SCENE 1:
INT-RESTAURANT-EVENING
A PRETTY WOMAN (BECKY) AND HER MAN (JOHN) ARE ENJOYING A CANDLELIT DINNER. BECKY TAKES JOHN'S HAND OVER THE TABLE.
BECKY
Oh John, I think you're the only person who's loved me for who I really am.
JOHN
Well, it hasn't been easy to get to know the real you.
BECKY
I know, I'm sorry, it's just acting all my life, I guess I'm more used to being in character than out.
JOHN
Don't apologise. It's been well worth it.
BECKY (LEANS IN AND WHISPERS, SEDUCTIVELY)
Why don't we get out of here and you'll get to see the rest of me?
CUT TO:
SCENE 2:
INT-BEDROOM-NIGHT
THE ROOM IS IN DARKNESS.
FX: SOUNDS OF THE END OF LOVE-MAKING, THE MOANING AND HEAVY BREATHING TO SATISFIED SILENCE.
BECKY
Oh John, that was amazing!
WE HEAR FUMBLING, THEN THE CLICK AS A LAMP IS SWITCHED ON.
JOHN
Mmm, I hope you weren't acting at the end there. (LAUGHS)
HE TWISTS BECKY BACK ROUND TOWARDS HIM FROM WHERE SHE'S LEANED OVER AWAY FROM HIM TO TURN THE LIGHT ON. WE NOW SEE IT'S NOT BECKY, BUT ANOTHER, SIMILARLY BUILT WOMAN.
JOHN
What the hell? (LOOKS UNDER THE COVERS) What have you done with Becky? Who are you?
"BECKY"
Hi John, I'm Maggie, Becky's body double.
JOHN
Her WHAT?
MAGGIE
Her body double. (PUSHES OUT HER BUST) You want a flash of breasts, a peek of bottom, a sex scene-that's me. These actresses can be mighty insecure. I take care of that, and she does the acting. Anyway, that's me done. Best be off.
WITH THAT, SHE CLIMBS OUT OF BED, PULLS A DRESS ON AND WE FOLLOW AS SHE WALKS OUT OF THE DOOR, CLOSING IT BEHIND HER.
SWITCH TO JOHN'S HEAD LYING ON THE PILLOW
JOHN
F**k**g unbelievable.
BECKY'S HEAD EMERGES FROM THE COVERS AND SETTLES ON JOHN'S SHOULDER, HER TOUSLED HAIR SETTLING
BECKY
Mmmm, wasn't it just