Moore Re-Recording Mixers Richard Beggs Kent Sparling Re-Recording Supervisor Robert Knox Recordist Glenn Kasprzycki Re-Recording Engineering Brian Sarvis American Zoetrope Mix Facility Manager Howard Stein American Zoetrope Post Production Kim Aubry Mix Facility Coordination James Levine Mix Facility Support Dawn Angel Ethan Derner Dolby Engineer Dan Sperry Payroll Services Entertainment Partners Post Production Accounting JFA Inc. Title Design Miles Murray Sorrell Fuel Opticals Title House Digital Gray Matter Negative Matched by West Coast Editorial Heidi Zellner Film Developing and Dailies Imagica, Tokyo Post Lab FotoKem Laboratory Timer Bob Fredrickson Production Financing Natexis Banques Populaires Bennett Pozil Bond Company Film Finances Inc., Kurt Woolner, Greg Trattner, Maureen Duffy Original Music by Kevin Shields “Alone In Kyoto” by Air Additional Music by Brian Reitzell Roger Joseph Manning Jr. William Storkson Music Supervisor Brian Reitzell Music Clearances Jill Meyers “Girls” “Too Young” Written by Tim Holmes and Richard Mcguire Written and Performed by Phoenix Performed by Death In Vegas Courtesy of Source/Virgin France Courtesy of Bmg Uk & Ireland Ltd. Under License From Emi Film & TV Music Under License From Bmg Special Products, Inc.


END CREDITS CONT.

“Minuetto” “God Save The Queen” Written by Dominic Sands Written by Paul Cook, Steve Jones, John Lydon Courtesy of Promusic, Inc. and Glen Matlock Performed by Fumihiro Hayashi “The Thrill Is Gone” “(What’s So Funny ’Bout) Peace, Love Written by Roy Hawkins and Rick Darnell and Understanding” Performed by Catherine Lambert Written by Nick Lowe Performed by Bill Murray “Fantino” “Brass In Pocket” Written and Performed by Sebastian Tellier Written by Chrissie Hynde and James Honeyman-Scott Courtesy of Virgin Records Performed by Scarlett T. Johansson Under License From Emi Film & TV Music “Torn Into” “More Than This” Written by Matt Sims Written by Bryan Ferry Performed by Mount Sims Performed by Bill Murray Courtesy of Emperor Norton Records “Scarborough Fair / Canticle” “Kaze Wo Atsumete” Written by Paul Simon and Arthur Garfunkel Written by Takashi Matsumoto and Haruomi Hosono Performed by Catherine Lambert Performed by Shigekazu Aida Performed by Happy End Courtesy of Art Music Publishing Co., Ltd. “Blue Atmosphere” “Sometimes” Written by Francesco Santucci, Written by Kevin Shields Antonello Vannucchi, Giorgio Rosciglione Performed by My Bloody Valentine and Giovanni Cristiani Courtesy of Reprise Records Courtesy of Promus ic, Inc. by Arrangement With Warner Strategic Marketing and Courtesy of Creation/Sine, A Division of Sony Music Entertainment (Uk) Limited “Love Gun” “Fuck The Pain Away” Written by Rick James Written and Performed by Peaches Performed by Rick James Courtesy of Xl Recordings Limited Courtesy of Motown Records Under License From Universal Music Enterprises “Muyu” “Nobody Does It Better” Written and Performed by Des -Row Union Written by Marvin Hamlisch and Carole Bayer Sager Under License From Konami Music Entertainment Performed by Anna Faris “You Stepped Out of A Dream” “Alone In Kyoto” Written by Gus Kahn and Nacio Herb Brown Written by Nicolas Godin and Jean-Benoit Dunckle Performed by Catherine Lambert Performed by Air Courtesy of Revolvair “Tommib” “Midnight At The Oasis” Written by Tom Jenkinson Written by David Nichtern Performed by Squarepusher Performed by Catherine Lambert Courtesy of Warp Records Limited “The State We’re In” “So Into You” Written by Tom Rowlands and Ed Simons Written by Buddy Buie, Robert Nix and Dean Daughtry Performed by The Chemical Brothers Performed by Mark Willms Courtesy of Virgin/Astralwerks Records Under License From Emi Film & TV Music


END CREDITS CONT.

“She Gets Around” “Just Like Honey” Written by Jason Falkner, Written by James Mcleish Reid and William Reid Roger Joseph Manning Jr. and Brian Reitzell Performed by The Jesus and Mary Chain Performed by TV Eyes Courtesy of Warner U.K. Ltd. by Arrangement With Warner Strategic Marketing “Feeling I Get” “La Dolce Vita” Written by Mike Brewer Written and Performed by Nino Rota Performed by Mary Butterworth Group © C.A.M. S.R.L.

“Tomei Tengu Bgm” Written and Performed by Takeo Watanabe

Courtesy of Sankyo Shinsha Inc.

Soundtrack Available on Emperor Norton Records

Thank You Bart Walker Mom and Dad Roman Spike Steph Rima Acord Kun Wes Anderson Zoe and Xan Kelly Lynch Gretta Seacat Jean Touitou Susan Hebert A.P.C. Chris Neil Anton Kawasaki Josh Hartnett Paul Simon and Eddie Simon John Lydon Joe Dapello Hiroko Jessica Tuchinsky Marc Jacobs International David Russell & Janet Grillo Kate Waters Lorne Michaels Robert and Stacey Jack Sullivan Keanu Reeves Peter Miles Erwin Stoff Mathew Minami Anna Sui Helmut Lang The Directors Bureau Staff of Park Hyatt Tokyo

Nobuhiko Kitamura Hysteric Glamour

Mr. Murray’s Wardrobe Provided by Helmut Lang

Toshinari Takahashi Forest Corporation, Inc. C.I.A. Co., Ltd. Takuo Yasuda Suntory Limited Yuji Sadai Tatsuya Matsui Tetsurou Yoshida Yomiuru Telecasting Corp. Pat Lucas Masatoshi Nagase Brad Rosenberger Akira Okano Damon Murray Hiroshi Kunimasa Stephen Sorrell

Park Hyatt Tokyo

Hiroshi Fujiwara Nobuaki Okaji Head Porter Head Porter Plus Goodenough


END CREDITS CONT.

Mathew’s Best Hit TV

Hiroaki Nishimura, Masaki Takahashi, Hidesuke Kataoka, Aya Furuse, Shinji Nishigaki, Minako Yoshii, Shinichi Matsumoto,

Tomoaki Shiono, Yukio Tsutsumimoto, Kozo Komurasaki, Tsukasa, Yosuke Imataki, Tadahito Kawada, Toshihide Saito,

Akihiko Okamoto, Takao Yamamoto

TV Asahi Yoshimoto Kogyo Co., Ltd.

Location Support

Tokyo Medical University Hospital, Sputnik Pad/Idee, Tabloid News Clothe To You, Johganji Temple, Kawaguchiko Country Club, Ichikan Sushi, Parlor Botan, Air/Daikinyama, Hysteric Glamour, Heian Jingu Shrine, Nanzenji Temple,

Tokyu Corporation, Central Japan Railway Company

Product Support

Jal, Namco Limited, Konami, Sega Corporation, Hello Kitty, Sanrio, Co., Ltd., Artist International, Ingram Co., Ltd., Mon Seuil Co. Ltd., San-X Co., Ltd.,

Switch Publishing, Studio Voice, Little More, Rockin’ On Japan, Cut, Monthly Magazine Inu No Kimochi (Benesse), Neko Publishing Co., Ltd.,

Shogakukan Big Comic Superior, Plus Eighty One/D.D. Wave Co., Ltd, Magazine House, Daiichikosho Co., Ltd., Ozeki Corporation,

Pizza of Death Records, Inou Id by Shiseido, Pentax Corporation, Ikegami Tsushinki Co, Ltd., Toraya Confectionery Co., Ltd.,

Audio-Technica, Kyocera Corporation, Actus, Minato Shokai Co., Ltd., Daiko, House Styling (Dinos), Apple Macintosh

Wardrobe Support

*A Bathing Ape, Head Porter, Milk Fed., Xlarge®, Cord Three Co., Ltd, Cos -Mo-Ra-Ma, Sage De Cret, Pas De Alais, So, Daniel Cremieux, Kimono Rakuya, RemakeªT-K, Georg Jensen Japan Ltd., Abiste, Chrome Hearts, Boutique Osaki, Nîme De Blue, Ap-Ron, Mimore,

Muji, Agnes B., Nice Collective, Puma, Lacoste, Propaganda, Mia & Lizzy, Plein Sud, Vans, Juicy, Clarks, Tse, Bobby Jones, Mahna Mahna, Levis,

Cosabella, Passionbait, Araks Modern Amusement, Saffilo, Modern Amusement, Eres, Saffilo, USA, Cutler & Gross, Persol, M.R.S.

Additional Support

Shipping Provided by Jmsa Logistics: Tony Adrid

Shibuya Jumbo Monitor Leased by Qfront Billboard & Ad Truck Provided by Admax Co., Ltd.

Crew Accommodations Oakwood Residence Aoyama Air Transportation Japan Airlines

Camera Accessories Rentals Eizo Service Co., Ltd. Shineo Camera

Grip Equipment Tokky’s Union Paradise Electric Equipment Kurosawa Film Studios Inc.

Kyoto Production Eizo Kyoto Co. Kansai Location Service Co.

Production Office Cleaning Yamatsu Services


END CREDITS CONT. Production Office Security Secom, Inc.

Film Stock Kodak Japan Ltd. Walkies Rental On The Way, Inc,

Production Vehicles Fuji Movie, Inc. Art Support Concord Inc. Nouvelle Vague Co., Ltd.

Strobe Lights Provided by Broncolor Agai Trading Corporation Posy Robot Sgi Japan Ltd., Flower Robotics, Inc.

TV Clips

Mtv Station Promo With Vj Grover Courtesy of Mtv Japan, Kabushiki Kaisya

Shinshutsudo! Miniska Police: Episodes No.294 and No.303

Courtesy of C.I.A. Co., Ltd

Shiritsutantei Hama Mike: Episode 11 Courtesy of Yomiuri Telecasting Corporation

Hanagoyomi

Courtesy of Forest Corporation, Inc.

Chillsphere 001 Flow Courtesy of Masashi Kitazato, Tsutomu Shimada

Buddhastick Transparent

Tomei Tengu Courtesy © of Kadokawa-Daiei Pictures, Inc.

Saturday Night Live

Courtesy of Broadway Video Enterprises and Nbc Studios

La Dolce Vita Courtesy of International Media Films, Inc./Third Millennium Films, Inc. Courtesy of Ms. Anita Ekberg and The Estate of Marcello Mastroianni

Courtesy of Pathé Films

Copyright 2003 Lost In Translation Inc. All Rights Reserved

The characters and incidents portrayed and the names herein are fictitious, and any similarity to the name, character or history of any person is entirely coincidental and unintentional. This motion picture photoplay is protected pursuant to the provisions of the laws of the United States of America and other countries. Any unauthorized duplication, distribution and/or exhibition of this photoplay may result in civil liability and criminal prosecution. This motion picture is being exhibited under specific license and is not for sale. Lost in Translation, Inc. is the author of this motion picture for the purpose

of copyright and other laws.

Shot Entirely on Location in Tokyo and Kyoto, Japan

From American Zoetrope


END CREDITS CONT. 1724.07 CU GIRL WAVING 1729.10 LAST FRAME PICTURE. END REEL 5A/B

Lost in Translation Script En

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