MY WEEK WITH MARILYN
Written by
Adrian Hodges
1 EXT. TILBURY DOCKS. DAY. 1
Over a DARK SCREEN we see the caption:
"This is a fairy story, an episode out of time and space,
which nevertheless was real" - Colin Clark.
Then, FADE UP ON:
Newsreel footage of SIR LAURENCE OLIVIER AND VIVIEN LEIGH
arriving back at Tilbury Docks to be greeted by an excited
crowd of fans. As they progress down the gangplank and stop
to sign autographs we HEAR an excited commentary OVER:
COMMENTATOR
"Returning to England are
Britain's acting royalty Sir
Laurence Olivier and Lady
Olivier, better known as stunning
Gone With The Wind star Vivien
Leigh. Sir Laurence has added a
new string to his bow with the
announcement that he is to direct
and star in a screen version of
Terence Rattigan's stage play The
Sleeping Prince with none other
than Hollywood siren Marilyn
Monroe. When the world's greatest
actor romances the most famous
woman alive, we can be sure that
sparks will fly. Now, now Lady
Olivier, don't worry - any
romance is strictly for the
camera!"
As OLIVIER and VIVIEN smile for the photographers, we -
CUT TO:
2 EXT. SALTWOOD CASTLE. DAY. 2
It is 1956. Saltwood Castle, the family home of the Clark
family, looms over the landscape, framed by the setting
sun. It is majestic, an Englishman's dream of a home,
complete with turrets and even a moat. There is a feeling
of timeless beauty and stability about the scene, something
profoundly English.
We are a very long way from Hollywood.
CUT TO:
3 EXT. SALTWOOD CASTLE. GARDEN. DAY. 3
COLIN CLARK, 23, hurries across the lawn carrying a bag, he
is casually dressed, boyish and handsome. He heads towards a
beautiful, ramshackle building and through the ancient oak
doors.
MY WEEK WITH MARILYN 2.
3A INT. SALTWOOD CASTLE. LIBRARY STAIRS. DAY. 3A
COLIN bounds up the stairs into the Library.
3B INT. SALTWOOD CASTLE. LIBRARY. DAY. 3B
As COLIN enters, he sees SIR KENNETH CLARK, standing in front
of a painting on an easel by the Italian Baroque painter,
Annibale Carracci. He has two STUDENTS with him, a man and a
woman in their early 20s, and is in mid-description of the
painting.
KENNETH
... and this is one of Carracci's
earlier works and one is able to
see the emergence of his now famous
Baroque style, which is clearly
rooted in the tradition of high
renaissance and antiquity...
COLIN pauses briefly and hurries towards them. Throughout the
scene there is a sense of his urgency and desire to go. The
whole thing should be played at breakneck pace. KENNETH beams
affectionately.
KENNETH
Colin! Come in. Have you met James
and Anna? Two very brilliant
pupils.
He has the avuncular air of a benign academic, affable and a
little eccentric. COLIN smiles hurriedly at the students, no
time to waste.
COLIN
I'm leaving for London now, Pa.
KENNETH
Ah, yes. Well, bon chance, dear
boy...
He puts a friendly arm around COLIN's shoulder and starts to
walk him back to the door.
KENNETH
I can always get you a research
position at the V&A when you've
grown up a bit and got this film
idea out of your system...
COLIN's smiles but before he can reply JANE CLARK whirls into
the room, a ball of energy, talking nineteen to the dozen.
JANE
Kenneth, you might have told Cook
we were another two for dinner.
What is everyone supposed to eat?
Cabbage soup? Oh, Colin, darling,
there you are...
MY WEEK WITH MARILYN 2A.
She looks wonderful in a good quality but elderly dress,
eccentrically combined with gardening attire, her mind on a
dozen things at once.
COLIN
I'm off now, Mama.
JANE
Off?
COLIN
My job interview, remember..?
But she is already continuing her journey. COLIN smiles
hurriedly at KENNETH, who gives him an affectionate wave as
COLIN dashes after his mother. She leaves the Library.
CUT TO:
3C INT. SALTWOOD CASTLE. GARDEN. DAY. 3C
JANE strides across the lawn with COLIN rushing to catch up.
JANE
Can't you stay for dinner? There's
nothing to eat but I'm sure the
conversation will be charming.
COLIN
I don't want to be late in the
morning.
As COLIN hurries after JANE he is nearly run down by an
elderly GARDENER with a lawn mower, and has to take lightning
evasive action. JANE doesn't notice.
JANE
I'm sure they won't mind. You'll be
a famous film director in no time.
I know your father's put in a word.
COLIN
I wish he hadn't done that. I can
manage on my own.
She stops so abruptly he nearly slams into her. JANE looks
around the garden with a frown.
JANE
I have to watch Jenkins like a
hawk. One more of his murderous
prunings and we'll lose the tea
roses for ever.
And she's off again, with COLIN still following. He can't
help smiling at the madness of it all.
CUT TO:
MY WEEK WITH MARILYN 2B.
4 EXT. SALTWOOD CASTLE. DRIVEWAY. DAY. 4
The sun is setting, casting a golden glow over the castle.
COLIN and JANE emerge from the front door, COLIN pauses in
the driveway and dumps his bag in the back of his old but
racy MG Sports car. Only now does JANE really turn her
attention fully to him for the first time.
JANE
Now go and have a lovely time,
darling. We're always here when
you're ready to talk your future.
COLIN wants to protest but before he can get the words out
JANE sees a YOUNG GARDENER walking at the side of the house
with a wheel barrow. Her face lights up.
JANE
Mullins! Be an angel - find Cook
and ask her how many pork chops we
need for tonight. Then bring the
car round. I must get to the
village before the shop shuts...
She dashes away after the GARDENER, turning back as an
afterthought to blow a kiss at COLIN as she goes.
COLIN smiles, then pauses for a moment to look at the house.
We can sense both his affection for it but more pressingly
his need to get away.
He gets in, puts the car in gear and the Bristol pulls out of
the drive and across the moat. In the last rays of the sun,
the countryside looks magical, but Colin only has eyes for
the road ahead.
MY WEEK WITH MARILYN 3.
5 EXT. LONDON STREETS MONTAGE. EVENING 5
CUT TO CREDITS OVER A MONTAGE OF SCENES OF LONDON
IN THE 1950s FROM COLIN'S POINT OF VIEW. AS HE
MAKES HIS WAY INTO THE CITY WE SEE THE STATUE OF
EROS AGAINST THE LIGHTS OF PICCADILLY CIRCUS,
CROWDS MILLING AROUND TRAFALGAR SQUARE, YOUNG
PEOPLE SPILLING OUT OF CLUBS AND COFFEE BARS IN
SOHO, UNTIL, WE FADE TO:
6 EXT. PICCADILLY STREETS. DAY. 6
A sharp contrast with the hazy beauty of the countryside.
It is early morning in the heart of London's West End. The
streets hum with activity as OFFICE WORKERS in hats and
raincoats stream from the tube stations.
COLIN pushes his way through the early morning crowds in
Piccadilly. This is his patch; he is very much at home
here, negotiating the busy streets with ease. As he passes
by the upmarket Burlington Arcade a TAILOR pauses in
measuring a suit for a client to give him a familiar wave.
COLIN waves back.
CUT TO:
7 EXT. 144 PICCADILLY. LONDON. DAY. 7
Checking his watch he runs the last few yards then stops
outside the imposing facade of 144 Piccadilly. A plaque
outside the door announces: LAURENCE OLIVIER PRODUCTIONS.
Colin fingers his carefully knotted tie to make sure
everything is correctly in place, then goes to the door and
rings the bell.
CUT TO:
MY WEEK WITH MARILYN 4.
8 INT. 144 PICCADILLY. RECEPTION AREA. DAY. 8
The reception area is luxurious - deep pile carpets and
plush sofas. VANESSA, the beautiful secretary, sits behind
her imposing desk, gazing doubtfully at COLIN.
VANESSA
You're not in Mr. Perceval's
diary.
COLIN
Larry told me to come.
She pauses dubiously, then reaches for her telephone. We
hear a man answer in an office down the hall, his voice
carrying irritably.
PERCEVAL
(OFF)
Yes?
VANESSA
I have a Mr. Colin Clark here. He
says Sir Laurence sent him.
She stresses the proper name in disapproval of Colin's
familiarity.
PERCEVAL
(OFF)
Oh, God... not another one of
Vivien's pretty boys.
VANESSA looks at COLIN with amusement. His smile falters as
he feels himself coming down to earth with a bump.
CUT TO:
9 INT. 144 PICCADILLY. HUGH PERCEVAL'S OFFICE. DAY. 9
HUGH PERCEVAL (40s) is Laurence Olivier's production
executive. He is tall and gloomy, with black-rimmed
spectacles and thinning dark hair. He looks at COLIN grimly
as he stuffs his pipe with tobacco.
PERCEVAL
Well, what do you want?
COLIN
A job on your Marilyn Monroe
film.
MY WEEK WITH MARILYN 5.
PERCEVAL
Oh really, what as?
COLIN
I want to work on the production
side.
He smiles with as much charm as he can muster. PERCEVAL
isn't impressed.
PERCEVAL
There are no jobs yet. We don't
start shooting for eight weeks.
COLIN
May I wait?
PERCEVAL
What?
COLIN
Until there's a job.
PERCEVAL
For eight weeks?
COLIN
Something might come up.
PERCEVAL is distracted as the telephone rings.
PERCEVAL
Terry? Larry wondered how the
script was coming...
CUT TO:
10 INT. 144 PICCADILLY. RECEPTION AREA. DAY. (MONTAGE) 10
COLIN troops back to the sofa. VANESSA gives him a cool
glance. COLIN looks at the clock. It has just gone 10.30.
MY WEEK WITH MARILYN 6.
We see the day pass as COLIN sits on the sofa - the clock
ticking slowly on the wall, VANESSA busy at her desk, COLIN
looking up hopefully from time to time, only to be
disappointed.
CUT TO:
11 INT. 144 PICCADILLY. RECEPTION AREA. DAY. (MONTAGE) 11
It is now nearly 6 o'clock. COLIN sits exactly as he was.
PERCEVAL shares a look with VANESSA as he comes out of his
office. He gazes drily at Colin.
PERCEVAL
There are no jobs.
COLIN
I'll come back tomorrow morning.
Just in case.
PERCEVAL
It's a free country.
He sounds as though he rather regrets it.
11A EXT. 144 PICCADILLY. LONDON. DAY. (MONTAGE) 11A
COLIN arrives early, ready for another day.
12 INT. 144 PICCADILLY. RECEPTION AREA. DAY. (MONTAGE) 12
COLIN is back in his place at 8.30 sharp the next morning.
PERCEVAL gives him a grim stare as he goes through to his
office. VANESSA glances up from her typewriter. He meets her
eye optimistically but she ignores him.
13 INT. 144 PICCADILLY. RECEPTION AREA. DAY. 13
The clock ticks around with agonising slowness to 11.00.
VANESSA finally gives Colin a pitying look.
VANESSA
Are you going to sit there all
day?
COLIN
If I have to.
VANESSA
You're very determined.
COLIN
I'd do anything to be in the film
business.
VANESSA
Anything?
MY WEEK WITH MARILYN 7.
She smiles cheekily. He grins back, sensing an opportunity.
VANESSA
You can start by making me a cup of
tea. White, two sugars.
CUT TO:
14 OMITTED 14
MY WEEK WITH MARILYN 8.
15 INT. 144 PICCADILLY. RECEPTION AREA. DAY. 15
Close on the clock as it ticks around monotonously to
12.30. VANESSA puts on her gloves and collects her bag.
She gives COLIN a sly look.
VANESSA
You can answer the telephone while
I'm at lunch, if you like.
She winks. COLIN grins. The phone rings. He picks it up.
COLIN
Laurence Olivier Productions...
CALLER
(ON PHONE)
Is Sir Laurence there?
COLIN
He's at Notley until the end of
the week. Can I take a message?
CALLER
(ON PHONE)
I'll call back.
No sooner has COLIN hung up than PERCEVAL appears. He
stares at COLIN.
COLIN
Vanessa asked me to...
PERCEVAL
Oh, did she? Why didn't you put
that call through?
COLIN
There didn't seem any need to
bother you. But if you want me to
transfer every single one...
PERCEVAL looks at him grudgingly.
PERCEVAL
Use your judgement.
He hesitates and looks back.
PERCEVAL (CONT'D)
I need a number for Noel Coward.
It won't be in the book, so
you'll have to track him down.
COLIN realises this is a test. He thinks quickly.
CUT TO:
MY WEEK WITH MARILYN 8A.
16 INT. SALTWOOD CASTLE. HALL. DAY. 16
The phone rings in the beautiful central hall. JANE CLARK
picks up the phone.
MY WEEK WITH MARILYN 9.
COLIN
(ON PHONE)
Hello, Mama.
JANE
Colin, darling! How are you
getting on?
CUT BACK TO:
17 144 PICCADILLY. RECEPTION AREA. DAY. 17
COLIN glances towards Perceval's office and talks quickly.
COLIN
(ON PHONE)
This is urgent. I need Noel
Coward's London number. My life
depends on it.
JANE
How exciting. Let me see... it's
Sloane 2965. Ask him if he's
coming to Saltwood for the bank
holiday.
COLIN
I will. Mama, you're an angel.
CUT TO:
18 INT. 144 PICCADILLY. HUGH PERCEVAL'S OFFICE. DAY. 18
PERCEVAL looks up as COLIN puts the number on his desk.
PERCEVAL
That was quick.
COLIN
I had a bit of luck.
PERCEVAL looks at him shrewdly.
PERCEVAL
Am I supposed to be impressed?
Did Mummy and Daddy help? Don't
think they can do the job for you.
The only way you'll get on in this
business is through bloody hard
work.
COLIN
Yes, sir.
COLIN leaves.
CUT TO:
MY WEEK WITH MARILYN 9A.
19 INT. 144 PICCADILLY. RECEPTION AREA. DAY. 19
A new morning. COLIN perches restlessly on the sofa.
Despite his modest triumph he is back where he started. The
seconds pass in dull silence. He is beginning to think his
campaign will fail. But then, in a heartbeat, everything
changes.
He looks up in surprise as the door bursts open and SIR
LAURENCE OLIVIER strides in with his wife VIVIEN LEIGH on
his arm.
MY WEEK WITH MARILYN 10.
At the age of 49 SIR LAURENCE OLIVIER is at the peak of his
fame. He is handsome and charismatic, and VIVIEN is
scarcely less extraordinary. The Gone With The Wind star
remains classically lovely, flirtatious and captivating.
Individually they are charismatic enough, but together they
are electrifying, seeming to charge the air around them
with the power of their personalities, galvanising anyone
who comes into contact with them.
VANESSA leaps to her feet and PERCEVAL hurries to greet
them as COLIN stands up uncertainly. OLIVIER is all amiable
bluster and bonhomie.
OLIVIER
Do you know, Hughie, it is simply
impossible to get Marilyn Monroe on
the telephone? The darling girl
spends the entire day asleep. But
great beauty has its way...
He laughs, but then notices VIVIEN's less than enthusiastic
response. Seeking refuge in some distraction he notices
COLIN hovering by the sofa.
OLIVIER (CONT'D)
Hello, boy... remind me?
He smiles vaguely and glances at VIVIEN for help.
VIVIEN
You remember Colin, darling. You
met him at the Clarks' party.
OLIVIER
(NO IDEA)
Of course. What are you doing
here?
COLIN
You said there might be a job on
your film.
OLIVIER has no recollection of this and fumbles in his
pockets to cover his confusion, bringing out a packet of
cigarettes and offering them to COLIN with breezy charm.
OLIVIER
Have a cigarette. Keep the pack.
He turns quickly to PERCEVAL.
MY WEEK WITH MARILYN 11.
OLIVIER (CONT'D)
There won't be any film unless
Miss Monroe gets her splendid
posterior out of bed.
PERCEVAL
The House Committee are
threatening to withhold Miller's
passport. They say he's a
communist. No Arthur, no Marilyn.
OLIVIER
I'll have a word with the
American ambassador. I'm taking
him to see Vivien in South Sea
Bubble on Thursday... now, tell
me, Hughie, are Terry's rewrites
in?
He puts an arm around PERCEVAL's shoulders and they
disappear together into Perceval's office.
VIVIEN lingers behind, smiling radiantly at COLIN who looks
dumbly at the packet of cigarettes in his hand. He now sees
they are called "Oliviers". VIVIEN wrinkles her nose in
amusement.
VIVIEN
They named them after Larry. The
first actor since Du Maurier to
have his own brand and they pay
him an absolute fortune. (Pause)
I'm afraid they're rather
ghastly.
She cups Colin's cheeks with her hands and studies him in
mock awe.
VIVIEN (CONT'D)
Isn't he gorgeous, Vanessa?
VANESSA
I suppose he's all right.
VIVIEN's eyes sparkle. OLIVIER emerges from the office with a
handful of script pages and VIVIEN looks at him slyly,
getting her own back for his tactless over-praise of
Marilyn's charms as she strokes COLIN's cheek.
MY WEEK WITH MARILYN 12.
VIVIEN
(TO COLIN)
Let's elope together and have the
most glorious affair. (Arch) Oh,
but then, who'd look after my
poor Larry?
Olivier glances over with a faint look of exasperation.
VIVIEN winks at COLIN and takes her husband's arm.
VIVIEN (CONT'D)
Now, darling, you must do
something for Colin. You
absolutely promised.
OLIVIER looks hunted. There is no way out. He glances back
at PERCEVAL as he comes in.
OLIVIER
Let's try to find him something
to do, Hughie.
COLIN grins in triumph. VIVIEN smiles at him.
VIVIEN
You will take care of my precious
Larrykins, won't you?
She flirtatiously offers up her cheek for COLIN to kiss.
COLIN's smile falters as he sees PERCEVAL looking at him
grimly.
20 INT. 144 PICCADILLY. HUGH PERCEVAL'S OFFICE. DAY. 20
COLIN stands eagerly at PERCEVAL's desk. PERCEVAL looks at
him, more than usually brusque.
PERCEVAL
Arthur Jacobs, Miss Monroe's
publicist is flying in tomorrow.
He wants to see the house she'll
be staying in. Find something
suitable.
20 ALT INT. 144 PICCADILLY. HUGH PERCEVAL'S OFFICE. DAY. ALT
20
COLIN knocks and walks into Perceval's office, carrying a
tray with tea and a plate of biscuits. The blinds are closed
and a 16mm projector is running; silent images play on a fold-
up screen in the corner of the room.
Framed in the light of the projector are PERCEVAL and the
film's lighting cameraman JACK CARDIFF. They take no notice
of Colin.
He looks up at the screen. The two men are watching make-up,
hair and wardrobe tests for the film. MARILYN MONROE in
character as Elsie Marina.
MY WEEK WITH MARILYN 12A.
The film shows Marilyn looking sweet and pretty, chatting
silently to someone just off camera, mugging playfully in
costume, larking about with her hair - and then, when she
wants to, turning on her full film star wattage and looking
wonderful, every inch the beautiful icon.
It is an intimate glimpse of her at work. Colin watches,
fascinated, completely forgetting why he's there, still
holding the tray -
PERCEVAL
(TO CARDIFF)
Larry says he particularly likes
this dress. She looks radiant.
CARDIFF
Exactly - we need to tone her down
a bit.
PERCEVAL
How the hell do you tone down
Marilyn Monroe?!
COLIN laughs. He immediately regrets it. Both men turn to
look at him. PERCEVAL turns off the projector and gazes at
him stonily.
PERCEVAL
Marilyn Monroe's publicist is
flying in tomorrow. He wants to see
the house she'll be staying in.
Find something suitable.
COLIN nods eagerly, anxious to get out. He is already at the
door when PERCEVAL barks at him again.
PERCEVAL
And leave the bloody tea.
COLIN had forgotten the tray. He blushes furiously, puts it
down and hurries out.
21 EXT. COUNTRY ROAD. DAY. 21
COLIN has a map spread out on the bonnet of his Bristol
sports car. He finds Pinewood Studios then draws a ring
around its circumference. He taps his pencil thoughtfully
as he lights a cigarette - one of the branded pack that
Olivier gave him. He inhales deeply, thinking, then
grimaces in distaste, quickly stubbing it out under his
foot.
CUT TO:
MY WEEK WITH MARILYN 13.
22 EXT. TIBBS FARM. DRIVE. DAY. 22
COLIN pulls into the drive of Tibbs Farm, a charming
English cottage.
CUT TO:
23 EXT. TIBBS FARM. DAY. 23
COTES-PREEDY, the owner, clearly has a very high opinion of
Tibbs Farm. Aloof and snobbish, he stands by the front
door, looking down his nose at COLIN.
COTES-PREEDY
Out of the question. I can't have
a lot of awful film people
tramping through the house in
dirty boots.
COLIN
We'd pay a hundred pounds per
week for 18 weeks.
COTES-PREEDY
My wife would never agree.
COLIN
That's a pity. I'll have to tell
Miss Monroe to look elsewhere,
then.
COTES-PREEDY double takes.
COTES-PREEDY
Marilyn Monroe?
COLIN
(NODS)
She's making a film with Sir
Laurence Olivier. The Sleeping
Prince. From the play by Terence
Rattigan.
COTES-PREEDY
I saw it in the West End a couple
of years ago. Vivien Leigh was
marvellous.
COLIN
It's Marilyn Monroe in the film.
COTES-PREEDY smiles transparently.
MY WEEK WITH MARILYN 14.
COTES-PREEDY
(After a second)
I suppose I'd have to be
introduced..?
CUT TO:
24 DELETED 24
25 EXT. 144 PICCADILLY. LONDON. DAY. 25
ARTHUR JACOBS, Marilyn's publicist, is a close-cropped,
pugnacious figure in his mid-forties. He waits impatiently
outside Olivier's office, a stack of newspapers under his
arm. COLIN comes hurrying up, smiling brightly.
COLIN
Good morning, Mr. Jacobs. I hope
you had a pleasant flight.
JACOBS
Where's the fucking car?
CUT TO:
26 EXT. COUNTRY LANE. DAY. 26
JACOBS sits in the passenger seat of Colin's Bristol sports
car reading his stack of newspapers. After a moment he
grunts in disgust.
JACOBS
Jeez, do you Brits actually read
this stuff?
He winds down his window and simply throws the whole lot
out into the lane. The pages billow out in a great cloud
behind the speeding car, landing in the pretty hedgerows
and on neat front lawns.
COLIN gapes in astonishment. Welcome to Hollywood.
CUT TO:
27 EXT. TIBBS FARM. DAY. 27
JACOBS slouches out of the house, magnificently
unimpressed. COTES-PREEDY follows him proudly with COLIN at
his side. JACOBS takes a long, unimpressed look at the
property.
JACOBS
What is this place? A brothel?
COTES-PREEDY's face falls.
MY WEEK WITH MARILYN 14A.
COTES-PREEDY
It's one of the best houses in
the area.
JACOBS
Jesus. And I thought you Brits
had taste.
MY WEEK WITH MARILYN 15.
He glances at COLIN.
JACOBS (CONT'D)
Is this the best you can do?
COLIN
It's very near Pinewood.
JACOBS
All right. We'll take it. (Pause)
But ditch the wallpaper. It's
given me a migraine.
CUT TO:
28 INT. 144 PICCADILLY. HUGH PERCEVAL'S OFFICE. DAY. 28
JACOBS slaps down a copy of the Evening Standard on the
desk. The front page carries a picture of Tibbs Farm with
the caption: "Exclusive - Marilyn's Luxury Home In
England". He jabs a finger at it angrily.
OLIVIER
News travels fast.
JACOBS
That house was perfect for
Marilyn.
PERCEVAL
We can't use it now.
COLIN
Yes we can. I knew Cotes-Preedy
wouldn't be able to keep this
quiet.
They stare to him in surprise. He looks at them boldly.
COLIN
When you asked me to find a house
for Miss Monroe I took the
precaution of finding two. The
other one, Parkside, is much
better and the owner is very
discreet.
PERCEVAL
But now we have two expensive
houses when we only wanted one.
COLIN
I thought someone else on the
production might want it.
PERCEVAL
Oh, did you?
There is a dangerous moment when things could go either
way. COLIN has gambled everything in a bid to impress them.
MY WEEK WITH MARILYN 16.
He waits in tense silence, staring at their puzzled
expressions. But then JACOBS shrugs.
JACOBS
I guess Milton could use it. It's
near the studio, near Marilyn.
OLIVIER looks at COLIN, then bursts out laughing.
OLIVIER
What are we paying you, boy?
He glances at COLIN with amusement.
COLIN
Nothing...
OLIVIER
(LAUGHING)
See to it, Hughie!
PERCEVAL sighs grimly.
CUT TO:
29 EXT. PINEWOOD STUDIOS. DAY. 29
Pinewood studios is the glamorous heart of the British film
industry. COLIN drives up to the gate and smiles at the
SECURITY MAN.
COLIN
Colin Clark. Sir Laurence Olivier
Productions.
CUT TO:
30 EXT/INT. PINEWOOD STUDIOS. DAY. 30
ACTORS in full costume walk past, TECHNICIANS move lights
and cameras, EXTRAS are herded to their scenes by harried
ASSISTANT DIRECTORS. COLIN takes it all in with wondering
eyes. To him the studio is a magical place.
CUT TO:
31 INT. PINEWOOD STUDIOS. DRESSING ROOMS. DAY. 31
The dressing rooms are little more than empty shells.
JACOBS looks around. OLIVIER and PERCEVAL are with him,
while COLIN waits attentively.
PERCEVAL
The set decorators will have it
all sorted out in no time.
MY WEEK WITH MARILYN 16A.
JACOBS
Marilyn hates red. And blue.
(Pause) And green.
PERCEVAL
What about white?
JACOBS
I'd have to clear it with her.
OLIVIER glances mischievously at Colin.
MY WEEK WITH MARILYN 17.
OLIVIER
Beige, then. Beige is rarely
controversial.
JACOBS considers this, unaware that Olivier is teasing him.
JACOBS
I guess that's okay. She's never
said nothing about beige. Paula
will need the room next door.
COLIN
Paula?
JACOBS
Strasberg. Marilyn's acting
coach.
OLIVIER looks at him darkly. JACOBS shrugs.
JACOBS (CONT'D)
She's nuts about the Method.
OLIVIER
Stanislavski and the Method are
perfectly fine in the rehearsal
room but they don't belong on a
film set. Time is too tight. I'm
sure Marilyn understands.
He turns and walks away. JACOBS frowns uncertainly.
JACOBS
Who the hell is this Commie Stan
Slavski?
CUT TO:
32 INT. PINEWOOD STUDIOS. PRODUCTION OFFICE. DAY. 32
COLIN stands in the Production Office. DAVID ORTON (30s)
the First Assistant Director, a thin, fair-haired man
regards him with obvious irritation.
ORTON
I don't know why Hugh Perceval
sent you here. There's nothing I
can do for you.
COLIN
Why not?
ORTON
Are you in the union?
COLIN
No...
MY WEEK WITH MARILYN 18.
ORTON
Then you can't have a job on the
film.
COLIN
How do I get in the union?
ORTON
By getting a job on the film.
COLIN
But you just said I couldn't have
a job on the film unless I was in
the union.
ORTON
Exactly. It's called a closed
shop.
COLIN looks at him helplessly. ORTON relents a little.
ORTON (CONT'D)
I suppose I might be able to sort
something out. The Union owes me
a few favours. We haven't got a
third yet.
COLIN
A third?
ORTON
Third Assistant Director. (Pause)
You do know what the job is?
COLIN
Assisting the director?
ORTON
Christ, no! That's the last thing
you do. Lesson One. The third's
job is to do whatever the fuck I
tell him.
ORTON walks to the door, then looks back.
ORTON (CONT'D)
(SHOUTS)
What are you waiting for?
COLIN scrambles to follow him out.
CUT TO:
33 INT. PINEWOOD STUDIOS. WARDROBE DEPT. DAY. 33
As ORTON and COLIN pass the wardrobe department COLIN
notices a pretty WARDROBE GIRL (LUCY) putting costumes on
the racks. She has dark hair and laughing eyes and is a
year or so younger than him. ORTON follows his gaze.
MY WEEK WITH MARILYN 18A.
ORTON
Colin!
COLIN jumps as ORTON glowers at him.
ORTON (CONT'D)
Lesson Two. You don't shit on
your own doorstep. Got it?
MY WEEK WITH MARILYN 19.
COLIN
Got it.
But he sneaks a look back at LUCY as he goes.
33A EXT. PINEWOOD STUDIOS. DAY. 33A
ORTON and COLIN hurry through Pinewood.
ORTON
Where are you staying?
COLIN
My father's place in the Albany.
ORTON
You can forget that. Lesson Three.
The Third always stays nearby, not
in some bloody palace in London.
(Pause) Book a room at the Dog And
Duck down the road. It's a bit
rough but you'll get used to it.
He grins, enjoying himself.
ORTON (CONT'D)
Now make yourself useful. Marilyn
needs a bodyguard. Sort something
out.
CUT TO:
34 INT. PINEWOOD STUDIOS. PRODUCTION OFFICE. DAY. 34
PERCEVAL sits with COLIN and ROGER SMITH. SMITH is a
dignified figure in his mid-fifties. His erect bearing
speaks of a lifetime in the police.
PERCEVAL
I'm sure you understand the
sensitive nature of the job,
Superintendant?
ROGER
No need for the title. I'm
retired from the force. (Pause)
Something about looking after a
cinema actress?
PERCEVAL
Not just any actress. Marilyn
Monroe.
He gets no reaction from the stolid ex-policeman.
ROGER
I've never had much time for the
pictures.
MY WEEK WITH MARILYN 20.
PERCEVAL
Excellent. (Pause) For the next
four months you never leave her
side, day or night. There will be
crowds.
ROGER
That doesn't bother me.
PERCEVAL pauses awkwardly.
PERCEVAL
Her behaviour is reputedly a
little... erratic.
ROGER
She drinks?
PERCEVAL
Amongst other things.
ROGER
Pills?
PERCEVAL leaves a tactful pause.
PERCEVAL
It would be useful if you could
keep us informed of her...
domestic situation.
ROGER
You want me to spy on her?
Perceval and Roger understand each other perfectly.
PERCEVAL
Just the odd early warning if you
know she's going to be late on
set. That kind of thing.
Smith takes this in his stride; he seems wholly immune to
the glamour of the movies.
CUT TO:
35 INT. PINEWOOD STUDIOS. CORRIDOR. DAY. 35
JACOBS chases after OLIVIER trying to get his attention.
OLIVIER is busy studying preliminary sketches of costumes
and set.
JACOBS
You need to speak to the Coca-Cola
people, Larry. They're crazy to be
involved with Marilyn.
PERCEVAL and COLIN meet them coming the other way.
MY WEEK WITH MARILYN 20A.
PERCEVAL
Good news. The House Committee
have decided Miller isn't a
communist after all.
MY WEEK WITH MARILYN 21.
JACOBS
Of course he is. All those pain
in the ass New York intellectuals
are reds.
OLIVIER rolls his eyes behind JACOBS back. COLIN grins.
PERCEVAL
It means Marilyn will be flying
in next week on schedule.
JACOBS
She'll have to be met.
OLIVIER
Naturally, Vivien and I will be
there to greet her. But let's
keep it low key, shall we?
JACOBS
Don't worry. I've got it all under
control.
CUT TO:
36 INT. LONDON AIRPORT. HALL. DAY. 36
Bedlam! The customs areas is besieged by shouting, pushing
JOURNALISTS as the POLICE fight to keep control. In the
middle of the chaos COLIN stands with ROGER SMITH watching
OLIVIER and VIVIEN addressing the gathered press.
OLIVIER
It is a deep happiness to me to
be translating Terence Rattigan's
magnificent play to the screen...
A voice suddenly rings out from the back of the previously
attentive crowd.
REPORTER
The plane's landed!
As one, the entire crowd turns away from Olivier and rushes
towards the plane. Suddenly abandoned, OLIVIER and VIVIEN
look momentarily startled before VIVIEN glances at him with
a half-smile.
VIVIEN
It seems we're not top of the
bill anymore, darling.
CUT TO:
37 EXT. LONDON AIRPORT. PLANE/TARMAC. DAY. 37
MARILYN MONROE walks down the steps of a TWA jet on a rainy
London day. She clutches a bouquet of flowers and wears
DARK GLASSES;
MY WEEK WITH MARILYN 21A.
her raincoat is slung loosely over her shoulders. Her new
husband ARTHUR MILLER walks a step or two behind her,
wearing a light summer jacket.
MY WEEK WITH MARILYN 22.
38 EXT. LONDON AIRPORT. TARMAC. DAY. 38
MARILYN and MILLER walks across the tarmac towards the
terminal and the crowd of PRESS waiting for them.
REPORTER
There she is! Marilyn!
The REPORTERS surge forward. COLIN follows their collective
gaze. She looks exactly as she should. The radiant smile, the
platinum blonde hair, the sexy wiggle. The most famous film
star in the world, so much herself it is almost unreal.
Walking through the crowd MARILYN smiles easily, whereas
MILLER looks stern and a little dazed by the sudden flurry of
attention. Flashbulbs pop as the POLICE struggle to contain
the crowd. MARILYN puts her arm around MILLER, who grins
blankly. The flashbulbs burst in front of them, a solid wall
of dazzling light.
REPORTER (CONT'D)
Marilyn! Over here, Marilyn!
REPORTER 2
Marilyn, this way..!
ARTHUR JACOBS observes the chaotic scenes with obvious
relish, grinning towards ROGER and COLIN.
JACOBS
Beautiful. You're looking at
tomorrow's front page, boys.
ROGER looks at COLIN.
ROGER
We have to get them to the hall.
COLIN barges his way through the scrum behind ROGER and
briefly finds himself directly in front of MARILYN. For a
moment he is transfixed by her beauty and charisma but she
doesn't even see him as she follows the commanding ROGER
obediently, tugging Miller along behind her, leaving Colin in
her wake.
CUT TO:
39 DELETED 39
40 INT. LONDON AIRPORT. HALL. DAY. 40
MARILYN sits with MILLER at her side, flanked by OLIVIER
and VIVIEN. MARILYN wears a large pair of sunglasses.
PHOTOGRAPHERS jam their flashbulbs into her face. ROGER
hovers protectively with COLIN.
OLIVIER smiles as he addresses the crowd.
MY WEEK WITH MARILYN 22A.
OLIVIER
It's my genuine pleasure to
introduce a woman who needs no
introduction.
(MORE)
MY WEEK WITH MARILYN 23.
OLIVIER (CONT'D)
A great actress on her first trip
to London whom I have no doubt...
REPORTER
How do you like being married,
Marilyn?
MARILYN
I like it a lot.
REPORTER
Is this third time lucky?
MARILYN
You bet it is. Arthur's the
greatest man I ever met.
OLIVIER smiles tolerantly, mildly put out at this. MARILYN
takes off her sunglasses and blinks. She takes MILLER's arm
and looks at him adoringly. He bites down savagely on his
unlit pipe.
REPORTER
Marilyn, are you planning to see
the sights?
MARILYN
I'd love to see the little fellow
with the bow and arrow in
Piccadilly Circus.
There is a appreciative laughter from reporters.
REPORTER 2
Is it true you want to be a
classical actor now?
MARILYN
I want to be the best actress I
can be.
REPORTER 2
There's a rumour you're going to
be in The Brothers Karamazov on
Broadway.
MARILYN
I'm considering it.
REPORTER 3
(SHOUTS)
Which of them will you be
playing?
The agenda is clear - Marilyn is the dumb blonde and should
act accordingly. But she takes it in her stride, smiling
sweetly.
MARILYN
I'll be playing Grushenka.
MY WEEK WITH MARILYN 24.
REPORTER 3
Can you spell that?
MARILYN
Sure. Can you?
There is laughter at the reporter's expense.
REPORTER
So would you say you're an
intellectual now?
MARILYN
My husband is.
She looks adoringly at Miller, who smiles vaguely.
REPORTER 2
What's your definition of an
intellectual, Marilyn?
MARILYN
I guess you could look it up in a
dictionary.
This time the laughter is emphatically on MARILYN's side.
One of the reporters turns to VIVIEN.
REPORTER
Vivien, you created the part of
Elsie Marina on stage. Do you
have any advice for Marilyn?
VIVIEN
I am sure if Miss Monroe needs
any advice she'll get it from her
director. I hear he's terribly
good.
The reporters laugh with her and OLIVIER smiles graciously.
But as she smiles at him we detect just a flicker of
jealous hurt in her eyes. OLIVIER intervenes quickly to
continue his prepared speech of welcome.
OLIVIER
In The Sleeping Prince we have
discovered the perfect vehicle
for Miss Monroe's luminous and
justly celebrated talent...
He stops as a REPORTER shouts over him.
JACOBS
Marilyn, is it true you wear
nothing in bed except Chanel No
5?
MARILYN
As I'm in England let's say I
sleep in nothing but Yardley's
Lavender.
MY WEEK WITH MARILYN 25.
The press laugh in delight. On the edge of the crowd COLIN
watches her, amused and impressed.
CUT TO:
41 EXT. PARKSIDE HOUSE. GATES. DAY 41
A convoy of cars pass through the throng of JOURNALISTS
waiting at the gate. Marilyn's "secret" hideaway is no
longer much of a secret. The classical old house is elegant
and luxurious.
42 EXT. PARKSIDE HOUSE. FRONT DOOR. DAY. 42
Outside the front door MARILYN, MILLER, OLIVIER and VIVIEN
have their picture taken by the official PHOTOGRAPHER.
ROGER watches unobtrusively.
VIVIEN
Are all your press conferences
like that, darling?
MARILYN
Well, that was quieter than some.
Vivien smiles at the wry joke. ARTHUR JACOBS watches the
proceedings with an eagle eye.
JACOBS
Okay, let's get a snap of the
newlyweds. Smile, Arthur. It's
not a firing squad.
As the group breaks up, MILTON GREENE, handsome and dark-
haired, now approaches OLIVIER and COLIN.
MILTON
This is some place you found.
He glances at the house. Olivier smiles generously.
OLIVIER
You have my new assistant Colin
to thank for that. (Pause, he
shepherds COLIN over) This is
Milton Greene. You must be very
nice to him. He owns half of
Marilyn Monroe Productions.
MILTON
Forty nine per cent, Larry.
GREENE (34) offers them a tired smile.
OLIVIER produces one of his branded packets and offers a
cigarette to Milton.
MY WEEK WITH MARILYN 25A.
OLIVIER
Have a cigarette.
MILTON
I don't smoke.
If he notices the "Olivier" name he doesn't show it.
OLIVIER looks mildly put out.
MY WEEK WITH MARILYN 26.
OLIVIER
Milton - Marilyn and rehearsals.
Let's talk.
MILTON
Sure. And the studio wants a new
title.
OLIVIER escorts Milton away.
MILLER and MARILYN are now being photographed on their own.
ROGER moves over to JACOBS and murmurs discreetly in his
ear. JACOBS nods and moves in to end the session.
JACOBS
The boys at the gate are getting
restless.
MILLER
Let's give them two minutes and
then we're done.
ROGER waves to the POLICEMEN, who open the gates. The PRESS
come pouring in like a mob of revolutionaries storming the
Bastille.
CUT TO:
43 EXT. PARKSIDE HOUSE. FRONT DOOR. DAY. 43
COLIN notices Marilyn grip Miller's hand tightly as the
flashbulbs pop all around her. A moment later he is
surprised to find VIVIEN at his elbow.
VIVIEN
Marvellous, isn't she? I suppose
you're quite smitten.
COLIN looks at her shrewdly, sensing he is being tested.
COLIN
She's all right. A bit common.
VIVIEN
(LAUGHS)
Larry fell desperately in love
with her in New York. He's
determined to seduce her.
COLIN
But she's only been married three
weeks.
VIVIEN
Oh, Colin, I thought you were a man
of the world.
She gives him an arch smile and leans in intimately.
MY WEEK WITH MARILYN 27.
VIVIEN (CONT'D) (cont'd)
Of course, Larry would never leave
me. (Pause) But, if anything were
to happen, you would let me know,
wouldn't you?
COLIN
I'm sure he loves you very much.
There is a flash of sudden anger in her expression.
VIVIEN
Oh, don't be such a boy!
COLIN looks shaken and she touches his hand in contrition.
VIVIEN (CONT'D)
At least you still adore me,
don't you?
COLIN
Of course. Everyone does.
There is a wintry bleakness in her face for a second.
VIVIEN
I'm 43, darling. No one will love
me for much longer. Not even you.
He goes to protest but she stills him with a finger to his
lips, her smile quickly restored.
CUT TO:
44 EXT. DOG AND DUCK PUB. DAY. 44
The Dog and Duck is a rundown pub in an out of the way lane
near the studios. It is a rough, local place utterly devoid
of glamour or comfort. COLIN stands outside, staring at it
grimly, his bag in his hand.
CUT TO:
44A INT. DOG & DUCK PUB. DAY 44A
A few hard-core LOCALS stand nursing their pints at the bar.
One is idly throwing darts. The wallpaper is faded yellow
with cigarette smoke, stale sandwiches curl in a display
case. COLIN looks around, his heart sinking. BARRY, the
landlord looks him up and down, disparagingly.
COLIN
Colin Clark. I booked a room.
BARRY takes a dusty ledger from beneath the bar, spins it
around for COLIN to sign.
BARRY
What brings you up this way?
MY WEEK WITH MARILYN 27A.
COLIN can't help looking a little pleased with himself.
COLIN
I'm here working on a film.
The LOCALS look up from their pints, unimpressed.
BARRY
What film's that?
COLIN
It's called `The Sleeping Prince'.
The darts player, ANDY, doesn't turn. His aim remains
steady.
ANDY
Sounds lousy.
BARRY
Ignore, Andy - not a film fan - are
you, Andy?
ANDY doesn't look away from his game.
ANDY
Can't be bothered.
COLIN tries to impress.
COLIN
Marilyn Monroe's in it. I'll be
working with her.
BARRY
Oh, will you now?
The regulars grin unkindly into their pints. ANDY doesn't
look away from his game, as he offers laconically:
ANDY
The Queen and Prince Philip popped
in for a pint earlier. Pity, you
just missed them.
There are supportive snorts of derision from the LOCALS.
COLIN takes it on the chin. BARRY hands him a key.
BARRY
The room's three quid a week, first
week in advance. You're in number
two.
COLIN takes the key and his bag, just as BARRY adds, with
perfect deadpan timing:
BARRY (CONT'D)
You'll be sharing with Grace Kelly.
The LOCALS laugh into their beer. COLIN smiles gamely.
MY WEEK WITH MARILYN 27B.
45 INT. DOG AND DUCK PUB. COLIN'S ROOM. DAY. 45
COLIN stands aghast. He is staying in a grim little room
above the noisy saloon bar. The wallpaper is peeling, the
furniture is ancient and the whole place reeks of damp.
Dirty net curtains flutter in the window. He puts his bag
on the bed and sits down. The mattress sags pitifully. He
looks down and finds a stained and yellowing chamber pot
under the bed. He slides it back with a look of revulsion.
CUT TO:
MY WEEK WITH MARILYN 28.
46 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 46
The principal cast of The Sleeping Prince, as it was still
known at the time, assemble on the sound stage amongst the
half-finished set. They chat and smoke, their scripts in
their hands. OLIVIER stands in their midst, very much first
amongst equals. One chair sits conspicuously unoccupied.
DAME SYBIL THORNDIKE (74), severe-looking but kindly, very
much the grand dame of the gathering, smiles cheerfully.
RICHARD WATTIS leans over to her with a cheerful grin.
WATTIS
What a wonderful adventure, Dame
Sybil.
SYBIL THORNDIKE
Such a lark! I long to see her.
COLIN stands by the door. OLIVIER looks at his watch and
shoots him a questioning glance.
CUT TO:
47 INT. PINEWOOD STUDIOS. CORRIDOR/DRESSING ROOM. DAY. 47
COLIN hurries along the corridor and stops outside
Marilyn's dressing room. He knocks on it politely.
COLIN
Miss Monroe?
The door opens sharply and a small, bohemian looking woman
in her 50s stands staring at him. This is PAULA STRASBERG.
COLIN (CONT'D)
Sir Laurence sends his
compliments. He's ready for the
READTHROUGH
He glances beyond PAULA to where MARILYN sits by the
mirror, her reflection framed in the lights. She wears
little or no make-up. PAULA looks at him sharply.
PAULA
But Marilyn is not ready. She's
preparing.
MARILYN glances up at COLIN in the mirror and smiles with
unexpected simplicity.
MARILYN
Excuse the horrible face.
She finds her dark glasses on the dresser and puts them on.
CUT TO:
MY WEEK WITH MARILYN 29.
48 INT. PINEWOOD STUDIOS. CORRIDOR. DAY. 48
COLIN leads MARILYN and PAULA to the rehearsal room. He
sneaks a glance at her. She has a vulnerable, lost
expression. COLIN can't help staring at her until he
notices PAULA looking at him and quickly glances away.
CUT TO:
49 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 49
The cast are all seated around the large table as COLIN
leads MARILYN and PAULA onto the stage. Marilyn keeps her
dark glasses on throughout. OLIVIER rises to greet her.
OLIVIER
Marilyn, here you are, everyone
is so excited to meet you...
He gestures to the company.
OLIVIER (CONT'D)
Let us begin. Do sit down,
please...
SYBIL THORNDIKE looks sweetly at MARILYN from across the
table and indicates the empty one at her side.
SYBIL THORNDIKE
How lovely you are. Here, I kept a
place for you.
PAULA bursts forward, steering Marilyn away instead to an
empty seat on the other side of the rectangle of tables. She
looks at RICHARD WATTIS, the actor occupying the seat next to
the empty one.
PAULA
I have to be next to Marilyn!
The startled WATTIS gets up graciously and troops all the way
around the table to the seat next to SYBIL THORNDIKE.
SYBIL THORNDIKE
(TO MARILYN)
Don't worry, dear, we won't bite.
PAULA looks at her in truculent apology.
PAULA
She likes me by her side.
SYBIL THORNDIKE
What a good idea! I wish we could
all bring a friend. One does get so
terribly nervous. It's just like
the first day at school, isn't it?
MY WEEK WITH MARILYN 30.
She smiles kindly at MARILYN who smiles back tentatively from
behind her dark glasses. He smiles with considerable charm as
he makes his opening speech of welcome.
OLIVIER
Welcome dear Marilyn, to our
little fraternity. (Pause, looks
around) We may seem a little
strange and quaint to you at
first, but I hope that in time
you may come to find your method
in our madness.
Pleased with his over-contrived rhetorical flourish, he
gives Paula a pointed look. She glowers back, obscurely
sensing that she has been insulted in some way. MARILYN
also looks up in confusion at Olivier's well intentioned
but clumsy joke.
Oblivious to her reaction, he opens his script with a
sentimental flourish.
OLIVIER (CONT'D)
So. My very noble and approv'd
good masters, let us now embark
on our great voyage of discovery
together. (Pause) With boldness
and (we pray) good fortune, may
we strive to create a work of art
that, led by your good graces,
will be cherished as long as
motion pictures may be
remembered.
He is momentarily close to tears. WATTIS rolls his eyes
discreetly, earning a grin from the actor PAUL HARDWICK.
There is a rustle of pages and a few coughs, a mood of
eager nervousness in the air as they all prepare for the
reading.
CUT TO:
50 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 50
Page 10. PAULA turns the pages of MARILYN's script for her,
as though helping a child to read. OLIVIER is in full flow,
employing a heavy Mittel European accent.
MY WEEK WITH MARILYN 31.
OLIVIER (AS REGENT)
"Were you surprised to get my
invitation?"
MARILYN stares at him for a beat then reads haltingly.
MARILYN (AS ELSIE)
"I'll say I was surprised. I was
so surprised I couldn't hardly
think you meant me."
OLIVIER (AS REGENT)
"oh but of course I meant you. I
had your name most carefully
marked down on my programme. In
matters of this kind I assure you
I am most methodical. Who did you
think I meant if not you?"
MARILYN drops out of character with a sweet, nervous smile.
MARILYN
Gee, Mister Sir, I could listen
to your accent all day.
There are private grins amongst the actors. OLIVIER smiles
kindly.
OLIVIER
You are amongst friends, my
darling angel. Just plain Larry
will suffice. (Pause) When you're
ready..?
Flustered, MARILYN looks at her script.
MARILYN (AS ELSIE)
"Well, Maisie Springfield...
OLIVIER (AS REGENT)
"Oh, no, no, no not Maisie
Springfield, she's quite what I
would call old hat...
PAULA leans across, mounting a whispered running commentary
in Marilyn's ear as OLIVIER speaks.
PAULA
Remember why you're in the
embassy, Marilyn. What does the
Grand Duke want from Elsie? She
thought there were going to be a
lot of people here and it's just
her.
OLIVIER waits patiently.
OLIVIER
It's your line, Marilyn.
MY WEEK WITH MARILYN 31A.
MARILYN
Oh, let's see... "Oh, and am I
what you'd call new hat?"
MY WEEK WITH MARILYN 32.
OLIVIER tries to continue but is yet again brought up short
by PAULA's passionate whispering.
PAULA
Locate the experience, Marilyn.
Look for the memory that helps
you. Remember when you went to
that party at Chaplin's house and
you were the only guest? How did
that make you feel?
This time OLIVIER stares at PAULA.
OLIVIER
It is only a readthrough, Paula.
PAULA
Marilyn has to begin finding the
character.
OLIVIER
The character is on the page.
PAULA
The words, maybe. Not the
character.
RICHARD WATTIS whispers to PAUL HARDWICK.
WATTIS
She's half cut!
DAME SYBIL THORNDIKE frowns with regal disapproval and
smiles warmly at MARILYN.
SYBIL THORNDIKE
Aren't we going to have fun?
51 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 51
The readthrough over, OLIVIER rails quietly at MILTON while
COLIN clears up the tea cups and plates used by the actors.
OLIVIER
We can't have two fucking
directors!
MILTON
Marilyn wants Paula.
OLIVIER
Why? She's got me!
MILTON
Paula is costing us two and half
thousand bucks a week. We might
as well use her. (Pause) Listen
Larry, accept Marilyn on her own
terms and you'll be okay.
(MORE)
MY WEEK WITH MARILYN 32A.
MILTON (CONT'D)
Try to change her and she'll
drive you crazy. Trust me.
MY WEEK WITH MARILYN 33.
OLIVIER stalks away. COLIN takes a chance and follows him.
OLIVIER
Dear Christ, what have I got
myself into?
CUT TO:
52 INT. PINEWOOD STUDIOS. WARDROBE DEPT. DAY. 52
COLIN follows LUCY the WARDROBE GIRL down a rack of
clothes. He is charming, glib and persistent.
COLIN
Come out with me tonight.
LUCY
I'm working.
COLIN
Tomorrow night, then.
LUCY
I'm washing my hair.
COLIN
Your hair's lovely.
She stops to look at him, attracted but cautious.
LUCY
Look, I have two rules. One,
never touch the talent...
COLIN
Everyone has a lot of rules
around here.
LUCY
... and two, never go out with
thirds.
COLIN
Why not?
LUCY
Because they're all randy little
buggers who just want some fun
during shooting.
COLIN
I'm not like that.
She looks at him sceptically.
COLIN (CONT'D)
Really.
MY WEEK WITH MARILYN 34.
LUCY
(SIGHS)
I'm free on Saturday.
ORTON
(OFF)
Colin!
COLIN ducks into a rack of clothes, making a face at Lucy.
She can't help smiling back.
CUT TO:
53 EXT. PINEWOOD STUDIOS. GATE. DAY. 53
First light over Pinewood Studios. Although it is August it
is chilly so early in the morning. COLIN stands by the gate
wearing only his thin summer jacket. He blows on his hands
to keep warm. A black car appears. The window winds down
and DAME SYBIL THORNDIKE pops her head out.
SYBIL THORNDIKE
How kind of you to meet us. Dear
me, you do look cold.
COLIN
They're ready for you in make-up
Dame Sybil.
SYBIL THORNDIKE
How exciting! Don't you love the
first day of a new production?
COLIN
I don't know, Dame Sybil. I've
never had one before.
DAME SYBIL gazes at him with wistful sadness.
SYBIL THORNDIKE
Oh, to be young again!
She blows him a kiss and the car rolls in through the gate.
Almost immediately OLIVIER's chauffeur driven Bentley
appears.
OLIVIER
Marilyn here yet?
COLIN
Not yet.
CUT TO:
54 EXT. PINEWOOD STUDIOS. GATE. DAY. 54
COLIN looks anxiously down the empty road. DAVID ORTON
strides towards him angrily.
MY WEEK WITH MARILYN 35.
ORTON
What the fuck's going on? I
thought you had a contact in her
house.
COLIN
I do...
ORTON
Well bloody use him, then.
CUT TO:
55 EXT. PARKSIDE HOUSE. FRONT DOOR. DAY. 55
ROGER greets COLIN on the doorstep with a grin.
ROGER
She hasn't come down yet. Neither
has Miller. They're playing
trains.
COLIN stares at him blankly.
CUT TO:
56 INT. PARKSIDE HOUSE. DRAWING ROOM/PRODUCTION 56
OFFICE. DAY.
COLIN, ROGER and MILTON sit in silence, studiously avoiding
each other's eyes. Somewhere upstairs bed springs creek
under the pressure of enthusiastic love-making.
The phone rings. MILTON nods to COLIN to pick it up. COLIN
is glad of the distraction. We hear ORTON's irate tones on
the end of the line.
ORTON
(ON PHONE)
Well? What's happening?
COLIN glances upstairs as he tries to think what to say.
COLIN
She's... getting into character.
CUT TO:
57 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 57
Dame Sybil stands alone.
58 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 58
RICHARD WATTIS, ROSAMUND GREENWOOD (MAUD) and TWO FOOTMAN
in full costume, sweating under the hot lights.
MY WEEK WITH MARILYN 36.
OLIVIER prowls the set smoking impatiently. COLIN is at his
side with DAVID ORTON.
OLIVIER
She's kept Dame Sybil Thorndike
waiting in full costume for two
hours. It's simply not fair.
The door finally opens and MARILYN emerges, with PAULA on
one side and MILTON on the other. In her figure-hugging
shimmering white sheath of a dress she is ravishingly
beautiful. Her hair is like a halo of light around her
head. No one can take their eyes off her. Slowly, all work
on the set stops. MARILYN walks to the set, acutely aware
of the scrutiny of the crew.
She smiles nervously, then suddenly hesitates, feeling the
weight of everyone's attention. Anxiety flits across her
face.
She whispers something to PAULA and bolts back towards her
dressing room. OLIVIER stares after her in shock.
OLIVIER (CONT'D)
What's wrong?
PAULA
She wasn't happy with her make-
up.
OLIVIER loosens his collar irritably and glances at ORTON.
OLIVIER
Right, Mr. Orton you wanted me to
check the back projection. Please
join us, Mr. Cardiff.
He stalks away, followed by Cardiff and Orton.
CUT TO:
59 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 59
COLIN sees SYBIL THORNDIKE standing on set. She beams at
him cheerfully.
SYBIL THORNDIKE
Isn't she pretty though?
COLIN
Would you like to sit down, Dame
Sybil?
SYBIL THORNDIKE
How kind of you, Colin. Yes, why
don't we all sit down?
Colin sees her chair by the camera and goes innocently to
fetch it. But as he picks it up he is confronted by a stern
looking crew member in overalls.
MY WEEK WITH MARILYN 37.
TREVOR
Are you a member of NATTKE?
COLIN
What?
TREVOR
That chair is a prop. Props are
NATTKE. If ACT members are going
to do NATTKE jobs, I'm calling my
men out.
Every eye is suddenly on Colin. Taking his shock for
stubbornness TREVOR turns to the set and bellows.
TREVOR (CONT'D)
Strike meeting!
Half the crew immediately down tools. COLIN looks on in
horror. SYBIL THORNDIKE frowns in reproach.
SYBIL THORNDIKE
I'm sure we're all good union
members here. There's no need to
fall out over something so
trivial.
TREVOR
It might be trivial to you, Dame
Sybil, but it's my livelihood.
He's not in the union. (Pause, to
Colin) Put the chair down.
COLIN stares at him, frozen.
TREVOR (CONT'D)
Put the chair down now!
COLIN drops it as though it was on fire. It clatters to the
stage. SYBIL THORNDIKE bears down on TREVOR majestically.
SYBIL THORNDIKE
I rather think you've made your
point. Solidarity is the
important thing here. When unions
fall out, it's only management
that benefits.
TREVOR pauses, not at all sure about this, but then shrugs
magnanimously.
TREVOR
(TO COLIN)
If I see you doing a NATTKE job
again I'll close this set down
quicker than you can blink.
He turns to one of his men.
TREVOR (CONT'D)
Dave, Dame Sybil needs a chair.
MY WEEK WITH MARILYN 37A.
DAVE picks up the same chair, moves it approximately six
inches and places it behind SYBIL THORNDIKE, who finally sits
down, her sunny good humour instantly restored.
SYBIL THORNDIKE
I was on the picket lines in
1926, you know.
(MORE)
MY WEEK WITH MARILYN 38.
SYBIL THORNDIKE (cont'd)
Now that was a strike. We were
all Bolsheviks then!
She smiles nostalgically as ORTON appears to hustle COLIN
away, muttering furiously.
ORTON
Didn't they teach you anything at
Eton? Now fuck off and see if you
can get me a bacon sandwich
without starting World War III.
CUT TO:
60 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 60
MARILYN is at last on set and ready to shoot. SYBIL
THORNDIKE, as the Queen Dowager, waits behind a door.
OLIVIER is in front of the camera with MARILYN, who
flutters her hands nervously in an odd calming gesture.
PAULA mutters a last few words in her ear, reading her
lines to her from her small brown notebook.
COLIN watches intently. A bell rings and the red light goes
on. The camera operator, DENYS, rolls the camera.
DENYS
Camera running.
ORTON
Very quiet, everyone...
DENYS
Speed.
The CLAPPER LOADER clicks the clapperboard.
CLAPPERBOY
Twenty two, take one.
ORTON
Action!
OLIVIER (AS REGENT)
"Now, before you meet my mother-
in-law I must warn you she is a
little vague and can be very
deaf... on occasions."
SYBIL THORNDIKE sweeps through the door right on cue, with
MAUD, her lady-in-waiting, following. She is effortlessly
in command of her lines.
SYBIL THORNDIKE (AS QUEEN DOWAGER)
"My dear, such boredom! The
decorations hideous, and the
music... catastrophe! Our friend,
the ex-King of Moravia drove me
home.
(MORE)
MY WEEK WITH MARILYN 39.
SYBIL THORNDIKE (AS QUEEN DOWAGER)
(CONT'D)
He is now called the Duke of
Strelitz, he cannot of course go
to the Abbey tomorrow, but he is
most anxious you should invite
him to the room you have taken in
the Ritz for Nicky. Maud?
ROSAMUND GREENWOOD (AS MAUD)
"Yes, Ma'am..."
SYBIL THORNDIKE (AS QUEEN DOWAGER)
"Oh there you are my dear, I did
not see you, give me a glass of
that champagne I see over there.
Olga Bosnia..."
OLIVIER (AS REGENT)
"Might I present Miss Elsie
Marina?"
SYBIL THORNDIKE (AS QUEEN DOWAGER)
"Oh yes, my dear, of course I
remember you well."
They all look at MARILYN... and nothing happens.
MARILYN
Gee. I forgot my line. I'm sorry.
OLIVIER
Cut.
SYBIL THORNDIKE smiles cheerfully.
SYBIL THORNDIKE
It's so easily done, isn't it?
I'm sure I went wrong somewhere
there too. Shall we have another
go, Larry?
CUT TO:
61 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 61
The clapperboard snaps. Take Five.
SYBIL THORNDIKE (AS QUEEN DOWAGER)
"Oh yes, my dear, of course I
remember you well."
MARILYN (AS ELSIE)
(HALTING)
"Oh, I'm quite sure you don't,
your royal..., oh, I mean, your,
uh, Imperial... your uh... serene
majesty."
It is not clear whether Marilyn's hesitance is acted or not
but the others press on gamely.
MY WEEK WITH MARILYN 40.
SYBIL THORNDIKE (AS QUEEN DOWAGER)
"What does she say?"
OLIVIER (AS REGENT)
"She says she is deeply flattered
and compliments you on your
wonderful memory."
MARILYN jumps in, shouting her line over the top of him.
MARILYN (AS ELSIE)
"I'm in The Coconut Girl at The
Avenue."
There is a pause. SYBIL THORNDIKE hesitates.
SYBIL THORNDIKE
Didn't I have a line somewhere
there, dear?
OLIVIER
Cut.
CUT TO:
62 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 62
The clapperboard snaps shut again. Take twelve.
ORTON
Action!
SYBIL THORNDIKE (AS QUEEN DOWAGER)
"Thank you, my dear. (Pause)
Sweetly pretty. She should use
more mascara. When one is young
one should use a lot of mascara,
and when one is old one should
use much more. What do you do, my
dear?"
MARILYN (AS ELSIE)
"I'm in The Coconut Girl at The
Avenue".
SYBIL THORNDIKE (AS QUEEN DOWAGER)
(TO OLIVIER)
"Dear?"
OLIVIER (AS REGENT)
"She says she is an actress."
MARILYN looks at him, hesitant but just about in character.
OLIVIER glances at ORTON who nods.
OLIVIER (CONT'D)
Cut it there.
ORTON
Check the gate.
MY WEEK WITH MARILYN 41.
FOCUS PULLER
(After a second)
Gate's good.
OLIVIER
Print.
There is a near-audible sigh of relief around the set.
SYBIL THORNDIKE smiles.
SYBIL THORNDIKE
That was perfect, Marilyn. You're
Elsie to the life!
MARILYN smiles awkwardly, not really believing her but
SYBIL carries on with complete conviction.
SYBIL THORNDIKE (cont'd)
Perhaps we could practise our
lines together later? You'd be
doing me such a kindness. At my
great age it's just so hard to
make them stick! Why don't you
come for tea tomorrow?
In fact Sybil is word perfect every time, and everyone
knows it. But it is a kind and tactful gesture. MARILYN's
face lights up.
MARILYN
Can I?
62A INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 62A
OLIVIER looks at COLIN in dismay.
OLIVIER
She's impossible. I should have
cast Vivien.
COLIN
If anyone can make her great,
it's you. You're a genius.
OLIVIER
Oh, yes. The world's greatest
living actor, so they say.
OLIVIER looks at him, wanting to be reassured. He fumbles
for a cigarette with shaking fingers and COLIN hurries to
light it. He smiles wryly.
OLIVIER (CONT'D)
Let's hope I'm as brilliant as
you think I am. (Pause) Now be a
good boy and keep an eye on her.
CUT TO:
MY WEEK WITH MARILYN 42.
63 INT. PINEWOOD. DRESSING ROOMS/CORRIDOR. DAY. 63
MARILYN and PAULA are heading for the dressing room.
MARILYN looks tired and disconnected. COLIN is just behind
them on another errand. He can't help overhearing Paula's
insistent, honeyed tones as she responds to Marilyn's
uncertainty.
MARILYN
I just can't figure this movie out.
PAULA
You were wonderful. You are the
most gifted actress I have ever
known. You were superb, Marilyn.
You were divine.
MARILYN
He was angry with me, I could
tell.
PAULA
You were great. You are a great,
great actress. All my life I have
prayed for a great actress I
could help and guide.
She stops abruptly and gets down on her knees in the
corridor in front of Marilyn. COLIN stops awkwardly, his
path blocked.
PAULA (CONT'D)
Like this. I prayed to God on my
knees. And he has given me you.
You are that great actress,
Marilyn.
MARILYN
Come on, Paula, get up.
PAULA
Not until you admit you were
great.
MARILYN smiles, her mood slowly lightening.
MARILYN
Oh, okay. I guess I was.
COLIN glances at her, seeing his chance to help.
COLIN
You really were very good, Miss
Monroe.
MARILYN smiles vaguely. PAULA gives him a fierce look - COLIN
moves past quickly.
CUT TO:
MY WEEK WITH MARILYN 43.
64 INT. CAFE DE PARIS. LONDON. NIGHT. 64
The mood in the Club is cosmopolitan, lively but elegant.
Rows of small tables are arranged around the stage, a few
young couples are dancing to a jazz trio playing an
exuberant, upbeat number. The music comes to an end and
the couples return to their tables, COLIN and LUCY among
them. There is champagne on the table, COLIN pours them
both a glass.
LUCY
Are you sure you can afford all
this?
COLIN
Oh, it's all right.
LUCY
It must be costing a week's wages.
COLIN
It's worth it.
LUCY can't help being charmed.
LUCY
You're not the average third, are
you? Most of them would be happy
with a swift half and a grope in
the pub car park.
COLIN
I'm not living off my parents, if
that's what you mean. I want to
make my own way, no matter what.
LUCY
By making eyes at Vivien Leigh?
COLIN
Who told you that?
LUCY
Word gets around.
COLIN
Vivien's a friend of my father's.
LUCY
So there's nothing in it? You and
Vivien?
He smiles mysteriously and leans in to kiss her. She avoids
him coolly.
LUCY (CONT'D)
I'm not that easy.
The WAITER approaches with a bill on a silver salver and
offers him a pen.
MY WEEK WITH MARILYN 43A.
WAITER
You'll be signing on your father's
account, sir?
COLIN blushes violently.
COLIN
Certainly not. I settle my own
bills.
The WAITER nods discreetly and leaves. LUCY looks at COLIN
with a teasing smile.
COLIN
I was always going to pay, you
know.
LUCY
Of course you were.
He looks at her, but there is no hint of mockery in her smile
and he is grateful.
LUCY
Do you think Marilyn is beautiful?
COLIN
Not compared to you.
LUCY laughs, COLIN looks hurt.
LUCY
You don't have to try so hard to be
charming. You're nice enough as it
is. Well, you could be.
MY WEEK WITH MARILYN 44.
She touches his hand and takes a drag from his cigarette as
he refills her glass.
LUCY (CONT'D)
You know Marilyn's really still
in love with Joe DiMaggio?
COLIN
So they say.
LUCY
She married Miller on the
rebound. The papers are calling
them "The Hourglass and the
Egghead".
COLIN
Which one is which?
She bursts out laughing. Her eyes sparkle and she looks
captivating in the glistening lights. He goes to kiss her
and this time she doesn't stop him.
CUT TO:
65 EXT. LUCY'S HOUSE. SUBURBS. NIGHT. 65
Colin's Bristol is drawn up in a quiet suburban road lined
with pleasant semi-detached houses. Lucy's house has a neat
patch of front lawn, a stolid family car in the drive and
net curtains in the windows. It is very little different
from any of its neighbours.
CUT TO:
65A INT. LUCY'S HOUSE. PARLOUR. NIGHT. 65A
COLIN and LUCY are kissing in the small "best" parlour at the
front of the house. It is spotlessly neat and clean.
COLIN touches Lucy's breasts and then opens the buttons of
her blouse. She puts her hand on his, stopping him.
MY WEEK WITH MARILYN 45.
LUCY
Wait a while, crocodile.
COLIN
I really do like you, Lucy.
She looks at him shrewdly.
LUCY
Maybe.
She hears heavy footsteps in the bedroom above.
LUCY (CONT'D)
That's my dad.
She gives Colin a swift peck on the cheek as she tidies
herself. A moment later the door opens and Lucy's father, MR.
ARMSTRONG comes in, wearing his dressing gown over pyjamas.
He glances at COLIN with a suspicious smile as he looks at
his daughter.
MR. ARMSTRONG
Time to be thinking about bed,
darling. Early start tomorrow.
LUCY
Sorry, Daddy. We were just going
over tomorrow's schedule.
COLIN and LUCY share a small, private smile. He takes his cue
and stands up.
COLIN
Yes, I should be off. Colin Clark.
Pleased to meet you, Mr. Armstrong.
He offers the surprised MR. ARMSTRONG a confident handshake.
COLIN (CONT'D)
This is a very nice house you've
got.
MR. ARMSTRONG
Do you know this part of the world?
COLIN
(THROWN)
Umm... not really. My family are
more country people.
Lost for words they stare at each other for another moment
before MR. ARMSTRONG smiles vaguely then goes. LUCY follows
him with a smile at COLIN. He grins and whispers.
COLIN (CONT'D)
Next Saturday?
She nods. He follows her out into the hall.
CUT TO:
MY WEEK WITH MARILYN 46.
65B EXT. LUCY'S HOUSE. SUBURBS. NIGHT. 65B
As he walks down the path, COLIN pauses. He looks around at
the uniform semi-detached houses all around him. He is
uncomfortable here, so far from the glamorous world of his
parents or Pinewood studios. He has a strong sense that he
and Lucy are from very different worlds, and walks to his car
with an uneasy sense of relief to be getting away.
CUT TO:
66 EXT. PINEWOOD STUDIOS. GATE. DAY. 66
COLIN is back on the early morning watch. A black car draws
up and SYBIL THORNDIKE leans out.
SYBIL THORNDIKE
Colin, dear, I thought you looked
cold so I bought you this.
She hands him a bright red woollen scarf. COLIN is touched.
COLIN
Thank you, Dame Sybil.
SYBIL THORNDIKE
Film sets and rehearsal rooms are
the coldest places on earth.
He smiles as her car drives away. He wraps the scarf around
his neck and looks up and down the road again.
CUT TO:
67 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 67
The crew stand around in sullen discontent. OLIVIER paces
back and forth with MILTON at his side.
OLIVIER
She should be on time, like
everyone else.
MILTON
She is a star.
OLIVIER
I'm a fucking star!
He looks around in frustration.
OLIVIER (CONT'D)
If we nip this behaviour in the
bud perhaps it won't be repeated.
MILTON
This is Marilyn you're talking
about.
MY WEEK WITH MARILYN 47.
OLIVIER scowls at COLIN, who gives him a cigarette. MARILYN
finally emerges with PAULA at her elbow. OLIVIER advances
on her, his anger simmering.
OLIVIER
Marilyn, darling you are an
angel, and I kiss the hem of your
garment, but why can't you get
here on time for the love of
fuck?
MARILYN
Oh... you have that word in
England too?
She looks at him in surprise. She looks sedated, not quite
there. PAULA leaps protectively to her defence.
PAULA
Marilyn has to prepare properly.
She has to find in herself all
that lies under the surface.
Acting isn't just a case of
putting on a costume or some
ludicrous false nose.
OLIVIER gives her a freezing look then takes Marilyn's
hand, leading her forward like a child.
OLIVIER
You must apologise to Dame Sybil.
MARILYN reddens with humiliation as he takes her arm.
CUT TO:
68 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 68
OLIVIER propels MARILYN towards SYBIL THORNDIKE. MARILYN
reddens with humiliation.
MARILYN
I'm sorry...
SYBIL THORNDIKE
(Cutting her off)
My dear, you mustn't concern
yourself. A great actress like
you has many other things on her
mind.
A radiant smile spreads slowly across Marilyn's face as the
older woman's words sink in.
MARILYN
You think I'm a great actress?
MY WEEK WITH MARILYN 48.
SYBIL THORNDIKE
None of the rest of us truly know
how to act for the camera. But
you do. It is a rare gift.
She looks sharply at OLIVIER.
SYBIL THORNDIKE (cont'd)
This poor girl hasn't had your
years of experience. She is in a
strange country, acting a strange
part. Now, are you helping or
bullying?
OLIVIER looks aghast at being so roundly rebuked. COLIN
looks on, startled.
CUT TO:
69 INT. PINEWOOD STUDIOS. VIEWING THEATRE. DAY. 69
OLIVIER, MILTON, PERCEVAL, ORTON and the editor JACK HARRIS
watch rushes. COLIN lurks about unnoticed at the back. They
watch one of OLIVIER's speeches (from the " The Coconut
Girl" sequence we saw filming in Scenes 61 and 62). He is
dry and clipped, every take precise and professional. It is
an effective but theatrical performance.
MARILYN sneaks in with ARTHUR MILLER. They sit in the back
row watching her performance from the same scene. She
fluffs take after take, gets her words wrong and pauses,
looking dazed. COLIN notices her clutching MILLER's hand
tightly. But finally a good take comes up. She is charming
and natural and her performance suddenly makes OLIVIER's
look stiff and clumsy. MILLER smiles in relief and
reassurance.
MILLER
That one's pretty damn good. You
knocked it out of the park.
MARILYN glows at his praise.
MILTON
When Marilyn gets it right you
just don't want to look at anyone
else.
OLIVIER frowns. For all his greatness as an actor he will
never be a film star like the maddeningly instinctive
Marilyn. And the injustice of it is like a stab through his
heart.
At the back COLIN only has eyes for the screen. He watches
MARILYN's image, enthralled. Until now he has taken Marilyn
entirely at Olivier's valuation, but as he watches her on
screen he begins to see things differently.
MY WEEK WITH MARILYN 49.
He sneaks a look at her in real life. She is holding
MILLER's hand tightly, looking tense and vulnerable as one
disastrous take follows another.
CUT TO:
70 INT. PINEWOOD STUDIOS. CORRIDOR. DAY. 70
COLIN comes out of the viewing theatre behind OLIVIER and
MILTON.
OLIVIER
We've only been shooting for four
days and we're already two weeks
behind.
COLIN can't resist blurting out a comment.
COLIN
Why not only show her the good
takes? Then she might feel better
about herself.
He looks self-conscious as they both turn to stare at him.
MILTON
The kid's right. She could use
the confidence.
OLIVIER
I believe it's traditional for
the producer of the film to watch
rushes. Besides, she's an
experienced actress. She should
learn from her mistakes.
COLIN
They just upset her.
OLIVIER
Not half as much as they upset
me.
CUT TO:
71 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 71
COLIN hurries across the stage, carrying a fresh carton of
"Oliviers". ORTON stops him.
ORTON
I'll do that. You go and find
Marilyn's script. She thinks she
left it in her dressing room.
CUT TO:
MY WEEK WITH MARILYN 50.
72 INT. PINEWOOD STUDIOS. MARILYN'S DRESSING ROOM. 72
DAY.
COLIN bursts into the dressing room without knocking.
Clothes are strewn carelessly all over the floor. There are
pill bottles, full and empty, on every surface, along with
empty bottles of champagne and bunches of flowers. COLIN
rummages around on the table, moving piles of scripts and
books. No luck. He walks casually through the half-open
door into the inner chamber.
And stops dead in his tracks.
MARILYN stands by a chair, a towel wrapped around her head.
She is completely naked.
She looks at him in astonishment.
He stares back, equally astounded.
He sees her script, heavily covered in handwritten notes,
lying on the table next to an open bottle of champagne and
a bottle of pills.
COLIN
Your script...
MARILYN
I found it.
Calmly she takes the towel from her hair and wraps it
around herself. She smiles quizzically.
MARILYN (CONT'D)
You can go now, Colin.
He hesitates a beat, surprised that she knows his name,
before he fumbles for the door.
CUT TO:
73 INT. PINEWOOD STUDIOS. MARILYN'S DRESSING 73
ROOM/CORRIDOR. DAY.
COLIN slams the door, aghast.
CUT TO:
74 INT. PINEWOOD STUDIOS. WARDROBE DEPT. DAY. 74
COLIN and LUCY are buried in the clothes racks kissing
passionately. They surface for air.
COLIN
David wants to know if you're
ready for the extras in the
ballroom scene.
MY WEEK WITH MARILYN 51.
LUCY
Tell him he can start sending
them up. Women first.
They kiss again. He pulls away.
LUCY (CONT'D)
I'm looking forward to Saturday.
He looks at her uncertainly.
LUCY (CONT'D)
Our date?
COLIN
(AWKWARD)
I forgot. I can't do Saturday.
Marilyn wants to go shopping.
LUCY
Since when do you work for her?
COLIN
Larry asked me to help out.
She smiles sardonically, teasing him, but a little hurt.
LUCY
Well, of course you must do what
Larry says.
COLIN
Next Friday instead?
She shrugs in agreement.
COLIN (CONT'D)
I'll pick you up. Eight o'clock.
He smiles, a little too glibly, and hurries away. LUCY
gazes after him. He doesn't look back.
CUT TO:
75 INT. LONDON. MARILYN'S CAR. DAY. 75
COLIN sits in the front with ROGER driving. MARILYN, ARTHUR
MILLER and MILTON GREENE sit in the back.
CUT TO:
76 EXT. LONDON. BOND STREET. DAY. 76
It is very quiet in the normally busy West End. Shops have
begun shutting after lunch and the city is rapidly
emptying. SHOPPERS wander past, taking little notice of
MARILYN who has her hair covered in a scarf and wears dark
glasses. MILLER walks at her side, holding her hand. She
glances at MILTON with an awkward laugh.
MY WEEK WITH MARILYN 52.
MARILYN
Gee, it's quiet.
COLIN
It's Saturday. Early closing. But
they're expecting us.
She stops to window shop. MILTON lowers his voice to COLIN.
MILTON
No one's recognised her.
COLIN
At least she can shop in peace.
MILTON
Marilyn's a star. Stars don't
even pee alone.
He looks around anxiously. But then a PASSER-BY suddenly
narrows his eyes and takes a second look. His face lights
up and he shouts -
PASSER-BY
It's Marilyn Monroe!
MARILYN gives him a radiant smile and within seconds is
surrounded by a crowd of SHOPPERS alerted by the fuss. A
feverish excitement grows out of nothing as people come
running to look, pushing and shoving to see.
MARILYN is quickly hemmed in by the heaving mob. To begin
with she enjoys it, smiling and posing happily for the
cameras that appear out of nowhere. But as the crowd press
towards something in the mood of the gathering changes; it
becomes wild and over-excited mood as people scream
Marilyn's name and shove bits of paper to sign in her face.
A WOMAN is pushed to the ground and MARILYN is forced back
against the shop window. COLIN sees a flicker of panic on
her face.
ROGER
My God, she'll be torn apart...
MILLER
Get her out of here.
COLIN and ROGER hurl themselves into the crowd doing what
they can to keep the excited fans at bay.
They manage to force a path to the car, drag the door open
and bundle MARILYN and MILLER into the back. MARILYN is
pinned against the door and COLIN has to put his arm around
her shoulders as he helps her in. He hurls himself into the
front, with Milton running alongside the moving car to dive
in beside Marilyn.
People run alongside, hammering wildly on the windows in
violent hysteria.
MILTON does his best to put a cheerful gloss on the chaos.
MY WEEK WITH MARILYN 53.
MILTON
Jeez, Marilyn, they really
fucking love you.
As COLIN looks in the rear-view mirror he sees MILLER shaking
his head in dazed horror as MARILYN slumps half-collapsed
into the seat beside him.
MILLER
Madness. Someone's going to get
hurt.
COLIN shifts his gaze to her in the mirror and his eyes
meet Marilyn's. He sees - or imagines - a terrible sadness
before she quickly replaces her dark glasses.
CUT TO:
77 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 77
COLIN stands silently by the camera, watching MARILYN and
RICHARD WATTIS, in character as Elsie Marina and
Northbrook, open the doors of the Grand Duke's drawing
room.
MARILYN (AS ELSIE)
"Well we're still the first ones,
aren't we? Gee, this is all
right, isn't it?
OLIVIER looks out from behind the camera, patient and
charming.
OLIVIER
Cut. The line is "Gee, this is
all right too, isn't it". It's a
tiny word, my darling, but it
matters. Let's go straight away.
MARILYN smiles vaguely. HAIR and MAKE-UP rush to do last
minute checks.
DENYS
Camera running.
SOUNDMAN
Speed.
DENYS
Mark it.
The clapperboard clatters down. Take two. WATTIS and
MARILYN come in again on their cue.
MARILYN (AS ELSIE)
"Well we're still the first ones,
aren't we? Gee, this is all
right, isn't it?"
MY WEEK WITH MARILYN 54.
OLIVIER
Cut. Nearly there, but Terry did
work so very hard on this and we
must try to get it right for him.
Straight away, please.
Take three.
MARILYN (AS ELSIE)
"Well, we're still the first
ones, aren't we? Gee, this is...
all right, isn't it?"
By now there is a panic-stricken edge to her voice.
OLIVIER
Cut.
MARILYN
Can't we just drop it?
OLIVIER
The point is that you have
already admired the downstairs
hall in an earlier scene. Now you
are admiring this room as well.
MARILYN
Oh, sure. (Pause, she looks
stricken) Paula!
OLIVIER looks startled. PAULA comes scurrying across.
MARILYN appeals to her, turning away from OLIVIER.
MARILYN (CONT'D)
I don't get it. He's such a
strange man. I think she'd figure
out he only invited her to sleep
with her.
PAULA
(TO OLIVIER)
The reason Marilyn can't remember
the line is because she doesn't
believe the situation her character
is in.
OLIVIER takes out all his pent-up frustration on PAULA.
OLIVIER
Then she should pretend to
believe it.
PAULA bristles at this insult to her husband's work.
PAULA
Pretend? We're talking about the
difference between the truth and
artificial crap.
MY WEEK WITH MARILYN 54A.
OLIVIER
We're in absolute agreement,
Paula. Acting is all about
sincerity. And if you can fake
that, you're off to the races.
PAULA only stares at him in disgust. Thoroughly alarmed,
MILTON intervenes.
MY WEEK WITH MARILYN 55.
MILTON
Maybe we should try for another
take.
PAULA
Marilyn needs time to give a
great performance. You should
give her as long as it takes.
Chaplin took eight months to make
a movie.
OLIVIER
Eight months of this? I'd rather
kill myself.
Throughout all this MARILYN herself looks lost. COLIN
watches her as she feels the crew's irritable collective
gaze. Flustered, she flutters her hands in a calming
gesture, then goes to the side of the set to lean on a bar
put there for her to rest on (her costume is too tight to
allow her to sit down). PAULA accompanies her. MARILYN
looks up at her in anguish.
MARILYN
I can't do this. I can't.
PAULA looks at her adamantly.
PAULA
You can do it. You can't fail.
You will have more pain, you will
suffer more but you will create.
All you need is time.
MARILYN looks at her, desperately wanting to believe it.
PAULA (CONT'D)
Remember, Marilyn, a tree is
never just a tree. What kind of
tree is Elsie? An elm tree? A
birch tree?
OLIVIER
(Under his breath to
COLIN)
God knows, but I'm a weeping
fucking willow.
PAULA
(TO MARILYN)
Think about the things you like,
instead of him. Frank Sinatra.
Coca Cola. Be specific. The
character comes alive if you know
what you're doing.
MARILYN listens intently, a frown flitting across her face.
She goes back to her mark. The whole crew is on
tenterhooks.
Camera running, speed, mark it... Action! Take four.
MY WEEK WITH MARILYN 56.
MARILYN (AS ELSIE)
"Well we're still the first ones,
aren't we? Gee, this is all
right, isn't it?"
OLIVIER
Cut.
A look of near-panic creeps into Marilyn's eyes at her
inability to remember the line.
CUT TO:
78 DELETED 78
79 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 79
The clapperboard snaps one final time. Take twenty three.
MARILYN's smile is a grimace of terror. COLIN can hardly
bear to look. Everyone holds their breath.
MARILYN (AS ELSIE)
"Well we're still the first ones,
aren't we? (Pause) Gee, this is
all right too, isn't it?"
There is a stunned moment. WATTIS gapes and MARILYN looks
around uncertainly. Did she say it? OLIVIER gestures
frantically from behind the camera that she should carry
on. She hesitates...
... there is an agonising beat...
... and then she panics and bolts for the side of the set.
MARILYN (CONT'D)
Paula!
OLIVIER
Cut. What's the matter now?
He takes her arm and whisks her away to the side of the
set, lowering his voice, trying to conceal his exasperation
with a honeyed tone.
OLIVIER (CONT'D)
Forgive me, Marilyn. This is my
failure, not yours. Tell me how I
can help you.
MARILYN
I don't know who Elsie is. I
can't act her if I don't know who
she is!
MY WEEK WITH MARILYN 57.
OLIVIER
Elsie is all in the script
MARILYN
I can't find her. She's not
there.
OLIVIER
But you have her precisely, you
know her inside out. I'm in awe of
your gift. We all are.
MARILYN
She's not real.
OLIVIER
Why not simply rely on your natural
talents?
MARILYN
Are you saying I don't need to
act?
OLIVIER is bewildered by her inability to appreciate her
own natural talent - as he sees it. He looks at her in
genuine anguish.
OLIVIER
Marilyn, you are the most
attractive woman in the world.
I'm simply suggesting you be
yourself.
MARILYN
(SHOUTS)
I don't want to be myself!
(Pause) I want to be an actress
playing a character.
OLIVIER
(Trying to be helpful)
All you have to do, dear Marilyn,
is be sexy. Isn't that what you
do?
MARILYN flinches as though slapped. Tension ripples through
the set. COLIN watches in dismay.
MARILYN
I want Lee.
OLIVIER
You've already got Paula, for
heaven's sake. I'm the director.
Speak to me.
PAULA
I am only Lee's representative.
OLIVIER
It's five in the morning in New
York.
MY WEEK WITH MARILYN 57A.
MARILYN
I WANT LEE!
MY WEEK WITH MARILYN 58.
Her furious scream brings all activity to a halt. She storms
off the set with PAULA following. The atmosphere is awful.
80 INT. PINEWOOD STUDIOS. OLIVIER'S DRESSING ROOM. 80
DAY.
OLIVIER sits brooding savagely in front of his make-up
mirror with MILTON GREENE. COLIN unobtrusively fetches
whisky and cigarettes for them both as OLIVIER abruptly
booms out to himself.
OLIVIER
"O, now, for ever Farewell the
tranquil mind/Farewell content/
Farewell the plumed troop and the
big wars/That make ambition
virtue O, farewell/Farewell..."
(Pause, exasperated) Paula's not
an actress. She not a director,
not a teacher. Her only talent is
buttering up Marilyn.
MILTON
It would be worse if she wasn't
around.
OLIVIER
You know what would make Marilyn
Monroe a real actor? A season in
rep. They wouldn't stand for this
kind of nonsense at the
Hippodrome in Eastbourne.
MILTON
You have to be patient with her.
OLIVIER
Trying to teach Marilyn how to
act is like teaching Urdu to a
badger.
MILTON gives him a look but says nothing. Instead he picks
up his bag and opens it. It is stuffed with bottles of
pills. He takes one of them, checks the label and puts it
in his pocket.
MILTON
I better go see her. She'll need
something to help her calm down.
COLIN holds the door for him as he goes out.
OLIVIER
(After a second)
Pills to sleep, pills to wake up.
Pills to calm her down, pills to
give her energy. No wonder she's
permanently ten feet underwater.
MY WEEK WITH MARILYN 59.
COLIN looks at him tentatively.
COLIN
Maybe she's scared.
OLIVIER
We're all scared. It's part of
being an actor.
COLIN
But you have the training to deal
with it.
OLIVIER turns from the mirror to survey him.
OLIVIER
I wouldn't buy the little girl
lost act if I were you. Though
heaven knows it's tempting.
He sighs wistfully.
OLIVIER (CONT'D)
And I think Marilyn knows exactly
what she's doing.
COLIN isn't so sure but wisely holds his tongue.
OLIVIER (CONT'D)
You better get over to Parkside
and make sure the poor girl's all
right. (Pause) And Colin? Don't
forget who you work for.
CUT TO:
81 EXT. PARKSIDE HOUSE. DRIVE. NIGHT. 81
COLIN draws up outside Marilyn's house. The place is dark
and quiet.
CUT TO:
82 INT. PARKSIDE HOUSE. DRAWING ROOM NIGHT. 82
ROGER takes two bottles of beer from the well stocked
drinks cabinet and hands one to COLIN, putting a coaster
for him on the coffee table. COLIN looks around the opulent
drawing room.
COLIN
Are you sure they won't mind?
ROGER
Help yourself. They can spare it.
(Pause) Marilyn's okay. She's
taken some pills and gone to bed.
He frowns darkly.
MY WEEK WITH MARILYN 60.
ROGER (CONT'D)
They like to keep her doped up.
It makes her easier to control.
COLIN
You mean Miller?
ROGER
(Shakes his head)
The others. They're terrified
their cash cow will slip away.
He smiles grimly and raises his beer bottle.
ROGER (CONT'D)
Cheers!
CUT TO:
83 INT. PARKSIDE HOUSE. DRAWING ROOM. NIGHT. 83
COLIN wakes abruptly from a doze as his empty bottle of
beer rolls to the floor. ROGER is fast asleep. COLIN
glances at the clock. It is nearly midnight.
CUT TO:
84 INT. PARKSIDE HOUSE. UPSTAIRS HALL. NIGHT. 84
COLIN, a little drunk, creeps out of the toilet. The narrow
strip of light from the door disappears, leaving the hall
in darkness. COLIN inches forward uncertainly.
He stops, waiting for his eyes to adjust. The house is
totally silent. Then, just as he is about to move, he hears
something.
Breathing, very close by. Faint but unmistakable. Shallow
breaths, like sighs.
COLIN is paralysed.
A beat, then -
A door is flung open along the hall and light floods into
the corridor.
MARILYN is sitting on the carpet leaning against the wall
only a few feet away from Colin. She is wrapped in a pink
bed-cover and stares directly at him, her expression blank
and sedated. By her side is an open spiral bound notebook,
its pages closely crammed with handwriting.
MILLER
(OFF)
Marilyn. Come back to bed. It's
not what you think.
MY WEEK WITH MARILYN 61.
She stares at COLIN. It is not even clear she knows he is
there. COLIN gazes back at her, paralysed. MILLER's voice
comes again, flat and tired.
MILLER (CONT'D)
(OFF)
It's just a few ideas. Writer's
stuff. (Pause) Bring back my book
and let's get some sleep.
Finally MARILYN stirs and closes the notebook. Holding it
to her breast and clutching the cover around her shoulders
she gets up and goes into the bedroom, closing the door.
As the light snaps off COLIN breathes for the first time in
what feels like minutes.
CUT TO:
85 EXT. PINEWOOD STUDIOS. GATE. DAY. 85
COLIN, muffled in his scarf, looks up as Marilyn's car
cruises to a halt at the gate.
COLIN
Good morning, Miss Monroe.
She is hunched in the back, her hair in a scarf, her face
protected by her large sunglasses with PAULA by her side.
She doesn't look up.
CUT TO:
86 INT. PINEWOOD STUDIOS. SOUNDSTAGE. DAY. 86
OLIVIER, DAVID ORTON and COLIN huddle around the camera.
JEREMY SPENSER and TECHNICIANS stand around, bored and
listless. MILTON appears. They speak in low, urgent tones.
OLIVIER
It's nearly lunch time.
MILTON
She isn't feeling the part.
OLIVIER
It's a light comedy. How much
feeling can it possibly require?
MILTON
Give her a few minutes...
OLIVIER
She can't hide in her bloody
dressing room all day.
MILTON
Oh, yes she can.
MY WEEK WITH MARILYN 62.
OLIVIER looks at him angrily. He is close to the end of his
tether.
OLIVIER
(TO COLIN)
Go and find out what the hell's
going on.
87 INT. PINEWOOD STUDIOS. MARILYN'S DRESSING ROOM. 87
DAY.
COLIN knocks softly on the dressing room door. PAULA
appears, opening it no more than a crack. She looks out
suspiciously, sees it is Colin and turns back into the
room.
PAULA
It's Colin.
COLIN waits a moment then PAULA opens the door wider.
PAULA (CONT'D) (cont'd)
Come in. Marilyn wants to see
you.
COLIN stares at her in surprise.
CUT TO:
88 INT. PINEWOOD STUDIOS. MARILYN'S DRESSING ROOM. 88
DAY.
COLIN comes in. The dressing room is in semi-darkness.
PAULA settles down in the corner. MARILYN lies on a sofa,
wearing a bathrobe, her face in shadow. Pill bottles are
scattered across the dresser at her elbow. There is a long
pause. She sighs softly.
MARILYN
How old are you?
COLIN
24. (Pause) Nearly
MARILYN
You remind us of the young king in
the movie. Kind of honest and
innocent.
COLIN
(WOUNDED)
I'm not innocent.
She turns her head and her beautiful face comes fully into
the light.
MARILYN
What's your job on this picture?
MY WEEK WITH MARILYN 62A.
COLIN
I'm the third assistant director.
Just a gopher really. Go for
this, go for that...
MARILYN
You're Larry's assistant too.
He shrugs awkwardly.
MARILYN (CONT'D)
What were you doing in my house
last night? Did he send you?
MY WEEK WITH MARILYN 63.
COLIN hesitates. It seems pointless to deny it.
COLIN
He was worried about you.
MARILYN
Are you spying on me?
COLIN
No! Of course not. Why would
anyone spy on you?
She sighs, and looks away.
COLIN (CONT'D)
Are you all right, Miss Monroe?
He waits hesitantly, but she seems to have drifted off. But
then, suddenly, she turns back to him, her eyes huge.
MARILYN
Colin? Whose side are you on?
COLIN stares at her. She looks utterly beautiful and
vulnerable in the shadowy light. There is only one answer
anyone could give.
COLIN
Yours, Miss Monroe.
She rewards him with a brilliant smile, her whole face
lighting up.
MARILYN
Call me Marilyn.
He is suddenly overwhelmed by a rush of sympathy. She looks
so lost and vulnerable. Perhaps he means it. Perhaps he is
on her side now.
CUT TO:
89 EXT. PINEWOOD STUDIOS. DAY. 89
As COLIN walks down through the studio he meets RICHARD
WATTIS with PAUL HARDWICK, on their way to wardrobe. WATTIS
winks at him.
WATTIS
Marilyn's got a new boyfriend.
Larry will get jealous.
HARDWICK
You can say that again.
He gives a camp laugh. COLIN tries to shrug it off with a
lightness he doesn't feel.
COLIN
Nothing happened.
MY WEEK WITH MARILYN 63A.
WATTIS
You were in there for ten minutes
at least. Plenty of time for a
kiss and a cuddle.
MY WEEK WITH MARILYN 64.
COLIN
Paula was with us the whole time.
WATTIS
The mind boggles, dear.
COLIN smiles but his expression freezes as he looks up to
see LUCY nearby. She has heard every word of the exchange.
CUT TO:
90 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 90
MARILYN is finally back on the set, filming a solo dance
routine. Released from the need to remember any words she
takes refuge in the physical activity, undulating sexily in
her tight white dress in a performance which is gawky,
mildly silly and charming all at the same time.
The dance is deliberately a little amateurish. Elsie Marina
isn't meant to be any sort of superstar. But she radiates
joy and innocence and sheer happiness in the dance, and
MARILYN captures all this perfectly. Within the scene the
actor JEREMY SPENSER, playing Nicky, watches from the
doorway.
Everyone watches silently from behind the camera. No one
can look away, least of all COLIN. It feels like one purely
joyful moment in the agony the film has become, and Marilyn
is radiant. Even OLIVIER has a reluctant half-smile on his
face as he watches.
CUT TO:
91 INT. PINEWOOD STUDIOS. SOUND STAGE. NIGHT. 91
The stage is empty except for OLIVIER and MILLER. They sit
in a pool of light in the cavernous room. COLIN pours
whisky for them and then steps back into the shadows. Both
men ignore him. He is too unimportant to worry about.
MILLER leans forward, holding his pipe but not smoking it.
MILLER
I dreamed last night I could hear
singing. And then I realised it
wasn't a dream. There was a male
voice choir serenading Marilyn
under our window. At two in the
morning. It's a circus. A freak
show.
OLIVIER smiles but MILLER looks dazed.
MILLER (CONT'D)
I'm going back to New York for a
few days. I need to see my kids.
I need a break.
MY WEEK WITH MARILYN 65.
OLIVIER
That won't help Marilyn.
MILLER
(After a moment)
I can't help her. (Pause) You
know what she loves to do most?
Sleep. It's what she lives for.
Sleep is her demon.
He pauses for a second.
MILLER (CONT'D)
I've disappointed her.
OLIVIER looks at him. MILLER shakes his head.
MILLER (CONT'D)
She thought I could smash all her
insecurities with one magical
stroke. That I could make her a
new person.
He pauses for a second, weighing every word carefully.
MILLER (CONT'D)
She wants me to protect her but I
can't. I can't even protect
myself. (Pause) She read some
notes I made. They were nothing.
Just a few ideas.
OLIVIER
About her?
He looks up and nods slowly.
MILLER
She took them the wrong way.
He leaves a long, uneasy pause.
OLIVIER
But you do love her? Your new
bride and all that?
MILLER plays with his whisky.
MILLER
I can't work. I can't think.
(Pause) She's devouring me.
Forgotten in the shadows, COLIN listens attentively to
every word.
CUT TO:
MY WEEK WITH MARILYN 66.
92 EXT. PINEWOOD STUDIOS. GATE. DAY. 92
Early morning. COLIN sees Olivier's black Bentley cruising
towards the gate. VIVIEN LEIGH sits in the back seat.
VIVIEN
Hello, Colin darling. You look
like Horatio defending the
bridge. Are you going to let me
in?
CUT TO:
93 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 93
VIVIEN is doing what amounts to a royal tour. She greets
everyone, from the lowest chippie to the Heads of
Department with the same flirtatious grace. OLIVIER walks
at her elbow. The crew crowd around her. She is easy and
relaxed, relishing every second of their attention.
VIVIEN
I hope Larry isn't making you all
work too hard. I know what a
dreadful slave driver he can be.
She sees ORTON and takes his hands.
VIVIEN (CONT'D)
David, he would be lost without
you.
ORTON
Just doing my job.
Tough as he is, he melts visibly. She moves on to JACK
CARDIFF, the lighting cameraman, looking at him in mock
misery.
VIVIEN
I'm getting old, Jack. I need you
to work your miracles on me.
CARDIFF
You're more beautiful every year,
Vivien.
She laughs and turns to COLIN, looking at him severely.
VIVIEN
Now, you are looking after Larry
like I told you?
COLIN
I'm doing my best...
VIVIEN glances away to see MARILYN standing nearby, awkward
and excluded. She has come straight from make-up and wears
only a towelling robe, slippers and curlers in her hair.
MY WEEK WITH MARILYN 67.
Compared to VIVIEN she looks frumpish. VIVIEN glides
towards her, hands extended.
VIVIEN
Darling Marilyn!
She kisses her on both cheeks and holds her hands.
VIVIEN (CONT'D)
Larry tells me you are quite,
quite superb. I'm wild with
jealousy.
MARILYN
Oh, but everyone says you were a
wonderful Elsie on stage.
VIVIEN
But I'm too old to play her in
the film. Larry was quite brutal
about that. You see, the truth is
all that matters to him. That's
why we all admire him so very
much.
She glances at OLIVIER with a fluttering laugh. He smiles
back with a haunted look in his eyes.
VIVIEN (CONT'D)
Now, I must let you work. I only
came to wish you good luck!
Goodbye, everyone!
The crew press around her. MARILYN watches, feeling more
than ever the odd one out. COLIN watches her from the edge
of the crowd. She cuts a lonely, vulnerable figure. He is
totally preoccupied with her, so much so that when VIVIEN
comes up behind him he turns guiltily as though caught out.
VIVIEN stares at him. All her exuberance has vanished and
she looks suddenly tired and older. It as though the facade
of a beautiful building is beginning to crack. She gazes at
him with bitter disappointment.
VIVIEN (CONT'D)
Oh, Colin. Not you too.
He wants to protest but VIVIEN is already turning away.
CUT TO:
94 INT. PINEWOOD STUDIOS. VIEWING THEATRE/PROJECTION 94
BOOTH. DAY.
COLIN pushes open the door to the projection booth. The
screen is lit up with the rushes of the scene in The Prince
And The Showgirl where a startlingly beautiful MARILYN, in
gorgeous close-up, eats caviar and drinks champagne in a
toast to the American President.
MY WEEK WITH MARILYN 68.
OLIVIER and VIVIEN stand in the shadows of the projector
beam. COLIN freezes in the doorway to the projection booth
holding a pile of film cans. VIVIEN is crying abjectly.
VIVIEN
I didn't think she would be so
beautiful. She... shines on that
screen.
OLIVIER
You shouldn't upset yourself. You
are ten times the actress she
will ever be.
VIVIEN
If you could see yourself. The
way you watch her...
OLIVIER
There's never been anything
between Marilyn and me.
She laughs hysterically.
VIVIEN
Only because she didn't want you.
OLIVIER
You're imagining things.
VIVIEN
Do you think I'm a fool? You
didn't think the little tart
could resist the great Laurence
Olivier.
She looks at him venomously, a dangerous, unbalanced hatred
seething in her expression.
VIVIEN (CONT'D) (cont'd)
But she saw through you, didn't she
darling? Take away the actor and
what's left of the man? You can't
even play the husband properly
without a script.
(slaps him hard across the
face. )
I hope she makes your life hell!
OLIVIER
Vivien..!
She storms out. After a beat, COLIN tentatively enters.
OLIVIER looks at COLIN in muted apology.
MY WEEK WITH MARILYN 69.
OLIVIER (CONT'D)
She hasn't been well. There was a
baby... she... we... lost it...
COLIN looks down awkwardly. OLIVIER sighs.
OLIVIER (CONT'D)
(After a pause)
Do you have a cigarette, Colin?
COLIN hurries to offer him one of his "Oliviers". OLIVIER
grimaces wryly.
OLIVIER (CONT'D)
Not one of those awful things.
COLIN finds a woodbine in his other pocket and gives it to
OLIVIER, who lights it with a shaking hand. He inhales
deeply.
OLIVIER (CONT'D)
Vivien's right... I did think I
would fall shatteringly in love
with Marilyn. What a joke.
He looks at COLIN, his feelings raw and exposed.
OLIVIER (CONT'D)
Remember, boy, when it comes to
women you are never too old for
humiliation.
CUT TO:
95 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 95
The set is dressed and the crew are waiting but once again
there is no sign of Marilyn. The actors, RICHARD WATTIS and
PAUL HARDWICK amongst them, sit apathetically in full
costume, while ORTON stands with his arms folded.
Technicians chat or sit idly. As COLIN watches, OLIVIER
looks across at MILTON who shrugs hopelessly.
CUT TO:
96 INT. PINEWOOD STUDIOS. OLIVIER'S DRESSING 96
ROOM/PARKSIDE. DAY.
COLIN pours whisky for OLIVIER. MILTON comes in.
MILTON
Marilyn won't shoot today. She's
gone back to Parkside. She's
upset about Arthur leaving
England.
OLIVIER
He's only going to visit his
children.
MY WEEK WITH MARILYN 70.
MILTON
You don't leave Marilyn alone.
She can't handle it. She thinks
everyone's going to abandon her.
The phone rings. OLIVIER picks with a sudden burst of
optimism.
OLIVIER
Perhaps she's come back. (Into the
phone) Yes?
ROGER
(OFF)
Sir Laurence? It's Roger.
OLIVIER
Oh, Roger. What's up?
ROGER
(OFF)
Is Colin there, Sir?
He frowns and looks at COLIN in bewilderment.
OLIVIER
Yes, he's here. (Pause) It's for
you.
Puzzled, COLIN takes the phone as OLIVIER stares at him.
COLIN
Roger?
CUT TO PARKSIDE, where, to Colin's astonishment MARILYN comes
on the line (Roger is not in shot).
MARILYN
(ON PHONE)
Colin, why don't you drop by here
on your way home?
CUT BACK TO PINEWOOD - MILTON recognises Marilyn's voice
instantly.
MILTON
What the heck?
OLIVIER
Why is Marilyn on the phone to my
third fucking assistant?
COLIN looks around helplessly.
COLIN
Yes, I'm sure I can do that.
CUT TO PARKSIDE. MARILYN smiles.
MY WEEK WITH MARILYN 70A.
MARILYN
(ON PHONE)
Good. Don't tell anyone though.
She hangs up.
CUT TO PINEWOOD: COLIN replaces the phone in its cradle.
MILTON and OLIVIER stare at him.
OLIVIER
Well? What did she want?
COLIN
She wants to see me.
MY WEEK WITH MARILYN 71.
He shrugs awkwardly. MILTON looks at OLIVIER in panic.
MILTON
He shouldn't be talking to her.
He's just a kid. Supposing he
says something? (Pause) Why the
hell didn't she call me?
His angry - and jealous - frustration is in stark contrast
to OLIVIER, who looks at COLIN with a new interest,
wondering if there is anything in this odd situation that
can work to his advantage. He smiles calmly.
OLIVIER
I'm sure Colin knows what he's
doing. Don't you, Colin?
There is a warning as well as approval in his tone.
CUT TO:
97 INT. PARKSIDE HOUSE. DRAWING ROOM. DAY. 97
ROGER leads COLIN into the formal drawing room.
ROGER
Miss Monroe said for you to wait.
She won't be long.
He looks at COLIN dubiously as he goes out. COLIN is
nervous and not quite sure what to do with himself. He
looks at the drinks in their decanters on the sideboard and
is suddenly desperate for some Dutch courage. He finds the
brandy and picks it up -
MARILYN
(OFF)
Help yourself to a drink.
COLIN wheels in surprise. MARILYN stands in the doorway,
casually but beautifully dressed in silk trousers and a
pale cream shirt. COLIN looks guiltily at the brandy.
COLIN
I was just... checking you've got
everything you need.
She walks to the sideboard, standing only a few inches away
from him. He can't take his eyes from hers. He drops his
gaze, only to find himself staring at her breasts. He looks
up again sharply but not before she notices. She takes the
decanter from his hand.
MARILYN
Here, let me.
She pours some brandy into a glass and gives it to him.
MARILYN (CONT'D)
Are you frightened of me, Colin?
MY WEEK WITH MARILYN 72.
COLIN
No.
MARILYN
Good. Because I like you.
Colin doesn't know what to say. MARILYN gazes at him.
MARILYN (CONT'D)
I want you to help me. Will you
do that?
She looks at him, her eyes wide. COLIN feels himself
sinking into her gaze.
COLIN
I'm only the third. Just a
messenger, really.
MARILYN
But you know what's going on. You
can see both sides of the
situation.
He shrugs in helpless agreement.
MARILYN (CONT'D)
I want you to be honest. Tell me
everything.
She indicates a chair and COLIN perches on it awkwardly.
MARILYN (CONT'D)
Relax. I thought you weren't
scared of me. (Pause) Are you
hungry? I'll have them send in a
tray. I'm starved.
He doesn't know how to reply and Marilyn misreads his
silence. Her eyes widen in dismay.
MARILYN (CONT'D)
Oh, gee, I'm sorry. Am I
interrupting something? Maybe you
have a Mrs. Colin waiting for you
at home?
COLIN
There's no Mrs. Colin.
MARILYN
So we can talk as long as we
like?
He nods uncertainly. She frowns.
MARILYN (CONT'D)
Why is Sir Olivier so mean?
He talks to me as if he's
slumming.
MY WEEK WITH MARILYN 73.
COLIN hesitates then decides to throw caution to the wind.
COLIN
I'll tell you what's wrong. It's
agony for him because he's a
great actor who wants to be a
film star, and agony for you
because you're a film star who
wants to be a great actress. And
this film won't help either of
you.
He stops, breathless, knowing he has gone to far. She
stares at him, wide-eyed with surprise. Horribly self-
conscious he takes a too large swig of his brandy, reddens
and coughs. She laughs.
MARILYN
Are you sure you can handle that?
You don't look old enough to
drink.
COLIN
I'm 23, Miss Monroe.
MARILYN
It's Marilyn. (Pause) I'm 30. I
guess that makes me an old lady
to you.
COLIN
Seven years is nothing.
She smiles then sits opposite him.
MARILYN
Do you know I've been married
three times already? How did that
happen?
COLIN
You were just looking for the
right man.
MARILYN
They always look right at the
start.
She smiles wistfully. Her presence is overwhelming. The
silence stretches for a second, pregnant with strange
possibilities. Suddenly the phone rings, making him jump.
Automatically he picks it up.
COLIN
Hello?
CUT TO:
MY WEEK WITH MARILYN 74.
98 INT. PINEWOOD STUDIOS. PRODUCTION OFFICE. DAY. 98
MILTON sits at his desk. He leans forward anxiously at the
sound of Colin's voice.
MILTON
Colin? Is everything okay? What
did she want?
CUT BACK TO:
99 INT. PARKSIDE HOUSE. DRAWING ROOM. DAY. 99
COLIN looks at MARILYN and hesitates.
COLIN
Everything's fine. Miss Monroe
just had... some large packages
she needed handling...
He looks at MARILYN's voluptuous figure. MARILYN looks back
innocently and mouths the word "packages". She giggles. He
turns crimson with the effort of trying to suppress his own
laughter but MARILYN isn't helping. She teasingly makes
shapes in the air of just how large the packages might be.
He covers the phone, agonised, before they both collapse in
irrepressible laughter. COLIN finally pulls himself
together.
COLIN (CONT'D)
Hello? Milton?
There is a long silence at the other end of the line.
CUT TO:
100 INT. PINEWOOD STUDIOS. PRODUCTION OFFICE. DAY. 100
MILTON turns pale. When he speaks again his anger is just
barely under control.
MILTON
Let me speak to her, Colin.
CUT BACK TO:
101 INT. PARKSIDE HOUSE. DRAWING ROOM. DAY. 101
COLIN offers the phone to MARILYN but she shakes her head.
COLIN
She's tied up right now.
This only sets MARILYN off again. She howls with laughter and
COLIN can't help joining her.
CUT TO:
MY WEEK WITH MARILYN 75.
102 INT. PINEWOOD STUDIOS. PRODUCTION OFFICE. DAY. 102
MILTON stares at the phone in disbelief.
MILTON
What's going on? Colin! (Shouts)
Let me talk to her, damn it!
CUT BACK TO:
103 INT. PARKSIDE HOUSE. DRAWING ROOM. DAY. 103
COLIN looks at MARILYN but she shakes her head between
giggles. He turns back to the phone, barely able to get the
words out between snorts of laughter.
COLIN
I'm sorry, Milton. I have to go.
He hangs up quickly. They both laugh helplessly. MARILYN
smiles.
MARILYN
Let's walk in the garden. See if
we can find any more reporters in
the bushes.
She giggles. COLIN's heart contracts as she casually takes
his arm.
104 EXT. PARKSIDE HOUSE. GARDEN. DAY/DUSK. 104
There is a golden glow on the horizon as the sun sinks.
MARILYN, a cardigan around her shoulders, walks along the
path. COLIN is at her side, acutely aware of her physical
closeness.
MARILYN
I didn't know it was so pretty
out here.
COLIN
You should get out more. See the
sights.
MARILYN
I am the sights.
She giggles again, her mood lighter.
MARILYN (CONT'D)
Look at us. We're just like
Elsie and the young King. What
would Sir Laurence say if he
could see us now?
COLIN
I don't think he'd mind.
MY WEEK WITH MARILYN 76.
MARILYN grows reflective. She takes COLIN's arm in a
friendly way as they walk.
MARILYN
I wanted to be an artist. To
grow as an actor. I was so proud
to be working with the great
Olivier. (Pause) Now he thinks
I'm the enemy.
She looks at him innocently. COLIN hesitates.
COLIN
He doesn't understand your kind
of actor. He's hated the method
ever since Vivien worked with
Elia Kazan. It's all too new and
strange. You're the future, and
it frightens him.
MARILYN
Every time I walk into the studio
I feel this sense of doom come
over me. He looks at me like
he's smelling a pile of rotten
fish. And the crew hate me.
Paula is the only person I can
trust. (Pause) Except for you
now, maybe.
She looks at him, her eyes huge. COLIN feels his senses
swim as he stares into them...
... and then ROGER suddenly appears on the steps.
ROGER
Phone call for you, Miss Monroe.
It's Mr. Miller.
MARILYN goes back up the path towards the house, glancing
back briefly at Colin.
MARILYN
Goodbye, Colin. Thanks for
telling me the truth.
COLIN stares after her. It is a second before he realises
that ROGER is gazing at him sternly.
ROGER
You'll be leaving now, I expect.
CUT TO:
105 INT. PINEWOOD STUDIOS. OLIVIER'S DRESSING ROOM. 105
DAY.
The next morning. COLIN walks in as OLIVIER is talking to
MILTON.
MY WEEK WITH MARILYN 76A.
OLIVIER
I don't care if he fucks her
sideways. Perhaps it'll calm her
down. (Pause) Oh, hello, boy.
He smiles cheerfully.
MY WEEK WITH MARILYN 77.
OLIVIER (CONT'D)
I hear you spent last night with
Marilyn.
COLIN
I didn't spend the night with
her. We just had a chat.
MILTON
I heard them chuckling.
OLIVIER offers COLIN a lewdly suggestive grin.
OLIVIER
Perhaps if Colin is very
diplomatic Marilyn is more likely
to behave herself.
COLIN
She just wants a chum, that's
all.
MILTON
A chum? Jesus Christ, what is
this, Goodbye Mr. Chips? Grow up,
kid.
He barges out of the room, slamming the door behind him.
OLIVIER checks the effect of his Grand Duke in the mirror
and sighs abruptly.
OLIVIER
I thought working with Marilyn
would make me feel young again.
But I look dead in the rushes.
Dead behind the eyes.
He gazes at himself thoughtfully.
OLIVIER (CONT'D)
Perhaps I'm angry with her
because in my heart I know my own
career is in a terrible rut. I
wanted to renew myself through
her but all I see reflected in
that magnificent face is my own
inadequacy.
He leans back.
OLIVIER (CONT'D)
You know, I admire Marilyn. I
really do. Despite her behaviour.
She has taken everything
Hollywood can throw at her and
triumphed.
COLIN waits, uncertain why OLIVIER is confiding in him.
MY WEEK WITH MARILYN 78.
OLIVIER (CONT'D)
An actress has to be pretty tough
to get even a tenth as far as she
has.
He glances up at COLIN in the mirror, shrewd and
sympathetic.
OLIVIER (CONT'D)
But be careful, boy. She doesn't
need to be rescued. Not really.
CUT TO:
106 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 106
Gossip is always fast to travel but on a film it goes at
the speed of light. As COLIN arrives on the set he is
greeted with wolf whistles and jeers by RICHARD WATTIS,
PAUL HARDWICK and the crew.
SOUNDMAN
What was Marilyn like then, Col?
HARDWICK
Going over her lines with her,
were you?
SOUNDMAN
Will she be in today or is she
too tired?
It is all good-natured stuff but COLIN feels strangely
protective, not so much on his own behalf as Marilyn's.
COLIN
She was just being friendly.
WATTIS
I'll bet.
There are hoots of laughter. COLIN retreats to a corner
only to find RICHARD WATTIS pursuing him.
WATTIS (CONT'D)
Ever heard of the Venus Fly Trap?
There you are, Colin the innocent
little fly buzzing about happily,
when suddenly a heavenly scent
attracts you and - Snap!
COLIN
Oh, fuck off, Dickie. You've
never slept with a woman in your
life.
MY WEEK WITH MARILYN 79.
WATTIS
I know a Femme Fatale when I see
one, love.
107 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 107
A brief hiatus in filming. COLIN looks on uneasily as
MARILYN, resting against her lean-to, has her costume
attended to by LUCY.
ORTON
Three minutes, ladies and gents.
Three minutes.
It has just dawned on COLIN that he has missed his date
with LUCY. Before he can react he is jerked violently
behind the scenery and pushed up against the wall by an
angry MILTON.
MILTON
Arthur Miller called me. He's not
happy with you.
COLIN
He doesn't even know who I am.
MILTON
Marilyn must have said something.
COLIN
Maybe she was trying to make him
jealous...
ORTON turns around frowning furiously at the voices behind
the set. MILTON pushes COLIN off the set ahead of him.
108 EXT. STUDIO. DAY. 108
MILTON turns bitterly on Colin as soon as they are outside
the studio door.
MILTON
Listen, kid, I've known Marilyn
for seven years. I fell in love
with her, just like you've done.
COLIN is about to protest but MILTON ignores him.
MILTON (CONT'D)
We had ten days together and that
was it. She picked me up, she put
me down. That's what she does.
She breaks hearts. She'll break
yours. My advice to you is to
quit before you get burned.
COLIN
I don't need your advice. And I'm
not in love with her.
MY WEEK WITH MARILYN 80.
MILTON
Okay, have it your way. (Pause)
You don't see Marilyn again, you
don't even talk to her. She is
completely off-limits to you. Got
it?
CUT TO:
109 INT. PINEWOOD STUDIOS. CORRIDOR. DAY. 109
COLIN hurries along the corridor, looking for LUCY, who he
sees pushing a rack of clothes. He stops awkwardly. She
gazes at him meaningfully, hurt and puzzled.
LUCY
I waited for you on Friday.
COLIN
Oh, God... I'm sorry... I forgot...
I've just been so busy.
LUCY
(SHARP)
So I hear.
COLIN
(SHRUGS)
You know how crews gossip.
There's nothing in it.
LUCY
Of course there isn't. Marilyn
Monroe fancying you? Come on.
COLIN is put out. Up to now he has never fully confronted
the possibility of Marilyn wanting him, but he doesn't like
the idea being dismissed so lightly.
Lucy sees it and her eyes widen in surprise and hurt.
Before she can respond MARILYN herself coming towards them
in her gown, her hair up in towel, surrounded by PAULA and
her MAKE-UP people. She offers him a dazzling smile.
MARILYN
Hi, Colin.
COLIN smiles, self-conscious. MARILYN stops and frowns,
looking at Lucy.
MARILYN (CONT'D)
Hey, are you guys dating? That's
what I heard.
She looks at him expectantly and suddenly his growing
fantasy that she might actually be interested in him kicks
in hard. He shrugs casually.
MY WEEK WITH MARILYN 81.
COLIN
Of course not. You know how crews
like to gossip.
His voice trails off lamely as he realises he is repeating
what he has just said to Lucy. MARILYN smiles.
MARILYN
Too bad. You look cute together.
She walks off with her retinue. There is a long pause.
COLIN looks up to see LUCY staring at him in dismay. There
are sudden tears in her eyes, which she wipes away angrily.
LUCY
I thought you were different.
COLIN
Lucy, I really like you. We've had
such fun...
LUCY
And now it's time to set your
sights a little higher. I get it.
(Pause) Who do you think you are,
Cary Grant?
She shoves the rack of clothes back towards the wardrobe
department. Part of him knows he should go after her, but in
the end he just stays where he is. He can't help feeling an
unworthy sense of relief.
CUT TO:
110 INT. DOG AND DUCK PUB. COLIN'S BEDROOM. NIGHT. 110
COLIN crosses to the mean little bed on its iron frame and
collapses on it gratefully. The noise of the rowdy pub floats
up through the floorboards. He covers his ears with his hands
then folds the pillow over his head in a desperate attempt to
block it out.
CUT TO:
111 EXT. PINEWOOD STUDIOS. DAY. 111
The studio is quiet at the weekend. COLIN walks along,
snatching a moment for a cigarette. As he reaches the doors
to the editing suites a battered old Wolsey draws up beside
him. ROGER SMITH is at the wheel.
ROGER
Get in.
COLIN looks at him in confusion. The studio doors open and
MILTON emerges. He glances darkly at COLIN and ROGER.
MILTON
Any problem, Roger?
MY WEEK WITH MARILYN 82.
ROGER
Just dropped by to take Colin out
to lunch.
COLIN looks surprised. MILTON notices. COLIN stubs out his
cigarette and hurries to the passenger door.
MILTON
You're not taking him to Marilyn?
That would drop us all in a whole
ocean of shit.
ROGER
Oh, no, sir.
MILTON sees a bulky blanket on the back seat.
MILTON
What do you have in there?
ROGER
Just a picnic. We've been looking
forward to it, haven't we, Colin?
COLIN looks at him, bemused. He gets in quickly. MILTON
frowns but shrugs and walks off with a wave.
MILTON
Okay, well, have a nice time boys.
Inside the car COLIN looks at ROGER.
COLIN
Is she okay?
In the same moment MARILYN herself erupts from under the
blanket in the back.
MARILYN
SURPRISE!
COLIN
Oh, Jesus -
She laughs, looking wonderfully naughty.
MARILYN
Roger and I decided to take you out
for an adventure. Didn't we Roger?
ROGER
(PAINED)
Indeed we did.
COLIN
Oh, God. If Milton sees me with
you... I'll be sacked...
He tries to scramble out but MARILYN hauls him back
gleefully.
MY WEEK WITH MARILYN 83.
MARILYN
No one can sack you, Colin. (Pause)
Except me, of course.
She pats the seat next to her.
MARILYN (CONT'D)
I don't like being on my own in the
back.
Before COLIN can respond he sees the curious MILTON running
back, having spotted MARILYN in the back.
MILTON
What the hell?
He peers into the back window. MARILYN screams and buries
herself back under the blanket. COLIN scrambles to get over
into the back seat while ROGER stamps on the accelerator and
the car roars off.
MILTON (CONT'D)
(SHOUTS)
Colin! Get back here, you little
bastard! You're fired! Do you hear
me? Fired!
COLIN winces. ROGER looks at him sympathetically. MARILYN
emerges from under the blanket, tousled and laughing.
MARILYN
Do you think he saw me?
COLIN can't help laughing. He finally tumbles into the back
seat with MARILYN as the car speeds away. She scoots up to
make room for him.
MARILYN (CONT'D)
Snuggle up. This is fun.
She threads her arm through his. He gazes down at their hands
meshed together.
ROGER's disapproval registers in the faintest flicker of his
eyes.
In the background the defeated and frustrated MILTON watches
the car speed away.
CUT TO:
112 DELETED 112
113 EXT. WINDSOR GREAT PARK. DAY. 113
COLIN and MARILYN walk barefoot in the grass of Windsor
Great Park while ROGER leans on the bonnet of the parked
Wolsey, holding shoes, socks, and sandals.
MY WEEK WITH MARILYN 84.
There is no one else around. The wind sighs and the grass
is pleasantly warm underfoot. MARILYN turns her face up to
the sun.
MARILYN
This is how I ought to feel every
day.
COLIN smiles. Impulsively MARILYN hugs him.
MARILYN (CONT'D)
Let's run away together.
He turns ashen.
MARILYN (CONT'D)
(LAUGHS)
Just kidding.
She looks around happily. COLIN smiles at her.
COLIN
We have today, anyway. One day to
do whatever we like. We can go
back to real life tomorrow.
MARILYN
Only one day?
COLIN
Well, maybe the weekend.
MARILYN
Or a week?
He grins. She takes his hand, walking contentedly at his
side.
MARILYN (CONT'D)
What shall we do?
COLIN
We could go to Windsor Castle, if
you like.
MARILYN's face breaks into a smile of pure delight.
CUT TO:
114 EXT. WINDSOR CASTLE. GRAND DRIVE. DAY. 114
The car makes its stately progress down the magnificent
drive towards the castle.
CUT TO:
MY WEEK WITH MARILYN 85.
115 EXT. ROGER'S CAR. WINDSOR CASTLE. DAY. 115
ROGER has parked up by the sentry post at the entrance to
the castle. There are two uniformed POLICEMEN on duty.
ROGER nods to the policemen, who instantly recognise one of
their own.
ROGER
Detective Chief Superintendant
Smith. I'm escorting this lady
and gentleman for the day. They'd
like to look around the castle.
As the policemen see MARILYN their eyes widen.
POLICEMAN
Christ, is that..?
He stares in disbelief. ROGER smiles.
ROGER
Well, it's not Diana bloody Dors,
is it?
POLICEMAN
(After a second)
Does she know anyone here, sir?
We need to write down a contact
name in the book.
ROGER looks stumped at this. He turns to Marilyn.
ROGER
You don't know Her Majesty, by
any chance?
MARILYN
We met at a movie premiere. She
said my dress was pretty.
POLICEMAN
I'm not sure that quite...
COLIN
(INTERRUPTING)
My Godfather works here. He's the
Royal librarian, Sir Owen
Morshead.
The POLICEMAN looks sceptically at Colin's casual clothes.
POLICEMAN
Name?
COLIN
Clark. Colin Clark.
The POLICEMAN retreats into his box. We hear him talking on
the telephone. ROGER looks at COLIN. He shrugs sheepishly.
MY WEEK WITH MARILYN 86.
COLIN (CONT'D)
My father knows everybody.
A moment later the policeman returns, looking surprised.
POLICEMAN
He says to go straight up the
hill, sir. You'll be met at the
door.
CUT TO:
115A INT. WINDSOR CASTLE. CORRIDORS. DAY. 115A
COLIN and MARILYN are led by a FOOTMAN down the long
corridor. MARILYN looks awed by the ancient suits of armour
standing regally along the way. COLIN watches her, enjoying
her reaction.
CUT TO:
115B INT. WINDSOR CASTLE. GOLDEN CORRIDOR. DAY. 115B
COLIN and MARILYN are led into another corridor, this one
with a beautiful gold-leaf ceiling decoration. MARILYN looks
up, enchanted.
CUT TO:
116 INT. WINDSOR CASTLE. ROYAL LIBRARY. DAY. 116
The library is a series of magnificent rooms lined from
floor to ceiling with books and prints. Every surface is
covered with important documents - the place is a shrine to
antique learning and culture. SIR OWEN MORSHEAD (63), the
Queen's librarian, is a pleasantly eccentric figure with a
sly wit. He greets COLIN with a friendly, distracted air.
MORSHEAD
Colin, my boy! Come in, come in.
Forgive the dust.
He smiles at MARILYN, showing no sign whatever of
recognising her.
MORSHEAD (CONT'D)
You are pretty, my dear. I'm sure
you and Colin have so much in
common.
MARILYN looks around in awe.
MARILYN
Gee, I'd love to read all these
books some time.
MY WEEK WITH MARILYN 87.
MORSHEAD
Luckily one doesn't really have
to. A lot of them just have
pictures in.
He finds a portfolio on the table and opens it.
MORSHEAD (CONT'D)
These are by an artist called
Holbein.
MARILYN smiles at a portrait of a young woman.
MARILYN
She's beautiful.
MORSHEAD
She was the daughter of one of
the King's courtiers, nearly 400
years ago.
MARILYN
I hope I look that good when I'm
400.
MORSHEAD laughs. He takes down another folder of drawings.
MORSHEAD
And these are all by Leonardo Da
Vinci.
MARILYN
I've heard of him! Didn't he
paint that lady with the funny
smile?
She looks at him, wide-eyed, playing up to her image as the
dizzy blonde. In fact she knows exactly who Da Vinci is, and
MORSHEAD is tactful enough to acknowledge it gracefully.
MORSHEAD
The Mona Lisa.
MARILYN
Do you have that one here too?
MORSHEAD
Alas, that one got away.
He closes the portfolio and takes MARILYN's arm briskly.
MORSHEAD (CONT'D)
Now, let's go to the Queen's
apartments. She's not here at the
moment, but she will be sorry to
have missed you.
MARILYN looks at him, wide-eyed.
MARILYN
Really?
MY WEEK WITH MARILYN 88.
MORSHEAD
Oh, yes. Why, she was only saying
to me the other day, "what must
it be like to be the most famous
woman on earth"?
He shares a sly smile with COLIN. He knows exactly who
Marilyn is and is enjoying every second of her company. He
leads her out, with COLIN trailing in their wake.
MORSHEAD (CONT'D)
Some of the rooms are very
opulent but I think there's
something you might like better
than all that.
CUT TO:
117 DELETED 117
118 INT. WINDSOR CASTLE. DOLLS' ROOM. DAY. 118
OPEN on a massive dolls' house. Everything imaginable is
inside - beds, chairs, baths, basins, even small rugs and
chandeliers, all perfectly to scale. MARILYN kneels in
front of it, gazing from room to room with childlike joy.
It is so big she can lean inside and see the detail in
every room. She cries out with joy.
MARILYN
Look, Colin.
COLIN kneels at her side.
MARILYN (CONT'D)
I sure never had a dolls' house
like this when I was a kid.
She sees a perfect doll family inside, husband, wife and
two children. She points at them, her eyes shining.
MARILYN (CONT'D)
This is me, that's you, and these
are our kids.
She smiles wistfully and puts her hand on his arm.
MARILYN (CONT'D)
Our daughter's so pretty. All
little girls should be told how
pretty they are. They should grow
up knowing how much their mother
loves them.
Her eyes fill with sadness for a moment.
MARILYN (CONT'D)
We look like such a happy family,
don't we?
MY WEEK WITH MARILYN 89.
She turns to him. They are only inches away from each
other. COLIN's heart lurches. MORSHEAD coughs discreetly.
MORSHEAD
You mustn't let me keep you. I'm
sure you're longing to be on your
way.
CUT TO:
119 EXT. WINDSOR CASTLE. COURT YARD. DAY. 119
COLIN and MARILYN emerge. A small crowd of POLICEMEN,
SERVANTS and CASTLE WORKERS has gathered. There are cheers
as they see her. COLIN looks nervously at MARILYN but she
smiles and winks at him, mocking herself gently.
MARILYN
Shall I be "her"?
She jumps up onto a step and strikes a pose - hip out,
shoulders back, bosom thrust forward, the classic Marilyn
"look". The delighted crowd bursts into cheers. COLIN
stands proudly nearby, content to watch Marilyn being a
star, basking in the certain knowledge that she will be
leaving with him. One of the spectators turns to him.
SPECTATOR
Are you somebody, mate?
COLIN
(SMILES)
I'm no one.
COLIN stares at MARILYN. She catches his eye and smiles,
just for him. He feels like he's tumbling into the abyss,
but no longer cares.
EXT. ETON COLLEGE. DAY.
Roger's car pulls up outside Eton College.
CUT TO:
120 EXT. ETON COLLEGE. COURTYARD. DAY. 120
COLIN and an astonished MARILYN walk through the school
buildings with ROGER a discreet distance behind them.
MARILYN
This isn't a school, it's a
palace!
COLIN smiles.
COLIN
Eton is 500 years old. It was
founded by King Henry VI.
MY WEEK WITH MARILYN 89A.
MARILYN
It's like walking through history.
COLIN
Take that room up there.
They stop as COLIN points up at a window.
MY WEEK WITH MARILYN 90.
COLIN
That's where the boys were sent
if they didn't work hard enough.
Where we were whipped.
MARILYN looks at him in shock.
MARILYN
Whipped?
COLIN
Beaten.
She looks appalled.
MARILYN
I'd never send my kids away.
(pause) How long were you here?
COLIN
Five years. But I was sent to
boarding school when I was eight.
MARILYN
Why?
COLIN
That's what we do in my family.
She smiles at this, looking at him shrewdly.
MARILYN
It seems to me that you've had most
things pretty easy.
COLIN
In one way, yes. But when you're
brought up in a house of over-
achievers, it's hard to make your
own mark.
She looks at him, sympathetic but pushing a little harder.
MARILYN
So how are you going to do it?
COLIN
Maybe it will be in films, but if
not, there are so many
possibilities out there.
MARILYN
Sounds pretty good to me.
She smiles warmly, liking him a lot more for his openness.
We sense their relationship has moved quietly to a different
and deeper level.
But before either of them can say anything a SCHOOLBOY turns
the corner in his Eton uniform.
MY WEEK WITH MARILYN 90A.
He looks up at MARILYN, his mouth hanging open in shock. Then
he simply turns and runs, shouting at the top of his voice.
SCHOOLBOY
Marilyn! It's Marilyn Monroe!
CUT TO:
121 EXT. ETON COLLEGE. COURTYARD. DAY. 121
MARILYN and COLIN are swamped in a joyous mass of Eton
students. MARILYN smiles, waves, pouts, even kisses one boy
on the cheek. Cheering BOYS hang out of every window.
MARILYN blows kisses to them all. ROGER has to plunge into
the crowd to rescue her. COLIN follows after them with
difficulty. MARILYN pauses, jumping on a bench to wave
goodbye and blow more kisses to the boys.
MARILYN
Work hard, boys! I don't want
anyone whipping you!
A gawky young teenager near the front shouts out cheekily.
BOY
You can whip me anytime, Marilyn!
MARILYN laughs in delight. There are cheers as COLIN
escorts her away.
CUT TO:
122 EXT. THAMES RIVERBANK. DAY. 122
ROGER leans back against the car, smoking calmly.
CUT TO:
123 EXT. THAMES RIVERBANK. DAY. 123
After the riotous excitement of the Eton schoolyard the
peace and quiet of the river. MARILYN rushes along the
sandy bank. The water glitters magically.
MARILYN
Hurry up, slow poke.
COLIN
But we haven't got any...
He stops in mid-sentence as he sees MARILYN unbuttoning her
blouse and throwing it off carelessly.
MY WEEK WITH MARILYN 91.
He tears his eyes away from her as she casually strips her
clothes off. He hurries to find a bush to get changed
behind. As he ducks down behind it he hears a splash and
MARILYN's cry of shock as she hits the water.
MARILYN
Oh my gosh! It's freezing!
CUT TO:
124 EXT. THAMES. DAY. 124
MARILYN swims in the water, humming softly to herself.
COLIN wades in, wincing at the cold. She laughs.
MARILYN
This is great.
COLIN
What if a boat goes past? We
could be arrested.
MARILYN
Don't worry. Roger will fix it.
Oh, darn it...
She holds her head and he looks at her with concern.
COLIN
What's wrong?
MARILYN
I have something in my eye.
He swims across to her, very aware of her naked body under
the water. She holds her head up to him.
COLIN
I can't see anything.
MARILYN
Get closer.
She tips her head back. He looks deep into her eyes - and
suddenly she grabs him and kisses him on the lips. Before
he can respond she laughs playfully and swims away.
MARILYN (CONT'D)
That's the first time I've kissed
anyone younger than me. There's a
lot of older guys in Hollywood.
She swims happily, totally relaxed. COLIN is much more self-
conscious, keeping one nervous eye open for pleasure boats.
Finally she swims back into the shallows and wades to the
shore. She glances back, catching Colin looking. He glances
away, embarrassed.
MY WEEK WITH MARILYN 92.
MARILYN (CONT'D)
Don't be shy, Colin. It's nothing
you haven't seen before.
COLIN wades awkwardly to the shore, trying to conceal his
erection with his cupped hands. MARILYN giggles.
MARILYN (CONT'D)
Oh, Colin! And you an old
Etonian!
He grins. She reaches for her blouse and stands shivering
as she tries to dry herself. COLIN goes to take her in his
arms.
COLIN
Let me warm you up.
She snuggles into him gratefully, her teeth chattering. He
rubs her naked back briskly, her thin blouse the only
barrier between their bodies. Slowly his embrace becomes
more sensual, his hands slowing, stroking rather than
rubbing, his face buried in her hair, his arms pulling her
CLOSER -
MARILYN
Don't spoil it.
She looks at him, her expression knowing but sweet.
MARILYN (CONT'D)
I want this to be the perfect
date.
He tries to kiss her but she ducks her head away gently,
her expression wistful.
MARILYN (CONT'D)
I haven't had a real date since I
was 13 years old.
She suddenly looks much younger, her smile a poignant echo
of a lost childhood.
He steps back politely, allowing her to put on her blouse.
As she buttons it, she gazes at him, then impulsively leans
forward to kiss him chastely on the lips. The kiss is as
sweet and innocent as any 13 year old might wish.
The kiss lasts for a few seconds, their lips touching
gently, the river shimmering magically in the sunshine
behind them. When they finally break apart she rewards him
with a radiant smile.
MARILYN (CONT'D)
That was nice. I don't get kissed
much.
She looks wistful for a second but quickly brightens.
MY WEEK WITH MARILYN 93.
MARILYN (CONT'D)
Okay, what do we do now?
COLIN looks at her, knowing it is time to return to the
real world but reluctant to face it. There is a discreet
cough and ROGER appears.
ROGER
Time to go home, I think, Miss
Monroe.
She smiles, a little sadly, then gets up, walking past him
as she puts on the rest of her clothes. ROGER averts his
eyes respectfully and waits for COLIN. The two men look at
each other for a second.
ROGER (CONT'D)
Be careful not to get in too
deep, son.
COLIN knows he isn't talking about the river.
CUT TO:
125 INT. ROGER'S CAR. DAY. 125
MARILYN and COLIN sit in silence in the back of the car.
Her exuberance has vanished and there is a distant look in
her eye. COLIN wants to say something but can't think of
the right words. He puts his hand on hers and she squeezes
it, but then pulls away.
CUT TO:
126 INT/EXT. PARKSIDE HOUSE. ROGER'S CAR. DAY. 126
A seething MILTON is waiting on the steps as ROGER parks
the car. COLIN looks at him nervously. MARILYN looks at him
then gets out, glancing at Milton indifferently.
MARILYN
Hi Milton.
She smiles sweetly.
MARILYN (CONT'D)
Next time I come on set, you
better make sure Colin is there.
He looks at her in shock then bitterly at COLIN.
MARILYN (CONT'D)
(TO ROGER)
Take him home.
MY WEEK WITH MARILYN 94.
She waves briefly to Colin, nothing more than a flutter of
her fingers. COLIN watches her all the way up the steps
until she disappears inside.
CUT TO:
127 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 127
The crew are ready, the cast stand around in full costume,
OLIVIER paces the set - and there is no sign of Marilyn.
OLIVIER turns to COLIN.
OLIVIER
You spent the day with her. What
frame of mind was she in?
COLIN
She was fine.
OLIVIER
(HUGE SELF-CONTROL)
Well, find out what's going on.
There's a good chap. Perhaps we
can persuade her on this splendid
day to do the work she's paying
herself to do.
He stalks off. COLIN sees WATTIS grinning at him.
COLIN
Don't start, Dicky.
WATTIS
You won't get any sympathy from
me, dear. Frankly I wouldn't care
if Marilyn dropped dead tomorrow.
COLIN
She's trying her best.
WATTIS
She's Marilyn Monroe. This is her
life. Pills, booze, sex, more
pills. (Pause) God, it must be
wonderful!
COLIN doesn't laugh. WATTIS looks at him sympathetically.
WATTIS (CONT'D)
Oh, dear. Little Colin's in love.
CUT TO:
128 EXT. PARKSIDE HOUSE. DRIVE. DAY. 128
MILTON is waiting for COLIN at the door.
MILTON
Marilyn's not well.
MY WEEK WITH MARILYN 95.
COLIN
But she was wonderful yesterday.
MILTON looks at him for a long moment, masking his
hostility in barbed politeness.
MILTON
I don't know what you did to her,
kid, but she got nervous. I had
to give her some pills to calm
her down.
COLIN
She doesn't need pills! She just
needs someone to care for her.
MILTON
Someone like you?
COLIN reddens. MILTON shakes his head patronisingly.
COLIN
I told you, I'm not in love with
her!
MILTON
You kissed her.
COLIN
She said that?
MILTON
Spare me the bullshit. I know
everything.
COLIN stares at him, feeling hopelessly out of his depth.
MILTON (CONT'D)
You messed her up, kid. Confused
her.
He comes very close, his tone fierce but wounded.
MILTON (CONT'D)
I've got every penny I ever made
tied up in Marilyn. She owes me.
If it wasn't for me she'd still
be on contracts that make slave
wages look good. I gave her back
her freedom, and now Miller's
turning her against me. That's
what you get for trying to help
Marilyn Monroe.
He goes back to the house, pausing at the door, speaking
more in sorrow than anger.
MY WEEK WITH MARILYN 96.
MILTON (CONT'D)
If you want to play with the
grown-ups, Colin, start learning
the rules.
CUT TO:
129 INT. PUB. COLIN'S BEDROOM. NIGHT. 129
A gentle summer breeze lifts the net curtains. COLIN is
fast asleep. There's a sharp rap at the door.
ROGER
(OFF)
Colin! (Pause) Colin!
COLIN opens his eyes, his mind drugged with sleep.
COLIN
Roger? What's the matter?
ROGER
(OFF)
It's Marilyn.
A cold dread clutches at COLIN's stomach. He stumbles out
of bed and opens the door. ROGER stands in the doorway
COLIN
Is she dead?
ROGER
She's asking for you. She's sick.
I think she might be in a coma.
COLIN
How can she be asking for me if
she's in a coma?
ROGER
Just bloody get dressed!
CUT TO:
130 EXT. PARKSIDE HOUSE. DRIVE. NIGHT. 130
ROGER and COLIN drive up. MILTON, waits on the steps. He
looks resentfully at COLIN but doesn't say anything.
CUT TO:
131 INT. PARKSIDE HOUSE. MARILYN'S BEDROOM. NIGHT. 131
PAULA STRASBERG paces frantically outside Marilyn's bedroom
door as ROGER, MILTON and COLIN hurry up the stairs.
MY WEEK WITH MARILYN 97.
PAULA
She hasn't made a sound for over
an hour.
ROGER
We should break down the door.
COLIN
How many pills did she take?
MILTON
Oh, Jesus, who knows? I wasn't
counting.
COLIN knocks gently.
COLIN
Marilyn?
There is no reply.
CUT TO:
132 EXT. PARKSIDE HOUSE. GARDEN. NIGHT. 132
ROGER and COLIN carry a ladder across the moonlit gravel
and prop it up against the wall.
ROGER
That's her window.
He points with his torch. The window is open. COLIN shins
up the ladder while ROGER holds it.
COLIN
I'll open the door once I'm
inside.
CUT TO:
133 INT. PARKSIDE. MARILYN'S BEDROOM. NIGHT. 133
COLIN tumbles in through the window with a clattering
thump.
COLIN
Marilyn?
A shaft of moonlight reveals MARILYN lying naked across the
bed, her body partly covered by the sheet. Half empty pill
and champagne bottles are scattered all over her dresser;
there is also an old photograph in a silver frame of her
mother Gladys.
COLIN (CONT'D)
Marilyn?
For a second he fears the worst, but then suddenly she
groans and sits up, looking at him blearily.
MY WEEK WITH MARILYN 98.
MARILYN
Oh hi, Colin.
COLIN
Are you okay? Everyone was
worried about you.
MARILYN
Phooey.
She pats the sheets at her side and settles down sleepily
on the pillow.
MARILYN (CONT'D)
Get in.
She is instantly back asleep. COLIN fumbles his way to the
door. He searches for the key on the side table and quickly
finds it. He goes to unlock the door, but then pauses,
looking back at Marilyn. He puts the key back and bends
down to whisper at the keyhole.
COLIN
It's me. She's fine but I'm going
to keep an eye on her. I'll sleep
on the sofa.
MILTON
(OFF)
Come on, Colin, open up.
COLIN
(After a second)
I can't find the key. (Pause) You
can all go to bed now.
PAULA
(OFF)
Colin, open this door! She needs
me...
COLIN goes back to the bed and gazes at the sleeping
Marilyn, his expression suffused with a tenderness we have
never seen in him before. He pulls up the sheet so that it
covers her nakedness, then tentatively lies down to rest
his head on the pillow.
CUT TO:
134 INT. PARKSIDE. MARILYN'S BEDROOM. NIGHT. 134
COLIN wakes with a jolt as the light snaps on, blinding
him.
MARILYN
Colin? What are you doing here?
MARILYN sits up, the sheet clutched to her chest, her
expression panicky and disoriented. COLIN hurls himself off
the bed.
MY WEEK WITH MARILYN 99.
COLIN
I came in through the window...
He realises this doesn't sound reassuring.
COLIN (CONT'D)
Milton thought you were sick.
She stares at him in puzzlement then breaks into a dazed
smile.
MARILYN
The window? Is there a balcony,
like in Romeo And Juliet? How
romantic. (Pause) But I'm not
sick. What makes them think that?
She reaches instinctively for the pill container on her
bedside table.
COLIN
Please don't take any more pills.
She frowns, clutching the pill bottle in one hand. He
reaches out and prises it gently from her grasp. As he puts
it back on the side he glances at the framed photograph.
COLIN (CONT'D) (cont'd)
Who's that?
MARILYN
My mom.
Her expression softens as she looks at the picture.
MARILYN (CONT'D)
They took her to the Sanatorium
when I was a kid. I grew up in
other people's homes, mostly.
Alongside her mother's photo is another framed picture,
this time of Abraham Lincoln. COLIN frowns.
COLIN
Abraham Lincoln?
MARILYN
I don't know who my father is so
it might as well be him. Why not?
I can pick any father I want.
She smiles, then looks at Colin wistfully.
MARILYN (CONT'D)
Do you have a home, Colin? A real
one?
COLIN
Yes, I do.
MY WEEK WITH MARILYN 100.
MARILYN
And a mother and father who still
live together?
COLIN
Yes.
MARILYN
And do they love you?
COLIN
I'm sure they do.
He nods. She smiles sadly.
MARILYN
You're lucky.
Her eyes fill with tears. She looks up at him anxiously.
MARILYN (CONT'D)
Do you love me, Colin?
He stares at her. She looks lovely but desperately
vulnerable.
COLIN
Yes.
She reaches for the pills and pours three or four into her
palm. COLIN gently takes her hand and takes two of them
away. She smiles, not objecting as he settles her back
gently on the pillow.
COLIN (CONT'D)
But you and I come from different
worlds. You're like some Greek
Goddess to me...
MARILYN
I'm not Greek.
She smiles, teasing him. He smiles back. She takes his
hand, looking at him in appeal.
MARILYN (CONT'D)
I don't want to be a Goddess. I
just want to be loved like an
ordinary girl.
COLIN
Mr. Miller loves you.
She stares at him, her face going blank with misery.
MARILYN
I found his notebook. It said I'd
let him down.
MY WEEK WITH MARILYN 101.
COLIN
Writers scribble all kinds of
things. It doesn't mean anything.
She looks at him, her eyes full of pain.
MARILYN
He wanted me to find it. It said
he should never have married me.
That I was unpredictable and a
woman-child, flighty and self-
centred. He's left me, Colin. Why
do the people I love always leave
me?
She looks so wretched, so completely baffled, that COLIN
responds with sudden passion.
COLIN
I'll never leave you.
She smiles and embraces him gratefully. She sighs.
MARILYN
All people ever see is Marilyn
Monroe. As soon as they realise
I'm not her, they run.
He lies down next to her, taking her awkwardly in his arms.
She sighs sleepily.
MARILYN (CONT'D)
Boy, there's a lot of men in this
business. And they all think
you've got to sleep with them.
She looks across at him, their faces inches apart.
MARILYN (CONT'D)
You're not like that. That's why
I like you.
COLIN stares back at her guiltily. She smiles.
MARILYN (CONT'D)
You should date that Wardrobe
lady. She's pretty.
COLIN
I don't want to. (Pause) I love
you, Marilyn.
She stares at him and tears gather in her eyes again. They
stare intently at each other, their mood fragile, touched
with both sensuality and a longing for something less
tangible. MARILYN leans forward and kisses him gently. The
embrace grows in passion and they kiss properly, hungrily.
He kisses her eyes and her face and she sighs happily.
He wants her more than he has wanted anything before.
MY WEEK WITH MARILYN 102.
And then he stops. The fantasy he has been pursuing for
weeks is within his grasp but he knows that whatever it
does for him it will only damage her further. He pulls away
from her gently. Her eyes flicker open lazily.
MARILYN
What's the matter? Don't you want
to make love?
COLIN
Maybe we should just be friends.
MARILYN
Okay. Friends.
She wraps herself around him, curling up so their bodies
cradle each other like spoons in a cutlery draw. As she
buries her head in his neck he feels her breasts against
his back. She curls against him.
MARILYN (CONT'D)
This is nice. Like spoons. I used
to do this with Johnny.
COLIN
Who's Johnny?
MARILYN
Johnny Hyde. My agent, back in
the old days. He was thin, like
you...
Her voice is blurred and drifting with sleep. With her body
warm against him COLIN's resolve nearly snaps but he is
clear eyed now and determined.
COLIN
Marilyn?
She mutters softly in reply.
COLIN (CONT'D)
Do one thing for me? Come into
the studio on time tomorrow and
show everybody what you can do.
Show Larry you're a great
actress.
MARILYN
(BLURRED)
Okay.
He smiles and turns out the light.
CUT TO:
MY WEEK WITH MARILYN 103.
135 INT. PARKSIDE. MARILYN'S BEDROOM/BATHROOM. DAY. 135
First light streams in through the curtains. COLIN wakes to
hear Marilyn singing cheerfully. He gets up and sees her
through the open door of the bathroom sitting in the bath,
her back towards him. She is practicing the gentle waltz
tune she is to sing in the film.
MARILYN
"I found a dream and lay in your
arms the whole night through...
I'm yours no matter what others
may say or do...
She has never sounded so happy or carefree. COLIN smiles.
CUT TO:
136 EXT. PINEWOOD STUDIOS. GATE. DAY. 136
COLIN races up the road and arrives panting at the gate a
few seconds before OLIVIER's car swings into the entrance.
The great man leans out of the back window.
OLIVIER
Morning, boy. (Pause) Christ, you
look rough.
He looks at him thoughtfully, then shrugs.
OLIVIER (CONT'D)
Let me know when Marilyn arrives.
If she ever does.
COLIN
Oh, I'm pretty sure she'll be in
this morning.
OLIVIER gives COLIN an odd look.
CUT TO:
137 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 137
MARILYN, OLIVIER and WATTIS act a scene together; a drunken
Elsie Marina is being seduced by the Grand Duke, and
Northbrook bursts in to interrupt them as a VALET plays the
violin in the doorway behind him.
WATTIS (AS NORTHBROOK)
"Your Grand Ducal Highness.."
OLIVIER (AS REGENT)
"This is intolerable"!
WATTIS (AS NORTHBROOK)
"With the deepest respect, sir,
my message was so important I had
no choice but to intrude".
MY WEEK WITH MARILYN 104.
OLIVIER (AS REGENT)
"Revolution?"
WATTIS (AS NORTHBROOK)
"No, sir, Miss Marina's aunt has
been in a motor accident. The
hospital is calling for her most
urgently."
MARILYN (AS ELSIE)
"What? (Giggles drunkenly) Oh, go
away, you silly man."
WATTIS (AS NORTHBROOK)
"Miss Marina, your aunt... you
realise how serious her condition
is?"
MARILYN (AS ELSIE)
"Well, it's her own fault. She
has no right being out at this
time of night. She's 93!"
MARILYN is utterly adorable. The crew, COLIN, amongst them,
can't take their eyes off her. OLIVIER glances at ORTON
behind the camera. They have a good take and they know it.
ORTON
Cut it there!
MARILYN is as happy as we have ever seen her. She seeks out
COLIN amongst the crowd and beams at him. Half the crew,
including OLIVIER, notice the look. COLIN blushes self-
consciously but we can feel his pride.
CUT TO:
138 INT. PINEWOOD STUDIOS. OLIVIER'S DRESSING ROOM. 138
NIGHT.
OLIVIER takes off his make-up. COLIN stands behind him with
the end of day bottle of whisky. OLIVIER is in buoyant
mood. It has been a good day.
OLIVIER
Whatever it was you did to her,
boy, keep doing it.
OLIVIER grins slyly and COLIN doesn't bother to protest.
The phone rings. OLIVIER picks it up.
OLIVIER (CONT'D)
Hello?
His face falls as he listens to the voice at the other end
of the line.
CUT TO:
MY WEEK WITH MARILYN 105.
139 INT. PARKSIDE HOUSE. HALL. NIGHT. 139
COLIN paces nervously up and down the hall. PAULA appears.
She looks at him for a long, unnerving moment then speaks
with sudden ferocity.
PAULA
From the first moment all I have
felt is Olivier's loathing and
contempt. He thinks I'm
unnecessary. Me, her drama coach,
surrogate mother, nursemaid. On
call 24 hours a day to help her
act, dole out pills, bolster her
ego, keep her sober enough to work.
(Pause) Me. Unnecessary. (Pause) No
me, no Marilyn.
He is taken aback by her passion. She smiles bitterly then
walks on. COLIN hesitates. She looks back briefly.
PAULA (CONT'D)
You can come up now.
CUT TO:
140 INT. PARKSIDE HOUSE. MARILYN'S BEDROOM. NIGHT. 140
MARILYN lies in bed with MILTON possessively at her side.
COLIN comes in with PAULA. MARILYN looks at him dully, her
eyes clouded and unfocused. A half empty pill bottle stands
on the side. COLIN sits down next to her and she takes his
hand, ignoring the surprised look on Milton's face.
MARILYN
You think I can act, don't you,
Colin?
COLIN
Of course I do. You were
wonderful today.
PAULA looks at MILTON, then moves between them busily.
PAULA
Marilyn's tired now.
MARILYN
I want him to stay with me.
MILTON
What would Arthur say if he knew
Colin was here?
A flicker of terror crosses MARILYN's face. COLIN turns on
them angrily.
COLIN
You heard what she said. She
wants me here.
MY WEEK WITH MARILYN 106.
MILTON looks at him grimly but finally surrenders the
field. Paula is more reluctant to give in. She sits on the
bed, stroking Marilyn's hand.
PAULA
You have no idea of your position
in the world, Marilyn. You are the
greatest actress there's ever been.
Not just actress. The greatest
woman of this or any time. I love
you like a daughter.
COLIN is surprised to see tears in her eyes.
PAULA (CONT'D)
It's hard now, but believe me you
will survive this and go on to
better things. Your life is ahead
of you. You're young, just
beginning.
Paula's love and sincerity are obvious. She means it. COLIN
watches her in silence. MARILYN squeezes her hand and PAULA
gets up with a heavy sigh, bitterly reluctant to leave.
Finally she drags herself out, leaving them alone.
As the door closes MARILYN curls herself up in the bed.
MARILYN
I'm so tired of feeling scared.
Life is so shitty. I hate it. It
hurts too much.
COLIN looks at her, his heart breaking at her anguish.
COLIN
I'm here now. I'll look after
you.
She gives him a wry look, teasing but thoughtful.
MARILYN
Good old Colin. Looking after me,
looking after Larry, looking after
Vivien. Always putting everyone
before yourself.
There is an edge to this. He gazes at her, shaken, but she
smiles and touches his face gently.
He gets on the bed, fully clothed, to fold her in his arms.
CUT TO:
MY WEEK WITH MARILYN 107.
141 INT. PARKSIDE HOUSE. MARILYN'S BEDROOM. NIGHT. 141
COLIN wakes with a start as he realises that MARILYN is
screaming in pain.
MARILYN
It hurts! It hurts, Colin!
She is doubled up, clutching her stomach, sweating and
frightened. COLIN sees a dark red stain on the sheets.
MARILYN (CONT'D)
The baby. I can't lose the baby.
COLIN looks at her aghast.
MARILYN (CONT'D)
It's a surprise. For Arthur.
Don't tell anyone. Promise me.
He hurls himself off the bed and runs to the door.
CUT TO:
142 INT. PARKSIDE HOUSE. MARILYN'S BEDROOM/BATHROOM. 142
NIGHT.
MILTON and COLIN wait by the bathroom in Marilyn's suite.
ROGER hurries in.
ROGER
The doctor's coming.
COLIN turns the handle but the bathroom door is locked.
COLIN
Marilyn, unlock the door.
MARILYN
(OFF)
Don't let anyone in.
COLIN
I won't.
MILTON gives him a sharp look but he no longer cares about
anything except Marilyn. There is a shuffling sound and the
door is unlocked. At the same moment PAULA comes rushing
in, hair awry, gown flapping, a wild look in her eye.
PAULA
Marilyn! Marilyn, my baby, what
has Colin done to you?
COLIN
I haven't done anything. She's
just... got a stomach ache.
He reddens with embarrassment. ROGER coughs.
MY WEEK WITH MARILYN 108.
ROGER
I think he means her monthlies.
PAULA
What will Arthur say if she dies?
COLIN
She's not dying, for Christ's
sake.
The HOUSEKEEPER now appears at the door with an elderly man
at her side. He nods briskly.
CONNELL
I'm Dr. Connell. Is the patient
in there?
PAULA
Please save her... it's Marilyn
Monroe. You can't let her die.
CONNELL calmly extracts himself from her grasp.
CONNELL
Perhaps you'd all like to give us
a little privacy?
As COLIN shepherds the others out MILTON turns on him
bitterly.
MILTON
Happy now, kid?
CUT TO:
143 INT. PARKSIDE HOUSE. HALL. NIGHT. 143
DR. CONNELL stands in the hall outside the bedroom writing
out a prescription and smoking a cigarette. He tears the
prescription off the pad and looks up.
CONNELL
Who's in charge here?
MILTON, PAULA, ROGER and COLIN all step forward as one.
CONNELL gives them a wry look and shrugs.
CONNELL (CONT'D)
I've given Mrs. Miller an
injection and the bleeding has
stopped. She needs to stay in bed
tomorrow but after that she'll be
fine. I suggest someone stays
with her.
PAULA leans forward and almost snatches the prescription
from his hand.
PAULA
She'll be safe with me.
MY WEEK WITH MARILYN 109.
She looks bitterly at Colin.
CUT TO:
144 EXT. PARKSIDE HOUSE. NIGHT. 144
COLIN walks CONNELL to his car, their feet crunching on the
gravel.
CONNELL
Well, goodnight then.
COLIN holds the door open as he gets in.
COLIN
Was she really pregnant?
CONNELL
I think that's a private matter
between Mr and Mrs. Miller.
He looks at COLIN with cool disapproval, then closes the
door and drives off. COLIN stands watching, shivering in
his shirtsleeves.
CUT TO:
145 INT. PARKSIDE HOUSE. MARILYN'S BEDROOM. NIGHT. 145
COLIN creeps into the room and sits on the bed. MARILYN is
awake. She gazes at him, hazy but lucid.
MARILYN
We have to say goodbye now,
Colin. Arthur's on his way back.
When this film is over I'm going
to settle down and be a good wife
to him. I'm going to learn to
make Matzo ball soup as good as
his dad's.
She smiles wistfully at the fantasy.
MARILYN (CONT'D)
We have to forget this ever
happened.
COLIN
I don't want to forget.
He struggles then suddenly bursts out passionately.
COLIN (CONT'D)
Let me protect you from all
this...
She smiles sadly.
MY WEEK WITH MARILYN 110.
MARILYN
What do you want to do? Marry me?
COLIN
Why not? You could come and live
at my parents place. You'd love
it. It's a castle, like in a
fairy tale. We wouldn't even have
to live together. You could have
your own suite of rooms...
He is close to tears, suddenly looking very young. She
looks at him with a sad, sweet smile. He shakes his head
stubbornly, taking her hand in passionate appeal.
COLIN (CONT'D)
You could quit. Forget Marilyn
Monroe, forget Hollywood. Let it
all go.
MARILYN
This is what I've worked for my
whole life. I couldn't just give
it all up.
COLIN
Why not, when it drives you
crazy?
Her eyes widen in surprise. A flicker of nervous insecurity
dulls her expression.
MARILYN
You think I'm crazy?
COLIN
I didn't mean that. I just meant
you could be happy.
MARILYN
I am happy. I got everything I
ever dreamed about.
She smiles tentatively, but he sees a terrible fear in her
eyes. He looks down, realising with a cruel stab of pain
that Olivier was right. There is no way back. She doesn't
want to be rescued.
He finally looks up, smiling despite the tears in his eyes.
COLIN
Of course you're happy. (Pause)
You're a star. The biggest star
in the world.
She smiles, reassured. He drags himself off the bed and
goes to the door, pausing for a second as he looks back.
COLIN (CONT'D)
You're right, Marilyn. We have to
forget all this.
(MORE)
MY WEEK WITH MARILYN 111-
112.
COLIN (CONT'D)
From now on I'm nobody. Just the
third. You don't even know I
exist. We'll never look at each
other again.
She giggles with some of her old playfulness.
MARILYN
Well, maybe just a wink. Once in
a while.
He smiles, looks at her just once more, and then goes out.
As the door closes we see Marilyn's smile fade to be
replaced by a bleak, frightened expression.
CUT TO:
146 INT. PINEWOOD STUDIOS. OLIVIER'S DRESSING ROOM. 146
DAY.
OLIVIER sits in front of his make-up mirror in his Grand
Ducal uniform, smoothing down his hair with pomade. COLIN
knocks and comes in.
COLIN
They're ready for you on set, Sir
Laurence.
OLIVIER
Marilyn?
COLIN
She's just arrived.
OLIVIER
Only an hour late. Not bad by her
standards.
He smiles, then stands up, straightening his uniform.
OLIVIER (CONT'D)
Maybe we will finish this bloody
film after all.
CUT TO:
147 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 147
The crew are ready. The actors are on set. OLIVIER stands by
the camera. COLIN is half-hidden in the shadows. There is a
flurry of activity and MARILYN emerges, with PAULA on one
side and MILTON on the other. She looks exactly as Marilyn
should. With her white dress shimmering in the lights and her
platinum blonde hair glowing, she has the air of a Goddess.
She sweeps past only inches away from Colin but ignores him.
He can't help feeling a stiletto sharp pang of regret.
MY WEEK WITH MARILYN 111-
112A.
MARILYN turns to the assembled crew. A silence settles. She
smiles around, blinking in the lights. She looks for comfort
or support among the technicians but sees only blank faces or
sullen hostility. She smiles nervously.
MARILYN (CONT'D)
I hope you will all forgive me. It
wasn't altogether my fault. I have
been ill.
She smiles up at their uneasy expressions, struggling to
understand herself and their expectations of her.
MARILYN (CONT'D)
I'd like you to remember I tried.
This oddly moving and open confession is received in silence.
No one quite knows how to react to her lacerating honesty.
Perhaps they think it is just another performance.
MY WEEK WITH MARILYN 113.
147A INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 147A
OLIVIER, in character, lies back on a sofa, with MARILYN on
top of him, singing the waltz that Colin first heard after
his night with her. MARILYN looks kittenish and irresistible
as she sings only a few inches from OLIVIER's face.
MARILYN (AS ELSIE)
"..I found a dream and lay in your
arms the whole night through, I'm
yours no matter what others may say
or do. Be light of heart and fancy
free, that's the way to start,
there will be nothing to lose till
you lose your heart.."
She sings with touching delicacy, nailing it perfectly. There
is pin drop silence on the set as the crew watch. COLIN is
amongst them. It is a moment of almost unbearable poignancy
for him. He suddenly realises that SYBIL THORNDIKE has crept
up silently behind him to watch the scene. As he turns to her
she smiles with infinite wisdom and compassion, murmuring
softly so that only he can hear.
SYBIL THORNDIKE
First love is such sweet despair,
Colin.
She touches his cheek gently and smiles, perhaps lost in a
long ago memory of her own, before retreating quietly into
the darkness at the back of the set.
148 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 148
Inch by laborious inch The Sleeping Prince moves towards the
finish line. We see a montage of scenes being filmed -
- HARDWICK enters as Major Domo through the main door of the
oval room, carrying a silver tray bearing shaving
equipment...
- WATTIS and JEREMY SPENSER crossing the drawing room to the
Grand Duke's bedroom...
- WATTIS crosses the drawing room and knocks on a door...
The process is hardly any easier but somehow the work is
done, until we come to the final shot in the sequence -
ORTON
Very quiet, studio! Going for a
take.
The big overhead lights switch on with a series of heavy
clunks.
DENYS
Camera running! Speed!
MY WEEK WITH MARILYN 113A.
ORTON
ACTION!
MARILYN looks up, in character as Elsie, her eyes glowing.
OLIVIER (AS REGENT)
"My dear..."
MARILYN (AS ELSIE)
"I've got a solemn word of warning
for you."
OLIVIER (AS REGENT)
"What's that, my beloved?"
MARILYN (AS ELSIE)
"You know what's going to happen?
I'm going to fall in love with you,
because I always, always do."
CLOSE on MARILYN as she smiles, her face radiating joy and
vitality.
And then, in the split second before ORTON calls `cut',
MARILYN turns her head just a fraction and winks at Colin. He
grins. OLIVIER looks up from the sofa, notices and smiles
indulgently.
ORTON
Cut! Okay boys and girls, that's a
wrap!
There is a smattering of applause from the crew. MARILYN
leaves the stage.
148A INT. PINEWOOD STUDIOS. CORRIDOR. DAY. 148A
MARILYN walks away from us, down the long corridor, alone.
149 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 149
The crew shake hands and clap each other on the back like a
group of hardened war veterans. ORTON offers COLIN a
grudging nod - `well done'. MILTON now comes forward,
calling out above the hubbub.
MILTON
If you'd all like to step this way,
you'll find something I think
you'll like.
MILTON indicates a trestle table at one end of the studio,
loaded with gaily wrapped parcels. He ushers the crew over.
MILTON (CONT'D)
A parting gift to each of you from
Marilyn. Men on the left, ladies on
the right.
MY WEEK WITH MARILYN 113B.
At first there is a buzz of excitement but then something odd
happens. One of the crew simply picks up his present without
looking at it and drops it in the large bin standing against
the wall.
There is a moment, then a WOMAN does the same with hers.
Suddenly there is a rush for the bin as almost everyone dumps
their present. The bin is soon overflowing.
MILTON stares at the scene, then simply shrugs and walks out.
ARTHUR JACOBS, utterly indifferent to the hostile
undercurrent, grins and waves cheerfully.
JACOBS
It's been a lot of fun, kids. See
you at the Academy Awards.
He goes out, grabbing a discarded bottle of booze from the
dustbin as he goes.
COLIN watches all this in shocked silence. He looks at the
label on his own small parcel, which reads simply "To Colin,
with thanks, Marilyn".
MY WEEK WITH MARILYN 114.
150 OMITTED 150
150A INT. PINEWOOD STUDIOS. WARDROBE DEPT. DAY. 150A
The wardrobe department is empty except for LUCY, who
cradles her own gift from Marilyn. COLIN comes in, looking
nervous. They look at each other awkwardly.
COLIN
Aren't you going to throw yours
away?
LUCY
Of course not. It's from Marilyn
Monroe.
He smiles. She shrugs and turns to leave.
MY WEEK WITH MARILYN 115.
COLIN
(After a second)
Lucy?
She turns back to look at him.
COLIN (CONT'D)
I was wondering if you're doing
anything this Saturday.
LUCY
I'm washing my hair.
He nods, accepting this as no more than he deserves. She
goes but then stops to look back at him.
LUCY (CONT'D)
Did she break your heart?
COLIN
(After a second)
A little.
LUCY
Good. It needed breaking.
There is no malice in her response, just an awareness that
he is older and wiser now, and perhaps a better man for the
experience. He nods, accepting the rebuke.
LUCY (CONT'D)
(After a second)
I might be free on Wednesday.
COLIN smiles. She goes out. He looks down at Marilyn's
present in his hands.
CUT TO:
151 INT. PINEWOOD STUDIOS. HALL. DAY. 151
COLIN walks down the hall. He notices the red light is on
outside the viewing theatre. As he goes towards it he sees
ROGER coming the other way on his way out of the studio, his
job done. The two men smile; an acknowledgment of everything
they've been through together. ROGER offers him a friendly
salute and then goes on his way.
152 INT. PINEWOOD STUDIOS. VIEWING THEATRE. DAY. 152
OLIVIER sits on his own, watching an edited version of the
"The Coconut Girl" sequence (Scenes 61 and 62). COLIN comes
in. OLIVIER glances at him.
OLIVIER
"You do look, my son, in a moved
sort/As if you were dismay'd: be
cheerful, sir./Our revels now are
ended.
(MORE)
MY WEEK WITH MARILYN 116.
OLIVIER (CONT'D)
These our actors,/As I foretold
you, were all spirits and/Are
melted into air, into thin air...
COLIN
Prospero.
OLIVIER
(SMILES)
We are such stuff/As dreams are
made on, and our little life/Is
rounded with a sleep..."
COLIN sits down next to the great man. They watch in
silence as another sequence is projected for them. The
sequence shows MARILYN improvising in the champagne and
caviar scene. She serves herself food and drink before
collapsing, drunk. The endless retakes and fluffs gone,
what remains is a gifted comic performance by a luminous
beauty.
OLIVIER (CONT'D)
(After a second)
She's quite wonderful. No
training, no craft, no guile,
just pure instinct. Astonishing.
He seems almost lost in awe. COLIN gazes at him in
surprise.
COLIN
You should tell her that.
OLIVIER
Oh, I will. But she won't believe
me. That's probably what makes
her great. It's certainly what
makes her so profoundly unhappy.
He smiles wryly.
OLIVIER (CONT'D)
I tried my best to change her,
but she remains brilliant despite
me. (Pause) Directing a movie has
to be just about the best job
ever invented, but Marilyn has
cured me of ever wanting to do it
again.
He signals to the projection box and the film stops as the
lights come up.
OLIVIER (CONT'D)
And now I'm going back to the
theatre. John Osborne is writing
a piece for me.
COLIN
I thought you hated all that
Royal Court stuff.
MY WEEK WITH MARILYN 117.
OLIVIER
(SMILES)
Miller made me see things
differently. (Pause) You have to
find new worlds to conquer, if
you want to be the best. And
believe me, most of the time, I
really am the best.
He goes to the door and pauses.
OLIVIER (CONT'D)
You've done a good job, boy.
(Pause) Welcome to the circus.
He goes out. COLIN looks back up at the projection box.
COLIN
Run it again, please.
The lights go down. MARILYN's face appears on the screen,
laughing and happy. It is another sequence, the one where
Marilyn does her sweet, uninhibited little dance (Scene
90), a performance both sexy and yet touchingly innocent.
HOLD on COLIN for a long moment, gazing at her image in the
darkness, then -
152A INT. DOG AND DUCK PUB. DAY 152A
The circus is leaving. The film is shutting down. Not knowing
his next job COLIN sits, suitcase next to his chair, wearing
the 'Marilyn' experience on his face and in his soul. Head
down, sipping a pint. He could be a regular here.
BARRY behind the bar, flitting around - the dart players and
regulars at play.
And then, as if a gust of wind invaded, BARRY looks up and
freezes. The DART PLAYER, sensing something, turns to look up
as well. The regulars are frozen in mid-action.
COLIN is missing it all. 100% of his attention is given to
his woe and his pint.
MARILYN
Buy a girl a drink?
COLIN doesn't turn. He recognizes the voice and smiles.
COLIN
Can I get another one of those
please, Barry?
BARRY for once is silent, pours a pint. The regulars try not
to stare.
MARILYN
I didn't want to leave without
saying goodbye.
MY WEEK WITH MARILYN 117A.
MARILYN hands COLIN a package.
MARILYN (CONT'D)
The first time you saw this, all I
had on was the radio.
Colin opens the package. It's her copy of the script. On the
first page she has written a message scrawled in ink: TO THE
MOST CHARMING THIRD ASSISTANT DIRECTOR IN THE WORLD
MARILYN (CONT'D)
Don't forget me.
COLIN
As if I could.
MARILYN
Everyone else on the picture wishes
they could.
COLIN
Everyone else doesn't understand.
She smiles, touched.
MARILYN
Be a gentleman and walk me to my
car?
152B EXT. DOG & DUCK PUB. DAY 152B
The ever faithful Roger stands by the idling car. COLIN opens
the car door for MARILYN.
MARILYN beckons him closer. She kisses him gently. He smiles
and says lightly:
COLIN
What's that for?
MARILYN
That's for being on my side; and
remember, when you see me wink,
that's for you.
ROGER walks around the car and looks over at COLIN.
ROGER
(glancing at COLIN)
Looking a couple of inches taller
than when I first saw you.
ROGER nods at COLIN (a silent salute suggesting job well
done.) He gets into the car and we stay on COLIN as he
watches it pull away. BARRY comes to the doorway of the pub.
BARRY
Was that really Marilyn Monroe?
MY WEEK WITH MARILYN 117B.
COLIN
No - just a good friend of mine.
BARRY walks back into the pub, leaving COLIN alone, staring
at the vanishing car. And then the sun swallows it as it
drives into the English countryside.
FADE TO:
153 EXT. WARDOUR STREET. LONDON. DAY. 153
COLIN walks along chatting to friends. Dressed in a neat
dark suit he looks older and more confident. There is
little sign left of the callow young man who paced up and
down the pavement outside Sir Laurence Olivier's office.
We see the caption: SIX YEARS LATER.
154 INT. COLIN'S OFFICE. WARDOUR STREET. DAY. 154
COLIN walks into a small office. Film cans are piled up all
over the floor and books and papers spill off the shelves.
A SECRETARY sits typing at her desk. COLIN goes to his own
desk, glances at his diary, then looks up.
COLIN
Any messages?
THE SECRETARY pushes a piece of paper at him.
SECRETARY
It's probably just someone having
a joke.
COLIN looks down at the message. There is a Los Angeles
phone number and then the name - Marilyn Monroe.
COLIN
(After a moment)
Did she say anything?
MY WEEK WITH MARILYN 118.
SECRETARY
She just asked you to call.
(Pause) It is a joke, isn't it?
COLIN stares down at the paper.
COLIN
Probably. (Pause) Book a call as
soon as you can. Los Angeles,
California. Brentwood 1890.
CUT TO:
155 INT. COLIN'S OFFICE. WARDOUR STREET. NIGHT. 155
It is late. COLIN stares at the number on the scrap of
paper.
The phone rings. He picks it up eagerly.
OPERATOR
Your call to Los Angeles.
We hear the crackle of the international line. He waits
anxiously as the ringing continues.
CUT TO:
155A EXT. LOS ANGELES. MARILYN'S HOUSE. LIVING ROOM. DAY.
155A
ESTABLISH the luxurious exterior of Marilyn's comfortable
Brentwood house.
CUT TO:
156 INT. LOS ANGELES. MARILYN'S HOUSE. LIVING ROOM. 156
DAY.
The room is large and tasteful - white sofas and cushions
and deep rugs. Picture windows look out onto the Hollywood
hills.
A white phone rings on the table.
It rings continuously, insistently.
It carries on ringing.
No one comes.
HOLD on the jangling phone. Each time it rings we think
Marilyn might appear, but she never does.
It carries on ringing, unanswered, in the empty room. As
the picture fades we hear like a ghostly lament the sweet
echo of Marilyn's voice singing the Sleeping Prince Waltz.
MY WEEK WITH MARILYN 119.
MARILYN
(VO)
"I found a dream and lay in your
arms the whole night through, I'm
yours no matter what others may
say or do. Be light of heart and
fancy free, that's the way to
start, there will be nothing to
lose till you lose your heart..."
The fragile voice hangs in the air for a second, then slowly
drifts away to nothing.
157 INT. COLIN'S OFFICE. WARDOUR STREET. NIGHT. 157
COLIN sits with the phone to his ear. The sound of Marilyn
singing the Sleeping Prince Waltz dies away and we realise
has been revisiting it in his memory.
He waits as long as he can but it is obvious no one is going
to answer. In the end he puts the receiver back in its cradle
in resignation.
His gaze drifts up to a shelf stacked with film cans. He
stands up and looks through them, blowing dust away; they
have been here for a long time, ignored. He finds the one he
is looking for - it says simply MM on the can.
He takes the short reel of film and threads it through a
Movieola in the corner of the room. He turns it on and bends
to look.
The screen bursts into life with an image of MARILYN at her
most vital and captivating. It is a copy of some rushes from
The Prince And The Showgirl, perhaps given to Colin by
Olivier, or perhaps "borrowed" as a souvenir and long since
forgotten.
We see MARILYN dancing happily, exaggerating off camera,
looking playful and sexy. She is radiant and full of life.
After a moment she turns and looks off camera - perhaps to
where Colin himself would have been standing - and winks
happily.
Blown up to the full size of the screen it is utterly sweet
and charming.
There is something so completely natural about the gesture
COLIN feels he has been swept back seven years in time and
MARILYN is standing in front of him again, in the flesh. It
moves and delights him; perhaps he has never even really seen
this clip before. At any rate he hasn't thought about it for
years.
It is MARILYN as he will always remember her, relaxed,
affectionate and vital, a part of her, however tiny, forever
his.
She smiles, laughs at something, giggles in delight (without
sound). She says something to an unseen crew member, then
looks back, smiling at the camera.
MY WEEK WITH MARILYN 120.
Her face fills the screen.
Beautiful, timeless -
Happy.
HOLD on the image for as long as we dare, then -
FADE TO BLACK.
THE END
| My Week with Marilyn
Writers : Adrian Hodges
Genres : Drama
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