Scent of a Woman Page #10

Synopsis: Frank is a retired Lt Col in the US army. He's blind and impossible to get along with. Charlie is at school and is looking forward to going to university; to help pay for a trip home for Christmas, he agrees to look after Frank over thanksgiving. Frank's niece says this will be easy money, but she didn't reckon on Frank spending his thanksgiving in New York.
Genre: Drama
Director(s): Martin Brest
Production: Universal Pictures
  Won 1 Oscar. Another 5 wins & 14 nominations.
 
IMDB:
8.0
Metacritic:
59
Rotten Tomatoes:
88%
R
Year:
1992
156 min
21,952 Views


Never mind.

The what ?

Silly.

Just the thought

that maybe one day, I'd --

I could have a woman's arms

wrapped around me...

and her legs

wrapped around me.

And what ?

That I could wake up in the morning

and she'd still be there.

Smell of her.

All funky and warm.

I finally gave up on it.

I don't know why

you can't have that.

[ Muttering ]

You know, when we get back

to New Hampshire,

I don't know why

you can't find someone.

I mean, you're

a good-lookin' guy,

and you're fun

to be with, and...

you're a great travel companion,

sensitive, compassionate.

Charlie,

are you

f***in' with me ?

- Yes.

- [ Phone Ringing ]

Yeah ?

Hey, Manny.

My God. We -- We --

We missed our plane.

Your plane, Charlie.

My ticket was one-way.

- New England Thruway

all the way, Colonel ?

- All the way, Rinaldo.

I'm gettin' that

heavy feelin' again, Charlie.

Uh...

"Uh" ?

I think you were right

about George and his father.

- Uh, I'm sorry to hear that.

- When we get back,

Mr. Trask is bringin' us up in front

of the whole school.

Puttin' your feet

to the fire, huh ?

Special meeting of

the Disciplinary Committee.

And what are you

gonna tell 'em ?

I don't know.

I'll think of somethin'.

Oh, Charlie, why are you

all alone in this thing ?

Hmm ? Where's your father ?

He left.

I thought it was a mom-and-pop store.

Who's the "pop" ?

- It's my stepfather.

- Oh, yeah.

But why isn't he in on this ?

Somethin'

wrong with him ?

No, he's okay.

We just, uh --

- We don't get along very well.

- Why not ?

- 'Cause he's an a**hole.

- Ah. Ha-ha !

Well, that's all right, Charlie.

Every family's got one

nowadays.

- That's it ?

- That's it.

- Take care of yourself, kid.

- All right, Manny. Thanks.

No, I'm not open.

I hate good-byes.

So, uh, you'll be

all right, huh ?

I'll be fine.

All right.

- [ Bell Ringing ]

- What's that ?

Uh, that's first bell.

Just got time

to get cleaned up.

Oh. I almost forgot.

I owe you some money.

Three hundred dollars,

hmm ? Job well done.

You ever need any

references, Charlie,

- I'm your man.

- Thanks, Colonel.

- Uh, it's 16 Water Street.

Just over the bridge.

- We'll find it.

Good-bye, Charlie.

Good-bye, Colonel.

Come here, son.

Okay, Manny.

George. George !

I called an open meeting

of this institution this morning...

because the incident that

occurred this Tuesday last...

describes an issue

that concerns all of us.

Not an isolated case

of vandalism, what happened...

is a symptom

of the sickness of a society,

a sickness which runs

counter to the principles...

this school was founded on,

a school, among whose graduates two have

sat behind the desk in the Oval Office,

in the White House.

Baird men have run state departments

and investment houses,

founded department stores

and coached football teams.

Our alumni receive their bulletins

in ashrams in India...

and in palaces

in Jordan.

We are, in fact,

known around the world...

as the cradle

of this country's leadership.

- A beacon in the nation's --

- What are you doing here ?

- Got room for me up there, Charlie ?

- But today,

- We are bleeding from disrespect,

- Yeah, I guess so.

- Give us a hand.

- disrespect for our values...

and a disrespect

for our standards,

a disrespect for

the Baird tradition.

And, as the custodians

of that tradition,

we are here today

to protect each other...

from those

who threaten it.

Who is this, Mr. Simms ?

- Uh --

- This is Mr. Frank Slade,

Lieutenant Colonel,

United States Army, retired.

I'm here in place

of Charlie's parents.

- Excuse me ?

- In loco parentis.

They could not make

the trip from Oregon today.

And what is your relationship

to Mr. Simms ?

Is this a courtroom ?

- Closest thing we could manage to it.

- Then if we're taking oaths,

there's a few people

I'd like to swear in.

There are no oaths at Baird.

We are all on our honor.

Larry and Franny Simms...

are very dear,

close friends of mine.

They've asked me to appear here

on Charlie's behalf.

Okay ?

Happy to have you

with us, Colonel.

Mr. Willis.

- Which Mr. Willis ?

- George, Junior, sir.

You were in a position

last Tuesday night...

to see who committed

this act of vandalism. Who was it ?

Well, uh, I have

an idea who it was.

No, no, not an idea, Mr. Willis.

Did you see or did you not see ?

Well...

I-l didn't have

my contacts in.

Come on.

I was in the library.

I'd taken my glasses off,

and I was gonna put

my contacts back in.

Um,

I --

Then I helped

Simms close up,

and the next thing I know,

we're outside,

and I hear this sound,

and l, um,

didn't have any time

to put my contacts in.

Whom, with your limited vision,

did you see ?

[ Whispering ]

Like I say,

it was blurry.

Uh,

I can't see

without my contacts.

What did you see,

Mr. Willis ?

What ?

- What, you mean definitively ?

- Stop fencing with me, Mr. Willis !

Tell me what you saw !

Now, don't hold me

to this, but...

no contacts, it's dark...

and everything, I mean --

- Mr. Willis !

- [ Willis Sighing ]

Maybe...

Harry Havemeyer,

Trent Potter

and Jimmy Jameson.

- Maybe ?

- Ballpark, best guess.

[ Trask ] Could you provide us

with some detail ?

I mean, why don't

you ask Charlie ?

I really think

he was closer.

Mr. Simms.

[ Clearing Throat ]

Yes.

You don't wear

contact lenses, do you ?

No, sir.

With your untrammeled sight,

whom did you see ?

Well, I saw --

I saw something,

but l-l-l

I couldn't say who.

[ Trask ] All right.

What was the something you saw ?

- I-l couldn't say.

- You couldn't say or you wouldn't say ?

Well, I just --

I --

- I just couldn't say. I'm --

- Couldn't, wouldn't, shouldn't.

You're exhausting

my patience...

and making a mockery

of these proceedings.

I will give you

one last chance.

The consequences of your response

will be dire.

By dire I mean your future

will be jeopardized permanently.

Now for the last time,

what did you see

last Tuesday night...

outside my office ?

I saw somebody.

"l saw somebody." Good.

Did you see

their size and shape ?

Yeah.

And they were

the size and shape of whom ?

They were

the size and shape --

of most any

Baird student, sir.

I am left

with no real witness.

Mr. Willis's testimony is

not only vague, it is unsubstantiated.

The substance I was

looking for, Mr. Simms,

was to come from you.

I'm sorry.

I'm sorry too, Mr. Simms,

because you know

what I'm going to do,

inasmuch as I can't punish

Mr. Havemeyer,

Mr. Potter or Mr. Jameson ?

And I won't punish

Mr. Willis.

He's the only party

to this incident...

who is still worthy of

calling himself a Baird man.

I'm going to recommend to

the Disciplinary Committee...

that you be expelled.

Mr. Simms, you are

a cover-up artist...

and you are a liar.

But not a snitch !

Excuse me ?

No, I don't

think I will.

- Mr. Slade.

- This is such a crock of sh*t !

[ Trask ] Please watch your

language, Mr. Slade.

Rate this script:3.7 / 6 votes

Bo Goldman

There are but a few select screenwriters who are spoken of with the kind of reverence usually reserved for film Directors - Robert Towne, Alvin Sargent and Bo Goldman. Goldman is a screenwriter's screenwriter, and one of the most honored in motion picture history. The recipient of two Academy Awards, a New York Film Critics Award, two Writers Guild Awards, three Golden Globes, additional Academy Award and Writers Guild nominations and, ultimately, the Guild's life achievement Award - The Laurel. Born in New York City, Goldman was educated at Exeter and Princeton where he wrote, produced, composed the lyrics and was president of the famed Triangle show, a proving ground for James Stewart and director Joshua Logan. On graduation, he went directly to Broadway as the lyricist for "First Impressions", based on Jane Austen's "Pride and Prejudice", produced by composer Jule Styne and directed by Abe Burrows, starring Hermione Gingold, Polly Bergen and Farley Granger. Moving into television, Goldman was mentored by the redoubtable Fred Coe (the "D.W. Griffith of dramatic television") and became part of the twilight of The Golden Age, associate producing and script editing Coe's prestigious Playhouse 90 (1956)'s, "The Days of Wine and Roses", "A Plot to Kill Stalin" and Horton Foote's "Old Man". Goldman went on to himself produce and write for Public Television on the award-winning NET Playhouse. During this period, Goldman first tried his hand at screen-writing, resulting in an early version of Shoot the Moon (1982) which stirred the interest of Hollywood and became his calling card. After reading Shoot the Moon (1982), Milos Forman asked Goldman to write the screenplay for One Flew Over the Cuckoo's Nest (1975). Goldman's first produced film won all five top Academy Awards including Best Screenplay for Goldman. "Cuckoo's Nest" was the first film to win the top five awards since Frank Capra's It Happened One Night (1934). Goldman also received the Writers Guild Award and the Golden Globe Award for his work on the film. He next wrote The Rose (1979), which was nominated for four Academy Awards, followed by his original screenplay, Melvin and Howard (1980), which garnered Goldman his second Oscar, second Writers Guild Award and the New York Film Critics Circle Award for Screenplay of the Year. Goldman's first screenplay, Shoot the Moon (1982), that started it all, was then filmed by Alan Parker, starring Diane Keaton and Albert Finney, the film received international acclaim and was embraced by America's most respected film critics including Pauline Kael and Richard Schickel. For Shoot the Moon (1982), Goldman earned his third Writers Guild nomination. Over the next few years, he contributed uncredited work to countless scripts, including Milos Forman's Ragtime (1981), starring James Cagney and Donald O'Connor, The Flamingo Kid (1984), starring Matt Dillon, and Warren Beatty's Dick Tracy (1990). Goldman tried his hand at directing an adaptation of Susan Minot's novel "Monkeys", and a re-imagining of Ingmar Bergman's Wild Strawberries (1957) (aka "Wild Strawberries") as a vehicle for Gregory Peck, but for budgetary and scheduling reasons, both movies lost their start dates. Goldman returned solely to screen-writing with Scent of a Woman (1992), starring Al Pacino. Goldman was honored with his third Academy Award nomination and his third Golden Globe Award. He followed this with Harold Becker's City Hall (1996), starring Al Pacino and John Cusack, and then co-wrote Meet Joe Black (1998), starring Brad Pitt and Anthony Hopkins. More recently, Goldman did a page one uncredited rewrite of The Perfect Storm (2000). It was Goldman's script that green lit the movie at Warner Bros. and convinced George Clooney to star in the film, which went on to earn $327,000,000. In 2005, he helped prepare the shooting script for Milos Forman's Goya's Ghosts (2006), produced by Saul Zaentz and starring Natalie Portman and Javier Bardem. He wrote a script for a remake of Jules Dassin's Rififi (1955) (aka Rififi), for director Harold Becker, starring Al Pacino. Goldman is married to Mab Ashforth, and is the father of six children, seven grandchildren and one great grandchild. He resides in Rockville, Maine. more…

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Submitted on August 05, 2018

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