EXT. VARIOUS DAYS

'She' plays through the credits.

Exquisite footage of Anna Scott - the great movie star
of our time - an ideal - the perfect star and woman - her
life full of glamour and sophistication and mystery.


EXT. STREET - DAY

Mix through to William, 35, relaxed, pleasant,
informal. We follow him as he walks down Portobello Road,
carrying a load of bread. It is spring.

WILLIAM (V.O.):
Of course, I've seen her films and
always thought she was, well,
fabulous -- but, you know,
million miles from the world I live
in. Which is here -- Notting Hill
-- not a bad place to be...

EXT. PORTOBELLO ROAD - DAY

It's a full fruit market day.

WILLIAM (V.O.):
There's the market on weekdays, 
selling every fruit and vegetable
known to man...

EXT. PORTOBELLO ROAD - DAY

A man in denims exits the tattoo studio.

WILLIAM (V.O.):
The tattoo parlor -- with a guy 
outside who got drunk and now can't
remember why he chose 'I Love Ken'...

EXT. PORTOBELLO ROAD - DAY

WILLIAM (V.O.):
The racial hair-dressers where 
everyone comes out looking like the
Cookie Monster, whether they like 
it or not...

Sure enough, a girl exits with a huge threaded blue bouffant.

EXT. PORTOBELLO ROAD - SATURDAY

WILLIAM (V.O.):
Then suddenly it's the weekend, and
from break of day, hundreds of stalls
appears out of nowhere, filling 
Portobello Road right up to Notting
Hill Gate...

A frantic crowded Portobello market.

WILLIAM (V.O.):
... and thousands of people buy
millions of antiques, some genuine...

The camera finally settles on a stall selling beautiful 
stained glass windows of various sizes, some featuring biblical
scenes and saints.

WILLIAM (V.O.):
... and some not so genuine.

EXT. GOLBORNE ROAD - DAY

WILLIAM (V.O.):
And what's great is that lots of 
friends have ended up in this part of
London -- that's Tony, architect 
turned chef, who recently invested 
all the money he ever earned in a new
restaurant...

Shot of Tony proudly setting out a board outside his 
restaurant,the sign still being painted. He receives and 
approves a huge fresh salmon.

EXT. PORTOBELLO ROAD - DAY

WILLIAM (V.O.):
So this is where I spend my days 
and years -- in this small village in
the middle of a city -- in a house 
with a blue door that my wife and I
bought together... before she left
me for a man who looked exactly like Harrison 
Ford.

We arrive outside his blue-doored house just off Portobello.

WILLIAM (V.O.):
... and where I now lead a strange 
half-life with a lodger called...

INT. WILLIAM'S HOUSE - DAY

WILLIAM:
Spike!

The house has far too many things in it. Definitely two-
bachelor flat.
Spike appears. An unusual looking fellow. He has 
unusual hairs, unusual facial hair and an unusual Welsh accent: 
very white, as though his flesh has never seen the sun. He 
wears only shorts.

SPIKE:
Even he. Hey, you couldn't help me
with an incredibly important 
decision, could you?

WILLIAM:
This is important in comparison to,
let's say, whether they should 
cancel third world debt?

SPIKE:
That's right -- I'm at last going out
on a date with great Janine and I just 
want to be sure I've picked the right
t-shirt.

WILLIAM:
What are the choices?

SPIKE:
Well... wait for it...
(He pulls on a t-shirt)
First there's this one...

The t-shirt is white with a horrible looking plastic alien 
coming out of it, jaws open, blood everywhere. It says 'I Love
Blood.'

WILLIAM:
Yes -- might make it hard to strike a
really romantic note.

SPIKE:
Point taken.

He heads back up the stairs... talks as he changes...

SPIKE:
I 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.'

WILLIAM:
Yes -- she might think you don't have
true love on your mind.

SPIKE:
Wouldn't want that...
(and back up he goes)
-- just one more.

He comes down wearing it. Lots of hearts, saying, 'You're the 
most beautiful woman in the world.'

WILLIAM:
Well, yes, that's perfect. Well 
done.

SPIKE:
Thanks. Great. Wish me luck.

WILLIAM:
Good luck.

Spike turns and walks upstairs. Revealing that on the back of 
the t-shirt, also printed in big letters, is written 'Fancy a 
fuck?'

EXT. PORTOBELLO ROAD - DAY

WILLIAM (V.O.):
And so it was just another hopeless
Wednesday, as I set off through the
market to work, little suspecting 
that this was the day which would 
change my life forever. This is 
work, by the way, my little travel
book 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't
always sell many of those.

William enters.

INT. THE BOOKSHOP - DAY

It 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.

WILLIAM:
Classic. Absolutely classic. 
Profit from major sales push -- minus 
347 pound.

MARTIN:
Shall I go get a cappuccino? Ease the
pain.

WILLIAM:
Yes, better get me a half. All I can
afford.

MARIN:
I get you logic. Demi-capu coming up.

He salutes and bolts out of the door -- as he does, a woman 
walks in. We only just glimpse her.

Cut to William working. He looks up casually. And sees 
something. His reaction is hard to read. After a pause...

WILLIAM:
Can 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.

ANNA:
No, thanks. I'll just look around.

WILLIAM:
Fine.

She wanders over to a shelf as he watches her -- and picks out a
quite smart coffee table book.

WILLIAM:
That book's really not good -- just
in case, you know, browsing turned to
buying. You'd be wasting your money.

ANNA:
Really?

WILLIAM:
Yes. This one though is... very 
good.

He picks up a book on the counter.

WILLIAM:
I think the man who wrote it has 
actually been to Turkey, which helps.
There's also a very amusing incident
with a kebab.

ANNA:
Thanks. I'll think about it.

William suddenly spies something odd on the small TV monitor
behind him.

WILLIAM:
If you could just give me a second.

Her eyes follow him as he moves toward the back of the shop and 
approaches a man in slightly ill-fitting clothes.

WILLIAM:
Excuse me.

THIEF:
Yes.

WILLIAM:
Bad news.

THIEF:
What?

WILLIAM:
We've got a security camera in this
bit of the shop.

THIEF:
So?

WILLIAM:
So, I saw you put that book down your
trousers.

THIEF:
What book?

WILLIAM:
The one down your trousers.

THIEF:
I haven't got a book down my trousers.

WILLIAM:
Right -- well, then we have something 
of an impasse. I tell you what -- 
I'll call the police -- and, what can 
I say? If I'm wrong about the whole 
book-down-the-trousers scenario, I 
really apologize.

THIEF:
Okay -- what if I did have a book down
my trousers?

WILLIAM:
Well, ideally, when I went back to
the desk, you'd remove the Cadogan 
guide to Bali from your trousers, and
either wipe it and put it back, or 
buy it. See you in a sec.

He returns to his desk. In the monitor we just glimpse,
as does William, the book coming out of the trousers and put 
back on the shelves. The thief drifts out toward the door. 
Anna, who has observed all this, is looking at a blue book on 
the counter.

WILLIAM:
Sorry about that...

ANNA:
No, that's fine. I was going to 
steal one myself but now I've changed
my mind. Signed by the author, I see.

WILLIAM:
Yes, we couldn't stop him. If you 
can find an unsigned copy. It's 
worth an absolute fortune.

She smiles. Suddenly the thief is there.

THIEF:
Excuse me.

ANNA:
Yes.

THIEF:
Can I have your autograph?

ANNA:
What's your name?

THIEF:
Rufus.

She signs his scruffy piece of paper. He tries to read it.

THIEF:
What does it say?

ANNA:
Well, that's the signature -- and
above, it says 'Dear Rufus -- you
belong in jail.'

THIEF:
Nice one. Would you like my phone
number?

ANNA:
Tempting but... no, thank you.

Thief leaves.

ANNA:
I think I will try this one.

She hands William 20 note and the book he said was rubbish.
He talks as he handles the transaction.

WILLIAM:
Oh -- right -- on second thoughts 
maybe it wasn't that bad. Actually
-- it's a sort of masterpiece really.
None of those childish kebab 
stories you get in so many travel
books these days. And I'll throw in
one of these for free.

He drops in one of the signed books.

WILLIAM:
0Very useful for fighting fires, 
wrapping fish, that sort of things.

She looks at him with a slight smile.

ANNA:
Thanks.

And leaves. She's out of his life forever. William is a little 
dazed. Seconds later Martin comes back in.

MARTIN:
Cappuccino as ordered.

WILLIAM:
Thanks. I don't think you'll believe
who was just in here.

MARTIN:
Who? Someone famous?

But William's innate natural English discretion takes over.

WILLIAM:
No. No-one -- no-one.

They set about drinking their coffee.

MARTIN:
Would be exciting if someone famous
did come into the shop though, 
wouldn't it? Do you know -- this is
pretty incredible actually -- I once
saw Ringo Starr. Or at least I think
it was Ringo. It might have been 
that broke from 'Fiddler On The Roof,'
Toppy.

WILLIAM:
Topol.

MARTIN:
That's right -- Topol.

WILLIAM:
But Ringo Starr doesn't look 
anything like Topol.

MARTIN:
No, well... he was quite a long way
away.

WILLIAM:
So it would have been neither of them?

MARTIN:
I suppose so.

WILLIAM:
Right. It's not a classic anecdotes,
is it?

MARTIN:
Not classic, no.

Martin shakes his head. William drinks his cappuccino.


WILLIAM:
Right -- want another one?

MARTIN:
Yes. No, wait -- let's go crazy -- 
I'll have an orange juice.

EXT. PORTOBELLO ROAD - DAY

William sets off.

INT. COFFEE SHOP - DAY

William collects his juice in a coffee shop on Wesbourne Park 
Road.

EXT. PORTOBELLO ROAD - DAY

William swings out of the little shop -- he turns the corner of 
Portobello Road and bumps straight into Anna. The orange 
juice, in its foam cup, flies. It soaks Anna.

ANNA:
Oh God!!!.

WILLIAM:
Oh, I'm so sorry, here.

He grabs some paper napkins and starts to clean it off -- getting 
far too near her breasts in the panic of it...

ANNA:
Get your hands off!!!

He jumps back.

WILLIAM:
Nothing, nothing... Look, I live just
over the street -- I got some water and soap you could get 
cleaned up.

ANNA:
No thank you. I need to get my car 
back.

WILLIAM:
I also have a phone. I'm confident
that in five minutes we can have you
spick and span and back on the street
again... in the non-prostitute sense
obviously.

In his different ways, he is confident, despite her being 
genuinely annoyed. She turns and looks at him.

ANNA:
Okay. So what does 'just over the 
street' mean -- give it to me in yards.

WILLIAM:
Eighteen yards. That's my house 
there the one with the blue door.

He doesn't lie -- it is eighteen yards away. She looks down. 
She looks up at him.

INT. WILLIAM'S HOUSE - CORRIDOR - DAY

They enter. She carries a few stylish bags.

WILLIAM:
Come on in. I'll just...

William runs in further -- it's a mess. He kicks some old shoes 
under the stairs, bins an unfinished pizza and hides a plate of 
breakfast in a cupboard. She enters the kitchen.

WILLIAM:
It's not as tidy as it normally is, I fear but.

And he guides her up the stairs, after taking the bag of books
from her...

WILLIAM:
The bathroom is right at the top of 
the stairs and there's a phone on the
desk up there.

She heads upstairs.

INT. KITCHEN - DAY

William is tidying up frantically. Then he hears Anna's feet on 
the stairs. She walks down, wearing a short, sparkling black 
top beneath her leather jacket. With her trainers still on. He 
is dazzled by the sight of her.

WILLIAM:
Would you like a cup of tea before 
you go?

ANNA:
No thanks.

WILLIAM:
Coffee?

ANNA:
No.

WILLIAM:
Orange juice -- probably not.

He moves to his very empty fridge -- and offers its only contents.

WILLIAM:
Something else cold -- coke, water,
some disgusting sugary drink 
pretending to have something to do
with fruits of the forest?

ANNA:
No.

WILLIAM:
Would you like something to eat-- something to um nibble --
apricots, soaked in honey -- quite 
why, no one knows -- because it stops
them tasting of apricots, and makes 
them taste like honey, and if you 
wanted honey, you'd just buy honey, 
instead of apricots, but nevertheless
-- they are yours if you want
them.

ANNA:
No.

WILLIAM:
Do you always say 'no' to everything?

Pause. She looks at him deep.

ANNA:
No.
(pause)
I better be going. Thanks for your um 
help.

WILLIAM:
You'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.

WILLIAM:
Take my one chance to say it. After
you've read that terrible book, 
you're certainly not going to be 
coming back to the shop.

She smiles. She's cool.

ANNA:
Thank you.

WILLIAM:
Yes. Well. My pleasure.

He guides her toward the door.

WILLIAM:
It was nice to meet you. Surreal but nice.

In a slightly awkward moment, he shows her out the door. He
closes the door and shakes his head in wonder. Then...

WILLIAM:
'Surreal but nice.' What was I 
thinking?

There's a knock on the door. He moves 
back, casually...

WILLIAM:
Coming.

He opens the door. It's Anna.

WILLIAM:
Oh hi. Forgot something?

ANNA:
Hi. I forgot the other bag.

WILLIAM:
Oh right.

He shoots into the kitchen and picks up the forgotten 
shopping bag. Then returns and hands it to her.

WILLIAM:
Here we go.

ANNA:
Thanks. Well...

They stand in that corridor -- in that small space. 
Second time saying goodbye. A strange feeling of intimacy. She
leans forward and she kisses him. Total silence. A real sense 
of the strangers of those lips, those famous lips on his. They 
part.

WILLIAM:
I apologize for the 'surreal but nice'
comment. Disaster...

ANNA:
Don't worry about it. I thought the 
apricot and honey business was the 
real lowpoint.

Suddenly there is a clicking of a key in the lock.

WILLIAM:
Oh my God. My flatmate. I'm sorry --
there's no excuse for him.

Spike walks in.

SPIKE
Hi.

ANNA:
Hi.

WILLIAM
Hi.

Spike walks past unsuspiciously and heads into the kitchen.

SPIKE:
I'm just going to go into the kitchen
to get some food -- and then I'm going
to tell you a story that will make your
balls shrink to the size of raisins.

And leaves them in the corridor.

ANNA:
Probably best not tell anyone about
this.

WILLIAM:
Right. No one. I mean, I'll tell 
myself sometimes but... don't worry
-- I won't believe it.

ANNA:
Bye.

And she leaves, with just a touch of William's hand.
Spike comes out of the kitchen, eating something white out of
a styrofoam container with a spoon.

SPIKE:
There's something wrong with this
yogurt.

WILLIAM:
It's not yogurt -- it's mayonnaise.

SPIKE:
Well, there you go.
(takes another big spoonful)
On for a video fest tonight? I've
got some absolute classics.

INT. WILLIAM'S LIVING ROOM - NIGHT

The lights are off. William and Spike on the couch,
just the light from the TV playing on their faces. Cut to the 
TV full screen. There is Anna. She is in a stylish Woody Allen 
type modern romantic comedy, "Gramercy Park," in black and white.

INT. MANHATTAN ART GALLERY - DAY

Anna's character -- Woody Anna -- is walking around the
gallery with her famous co-star, Michael. They should be the 
perfect couple, but there is tension. Anna is not happy.

MICHAEL:
Smile.

ANNA:
No.

MICHAEL:
Smile.

ANNA:
I've got nothing to smile about.

MICHAEL:
Okay in about 7 seconds, I'm going to
ask you to marry me.

And after a couple of seconds -- wow -- she smiles.

INT. WILLIAM'S LIVING ROOM - NIGHT

SPIKE:
Imagine -- somewhere in the world 
there's a man who's allowed to kiss 
her.

WILLIAM:
Yes, she is fairly fabulous.

INT. BOOKSTORE - DAY

The next day. William and Martin quietly co-existing.
An annoying customer enters. Mr. Smith.

MR. SMITH:
Do you have any books by Dickens?

WILLIAM:
No, we're a travel bookshop. We only
sell travel books.

MR. SMITH:
On right. How about that new John
Grisham thriller?

WILLIAM:
No, that's a novel too.

MR. SMITH:
Oh right. Have you got a copy of 
'Winnie the Pooh'?

Pause.

WILLIAM:
Martin -- your customer.

MARTIN:
Can I help you?

William looks up. At that moment the entire window is
suddenly taken up by the huge side of a bus, obscuring the 
light -- and entirely covered with a portrait of Anna -- from 
her new film, "Helix."

INT. WILLIAM'S HOUSE - CONDOR/LIVING ROOM - DAY

William heads upstairs and pauses. Spike coming down, 
wearing full body scuba diving gear.

SPIKE:
Hey.

WILLIAM:
Hi...

INT. WILLIAM'S KITCHEN - DAY

The two of them fixing a cup of tea in the kitchen.

WILLIAM:
Just incidentally -- why are you 
wearing that?

SPIKE:
Ahm -- combination of factors really.
No clean clothes...

WILLIAM:
There never will be, you know, unless
you actually clean your clothes.

SPIKE:
Right. Vicious circle. And then I was
like rooting around in your things,
and found this, and I thought -- cool. 
Kind of spacey.

EXT. WILLIAM'S TERRACE - DAY

The two of them on the rooftop terrace, passing the day. 
William is reading 'The bookseller.' The terrace is 
small and the plants aren't great -- but it overlooks London in
a rather wonderful way. Spike still in scuba gear, goggles on.

SPIKE:
There's something wrong with the 
goggles though...

WILLIAM:
No, they were prescription, so I could
see all the fishes properly.

SPIKE:
Groovy. You should do more of this
stuff.

WILLIAM:
So -- any messages?

SPIKE:
Yeh, I wrote a couple down.

WILLIAM:
So that means there are two messages?

SPIKE:
You want me to write down all your 
messages?

William closes his eyes in exasperation.

WILLIAM:
Who were the ones you didn't write
down from?

SPIKE:
Ahm let's see -- ahm. No. Gone 
completely. Oh no, wait. There was --
one from your mum: she said don't 
forget lunch and her leg's hurting 
again.

WILLIAM:
Right. No one else?

SPIKE:
Absolutely no one else.

Spike looks back and relaxes.

SPIKE:
Though if we're going for this 
obsessive writing-down-all-messages
thing -- some American girl called 
Anna called a few days ago.

William freezes -- then looks at Spike.

WILLIAM:
What did she say?

SPIKE:
Well, it was genuinely bizarre... 
she said, hi -- it's Anna -- and then 
she said, call me at the Ritz -- and 
then gave herself a completely 
different name.

WILLIAM:
Which was?

SPIKE:
Absolutely no idea. Remembering one 
name's bad enough...


Screenplay Continued


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