907e3c83c161299b8f178e98399d4e2cc0dcd57f
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http://www.imsdb.com/scripts/My-Week-with-Marilyn.html
MY WEEK WITH
. THE END
 Following his graduation from university in 1956, aspiring filmmaker Colin Clark (Eddie Redmayne) travels to London to get a job on Laurence Olivier's (Kenneth Branagh) next production. Production manager Hugh Perceval (Michael Kitchen) tells Colin that there are no jobs available, but he decides to wait for Olivier, whom he once met at a party. Olivier and his wife, Vivien Leigh (Julia Ormond), eventually show up and Vivien encourages Olivier to give Colin a job on his upcoming film The Prince and the Showgirl, starring Marilyn Monroe (Michelle Williams). Colin's first task is to find a suitable place for Marilyn and her husband, Arthur Miller (Dougray Scott), to stay at while they are in England. The press find out about the house, but Colin reveals he secured a second house just in case, impressing Olivier and Marilyn's publicist, Arthur P. Jacobs (Toby Jones).
The paparazzi find out about Marilyn's arrival at Heathrow and they gather around the plane when it lands. Marilyn brings her husband, her business partner, Milton H. Greene (Dominic Cooper), and her acting coach Paula Strasberg (ZoĂŤ Wanamaker) with her. She initially appears to be uncomfortable around the many photographers, but relaxes at the press conference. Olivier becomes frustrated when Marilyn is late to the read-through. She insists Paula sits with her and when she has trouble with her lines, Paula reads them for her. The crew and the other actors, including Sybil Thorndike (Judi Dench), are in awe of Marilyn. Colin meets Lucy (Emma Watson), a wardrobe assistant to whom he is attracted, and they go on a date. Marilyn starts arriving later to the set and often forgets her lines, angering Olivier. However, Sybil praises Marilyn and defends her when Olivier tries to get her to apologise for holding the shoot up.
Marilyn struggles to understand her character and leaves the set when Olivier insults her. Colin asks the director to be more sympathetic towards Marilyn, before he goes to Parkside House to check on her. He hears an argument and finds a tearful Marilyn sitting on the stairs with Arthur's notebook, which contains the plot of a new play that appears to poke fun at her. Arthur later returns to the United States. Vivien comes to the set and watches some of Marilyn's scenes. She breaks down, saying Marilyn lights up the screen and if only Olivier could see himself when he watches her. Olivier tries unsuccessfully to reassure his wife. Marilyn does not show up to the set following Arthur's departure and she asks Colin to come to Parkside and they talk. The crew becomes captivated by Marilyn when she dances for a scene and Milton pulls Colin aside to tell him Marilyn breaks hearts and that she will break his too. Lucy also notices Colin's growing infatuation with Marilyn and breaks up with him.
Colin and Marilyn spend the day together and are given a tour of the library of Windsor Castle by Owen Morshead (Derek Jacobi). Colin also shows Marilyn around Eton College, and they go skinny dipping in the River Thames. Marilyn kisses Colin and they are found by Roger Smith (Philip Jackson), Marilyn's bodyguard. Colin is called to Parkside one night as Marilyn has locked herself in her room. Colin enters her room and Marilyn invites him to lie next to her on the bed. The following night, Marilyn wakes up in pain and claims she is having a miscarriage. A doctor tends to her and Marilyn tells Colin that Arthur is coming back and she wants to try and be a good wife to him, so she and Colin should forget everything that happened between them. She later returns to the set to complete the film. Olivier praises Marilyn, but reveals she has killed his desire to direct again. Lucy asks Colin if Marilyn broke his heart and he replies that she did, to which she replies that he needed it. Marilyn comes to a local pub, where Colin is staying, and thanks him for helping her. She kisses him goodbye and Roger drives her to the airport.
Following his graduation from university in 1956 , aspiring filmmaker Colin Clark ( Eddie Redmayne ) travels to London to get a job on Laurence Olivier s ( Kenneth Branagh ) next production . Production manager Hugh Perceval ( Michael Kitchen ) tells Colin that there are no jobs available , but he decides to wait for Olivier , whom he once met at a party . Olivier and his wife , Vivien Leigh ( Julia Ormond ) , eventually show up and Vivien encourages Olivier to give Colin a job on his upcoming film The Prince and the Showgirl , starring Marilyn Monroe ( Michelle Williams ) . Colin s first task is to find a suitable place for Marilyn and her husband , Arthur Miller ( Dougray Scott ) , to stay at while they are in England . The press find out about the house , but Colin reveals he secured a second house just in case , impressing Olivier and Marilyn s publicist , Arthur P. Jacobs ( Toby Jones ) . The paparazzi find out about Marilyn s arrival at Heathrow and they gather around the plane when it lands . Marilyn brings her husband , her business partner , Milton H. Greene ( Dominic Cooper ) , and her acting coach Paula Strasberg ( ZoĂŤ Wanamaker ) with her . She initially appears to be uncomfortable around the many photographers , but relaxes at the press conference . Olivier becomes frustrated when Marilyn is late to the read-through . She insists Paula sits with her and when she has trouble with her lines , Paula reads them for her . The crew and the other actors , including Sybil Thorndike ( Judi Dench ) , are in awe of Marilyn . Colin meets Lucy ( Emma Watson ) , a wardrobe assistant to whom he is attracted , and they go on a date . Marilyn starts arriving later to the set and often forgets her lines , angering Olivier . However , Sybil praises Marilyn and defends her when Olivier tries to get her to apologise for holding the shoot up . Marilyn struggles to understand her character and leaves the set when Olivier insults her . Colin asks the director to be more sympathetic towards Marilyn , before he goes to Parkside House to check on her . He hears an argument and finds a tearful Marilyn sitting on the stairs with Arthur s notebook , which contains the plot of a new play that appears to poke fun at her . Arthur later returns to the United States . Vivien comes to the set and watches some of Marilyn s scenes . She breaks down , saying Marilyn lights up the screen and if only Olivier could see himself when he watches her . Olivier tries unsuccessfully to reassure his wife . Marilyn does not show up to the set following Arthur s departure and she asks Colin to come to Parkside and they talk . The crew becomes captivated by Marilyn when she dances for a scene and Milton pulls Colin aside to tell him Marilyn breaks hearts and that she will break his too . Lucy also notices Colin s growing infatuation with Marilyn and breaks up with him . Colin and Marilyn spend the day together and are given a tour of the library of Windsor Castle by Owen Morshead ( Derek Jacobi ) . Colin also shows Marilyn around Eton College , and they go skinny dipping in the River Thames . Marilyn kisses Colin and they are found by Roger Smith ( Philip Jackson ) , Marilyn s bodyguard . Colin is called to Parkside one night as Marilyn has locked herself in her room . Colin enters her room and Marilyn invites him to lie next to her on the bed . The following night , Marilyn wakes up in pain and claims she is having a miscarriage . A doctor tends to her and Marilyn tells Colin that Arthur is coming back and she wants to try and be a good wife to him , so she and Colin should forget everything that happened between them . She later returns to the set to complete the film . Olivier praises Marilyn , but reveals she has killed his desire to direct again . Lucy asks Colin if Marilyn broke his heart and he replies that she did , to which she replies that he needed it . Marilyn comes to a local pub , where Colin is staying , and thanks him for helping her . She kisses him goodbye and Roger drives her to the airport .
http://en.wikipedia.org/wiki/My_Week_with_Marilyn
My Week with Marilyn
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<pre>


<b>                               MY WEEK WITH MARILYN
</b>


                                    Written by

                                  Adrian Hodges




<b>          1 EXT. TILBURY DOCKS. DAY. 1
</b>
           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:

<b>                          COMMENTATOR
</b>           "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 -

<b>                          CUT TO:
</b>
                         

<b>          2 EXT. SALTWOOD CASTLE. DAY. 2
</b>
           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.

<b>                          CUT TO:
</b>
                         

<b>          3 EXT. SALTWOOD CASTLE. GARDEN. DAY. 3
</b>
           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.

<b>           MY WEEK WITH MARILYN 2.
</b>
                         

<b>          3A INT. SALTWOOD CASTLE. LIBRARY STAIRS. DAY. 3A
</b>
           COLIN bounds up the stairs into the Library.

                         

<b>          3B INT. SALTWOOD CASTLE. LIBRARY. DAY. 3B
</b>
           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.

<b>                          KENNETH
</b>           ... 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.

<b>                          KENNETH
</b>           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.

<b>                          COLIN
</b>           I'm leaving for London now, Pa.

<b>                          KENNETH
</b>           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.

<b>                          KENNETH
</b>           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.

<b>                          JANE
</b>           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...

<b>           MY WEEK WITH MARILYN 2A.
</b>
                         
           She looks wonderful in a good quality but elderly dress,
           eccentrically combined with gardening attire, her mind on a
           dozen things at once.

<b>                          COLIN
</b>           I'm off now, Mama.

<b>                          JANE
</b>           Off?

<b>                          COLIN
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          3C INT. SALTWOOD CASTLE. GARDEN. DAY. 3C
</b>
           JANE strides across the lawn with COLIN rushing to catch up.

<b>                          JANE
</b>           Can't you stay for dinner? There's
           nothing to eat but I'm sure the
           conversation will be charming.

<b>                          COLIN
</b>           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.

<b>                          JANE
</b>           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.

<b>                          COLIN
</b>           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.

<b>                          JANE
</b>           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.

<b>                          CUT TO:
</b>
<b>           MY WEEK WITH MARILYN 2B.
</b>
                         

<b>          4 EXT. SALTWOOD CASTLE. DRIVEWAY. DAY. 4
</b>
           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.

<b>                          JANE
</b>           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.

<b>                          JANE
</b>           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.

<b>           MY WEEK WITH MARILYN 3.
</b>
                         

<b>          5 EXT. LONDON STREETS MONTAGE. EVENING 5
</b>

<b>           CUT TO CREDITS OVER A MONTAGE OF SCENES OF LONDON
</b>           IN THE 1950s FROM COLIN'S POINT OF VIEW. AS HE

<b>           MAKES HIS WAY INTO THE CITY WE SEE THE STATUE OF
</b>
<b>           EROS AGAINST THE LIGHTS OF PICCADILLY CIRCUS,
</b>
<b>           CROWDS MILLING AROUND TRAFALGAR SQUARE, YOUNG
</b>
<b>           PEOPLE SPILLING OUT OF CLUBS AND COFFEE BARS IN
</b>
<b>           SOHO, UNTIL, WE FADE TO:
</b>
                         

<b>          6 EXT. PICCADILLY STREETS. DAY. 6
</b>
           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.

<b>                          CUT TO:
</b>
                         

<b>          7 EXT. 144 PICCADILLY. LONDON. DAY. 7
</b>
           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.

<b>                          CUT TO:
</b>
<b>           MY WEEK WITH MARILYN 4.
</b>
                         

<b>          8 INT. 144 PICCADILLY. RECEPTION AREA. DAY. 8
</b>
           The reception area is luxurious - deep pile carpets and
           plush sofas. VANESSA, the beautiful secretary, sits behind
           her imposing desk, gazing doubtfully at COLIN.

<b>                          VANESSA
</b>           You're not in Mr. Perceval's
           diary.

<b>                          COLIN
</b>           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.

<b>                          PERCEVAL
</b>
<b>                          (OFF)
</b>           Yes?

<b>                          VANESSA
</b>           I have a Mr. Colin Clark here. He
           says Sir Laurence sent him.
           She stresses the proper name in disapproval of Colin's
           familiarity.

<b>                          PERCEVAL
</b>
<b>                          (OFF)
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          9 INT. 144 PICCADILLY. HUGH PERCEVAL'S OFFICE. DAY. 9
</b>
           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.

<b>                          PERCEVAL
</b>           Well, what do you want?

<b>                          COLIN
</b>           A job on your Marilyn Monroe
           film.

<b>           MY WEEK WITH MARILYN 5.
</b>
                         

<b>                          PERCEVAL
</b>           Oh really, what as?

<b>                          COLIN
</b>           I want to work on the production
           side.
           He smiles with as much charm as he can muster. PERCEVAL
           isn't impressed.

<b>                          PERCEVAL
</b>           There are no jobs yet. We don't
           start shooting for eight weeks.

<b>                          COLIN
</b>           May I wait?

<b>                          PERCEVAL
</b>           What?

<b>                          COLIN
</b>           Until there's a job.

<b>                          PERCEVAL
</b>           For eight weeks?

<b>                          COLIN
</b>           Something might come up.
           PERCEVAL is distracted as the telephone rings.

<b>                          PERCEVAL
</b>           Terry? Larry wondered how the
           script was coming...

<b>                          CUT TO:
</b>
                         

<b>          10 INT. 144 PICCADILLY. RECEPTION AREA. DAY. (MONTAGE) 10
</b>
           COLIN troops back to the sofa. VANESSA gives him a cool
           glance. COLIN looks at the clock. It has just gone 10.30.

<b>           MY WEEK WITH MARILYN 6.
</b>
                         
           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.

<b>                          CUT TO:
</b>
                         

<b>          11 INT. 144 PICCADILLY. RECEPTION AREA. DAY. (MONTAGE) 11
</b>
           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.

<b>                          PERCEVAL
</b>           There are no jobs.

<b>                          COLIN
</b>           I'll come back tomorrow morning.
           Just in case.

<b>                          PERCEVAL
</b>           It's a free country.
           He sounds as though he rather regrets it.

                         

<b>          11A EXT. 144 PICCADILLY. LONDON. DAY. (MONTAGE) 11A
</b>
           COLIN arrives early, ready for another day.

                         

<b>          12 INT. 144 PICCADILLY. RECEPTION AREA. DAY. (MONTAGE) 12
</b>
           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.

                         

<b>          13 INT. 144 PICCADILLY. RECEPTION AREA. DAY. 13
</b>
           The clock ticks around with agonising slowness to 11.00.
           VANESSA finally gives Colin a pitying look.

<b>                          VANESSA
</b>           Are you going to sit there all
           day?

<b>                          COLIN
</b>           If I have to.

<b>                          VANESSA
</b>           You're very determined.

<b>                          COLIN
</b>           I'd do anything to be in the film
           business.

<b>                          VANESSA
</b>           Anything?

<b>           MY WEEK WITH MARILYN 7.
</b>
                         
           She smiles cheekily. He grins back, sensing an opportunity.

<b>                          VANESSA
</b>           You can start by making me a cup of
           tea. White, two sugars.

<b>                          CUT TO:
</b>
                         

<b>                         14 OMITTED 14
</b>
<b>           MY WEEK WITH MARILYN 8.
</b>
                         

<b>          15 INT. 144 PICCADILLY. RECEPTION AREA. DAY. 15
</b>
           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.

<b>                          VANESSA
</b>           You can answer the telephone while
           I'm at lunch, if you like.
           She winks. COLIN grins. The phone rings. He picks it up.

<b>                          COLIN
</b>           Laurence Olivier Productions...

<b>                          CALLER
</b>
<b>                          (ON PHONE)
</b>           Is Sir Laurence there?

<b>                          COLIN
</b>           He's at Notley until the end of
           the week. Can I take a message?

<b>                          CALLER
</b>
<b>                          (ON PHONE)
</b>           I'll call back.
           No sooner has COLIN hung up than PERCEVAL appears. He
           stares at COLIN.

<b>                          COLIN
</b>           Vanessa asked me to...

<b>                          PERCEVAL
</b>           Oh, did she? Why didn't you put
           that call through?

<b>                          COLIN
</b>           There didn't seem any need to
           bother you. But if you want me to
           transfer every single one...
           PERCEVAL looks at him grudgingly.

<b>                          PERCEVAL
</b>           Use your judgement.
           He hesitates and looks back.

<b>                          PERCEVAL (CONT'D)
</b>           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.

<b>                          CUT TO:
</b>
<b>           MY WEEK WITH MARILYN 8A.
</b>
                         

<b>          16 INT. SALTWOOD CASTLE. HALL. DAY. 16
</b>
           The phone rings in the beautiful central hall. JANE CLARK
           picks up the phone.

<b>           MY WEEK WITH MARILYN 9.
</b>
                         

<b>                          COLIN
</b>
<b>                          (ON PHONE)
</b>           Hello, Mama.

<b>                          JANE
</b>           Colin, darling! How are you
           getting on?

<b>           CUT BACK TO:
</b>
                         

<b>          17 144 PICCADILLY. RECEPTION AREA. DAY. 17
</b>           COLIN glances towards Perceval's office and talks quickly.

<b>                          COLIN
</b>
<b>                          (ON PHONE)
</b>           This is urgent. I need Noel
           Coward's London number. My life
           depends on it.

<b>                          JANE
</b>           How exciting. Let me see... it's
           Sloane 2965. Ask him if he's
           coming to Saltwood for the bank
           holiday.

<b>                          COLIN
</b>           I will. Mama, you're an angel.

<b>                          CUT TO:
</b>
                         

<b>          18 INT. 144 PICCADILLY. HUGH PERCEVAL'S OFFICE. DAY. 18
</b>
           PERCEVAL looks up as COLIN puts the number on his desk.

<b>                          PERCEVAL
</b>           That was quick.

<b>                          COLIN
</b>           I had a bit of luck.
           PERCEVAL looks at him shrewdly.

<b>                          PERCEVAL
</b>           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.

<b>                          COLIN
</b>           Yes, sir.
           COLIN leaves.

<b>                          CUT TO:
</b>
<b>           MY WEEK WITH MARILYN 9A.
</b>
                         

<b>          19 INT. 144 PICCADILLY. RECEPTION AREA. DAY. 19
</b>
           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.

<b>           MY WEEK WITH MARILYN 10.
</b>
                         
          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.

<b>                          OLIVIER
</b>           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.

<b>                          OLIVIER (CONT'D)
</b>           Hello, boy... remind me?
          He smiles vaguely and glances at VIVIEN for help.

<b>                          VIVIEN
</b>           You remember Colin, darling. You
           met him at the Clarks' party.

<b>                          OLIVIER
</b>
<b>                          (NO IDEA)
</b>           Of course. What are you doing
           here?

<b>                          COLIN
</b>           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.

<b>                          OLIVIER
</b>           Have a cigarette. Keep the pack.
          He turns quickly to PERCEVAL.

<b>           MY WEEK WITH MARILYN 11.
</b>
                         

<b>                          OLIVIER (CONT'D)
</b>           There won't be any film unless
           Miss Monroe gets her splendid
           posterior out of bed.

<b>                          PERCEVAL
</b>           The House Committee are
           threatening to withhold Miller's
           passport. They say he's a
           communist. No Arthur, no Marilyn.

<b>                          OLIVIER
</b>           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.

<b>                          VIVIEN
</b>           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.

<b>                          VIVIEN (CONT'D)
</b>           Isn't he gorgeous, Vanessa?

<b>                          VANESSA
</b>           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.

<b>           MY WEEK WITH MARILYN 12.
</b>
                         

<b>                          VIVIEN
</b>
<b>                          (TO COLIN)
</b>           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.

<b>                          VIVIEN (CONT'D)
</b>           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.

<b>                          OLIVIER
</b>           Let's try to find him something
           to do, Hughie.
           COLIN grins in triumph. VIVIEN smiles at him.

<b>                          VIVIEN
</b>           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.

                         

<b>          20 INT. 144 PICCADILLY. HUGH PERCEVAL'S OFFICE. DAY. 20
</b>
           COLIN stands eagerly at PERCEVAL's desk. PERCEVAL looks at
           him, more than usually brusque.

<b>                          PERCEVAL
</b>           Arthur Jacobs, Miss Monroe's
           publicist is flying in tomorrow.
           He wants to see the house she'll
           be staying in. Find something
           suitable.

                         

<b>          20 ALT INT. 144 PICCADILLY. HUGH PERCEVAL'S OFFICE. DAY. ALT
</b>

<b>                          20
</b>           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.

<b>           MY WEEK WITH MARILYN 12A.
</b>
                         
           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 -

<b>                          PERCEVAL
</b>
<b>                          (TO CARDIFF)
</b>           Larry says he particularly likes
           this dress. She looks radiant.

<b>                          CARDIFF
</b>           Exactly - we need to tone her down
           a bit.

<b>                          PERCEVAL
</b>           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.

<b>                          PERCEVAL
</b>           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.

<b>                          PERCEVAL
</b>           And leave the bloody tea.
           COLIN had forgotten the tray. He blushes furiously, puts it
           down and hurries out.

                         

<b>          21 EXT. COUNTRY ROAD. DAY. 21
</b>
           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.

<b>                          CUT TO:
</b>
<b>           MY WEEK WITH MARILYN 13.
</b>
                         

<b>          22 EXT. TIBBS FARM. DRIVE. DAY. 22
</b>
           COLIN pulls into the drive of Tibbs Farm, a charming
           English cottage.

<b>                          CUT TO:
</b>
                         

<b>          23 EXT. TIBBS FARM. DAY. 23
</b>
           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.

<b>                          COTES-PREEDY
</b>           Out of the question. I can't have
           a lot of awful film people
           tramping through the house in
           dirty boots.

<b>                          COLIN
</b>           We'd pay a hundred pounds per
           week for 18 weeks.

<b>                          COTES-PREEDY
</b>           My wife would never agree.

<b>                          COLIN
</b>           That's a pity. I'll have to tell
           Miss Monroe to look elsewhere,
           then.
           COTES-PREEDY double takes.

<b>                          COTES-PREEDY
</b>           Marilyn Monroe?

<b>                          COLIN
</b>
<b>                          (NODS)
</b>           She's making a film with Sir
           Laurence Olivier. The Sleeping
           Prince. From the play by Terence
           Rattigan.

<b>                          COTES-PREEDY
</b>           I saw it in the West End a couple
           of years ago. Vivien Leigh was
           marvellous.

<b>                          COLIN
</b>           It's Marilyn Monroe in the film.
           COTES-PREEDY smiles transparently.

<b>           MY WEEK WITH MARILYN 14.
</b>
                         

<b>                          COTES-PREEDY
</b>           (After a second)
           I suppose I'd have to be
           introduced..?

<b>                          CUT TO:
</b>
                         

<b>                         24 DELETED 24
</b>
                         

<b>          25 EXT. 144 PICCADILLY. LONDON. DAY. 25
</b>
           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.

<b>                          COLIN
</b>           Good morning, Mr. Jacobs. I hope
           you had a pleasant flight.

<b>                          JACOBS
</b>           Where's the fucking car?

<b>                          CUT TO:
</b>
                         

<b>          26 EXT. COUNTRY LANE. DAY. 26
</b>
           JACOBS sits in the passenger seat of Colin's Bristol sports
           car reading his stack of newspapers. After a moment he
           grunts in disgust.

<b>                          JACOBS
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          27 EXT. TIBBS FARM. DAY. 27
</b>
           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.

<b>                          JACOBS
</b>           What is this place? A brothel?
           COTES-PREEDY's face falls.

<b>          MY WEEK WITH MARILYN 14A.
</b>
                         

<b>                          COTES-PREEDY
</b>           It's one of the best houses in
           the area.

<b>                          JACOBS
</b>           Jesus. And I thought you Brits
           had taste.

<b>           MY WEEK WITH MARILYN 15.
</b>
                         
           He glances at COLIN.

<b>                          JACOBS (CONT'D)
</b>           Is this the best you can do?

<b>                          COLIN
</b>           It's very near Pinewood.

<b>                          JACOBS
</b>           All right. We'll take it. (Pause)
           But ditch the wallpaper. It's
           given me a migraine.

<b>                          CUT TO:
</b>
                         

<b>          28 INT. 144 PICCADILLY. HUGH PERCEVAL'S OFFICE. DAY. 28
</b>
           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.

<b>                          OLIVIER
</b>           News travels fast.

<b>                          JACOBS
</b>           That house was perfect for
           Marilyn.

<b>                          PERCEVAL
</b>           We can't use it now.

<b>                          COLIN
</b>           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.

<b>                          COLIN
</b>           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.

<b>                          PERCEVAL
</b>           But now we have two expensive
           houses when we only wanted one.

<b>                          COLIN
</b>           I thought someone else on the
           production might want it.

<b>                          PERCEVAL
</b>           Oh, did you?
           There is a dangerous moment when things could go either
           way. COLIN has gambled everything in a bid to impress them.

<b>           MY WEEK WITH MARILYN 16.
</b>
                         
           He waits in tense silence, staring at their puzzled
           expressions. But then JACOBS shrugs.

<b>                          JACOBS
</b>           I guess Milton could use it. It's
           near the studio, near Marilyn.
           OLIVIER looks at COLIN, then bursts out laughing.

<b>                          OLIVIER
</b>           What are we paying you, boy?
           He glances at COLIN with amusement.

<b>                          COLIN
</b>           Nothing...

<b>                          OLIVIER
</b>
<b>                          (LAUGHING)
</b>           See to it, Hughie!
           PERCEVAL sighs grimly.

<b>                          CUT TO:
</b>
                         

<b>          29 EXT. PINEWOOD STUDIOS. DAY. 29
</b>
           Pinewood studios is the glamorous heart of the British film
           industry. COLIN drives up to the gate and smiles at the

<b>           SECURITY MAN.
</b>
<b>                          COLIN
</b>           Colin Clark. Sir Laurence Olivier
           Productions.

<b>                          CUT TO:
</b>
                         

<b>          30 EXT/INT. PINEWOOD STUDIOS. DAY. 30
</b>
           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.

<b>                          CUT TO:
</b>
                         

<b>          31 INT. PINEWOOD STUDIOS. DRESSING ROOMS. DAY. 31
</b>
           The dressing rooms are little more than empty shells.
           JACOBS looks around. OLIVIER and PERCEVAL are with him,
           while COLIN waits attentively.

<b>                          PERCEVAL
</b>           The set decorators will have it
           all sorted out in no time.

<b>          MY WEEK WITH MARILYN 16A.
</b>
                         

<b>                          JACOBS
</b>           Marilyn hates red. And blue.
           (Pause) And green.

<b>                          PERCEVAL
</b>           What about white?

<b>                          JACOBS
</b>           I'd have to clear it with her.
          OLIVIER glances mischievously at Colin.

<b>           MY WEEK WITH MARILYN 17.
</b>
                         

<b>                          OLIVIER
</b>           Beige, then. Beige is rarely
           controversial.
           JACOBS considers this, unaware that Olivier is teasing him.

<b>                          JACOBS
</b>           I guess that's okay. She's never
           said nothing about beige. Paula
           will need the room next door.

<b>                          COLIN
</b>           Paula?

<b>                          JACOBS
</b>           Strasberg. Marilyn's acting
           coach.
           OLIVIER looks at him darkly. JACOBS shrugs.

<b>                          JACOBS (CONT'D)
</b>           She's nuts about the Method.

<b>                          OLIVIER
</b>           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.

<b>                          JACOBS
</b>           Who the hell is this Commie Stan
           Slavski?

<b>                          CUT TO:
</b>
                         

<b>          32 INT. PINEWOOD STUDIOS. PRODUCTION OFFICE. DAY. 32
</b>
           COLIN stands in the Production Office. DAVID ORTON (30s)
           the First Assistant Director, a thin, fair-haired man
           regards him with obvious irritation.

<b>                          ORTON
</b>           I don't know why Hugh Perceval
           sent you here. There's nothing I
           can do for you.

<b>                          COLIN
</b>           Why not?

<b>                          ORTON
</b>           Are you in the union?

<b>                          COLIN
</b>           No...

<b>           MY WEEK WITH MARILYN 18.
</b>
                         

<b>                          ORTON
</b>           Then you can't have a job on the
           film.

<b>                          COLIN
</b>           How do I get in the union?

<b>                          ORTON
</b>           By getting a job on the film.

<b>                          COLIN
</b>           But you just said I couldn't have
           a job on the film unless I was in
           the union.

<b>                          ORTON
</b>           Exactly. It's called a closed
           shop.
           COLIN looks at him helplessly. ORTON relents a little.

<b>                          ORTON (CONT'D)
</b>           I suppose I might be able to sort
           something out. The Union owes me
           a few favours. We haven't got a
           third yet.

<b>                          COLIN
</b>           A third?

<b>                          ORTON
</b>           Third Assistant Director. (Pause)
           You do know what the job is?

<b>                          COLIN
</b>           Assisting the director?

<b>                          ORTON
</b>           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.

<b>                          ORTON (CONT'D)
</b>
<b>                          (SHOUTS)
</b>           What are you waiting for?
           COLIN scrambles to follow him out.

<b>                          CUT TO:
</b>
                         

<b>          33 INT. PINEWOOD STUDIOS. WARDROBE DEPT. DAY. 33
</b>
           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.

<b>          MY WEEK WITH MARILYN 18A.
</b>
                         

<b>                          ORTON
</b>           Colin!
          COLIN jumps as ORTON glowers at him.

<b>                          ORTON (CONT'D)
</b>           Lesson Two. You don't shit on
           your own doorstep. Got it?

<b>           MY WEEK WITH MARILYN 19.
</b>
                         

<b>                          COLIN
</b>           Got it.
           But he sneaks a look back at LUCY as he goes.

                         

<b>          33A EXT. PINEWOOD STUDIOS. DAY. 33A
</b>
           ORTON and COLIN hurry through Pinewood.

<b>                          ORTON
</b>           Where are you staying?

<b>                          COLIN
</b>           My father's place in the Albany.

<b>                          ORTON
</b>           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.

<b>                          ORTON (CONT'D)
</b>           Now make yourself useful. Marilyn
           needs a bodyguard. Sort something
           out.

<b>                          CUT TO:
</b>
                         

<b>          34 INT. PINEWOOD STUDIOS. PRODUCTION OFFICE. DAY. 34
</b>
           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.

<b>                          PERCEVAL
</b>           I'm sure you understand the
           sensitive nature of the job,
           Superintendant?

<b>                          ROGER
</b>           No need for the title. I'm
           retired from the force. (Pause)
           Something about looking after a
           cinema actress?

<b>                          PERCEVAL
</b>           Not just any actress. Marilyn
           Monroe.
           He gets no reaction from the stolid ex-policeman.

<b>                          ROGER
</b>           I've never had much time for the
           pictures.

<b>           MY WEEK WITH MARILYN 20.
</b>
                         

<b>                          PERCEVAL
</b>           Excellent. (Pause) For the next
           four months you never leave her
           side, day or night. There will be
           crowds.

<b>                          ROGER
</b>           That doesn't bother me.
           PERCEVAL pauses awkwardly.

<b>                          PERCEVAL
</b>           Her behaviour is reputedly a
           little... erratic.

<b>                          ROGER
</b>           She drinks?

<b>                          PERCEVAL
</b>           Amongst other things.

<b>                          ROGER
</b>           Pills?
           PERCEVAL leaves a tactful pause.

<b>                          PERCEVAL
</b>           It would be useful if you could
           keep us informed of her...
           domestic situation.

<b>                          ROGER
</b>           You want me to spy on her?
           Perceval and Roger understand each other perfectly.

<b>                          PERCEVAL
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          35 INT. PINEWOOD STUDIOS. CORRIDOR. DAY. 35
</b>
           JACOBS chases after OLIVIER trying to get his attention.
           OLIVIER is busy studying preliminary sketches of costumes
           and set.

<b>                          JACOBS
</b>           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.

<b>          MY WEEK WITH MARILYN 20A.
</b>
                         

<b>                          PERCEVAL
</b>           Good news. The House Committee
           have decided Miller isn't a
           communist after all.

<b>           MY WEEK WITH MARILYN 21.
</b>
                         

<b>                          JACOBS
</b>           Of course he is. All those pain
           in the ass New York intellectuals
           are reds.
           OLIVIER rolls his eyes behind JACOBS back. COLIN grins.

<b>                          PERCEVAL
</b>           It means Marilyn will be flying
           in next week on schedule.

<b>                          JACOBS
</b>           She'll have to be met.

<b>                          OLIVIER
</b>           Naturally, Vivien and I will be
           there to greet her. But let's
           keep it low key, shall we?

<b>                          JACOBS
</b>           Don't worry. I've got it all under
           control.

<b>                          CUT TO:
</b>
                         

<b>          36 INT. LONDON AIRPORT. HALL. DAY. 36
</b>
           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.

<b>                          OLIVIER
</b>           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.

<b>                          REPORTER
</b>           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.

<b>                          VIVIEN
</b>           It seems we're not top of the
           bill anymore, darling.

<b>                          CUT TO:
</b>
                         

<b>          37 EXT. LONDON AIRPORT. PLANE/TARMAC. DAY. 37
</b>
           MARILYN MONROE walks down the steps of a TWA jet on a rainy
           London day. She clutches a bouquet of flowers and wears

<b>                          DARK GLASSES;
</b>
<b>          MY WEEK WITH MARILYN 21A.
</b>
                         
          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.

<b>           MY WEEK WITH MARILYN 22.
</b>
                         

<b>          38 EXT. LONDON AIRPORT. TARMAC. DAY. 38
</b>
           MARILYN and MILLER walks across the tarmac towards the
           terminal and the crowd of PRESS waiting for them.

<b>                          REPORTER
</b>           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.

<b>                          REPORTER (CONT'D)
</b>           Marilyn! Over here, Marilyn!

<b>                          REPORTER 2
</b>           Marilyn, this way..!
           ARTHUR JACOBS observes the chaotic scenes with obvious
           relish, grinning towards ROGER and COLIN.

<b>                          JACOBS
</b>           Beautiful. You're looking at
           tomorrow's front page, boys.
           ROGER looks at COLIN.

<b>                          ROGER
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>                         39 DELETED 39
</b>
                         

<b>          40 INT. LONDON AIRPORT. HALL. DAY. 40
</b>
           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.

<b>          MY WEEK WITH MARILYN 22A.
</b>
                         

<b>                          OLIVIER
</b>           It's my genuine pleasure to
           introduce a woman who needs no
           introduction.

<b>                          (MORE)
</b>
<b>           MY WEEK WITH MARILYN 23.
</b>
<b>                          OLIVIER (CONT'D)
</b>           A great actress on her first trip
           to London whom I have no doubt...

<b>                          REPORTER
</b>           How do you like being married,
           Marilyn?

<b>                          MARILYN
</b>           I like it a lot.

<b>                          REPORTER
</b>           Is this third time lucky?

<b>                          MARILYN
</b>           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.

<b>                          REPORTER
</b>           Marilyn, are you planning to see
           the sights?

<b>                          MARILYN
</b>           I'd love to see the little fellow
           with the bow and arrow in
           Piccadilly Circus.
          There is a appreciative laughter from reporters.

<b>                          REPORTER 2
</b>           Is it true you want to be a
           classical actor now?

<b>                          MARILYN
</b>           I want to be the best actress I
           can be.

<b>                          REPORTER 2
</b>           There's a rumour you're going to
           be in The Brothers Karamazov on
           Broadway.

<b>                          MARILYN
</b>           I'm considering it.

<b>                          REPORTER 3
</b>
<b>                          (SHOUTS)
</b>           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.

<b>                          MARILYN
</b>           I'll be playing Grushenka.

<b>           MY WEEK WITH MARILYN 24.
</b>
                         

<b>                          REPORTER 3
</b>           Can you spell that?

<b>                          MARILYN
</b>           Sure. Can you?
          There is laughter at the reporter's expense.

<b>                          REPORTER
</b>           So would you say you're an
           intellectual now?

<b>                          MARILYN
</b>           My husband is.
          She looks adoringly at Miller, who smiles vaguely.

<b>                          REPORTER 2
</b>           What's your definition of an
           intellectual, Marilyn?

<b>                          MARILYN
</b>           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.

<b>                          REPORTER
</b>           Vivien, you created the part of
           Elsie Marina on stage. Do you
           have any advice for Marilyn?

<b>                          VIVIEN
</b>           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.

<b>                          OLIVIER
</b>           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.

<b>                          JACOBS
</b>           Marilyn, is it true you wear
           nothing in bed except Chanel No

<b>           5?
</b>
<b>                          MARILYN
</b>           As I'm in England let's say I
           sleep in nothing but Yardley's
           Lavender.

<b>           MY WEEK WITH MARILYN 25.
</b>
                         
           The press laugh in delight. On the edge of the crowd COLIN
           watches her, amused and impressed.

<b>                          CUT TO:
</b>
                         

<b>          41 EXT. PARKSIDE HOUSE. GATES. DAY 41
</b>
           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.

                         

<b>          42 EXT. PARKSIDE HOUSE. FRONT DOOR. DAY. 42
</b>
           Outside the front door MARILYN, MILLER, OLIVIER and VIVIEN
           have their picture taken by the official PHOTOGRAPHER.
           ROGER watches unobtrusively.

<b>                          VIVIEN
</b>           Are all your press conferences
           like that, darling?

<b>                          MARILYN
</b>           Well, that was quieter than some.
           Vivien smiles at the wry joke. ARTHUR JACOBS watches the
           proceedings with an eagle eye.

<b>                          JACOBS
</b>           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.

<b>                          MILTON
</b>           This is some place you found.
           He glances at the house. Olivier smiles generously.

<b>                          OLIVIER
</b>           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.

<b>                          MILTON
</b>           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.

<b>          MY WEEK WITH MARILYN 25A.
</b>
                         

<b>                          OLIVIER
</b>           Have a cigarette.

<b>                          MILTON
</b>           I don't smoke.
          If he notices the "Olivier" name he doesn't show it.
          OLIVIER looks mildly put out.

<b>           MY WEEK WITH MARILYN 26.
</b>
                         

<b>                          OLIVIER
</b>           Milton - Marilyn and rehearsals.
           Let's talk.

<b>                          MILTON
</b>           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.

<b>                          JACOBS
</b>           The boys at the gate are getting
           restless.

<b>                          MILLER
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          43 EXT. PARKSIDE HOUSE. FRONT DOOR. DAY. 43
</b>
           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.

<b>                          VIVIEN
</b>           Marvellous, isn't she? I suppose
           you're quite smitten.
           COLIN looks at her shrewdly, sensing he is being tested.

<b>                          COLIN
</b>           She's all right. A bit common.

<b>                          VIVIEN
</b>
<b>                          (LAUGHS)
</b>           Larry fell desperately in love
           with her in New York. He's
           determined to seduce her.

<b>                          COLIN
</b>           But she's only been married three
           weeks.

<b>                          VIVIEN
</b>           Oh, Colin, I thought you were a man
           of the world.
           She gives him an arch smile and leans in intimately.

<b>           MY WEEK WITH MARILYN 27.
</b>
                         
           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?

<b>                          COLIN
</b>           I'm sure he loves you very much.
           There is a flash of sudden anger in her expression.

<b>                          VIVIEN
</b>           Oh, don't be such a boy!
           COLIN looks shaken and she touches his hand in contrition.

<b>                          VIVIEN (CONT'D)
</b>           At least you still adore me,
           don't you?

<b>                          COLIN
</b>           Of course. Everyone does.
           There is a wintry bleakness in her face for a second.

<b>                          VIVIEN
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          44 EXT. DOG AND DUCK PUB. DAY. 44
</b>
           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.

<b>                          CUT TO:
</b>
                         

<b>          44A INT. DOG & DUCK PUB. DAY 44A
</b>
           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.

<b>                          COLIN
</b>           Colin Clark. I booked a room.
           BARRY takes a dusty ledger from beneath the bar, spins it
           around for COLIN to sign.

<b>                          BARRY
</b>           What brings you up this way?

<b>          MY WEEK WITH MARILYN 27A.
</b>
                         
          COLIN can't help looking a little pleased with himself.

<b>                          COLIN
</b>           I'm here working on a film.
          The LOCALS look up from their pints, unimpressed.

<b>                          BARRY
</b>           What film's that?

<b>                          COLIN
</b>           It's called `The Sleeping Prince'.
          The darts player, ANDY, doesn't turn. His aim remains
          steady.

<b>                          ANDY
</b>           Sounds lousy.

<b>                          BARRY
</b>           Ignore, Andy - not a film fan - are
           you, Andy?
          ANDY doesn't look away from his game.

<b>                          ANDY
</b>           Can't be bothered.
          COLIN tries to impress.

<b>                          COLIN
</b>           Marilyn Monroe's in it. I'll be
           working with her.

<b>                          BARRY
</b>           Oh, will you now?
          The regulars grin unkindly into their pints. ANDY doesn't
          look away from his game, as he offers laconically:

<b>                          ANDY
</b>           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.

<b>                          BARRY
</b>           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:

<b>                          BARRY (CONT'D)
</b>           You'll be sharing with Grace Kelly.
          The LOCALS laugh into their beer. COLIN smiles gamely.

<b>           MY WEEK WITH MARILYN 27B.
</b>
                         

<b>          45 INT. DOG AND DUCK PUB. COLIN'S ROOM. DAY. 45
</b>
           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.

<b>                          CUT TO:
</b>
<b>           MY WEEK WITH MARILYN 28.
</b>
                         

<b>          46 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 46
</b>
           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.

<b>                          WATTIS
</b>           What a wonderful adventure, Dame
           Sybil.

<b>                          SYBIL THORNDIKE
</b>           Such a lark! I long to see her.
           COLIN stands by the door. OLIVIER looks at his watch and
           shoots him a questioning glance.

<b>                          CUT TO:
</b>
                         

<b>          47 INT. PINEWOOD STUDIOS. CORRIDOR/DRESSING ROOM. DAY. 47
</b>
           COLIN hurries along the corridor and stops outside
           Marilyn's dressing room. He knocks on it politely.

<b>                          COLIN
</b>           Miss Monroe?
           The door opens sharply and a small, bohemian looking woman
           in her 50s stands staring at him. This is PAULA STRASBERG.

<b>                          COLIN (CONT'D)
</b>           Sir Laurence sends his
           compliments. He's ready for the

<b>                          READTHROUGH
</b>           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.

<b>                          PAULA
</b>           But Marilyn is not ready. She's
           preparing.
           MARILYN glances up at COLIN in the mirror and smiles with
           unexpected simplicity.

<b>                          MARILYN
</b>           Excuse the horrible face.
           She finds her dark glasses on the dresser and puts them on.

<b>                          CUT TO:
</b>
<b>           MY WEEK WITH MARILYN 29.
</b>
                         

<b>          48 INT. PINEWOOD STUDIOS. CORRIDOR. DAY. 48
</b>
           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.

<b>                          CUT TO:
</b>
                         

<b>          49 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 49
</b>
           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.

<b>                          OLIVIER
</b>           Marilyn, here you are, everyone
           is so excited to meet you...
           He gestures to the company.

<b>                          OLIVIER (CONT'D)
</b>           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.

<b>                          SYBIL THORNDIKE
</b>           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.

<b>                          PAULA
</b>           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.

<b>                          SYBIL THORNDIKE
</b>
<b>                          (TO MARILYN)
</b>           Don't worry, dear, we won't bite.
           PAULA looks at her in truculent apology.

<b>                          PAULA
</b>           She likes me by her side.

<b>                          SYBIL THORNDIKE
</b>           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?

<b>           MY WEEK WITH MARILYN 30.
</b>
                         
           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.

<b>                          OLIVIER
</b>           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.

<b>                          OLIVIER (CONT'D)
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          50 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 50
</b>
           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.

<b>           MY WEEK WITH MARILYN 31.
</b>
                         

<b>           OLIVIER (AS REGENT)
</b>           "Were you surprised to get my
           invitation?"
          MARILYN stares at him for a beat then reads haltingly.

<b>           MARILYN (AS ELSIE)
</b>           "I'll say I was surprised. I was
           so surprised I couldn't hardly
           think you meant me."

<b>           OLIVIER (AS REGENT)
</b>           "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.

<b>                          MARILYN
</b>           Gee, Mister Sir, I could listen
           to your accent all day.
          There are private grins amongst the actors. OLIVIER smiles
          kindly.

<b>                          OLIVIER
</b>           You are amongst friends, my
           darling angel. Just plain Larry
           will suffice. (Pause) When you're
           ready..?
          Flustered, MARILYN looks at her script.

<b>           MARILYN (AS ELSIE)
</b>           "Well, Maisie Springfield...

<b>           OLIVIER (AS REGENT)
</b>           "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.

<b>                          PAULA
</b>           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.

<b>                          OLIVIER
</b>           It's your line, Marilyn.

<b>          MY WEEK WITH MARILYN 31A.
</b>
                         

<b>                          MARILYN
</b>           Oh, let's see... "Oh, and am I
           what you'd call new hat?"

<b>           MY WEEK WITH MARILYN 32.
</b>
                         
           OLIVIER tries to continue but is yet again brought up short
           by PAULA's passionate whispering.

<b>                          PAULA
</b>           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.

<b>                          OLIVIER
</b>           It is only a readthrough, Paula.

<b>                          PAULA
</b>           Marilyn has to begin finding the
           character.

<b>                          OLIVIER
</b>           The character is on the page.

<b>                          PAULA
</b>           The words, maybe. Not the
           character.
           RICHARD WATTIS whispers to PAUL HARDWICK.

<b>                          WATTIS
</b>           She's half cut!
           DAME SYBIL THORNDIKE frowns with regal disapproval and
           smiles warmly at MARILYN.

<b>                          SYBIL THORNDIKE
</b>           Aren't we going to have fun?

                         

<b>          51 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 51
</b>
           The readthrough over, OLIVIER rails quietly at MILTON while
           COLIN clears up the tea cups and plates used by the actors.

<b>                          OLIVIER
</b>           We can't have two fucking
           directors!

<b>                          MILTON
</b>           Marilyn wants Paula.

<b>                          OLIVIER
</b>           Why? She's got me!

<b>                          MILTON
</b>           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.

<b>                          (MORE)
</b>
<b>          MY WEEK WITH MARILYN 32A.
</b>
<b>                          MILTON (CONT'D)
</b>           Try to change her and she'll
           drive you crazy. Trust me.

<b>           MY WEEK WITH MARILYN 33.
</b>
                         
           OLIVIER stalks away. COLIN takes a chance and follows him.

<b>                          OLIVIER
</b>           Dear Christ, what have I got
           myself into?

<b>                          CUT TO:
</b>
                         

<b>          52 INT. PINEWOOD STUDIOS. WARDROBE DEPT. DAY. 52
</b>
           COLIN follows LUCY the WARDROBE GIRL down a rack of
           clothes. He is charming, glib and persistent.

<b>                          COLIN
</b>           Come out with me tonight.

<b>                          LUCY
</b>           I'm working.

<b>                          COLIN
</b>           Tomorrow night, then.

<b>                          LUCY
</b>           I'm washing my hair.

<b>                          COLIN
</b>           Your hair's lovely.
           She stops to look at him, attracted but cautious.

<b>                          LUCY
</b>           Look, I have two rules. One,
           never touch the talent...

<b>                          COLIN
</b>           Everyone has a lot of rules
           around here.

<b>                          LUCY
</b>           ... and two, never go out with
           thirds.

<b>                          COLIN
</b>           Why not?

<b>                          LUCY
</b>           Because they're all randy little
           buggers who just want some fun
           during shooting.

<b>                          COLIN
</b>           I'm not like that.
           She looks at him sceptically.

<b>                          COLIN (CONT'D)
</b>           Really.

<b>           MY WEEK WITH MARILYN 34.
</b>
                         

<b>                          LUCY
</b>
<b>                          (SIGHS)
</b>           I'm free on Saturday.

<b>                          ORTON
</b>
<b>                          (OFF)
</b>           Colin!
           COLIN ducks into a rack of clothes, making a face at Lucy.
           She can't help smiling back.

<b>                          CUT TO:
</b>
                         

<b>          53 EXT. PINEWOOD STUDIOS. GATE. DAY. 53
</b>
           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.

<b>                          SYBIL THORNDIKE
</b>           How kind of you to meet us. Dear
           me, you do look cold.

<b>                          COLIN
</b>           They're ready for you in make-up
           Dame Sybil.

<b>                          SYBIL THORNDIKE
</b>           How exciting! Don't you love the
           first day of a new production?

<b>                          COLIN
</b>           I don't know, Dame Sybil. I've
           never had one before.
           DAME SYBIL gazes at him with wistful sadness.

<b>                          SYBIL THORNDIKE
</b>           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.

<b>                          OLIVIER
</b>           Marilyn here yet?

<b>                          COLIN
</b>           Not yet.

<b>                          CUT TO:
</b>
                         

<b>          54 EXT. PINEWOOD STUDIOS. GATE. DAY. 54
</b>
           COLIN looks anxiously down the empty road. DAVID ORTON
           strides towards him angrily.

<b>           MY WEEK WITH MARILYN 35.
</b>
                         

<b>                          ORTON
</b>           What the fuck's going on? I
           thought you had a contact in her
           house.

<b>                          COLIN
</b>           I do...

<b>                          ORTON
</b>           Well bloody use him, then.

<b>                          CUT TO:
</b>
                         

<b>          55 EXT. PARKSIDE HOUSE. FRONT DOOR. DAY. 55
</b>
           ROGER greets COLIN on the doorstep with a grin.

<b>                          ROGER
</b>           She hasn't come down yet. Neither
           has Miller. They're playing
           trains.
           COLIN stares at him blankly.

<b>                          CUT TO:
</b>
                         

<b>          56 INT. PARKSIDE HOUSE. DRAWING ROOM/PRODUCTION 56
</b>

<b>           OFFICE. DAY.
</b>           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.

<b>                          ORTON
</b>
<b>                          (ON PHONE)
</b>           Well? What's happening?
           COLIN glances upstairs as he tries to think what to say.

<b>                          COLIN
</b>           She's... getting into character.

<b>                          CUT TO:
</b>
                         

<b>          57 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 57
</b>
           Dame Sybil stands alone.

                         

<b>          58 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 58
</b>
           RICHARD WATTIS, ROSAMUND GREENWOOD (MAUD) and TWO FOOTMAN
           in full costume, sweating under the hot lights.

<b>           MY WEEK WITH MARILYN 36.
</b>
                         
           OLIVIER prowls the set smoking impatiently. COLIN is at his
           side with DAVID ORTON.

<b>                          OLIVIER
</b>           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.

<b>                          OLIVIER (CONT'D)
</b>           What's wrong?

<b>                          PAULA
</b>           She wasn't happy with her make-
           up.
           OLIVIER loosens his collar irritably and glances at ORTON.

<b>                          OLIVIER
</b>           Right, Mr. Orton you wanted me to
           check the back projection. Please
           join us, Mr. Cardiff.
           He stalks away, followed by Cardiff and Orton.

<b>                          CUT TO:
</b>
                         

<b>          59 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 59
</b>
           COLIN sees SYBIL THORNDIKE standing on set. She beams at
           him cheerfully.

<b>                          SYBIL THORNDIKE
</b>           Isn't she pretty though?

<b>                          COLIN
</b>           Would you like to sit down, Dame
           Sybil?

<b>                          SYBIL THORNDIKE
</b>           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.

<b>           MY WEEK WITH MARILYN 37.
</b>
                         

<b>                          TREVOR
</b>           Are you a member of NATTKE?

<b>                          COLIN
</b>           What?

<b>                          TREVOR
</b>           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.

<b>                          TREVOR (CONT'D)
</b>           Strike meeting!
          Half the crew immediately down tools. COLIN looks on in
          horror. SYBIL THORNDIKE frowns in reproach.

<b>                          SYBIL THORNDIKE
</b>           I'm sure we're all good union
           members here. There's no need to
           fall out over something so
           trivial.

<b>                          TREVOR
</b>           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.

<b>                          TREVOR (CONT'D)
</b>           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.

<b>                          SYBIL THORNDIKE
</b>           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.

<b>                          TREVOR
</b>
<b>                          (TO COLIN)
</b>           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.

<b>                          TREVOR (CONT'D)
</b>           Dave, Dame Sybil needs a chair.

<b>          MY WEEK WITH MARILYN 37A.
</b>
                         
          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.

<b>                          SYBIL THORNDIKE
</b>           I was on the picket lines in
           1926, you know.

<b>                          (MORE)
</b>
<b>           MY WEEK WITH MARILYN 38.
</b>           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.

<b>                          ORTON
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          60 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 60
</b>
           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.

<b>                          DENYS
</b>           Camera running.

<b>                          ORTON
</b>           Very quiet, everyone...

<b>                          DENYS
</b>           Speed.
           The CLAPPER LOADER clicks the clapperboard.

<b>                          CLAPPERBOY
</b>           Twenty two, take one.

<b>                          ORTON
</b>           Action!

<b>           OLIVIER (AS REGENT)
</b>           "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.

<b>           SYBIL THORNDIKE (AS QUEEN DOWAGER)
</b>           "My dear, such boredom! The
           decorations hideous, and the
           music... catastrophe! Our friend,
           the ex-King of Moravia drove me
           home.

<b>                          (MORE)
</b>
<b>           MY WEEK WITH MARILYN 39.
</b>
<b>           SYBIL THORNDIKE (AS QUEEN DOWAGER)
</b>
<b>                          (CONT'D)
</b>           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?

<b>           ROSAMUND GREENWOOD (AS MAUD)
</b>           "Yes, Ma'am..."

<b>           SYBIL THORNDIKE (AS QUEEN DOWAGER)
</b>           "Oh there you are my dear, I did
           not see you, give me a glass of
           that champagne I see over there.
           Olga Bosnia..."

<b>           OLIVIER (AS REGENT)
</b>           "Might I present Miss Elsie
           Marina?"

<b>           SYBIL THORNDIKE (AS QUEEN DOWAGER)
</b>           "Oh yes, my dear, of course I
           remember you well."
           They all look at MARILYN... and nothing happens.

<b>                          MARILYN
</b>           Gee. I forgot my line. I'm sorry.

<b>                          OLIVIER
</b>           Cut.
           SYBIL THORNDIKE smiles cheerfully.

<b>                          SYBIL THORNDIKE
</b>           It's so easily done, isn't it?
           I'm sure I went wrong somewhere
           there too. Shall we have another
           go, Larry?

<b>                          CUT TO:
</b>
                         

<b>          61 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 61
</b>
           The clapperboard snaps. Take Five.

<b>           SYBIL THORNDIKE (AS QUEEN DOWAGER)
</b>           "Oh yes, my dear, of course I
           remember you well."

<b>           MARILYN (AS ELSIE)
</b>
<b>                          (HALTING)
</b>           "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.

<b>           MY WEEK WITH MARILYN 40.
</b>
                         

<b>           SYBIL THORNDIKE (AS QUEEN DOWAGER)
</b>           "What does she say?"

<b>           OLIVIER (AS REGENT)
</b>           "She says she is deeply flattered
           and compliments you on your
           wonderful memory."
           MARILYN jumps in, shouting her line over the top of him.

<b>           MARILYN (AS ELSIE)
</b>           "I'm in The Coconut Girl at The
           Avenue."
           There is a pause. SYBIL THORNDIKE hesitates.

<b>                          SYBIL THORNDIKE
</b>           Didn't I have a line somewhere
           there, dear?

<b>                          OLIVIER
</b>           Cut.

<b>                          CUT TO:
</b>
                         

<b>          62 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 62
</b>
           The clapperboard snaps shut again. Take twelve.

<b>                          ORTON
</b>           Action!

<b>           SYBIL THORNDIKE (AS QUEEN DOWAGER)
</b>           "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?"

<b>           MARILYN (AS ELSIE)
</b>           "I'm in The Coconut Girl at The
           Avenue".

<b>           SYBIL THORNDIKE (AS QUEEN DOWAGER)
</b>
<b>                          (TO OLIVIER)
</b>           "Dear?"

<b>           OLIVIER (AS REGENT)
</b>           "She says she is an actress."
           MARILYN looks at him, hesitant but just about in character.
           OLIVIER glances at ORTON who nods.

<b>                          OLIVIER (CONT'D)
</b>           Cut it there.

<b>                          ORTON
</b>           Check the gate.

<b>           MY WEEK WITH MARILYN 41.
</b>
                         

<b>                          FOCUS PULLER
</b>           (After a second)
           Gate's good.

<b>                          OLIVIER
</b>           Print.
           There is a near-audible sigh of relief around the set.
           SYBIL THORNDIKE smiles.

<b>                          SYBIL THORNDIKE
</b>           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.

<b>                          MARILYN
</b>           Can I?

                         

<b>          62A INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 62A
</b>
           OLIVIER looks at COLIN in dismay.

<b>                          OLIVIER
</b>           She's impossible. I should have
           cast Vivien.

<b>                          COLIN
</b>           If anyone can make her great,
           it's you. You're a genius.

<b>                          OLIVIER
</b>           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.

<b>                          OLIVIER (CONT'D)
</b>           Let's hope I'm as brilliant as
           you think I am. (Pause) Now be a
           good boy and keep an eye on her.

<b>                          CUT TO:
</b>
<b>           MY WEEK WITH MARILYN 42.
</b>
                         

<b>          63 INT. PINEWOOD. DRESSING ROOMS/CORRIDOR. DAY. 63
</b>
           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.

<b>                          MARILYN
</b>           I just can't figure this movie out.

<b>                          PAULA
</b>           You were wonderful. You are the
           most gifted actress I have ever
           known. You were superb, Marilyn.
           You were divine.

<b>                          MARILYN
</b>           He was angry with me, I could
           tell.

<b>                          PAULA
</b>           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.

<b>                          PAULA (CONT'D)
</b>           Like this. I prayed to God on my
           knees. And he has given me you.
           You are that great actress,
           Marilyn.

<b>                          MARILYN
</b>           Come on, Paula, get up.

<b>                          PAULA
</b>           Not until you admit you were
           great.
           MARILYN smiles, her mood slowly lightening.

<b>                          MARILYN
</b>           Oh, okay. I guess I was.
           COLIN glances at her, seeing his chance to help.

<b>                          COLIN
</b>           You really were very good, Miss
           Monroe.
           MARILYN smiles vaguely. PAULA gives him a fierce look - COLIN
           moves past quickly.

<b>                          CUT TO:
</b>
<b>           MY WEEK WITH MARILYN 43.
</b>
                         

<b>          64 INT. CAFE DE PARIS. LONDON. NIGHT. 64
</b>
           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.

<b>                          LUCY
</b>           Are you sure you can afford all
           this?

<b>                          COLIN
</b>           Oh, it's all right.

<b>                          LUCY
</b>           It must be costing a week's wages.

<b>                          COLIN
</b>           It's worth it.
           LUCY can't help being charmed.

<b>                          LUCY
</b>           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.

<b>                          COLIN
</b>           I'm not living off my parents, if
           that's what you mean. I want to
           make my own way, no matter what.

<b>                          LUCY
</b>           By making eyes at Vivien Leigh?

<b>                          COLIN
</b>           Who told you that?

<b>                          LUCY
</b>           Word gets around.

<b>                          COLIN
</b>           Vivien's a friend of my father's.

<b>                          LUCY
</b>           So there's nothing in it? You and
           Vivien?
           He smiles mysteriously and leans in to kiss her. She avoids
           him coolly.

<b>                          LUCY (CONT'D)
</b>           I'm not that easy.
           The WAITER approaches with a bill on a silver salver and
           offers him a pen.

<b>          MY WEEK WITH MARILYN 43A.
</b>
                         

<b>                          WAITER
</b>           You'll be signing on your father's
           account, sir?
          COLIN blushes violently.

<b>                          COLIN
</b>           Certainly not. I settle my own
           bills.
          The WAITER nods discreetly and leaves. LUCY looks at COLIN
          with a teasing smile.

<b>                          COLIN
</b>           I was always going to pay, you
           know.

<b>                          LUCY
</b>           Of course you were.
          He looks at her, but there is no hint of mockery in her smile
          and he is grateful.

<b>                          LUCY
</b>           Do you think Marilyn is beautiful?

<b>                          COLIN
</b>           Not compared to you.
          LUCY laughs, COLIN looks hurt.

<b>                          LUCY
</b>           You don't have to try so hard to be
           charming. You're nice enough as it
           is. Well, you could be.

<b>           MY WEEK WITH MARILYN 44.
</b>
                         
           She touches his hand and takes a drag from his cigarette as
           he refills her glass.

<b>                          LUCY (CONT'D)
</b>           You know Marilyn's really still
           in love with Joe DiMaggio?

<b>                          COLIN
</b>           So they say.

<b>                          LUCY
</b>           She married Miller on the
           rebound. The papers are calling
           them "The Hourglass and the
           Egghead".

<b>                          COLIN
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          65 EXT. LUCY'S HOUSE. SUBURBS. NIGHT. 65
</b>
           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.

<b>                          CUT TO:
</b>
                         

<b>          65A INT. LUCY'S HOUSE. PARLOUR. NIGHT. 65A
</b>
           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.

<b>           MY WEEK WITH MARILYN 45.
</b>
                         

<b>                          LUCY
</b>           Wait a while, crocodile.

<b>                          COLIN
</b>           I really do like you, Lucy.
          She looks at him shrewdly.

<b>                          LUCY
</b>           Maybe.
          She hears heavy footsteps in the bedroom above.

<b>                          LUCY (CONT'D)
</b>           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.

<b>           MR. ARMSTRONG
</b>           Time to be thinking about bed,
           darling. Early start tomorrow.

<b>                          LUCY
</b>           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.

<b>                          COLIN
</b>           Yes, I should be off. Colin Clark.
           Pleased to meet you, Mr. Armstrong.
          He offers the surprised MR. ARMSTRONG a confident handshake.

<b>                          COLIN (CONT'D)
</b>           This is a very nice house you've
           got.

<b>           MR. ARMSTRONG
</b>           Do you know this part of the world?

<b>                          COLIN
</b>
<b>                          (THROWN)
</b>           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.

<b>                          COLIN (CONT'D)
</b>           Next Saturday?
          She nods. He follows her out into the hall.

<b>                          CUT TO:
</b>
<b>           MY WEEK WITH MARILYN 46.
</b>
                         

<b>          65B EXT. LUCY'S HOUSE. SUBURBS. NIGHT. 65B
</b>
           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.

<b>                          CUT TO:
</b>
                         

<b>          66 EXT. PINEWOOD STUDIOS. GATE. DAY. 66
</b>
           COLIN is back on the early morning watch. A black car draws
           up and SYBIL THORNDIKE leans out.

<b>                          SYBIL THORNDIKE
</b>           Colin, dear, I thought you looked
           cold so I bought you this.
           She hands him a bright red woollen scarf. COLIN is touched.

<b>                          COLIN
</b>           Thank you, Dame Sybil.

<b>                          SYBIL THORNDIKE
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          67 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 67
</b>
           The crew stand around in sullen discontent. OLIVIER paces
           back and forth with MILTON at his side.

<b>                          OLIVIER
</b>           She should be on time, like
           everyone else.

<b>                          MILTON
</b>           She is a star.

<b>                          OLIVIER
</b>           I'm a fucking star!
           He looks around in frustration.

<b>                          OLIVIER (CONT'D)
</b>           If we nip this behaviour in the
           bud perhaps it won't be repeated.

<b>                          MILTON
</b>           This is Marilyn you're talking
           about.

<b>           MY WEEK WITH MARILYN 47.
</b>
                         
           OLIVIER scowls at COLIN, who gives him a cigarette. MARILYN
           finally emerges with PAULA at her elbow. OLIVIER advances
           on her, his anger simmering.

<b>                          OLIVIER
</b>           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?

<b>                          MARILYN
</b>           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.

<b>                          PAULA
</b>           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.

<b>                          OLIVIER
</b>           You must apologise to Dame Sybil.
           MARILYN reddens with humiliation as he takes her arm.

<b>                          CUT TO:
</b>
                         

<b>          68 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 68
</b>
           OLIVIER propels MARILYN towards SYBIL THORNDIKE. MARILYN
           reddens with humiliation.

<b>                          MARILYN
</b>           I'm sorry...

<b>                          SYBIL THORNDIKE
</b>           (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.

<b>                          MARILYN
</b>           You think I'm a great actress?

<b>           MY WEEK WITH MARILYN 48.
</b>
                         

<b>                          SYBIL THORNDIKE
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          69 INT. PINEWOOD STUDIOS. VIEWING THEATRE. DAY. 69
</b>
           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.

<b>                          MILLER
</b>           That one's pretty damn good. You
           knocked it out of the park.
           MARILYN glows at his praise.

<b>                          MILTON
</b>           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.

<b>           MY WEEK WITH MARILYN 49.
</b>
                         
           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.

<b>                          CUT TO:
</b>
                         

<b>          70 INT. PINEWOOD STUDIOS. CORRIDOR. DAY. 70
</b>
           COLIN comes out of the viewing theatre behind OLIVIER and

<b>           MILTON.
</b>
<b>                          OLIVIER
</b>           We've only been shooting for four
           days and we're already two weeks
           behind.
           COLIN can't resist blurting out a comment.

<b>                          COLIN
</b>           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.

<b>                          MILTON
</b>           The kid's right. She could use
           the confidence.

<b>                          OLIVIER
</b>           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.

<b>                          COLIN
</b>           They just upset her.

<b>                          OLIVIER
</b>           Not half as much as they upset
           me.

<b>                          CUT TO:
</b>
                         

<b>          71 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 71
</b>
           COLIN hurries across the stage, carrying a fresh carton of
           "Oliviers". ORTON stops him.

<b>                          ORTON
</b>           I'll do that. You go and find
           Marilyn's script. She thinks she
           left it in her dressing room.

<b>                          CUT TO:
</b>
<b>           MY WEEK WITH MARILYN 50.
</b>
                         

<b>          72 INT. PINEWOOD STUDIOS. MARILYN'S DRESSING ROOM. 72
</b>

<b>           DAY.
</b>           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.

<b>                          COLIN
</b>           Your script...

<b>                          MARILYN
</b>           I found it.
           Calmly she takes the towel from her hair and wraps it
           around herself. She smiles quizzically.

<b>                          MARILYN (CONT'D)
</b>           You can go now, Colin.
           He hesitates a beat, surprised that she knows his name,
           before he fumbles for the door.

<b>                          CUT TO:
</b>
                         

<b>          73 INT. PINEWOOD STUDIOS. MARILYN'S DRESSING 73
</b>

<b>           ROOM/CORRIDOR. DAY.
</b>           COLIN slams the door, aghast.

<b>                          CUT TO:
</b>
                         

<b>          74 INT. PINEWOOD STUDIOS. WARDROBE DEPT. DAY. 74
</b>
           COLIN and LUCY are buried in the clothes racks kissing
           passionately. They surface for air.

<b>                          COLIN
</b>           David wants to know if you're
           ready for the extras in the
           ballroom scene.

<b>           MY WEEK WITH MARILYN 51.
</b>
                         

<b>                          LUCY
</b>           Tell him he can start sending
           them up. Women first.
           They kiss again. He pulls away.

<b>                          LUCY (CONT'D)
</b>           I'm looking forward to Saturday.
           He looks at her uncertainly.

<b>                          LUCY (CONT'D)
</b>           Our date?

<b>                          COLIN
</b>
<b>                          (AWKWARD)
</b>           I forgot. I can't do Saturday.
           Marilyn wants to go shopping.

<b>                          LUCY
</b>           Since when do you work for her?

<b>                          COLIN
</b>           Larry asked me to help out.
           She smiles sardonically, teasing him, but a little hurt.

<b>                          LUCY
</b>           Well, of course you must do what
           Larry says.

<b>                          COLIN
</b>           Next Friday instead?
           She shrugs in agreement.

<b>                          COLIN (CONT'D)
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          75 INT. LONDON. MARILYN'S CAR. DAY. 75
</b>
           COLIN sits in the front with ROGER driving. MARILYN, ARTHUR
           MILLER and MILTON GREENE sit in the back.

<b>                          CUT TO:
</b>
                         

<b>          76 EXT. LONDON. BOND STREET. DAY. 76
</b>
           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.

<b>           MY WEEK WITH MARILYN 52.
</b>
                         

<b>                          MARILYN
</b>           Gee, it's quiet.

<b>                          COLIN
</b>           It's Saturday. Early closing. But
           they're expecting us.
          She stops to window shop. MILTON lowers his voice to COLIN.

<b>                          MILTON
</b>           No one's recognised her.

<b>                          COLIN
</b>           At least she can shop in peace.

<b>                          MILTON
</b>           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 -

<b>                          PASSER-BY
</b>           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.

<b>                          ROGER
</b>           My God, she'll be torn apart...

<b>                          MILLER
</b>           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.

<b>           MY WEEK WITH MARILYN 53.
</b>
                         

<b>                          MILTON
</b>           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.

<b>                          MILLER
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          77 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 77
</b>
           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.

<b>           MARILYN (AS ELSIE)
</b>           "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.

<b>                          OLIVIER
</b>           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.

<b>                          DENYS
</b>           Camera running.

<b>                          SOUNDMAN
</b>           Speed.

<b>                          DENYS
</b>           Mark it.
           The clapperboard clatters down. Take two. WATTIS and
           MARILYN come in again on their cue.

<b>           MARILYN (AS ELSIE)
</b>           "Well we're still the first ones,
           aren't we? Gee, this is all
           right, isn't it?"

<b>           MY WEEK WITH MARILYN 54.
</b>
                         

<b>                          OLIVIER
</b>           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.

<b>           MARILYN (AS ELSIE)
</b>           "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.

<b>                          OLIVIER
</b>           Cut.

<b>                          MARILYN
</b>           Can't we just drop it?

<b>                          OLIVIER
</b>           The point is that you have
           already admired the downstairs
           hall in an earlier scene. Now you
           are admiring this room as well.

<b>                          MARILYN
</b>           Oh, sure. (Pause, she looks
           stricken) Paula!
          OLIVIER looks startled. PAULA comes scurrying across.
          MARILYN appeals to her, turning away from OLIVIER.

<b>                          MARILYN (CONT'D)
</b>           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.

<b>                          PAULA
</b>
<b>                          (TO OLIVIER)
</b>           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.

<b>                          OLIVIER
</b>           Then she should pretend to
           believe it.
          PAULA bristles at this insult to her husband's work.

<b>                          PAULA
</b>           Pretend? We're talking about the
           difference between the truth and
           artificial crap.

<b>          MY WEEK WITH MARILYN 54A.
</b>
                         

<b>                          OLIVIER
</b>           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.

<b>           MY WEEK WITH MARILYN 55.
</b>
                         

<b>                          MILTON
</b>           Maybe we should try for another
           take.

<b>                          PAULA
</b>           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.

<b>                          OLIVIER
</b>           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.

<b>                          MARILYN
</b>           I can't do this. I can't.
          PAULA looks at her adamantly.

<b>                          PAULA
</b>           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.

<b>                          PAULA (CONT'D)
</b>           Remember, Marilyn, a tree is
           never just a tree. What kind of
           tree is Elsie? An elm tree? A
           birch tree?

<b>                          OLIVIER
</b>           (Under his breath to

<b>                          COLIN)
</b>           God knows, but I'm a weeping
           fucking willow.

<b>                          PAULA
</b>
<b>                          (TO MARILYN)
</b>           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.

<b>           MY WEEK WITH MARILYN 56.
</b>
                         

<b>           MARILYN (AS ELSIE)
</b>           "Well we're still the first ones,
           aren't we? Gee, this is all
           right, isn't it?"

<b>                          OLIVIER
</b>           Cut.
           A look of near-panic creeps into Marilyn's eyes at her
           inability to remember the line.

<b>                          CUT TO:
</b>
                         

<b>                         78 DELETED 78
</b>
                         

<b>          79 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 79
</b>
           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.

<b>           MARILYN (AS ELSIE)
</b>           "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.

<b>                          MARILYN (CONT'D)
</b>           Paula!

<b>                          OLIVIER
</b>           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.

<b>                          OLIVIER (CONT'D)
</b>           Forgive me, Marilyn. This is my
           failure, not yours. Tell me how I
           can help you.

<b>                          MARILYN
</b>           I don't know who Elsie is. I
           can't act her if I don't know who
           she is!

<b>           MY WEEK WITH MARILYN 57.
</b>
                         

<b>                          OLIVIER
</b>           Elsie is all in the script

<b>                          MARILYN
</b>           I can't find her. She's not
           there.

<b>                          OLIVIER
</b>           But you have her precisely, you
           know her inside out. I'm in awe of
           your gift. We all are.

<b>                          MARILYN
</b>           She's not real.

<b>                          OLIVIER
</b>           Why not simply rely on your natural
           talents?

<b>                          MARILYN
</b>           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.

<b>                          OLIVIER
</b>           Marilyn, you are the most
           attractive woman in the world.
           I'm simply suggesting you be
           yourself.

<b>                          MARILYN
</b>
<b>                          (SHOUTS)
</b>           I don't want to be myself!
           (Pause) I want to be an actress
           playing a character.

<b>                          OLIVIER
</b>           (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.

<b>                          MARILYN
</b>           I want Lee.

<b>                          OLIVIER
</b>           You've already got Paula, for
           heaven's sake. I'm the director.
           Speak to me.

<b>                          PAULA
</b>           I am only Lee's representative.

<b>                          OLIVIER
</b>           It's five in the morning in New
           York.

<b>          MY WEEK WITH MARILYN 57A.
</b>
                         

<b>                          MARILYN
</b>
<b>           I WANT LEE!
</b>
<b>           MY WEEK WITH MARILYN 58.
</b>
                         
           Her furious scream brings all activity to a halt. She storms
           off the set with PAULA following. The atmosphere is awful.

                         

<b>          80 INT. PINEWOOD STUDIOS. OLIVIER'S DRESSING ROOM. 80
</b>

<b>           DAY.
</b>           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.

<b>                          OLIVIER
</b>           "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.

<b>                          MILTON
</b>           It would be worse if she wasn't
           around.

<b>                          OLIVIER
</b>           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.

<b>                          MILTON
</b>           You have to be patient with her.

<b>                          OLIVIER
</b>           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.

<b>                          MILTON
</b>           I better go see her. She'll need
           something to help her calm down.
           COLIN holds the door for him as he goes out.

<b>                          OLIVIER
</b>           (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.

<b>           MY WEEK WITH MARILYN 59.
</b>
                         
           COLIN looks at him tentatively.

<b>                          COLIN
</b>           Maybe she's scared.

<b>                          OLIVIER
</b>           We're all scared. It's part of
           being an actor.

<b>                          COLIN
</b>           But you have the training to deal
           with it.
           OLIVIER turns from the mirror to survey him.

<b>                          OLIVIER
</b>           I wouldn't buy the little girl
           lost act if I were you. Though
           heaven knows it's tempting.
           He sighs wistfully.

<b>                          OLIVIER (CONT'D)
</b>           And I think Marilyn knows exactly
           what she's doing.
           COLIN isn't so sure but wisely holds his tongue.

<b>                          OLIVIER (CONT'D)
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          81 EXT. PARKSIDE HOUSE. DRIVE. NIGHT. 81
</b>
           COLIN draws up outside Marilyn's house. The place is dark
           and quiet.

<b>                          CUT TO:
</b>
                         

<b>          82 INT. PARKSIDE HOUSE. DRAWING ROOM NIGHT. 82
</b>
           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.

<b>                          COLIN
</b>           Are you sure they won't mind?

<b>                          ROGER
</b>           Help yourself. They can spare it.
           (Pause) Marilyn's okay. She's
           taken some pills and gone to bed.
           He frowns darkly.

<b>           MY WEEK WITH MARILYN 60.
</b>
                         

<b>                          ROGER (CONT'D)
</b>           They like to keep her doped up.
           It makes her easier to control.

<b>                          COLIN
</b>           You mean Miller?

<b>                          ROGER
</b>           (Shakes his head)
           The others. They're terrified
           their cash cow will slip away.
           He smiles grimly and raises his beer bottle.

<b>                          ROGER (CONT'D)
</b>           Cheers!

<b>                          CUT TO:
</b>
                         

<b>          83 INT. PARKSIDE HOUSE. DRAWING ROOM. NIGHT. 83
</b>
           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.

<b>                          CUT TO:
</b>
                         

<b>          84 INT. PARKSIDE HOUSE. UPSTAIRS HALL. NIGHT. 84
</b>
           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.

<b>                          MILLER
</b>
<b>                          (OFF)
</b>           Marilyn. Come back to bed. It's
           not what you think.

<b>           MY WEEK WITH MARILYN 61.
</b>
                         
           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.

<b>                          MILLER (CONT'D)
</b>
<b>                          (OFF)
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          85 EXT. PINEWOOD STUDIOS. GATE. DAY. 85
</b>
           COLIN, muffled in his scarf, looks up as Marilyn's car
           cruises to a halt at the gate.

<b>                          COLIN
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          86 INT. PINEWOOD STUDIOS. SOUNDSTAGE. DAY. 86
</b>
           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.

<b>                          OLIVIER
</b>           It's nearly lunch time.

<b>                          MILTON
</b>           She isn't feeling the part.

<b>                          OLIVIER
</b>           It's a light comedy. How much
           feeling can it possibly require?

<b>                          MILTON
</b>           Give her a few minutes...

<b>                          OLIVIER
</b>           She can't hide in her bloody
           dressing room all day.

<b>                          MILTON
</b>           Oh, yes she can.

<b>           MY WEEK WITH MARILYN 62.
</b>
                         
           OLIVIER looks at him angrily. He is close to the end of his
           tether.

<b>                          OLIVIER
</b>
<b>                          (TO COLIN)
</b>           Go and find out what the hell's
           going on.

                         

<b>          87 INT. PINEWOOD STUDIOS. MARILYN'S DRESSING ROOM. 87
</b>

<b>           DAY.
</b>           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.

<b>                          PAULA
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          88 INT. PINEWOOD STUDIOS. MARILYN'S DRESSING ROOM. 88
</b>

<b>           DAY.
</b>           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.

<b>                          MARILYN
</b>           How old are you?

<b>                          COLIN
</b>           24. (Pause) Nearly

<b>                          MARILYN
</b>           You remind us of the young king in
           the movie. Kind of honest and
           innocent.

<b>                          COLIN
</b>
<b>                          (WOUNDED)
</b>           I'm not innocent.
           She turns her head and her beautiful face comes fully into
           the light.

<b>                          MARILYN
</b>           What's your job on this picture?

<b>          MY WEEK WITH MARILYN 62A.
</b>
                         

<b>                          COLIN
</b>           I'm the third assistant director.
           Just a gopher really. Go for
           this, go for that...

<b>                          MARILYN
</b>           You're Larry's assistant too.
          He shrugs awkwardly.

<b>                          MARILYN (CONT'D)
</b>           What were you doing in my house
           last night? Did he send you?

<b>           MY WEEK WITH MARILYN 63.
</b>
                         
           COLIN hesitates. It seems pointless to deny it.

<b>                          COLIN
</b>           He was worried about you.

<b>                          MARILYN
</b>           Are you spying on me?

<b>                          COLIN
</b>           No! Of course not. Why would
           anyone spy on you?
           She sighs, and looks away.

<b>                          COLIN (CONT'D)
</b>           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.

<b>                          MARILYN
</b>           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.

<b>                          COLIN
</b>           Yours, Miss Monroe.
           She rewards him with a brilliant smile, her whole face
           lighting up.

<b>                          MARILYN
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          89 EXT. PINEWOOD STUDIOS. DAY. 89
</b>
           As COLIN walks down through the studio he meets RICHARD
           WATTIS with PAUL HARDWICK, on their way to wardrobe. WATTIS
           winks at him.

<b>                          WATTIS
</b>           Marilyn's got a new boyfriend.
           Larry will get jealous.

<b>                          HARDWICK
</b>           You can say that again.
           He gives a camp laugh. COLIN tries to shrug it off with a
           lightness he doesn't feel.

<b>                          COLIN
</b>           Nothing happened.

<b>          MY WEEK WITH MARILYN 63A.
</b>
                         

<b>                          WATTIS
</b>           You were in there for ten minutes
           at least. Plenty of time for a
           kiss and a cuddle.

<b>           MY WEEK WITH MARILYN 64.
</b>
                         

<b>                          COLIN
</b>           Paula was with us the whole time.

<b>                          WATTIS
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          90 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 90
</b>
           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.

<b>                          CUT TO:
</b>
                         

<b>          91 INT. PINEWOOD STUDIOS. SOUND STAGE. NIGHT. 91
</b>
           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.

<b>                          MILLER
</b>           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.

<b>                          MILLER (CONT'D)
</b>           I'm going back to New York for a
           few days. I need to see my kids.
           I need a break.

<b>           MY WEEK WITH MARILYN 65.
</b>
                         

<b>                          OLIVIER
</b>           That won't help Marilyn.

<b>                          MILLER
</b>           (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.

<b>                          MILLER (CONT'D)
</b>           I've disappointed her.
          OLIVIER looks at him. MILLER shakes his head.

<b>                          MILLER (CONT'D)
</b>           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.

<b>                          MILLER (CONT'D)
</b>           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.

<b>                          OLIVIER
</b>           About her?
          He looks up and nods slowly.

<b>                          MILLER
</b>           She took them the wrong way.
          He leaves a long, uneasy pause.

<b>                          OLIVIER
</b>           But you do love her? Your new
           bride and all that?
          MILLER plays with his whisky.

<b>                          MILLER
</b>           I can't work. I can't think.
           (Pause) She's devouring me.
          Forgotten in the shadows, COLIN listens attentively to
          every word.

<b>                          CUT TO:
</b>
<b>           MY WEEK WITH MARILYN 66.
</b>
                         

<b>          92 EXT. PINEWOOD STUDIOS. GATE. DAY. 92
</b>
           Early morning. COLIN sees Olivier's black Bentley cruising
           towards the gate. VIVIEN LEIGH sits in the back seat.

<b>                          VIVIEN
</b>           Hello, Colin darling. You look
           like Horatio defending the
           bridge. Are you going to let me
           in?

<b>                          CUT TO:
</b>
                         

<b>          93 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 93
</b>
           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.

<b>                          VIVIEN
</b>           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.

<b>                          VIVIEN (CONT'D)
</b>           David, he would be lost without
           you.

<b>                          ORTON
</b>           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.

<b>                          VIVIEN
</b>           I'm getting old, Jack. I need you
           to work your miracles on me.

<b>                          CARDIFF
</b>           You're more beautiful every year,
           Vivien.
           She laughs and turns to COLIN, looking at him severely.

<b>                          VIVIEN
</b>           Now, you are looking after Larry
           like I told you?

<b>                          COLIN
</b>           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.

<b>           MY WEEK WITH MARILYN 67.
</b>
                         
           Compared to VIVIEN she looks frumpish. VIVIEN glides
           towards her, hands extended.

<b>                          VIVIEN
</b>           Darling Marilyn!
           She kisses her on both cheeks and holds her hands.

<b>                          VIVIEN (CONT'D)
</b>           Larry tells me you are quite,
           quite superb. I'm wild with
           jealousy.

<b>                          MARILYN
</b>           Oh, but everyone says you were a
           wonderful Elsie on stage.

<b>                          VIVIEN
</b>           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.

<b>                          VIVIEN (CONT'D)
</b>           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.

<b>                          VIVIEN (CONT'D)
</b>           Oh, Colin. Not you too.
           He wants to protest but VIVIEN is already turning away.

<b>                          CUT TO:
</b>
                         

<b>          94 INT. PINEWOOD STUDIOS. VIEWING THEATRE/PROJECTION 94
</b>

<b>           BOOTH. DAY.
</b>           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.

<b>           MY WEEK WITH MARILYN 68.
</b>
                         
          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.

<b>                          VIVIEN
</b>           I didn't think she would be so
           beautiful. She... shines on that
           screen.

<b>                          OLIVIER
</b>           You shouldn't upset yourself. You
           are ten times the actress she
           will ever be.

<b>                          VIVIEN
</b>           If you could see yourself. The
           way you watch her...

<b>                          OLIVIER
</b>           There's never been anything
           between Marilyn and me.
          She laughs hysterically.

<b>                          VIVIEN
</b>           Only because she didn't want you.

<b>                          OLIVIER
</b>           You're imagining things.

<b>                          VIVIEN
</b>           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!

<b>                          OLIVIER
</b>           Vivien..!
          She storms out. After a beat, COLIN tentatively enters.
          OLIVIER looks at COLIN in muted apology.

<b>           MY WEEK WITH MARILYN 69.
</b>
                         

<b>                          OLIVIER (CONT'D)
</b>           She hasn't been well. There was a
           baby... she... we... lost it...
           COLIN looks down awkwardly. OLIVIER sighs.

<b>                          OLIVIER (CONT'D)
</b>           (After a pause)
           Do you have a cigarette, Colin?
           COLIN hurries to offer him one of his "Oliviers". OLIVIER
           grimaces wryly.

<b>                          OLIVIER (CONT'D)
</b>           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.

<b>                          OLIVIER (CONT'D)
</b>           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.

<b>                          OLIVIER (CONT'D)
</b>           Remember, boy, when it comes to
           women you are never too old for
           humiliation.

<b>                          CUT TO:
</b>
                         

<b>          95 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 95
</b>
           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.

<b>                          CUT TO:
</b>
                         

<b>          96 INT. PINEWOOD STUDIOS. OLIVIER'S DRESSING 96
</b>

<b>           ROOM/PARKSIDE. DAY.
</b>           COLIN pours whisky for OLIVIER. MILTON comes in.

<b>                          MILTON
</b>           Marilyn won't shoot today. She's
           gone back to Parkside. She's
           upset about Arthur leaving
           England.

<b>                          OLIVIER
</b>           He's only going to visit his
           children.

<b>           MY WEEK WITH MARILYN 70.
</b>
                         

<b>                          MILTON
</b>           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.

<b>                          OLIVIER
</b>           Perhaps she's come back. (Into the
           phone) Yes?

<b>                          ROGER
</b>
<b>                          (OFF)
</b>           Sir Laurence? It's Roger.

<b>                          OLIVIER
</b>           Oh, Roger. What's up?

<b>                          ROGER
</b>
<b>                          (OFF)
</b>           Is Colin there, Sir?
          He frowns and looks at COLIN in bewilderment.

<b>                          OLIVIER
</b>           Yes, he's here. (Pause) It's for
           you.
          Puzzled, COLIN takes the phone as OLIVIER stares at him.

<b>                          COLIN
</b>           Roger?
          CUT TO PARKSIDE, where, to Colin's astonishment MARILYN comes
          on the line (Roger is not in shot).

<b>                          MARILYN
</b>
<b>                          (ON PHONE)
</b>           Colin, why don't you drop by here
           on your way home?
          CUT BACK TO PINEWOOD - MILTON recognises Marilyn's voice
          instantly.

<b>                          MILTON
</b>           What the heck?

<b>                          OLIVIER
</b>           Why is Marilyn on the phone to my
           third fucking assistant?
          COLIN looks around helplessly.

<b>                          COLIN
</b>           Yes, I'm sure I can do that.
          CUT TO PARKSIDE. MARILYN smiles.

<b>          MY WEEK WITH MARILYN 70A.
</b>
                         

<b>                          MARILYN
</b>
<b>                          (ON PHONE)
</b>           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.

<b>                          OLIVIER
</b>           Well? What did she want?

<b>                          COLIN
</b>           She wants to see me.

<b>           MY WEEK WITH MARILYN 71.
</b>
                         
           He shrugs awkwardly. MILTON looks at OLIVIER in panic.

<b>                          MILTON
</b>           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.

<b>                          OLIVIER
</b>           I'm sure Colin knows what he's
           doing. Don't you, Colin?
           There is a warning as well as approval in his tone.

<b>                          CUT TO:
</b>
                         

<b>          97 INT. PARKSIDE HOUSE. DRAWING ROOM. DAY. 97
</b>
           ROGER leads COLIN into the formal drawing room.

<b>                          ROGER
</b>           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 -

<b>                          MARILYN
</b>
<b>                          (OFF)
</b>           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.

<b>                          COLIN
</b>           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.

<b>                          MARILYN
</b>           Here, let me.
           She pours some brandy into a glass and gives it to him.

<b>                          MARILYN (CONT'D)
</b>           Are you frightened of me, Colin?

<b>           MY WEEK WITH MARILYN 72.
</b>
                         

<b>                          COLIN
</b>           No.

<b>                          MARILYN
</b>           Good. Because I like you.
          Colin doesn't know what to say. MARILYN gazes at him.

<b>                          MARILYN (CONT'D)
</b>           I want you to help me. Will you
           do that?
          She looks at him, her eyes wide. COLIN feels himself
          sinking into her gaze.

<b>                          COLIN
</b>           I'm only the third. Just a
           messenger, really.

<b>                          MARILYN
</b>           But you know what's going on. You
           can see both sides of the
           situation.
          He shrugs in helpless agreement.

<b>                          MARILYN (CONT'D)
</b>           I want you to be honest. Tell me
           everything.
          She indicates a chair and COLIN perches on it awkwardly.

<b>                          MARILYN (CONT'D)
</b>           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.

<b>                          MARILYN (CONT'D)
</b>           Oh, gee, I'm sorry. Am I
           interrupting something? Maybe you
           have a Mrs. Colin waiting for you
           at home?

<b>                          COLIN
</b>           There's no Mrs. Colin.

<b>                          MARILYN
</b>           So we can talk as long as we
           like?
          He nods uncertainly. She frowns.

<b>                          MARILYN (CONT'D)
</b>           Why is Sir Olivier so mean?
           He talks to me as if he's
           slumming.

<b>           MY WEEK WITH MARILYN 73.
</b>
                         
          COLIN hesitates then decides to throw caution to the wind.

<b>                          COLIN
</b>           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.

<b>                          MARILYN
</b>           Are you sure you can handle that?
           You don't look old enough to
           drink.

<b>                          COLIN
</b>           I'm 23, Miss Monroe.

<b>                          MARILYN
</b>           It's Marilyn. (Pause) I'm 30. I
           guess that makes me an old lady
           to you.

<b>                          COLIN
</b>           Seven years is nothing.
          She smiles then sits opposite him.

<b>                          MARILYN
</b>           Do you know I've been married
           three times already? How did that
           happen?

<b>                          COLIN
</b>           You were just looking for the
           right man.

<b>                          MARILYN
</b>           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.

<b>                          COLIN
</b>           Hello?

<b>                          CUT TO:
</b>
<b>           MY WEEK WITH MARILYN 74.
</b>
                         

<b>          98 INT. PINEWOOD STUDIOS. PRODUCTION OFFICE. DAY. 98
</b>
           MILTON sits at his desk. He leans forward anxiously at the
           sound of Colin's voice.

<b>                          MILTON
</b>           Colin? Is everything okay? What
           did she want?

<b>           CUT BACK TO:
</b>
                         

<b>          99 INT. PARKSIDE HOUSE. DRAWING ROOM. DAY. 99
</b>
           COLIN looks at MARILYN and hesitates.

<b>                          COLIN
</b>           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.

<b>                          COLIN (CONT'D)
</b>           Hello? Milton?
           There is a long silence at the other end of the line.

<b>                          CUT TO:
</b>
                         

<b>          100 INT. PINEWOOD STUDIOS. PRODUCTION OFFICE. DAY. 100
</b>
           MILTON turns pale. When he speaks again his anger is just
           barely under control.

<b>                          MILTON
</b>           Let me speak to her, Colin.

<b>           CUT BACK TO:
</b>
                         

<b>          101 INT. PARKSIDE HOUSE. DRAWING ROOM. DAY. 101
</b>
           COLIN offers the phone to MARILYN but she shakes her head.

<b>                          COLIN
</b>           She's tied up right now.
           This only sets MARILYN off again. She howls with laughter and
           COLIN can't help joining her.

<b>                          CUT TO:
</b>
<b>           MY WEEK WITH MARILYN 75.
</b>
                         

<b>          102 INT. PINEWOOD STUDIOS. PRODUCTION OFFICE. DAY. 102
</b>
           MILTON stares at the phone in disbelief.

<b>                          MILTON
</b>           What's going on? Colin! (Shouts)
           Let me talk to her, damn it!

<b>           CUT BACK TO:
</b>
                         

<b>          103 INT. PARKSIDE HOUSE. DRAWING ROOM. DAY. 103
</b>
           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.

<b>                          COLIN
</b>           I'm sorry, Milton. I have to go.
           He hangs up quickly. They both laugh helplessly. MARILYN
           smiles.

<b>                          MARILYN
</b>           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.

                         

<b>          104 EXT. PARKSIDE HOUSE. GARDEN. DAY/DUSK. 104
</b>
           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.

<b>                          MARILYN
</b>           I didn't know it was so pretty
           out here.

<b>                          COLIN
</b>           You should get out more. See the
           sights.

<b>                          MARILYN
</b>           I am the sights.
           She giggles again, her mood lighter.

<b>                          MARILYN (CONT'D)
</b>           Look at us. We're just like
           Elsie and the young King. What
           would Sir Laurence say if he
           could see us now?

<b>                          COLIN
</b>           I don't think he'd mind.

<b>           MY WEEK WITH MARILYN 76.
</b>
                         
           MARILYN grows reflective. She takes COLIN's arm in a
           friendly way as they walk.

<b>                          MARILYN
</b>           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.

<b>                          COLIN
</b>           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.

<b>                          MARILYN
</b>           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.

<b>                          ROGER
</b>           Phone call for you, Miss Monroe.
           It's Mr. Miller.
           MARILYN goes back up the path towards the house, glancing
           back briefly at Colin.

<b>                          MARILYN
</b>           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.

<b>                          ROGER
</b>           You'll be leaving now, I expect.

<b>                          CUT TO:
</b>
                         

<b>          105 INT. PINEWOOD STUDIOS. OLIVIER'S DRESSING ROOM. 105
</b>

<b>           DAY.
</b>           The next morning. COLIN walks in as OLIVIER is talking to

<b>           MILTON.
</b>
<b>          MY WEEK WITH MARILYN 76A.
</b>
                         

<b>                          OLIVIER
</b>           I don't care if he fucks her
           sideways. Perhaps it'll calm her
           down. (Pause) Oh, hello, boy.
          He smiles cheerfully.

<b>           MY WEEK WITH MARILYN 77.
</b>
                         

<b>                          OLIVIER (CONT'D)
</b>           I hear you spent last night with
           Marilyn.

<b>                          COLIN
</b>           I didn't spend the night with
           her. We just had a chat.

<b>                          MILTON
</b>           I heard them chuckling.
          OLIVIER offers COLIN a lewdly suggestive grin.

<b>                          OLIVIER
</b>           Perhaps if Colin is very
           diplomatic Marilyn is more likely
           to behave herself.

<b>                          COLIN
</b>           She just wants a chum, that's
           all.

<b>                          MILTON
</b>           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.

<b>                          OLIVIER
</b>           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.

<b>                          OLIVIER (CONT'D)
</b>           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.

<b>                          OLIVIER (CONT'D)
</b>           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.

<b>           MY WEEK WITH MARILYN 78.
</b>
                         

<b>                          OLIVIER (CONT'D)
</b>           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.

<b>                          OLIVIER (CONT'D)
</b>           But be careful, boy. She doesn't
           need to be rescued. Not really.

<b>                          CUT TO:
</b>
                         

<b>          106 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 106
</b>
           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.

<b>                          SOUNDMAN
</b>           What was Marilyn like then, Col?

<b>                          HARDWICK
</b>           Going over her lines with her,
           were you?

<b>                          SOUNDMAN
</b>           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.

<b>                          COLIN
</b>           She was just being friendly.

<b>                          WATTIS
</b>           I'll bet.
           There are hoots of laughter. COLIN retreats to a corner
           only to find RICHARD WATTIS pursuing him.

<b>                          WATTIS (CONT'D)
</b>           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!

<b>                          COLIN
</b>           Oh, fuck off, Dickie. You've
           never slept with a woman in your
           life.

<b>           MY WEEK WITH MARILYN 79.
</b>
                         

<b>                          WATTIS
</b>           I know a Femme Fatale when I see
           one, love.

                         

<b>          107 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 107
</b>
           A brief hiatus in filming. COLIN looks on uneasily as
           MARILYN, resting against her lean-to, has her costume
           attended to by LUCY.

<b>                          ORTON
</b>           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.

<b>                          MILTON
</b>           Arthur Miller called me. He's not
           happy with you.

<b>                          COLIN
</b>           He doesn't even know who I am.

<b>                          MILTON
</b>           Marilyn must have said something.

<b>                          COLIN
</b>           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.

                         

<b>          108 EXT. STUDIO. DAY. 108
</b>
           MILTON turns bitterly on Colin as soon as they are outside
           the studio door.

<b>                          MILTON
</b>           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.

<b>                          MILTON (CONT'D)
</b>           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.

<b>                          COLIN
</b>           I don't need your advice. And I'm
           not in love with her.

<b>           MY WEEK WITH MARILYN 80.
</b>
                         

<b>                          MILTON
</b>           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?

<b>                          CUT TO:
</b>
                         

<b>          109 INT. PINEWOOD STUDIOS. CORRIDOR. DAY. 109
</b>
           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.

<b>                          LUCY
</b>           I waited for you on Friday.

<b>                          COLIN
</b>           Oh, God... I'm sorry... I forgot...
           I've just been so busy.

<b>                          LUCY
</b>
<b>                          (SHARP)
</b>           So I hear.

<b>                          COLIN
</b>
<b>                          (SHRUGS)
</b>           You know how crews gossip.
           There's nothing in it.

<b>                          LUCY
</b>           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.

<b>                          MARILYN
</b>           Hi, Colin.
           COLIN smiles, self-conscious. MARILYN stops and frowns,
           looking at Lucy.

<b>                          MARILYN (CONT'D)
</b>           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.

<b>           MY WEEK WITH MARILYN 81.
</b>
                         

<b>                          COLIN
</b>           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.

<b>                          MARILYN
</b>           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.

<b>                          LUCY
</b>           I thought you were different.

<b>                          COLIN
</b>           Lucy, I really like you. We've had
           such fun...

<b>                          LUCY
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          110 INT. DOG AND DUCK PUB. COLIN'S BEDROOM. NIGHT. 110
</b>
           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.

<b>                          CUT TO:
</b>
                         

<b>          111 EXT. PINEWOOD STUDIOS. DAY. 111
</b>
           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.

<b>                          ROGER
</b>           Get in.
           COLIN looks at him in confusion. The studio doors open and
           MILTON emerges. He glances darkly at COLIN and ROGER.

<b>                          MILTON
</b>           Any problem, Roger?

<b>           MY WEEK WITH MARILYN 82.
</b>
                         

<b>                          ROGER
</b>           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.

<b>                          MILTON
</b>           You're not taking him to Marilyn?
           That would drop us all in a whole
           ocean of shit.

<b>                          ROGER
</b>           Oh, no, sir.
          MILTON sees a bulky blanket on the back seat.

<b>                          MILTON
</b>           What do you have in there?

<b>                          ROGER
</b>           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.

<b>                          MILTON
</b>           Okay, well, have a nice time boys.
          Inside the car COLIN looks at ROGER.

<b>                          COLIN
</b>           Is she okay?
          In the same moment MARILYN herself erupts from under the
          blanket in the back.

<b>                          MARILYN
</b>
<b>           SURPRISE!
</b>
<b>                          COLIN
</b>           Oh, Jesus -
          She laughs, looking wonderfully naughty.

<b>                          MARILYN
</b>           Roger and I decided to take you out
           for an adventure. Didn't we Roger?

<b>                          ROGER
</b>
<b>                          (PAINED)
</b>           Indeed we did.

<b>                          COLIN
</b>           Oh, God. If Milton sees me with
           you... I'll be sacked...
          He tries to scramble out but MARILYN hauls him back
          gleefully.

<b>           MY WEEK WITH MARILYN 83.
</b>
                         

<b>                          MARILYN
</b>           No one can sack you, Colin. (Pause)
           Except me, of course.
           She pats the seat next to her.

<b>                          MARILYN (CONT'D)
</b>           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.

<b>                          MILTON
</b>           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.

<b>                          MILTON (CONT'D)
</b>
<b>                          (SHOUTS)
</b>           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.

<b>                          MARILYN
</b>           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.

<b>                          MARILYN (CONT'D)
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>                         112 DELETED 112
</b>
                         

<b>          113 EXT. WINDSOR GREAT PARK. DAY. 113
</b>
           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.

<b>           MY WEEK WITH MARILYN 84.
</b>
                         
           There is no one else around. The wind sighs and the grass
           is pleasantly warm underfoot. MARILYN turns her face up to
           the sun.

<b>                          MARILYN
</b>           This is how I ought to feel every
           day.
           COLIN smiles. Impulsively MARILYN hugs him.

<b>                          MARILYN (CONT'D)
</b>           Let's run away together.
           He turns ashen.

<b>                          MARILYN (CONT'D)
</b>
<b>                          (LAUGHS)
</b>           Just kidding.
           She looks around happily. COLIN smiles at her.

<b>                          COLIN
</b>           We have today, anyway. One day to
           do whatever we like. We can go
           back to real life tomorrow.

<b>                          MARILYN
</b>           Only one day?

<b>                          COLIN
</b>           Well, maybe the weekend.

<b>                          MARILYN
</b>           Or a week?
           He grins. She takes his hand, walking contentedly at his
           side.

<b>                          MARILYN (CONT'D)
</b>           What shall we do?

<b>                          COLIN
</b>           We could go to Windsor Castle, if
           you like.
           MARILYN's face breaks into a smile of pure delight.

<b>                          CUT TO:
</b>
                         

<b>          114 EXT. WINDSOR CASTLE. GRAND DRIVE. DAY. 114
</b>
           The car makes its stately progress down the magnificent
           drive towards the castle.

<b>                          CUT TO:
</b>
<b>           MY WEEK WITH MARILYN 85.
</b>
                         

<b>          115 EXT. ROGER'S CAR. WINDSOR CASTLE. DAY. 115
</b>
           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.

<b>                          ROGER
</b>           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.

<b>                          POLICEMAN
</b>           Christ, is that..?
           He stares in disbelief. ROGER smiles.

<b>                          ROGER
</b>           Well, it's not Diana bloody Dors,
           is it?

<b>                          POLICEMAN
</b>           (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.

<b>                          ROGER
</b>           You don't know Her Majesty, by
           any chance?

<b>                          MARILYN
</b>           We met at a movie premiere. She
           said my dress was pretty.

<b>                          POLICEMAN
</b>           I'm not sure that quite...

<b>                          COLIN
</b>
<b>                          (INTERRUPTING)
</b>           My Godfather works here. He's the
           Royal librarian, Sir Owen
           Morshead.
           The POLICEMAN looks sceptically at Colin's casual clothes.

<b>                          POLICEMAN
</b>           Name?

<b>                          COLIN
</b>           Clark. Colin Clark.
           The POLICEMAN retreats into his box. We hear him talking on
           the telephone. ROGER looks at COLIN. He shrugs sheepishly.

<b>           MY WEEK WITH MARILYN 86.
</b>
                         

<b>                          COLIN (CONT'D)
</b>           My father knows everybody.
           A moment later the policeman returns, looking surprised.

<b>                          POLICEMAN
</b>           He says to go straight up the
           hill, sir. You'll be met at the
           door.

<b>                          CUT TO:
</b>
                         

<b>          115A INT. WINDSOR CASTLE. CORRIDORS. DAY. 115A
</b>
           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.

<b>                          CUT TO:
</b>
                         

<b>          115B INT. WINDSOR CASTLE. GOLDEN CORRIDOR. DAY. 115B
</b>
           COLIN and MARILYN are led into another corridor, this one
           with a beautiful gold-leaf ceiling decoration. MARILYN looks
           up, enchanted.

<b>                          CUT TO:
</b>
                         

<b>          116 INT. WINDSOR CASTLE. ROYAL LIBRARY. DAY. 116
</b>
           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.

<b>                          MORSHEAD
</b>           Colin, my boy! Come in, come in.
           Forgive the dust.
           He smiles at MARILYN, showing no sign whatever of
           recognising her.

<b>                          MORSHEAD (CONT'D)
</b>           You are pretty, my dear. I'm sure
           you and Colin have so much in
           common.
           MARILYN looks around in awe.

<b>                          MARILYN
</b>           Gee, I'd love to read all these
           books some time.

<b>           MY WEEK WITH MARILYN 87.
</b>
                         

<b>                          MORSHEAD
</b>           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.

<b>                          MORSHEAD (CONT'D)
</b>           These are by an artist called
           Holbein.
          MARILYN smiles at a portrait of a young woman.

<b>                          MARILYN
</b>           She's beautiful.

<b>                          MORSHEAD
</b>           She was the daughter of one of
           the King's courtiers, nearly 400
           years ago.

<b>                          MARILYN
</b>           I hope I look that good when I'm

<b>           400.
</b>          MORSHEAD laughs. He takes down another folder of drawings.

<b>                          MORSHEAD
</b>           And these are all by Leonardo Da
           Vinci.

<b>                          MARILYN
</b>           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.

<b>                          MORSHEAD
</b>           The Mona Lisa.

<b>                          MARILYN
</b>           Do you have that one here too?

<b>                          MORSHEAD
</b>           Alas, that one got away.
          He closes the portfolio and takes MARILYN's arm briskly.

<b>                          MORSHEAD (CONT'D)
</b>           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.

<b>                          MARILYN
</b>           Really?

<b>           MY WEEK WITH MARILYN 88.
</b>
                         

<b>                          MORSHEAD
</b>           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.

<b>                          MORSHEAD (CONT'D)
</b>           Some of the rooms are very
           opulent but I think there's
           something you might like better
           than all that.

<b>                          CUT TO:
</b>
                         

<b>                         117 DELETED 117
</b>
                         

<b>          118 INT. WINDSOR CASTLE. DOLLS' ROOM. DAY. 118
</b>
           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.

<b>                          MARILYN
</b>           Look, Colin.
           COLIN kneels at her side.

<b>                          MARILYN (CONT'D)
</b>           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.

<b>                          MARILYN (CONT'D)
</b>           This is me, that's you, and these
           are our kids.
           She smiles wistfully and puts her hand on his arm.

<b>                          MARILYN (CONT'D)
</b>           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.

<b>                          MARILYN (CONT'D)
</b>           We look like such a happy family,
           don't we?

<b>           MY WEEK WITH MARILYN 89.
</b>
                         
           She turns to him. They are only inches away from each
           other. COLIN's heart lurches. MORSHEAD coughs discreetly.

<b>                          MORSHEAD
</b>           You mustn't let me keep you. I'm
           sure you're longing to be on your
           way.

<b>                          CUT TO:
</b>
                         

<b>          119 EXT. WINDSOR CASTLE. COURT YARD. DAY. 119
</b>
           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.

<b>                          MARILYN
</b>           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.

<b>                          SPECTATOR
</b>           Are you somebody, mate?

<b>                          COLIN
</b>
<b>                          (SMILES)
</b>           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.

                         

<b>           EXT. ETON COLLEGE. DAY.
</b>
           Roger's car pulls up outside Eton College.

<b>                          CUT TO:
</b>
                         

<b>          120 EXT. ETON COLLEGE. COURTYARD. DAY. 120
</b>
           COLIN and an astonished MARILYN walk through the school
           buildings with ROGER a discreet distance behind them.

<b>                          MARILYN
</b>           This isn't a school, it's a
           palace!
           COLIN smiles.

<b>                          COLIN
</b>           Eton is 500 years old. It was
           founded by King Henry VI.

<b>          MY WEEK WITH MARILYN 89A.
</b>
                         

<b>                          MARILYN
</b>           It's like walking through history.

<b>                          COLIN
</b>           Take that room up there.
          They stop as COLIN points up at a window.

<b>           MY WEEK WITH MARILYN 90.
</b>
                         

<b>                          COLIN
</b>           That's where the boys were sent
           if they didn't work hard enough.
           Where we were whipped.
          MARILYN looks at him in shock.

<b>                          MARILYN
</b>           Whipped?

<b>                          COLIN
</b>           Beaten.
          She looks appalled.

<b>                          MARILYN
</b>           I'd never send my kids away.
           (pause) How long were you here?

<b>                          COLIN
</b>           Five years. But I was sent to
           boarding school when I was eight.

<b>                          MARILYN
</b>           Why?

<b>                          COLIN
</b>           That's what we do in my family.
          She smiles at this, looking at him shrewdly.

<b>                          MARILYN
</b>           It seems to me that you've had most
           things pretty easy.

<b>                          COLIN
</b>           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.

<b>                          MARILYN
</b>           So how are you going to do it?

<b>                          COLIN
</b>           Maybe it will be in films, but if
           not, there are so many
           possibilities out there.

<b>                          MARILYN
</b>           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.

<b>           MY WEEK WITH MARILYN 90A.
</b>
                         
           He looks up at MARILYN, his mouth hanging open in shock. Then
           he simply turns and runs, shouting at the top of his voice.

<b>                          SCHOOLBOY
</b>           Marilyn! It's Marilyn Monroe!

<b>                          CUT TO:
</b>
                         

<b>          121 EXT. ETON COLLEGE. COURTYARD. DAY. 121
</b>
           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.

<b>                          MARILYN
</b>           Work hard, boys! I don't want
           anyone whipping you!
           A gawky young teenager near the front shouts out cheekily.

<b>                          BOY
</b>           You can whip me anytime, Marilyn!
           MARILYN laughs in delight. There are cheers as COLIN
           escorts her away.

<b>                          CUT TO:
</b>
                         

<b>          122 EXT. THAMES RIVERBANK. DAY. 122
</b>
           ROGER leans back against the car, smoking calmly.

<b>                          CUT TO:
</b>
                         

<b>          123 EXT. THAMES RIVERBANK. DAY. 123
</b>
           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.

<b>                          MARILYN
</b>           Hurry up, slow poke.

<b>                          COLIN
</b>           But we haven't got any...
           He stops in mid-sentence as he sees MARILYN unbuttoning her
           blouse and throwing it off carelessly.

<b>           MY WEEK WITH MARILYN 91.
</b>
                         
           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.

<b>                          MARILYN
</b>           Oh my gosh! It's freezing!

<b>                          CUT TO:
</b>
                         

<b>          124 EXT. THAMES. DAY. 124
</b>
           MARILYN swims in the water, humming softly to herself.
           COLIN wades in, wincing at the cold. She laughs.

<b>                          MARILYN
</b>           This is great.

<b>                          COLIN
</b>           What if a boat goes past? We
           could be arrested.

<b>                          MARILYN
</b>           Don't worry. Roger will fix it.
           Oh, darn it...
           She holds her head and he looks at her with concern.

<b>                          COLIN
</b>           What's wrong?

<b>                          MARILYN
</b>           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.

<b>                          COLIN
</b>           I can't see anything.

<b>                          MARILYN
</b>           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.

<b>                          MARILYN (CONT'D)
</b>           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.

<b>           MY WEEK WITH MARILYN 92.
</b>
                         

<b>                          MARILYN (CONT'D)
</b>           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.

<b>                          MARILYN (CONT'D)
</b>           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.

<b>                          COLIN
</b>           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

<b>                         CLOSER -
</b>
<b>                          MARILYN
</b>           Don't spoil it.
          She looks at him, her expression knowing but sweet.

<b>                          MARILYN (CONT'D)
</b>           I want this to be the perfect
           date.
          He tries to kiss her but she ducks her head away gently,
          her expression wistful.

<b>                          MARILYN (CONT'D)
</b>           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.

<b>                          MARILYN (CONT'D)
</b>           That was nice. I don't get kissed
           much.
          She looks wistful for a second but quickly brightens.

<b>           MY WEEK WITH MARILYN 93.
</b>
                         

<b>                          MARILYN (CONT'D)
</b>           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.

<b>                          ROGER
</b>           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.

<b>                          ROGER (CONT'D)
</b>           Be careful not to get in too
           deep, son.
           COLIN knows he isn't talking about the river.

<b>                          CUT TO:
</b>
                         

<b>          125 INT. ROGER'S CAR. DAY. 125
</b>
           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.

<b>                          CUT TO:
</b>
                         

<b>          126 INT/EXT. PARKSIDE HOUSE. ROGER'S CAR. DAY. 126
</b>
           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.

<b>                          MARILYN
</b>           Hi Milton.
           She smiles sweetly.

<b>                          MARILYN (CONT'D)
</b>           Next time I come on set, you
           better make sure Colin is there.
           He looks at her in shock then bitterly at COLIN.

<b>                          MARILYN (CONT'D)
</b>
<b>                          (TO ROGER)
</b>           Take him home.

<b>           MY WEEK WITH MARILYN 94.
</b>
                         
           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.

<b>                          CUT TO:
</b>
                         

<b>          127 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 127
</b>
           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.

<b>                          OLIVIER
</b>           You spent the day with her. What
           frame of mind was she in?

<b>                          COLIN
</b>           She was fine.

<b>                          OLIVIER
</b>
<b>                          (HUGE SELF-CONTROL)
</b>           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.

<b>                          COLIN
</b>           Don't start, Dicky.

<b>                          WATTIS
</b>           You won't get any sympathy from
           me, dear. Frankly I wouldn't care
           if Marilyn dropped dead tomorrow.

<b>                          COLIN
</b>           She's trying her best.

<b>                          WATTIS
</b>           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.

<b>                          WATTIS (CONT'D)
</b>           Oh, dear. Little Colin's in love.

<b>                          CUT TO:
</b>
                         

<b>          128 EXT. PARKSIDE HOUSE. DRIVE. DAY. 128
</b>
           MILTON is waiting for COLIN at the door.

<b>                          MILTON
</b>           Marilyn's not well.

<b>           MY WEEK WITH MARILYN 95.
</b>
                         

<b>                          COLIN
</b>           But she was wonderful yesterday.
          MILTON looks at him for a long moment, masking his
          hostility in barbed politeness.

<b>                          MILTON
</b>           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.

<b>                          COLIN
</b>           She doesn't need pills! She just
           needs someone to care for her.

<b>                          MILTON
</b>           Someone like you?
          COLIN reddens. MILTON shakes his head patronisingly.

<b>                          COLIN
</b>           I told you, I'm not in love with
           her!

<b>                          MILTON
</b>           You kissed her.

<b>                          COLIN
</b>           She said that?

<b>                          MILTON
</b>           Spare me the bullshit. I know
           everything.
          COLIN stares at him, feeling hopelessly out of his depth.

<b>                          MILTON (CONT'D)
</b>           You messed her up, kid. Confused
           her.
          He comes very close, his tone fierce but wounded.

<b>                          MILTON (CONT'D)
</b>           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.

<b>           MY WEEK WITH MARILYN 96.
</b>
                         

<b>                          MILTON (CONT'D)
</b>           If you want to play with the
           grown-ups, Colin, start learning
           the rules.

<b>                          CUT TO:
</b>
                         

<b>          129 INT. PUB. COLIN'S BEDROOM. NIGHT. 129
</b>
           A gentle summer breeze lifts the net curtains. COLIN is
           fast asleep. There's a sharp rap at the door.

<b>                          ROGER
</b>
<b>                          (OFF)
</b>           Colin! (Pause) Colin!
           COLIN opens his eyes, his mind drugged with sleep.

<b>                          COLIN
</b>           Roger? What's the matter?

<b>                          ROGER
</b>
<b>                          (OFF)
</b>           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

<b>                          COLIN
</b>           Is she dead?

<b>                          ROGER
</b>           She's asking for you. She's sick.
           I think she might be in a coma.

<b>                          COLIN
</b>           How can she be asking for me if
           she's in a coma?

<b>                          ROGER
</b>           Just bloody get dressed!

<b>                          CUT TO:
</b>
                         

<b>          130 EXT. PARKSIDE HOUSE. DRIVE. NIGHT. 130
</b>
           ROGER and COLIN drive up. MILTON, waits on the steps. He
           looks resentfully at COLIN but doesn't say anything.

<b>                          CUT TO:
</b>
                         

<b>          131 INT. PARKSIDE HOUSE. MARILYN'S BEDROOM. NIGHT. 131
</b>
           PAULA STRASBERG paces frantically outside Marilyn's bedroom
           door as ROGER, MILTON and COLIN hurry up the stairs.

<b>           MY WEEK WITH MARILYN 97.
</b>
                         

<b>                          PAULA
</b>           She hasn't made a sound for over
           an hour.

<b>                          ROGER
</b>           We should break down the door.

<b>                          COLIN
</b>           How many pills did she take?

<b>                          MILTON
</b>           Oh, Jesus, who knows? I wasn't
           counting.
           COLIN knocks gently.

<b>                          COLIN
</b>           Marilyn?
           There is no reply.

<b>                          CUT TO:
</b>
                         

<b>          132 EXT. PARKSIDE HOUSE. GARDEN. NIGHT. 132
</b>
           ROGER and COLIN carry a ladder across the moonlit gravel
           and prop it up against the wall.

<b>                          ROGER
</b>           That's her window.
           He points with his torch. The window is open. COLIN shins
           up the ladder while ROGER holds it.

<b>                          COLIN
</b>           I'll open the door once I'm
           inside.

<b>                          CUT TO:
</b>
                         

<b>          133 INT. PARKSIDE. MARILYN'S BEDROOM. NIGHT. 133
</b>
           COLIN tumbles in through the window with a clattering
           thump.

<b>                          COLIN
</b>           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.

<b>                          COLIN (CONT'D)
</b>           Marilyn?
           For a second he fears the worst, but then suddenly she
           groans and sits up, looking at him blearily.

<b>           MY WEEK WITH MARILYN 98.
</b>
                         

<b>                          MARILYN
</b>           Oh hi, Colin.

<b>                          COLIN
</b>           Are you okay? Everyone was
           worried about you.

<b>                          MARILYN
</b>           Phooey.
           She pats the sheets at her side and settles down sleepily
           on the pillow.

<b>                          MARILYN (CONT'D)
</b>           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.

<b>                          COLIN
</b>           It's me. She's fine but I'm going
           to keep an eye on her. I'll sleep
           on the sofa.

<b>                          MILTON
</b>
<b>                          (OFF)
</b>           Come on, Colin, open up.

<b>                          COLIN
</b>           (After a second)
           I can't find the key. (Pause) You
           can all go to bed now.

<b>                          PAULA
</b>
<b>                          (OFF)
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          134 INT. PARKSIDE. MARILYN'S BEDROOM. NIGHT. 134
</b>
           COLIN wakes with a jolt as the light snaps on, blinding
           him.

<b>                          MARILYN
</b>           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.

<b>           MY WEEK WITH MARILYN 99.
</b>
                         

<b>                          COLIN
</b>           I came in through the window...
          He realises this doesn't sound reassuring.

<b>                          COLIN (CONT'D)
</b>           Milton thought you were sick.
          She stares at him in puzzlement then breaks into a dazed
          smile.

<b>                          MARILYN
</b>           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.

<b>                          COLIN
</b>           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?

<b>                          MARILYN
</b>           My mom.
          Her expression softens as she looks at the picture.

<b>                          MARILYN (CONT'D)
</b>           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.

<b>                          COLIN
</b>           Abraham Lincoln?

<b>                          MARILYN
</b>           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.

<b>                          MARILYN (CONT'D)
</b>           Do you have a home, Colin? A real
           one?

<b>                          COLIN
</b>           Yes, I do.

<b>          MY WEEK WITH MARILYN 100.
</b>
                         

<b>                          MARILYN
</b>           And a mother and father who still
           live together?

<b>                          COLIN
</b>           Yes.

<b>                          MARILYN
</b>           And do they love you?

<b>                          COLIN
</b>           I'm sure they do.
          He nods. She smiles sadly.

<b>                          MARILYN
</b>           You're lucky.
          Her eyes fill with tears. She looks up at him anxiously.

<b>                          MARILYN (CONT'D)
</b>           Do you love me, Colin?
          He stares at her. She looks lovely but desperately
          vulnerable.

<b>                          COLIN
</b>           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.

<b>                          COLIN (CONT'D)
</b>           But you and I come from different
           worlds. You're like some Greek
           Goddess to me...

<b>                          MARILYN
</b>           I'm not Greek.
          She smiles, teasing him. He smiles back. She takes his
          hand, looking at him in appeal.

<b>                          MARILYN (CONT'D)
</b>           I don't want to be a Goddess. I
           just want to be loved like an
           ordinary girl.

<b>                          COLIN
</b>           Mr. Miller loves you.
          She stares at him, her face going blank with misery.

<b>                          MARILYN
</b>           I found his notebook. It said I'd
           let him down.

<b>          MY WEEK WITH MARILYN 101.
</b>
                         

<b>                          COLIN
</b>           Writers scribble all kinds of
           things. It doesn't mean anything.
          She looks at him, her eyes full of pain.

<b>                          MARILYN
</b>           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.

<b>                          COLIN
</b>           I'll never leave you.
          She smiles and embraces him gratefully. She sighs.

<b>                          MARILYN
</b>           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.

<b>                          MARILYN (CONT'D)
</b>           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.

<b>                          MARILYN (CONT'D)
</b>           You're not like that. That's why
           I like you.
          COLIN stares back at her guiltily. She smiles.

<b>                          MARILYN (CONT'D)
</b>           You should date that Wardrobe
           lady. She's pretty.

<b>                          COLIN
</b>           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.

<b>          MY WEEK WITH MARILYN 102.
</b>
                         
          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.

<b>                          MARILYN
</b>           What's the matter? Don't you want
           to make love?

<b>                          COLIN
</b>           Maybe we should just be friends.

<b>                          MARILYN
</b>           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.

<b>                          MARILYN (CONT'D)
</b>           This is nice. Like spoons. I used
           to do this with Johnny.

<b>                          COLIN
</b>           Who's Johnny?

<b>                          MARILYN
</b>           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.

<b>                          COLIN
</b>           Marilyn?
          She mutters softly in reply.

<b>                          COLIN (CONT'D)
</b>           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.

<b>                          MARILYN
</b>
<b>                          (BLURRED)
</b>           Okay.
          He smiles and turns out the light.

<b>                          CUT TO:
</b>
<b>           MY WEEK WITH MARILYN 103.
</b>
                         

<b>          135 INT. PARKSIDE. MARILYN'S BEDROOM/BATHROOM. DAY. 135
</b>
           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.

<b>                          MARILYN
</b>           "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.

<b>                          CUT TO:
</b>
                         

<b>          136 EXT. PINEWOOD STUDIOS. GATE. DAY. 136
</b>
           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.

<b>                          OLIVIER
</b>           Morning, boy. (Pause) Christ, you
           look rough.
           He looks at him thoughtfully, then shrugs.

<b>                          OLIVIER (CONT'D)
</b>           Let me know when Marilyn arrives.
           If she ever does.

<b>                          COLIN
</b>           Oh, I'm pretty sure she'll be in
           this morning.
           OLIVIER gives COLIN an odd look.

<b>                          CUT TO:
</b>
                         

<b>          137 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 137
</b>
           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.

<b>           WATTIS (AS NORTHBROOK)
</b>           "Your Grand Ducal Highness.."

<b>           OLIVIER (AS REGENT)
</b>           "This is intolerable"!

<b>           WATTIS (AS NORTHBROOK)
</b>           "With the deepest respect, sir,
           my message was so important I had
           no choice but to intrude".

<b>           MY WEEK WITH MARILYN 104.
</b>
                         

<b>           OLIVIER (AS REGENT)
</b>           "Revolution?"

<b>           WATTIS (AS NORTHBROOK)
</b>           "No, sir, Miss Marina's aunt has
           been in a motor accident. The
           hospital is calling for her most
           urgently."

<b>           MARILYN (AS ELSIE)
</b>           "What? (Giggles drunkenly) Oh, go
           away, you silly man."

<b>           WATTIS (AS NORTHBROOK)
</b>           "Miss Marina, your aunt... you
           realise how serious her condition
           is?"

<b>           MARILYN (AS ELSIE)
</b>           "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.

<b>                          ORTON
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          138 INT. PINEWOOD STUDIOS. OLIVIER'S DRESSING ROOM. 138
</b>

<b>           NIGHT.
</b>           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.

<b>                          OLIVIER
</b>           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.

<b>                          OLIVIER (CONT'D)
</b>           Hello?
           His face falls as he listens to the voice at the other end
           of the line.

<b>                          CUT TO:
</b>
<b>           MY WEEK WITH MARILYN 105.
</b>
                         

<b>          139 INT. PARKSIDE HOUSE. HALL. NIGHT. 139
</b>
           COLIN paces nervously up and down the hall. PAULA appears.
           She looks at him for a long, unnerving moment then speaks
           with sudden ferocity.

<b>                          PAULA
</b>           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.

<b>                          PAULA (CONT'D)
</b>           You can come up now.

<b>                          CUT TO:
</b>
                         

<b>          140 INT. PARKSIDE HOUSE. MARILYN'S BEDROOM. NIGHT. 140
</b>
           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.

<b>                          MARILYN
</b>           You think I can act, don't you,
           Colin?

<b>                          COLIN
</b>           Of course I do. You were
           wonderful today.
           PAULA looks at MILTON, then moves between them busily.

<b>                          PAULA
</b>           Marilyn's tired now.

<b>                          MARILYN
</b>           I want him to stay with me.

<b>                          MILTON
</b>           What would Arthur say if he knew
           Colin was here?
           A flicker of terror crosses MARILYN's face. COLIN turns on
           them angrily.

<b>                          COLIN
</b>           You heard what she said. She
           wants me here.

<b>          MY WEEK WITH MARILYN 106.
</b>
                         
          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.

<b>                          PAULA
</b>           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.

<b>                          PAULA (CONT'D)
</b>           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.

<b>                          MARILYN
</b>           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.

<b>                          COLIN
</b>           I'm here now. I'll look after
           you.
          She gives him a wry look, teasing but thoughtful.

<b>                          MARILYN
</b>           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.

<b>                          CUT TO:
</b>
<b>           MY WEEK WITH MARILYN 107.
</b>
                         

<b>          141 INT. PARKSIDE HOUSE. MARILYN'S BEDROOM. NIGHT. 141
</b>
           COLIN wakes with a start as he realises that MARILYN is
           screaming in pain.

<b>                          MARILYN
</b>           It hurts! It hurts, Colin!
           She is doubled up, clutching her stomach, sweating and
           frightened. COLIN sees a dark red stain on the sheets.

<b>                          MARILYN (CONT'D)
</b>           The baby. I can't lose the baby.
           COLIN looks at her aghast.

<b>                          MARILYN (CONT'D)
</b>           It's a surprise. For Arthur.
           Don't tell anyone. Promise me.
           He hurls himself off the bed and runs to the door.

<b>                          CUT TO:
</b>
                         

<b>          142 INT. PARKSIDE HOUSE. MARILYN'S BEDROOM/BATHROOM. 142
</b>

<b>           NIGHT.
</b>           MILTON and COLIN wait by the bathroom in Marilyn's suite.
           ROGER hurries in.

<b>                          ROGER
</b>           The doctor's coming.
           COLIN turns the handle but the bathroom door is locked.

<b>                          COLIN
</b>           Marilyn, unlock the door.

<b>                          MARILYN
</b>
<b>                          (OFF)
</b>           Don't let anyone in.

<b>                          COLIN
</b>           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.

<b>                          PAULA
</b>           Marilyn! Marilyn, my baby, what
           has Colin done to you?

<b>                          COLIN
</b>           I haven't done anything. She's
           just... got a stomach ache.
           He reddens with embarrassment. ROGER coughs.

<b>           MY WEEK WITH MARILYN 108.
</b>
                         

<b>                          ROGER
</b>           I think he means her monthlies.

<b>                          PAULA
</b>           What will Arthur say if she dies?

<b>                          COLIN
</b>           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.

<b>                          CONNELL
</b>           I'm Dr. Connell. Is the patient
           in there?

<b>                          PAULA
</b>           Please save her... it's Marilyn
           Monroe. You can't let her die.
           CONNELL calmly extracts himself from her grasp.

<b>                          CONNELL
</b>           Perhaps you'd all like to give us
           a little privacy?
           As COLIN shepherds the others out MILTON turns on him
           bitterly.

<b>                          MILTON
</b>           Happy now, kid?

<b>                          CUT TO:
</b>
                         

<b>          143 INT. PARKSIDE HOUSE. HALL. NIGHT. 143
</b>
           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.

<b>                          CONNELL
</b>           Who's in charge here?
           MILTON, PAULA, ROGER and COLIN all step forward as one.
           CONNELL gives them a wry look and shrugs.

<b>                          CONNELL (CONT'D)
</b>           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.

<b>                          PAULA
</b>           She'll be safe with me.

<b>           MY WEEK WITH MARILYN 109.
</b>
                         
           She looks bitterly at Colin.

<b>                          CUT TO:
</b>
                         

<b>          144 EXT. PARKSIDE HOUSE. NIGHT. 144
</b>
           COLIN walks CONNELL to his car, their feet crunching on the
           gravel.

<b>                          CONNELL
</b>           Well, goodnight then.
           COLIN holds the door open as he gets in.

<b>                          COLIN
</b>           Was she really pregnant?

<b>                          CONNELL
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          145 INT. PARKSIDE HOUSE. MARILYN'S BEDROOM. NIGHT. 145
</b>
           COLIN creeps into the room and sits on the bed. MARILYN is
           awake. She gazes at him, hazy but lucid.

<b>                          MARILYN
</b>           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.

<b>                          MARILYN (CONT'D)
</b>           We have to forget this ever
           happened.

<b>                          COLIN
</b>           I don't want to forget.
           He struggles then suddenly bursts out passionately.

<b>                          COLIN (CONT'D)
</b>           Let me protect you from all
           this...
           She smiles sadly.

<b>          MY WEEK WITH MARILYN 110.
</b>
                         

<b>                          MARILYN
</b>           What do you want to do? Marry me?

<b>                          COLIN
</b>           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.

<b>                          COLIN (CONT'D)
</b>           You could quit. Forget Marilyn
           Monroe, forget Hollywood. Let it
           all go.

<b>                          MARILYN
</b>           This is what I've worked for my
           whole life. I couldn't just give
           it all up.

<b>                          COLIN
</b>           Why not, when it drives you
           crazy?
          Her eyes widen in surprise. A flicker of nervous insecurity
          dulls her expression.

<b>                          MARILYN
</b>           You think I'm crazy?

<b>                          COLIN
</b>           I didn't mean that. I just meant
           you could be happy.

<b>                          MARILYN
</b>           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.

<b>                          COLIN
</b>           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.

<b>                          COLIN (CONT'D)
</b>           You're right, Marilyn. We have to
           forget all this.

<b>                          (MORE)
</b>
<b>           MY WEEK WITH MARILYN 111-
</b>
<b>           112.
</b>
<b>                          COLIN (CONT'D)
</b>           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.

<b>                          MARILYN
</b>           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.

<b>                          CUT TO:
</b>
                         

<b>          146 INT. PINEWOOD STUDIOS. OLIVIER'S DRESSING ROOM. 146
</b>

<b>           DAY.
</b>           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.

<b>                          COLIN
</b>           They're ready for you on set, Sir
           Laurence.

<b>                          OLIVIER
</b>           Marilyn?

<b>                          COLIN
</b>           She's just arrived.

<b>                          OLIVIER
</b>           Only an hour late. Not bad by her
           standards.
           He smiles, then stands up, straightening his uniform.

<b>                          OLIVIER (CONT'D)
</b>           Maybe we will finish this bloody
           film after all.

<b>                          CUT TO:
</b>
                         

<b>          147 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 147
</b>
           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.

<b>          MY WEEK WITH MARILYN 111-
</b>
<b>           112A.
</b>          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.

<b>                          MARILYN (CONT'D)
</b>           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.

<b>                          MARILYN (CONT'D)
</b>           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.

<b>           MY WEEK WITH MARILYN 113.
</b>
                         

<b>          147A INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 147A
</b>
           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.

<b>           MARILYN (AS ELSIE)
</b>           "..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.

<b>                          SYBIL THORNDIKE
</b>           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.

                         

<b>          148 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 148
</b>
           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 -

<b>                          ORTON
</b>           Very quiet, studio! Going for a
           take.
           The big overhead lights switch on with a series of heavy
           clunks.

<b>                          DENYS
</b>           Camera running! Speed!

<b>           MY WEEK WITH MARILYN 113A.
</b>
                         

<b>                          ORTON
</b>
<b>           ACTION!
</b>           MARILYN looks up, in character as Elsie, her eyes glowing.

<b>           OLIVIER (AS REGENT)
</b>           "My dear..."

<b>           MARILYN (AS ELSIE)
</b>           "I've got a solemn word of warning
           for you."

<b>           OLIVIER (AS REGENT)
</b>           "What's that, my beloved?"

<b>           MARILYN (AS ELSIE)
</b>           "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.

<b>                          ORTON
</b>           Cut! Okay boys and girls, that's a
           wrap!
           There is a smattering of applause from the crew. MARILYN
           leaves the stage.

                         

<b>          148A INT. PINEWOOD STUDIOS. CORRIDOR. DAY. 148A
</b>
           MARILYN walks away from us, down the long corridor, alone.

                         

<b>          149 INT. PINEWOOD STUDIOS. SOUND STAGE. DAY. 149
</b>
           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.

<b>                          MILTON
</b>           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.

<b>                          MILTON (CONT'D)
</b>           A parting gift to each of you from
           Marilyn. Men on the left, ladies on
           the right.

<b>          MY WEEK WITH MARILYN 113B.
</b>
                         
          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.

<b>                          JACOBS
</b>           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".

<b>           MY WEEK WITH MARILYN 114.
</b>
                         

<b>                         150 OMITTED 150
</b>
                         

<b>          150A INT. PINEWOOD STUDIOS. WARDROBE DEPT. DAY. 150A
</b>
           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.

<b>                          COLIN
</b>           Aren't you going to throw yours
           away?

<b>                          LUCY
</b>           Of course not. It's from Marilyn
           Monroe.
           He smiles. She shrugs and turns to leave.

<b>           MY WEEK WITH MARILYN 115.
</b>
                         

<b>                          COLIN
</b>           (After a second)
           Lucy?
           She turns back to look at him.

<b>                          COLIN (CONT'D)
</b>           I was wondering if you're doing
           anything this Saturday.

<b>                          LUCY
</b>           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.

<b>                          LUCY (CONT'D)
</b>           Did she break your heart?

<b>                          COLIN
</b>           (After a second)
           A little.

<b>                          LUCY
</b>           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.

<b>                          LUCY (CONT'D)
</b>           (After a second)
           I might be free on Wednesday.
           COLIN smiles. She goes out. He looks down at Marilyn's
           present in his hands.

<b>                          CUT TO:
</b>
                         

<b>          151 INT. PINEWOOD STUDIOS. HALL. DAY. 151
</b>
           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.

                         

<b>          152 INT. PINEWOOD STUDIOS. VIEWING THEATRE. DAY. 152
</b>
           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.

<b>                          OLIVIER
</b>           "You do look, my son, in a moved
           sort/As if you were dismay'd: be
           cheerful, sir./Our revels now are
           ended.

<b>                          (MORE)
</b>
<b>          MY WEEK WITH MARILYN 116.
</b>
<b>                          OLIVIER (CONT'D)
</b>           These our actors,/As I foretold
           you, were all spirits and/Are
           melted into air, into thin air...

<b>                          COLIN
</b>           Prospero.

<b>                          OLIVIER
</b>
<b>                          (SMILES)
</b>           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.

<b>                          OLIVIER (CONT'D)
</b>           (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.

<b>                          COLIN
</b>           You should tell her that.

<b>                          OLIVIER
</b>           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.

<b>                          OLIVIER (CONT'D)
</b>           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.

<b>                          OLIVIER (CONT'D)
</b>           And now I'm going back to the
           theatre. John Osborne is writing
           a piece for me.

<b>                          COLIN
</b>           I thought you hated all that
           Royal Court stuff.

<b>           MY WEEK WITH MARILYN 117.
</b>
                         

<b>                          OLIVIER
</b>
<b>                          (SMILES)
</b>           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.

<b>                          OLIVIER (CONT'D)
</b>           You've done a good job, boy.
           (Pause) Welcome to the circus.
           He goes out. COLIN looks back up at the projection box.

<b>                          COLIN
</b>           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 -

                         

<b>          152A INT. DOG AND DUCK PUB. DAY 152A
</b>
           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.

<b>                          MARILYN
</b>           Buy a girl a drink?
           COLIN doesn't turn. He recognizes the voice and smiles.

<b>                          COLIN
</b>           Can I get another one of those
           please, Barry?
           BARRY for once is silent, pours a pint. The regulars try not
           to stare.

<b>                          MARILYN
</b>           I didn't want to leave without
           saying goodbye.

<b>           MY WEEK WITH MARILYN 117A.
</b>
                         
           MARILYN hands COLIN a package.

<b>                          MARILYN (CONT'D)
</b>           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

<b>           MOST CHARMING THIRD ASSISTANT DIRECTOR IN THE WORLD
</b>
<b>                          MARILYN (CONT'D)
</b>           Don't forget me.

<b>                          COLIN
</b>           As if I could.

<b>                          MARILYN
</b>           Everyone else on the picture wishes
           they could.

<b>                          COLIN
</b>           Everyone else doesn't understand.
           She smiles, touched.

<b>                          MARILYN
</b>           Be a gentleman and walk me to my
           car?

                         

<b>          152B EXT. DOG & DUCK PUB. DAY 152B
</b>
           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:

<b>                          COLIN
</b>           What's that for?

<b>                          MARILYN
</b>           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.

<b>                          ROGER
</b>           (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.

<b>                          BARRY
</b>           Was that really Marilyn Monroe?

<b>           MY WEEK WITH MARILYN 117B.
</b>
                         

<b>                          COLIN
</b>           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.

<b>                          FADE TO:
</b>
                         

<b>          153 EXT. WARDOUR STREET. LONDON. DAY. 153
</b>
           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.

                         

<b>          154 INT. COLIN'S OFFICE. WARDOUR STREET. DAY. 154
</b>
           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.

<b>                          COLIN
</b>           Any messages?
           THE SECRETARY pushes a piece of paper at him.

<b>                          SECRETARY
</b>           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.

<b>                          COLIN
</b>           (After a moment)
           Did she say anything?

<b>           MY WEEK WITH MARILYN 118.
</b>
                         

<b>                          SECRETARY
</b>           She just asked you to call.
           (Pause) It is a joke, isn't it?
           COLIN stares down at the paper.

<b>                          COLIN
</b>           Probably. (Pause) Book a call as
           soon as you can. Los Angeles,
           California. Brentwood 1890.

<b>                          CUT TO:
</b>
                         

<b>          155 INT. COLIN'S OFFICE. WARDOUR STREET. NIGHT. 155
</b>
           It is late. COLIN stares at the number on the scrap of
           paper.
           The phone rings. He picks it up eagerly.

<b>                          OPERATOR
</b>           Your call to Los Angeles.
           We hear the crackle of the international line. He waits
           anxiously as the ringing continues.

<b>                          CUT TO:
</b>
                         

<b>          155A EXT. LOS ANGELES. MARILYN'S HOUSE. LIVING ROOM. DAY.
</b>

<b>                          155A
</b>           ESTABLISH the luxurious exterior of Marilyn's comfortable
           Brentwood house.

<b>                          CUT TO:
</b>
                         

<b>          156 INT. LOS ANGELES. MARILYN'S HOUSE. LIVING ROOM. 156
</b>

<b>           DAY.
</b>           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.

<b>           MY WEEK WITH MARILYN 119.
</b>
                         

<b>                          MARILYN
</b>
<b>                          (VO)
</b>           "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.

                         

<b>          157 INT. COLIN'S OFFICE. WARDOUR STREET. NIGHT. 157
</b>
           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.

<b>          MY WEEK WITH MARILYN 120.
</b>
                         
          Her face fills the screen.
          Beautiful, timeless -
          Happy.
          HOLD on the image for as long as we dare, then -

<b>           FADE TO BLACK.
</b>
<b>                          THE END
</b>
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	<td><h1>My Week with Marilyn</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=Adrian Hodges" title="Scripts by Adrian Hodges">Adrian Hodges</a><br>
    	<b>Genres</b> : &nbsp;&nbsp;<a href="/genre/Drama" title="Drama Scripts">Drama</a><br><br><br>
		
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Why did olivier become frustrated with Marilyn?
Why did olivier become frustrated with Marilyn ?
She was late for her read-through.
She was late for her read-through .
She was late for the read-through
She was late for the read-through