Gone Girl Page #10

Synopsis: In Carthage, Mo., former New York-based writer Nick Dunne (Ben Affleck) and his glamorous wife Amy (Rosamund Pike) present a portrait of a blissful marriage to the public. However, when Amy goes missing on the couple's fifth wedding anniversary, Nick becomes the prime suspect in her disappearance. The resulting police pressure and media frenzy cause the Dunnes' image of a happy union to crumble, leading to tantalizing questions about who Nick and Amy truly are.
Genre: Crime, Drama, Mystery
Production: 20th Century Fox
  Nominated for 1 Oscar. Another 65 wins & 177 nominations.
 
IMDB:
8.1
Metacritic:
79
Rotten Tomatoes:
87%
R
Year:
2014
149 min
Website
10,010 Views


NICK:

Think.

ANDIE:

I don’t know. I’ll have to check my

red-panty inventory.

NICK:

Baby, I need you to take this

seriously. And this is the last

time we can see each other until...

Andie is on top of him but now pauses in her invasion.

ANDIE:

Until when?

NICK:

Until it’s safe. Andie, she’s my

wife.

GG - Blue Draft — 8/29/13 56.

ANDIE:

You told me you were going to get a *

divorce.

He grabs her by both arms.

NICK:

Never say that out loud again.

She stares at his hands until he removes them. Then she takes

them and places them back on her. She begins moving his arms

like a puppet, from her waist, up to her breasts. She presses

her cheek against his so she can whisper.

AND IE:

I don’t want to fight. I just want

to be with you. That’s all I want.

She begins kissing him. Then she reclines, still holding his

hands on her. She pulls down the top of her sundress, yanks

the bottom hem up over her (red) panties, arranges herself

like a (soft) porn star. Tugs at his pants.

ANDIE (CONT’D)

The last time you’ll see me. Make

the most of it.

87 INT. SOMEWHERE - SOMETIME 87

A pen—for a funeral home, gnarled—cursives across the. DIARY.

DATE:
October 2, 2011. We see the words as we hear:

AMY (V.0)

My husband has come undone.

88 EXT. DUNNE HOUSE - DAY 88

People in black are filing up the sidewalk, women bearing

foil-covered casseroles; men bearing bottles of liquor.

89 INT. DUNNE DINING ROOM - DAY 89

A crowd in black, murmuring, consoling. A table packed with

Funeral Food:
Butter-roll sandwiches and bread dips. NICK and

GO are together, greeting mourners; AMY is off by herself.

AMY (V.0.)

We moved to Missouri to save *

Maureen, but it turns out we *

couldn’t.

GG - Blue Draft - 8/29/13 57.

90 INT. DUNNE KITCHEN - NIGHT 90

Nick is at a laptop, looking at his online bank account. As

he hears Amy, he switches the screen to his fantasy baseball.

AMY (V.0.)

I used the last of my trust fund to

buy him a bar, but so far it’s just

costing us more money.

91 INT. DUNNE BEDROOM - DAY 91 *

Nick is on top of Amy, thrusting into her from behind, a hand

in her hair. Mostly dressed: She’s in a bathrobe; he’s *

dressed for work. *

AMY (V.0.) *

Nick uses me for sex when he wants.

Nick pulls off her, kisses her cheek.

AMY (V.0.)

Otherwise, I don’t exist.

92 INT. DUNNE BEDROOMNIGHT 92 *

NICK is primping in front of the mirror.

AMY (V.0.)

Last night, I went from desperate

to pathetic. I became someone I

don’t even like. The kind of woman

I used to mock.

AMY:

You’re out so much. Stay with me.

NICK:

I’m already late, Aim.

AMY:

Well, then can I come? *

NICK:

It’s just a bunch of dumb high- *

school buddies. *

He kisses her on the cheek. AMY gets in front of the door. *

AMY:

(thumb to her chin)

Do our code:
no bullshit.

GG - Blue Draft - 8/29/13 58.

NICK:

Babe, I thought we weren’t going to

be those people.

He tries to get around her~ she blocks him again, Sigh. He

does the CODE, brusquely, as he tries to get past her.

AMY:

Hey, I was thinking. Something

positive. Maybe it’s time...

NICK:

Now is the worst time.

AMY:

It’d be a new start. For us. For *

me. I’d have a real purpose here. *

He grabs her by the arms, moves her.

NICK *

A child is not a hobby, Amy. *

He heads downstairs, Amy trailing.

A93 INT. STAIRWAY - NIGHT A93 *

ANY *

Not a hobby. An inspiration. *

93 INT. FOYER - NIGHT 93 *

Amy blocks his exit out the front door. A dark moment.

NICK *

We could have had this fight four *

hours ago. *

AMY *

I didn’t know it was going to be a *

fight. *

NICK:

You really want to be the couple *

who has kids to save our marriage? *

AMY *

Save? *

NICK *

Reignite,. jump-start, whatever *

works for you. *

GG — Blue Draft 8/29/13 59.

AMY *

You said save. *

He goes to leave. She puts a hand on the door. *

AMY (CONT’D) *

You’re really just going to walk *

out now? You are such a coward. *

He grabs her, hard, pushes her from the door. *

NICK *

Bye. *

ANY:

We can’t go on like this. I won’t.

NICK:

What, this isn’t good enough for

Miss Amazing?

AMY:

(blocking door again)

It’s not even close to good enough.

SNAP. NICK shakes her, shoves her. She falls and hits her

head—HARD—on the newel post. He stands over her, fists

clinched.. .until he takes a breath.

NICK:

Sh*t. I’m sorry. I’m so sorry.

He sits beside her, holds her in his arms.

AMY (V.0.)

What scared me wasn’t that he *

pushed me. What scared me was how *

much he wanted to hurt me more.

What scared me is that I’d finally

realized:
I am frightened of my own

husband.

94 INT. BONEY’S CAR - MALL. PARKING LOT - NIGHT 94

Boney and Gilpin in the vast, empty MALL parking lot.

GILPIN:

You sure we don’t need backup?

BONEY:

I’ll protect you.

GG — Blue Draft - 8/29/13 60.

95 EXT. MALL - NIGHT 95

They walk the mall exterior. A SUBURBANITE bursts out a far

door, beelines to a minivan, tucking stash into his jorts.

96 INT. MALL - NIGHT 96

Frozen escalators, dried fountains. The SKYLIGHT is cracked.

As Boney and G±lpin move toward the giant Dillard’s at the

end, HUMAN BEINGS hide, scuttle. We hear a baby cry.

GILPIN:

Someone should burn this place.

A raccoon runs across the hall. They train flashlights on it.

GILPIN (CONT’D)

You really think this is anything?

BONEY:

Cross it off the list.

Their flashlights pick up outlines of bodies asleep outside

of closed CLOTHING CHAINS. *

BONEY (CONT’D)

Nick Dunne played Little League

with my kid brother.

GILPIN:

Yeah?

BONEY:

He was nice to him. Not many kids

were nice to my brother.

97 INT. PHARMACY - NIGHT 97

It’s incredibly TIDY, lit by camp lanterns. PEOPLE drugged or

PASSED out everywhere. Under a sign marked HOME GOODS, two

TEENS in polo shirts are tweaking hard, pushing each other

back and forth robotically, reciting the Gettysburg Address.

TEEN ONE:

Now we are engaged in a great civil

war *

A group of DEALERS, 30s and 40s, are reclining on sleeping

bags like Boy Scouts, reading paperbacks by flashlight. They

rise to meet BONEY and GILPIN. They’re lean, hardened, but

dressed in cast—off clothes from their former lives: Gamma

Phi Dad’s Weekend 2011, Greenf air Golf Club, Mizzou Tigers.

GG - Blue Draft - 8/29/13 61.

JASON, the leader, wears a short-sleeve button down. He

approaches with a tough face. . . SMILES when he sees BONEY.

JASON:

What’s up, Rhonda?

TEEN TWO *

testing whether that nation, or any *

nation so conceived and so *

dedicated- *

BONEY:

(greeting everyone)

Hi Jason. Kyle. How ya doing, Chad?

TEEN TWO *

—can long endure. *

Rate this script:5.0 / 1 vote

Gillian Flynn

Gillian Schieber Flynn (born February 24, 1971) is an American author, screenwriter, comic book writer and former television critic for Entertainment Weekly. Flynn's three published novels are the thrillers Sharp Objects, Dark Places, and Gone Girl, the last of which she adapted for the screen in the 2014 film of the same name directed by David Fincher. more…

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