Lost in Translation Script en

COMBINED CONTINUITY & SPOTTING LIST
LOST IN TRANSLATION
FEATURE
(Running Time: 101:31)
PRODUCED BY:
FOCUS FEATURES
Aspect Ratio:
EXHIBITION FOOTAGE: Represents Length Of Reel From First Frame Picture To Last Frame
Picture
EXHIBITION FOOTAGE
# OF TITLES
REEL 1A/B:
REEL 2A/B:
REEL 3A/B:
REEL 4A/B:
REEL 5A/B:
1702.05
1853.00
1925.09
1937.14
1717.10
103
192
165
132
83
TOTALS:
9136.06
675
TOTAL EXHIBITION FOOTAGE:

TOTAL NUMBER OF TITLES:
9,136.06 (9,136 FEET AND 6 FRAMES)

675
NOTE: Subtitles In Italics Indicates Voice Over, Narration, Or Song Lyrics.

-/ Next To Title # Indicates Subtitle Continues Over Two Or More Shots.
Date: 06/16/2003
This Script Prepared By:
CASABLANCA CONTINUITY
11934 Tabor Street
Los Angeles CA 90066
Tel. (310) 397-7741
Fax (310) 391-3041
Email casacontinuity@aol.com
PAGE 1
LOST IN TRANSLATION COMBINED CONTINUITY & SPOTTING LIST REEL 1A/B
COMBINED CONTINUITY
& DIALOGUE
SC#:
FOOTAGE/
SHOT DESCRIPTION/
DIALOGUE:
SPOTTING LIST TITLES & FOOTAGES

TITLE#:
TITLE:
START:
FINISH:
TOTAL:
START MEASURING 00.00 AT PICTURE START MARK IN ACADEMY LEADER.

1ST SCENE START:
2ND SCENE START:
3RD SCENE START:
4TH SCENE START:
LABORATORY:
39.00
114.11
136.08
144.07
13.00
FADE IN:
FOCUS FEATURES LOG0
FADES UP/OFF SCREEN,
READS:
FOCUS
FEATURES
1
39.00
INT. CHARLOTTES HOTEL
ROOM. DAY
MS REAR ANGLE
CHARLOTTES LOWER BACK,
BUTT AND LEGS AS SHE LAYS
ON HER SIDE ON BED
HORIZONTAL IN FRAME R TO L.
MT # FADES UP/OFF, READS:
FOCUS FEATURES presents
CHARLOTTE STRETCHES HER
LEGS SLIGHTLY.
in association with TOHOKUSHINSHA
an AMERICAN ZOETROPE/
ELEMENTAL FILMS production
MT # FADES UP, READS:
LOST IN TRANSLATION
FADE TO BLACK.
MT # FADES OFF.
1-1
NARRATIVE TITLE: TITLE OF

FILMLOST IN TRANSLATION.
(Lost means both the meaning
of a word or phrase is
improperly understood when
translated, and lost as in a
person whos lost their way)
90.00
97.00
7.00
PAGE 2
SAME SHOT CONT.

AIRPORT GREETING (VO
FILTERED THRU
LOUDSPEAKER)(SPEAKS JAPANESE) Welcome
to new Tokyo International

Airport. (SPEAKS
JAPANESE).
114.11
INT/EXT. LIMOUSINE/TOKYO.
NIGHT
CU LOW SIDE ANGLE BOB IN
BACK SEAT OF LIMO, LIGHTS
OF CITY PASSING R TO L IN
BG. BOB GLANCES OUT
WINDOW TO BG.
136.08
MS ABOVE WAIST FROM
OUTSIDE REAR PASSENGER
WINDOW ON BOB, TRACK
BACK ALONG WITH CAR.
144.07
MLS OUT FRONT WINDSHIELD
MOVING BG TOWARD TOKYO
BUILDINGS.
153.11
MS ABOVE WAIST TRACKING
BG WITH LIMO ON BOB IN
BACK SEAT STARING FG OUT
WINDOW.
158.08
MLS LOW ANGLE BOBS POV
TRACKING BG ALONG
BUILDINGS BATHED IN NEON.
167.03
MCU SIDE ANGLE BOB IN LIMO
LOOKING BG AT CITY PASSING
ALONG WINDOW R TO L.
171.11
CU LOW SIDE ANGLE BOB
LOOKING BG OUT WINDOW AS
CITY PASSES BG R TO L.
1-2
ITAL
AUTOMATED VOICE (TO

AIRPORT TRAVELERS)Welcome to New Tokyo
International Airport.
107.06
113.00
5.10
PAGE 3
179.03
MLS BOBS POV CITY
STREETS, BUILDING PASSING
BY WINDOW R TO L. THEN PAN
L ONTO PEDESTRIANS ON
CROSSWALK.
10
185.10
MCU BOB LOOKING RFG OUT
WINDOW AS CITY IN BG
PASSES RFG TO BG.
11
190.00
MLS LOW ANGLE BOBS POV
OUT WINDOW ON BUILDINGS
MOVING PAST FRAME R TO L,
PICK UP LARGE BILLBOARD
PHOTO AD OF BOB.
12
195.13
MLS CLOSER LOW ANGLE UP
ON LARGE BILLBOARD AD OF
BOB HOLDING DRINK AND
TRACK PAST POSTER L TO R.
13
202.02
MCU BOB IN LIMO RUBS HIS
EYES, LOOKS OUT WINDOW R.
HE GLANCES UP.
14
209.15
MLS ELABORATE NEON SIGN,
RED RECTANGLE OVER A
BLUE FLASHING CIRCLE.
15
221.00
EXT. TOKYO HYATT HOTEL.
NIGHT
MLS BOBS LIMO PULL UP TO
ENTRANCE FROM BG. TWO
ATTENDANTS MOVE TO LIMO
FROM L AND R.
16
234.15
INT. GARAGE LEVEL
ENTRANCE. TOKYO HYATT
HOTEL. NIGHT
MS ABOVE WAIST SIDE ANGLE
MS. KAWASAKI EXTENDS HAND
R.
MS. KAWASAKIWelcome to Tokyo.
1-3 -/
MS. KAWASAKI (TO BOB)Welcome to Tokyo. My name is

Kawasaki.
235.00
240.02
5.02
PAGE 4
17
236.04
MS PAST MS. KAWASAKI REAR
ANGLE LFG ONTO BOB BG AS
HE STEPS FG, ANOTHER
PERSON ENTERS REAR ANGLE
IN RFG.
BOBThank you very much.
MS. KAWASAKI (0S

OVERLAPPING)My name is Kawasaki.
18
240.05
MS BOB REAR SIDE ANGLE
STANDS OPPOSITE MS.
KAWASAKI AND OTHER
REPRESENTATIVES FROM
SUNTORY COMPANY.
1-4
MS. KAWASAKI
(OVERLAPPING)Nice to meet you.
BOB (OS)Thank you.
MAN WITH BAG

(OVERLAPPING)This for you.
19
243.02
ECU SIDE ANGLE PAIR OF
HANDS PASSES SMALL
SHOPPING BAG R TO BOBS
HANDS.
BOB (OS)Thank you.
MS. KAWASAKI (OS

OVERLAPPING)And this is Mr.
240.07
242.01
1.10
242.06
244.10
2.04
BOB (TO MS. KAWASAKI) Thank you.

1-5 -/
BOB (OS)Thank you, Ive heard of you.
MS. KAWASAKI (TO BOB) Nice to meet you.
MAN WITH BAG (TO BOB) This is for you.

(This: and small gift bag)
BOB (TO MAN WITH BAG) Thank you.
PAGE 5
20
245.02
MS ABOVE WAIST OTS ON
BOB.
1-6 -/
MS. KAWASAKI (TO BOB)This is Mr. Mori from Suntory,

and Mrs. Chibata.
(Suntory: a Japanese maker of
whiskey)
245.07
249.14
4.07
1-7 -/
BOB (TO CHIBATA)I need that.

(that: a boxed gift bottle of
Suntory)
250.06
251.08
1.02
MS. KAWASAKI (OS CONT)Mori from Suntory.

BOBHi.
MS. KAWASAKI (OS)And Mrs.
21
248.02
PAST MAN FROM SUNTORY L
ONTO MS. KAWASAKI WHO
GESTURES BG TO MRS.
CHIBATA FRONT ANGLE.
MS. KAWASAKI (CONT)Chibata.
BOB (OS)Hey,
22
249.15
ECU SIDE ANGLE BOBS
HANDS TAKE GIFT BOX AND
MESSAGE FROM MS.
KAWASAKIS HANDS.
BOB (OS CONT)I need that.
MS. KAWASAKI (OS)And this is Mr.
23
252.02
MCU MR. AWINAMI AND
ANOTHER MAN RBG.
MS. KAWASAKI (OS CONT)Awinami.
AWINAMINice to meet you.
PAGE 6
24
255.03
ECU HANDS ON L PASS CARD
TO BOBS HANDS RFG.
BOB (OS)Hi. Thank you.
MS. KAWASAKI (OS)And this is
25
257.06
MS BOB REAR ANGLE FG
BOWS TO MS. KAWASAKI,
OTHERS FG BG AS EACH ONE
PASSES A CARD TO BOB.
1-8
BOB (TO ALL)Thank you. Thank you.
258.07
261.06
2.15
1-9
MS. KAWASAKI (TO BOB)You need me to pick you up in

the morning?
(pick you up: with a car)
261.14
264.07
2.09
BOB (TO MS. KAWASAKI) Okay.
264.12
268.00
3.04
268.06
272.07
4.01
MS. KAWASAKI (CONT)Taka.

BOB (OS OVERLAPPING)Thank you. Thank you.
MS. KAWASAKI
(OVERLAPPING)And you need me to pick you up in
the morning?
26
264.12
BOB.
1-10
MS. KAWASAKI (TO BOB) Okay, see you tomorrow.
BOBOkay.
1-11-/
MS. KAWASAKI (OS
OVERLAPPING)Okay. See you tomorrow. Okay?
BOB (OVERLAPPING)Great. Short and sweet. Very

Japanese. I like that.
BOB (TO ALL)Great. Short and sweet. Very

Japanese. I like that.
(Short and sweet: the greeting
was kept brief and pleasant)
PAGE 7
27
272.02
CU SIDE ANGLE MS.
KAWASAKI.
1-12
MS. KAWASAKI (TO BOB)My pleasure.
272.12
274.03
1.07
1-13
BOB (TO ALL)Get some sleep. Youre all

really tired, Im sure.
274.10
279.12
5.02
1-14
MS. KAWASAKI (TO BOB)Good night.
281.04
282.06
1.02
1-15
BOB (TO MS. KAWASAKI &

ALL, THEN HOTEL PERSON)Thank you. Thank you. Whats
this? Something good?
(this: m anila envelope)
282.11
289.00
6.05
1-16
NARRATIVE TITLE: NOTE ON

PAPER
You forgot Adams birthday. Im
sure hell understand. Have a
good trip. L
292.05
299.05
7.00
BOB (OS CONT)Okay.

MS. KAWASAKI
(OVERLAPPING)My pleasure.
BOB (OS OVERLAPPING)Yeah.
28
274.15
MS ABOVE WAIST OTS ON BOB
EXITS R.
BOB (CONT)Get some sleep, will ya? Were all,
youre all really tired, Im sure.
MS. KAWASAKI (OS

OVERLAPPING)Okay. (LAUGHS)
29
281.03
MS AS BOB STARTS FG FROM
MS. KAWASAKI AND OTHERS,
TAKES MANILA ENVELOPE
FROM FEMALE HOTEL
EMPLOYEE L, STOPS AND
REMOVES SHEET OF PAPER
FROM ENVELOPE.
MS. KAWASAKI (CONT)Good night.
BOBThank you. Thank you. Thank
you. Whats this? Something
good?
30
292.03
CU DOWN ON SHEET OF
PAPER FAXED NOTE. IT
READS:
YOU FORGOT ADAMS
BIRTHDAY. IM SURE HELL
UNDERSTAND. HAVE A GOOD
TRIP. L
PAGE 8
31
299.12
MS BOB WALKS TO RFG AWAY
FROM MS. KAWASAKI AND
ENTOURAGE. SHORT AIDE ON
L ACCOMPANIES BOB.
BOBThank you.
32
304.10
INT. HOTEL ELEVATOR. NIGHT
MS ABOVE WAIST BOB
STANDING IN CENTER
SURROUNDED BY HALF DOZEN
MEN A GOOD FOOT SHORTER.
BOB LOOKS UP.
33
317.02
INT. LOBBY, TOKYO HYATT
HOTEL. NIGHT
MS BOB ENTERS L AND IS
USHERED FG BY MALE HOTEL
EMPLOYEE AND TRACK BACK
WITH THEM WALKING FG.
CONCIERGEMr. Harris, welcome to Park Hyatt
Tokyo. This way please.
BOB (OVERLAPPING)Thank you.

BOB SHAKES HANDS WITH
ANOTHER MALE EMPLOYEE HE
PASSES ON L.
MALE STAFF (OS)Mr. Harris,
MALE STAFF (CONT)please to welcome.
BOBThank you.
MALE STAFFHave a nice evening.
BOBThank you.
1-17
CONCIERGE (TO BOB)Mr. Harris, welcome to Park

Hyatt Tokyo. This way, please.
317.08
322.08
5.00
PAGE 9
SAME SHOT CONT.

PAN L AS BOB AND FIRST
EMPLOYEE CROSS FRAME FG
R TO L, CONTINUE TO BG. BOB
PAUSES A MOMENT, SHAKES
HANDS WITH FEMALE
EMPLOYEE SIDE ANGLE ON L
FEMALE STAFF (OS)Mr. Harris, welcome to Park Hyatt
Tokyo. Enjoy your stay with us.
BOB (OS OVERLAPPING)Thank you very much. Thank you
very much.
BOB MOVES BG, BOWS TO
MAN ON R, THEN CONTINUES
TO BG AS GUESTS PASS
MOVING BG TO FG. HOTEL
VALET WHEELS SUITCASE BG
FOLLOWING BOB.
34
353.11
INT. BOBS HOTEL ROOM.
NIGHT.
MS BOB SITTING ON THE SIDE
OF HIS BED IN ROBE AND
SLIPPERS LOOKING L, SITTING
SKYLINE IN BG. HE LOOKS FG.
35
366.04
MS TV SET WITH FLOWERS ON
SCREEN AFTER HOURS
PROGRAMMING.
36
373.12
INT. HOTEL LOUNGE. NIGHT
MLS DOWN LOUNGE WITH
BAND AND SINGER BG,
COCKTAIL TABLES LFG TO BG
AND BAR STRETCHING FG TO
RBG.
37
386.11
MS JAZZ SINGER AND
GUITARIST.
JAZZ SINGER(SINGING) Im in your arms.
1-18
ITAL
JAZZ SINGER (TO LOUNGE)Im in your arms.
393.14
400.14
7.00
PAGE 10
38
401.09
MAN WITH CIGAR SEATED AT
TABLE LOOKING R.
1-19-/
ITAL
JAZZ SINGER (TO LOUNGE)And you are kissing me.
402.08
408.12
6.04
1-20-/
ITAL
JAZZ SINGER (TO LOUNGE)But there seems to be...
410.02
416.01
5.15
JAZZ SINGER (OS CONT)(SINGING) And you are kissing

me.
39
406.12
MCU SIDE ANGLE ANOTHER
MAN, ASIAN GUEST, WITH
CIGARETTE LOOKING L AS
HAND FG POURS BEER INTO
GLASS.
JAZZ SINGER (OS CONT)(SINGING) But there seems to
be (FADES OFF)
40
413.12
CU OTS MAN HOLDING
BRANDY SNIFTER AND
CIGARETTE.
41
418.13
BOB AT BAR SIPS FROM
DRINK, HOLDS CIGAR. HE
RUBS BRIDGE OF NOSE,
FOLDS ARMS AND LOOKS
DOWN, SMOKES.
1-21
BUSINESSMAN #2 (TO
BUSINESSMAN #1)You know who that is?
428.00
429.08
1.08
1-22
BUSINESSMAN #1 (TO
BUSINESSMAN #2)It looks like him but its not him.
430.09
433.09
3.00
BUSINESSMAN #1 (OS)You see that guy?
1-23
BUSINESSMAN #1 (TO
BUSINESSMAN #2)Can you believe it? Hes here
with us.
435.00
442.00
7.00
BUSINESSMAN #2 (OS)Yeah.
BUSINESSMAN #2 (OS)You know who that is?

BUSINESSMAN #2 (OS)It looks like him but its not him.
BUSINESSMAN #1 (OS)Can you believe it? Hes here with
us. Im gonna talk to him.
BUSINESSMAN #2 (OS
OVERLAPPING)Shut up. Shut up.
PAGE 11
SAME SHOT CONT.
1-24
BUSINESSMAN #1 (OS)Bob? Bob Harris? Youre

awesome, man.
BUSINESSMAN #1 (TO BOB) Bob Harris? Youre awesome.

(awesome: colloquial for
fantastic)
443.11
451.06
7.11
BUSINESSMAN #2 (TO BOB) Sunset Odds - Loved it.

(Sunset Odds: fictional movie
Bob HarrIs starred in)
BUSINESSMAN #2Sunset Odds loved it.

1-25
BUSINESSMAN #1 (TO BOB)That car chase. I couldnt

believe it.
451.11
455.05
3.10
455.10
BOB. HE NODS.
1-26
BUSINESSMAN #1 (TO BOB)Four buses - He took that thing

and everything exploded.
455.10
460.00
4.06
BUSINESSMAN #1 (OS CONT)Four buses and he took that thing
1-27
BUSINESSMAN #2 (TO BOB)Did you do your own driving?
461.05
465.00
3.11
1-28
BOB (TO BUSINESSMEN)I did.
466.09
467.11
1.02
1-29
BUSINESSMAN #1 (TO BOB)What are you doing here?
468.06
470.03
1.13
1-30
BOB (TO BUSINESSMEN)Seeing friends.
474.14
477.14
3.00
BUSINESSMAN #1Man, that car chase. I couldnt

believe it.
HE LOOKS UP AND R AND PAN
R AND PICK UP TWO
AMERICAN BUSINESSMAN
ACROSS BAR SEATED SIDE
ANGLE OPPOSITE.
42
and everything exploded like that.

BUSINESSMAN #2 (OS)Incredible.
BUSINESSMAN #1 (OS
OVERLAPPING)I heard that he did his own driving.
BUSINESSMAN #2 (OS)I dont know. Did you do your own

driving?
BOBI did.
BUSINESSMAN #1 (OS)So, whatre you doing here?

BOBUm, s eeing friends. Seeing
friends.
PAGE 12
SAME SHOT CONT.

BUSINESSMAN #1 (OS)Great.
BUSINESSMAN #2 (OS)Were here on business. Later.
BUSINESSMAN #1 (OS)See ya, Bob.

BOB (OS OVERLAPPING)Keep it up.
BOB PUTS CIGAR IN MOUTH,
TAKES DRINK AND RISES,
EXITS LFG.
43
488.10
NIGHT
MS DOWN ON BOB
STRETCHED ON HIS BACK ON
BED AWAKE, FEET LFG, HEAD
IN RBG. HE GLANCES LBG.
44
496.04
MCU DIGITAL ALARM CLOCK
WHICH READS: 4:20.
45
501.05
MLS SIDE ANGLE BOB ON
BACK STRETCHED OUT IN BED
FROM L TO R, ARMS OUT. HE
LIFTS HEAD.
46
515.08
MCU FAX MACHINE AS PAPER
MOVES FROM SLOT TO FG.
47
520.07
MS SIDE ANGLE BOB ON BACK
IN BED HEAD LIFTED LOOKING
LBG.
48
523.08
MS DIGITAL CLOCK.
1-31
BUSINESSMAN #2 (TO BOB)Were here on business.
481.02
483.02
2.00
PAGE 13
49
526.00
MS SIDE ANGLE BOB ON BACK
IN BED LOOKING LBG, THEN
LFG.
50
529.13
MCU FAX MACHINE SPITTING
OUT FAX.
51
537.09
ECU DOWN ON FAX SHEET
WITH HANDWRITTEN NOTE.
MOMENTS LATER A SECOND
FAX WITH DRAWING OF
BOOKCASE COMES OUT,
FALLS ON TOP OF FIRST FAX.
52
554.05
CU SIDE ANGLE BOB IN BED
FACING TOP OF FRAME.
53
560.11
ROOM. NIGHT
LS OUT WINDOW ONTO CITY
LIGHTS BG PAST CHARLOTTE
OUT OF FOCUS IN FG SITTING
SIDE ANGLE ON WINDOW SILL,
THEN SHIFT FOCUS FG TO MS
CHARLOTTE. SHE TURNS
HEAD, LOOKS LFG.
54
575.15
INT. CHARLOTTES ROOM.
NIGHT
MS JOHN FG, CHARLOTTE
BEHIND HIM BG BOTH LYING
ON THEIR SIDE IN BED IN
FRAME HORIZONTAL R TO L
FACING FG. JOHN ROLLS
ONTO HIS BACK AND
CHARLOTTE SNUGGLES UP
AGAINST HIM. HE PUTS HIS
ARM AROUND HER.
CHARLOTTEYou awake? John.
JOHN (OS WHISPERS)Go to sleep.
1-32
CHARLOTTE (TO JOHN)Are you awake?
581.00
582.14
1.14
1-33
CHARLOTTE (TO JOHN)John?
590.04
591.09
1.05
PAGE 14
55
615.04
MCU JOHN AND CHARLOTTE,
FACES TURNED FG, THEN PAN
UP, R AS CHARLOTTE SITS UP.
MCU SIDE ANGLE CHARLOTTE
FACING R.
56
635.12
INT. BOBS ROOM. DAY
MLS BOB IN BED FG AS BLINDS
BG OPEN AUTOMATICALLY
FLOODING THE ROOM WITH
LIGHT.
57
644.01
MS SIDE ANGLE BOB SITS UP
IN BED SUDDENLY, LOOKS BG,
TURNS FG LOOKS L.
58
658.11
INT. BOBS HOTEL BATHROOM.
DAY
MCU SIDE ANGLE BOB IN
SHOWER STALL.
BOBAh.
HE LIFTS SHOWER HEAR UP
INTO FRAME, TIGHTENS IT,
BENDS A LITTLE TO GET
UNDER WATER. HE ROTATES L
AND BACK TAKING SHOWER.
59
694.07
ROOM. DAY
LS OUT WINDOW TOKYO
SKYLINE, TALL SKYSCRAPER
CENTER AND PAN R.
JOHN (OS)Mushi mushi. Uh, yeah,
1-34-/
JOHN (TO PRODUCER, THEN

CHARLOTTE)Yeah, Im coming now. Okay.
700.08
705.00
4.08
PAGE 15
60
701.02
CU CHARLOTTE HEAD
AGAINST PILLOW IN FRAME
FROM L FACE TURNED FG.
SHE ROLLS OVER BG.
1-35
JOHN (TO CHARLOTTE)I gotta go to work.
707.03
709.05
2.02
1-36
JOHN (TO CHARLOTTE) I love you. Ill see you later.
712.02
715.14
3.12
JOHN (OS CONT)Im coming now. Okay. I gotta go

to work.
CHARLOTTE (OS)Okay.
61
712.02
MS SIDE ANGLE PAN R WITH
JOHN WALKING QUICKLY R,
EXITS THRU DOOR.
JOHNI love you. Ill, Ill see you later.
CHARLOTTE (OS)Okay. Bye.
62
716.11
SITTING UP IN BED LOOKS FG.
63
727.01
INT. CHARLOTTES ROOM. DAY
MS SIDE ANGLE CHARLOTTE
SITTING ON WINDOW SILL
LOOKING OUT WINDOW TO BG.
64
732.00
INT. HOTEL ELEVATOR. DAY
MS SIDE ANGLE BOB LFG IN
FULL ELEVATOR, CHARLOTTE
RBG. BOB TURNS FG YAWNS.
HE LOOKS BG AT CHARLOTTE
WHO LOOKS AT HIM, SMILES,
LOOKS BACK R. SHE EXITS
RFG.
65
775.06
INT. COMMERCIAL STUDIO.
DAY
MS PAN R ACROSS SHOOTING
CREW, CAMERA, SOME
SITTING OTHER STANDING,
AND PICK UP BOB IN TUXEDO
IN PLUSH ARMCHAIR ON SET.
CHARLOTTE (TO JOHN) Bye.
66
798.03
MS DIRECTOR AND SUNTORY
REP AMONGST EQUIPMENT
AND CREW. DIRECTOR WALKS
FG, ZOOM BACK. MS ABOVE
WAIST AS DIRECTOR PACES
FG AND BG, GESTURING TO R
AS PEOPLE BG WATCH.
DIRECTORMr. Bob-san. (SPEAKS
JAPANESE)
67
826.06
MS BOB IN CHAIR AS
DIRECTOR HALF OFF FRAME
PACES ACROSS FRAME FG TO
L AND R. SLOW ZOOM IN.
DIRECTOR (OS CONT)(SPEAKS JAPANESE)
68
837.13
MS ABOVE WAIST DIRECTOR
LOOKING R GIVES
INSTRUCTIONS, TURNS
PROFILE TO R.
DIRECTOR (CONT)(SPEAKS JAPANESE)
69
844.15
MS BOB IN CHAIR ON SET
LOOKING UPPER LFG.
70
850.05
LEANS R, GESTURES GIVING
DIRECTIONS.
DIRECTOR (CONT)Suntory time.
PAGE 16
PAGE 17
71
852.09
MCU PAN DOWN R TO BOB
SIDE ANGLE IN CHAIR FACING
L AS MS. KAWASAKI LEANS FG
BESIDE HIM TRANSLATING.
SHE LOOKS L, GESTURING.
1-37-/
MS. KAWASAKI (TO BOB)He wants you to turn, look in

camera. Okay?
(He: the commercials director)
853.02
859.07
6.05
856.04
MCU PAST MS. KAWASAKI SIDE
ANGLE ON L ONTO BOB. MS.
KAWASAKI RISES OUT OF
FRAME AS BOB TURNS IN
CHAIR LOOKING L.
1-38
BOB (TO MS. KAWASAKI)Thats all he said?

(all: everything)
862.03
863.14
1.11
1-39
MS. KAWASAKI (TO BOB)Yes. Turn to camera.
864.03
867.11
3.08
MS. KAWASAKI (CONT)Okay?
1-40
BOB (TO MS. KAWASAKI)Does he want me to turn from

the right
872.06
878.06
6.00
BOBThats all he said?
1-41-/
BOB (TO MS. KAWASAKI)or turn from the left?
879.14
881.10
1.12
MS. KAWASAKIUm, he want you to turn, look in

camera.
72
MS. KAWASAKIYes. Turn to camera.
BOBAlright, does he want me to, to

turn from the right, or... turn from
the left?
73
881.01
MS ABOVE WAIST MS.
KAWASAKI AND PAN L AS SHE
WALKS L, STOPS SIDE ANGLE
FACING L.
MS. KAWASAKI(SPEAKS JAPANESE)
74
887.02
RUBS LIPS THINKING.
MS. KAWASAKI (OS CONT)(SPEAKS JAPANESE)
PAGE 18
75
890.11
MS BOB IN CHAIR.
MS. KAWASAKI (OS CONT)(SPEAKS JAPANESE)
76
895.06
MS ABOVE WAIST PAST
DIRECTOR SIDE ANGLE LFG
ONTO MS. KAWASAKI.
MS. KAWASAKI (CONT)(SPEAKS JAPANESE)
77
901.03
MS ABOVE WAIST DIRECTOR.
HE WALKS FG, TOUCHES
WATCH.
DIRECTOR(SPEAKS JAPANESE)
78
908.14
MS ABOVE WAIST BOB AS
DIRECTOR REAR ANGLE FG
CROSSES FRAME R TO L.
79
917.15
DIRECTOR BENDS POINTING R,
GESTURING.
MS. KAWASAKI (OS
OVERLAPPING)Right side
80
922.10
MS ABOVE WAIST MS.
KAWASAKI BENDS FG
TRANSLATING FOR BOB
SEATED SIDE ANGLE ON R.
MS. KAWASAKI (CONT)and with intensity.
1-42-/
MS. KAWASAKI (TO BOB)Right side, and with intensity.
920.08
926.06
5.14
PAGE 19
81
927.06
MS BOB WITH MS. KAWASAKI
BENT INTO FRAME FROM L AS
DIRECTOR PACES ACROSS
FRAME R TO L IN FG.
MS. KAWASAKI (OS CONT)Okay?
BOB (OS)Is that everything?
BOB (CONT)I mean, it seemed like he said
quite a bit more than that.
MS. KAWASAKI (OS
OVERLAPPING)Oh.
82
935.01
MS ABOVE WAIST BOB AND
MS. KAWASAKI AND SWISH
PAN L TO DIRECTOR
GESTURING DRAMATICALLY
LOOKING R.
83
941.01
MS BOB IN CHAIR HOLDING
GLASS WITH DRINK LOOKS UP
L TO MS. KAWASAKI BARELY IN
FRAME, THEN HE LOOKS FG
AS DIRECTORS TORSO
CROSSES FG L TO R.
1-43
BOB (TO MS. KAWASAKI)Is that everything? It seemed

like he said more than that.
(that: your explanation)
(He: the director)
829.12
934.15
105.03
PAGE 20
84
950.07
DIRECTOR BENT R
GESTURING.
1-44-/
MS. KAWASAKI (TO BOB)Like an old friend, and into the

camera.
(Like an old friend: act like
youre an old friend to the
audience)
954.08
958.12
4.04
1-45
BOB (TO MS. KAWASAKI)Okay.
961.00
962.08
1.08

MS. KAWASAKI (OS
OVERLAPPING)Like
85
955.02
MCU BOB WITH MS. KAWASAKI
SIDE ANGLE IN FRAME FROM L.
BOB NODS
MS. KAWASAKI (CONT)an old friend, and into the camera.
BOBOkay.
DIRECTOR (OS)(SPEAKS JAPANESE)
86
967.09
LOOKING R LUNGES R AS HE
GESTURES.
DIRECTOR (CONT)(SPEAKS JAPANESE) Suntory
time. Okay?
87
972.00
MS BOB.
BOBOkay.
88
974.08
POINTS R.
DIRECTOROkay?
PAGE 21
89
977.04
MS ABOVE WAIST BOB NODS.
90
978.14
MS ABOVE WAIST PAN L AS
DIRECTOR WALKS BG RAISES
ARM.
91
982.10
MS ABOVE WAIST BOB.
92
984.08
MS DIRECTOR WITH ARM
RAISED AND MS. KAWASAKI
STANDING BESIDE HIM.
93
986.05
MS SIDE ANGLE BOB IN CHAIR
PAST CLAPPER PULLED OFF
FRAME L. HE REACHES FOR
GLASS R THEN PAN L PICK UP
MONITOR WITH BOB ON
SCREEN.
94
995.15
BOB HOLDING GLASS LOOKING
FG.
BOBFor relaxing times make it
Suntory time.
1-46
BOB (TO AUDIENCE)For relaxing times... make it

Suntory time.
(Suntory time: an advertising
slogan time for drinking
Suntory whiskey)
996.02
1002.12
6.10
PAGE 22
95
1006.08
MS DIRECTOR WALKS FG, PAN
R AS CROSSES FRAME FG,
PICK UP BOB IN CHAIR BG AS
DIRECTOR KNEELS REAR
ANGLE LFG AND MCU OTS ON
BOB.
96
1014.07
MCU DIRECTOR LOOKS L AT
BOTTLE HE HOLDS, THEN FG.
97
1019.08
MCU OTS ON BOB. MS.
KAWASAKI ENTERS LBG,
BENDS FG ALONGSIDE BOB
AND TRANSLATES. BOB
SMILES, NODS.
1-47
MS. KAWASAKI (TO BOB)Could you do it slower and

more intensity?
(it: your dialogue)
1024.12
1031.12
7.00
1-48
DIRECTOR (TO BOB)Suntory time.
1039.10
1041.05
1.11
MS. KAWASAKI
(OVERLAPPING)Could you do it slower and more
intensity?
98
1036.04
MCU DIRECTOR PAN UP AS HE
STANDS, POINTS FG SMILING,
EXITS R.
DIRECTORSuntory time.
99
1043.04
MCU BOB REVEALED AS
DIRECTOR EXITS FRAME L.
PAGE 23
100
1048.09
MS DIRECTOR AND MS.
KAWASAKI AS DIRECTOR
POINTS RFG.
101
1052.15
MCU BOB LOOKS R, PULLS
GLASS OF WHISKEY INTO
FRAME FROM R, HOLDS IT IN
FRAME LOOKING FG, TAKES
DRINK, LOOKS OFF FRAME
LFG.
BOBFor relaxing times... make it
Suntory time.
102
1088.06
INT. TOKYO SUBWAY. DAY
CHARLOTTE LOOKING AT
SUBWAY MAP. PEOPLE PASS
FG.
103
1095.00
INT. SUBWAY STATION
PLATFORM. DAY
MS CHARLOTTE WAITING,
ANOTHER WOMAN ON R,
BUSINESSMEN STANDING BG.
TRAIN ENTERS, SPEEDS THRU
FRAME FG R TO L.
104
1104.00
INT. SUBWAY CAR. DAY
MCU PAST JAPANESE MAN
SIDE ANGLE LFG ONTO
CHARLOTTE AND PAN DOWN
TO MAGAZINE IN MANS LAP.
105
1111.07
INT. SUBWAY STATION
PLATFORM. DAY
MS ABOVE WAIST AS
CHARLOTTE EXITS SUBWAY
CAR AMONGST CROWD OF
PEOPLE MOVING L TO R.
1-49
BOB (TO AUDIENCE)For relaxing times...
1066.03
1069.03
3.00
1-50
BOB (TO AUDIENCE)make it Suntory time.
1072.00
1075.08
3.08
106
1118.02
INT. SUBWAY STATION. DAY
MS ABOVE WAIST LOW ANGLE
CHARLOTTE LOOKING FG
OVER TOP OF FRAME WHILE
ON ESCALATOR MOVING
UPPER BG AND TRACK BG.
SHE LOOKS BG.
107
1122.10
CU LOW SIDE ANGLE
CHARLOTTE LOOKING LFG
AND TRACK L WITH HER ON
ESCALATOR MOVING UPPER L.
SHE LOOKS L.
108
1127.09
EXT. TOKYO STREET. DAY
MLS CHARLOTTE AMIDST
CROWDED STREET WALKS FG.
109
1132.12
EXT. TEMPLE GROUNDS. DAY
MS CHARLOTTE WALKS FG
THEN PAN R AS SHE REACHES
FG, TURNS R AND WALKS BG
TOWARD TEMPLE.
110
1148.01
INT. BUDDHIST TEMPLE. DAY
MS CHARLOTTE ENTERS BG
THRU DOORWAY, STEPS FG
INTO TEMPLE.
111
1152.04
MLS REAR ANGLE TRACK R
PAST POST AND REVEAL
WORSHIPPERS SEATED FG
WATCHING MONKS BG.
112
1155.15
MS ABOVE WAIST CHARLOTTE
TRACK BACK WITH
CHARLOTTE WALKING FG.
113
1161.03
MS REAR ANGLE MONK HITS
LARGE GONG WITH PADDED
MALLET.
114
1164.08
MS REAR ANGLE MONK
PERFORMING CEREMONY.
PAGE 24
PAGE 25
115
1172.15
STEPS RFG.
116
1179.11
MLS REAR ANGLE MONKS
PERFORMING CEREMONY.
117
1183.09
MS ABOVE WAIST CHARLOTTE.
118
1190.14
ROOM. DAY
LS HIGH ANGLE OUT WINDOW
DOWN ON CITY, BUILDINGS.
LAUREN (VO FILTERED THRU
PHONE)Hello?
119
1201.11
ON PHONE FACING L.
1-51
ITAL
1202.04
1205.14
3.10
1208.10
1214.12
6.02
LAUREN (TO CHARLOTTE) Charlotte. Hey.
CHARLOTTE (INTO PHONE)Lauren.

1-52
ITAL
PHONE)Charlotte, hey.
LAUREN (TO CHARLOTTE) Oh my God, hows Tokyo?

CHARLOTTE (TO LAUREN) Its great here.
1-53
CHARLOTTE (TO LAUREN)I dont know I went to this

shrine today
1216.06
1219.05
2.15
1-54
CHARLOTTE (TO LAUREN)and there were these monks

chanting
1220.05
1227.02
6.13
1-55
CHARLOTTE (TO LAUREN)and I didnt feel anything.

(feel: emotionally)
1228.00
1232.00
4.00
1-56
CHARLOTTE (TO LAUREN)And... I dont know...
1234.05
1239.05
5.00
1-57
CHARLOTTE (TO LAUREN)I even tried Ikebana and John

is using these hair products
(Ikebana: the Japanese art of
beautifully arranging cut stems,
leaves, and flowers in vases
and other containers)
1239.10
1244.12
5.02
CHARLOTTE (INTO PHONE)Hey.

PHONE)Oh, my God. Hows Tokyo?
CHARLOTTE (INTO PHONE)Its great here. Its really great.
Um, I dont know, I went to this
CHARLOTTE (TO LAUREN) Lauren?
shrine today, and, um, there were

these monks and they were
chanting, and I didnt feel
anything. You know. And, um, I
dont know, I even tried Ikebana
and John is using these hair
products, I just
SHE WIPES TEAR FROM HER
EYE.
PAGE 26
120
1245.04
MS REAR ANGLE CHARLOTTE
SEATED TALKING ON PHONE
FACING WINDOW BG.
1-58
CHARLOTTE (TO LAUREN)I just... I dont know who I

married.
1245.07
1247.09
2.02
1-59-/
ITAL
LAUREN (TO CHARLOTTE)Can you wait a second? Ill be

right back.
1247.14
1251.07
3.09
1250.11
ON PHONE. SHE HANGS UP
RECEIVER FG, BURIES FACE IN
HAND AND CRIES, WIPES
TEARS FROM HER FACE.
1-60
ITAL
LAUREN (TO CHARLOTTE)Sorry. What were you saying?
1255.15
1258.13
2.14
1-61
CHARLOTTE (TO LAUREN)Nothing. Its okay. Ill call you

later.
1259.02
1262.04
3.02

PHONE CONT)Ill be right back.
1-62
ITAL
LAUREN (TO CHARLOTTE)Have a fabulous time. Call me

when you get back. Bye.
1262.09
1268.04
5.11
1-63
ITAL
LAUREN (TO CHARLOTTE)Love you.
1269.10
1270.10
1.00
CHARLOTTE (OS CONT)I dont know who I married.

PHONE)Can you wait a second. Just hold
on,I
121
CHARLOTTE (INTO PHONE)Okay, sure.

PHONE)Sorry. What were you saying?
CHARLOTTE (INTO PHONE)Nothing. Its okay. Ill call you later,

okay?
PHONE)Okay. Have a fabulous time. You
know. Call me when you get back,
okay? Bye.
CHARLOTTE (INTO PHONE)Bye.

PHONE)Love you.
CHARLOTTE (CRIES)
PAGE 27
122
1305.03
BATHROOM. DAY
CU CHARLOTTE APPLYING
LIPSTICK.
123
1322.02
BATHROOM. DAY
ECU CHARLOTTE PULLING
HAIR BACK, TOUCHING HAIR.
124
1335.06
ROOM. DAY
CHARLOTTE LAYS ACROSS
BED ON BACK L TO R, HER
HEAD TURNED FG. SHE TURNS
HEAD BG, THEN LOOKS UP.
125
1348.07
ROOM. DAY
MS HIGH ANGLE DOWN ON
CHARLOTTE REACHING UP FG
ADJUSTING MOBILE.
126
1360.08
MS LOW REAR ANGLE UP AT
CHARLOTTE STANDING ON
BED IN SWEATER AND
UNDERPANTS ADJUSTING
MOBILE, THEN SHE STEPS BG
OFF BED, SITS ON BED
HOLDING FOOT.
1-64
CHARLOTTE (TO HERSELF)Ow.

(expression of pain)
1374.01
1375.12
1.11
1-65
JOHN (TO CHARLOTTE)At the fitting today they had all

these rock and roll clothes.
(fitting: when costume person
has the band John is
photographing try on clothes)
1381.11
1388.11
7.00
1-66
JOHN (TO CHARLOTTE)But the band wasnt tough at

all.
(tough: that is, in persona)
1389.09
1391.09
2.00
CHARLOTTE (OS)Oh, shit. Ow.

127
1381.09
ROOM. NIGHT
MS HIGH SIDE ANGLE DOWN
ON JOHN KNEELING ON FLOOR
PACKING CAMERA EQUIPMENT
IN CASES. CHARLOTTE
ENTERS RFG AND STEPS
OVER CASES PASSING JOHN
GOING BG, EXITS RBG.
JOHN (OS)At the fitting today they had all
these rock and roll clothes. But,
but, but the band wasnt tough at
all.
PAGE 28
SAME SHOT CONT.
1-67
JOHN (TO CHARLOTTE)The label guy just kept saying

More lock and loll.
(label guy: the executive from
the record company)
(lock and loll: John is imitating
Japanese executive trying to
say rock and roll.)
1391.14
1395.02
3.04
1-68
JOHN (TO CHARLOTTE)But its much better if theyre

just skinny and nerdy like they
came in.
(nerdy: bookish and shy)
(came in: entered the studio)
1395.07
1400.09
5.02
1-69
JOHN (TO CHARLOTTE)Theyre making them wear all

these Keith Richards clothes
(Keith Richards: guitarist for
the Rolling Stones)
1401.10
1405.07
3.13
1-70
JOHN (TO CHARLOTTE)and its ridiculous. They should

let them be who they are, dont
you think?
1405.12
1411.04
5.08
1-71
CHARLOTTE (TO JOHN)Yeah.
1412.05
1414.00
1.11
1-72
JOHN (TO CHARLOTTE)Yeah, thats exactly what I was

saying.
1414.11
1417.09
2.14
1-73
JOHN (TO CHARLOTTE)But you try... I mean... Thats

what I think.
1417.14
1424.12
6.14
JOHN (CONT)The label guy just kept saying

More lock and loll, but, but its
just so much better if theyre just
skinny and nerdy like they came
in, yknow. I mean, theyre making
them wear all these Keith
Richards clothes and its just sort
of ridiculous. They should just let
them be who they are, dont you
think? I mean -
128
1411.11
AS CHARLOTTE KNEELS ON
BED LOOKING DOWN FG.
CHARLOTTEYeah.
JOHN (OS)Yeah,
129
1414.10
MS SIDE ANGLE JOHN
KNEELING ON FLOOR WITH
CASES AND EQUIPMENT L.
JOHN (CONT)thats exactly what I was saying,
but then you,
130
1417.11
CHARLOTTE WRAPS SCARF
AROUND NECK, LOOKS BG AT
MIRROR, THEN FG.
JOHN (OS CONT)yknow, you try to, I mean, I mean,
yknow, thats, thats what I think.
PAGE 29
SAME SHOT CONT.
1-74
CHARLOTTE (TO JOHN)Do you think this is done?

(this: scarf shes knitting)
1425.12
1427.08
1.12
1-75
JOHN (TO CHARLOTTE)I dont know.
1433.02
1435.07
2.05
1-76
JOHN (TO CHARLOTTE)Would you please stop

smoking?
1440.00
1444.02
4.02
1-77
CHARLOTTE (TO JOHN)I like to. I dont really smoke

that much.
1444.07
1447.09
3.02
1-78-/
JOHN (TO CHARLOTTE)Its just so bad for you.
1448.06
1452.04
3.14
CHARLOTTEDo you think this is done?
131
1427.12
MS ABOVE WAIST HIGH SIDE
ANGLE JOHN LOOKS FG, THEN
BENDS R.
JOHN (OS)I dont know. I dont know.
132
1435.08
HOLDING UNFINISHED SCARF
WITH KNITTING NEEDLES STILL
IN THEM.
133
1438.12
MS ABOVE WAIST REAR ANGLE
JOHN LOOKS FG THEN BG.
JOHN (OS)Would you, would you please
stop
JOHN (CONT)smoking?
134
1444.05
CHARLOTTE LOOKS BG AT
MIRROR.
CHARLOTTEI like to. I dont really smoke that
much.
135
1447.15
DOWN ON JOHN LOADING
PHOTOGRAPHIC EQUIPMENT
INTO BRIEFCASES.
JOHN (OS)Its just so bad for you,.
PAGE 30
136
1451.08
CHARLOTTE UNWRAPS SCARF
FROM AROUND NECK
LOOKING LOWER FG.
JOHN (OS CONT)though.
CHARLOTTEWell, Ill stop later.
137
1456.14
EXT. TOKYO. NIGHT
LS PAN R ACROSS CITY
SKYLINE. ESTABLISHING.
138
1464.01
EXT. TOKYO HYAT T HOTEL.
NIGHT.
MS LIMO MOVES FG AND
VALET OPENS DOOR AND BOB
EMERGES FROM CAR STARTS
TO R.
VALET (OS)Welcome back, Mr. Harris.
FEMALE VALETYes, Mr. Harris. Please.
139
1481.07
NIGHT
CU TELEVISION WITH
JAPANESE AEROBICS SHOW.
140
1485.11
MS ABOVE WAIST BOB. HE
LIFTS REMOTE AIMS LFG.
141
1496.04
CU TELEVISION WET WITH
JAPANESE TOUGH GUY TYPE
WALKING FG ON STREET.
PICTURE CHANGES TO MAN IN
PINK SHIRT EXERCISING.
PICTURE CHANGES TO OLD
FOOTAGE OF SATURDAY
NIGHT LIVE WITH BOB ON
SCREEN.
1-79
CHARLOTTE (TO JOHN)Ill stop later.
1452.09
1454.04
1.11
PAGE 31
142
1513.07
MS ABOVE WAIST BOB.
143
1516.03
CU TV SET WITH YOUNG BOB
ON SCREEN. IMAGE CHANGES
TO CHASE SCENE AS COP CAR
RACES FG ON STREET.
144
1524.04
MS ABOVE WAIST BOB LOOKS
L, POINTS REMOTE FG AND
RISES, EXITS L.
145
1535.02
MCU REAR ANGLE AS BOB
ENTERS LFG, PEERS BG THRU
PEEP HOLE IN ROOM DOOR,
PULLS DOOR OPEN TO FG AND
STEPS L AND REVEAL
PREMIUM FANTASY WOMAN
BG. MCU OTS ON WOMAN. BOB
STEPS OFF L AND WOMAN
STARTS FG INTO ROOM.
1-80
1-81
PREMIUM FANTASY WOMANMr. Harris?
WOMAN (TO BOB) Mr. Harris?
1543.02
1545.07
2.05
WOMAN (TO BOB)Mr. Kazu sent me. May I enter?

(Mr. Kazu: evidently some
executive from Suntory)
1545.14
1550.14
5.00
1-82
WOMAN (TO BOB)Thank you.
1555.06
1556.08
1.02
1-83
WOMAN (TO BOB)You like massage?
1557.00
1559.04
2.04
1-84
BOB (TO WOMAN)I dont think I like massage

anymore.
1560.02
1565.09
5.07
BOB (TO WOMAN) Yes?
BOB (OS)Yes.
PREMIUM FANTASY WOMANMr. Kazu sent me.
BOB (OS)Oh.
PREMIUM FANTASY WOMANMay I enter? Thank you.

146
1556.09
NIGHT
MS SIDE ANGLE PREMIUM
FANTASY WOMAN STANDS
OPPOSITE BOB WHO SITS ON
FOOT OF BED.
PREMIUM FANTASY WOMANYou like massage?
BOBI dont think I, I like massage
anymore.
PAGE 32
SAME SHOT CONT.
1-85-/
WOMAN (TO BOB)Mr. Kazu sent premium

fantasy.
(premium fantasy: implying of a
sexual nature)
1565.15
1570.00
4.01
1-86
WOMAN (TO BOB)My stockings. Lip them.

(Lip: mispronouncing rip.)
1571.14
1576.14
5.00
1-87
WOMAN (TO BOB)Lip my stockings.
1581.10
1585.10
4.00
1-88
WOMAN (TO BOB)Yes, please. Lip them
1587.08
1591.14
4.06
1-89-/
BOB (TO WOMAN)What?
1595.11
1596.11
1.00
1-90
WOMAN (TO BOB)Lip them.
1597.00
1599.04
2.04
PREMIUM FANTASY WOMANMr. Kazu sent

147
1568.00
MS PAST BOB SEATED REAR
ANGLE RFG ONTO WOMAN
WHO LIFTS LEG PUTTING
FOOT ON BOB AND LIFTS
SKIRT POINTING TO
STOCKINGS.
(CONT)premium fantasy. My stockings.
Lip (mispronouncing rip) them.
148
1577.08
STANDING L AND BOB SEATED
R AS WOMAN MOVES HAND
DOWN HER LEG.
(CONT)Lip my stockings. Yes, please, lip
them.
BOBWhat?
149
1596.09
WOMAN.
PREMIUM FANTASY WOMANLip them.
PAGE 33
150
1602.00
MS ABOVE WAIST PAST
WOMANS HIP ONTO BOB.
1-91
WOMAN (TO BOB) Hey! Lip my stockings!
1602.02
1609.02
7.00
BOB (TO WOMAN) Hey! Lip them? What?

(OS CONT)Hey! Lip my stockings!
BOBHey, lip them? Lip them? What?
(OS OVERLAPPING)Hey! Yes.
151
1609.12
MS PAST BOB SEATED REAR
ANGLE RFG ONTO WOMAN
WITH LEG UP POINTING TO
HER STOCKINGS.
1-92
WOMAN (TO BOB)Lip them like this.
1609.09
1611.12
2.03
1-93
BOB (TO WOMAN)Rip them? You want me to rip

your stocking?
1614.00
1618.12
4.12
1-94-/
WOMAN (TO BOB)Yes. Rip my stockings, please.
1619.01
1621.13
2.12
1621.07
MS ABOVE WAIST PAST
WOMAN AND LEG ONTO BOB.
1-95
BOB (TO WOMAN)You want me to rip your

stockings. Okay.
1622.02
1625.15
3.13
BOBRip your stockings. You want me
1-96-/
BOB (TO WOMAN)Ill rip them and you tell Mr.

Kazu we had a blast.
(blast: a fantastic experience)
1626.12
1632.15
6.03

(CONT)Lip them. Like this. Lip this.
BOB (OS)Rip them?
PREMIUM FANTASY WOMANRip. Yes.
BOB (OS)You want me to rip your
stockings?
PREMIUM FANTASY WOMANYes. Rip my stockings, please.
152
to rip your stockings. Okay, alright.

Im gonna rip your stockings
(OS OVERLAPPING)Yes. Please. Please. Please. Yes.
PAGE 34
153
1628.10
MS BOB REAR ANGLE RFG AND
WOMAN STANDING FRONT
ANGLE OPPOSITE AS BOB
TOUCHES HER LEG.
IMMEDIATELY THE WOMAN
FLAILS ARMS AND FALLS
SIDEWAYS BELOW FRAME R.
1-97-/
WOMAN (TO BOB)Oh, no! Mr. Harris! Oh, my

God! Dont touch me!
1633.04
1639.11
6.07
1-98
WOMAN (TO BOB)Mr. Bob Harris, dont touch me!

Just rip my stockings.
1640.00
1647.00
7.00
1-99
WOMAN (TO BOB)Oh, no Help. Help.
1652.00
1657.00
5.00
BOB (OS CONT)and you tell Mr. Kazu, yknow, we

had a blast.
(OVERLAPPING)Oh, no, no, no. Mister, Mr. Harris.
(OS CONT)Oh, my God.
154
1636.11
MS SIDE ANGLE BOB SITS ON
BED AS WOMAN WRITHES AND
KICKS ON THE HER BACK ON
THE FLOOR, OBSCURED BY
BED.
(OS CONT)Dont touch me! Please, Mr. Bob
Harris, dont touch me. Just rip my
stockings.
155
1647.11
BOB AS WOMANS LEGS
LOWER BG KICK UP AND
DOWN. BOB LOOKS UP
PLEADINGLY, STANDS.
(OS CONT)Oh, no, Mr. Harris. Oh, no, help.
Help.
BOB (OVERLAPPING)Yiy, yiy.
PAGE 35
156
1657.09
MS SIDE ANGLE AS BOB
STANDS WALKS BG AND TRIES
TO HELP PREMIUM FANTASY
WOMAN UP OFF FLOOR AS
SHE FLAILS AND KICKS.
1-100
BOB (TO WOMAN)Okay careful with those.

(those: the heels of her shoes)
1659.12
1662.12
3.00
1-101
WOMAN (TO BOB)Oh, let me go. Please.
1675.00
1680.09
5.09

(OS CONT)Help, please. Help please. Mr.
Harris help, please. Oh, help
me. Help, help me.
BOB (OVERLAPPING)Okay, careful with those. Alright.
Cmon. Cmon.
157
1668.08
MS ABOVE WAIST PAST BOBS
LEG AS HE TIRES TO PULL
WOMAN UP FROM FLOOR.
(CONT)Let me go,
158
1670.12
MLS SIDE ANGLE AS WOMAN
ON FLOOR PULLS BOB OVER
AND HE FALLS ONTO BED,
THEN STANDS AND TRIES TO
LIFT WOMAN BUT SHE PULLS
HIM BACK DOWN ONTO
FLOOR, ROLLS HIM OVER AND
STARTS CLIMBING ATOP HIM.
(OS CONT)Mr. Harris. Oh, no, let me go. Oh
let me go. Let me go.
BOB (OVERLAPPING)Cmon. Cmon. Cmon. Oh, crap.
PAGE 36
159
1381.13
MS AS BOB STRUGGLES WITH
ON FLOOR.
1-102
BOB (TO WOMAN)God, with pleasure.
1682.07
1684.01
1.10
1-103
WOMAN (TO BOB)Oh, let me go. Please.
1698.08
1702.02
3.10

(OS CONT)Please let me go. Oh, no. Mr...
BOB (OS OVERLAPPING)God, with pleasure.
BOB (CONT)Oh.
160
1685.14
MLS SIDE ANGLE BOB
STRUGGLES WITH WOMAN
STILL ON BACK ON FLOOR. HE
STEPS OVER HER, TRIES TO
WALK R BUT SHE GRABS HIS
LEG, HOLDS ON FOR DEAR
LIFE, TOPPLING HIM AGAIN.
BOB FALLS TO FLOOR. THE
LIGHTS GO OUT.
(OS CONT)Bob Harris, dont let me go. No.
No. Oh, no, Mr. Bob Harris. Oh.
Oh, please. Let me go, please.
161
1703.03
INT. HOTEL RESTAURANT. DAY
MS SIDE ANGLE BOB AT
WINDOW TABLE, CITY BG,
EATS.
1715.05
LAST FRAME PICTURE. END OF
REEL 1AB.
COMBINED CONTINUITY
& DIALOGUE
SC#:
FOOTAGE/
SHOT DESCRIPTION/
DIALOGUE:
PAGE 1

TITLE#:
TITLE:
START:

LABORATORY:
12.00
EXT. TOKYO. DAY
LS LOW ANGLE UP AT
BUILDING AS DINOSAUR IMAGE
MOVES ACROSS FACADE.
18.08
MLS CHARLOTTE WITH
UMBRELLA STANDING ON
STREET CORNER AMONGST
OTHER PEDESTRIANS WAITING
TO CROSS STREET.
22.10
CROSSES STREET L TO R
WITH OTHER PEDESTRIANS.
PAN R.
28.10
LS PAN R WITH CHARLOTTE
CROSSING STREET WITH
OTHER PEDESTRIANS.
32.10
LS LOW ANGLE BUILDINGS,
TALL BUILDING R.
35.13
MS CHARLOTTE WITH
UMBRELLA WALKING ACROSS
STREET TO FG AS PEOPLE
PASS FRAME ALL AROUND L
TO R AND R TO L.
40.13
MLS SIDE ANGLE PAN L WITH
CHARLOTTE WALKING
AMONGST PEOPLE R TO L SHE
GLANCES UPPER FG.
1ST SCENE START:

2ND SCENE START:
3RD SCENE START:
4TH SCENE START:
12.00
18.08
22.10
28.10
FINISH:
TOTAL:
47.02
LS LOW ANGLE UP AT TALL
BUILDING WHICH NOW HAS
IMAGE OF ELEPHANTS
WALKING ACROSS, THEN PAN
DOWN AND PICK UP PEOPLE
ON STREET.
53.06
MCU CHARLOTTE WALKING
FG, EXITS FRAME LOWER LFG.
10
59.06
INT. TOKYO HYATT HOTEL
LOBBY. DAY
MS MLS. KAWASAKI STANDS
SIDE ANGLE R AS OTHERS
FROM SUNTORI AND PRESS
AGENT SIT BG WAITING. MS.
KAWASAKI LOOKS UP FROM
WATCH TO L.
11
62.12
MS BOB AND OTHERS IN OPEN
ELEVATOR AND TRACK BACK
AS PEOPLE WALK FG, BOB
WALKS FG.
PAGE 2
MS. KAWASAKI (OS)Hi.
12
69.08
MS SIDE ANGLE MS. KAWASAKI
WALKS L, HAND EXTENDED AS
PEOPLE PASS L TO R EXIT R.
PRESS AGENT STANDS.
MS. KAWASAKI (OS CONT)Mr. Harris. Good
13
72.15
MS ABOVE WAIST BOB WALKS
FG AS MS. KAWASAKI REAR
ANGLE WALKS BG TO HIM.
MS. KAWASAKI (OS CONT)morning.
BOBHi.
2-1 -/
MS. KAWASAKI (TO BOB)Mr. Harris, good morning.
70.04
73.09
3.05
14
75.06
PRESS AGENT, OTHERS WALK
R TO L TO GREET BOB. PAN L
PICK UP BOB WHO SHAKES
HANDS WITH PRESS AGENT.
PAGE 3
2-2
PRESS AGENT (TO BOB)We got a request from Tanabe

Mori the Johnny Carson of
Japan.
75.08
81.04
5.12
2-3 -/
PRESS AGENT (TO BOB)It is a big honor to be invited on

his show.
81.11
85.05
3.10
2-4 -/
MS. KAWASAKI (TO BOB)Can you stay until Friday?
86.00
88.09
2.09
2-5
BOB (TO PRESS AGENT)Im surprised and honored, but

I think I need to check with my
agent.
(check: confer)
(agent: talent representative)
91.02
96.10
5.08
2-6
BOB (TO PRESS AGENT)I believe I may have a previous

commitment.
96.15
100.01
3.02
PRESS AGENTHi. We just got a request from

Tanabe Mori.
PRESS AGENT (OS CONT)He is the Johnny Carson of Japan.
15
81.06
MCU SIDE ANGLE PRESS
AGENT.
PRESS AGENT (CONT)It is a big honor to be invited to
16
84.09
MCU MR. AWINAMI, PAN L TO
OTHER MAN.
PRESS AGENT (OS CONT)his show.
MS. KAWASAKI (OS)Can you stay here

17
87.02
MCU OTS ON PRESS AGENT
WITH BOB PARTIAL IN FRAME
SIDE ANGLE L. AND PAN R TO
INCLUDE MS. KAWASAKI SIDE
ANGLE LOWER R.
MS. KAWASAKI (CONT)until Friday?
BOB (OS)Um,
18
89.15
BOB L, PRESS AGENT R,
OTHERS BG. BOB LOOKS R
AND PRESS AGENT RFG.
BOB (CONT)Im surprised and honored, but I
think I need to check with my
agent. I believe I may have a
previous commitment.
PAGE 4
SAME SHOT CONT.

MS. KAWASAKI (OS
OVERLAPPING)Okay. Okay.
19
100.04
MCU OTS BOB, THEN PRESS
AGENT TURNS FG AND HE AND
BOB AND OTHERS WALK AND
EXITS R.
PRESS AGENT (OS)Sure.
MS. KAWASAKI (OS

OVERLAPPING)Okay. I understand. Shall we go?
BOBYes.
20
108.00
INT. PHOTOGRAPHERS
STUDIO. DAY
MS 2 STUDIO CREW, ONE
STANDING SIDE ANGLE
HOLDING REFLECTING
UMBRELLA AND ANOTHER
FRONT ANGLE BG AND PAN
SLIGHTLY R.
21
110.10
MCU MAN AS HAND BG SLIDES
FILTER INTO LIGHT.
22
113.00
MS TWO MEN IN SILHOUETTE.
TRACK R MOVE BEHIND
WOMANS HEAD.
23
115.03
MCU PAN L PICK UP CREW
PERSON.
24
118.00
MS BATTERY TYPE BOX AND
HAND PUSHING BUTTONS AND
[PAN UP PICK UP CREW
PERSON BENDING DOWN.
2-7
MS. KAWASAKI (TO BOB)Okay. I understand. Shall we

go?
101.00
104.03
3.03
25
121.01
MCU ANOTHER CREW PERSON
ADJUST FLAP. ZOOM OUT.
26
125.05
MS ABOVE WAIST WOMAN
SIDE ANGLE IN SILHOUETTE
AND PAN R WITH HER AS SHE
CARRIES PROP DRINKS R.
27
129.00
MCU 2 EXECUTIVES IN SUIT
AND TIES.
28
133.05
ECU SIDE ANGLE GLOVED
HANDS HOLDING TWO
GLASSES WITH PRETEND
LIQUOR.
29
138.09
MS BOB SITTING ON STOOL
FACING BG TALKS ON CELL
PHONE AS SEVERAL PEOPLE
SURROUND HIM TENDING HIM,
PINNING JACKET BEHIND HIM,
WOMAN IN FRONT OF HIM
FIXING HIS MAKE-UP, MAN
FIXING HIS HAIR. TWO MEN
STAND LBG AS WOMAN WITH
DRINKS ENTERS AND HANDS
THEM GLASSES. PEOPLE
CROSS BG MOVING R AND L.
TRACK IN CIRCLING SLOWLY R
AS MAN TESTS LIGHT.
FRED (VO FILTERED THRU
PHONE)I think you should do it.
BOB (OS)No, here this, Fred. I gotta be on a
plane Thursday night.

PHONE)Were looking into it, Bob, but they
really want you to stay to do that
talk show Friday. Apparently its a
really big deal. Hes the...
2-8
ITAL
PAGE 5
FRED (TO BOB)I think you should do it.

(it: the Japanese TV show)
139.00
140.06
1.06
2-9
BOB (TO FRED)No, hear this, Fred. I gotta be

on a plane Thursday night.
140.11
147.11
7.00
2-10
ITAL
FRED (TO BOB)Were looking into it, but they

really want you to stay for that
show.
148.00
153.14
5.14
2-11
ITAL
FRED (TO BOB)Apparently its a really big deal.

Hes the
(big deal: prestigious
appearance)
154.10
158.12
4.02
SAME SHOT CONT.
2-12
BOB (TO FRED)The Johnny Carson of Japan,

yeah.
159.01
161.13
2.12
2-13
ITAL
FRED (TO BOB)These people are paying you a

lot. Could you consider it?
162.08
167.10
5.02
2-14
BOB (TO FRED)I already have. I have to get

out of here as soon as I can.
(here: Tokyo)
167.15
173.15
6.00
2-15
ITAL
FRED (TO BOB)Alright. Youre scheduled to

leave Friday, but well hold it til
Saturday.
174.10
180.00
5.06
2-16
BOB (TO FRED)Youre breaking up. Theres no

reception in this studio.
(breaking up: your voice is
fading in and out)
180.14
186.10
5.12
2-17
BOB (TO HIMSELF, FRED)Forget it. Call me back.

(Forget it: an dismissive
expression regarding the
conversation)
187.04
189.06
2.02
2-18
PHOTOGRAPHER (TO BOB)Can you put your hands close

to face, please?
203.00
207.02
4.02
BOB (OS OVERLAPPING)Johnny Carson of Japan. Yeah.

PHONE)Bob, these people are paying you
a lot. Do you think you could
consider it?
BOB (OS)I already have. Yknow, I, I gotta
PAGE 6
get outta here as soon as I can.

PHONE)Alright, youre scheduled to leave
Friday, but well hold it until
Saturday
EVERYONE EXITS LFG OR RFG
EXCEPT FOR MAN WITH DRINK
AND WOMAN DOING MAKE-UP.
BOB (OS)Alright, now, hold it, youre
breaking up, Fred. Theres no
reception in this studio. Forget it.
Call me back.
BOB CLOSES CELL PHONE,
HANDS IT TO WOMAN WHO
EXITS R AS BOB TURNS ON
STOOL FACES FG NOW
HOLDING DRINK.
30
199.01
MS PHOTOGRAPHER LOOKING
FG STANDING BEHIND
CAMERA ON TRIPOD, OTHERS
BG AND MAN SIDE ANGLE LFG.
PHOTOGRAPHERCan you
31
203.14
MLS BOB ON STOOL WITH
BACKDROP BG, LIGHTS AND
UMBRELLAS AROUND AND
PHOTOGRAPHER REAR ANGLE
RFG. BOB PUTS HAND TO HIS
EAR.
PAGE 7
2-19
BOB (TO PHOTOGRAPHER)Im sorry what?
207.07
208.14
1.07
2-20
PHOTOGRAPHER (TO BOB)Can you put your hand close

your face?
209.04
215.08
6.04
2-21
BOB (TO PHOTOGRAPHER)I dont get that close to the

glass until Im on the floor.
(Bob is joking, implying he only
gets that close when hes so
drunk hes on the floor)
220.07
224.07
4.00
2-22
BOB (TO PHOTOGRAPHER)Hows this?

(this: with the glass this close)
225.00
226.05
1.05
2-23-/
PHOTOGRAPHER (TO BOB)You want a whiskey?
229.07
231.11
2.04
PHOTOGRAPHER (OS CONT)put your hands close to face,

please?
BOBIm sorry, Naka what?
32
208.15
MS PHOTOGRAPHER WITH
OTHERS STANDING L AND R.
PHOTOGRAPHER PUTS HAND
TO HIS CHEEK.
PHOTOGRAPHERCan you put your hand close your
face, close your face?
33
216.00
MS ABOVE WAIST BOB
HOLDING GLASS PUTS HAND
TO CHEEK. HE LOWERS HAND,
GESTURES FG.
BOBI mean, I dont get that close to the
glass until Im on the floor, yknow.
Hows this?
PHOTOGRAPHER (OS)Yes.
34
229.03
MS ABOVE WAIST
PHOTOGRAPHER WITH
OTHERS BG WATCHING.
PHOTOGRAPHER (CONT)You, you want a whiskey?
35
231.07
MS ABOVE WAIST BOB DRINKS
FROM GLASS.
PAGE 8
2-24
BOB (TO PHOTOGRAPHER)This is not whiskey, this is ice

tea. If you gave me real
whiskey
235.08
240.04
4.12
2-25
PHOTOGRAPHER (TO BOB)I need mysterious face. Can

you show mysterious?
241.00
247.00
6.00
2-26
BOB (TO PHOTOGRAPHER)I think I know what you want.

You want this, right?
(this: Bob strikes an
expression)
247.05
251.00
3.11
2-27
PHOTOGRAPHER (TO BOB)I need more mysterious.
251.09
255.00
3.07
2-28
BOB (TO PHOTOGRAPHER)More mysterious. Ill try to think

where the hells the whiskey.
(the hells: mild vulgar
emphatic )
255.12
260.14
5.02
BOBThis is not whiskey, this is ice tea.

If you gave me real whiskey
36
240.12
MS PHOTOGRAPHER LOOKS
FG THRU CAMERA. THEN
MOVES HEAD R AWAY FROM
CAMERA AND GESTURES
TOWARD HIMSELF.
PHOTOGRAPHERI need mysterious face. Can you
show mysterious, mysterious?
37
247.05
MS ABOVE WAIST BOB PUTS
HAND TO EYE.
BOBI, I think I know what you want.
You want this, right?
38
251.09
THRU CAMERA.
PHOTOGRAPHERI need more mysterious and, uh
39
255.01
MS ABOVE WAIST BOB
TOUCHING FACE.
BOBMore mysterious. Yeah, I, Ill just
try to think where the hells the
whiskey, yknow?
40
261.15
THRU CAMERA AS HELPER
STANDS SIDE ANGLE L, OTHER
BG.
PAGE 9
2-29-/
PHOTOGRAPHER (TO BOB)You are a movie star, yes?
266.02
270.04
4.02
2-30
BOB (TO PHOTOGRAPHER)Yes. I should be doing movies.
270.09
273.12
3.03
2-31-/
PHOTOGRAPHER (TO BOB)And the Lat Pack You know

Lat Pack?
(Lat: mispronunciation of Rat
)
(Rat Pack: term used to identify
group of men who were part of
Frank Sinatras entourage,
such as Dean Martin, Sammy
Davis Jr., Joey Bishop, etc)
274.09
280.00
5.07
2-32
BOB (TO PHOTOGRAPHER) Rat Pack?
281.04
285.00
3.12
295.00
297.06
2.06
PHOTOGRAPHERYou are a movie star,
41
268.12
MLS PAST PHOTOGRAPHER
REAR ANGLE RFG ONTO BOB
BG.
PHOTOGRAPHER (OS CONT)yes?
BOBYes. I should be doing movies,
but
PHOTOGRAPHER (OS
OVERLAPPING)You should be... Yeah. And the
Lat (meaning Rat) Pack?
42
276.07
MS ABOVE WAIST
PHOTOGRAPHER.
PHOTOGRAPHER (CONT)Lat Pack You know Lat Pack?
43
280.07
MS ABOVE WAIST BOB. HE
NODS, THEN BRINGS HAND TO
FACE AND LOOKS FG WITH
DEBONAIR EXPRESSION. BOB
CHANGES EXPRESSIONS AS
LIGHTS FLASH.
BOBRat Rat Pack? Oh, Rat Pack..
PHOTOGRAPHER (OS
OVERLAPPING)Lat Pack, yes, please.
PHOTOGRAPHER (OS)Can you more tension, please?
PHOTOGRAPHER (TO BOB) Lat Pack, yes. Please.

2-33
PHOTOGRAPHER (TO BOB)Can you show more tension,

please?
PAGE 10
SAME SHOT CONT.
2-34
PHOTOGRAPHER (TO BOB)Youre so gentleman, yes?
307.04
310.00
2.12
BOBMore...?
2-35
BOB (TO PHOTOGRAPHER)A ring-a-ding-ding.

(Phrase that Dean Martin used
to say, imitating a bell)
311.00
313.00
2.00
2-36
PHOTOGRAPHER (TO BOB)Sinatra. You know Sinatra?
315.11
318.08
2.13
2-37
BOB (TO PHOTOGRAPHER)O Blue Eyes.

(One of many names used for
Frank Sinatra)
320.14
322.10
1.12
2-38
PHOTOGRAPHER (TO BOB)This is good, yeah.
325.03
326.08
1.05
2-39
BOB (TO PHOTOGRAPHER)Thats more Dino.

(This expression is more like
Dean Martin.)
(Dino: nickname for Dean
Martin)
327.05
329.15
2.10
2-40
BOB (TO PHOTOGRAPHER) Would you like Joey Bishop?
335.00
339.06
4.06
PHOTOGRAPHER (OS)Youre so gentleman, yes?
BOBA ring-a-ding-ding?
PHOTOGRAPHER (OS)Yeah.
44
315.01
MS PHOTOGRAPHER, OTHERS
STANDING BG.
PHOTOGRAPHER (CONT)Yeah. Sinatra. You know Sinatra?
45
318.12
MS OTS BOB. LIGHTS FLASH.
BOB MAKES DIFFERENT
EXPRESSIONS AS
PHOTOGRAPHERS HEAD
SILHOUETTED REAR ANGLE
RFG MOVES SIDE TO SIDE.
HELPER ENTERS RFG, MOVES
BESIDE CAMERA ON L AND
STARTS CHANGING LENS.
BOBOl Blue Eyes.
PHOTOGRAPHER (OS)Yeah. Is good. Yeah.
BOBThats more of Dino. Thats Dino.
PHOTOGRAPHER (OS)Yeah, yeah, yeah. Okay.

BOBJoey Bishop, would you like?
PHOTOGRAPHER (OS)Yes. Thank you.
PHOTOGRAPHER (TO BOB) Yes, thank you.
46
339.07
MS ABOVE WAIST
PHOTOGRAPHER AS HELPER
SIDE ANGLE ON R
47
347.11
MS BOB AS PHOTOGRAPHER
REAR ANGLE RFG TAKES
PICTURES. BOB LOOKS L,
THEN FG, PUTS HAND TO EAR,
THEN FACE.
2-41
PHOTOGRAPHER (TO BOB)Are you drinking? No?

(Will you be going drinking?)
347.11
350.00
2.05
2-42
BOB (TO PHOTOGRAPHER)Am I drinking? As soon as Im

done.
(done: finished here)
350.06
353.10
3.04
2-43
PHOTOGRAPHER (TO BOB) Close your hands, please.
354.08
359.14
5.06
360.04
365.14
5.10
PHOTOGRAPHER (OS)Are you drinking? No?
BOBAm I drinking?
PHOTOGRAPHER (OS)Yeah.
BOBAs soon as Im done.
PHOTOGRAPHER (OS)Close your hands, please.
BOBHuh?
PHOTOGRAPHER (OS)Close your hand. Yeah.
BOBClose it?
PHOTOGRAPHER (OS)Yes. Close you face, please.
Yeah.
BOB (OVERLAPPING)Close my face? Okay.

PHOTOGRAPHER (OS
OVERLAPPING)Yes, sorry.
PAGE 11
BOB (TO PHOTOGRAPHER) Close it?

2-44
PHOTOGRAPHER (TO BOB)Yes. Close you face, please.

Yes, sorry.
48
366.07
MS PHOTOGRAPHER LOOKS
FG ABOVE CAMERA,
SIDESTEPS R.
PAGE 12
2-45
PHOTOGRAPHER (TO BOB)And Double-O- Seven.

(007 James Bond)
368.02
370.06
2.04
2-46
BOB (TO PHOTOGRAPHER)He drinks martinis, but okay I

got it.
371.12
374.08
2.12
2-47
PHOTOGRAPHER (TO BOB) Loja Moore?

(Loja: mispronouncing Roger)
376.09
380.06
3.13
384.01
388.05
4.04
PHOTOGRAPHER (CONT)And, uh, Double-O-Seven.
49
371.02
MLS BOB WITH
PHOTOGRAPHER REAR ANGLE
RFG, HELPER REAR ANGLE
LFG.
BOBHe drinks martinis, but, okay, I got
it.
PHOTOGRAPHER (OS)Double-O Seven, yeah?
50
376.01
FG AROUND CAMERA, OTHERS
BG.
BOB (TO PHOTOGRAPHER) Loja Moore?
PHOTOGRAPHER (CONT)Loja Moore? (Mispronouncing

Roger)
BOB (OS)Loja Moore?

PHOTOGRAPHER
(OVERLAPPING)Loja Moore.
51
381.04
MS OTS ON BOB.
PHOTOGRAPHER (OS CONT)You know? Roger Moore?
BOBRoger Moore?
PHOTOGRAPHER (OS
OVERLAPPING)Yeah.
BOBOkay.
2-48
BOB (TO PHOTOGRAPHER)Roger Moore? Okay.

(The actor who played James
Bond)
SAME SHOT CONT.
PAGE 13
2-49-/
BOB (TO PHOTOGRAPHER)I always think of Sean

Connery. Seriously.
(Sean Connery: first actor to
play James Bond)
389.00
391.13
2.13
2-50
BOB (TO PHOTOGRAPHER)Didnt you guys get the Sean

Connery one over here?
392.07
395.04
2.13
2-51
PHOTOGRAPHER (TO BOB)This Roger Moore? No. Yeah,

okay.
(This: the expression Bob is
making now)
401.00
407.02
6.02
2-52-/
PHOTOGRAPHER (TO BOB)Good. More, please.
410.07
415.00
4.09
PHOTOGRAPHER (OS
OVERLAPPING)Okay.
BOBOkay. Okay, I, I always think of
Sean Connery.
52
390.14
FG THRU CAMERA AS HELPER
ENTERS R, STANDS SIDE
ANGLE BESIDE CAMERA.
BOB (OS CONT)Seriously.
PHOTOGRAPHER
(OVERLAPPING)No, no.
BOB (OS)Didnt you get the Sean Connery
one over here?
PHOTOGRAPHER (OS)No. Roger Moore. Okay.
BOB (OS OVERLAPPING)Okay.
53
397.12
MS OTS BOB KIDS AROUND
DOING DIFFERENT
EXPRESSIONS, POINTS FG,
LOOKS L, SWIVELS ON STOOL
POINTS FG AS LIGHTS FLASH.
PHOTOGRAPHER (OS)Yeah. This Roger Moore? No.
Yeah, kay. Yeah, kay. Good.
More.
54
413.03
FG THRU CAMERA.
PAGE 14
2-53
BOB (TO PHOTOGRAPHER)You mean more, or Roger

Moore again?
415.05
417.08
2.03
2-54
PHOTOGRAPHER (TO BOB)Good. And sexy.
421.14
425.09
3.11
2-55-/
ITAL
JAZZ SINGER (TO LOUNGE)Are you going
435.12
441.08
5.12
2-56-/
ITAL
JAZZ SINGER (TO LOUNGE)to Scarborough Fair?
442.05
449.00
6.11
PHOTOGRAPHER (CONT)Please.
BOB (OS)You mean more, or Roger Moore
again?
PHOTOGRAPHER
(OVERLAPPING)Yeah, yeah.
55
419.01
MS ABOVE WAIST BOB
HOLDING UP GLASS.
PHOTOGRAPHER (OS CONT)Good. And sexy.
56
428.07
INT. HYATT HOTEL LOUNGE.
NIGHT.
LS HIGH ANGLE THRU LOUNGE
WINDOW ON CITY LIGHTS AT
NIGHT, PAN R.
JAZZ SINGER (OS)(SINGING) Are...
57
437.11
MS JAZZ SINGER AT
MICROPHONE.
JAZZ SINGER (CONT)(SINGING) you going
58
440.15
MS BOB IN TUX, BOW TIE
UNDONE, SITTING BACK TO
BAR FACING FG.
JAZZ SINGER (OS CONT)(SINGING) to Scar...
59
PAGE 15
444.01
MS CHARLOTTE SITTING SIDE
ANGLE AT TABLE WITH JOHN
AND OTHERS IN GROUP
ACROSS TABLE BG.
CHARLOTTE LOOKS FG.
JAZZ SINGER (OS CONT)(SINGING) borough Fair?
60
447.11
MS ABOVE WAIST BOB.
61
453.14
MLS JAZZ SINGER WITH
PIANIST LBG.
JAZZ SINGER (CONT)(SINGING) Parsley, sage,
2-57
ITAL
JAZZ SINGER (TO LOUNGE)Parsley, sage,
454.06
458.15
4.09
2-58
ITAL
JAZZ SINGER (TO LOUNGE)-
459.04
466.04
7.00
2-59
JAZZ SINGER (TO LOUNGE)Thank you. Were glad to be

here. Were Sausalito.
(Sausalito: the lounge bands
name, from a city in California)
478.14
484.14
6.00
rosemary and thyme.
rosemary and thyme.
62
466.15
MS BOB SIPS FROM DRINK.
63
471.10
MS CHARLOTTE SIDE ANGLE
LOOKING FG AT TABLE WITH
JOHN AND OTHERS BG. SHE
SMILES.
64
475.11
MS JAZZ SINGER FINISHES
SINGING, NODS.
JAZZ SINGERThank you. Were glad to be here.
Were Sausalito.
65
485.11
MS CHARLOTTE SIDE ANGLE
AT TABLE CLAPS, OTHERS IN
HER PARTY ALSO CLAP.
66
488.07
MS BOB SNAPS HIS FINGERS.
67
492.12
ON CHARLOTTE LOOKING FG
AS SHE APPLAUDS.
68
494.08
MS ABOVE WAIST BOB
SNAPPING HIS FINGERS.
69
499.08
CHARLOTTE CLAPPING LOOKS
L.
70
501.13
MS BOB PUFFS ON CIGAR.
71
505.12
MS SIDE ANGLE ON
CHARLOTTE AS WAITER
MOVES IN FROM L AND
STANDS BESIDE HER REAR
ANGLE OBSCURING HER.
PAGE 16
JOHN (OS IN BG)Yeah,
72
511.11
CHARLOTTE HOLDS OUT SAKE
CUP, GLANCES FG.
JOHN (OS CONT IN BG)yknow.
CHARLOTTESend these over to that table over

there.
73
517.01
MS BOB PUTS SNIFTER DOWN
AS WAITER ENTERS RFG,
GOES BG TO BOB AND HANDS
HIM SAKE CUP, THEN
GESTURES FG.
CHARLIE (OS IN BG)The old temple.
JOHN (OS IN BG)Old temple?
CHARLIE (OS IN BG)Yeah.
2-60
CHARLOTTE (TO WAITER)Send these over to that table

over there.
(these: bowl of nuts or
something from Charlottes
table)
512.07
516.07
4.00
SAME SHOT CONT.

JOHN (OS IN BG)Oh, its beautiful, man.
CHARLIE (OS IN BG)Hindu temple.

JOHN (OS IN BG)Hindu?
CHARLIE (OS OVERLAPPING IN
BG)Hindu, Bali.
JOHN (OS OVERLAPPING IN
BG)Oh,
74
528.05
CHARLOTTE LOOKS FG.
CHARLIE (OS CONT IN BG)Hindu, right.
JOHN (OVERLAPPING OS CONT
IN BG)oh, theyre, theyre,
75
530.06
MS ABOVE WAIST BOB LIFTS
SAKE CUP IN THANK YOU,
DRINKS.
JOHN (OS CONT IN BG)really?
CHARLIE (OS IN BG)Yeah, yeah.

JOHN (OS IN BG)Well, whats, whats, in Japan, is it,
is it, is it mainly
PAGE 17
76
538.09
CHARLOTTE LOOKING FG
LOOKS L.
JOHN (OS CONT IN BG)Buddhism here, or is it ?
CHARLIE (OS OVERLAPPING IN
BG)Yeah, its
77
541.02
MS SIDE ANGLE BOB. HE
RISES, LOOKS FG AND WALKS
R, EXITS.
CHARLIE (OS CONT IN BG)Buddhism. Yeah, yeah. Shes
playing..
JOHN (OS IN BG)Oh, she, she plays... guitar?
78
554.03
CHARLOTTE LOOKING FG. SHE
TURNS HEAD BG AND SHIFT
FOCUS TO INCLUDE JOHN AND
OTHERS IN BG.
79
557.14
INT. ELEVATOR. NIGHT
MCU AS BOB WALKS FG INTO
ELEVATOR, TURNS REAR
ANGLE AND STANDS RFG.
ELEVATOR DOORS CLOSE
PICKING UP BOBS
REFLECTION ON INSIDE OF
DOORS.
80
581.01
INT. HOTEL GYM. NIGHT
MLS HIGH REAR ANGLE BOB
ON SKI TYPE TREADMILL WITH
CITY LIGHTS BG.
AUTOMATED WOMANS VOICE
(VO FILTERED)(INDISTINCT)
PAGE 18
81
596.11
MS SIDE ANGLE BOB ON SKI
TYPE TREADMILL. IT
INCREASES SPEED AND BOB
HAS DIFFICULTY MANAGING IT,
HOLDING ONTO HANDLES.
BOBHelp!
82
610.09
MLS HIGH REAR ANGLE BOB
ON TREADMILL TRIES TO
SLOW MACHINE.
83
627.05
MS SIDE ANGLE BOB ON
TREADMILL PRESSING
BUTTONS SLOWING MACHINE.
FINALLY HE JUMPS OFF TO BG,
EXITS L.
84
639.14
INT. HOTEL LOBBY. DAY
MLS AS BOB ENTERS HALF
LIMPING, PAN R AS HE WALKS
R, PICK UP MS. KAWASAKI,
PRESS AGENT, OTHERS AS
BOB PASSES THEM CROSSING
FRAME L TO R, THEN HOLD AS
BOB WALKS BG TOWARD
HOTEL DOORS WITH MS.
KAWASAKI, ENTOURAGE
FOLLOWING.
MS. KAWASAKI (OS)Good morning.
PRESS AGENT (OS)Good morning.

MR. AWINAMI (OS)Good morning.
BOBGood morning.
2-61
BOB (TO EMPTY GYM)Help!
PAGE 19
609.00
610.00
1.00
SAME SHOT CONT.
2-62
MS. KAWASAKIAre you okay?
BOBYeah. Fine.
MS. KAWASAKI (TO BOB) Are you okay?
PAGE 20
651.02
654.00
2.14
BOB (TO MS. KAWASAKI) Yeah. Fine.

2-63
MS. KAWASAKI (TO BOB)The car is outside. Shall we

go?
656.05
659.00
2.11
2-64-/
KELLY (TO JOHN)John? Oh my God. John, what

are you doing here?
(here: in Tokyo at this hotel)
678.14
685.14
7.00
MS. KAWASAKI (OS)Car is outside. Shall we go?

CHARLOTTE (VO)Thats what I told him, yknow.
85
668.06
JOHN AND CHARLOTTE ARM IN
ARM AND TRACK BG
FOLLOWING THEM AS THEY
WALK BG THRU LOBBY.
COUPLE, EMPLOYEE PASSES
ON R WALKING TO FG.
JOHN (OS)Yeah, yeah.
CHARLOTTE (OS)He never listens to me.
JOHN (OS OVERLAPPING)Yeah.
86
678.06
MS ABOVE WAIST KELLY
REVEALED AS JOHN AND
CHARLOTTE REAR ANGLE IN
FG MOVE BG.
KELLY (OS)John?
87
PAGE 21
680.15
MCU 2 SHOT JOHN AND
CHARLOTTE. THEY TURN
FACING L AS JOHN REMOVES
ARM FROM AROUND
CHARLOTTE.
KELLY (OS CONT)Oh my God. John
88
683.13
MCU OTS BETWEEN JOHN L
AND CHARLOTTE R ONTO
KELLY. JOHN STEPS OFF
FRAME L
KELLY (CONT)what are you doing here?
JOHN (OS)Oh, well, yknow,
89
687.12
MS KELLY WITH JOHN AND
CHARLOTTE REAR ANGLE LFG
AND RFG. KELLY MAKES FAKE
KARATE KICK L AT JOHN.
2-65
JOHN (TO KELLY)Im here shooting a band. What

are you doing here?
(shooting band: photographing
a musical group.)
689.04
693.11
4.07
JOHN (CONT)Im, I, were, Im just here, shootin
2-66
KELLY (TO JOHN)Im here promoting that action

movie I did.
694.00
697.05
3.05
2-67-/
KELLY (TO JOHN)Im doing twenty million

interviews a day. Its crazy.
(Its crazy: my schedule of
interviews is hectic)
699.05
703.08
4.03
a band. What about you? What

are you doing?
KELLY (OVERLAPPING)Im here promoting that action
movie I did. Yah! Yknow.
(LAUGHS)
JOHN (OS)Oh! Yeah. (LAUGHS)

KELLY (OVERLAPPING)Yeah, Im doing twenty million
interviews a day.
90
701.15
FRONT ANGLE AS KELLY AND
JOHN STAND OPPOSITE EACH
OTHER SIDE ANGLE LFG AND
RFG.
2-68
707.04
3.10
2-69
KELLY (TO JOHN)So how long are you gonna be

here?
708.02
710.04
2.02
2-70
JOHN (TO KELLY)Were here for a week. Im

gonna go shoot in Pukewaka.
(shoot: take pictures)
(Pukewaka: place in Japan)
711.00
716.10
5.10
2-71
KELLY (TO JOHN)Oh, its amazing there.
716.15
721.15
5.00
2-72
JOHN (TO KELLY)Oh, this is my wife, Charlotte.

(this: Charlotte is standing
beside him)
728.14
732.04
3.06
JOHN (OVERLAPPING)Yeah, yeah.
KELLYSo how long you gonna be here?
703.10
KELLY (TO JOHN) God, Its so good to see you.
KELLY (CONT)Its crazy. God, its so good to see

you.
JOHN (TO KELLY) Right.
PAGE 22
JOHN GESTURES BG TO
CHARLOTTE INTRODUCING
HER.
JOHNUh, well, were here for a week,
yknow. Im gonna go shoot in
Pukawaka. (LAUGHS)
KELLY (OVERLAPPING)Oh! Oh! Its amazing, its amazing

there.
JOHN (OS)Yeah. Oh, oh, yeah.
91
722.13
KELLY LAUGHING.
KELLY (LAUGHS)
JOHN (LAUGHS)
92
727.10
MCU CHARLOTTE WITH JOHN
SIDE ANGLE RFG.
JOHNYeah. Oh, this is, this is my wife,
Charlotte.
93
732.05
KELLY WHO SHAKES
CHARLOTTES HAND RFG,
THEN LOOKS L IN DISBELIEF,
LAUGHS.
PAGE 23
2-73
KELLY (TO CHARLOTTE,

THEN JOHN)Hi, its really nice to meet you.
Hello.
(Hello: mild reproof to John for
neglecting to introduce
Charlotte sooner)
732.09
737.11
5.02
2-74
KELLY (TO JOHN)John You are my favorite

photographer.
745.11
750.02
4.07
JOHN (OS CONT)Yeah.
KELLY (OVERLAPPING)Hi, its really nice to meet you.

Hello. (LAUGHS)
CHARLOTTE (OS
OVERLAPPING)Its nice to meet you.
JOHN (OS OVERLAPPING)Yeah. (LAUGHS)
94
740.00
MCU CHARLOTTE WITH JOHN
SIDE ANGLE RFG LAUGHING.
KELLY (OS)I, oh -JOHN (OVERLAPPING)Yeah, yeah,
95
743.06
MS ABOVE WAIST OTS
BETWEEN JOHN AND
CHARLOTTE REAR ANGLE LFG
AND RFG ONTO KELLY WHO
POINTS LFG AT JOHN. JOHN
LOOKS R LAUGHING, REACHES
OUT TO R.
JOHN (CONT)yeah, yeah.
KELLYJohn. John.
JOHNHuh?
KELLYYou are my favorite photographer.
SAME SHOT CONT.
PAGE 24
2-75
KELLY (TO JOHN)You are. I only want you to

shoot me.
750.07
754.06
3.15
2-76
KELLY (TO JOHN)Its true.
756.06
759.00
2.10
2-77
KELLY (TO JOHN,

CHARLOTTE)My God, I have the worst b.o.
right now, Im so sorry.
(b.o.: abbreviation for body
odor)
760.02
764.06
4.04
2-78-/
KELLY (TO JOHN)So, listen lets all go out for a

drink sometime.
766.13
771.03
4.06
JOHN (OS)Oh, no. (LAUGHS)
KELLY (OVERLAPPING)No, you are. I only want you to

shoot me.
96
754.08
MS AS JOHN REAR ANGLE
PUTS ARM AROUND
CHARLOTTE, THEN THEY
SEPARATE AND REVEAL KELLY
FRONT ANGLE IN BG. KELLY
GRABS HER ARMPIT.
JOHN (LAUGHS)
KELLY (OVERLAPPING)Its true. (LAUGHS) Oh, my God, I
have the worst b.o. right now, Im
so sorry.
JOHN (OVERLAPPING)Oh. Oh.
97
764.07
MS ABOVE WAIST JOHN SIDE
ANGLE RFG GRABS NOSE,
CHARLOTTE FRONT ANGLE BG
WATCHING AS KELLY SIDE
ANGLE ON L PUSHES JOHN R.
KELLY (OS)(LAUGHS) No no, no. So, listen,
um,
JOHN (OVERLAPPING)Yeah.
98
768.08
KELLY.
KELLY (CONT)lets all go out
99
PAGE 25
769.12
CU CHARLOTTE WITH JOHN
PARTIAL IN FRAME SIDE
ANGLE R.
KELLY (OS CONT)for a drink sometime.
JOHNYeah.
KELLY (OS)Yeah?
100
772.13
MS ABOVE WAIST PAST JOHN
REAR ANGLE LFG ONTO
KELLY. SHE PUTS FINGER TO
HER LIPS, THEN LAUGHS,
GESTURES WITH FINGERS UP.
JOHN (OS)Yeah. Yeah. Yeah, okay, okay.
KELLY (OVERLAPPING)Yeah? Yknow, call me. Okay?
Alright, listen, Im under Evelyn
Waugh.
JOHNOh. Oh, oh, oh. I, yeah. Okay,

yeah. (LAUGHS)
KELLY (OVERLAPPING)Ssh. Okay? (LAUGHS) Okay,

aragato, aragato. (LAUGHS)
JOHN (OVERLAPPING)Yeah,
2-79
KELLY (TO JOHN)Call me. Listen Im under

Evelyn Waugh.
(under: registered at the hotel
under the name of)
(Evelyn Waugh: an English
writer)
774.02
779.12
5.10
2-80
KELLY (TO JOHN)Okay?
782.11
784.03
1.08
2-81-/
KELLY (TO JOHN) Arigato. Arigato
786.02
791.05
5.03
JOHN (TO KELLY) Yeah. Mushi mushi.
101
PAGE 26
788.12
WITH JOHN SIDE ANGLE RFG
LOOKING BG AS KELLY
ENTERS LBG WALKING OFF TO
BG LOOKING FG AND
LAUGHING, POINTING AS SHE
GOES. JOHN WAVES
GOODBYE.
JOHN (OS CONT)yeah. Mushi mushi. (LAUGHS)
KELLY (SCREAMS, LAUGHS)
102
792.11
MS ABOVE WAIST JOHN AND
CHARLOTTE. THEY TURN SIDE
ANGLE FACING EACH OTHER.
2-82
CHARLOTTE (TO JOHN)Evelyn Waugh? Evelyn Waugh

was a man.
793.10
798.12
5.02
2-83
JOHN (TO CHARLOTTE)Cmon, shes nice.

(she: Kelly)
799.07
802.05
2.14
2-84
JOHN (TO CHARLOTTE)Not everybody went to Yale.

(Yale: Excellent U.S.
university)
804.13
808.00
3.03
2-85
JOHN (TO CHARLOTTE)Its just a pseudonym, for

Christs sake.
811.04
814.03
2.15
2-86
CHARLOTTE (TO JOHN)Why do you have to defend

her?
814.08
816.10
2.02
2-87
JOHN (TO CHARLOTTE)Why must you point out how

stupid everyone is all the time?
(point out: make known)
817.05
822.01
4.12
JOHN (LAUGHS)
CHARLOTTEEvelyn Waugh?
JOHNWhat?
CHARLOTTEEvelyn Waugh was a man.
103
799.03
MCU SIDE ANGLE JOHN AND
CHARLOTTE OPPOSITE EACH
OTHER.
JOHNOh, cmon. Shes nice. What,
yknow, yknow, not everybody
went to Yale. Oh, its just a
pseudonym for Christs sake.
THEY WALK BG.
CHARLOTTE (OS)Why do you have to defend her?
JOHNWell, why do you have to point out

how stupid everybody is all the
time?
SAME SHOT CONT.
PAGE 27
2-88
JOHN (TO CHARLOTTE)I thought it was funny. Forget it.

(it: her misuse of Evelyn
Waughs gender)
822.06
824.12
2.06
it.
2-89
PRODUCER (TO JOHN)John We have to go.
829.07
831.14
2.07
JOHN (OS)Well
2-90
CHARLOTTE (TO JOHN)Bye.
834.10
835.12
1.02
2-91ITAL
DR. KENGARD (TO

AUDIENCE)Did you ever wonder what your
purpose in life is?
841.10
845.12
4.02
CHARLOTTE (OS)No, I thought it was funny. Forget
MLS JOHN AND CHARLOTTE

STOP AND TURNS SIDE ANGLE
FACING L AS PRODUCER
ENTERS FROM L, EXITS BACK
L. JOHN TURNS R TO
CHARLOTTE, GIVE HER A KISS.
PRODUCER (OS)Hey, John.
JOHNOh, yeah.
PRODUCER (OVERLAPPING)We gotta go.
JOHNOh.
CHARLOTTEBye.
104
840.13
ROOM. DAY
MLS HIGH REAR ANGLE
CHARLOTTE SITTING ON
FLOOR AGAINST SIDE OF BED
FACING WINDOW BG.
DR. KENGARD (VO FILTERED)Did you ever wonder what your
purpose in life is?
105
845.14
CHARLOTTE WITH
HEADPHONES ON. SHE LIFTS
CD JEWEL CASE UP INTO
FRAME, READS IT. SHE FLIPS
IT OVER.
PAGE 28
2-92
ITAL
DR. KENGARD (TO

AUDIENCE)This book is about finding your
souls purpose or destiny.
846.01
851.03
5.02
2-93-/
ITAL
DR. KENGARD (TO

AUDIENCE)Every soul has a path. But
sometimes, that path is not
clear.
851.08
857.09
6.01
2-94-/
ITAL
DR. KENGARD (TO

AUDIENCE)The inner map theory is an
example
858.04
860.14
2.10
2-95
ITAL
DR. KENGARD (TO

AUDIENCE)of how each soul begins with
an imprint all compacted into a
pattern
861.03
867.00
5.13
2-96
ITAL
DR. KENGARD (TO

AUDIENCE)that has been selected by your
soul before youd even gotten
here.
(here: into this world and life)
867.05
872.05
5.00
2-97
KELLY (TO PRESS

CONFERENCE)The reason I like Japan the
best out of all Asian
countries
881.09
888.09
7.00
2-98
KELLY (TO PRESS

CONFERENCE)is because I really feel close to,
um, Buddhism.
888.14
895.06
6.08
DR. KENGARD (VO FILTERED)This book is about finding your

souls purpose or destiny. Every
soul has a path. But sometimes,
that path is not clear.
106
857.03
ECU BACK OF CD CASE IN
CHARLOTTES HAND WITH
MANS PHOTO ON IT.
DR. KENGARD (VO FILTERED)The inner map theory is an
107
860.04
READING BACK OF CD CASE.
SHE SMILES TO HERSELF.
DR. KENGARD (VO FILTERED)example of how each soul begins
with an imprint, all compacted into
pattern that has been selected by
your soul before youd even gotten
here.
108
873.05
MS CHARLOTTE WALKS FG UP
HALL, PAN L AS SHE TURNS L
THEN WALKS BG PASSING
RECEPTIONS DESK R AND
OTHER GUESTS WALKING BG
TO FG.
KELLY (OS)Yknow, I guess the reason why I
like Japan the best out of all Asian
countries is because I really feel
close to, um, Buddhism. Um,
109
895.12
INT. HOTEL BALLROOM. DAY
MS CHARLOTTE ENTERS AND
WALKS FG, PAN L AS SHE
CROSSES FG R TO L, THEN
WALKS BG. REVEAL LARGE
PRESS CONFERENCE BG AS
CHARLOTTE STOPS RFG
FACING BG.
2-99
KELLY (TO PRESS

CONFERENCE)I really believe in reincarnation.
895.14
899.07
3.09
2-100
KELLY (TO PRESS

CONFERENCE)Thats part of what drew me to
Midnight Velocity
(drew me to: attracted me to)
(Midnight Velocity: fictional
movie Kelly is promoting)
899.12
904.12
5.00
2-101
KELLY (TO PRESS

CONFERENCE)because although Keanu dies,
he gets reincarnated.
(Keanu: Keanu Reeves, the
actor)
905.02
911.12
6.10
2-102-/
KELLY (TO PRESS

CONFERENCE)So theres hope. Theres hope
in reincarnation, I think.
912.12
917.06
4.10
2-103
JOURNALIST (TO KELLY)What was it like working with

Keanu Reeves?
918.04
921.11
3.07
2-104
KELLY (TO PRESS

CONFERENCE)He was always giving m e ideas
922.04
927.12
5.08
2-105
KELLY (TO PRESS

CONFERENCE)and really helpful. He made me
feel really comfortable.
928.07
933.00
4.09
2-106
KELLY (TO PRESS

CONFERENCE)We both have two dogs, we
both live in L.A.,
(L.A.: Los Angeles)
933.08
939.06
5.14
2-107
KELLY (TO PRESS

CONFERENCE)so we have all these different
things in common.
939.11
943.09
3.14
KELLY (OS CONT)I really feel, I really believe in

reincarnation. Thats part of what
drew me to Midnight Velocity as
well because although Keanu
dies, he eventually gets
reincarnated. So theres hope.
Theres
110
914.08
LEANING AGAINST
DOORFRAME L.
PAGE 29
KELLY (OS CONT)hope in reincarnation, I think.

JOURNALIST (OS)What was it like working with
Keanu Reeves?
111
922.04
MLS OVER HEADS OF PRESS
IN CHAIRS REAR ANGLE ONTO
KELLY AND TRANSLATOR AT
TABLE ANSWERING
QUESTIONS. FLASH BULBS GO
OFF.
KELLYHe was always so, he was always,
yknow, giving me ideas and
yknow, really helpful. He made
me feel really comfortable, so
and we both have two dogs, and
we both live in L.A., so we have all
these different things in common.
So, yknow, we both really like,
um, Mexican food and yoga and
karate. (LAUGHS)
SAME SHOT CONT.
112
955.02
WALKS BG, THEN EXITS L
AROUND DOOR FRAME.
TRANSLATOR (OS)(SPEAKS JAPANESE)
113
961.03
INT. HOTEL CONFERENCE
ROOM. DAY
MLS WOMEN IN BG DOING
IKEBANA. CHARLOTTE LFG,
STANDS REAR ANGLE
LOOKING BG INTO ROOM. SHE
WALKS BG.
114
973.08
MS REAR ANGLE WOMAN AND
TEACHER, OTHERS BG AND
PAN R.
115
979.06
MS ABOVE WAIST CHARLOTTE,
TRACK L WITH HER AS SHE
WALKS L ALONG TABLE,
PEOPLE DOING IKEBANA. PICK
UP TEACHER IN KIMONO L
WHO COMES ALONGSIDE
CHARLOTTE, THEN WALKS
WITH HER L.
JAPANESE TEACHER (OS)(SPEAKS JAPANESE)
CHARLOTTEHello. Hi. Um
PAGE 30
2-108
KELLY (TO PRESS

CONFERENCE)We both really like Mexican
food
944.07
949.02
4.11
2-109
KELLY (TO PRESS

CONFERENCE)and yoga and karate
950.02
954.12
4.10
116
996.03
AS TEACHER ESCORTS HER
TO L.
CHARLOTTE (OS CONT)Um... (LAUGHS) Okay. (PAUSE)
Okay.
TRACK L, PASS BEHIND

WOMAN FG AS CHARLOTTE,
TEACHER STOP AND TEACHER
TAKES FLOWER STEM, HANDS
IT TO CHARLOTTE, POINTS FG
TRYING TO SHOW HER WHAT
TO DO.
TEACHER(SPEAKS JAPANESE)
CHARLOTTEOkay.
CHARLOTTE PUTS STEM INTO
BASKET AS TEACHER
CROSSES BEHIND TO R,
LOOKS ON AND NODS SMILING
AS CHARLOTTE LOOKS AT
HER. THE TEACHER EXITS R.
117
1040.01
MCU WOMAN OUT OF FOCUS
TOUCHING FLORAL STEM FG
IN FOCUS.
118
1044.12
MCU CHARLOTTE LOOKING R,
LIFTS FLORAL STEM INTO
FRAME.
119
1055.01
MCU HIGH SIDE ANGLE
WOMAN WORKING ON
IKEBANA.
120
1062.05
BATHROOM. DAY
MLS SIDE ANGLE CHARLOTTE
SITTING IN BATHTUB.
PAGE 31
121
1071.10
ROOM. NIGHT
CHARLOTTE ON HER BACK ON
BED, UNABLE TO SLEEP, JOHN
ASLEEP BESIDE HER. SHE
REACHES R, TURNS ON LIGHT,
PICKS UP REMOTE CONTROL,
POINTS IT FG.
122
1095.12
MCU TV AS IT GOES ON
SHOWING STRANGE
JAPANESE GAME SHOW,
WOMAN EATING NOODLES.
123
1102.12
ON BED, FEET RFG, LOOKING
FG AS JOHN SLEEPS BESIDE
HER, FACE IN FRAME FROM L.
124
1105.13
NIGHT
CU TV SET WITH GAME SHOW,
WOMAN EATING NOODLES.
125
1111.05
MS HIGH ANGLE BOB AWAKE
IN BED ON BACK POINTS
REMOTE CONTROL FG.
126
1114.13
CU TV WITH SAMURAI MOVIE
PLAYING.
127
1120.08
MS HIGH ANGLE BOB ON BACK
IN BED.
128
1124.15
CU TV WITH SAMURAI MOVIE
AS SAMURAI STAGGERS L
WITH SWORD IN STOMACH,
FALLS.
129
1132.04
MS HIGH ANGLE BOB IN BED
POINTS REMOTE FG.
PAGE 32
130
1136.08
INT. HOTEL CORRIDOR. NIGHT
MS REAR ANGLE CHARLOTTE
WALKS DOWN HALL TO BG.
131
1144.06
INT. HOTEL BAR/LOUNGE.
NIGHT
MS HIGH ANGLE BOB SITS AT
BAR TALKING WITH
BARTENDER WHO STANDS
REAR ANGLE RFG.
CHARLOTTE ENTERS BG
WALKS FG, TAKES SEAT
BESIDE BOB AS BARTENDER
STEPS BG TO ASSIST HER.
2-110
BOB (TO WAITER)He got married a couple a

times.
(He: unknown subject of their
conversation; obviously some
actor)
1144.09
1147.07
2.14
2-111
BOB (TO WAITER)To some nice women. Beautiful

women, too.
1150.14
1154.01
3.03
2-112
BOB (TO WAITER)You and I would be crazy for

these women.
(crazy: madly desirous of)
1154.06
1157.08
3.02
2-113
BOB (TO WAITER)But there were always rumors.

And I never liked his acting
1158.06
1164.06
6.00
2-114
BOB (TO WAITER)so I never gave a damn

whether he was straight or not.
(straight: heterosexual)
1164.11
1168.03
3.08
2-115
WAITER (TO CHARLOTTE)What can I get you?
1173.06
1175.02
1.12
2-116
CHARLOTTE (TO WAITER)Im not sure.
1176.03
1179.05
3.02
2-117
BOB (TO CHARLOTTE)For relaxing times... make it

Suntory time.
1184.03
1191.01
6.14
BOBWell, he got married a couple a

times. To some nice women.
Beautiful women, too. I mean, you
PAGE 33
and I would be crazy for these

women, but there were always
rumors. And I never liked his
acting so I never gave a damn
whether he was straight or not.
CHARLOTTE (OS)Thank you.

132
1170.15
MS CHARLOTTE L AND BOB R
SEATED AT BAR AS
CHARLOTTE TURNS BG
TALKING TO BARTENDER
STANDING BETWEEN THEM.
BOB HOLDS UP HIS GLASS.
CHARLOTTE (CONT)Hey. Thank you.
WAITERWhat can I get you?
CHARLOTTEUm, Im not sure. Um

BOBFor relaxing times... make it
Suntory time.
WAITER (OVERLAPPING)Suntory time.
133
1191.02
OTS ON CHARLOTTE LOOKING
FG.
PAGE 34
2-118
CHARLOTTE (TO WAITER)Ill have a vodka tonic.
1195.04
1197.11
2.07
2-119
CHARLOTTE (TO BOB)So what are you doing here?

(here: in Tokyo)
1209.05
1211.05
2.00
2-120
BOB (TO CHARLOTTE)A couple a things.
1214.06
1216.04
1.14
2-121
BOB (TO CHARLOTTE)Taking a break from my wife,

forgetting my sons birthday
1217.07
1221.07
4.00
2-122
BOB (TO CHARLOTTE)and getting paid two million

dollars to endorse a whiskey
1222.12
1228.14
6.02
2-123
BOB (TO CHARLOTTE)when I could be doing a play

somewhere.
1230.05
1234.05
4.00
2-124
BOB (TO CHARLOTTE)But the good news is that the

whiskey works.
(works: does its job, makes you
feel good)
1240.05
1243.05
3.00
2-125
BOB (TO CHARLOTTE)What are you doing?

(that is, here in Tokyo)
1255.04
1256.08
1.04
CHARLOTTEUm, Ill have a vodka tonic.
134
1197.12
BOB AS BARTENDER WALKS
BG, EXITS RBG.
WAITER (OS)Okay.
CHARLOTTE (OS
OVERLAPPING)(LAUGHS) Thanks.
135
1204.01
MS 2 SHOT CHARLOTTE L AND
BOB R SEATED AT BAR NEXT
TO EACH OTHER.
CHARLOTTESo what are you doing here?
BOBUh, couple a things. Taking a
break from my wife, forgetting my
sons birthday and, uh, getting
paid two million dollars to endorse
a whiskey when I could be doing a
play somewhere.
CHARLOTTEOh.
BOBBut the good news is the whiskey
works.
CHARLOTTE (LAUGHS)
BOBWhat are you doing?
SAME SHOT CONT.

CHARLOTTEUm, my husbands a
2-126
CHARLOTTE (TO BOB)My husbands a photographer,

so hes here working.
1261.00
1264.12
3.12
2-127
CHARLOTTE (TO BOB)I wasnt doing anything so I

came along.
1267.12
1270.10
2.14
2-128
CHARLOTTE (TO BOB)And we have some friends that

live here.
1270.15
1273.12
2.13
2-129
BOB (TO CHARLOTTE)How long you been married?
1275.04
1276.15
1.11
2-130
CHARLOTTE (TO BOB)Two years.
1282.00
1283.05
1.05
2-131
BOB (TO CHARLOTTE)Twenty-five long ones.

(long ones: years)
1285.00
1286.14
1.14
2-132-/
CHARLOTTE (TO BOB)Youre probably just having a

mid-life crisis.
1290.02
1294.04
4.02
2-133
CHARLOTTE (TO BOB)Did you buy a Porsche yet?

(Porsche: name of an Italian
sports car)
1295.12
1297.06
1.10
photographer, so hes here

working, and, um, I wasnt doing
anything so I came along. And we
have some friends that live here.
CHARLOTTE PULLS OUT
CIGARETTE. BOB LIGHTS
CIGARETTE FOR HER.
PAGE 35
BOBHow long you been married?
136
1277.00
OTS ON CHARLOTTE AS BOB
RFG LIGHTS HER CIGARETTE.
CHARLOTTEMm, thank you. Mm, two years.
137
1284.07
MS CHARLOTTE AND BOB AS
WAITER BG BETWEEN THEM
BRINGS CHARLOTTE HER
DRINK, PUTS DOWN NAPKIN.
BOBTwenty-five long ones.
CHARLOTTEOh. Well, youre probably
138
1291.00
ON CHARLOTTE AS WAITER
OFF FRAME R PUTS DOWN
DRINK, BOB PARTIAL IN FRAME
SIDE ANGLE RFG.
CHARLOTTE (CONT)just, uh, having a mid-life crisis.
Did you buy a Porsche yet?
139
1300.08
MS ABOVE WAIST OTS SIDE
ANGLE ON BOB LOOKING FG.
PAGE 36
2-134
BOB (TO CHARLOTTE)I was thinking about buying a

Porsche.
1301.03
1304.03
3.00
2-135
CHARLOTTE (TO BOB)Twenty-five years. Thats....

impressive.
1310.12
1317.12
7.00
2-136
BOB (TO CHARLOTTE)You figure you sleep one third

of your life.
(figure: think, estimate)
1323.00
1328.02
5.02
2-137
BOB (TO CHARLOTTE)That knocks off eight years of

marriage right there,
1328.07
1331.07
3.00
2-138-/
BOB (TO CHARLOTTE)so youre down to sixteen and

change. Youre a teenager at
marriage.
(change: term used for less
than a whole number, usually
in monetary terms)
1331.14
1338.11
6.13
2-139
BOB (TO CHARLOTTE)You can drive it but theres

still the occasional accident.
(it: making marriage analogous
to a car, or a teenager with a
car)
1339.00
1344.02
5.02
BOBYknow, I was thinking about

buying a Porsche.
140
1304.13
PAST BOB RFG ONTO
CHARLOTTE. SHE TAKES PUFF
ON CIGARETTE, LOOKS FG.
CHARLOTTETwenty-five years. Thats, uh, well,
its impressive.
141
1319.05
OTS ON BOB.
BOBWell, you figure you sleep one
third of your life.
142
1328.05
PAST BOBS PROFILE RFG
ONTO CHARLOTTE LOOKING
FG HOLDING CIGARETTE.
BOB (CONT)That knocks off eight years of
marriage right there, so, yknow,
youre down to sixteen and
change and,
143
1335.08
OTS ON BOB LOOKING FG AS
HE TALKS, GESTURES.
BOB (CONT)yknow, youre just a teenager at
marriage. You can drive it but you
can, theres still the occasional
accident. Yknow.
CHARLOTTE (OS
OVERLAPPING)Yeah. (LAUGHS)
144
1347.11
MS FRONT ANGLE CHARLOTTE
L AND BOB R AT BAR.
2-140
BOB (TO CHARLOTTE)What do you do?
1348.08
1349.14
1.06
2-141
CHARLOTTE (TO BOB)Im not sure yet, actually. I just

graduated last spring.
(graduated: college)
1357.02
1362.08
5.06
2-142
BOB (TO CHARLOTTE) What did you study?
1364.07
1368.07
4.00
BOBWhat do you do?

CHARLOTTEUm, Im not sure yet, actually. I
just graduated last spring.
BOBAnd what did you study?
CHARLOTTE (TO BOB) Philosophy

2-143
BOB (TO CHARLOTTE)I hear theres a good buck in

that racket.
(buck: colloquial for income)
(racket: slang term for a
vocation)
1370.06
1373.02
2.12
2-144
CHARLOTTE (TO BOB)So far its pro-bono.
1378.12
1381.04
2.08
2-145
BOB (TO CHARLOTTE)Im sure youll figure out the

angles.
(angles: ways of making
philosophy lucrative)
1384.02
1386.14
2.12
2-146-/
CHARLOTTE (TO BOB)I hope your Porsche works out.

Cheers to that.
(Cheers: a toast of goodwill)
1392.07
1398.11
6.04
2-147-/
BOB (TO CHARLOTTE)Cheers to that. Kum pai.

(Kum pai: Japanese
expression of a toast while
drinking, as in to your health)
1399.02
1402.04
3.02
CHARLOTTEPhilosophy.
BOBI hear theres a good buck in that

racket.
CHARLOTTE(LAUGHS) Yeah. Well, so far its

pro-bono.
PAGE 37
BOBHuh. Well, Im sure youll figure

out the angles.
CHARLOTTEMaybe. I hope your
145
1393.10
ON CHARLOTTE WITH BOB
PARTIAL IN FRAME RFG. THEY
LIFT GLASSES, TOAST.
CHARLOTTE (CONT)Porsche works out. Cheers to that,
huh?
BOBCheers to that. Kum
146
PAGE 38
1401.05
OTS ON BOB WITH
CHARLOTTES PROFILE OUT
OF FOCUS LFG.
BOB (CONT)pai.
147
1413.15
ON CHARLOTTE, BOBS
PROFILE OUT OF FOCUS RFG.
CHARLOTTEI wish I could sleep.
BOBHm,
148
1421.11
PAST CHARLOTTES PROFILE
LFG ONTO BOB DRINKING.
BOB (CONT)me, too.
149
1428.03
PAST BOBS PROFILE RFG
ONTO CHARLOTTE LOOKING
FG, THEN L.
150
1431.10
MLS HIGH SIDE ANGLE DOWN
ON BOB, CHARLOTTE AT BAR,
OTHER FARTHER BG.
151
1435.10
INT. HOTEL POOL. DAY
MLS OVER POOL ONTO CITY
BG THRU HUGE WINDOW AS
PEOPLE DOING EXERCISE IN
POOL WITH INSTRUCTOR
STANDING SIDE ANGLE LBG.
EXERCISE INSTRUCTOR(SPEAKS JAPANESE)
2-148-/
CHARLOTTE (TO BOB) I wish I could sleep.

BOB (TO CHARLOTTE) Me, too.
1418.13
1422.13
4.00
152
1442.10
MS ABOVE WAIST LOW SIDE
ANGLE BOB STANDING IN
WATER LOOKING OVER TOP
OF FRAME FG.
EXERCISE INSTRUCTOR (OS
CONT)(SPEAKS JAPANESE)
153
1447.06
MLS INSTRUCTOR TEACHING
EXERCISE CLASS TO PEOPLE
IN POOL REAR ANGLE IN FG.
EXERCISE INSTRUCTOR
(CONT)(SPEAKS JAPANESE)
154
1452.14
MS HIGH REAR ANGLE DOWN
ON BOB IN POOL AGAINST
SIDE. HE LOWERS GOGGLES,
DIVES BG EXITING FRAME.
EXERCISE INSTRUCTOR (OS
CONT)(SPEAKS JAPANESE) One, two
three, four. And one, two, three,
four. One
155
1470.11
UNDER WATER TRACKING R
WITH BOB AS HE SWIMS TO R.
156
1477.15
MS UNDER WATER BOBS POV
MOVING L PASSING WOMENS
LEGS JUMPING UP AND DOWN
DOING EXERCISES.
157
1485.04
MS ABOVE WAIST UNDER
WATER BOB SWIMS FG, PAN R
AS HE SWIMS ACROSS FG L TO
R AND EXITS.
PAGE 39
158
1491.15
INT. VIDEO ARCADE. DAY
MCU CHARLOTTE TRACK BACK
WITH HER WALKING FG THRU
ARCADE.
159
1496.10
KID PLAYING VIDEO GAME
160
1498.13
MCU VIDEO SCREEN, THEN
PAN L PICK UP TEENAGER
SIDE ANGLE PLAYING GAME,
THEN PAN DOWN R AS HE
BEATS DRUM WITH
ELECTRONIC STICKS. PAN R
BACK TO VIDEO SCREEN.
161
1518.04
TRACK BACK AS SHE WALKS
FG THRU ARCADE LOOKING L.
162
1524.07
MS JAPANESE TEENAGER,
CIGARETTE DANGLING FROM
LIP PLAYS ELECTRIC GUITAR
SIDE ANGLE ON L AS GIRL BG
LEANS AGAINST GAME
WATCHING.
163
1537.14
LOOKING FG AT TEENAGER
PLAYING GUITAR STANDING
SIDE ANGLE RFG. SHE
SMILES.
164
1549.10
MS TEENAGER PLAYS GUITAR
WHILE GIRL STAND RBG
WATCHING, NODDING HER
HEAD TO MUSIC.
165
1556.06
TEENAGE IN WHITE T-SHIRT
JUMPS UP AND DOWN
PLAYING VIDEO GAME.
PAGE 40
166
1561.12
ECU CHARLOTTE LOOKING
LFG.
167
1565.06
MS REAR ANGLE KID JUMPING
UP AND DOWN PAN UP FROM
HIS LEGS TO TORSO.
168
1575.12
MCU TRACK BACK WITH
CHARLOTTE WALKING THRU
ARCADE LOOKING RFG, LBG.
169
1585.06
TEENAGER IN WHITE T-SHIRT
JUMPING UP AND DOWN
PLAYING GAME, OTHERS
PLAYING GAMES BG.
170
1597.13
EXT. TOKYO INTERSECTION.
DAY
LS HIGH ANGLE ON STREET AS
PEDESTRIANS CROSS MOVING
FG AND BG.
171
1603.05
ROOM. NIGHT
MCU REAR ANGLE CHARLOTTE
FG IN SILHOUETTE OUT OF
FOCUS WITH LIGHTS OF
SKYSCRAPERS BG, THEN
CHARLOTTE LOOKS L AS
JOHNS ARMS ENTER AND
WRAP AROUND HER NECK
EMBRACING HER.
JOHN (OS)Oh. Oh, oh, (LAUGHS).
PAGE 41
172
1611.13
MS REAR ANGLE JOHN AND
CHARLOTTE IN SILHOUETTE
AT WINDOW, CITY BG AS JOHN
WRAPS ARMS AROUND
CHARLOTTE. HE LETS GO,
STEPS L REMAINS FACING BG
AS SHE TURNS FRONT ANGLE
LEANING AGAINST SILL
LOOKING L AT HIM. THEY EXIT
LFG.
PAGE 42
2-149
CHARLOTTE (TO JOHN)How did it go?

(it: todays photo session)
1614.06
1615.11
1.05
2-150
JOHN (TO CHARLOTTE)It was good. Im tired.
1616.00
1619.08
3.08
2-151
JOHN (TO CHARLOTTE)I gotta go downstairs and meet

Kelly for some drinks.
1621.04
1624.13
3.09
2-152
JOHN (TO CHARLOTTE)She wants to talk about some

photo thing.
1625.02
1628.03
3.01
2-153
CHARLOTTE (TO JOHN)Maybe Ill go downstairs with

you.
1628.08
1630.08
2.00
2-154
JOHN (TO CHARLOTTE) You want to come?
1632.03
1636.00
3.13
1637.08
1641.00
3.08
JOHN (OS CONT)Oh.
CHARLOTTE (OS)Howd it go, hon?

JOHN (OS)Oh, it was good, yknow. Im tired.
CHARLOTTE (TO JOHN) Yeah, sure.

CHARLOTTEYeah.
JOHN (OS)Yeah, I, I, I gotta go downstairs
and meet Kelly for some drinks.
She wants to talk about some
photo thing, I dont really know.
CHARLOTTEMaybe Ill go downstairs with you.
JOHNOh, you want to come?

CHARLOTTEYeah, sure.
JOHNOkay. Yeah.
2-155
JOHN (TO CHARLOTTE)Okay. Yeah.
173
PAGE 43
1644.00
INT. HOTEL BAR/LOUNGE.
NIGHT
MLS JAZZ SINGER SINGING
RBG WITH PIANIST SIDE
ANGLE L BG PLAYING. WAITER
ENTERS L WITH TRAY OF
FOOD.
JAZZ SINGER(SINGING) You stepped out of a
dream.
174
1653.10
MCU KELLY LEANING FG
GESTURING.
2-156
KELLY (TO ALL AT TABLE)Everyone is always Kelly, you

are anorexic.
(is always: lazy way of saying
always telling me)
1653.12
1658.14
5.02
2-157
KELLY (TO ALL)And Im like No, Im not.
1659.03
1661.08
2.05
2-158
KELLY (TO ALL)I eat so much junk food you

wouldnt believe it.
(junk food: unhealthy packaged
snack food or cheap food)
1662.13
1665.14
3.01
2-159
KELLY (TO ALL)Its just because I have a high

metabolism.
1666.04
1668.04
2.00
2-160
JOHN (TO KELLY)I thought you were anorexic.
1668.12
1671.01
2.05
2-161
KELLY (TO JOHN)Everybody does. Everybody

thinks that.
1671.06
1674.00
2.10
2-162-/
JOHN (TO KELLY) Because you look so
1674.06
1678.12
4.06
KELLYEveryone is always Kelly, you are

anorexic.
175
1659.02
MS KELLY, JOHN AND
CHARLOTTE SEATED AROUND
TABLE WITH FOURTH PERSON,
KELLYS BOYFRIEND SEATED
REAR ANGLE IN FG, KELLY
SIDE ANGLE ON L, CHARLOTTE
R AND JOHN FRONT ANGLE
CENTER BG.
KELLY (CONT)And Im like No, Im not. I eat all
kinds, I eat so much junk food you
wouldnt believe it. Its just cause I
have a high metabolism.
JOHN (OVERLAPPING)Oh, that its, uh, cause I thought
you were anorexic, too. Yeah.
KELLY (OS OVERLAPPING)Everybody does. Everybody thinks
that.
JOHNCause you look so. yknow
KELLY (TO JOHN) Thank you. I know.
176
1676.11
MS OTS ON KELLY WITH JOHN
SIDE ANGLE ON R.
PAGE 44
2-163
KELLY (TO ALL)But I eat whatever. I have a

really high metabolism.
1679.12
1682.14
3.02
2-164
KELLY (TO ALL)But my dad is an anorexic.
1690.06
1694.01
3.11
2-165
CHARLOTTE. (TO KELLY)Really?
1696.00
1698.08
2.08
JOHNYeah, yeah.
KELLY (OVERLAPPING)Thank you. I know. But its, I eat
whatever. I have a really high
metabolism.
177
1683.05
MS KELLY, JOHN AND
CHARLOTTE AROUND TABLE
AND BOYFRIEND REAR ANGLE
IN FG.
JOHNYeah.
KELLYBut, um
178
1687.14
MS KELLY WITH JOHN SIDE
ANGLE ON R AND CHARLOTTE
IN PROFILE PARTIALLY IN
FRAME RFG.
KELLY (CONT)my dad is an anorexic.
179
1695.05
MCU OTS SIDE ANGLE ON
CHARLOTTE.
CHARLOTTEReally?
JOHN (OS)Oh, really?
180
1699.04
MS OTS ON KELLY WITH JOHN
SIDE ANGLE ON R.
2-166
KELLY (TO ALL)He fought on the American

side of the Bay of Pigs in
Cuba
(Bay of Pigs: a failed U.S.
invasion of Cuba defeated at
Cubas Bay of Pigs)
1701.08
1707.05
5.13
2-167
KELLY (TO ALL)and he was taken prisoner.
1708.04
1710.02
1.14
2-168-/
KELLY (TO ALL)and the whole time he was

there they tortured him about
food.
1710.07
1715.03
4.12
2-169-/
KELLY (TO ALL)Every day they told him they

put poison in the food
1715.09
1719.09
4.00
2-170-/
KELLY (TO ALL)so they would make

themselves throw up after
every meal.
1720.05
1725.02
4.13
2-171
JOHN (TO KELLY)Thats horrible.
1725.07
1726.14
1.07
KELLYYeah, he, um, fought on the

American side of the Bay of Pigs
in Cuba and he was taken
prisoner, and the whole time he
was there they tortured him about
food.
181
1714.12
MCU OTS ON CHARLOTTE. SHE
LOOKS FG.
PAGE 45
KELLY (OS CONT)Every day they told him they put
182
1718.03
MS BOB TURNED SIDE ANGLE
ON STOOL LOOKING BG
TALKING TO WAITER
STANDING FRONT ANGLE.
STARTS WALKING TO R.
KELLY (OS CONT)poison in the food, so they
would
183
1721.02
LOOKS LFG.
KELLY (OS CONT)always make themselves throw it
up after every meal.
184
1725.05
MS KELLY, JOHN AND
WITH FOURTH GUY REAR
ANGLE IN FG.
JOHNThats horrible. Thats terrible
BENZO (OS)Some crazy shit.
185
1733.00
MS OTS ONTO KELLY AND
JOHN.
KELLYDont you think he sounds kind of
goofy?
JOHN (OVERLAPPING)No.
BENZO (OS)Well, yknow that breaky,
186
1736.03
MS KELLY, JOHN AND
AS CHARLOTTE LOOKS FG.
BENZO (OS CONT)right?
187
1738.03
MS BOB LIFTS GLASS.
BENZO (OS CONT)Well, I been like takin it to the next
level and
188
1741.13
MLS OTS ON CHARLOTTE
LOOKING FG AT TABLE WITH
KELLY, JOHN, OTHER GUY.
BENZO (OS CONT)shit. Ill take that and put a delay
on it.
189
1746.05
CU SIDE ANGLE FOURTH GUY.
BENZO (CONT)(MAKES DRUM MACHINE
SOUNDS)
2-172
JOHN (TO KELLY)Do you think that sounds goofy?

(goofy: silly)
PAGE 46
1733.06
1735.06
2.00
190
1750.01
LOOKS FG.
2-173-/
BENZO (TO CHARLOTTE)So its like, involving the beat

sounds hella-large on the track.
(it: his music)
(hella: contemporary slang for
extra)
(track: the music song)
1750.06
1757.06
7.00
2-174
BENZO (TO CHARLOTTE)You know what Im saying?
1758.00
1759.05
1.05
2-175
CHARLOTTE (TO BENZO)No.
1760.12
1761.14
1.02
2-176
BENZO (TO CHARLOTTE)You dont listen to hip-hop.

(hip-hop: a style of music)
1762.14
1764.11
1.13
2-177
KELLY (TO ALL)Oh God, you guys gotta listen.

I tried this power cleanse.
(power cleanse: an intestinal
cleanser)
1766.00
1771.12
5.12
BENZO (OS CONT)So its like, involving the beat,

so
191
PAGE 47
1754.00
MS BOB TOPPLES L FEIGNING
BOREDOM.
BENZO (OS CONT)its like, sounds hella-large
192
1756.07
MCU OTS ON CHARLOTTE.
BENZO (OS CONT)on the track.
193
1757.15
CU SIDE ANGLE FOURTH GUY.
BENZO (CONT)Yknow what Im sayin?
194
1759.15
MCU HIGH ANGLE OTS ON
CHARLOTTE.
CHARLOTTENo.
BENZO (OS)No? You dont listen to hip-hop.
CHARLOTTEUh
195
1765.14
MCU OTS ON KELLY WHO
RAISES HER HANDS.
KELLYOh, my God, you guys gotta listen
I tried this power cleanse.
196
1771.13
PAGE 48
2-178
KELLY (TO ALL)Its so amazing. Promise me

youll try it.
1772.12
1776.00
3.04
2-179-/
KELLY (TO ALL)I did it last week and its

amazing.
1776.06
1780.01
3.11
2-180
CHARLOTTE (TO JOHN)John, Ill be right back.
1780.06
1781.10
1.04
2-181
(OPTIONAL)
KELLY (TO ALL)Its so good to get the toxins
out of your body.
1781.15
1785.12
3.13
CHARLOTTE (TO BOB) Hello.
1797.13
1800.13
3.00
1801.02
1802.10
1.08
KELLY (OS CONT)Its so amazing. Okay, promise me

youll try it.
197
1776.01
MCU KELLY LEANING FG WITH
JOHNS PROFILE LEANING
INTO FRAME FROM R.
KELLY (CONT)Will you try this power cleanse?
198
1778.07
MCU OTS ON CHARLOTTE AS
SHE RISES, EXITS FRAME R.
KELLY (OS CONT)I did it last week and its amazing.
And its so good to just get the
toxins out of your body, yknow.
CHARLOTTE (OVERLAPPING)John, Ill be right back.
199
1785.13
MLS OTS AS CHARLOTTE
STANDS, STARTS FG.
200
1791.00
MS ABOVE WAIST BOB.
201
1796.00
CHARLOTTE WHO ENTERS
FRAME RBG, STANDS FRONT
ANGLE.
2-182
CHARLOTTEHello.
2-183
BOB (OS)Hello.
CHARLOTTEDo you ever switch seats?
BOB (TO CHARLOTTE) Hello.

CHARLOTTE (TO BOB)Do you ever switch seats?
202
1802.11
MS ABOVE WAIST PAST
CHARLOTTES ARM ONTO BOB.
PAGE 49
2-184-/
BOB (TO CHARLOTTE)I like this one. If I fall, someone

will notice.
1806.10
1811.00
4.06
2-185
CHARLOTTE (TO BOB)Yeah. So are you having a nice

time?
1813.00
1818.00
5.00
2-186
BOB (TO CHARLOTTE)Can you keep a secret? Im

trying to organize a prison
break.
1819.06
1825.08
6.02
2-187
BOB (TO CHARLOTTE)Im looking for an accomplice.
1825.13
1828.15
3.02
2-188-/
BOB (TO CHARLOTTE)Wed have to first get out of

this bar, then the hotel
1830.11
1837.05
6.10
2-189-/
BOB (TO CHARLOTTE)then the city and then the

country. Are you in or you out?
(in or out: part of my plan or
not)
1837.11
1843.01
5.06
BOBUh, I like this one. If I fall,

someone will notice.
203
1810.08
CHARLOTTE. SHE SMILES
BROADLY, LAUGHS.
CHARLOTTE(LAUGHS) Yeah. So... you having
a nice time?
204
1818.08
MS ABOVE WAIST PAST ARM
ONTO BOB.
BOBCan you keep a secret?
205
1825.10
CHARLOTTE.
BOB (OS CONT)Im looking for, like, an
accomplice.
CHARLOTTE(LAUGHS)
206
1830.03
ONTO BOB.
BOBWed have to first get out of this
bar, then the hotel
207
1836.15
MCU OTS ON CHARLOTTE
SMILING.
BOB (OS CONT)then the city and then the country.
208
PAGE 50
1841.06
ONTO BOB.
BOB (CONT)Are you in or you out?
209
1843.06
MCU OTS UP AT CHARLOTTE.
SHE EXITS L.
2-190
CHARLOTTE (TO BOB) Im in. Ill go pack my stuff.
1844.06
1850.01
5.11
BOB (TO CHARLOTTE) Get your coat.
CHARLOTTEIm in. Ill go pack my stuff

2-191
CHARLOTTE (TO BOB)See ya.

(See you later)
1850.09
1851.14
1.05
2-192
BOB (TO CHARLOTTE)I hope youve had enough to

drink. Its gonna take courage
(It: Bobs prison break)
1853.03
1857.09
4.06
BOB (OS)Get your coat.
CHARLOTTE(LAUGHS) See ya.

BOB (OS)Perfect.
210
1853.03
MS ABOVE WAIST BOB AS
CHARLOTTE IN FG EXITS R,
BOB LOOKS R WATCHING HER.
BOB (OS CONT)I hope youve had enough to
BOB (CONT)drink. Its gonna take courage.
1865.00
REEL 2AB.
COMBINED CONTINUITY
& DIALOGUE
SC#:
FOOTAGE/
SHOT DESCRIPTION/
DIALOGUE:
PAGE 1

TITLE#:
TITLE:
START:
FINISH:
TOTAL:

1ST SCENE START:
2ND SCENE START:
3RD SCENE START:
4TH SCENE START:
LABORATORY:
12.00
ROOM. DAY
MS ABOVE WAIST HIGH REAR
ANGLE DOWN ON JOHN AS HE
PICKS UP SUITCASES FROM
FLOOR, STANDS, PAN R AS HE
CROSSES FRAME L TO R.
14.02
MS JOHN CARRIES LUGGAGE
TO BG AS CHARLOTTE SITS
SIDE ANGLE ON BED ON R.
JOHN BRINGS TWO BOTTLES
OF CHAMPAGNE FROM BG
AND PUTS THEM ON BED FOR
CHARLOTTE.
12.00
14.02
20.05
23.07
3-1
JOHN (TO CHARLOTTE)Oh the label got me these.

(label: the record company)
(these: bottles of champagne)
14.08
19.08
5.00
3-2
CHARLOTTE (TO JOHN)I love Cristal. You wanna

have some?
(Cristal: brand of champagne)
20.06
23.06
3.00
3-3
JOHN (TO CHARLOTTE)I have to go.
28.06
30.08
2.02
JOHN (OS)Oh, look, the label got me these.
20.05
CHARLOTTE. SHE TAKES ONE
OF THE BOTTLES, BEGINS TO
UNWRAP IT.
CHARLOTTEOh, I love Cristal. You wanna have
some?
23.07
MS ABOVE WAIST AS JOHN
STANDS FACES FG, PUTS ON
SPORTS JACKET.
JOHNWell, I, I, I gotta go. I mean...
32.09
CHARLOTTE SEATED ON BED
HOLDING CHAMPAGNE
BOTTLE.
34.09
MS ABOVE WAIST JOHN. HE
COMES RFG, AND PAN R AS HE
BENDS FG.
PAGE 2
3-4 -/
JOHN (TO CHARLOTTE)You dont have to stay.

(stay: in Tokyo)
35.06
38.14
3.08
3-5
CHARLOTTE (TO JOHN)You dont have to go, do you?
40.04
42.08
2.04
3-6
CHARLOTTE (TO JOHN)I know, youll be working. Ill

have a much better time here.
(better time: more fun)
46.12
52.00
5.04
3-7
CHARLOTTE (TO JOHN)Ill call Charlie and those

guys.
(those guys: Charlies friends)
52.05
54.07
2.02
3-8
JOHN (TO CHARLOTTE)Yeah, call those guys. Im

gonna be back on Sunday
54.12
60.06
5.10
3-9
JOHN (TO CHARLOTTE)I love you.
62.12
64.06
1.10
JOHNYknow, you,
36.05
CHARLOTTE AS JOHN LEANS
INTO FRAME FROM L, KNEELS
ON BED OPPOSITE HER. MS
ABOVE WAIST SIDE ANGLE 2
SHOT JOHN AND CHARLOTTE
FACING EACH OTHER. THEY
KISS.
JOHN (CONT)you dont have to stay.
CHARLOTTEYou dont have to go, do you?

JOHNOh, (LAUGHS) Well, I, I
CHARLOTTEI know, I know youre gonna be
working the whole time. Ill have a
much better time here. Yknow, Ill
call Charlie and those guys.
JOHN (OVERLAPPING)Yeah, call those guys, yknow,

and, and, and Im, Im gonna be
back on Sunday and I, uh... I love
you, yknow.
65.00
MCU OTS ON CHARLOTTE AS
SHE AND JOHN REAR ANGLE
LFG KISS. HE EXITS LFG.
CHARLOTTEIll see ya, okay?
JOHN (OS)Yes. Its gonna be a couple of
days
CHARLOTTEBye.
86.04
MS JOHN IN DOORWAY WITH
SUITCASES. HE EXITS LEAVING
ROOM R. DOOR CLOSES.
JOHNI love you.
10
91.00
MCU CHARLOTTE.
11
94.11
CHARLOTTE ON BED LOOKING
R TOWARD WINDOWS.
12
98.00
ROOM. DAY
ELS HIGH OUT WINDOW ON
TOKYO AND PAN L, PICK UP
CHARLOTTE REAR ANGLE
SEATED ON SILL, THEN CIRCLE
L AROUND HER TO MCU HIGH
ANGLE AS SHE STARES L OUT
WINDOW, THEN PAN L OFF
HER ACROSS MORE CITY AND
BUILDINGS.
13
153.01
ON CHARLOTTE SITTING ON
WINDOW SILL, KNEES UP TO
HER CHEST, AND TRACK R
PAST HER, CIRCLE R AROUND
HER PUTTING HER REAR
ANGLE LOOKING AT CITY BG.
PAGE 3
3-10
CHARLOTTE (TO JOHN)Ill see ya, okay?
79.08
81.05
1.13
3-11
CHARLOTTE (TO JOHN) Bye.
85.00
87.10
2.10
JOHN (TO CHARLOTTE) I love you.
14
174.04
INT. HOTEL POOL. NIGHT
LS BOB DIVES FG INTO POOL,
SWIMS FG.
15
182.07
INT. CORRIDOR OUTSIDE
HOTEL POOL. NIGHT
IN HOTEL ROBE WALKING FG,
PAN L AS SHE CROSSES
FRAME R TO L AND TURNS L
GOING BG AND REVEAL BOB IN
HOTEL BATHROBE COMING
FG. THEY ALMOST COLLIDE,
STOP AND MS ABOVE WAIST
OTS ON BOB.
PAGE 4
3-12
BOB (TO CHARLOTTE)Hello. How are you?
187.02
190.00
2.14
3-13
CHARLOTTE (TO BOB)Good. How are you?
190.05
191.15
1.10
3-14
BOB (TO CHARLOTTE) Cool pool, isnt it?

(Cool: fun, interesting)
200.05
204.05
4.00
CHARLOTTE (LAUGHS)
BOBHello.
CHARLOTTE (OS)Hello.
BOBHow are you?
CHARLOTTE (OS
OVERLAPPING)Good. How are you?
16
192.00
MCU PAST ARM ONTO
CHARLOTTE.
17
194.00
BOB.
18
197.08
MCU PAST ARM ONTO
CHARLOTTE. SHE SHRUGS.
19
200.04
MS ABOVE WAIST BOB WITH
CHARLOTTE SIDE ANGLE RFG.
BOBCool pool, isnt it?
CHARLOTTEYeah, its nice.
CHARLOTTE (TO BOB) Yeah, its nice.
20
205.06
MCU PAST ARM ONTO
CHARLOTTE. SHE TOUCHES
BACK OF HER NECK.
PAGE 5
3-15
CHARLOTTE (TO BOB)Get any sleep?
207.12
209.05
1.09
3-16
BOB (TO CHARLOTTE)Not yet. How about you?
210.04
213.02
2.14
3-17
CHARLOTTE (TO BOB)No. Not yet.
214.05
217.01
2.12
3-18
CHARLOTTE (TO BOB)How long are you staying?
218.13
220.15
2.02
3-19
BOB (TO CHARLOTTE)Ill be in the bar for the rest of

the week.
221.12
224.10
2.14
3-20
CHARLOTTE (TO BOB)Thats good.
228.08
230.14
2.06
3-21
CHARLOTTE (TO BOB)Im going out with some

friends later if you want to
come.
(going out: to a party or club
for the evening)
233.00
236.12
3.12
CHARLOTTE (CONT)Get any sleep?
21
210.01
BOBNot yet. How about you?
CHARLOTTENo. Not yet.
22
217.02
MCU PAST ARM ONTO
CHARLOTTE.
CHARLOTTE (CONT)(CHUCKLES) How long are you
staying for?
23
221.00
MS ABOVE WAIST BOB,
BOBIll be in the bar for the rest of the
week.
CHARLOTTE (LAUGHS)
24
227.06
MCU PAST ARM ONTO
CHARLOTTE.
CHARLOTTEWell, thats good. Um, Im going
out with some friends later if you
want to come.
25
237.12
BOB. CHARLOTTE RFG WALKS
BG DOWN CORRIDOR AS BOB
WALKS FG, EXITS RFG.
PAGE 6
3-22
CHARLOTTE (TO BOB)Okay. Ill see you later.
240.15
244.05
3.06
3-23
BOB (TO HIMSELF)Bob, which one do you want

for your study?
(which one: of the carpet
samples)
268.00
270.12
2.12
3-24
BOB (TO HIMSELF)I like the burgundy, but

whatever you want.
271.11
275.03
3.08
BOBSure.
CHARLOTTEOkay. Ill see you later.
BOBOkay.
CHARLOTTE (OS)See ya.
26
251.09
NIGHT
MS BOB IN ROBE EMPTIES
CONTENTS OF FED-EX BOX.
AND CARPET SAMPLES FALL
OUT.
27
261.02
MCU HIGH ANGLE DOWN ON
CARPET SAMPLES FALLING
ONTO FLOOR.
28
262.09
MS BOB PUTS BOX DOWN,
READS NOTE.
29
268.00
ECU NOTE IN BOBS HAND. IT
READS:
BOB. WHICH ONE DO YOU
WANT FOR YOUR STUDY? I
LIKE THE BURGUNDY, BUT
WHATEVER YOU WANT. LOVE
L.
BOB (OS)Bob, which one do you want for
your study? I like the burgundy,
but whatever you want.
BOBS HAND LOWERS NOTE
BELOW FRAME.
30
275.04
MS BOB LOOKING DOWN, PAN
DOWN AS SHE SQUATS,
LOOKS THRU CARPET
SAMPLES ON FLOOR, FLIPS
THEM OVER. HE PUTS CHIN ON
HAND THINKING.
PAGE 7
3-25
BOB (TO HIMSELF)Which ones burgundy?
294.04
295.14
1.10
3-26
CHARLOTTE (TO BOB)Hold on.

(Wait)
299.10
302.14
3.04
3-27
CHARLOTTE (TO BOB)You really are having a midlife crisis.
311.04
314.10
3.06
3-28
BOB (TO CHARLOTTE)Really? I was afraid of that. I

kept telling myself
(afraid of that: that his shirt
would look to outlandish)
315.06
322.01
6.11
BOBWhich ones burgundy?

31
296.03
ROOM. NIGHT
MS CHARLOTTES REFLECTION
REAR ANGLE IN BATHROOM
MIRROR BG.
CHARLOTTE (OS)Hold on. Hold on.
SHE ENTERS ROOM COMING
OUT OF BATHROOM FROM L,
GOES BG TO DOOR. PAN R
WITH HER. CHARLOTTE OPENS
DOOR AND REVEAL BOB IN
WILDLY COLORFUL SHIRT. HE
WALKS FG.
32
307.07
MCU CHARLOTTE SMILING
LOOKING R, THEN FG.
CHARLOTTE(LAUGHS) You really are having a
mid-life crisis, huh?
33
314.12
CHARLOTTE REAR SIDE ANGLE
L. BOB LOOKS AT HIS SHIRT.
PAN L AS BOB CROSSES
FRAME FG R TO L PASSING
CHARLOTTE AND GOES BG
INTO BATHROOM, EXITS L
BOBReally?
CHARLOTTEMmm.
BOB (OVERLAPPING)I was afraid of that. I kept telling

BOB (OS CONT)myself that, yknow,
34
322.06
MS CHARLOTTE FRONT ANGLE
FRAME R AS BOBS
REFLECTION APPEARS IN
BATHROOM LBG. BOB
REMOVES HIS SHIRT,
REVERSES IT, PUTS IT BACK
ON.
3-29
BOB (TO CHARLOTTE)that I just wanted to be ready

in case we go to war tonight.
322.06
326.06
4.00
3-30
BOB (TO CHARLOTTE)My bathroom is messier than

yours.
331.14
334.12
2.14
3-31
BOB (TO CHARLOTTE)And its not like youre not

trying. Will you cut the tag off
for me?
(tag: store tag off his new
shirt)
343.04
348.11
5.07
3-32
CHARLOTTE (TO BOB)Youre too tall.
354.01
355.12
1.11
3-33
BOB (TO CHARLOTTE)Anybody ever tell you you

may be too small?
360.14
363.14
3.00
3-34-/
BOB (TO CHARLOTTE)Whose is this? A Souls

Search: Finding Your True
Calling.
(this: Charlottes audio book)
365.06
371.01
5.11
BOB (OS CONT)I just wanted to be ready in case

we go to war tonight. My bathroom
is messier than yours. (PAUSE)
And its not like youre not trying.
Here, will you cut the tag off for
me.
PAGE 8
RE-ENTERS ROOM FROM L.

CHARLOTTESure.
BOB STANDS FRONT ANGLE
AS CHARLOTTE STANDING
BEHIND HIM CUTS TAG.
CHARLOTTE (CONT)Youre too tall.
BOB STEPS FG, SITS.
CHARLOTTE REMOVES TAG.
BOBUh, anybody ever tell you you may
be too small?
CHARLOTTE (LAUGHS)
35
365.01
CU BOB LOOKING L WITH
CHARLOTTES HANDS BEHIND
HIM REMOVING TAG. BOB
LOOKS DOWN FG.
BOBWhose is this? A Souls Search:
Finding
36
369.10
CU CHARLOTTE LOOKING
DOWN.
PAGE 9
3-35
CHARLOTTE (TO BOB)I dont know.
371.08
372.15
1.07
3-36
BOB (TO CHARLOTTE)I have that.

(that: Charlottes audio book)
375.04
376.11
1.07
3-37
CHARLOTTE (TO BOB)Did it work out for you?

(work out: prove successful)
377.00
379.05
2.05
3-38
BOB (TO CHARLOTTE)Obviously.
382.06
384.00
1.10
3-39
CHARLOTTE (TO BOB)Okay.
386.13
387.15
1.02
3-40
BOB (TO CHARLOTTE) Where are your shoes?
393.08
396.13
3.05
BOB (OS CONT)Your True Calling.

CHARLOTTEI dont know.
37
373.02
CU BOB.
BOBI have that.
CHARLOTTE(LAUGHS) Did it work out for you,
then?
38
380.08
DOWN LAUGHING.
CHARLOTTE (LAUGHS)
39
382.02
CU BOB WITH CHARLOTTE BG
REMOVING TAG.
BOBObviously
40
386.12
DOWN, LOOKS L, THEN UP TO
FG AS BOB STANDS OUT OF
FRAME LFG, CROSSES FRAME
L TO R AND CHARLOTTE
TURNS BG.
CHARLOTTEOkay.
BOB (OS)Okay. Wheres your shoes?
CHARLOTTE (OS)Theyre over here.
CHARLOTTE (TO BOB) Theyre over here.
41
396.14
BOB TURNS SIDE ANGLE R
PUTTING ON JACKET.
PAGE 10
3-41
BOB (TO CHARLOTTE)Wheres your room key?
397.03
398.10
1.07
3-42
CHARLOTTE (TO BOB)Its in my bag.
399.02
400.08
1.06
3-43-/
BOB (TO CHARLOTTE) And wheres your bag?
401.12
404.12
3.00
406.00
409.14
3.14
BOBWheres your room key?
42
398.13
TURNS LOOKS L.
CHARLOTTE (OS)Its in m y bag.
43
400.09
MS ABOVE WAIST BOB
PUTTING ON JACKET.
CHARLOTTE (TO BOB) Its right here.

(around her waist)
BOBAnd wheres your bag?
44
403.00
TURNS FACING L
CHARLOTTEIts right here.
45
405.01
MS BOB AND CHARLOTTE AS
BOB HOLDS OPEN DOOR,
BACKS OUT AND EXITS R
DOWN HALL AND CHARLOTTE
FOLLOWS.
BOBLets go.
CHARLOTTE (OS)Wait.
BOBTheres the elevator. I gotta go.
CHARLOTTE (OS
OVERLAPPING)Hey!
3-44
BOB (TO CHARLOTTE)Lets go. Theres the elevator.

I gotta go.
(There: down the corridor)
46
411.08
INT. NIGHTCLUB. NIGHT
MLS HIGH ANGLE PAST LARGE
REFLECTING BALL HANGING
FG ONTO PEOPLE MINGLING
FG AND BG.
47
416.06
MCU SIDE ANGLE PAN R WITH
CHARLIE MOVING THRU
CROWD TO R AND EMBRACES
CHARLOTTE WHO ENTERS
FROM R.
PAGE 11
CHARLIEHi, how are you?

CHARLOTTE (OS
OVERLAPPING)Hi.
48
419.06
MS ABOVE WAIST PAST BOB
REAR ANGLE IN RFG ONTO
CHARLIE AND CHARLOTTE
HUGGING.
49
420.14
MS ABOVE WAIST CHARLIE
AND CHARLOTTE HUGGING
SIDE ANGLE IN FG, BOB
STANDING RBG LOOKING UP L.
CHARLOTTE AND CHARLIE
SEPARATE AND CHARLOTTE
TURNS BG INTRODUCING BOB.
CHARLIEOoh.
CHARLOTTE (OS)Um, Bob, this is Charlie Brown.
3-45-/
CHARLOTTE (TO BOB)Bob, this is Charlie Brown.
424.00
427.05
3.05
50
427.00
MS ABOVE WAIST BETWEEN
CHARLOTTE PROFILE LFG AND
BOB REAR ANGLE RFG ONTO
CHARLIE BG AS HE AND BOB
SHAKE HANDS. CHARLIE
SIDESTEPS L.
PAGE 12
3-46
BOB (TO CHARLIE)Hi. Nice to meet you.
428.00
430.02
2.02
3-47-/
CHARLIE (TO BOB) This is Bambi.
432.02
435.00
2.14
CHARLIENice to meet you.

BOB (OS OVERLAPPING)Hi. Nice to meet you. How are
you?
CHARLIE (OVERLAPPING)Nice to meet you.
51
431.15
LOOKING L.
BOB (TO BAMBI) How are you, Bambi?
CHARLIE (OS CONT)This is Bambi.
52
433.04
MS ABOVE WAIST BETWEEN
CHARLOTTE AND BOB REAR
ANGLE IN FG ONTO CHARLIE
AND LBG AND BAMBI RBG
SHAKING BOBS HAND.
BOB (OS)How are you, Bambi.
53
434.09
MCU OTS ON CHARLIE.
CHARLOTTEHis real names Hayashi but why
do we call you Charlie Brown for?
CHARLIE (OVERLAPPING)Yeah, yeah, yeah Yknow,
everybody said
3-48
CHARLOTTE (TO BOB)Why do we call you Charlie

Brown?
436.08
439.00
2.08
3-49-/
CHARLIE (TO CHARLOTTE)Everybody say I look like

Charlie Brown.
(as in the comic character
Charlie Brown)
439.05
444.02
4.13
54
PAGE 13
439.12
MCU CHARLOTTE AND
CHARLIE.
CHARLIE (CONT)Charlie Brown looks like, uh,
Charlie Brown, Snoopy, man.
55
445.03
MS ABOVE WAIST OTS
BETWEEN CHARLIE AND
CHARLOTTE ONTO BOB.
CHARLOTTE MOVES L.
BOBAlright.
CHARLOTTE (OS)Alright, Ill be right back.
56
446.11
COMES FG AS BAMBI
CROSSES FRAME FG TO L.
CHARLIE (OS)Yeah, yeah, yeah, yeah.
57
448.12
BOB RFG AS CHARLIE L
ESCORTS BOB BG.
3-50
CHARLIE (TO BOB)These are my friends. Very

beautiful.
451.01
455.01
4.00
3-51
CHARLIE (TO BOB)Shes B, and shes Rico and

shes Myumi.
455.09
461.02
5.09
CHARLIE (OS CONT)Bob, over here these are my

friends Very beautiful.
58
455.07
MS ABOVE WAIST YOUNG
WOMAN IN WHITE T-SHIRT AS
CHARLIE ARM EXTENDS INTO
FRAME FROM L, PAN A LITTLE
L TO INCLUDE ANOTHER
PRETTY YOUNG JAPANESE
WOMAN.
CHARLIE (OS CONT)Shes, uh, B, and shes, uh, Rico,
and shes, uh, Myumi.
59
461.07
ECU SIDE ANGLE BOB
NODDING FACING LBG.
PAGE 14
3-52-/
BOB (TO MYUMI)Myumi, how are you? Im Bob.
461.08
463.12
2.04
3-53
CHARLIE (TO GIRLS)Bob from United States, man.
464.14
468.08
3.10
3-54
BOB (TO GIRLS)Maybe youd like to sing back

up for me?
(back up: when a small group
of singers provides
background for a main singer)
473.00
475.02
2.02
3-55-/
CHARLIE (TO BOB) This is my surfing teacher.

(This is: man to whom Charlie
is introducing Bob)
475.07
479.12
4.05
481.01
483.02
2.01
BOBMyumi, how are you. Im Bob.

60
463.09
MS AB OVE WAIST TWO YOUNG
WOMEN, B AND RICO AS ARM
GESTURES INTO FRAME FROM
L.
TWO WOMENHi, Bob.
CHARLIE (OVERLAPPING)Bob, from United States, man.
GIRL ON LEFTOh.
61
472.09
MCU YOUNG GUY SURFER
TEACHER LOOKING UP TO FG
WITH TWO GIRLS BG.
BOB (OS)Maybe youd like to sing backup
for me?
CHARLIE (OS)This is my surfing teacher.
62
477.13
CU SIDE ANGLE BOB RFG WITH
SURFER GUY BG BOTTOM OF
FRAME.
BOBHes your surfing teacher?
CHARLIE (OS)Sometime, sometime.
BOBAlright. Youre a surfer?
BOB (TO CHARLIE) Hes your surfing teacher?

3-56
BOB (TO SURFER)Youre a surfer?
63
483.03
MS LOW ANGLE UP AT BIG
BLUE HANGING BALL.
64
486.11
IN SILHOUETTE.
65
489.06
CU SIDE ANGLE GUY WITH
CIGARETTE HELD BETWEEN
TEETH.
66
491.15
MS MS ABOVE WAIST
CHARLIE SIDE ANGLE RFG,
GIRLS BG, OTHER GUY REAR
ANGLE LFG.
67
495.06
MCU SIDE ANGLE BOB IN
PARTY, PAN L.
68
498.00
MS PAN L ACROSS CLUB
GOERS IN SILHOUETTE,
HANGING BALLS.
69
501.02
MS REAR ANGLE SEVERAL
GUYS AT CLUB AROUND
TABLE.
70
505.08
MS CHARLOTTE REAR ANGLE
LFG TALKS WITH GUY WITH
BLACK HAIR FRONT ANGLE IN
BG. THEN LEAN INTO EACH
OTHER, GIVE KISS ON CHEEK.
71
511.02
MCU BARTENDER AND PAN
DOWN TO HAND PALM UP AS
HE PUTS PILLS IN IT. HAND
PULLS OUT OF FRAME R.
72
517.05
MS ABOVE WAIST BARTENDER
AND PAN R TO MCU SIDE
ANGLE BOB.
PAGE 15
73
520.13
WITH ANOTHER GUY SIDE
ANGLE LFG.
74
522.13
MS PEOPLE UPPER BG IN
SILHOUETTE DANCING.
75
526.04
BOB WITH SHADOWS
CRISSCROSSING FACE, TURNS
FG LOOKING AROUND ROOM.
76
528.13
MS PEOPLE SITTING ON
FLOOR UNDER HANGING
BALLS AND PAN UP.
77
533.12
INT. CLUB. NIGHT
BOB AND BIG GUY FACING
EACH OTHER LEANING
AGAINST WALL TALKING.
BIG GUY(SPEAKS FRENCH)
BOBOh, oui, oui, the Emperors house.
Cool.
78
541.01
INT. CLUB. NIGHT
MS FRONT ANGLE BOB R AND
BIG GUY L SITTING IN BOOTH
TALKING.
BOBYeah.
BOBOui.
3-57
BOB (TO BIG GUY)Oui, oui the Emperors

house? Cool.
(the Emperor: Japanese
Emperor)
PAGE 16
537.07
541.00
3.09
79
PAGE 17
553.10
INT. CLUB. NIGHT
MLS BOB AT TABLE L AND
PEOPLE IN BOOTHS R AS
CHARLOTTE WALKS UP FROM
BG.
BOB (CONT)Oui. Right.
80
558.13
MS ABOVE WAIST AS
CHARLOTTE WALKS BG TO FG
TO BOB HALF IN FROM FRONT
ANGLE ON L. PAN L AS BOB
TURNS LOOKS R AT
CHARLOTTE.
3-58-/
BOB (TO CHARLOTTE) Hey. How you doing?
564.05
567.08
3.03
567.13
571.05
3.08
CHARLOTTE (TO BOB) Good. How are you?
BOB (OS CONT)You dont have anything,

BOB (CONT)do you have anything be
CHARLOTTEHey.
BOBHey.
81
565.04
MLS AS CHARLOTTE SITS IN
BOOTH LOWER R SIDE ANGLE
OPPOSITE BOB AT TABLE L.
BOB (CONT)How you doing?
CHARLOTTEGood. How are you?
82
567.08
MS ABOVE WAIST BOB.
BOBMy Japanese is getting better. We
started speaking English.
3-59
BOB (TO CHARLOTTE)My Japanese is getting better.

We started speaking English.
83
571.15
MS CHARLOTTE AND PAN
DOWN R TO INCLUDE GUY IN
BERET IN BOOTH BESIDE HER.
84
577.08
MS PAST BOB AT GIRL AT
TABLE L AND CHARLOTTE
WITH GUYS IN BOOTH R AS
THEY ALL TURN LOOK BG.
85
582.11
MLS OVER HEADS AT CHARLIE
REAR ANGLE BG AT BAR.
86
585.04
CHARLIE THROWS SOMETHING
BG AT BARTENDER.
87
588.00
MCU TWO GUYS LAUGHING
THEN PAN UP OFF THEM PICK
UP MLS REAR ANGLE CHARLIE
THROWING THINGS AT
BARTENDER BG.
88
590.14
MS ABOVE WAIST BOB TURNS
LOOKS BG.
89
592.00
MLS AS CHARLIE RUNS FG
FROM BAR WHILE BARTENDER
FIRES BB GUN UPPER RFG.
CHARLIE (OS)Whoa, guys
90
594.08
LFG AND BOB START RUNNING
LFG.
CHARLIE (OS CONT)get out,
PAGE 18
91
596.01
MS AS CHARLOTTE, THEN BOB
THEN CHARLIE BEHIND THEM
RUN FG UP AISLE.
CHARLIE (OS CONT)get out.
92
596.14
MS JUMPS DOWN FROM
BARTOP TO FG SHOOTS BB
GUN UPPER RFG.
93
599.12
THEN BOB CROSS FRAME FG
EXIT RFG.
94
601.13
EXT. TOKYO STREET. NIGHT
MS BOB R AND CHARLOTTE L
RUN FG WITH CHARLIE AND
BAMBI BG FOLLOWING. TRACK
BACK. BOB LOOKS BG.
CHARLOTTEWow.
95
604.14
MLS BARTENDER RUNNING FG
WITH BB GUN.
96
606.03
BOB TURNS FACING FG AS HE
RUNS BACKWARD TO BG.
97
608.15
MLS BARTENDER RUNNING FG
WITH BB GUN.
98
610.06
MS REAR ANGLE CHARLIE,
BAMBI IN SILHOUETTE FG AND
BOB BG RUNNING BG.
BOB (OS)Who are these guys, anyway?
PAGE 19
99
612.08
MS CHARLIE , CHARLOTTE AND
BOB, AND BAMBI RUNNING FG
LAUGHING, LOOK BG AS THEY
RUN. CHARLIE STOPS, TURNS
BG RAISING ARMS.
100
617.03
MLS BARTENDER WITH BB
GUN.
101
619.03
MS ABOVE WAIST BOB PAN R
TO CHARLOTTE.
102
621.04
MS CHARLIE AND BAMBI, PAN
R AS BAMBI THROWS
SOMETHING RFG.
103
625.10
MS-LS PAST CHARLIE AND
BAMBI REAR ANGLE IN FG
ONTO BARTENDER BG AS
BARTENDER SHOOTS BB GUN
AND CHARLIE, BAMBI TURN
AND RUN FG.
BOB (OS)Oh, no.
104
630.04
MS BOB LFG AND CHARLOTTE
TURN BG AND START RUNNING
BG.
BOB (OS CONT)Oh.
105
632.11
MS AS CHARLOTTE L AND BOB
R RUN FG, EXIT RFG
REVEALING CHARLIE AND
BAMBI BG FACING BG AS
BARTENDER COMES FG.
PAGE 20
106
635.15
INT. VIDEO/GAMBLING
ARCADE. NIGHT
MS REAR ANGLE TRACK BG
FOLLOWING BOB AND
CHARLOTTE RUNNING BG
THRU ARCADE, SLOT
MACHINES.
107
644.01
MS AS CHARLOTTE AND BOB
RUN FG THRU ARCADE AND
PEOPLE SEATED AT SLOT
MACHINES, TRACK R AS THEY
RUN R MOVING FROM AISLE
TO AISLE.
108
649.01
MLS TRACK R PAST MACHINE
PICK UP BOB AND CHARLOTTE
DOWN ROW OF SLOTS AND
THEY RUN FG, THEN EXIT R.
109
653.14
EXT. STREET. NIGHT
LS BOB AND CHARLOTTE BG
RUN FG AS CARS CROSS
FRAME FG, THEN PAN R AS
THEY WALK BRISKLY R.
110
661.14
MS SIDE ANGLE PAN L AS BOB
STEPS L KNOCKS ON TAXI
DOOR, REVEAL CHARLOTTE
STANDING R. TAXI EXITS
FRAME LFG AND BOB STANDS
SIDE ANGLE LOOKS BG.
PAGE 21
3-60
BOB (TO TAXI)Oh, come on.
668.00
669.05
1.05
3-61
CHARLIE (TO CHARLOTTE,

BOB)Hey, guys! Over here. Hurry
up.
670.04
675.04
5.00
BOBHi. Oh, come on.

111
669.10
MS-LS CHARLIE REAR ANGLE
IN SILHOUETTE IN FG WAVES
AND BOB, CHARLOTTE
APPEAR LBG AND RUN FG
ACROSS STREET.
CHARLIE (OS)Hey, guys! Over here. Hurry up.
Hurry up.
CHARLOTTE (OS
OVERLAPPING)Wait!
SAME SHOT CONT.
3-62
BOB (TO CHARLOTTE)Its our tour guide.

(It: referring to Charlie)
676.05
677.12
1.07
3-63-/
CHARLIE (TO CHARLOTTE,

OTHER GIRL)Gorgeous. Blond and black.
694.14
699.14
5.00
BOB (OS OVERLAPPING)Our tour guide.
112
PAGE 22
677.15
LS SIDE ANGLE PAN L AS
CHARLOTTE AND BOB RUN
ACROSS STREET R TO L,
CLIMB INTO TAXI.
CHARLIE (OS CONT)Hurry up!
113
114
.
688.03
EXT. TOKYO STREET. NIGHT
LS CARS MOVE TAXI MOVES
TO BG.
693.07
INT. CHARLIES HOUSE. NIGHT
FACING R TURNS FG AND
THEN BG AND PAN L AND
MOMENTARILY PICK UP
CHARLOTTE LOWER L BG.
CHARLIE SIDE ANGLE RFG
TAKES PICTURE.
CHARLOTTE (OS)Yeah?
CHARLIE (OS)Gorgeous, gorgeous.
CHARLOTTE (OVERLAPPING)Gorgeous.
CHARLIEAh, blond and
115
698.15
CHARLOTTE SITTING ON
FLOOR REAR ANGLE LOOKING
FG OVER SHOULDER IN SEXY
POSE, OTHER GIRL SITTING
AGAINST SOFA L.
CHARLIE (OS CONT)black, right. (LAUGHS)
116
PAGE 23
703.09
MS OTS HIGH ANGLE DOWN
ON CHARLOTTE AND OTHER
GIRL POSING.
CHARLOTTE (LAUGHS)
117
707.13
MS HIGH SIDE ANGLE
CHARLOTTE FG AND OTHER
GIRL BG FACING L.
CHARLOTTE LOOKS UP TO FG.
3-64-/
BOB (TO CHARLOTTE)Cheese. Cheese-oh.

(Cheese: What one says
when theyre having their
picture taken)
(Cheese-oh: Bob is making it
humorous, as if it were
Japanese)
708.00
710.10
2.10
3-65
TATTOO GUY (TO

CHARLOTTE)Hi. Nice to meet you.
719.03
722.12
3.09
BOB (OS)Cheese.
118
709.06
MS PAST GIRL AND
CHARLOTTE SIDE ANGLE
SITTING ON COUCH LFG
LOOKING BG UP AT BOB
STANDING TAKING THEIR
PICTURE.
BOB (OS CONT)Cheese-oh.
CHARLOTTECheese.
119
712.05
CU GUY WITH FUZZY HAIR AND
MUSTACHE.
120
714.11
MS ABOVE WAIST GIRL WITH
BLACK HAIR, GUY IN CAP R
SITTING ON SOFA AS GUY
WITH TATTOOS ON ARM SITS
ON BACK OF SOFA SIDE
ANGLE, TOUCHES FISTS WITH
GUY IN CAP, LOOKS FG,
EXTENDS HAND SHAKING
HANDS.
TATTOO GUYHi, Im (INDISTINCT) Nice to meet
you.
CHARLOTTE (OS)Im
121
723.01
ONTO CHARLOTTE SHAKING
HANDS.
PAGE 24
3-66
CHARLOTTE (TO TATTOO

GUY)Im Charlotte. Nice to meet
you.
723.02
725.04
2.02
3-67
GUY WITH SHOT GLASS

(TO BOB)Last weekend, I went surfing.
734.15
738.15
4.00
3-68-/
GUY WITH SHOT GLASS

(TO BOB)African people are some of
my friends.
740.03
744.05
4.02
CHARLOTTE (CONT)Charlotte. Nice to meet you.
122
725.06
MS LOW ANGLE OTS UP AT
GUY WITH TATTOO ARMS.
TATTOO GUYHi.
123
730.05
MS PAST CHARLIE REAR
ANGLE RFG SITTING OPPOSITE
ANOTHER GUY.
124
732.13
ECU SIDE ANGLE CHARLOTTE
IN SILHOUETTE.
125
734.13
MS ABOVE WAIST BOB R
SITTING NEXT GUY WITH SHOT
GLASS L.
GUY WITH SHOT GLASSLast weekend, like, I went surfing.
BOBRight.
126
739.15
CU SIDE ANGLE GUY WITH CAP
LAUGHING.
GUY WITH SHOT GL ASS (OS)African people, yknow
127
743.05
GUY HOLDING CIGARETTE
FACING DOWN L LAUGHING.
PAGE 25
3-69-/
GUY WITH SHOT GLASS

(TO BOB)And we camp on the beach.
745.08
750.14
5.06
3-70
GUY WITH SHOT GLASS

(TO BOB)We made a kind of street
performance.
753.12
758.00
4.04
3-71
BOB (TO GUY WITH SHOT

GLASS)Wait a minute what kind of
weed is it?
(weed: marijuana)
758.05
761.02
2.13
3-72-/
GUY WITH SHOT GLASS

(TO BOB)I dont know.
762.00
763.07
1.07
GUY WITH SHOT GLASS (OS

CONT)they are some of my friends. And,
like
128
747.10
MS ABOVE WAIST BOB R AND
GUY WITH SHOT GLASS L
LOOKING AT EACH OTHER
TALKING.
GUY WITH SHOT GLASS
(CONT)we camp over there, like, on the
beach
129
751.11
GUY WITH NECKLACE LIGHTS
CIGARETTE.
CONT)We made a kind of like street
performance.
130
758.02
MS ABOVE WAIST GUY WITH
DARK SUNGLASSES AND GIRL
WHO HOLDS BOTTLE.
BOB (OS)Wait a minute, what kind of weed
is it?
GUY WITH SHOT GLASSI
131
762.06
CHARLIE DANCING, OTHERS
AROUND HIM.
CONT)dont know.
132
766.01
MCU CHARLOTTE DANCING.
133
769.06
ECU SIDE ANGLE GIRL WITH
BLACK HAIR DANCING.
134
772.09
MS CHARLIE , CHARLOTTE,
SEVERAL OTHERS IN GROUP
DANCING.
135
776.00
MS PAST TATTOO ARM GUY
RFG, OTHER GUY DANCING
ONTO BOB BG PICKING UP
GLASS.
136
780.07
CU SIDE ANGLE CHARLOTTE
DANCING, LAUGHING.
137
783.12
MS BOB, CHARLIE OTHERS
DANCING.
138
788.05
MCU OTS ON BLACK HAIRED
GIRL DANCING. BOB REAR
ANGLE RFG JOKINGLY PULLS
HER SWEATER OFF HER
SHOULDER.
139
794.03
MS ABOVE WAIST TATTOO
GUY AND OTHER GUY
EMBRACING, HALF
WRESTLING, D ANCING.
140
801.08
MCU LOW ANGLE UP AT BOB
HAVING FUN DANCING.
141
805.12
INT. KARAOKE CLUB. NIGHT
ECU CHARLIE BENT FG
SINGING INTO MICROPHONE.
CHARLIE(SINGING) (INDISTINCT)
PAGE 26
142
808.02
MS ABOVE WAIST GIRL WITH
MULTI COLORED HAIR. PAN
DOWN RIGHT TO GUY FROM
PARTY.
143
810.03
LS FROM OUTSIDE BUILDING
ON KARAOKE ROOM WHERE
BOB, CHARLOTTE, CHARLIE
ARE PARTYING SINGING.
ZOOM INTO WINDOW.
PAGE 27
CHARLIE (OS)(SINGING) I watch it right here.
144
814.12
MCU LOW ANGLE CHARLIE
SINGS INTO MICROPHONE
LEANING FG.
CHARLIE (CONT)(SINGING) Made you a moron.
145
819.03
CU TV WITH KARAOKE SCREEN
AND LYRICS.
CHARLIE (OS CONT)(SINGING) a potential H bomb.
146
824.11
MULTI-COLOR HAIR GIRL
SPINNING.
CHARLIE (OS CONT)(SINGING INDISTINCT)
147
827.01
MCU LOW ANGLE CHARLIE
SINGING BENT FG.
CHARLIE (CONT)(SINGING INDISTINCT)
3-73 -/
ITAL
CHARLIE (TO ALL)It made you a moron a

potential H bomb.
(H bomb: Hydrogen bomb)
815.04
821.14
6.10
148
PAGE 28
833.10
RFG, BOB BOTTOM OF FRAME
LOOKING L AND PAN L PICK UP
CHARLOTTE ON TABLE/STAGE
SINGING.
CHARLIE (CONT)(SINGING) Theres no future.
(INDISTINCT)
149
844.02
INT. KARAOKE ROOM. NIGHT
MS SIDE ANGLE BOB PICKS UP
MICROPHONE. PAN DOWN R
TO CHARLIE THEN BACK UP L
TO BOB TURNED FRONT
ANGLE SINGING. MS ABOVE
WAIST AS BOB SINGS,
TURNING BG, R AND L.
BOB(SINGING) As I walk through this
wicked world, searching for light in
3-74
ITAL
BOB (TO ALL)As I walk through this wicked

world
849.00
856.00
7.00
3-75
ITAL
BOB (TO ALL)searching for light in the

darkness
858.12
863.08
4.12
3-76
ITAL
BOB (TO ALL)of insanity
863.11
867.02
3.07
3-77
ITAL
BOB (TO ALL)I ask myself
868.08
871.08
3.00
3-78
ITAL
BOB (TO ALL)is all hope lost?
873.02
877.05
4.03
3-79
ITAL
BOB (TO ALL)Is there only pain and

hatred
878.08
884.02
5.10
3-80
ITAL
BOB (TO ALL)and misery?
884.12
888.02
3.06
3-81
ITAL
BOB (TO ALL)And each time I feel like this

inside
889.13
895.01
5.04
3-82 -/
ITAL
BOB (TO ALL)theres one thing I want to

know.
895.07
900.07
5.00
the darkness of insanity. I ask

myself
150
871.11
CU LOW ANGLE BOB SINGING,
LEANING FG THEN BACK.
BOB(SINGING) is all hope lost? Is
there only pain and hatred
151
884.12
MCU KARAOKE TV SCREEN
WITH SONG LYRICS.
BOB (OS CONT)(SINGING) and misery?
152
889.10
MCU CHARLOTTE IN PINK WIG
LOOKING UP TO RFG
LAUGHING, THEN PAN R
ACROSS GUESTS, BAMBI, GIRL
WITH BLACK HAIR.
BOB (OS CONT)(SINGING) And each time I feel
like this inside, theres
153
895.13
CU OUT OF FOCUS SIDE
ANGLE ON CHARLIE, THEN PAN
L AND UP PICK UP BOB
SINGING WITH MICROPHONE.
HE BENDS DOWN L.
PAGE 29
3-83
ITAL
BOB (TO ALL)Whats so funny about peace,

love and understanding?
901.04
908.04
7.00
3-84
ITAL
BOB (TO ALL)Whats so funny about peace,

love and understanding?
911.07
918.07
7.00
3-85
ITAL
CHARLOTTE (TO ALL)Im winkin at ya. Im gonna

make you, make you,
923.10
930.05
6.11
3-86 -/
ITAL
CHARLOTTE (TO ALL)make you notice.
930.11
933.13
3.02
BOB (OS CONT)(SINGING) one thing I want to

know,
BOB (CONT)(SINGING) whats so funny about
peace, love and understanding?
PAN L OFF BOB ACROSS
BAMBI, OTHER GUY,
CHARLOTTE AND ANOTHER
WOMAN, THEN PAN BACK R
ACROSS CHARLOTTE, OTHER
GUY, BAMBI.
ALL, CHARLOTTEWhoa!
BOB (OS)(SINGING) Whats so funny about
peace, love and understanding?
154
921.10
CHARLOTTE IN WIG SINGING,
CHARLIE BG. CHARLOTTE
DANCES TO BG AS CHARLIE
EXITS R.
CHARLOTTE(SINGING) Im winkin at ya.
CHARLOTTE (OS CONT)(SINGING) Im gonna make you,
make
155
929.10
SINGING. SHE MOVES FG,
POINTS AS CHARLIE ENTERS
RBG SINGING BACKUP.
PAGE 30
3-87 -/
ITAL
CHARLOTTE (TO ALL)Gonna use my arms. Gonna

use my legs.
935.10
941.12
6.02
3-88 -/
ITAL
CHARLOTTE (TO ALL)Gonna use my style. Gonna

use my sassy.
(sassy: sex appeal)
943.04
949.06
6.02
3-89
ITAL
CHARLOTTE (TO ALL)Gonna use my fingers.
950.11
953.08
2.13
3-90 -/
ITAL
CHARLOTTE (TO ALL)Gonna use my, my, my

imagination.
954.04
961.00
6.12
CHARLOTTE (CONT)(SINGING) you, make you notice.

Gonna use my arms.
156
938.00
MS BOB SITTING WITH ARM
AROUND TWO GIRLS LOOKING
LFG SMILING.
CHARLOTTE (OS CONT)(SINGING) Gonna use my legs.
157
941.15
MS LOW ANGLE CHARLIE REAR
ANGLE AND CHARLOTTE
FRONT ANGLE SINGING.
CHARLOTTE (CONT)(SINGING) Gonna use my style.
158
945.10
MCU LOW ANGLE CHARLOTTE
SINGING, MOVING
SHOULDERS.
CHARLOTTE (CONT)(SINGING) Gonna use my sassy.
159
950.11
MS HIGH ANGLE OTS DOWN
ON BOB AND TWO GIRLS
LOOKING UP TO FG.
CHARLOTTE (OS CONT)(SINGING) Gonna use my fingers.
160
954.03
MCU LOW ANGLE CHARLOTTE
SINGING. SHE TURNS L.
CHARLOTTE (CONT)(SINGING) Gonna my, my, my
161
958.08
MCU PAN UP R TO CHARLOTTE
AND CHARLIE BOTH SIDE
ANGLE AGAINST EACH OTHER
FACING L SINGING.
PAGE 31
3-91 -/
ITAL
CHARLOTTE (TO ALL)Cause Im gonna make you

see
962.06
967.11
5.05
3-92 -/
ITAL
CHARLOTTE (TO ALL)nobody else here...no one like

me.
969.00
975.02
6.02
3-93 -/
ITAL
CHARLOTTE (TO ALL)Im special, so special
977.04
983.02
5.14
3-94 -/
ITAL
CHARLOTTE (TO ALL)I gotta have some of your

attention. Give it to me.
984.12
991.12
7.00
CHARLOTTE (CONT)(SINGING) imagination. Oh,

cause Im
162
965.08
UP AT CHARLOTTE R SINGING,
CHARLIE L.
CHARLOTTE (CONT)(SINGING) gonna make you see...
nobody else here...no one like me.
163
974.06
BOB, ARM AROUND GIRL L. HE
SHAKES HIS HEAD.
164
977.02
MCU LOW SIDE ANGLE
CHARLOTTE LOOKING DOWN
TO FG SINGING.
CHARLOTTE (CONT)(SINGING) Im special,
165
978.14
MCU HIGH ANGLE BOB.
CHARLOTTE (OS CONT)(SINGING) so special --
BOB (OVERLAPPING)(SINGING) Special.

CHARLOTTE (OS)(SINGING) I gotta have
166
PAGE 32
986.00
UP AT CHARLIE L, CHARLOTTE
R SINGING.
CHARLOTTE (CONT)(SINGING) some of your attention.
Give it to me.
167
992.13
ECU SIDE ANGLE CHARLOTTE
WITH MICROPHONE,
3-95
CHARLOTTE (TO ALL)Ladies and gentlemen, Mr.

Bob Harris.
992.13
996.06
3.09
3-96
BOB (TO ALL)Thanks. This is hard.

(This: singing this song)
999.08
1002.00
2.08
3-97 -/
ITAL
BOB (TO ALL)I could feel at the time
1014.11
1020.02
5.07
3-98
ITAL
BOB (TO ALL)there was no way of knowin.
1020.12
1024.09
3.13
3-99 -/
ITAL
BOB (TO ALL)Fallen leaves in the night.
1026.06
1031.06
5.00
3-100
ITAL
BOB (TO ALL)Who can say where theyre

blowin.
1031.15
1037.03
5.04
3-101
ITAL
BOB (TO ALL)As free as the wind
1038.00
1041.06
3.06
CHARLOTTELadies and gentlemen, Mr. Bob

Harris.
THEN SHIFT FOCUS BG AS
CHARLOTTE TURNS BG HANDS
MICROPHONE TO BOB
REVEALED MCU SIDE ANGLE
IN BG. BOB DOWN BOOZE
FROM SHOT GLASS, BRINGS
MICROPHONE TO LIPS.
BOBThanks. This is hard. Oh.
(SINGING) I could
168
1015.13
CU-MCU PAST BOB OUT OF
FOCUS SIDE ANGLE RFG ONTO
CHARLOTTE SIDE ANGLE BG,
THEN SHIFT FOCUS TO BOB AS
HE SINGS INTO MICROPHONE.
BOB (CONT)(SINGING) feel at the time there
was no way of knowin, fallen
leaves in the
169
1030.01
AND CHARLIE. PAN L OFF
THEM PICK UP GIRL WITH
BLACK HAIR, THEN BAMBI.
BOB (OS CONT)(SINGING) night who can say
where theyre blowin. As free as
the wind,
170
1042.04
CU SIDE ANGLE BOB WITH
MICROPHONE, CHARLOTTE
AND CHARLIE OUT OF FOCUS
IN BG. SHIFT FOCUS BG TO
CHARLOTTE WHO SMILES,
LAUGHS.
BOB (CONT)(SINGING) hopefully learnin, why
the sea on the tide has no way of
turnin. More than this, you know
theres nothing. More
171
PAGE 33
3-102
ITAL
BOB (TO ALL)hopefully learnin.
1044.08
1048.04
3.12
3-103
ITAL
BOB (TO ALL)why the sea on the tide
1048.10
1053.12
5.02
3-104
ITAL
BOB (TO ALL)has no way of turnin.
1055.00
1059.12
4.12
3-105
ITAL
BOB (TO ALL)More than this,
1065.00
1068.02
3.02
3-106
ITAL
BOB (TO ALL)you know theres nothing.
1070.02
1076.04
6.02
3-107 -/
ITAL
BOB (TO ALL)-
1076.08
1080.01
3.09
3-108 -/
ITAL
BOB (TO ALL)tell me one thing
1082.02
1086.14
4.12
3-109
ITAL
BOB (TO ALL)More than this
1087.08
1091.12
4.04
3-110
ITAL
BOB (TO ALL)ooh, theres nothing.
1093.08
1099.08
6.00
More than this
1077.01
CU OTS BOB SINGING.
BOB (CONT)(SINGING) than this
172
1080.02
MCU CHARLOTTE.
BOB (OS CONT)(SINGING) tell me one
173
1084.07
CU SIDE ANGLE BOB SINGING
LOOKING FG, GLANCING UP R.
BOB (CONT)(SINGING) thing. More than this,
ooh, theres nothing.
174
1100.06
INT. CORRIDOR OUTSIDE
KARAOKE ROOM. NIGHT
MS SIDE ANGLE CHARLOTTE IN
WIG SITTING ON BENCH
SMOKING. BOB ENTERS FROM
DOOR BG, COMES FG AND
SITS BESIDE CHARLOTTE. HE
TAKES HER CIGARETTE,
SMOKES.
175
1145.08
MS ABOVE WAIST BOB L AND
CHARLOTTE R AS BOB PASSES
CIGARETTE BACK TO
CHARLOTTE. SHE RESTS HER
HEAD ON HIS SHOULDER.
SMOKES.
176
1172.00
INT. TAXI/ EXT. TOKYO.
LS LOW ANGLE UP AT LIGHTED
TOWER, TRACK R ACROSS
BRIDGE.
177
1177.09
ELS CITY SKYLINE TRACK R
ACROSS BRIDGE, PICK UP
LIGHTED SUSPENSION BRIDGE
IN BG.
178
1183.04
LS OUT CAR WINDOW ON LIT
SUSPENSION BRIDGE, TRACK
R. THEN BG AS CAR TURNS
MOVES BG GOING OVER
BRIDGE.
179
1214.09
MLS OUT CAR WINDSHIELD
MOVING BG OVER BRIDGE.
SHOT GOES OUT OF FOCUS.
180
1218.07
EXT. TOKYO STREETS. NIGHT
MLS TRACK R ACROSS
PEDESTRIANS, CARS,
BUILDINGS.
181
1221.06
EXT/INT. TAXI. NIGHT
MS ALONG SIDE OF CAB ON
CHARLOTTE SEATED IN BACK
SEAT LOOKING FG THRU
CLOSED WINDOW. TRACK
BACK.
182
1232.09
MLS LOW ANGLE
CHARLOTTES POV MOVING L
TO R PASSES BUILDING AND
NEON SIGNS.
PAGE 34
183
1237.113
ECU CHARLOTTE LOOKING FG
THRU WINDOW, HER HEAD
TILTED R. CITY LIGHTS
REFLECT IN WINDOW.
184
1246.06
IN BACK SEAT OF CAB. SHE
LOOKS FG.
185
1254.01
MCU SIDE ANGLE BOB IN BACK
SEAT OF CAB SLEEPING.
186
1261.04
TURNS LOOKING R, SMILING.
187
1273.00
MS TRACKING R ACROSS
BLURRED NEON LIGHTS.
188
1281.13
INT. HALL OUTSIDE
CHARLOTTES ROOM. NIGHT
MLS REAR ANGLE BOB
CARRIES CHARLOTTE TO BG.
189
1293.00
MS TRACK BACK WITH BOB AS
HE CARRIES CHARLOTTE FG,
TURNS AND EXITS L.
190
1309.09
LS BOB CARRIES CHARLOTTE
R INTO ROOM, EXITS R.
191
1321.07
ROOM. NIGHT
MS HIGH ANGLE AS BOB LAYS
CHARLOTTE ON THE BED,
KNEELS BESIDE BED L AS
CHARLOTTE SAYS ASLEEP ON
HER SIDE FACING L.
192
1334.15
MS ABOVE WAIST REMOVES
CHARLOTTES SHOES, PUTS
THEM DOWN R.
PAGE 35
193
1337.10
MS HIGH ANGLE AS BOB REAR
ANGLE LFG PULLS COVERS
OVER CHARLOTTE ON SIDE ON
BED FACING L.
194
1342.10
MS ABOVE WAIST OVER
CHARLOTTE FG ACROSS
FRAME L TO R ON BED REAR
ANGLE ONTO BOB LOOKING
DOWN AT HER.
195
1355.02
MCU CU HIGH ANGLE DOWN
ON CHARLOTTE ON HER SIDE
IN BED UNDER COVERS. SHE
SMILES.
196
1363.07
MS ABOVE WAIST OVER
CHARLOTTE ACROSS FRAME L
TO R REAR ANGLE ONTO BOB
LOOKING DOWN FG AT HER.
HE REACHES R, DIMS LIGHT,
STANDS AND EXITS L..
197
1384.11
INT. HALL OUTSIDE
CHARLOTTES HOTEL ROOM.
NIGHT
MS ABOVE WAIST BOB PULLS
DOOR CLOSED, THEN TRACK
BACK WITH HIM WALKING FG
UP CORRIDOR.
198
1429.11
NIGHT
MS PAN R ACROSS DESK, PICK
UP CARPET SAMPLES LEFT ON
FLOOR BG, THEN CONTINUE
PAN DOWN R AND PICK UP MS
ABOVE WAIST SIDE ANGLE
BOB LYING ON BACK ON BED
IN FRAME HORIZONTAL FROM
L TALKING ON PHONE.
3-111
BOB (TO HIS WIFE)Hey, those carpet samples
1438.02
1441.04
3.02
3-112
BOB (TO HIS WIFE)You were right about the

burgundy. It wasnt even
close.
(it close: the choice
between the samples)
1442.00
1446.06
4.06
3-113
BOB (TO HIS WIFE)Blows the others away.

(the burgundy choice far
outshines the others)
1447.06
1449.11
2.05
3-114
BOB (TO HIS WIFE)I saw a great house tonight

that you wouldve loved
1455.00
1461.00
6.00
BOB (OS)Hey. Hey, yknow, those carpet

samples you were right about
the burgundy. It wasnt even close.
Blows the others away. I saw a
great house tonight that you
wouldve loved and
PAGE 36
SAME SHOT CONT.
3-115
BOB (TO HIS WIFE)and that burgundy wouldve

been good in this house.
.
BOB (TO HIS WIFE)This guy designed his own
house and built it.
1462.00
1465.12
3.12
1467.03
1471.01
3.14
3-117
BOB (TO HIS WIFE)Hes a fashion guy. All these

fashion people were there.
(fashion: the fashion industry)
1478.03
1483.02
4.15
3-118
BOB (TO HIS WIFE)And there were Japanese

surfers there,
1484.10
1488.14
4.04
3-119
BOB (TO HIS WIFE)and the guy was playing really

great music.
1490.03
1496.07
6.04
3-120
BOB (TO HIS WIFE)I shouldve found out what it

was. Ill try to bring some
back.
1496.12
1503.07
6.11
3-121
BOB (TO HIS WIFE)Tell her I said shes gotta eat

something.
(her: Bobs daughter)
1516.10
1519.08
2.14
3-122
BOB (TO HIS WIFE)Yeah, tell her I said she has to

eat something.
1523.02
1527.00
3.14
3-123
BOB (TO HIS WIFE)Eat. Tell her I said so.
1531.08
1536.00
4.08
3-124
BOB (TO HIS WIFE)Its not fun, its just very

different.
(it: his visit in Tokyo)
1544.02
1549.04
5.02
3-125
BOB (TO HIS WIFE)I might not be up. Its like four.
(up: still awake)
1563.00
1567.06
4.06
3-126
BOB (TO HIS WIFE)No, they gave me tomorrow

off.
(off: no work)
1574.04
1577.01
2.13
BOB (CONT INTO PHONE)that burgundy wouldve been good

in this house, really. Yknow, a guy
3-116
designed his own house and built

it. Hes a fashion guy. Yknow, all
PAGE 37
these fashion people were there.

And, uh, there were Japanese
surfers there, and the guy was
playing really, really, really great
music. I shouldve found out what
it was and brought some, Ill bring
some back. Ill try to find out.
HE SITS UP FACING L.
BOB (OS INTO PHONE)Tell her I said shes gotta eat
something. (PAUSE) Yeah, tell her
I said she has to eat something.
(PAUSE) Eat. Tell her I said so.
BOBS WIFE (VO FILTERED

THRU PHONE BARELY
AUDIBLE)Im glad youre having fun.
199
1544.02
CU HIGH ANGLE DOWN ON
BOB AS HE LAYS BACK DOWN
ON BED, FACES FG.
BOB (INTO PHONE)Its not fun, its just, its just very,
very different. (LONG PAUSE) I
might not be up, its, its, like four.
(PAUSE) No, actually, they gave
me tomorrow off.
200
1577.02
BOB ON HIS BACK ON BED IN
FRAME FROM L
THRU PHONE)Alright, well, thanks for checkin in.
3-127
ITAL
(OPTIONAL)
BOBS WIFE (TO BOB)Alright, thanks for checking in.
I gotta go.
(checking in: making contact)
1586.10
1590.12
4.02
3-128
BOB (TO HIS WIFE)Have a great night. I mean

have a great morning.
1591.01
1598.01
7.00
3-129
ITAL
(OPTIONAL)
BOBS WIFE (TO BOB)Good night, Bob.
1599.14
1601.08
1.10
3-130
BOB (TO HIS WIFE)-
1602.05
1608.10
6.05
I gotta go.
BOB (INTO PHONE)Alright, have a great, great night. I

mean, I guess have a great
PAGE 38
Good night. I love you.
morning, huh?
3-131
BOB (TO HIMSELF)That was a super idea.

(sarcastically saying that the
phone call was not a good
idea it didnt go well)
1613.03
1615.13
2.10
3-132
BOB (TO CHARLOTTE)Just feeling tight. Shoulders

and neck.
(tight: muscles are stiff)
1724.00
1727.12
3.12

THRU PHONE)Good night, Bob.
BOB (INTO PHONE)Good night. I love you.
BOB (OS CONT)That was a super idea.
HE HANGS UP PHONE BG,
ROLLS BACK FACING TOP.
FADE TO BLACK. FADE UP TO:
201
1630.00
EXT. GOLF COURSE. DAY
LS-MLS BOB WALKS FG, PUTS
DOWN TEE AND PREPARES TO
HIT BALL. MOUNTAIN LOOMS IN
BG. BOB TAKES PRACTICE
SWING TO R, THEN TURNS
SIDE ANGLE FACING BG AND
HITS BALL BG, PICKS UP TEE
AND WALKS BG.
202
1722.04
INT. SUSHI RESTAURANT. DAY
AND BOB SEATED AT SUSHI
BAR LBG WITH SUSHI CHEF
STANDING SIDE ANGLE RFG.
BOBJust feeling tight, yknow?
Shoulders and neck.
SAME SHOT CONT.
PAGE 39
3-133
BOB (TO CHARLOTTE)So I called down

(called down: phoned to the
hotels front desk)
1729.04
1730.14
1.10
3-134
BOB (TO CHARLOTTE)and had a shiatsu massage in

my room.
1732.00
1737.04
5.04
3-135
CHARLOTTE (TO BOB)Thats nice.
1737.09
1739.05
1.12
3-136
BOB (TO CHARLOTTE)And the tightness has

completely disappeared
1739.10
1744.01
4.07
3-137
BOB (TO CHARLOTTE)and been replaced by...

unbelievable pain.
1744.12
1751.07
6.11
3-138-/
BOB (TO CHARLOTTE)Just staggering, unbearable

pain.
1753.03
1757.00
3.13
CHARLOTTE (OS)Mm hm.
BOBSo I called down and,
203
1731.01
MCU SIDE ANGLE 2 SHOT
CHARLOTTE LFG AND BOB BG
FACING R.
BOB (CONT)and had a, uh, shiatsu massage in
my room.
CHARLOTTE (OS)Mm, thats nice.
BOBAnd um, the tightness has

completely, uh, disappeared
CHARLOTTE (OS)Hm.
BOBand been replaced by...
unbelievable pain.
204
1751.08
MCU SIDE ANGLE PAST BOB
RFG ONTO CHARLOTTE LOOKS
FG, HAND ON CHEEK.
CHARLOTTE (LAUGHS)
BOB (OS)Just
205
PAGE 40
1753.12
MCU SIDE ANGLE OTS ON BOB
LOOKING FG, R.
BOB (CONT)Just staggering, unbearable pain.
CHARLOTTE (OVERLAPPING)Ugh, thats too bad.
206
1758.01
MCU SIDE ANGLE OTS ON
CHARLOTTE LOOKING DOWN
FG, LIFTS KNEE INTO FRAME
AS BOB HALF OFF FRAME R
LOOKS AT FOOT BELOW
FRAME.
3-139
CHARLOTTE (TO BOB)Im in pain. I got my foot

banged up and
1759.14
1765.14
6.00
3-140
CHARLOTTE (TO BOB)Wanna see it?
1766.10
1767.13
1.03
3-141
BOB (TO SUSHI CHEF)How do you say no?
1769.08
1771.05
1.13
3-142
BOB (TO CHARLOTTE) Oh, my God.
1772.02
1775.12
3.10
1777.12
1782.09
4.13
BOB (OS)Yeah.
CHARLOTTEIm in pain. I got my foot banged
up and wanna see it?
207
1767.14
AND BOB AT BAR LBG, TWO
SUSHI CHEFS STANDING R.
BOBHow do you say no?
208
1771.11
MCU SIDE ANGLE PAST BOB
RFG ONTO CHARLOTTE WITH
KNEE UP IN FRAME.
BOB (OS CONT)Oh, my God.
CHARLOTTEI know.
BOB (OS)Thats, how, when did you do this?
CHARLOTTEI did it the other day. It hurts,

yknow.
CHARLOTTE (TO BOB) I know.

3-143
BOB (TO CHARLOTTE) When did you do this?

(this: injured the toe)
CHARLOTTE (TO BOB) I did it the other day. It hurts.
SAME SHOT CONT.
3-144
BOB (OS)Didnt you feel any pain? Your
CHARLOTTEYeah, it really hurt. It was
BOB (TO CHARLOTTE) Didnt you feel any pain?
PAGE 41
1782.14
1787.09
4.11
CHARLOTTE (TO BOB) Yeah, it really hurt.

3-145
BOB (TO CHARLOTTE)That toe is almost dead.
1788.12
1791.05
2.09
3-146-/
BOB (TO CHARLOTTE)I gotta take you to the doctor.

You cant put that back in the
shoe.
1793.00
1798.04
5.04
3-147
CHARLOTTE (TO BOB)No. You dont think so?
1798.09
1800.14
2.05
3-148
BOB (TO CHARLOTTE)You oughta go to a doctor or

you leave it here.
(here: at the restaurant)
1801.06
1804.14
3.08
3-149-/
BOB (TO CHARLOTTE,

THEN THE SUSHI CHEF)Hes smiling. You like that
1808.10
1811.10
3.00
BOBThat, that toe is almost dead.

CHARLOTTE (LAUGHS)
BOB (OS)I think
209
1793.09
MCU SIDE ANGLE OTS ON BOB,
LOOKS FG, MAKES FACE.
BOB (CONT)I gotta take you to the doctor. You
cant, uh, just put that back in the
shoe.
CHARLOTTE (OS)No. You dont think so?
BOBWell, you oughta go to a doctor or

you leave it here.
CHARLOTTE (LAUGHS)
210
1807.14
MS ABOVE WAIST SUSHI CHEF.
BOB (OS)Hes smiling.
211
1809.14
AND BOB SEATED LBG, CHEF
STANDING RFG WITH OTHER
CHEF BG.
BOB (CONT)You like that idea?
idea?
(He: the sushi chef)
212
1812.07
MCU OTS SIDE ANGLE ON BOB
LOOKING FG.
PAGE 42
3-150
BOB (TO CHARLOTTE)They love black toe over in

this country.
1812.07
1815.06
2.15
3-151
BOB (TO SUSHI CHEF)You got a sharp knife?
1816.05
1818.05
2.00
3-152
BOB (TO CHARLOTTE)In this country, gotta be

somebody prefers a black toe.
1819.06
1825.02
5.12
3-153
BOB (TO CHARLOTTE)Brack toe.

(Bob is imitating Japanese
accent, meaning to say
black)
1826.06
1828.02
1.12
3-154
BOB (TO CHARLOTTE)Or we should probably hang

around till someone orders it.
1829.12
1833.05
3.09
3-155
BOB (TO SUSHI CHEF)Hey, whats with the straight

face?
(straight face: very serious
expression)
1834.10
1836.10
2.00
BOB (CONT)See, they love black toe over in

this country.
CHARLOTTE (LAUGHS)
213
1815.07
AND BOB SEATED LBG, CHEF
RFG AND BG.
BOB (CONT)You got a sharp knife? Gotta be,
yknow, in this country,
somebodys gotta prefer a black
toe.
CHARLOTTE (OVERLAPPING)(LAUGHS)
214
1825.03
CHARLOTTE LFG AND BOB BG.
BOB LOOKS R.
BOB (CONT)Uh, brack toe. Or we should
probably hang around till someone
orders it.
215
1833.13
AND BOB SEATED LOWER L,
CHEF STANDING RFG.
BOB (CONT)Hey, whats with the straight face?
216
1837.01
INT. HOSPITAL LOBBY. DAY
MLS BOB HOLDS WHEELCHAIR
FOR CHARLOTTE WHO SITS IN
IT IN VESTIBULE, THEN BOB
PUSHES CHAIR FG AS SLIDING
DOORS OPEN. HE LIFTS CHAIR
IN MOCK WHEELIE PASSING
MAN PUSHING CHAIR BG.
PAGE 43
3-156
BOB (TO CHARLOTTE)Hospital regulations. Get in

there.
(there: the wheel chair)
1837.08
1840.05
2.13
3-157
CHARLOTTE (TO BOB)No, dont.

(dont: push it fast)
1850.06
1852.06
2.00
3-158
BOB (TO GUY PUSHING

WHEELCHAIR)Hey, use the horn, fella.
(as if wheelchairs had horns
like cars to avoid collisions)
1853.06
1855.10
2.04
3-159
BOB (TO CHARLOTTE)Lets try mixed internal.
1864.11
1867.02
2.07
3-160-/
BOB (TO GUY WITH

BANDAGE)Switched to beer, huh? You
might want to switch to sake.
1870.06
1874.09
4.03
BOB (OS)Hospital regulations. Get in there.

CHARLOTTE (OS CONT)Alright. Thank you.
BOB (OS OVERLAPPING)Alright.
CHARLOTTECareful, okay? No, dont.
217
1852.14
MS REAR ANGLE FOLLOWING
BOB PUSHING WHEELCHAIR
BG, TURNS R TO READ
REGISTRY INDEX.
CHARLOTTE (OS CONT)No.
BOB (OVERLAPPING)Hey, use the horn, fella.

218
1858.15
MCU PAN UP REGISTRY INDEX.
219
1864.10
MS REAR ANGLE BOB PAN L
TRACK BG AS HE PUSHES
CHAIR BG, PASSING DRUNK
MAN IN SUIT R WITH BANDAGE
ON FOREHEAD. BOB LOOKS R
AT HIM IN PASSING.
BOB (OS)Lets try mixed internal.
(COUGHS)
CHARLOTTE (LAUGHS)
BOBSwitched to beer, huh?
220
PAGE 44
1872.00
MLS BOB PUSHES CHARLOTTE
IN WHEEL CHAIR TO FG
ALMOST HITTING MAN
WALKING BG AS MAN WITH
BANDAGE STANDING L
WATCHES.
BOB (CONT)You might want to switch to sake.
CHARLOTTE (OVERLAPPING)No. Stop.
221
1876.09
MS ABOVE WAIST BOB
PUSHES CHAIR TO RECEPTION
WITH MAN IN BLUE JACKET ON
PHONE SIDE ANGLE R AND
CHARLOTTE STANDS INTO
FRAME, STANDS SIDE ANGLE
ON L. MS ABOVE WAIST OTS
ON CHARLOTTE L AND BOB R
WHO REMOVES SUNGLASSES.
3-161
BOB (TO MAN AT

COUNTER)We need a doctor. For her.
Emergency Room.
1889.02
1894.05
5.03
3-162
CHARLOTTE (TO MAN AT

COUNTER)Its not an emergency. I just
hurt my foot.
1894.13
1898.09
3.12
3-163-/
BOB (TO MAN AT

COUNTER)Okay, do we fill this out? We go
over there? Which number?
(this: paper in Bobs hand)
(there: Bobs pointing other
end of lobby.)
1909.09
1915.00
5.07
MAN (SPEAKS JAPANESE)

CHARLOTTEHi.
BOBHi. Yeah. We need a doctor. For,
uh, her. Emergency Room.
CHARLOTTE (OVERLAPPING)Cause I have... Its not an
emergency. I just hurt my foot.
222
1903.03
MS MAN AT RECEPTION WITH
CHARLOTTE REAR ANGLE IN
FG, BOB STANDING SIDE
ANGLE ON L. MAN PUTS PIECE
OF PAPER ON COUNTER,
POINTS R.
BOB (OS)Okay, do we fill this out?
223
PAGE 45
1912.00
CHARLOTTE AND BOB.
BOB (OVERLAPPING CONT)We go over there? Which
number?
224
1920.10
MS PAST CHARLOTTE AND
BOB REAR ANGLE LFG ONTO
RECEPTION MAN RBG WHO
POINTS R.
225
1925.01
CHARLOTTE AND BOB AS MAN
REAR ANGLE RFG GESTURES
TO L. BOB AND CHARLOTTE
TURN L.
3-164
BOB (TO MAN AT

COUNTER)Were not going to another
hospital, so whatever you say.
1925.08
1929.14
4.06
3-165
BOB (TO MAN AT

COUNTER)Could you put that back in the
garage for us?
(that: the wheelchair.)
1933.00
1935.08
2.08
BOBWere not goin to another

hospital, so whatever you say is
okay. Alright.
226
1932.06
MS PAST CHARLOTTE SIDE
ANGLE LFG ONTO MAN BG AS
BOB ENTERS FRAME AND HE
AND CHARLOTTE EXIT R.
BOB (OS CONT)Could you put that back in the
garage for us? Cmon.
1937.09
REEL 3A/B.
COMBINED CONTINUITY
& DIALOGUE
SC#:
FOOTAGE/
SHOT DESCRIPTION/
DIALOGUE:
PAGE 1

TITLE#:
TITLE:
START:

LABORATORY:
12.00I
NT. X-RAY EXAMINATION
ROOM. DAY
ANGLE ATOP X-RAY TABLE AS
TECHNICIAN BG PUTS STRIP
OF FILM ON HER TOE,
REACHES UP.
20.14
INT. HOSPITAL WAITING AREA.
DAY
MS BOB STANDS SIDE ANGLE L
UP AGAINST DOOR FACING L,
PEOPLE SEATED R,
RECEPTIONS COUNTER BG.
25.09
DAY
MS BOB SITTING NEXT TO OLD
MAN IN WHITE CAP WITH
CANE, TWO WOMEN SEATED
BACK LBG. BOB NUDGES OLD
MAN WHO LOOKS AT HIM.
PERSON CROSSES FRAME FG
R TO L, BOB POINTS FG.
40.12
MCU LOW ANGLE PAN L WITH
BOX MOVING BG TO FG THEN
CROSSING FG R TO L.
1ST SCENE START:

2ND SCENE START:
3RD SCENE START:
4TH SCENE START:
12.00
20.14
25.09
40.12
FINISH:
TOTAL:
PAGE 2
45.10
INT. EXAMINATION ROOM. DAY
OTS ON DOCTOR POINTING TO
X-RAY OF CHARLOTTES FOOT
ON LIGHT BOARD. DOCTOR
LOOKS FG.
DOCTOR(SPEAKS JAPANESE)
55.10
INT. WAITING AREA. DAY
MS BOB SITTING WITH OLD
MAN. OLD MAN GESTURES
WITH HAND AND BOB
IMITATES.
OLD MAN(SPEAKS JAPANESE)
BOBIndeska?
OLD MAN(SPEAKS JAPANESE) Japan.
BOBJapan.
OLD MANEmperor. Japan Emperor.
BOBJapan
OLD MANEmperor,
BOBAfter...?
OLD MANEmperor.
BOBJapan...?
4-1
BOB (TO OLD MAN)Japan.
84.00
85.00
1.00
4-2
BOB (TO OLD MAN)Japan... After... Japan?
89.11
96.05
6.10
SAME SHOT CONT.
PAGE 3
4-3
BOB (TO OLD MAN)How does that song go?

(Bobs joking because Old
Man is humming)
135.11
137.09
1.14
4-4
CHARLOTTE (TO BOB)Is that for me?

(that: stuffed pillow Bob is
holding)
157.00
158.02
1.02
4-5
BOB (TO CHARLOTTE)It can be for you.

(It: pillow)
160.10
162.12
2.02
BOBNunnen?
OLD MAN MAKES CIRCLE
MOTION WITH HAND AND SO
DOES BOB.
OLD MAN (HUMS)
BOB (HUMS)
OLD MAN LAUGHS.
BOB(HUMS) Hows that song go?
137.13
MCU SIDE ANGLE CHARLOTTE.
DOCTOR (OS)(SPEAKS JAPANESE)
144.06
ANGLE OTS UP AT DOCTOR
POINTING TO X-RAY OF FOOT
ON BOARD.
DOCTOR (CONT)(SPEAKS JAPANESE)
150.02
DAY
ENTERS EMERGING FROM XRAY ROOM, STANDS IN
DOORWAY LOOKING FG
SMILING.
CHARLOTTEIs that for me?
10
158.06
MS BOB SITTING WITH
STUFFED PILLOW ANIMAL.
BOBYeah, it can be for you.
11
167.07
EXT. HOSPITAL DRIVEWAY.
DAY
MS LOW REAR ANGLE
CHARLOTTE AND BOB WALK
BG UP DRIVEWAY.
12
173.14
ROOM. DAY
LONG T-SHIRT SITTING ON BED
OPENS BOOK.
13
179.01
ECU OTS HIGH ANGLE DOWN
ON OPEN BOOK AS
CHARLOTTE REMOVES
PHOTOGRAPH FROM SIDE
POCKET.
14
183.06
LOOKS AT PICTURE.
15
188.06
ECU PICTURE OF CHARLOTTE
AND JOHN HELD IN
CHARLOTTES HAND. SHE
SHIFTS PICTURE TO ANOTHER
SHOT OF HER AND JOHN.
16
197.11
ECU SIDE ANGLE CHARLOTTE.
17
202.03
INT. BOBS HOTEL ROOM. DAY
MLS BOB PRACTICING
PUTTING IN HIS ROOM PUTS
GOLF BALL FG. HE PUMPS
FIST.
PAGE 4
18
208.08
EXT. TOKYO NEIGHBORHOOD.
NIGHT
LS ELEVATED SUBWAY
MOVING L TO R WITH
BUILDINGS BG, PAN R AND
DOWN AND PICK UP BOB
GETTING OUT OF TAXI
HOLDING PIECE OF PAPER,
WALKS R.
CHARLOTTE (VO)Hey, Bob, its Charlotte. Um, Im
gonna meet Charlie and those
guys at this place called Orange
around ten, so Ill fax you a map
on how to get there. I hope you
can come and meet us. Bye.
19
244.02
INT. STRIP CLUB. NIGHT
MS TOPLESS GIRL DANCING
ON LIT CIRCULAR PEDESTAL,
GUY ON SOFA R.
20
250.05
MS BOB SITTING, NODS. LEGS
OF GIRL DANCING PARTIALLY
IN FRAME RFG.
21
256.03
LS SIDE ANGLE DOWN CLUB
AS GIRL DANCES ON
PLATFORM R, BOB SITTING L,
OTHERS SITTING LFG AND BG.
GIRL BENDS OVER
BACKWARDS.
22
264.12
MS BETWEEN GIRLS LEGS ON
BOB REACHING FG AS IF
KEEPING GIRL FROM FALLING.
HE GLANCES UP
UNCOMFORTABLY.
23
274.12
WITH GIRL DANCING R, BAR BG
AND BOB SEATED L.
CHARLOTTE ENTERS RFG AND
WALKS LBG TO BOB.
PAGE 5
4-6
ITAL
CHARLOTTE (TO BOB)Bob, its Charlotte. Im gonna

meet Charlie and the guys
213.04
219.04
6.00
4-7
ITAL
CHARLOTTE (TO BOB)at this place Orange around

ten. Ill fax you a map to get
there.
219.09
226.07
6.14
4-8
ITAL
CHARLOTTE (TO BOB)I hope you can come and

meet us. Bye.
226.12
229.12
3.00
24
278.13
MS BOB TAPS EMPTY SPOT OF
SOFA BESIDE HIM AS
CHARLOTTE ENTERS LFG AND
CROSSES TO RBG SITS
BESIDE BOB.
25
285.00
MCU PAST BOB SIDE ANGLE
LFG ONTO CHARLOTTE
TURNED FRONT ANGLE. SHIFT
FOCUS FROM CHARLOTTE TO
BOB THEN BACK TO
CHARLOTTE.
4-9
CHARLOTTE (TO BOB)How long have you been

here?
285.00
286.12
1.12
4-10
BOB (TO CHARLOTTE)I couldnt say.
288.11
290.06
1.11
4-11
CHARLOTTE (TO BOB)Wheres Charlie and those

guys?
291.06
293.09
2.03
4-12
BOB (TO CHARLOTTE)Theyre taking a dance class.

(Bob is sarcastically referring
to Charlie and others having
strippers dance for them)
297.02
299.08
2.06
CHARLOTTEHow long have you been here?

BOBI couldnt say.
CHARLOTTEWheres Charlie and those guys?
BOBUm, theyre takin a dance class.
26
306.04
MLS CHARLIE SITTING AS
ANOTHER TOPLESS GIRL
DANCES IN FRONT OF HIM
REAR ANGLE.
27
310.09
MS BOB AND CHARLOTTE.
28
315.15
MLS GIRL BENDS THEN ROLLS
COMPLETELY OVER ON
PLATFORM FG ENDS UP ON
HANDS AND KNEES REAR
ANGLE.
PAGE 6
29
326.02
MCU SIDE ANGLE BOB RFG
AND CHARLOTTE BG LOOKING
FG. BOB NODS AND THEY
RISE, EXIT R.
4-13
BOB (TO CHARLOTTE) Can I get you some drinks?
PAGE 7
327.06
330.14
3.08
CHARLOTTE (TO BOB) Lets go.
BOBCan I get you a couple drinks?

CHARLOTTELets go.
BOBOkay.
CHARLOTTE (OVERLAPPING)Okay.
30
334.01
MS BOB STANDS AS
CHARLOTTE EXITS L. BOB
STEPS FG, WOMANS LEG
PART IN FRAME LFG AS BOB
SEMI-BOWS FG, THEN EXITS L.
4-14
BOB (TO STRIPPER)Thank you.
335.02
336.08
1.06
4-15
BOB (TO CHARLOTTE)Hes got blockers.

(blockers: players in American
football who run in front of
person with ball)
344.07
345.12
1.05
4-16
BOB (TO CHARLOTTE)Theyve got room to run.

(They: Bob and Charlotte)
348.08
350.04
1.12
BOB (OS)Thank you.
31
338.15
EXT. TOKYO STREET. NIGHT.
MS SIDE ANGLE TRACK R AS
PEDESTRIANS WALK S TO R
AND R TO L.
32
342.03
MLS CHARLOTTE AND BOB
RUN FG AND PAN R ZOOMING
OUT.
BOBHes got blockers.
33
347.02
FOLLOWING BOB RUNNING BG
PULLING CHARLOTTE ALONG
BY THE HAND.
BOB (OS CONT)Theyve got room to run.
34
350.10
MS BOB AND CHARLOTTE
RUNNING FG ZIG-ZAGGING L
AND R, BOB PULLING
CHARLOTTE BY HAND, ZOOM
OUT AS THEY RUN FG.
PAGE 8
4-17-/
BOB (TO CHARLOTTE)Hes cutting back. Hes

dancin. Where did he go?
(Cutting back: term in
American football for zigzagging)
351.12
358.07
6.11
4-18
CHARLOTTE (TO BOB)There you are.

(There: referring to Bob on
billboard ad)
364.00
365.11
1.11
4-19
CHARLOTTE (TO BOB)Say hi.
370.10
372.04
1.10
4-20
CHARLOTTE (TO BOB)You ready? Cmon!
380.04
383.14
3.10
BOB (CONT)Hes cutting back. He cut back.

Hes dancin, hes dancin.
Whered
35
357.11
MCU REAR ANGLE TRACK BG
FOLLOWING CHARLOTTE AND
BOB AND THEN THEY STOP
TURN LOOK L.
BOB (OS CONT)he go?
36
361.04
CHARLOTTE R LOOKING LFG.
37
363.08
LS LONG RECTANGULAR
BILLBOARD WITH BOB ON IT IN
AD FOR SUNTORY LIQUOR.
CHARLOTTE (OS)There you are.
38
369.05
MCU SIDE ANGLE BOB AND
CHARLOTTE LOOKING L. BOB
WAVES HELLO TO L.
CHARLOTTE (CONT)Say hi.
39
376.11
AND BOB FACING L AS BOB
WAVES, PEOPLE PASSING RBG
TO RFG BEHIND THEM, THEN
THEY RUN EXIT L.
CHARLOTTEHi. You ready? Cmon.
40
386.15
INT. HOTEL LOBBY OUTSIDE
RESTAURANT/LOUNGE. NIGHT
MS KELLY SINGS KARAOKE,
BARTENDER IN BG AT BAR.
PAGE 9
4-21
KELLY (TO PEOPLE IN

LOUNGE)Thank you, Tokyo.
388.12
391.03
2.07
4-22
ITAL
KELLY (TO PEOPLE IN

LOUNGE)Nobody does it better.
(it: be a lover)
391.10
398.08
6.14
4-23
ITAL
KELLY (TO PEOPLE IN

LOUNGE)Makes me feel sad for the
rest.
401.12
408.12
7.00
4-24 -/
ITAL
KELLY (TO PEOPLE IN

LOUNGE)Nobody does it
412.12
417.00
4.04
4-25
ITAL
KELLY (TO PEOPLE IN

LOUNGE)-
417.08
422.02
4.10
KELLYThank you, Tokyo!
41
391.04
MS ABOVE WAIST AS BOB AND
CHARLOTTE ENTER COMING
OUT OF ELEVATOR L, THEN
TURN START FG.
KELLY (OS CONT)(SINGING) Nobody does it better.
42
398.09
MS KELLY SINGING, HER
BOYFRIEND SITTING SIDE
ANGLE L AND BARTENDER IN
BG. TRACK R.
KELLY (CONT)(SINGING) Makes me feel sad for
the rest. Nobody
43
413.07
MS TRACK BACK WITH BOB
AND CHARLOTTE WALKING FG.
KELLY (OS CONT)(SINGING) does it
44
417.05
MS KELLY SINGING, TRACK R.
half as good as you.

KELLY (CONT)(SINGING) half as good as you.
(LAUGHS) Baby, youre
45
427.07
CHARLOTTE TRACK BACK AS
THEY WALK FG START
CROSSING FRAME TO L.
KELLY (OS CONT)(SINGING) the best. You too.
4-26 -/
ITAL
KELLY (TO PEOPLE IN

LOUNGE)Baby, youre the best.
423.12
429.04
5.08
4-27-/
KELLY (TO COUPLE IN

LOUNGE)You, too. Both of you.
429.09
432.09
3.00
46
431.09
MS KELLY SINGING, TRACK R
PICK UP COUPLE SEATED SIDE
ANGLE ON L LAUGHING.
PAGE 10
4-28 -/
ITAL
KELLY (TO PEOPLE IN

LOUNGE)I wasnt lookin
435.06
439.02
3.12
4-29
ITAL
KELLY (TO PEOPLE IN

LOUNGE)but Im glad I found you
440.05
444.08
4.03
4-30
ITAL
KELLY (TO PEOPLE IN

LOUNGE)I tried to hide from your love.
446.00
453.00
7.00
KELLY (OS CONT)Both of you. (SINGING) I wasnt

lookin,
47
438.14
MS SIDE ANGLE AS BOB AND
CHARLOTTE WALK L, PAN L
WITH THEM AND HOLD AS
THEY RUN BG, EXIT FAR LBG.
KELLY (OS CONT)(SINGING) but Im glad I found
you. I tried to hide from your love,
yeah.
CHARLOTTE (LAUGHS)
48
454.06
ROOM. NIGHT
MS WINDOW WITH CITY
LIGHTS AND BUILDINGS FAR
BG THRU WINDOW, THEN PAN
DOWN REVEAL CHARLOTTE
ON HER SIDE IN BED FACING
FG IN FRAME FROM R.
49
472.07
ROOM. NIGHT
SITS UP IN BED.
50
481.05
WITH HEAD DOWN.
51
488.12
ROOM. NIGHT
REACHES BG TURNS ON
LIGHT, SITS UP FACING R.
52
503.05
ROOM. MS ABOVE WAIST REAR
ANGLE CHARLOTTE SITTING
ON SIDE OF BED PUTS ON
SWEATER.
53
517.03
ROOM. NIGHT
MS AS CHARLOTTES
REFLECTION IN WINDOW
WALKS L TO R ACROSS
FRAME.
54
521.14
ROOM. NIGHT
SITTING IN CHAIR PICKS UP
MAGAZINE, BEGINS LOOKING
THRU IT.
55
531.11
ROOM. NIGHT
ANGLE DOWN ON CHARLOTTE
IN CHAIR LOOKING OFF L
THINKING.
56
540.08
MCU BOTTOM OF ROOM DOOR
AS NOTE IS SLIPPED FG
UNDER DOOR.
57
542.11
MS ABOVE WAIST HIGH ANGLE
DOWN ON CHARLOTTE IN
CHAIR LOOKS BG BELOW
FRAME, GETS UP AND EXITS
FG, PAN UP LS CITY IN BG
THRU WINDOW.
58
557.15
MCU REAR ANGLE
CHARLOTTES CALVES, FEET
STEPPING BG AND SHE BENDS
INTO FRAME, PICKS UP NOTE
AND STANDS BACK UP OUT OF
FRAME.
PAGE 11
59
567.02
MCU CHARLOTTE.
60
570.01
ENVELOPE IN CHARLOTTES
HAND, SHE TURNS IT OVER
AND PULLS OUT NOTE. IT
READS:
FROM: MR. HARRIS
MESSAGE: ARE YOU AWAKE?
61
578.05
MCU CHARLOTTE LOOKING
DOWN, SMILES AND TURNS L,
EXITS L.
62
585.11
NIGHT
MS PAST BOB AND
ONTO TV BG, BOB LAYING ON
STOMACH ON BED WITH FEET
FG AND CHARLOTTE SITTING
AGAINST SIDE OF BED.
63
592.01
MCU TV WITH MOVIE WITH
SUBTITLES. IN JAPANESE.
64
597.11
MS ABOVE WAIST 2 SHOT
CHARLOTTE SITTING L ON
FLOOR AGAINST FOOT OF BED
AND BOB LAYING STOMACH
DOWN ON BED FACING FG
DRINKING SAKE. CHARLOTTE
TAKES UP BOTTLE TO POUR
MORE SAKE.
65
605.09
MCU TV.
66
609.01
AND BOB AS BOB HOLDS
BOTTLE POURS MORE SAKE
INTO CHARLOTTES CUP, PUTS
BOTTLE DOWN BELOW FRAME
FG.
4-31
NARRATIVE TITLE:
MESSAGE ON PAPERFROM: MR. HARRIS.
MESSAGE: ARE YOU
AWAKE?
PAGE 12
576.09
578.04
1.11
67
619.13
MCU LOW ANGLE TV WITH
MONICA VITTI IN MOVIE.
PAGE 13
4-32
CHARLOTTE (TO BOB)The first time I saw you, you

were wearing a tuxedo at the
bar.
621.11
626.13
5.02
4-33
CHARLOTTE (TO BOB)You were very dashing. I liked

the mascara.
(dashing: debonair,
sophisticated)
628.00
633.12
5.12
4-34
BOB (TO CHARLOTTE)But the first time I saw you

was in the elevator.
643.04
646.11
3.07
4-35
CHARLOTTE (TO BOB) Really?
647.05
650.07
3.02
655.08
658.14
3.06
CHARLOTTE (OS)Yknow, the first time I saw you,

you were wearing a tuxedo at the
bar.
68
627.11
MCU ABOVE WAIST HIGH
ANGLE OTS DOWN ON
CHARLOTTE LOOKING UP FG.
SHE DRINKS, TURNING SIDE
ANGLE TO L.
CHARLOTTE (CONT)You were very dashing. I liked the
mascara.
69
640.03
LOOKING RFG.
BOBBut the first time I saw you was in
the elevator.
70
646.15
SIDE ANGLE L LEANS R
TOWARD BOB LAYING
STOMACH DOWN ON BED TO
FG, LOOK L AT HER.
BOB (TO CHARLOTTE) You dont remember?

4-36
CHARLOTTEReally?
BOBYou dont remember?

CHARLOTTEI guess you do kind of blend in,
huh? (LAUGHS)
CHARLOTTE (TO BOB)I guess you do kind of blend

in.
(blend in: that is, dont stand
out among a crowd)
71
661.13
MCU HIGH ANGLE OTS DOWN
ON CHARLOTTE LOOKING UP
TO FG.
PAGE 14
4-37
CHARLOTTE (TO BOB)Did I scowl at you?
662.14
664.14
2.00
4-38-/
BOB (TO CHARLOTTE) No, you smiled.
666.09
670.06
3.13
CHARLOTTE (CONT)Did I scowl at you?
72
665.04
LOOKING RFG.
CHARLOTTE (TO BOB) I did?
BOBNo, you smiled.
73
668.03
ON CHARLOTTE.
CHARLOTTEI did?
74
670.08
LOOKING RFG.
BOBYes, it was a compete accident,
4-39
BOB (TO CHARLOTTE)Yes, a compete accident, a

freak. I havent seen it since.
(freak: a bizarre occurrence)
670.11
675.01
4.06
4-40-/
BOB (TO CHARLOTTE)Just that one time. Like that,

but bigger.
675.11
679.14
4.03
4-41
BOB (TO CHARLOTTE)Bigger.
682.05
683.12
1.07
4-42
BOB (TO CHARLOTTE)Not that big.
686.12
688.08
1.12
a freak. I havent seen it since.

Just that one time.
75
677.05
MCU OTS HIGH ANGLE DOWN
ON CHARLOTTE.
BOB (OS CONT)Like that, but bigger. Bigger. Hm,
might be
76
686.09
LOOKING RFG SMILING.
BOB (CONT)-
well, not that big.
77
690.14
SIDE ANGLE ON FLOOR L AND
BOB ON BED ON STOMACH
FACING FG. THEY BOTH LOOK
UPPER RFG.
78
699.15
MLS BETWEEN BOB AND
CHARLOTTE REAR ANGLE L
AND R ONTO TV BG.
PAGE 15
ACTRESS (VO THRU TV

FILTERED)Marcello, come here. Hurry up.
DISSOLVE TO:
79
708.09
NIGHT
ON CITY LIGHTS AND PAN R
REVEAL REFLECTION IN
WINDOW OF MS SIDE ANGLE
CHARLOTTE SITTING ON BED
BESIDE BOB LYING ON BED ON
STOMACH L TO R FACING R.
BOB JUMPS UP ONTO KNEES,
LAYS BACK AGAINST
HEADBOARD L.
4-43
CHARLOTTE (TO BOB)Why do they switch the Rs

and the ls here?
(they: The Japanese)
714.14
718.04
3.06
4-44
BOB (TO CHARLOTTE)For yucks. To mix it up.

(yucks: colloquial slang for a
joke, laughs)
(mix it up: variety)
720.07
724.08
4.01
4-45
BOB (TO CHARLOTTE)They have to amuse

themselves because were not
making them laugh.
726.08
730.14
4.06
4-46
CHARLOTTE (TO BOB)Lets never come here again

because it would never be as
much fun.
736.08
742.04
5.12
4-47
BOB (TO CHARLOTTE)Whatever you say. Youre the

boss.
747.01
750.07
3.06
CHARLOTTE (OS)Why do they switch the Rs and

the ls here?
BOB (OS)Oh, for yucks. Yknow, just to mix
it up. They have to amuse
themselves. Cause were not
makin em laugh.
CHARLOTTE(LAUGHS) Lets never come here
again cause it would never be as
much fun.
BOBWhatever you say. Youre the

boss.
80
PAGE 16
758.06
NIGHT
MS ABOVE WAIST HIGH DOWN
LAYING SIDE BY SIDE ON
THEIR BACKS ON BED FACING
FG. THEY TALK, ALTERNATELY
GLANCING TOWARD EACH
OTHER L AND R.
4-48
CHARLOTTE (TO BOB)Im stuck.

(That is, in my life in general)
758.09
760.05
1.12
4-49
CHARLOTTE (TO BOB)Does it get easier?

(it: living, being an adult)
766.03
768.03
2.00
4-50
BOB (TO CHARLOTTE)No.
769.08
770.14
1.06
CHARLOTTEIm stuck. Does it get easier?
4-51
BOB (TO CHARLOTTE)Yes. It gets easier.
774.04
779.07
5.03
4-52
CHARLOTTE (TO BOB)Oh yeah? Look at you.

(Look at you: sarcastic, saying
not if I use you as an example)
781.03
785.05
4.02
4-53
BOB (TO CHARLOTTE)Thanks.
788.12
790.05
1.09
4-54
BOB (TO CHARLOTTE)The more you know who you

are and what you want,
793.11
798.11
5.00
4-55
BOB (TO CHARLOTTE)the less you let things upset

you.
800.06
806.08
6.02
4-56
CHARLOTTE (TO BOB)I just dont know what Im

supposed to be.
814.05
817.08
3.03
4-57
CHARLOTTE (TO BOB)I tried being a writer, but I

hate what I write.
822.07
828.04
5.13
4-58
CHARLOTTE (TO BOB)I tried taking pictures, but

theyre so mediocre.
831.07
838.07
7.00
4-59
CHARLOTTE (TO BOB)Every girl goes through a

photography phase.
839.10
844.02
4.08
4-60
CHARLOTTE (TO BOB)You know? Like horses?

(Meaning every girl goes
through a time of loving
horses while growing up.)
845.07
847.11
2.04
4-61
CHARLOTTE (TO BOB)Taking dumb pictures of your

feet.
849.10
855.14
6.04
4-62
BOB (TO CHARLOTTE)Youll figure that out. Im not

worried about you.
859.05
866.05
7.00
BOBNo. Yes. It gets easier.

CHARLOTTEOh yeah? Look at you.
BOBThanks.
CHARLOTTE (LAUGHS)
BOB (CONT)The more you know who you are,
and what you want, the less you
let things upset you.
CHARLOTTEYeah. I just dont know what Im

supposed to be. You know. I tried
being a writer, but... I hate what I
write. And I tried taking pictures,
but... theyre so mediocre, yknow.
I mean, every girl goes through a
photography phase. Yknow, like
horses? Yknow? Take, uh, dumb
pictures of your feet.
BOBYoull figure that out. Im not

worried about you. Keep writing.
CHARLOTTE ROLLS ONTO SIDE
FACING BOB R, RESTS HEAD
ON PILLOW. BOB SHIFTS A
LITTLE TO THE R.
PAGE 17
SAME SHOT CONT.
4-63
BOB (TO CHARLOTTE)Keep writing.
872.01
873.11
1.10
CHARLOTTEBut Im so mean.
4-64
CHARLOTTE (TO BOB)But Im so mean.
881.14
884.04
2.06
4-65
BOB (TO CHARLOTTE)Mean is okay.
887.05
889.05
2.00
4-66
CHARLOTTE (TO BOB)What about marriage? Does

that get easier?
901.01
904.12
3.11
4-67
BOB (TO CHARLOTTE)Thats hard.
915.05
917.01
1.12
4-68
BOB (TO CHARLOTTE)We used to have a lot of fun.
926.03
928.12
2.09
4-69
BOB (TO CHARLOTTE)Lydia would come with me

when I made the movies
931.06
936.06
5.00
4-70
BOB (TO CHARLOTTE)and we would laugh about it

all.
937.01
940.09
3.08
4-71
BOB (TO CHARLOTTE)Now she doesnt want to

leave the kids.
943.11
947.03
3.08
4-72
BOB (TO CHARLOTTE)And she doesnt need me to

be there.
951.14
956.11
4.13
4-73-/
BOB (TO CHARLOTTE)The kids miss me, but theyre

fine.
957.00
961.08
4.08
4-74
BOB (TO CHARLOTTE)It gets a whole lot more

complicated when you have
kids.
(It: marriage, life)
965.08
970.14
5.06
BOBMeans okay.
CHARLOTTEYeah. (PAUSE) What about
marriage? Does that get easier?
BOBThats hard. (PAUSE) We used to

have a lot of fun. Lydia would
come with me when I made the
movies and we would laugh about
it all. Now she doesnt want to
leave the kids, and
81
947.08
CU SIDE ANGLE BOB ON BACK
ON BED FACING TOP OF
FRAME.
BOB (CONT)she doesntneed me to be there.
The kids miss me,
82
958.03
CU CHARLOTTE ON HER SIDE
FACING FG.
BOB (OS CONT)but theyre fine.
83
961.12
CU SIDE ANGLE BOB FACING
TOP OF FRAME. HE GLANCES
FG.
BOB (CONT)It gets a whole lot more
complicated when you have kids.
84
971.14
FACING FG.
PAGE 18
4-75
CHARLOTTE (TO BOB)Its scary.

972.02
974.08
2.06
4-76-/
BOB (TO CHARLOTTE)The most terrifying day of

your life is the day the first
one is born.
980.02
985.04
5.02
4-77
CHARLOTTE (TO BOB)Nobody ever tells you that.
988.08
990.12
2.04
4-78
BOB (TO CHARLOTTE)Your life, as you know it
992.14
998.02
5.04
4-79
BOB (TO CHARLOTTE)is gone. Never to return.
999.05
1005.08
6.03
4-80
BOB (TO CHARLOTTE)But they learn how to walk

and they learn how to talk
1009.04
1013.04
4.00
4-81
BOB (TO CHARLOTTE)and you want to be with them.
1015.14
1020.05
4.07
4-82
BOB (TO CHARLOTTE)And they turn out to be the

most delightful people
1021.14
1027.14
6.00
4-83
BOB (TO CHARLOTTE)you will ever meet in your life.
1029.03
1032.02
2.15
CHARLOTTEYeah. Its scary.
85
975.01
UP.
BOBThe most terrifying day of your
life
86
983.00
MCU CHARLOTTE ON HER SIDE
FACING FG.
BOB (OS CONT)the day the first one is born.
CHARLOTTEYeah. Nobody ever tells you that.

87
991.02
UP. HE LOOKS FG.
BOBYour life, as you know it, is gone.
Never to return.
88
1006.06
MCU CHARLOTTE ON SIDE
HORIZONTAL IN FROM L
FACING FG. SHE SMILES.
BOB (OS CONT)But they learn how to walk and
they learn how to talk and
89
1013.11
UP SHIFTS A BIT.
BOB (CONT)and you want to be with them. And
they turn out to be the most
delightful people you will ever
meet in your life.
90
1032.03
MCU CHARLOTTE ON HER
SIDE.
PAGE 19
4-84
1033.08
1035.08
2.00
4-85
BOB (TO CHARLOTTE)Where did you grow up?
1056.05
1058.02
1.13
1058.06
FACING FG CLOSES EYES.
4-86
CHARLOTTE (TO BOB)I grew up in New York, then I

moved to Los Angeles
1060.14
1067.01
6.03
CHARLOTTEWell, I grew up in New York, and
4-87
CHARLOTTE (TO BOB)when John and I got married,

but its so different there.
1067.06
1073.04
5.14
4-88
BOB (TO CHARLOTTE)I know.
1075.05
1077.00
1.11
4-89
CHARLOTTE (TO BOB)John thinks Im so snotty.

(snotty: arrogant)
1081.00
1084.07
3.07
4-90
BOB (TO CHARLOTTE)Youre not hopeless.
1115.02
1117.06
2.04
CHARLOTTEHm, thats nice.
91
1035.12
TOP RUBS EYE, CLOSES EYES.
BOBWhered you grow up?
92
then I moved to Los Angeles when

John and I got married, but its so
different there.
BOB (OS)Yeah, I know.
93
1079.03
CHARLOTTE AND BOB ON BED,
CHARLOTTE L ON HER SIDE
WITH KNEES DRAWN UP AND
BOB ON HIS BACK FACING FG.
HE PUTS HIS HAND ON
CHARLOTTES FOOT.
CHARLOTTEJohn thinks Im so snotty.
BOB (CHUCKLES)
BOBYoure not hopeless.
FADE TO BLACK.
94
1128.07
INT/EXT. TRAIN/JAPAN
COUNTRYSIDE. DAY
LS OUT WINDOW ON TOWN FG
AND MT. FUJI LOOMING FAR
BG TRACK L.
95
1138.08
LOOKS R OUT WINDOW. SHE
WEARS HEADPHONES.
96
1146.13
MCU CHARLOTTE IN TRAIN
SEAT WITH HEADPHONES,
LOOKS L.
97
1152.08
MLS-LS CHARLOTTES POV
OUT TRAIN WINDOW MOVING R
AS OCEAN, TELEPHONE AND
ELECTRIC WIRES, HOUSES
PASS BY WINDOW R TO L.
98
1158.14
LS OUT WINDOW MOVING L TO
R AS BUILDINGS. HILLTOP
PASS R TO L. PAN L TAKING IN
VIEW OF WATER.
99
1171.03
INT. TRAIN STATION. DAY
MLS HIGH ANGLE DOWN ON
PEOPLE WAITING SITTING ON
BENCHES, PAN UP TO
HANGING SIGNPOST IN
JAPANESE.
100
1179.07
EXT. TRAIN PLATFORM. DAY
MS-MLS PAST RAILROAD
EMPLOYEE REAR ANGLE IN FG
ONTO BULLET TRAIN MOVING
BG TO FG INTO STATION.
101
1186.10
MLS AS CHARLOTTE FRAME R
WALKS FG, EXITS R, TRAIN
STOPPED AT STATION L
FACING FG.
PAGE 20
102
1193.01
MLS LOW ANGLE UP AT TREE
BRANCHES, PAN DOWN.
103
1201.05
MS GROUP OF TEENAGE
GIRLS IN SCHOOL UNIFORM
HANGING AROUND TALKING.
104
1205.10
LS REAR ANGLE CHARLOTTE
CLIMBS STEPS TO TEMPLE BG.
105
1216.13
MS CHARLOTTE WALKS FG.
106
1227.13
LS REAR ANGLE CHARLOTTE L
STOPS, STANDS WATCHING
WEDDING PROCESSION
MOVING FAR BG TO FG.
107
1237.02
LOOKING DOWN, THEN WALKS
FG.
108
1242.06
MS-MLS AS CHARLOTTE REAR
ANGLE LFG EXITS L AS
WEDDING PROCESSION BG
MOVES FG UP PATH.
109
1254.14
PAN R CHARLOTTE WALKS R
THRU TREES.
110
1268.01
BRIDE AND GROOM HOLDING
UMBRELLA WALKING TO R.
111
1274.04
PAGE 21
112
1279.03
MCU SIDE ANGLE GROOM
THEN BRIDE ENTER L , PAN R
WITH THEM WALKING R, THEN
PAN DOWN TO GROOMS
EXTENDED HAND AS BRIDE
PUTS HER HAND IN HIS, THEN
PAN BACK UP AND THEY EXIT
R.
113
1298.14
114
1307.11
EXT. TEMPLE GARDENS. DAY
MLS REAR ANGLE CHARLOTTE
WALKS BG STEPPING FROM
STONE TO STONE IN POND.
115
1325.02
ECU PAPER LEAVES AS
PRAYERS ON TREE, PAN R
AND SHIFT FOCUS BG TO MS
ABOVE WAIST ON CHARLOTTE
AS SHE TIES PAPER ONTO
BRANCH.
116
1338.03
TYING PAPER ONTO BRANCH.
SHE TURNS, EXITS R.
117
1355.13
LS SIDE ANGLE CHARLOTTE
WALKS ACROSS COURTYARD
L TO R, PAN R AS SHE
CROSSES FRAME, WALKS BG
TOWARD TEMPLE.
118
1393.04
LS OUT WINDOW ON CITY
SKYSCAPE, PAN R PICK UP
MCU OTS ON BOBS
REFLECTION IN MIRROR, EYES
CLOSED. HE POPS THEM
OPEN.
PAGE 22
119
1402.12
ECU BOBS HAND TAKES
RAZOR FROM SINK TOP, PAN R
AS HE UNWRAPS IT.
120
1410.14
CU OTS ON BOBS
REFLECTION IN MIRROR
STARING AT TINY RAZOR
PUZZLED.
121
1417.15
MS REAR ANGLE BOB
SHAVING, FACE REFLECTED IN
MIRROR WITH CITY IN BG. HE
REACHES L, ANSWERS PHONE.
122
1425.04
MCU OTS ON BOBS
REFLECTION TALKING ON
PHONE. HE HANGS UP PHONE
OFF FRAME R.
4-91
ITAL
4-92
BOB (INTO PHONE)Hello?
FRONT DESK MAN (VO

FILTERED THRU PHONE)Mr. Harris?
BOB (INTO PHONE)Yes.

FRONT DESK MAN (VO
FILTERED THRU PHONE)A fax for you.
BOB (INTO PHONE)Okay. Can you send it up? You
think you can just kick it under the
door for me, slide it under the door
for me, please?
FRONT DESK MAN (VO
FILTERED THRU PHONE)Do you want I send it to your
room?
4-93
ITAL
PAGE 23
FRONT DESK MAN (TO

BOB)Mr. Harris? A fax for you.
1428.08
1431.10
3.02
BOB (TO FRONT DESK

MAN)Can you send it up? Just slide
it under the door for me?
1434.00
1439.14
5.14
FRONT DESK MAN (TO

BOB)Do you want I send it to your
room?
1441.00
1443.12
2.12
SAME SHOT CONT.

BOB (INTO PHONE)Just slide it under the door,
please. Thank you.
MAN AT FRONT DESK (VO
FILTERED THRU PHONE)Thank you, Mr. Harris.
BOB (INTO PHONE
OVERLAPPING)Okay. Alright, bye.
123
1451.03
MLS SIDE ANGLE MS.
KAWASAKI FRAME L FACING L
AS BOB ENTERS COMING OUT
OF ELEVATOR RBG, THEN
WALKS L AVOIDING BEING
SEEN. PAN L WITH HIM AS HE
EXITS L BEHIND WALL, HOLD
ON MS. KAWASAKI, MORI AND
PRESS AGENT.
MS. KAWASAKI (SPEAKS
JAPANESE)
124
1467.07
EXT. STREET OUTSIDE HOTEL.
DAY
MS BOB PAN L AS HE CLIMBS
OVER SHORT HEDGE TO L
STARTS CROSSING STREET,
STOPS AS CAMPAIGN VAN
WITH STREAMERS MOVES FG
AND MAN RUNS ALONGSIDE
WAVING ARMS.
125
1484.13
VAN WITH MAN AND TWO
WOMEN IN RED BLAZERS LEAN
OUT WINDOW WAVING MOVES
R TO L, EXITS L.
126
1489.06
MCU SIDE ANGLE BOB LOOKS
BG, THEN PAN L AS HE RUNS
BG CROSSING STREET THRU
TRAFFIC.
4-94
BOB (TO FRONT DESK

MAN)Just slide it under the door,
please. Thank you.
PAGE 24
1444.01
1447.02
3.01
127
1502.10
MLS SIDE ANGLE PAN R AS
BOB PACES R TALKING ON
CELL PHONE.
PAGE 25
4-95
BOB (TO MS. KAWASAKI)Ms. Kawasaki its Bob

Harris.
1503.10
1508.00
4.06
4-96
BOB (TO MS. KAWASAKI)Yes, I would love to do his talk

show.
1509.10
1516.02
6.08
4-97
BOB (TO MS. KAWASAKI)I would love to change my

plans and stay.
1518.14
1523.02
4.04
4-98
TALK SHOW HOST (TO

AUDIENCE)Ladies and gentlemen,
1561.10
1564.08
2.14
4-99
TALK SHOW HOST (TO

AUDIENCE)Mr. Bob Harris.
1564.13
1570.02
5.05
BOB (OS INTO PHONE)Hey, Ms. Kawasaki its Bob

Harris.
128
1509.02
MS BOB TALKS ON CELL
PHONE, UNFOLDS PIECE OF
PAPER.
BOB (CONT INTO PHONE)Yes, I would love to do his talk
show. I would.
129
1517.15
ECU HIGH ANGLE DOWN ON
UNFOLDED PIECE OF PAPER IN
BOBS HAND WITH HAND
DRAWN MAN AND NOTE ON IT.
BOB (OS CONT)Mm hm. I would love to change
my plans and stay.
130
1524.00
INT. TALK SHOW STUDIO. DAY
MLS TALK SHOW HOST SITS
RBG FACING RFG AS
ASSISTANT DIRECTOR
COUNTS DOWN STANDING
REAR ANGLE LFG, THEN
KNEELS SIDE ANGLE IN FRONT
OF HOST HOLDING CUE CARD.
BOB IS PARTIALLY VISIBLE FAR
RBG BEHIND SET.
STAGE MANAGER (OS)(SPEAKS JAPANESE)
TALK SHOW HOST(SPEAKS JAPANESE) Ladies

and gentlemen,
TALK SHOW HOST (OS CONT)Mr. Bob Harris. (SPEAKS
JAPANESE)
SAME SHOT CONT.

TRACK LBG PAN R PICKIN UP
BOB AND MS. KAWASAKI
SHOW TRANSLATOR TALKING
WITH OTHER WOMAN REAR
ANGLE, THEN BOB AND
TRANSLATOR WALK FG. SHOW
HOST ENTERS R AND STANDS
SIDE ANGLE ON L CLAPPING
AS BOB AND TRANSLATOR
WALK FG. ZOOM OUT. HOST
OPENS ARMS, GIVES BOB BIG
HUG, SHAKES HIS HAND.
TALK SHOW HOST (CONT)Woo! Cmon, Bob. Cmon Bob.
(SPEAKS JAPANESE) Nice to
meet you. (SPEAKS JAPANESE)
TRANSLATOR(INDISTINCT)
ZOOM BACK AS BOB AND
TRANSLATOR SIT AT DESK
AND HOST STANDS L
CLAPPING, DOES STRANGE
DANCE. BOB STANDS
CLAPPING.
TALK SHOW HOST(SPEAKS JAPANESE)
TRANSLATORHe wants to tell you to stand.
TALK SHOW HOSTJapanese dance step. (SPEAKS

JAPANESE)
TRANSLATOR (OS
OVERLAPPING)Uh, yes Japanese dance step.
BOBDo I have to dance with him?

TALK SHOW HOST(SPEAKS JAPANESE) (LAUGHS)
TRANSLATORWelcome, Bob.
PAGE 26
4-100
TALK SHOW HOST (TO

BOB)Cmon, Bob. Cmon Bob.
1581.00
1584.00
3.00
4-101
TALK SHOW HOST (TO

BOB)Nice to meet you.
1588.07
1591.04
2.13
4-102
TRANSLATOR (TO BOB)He wants to tell you to stand.
1611.11
1614.07
2.12
4-103
TALK SHOW HOST (TO

BOB)Japanese dance step.
1614.10
1616.14
2.04
4-104
BOB (TO TRANSLATOR)Do I have to dance with him?
1618.06
1620.08
2.02
SAME SHOT CONT.
PAGE 27
4-105
TRANSLATOR (TO BOB)Hes saying Welcome, Bob.
1637.05
1639.11
2.06
4-106
ITAL
BOB (TO WIFE) Hello?
1699.02
1701.14
2.12
BOBWhat?
TRANSLATORHes saying Welcome, Bob.
131
1640.00
INT. LIMOUSINE. NIGHT
MCU BOB TAKES PIECES OF
PAPER OUT OF BREAST
POCKET LOOKS THRU THEM.
132
1657.04
ECU POLAROID PHOTO IN
BOBS HAND OF CHARLOTTE
AT PARTY.
133
1661.11
MCU BOB.
134
1671.15
INT. HOTEL SPA ROOM. NIGHT.
MLS BOB SITS IN LARGE TILE
TUB, HEAD VISIBLE ABOVE TUB
SIDE. HE SITS UP, REACHES
FG AND ANSWERS CELL
PHONE, TURNS SIDE ANGLE
FACING L.
WIFE (TO BOB) Bob?
LYDIA (VO FILTERED THRU

PHONE)Bob?
135
1702.03
MS BOB IN TUB TALKING ON
CELL PHONE. HE RECLINES,
SINKING BELOW WATER WITH
ONLY HIS HEAD ABOVE
SURFACE FACING LFG AS HE
TALKS.
BOB (INTO PHONE)Hi, Lydia.
PHONE)Is this a bad time?
4-107
BOB (TO WIFE)Hi Lydia.
1705.03
1706.14
1.11
4-108
ITAL
WIFE (TO BOB)Is this a bad time?
1707.08
1709.09
2.01
SAME SHOT CONT.
PAGE 28
4-109
BOB (TO WIFE)No, its always a good time.
1711.08
1713.15
2.07
4-110
ITAL
WIFE (TO BOB)Your burgundy carpet isnt in

stock. Its gonna take twelve
weeks.
(in stock: in the store)
1715.07
1722.07
7.00
4-111
ITAL
WIFE (TO BOB)Did you like any of the other

colors?
1723.00
1725.09
2.09
4-112
BOB (TO WIFE)Whatever you like. Im

completely lost.
(lost: unable to decide)
1731.00
1735.04
4.04
4-113-/
ITAL
WIFE (TO BOB)Its just carpet.

(Its: the decision at hand)
1737.04
1739.14
2.10
1739.09
MLS SIDE ANGLE BOB IN TUB
TALKING ON CELL PHONE.
4-114
BOB (TO WIFE)Thats not what Im talking

about.
1741.08
1743.12
2.04
BOB (INTO PHONE)Thats not what Im talking about.
4-115
ITAL
WIFE (TO BOB)What are you talking about?
1744.01
1746.08
2.07
4-116
BOB (TO WIFE)I dont know I just want to

get healthy.
1750.12
1754.04
3.08
4-117
BOB (TO WIFE)I want to take better care of

myself.
1754.12
1758.00
3.04
4-118
BOB (TO WIFE)I would like to start eating

healthier.
1759.03
1763.05
4.02
4-119
BOB (TO WIFE)I dont want all that pasta.
1764.03
1766.09
2.06
4-120

Japanese food.
1770.00
1773.09
3.09
BOB (INTO PHONE)No, its always a good time.

PHONE)Look, um, your burgundy carpet
isnt in stock. Its gonna take
twelve weeks. Did you like any of
the other colors?
BOB (INTO PHONE)Whatever you like. Im, Im

completely lost.

PHONE)Its just carpet.
136

PHONE)What are you talking about?
BOB (INTO PHONE)I dont know, I just want to get
healthy. Yknow, I want to take
better care of myself. I would like
to start eating healthier.
137
1763.11
MS BOB SITS UP IN TUB STILL
ON PHONE. HE TURNS FACING
FG A MOMENT, LEANS ON SIDE
OF TUB.
BOB (INTO PHONE CONT)I dont want all that pasta. I would
like to start eating, like, Japanese
food.
SAME SHOT CONT.
PAGE 29
4-121
ITAL
WIFE (TO BOB)Why dont you stay there and

you can have it every day?
1776.08
1781.05
4.13
4-122
BOB (TO WIFE)How are the kids doing?
1789.04
1791.12
2.08
4-123
ITAL
WIFE (TO BOB)Theyre fine. They miss their

father
1793.04
1797.09
4.05
4-124
ITAL
WIFE (TO BOB)but theyre getting used to

your not being here.
1797.14
1801.07
3.09
4-125
ITAL
WIFE (TO BOB)Do I need to worry about you,

Bob?
1802.01
1804.14
2.13
4-126
BOB (TO WIFE)Only if you want to.
1808.02
1810.09
2.07
4-127
ITAL
WIFE (TO BOB)I got things to do. I gotta go.
1815.04
1819.04
4.00
4-128
BOB (TO WIFE)Okay.
1820.01
1821.08
1.07
4-129
ITAL
WIFE (TO BOB)Ill see you I mean, Ill talk to

you later.
1823.07
1827.03
3.12
4-130
ITAL
WIFE (TO BOB)Okay. Bye.
1829.07
1832.04
2.13

PHONE)Well, why dont you just stay there
and you can have it every day?
138
1784.06
MLS BOB IN TUB TALKING ON
PHONE.
BOB (INTO PHONE)How are the kids doing?

PHONE)Theyre fine. They miss their father
but theyre getting used to your not
being here. Look, do I need to
worry about you, Bob?
BOB (INTO PHONE)Only if you want to.

PHONE)Bob, I got things to do. I gotta go.
BOB (INTO PHONE)Okay.
PHONE)Ill see you la I mean, Ill talk to
you later.

PHONE)Okay, bye.
BOB (INTO PHONE)Bye.
HE HANGS UP PHONE, PUTS IT
DOWN FG ON TOWEL, THEN
SINKS BELOW TUB SIDE.
139
1857.10
INT. SAUNA. NIGHT
MS TWO GERMAN
BUSINESSMEN SITTING SIDE
ANGLE LFG SIDE BY SIDE AND
BOB LAYING ON BENCH BG
HORIZONTAL IN FRAME FROM
R.
TWO BUSINESSMEN (SPEAK
GERMAN)
140
1877.06
NIGHT
ECU TV SHOWING BOB AND
HOST ON SHOW BOTH
LEANING FG INTO CAMERA
LENS. THEY SIT BACK INTO
MCU.
141
1890.07
MS ABOVE WAIST BOB SITTING
ON END OF BED LOOKING LFG.
TALK SHOW HOST (VO
FILTERED)(SPEAKS JAPANESE) We have
142
1894.06
ECU TV SCREEN BOBS
APPEARANCE ON TALK SHOW
AS HOST, BOB AND
TRANSLATOR SIT FACING FG
AND HOST LEANS FG WITH
HANDS TOGETHER AND
ANIMATED HEART SHAPED
GRAPHIC APPEARS. BOB
IMITATES HOST. HEART
GRAPHIC FILLS SCREEN, THEN
HOST REAPPEARS FRAME L.
TALK SHOW HOST-(VO ON TV
FILTERED CONT)Matthew Smellick.
BOB (VO ON TV FILTERED)Matthew Snellick.
TALK SHOW HOST (VO ON TV
FILTERED)(SPEAKS JAPANESE)
PAGE 30
143
1910.06
MS ABOVE WAIST BOB.
144
1914.12
INT. HOTEL RESTAURANT/
LOUNGE. NIGHT
ON BOB AT BAR. JAZZ SINGER
ENTERS FROM R, SITS NEXT
TO BOB BG, TURNS FG
ENGAGES IN CONVERSATION.
JAZZ SINGER (OS)Thank you. Thank you so much.
Well take a really short break and
well see you in a minute.
JAZZ SINGER (CONT)Hi. Uh, champagne. Thanks. Hi.
1949.14
REEL 4A/B
PAGE 31
4-131
JAZZ SINGER (TO

BARTENDER)Hi. Champagne. Thanks.
1932.01
1935.14
3.13
4-132
JAZZ SINGER (TO BOB)Hi.
1945.06
1946.14
1.08
COMBINED CONTINUITY
& DIALOGUE
SC#:
FOOTAGE/
SHOT DESCRIPTION/
DIALOGUE:
PAGE 1

TITLE#:
TITLE:
START:

LABORATORY:
12.00I
NT. X-RAY EXAMINATION
ROOM. DAY
ANGLE ATOP X-RAY TABLE AS
TECHNICIAN BG PUTS STRIP
OF FILM ON HER TOE,
REACHES UP.
20.14
DAY
MS BOB STANDS SIDE ANGLE L
UP AGAINST DOOR FACING L,
PEOPLE SEATED R,
RECEPTIONS COUNTER BG.
25.09
DAY
MS BOB SITTING NEXT TO OLD
MAN IN WHITE CAP WITH
CANE, TWO WOMEN SEATED
BACK LBG. BOB NUDGES OLD
MAN WHO LOOKS AT HIM.
PERSON CROSSES FRAME FG
R TO L, BOB POINTS FG.
40.12
MCU LOW ANGLE PAN L WITH
BOX MOVING BG TO FG THEN
CROSSING FG R TO L.
1ST SCENE START:

2ND SCENE START:
3RD SCENE START:
4TH SCENE START:
12.00
20.14
25.09
40.12
FINISH:
TOTAL:
PAGE 2
45.10
OTS ON DOCTOR POINTING TO
X-RAY OF CHARLOTTES FOOT
ON LIGHT BOARD. DOCTOR
LOOKS FG.
DOCTOR(SPEAKS JAPANESE)
55.10
INT. WAITING AREA. DAY
MS BOB SITTING WITH OLD
MAN. OLD MAN GESTURES
WITH HAND AND BOB
IMITATES.
BOBIndeska?
OLD MAN(SPEAKS JAPANESE) Japan.
BOBJapan.
OLD MANEmperor. Japan Emperor.
BOBJapan
OLD MANEmperor,
BOBAfter...?
OLD MANEmperor.
BOBJapan...?
4-1
BOB (TO OLD MAN)Japan.
84.00
85.00
1.00
4-2
BOB (TO OLD MAN)Japan... After... Japan?
89.11
96.05
6.10
SAME SHOT CONT.
PAGE 3
4-3
BOB (TO OLD MAN)How does that song go?

(Bobs joking because Old
Man is humming)
135.11
137.09
1.14
4-4
CHARLOTTE (TO BOB)Is that for me?

(that: stuffed pillow Bob is
holding)
157.00
158.02
1.02
4-5
BOB (TO CHARLOTTE)It can be for you.

(It: pillow)
160.10
162.12
2.02
BOBNunnen?
OLD MAN MAKES CIRCLE
MOTION WITH HAND AND SO
DOES BOB.
OLD MAN (HUMS)
BOB (HUMS)
OLD MAN LAUGHS.
BOB(HUMS) Hows that song go?
137.13
MCU SIDE ANGLE CHARLOTTE.
DOCTOR (OS)(SPEAKS JAPANESE)
144.06
ANGLE OTS UP AT DOCTOR
POINTING TO X-RAY OF FOOT
ON BOARD.
DOCTOR (CONT)(SPEAKS JAPANESE)
150.02
DAY
ENTERS EMERGING FROM XRAY ROOM, STANDS IN
DOORWAY LOOKING FG
SMILING.
CHARLOTTEIs that for me?
10
158.06
MS BOB SITTING WITH
STUFFED PILLOW ANIMAL.
BOBYeah, it can be for you.
11
167.07
EXT. HOSPITAL DRIVEWAY.
DAY
MS LOW REAR ANGLE
CHARLOTTE AND BOB WALK
BG UP DRIVEWAY.
12
173.14
ROOM. DAY
LONG T-SHIRT SITTING ON BED
OPENS BOOK.
13
179.01
ECU OTS HIGH ANGLE DOWN
ON OPEN BOOK AS
CHARLOTTE REMOVES
PHOTOGRAPH FROM SIDE
POCKET.
14
183.06
LOOKS AT PICTURE.
15
188.06
ECU PICTURE OF CHARLOTTE
AND JOHN HELD IN
CHARLOTTES HAND. SHE
SHIFTS PICTURE TO ANOTHER
SHOT OF HER AND JOHN.
16
197.11
17
202.03
MLS BOB PRACTICING
PUTTING IN HIS ROOM PUTS
GOLF BALL FG. HE PUMPS
FIST.
PAGE 4
18
208.08
EXT. TOKYO NEIGHBORHOOD.
NIGHT
LS ELEVATED SUBWAY
MOVING L TO R WITH
BUILDINGS BG, PAN R AND
DOWN AND PICK UP BOB
GETTING OUT OF TAXI
HOLDING PIECE OF PAPER,
WALKS R.
CHARLOTTE (VO)Hey, Bob, its Charlotte. Um, Im
gonna meet Charlie and those
guys at this place called Orange
around ten, so Ill fax you a map
on how to get there. I hope you
can come and meet us. Bye.
19
244.02
INT. STRIP CLUB. NIGHT
MS TOPLESS GIRL DANCING
ON LIT CIRCULAR PEDESTAL,
GUY ON SOFA R.
20
250.05
MS BOB SITTING, NODS. LEGS
OF GIRL DANCING PARTIALLY
IN FRAME RFG.
21
256.03
AS GIRL DANCES ON
PLATFORM R, BOB SITTING L,
OTHERS SITTING LFG AND BG.
GIRL BENDS OVER
BACKWARDS.
22
264.12
MS BETWEEN GIRLS LEGS ON
BOB REACHING FG AS IF
KEEPING GIRL FROM FALLING.
HE GLANCES UP
UNCOMFORTABLY.
23
274.12
WITH GIRL DANCING R, BAR BG
AND BOB SEATED L.
CHARLOTTE ENTERS RFG AND
WALKS LBG TO BOB.
PAGE 5
4-6
ITAL
CHARLOTTE (TO BOB)Bob, its Charlotte. Im gonna

meet Charlie and the guys
213.04
219.04
6.00
4-7
ITAL
CHARLOTTE (TO BOB)at this place Orange around

ten. Ill fax you a map to get
there.
219.09
226.07
6.14
4-8
ITAL
CHARLOTTE (TO BOB)I hope you can come and

meet us. Bye.
226.12
229.12
3.00
24
278.13
MS BOB TAPS EMPTY SPOT OF
SOFA BESIDE HIM AS
CROSSES TO RBG SITS
BESIDE BOB.
25
285.00
MCU PAST BOB SIDE ANGLE
LFG ONTO CHARLOTTE
TURNED FRONT ANGLE. SHIFT
FOCUS FROM CHARLOTTE TO
BOB THEN BACK TO
CHARLOTTE.
4-9
CHARLOTTE (TO BOB)How long have you been

here?
285.00
286.12
1.12
4-10
BOB (TO CHARLOTTE)I couldnt say.
288.11
290.06
1.11
4-11
CHARLOTTE (TO BOB)Wheres Charlie and those

guys?
291.06
293.09
2.03
4-12
BOB (TO CHARLOTTE)Theyre taking a dance class.

(Bob is sarcastically referring
to Charlie and others having
strippers dance for them)
297.02
299.08
2.06
CHARLOTTEHow long have you been here?

BOBI couldnt say.
CHARLOTTEWheres Charlie and those guys?
BOBUm, theyre takin a dance class.
26
306.04
MLS CHARLIE SITTING AS
ANOTHER TOPLESS GIRL
DANCES IN FRONT OF HIM
REAR ANGLE.
27
310.09
MS BOB AND CHARLOTTE.
28
315.15
MLS GIRL BENDS THEN ROLLS
COMPLETELY OVER ON
PLATFORM FG ENDS UP ON
HANDS AND KNEES REAR
ANGLE.
PAGE 6
29
326.02
MCU SIDE ANGLE BOB RFG
AND CHARLOTTE BG LOOKING
FG. BOB NODS AND THEY
RISE, EXIT R.
4-13
BOB (TO CHARLOTTE) Can I get you some drinks?
PAGE 7
327.06
330.14
3.08
CHARLOTTE (TO BOB) Lets go.
BOBCan I get you a couple drinks?

CHARLOTTELets go.
BOBOkay.
CHARLOTTE (OVERLAPPING)Okay.
30
334.01
MS BOB STANDS AS
CHARLOTTE EXITS L. BOB
STEPS FG, WOMANS LEG
PART IN FRAME LFG AS BOB
SEMI-BOWS FG, THEN EXITS L.
4-14
BOB (TO STRIPPER)Thank you.
335.02
336.08
1.06
4-15
BOB (TO CHARLOTTE)Hes got blockers.

(blockers: players in American
football who run in front of
person with ball)
344.07
345.12
1.05
4-16
BOB (TO CHARLOTTE)Theyve got room to run.

(They: Bob and Charlotte)
348.08
350.04
1.12
BOB (OS)Thank you.
31
338.15
EXT. TOKYO STREET. NIGHT.
MS SIDE ANGLE TRACK R AS
PEDESTRIANS WALK S TO R
AND R TO L.
32
342.03
MLS CHARLOTTE AND BOB
RUN FG AND PAN R ZOOMING
OUT.
BOBHes got blockers.
33
347.02
FOLLOWING BOB RUNNING BG
PULLING CHARLOTTE ALONG
BY THE HAND.
BOB (OS CONT)Theyve got room to run.
34
350.10
MS BOB AND CHARLOTTE
RUNNING FG ZIG-ZAGGING L
AND R, BOB PULLING
CHARLOTTE BY HAND, ZOOM
OUT AS THEY RUN FG.
PAGE 8
4-17-/
BOB (TO CHARLOTTE)Hes cutting back. Hes

dancin. Where did he go?
(Cutting back: term in
American football for zigzagging)
351.12
358.07
6.11
4-18
CHARLOTTE (TO BOB)There you are.

(There: referring to Bob on
billboard ad)
364.00
365.11
1.11
4-19
CHARLOTTE (TO BOB)Say hi.
370.10
372.04
1.10
4-20
CHARLOTTE (TO BOB)You ready? Cmon!
380.04
383.14
3.10
BOB (CONT)Hes cutting back. He cut back.

Hes dancin, hes dancin.
Whered
35
357.11
MCU REAR ANGLE TRACK BG
FOLLOWING CHARLOTTE AND
BOB AND THEN THEY STOP
TURN LOOK L.
BOB (OS CONT)he go?
36
361.04
CHARLOTTE R LOOKING LFG.
37
363.08
LS LONG RECTANGULAR
BILLBOARD WITH BOB ON IT IN
AD FOR SUNTORY LIQUOR.
CHARLOTTE (OS)There you are.
38
369.05
MCU SIDE ANGLE BOB AND
CHARLOTTE LOOKING L. BOB
WAVES HELLO TO L.
CHARLOTTE (CONT)Say hi.
39
376.11
AND BOB FACING L AS BOB
WAVES, PEOPLE PASSING RBG
TO RFG BEHIND THEM, THEN
THEY RUN EXIT L.
CHARLOTTEHi. You ready? Cmon.
40
386.15
INT. HOTEL LOBBY OUTSIDE
RESTAURANT/LOUNGE. NIGHT
MS KELLY SINGS KARAOKE,
BARTENDER IN BG AT BAR.
PAGE 9
4-21
KELLY (TO PEOPLE IN

LOUNGE)Thank you, Tokyo.
388.12
391.03
2.07
4-22
ITAL
KELLY (TO PEOPLE IN

LOUNGE)Nobody does it better.
(it: be a lover)
391.10
398.08
6.14
4-23
ITAL
KELLY (TO PEOPLE IN

LOUNGE)Makes me feel sad for the
rest.
401.12
408.12
7.00
4-24 -/
ITAL
KELLY (TO PEOPLE IN

LOUNGE)Nobody does it
412.12
417.00
4.04
4-25
ITAL
KELLY (TO PEOPLE IN

LOUNGE)-
417.08
422.02
4.10
KELLYThank you, Tokyo!
41
391.04
MS ABOVE WAIST AS BOB AND
CHARLOTTE ENTER COMING
OUT OF ELEVATOR L, THEN
TURN START FG.
KELLY (OS CONT)(SINGING) Nobody does it better.
42
398.09
MS KELLY SINGING, HER
BOYFRIEND SITTING SIDE
ANGLE L AND BARTENDER IN
BG. TRACK R.
KELLY (CONT)(SINGING) Makes me feel sad for
the rest. Nobody
43
413.07
AND CHARLOTTE WALKING FG.
KELLY (OS CONT)(SINGING) does it
44
417.05
MS KELLY SINGING, TRACK R.
half as good as you.

KELLY (CONT)(SINGING) half as good as you.
(LAUGHS) Baby, youre
45
427.07
CHARLOTTE TRACK BACK AS
THEY WALK FG START
CROSSING FRAME TO L.
KELLY (OS CONT)(SINGING) the best. You too.
4-26 -/
ITAL
KELLY (TO PEOPLE IN

LOUNGE)Baby, youre the best.
423.12
429.04
5.08
4-27-/
KELLY (TO COUPLE IN

LOUNGE)You, too. Both of you.
429.09
432.09
3.00
46
431.09
MS KELLY SINGING, TRACK R
PICK UP COUPLE SEATED SIDE
ANGLE ON L LAUGHING.
PAGE 10
4-28 -/
ITAL
KELLY (TO PEOPLE IN

LOUNGE)I wasnt lookin
435.06
439.02
3.12
4-29
ITAL
KELLY (TO PEOPLE IN

LOUNGE)but Im glad I found you
440.05
444.08
4.03
4-30
ITAL
KELLY (TO PEOPLE IN

LOUNGE)I tried to hide from your love.
446.00
453.00
7.00
KELLY (OS CONT)Both of you. (SINGING) I wasnt

lookin,
47
438.14
MS SIDE ANGLE AS BOB AND
CHARLOTTE WALK L, PAN L
WITH THEM AND HOLD AS
THEY RUN BG, EXIT FAR LBG.
KELLY (OS CONT)(SINGING) but Im glad I found
you. I tried to hide from your love,
yeah.
CHARLOTTE (LAUGHS)
48
454.06
ROOM. NIGHT
MS WINDOW WITH CITY
LIGHTS AND BUILDINGS FAR
BG THRU WINDOW, THEN PAN
DOWN REVEAL CHARLOTTE
ON HER SIDE IN BED FACING
FG IN FRAME FROM R.
49
472.07
ROOM. NIGHT
SITS UP IN BED.
50
481.05
WITH HEAD DOWN.
51
488.12
ROOM. NIGHT
REACHES BG TURNS ON
LIGHT, SITS UP FACING R.
52
503.05
ROOM. MS ABOVE WAIST REAR
ANGLE CHARLOTTE SITTING
ON SIDE OF BED PUTS ON
SWEATER.
53
517.03
ROOM. NIGHT
MS AS CHARLOTTES
REFLECTION IN WINDOW
WALKS L TO R ACROSS
FRAME.
54
521.14
ROOM. NIGHT
SITTING IN CHAIR PICKS UP
MAGAZINE, BEGINS LOOKING
THRU IT.
55
531.11
ROOM. NIGHT
ANGLE DOWN ON CHARLOTTE
IN CHAIR LOOKING OFF L
THINKING.
56
540.08
MCU BOTTOM OF ROOM DOOR
AS NOTE IS SLIPPED FG
UNDER DOOR.
57
542.11
DOWN ON CHARLOTTE IN
CHAIR LOOKS BG BELOW
FRAME, GETS UP AND EXITS
FG, PAN UP LS CITY IN BG
THRU WINDOW.
58
557.15
MCU REAR ANGLE
CHARLOTTES CALVES, FEET
STEPPING BG AND SHE BENDS
INTO FRAME, PICKS UP NOTE
AND STANDS BACK UP OUT OF
FRAME.
PAGE 11
59
567.02
MCU CHARLOTTE.
60
570.01
ENVELOPE IN CHARLOTTES
HAND, SHE TURNS IT OVER
AND PULLS OUT NOTE. IT
READS:
FROM: MR. HARRIS
MESSAGE: ARE YOU AWAKE?
61
578.05
MCU CHARLOTTE LOOKING
DOWN, SMILES AND TURNS L,
EXITS L.
62
585.11
NIGHT
MS PAST BOB AND
ONTO TV BG, BOB LAYING ON
STOMACH ON BED WITH FEET
FG AND CHARLOTTE SITTING
AGAINST SIDE OF BED.
63
592.01
MCU TV WITH MOVIE WITH
SUBTITLES. IN JAPANESE.
64
597.11
MS ABOVE WAIST 2 SHOT
CHARLOTTE SITTING L ON
FLOOR AGAINST FOOT OF BED
AND BOB LAYING STOMACH
DOWN ON BED FACING FG
DRINKING SAKE. CHARLOTTE
TAKES UP BOTTLE TO POUR
MORE SAKE.
65
605.09
MCU TV.
66
609.01
AND BOB AS BOB HOLDS
BOTTLE POURS MORE SAKE
INTO CHARLOTTES CUP, PUTS
BOTTLE DOWN BELOW FRAME
FG.
4-31
NARRATIVE TITLE:
MESSAGE ON PAPERFROM: MR. HARRIS.
MESSAGE: ARE YOU
AWAKE?
PAGE 12
576.09
578.04
1.11
67
619.13
MCU LOW ANGLE TV WITH
MONICA VITTI IN MOVIE.
PAGE 13
4-32
CHARLOTTE (TO BOB)The first time I saw you, you

were wearing a tuxedo at the
bar.
621.11
626.13
5.02
4-33
CHARLOTTE (TO BOB)You were very dashing. I liked

the mascara.
(dashing: debonair,
sophisticated)
628.00
633.12
5.12
4-34
BOB (TO CHARLOTTE)But the first time I saw you

was in the elevator.
643.04
646.11
3.07
4-35
CHARLOTTE (TO BOB) Really?
647.05
650.07
3.02
655.08
658.14
3.06
CHARLOTTE (OS)Yknow, the first time I saw you,

you were wearing a tuxedo at the
bar.
68
627.11
MCU ABOVE WAIST HIGH
ANGLE OTS DOWN ON
CHARLOTTE LOOKING UP FG.
SHE DRINKS, TURNING SIDE
ANGLE TO L.
CHARLOTTE (CONT)You were very dashing. I liked the
mascara.
69
640.03
LOOKING RFG.
BOBBut the first time I saw you was in
the elevator.
70
646.15
SIDE ANGLE L LEANS R
TOWARD BOB LAYING
STOMACH DOWN ON BED TO
FG, LOOK L AT HER.
BOB (TO CHARLOTTE) You dont remember?

4-36
CHARLOTTEReally?
BOBYou dont remember?

CHARLOTTEI guess you do kind of blend in,
huh? (LAUGHS)
CHARLOTTE (TO BOB)I guess you do kind of blend

in.
(blend in: that is, dont stand
out among a crowd)
71
661.13
ON CHARLOTTE LOOKING UP
TO FG.
PAGE 14
4-37
CHARLOTTE (TO BOB)Did I scowl at you?
662.14
664.14
2.00
4-38-/
BOB (TO CHARLOTTE) No, you smiled.
666.09
670.06
3.13
CHARLOTTE (CONT)Did I scowl at you?
72
665.04
LOOKING RFG.
CHARLOTTE (TO BOB) I did?
BOBNo, you smiled.
73
668.03
ON CHARLOTTE.
CHARLOTTEI did?
74
670.08
LOOKING RFG.
BOBYes, it was a compete accident,
4-39
BOB (TO CHARLOTTE)Yes, a compete accident, a

freak. I havent seen it since.
(freak: a bizarre occurrence)
670.11
675.01
4.06
4-40-/
BOB (TO CHARLOTTE)Just that one time. Like that,

but bigger.
675.11
679.14
4.03
4-41
BOB (TO CHARLOTTE)Bigger.
682.05
683.12
1.07
4-42
BOB (TO CHARLOTTE)Not that big.
686.12
688.08
1.12
a freak. I havent seen it since.

Just that one time.
75
677.05
MCU OTS HIGH ANGLE DOWN
ON CHARLOTTE.
BOB (OS CONT)Like that, but bigger. Bigger. Hm,
might be
76
686.09
LOOKING RFG SMILING.
BOB (CONT)-
well, not that big.
77
690.14
SIDE ANGLE ON FLOOR L AND
BOB ON BED ON STOMACH
FACING FG. THEY BOTH LOOK
UPPER RFG.
78
699.15
MLS BETWEEN BOB AND
CHARLOTTE REAR ANGLE L
AND R ONTO TV BG.
PAGE 15
ACTRESS (VO THRU TV

FILTERED)Marcello, come here. Hurry up.
DISSOLVE TO:
79
708.09
NIGHT
ON CITY LIGHTS AND PAN R
REVEAL REFLECTION IN
WINDOW OF MS SIDE ANGLE
CHARLOTTE SITTING ON BED
BESIDE BOB LYING ON BED ON
STOMACH L TO R FACING R.
BOB JUMPS UP ONTO KNEES,
LAYS BACK AGAINST
HEADBOARD L.
4-43
CHARLOTTE (TO BOB)Why do they switch the Rs

and the ls here?
(they: The Japanese)
714.14
718.04
3.06
4-44
BOB (TO CHARLOTTE)For yucks. To mix it up.

(yucks: colloquial slang for a
joke, laughs)
(mix it up: variety)
720.07
724.08
4.01
4-45
BOB (TO CHARLOTTE)They have to amuse

themselves because were not
making them laugh.
726.08
730.14
4.06
4-46
CHARLOTTE (TO BOB)Lets never come here again

because it would never be as
much fun.
736.08
742.04
5.12
4-47
BOB (TO CHARLOTTE)Whatever you say. Youre the

boss.
747.01
750.07
3.06
CHARLOTTE (OS)Why do they switch the Rs and

the ls here?
BOB (OS)Oh, for yucks. Yknow, just to mix
it up. They have to amuse
themselves. Cause were not
makin em laugh.
CHARLOTTE(LAUGHS) Lets never come here
again cause it would never be as
much fun.
BOBWhatever you say. Youre the

boss.
80
PAGE 16
758.06
NIGHT
MS ABOVE WAIST HIGH DOWN
LAYING SIDE BY SIDE ON
THEIR BACKS ON BED FACING
FG. THEY TALK, ALTERNATELY
GLANCING TOWARD EACH
OTHER L AND R.
4-48
CHARLOTTE (TO BOB)Im stuck.

(That is, in my life in general)
758.09
760.05
1.12
4-49
CHARLOTTE (TO BOB)Does it get easier?

(it: living, being an adult)
766.03
768.03
2.00
4-50
BOB (TO CHARLOTTE)No.
769.08
770.14
1.06
CHARLOTTEIm stuck. Does it get easier?
4-51
BOB (TO CHARLOTTE)Yes. It gets easier.
774.04
779.07
5.03
4-52
CHARLOTTE (TO BOB)Oh yeah? Look at you.

(Look at you: sarcastic, saying
not if I use you as an example)
781.03
785.05
4.02
4-53
BOB (TO CHARLOTTE)Thanks.
788.12
790.05
1.09
4-54
BOB (TO CHARLOTTE)The more you know who you

are and what you want,
793.11
798.11
5.00
4-55
BOB (TO CHARLOTTE)the less you let things upset

you.
800.06
806.08
6.02
4-56
CHARLOTTE (TO BOB)I just dont know what Im

supposed to be.
814.05
817.08
3.03
4-57
CHARLOTTE (TO BOB)I tried being a writer, but I

hate what I write.
822.07
828.04
5.13
4-58
CHARLOTTE (TO BOB)I tried taking pictures, but

theyre so mediocre.
831.07
838.07
7.00
4-59
CHARLOTTE (TO BOB)Every girl goes through a

photography phase.
839.10
844.02
4.08
4-60
CHARLOTTE (TO BOB)You know? Like horses?

(Meaning every girl goes
through a time of loving
horses while growing up.)
845.07
847.11
2.04
4-61
CHARLOTTE (TO BOB)Taking dumb pictures of your

feet.
849.10
855.14
6.04
4-62
BOB (TO CHARLOTTE)Youll figure that out. Im not

worried about you.
859.05
866.05
7.00
BOBNo. Yes. It gets easier.

CHARLOTTEOh yeah? Look at you.
BOBThanks.
CHARLOTTE (LAUGHS)
BOB (CONT)The more you know who you are,
and what you want, the less you
let things upset you.
CHARLOTTEYeah. I just dont know what Im

supposed to be. You know. I tried
being a writer, but... I hate what I
write. And I tried taking pictures,
but... theyre so mediocre, yknow.
I mean, every girl goes through a
photography phase. Yknow, like
horses? Yknow? Take, uh, dumb
pictures of your feet.
BOBYoull figure that out. Im not

worried about you. Keep writing.
CHARLOTTE ROLLS ONTO SIDE
FACING BOB R, RESTS HEAD
ON PILLOW. BOB SHIFTS A
LITTLE TO THE R.
PAGE 17
SAME SHOT CONT.
4-63
BOB (TO CHARLOTTE)Keep writing.
872.01
873.11
1.10
CHARLOTTEBut Im so mean.
4-64
CHARLOTTE (TO BOB)But Im so mean.
881.14
884.04
2.06
4-65
BOB (TO CHARLOTTE)Mean is okay.
887.05
889.05
2.00
4-66
CHARLOTTE (TO BOB)What about marriage? Does

that get easier?
901.01
904.12
3.11
4-67
BOB (TO CHARLOTTE)Thats hard.
915.05
917.01
1.12
4-68
BOB (TO CHARLOTTE)We used to have a lot of fun.
926.03
928.12
2.09
4-69
BOB (TO CHARLOTTE)Lydia would come with me

when I made the movies
931.06
936.06
5.00
4-70
BOB (TO CHARLOTTE)and we would laugh about it

all.
937.01
940.09
3.08
4-71
BOB (TO CHARLOTTE)Now she doesnt want to

leave the kids.
943.11
947.03
3.08
4-72
BOB (TO CHARLOTTE)And she doesnt need me to

be there.
951.14
956.11
4.13
4-73-/
BOB (TO CHARLOTTE)The kids miss me, but theyre

fine.
957.00
961.08
4.08
4-74
BOB (TO CHARLOTTE)It gets a whole lot more

complicated when you have
kids.
965.08
970.14
5.06
BOBMeans okay.
CHARLOTTEYeah. (PAUSE) What about
marriage? Does that get easier?
BOBThats hard. (PAUSE) We used to

have a lot of fun. Lydia would
come with me when I made the
movies and we would laugh about
it all. Now she doesnt want to
leave the kids, and
81
947.08
CU SIDE ANGLE BOB ON BACK
ON BED FACING TOP OF
FRAME.
BOB (CONT)she doesntneed me to be there.
The kids miss me,
82
958.03
FACING FG.
BOB (OS CONT)but theyre fine.
83
961.12
TOP OF FRAME. HE GLANCES
FG.
BOB (CONT)It gets a whole lot more
complicated when you have kids.
84
971.14
FACING FG.
PAGE 18
4-75
CHARLOTTE (TO BOB)Its scary.

972.02
974.08
2.06
4-76-/
BOB (TO CHARLOTTE)The most terrifying day of

your life is the day the first
one is born.
980.02
985.04
5.02
4-77
CHARLOTTE (TO BOB)Nobody ever tells you that.
988.08
990.12
2.04
4-78
BOB (TO CHARLOTTE)Your life, as you know it
992.14
998.02
5.04
4-79
BOB (TO CHARLOTTE)is gone. Never to return.
999.05
1005.08
6.03
4-80
BOB (TO CHARLOTTE)But they learn how to walk

and they learn how to talk
1009.04
1013.04
4.00
4-81
BOB (TO CHARLOTTE)and you want to be with them.
1015.14
1020.05
4.07
4-82
BOB (TO CHARLOTTE)And they turn out to be the

most delightful people
1021.14
1027.14
6.00
4-83
BOB (TO CHARLOTTE)you will ever meet in your life.
1029.03
1032.02
2.15
CHARLOTTEYeah. Its scary.
85
975.01
UP.
BOBThe most terrifying day of your
life
86
983.00
MCU CHARLOTTE ON HER SIDE
FACING FG.
BOB (OS CONT)the day the first one is born.
CHARLOTTEYeah. Nobody ever tells you that.

87
991.02
UP. HE LOOKS FG.
BOBYour life, as you know it, is gone.
Never to return.
88
1006.06
HORIZONTAL IN FROM L
FACING FG. SHE SMILES.
BOB (OS CONT)But they learn how to walk and
they learn how to talk and
89
1013.11
UP SHIFTS A BIT.
BOB (CONT)and you want to be with them. And
they turn out to be the most
delightful people you will ever
meet in your life.
90
1032.03
MCU CHARLOTTE ON HER
SIDE.
PAGE 19
4-84
1033.08
1035.08
2.00
4-85
BOB (TO CHARLOTTE)Where did you grow up?
1056.05
1058.02
1.13
1058.06
FACING FG CLOSES EYES.
4-86
CHARLOTTE (TO BOB)I grew up in New York, then I

moved to Los Angeles
1060.14
1067.01
6.03
CHARLOTTEWell, I grew up in New York, and
4-87
CHARLOTTE (TO BOB)when John and I got married,

but its so different there.
1067.06
1073.04
5.14
4-88
BOB (TO CHARLOTTE)I know.
1075.05
1077.00
1.11
4-89
CHARLOTTE (TO BOB)John thinks Im so snotty.

(snotty: arrogant)
1081.00
1084.07
3.07
4-90
BOB (TO CHARLOTTE)Youre not hopeless.
1115.02
1117.06
2.04
CHARLOTTEHm, thats nice.
91
1035.12
TOP RUBS EYE, CLOSES EYES.
BOBWhered you grow up?
92
then I moved to Los Angeles when

John and I got married, but its so
different there.
BOB (OS)Yeah, I know.
93
1079.03
CHARLOTTE AND BOB ON BED,
CHARLOTTE L ON HER SIDE
WITH KNEES DRAWN UP AND
BOB ON HIS BACK FACING FG.
HE PUTS HIS HAND ON
CHARLOTTES FOOT.
CHARLOTTEJohn thinks Im so snotty.
BOB (CHUCKLES)
BOBYoure not hopeless.
FADE TO BLACK.
94
1128.07
INT/EXT. TRAIN/JAPAN
COUNTRYSIDE. DAY
LS OUT WINDOW ON TOWN FG
AND MT. FUJI LOOMING FAR
BG TRACK L.
95
1138.08
LOOKS R OUT WINDOW. SHE
WEARS HEADPHONES.
96
1146.13
MCU CHARLOTTE IN TRAIN
SEAT WITH HEADPHONES,
LOOKS L.
97
1152.08
MLS-LS CHARLOTTES POV
OUT TRAIN WINDOW MOVING R
AS OCEAN, TELEPHONE AND
ELECTRIC WIRES, HOUSES
PASS BY WINDOW R TO L.
98
1158.14
LS OUT WINDOW MOVING L TO
R AS BUILDINGS. HILLTOP
PASS R TO L. PAN L TAKING IN
VIEW OF WATER.
99
1171.03
INT. TRAIN STATION. DAY
MLS HIGH ANGLE DOWN ON
PEOPLE WAITING SITTING ON
BENCHES, PAN UP TO
HANGING SIGNPOST IN
JAPANESE.
100
1179.07
MS-MLS PAST RAILROAD
EMPLOYEE REAR ANGLE IN FG
ONTO BULLET TRAIN MOVING
BG TO FG INTO STATION.
101
1186.10
MLS AS CHARLOTTE FRAME R
WALKS FG, EXITS R, TRAIN
STOPPED AT STATION L
FACING FG.
PAGE 20
102
1193.01
MLS LOW ANGLE UP AT TREE
BRANCHES, PAN DOWN.
103
1201.05
MS GROUP OF TEENAGE
GIRLS IN SCHOOL UNIFORM
HANGING AROUND TALKING.
104
1205.10
LS REAR ANGLE CHARLOTTE
CLIMBS STEPS TO TEMPLE BG.
105
1216.13
MS CHARLOTTE WALKS FG.
106
1227.13
LS REAR ANGLE CHARLOTTE L
STOPS, STANDS WATCHING
WEDDING PROCESSION
MOVING FAR BG TO FG.
107
1237.02
LOOKING DOWN, THEN WALKS
FG.
108
1242.06
MS-MLS AS CHARLOTTE REAR
ANGLE LFG EXITS L AS
WEDDING PROCESSION BG
MOVES FG UP PATH.
109
1254.14
PAN R CHARLOTTE WALKS R
THRU TREES.
110
1268.01
BRIDE AND GROOM HOLDING
UMBRELLA WALKING TO R.
111
1274.04
PAGE 21
112
1279.03
MCU SIDE ANGLE GROOM
THEN BRIDE ENTER L , PAN R
WITH THEM WALKING R, THEN
PAN DOWN TO GROOMS
EXTENDED HAND AS BRIDE
PUTS HER HAND IN HIS, THEN
PAN BACK UP AND THEY EXIT
R.
113
1298.14
114
1307.11
MLS REAR ANGLE CHARLOTTE
WALKS BG STEPPING FROM
STONE TO STONE IN POND.
115
1325.02
ECU PAPER LEAVES AS
PRAYERS ON TREE, PAN R
AND SHIFT FOCUS BG TO MS
ABOVE WAIST ON CHARLOTTE
AS SHE TIES PAPER ONTO
BRANCH.
116
1338.03
TYING PAPER ONTO BRANCH.
SHE TURNS, EXITS R.
117
1355.13
LS SIDE ANGLE CHARLOTTE
WALKS ACROSS COURTYARD
L TO R, PAN R AS SHE
CROSSES FRAME, WALKS BG
TOWARD TEMPLE.
118
1393.04
LS OUT WINDOW ON CITY
SKYSCAPE, PAN R PICK UP
MCU OTS ON BOBS
REFLECTION IN MIRROR, EYES
CLOSED. HE POPS THEM
OPEN.
PAGE 22
119
1402.12
ECU BOBS HAND TAKES
RAZOR FROM SINK TOP, PAN R
AS HE UNWRAPS IT.
120
1410.14
CU OTS ON BOBS
REFLECTION IN MIRROR
STARING AT TINY RAZOR
PUZZLED.
121
1417.15
MS REAR ANGLE BOB
SHAVING, FACE REFLECTED IN
MIRROR WITH CITY IN BG. HE
REACHES L, ANSWERS PHONE.
122
1425.04
MCU OTS ON BOBS
REFLECTION TALKING ON
PHONE. HE HANGS UP PHONE
OFF FRAME R.
4-91
ITAL
4-92
FRONT DESK MAN (VO

FILTERED THRU PHONE)Mr. Harris?
BOB (INTO PHONE)Yes.

FRONT DESK MAN (VO
FILTERED THRU PHONE)A fax for you.
BOB (INTO PHONE)Okay. Can you send it up? You
think you can just kick it under the
door for me, slide it under the door
for me, please?
FRONT DESK MAN (VO
FILTERED THRU PHONE)Do you want I send it to your
room?
4-93
ITAL
PAGE 23
FRONT DESK MAN (TO

BOB)Mr. Harris? A fax for you.
1428.08
1431.10
3.02
BOB (TO FRONT DESK

MAN)Can you send it up? Just slide
it under the door for me?
1434.00
1439.14
5.14
FRONT DESK MAN (TO

BOB)Do you want I send it to your
room?
1441.00
1443.12
2.12
SAME SHOT CONT.

BOB (INTO PHONE)Just slide it under the door,
please. Thank you.
MAN AT FRONT DESK (VO
FILTERED THRU PHONE)Thank you, Mr. Harris.
BOB (INTO PHONE
OVERLAPPING)Okay. Alright, bye.
123
1451.03
MLS SIDE ANGLE MS.
KAWASAKI FRAME L FACING L
AS BOB ENTERS COMING OUT
OF ELEVATOR RBG, THEN
WALKS L AVOIDING BEING
SEEN. PAN L WITH HIM AS HE
EXITS L BEHIND WALL, HOLD
ON MS. KAWASAKI, MORI AND
PRESS AGENT.
MS. KAWASAKI (SPEAKS
JAPANESE)
124
1467.07
EXT. STREET OUTSIDE HOTEL.
DAY
MS BOB PAN L AS HE CLIMBS
OVER SHORT HEDGE TO L
STARTS CROSSING STREET,
STOPS AS CAMPAIGN VAN
WITH STREAMERS MOVES FG
AND MAN RUNS ALONGSIDE
WAVING ARMS.
125
1484.13
VAN WITH MAN AND TWO
WOMEN IN RED BLAZERS LEAN
OUT WINDOW WAVING MOVES
R TO L, EXITS L.
126
1489.06
MCU SIDE ANGLE BOB LOOKS
BG, THEN PAN L AS HE RUNS
BG CROSSING STREET THRU
TRAFFIC.
4-94
BOB (TO FRONT DESK

MAN)Just slide it under the door,
please. Thank you.
PAGE 24
1444.01
1447.02
3.01
127
1502.10
MLS SIDE ANGLE PAN R AS
BOB PACES R TALKING ON
CELL PHONE.
PAGE 25
4-95
BOB (TO MS. KAWASAKI)Ms. Kawasaki its Bob

Harris.
1503.10
1508.00
4.06
4-96
BOB (TO MS. KAWASAKI)Yes, I would love to do his talk

show.
1509.10
1516.02
6.08
4-97
BOB (TO MS. KAWASAKI)I would love to change my

plans and stay.
1518.14
1523.02
4.04
4-98
TALK SHOW HOST (TO

AUDIENCE)Ladies and gentlemen,
1561.10
1564.08
2.14
4-99
TALK SHOW HOST (TO

AUDIENCE)Mr. Bob Harris.
1564.13
1570.02
5.05
BOB (OS INTO PHONE)Hey, Ms. Kawasaki its Bob

Harris.
128
1509.02
MS BOB TALKS ON CELL
PHONE, UNFOLDS PIECE OF
PAPER.
BOB (CONT INTO PHONE)Yes, I would love to do his talk
show. I would.
129
1517.15
ECU HIGH ANGLE DOWN ON
UNFOLDED PIECE OF PAPER IN
BOBS HAND WITH HAND
DRAWN MAN AND NOTE ON IT.
BOB (OS CONT)Mm hm. I would love to change
my plans and stay.
130
1524.00
INT. TALK SHOW STUDIO. DAY
MLS TALK SHOW HOST SITS
RBG FACING RFG AS
ASSISTANT DIRECTOR
COUNTS DOWN STANDING
REAR ANGLE LFG, THEN
KNEELS SIDE ANGLE IN FRONT
OF HOST HOLDING CUE CARD.
BOB IS PARTIALLY VISIBLE FAR
RBG BEHIND SET.
STAGE MANAGER (OS)(SPEAKS JAPANESE)
TALK SHOW HOST(SPEAKS JAPANESE) Ladies

and gentlemen,
TALK SHOW HOST (OS CONT)Mr. Bob Harris. (SPEAKS
JAPANESE)
SAME SHOT CONT.

TRACK LBG PAN R PICKIN UP
BOB AND MS. KAWASAKI
SHOW TRANSLATOR TALKING
WITH OTHER WOMAN REAR
ANGLE, THEN BOB AND
TRANSLATOR WALK FG. SHOW
HOST ENTERS R AND STANDS
SIDE ANGLE ON L CLAPPING
AS BOB AND TRANSLATOR
WALK FG. ZOOM OUT. HOST
OPENS ARMS, GIVES BOB BIG
HUG, SHAKES HIS HAND.
TALK SHOW HOST (CONT)Woo! Cmon, Bob. Cmon Bob.
(SPEAKS JAPANESE) Nice to
meet you. (SPEAKS JAPANESE)
TRANSLATOR(INDISTINCT)
ZOOM BACK AS BOB AND
TRANSLATOR SIT AT DESK
AND HOST STANDS L
CLAPPING, DOES STRANGE
DANCE. BOB STANDS
CLAPPING.
TRANSLATORHe wants to tell you to stand.
TALK SHOW HOSTJapanese dance step. (SPEAKS

JAPANESE)
TRANSLATOR (OS
OVERLAPPING)Uh, yes Japanese dance step.
BOBDo I have to dance with him?

TALK SHOW HOST(SPEAKS JAPANESE) (LAUGHS)
TRANSLATORWelcome, Bob.
PAGE 26
4-100
TALK SHOW HOST (TO

BOB)Cmon, Bob. Cmon Bob.
1581.00
1584.00
3.00
4-101
TALK SHOW HOST (TO

BOB)Nice to meet you.
1588.07
1591.04
2.13
4-102
TRANSLATOR (TO BOB)He wants to tell you to stand.
1611.11
1614.07
2.12
4-103
TALK SHOW HOST (TO

BOB)Japanese dance step.
1614.10
1616.14
2.04
4-104
BOB (TO TRANSLATOR)Do I have to dance with him?
1618.06
1620.08
2.02
SAME SHOT CONT.
PAGE 27
4-105
TRANSLATOR (TO BOB)Hes saying Welcome, Bob.
1637.05
1639.11
2.06
4-106
ITAL
BOB (TO WIFE) Hello?
1699.02
1701.14
2.12
BOBWhat?
TRANSLATORHes saying Welcome, Bob.
131
1640.00
INT. LIMOUSINE. NIGHT
MCU BOB TAKES PIECES OF
PAPER OUT OF BREAST
POCKET LOOKS THRU THEM.
132
1657.04
ECU POLAROID PHOTO IN
BOBS HAND OF CHARLOTTE
AT PARTY.
133
1661.11
MCU BOB.
134
1671.15
INT. HOTEL SPA ROOM. NIGHT.
MLS BOB SITS IN LARGE TILE
TUB, HEAD VISIBLE ABOVE TUB
SIDE. HE SITS UP, REACHES
FG AND ANSWERS CELL
PHONE, TURNS SIDE ANGLE
FACING L.
WIFE (TO BOB) Bob?

PHONE)Bob?
135
1702.03
MS BOB IN TUB TALKING ON
CELL PHONE. HE RECLINES,
SINKING BELOW WATER WITH
ONLY HIS HEAD ABOVE
SURFACE FACING LFG AS HE
TALKS.
BOB (INTO PHONE)Hi, Lydia.
PHONE)Is this a bad time?
4-107
BOB (TO WIFE)Hi Lydia.
1705.03
1706.14
1.11
4-108
ITAL
WIFE (TO BOB)Is this a bad time?
1707.08
1709.09
2.01
SAME SHOT CONT.
PAGE 28
4-109
BOB (TO WIFE)No, its always a good time.
1711.08
1713.15
2.07
4-110
ITAL
WIFE (TO BOB)Your burgundy carpet isnt in

stock. Its gonna take twelve
weeks.
(in stock: in the store)
1715.07
1722.07
7.00
4-111
ITAL
WIFE (TO BOB)Did you like any of the other

colors?
1723.00
1725.09
2.09
4-112
BOB (TO WIFE)Whatever you like. Im

completely lost.
(lost: unable to decide)
1731.00
1735.04
4.04
4-113-/
ITAL
WIFE (TO BOB)Its just carpet.

(Its: the decision at hand)
1737.04
1739.14
2.10
1739.09
MLS SIDE ANGLE BOB IN TUB
TALKING ON CELL PHONE.
4-114
BOB (TO WIFE)Thats not what Im talking

about.
1741.08
1743.12
2.04
BOB (INTO PHONE)Thats not what Im talking about.
4-115
ITAL
WIFE (TO BOB)What are you talking about?
1744.01
1746.08
2.07
4-116
BOB (TO WIFE)I dont know I just want to

get healthy.
1750.12
1754.04
3.08
4-117
BOB (TO WIFE)I want to take better care of

myself.
1754.12
1758.00
3.04
4-118

healthier.
1759.03
1763.05
4.02
4-119
BOB (TO WIFE)I dont want all that pasta.
1764.03
1766.09
2.06
4-120

Japanese food.
1770.00
1773.09
3.09
BOB (INTO PHONE)No, its always a good time.

PHONE)Look, um, your burgundy carpet
isnt in stock. Its gonna take
twelve weeks. Did you like any of
the other colors?
BOB (INTO PHONE)Whatever you like. Im, Im

completely lost.

PHONE)Its just carpet.
136

PHONE)What are you talking about?
BOB (INTO PHONE)I dont know, I just want to get
healthy. Yknow, I want to take
better care of myself. I would like
to start eating healthier.
137
1763.11
MS BOB SITS UP IN TUB STILL
ON PHONE. HE TURNS FACING
FG A MOMENT, LEANS ON SIDE
OF TUB.
BOB (INTO PHONE CONT)I dont want all that pasta. I would
like to start eating, like, Japanese
food.
SAME SHOT CONT.
PAGE 29
4-121
ITAL
WIFE (TO BOB)Why dont you stay there and

you can have it every day?
1776.08
1781.05
4.13
4-122
BOB (TO WIFE)How are the kids doing?
1789.04
1791.12
2.08
4-123
ITAL
WIFE (TO BOB)Theyre fine. They miss their

father
1793.04
1797.09
4.05
4-124
ITAL
WIFE (TO BOB)but theyre getting used to

your not being here.
1797.14
1801.07
3.09
4-125
ITAL
WIFE (TO BOB)Do I need to worry about you,

Bob?
1802.01
1804.14
2.13
4-126
BOB (TO WIFE)Only if you want to.
1808.02
1810.09
2.07
4-127
ITAL
WIFE (TO BOB)I got things to do. I gotta go.
1815.04
1819.04
4.00
4-128
BOB (TO WIFE)Okay.
1820.01
1821.08
1.07
4-129
ITAL
WIFE (TO BOB)Ill see you I mean, Ill talk to

you later.
1823.07
1827.03
3.12
4-130
ITAL
1829.07
1832.04
2.13

PHONE)Well, why dont you just stay there
and you can have it every day?
138
1784.06
MLS BOB IN TUB TALKING ON
PHONE.
BOB (INTO PHONE)How are the kids doing?

PHONE)Theyre fine. They miss their father
but theyre getting used to your not
being here. Look, do I need to
worry about you, Bob?
BOB (INTO PHONE)Only if you want to.

PHONE)Bob, I got things to do. I gotta go.
PHONE)Ill see you la I mean, Ill talk to
you later.

PHONE)Okay, bye.
HE HANGS UP PHONE, PUTS IT
DOWN FG ON TOWEL, THEN
SINKS BELOW TUB SIDE.
139
1857.10
INT. SAUNA. NIGHT
MS TWO GERMAN
BUSINESSMEN SITTING SIDE
ANGLE LFG SIDE BY SIDE AND
BOB LAYING ON BENCH BG
HORIZONTAL IN FRAME FROM
R.
TWO BUSINESSMEN (SPEAK
GERMAN)
140
1877.06
NIGHT
ECU TV SHOWING BOB AND
HOST ON SHOW BOTH
LEANING FG INTO CAMERA
LENS. THEY SIT BACK INTO
MCU.
141
1890.07
MS ABOVE WAIST BOB SITTING
ON END OF BED LOOKING LFG.
TALK SHOW HOST (VO
FILTERED)(SPEAKS JAPANESE) We have
142
1894.06
ECU TV SCREEN BOBS
APPEARANCE ON TALK SHOW
AS HOST, BOB AND
TRANSLATOR SIT FACING FG
AND HOST LEANS FG WITH
HANDS TOGETHER AND
ANIMATED HEART SHAPED
GRAPHIC APPEARS. BOB
IMITATES HOST. HEART
GRAPHIC FILLS SCREEN, THEN
HOST REAPPEARS FRAME L.
TALK SHOW HOST-(VO ON TV
FILTERED CONT)Matthew Smellick.
BOB (VO ON TV FILTERED)Matthew Snellick.
TALK SHOW HOST (VO ON TV
FILTERED)(SPEAKS JAPANESE)
PAGE 30
143
1910.06
MS ABOVE WAIST BOB.
144
1914.12
LOUNGE. NIGHT
ON BOB AT BAR. JAZZ SINGER
ENTERS FROM R, SITS NEXT
TO BOB BG, TURNS FG
ENGAGES IN CONVERSATION.
JAZZ SINGER (OS)Thank you. Thank you so much.
Well take a really short break and
well see you in a minute.
JAZZ SINGER (CONT)Hi. Uh, champagne. Thanks. Hi.
1949.14
REEL 4A/B
PAGE 31
4-131
JAZZ SINGER (TO

BARTENDER)Hi. Champagne. Thanks.
1932.01
1935.14
3.13
4-132
JAZZ SINGER (TO BOB)Hi.
1945.06
1946.14
1.08
COMBINED CONTINUITY
& DIALOGUE
SC#:
FOOTAGE/
SHOT DESCRIPTION/
DIALOGUE:
PAGE 1

TITLE#:
TITLE:
START:

LABORATORY:
12.00
MS HIGH ANGLE BOB IN BED
UNDER THE COVERS, FEET FG
AND HEAD BG. HE LIFTS HEAD,
LOOKS R.
18.00
MS EMPTY PLATE AND
LEFTOVER FOOD ON TABLE,
COFFEE POT.
20.10
BOB UNDER THE COVERS. HE
SITS UP ON HIS ELBOWS.
33.08
MS PAST BOBS PROFILE OUT
OF FOCUS LFG ONTO
CHAMPAGNE BOTTLE AND
TWO NEAR EMPTY GLASSES
ON WINDOW SILL RBG.
JAZZ SINGER (OS)(SINGING) You got an oasis
40.05
BOB IN BED LETS HEAD FALL
BACK AGAINST PILLOW.
JAZZ SINGER (OS CONT)(SINGING) send your camel to
bed. Shadows paintin
1ST SCENE START:

2ND SCENE START:
3RD SCENE START:
4TH SCENE START:
12.00
18.00
20.10
33.08
FINISH:
TOTAL:
PAGE 2
45.10
MS HIGH ANGLE BOB UNDER
COVERS, FEET FG, AS JAZZ
SINGER ENTERS LFG
CROSSES FRAME IN ROBE
AND EXITS RFG, THEN REENTERS RFG MOVING TO L.
JAZZ SINGER (OS CONT)(SINGING) our faces, traces.
51.10
MCU SIDE ANGLE BOB UNDER
COVERS, HALF FACE PEEKING
OUT FG AS JAZZ SINGER
CROSSES FRAME FG R TO L
EXITS L. BOB SITS FURTHER
UP LOOKING FG, FALLS BACK
AGAINST PILLOWS.
JAZZ SINGER (OS CONT)(SINGING) Romance in our head.
Heavens holdin our half moon.
63.00
INT. HALL OUTSIDE BOBS
ROOM. DAY
LFG KNOCKING ON DOOR.
64.10
INT. BOBS HOTEL ROOM/ HALL
OUTSIDE ROOM. DAY
MS HIGH DOWN ON BOB
UNDER COVERS. HE JUMPS UP
OUT OF BED, EXITS L.
5-1
BOB (TO JAZZ SINGER)I got it.

(Ill answer the knock on the
door)
69.14
71.02
1.04
5-2
CHARLOTTE (TO BOB)Have a rough night?

(rough: rowdy and late)
77.04
78.12
1.08
BOBI got it.
10
72.04
MCU OTS ON BOB AS HE
OPENS DOOR.
11
75.13
CHARLOTTE(CHUCKLES) Have a rough night?
12
79.03
MCU OTS ON BOB HOLDING
DOOR AJAR.
PAGE 3
5-3 -/
CHARLOTTE (TO BOB)Im going to that sushi place in

Dikinyama. Want to come?
(Dikinyama: a plaza in Tokyo)
82.10
88.15
6.05
5-4
BOB (TO CHARLOTTE)Yes, but I cant right now.
89.08
91.08
2.00
5-5
CHARLOTTE (TO BOB)I guess youre busy.
99.13
101.15
2.02
CHARLOTTE (OS CONT)Um
13
83.00
CHARLOTTE (CONT)Im going to that place, that sushi
place in Dikinyama. You wanna
come?
14
89.01
MCU OTS ON BOB.
BOBYeah, but I cant right now.
15
91.11
GLANCES QUICKLY LOWER FG
PAST HIM THEM BACK UPPER
FG. CHARLOTTE TURNS BG.
CHARLOTTEHm.
JAZZ SINGER (OS)(SINGING) You got in an oasis.

send your camel to bed.
CHARLOTTE (OVERLAPPING)Yeah, I guess youre busy, huh?
JAZZ SINGER (OS

OVERLAPPING)(SINGING) Shadows play on our
faces, traces.
16
109.00
MCU BOB AS CHARLOTTE
EXITS LFG. HE CLOSES DOOR.
17
114.15
MLS BOB ON CELL PHONE
WALKING FG UP CROWDED
STREET BEHIND MANY
PEDESTRIANS WALKING TO FG
AND TO BG.
5-6
PAGE 4
BOB (TO WIFE)Hello?
122.12
124.02
1.06
WIFE (TO BOB)Its Lydia, your wife.
129.07
132.07
3.00
BOB (TO WIFE)I couldnt hear you.
132.12
135.02
2.06
5-9
ITAL
WIFE (TO BOB)Do you want to talk to Zoe?
136.06
138.12
2.06
5-10 -/
ITAL
WIFE (TO DAUGHTER ZOE)Zoe, come say hello to your

father.
141.13
144.13
3.00
5-11 -/
ITAL
WIFE (TO BOB) She ran into the other room.
147.00
151.14
4.14
5-7
ITAL
5-8 -/
BOB (INTO PHONE)Hello? Hello?

PHONE)Its Lydia, your wife.
BOB (INTO PHONE)Oh, Im, I couldnt hear ya.

18
134.14
MCU SIDE ANGLE TRACK R
WITH BOB WALKING R TALKING
ON CELL PHONE, FINGER IN
HIS EAR.
PHONE)Do you want to talk to Zoe?
BOB (INTO PHONE)Yeah.

PHONE)Zoe, come say hello
19
143.07
MLS OVER CROWDED STREET
OF PEOPLE GOING FG AND BG
ONTO BOB WALKING FG
TALKING ON PHONE.
PHONE)to your father.
ZOE (VO FILTERED THRU

PHONE)No.

PHONE)Uh, she just ran into the
BOB (TO WIFE) Its okay.
20
PAGE 5
148.10
ON PHONE.
PHONE)other room.
BOB (INTO PHONE)Its okay. Its okay.
21
152.07
MS BOB WALKING FG TALKING
ON PHONE SURROUNDED BY
CROWDED STREET.
5-12
ITAL
WIFE (TO BOB)Her ballet recital is Sunday.

Dont forget.
153.04
158.04
5.00
5-13
BOB (TO WIFE)I didnt forget.
158.09
160.00
1.07
5-14
ITAL
WIFE (TO BOB)Travel safely. Ill see you soon.
161.02
165.02
4.00
5-15
BOB (TO WIFE)Okay.
167.10
168.12
1.02

PHONE)Okay, um, her ballet recital is
Sunday. Dont forget.
BOB (INTO PHONE)I didnt forget.
22
160.11
ON PHONE. HE LOOKS BACK L,
THEN BG.
PHONE)Well, travel safely. Ill see you
soon.
ZOE (VO FILTERED THRU
PHONE)Mommy.
23
168.13
ON BOB WALKING FG TALKING
ON PHONE. HE LOWERS
PHONE.
PAGE 6
5-16
ITAL
169.01
171.09
2.08
5-17-/
CHARLOTTE (TO BOB)Well, she is closer to your age.

(she: the Jazz Singer)
190.04
193.03
2.15

PHONE)Okay. Bye.
24
175.11
INT. RESTAURANT. DAY
MS CHARLOTTE AND BOB
SITTING OPPOSITE EACH
OTHER IN BOOTH, CHARLOTTE
SIDE ANGLE ON L AND BOB R
FACING FG UP AGAINST WALL.
25
180.10
26
187.02
MS ABOVE WAIST BOB.
CHARLOTTE (OS)Well,
27
190.15
MS ABOVE WAIST ON
CHARLOTTE.
CHARLOTTE (CONT)she is closer to your age.
28
193.04
MS ABOVE WAIST ON BOB.
29
195.12
MS ABOVE WAIST ON
CHARLOTTE.
5-18
CHARLOTTE (TO BOB)You could talk about things you

have in common
197.10
201.08
3.14
CHARLOTTEYou could talk about things you
5-19
CHARLOTTE (TO BOB)like growing up in the 50s.
204.06
206.08
2.02
have in common, like, um, growing

up in the Fifties.
30
207.05
MS ABOVE WAIST BOB.
CHARLOTTE (OS CONT)Maybe she liked the movies you
PAGE 7
5-20
CHARLOTTE (TO BOB)Maybe she liked the movies

you were making in the 70s
208.08
212.00
3.08
5-21
CHARLOTTE (TO BOB)when you still were making

movies.
212.05
215.00
2.11
5-22-/
BOB (TO CHARLOTTE)Wasnt there anyone else there

to lavish you with attention?
(there: Where Charlotte just
visited)
216.06
220.06
4.00
5-23
BOB (TO WAITRESS)Im switching to beer. Okay?

Beer.
234.05
239.02
4.13
5-24
CHARLOTTE (TO BOB)I cant tell the difference.

(the difference: between the
different pictured items on the
menu)
245.12
247.14
2.02
were making in the Seventies,

when you still were making
movies.
BOBWasnt there anyone else there to

lavish you with attention?
31
220.01
WITH ARMS FOLDER,
REACHES R FOR MENU.
32
224.14
MS CHARLOTTE AND BOB IN
BOOTH AND WAITRESS
ENTERS L STANDS REAR
ANGLE AT TABLE PUTS DOWN
GLASSES OF SODA. BOB
HANDS GLASSES BACK TO
HER.
BOBIm switchin to beer. Okay? Beer.
(SIGHS)
CHARLOTTEI cant tell the difference.
33
248.00
ECU MENU IN CHARLOTTES
HANDS SHOWING SIX
IDENTICAL PICTURES.
34
251.11
MS CHARLOTTE AND BOB IN
BOOTH WITH WAITRESS
STANDING REAR ANGLE FG.
BOB HOLDS MENU FACING FG
FOR WAITRESS, POINTS TO
PICTURE AND HOLDS UP TWO
FINGERS, MOTIONS FOR
CHARLOTTE AND HIMSELF.
WAITRESS TAKES MENUS,
EXITS L.
BOBWell have two of these, okay?
35
278.05
MS ABOVE WAIST BOB.
36
258.15
MS ABOVE WAIST CHARLOTTE,
PAN L AS WAITRESS PUTS
DOWN 2 PLATES OF FOOD ON
TABLE, CONTINUE PAN UP L
REVEAL SECOND WAITRESS
WITH LARGE BEER
37
301.00
MS CHARLOTTE IN BOOTH
SIDE ANGLE ON L AS SECOND
WAITRESS REAR ANGLE RFG
PUTS DOWN GLASS OF BEER,
EXITS L AND REVEAL BOB IN
BOOTH.
38
315.02
ROOM. NIGHT
MS CHARLOTTE IN BED ON
HER SIDE ACROSS FRAME
FEET R, HEAD L. SHE SITS UP,
TURNS ON LIGHT, GETS OUT
OF BED FG AND EXITS RFG.
39
339.08
EXT. FRONT OF HOTEL. NIGHT
MS-MLS BOB IN KIMONO
WALKS LFG TO BG WHERE
DOZEN OR SO GUESTS STAND
AROUND IN CLOTHES OR
PAJAMAS.
5-25
BOB (TO WAITRESS)Well have two of these.

(these: Bob points to pictured
items on the menu)
PAGE 8
256.13
258.13
2.00
40
345.11
MS ABOVE WAIST BOB TURNS
FG, FIREMAN AND SEVERAL
PEOPLE IN BG. PEOPLE CROSS
FG L TO R EXIT R, FIREMAN
ENTERS LFG WALKS TO R.
41
357.09
MS THRU PEOPLE MILLING FG
ONTO CHARLOTTE STANDING
BG IN TANK TOP, PAJAMA
BOTTOMS AND OVERCOAT.
42
365.07
MS ABOVE WAIST BOB WALKS
FG, EXITS LFG.
43
369.11
LS SIDE ANGLE BOB WALKS L
TO WHERE CHARLOTTE
STANDS. FIRETRUCK WITH
FIRE OFFICIALS LFG, CROWD
OF PEOPLE RBG.
44
374.12
MS OTS AS BOB WALKS FG.
PEOPLE MILL BG.
45
377.07
46
381.01
STEPS FG, STOPS, HOLDS
ARMS ASIDE, SMILES.
PAGE 9
5-26-/
CHARLOTTE (TO BOB)That was the worst lunch.

(That: the lunch they shared
earlier)
386.14
389.01
2.03
5-27-/
BOB (TO CHARLOTTE)So bad. What kind of

restaurant makes you cook
your own food?
390.02
396.12
6.10
CHARLOTTE (OS)That was
47
387.08
ON CHARLOTTE SEMI SMILING.
CHARLOTTE (CONT)the worst lunch.
BOB (OS)So bad.
48
PAGE 10
391.13
BOB.
BOB (CONT)What kind of restaurant makes
you cook your own food?
49
50
51
397.14
ONTO CHARLOTTE
.
402.12
BOB.
407.10
ON TO CHARLOTTE.
5-28
CHARLOTTE (TO BOB)When are you leaving?
408.08
410.06
1.14
5-29
BOB (TO CHARLOTTE)Tomorrow.
414.13
416.01
1.04
5-30
CHARLOTTE (TO BOB)Ill miss you.
423.14
425.08
1.10
CHARLOTTEWhen are you leaving?
52
411.01
BOB.
BOBTomorrow.
53
418.00
CHARLOTTE LOOKING R, THEN
FG.
CHARLOTTEIll miss you.
54
428.09
BOB, MOTIONS WITH HEAD R.
55
437.11
BOBS FEET IN SLIPPERS.
56
439.06
CHARLOTTE LOOKING DOWN,
THEN FG, SMILES.
57
446.03
LOUNGE. NIGHT
MLS PIANIST SIDE ANGLE LBG
AND GUITARIST RBG.
PAGE 11
5-31
ITAL
PIANIST (TO LOUNGE)Im so into you

(into: in love with)
449.00
451.09
2.09
5-32
ITAL
PIANIST (TO LOUNGE)When you walked into the

room
466.14
471.12
4.14
5-33 -/
ITAL
PIANIST (TO LOUNGE)there was voodoo in the vibe.

(voodoo in the vibe: a sense of
magic in atmosphere)
473.02
478.02
5.00
5-34 -/
ITAL
PIANIST (TO LOUNGE)I was captured by your style

(style: way of walking and
being)
484.02
488.08
4.06
PIANIST(SINGING) Im so into you.
58
453.08
MS OTS SIDE ANGLE ON
PIANIST PLAYING, SINGING
INTO MICROPHONE.
PIANIST (CONT)(SINGING) Whoo hoo.
59
458.02
CHARLOTTE L AND BOB R AT
BAR TURNED FACING EACH
OTHER.
PIANIST (OS CONT)(SINGING) When you walked into
the room
60
472.00
MS OTS SIDE ANGLE ON
PIANIST.
PIANIST (CONT)(SINGING) there was voodoo
61
475.05
CHARLOTTE AND BOB FACING
EACH OTHER. HE EXTENDS
HAND, SHE PUTS HER IN HIS.
PIANIST (OS CONT)(SINGING) in the vibes.
62
482.11
CU OTS ON BOB.
PIANIST (OS CONT)(SINGING) I was captured
63
486.07
CU CHARLOTTE, TEARY EYED.
SHE LOOKS R.
PAGE 12
5-35 -/
ITAL
PIANIST (TO LOUNGE)but I could not catch your eyes.

(catch your eye: get your
attention)
490.07
495.05
4.14
5-36
BOB (TO CHARLOTTE)I dont want to leave.
503.03
505.03
2.00
5-37
CHARLOTTE (TO BOB)So dont. Stay here with me.
507.14
511.00
3.02
5-38
CHARLOTTE (TO BOB)Well start a jazz band.
514.03
516.09
2.06
PIANIST (OS CONT)(SINGING) by your style, but I

could
64
491.10
CHARLOTTE AND BOB.
PIANIST (OS CONT)(SINGING) not catch your eyes.
BOBI dont want to leave.
65
505.07
CU CHARLOTTE.
CHARLOTTESo dont. Stay here with me.
66
511.09
CU OTS ON BOB. HE RESTS
CHEEK AGAINST FIST.
CHARLOTTE (OS CONT)Well start a jazz band.
67
520.09
AND BOB.
PIANIST (OS)(SINGING) I am so into you,
baby
68
529.14
INT. ELEVATOR. NIGHT
MS CHARLOTTE L AND BOB R
FRONT ANGLE AGAINST BACK
OF ELEVATOR. HE MOTIONS
TO R WITH HIS HEAD TWICE.
HE LEANS L
BOBGood night. Okay.
CHARLOTTE (OVERLAPPING)Good night. (LAUGHS)

GIVES HER A KISS, STARTS FG
AND STOPS, THROWS HANDS
UP AND LEANS BACK AGAIN
AGAINST BACK WALL OF
ELEVATOR.
CHARLOTTEOkay. Good night.
BOB (OVERLAPPING)Okay, good night.

THEY LEAN CENTER AND GIVE
A QUICK KISS, THEN
CHARLOTTE EXITS LFG AND
BOB WALKS FG, STOPS MCU,
PRESSES BUTTON OFF FRAME
LFG, STEPS BACK BG.
69
605.01
LONG SHOT OUT WINDOW ON
CITY, TOWER CENTER.
70
608.08
MS ABOVE WAIST REAR SIDE
ANGLE BOB. HE LOOKS AT
WRISTWATCH.
71
614.07
ROOM. DAY
MS MESSY ROOM, EMPTY
UNMADE BED.
5-39
BOB (TO CHARLOTTE)Good night.
PAGE 13
562.00
563.10
1.10
PAGE 14
72
618.01
CU HIGH ANGLE DOWN ON FAX
MACHINE AS PAPER COMES
OUT. HEART SHAPED
DRAWING WITH NOTE READS:
CHARLOTTE SEE YOU
TONIGHT. I MISS YOU. JOHN
5-40
NARRATIVE TITLE: NOTE ON

FAXED PAPERCharlotte See you tonight. I
miss you. John.
630.05
635.10
5.05
73
636.01
AND MALE AND FEMALE HOTEL
EMPLOYEES BEHIND HIM
WALKING FG. BOB SHAKES
HAND WITH HOTEL EMPLOYEE
L, CONTINUES FG,
5-41
BOB (TO HOTEL PERSON)Ill be one minute.
647.03
648.12
1.09
5-42
BOB (TO CHARLOTTE)Charlotte, Im down in the

lobby and Im leaving now.
665.07
670.03
4.12
5-43
BOB (TO CHARLOTTE)I was calling to see if you still

have my jacket
673.00
677.09
4.09
5-44
BOB (TO CHARLOTTE)if you could bring it down but

youre not there, so this is
goodbye.
678.11
685.02
6.07
MALE HOTEL STAFF (OS)Good morning, Mr. Harris. Have a

nice a flight.
BOB (OVERLAPPING)Thank you. Thank you. Ill be one
minute.
PAN L AS HE CROSSES FG R
TO L, WALKS BG INTO SMALL
ROOM WITH HOTEL PHONE.
BOB PICKS UP PHONE, TURNS
FRONT ANGLE.
BOB (INTO PHONE)Charlotte, Im down in the lobby
and Im leaving now. Um, I was
calling to see if you still have my
jacket, if you could you bring it
down, but youre not there, so this
is goodbye, and, uh,...
WOMAN ENTERS BG WALKS
FG AROUND BOB, LOOKS AT
HIM AS SHE PASSES.
74
688.04
MS ABOVE WAIST BOB ON
PHONE AS SEXY WOMAN FG
WALKS LFG, EXITS LFG.
PAGE 15
5-45
BOB (TO CHARLOTTE)So, goodbye and enjoy my

jacket which you stole from me.
694.10
701.10
7.00
5-46
MS. KAWASAKI (TO BOB) How are you?
716.11
720.12
4.01
725.11
727.10
1.15
BOB (INTO PHONE CONT)so, I guess, good-bye and enjoy

my jacket which you stole from
me.
PEOPLE CROSS FRAME FG AS
BOB HANGS UP PHONE,
WALKS FG.
75
713.05
INT. LOBBY/ELEVATOR BANKS.
DAY
MLS SIDE ANGLE SEXY
WOMAN WAITING FOR
ELEVATORS AS BOB ENTERS
LFG, PAN R AND HE WALKS BG
AND REVEAL MS. KAWASAKI,
AWINAMI, PRESS AGENT MRS.
CHIBATA WAITING.
MS. KAWASAKI (OS)Hello.
BOB (OS)Hello.
MS. KAWASAKIHow are you?

BOB (OS)Im good. How are you?
BOB SHAKES EVERYONES
HAND AS TWO HOTEL
EMPLOYEES STAND LBG
WAITING. SEXY WOMAN
WALKS OVER TO BOB, TAPS
HIS SHOULDER. BOB TURNS
SIDE ANGLE TO L FACING HER,
SHAKES HER HAND.
PRESS AGENTMr. Harris.
MS. KAWASAKI (OS)Did you enjoy your, your trip?
BOB (TO MS. KAWASAKI) Im good. How are you?

5-47
MS. KAWASAKI (TO BOB)Did you enjoy your trip?
PAGE 16
SAME SHOT CONT.
5-48
BOB (TO MS. KAWASAKI)I had a great time.
727.15
730.13
2.14
BOB (OS)I had a great time, a very good
5-49
SEXY WOMAN (TO BOB)Excuse me Arent you Bob

Harris?
735.11
738.11
3.00
5-50-/
SEXY WOMAN (TO BOB)Wow. Im such a big fan. Its so

nice to meet you.
(Wow: expression of
amazement)
(fan: admirer)
739.00
743.08
4.08
5-51-/
SEXY WOMAN (TO BOB)What are you doing here in

Japan?
743.13
746.03
2.06
5-52
BOB (TO SEXY WOMAN)I have to go right now. Excuse

me.
746.12
750.05
3.09
time.
SEXY WOMANExcuse me. Arent, arent you Bob
Harris?
BOBYes, I am.
SEXY WOMANWow. Im such a big fan. Its so
BOB (OVERLAPPING)Thank you
76
741.14
MS CHARLOTTE WALKS FG
WITH COAT.
SEXY WOMAN (OS CONT)nice to meet you. What are you
doing
BOB (OS OVERLAPPING)very much. Nice to meet you, too.

77
744.10
MS SIDE ANGLE BOB SHAKING
SEXY WOMANS HAND, MS.
KAWASAKI AND OTHERS BG,
THEN BOB WALKS FG AS
THEY STAND OPPOSITE EACH
OTHER FG AS CHARLOTTE
GIVES BOB COAT.
SEXY WOMAN (CONT)here in Japan?
BOBI have to go right now. Excuse me
one second.
SEXY WOMAN (OVERLAPPING)Oh. Well
SAME SHOT CONT.
5-53
BOBHi.
CHARLOTTE (OS)Hi.
BOB (TO CHARLOTTE) Thank you.
PAGE 17
754.11
757.03
2.08
CHARLOTTE (TO BOB) Your welcome.

5-54-/
BOB (TO CHARLOTTE)I thought Id missed you.
757.08
759.00
1.08
5-55
CHARLOTTE (TO BOB)Are you going right now?
770.12
772.02
1.06
5-56-/
BOB (TO CHARLOTTE)Yeah, I got my bodyguards

right here.
772.07
775.05
2.14
BOBThank you.
CHARLOTTE (OS)Youre welcome.
BOBThought Id missed you.
78
758.12
MCU OTS UP AT BOB.
79
764.00
MCU PAST ARM ON
CHARLOTTE.
80
767.10
MCU OTS UP AT BOB.
81
770.09
MCU AROUND ARM ON
CHARLOTTE.
CHARLOTTEAre you going right now?
BOB (OS)Yeah. I got
82
773.03
MCU OTS ON BOB.
BOB (CONT)my bodyguards right here.
CHARLOTTE (LAUGHS)
83
779.10
MCU AROUND ARM ONTO
CHARLOTTE. SHE SHRUGS.
84
784.04
MCU OTS UP AT BOB. HE
SHAKES HIS HEAD.
PAGE 18
5-57
BOB (TO CHARLOTTE)Arent you going to wish me a

good fright or something?
(fright: Bob is making a joke on
Japanese pronunciation of
flight)
787.09
792.13
5.04
5-58
CHARLOTTE (TO BOB)Yeah, right.
793.02
794.12
1.10
5-59
CHARLOTTE (TO BOB)Okay. Well, bye.
803.13
806.15
3.02
5-60
MS. KAWASAKI (TO BOB)Can I take one more picture?
810.14
813.04
2.06
BOBAlright. Arent you gonna wish me

have a good fright or something?
CHARLOTTE (OVERLAPPING)
(LAUGHS)
85
792.14
MCU AROUND ARM ONTO
CHARLOTTE LAUGHING,
LOOKING DOWN, THEN FG.
CHARLOTTEYeah, right.
86
796.15
MCU OTS UP AT BOB SMILING.
87
802.11
MCU AROUND ARM ON
CHARLOTTE.
CHARLOTTEOkay. Well, bye.
BOB (OS)Right
88
807.09
MCU OTS ON BOB. CHARLOTTE
EXITS LFG AS BOB TURNS BG.
MS. KAWASAKICan I take one more picture?
89
813.08
MCU SIDE ANGLE BOB NODS,
TURNS AND LOOKS LFG.
BOBSure.
90
817.15
MS BOB, PRESS AGENT,
OTHERS REAR ANGLE RFG AS
MRS. CHIBATA BG TAKES
PICTURE.
MS. KAWASAKI (OS)Hai.
91
820.11
MCU BOB WITH MS. KAWASAKI,
PRESS AGENT LBG. BOB
LOOKS FROM FG TO LFG,
THEN FG.
MS. KAWASAKI (CONT)Hai.
92
832.03
MS CHARLOTTE STEPS BG
INTO ELEVATOR, TURNS
FRONT ANGLE AS ELEVATOR
DOORS CLOSE OVER HER.
93
842.06
MCU BOB STARING FG, MS.
KAWASAKI AND PRESS AGENT
LFG BESIDE HIM. HE LOOKS
LFG.
94
849.11
INT/EXT. HOTEL LOBBY. DAY
LS THRU HOTEL DOORS ON
LIMOUSINE PARKED SIDE
ANGLE AS BOB GETS IN BACK
AND HOTEL VALET SHUTS
TRUNK, BOWS AND LIMO
PULLS OUT EXITING L.
95
864.02
INT/EXT. LIMOUSINE. DAY
MCU BOB AS CITY PASSES BY
FG TO BG. LIMO STOPS
96
887.10
BOB FROM OUTSIDE CAR AS
HE LOWERS WINDOW LOOKS
FG.
PAGE 19
97
892.10
MLS BOBS POV WHAT LOOKS
LIKE CHARLOTTE WALKING BG.
AMONGST CROWDED STREET
FULL OF PEOPLE MOVING FG
AND BG.
98
897.08
CU BOB IN LIMO, PUSHES
OPEN DOOR AND EXITS R.
BOBHey, hold on here. Let me out.
BOB (OS CONT)Thank you.
99
903.02
EXT. STREET. DAY
MLS DOWN STREET AS
PEOPLE WALK FG AND BG.
100
907.07
MLS BOB LOOKING FG THRU
CROWDED STREET WALKS
BRISKLY FG.
101
911.12
MS REAR ANGLE WHAT
APPEARS TO BE CHARLOTTE
WALKING BG AMONG PEOPLE.
102
915.11
MLS BOB WALKS FG THRU
CROWD.
103
920.11
MS REAR ANGLE WHAT LOOKS
LIKE CHARLOTTE WALKING BG,
PEOPLE IN FG CROSS FRAME.
104
925.00
MLS BOB WALKS QUICKLY FG
THRU CROWD.
5-61
BOB (TO LIMO DRIVER)Hold on here. Let me out.

(Stop the limousine. Let me
out)
PAGE 20
898.07
901.12
3.05
105
933.10
LS BOB APPROACHES WOMAN,
CROWDS OF PEOPLE L AND R
WALK FG AND BG. WOMAN
TURNS.
BOB (OS)Hey.
106
938.05
CU CHARLOTTE.
107
943.04
MCU SIDE ANGLE BOB L AND
CHARLOTTE R AS HE STEPS
CLOSE, THEN PULLS HER TO
HIM. THEY EMBRACE.
108
958.03
CU BOB WITH CHARLOTTES
HEAD AGAINST HIS
SHOULDER. HE STROKES THE
BACK OF HER HAIR.
109
966.08
CU TOP CHARLOTTES FACE
AGAINST BOBS SHOULDER
CRYING.
110
976.12
CU BOB HOLDING CHARLOTTE
TO HIM.
BOB (WHISPERS INAUDIBLY)
111
983.10
ECU CHARLOTTE AGAINST
BOBS SHOULDER.
CHARLOTTE (OS)Okay.
112
988.06
MLS BOB AND CHARLOTTE IN
EMBRACE STANDING SIDE
ANGLE AMIDST CROWDS
MOVING FG AND BG.
PAGE 21
113
998.09
CU OTS ON CHARLOTTE AS
BOB LEANS INTO FRAME FROM
LFG AND THEY KISS.
114
1006.05
ECU OTS SIDE ANGLE ON BOB
KISSING CHARLOTTE.
115
1008.10
CU OTS ON CHARLOTTE
KISSING BOB. THEY
SEPARATE. SHE SMILES.
116
1014.05
ECU OTS ON BOB.
117
1016.11
ECU CHARLOTTE FACING LFG.
BOB LEANS IN FROM LFG
KISSES HER CHEEK.
118
1020.00
CU OTS ON BOB EXITS R.
PAGE 22
BOBBye.
119
1022.05
ECU CHARLOTTE, TEARS IN
HER EYES.
CHARLOTTEBye.
120
1024.13
MS ABOVE WAIST PAST
CHARLOTTES HEAD REAR
ANGLE RFG ONTO BOB AS HE
EXITS R.
BOBAlright.
121
1026.13
5-62
CHARLOTTE (TO BOB)Bye.
1023.00
1024.05
1.05
122
1028.09
MS REAR ANGLE BOB WALKS
BG TURNED LOOKING FG,
TURNS FRONT ANGLE AS HE
CONTINUES BG.
123
1037.12
ECU CHARLOTTE.
124
1041.08
MLS BOB FRONT ANGLE
WALKING BG SMILING AS
PEOPLE CROSS FG L AND R.
FINALLY BOB TURNS BG.
125
1053.01
ECU CHARLOTTE TURNS BG.
126
1054.14
ECU CHARLOTTE HEAD
BOWED WALKS FG, EXITS LFG.
127
1057.10
WALKS BG, TURNS LOOKS FG
AS SHE GOES.
128
1061.08
LS REAR ANGLE BOB WALKS
BG AMONGST PEOPLE.
129
1064.01
MS CHARLOTTE TURNS REAR
ANGLE CONTINUES BG DOWN
CROWDED STREET.
130
1067.09
MS HIGH ANGLE CHARLOTTE
WALKS FG UP STREET FILLED
WITH PEOPLE BG ALSO
WALKING FG. SHE EXITS
BELOW FRAME RFG.
PAGE 23
131
1079.00
INT/EXT. LIMOUSINE. DAY
MCU AS BOB ENTERS LIMO
FROM R, SITS BACK SEAT AND
CLOSES DOOR, NODS LFG.
THE LIMO BEGINS MOVING FG.
BOBAlright.
132
1102.05
MLS LIMO SIDE ANGLE PULLS L
FROM CURB, EXITS L AS
PEOPLE FG, BG WALK.
133
1106.06
MLS REAR ANGLE LIMO MOVES
BG DOWN STREET.
134
1113.13
MCU BOB IN BACKSEAT OF
MOVING LIMOUSINE AS CITY
PASSES FG TO BG.
135
1127.15
MCU OTS ON DRIVERS
GLOVED HANDS ON WHEEL
AND PAN L MLS OUT FRONT
WINDSHIELD MOVING TO BG
THRU CITY.
136
1142.06
EXT. CITY. DAY
LS SKYSCRAPER AND TRACK
R.
137
1150.07
MS OUT FRONT WINDSHIELD
MOVING BG PAN UP TO SIGN
OVER FREEWAY, PAN DOWN.
138
1156.09
MLS SIGN ON FREEWAY, PAN
DOWN AS CAMERA MOVES
UNDER IT.
139
1163.00
MLS REAR ANGLE LIMO AND
TRACK BG FOLLOWING IT AS IT
GOES INTO TUNNEL.
5-63
BOB (TO LIMO DRIVER)Alright.
PAGE 24
1090.08
1091.12
1.04
140
1168.04
MS-LS TRACKING R ACROSS
BUILDING, REVEAL TV TOWER
BG.
141
1174.00
LS DOWN EMPTY STREET
TRACKING BG, BUILDING ON L
AND R.
142
1178.06
MLS-LS TRACKING BG MOVING
ALONG ROAD PASSING
BUILDINGS L AND R.
143
1194.03
LS TRACKING L MOVING
ACROSS CITY BUILDINGS,
THEN PAN L AND CONTINUE
TRACKING BG ALONG ROAD,
SKYSCRAPER BG.
1216.13
FADE TO BLACK. BEGIN END
CREDITS.
Written and Directed by
Sofia Coppola
Produced by
Ross Katz
Sofia Coppola
Executive Producers
Francis Ford Coppola
Fred Roos
Associate Producer
Mitch Glazer
Bill Murray
Scarlett Johansson
Giovanni Ribisi
Anna Faris
Fumihiro Hayashi
Director of Photography
Lance Acord
Editor
Sarah Flack
Costume Designer
Nancy Steiner
PAGE 25
END CREDITS CONT.

Production Designers
Anne Ross
K.K. Barrett
Line Producer
Callum Greene
Original Music by
Kevin Shields
Music Producer
Brian Reitzell
Sound Designer
Richard Beggs
BEGIN CRAWL
First Assistant Director
Takahide Kawakami
Co Producer
Stephen Schible
Additional Japanese Unit
Roman Coppola
Cast
In Order of Appearance
Charlotte
Bob Harris
Ms. Kawasaki
Press Agents
Concierge
Bellboy
Jazz Singer
Sausalito Piano
Sausalito Guitar
American Businessman No.1
American Businessman No.2
John
Commercial Director
Suntory Client
Premium Fantasy Woman
Stills Photographer
Makeup Person
Charlie
Hiroko
Bambie
Kelly.
Kellys Translator
Ikebana Instructor
Bartender (Ny Bar)
Aerobics Instructor
P Chan
French Japanese Club Patron
Bartender (Nightclub)
Hiromix
Scarlett Johansson
Bill Murray
Akiko Takeshita
Kazuyoshi Minamimagoe
Kazuko Shibata
Take
Ryuichiro Baba
Akira Yamaguchi
Catherine Lambert
Francois Du Bois
Tim Leffman
Gregory Pekar
Richard Allen
Giovanni Ribisi
Yutaka Tadokoro
Jun Maki
Nao Asuka
Tetsuro Naka
Kanako Nakazato
Fumihiro Hayashi
Hiroko Kawasaki
Daikon
Anna Faris
Asuka Shimuzu
Ikuko Takahashi
Koichi Tanaka
Hugo Codaro
Akiko Monou
Akimitsu Naruyama
Hiroshi Kawashima
Hiromix
PAGE 26
END CREDITS CONT.

Nobu
Nao
Hans
Kun
Charlies Friend
Mr. Valentine
Hospital Receptionist
Old Man
Doctor
TV Host
TV Translator
Politician
Politicians Aides
German Hotel Guests

Carl West
Sexy Businesswoman
Stand In For Mr. Murray
Stand In For Ms. Johansson
Nobuhiko Kitamura
Nao Kitman
Akira
Kunichi Nomura
Yasuhiko Hattori
Shigekazu Aida
Kazuo Yamada
Akira Motomura
Osamu Shigematu
Mathew Minami
Kei Takyo
Ryo Kondo
Yumi Ikeda
Yumika Saki
Yuji Okabe
Diedrich Bollman
Georg O.P. Eschert
Mark Willms
Lisle Wilkerson
Blake Crawford
Angela Panetta
Crew
Line Producer (Japan)
Chief Assistant Director
Second Assistant Director
Second Second Assistant Directors
Production Supervisor
Production Office Coordinator
Production Coordinator
Assistant Production Office Coordinators
Office Production Assistants
Kiyoshii Inoue
Hiroya Igawa
Taiichi Sugiyama
Motonobu Kato
Shu Fujimoto
Anthony G. Katagas
Kazuko Shingyoku
Masahiro Yoshikawa
Masako Matsumura
Ai Ichiki
Hitoshi Abe
Maremi Watanabe
Taro Miyake
Production Consultant
Hiroko Kawasaki
Product Placement Coordinator
Ashley Bearden
Japanese Casting
Additional Japanese Casting
Casting Assistants
Casting P.A.
Production Accountant (Japan)
Assistant To Natsuko Nezu
Production Accountant (USA)
Script Supervisor
Ryoichi Kondo
Stephanie Hayman
Hauko Sone
Daiki Chiba
Akira Yamaguchi
Hiroto Nakagaki
Miwa Sakaguchi
Natsuko Nezu
Tomoko Kojima
John Finn
Eva Z.Cabrera
PAGE 27
END CREDITS CONT.

Script Translation
Assistant Editor
Additional Assistant Editor
Editing Facilities
First Assistant Camera
Second Assistant Camera
Loader
Camera Operator
Additional First Assistant
Additional Second Assistant
Still Photography
Camera Equipment
Production Sound Mixer
Boom Operator
Dailies Synching
Gaffer
Best Boy Electrician No.1
Best Boy Electrician No.2
Electricians
Key Grip
Best Boy Grip
Art Director
Assistant Art Directors
Art Dept. Coordinator
Leadman
Set Decorators
Assistant Set Decorators
Additional Assistant Set Decorators
Property Master
Assistant Property Master
Assistant Designer
Wardrobe Supervisors
Set Costumer
Bilingual Assistant
Wardrobe Supervisor (Kyoto)
Key Hair and Makeup Artist
Hair/Makeup
Assistant Hair/Makeup
Kimiko Onishi
Jamie Kirkpatrick
Susan Finch
Red Car Post, Jennifer Letterman
Mark Williams
Takuro Ishizaka
Takuji Murata
Lance Acord
Nobuko Uranishi
Yasushi Miyata
Yoshio Sato
Clairmont Camera (La)
Drew Kunin
Kira Smith
Sound Design Yurta Inc.
Yuji Wada
Yoshio Ishikawa
Michiaki Kamochi
Masayuki Nishimura
Takeshi Kagami
Satoshi Tsuyuki
Akira Kanno
Mayumi Tomita
Ryo Sugimoto
Momoko Nakamura
Rika Nakanishi
Toru Takahashi
Towako Kuwajima
Tomomi Nishio
Tomiko Ishiyama
Hitomi Nimura
Ryo Nobuka
Takahiro Kikuchi
Keisuke Sakurai
Chie Che
Michelle Tomaszewski
Anita Brown
Haruka Takahashi
Masae Sakurai
Yoko Takeuchi
Noriko Hattori
Morag Ross
Akemi
Yoko Sato
Fukushi Kawata
PAGE 28
END CREDITS CONT.

Unit / Key Location Manager
Location Coordinator
Assistant Location Manager
Key Set Pa
Set Pas
Location Manager (Kyoto)
Bilingual Coordinator
Keizo Shukuzaki
Mikiko Anzai
Takuya Kaneko
Hiroshi Harada
Tomohiko Seki
Koji Hirano
Kiyoshi Kurokawa
Brian Kobo
Bilingual Assistants
Yumiko Sekiguchi
Katumi Nakane
Eriko Miyagawa
Hirohito Gotou
Stunt Coordination
Hirofumi Nakase
Drivers
Eiji Fujii
Akira Ebata
Sakae Kaminaka
Minoru Tsuruno
Tomoo Senuma
Kiyotaka Inagaki
Yuki Shimizu
Osamu Sasaki
Additional Drivers
Assistant To Ross Katz

Assistant To Sofia Coppola
Assistants To Bill Murray
Assistant To Scarlett Johansson
Assistant To Giovanni Ribisi and Anna Faris
Legal Services Provided by
Jonathan Ferrantelli
Susan Hebert
Kumi Tanaka
Koichi Tanaka
Naoki Takagi
Sayuri Kanamori
Epstein, Levinsohn, Bodine,
Hurwitz and Weinstein Llp.
Susan H. Bodine
Andrea Cannistraci
Alison Cohen
Armstrong Hirsch Jackoway Tyerman
& Wertheimer
George T. Hayum
Barry W. Tyerman
Production Attorney (Japan)

Insurance by Dennis Reiff & Associates
Additional Insurance (Japan)
Researcher
TV Clip Editor
Karaoke Video Editor
Karaoke Camera Operator
Supervising Sound Editor
Adr/Dialogue Editor
Fx Editor
Additional Adr Editors
Assistant Sound Editor
Atsushi Naito Esq.

Dennis Reiff, Ross Miller
Ryu Insurance Agency Co., Ltd.
Shari Chertok
Howard Shur
Yuji Oshige
Anne Rice
Michael Kirchberger
David Cohen
Julia Shirar
Deborah Wallach
George Berndt
Everett Moore
PAGE 29
PAGE 30
END CREDITS CONT.

Sound Intern
Matthew Hartman
Music Editor
Richard Beggs
Foley Supervisor
Foley Recordist
Foley Artist
Re-Recording Mixers
Re-Recording Supervisor
Recordist
Re-Recording Engineering
American Zoetrope Mix Facility Manager
American Zoetrope Post Production
Mix Facility Coordination
Mix Facility Support
Dolby Engineer
Payroll Services
Post Production Accounting
Title Design
Opticals
Negative Matched by
Film Developing and Dailies

Post Lab
Timer
Production Financing
Bond Company
Original Music by
William Storkson
Jory K. Prum
Marnie Moore
Richard Beggs
Kent Sparling
Robert Knox
Glenn Kasprzycki
Brian Sarvis
Howard Stein
Kim Aubry
James Levine
Dawn Angel
Ethan Derner
Dan Sperry
Entertainment Partners
JFA Inc.
Miles Murray Sorrell Fuel
Title House Digital
Gray Matter
West Coast Editorial
Heidi Zellner
Imagica, Tokyo
FotoKem Laboratory
Bob Fredrickson
Natexis Banques Populaires
Bennett Pozil
Film Finances Inc., Kurt Woolner,
Greg Trattner, Maureen Duffy
Kevin Shields
Alone In Kyoto by
Air
Additional Music by
Brian Reitzell
Roger Joseph Manning Jr.
William Storkson
Music Supervisor
Brian Reitzell
Music Clearances
Jill Meyers
Girls
Written by Tim Holmes and Richard Mcguire
Performed by Death In Vegas
Courtesy of Bmg Uk & Ireland Ltd.
Under License From Bmg Special Products, Inc.
Too Young
Written and Performed by Phoenix
Courtesy of Source/Virgin France
Under License From Emi Film & TV Music
PAGE 31
END CREDITS CONT.

Minuetto
Written by Dominic Sands
Courtesy of Promusic, Inc.
The Thrill Is Gone

Written by Roy Hawkins and Rick Darnell
Performed by Catherine Lambert
Fantino
Written and Performed by Sebastian Tellier
Courtesy of Virgin Records
Torn Into
Written by Matt Sims
Performed by Mount Sims
Courtesy of Emperor Norton Records
God Save The Queen

Written by Paul Cook, Steve Jones, John Lydon
and Glen Matlock
Performed by Fumihiro Hayashi
(Whats So Funny Bout) Peace, Love
and Understanding
Written by Nick Lowe
Performed by Bill Murray
Brass In Pocket
Written by Chrissie Hynde and James Honeyman-Scott
Performed by Scarlett T. Johansson
More Than This

Written by Bryan Ferry
Performed by Bill Murray
Scarborough Fair / Canticle

Written by Paul Simon and Arthur Garfunkel
Kaze Wo Atsumete
Written by Takashi Matsumoto and Haruomi Hosono
Performed by Shigekazu Aida
Performed by Happy End
Courtesy of Art Music Publishing Co., Ltd.
Blue Atmosphere
Written by Francesco Santucci,
Antonello Vannucchi, Giorgio Rosciglione
and Giovanni Cristiani
Courtesy of Promus ic, Inc.
Sometimes
Written by Kevin Shields
Performed by My Bloody Valentine
Courtesy of Reprise Records
by Arrangement With Warner Strategic Marketing
and Courtesy of Creation/Sine,
A Division of Sony Music Entertainment (Uk) Limited
Love Gun
Written by Rick James
Performed by Rick James
Courtesy of Motown Records
Under License From Universal Music Enterprises
Muyu
Written and Performed by Des -Row Union
Under License From Konami Music Entertainment
You Stepped Out of A Dream
Written by Gus Kahn and Nacio Herb Brown
Tommib
Written by Tom Jenkinson
Performed by Squarepusher
Courtesy of Warp Records Limited
The State Were In
Written by Tom Rowlands and Ed Simons
Performed by The Chemical Brothers
Courtesy of Virgin/Astralwerks Records
Fuck The Pain Away

Written and Performed by Peaches
Courtesy of Xl Recordings Limited
Nobody Does It Better

Written by Marvin Hamlisch and Carole Bayer Sager
Performed by Anna Faris
Alone In Kyoto
Written by Nicolas Godin and Jean-Benoit Dunckle
Performed by Air
Courtesy of Revolvair
Midnight At The Oasis
Written by David Nichtern
So Into You
Written by Buddy Buie, Robert Nix and Dean Daughtry
Performed by Mark Willms
PAGE 32
END CREDITS CONT.

She Gets Around
Written by Jason Falkner,
Roger Joseph Manning Jr. and Brian Reitzell
Performed by TV Eyes
Just Like Honey

Written by James Mcleish Reid and William Reid
Performed by The Jesus and Mary Chain
Courtesy of Warner U.K. Ltd.
by Arrangement With Warner Strategic Marketing
Feeling I Get
Written by Mike Brewer
Performed by Mary Butterworth Group
La Dolce Vita
Written and Performed by Nino Rota
C.A.M. S.R.L.
Tomei Tengu Bgm

Written and Performed by Takeo Watanabe
Courtesy of Sankyo Shinsha Inc.
Soundtrack Available on Emperor Norton Records

Thank You
Bart Walker
Roman
Steph
Kun
Zoe and Xan
Gretta Seacat
Susan Hebert
Chris Neil
Josh Hartnett
John Lydon
Hiroko
Marc Jacobs International
Kate Waters
Robert and Stacey
Keanu Reeves
Erwin Stoff
Anna Sui
The Directors Bureau
Mom and Dad

Spike
Rima Acord
Wes Anderson
Kelly Lynch
Jean Touitou
A.P.C.
Anton Kawasaki
Paul Simon and Eddie Simon
Joe Dapello
Jessica Tuchinsky
David Russell & Janet Grillo
Lorne Michaels
Jack Sullivan
Peter Miles
Mathew Minami
Helmut Lang
Staff of Park Hyatt Tokyo
Nobuhiko Kitamura
Hysteric Glamour
Mr. Murrays Wardrobe Provided by Helmut Lang
Toshinari Takahashi
C.I.A. Co., Ltd.
Suntory Limited
Tatsuya Matsui
Yomiuru Telecasting Corp.
Masatoshi Nagase
Akira Okano
Hiroshi Kunimasa
Forest Corporation, Inc.

Takuo Yasuda
Yuji Sadai
Tetsurou Yoshida
Pat Lucas
Brad Rosenberger
Damon Murray
Stephen Sorrell
Park Hyatt Tokyo

Hiroshi Fujiwara Nobuaki Okaji Head Porter
Head Porter Plus Goodenough
END CREDITS CONT.

Mathews Best Hit TV
Hiroaki Nishimura, Masaki Takahashi, Hidesuke Kataoka,
Aya Furuse, Shinji Nishigaki, Minako Yoshii, Shinichi Matsumoto,
Tomoaki Shiono, Yukio Tsutsumimoto, Kozo Komurasaki,
Tsukasa, Yosuke Imataki, Tadahito Kawada, Toshihide Saito,
Akihiko Okamoto, Takao Yamamoto
TV Asahi
Yoshimoto Kogyo Co., Ltd.
Location Support
Tokyo Medical University Hospital, Sputnik Pad/Idee, Tabloid News Clothe To You,
Johganji Temple, Kawaguchiko Country Club, Ichikan Sushi, Parlor Botan,
Air/Daikinyama, Hysteric Glamour, Heian Jingu Shrine, Nanzenji Temple,
Tokyu Corporation, Central Japan Railway Company
Product Support
Jal, Namco Limited, Konami, Sega Corporation, Hello Kitty, Sanrio, Co., Ltd.,
Artist International, Ingram Co., Ltd., Mon Seuil Co. Ltd., San-X Co., Ltd.,
Switch Publishing, Studio Voice, Little More, Rockin On Japan,
Cut, Monthly Magazine Inu No Kimochi (Benesse), Neko Publishing Co., Ltd.,
Shogakukan Big Comic Superior, Plus Eighty One/D.D. Wave Co., Ltd,
Magazine House, Daiichikosho Co., Ltd., Ozeki Corporation,
Pizza of Death Records, Inou Id by Shiseido, Pentax Corporation,
Ikegami Tsushinki Co, Ltd., Toraya Confectionery Co., Ltd.,
Audio-Technica, Kyocera Corporation, Actus, Minato Shokai Co., Ltd.,
Daiko, House Styling (Dinos), Apple Macintosh
Wardrobe Support
*A Bathing Ape, Head Porter, Milk Fed., Xlarge, Cord Three Co., Ltd,
Cos -Mo-Ra-Ma, Sage De Cret, Pas De Alais, So, Daniel Cremieux,
Kimono Rakuya, RemakeT-K, Georg Jensen Japan Ltd., Abiste,
Chrome Hearts, Boutique Osaki, Nme De Blue, Ap-Ron, Mimore,
Muji, Agnes B., Nice Collective, Puma, Lacoste, Propaganda, Mia & Lizzy,
Plein Sud, Vans, Juicy, Clarks, Tse, Bobby Jones, Mahna Mahna, Levis,
Cosabella, Passionbait, Araks Modern Amusement, Saffilo,
Modern Amusement, Eres, Saffilo, USA, Cutler & Gross, Persol, M.R.S.
Additional Support
Shipping Provided by Jmsa Logistics: Tony Adrid
Shibuya Jumbo Monitor Leased by Qfront
Billboard & Ad Truck Provided by Admax Co., Ltd.
Crew Accommodations Oakwood Residence Aoyama
Air Transportation Japan Airlines
Camera Accessories Rentals Eizo Service Co., Ltd.
Shineo Camera
Grip Equipment Tokkys Union Paradise
Electric Equipment Kurosawa Film Studios Inc.
Kyoto Production Eizo Kyoto Co.
Kansai Location Service Co.
Production Office Cleaning Yamatsu Services
PAGE 33
END CREDITS CONT.

Production Office Security Secom, Inc.
Film Stock Kodak Japan Ltd.
Walkies Rental On The Way, Inc,
Production Vehicles Fuji Movie, Inc.
Art Support Concord Inc.
Nouvelle Vague Co., Ltd.
Strobe Lights Provided by Broncolor Agai Trading Corporation
Posy Robot Sgi Japan Ltd., Flower Robotics, Inc.
TV Clips
Mtv Station Promo With Vj Grover
Courtesy of Mtv Japan, Kabushiki Kaisya
Shinshutsudo! Miniska Police: Episodes No.294 and No.303
Courtesy of C.I.A. Co., Ltd
Shiritsutantei Hama Mike: Episode 11
Courtesy of Yomiuri Telecasting Corporation
Hanagoyomi
Courtesy of Forest Corporation, Inc.
Chillsphere 001 Flow
Courtesy of Masashi Kitazato, Tsutomu Shimada
Buddhastick Transparent
Tomei Tengu
Courtesy of Kadokawa-Daiei Pictures, Inc.
Saturday Night Live
Courtesy of Broadway Video Enterprises and Nbc Studios
La Dolce Vita
Courtesy of International Media Films, Inc./Third Millennium Films, Inc.
Courtesy of Ms. Anita Ekberg and The Estate of Marcello Mastroianni
Courtesy of Path Films
Copyright 2003 Lost In Translation Inc.

All Rights Reserved
The characters and incidents portrayed and the names herein are fictitious,
and any similarity to the name, character or history of any person is entirely
coincidental and unintentional. This motion picture photoplay is protected
pursuant to the provisions of the laws of the United States of America and
other countries. Any unauthorized duplication, distribution and/or exhibition
of this photoplay may result in civil liability and criminal prosecution. This
motion picture is being exhibited under specific license and is not for sale.
Lost in Translation, Inc. is the author of this motion picture for the purpose
of copyright and other laws.
Shot Entirely on Location in Tokyo and Kyoto, Japan

From American Zoetrope
PAGE 34
END CREDITS CONT.

1724.07
CU GIRL WAVING
1729.10
LAST FRAME PICTURE. END REEL 5A/B
PAGE 35

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COMBINED CONTINUITY & SPOTTING LIST

TOTAL EXHIBITION FOOTAGE:

9,136.06 (9,136 FEET AND 6 FRAMES)

NOTE: Subtitles In Italics Indicates Voice Over, Narration, Or Song Lyrics.

LOST IN TRANSLATION COMBINED CONTINUITY & SPOTTING LIST REEL 1A/B

SPOTTING LIST TITLES & FOOTAGES

START MEASURING 00.00 AT PICTURE START MARK IN ACADEMY LEADER.

NARRATIVE TITLE: TITLE OF

LOST IN TRANSLATION COMBINED CONTINUITY & SPOTTING LIST REEL 1A/B

SAME SHOT CONT.

to new Tokyo International

AUTOMATED VOICE (TO

LOST IN TRANSLATION COMBINED CONTINUITY & SPOTTING LIST REEL 1A/B

MS. KAWASAKI (TO BOB)Welcome to Tokyo. My name is

LOST IN TRANSLATION COMBINED CONTINUITY & SPOTTING LIST REEL 1A/B

MS. KAWASAKI (0S

BOB (OS)Thank you.

MAN WITH BAG

MS. KAWASAKI (OS

BOB (TO MS. KAWASAKI) Thank you.

BOB (OS)Thank you, Ive heard of you.

MS. KAWASAKI (TO BOB) Nice to meet you.

MAN WITH BAG (TO BOB) This is for you.

LOST IN TRANSLATION COMBINED CONTINUITY & SPOTTING LIST REEL 1A/B

MS. KAWASAKI (TO BOB)This is Mr. Mori from Suntory,

BOB (TO CHIBATA)I need that.

MS. KAWASAKI (OS CONT)Mori from Suntory.

MS. KAWASAKI (OS)And Mrs.

MS. KAWASAKI (OS)And this is Mr.

LOST IN TRANSLATION COMBINED CONTINUITY & SPOTTING LIST REEL 1A/B

BOB (TO ALL)Thank you. Thank you.

MS. KAWASAKI (TO BOB)You need me to pick you up in

BOB (TO MS. KAWASAKI) Okay.

MS. KAWASAKI (CONT)Taka.

MS. KAWASAKI (TO BOB) Okay, see you tomorrow.

BOB (OVERLAPPING)Great. Short and sweet. Very

BOB (TO ALL)Great. Short and sweet. Very

LOST IN TRANSLATION COMBINED CONTINUITY & SPOTTING LIST REEL 1A/B

MS. KAWASAKI (TO BOB)My pleasure.

BOB (TO ALL)Get some sleep. Youre all

MS. KAWASAKI (TO BOB)Good night.

BOB (TO MS. KAWASAKI &

NARRATIVE TITLE: NOTE ON

BOB (OS CONT)Okay.

MS. KAWASAKI (OS

LOST IN TRANSLATION COMBINED CONTINUITY & SPOTTING LIST REEL 1A/B

BOB (OVERLAPPING)Thank you.

CONCIERGE (TO BOB)Mr. Harris, welcome to Park

LOST IN TRANSLATION COMBINED CONTINUITY & SPOTTING LIST REEL 1A/B

SAME SHOT CONT.

JAZZ SINGER (TO LOUNGE)Im in your arms.

LOST IN TRANSLATION COMBINED CONTINUITY & SPOTTING LIST REEL 1A/B

JAZZ SINGER (TO LOUNGE)And you are kissing me.

JAZZ SINGER (TO LOUNGE)But there seems to be...

JAZZ SINGER (OS CONT)(SINGING) And you are kissing

BUSINESSMAN #1 (OS)You see that guy?

BUSINESSMAN #2 (OS)You know who that is?

LOST IN TRANSLATION COMBINED CONTINUITY & SPOTTING LIST REEL 1A/B

SAME SHOT CONT.

BUSINESSMAN #1 (OS)Bob? Bob Harris? Youre

BUSINESSMAN #1 (TO BOB) Bob Harris? Youre awesome.

BUSINESSMAN #2 (TO BOB) Sunset Odds - Loved it.

BUSINESSMAN #2Sunset Odds loved it.