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Written by Rossin Wood & Katharine Moyer

1. INT. - HALLWAY - DAY The audience is given a view of an unforgiving hall--the sound of shoes walking on tile clapping quietly at first, and then growing LOUDER. Eventually the camera cuts to a man dressed sharply in a tailored jacket, collared shirt, and tie carrying a bag. He looks as if he’s been walking for hours, but has the expression of determination written all over his face. Where he’s walking to is unknown, however we know he’s walking to one of the most important meetings he’ll ever have and that this could make or break his career. He walks up to a SECRETARY reading a magazine that looks as if she hasn’t cared much for anything--especially her job. For a while he stands at the counter waiting for her to say something, but she doesn’t. MAN Excuse me. The secretary looks up with a look of “what the hell do you want?” MAN I have an appointment with Mr. Ford. SECRETARY Yeh? MAN Well...I was wondering if I’m allowed to go in. SECRETARY Name? MAN David Christopher. After she checks the books for his name she notions with a pen to the door nearby. David Christopher walks up to the door, which from the glass you can see and hear the movement of people inside. He hesitates before opening it and takes a deep breath before entering.

2. INT. - MEETING ROOM - DAY Within we find a large meeting room with a few windows that are covered up with blinds, which casts bars of light across the room. At the head of the table we see a man dressed in a suit with a tie tucked under a sweater. He’s wearing full moon thick-framed glasses, which is the most distinguishable feature about him and has a pipe in his mouth--his name is JOHN FORD. Mr. Ford notices David enter and watches him find a seat amongst the others who haven’t even realized someone’s come in. David looks up and recognizes that the man at the head of the table is staring at him and awkwardly waves, John Ford doesn’t react. JOHN FORD (Interrupting) Excuse me ladies and gentlemen, but it seems we have a visitor in our presence. EVERYONE turns to look at David. JOHN FORD (V.O.) I think it would only be polite to let him introduce himself. DAVID CHRISTOPHER My name’s David Christopher. A portly man sitting next to David looks over at the nervous little fellow--he is STANLEY KUBRICK. STANLEY KUBRICK David Christopher? Who the hell’s this? JOHN FORD I believe he’s that new kid who wrote the Ethan Miller flick. Mr. Ford takes out his pipe and tucks it into his jacket before we see Kubrick look Christopher over and look as if he’s disappointed. STANLEY KUBRICK Oh.

JOHN FORD And for the boy’s sake I guess I should introduce everyone else since I’m the one who called the meeting. First of all, I’m John Ford. JOHN FORD (CONT’D V.O.) To my left is the lovely Miss. Marlene Dietrich--noted German-born actress gone bad. MARLENE DIETRICH is wearing a chic woman’s suit, and fedora that sits atop her beautiful head of golden blonde hair-she’s as cool as a cucumber. MARLENE DIETRICH Hello handsome. JOHN FORD (V.O.) Next to her is Mr. Stanley Kubrick--prominent film director. Across from you David, is Mr. Lamar Trotti-screenwriter. LAMAR TROTTI is the classic Atlanta boy who was brought up rich and powerful. He’s got a suit jacket on and is drinking a scotch on the rocks. LAMAR TROTTI Much obliged, Mr. Ford. JOHN FORD And last but not least... DAVID CHRISTOPHER ...Rita Hayworth. RITA HAYSWORTH is the cat’s whiskers acting world. She, like Dietrich, is woman’s suit--prepared for business, impress--she has a cigarette pinched fingers. at the time of the wearing a classy but still dressed to in-between her

RITA HAYWORTH So I see my reputation precedes me. David looks like he’s seeing stars--it’s obvious that he’s SMITTEN. DAVID CHRISTOPHER It’s truly a pleasure.

RITA HAYWORTH Pleasure’s all mine, Mr. Christopher. STANLEY KUBRICK Now that we’re all acquainted, how ‘bout you tell us why you’ve gone and brought us here, Mr. Ford. JOHN FORD Well to put it simply, I’ve concocted an idea to bring together the best of the best in Hollywood and come up with the next big hit in motion pictures. If we’re successful we could easily all have an Oscar in our hands by the end of this. David Christopher has definitely perked up once he’s heard this and begins to look around at the others. MARLENE DIETRICH Well I don’t mean to be rude, but doesn’t it seem entirely impossible to come up with a feature length picture premise in one single day? LAMAR It is Ford, time, TROTTI impossible. I don’t mean to insult you, Mr. but it’s not even feasible. We don’t have the money, or manpower. No offense ladies.

JOHN FORD In any normal circumstance I’d agree with you, Lamar, but we already have a screenplay. STANLEY KUBRICK We do? JOHN FORD We do, and it’s written by none other than our Mr. David Christopher. DAVID CHRISTOPHER What? JOHN FORD I know you’ve been writing something David, and it’s in that little bag of yours sitting on the floor. So why don’t you go and fish it out for us. Sure enough David reaches into his bag and pulls out a

hefty pile of papers. RITA HAYWORTH Well come on, what’s it titled? David slides it across the long table for all to see the cover page. DAVID CHRISTOPHER (V.O.) It’s called “Falling in Love with War.” MARLENE DIETRICH “Falling in Love with War?” What is it? DAVID CHRISTOPHER It’s my take on the war overseas. I mean, it’s still needs a lot of work, and I think some of the dialogue’s a little dry... JOHN FORD Well, if you haven’t noticed I’m not really the loquacious type, but I’m sure Lamar could help you. STANLEY KUBRICK (Butting in) How’s it end? JOHN FORD (Confused) How’s it end? We don’t even know how it starts. STANLEY KUBRICK Well, that’s the most important part of a film in my opinion; it’s what everyone pays for when they go to the movie theaters. So, I think it’s a completely valid question. DAVID CHRISTOPHER It’s not really printed in black and white yet. I’m still working on it. LAMAR TROTTI Come on, Kubrick let the kid explain himself. So, kid. Start from the top. David Christopher leans into the table and takes a deep breath and hesitates.

DAVID CHRISTOPHER So, it’s all gonna’ start out with a shots of bombers and U-boats with an announcer introducing the film... Camera dollies off and fades to a montage of black and white war clips with the announcer David referred to before. ANNOUNCER (V.O.) The year is 1941, the Japanese navy has just attacked the US military base stationed in Pearl Harbor, Hawaii--killing over 2,000 US soldiers. No longer can the US turn a blind-eye to the conflict overseas and declare war on Japan. We find our heroine in the medical bay that fateful day at Pearl Harbor. The set of the medical bay in David’s film is vague--we see a female woman who is MARLENE DIETRICH in a threshold of a doorway almost about to leave. A man rushes in and stops her. DAVID CHRISTOPHER (MAN) Wait, Betty! You can’t follow your father’s footsteps-I’m in love with you! Don’t go into army! MARLENE DIETRICH (BETTY) I can’t do this. DAVID CHRISTOPHER (MAN) (Utterly confused) What? MARLENE DIETRICH (BETTY) (Pushing him away) I just can’t do this... Camera cuts back to the meeting room in color with David confused looking over at Marlene. DAVID CHRISTOPHER What do you mean you can’t do this? MARLENE DIETRICH I was born in Germany and you want me to play as an American woman wanting to fight Germans? This just doesn’t make sense. DAVID CHRISTOPHER (Hand over face) Okay. Um, this changes a lot.

RITA HAYWORTH I’d be more than happy to play role. David smiles as if he’d want it no other way, but Marlene interrupts to the two. MARLENE DIETRICH No, no, no, no, I’ll do it, it’s just I was a little confused. Rita crosses her arms in disappointed and sighs. LAMAR TROTTI Wait, so lemme’ just get this straight. There’s this woman who wants to go off and join the army being that her father’s a captain, right? DAVID CHRISTOPHER Yep. STANLEY KUBRICK And why would she do that? JOHN FORD Well, she’s a nurse, her father is a captain in the army, I’m sure she has some knowledge of the situation. STANLEY KUBRICK So she’s a patriot. DAVID CHRISTOPHER Exactly. MARLENE DIETRICH So what happens when she joins the army? Camera transitions by a dolly across Lamar’s scotch glass and dissolving into David and Marlene (dressed in character) rushing through a black and white hallway scene. 3. INT. - HALLWAY - DAY DAVID CHRISTOPHER Well, what’s gonna’ happen is when she arrives overseas she’s stationed in Germany and she meets the

love of her life... David says the last line in the threshold of a doorway and opens the door for Marlene. When the camera cuts to her walking through the doorway David closes the door and she’s in the movie. Across the room is LAMAR writing on some papers behind a desk. It’s a cliché love scene as Marlene’s hair is swept back by a gentle breeze and she’s SMITTEN. Lamar looks up holding a glass of scotch. LAMAR TROTTI What? 4. INT. - MEETING ROOM - EVENING Cut to color where Lamar is in the same position holding his glass. LAMAR TROTTI (CONT’D) I’m in this? I’m a screenwriter not an actor. DAVID CHRISTOPHER I know, I know, but I just think you’d be perfect for the role. RITA HAYWORTH (Butting in) When am I in this? John Ford looks over at Miss. Hayworth with a look of distaste, “are you kiddin’ me?” RITA HAYWORTH Well I just feel as though I’m not getting as important of a role as I should be. DAVID CHRISTOPHER Miss. Hayworth, I assure you, you will be getting an amazing part. RITA HAYWORTH (Smirking seductively) Thank you Mr. Christopher.

DAVID CHRISTOPHER You see, with Marlene now overseas in Germany, this guy stuck back in the states is now heart-broken. 5. INT. - AUTOMOBILE - NIGHT Scene transitions with a dreamy effect into the black and white movie within an automobile. Rita is in the back lying casually with David Christopher. RITA HAYWORTH What’s wrong, deary? Didn’t have a great time tonight? David is looking out the window with a longing look. DAVID CHRISTOPHER It’s nothing. RITA HAYWORTH It’s not nothing, if it was nothing you wouldn’t be so depressed. There’s a pause of silence between the two. RITA HAYWORTH (CONT’D) You know, honey--my feelings for you have grown quite over these past few days, and I was thinking we could continue this at your place tonight. Rita pulls out a cigarette and lights it--taking a nice and long drag. DAVID CHRISTOPHER I don’t like smokers. David abruptly exits the car leaving Rita to catch her fall and watch him leave in disbelief through the car window. 6. INT. - MEETING ROOM - EVENING Camera dissolves into color of Rita smoking the cigarette and smirking.

RITA HAYWORTH That’d be the first time a guy left me. Everyone takes a chuckle at her funny, and music begins to fade up leading into a montage of John Ford holding a storyboard and talking about the logistics of the film. Lamar Trotti drinking his scotch--not really listening. Marlene is working with David and pitching lines. Stanley Kubrick brings in a pitcher of coffee and pours a cup for Ford. Lamar is still drinking his scotch and is starting to show the effects. Rita is fiddling with David’s hair and collar of his shirt; he loves it, Marlene hates it. John Ford stands up as if to say, “That’s a wrap” clapping and everyone gets up to leave. Before they go Lamar is stumbling and nearly falls before Ford and Kubrick and catch him and help him out. 7. INT. - HALLWAY - NIGHT They all exit the meeting room along with Ford and Kubrick helping Lamar out. Lamar pulls away and begins to stumble off--cliché bottle in a brown bag in hand. JOHN FORD Make sure to get a cab, Lamar. LAMAR TROTTI Yeh, yeh... *hic* John and Stanley exchange a look of discouragement before chuckling. DAVID CHRISTOPHER (To everyone) All right, I’ll catch you later. John Ford stops David before he can walk off. JOHN FORD Would you want to join me at my place for a drink? DAVID CHRISTOPHER (Smiling) What’dya got in stock? JOHN FORD You’ll drink whateva’ I have.

Camera pans to Rita and Marlene talking amongst themselves, who are obviously rivals by now. MARLENE DIETRICH I’m excited for the movie; Mr. Christopher’s lucky to have me for the main female role. RITA HAYWORTH I hope it’s just as good as my role with Fred Astaire in “You’ll Never Get Rich,” maybe you’ve heard of it? MARLENE DIETRICH Strange, they should have called it “You’ll Never Get the Guy.” RITA HAYWORTH Well I’m glad I don’t have to rehearse with you. Rita storms leaving Marlene there to smile. 8. INT. - JOHN FORD’S HOUSE - NIGHT Inside of John Ford’s house is a quaint sitting room with two armchairs and a few lights on. Mr. Ford and David enter in from the cold. JOHN FORD Make yourself at home, Mr. Christopher. David finds a seat in one of the armchairs and looks around the room. DAVID CHRISTOPHER Nice place you got here. By now Mr. Ford has walked over to a cabinet and is taking out a bottle of scotch. JOHN FORD I try my best. Looks like all we have is a bottle of scotch. DAVID CHRISTOPHER That sounds fine. Before John Ford brings over two glasses he switches on the

radio--it’s the “Bob Hope Show.” Once he walks over he sets the glasses on a table in-between the two armchairs and pours in some of scotch for both of them. After both are full David takes the one closest to him and takes a sip. JOHN FORD How is it? DAVID CHRISTOPHER Hits the spot. JOHN FORD Good, good. John takes a seat and takes his own glass--crossing his legs. David is now holding his glass in both hands and is looking down at it. DAVID CHRISTOPHER You know I’ve been meaning to ask you something, Mr. Ford. JOHN FORD Shoot. DAVID CHRISTOPHER Why did you choose my script to use? I mean, there must be a hundred better screenwriters out there other than me--Lamar being one of them. JOHN FORD Kid, I’ve seen a lot of screenwriters in my time, and never have I ever found one to be genuinely dedicated to their craft. I see it every time, we get some bigshot who thinks he can re-invent scripts that have already been done a hundred times over, but people do that so much you can’t even tell what the hell it started out to be. It loses what it originally stood for, and by the end of it you have some washed-up screenplay. Believe me when I say this, you are different. I can just tell. David smiles as Mr. Ford takes a sip, and looks up from his glass. DAVID CHRISTOPHER I really appreciate it, Mr. Ford.

JOHN FORD Please, kid. Call me John. DAVID CHRISTOPHER Okay... (Hesitating) John. John Ford chuckles to himself. DAVID CHRISTOPHER (CONT’D) Do you think Lamar will make it home all right? JOHN FORD I’m sure. There’s a pause in the conversation before the phone rings and Mr. Ford sets down his glass to answer it. JOHN FORD John Ford here. U-huh. Is that so? I’ll swing around as soon as possible. All right then, u-huh, take care now. You too. John sets down the phone and takes another sip of his scotch. DAVID CHRISTOPHER Who was that? JOHN FORD Oh, well I need to go pick up a friend of mine. Seems he had a little too much of the hard stuff. Mr. Ford then stands up followed by David who sets down his glass. DAVID CHRISTOPHER Well, I don’t want to hold you. I should really get going anyhow. JOHN FORD Glad you were able to come over, kid. John Ford shakes David’s hand. DAVID CHRISTOPHER Likewise. As the two walk off camera the camera fades to black

accompanied with the radio still playing for a little bit before also fading out. 9. EXT. - MOVIE THEATER - NIGHT The lights rise on a street corner looking at a movie theater with its marquee alit. Glenn Miller’s “In the Mood” begins to play when a SUBTITLE appears. “OPENING NIGHT” This SUBTITLE then fades out following a man feet rushing into camera. The camera tracks along with him and tags along with his legs into the movie theater until he sits down behind the first row. In the same shot the camera pedestals up with the audience now clapping. The man looks disappointed and leans forward to tap on the shoulder of the man in front of him. MAN Is it over? Did I miss it? The man in front of him turns around to reveal DAVID CHRISTOPHER smiling. DAVID CHRISTOPHER That’s a wrap. THE END

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