이 까페 는 링크 를 싫어하 기 에 직접 올립니다 . 줏 었 어요 ^ ^:~ NOTTING HILLScreenplay by Richard CurtisEXT . STREET - DAYMix through to William , 35 , relaxed , pleasant , informal . Wefollow him as he walks down Portobello Road , carrying a load ofbread . It is spring . WILLIAM ( V . O . ) Of course , I ' ve seen her films andalways thought she was , well , fabulous -- but , you know , million miles from the world I livein . Which is here -- Notting Hill -- not a bad place to be . .. EXT . PORTOBELLO ROAD - DAYIt ' s a full fruit market day . WILLIAM ( V . O . ) There ' s the market on weekdays , selling every fruit and vegetableknown to man . .. EXT . PORTOBELLO ROAD - DAYA man in denims exits the tattoo studio . WILLIAM ( V . O . ) The tattoo parlor -- with a guyoutside who got drunk and now can ' tremember why he chose ' I Love Ken '... EXT . PORTOBELLO ROAD - DAYWILLIAM ( V . O . ) The racial hair - dressers whereeveryone comes out looking like theCookie Monster , whether they likeit or not . .. Sure enough , a girl exits with a huge threaded blue bouffant . EXT . PORTOBELLO ROAD - SATURDAYWILLIAM ( V . O . ) Then suddenly it ' s the weekend , andfrom break of day , hundreds of stallsappears out of nowhere , fillingPortobello Road right up to NottingHill Gate . .. A frantic crowded Portobello market . WILLIAM ( V . O . ) . .. and thousands of people buymillions of antiques , some genuine . .. The camera finally settles on a stall selling beautiful stainedglass windows of various sizes , some featuring biblical scenesand saints . WILLIAM ( V . O . ) . .. and some not so genuine . EXT . GOLBORNE ROAD - DAYWILLIAM ( V . O . ) And what ' s great is that lots offriends have ended up in this part ofLondon -- that ' s Tony , architectturned chef , who recently investedall the money he ever earned in a newrestaurant . .. Shot of Tony proudly setting out a board outside his restaurant , the sign still being painted . He receives and approves a hugefresh salmon . EXT . PORTOBELLO ROAD - DAYWILLIAM ( V . O . ) So this is where I spend my daysand years -- in this small village inthe middle of a city -- in a housewith a blue door that my wife and Ibought together . .. before she leftme for a man who looked like HarrisonFord , only even handsomer . .. We arrive outside his blue - doored house just off Portobello . WILLIAM ( V . O . ) . .. and where I now lead a strangehalf - life with a lodger called . .. INT . WILLIAM ' S HOUSE - DAYWILLIAMSpike ! The house has far too many things in it . Definitely two - bachelor flat . Spike appears . An unusual looking fellow . He has unusualhairs , unusual facial hair and an unusual Welsh accent : verywhite , as though his flesh has never seen the sun . He wearsonly shorts . SPIKEEven he . Hey , you couldn ' t help mewith an incredibly importantdecision , could you ? WILLIAMThis is important in comparison to , let ' s say , whether they shouldcancel third world debt ? SPIKEThat ' s right -- I ' m at last going outon a date with great Janine and I justwant to be sure I ' ve picked the rightt - shirt . WILLIAMWhat are the choices ? SPIKEWell . .. wait for it . ..( He pulls on a t - shirt ) First there ' s this one . .. The t - shirt is white with a horrible looking plastic aliencoming out of it , jaws open , blood everywhere . It says ' I LoveBlood . ' WILLIAMYes -- might make it hard to strike areally romantic note . SPIKEPoint taken . He heads back up the stairs . .. talks as he changes . .. SPIKEI suspect you ' ll prefer the next one . And he re - enters in a white t - shirt , with a large arrow , pointing down to his flies , saying , " Get It Here . ' WILLIAMYes -- she might think you don ' t havetrue love on your mind . SPIKEWouldn ' t want that . ..( and back up he goes ) -- just one more . He comes down wearing it . Lots of hearts , saying , ' You ' re themost beautiful woman in the world . ' WILLIAMWell , yes , that ' s perfect . Welldone . SPIKEThanks . Great . Wish me luck . WILLIAMGood luck . Spike turns and walks upstairs . Revealing that on the back ofthe t - shirt , also printed in big letters , is written ' Fancy afuck ? ' EXT . PORTOBELLO ROAD - DAYWILLIAM ( V . O . ) And so it was just another hopelessWednesday , as I set off through themarket to work , little suspectingthat this was the day which wouldchange my life forever . This iswork , by the way , my little travelbook shop . .. A small unpretentious store . .. named ' The Travel Book Co . ' WILLIAM ( V . O . ) . .. which , well , sells travel books -- and , to be frank with you , doesn ' talways sell many of those . William enters . INT . THE BOOKSHOP - DAYIt is a small shop , slightly chaotic , bookshelves everywhere , with little secret bits round corners with even more books . Martin , William ' s sole employee , is waiting enthusiastically . He is keen , an uncrushable optimist . Perhaps without cause . A few seconds later , William stands gloomily behind the desk . WILLIAMClassic . Absolutely classic . Profit from major sales push -- minus 347 pound . MARTINShall I go get a cappuccino ? Ease thepain . WILLIAMYes , better get me a half . All I canafford . MARINI get you logic . Demi - capu coming up . He salutes and bolts out of the door -- as he does , a womanwalks in . We only just glimpse her . Cut to William working . He looks up casually . And seessomething . His reaction is hard to read . After a pause . .. WILLIAMCan I help you ? It is Anna Scott , the biggest movie star in the world -- here -- in his shop . The most divine , subtle , beautiful woman on earth . When she speaks she is very self - assured and self - contained . ANNANo , thanks . I ' ll just look around . WILLIAMFine . She wanders over to a shelf as he watches her -- and picks out aquite smart coffee table book . WILLIAMThat book ' s really not good -- justin case , you know , browsing turned tobuying . You ' d be wasting your money . ANNAReally ? WILLIAMYes . This one though is . .. verygood . He picks up a book on the counter . WILLIAMI think the man who wrote it hasactually been to Turkey , which helps . There ' s also a very amusing incidentwith a kebab . ANNAThanks . I ' ll think about it . William suddenly spies something odd on the small TV monitorbehind him . WILLIAMIf you could just give me a second . Her eyes follow him as he moves toward the back of the shop andapproaches a man in slightly ill - fitting clothes . WILLIAMExcuse me . THIEFYes . WILLIAMBad news . THIEFWhat ? WILLIAMWe ' ve got a security camera in thisbit of the shop . THIEFSo ? WILLIAMSo , I saw you put that book down yourtrousers . THIEFWhat book ? WILLIAMThe one down your trousers . THIEFI haven ' t got a book down my trousers . WILLIAMRight -- well , then we have somethingof an impasse . I tell you what -- I ' ll call the police -- and , what canI say ? If I ' m wrong about the wholebook - down - the - trousers scenario , Ireally apologize . THIEFOkay -- what if I did have a book downmy trousers ? WILLIAMWell , ideally , when I went back tothe desk , you ' d remove the Cadoganguide to Bali from your trousers , andeither wipe it and put it back , orbuy it . See you in a sec . He returns to his desk . In the monitor we just glimpse , as doesWilliam , the book coming out of the trousers and put back on theshelves . The thief drifts out toward the door . Anna , who hasobserved all this , is looking at a blue book on the counter . WILLIAMSorry about that . .. ANNANo , that ' s fine . I was going tosteal one myself but now I ' ve changedmy mind . Signed by the author , I see . WILLIAMYes , we couldn ' t stop him . If youcan find an unsigned copy . It ' sworth an absolute fortune . She smiles . Suddenly the thief is there . THIEFExcuse me . ANNAYes . THIEFCan I have your autograph ? ANNAWhat ' s your name ? THIEFRufus . She signs his scruffy piece of paper . He tries to read it . THIEFWhat does it say ? ANNAWell , that ' s the signature -- andabove , it says ' Dear Rufus -- youbelong in jail . ' THIEFNice one . Would you like my phonenumber ? ANNATempting but . .. no , thank you . Thief leaves . ANNAI think I will try this one . She hands William a ￡ 20 note and the book he said was rubbish . He talks as he handles the transaction . WILLIAMOh -- right -- on second thoughtsmaybe it wasn ' t that bad . Actually -- it ' s a sort of masterpiece really . None of those childish kebabstories you get in so many travelbooks these days . And I ' ll throw inone of these for free . He drops in one of the signed books . WILLIAMVery useful for fighting fires , wrapping fish , that sort of things . She looks at him with a slight smile . ANNAThanks . And leaves . She ' s out of his life forever . William is a littledazed . Seconds later Martin comes back in . MARTINCappuccino as ordered . WILLIAMThanks . I don ' t think you ' ll believewho was just in here . MARTINWho ? Someone famous ? But William ' s innate natural English discretion takes over . WILLIAMNo . No - one -- no - one . They set about drinking their coffee . MARTINWould be exciting if someone famousdid come into the shop though , wouldn ' t it ? Do you know -- this ispretty incredible actually -- I oncesaw Ringo Starr . Or at least I thinkit was Ringo . It might have beenthat broke from ' Fiddler On The Roof , ' Toppy . WILLIAMTopol . MARTINThat ' s right -- Topol . WILLIAMBut Ringo Starr doesn ' t lookanything like Topol . MARTINNo , well . .. he was quite a long wayaway . WILLIAMSo it would have been neither of them ? MARTINI suppose so . WILLIAMRight . It ' s not a classic anecdotes , is it ? MARTINNot classic , no . Martin shakes his head . William drinks his cappuccino . WILLIAMRight -- want another one ? MARTINYes . No , wait -- let ' s go crazy -- I ' ll have an orange juice . EXT . PORTOBELLO ROAD - DAYWilliam sets off . INT . COFFEE SHOP - DAYWilliam collects his juice in a coffee shop on Wesbourne ParkRoad . EXT . PORTOBELLO ROAD - DAYWilliam swings out of the little shop -- he turns the corner ofPortobello Road and bumps straight into Anna . The orangejuice , in its foam cup , flies . It soaks Anna . ANNAOh Jesus . WILLIAMHere , let me help . He grabs some paper napkins and starts to clean it off -- gettingfar too near her breasts in the panic of it . .. ANNAWhat are you doing ? He jumps back . WILLIAMNothing , nothing . .. Look , I live justover the street -- you could getcleaned up . ANNANo thank you . I need to get my carback . WILLIAMI also have a phone . I ' m confidentthat in five minutes we can have youspick and span and back on the streetagain . .. in the non - prostitute senseobviously . In his diffident ways , he is confident , despite her beinggenuinely annoyed . She turns and looks at him . ANNAOkay . So what does ' just over thestreet ' mean -- give it to me in yards . WILLIAMEighteen yards . That ' s my housethere . He doesn ' t lie -- it is eighteen yards away . She looks down . She looks up at him . INT . WILLIAM ' S HOUSE - CORRIDOR - DAYThey enter . She carries a few stylish bags . WILLIAMCome on in . I ' ll just . .. William runs in further -- it ' s a mess . He kicks some old shoesunder the stairs , bins an unfinished pizza and hides a plate ofbreakfast in a cupboard . She enters the kitchen . WILLIAMIt ' s not that tidy , I fear . And he guides her up the stairs , after taking the bag of booksfrom her . .. WILLIAMThe bathroom is right at the top ofthe stairs and there ' s a phone on thedesk up there . She heads upstairs . INT . KITCHEN - DAYWilliam is tidying up frantically . Then he hears Anna ' s feet onthe stairs . She walks down , wearing a short , sparkling blacktop beneath her leather jacket . With her trainers still on . Heis dazzled by the sight of her . WILLIAMWould you like a cup of tea beforeyou go ? ANNANo thanks . WILLIAMCoffee ? ANNANo . WILLIAMOrange juice -- probably not . He moves to his very empty fridge -- and offers its only contents . WILLIAMSomething else cold -- coke , water , some disgusting sugary drinkpretending to have something to dowith fruits of the forest ? ANNAReally , no . WILLIAMWould you like something to nibble -- apricots , soaked in honey -- quitewhy , no one knows -- because it stopsthem tasting of apricots , and makesthem taste like honey , and if youwanted honey , you ' d just buy honey , instead of apricots , but nevertheless -- there we go -- yours if you wantthem . ANNANo . WILLIAMDo you always say ' no ' to everything ? Pause . She looks at him deep . ANNANo . ( pause ) I better be going . Thanks for yourhelp . WILLIAMYou ' re welcome and , may I also say . .. heavenly . It has taken a lot to get this out loud . He is not a smooth - talking man . WILLIAMTake my one chance to say it . Afteryou ' ve read that terrible book , you ' re certainly not going to becoming back to the shop . She smiles . She ' s cool . ANNAThank you . WILLIAMYes . Well . My pleasure . He guides her toward the door . WILLIAMNice to meet you . Surreal but nice . In a slightly awkward moment , he shows her out the door . Hecloses the door and shakes his head in wonder . Then . .. WILLIAM ' Surreal but nice . ' What was Ithinking ? ... He shakes his head again in horror and wanders back alongthe corridor in silence . There ' s a knock on the door . He movesback , casually . .. WILLIAMComing . He opens the door . It ' s her . WILLIAMOh hi . Forgot something ? ANNAI forgot my bag . WILLIAMOh right . He shoots into the kitchen and picks up the forgotten shoppingbag . Then returns and hands it to her . WILLIAMHere we go . ANNAThanks . Well . .. They stand in that corridor -- in that small space . Second timesaying goodbye . A strange feeling of intimacy . She leansforward and she kisses him . Total silence . A real sense of thestrangers of those lips , those famous lips on his . They part . WILLIAMI apologize for the ' surreal but nice ' comment . Disaster . .. ANNADon ' t worry about it . I thought theapricot and honey business was thereal lowpoint . Suddenly there is a clicking of a key in the lock . WILLIAMOh my God . My flatmate . I ' m sorry -- there ' s no excuse for him . Spike walks in . SPIKEHi . ANNAHi . WILLIAMHi . Spike walks past unsuspiciously and heads into the kitchen . SPIKEI ' m just going to go into the kitchento get some food -- and then I ' m goingto tell you a story that will make yourballs shrink to the size of raisins . And leaves them in the corridor . ANNAProbably best not tell anyone aboutthis . WILLIAMRight . No one . I mean , I ' ll tellmyself sometimes but . .. don ' t worry -- I won ' t believe it . ANNABye . And she leaves , with just a touch of William ' s hand . Spikecomes out of the kitchen , eating something white out of a styrofoam container with a spoon . SPIKEThere ' s something wrong with thisyogurt . WILLIAMIt ' s not yogurt -- it ' s mayonnaise . SPIKEWell , there you go . ( takes another big spoonful ) On for a video fest tonight ? I ' vegot some absolute classic . INT . WILLIAM ' S LIVING ROOM - NIGHTThe lights are off . William and Spike on the couch , just thelight from the TV playing on their faces . Cut to the TV fullscreen . There is Anna . She is in a stylish Woody Allen typemodern romantic comedy , " Gramercy Park , " in black and white . INT . MANHATTAN ART GALLERY - DAYAnna ' s character -- Woody Anna -- is walking around the gallerywith her famous co - star , Michael . They should be the perfectcouple , but there is tension . Anna is not happy . MICHAELSmile . ANNANo . MICHAELSmile . ANNAI ' ve got nothing to smile about . MICHAELOkay in about 7 seconds , I ' m going toask you to marry me . And after a couple of seconds -- wow -- she smiles . INT . WILLIAM ' S LIVING ROOM - NIGHTSPIKEImagine -- somewhere in the worldthere ' s a man who ' s allowed to kissher . WILLIAMYes , she is fairly fabulous . INT . BOOKSTORE - DAYThe next day . William and Martin quietly co - existing . An annoy - ing customer enters . Mr . Smith . MR . SMITHDo you have any books by Dickens ? WILLIAMNo , we ' re a travel bookshop . We onlysell travel books . MR . SMITHOn right . How about that new JohnGrisham thriller ? WILLIAMNo , that ' s a novel too . MR . SMITHOh right . Have you got a copy of ' Winnie the Pooh '? Pause . WILLIAMMartin -- your customer . MARTINCan I help you ? William looks up . At that moment the entire window is suddenlytaken up by the huge side of a bus , obscuring the light -- andentirely covered with a portrait of Anna -- from her new film , " Helix . " INT . WILLIAM ' S HOUSE - CONDOR / LIVING ROOM - DAYWilliam heads upstairs and pauses . Spike coming down , wearingfull body scuba diving gear . SPIKEHey . WILLIAMHi . .. INT . WILLIAM ' S KITCHEN - DAYThe two of them fixing a cup of tea in the kitchen . WILLIAMJust incidentally -- why are youwearing that ? SPIKEAhm -- combination of factors really . No clean clothes . .. WILLIAMThere never will be , you know , unlessyou actually clean your clothes . SPIKERight . Vicious circle . And then I waslike rooting around in your things , and found this , and I thought -- cool . Kind of spacey . EXT . WILLIAM ' S TERRACE - DAYThe two of them on the rooftop terrace , passing the day . William is reading ' The bookseller . ' The terrace is small andthe plants aren ' t great -- but it overlooks London in a ratherwonderful way . Spike still in scuba gear , goggles on . SPIKEThere ' s something wrong with thegoggles though . .. WILLIAMNo , they were prescription , so I couldsee all the fishes properly . SPIKEGroovy . You should do more of thisstuff . WILLIAMSo -- any messages ? SPIKEYeh , I wrote a couple down . WILLIAMTwo ? That ' s it ? SPIKEYou want me to write down all yourmessages ? William closes his eyes in exasperation . WILLIAMWho were the ones you didn ' t writedown from ? SPIKEAhm let ' s see -- ahm . No . Gonecompletely . Oh no , wait . There was -- one from your mum : she said don ' tforget lunch and her leg ' s hurtingagain . WILLIAMRight . No one else ? SPIKEAbsolutely not . Spike looks back and relaxes . SPIKEThough if we ' re going for thisobsessive writing - down - all - messagesthing -- some American girl calledAnna called a few days ago . William freezes -- then looks at Spike . WILLIAMWhat did she say ? SPIKEWell , it was genuinely bizarre . .. she said , hi -- it ' s Anna -- and thenshe said , call me at the Ritz -- andthen gave herself a completelydifferent name . WILLIAMWhich one ? SPIKEAbsolutely no idea . Remembering onename ' s bad enough . .. INT . WILLIAM ' S LIVING ROOM - DAYWilliam on the phone . We hear the formal man at the other end ofthe phone . And then intercut with him . WILLIAMHello . RITZ MAN ( V . O . ) May I help you , sir ? WILLIAMAhm , look this is a very oddsituation . I ' m a friend of AnnaScott ' s -- and she rang me at home theday before yesterday -- and left amessage saying she ' s staying withyou . .. INT . RITZ RECEPTION - DAYRITZ MANI ' m sorry , we don ' t have anyone ofthat name here , sir . WILLIAMNo , that ' s right -- I know that . Shesaid she ' s using another name -- butthe problem is she left the messagewith my flatmate , which was a seriousmistake . INT . WILLIAM ' S LIVING ROOMWILLIAM ( cont ' d ) Imagine if you will the stupidestperson you ' ve ever met -- are youdoing that . ..? Spike happens to be in the foreground of this shot . He ' s read - ing a newspaper . RITZ MANYes , sir . I have him in my mind . WILLIAMAnd then double it -- and that is the -- what can I say -- git I ' m livingwith and he cannot remember . .. SPIKETry ' Flinstone . ' WILLIAM ( to Spike ) What ? SPIKEI think she said her name was ' Flinstone . ' WILLIAMDoes ' Flinstone ' mean anything toyou ? RITZ MANI ' ll put you right through , sir . Flinstone is indeed the magic word . WILLIAMOh my God . He practices how to sound . WILLIAMHello . Hi . Hi . ANNA ( V . O . ) Hi . We hear her voice -- don ' t see her . WILLIAM ( caught out ) Oh hi . It ' s William Thacker . We , ahm I work in a bookshop . ANNA ( V . O . ) You played it pretty cool here , waiting for three days to call . WILLIAMNo , I ' ve never played anything coolin my entire life . Spike , who I ' llstab to death later , never gave me themessage . ANNA ( V . O . ) Oh -- Okay . WILLIAMPerhaps I could drop round for tea orsomething ? ANNA ( V . O . ) Yeh -- unfortunately , things aregoing to be pretty busy , but . .. okay , let ' s give it a try . Four o ' clockcould be good . WILLIAMRight . Great . ( he hangs up ) Classic . Classic . EXT . RITZ - DAYWilliam jumps off a bus and walks toward the Ritz . He carries asmall bunch of roses . INT . RITZ HOTEL - DAYHe approaches the lifts . At the lift , he pushes the button andthe doors open . As he is getting in , William is jointed by ayoung man . His name is Tarquin . WILLIAMWhich floor ? TARQUINThree . William pushes the button . They wait for the doors to close . INT . RITZ CORRIDOR - DAYThe lift lands . William gets out . So does Tarquin . Rooms 30 - 35 are to the left . 35 - 39 to the right . William heads right . So does Tarquin . William is puzzled . He slows down as he approaches room 38 . Sodoes Tarquin . William spots , so does Tarquin . William pointsat the number . WILLIAMAre you sure you . ..? TARQUINYes . WILLIAMOh . Right . He knocks . A bright , well - tailored American girl opens the door . KARENHello , I ' m Karen . Sorry -- thingsare running a bit late . Here ' s thething . .. She hands them a very slick , expensively produced press kits , with the poster picture of Anna , for the film ' Helix . ' INT . THE TRAFALGAR SUITE ANTE - ROOM - DAYA few seconds later -- they enter the main waiting room . Thereare a number of journalists waiting for their audience . KARENWhat did you think of the film ? TARQUINMarvellous . ' Close Encounters ' meets ' Jean De Forette . ' Oscar - winning stuff . They both turn to William for his opinion . WILLIAMI agree . KARENI ' m sorry I didn ' t get down whatmagazines you ' re from . TARQUIN ' Time Out . ' KARENGreat . And you . .. WILLIAM ( seeing it on a coffee table ) ' Horse and Hound . ' The name ' sWilliam Whacker . I think she mightbe expecting me . KARENOkay -- take a seat . I ' ll check . They sit down as Karen goes off . TARQUINYou ' ve brought her flowers ? William goes for the cover - up . WILLIAMNo -- they ' re . .. for my grandmother . She ' s in a hospital nearby . ThoughtI ' d kill two birds with one stone . TARQUINI ' m sorry . Which hospital ? Pause . He ' s in trouble . WILLIAMDo you mind me not saying -- it ' s arather distressing disease and thename of the hospital rather gives itaway . TARQUINOh sure . Of course . KARENMr . Thacker . Saved by the bell . INT . TRAFALGAR SUIT CORRIDOR - DAYKARENYou ' ve got five minutes . He is shown in through big golden doors . Karen stays outside . INT . THE TRAFALGAR SUITE SITTING ROOM - DAYThere Anna is , framed in the window . Glorious . WILLIAMHi . ANNAHello . WILLIAMI brought these , but clearly . .. There are lots of other flowers in the room . ANNAOh no , ho -- these are great . A fair amount of tension . These two people hardly know eachother -- and the first and last time they met , they kissed . WILLIAMSorry about not ringing back . Thewhole two - names concept was totally toomuch for my flatman ' s pea - sizedintellect . ANNANo , it ' s a stupid privacy thing . Ialways choose a cartoon character -- last time out , I was Mrs . Bambi . At which moment Jeremy , Karen ' s boss , comes in . A fairly grave , authoritative fifty - year - old PR man consulting a list . JEREMYEverything okay ? ANNAYes , thanks . JEREMYAnd you are from ' Horse and Hound ' magazine ? William nods . ANNAIs that so ? William shrugs his shoulders . Jeremy settles at a little deskin the corner and makes notes . A pause . William feels he has toact the part . They sit in chairs opposite each other . WILLIAMSo I ' ll just fire away , shall I ? Anna nods . WILLIAMRight . Ahm . .. the film ' s great . .. and I just wondered -- whether youever thought of having more . .. horses in it ? ANNAAhm -- well -- we would have liked to -- but it was difficult , obviously , being set in space . WILLIAMObviously . Very difficult . Jeremy leaves . William puts his head in his hands . He was panic . WILLIAMI ' m sorry -- I arrived outside -- theythrust this thing into my hand -- Idon ' t know what to do . ANNANo , it ' s my fault , I thought thiswould all be over by now . I justwanted to sort of apologize for thekissing thing . I seriously don ' tknow what got in to me . I just wantedto make sure you were fine about it . WILLIAMAbsolutely fine about it . Re - enter Jeremy . JEREMYDo remember that Miss Scott is alsokeen to talk about her next project , which is shooting later in the summer . WILLIAMOh yes -- excellent . Ahm -- any horsesin that one ? Or hounds , of course . Ourreaders are equally intrigued by bothspecies . ANNAIt takes place on a submarine . WILLIAMYes . Right . .. But if there were horses , would you be riding them yourself orwould you be getting a stunt horse persondouble sort of thing ? Jeremy exits . WILLIAMI ' m just a complete moron . Sorry . This is the sort of thing that happensin dreams -- not in real life . Gooddreams , obviously -- it ' s a dream tosee you . ANNAAnd what happens next in the dream ? It ' s a challenge . WILLIAMWell , I suppose in the dream scenario . I just . .. ahm , change my personality , because you can do that in dreams , andwalk across and kiss the girl but youknow it ' ll never happen . Pause . Then they move towards each other when . .. Jeremyenters . JEREMYTime ' s up , I ' m afraid . Sorry it wasso short . Did you get what you wanted ? WILLIAMVery neatly . JEREMYMaybe time for one last question ? WILLIAMRight . Jeremy goes out -- it ' s their last seconds . WILLIAMAre you busy tonight ? ANNAYes . They look at each other . Jeremy enters , with another journalistsin row . Anna and William stand and shake hands formally . ANNAWell , it was nice to meet you . Surreal but nice . WILLIAMThank you . You are ' Horse and Hound ' s ' favorite actress . You and BlackBeauty . Tied . INT . TRAFALGAR SUITE CORRIDOR - DAYWilliam exits fairly despondent and heads for the door . Tarquinis in the corridor calling on his mobile phone . TARQUINHow was she ? WILLIAMFabulous . TARQUINWait a minute -- she took yourgrandmother ' s flowers ? William can ' t think his way out of this . WILLIAMYes . That ' s right . Bitch . He turns to go , but is accosted by Karen . KARENIf you ' d like to come with me we canrush you through the others . WILLIAMThe others ? INT . RITZ INTERVIEW ROOM - DAYKARENMr . Thacker ' s from ' Horse and Hound . ' A forty - year - old actor with great presence warmly shakesWilliam ' s hand . MALE LEADPlease to meet you . Did you like thefilm ? WILLIAMAh . .. yes , enormously . MALE LEADWell , fire away . WILLIAMRight , right . Ahm -- did you enjoymaking the film ? MALE LEADI did . WILLIAMAny bit in particular ? MALE LEADWell , you tell me which bit you likedmost -- and I ' ll tell you if I enjoyedmaking it . WILLIAMAhm right , right , I liked the bit inspace very much . Did you enjoymaking that bit ? INT . RITZ INTERVIEW ROOM - DAYSame room same seat , minutes later , with a monolingual foreignactor and an interpreter . WILLIAMDid you identify with the characteryou were playing ? INTERPRETERTe identicaste con el personaje queinterpretabas ? FOREIGN ACTORNo . INTERPRETERNo . WILLIAMAh . Why not ? INTERPRETERPor que no ? FOREIGN ACTORPorque es un robot carnivorepsicopata . INTERPRETERBecause he is playing a psychopathicflesh - eating robot . WILLIAMClassic . INT . RITZ INTERVIEW ROOM - DAYAnd now William is sitting opposite an eleven - year - old Americangirl . WILLIAMIs this your first film ? GIRLNo -- it ' s my 22 nd . WILLIAMOf course it is . Any favorite amongthe 22 ? GIRLWorking with Leonardo . WILLIAMDa Vinci ? GIRLDi Caprio . WILLIAMOf course . And is he your favoriteItalian film director ? INT . RITZ CORRIDOR - DAYWilliam emerges traumatized into the corridor . It is full ofcamera crews . And there is Karen . KARENMr . Thacker ? WILLIAM ( so weary ) Yes ? KARENHave you got a moment ? INT . ANNA ' S SUITE SITTING ROOM - DAYThey knock on her door . ANNA ( V . O . ) Come in . William enters . A certain nervousness . They are alone again . ANNAAhm . That thing I was doing tonight -- I ' m not doing it any more . I toldthem I had to spend the evening withBritain ' s premier equestrianjournalist . WILLIAMOh well , great . Perfect . Oh no -- shittity brickitty -- it ' s my sister ' sbirthday -- shit -- we ' re meant to behaving dinner . ANNAOkay -- fine . WILLIAMBut no , I ' m sure I can get out of it . ANNANo , I mean , if it ' s fine with you , I ' ll , you know , be your date . WILLIAMYou ' ll be my date at my little sister ' sbirthday party . ANNAIf that ' s all right . WILLIAMI ' m sure it ' s all right . My friendMax is cooking and he ' s acknowledgedto be the worst cook in the world , butyou know , you could hide the food inyour handbag or something . ANNAOkay . WILLIAMOkay . INT . MAX AND BELLA ' S KITCHEN / LIVING ROOM - NIGHTBella and Max are in the kitchen . MAXHe ' s bringing a girl ? BELLAMiracles do happen . MAXDoes the girl have a name ? BELLAHe wouldn ' t say . MAXChrist , what is going on in there ? The oven seems to be smoking a little . Then the bell rings . MAX ( cont ' d ) Oh God . It ' s had timing . Max shoots out of the kitchen . INT . MAX AND BELLA ' S CORRIDOR - NIGHTMax heads for the door impatiently . He opens it and turns backwithout looking at William and Anna standing there . MAXCome on in . Vague food crisis . William and Anna move along the corridor to the kitchen . INT . MAX AND BELLA ' S KITCHEN / LIVING ROOM - NIGHTBella is there . BELLAHiya -- sorry -- the guinea fowl isproving more complicated thanexpected . WILLIAMHe ' s cooking guinea fowl ? BELLADon ' t even ask . ANNAHi . BELLAHi . Good Lord -- you ' re the spittingimage of . .. WILLIAMBella -- this is Anna . BELLARight . ( pause ) MAXOkay . Crisis over . He rises from his stove position . WILLIAMMax . This is Anna . MAXHello , Anna ahm . ..( He recognizes her -- the word just falls out ) Scott -- have some wine . ANNAThank you . Door bell goes . INT . MAX AND BELLA ' S CORRIDOR - NIGHTMax opens the door -- it is Honey . MAXHi . She does a little pose , having worn a real party dress . MAXYes , Happy Birthday . They head back along the corridor . MAXLook , your brother has brought thisgirl , and ahm . .. INT . MAX AND BELLA ' S KITCHEN / LIVING ROOM - NIGHTThey enter the kitchen . HONEYHi guys . ( sees Anna ) Oh holy fuck . WILLIAMHun -- this is Anna . Anna -- this isHoney -- she ' s my baby sitter . ANNAHiya . HONEYOh God this is one of those key momentsin life , when it ' s possible you can bereally , genuinely cool -- and totallyand utterly adore you and I thinkyou ' re the most beautiful woman in theworld and more importantly I genuinelybelieve and have believed for sometime now that we can be best friends . What do you think ? ANNAAhm . .. I think that sounds -- you know -- lucky me . Happy Birthday . She hands her a present . HONEYOh my God . You gave me a present . We ' re best friends already . MarryWill -- he ' s a really nice guy andthen we can be sisters . ANNAI ' ll think about it . The front door bell goes . MAXThat ' ll be Bernie . He heads out into the corridor to the front door . INT . MAX AND BELLA ' S CORRIDOR - NIGHTMax opens the door . MAXHello , Bernie . BERNIEI ' m sorry I ' m so late . Bollocksed upat work again , I fear . Millions downthe drain . INT . MAX AND BELLA ' S KITCHEN / LIVING ROOM - NIGHTThey enter the room . MAXBernie -- this is Anna . BERNIEHello , Anna . Delighted to meet you . Doesn ' t recognize her -- turns to Honey . BERNIEHoney Bunny -- happy birthday to you . ( hands her a present ) It ' s a hat . You don ' t have to wearit or anything . INT . MAX AND BELLA ' S KITCHEN / LIVING ROOM - NIGHTA minute or two later -- they are standing , drinking wine beforedinner . Bernie with Anna on their own -- William helping Max inthe kitchen . MAXYou haven ' t slept with her , have you ? WILLIAMThat is a cheap question and the answeris , of course , no comment . MAX ' No comment ' means ' yes . ' WILLIAMNo , it doesn ' t . MAXDo you ever masturbate ? WILLIAMDefinitely no comment . MAXYou see -- it means ' yes . ' Then on to Bernie ' s conversation . BERNIESo tell me Anna -- what do you do ? ANNAI ' m an actress . BERNIESplendid . I ' m actually in the stock - market , so not really similar fields , though I have done some amateur stuff -- P . G . Wodehouse , you know -- farce , all that . ' Ooh -- careful there , vicar . ' Always imagined it ' s apretty tough job , though , acting . I mean the wages are a scandal , aren ' t they ? ANNAWell , they can be . BERNIEI see friends from university -- clever chaps -- been in the businesslonger than you -- they ' re scrapingby on seven , eight thousand a year . It ' s no life . What sort of actingdo you do ? ANNAFilms mainly . BERNIEOh splendid . Well done . How ' s thepay in movies ? I mean , last film youdid , what did you get paid ? ANNAFifteen million dollars . BERNIERight . Right . So that ' s . .. fairlygood . On the high side . .. have youtried the nuts ? MAXRight -- I think we ' re ready . They all move towards the kitchen . ANNA ( to Bella ) I wonder if you could tell me wherethe . ..? BELLAOh , it ' s just down the corridor onthe right . HONEYI ' ll show you . A moment ' s silence as they leave -- then in a split second theothers all turn to William . BELLAQuickly , quickly -- talk very quicklywhat are you doing here with AnnaScott ? BERNIEAnna Scott ? BELLAYes . BERNIEThe movie star ? BELLAYup . BERNIEOh God . Oh God . Oh Goddy God . The horror of his remembered conversation slowly unfolds . Honey re - enters . HONEYI don ' t believe it . I walked into theloo with her . I was still talking whenshe started unbuttoning her jeans . .. She had to ask me to leave . INT . MAX AND BELLA ' S CONSERVATORY - NIGHTA little later . They are sat at dinner . Bella next to Anna . BELLAWhat do you think of the guinea fowl ? ANNA ( whispering ) I ' m a vegetarian . BELLAOh God . INT . MAX AND BELLA ' S CONSERVATORY - NIGHTMoving through the evening -- they are very relaxed , as they eatdinner . A few seconds watching the evening going well -- Annais taking this in -- real friends -- relaxed -- easy , teasing . And there ' s a cake . Honey wears Bernie ' s unsuitable hat . Annawatches William laughing at something and then putting his headin his hands with mock shame . INT . MAX AND BELLA ' S CONSERVATORY - NIGHTCoffee time . MAXHaving you here , Anna , firmlyestablishes what I ' ve long suspected , that we really are the most desperatehot of under - achievers . BERNIEShame ! MAXI ' m not saying it ' s a bad thing , infact , I think it ' s something we shouldtake pride in . I ' m going to give thelast brownie as a prize to the saddestact here . A little pause . Then William turns to Bernie . WILLIAMBernie . BERNIEWell , obviously it ' s me , isn ' t it -- I work in the City in a job I don ' tunderstand and everyone keeps gettingpromoted above me . I haven ' t had agirlfriends since . .. puberty and , well , the long and short of it is , nobody fancies me , and if these cheeksget any chubbier , they never will . HONEYNonsense . I fancy you . Or I didbefore you got so far . MAXYou see -- and unless I ' m much mistaken , your job still pays you rather a lot ofmoney , while Honey here , she earnsnothing flogging her guts out atLondon ' s seediest record store . HONEYYes . And I don ' t have hair -- I ' ve gotfeathers , and I ' ve got funny gogglyeyes , and I ' m attracted to cruel men and . .. no one ' ll ever marry me because myboosies have actually startedshrinking . MAXYou see -- incredibly sad . BELLAOn the other hand , her best friend isAnna Scott . HONEYThat ' s true , I can ' t deny it . Sheneeds me , what can I say ? BELLAAnd most of her limbs work . WhereasI ' m stuck in its thing day and night , in a house full of ramps . And to addinsult to serious injury -- I ' vetotally given up smoking , my favoritething , and the truth is . .. we can ' thave a baby . Dead silence . WILLIAMBella . Bella shrugs her shoulders . Bernie is totally grief - struck . BERNIENo . Not true . .. BELLAC ' est la vie . .. We ' re lucky in lotsof ways , but . .. Surely it ' s worth abrownie . William reaches for her hand . Max breaks the sombre mood . MAXWell , I don ' t know . Look atWilliam . Very u nsuccessfulprofessionally . Divorced . Used tobe handsome , now kind of squidgyaround the edges -- and absolutelycertain never to hear from Anna againafter she ' s heard that his nicknameat school was Floppy . They all laugh . Anna smiles across at William . WILLIAMSo I get the brownie ? MAXI think you do , yes . ANNAWait a minute . What about me ? MAXI ' m sorry ? You think you deserve thebrownie ? ANNAWell . .. a shot at it . WILLIAMYou ' ll have to prove it . This is agreat brownie and I ' m going to fightfor it . State your claim . ANNAWell , I ' ve been on a diet since I wasnineteen , which means basically I ' vebeen hungry for a decade . I ' ve had asequence of not nice boyfriends -- oneof whom hit me : an every time my heartgets broken it gets splashed acrossthe newspapers as entertainment . Meantime , it cost millions to get melooking like this . .. HONEYReally ? ANNAReally -- and one day , not long fromnow . .. While she says this , quiet settles around the table . The thingis -- she sort of means it and is opening up to them . ANNA . .. my looks will go , they ' ll find outI can ' t act and I ' ll become a sadmiddle - aged woman who looks a bit likesomeone who was famous for a while . Silence . .. they all look at her . .. then . MAXNah ! !! Nice try , gorgeous -- but youdon ' t fool anyone . The mood is instantly broken . They all laugh . WILLIAMPathetic effort to hog the brownie . INT . MAX AND BELLA ' S KITCHEN / LIVING ROOM / CORRIDOR - NIGHTAnna and William are leaving . ANNAThat was such a great evening . MAXI ' m delighted . He holds out his hand to shake . She kisses him on the cheek . He stumbles back with joy . ANNAAnd may I say that ' s a gorgeous tie . MAXNow you ' re lying . ANNAYou ' re right . I told you I was badat acting . Max loves this . ANNA ( to Bella ) Lovely to meet you . BELLAAnd you . I ' ll wait till you ' ve gonebefore I tell him you ' re avegetarian . MAXNo ! ANNANight , night , Honey . HONEYI ' m so sorry about the loo thing . I meant to leave but I just . .. look , ring me if you need someone togo shopping with . I know lots ofnice , cheap places . .. not that moneynecessarily . ..( gives up ) nice to meet you . And Honey gives her a huge hug . ANNAYou too -- from now on you are mystyle guru . Anna and William head out . .. Bernie tries to save some dignity . BERNIELove your work . They move to the door and wave goodbye . EXT . MAX AND BELLA ' S HOUSE - NIGHTWilliam and Anna step outside . From inside they hear a massiveand hysterical scream of the friends letting out their truefeelings . William is a little embarrassed . WILLIAMSorry -- they always do that when Ileave the house . The house is in Lansdowne Road , on the edge of Notting Hill . They walk for a moment . A bit of silence . ANNAFloppy , huh ? WILLIAMIt ' s the hair ! It ' s to do with thehair . ANNAWhy is she in a wheelchair ? WILLIAMIt was an accident -- about eighteenmonths ago . ANNAAnd the pregnancy thing -- is that todo with the accident ? WILLIAMYou know , I ' m not sure . I don ' tthink they ' d tried for kids before , as fate would have it . They walk in silence for a moment . Then . .. WILLIAMWould you like to come . .. my house isjust . ..? She smiles and shakes her head . ANNAToo complicated . WILLIAMThat ' s fine . ANNABusy tomorrow ? WILLIAMI thought you were leaving . ANNAI was . EXT . NOTTING HILL GARDEN - NIGHTA little later in the walk . ANNAWhat ' s in there ? They are now walking by a five foot railing , with foliagebehind it . WILLIAMGardens . All these streets roundhere have these mysterious communalgardens in the middle of them . They ' re like little village . ANNALet ' s go in . WILLIAMAh no -- that ' s the point -- they ' reprivate villages -- only the peoplewho live round the edges are allowedin . ANNAYou abide by rules like that ? WILLIAMAhm . .. Her look makes it clear that she is waiting with interest onthe answer to this . WILLIAMHeck no -- other people do -- but notme -- I just do what I want . He rattles the gate , then starts his climb -- but doesn ' t quitemake it , and falls back onto the pavement . .. WILLIAM ( casually ) Whoopsidaisies . ANNAWhat did you say ? WILLIAMNothing . ANNAYes , you did . WILLIAMNo , I didn ' t . ANNAYou said " whoopsidaisies . " Tiny pause . WILLIAMI don ' t think so . No one has said " whoopsidaisies , " do they -- I meanunless they ' re . .. ANNAThere ' s no " unless . " No one has said " whoopsidaisies " for fifty years andeven then it was only little girlswith blonde ringlets . WILLIAMExactly . Here we go again . He fails , and unfortunately spontaneously . .. WILLIAMWhoopsidaisies . They look at each other . WILLIAMIt ' s a disease I ' ve got -- it ' s aclinical thing , I ' m taking pills andhaving injections -- it won ' t lastlong . ANNAStep aside . She starts to climb . WILLIAMActually be careful Anna -- it ' sharder than it looks . .. But she ' s already almost over . WILLIAMOh no it ' s not -- it ' s easy . A few seconds later . Anna jumps down into the garden . ANNACome on , Flops . William clambers over with terrible difficulty , dusts himselfoff , and heads towards where she stands . WILLIAMNow seriously -- what in the worldin this garden could make thatordeal worthwhile ? She leans forward -- and , for the firs time since the firsttime -- she kisses him . This time a proper kiss . A tiny pause . WILLIAMNice garden . EXT . MAGIC GARDEN - NIGHTThey walk around the garden . It ' s a moonlit dream . We seethe lights of the houses that surround the garden . They comeacross a single , simple wooden bench . ANNA " For June , who loved this garden -- from Joseph who always sat besideher . " We cut in and see an inscription carved into the wood . Shedoesn ' t read the dates , carved below -- " June Wetherby , 1917 - 1992 . " She is slightly chocked by it . ANNASome people do spend their wholelives together . He nods . They are standing on either side of the bench , looking at each other . The camera glides away from them , upinto the night sky , leaving them alone in the garden . Musicplays . INT . WILLIAM ' S LIVING ROOM - EVENINGWilliam in a towel rushes downstairs , having just had a shower . He shoots past Spike . WILLIAMBollocks , bollocks , bollocks . Haveyou seen my glasses ? SPIKENo , ' fraid not . WILLIAMBollocks . ( still searching -- with no help from Spike ) This happens every time I go to thecinema . Average day , my glasses areeverywhere -- everywhere I look , glasses . But the moment I need themthey disappear . It ' s one of life ' sreal cruelties . SPIKEThat ' s compared to , like , earthquakes in the Far East ortesticular cancer ? WILLIAMOh shit , is that the time ? I have togo . INT . WILLIAM ' S LIVING ROOM / CORRIDOR - EVENINGHe sprints downstairs , now fully dressed . WILLIAM ( not meaning it ) Thanks for your help on the glassesthing . SPIKE ( sincerely ) You ' re welcome . Did you find them ? WILLIAMSort of . INT . CINEMA - NIGHTMid - film . We move across the audience . And there is in themiddle of it , we see Anna , watching the screen , and next toher , William , watching the film keenly , through his scuba - diving goggles . INT . RESTAURANT - NIGHTA very smart Japanese restaurant . We see Anna and Williamsitting , near the end of their meal . ANNASo who left who ? WILLIAMShe left me . ANNAWhy ? WILLIAMShe saw through me . ANNAUh - oh . That ' s not good . We ' ve been aware of the conversation at a nearby table -- now we can hear it . Two slightly rowdy men . LAWRENCENo - No - No ! Give me Anna Scott anyday . William and Anna look at each other . GERALDI didn ' t like that last film of hers . Fast asleep from the moment thelights went down . Again -- Anna reacts . LAWRENCEDon ' t really care what the film arelike . Any film with her in it -- fine by me . GERALDNo -- not my type at all really . Iprefer that other one -- blonde -- sweet looking -- has an orgasm everytime you take her out for a cup ofcoffee . Anna mouths " Meg Ryan . " LAWRENCEMeg Ryan . William and Anna smile -- they ' re enjoying it . GERALDDrug - induced , I hear -- I believeshe ' s actually in rehab as we speak . LAWRENCEWhatever , she ' s so clearly up for it . Anna ' s twinkle fades . LAWRENCEYou know -- some girls , they ' re all " stay away chum " but Anna , she ' sabsolutely gagging for it . Do youknow that in over fifty percent oflanguages the word for " actress " isthe same as the word for " prostitute . " This is horrible . LAWRENCEAnd Anna is your definitive actress -- someone really filthy you can justflip over . .. WILLIAMRight , that ' s it . He gets up and goes round the cover to the men . There are infact four of them , the two meeker men , Gavin and Harry , hangingon the other guys ' witty words . WILLIAMI ' m sorry to disturb you guys but -- LAWRENCECan I help you ? WILLIAMWell , yes , I wish I hadn ' t overheardyour conversation -- but I did and Ijust think , you know . .. He ' s not a very convincing or frightening figure . WILLIAM . .. the person you ' re talking aboutis a real person and I think sheprobably deserves a little bit moreconsideration , rather than havingjerks like you drooling over her . .. LAWRENCEOh sod off , mate . What are you , herdad ? Anna suddenly appears at his side and whips him away withoutbeing recognized . WILLIAMI ' m sorry . ANNANo , that ' s fine . I love that youtried . .. time was I ' d have done thesame . They walk on and then . .. ANNAIn fact -- give me a second . And she walks straight back to their table . ANNAHi . LAWRENCEOh my God . .. ANNAI ' m sorry about my friend -- he ' svery sensitive . LAWRENCENo , look , I ' m sorry . .. ANNAPlease , please -- let ' s just leaveit there . I ' m sure you meant no harm , and I ' m sure it was just friendlybanter and I ' m sure you dicks are allthe size of peanuts . A perfect matchfor the size of your brains . Enjoyyour meal . The tuna ' s really good . And she walks away . Gerald turns to Lawrence . GERALDYou prick . EXT . RITZ ARCADE - NIGHTThey are walking . ANNAI shouldn ' t have done that . Ishouldn ' t have done that . WILLIAMNo , you were brilliantANNAI ' m rash and I ' m stupid and whatam I doing with you ? WILLIAMI don ' t know , I ' m afraid . ANNAI don ' t know either . They have arrived at the end of the arcade . ANNAHere we are . ( pause ) Do you want to come up ? WILLIAM ( he hoes ) There seem to be lots of reasonswhy I shouldn ' t . ANNAThere are lots of reasons . Do youwant to come up ? His look says yes . ANNAGive me five minutes . He watches her go -- and stands in the street . Music plays . INT . RITZ CORRIDOR / ANNA ' S SUITE - NIGHTWilliam coming along the hotel corridor . He knocks on thedoor . ANNAHiya . There ' s something slightly angry . He doesn ' t notice . WILLIAMHi . He kisses her gently on the cheek . WILLIAMTo be able to do that is such awonderful thing . ANNA ( pause ) You ' ve got to go . WILLIAMWhy ? ANNABecause my boyfriend , who I thoughtwas in America , is in fact in thenext room . WILLIAMYour boyfriend ? He is duly shocked . She ' s trying to be calm . ANNAYes . .. JEFF ( V . O . ) Who is this ? Jeff drifts into view behind . He is a very famous film star andlooks the part -- well built , very handsome . Unshaved , he hasmagic charm , whatever he says . Over a t - shirt , he wears ashirt , which he unbuttons as he talks . WILLIAMAhm . .. room service . JEFFHow you doing ? I thought you guysall wore those penguin coats . WILLIAMWell , yes -- usually -- I ' d justchanged to go home -- but I thoughtI ' d just deal with this final call . JEFFOh great . Could you do me a favorand try to get us some really coldwater up here . WILLIAMI ' ll see what I can do . JEFFStill , not sparkling . WILLIAMAbsolutely . Ice cold still water . JEFFUnless it ' s illegal in the UK toserve liquids below room temperature : I don ' t want you going to jail justto satisfy my whims . .. WILLIAMNo , I ' m sure it ' ll be fine . JEFFAnd maybe you could just adios thedishes and empty the trash . WILLIAMRight . And he does just that . Scoops up the two used plates and headsto the bin . ANNAReally -- don ' t do that -- I ' m surethis is not his job . JEFFI ' m sorry . Is this a problem ? WILLIAMAh -- no . It ' s fine . JEFFWhat ' s your name ? WILLIAMAhm . .. Bernie . Jeff slips him a fiver . JEFFThank you , Bernie . ( to Anna ) Hey -- nice surprise , or nastysurprise ? ANNANice surprise . He kisses her . JEFFLiar . ( to William ) She hates surprises . What are youordering ? ANNAI haven ' t decided . JEFFWell , don ' t over - do it . I don ' t wantpeople saying . " There goes thatfamous actor with the big , fatgirlfriend . " He wanders off taking off his t - shirt . WILLIAMI better leave . Anna just nods . WILLIAM -- this is a fairly strange realityto be faced with . To be honest , Idon ' t realize . .. ANNAI ' m sorry . .. I don ' t know what tosay . WILLIAMI think good bye is traditional . INT . RITZ CORRIDOR - NIGHTWilliam walks away . EXT . RITZ - NIGHTWilliam walks down the arcade outside the hotel . He isstunned . EXT . LONDON BUS - NIGHTWilliam sits alone on a bus . We see him through the sidewindow . As it drives away , we see that the whole back of thebus is taken up with a huge picture of Anna . INT . WILLIAM ' S BEDROOM - NIGHTHe gets into his room and sits on the bed . INT . SPACESHIP - NIGHTSpace Anna , in the very hi - tech environment and a seriousmoods , fastens the last claps on her uniform . She takes ahelmet type thing , and places it on her head . INT . CONNECT CINEMA - NIGHTCut round to the Coronet cinema where this film is showing . It ' s not full . The camera moves and finds , sitting on hisown . .. William . Just watching . We see a momentous flash oflight from the screen explode , reflected in his eye . INT . WILLIAM ' S LIVING ROOM - EVENINGWilliam is looking out the window , lost in thought . Spikeenters . SPIKECome on -- open up -- this is me -- Spikey -- I ' m in contact with somequite important spiritual vibrators . What ' s wrong ? Spike settles on the arm of a chair . William decides to openup a bit . .. WILLIAMWell , okay . There ' s this girl . .. SPIKEAha ! I ' d been getting a female vibe . Good . Speak on , dear friend . WILLIAMShe ' s someone I just can ' t -- andit ' s as if I ' ve taken love - heroin -- and now I can ' t even have it again . I ' ve opened Pandora ' s box . Andthere ' s trouble inside . Spike nods thoughtfully . SPIKEYeh . Yeh . .. tricky . .. tricky . .. Iknew a girl at school called Pandora . .. never got to see her box though . He roars with laughter . William smiles . WILLIAMThanks . Yes -- very helpful . INT . TONY ' S RESTAURANT - NIGHTOnly two tables are being used . William and his friends areon their first course . Bernie reads an " Evening Standard , " with a picture of Anna and left at Heathrow Airport . MAXYou didn ' t know she had a boyfriend ? WILLIAMNo -- did you ? Their looks make it obvious that everyone did . WILLIAMBloody hell , I can ' t believe it -- my whole life ruined because I don ' tread " Hello " magazine . MAXLet ' s face facts . This was always ano - go situation . Anna ' s a goddessand you know what happens to moralswho get involved with the gods . WILLIAMBuggered ? MAXEvery time . But don ' t despair -- Ithink I have the solution to yourproblems . WILLIAMReally ? They all look to him for wise words . MAXHer name is Tessa and she works inthe contracts department . The hair , I admit , is unfashionable frizzy -- but she ' s as bright as a button andkisses like a nymphomaniac on deathrow . Apparently . INT . MAX AND BELLA ' S KITCHEN / LIVING ROOM - NIGHTThe kitchen . William is looking uneasy . A doorbell rings . MAXNow -- try . William nods . Max heads off to the door . We stay with William -- and just hear the door open and a voice come down thecorridor . TESSA ( V . O . ) I got completely lost -- it ' s realdifficult , isn ' t it ? Everything ' sgot the word ' Kensington ' in it -- Kensington Park Road , KensingtonGardens , Kensington bloody ParkGardens . .. They reach the kitchen . Tessa is a lush girl with a huge hair . MAXTessa -- this is Bella my wife . TESSAOh hello , you ' re in a wheelchair . BELLAThat ' s right . MAXAnd this is William . TESSAHello William . Max has told meeverything about you . WILLIAM ( frightened ) Has he ? TESSAOh yes please . Come on , Willie , let ' sget sloshed . She turns to take the wine and William has a split second to senda message of panic to Bella . She agrees -- it ' s bad . INT . MAX AND BELLA ' S KITCHEN / CONSERVATORY - NIGHTMax walks over to the table . Honey , Bella , William and anothergirl . MAXKeziah -- some woodcock ? KEZIAHNo , thank you -- I ' m a fruitarian . MAXI don ' t realize that . It is left to William , who has been set up here , to fill thepause . WILLIAMAnd ahm -- what ' s a fruitarian exactly ? KEZIAHWe believe that fruits and vegetableshave feels so we think cooking iscruel . We only eat things that haveactually fallen from the tree or bush -- that are , in fact , dead already . WILLIAMRight . Right . Interesting stuff . ( pause ) So these carrots . .. KEZIAHHave been murdered , yes . WILLIAMMurdered ? Poor carrots . How beastly . INT . MAX AND BELLA ' S CONSERVATORY - NIGHTTime for coffee and chocolates . Beside William sits the final , perfect girl . She is Rosie , quite young , smartly dressed , open - hearted . It is just Max and William and Bella and her . ROSIEDelicious coffee . MAXThank you . I ' m sorry about the lamb . ROSIENo -- I thought it was really , you know , interesting . WILLIAMInteresting means inedible . ROSIEReally inedible -- yes that ' s right . They all laugh . It ' s going very well . INT . MAX AND BELLA ' S CORRIDOR - NIGHTWilliam is with Rosie by the door -- just about to say goodbye . ROSIEMaybe we ' ll meet again some time . WILLIAMYes . That would be . .. great . She kisses him gently on the cheek . He opens the door -- shewalks out . He shuts the door quietly and heads back into theliving room . .. INT . MAX AND BELLA ' S LIVING ROOM - NIGHTMax and Bella wait excitedly . MAXWell ? WILLIAMShe ' s perfect , perfect . BELLAAnd ? William makes a gentle , exasperated gesture , then . .. WILLIAMI think you have forgotten . ..( he looks at them ) what an unusual situation you havehere -- to find someone you actuallylove , who ' ll love you -- the chancesare . .. always minuscule . Look at me -- not counting the American -- I ' veonly loved two girls in my whole life , both total disasters . MAXThat ' s not fair . WILLIAMNo really , one of them marries me andthen leaves me quicker than you cansay Indiana Jones -- and the other , who seriously ought to have knownbetter , casually marries my bestfriend . BELLA ( pause ) Still loves you though . WILLIAMIn a depressingly asexual way . BELLA ( pause ) I never fancied you much actually . .. They all roar with laughter . BELLAI mean I loved you -- you were terriblyfunny . But all that kissing my ears . .. WILLIAMOh no -- this is just getting worse . I am going to find myself , 30 yearsfrom now , still on this couch . BELLADo you want to stay ? WILLIAMWhy not -- all that awaits me at homeis a masturbating Welshman . Music starts to play to take us through these silent scenes . INT . MAX AND BELLA ' S LIVING ROOM - NIGHTMax lifts Bella off her couch and carries her upstairs . Mix through -- William sits on the couch downstairs -- eyes wideopen -- thinking . INT . MAX AND BELLA ' S KITCHEN / LIVING ROOM - DAYMorning . Max , all in his suit for the city . .. Bella kisses himgoodbye . William sees this from the kitchen . She is alsodressed for work -- and moves back into the kitchen to pack herbriefcase with law books from the kitchen table . EXT . MAX AND BELLA ' S HOUSE - DAYWilliam emerges from the house , a little ruffled from a nightaway from home , a heads off . EXT . NEWSAGENT - DAYWilliam walks past the newsagent , heading for home . We see , though he doesn ' t , a rack of tabloid papers , all of which seemto have very grainy , grabbed pictures of Annie on their frontpage . Headlines --' Annie Stunned '-- ' It ' s Definitely Her ! ' and ' Scott of Pantartica . ' INT . WILLIAM ' S BATHROOM - DAYWilliam is shaving . The bell goes . He heads out to answer it . EXT . / INT . WILLIAM ' S HOUSE - DAYWilliam arrives at the door and opens it . There stands a dark - glassed Anna . ANNAHi . Can I come in ? WILLIAMCome in . She moves inside . Her hair is a mess -- her eyes are tired . Nothing idealized . INT . LIVING ROOM - DAYThe two of them . ANNAThey were taken years ago -- I knowit was . .. well , I was poor and ithappens a lot -- that ' s not an excuse -- but to make things worse , it nowappears someone was filming me aswell . So what was a stupid photo - shoot now looks like a porno film . And well . .. the pictures have beensolid and they ' re everywhere . William shakes his head . ANNAI don ' t know where to go . The hotelis surrounded . WILLIAMThis is the place . ANNAThank you . I ' m just in London for twodays -- but , with your papers , it ' s theworse place to be . She ' s very shaken . ANNAThese are such horrible pictures . They ' re so grainy . .. they make melook like . .. WILLIAMDon ' t think about it . We ' ll sort itout . Now what would you like -- tea . .. bath . ..? ANNAA bath would be great . INT . WILLIAM ' S CORRIDOR - DAYSpike enters through the front door . William doesn ' t hear him . Spike is reading newspapers with the Anna pictures in it . SPIKEChrist alive . .. brilliant . .. fantastic . ... magnificent . .. He heads up the stairs . Opens the bathroom door , walks in . INT . WILLIAM ' S BATHROOM - DAYSpike heads for the toilet -- undoes his zip . .. ANNAYou must be Spike . She ' s in the bath . Spike turns in shock -- and sidles out of thebathroom . INT . WILLIAM ' S CORRIDOR - DAYSpike calms himself down . He then opens the bathroom dooragain -- and looks in . INT . WILLIAM ' S BATHROOM - DAYAnna is still lying low in the bath . ANNAHi . SPIKEJust checking . INT . CORRIDOR - DAYSpike comes back out into the corridor . Looks to heaven . SPIKEThank you , God . INT . WILLIAM ' S KITCHEN - DAYWilliam and Anna at the kitchen table , eating toast . ANNAI ' m really sorry about last time . Hejust flew in -- I had no idea -- in fact , I had no idea if he ' d ever fly in again . WILLIAMNo , that ' s fine . It ' s not often onehas the opportunity to adios the platesof a major Hollywood star . It was athrill for me . ( she smiles . Pause ) How is he ? ANNAI don ' t know . It got to the point whereI couldn ' t remember any of the reasonsI loved him . And you . .. and love ? WILLIAMWell , there ' s a question -- withoutan interesting answer . ANNAI have thought about you . WILLIAMOh no no -- no . He doesn ' t think she has to talk about this . ANNAJust anytime I ' ve tried to keepthings normal with anyone normal -- it ' s been a disaster . WILLIAMI appreciate that absolutely . ( changing subject tactfully ) Is that the film you ' re doing ? ANNAYes -- start in L . A . on Tuesday . WILLIAMWould you like me to take you throughyour lines ? ANNAWould you ? It ' s all talk , talk , talk . WILLIAMHand it over . Basic plot ? ANNAI ' m a difficult but brilliant juniorofficer who in about twenty minuteswill save the world from nucleardisaster . WILLIAMWell done you . EXT . TERRACE - DAYA little later . They ' re in the thick of the script . WILLIAM ' Message from command . Would you likethem to send in the HKs ? ' ANNA ' No , turn over 4 TRS ' s and tell them weneed radar feedback before the KFT ' sreturn at 19 hundred -- then inform thePentagon that we ' ll be needing blackstar cover from ten hundred through 12 . 15 ' -- and don ' t you dare say oneword about how many mistakes I made inthat speech or I ' ll pelt you witholives . WILLIAM ' Very well , captain -- I ' ll pass thaton straightaway . ' ANNA ' Thank you . ' How many mistake did Imake ? WILLIAMEleven . ANNADamn . ' And Wainwright . ..' WILLIAMCartwright . ANNA ' Cartwright , Wainwright , whateveryour name is , I promised little JimmyI ' d be home for his birthday -- couldyou get a message through that I maybe a little late . ' WILLIAM ' Certainly . And little Johnny ? ' ANNAMy son ' s name is Johnny ? WILLIAMYup . ANNAWell , get a message through to himtoo . WILLIAMBrilliant . ( the scene ' s over ) Word perfect I ' d say . ANNAWhat do you think ? WILLIAMGripping . It ' s not Jane Austen , it ' sNot Henry James , but it ' s gripping . ANNAYou think I should do Henry Jamesinstead ? WILLIAMI ' m sure you ' d be great in Henry James . But , you know -- this writer ' s prettydamn good too . ANNAYes -- I mean -- you never get anyonein ' Wings of a Dove ' having the nerveto say ' inform the Pentagon that weneed black star over . ' WILLIAMAnd I think the book is the poorer forit . Annie smiles her biggest smile of the day . He is helping . INT . WILLIAM ' S DINING ROOMAnna and William . Sat down at table . There ' s a picturehanging on the wall behind . ANNAI can ' t believe you have that pictureon your wall . It is a picture of a Chagall painting of a floating weddingcouple , with a goat as company . WILLIAMYou like Chagall ? ANNAI do . It feels like how being in loveshould be . Floating through a darkblue sky . WILLIAMWith a goat playing a violin . ANNAYes -- happiness wouldn ' t be happinesswithout a violin - playing goat . Spike enters with three pizzas . SPIKEVoila . Carnival Calypso , for theQueen of Notting Hill -- pepperoni , pineapple and a little morepepperoni . ANNAFantastic . WILLIAMI don ' t mention that Anna ' s avegetarian , did I ? SPIKE ( pause ) I have some parsnip stew from last week . If I just peel the skin off , it ' ll beperfect . INT . WILLIAM ' S LIVING ROOM - NIGHTLater in the evening . William and Anna on their own . They ' resipping coffee . A few seconds of just co - existing . Anna looksup . ANNAYou ' ve got big feet . WILLIAMYes . Always have had . ANNAYou know what they say about men withbig feet ? WILLIAMNo . What ' s that ? ANNABig feet -- large shoes . He laughs . INT . WILLIAM ' S LIVING ROOM - NIGHTA few hours later -- eating ice - cream out of the tub . ANNAThe thing that ' s so irritating is thatnow I ' m so totally fierce when it comesto nudity clauses . WILLIAMYou actually have clauses in yourcontact about nudity . ANNADefinitely . ' You may show the dent atthe top of the artist ' s buttocks -- butneither cheek , in the event of a stuntperson being used , the artist must havefull consultation . ' WILLIAMYou have a stunt bottom ? ANNAI could have a stunt bottom , yes . WILLIAMWould you be tempted to go for aslightly better bottom than your own ? ANNADefinitely . Ths is important stuff . WILLIAMIt ' s one hell of a job . What do you puton your passport ? Profession -- MelGibson ' s bottom . ANNAActually , Mel does his own ass work . Why wouldn ' t he ? WILLIAMThe ice cream or Mel Gibson ' s bottom ? ANNABoth . INT . WILLIAM ' S UPSTAIRS CORRIDOR - NIGHTThey are walking up the stairs -- and stop at the top . ANNAToday has ben a good day . Which underthe circumstances is . .. unexpected . WILLIAMWell , thank you . ( awkward pause ) Anytime -- time for bed . Or . .. sofa - bed . ANNARight . Pause . She leans forward , kisses him gently , then steps intothe bedroom and closes the door . INT . WILLIAM ' S LIVING ROOM - NIGHTWilliam downstairs -- on a sofa -- under a duvet . Eyes open . Thinking . Pause and pause . He waits and waits -- the ultimate ' yearn . ' But nothinghappens . William gets off the sofa decisively . Sits on theside of it . Then gets back in again . Pause , pause , then . .. in the darkness , a stair creaks . There ' ssomeone there . WILLIAM ( to himself ) Oh my God . ..( then . ..) Hello . SPIKEHello . I wonder if I could have alittle word . He drifts round the corner , half - naked . WILLIAMSpike . SPIKEI don ' t want to interfere , or anything . .. but she ' s split up from her boy - friend , that ' s right isn ' t it ? WILLIAMMaybe . SPIKEAnd she ' s in your house . WILLIAMYes . SPIKEAnd you get on very well . WILLIAMYes . SPIKEWell , isn ' t this perhaps a goodopportunity to . .. slip her one ? WILLIAMSpike . For God ' s sake -- she ' s introuble -- get a grip . SPIKERight . Right . You think it ' s thewrong moment . Fair enough . ( pause ) Do you mind if I have a go ? WILLIAMSpike ! SPIKENo -- you ' re right . WILLIAMI ' ll talk you in the morning . SPIKEOkay -- okay . Might be too late , butokay . Back to William thinking again . Dreamy atmosphere . And then . .. more footsteps on the stairs . WILLIAMOh please sod off . ANNAOkay . WILLIAMNo ! No . Wait . I . .. thought you weresomeone else . I thought you were Spike . I ' m delighted you ' re not . The darkness of the living room . We see Anna in the shadow . INT . WILLIAM ' S LIVING ROOM - NIGHTA few moments later . William and Anna stand in the middle ofthe room . He kisses her neck . Then her shoulder . What amiracle it is just to be able to touch this girl ' s skin . Thenhe looks at her face . That face . He is suddenly struck by whoit is . WILLIAMWow . ANNAWhat ? WILLIAMNothing . And kisses her . INT . WILLIAM ' S BEDROOM - NIGHTThe middle of the night . They are both sleep -- a yard apart . In sleep , her arm reaches out , touches his shoulder and thenshe wriggles across and re - settles herself , tenderly , rightnext to him . He is not asleep and knows how extraordinary thisall is . INT . WILLIAM ' S BEDROOM - DAYThe morning . WILLIAMIt still strikes me as , well , surreal , that I ' m allowed to see you naked . ANNAYou and every person in this country . WILLIAMOh God yes -- I ' m sorry . ANNAWhat is it about men and nudity ? Particularly breasts -- how can you be sointerested in them ? WILLIAMWell . .. ANNANo seriously . I mean , they ' re justbreasts . Every second person in theworld has got them . .. WILLIAMMore than that actually , when you thinkabout it . You know , Meatloaf has a verynice pair . .. ANNABut . .. they ' re odd - looking . They ' refor milk . Your mum ' s got them . Youmust have seen a thousand of them -- what ' s the fuss about ? WILLIAM ( pause ) Actually , I can ' t think really -- letme just have a quick look . .. He looks under the sheet at her breasts . WILLIAMNo , beats me . She laughs . .. ANNARita Hayworth used to say -- ' they go tobed with Gilda -- they wake up with me . ' Do you feel that ? WILLIAMWho was Gilda ? ANNAHer most famous part -- men went to bedwith the dream -- and they didn ' t likeit when they woke up with the reality -- do you feel that way with me ? WILLIAM ( pause ) You ' re lovelier this morning than youhave ever been . ANNA ( very touched ) Oh . She looks at him carefully . Then leaps out of bed . ANNAI ' ll be back . INT . WILLIAM ' S BEDROOM - MORNINGWilliam on the bed . The door opens . It is Anna with a tray oftoast and tea . ANNABreakfast in bed . Or lunch , or brunch . She bends across . She smiles and sits on the bed . ANNACan I stay a bit longer ? WILLIAMStay forever . ANNADamn , I forgot the jam . The doorbell goes . ANNAYou get the door , I ' ll get the jam . INT . / EXT . WILLIAM ' S CORRIDOR - DAYWilliam heads down the corridor and opens the door . Outsideare hundreds of paparazzi -- an explosion of cameras andquestions , of noise and light . The press seem to fill theentire street . WILLIAMJesus Christ . He comes back inside , snapping the door behind him . Anna is inthe kitchen . ANNAWhat ? WILLIAMDon ' t ask . She heads back the corridor , with no suspicion . ANNAYou ' re up to something . .. She thinks he ' s fooling around . She opens the door , the sameexplosion . In a split second she ' s inside . ANNAOh my God . And they got a photo of youdressed like that ? WILLIAMUndressed like this , yes . ANNAJesus . INT . WILLIAM ' S KITCHEN - DAYAnna is on the phone . Spike is blithely heading downstairs tothe kitchen in just his underpants . SPIKEMorning , daring ones . He does a thumb up to William -- very excited about what he knowswas a ' result . ' ANNA ( on the phone ) It ' s Anna . The press are here . No , there are hundreds of them . Mybrilliant plan was not so brilliantat all . Yeh , I know , I know . Just getme out then . ( she hangs up ) Damnit . She heads upstairs . WILLIAMI wouldn ' t go outside . SPIKEWhy not ? WILLIAMJust take my work for it . The moment William goes upstairs , Spike heads for the frontdoor . EXT . WILLIAM ' S HOUSE - DAYFrom outside -- we see this scrawny bloke in the frame of thedoorway , in his gay underpants . A thousand photos . Spikeposes athletically . INT . WILLIAM ' S CORRIDOR - DAYSpike closes the door and wanders along to a mirror in the hall - way , muttering . SPIKEHow did I look ? Inspects himself . SPIKENot bad . No bad at all . Well - chosenbriefs , I ' d say . Chick love grey . Mmmmm . Nice firm buttocks . INT . WILLIAM ' S BEDROOM - DAYWilliam enters . He ' s unhappy for her . She ' s almost dressed . WILLIAMHow are you doing ? ANNAHow do you think I ' m doing ? WILLIAMI don ' t know what happened . ANNAI do . Your furry friend thought he ' dmake a buck or two telling the paperswhere I was . She ' s pacing . WILLIAMThat ' s not true . ANNAReally ? The entire British press justwoke up this morning and thought ' Hey -- I know where Anna Scott is . She ' s inthat house with the blue door in NottingHill . ' And then go out in your goddamnunderwear . SPIKE ( dropping in ) I went out in my goddamn underwear too . WILLIAMGet out , Spike . ( he does ) I ' m so sorry . ANNAThis is such a mess . I come to you toprotect myself against more crappygossip and now I ' m landed in it allover again . For God ' s sake , I ' ve gota boyfriend . WILLIAMYou do ? It ' s a difficult moment -- defining where they stand . ANNAAs far as they ' re concerned I do . Andnow tomorrow there ' ll be pictures ofyou in every newspapers from here toTimbuktu . WILLIAMI know , I know -- but . .. just -- let ' sstay calm . .. ANNAYou can stay calm -- it ' s the perfectsituation for you -- minimum input , maximum publicity . Everyone , you everbump into will know . ' Well done you -- you slept with that actress -- we ' veseen the pictures . ' WILLIAMThat ' s spectacularly unfair . ANNAWho knows , it may even help business . Buy a boring book about Egypt from theguy who screwed Anna Scott . She heads out . INT . STAIRS / LIVING ROOM - DAYWILLIAMNow stop . Stop . I beg you -- calm down . Have a cup of tea . ANNAI don ' t want a goddamn cup of tea . Iwant to go home . The doorbell goes . WILLIAMSpike , check who that is . .. and forGod ' s sake put some clothes on . Spike leans merrily out of the window . SPIKELooks like a chauffeur to me . INT . WILLIAM ' S KITCHEN / CORRIDOR - DAYThey move from the kitchen into the corridor . ANNAAnd remember -- Spike owes you anexpensive dinner . Or holiday -- depending if he ' s got the brains to getthe going rate on betrayal . WILLIAMThat ' s not true . And wait a minute . .. this is crazy behavior . Can ' t we justlaugh about this ? Seriously -- in thehuge sweep of things , this stuffdoesn ' t matter . SPIKEWhat he ' s going to say next is -- thereare people starving in the Sudan . WILLIAMWell , there are . And we don ' t need togo anywhere near that far . My bestfriend slipped -- she slipped down - stairs , cracked her back and she ' s in awheelchair for the rest of her life . All I ' m asking for is a normal amountof perspective . ANNAYou ' re right : of course , you ' re right . It ' s just that I ' ve dealt with thisgarbage for ten years now -- you ' ve hadit for ten minutes . Our perspective aredifferent . WILLIAMI mean -- today ' s newspapers will belining tomorrow ' s waste paper bins . ANNAExcuse me ? WILLIAMWell , you know -- it ' s just one day . Today ' s papers will all have beenthrown away tomorrow . ANNAYou really don ' t get it . This storygets filed . Every time anyone writesanything about me -- they ' ll dig upthese photos . Newspapers last forever . I ' ll regret this forever . He takes this in . That ' s the end . WILLIAMRight . Fine ! I will do the opposite , if it ' s all right by you -- and always beglad you came . But you ' re right -- youprobably better go . She looks at him . The doorbell goes again . She opens the door . Massive noise and photos . Outside are her people , includingKaren , a chauffeur , two bodyguards . And then the door is shutand they ' re all gone . Silence . INT . WILLIAM ' S KITCHEN / CORRIDOR - DAYSpike and William sitting there . Pause . WILLIAMWas it you ? SPIKEI suppose I might have told one or twopeople down the pub . WILLIAMRight . He puts his head in his hands . It ' s over now . EXT . LONDON - DAYAs full , sad music plays -- William begins to walk throughNotting Hill . This walk takes six months . .. as he walks , the seasons actuallyand magically change , from summer , through autumn and winter , back into spring . .. First it is summer -- summer fruits and flowers -- a six - monthpregnant woman -- Honey with another leather - jacket boyfriend . As he walks on the rain starts to fall -- he turns up his coatcollar -- umbrellas appear . Followed by winter coats -- chestnuts roasting -- Christmas trees on side and the first hintof snow . Then he comes to Blenheim Crescent , which is startling snowscape , for the hundred yard , right across Ladbroke Grove . By the time he reaches the purple cafe , the snow is melting andin a few yards , it is spring again . He passes Honey again -- arguing with her boyfriend , walking away tearful . Then turnspast ' the pregnant woman ' -- now holding her three - month baby . The camera holds on her . INT . BOOKSHOP - DAYA grey day in the bookshop . Martin and William . As ever . Afeeling that things in there ever change . Ten seconds pass . Honey rushes in . Spike , still feeling indisgrace , comes with her but lingers in the doorway . HONEYHave we got something for you . Something which will make you love me somuch you ' ll want to hug me every singleday for the rest of my life . WILLIAMBlimey . What ' s that ? HONEYThe phone number of Anna Scott ' s agentin London and her agent in New York . You can ring her . You think about herall the time -- now you can ring her ! WILLIAMWell , thanks , that ' s great . HONEYIt is great , isn ' t it . See you tonight . Hey , Marty -- sexy cardy . And she rushes out . William looks at the piece of paper , foldsit and then places it gently in the garbage bin . INT . TONY ' S RESTAURANT - NIGHTBella bangs a spoon on a wine bottle . All the friends aregathered in the restaurant . BELLAI have a little speech to make -- I won ' tstand up because I can ' t . .. be bothered . Exactly a year ago today , this man herestarted the finest restaurant in London . TONYThank you very much . BELLAUnfortunately -- no one ever came to eathere . TONYA tiny hiccough . BELLAAnd so much face the fact that from nextweek , we have to find somewhere near toeat . Tony ' s brave face breaks . The dream is over . BELLAI just want to say to Tony -- don ' t takeit personally . The more I think aboutthings , the more I see no rhyme or reasonin life -- no one knows why some thingswork out , and some things don ' t -- whysome of us get lucky -- and some of us . .. BERNIE . .. get fired . BELLANo ! BERNIEYes , they ' re shifting the whole outfitmuch more towards the trading side -- and of course . ..( he owns up ) I was total crap . They ' re all rather stunned . TONYSo we go down together ! A toast toBernie -- the worst stockbroker in thewhole world ! They toast him . HONEYSince it ' s an evening of announcements . .. I ' ve also got one , Ahm . .. I ' ve gotengaged . Total bewilderment from the others . HONEYI ' ve found myself a nice , slightly oddlooking bloke who I know is going tomake me happy for the rest of my life . Special cut to Bernie -- the shot shows he had special feelingsfor Honey . WILLIAMWait a minute -- I ' m your brother and Idon ' t know anything about this . MAXIs it someone we know ? HONEYYes . I will keep you informed . As she sits down , Honey leans toward Spike and whispers . HONEYBy the way -- it ' s you . SPIKEMe ? HONEYYes . What do you think ? SPIKEWell , yes . Groovy . MAXAny more announcements ? WILLIAMYes -- I feel I must apologize toeveryone for my behavior for the lastsix months . I have , as you know , beenslightly down in the mouth . MAXThere ' s an understatement . There aredead people on better form . WILLIAMBut I wish to make it clear I ' ve turneda corner and henceforward intend to beimpressively happy . INT . TONY ' S RESTAURANT - NIGHTTwo hours later . They ' ve had a very good time . There ' s been achocolate cake . Lots of alcohol . Tony is playing ' Blue Moon ' on the piano , and Bernie joins him , singing . At one table Bella and Honey sit -- beer and wine on the table . BELLAI ' m really horribly drunk . Elsewhere , Max an William are relaxed together . MAXSo -- you ' ve laid the ghost . WILLIAMI believe I have . MAXDon ' t give a damn about the famous girl . WILLIAMNo , don ' t think I do . MAXWhich means you won ' t be distracted bythe fact that she ' s back in London , grasping her Oscar , and to be foundfilming most days on Hampstead Heath . He puts down a copy of the ' Evening Standard ' with a picture ofAnna on its cover . WILLIAM ( immediate gloom ) Oh God no . MAXSo not over her , in fact . EXT . HAMPSTEAD HEATH - DAYCut to the wide sweep of Hampstead Heath . William entirelyalone . He marches up a hill . .. goes over the crest of it -- andsees a huge film crew and hundreds of extras in front of theradiant white of Kenwood House , with its lawn and its lake . EXT . KENWOOD HOUSE - DAYNow closer to the house , William approaches a barrier -- wherehe is himself approached . SECURITYCan I help you ? WILLIAMYes -- I was looking for Anna Scott . .. SECURITYDoes she know you ' re coming ? WILLIAMNo , no . She doesn ' t . SECURITYI ' m afraid I can ' t really let youthrough then , sir . WILLIAMOh right . I mean , I am a friend -- I ' mnot a lunatic but -- no , you basically . .. SECURITY . .. can ' t let you through . At that moment -- thirty yards away , William sees trailer dooropen . Out of it comes Anna -- looking extraordinary -- in avelvet dress ; full , beautiful make - up ; rich , extravagant hair . She has a necessary cluster of people about her . Hair , make - up , costume and the third assistant who has collected her . She walks a few yards , and then casually turns her head . Andsees him . Her face registers not jut surprise , certainly not asimple smile . His being there is a complicated thing . Cut back to him . He does a small wave . She pauses as the wholeparaphernalia of the upcoming scene passes between them . Themovie divides them . But then she begins to walk through it , andfollowed by her cluster , she makes her way towards him . Whenshe reaches him , the security guard stands back a pace , and herpeople hold back . She doesn ' t really know what to say . .. ANNAThis is certainly . .. ah . .. WILLIAMI only found out you were hereyesterday . ANNAI was going to ring . .. but . .. I didn ' tthink you ' d want to . .. The third assistant is under pressure . THIRDAnna . She looks around . The poor third is nervous -- and the first isapproaching . ANNA ( to William ) It ' s not going very well -- and it ' sour last day . WILLIAMAbsolutely -- you ' re clearly very busy . ANNABut . .. wait . .. there are things to say . WILLIAMOkay . ANNADrink tea -- there ' s lots of tea . She is swept away , four people touching her hair and costume . KARENCome and have a look . .. EXT . KENWOOD PARK - DAYAs they make towards the set . .. KARENAre you a fan of Henry James ? WILLIAMThis is Henry James film ? EXT . KENWOOD HOUSE - DAYA complicated shot is about to happen -- with waves of extras -- and a huge moving crane . They end up next to the sound desk . KARENThis is Harry -- he ' ll give you a pair ofheadphones so you can hear the dialogue . Harry the sound man is a pleasant , fifty - year - old baldingfellow . He hands him the headphones . HARRYHere we go . The volume control is onthe side . WILLIAMThat ' s great . William , the headphones on , surveys the scene -- the cluster isfull 100 yards from the action , to allow a gracious sweepingwide - shot . He watches Anna . She is with her co - star in theHenry James film -- let ' s call him James . JAMESWe are living in cloudcuckooland -- we ' ll never get this done today . ANNAWe have to . I ' ve got to be in New Yorkon Thursday . JAMESOh , stop showing off . He studies an actress a few yards to the left . JAMESGod , that ' s an enormous arse . ANNAI ' m not listening . JAMESNo , but seriously -- it ' s not fair -- somany tragic young teenagers withanorexia -- and that girl has an arseshe could perfectly well share roundwith at least ten other women -- andstill be beg - bottomed . ANNAI said I ' m not listening -- and I think , looking at something that firm , you andyour droopy little excuse for an ' arse ' would be well - advised to keep quiet . Back by the desk , William is listening and laughs . That ' s hisgirl . Anna prepares . ANNASo I ask you when you ' re going to telleveryone , and you say . ..? JAMES ' Tomorrow will be soon enough . ' ANNAAnd then I . .. right . JAMESWho was that rather difficult chap youwere talking to on the way up ? ANNAOh . .. no one . .. no one . Just some . .. guy from the past . I don ' t know whathe ' s doing here . But of an awkwardsituation . EXT . HAMPSTEAD HEATH - DAYCut back to William -- he has heard . WILLIAMOf course . He takes off the headphones and puts them gently down . WILLIAMThank you . HARRYAnytime . William walks away . The moment of hope is gone . He couldn ' thave had a clear reminder . INT . WILLIAM ' S LIVING ROOM - EVENINGWilliam is emptying Anna Scott videos into a box . SPIKEWhat ' s going on ? WILLIAMI ' m going to throw out these old videos . SPIKENo . You can ' t bin these . They ' reclassics . I ' m not allowing this . WILLIAMRight -- let ' s talk about rent . .. SPIKELet me help . We don ' t want all thisshit cluttering up our lives . INT . BACKROOM OF THE BOOKSHOP - DAYThe next day . William is hard at work , doing the accounts in adark small room with files in it . Martin pops his head in . MARTINI have to disturb you when you ' recooking the books , but there ' s adelivery . WILLIAMMartin , can ' t you just deal with thisyourself ? MARTINBut it ' s not for the shop . It ' s for you . WILLIAMOkay . Tell me , would I have to pay a wetrag as much as I pay you ? They head out , Martin behind him , incomprehensively rubbinghis hands -- he ' s in a very good mood . INT . BOOKSHOP - DAYWilliam enters -- and there stands Anna -- in a simple blueskirt and top . ANNAHi . WILLIAMHello . ANNAYou disappeared . WILLIAMYes -- I ' m sorry -- I had to leave . .. Ididn ' t want to disturb you . ANNAWell . .. how have you been ? WILLIAMFine . Everything much the same . Whenthey change the law Spike and I willmarry immediately . Whereas you . .. I ' ve watched in wonder . Awards , glory . .. ANNAOh no . It ' s all nonsense , believe me . I had no idea how much nonsense it allwas -- but nonsense it all is . ..( she ' s nervous ) Well , yesterday was our last dayfilming and so I ' m just off -- but Ibrought you this from home , and . .. It ' s quite a big wrapped parcel , flat -- 3 foot by 4 foot , leaning against a bookshelf . ANNAI thought I ' d give it to you . WILLIAMThank you . Shall I . .. ANNANo , don ' t open it yet -- I ' ll beembarrassed . WILLIAMOkay -- well , thank you . I don ' t knowwhat it ' s for . But thank you anyway . ANNAI actually had it in my apartment in NewYork and just thought you ' d . .. but , when it came to it , I didn ' t know how tocall you . .. having behaved so . .. badly , twice . So it ' s been just sitting in thehotel . But then . .. you came , so Ifigured . .. the thing is . .. the thing is . .. WILLIAMWhat ' s the thing ? Then the door pings . In walks the annoying customer , Mr . Smith . WILLIAMDon ' t even think about it . Go awayimmediately . Mr . Smith is taken aback and therefore completely obedient . MR . SMITHRight . Sorry . And he leaves . WILLIAMYou were saying . .. ANNAYes . The thing is . .. I have to go awaytoday but I wondered , if I didn ' t , whether you might let me see you a bit . .. or , a lot maybe . .. see if you could . .. like me again . Pause as William takes this in . WILLIAMBut yesterday . .. that actor asked youwho I was . .. and you just dismissed meout of hand . .. I heard -- you had amicrophone . .. I had headphones . ANNAYou expect me to tell the truth about mylife to the most indiscreet man inEngland ? Martin edges up . MARTINExcuse me -- it ' s your mother on thephone . WILLIAMCan you tell me I ' ll ring her back . MARTINI actually tried that tack -- but shesaid you said that before and it ' s beentwenty - four hours , and her foot thatwas purple is now a sort of blackishcolor . .. WILLIAMOkay -- perfect timing as ever -- holdthe fort for a second will you , Martin ? Martin is left with Anna . MARTINCan I just say , I thought ' Ghost ' was awonderful film . ANNAIs that right ? MARTINYes . .. I ' ve always wondered whatPatrick Swayze is like in real life . ANNAI can ' t say I know Patrick all thatwell . MARTINOh dear . He wasn ' t friendly during thefilming ? ANNAWell , no -- I ' m sure he was friendly -- to Demi Moore -- who acted with him in ' Ghost . ' She ' s kind in here , not sarcastic . MARTINOh right . Right . Sorry . Always beena bit of an ass . William returns a little uneasy . MARTINAnyway . .. it ' s lovely to meet you . I ' ma great fan of yours . And Demi ' s , ofcourse . Martin leaves them . WILLIAMSorry about that . ANNAThat ' s fine . There ' s always a pausewhen the jury goes out to consider itsverdict . She ' s awaiting an answer . WILLIAMAnna . Look -- I ' m a fairly level - headed bloke . Not often in and out oflove . But . .. He can ' t really express what he feels . WILLIAM . .. can I just say ' no ' to your kindrequest and leave it at that ? ANNA . .. Yes , that ' s fine . Of course . I . .. you know . .. of course . .. I ' ll just . .. be getting along then . .. nice to seeyou . WILLIAMThe truth is . .. He feels he must explain . WILLIAM . .. with you , I ' m in real danger . Ittook like a perfect situation , apartfrom that foul temper of yours -- but myrelatively inexperienced heart would , I fear , not recover if I was once again . .. cast aside , which I wouldabsolutely expect to be . There are toomany pictures of you everywhere , toomany films . You ' d go and I ' d be . .. well , buggered , basically . ANNAI see . ( pause ) That reality is a real ' no , ' isn ' t it ? WILLIAMI live in Notting Hill . You live inBeverly Hills . Everyone in the worldknows who you are . My mother hastrouble remembering my name . ANNAOkay . Fine . Fine . Good decision . Pause . ANNAThe fame thing isn ' t really real , youknow . Don ' t forget -- I ' m also just agirl . Standing in front of a boy . Asking him to love her . Pause . She kisses him on the cheek . ANNABye . Then turns and leaves . Leaving him . INT . TONY ' S RESTAURANT - DAYThe restaurant is in the middle of being deconstructed . Thepictures are gone off the walls -- a kettle on a long extensionlead is on the bare table behind . They ' re all sitting there . WILLIAMWhat do you think ? Good move ? HONEYGood move : when all is sad and done , she ' s nothing special . I saw hertaking her pants off and I definitelyglimpsed some cellulite down there . BELLAGood decision . All actresses are madas snakes . WILLIAMTony -- what do you think ? TONYNever met her , never want to . WILLIAMBrilliant . Max ? MAXAbsolutely . Never trust a vegetarian . WILLIAMGreat . Excellent . Thanks . Spike enters . SPIKEI was called and I came . What ' s up ? HONEYWilliam has just turned down Anna Scott . SPIKEYou draft prick ! Bella is casually looking at the painting that sits besideWilliam . It is the original of the Chagall , the poster of whichwas on his wall . BELLAThis painting isn ' t the original , isit ? WILLIAMYes , I think that one may be . BERNIEBut she said she wanted to go out withyou ? WILLIAMYes -- sort of . .. BERNIEThat ' s nice . WILLIAMWhat ? BERNIEWell , you know , anybody saying theywant to go out with you is . .. prettygreat . .. isn ' t it . .. WILLIAMIt was sort of sweet actually -- I mean , I know she ' s an actress and all that , soshe can deliver a line -- but she saidthat she might be as famous as can be -- but also . .. that she was just a girl , standing in front of a boy , asking himto love her . They take in the line . It totally reverses their attitudes . WILLIAMOh sod a dog . I ' ve made the wrongdecision , haven ' t I ? They look at him . Spike does a big nod . WILLIAMMax , how fast is your car ? EXT . TONY ' S RESTAURANT - DAYMax ' s car arrives in the street outside . They pile into thecar . MAXIf anyone gets in our way -- we havesmall nuclear devices . BERNIEAnd we intend to use them ! MAXWhere ' s Bella ? HONEYShe ' s not coming . MAXSod that . Bernie -- in the back ! He shoots out of his door , rushes round and grabs Bella out ofthe chair . MAXCome on , babe . EXT . / INT . CAR . STANLEY CRESCENT / NOTTING HILL GATE - DAYMax ' s car is shooting up Stanley Crescent . We are inside andoutside the car . BELLAWhere are you going ? MAXDown Kensington Church Street , thenKnightsbridge , then Hyde Park Center . BELLACrazy . Go along Bayswater . .. HONEYThat ' s right -- then Park Lane . BERNIEOr you could go right down to CromwellRoad , and left . WILLIAMNo ! Suddenly the car slams to a halt . MAXStop right there ! I will decide theroute . All right ? ALLAll right . MAXJames Bond never has to put up with thissort of shit . EXT . PICCADILLY - DAYThe car turns illegally right across Piccadilly the wrong waydown a one - way street and ends up outside the Ritz . Williamsprints into the hotel . Bernie follows . BERNIEBloody hell , this is fun . IT . RITZ LOBBY - DAYWILLIAMIs Miss Scott staying here ? It is the same man . RITZ MANNo , sir . WILLIAMHow about Miss Flintstone ? RITZ MAN No , sir . WILLIAMOr Bambi . .. or , I don ' t know , Beavis orButthead ? Man shakes his head . RITZ MANNo , sir . WILLIAMRight . Right . Fair enough . Thanks . He turns despondent and takes two steps when the Ritz Man stopshim in his tracks . RITZ MANThere was a Miss Pocahontas in room 126 -- but she checked out an hour ago . Ibelieve she ' s holding a pressconference at The Savoy before flying toAmerica . BERNIEWe have lift off ! ! A Japanese guest assumes this is the way to behave and the RitzMan gets kissed a third time . EXT . LONDON STREET - DAYThe car speeds through London . It gets totally stuck at ajunction where no one will let them in . SPIKEBugger this for a bunch of bananas . He gets out of the car and boldly stops the traffic coming in theopposite direction . Our car shoots past him . SPIKEGo ! They leave him behind . Honey leans out the window and shouts . .. HONEYYou ' re my hero . Spike waves wildly -- he loses concentration and is very nearlyhit by a car . EXT . THE SAVOY - DAYThey pull to a stop . William leaps out . MAXGo ! INT . THE SAVOY - DAYWilliam rushes up to the main desk . WILLIAMExcuse me , where ' s the pressconference ? MAN AT SAVOYAre you an accredited member of thepress ? WILLIAMYes . .. He flashes a card . MAN AT SAVOYThat ' s a Blockbuster video membershipcard , sir . WILLIAMThat ' s right . .. I work for their in - house magazine . ( mimes quotation marks ) ' Movies are our business . ' MAN AT SAVOYI ' m sorry , sir . .. Honey shows into shot , pushing Bella ' s chair . BELLAHe ' s with me . MAN AT SAVOYAnd you are ? BELLAWriting an article about how Londonhotels treat people in wheelchairs . MAN AT SAVOYOf course , madam . It ' s in theLancaster Room . I ' m afraid you ' re verylate . HONEY ( to William ) Run ! INT . SAVOR ROOM - DAYWilliam runs , searching . At last finds the room , and enters . INT . LANCASTER ROOM - DAYHuge room -- full of press . Row after row of journalists , cameras at the front , TV cameras at the back . Anna clearlygives press conferences very rarely , because this one ispositively presidential . She sits at a table at the end of theroom , beside Karen : on her other side os Jeremy , the PR boss , firmly marshalling the questions . JEREMYYes . .. You -- Dominic . QUESTIONER 1 How much longer are you staying in theUK then ? ANNANo time at all . I fly out tonight . She ' s in a slightly melancholic and therefore honest mood . JEREMYWhich is why we have to round it up now . Final questions . He points at a journalist he knows . QUESTIONER 2 Is your decision to take a year offanything to do with the rumours aboutJeff and his present leading lady ? ANNAAbsolutely not . QUESTIONER 2 Do you believe the rumours ? ANNAIt ' s really not my business any more . Though I will say , from my experience , that rumours about Jeff . .. do tend tobe true . They love that answer , and all scribble in their note books . Next question comes from someone straight right next toWilliam . QUESTIONER 3 Last time you were here , there were somefairly graphic photographs of you and ayoung English guy -- so what happenedthere ? ANNAHe was just a friend -- I think we ' restill friends . JEREMYYes , the gentleman in the pink shirt . He is pointing straight at William , who has his hand up . WILLIAMYes -- Miss Scott -- are there anycircumstances in which you two might bemore than just friends ? Anna sees who it is asking . ANNAI hoped there might be -- but no , I ' massured there aren ' t . WILLIAMAnd what would you say . .. JEREMYNo , it ' s just one question per person . ANNANo , let him . .. ask away . You weresaying ? WILLIAMYes , I just wondered whether if itturned out that this . .. person . .. OTHER JOURNALIST ( to William ) His name is Thacker . WILLIAMThanks . I just wondered if Mr . Thackerrealized he ' d been a draft prick and gotdown on his knees and begged you toreconsider , whether you would . .. reconsider . We cut to Max , Bella , Bernie and Honey , all watching . Then backto Anna . ANNAYes , I ' m pretty sure I would . WILLIAMThat ' s very good news . The readers of ' Horse and Hound ' will be absolutelydelighted . Anna whispers something to Jeremy . JEREMYDominic -- if you ' d like to ask yourquestion again ? QUESTIONER 1 Yes -- Anna -- how long are youintending to stay here in Britain ? Pause . Anna looks up at William . He nods . ANNAIndefinitely . They both smile -- suddenly the press gets what ' s going on -- music -- noise -- they all turn and flash , flash , flash photosof William . Max and Bella kiss . Bernie kisses a total stranger . Spike finally makes it -- he ' s bright red from running . SPIKEWhat happened ? HONEYIt was good . Honey hugs him . It ' s a new experience for Spike . Cut to William ' s face -- flash after flash -- still looking atAnna . They are both smiling . INT . / EXT . THE HEMPEL ZEN GARDEN WITH MARQUEEN - DAYAnna and William at their wedding -- they kiss and walk into thecrowd . Honey , a bridesmaid in peach satin -- she is surrounded by atleast four other bridesmaids , all under five . Nearby , Tony standing , glowing , beside his fabulous , pyramidical wedding cake . William ' s mother is not quite happy with how he ' s looking . Shetries to brush his hair . Max , dressed in the most devastating Bond - like white tuxedo isdancing with Anna -- thrilled . He does a rather flashy littlemove . Cut to Bella who is watching and laughing . Martin , in an awkward tweed suit , is jiggling to the beat of asong , entirely happy in the corner . EXT . LEICESTER SQUARE - NIGHTA huge premier -- screaming crowds -- Anna and William get outof the car , she holding his hand -- looking ultimately gorgeous -- he in a black suit that doesn ' t quite fit . He ' s startled . EXT . GARDEN - DAYA pretty green communal garden . Children are playing , watchedby mothers , one of whom holds a new baby in a papoose . A veryold couple wander along slowly . A small tai chi group moves mysteriously . And as the cameraglides , it passes a couple sitting on a single , simple woodenbench overlooking the garden . He is reading , she is justlooking out , totally relaxed , holding his hand , pregnant . Itis William and Anna . THE END