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238 views129 pages

APerfectMurder WholeScript

Uploaded by

Susie Kim
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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A_PERFECT MURDER ~ Written by Patrick Smith Kelly Revisions by Patrick Smith Kelly 1 | | Ann Biderman | 2ND_REVISED PRODUCTION DRAFT October 10, 1997 | | | \ 2) vee october 10, 1997 FADE IN: 4 OMITTED EXT. BROOKLYN ROOFTOP - DAY : Facing west, over a swathe of dilapidated warehouses running all'the way to the river. The spires of lower Manhattan punctuate the horizon. ANGLE ON ROOPTOP A century of undisturbed grime. DESCENDING THROUGH the skylight, INTO shadowed gloom INT. LOFT - ANGLE ON PAINTING A brooding canvas honeycombed with dark compartments Demonic things, maybe men, peek out from tiny lairs, eyes bright with mayhem. A WOMAN SIGHS. The sound is deep and unhurried, like a wave rolling up a beach. WIDER As the pattern Gecomposes toward the center, caving in like bad cell tissue before disappearing down a sucking vortex of atomized debris. The SIGH REACHES APOGEE, BREAKS, then WASHES AWAY to dead silence. WIDER STILL REVEALING a vast loft, cluttered with a painter's tools and abandoned machinery. The WOMAN'S VOICE comes through the gloom, low with pleasure. It mingles with the voice of a MAN. The talk is wordless and gentle, soft covering around the involuntary GASPS of a hard fuck. MOVING TOWARD a square waterfall of sun. A couple is entwined on a bed under a huge four-pane skylight, the man on top. QUICK CUTS A crummy TV. A good tennis racquet. A bicycle. Running shoes. Serious travel books. And a wedding ring left on the nightstand, flawless diamonds flashing. (CONTINUED) October 10, 1997 CONTINUED: 4 ANGLE ON COUPLE Pausing, eyes locked, hanging on by their fingernails. He lowers his mouth, brushing her lips with the most \proper of kisses. They shudder, then coil decisively, going over the falls together. ANGLE ON WOMAN Arching, falling away, lost to it. HER POV - ANGLE ON SKYLIGHT : BACK UP, THROUGH the glass, INTO the blinding silver- blue. cE DISSOLVE TO: INT. UNITED NATIONS - GENERAL ASSEMBLY - DAY “5 A speech in progress. The MAN is African. The language is French. MAN :+. to say the global economy has resulted in economic equality is premature. A cursory glance at per capita G.N.P. comparisons shows the absolute unfairness of imposing peacekeeping costs on the less developed nations... ANGLE ON GLASS TRANSLATION BOOTHS Suspended above the main floor. ANGLE ON TRANSLATORS Converting the French into German, Chinese, Italian, Malay, English, and so on. ANGLE ON U.S. DELEGATION (MAIN FLOOR) Led by Ambassador ANGELA WILLS. Wills is sixty, with snow-white hair and a ramrod straight back. She has headphones on, listening to an English version of the speech. (CONTINUED) October 10, 1997 3 CONTINUED: ; ANGLE ON WOMAN SEATED DIRECTLY BEHIND WILLS EMILY BRADFORD TAYLOR is twenty-nine, with short blond hair and clean, angular features. She's wearing a charcoal suit arid following the speech without the benefit of headphones. The suit almost camouflages the physique seen in the loft. She rises from her chair and leans over Wills’ shoulder. EMILY Madame Ambassador... Wills pulls one earpiece away from her head. EMILY : This is the same speech he gave in Geneva three months ago. WILLS (turning toward her; impressed) You're quite sure? ne EMILY (nodding) Word for word. So I think it's safe to assume his position on this issue hasn't changed. Emily returns to her seat beside a dark-haired woman in her 20s. RAQUEL MARTINEZ is all curves and energy. She gives Emily a good-natured jab in the ribs. RAQUEL (under her breath) Show-off. EXT. MANHATTAN - DAY Emily and Raquel emerge from the Secretariat, crossing the fountain court toward First Avenue. It's late afternoon. RAQUEL Let's grab a drink. EMILY Can't. I have to change and be at the Met by eight. (CONTINUED) 6 os AT october 10, 1997 4. CONTINUED: 6 RAQUEL Poor baby. EMILY Tomorrow definitely. RAQUEL You said that yesterday. EMILY (stopping, thinking hard) Really? RAQUEL ! And you never used to give a damn about those parties. Raquel looks her friend in. the eye. RAQUEL So sooner or later you'll tell me what's up, right? A bus hauls over at the curb, disgorging passengers. Emily digs through her purse for a token. We notice the wedding ring. She looks up at Raquel, backing away, getting in line. EMILY Sooner or later. I promise. EXT. CENTRAL PARK - DAY aT A geometric chunk of trees and grass, stretching from Harlem to the luxury hotels of Central Park South. EXT. PENTHOUSE. DECK - DAY UG COMING UP BEHIND a man in a splendid tux. Channels of grey have just begun to infiltrate his swept-back brown hair. We GLIDE PAST good shoulders, INTO his face. ANGLE ON STEVEN TAYLOR The forehead is high and patrician, the eyes dark and calibrated. Not a man to be crossed. october. 167 199) 5 STEVEN'S POV: 8 His gaze SWEEPS OVER Central Park, then DOWN the sheer gorge of Fifth TO the cataract of cars and people. He watches Emily round the corner, a particle carried along by rush hour. She enters the building. INT. PENTHOUSE - DAY 9 mnily enters through the front door. She stops, surprised. Steven is standing in an art-filled living room torn from the pages of Architectural Digest. His eyes have shifted to an easy charisma. The picture of charm and insouciance. He strolls over, moving like a well-clad cat. STEVEN: How was your day? She steels herself as he leans in, kissing her on the mouth. ‘STEVEN Any progress in saving the world? EMILY Working on it (off the tux) I see you changed your mind about tonight . STEVEN Not really. He retrieves a sweating silver shaker, pours two martinis and hands her one. STEVEN I told you how much I hated to miss it. EMILY What happ ned to dinner with your - London people? You made it sound 0 unavoidable. , i STEVEN Tt was. Thank God they missed their plane... (raising his glass) To stolen moments. Emily forces a smile, touching her glass to his, unable to mask her gut reaction to the irony of the toast. (CONTINUED) October 10, 1997 2 CONTINUED: : STSVEN a @ (checking his watch) ‘ Emily, shouldn't you be getting dressed? He disappears into his study without waiting for a reply. 10 INT. BEDROOM 10 Emily enters. She takes off her suit. She's wearing a slip underneath. She glances back at the door, then picks up the phone by the bed. She dials quickly, chewing her lip. All INT. STUDY ALL Steven is standing in the middle of the room, absolutely motionless, eyes fixed on something on the wall. STEPHEN'S POV/INSERT OF PHOTO Stéven and Emily on a fantastic white-sand beach, frozen forever in a moment of sensual frolic. a INT. BEDROOM a Steven wanders in. Emily resists the urge to slam the phone down. He settles into an overstuffed chair and sips his drink, eyes roving her body in an appreciative, husbandly sort of way. She waits a beat then hangs up. STEVEN Nobody home? EMILY The office. I left some Security Council transcripts out on my desk, but everyone seems to have left. STEVEN Anything earth-shattering? She turns away, reaching into a closet. - EMILY Important enough not to be left out. (CONTINUED) October 10, 1997 " a 31 CONTINUED: Fea wSteven finishes his-drink. His voice drops a pointed octave. 7 STEVEN : You look incredible. EMILY - (pretending not to hear) We better hurry. She yanks a simple black cocktail dress off the rack. Steven rises from the chair. He knows damn well she heard him. He reaches past her, into the closet, taking * down something tragically chic and holding it against * her body. * STEVEN I'd prefer you in this. EMILY (beat; then putting the first dress back) Right. 12 OMITTED 12 13 ANGLE ON EMILY a Getting into the shower, turning the hot water on full blast, grateful for the enveloping steam. a 14 INT. LOBBY - NIGHT 1 Steven and Emily step from the elevator, both now dressed to the nines. They pass the concierge. 15 EXT. FIFTH AVENUE - NIGHT 3 .. ‘They emerge from the building. HARD RAIN POUNDS the pavement. A doorman deploys his umbrella, waving the limo forward. Alé EXT. LIMO - TRAVELLING als * g AT a7 october 10, 1997 8 INT. LIMO - MOVING 36 Steven gazes out the window, chin on fist, watching the wet city outside. He swivels toward Emily, taking his time, studying her profile. She doesn't seem’ to notice. Her eyes stay straight ahead, focused intently on i something in the distance. ‘STEVEN Emily. EMILY (turning, shaken from her reverie) Yes. STEVEN (taking her hand) I don't believe I've ever seen you so alive. So completely : beautiful. EMILY (nervoiis laugh) Of course you have. STEVEN (pondering that) Yes. Maybe once. : EMILY When? : He brings her hand up, examining it like some treasure before brushing his lips across the dorsal flesh. STEVEN On our wedding day. ANGLE ON EMILY ‘The recollection is potent. Her eyes soften. The sweet sting of love lost. She squeezes Steven's hand, turning away quickly, catching her own reflection in the rain- swept glass. EXT. METROPOLITAN MUSEUM OF ART - NIGHT ALT Lit for the evening's festivities. Their limo arrives. INT. MET - MOVING - NIGHT vw DOWN a marble passageway, opulently decorated for the occasion, TOWARD a cavernous space full of people. (CONTINUED) oy 17 october 10, 1997 9. CONTINUED: 17 INT. TEMPLE OF DENDUR - NIGHT White-jacketed waiters glide by with exotic nibbles and stands of fluted glasses. Champagne babble blends with the string quartet in the courtyard. The crowd is sleek and affluent, thé Met's power patrons on black tie promenade. ANGLE ON HORS D‘OEUVRE TRAY - MOVING As it floats through the throng, balanced lightly on the fingertips of a WAITER. A hand reaches out, snatching two crab-stuffed pastries like nuts froma bowl. The startled Waiter nearly loses the whole rig. WAITER Are you sure two is enough, ‘siz? ANGLE ON DAVID SHAW His face is open and vital. He's wearing a thrown- together ensemble. Not regulation black tie but somehow classy. He pops a pastry in his mouth, eyes flickering with amusement. He looks different in’ clothes. DAVID For now. ‘The Waiter leaves in a huff. David snares a glass of champagne off a passing tray. An older, somewhat EFFETE MAN is trying to monopolize David's attention: EFFETE MAN As I was saying... (waving a glass at the temple) The bulk of the temple's hieroglyphics are supplications to the gods of fertility. DAVID (looking over the Man's shoulder) Really. DAVID'S POV Steven and Emily make their entrance, his right arm draped loosely around her waist. The body language is subtle but unmistakably proprietary. Emily as the ultimate accessory. (CONTINUED) a7 a October 10, 1997 10. CONTINUED: (2) - Steven is flagged by a group of men with careful tans and predatory features. Merchant princes in full display plumage, wives. included. ANGLE ON STEVEN AND EMILY Joining another couple, JASON and ANN GATES. JASON (off Steven and Emily's entrance) : At last, the beautiful people have arrived ANN (off Bmily) Fantastic dress. Emily glances at Steven’who can't resist a tiny smile. EMILY ‘Thank you. JASON (leaning in close to Steven) Didn't think you'd make it tonight, what with Greenspan and all. Figured you'd be up to your ass in alligators. ANGLE ON EMILY Breaking away from Ann, scanning the room. EMILY'S POV PAST a montage of faces until her eyes clinch with David's. He starts forward, big grin on his face. ANGLE ON EMILY She shakes her head, very slowly, very emphatically. Danger. -— (CONTINUED) october 10, 1994 1. _ 17° CONTINUED: (3) a7 ANGLE ON DAVID He stops in his tracks, looking past her, locking on Steven. ‘The grin vanishes. He turns on’a dime and meanders off. ANGLE ON EMILY She glances back at her husband. He's deep in conversation, oblivious to the wordless exchange. She walks after David. : Al8 "ANGLE ON DAVID - ANOTHER ROOM als * Pretending to study a photo of the temple on its original perch above the Nile, a spot now 200 feet underwater thanks to the Aswan Dam. Emily drifts over, feigning . interest in the same photo. DAVID I thought he wasn't coming. : EMILY He changed his mind. I tried to call you. tH (nervous beat) * Now what do we do? * DAVID Relax and enjoy the evening. He * doesn't know who I am, right? * David turns, slowly, into her face. They stare at each other, mouths straining to collide. DAVID (swallowing) Lunch tomorrow? EMILY ae And tomorrow and tomorrow. Steven's voice falls around them like a cordial trap. i STEVEN ‘There you are. Steven is standing ten feet away. He strolls over with two glasses, handing one to Emily. (CONTINUED) Als October 10, 1997 22. CONTINUED: als : STEVEN of I turn my back for thirty seconds and she elopes with a younger man. EMILY (forcibly composing herself) - Steven, I'd like you to meet David ‘Shaw. STEVEN (shaking David's hand) : A pleasure. DAVID (still thrown) Yes, sir. ‘EMILY David's a painter. STEVEN Not houses, I hope. DAVID (little grin) Not yet. But you never know. EMILY I saw some of his pieces downtown. I thought they were amazing. STEVEN Really. And what brings you all the way uptown, to our inbred little soiree? DAVID (deciding to tell the truth) Well... actually, Emily was kind enough to wrangle me an invite. STEVEN (genial nudge to David's rib) Me, too. - Steven's appeal is insidious. David laughs. (CONTINUED) October 10, 1997 23. A18 CONTINUED: (2) Ale oO = People cdl me a risk taker because I gamble on currencies. But compared to a man who gambles his life to create art... (raising his glass to David) : Here's to real risk taking. They all drink. ‘STEVEN It's: David, right? (off his nod) Now tell me about your work. ‘DAVID A couple of small galleries carry me when there's space. Things are starting to happen. STEVEN Becoming. The most exciting time | of life. Did you study formally? | DAVID Berkeley. Almost formally graduated. STEVEN Good man. Too much training pollutes the soul... (to Emily) And he's good? EMILY {almost stumbling) He's... wonderful. STEVEN David, did my wife happen to mention that I'ma bit of a collector? DAVID Nope. Steven cocks his head toward Emily, charm vaporizing into cold steel. STEVEN Then why do I have the distinct ( feeling that I'm being set up? (CONTINUED) October 10, 1997 14. lg. CONTINUED: (3) Als 1 EMILY (unsure, then biting) Steven, honestly, I had no \ intention... She stops herself. Steven slides his arm snugly around : his wife: STEVEN (grinning) Sweetheart, you've become an easy mark in your old age. Emily forces a smile STEVEN I'd love to see some of your pieces. When can that be arranged? David looks at Emily. No help there. DAVID ’ anytime. : STEVEN ah Does my wife have your number? DAVID * You can get it from the gallery. . Emily knows which one. STEVEN Pine. and if you're as gifted as my wife suggests, I'll pass the word to my more acquisitive friends. DAVID That's very generous. Thank you. STEVEN Nonsense. I'm a man who believes in taking chances on talented people... (parting smile) Nice meeting you. Steven turns, gracefully guiding Emily toward his friends. { (CONTINUED] 18 18 19 october 10, 1997 CONTINUED: (4) ANGLE ON DAVID Watching them stroll away, greeting couples of similar socio-economic ilk. He looks like his dog just got run over. INT. PENTHOUSE - NIGHT Steven and Emily come home. She scans the stack of mail and magazines on the hall table, then disappears toward the bedroom. INT. BEDROOM Emily is getting undressed. Steven walks in, removing his Jacket, loosening his collar. He embraces her from behind. STEVEN Could I interest the lady in a nightcap? ‘EMILY (weary) Just bed, thank you. ‘STEVEN Even better. She turns into him. They kiss. At first it's sweet and tender and.lingering but then it escalates, heat surging down from their mouths. Steven pivots, guiding her toward the bed. They reach a point of no return, ready to topple onto the sheets. Emily stiffens for a micro- beat, then surrenders, as if her soul just flew so it wouldn't have to watch what's next. ANGLE ON STEVEN He felt it. He loosens his hold on her. STEVEN Where'd you go? ‘EMILY I'm sorry. I'm just dead on my feet. (CONTINUED) 15. Als 1 18 19 ag October 10, 1997 CONTINUED: 16. 19 STEVEN (matter-of-fact) That's not really true... (beat) And sooner or later we're going t~ have to talk about this. EMILY : {anguished breath, knowing what's : coming) About what? : STEVEN ‘The fact that my wife doesn't want to make love to me anymore. ! EMILY : Steven, we've talked about this... STEVEN Don't bullshit me, Emily. Tell me the truth. Break my heart. Just don't lie to me... (off her silence) — ~ Something's missing. Or something has been added. It has to be one or the other, so which is it? EMILY Has to be one or the other? Like it bas to be this dress? Because you say 50? Do you even see what you do to me, Steven? STEVEN You tell me. Have I hurt you in some way. Have I neglected you? Have I ever done anything but take care of you? EMILY I don't want to be taken care of. Children need to be taken care of. ‘Things need to be taken care of. I need more than maintenance. STEVEN (stung) That's the word you'd use to describe our marriage? EMILY T just did. (CONTINUED) | 4 ( 19 B20 B20 20 A21 october 10, 199% 17. * CONTINUED: (2) 19 Steven stares at her, pain flushing across his face, then he turns to leave. Emily grabs his arm. EMILY (imploring) - Steven... He stops and looks at her. EMILY I'm sorry. STEVEN (gently pulling free of her grasp) So am I. ANGLE ON EMILY Seeing herself in the mirror, and beyond that, Steven walking away. cur TO: EXT. WALL STREET - AERIAL - DAY 20 WALL ST. B20 SWOOPING DOWN to find Stever's limo navigating the sheer canyons of the financial disvrict. INT. LIMOUSINE - CLOSE ANGLE ON STEVEN 20 Brooding, watching his world slide by. INT. U.N. GENERAL ASSEMBLY BUILDING’- DAY (FORMERLY A35) A221 Double oak doors fly open. ‘There's an air-burst of Italian, French, En’lish, and Spanish. Emily and Raquel emerge with a group of dark-suited diplomats that includes Ambassador Wills. Emily is between a Frenchman in mid-diatribe and Wills. * i EMILY (translating from French to English) .. contrary to popular opinion in your country... the European Union was never conceived... solely to benefit... Anglo-American trade policies (CONTINUED) R21 22 October 10, 1997 1B. ‘CONTINUED: a21 WILRS : Perhaps it should have been... Emily clicks into French. : * ANGLE ON RAQUEL = , Wedged between a fast-talking Italian woman and a Spanish * man, switching seamlessly from Italian to Spanish * (subject to be determined) . * INT. CENTRIST CAPITAL - MOVING - DAY 7 21 DOWN a sleek hallway, WITH Steven and Techie One (HANSEN). HANSEN Greenspan surprised us. Based on inventories, we thought the fed was on hold. STEVEN We'll be fine. They pass through a foyer and into Steven's office. INT. STEVEN'S OFFICE - DAY A comer overlooking the Brooklyn Bridge. CNBC, CNN, Bloombergs, and wall of market “feeds provide an avalanche of security’symbols. Techie Two (STEIN) and Techie Three (NOLAN) are waiting. The mood is grim. HANSEN Spread products are blowing out. The action on your receivers in Europe could be a bloodbath. STEVEN So what are we talking? : STEIN Looks like at least a hundred- fifty basis points. HANSEN : ‘The Bundesbank will have to tag along. That'll hammer your yen and mark positions. (CONTINUED) 21 22 A23 23 B24 October 10, 1997 18. CONTINUED:

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