Scent of a Woman Page #4

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
20,936 Views


- [ Clanking ]

- Oh !

I'm home again.

Give me an inventory

on this, will you ?

All right,

where am l, in Asia ?

He told me the phone was on

the other side of the room, didn't he ?

By the windows ?

It's right here.

Okay.

We're in business.

Get me the Oak Room.

How's that inventory

comin' ?

Uh, there's Jim Beam

and Early Times.

Quartermaster's on the take again.

Hello.

Is Sheldon or Mack there ?

This is

Lt. Col. Frank Slade.

I used to be a regular. I used

to come in with a General Garbisch.

Yes, that's probably because

he's at Arlington six feet under.

Listen up. I want a table for two, and

I don't mean Siberia, 8:15.

Clear them little

bottles off.

And when I get off the phone,

call up Hyman.

Tell him I want it

wall to wall with John Daniels.

Uh, don't you mean,

uh, Jack Daniels ?

He may be Jack to you, son. But when

you've known him as long as I have --

That's a joke.

Hello !

This is Lt. Col. Frank Slade.

I would like a limo, 8:00.

What are you drinkin' ?

Uh, nothing, thanks.

I don't use it.

What's useful about it ?

I don't know. Listen, Colonel,

I have to get going.

Where you goin' ?

Back to school. I've got some real

important stuff I have to take care of.

Very well.

But I never let my aides leave

on an empty stomach.

You'll dine with me and then my driver

will transport you...

to the airport for the Boston Shuttle

departing at 2200 hours.

Meanwhile,

unpack my bag.

I'm gonna christen

the latrine.

[ Frank ] What's your name,

driver ?

- Manny, sir.

- Manny.

The bellhops at the Waldorf, are they

any good at getting escorts ?

- I wouldn't know, sir.

- What would you know ?

- About what ?

- About you-know-what ?

Maybe I could

manage something.

[ Frank ] I'm talkin'

top of the line, now.

Let me think

about this, sir.

What's the matter

with you ?

- With me ?

- Yeah. Car feels heavy. You know why ?

You got the f***in' weight of the world

on your shoulders.

[ Sigh ]

I got a little problem

at school, that's all.

- Spit it out !

- It's not a big deal, all right ?

Where we going,

the Oak Room or somethin' ?

If it's not a big deal, why did you say

"real important stuff" ?

What are you doin', banging

the dean's daughter ? Hah !

- I'm just in a little trouble.

- What kind of trouble ?

I saw some guys

doing something.

To tell or not to tell,

or it's your ass.

Hmm ?

- How'd you know that ?

- I'm a wizard.

Give me the details,

come on.

[ Sigh ]

There's this guy

at school named Harry.

He's this real rich kid.

He like...

runs the show.

Who else ?

There's another guy, George,

but George didn't do anything.

George and I saw Harry and his buddies

doin' somethin'.

Now, the folks at Baird,

they know you and George can

identify the guilty parties ?

Yeah, they think we can.

- George is a friend of yours.

- He's not a friend, but he's all right.

- You trust him ?

- Yeah, I guess so.

- He's on scholarship too ?

- No, why ?

We got George, we got Harry,

we got trouble.

They're rich, you're poor.

You wanna get rich.

You wanna graduate Baird,

become a rich big shot like them.

- Am I right ?

- No. It's not that way at all.

Okay, Charlie !

Here we are, gentlemen:

the Oak Room.

The Oak Room !

Bring us a menu and double Jack Daniels

on the rocks.

Charlie, sit down here.

Uh, perhaps you'll feel more

comfortable in this, sir.

[ Wolf Whistle ]

You look great !

Thank you.

Here we are, Charlie:

the Oak Room.

Now, read me

the bill of fare.

Uh, let's see.

You got the Oak Room Burger

and fries for $24.

Where's the booze ?

Flowin' like mud around here.

A $24 hamburger ?

W-What's the story ?

What story ?

- Are you a rich miser or something ?

- Hah !

No, I'm just your average

blind man.

Your average blind man.

How do you plan on

paying for all this stuff ?

Crisp, clean dollars...

American.

I saved up my

disability checks.

How much did you save ?

I mean, we flew first class,

we're at the Waldorf-Astoria,

a $24 hamburger restaurant.

- All part of a plan, Charlie.

- You want to let me in on it ?

Why should I ? You're not interested.

You don't give a sh*t !

You're leavin' on that

last shuttle out of La Guardia.

Hmm ? Ooh !

You got 15 minutes, son. I don't think

you're gonna make it,

unless the Oak Room keeps some

complimentary helicopter on the roof.

No, sir. No !

You're here till tomorrow.

You said the last shuttle

leaves at 2200 hours.

That's 10:
00, right ?

Last I heard, yeah.

It's only 8:
30.

I lied. Leaves at 9:00.

- It leaves at 9:00 ?

- Calm down. Calm down.

Ahh ! The truth is, Charlie,

- I need a guide dog

to help me execute my plan.

- What plan ?

You have a right to know.

It's not really a plan, Charlie.

It's sort of a --

more like a tour,

a little tour of pleasures:

stay in a first-class hotel,

eat an agreeable meal,

drink a nice glass of wine,

see my big brother.

Nothing like family,

you know.

And then, make love

to a terrific woman.

After that...

Yeah ?

I'm gonna lie down on my big,

beautiful bed at the Waldorf...

and blow my brains out.

- May I tell you our specials ?

- You may, sir.

Tonight we have charred venison with

buckwheat spaetzle and green peppercorn.

Grilled veal, tomato tapenade,

and roasted eggplants.

Get me a napkin.

My mouth's watering.

If you like our souffle for dessert,

it would be good to order it now.

Yes, on the souffle. Give us

a half a minute on the rest.

Very good, sir.

[ Clearing Throat ]

- I'm leaning towards the spaetzle.

- Colonel Slade --

Charlie, rolls on the table ?

Give 'em to me.

You should

try these rolls.

I used to dream about them

when I was at Fort Huachuca.

- Colonel Slade --

- Bread's no good west of the Colorado.

- Water's too alkaline.

- Colonel Slade, did you say --

Did I hear you right ?

Y-You said you're gonna

kill yourself ?

No, I said I was gonna

blow my brains out.

Try one of these rolls, Charlie.

I buttered it for ya.

I don't want a roll,

all right ?

Okay. Have a radish !

Hah !

Hello ! Bring me a double

Jack Daniels on the rocks.

Yes, sir.

Right away.

[ Clearing Throat,

Mouthing Words ]

Please, don't do that.

Don't do that.

Hmm.

[ Sniffing ]

What a marvelous place !

Okay.

Yeah.

Your billet is here.

You'll find bedding

in the closet on the shelf.

In the morning, the area will be

returned to sitting-room mode...

no later than

What was that ?

Nothing.

Next time...

snap it out !

Thumb to palm, index finger

through little digit, smartly aligned,

sharp to the hairline,

down !

Too many men,

far better than you,

have executed

that courtesy.

And if you're smart,

you won't try it again.

This bat has got sharper radar

than the Nautilus.

Don't f*** with me,

Charlie.

See you get

a good night's sleep, son.

[ Groaning ]

[ Frank ]

?It's a lovely day today ?

?So, whatever

you gotta do ?

?You got a lovely day

to do it in that's true ?

Good morning, Charlie.

- [ Sigh ] Good morning.

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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