NOTTING HILL

 They toast him.

    HONEY
  Since it's an evening of announcements
  ... I've also got one, Ahm... I've
  decided to get engaged.

 Total bewilderment from the others.

    HONEY
  I've found myself a nice, slightly odd
  looking bloke who I know is going to
  make me happy for the rest of my life.

 Special cut to Bernie -- the shot shows he had special feelings
 for Honey.

    WILLIAM
  Wait a minute -- I'm your brother and I
  don't know anything about this.

    MAX
  Is it someone we know?

    HONEY
  Yes.  I will keep you informed.

 As she sits down, Honey leans towards Spike and whispers.

    HONEY
  By the way -- it's you.

    SPIKE
  Me?

    HONEY
  Yes.  What do you think?

    SPIKE
  Well, yes.  Groovy.

    MAX
  Any more announcements?

    WILLIAM
  Yes -- I feel I must apologize to
  everyone for my behavior for the last
  six months.  I have, as you know, been
  slightly down in the mouth.

    MAX
  There's an understatement.  There are
  dead people on better form.

    WILLIAM
  But I wish to make it clear I've turned
  a corner and henceforward intend to be
  impressively happy.

 INT. TONY'S RESTAURANT - NIGHT

 Two hours later.  They've had a very good time.  There's been a
 chocolate 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.

    BELLA
  I'm really horribly drunk.

 Elsewhere, Max an William are relaxed together.

    MAX
  So -- you've laid the ghost.

    WILLIAM
  I believe I have.

    MAX
  Don't give a damn about the famous girl.

    WILLIAM
  No, don't think I do.

    MAX
  Which means you won't be distracted by
  the fact that she's back in London,
  grasping her Oscar, and to be found
  filming most days on Hampstead Heath.

 He puts down a copy of the 'Evening Standard' with a picture of
 Anna on its cover.

    WILLIAM
   (immediate gloom)
  Oh God no.

    MAX
  So not over her, in fact.

 EXT. HAMPSTEAD HEATH - DAY

 Cut to the wide sweep of Hampstead Heath.  William entirely
 alone.  He marches up a hill... goes over the crest of it -- and
 sees a huge film crew and hundreds of extras in front of the
 radiant white of Kenwood House, with its lawn and its lakes.

 EXT. KENWOOD HOUSE - DAY

 Now closer to the house, William approaches a barrier -- where
 he is himself approached.

    SECURITY
  Can I help you?

    WILLIAM
  Yes -- I was looking for Anna Scott...

    SECURITY
  Does she know you're coming?

    WILLIAM
  No, no.  She doesn't.

    SECURITY
  I'm afraid I can't really let you
  through then, sir.

    WILLIAM
  Oh right.  I mean, I am a friend -- I'm
  not a lunatic but -- no, you basically...

    SECURITY
  ... can't let you through.

 At that moment -- thirty yards away, William sees trailer door
 open.  Out of it comes Anna -- looking extraordinary -- in a
 velvet 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.  And
 sees him.  Her face registers not jut surprise, certainly not a
 simple smile.  His being there is a complicated thing.
 Cut back to him.  He does a small wave.  She pauses as the whole
 paraphernalia of the upcoming scene passes between them.  The
 movie divides them.  But then she begins to walk through it, and
 followed by her cluster, she makes her way towards him.  When
 she reaches him, the security guard stands back a pace, and her
 people hold back.  She doesn't really know what to say...

    ANNA
  This is certainly... ah...

    WILLIAM
  I only found out you were here
  yesterday.

    ANNA
  I was going to ring... but... I didn't
  think you'd want to...

 The third assistant is under pressure.

    THIRD
  Anna.

 She looks around.  The poor third is nervous -- and the first is
 approaching.

    ANNA
   (to William)
  It's not going very well -- and it's
  our last day.

    WILLIAM
  Absolutely -- you're clearly very busy.

    ANNA
  But... wait... there are things to say.

    WILLIAM
  Okay.

    ANNA
  Drink tea -- there's lots of tea.

 She is swept away, four people touching her hair and costume.

    KAREN
  Come and have a look...

 EXT. KENWOOD PARK - DAY

 As they make towards the set...

    KAREN
  Are you a fan of Henry James?

    WILLIAM
  This is Henry James film?

 EXT. KENWOOD HOUSE - DAY

 A complicated shot is about to happen -- with waves of extras --
 and a huge moving crane.  They end up next to the sound desk.

    KAREN
  This is Harry -- he'll give you a pair of
  headphones so you can hear the dialogue.

 Harry the sound man is a pleasant, fifty-year-old balding
 fellow.  He hands him the headphones.

    HARRY
  Here we go.  The volume control is on
  the side.

    WILLIAM
  That's great.

 William, the headphones on, surveys the scene -- the cluster is
 a full 100 yards from the action, to allow a gracious sweeping
 wide-shot.  He watches Anna.  She is with her co-star in the
 Henry James film -- let's call him James.

    JAMES
  We are living in cloudcuckooland --
  we'll never get this done today.

    ANNA
  We have to.  I've got to be in New York
  on Thursday.

    JAMES
  Oh, stop showing off.

 He studies an actress a few yards to the left.

    JAMES
  God, that's an enormous arse.

    ANNA
  I'm not listening.

    JAMES
  No, but seriously -- it's not fair -- so
  many tragic young teenagers with
  anorexia -- and that girl has an arse
  she could perfectly well share round
  with at least ten other women -- and
  still be beg-bottomed.

    ANNA
  I said I'm not listening -- and I think,
  looking at something that firm, you and
  your droopy little excuse for an 'arse'
  would be well-advised to keep quiet.

 Back by the desk, William is listening and laughs.  That's his
 girl.  Anna prepares.

    ANNA
  So I ask you when you're going to tell
  everyone, and you say...?

    JAMES
  'Tomorrow will be soon enough.'

    ANNA
  And then I... right.

    JAMES
  Who was that rather difficult chap you
  were talking to on the way up?

    ANNA
  Oh... no one... no one.  Just some...
  guy from the past.  I don't know what
  he's doing here.  Bit of an awkward
  situation.

 EXT. HAMPSTEAD HEATH - DAY

 Cut back to William -- he has heard.

    WILLIAM
  Of course.

 He takes off the headphones and puts them gently down.

    WILLIAM
  Thank you.