Scent of a Woman Page #8

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


Um, hold on. Maybe you should talk

to the man himself.

- Chas.

- Yeah. Hi, George.

- You just caught me.

- Harry said. Where you goin' ?

- Home.

- To Boston ?

Catching the puddle jumper.

Keep your fingers crossed.

What are you

going home for ?

[ Sigh ] I was thinking, Chas.

This a**hole, Trask ?

He's making

no sense at all.

Somebody's gotta talk to him.

My father's Class of '59.

Your father ? I thought we were

gonna keep our parents outta this.

This guy Trask is outta control, Chas.

Outta control !

Somebody's gotta

talk to him.

- My father's a major

fund-raiser, you know.

- No, I didn't.

Just relax.

He'll get us off the hook.

- I gotta go. Everything all right ?

- Sure.

- I'll see you Monday. Good-bye.

- Bye.

- Good night, sir.

- Good night.

Hiya, Charlie.

Watch the door.

What a beautiful woman.

- Hello, there.

- Do you see what I see ?

[ TV ] Yeah.

Either there's something wrong,

or we got the

world's worst hangover.

Won't you come in ?

[ TV Off ]

Colonel ?

Colonel,

you all right ?

What is there ?

It's afternoon.

You've been sleeping all morning.

So what ?

I don't know.

I thought --

I-l talked to George

last night.

His, ah --

His father's a big-deal alumnus

at school. He's got a lot of pull.

Really ?

Yeah, he's, ah,

he's gonna talk

to the headmaster.

George thinks he might

be able to get us off the hook.

"Get us off the hook."

Yeah, that's --

that's what he said.

Watch the "us" part.

Colonel, don't you wanna

get up and do something ?

[ Groan ]

Colonel ?

Oh, Charlie,

what do ya want ?

I don't know !

But you're

making me nervous.

My wallet is on

the dresser.

Take out

your plane ticket...

and $400

mustering-out pay,

plus...

airport-to-school taxi.

Colonel, it's no rush.

I mean, I can --

I could stay

for a while.

Charlie, you already

gave me a day.

For that day,

I am eternally grateful.

But right now I have...

other plans.

What other plans

do you have ?

To die, son.

Colonel, you're --

Come on, Colonel,

you're not gonna die today.

Charlie,

give me your hand.

You go now, boy.

Okay ?

You go.

Just, uh --

Just leave me

sleep here.

Look, uh --

Can we start over, please ?

What do you feel

like doin' today, huh ?

I mean, look at this.

The sun is shining !

It's a beautiful day.

Let's --

Colonel, I know you don't want

to be a party poop,

so let's go out and do something, huh ?

Let's go for a ride.

Yeah, a ride.

A ride ?

Yeah, Colonel Slade,

what do you say ?

Let's go for a ride,

huh ?

What kind of ride ?

Yeah, this is a valid

Oregon driver's license,

and we let appropriate customers

test-drive the Testarossa.

But you're 17 and with

a blind companion. That we don't do.

This is a $190,000

piece of machinery.

- I'm not letting it out this door.

- How 'bout this one over here ?

That's a Cabriolet T.

The same deal.

Think I'm gonna let an unaccompanied kid

get behind the wheel of a $110,000 car ?

He will not be

unaccompanied.

I'll be with him.

I'm his father.

- You're his father ?

- Yes.

I have an idea. Why don't I take

your father for a test-drive ?

- What's your quota, Freddie ?

- Don't worry about my quota. I do well.

How many Ferraris

you sold this month ?

That's not relevant

to this discussion.

Freddie,

the 80s are over.

Are you tryin' to tell me

these are just walkin' outta the store ?

This is a Ferrari, the finest machinery

made in the automobile industry.

If you like it that much,

why are you sellin' it ?

- I'd love to accommodate you --

- If this car performs

the way I expect it to,

you'll get a certified check of $101,000

and change when in you come tomorrow.

It's $109,000,

plus $950, plus tax.

Freddie, for you...

plus a case of champagne

to go with your leftover turkey.

What do you say ?

Don't worry about the boy.

He drives so smooth,

you can boil an egg on the engine.

When we bring the car back,

I'll peel the egg for ya.

Listen, you made me laugh,

but I can't let the car go out.

Want a deposit ?

This is not an

installment item, sir.

Freddie, you're no

spring chicken, are ya ?

Well, you know what they call me

at the home office ? The gray ghost.

You know why they

still keep me around ?

There's no kid here that

can move a Ferrari like I can.

I'm known from coast to coast

like butter and toast.

Ask anybody about

Freddie Bisco.

When I get a Ferrari...

out the door !

- Hah ! You just made me laugh.

- Yeah ?

Two thousand.

Unless you take it,

you're gonna make me cry.

I'm a gray ghost too.

See ? This is fun,

isn't it ?

[ Engine Sputtering ]

- [ Engine Stops ]

- Drop her into neutral.

Slide her into second.

Pop the clutch.

[ Engine Revving ]

Straight. Hold it

right like that. Feel it ?

That's straight.

Just keep it straight.

- Keep it straight.

- No fun just to keep it straight.

You've got to move a little bit,

feel the road.

Please ? Just like this.

All right ? There you go.

[ Charlie ]

Take it nice and easy.

Do you like this ?

Slow it down a little.

You goin' a little fast.

Colonel, slow it down.

Something's happened

to my foot !

- Slow it down, please.

- Hold on, Charlie.

I think I've got

another gear.

Colonel Slade ?

- Whoo-ah !

- Oh sh*t !

Watch out !

Hah-hah !

You'll get us killed !

Don't blame me, Charlie.

I can't see !

- Colonel, slow it down !

- [ Laughing ]

Oh, God.

Oh, Jesus !

Now let's see

how this baby corners.

- Corners ?

- Yeah. Say when.

- Say when what ?

- Say when to turn.

- Colonel, you can't turn the car.

- Where's the turn, Charlie ?

Right oblique ? Right face ?

Come on !

Talk to me !

Ah... it's left, I guess.

Left. I knew it.

Okay. Now ?

No, no !

Not now ! Not now !

- Now ?

- Colonel, please ?

Charlie, I'm gonna do it anyway.

Whether you say so or not, here we go !

Okay ! Wait, wait, wait !

Just wait !

Here I go.

Wait... now !

I did it !

Oh, Charlie !

You're ridin' with

one very happy man !

- Turn again !

- Be specific, son.

- Left now !

- Okay.

- Ohh !

- Whoo-ah !

I love this !

I love it !

Shall we take it to the max ?

Let me out.

- [ Siren ]

- Sh*t ! The yellow flag.

I hadn't even

opened her up yet.

- Which way's the curb ?

- Pull over. Slow down !

- Slow down, Colonel.

- All right, I'm doin' it.

- Pull over to the curb. Slow it down.

- Yep, yep. Got it.

- Oh, Christ.

- Ooh, I haven't had a ticket in years.

I'll do the talking.

License and registration.

What ? Are you

test-driving this baby ?

Don't she purr though ?

At 70 miles an hour ?

You should hear her

at 125. Hah !

Where's your license ?

At the dealer's.

They give it back

when you return the car.

- You got I.D. ?

- You bet.

Indeed.

Lt. Col. Slade.

And you, solider ?

The name is

police officer Gore.

Doin' a hell of a job, Gore.

And so are you, Colonel.

Who's the kid ?

My boy Charlie.

He kept tellin' me to

"Let her out."

What was I gonna do,

disappoint him ?

Yes.

Tell you what I'm gonna do.

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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