INT. MACLEAN'S NEW YORK APARTMENT - MORNING

Dressed in running clothes, Annie opens the door and picks up
several newspapers that were delivered. She carries them into
the kitchen and sets them beside a huge stack of publications,
magazines, papers, etc... Knowing she must read all of them at
some point, she breathes a disgusted sign. She thumbs through
the POST as she pours herself a cup of coffee. Something
catches her eyes and she snarls:

ANNIE
That little shit!

She dials a portable phone and moves through the apartment as
she talks:

ANNIE
Hi Lucy?... Did I wake you?... Have
you read the Post?... They've got a
little item about me and Fiske. He's
saying I fired him and that I faked
the new circulation figures.. Ha, ha...
Oh, please... It's the last act of a
desperate gnome... Set up a phone call
with Don Farlow for 9:30...

Throughout the phone call, Annie is selecting clothes,
turning on the shower, undressing...

EXT. DYER HORSE FARM - MORNING

The snow has stopped falling. Grace walks along a hill, hands
in pocket. Spread out on the landscape are horses, on a horse
farm, standing like statues in the white covered fields.

As Grace comes along the hill, we see another GIRL (JUDITH)
coming from the opposite direction. She doesn't have Grace's
lean elegance but her warm, friendly smile brightens her
face. Upon reaching her, Grace returns the smile with a hug.

JUDITH
It's warmer than I thought.

GRACE
You want to go to a movie tonight?

JUDITH
I thought your mom's coming up?

GRACE
(prickly)
So?

Judith immediately senses a problem so she continues casually,
as they begin walking away.

JUDITH
My parents are having friends from
college over. They're really nice...
They have this gorgeous son who wants
to be a forest ranger.

GRACE
Can I come? I'll start a fire...

Judith laughs as they continue talking, their voices trailing
off, as the girls head for the stables.

INT. STABLES, THE DYER HORSE FARM - MORNING

There are several horses in their stalls. Grace and Judith
enter, talking, carrying their English saddles. Judith stops
at a stall, disappearing into it as she says "Hello?"...,
Grace continues to the end stall.

Pilgrim (the horse from the dream) stands looking at her.

GRACE
Hello, beautiful boy.

He's a massive figure beside her but she shows no inhibition.
She enters, touching his muzzle. He plays with her by nudging her back.

GRACE
Stop... Will you stop!

EXT. DYER HORSE FARM - MORNING

They lead their horses, now saddled and ready, from the barn.
Pilgrim tosses his head, prancing, playing with the snow.

GRACE
Show-off.

The girls mount the horses and ride off together.

INT. ANNIE'S MAGAZINE OFFICE - MID-MORNING

Annie, casually dressed, enters the empty offices of her
magazine. She turns on the light, revealing a large row of
stalls and glassed in private offices. Everywhere we look, we
see indications of the kind of magazine she edits.

She strolls to her office -- the largest -- surrounded by
windows. The office walls are covered with photos, most of
which are COVER STORIES ON ANNIE.

(One photo is of Annie's father MARTIN. A BRITISH AMBASSADOR
with his young daughter on his lap, her arms affectionately
around his neck. Her mother stands right behind them, posing
like a member of the royal family.)

Annie sits and takes a breath. The only photo on her desk is
a family portrait, taken when Annie was given the Crystal
Award -- Robert, Grace, herself and the Award. She checks her
watch -- it is almost 9:30.

INT. MACLEAN FARMHOUSE, MASTER BEDROOM/CLOSET - MID-MORNING

A WALK-IN CLOSET of the master bedroom; one side is Annie's,
one side is Robert's.

Robert stands before his bureau in the closet -- he has just
showered and is putting on his watch and ring which lay
beside his cologne assortment. A FRAMED PHOTO OF HE AND ANNIE
in India -- younger, vibrant, in love... when they first met.

THE PHONE RINGS. Robert enters into the bedroom to pick up.

ROBERT
Hello?

INSERT ANNIE: They speak in dulled, emotionless voices:

ANNIE
It's me.

ROBERT
Hi.

ANNIE
Hi.

Awkward pause.

ROBERT
So, what, uh, what train are you taking?

ANNIE
I should be in by two.

ROBERT
Okay. You want me to pick you up?

ANNIE
Sure... What's Grace up to?

ROBERT
Riding with Judith.

Beat.

ANNIE
I'm sorry about last night. I shouldn't
have brought it up over the phone.

ROBERT
That's okay. We have to talk about it
and we're not always in the same place
... so... I just have to get used to it.
(beat)
What do you want to do about dinner?

ANNIE
I don't know. We'll figure it out.

Pause. There is a lot unspoken but understood between them.
Annie's other phone line rings. Robert hears it as well.

ROBERT
Okay. We'll see you later then.

ANNIE
Yeah. Bye.

Annie picks up the other line and her manner brightens, her
energy boosts...

ANNIE
DON! My love, how are you? Did you hear
about Fiske?... No, suing is too
civilized. Can't we get your friend at Le
Cirque to serve him a fatal piece of
poached salmon?... Ha, ha... That's even
better...

EXT. CONNECTICUT COUNTRYSIDE - MORNING

Long Shot of the girls riding at an easy pacing, talking all
the time. Grace is an elegant rider, quite self-assured for a
13-year-old... We come into the scene at the moment the
girls have just shared a secret or a fantasy. Judith is
giggling uncontrollably. Grace laughs as she says:

GRACE
...Oh, come on! You think the same thing!

JUDITH
I just could never say it!

They stop at the end of the field, facing the woods.

GRACE
Do you want to go around by the
old road?

JUDITH
Why don't we just cut through the
woods?

Grace nods. They ride into the woods, continuing their talk.

EXT. WOODS - MORNING

The girls ride down, along a stand of hickories and poplars
to a RIVER. They stop the horses and their conversation, to
listen to the sound of the water. Below them, off in the
distance, they can just make out a two-lane country road.

GRACE
You want to go down or stay along
the river?

JUDITH
We already did the river. Let's go down
and across the old bridge. We can circle
back.

They begin to make their way.

INT. ANNIE'S OFFICE - MORNING

Annie's office is now crowded with a dozen or so employees;
sitting on the couch, on the window sills, on the arms of
chairs, against the walls... Paper bag emptied of bagels,
cream cheese, orange juice, paper plates...



ANNIE
... So what did you say to her?

KEVIN
I said, thank you very much...
I really should do the interview... But
perhaps if you'd like to have dinner...

LAUGHTER

VARIOUS CHARACTERS
Dinner!!... He's so cute.... Why don't I
get those kind of interviews?... Look,
he has husband number eight written on
his forehead...

ANNIE
All right, all right, all right... Kevin,
good job. Write the interview. If I don't
like it, you may have to sleep with her
for a follow-up!
(laughter)
Now... I'm thinking about another fashion
designer spread... Who's news out there?

Characters shout out designer names and comments as the phone
rings and LUCY picks up... speaking amdist the talking...

LUCY
Hold on.
(presses hold)
Gottschalk.

The room goes dead quiet, instantly. Then erupts in laughter as everyone realizes it. Annie, however, waves her hand as
she takes the phone...

ANNIE
Quiet... Quiet!

Everyone obeys. Annie presses SPEAKER PHONE.

ANNIE
David?

DAVID GOTTSCHALK (VO)
Who's there?

ANNIE
Everyone. Working overtime. Just for you.

DAVID GOTTSCHALK (VO)
Did you speak to Farlow?

ANNIE
Yes. We're suing.

DAVID GOTTSCHALK (VO)
Is that absolutely necessary? It'll just
make it a bigger story.

ANNIE
David, he signed an agreement that he
wouldn't talk to the press and he's
libeled me by saying I faked the figures.
You're not going soft on me, are you?

Silence. Gottschalk doesn't immediately respond. Everyone
waits. Covert looks between characters suggest this is
interesting -- has Annie over-stepped her bounds with the
magazine's owner? Annie waits without a shred of anxiety --
even though she might have some. Finally:

DAVID GOTTSCHALK (VO)
Well, I suppose we could use another
good public feud...

ANNIE
Exactly...

Everyone silently acknowledges Annie’s guts and influence.


acknowledge - uznawać, przyznawać
affectionately - afektowanie
amdist - pośród
awkward - dziwny, niezręczny
be up to - robić, porabiac, poczynać sobie
boost - zwiększać, zachwalać, wzmagać
bound - granica
brighten - rozjaśniać
bureau - biurko z szufladami, sekretarzyk
covert - ukryty
crowded with - zatłoczony
cute- śliczny, sprytny
dead quiet - cicho jak makiem zasiał
deliver - dostarczać
desperate - zdesperowany, doprowadzony do ostateczności
dulled - wyblakły, przyćmiony
erupt - wybuchać, pojawiać się
fake - fałszować
fatal - śmiertelny
feud - niezgoda, waśń
figure out - namyślać się, wymyślić (coś)
fire someone - wyrzucić kogoś z pracy
forest ranger - leśniczy
giggle - chichotać
gnome - gnom
gorgeous - wspaniały, imponujący
guts - odwaga
hickory orzech biały
indication - wskazówka
influence- wpływ
inhibition - zahamowanie
instantly - natychmiast, momentalnie
item - wzmianka (w gazecie)
lap - kolana
libel - pomówić kogoś, zniesławić
mount - dosiadać (konia)
muzzle - pysk
nod - potakiwać, kiwać głową
nudge - trącać, szturchać
obey - słuchać (kogoś), być posłusznym
over-step, overstep - przekraczać
overtime - po godzinach
pace - tempo, krok, kroczyć
pick somebody up - odbierać kogoś (z jakiegoś miejsca)
poach - gotować (ryby)
poplar topola
portable phone - przenośny telefon
pour - nalewać
prance - pysznić się, tańczyć (o koniu)
prickly - kłujący, drażliwy
realize - zdawać sobie sprawę
reveal - odkrywać, wyjawiać
row - rząd
saddle - siodło
salmon - łosoś
self-assured - pewny siebie
snarl - warczeć
spread - rozchodzić się, roznosić się
stable - stajnia
stack - stos
stall - przegroda w stajni
stroll - spacerować
sue - pozywać kogoś (sądownie)
surround - otaczać
thumb through - kartkować
toss - rzucać, odrzucać
trail off - zamierać (o głosie)
two-lane - dwupasmowy
vibrant - entuzjastyczny, pełen zapału
window sill parapet


TEST

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