Scent of a Woman Page #9

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
21,946 Views


I'm gonna let you go on one condition.

- What's that ?

- You take this rig

straight back to the dealer.

- Y-You got it.

- Shut up.

- You want this ?

- Sure. Gore ?

Your face and your voice

are familiar.

You ever in the

officer's club at Da Nang ?

No.

- Never in the army ?

- No. Coast Guard.

Good Lord.

Hah ! Hah !

Your dad is looking good,

Charlie.

He's got a heavy foot.

Tell him to take it light. All right ?

- I hear ya !

- Thanks.

Get out of the car, 'cause

you are not driving anymore.

Just keeping this baby warm,

that's all.

I'm not drivin' anymore.

Yes.

- Take my arm.

- I'm okay.

- Colonel, it's really bumpy here.

- Yeah, bumpy.

You all right ?

Yeah.

Red light.

Hold it.

Taking too long.

[ Screeching Tires,

Honking ]

Sh*t ! Colonel !

Colonel ?

Colonel !

Sh*t !

You all right ?

What the hell

are you doing ?

- Take the cane.

- I gotta take a piss.

- Take the cane, Colonel.

- It happens to the best of us.

We're on Park Avenue.

You can't go to the bathroom.

- Perfect place.

- You'll get arrested.

Never been housebroken.

Ohh !

Sh*t !

What's the matter

with you, Colonel ?

What are you doing ?

Stand up.

Come on.

I'm tired, Charlie.

I'm tired.

Give me your arm.

Here's your cane.

Take me back

to the hotel, son.

Home at last.

You all right now ?

Yeah.

- Do you want to use the bathroom ?

- No.

- Can I get you something ?

- No.

- You sure you're all right ?

- I'm fine, Charlie.

Do you mind

if I use the phone ?

Go ahead.

[ Dialing ]

- Hello ?

- Hi, is George there, please ?

Senior or Junior ?

Junior.

- Who's this ?

- A friend of his from school.

George isn't going to be talking

to any friends from school right now.

- Oh.

- Good-bye.

Colonel, are you

looking at me ?

I'm blind, Charlie.

I'm gonna take a nap.

Too much fresh air.

It's probably

a good idea.

Want me to help you

to your room ?

No.

Couch.

I like

this couch here.

You sure you're

all right, Colonel ?

I got a headache.

[ Sigh ]

Why don't you go downstairs,

get me some Aspirin, Charlie ?

- Some Aspirin.

- Yeah. Also...

I feel like

a cigar.

Get me a couple of

Monte Cristos, number one.

- Monte Cristos, number one.

- Yeah.

You won't be able to get 'em

at the newsstand downstairs.

So why don't you

go over to...

Fiftieth and Fifth,

Dunhill's.

Fella name of Arnold

in the humidor.

Tell him, um,

they're for me.

He'll know.

You're back

too fast.

You didn't get

my cigars, did you ?

Get out of here,

Charlie.

I thought we had a deal.

I welched. I'm a welcher.

Didn't I tell you ?

No, what you told me was that

you gave me all the bullets.

I lied.

- Yeah, well, you could have fooled me.

- And I did.

Charlie, how you ever gonna survive

in this world without me ?

Why don't you just

give me the gun, all right ?

Wh-- What are you doing ?

I'm gonna

shoot you too.

Your life's finished anyway.

Your friend George's gonna

sing like a canary.

And so are you.

And once you've sung,

Charlie, my boy,

you're gonna take your place

on that long, gray line...

of American manhood.

And you will be through.

I'd like to disagree

with you, Colonel.

You're in no position

to disagree with me, boy.

I got a loaded .45 here.

You got pimples.

I'm gonna kill ya, Charlie,

because I can't bear the thought...

of you sellin' out !

Put the gun down,

all right, Colonel ?

What ? You givin' me

an ultimatum ?

No, I'm --

I give the ultimatums !

I'm sorry.

All right ?

I'm sorry.

It's all right...

Charlie.

You break my heart, son.

All my life

I stood up...

to everyone

and everything...

because it made me feel

important.

You do it

'cause you mean it.

You got integrity, Charlie.

I don't know whether

to shoot ya or adopt ya.

Not much of a choice,

is it, sir ?

Aw, don't get cute now.

- Colonel, please put the gun away ?

- I asked you a question.

Do you want me to adopt ya,

or don't ya ?

Please ? I mean...

- you're just in a slump right now.

- Slump ?

No slump, Charlie.

I'm bad.

I'm not bad. No.

I'm rotten.

You're not bad.

Y-- You're just in pain.

What do you know

about pain ?

Hmm ? You little

snail darter...

from the Pacific Northwest.

What the f*** you know

about pain ?

Let me have the gun, Colonel.

No time to grow a dick, son.

Just, just give me

the gun, all right, Colonel ?

I'm talkin'

a parade ground. Ten-hut !

Soldier, that was

a direct order.

Give me the gun ?

You can stay

or you can leave.

You understand ?

Either way, I'm gonna do this thing.

Now why don't you leave

and spare yourself ?

I want your gun, Colonel.

I'm gonna give myself

a count.

You need a count

for balance.

Five, four...

three...

two...

one. F*** it.

Gimme ! F*** it !

- Get out of here !

- I'm stayin' right here !

- Get outta here !

- I'm stayin' right here.

- I'll blow your f***in' head off !

- Then do it !

You want to do it ?

Do it ! Let's go.

- [ Click ]

- F***.

Get outta here !

You f***ed up, all right ?

So what ?

So everybody does it.

Get on with your life, would ya ?

What life ?

I got no life !

I'm in the dark here !

You understand ?

I'm in the dark !

So give up. You want

to give up, give up...

'cause I'm givin' up too.

You said I'm through.

You're right.

We're both through.

It's all over.

So let's get on with it.

Let's f***in' do it.

Let's f***in' pull the trigger,

you miserable blind motherf***er.

Pull the trigger.

Here we go, Charlie.

I'm ready.

You don't want to die.

And neither do you.

Give me one reason not to.

I'll give you two. you can

dance the tango and drive a Ferrari...

better than anyone

I've ever seen.

You never seen anyone

do either.

Give me the gun, Colonel.

Oh, where do I go

from here, Charlie ?

If you're tangled up,

just tango on.

You askin' me

to dance, Charlie ?

?Did you ever have the feelin'

that you wanted to go ?

?And still had the feelin'

that you wanted to stay

You like my blues, Charlie ?

Yeah, they're beautiful.

I wore these for

Lyndon's inauguration.

Of course, uh, we weren't

the number one ball.

But he dropped by anyway.

Will you please

give me the gun ?

You're askin' an officer

to surrender his side arm.

You don't have to surrender it.

You just put it down for a little while.

All right ?

Just put it down.

Boy, I could use

a drink, Charlie.

How about a cup of coffee ?

[ Laughs ] Too big a leap for me

right now, Charlie.

Maybe tomorrow. Hah !

No, a Mr. John Daniels

would be preferred.

No water, Charlie.

No water.

Please.

Here's your drink,

Colonel.

[ Door Opening ]

Oh. I'm so sorry.

What time do you want me

to turn down the bed ?

- Uh, maybe later, all right ?

- What he means, senorita,

is come right in.

- Later, please ?

- Yes, sir.

Good afternoon.

Nice voice.

Boy, you have

a one-track mind.

Mm-hmm. Is there anything else

in this world, Charlie ?

- Not for you.

- You know what's kept me

goin' all these years ?

The thought that one day --

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…

All Bo Goldman scripts | Bo Goldman Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Scent of a Woman" Scripts.com. STANDS4 LLC, 2024. Web. 23 Dec. 2024. <https://www.scripts.com/script/scent_of_a_woman_17578>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Scent of a Woman

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    Who played the character Harry Potter in the Harry Potter film series?
    A Tom Felton
    B Daniel Radcliffe
    C Robert Pattinson
    D Rupert Grint