conversations.from: human
conversations.value: What could be a title for a book about P>the, PRINCE, SHOWGIRL with the genre: Biographies & Memoirs, Arts & Literature?
conversations.from: assistant
conversations.value: A title for this book could be 'My Week with Marilyn'
conversations.from: human
conversations.value: What is the first long scene for the screenplay?
conversations.from: assistant
conversations.value: My Week with Marilyn
  
  EXT. LONDON. 
  BOND STREET. 
  DAY.
  It is very quiet in the normally busy West End. Shops have begun shutting after lunch and the city is rapidly emptying. 
  SHOPPERS wander past, taking little notice of MARILYN who has her hair covered in a scarf and wears dark glasses. 
  MILLER walks at her side, holding her hand. She glances at MILTON with an awkward laugh.
  MARILYN Gee, it's quiet.
  COLIN It's Saturday. Early closing. But they're expecting us. She stops to window shop. 
  MILTON lowers his voice to COLIN.
  MILTON No one's recognised her.
  COLIN At least she can shop in peace.
  MILTON Marilyn's a star. Stars don't even pee alone. He looks around anxiously. But then a PASSER-BY suddenly narrows his eyes and takes a second look. His face lights up and he shouts -
  PASSER-BY It's Marilyn Monroe! MARILYN gives him a radiant smile and within seconds is surrounded by a crowd of SHOPPERS alerted by the fuss. A feverish excitement grows out of nothing as people come running to look, pushing and shoving to see. 
  MARILYN is quickly hemmed in by the heaving mob. To begin with she enjoys it, smiling and posing happily for the cameras that appear out of nowhere. But as the crowd press towards something in the mood of the gathering changes; it becomes wild and over-excited mood as people scream Marilyn's name and shove bits of paper to sign in her face. A WOMAN is pushed to the ground and MARILYN is forced back against the shop window. 
  COLIN sees a flicker of panic on her face.
  ROGER My God, she'll be torn apart...
  MILLER Get her out of here. 
  COLIN and ROGER hurl themselves into the crowd doing what they can to keep the excited fans at bay. They manage to force a path to the car, drag the door open and bundle MARILYN and MILLER into the back. 
  MARILYN is pinned against the door and COLIN has to put his arm around her shoulders as he helps her in. He hurls himself into the front, with Milton running alongside the moving car to dive in beside Marilyn. People run alongside, hammering wildly on the windows in violent hysteria.
conversations.from: human
conversations.value: What is another long scene?
conversations.from: assistant
conversations.value: GOLDEN CORRIDOR. 
  DAY. 115B
  COLIN and MARILYN are led into another corridor, this one with a beautiful gold-leaf ceiling decoration. 
  MARILYN looks up, enchanted.
  INT. WINDSOR CASTLE.
conversations.from: human
conversations.value: What is the last long scene?
conversations.from: assistant
conversations.value: COLIN sits with the phone to his ear. The sound of Marilyn singing the Sleeping Prince Waltz dies away and we realise has been revisiting it in his memory. He waits as long as he can but it is obvious no one is going to answer. In the end he puts the receiver back in its cradle in resignation. His gaze drifts up to a shelf stacked with film cans. He stands up and looks through them, blowing dust away; they have been here for a long time, ignored. He finds the one he is looking for - it says simply MM on the can. He takes the short reel of film and threads it through a Movieola in the corner of the room. He turns it on and bends to look. The screen bursts into life with an image of MARILYN at her most vital and captivating. It is a copy of some rushes from The Prince And The Showgirl, perhaps given to Colin by Olivier, or perhaps "borrowed" as a souvenir and long since forgotten. We see MARILYN dancing happily, exaggerating off camera, looking playful and sexy. She is radiant and full of life. After a moment she turns and looks off camera - perhaps to where Colin himself would have been standing - and winks happily. Blown up to the full size of the screen it is utterly sweet and charming. There is something so completely natural about the gesture COLIN feels he has been swept back seven years in time and MARILYN is standing in front of him again, in the flesh. It moves and delights him; perhaps he has never even really seen this clip before. At any rate he hasn't thought about it for years. It is MARILYN as he will always remember her, relaxed, affectionate and vital, a part of her, however tiny, forever his. She smiles, laughs at something, giggles in delight (without sound). She says something to an unseen crew member, then looks back, smiling at the camera.
  Her face fills the screen. Beautiful, timeless - Happy. 
  HOLD on the image for as long as we dare, then -
  FADE TO BLACK.
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