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Greeneyed Woman


 

                                   Green-eyed Women synopsis:

          She loves her man, but he is very handsome and her friends are very sexy. She 
          misinterprets certain clues and starts fantasying that he is cheating on her. As 
          she suspects each of her three girlfriends in turn she paints a picture depicting 
          the violent end of the imagined affair. Each picture is in a different style, classical, 
          impressionistic, modern. Each imagined affair is filmed in the style of the painting and 
          ends in a murder of either her girlfriend or her man. Is he really cheating on her. Is 
          he and her girlfriends plotting to kill her. What is real and what is her jealousy running 
          wild. Her last painting tells the final and real story. 
                                                    
                                GREEN EYED WOMAN
                               By: William Morroni
                               WGA registered 2000
           
          INT.  AMY'S ARTIST LOFT - MORNING
          CREDITS OVER
          AMY painting; her brush mixes colors on the palette, dabs 
          paint on the canvas, her eyes glance from the palette to the 
          canvas, her hand (diamond engagement ring flashing) grabs a 
          bigger brush from the tray, she licks her lips, mixes a new 
          color, spreads more paint on the canvas.  Etc.
          END CREDITS
          AMY steps back from the easel and holds out the brush to eye 
          the proportions of the painting against the unseen subject.  
          AMY thirtyish, with long hair that's backlit like a halo from 
          the big loft windows.  She has a gentle beauty and angelic 
          smile.  Her smock, hands and even her face have smudges of 
          paint.  She smiles.
          THE PAINTING, it is a portrait of a naked man, JOHN, sprawled 
          in a wicker bed, the twisted sheets cover his genitalia.  
          John is in his twenties.  Handsome and well built.  In the 
          painting he is asleep.
                                JOHN (O.S.)
                    Mornin'...
          Past the painting, the real JOHN sits up in the wicker bed 
          and stretches.
                                JOHN
                    ... You been paintin' me again.
                                AMY
                    You inspire me.
          She goes to the bed and kisses him.
                                JOHN
                    Umm!  You inspire me!
          He pulls her into bed.  The ALARM CLOCK BEEPS.
                                JOHN
                    Damn!
          JOHN sits up and turns off the alarm.  Amy tries to pull him 
          back down.
                                AMY
                    Don't go.
                                JOHN
                    ...Gotta work, Lover...
          He gently disengages himself from Amy and gets up.
                                AMY
                    It's high fashion, isn't it...
          He walks toward the bathroom, pausing to look over the 
          painting.
                                AMY
                    ...All those beautiful, thin.  Young 
                    girls hanging on you...
                                JOHN
                    Yup.  And they call it work.
          She pelts him with pillows and clothing, driving him back 
          into the bathroom and knocking over the easel.
                                JOHN
                    Hey!  Stop!  Enough...
          He SLAMS the bathroom door as a tube of paint splatters against 
          it.
                                JOHN (O.S.)
                    ...I LOVE YOU!
          The SHOWER (O.S.) comes on.
          Amy sets up the easel and painting.  She gazes lovingly at 
          the painting, absentmindedly twisting the engagement ring on 
          her finger.
                                AMY
                         (yelling)
                    DON'T FORGET THE OPENING AT THE GALLERY 
                    TONIGHT.  AND DON'T USE UP ALL THE HOT 
                    WATER!
                                JOHN
                    (Yelling O.S.)
                    COME WASH MY BACK!
          AMY goes into the bathroom.
          INT.  LOFT'S BATHROOM - DAY
          AMY enters and sits on the toilet.  JOHNS' shape can be seen 
          through the translucent shower stall.
                                AMY
                    Don't go.
          JOHN leans out of the shower.
                                JOHN
                    You're jealous...
          AMY looks away.  John grabs her and drags her SCREAMING into 
          the shower, clothes and all.
                                AMY
                    DON'T!  STOP!  BEAST!
          John smothers her protests with a kiss, then slips the wet 
          artists smock from her shoulders.
                                JOHN
                    Don't be jealous, sweetheart... I've 
                    had all the beautiful, young models 
                    I'll ever want.  Most were too worried 
                    about their hair or make-up to be any 
                    good in bed and the rest didn't have 
                    the brains to be any good out of bed.  
                    (He kisses her)  Give me a horny old 
                    broad anytime.
                                AMY
                    Your awful!  Let me go!
          She tries to push him away but he holds her tighter and starts 
          tickling her.  She squirms and LAUGHS as he continues to tickle 
          her until the foreplay becomes love-making.
          EXT.  ART GALLERY - NIGHT
          The gallery sign reads: WENTWORTH GALLERY, beneath it a car 
          pulls up and AMY & JOHN get out.  They join the well dressed 
          crowd that's entering the Gallery as a VALET drives their car 
          off.  JOHN is carrying a large portfolio case.
          INT.  ART GALLERY - NIGHT
          AMY & JOHN enter and pause to look over the crowd.  Amy sees 
          someone she knows and waves her over.  Across the crowded 
          gallery, MARCY, an attractive brunette of 25, waves back at 
          AMY.  MARCY makes her excuses to the people she is with, grabs 
          a drink from a passing WAITRESS'S tray and joins Amy and John.
          ANGLE ON ELAINE WENTWORTH
          Watching AMY and JOHN.  She is well preserved 4Oish and dressed 
          in a power suit.  She turns to the LADY standing next to her.
                                ELAINE
                    Now there's a real work of art.
          JOHN watches while AMY and MARCY hug and air kiss.  
          For a moment ELAINE strips JOHN with her eyes then she makes 
          her excuses to the lady she is with and walks toward Amy et 
          al.
                                MARCY
                    ..And if your show is a success here, 
                    she owns galleries in New York, London, 
                    Paris, and Hong Kong.  Elaine Wentworth 
                    and her galleries can make you or break 
                    you, so smile and nod and for god sake 
                    let me do the talking...
          MARCY looks over and sees Elaine coming toward them.
                                MARCY
                    ... Here she comes now.  Hello, Ms. 
                    Wentworth.  How are you?
                                ELAINE
                    Marcy isn't it?
                                MARCY
                    Yes, your secretary said you'd be able 
                    to look over my artists' portfolio 
                    tonight.  This is Amy Henderson, you're 
                    going to love her work, if we can...
                                ELAINE
                    And who is this...
          Elaine nods toward John.
                                AMY
                    My fiancée, John this is Ms. Went...
                                ELAINE
                    Call me Elaine.  And congratulations 
                    to the both of you...
          She points at the portfolio.
                                ELAINE
                    ... That your work?
                                MARCY
                    Yes, if we could go to your office...
                                ELAINE
                    Certainly.
                                JOHN
                    Since you ladies are off to talk 
                    business I think I'll just look around..
          He hands the portfolio to Marcy and kisses Amy.
                                JOHN
                    ... Nice meeting you Elaine.
                                ELAINE
                    The pleasure is mine...
          The three ladies watch John's buns as he wanders off.
                                ELAINE
                    ... . You're a very lucky lady Amy.  
                    My second husband had buns like that, 
                    trouble was he served them up to any 
                    bimbo he could con or corner.  I finally 
                    caught him with my maid.  Had to let 
                    them both go.
          Marcy glares at Amy and makes like she is zipping her lips, 
          silencing Amy before she says something she'll regret.
                                MARCY
                    Shall we check out the pictures now 
                    and the buns later.
                                ELAINE
                    Good idea.  Ladies...
          Elaine motions Amy and Marcy toward her office.
                                                                DISSOLVE
          INT.  ELAINE'S OFFICE - NIGHT
          The PORTFOLIO lies open on a desk as ELAINE slowly flipS from 
          glossy photo to photo, each is a color picture of a painting, 
          one modern, one impressionistic.  One cubistic, one landscape, 
          and the last is a nude of John.
                                ELAINE
                    Very nice...Lovely...Nice lines...I 
                    like your colors..  Good composition...  
                    Strong style... Great choice of 
                    subjects.
          ELAINE smiles at Amy.
                                ELAINE
                          ...A very impressive portfolio...
          Elaine goes to the office's inside window and looks out over 
          her gallery.
                                ELAINE
                    ...naturally I'll need to see the real 
                    paintings and this show runs through 
                    the end of this month.
                                MARCY
                    And contracts need to be drawn up.
                                ELAINE
                    Naturally... Isn't that your fiancée, 
                    Dear?
          Elaine points out the office window.  AMY and Marcy join her 
          at the window.
          LOOKING OVER THE CROWDED GALLERY
          JOHN is standing in front of a painting, studying it.  A big 
          busted WAITRESS walks up and stands next to him, after a moment 
          she smiles up at John.  He returns the smile and they chat 
          for a moment.  Then the waitress strolls off, leaving John 
          staring after her.  An attractive BLACK-HAIRED WOMAN walks up 
          and talks to John.  She takes a piece of paper and a pen from 
          her purse, writes on the paper and gives the note to John.  
          They chat some more, smiling at each other, then the woman 
          walks off.  John watches her then swivels his head around as 
          a strikingly beautiful girl walks by.
                                ELAINE (O.S.)
                    All men are pigs.. .I'll want something 
                    new, different, something with the 
                    paint still wet.  Your portfolio is 
                    great, but if you want to show in my 
                    galleries...
          BACK ON ELAINE, AMY & MARCY
          AMY glares down at JOHN on the Gallery floor, her face turning 
          red with jealousy.
                                ELAINE
                    ... you need to be able to produce 
                    great art, on demand.  Go home and 
                    paint me something new, I'll be by in 
                    a week to look at it.  Now you better 
                    go get your fiancée before he hurts 
                    his neck....
                                                                DISSOLVE
          INT.  AMY'S ARTIST LOFT - DAY
          An ARTIST PALETTE, black paint splats on it, a wide brush 
          angrily stirs it around then splats on more paint.  AMY, 
          angrily mixes paint, the canvas in front of her is empty.  
          Behind her, JOHN is getting dressed.
                                JOHN
                    It's not like I did anything...Christ.  
                    I looked at the pictures too...All men 
                    look, hell.  If I didn't appreciate 
                    beautiful women I wouldn't be normal... 
                    You should worry when I stop checking 
                    out pretty girls.. Where the hell is 
                    my brown shirt...
          He goes to the closet and grabs a shirt.
                                JOHN
                    ... Did you see what some of those 
                    paintings were selling for...?  Are 
                    you going to get a show there...?
          He walks over to Amy.
                                JOHN
                    ...You got nothing to be jealous about, 
                    honest Love...
          He goes to kiss her but she ducks and keeps angrily mixing 
          paint.
                                JOHN
                    ...listen, in five years when I'm the 
                    Marlboro man and you're a famous artist, 
                    we'll look back at last night and laugh.
                                AMY
                    Ha!
                                JOHN
                    I'll be done by dinner.
          He exits.
          For a moment Amy pauses, then with renewed anger she begins 
          sketching rapidly on the canvas.  
          FADE IN CLASSICAL CHAMBER MUSIC
          DISSOLVE
          (Production note:  The following sequence should be composed, 
          lit, and art directed to look like a classical Rembrandt or 
          Rubens painting.)
          INT.  VICTORIAN BEDROOM - DAY
          SHOWER NOISES (O.S.) from bathroom.  ALICE, the maid, is making 
          the canopied bed.  JOHN, wrapped in a towel, steps out of the 
          bathroom.  He has a dashing goatee.
                                JOHN
                    Alice!  Come here you little Vixen!
                                ALICE
                    No more!  I told you the last time, no 
                    more!
          She starts for the door, but John cuts her off and she retreats 
          back to her side of the bed.
                                JOHN
                    Don't you like working here?  I know 
                    we pay you more then you could make 
                    anywhere else.
                                ALICE
                    You know I can't afford to lose this 
                    job.
                                JOHN
                    Then come here and keep your boss happy.
          He starts to circle the bed and Alice backs away.
                                ALICE
                    What about your wife?
                                JOHN
                    That old bitch.  She's off to her 
                    gallery to set up another showing, 
                    probably make another fortune before 
                    noon and definitely wouldn't be back 
                    till then...
          He fakes to rush her and dives across the bed, catching her 
          wrist as she tries to get away.  He pulls her across the bed.
                                JOHN
                    ...So dear Alice, we have plenty of 
                    time.
                                ALICE
                    Please, sir, let me go.  Stop that!
          He nibbles his way down her arm.  Throughout the love-making 
          she keeps protesting until she locks her lips on his neck.  
          He tries to stop her but she holds on, giving him a giant 
          hickey on his neck.  After he orgasms he gets up and goes to 
          the dresser mirror.
                                JOHN
                    Christ!  Look what you've done!
                                ALICE
                         (Laughs)
                                JOHN
                    So, you think this is funny!
          He dives at her and misses.
                                ALICE
                    No!  Don't!  Please!
          He chases her around the room, finally catching her and tossing 
          her back on the bed.  He locks his lips on her neck, sucking 
          till he raises a huge hickey.  She alternates between 
          protesting and moaning with pleasure.  When he finishes he 
          jumps up and admires his work.
                                JOHN
                    There!  Now we're even.
          She rushes to the mirror and inspects her hickey.
                                ALICE
                    Beast!  Animal!  What is your wife 
                    going to say!
          INT.  VICTORIAN FOYER - DAY
          AMY enters.  Followed by her CHAUFFEUR.  He carries her 
          portfolio into the den.
                                ANY (CALLING)
                    JOHNNY?  I'm Hoooome!
          She starts up the staircase.
          INT.  VICTORIAN BEDROOM - DAY
          ALICE & JOHN look panic-stricken.
                                AMY (O.S.)
                    JOHN!  I finished early!  You up yet!
                                JOHN
                    Get dressed, quick!
          Alice points at her neck.
                                JOHN
                    Damn!  Get out of here!
          Alice grabs her maid's uniform and rushes out the side door 
          as John runs into the bathroom.  As soon as both doors are 
          shut.  AMY strolls in the bedroom door and looks around.
                                AMY
                    ALICE!
          Alice comes in the side door, still straightening out the 
          skirt on her uniform.
                                ALICE
                    Yes, Ma'am?
                                AMY
                    Why isn't this room done yet?
                                ALICE
                    I was doing the sitting room first, 
                    Ma'am, until your husband finished his 
                    bath.
                                AMY
                    Oh!  Okay then.
          Alice exits as John steps out of the bathroom.  He's got a 
          towel wrapped around his waist and his face is covered with 
          shaving cream clear down to his neck.
                                JOHN
                    Honey!  You're home early!  What a 
                    pleasant surprise!  Let me finish 
                    shaving and I'll join you for lunch.
                                AMY
                    I got a better idea.
          She steps close to him and starts tugging at his towel
                                JOHN
                    Hey, I gotta shave...
          AMY runs her finger down his cheek and wipes the shave cream 
          off.  He backs up and she advances.
                                AMY
                    Feels pretty smooth to me.
          For a second she's suspicious then forgets it.
                                AMY
                    ...just wipe it off.
                                JOHN
                    Come on Amy, I just got up...
                                AMY
                    Don't you want me...?
                                JOHN
                    Sure, but not right now, I gotta shave!
                                AMY
                    Let's get kinky, wipe the shaving cream 
                    off on me!  All over me!
          She lunges at him and he jumps back to the bathroom door.
                                JOHN
                    Behave, Amy.  Alice is right next door.
                                AMY
                    It's been weeks, John.  I'm here.  I'm 
                    hot and I'm yours !
                                JOHN
                    And I'm in the bathroom...
          He closes the bathroom door on her.
                                AMY
                    I'm gonna need you to model for me 
                    today.
                                JOHN (O.S.)
                    Ahhh?  Sure.
          INT.  VICTORIAN STUDIO - DAY
          AMY stands at a blank canvas.
                                AMY
                    Well?
                                JOHN
                    In a minute, honey.
          AMY grabs a piece of gray chalk and starts sketching the 
          background on the canvas.  JOHN steps in wearing a robe, the 
          turned up collar hides his neck.
                                JOHN
                    OK, where?
                                AMY
                    About time.  On the pedestal...left 
                    hand on the column.
          John steps up on the pedestal and leans on the waist high 
          piece of Roman column.
                                AMY
                    Well...?  The robe!
                                JOHN
                    It's chilly in here...
          AMY goes to John and corrects his position, guiding him around 
          so he is at an angle to the light pouring in the large studio 
          windows.
                                AMY
                    Come on...
          She starts to take off the robe.
                                JOHN
                    I'll do it, I'll do it.
          He turns so the side with the hickey is away from her, then 
          takes off the robe, tossing it into a corner.
                                AMY
                    Hand on hip... and more this way.
          She pulls him back around, revealing his neck.  The hickey is 
          covered by a piece of taped on gauze.
                                AMY
                    God!  What...?
                                JOHN
                    Shaving accident...
          AMY looks skeptical.
                                JOHN
                    ... I couldn't find any band-aids.
          Amy angles his heads so he is looking off over the column.
                                AMY
                    There, now hold it...
          She goes to the easel and starts quickly sketching.
                                AMY
                    ...Does it hurt?
                                JOHN
                    What?
                                AMY
                    The cut.
                                JOHN
                    Oh!  Not really.
          INT.  VICTORIAN DINING ROOM - NIGHT
          The kitchen door swings open and ALICE enters carrying a 
          serving tray.  As Alice leans past AMY, to ladle out the soup, 
          Amy gets a clear look at Alice's neck, the large hickey clearly 
          visible over the collar of her uniform. 
                                AMY
                    Thank you Alice.
          Alice exits.
                                AMY
                    ... Did you see that?
                                JOHN
                    See what, dearest?
                                AMY
                    That hickey on Alice's neck.
                                JOHN
                    No, I didn't notice.
                                AMY
                    It was hard to miss...
          John tries to hide his blush by concentrating on his soup.
                                AMY
                    ... I wonder who gave it to her, I 
                    didn't think she had a lover. .
          John nervously straightens the collar on his turtleneck 
          sweater.
                                AMY
                    Maybe I should talk to her about it.
                                JOHN
                    No!  I mean we shouldn't nose about in 
                    our servants affairs, I mean business.  
                    It wouldn't be appropriate.
                                AMY
                    Aren't you just a tiny bit curious?
                                JOHN
                    No, I don't think we should be gossiping 
                    about the hired help.
                                AMY
                    Well, I still think I should talk to 
                    her about covering that hickey up, 
                    what if one of our friends drops in 
                    and sees it, what'll they think?
                                JOHN
                    I think we should mind our own business!
                                AMY
                    Well, all right.
          They both busily eat their soup.  Amy looks up at John, curious 
          and suspicious.  She quickly looks back down when John looks 
          up at her.  He nervously straightens his collar over the 
          bandage.
          INT.  VICTORIAN BATHROOM - NIGHT
          JOHN finishes getting ready for bed, checking the bandage on 
          his neck to make sure it's secure.  He exits the bathroom and 
          AMY enters.  She washes her face, opens the medicine cabinet 
          and takes out toothpaste.  She pauses, staring into the cabinet 
          then takes out a tin of band-aids.  Opening the tin, she spills 
          out a dozen large band-aids.  Amy glares after John and slowly 
          puts the band aids back into the cabinet.
          INT.  VICTORIAN BEDROOM - NIGHT
          JOHN is already in bed, apparently asleep.  AMY comes out of 
          the bathroom turns out the light and climbs into bed next to 
          John.  She leans over John, examining the bandage on his neck.  
          Carefully, Amy lifts one corner of the bandage trying to peek 
          under it.  John stirs in his sleep and Amy quickly moves away 
          then slowly moves back, again trying to peek under the bandage.  
          She peels back enough of the bandage to see part of the hickey.  
          Her face reddens, her breathing becomes ragged, in a rage she 
          rips off the bandage.  John SCREAMS and sits up, grabbing his 
          neck.
                                JOHN
                    WHAT THE HELL!
                                AMY
                    DAMN RIGHT, WHAT THE HELL IS THAT!
          She points at the hickey.  He realizes what's happened and 
          jumps out of bed.
                                JOHN
                    I can explain, honey!  Honest!  It's 
                    not what you think.
          Amy gets out on the other side of the bed.
                                AMY
                    PIG!  BEAST!  ANIMAL!  How could you...
                                JOHN
                    It's not a hickey, Love, it's...it's a 
                    bruise.  I walked into the shower door 
                    and...
                                AMY
                    LIAR!  WHAT AM I, STUPID...!
          She starts throwing things at him, first from the end table 
          by the bed then from her make-up table.  He dances and uses a 
          pillow as a shield.  She screams at him while he pleads with 
          her.
                                AMY
                    . ..YOU FUCKED MY MAID!  IN MY HOUSE!  
                    IN MY ROOM!  ON MY BED!  LIAR!  YOU 
                    PIG!
                                JOHN
                    I'm sorry, Baby.  I couldn't help 
                    myself!  Honest, sweetheart.  She threw 
                    herself at me.  Jesus, Lover, we only 
                    did once, on my mother's grave.  I 
                    swear!
          He zigs when he should have zagged and gets conked on the 
          head with a crystal perfume bottle.  His eyes roll up and he 
          falls onto the bed, out cold.
                                AMY
                    My God!  Johnny.. !
          Shocked, Amy cradles John in her arms.
                                AMY
                    ...I'm sorry, Baby!  Oh God, don't 
                    die,  I love you, Baby.  Johnny?  
                    Johnny?
          John moans.  Amy is thrilled that he's not dead.
                                AMY
                    . .I'm sorry, Lover.  I'm sorry, Baby!
                                JOHN
                    My head.
          She showers the new bruise on his forehead with kisses.
                                AMY
                    I'm sorry... I'm sorry...
                                JOHN
                    No Baby, no.  I'm sorry, I'll never be 
                    unfaithful again.  Please, lover, give 
                    me one more chance, please forgive me, 
                    Baby.  I can't live without you.
          She stops kissing his bruised head.
                                JOHN
                    It'll never happen again, I swear.  I 
                    love you.
          For a second they stare into each others eyes, her with 
          suspicion, him with sincerity, then they kiss passionately.
                                AMY
                    God, I love you.
          They kiss again, then she hugs him.  Rocking gently.  A tear 
          wells from her closed eyes.
                                JOHN
                    Never again, Lover, I swear.
          We can see the lie in his self-satisfied smirk.  He wipes the 
          smirk from his face as he passionately kisses Amy and gently 
          pulls her down onto the bed.
          INT.  VICTORIAN DINING ROOM - NIGHT
          A FAT UGLY MAID comes out of the kitchen and serves dessert 
          to AMY and JOHN.
                                JOHN
                    I had the cook make your favorite, my 
                    Love.
          John takes a spoon full of the parfait, turning his head away 
          from Amy and revealing that he now has a hickey on each side 
          of his neck, the new one much bigger then the old one.
                                JOHN
                    Yuck!  This isn't right, I'm going to 
                    talk to the cook...
                                AMY
                    It's okay, dear, just needs a little 
                    more sugar.
                                JOHN
                    No, I asked for this special, it's 
                    your favorite, I'm just going to make 
                    sure the hired help knows that we won't 
                    settle for slipshod work.
          He exits into the kitchen, for a moment the open door reveals 
          the cook, who is the same BLACK-HAIRED WOMAN John met at the 
          Gallery.
                                JOHN
                    Ms. Johnson, how long have you been 
                    working for...
          Their conversation becomes a MUMBLE as the kitchen door swings 
          closed and blocks the sound.  Amy picks at her dessert, 
          watching the kitchen door.  It swings open as the Maid comes 
          out with an empty tray.  For a moment Amy can see John and 
          the Cook, they are holding hands.
                                JOHN
                    . . Come on, Sweetheart, this Saturday, 
                    OK...?
          Then the door swings closed.  AMY is very curious and slides 
          her chair closer to the kitchen end of the table.  The maid 
          finishes stacking dishes on the tray and exits into the 
          kitchen, for a moment the door stays open.
                                JOHN
                    . . Sure. .Baby, bring her, we'll make 
                    it an orgy...
          AMY's face goes red as the door swings closed.  She jumps up 
          and heads for the door, furious.  Suddenly, she turns away 
          from the door and angrily circles the table, then plops into 
          her chair.  Fuming.  The maid comes out of the kitchen carrying 
          the empty tray.  Again the door hangs open for a moment, 
          revealing John and the Cook finishing kissing.
                                JOHN
                    I gotta get back in there now...
          The Cook starts to protest but he silences her with a finger 
          to her lips, then the door swings closed.  The maid finishes 
          clearing off the table.  Amy fights to regain her composure, 
          wipes the tear from her cheek, and puts on a smile for JOHN, 
          who enters and stands behind her chair.  The maid exits.
                                JOHN
                    Well, that won't happen again, Lover.
                                AMY
                    Thanks, Honey.  I don't know what I'd 
                    do without you.  Promise me you'll 
                    always love me.
          He kisses her on the cheek and goes to his chair.
                                JOHN
                    Promise... You know you're the only 
                    girl for me.
                                AMY
                    Yes, dear...And I intend to make sure 
                    it stays that way.
                                JOHN
                    Excuse me?
                                AMY
                    Nothing, Honey.
          EXT.  PUBLIC LIBRARY - DAY
          AMY goes into the library.
          INT.  LIBRARY - DAY
          A RACK OF BOOKS with titles like, "Witchcraft", "Spells and 
          Potions", "101 Magic Spells".  Etc.  AMY enters and looks 
          over the books, she pulls out an old dusty volume and leafs 
          through it, smiling.  AMY stops on a page titled, "LOVE 
          POTION".  Her finger runs down the list of ingredients stopping 
          at one that calls for a strand of the victim's hair.
          INT.  VICTORIAN KITCHEN - DAY
          On the counter is a BLACK COMB next to the old book which is 
          open to the "Love Potion" recipe.  AMY takes a strand of hair 
          from the comb and stirs the hair into a steaming pot.
          ANOTHER ANGLE - KITCHEN WINDOW
          A breeze ruffles the open windows curtains.
          BACK ON BOOK
          The page blows over to a recipe labeled "Transmutation".  AMY 
          turns away from the stove and checks the recipe book, without 
          noticing the page has changed.  She grabs the next ingredient 
          and continues making her potion.  After stirring in another 
          two ingredients she goes to the refrigerator and takes out a 
          bunch of grapes, carefully dips them into the pot a couple of 
          times, then puts them back into the frig.
                                JOHN (O.S.)
                    ... Nothing to worry about, she said 
                    she'd be gone all day...
          Amy tosses the rest of the potion into the garbage, pot and 
          all, then hides in the kitchen pantry.
          JOHN, ALICE, AND THE COOK enter.
                                JOHN
                    ... you girls get together something 
                    for a picnic and I'll get some wine.
          He grabs the key to the wine cellar and goes down the stairs.
          PEEKING OUT A CRACK IN THE PANTRY DOOR.
          Alice gets a wicker basket from one of the cabinets and starts 
          putting utensils and dishes into it.  THE COOK goes to the 
          refrigerator and takes out cold cuts and fruit, including the 
          grapes.  Everything is stuffed into the basket as John comes 
          back carrying a few bottles of wine.  The cook grabs the 
          basket.  John grabs the two women and they exit laughing and 
          giggling.
          AMY comes out of the pantry, peeks out the door, then sneaks 
          out after them.
          EXT.  VICTORIAN MANSION - DAY
          JOHN, ALICE AND THE COOK exit and walk off toward the woods, 
          the cook is carrying the basket while John is grabbing both 
          girls' butts and kissing them.  Amy sneaks after them  using 
          the shrubbery for cover.
          EXT.  THE WOODS - DAY
          A stream trickles by a giant old tree with a rope swing hanging 
          from one thick branch.  JOHN, ALICE AND THE COOK enter.  While 
          Alice spreads a tablecloth on the ground the Cook lays out 
          the food and John pours the wine.
          AMY sneaks up, hides behind a bush and watches them.
          The threesome dissolves into an orgy, flowing from the blanket 
          to the swing and back.
          AMY watches with growing anxiety as the threesome copulate 
          while feeding each other cold cuts, vegetables, sweets, wine, 
          everything but the grapes.  After both women have orgasmed, 
          John cums and all three relax.  Amy is fit to be tied, until 
          she sees Alice finally reach for the grapes and feed one to 
          John.
          MASTER ANGLE 
          Like a classical Rubens or Rembrandt, John sits on the swing, 
          a naked girl on his lap another at his feet, the picnic spread 
          out in the foreground and the stream and tree used as frames.  
          Suddenly, John starts to writhe around on the swing.  Johns' 
          face twists in pain.  Amy stares in surprise.  Alice and the 
          Cook go wide eyed.  Hair sprouts from Johns' legs.  Amy watches 
          in horror.  John claws at the swing, his nails growing long 
          and black.  Alice & the Cock watch in horror.  John SCREAMS 
          in pain.  Alice & the Cook SCREAM.  Horns burst from Johns' 
          head.
                                AMY
                    NOOOOOOOO!
          CLASSICAL MUSIC CRESCENDO AND ENDS
                                                                DISSOLVE
          INT.  ARTIST'S LOFT - NIGHT
          The ARTISTS PALETTE, a brush quickly dabs paint, then the 
          brush moves to the canvas where it dabs once then hovers.
          ANOTHER ANGLE
          AMY Exhausted and covered in paint.  She stares at the 
          painting, dabs one more time, then puts down the brush and 
          palette and slowly shuffles toward the bathroom.
          THE PHONE RINGS
          Amy pauses and listens as her machines answers after the THIRD 
          RING.
                                AMY
                         (from answering machine)
                    Hello, we're way too busy to try and 
                    find the phone in this mess, so just 
                    leave a message and we'll get back to 
                    you, promise!
          BEEP
                                MICHELE (O.S.)
                    Hi Amy!  Congratulations!  I'm so 
                    excited for you!  Marcy just told me!  
                    I'm dying to meet him, and see the 
                    engagement ring.  I'm having a pool 
                    party Saturday, you have to come and 
                    bring the fiancée.  Oh.  Marcy and I 
                    are shopping tomorrow and I know you'll 
                    wanna come too.  Call me!  Bye!
          CLICK
          She finishes shedding her smock and clothes as she goes into 
          the bathroom.
          SOUND OF SHOWER (O.S.).
                                JOHN (0.S.)
                    Hi.  Honey!  I'm home!
          ANOTHER ANGLE - JOHN
          He crosses to the painting revealing it complete for the first 
          time.  It is like the MASTER ANGLE above, John on the swing, 
          a girl on his lap and one at his feet, only John is a satyr 
          and the two girls are wood nymphs.
                                JOHN
                    Different.  I LIKE IT, LOVE!
          INT.  LOFT BATHROOM - NIGHT
          SOUND OF SHOWER
          AMY'S shape can be seen through the shower door.
                                JOHN (O.S.)
                    REMINDS ME OF THE CLASSICS, AS GOOD AS 
                    ANY REMBRANDT OR RUBENS...HONEY...?
          KNOCK ON DOOR
                                JOHN (O.S.)
                    Want me to do your back...?
          The door opens and JOHN strolls in and gets undressed.
                                JOHN
                    ...I think the reason I really like it 
                    is cause it's different then what you've 
                    been painting.
                                AMY
                    Yeah.  I like it too, but I'm 
                    exhausted...
          John smiles.
                                JOHN
                    Not too exhausted, I hope.
          Naked, he climbs into the steamy shower.  She GIGGLES.
                                AMY
                    Tell me again how much you like it.
                                JOHN
                    Like it.  I love it!  It's great, A 
                    work of genius!  A masterpiece!  DiVinci 
                    would be jealous.
          She giggles, then laughs and finally moans as John kisses her 
          more and more passionately between each compliment.
                                AMY
                    I should still be mad at you...!  
                    Ohhhh...!  Yes, kiss right there...!  
                    Oh, I love you!
                                JOHN
                    I love you, my little...
                                AMY
                    Shut up and kiss me...a little to the 
                    right...
          EXT.  MELROSE BLVD. - DAY
          THREE TIGHT FEMALE ASSES strolling down the blvd.
                                AMY (O.S.)
                    So what could I do, I let him...
          AMY, MICHELLE AND MARCY are strolling up the street.
                                MICHELE
                    You're a wicked women, Amy.  How did 
                    John like it?
                                AMY
                    He wouldn't let me do it to him.  Said 
                    he had a job modeling B.V.D.s.
          A COUPLE OF MEN walk by and pause to check out the girls butts, 
          then walk on.
                                MARCY
                    Don't you think you should wear a scarf 
                    or something.
                                MICHELE
                    Look at that darling sweater!
          The girls stop to look in a store window.  AMY is the middle, 
          MARCY, her agent, and MICHELE, her best friend, flank her.  
          There is a big hickey on AMY'S neck.
                                MARCY
                    The color's not right for you, Michele.
          They continue strolling up the street.
                                MICHELE
                    ...So what are you going to do, keep 
                    the big jerk or throw the bum out.
                                AMY
                    I don't know.  Sometimes, like last 
                    night, I love him so much it hurts and 
                    sometimes I'm so jealous I could kill 
                    him.
                                MARCY
                    If you're getting rid of him, I'll 
                    take him
                                MICHELE
                    Marcy!
                                MARCY
                    Well Michele, you haven't seen him 
                    yet.  He's gorgeous!  Amy dear, you 
                    better get use to being jealous.
                                MICHELE
                    He can't be that good looking, do you 
                    have a picture of him?
                                AMY
                    As a matter of .......
          She looks around, then points.
                                AMY
                    That's John.
          MARCY and Michelle turn and look
          MELROSE BLVD BILLBOARD - MATTE EFFECT
          A liquor advertisement showing JOHN in a tuxedo surrounded by 
          beautiful women in short, tight cocktail dresses.  All the 
          women are clinging to him as he holds up a glass of Scotch on 
          the rocks.
          BACK ON AMY, MARCY & MICHELE
                                MARCY
                    And good in bed, too.
                                MICHELE
                    Get use to being jealous.
                                MARCY
                    It's simple, just lock him in your 
                    bedroom and never let him out..
                                MICHELE
                    Except to bring him to my pool party 
                    this Sunday, you are coming.  Aren't 
                    you?
                                AMY
                    Wouldn't miss it, but you have to 
                    promise to not to wear that yellow 
                    bikini.
                                MICHELE
                    (Points at billboard)
                    If you bring him, I won't wear a thing.
                                AMY
                    Slut!
                                MICHELE
                    Tramp!
                                MARCY
                    You bimbos want to stand around calling 
                    each other names, or go ruin your 
                    figures with Italian food!
                                MICHELE & AMY
                    Bitch!
          The three women walk off laughing and chatting.
          EXT.  PATIO AND POOL - DAY
          A ROW OF POOL LOUNGE CHAIRS, each occupied by a BEAUTY in a 
          bikini.  GUYS hang around drinking and hitting on the girls.  
          AMY and JOHN are sunning themselves on the last two lounge 
          chairs.
                                JOHN
                    Time to roll over, honey.
          They roll over in unison.  John looks over at the pool and 
          waves.
          ANOTHER ANGLE - MICHELE
          In a practically non-existent yellow bikini, waves back then 
          dives into the pool.
          BACK ON JOHN & AMY
                                JOHN
                    You should do a portrait of your friend, 
                    what's-her-name, with the great body 
                    and the yellow bikini.
                                AMY
                    Michele.  Yeah, I'd like to paint her... 
                    You thirsty?
                                JOHN
                    I could use a Lite, what you want?
          He starts to get up, but she motions for him to stay.
                                AMY
                    I'll go, I need to stretch.
          She gets up, gives him a quick kiss and heads for the patio 
          and bar.
          ANOTHER ANGLE - THE BAR.
          AMY walks up and makes herself a drink.  She turns and looks 
          back at JOHN.  MICHELE comes out of the pool and dries herself 
          in front of him.  They appear to be chatting and it's obvious 
          that Michele is flirting with John.  MARCY joins Amy, for a 
          moment they both watch John and Michele then Amy angrily turns 
          and makes herself another drink.
                                MARCY
                    I didn't talk to him much, but he seems 
                    like a real nice guy.  Usually the 
                    good looking ones are either jerks or 
                    gay.  You're very lucky.
                                AMY
                    Yeah, lucky.  John's definitely not 
                    gay.
          Marcy and Amy watch as Michele and John talk and laugh.  John 
          gets a paper and pen from the beach bag near his chair and 
          writes something as Michele talks.  He sticks the note in his 
          wallet and they continue chatting.
                                MARCY
                    Don't get jealous over nothing, Amy.  
                    He didn't impress me as a jerk, you 
                    know how you can tell by the way a guy 
                    looks at you or leers at you.  John 
                    just looked, he didn't leer.  I don't 
                    think you have to worry about him...
          Down by the pool, Michele is handing suntan lotion to John, 
          who spreads it on her back.
                                MARCY
                    I think you have to worry about Michele!
                                AMY
                    I better get back down there, thanks 
                    Marcy.
          MARCY watches as Amy takes a beer to John.  There is a awkward 
          conversation and Michele walks off.  John and Amy go back to 
          sunning themselves but it's obvious they are annoyed with 
          each other.  MARCY takes a drink and shakes her head.
          EXT.  ARTIST'S LOFT - NIGHT
          JOHN and AMY drive up and park.  They get out of the car, 
          each slamming the door.  They stomp into the building, 
          separately, each slamming the door.
          INT.  ARTIST'S LOFT - NIGHT
          AMY enters, slamming the door, then JOHN enters, slamming the 
          door.  They stomp around the loft getting ready for bed and 
          carefully avoiding each other.
                                JOHN
                    Your impossible.
          She doesn't say anything, just glares at him.
                                JOHN
                    This silent routine has been going on 
                    for hours and I've had it up to here.
          He draws a finger across his throat.
                                JOHN
                    Now talk to me.. say something!
                                AMY
                    Pig!
                                JOHN
                    What I do?
                                AMY
                    I saw you and Michele.
                                JOHN
                    Oh?  Saw what!  She's your friend.
                                AMY
                    I saw her flirting with you.
                                JOHN
                    Right!  She flirted with me.  What did 
                    you want me to do, be rude?
                                AMY
                    What about the other thing?
                                JOHN
                    What other thing?
          Amy goes to the dresser and takes the note from his wallet 
          and opens it.
                                AMY
                    Just what I thought... (She waves the 
                    note)...Michele's phone number.
                                JOHN
                    So?
                                AMY
                    Soooo!?  So what are you doing with 
                    her phone number.  Gonna call her up 
                    for a private showing of that yellow 
                    string she was not wearing?
                                JOHN
                    You're crazy.  Insane!  You gotta get 
                    a grip on reality.
                                AMY
                    Crazy!  If I don't have reason to be 
                    jealous then what the hell are you 
                    doing with Michele's phone number?  
                    (She waves the note)
          John turns away from Amy, thinking fast.
                                JOHN
                    I can't take this.  I won't go through 
                    life with a woman who is so insecure, 
                    so jealous, so overly possessive, she 
                    goes nutso every time I talk to a woman.  
                    As much as I love you, you're driving 
                    me away.  If you don't stop it, you're 
                    going to ruin the best thing that ever 
                    happened to me.
          Amy waves the note.
                                AMY
                    You sure Michele isn't the best thing 
                    to ever happen to you.
          Frustrated, John grabs her, she struggles but he just pulls 
          her closer.
                                JOHN
                    You're going to be my wife.  And when 
                    you're my wife, your friends are going 
                    to be my friends.  So I'm getting all 
                    of your friends phone numbers.  What 
                    if you get sick and go to a hospital.  
                    Wouldn't you want me to call all your 
                    friends and tell them to come and visit 
                    you... 
          He kisses her.
                                AMY
                    A likely story.
          Angrily.  John grabs the note from her hand, crumples it and 
          tosses it into the garbage.
          INSERT.  The note flies into the nearly empty garbage pail.
                                JOHN
                    There!  That's what I think of your 
                    friend Michele.  Now can we stop this 
                    silly fighting and get to silly making 
                    up, I have an early call in the morning.
          He starts tickling her.
                                AMY
                    Stop that!  I'm mad at you!  John!
          He chases her around the loft, laughing and tickling her.  
          She continues to protest, only now she is laughing and 
          giggling.  Finally they fall into bed.
          EXT.  ARTIST'S LOFT - NIGHT DISSOLVE TO DAY
          JOHN comes out, gets into his car and drives off.
          INT.  ARTIST'S LOFT - DAY
          AMY is asleep, alone.  She rolls over and reaches for John, 
          but doesn't find him.
                                AMY
                    John?  Honey.
          Groggy, she sits up, grabs the alarm clock and checks the 
          time.  Realizing he has already left for work she gets up and 
          heads into the bathroom, tripping over the garbage pail.  She 
          pushes the pail back into place, then changes her mind and 
          grabs the pail and looks through it.  Not finding the note.  
          She pours the contents of the pail onto the kitchen table and 
          carefully goes through them.  The note is definitely not there.
                                AMY
                    That two-timing, conniving, lying...
          She goes to her easel, grabs the palette and begins throwing 
          paint on the blank canvas.  Accenting each verbal epithet 
          with a splat of paint.
                                AMY
                    ... sack of donkey droppings.  If I 
                    ever catch him even looking at that 
                    slut, tramp, cunt, bitch, I'll... 
                    I'll...
          She breaks down and starts crying.  Angry at herself for breaki-
          ng down, she wipes away the tears and works out her frustration 
          by painting.  Her paint brush strokes on big gobs of pastel 
          colored paint.
          FADE IN JAZZ MUSIC
                                                                DISSOLVE
          (Production note:  The following sequence should be composed, 
          lit and art directed to suggest the impressionistic school of 
          painting.)
          INT.  RANCH STYLE HOUSE - DAY
          An eight ounce glass.  One at a time ice drops into the glass.
          PHONE RINGS (O.S.)
          BEEP OF ANSWER MACHINE (O.S.)
                                JOHN (O.S.)
                         (phone filtered)
                    Leave a message and I'll call you back.
          "BEEP" (O.S.)
          White wine pours into the glass.
                                SEXY FEMALE VOICE (O.S.)
                         (phone filtered)
                    Hi John, it's Sally.  Congratulations, 
                    you got the job.  The whole spread, 
                    G.Q. cover and main photo article.  We 
                    start tomorrow early.  Looking forward 
                    to working with you, Ta-ta, Love.
          CLICK.  (O.S.)  The machine hangs up.
          AMY finishes filling the glass with wine.  She is older, 
          haggard, and a little drunk.  She sticks the half empty wine 
          jug in the refrigerator, grabs her drink and goes through the 
          living room to the enclosed back patio/studio.
          ANOTHER ANGLE - PATIO/STUDIO
          AMY enters and sits at her easel.  She stares at the empty 
          canvas, sipping her wine.  She picks up the palette and brush 
          and begins painting.  
          THE CANVAS reveals the straight lines of a tic-tac-toe game.
          EXT. RANCH STYLE HOUSE - DAY
          JOHN drives up and goes into the house.  He is in sweats and 
          carrying a gym bag.
          INT.  RANCH STYLE HOUSE - DAY
          JOHN enters drops his bag on the sofa and goes out to the 
          patio/studio.
                                JOHN
                    Hi, Honey.
                                AMY
                    You gotta call from your girlfriend.
          She finishes her drink in one gulp and leaves him looking 
          after her as she heads for the kitchen.
                                JOHN
                    Don't start in, and do you have to 
                    drink?  It isn't even noon.
          He goes into the living room and plays back his message as 
          AMY comes back in the Patio and sits at her easel.
                                AMY
                    I bet you're looking forward to working 
                    with her!
          John returns to the patio and stands looking over AMY's 
          shoulder.
                                JOHN
                    Did nothing again this morning, huh?
                                AMY
                    Just took a message from your current 
                    slut.
                                JOHN
                    What about your painting?
                                AMY
                    I lack inspiration, but I bet Sally is 
                    inspired!
                                JOHN
                    There's no talking to you when you're 
                    like this.
          He starts to leave, then changes his mind.
                                JOHN
                    Sally is being a real friend throwing 
                    this gig our way, the assignment is a 
                    real choice plum and we can use the 
                    money, hell, you haven't sold a painting 
                    in over a year.
          He heads into the living room and dials the phone while AMY 
          sits, sipping and fuming.
                                JOHN
                    Hello, Sally?  Yeah, I just now got 
                    in...Ahuh... O.K....Good, I'll see you 
                    then.  Bye.
                                AMY
                    (Under her breath)
                    Ta-ta, Love.
          John hangs up the phone.
                                JOHN
                    I'm gonna lie down for a while.
          He starts undressing on his way down the hall to the master 
          bedroom.
          PHONE RINGS
                                JOHN
                    Get that, it might be Sally again.
          Amy answers it.
                                AMY
                    Hello?  Hello, anyone there?
                                ANOTHER FEMALE VOICE
                         (phone filtered)
                    Ahhh?  Sorry wrong number.
          AMY hangs up, and goes back to her easel.
          PHONE RINGS
          John leans out of the bedroom.
                                JOHN
                    I'll get it in here.
          He ducks back into the bedroom and the PHONE STOPS RINGING.
          AMY sneaks through the living room and down the hall to the 
          bedroom door.  She puts her ear to the door, but can only 
          hear MUMBLING.  After a moment she rushes out of the hall and 
          back to her easel and drink.  John comes out of the bedroom 
          pulling his clothes back on.
                                JOHN
                    That was my agent, I got a fashion gig 
                    for this afternoon.  I won't be home 
                    till late.
          AMY gets up, heading for the living room.
                                AMY
                    If you love me don't go, stay with me!  
                    I can't stand you going to some slut's 
                    bed, please stay with me.
                                JOHN
                    It's like being in a prison here.  
                    You, all the time watching me and 
                    accusing me of cheating.  I'm just 
                    going to work, we need the money!
                                AMY
                    Then let me come with you.  I'll just 
                    watch.  Promise.  I won't say a word.  
                    Please, John.
                                JOHN
                    You know that doesn't work.  And don't 
                    you come down and surprise me like you 
                    did last month.  I will not be spied 
                    on, or embarrassed like that again, 
                    you understand?
          She is hanging on him now.
                                AMY
                    Just love me, John.  No one else, please 
                    stay with me, don't go to her.
          John tries to gently dislodge himself but she won't let go.
                                JOHN
                    Work, Amy.  I have to go to work, that's 
                    all.
                                AMY
                    Liar!  You're going to fuck the bitch 
                    on the phone.  I won't let you, you're 
                    mine!
          She clings to him and he fights to push her away.
                                JOHN
                    Stop it!  Stop it, Amy.  Behave 
                    yourself, or I swear I'll leave you!  
                    I don't want to, but I can't take this 
                    anymore.  Between your drinking, your 
                    jealousy, and your possessiveness, 
                    you're driving me away.
                                AMY
                    I'm sorry, I'll be good, I'll be better 
                    than that other woman..
          She awkwardly tries to rub against him.  He finally pushes 
          her away and she collapses on the floor.
                                JOHN
                    Just stop it!  I gotta work, and you 
                    better not come down there drunk again 
                    and make a scene.  If you do, I 
                    swear...I swear I'll leave you for 
                    good!
          He bends down and lovingly touches her cheek.
                                JOHN
                    It's just work, honey.  I'll be home 
                    late.
                                AMY
                    LIAR!
          She tosses her drink at him but he's too quick and ducks out 
          the front door.
                                AMY
                    Asshole.
          She burst out in tears.
          EXT.  RANCH STYLE HOUSE - DAY
          JOHN leans against the door, shakes his head with regret, 
          gets into his car and drives off.
          INT.  MARCY'S APARTMENT - DAY
          THE PHONE RINGS
          MARCY dressed in a robe, answers the phone.
                                MARCY
                    Hello?  Amy?  Are you crying?  I can't 
                    right now.  My boyfriend is on his way 
                    over.  Stop that, Amy, he loves you...I 
                    know...he's not gonna leave for...there 
                    is no other women...you should be 
                    painting...right...why don't we get 
                    together tomorrow...yeah, Michele and 
                    I are doing an exercise class..  when 
                    was the last time you got out... no... 
                    that's right... getting out will do 
                    you some good... OK... we'll talk 
                    tomorrow... I gotta go now.. promise.. 
                    bye.
          She hangs up, shakes her head and goes back to doing her make-
          up.
          EXT.  ATHLETIC CLUB - DAY
          WOMEN & MEN exit and enter the busy club.
          INT. WOMEN'S LOCKER ROOM -- DAY
          AMY sits on the bench, dressing.  MARCY is towel drying next 
          to her, behind them MICHELE comes out of the shower.  OTHER 
          WOMEN come and go in various states of dress and undress.
                                AMY
                    ...I just don't know,  And it's driving 
                    me nutso!  I can't paint.  I drink too 
                    much and talk about bitchy.. If he's 
                    cheating on me I've already lost him.  
                    And if he's not, I'm driving him to 
                    it, and I can't stop myself...
                                MICHELE
                    I know, hire a private investigator.
                                AMY
                    John would be furious!  He'd leave me!
          Michele finishes drying and sits next to Amy while she dresses.
                                MICHELE
                    If he's an asshole who's sleeping around 
                    on you, a private investigator will 
                    get you the proof your attorney needs 
                    to take the creep for everything he's 
                    worth.  He'd leave you, but his money 
                    would stay.
                                MARCY
                    But what if he's not sleeping around?
                                AMY
                    Yeah!  John'd be furious, he still 
                    hasn't forgiven me for following him 
                    that one time.
                                MICHELE
                    That's cause you're an amateur, John 
                    would never catch a real P.I. following 
                    him.
                                MARCY
                    Don't they cost a lot?
                                MICHELE
                    A good one is not cheap.
                                AMY
                    Well, John is.  I can't afford to be 
                    hiring anybody.
                                MARCY
                    I think you should just forget about 
                    being jealous.  Concentrate on working.  
                    Paint and be a loving wife.  If he 
                    doesn't love you, sooner or later he'll 
                    screw up and you can throw him out and 
                    start a new life.
                                MICHELE
                    Thank you, Dear Abby.
                                MARCY
                    And "hire a private investigator " was 
                    such a great advice?
                                MICHELE
                    Better than "be a loving wife".
                                MARCY
                    I've seen the slime balls you date  so 
                    I can understand why you'd want them 
                    followed.
                                MICHELE
                    At least I get a man, not the old farts 
                    you get.
                                MARCY
                    SLUT!
                                MICHELE
                    BITCH!
          Amy gets up, grabs her gym bag, and starts to exit.
                                MARCY
                    Hey, Amy!?
                                AMY
                    I have to be getting home...
                                MICHELE
                    It'll all work out.  You'll see, Amy.
                                MARCY
                    Yeah!
                                AMY
                    I know, but I better be going.  John 
                    will expect dinner when he gets home.
          She exits.
                                MARCY
                    We were a lot of help.
                                MICHELE
                    Poor thing, I know how she feels.  
                    It's the not knowing for sure that 
                    drives you crazy.
                                MARCY
                    There's nothing we can do.
                                MICHELE
                    I don't know, maybe there is...
                                MARCY
                    What?
                                MICHELE
                    I could test John.  If he's that type 
                    of man all I'd have to do is supply 
                    the opportunity.  If he doesn't take 
                    the bait, we can tell Amy she has 
                    nothing to worry about.
                                MARCY
                    What happens if he takes the bait?
                                MICHELE
                    I have a good time and Amy finds out 
                    for sure what kind of man she's married 
                    to.
                                MARCY
                    That's a horrible idea!  Besides, he'd 
                    never hit on his wife's best friend.
                                MICHELE
                    Don't you read Cosmo?  It's always the 
                    wife's best friend.
          Michele finishes dressing and exits.
                                MICHELE
                    Bye
          Marcy watches her leave.
                                MARCY
                    Damn!
          INT.  MICHELE'S BEDROOM - DAY
          MICHELE, in a robe, sits at her vanity and dials the phone.
                                MICHELE
                    Hello...?  John...?  Michele, Amy's 
                    friend... Right...fine, and you..?  
                    No, actually it's you I wanted to talk 
                    to... I need a little favor, and I was 
                    hoping Amy wouldn't mind lending me 
                    her husband... My keys fell behind the 
                    refrigerator and it's too heavy.. No, 
                    it wouldn't take a strong man like you 
                    long at all... Are you sure you don't 
                    mine?.. .Later this afternoon will be 
                    fine... Thanks...I'll see you then.
          She hangs up, smiling.
          INT.  AMY'S RANCH STYLE HOUSE - DAY
          JOHN hangs up the living room phone and heads to the bedroom.  
          AMY watches from the kitchen where she is getting a glass of 
          wine.
                                AMY
                    Who was that on the phone?
                                JOHN
                    Michele, your friend.  I'm gonna stop 
                    by her place after the gym, she needs 
                    some help moving her frig.
          He exits down the hall.
                                AMY
                    A likely story.
          She goes to take a drink of wine, then stops and pours the 
          wine down the sink.
          INT.  MICHELE'S BEDROOM - DAY
          MICHELE at her vanity putting on make-up; powdering her 
          forehead, rouge on her cheek, false eye-lashes, eye shadow, 
          eyebrow pencil, lipstick, nail polish, perfume dabbed behind 
          her ears and in her cleavage.
          EXT.  AMY'S RANCH STYLE HOUSE - DAY
          JOHN, carrying his gym bag, exits the house, gets into his 
          car and drives off.  AMY exits the house, gets into her car 
          and drives off after John.
          INT.  MICHELE'S BEDROOM - DAY
          MICHELE at her dressing mirror dressing for her seduction; 
          various panties, bras, garters, nylons.  Her facial reactions; 
          no, no, maybe, definitely.  She settles on a set of lingerie 
          and poses in front of the mirror.
          EXT.  ATHLETIC CLUB - DAY
          JOHN drives up and goes into the club.  AMY drives by, makes 
          a U-turn and parks.  She settles down to watch the gym.
          INT.  MICHELE'S BEDROOM - DAY
          MICHELE as she tries on clothes; dresses, skirts and blouses, 
          slacks and halter tops, kimonos.  Shorts and tee shirts, 
          finally settling on a off the shoulder peasant blouse and 
          semitransparent full skirt.
          EXT.  ATHLETIC CLUB - DAY
          AMY is still watching the gym.  She slouches down as JOHN 
          comes out of the gym and drives off.  AMY makes a U-turn and 
          follows him.
          INT.  MICHELE'S BEDROOM - DAY
          MICHELE stands on the bed and unscrews the light bulb from 
          the ceiling fixture.  She bangs the bulb on the ceiling a 
          couple of times, screws it back into the fixture then goes to 
          the bedroom door and tries the light switch.
          INSERT: CEILING LIGHT FIXTURE.
          It doesn't light.
          Michele smiles at the success of her work, then closes the 
          drapes.  From a dresser drawer she takes candles and places 
          them about the room then sprinkles perfume on the bed before 
          exiting.
          EXT. PARK - DAY
          JOHN drives through the park, followed by AMY.
          INT.  MICHELE'S KITCHEN - DAY
          MICHELE drops her keys behind the refrigerator.  She puts a 
          six-pack of beer into the refrigerator, takes out a tray of 
          cheese snacks and exits the kitchen.
          EXT.  MICHELE'S APARTMENT BUILDING - DAY
          JOHN drives up and goes in, AMY follows discreetly.
          INT.  MICHELE'S LIVING ROOM - DAY
          MICHELE puts the snack tray on the coffee table, selects a 
          ROMANTIC TAPE and puts it on the stereo.  From the bookshelves 
          she takes a book of erotic paintings and puts it prominently 
          on the coffee table.  She checks around one last time to see 
          if she has forgotten anything, remembers something and rushes 
          back into the bedroom.
          INT.  APARTMENT HALLWAY - DAY
          The elevator stops and JOHN gets out and heads down the hall.  
          AMY, tired and winded, peeks out of the door marked, "STAIRS".
          INT.  MICHELE'S BEDROOM - DAY
          MICHELE takes a condom from her dresser and slips it under 
          the pillow on the bed.
          KNOCKING ON FRONT DOOR (O.S.)
          Michele checks herself one last time in the mirror then rushes 
          out of the bedroom, pausing long enough to place the wicker 
          garbage basket just inside the door.
          INT.  MICHELE'S APARTMENT HALLWAY - DAY
          JOHN is knocking on Michele's door.  MICHELE opens the door.
                                MICHELE
                    Hello!  Come on in!
          She drags him into the apartment.  Down the hall, Amy sneaks 
          out the door marked "Stairs", tiptoes up to Michele's door 
          and puts her ear to it.
          INT.  MICHELE'S LIVING ROOM - DAY
          MICHELE practically pushes JOHN onto the sofa.
                                MICHELE
                    I'm sooo glad you could come...Cheese 
                    puff?
          She grabs the snack tray and bends over offering him a cheese 
          puff.
          ANOTHER ANGLE
          He can practically see down her blouse as she leans over.  He 
          takes a puff.
                                MICHELE
                    I bet you'd like a cold beer, I'll be 
                    right back.
          She walks to the kitchen, seductively wiggling her butt at 
          him.  At the kitchen she stops and looks back at him.
                                MICHELE
                    Caught you watching, you naughty man.
          She disappears into the kitchen.
          Looking uncomfortable, John thumbs through the book on the 
          coffee table.
          INSERT: EROTIC BOOK.
          JOHN turns from raunchy page to raunchy page.
          Embarrassed, John quickly closes the book and looks up as 
          Michele enters.
          Michele practically exposes her breasts as she leans over the 
          coffee table and offers a tray with a couple of beers and 
          glasses on it, to John.
                                MICHELE
                    Here you go, a couple of nice cold 
                    ones...
          She waves her painted fingernails in front of her breasts.
                                MICHELE
                    Would you open them please?  My nails...
                                JOHN
                    Oh.  Sure.
          She sits next to him as he pours a beer.  MICHELE tries to 
          snuggle close to him but John nervously moves away.
                                JOHN
                    You wanted me to move the refrigerator?
          EXT.  MICHELE'S APARTMENT HALLWAY - DAY
          AMY is bent over, her ear to the door.  Behind her a MAN comes 
          out of the next apartment and notices Amy.
          Her skirt is hiked up practically exposing her butt to the 
          strange man.
          The Man admires AMY's butt for a moment, then sneaks up behind 
          Amy and leans over her, joining her in listening at the door.
          INT.  MICHELE'S KITCHEN - DAY
          JOHN is struggling to pull the refrigerator from its niche.
                                MICHELE
                    Let me help.
          She wraps her arms around John, pressing her body against his 
          and together they struggle to pull out the refrigerator.
          MICHELE's hands and arms rub against his chest, her breasts 
          rub on his back, her thighs rub against his legs.  She licks 
          her lips with excitement.  He is straining to pull out the 
          refrigerator.
          ANOTHER ANGLE
          The refrigerator suddenly slides out, tumbling John and Michele 
          to the kitchen floor.
                                JOHN
                    Oh, sorry!  You OK?
                                MICHELE
                    Yeah.  I rather enjoyed it.
          He tries to get off her, but she clings to him for a moment.
                                MICHELE
                    You're very strong.
          He breaks away from her and offers his hand to help her up.  
          She clutches his hand to her breast as he pulls her up.  He 
          tries to keep her at arms length but she pulls herself close 
          to him, gazing lovingly into his eyes.  He looks away, 
          embarrassed.
                                JOHN
                    Your keys?
                                MICHELE
                    Oh, Yeah!
          She lets go of John and bends behind the refrigerator, making 
          sure to hike up her skirt and expose as much leg as she can.
                                MICHELE
                    (Over her shoulder)
                    I can't find them, help me look .
          John bends over her.
                                JOHN
                    There!
          He points and Michele reaches and grabs the keys, then wiggles 
          her butt against John's crotch, while looking back at him.
                                MICHELE
                    Thanks, big boy.  Need some help putting 
                    that big think where it belongs?
                         (a beat)
                    I mean the refrigerator. 
          John steps back to let her out from behind the refrigerator.
                                JOHN
                    No, I think I can do it myself.
          Michele steps back and watches as John shoves the refrigerator 
          back into its niche.  She steps close to him and runs a finger 
          around his chest.
                                MICHELE
                    While I have a big strong man here, 
                    could you help me in the bedroom.
                                JOHN
                    I don't think that would be appropriate, 
                    after all I'm...
                                MICHELE
                    Don't be silly...
          She steps away from him.
                                MICHELE
                    .. the light is out in my bedroom I 
                    just wanted you to replace the bulb, 
                    you're so much taller than me.
                                JOHN
                    Oh!  I'm sorry  I thought...Where's 
                    this light.
                                MICHELE
                    This way.
          He follows her out of the kitchen and down the dark hall to 
          the bedroom.
          INT.  MICHELE'S APARTMENT HALLWAY - DAY
          AMY is still bent over, her ear to the door.  The STRANGE MAN 
          is still bent over her, listening, but not touching her.  He 
          stands up straight, admiring her butt.  Slowly he reaches out 
          and starts to lift her skirt.  Startled, she whirls around 
          and pushes the man back.
                                AMY
                    Hey!  What the hell do you think you're 
                    doing?
                                MAN
                    Sorry, I figured why just listen when 
                    we could, you know...
                                AMY
                    Pervert!
          She slaps him and ducks into Michele's apartment, quietly 
          closing the door behind her.
          INT.  MICHELE'S LIVING ROOM - DAY
          AMY finishes closing the door and leans against it, relieved.  
          MICHELE & JOHN are disappearing down the dark hall.
                                JOHN
                    I can't see.
                                MICHELE
                    I told you the light is out, just 
                    through this door...
          Amy sneaks into the kitchen, out of sight of the hall, then 
          carefully peeks down the hall, as John opens the bedroom door 
          and steps in.
          INT.  MICHELE'S BEDROOM - DAY
          JOHN steps into the dark room and stumbles over the wicker 
          basket, falling to the floor.  MICHELE deliberately falls on 
          top of him.  She makes no effort to get up.
                                JOHN
                    Sorry, I tripped over something...
                                MICHELE
                    That's OK, I kinda like this...
          He tires to disengage himself but she clings to him.
                                MICHELE
                    ... don't you?
          He firmly pushes her off.
                                JOHN
                    I can't do this...
          He gets up.
                                JOHN
                    ...Where's the broken light?
          He offers his hand to help her up and again she clutches it 
          to her breast and he has to disengage himself.  She draws 
          herself up, seemingly resigned.
                                MICHELE
                    It's the overhead light, I'll get a 
                    bulb.
          On the way to the dresser, she closes the door and puts the 
          basket against the wall.  At the dresser she lights a candle 
          which she uses to get a bulb from the closet.
          INT.  MICHELE'S HALLWAY - DAY
          AMY sneaks down the hall and puts her ear to the door.
                                MICHELE
                    The bed's kinda shaky so I better spot 
                    you.
          Amy peeks in the key hole.
          KEYHOLE MATTE:
          JOHN is standing on the bed with MICHELE kneeling on the bed 
          and supporting him by hugging his legs.
          INT.  MICHELE'S BEDROOM - DAY
          MICHELE slides her hands up and down his thighs while he 
          struggles to change the light bulb.  As soon as he succeeds, 
          the light comes on and Michele trips him so he falls onto the 
          bed with her on top.  She attacks him, rubbing his hands first 
          on her breast then under her skirt.  She kisses him working 
          down from his lips to his cock, while he just lies there.
                                MICHELE
                    Come on, big boy, I know you find me 
                    attractive.
          INT.  MICHELE'S HALLWAY - DAY
          AMY is still peeking through the keyhole.
                                AMY
                    Slut!
          INT.  MICHELE'S BEDROOM - DAY
          MICHELE'S skirt is hiked up to her waist her blouse is pulled 
          down.  With one hand she is rubbing JOHN'S hand over her body, 
          with the other she is massaging his cock and she's trying to 
          kiss him passionately.  He is trying to gently disengage 
          himself.
                                JOHN
                    Please, Michele...you have to 
                    stop...what if someone finds out?
                                MICHELE
                    I wouldn't tell, and if you don't tell, 
                    no one will ever know.
                                JOHN
                    I'll know, and I vowed to be faithful.
          He tries harder to pin her arms but she keeps wiggling free.
          INT. MICHELE'S HALLWAY - DAY
          AMY still peeks through the key hole.
                                AMY (WHISPERS)
                    Oh, John.  Stay strong my love
                                MICHELE
                    Come on, I've seen  you watching me.  
                    You want this body.
                                JOHN
                    What about Amy?  Aren't you suppose to 
                    be her friend?
                                MICHELE (0.S.)
                    She'll never know.  It'll be our little 
                    secret.
          INT. MICHELE'S BEDROOM - DAY
          MICHELE & JOHN are still struggling on the bed.
                                JOHN
                    I can't...
                                MICHELE
                    Oh!  Yes you can.  See.
          She indicates his swelling member.
                                JOHN
                    No!  I promised.  I gave my word!  I 
                    can't be unfaithful to the woman I 
                    love.
          He redoubles his efforts to hold her off.
                                MICHELE
                    I know you want me.  Come on, just 
                    this once.
          He finally pushes her off and jumps up.
                                JOHN
                    I said no!
          INT.  MICHELE'S HALLWAY - DAY
          A smiling AMY watches through the keyhole.
                                MICHELE (O.S.)
                    Please, John.  I want you.
                                JOHN (O.S.)
                    And risk losing the woman I love?  No 
                    way...!
                                AMY (WHISPERS)
                    Oh John, my love...
                                JOHN (O.S.)
                    I'm out of here.
          Amy jumps up and rushes down the hall.
          INT.  MICHELE'S BEDROOM - DAY
          MICHELE clings to John as he heads toward the door.  She 
          struggles to keep his fly open as he struggles to pull it 
          closed.
                                MICHELE
                    I know you want me!  John!  Take me!
          He finally pushes her down on the bed.
                                JOHN
                    STOP IT!  I DON'T WANT YOU!  I LOVE 
                    SOMEONE ELSE!
          He exits.
                                MICHELE
                    John!  JOHN!  ASSHOLE!  SHIT HEAD!
          EXT.  MICHELE'S APARTMENT HALLWAY - DAY
          AMY rushes out of Michele's apartment, down the hall and into 
          the door marked "Stairs".  After a moment JOHN comes out of 
          the apartment and goes into the elevator.
                                MICHELE (O.S.)
                    PENCIL DICK!  CREEP!  JERK!  FAGGOT!  
                    COCK SUCKER!
          EXT.  MICHELE'S APARTMENT - DAY
          AMY rushes out, gets into her car and drives off.  After a 
          moment JOHN walks out, gets into his car and drives off in a 
          different direction.
          EXT.  AMY'S RANCH STYLE HOME - DAY
          AMY pulls up and rushes into the house.
          INT.  AMY'S BEDROOM - DAY
          AMY rushes in and stops at her mirror to look herself over.
                                AMY
                    I gotta change... before he gets here...
          AMY rushes around the room pulling her clothes off and 
          frantically trying on various outfits, finally settling on a 
          full skirt and halter top.
          She puts on rouge, eye makeup, lipstick, perfume and combs 
          out her hair.
          FULL ANGLE
          Amy checks herself out in the mirror, pleased by what she 
          sees and the prospect of John coming home.
                                AMY
                    Oh, John, I love you so much. .
          She picks up the alarm clock and checks the time.
                                AMY
                    ... but where are you?
          She rushes out of the bedroom.
          INT.  AMY'S KITCHEN - DAY
          AMY rushes in, takes a picnic basket from the closet and fills 
          it with chilled wine, glasses, cheese, grapes, and finally a 
          checked tablecloth, then exits.
          EXT.  AMY'S BACK YARD - DAY
          AMY shakes out the checkered tablecloth and spreads it near 
          the pond/pool in the nicely grassed back yard.  AMY lays out 
          the picnic, puts the wine into an ice bucket, and then sits 
          on the table cloth and careful arranges her full skirt to 
          show off her legs.  We end on a impressionistic-like shot of 
          the pond water shimmering in the hazy sunlight with Amy, the 
          picnic and the pond lilies in the foreground.
                                JOHN (O.S.)
                    AMY?  YOU HOME?  HELLO?
                                AMY
                    I'M OUT HERE, LOVER!
          ANOTHER ANGEL
          Behind AMY, JOHN & MARCY walk out of the back door, hand in 
          hand.
                                JOHN
                    Amy, we have something to tell you.
          Marcy moves close to John, clinging to him possessively.
          AMY'S smile fades as she realizes what he means.  Tears run 
          down Amy's cheeks as she turns her back on John and Marcy.  
          FREEZE ON THE IMPRESSIONISTIC PICTURE OF AMY, HER BACK TO US, 
          AND THE POND AND PARK LIKE BACK YARD SHIMMERING IN THE HAZY 
          SUNLIGHT OF THE PARK LIKE BACKYARD.
          JAZZ MUSIC CRESCENDO AND FADES OUT
                                                            MATCH DISSOLVE
          INT.  ARTIST'S LOFT - NIGHT
          A IMPRESSIONISTIC PAINTING.
          AMY brushes on the last dabs of paint, then puts down her 
          brush and steps back to admire her work.  Satisfied, she turns 
          out the lights, goes to the bed and collapses.
          THE PHONE RINGS
          INSERT: PHONE ANSWERING MACHINES LIGHTS UP AND CLICKS ON.
                                JOHN
                         (O.S.  Phone filtered)
                    Hello... Got you!  I bet you thought 
                    you were talking to me, well your not.  
                    We're not even here.  You were talking 
                    to a machine.  You can curse me out 
                    after the beep.  BEEP!
          AMY rolls over, exhausted, but doesn't get up.
                                MARCY
                         (O.S. Phone filtered)
                    Amy?  It's Marcy.  Good news.  Meet me 
                    tomorrow morning at the Blecker Street 
                    bistro at ten.  Ms. Wentworth called, 
                    she'll be coming by your place tomorrow 
                    at noon to look over your work.  We 
                    have to plan and prepare.  I hope you 
                    get this message.  Call me first thing 
                    in the morning.  Bye.
          Amy rolls over and goes back to sleep.
          JOHN enters.  He goes to the bed and lovingly pulls a blanket 
          over Amy, then goes to the easel, takes the painting to the 
          window and admires it in the moonlight.
          EXT.  ARTIST'S LOFT - DAY
          ELAINE WENTWORTH drives up and parks.  She goes into the 
          building.  
          INT.  ARTIST'S LOFT - DAY
          JOHN is pumping iron in a corner of the large loft.
          KNOCK AT THE DOOR
          John answers it, finding ELAINE.  She looks John over and 
          smiles in appreciation.
                                ELAINE
                    Well, you're a pleasant surprise.  Is 
                    Amy home?
                                JOHN
                    She's due back soon... Elaine?
                                ELAINE
                    I'm flattered you remembered...
          She reaches out to touch his sweaty biceps.
                                ELAINE
                    ... My, but you're in good shape.
                                JOHN
                    I've been working out, come on in.
          John ushers her in and closes the door.
          EXT.  ARTIST'S LOFT - DAY
          MARCY & AMY drive up, park and go into the building.
          INT.  LOFT BUILDING LOBBY - DAY
          MARCY & AMY stroll in and get into the elevator, Marcy checks 
          her watch.
                                MARCY
                    We have twenty minutes, that should be 
                    enough time to straighten out the 
                    paintings.  Put you're best pieces in 
                    front and get rid...
          The door closes, the floor indicator climbs from one to five.
          INT.  LOFT'S TOP FLOOR HALLWAY - DAY
          The floor indicator climbs from five to ten and stops, the 
          door opens and MARCY & AMY step out of the elevator.
                                AMY
                    What about the still life, the green 
                    one?
                                MARCY
                    Oh yeah.  That one...put it under the 
                    bed.
          They walk down the hall, suddenly Amy hears something and 
          motions Marcy to stop.
          (O.S.) ELAINE'S and JOHN'S GIGGLING AND MUMBLING can be heard 
          coming from inside the loft.
          Amy and Marcy sneak up on the loft door and listen.
                                MARCY
                    What...?
                                AMY
                    Shhhh...!
          Amy puts her ear to the door.
                                AMY
                    ...I can't make out what they're saying.
                                MARCY
                    Who is it?
          BURST OF GIGGLING AND LAUGHING from inside the loft.
                                AMY (WHISPERS ANGRILY)
                    John... John and some women.
          Amy takes out her keys and quietly unlocks the door.
          INT.  ARTIST'S LOFT - DAY
          The front door swings slowly open and AMY & MARCY step in.
          ANOTHER ANGLE - JOHN & ELAINE
          She is lying on the work-out bench pumping a barbell with 20 
          lbs. on it.  John stands over her spotting the barbell.  Their 
          laughing stops when they realize they are being watched.  For 
          a moment there is an embarrassed silence, then Elaine gives 
          the barbell to John and sits up.
                                ELAINE
                    Oh, you're back.
                                MARCY
                    Ms. Wentworth!  You're early.
                                ELAINE
                    Yes.  I find that if I arrive early I 
                    get to see all of an artist's work, 
                    not just the pieces the agent wants me 
                    to see. . .
          She points to the large stack of paintings in the corner of 
          the loft.
                                ELAINE
                    ... Is this all of your work, Amy?
                                AMY
                    Yes, except for my two newest paintings.  
                    They're still drying over there.
          She points to the easel where the impressionistic painting is 
          drying, with the satyr painting leaning next to it.
                                ELAINE
                    Good, let's get to work.
          PAINTINGS are stacked against the loft wall, the last one is 
          the satyr painting.  ELAINE holds the impressionistic painting, 
          admiring it.
                                ELAINE
                    Very good,  I'm very impressed, 
                    especially with these last two.
          She puts the impressionistic painting against the wall.
          JOHN, AMY & MARCY sit at the kitchen table.
                                MARCY
                    Do we get a showing?
          ELAINE walks down the row of paintings.  Giving them one last 
          look.  She stops at the first one, an awful green still-life 
          and turns it against the wall, then joins John, AMY and Marcy 
          at the table.
                                ELAINE
                    You're very good, definitely good enough 
                    to be shown at one of my galleries.
                                JOHN & AMY
                    YEAH!  EEEK!
          They jump up, both excited by the good news.
                                JOHN
                    This calls for champagne.
          He heads for the refrigerator.
                                ELAINE
                    You two celebrate, Marcy and I need to 
                    discuss the contract.
          Marcy stands up.
                                MARCY
                    My office or yours?
                                ELAINE
                    Mine.
                                JOHN
                    I'll walk you ladies down, this isn't 
                    the best neighborhood.
                                ELAINE
                    Thank you.
          He ushers them to the front door.
                                JOHN
                    Be back in a minute, honey.
                                AMY
                    I'll open the champagne
          John and Marcy exit, Elaine pause at the door.
                                ELAINE
                    Save some of those paintings for your 
                    children.  I predict that they'll be 
                    worth a fortune after your death.
                         (a beat)
                    Oh, I really admired the artistic risk 
                    you took with your last two paintings,  
                    classical and impressionistic.  Complete 
                    the trilogy for me.  Paint something 
                    modern, something today, something 
                    that will show the full range of your 
                    talent.
                                AMY
                    I'll try.
          Elaine exits behind Marcy and John.  Amy is so excited she 
          grabs the champagne and dances around the apartment, grabbing 
          two wine glasses as she goes by the kitchen cabinet.  Finally 
          winded, she leans against the window and looks down.
          LOFT'S PARKING LOT
          JOHN ushers ELAINE and MARCY out of the building.  For a moment 
          they all chat, then Elaine and Marcy kiss John and drive off.
          BACK ON AMY
          No longer happy, she is again jealous and suspicious.  AMY 
          goes to the easel and sets up a fresh canvas.
          The ARTIST'S PALLET as Amy angrily begins mixing bright red 
          paint.
          FADE IN ROCK MUSIC
                                                                DISSOLVE
          (Production note:  The following sequence is composed, lit 
          and art directed to look like modern art.)
          EXT.  ARTIST'S LOFT -  NIGHT
          Rain streams down the loft's big windows while inside JOHN  & 
          AMY are fighting.  He breaks away from her and crosses to the 
          front door.  She throws a vase at him.  He ducks and rushes 
          her.  She flails at him with her fists.  He knocks her down 
          and heads back to the door.  She clutches at his leg and is 
          dragged half way across the room before dropping off and 
          collapsing in tears on the floor.  He grabs one of the last 
          three paintings piled in the corner of the loft and exits, 
          slamming the door.  AMY goes to the kitchen and pours herself 
          a large glass of vodka.  She looks five hard years older, her 
          eyes puffy from crying, her skin wrinkled from booze.
          Down at the buildings front entrance JOHN runs out and opens 
          the door to his car, protecting the painting from the
          Rain with his body.  After sticking the painting into the car 
          he pauses and looks up at the apartment window.  He is still 
          handsome.  But no longer boyish or innocent.  His hair is 
          starting to go grey and he's sporting a mustache.  He flips 
          the window the finger, gets into his car and drives off
          INT.  ARTIST'S LOFT - NIGHT
          AMY finishes her glass of vodka and tosses the glass at the 
          two remaining paintings in the corner of the loft.
          INSERT:  THE GLASS BREAKS AGAINST THE WALL
          Jagged pieces of glass scattered on the floor in front of the 
          paintings.
          AMY crosses the room, selects a piece of glass and calmly 
          slices the top painting.  She keeps striking at the paintings 
          more and more violently until she is in a frenzy.
          She grabs the next painting, a green still-life, and slashes 
          at it.  Missing the painting, she accidentally cuts her wrist.
          INSERT: Amy's good hand clutches at her cut wrist, blood 
          flowing from between her fingers.
                                AMY
                    Oh God!
          Amy rushes into the bathroom.
          INT.  LOFT'S BATHROOM - NIGHT
          AMY rushes in and plunges her bleeding hand into the sink.  
          Blood flows into the sink and GURGLES down the drain.
          EXT.  ART GALLERY - NIGHT
          RAIN WATER gurgles down the drain in front of the gallery.  
          JOHN arrives, parks and enters the gallery, again protecting 
          the painting with his body.  Through the rain-distorted window 
          we see ELAINE come out of her office and greet John with a 
          big kiss.  She admires the painting then negotiates with John 
          for a moment.  He takes her money and she puts the painting 
          aside.  Elaine aggressively tries to seduce him, pulling 
          herself close to him and wrapping her leg around his.  He 
          looks at his watch and pleads a prior engagement.  After a 
          deep and sexy kiss he rushes out and drives off, leaving a 
          horny and disappointed Elaine watching him go.  She takes the 
          painting and exits into the back store room.
          INT.  GALLERY STORE ROOM - NIGHT
          ELAINE enters and puts the painting in a back corner with the 
          rest of AMY'S paintings.
          INT.  ARTIST'S LOFT - NIGHT
          AMY, pale from the loss of blood, staggers out of the bathroom, 
          her wrist wrapped in a blood soaked towel.  She picks up the 
          phone and dials 911.
                                AMY
                    Help...I've cut myself...helll...
          She passes out.
          EXT.  NIGHTCLUB - NIGHT
          JOHN drives up and gets out of his car.  A PARKING ATTENDANT 
          rushes over and they talk for a moment.  The Attendant passes 
          a small folded white paper bag to John, who pays the attendant 
          with Elaine's money.  The attendant pockets the money and 
          drives the car off as John heads into the club, waving at 
          some friends.
          INT.  NIGHTCLUB BATHROOM - NIGHT
          JOHN enters, looks around then enters the last cubicle.
          INSIDE CUBICLE
          John anxiously takes out a spoon, lighter and hypodermic 
          needle.  Johns' is anxious, eager with anticipation, while 
          his hands stumble to make his fix.  He pours the powder from 
          paper bag to spoon, heats it, draws it into the hypo, and 
          ties off his arm.
          EXT.  ARTIST'S LOFT - LOOKING INTO AN AMBULANCE - NIGHT
          A HYPODERMIC NEEDLE as it slides into AMY'S arm.  AMY is white, 
          unconscious.  An ATTENDANT applies a pressure bandage to her 
          wrist while she receives blood intravenously.  The SECOND 
          ATTENDANT closes the rear door of the ambulance, walks through 
          the CROWD OF ONLOOKERS and drives the ambulance off, SIREN 
          BLARING and lights flashing.
          JOHN drives up and starts to get out of his car.  A NEIGHBOR 
          steps up and talks to him, pointing after the ambulance.  
          John drives after the ambulance.
          EXT.  HOSPITAL - NIGHT
          The third floor window.
          INT.  HOSPITAL WAITING ROOM - NIGHT
          JOHN sits leafing through a magazine.  While MARCY paces back 
          and forth.  A DOCTOR enters.
                                DOCTOR
                    John?
                                JOHN
                    That's me.  How is she, doc?
          John and Marcy gather around the doctor.
                                DOCTOR
                    She's out of danger.  I gave her a 
                    sedative, she'll sleep tonight.  Was 
                    there a note, or any  unusual behavior?
                                JOHN
                    A note?
                                MARCY
                    What are you saying, Doctor?
                                DOCTOR
                    It is unusual for attempted suicides 
                    to deny the attempt, but it does happen 
                    occasionally.  However, the nature of 
                    the wound is consistent with a suicide 
                    attempt.  In my opinion it was self 
                    inflicted...
                                JOHN
                    Suicide?  Jesus.
                                DOCTOR
                    You had no indication?  She hasn't 
                    been depressed, unable to work, had 
                    violent mood swings, or been drinking, 
                    or using drugs?
                                JOHN
                    Well...
                                MARCY
                    I didn't think she was that...
                                DOCTOR
                    The people closest to the victim are 
                    often the last to realize.  She is 
                    still claiming it was accidental and 
                    if no note is found I won't file a 
                    formal police report, but I will note 
                    my suspicions in her medical file.
                                MARCY
                    What should we do?
                                DOCTOR
                    Amy will be released tomorrow afternoon.  
                    I suggest you get her professional 
                    help and not leave her alone.  I'll be 
                    prescribing an antidepressant and a 
                    mood leveler.  
          He pauses at the door and looks back and John and Marcy
                                DOCTOR
                    She'll be OK.  You two go home and get 
                    some sleep.
          Marcy looks at John.
                                MARCY
                    I'm not tired at all, you?
          John shakes his head.
                                JOHN
                    I could use a drink.
          Marcy checks the time.
                                MARCY
                    Too late to go out.  My place or yours?
                                JOHN
                    Mine.  We better check for a note.
          INT.  ARTIST'S LOFT - NIGHT
          JOHN & MARCY enter, turn on the lights and look around.
          There is a Blood soaked towel, a pool of blood by the phone, 
          the slashed picture and trail of blood from the corner to the 
          bathroom.
                                JOHN
                    There's vodka in the cabinet, beer and 
                    wine in the frig.  Make me a screwdriver 
                    and I'll clean up this mess.
          Marcy goes to the kitchen and takes out two glasses.
                                MARCY
                    I knew she was depressed after the 
                    critics panned her show two years ago. 
                    . . but I had no idea...
          John takes out a bucket and starts filling it in the bathroom 
          sink.
                                JOHN
                    She hasn't painted a thing since then, 
                    and she's been impossible to live with, 
                    between her drinking and fits of 
                    jealousy...
          Marcy pours vodka into the glasses then drops in ice and pours 
          in orange juice.
                                MARCY
                    She's always been jealous, if she spent 
                    more time painting and less time 
                    worrying...
          John mops up the blood and rinses the mop in the bucket.
                                JOHN
                    Still, suicide... We were having 
                    troubles, I haven't been working much, 
                    and you know how much we've made off 
                    her painting, money's been tight and 
                    we haven't... haven't been...
          Marcy looks up at that last remark, puts the drinks on a tray 
          and exits the kitchen area.
                                MARCY
                    .. Don't blame yourself.  I work with 
                    lots of artist types.
          Marcy carries the drinks into the living area of the loft and 
          sets the tray on the coffee table.
                                MARCY
                    There's something about creating art, 
                    something psychological that makes the 
                    most creative people, the most self 
                    destructive people.  Look at Van Gogh, 
                    he tried to kill himself a dozen times 
                    and finally died broke and insane, now 
                    his paintings sell for millions
          John looks up at that remark, then quickly looks away as he 
          puts the mop and bucket behind the sofa.
                                JOHN
                    If Amy had died, what would her painting 
                    be worth?
                                MARCY
                    Hard to say, they certainly would 
                    appreciate.  Her best paintings would 
                    be worth ten times what they're worth 
                    now.  But she didn't die, besides..
          Marcy looks at the two damaged paintings that are still in 
          the corner of the loft.
                                MARCY
                    ...You don't have any paintings left.  
                    Where'd they all go?
                                JOHN
                    She's been selling them to that 
                    Wentworth lady, one by one as we need 
                    the money.
                                MARCY
                    Well, god forbid, if Amy dies, Ms. 
                    Wentworth has made another fortune...
          She hands John a drink.
                                MARCY
                    This subject is too morbid.  To life!
          She holds up her drink and John joins her in a toast.
                                JOHN
                    To love!
          Their eyes lock.  He leans forwards and kisses her, she 
          responds.  They eagerly cling to each other for a moment, 
          kissing passionately, then Marcy gasps for breath.
                                MARCY
                    I've wanted to do that for years.
                                JOHN
                    Me too.
          He clutches at her.
                                MARCY
                    Wait!  There's something I always wanted 
                    to do.
          She steps to the middle of the studio and spreads a large 
          canvas tarpaulin on the floor, stands in the middle of the 
          tarpaulin and slowly takes off her clothes.  Fascinated, John 
          watches.
                                MARCY
                    Paint me.
          Excited, John grabs the paint and enthusiastically attacks 
          her body, covering it in colors, using first brushes then his 
          fingers.  He grabs tubes of paint and squeezes them empty, 
          tossing the crushed tubes back on the paint tray.  Marcy and 
          John get more and more excited as he paints her more erotic 
          parts.  When he's done he grabs a Polaroid and takes a picture.  
          Unable to resist longer, John grabs her and they make love on 
          the canvas, spreading paint everywhere.  After the climax, 
          they lie among the colors and finish their drinks.
                                MARCY
                    That was fantastic, real art.
          They chuckle.
                                JOHN
                    We could do this all the time.
                                MARCY
                    What about Amy?
                                JOHN
                    Maybe she'll succeed next time.
                                MARCY
                    That's sick.
                                JOHN
                    What if we had twenty of her best 
                    paintings?
                                MARCY
                    But we don't.
                                JOHN
                    Not yet...
                                MARCY
                    But you're talking about...
                                JOHN
                    Accidents happen, and Amy has already 
                    tried to kill herself once.
                                MARCY
                    No, that's crazy...
          He kisses her, hard.
                                JOHN
                    The world loses a rich bitch, and a 
                    jealous bitch and we get a fortune in 
                    paintings and each other.  But I need 
                    you to sell the paints and alibi me.  
                    And you need me to get to Wentworth 
                    and Amy.  Together we can make...Art!
          MARCY & John on the painted canvas tarpaulin.
                                MRCY
                    How... How would you... do it?
          The Polaroid picture is on the edge of the tarpaulin, it is 
          stuck in a gob of paint,.
                                JOHN
                    Easy... first I'd have to arrange to 
                    meet Elaine at her gallery, alone.  
                    I'll call her tomorrow, before I get 
                    Amy...
          INT.  ELAINE'S OFFICE - DAY
          The PHONE RINGS and ELAINE answers it.
                                ELAINE
                    Hello.. Oh.  Hi John,. ..Great.  You...?  
                    What...?  I Don't believe it... Is she 
                    OK...?  I understand... I can believe 
                    things are tight...I'm always willing 
                    to help you out.. Tonight...?  Sure, 
                    OK.... You're not going to run off 
                    again...OK.  I'll leave the lights 
                    on.. Bye.
          She licks her lips and smiles in anticipation.
          INT.  ARTIST'S LOFT - DAY
          JOHN ushers AMY in.  Still pale, a little shaky, and bandaged 
          at the wrist, Amy settles onto the sofa.  John goes into the 
          kitchen and gets two wine glasses and a bottle of good wine.
                                AMY
                    That Doctor really thinks I tried to 
                    kill myself...
          She takes two vials of pills from her purse and reads the 
          labels.
                                AMY
                    Do we have a P.D.R., I want to know 
                    what these are?
          John joins her on the sofa.
                                JOHN
                    I got your favorite wine, to celebrate 
                    your getting out of the hospital.
                                AMY
                    That's sweet, but this one says no 
                    alcohol...
          She indicates a vial of pills, then puts the pills down and 
          grabs the wine.
                                AMY
                    ...Besides, isn't this your favorite 
                    wine?
          He takes the bottle from her and heads for the kitchen.
                                JOHN
                    We'll save it for later, this is too
                    Expensive a bottle to waste.
          He puts the wine in the frig and returns with a glass of water.
                                AMY
                    I need to talk, John.  I want to 
                    explain...
          John holds the glass of water out to her.
                                JOHN
                    First you have to take your pills.
                                AMY
                    They make me feel drowsy...
          He takes a pill from each bottle and gives them to her.  
          Reluctantly she takes her medicine.
                                AMY
                    ...and I don't want to sleep, I want 
                    to love you, I need you, John.
                                JOHN
                    I know, sweetheart.  Come on, I'll 
                    help you....
          He helps her up from the sofa.  Half way to the wicker bed 
          she collapses against him and he half drags her the rest of 
          the way.
                                AMY
                    Don't leave me.  Don't let me go to 
                    sleep.  I have to talk to you, need 
                    to... to love you...
          She tries to clutch at him, kiss him, but she is too drugged 
          to stay sitting on the edge of the bed and collapses back 
          into bed.
                                JOHN
                    Sure, lover, whatever you say...
          He puts her feet up on the bed, then goes to the big windows 
          and pulls the shades, darkening the room.
                                AMY
                    Please John, don't leave.. .me...
          AMY can barely hold her head up to watch John.
          JOHN finishes closing the shades and walks toward her, 
          gradually GOING OUT OF FOCUS.
                                AMY (O.S.)
                    ...love. . .me. . please.
                                JOHN
                    Of course I love you.  Just trust me 
                    and everything will be OK, promise...
          EXT.  WENTWORTH GALLERY - NIGHT
          JOHN drives up and goes into the gallery carrying a briefcase.  
          Through the window we see John walk through the Gallery and 
          join ELAINE in her office.  The shades on the office are 
          closed, blocking our view.
          INT.  ELAINE'S OFFICE - NIGHT
                                ELAINE
                    What's in the brief case?
                                JOHN
                    A surprise for later.
                                ELAINE
                    I love surprises, but where's the 
                    painting?
                                JOHN
                    I didn't come to sell a painting this 
                    time.
                                ELAINE
                    Then why did you come?
          He grabs her and kisses her passionately.  After a moment she 
          comes up for a breath.
                                ELAINE
                    Well, it's about time.
                                JOHN
                    I want to take my time, and I don't 
                    want to be interrupted.  How about you 
                    lock up?
          EXT.  ART GALLERY - NIGHT
          Through the window ELAINE can be seen walking out of her 
          office, locking the front door, and turning off the lights.
          INT.  ELAINE'S OFFICE - NIGHT
          JOHN is sitting at her desk.  ELAINE enters.
                                ELAINE
                    Where were we?
          She sits on his lap and they kiss.  The petting gets heavy as 
          he gradually strips her to the waist.  She is begging him to 
          take her on the desk when he suddenly stops.
                                JOHN
                    No, not here... in the store room.
                                ELAINE
                    The store room?
                                JOHN
                    Its part of the surprise.  Come on.
          He grabs the briefcase and offers his hand to help her off 
          the desk.
          INT.  GALLERY - NIGHT
          JOHN leads the half naked ELAINE into the store room.
          INT.  STORE ROOM - NIGHT
          JOHN sits ELAINE on the work bench and continues seducing 
          her.  When they are both finally naked, he picks her up and 
          tosses her into a bin full of bubble pack packing material.  
          They climax by bursting nearly every bubble.
                                ELAINE
                    That was worth the wait... but what 
                    about my surprise?
                                JOHN
                    Do you want it now?
                                ELAINE
                    Yes.
                                JOHN
                    Then close your eyes.
          She does.  He grabs the briefcase, opens it, takes out rubber 
          gloves and puts them on, then takes out a plastic garbage 
          bag, and a loaded coke pipe.  He lights the pipe, takes a big 
          hit and exhales it into the bag, holding the end tight so the 
          smoke doesn't leak out.
                                ELAINE
                    Well?
                                JOHN
                    Just one second.. Darling.
          He slips the bag over her head and ties the straps around her 
          neck.  When she starts to struggle he holds her naked body, 
          pinning her arms and preventing her from escaping.
          ANOTHER ANGLE - THEIR FEET
          Her kicking feet burst the bubble pack until she finally stops 
          struggling.
          INT.  ARTIST'S LOFT - NIGHT
          AMY wakes, suddenly sitting up and swinging her feet to the 
          floor.
                                AMY
                    John?  John!
          She gets up, turns on the lights and looks around the empty 
          loft.
                                AMY
                    You promised.
          She staggers into the bathroom.  SOUND OF RUNNING WATER AND 
          SPLASHING (O.S.).  She comes out of the bathroom and looks 
          around.
          She see's the crushed tubes of paint on the paint tray, then 
          looks over and see's the rolled up tarpaulin. 
          AMY crosses to the tray and examines it, curious, then goes 
          to the tarpaulin.  She pulls out the end and notices that one 
          side is still covered with wet paint.  Amy pushes the tarpaulin 
          over and starts to unroll it, stopping when she gets to the 
          Polaroid, still stuck to the edge of the roll.
          INSERT:  POLAROID
          AMY'S eyes go wide in surprise, then her face reddens with 
          anger.
          EXT.  ALLEY BEHIND ART GALLERY - NIGHT
          MARCY drives up towing a small covered trailer.  She parks 
          the trailer in front of the garage door at the back of the 
          gallery.  The garage door opens and JOHN comes out carrying a 
          few of Amy's paintings.  He stacks them in the trailer, then 
          kisses Marcy.
                                MARCY
                    Is it.. done?
          He nods.
                                JOHN
                    Help me clear out the paintings.
          They go into the storeroom.
          INT.  ARTIST'S LOFT - NIGHT
          The VIAL OF PILLS, clearly labelled.  "DANGER - FATAL IF TAKEN 
          WITH ALCOHOL".  AMY takes out a few capsules and starts 
          emptying the capsules onto a piece of paper.
          EXT.  ALLEY BEHIND ART GALLERY - NIGHT
          JOHN and MARCY carry out the last of Amy's paintings and stack 
          them into the trailer, which John locks shut.
                                JOHN
                    That's all of them.
                                MARCY
                    What about the others?  Some of them 
                    are worth a lot.
                                JOHN
                    Don't get greedy, it'll trip us up.  
                    Get going, I'll be along in an hour.
          She gets in her car and drives off.  John takes a spool of 
          fine wire from his pocket and places it on the ground in front 
          of the garage door, leaving the end of the wire lying across 
          the threshold, he steps inside and closes the door.  The spool 
          of wire jerks against the closed door then starts unwinding.
          INT.  ARTIST'S LOFT - NIGHT
          A BENT SPOON as Amy heats the capsules' contents to a bubbling 
          liquid, then sucks up the liquid with a long hypodermic.
          INT.  GALLERY STORE ROOM - NIGHT
          JOHN lifts the dead ELAINE out of the packing bin and sits 
          her on the stool, propping her up on the work bench.  He hoists 
          up the packing bin, places the next box on the assembly line 
          under the bin and releases the catch, pouring all the bubble 
          pack into the box.  He seals the box and slides it along the 
          assembly line to the rest of the out going boxes.  Then he 
          empties the brief case onto the work bench.
          INSERT: The briefcase contains a small bag of cocaine, small 
          bottle of ether, a bent spoon and a book of matches.
          INT.  ARTIST'S LOFT - NIGHT
          AMY carefully pushes hypodermic needle through the sealed 
          cork on the bottle of Johns favorite wine, then injects the 
          poison.
          INT.  GALLERY STORE ROOM - NIGHT
          The coke pipe and spoon rest near ELAINE'S pale left hand.  
          JOHN lifts the hand and places the matchbook under it.  He 
          takes the other hand and places a match between the thumb and 
          first finger, then carefully loops the fine wire around the 
          fingers to hold the match in place.  Next, he places the match 
          between the striker and the cover of the matchbook, making 
          sure ELAINE'S dead hand rests securely on the cover of the 
          matchbook.  Finally, he opens the can of ether and places it 
          near the matches.
          ANOTHER ANGLE
          JOHN checks his work, satisfied he takes the plastic bag off 
          ELAINE and stuffs it in the briefcase.  He exits by the store 
          room door, flipping the bolt so it locks behind him.
          INT.  ARTIST'S LOFT - NIGHT
          AMY sets the wine bottle into a ice bucket and places it and 
          a couple of glasses near the sofa, then starts putting on her 
          sexiest underwear.
          EXT.  ALLEY BEHIND ART GALLERY - NIGHT
          The fine wire runs from the garage door, half way down the 
          block to John's car, in the window of the car and onto the 
          seat next to JOHN.  He looks at his watch, smiles and starts 
          winding up the fine wire.
          INT.  ART GALLERY STORE ROOM - NIGHT
          ELAINE'S dead hands as the wire suddenly jerks on her right 
          hand, pulling her thumb and first finger.  The match is pulled 
          from between the match books' cover and the flint.  The match 
          flares.
          ELAINE'S right hand is pulled off the table, swinging at her 
          side and letting the loop of wire falls off her fingers.
          The store room bursts into flames
          EXT.  ALLEY BEHIND ART GALLERY - NIGHT
          MUFFLED EXPLOSION
          SMOKE pours out from around the garage door.  JOHN is quickly 
          winding up the wire.  When he gets to the loop he puts the 
          spool in the briefcase and drives off.
          INT.  ARTIST'S LOFT - NIGHT
          AMY sits on the sofa, staring at the door.
          INSERT:  The loft's front doorknob RATTLES and starts to turn.
          AMY arranges herself so she is sprawled sexily across the 
          sofa, then smiles big.
          JOHN enters and stops when he sees AMY on the sofa.
                                JOHN
                    You're up.
                                AMY
                    I've been waiting for you, eagerly.
                                JOHN
                    I was hoping you'd be asleep.
          He goes to the loft's big windows and opens one.
                                AMY
                    I've chilled your favorite wine.  Shall 
                    I pour you a glass?
                                JOHN
                    No, not now.
          AMY frowns, then smiles, redoubling her determination.  She 
          gets up and walks seductively across the loft, joining John 
          at the open window.  She drapes herself around his neck and 
          looks up at him.
                                AMY
                    First, we kiss...
          She kisses him, he holds her tight and turns her so her back 
          is to the window.
                                AMY
                    ...Then I'll get you a glass of wine.
                                JOHN
                    I'm sorry.
          He grabs her, pinning her arms to her side and starts backing 
          her toward the open window.
                                AMY
                    Hey, that hurts...
                                JOHN
                    I don't hate you, I just can't live 
                    with you...
                                AMY
                    What...?
                                JOHN
                    ... and you're worth more dead than 
                    alive...
          He bends her over the window sill.  AMY looks down at the 
          street far below, horrified as she realizes what is happening.  
          She struggles, but he is too strong.
          LOOKING DOWN AT THE STREET
                                AMY (O.S)
                    ... STOP... YOU FUCK... ASSHOLE...!
          BACK ON AMY & JOHN
          He pushes the struggling AMY farther out the window.
                                JOHN
                    ...Think of it this way...I'm making 
                    you famous...
          He leans over and kisses her one last time.  She spits in his 
          face and he lets her go.
                                AMY
                    NO... STOOOOOOOOOOOoooooooop!
          AMY falls from the window to the street below.  He looks after 
          her for a moment then takes a piece of paper from his pocket 
          and places it on the kitchen table.  On his way out the door 
          he pauses long enough to grab the bottle of wine from the ice 
          bucket.
                                JOHN
                    Too good a wine to waste...
          He toasts with the bottle toward the window.
                                JOHN
                    Thanks, Marcy and I can use this to 
                    celebrate!
          He locks the door behind him as he exits.
          INSERT:  THE NOTE ON THE KITCHEN TABLE
          It's typed and reads:
                         No inspiration, No art, No life!
                         No sorrow, please.
          EXT.  THE LOFT APARTMENT BUILDING - NIGHT
          LOOKING DOWN FROM THE ROOF.  JOHN steps out of the building, 
          walks around AMY'S bloody and broken body and quickly drives 
          off, leaving AMY lit by the street lights.  PUSH IN QUICK AND 
          FREEZE so the buildings, windows, street lights and cars are 
          distorted but the center subject, AMY lying dead on the street, 
          is sharp and clear.  This shot should look like a modern art 
          painting, with the radical angle looking down the side of the 
          building, the street lights and the bright red of AMY's blood 
          splashed on the black street.
          ROCK MUSIC CRESCENDO
                                                            MATCH DISSOLVE
          INT.  ARTIST'S LOFT - DAY
          A PAINTING, it is a duplicate of above.  AMY, teary-eyed, 
          stares at the painting while twirling the engagement ring on 
          her finger.  She is covered with smudges of paint.  After a 
          moment she jumps up and rushes to the dresser by the bed, 
          pulls out a drawer, takes it to the window and begins tossing 
          the BVD's and socks out the window.  When the drawer is empty 
          she grabs a bunch of shirts from the closet and tosses them 
          out the window.
          EXT.  JOHN'S CAR - DAY
          JOHN whistles as he drives around the corner to his building.
          THROUGH THE WINDSHIELD
          His clothes rain down from the loft's window.  As he pulls 
          into a parking space a pair of pants land on his windshield.
          ANOTHER ANGLE
          John gets out of the car and examines the pants.
                                JOHN
                    Damn!
          He looks up at the window as more clothes land on him.
                                JOHN
                    AMY!  SWEETHEART!
          AMY looks out the window.
                                AMY
                    I'M NOT TALKING TO YOU!
          She ducks back in and more clothes rain out.
                                JOHN
                    STOP!  AMY!  WHAT ARE YOU DOING!
          She looks back out the window.
                                AMY
                    BREAKING UP WITH YOU!  IT'S OVER!  I 
                    CAN'T TAKE ANYMORE!  LOOK OUT!
                                JOHN
                    BUT HONEY!  WHAT DID I DO?
          He ducks as a suitcase comes flying out the window and nearly 
          beans him.
                                AMY
                    WHAT DIDN'T YOU DO!  IT'S OVER, FINI 
                    KAPUT!  I NEVER WANT TO SEE YOU AGAIN!
          She takes off her engagement ring and tosses it out the window.  
          He catches it.
                                JOHN
                    BUT.. BUT SWEETHEART!  WHERE CAN I GO?
                                AMY
                    I'M SURE YOU'LL HAVE NO TROUBLE FINDING 
                    SOMEONE'S BED TO SLEEP IN!
          She SLAMS the window shut.
                                JOHN
                    Women!  Crazy!
          He begins picking up his clothes and putting them into the 
          suitcase.
          INT.  ARTIST'S LOFT - DAY
          AMY sits on the window sill crying.  She dries her eyes, looks 
          out the window and starts sobbing again.
                                                            DISSOLVE TO:
          A PAINTING IN A WOODEN SHIPPING CRATE
          A wooden cover is nailed over the painting and TWO MOVING MEN 
          carry it out, revealing AMY & MARCY on the sofa.
                                MARCY
                    He's miserable...
                                AMY
                    I don't want to talk about it.
                                MARCY
                    ...You're miserable...
                                AMY
                    I don't want to talk about it.
          She prepares the next painting to be boxed.
                                MARCY
                    ...He just wants to talk, he wants to 
                    know why you dumped him...
                                AMY
                    I don't want to talk about it.
                                MARCY
                    .. At least tell me why you dumped 
                    him.
                                AMY
                    I don't want...
                                MARCY
                    ..to talk about it, I know.
          The two men return.
                                AMY
                    This one next.
          She indicates the painting she has prepared.
                                MARCY
                    If you don't talk to him now, you're 
                    going to have to talk to him at the 
                    opening.
          AMY frowns.
          EXT.  ART GALLERY - NIGHT
          Well dressed PEOPLE crowd into the gallery   Through the window 
          a CROWD OF PEOPLE can be seen milling around the room dividers, 
          admiring Amys' painting.  The same CATERERS as before mingle, 
          carrying trays of champagne.  MARCY, ELAINE and AMY watch 
          from Elaine's office.
          Across the street, JOHN watches for a moment then steps into 
          a door way, disappearing into the shadows.
          INT.  ELAINE'S OFFICE - NIGHT
          ELAINE, MARCY and AMY watch the crowd thru the window.  Elaine 
          points.
                                ELAINE
                    There, in the brown sport coat, the 
                    art critic for the Times, Fred York.
          THROUGH WINDOW
          A MAN in a brown sport coat moves from painting to painting 
          dictating notes into a mini-recorder.
                                MARCY
                    We should go introduce you, Amy.
          INT.  ART GALLERY SHOW ROOM - NIGHT
          MARCY, ELAINE & AMY come out of the office and stroll toward 
          the ART CRITIC.
                                ELAINE
                    Fred.  How are you enjoying the show?
                                FRED
                    Wonderful... simply wonderful, Elaine.
                                MARCY
                    I'm sure you're anxious to meet the 
                    artist responsible. .
          AMY notices a commotion at the front door.
          THE FRONT DOOR
          FOUR MEN IN TUXEDOS, carrying instrument cases that make it 
          obvious they are a string quartet, are trying to come in the 
          front door.  One of the WAITRESSES and the BLACK-HAIRED WOMAN 
          are keeping them out, an argument is starting.  The black-
          haired woman indicates that they should go around the back, 
          and the quartet exits.
                                MARCY (V.O.)
                    Mr. York, this is Amy Henderson.
                                YORK (V.O.)
                    A pleasure to meet such a gifted artist.  
                    I love your work.
          The waitress and the black-haired woman turn, revealing that 
          they are the same ladies who catered the first opening and 
          populated Amy's first fantasy.
                                ELAINE (V.O.)
                    Amy.  Amy!
          BACK ON AMY, ELAINE, MARCY & FRED
                                AMY
                    Sorry...it's a pleasure to meet you, 
                    sir.  I'm glad you liked my paintings.
                                FRED
                    Liked?  My review tomorrow can never 
                    do it justice, I don't have the words, 
                    the vocabulary, to describe the emotions 
                    your work evokes.
          The black-haired woman steps up and whispers in Elaine's ear.
                                ELAINE
                    Excuse me, something's come up that 
                    needs My attention.
          She walks back toward the store room with the dark-haired 
          woman.
                                FRED
                    A great patron of the arts, and you, 
                    my dear, may be her greatest find...
          Again AMY's attention is distracted by a commotion at the 
          door.
          THE FRONT DOOR
          A MAN IN A CLOWN SUIT, carrying a huge bunch of heart-shaped 
          balloons and a large, elaborately wrapped box is trying to 
          enter.  Again, the waitress rushes to stop him, this time 
          quickly indicating that he should go around to the back.
                                FRED (V.O.)
                    ...I'd like to do a nice long interview 
                    with you, where you trained, your 
                    mentors, maybe we can do a lunch?
          BACK ON AMY, MARCY & FRED
          Marcy is watching Amy, concerned.
                                MARCY
                    Amy?  Lunch?
                                AMY
                    Oh!  Yes, lunch would be fine, excuse 
                    me, please.
          Amy walks through the crowd to the store room door, passing 
          MICHELE on the way, but not noticing her.
          Michele watches Amy, then follows her.
          Amy stops at the door listening.
                                ELAINE (O.S.)
                    I'm telling you it's canceled, they 
                    broke up.
          INT.  GALLERY STORE ROOM - NIGHT
          ELAINE and the BLACK-HAIRED WOMAN are arguing with the QUARTET.
                                MAN
                    Well, no one told us, and we get paid 
                    whether we play or not.
                                ELAINE
                    I didn't hire you.  John, the ex- 
                    fiancee, took care of all these 
                    arrangements.  It was his idea, he 
                    should have canceled you.  See him for 
                    your money...
          The CLOWN comes in the back door
                                ELAINE
                    ...And who are you?
                                CLOWN
                    Bozo the clown, who do you think?  
                    Where's the engagement party?
          INT.  ART GALLERY - NIGHT
          AMY listens at the store room door, MICHELE steps up behind 
          her.
                                MICHELE
                    John was suppose to cancel it.
          AMY whirls around, surprised to find Michele standing behind 
          her.
                                AMY
                    You knew?
                                MICHELE
                    Sure, remember the first time I met 
                    John...
          INSERT FLASH BACK:  
          JOHN & MICHELE AT THE POOL.  They are talking and Michele 
          gives John her phone number.
                                MICHELE (V.O.)
                    ... at my pool party.  He told me then 
                    he was planning to throw you a surprise 
                    engagement party.  I gave him my number 
                    'cause he wanted my help planning it...
          BACK ON MICHELE & AMY
                                MICHELE
                    The clown was my idea, I know how you 
                    love'em.  It's really a shame you two 
                    broke up.
          ELAINE & THE BLACK-HAIRED WOMAN come out of the store room 
          and bump into Amy and Michele.
                                ELAINE
                    Oh!  I'm sorry!  You heard?
                                AMY
                    Yes.
                                BLACK-HAIRED WOMAN
                    Everything was suppose to be canceled, 
                    we didn't want to...to disturb you 
                    during the opening.
                                AMY
                    You were in on this?
                                BLACK-HAIRED WOMAN
                    Of course.  Your fiancee, excuse me, 
                    your ex- fiancee hired us almost a 
                    month ago...
          INSERT FLASH BACK: 
          JOHN TALKING TO THE WAITRESS AND THE BLACK-HAIRED WOMAN during 
          their first visit to the gallery.
                                DARK-HAIRED WOMAN (V.O.)
                    ... During the last opening here at 
                    the gallery.  He ordered a fully catered 
                    affair.  We're going to have to charge 
                    him a lot, even though it's all just 
                    sitting in our truck...
          BACK ON AMY, MICHELE, ELAINE & THE BLACK-HAIRED WOMAN.
                                ELAINE
                    I hope this isn't too upsetting, Amy 
                    dear.  I had my misgivings when John 
                    approached me with this party idea.  
                    If I had known then that you were 
                    thinking of breaking off the engagement 
                    I never would have agreed. .
          INSERT FLASH BACK:  
          LOOKING OUT LOFT WINDOW AT JOHN TALKING TO MARCY AND ELAINE 
          down in the parking lot.
                                AMY (V.O.)
                    He talked to you when you came to look 
                    over my work.
                                ELAINE (V.O.)
                    You two seemed so much in love, and it 
                    seemed like such a great idea, combine 
                    an engagement party with the opening, 
                    if I had known...
          BACK ON AMY, ELAINE, MICHELE & AND THE BLACK-HAIRED WOMAN
                                ELAINE
                    ... I hope this isn't too upsetting.
                                AMY
                    No...No, it's not upsetting, not at 
                    all...
          She starts backing away from them, smiling.
                                AMY
                    ... in fact, its great!  It's wonderful!  
                    I've been so wrong and now it's so 
                    right.  I've got to go now!  Thank 
                    you, all of you!
          She turns and rushes out of the gallery.
                                ELAINE
                    I think she is upset.
          EXT.  ART GALLERY - NIGHT
          AMY rushes out of the crowded gallery and stops at the curb 
          as the PARKING VALET joins her.
                                VALET
                    Ticket please?
          Flustered, Amy looks about for her purse
                                AMY
                    Ohhhhh!  It's in my purse...
          Behind Amy, MICHELE, MARCY, ELAINE, THE WAITRESS AND THE BLACK-
          HAIRED WOMAN come up to the window and watch her.
                                AMY
                    ... It's the white Toyota, please just 
                    get it.
          Across the street, JOHN steps out form the dark doorway onto 
          the sidewalk.
                                JOHN
                    Amy?  Amy, please talk to me...
                                AMY
                    John!  Oh, John, I'm so sorry...
          He steps out in the street.
                                JOHN
                    ...I love you, Amy, please take me 
                    back...
          She steps out into the street.
                                AMY
                    ... Please forgive me, John, I want 
                    you back...
                                JOHN
                    Oh, Amy!
                                AMY
                    I love you, John!
          They rush into the middle of the street and into each others 
          arms; oblivious to the traffic jam they're causing, or the 
          people in the gallery watching them.  They kiss passionately.  
          Behind them, the valet is trying to direct the traffic around 
          them while through the window the waitress and the black-haired 
          woman can be seen running back to the store room.  All the 
          people are applauding.
          John and AMY continue kissing.  Amy comes up for air.
                                AMY
                    Forgive me?
                                JOHN
                    Shut up and kiss me!
          HIGH ANGLE MASTER
          MICHELE, Marcy and Elaine, followed by all the people in the 
          gallery, the CLOWN with his balloons, the band and the 
          caterers, loaded with food and drink, pile out of the gallery 
          and crowd around AMY and John, congratulating them.
          INT.  ARTISTS' LOFT - DAY
          JOHN, in a tux, kicks in the front door and carries AMY, in a 
          wedding dress, into the loft.  He takes her straight to the 
          bed, which is decorated in white lace with paper bells      
          and hearts, and they make love.  FREEZE ON THEM NAKED IN EACH 
          OTHER'S ARMS.
                                                            MATCH DISSOLVE
          A sketch of them naked, in a lovers embrace.
          ROLL END CREDITS
          FADE OUT
          THE END