The Parent Trap Page #19

Synopsis: In this update of a 1961 film, twins Annie and Hallie (Lindsay Lohan) are strangers until happenstance unites them. The preteen girls' divorced parents, Nick (Dennis Quaid) and Elizabeth (Natasha Richardson), are living on opposite sides of the Atlantic, each with one child. After meeting at camp, American Hallie and British-raised Annie engineer an identity swap, giving both the chance to spend time with the parent they've missed. If the scheme works, it might just make the family whole again.
Production: Walt Disney Productions
  2 wins & 7 nominations.
 
IMDB:
6.5
Metacritic:
64
Rotten Tomatoes:
86%
PG
Year:
1998
128 min
9,503 Views


A soft wind blows Elizabeth's hair.

NICK:

(taken with her, lifts his glass)

Well then, here's to...

ELIZABETH:

(finishing his sentence, lifts her glass)

Our daughters.

NICK:

(not exactly what he was thinking, but okay) To our daughters.

THROUGH A PORTHOLE

Hallie and Annie sneak a peek, thrilled to see their Parents toasting.

BACK TO SCENE:

NICK:

You know, I always see you in Hallie. I always have. Something about her eyes ...

ELIZABETH:

That's funny. I always see you in Annie.

Something about her smile.

An awkward moment, they each sip their champagne. As they glance over at the porthole, the Girls drop out of sight.

NICK:

Now I know how a goldfish feels.

(re:
Girls) '

They turned out pretty good though, huh?

ELIZABETH:

We've been lucky.

NICK:

Sometime, if we're ever really alone maybe we could talk about... what happened between us. It all feels a bit hazy to me now... It ended so fast.

ELIZABETH:

It started so fast.

NICK:

Now that part I remember perfectly.

THROUGH ANOTHER PORTHOLE

Chessy and Martin watch.

MARTIN:

Looks like things are heating up nicely. I'd say it's safe to serve the vichyssoise.

CHESSY:

You ladle, I'll serve.

They start back toward the galley. It's tight, they try to pass one another and get momentarily stuck, their eyes lock, then they squeeze past each other.

(pulling himself together)

Yes, I'll ladle.

CHESSY:

Right. And I’ll...

MARTIN:

serve.

CHESSY:

Right.

THE I)INING ROOM - SAME TIME

ELIZABETH:

So, you've done incredibly well. Your dream of owning your own vineyard... it actually came true.

NICK:

Hey, how about you, always drawing on napkins and corners of newspapers? Now you're this major designer... pretty impressive.

.ELIZABETH

Yeah, it's amazing. We both actually got where we wanted to go...

NICK:

Yep. We did.

Chessy ENTERS carrying two bowls of soup and places them in front of Elizabeth and Nick.

NICK:

So, what do we do about the girls?

ELIZABETH:

Well, I guess now that they've met, we can't very well keep them apart. I could keep them half the year and you could--

CHESSY:

-- Guys, they can't go to two schools every year.

NICK:

I agree.

ELIZABETH:

Okay, I could keep them for a whole year, then you could--

NICK:

-- Liz, this is why we...

(looks at Chessy.)

CHESSY:

Sorry. Ignore me. I'm gone.

She backs out of the room.

112

NICK:

This is why we came up with the solution we have.

ELIZABETH:

Really? I thought it was because we

decided never to see each other again.

NICK:

Not we Lizzie...

ELIZABETH:

You know that part's become a bit hazy for me too over the years. for me too over the years.

NICK:

You don't remember the day you packed?

ELIZABETH:

No, that day I remember perfectly. Did I hurt you when I threw that suitcase? I've often wondered.

NICK:

(rubbing his shoulder)

Let's put it this way, I'll never pitch for the Yankees.

(starts his soup, stops)

So how come you never got married again? I always figured by now you'd be re-married with a new family...

ELIZABETH:

Me? No... no, no... no...

NICK:

That's a lot of no’s..

ELIZABETH:

That's because I realized a long time ago marriage wasn't for me...

A beat of silence. Nick starts to eat again, stops.

NICK:

You know I may be alone with you again, so... About the day you packed... Why did you do it?

ELIZABETH:

Nick, we were getting along so badly, we found out we each had tempers, we said

1 13

foolish things... So I packed... Got on my first 747 and... you didn't come after me.

Dead silence.

NICK:

I didn't know I was supposed to.

ELIZABETH:

Well, it really doesn't matter now... Let's put on a good face for the kids, shall we and get this show on the road...

(looks at her watch)Gosh, I'm still on London time, so...

NICK:

(resigned)

Okay. Yeah. You're right. Let's get the show on the road.

Elizabeth starts her soup. Nick joins her, not a word passing between them.

ANGLE - THE PORTHOLE

Annie and Hallie watch, crestfallen.

EXT. FOUR SEASONS HOTEL - ESTABLISHING - FOLLOWING A.M. INT. HOTEL LOBBY - FRONT DESK - SAME TIME

Elizabeth signs her bill, turns to Martin who tips the Bellman.

ELIZABETH:

All set then. Where's Annie?

MARTIN:

I just called, she's on her way down.

Nick and Chessy join them. Everyone's spirits are low.

NICK:

Okay, so 11.11 uh... send Hallie back to you over Christmas.

ELIZABETH:

And I'll see that Annie spends Easter with you.

The ELEVATOR OPENS and Hallie and Annie step off, dressed identically in T-shirts and overalls. it's impossible to tell them apart.

I 1 5

NICK:

(to Annie)

This one's Hallie, I'm positive.

Hallie

(grins at him)

I hope you're right, Dad. You wouldn't want to send the wrong kid all the way back to England.

Nick looks to Elizabeth, he can't be sure.

Annie

Here's our proposition. We go back to Dad's house, pack our stuff and the four of us leave on the camping trip.

ELIZABETH:

The four of us!?

Annie

And when you bring us back, we'll tell you who's Hallie and who's Annie.

ELIZABETH:

Or... You do as we say and I take one of you back with me to London whether you like or not.

CUT TO:

A 747 SOARING INTO A CLEAR BLUE SKY

BOOMS DOWN to...

EXT. NICK'S HOUSE - NAPA - THAT AFTERNOON

As FOUR SLEEPING BAGS are tossed into the TRUNK of Nick's

SUBURBAN. Nick throws in the final bag as Meredith watches, wearing a tight suit and sunglasses.

MEREDITH:

What am I supposed to do for three days sit home and knit?

Elizabeth exits the house looking very Out of Africa, carrying a backpack.

N=ITH

Excuse me, what is she doing here?

11 6

NICK:

That was the deal - the four of us go together.

MEREDITH:

What are you suddenly, the Brady Bunch?

This is ridic--

ELIZABETH:

-- Hi, Meredith.

(off her look)

Everything okay?

MEREDITH:

Well, no, as a matter of fact, it isn't. I didn't realize you were going on this little outing and to tell you the truth, I'm not so sure I am okay with it.

ELIZABETH:

I agree. The ex-wife in the next sleeping bag is a little weird...

MEREDITH:

Thank you.

ELIZABETH:

I insist you come with us, really.

Meredith stops cold.

NICK:

Liz ...

ELIZABETH:

Nick, I messed-up up your entire weekend, it's the least I can do to pay you back.

EXT. NICKIS HOUSE - A FEW MINUTES LATER

Annie and Hallie exit-with Chessy. As the Kids climb into the car, they notice Elizabeth and Meredith come out of the house. Meredith is now dressed in tight black work-out gear.

Hallie

Dad, what's Meredith doing here?

NICK:

(getting behind the wheel)

Your mother invited her. Be nice.

The Girls look at each other, then to Chessy, as Meredith smiles and climbs into the front seat.

ELIZABETH:

(closes door)

Okay. Have fun everybody.

NICK:

Liz, what are you doing?

ELIZABETH:

I really think you and Meredith need time alone before the big day.

Annie

Mom! Come on, that's not the plan.

ELIZABETH:

Honestly, you'll have much more fun without me.

MEREDITH:

(having second thoughts)

Look, if you're not going... I don't have to go... Trust me, I'm not exactly a big nature girl.

Rate this script:3.0 / 7 votes

David Swift

David Swift was born on July 27, 1919 in Minneapolis, Minnesota, USA. He was a writer and director, known for The Parent Trap (1998), The Parent Trap (1961) and Pollyanna (1960). He was married to Micheline Swift and Maggie McNamara. He died on December 31, 2001 in Santa Monica, California, USA. more…

All David Swift scripts | David Swift Scripts

0 fans

Submitted by aviv on November 30, 2016

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

    "The Parent Trap" Scripts.com. STANDS4 LLC, 2025. Web. 21 Jan. 2025. <https://www.scripts.com/script/the_parent_trap_728>.

    We need you!

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

    Watch the movie trailer

    The Parent Trap

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What is the typical length of a feature film screenplay?
    A 90-120 pages
    B 200-250 pages
    C 150-180 pages
    D 30-60 pages