A Social Dimensions Analysis of Letters to Juliet Movie Script.”

Home , Letters to Juliet, This Is the End, Wrong for Each Other

A SOCIAL DIMENSIONS ANALYSIS OF LETTERS

TO JULIET MOVIE SCRIPT

A THESIS

Submitted To the English Department of the Teacher Training and Education Sciences Faculty Muhammadiyah University of Purworejo in Partial Fulfillment of Requirement for the Sarjana Pendidikan Degree

By:

Warnaning Isnaini

NIM. 09.212.0074

ENGLISH DEPARTMENT TEACHER TRAINING AND EDUCATIONAL SCIENCES FACULTY MUHAMMADIYAH UNIVERSITY OF PURWOREJO 2013

iii

MOTTO

 “If you do not give up, you can‟t fail”. (Mario Teguh)

 “A smile is an inexpensive way to change your looks”. (Charles Gordy)

 “Every part of life has its each own time”. (The Researcher)

DEDICATION

With gratitude and love because of Allah, this thesis is lovely dedicated to:

 My beloved parents, Suwarno and Sularti, who always give me support

and unlimited love.

 My beloved brother, Sigit Paryoto, who shows me the way to cheer up.

 My best friend, Aroh, Pipit, Tiwi, Uchi, Lis, Neli, Sudar, Nur Aslimah,

Anhar, and Taufik.

 All my friends in class B, thanks for colouring my life.

 All my relatives and friends who brighten me up.

ACKNOWLEDGMENT

Alhamdulilah, thanks to Allah the Most Gracious and the Most Merciful, without His blessing, the researcher would have never been able to complete this thesis, entitled “A Social Dimensions Analysis of Letters to Juliet Movie Script.”

This thesis was written to fulfill the requirement for obtaining the Sarjana

Pendidikan Degree for the English Department of Teacher Training and

Educational Sciencess Faculty of Muhammadiyah Unversity of Purworejo.

The researcher would like to express her gratitude to:

1. Drs. H. Supriyono, M.Pd, as the Rector of Muhammadiyah University of

Purworejo.

2. Drs. H. Hartono, M.M, as the Dean of the Faculty of Teacher Training and

Educational Sciencess of Muhammadiyah University of Purworejo.

3. Semi Sukarni, M.Pd, as the Head of the English Education Department of

the Faculty of Teacher Training and Educational Sciencess of

Muhammadiyah University of Purworejo.

4. Zulia Chasanah, S.S, MP.d, as her consultant who always gives guidance,

gives the best clues, helps, and supports her to do this research correctly

and appropriately.

5. All of the lecturers of English Education Department who gave their

guidance.

6. Everyone who has supported me.

vii

viii

TABLE OF CONTENTS

TITLE…………………………………………………………………...... i

APPROVAL SHEET…………………………………………...... ii

RATIFICATION SHEET…………………………………………...... iii

MOTTO…………………………………………………………………….. iv

DEDICATION……………………………………………………………... v

ACKNOWLEDGEMENT……….………………………………………… vi

CLARIFICATION LETTER...... viii

TABLE OF CONTENTS...…………………………………………………. ix

LIST OF TABLES …………………………………………………………. xii

ABSTRACT...……………………………………………………………..... xiii

CHAPTER I INTRODUCTION……………………………....……… 1

A. Background of the Study……………………...... 1

B. Identification of the Problem..………...……………. 3

C. Statement of the Problem.... …...………………...... 3

D. Objective of the study..……...…………...... 4

E. Significance of the Study ………………………...... 4

F. Limitation of the Study……...... ……....…...... 5

G. Definition of the Key Terms …………..………...... 5

CHAPTER II REVIEW OF RELATED LITERATURE…………… 7

A. Previous Study…………...... ………….. 7

B. Sociolinguistics.....……… …...... …..…. 10

C. Social Dimensions...... …….. 16

D. Movie Script...... ………………………….. 21

1. Definition of Movie Script....……………………. 22

2. Movie Genres...... ………………… 23

E. Letters to Juliet...... …………………………….. 29

CHAPTER III RESEARCH METHODOLOGY……..……………. 32

A. Type of Research...... ……………… 32

B. Data and Source of the Data ……………...... …... 33

C. Technique of Collecting Data……………………… 33

D. Technique of Analyzing Data……………………… 35

CHAPTER IV RESEARCH FINDING AND DISCUSSION...... …. 37

A. Research Finding………….………....…...... 37

B. Discussion …………………….....…...... …...... 41

CHAPTER V CONCLUSION AND SUGGESTION.…………… 69

A. Conclusion………....……………………………… 69

B. Suggestion……….....……………………………... 70

REFERENCES...... 72

APPENDICES...... 74

LIST OF TABLES

Table 1. Example of Solidarity, Status, Formality, and Function...... 38

Table 2. The five dialogues that are reflected each social dimension

characteristics...... 40

xii

ABSTRACT

Isnaini, Warnaning. 2013. A Social Dimensions Analysis of Letters to Juliet Movie Script. A Thesis. English Education Department, Faculty of Teacher Training and Education Science, Muhammadiyah University of Purworejo. Consultant: Zulia Chasanah, S.S,M.Pd.

Movie is not only something that entertains us but also provides information that we need to know. In this thesis, the researcher uses Letter to Juliet movie script as representative of western movie. The characters in this movie come from different countries so that they represent different cultures. Therefore, it will be interesting to identify the social dimensions. The object of this study is the dialogue of the characters on the movie script „Letter to Juliet‟. Source of the data used in this study is a document in the form of movie script. The researcher uses a qualitative type of research to conduct this study. The key instrument of this study is the researcher herself. The researcher uses descriptive qualitative research to explain each dialogue. The result of this study shows that the social dimensions which are represented in the dialogue are high solidarity, low solidarity, low status, high status, high formality, low formality, referential function and affective function. Dialogue that reflects high solidarity scale is “Yeah. I know. I just. I was thinking I could try something new.” Dialogue that reflects low solidarity scale is “These are the secretaries of Juliet. We respond to the letters she receives from around the world.” Dialogue that reflects low status scale is “Ladies, this is Sophia.” Dialogue that reflects high status scale is “An apology, dear, is when you look at someone straight in the eye with contrition and sincerity and actually say the words “I‟m sorry”.” Dialogue that reflects high formality scale is “I remember when he used to have that affect on me.” Dialogue that reflects low formality scale is “But? Who's gonna take the pictures?” Dialogue that reflects referential function scale is “Alright, I think we get the picture. “Dialogue that reflects same status scale is “You're such a prude. And you're ageist.” The students are suggested to learn the social value and social skill from movies they watch.

Keywords: Analysis, Social Dimension, Letters to Juliet, Movie Script

xiii

CHAPTER I

INTRODUCTION

First chapter consists of background of the study, identification of the problem, statement of the problem, objective of the study, significance of the study, limitation of the study, and definition of key term.

A. Background of the Study

As an international language, English is important to study. It helps us

to communicate with other people all over the world. English unites people

who are coming from different country, religion, social background, and of

course different language. We need it to socialize with the global community.

Through English, we can easily communicate to foreigners so that we can

enlarge our relation.

Related to communication in the society, there is a study about it. It is

called linguistics. One of the branches of linguistics studies is sociolinguistics

which is studying the relationship between language and the society. It is

focused to explain why people speak differently to other people in different

social contexts.

The advantages of sociolinguist study are to provide information

about the way language works, as well as about the social relationship in a

community, and the way people signal aspects of their social identity through

their language. In Sociolinguistics, we are discussing the different social community which is influencing the language structure. The structure of society is influenced by a lot of factors, such as „who is speaking‟, „with whom he or she is speaking‟, „where are the conversation taking place‟, „what is the theme of conversation‟ and „what is the aim of the conversation‟.

The factors above can be defined as four components; they are participants, setting, topic and function. Those four components are related to social dimensions, which can develop social skills of people that will support them throughout their lives. These dimensions are about social distance scale which is concerned with participant relationship, status of participant, formality scale relating to the setting or type of interaction and the last is about the functional scales relating to the purposes or topic of interaction.

As the reflection of reality, movie also contains communication. We can see the actors and actress dialogues in the movie. Every dialogue in the movie contains social dimensions. We know that from the movie script.

Here, the researcher chooses Letter to Juliet movie script to analyze.

The characters in this movie are coming from different countries and they are speaking English as their language in daily communication.

By studying the social dimension in this movie script, can assist teachers in educating students‟ character. As we know that many students are using words that are not appropriate to use when they are speaking to their teachers, parents, or the people they are supposed to respect. Dialogue in this

movie gives an example of how to speak the proper word and be polite to the

older ones.

B. Identification of the Problem

There are many things in our society that can be analyzed. As a human

being, the researcher wants to know about how the people communicate each

other. The interpersonal communication builds a social relation. It is related

to social dimensions that can help to develop social skills which will support

people throughout their lives.

The researcher chooses movie script to be analyzed because movie

script is a written document which is good and worth analyzing. In this thesis

the researcher uses Letter to Juliet movie script as representative of western

movie. The characters in this movie come from different countries so that

they represent different cultures. Therefore, it will be interesting to identify

the social dimensions.

Besides, studying social dimension is not only can develop social skill

but also can build personal character. Dialogue in this movie gives an

example of how to speak the proper word and be polite to the older ones.

C. Statement of the Problem

The problem that the researcher wants to find out is: What are the

social dimensions of the movie script „Letter to Juliet‟?

D. Objective of the Study

Based on the statement of the problem, the researcher focuses on the

study of revealing: To identify the social dimension of the movie script

„Letter to Juliet‟.

E. Significance of the Study

By the end of the study, the researcher hopes there will be some

advantages that can be taken. They can be theoretically and practically

advantages.

Theoretically, this study may strengthen current study of

sociolinguistics especially the study that is focused on social dimension. It

also can be used as reference to the next linguistic research that discusses the

social dimensions.

Practically, a lot of parties can get the benefit of this research, such as

for the researcher, the academic societies, and the readers. For the researcher,

it gives the deeper information about social dimension on sociolinguist study.

The next, for the academic societies, it can be used as references for the next

research which is analyzing the same topic. It also gives contribution to the

study of sociolinguistics focused on social dimensions. However, the

researcher hopes this research could help teachers to develop their students‟

character building. The last is benefit for the readers. It is useful to enrich the

readers‟ knowledge about the social dimensions on the study of

sociolinguistics. Besides, it is easy to understand because it uses movie script

as the object of research which is familiar in the community.

F. Limitation of the Study

The researcher chooses Letter to Juliet movie script as the limitation

of this study. It is focused on social dimensions of the character‟s dialogue of

this movie.

G. Definition of the Key Term

In this part, the researcher needs to explain the terms that are

related to the title of this thesis as follows:

1. Analysis

Study of something by examining it parts and their relationship

(Hornby, 1995:38).

2. Social Dimension

According to Tajfel (2007:509), social dimension invokes a process

which combines individual and social functioning.

3. Movie Script

Movie script is an autonomous literary product, which reflects the

reality of human life by presenting characters, (Giannetti, 2007:256).

4. Letters to Juliet

Letters to Juliet is a 2010 American romantic drama film starring

Amanda Seyfried, Chris Egan, Vanessa Redgrave, Gael García Bernal, and

Franco Nero and directed by Gary Winick.

(http://dailyuw.com/archive/2010/05/13/imported/film-review-letters- juliet#.UbIf28VqrIU)

CHAPTER II

REVIEW OF RELATED LITERATURE

Review of related literature is needed by the researcher as the references which can aid her in analyzing data. It is necessary to state some elaborations of certain theories as the precedence of this thesis before further discussion on social dimension analysis on Letter to Juliet movie script. Chapter two provides previous study about social dimension, theories on sociolinguist, social dimension, movie scripts, and Letter to Juliet movie.

A. Previous Study

Some of studies about social dimension and movie analysis are

inspiring the researcher to do this research. Those previous studies have been

conducted by some researchers all around the world. In this part, the

researcher explains three of them. The first is a research entitled A Social

Dimensions Analysis of the Comments on Facebook Status Update Among

Allkpop Group Members on 3rd July 2012. This study is conducted by

Nurmalita Sidik. It is submitted to the English Department of

Muhammadiyah University of Purworejo of the requirements for Sarjana

Pendidikan degree. This first previous study is identifying the social

dimensions of the comments on Facebook status update among Allkpop

group members. To conduct her study, Nurmalita Sidik uses descriptive

qualitative research method. The result of this study is social dimensions that

appears in the comments are high solidarity, same status, low formality, and affective function. There is no high status appears in the comment. Low solidarity, low status, and high formality appear in low percentage.

The difference between this thesis and the first previous studies is this thesis discusses social dimension analysis on movie script, while the first previous study discusses the social dimension on the comments on Facebook status update among Allkpop group members. The similarity between this thesis and the first previous study is both of the theses are using descriptive qualitative method to analyze the social dimension.

The second is a research entitled The Social Dimension of

Asynchronous Learning Networks. This study is conducted by Rupert Wegerif.

It is submitted to School of Education, The Open University Walton Hall,

Milton Keynes, MK7 6AA. This second previous study argues that the social dimension is important to effectiveness of Asynchronous Learning Networks

(ALNs) and needs to be taken into account in the design of courses. The method used by Rupert Wegerif to investigate the course relied in part on participant observation and in-depth interviews in order to reconstruct the categories through which the participants themselves interpreted their experience. The result of this study is the researcher found that individual success or failure on the course depended upon the extent to which students were able to cross a threshold from feeling like outsiders to feeling like insiders.

The differences between this thesis and the second previous studies is this thesis discusses social dimension analysis on movie script, while the second previous study discusses the social dimension of Asynchronous

Learning Networks. Besides, the method which is uses by the researcher to conduct her study is descriptive qualitative research. It is different with Rupert

Wegerif who uses in part on participant observation and in-depth interviews to accomplish their study. The similarity between this thesis and the second previous study is both of the theses are discussing social dimension.

The third is a research entitled The Domination of Id as the Result of

Aileen Wuornos‟ Ego and Superego‟s Malfunction Seen in Patty Jenkins‟

Monster Movie Script. This study is conducted by Tafira Oktiani. It is submitted to English Letters Study Programme, Department of English

Letters, Faculty of Letters, Sanata Dharma University Yogyakarta. This third previous study discusses Monster movie script which is written by Patty

Jenkins. Tafira raises three problems to reach the objectives of the topic. First, the problem formulation discusses the characterization of the main character.

The next is the condition of personality system of the main character. The last is about the domination of id as the result of ego and superego‟s malfunction.

By answering those problems, the objective of the study can be achieved. She uses library research method to accomplish this study. The result of this study shows that the malfunction of main character‟s ego and superego is the result of id‟s domination.

The difference between this thesis and the last previous study is this

thesis discusses social dimension analysis on movie script, while the last

previous study, Tafira discusses the characterization of the main character,

the condition of personality system of the main character, and the domination

of id as the result of ego and superego‟s malfunction. The other difference is

the method which is uses by the researcher to conduct her study is descriptive

qualitative research, while Tafira uses library research method to accomplish

her study. Tafira chooses books, articles, encyclopedia, and internet as the

sources. The similarity between this thesis and the last previous study is both

of the theses are analyzing movie script.

B. Sociolinguistic

Sociolinguistics is that branch of linguistics, which studies just

properties of language and languages that require reference to social,

including social factors, dimensions, and explanations. According to Holmes

(2001:1) sociolinguistics is concerned with the relationship between language

and society. It means that we study sociolinguistics to know the relationship

between language and the context in which it is used.

According to Hudson (2001:1) sociolinguistics is a study of language

in relation to society. In social interaction, people use language to

communicate each other. So that we can conclude that language and society

have a close relationship.

A lot of thing that we can learn in Sociolinguistics, such as:

1. Relations between language and society

According to Mesthrie, Swann, Deumert, and Leap (2004:5) say

that a concern for the „human communication‟ aspect within the

definition of language implies attention to the way language is played out

in societies in its full range of function. Language is a term which refers

to the process to conveying meaning, referring to ideas, events or entities

that exist outside language.

A speaker will unconsciously give signal concerning his or her

social background and social status while using language primarily for

communication. Mesthrie, Swann, Deumert, and Leap (2004:6) write that

language is accordingly said to be indexical of one‟s social class, status,

region of origin, gender, age group and so on. That is how we know

someone identities from the way his or her uses language to

communicate in social life.

Susan Gal in Mesthrie, Swann, Deumert, and Leap (2004:6)

argues that language not only reflects societal patterns and divisions but

also sustains and reproduces them. Accent, for example, may reveal the

social group to which a person belongs, but is also part of the definition

of that social group. Ways of talking are not just a reflection of social

organization, but also form a practice that is one of social organization‟s

central parts.

Based on the explanation above, we can conclude that language

have a close relationship with society. Language not only a verbal

communication to convey meaning, referring to ideas, events or entities

that exist outside language but also a reflection of one‟s social class,

status, region of origin, gender, age group and so on.

2. Why do we say the same thing in different ways?

There are many different ways of addressing people. We often

have different names for people when we are addressing them directly, as

opposed to when we are referring to them in different contexts. For the

example, a mother is called mom by her family in her house. However, in

another places, someone calls her nick name or her family name.

Holmes (2001:3) says that language provides a variety of ways

of saying the same thing-addressing- and greeting others, describing

things, paying compliments. The choice of one linguistic form rather than

another is a useful clue to non-linguistic information. For the example, a

mother‟s choice to call her son „dear‟ reflects to her affectionate feeling

toward her son. If she had been annoyed by her son, she would have used

his full name to call her son. Here is the another example that the

researcher quotes from Holmes (2001: 2)

Every afternoon my friend packs her bag and leaves her Cardiff office at about 5 o‟clock. As she leaves, her business partner says goodbye Margaret, (she replies good bye Mike) her secretary says good bye Ms Walker, (she replies good bye Jill) and the caretaker says Bye Mrs. Walker (to which she responds good bye Andy). As she arrives home she is greeted by Hi mum from her daughter, Jenny, hello dear, have a good day?, from her mother, and simply you‟re late again!, from her husband. Later in the evening the president of

the local flower club calls to ask if she would like to join. Good evening, is that Mrs. Billington? she asks. No, it‟s Ms Walker, but my husband‟s name is David Billington, she answers. What can I do for you? Finally a friend calls Hello Meg, sut wyt ti?

Examples above are explaining the way people addressing the

other in different way. Addressing someone in formal context is different

with addressing the same one in informal context. The mental condition

of the speaker also affects the way he or she addressing someone. The

way he or she called the one who annoyed him or her is different with the

way he or she called the same one who pleased him or her.

A conclusion that we can drive from the examples and

explanations above is a variety of ways of saying the same thing reflects

factors such as relationship between the people in the particular situation,

and how the speaker feels about the person addressed. We also indicate

aspects of our social identity through the way we talk. Our speech

provides clues to others about who we are, where we come from, and

perhaps what kind of social experiences we had.

3. What are the different ways we say thing?

According to Holmes (2001: 4), sociolinguists are also

interested in the different types of linguistic variation used to express and

reflect social factors. One of linguistic variation is vocabulary or word

choice. The other variations of linguistic are sounds, word-structure or

morphology, and grammar or syntax. The linguistic variations provide us

with different linguistic style for use in different social context.

Vocabulary choice and different pronunciation convey social

information. The social and educational background of the speaker will

be reflected by the vocabulary choice and the pronunciation. Here are

some examples of the vocabulary choice and the different pronunciation

that the researcher quotes from Holmes (2001: 4): a. Refuse should be deposited in the receptacle provided. b. Put your rubbish in the bin, Jilly. c. Please tender exact fare and state destination. d. Give me the right money and tell me where you are going.

The first two sentences (a and b) provide the same message.

Both sentences express the same message or speech function: they give a

directive. However, they are not interchangeable. The first, (a), uses a

passive grammatical structure should be deposited, which avoid any

mention of the people involved. Whereas (b) uses an imperative verb

form, put, and address form, Jilly. The using of refuse, deposited, and

receptacle are all more formal and less frequent words than rubbish put

and bin. Sentence (a) indicates that the person who uses directive is more

sarcastic than person who uses sentence (b), because sentence (b) is more

normal to be used. So that sentence (c) and (d), they convey the same

message to. Sentence (d) is more informal and more frequent to be used

than sentence (c).

There is another different ways we say thing besides

pronunciation differences and vocabulary choices. It is different dialect

which is used in a community. Factors such as who is being talked to, where is the setting of conversation, and for what reasons the topic being talking are important. The reason for the choice of one dialect rather than another involve the same kind of social consideration-the participants, the social setting, and the topic or purpose of the interaction (Holmes,

2001:6)

People may use different pronunciation, vocabulary choice, grammatical variations, or style of a language for different purposes.

They may use different dialects of a language in a different social context. The differences are depending on the different social context in which people are speaking.

According to Holmes (2001:7) the members of each community have their distinctive linguistic repertoire. In the other word, there is a range of varieties form which people select according to the context in which they are communicating. The example of the range of linguistic variation which can be observed in different speech communities is quoted bellow by the researcher from Holmes (2001:6).

In a mountain village, Sauri, in north-east Italy, a sociolinguist reported in 1971 that the adults were all trilingual. Before 1866 the village had part of the Austrian empire, and its villagers all spoke German. In the late 1960s they still used a German dialect in the home, and to neighbors and fellow villagers. They also used the regional language Friulian with people from the surrounding area outside the village, and the young men, in particular, tended to use it to teach other in the pub. These men had gone to secondary school together in Ampezzo, a nearby town, and Friulian had become for them a language of friendship and solidarity. Italian was the language people used to talk to those from beyond the region, and

for reading and writing. Because their village was now part of Italy, Italian was the language of church and the school.

This example is the evidence of linguistic repertoire. The

different linguistic varieties used in Sauris are distinct languages. They

are distinguishable from each other in their sounds, their grammar, and

their vocabulary. The varieties also distinguishable by the way they are

used, it means their social distribution is different. The local people select

the appropriate variety for any particular interaction according to similar

social factors, such as who they are talking to, in what kind of setting,

and for what purposes the conversation is.

C. Social Dimensions

We are already discussing a clear point about sociolinguistics. The

next thing that we are going to discuss is social dimension. In this part, we are

going to talk about social factors and social dimensions that related to the

thesis topic, that is social dimension analysis of a movie script.

We have known that sociolinguistics is a study of relationship

between language and context in which it is used. We already discussed about

why people say the same thing in different way and what are the different

ways people say things in the previous part. Based on the explanation about

why people say the same thing in different way and what are the different

ways people say things in the previous part, we find out the social factors.

Certain social factors have been relevant in accounting for the particular

variety used. Not all factors are relevant in any particular context but they can be grouped in ways that are helpful.

According to Holmes (2001:8) in any situation, linguistic choices will generally reflect the influence of one or more of the following components: a) The participants: who is speaking and who are they speaking to? b) The setting or social context of the interaction: where are they speaking? c) The topic: what is being talked about? d) The function: why are they speaking?

By knowing these components of social factors, we understand about social dimension. These social factors play important role in describing and analyzing all kind of interaction. They are basic components in sociolinguistic explanation of why we do not all speak in the same way, and why we do not all speak in the same way all of the time.

Holmes (2001: 9) says that there are four different dimensions related to social factors. They are: a) A social distance scale concerned with participant relationships. b) A status scale concerned with participants relationships. c) A formality scale relating to the setting or type of interaction. d) Two functional scales relating to the purposes or topic of interaction.

The social distance scale is useful in emphasizing that how well we know someone is relevant factor in sociolinguistic choice. According to

Holmes (2009: 9), here is the diagram of the solidarity or social distance scale:

Intimate ______Distant

High Solidarity Low Solidarity

The status scale points to the relevance of relative status in some linguistic choices. According to Holmes (2009: 9), here is the diagram of status scale:

Superior High Status

Subordinate Low Status

The formality scale reflects the influence of the context on the way of speaking. This scale is useful in assessing the influence of the social setting or type of interaction on language choice. Often degrees of formality are largely determined by solidarity and status relationship. According to Holmes (2009:

9), here is the diagram of the formality scale:

Formal High Formality

Informal Low Formality

The last scale, the functional scale, is divided into two sub-categories, a referential scale and an affective function. The referential and affective function scales are particularly pervasive and basic. Homes (2001:10) states that language can convey objective information of a referential kind; and it

expressed how someone is feeling. Commonly, the more referentially oriented an interaction is, the less it tends to express the feeling of the speaker. Radio broadcast of the weather forecast tend to put the emphasis information or the referential function. On the other hand, interaction that are more concerned with expressing feeling often have little in the way of new information to communicate. According to Holmes (2009: 10), here is the diagram of the referential scale and affective function:

High ______Low

Information information

Content content

Low High

Affective ______affective

Content content

These theories become significant for the sample when studying especially the direct addresses and the subjectivity, for example, the features where the relationships among the participant relevant. By looking back at the direct addresses, for example, we see that their forms (the usage of first names) are common for the sample.

Formality increases between participants when the social distance is distant. Informality and solidarity increases when the social distance between participants is closer. Social status depends on a number of factors such as

social rank, wealth, age, gender, and so on; therefore, the person with the higher social status has the choice of using formality or informality when addressing other person‟s of lower social status.

Language variety depends on its uses as well as its users. It also depends on where it is used and to whom it is used. The addresses and the contexts affect our choice and code of variety, whether language, dialect or style is suitable or not to be used in a conversation.

The speaker‟s relationship to the addressee is crucial in determining the appropriate style of speaking. Social relationship, how well you know someone or how close you feel to them is affect social distance or solidarity.

That is why the social background of the speaker and his or her age influence the speaker‟s language style.

The social background of the people we talk also influences the languages they used. People who have low status in social background tend to use informal style of language such as slang words, taboo words, swear words, and question tags, while the high one, may use formal or standard language. Slang word has been defined and nobody can define. The example of slang word „ya‟ that means „you‟. While, the example of swear word is

„dump‟ and „damn‟. Moreover, the lower status tends to omit the definite article „the‟ before the title and omit the honorific „Mr‟ and „Mrs‟, and usually use contrasting style like „won‟t‟ to replace will not.

It can be concluded that for knowing the relationship of participants, we could analyze the language used by the participants. When someone

closes to each other, he or she tends to use informal language or non-standard

language. The features of informal language uses simple grammar, familiar

vocabulary, ungrammatical sentence, uses slang words, swear words,

contraction, and syntactic reduction.

D. Movie Script

In this part, the researcher wants to discuss about movie and movie

script. It is important to know what film is before the researcher explains the

movie script. According to Pauly (2011) movie is a specific kind of

cinematograph recording that usually fulfills certain conventions of length,

narrative form, commercial production, and audience expectation of

entertainment. Pauly‟s statement makes it clear that film is something to

entertain audience or the movie viewer. A cinematograph is a motion picture

film camera, which also serves as a film projector and developer. It means

that movie combines visual and sound.

Like literature, movie can also brings us message and enlighten as a

portrait of social condition, human interest, and fantasy. So that movie is

suitable to the topic of this thesis. We can analyze the social dimension on the

movie because it is a portrait of social condition.

Movie has many genres, for example, horror, drama, action, comedy,

thriller, etc. Some of them are adapted from novel. A screenplay for a movie

adaptation is made by a scriptwriter who inspired by a novel. The script

writer is deeply impressed by the novel and tries to adapt the same story in a new way, which is suitable and more expressive for them.

Besides, there some important things that the researcher wants to discuss in this part. They are definition of movie script and movie genres.

1. Definition of movie script

A movie script is rarely an autonomous literary product

(Giannetti, 2007:256). It means the relationship between a movie and

literature is the movie script itself. So that we can conclude that a movie

script is a literary work to. A literary work gives many values for us. The

value that we can get from movie script is we can feel what the

scriptwriter feel by read the movie script or watch the movie itself.

A screenplay is a story told with pictures, in dialogues and

description, and placed within the context of dramatic structure (Field,

2005:23). All of story can be rewritten as a screenplay or movie script as

long as the scriptwriter could change the story into dialogues and

picturing the characters in the story.

Wells (2008:84) says that in a movie script, the narrative is

visualized on an action by action basis in the drawn form, anticipating the

frame by frame process of artificially creating the physical motion in

characters and environments.

According to Scott (2002:21), a script describes the entire story,

including a description of all the environments in which the scenes take

place, all the action that happens in those environments, and all the

dialogue spoken by the characters.

Nelmes (2010:89) defines script as a language text determined by

the traditional conventions of layout, the descriptors of location and

context, the introduction of characters, and exchanges of dialogue.

Based on the definitions above, the researcher conclude that a

movie script is a literary product that written as narrative which describes

the characters, layout, location, scenes and all of the dialogues in the

movie.

2. Movie genres

Whatever genre you pick, remember that people who are genre-

savvy mix them in description all the time, (Press, 2000:93). For

example, Ace Ventura, Pet Detective can be described as an action

comedy mixed with outdoor/wildlife. The other example is Letter to

Juliet, can be described as a drama comedy mixed with romance. Here

are the movie genres according to Press (2000:89-92):

a) Action

This is most often a cross-genre description. A crime drama

such as The Untouchables might be considered action by some, but

epic historical dramas such as Brave heart or Gladiator are also

action movies.

b) Adventure

The main character almost always deals with some kind of new

and amazing world. c) Animation

With the advent of computer animation with Toy Story, this

genre is very sophisticated. Disney‟s Dinosaur in 2000 is an

example. d) Comedy

This is a very broad genre that in recent years has skewed

toward the bizarre, with the successes of Jim Carrey, Adam Sandler,

and the Farrelly Brothers (There‟s Something About Mary). e) Coming of age

It also known as “rites of passage, “this genre is a reflective

drama requiring skillful and insightful writing. When it works, it

works big, as in Cider House Rules. When it doesn‟t work, it is

maudlin. f) Crime/detective

This once prolific genre has been largely hijacked by

television. Crime features now are usually cross-genre thrillers, as in

L.A. Confidential, or are mixed with love stories, as in Ghost.

g) Drama

These days, this very broad category is generally used to refer

to a story about some social issue or struggle, as in Philadelphia or

Schindler‟s List. h) Dramedy

Rapidly becoming its own genre is this combination of drama

and comedy in which serious issues are dealt with in a comedic

fashion in various parts of the film. More often than not, the movie

revolves around family or coming of age stories, as in Dead Poets

Society or My Dog Skip. Usually, a comedian who wants to prove

serious acting ability stars, such as Robin Williams or his pal Billy

Crystal. i) Ensemble

This type of drama is usually made by first-time or

experienced directors who also write. Examples are The Big Chill,

Diner, Metropolitan, Parenthood, and Sex, Lies & Videotape. The

emphasis is on a central issue, not a central character. We must be

able to write interesting dialogue to make this one work. j) Fantasy

This genre is generally reserved for young audiences and so

has again been co-opted by children‟s television. When we do see

fantasy features these days, they are usually animated. If we expect

to sell one, it had better be very different, such as Princess

Mononoke or Who Killed Roger Rabbit? k) Film noir

This stylized crime drama is great for launching a career or

even making a career. The Coen Brothers broke in with Blood

Simple, while Chinatown was considered for a long time to be the

greatest script of the latter twentieth century. L.A. Confidential won

an Academy Award. If the guy gets the girl, she comes with plenty

of trouble, and he rapidly gets embroiled in some kind of conspiracy.

Does that sound like us? l) Horror

This one seems easy, but we need a twist, such as The Blair

Witch Project (promoted on the Internet in a way that made it

initially seem like real people died on camera). If we are original, we

will get rich because horror movies can be made with unknowns, and

a hit calls for sequel after sequel. m) Independent

Yes, it is a genre. If we do not understand it, just read up on the

Sundance Film Festival or watch a lot of movies on The Sundance

Channel on cable TV. These films, formerly known as “art films,”

involve quirky subjects and low budgets, and can be a fine way to

launch a career. Clerks is a great example of this type of movie.

n) Musical

When is the last time anyone made one that wasn‟t animated?

When Broadway hits such as Evita appear onscreen with

international superstars like Madonna and then bomb, Hollywood

forgets musicals. This might mean that it is wide open for success. o) Mystery

It is sad to say, but this genre seems like a remnant of another

age. Was The Usual Suspects a mystery, a crime drama, or a thriller?

These days, mysteries mostly work on television (Murder, She

Wrote and Diagnosis, Murder). If we aspire to make your own

movie, however, mysteries are relatively inexpensive to shoot. p) Outdoors/wildlife

Most beginning screenwriters don‟t consider this genre, but a

good script of this type is comparatively easy to sell. Homeward

Bound and Babe are good examples. If we have one in which kids

interact with animals, such as Free Willy, we usually can get it read,

if it is any kind of script at all. This type of film is visually rich and

usually inexpensive to make, and if the actors are unknowns, family

audiences generally don‟t care. q) Romance

There are not enough good romances around, so if we can

write a good date movie, you are in luck. Just do not flinch when

someone calls it a chick flick. Great recent examples are As Good as

It Gets, Pretty Woman, and Return to Me. r) Romantic comedy

Also known as romcom, this is a completely separate genre

from comedy. Think Julia Roberts or Andie McDowell: Four

Weddings and a Funeral, Groundhog Day, My Best Friend‟s

Wedding, and Notting Hill. Awfully close to the romance genre,

aren‟t they? Here is the catch: In the former, there is more drama

than comedy. In the latter, it is reversed, and the way the couple

fumbles toward their inevitable union is hilarious. To write either of

these genres successfully, you would better know women and

relationships well and also have a great sense of humor. s) Sci-fi

No one in Hollywood calls it science fiction, but that‟s what it

is. This genre needs no explanation, and with computer-generated

film technology and the mega success of movies such as The Matrix,

there is no better genre, if we can make it work. Take a look at the

top 10 moneymakers of all time, and you will see a lot of sci-fi titles.

If you want to write a blockbuster, this could be you. t) Thriller

Alfred Hitchcock virtually invented this genre. To master it,

see all his films. Usually, the hero is an innocent and the enemy is

seemingly unbeatable. Silence of the Lambs is a great example, as is

The Firm. Authors of thrillers make big bucks, and movies of their

novels draw big stars and big box office success.

u) War

For some reason (looming mortality, perhaps) the Baby Boom

generation has rediscovered the war movie. Unfortunately for fans of

the genre, only Saving Private Ryan was much of a success. War

movies are expensive, usually not good for beginner writers, and

wide open to criticism, as with 2000‟s hit submarine movie U-571.

v) Western

A long-time Hollywood staple, this genre has been mostly

unsuccessful in recent years unless done by veterans such as Clint

Eastwood. If we have some Western variation that we have not seen

before, you could have hit material, as Kevin Costner learned when

he made Dances with Wolves and Tom Selleck proved when Last

Stand at Saber River was Turner Network Television‟s top movie of

1997.

Those are the definition of movie script and movie genres. The

researcher hopes that the discussion above could give the clear definition of

movie script and movie genres.

E. Letters to Juliet

Letters to Juliet is a romance movie directed by Gary Winick. The

origin of this movie is United States of America. This movie is written by

José Rivera and Tim Sullivan. Theatrical release date of Letters to Juliet is on

May 14, 2010. In this part of the thesis, the researcher wants to discuss the summary of Letters to Juliet movie.

The movie began with Sophie (Amanda Seyfried) who worked at New

Yorker as a fact checker. She wished she can be a writer someday. When

Sophie met her boss to confirm that her job have done well, he asked her about the trip she was leaving for. Sophie and her fiancé Victor were leaving on a pre-honeymoon trip to Verona, Italy, because her fiancé would be opening up a restaurant in a few weeks and there would be no time after the wedding to leave.

In Italy, Sophie met the secretaries of Juliet. She helped them to take down the letters on the Juliet balcony, which was written by the girls who came from around the world and wrote back, offering advice and comfort.

Someday, Sophie found a letter from Claire that has been written 50 years ago. She wrote back Claire‟s letter then met her a few days later. Claire was coming to Verona with her grandson, Charlie. Claire and Sophie began to be a good friend and they were driving together to find Alfonso, the man whose

Claire‟s first love.

Finally, they found Alfonso after a long journey. Then, Sophie got back to New and showed her story about the letter to her boss. Then, she has received a wedding invitation from Claire and Alfonso for the wedding that weekend in Sienna and Claire has included the letter that Sophie found which was started it all.

At the end of the story, Sophie was broke up with Victor and she was flying to Siena to attend the wedding. She met Charlie there and told her feeling to Charlie. Both of them were falling in love each other.

CHAPTER III

RESEARCH METHODOLOGY

Human always want to know. The curiosity of human being is driven by the supreme grace of Almighty the Lord, that is intelligence. Bungin (2010:1) writes that is why human also called themselves „Homo Sapiens‟, that is thinking creature. With this amazing grace, human can develop their knowledge. In his book, Bungin (2010:1) also writes that research is only instrument, that is the methodological equipment to prove all of human curiosity. According to Arikunto

(2010:203), research method is a way which is used by the researcher in collecting data. In order to make the discussion of the research method easier, the researcher separates this chapter into five parts. They are type of research, data and source of the data, technique of collecting data and technique of analyzing data.

A. Type of Research

According to Bungin (2006:83), there are two data analysis strategies

in qualitative research that is used together or separately. They are descriptive

qualitative analysis strategy and verificative qualitative analysis strategy.

Both of them describe how is logical design data analysis and technique of

analyzing data in qualitative research.

In this research, the researcher uses Descriptive Qualitative Research.

The kind of this research is unlike the quantitative research. It is because the

data was collected in form of words or description. The data involve

interview transcript, field notes, photograph, videotapes, personal document,

memo, etc (Alsa, 2010: 40).

B. Data and Source of the Data

According to Alsa (2010: 47), qualitative research sampling is

different with quantitative research sampling, however sometime the both of

them use snowball sampling that is collecting research subject maybe deeper

and during the research process was going on. The qualitative researchers

take the sampling of times, situations, the types of events, location, human

types or appeal context (Moleong in Alsa, 2010:48). In this research, the

researcher chooses appeal context namely social dimension of Letter to Juliet

Movie Script. The data of this study is the dialogue of the characters on the

movie script „Letter to Juliet‟. Source of the data used in this study is Letter to

Juliet movie script.

C. Technique of Collecting Data

Technique of Collecting Data is the most strategic step in research,

because the main goal of research is getting the data. Without knowing

technique of collecting data; therefore, the researcher will not get the data

which is fulfill the standard set data (Sugiyono, 2012: 224).

Arikunto (2010: 275) writes that observation is not only take a look or

pay attention to the object, experience or event through the eyes. Using

interview or questionnaire includes observation. Therefore, collecting data is

the observation of variable which will be researched with interview method, test, observation, questionnaire, and documentation.

According to Patton in Alsa (2010:40), there are three kinds‟ data collecting methods in qualitative research:

a. In-dept Interview

It involves indirect quotes about experiences, opinion, feeling and

subject knowledge.

b. Indirect observation

It involves detail essay about research or program, participant

behavior, and interaction between people who become a part of

research experiences.

c. Written document

It involves inquiry, diary, and research or program record. The

document analysis bears quote or the whole record pages,

correspondent ion, official report and open-ended survey.

Based on the statements above, the researcher uses documentation as the technique of collecting data for conducting the research. According to

Sugiyono (2012: 240), document is the note of event in the past. Document can be written language, picture, or monumental work from a person. The examples of written language are diary, life history, role and policy. The researcher uses written document in conducting the research. The document here is movie script of Letters to Juliet.

The step of collecting data:

1. Find the movie script of Letters to Juliet from the internet

2. Read the script

3. Observing the pattern of Letters to Juliet‟s movie script

4. Choosing the data needed on the characteristic needed

5. Categorizing the data

6. Classify and reduce the data

D. Technique of Analyzing Data

After collecting data, the researcher need to analyze the data to get

deeper information that is needed. There are a lot of techniques to analyze

data. Sugiyono (2012: 244) gives his opinion that data analysis in qualitative

research is a process of finding and arranging systematically the data found

from interviews, field notes, and documentation. The way of analyzing data is

by organizing the data into categories, explaining them into their unite, doing

syntheses, arranging the pattern, choosing which one is important and will be

studied and making conclusion so that it is easy to understand.

The researcher analyzes the data by the following steps:

1. Observing the data available in the data sheet

2. Identifying the data based on social dimension characteristics

3. Organizing the sellected data

4. Rechecking and make sure all data were organized properly

5. Analysing and interpreting the selected data

6. Describing and discussing the dialogue (sellected data)

7. Drawing conclusion based on the data sellected

CHAPTER IV

RESEARCH FINDING AND DISCUSSION

The aim of this chapter is to answer the statement of problem. The problem that the researcher wants to find out is “What the social dimensions of the movie script „Letter to Juliet‟ are”. This chapter is divided into two parts that is research finding and discussion. In the first part, research finding, the researcher presents the data in term of dialogues that will be analyze. In the second part, discussion, the researcher gives discussions about the dialogues which are mentioned in research finding.

A. Research Finding

In this part, the researcher wants to explain the research finding. The

finding of the research is based on the statement of the problem which is

written by the researcher before, on the first chapter. The statement of the

problem of this research is: “What are the social dimensions of the movie

script „Letter to Juliet‟?”

To answer that statement of the problem, the researcher is doing

analysis about social dimensions that appear in Letters to Juliet movie script.

The researcher draws table of social dimensions of the characters dialogue

below to give depiction about the result of this research to the reader. The

table shows some example of each social dimension that occurred in the

characters dialogue.

Table 1. Example of Solidarity, Status, Formality, and Function The social dimension Example of the dialogue characteristic Yeah. I know. I just. I was thinking I could try High something new. Solidarity These are the secretaries of Juliet. We respond Low to the letters she receives from around the world. Low Ladies, this is Sophia. An apology, dear, is when you look at Status someone straight in the eye with contrition and High sincerity and actually say the words “I‟m sorry”. I remember when he used to have that affect on High Formality me. Low But? Who's gonna take the pictures? Referential Alright, I think we get the picture. Function Affective You're such a prude. And you're ageist.

From the table above, it could be described that there were dialogues

in high solidarity, low solidarity, low status, high status, high formality, low

formality, referential function and affective function. Solidarity is related to

formality. If the formality is low, so the solidarity is high. In other hand, if the

formality high, the solidarity is low.

We can identify the formality of the dialogue by knowing the

linguistic feature that used in the dialogue. Linguistic features that indicate

low formality are simple grammar, ungrammatical sentence, familiar

vocabulary, slang word, taboo; swear word, contrasting style, and syntactic

reduction. Besides, complexity grammar, unusual vocabulary, standard

language and avoiding the use of contrasting style are the linguistic features

that indicate high formality.

Social status depends on a number of social factors such as social rank, wealth, age, gender, setting, topic, and so on; therefore, a person with higher social status had the choice of using formality or informality when addressing other persons of lower social status. The function or reason why people are speaking is divided into two parts. First is referential function. It is showing information of the conversation. If the information is important, the referential is high. In other hand, if the information is not important, the referential is low. Second is affective function. It is showing the feeling of the speaker. If the speaker is happy, the affective is high. If the speaker is sad, the affective is low.

The researcher chooses Letters to Juliet movie script to analyze. The script consists of 111 pages. It is too much to analyze each dialogue of the script, so the researcher only analyzes five dialogues for each social dimension characteristics. It is aimed to manage the time and energy. As we know, to analyze the dialogue, the researcher needs time and energy. The more dialogues to analyze, the more time and energy that is needed by the researcher. The table below is showing the dialogues that is reflected the social dimension.

Table 2. The five dialogues that are reflected each social dimension characteristics. The social dimension Example of the dialogue characteristic 1. Yeah. I know. I just. I was thinking I could try something new. 2. I gotta go. Stop abusing my cell. High 3. Ciao Bella. 4. Oh dear. Has she passed on then? 5. Alas it wasn’t me. If it had been I’d never let you go. 1. These are the secretaries of Juliet. We respond to Solidarity the letters she receives from around the world. 2. I already ate. I needed to get started. 3. Not worth telling really. Certainly not worth Low writing about. 4. Yes it is. It's over. I'm done. 5. No. What I wanted was for you to never have written that letter. What I wanted was to never come on this ridiculous goose chase. 1. Ladies, this is Sophia. 2. Gran’s not feeling well. Low 3. Signora, there are three. 4. Yes, ma’am. 5. No sir. No message. 1. Looks like you’ll be having a busy night. 2. What, you don‟t approve of your old Gran Status having carnal thoughts? 3. You’re wrong, Charlie. She lost her mother. High That was very wrong. 4. An apology, dear, is when you look at someone straight in the eye with contrition and sincerity and actually say the words “I‟m sorry”. 5. Have you seen her at all this morning? 1. I remember when he used to have that affect on me. 2. My name is Sophia. I wrote the letter. 3. How did you find us? High 4. It‟s such a pleasure to meet you. 5. You don‟t have to be a cold fish to think the idea Formality of true love lasting forever is ridiculous.

1. Alright, I’ll drop you in town. 2. Mama, this is Sophia, I’m just gonna show her Low upstairs. 3. Dear Juliet, how do you know when you’re in

love? Can you know?... 4. I want to play for Manchester United but I’m shit at football. 5. But? Who's gonna take the pictures? 1. Just outside Verona. Quite closer to where he used to live, actually. 2. He was so solid and brown. The sweat would glisten off his back like little jewels. The thought of it still sends shivers down my spine. Referential 3. Alright, I think we get the picture. 4. Claire. This is Bella. She's one of The Secretaries. Function 5. Charlie‟s going to stand for parliament on the environment ticket. 1. Oh my god, she‟s come to find her Alfonso, that‟s awesome, I want to meet her. 2. You're such a prude. And you're ageist. Affective 3. I am not! I love old people. 4. I‟m sorry. 5. I miss you beautiful.

Those are the five dialogues for each social dimension

characteristics. The more explanation about the dialogues in the table above is

discussed in the next part that is discussion.

B. Discussion

In this part, the researcher wants to explain more about the research

findings on social dimensions which are occurred in Letter to Juliet movie

script. In previous part, the researcher finds that there are dialogues in high

solidarity, low solidarity, low status, high status, high formality, low

formality, referential function and affective function.

Social distance scale or solidarity is useful to emphasize how well

we know someone. It pointed to the relevance of relative status. Formality

scale reflected the influence of the context on the way of speaking. It is largely determined by solidarity and status of relationship. Formality between participants is increasing when the social distance is distant. Formality between participants is decreasing when the social distance is close. Social status depends on a number of factors such as rank, wealth, age, gender, and so on. Therefore, the person with the higher status had the choice of using formality or informality when addressing other person of lower social status.

However, the person with lower status only uses formality when addressing the other person with higher status. Besides, the function or reason why people are speaking is divided into two parts. They are referential and affective function. Referential function is showing information of the conversation. However, affective function is showing the feeling of the speakers when they say the dialogue.

The researcher analyzes the whole script, but only presents five dialogues for each social dimension characteristic. It is because the limitation of time, energy and the number of pages of this part. Here are the discussions of the dialogues in the movie script.

1. Solidarity Scale

This scale is useful in emphasizing that how well we know

someone is a relevant factor in linguistic choice. The choice of how we

call someone reflects consideration of this dimension, for instance the use

of miss to honor someone. Solidarity scale is divided to two parts. They

are high solidarity and low solidarity. High solidarity reflects close

relationship between the characters, while low solidarity reflects distant relationship among the characters.

Solidarity is related to formality scale. High solidarity is indicated by the appearance of informal language. The informal language is showing the informal setting. If the setting is informal, certainly, the solidarity is high. On the contrary, if the setting is informal, it is indicating that the solidarity is low. a. The dialogues that reflect high solidarity scale are:

1. Yeah. I know. I just. I was thinking I could try something new.

a. Context of Situation

This is Sophia‟s dialogue in page 5. She was speaking

to Bobby, her boss, in Magazine Editor‟s Office, New York.

b. Analysis

The use of informal language ‘yeah’ indicates that

this interaction is in informal setting. It means that the

solidarity is high. She also uses simple grammar ‘I know. I

just.’ The simple grammar that she uses shows that she has a

close relationship with Bobby. If she is not, she tends to use

complexity grammar or complete sentence ‘I know you have

writers that do travel feature.’; and ‘I just thinking to try to

be a writer.’

2. I gotta go. Stop abusing my cell.

a. Context of Situation

This is Bobby‟s dialogue in page 11. He was speaking

to Sophia, his employee, on the phone.

b. Analysis

This dialogue is using slang word ‘gotta’. The word

‘gotta’ means going to. Other informal language that is

appeared in this dialogue is syntactic reduction. Bobby omitted

the subject and ‘have to’ on his dialogue. The sentence ‘Stop

abusing my cell.’ could be replaced ‘You have to stop abusing

my cell.’. The two kind of informal language that appears in

Bobby‟s dialogue above is indicating the setting is informal so

that the formality is low. The solidarity is high solidarity

because the formality is low.

3. Ciao Bella.

a. Context of Situation

This is Bobby‟s dialogue in page 12. He was speaking

to Sophia, his employee, on the phone.

b. Analysis

Bobby uses informal greeting ‘ciao’. It shows that he

has close relationship to Sophia whom he called Bella. If the

relationship between them is distant, Bobby will not change

Sophia‟s name and he will use honorific to show that he

respects Sophia. Because Bobby do not use honorific neither

title to call Sophia, it means that the status is same. Therefore,

this dialogue reflects high solidarity because of close

relationship and same status that appear in this dialogue.

4. Oh dear. Has she passed on then?

a. Context of Situation

This is Claire‟s dialogue in page 48. She was speaking

to Sophia in an organic dairy farm in Palermo, Italy.

b. Analysis

She uses endearment ‘Oh dear’ to express her feeling

to Sophia. This informal language indicates that the setting is

informal and the formality is low. Therefore, the solidarity is

high.

5. Alas it wasn’t me. If it had been I’d never let you go.

a. Context of Situation

This is Count‟s dialogue in page 57. He was speaking

to Claire in Palazzo, formal garden, Italy. This was the first

time they met.

b. Analysis

He uses contraction ‘wasn’t’ and ‘I’d’. The using of

contrasting style in this dialogue is reflecting low formality.

This dialogue also reflecting an affective function since it

shows Count‟s feeling toward Claire. Then, this dialogue

indicates high solidarity. b. The dialogues that reflect low solidarity scale are:

1. These are the secretaries of Juliet. We respond to the letters she

receives from around the world.

a. Context of Situation

This is Bella‟s dialogue in page 16. She was speaking

to Sophia, the girl whom she met first time at Juliet‟s balcony.

This dialogue was taking place in the office of The Secretaries

of Juliet.

b. Analysis

She said her dialogue in a complete sentence. It means

she uses complexity grammar. The complexity grammar

indicates the formal setting, so that the formality is high. She

also introduces her friends to Sophia by mentioning their title

as The Secretaries of Juliet. The use of title to call someone is

showing that the relationship is distant. Because the formality

is high and the relationship is distant, so the solidarity is low.

2. I already ate. I needed to get started.

a. Context of Situation

This is Sophia‟s dialogue in page 60. She was

speaking to Charlie. This conversation was taking place in the

hotel in Palermo, Italy.

b. Analysis

She tended to use standard language in saying her

dialogue. There is no word that indicates informal language.

The standard language meant the formal setting. If the setting

is formal, the solidarity becomes low. That is why this

dialogue is in low solidarity.

3. Not worth telling really. Certainly not worth writing about.

a. Context of Situation

This is Charlie‟s dialogue in page 62. He was

speaking to Sophia when they drove together through the

Chianti countryside, Italy.

b. Analysis

This dialogue was aimed to respond Sophia‟s question

to him. He disagrees to tell his story of his life. He says his

disagreement is standard language so that the formality is high.

Since Charlie‟s disagreement, therefore it shows the low

referential function. Then, the solidarity is low.

4. Yes it is. It's over. I'm done.

a. Context of Situation

This is Charlie‟s dialogue in page 70. He was

speaking to Sophia. This conversation was taking place in a

cemetery near Florence, Italy.

b. Analysis

The repetition „Yes it is. It‟s over‟ is used as a

confirmation to break Sophia‟s idea about their journey to find

Alfonso. Sophia wants to continue their journey, while Charlie

wants to stop. Charlie is sorry with his grandma‟s feeling to

know that they didn‟t find her Alfonso yet. It means that the

affective function is low. That is how the researcher concludes

that this dialogue is in low solidarity.

5. No. What I wanted was for you to never have written that letter.

What I wanted was to never come on this ridiculous goose chase.

a. Context of Situation

This is Charlie‟s dialogue in page 71. He was

speaking to Sophia. This conversation was taking place in a

cemetery near Florence, Italy.

b. Analysis

He uses standard language so that the formality is

high. Besides, this dialogue is showing that he disagree with

Sophia‟s statement. He can‟t just stand idly by and watch his

grandma get hurt. It means the affective function is low. Since

the formality is high and the affective function is low, so the

solidarity is low.

2. Status Scale

A status scale is concerned with participants‟ relationship. The

status scale points to the relevance of relative status in some linguistic

choices. A low status is reflected if the participant use honorific name such

as Mr., Mrs., Miss, etc to call the higher one. The low status tends to use

informal language, while the high one tends to use formal language. In

addition, there is a same status between high and low status. Those are

same high and same low. Same status will appear if there is no honorific

name used by the participants. Usually, if the status is same, the solidarity

is high.

a. The dialogues that reflects low status scale are:

1. Ladies, this is Sophia.

a. Context of Situation

This is Bella‟s dialogue in page 16. She was speaking

to her friends, The Secretaries of Juliet. This conversation was

taking place in their office in Verona, Italy.

b. Analysis

This dialogue reflects a low status to high status

because Bella use ‘Ladies’ to call the secretaries of Juliet.

While, it is reflected same status since she call Sophia by her

name.

2. Gran’s not feeling well.

a. Context of Situation

This is Charlie‟s dialogue in page 61. He was

speaking to Sophia. This conversation was taking place in the

lobby of a Hotel in Siena, Italy.

b. Analysis

This dialogue reflects low status because Charlie calls

his grandmother with honorific name, Gran. The use of

contraction style ‘Gran’s’ reflected low formality that

appeared in this dialogue. Then the relationship is close. If the

relationship is distant, he tends to use standard language ‘Gran

is’ to replace ‘Gran’s’. This dialogue also reflects affective

function because Charlie is telling how is his grandmother‟s

feeling at that time. Then, the solidarity is high solidarity.

3. Signora, there are three.

a. Context of Situation

This is Sommelier‟s dialogue in page 76. He was

speaking to Claire who is stranger and she is older than

Sommelier. This conversation was taking place in a restaurant

in Fiesole, Italy.

b. Analysis

He was speaking to Claire who is stranger and she is

older than Sommelier. Although there is no honorific Madam

or Ma‟am, but this dialogue uses ‘Signora’ as the replacing

word of Ma‟am. In Italy, the word Signora is an honorific

name to respect a woman. From this point, we could know that

the status was low status. Besides, we could find that this

dialogue shows referential function because Sommelier is

telling Claire that there are three Alfonso Paolo who make the

wine.

4. Yes, ma’am.

a. Context of Situation

This is Alfonso III‟s dialogue in page 82. He was

speaking to Claire. This conversation was taking place in

D‟Annuzio Villa, Fiesole, Italy.

b. Analysis

He uses honorific „ma‟am‟ to respect Claire. It means

that this dialogue reflects a low status to high status; Alfonso

III has the lower status than Claire. This dialogue also uses

simple grammar, which shows us that it is using informal

language. The informal language is indicating the setting is

informal and the solidarity is high.

5. No, sir. No message.

a. Context of Situation

This is Receptionist‟s dialogue in page 88. The

receptionist was talking to Charlie. Charlie was looking for

Sophia. This conversation was taking place in a small hotel

near Florence, Italy.

b. Analysis

This dialogue is similar to the dialogue number 4

above. He uses honorific „sir’ to respect Charlie who is the

guest of his hotel. It means that this dialogue reflects a low

status to high status. This dialogue also uses simple grammar,

which shows us that it is using informal language. The

informal language is indicating the setting is informal and the

solidarity is high. He also gives confirmation that there is no

message that Sophia leave for him. It means that this dialogue

reflect referential function. b. The dialogues that reflect high status scale are:

1. Looks like you’ll be having a busy night.

a. Context of Situation

This is Angelina‟s dialogue in page 16. This

conversation was taking place in Angelina‟s restaurant in

Verona, Italy.

b. Analysis

Angelina is Bella‟s mother. In this dialogue, she was

speaking to Bella. She uses ‘you’ for addressing Bella. In the

other hand, Bella call her mama in the previous dialogue,

„Mama, this is Sophia, I’m just gonna show her upstairs.’ It

is proving that Angelina has a higher status than Bella, her

daughter. As we know, parents have higher status that their

children. The contraction style ‘you’ll’ means that Angelina

uses informal language which indicates high solidarity.

2. What, you don‟t approve of your old Gran having carnal thoughts?

a. Context of Situation

This is Claire‟s dialogue in page 40. This dialogue

was taking place in the Streets of Verona, Italy.

b. Analysis

In this dialogue, she is speaking to Charlie, her

grandson. She uses ‘you’ for addressing Charlie. We can see in

this dialogue that Charlie calls her grandmother with honorific,

‘Gran’. It is proving that Claire has a higher status than

Charlie, her grandson. The contraction style ‘don’t’ indicates

the informal language, so that the setting is informal.

3. You’re wrong, Charlie. She lost her mother. That was very wrong.

a. Context of Situation

This is Claire‟s dialogue in page 72. This dialogue

was taking place in a cemetery near Florence, Italy.

b. Analysis

This is same as the dialogue in number two above. In

this dialogue, Claire was speaking to Charlie, her grandson.

She uses ‘you’ for addressing Charlie. As we know, Charlie

calls her grandmother with honorific, ‘Gran’. It is proving

that Claire has a higher status than Charlie, her grandson. The

contraction style ‘you’re’ means that Angelina uses informal

language which indicates high solidarity.

4. An apology, dear, is when you look at someone straight in the eye

with contrition and sincerity and actually say the words “I‟m

sorry”.

a. Context of Situation

This is Claire‟s dialogue in page 73. This dialogue

was taking place in a restaurant in Fiesole, Italy.

b. Analysis

This is same as the two dialogues in number two and

three above. In this dialogue, Claire was speaking to Charlie,

her grandson. She uses endearment, ‘dear’ for addressing

Charlie. As we know, Charlie calls her grandmother with

honorific, „gran‟ and sometimes „nana‟. It is proving that

Claire has a higher status than Charlie, her grandson. Beside,

the endearment is indicating informal setting.

5. Have you seen her at all this morning?

a. Context of Situation

This is Charlie‟s dialogue in page 80. He was

speaking to the Receptionist of the hotel. This conversation

was taking place in a hotel in Fiesole, Italy.

b. Analysis

He uses standard language so that the formality is

high. In this dialogue, he was speaking to the hotel

receptionist. He uses ‘you’ for addressing the receptionist. In

the other hand, the hotel receptionist calls him ‘sir’ in the next

dialogue, ‘I’m afraid not, sir.’ It is proving that Charlie has a

higher status than the receptionist.

3. Formality Scale

A formality scale is relating to the setting or type of interaction.

The formality scale reflects the influence of the context on the way of

speaking. This scale is useful to assessing the influence of the social

setting or the type of interaction on language choices. Degrees of formality

are mostly determined by solidarity and status of the participants. The

participants tend to use informal language to reflect low formality, and to

use standard language to reflect high formality. If the formality is high, so

the solidarity is low and the relationship is distant. Besides, if the formality

is low, so the solidarity is high and the relationship is close.

a. The dialogues that reflect high formality scale are:

1. I remember when he used to have that affect on me.

a. Context of Situation

This is Sophia‟s dialogue in page 28. This dialogue

was taking place in Angelina‟s restaurant when Sophia was

talking to Angelina and The Secretaries of Juliet.

b. Analysis

This dialogue uses standard language, so the formality

is high. It is clearly shows an affective function scales because

this dialogue is expressing Sophia‟s feeling toward Victor. The

status is same since there is no characteristic that shows high

or low status.

2. My name is Sophia. I wrote the letter.

a. Context of Situation

This is Sophia‟s dialogue in page 34. She was

speaking to Claire when she was introducing herself to Claire

in Juliet‟s balcony in Verona, Italy.

b. Analysis

Sophia uses complete sentence in saying her dialogue.

It means the formality is high. It is supported by the formal

setting. We can see the setting is formal since it is Sophia‟s

dialogue when she introduces herself to Claire in first time

they meet. As we know, Claire is an old woman, so Sophia

uses standard language to respect her.

3. How did you find us?

a. Context of Situation

This is Claire‟s dialogue in page 34. She was speaking

to Sophia who was a stranger to her. This dialogue was taking

place in Verona, Italy.

b. Analysis

It is their first conversation since this is first time they

meet so that Claire tends to use formal language to talk with

Sophia. This dialogue is reflected high formality because the

use of standard language. Furthermore, the solidarity is also

high solidarity because she omitted the honorific name. The

function of this dialogue is referential function, since there is

no word that indicates Claire is expressing her felling.

4. It’s such a pleasure to meet you.

a. Context of Situation

This is Bella‟s dialogue in page 41. She was speaking

to Claire in the Streets of Verona, Italy.

b. Analysis

Bella was glad to meet Claire. It is indicating high

affective function. In this dialogue, Bella uses formal greeting

to respect Claire who is older than she is and since it is first

time they meet. It means the formality is high. Even the

formality is high, the solidarity is low because the use of

contraction ‟It’s‟. We can use ‘It is’ instead of ’It’s‟.

5. You don‟t have to be a cold fish to think the idea of true love

lasting forever is ridiculous.

a. Context of Situation

This is Charlie‟s dialogue in page 42. In this dialogue,

Charlie was talking to his grandmother, Sophia, Angelina and

all of The Secretaries of Juliet in Angelina‟s restaurant in

Verona, Italy.

b. Analysis

This dialogue uses formal language to give more

emphasizing not to be a cold fish to think the idea of true love

lasting forever is ridiculous. He thinks that a realist person

never believe in true love lasting forever. Charlie is unhappy

with Donatella‟s statement that judges him such as a cold man

as fish. It means that the function is affective function. Also,

this dialogue is reflected same status because there is no

honorific name. The solidarity is low because they are debating

each other. b. The dialogues that reflect low formality scale are:

1. Alright, I’ll drop you in town.

a. Context of Situation

This is Victor‟s dialogue in page 12. He was talking

to Sophia in a hotel where they stay in Verona, Italy.

b. Analysis

He uses contracting style ‘I’ll’. This informal

language reflects low formality. We can see that there is no

honorific name or title, so the status is same.

2. Mama, this is Sophia, I’m just gonna show her upstairs.

a. Context of Situation

This is Bella‟s dialogue in page 16. She was speaking

to Angelina, her mother. This dialogue was taking place in

Angelina‟s restaurant, in Verona, Italy.

b. Analysis

This dialogue shows the same status because there is

no word that indicated the high status or low status in the

dialogue. This dialogue contents ungrammatical sentence that

indicate low formality. It also uses informal language „I’m‟

and „gonna‟. That informal language could be replaced with „I

am‟ and „going to‟.

3. Dear Juliet, how do you know when you’re in love? Can you

know?...

a. Context of Situation

This is Italian girl‟s dialogue in page 18. She was

speaking to Juliet at Juliet‟s balcony, Verona, Italy.

b. Analysis

She called Juliet with her name directly without any

honorific or title. Because this dialogue omitted the honorific

name, so the status is same. Besides, the contraction ‘you’re’

indicates the low formality. Another one that indicates low

formality is the use of endearment ‘Dear Juliet’. It means that

the solidarity is high.

4. I want to play for Manchester United but I’m shit at football.

a. Context of Situation

This is Charlie‟s dialogue in page 32. He was

speaking to Sophia in the office of The Secretaries of Juliet in

Verona, Italy.

b. Analysis

The using of contraction style ‘I’m’ makes this

dialogue as a representative of low formality. Besides, Charlie

also said swears word ‘shit’ to express his disability to play

football. The solidarity is high since the use of informal

language.

5. But? Who's gonna take the pictures?

a. Context of Situation

This is Victor‟s dialogue in page 39. He was speaking

to Sophia, his girlfriend, in the hotel where they stay in

Verona, Italy.

b. Analysis

This dialogue shows the same status because there is

no word that indicated the high status or low status in the

dialogue. This dialogue contents ungrammatical sentence that

indicate low formality. It also uses informal language ‘who’s’

and ‘gonna’. That informal language could be replaced with

‘Who is’ and „going to’.

4. Functional Scale

Functional scale is relating to the purposes or the topic of conversation.

The functional scale is divided into two sub-categories, referential function

and affective function. Referential function is tended to show information

that the speaker say. Affective function is tended to show the speakers

feeling toward the situation or to the other person that they are speaking

with. Commonly, the more referentially oriented an interaction, the less it

tends to express the feeling of the speaker. On the other hand, interactions

that are more concerned with expressing feeling often have little in the

way of new information to communicate.

a. The dialogues that reflect referential function scale are:

1. Just outside Verona. Quite closer to where he used to live, actually.

a. Context of Situation

This is Claire‟s dialogue in page 36. She was speaking

to Sophia in the Street of Verona, Italy.

b. Analysis

She was speaking to Sophia; let her know where they

will look for Alfonso. She gives information to Sophia that

they will find Alfonso outside Verona. So that it is clear that,

this dialogue is a kind of referential function. The status is

same since there is no characteristic that shows high or low

status.

2. He was so solid and brown. The sweat would glisten off his back

like little jewels. The thought of it still sends shivers down my spine.

a. Context of Situation

This is Claire‟s dialogue in page 40. She was speaking

to Sophia and Charlie. She described Alfonso to them. This

conversation was taking place in streets of Verona, Italy.

b. Analysis

She used complete sentence in saying her dialogue. It

means the formality is high. In this dialogue, Claire was giving

the picture of Alfonso to Sophia and her grandson, Charlie.

She gives the information about how is Alfonso look. It means

that this dialogue represent a referential function.

3. Alright, I think we get the picture.

a. Context of Situation

This is Charlie‟s dialogue in page 40. This dialogue

is aimed to respond Claire‟s statement above in point number

two. This conversation was taking place in streets of Verona,

Italy.

b. Analysis

Charlie said this dialogue to confirm that they get the

picture of Alfonso that is described by Claire. It looks like he

is giving the information to Claire not to continue her

description about Alfonso since they get it. In is showing that

this dialogue is a kind of referential function. This dialogue is

reflected high formality because the use of standard language.

Furthermore, the solidarity is also high solidarity because there

is no character that indicating low or high status.

4. Claire. This is Bella. She's one of The Secretaries.

a. Context of Situation

This is Sophia‟s dialogue in page 41. She was

speaking to Claire in The Secretaries of Juliet‟s office, Verona,

Italy.

b. Analysis

Sophia was introducing Bella to Claire. She let her

know that Bella is one of The Secretaries. It means that Sophia

is giving information to Claire about Bella, so that this

dialogue indicates referential function. This dialogue reflected

same status because Sophia omitted honorific name. It also

represents informal setting because the use of contraction style

‘She’s’ which can be replaced by ‘She is’.

5. Charlie’s going to stand for parliament on the environment ticket.

a. Context of Situation

This is Claire‟s dialogue in page 53. She was speaking

to Sophia in a restaurant in Verona, Italy.

b. Analysis

Claire was telling Sophia about Charlie‟s job. It

means that she gives information to Sophia, so that this

dialogue is in referential function. The contraction style

‘Charlie’s’ is reflected low formality. Also, this dialogue is

reflected same status because there is no honorific name. b. The dialogues that reflect affective function scale are:

1. Oh my god, she’s come to find her Alfonso, that’s awesome, I want

to meet her.

a. Context of Situation

This is Sophia‟s dialogue in page 31. She was

speaking to Charlie in the office of The Secretaries of Juliet,

Verona, Italy.

b. Analysis

Sophia express her opinion about Claire‟s coming to

Italy. She is glad to know that Claire is here to find her true

love, Alfonso. It is proofed by her statement ‘that’s awesome’.

Besides, from this dialogue, we can see that Sophia is really

passionate to meet Claire. That‟s the way we can conclude that

this dialogue is expressing affective function. The contraction

style ‘she’s’ and ‘that’s’ are indicated that the setting is

informal so that the formality is low. We can use formal style

‘she is’ and „that is’ to replace ‘she’s’ and ‘that’s’. Because

she uses informal language, so the solidarity is high.

2. You're such a prude. And you're ageist.

a. Context of Situation

This is Claire‟s dialogue in page 40. She is speaking

to Charlie, her grandson. This dialogue was taking place in the

streets of Verona, Italy.

b. Analysis

This dialogue shows the same status because there is

no word that indicated the high status or low status in the

dialogue. This dialogue uses informal language ‘you’re’. That

contraction style could be replaced with „you are’. The use of

informal language is indicating that this dialogue reflects low

formality scale. Because the status is same and the formality is

low, so the solidarity is high. Claire is expressing her opinion

about how her grandson‟s acts. This is what she feels to her

grandson, so that this dialogue is expressing affective function

scale.

3. I am not! I love old people.

a. Context of Situation

This is Charlie‟s dialogue in page 40. He was

speaking to Claire, his grandmother. This dialogue was taking

place in the streets of Verona, Italy.

b. Analysis

This dialogue was aimed to responds Claire‟s

statement in the dialogue number 3 above. He was disagree

with Claire‟s opinion about him. He think that he is not such a

prude who is ageist, he love old people. So that it is clear that

this dialogue expressing affective function. He uses formal

language, although only simple grammar, but it is indicated

that the solidarity is low. There is no characteristic that

indicates low and high status. It means the status is same.

4. I’m sorry.

a. Context of Situation

This is Claire‟s dialogue in page 48. She was speaking

to Sophia in Sophia‟s room. This dialogue was taking place in

the hotel in Verona, Italy.

b. Analysis

The using of contraction style ‘I’m’ makes this

dialogue as a representative of low formality. That is the way

this dialogue reflects high solidarity. Claire is expressing her

feeling to Sophia‟s story about her mother. She is sorry to

know that Sophia‟s mother left her when she was a little girl. It

means that this dialogue express affective functions. The status

is same since there is no characteristic that indicates low or

high status.

5. I miss you beautiful.

a. Context of Situation

This is Victor‟s dialogue in page 59. He is speaking to

Sophia, his girlfriend, on the phone.

b. Analysis

This dialogue shows the same status because there is

no word that indicated the high status or low status in the

dialogue. He says „I miss you beautiful‟, it means that he feel

really wish for her to be here, beside him. Since he says this

dialogue to Sophia, we can conclude that he thinks Sophia is

beautiful. Those are the reasons for the researcher to state that

this dialogue is expressing affective function. The solidarity is

high because this dialogue is expressing affective function.

Those are the discussion about the dialogues which are mentioned in research finding. The researcher only discusses five dialogues for each social dimensions characteristic to thrift time, page of the thesis and energy. It is hard for the researcher to analyze and to discuss the whole script. As we know, the script is consist of 111 pages so that needs hundreds pages to write

the research finding and discussion. That is the reason why it is hard for the researcher to analyze the whole script.

From the discussion above, we know that formality increased between participants when the social distance is greater. Informality and solidarity increased when the social distance was little between participants.

Social status depended on a number of factors such as social rank, wealth, age, gender and so on.

Another thing that we could find from the discussion is referential function is tended to show information that the speaker say. Affective function is tended to show the speakers feeling toward the situation or to the other person that they are speaking with. Commonly, the more referentially oriented an interaction, the less it tends to express the feeling of the speaker.

On the other hand, interactions that are more concerned with expressing feeling often have little in the way of new information to communicate.

CHAPTER V

CONCLUSION AND SUGGESTION

In this chapter, the researcher presents the conclusion of the data analysis that has been discussed in the previous chapter. Besides, the researcher tries to give some suggestions related to the result of the analysis. This study is conducted to identify the social dimension of the movie script „Letter to Juliet‟.

A. Conclusion

After analyzing the dialogues in the movie script „Letter to Juliet‟, it

can be concluded that social dimensions which are represented in the

dialogues are high solidarity, low solidarity, low status, high status, high

formality, low formality, referential function and affective function. These are

the examples of the dialogue:

1. Dialogue that reflects high solidarity scale is “Yeah. I know. I just. I was

thinking I could try something new”.

2. Dialogue that reflects low solidarity scale is “These are the secretaries of

Juliet. We respond to the letters she receives from around the world”.

3. Dialogue that reflects low status scale is “Ladies, this is Sophia”.

4. Dialogue that reflects high status scale is “An apology, dear, is when you

look at someone straight in the eye with contrition and sincerity and

actually say the words „I‟m sorry‟”.

5. Dialogue that reflects high formality scale is “I remember when he used to

have that affect on me”.

6. Dialogue that reflects low formality scale is “But? Who's gonna take the

pictures?”

7. Dialogue that reflects referential function scale is “Alright, I think we get

the picture”.

8. Dialogue that reflects affective function scale is “You're such a prude. And

you're ageist”.

B. Suggestion

Based on the conclusion above, the researcher would like to propose

some suggestions. The suggestions are addressed, to the teachers, to the

students, and to the other searchers.

For the teachers, this research may encourage them to seek a better

way of educating personal character. As the present study shows the dialogue

in the movie script can be an example of appropriate way to honor the older

one, the researcher suggests the teacher to use a proper movie to develop

students‟ personal character. It helps their students to improve the social skill.

For the student, they are suggested to learn the social value and social

skill from movies they watch. It helps them to develop their personal

character and social skill which will support them throughout their lives.

For other researchers, this research may encourage them to conduct

other studies related to sociolinguistic and movie script. There are many

things of sociolinguistics that are interesting to be analyzed such as code mixing, code switching, social dimension, vernacular language, standard language, gender and language change that can be found in a movie script.

The researcher believes that there are many things that can be analyzed on a movie script or other scripts.

REFERENCES

Alsa, Asmadi. 2010. Pendekatan kuantitatif dan Kualitatif Serta Kombinasinya Dalam Penelitian Psikologi. Yogyakarta: Pustaka Pelajar.

Arikunto, Suharsimi. 2010. Prosedur Penelitian Suatu Pendekatan Praktik. Jakarta: PT Rineka Cipta.

Bungin, Burhan. 2006. Data penelitian Kualitatif. Jakarta: PT Raja Grafindo Persada.

Bungin, Burhan. 2010. Penelitian Kualitatif. Jakarta: Fajar Interpratama Offset.

Field, Syd. 2005. The Fondations of Screenwriting. New York: Delta.

Giannetti, Louis. 2007. Understanding Movies. New Jersey: Prentice-Hall.

Holmes, Janet. 2001. An Introduction toSociolinguistics. New York: Longman

Hornby, A. S. 2000. Oxford Advanced Learnr‟s Dictionary.New York: Oxford University Press.

Hudson, R. A. 2001. Sociolinguistics. London: Cambridge University Press.

Mesthrie, Rajend, Swann, Joan, Deumert, Ana and Leap, William L. 2009. Introducing Sociolinguistics. Edinburgh: Edinburg Uneversity Press.

Nelmes, Jill. 2010. Analysing Screenplay. London: Routledge.

Oktiani, Tafira. 2012. The Domination of Id as the Result of Aileen Wuornos‟ Ego and Superego‟s Malfunction Seen in Patty Jenkins‟ Monster Movie Script. Unpublished Thesis. Sanata Dharma University Yogyakarta, Yogyakarta.

Press, Skip. 2000. The Complete Idiot‟s Guide to Screenwriting. Indianapolis: A Pearson Education Company.

Sidik, Nurmalita. 2012. A Social Dimensions Analysis of the Comments on Facebook Status Update Among Allkpop Group Members on 3rd July 2012. Unpublished Thesis. Muhammadiyah University of Purworejo, Purworejo.

Sugiyono. 2012. Metode Penelitian Kuantitatif, Kuantitatif dan R&D. Bandung: Alvabeta, CV.

Tien Hoang, Dzung and Scott, Jeffrey. 2002. Efficient Algorithms for MPEG Video Compression. London: Wiley-Interscience.

Wegerif, Rupert. 1998. The Social Dimension of Asynchronous Learning Networks. Milton Keynes : The Open University.

Wells, Paul. 2008. Basic Animation: Drawing for Animation. Lausanne: Ava Publishing.

http://www.script-o-rama.com/table.shtml (Accessed on May 28, 2013 at 9 am) http://dailyuw.com/archive/2010/05/13/imported/film-review-letters- juliet#.UbIf28VqrIU (Accessed on May 3, 2013 at 7 pm) http://theblogfornoone.blogspot.com/2011/02/gerald-mast-filmcinemamovie.html. (Accessed on May 28, 2013 at 9 am) www.joblo.com/scripts/Letters to Juliet.pdf. (Accessed on March 28, 2013 at 11 am) http://www.youtube.com/watch?v=prc50Uod_vQ (Accessed on July 23, 2013 at 11 am)

APPENDICES

Letters to Juliet

by Jose Rivera

Revisions by Tim Sullivan

Current Revisions by Will Fetters

12/11/08

Summit Entertainment 1630 Stewart Street, Suite 120 Santa Monica, CA 90404

INT. SOPHIA AND VICTOR'S APARTMENT, NEW YORK -- NIGHT

A well-decorated one-bedroom in the Meat Packing District.

OPEN ON: Long strands of freshly made pasta hung to dry in the living room. Hundreds of pieces. Draped off lamps, across tables, over chairs, everywhere. It's an extraordinary sight.

Amongst this adornment of noodles, we find a beautiful young woman on the couch working on a laptop, trying to concentrate. She seems a bit distracted by the pasta that surrounds her. She is SOPHIA MARCUS.

Sophia sighs as she looks up from her computer at the sounds of cooking that can be heard coming from the...

INT. KITCHEN. WHERE:

A man toils over a pot of simmering tomato sauce. He is a handsome Italian-American with big brown eyes. He is VICTOR.

Victor tastes the sauce he's cooking the way a sommelier tastes wine. Slow and deliberate. He's pleased but subdued.

Victor carefully plates some of that fresh pasta with his sauce and takes it into the living room.

Sophia looks stressed out. She keeps glancing at what looks like a draft of a magazine article, certain parts have been highlighted. She's in the middle of typing something when Victor approaches with the plate of food.

VICTOR Here, taste.

SOPHIA OK, gimme a second.

Victor waits impatiently as Sophia finishes typing. She sets aside the article and dutifully takes a forkful and eats it. Victor watches her closely as she chews, tastes, swallows.

SOPHIA Delicious. Your best yet. Really.

Sophia reaches for the article just as a piece of pasta slips off a lamp and falls onto the page. She picks it off.

Sophia's affirmation hasn't convinced Victor, he tastes just the sauce as if trying to pinpoint a flaw.

VICTOR There's not too much garlic?

Sophia looks up from her laptop - a little annoyed.

SOPHIA Just enough garlic.

VICTOR Too spicy?

SOPHIA Good spice.

She tries to go back to work. He's still standing there.

VICTOR Maybe it needs more basil?

SOPHIA (exasperated) Victor I'm saying it's delicious.

VICTOR You're saying it's delicious but you're not telling me it's delicious.

SOPHIA Sweetie, please, I have to finish this, Bobby needs this tonight, I still have to pack, could you think out loud in the kitchen? You're not doing much for my concentration.

Realization flashes in Victor's eyes. He tastes again.

VICTOR That's it. It's too concentrated.

Victor plants a big kiss on a startled Sophia.

VICTOR Thanks babe.

Sophia shakes her head and goes back to work as Victor heads into the kitchen muttering to himself.

EXT. APARTMENT BUILDING, NEW YORK -- MORNING

The doors of the building open. Sophia and Victor emerge. She is carrying a suitcase as he follows her reading a Gourmet Magazine. They walk down the steps to a waiting cab.

VICTOR Passports?

SOPHIA Yep.

VICTOR Tickets?

SOPHIA Yep.

VICTOR Apartment reservation?

SOPHIA Yep.

VICTOR Euros?

SOPHIA Yep.

VICTOR Suitcase?

They reach the cab. She turns to him. Smirks.

SOPHIA I have mine.

He looks down at his empty hands.

VICTOR Shit.

He runs back into the building as she puts her case in the trunk and gets in the cab.

INT. CAB -- LATER

Sophia waits. The trunk is slammed and Victor gets in.

SOPHIA JFK please.

VICTOR Actually, sweetie, I just have to make one stop.

She knows where. She just looks at him.

INT. VICTOR'S RESTAURANT -- DAY

The restaurant is basically a building site. It's a fantastic space but right now it'd take an experienced eye to fully appreciate it's potential.

Victor is looking at an assortment of light fittings with MARK, his bartender.

Sophia walks through the mess with a slightly detached air of curiosity. BUILDERS are at work all around her.

Her cell rings. She checks the ID. Takes a breath. Answers:

SOPHIA Hey Bobby.

INT. MAGAZINE EDITOR'S OFFICE. WHERE:

BOBBY BROOKS, editor-in-chief, a rotund, bald, but benevolent looking man is talking on a wireless earpiece in a cluttered office. He's looking at an 8x10 photograph of Donald Trump.

BOBBY Why can't we say Trump's comb over wraps around clockwise? I'm looking at the picture we're running with the piece. It's wrapping clockwise.

INTERCUT: Sophia has made her way outside the restaurant.

SOPHIA You can say it. You just can't state it as a fact.

BOBBY It works better as a fact. It's a fun little detail. People love fun little details.

SOPHIA I looked at every picture I could find of him in the last ten years. I talked to his stylist. The hair changes. It's a fact if you qualify with "usually" or "typically"

BOBBY People hate qualifiers.

Sophia shrugs as if to say "What do you want me to say?"

SOPHIA Those are the facts.

BOBBY Yeah well your facts are getting in the way of my fun.

Bobby sets the picture aside. A beat.

SOPHIA Hey. While I have you. I wanted to talk you about something...

Sophia is pacing now. She's visibly nervous - like she's debating whether or not to just get off the phone.

BOBBY Talk.

SOPHIA Well. I was thinking. Since I'm going to Italy already. Maybe I could try doing a travel piece or something as a feature or--

BOBBY I have writers that do travel features. You don't do travel features. You do fact checking.

SOPHIA Yeah. I know. I just. I was thinking I could try something new.

BOBBY Why do you want to try something new? You're good at fact checking. Too good.

Bobby's Assistant hurries out to answer a ringing phone.

SOPHIA I feel like I can contribute more--

BOBBY You contribute plenty. My writers count on you. They can't do what they do unless you do what you do. You're good at something, be happy for that, be grateful for it, a lot of people are good at nothing.

SOPHIA Yeah. I guess. It's just--

His Assistant signals that Bobby needs to take the call.

BOBBY Keep swinging in your wheelhouse. You'll get more hits.

She sighs - deflated. Bobby suddenly remembers something.

BOBBY Oh and I need a table at Babbo this Friday. Can you take care of it?

SOPHIA Seriously Bobby. You do know that you have a new assistant?

BOBBY I do. But she doesn't know the Maitre d'. You do. You got it?

SOPHIA I got it.

BOBBY You're one in a million kid.

He rolls to that waiting call.

INT. CAB -- LATER

Sophia sits staring out the window, lost in her thoughts. Victor gets in, breathless and excited.

VICTOR Verona here we come.

He notices Sophia not sharing his enthusiasm.

VICTOR What's wrong?

Sophia just kind of shakes her head as if to say "nothing".

VICTOR What'd Bobby want?

SOPHIA To argue about which direction Trump's comb over wraps.

VICTOR Counter clockwise?

SOPHIA He still treats me like I'm his assistant. He'll always treat me like I'm his assistant.

VICTOR It's not that bad. He values you. Hey, you've got job security right?

She just looks at him.

SOPHIA Right.

Content he's made her feel better Victor dives back into his Gourmet Magazine. They ride in silence. Until.

SOPHIA I took the job because I thought it'd be a stepping stone... to features, or covers, or something. But there are no steps, there are no stones, there's just Donald Trump's hair.

She sighs - a sigh that's looking for reassurance.

VICTOR You know you could always come work with me at the restaurant.

SOPHIA I know. And I appreciate it.

VICTOR You'd be great in fine dining.

SOPHIA So I've been told... by you.

VICTOR You would be. You're beautiful, smart, funny. You could run the place if you wanted.

She smiles.

SOPHIA You just said I was beautiful. You never tell me I'm beautiful.

VICTOR You know you're beautiful.

He puts an arm around her and pulls her towards him.

VICTOR Come on. Cheer up. Just forget it. That's why we're going to Italy right? To forget everything... the magazine, the restaurant.

SOPHIA We're going to Verona to meet the suppliers for your restaurant. How are we supposed to forget about it?

VICTOR It's not just gonna be about the restaurant.

SOPHIA It's fine.

VICTOR It's not just gonna be about the restaurant. We're gonna relax, see the sights, shop the stores, it won't just be about the restaurant, I promise. It's gonna be great...

Sophia wants to believe him but still looks skeptical.

VICTOR We're going to the home of Romeo and Juliet. How romantic is that?

SOPHIA Didn't exactly work out for them though did it?

EXT. NARROW STREET, VERONA -- DAY

A street that embodies true Verona, hidden away from the well- worn tourist routes. A small restaurant runs down one side of the street with tables filled with LOCALS eating lunch.

Sophia sits on the balcony of a rented apartment just above this restaurant. She's reading a guide book to Verona while occasionally looking down on life in the street below.

INT. RENTED APARTMENT -- BEDROOM -- LATER

Sophia walks in from the balcony looking at her guide book just as Victor comes out of the bathroom drying his hair.

SOPHIA So I think we should start with the Verona Arena then head over to the Museo Castelvecchio...

Victor takes the guide book from her, tosses it on the bed.

VICTOR No, no, no, no, what are you doing? That stuff's for tourists. To discover the true heart and soul of any country, first you have to indulge in it's smells and tastes.

She just looks at him. Sometimes he's so full of it.

EXT. ITALIAN COUNTRYSIDE -- DAY

A small Fiat Cinquecento races down a road that cuts through the heart of the countryside.

INT. WINERY -- DAY

Victor tastes a variety of wines with a dashing VITICOLTORE.

Sophia is trying to talk with one of the FIELD HANDS who just brought in a bushel of grapes when she sees Victor by the wine barrels waving her over with his camera. She sighs.

INT. IN FRONT OF THOSE WINE BARRELS:

Victor and the Viticoltore pose with their glasses raised in toast for Sophia who prepares to take their picture.

As her camera flashes we cut to the STILL PHOTO itself.

EXT. EDGE OF FOREST OUTSIDE VERONA -- DAY

The middle of nowhere. The kind of place where the mob buries bodies. Sophia seems acutely aware of this.

Sophia and Victor are with a furtive looking MAN dressed in army camo fatigues. There's a SMALL DOG at his side. The man is holding a cloth covered basket. He removes the cloth with a theatrical flourish to reveal a basket full of truffles.

Victor takes one out and smells it. He's awestruck.

VICTOR Wow.

10.

Sophia checks her watch. Shakes her head.

FLASH CUT TO:

Victor, The Man and Dog posing with the basket of truffles.

EXT. FARMHOUSE, ITALY -- DAY

A rustic farmhouse set in the middle of acres of olives.

INT. OLIVE PRESS -- LATER

It's dank and dark. No electricity. No indoor plumbing. Victor sits at the end of long table tasting olive oils with a gnarled, walnut colored OLD MAN. There are dozens of bottles of emerald green olive oil in-front of them.

Sophia has wandered to the other side of the room where she watches WORKERS operating an ancient olive press. Something drips on her from the ceiling.

Victor dips a piece of bread in a saucer of oil and tastes it. He's in seventh heaven. He picks up a bottle.

VICTOR This is the one.

Sophia is talking with one of the Workers when she sees Victor waving to her from across the room with that camera.

FLASH CUT TO:

Victor and his chosen bottle of olive oil posing in front of the ancient olive press with The Old Man.

INT. CURING ROOM -- LATER

Victor and Sophia are in a huge ham curing room. It's basically a giant, poorly-lit shack full of ham.

There's a row of cured pig heads hanging from hooks. Sophia stares at one of them. It stares back. This unsettles her.

A BUTCHER slices thin pieces of prosciutto for them to taste. Sophia turns down her taste - still staring at the pig head. Victor tastes his, chews, then closes his eyes.

VICTOR That's incredible. Can you imagine when people in The City taste this? (MOR E)

11.

VIC TOR (con t'd) I see lines. Wait. Maybe we should have a deli next to the restaurant.

SOPHIA That's actually not a bad idea.

VICTOR I know, I know, I'm on fire.

She has a thought. Then takes out her cell and steps outside.

EXT. MANHATTAN. WHERE:

Bobby is hustling down a congested street. He's walking fast like he's late for something. His cell rings. He answers.

BOBBY Bobby Brooks.

INTERCUT: Sophia just outside the shack of ham on her cell.

SOPHIA What if I did a piece on the food?

BOBBY An expose on how good Italian food is. Bold, kid. I smell a Pulitzer.

SOPHIA You know the Mediterranean diet is one of the healthiest in the world? They have the lowest incidences of coronary disease in Europe because of all the pulses they eat...

Bobby shakes his head - she just doesn't get it.

BOBBY Jesus, Sophia. I gave you a vacation. Go vacate. Get drunk, go to a museum, get drunk then go to a museum.

Sophia looks at Victor through the window getting ready to taste a piece of one of the pig heads. She looks nauseous.

BOBBY O/S I gotta go. Stop abusing my cell.

SOPHIA Wait. What if I...

Bobby is about to walk into a high rise.

12.

BOBBY Ciao Bella.

He hangs up. She looks at her cell - disappointed, deflated. Then she sees Victor waving her over with his camera through the window. She rolls her eyes and dutifully walks back in.

FLASH CUT TO:

Victor and The Butcher posing with a huge ham between them.

EXT. CURING ROOM -- LATER

Sophia and Victor walk back to their car.

VICTOR I gotta meet my Durum wheat guy - best Durum wheat in North Italy...

She looks at him blankly.

VICTOR You know, for pasta.

SOPHIA Right.

VICTOR If we leave now we should be able to get up there before he closes.

SOPHIA I think I'll pass.

VICTOR Hon? The best Durum wheat in all of Italy. Aren't you curious?

SOPHIA Yeah. Sure. I just... I need a break. Do you mind?

He looks at her. A disappointed beat.

VICTOR Alright. I'll drop you in town.

She smiles affectionately at his pouting.

VICTOR You're missing out though.

She kisses him.

13.

SOPHIA I know.

EXT. OUTDOOR CAFE, VERONA -- DAY

Sophia sits at table on the patio by herself sipping coffee. The town bustles around her. She's got her laptop open. And a blank note book open beside that.

She stares disdainfully at the blinking cursor on a blank word document as if willing it to inspire her.

She finishes her coffee and looks around at the LOCALS and TOURISTS chatting, laughing, shopping.

She looks about ready to give up when something catches her eye through the crowds...

A YOUNG GIRL about fourteen years old is sitting on a curb at the entrance to a courtyard across the street from Sophia.

The girl is reading a letter through a flood of tears. The constant stream of PEOPLE passing by on their way in and out of the courtyard hardly seem to notice her. But Sophia has.

The Girl looks up from her letter and sees Sophia watching her. She looks back through those tears and the crowds. They look at each other long and hard. Sophia smiles. The Girl looks away.

The Girl's shoulders heave with a great silent sob as she takes a last look at the letter, signs it, puts it an envelope then disappears through the courtyard entrance.

Sophia watches her go. A beat of consideration. Then she packs up her laptop, puts money on the table and leaves.

EXT. COURTYARD CASA DI GIULIETTA -- VIA CAPELLO VERONA -- DAY

Sophia enters a strange, eerily quiet scene. This is the supposed courtyard of Juliet Capulet's house. It's become a shrine to TEENAGE GIRLS, their conversation is subdued. There's an atmosphere of almost religious reverence.

Sophia walks past a group of girls looking up at The Balcony. Another group gazes upon the Statue of Juliet - her left breast polished from years of superstitious touching.

Sophia finally comes upon the girl from the street, so desperate yet so full of hope. She's standing before a wall that's covered in envelopes and letters.

14.

Some are wedged between bricks, others are held in place by chewing gum, but all are addressed to the same name: "Juliet"

Sophia watches as the girl finds a place for her letter. She leaves it and turns to go. The girl is wiping away tears as she passes Sophia on her way out of the courtyard. Their eyes meet.

SOPHIA Are you OK?

The girl either doesn't understand her or has no interest in discussing her problems with a stranger. She leaves without a word. Sophia watches her go.

BELLA O/S Her heart is broken.

Sophia turns to find a pretty Italian woman in her twenties who just watched that whole exchange. She is BELLA.

SOPHIA Do you know her?

Bella shakes her head.

SOPHIA How do you know her heart's broken?

Nods to her letter on the wall.

BELLA She wrote to Juliet.

SOPHIA And?

BELLA When your leg is broken, you go to the doctor. When your heart is broken, you come to Juliet.

Bella approaches the wall. Sophia follows her. She looks over the dozens of proclamations of love and longing.

SOPHIA There are so many of them.

BELLA It's like this every day.

SOPHIA Why do they do it?

15.

BELLA They want answers.

SOPHIA That they'll never get.

BELLA Says who?

And with that she starts collecting the letters, beginning with the girl's from the street.

Sophia is startled at this intrusion, it doesn't seem right.

SOPHIA Hey. Whoa. Wait. What are you doing? You can't do that.

BELLA Why can't I?

SOPHIA Because it's like taking pennies out of a wishing well or something, these are people's wishes, you can't just take people's wishes.

BELLA But then how are we supposed to give them answers?

This throws Sophia. She gives Bella an inquiring look.

SOPHIA Who's we?

BELLA Come. I'll show you.

They walk out of the courtyard and across an alley to a restaurant. Sophia looks up and sees that it's called: "Lettere a Giulietta".

INT. LETTERE A GIULIETTA RESTAURANT -- LATER

Bella walks through the restaurant into the kitchen. Sophia follows. The kitchen is very busy. In the middle of it all is the head chef, ANGELINA, a round woman in her sixties with a no nonsense air about her. She's barking orders at her staff when Bella and Sophia approach. (Italian in Italics)

16.

BELLA Mama, this is Sophia, I'm just gonna show her upstairs.

Angelina smiles at Sophia. Sophia smiles back. Angelina looks at the basket of letters Bella is carrying.

ANGELINA Looks like you'll be having a busy night.

Bella nods then turns to Sophia.

BELLA This way.

They walk through the kitchen and up some stairs into...

INT. THE OFFICE OF THE SECRETARIES OF JULIET -- LATER

It's a small modern-looking office just above the restaurant. Big arching windows overlook a courtyard, Posters on the wall show scenes from "Romeo and Juliet" movies of the past.

There are desks and filing cabinets and computers. Three friendly-looking WOMEN look up as Sophia and Bella walk in.

BELLA Ladies, this is Sophia.

Sophia kind of half waves at the smiling women.

BELLA These are The Secretaries of Juliet. We respond to the letters she receives from around the world.

SOPHIA You mean you actually write back? To everyone?

Bella smiles.

BELLA We give answers.

INT. THE SECRETARIES' OFFICE -- LATER

Bella leads Sophia on a tour of the office.

17.

SOPHIA So? How do you decide which of you answers which letter?

BELLA We all have our areas of expertise.

They pass a kindly looking woman in her seventies, MARIA.

BELLA Maria has been happily married for fifty-one years so she tends to handle mostly marital issues...

At the next desk is a bookish woman in her late fifties who has the air of someone who has seen it all, FRANCESCA.

BELLA Francesca made her living as a nurse so she usually does illness and caring for the sick...

Lastly they approach an diminutive elderly woman reading a letter and slowly shaking her head, DONATELLA.

BELLA Donatella has twelve children, twenty-seven grandchildren, and six great grandchildren... (obviously) She handles family matters.

SOPHIA And what about you?

Bella hesitates to answer. The other Women all look up from their work with big smiles at this question.

DONATELLA Anything to do with love...

MARIA Bella is our romantic...

FRANCESCA Our hopeless romantic...

BELLA At least I'm some kind of romantic.

Sophia is still trying to get her head around all of it.

SOPHIA So? Who pays for all this?

18.

BELLA We're all volunteers. We pitch in what we can when we need to.

Bella nods. Sophia is blown away.

SOPHIA Wow.

Maria walks over with the basket of letters Bella collected.

MARIA We're gonna start reading.

Bella notices Sophia looking curiously at the letters.

BELLA Would you like to help?

SOPHIA Oh. No. I shouldn't. I couldn't. I'm not much of an expert on love or romance or...

Bella gently places a letter written in English in her hand.

BELLA You just have to read.

Sophia takes the letter.

CLOSE ON: Envelopes being opened with postage marks from all over the world.

A volunteer TRANSLATOR works to transcribe some of the letters written in foreign dialects.

Sophia and The Secretaries sit reading and sorting the day's letters. As they read, we watch their reactions as we hear certain portions of those letters read to us by the authors.

The VOICES are young and old, different accents, different tones, but all are drenched in the same sense of longing.

ITALIAN GIRL V/O "Dear Juliet, how do you know when you're in love? Can you know?..."

AUSTRALIAN WOMAN V/O "...Juliet, I don't think I want to marry him but I so want to get married. What should I do?..."

19.

AMERICAN TEEN V/O "...Is it weird to think sex is gross? I mean cause it kinda is, right? I'm not like weird for thinking that am I?..."

Sophia places the teen's letter in one of several piles.

INT. THE SECRETARIES' OFFICE -- LATER THAT EVENING

The letters have been read and sorted. The Secretaries are busy composing their responses - all by hand.

Sophia sits watching Bella write.

SOPHIA Do you ever worry about being wrong?

BELLA What do you mean?

SOPHIA You're giving answers but how do you know they're the right answers?

Bella considers the question for a beat.

BELLA We don't tell anyone what to do, we just share our experiences, we let them know they're not alone. There are no wrong right or wrong answers when you write from your heart.

Sophia smiles at that sentiment.

INT. JUST OUTSIDE A BOARD ROOM IN NEW YORK. WHERE:

Bobby has excused himself from an editor's meeting to take a call. The look on his face tell us he regrets doing so.

BOBBY So people all over the world are crazy enough to write love letters and ask the advice of a fictional teenage suicide... and these women are all crazy enough to write back under the alias of the very same fictional teenage suicide... is that pretty much the gist of it?

20.

INTERCUT: Sophia is on her phone in The Secretaries' office. She stutters and stammers - trying to spin it.

SOPHIA Well. Yeah. No. I'd probably focus more on their moving, self-less attempts to... spread hope, and answer love's unanswered questions.

Bobby considers for a beat - a beat more than usual. Before:

BOBBY It's not a feature. There's no hook. Get me a hook then maybe, just maybe, I'll let you go fishing... And Sophia?

SOPHIA (hopeful) Yeah?

BOBBY Next time you call it better be to find out what kind of wine I like.

EXT. LETTERE A GIULIETTA RESTAURANT -- PATIO -- THE NEXT DAY

Sophia sits at a table with her laptop open. She's glaring at that cursor blinking on that blank document.

Bella approaches with a huge bowl of pasta topped with steaming meatballs in a tomato sauce.

SOPHIA I didn't order...

BELLA My mother's meatballs, they're legendary. Just a little thank you for your help last night.

SOPHIA "Little"?

Victor approaches carrying the Verona guide book, smiling.

VICTOR Supplier meetings are officially done. I am all yours as promised. (he kisses her) You want to check out that Museo... whatever it's called?

21.

Sophia turns to Bella.

SOPHIA Victor, this is Bella, she's one of The Secretaries I told you about.

Bella smiles at Victor but he's not looking at her just now. He's caught a scent.

VICTOR What's that smell?

He looks at the plate in front of her.

SOPHIA Victor?

He picks up her plate and sticks his nose very close to it and inhales deeply. He's staggered by the aroma.

VICTOR My God.

He grabs her fork and tastes. He groans with pleasure.

BELLA You like?

VICTOR D'you know what's in this?

BELLA Oregano, garlic, parsley, bread...

He shakes his head "no" then pauses for effect.

VICTOR History. Years and years, generations and generations, of history. Who made this?

SOPHIA Her mother.

VICTOR I have to meet her.

Victor goes without waiting for Bella who looks at Sophia curiously then follows him. Sophia is alone at the table.

She looks at the meatballs suspiciously then tastes one.

SOPHIA That's a good meatball.

22.

EXT. LETTERE A GIULIETTA RESTAURANT -- PATIO -- EVENING

Sophia's plate is long since empty. She looks at it and then at her watch. She gets up and heads back towards the...

INT. KITCHEN. WHERE:

She finds Victor in chef's whites cooking with Angelina. He looks up at Sophia as she walks in.

VICTOR Have you met Angelina?

SOPHIA I have.

VICTOR She's a genius.

SOPHIA She is.

ANGELINA He's such a charmer.

SOPHIA Isn't he just? (holds up the guide book) So? You about ready to go?

He hesitates. Victor treads lightly around the following:

VICTOR Yeah, sure, here's the thing though, Angelina's offered to let me work a dinner service with her tonight. She's gonna teach me to make that marinara. Can you imagine that marinara in Manhattan?

Sophia is clearly annoyed.

SOPHIA And what am I supposed to do?

Bella steps forward.

BELLA You could always help us.

Victor jumps all over this suggestion.

23.

VICTOR Great idea. That is a great idea. You write. I'll cook. Win-win.

Sophia just looks at him, thinks about arguing, then doesn't.

EXT. COURTYARD CASA DI GIULIETTA -- LATER

Sophia and Bella gather up the day's letters in silence. Sophia is clearly still miffed about Victor bailing on her.

BELLA Your Victor is very... passionate.

SOPHIA About food. My Victor is very passionate about food.

This revelation unsettles Bella she looks like she wants to say something more but stops herself.

They finish collecting and are headed out when Sophia notices a letter they missed stuck on a remote corner of the wall.

SOPHIA Forgot one.

Sophia jogs back to get it when she pulls it from the ancient wall, a large piece of mortar falls at her feet. She looks back at Bella as if to "sorry." Bella shrugs it off.

BELLA It happens.

Sophia picks up the piece of mortar and tries to slide it back in place when something catches her eye hidden deep within the newly made crack in the wall. It looks like paper.

Sophia slides her fingers into the crack. She manages to grab the paper and pull it out. She stares in amazement.

CLOSE ON: An envelope. It's old and stained. The writing is quaintly old fashioned in that spidery kind of way.

SOPHIA O/S - PRELAP Look at the date...

INT. SECRETARIES OF JULIET OFFICE -- LATER

BELLA 1951! My God.

24.

The Secretaries are gathered around Sophia who is holding an old handwritten letter.

BELLA What does it say?

SOPHIA "I didn't go to him, Juliet. I didn't go to Alfonso. I was on holiday with my parents; he was a local boy, he picked grapes at a vineyard. It was his eyes. I still remember the first time those eyes found me. My parents would never approve so we made plans to run away. We were supposed to meet at that vineyard but when the time came, I couldn't bring myself to go. My parents and I returned to London the next morning. I'm so afraid. I fear the only thing worse than not being with him would be knowing he doesn't want to be with me. Please, tell me what to do. With love, Claire Smith."

Silence. Sophia just stares at the letter, affected.

BELLA I think she came back. She flew in the face of her parents and her friends to find her one true love. And she made sweet love to her Alfonso for the rest of her life.

FRANCESCA I think she found him. They had ten children. Then he got old and bald and fat and she wonders every day what happened to that gorgeous Romeo she left her family for.

MARIA I think she stayed in England where she married a Duke and lived happily ever after in his castle...

DONATELLA And I'll bet when she's making love to that Duke she's imagining her first love. I do that all the time.

Everyone laughs except Sophia who's still holding the letter.

25.

SOPHIA I'd like to write back.

The women all stop laughing and look at her.

MARIA Why? She's probably moved.

DONATELLA Or died.

FRANCESCA Probably moved and died.

SOPHIA Probably. But she wanted an answer.

Bella smiles at this she gives Sophia a pen and paper.

BELLA So give her one.

CUT TO:

SHOTS OF: The Secretaries quietly going about reading and replying to that day's batch of letters efficiently.

They write dozens of different letters throughout the night.

But Sophia works only on that one letter to Claire Smith. She chooses each word carefully.

INT. SECRETARIES OF JULIET OFFICE -- LATER THAT NIGHT

The Secretaries have left for the evening. Only Bella and Sophia remain. Bella looks over her shoulder at Sophia's letter - it's rather long at this point.

BELLA Let's hope if she gets it she has some time on her hands.

SOPHIA Too long?

BELLA No... (smiles) ...not for a novella.

Bella puts on her coat and heads out the door.

26.

BELLA Lock the door and turn off the lights when you're done, OK.

INT. SECRETARIES OF JULIET OFFICE -- EVEN LATER THAT NIGHT

Sophia has finally finished the letter. She's addresses the envelope and puts on a stamp. She stretches, yawns. There's a knock at the door. Sophia turns to find Victor coming in with a plate of anti pasti. She smiles. He smiles back.

SOPHIA Hey you.

He sets down the plate of food and kisses her.

VICTOR You have fun playing secretary?

SOPHIA I did actually. I forgot what it was like to just write. It was nice.

VICTOR I'm glad.

SOPHIA How'd it go with Angelina?

VICTOR It was unreal. I thought I was good but she's outta my league. She cooks from feel. No measurements, no timers, no prep, everything's fresh, she's incredible. I could learn a lot from her in a week...

Silence as he lets that last sentence just hang there. Sophia realizes what he's asking, why he brought her the anti pasti. She stops eating it and just looks at him.

SOPHIA You promised this trip wouldn't just be about the restaurant?

VICTOR I know. I know I did. But this is a chance to learn sixty years of culinary knowledge in a week . It's a once-in-a-life time opportunity for me - for us...

27.

Sophia sighs.

VICTOR But I haven't said yes yet. And I did promise you. So? If you say don't do it, I won't do it.

Sophia knows she can't tell him not to.

SOPHIA OK.

VICTOR Is that OK like it's really not OK?

SOPHIA It's just OK.

That's good enough. He kisses her. She tries to smile.

He puts his arm around her as they walk to the door. Sophia turns the light off and drops her letter in the out box.

I/E. VERONA. VARIOUS OF:

Sophia exploring the streets of Verona.

She walks across the Roman Ponte Pietro to look at the river.

She shops in a street market in the centre of the city.

She tours the Verona Arena and the Museo Castelvecchio.

She eats dinner with Victor and Angelina. Victor is chatting up Angelina about the food. Sophia sits quietly sipping wine.

She walks down the chic Via Mazzini casually window-browsing all the boutiques. She has a few carrier bags in her hands.

INT. LETTERE A GIULIETTA RESTAURANT -- KITCHEN -- EVENING

Victor enjoys himself in the kitchen amongst all the noise and chaos. He's chopping, stirring, tasting, the guy sweats enthusiasm. He tastes a bowl of meatballs and marinara, nods his satisfaction, then refuses to let the WAITER take them out.

VICTOR No, no. I'll do it.

Victor picks up the bowl, makes the sign of the cross, then should barges his way out into the restaurant where...

28.

The Secretaries of Juliet are sitting at a long table with Angelina, drinking wine and laughing loudly.

Victor proudly places the bowl of meatballs in the middle of the table and then declares in his best flawed Italian:

VICTOR Ladies, I give you my balls .

There is a pause before the women burst out laughing.

VICTOR Please, help yourselves.

MARIA If were thirty years younger I would.

The women laugh again and start serving them out.

FRANCESCA Attempting Angelina's meatballs... either very brave or very stupid.

They all taste them, adjudicating as they chew. For Victor this is sheer agony. All eyes are on Angelina. It seems like an eternity before she starts to slowly nod her head approvingly. The others follow suit and start clapping.

Victor is so overcome that he sweeps Angelina into his arms and kisses the old woman passionately on the lips. Everyone cheers. Angelina is quite flustered and flushed by the kiss.

SOPHIA I remember when he used to have that effect on me.

Bella laughs and stands up tapping her wine glass.

BELLA To our new friends. Who leave us tomorrow as they continue onto Palermo but will remain in our hearts. To Victor and Sophia.

Everyone raises their glass.

ALL To Victor and Sophia!

They clink and drink. Victor takes in the moment. He smiles at Sophia like someone trying to keep a secret who can't.

29.

VICTOR Sophia?

She turns to see him smiling big at her.

SOPHIA What?

VICTOR I want you to be my front of house.

SOPHIA Your what?

Victor theatrically drops to one knee - playing to the crowd.

VICTOR (takes her hand) Will you be my front of house?

A beat of confusion.

SOPHIA Is that like code or a metaphor or something?

VICTOR I want you to run the restaurant.

She just stares at him - flabbergasted. He stands up.

SOPHIA What about my job?

VICTOR You hate your job.

SOPHIA But I love writing. I still want to write. You know that.

VICTOR You always talk about taking a step forward, making a change, this is a change.

SOPHIA I was thinking more like a change to The New Yorker not Zagats.

Silence. This isn't going how Victor has envisioned.

30.

VICTOR I want us to do this together. It won't be the same without you.

Sophia doesn't know what to say or where to look. She just stares at him speechless. Before she can answer a subtly handsome Englishman enters the restaurant. He is CHARLIE.

CHARLIE Excuse me, I'm sorry to interrupt, but are you the Secretaries of Juliet?

BELLA You found them.

CHARLIE Great. So which one of you wrote this letter to my grandmother, Claire Smith?

Sophia can't believe it. How fantastic! She steps forward.

SOPHIA I wrote it.

CHARLIE It was a very thoughtful letter.

SOPHIA Thank you.

CHARLIE Now if you wouldn't mind telling me what the hell you were thinking?

A deathly silence. This is not what she was expecting.

INT. LETTERE A GIULIETTA RESTAURANT -- LATER

Sophia and Charlie sit at table removed from the others. Victor is visible in the background serving The Secretaries.

SOPHIA She deserved an answer.

CHARLIE Fifty seven years ago maybe. Not now.

SOPHIA Why not?

31.

CHARLIE Because she was a fifteen-year-old girl then. She's a seventy-two-year- old woman now.

SOPHIA I can do math. Math is not a reason not to write a letter.

CHARLIE It was a teenage infatuation, a holiday romance, can you imagine what could've happened if she hadn't seen sense?

SOPHIA Well you wouldn't be here, I mean at all. Which I'd have to say would be an upside.

CHARLIE What good did you think could possibly come from writing her that letter?

SOPHIA What harm could come from it?

Pause as they eye each other up.

SOPHIA So that's it? You came all the way from England to give me a lecture, I'm impressed. Or did you just happen to be in town?

CHARLIE No, I came because I couldn't let my grandmother come on her own.

SOPHIA Claire's here? Why?

CHARLIE I think even you might be able to work that one out.

SOPHIA Oh my God, she's come to find her Alfonso, that's awesome, I want to meet her.

32.

CHARLIE I want to play for Manchester United but I'm shit at football.

SOPHIA You honestly don't think she'd want to meet me?

CHARLIE I honestly think she has no interest in meeting a woman who can manage to jam "oh my God" and "awesome" into the same sentence.

SOPHIA Did you ask her?

CHARLIE It just wouldn't occur to her.

SOPHIA Where are you staying?

CHARLIE (laughs) D'you really think I'm that stupid?

SOPHIA I haven't decided yet.

A beat. Charlie gets up from the table.

SOPHIA Why did you come here tonight?

CHARLIE I was just curious to see what kind of imbecile would think writing that letter was such a great idea. I should've known it'd be an American. Good night.

He strides out of the restaurant. Sophia is appalled at his rudeness and is stuck to her chair for a moment.

She looks across the room at Victor serving The Secretaries their entrees. They applaud his efforts. He's beaming.

Sophia thinks for a beat. Then grabs her coat and leaves.

33.

EXT. LETTERE A GIULIETTA RESTAURANT -- LATER

Sophia emerges from the restaurant and looks around to see which way Charlie has gone. She spots him and starts to follow him at a discreet distance.

At one point he gets the feeling he's being followed and stops. He quickly turns around just as Sophia ducks into a shop doorway.

Finally he arrives at his hotel and heads inside. Sophia waits for a moment before heading in herself.

INT. HOTEL VERONA -- RECEPTION -- LATER

Sophia waits as the RECEPTIONIST looks something up on a computer screen.

RECEPTIONIST Claire Smith - room 32.

SOPHIA Thank you.

INT. HOTEL VERONA -- CORRIDOR -- LATER

Sophia walks down the hallway to room 32. She's nervous as she takes a deep breath and knocks on the door. She adjusts her hair and straightens her dress. The door opens. And her face drops as she is confronted by Charlie.

CHARLIE (whispers) What the bloody hell are you doing here?

He moves out pulling the door semi-closed behind him.

SOPHIA I think maybe even you can work that one out.

CHARLIE I told you she doesn't want to meet you.

SOPHIA You told me it wouldn't occur to her to want to meet me.

A voice comes from inside the room.

34.

CLAIRE O/S Who is it Charlie?

SOPHIA (shouts) My name is Sophia. I wrote the letter.

CLAIRE O/S Well for goodness sake come in.

Charlie looks daggers at her then reluctantly opens the door.

INT. CLAIRE'S ROOM -- CONTINUOUS

Sophia walks into the room and there she is, CLAIRE SMITH, a regal beauty at the age of seventy two. She gets up and for a fleeting moment, bathed in a Veronese backlight, she almost looks like the fifteen year old who sent that letter all those years ago.

They take each other‟s hand and don‟t let go. They take a long look at each other - so many questions on either side

SOPHIA You look like I thought you'd look.

CLAIRE Since you wrote to a fifteen-year- old I'll take that as a compliment.

Sophia smiles. Claire smiles. Charlie isn't smiling.

CLAIRE How did you find us?

SOPHIA Charlie found me, actually.

Claire turns to Charlie who shrugs as if to say "surprise".

SOPHIA He told me you were here and said you might like to meet me.

CLAIRE How uncharacteristically thoughtful of you dear.

Slight pause. He looks at Sophia who smiles innocently.

35.

CHARLIE Well, in the circumstances, it seemed a little churlish not to meet the person responsible for this voyage of lunacy.

CLAIRE Charlie doesn‟t approve. Which makes it all the more fun. Would you like some tea? Oh no, of course, you‟re American. We‟ll order coffee. Charlie?

He obediently goes to the phone.

INT. CLAIRE'S ROOM -- LATER

They all sit having coffee while Claire talks.

CLAIRE I waited for a reply to that letter for two years. Once I even plucked up the courage to run away and find him. But it only lasted as far as Waterloo Station, I‟m afraid.

CHARLIE So why is it you never mentioned him to me till last week then?

CLAIRE It was such a long time ago, dear. And I met your grandfather and over the years I did my best to forget that summer in Tuscany and the bronzed Adonis of a boy who kissed me for the first time. He was the first person to ever tell me I was beautiful. And boy did it sound more romantic in Italian.

SOPHIA I'll bet.

CLAIRE “Clara, siete cosi bella.”

CHARLIE But you and Gramps were happy enough, weren‟t you?

36.

CLAIRE That‟s exactly right - happy enough. We were a “good couple” with much to be grateful for. Except for you Charlie, you‟ve been the bane of my existence.

Sophia smiles, intrigued by these two.

CLAIRE Then when Jack died - there‟s a lot of Jack in Charlie, funnily enough - I grieved profoundly for years. But as time went by his memory became a distant, warm glow, instead of a searing pain in my side. Then, unexpectedly, at odd hours of the day, in my dreams at night, I found myself thinking about Alfonso... which made it all the more extraordinary when, out of the blue, your letter arrived. I‟m so grateful you wrote it. There were so many reasons not to.

CHARLIE I'll say.

SOPHIA So what happens now?

CLAIRE Well the thing is, I think we've found him.

SOPHIA Really? Where?

CLAIRE Just outside Verona. Quite close to where he used to live, actually.

SOPHIA No! That's incredible.

CLAIRE Charlie thinks it's a dreadful mistake.

SOPHIA It‟ll be fine, really it will.

Sophia looks at her watch.

37.

SOPHIA I‟m so sorry. I have to go. I'm flying down to Palermo with my boyfriend for a few days before we go home. He‟s found some kind of weird cheese down there.

CLAIRE (slightly disappointed) Of course you are. Thank you so much for the letter.

They hug. Sophia turns to Charlie who extends his hand stiffly.

CHARLIE It's been a pleasure.

SOPHIA I guess your idea of pleasure and mine are two very different things.

For a moment he seems charmed by her directness and honesty. He smiles. Claire gives her a piece of paper.

CLAIRE My phone number back in London. Will you call me?

SOPHIA I will. I have to know how it ends.

INT. VERONA APARTMENT -- BEDROOM -- LATER THAT NIGHT

Sophia and Victor are in the middle of packing for Palermo.

Sophia's head is still in Claire's hotel room. Victor is focused intently on packing, he's not really listening.

SOPHIA I so hope it works out for her...

VICTOR Hmm.

SOPHIA I mean imagine if they found each other after fifty years...

VICTOR That'd be something.

38.

SOPHIA Because I found a letter in a wall, it's crazy, it's like no story that's ever been told...

VICTOR Right.

Sophia pauses on this thought. Then the penny drops.

SOPHIA I have to write it.

VICTOR You can start on the plane.

SOPHIA I have to stay.

Victor's listening now.

VICTOR Wait. What?

SOPHIA I have to know out how it ends.

VICTOR What about Palermo? The cheese?

SOPHIA You don't need me for cheese. You can pick me up on your way back. I'll write. You taste. Win win.

Sophia starts unpacking her suitcase. Victor stammers.

VICTOR Can't we at least discuss this?

SOPHIA I started it. I have to finish it.

VICTOR But? Who are these people? You're just gonna go off with them? They could be serial killers...

SOPHIA Killers who oh-so-cleverly planted a half century old love letter in a wall for me to find. How devious.

39.

She smiles, keeps unpacking. Victor just stands there racking his brain for a reason she has to come with him.

VICTOR But? Who's gonna take the pictures?

INT. HOTEL VERONA -- LOBBY -- LATER

Sophia is walking through Claire's hotel on her cell phone.

SOPHIA I already have the title: "Does True Love Have a Shelf Life?"

INTERCUT: Bobby in his office on the phone with Sophia. He's eating Chinese food as he scrolls through and answers e-mail.

BOBBY You can't actually think she'll find this guy? A hundred bucks says he's dead, married or gay.

SOPHIA But what if he's not? What if she does? What if that spark is still there after fifty years?

He can't. He nods to himself. Takes a bite of an egg roll.

BOBBY Could be something there.

SOPHIA So I should write it?

BOBBY You can write it. Doesn't mean I'll print it.

Sophia smiles - good enough for her.

INT. HOTEL VERONA -- CORRIDOR -- LATER

Sophia is standing at Claire's door. Charlie opens it.

SOPHIA Hi!

CHARLIE Oh God.

40.

EXT. STREETS OF VERONA -- DAY

Sophia, Claire and Charlie walk through the streets towards Juliet‟s house. Charlie casts a disbelieving glance at Sophia - What is she doing here?

CLAIRE Alfonso had such a way with plants. Working those fields was spiritual for him. He'd always talk about the land in Tuscany, the way it smelled, the moisture in the soil, perfect for the grapes he‟d grow there one day. He used to say all he needed to be happy were days in those fields and nights with me.

Sophia smiles at this.

CLAIRE When he was working I‟d pray for the sun to come out because then he‟d have to take off his shirt.

CHARLIE Nana!

CLAIRE He was so solid and brown. The sweat would glisten off his back like little jewels. The thought of it still sends shivers down my spine.

CHARLIE Alright, I think we get the picture.

CLAIRE What, you don't approve of your old Gran having carnal thoughts?

CHARLIE Oh for heaven's sake.

CLAIRE You're such a prude. And you're ageist.

CHARLIE I am not! I love old people.

41.

SOPHIA So long as they're not thinking dirty thoughts.

Charlie bristles. Before he can think of a deft reply...

SOPHIA Here we are.

They walk into Juliet‟s courtyard.

CLAIRE Gosh, I remember this so well. We were on our way home. I was so sad. Then I looked up at her an thought - she'd know what to do. I'll ask her.

SOPHIA Sorry it took her so long to get back to you.

Claire smiles.

CLAIRE No matter. I'm here now.

A familiar voice comes from behind them.

BELLA O/S Is this her?

Sophia turns and finds Bella holding a basket of the day's letters. Bella is looking at Claire.

SOPHIA Claire. This is Bella. She's one of The Secretaries.

CHARLIE Ah yes, another interfering busybody. Perfect.

Neither Bella nor Claire pay him any mind. They smile.

BELLA It's such a pleasure to meet you.

CLAIRE And such an honor to meet you.

Claire goes to shake her hand but Bella grabs her and hugs her and kisses her on both cheeks.

42.

INT. LETTERE A GIULIETTA RESTAURANT -- LATER

Claire is the guest of honor at the head of a table with Charlie, Sophia and the rest of The Secretaries. They're eating dinner. The Secretaries are all smiling at Claire.

BELLA Are you nervous?

CLAIRE A bit I suppose. What if I‟ve turned him into something he isn‟t? He‟s always existed in my mind‟s eye as a model of perfection. Like a „57 Bentley Continental. What if he‟s actually a clapped out old Alfa Romeo with bundles of nose hair? What if he doesn‟t remember me at all - if I was simply not to him what he was to me?

Slight pause as they all think about this. Charlie wades in.

CHARLIE Right. Let‟s go home then before it all ends in tears.

SOPHIA What is it with you? It's like you really don't want this to work out.

Charlie is aghast at such a suggestion - a little too aghast.

CHARLIE I'm a realist not a fantasist, that's the point.

BELLA No it's not. The point is you're English.

MARIA No romance.

FRANCESCA Lots of cynicism.

DONATELLA Cold as fish.

CHARLIE You don't have to be a cold fish to think the idea of true love lasting forever is ridiculous. (MOR E)

43.

CHA RLIE (con t'd) Actually, come to that, the very idea of true love at all leaves one struggling.

BELLA Well in that case we take it all back.

Everyone laughs except Charlie. Claire smiles softly at him.

CLAIRE Charlie why don‟t you get yourself out of the line of fire and settle the bill?

He motions for the waiter to bring the bill. As soon as she sees this Angelina comes striding across the restaurant.

ANGELINA No charge.

CHARLIE I'm sorry we couldn't possibly...

ANGELINA I'm sorry, you can possibly.

He looks at her - realizes this isn‟t someone you mess with.

EXT. STREETS OF VERONA -- LATER THAT NIGHT

The Secretaries are walking with Claire, laughing and chatting. Charlie and Sophia follow at a short distance.

CHARLIE You know, I‟m not the buttoned up, buttock clenching, killjoy you lot are trying to make me out to be.

SOPHIA Right. We made you argue that true love is ridiculous. Thanks for clearing that up.

CHARLIE It's just that I am genuinely worried for her.

SOPHIA She'll be fine.

44.

CHARLIE Physically yes. But what if he breaks her heart? What if he laughs in her face? What if he doesn‟t remember her? Is it so unreasonable for me to worry about that?

SOPHIA My gut says that'll never happen.

CHARLIE Then you really do have greater faith in mankind than I do.

They walk on watching the women walking ahead. Sophia smiles.

CHARLIE You really think it's possible two people can be apart for so long and pick up right where they left off?

Sophia reflects on the question.

SOPHIA I don't know. I hope it is.

CHARLIE Why are you doing this?

SOPHIA To find out, I guess. (smiles) Plus I think I've got a bit of a crush on your grandmother.

He looks at her slightly disturbed.

INT. HOTEL VERONA -- SOPHIA'S ROOM -- NIGHT

Sophia sits at a desk with her laptop open. She starts to type. Stops for a moment. She closes the laptop. Something doesn't feel right.

INT. HOTEL VERONA -- NEXT MORNING

Sophia, Claire and Charlie are loading up the rental car.

SOPHIA Before we go anywhere I need to be straight with you both. My being here is not entirely selfless. It started as that. (MOR E)

45.

SOP HIA (con t'd) And I do want to help. But I‟d also like to write an article about what happens. I want to tell your story, Claire.

CHARLIE A bloody journalist! I should've known.

SOPHIA Hardly. I'm a fact checker. I've never had a word published.

CHARLIE And you think Gran's story is your ticket to being published. Yeah?

SOPHIA I think her story is a story worth telling.

Claire smiles her approval.

CLAIRE Well I think that‟s simply marvellous. We both get something out of it. It‟s a what d‟you call it? A win win.

Sophia smiles appreciatively.

CHARLIE I‟m so pleased for you both but where, exactly, do I fit in?

CLAIRE Don‟t worry, dear. Every story needs a comedy character.

She gets into the car. Sophia smiles at Charlie.

SOPHIA This is going to write itself.

Something starts buzzing in her bag. She fishes around in it and brings out her cell phone. She grimaces.

SOPHIA I missed Victor. I had it on silent all night. He's probably frantic.

46.

CHARLIE I would be. I‟d have probably killed myself by now - in a most violent manner leaving a poignant note which would haunt you forever.

CLAIRE O/S (from inside the car) Charlie!

Sophia can't help but smile at Charlie as she dials Victor.

SOPHIA I hope he's not too worried.

INT. AN ORGANIC DAIRY FARM IN PALERMO. WHERE:

Victor's looking anything but worried as he's enthralled with an assortment of samples of a stocky CHEESE MAKER'S finest Italian cheeses. He's a kid in a candy store. He tastes some fresh made pecorino romano. It leaves him speechless.

His Black berry - set on silent - is flashing on his belt buckle. CLOSE ON: The Display. The ID reads: "Sophia"

CUT BACK TO:

Sophia putting her phone away and getting in the car with Charlie and Claire.

CHARLIE Was he frantic?

SOPHIA I couldn't get him. He's probably out in the country out of range.

CHARLIE Or he's working on that note.

Claire smacks Charlie on the top of his head. Sophia laughs.

SOPHIA How about you? Is there some lucky girl who makes you frantic?

CHARLIE There is one - was one - until recently, Patricia. But the less said about her the better... so currently, no, I am without “frantic” in my life and the sense of relief is palpable.

47.

SOPHIA For everyone I'm sure.

I/E. CAR (DRIVING) -- LATER

They travel towards Arezzo, Charlie driving, Claire beside him and Sophia in the back leaning forward between the seats.

SOPHIA Victor used to work at this little Italian place in The City. I'd go there to work every week. I'd get a double espresso and a water - no ice. And he'd come by my table, tell jokes, make small talk. Then one week he bought my espresso, a week later he bought me lunch, then dinner, a week after that he cooked me dinner at his place, and three months later I moved in with him.

CLAIRE How romantic.

With a longing that tells us this was as romantic as it got:

SOPHIA Yeah... it was...

CHARLIE So you live with a waiter then.

CLAIRE Charlie you're such a snob.

CHARLIE I am not. He might have been a bus boy.

SOPHIA He's a chef actually. A talented one. He's opening his own place... (slight pause) It's gonna be great, I know it. He won't let it be anything else.

CLAIRE Sounds like quite a catch. Your mother must be pleased.

SOPHIA I'm sure she would be.

48.

Claire looks worried she's made a dreadful assumption.

CLAIRE Oh dear. Has she passed on then?

SOPHIA Moved on is more accurate. She left when I was little.

CLAIRE I'm sorry.

SOPHIA (shrugging it off) Don't be. I'm not.

Charlie looks at her in the rear view mirror as she stares out of the window and sees that nothing could be further from the truth as she displays a rare moment of vulnerability.

EXT. FARM HOUSE, OUTSIDE VERONA -- LATER

The car stops at a narrow country road in front of an old farmhouse surrounded by meadows and olive groves.

Claire, Sophia, and Charlie look at the old house through the car window. Claire doesn‟t move. Sophia takes her hand and gives it a squeeze. Claire smiles then gets out of the car.

EXT. FARM HOUSE -- FRONT DOOR -- LATER

The trio approaches the door. Charlie glances at Claire. She nods yes. Charlie reluctantly knocks on the door. They wait a moment. Nothing. He shrugs.

CHARLIE No one in. Come on. Let's go.

SOPHIA Charlie?!

He takes Claire‟s hand and starts for the car. Then the door opens. They stop and turn as ALFONSO appears at the door... he‟s 73, dark and ruggedly handsome. Sophia and Charlie gape.

CHARLIE (in fluent Italian) Are you Alfonso De Annunzio?

The man nods. Charlie and Sophia exchange a glance - we've found him! - but alas Claire knows immediately that:

49.

CLAIRE That's not him.

SOPHIA Are you sure?

CLAIRE It's not him.

SOPHIA But he looks...

CLAIRE It's the eyes.

CHARLIE Do you remember what you were doing in the summer of 1951?

ALFONSO (smiles wistfully) Ah, the summer of 1951, I‟ll never forget it, I met the most beautiful girl with long, brown hair...

CHARLIE Nana!

But Claire has already turned away, disappointed, and is walking towards the car.

CLAIRE They're not his eyes. It's not him.

ALFONSO We married that year ... and she gave me nothing but trouble from that day on! I curse that woman!

CHARLIE Right...

He and Sophia follow Claire to the car as Alfonso continues raving from his doorstep.

ALFONSO I curse her eyes! I curse her teeth! I curse her mustache!

They get into the car. A beat of silence.

50.

CHARLIE Right, well that's that. We gave it a fair shot. Can't say we didn't try. Sorry Nana. Truly.

SOPHIA Are you for real?

CHARLIE If I actually knew what that question meant, I might attempt to answer it.

SOPHIA He can‟t be the only Alfonso De Annunzio in Tuscany.

CHARLIE He's the only one around here. Are you suggesting we knock on the doors of every Alfonso we can find?

SOPHIA Are you suggesting we don't?

Charlie looks at Claire. It's obvious she wants to keep looking. Charlie sighs as if to say "Fine".

CHARLIE This is madness. Total madness.

SOPHIA How many can there be?

EXT. HOTEL SWIMMING POOL -- THE NEXT DAY

Claire is lying on a sun bed in the shade. Charlie swims relentlessly up and down the pool - quite clearly for exercise rather than pleasure. Sophia sits at a nearby table working away at her laptop. She finishes typing.

SOPHIA Thirty six.

CLAIRE That many?

Claire sighs. Sophia has an idea.

SOPHIA I might be able to find some pictures online. Give me a minute.

51.

At this point Charlie hauls himself out of the pool. He has a surprisingly well toned body. This guy obviously works out. Sophia can‟t help but notice.

SOPHIA (quietly to herself) Whoa.

She sees Claire smiling at her. She blushes.

SOPHIA Did I just say that out loud?

CLAIRE I believe “ripped” is the appropriate modern term isn‟t it?

SOPHIA (smiling) Ok, here we go, I've found photos of two of them.

Claire takes a look and sighs.

CLAIRE No. Sorry.

SOPHIA So that leaves us with thirty four.

CHARLIE (approaching) Thirty four what?

SOPHIA Contestants for Italian Idol.

CHARLIE Fantastic!

He walks away drying himself off.

SOPHIA Is he really unhappy about this or just pretending?

CLAIRE A bit of both I think.

Claire watches Sophia working on her laptop as if weighing up whether she‟s going to ask her what‟s on her mind.

CLAIRE Tell me about your mother.

52.

SOPHIA (without looking up) Nothing to tell.

CLAIRE Indulge a nosy old lady.

Slight beat. Sophia looks at this woman with such kind eyes and sees someone who genuinely wants to know.

SOPHIA There‟s nothing much to say really. I was young. I don't remember much. Then one day she just upped and left. Just like that. No warning, no note, no forwarding address, not even a goodbye or good luck.

CLAIRE How old were you?

SOPHIA I was ten.

CLAIRE And you haven't seen her since?

SOPHIA Don't expect I ever will.

CLAIRE That must've been very hard.

Sophia shrugs as if to say "not really".

SOPHIA I started packing my own lunches, probably ironed a few more of my dad's shirts than I would have.

CLAIRE You don't ever think about trying to find her?

SOPHIA I used to. Until I realized that she didn‟t feel like she could waste her time on me so why should I waste a minute of mine on her?

Sophia looks down in an attempt to control her feelings. Claire takes her hand and gives it a squeeze.

53.

INT. HOTEL RESTAURANT -- NIGHT

The three of them are having dinner.

CLAIRE Charlie have you told Sophia about the Green Alliance?

CHARLIE Can't imagine she'd care.

SOPHIA Try me.

CLAIRE Charlie‟s going to stand for parliament on the environment ticket.

Sophia looks genuinely surprised.

CHARLIE You know the kind of thing - planting trees, air fare taxes, bicycle lanes, eliminating cars from Central London - great idea, pity it doesn‟t stand a chance, really.

SOPHIA That's amazing.

CHARLIE You look surprised.

SOPHIA I guess I am. I didn't have you pinned as a "save the planet" type.

CHARLIE And what type did you have me pinned down for, exactly?

SOPHIA I don't know. I was leaning towards the "elitist Oxford prig" type but now that you mention it "self- satisfied do gooder" fits too.

CHARLIE Well thank you very much.

Sophia laughs. So does Charlie. Claire smiles at this.

54.

CLAIRE Oh don‟t be fooled by all the posturing he‟s just a little teddy bear really.

She ruffles up his hair.

CHARLIE Get off!

CLAIRE He‟s still trying to work out our carbon print for this little jaunt.

CHARLIE Anther good reason not to have come.

CLAIRE He‟ll have me planting trees for months. (she yawns) Well I'm off to my bed. You two be nice to each other now.

She kisses them both on the head and leaves.

SOPHIA She's incredible.

CHARLIE Yeah she's alright.

But with her gone it seems they have nothing to talk about. So they just sit there in silence. A pantomime of embarrassment. An exchange of awkward smiles. Then finally.

CHARLIE Right. Well. Time to hit the sack.

Sophia smiles she knows he's just trying to get out of this.

SOPHIA It must be at least nine thirty.

CHARLIE Long day tomorrow. Need my rest and all that.

SOPHIA Oh of course.

CHARLIE Right. Alright. Good night then.

55.

He gets up and strides off leaving her at the table. Then he stops in the entrance. His back is turned to her for a moment then he swivels round and marches straight back.

CHARLIE Forgive me. Where are my manners?

SOPHIA I have absolutely no idea.

CHARLIE I don‟t know what it is, but you seem to bring out the very worst in me.

SOPHIA I figured it‟d be my fault somehow.

CHARLIE Please, may I buy you a night cap?

A beat. She smiles politely.

SOPHIA No thanks. I'm tired.

CHARLIE Right. Of course. Apologies.

SOPHIA Accepted.

He stands there for a minute, unsure what to do.

CHARLIE Well. Good night then. Again.

SOPHIA Good night Charlie.

INT. CAR (DRIVING) -- THE NEXT MORNING

A beautiful day in the Tuscan countryside. They drive along with Puccini‟s “La Boheme” blaring from the stereo. Charlie is driving. He looks at Sophia curiously in the rear view mirror. Claire notices this and smiles to herself.

La Boheme continues over the next few scenes.

56.

EXT. ITALIAN VILLAGE -- LATER

Sophia and Charlie are talking to an OLD MAN wearing a flat cap a baggy black suit, which has seen better days, and a threadbare white shirt. He's sitting outside at a cafe with another MAN playing chess. Claire is standing at a distance watching.

Sophia turns round to look at her and Claire shakes her head.

EXT. LAKE -- WATER SKI AND WIND SURFING SCHOOL -- LATER

A speedboat hurtles, arcing, towards the shore. The WATER SKIER behind it lets go and after a few feet sinks into the water near the jetty.

Claire, Sophia and Charlie walk towards the jetty as the speedboat approaches. THE INSTRUCTOR jumps out, he is a bronzed seventy-three-year-old man with an enormous pot belly, covered in gold jewelry and masses of white body hair. Beneath his stomach he is wearing the tiniest, most obscene, inappropriate thong you‟ve ever seen. When he turns to someone and flashes his weary, pitted, buttocks their way. Claire utters a little shriek. Sophia tries to suppress a grin but Charlie is beside himself with laughter.

Sophia hits him playfully. The man waves as they approach but from Claire‟s horrified look it obviously isn‟t him.

EXT. CHURCH -- LATER

They are with a sweet looking PRIEST, dressed in cassock and hat, outside his church. He is holding both of Claire‟s hands as he shakes his head gently. He is not her Alfonso. Then he makes the sign of the cross over Claire as a blessing.

EXT. PALAZZO -- LATER

They drive a tree-lined street to a gorgeous stately Palazzo.

CHARLIE You sure we've got the right address?

Sophia double checks.

SOPHIA This is the place.

57.

EXT. PALAZZO -- FORMAL GARDENS -- LATER

They are talking to a very handsome, beautifully dressed and groomed Italian man. This guy is probably a COUNT. He shakes his head. Claire smiles.

COUNT Alas it wasn‟t me. If it had been I‟d‟ve never let you go.

And with that he kisses her hand.

EXT. PALAZZO -- DRIVEWAY -- LATER

They walk towards the car. Claire is still slightly flushed.

SOPHIA What is it with you and Italian men? They just fall at your feet.

Charlie takes one last look at the Palazzo. He sighs.

CHARLIE Such a shame. I think I could‟ve been happy here.

Sophia and Claire exchange looks.

INT. OLD FOLKS HOME, SIENA -- LATER

Sophia, Claire, and Charlie wait patiently and quietly in a waiting room. Sophia is trying to stay upbeat but the sight of so many ill and lonely OLD PEOPLE has definitely lowered the mood of all three.

A NURSE comes to them holding the arm of yet another ALFONSO, a sweet man, bald, wearing sunglasses, with a bright smile. He walks right up to Claire.

ALFONSO Your face... it is so familiar...

Sophia and Charlie exchange a hopeful glance.

CHARLIE Alfonso, this is Claire, do you remember Claire ?

ALFONSO Claire! Of course. Of course.

58.

Alfonso takes off his sunglasses to get a better look at her. Sophia and Charlie instantly look at Claire. It‟s not him.

SOPHIA (quietly) Shit...

He's confused her for someone else. Claire plays along so as not to hurt the sweet old man's feelings. She hugs him.

CLAIRE It was good to see you, Alfonso.

ALFONSO You too, my angel. Thanks for visiting! Come back soon!

He waves to them as they go - they made his day.

EXT. OLD FOLKS HOME -- PARKING LOT -- LATER

They walk to the car in silence.

CHARLIE That‟s it for today I think.

SOPHIA One more?

CHARLIE She‟s exhausted.

CLAIRE I am.

Sophia sighs.

INT. HOTEL ROOM NEAR SIENA -- NIGHT

Sophia is on her cell in her room. Her notebook is open on the desk next to her laptop. She‟s clearly been working on the story. The remains of her dinner are on a plate nearby.

SOPHIA I hope we‟re doing the right thing. She‟s so full of hope one minute then deflated the next. The ups and downs are killing me, I can't imagine what's it like for her...

59.

INT. SMALL RESTAURANT IN PALERMO. WHERE:

Victor has a Bluetooth ear piece in. He's paying close attention to every detail about how the restaurant is running and not paying any attention to what Sophia is saying. Thus:

VICTOR I'm glad you're having a good time.

SOPHIA Did you listen to a word I just said?

VICTOR O/S I miss you beautiful.

Sophia rolls her eyes - he's so transparent.

SOPHIA Miss you too.

A WAITRESS brings Victor a plate of food. He smiles his thanks and wafts the steam coming towards his nose.

VICTOR If you could see the plate of food I‟ve just had put in front of me...

Victor eagerly lays a napkin in his lap.

VICTOR Hey. Can I call you back? I feel like I should have all my senses for this.

SOPHIA Yeah. Sure. Enjoy.

Sophia hangs up. She sighs a sigh that says "Did my boyfriend really just get off the phone to pay attention to a meal?"

INT. SOPHIA'S HOTEL ROOM -- LATER THAT NIGHT

Sophia sits at the desk with her laptop open. She's looking at that cursor blinking at the end of a full page of writing.

She smiles - pleased at this.

There's a knock at her door. She answers. It's Charlie.

CHARLIE She's gone to bed - shattered, poor thing.

60.

SOPHIA Think she'll be OK?

CHARLIE Oh, yeah, yeah she‟ll be fine. Tough as old boots that one. Don‟t be fooled by the frail old lady act - she‟s Churchill in a dress.

Sophia laughs. Charlie smiles. He clears his throat.

CHARLIE You fancy a spot of dinner?

SOPHIA I already ate. I needed to get started.

He sees the notebook and laptop.

CHARLIE How's it coming?

SOPHIA Slowly.

CHARLIE Am I in it?

SOPHIA You are.

CHARLIE Can I read some then?

SOPHIA No.

CHARLIE Oh go on. Please.

SOPHIA When it's finished. Maybe.

CHARLIE But how am I to be sure that I'm being properly portrayed?

Sophia smiles.

SOPHIA You're just going to have to trust me.

61.

CHARLIE Just a peek. A sentence or two.

He tries to look over her shoulder. She blocks his view.

SOPHIA You don't trust me?

CHARLIE (matter of fact) You're an American.

Sophia can't help but laugh.

CHARLIE You're sure you won't let me read just a bit to ease my mind?

Sophia shuts the door. From the other side of the door:

CHARLIE O/S Is this one of those situations where you're really saying the opposite of what you actually mean?

SOPHIA It's not.

CHARLIE O/S Right. Good night then.

SOPHIA Good night.

They each remain where they are on either side of the closed door smiling and waiting for the other to move. Finally he moves away and she leans back against the door, more than a little charmed.

INT. HOTEL NEAR SIENA -- LOBBY -- THE NEXT MORNING

Sophia is waiting in the lobby writing in her notebook. Charlie comes down the stairs and over to her.

CHARLIE Gran's not feeling well.

SOPHIA What is it? What's wrong?

CHARLIE I don't know.

62.

SOPHIA Should we call a doctor?

CHARLIE Best just let her rest.

Sophia suddenly looks and feels very guilty.

SOPHIA I shouldn't have pushed her.

CHARLIE It‟s not your fault. Truth is she made her decision the moment that letter arrived. And neither I nor the entire regiment of the Household Guard would‟ve been able to stop her from coming.

SOPHIA But if I hadn't come back from the airport...

CHARLIE If you hadn‟t come back from the airport I would‟ve been denied the pleasure of spending a day in your glorious company showing you the sights of San Gimignano and Siena.

Sophia smiles - she feels better already.

SOPHIA You can actually be quite charming when you put your mind to it.

CHARLIE Oh, don't let it fool you.

INT. CAR (DRIVING) -- LATER

They drive together through the Chianti countryside.

SOPHIA So what's your story, Charlie?

CHARLIE Not worth telling really. Certainly not worth writing about.

SOPHIA Can't I just be curious?

63.

CHARLIE You can be whatever you want.

SOPHIA Okay. So how does a guy your age come to live with his grandmother?

CHARLIE She lives with me actually.

SOPHIA Well that makes all the difference.

CHARLIE It does rather.

SOPHIA How does the rest of the family fit in? Mom, Dad, brothers and sisters?

CHARLIE I'm an only child.

Sophia laughs - of course he is.

SOPHIA Why doesn't that surprise me?

CHARLIE ...And my parents were killed in a car crash when I was fourteen.

Sophia‟s mouth is still open from laughing but she now seems incapable of either shutting it or speaking. She just stares.

CHARLIE Hit head on by a tourist driving on the wrong side of the road. An American tourist.

He reaches over and gently pushes her jaw closed with the tips of his fingers. A beat.

CHARLIE I've had ambiguous feelings towards anything American every since.

SOPHIA Understandable.

Charlie smirks - trying to ease a maudlin moment:

64.

CHARLIE Could have something to do with my cynicism and pessimism and general lack of faith in true love lasting forever. Not a great believer in happy endings I'm afraid.

SOPHIA (quietly) Oh God, Charlie... Jesus...

CHARLIE Yes, well, they weren‟t much help either. But Gran stepped in and took this angry, bereft and shockingly unpleasant young man under her wing and made me, well, into the superb specimen of screwed- up manhood you see before you now.

He laughs. She doesn't. She puts her hand on his arm.

SOPHIA I'm so sorry.

He looks at her hand on his arm and raises his eyebrows, gently mocking her. She quickly takes her hand away.

CHARLIE I owe everything to that woman. She looked after me when no one else would... when no one else could...

SOPHIA And now it's your turn.

CHARLIE Right. She...

Charlie's voice cracks with emotion. He smiles at her.

CHARLIE Sorry. Momentary slip. Won't happen again.

Sophia smiles at his English stiff upper lip then looks away out of her window to spare him any embarrassment.

EXT. SAN GIMIGNANO -- DAY

WIDE SHOT: Of this beautiful town on a hill top with it‟s thirteen medieval towers standing proudly against the deep blue Chianti sky.

65.

Charlie and Sophia walk through the narrow lanes of the town.

EXT. SAN GIMIGNANO SQUARE -- DAY

They walk through the ancient square.

EXT. CHIANTI COUNTRYSIDE -- DAY

They drive through the countryside with the roof of the car down. Sophia‟s hair blows around her face so she can‟t see. She laughs as she tries to tie it up. Charlie smiles.

EXT. CATEDRALE DI SANTA MARIA THE “DUOMO”, SIENNA -- DAY

They stand outside the wonderful facade of the cathedral. Charlie takes her picture. Then poses with her and holds the camera out in front of him and takes another of them both.

INT. CATEDRALE DI SANTA MARIA THE “DUOMO” -- LATER

They walk through the interior.

EXT. THE MANGIA TOWER -- DAY

They walk to the three hundred foot tall Mangia Bell Tower.

INT. THE MANGIA TOWER COLLECTION -- LATER

They walk up four hundred steps to the top. It‟s hard work for Sophia who stops for breath. Charlie shouts encouragement from the top. She laughs, exhausted, and follows.

EXT. THE MANGIA TOWER VIEWING PLATFORM -- LATER

They take in the extraordinary view high over ancient Sienna.

INT. PINACOTEA NAZIONALE - PALAZZO BUONSIGNOR -- DAY

They walk around the National Art Collection.

EXT. PIAZZO DEL CAMPO, SIENNA -- DAY

They walk across the world famous square past the Fonte Gala (Fountain of Joy). Sophia looks like she‟s really enjoyed herself. It‟s been the kind of day she never had with Victor.

66.

EXT. PIAZZO DEL CAMPO, SIENNA -- LATER

Sophia sits outside a cafe. Charlie appears from inside with two of the largest ice cream cones you‟ve ever seen.

SOPHIA Little indulgent don't you think?

He gives her a cone.

CHARLIE Ah but the thing is, they're calorie free. Clever buggers the Italians.

She looks at her cone suspiciously as he starts to eat his.

SOPHIA No way.

CHARLIE Yes way. Thousands of calories free with every mouthful.

Sophia laughs - not at joke but at him for making the joke.

SOPHIA That was bad.

CHARLIE I thought it was funny. You've no sense of humor.

She pushes his ice cream into his face. He takes it away to reveal his nose and mouth covered. His stone faced seriousness and slight look of hurt make her laugh.

SOPHIA That was funny.

He wipes his face with a napkin.

CHARLIE It‟s just as well I‟m a gentleman otherwise I might be tempted into some sort of juvenile revenge.

SOPHIA I'm grateful believe me.

They sit eating their cones for a beat. She looks at him.

67.

SOPHIA I had a great time today. It was nice actually doing the tourist thing with someone. Thanks.

He smiles. She studies him for a moment.

SOPHIA What's the real reason you're so against Claire being here?

CHARLIE (smirks) Every good story needs an antagonist right?

She's not letting him off that easy.

SOPHIA There's something else going on in that head of yours. You jealous?

CHARLIE Of an old man I've never met. No.

SOPHIA So? What is it? Are you worried you'll lose her?

CHARLIE Something like that.

They sit quietly eating for a beat. Charlie shrugs.

CHARLIE Okay...truthfully? It's just that I feel, if we find Alfonso and Gran discovers that leaving him all those years ago was, indeed, the biggest mistake of her life... then what does it say about me and my family? It makes it all a bit of a sham doesn‟t it? If they're meant to be then were we not? It's like we're second best.

SOPHIA But you know that's not true.

CHARLIE Maybe. But it feels true.

She looks at him as she tries to work this through. He leans forward, noticing something on her face.

68.

CHARLIE You've got something on your...

With that he pushes her ice cream into her nose. She screams. There‟s ice cream all over her face. He gets a napkin and gently wipes it off. When he finishes he doesn‟t move away. Suddenly both their cell phones ring. They look at them.

CHARLIE SOPHIA Patricia. Victor.

Neither of them answer. Charlie looks at her - surprised.

CHARLIE You didn't answer. Very naughty.

SOPHIA Neither did you.

CHARLIE But I have a good excuse. She's a tiresome, self-centered neurotic. She's mad. Madder than a mad cow. Your Victor on the other hand is a dashingly handsome chef about to become a New York culinary sensation, sounds like everything any girl could ever want.

Sophia smiles as she knows what Charlie's saying is true.

SOPHIA He is, I suppose...

Her smiles fades. She looks at him sincerely.

SOPHIA (almost to herself) What if I'm not just any girl?

Charlie smile diplomatically - he's not gonna go there.

EXT. HOTEL NEAR SIENA -- DUSK

Charlie‟s car pulls up. He and Sophia get out of the car. They walk towards the hotel in silence. Until.

CHARLIE Sophia...

She stops and turns. He suddenly looks a little nervous.

69.

CHARLIE I just wanted to say... about today... uh... what I mean is...

SOPHIA Me too.

She smiles then turns and walks away.

INT. HOTEL NEAR SIENA -- LOBBY -- LATER

Charlie and Sophia walk back into the hotel past the bar and then both stop. They walk back a few steps and look into it. There sitting at the bar, large cocktail in hand, sits Claire looking perfectly fit and well as she laughs with the BARMAN.

CHARLIE Feeling better?

CLAIRE Right as rain dear. Thank you.

CHARLIE (slowly) Good...

CLAIRE So? How was your day? Did you two get along alright without me?

She smiles sweetly as both of them realize in the same moment what she‟s been up to. They share a look and a smile.

EXT. CEMETERY NEAR FLORENCE -- NEXT DAY

Claire, Sophia, and Charlie are escorted through a cemetery by an old GRAVE DIGGER. They stop. The Grave Digger points at a new tombstone and goes off silently. They stand together.

SOPHIA (silently; to herself) God, no. Please, no.

They look at the grave from a distance. Claire slowly approaches it as Charlie and Sophia hang back.

CHARLIE This was what I feared most...

Charlie trails off and watches as Claire approaches the grave - her back to us. She stops and kneels.

70.

Sophia and Charlie stand there saying nothing. Claire stands up and walks back to them. She Long pause.

SOPHIA Is it...

CLAIRE It's not him. My Alfonso's middle name was Paolo. It's not him.

Relief washes over Sophia. But not Charlie who still stands there with concern etched all over his face.

SOPHIA OK. So? We keep looking.

CHARLIE No.

They turn to him. And wait for him to say more but he just stands there silently staring as if trying not make a scene.

SOPHIA Charlie, it's not over.

CHARLIE Yes it is. It's over. I'm done.

SOPHIA But--

CHARLIE (snaps) Don‟t you see what we‟re doing? What we‟re putting her through? What if it had been him? What if there‟s another grave around here with her Alfonso in it? I‟m sorry, Gran, I am. But this is the end of the line for me. I can't do this.

Claire looks at her beloved grandson and can see the sincere concern and pain on his face. She takes his hand. Sighs.

CLAIRE OK.

SOPHIA You're giving up? Just like that?

CLAIRE He's right dear. It's too much.

Sophia stares at Charlie. She's stone faced.

71.

CHARLIE What?

SOPHIA This is what you wanted all along.

CHARLIE No. What I wanted was for you to never have written that letter. What I wanted was to never come on this ridiculous goose chase.

SOPHIA Why are you so desperate for this to fail?

CHARLIE I'm trying to protect her. Because unlike you I can't just stand idly by and watch her get hurt.

SOPHIA What is that supposed to mean?

CHARLIE It means you're not here for her. And you're not here 'cause you're some romantic who wants to believe in love lasting forever. You're here for the story. Here to see how it all ends. Doesn't matter to you if it's a happy ending or a sad ending as long as it's compelling right? As long as there's drama.

CLAIRE Charlie. Please.

Sophia just stands there stunned, hurt.

SOPHIA You think that's true?

Charlie shrugs as if to say "isn't it?".

CHARLIE I'm just looking out for her.

SOPHIA You're not. You're not walking away for her, you're walking for you.

They look at each other. Both fuming. Both pretty sure they've crossed a line.

72.

CHARLIE She‟s dealt with enough grief in her life. She's lost her husband, her daughter, her son-in-law. Now you come along and set her up to lose someone she already lost fifty years ago. But why should I expect you to understand. You don't know anything about real loss.

This cuts her. She just looks at him for a moment then walks over to the car and gets in the back seat.

CLAIRE You're wrong, Charlie. She lost her mother. That was very wrong.

CHARLIE It's different.

CLAIRE It is. Her mother chose to leave her. You always knew your parents loved you.

She walks back to the car leaving him to think for a moment.

INT. CAR (DRIVING) -- LATER

They ride in silence as the sun sets. A very unsmiley car.

INT. HOTEL NEAR FLORENCE -- EVENING

Sophia sits at the dressing table brushing her hair. There's a knock at the door. She thinks for a moment whether to answer it. Another knock. She gets up and opens the door. Claire is standing there.

CLAIRE Just wanted to make sure you were alright.

SOPHIA Of course I am. Totally fine. Hey we gave it our best shot didn‟t we?

CLAIRE We did.

She sees the hairbrush in Sophia‟s hand.

73.

CLAIRE May I?

SOPHIA (a little taken aback) Sure...

She goes back to the dressing table and sits. Claire stands behind her and starts to brush her hair.

CLAIRE One of the great unsung luxuries in this world - having someone brush your hair.

SOPHIA (smiles) Yeah I guess it is.

CLAIRE My mother used to do it for me.

They continue in silence, then slowly tears begin to fall down Sophia‟s face. It‟s clearly the first time anyone has done this since for Sophia since she was a little girl.

INT. RESTAURANT FIESOLE -- LATER THAT NIGHT

Claire, Sophia and Charlie look at their menus in silence. Charlie steals glances at Sophia who just studies her menu. He looks at Claire who raises her eyebrows interrogatively as if to say “ball‟s in your court.” He clears his throat.

CHARLIE I should apologize. I was wrong.

SOPHIA You should or you are?

CHARLIE Didn't I just?

SOPHIA I'm not sure that you did.

Claire intercedes.

CLAIRE An apology, dear, is when you look at someone straight in the eye with contrition and sincerity and actually say the words “I‟m sorry.”

74.

He does his best under the scrutiny of his grandmother.

CHARLIE Sophia, I'm sorry... enough contrition and sincerity for you?

CLAIRE Six out of ten.

CHARLIE What'd you want me to do, get on my knees and beg?

Charlie starts to do just that. Sophia smiles. She stops him.

SOPHIA Please don't. I'm sorry too.

Claire smiles as the tension eases. Charlie picks up a wine list.

CLAIRE Excellent. Now that hostilities are over. Let's get drunk.

Sophia laughs as the waiter comes over to Charlie.

CHARLIE A bottle of your best local Chianti please.

The waiter goes off to fetch the wine.

CLAIRE So, Sophia, what for you now?

SOPHIA Back to Verona, see Bella and the girls, then fly home I guess.

CHARLIE With the dashingly handsome Victor.

She seems slightly perplexed by his saying this and he looks embarrassed like he just thought out loud. She smiles.

SOPHIA With the dashingly handsome Victor.

Somehow, though, the prospect doesn‟t seem so alluring.

75.

CLAIRE Despite what my emotionally stunted pig of a grandson thinks, you did a wonderful thing for an old lady... I'll never forget it.

SOPHIA Even though it led nowhere?

CLAIRE It‟s been an adventure. There aren‟t many adventures left at my age. And It didn't lead nowhere. I got to meet you didn't I?

SOPHIA I guess. Though a new friend isn't much consolation for an old love.

CLAIRE Depends on the friend.

Sophia smiles.

CLAIRE Unfortunately you had to meet Charlie, but then we can‟t have everything can we?

SOPHIA It wouldn‟t have been quite the same without him.

CHARLIE Thank you?

SOPHIA My pleasure.

He looks at her - not all sure what that means.

CHARLIE You have a knack of saying things which could be taken as gorgeous compliments or sarcastic digs.

SOPHIA It‟s taken years of practice.

The waiter arrives with the wine. He pours them a glass each.

CLAIRE To Alfonso, wherever he may be.

76.

CHARLIE/SOPHIA Alfonso...

They raise their glasses and drink.

CHARLIE Damn that‟s good wine.

CLAIRE (looking at the bottle) Isn‟t it?

She smiles broadly.

CLAIRE But then so it should be.

She turns the bottle round to them.

CLAIRE Look at the label.

Charlie picks it up and reads it.

CHARLIE “D‟Annunzio”, How do I know that name?

Sophia and Claire share a smile and a shake of the head.

CLAIRE I sometimes find it hard to believe I‟m actually related to you.

SOPHIA You don‟t think...

As the penny drops, Charlie beckons the SOMMELIER.

CHARLIE Excuse me. The makers of this wine. Are you familiar with them?

SOMMELIER I am. Yes.

Claire hardly dare ask.

CLAIRE And is there an Alfonso Paolo D‟Annunzio?

SOMMELIER Signora, there are three.

77.

INT. SOPHIA'S HOTEL ROOM -- LATER THAT NIGHT

Sophia is at her laptop typing. She looks out of the window for a moment and sees Charlie wandering out of the hotel into the garden. He looks up at the sky and then lies down on the lawn, his arms spread-eagled. She smiles.

EXT. HOTEL GARDEN -- LATER

Sophia comes out of the hotel and wanders over to him.

SOPHIA You OK?

CHARLIE Just looking at the stars.

She lies down beside him.

CHARLIE You can see the Milky Way.

SOPHIA It's beautiful.

CHARLIE It's awesome.

She laughs and hits him. Charlie is no longer looking at the night sky.

CHARLIE You have a wonderful laugh.

SOPHIA You have a wonderful frown.

Slight pause. They both look away.

CHARLIE So what do you think will happen tomorrow?

SOPHIA If it‟s him?

CHARLIE Oh it‟s him alright.

SOPHIA How d‟you know?

78.

CHARLIE Because we've come too far, it'd just be too unfair if it wasn‟t.

SOPHIA Charlie? Am I hearing right? Is that optimism I detect?

CHARLIE I'm capable of it on occasion.

SOPHIA Well whatever happens, something tells me they‟ll be great friends.

CHARLIE I hope so. She deserves it.

SOPHIA She does.

CHARLIE And what about you? What‟s in the stars for you and Victor?

We can tell Sophia has been thinking about this.

SOPHIA Wish I knew.

CHARLIE Successful business? Marriage? Lots of dashing children?

SOPHIA Successful business, marriage, lots of kids, Victor becomes a celebrity chef, travels the world cooking for royalty while I stay at home microwaving leftovers for the kids.

CHARLIE And you think I'm cynical.

SOPHIA When it comes to cynicism and love we‟re not even in the same league.

CHARLIE Sounds like we‟d make quite a pair.

SOPHIA Shame I'm spoken for.

79.

CHARLIE You don't strike me as the kind of girl who'd let anyone speak for her?

She smiles. He sits up. He's confused.

CHARLIE So what about all that romantic true love codswallop you peddled about Gran and Alfonso then?

SOPHIA I want them to prove me wrong. That‟s all. I want to believe two people can reconnect and it can all be OK. I‟m clinging to the wreckage of “there‟s always hope.”

Charlie looks at her. It suddenly makes sense to him.

CHARLIE Because of your mom. Yeah?

She looks at him. Shrugs as if to say "probably".

SOPHIA It's what a shrink would tell me.

They lie there in the grass in silence for a moment.

SOPHIA You know all the things your parents are supposed to give you - safety, food, a roof over your head - the one thing everyone takes for granted is the most important... unconditional love.

She smiles at him bravely. A tear falls down her cheek. He leans over and wipes it away. She manages another smile.

SOPHIA Sorry. Momentary slip. Won‟t happen again.

He smiles at her humor. She looks at him. He looks at her. There's a moment. Then suddenly he kisses her. And she kisses back, hungrily, passionately. For a few seconds they're unaware of anything but each other.

Then Sophia's head catches up to her heart. She pulls back.

80.

SOPHIA Okay. Time out. Not good. I mean too good. So really not good.

She gets up and heads back into the hotel. He stands up.

CHARLIE Sophia... wait... I...

She starts running and she‟s gone. He pauses a moment then walks into the hotel. As he does so we see Claire standing in her bedroom window, smiling gently, having observed it all.

INT. HOTEL LOBBY -- THE NEXT MORNING

Claire is sitting in reception. She looks a little anxious. Charlie comes down the stairs.

CHARLIE She‟s not in her room.

CLAIRE Have you checked the dining room?

CHARLIE This is my fault.

He goes over to the desk.

CHARLIE Has Miss Marcus checked out?

He looks at the register.

RECEPTIONIST No.

CHARLIE Have you seen her at all this morning?

RECEPTIONIST I‟m afraid not sir.

At this point Charlie sees her coming into the hotel. He is hugely relieved.

CHARLIE Sophia.

SOPHIA (a little too brightly) Morning!

81.

CHARLIE Everything alright? I thought...

SOPHIA Thought what?

CHARLIE Nothing. You OK?

SOPHIA Yeah. Why wouldn't I be?

Claire smiles - registering their awkwardness. Sophia turns to her.

SOPHIA Are you excited? I‟m so excited.

EXT. ROAD IN FIESOLE -- LATER

Bright and early. The car speeds along a dusty country road along the perimeter of a vast vineyard.

They pass a sign that says “D‟Annunzio Vineyards. 1961”.

EXT. DRIVEWAY -- D'ANNUNZIO VILLA -- LATER

The car stops at a large farm house nestled in the midst of the vineyard. The vines are bursting with young blue grapes.

As Claire steps out of the car, she looks around and sees something in the distance that nearly stops her breathing.

A handsome YOUNG MAN, around 16, shirtless, solid and brown from the sun, he works repairing an irrigation line. He looks up and sees the three strangers in his driveway and smiles a shy welcome.

Claire can‟t believe her eyes.

CLAIRE My God. That‟s him. That‟s Alfonso.

CHARLIE That can‟t actually be him .

SOPHIA If it is then I'm writing a completely different article.

CLAIRE Are you Alfonso D‟Annunzio?

82.

ALFONSO III Yes, ma‟am.

At that moment, a middle-aged man comes round the corner. He is ALFONSO D‟ANNUNZIO, JR., Alfonso III‟s father.

ALFONSO III‟S FATHER Did someone call me?

CLAIRE Are you Alfonso D‟Annunzio too?

Before he can answer a voice comes from inside the house.

DON ALFONSO‟S VOICE I know that voice.

Suddenly a sweet old man, tanned from the sun, comes stepping out of the house. He is DON ALFONSO PAOLO D‟ANNUNZIO.

He looks at the three strangers - then focuses on Claire. Without saying a word, Claire smiles, she knows this is him. The young man from all those years ago. It‟s the eyes.

As she walks toward him, he stares at her, disbelieving, as years and years flicker through his memories.

DON ALFONSO Claire?

She nods. The tears are already starting to form. And she's not the only one as Sophia hastily wipes a tear away.

Claire and Alfonso stop opposite each other. They stare into each other‟s eyes, older certainly, yet indelibly etched in each other's hearts. There's a long silence. Neither sure what to say or do. Claire manages a coy little smile.

CLAIRE Sorry I'm late.

Alfonso smiles. He opens his arms. She walks into them.

Claire and Don Alfonso embrace. Everyone watching, smiling.

Something prompts Sophia to look down. It‟s Charlie‟s hand reaching out for hers. She takes it and looks up at Charlie. He turns to her, his eyes looking suspiciously tearful. He‟s about to say something but can‟t. She smiles.

SOPHIA You‟re welcome.

83.

EXT. D'ANNUNZIO VILLA -- OPEN FIELD -- SUNSET

A space behind the D‟Annunzio house filled with tables and trees. The vineyard's all around. Don Alfonso‟s big family is out en masse to celebrate the reunion of their patriarch with his childhood sweetheart.

Four generations: CHILDREN, GRANDCHILDREN, AND GREAT- GRANDCHILDREN. Tables laden with food.

Claire and Don Alfonso sit together drinking and catching up after the years of separation.

Sophia is surrounded by sprightly D‟Annunzio grandchildren who play a game with her. She stops and looks around as she realizes someone is missing.

She goes off in search of Charlie.

She finds him alone by some trees staring at the horizon. He's deep in thought. She takes a moment to just watch him. She smiles then walks up slowly.

SOPHIA He's a widower, just lost his wife two years ago. And now Claire. Here. On his doorstep after fifty years... how does that happen?

CHARLIE You made it happen.

Sophia smiles. Charlie goes back to staring at the horizon.

SOPHIA Happy or sad? I can‟t tell.

CHARLIE Bit of both actually. Happy for them. A little sad it‟s over.

SOPHIA Mission accomplished.

CHARLIE If you like.

SOPHIA You have to admit it was kinda fun.

CHARLIE It was.

Pause.

84.

CHARLIE About last night.

SOPHIA Don‟t worry about it.

CHARLIE Really?

SOPHIA Mistakes happen.

CHARLIE A mistake. Yeah.

They look at each other, both not telling the truth, both knowing it, neither has the courage to take the first step.

SOPHIA (ever so slightly fishing) I mean there‟s no need to apologize if that‟s what you're trying to do?

A beat as he decides which way to go.

CHARLIE Right. 'Cause that's what I was trying to do. I was trying to apologize.

SOPHIA But there‟s no need.

CHARLIE Course not. Good.

SOPHIA Great.

CHARLIE Sorted.

Another awkward silence. Sophia tries to fill the silence.

SOPHIA (overly flippant) Bottle of chianti, an Italian night sky, and some childhood trauma, I could be anyone's.

That's not what he wanted to hear. He looks hurt.

85.

CHARLIE Guess you'll do anything to get your story.

That came out colder than he meant it. She look's hurt.

SOPHIA What does that mean?

He shrugs. They look at each other long and hard, trying to read each other. And then Claire suddenly approaches.

CLAIRE I shouldn't have come here.

They both just stare at her for a beat.

CHARLIE What ?

SOPHIA What is it Claire? What happened?

CLAIRE Too much has happened, dear. It's been fifty years. I'm behaving like a school girl. You were right, Charlie. This was selfish and impulsive and I'm sorry.

Don Alfonso appears at Claire‟s side.

DON ALFONSO Claire...

She smiles softly at him.

CLAIRE I should go. It was good to see you again. Really.

Sophia looks at Charlie as if say "Do something." He takes Claire's hand.

CHARLIE You can‟t just pitch up here out of the blue and then bugger off. It‟s just not fair on the poor bloke.

Claire turns to Don Alfonso.

CLAIRE It was foolish. Barging back into your life like this. (MOR E)

86.

CLA IRE (con t'd) How could we possibly pick up where we left off a life time ago?

He smiles warmly at her - he understands what she's feeling.

DON ALFONSO Claire, my angel, slow down . It won't happen in a day. Nothing worth doing is done in a day.

Claire sighs. Calming a bit.

DON ALFONSO We‟ll talk... Be friends... have dinner... take it slow... we‟ll write letters... you can tell me about Jack... and I‟ll tell you about my bladder operations.

This unexpected image makes Claire smile despite herself. As long as he‟s bravely confessing things:

CLAIRE I have varicose veins.

DON ALFONSO So do I. And my hearing.

CLAIRE My eyes are going.

DON ALFONSO We‟re a little old, like Da Vinci‟s Last Supper, falling apart a little. But what a masterpiece, no?

He takes her hand. Looks in her eyes.

DON ALFONSO What are you afraid of?

CLAIRE Maybe I‟m afraid to be happy again.

DON ALFONSO There are so many worse things to be afraid of at our age.

He takes her hand and smiles sweetly. She smiles back comforted by his words. They hug each other reassuringly.

He turns to Charlie and holds out his hand. Charlie takes it.

87.

DON ALFONSO Come. I‟ll show you some vines that are even older than me.

Charlie turns to Sophia.

CHARLIE You coming?

Sophia looks at him - still a bit hurt. She shakes her head.

SOPHIA You go. I should get back.

CHARLIE You sure?

SOPHIA Need to get to work on that story. That's what I'm here for, right?

A silent beat.

CHARLIE Right.

They look at each other. Both looking like they want to say more. Neither does. Then they turn around and walk away.

EXT. SOPHIA'S HOTEL ROOM -- LATER THAT NIGHT

Sophia's lying on the bed writing on her laptop when her cell phone rings. She answers.

SOPHIA Hey. How's Palermo? Still need me to pick you up tomorrow morning?

INTERCUT: Victor getting of a small single-engine plane.

VICTOR It was great. I'm back. Caught an early flight. Can you come get me?

Sophia is startled, taken aback.

SOPHIA Oh. Yeah. Sure. OK. Uh. On my way.

88.

INT. SMALL HOTEL NEAR FLORENCE -- PARKING LOT

Sophia heads down to the Fiat Cinquecento. She gets in and drives off. Just as soon as she's out of sight...

Charlie‟s car arrives at the hotel. He gets out and walks in. Claire follows him.

INT. FRONT DESK -- LATER

Charlie is at the front desk with Claire.

RECEPTIONIST She left a few minutes ago.

CHARLIE She did?

RECEPTIONIST For the airport.

CHARLIE The airport? Did she leave a message?

The receptionist looks.

RECEPTIONIST No sir. No message.

Pause.

CHARLIE I can't believe she'd run off.

CLAIRE It‟s simple. She‟s frightened. Go after her Charlie.

CHARLIE No. She's not...

CLAIRE Oh don‟t be so proud.

CHARLIE I‟m not. Really. It‟s for the best.

CLAIRE Don‟t make the same mistake I did.

Pause. He looks at her. She smiles warmly and strokes the side of his face. He suddenly sprints out of the hotel.

89.

Claire turns back to the Receptionist.

CLAIRE We‟d like to check out please. We‟re gonna be staying with friends for the rest of our trip.

The Receptionist starts processing the paper work.

EXT. VERONA AIRPORT -- NIGHT

Charlie runs into the Terminal.

INT. TERMINAL -- LATER

He rushes up to the departure monitor. The only New York flight on the monitor has closed. He‟s too late.

He looks at it carefully then leaves, disconsolate.

EXT. VERONA AIRPORT -- NIGHT

Charlie walks out of the terminal back to the car park structure. As he does so, Sophia can be seen further down the concourse with Victor loading his luggage into the Fiat.

Charlie waits in line for the paying machine.

If only they‟d turn round. But they don‟t.

Charlie doesn‟t see her and she doesn‟t see him.

INT. SMALL HOTEL NEAR FLORENCE -- LATER THAT NIGHT

Sophia and Victor walk into the lobby.

SOPHIA Why don‟t you take your luggage upstairs, I‟ll be up in a minute.

VICTOR Sure.

He goes to kiss her. She moves imperceptibly so that the kiss lands on her cheek instead of her lips.

INT. FRONT DESK -- LATER

Sophia walks. There is now a FEMALE RECEPTIONIST on the desk.

90.

SOPHIA Have you seen Mister Smith or his grandmother this evening?

FEMALE RECEPTIONIST They checked out about an hour ago.

SOPHIA Checked out? Are you sure?

FEMALE RECEPTIONIST Definitely.

SOPHIA Did they leave a message?

FEMALE RECEPTIONIST (checks) No miss.

SOPHIA Oh. OK.

She thinks for a moment. Then Victor appears.

VICTOR I was thinking we could head over for one last meal with Angelina.

He notices her lost in her head.

VICTOR Everything alright?

SOPHIA Yeah... Yeah... everything‟s fine.

He puts an arm around her and leads her out of the hotel.

INT. LETTERE A GIULIETTA RESTAURANT -- LATER

Victor and Sophia sit together. Victor has polished off a plate of Angelina's meatballs. Sophia hardly touched hers.

Bella comes to clear their plates. She smiles at Sophia. Sophia can only manage a meek smile back. A beat.

VICTOR ...I did a lot of thinking while I was in Palermo. About the restaurant, about it's future, about our future. (MOR E)

91.

VIC TOR (con t'd) And I realized I can't do it without you. I want you with me.

Sophia shakes her head.

SOPHIA Victor, I...

Victor theatrically drops down on one knee. Sophia has look on her face that says "Oh God, here we go again".

VICTOR Sophia? Will you be...

SOPHIA Victor, I don't want to run your...

Before she can finish the sentence, Victor pulls out and opens a jewelry box. There's a diamond ring in it. She gapes.

VICTOR My wife?

Sophia just stares at the ring. She's speechless. She just stares. Victor slides the ring on her finger before she answers. Now she's staring at it on her finger.

EXT. SOPHIA'S HOTEL ROOM -- LATER THAT NIGHT

CLOSE SHOT: Of the diamond sparkling on her finger.

Sophia stands at the window, ready for bed, looking at the garden below, where she and Charlie lay looking at the stars the night before. Then she looks at the ring. She sighs.

Victor comes up behind her and wraps his arms around her.

VICTOR We should get some sleep. Early flight tomorrow.

SOPHIA Yeah.

She takes a last look at the garden and follows him in.

EXT. D'ANNUNZIO VILLA -- CHARLIE'S BEDROOM -- NIGHT

Charlie stands in his bedroom window looking out at the Italian night sky. He looks sad.

FADE TO BLACK.

92.

INT. VICTOR'S RESTAURANT -- EVENING

It's not big but beautifully put together in a provincial Italian style. All along the walls are huge blown up photos of Victor and his Italian suppliers - the truffle hunter, the butcher, etc. - which Sophia took in Italy.

The place is packed. Not a table empty in the house.

WAITERS and WAITRESSES scurry about. LINE COOKS fire entrees. And at the center of it all, in his element, is Victor barking orders, he's intense but enjoying every second.

We pick up Mark - Victor's bartender - taking an entree off the line. He carries it through the restaurant to the front of the house where we find Sophia sitting by herself at the bar. He sets the entree in front of her with a smile.

INT. VICTOR'S RESTAURANT -- BAR -- LATER THAT NIGHT

Things have calmed down some. The place is still crowded but the dinner rush has subsided.

Victor is out visiting tables of HIGH SOCIETY TYPES. They bathe him in praise. He plays the role of humble well. Sophia watches him from the mostly empty bar where she sits sipping a glass of wine. Mark is polishing wine glasses behind the bar. He sees her watching him.

MARK Can you believe how quickly it's all happening? He deserves it.

SOPHIA I can. And he does.

MARK You must be proud of him.

She smirks - maybe a little tipsy from the wine.

SOPHIA I must be.

The Bar Tender gestures to the ring on her finger.

MARK Have you set the date yet?

She looks at her diamond.

93.

SOPHIA We're still... "waiting for things to settle down."

INT. VICTOR'S KITCHEN -- LATER

Victor and his STAFF are finishing up for the night. Prepping for tomorrow. Sophia walks in with her coat on.

SOPHIA You about ready?

Victor doesn't even glance up from what he's doing.

VICTOR You know what. Just go ahead. I'll catch up. See you at home.

Sophia sighs in a way that tells us this has become routine.

INT. SOPHIA AND VICTOR'S APARTMENT, NEW YORK -- NIGHT

Sophia at home alone on her couch with her laptop.

We find her as we first found her up late working on a column. Only without the drying pasta hung everywhere.

And without Victor.

She's not working so much as staring at the screen. It's too quiet. She glances at the clock: It's three a.m.

INT. BAR -- HAPPY HOUR

Sophia is out with friends having drinks. She's with a GROUP OF COUPLES. Victor is conspicuously absent.

EXT. SOPHIA AND VICTOR'S APARTMENT -- NIGHT

It's the middle of the night. Victor snores in the bedroom.

Sophia sits alone on the couch watching TV looking bored. She has a thought. She searches through her desk drawer and pulls out the little slip of paper that Claire wrote her number on.

She checks the clock. It's 3:30 in New York. 9:30 in London. Not too early to call.

She dials the number. There's an English ring tone. After a minute an answering machine picks up:

94.

CLAIRE (V.O.) Hi. You've reached Claire and Charlie. There's no one here at the moment. But if you'd like to...

At this point the phone is picked up at the other end.

CHARLIE O/S Hello?

Sophia freezes. She can‟t speak.

CHARLIE O/S Hello?

In the background Claire can be heard.

CLAIRE O/S Who is it dear?

CHARLIE O/S Don‟t know. Hello?

She quickly puts the receiver down - heart pounding.

EXT. STREET, NEW YORK -- EVENING

Sophia approaches Victor‟s Restaurant from across the street. She stops and watches through the front window.

Victor is visible in the open-air kitchen at the back, cooking, ordering, examining plates on the service pass.

It's fully booked again.

PEOPLE who haven‟t booked are being turned away. At the front of house desk - where Sophia could've been - stands a beautifully elegant HOSTESS.

Sophia so clearly doesn‟t feel a part of this. How quickly things move on. She sighs and crosses the street.

INT. VICTOR'S OFFICE -- LATE NIGHT

A closet-sized office in the back of the restaurant. Sophia and Victor eat together in silence. This is the time they spend together now.

VICTOR Bono was here last Friday.

95.

SOPHIA Nice.

They go back to eating in silence.

INT. VICTOR'S RESTAURANT -- LATER

Sophia is on her way out when she passes a chubby man eating alone. It's Bobby. He's got a tomato-stained napkin tucked in his shirt just below his chin. Sophia approaches. He smiles.

BOBBY Your boy can cook.

SOPHIA So I've heard.

BOBBY Thanks for getting me the table.

SOPHIA It's what I do.

He smiles. Pulls out a chair for her.

BOBBY Sit down. Have a drink with me.

She does. He signals the waiter to bring another wine glass.

BOBBY So... I finally got around to reading those pages you sent me...

Sophia's not exactly sure what he's talking about.

BOBBY "Does True Love Have a Shelf Life?"

SOPHIA Oh. Right. What'd you think?

BOBBY Not bad. I liked it. I think people would like it.

SOPHIA Who are the "people" you're always referring to?

BOBBY Advertisers mostly.

96.

She smiles. Bobby pours her a glass of wine.

BOBBY Why didn't you finish it?

Sophia isn't quite sure what he means.

SOPHIA You didn't like the ending?

BOBBY There is no ending.

SOPHIA Of course there's an ending. She found him. They reconnected.

BOBBY You never answer your own question. You never followed up.

Sophia's not sure where he's going with this. He smiles like he knows something she doesn't.

BOBBY It's the grandson isn't it?

SOPHIA What?

BOBBY I read what you wrote remember. It's all there on the page.

SOPHIA I hardly wrote anything about Char-- I mean the grandson.

BOBBY Exactly.

Sophia shakes her head. Takes a gulp of wine.

BOBBY Well like I said it showed potential. Maybe it's time we talk about the next step. Maybe there is more you can contribute.

SOPHIA Like contribute creatively? Or...

97.

BOBBY Slow down. You got potential. But you got work to do. You got a voice but you don't always use it.

SOPHIA But you want me to try something new?

Bobby smiles. He shrugs playing coy.

BOBBY Come into my office on Monday. We'll talk.

Sophia suddenly can't stop smiling.

INT. BEDROOM -- LATER THAT NIGHT

Sophia is changing for bed when she hears Victor come in. She's still smiling. Victor walks into the room yawning.

SOPHIA Guess what?

VICTOR Too tired to guess. Just tell me.

SOPHIA Bobby liked my story.

VICTOR What story?

SOPHIA Claire's story. He says I've got a voice. He wants to talk about maybe taking the next step. Isn't that great?

VICTOR Yeah... Yeah... Very gr... (he yawns so "great" sounds like "gruh")

Victor's too tired to show any enthusiasm. And we get the feeling even if he weren't he wouldn't. He yawns again.

SOPHIA That's all you got is "very gruh"?

He flops down on the bed. Kicks off his shoes.

98.

VICTOR I'm happy for you. I've also been on my feet for nineteen hours. G'night.

He closes his eyes. Sophia just stands there watching him.

SOPHIA Victor this isn't working.

He opens his eyes but doesn't look at her.

VICTOR And whose fault is that?

She looks at him. He sits up with a frustrated sigh.

VICTOR You see? This is why. This is why I wanted you with me. I asked you to be my front of house precisely to avoid this situation.

SOPHIA You asked me to be your wife. And I never see you. That's the situation. There's no avoiding it.

He yawns.

VICTOR Do we have to do this now? You're being unreasonable.

SOPHIA There isn't anything reasonable about love, Victor.

Victor can see where this is headed. He gets defensive.

VICTOR You knew what the restaurant was gonna require... You knew I'd be working long hours... You knew what it would mean... You knew there'd be sacrifice... You knew that...

Silence. They look at each other.

VICTOR You knew this was who I was.

99.

SOPHIA And what I'm trying to tell you is I'm not who I was.

He's silent at this - what can he say.

VICTOR I didn't do anything wrong.

She walks up to him.

SOPHIA You're not wrong. I'm not wrong. We're just wrong for each other.

And there it is. She takes off her engagement ring and places it in his hand.

DISSOLVE TO:

EXT. NEW YORK CITY -- WEEKS LATER

The leaves are starting to turn in central park.

INT. CONFERENCE ROOM -- DAY

Sophia is in her weekly staff meeting with Bobby and all the rest of his WRITERS. Bobby is at the head of the table.

BOBBY ...And finally I need a follow up on last summer's piece on the mayor. I know a week in city hall isn't anyone's idea of a vacation.

Bobby looks right at Sophia.

BOBBY You got it?

She nods.

INT. A SMALL STUDIO IN THE CITY. WHERE:

Sophia has moved. The place is furnished but still coming together.

She's working on her laptop. She seems to be immersed fully in what she's writing. She's focused not stressed.

100.

There's a knock at her door. She answers and finds a MAILMAN who hands her a thick bundle of forwarded mail - presumably from Victor's. She sorts through it.

Then she stops at an envelope. It has an Italian stamp and post mark. She opens it quickly. It‟s an invitation.

CLAIRE‟S VOICE Mrs. Claire Smith and Don Alfonso D‟Annunzio invite you to the wedding of Mrs. Claire Smith to Don Alfonso D‟Annunzio.

Then scribbled across the bottom in large letters.

CLAIRE‟S VOICE Please come darling. You must.

Sophia beams.

INT. EDITOR'S OFFICE -- DAY

Sophia stands in front of Bobby. He looks at the invitation.

BOBBY You going to finish that story?

He hands her back the invitation. She looks at it.

SOPHIA I don't know. I don't think so.

BOBBY Really?

A beat as he takes this in. She kind of shrugs.

BOBBY I'll give you the week.

She smiles.

EXT. SMALL CHURCH IN TUSCANY -- DAY

PEOPLE are starting to arrive at a beautiful Medieval Italian village church. A taxi pulls up and Sophia gets out.

She looks stunning in a simple pale suit. She looks nervous as she surveys the picturesque scene.

She walks towards the church.

101.

EXT. SMALL CHURCH IN TUSCANY -- LATER

As she enters the church and makes her way through the crowd of GUESTS, young and old, we can tell that she's looking for:

CHARLIE O/S Sophia...

And there he is. She turns to find him smiling at her. Dressed in a traditional English morning suit, tails, waistcoat, the works. One might even say he looks dashing.

He approaches. She suddenly seems very nervous.

SOPHIA Hi!

CHARLIE Hi.

SOPHIA (forgets she already said) Hi...

They do an awkward hug/kiss on the cheek thing.

SOPHIA You look great.

CHARLIE I'm glad you came. You look pretty good yourself.

SOPHIA How could I not? Come, I mean, not look...

CHARLIE I got it.

A beat of awkward silence. They smile at each other - smiles that say "Why is this so uncomfortable?" Finally.

CHARLIE You came alone?

SOPHIA Yeah. I did. Sorry I didn't RSVP. I just moved.

A beat as Charlie registers this.

102.

CHARLIE It's fine. Whole thing's been a bit of a shotgun affair really... (he smiles at her) I'm glad you came.

She smiles hoping it's for the reason she thinks it is.

DON ALFONSO O/S There she is. There's our angel.

Sophia turns to find Don Alfonso beaming at her. She's visibly taken aback at his appearance. He's so much thinner, and what little hair he had left has turned a shade greyer, he walks with a cane now and has a pronounced limp but still he looks like royalty in a fine Italian tuxedo. His grandson, Alfonso III, escorts him on his way.

Don Alfonso stops and kisses Sophia on both cheeks.

DON ALFONSO Thank you for coming.

SOPHIA Wouldn't miss it for the world.

CHARLIE Papa, they need you at the altar.

He smiles and kisses Sophia's hand before continuing on into the church. Sophia watches him limping on that cane. She turns and looks at Charlie. She doesn't even have to ask.

CHARLIE He fell. About two months ago. He and Gran were walking in his fields. Tripped on vine. Shattered his hip. Had to have it replaced.

Sophia watches Don Alfonso smiling and welcoming guests as he slowly makes his way down the aisle.

SOPHIA That's terrible.

CHARLIE Saved his life actually.

Sophia turns back to Charlie who takes a breath before:

CHARLIE He only fell a few feet but the hip shattered like a vase. (MOR E)

103.

CHA RLIE (con t'd) (beat) A tumor had hollowed it out.

Sophia just stares - speechless.

SOPHIA Is he OK... Is he...

CHARLIE They think a year, maybe two, maybe more, maybe less. Different doctors give different answers, none of them straight, you know how it goes.

SOPHIA My god... How awful...

Charlie looks with a smile at Don Alfonso who has finally made it to his place at the altar. He shakes his head.

CHARLIE Actually they've been extraordinary. Really. It's humbling. They're living proof that if you find love for even the shortest moment, you have to grab it with both hands...

Charlie catches himself being sincere. He tries to play it off with a wry shrug and smile.

CHARLIE Tis better to have loved... and all that.

She manages a smile back.

SOPHIA And all that.

They look at each other for a long moment. Sophia looks as if she's about to say something when...

PATRICIA O/S There you are.

At that moment a strikingly beautiful English woman in a gown that matches Charlie's suit approaches. She is PATRICIA.

PATRICIA You need to get outside. She'll be here any second.

104.

Sophia just stares at her. Momentarily speechless.

CHARLIE Patricia. This is Sophia.

Doing her best to hide her disappointment:

SOPHIA Hi.

Realization flashes in Patricia's flawless eyes.

PATRICIA The Sophia.

CHARLIE The Sophia.

Sophia shrugs and smiles.

PATRICIA Oh it's so nice to finally meet you. You're kind of a legend around here you know.

A silent beat. Patricia turns to Charlie.

PATRICIA I'll see you up there. Don't trip.

CHARLIE As if I'm not nervous enough.

She kisses his cheek, smiles at Sophia, and heads off down the aisle.

SOPHIA She's beautiful...

CHARLIE Yeah. Scrubs up well I suppose.

SOPHIA And is she...

Before she can ask the question an old Italian limousine rolls to a stop at the front steps as Alfonso III walks up.

CHARLIE And there she is. Places everyone. (to Alfonso III) Can you show Sophia to a seat?

105.

Alfonso III hold out his arm. Sophia takes it. She looks at Charlie. He looks at her and smiles.

CHARLIE Show time.

Charlie heads out to the white limo as Alfonso III ushers Sophia down the aisle. The church is idyllic, festooned with white flowers everywhere. The floral arrangements at the end of the pews contain bunches of dark purple grapes.

The Secretaries of Juliet are together in a pew. They wave to Sophia as she passes. Bella, ever the romantic, is already crying, handkerchief in hand.

When Sophia gets to a seat she looks to the altar where Don Alfonso stands waiting for his bride. He turns to look at Sophia. He smiles sweetly then closes his eyes for a few seconds in a silent expression of gratitude. She smiles.

Then the organ begins and a hush falls over the congregation.

Charlie escorts Claire down the aisle. She looks beautiful. All the excitement and radiance of a teenage bride.

As they pass she sees Sophia and her whole face just lights up. She gives her a discreet wave. Sophia smiles and waves back but it's all too much and the tears begin to come.

Charlie walks Claire to Don Alfonso. He gives her away.

EXT. SMALL VILLAGE IN TUSCANY -- LATER

THE WEDDING PARTY is led through the narrow streets of the village towards the vineyard by a loud brass band.

VILLAGERS outside bars stand and applaud. Others lean out of upstairs windows throwing confetti, whistling and cheering.

Alfonso walks arm-in-arm with Claire at the center of it all.

Beside them. Patricia and Charlie and Alfonso's son and grandson.

And lastly the gathering of GUESTS. Sophia is among the first cluster just behind the wedding party. Everyone's eyes are on The Bride and Groom except Sophia who's watching Charlie.

The parade continues. It's a colorful, joyous carnival of an occasion. A day not soon forgotten in this little village.

106.

EXT. D'ANNUNZIO VILLA -- OPEN FIELD -- SUNSET

Tables have been laid for the wedding feast. The BAND plays, CHILDREN run around. FRIENDS and FAMILY chat and laugh.

At the head table sit the bride and groom. Charlie and Patricia are seated on either side of them.

Sophia is at another table with the Secretaries of Juliet. She steals glances at Charlie over her glass of wine.

Charlie stands and taps his glass. Everyone turns to him.

The band stops and silence falls. Charlie clears his throat.

CHARLIE It's been a sincere honor giving away my Gran today. Though she's left me in the market for a room mate if anyone knows anyone... some light cooking and laundry required.

This gets a chuckle. Charlie smiles at Claire as he says:

CHARLIE I'm not allowed to make a speech...

Someone shouts “Shame!”

CHARLIE So I'll just get right to it then... Ladies and Gentlemen, may I present for the first time Mr. and Mrs. Alfonso D'Annunzio...

Everyone stands and cheers. Claire and Alfonso kiss.

CHARLIE Now I believe Mrs. D'Annunzio would like to say a few words... Gran?

Everyone claps. Claire kisses Charlie and stands. He sits.

CLAIRE I won‟t keep you long as I'm sure most of you have heard the story of how my husband...

Everyone cheers and whistles at the first mention of the word. She smiles. It gets quiet again.

CLAIRE Fifty-seven-years ago I wrote a letter that asked a question. (MOR E)

107.

CLA IRE (con t'd) Fifty-seven years later I got an answer. (she looks right at) Sophia? Dear? Would you stand up?

Sophia hesitates then stands reluctantly. She turns red with embarrassment. Charlie smiles at this.

CLAIRE Sophia gave me my answer.

Everyone starts clapping and cheering her as Claire unfolds a piece of paper. Sophia recognizes it - turns redder.

CLAIRE She wrote me a letter. This letter. Without it, none of this would've been possible, none of us would be here today, and so it seems only fitting to share some of it... (she starts reading) "'What' and „if‟ two words as non- threatening as words come. But put them together side-by-side and they have the power to haunt you for the rest of your life: „What if?'..."

She looks at Sophia now and basically reads the letter to her as if no one else were there.

CLAIRE "I don't know how your story ended. But I know that if what you felt then was love - true love - then it's never too late. If it was true then it why wouldn't it be true now? You need only the courage to follow your heart..."

Sophia is looking at Charlie who looks straight back at her.

CLAIRE "I don't know what a love like that feels like... a love to leave loved ones for, a love to cross oceans for... but I'd like to believe if I ever felt it. I'd have the courage to seize it. I hope you had the courage to seize it, Claire. And if you didn't, I hope one day that you will."

She folds the letter and looks at Sophia - we can see the glaze of tears forming as everyone starts clapping.

108.

Charlie sees those tears forming too.

Sophia looks at him sitting there beside Patricia and then abruptly turns and walks off away from the gathering.

The tears have started to fall. She wipes them away.

SOPHIA I'm sorry, I have to go.

Charlie watches Sophia go. He catches Claire looking at him as if to say "What are you waiting for?" A beat.

Then he gets up and goes after her.

EXT. D'ANNUNZIO VILLA -- LATER

Charlie walks around to the front of the house.

CHARLIE Sophia?

He walks to the front door and calls inside.

CHARLIE Sophia?

He walks round the corner towards the vineyards and looks down the rows of fruit laden vines.

CHARLIE Sophia?

He goes back towards the house and then spots her in a first floor window redoing her make up in front of a mirror. A vine grows up this side of the house up to and beyond the window.

He walks up to the house and shouts from below.

CHARLIE Sophia?

She looks out of the window - it should, of course, be reminiscent of Shakespeare's balcony scene.

CHARLIE What are you doing?

SOPHIA I‟m leaving.

CHARLIE Why?

109.

SOPHIA I shouldn't have come here.

CHARLIE Did you listen to what Gran just said? To what you wrote?

SOPHIA I‟m happy for you. She‟s gorgeous. Not at all how I imagined.

CHARLIE Who?

SOPHIA Patricia.

CHARLIE Patricia? She‟s my cousin.

SOPHIA Your cousin? Good God. Is that legal in England?

CHARLIE Different girl. Same name. She‟s like a sister to me. And a daughter to Gran. We practically grew up together after, you know...

This gives Sophia pause. She looks down at him.

CHARLIE Don‟t go.

SOPHIA Why? Why should I stay, Charlie?

He starts to climb the vine towards her with some difficulty.

SOPHIA What are you doing?!

CHARLIE The thing is I‟ve watched Gran and Alfonso over the last few months... and I‟ve realized... that I can‟t wait fifty years to say...

He‟s level with her now but has to pause to get his breath.

CHARLIE ...I love you, Sophia.

110.

SOPHIA What?

CHARLIE That kiss wasn't a mistake. Poorly timed yeah. But not a mistake.

SOPHIA You love me?

CHARLIE I do.

SOPHIA So why are you looking at me like that?

CHARLIE Like what?

SOPHIA Terrified.

CHARLIE I remembered about half way up the vine I‟m a bit scared of heights.

She looks at him. Smiles.

SOPHIA I love you too.

Slight pause. She leans into kiss him. But he doesn't move.

SOPHIA So are you gonna kiss me? Or...

CHARLIE I would. Yeah. It‟s just that I appear to have lost my foot--

And with that he disappears from the window - screaming all the way down until he hits with a thud.

SOPHIA Charlie!

She looks down to see him lying prostrate in a bush.

INT. MAIN HOUSE -- LATER

She rushes through the villa, down the stairs, and out through the hall to the front yard.

111.

She runs up to him. He's moaning in pain.

SOPHIA Are you OK?

CHARLIE (groans) Please tell me no one saw that.

Sophia looks up and sees the entire wedding party looking at Charlie lying there.

SOPHIA No one saw it.

CHARLIE Good.

SOPHIA Can you move?

He stays completely still as he smiles.

CHARLIE Only my lips.

She leans over and kisses him as Claire and Alfonso watch approvingly from a distance. As we...

FADE TO BLACK.

"LA FINE"