ALL'S WELL THAT ENDS WELLES Written by Michael Joiner Inspired by a true story NY, NY, 10011 A What The Hell Creative Production Registered, WGAw 917-370-1146
FADE IN: INT. WELLES'S HOME - LIVING ROOM Luxurious, rich in the style of the day. Filled with GUESTS. Hollywood legends, stars, and power players. AT THE PIANO DUKE ELLINGTON, 45, cool, elegant, leads a sing-along. HAYWORTH, 28, flits about the room, chats with Guests. Her red hair curls around her pin-up-girl face. ACROSS THE ROOM WELLES, 31, broad-shouldered and handsome. Intense. Worldly. Intelligent. He hands a cigar to -- SPIEGEL, 45, pompous, entitled. Orson, is all this just for me? Orson lights Sam s cigar. Scans the party. All what? COLBERT, 43, another attractive redhead eases between Sam and Orson. Talk about two boys up to no good. Just admiring you from afar, Claudette. I prefer being admired up close. Rita casually scoots between Orson and Claudette. Rita, everything is perfect. Thank you, Sam.
2. Orson kisses Rita on the cheek. Something catches Sam s eye. He nabs an Oscar statuette off a desk. For writing Kane? Co-writing. I saw it in his trailer on the set of Tomorrow Is Forever. Rita s tenses at Claudette s remark. Draws away from Orson. You deserved Best Director. I deserved Best Picture. Sam raises his glass. Here s to winning both with The Stranger. I expect great things... even with the changes you ve requested. Orson takes the Oscar from Sam. Puts it back on the desk. Think of them as improvements. (to Orson and Sam) It s official, you ve bored me. Rita taps Claudette s empty glass. (CONT D) You must be parched. Come with me. The two redheads sashay to -- THE BAR Rita and Claudette reach for new martinis. (CONT D) So how was he? Pardon?
3. I know you fucked him. Rita... You re serious? Darling, I would never. Why do you think he carries that stupid Oscar from set to set? Rita knocks back her drink. (CONT D) It s gotten him more pussy than movies, I ll give him that. Darling, if I wanted to fuck someone with an Oscar, I d simply put my fingers to work. Claudette saunters off. Rita slams her glass on the bar. (to Bartender) Numb me. ACROSS THE ROOM Sam leads Orson away from the other Guests. Regarding The Stranger, I m seeing Robinson in the lead. Edward? He s a sonuvabitch. He s bankable. You need that. You assured me that I could expect some control. Like your idea to use footage of the German death camps?
4. The entire film centers around the search for a Nazi war criminal. Logic dictates we show the crime. With actual footage? Orson puffs up. Backs Sam into a corner. I need it, Sam. It s a deal breaker. Orson, this is your first directing job in four years. You re not going to walk away. Hell, you re more apt to get fired. Give me the camp footage. Sam looks skeptical... stares down into his drink. Just keep it short. Orson and Sam shake on it. AT THE PIANO Duke Ellington ends his set with an intricate flourish. Orson breaks free of Sam. Leads the room in applause. Bravo! Magnifique! Duke bows. He and Orson hug. Rita kisses Duke on the cheek. Sensational as always. But please, you re our guest. Enjoy yourself. DUKE I am enjoying myself. This is one of the few gigs I can enter through the front door. A few Guests stiffen. Rita playfully slaps Duke s hand.
5. You re incorrigible. DUKE Did you know your husband jumped up on my stage the first time we met? I hired him to make a movie. The Story Of Jazz. Sounds marvelous. What happened? DUKE I believe it s what s know in the business as a a lack of funds. Otherwise known as an Orson Welles production. Orson leaps gallantly onto a chair. Treats it like a Broadway stage. (CONT D) (to the room) Surely one of you can afford to make this movie. Orson spins. Singles out Sam. Grins like the Cheshire Cat. (CONT D) Sam... How about it? Sam pretends to check his pockets. Comes up empty. (CONT D) No surprise there. The room rocks with laughter. Orson and Duke silently toast. INT. AND 'S HOME - BEDROOM - LATE NIGHT Rita in a silk nightgown and heels sits at a vanity brushing her hair. IN THE MIRROR Rita sees Orson approaching. He leans in.
6. Rita flips her hair to the other side... blocks Orson s kiss with a face full of glamorous locks. Orson backs off. What s wrong? Feeling guilty? Feeling tired. Too tired for this. BACK TO THE BEDROOM Orson pulls back the covers. Plops down on the bed. Rita glides over. Did you see Sam corner me tonight? He s asked you to direct, write, and star in his movie. He s entitled to corner you. That s the problem, it s his movie. (CONT D) Just another producer killing my passion before we even start. And you wonder why I do my radio show. Not for the money. Money s not an issue. Rita gestures around the room. This isn t cheap. Orson pulls back the covers for Rita. I wasn t aware we were in debt.
7. We re not. Rita slips out of her heels and into bed. (CONT D) Make Sam happy. Then, maybe they ll finally let you direct me. Rita cuddles up. Turns off the lamp. Evidently I can t afford you. No. You can t. Orson laughs. He can t help it... he fucking loves her. EXT. STUDIO BACKLOT - DAY On the film set of THE STRANGER. EDWARD G. ROBINSON, 53, short and chubby, reads his script. Orson ambles over. A smile plastered on his face. Edward! I can t tell you how excited I am to have you onboard. He shakes Edward s hand vigorously. (CONT D) I told Sam, no Edward, no movie. Orson lets go of Edward s hand. His smile rapidly fades. EDWARD Fuck you, Orson. Save that scenery chewing for the camera, old boy. It ll help hide your usual lack of preparation. Orson spies a raven-haired beauty on the lot. Ditches Edward. ACTRESS LORETTA YOUNG, 34, sees Orson heading her way. (CONT D) Loretta, darling.
8. Orson kisses Loretta on the cheek. (CONT D) Since we re playing husband and wife, I thought we should read through the script together. Orson discreetly walks her to his trailer. LORETTA What a wonderful idea. He opens the door for Loretta. Follows her inside. Have I ever shown you my Oscar? The door closes behind him.