Notting Hill Page #12

At one table Bella and Honey sit -- beer and wine on the table.

BELLA:

I'm really horribly drunk.

Elsewhere, Max an William are relaxed together.

MAX:

So -- you've laid the ghost.

WILLIAM:

I believe I have.

MAX:

Don't give a damn about the famous girl.

WILLIAM:

No, don't think I do.

MAX:

Which means you won't be distracted by

the fact that she's back in London,

grasping her Oscar, and to be found

filming most days on Hampstead Heath.

He puts down a copy of the 'Evening Standard' with a picture of

Anna on its cover.

WILLIAM:

(immediate gloom)

Oh God no.

MAX:

So not over her, in fact.

EXT. HAMPSTEAD HEATH - DAY

Cut to the wide sweep of Hampstead Heath. William entirely

alone. He marches up a hill... goes over the crest of it -- and

sees a huge film crew and hundreds of extras in front of the

radiant white of Kenwood House, with its lawn and its lakes.

EXT. KENWOOD HOUSE - DAY

Now closer to the house, William approaches a barrier -- where

he is himself approached.

SECURITY:

Can I help you?

WILLIAM:

Yes -- I was looking for Anna Scott...

SECURITY:

Does she know you're coming?

WILLIAM:

No, no. She doesn't.

SECURITY:

I'm afraid I can't really let you

through then, sir.

WILLIAM:

Oh right. I mean, I am a friend -- I'm

not a lunatic but -- no, you basically...

SECURITY:

... can't let you through.

At that moment -- thirty yards away, William sees trailer door

open. Out of it comes Anna -- looking extraordinary -- in a

velvet dress; full, beautiful make-up; rich, extravagant hair.

She has a necessary cluster of people about her. Hair, make-up,

costume and the third assistant who has collected her.

She walks a few yards, and then casually turns her head. And

sees him. Her face registers not jut surprise, certainly not a

simple smile. His being there is a complicated thing.

Cut back to him. He does a small wave. She pauses as the whole

paraphernalia of the upcoming scene passes between them. The

movie divides them. But then she begins to walk through it, and

followed by her cluster, she makes her way towards him. When

she reaches him, the security guard stands back a pace, and her

people hold back. She doesn't really know what to say...

ANNA:

This is certainly... ah...

WILLIAM:

I only found out you were here

yesterday.

ANNA:

I was going to ring... but... I didn't

think you'd want to...

The third assistant is under pressure.

THIRD:

Anna.

She looks around. The poor third is nervous -- and the first is

approaching.

ANNA:

(to William)

It's not going very well -- and it's

our last day.

WILLIAM:

Absolutely -- you're clearly very busy.

ANNA:

But... wait... there are things to say.

WILLIAM:

Okay.

ANNA:

Drink tea -- there's lots of tea.

She is swept away, four people touching her hair and costume.

KAREN:

Come and have a look...

EXT. KENWOOD PARK - DAY

As they make towards the set...

KAREN:

Are you a fan of Henry James?

WILLIAM:

This is Henry James film?

EXT. KENWOOD HOUSE - DAY

A complicated shot is about to happen -- with waves of extras --

and a huge moving crane. They end up next to the sound desk.

KAREN:

This is Harry -- he'll give you a pair of

headphones so you can hear the dialogue.

Harry the sound man is a pleasant, fifty-year-old balding

fellow. He hands him the headphones.

HARRY:

Here we go. The volume control is on

the side.

WILLIAM:

That's great.

William, the headphones on, surveys the scene -- the cluster is

a full 100 yards from the action, to allow a gracious sweeping

wide-shot. He watches Anna. She is with her co-star in the

Henry James film -- let's call him James.

JAMES:

We are living in cloudcuckooland --

we'll never get this done today.

ANNA:

We have to. I've got to be in New York

on Thursday.

JAMES:

Oh, stop showing off.

He studies an actress a few yards to the left.

JAMES:

God, that's an enormous arse.

ANNA:

I'm not listening.

JAMES:

No, but seriously -- it's not fair -- so

many tragic young teenagers with

anorexia -- and that girl has an arse

she could perfectly well share round

with at least ten other women -- and

still be beg-bottomed.

ANNA:

I said I'm not listening -- and I think,

looking at something that firm, you and

your droopy little excuse for an 'arse'

would be well-advised to keep quiet.

Back by the desk, William is listening and laughs. That's his

girl. Anna prepares.

ANNA:

So I ask you when you're going to tell

everyone, and you say...?

JAMES:

'Tomorrow will be soon enough.'

ANNA:

And then I... right.

JAMES:

Who was that rather difficult chap you

were talking to on the way up?

ANNA:

Oh... no one... no one. Just some...

guy from the past. I don't know what

he's doing here. Bit of an awkward

situation.

EXT. HAMPSTEAD HEATH - DAY

Cut back to William -- he has heard.

WILLIAM:

Of course.

He takes off the headphones and puts them gently down.

WILLIAM:

Thank you.

HARRY:

Anytime.

William walks away. The moment of hope is gone. He couldn't

have had a clear reminder.

INT. WILLIAM'S LIVING ROOM - EVENING

William is emptying Anna Scott videos into a box.

SPIKE:

What's going on?

WILLIAM:

I'm going to throw out these old videos.

SPIKE:

No. You can't bin these. They're

classics. I'm not allowing this.

WILLIAM:

Right -- let's talk about rent...

SPIKE:

Let me help. We don't want all this

sh*t cluttering up our lives.

INT. BACKROOM OF THE BOOKSHOP - DAY

The next day. William is hard at work, doing the accounts in a

dark small room with files in it. Martin pops his head in.

MARTIN:

I have to disturb you when you're

cooking the books, but there's a

delivery.

WILLIAM:

Martin, can't you just deal with this

yourself?

MARTIN:

But it's not for the shop. It's for you.

WILLIAM:

Okay. Tell me, would I have to pay a wet

rag as much as I pay you?

They head out, Martin behind him, incomprehensively rubbing

his hands -- he's in a very good mood.

INT. BOOKSHOP - DAY

William enters -- and there stands Anna -- in a simple blue

skirt and top.

ANNA:

Hi.

WILLIAM:

Hello.

ANNA:

You disappeared.

WILLIAM:

Yes -- I'm sorry -- I had to leave... I

didn't want to disturb you.

ANNA:

Well... how have you been?

WILLIAM:

Fine. Everything much the same. When

they change the law Spike and I will

marry immediately. Whereas you...

I've watched in wonder. Awards, glory

...

ANNA:

Oh no. It's all nonsense, believe me.

I had no idea how much nonsense it all

was -- but nonsense it all is...

(she's nervous)

Well, yesterday was our last day

filming and so I'm just off -- but I

brought you this from home, and...

It's quite a big wrapped parcel, flat -- 3 foot by 4 foot,

leaning against a bookshelf.

ANNA:

I thought I'd give it to you.

WILLIAM:

Thank you. Shall I...

ANNA:

No, don't open it yet -- I'll be

embarrassed.

WILLIAM:

Okay -- well, thank you. I don't know

what it's for. But thank you anyway.

ANNA:

I actually had it in my apartment in New

York and just thought you'd... but,

when it came to it, I didn't know how to

call you... having behaved so... badly,

twice. So it's been just sitting in the

hotel. But then... you came, so I

figured... the thing is... the thing is

...

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