From the writer of Four Weddings and a Funeral and Notting Hill

Photographs by Peter Mountain

Unforgettable, ungettable, regrettable, ecstatic, exciting, unexpected, unwelcome, inconvenient, inexplicable, inelegant, unequalled... love actually is all around.
Set m contemporary London just before Christmas, weaving together a series of touching and hilarious stories. Love Actually is the new romantic comedy from Academy Award® nominee Richard Curtis. From a newly elected bachelor prime minister to a heartbroken writer, a widowed stepfather to his lovesick stepson, and an aging rock star to a straying husband—love is causing chaos for all. The book goes behind the scenes with the all-star cast, including Alan Rickman, Bill Nighy, Colin Firth. Emma Thompson, Hugh Grant. Laura Linney, Liam Neeson, Martine McCutcheon. Rowan Atkinson, and Keira Knightley. With an introduction by Richard Curtis, the full screenplay, deleted scenes, over 150 full-color photographs from the movie, exclusive black-and-white photos from the production, a "love questionnaire" filled out by the cast, and much more, this is actually a book for anyone who loved Love Actually.

R i c h a r d C u r t i s ' s previous screenplays include The Tall Guy. Four Weddings Bean and Bridget Jones's Diary.
Cover ail O 2003 oy Universal Studio* Publishing R>ghts a Division ol Universal Studios Licensing LILP All Rights Reserved

and a Funeral, and Notting Hill, and he was the cowriter of the screenplays for


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Richard Curtis Screenplay edited by Emma Freud Photographs by Peter Mountain ST. M A R T I N S G R I F F I N NEW YORK .

com Cover art and interior color photographs from Love Actually © 2003 WT Venture LLC. Ltd "In My Place" composed by Berryman/Buckland/Champion/Martin Published by BMG Music Publishing Ltd. an imprint of Penguin Books First St. Printed in the United States of America. Copyright © 1967 Universal-Songs of PolyGram International. All rights reserved. www.Y. Inc. Copyright © 2003 by Richard Curtis. All rights reserved.n Z3k LOVE ACTUALLY. Licensed by Universal Studios Licensing LLLP. For information. (corrected copyright notice) Black and white photographs copyright © 2003 by Peter Mountain Drawings and watercolors copyright © 2003 by Charlie Mackesy "Love Is All Around." by Reg Presley. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. Martin's Griffin Edition: December 2003 . on behalf of Dick James Music Ltd. Used by permission. N. (BMI) All rights reserved. 175 Fifth Avenue. Used by permission Designed by Smith & Gilmour. New York. address St. 10010.stmartins. Tuff choir supplied by Tuff The Session Agency. Martin's Press. UK ISBN 0-312-31849-9 First published in Great Britain by Michael Joseph.

.This book is dedicated to my darling sister Belinda and to all the people we filmed at Heathrow who spontaneously said 'yes' and are now caught on film kissing for ever.


..The Ones That Didn't Make It 160 Behind the Scenes 174 Love Actually-The Quiz 196 Love Questionnaires 199 Some Strange Posters 218 Cast and Crew 223 And Finally. 230 .Contents Introduction by Richard Curtis 1 Film Family Tree 6 Love Actually-The Screenplay 9 'Christmas Is All Around' .The Lyrics 158 Deleted Scenes .


This is really hard. It is then impossible to refuse the next one you are offered two hours later at 9. I was disappointed that my catchphrase on the shoot became 'I don't know . 3. which means that the whole point of directing . actors .15 am. Coppola. 2. a man who's dated Gwyneth you?' 4. And then you remember that you are the director and you say 'action' and at last it all begins. Everything is all set up. though just for the record the five that spring to mind are: 1 . but not so good if you're a first-time director and don't know anything. It is impossible to resist the bacon sandwich that you are offered when you get to the set at 7..but directing you've just got the one day and then you move on. Everybody keeps asking you questions .LOVE A C T U A L L Y 1 Introduction by Richard Curtis 'I was scared. had once been through as bad a time as me. tired and underprepared I used to hum that Coldplay song to myself every morning as I got up to direct the film of which this is the book.everything's all set up. the actors are in place and then it all goes quiet.this isn't the place to write about the difficulties of directing. This means that all directors put on weight during the shoot (see Hitchcock. You sit there saying to yourself. 'Come on. It was a tiny bit of comfort to know that Chris Martin. But fortunately . Writers have it very easy. because after all it is still easily breakfast time. come on.' But they seem frozen lost in a world of weird stillness. I see that now. And then the bastards slip you one at 11. The great thing about writing is that you can always rewrite the next day . I was scared.which is great if you know the answers.act .. You have to remember to say 'action'.all the best guys are chubby). . Peter Jackson .to become attractive enough to go out with someone like Gwyneth Paltrow is defeated by the fact that by the time you finish the film you've become a great big Shrek-sized chubster no film star would look at twice. You have to actually finish stuff every day.00 am.00 am.

Short Cuts. as I say . improvising in a rather weird way . Wayne Wang's perfect Smoke and a whole series of Woody Allen films. It all began again while I was away in Bali for six months in 2000. So here..this is the place to say something about writing a screenplay such as this one. such as Hannah and Her Sisters and the great Crimes and Misdemeanours . nine snappy middles and nine ends . still seems perfect to me).LOVE A C T U A L L Y And if you're lucky it goes well . 5.and I tried to think up a new .without any of the stuff in between. You have to remember to say'cut'.and the actors act it right and the camera moves right and you're thrilled . And I thought that I'd like to have a go at writing that kind of film .are all films with lots of plots. and wander round. see it now .and then you remember that you are the director and you're also meant to say 'cut'. 2. until you realize that you're entirely alone and everyone else is still on set. I'd had a back operation and had to go for a long walk every day .to see if it was possible to write a film with nine beginnings.this is not the place to talk about directing . 1. It immediately became my favourite film...Pulp Fiction. But. Then a few years ago I realized that a lot of films I've loved recently . for the record. And that's the fifth difficult thing . are the five stages in writing the script of Love Actually.and so you get up and help yourself to another bacon sandwich.. It all started exactly twenty-eight years ago when I first saw Nashville by Robert Altman (if you haven't seen it.

aged a good five years during the reading of it. it's written at least three times . the one about the man who meets Debbie Harry on the subway . 3. The strange thing is that.and my girlfriend. while she sat with her face flat on the table. the one about the Lucian Freud pictures discovered in a beach-hut.LOVE A C T U A L L Y 3 story each time I walked. Emma. I then returned to England and started to write the film. Amongst the stories that she cut were the one about the gay schoolgirls. It is a tragic truth that my imagination seems to stop at the Hammersmith Flyover. 5.and the one about the time my friend Helen Fielding actually fell asleep while out on a date with me . That first viewing was not a good day.1 had to finish my dinner. At one point it was five hours long . So this script you're about to read is living proof that a film isn't written once. The stories in the film are all stories I thought of then although a couple I'd thought of before and just thought in Bali that they might fit into the film. Not only that .and it went back up again to three and a half hours. Then we shot the film . in a crowded restaurant. 4. Then we started to edit. the one about my friend Howard and the unfortunate incident in the recording studio. who edits all my scripts. I never managed to think of any stories about Bali at all. then it's rewritten as you direct it and then it's rewritten as you edit it. When the script got down to about two and a half hours we thought it was okay and handed it in to our producers. think as hard as I might. Then we had another read-through with the full cast (the pictures of this are below) and then we changed it a bit again. .three and a half hours in totally the wrong order with no jokes.first it's written. snoring gently. We then had a read-through with some fantastic actors and realized it wasn't okay at all and changed it again.

even though I made him wear a string vest.' And then the morning before he left he came downstairs and gave me a 400-page coffeetable book about his life. no one told me this . It's like having Trevor Nunn or Stephen Daldry playing a bit part in your film. and the close-ups of him and Martine after lunch. we did the long shot when he arrives at Downing Street before lunch.and just to give you something to think about when you get to the dull bits. Helder Costa. And no one noticed. The lake in which we shot Colin Firth and Lucia Moniz was 18 inches deep. The first day on the set I asked him where he was staying. were he not a saint. 1.but there are a couple of pieces in the next room I'm a little frightened of. During lunch he took a rest. then added that. because he liked the letter we wrote him. as I probably knew. 3. They're kneeling and pretending to swim. So look at him with respect.his elbow swelled up like an avocado I spent the two days we were working together giving him really pathetic notes. she agrees she should have come eighth.4 LOVE A C T U A L L Y I hope you enjoy the book . Unfortunately. During the filming. If you press her. He told me the name of the hotel. malarial gadfly .1 think it's important for people to realize that Lucia represented Portugal in the Eurovision Song Contest in 1996. there weren't all that many hotels he could stay in in London. at the end of every take you can see them stand up and the water only comes up to their knees. Sticking to the Portuguese plot . Billy Bob Thornton was unusual . he would have sued us for the entire profits of the film. We were standing in the set of Downing Street and I asked him if he was okay with the furniture in the room.' . better. and acting out how I wanted it to be and saying 'Louder. he put on the wrong tie. So if you look carefully. Colin was bitten by a vicious.why? He replied that he had a problem with antique furniture and was uncomfortable being in the same room as it. 2. 5. The fact that she came sixth is only further proof of how insanely unreliable the voting system of the contest is. louder!' and 'Come on! Be better. 'Yes . In the rushes. 4.he took the part without actually reading the script. He replied. work and theatre company. When he woke up. here are five other little things you might be interested in if you like the film. who plays Aurelia's father. I said I didn't know that . is probably Portugal's greatest theatre director. the Prime Minister swaps ties eleven times during the scene. In Hugh Grant's first scene.

but then he's a very good actor.well. Now I've typed this out I'm starting to ask myself . I just don't know.the nineteenth-century British Prime Minister? BBT: Well. What follows is the proof of that pudding. isn't she. But he is a true professional and went through the next day uncomplaining. no . And his moustache. Or any representation of it. BBT: I have a real problem with Benjamin Disraeli.or beard for that matter. What I do know is that he made up the line 'That's a pretty little sonofabitch right there . RC: Benjamin Disraeli . Who could be frightened by Benjamin Disraeli? More Benjamin Disraeli's facial hair .' But then Bob's a genius . .and I ain't. which has portraits of all former British Prime Ministers on it.LOVE A C T U A L L Y RC: Wow.did you see those pipes?' The line I wrote was something like 'Wow .she's pretty. Any other strange phobias I should know about? BBT: Not really .1 can't bear to be anywhere near that man's moustache .this must have been a million-to-one chance .he said it with a very straight face.a portrait of Benjamin Disraeli.was he taking the mickey out of me? I'm worried now . he never glances up the staircase for fear of his life. And his beard.not actually Benjamin Disraeli. R C : Tell me. you will notice if you watch the film carefully. Billy turned white. maybe just the one. It was at that point I felt bound to inform him that the next scene was set on the PM's staircase. However. including .




. Often it's not particularly dignified.then real documentary footage of the most miscellaneous of groups and couples at the arrivals gate. HEATH ROW AIRPORT-ARRIVALS GATE. Before the planes hit the Twin Towers. old friends. none of the phone calls from the people on board were messages of hate and revenge they were all messages of love. or newsworthy. as far as I know. Darkness . General opinion's starting to make out that we live in a world of hatred and greed .. all kissing.LOVE A C T U A L L Y 9 Love Actually The Screenplay 1 I NT. boyfriends. If you look for it. girlfriends. husbands and wives.fathers and sons. I think about the Arrivals Gate at Heathrow Airport.but I don't see that.. Seems to me that love is everywhere. all full ofaffection and emotion.but it's always there . I've got a sneaking suspicion you'llfindthat love actually is all around. A voice over begins. mothers and daughters. PM (v/o): Whenever I get gloomy with the state of the world. DAY.

BILLY: Right..and so the. JOE: I'm afraid you did it again. in his forties. battered 55-year-old ex-giant of rock is singing. his manager. BILLY: It's just I know the old version so well. NIGHT. .let's go. moist.. Three noisy backing singers are really goingfor it beside him. RECORDING STUDIO. Okay.. Love is all around me . you know. Bill. we all do . I feel it in my toes.that's why we're making the new version. woolly.' Joe. Cutto a recording studio-a wonderful looking.. chubby.10 LOVE ACTUALLY 2 INT. BILLY THE OLD ROCKER: 'I feel it in my fingers. JOE: Well. The intro strikes up again. is in the control room with the engineer. Joe is unprepossessing.

.. .' ( to Joe) This is shit. Come on and let it snow. I feel it in my toes.... So if you really love Christmas. It's written in the wind.' Cut to Joe. 'And so the feeling grows. Maestro..deeply pleased. Christmas is all around me. It's everywhere I go.. I feel it in my toes.BILLY: 'I feel it in my fingers.' Ohfuckwankbuggershittingarseheadandhole. Start again .. Love is all. isn't it? JOE: Yup-solid gold shit.(the intro plays) 'I feel it in my fingers.

His girlfriend Katya. good-looking and good-natured. Christmas trees beingput up. mid-sentence stutter. Thirty-eight. You're sure you d-d-don't mind me going without you? I! HfetaM TVT . you'll make it. DAY. the city is glowing as the build up to Christmas begins. I am so late. JAMIE: KATYA: JAMIE: God. 4 INT. DAY. Cut to Jamie. watches on.12 LOVE ACTUALLY 3 EXT. He speak with a slight.. London streets decorated with twinkling Christmas lights. who is curled up sick in bed. touching. ice skaters whirling round the ice rink at Somerset House. It's just round the corner. VARIOUS LONDON SITES. JAMIE'S HOUSE.. Preparing to go out but runninglate.

JAMIE: I love you. really. loser! Jamie leaves. JAMIE: Did I mention that I love you? KATYA: Yes you did. JAMIE: Right. KATYA: I know. \ 1 ^ilMH*"*» . KATYA: I know. He walks out to leave and Katya falls back on to the pillows. Now go. He kisses her again. or you will actually miss it.LOVE ACTUALLY 13 KATYA: No. Get out. Jamie sticks his head round the door again. He kisses her.I'm just feeling so rotten. JAMIE: I love you even when you're sick and look disgusting.

He hangs up. KAREN'S HOUSE. his head in his hands. KAREN: Doesn't mean I'm not terribly concerned that your wife just died. KAREN: So-what's this big news then? DAISY: We've been given our parts in the Nativity play. KAREN: Absolutely. a recent widower. andgood..can I call back? DANIEL: Of course. picks up the phone and dials. DANIEL'S HOUSE. 6 INT.obviously mid-forties. A moment of stillness and sorrow. Sorry. DAY. DANIEL: Understood. .. Horrible moment right now though . Bugger off and call me later. Karen goes back to the question in hand. DAY. still quite nice-looking. Daniel. Then he lifts his head. And I'm the lobster. DANIEL: Karen? It's me again. Daisy. sits very alone in his office in his house. very English.14 LOVE ACTUALLY 5 INT. Karen is in her kitchen . I literally don't have anyone else to talk to. who is sweet and seven. She turns to her daughter.

LOVE ACTUALLY 15 KAREN: The lobster? DAISY: Yes. Colin is very bouncy and chatty.. FAIRTRADE OFFICE. . 7 EXT.lots of smartly designed posters and marketing stuff on desks and walls. First Lobster.a mixture between a charity and the Body Shop . KAREN: There was more than one lobster present at the birth of Jesus? DAISY: Durr.he steps out of it..he's the guy who brings sandwiches round to companies. Colin's van pulls up outside the Fairtrade office . KAREN: In the Nativity play? DAISY: Yes. It's an interesting place . DAY.big and messy -fifty people . DAY. FAIRTRADE OFFICE. Colin enters . 8 INT.

The two stand-ins.16 LOVE ACTUALLY COLIN: Best sandwiches in Britain.. sweet. because that's what they are. 9 I NT.P. He throws a sandwich on to someone's desk. immediately slips into discussion with the director. DIRECTOR OF PHOTOGRAPHY (v/o): Okay-you can stop there. They're two plain. COLIN: Morning. thanks. He hands a girl a packet. O. She is leaningforward against a pillar in a stylish. DAY. start to chat. and he appears to be taking herfrom behind. . Stay with her-her name is Mia. probably in Venice. FILM STUDIO. dramatically lit bedroom. They're both dressed. simple people. COLIN: Try my lovely nuts. my future wife. Another uninterested girl gets a muffin she didn't ask for.. COLIN: Beautiful muffin for a beautiful lady. beaming at her. She gets up and goes to knock on the door behind her. The D. Hesmilesata beautiful girl at one desk-no reaction. Cut back to show the paraphernalia of afilmcrew. Cut to a couple having slightly weird sex rather half-heartedly.

kiddo. Cut to two men's faces. JUD Y: Oh fine . . Just Judy.LOVE ACTUALLY VJ JOHN: By the way .I ' m just Judy. 10 INT. CHURCH. PETER: DO you admit that the Brazilian prostitutes were a mistake? MARK: I do. The best man and groom waiting at the end of an aisle. They are dressed in wedding ties and coats.he introduced me as John. JOHN: Great.nice to meet you. PETER: And it would have been much better if they'd not turned out to be men? MARK: That is true. but actually everyone calls me Jack. PETER: No surprises? MARK: No surprises. Good luck. The church is sunny and full. PETER: Not like the stag night? MARK: Unlike the stag night. Jack. He got me right though . DAY.

Out of a car steps the new Prime Minister. 12 INT. Cut to outside 10 Downing Street-huge noise -press and people. DAY. There to greet him is his personal adviser. . 11 EXT.if s one of those cameras where you can view through a screen rather tha holding it to your eye. He waves . 10 DOWNING STREET . he deformalizes. Behind them the doors of the church open to let in a really lovel optimistic girl in her wedding dress. She is strong and intelligent-looking His demeanour immediately changes. 10 DOWNING STREET. This is Juliet.ENTRANCE HALL. Mark picks up his video and starts discreetly to film proceedings .LOVE A C T U A L L Y A manly Roman handshake. silence and formality inside in comparison to the chaos outside. He's an attractive man in his forties. Suddenly.huge cheer.the door closes behind him. DAY. Annie. He enters .


David .20 LOVE ACTUALLY ANNIE: Welcome. Shit. He heads with her towards a line of employees. ANNIE: And this is Natalie . ANNIE: This is Pat. Should be a lot easier with me than with the last lot .twice. no scary wife. PAT: Good morning. Something's happening.. How are you? He kisses her hello. Pat. TERENCE: Good morning. Had an uncle called Terence once . sir. ANNIE: HOW are you feeling? PM: Cool.but I very much like the look of you.. ANNIE: Would you like to meet the household staff? PM: Yes. . PM: Hello. Anything to put off actually running the country. sir. Natalie.she's new. Prime Minister. right. I would like that very much indeed. Powerful. I'm the Housekeeper. young. I did have an awful premonition I was going to fuck up on my first day. He's in charge. sir. She blushes hugely-a lovely. bright-faced girl. PM: Oh. PM: Good morning. no teenagers. I'm so sorry. I can't believe I just said that . He looks at nappies. PM: I must work on my wave.and now I've gone and said 'shit' . oh piss it! He laughs. NATALIE: Hello. sir.. PM: That's fine. You could have said 'fuck' and then we'd have been in real trouble.. PM: Hello.1 mean 'sir'. like you. ANNIE: This is Terence. NATALIE: Thank you.hated him I think he was a pervert .

I can't see why not. As he walks away. PM enters.10 DOWNING STREET . PM: Oh no. 13 INT. shall we? PM: Yeah.and then let'sfixthe country. he just casually looks back over his shoulder-Natalie is one of the things he looks back on. DAY.I'll go get my things .PM'S OFFICE. and closes the door behind him.LOVE ACTUALLY 21 ANNIE: Right . . That is so inconvenient.


he begins to sing. Then as the chorus ends. playing magnificently for his life. As the music changes. Then it suddenly stops. Peter and Juliet have given their consent and made their marriage vows to each other. I therefore proclaim that they are husband and wife. during the chorus. smiling American woman in her thirties. including Jamie and Sarah. it. PETER: And you resisted the temptation for any surprises? MARK: Yes. VICAR: In the presence of God. Now bride and groom turn and head down the aisle. They begin to sing 'All You Need Is Love\ Juliet. Then beside the organ upstairs emerges a fabulous-looking singer. Peter looks at Mark.three trumpets.n o . Peter turns. Peter and Juliet kiss. pretending he had absolutely no idea this was going to happen. DAY. ..LOVE ACTUALLY 14 INT. a curtain that has been hiding the contents of the balcony drops.. They are now joined. They declared their marriage by the giving and receiving of rings. Peter and Juliet look a bit surprised. erupt into applause. magically from all over the church. an electric guitarist is suddenly in the pulpit. by new instrumentalists . and the congregation. is radiant-adoring JULIET: Did you do this? PETER: E r . two flutes. They actually appear in the pews where they've been hiding their instruments till now. I'm mature now. Mark shrugs his shoulders. The organ strikes up a traditional church exitsong. standing at a microphone . three trombones and two saxophones. CHURCH. a sweet. Behind it is a twenty-strong choir.

A perky waiter approaches him . JAMIE'S HOUSE.24 LOVE ACTUALLY 15 is Colin the sandwich man again. Colin heads on to Sarah. JAMIE: Hello.a bit. DAY. I think perhaps we ought to take Mum out for her birthday on Friday. COLIN: Delicious delicacy? MARK: No thanks. Chris looks at Jamie. The best man. I'm naked and I want you at least twice before Jamie gets home. CHRIS: Okay. RECEPTION HALL DAY. but fine. COLIN: Food? NANCY: No thanks. What the hell are you doing here? CHRIS: Oh. did she? CHRIS: Yeah. I've been thinking. I just popped over to borrow some old CDs. Colin heads off discouraged but then sees a woman he likes the look of by the window. Listen. COLIN: Taste explosion? She just shakes her head. Instantly he is by her side. The bride and groom are in the highest spirits. 16 INT. Jamie speeds through the door into his living room. JAMIE: The lady of the house let you in.. Not a great brotherly moment. boring. At that moment another slightlyyounger man enters the room from the kitchen. JAMIE: Lovely o-o-obliging girl. see if she was better. who is talking on her mobile. sounds fine . you know. . Jamie looks at Chris.. If s the river-side reception of the All You Need Is Love' wedding. Mark. KATYA (v/o) : Hurry up big boy. Just thought I'd pop back before the reception. what do you think? I just feel we've been bad sons this year. is stillfilming.

I'm Colin. Nancy? NANCY: I'm a cook. Looks like a dead baby's finger.1 wish you hadn't turned it down. Oooh! . COLIN: They should have asked you to do this one.bit dodgy. COLIN: Ever do weddings? NANCY: Yes. COLIN: Right. by the way. NANCY: They did. .tastes like it too.LOVE ACTUALLY COLIN: Yeah . isn't it. I do. COLIN: And what do you do. NANCY: I didn't. NANCY: I'm Nancy. COLIN: God .

COLIN: I've just worked out why I can never find true love. I'm just on the wrong continent. COLIN: NO. I am Colin. Colin walks in with the canapé tray and sits down next to another quitegeeky guy called Tony. DAY. God of Sex. I do. ugly arsehole. He wears normal clothes. cooler.26 LOVE ACTUALLY 17 INT. They're stuck up. COLIN: American girls. TONY: Colin . TONY: Why's that? COLIN: It's English girls. American girls would seriously dig me with my cute British accent. game for a laugh . that's all. you see . COLIN: Yes. What do you think? TONY: I think it's crap. Colin. So I should just go to America . a friend who's just come alongfor the ride. RECEPTION KITCHEN TENT. that's where you're wrong. and you must accept're a lonely. TONY: YOU don't have a cute British accent. .I'd get a girlfriend there instantly.and I'm primarily attractive to girls who are. I'm going to America. you know.

He rubs his hands together as Judy laughs politely. before he cups her breasts. judging the light with his little machine. DAY.. TONY: And Jerry says. He is Tony.. .bloody freezing. time's pretty tight and we have to get the actors in. JUDY: Fine. TONY: Sorry. The cameraman stands very close. He is not very comfortable with his job at this moment. ( To Judy) Is that all right? JUDY: Yes. JOHN: Absolutely. ( To John) At least it's nice and warm in here. okay. isn't it . if you could just put your hands on her breasts. The Assistant Director comes up.. JUDY: Oh. yeah-fine. JOHN: I promise I won't look.. They start to mime the sex again.could you. right. right.LOVE ACTUALLY TJ 18 INT. please. JOHN: I thought I would never make it in today. ahm.. TONY: And massage them. It's Junction 13 that's just murder. I was standing in for Brad Pitt once on Seven Years in Tibet. TONY: Judy.. Colins discouragingfriend. She laughs a gridlock this morning. unbelievable.. JOHN: Right. JOHN: I'll warm them up. The traffic was just. FILM and camera need to know when we're actually going to see the nipples and when we're not. JUDY: Oh yes. Isn't always the case.. guys. then takes her jumper and bra off-pulling a bit of a 'what can you dot look at John. take your top off this time . JOHN: Oh. okay.


CHURCH. Some of her requests. But others she was pretty damn clear about. as usual. . for instance. Behind him a simple slide-projector screen shows a portrait of his wife. Sam. inevitably. When shefirstmentioned what's about to happen. I was confident she expected me to ignore. So she's going to say herfinalfarewell to you. 'Over my dead body' and she said. DAY.. through the immortal genius of the Bay City Rollers. was right. DANIEL: Jo and I had a lot of time to prepare for this moment. and Sam's darling mum. I said.over mine. not through me . Daniel faces the congregation.19 INT. Daniel . ever-so-coolly. 'No. which includes his eleven-year-old stepson.'And.. that I should bring Claudia Schiffer as my date to the funeral. H Cut to a funeral. my darling girl.but.

including an utterly gleeful twelve-year-old girl. RECEPTION HALL NIGHT.1 just thought I'd ask the blunt question. SARAH: So that's a'no'then? . then gently.. badges and hats of rollermania.. Cut to the newlyweds dancing to 'Bye Bye Baby\ Mark is filming. The congregation. No. and the real sadness of it all. gather and lift the coffin. clearly Jo.. are torn between smiles at the song and the stills. She looks at him curiously. totally decked in the scarf.. 'no' is the answer. 20 INT. Sarah comes and sits next to him. SARAH: Do you love him? MARK: Who? What? SARAH: NO . no. Four men. Absolutely not. in case it was the right one and you needed someone to talk to about it and no one had ever asked you so you'd never been able to talk about it even though you might have wanted to. which includes Sam s grandparents and Karen. MARK: NO.30 LOVE ACTUALLY Through the speakers wham the Bay City Rollers: the projector screen shows more shots of Jo. including Daniel.



I shouldn't be surprised and a half.. 'Puppy Love'starts toplay. That's quite a few of you. . MARK: He's done it.. Ahm..the worst in history? SARAH: Probably. TheDJis utterly absorbed in the moment. It's official. what d'you reckon .. SARAH: Worst DJ in the world. this DJ.LOVE ACTUALLY MARK: Yes.. D J: NOW here's one for the lovers.. Cut to the DJ. I think it all hangs on the next song.

I suppose. Mia . Sarah walks in as Mia leaves gracefully.34 LOVE ACTUALLY 21 INT. HARRY: And how long have you been in love with Karl. great . HARRY: settling in fine .two hours. switch off your phone and tell me exactly how long it is that you've been working here? SARAH: TWO years. . DAY. what . three days and I suppose. seven months. good. Harry. our enigmatic chief designer? Sarah is taken aback . seven months.learning who to avoid? MIA: Absolutely. of course. MI A: Sarah's waiting for you. one hour and thirty minutes. SARAH: Ahm . How you doing. HARRY'S OFFICE.she thought this was a total secret. stylish . SARAH: Hi. HARRY: I thought as much. Mia enters the office of Harry-in his mid-forties. three days and. HARRY: Oh yes.good.two years.quite a serious man but with hidden places.

She opens the door to leave and a very good-looking guy walks in. SARAH: Oh. KARL: Hi. SARAH: Like what? HARRY: Invite him out for a drink .excellent.Karl. Think about it. SARAH: You know that? HARRY: Yes. And she walks out.. For all our sakes. Thanks. Sarah. that is bad news.then after twenty minutes casually drop into the conversation the fact that you'd like to marry him and have lots of sex and babies. . SARAH: Certainly.LOVE ACTUALLY 35 SARAH: Do you think everybody knows? HARRY: Yes. boss. SARAH: (totallycasually) Hi. And so does Karl.. It's Christmas. HARRY: And I just thought that maybe the time had come to do something about it. SARAH: Do you think Karl knows? HARRY: Yes. Will do.

A local radio station. Looking through to the other side. She answers. Her phone rings immediately.fireaway. THE FAIRTRADE OFFICE. I can safely put my hand up my arse and say that's the worst record I've heard this century. I believe Billy is a guest on my friend Mike's show in a few minutes' time. Oh.oh dear me how are the mighty fallen. . could you turn that down? What is that? We realise that in the background we have been listening to 'Christmas Is All Around 23 INT. DAY. And coincidentally. RADIO STATION . DAY. We follow Sarah through the door.STUDIO ONE... DJ2 is frantically waving his arms and pointing at a copy of the schedule.'Christmas Is All Around' is just coming to an en D ji: And that was the Christmas effort by the once great Billy Mack .36 LOVE A C T U A L L Y 22 INT. Mia. She turns to Mia at her desk. DJl realizes his faux pas. DJl atthe mic. SARAH: Babe. Bill. absolutely. Welcome back.

Bill. BILLY: Except we've changed the word'love' to 'Christmas'.FOYER. DAY. Not totally happy. MIKE: And that's not you? BILLY: That's not me.LOVE ACTUALLY 37 24 INT. MIKE: SO Billy. Thanks for that.STUDIO TWO. Cut outside-Joe and Billy sitting there in the foyer. RADIO STATION . wrinkled and alone. I was greedy and foolish and now I'm left with no one.Christmas is a time for people with someone they love in their lives.when I was young and successful. 25 INT. MIKE: Wow.welcome back to the airwaves . . Bill? BILLY: Not really. Is that an important message to Christmas single cover of 'Love Is All Around'. DAY. where the stations output is on. MIKE: Yes. Mike . RADIO STATION . Michael . Ten minutes later.

like your Uncle Billy does .buy my festering turd of a record and particularly enjoy the incredible crassness of the moment when we try to squeeze an extra syllable into the fourth line. She was rubbish. BILLY: 'Come on and let it snow. MIKE: Best shag you ever had? BILLY: Britney Spears . Doesn't often happen here at Radio miserable because our fucking gamble didn't pay off.' Ouch. .38 LOVE ACTUALLY BILLY: For what? MIKE: Well. BILLY: Ask me anything you like ..I'll tell you the truth.. But. All those young popsters.'s one . they'll be stretched out naked with a cute bird balancing on their balls and I'll be stuck in some dingy flat with my manager Joe ugliest man in the world . you know as well as I do the record's crap. So if you believe in Father Christmas. children . for actually giving a real answer to a question. MIKE: I think you're referring to 'If you really love Christmas'. only do you think the new record compares to your old classic stuff? BILLY: Come on. wouldn't it be great if Number One this Christmas wasn't some smug teenager but an old ex-heroin addict searching for a come-back at any price. MIKE: Okay.. I can tell you. come Christmas Day.. . Cut to Joe's very unhappy reaction..

Let's take a stand.the dark horse for this year's Christmas Number One -'Christmas Is All Around'. I fear this is going to be a difficult one to play. This is our first really important test. Alex? ALEX: There is a very strong feeling in the Party that we mustn't allow ourselves to be bullied from pillar to post like the last government. All the Cabinet are there. Right. 26 INT. Not this time. the new Prime Minister in trouble already? Billy signals to Joe with a happy thumbs-up. We will of course try to be clever. PM: Right. . PM: Ah. JEREMY: Here.. Billy. 10 DOWNING STREET . the news .CABINET ROOM.. PM: Okay. yes. but let's not forget America is the most powerful country in the world. Big sigh. here. what's next? ALEX: The President's visit.. not to.. General grudging acceptance. Thank you. But I have decided.LOVE ACTUALLY 39 MIKE: SO here it is one more time . sitting round that famous long table. I understand that. I'm not going to act like a petulant child. DAY. After this.



A knock on the door. 10 DOWNING STREET . It is Natalie. carrying somefilesand a tray. PM: Yup-comein.42 LOVE A C T U A L L Y 27 INT. . DAY.PM'S OFFICE.

JOHN: So what do you reckon to our new Prime Minister then? JUDY: Oh. NATALIE: I was hoping you'd win . though. this is a real pleasure. The two stand-ins having sex again -on a bed-she is on top of him. They move at the same time and knock into each other.can't understand why he's not married. BOTH: Oh God. Judy. Oh God. Natalie. PM: Ha! Thanks very much. Loud music plays. for God's sake. Just always given him the boring biscuits with no chocolate. Judy. Come on. FILM STUDIO . Tony comes forward nervously with instructions. sorry! 29 EXT. It's lovely to find someone I can actually chat to.LOVE ACTUALLY 43 NATALIE: These have just come through from the Treasury. DAY. She leaves . I like him . . The tray has a tea cup . both naked.GILDED BEDROOM. JOHN: I have to say. TONY: And the move again please. DAY. JOHN: Oh. thanks. TONY'S STREET. you know the type . PM: Excellent. He smiles. Colin and Tonyarein Colin s sandwich van-itsays ' The Munch Mob' on theside.not that I wouldn't have been nice to the other bloke too..and these are for you. slamming it on the table in despair.he drops his head.married to his job. if you could just lower the nipples and cheat them a bit to the left. Ditto. Either that or gay as a picnic basket. 28 INT. TONY: Judy.with three biscuits on a plate. Thanks a lot. get a grip -you're the Prime Minister. JUDY: Thank you..

Tone-you're just jealous. COLIN'SVAN. Stateside.. HARRY'S OFFICE. Colin! NOOOOO! COLIN: Yes! TONY: Nyet! COLIN: Da! TONY: Nein! COLIN: Ja. TONY: NO! COLIN: YES! Wisconsin babes .. HARRY: Basic really . COLIN: NO! I'm wise. .I'm off in three weeks. Not my favourite night of the year . TONY: NO.find a venue . TONY: NO! COLIN: Yes! To a fantastic place called. Col! There ARE a few babes in America..44 LOVE ACTUALLY 30 I NT. TONY: That is total bollocks. DAY. MIA: Tell me.bulk buy the guacamolé and advise the girls to avoid Kevin if they want their breasts unfondled. COLIN: Nah. You know perfectly well that any bar anywhere in America contains ten girls more beautiful and more likely to have sex with me than the whole of the United Kingdom. without the weird family. I grant you.and your unhappy job to organize. looking gorgeous in a tight black dress. attractive guys.over-order on the drinks . The Christmas party.she is. it must be said. Wisconsin. DAY. Mia is there . but they're already going out with rich.. I'm Prince comes Sir Colin! TONY: NO. COLIN: Exciting news! TONY: What? COLIN: I've bought a ticket to the States . You've actually gone mad now. HARRY: Right. darling! 31 INT.

. HARRY: Really. oh Christ.. but Karen. etc. hoping to be kissed.. Suddenly real electricity in the room. DAY. this is all the time. The camera leaves them and tracks up the stairs towards Sam's bedroom door. you haven't got some horrible six-foot. Thank goodness.1 mean. DANIEL: He now spends all the time in his room .. he'll be up there now. not children . tight-T-shirt-wearing boyfriend you'll be bringing.MIA: Wives and family and stuff? HARRY: Yes ..but wives and horrid son Bernard stays in his room all the time. DANIEL'S HOUSE. DANIEL: No.. Cut to Daniel and Karen enteringDanieVs house. I'll just be hanging round the mistletoe.. KAREN: There's nothing unusual about that . 32 INT. She walks out..he sort of shakes his head in a cwake-up/whafs going on?' way. have you? MIA: NO .1 mean.. She looks at him hard. Right.

you know-1 mean clearly it's about his mum.and maybe check the room for needles. standing in the kitchen. Daniel and Karen. KAREN: At the age of eleven? DANIEL: Maybe not into his eyeballs. . the whole stepfather thing seems to suddenly somehow matter. he might be injecting heroin into his eyeballs for all I know. it's obvious he's been was always going to be a totally shit time. 33 INT.and if it's now going to ruin Sam's life as well . It was such a ridiculous waste . DANIEL: And then when he sometimes does come out. DANIEL'S HOUSE.46 LOVE ACTUALLY DANIEL: And I'm afraid that there's something really wrong.. it was his mum who always used to talk to him and I don't know. maybe just his veins. but Christ. Suddenly a wave of sorrow hits him and he starts to cry. like it never did before. KAREN: Listen . Karen just touches his shoulder. DANIEL: The problem is. DAY. Just be patient ..1 just don't know.

can you give me any clues at all? SAM: You really want to know? DANIEL: I really want to know.. Eventually Daniel takes theplunge. Sammy-o? Is it just Mum .or is it something else? Maybe. SAM: Even though you won't be able to do anything to help? DANIEL: Even if that's the case.. Daniel and Sam sit together looking out across the river.LOVE ACTUALLY 47 KAREN: Get a grip. school? Are you being bullied? Or is it . what's the problem. People hate sissies. DAY. Well. SAM: Okay.something worse .Absolutely. LONDON BENCH. DANIEL: So. the truth is . Helpful. DANIEL: Yeah. No one's ever going to shag you if you cry all the time. DANIEL: Sorry? .I'm in love. 3 4 EXT.actually.

DANIEL: Aren't you a bit young to be in love? SAM: NO. Then suddenly Karl is walkingfrom the far end of the long office towards her. It's late. I'm a little relieved. because I thought it would be something worse. no -you're right. 35 INT. He leaves.. .up furtively. but the truth is I'm in love and I was before she died and there's nothing I can do about it. DANIEL: Okay. Well. total agony. FAIRTRADE OFFICE. and I am. KARL: Night. Karl. Sarah is at her desk . exasperated. SARAH : Night. SAM: Worse than the total agony of being in love? DANIEL: Ahm.. SAM: Why? DANIEL: Well. NIGHT. Her phone rings...she is putting on a bit of make. Yup. free as a bird .he reaches her desk near the door. She watches him .LOVE ACTUALLY SAM: I know I should be thinking about Mum all the time... She answers. away. She throws her hands in the air. right. Sarah.



.Harris Street . Jamie. Jamie stands in front of a little desk. and heads off.on the living room of Jamie's chaotic but lovely French farmhouse. husband. PM: Where do you which exactly is the dodgy end? NATALIE: Right at the end of the High Street . boyfriend... Then windows start to open . PM: My sister lives in Wandsworth . some of which have little angel silhouettes cut in the wood. PM: Oh. She enters with a pile of papers andfiles. for instance? NATALIE: Wandsworth.PM'S OFFICE. there's not much to know. (She pauses) He said I was getting fat. with his suitcases deposited in the middle of the room. Seems. that'sfine.I'm well shot of him.. The PM is showing out a Minister. Naturally.. He sits down in front of an oldfashioned typewriter. I've just split up with my boyfriend actually. as he opens the door to find Natalie about to knock.. FARMHOUSE IN FRANCE. so I'm back with my Mum and Dad for a while.LOVE ACTUALLY 51 36 EXT. is opening the windows. NIGHT..Puts them down. I'm sorry./INT.. I'm starting to feel uncomfortable about us working in such close proximity every day and me knowing so little about you.near the Queen's Head. elitist and wrong. NATALIE: Sir. Natalie. 10 DOWNING STREET . that is dodgy. Back inside.. PM: Thanks.. Cut to later that night. NATALIE: NO. PM: Right. yes. And you live with your. three illegitimate but charming children? NATALIE: NO. The dodgy end. . JAMIE: Alone again. NATALIE: Well. Cut to total darkness. PM: Natalie. DAY. Then. 37 INT.

I could just have him murdered. Oh God. being Prime Minister. sir . Not a nice guy actually. She leaves.. (He appears to go back to work .the SAS are absolutely charming . PM: Right.PM: I beg your pardon? NATALIE: He says no one's goin~J the size of big tree trunks. Suddenly there's a glimpse of vulnerability in her. you saucy minx. Of course you did.ruthless trained killers are just a phone call away.I'll think about it. They both look at each other and there's a little laugh. For a moment she was sad and he's cheered her up. ..then looks up casually) You know. PM : Do . Did you have this kind of problem? Cut up to a very stern portrait of Margaret Thatcher. NATALIE: Thank you. in the end.


I understand you've got a prize for our competition winners ? BILLY: Yes. Good. She's the coolest girl in school and everyone worships her because she's heaven. Well. Come on . Little scamps! BILLY: Yeah . And even if she did. aren't you? 39 INT. DANIEL: And what does she/he feel about you? SAM: She doesn't even know my name.. DEC: Hi there and welcome back. you're fucked. full of energy. NIGHT. ANT: No. BILLY: Yes. DANIEL: We can definitely crack this. A CD: UK-type Saturday morning pop show.but very. basically. Joe is watching on a monitor in the wings. standing next to a large display of prizes. DAY. Ant or Dec. DEC: Billy.right? SAM: Yup. TV STUDIO.54 LOVE ACTUALLY 38 INT. DANIEL'S LIVING ROOM. It's a personalized felt-tip pen. I have. Jf f In . They weren't very nice about my record. Remember I was a kid once too. I saw them on the show last week. A bitlater-Sam issittingon thecouch asDanielpaces round. Billy . Ant and Dec and Billy are on's someone at school . DANIEL: Good.three weeks till Christmas and it looks like the real competition's going to be Blue. very talented musicians.. So. she'd despise me.

MARK: I'm always. MARK: I'm always nice. (Dutifully) How was the honeymoon? JULIET: It was great. this one. He draws a speech bubble above the band and then writes inside it 'we've got little pricks'. on the phone.. Marky.. Hiya kids . It even writes on glass. MARK: PETER: Great. Be friendly.. Thank goodness. inspecting an enormous photo of four naked male bottoms. Funny clicking sound.they're art. .become a pop star. ART GALLERY/PETER'S OFFICE/JULIET'S OFFICE. So if you've got a framed picture like. for's an important message from your Uncle Bill: don't buy drugs .. BILLY: Oh yes. and they give you them for free. my place. but for now. DEC: Lot of kids watching. of Blue (framed picture -a prize) you can just write on it.. Billy. Then. DAY.. A modern photograph gallery. Can I patch you through? She wants to ask you a favour. ( to the girls) Actually they're not funny..LOVE ACTUALLY 55 ANT: Oh great. JULIET: Mark? MARK: Hi. PETER: Thanks. bye! Cut to Joe banging his head against the monitor. 40 INT. And be nice. I've got Juliet on the other line. Mark is on the phone. PETER: YOU know what I mean.. And thanks for the gorgeous send-off. . Cut to Peter in his office. (On the phone) Okaylet's say Thursday. We'll see you soon. Three schoolgirls giggle in the background. Not happy... ANT: And I do believe it's a commercial break. BILLY: It's brilliant. Mark sighs. MARK: Okay-fine.

JULIET: Please.. Pause. MARK: So what can I do for you? JULIET: It's only a tiny favour.look .. as ever. MARK: Okay . is slightly taken aback by his unfriendliness. MARK: Oh no .to be honest. Juliet. .V%&: She is making the call from where she works.and I just wondered if I could look at your stuff. I didn't really.but to be honest I'm pretty sure I wiped it.~.I'll have a look .. JULIET: And I remember you filming a lot on the d a y . And the conversation is over. MARK: I'm's come out all blue and wibbly. All I want is just one shot of me in a wedding dress that isn't bright turquoise. Must go. so don't get any hopes up. I've just tried the wedding video and it's a complete disaster .

I've done fuck-all and never will because he's too good for me.. She looks at him hard. ofayoungman Sarah smacks Harry. HARRY: And of course. FAIRTRADE OFFICE.. MIA: You should. Weseeaphoto by her computer in the background. Harry iswith Sarah. HARRY: Any progress on our match-making plan? SARAH: No. Well. Good. HARRY: How true.LOVE ACTUALLY 41 INT. who is sitting at her desk. full of dark corners for doing dark deeds. your mobile goes. in mock annoyance. or something. Friend of mine works there. how's the Christmas party going? MIA: Good . good . HARRY: What's it like? MIA: Good. DAY.think I've found a venue. Harry smacks her back .then Sarah's mobile begins to's an art gallery. HARRY: Right. I suppose I should take a look at it.. ( Walking over to Mia) So. right. ..

Eléonore. ELÉONORE: And you stay here till Christmas? JAMIE: Yes. .FRONT DOOR. ELÉONORE: Ah. ELÉONORE: Good. Am I sad. with a nice thick French accent. FARMHOUSE IN FRANCE. you bring a lady guest? JAMIE: Ah. FARMHOUSE IN FRANCE . Jamie opens the door to a confident. Monsieur Bennett. DAY. no . It's just me. ELÉONORE: Bonjour. He leaves the desk. She is clearly in charge of the house in some way. Eléonore. Well. Cut to Jamie typing in France on an old-fashioned typewriter and paper. JAMIE: Bonjour. 43 INT. Welcome back.change of situation. middle-aged French woman. The doorbell rings./EXT. or not sad? JAMIE: I think you're not surprised. This is Aurelia. DAY. I find you a perfect lady to clean the house. And this year.58 LOVE ACTUALLY 42 INT.

wearing a very ordinary cheap dress under a red overcoat. Ahm . AURELIA: JAMIE: {very quietly) Bonjour. Amelia -a pleasant enough looking dark-haired woman . ELÉONORE: Which is what? Turkish? . she cannot speak French.Eusebio. ELÉONORE: Unfortunately. Anyway. ELÉONORE: And perhaps you can drive her home at the end of her work. He moves back towards the house.Aurélia. He mimes a little bit of football. standing back nervously. Con grande plesoro. JAMIE: Bonjour. Ahm . molto bueno. She is Portuguese.The shot widens to reveal.and 'molto bueno' is Spanish. Ahm... JAMIE: Ah. it's nice to meet you.. Jamie moves out to greet her.about twenty-eight.. JAMIE: Absolutely. Just like you. She looks puzzled. {very bad accent) Je suis t-t-très heureux de vous avoir ici. right.bon giorno. ELÉONORE: I think she is ten years too young to remember there was a footballer called Eusebio . JAMIE: Right.

DAY. G-g-great band. Cut inside the front door.oh shut up. PRESIDENT: SO is she . 10 DOWNING STREET . 'Ooooo-ooo-ooo'. Total silence. 46 INT. As the Tremeloes said. pathetic. DAY. the difference is that you're sickeningly handsome whereas I look increasingly like my Aunt Mildred.LOVE A C T U A L L Y 44 INT. very charismatic man. 45 EXT. . welcome. I'm sure..although she would have been kind of lonely. Just never been able to tie a girl down. The PM and President shake hands at the door. He just goes back to driving.these two are kings of their domains -but the PM's style seems quieter.. Though I think the original version was by Frankie Valli and the Four Seasons. PRESIDENT: Really? I never found that. Two large official-looking cars accompanied by police sweep through the gates . He looks at the gorgeous valley they are driving through. I'm sorry your wife couldn't make it by the way. He is a glamorous. JAMIE'S CAR IN FRANCE.ENTRANCE HALL. PM: Come on through. She looks puzzled. and more modest against the American s sexy confidence. Jamie getting embarrassed. right. isn't it. arbore.. DAY. 10 DOWNING STREET. There are lots of people . I'm not sure politics and dating really go together. She just looks slightly perplexed.. JAMIE: Bello. well. bella../EXT. Clever guys. PM: Yes. PM: Mr President.members of the Cabinet.. No.and outofthe fi one steps the American President. Amelia and Jamie in the car. Silence is golden. Dramatic cut to huge crowds outside Downing Street -bright sunshine.. PM: Yes.. Montagno.


They walk up the stairs. PM: I'm very jealous of your plane by the way

{laughing) Thank you. We love that thing, I'll tell you.

They pass Natalie. PM: Ah, Natalie. Hi. PRESIDENT: Morning, ma'am. How's your day so far? Natalie acknowledges them with a smile and continues down the stairs. Excellent ...{To thePM) My goodness, that's a pretty little sonofabitch right there. Did you see those pipes? PM: Yes, she's... terrific... at her job.

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47 INT. 10 DOWNING STREET - SMALL MEETING ROOM. DAY. A mixture of American and British officials sit round a table, including the PM and the President. The experts are talking. PM looking intently on. The meeting is very tense. It's clearly been going on for hours - lots of files and papers around. AMERICAN EXPERT: NO. Absolutely not. We cannot and will not consult on that either. ALEX: That is unexpected. PRESIDENT: Well, it shouldn't be. The last administration made it perfectly clear we are just being consistent with their policies. ALEX: But, with all respect, sir, they were bad policies. The PM is clearly on Alex's side - but he is taking his promised moderating stance. PM: Right - thanks, Alex - 1 don't think we're making progress here. Let's move on, shall we?

48 INT. 10 DOWNING STREET - PM'S OFFICE. NIGHT. The PMflopsdown on thecouch. It's the end of the day. The President is sitting opposite him. PM: Well, now, that was an interesting day. PRESIDENT: I'm sorry if our line was firm - there's no point tiptoeing around today and then just disappointing you for four years. I have plans - and I plan to see them through.

PM: Absolutely. Now, there's one final thing I think we should look at - very close to my heart - if you could just give me a second. He gets up. PRESIDENT: I'll give you anything you ask for - as long as it's not something I don't want to give. PM walks out into the corridor-passing Natalie on the way with a tray of drinks. He waves at her in the awkward way of a man in love.


The camera continues to follow him. Pathetic. He goes into a second office, grabs afileand walks back towards his study. He enters and something odd is going on. The Presiden tand Natalie are standing in a guilty proximity-his hand touching her hair. She blushes completely and moves a foot away. The President is unthrown. Something weird happens to the sound for a second this is awful for the PM. PRESIDENT: Great Scotch. NATALIE: I'll be going then.

. but the President stares nonchalantly back at him. past the PM. her head bowed. She leaves. The PM's face starts to reveal a hardening determination. NATALIE: Thank you. The PM is clearly quite shaken by whafs happened.1 hope to see much more of you. PRESIDENT: Natalie . sir. as our two great countries work toward a better future.LOVE ACTUALLY 65 She begins to walk out. He's had a thought.



KAREN: I love her and true love lasts a lifetime. HARRY: What is this we're listening to? KAREN: Joni Mitchell.PM'S OFFICE. KAREN: No it isn't. NIGHT. And what did I do . KAREN'S HOUSE. His Cabinet are very proud and over-excited. It's Harry from theFairtrade office. or the one that looks like a dominatrix? . Joni Mitchell is the woman who taught your cold English wife how to feel. I must write to her sometime and say thanks. NIGHT. PM: Yes. KAREN: Have you gone completely insane? PM: YOU can't be sensible all the time. KAREN: No you won't. PM: I'll call you back. Karen is on the phone. PM: Oh dear. The trouble with being the Prime Minister's sister is that it does put your life into rather harsh perspective.68 LOVE ACTUALLY 50 INT. KAREN: YOU can if you're Prime Minister. how can I help you? 51 INT. 10 DOWNING STREET . HARRY: Did she? Oh well. The PM picks up.1 made a papier mâché lobster head.the one that looks like a transvestite. that's good.What did my brother do today? He stood up and fought for his country. She hangs up and turns to her husband. A cluster of people around the PM in his office. Enter PM's secretary. KAREN: Now which doll shall we give Daisy's little friend Emily. PM'S SECRETARY: It's your sister on line four. It's the Chancellor of the Exchequer on the other line. I'm very busy and important. HARRY: I can't believe you still listen to Joni Mitchell.

'Jump' by The Pointer Sisters.LOVE A C T U A L L Y 69 52 INT. The PM very casual. A golden oldie for a golden oldie. its backing vocals. Atfirstthe PM hardly reacts -but then as the song continues he begins to join in in little ways.. very alone. . it's almost enough to make you feel patriotic. 10 DOWNING STREET .. He is getting ready for bed. RADIO VOICE: In kicks a cracking tune. .its off-beats. NIGHT. He clearly really knows the song.if s been a good day. So here's one for our arse-kicking Prime Minister. He starts to dance.. I think he'll enjoy this.PM'S BEDROOM. The radio is switched on by his bedside. .

70 LOVE A C T U A L L Y .

out another. er.. Amelia enters . Can we move the Japanese ambassador to four o'clock tomorrow? PM'S SECRETARY: Certainly. NIGHT.STAIRCASE. The PM is really rocking now. 55 INT.CORRIDOR. 10 DOWNING STREET .) AURELIA: Thank you very much . PM: Yeah.but no .I've got one of those constitutions where I never put on weight. FARMHOUSE IN FRANCE. 54 INT. JAMIE: Would you like the last. For a moment he doesn't see her. NIGHT. Just dont go eating it yourself-you re getting chubbier every day. That's all right-more for me. JAMIE: AURELIA: JAMIE: I'm lucky. Thanks so much. Jamie is eating breakfast. DAY.. She smiles. He offers her a croissant. Then he does.. (From now on when speech is in Portuguese. youd understand why. sir. 10 DOWNING STREET .takes his coffee cup off the pile of papers.if you saw my sister.LOVE A C T U A L L Y J\ 53 INT. ahm.. .. The PMfunks down the staircase. I've been thinking. Mary. His secretary enters. 10 DOWNING STREET .. PM: Terrific. 56 INT. The PM dances across the corridor-through one door.BIG MEETING ROOM. it's in italics. NIGHT.

He picks up the telephone. But the pages are flying awayand heading in the direction of the lake at the end of the garden. putting the finished papers under his coffee cup . . Amelia comes with afresh cup of coffee and takes the old cup off the pile of papers. Jamie finally answers. it's half the book. as she has done's a lovely big ramshackle garden. Aurelia leaps to grab them-and so does Jamie. There's a friendship developing.LOVE ACTUALLY She looks at him and smiles. But this time. oh God. ( worried) Oh n o . Jamie is typing outside in a jumper. eventually finding it in between the pages of a manuscript.they search for it. Laughing. FARMHOUSE IN FRANCE . AURELIA: JAMIE: Oh my God. with a lake. because it's outside.. I'm so sorry. Oh my God. JAMIE: Hello? It's actually his mobile. JAMIE: Thank you.GARDEN.. moving the cup suddenly lets all the papers fly. DAY. Hello? 57 EXT. . The phone rings. thinking that is what is ringing. which is still ringing. .

:.-. X . . -.lem-but a huge heap have headed into the water...

it's cold! . stop! Jamie starts to head after her. just leave it.. Oh God. Time slows down. please. Jamie watche It's an unexpectedly lovely body under her funny old clothes. It's all just rubbish-please... and now she'll think I'm a total spas if I don't go in too... then whips off her dress to reveal just pants and a bra.. They're not worth it. Stop. she's in.74 LOVE A C T U A L L Y JAMIE: ( calling out) Just leave them. AURELIA: Fuck. they're not important. But she dives in. He heads towards the water pulling his jumper off. . She gets to thewater's edge and hesitates for a moment.

JAMIE: Just stop! Stop! AURELIA: What kind of an idiot doesn't do copies? JAMIE: I really must do copies. You know.. AURELIA: This stuff better be good.LOVE ACTUALLY 75 Jamie jumps in clumsily. there better not be eels in here I can't stand eels. JAMIE: Fuck.. AURELIA: Try not to disturb the eels. it isn't bloody Shakespeare.... AURELIA: I don't want to drown saving some shit my grandmother could have written. JAMIE: It's not worth it.. it's freezing. Fuck! They swim around after the floating papers. . JAMIE: Oh God-what the hell is that? As he thinks he feels an eel. you know.


« MMMu .

AURELIA: It's the saddest part of my day. She points to the pages and mimes tears. Kind. They both look away.. They look at each other. DAY. Murder. AURELIA: Maybe you could name one of the characters after me.. I know. She catches him looking at her. JAMIE: Or I could give youfiveper cent of the profits. Aurelia is in a chair near his table with a rug over her shoulders.. He gets what she's saying. sometimes scary-sometimes not. . Si.mimes a stabbing knife-murder. JAMIE: Yes.LIVING ROOM. JAMIE: Ah. I'll name one of the characters after you. A slightly awkward pause.. AURELIA: Ah . crime.. JAMIE: Thank you. DAY... laughter. Jamie comes in from the kitchen with a cup of coffee. She starts to get up. FARMHOUSE IN FRANCE .78 LOVE ACTUALLY 58 INT. They drive along. Mainly scary how bad the writing is. driving you.thriller. JAMIE: Scary? Yes. JAMIE: It's my favourite time of day. AURELIA: Frightening? She mimes a scared face. he looks at her-her hair still wet.. then a heart. Cut to a few minutes later. And then later you 11 drive me home? She mimes driving. 59 INT. She looks at him.yes./EXT.. leaving you. Or give me 50per cent of the profits. AURELIA: Yd better get back to work. AURELIA: What kind of book is it? Kind. He nods 'yes'. Thank you so much.. Crime. JAMIE'S CAR AND FRENCH SCENERY.

MARK: Oh right. heads to the door and opens it.. .60 INT. He switch eslthe TV off. clearly just having been to a coffee shop. lucky y JULIET: Can I come in? MARK: Ah-yeah-I'm a bit busy but. The doorbell goes.. MARK'S FLAT. I Mark isathome. JULIET: Banoffeepie? MARK: No. thanks. It wouldhave broken my heart if you'd said 'yes'. Tf s Juliet. JULIET: Thank God. Well. He is watching Billy's video for 'Christmas Is All Around' obi children s Saturday morning TV. DAY.

wow. JULIET: Great. I thought I might be able to swap it for some pie. ( Producing them from her pocket) Munchies? MARK: Actually I was being serious .. She moves towards the telly and puts the tape into the machine..80 LOVE ACTUALLY Juliet comes in anyway. JULIET: There's one here that says 'Peter and Juliet's Wedding' . So she heads on again.. We've never got... She sits . She's a bit hurt at how little he has given back -but it just sums up how little he likes her.he stands as the video starts to play. It would be good if we could be friends. Absolutely. . (He demurs) Don't argue...1 don't know where it is. But I just wanted to s a y . I'm nice ...that's lovely.. JULIET: I was just passing and thought we might check that video thing out.. I look quite pretty. this is exactly what I was hoping for.... JULIET: Mark-can I say something. Well done you! And a shot of her during the priestly stuff. Apart from my terrible taste in pie. . and then.well . JULIET: Oh bingo . I'll have a poke around tonight. I had a real search when you first called and couldn't find any trace of it.yes . Mark. Thank you so much. . MARK: I've probably taped over it. It begins with a shot of her coming down the aisle... almost everything has episodes of West Wingon it now.. or maybe.. s o ..1 hope it can change... MARK: (notvery comfortable) you think we might be on the right track? MARK: Ah . JULIET: Do you mind if I just. And I know you've never particularly warmed to me. JULIET: I know you're Peter's best friend. MARK: ( a bit coldly) Absolutely. friendly..that could be it. MARK: Doesn't mean we'll be able to find the video though.1 really am.. That's gorgeous..

.. . haven't you. The camera moves to Juliet's divine laughing..all the time. She turns back andMarkputs his face into his hands. There's no one else in this video .and now everything is becoming clear. One close-up after another of Juliet. She looks around at Mark. Then Juliet during thefirstdance -just her face . blushingface . You've stayed rather close.Peter's nose just coming into frame momentarily once in a while.. He's looking at her.LOVE A C T U A L L Y 8l He stands silently in the background.

JULIET: But you never talk to me . I've got to get to a. Early lunch. who works here? ANNIE: The chubby girl? PM: Would we call her chubby? ANNIE: I think there's a pretty sizeable arse there. ANNIE: It's done. You can just show yourself out. There is a knock on the door-it's Annie. you see. my dream. 62 INT. Nothing impatient here-he just can't go there. MARK'S FLAT / LONDON STREET. 10 DOWNING STREET .. It needs a bit of editing. MARK: Yeah..then turns) It's a self-preservation thing. He heads through the Coin Street shops to the river's edge. Juliet dressed in going-away clothes.82 LOVE ACTUALLY And then the end of the day. whatever. The tape comes to an end-turns into a flicker. Mark hesitates and turns to go back a couple of times but finally walks away-sad music plays. . DAY. She leaves. JULIET: They're all of me. always talk to Peter.Yes. personality thing. (He heads towards the door.. MARK: Hope it's useful. You don't like me.. Pause. PM: Don't ask me why. can't you.and for heaven's sake don't read stuff into this .Yeah. PM: Well.. lunch.but I wonder if you could redistribute her. ANNIE: Of course.PM'S OFFICE. Look.. 61 EXT. Huge thighs. DAY. I need you to do a favour for me. I'm sure she's a lovely girl . Anything for the hero of the hour.. my boat. Cut to outside the house. my darling. Don't show it around too much. sir. PM: Annie. They are both frozen. waving goodbye. Pause. You know Natalie. yes. He takes in what he's's just a weird.

DANIEL: Your girl is American? SAM: Yes . Daniel is in his office. NIGHT. as best he can good enough to fool Sam. .he is looking sadly at a picture of his Joanna. DANIEL: Let's have it.LOVE ACTUALLY 83 63 INT. Can't sleep? SAM: I got some terrible news today. DANIEL: Hey Sam-o. Come on. who enters in his pyjamas. very late. DANIEL'S HOUSE .she's American and she's not my girl and she's going back to America and that's the end of my life as I know it. We need Kate and we need Leo and we need them now. We've caught him at a bad moment. DANIEL: That is bad news. The door opens-he snaps out of it. SAM: Joanna's going back to America.OFFICE.

there isn't just one person for each of us. NIGHT. Cut to a few moments later. DANIEL'S HOUSE .. A possibility is gone. Sammy. DANIEL: Though you know.PM'S OFFICE. She's the one.LIVING ROOM. in the end. He asks her. Sad music plays. PM: Yes. 'Do you trustmeV ll trust you. SAM: There was for Kate and Leo. There was for you. NEW WOMAN: Prime Minister. A knock on the door-he almostflinches. Daniel takes this in. their arms outstretched. DANIEL: Fool! Daniel grabs Sam and tickles him. Same as Mum. PM: Thank you. Cut to the hoys with arms outspread as well. thinking. etc. 10 DOWNING STREET . The PM is working. And her name's Joanna? SAM: Yeah. NIGHT. He lifts his finger in a distinctive 'one' movement. They stand up on the railings. 66 EXT. Aurelia comes out of the house with more of his bags. He looks at her. DANIEL: Fair enough. 65 INT.. I know. FARMHOUSE IN FRANCE. The door opens slowly. Daniel stands behind Sam. . It is a woman with tea .wine and cheese and strings of garlic. DAY. They are watching Titanic where Leo has taken Kate to the ship's bow to watch the sunset. There is for me. DANIEL: Do you trust me? SAM: I trust you. Cut to Jamie putting his cases and lots of Frenchy presents .84 LOVE ACTUALLY 64 INT. Theyfall back on to the sofa laughing. in the car. I'm sure she's unique and extraordinarybut general wisdom is that.not Natalie. They sit in silence.

So she simply leans in and kisses him gently on the mouth and walks away. He smiles at her-none the wiser. AURELIA: Thankyou. A cold. colliding with the car behind him. He gets out with her and puts forward his hand to shake it. Grande tradizione di Christmas presents stupidos. Grande familio. andyourvery bad driving.. She takes it and shakes it. Cut to Jamie dropping Amelia off at the edge of the town.. I will missyou and your very slow typing. urban environment. MARSEILLES STREET..... He stops and thinks and then sets off again. Then. 67 EXT. He gets into his car and pulls out without looking.LOVE ACTUALLY 85 JAMIE: Apologia. DAY. JAMIE: Well-goodbye. a little dazed and confused. .

. .

Cut to the video ofBilly's pop song. A thought goes through Sam's mind. The camera stays with Sam.68 strongly resembles Robert Palmer's 'Addicted To Love'-but the seven sulky girls are all dressed in tiny red Santa dresses. . LONDON STREET. He is watching the video in the window ofa record store. We see Sam's face peering. DAY.

What do you think? DANIEL: I think it's brilliant. NIGHT.88 LOVE ACTUALLY 69 INT. Meatloaf definitely got laid at least once. 71 INT. very late at night. Apart from the one obvious. SAM: Girls love musicians.CORRIDOR. DAY. SAM: That I don't play a musical instrument. don't they? Even the really weird ones get girlfriends.and Joanna's in it and I thought maybe if I was in the band and played absolutely superbly. Tell me. SAM: Daniel! I have a plan. there's this big concert at the end of term . For God's sake. DANIEL: Yes. She is looking quite lovely. Cut inside. Loud noise of drumming. GALLERY. sir. NIGHT. DANIEL: That's right. The drumming continues .and forms the basis of the music over a short montage that sees us getting closer and closer to Christmas... NIGHT. baby little hiccough.type thing on her office desk. repetitive drumming. Daniel is working. SAM : A tiny insignificant detail. I think it's stellar. DANIEL'S HOUSE . 72 I NT. FAIRTRADE OFFICE. SAM: Whatever. Ringo Starr married a Bond girl. . DANIEL'S HOUSE .OFFICE. 70 INT. walks past Sams room -from inside which comes the sound of totally obsessive. Sarah putting up a very modern little tree. beside a huge graphic naked photo. tiny little. DANIEL: Thank the Lord. We see Karl getting a drink and Sarah standing a bit nervously on her own. Daniel. there's a chance that she might actually fall in love with me. Harry talks to Karen. Sam bursts in. Music is playing and Harry's office party is in full swing.

Cut to Mark dancing with a hectic short girl MIA: NOT my boyfriend.. pretty tonight.. sure. HARRY: Sorry? MIA: ( leaning in close to whisper in Harry's ear) It's all for you. MIA: Any chance of a dance with the boss? HARRY: Yes. tapping Harry on the shoulder. HARRY: You're looking very. As soon as she's gone. as girls can do at Christmas.. Cut to Karen elsewhere.LOVE ACTUALLY 89 KAREN: I suppose I'd better do the duty round. Little pause. HARRY: You're a saint. sure.. MIA: It's for you.. .. She spots Harry and Mia starting to dance.. She is looking absolutely devastating. As long as your boyfriend doesn't mind. just talking sweetly to a very dull couple.. Mia is there. sir. with a tight red dress and a tiny pair of devil's horns.

The end of a long day . He heads upstairs.90 LOVE A C T U A L L Y 73 INT. 74 INT. parked near a couch in the corner ofa too big room. he turns the telly on . Papers in front of him. PARKINSON STUDIO.'s Billy Mack on Parkinson. andfinallysettles down in front of the TV. PARKY: Well. How is it looking so far? . NIGHT. this must be a very exciting moment for you . A single man in a big house.fighting for the Christmas Number One. 10 DOWNING STREET.the PM is looking tired as he wanders through 10Downing Street.

But I'm hoping for a late surge. SARAH: I suppose it's his job to dance with everyone. PARKY: Do you mean that? BILLY: Of course I mean it. a romantic tune begins. They have to get closer and they seem tofitpretty well together. you old flirt? He gets up and heads over to Parky. 76 I NT. Cut to Karl and Sarah in a car together-the music plays on.. Sarah is still in a state of shock. 75 I NT. Parky laughs. unbuttoning his trousers. . Harry and Mia are flirting and laughing together as Sarah and Karen watch on.. PARKY: That'll never make Number One. CAR... Blue are outselling mefiveto one. SARAH: No.. KARL: Just one dance? Before we run out of chances.. GALLERY. A perky tune plays.. NIGHT.. A moment of happiness. isn't it? KAREN: Some more than others. The party again. but the second they start to dance. The audience laughs and the PM laughs too. NIGHT.g o o d .t h a n k s . n o . Want a preview.LOVE ACTUALLY 91 BILLY: Very bad indeed. I promise to sing the song stark naked on TV on Christmas Eve. Suddenly Karl is there. SARAH: Who-me? KARL: Unless you. And if I reach Number One. Michael..y e s ..



. Good. SARAH: Okay. Later in Sarah's hallway. . She tries to play it cool.HALLWAY. I don't have to go. He's very straight-faced. SARAH'S FLAT . She just mustn't leap up and scream. SARAH: Would you just excuse me one second? KARL: Sure. He kisses her-first on the cheek-and then on the lips. Pause. NIGHT. KARL: Actually. SARAH: Right. SARAH: Good-night. That's good. KARL: Good-night. It's not that she's smug about this .94 LOVE ACTUALLY 77 INT.. She walks round the corner and silently yet hysterically leaps up and down with utter delight-and then calmly walks back's the best moment of her life. KARL: Well. I better go.

.LOVE ACTUALLY 95 78 INT. .. SARAH: I'd better answer that. NIGHT.Sarah hesitates.. Why don't you come upstairs in about ten seconds. He looks up as she continues to undress. SARAH: Okay.. He carefully takes ojf his overcoat. She leans across him to answer the phone and covers herself up. She looks at him as he strokes her face and they kiss again.. SARAH'S FLAT . Ojf comes his jacket and then his shirt. She is tidyingfrantically-then Karl enters. KARL: You're beautiful. that's done..BEDROOM. Not a graphic sex scene. And then the phone starts to ring.. The person on the other end is talking a lot.HALLWAY. 79 INT. Soft music plays. They both look in its direction . She removes her bra. and then. He awkwardly pulls her dress over her head.. NIGHT. but what happens next is that he lies down. SARAH'S FLAT . KARL: Ten seconds. now only in his underwear and she sits up on him. There's apause and then they rush together and start kissing.

and then we have a few more moments of away. yes. Sarah sits on the floor by the bed.. darling.. (She hangs up) Sorry about that. I'm glad to do it.. No. if you want me to come over. it's my job to keep an eye on him. Yes.96 LOVE ACTUALLY SARAH: Hello. not my 'job' . I'm not busy. it's fine. SARAH : It was my brother. Karl looks at her ..obviously...but they're worlds apart. Okay. Only the bed between them ... She glances at Karl. No. Okay-I'll talk to you later. we'll find the answer and it won't hurt any more.. life is full of interruptions and complications.. waiting. don't . She watches it ring. I will. Karl sits quietly by the bedside. exorcism. it's fine. She slips sideways off Karl and they sit apart on the bed. I'm not quite sure it's going to be possible to get the Pope on the phone tonight. Yes.between the two of us. Bye bye.. but then the phone goes again. Well I'm sure Jon Bon Jovi is as well and I'll definitely look into it. I mean. KARL: No. KARL: That's okay-1 mean. Sad music plays. Of course..and reaches over and answers. Oh.. And Karl puts his head in his hands. Right. it's not reallyfine. SARAH: NO... No . I'm sure that he's very good at. but... .little darling . I'm not busy. I mean. He leans in and kisses her. KARL: I'm sorry... please. Right. She looks at Karl . KARL: Will it make him better? SARAH: NO. And sort of there being no parents now and us being over is what it is. oh. SARAH: Hey. He's not well.. KARL: Then maybe.. He calls a lot..surprised and slightly hurt. So.. how you doing? Right. Karl sits patiently on the side of the bed... don't answer? Pause. Hello.

BEDROOM. KAREN: It's true. HARRY: Is she? KAREN: YOU know she is. Be careful there. Red underwear. . Cut back to Harry. Startling figure. darling. 81 INT. She slips off her dress shyly. KAREN: Mia's very pretty.though I felt fat. slipping off her dress in her seductive bedroom. MIA'S BEDROOM. The sad music continues to play over Harry and Karen in theirbedroom. HARRY: I always think Pavarotti dresses very well. She is a little bigger now. NIGHT. watching her. NIGHT.LOVE ACTUALLY 97 80 INT. Nowadays the only clothes I can get into were once owned by Pavarotti. Mia. KAREN: That was a good night . KAREN'S HOUSE . HARRY: Oh don't be ridiculous.



82 INT. HOSPITAL. NIGHT. Cut to Sarah and her brother Michael in a high-security hospital ward. Very bare. A lonely room. He is a terrible version of the young man we saw in the photo on her desk. Ghostly, pale, with dirty hair-a different weight. They are sitting opposite each other. He just looks at her.

Have you been watching stuff on TV? No... Every night.


Oh good. Every day... The nurses are trying to kill me.


Nobody's trying to kill you, babe.

Pause. He suddenly lifts his hand to hit her. A male nurse moves to protect her. Sarah takes the raised hand and says, very gently... Don't do that, my darling. Don't do that.

83 INT. KAREN'S HOUSE - BEDROOM. NIGHT. Cut to Karen, lying awake beside Harry, very sad. She knows in some way she's lost him. She looks across at him, then turns over, a tiny tear gathered in her eye.

84 INT. FAIRTRADE OFFICE. DAY. Next day. A slightly post-party mood. Harry comes out of his office. Mia is sitting at her desk. Right. Back at three - Christmas shopping - never an easy or a pleasant task.

He heads out- butjust before he's gone... MIA: Are you going to get me something?

Ahm - 1 don't know - 1 hadn't thought.

There's a new sexual tension between them. Where's Sarah by the way?

MI A: She couldn't make it in today. A family thing. HARRY: There's a word for hangover I've never heard before. See you later. MIA: Yes. Looking forward to it. A lot. And he heads out, all perplexed by how he's feeling.

85 EXT. LONDON STREET. DAY. Cut to Harry walking down the street- it's all hugely Christmassy now - trees and lights everywhere. He thinks - then fatally and casually takes out his mobile phone and speed dials. HARRY: SO - are you going to give me something? MIA: I thought I'd made it clear last night. When it comes to me, you can have everything.

86 EXT. LONDON STREET. DAY. Back to Harry now in a bustling square, on his mobile. HARRY: SO - ahm - what do you need - something along the stationery line - are you short of staplers? MIA: NO, I don't want something I need. I want something I want. Something pretty. HARRY: Right. Right... He closes his phone- disturbed by this exchange. Then spots Karen in the crowd and waves. KAREN: Sorry I'm late - had to drop off Bernie at rehearsal.



87 INT. SELFRIDGES DEPARTMENT STORE. DAY. KAREN: Right - you keep yourself occupied for ten minutes while I do the boring stuff for our mothers. She heads off. He quickly looks around - and sees the jewellery section. Pauses and heads for it. He reaches a counter and sees exactly what he wants. The person serving is busy -but then suddenly, a new voice... RUFUS: Looking for anything in particular, sir? He is a very particular looking man, very accurate, slightly camp, with a very particular tie. HARRY: Yes... ahm. That necklace there... how much is it?
RUFUS: It's £270.

(this is a moral as well asfinancialdecision) All right. I'll have it.

It is a beautiful, delicate gold heart necklace. RUFUS: Lovely. Would you like it gift-wrapped?
HARRY: Yes, all right. RUFUS: Lovely.

He takes the necklace out-and puts it in a little box. Just pop it in the box... there. HARRY: Look, could we be quite quick. RUFUS: Certainly, sir. Ready in the flashiest of flashes. In a very trained manner he cuts two feet of the ribbon - wraps it round the boxthen wraps it round again. Then ties it. There. HARRY: That's great. RUFUS: Not quite finished. Rufus opens a drawer-and takes out a see-through cellophane bag. All the while, Harry is looking round nervously. HARRY: Look, actually, I don't need a bag - 1 can just put it in my pocket. RUFUS: This isn't a bag, sir.

. HARRY: Want a bet? Looking round more frantically.HARRY: Really? RUFUS: This is so much more than a bag. RUFUS: YOU won't regret it. He twists the top of the bag and ties the cinnamon stick on it. He opens the bag. Harry continues to look worried. HARRY: Actually. RUFUS: 'Tis but the work of a moment. There.. HARRY: Almostfinished?What else can there be . HARRY: What's that? RUFUS: It's a cinnamon stick.. I really can't wait. opens another drawer. sir.. Then he opens another drawerand takes out a four-inch stick of cinnamon. sir. RUFUS: Prontissimo. Almost finished. please. Then some lavender .are you going to dip it in yoghurt and cover it with chocolate buttons? . and takes out little dried roses. HARRY: Could we be quite quick.and sprinkles it in the hag.

TONY'S FLAT. TONY: You're not actually going ahead with this genuinely stupid plan? COLIN: Bloody am.. just leave it. We see Colin outside a slightly tackyflat. Karen is right there. RUFUS: This is the final flourish. Rufus is bitterly disappointed... HARRY: Leave it .LOVE ACTUALLY 103 RUFUS: No.. HARRY: NO! No! ! No bloody holly! RUFUS: But sir. HARRY: N o . KAREN: Loitering round the jewellery section. very single man s expectations are not that high after thirteen years. COLIN: Hey! TONY: What are you doing here? COLIN: Had to rent out my flat to pay for the ticket. He rings a doorbell.. Tony opens the door to a soaking. HARRY: Can I just pay? He is looking desperately round. RUFUS: But you said you wanted it gift-wrapped. They walk out of the store. . We're going to pop it in this Christmas box. sir. It's a pretty small. KAREN: Don't worry. Think this backpack is full of clothes? Like hell it is it's chock-a-block full of condoms.. unimpressive..It's raining. HARRY: I did-but. DAY. I see..I was just looking. 88 INT. HARRY: But I don't WANT a Christmas box. Mr Oh-But-You-Always-Love-Scarves... Harry bounces away from the counter./EXT.leave it.. sir. backpack-carrying Colin. Rufus is putting on a protective glove. RUFUS: All I need now is a sprig of holly. Because sure enough.

. FILM STUDIO.can't a man have any secrets? KAREN: Well.and takes it out it is a small flat box. JUDY: No. 92 thank you. DAY. hurry up.. NIGHT. TONY: Excellent.' . or at least near. we've been waiting for hours.we could just maybe go and see something Christmassy or something. ahm. and the baby Jesus was in his manger. sorry for being a bit forward. Excellent. Normally I'm really shy about this sort of thing . then heads into the living room . 90 INT. She is miming a blow-job. I was just. Keep that going. She opens it. you know.where a now total body-suit lobster and very hip angel await. It's the first-ever preview.. obviously you don't have to if you don't want to.. FILM STUDIO. still drumming. I'm rambling now... that'd be lovely. this time a gilded bathroom. Harry.. Perfect. but you don't fancy going for a Christmas drink.takes me ages to get the courage up . She smiles and puts it back. 91 INT..104 LOVE ACTUALLY 89 INT. the has a delicate gold necklace in it. JOHN: Oh great. KAREN: Explain to me again why you're so late? HARRY: Oh for heaven's sake. woman . DANIEL'S HOUSE .CORRIDOR.. NIGHT. She goes to hangup his coat. And cut on to the next position. He winces. Karen is whipping off Harry's coat. his face. NIGHT. JOHN: Look. KAREN'S HOUSE. Daniel passes the door of Sam's room. In the pocket she feels something. John and Judy on the set. nothing implied . She sits on. JOHN: That is really great.. is sat and ready. 'It was a starry night in ancient Jerusalem.

He's also carrying some Christmas present bags . JAMIE: not English he's learning. UNDERGROUND STATION..this is clearly someone who takes Christmas seriously. Cut to a huge. We pan across people learning English. LANGUAGE STUDENT i: Sherlock Holmes is not a real detective. neon-lit room. this is a very bigfish! It tastes delicious. JAMIE: My goodness.II! I 93 INT. (in Portuguese) I've got a terrible stomach ache. LANGUAGE SCHOOL NIGHT. A group of people are coming past the camera . Portuguese. LANGUAGE STUDENT 2: (in Russian) Is this the way to the train station? LANGUAGE STUDENT 3: I would like half a pound of of them is Jamie. And one of the students is Jamie. An underground station escalator. He gets closer and we see he is wearing earphones. . even if not sounding very.trying to act convincingly. practising out loud-butifs If s Portuguese. from every corner of the world. with big earphones. LANGUAGE STUDENT 5: Milton Keynes has many roundabouts. LANGUAGE STUDENT 4: I would like a one-day travel card. 94 INT/EXT.. DAY. It must have been the prawns. It's full of people atformica desks listening to tapes. and apparently talking to himself.

wrapped in white with gold stars. NIGHT. Another tree. Farewell. We see a view of the airportfrom the outside. Cut to Heathrow Airport. HEATHROW AIRPORT. COLIN: Take me to a bar. TONY: COLIN: You'll come back a broken man. Yeah. There's a card. What kind of bar? TAXI DRIVER: COLIN: Just any bar . back broken . TONY: YOU COLIN: NO. Colin gets into a cab. I am on Shag Highway.106 LOVE ACTUALLY 95 INT. She picks up a square package. She opens it.just your average American bar. are on the road to disaster. She smiles. DAY. .she's very delighted. It twinkles like the Holy Grail.LIVING ROOM. failure! America-watch out! Here comes Colin Frissell! And he's got a big knob! 97 EXT. MILWAUKEE AIRPORT / WISCONSIN .. heading west. NIGHT. NIGHT. 'Sorry I'm such a grumpy bugger XX Bad Harry' The package is exactly the size of the necklace case . MILWAUKEE AIRPORT / WISCONSIN. Her husband's handwriting. Total snow.CAB. 98 EXT/INT. Tony and Colin are just coming up the escalator. As Colin heads towards customs he shouts these final words. It's Karen late at night. KAREN'S HOUSE .from too much sex. 96 INT..

are you from England? He turns and looks at her-she's exquisite.. STACEY: That is so cute.. . She's also completely stunning. King of beers. Just imagine the most gorgeous American girl you've ever seen. He goes to the bar. A girl sits at the bar next to him. Hi . BARMAN: Can I help you? COLIN: Yes .LOVE ACTUALLY \0J 99 INT.there's not much going on-a typical American bar-just a juke-box and a game of pool. STACEY: Oh my God.I'm Stacey.I'd like a Budweiser please. BAR IN WISCONSIN. COLIN: Yes. BARMAN: One Bud coming up. He heads in . NIGHT. ( She calls out) Jeannie! Her bestfriend turns round from the juke-box.

JEANNIE: Carol Anne . CAROL ANNE: Hey girls. step aside ladies .LOVE ACTUALLY JEANNIE: Yeah? STACEY: This i s .come meet Colin. Jeannie.this one's on me. Every girl in America is more beautiful than every single girl in Britain. JEANNIE: Wait till Carol Anne gets here-she's crazy about English guys. Basildon. Hey. They're impressed. . Colin has an insanely huge grin on his face. CAROL ANNE: Well. . COLIN: Colin.. gorgeous. . The door opens.. COLIN: Yup. Enter a third beauty. He's from England. Frissell. STACEY: He's from England. JEANNIE: Cute name.

COLIN: Bottle. ALL THREE GIRLS: Straw! JEANNIE: What about this? . BBwIlIMBBBWBBB Lafer f/zaf night. STACEY: That is so funny! What do you call that? She points at a bottle.m '$ 1 Wsm^Jm p • 1 à El il flHr7 ' Al^l •^71 1 100 INT. the four of them are still drinking and laughing together. COLIN: Straw. NIGHT. BAR IN WISCONSIN. ALL THREE GIRLS: (in mock English accents) Bottle! CAROL ANNE: What about this? She points to a straw.

and no couch . CAROL ANNE: And you know what's going to make it even more crowded . Praise the Lord.but why don't you come back and sleep at our place? COLIN: Ahm.if it's not too much of an inconvenience.. so we just have a little bed. JEANNIE: Which means.guess I'll just'check into a motel' like they do in the movies. no. COLIN: No. and stuff. oh my God. STACEY: Oh my God. this may be a bit pushy because we've just met you . CAROL ANNE: And on this cold.. .. JEANNIE: Listen. COLIN: What? JEANNIE: Well. STACEY: And we can't even afford pyjamas.. CAROL ANNE: Where are you staying? COLIN: Ahm. You haven't met Harriet.. COLIN: Really? you'd have to share with all three of us... you're totally going to like her . I think it'd be fine.don't worry.. JEANNIE: And he's a Christian.Well.. you know. we're not the richest of girls. it's going to be crowded and sweaty. Pause as girls look embarrassed. All three girls draw breath to repeat it. I don't actually know. no.110 LOVE ACTUALLY She taps the table. I mean. . JEANNIE: Table-it's the same. COLIN: Table.. we would be naked. But there's one problem. cold night. that is so cute.Harriet.because she is the 'sexy one' ( does inverted commas with her fingers). COLIN: There's a fourth one? STACEY: Yeah . CAROL ANNE: Hell.

NIGHT. HARRY: Ah .LIVING ROOM. smiling. She opens it.opening time at Karen's. Music swells up as we cut to a little hokey American house covered in gaudy Christmas lights and decorations. KAREN: One present only each tonight. .. personal one. full of excitement and love. KAREN'S HOUSE . A girl walks up to the front door-she has gorgeous legs below her micro-skirt. HOUSE IN WISCONSIN. It is. a CD ofloni Mitchell. slightly special. bought the traditional scarf as well but this is my other.. let Mummy go have. no. Christmas is really in swing now -it's present. I want to choose mine. of course. KAREN: NO. KAREN: Thank you-that's a real first.LOVE ACTUALLY 111 101 EXT. no. It's Harry'spresen t. I think I want this one.. Colin is silhouetted against the top window being undressed by the three girls before they fall on to the bed out of sight. 102 INT. HARRY: No. NIGHT. Who's got one for Dad? BERNIE: I have..

Tears fall from her eyes. playing 105 INT. to Joni. That's great. I'll be back in a minute. HARRY: My brilliant wife.. 106 INT. and a breaking heart.. do you mind if I just absent myself for a second. NIGHT. heads back to rejoin family life.112 LOVE ACTUALLY KAREN: That's a surprise. All that ice-cream.HALLWAY/LI VIN G ROOM. .. NIGHT. Goodness. MIA'S BEDROOM. She dries her tears and tries to smile .. NIGHT.. 104 INT. KAREN'S HOUSE ... with smiles and kisses. NIGHT.BEDROOM. HARRY: TO continue your emotional education. KAREN: Yes.LIVING ROOM. Mia in her underwear gets up from her unmade bed and sits in front of a mirror. Karen gathers herselfbefore she walks through into the living room. DANIEL: Has she noticed you yet? SAM: NO . She's just standing there-rigid-listening 'Both Sides Now' loud on the CD player.and as the song continues. where she gets straight back to family business. It's a CD . DANIEL'S HOUSE .could you just make sure the kids are ready to go.but you know the thing about romances .Joni Mitchell. She moves slowly out of the room with a slightly glazed smile. Wow. Sam and Daniel are lying head to head on the sofa. putting on the gold heart necklace. KAREN'S HOUSE . KAREN: Ha! Yes. Darling . Actually.. 103 INT. A slightly mysterious musical sound starts. Cut to Karen in her bedroom.people only get together right at the very end.

SAM: By the way-1 feel bad I never ask you how your love life's going.. Unless of course.including yours. Claudia Schiffer calls.. SUNDAY D j : And it's a rainy Christmas Eve all over the UK . The Radio 1 Chartshow is broadcasting to the nation. that was a done deal long ago.DANIEL: Of course.. JOE: You are the champion! .the camera moves across London. you might have guessed it although you may not believe it..who is Number One on the Radio 1 Chartshow tonight ..Christmas Eve . yes!' Joe stands at the back. LONDON SKYLINE. 'Yes. The room is totally packed with record people. yes. DANIEL: Ha! No. RECORD COMPANY BOARDROOM. Billy Mack! 108 INT. in which case I want you out of this house straight away.and the big question is . 107 EXT. it Blue.. NIGHT. It's. or the unexpected Christmas sensation from Billy Mack? Well. The next day . As you know. We'll want to have sex in every room . you wee motherless mongrel. all going berserk.

steps forward. GINA: Bill-it's for you. SUNDAY D j : Let's hope it's the latter. Gina. I'll be flooded by invitations to a large number of glamorous parties. He takes the phone. .Billy stands on a table in the middle of the room and talks on the phone.Number One . a SUNDAY D j : Hello Billy. How will you be celebrating? BILLY: I don't know. And here it is . holding her mobile. a youngfrisky record executive.or when I hang up.from Billy Mack. . It's'Christmas Is All Around'. We're live across the nation and you're Number One.either I could behave like a real rock and roll loser and get drunk with my fat manager . BILLY: Oh Jesus-not that crap again! He hangs up. babe.. BILLY: Hello.

. She slips back into the house and closes the door-he turns from the door. 110 EXT. goodnight. My Mum and.lovely to see you all. Nervous. 109 EXT.he rings the doorbell. All I want for Christmas is you. Cut to Judy and John outside herfront door. NIGHT. NIGHT. Of course... Send an embarrassingly big car and I'll be there. Jamie. goodnight. ecstatic. it's getting a bit cold. JUDY: JOHN: JUDY: I better be getting inside. JAMIE'S MUM: . Night. I'm off actually. Pause. Bye. Well. JAMIE'S PARENTS' HOUSE. But. JAMIE'S PARENTS' HOUSE. Jamie walks to the door. Yes. everyone . So she leans forward and gives him an awkward but tender parting kiss.. JUDY'S FLAT. Of course. He is dazzled. John looks like he's going to kiss her and then appears to lose his nerve. actually. JAMIE'S SISTER: Look.splendid . And.thank you. 111 INT. JAMIE: Yes . Pause.. The door opens.. darling. fully clothed..LOVE ACTUALLY 115 Hello? Elton. Of course. JOHN: Right .it's Uncle Jamie. Joe is a bit lost now in the crowd ofBilly's newfriends. at the end of their first date.. BILLY: He hangs up. It's going to be a very good Christmas.then leaps down the steps. NIGHT. Good. carrying bags full of presents . Pause. Instantly a vast number of family members ofall ages greet him. Huge excitement.

JAMIE: Gatwick Airport. Very busy Christmas street. please. Fast as you can.a man's gotta do what a man's gotta do. He hands his sister the bags full of presents and leaves. FAIRTRADE OFFICE. 113 INT. CHILD 2: I hate Uncle Jamie. They are the only two left in the office this late. Jamie is hailing a cab. .Il6 LOVE ACTUALLY JAMIE: Sorry. CHILD 3: I HATE Uncle Jamie! 112 EXT. NIGHT. Karl gets up to leave and walks towards Sarah's desk. NIGHT. CHILD 1: I hate Uncle Jamie. STREET.

. . She tries to sound cheerful. Sarah.. .. but he just can'tfindthe words.KARL: Good-night. Merry C- Allthepossib SARAH: MerryChrisimas. in spite of her broken heart. KARL: I . Tears well up in her eyes as. He leaves. for thefirsttime.howyou doing? Is it all party. SARAH: Good-night. party down there? . party. Karl. Hi babe . He looks like he's going to say something about what happened. she is the one who dials her mobile.

. She leaves the living room. JULIET: Oh. PETER (v/o): Who is it? . DANIEL: Sam. time for dinner. She hugs him back.DRAWING ROOM. Itsays'Isaid-Vm DANIEL: Right. He comes across a bunch of Christmas cards. HOSPITAL NIGHT. JULIET: I'll get it.. still leafing through his big work pile in his briefcase./EXT.' He considers it.' 1 1 6 INT. Inside Peter and Juliet are sitting watching telly. goes down the stairs and opens the front door. SAM: I'm not hungry. then puts them aside and works on.. nothungry. DANIEL: Sam. 1 1 7 INT. I've done chicken kebabs.. DANIEL'S HOUSE . Michael leans forward to hugher. Sarah and her brother-they sit in the hospital unwrapping presents. 1 1 5 INT. 10 DOWNING STREET . with a note from his secretary on a post-it note: 'Read these . the doorbell rings. Juliet gets up.a random sample. It's love too. SAM: Look at the sign on the door. NIGHT Cut to Daniel upstairs outside Sams room. NIGHT. hi. The PM is pottering around a big room. JULIET AND PETER'S HOUSE.118 LOVE ACTUALLY 1 1 4 INT.CORRIDOR. It's Mark. NIGHT.

W * '^ps- .

. LET ME SAY WITHOUT HOPE OR AGENDA JUST BECAUSE IT'S CHRISTMAS (AND AT CHRISTMAS YOU TELL THE TRUTH) TO ME. JULIET: . On them Mark has written stuff in clumsy felt-pen. Well. He's thought this through. one by one: WITH ANY LUCK BY NEXT YEAR I'LL BE GOING OUT WITH ONE OF THESE GIRLS he four most gorgeous girls in the world. BUT FOR NOW. give them a quid and tell them to bugger off. Mark bends and pushes the button on a small boogie box. YOU ARE PERFECT AND MY WASTED HEART WILL LOVE YOU UNTIL YOU LOOK LIKE THIS.Ifs carol singers.lark mimes 'ssssslù He has a hunch of big white cards. eBob Dylan in his famous video. . singing 'Silent Night'. It starts to play a tape of carol singers. Thefirsto SAY IT'S CAROL SINGERS. . . Then he produces the rest of the cards..


MERRY CHRISTMAS She mouths back 'Merry Christmas'.122 LOVE ACTUALLY He holds up a picture ofa mummified corpse. Enough now. He turns. . MARK: Enough. Suddenly a tap on his shoulder. and gently kisses him on the lips. Juliet has run after him. He gives her a little thumbs-up .and turns away. He smiles and walks away. taking the boogie box.

terrible mistake. 119 INT. At Christmas. JOE: Well. BILLY: It's a terrible.but you turn out to be the fucking love of my life. in fact. He's got a bottle of champagne open and he's drinking on his own. And much as it grieves me to say it. I've gone and spent most of my adult life with a chubby employee. Pause. And. despite all my complaining . I left Elton's place where there were a hefty number of half-naked chicks with their mouths open in order to hang out with you. this is a surprise.. JOE: Right. JOE: YOU realized that it was all around. NIGHT. JOE'S FLAT. BILLY: And I realized that . BILLY: I was there for a minute or two .we have had a wonderful life. And there's Joe in his room.I'm serious here. Cut into Joe's living room. watching Billy's video on dire chance and fateful cock-up would have it here I am.LOVE ACTUALLY 123 118 INT. Come on . you.Bill. like the fan he has always been and still is. to be honest. mid-fifties and without knowing it. JOE: Ten minutes at Elton John's and you're as gay as a maypole. BILLY: NO. it might be that the people I love is. I realized that Christmas is a time to be with the people you love.. BILLY: Yeah.come up. The doorbell goes. JOE: Well.and then I had an epiphany. . Chubs . NIGHT. JOE'S FLAT. JOE: What the hell are you doing here? You're supposed to be at Elton John's. So what was this epiphany? BILLY: It was about Christmas. BILLY: No . JOE: Really.


xxx Your Natalie.DRAWING ROOM. eh?) . JOE: Well. It says is from Natalie.I'm very sorry about the thing that happened. Picks up aphone. He reads it. Come on. PM: I'd like to go to Wandsworth. Still alone. He runs down the staircase. He leaves the drawing room. Right now. I need a car.LOVE ACTUALLY 125 Joe is actually deeply moved. through the empty inner lobby and out towards thefront door. NATALIE He pauses. 122 EXT. thank you. let's get pissed and watch porn. when can you.. . pushes one button. PM: Don't wait up.Dear David .a dark. Rereads it. 10 DOWNING STREET. Back to the PM. 121 INT. don't be a moron. Thank you. NIGHT. 10 DOWNING STREET. First a couple of boring ones . blowy night. He picks them up casually. The dodgy end. ( v/o) : Dear Sir . He makes up his mind. He spots the Christmas cards again. BILLY: Oh. 10 DOWNING STREET . And gives him a huge hear hug. Puts it down.. with LOVE. It was a very odd moment and I feel like a prize idiot. There's a security person there. NIGHT. 120 INT.I'm actually yours.. PM: Jack. Particularly because (if you can't say it at Christmas.the third one jolts him . It's been an honour.. I feel very proud. Big music starts to play. NIGHT. He sticks out his hand for a sentimental handshake. He gets into the car outside 10 Downing Street.Merry Christmas and I hope you have a very Happy New Year .

/EXT. God-I've got absolutely no idea and it's the longest street in the world. The PMand his cars arrive in Wandsworth and turn into a long street of near identical houses. DRIVER: Harris Street. PM'S CAR . NIGHT. . NIGHT. headingsouth across the river. We see the PM's car. PM'S CAR . sir? J m PM: Oh.WANDSWORTH STREET. accompanied by a police car with blue light flashing.ALBERT BRIDGE. What number.123 EXT. 124 INT.

1»^ è* It w I f % > f§' 1 IJN .

Thank you. loving fact I am. Merry Christmas. LITTLE GIRL 3: Please.. PM: Oh dear. okay.he has with him a bodyguard. LITTLE GIRL 2: Please sir.' (He gestures towards the bodyguard.he rings the doorbell of number one. PM: Hello. I'm not. Three very little girls answer. Cut to him ringing on the next door. PM: Hello.fine.does Natalie live here? . The PMgets out to begin the search for Natalie . PM: Ahm. I mean.the PM knocks on another door-number 100.. Does Natalie live here? LITTLE GIRL 1: No. no. that necklace. NIGHT. LITTLE GIRL 3: Please. There is Mia. Harris Street. Cut. I suppose I could. who joins in heartily) 'When the snow lay round about.128 LOVE ACTUALLY 125 EXT. PM: Right. Brightly shone the moon that night. LITTLE GIRL I: Are you singing carols? PM: Ah. All right. PM: Sorry to disturb . And on her neck. PM: Well. deep and crisp and even. Part of the service now.. Sorry to disturb. please. HARRIS STREET. Does Natalie live here? OLD LADY: N O . An old lady opens the door. It opens. Trying to get round everyone by New Year's Eve. OLD LADY: Aren't you the Prime Minister? PM: Yes ..' The kids are dancing. who isfiveyards away. she doesn't. discreet.. ALL THREE LITTLE GIRLS: Hooray! Hooray! PM: 'Good King Wenceslas looked out on the Feast of Stephen.

she's next Cabinet are absolute crap .not my fault . I'm afraid I am. Merry Christmas to you. then.MIA: No . are you? PM: Yes. The PM runs his hand through his hair. . PM: Oh brilliant. Finally he reaches it and rings the bell.we hope to do better next year. walks slowly andfatefully round to the next house. Sorry about all the cock-ups . MIA: You're not who I think you are.

NIGHT. nine people-and not Natalie. explosive family is crowded into a thin corridor.130 LOVE ACTUALLY 126 INT. The door opens . . It couldn t be more awkward-they're all there. all in their winter coats.and a whole. NATALIE'S HOUSE. obviously just seconds before all going out.

it's nothing really... NATALIE: NO. you see. NATALIE: And this i s . NATALIE: TOO much detail. erm. ... MUM & DAD: Lovely. PM: NO ..why don't I give you a lift and then we can talk about this 'state business' business in the car? That's not bad news for Natalie. and unfortunately we're very late. MUM: Yes. which is most. I just needed Natalie... ahm. PM: Listen . really. well... NATALIE: Where the fuck is my fucking coat? Oh doesn't matter.. NATALIE: Okay. David. . sir? PM: Well. DAD: Right. DAD: Anyway.. on some state business...look. NATALIE: This is my Mum and my Dad and my Uncle Tony and my Auntie Glynne. is Natalie in? Natalie hasntseen him and is coming downstairs. Plumpy. NATALIE: No. MUM: The octopus costume has taken me months.. Eight is a lot of legs. even St Basil's. PM: Hello.. Mum.. NATALIE: ... how can we help. {He looks at his watch) Right. Natalie. I don't want to make you late for the concert.. PM: Very nice to meet you.. perhaps you should come on later.. the Prime Minister. . Big awkwardness. we can see that. yes-of course. David. MUM: Keith'll be very disappointed.LOVE ACTUALLY 131 PM: Hello. MUM: It's the school Christmas concert.. and it's the first time all the local schools have joined together. darling..

PM: Right . love.127 INT. You're welcome. NIGHT. Natalie and her brother Keith sitting between them. PM'S CAR . everybody. .. and I think that you're the man I really.the PM. nothing happened. . The octopus climbs awkwardly over the PM. PM: How far is this place? NATALIE: Just round the corner..and I just felt such a fool because. NATALIE: OCTOPUS KEITH: We're here!!!! NATALIE: ( whispers so quietly the PM doesn't hear).. I think about you all the time actually... Dressed as an octopus.. struggling to get out of the car.. . PM: Wow. Look.that really was just round the corner./EXT.well..WANDSWORTH.the last thing anyone wants is some sleazy politician stealing the kids' thunder. I just wanted to say.thank you for the Christmas card. ( Then out it comes in a splurge) Look. I'm so sorry about that day-1 mean I came into the room. I think I'd better not come in . POLICEMAN: Hold tight. I promise . We see the police car is totallyfull of family. Cut into thePM's car behind . and he slinked towards me and there was a fire and he's the President of the United States and.

. he pauses in a moment of clarity. 130 EXT.. okay? NATALIE: Don't worry.. which is full of action. SCHOOL .we can watch from backstage. I won't be long. Littlepause. Daniel and Sam are arriving.very determined looking.CAR PARK. with Johns brother.. There's a little nephew there. 129 EXT.. please come. notbusygate.. another cab turns up . Natalie comes back to the car. NIGHT.CAR PARK. I better not. But I will be very sorry to drive away from you. PM: NO.this was my school. They set off to another. as ever with the bodyguard. She jumps out of the car and runs towards the school. Uhm. Then cut to Judy and John. As they step out. He sees a taxi .LOVE ACTUALLY 133 NATALIE: No.he leaps in.but at the same moment an oldish woman walks towards it. MARSEILLES AIRPORT . NATALIE: Come on in . I know my way around. NIGHT. Terry.Sam carrying drumsticks . A sign says Aéroport Marseilles. But instantly. It'll be great. 128 EXT. Come on. NATALIE: Just give me one second. NIGHT. Daniel tries unsuccessfully to make Sam's hair look a little less fashionable. SCHOOL .ARRIVALS GATE. and he lets her take the cab. His English politeness gets the better of him. PM: Okay. JOHN'S BROTHER: JUDY: JOHN: John's been very mysterious-where did you two meet? Ahm. This has to be a very secret visit. through the carpark. Jamie exits below it.. Then jumps up and down in frustration at what he's done.

just because it's Christmas.. my copper..CORRIDOR/BACKSTAGE. PM : This is Gavin.good luck. .twenty years ago you would have been just his type. Thank you. we haven't been introduced. KAREN: Catering manager .. Prime Minister.well. I'll be very careful. Quickly. {To thePM) Don't try something. KAREN: Thank you. And stays hugging him a bit longer than youd expect.... full of ropes and pulleys. probably. .the show's starting.. And this is Natalie . sir.she's having trouble moving her brood down the corridor.. Natalie and the bodyguard are also going down a little corridor. PM: Yeah. Back at school . The PM and Natalie head off and enter a sort ofbackstage area. Daisygood luck.I've never been gladder to see my stupid big brother. catering manager. I thought it was about time I did. Bernie. See you a sort of backstage area. The PM. watch out he keeps his hands off you .who's my. NATALIE: A bell goes . They all laugh. KAREN: I always tell your secretary's secretary's secretary these things are going on but it never occurred to me you'd actually turn up. I just didn't want everyone to see. so I'm just going to hide myself somewhere and watch the show.134 LOVE ACTUALLY 131 INT. KAREN: NOW. NIGHT.. NATALIE: Hi. and then the two parties bump into each other. SCHOOL . PM: You're welcome.. the kids and Harry are late . Suddenly the emotion comes out. ( Waving to his niece and nephew) Are you all right? KAREN: What the hell are you doing here? PM: Well. KAREN: I have to say. . PM: HOW are you? Hi guys. you know.. Natalie cant go on standing there any longer. PM: Well.. He's surprised by her intensity. The PM plays for time. KAREN: David! She hugs him. KAREN: Show time. er.Karen. I .

and lots and lots ofsea creatures .the tinkling of innocent Christmas bells and then in the spotlight appears the lead singer. the great Mrs Jean Anderson. Backing vocals co-ordinated by her mother.lobsters.. Widen to take in the cast of's the climax ofa Nativity scene. MR TRENCH: Daniel raises an eyebrow-this is her. sheep. The cast are singing 'Catch a Falling Star\ There is Jesus. . A modest teacher comes through the curtain to make an announcement.. Hillier School would now like to present their chosen Christmas number. Spiderman.132 INT. SCHOOL HALL NIGHT. Thank you. SCHOOL HALL NIGHT. a blue whale and. 133 INT. Lead vocals by ten-year-old Joanna Anderson. an octopus.. for no reason. Joseph and angels. surrounded by Mary. prawns. Some of the staff have decided to help out.. The song begins in darkness . Cut into the concert. and for this we ask you to forgive us.

The parents are all taken aback by her fantastic voice..136 LOVE ACTUALLY She is a fabulous ten-year-old girl. . And then it kicks into 'All I Want For Christmas Is You. quite close to the stage now. It is stunning. She is stunning. A slow magnificent start. Sam's monotonous drums suddenly make fantastic Phil Spector sense. Whitney meets Mariah. peer through from the wings. And the PM and Natalie.


The head of the backing vocals is a mighty woman, clearly Joanna's mum, supported by self-conscious staff members, letting their hair down for the first time this century. Behind them a choir of kids. Atone moment Daniel looks towards Sam and sends a distinctive 'she s the one'finger-Sam nods with a smile. The PMand Natalie are watchingfrom backstage - although when someone approaches, he puts his hand round her waist to guide herfurther back behind the curtain. It is an exuberant, fabulous end to the show-some parents start to stand-Daniel and then Harry are hot on their heels - eventually everyone is standing... John and Judy are having a particularly funky time, both dancing quite badly on the balcony. In the darkness backstage, the PMand Natalie are moving closer and closer together. Finally Joanna reaches the last'All I Want For Christmas Is You-and she points and stares straight at Sam. It is the moment we've been waitingfor... But then-she moves on, And you... and you... and you...'. Sam s smile disappears - his dreams defeated.






Hysteria just before the end-the audience explodes into applause... Finally the stage backdrop goes up to reveal the little surprise - a full painted winter wonderland, saying 'Merry Christmas] clearly done by all the children. Fake snow starts to flutter down. A slightly bigger surprise is that, standing there in the middle of the stage, thinking they are backstage and totally private, the PM and Natalie are kissing- instantly outcome the cameras of every single parent in the school, it is a thunder and lightning of flashes ... there is nothing the PM and Natalie can do. PM: Right. So not quite as secret as we'd hoped... NATALIE: What do we do now? PM: Smile. They both smile awkwardly. Take a bow. They both bow. The audience starts to applaud. And a wave. They both wave - and leave the stage.

134 INT. SCHOOL HALL. NIGHT. Harry waits while Karen says goodbye to some other parents. She joins him. Then, casually... KAREN: Tell me - if you were in my position - what would you do? HARRY: What position is that? KAREN: Imagine your husband bought a gold necklace and, come Christmas, gave it to somebody else.
HARRY: Oh Karen.

KAREN: Would you wait around to find out if it's just a necklace - or if it's sex and a necklace - or if worst of all, if it's a necklace and love? Would you stay, knowing life will always be a little bit worse? Or would you cut and run? HARRY: Oh God. I am so in the wrong. A classic fool. KAREN: Yes-but you've also made a fool out of me-you've made the life I lead foolish too.



At which moment, Bernie and Daisy approach full of post-concert radiance. She immediately kicks into her motherjob. Harry watches her doing the thing he has almost undone. KAREN: Darlings - you were wonderful - and my little lobster - you were so what is that word - orange. Come on, I've got treats at home. Dad's coming.

135 INT. SCHOOL - CORRIDOR. NIGHT. Afterwards in the school corridor the atmosphere is explosive and excited. Daniel bursts through the doors to find Sam. DANIEL: Sammy! Fantastic show. Classic drumming, son. SAM: Thanks. Plan didn't work though. DANIEL: Tell her then. SAM: Tell her what? DANIEL: Tell her that you love her. SAM : No way. Anyway, they fly tonight. DANIEL: Even better. Sam, you've got nothing to lose - and you'll always regret it if you don't. I never told your mum enough - 1 should have told her every day, because she was perfect every day. You've seen the films, kiddo - it ain't over till it's over. Pause. SAM: Okay- Dad, let's do it. Let's go get the shit kicked out of us by love...

SAM: Just give me one sec... He runs off. Daniel turns and bumps into someone-a mother with a boy-she looks weirdly, suspiciously like Claudia Schiffer, though obviously it isnt her (though, in fact, it is). She's a very independent London mum.
CAROL: Sorry.

DANIEL: That's okay. My fault. CAROL: NO, really, it wasn't. You're Sam's dad, aren't you? DANIEL: Yes. Stepdad, actually. Daniel.

DANIEL: Don't be such an arse. SAM: Okay. As they walk away.CAROL: I'm Carol. He starts making kissing noises. SAM: Tell her. The two adults just look at each other.. Karen. . DANIEL: What? SAM: You know..well .. I'll make sure we do.1 hope we'll meet again. CAROL: Carol.. DANIEL: Carol? Deep pause. Good. I'm back-let's go. DANIEL: Yes . DANIEL: Yes.

Jamie speaks in not quite fluent Portuguese. He gets out of the cab. DANIEL: Where? SAM: Over there.142 LOVE ACTUALLY 136 EXT. MR BARROS: You want to marry my daughter? . 137 EXT. They get into their car and zoom off. SAM: Oh no. A man answers -aboutsixty-big belly-justwearing a vest. DANIEL: Don't panic. hilly and poor city street in Marseilles. Lots of cars and action. Jamie arrives in a cab in a very thin. MARSEILLES. MrBarros-Iam here to ask your daughterfor her hands in marriage.CAR PARK.) JAMIE: Boa noite. I know a short cut. SAM: Look. there she is. we'll go to the airport. NIGHT. Twenty yards away. Joanna gets into a big car-which instantly drives away. (All spoken Portuguese appears in italics. SCHOOL . NIGHT. heads down and knocks on a door.

Who cares? MRBARROS: SOPHIA: You re going to sell me to a complete stranger? Sell? Who said 'selVîTllpay him. including a curious.LOVE ACTUALLY I43 JAMIE: Yes. . NIGHT. MARSEILLES. Shesatwork. Jamie and father and sister are moving through the streets followed by an everincreasing crowd. You-stayhere! ifIwould. SOPHIA: YOU MRBARROS: better not say 'yes] father. HEATHROW AIRPORT . There's no love lost between father and daughter. MR BARROS: JAMIE: Pardon me. Ylltakeyou. MR BARROS: Come here-there is a man at the door. Sheisnothere. old lady neighbour. Heathrow Airport-Daniel and Sam are rushing in. NIGHT. They don't want to miss this. Vm meaning your other daughter-Aurelia. Through the plastic curtain leading into the next room comes a very big Portuguese girl. SOPHIA: Father is about to sell Aurelia as a slave to this Englishman.last call. head off down the stepsinstantly passing a small restaurant where a few people are having supper outside. Stupid! MRBARROS: SOPHIA: AS The four of them.DEPARTURES. no. MrBarros calls back into the house. But I've never met him before.Gate 36 . They look up at a board that says 'New York . MR BARROS: SOPHIA: He wants to marry you. Miss Dunkin Donut 2003. 138 INT. Shut up. 139 EXT.' DANIEL: Oh. The people get up from their tables and follow.

DANIEL: I'm sorry. Sam spots his's . DANIEL: Unless . we're not actually flying. SAM: Do you think I should? The Odd Passenger is Rufusfrom Selfridges. NIGHT. Daniel and Sam reach the fast-track entry point. He makes a run for it-he charges through. Another passenger comes past. GATE MAN: Boarding pass. . I'm sorry. past the Gate Man . (Hands Gate Man his coat and hand luggage) There we go . ODD PASSENGER: I must have left it when I was having a cup of coffee..DEPARTURES. . The man is in great confusion.. sir. ODD PASSENGER: Just give me a moment. HEATHROW AIRPORT . The Gate Man now has a large handcase and a coat over his arms.who doesntsee him go. GATE MAN: YOU can't come through without a boarding pass. I know I've got it here .if you could just hang on to this. Rufus walks past Daniel. DANIEL: Not even to let the boy say goodbye to the love of his life? GATE MAN: want to make a run for it. DANIEL: Look.if you'd just could you hold that for a second.144 LOVE ACTUALLY 140 INT.



141 INT. HEATHROW AIRPORT - DEPARTURES. NIGHT. Meantime on the other side, Sam finds himself in the queue for security. He can't wait. He runs at the rectangular security machine, jumps over the security man at that moment kneeling to check a man s trousers. Another security guard tries to catch him but is left holding nothing but his coat. Sam is now in the main shopping area - airside - he sprints through it, hotly pursued by two security guards. Then he's running through a large empty corridor next to a moving walkway- by this time four guards are after him. He turns a corner and runs straight into a huge crowd of passengers with suitcases and dodges nimbly between them. The guards following are unable to move at quite the same speed and are slowed down by this obstacle. He races through a blue door and finds he's emerged on to a level above the main concourse -finally he spots the sign saying 'Gate 36'. He looks down and sees Joanna and herfamily handing in their boarding cards.

142 EXT. MARSEILLES. NIGHT. Now forty people are coming down a thinner set of steps - they reach the bottom, and turn sharp left, to head towards the restaurant.

1: Apparently he is going to kill Amelia. Cool!




143 INT. HEATHROW AIRPORT - DEPARTURES GATE. NIGHT. Sam finally reaches the doors of the room that is Gate 36-and can see Joanna just going through to the plane... Buta sturdy security guard and a couple of hostesses stand between him and her. He's stumped - till suddenly they turn - noticing that up on the television screens along the side of the room, Billy is starting to take his clothes offas he performs his song. He is playing 'Christmas Is All Around] increasingly naked. Sam takes his chance and nips in. SAM: Joanna.


SAM: I thought you didn't know my name.

Course I do.

Now all his pursuers have arrived. SAM: Jesus. I've got to run.

144 INT. HEATHROW AIRPORT - DEPARTURES. NIGHT. We cut to Sam, being led out by guards towards a waiting Daniel. As he moves towards Daniel with a smile on his face, he does the big 'one'gesture -and suddenly gets a tap on his shoulder. He turns-it's Joanna-she kisses him on the cheek. Then she turns and runs back. Sam grins like a madman and runs to Daniel, who lifts him in the air and spins him round, father and son, together.

145 EXT. MARSEILLES. NIGHT. We see a tide of sixty people sweeping down an alley - they've been collecting at Sophia's instigation. Suddenly they have arrived at a humble Portuguese restaurant. Jamie hesitates before entering- but then heads on in.

• • •


9 Mm


il ) i 1


MRBARROS: Ssssh. Easy question. And then very gently puts the food down. MRBARROS: AURELIA: What did you say? Yes.but sometimes things are so transparency. And I will inhabit here.she turns and sees Jamie standing there. they dont need evidential proof. Pause as she thinks. You'll meet Prince William .. Jamie.LOVE ACTUALLY 149 146 INT. Everyone cheers and applauds. say 'yes'. And at that momentAmelia appears upstairs holding plates of food .. She's probably wearing make-up for thefirsttime in the film.because she too has learnt the language of the person she loves.. MRBARROS: PROPRIETOR: MR BARROS: PROPRIETOR: Where is Amelia? Why should I tell you? This man wants to marry her. Then . The entire restaurant has fallen silent and is listening.because I hardly knows you . .to marriage me. JAMIE: Beautiful Aurelia-J've come here with a view to askingyou .. She heads down the tiny sweeping staircase. girl.. and of course I prediction you say 'no'-but it's Christmas and Ijust wanted to. Cut to her. AURELIA: Pause. SOPHIA: Definitely go for England. of course. Cut back to Aurelia and back to Jamie. 'Yes' is being my answer. MARSEILLES RESTAURANT. Amelia.that will be nice..then you can marry him instead. SOPHIA: Oh God. or you can inhabit with me in England. JAMIE: Boa noite. There is a proprietor with a huge black moustache behind the bar. Hecantdo that-shes our best waitress. check. JAMIE: Of course I dont expectingyou to be as foolish as me. NIGHT. I know I seems an insane person . Boa noite. you skinny moron. AURELIA: Thank you . She freezes. in very broken English. The band starts to play.


m-- ft r .

JAMIE: You learnt English? AURELIA: Just in cases. . A second later herfather does exactly the same. They are interrupted by a tap on his shoulder-Aurelia s sister plants a huge kiss on his mouth. Aurelia and Jamie move together and kiss.

Daisy.ARRIVALS GATE. . JOE: Hello. DAY. BILLY: This one's Greta. Next out are Jamie and the radiant Aurelia. It is one month later. HEATHROW AIRPORT .LOVE A C T U A L L Y 147 INT. Joe steps out of the crowd to meet them. Greta. ! J' 1 HRP1B jpr "1 «I m H^aT" u JOE: Hello. Peter and Juliet are there to greet him. The arrivals gate opens to reveal Billy-he has a gorgeous six-foot blonde with him.

And there are the kids carrying a sign . Harry comes out and looks around-seems to be no one there-but actually Karen is waiting. dutiful.'Welcome Home Dad\ Harry hesitantly goes to kiss Karen. JOANNA: Hi. I think maybe now I make the wrong choice . hanging behind. he is there.pick the wrong Englishman. She lets him.. Tony is also waiting-he's tapped on the shoulderthere with huge grins are John and Judy.1 didn't see you. with the cups of coffee she's just bought. just thought I'd tag along. She doesn't know what she's saying. Oh. TONY: Hey! What are you two doing here? She wiggles an engagement ring on herfinger.. MARK: Yeah. She is trying to mend things. I'm fine. For indeed. the little girl-cut to Daniel and Sam waiting-and Carol. He never tells me this. {With reserve) Good to have you back. JAMIE: She can't speak English properly. hi . SAM: There she is. Peter. that's cool.LOVE ACTUALLY JAMIE: Well. 5am breaks through. runs to her. This is Juliet. AURELIA: Jamie's friends are so good-looking. Mark. smiling. HARRY: How are you? KAREN: I'm fine. here she is .this is Aurelia. DANIEL: He should have kissed her. . Come on-home. Then itis Joanna. CAROL: No.. SAM: Hello.then realizes he has to hold back.. They couldnt be happier.

JUDY: Naughty.. She is Harriet. waving and whooping triumphantly. Harriet.really pleased to meet you. . She's real friendly. HARRIET: I sort of brought my sister to stay.. He turns and points behind him .LOVE ACTUALLY 155 JOHN: I might get a shag at last.and through the doors comes his new girlfriend. JOHN: Gotta go. COLIN: This is Harriet. this is Carla. TONY: Hello. She is staggeringly beautiful. HARRIET: Hi . JUDY: Bye! Tony turns back as the arrivals gate opens to reveal Colin.

But not in a bad way. I heard you were gorgeous. all around. you must be Tony.coming through the customs is thefifthstaggering and gorgeous American woman. We move to genuine footage of real people hugging and kissingfriends and family from across the world. PM: God. She hugs him and then kisses him full on the lips. CARLA: Hello. Tony is stunned. We're back in the world of normal people-with love actually. throwing her legs round his waist-flashes of thirty waiting paparazzi flash.. THE END . NATALIE: Oh shut your face. Natalie rushes through the crowd and hugs him with total love.. She kisses him again. you weigh a lot.156 LOVE ACTUALLY And Harriet gestures backwards .a big stir and the PM comes through. surrounded by security people. They walk off happily together. Then cameras start to flash .


'Christmas Is The Lyrics Reg Presley Santa Claus Billy Mack .

You know I love Christmas. So if you really love Christmas p ome on and let it snows bu know I love Christmas. It's written on the wind. It's everywhere I go. there'll be no end 'Cause on Christmas you can depend. You gave your presents to me. It's everywhere I go. there'll be no end 'Cause on Christmas you can depend. So if you really love Christmas Come on and let it show Come on and let it show So if you really love Christmas Come on and let it show Sp if you really love Christmas Come on and let it show.I feel it in my fingers. I feel it in my toes. Christmas Is All Around me And so the feeling grows. I kind of get to thinking Of all the things you said. I always will My mind's made up by the way that I feel There's no beginning. there'll be no end 'Cause on Christmas you can depend. . I see Santa before me. I see Santa before me s I lay on my bed cind of getto thinking Of all the things you said. I always will My mind's made up by the way that I feel There's no beginning. I need someone beside me verything I do. I My mind's made up by the way that I feel There's no beginning. f You know I love Christmas. And I gave mine to you. It s written on the wind. As I lay on my bed.

Liam Neeson's character. MARTIN: IS that long enough to be tactless? SAD DAD: I think so.come on. and we join him and some other friends in a pub a few weeks after the death of Daniel's wife. I was just calling Liam's character Sad Dad.1 just want to check. The thing is this . Forgive me if it turns out not. These are a few selected scenes from some different stages of the film.and the amount of stuff written and left behind far exceeds the amount of stuff there is left in the movie. MARTIN: Are you sure? JULIAN: Yes-what is it? . MARTIN: Absolutely. at that point. Except. First .160 LOVE ACTUALLY Deleted Scenes The Ones That Didn't Make It The process of writing and making this film has been a long one . T H E F U N E R A L FANTASY MARTIN: Right .it's how long since Katie died? We come upon three.a character called Martin.always is . JULIAN: I'm married. who eventually disappeared completely. I haven't had it.. SAD DAD: Five months. I remember working out that on Notting Hill for every day I worked on the film (I tend to write about twenty pages a day) there were twelve seconds in the finished film (that's about a fifth of a page). forty-something guys and one woman of that age. He was a friend of Daniel. about the funeral fantasy. in a bar -just chatting after work.. SAD DAD: What's that? MARTIN: The funeral fantasy... every married man has had it.

.LOVE ACTUALLY l6l MARTIN: Okay.... her mouth says this. MARTIN: SO.part one and part two ..they're open-mouthed at the story. all of whom have come along to be supportive. with Martin s voice.. this desperately cute friend of your wife in a tiny black skirt comes up and says.first. . The funeral fantasy is the one where you imagine that your wife dies . I have had that one. as you walk look so sexy in those black funeral suits.and then it's the funeral..metoo. did you spend the entire time in comforting sex with a variety of her more attractive friends. . We see her mouth say this.does it actually happen.again. you've got someone sorted for every day of the week and so. KATHY: Me too. all dressed in these very tight black little suits .it's terrible. and all the family are at the back.. the crowd seems to consist mainly of your now dead wife's foxiest friends. it would just be comfort-but I'd do it. We see all of this as he describes it.I'm there for you. does the funeral fantasy even occur to you? And second . in which number I would obviously and proudly include my ex-wife? . you just pick one of them and your conscience is clear because she's your wife's friend and it's difficult for both of you.and it's quite a cold day and they cry a lot and when it's over. JULIAN: Yeah.if you're lonely. on second thoughts.. in which case I'm deeply ashamed. totally undemanding girl daily and at the end of the month. GEORGE: Yup.with very fetishy veils and lots of leg ... Cut to a naked woman lying on a bed . and during the first month after Kate died.and by the end of the party. for the next month. though it's still Martin s voice speaking. you always feel a tear threatening to trickle . the tragic death. for her. 'Martin .'And then at the reception this just keeps happening. you know.. when it actually happens.and in your area. I know it wouldn't mean anything.... my question is . MARTIN: Girls have it too? KATHY: Absolutely. it's tragic. 'It would have made her very happy. but. When you're thinking about it..maybe it's just me. you're having sex with a different.' Cut back to the table . Also every girl you ever fancied.

.. Come on . SAM: Impossible. While we're on Daniel . This scene came just after Sam admitted he was in love..this is a very cunning one . He's getting very strange and I just can't get through. I mean. MARTIN: Right. I'm getting a bit worried actually.. B O Y ' S TALK Knock on the door. MARTIN: Damn.let's review the situation. Right.he'll sort himself out. fact..... actually.not great .no .. MARTIN: Yes! ! ! YES! ! ! YES ! She's the one! It happens! We can dream on... Enter Dad. She certainly looks pretty great. Disappointing. like my kid . boys . Very's a little section with him and Sam that came and went. tight black suit and wind-blown hair.the mother of one of Sam's friends was very. don't you worry.162 LOVE ACTUALLY SAD DAD: Well. . SAD DAD: Though. come to think of it .when the worst happens. her. It's a day for kissing women with moustaches.. JULIAN: How is Sam? Is he okay? SAD DAD: Ahm .. I hate to disappoint you. Drink up. his character had changed from Sad Dad to just Dad. it is unfortunately so awful that your brain doesn't go that way. I think her name is Yolanda. He's probably just a little weird creep. DAD: Fair enough . By this time. DAD: Okay. the best does indeed happen.become..champagne all round. We see Yolanda in slo-mofrom his wife's funeral. Then something genuinely occurs to him. but-when it actually happens.option two . mother dead or alive. oddly dressed that day.ask her out. this was a real micro skirt. SAD DAD: I hope SO. SAD DAD: And then at the funeral the only people who demand physical intimacy are very large maiden aunts. MARTIN: Oh sod him. Option one .

SAM: It's a route I've considered. DAD: Exactly. ... Okay.. It's a distinctly better position than me and Claudia can at least talk to her..kidnap her and keep her tied up in your room until she agrees to marry you.. and quite rightly rejected on the grounds of. (Exits and comes straight hack in again) It could be worse. DAD: Right. you must have at least one chance in a thousand . SAM: Hygiene. you know .I'll keep thinking.she's in your school .LOVE A C T U A L L Y 163 SAM: She's the most popular girl in the school and she hates boys. Option three .. Sam just shakes his head.after all. DAD: Right.

A one-woman man.. DANIEL'S HOUSE .. A one-girl boy. DAD: Can you do that? SAM: Yes .for the lastfiveyears of her life. SAM: You should look her up on the net. The fourth one says 'Claudia Schiffer Naked Naked Naked'.then 'Claudia Schiffer'. he's bored.164 LOVE ACTUALLY SAM: You're in love with Claudia Schiffer? DAD: Always was .. DAD: Wow.CORRIDOR/OFFICE. T H E T R O U B L E WITH CLAUDIA INT. your mother always knew she was number two in my affections. shaking his head. Daniel walks past Sam's room . and heads down into his office. It's a Saturday morning. that everything in between was doomed. And the cut from Daniel worrying about Sam with Karen in the kitchen to him and lonely Sam sitting on a bench by the Thames and discussing his problems seemed so strong the first time we did it.just go to Yahoo or Excite and type in 'Claudia Schiffer'. My heart lies elsewhere. SAM: Yup. Sam and Daniel weren't actually talking at this point .it was Emma Thompson's character who had mentioned Claudia Schiffer's website so the point of this scene was at last to break down the barrier of non-communication between Sam and his dad. DAD: Cool. . Instantly up comes a list often Claudia Schiffer-based sites. the funeral and sorrow side of Daniel felt so strong at the start that the Claudia Schiffer internet thing seemed a touch tactless.'s locked-there's strange music comingfrom in there. Who's your favourite movie star? SAM: Don't like any of them.though it'll be on the DVD.the computer starts up-a boring work spreadsheet. He types in 'Excite'. In the set-up in the film. Why did we cut it? In the end. He sits down and pushes a button . He walks past. This led on to a section which we actually did film but isn't in the movie ..

DANIEL: Hello. But when he does. etc. lots of pictures of naked girls come up uninvited. Hegoes to the plug to turn off the electricity -but it doesn't make any difference. He opens one-and up come tiny pictures of Claudia.come on . He double clicks on one of them -but it doesn't come up . At which moment Daniel hears a car pulling up outside. and a list of photos -gallery 1. gallery 2. They shake hands . Ifs a site called 'XXXX Teen Sluts'. It's his father-in-law . both can only think of wife. So he closes it.there's a seductive picture of Claudia. In desperation. DAY. He tries to close them. In fact.thanks to him.a very respectable.LOVE ACTUALLY 165 Daniel goes to it. of daughter. bespectacled man. he takes off his jumper and throws it over the quite big computer screen. many not fully clothed.where's your computer? DANIEL: Ahm .in the office.. there's a form that says he cant go any further without giving a credit-card number. He swiftly closes 'XXXX Teen Sluts' . I insist .let's have a cup of coffee first. DANIEL'S FRONT DOOR. increasingly pornographic and always with the words 'come' or 'pink' in their title.instead. Come and sit down. The doorbell goes. I've found a tremendous golfing site. And now Daniel can't move the cursor to get the damn thing to shut down . shall we? FATHER-IN-LAW: NO. I've actually started to use that computer you gave me. FATHER-IN-LAW: Why not? I've brought a little gift for my grandson . Matthew.and then awkwardly drift into a hug. DANIEL: Really? FATHER-IN-LAW: Yes. .. And there seems to be a donkey in there. isn't it? DANIEL: Still a little tricky. let me show you . At this moment. INT. FATHER-IN-LAW: Still a bit hard.but other things come up. Cut to Daniel at the front door. but more and more boxes start coming up .and finally the machine freezes-a patchwork of breasts and bottoms of all shapes and sizes. I presume.


and calling up this filth . isn't it? SAM: It really is. this is disgusting. He takes the jumper off the machine. . SAM: Yes. DANIEL'S HOUSE . this is yours . DANIEL: I can't forget about it.yes or no? SAM: I'd prefer a hundred.. DANIEL: What is this. All right. INT. DANIEL: Do you want fifty pounds . DANIEL: And how did it get here? Pause. DANIEL: Oh . DANIEL: Right. Where's Sam? This is just a step too far. Pause. I have. Sam .OFFICE. You've been using my computer. SAM: Yes. I am. DANIEL: I don't know what to say..let's just forget about it.that is your pocket money docked for a month. He runs up the steps to Sam's room .he pushes a button and up flicks the pornographic patchwork.knocks on the door-Sam peeks his head out. I am so angry with you. On everything. Sam. Cut to the three of them in the office. (Raising voice) Get down here young man.. SAM: Okay.haven't you? He looks at him with slightly raised eyebrows. DAY. He looks up at Daniel-Daniel at him. young sir? SAM: I don't know. FATHER-IN-LAW: Don't worry-we all have different ways of coping with grief and maybe. then whatever happens in the next minute .. DANIEL: Okay. straight away. young man. DANIEL: It's disgusting. the screen is black . I hope you're ashamed of yourself.don't argue -just agree with me. Daniel realizes that was too complex.looks like a website about women having sex with animals.LOVE ACTUALLY l6j Father-in-law heads into the office. Sam. I'll tell you how it got here.

-1>-«I '1 •srar- mm .I.

DANIEL: Freak with genuinely bad haircut.the love thing. and. .. Then fast. They are walking home across the Millennium Bridge.LOVE ACTUALLY 169 EXT.if you just looked up the Claudia Schiffer homepage it wouldn't have done that.1 was doing some work. SAM: Pervert. I was looking up 'Claudia Schiffer Naked Naked Naked'. DANIEL: Computer nerd. looking up Claudia Schiffer for work reasons .. DAY. And it was after that that they sat on the bench and discussed the real. extra reason for Sam's sorrow . you little greedy bastard. SAM: YOU must have . DANIEL: NO. He starts to laugh. DANIEL: All right.. SAM: Wankywankyweirdo.'s number 4 on the 'Claudia Schiffer list . that stuff came up. SAM: YOU must have been looking up 'Claudia Schiffer Naked'. when I tried to close the damn thing. MILLENNIUM BRIDGE. Cut to three hours later-a cash machine somewhere near the river-out pops £100 andDanielputs it straight into Sams hand. BANK CASH MACHINE.Claudia Schiffer Naked Naked Naked' . SAM: Only one thing I don't understand-why were you looking up women having sex with animals? DANIEL: I wasn't . DANIEL: Brilliant work. DAY. Maybe theirfirstlaugh since Sam's mum died. They're now laughing a lot-friends together at last. EXT. Pause.and then suddenly.

who was also in our film The Tall Guy.Mum was a terrible cook. SARAH: I know you are. I've just realized . He's pleased. SARAH: That's right. he remembers everything-she takes his lead. S I S T E R AND B R O T H E R INT. He thinks. Then.said it was a great English tradition. I'm in hell. Then a tiny smile. I know you are. Everything's great. Blondie? SARAH: Great.170 LOVE ACTUALLY Next up. SARAH: DO you remember Dad and the Christmas pudding? MICHAEL: No. with an extraordinary performance by Michael Fitzgerald. less was more . when we finally cut the film. Another tiny smile. Remember . . Sarah is in the ward with her brother again. Every year he never took a single bite. Once again. MICHAEL: Great.but here we went a little deeper into their relationship. How are you.egg in a cup. He just looks at her. wasn't she? MICHAEL: Yes. Deep inside. HOSPITAL NIGHT. Couldn't wash up enough.. SARAH: Every year Mum served it up . He just looks at her stonily. She was. Washing up my absolute favourite activity for one meal a year. Nothing. MICHAEL: You used to clear the table for the only time during the whole year because the Christmas Top of the Pops was on and you could watch it in the kitchen. babe. Looks at her. another scene we filmed with Sarah and her brother. He nods. It's such a joy when he talks.. Its not true.

Doesn't help.LOVE ACTUALLY 1J1 She takes his hand. SARAH: Love you. SARAH: I know.. Michael.. MICHAEL: I know. .

We slowly move into it. Slightly mysterious midnight mood. And love. DAY. that we had to drop this one. . FAIRTRADE OFFICE. But in the end. NIGHT. carrying huge bundles of sticks on their backs. instead ofbeing about their hard lives is just about life and family and gossip. The women begin to talk. EXT. right near the end of the film..even in the most extreme circumstances. was to show that love is a factor everywhere in the world . But their conversation. something I wish I had been able to make work. we were juggling so many balls at this point of the film. We went all the way to Kenya to film this. The point.. It is of two very old African women. THE AFRICAN POSTER EXT/INT. AFRICA. We drift across the office and come to the African poster behind Sarah's desk.And finally.

you'll disown her and never see either of them what can I do? OLD WOMAN 1: Tell her that if she marries him. OLD WOMAN 2: Didn't we all? (More laughter) How is Tessefaye? OLD WOMAN 1: Terrible. They both laugh. OLD WOMAN 2: Yes . Gorgeous .but my daughter loves him .OLD WOMAN i: But he's a famous fool... Behind every film ever made is anotherfilm. OLD WOMAN 2: I know . . OLD WOMAN 1: You're right . deleted.1 could do that. Or tell her that her father was also a famous fool .you married a real idiot.and he didn't turn out too badly.but a terrible man.

174 LOVE ACTUALLY Behind the Scenes The next few pages show a few of the shots Peter Mountain took behind the scenes during our shoot..actors come and go . Most of the time. The people you glimpse in them are the people who really made the film . . really hard.directors head back to their trailers for doughnuts it's the other people who work really..

LOVE A C T U A L L Y I75 L Iff .

" * ' • * . Bfefe^^^_i^ -* JHHHRPI*1 . .176 LOVE ACTUALLY V *' • •

saying.the actors just have to live the completely real moment or the audience will spot the fakery. • •• ' i I remember Mike Newell.and in front of all those people . buffed and polished by costume. given stupid notes by directors. who directed Four Weddings. hair and make-up. it's actually got to happen on camera . Confronted by cameras.the thing has to really occur'. fussed over by props.. 'In the end.LOVE ACTUALLY 1JJ «» . . from somewhere they still manage to conjure up real life. And that's the miracle of actors: after all that preparation .


LOVE ACTUALLY 179 B *B &] >L .


With some sorrow. I s that what I really looked like? I'm completely out of time.LOVE A C T U A L L Y l8l Hugh dancing was one of the very interesting sections of filming. and a little nostalgia.' So what you see in the movie is not only the first time Hugh Grant ever danced on film.' But he pressed on bravely. full stop. We got off to a brave start. very little time left and it was our last day with Hugh. The next set-up he had another look. It also may be the last time he'll ever dance. We suddenly had very. but Hugh made the mistake of coming to the monitor to watch the play back. . 'I will never dance in public again. he whispered.

One of the actors starts to become intimately acquainted with the lake's idiosyncratic and infectious wildlife.182 LOVE ACTUALLY The man in the blue shirt tells the horrified actors about the animal life he has just found in the lake. .

LOVE A C T U A L L Y 183 The same actor shows the director how she feels when he asks her if she'd mind having another go at shooting the sequence in the lake. .

184 LOVE ACTUALLY A ' \ • • . / . . • - ^ mm . .\ . . .

LOVE A C T U A L L Y 185 .

186 LOVE A C T U A L L Y .

And.LOVE A C T U A L L Y 187 This picture is by Charlie Mackesy as are the other lovely. there is a picture of an angel by Charlie in between them. He was our own private artist and it was a joy to have him around. when Colin Firth and his brother turn in the direction of Colin's girlfriend at the end of that early scene. in the film itself. in fact. . pen and camera in hand. mysterious drawings in this book.

188 LOVE A C T U A L L Y .

LOVE A C T U A L L Y 189 .

190 LOVE A C T U A L L Y .


192 LOVE ACTUALLY This is Peter Taylor's private page .our extraordinary camera operator. That's the back of his head on the left and the front of it on the right. .

LOVE A C T U A L L Y 193 *** .

194 LOVE ACTUALLY ea ^"^m .

LOVE A C T U A L L Y \% .

for instance. that might just be called research.and remember that it is very immature to cheat (though.but were you actually paying attention? Try this quiz to find out . On the other hand. If. even cheating comes in all different shapes and sizes. you've read the script . that really is cheating and you should pay more attention to the teachings of Jesus. when the film is set).196 LOVE ACTUALLY Love Actually The Quiz You've seen the film. who was born at Christmas. if you go to the next page and just read the answers there. you go back to the script to seek out the answers. .

. 9. What is Karen and Harry's son called? What is Colin's surname? Which carol does the PM sing to the three little girls? What is Billy's message to the kids about drugs? What kind of book is Jamie writing? Where does Colin say he's from to the girls in the bar? How much does Harry pay for the necklace? Which ambassador does the PM want to change the meeting with after his secretary catches him dancing? 16. 11. 12. 5. 14. 20. and he wrote the film. . 10. What is Mark watching on TV when Juliet turns up at his house? What is the name of Harriet's 'real friendly' sister? What are the seven things the PM says make Britain great? (one point for each) Don't worry if you do badly . How long has Sarah been working for Harry exactly? (one point for each detail) 2. What is written on Sam's door when he's practising the drums in his room? 17. Where does Natalie tell the PM she lives? (one point for each detail) 8. 15. 19. 6. . if you score more than 24. 13. Who should people avoid at the Christmas party 'if they want their breasts unfondled'? 18. 3.LOVE ACTUALLY 197 QUESTIONS 1. it's going to be slightly worrying . What is Jamie's surname? What is Natalie's octopus brother called? What does Colin think the food at the reception tastes like? Which Radio Station is Billy interviewed on? Which sexual positions do we see John and Judy in? (one point for each) 7. 4. In fact. directed it and then edited it for six months.Richard Curtis scored 24/36.

If not. THESCORE How did you do? Tell the truth. Are you Sherlock Holmes? No you can't be . Become a pop star and they give you them for free'. 6. Japanese. Basildon. A thriller. 0 . 19. 17. 2 4 . Keith.3 6 Oh. Carla. 14. 3 days and 2 hours. but not bad.he's not a real detective. Radio Watford. 12. 2 years. come on . The original script also included 'both Catherine Zeta-Jones's breasts' but Hugh found. (a) Wandsworth (b) The dodgy end (c) Harris Street (d) At the end of the High Street (e) Near the Queen's Head. 16. 'Good King Wenceslas'. then full marks for your powers of observation. Billy's video. Bennett. A dead baby's finger. 8.198 LOVE A C T U A L L Y ANSWERS 1. Bernard. 9. 4. 15. 20. 1 2 . 7 months. 7. 13. 'Don't buy drugs. 11. 18. Ringo Rules or Rhythm is My Life.1 2 Are you sure you've seen Love Actually? . 2.2 4 Definitely not the class swot. quite rightly. (a) Shakespeare (b) Churchill (c) The Beatles (d) Sean Connery (e) Harry Potter (f) David Beckham's right foot (g) David Beckham's left foot. 10. Kevin. (a) From behind (b) Judy on top (c) You know perfectly well (d) Judy sits on John's face . 3. 5.don't pretend you didn't look S O M E of the answers up.or quite near it. that he couldn't say it with any credibility in the context of a Prime Ministerial press conference. £270. Frissell.

Love Questionnaire Who was the first person you ever loved and how old were they and you? went out with Kelly Graham for two years. Vicki Barker was nice but she was younger than me. Who was the first person you loved in the movies? What is your favourite romantic movie of all time? What is your favourite romantic song? What's your favourite Christmas song? stmas près 's down. who would it be? Who would you have as your naked stand-in? Is love actually all around? . And what is your worst? If you had to have sex with one British Prime Minister.

and how old were they and you? Who was the first person you loved in the movies? What is your favourite romantic movie of all time? What is your favourite romantic song? What's your favourite Christmas song? What is your best ever Christmas present? And what is tched coffee grinder with no box and oily prints.. who would it be? Who would you have as your naked stand-in? almost yone. In . at tnis point Is ctually.ove Questionnaire Who was the first person you ever loved .yes. You know who you are. If you had to have sex with one British Prime Minister.

And what is your worst? A £ 5 gift voucherforWH Smith.Love Questionnaire Andrew Lincoln (MARK) Who was the first person you ever loved . who played Valeria the vampire in Carry On Screaming. If you had to have sex with one British Prime Minister. What is your favourite romantic song? 'Hallelujah' by Jeff Buckley. What is your best ever Christmas present? My dog Charlie . Who would you have as your naked stand-in? Bill Nighy. who would it be? Winston Churchill.and how old were they and you? Sarah Bennett (famous for her burgundy legwarmers). She was ten and I was nine. What is your favourite romantic movie of all time? Some Like It Hot. Is love actually all around? deceased. yeah! . baby. What's your favourite Christmas song? 'Power of Love' by Frankie Goes to Hollywood. Who was the first person you loved in the movies? Fenella Fielding.

ove Questionnaire Who was the first person you ever loved .and how old were they and you? d the dog was ab Who was the first person you loved i vies? What is your favourite romantic movie of all time? What is your favourite romantic song? What's your favourite Christmas song? to lown What is your best ever Christmas present? And what is your worst? If you had to have sex with one British Prime Minister. who would it be? Who would you have as your naked stand-in? Is love actually all around? .

If you had to have sex with one British Prime Minister. What is your best ever Christmas present? It was a mini Steve Davis snooker table when I was Mum.1 guess it would have to be Margaret Thatcher. . What is your favourite romantic song? 'Something So Right' by Paul Simon. Who would you have as your naked stand-in? Johnny Vegas. Is love actually all around? Of course it is. And what is your worst? There's no such thing as a worst Christmas present. What is your favourite romantic movie of all time? Manhattan. Who was the first person you loved in the movies? Teri Garr in Tootsie.Love Questionnaire Chiwetel Ejiofor (PETER) Who was the first person you ever loved and how old were they and you? I was probably zero and she was in her early twenties . What's your favourite Christmas song? 'It Feels Like Christmas' by The Muppets. I'd have to get to know them really well. who would it be? That's really a tough question. God forgive me .

I loved her :ause she loved me. got past the fireguard with it on Christmas Day and then walked round the house with this burning brazier dropping molten plastic on to the linoleum tiles in the hall and the living room carpet. If you had to have sex with one British Prime Minister. who would it be? some jowly old incontinent. But it's so much easier with American presidents. I like feeling a bit iuzzy . Well. Who is your favourite romanti< What is your favourite romantic movie of all time? films. no . There were le was the first person I cried jr.Love Questionnaire Who was the first person you ever loved .and how old were they and you? I was eight. Is love actually all around? .1 mean I prefer What is your favourite romantic song? What's your favourite Christmas song? What is your best ever Christmas present? And what is your worst? my brother. who was a toddler. you know.but. not J UST because ed me . it helped. isn't it.1 think it was Lynne Lassin. Actually. It was nearly the death of my entire family. but I just missed my lovely sword.

who would it be? Who would you have as your naked stand-in? \/e actually all around? .Love Questionnaire (KAREN) Who was the first person you ever loved .t over it And what is your worst? If you had to have sex with one British Prime Minister. Who was the first person you lov* What is your favourite romantic movie of all time? What is your favourite romantic song? What's your favourite Christmas song? What is your best ever Christmas present? .and how old were they and you? me while we were both hanging upside down on a clothes-rail during the school play.

who would it be? ••IsgîWtslC»!*!!: o would you have as your naked stand-in Is love actually all around? .Love Questionnaire Who was the first person you ever loved . What is your favourite romantic movie of all time? What is your favourite romantic song? What's your favourite Christmas song? What is your best ever Christmas present? And what is your worst? If you had to have sex with one British Prime Minister.and how old were they and you? Who was the first person you loved in the movies? cially the large Great Dane).

who would it be? Who would you have as your naked stand-in? .Love Questionnaire Who was the first person you ever loved .and how old were they and you? Who was the first person you loved in the movies? nth the ukulele. What is your favourite romantic movie of all time? for hours afterwards. What's your favourite Christmas sonc -Wizzard. What is your favourite romantic song? ItonJohn. What is your best ever Christmas present? 'ith all sorts of landscape design - 1 actually had expected the newest If you had to have sex with one British Prime Minister.

but with a better body. The world is full of hatred and greed. She was thirteen. blonde. If you had to have sex with one British Prime Minister. who likes to send audio Christmas cards. for sentimental reasons (don't think he ever made it though).Love Questionnaire Hugh Grant (PM) Who was the first person you ever loved . I could play that part. And what is your worst? Set of iron-on jeans patches in plain denim. What's your favourite romantic poem? There's an enchanting limerick that begins There was a young girl called Heather'. Mee Too. What is your favourite romantic movie of all time? Brief Encounter. Who would you have as your naked stand-in? Colin Firth . as sung by my accountant. . who would it be? Michael Foot. I was eleven. What is your best ever Christmas present? An air gun. Is love actually all around? No. who always joined in when this song came on. Michael Foot. wore glasses and looked a bit like the then Labour Party leader. What is your favourite romantic song? 'Daniel'. as sung by my grandmother's Pekinese dog.and how old were they and you? A girl called Juliet. What's your favourite Christmas song? 'Away In a Manger'. I went straight out and shot a bee.

and how old were they and you? Who was the first person you loved in the movies? What is your favourite romantic movie of all time? What is your favourite romantic song? What's your favourite Christmas song? What is your best ever Christmas present? And what is your worst? If you had to have sex with one British Prime Minister. who would it be? Is love actually all around? .Love Questionnaire Who was the first person you ever loved .

who would it be? f're all horrible.Love Questionnaire Who was the first person you ever loved . Who would you have as your naked stand-in? Is love actually all around? absolul .and how old were they and you? Who was the first person you loved in the movies? What is your favourite romantic movie of all ti What is your favourite romantic song? What's your favourite Christmas song? What is your best ever Christmas presen And what is your worst? If you had to have sex with one British Prime Minister. Maybe Lloyd George because îe moustache.

who would it be? Who would you have as your naked stand-in? )bvious!! Quite possibly it is .Love Questionnaire Who was the first person you ever loved . .but not in a gay way. Either that or Scooby Doo.but none for me. What is your favourite romantic movie of all time? What is your favourite romantic song? What's your favourite Christmas song? What is your best ever Christmas present? And what is your worst? If you had to have sex with one British Prime Minister.and how old were they and you? Donald Pleasence in The Great Escape .

who would it be? Who would you have as your naked stand-in? Is love actually all around? .Love Questionnaire Who was the first person you ever loved .and how old were they and you? Who was the first person you loved in the movies? What is your favourite romantic movie of all time? What is your favourite romantic song? What's your favourite Christmas song? What is your best ever Christmas present? And what is your worst? If you had to have sex with one British Prime Minister.

and how old were they and you? The girl whose dad owned the Italian fish and chip shop in my town. who would it be? I guess Hugh Grant . Rome.but he'd better dress up as Natasha Richardson. .Love Questionnaire Liam Neeson (DANIEL) Who was the first person you ever loved . Who was the first person you loved in the movies? Audie Murphy. What's your favourite Christmas song? 'Fairy Tale Of New York' by Shane McGowan & Kirsty McColl. And what is your worst? Socks and underpants (as a kid If you had to have sex with one British Prime Minister. What is your favourite romantic movie of all time? The Mummy (Boris Karloffs). I guess I was ten . Is love actually all around? We're all doomed.Sistine Chapel.she would have been fifteen. What is your best ever Christmas present? Socks and underpants (as an adult). Who would you have as your naked stand-in? Michelangelo's God. What is your favourite romantic song? 'Without You' by Harry Nilsson.

What is your favourite romantic poem? 'Ana Lucia' by Fernanda de Castro. who would it be? None of them.Love Questionnaire Lucia Moniz (AURELIA) Who was the first person you ever loved .T. What's your favourite Christmas song? 'White Christmas'. What is your best ever Christmas present? Guitar. If you had to have sex with one British Prime Minister.especially when I was working on this movie . And what is your worst? I was given the same yellow toaster two years in a row by the same person.and tears and laughs. Elliot in E. I was five years old when the movie came out. What is your favourite romantic song? 'Unforgettable'. I would run away first. What is your favourite romantic movie of all time? E. .and how old were they and you? Henry Thomas. Who would you have as your naked stand in? Meryl Streep. T. Is love actually all around? Yes .

so that's a festive piece IflliwliISmiTîralfMMreaaBii in my head. What is your favourite romantic movie of all time? )eath.Love Questionnaire Who was the first person you ever loved . A/. basicallv What's your favourite Christmas song? iropertune. and 'Emmie' by Laura Nyro. Who was the first person you loved in the movies? opener. Those kinds of songs don't do it for me. What is your best ever Christmas present lore meant that mi And what is your worst? It was a If you had to have sex with one British Prime Minister.she was sixteen.onder. I suppose real stuff would be with Mich enteen .and how old were they and you? lough. . And 'Merry Christmas (War is Over)' by John and Yok< It's a good time and the sentiment is not one of feeding snow to fucking reindeer. 'Thoughts Of Hogy Jane' by Nick Drake. Oh.ristmas. 'If I Should Die Tonight' by Marvin Gaye just too many. Wherever I May Find Her' by Simon & Garfunkel. Hundreds. I really What is your favourite romantic song? . who would it be? Who would you have as your naked stand-in? Is love actually all around? . I've alw° lyn Monroe.'For Emily. My Mum alway ^.

and how old were they and you? My jazz teacher. What is your favourite romantic movie of all time? The Way We Were. They had a leopard-skin interior and I thought they were hideous. He was twenty-one or twenty-two and was gorgeous . We did the lift at the end. when I was fifteen. . Is love actually all around? No. We went to the swimming baths but I was too scared to kiss him. who would it be? Tony Blair.all the girls adored him. he told my Dad 'not to put Baby in the corner'. If you had to have sex with one British Prime Minister. And what is your worst? An awful pair of gold lamé slippers my nan bought me in true East End barmaid style.Love Questionnaire Martine McCutcheon (NATALIE) Who was the first person you ever loved . What is your best ever Christmas present? An ex-boyfriend standing naked with nothing but a red ribbon tied on his privates.Patrick Swayze (in Dirty Dancing) taught me how to dance. . . Who was the first person you loved in the movies? I obviously have a thing for dancers . Who would you have as your naked stand-in? Penelope Cruz. What's your favourite Christmas song? 'Last Christmas' by Wham. but I wish it was. What is your favourite romantic song? 'Evergreen' by Barbra Streisand. Now I can Mumba. David Samuel. He eventually left and then rang my Mum to ask me on a date when I was sixteen. Cha C h a .

Love Questionnaire Who was the first person you ever loved .and how old were they and you? What is your best ever Christmas present? And what is your worst? If you had to have sex with one British Prime Minister. who would it be? Who would you have as your naked stand-in? Is love actually all around? . although some people can t ut it is there. .

2l8 LOVE ACTUALLY Some Strange Posters Introduced by Richard Curtis Designing the poster is one of the most delightful and frustrating parts of making a movie.nice picture of Julia. First. The Graduate. the shot from above with Renée with her legs out. But it only happens about once every five years .and the Notting Hill one isn't bad . In the back of your mind is the dream scenario where you come up with something like the perfect ones .there's one of the Bridget Jones posters I really like. Jaws. some of the ones we quite liked: .The Godfather. though Hugh is a bit little and his face is a little pink. I think we've done all right so far. holding a glass of Chardonnay .so on the whole you just hope you don't end up with a turkey. Here are some of the early stabs at posters for Love Actually.

a hundred attempts to produce hearts in different ways . .the hands interestingly belong to Christy Turlington*. '««forant ImmMMin aunt»» ai:*»My «nrathompral itxifehman km-Jintohtto» m a U a o o bridge* jone»'» diary netting hiil •nd four weddings A • funeral From the makers of Bridget J o n e s ' s Diary and Nottlng Hi» loveactually *That is a lie.LOVE A C T U A L L Y 219 Next up.these are some of our favourites .

over emotionally. BRIDGET JONES DIARY grant neeson linrtey thompson rickman knightiey atkinson LOVE . hook line and sinkerty.. utterly. totally devotedly.. actually AT CINEMAS NOVEM loveactually FOUR WEDDINGS AND A FUNERAL HOTTING MU. perfectly. acceptantly. FHOM "ME MAKERS Of B F C G E r J 0 N 6 S OWW N the ultimateromanticcomedy *0wmt Immmm aUt» iMtÊmm « *- 99% ten stories all about.220 LOVE A C T U A L L Y Then we told them to start getting a bit experimental. completely. humungously. head over heelsey. beautifully. outrageously. reassuringly.-• ACTUALLY Then we told them to stop being so experimental. simply. for all the tea in chinaley. unfailingly. .. Unrequitedly.

. all you need is.. .LOVE ACTUALLY 221 Not before this bizarrre sequence . all you need is... * * LoveActually" And finally. or the biggest marketing mistake a film could make. over the page is either our favourite one of all. "V LoveActually* BBS G ••>• LoveActually- all you need te.Love Actually as Jurassic Park 4.... You can be the judge.

actually AT CINEMAS NOVEMBER 21 .^u're not going to like this.

the real friendly one Wisconsin taxi driver Barman Stacey. Sarah's brother Rufus. Terry P M ' s bodyguard. Keith John's brother Mr Trench Joanna Anderson Mrs Jean Anderson Backing-singer teacher Mr Anderson Carol Tommy. Deputy Prime Minister Jeremy Cabinet Ministers ALAN B A R N E S SHAUGHAN SEYMOUR JUNIORSIMPSON ALAN R I C K M A N RODRIGO SANTORO BRIAN BOVELL SARAH McDOUGALL Natalie's Mum Natalie's Dad Natalie's octopus brother. Gavin Harris Street old lady Harris Street little girl Her friends A s himself Hospital patient Michael. Carol's son Mr Barros Sophia Barros Airport Gate Man Restaurant Proprietor Harriet.LOVE ACTUALLY 223 CAST IN ORDER OF APPEARANCE Billy Mack Joe Studio Engineer Jamie Jamie's girlfriend Daniel Karen Daisy Colin Mia John Just Judy Peter Mark Juliet The Prime Minister Annie Terence. Karen's son Language students P M ' s secretary Billy's Video Vixens US Expert P r e s s Conference Reporters P E T E R MARINKER KEIR C H A R L E S DORALY R O S E N MEG WYNN OWEN SARAH ATKINSON CLARE BENNETT SARAH HOLLAND VICKI M U R D O C H MEREDITH OSTROM KATHERINE POULTON TUULI MICHAEL PARKINSON CIARAN O ' D R I S C O L L MICHAEL FITZGERALD ROWAN ATKINSON WILLIAM W A D H A M CATIA D U A R T E IGORURDENKO NAT U D O M INESBOUGHANMI YUKSIMYAU JOHNSHARIAN GLENN CONROY IVANAMILICEVIC JANUARY J O N E S ELISHA C U T H B E R T LAURA R E E S EMMA B U C K L E Y SHEILA ALLEN TERRY R E E C E COLIN COULL MARGERY MASON KATHARINE BAILEY TIFFANY B O Y S E L L G E O R G I A FLINT JOANNA B A C O N BILL MOODY BILLY C A M P B E L L PAUL S L A C K ADAM G O D L E Y OLIVIA O L S O N RUBYTURNER AMANDA G A R W O O D ARTUROVENEGAS CLAUDIA S C H I F F E R PATRICK DELANEY HELDER COSTA CARLA V A S C O N C E L O S STEWART HOWSON RAULATALAIA SHANNON ELIZABETH DENISE RICHARDS MARCUS BRIGSTOCKE R I C H A R D HAWLEY WYLLIELONGMORE GILLIAN B A R G E RICHARD WILLS-COTTON KATE B O W E S R E N N A KATE G L O V E R N I C O L A McROY Ant Dec Eléonore Aurélia The U S President A N T H O N Y McPARTLIN DECLAN DONNELLY ELIZABETH MARGONI LUCIA MONIZ BILLY B O B T H O R N T O N . American Dreamgirl Jeannie. American Angel Carol Anne. who's in charge Pat the housekeeper Natalie Sarah The Wedding Singer Jamie's bad brother Nancy the caterer Tony Funeral Priest S a m ' s Grandfather S a m ' s Grandmother Sam Family Mourners BILLNIGHY G R E G O R FISHER RORYMacGREGOR COLIN FIRTH SIENNA GUILLORY LIAMNEESON EMMA T H O M P S O N LULU P O P P L E W E L L KRIS MARSHALL HEIKEMAKATSCH MARTIN F R E E M A N JOANNA P A G E CHIWETELEJIOFOR ANDREW LINCOLN KEIRAKNIGHTLEY HUGH GRANT NINASOSANYA FRANK MOOREY JILL F R E U D MARTINE M c C U T C H E O N LAURA L I N N E Y L Y N D O N DAVID HALL DANFREDENBURGH JULIA DAVIS ABDUL SALIS H E L E N MURTON EDWARD HARDWICKE CAROLINEJOHN THOMAS S A N G S T E R GEMMA ASTON MATT H A R V E Y ADRIAN P R E A T E R JOANNA THAW Movie Director Movie Cameraman Wedding DJ Harry Karl Radio Watford DJ1 Radio Watford Receptionist Mike the DJ Alex. American G o d d e s s Record company executive Jamie's sister Jamie's mum P M ' S chauffeur. jewellery salesman Bernie. the sexy one Carla.

Trainee Accountant Chris Norman Location Unit Managers Joseph Jayawardena Jonathan Hook Assistant Location Manager Aurelia Thomas Location Assistant Lucy Foulds Casting Assistant Sophie Shand Producers Duncan Kenworthy. Julian May. Clare Bennett Assistant to Hugh Grant Sara Woodhatch Assistant to Liam Neeson Manuela Cripps Production Runner James Bolton . Daryl Jordan. Christian Wheeler N F T S Trainee Peter Lambert Make-Up Artists Lorna McGowan Kate Benton Assistant Costume Designers Marlene Lawlor Samantha Heskia Costume Supervisor Mark Ferguson Set Supervisor Amanda Trewin Set Costumiers Martin Chitty Leigh Nicol Costume Assistants Charlotte Finlay.FT2 Continuity Trainee Sheila Marshall Floor Runners Oliver Kersey Bryn Lawrence Jae Sung-Oh Post-Production Runner S a m Macrory Focus Puller Mik Allen Children's Casting Shaheen Baig Casting of Joanna Stephanie Corsalini Portuguese Casting Camilla-Valentine Isola Documentary Kissing Footage Cameraman 2nd Unit Cameraman Additional 2nd Unit Cameraman ' B ' C a m e r a Operators Mike Eley David Morgan Mike Brewster Martin Hume John Palmer ' B ' Camera Focus Puller James Bloom Crane Grip Andy Friswell Sound Playback Mike Harris First Assistant Editor Peter Dansie Avid Assistant Editor Tania Clarke S e c o n d Assistant Editor Deborah Richardson Conforming Editors Paul Clegg. Fiona Weir Music Supervisor Nick Angel Music by Craig Armstrong Co-producers Debra Heyward. Martin Corbett. Lisa Bracey.224 LOVE ACTUALLY UNIT LIST Casting Mary Selway C D G . Jo Roderick. Script Editor Emma Freud Production Manager Tori Parry First Assistant Director Christopher Newman Camera Operator Peter Taylor Script Supervisor Lisa Vick Production Sound Mixer David Stephenson A M P S / C A S Supervising Art Director Jonathan McKinstry Location Manager S u e Q u i n n Financial Controller Michèle Tandy Post-Production Supervisor Deborah Harding Sound Supervisor Glenn Freemantle Music Editors Michael Price Jon Olive A M P S Chief Operating Officer Angela Morrison Executive in Charge of Production Michelle Wright Production Executive Sarah-Jane Wright Head of Legal & Business Affairs Sheeraz Shah Chief Financial Officer Shefali Ghosh Senior Legal & Business Affairs Executive Grâinne McKenna Legal & Business Affairs Executive Lucy Wainwright Executive Co-ordinator Ann Lynch Assistant Co-ordinator Lucie Graves Assistant to Tim Bevan Callum Metcalfe Assistant to Eric Fellner Aliza James Paralegal Christina Angeloudes Music Co-ordinator Alexandra Hill Production Co-ordinator Simon Fraser Assistant Production Co-ordinator Una Hill S e c o n d Assistant Director Ben Howarth C o . Liza Chasin Hair and Make-up Designer Graham Johnston Costume Designer JoannaJohnston Line Producer Chris Thompson Production Designer Jim Clay Director of Photography Michael Coulter B S C Editor Nick Moore Tim Bevan. Charlotte Sewell. Ben Renton. Eric Fellner Writer/Director Richard Curtis Video Assist Stephen Lee Assistant Video Operator Rory Fry Camera Trainee Luke Coulter Sound Maintenance Colin Wood Sound Assistant Amie Stephenson First Assistant Accountant Penny Powell Assistant Accountants James Richardson Fran Triefus P G Asst. Frank Gallacher Costume Department Runner Magdalena Natalia Witko Art Directors Rod McLean Justin Warburton-Brown Stand-by Art Director Ashley Winter Storyboard Artist Jane Clark Assistant Art Director Heidi Gibb Draughtsmen Roger Bowles Philip Harvey Jonathan Houdling Emma Vane Junior Draughtsman Antonio Calvo-Dominguez Graphic Designer Jools Faiers Art Department Assistants Oliver Goodier Andrea Couch Art Department Runner Helen Chapman Clapper Loader Oliver Loncraine Grip Richard Broome Steadicam Operator Paul Edwards .S e c o n d Assistant Director Alexander Oakley Third Assistant Director Tom Glaisyer Crowd Assistant Director S u s a n Lawrence Assistant to Duncan Kenworthy Adam Tudhope Assistants to Richard Curtis Sarah McDougall.

Eamonn Cann. Stagehand Derek Whorlow Supervising Stagehand George King Stand-by Stagehand Mark Goodman Stagehands Peter Browne. Charles McGinlay. Ian Burrows. Geoff Nolan. Gary Lowe. John McGuigan. Karl Thomas Generator Operator Practical Electrician for Construction/Art Department Joe M c G e e Rigging Gaffer Tony Hayes Mark Laidlaw Assistant Construction Manager Seamus O'Sullivan Construction Buyer Zoë Robertson Supervising Carpenters David Lowery Tom Martin Eamon McLoughlin Danny O'Regan Chargehand Carpenters Peter Browne Martin Freeman John O'Brien Dave Youngs Stand-by Carpenter John M c G e e Carpenters Joseph Alley. Frank Berlin. David Philpott. Warren Evans. Patrick O'Flynn.D. Stephen Murray. Steve Tranfield. J e s s e Hammond. Geoffrey Grant.D. Peter Nodwell. Paul Waterman. Gary Hedges. Tom Hayes. Matthew Whelan. Martin Hawkins. Trevor Eve. David Barker. Colin Osgood. Darrell Williams. Stephen Morris. David Gibson.O. Kevin Harris. Alan Grenham. Kenneth Welland. Steven Ponting. Ben Crosby. Jeff Sullivan. Paul Webb. Barry O'Brien. Peter Collins. Glenn Start. Lee Edwards. Nicholas Lloyd. Stephen McGregor. Robert Cann.O. Mark Dowling. S e a n Higgins. Jason Phelps. Nigel Henderson. David Sinfield. Ettore Venturini. Colin Smith H. Andy Good. Bernie Collins. Robert Byron. Ian Zawadzki Painters' Labourers Peter Kane David Lainsbury Ian Tansey Trainee Painters Adam Crosby Luke Goodman Chargehand Sprayer John Butler H. Richard Shackleton. Robert Flint.D.LOVE ACTUALLY 225 'Christmas Uncovered' Exhibition Photographs by David Bellemère Set Decorator Assistant Set Decorator Caroline Smith Sophie Newman Painters Perry Bell.O. Paul Carpenter. Rolf Snellgrove. Delmont Earwicker. Michael Webb. Peter McCarroll. Craig Gleeson. Lee Biggs. Plasterer Richard McCarthy Drapes Master Chris Seddon Production Buyer Dave Morris Props Master Barry Gibbs Prop Storeman Darryl Paterson Chargehand Dressers Roy Chapman Kevin Wheeler Dressing Props John Botton Colin Ellis Jason Hopperton Chargehand Standby Propman Bradley Torbett Standby Propman Jason Torbett F T 2 Props Trainee Esta Morris Construction Manager Stephen Bohan Supervising Plasterer Adrian Aitken Chargehand Plasterer Cliff Etheridge Plasterers Nick Barringer. Peter Grove. James Buxton. Russell Sargent. Nick Goodall. Painter Gary Crosby Supervising Painter Dean Dunham Chargehand Painters David Haberfield Albert Roper Steve Williamson Clive Ward Stand-by Painter Brian Morris Practical Electrician Darren Gatrell . Anthony McGee. Gavin Gordon. Stephen Page. Rigger Peter Hawkins Chargehand Rigger Frederick Crawford Supervising Rigger Ronald Meeks Stand-by Rigger David Weller Riggers Stephen Dunn. Thomas Mangan. Barnaby Inman.D. Keith Weston Gaffer Terry Ed land Best Boy Wayne Leach Electricians Mark Evans. Eddie Wolstencroft Plasterers' Labourers Gary Burns Mark Williams H. Michael Finlay.O.. Nigel Crafts. Martin Goddard. Stephen Dunsford. Lee Jones. Mark Wilkinson Trainee Carpenters Mark Weston Roy O'Brien Chargehand Wood Machinist Wood Machinist Stephen Weston David Allistone H. John Hersey. Garry Higgins. Stephen Fountain. Fred Crosby. Derek Dawson.


The British Crew 9 f * .

William Howe Special Effects Supervisor Richard Conway Special Effects Technicians S a m Conway Mark White Stunt Co-ordinator Lee Sheward Stunt Double for Aurelia Tracey Caudle Stunt Doubles for S a m Talila Craig. Scott Hillier. Tommy Hunt. .O. Avril S o a r d s Choreographer Jonathan Lunn Location Manager Arnaud Duterque Olivier Coquillon David Piechaszeck Assistant Location Managers Gerard Hubert Extras Casting Director Construction Gaffer Samia Fadli Jean Preiss Patrick Allard Prop Buyer Jean-Paul Bernardi Transport Captain Matthieu Rubin Craft Service Stéphane Santinelli Nicolas Sabarros Dialogue/ADR Editor Effects Editor Gillian Dodders Mark Heslop Foley Editor Graham Peters Assistant Sound Editors Andy Wilkinson Tom Sayers S u s a n French Unit Publicist Sarah Clark Stills Photographer Mark's Wedding Video and 'Behind the S c e n e s ' Footage Jonathan Richardson Utility Stand-ins James Chasey Géorgie Sayer Health & Safety Officer James Blackwell Unit Nurse Pat Barr Construction Nurses Ruth Nicol Carrie Johnson Tutors Matthew J . Keith Ellis. George Yeung Camera & Lenses Supplied by One8SixLtd Facilities Supervisor Albert Smith Facility Drivers Mark Allen Andy Carter Barry Stone F R E N C H UNIT Production Service Company Bay Vista Production Services Antoine Sabarros Production Manager Raphaël Benoliel Assistant Director Gilles Kenny Production Co-ordinator Laurence Coutaud-Garnier Assistant Production Co-ordinator Emmanuelle Breuil Office Runner Jennifer Simonnet Accountant Isabelle Lippitsch Lighting Equipment by Lee Lighting Louma Crane Louma UK Louma Technician Adam Samuelson Graphics. Shepperton. Martin Parry. Paul Harford. Townley Knott. Mark Hatchell. Tom Innes. England Unit Drivers Mike Beaven. Computer & Video Playback Compuhire Editing Equipment Hyperactive Broadcast Ltd Sound Post-Production by Reelsound Ltd Digital Projection Equipment Bell Theatre Services Cherrypickers Supplied by Nationwide A c c e s s Ltd Additional Generators Powerent Trucks and Facilites Cavalier International Transport Lays International Location Facilities Willies Wheels Main Title and End Sequence Design by Momoco/Maguffin Digital Grading Colourists Adam Inglis. Maria Stroka Visual Effects Editorial Roz Lowrie Driver to Liam Neeson' Simon Saunders Visual Effects & Digital Grading by Framestore C F C London Visual Effects Supervisor Visual Effects Producer Tim Webber Tim Keene Peter Mountain Re-recording Mixers Robin O'Donoghue Richard Street Graham Daniel Assisted by Nigel Bennett. Kevin Edland Specialist Lighting Electrician Chris Craig H. Tony Wadsworth Driver to Duncan Kenworthy' Enyo Mortty Driver to Richard Curtis Simon Hudnott Driver to Hugh Grant Peter Devlin Visual Effects Compositors Christian Manz. John Smith. Martin Lewis.228 LOVE A C T U A L L Y Studio Chargehand Rigging Electrician Tom Brown Rigging Electricians Kenneth Monger. Hogden Charles Howes Transport Captain Roy Clarke Terry Reece. Adam Daniel Sound Re-recordist Esther Smith A D R Mixer Aad Wirtz at Interact Sound Foley Mixer Kevin Tayler Foley Artists Felicity Cotterell Lionel Selwyn Crowd Voices S y n c or Swim A D R voice casting Jay Benedict and Phoebe Scholfield Preview Re-recording Mixer Brendan Nicholson Sound Re-recorded at Shepperton Studios. Miklos Kozma.D. Electrical Rigger William Beenham Electrical Riggers Gary Dormer. A s a Shoul Digital Conform Steve Wagendorp Digital Lab Andy Burrows. Nick Seal Digital Grading Producer Claire McGrane Minibus Drivers Mike Moran John Burden Location Vehicle Drivers George Corrigan.

Tricia O'Connor. Produced and Arranged by Craig Armstrong Recorded and Mixed by Geoff Foster at Air Studios. Steeple PostProduction Services Ltd Executive in Charge of Film Music Kathy Nelson for Universal Studios S c o r e Composed. Mitchell Brown. Vince Jordan.LOVE A C T U A L L Y 229 Low Loader Bickers Action Prop Vehicles Action C a r s Color by Deluxe Laboratory Contact Clive Noakes Colour Timer Dave R e e s Negative Cutting Cutting Edge End Roller Digital Compositing by Cineimage Dolby Sound Consultant Nick Watson Music Consultant Post-Production Accountants Kirsten Lane-Right Music Ltd Post S u m s Ltd Post-Production Scripts Sapex Scripts Post-Production Consultancy Steve Harrow. Chris Barrett and Olga Fitzroy Orchestrations by Craig Armstrong and Matt Dunkley Orchestra Contractor Isobel Griffiths Orchestra Leaders Gavyn Wright and Perry Montague-Mason Piano by Simon Chamberlain and Craig Armstrong Guitar by Craig Armstrong Solo Clarinet by Matthew Hunt Gospel Choir Metro Voices Choirmaster Jenny O G r a d y Music Conducted by Cecilia Weston North Studio Engineer and additional programming David Donaldson Assistant to Craig Armstrong Emma Ford U S Music Consultant Jeffrey Pollack Security Lew Morgan Background Artists Supplied by The Casting Collective 2 0 2 0 Casting Costumiers Academy Costume Carlo Manzi Rentals Catering Supplied by AVC Catering Crowd Catering Fayre Do's Caterers Sophie Aitken. Clearance & Product Placement Coordinators Bellwood Media Ltd Clearance Co-ordinator Eth Ibrahim-Flint . Clive Putman Telecine Midnight Transfer Insurance provided by Aon/Albert G Ruben Legal Services Christine Somerville Patricia Mary Murphy Legal Clearances Marshall/Plumb Research Associates. Inc. London Assistant Engineers Jake Jackson.

_• Dim> ij^m%r TAIWAN Î121N ISRAEL ii9>Dn 1 3 m OHJ^ojg] KOREA Well..Chocolate for Breakfast. Just for the scrapbook . simplesmenteamor realmenteamor (loweactually) BRAZIL LATIN AMERICAN SPANISH I'amoredawero ITALY Tatsachlich.. not always 'Love Actually'. just for the record... some of the curiously similar logos for Love Actuallyirom around the world.LOVE A C T U A L L Y And Finally. Love Is Me because there isn't actually a word for 'actually' in Taiwan..a couple of last extra things. But others have experienced stranger things . In Taiwan the film is called Love Is You.Liebe GERMANY •JVfjJXJJAPAN o amoracontece PORTUGAL . . And last of all. First. It was a big Italy Bridget Jones's Diary was called Bridget Jones . the call sheet for the day of the filming of the final scene in Heathrow Airport.

The end VANITY FAIR STILLS ON T STAGE TIME TBC ARTISTE Hugh Grant Chiwetel Ejiofor Andrew Lincoln Kris Marshal Keira Knightley Liam Neeson Thomas Sangster Colin Firth Martine MoCutcheon Abdul Salis Bill Nighy Gregor Fisher Emma Thompson Lulu Popplewell William Wadham Alan Rickman Lucia Moniz Martin Freeman Joanna Page Olivia Olson Denise Richards Shannon Elizabeth Ruby Turner Claudia Schiffer Laura Linney CAR 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 "SC 174pt 174pt 174 pt 174pt 174pt 174pt 174 pt 174pt 174 pt D/N I P C S D19 D19 D19 D19 D19 D19 D19 D19 D19 4 | CAST~#'S~ " 16. 31 18.17 7. 9 .Caaaarla The Prime Minister is assaulted by Natalie Other people meet at arrivals.up 0800 L. Harriet and.up After L.up 0800 Stills J _ai_ - .up 0800 Stills L. .• --.up After L.up 0800 L.^/^!. Bemie 22.up 0800 L. Harriet 84.-JHMG.up After L. 15..Fast Crowd B. 47.up 0800 L. 3.up After L..up 0800 L.up 0700 0700 After L.up After L. . Tony 16. Studtos Road. Peter 3. Judy 44.up After L.14 PP. Aurelia Joanna meets Sam & Parents all meet.. Karen and children greet. Joanna's Mum 85. Karen 19. Peter Juliet and Mark Meet Jamie. 85 15.\£Vv. Unit Manager: 07710 512145 Jonathan Hook. 2 7 7. .up After L.up 0800 L.up 0800 Stills L. Carta 82. Daisy 20. 84.up 0800 Stills L. to H Stage 1 Crowd Adj.up 0800 L.up Tl T32 T33 T34 T2 T35 T3 T4 T36 T5 T37 T6 T38 T39 T7 T40 T41 T42 T43 T8 T9 T44 T10 Til T31 0700 0700 After L. 82 1.up 0800 L.up 0800 L. •. Joe 18. Aurelia 30.-. WHBÈXE-'"1.44. L. John 31. Order Tbc INT HEATHROW-ARRIVALS Billy arrives with Blonde «reeted by Joe Pass by Daniel & Sam Carol Joins Tony bumps joined by John and Judy Harry arrives. Harry 27.•/. Juliet 7 Daniel 8.up After L.up After L.up 0800 L. 5 .0745 0745 0745 0745 0745 0745 0745 0745 0745 0700 0700 0700 0745 0745 0745 0745 0745 0700 0700 0745 0700 0700 0745 0730 0900 After L. Jamie 14. Mark 4. Location Manager: 07860 150627/ Joseph Jayawardena.^FilnijC^vSlM Shepperton Studios.up 0800 Stills L.'. Prime Minister 2.up 0800 L.up After L.. Loc. 30. Manager 07957 254889 ACTUALLY FILMS LTD Director: Richard Curtis Producer: Call Sheet 14 "Love Actually" Duncan Kenworthy DATE: Monday 1 6 * September 2002~ CONTNUOUS DAY PLEASE BE AWARE THAT IT WILL BE VERY HOT ON H STAGE DRESS ACCORDINGLY 1 LOCATION: H Stage Shepperton Studios UNIT BASE CARPARK 1 Private cars to park in Car Park 1 or 2 Catering: Crew Adj.up 0800 L. Asst.' "" CALL y. Sue Quinn.:.20. Natalie 15.up 0730 0900 ON SET Tbc Tbc Tbc Tbc Tbc Tbc Tbc Tbc Tbc Tbc Tbc Tbc Tbc Tbc Tbc Tbc Tbc Tbc_ Tbc Tbc Tbc Tbc Tbc Tbc REMARKS.up 0800 Stills L. Colin 5. 8.up 0800 Stills L. Billy 17.8. 19.up 0800 L.up 0800 Stills L. to S Stage Sun Rise: N/A Sun Set: N/A Unit Call Unit Wrap Crew B.up After L. Running Crew Lunch from Running Crowd Lunch from 0800 1800 0700 0630 1230 1230 LOCATION | SET DESCRIPTION Parts to shoot over 2 Days.?«^-<iSg5*sji :••.. Unit Manager: 07887 577547/Aurdia Thomas. Sarah P/UP 0700 0630 0630 0700 0715 0700 0645 0715 0645 0630 0600 0600 0645 0645 0715 0700 0700 0600 0600 0700 0615 0615 0700 0645 0800 DR/ " • • " T R .Joanna 47.up After L. Carol Stills Only 6.-•. Sam 9. 85 4.S3.up 0800 Stills L. .'-.up 0800 L. -"M i&v. Tony greets Colin..>.22 2.up 0800 L..up After L.-.up 0700 0700 After L.--^.r. Shepperton Middlesex TW17 OQO Tel: + 44 (0) 1932 593 156 Fax: + 44 (0) 1932 593 239 Contact: Ben Howarth: 2"1 AD + 44 (0) 7973 144207.w.

He is co-founder and vice-chair of British Comic Relief. Peter Mountain Peter Mountain's film credits as a stills photographer include Stealing Beauty. Harry Potter and the Philosopher's Stone and Harry Potter and the Chamber of Secrets.Richard Curtis Richard Curtis's television credits include Blackadder. The Beach. . Fear and Loathing in Las Vegas. Four Weddings and a Funeral. His film credits are The Tall Guy. Mr Bean and The Vicar of Dibley. Drawings and watercolours by Charlie Mackesy Special thanks to Clare Bennett and Chantai Gibbs who made this book be. Not the Nine O'Clock News. Notting Hill and he was the co-screenwriter of Bean and Bridget Jones's Diary.