Scent of a Woman Page #7

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


I forgot.

The Charlie Conscience.

Do we tell ?

Do we not tell ?

Do we follow the

rich boy's code or not ?

Do we let this

blind a**hole...

die... or not ?

Yeah.

Conscience, Charlie.

When were you born, son ?

Around the time

of the Round Table ? Hah.

Haven't you heard ?

Conscience is dead.

No, I haven't heard.

Well, then, take the

f***ing wax outta your ears !

Grow up !

It's f*** your buddy.

Cheat on your wife.

Call your mother

on Mother's Day.

Charlie,

it's all sh*t.

Where you goin' ?

I got piss call.

I know I said I need ya

for just one day,

but even I can't hold it

that long.

Oh, and, Charlie,

you forgot the one

in the chamber.

Hah !

There you go,

sir.

Thank you.

Twenty-six years

in the service,

never let an aide

shine my shoes.

Where you gonna be

in 26 years, Charlie ?

Playing golf with your friends

from the Baird School, I bet.

I don't even like

those guys.

Course you don't.

They're all a**holes.

Be a pleasure to squeal

on 'em, wouldn't it ?

- Yeah, well, I'm not a squealer.

- "I'm not a squealer."

What is this,

the Dreyfus case ?

Ohh ! Ooh, Mama !

There you go.

- Thank you.

- Thank you.

Watch your step.

I'm gettin' that

heavy feelin' again, Charlie.

There's more to this,

isn't there ?

Isn't there ?

- I was offered a bribe.

- Oh, now we're cookin'.

Mr. Trask,

the headmaster,

he promised to

get me into Harvard.

- If you squeal.

- Yeah.

What a dilemma.

Should Charlie Simms accept a

free ride into Harvard or not ?

What do you think your friend George

would do if he were in your shoes ?

- He is, practically.

- How ?

I mean, it's just that Mr. Trask

hasn't promised to get him into Harvard.

Mr. Trask doesn't have to. George's

father's gonna take care of that.

Do the deal, Charlie.

Take it !

Go to Harvard.

- I can't do that.

- Why not ?

It's just some things

you just can't do.

Explain 'em to me.

- Louder, please.

- I, l, I can't --

You're gonna have a tough time

in this world, Charlie.

To ease the blow,

let me buy you a drink. Come on.

[ Frank ] Double Jack Daniels

on the rocks.

And bring my young friend here

a Shirley Temple.

Hold on.

Do you have beer ?

Certainly.

May I see some I.D. ?

Are you interested in walkin'

the rest of your life, chappy ?

Sir, but --

I'm a regular here.

My boy's going on 23.

Why don't you call up front,

the office ?

Mr. Gilbert,

he's a friend of mine.

Any particular beer ?

Schlitz.

No Schlitz ?

Blatz.

No Blatz ?

Improvise.

- I'll do my best, sir.

- [ Frank ] Thank you, sir.

You're human, Charlie.

Beer ?

Who are we

drinking with ?

I'm getting a nice soap-and-water

feeling from down there.

- Ah... female.

- Female ?

You're callin' her female, must mean you

like her or you wouldn't be so casual.

- Is she alone ?

- Yeah, she's alone.

Things are heatin' up.

Chestnut hair ?

Brown...

Light brown.

Twenty-two ?

Wh-- What am l,

a guy at a carnival ?

The day we stop lookin',

Charlie, is the day we die.

Move.

- Where ?

- You know where, son.

Don't be coy, Charlie.

This woman is made for you.

I can feel it.

Goddamn beautiful,

isn't she ?

- She's not bad.

- Whoo-bingo ! The boy's alive.

Come on, son,

perambulate.

Perambulate.

Excuse me, senorita,

do you mind if we join you ?

I'm feelin'

you're being neglected.

Well, I'm

expecting somebody.

Instantly ?

- No, but any minute now.

- Any minute ?

Some people live a lifetime

in a minute.

- What are you doin' right now ?

- I'm waiting for him.

Would you mind

if we waited with you,

you know, just to keep the

womanizers from bothering you ?

No, I don't mind.

Thank you.

Charlie.

You know, I detect...

a fragrance in the air.

Don't tell me

what it is.

Ogilvie Sisters soap.

Ah, that's amazing.

I'm in the amazing

business !

It is

Ogilvie Sisters soap.

My grandmother gave me

three bars for Christmas.

I'm crazy about

your grandmother.

I think she'd have liked

Charlie too.

- Don't pay any attention to him.

- What's your name ?

Donna.

- Donna ? I'm Frank. This here is --

- This is Charlie.

Yes. She likes you.

Charlie's having a difficult weekend.

He's going through a crisis.

How does he look

like he's holding up ?

He looks fine to me.

Oh ! She does

like you, Charlie.

So, Donna,

ah...

do you tango ?

No. I wanted

to learn once, but --

But ?

But Michael

didn't want to.

Michael, the one

you're waiting for.

Michael thinks

the tango's hysterical.

Well, I think

Michael's hysterical.

Don't pay any attention to him.

Did I already say that ?

What a beautiful laugh.

Thank you, Frank.

Would you like to learn

to tango, Donna ?

Right now ?

I'm offering you my services...

free of charge.

What do you say ?

Ah...

I think I'd be

a little afraid.

Of what ?

Afraid of making

a mistake.

No mistakes in the tango,

not like life.

It's simple. That's what makes

the tango so great.

If you make a mistake,

get all tangled up, just tango on.

[ Frank ]

Why don't you try ?

Will you try it ?

All right.

I'll give it a try.

Hold me down, son.

Your arm.

Charlie,

I'm gonna need some

coordinates here, son.

The floor's

about 20 by 30,

And you're at

the long end.

There's tables on the outside.

The band's on the right.

Oh, Frank, you are

one incredible dancer.

Wait'll you see

Charlie dance.

- He's a liar. I don't dance.

- Isn't he a charmer, though ?

Truth is, not only can he dance,

but he'll sing you a hell of a tune.

He can do bird calls

and imitate Bela Lugosi.

- Hi, honey.

- Hey.

Michael, this is Frank

and this is Charlie.

-Hi, Frank, Charlie. I'm sorry I'm late.

-Oh, that's okay.

These two gentlemen

entertained me,

and time flew.

Your girl is...

a hell of a tango dancer.

You found someone to tango with.

That's terrific !

Let me

shake your hand.

- No, it was Frank.

- Hell, I'll shake both your hands !

Honey, this looks like the place,

but we gotta go.

We got a date with Darryl

and Carol in the village.

Do you have a check ?

- Michael, please. My pleasure.

- No, no. I got this.

Michael, get your hand outta

your pocket. I'll take it. Really.

Allow me.

Why, thank you.

Bye, guys.

Bye.

Darryl and Carol.

Yeah.

[ Manny ] It's Apartment 17 E, Colonel.

She's expecting you.

You don't have to worry about a thing.

She's the creme de la creme.

My buddy took the Vice Chancellor

of Germany to her.

Now he wants to immigrate

to this country.

[ Frank ]

You did good, hombre.

My hair,

how is it ?

It's perfect.

- I got the red foulard okay, didn't I ?

- Yeah, real dark red.

Burgundy, Charlie,

burgundy.

They love it.

Bay Rum.

Windsor knot.

[ Sigh ] That's my heart

I'm feelin'.

I'm off.

Can you get long distance

on this ?

And how.

Be my guest.

- Sugarbush lodge.

- Hi. George Willis, please ?

One moment, please.

- Hello ?

- Ah, Harry ?

Chas, how are you ?

You just caught us. We're about

to shoot George over to the airport.

Why is George

going to the airport ?

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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