Vanilla Sky

Overview

From the Academy Award-winning writer-director of Almost Famous, the script for one of the year's most eagerly anticipated films.

In Vanilla Sky, Tom Cruise stars as David, a young New York City publishing magnate who finds himself on an unexpected roller-coaster ride of romance, comedy, suspicion, sex, and dreams in what turns out to be a mind-bending search for his soul. Penelope Cruz, Kurt Russell, Jason Lee, Noah Taylor, and Cameron Diaz ...
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Overview

From the Academy Award-winning writer-director of Almost Famous, the script for one of the year's most eagerly anticipated films.

In Vanilla Sky, Tom Cruise stars as David, a young New York City publishing magnate who finds himself on an unexpected roller-coaster ride of romance, comedy, suspicion, sex, and dreams in what turns out to be a mind-bending search for his soul. Penelope Cruz, Kurt Russell, Jason Lee, Noah Taylor, and Cameron Diaz also star in this haunting investigation of beauty, love, and betrayal, which is bound to become one of the most talked about films of 2001.
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Product Details

  • ISBN-13: 9780571215119
  • Publisher: Faber and Faber
  • Publication date: 1/30/2002
  • Pages: 160
  • Product dimensions: 4.99 (w) x 7.76 (h) x 0.46 (d)

Meet the Author

Cameron Crowe is among the most successful writer-directors in Hollywood today. In addition to writing films, he is also the author of Conversations with Wilder, the critically acclaimed portrait of the director Billy Wilder. He lives in California.
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Read an Excerpt

Excerpt


On black, we hear a whooshing sound, getting louder.

BLINK OF AN IMAGE

New York City from a perspective of flight, not an airplane, swooping diving shot. Back to black.

A WOMAN'S VOICE

Open your eyes ... open your eyes, David ...  


INT. DAVID'S BEDROOM — EARLY MORNING

David Aames, Jr., thirty-two, swings out of bed and sits on the corner of his mattress. It's a chilly New York City morning. Early sunlight glows around the corners of his curtains.

A WOMAN'S VOICE

... open your eyes ...  

He reaches behind him to shut off a slim voice-activated clock-radio. He rises, a comforter draped around his shoulders, and heads to the bathroom.


INT. DAVID'S BATHROOM — MORNING

David regards himself in the mirror of a beautifully tiled, well-appointed bathroom. In his thirties now, his looks have only deepened and improved. He brushes his teeth. He spots a grey hair and, holding tweezers, seizes and plucks it.


INT. DAVID'S BEDROOM — MORNING

David puts on a shirt. Checks his wallet for money. His bedroom is elegant and spare.


INT. DAVID'S NEW YORK CITY APARTMENT — MORNING

He slips down the stairs into the expansive living area of this deeply textured apartment. A stunning, inherited book collection lines the walls.


INT./EXT. NEW YORK CITY GARAGE BELOW APARTMENT/ STREETS — MORNING

David starts up his dark green sports car, and roarsonto the New York City streets.


EXT. NEW YORK SIDE STREETS — MORNING

David travels the side streets to work. He senses a growing weirdness. The streets are empty. He looks at his watch. It's 8. 12. He continues anxiously. Runs a red light. Music rises.


EXT. TIMES SQUARE — MORNING

The most recognised piece of real-estate in the worm is silent. It is as if the world's biggest parade has just left, taking everybody with it. David pulls over haphazardly. He exits the car, leaving it in the middle of street. He begins to walk, faster now, as music rises. There is absolutely nobody in sight. David begins to run, searching for humanity. He pulls up short, stopping and crying out in anguish.

A WOMAN'S VOICE

Open your eyes ... open your eyes, David ...  

Dissolve to:


INT. BEDROOM — MORNING

David hangs out of bed, his mouth in an open silent scream. Covers his face with both hands.

A WOMAN'S VOICE

... open your eyes ...  

He reaches behind to shut off the same clock-radio, and its voice. He makes a relieved agonised sound into the pillow. Gets up, sees a pizza box ... a container of soup ... a remote control on the floor. We hear an incisive voice with a comforting lilt — a man we'll meet later.

A MAN'S VOICE

Well, I suppose the empty street meant loneliness. Your subconscious craves people.

DAVID'S VOICE

You're a shrink. You've got to do better than that.  

A MAN'S VOICE

I'm a doctor. Let's not stereotype each other. Not all rich kids are soulless, and not all psychiatrists care about dreams.

DAVID'S VOICE

Well, I've never been to a shrink before.  

A MAN'S VOICE

The question is how you got here, and why you've been charged. Time is not our friend. In three weeks, a judge will read this evaluation. Let's just start with the details of your life. And please don't call me shrink. It bothers me.

DAVID'S VOICE

What do you want to know? I was about to turn thirty-three. I ran three magazines, and a world-wide publishing house.

A MAN'S VOICE

And there were women.  

DAVID'S VOICE

I had women I saw, we enjoyed each other, and on most days I actually fooled myself into believing it would last for ever.


INT. BATHROOM — MORNING

David checks himself in the mirror. Seizes and plucks that same grey hair.

DAVID'S VOICE

Isn't that what being young is about? Believing secretly that you would be the one person, in the history of man, who would live for ever?


INT. BEDROOM — MORNING

David enters, reaching for his wallet, repeating the morning ritual. A figure stirs in the bed behind him. She leans forward, wearing David's college basketball tank for a pajama-top. She's warm and wicked, a mildly reformed party girl, the kind of girl first novels are written about. She is Julianna Gianni, twenty-five.

JULIANNA

Where you going so early?  

DAVID
(slightly self-conscious)

Hey, don't record any more messages on my alarm-clock, okay?

JULIANNA

Why not?  

DAVID

I'll think we're married or something.  

JULIANNA

Don't you ever say that word. Or I'll never come over here and bring you chicken soup and fuck your brains out again.

DAVID
(exiting, from other room)

How's your cold?  

JULIANNA

Still there. How's yours?  

DAVID
(out of shot)

I guess you took my mind off it.  

She pulls a pink pill-box purse from the nightstand, withdraws a multi-coloured phone.

JULIANNA

Reyna, it's Julianna. I missed my audition. (dramatic, like Bette Davis) I lost my head.


INT. KITCHEN — MORNING

David in his steel-and-linoleum bachelor kitchen. Julie swings into view. Her blouse is unbuttoned two buttons too many, down to mid-chest. She gives him a kiss on the cheek and lingers.

JULIANNA

Don't worry. You're not my type. I like skinny musicians with questionable talent, who tell me I'm beautiful, spend my money and leave me for a younger super-model. That's my type.

DAVID

You're not really going to unbutton that many buttons —

JULIANNA

Why not — ?  

DAVID

It looks ridiculous. I mean, look how it looks.  

He unbuttons four buttons.

JULIANNA

Very lounge.  

She swings out of view into the next room. Life is a series of entrances and exits for her.

DAVID
(to next room)

That olive skirt you wore last night was amazing.  

JULIANNA
(out of shot)

David, you always remember the little things! It's your only saving grace!

David grabs a racquetball bag, talks to the next room.

DAVID

I've got a breakfast at 8.45. These early morning meetings are a fuckin' killer. Help yourself to whatever you want. Set the alarm, Maria will clean up. Lock up when you go.

JULIANNA

Bye, 'honey'!  

DAVID

Bye, 'honey'! I'll call you.  

JULIANNA

When?  

DAVID

Soon!  

They have a comfortable, healthy, mutually satisfying superficial relationship.


INT./EXT. NEW YORK CITY GARAGE/STREETS — DAY

David is about to enter the green sports car, then thinks better of it. He fires up a knock-around beater car from his collection. He drives into the street which is comfortingly now full of people. We hear the Beatles, 'Ballad of John and Yoko'.


INT. NEW YORK SIDE STREETS — DAY

David drives the crowded streets. It all seems more poignant today. Life is good again.


EXT. BRIAN'S APARTMENT — DAY

David pulls up to a lower-end apartment, checks his watch. Enter the hung-over Brian Shelby, thirtyish. In a world of acquaintances, Brian is a true friend. He has all the qualities of Abe Lincoln and, much to his chagrin, the looks too. He hops in the car with racquetball bag.

BRIAN

Easy. I can't handle heavy conversation.  

DAVID

I'm sorry to do this early. I gotta be done by ten. Did you tape Conan O'Brien for me last night?

BRIAN

No. I was out celebrating Martin Luther King's birthday. I didn't tape Conan for you. I'm not your slave. It's in my bag.

Beat.

Where's the GTO?  

Car phone rings. David checks Caller ID — it's his office. He clicks on.

ASSISTANT VOICE (RACHEL)

You're not going to make the 8.45, are you? You have to check the colour of the letters for the music issue.

DAVID

What are the colours?  

RACHEL'S VOICE

Blue-and-red ... or the traditional white.  

DAVID

Let me think about it. I'll be in for the ten o'clock with the Board Don't tell anybody where I am — I don't care if God calls. I'm very busy.

He hangs up, continues.

You got drunk for Martin Luther King's birthday?  

BRIAN

It's too complex to explain. I do it every year.  

DAVID

It's September. Isn't his birthday in January?  

BRIAN

It's complex, man. Why you all dressed up?  

DAVID

I'm seeing the Seven Dwarves this morning.  

BRIAN

Can't you just get rid of that Board? Those people drive you nuts.

DAVID

And that was the desire of my father, who hired them.  

BRIAN

You fucked Julie Gianni again, didn't you?  

David takes off driving.


INT. ANOTHER STREET — DAY — DRIVING

BRIAN

I know someone was there when I called. You had that tone.

DAVID

I had a cold. I was alone.  

BRIAN

You can do whatever you want with your life.  

DAVID

Thanks.  

BRIAN

But one day you'll know what love truly is. It's the sour and the sweet. And I know sour, which allows me to appreciate the sweet.

DAVID

The sweet and sour speech again.  

BRIAN

I just know that when I sleep with a girl — which requires real memory at this point — I halfway do it so I can recap with you about it. And I know you were with her, and I would spend the rest of my life with that girl, no problem. Actress-model, an angel with a broken wing, destined to cheat on me and break my heart, and do crazy shit and ruin my life. I would call her name from every rooftop if I could, but I can't. Maybe that's why I got drunk last night. 'I have a dream.'

DAVID

Julie Gianni is a friend. Sometimes we sleep together.  

Brian howls in pain, like a hurt dog.

DAVID

What —  

BRIAN

My dream girl ... Julie Gianni ... is your fuck-buddy.  

Brian emits another pained howl, reaches over to change the music. He freezes at what he sees.

BRIAN

Look out! Look out!  

David turns and sees he's hurtling into the back of a car stopped just in front of him. Clenching, he hits the brakes, narrowly avoiding a high-speed collision. And then ... to his right ... another car comes hurtling toward him ... and stops within an inch of deadly impact.

There is an awful moment, as the second car blares the horn. Traffic continues, but the lingering feeling of dread and confusion is still in the air.

DAVID
(annoyed)

We almost died.  

BRIAN

I know. My own death was right there in front of me, and you know what happened? Your life flashed before my eyes.

DAVID

How was it?  

BRIAN

Almost worth dying for.  

Pedestrians continue walking around the honking tangled mass of the near-accident.


EXT. AAMES PUBLICATIONS — DAY

David meets Peter Brown and Rachel, his second assistant, at the front of the well-appointed headquarters of Aames Publications. David hops out of car and heads into the building.


INT. AAMES PUBLICATIONS — DAY

David Aames, Jr., turns down the corridor of Rise magazine, a male youth-culture style magazine. Rachel gives him daily tabloid reports, continues with the essentials.

ASSISTANT

The art department needs a decision on the colours. Blue-and-red, or white? And the Board is pissed you're late.

DAVID

You changed your hair.  

David taps on the window of the art department, in panic over several cover mock-ups. He gives a presidential thumbs-up, moves on. They look at each other, trying to decipher if the thumbs-up was a decision.

ART EDITOR

Did he mean the blue-and-red or the white?  

David passes a holdover from the old days, older Receptionist (Beatrice) who speaks uncomfortably and gruffly into a headset. She gives David a knowing look — late again.

ASSISTANT

They're all waiting for you. And David — opinions are expected.

A MAN'S VOICE

Do you dream about the Board, David? The Seven Dwarves, as you call them?

David walks into the office. Framed original photos from album covers co-mingle with a splash of cultured art and books. Seven very interested and very alert-looking executives wait.

He gestures charmingly, easily, and bows with his apology. All are happy to see him. Sort of.

DAVID'S VOICE

They look at me like I was still eleven.  

Flashback: David at eleven, blithely skateboarding the hallways. He passes Beatrice, who turns to an editor.

BEATRICE

He's going to inherit everything. He gets it all.  


INT. PRISON PSYCHIATRIC UNIT — NIGHT (INTERROGATION I)

The light from a small line of chicken-wired windows cuts through the blackness. In the shadows of this dank room, we hear his voice but we do not see him. It is the smaller, slightly muffled tone of David Aames. In the shadows, he wears a mask.

DAVID

I don't sleep any more, so I won't dream any more.  

MCCABE

You're scared of your dreams, aren't you?  

Portrait of Curtis McCabe, fifty-two. Doctor of Psychiatry, prison division. He's far too wily to spend the currency of his brilliance just yet. It's too early in their relationship.

He stands tall, leaning on a steel desk, polishing his glasses with end of his coat.

DAVID

It's a nightmare either way.  

MCCABE

Is that how you explain what's happened to you?  

DAVID

What —  

MCCABE

What happened to your face?  

DAVID

I'm not talking to you any more.  

MCCABE

And you don't want to show me your face.  

DAVID

No.  

MCCABE

Do you know why you're here?  

DAVID
(sarcastic)

The conversation, the coffee —  

MCCABE

David — the part where we parry and joust, and get to know each other bit-by-bit ... we're going to have to skip it. You've been charged with murder. In three weeks, a judge will determine your fate based on what I write. You will talk to me —

DAVID

There is no murder. It didn't happen. I don't have to talk to anybody.

A Contentious Prison Guard (Aaron) advances.

AARON

You want me to help —  

DAVID

Get the fuck away from me.  

AARON

Take it easy, Sunshine.  

DAVID

Oh, this is great. This is a wonderful psychiatric jamboree you've got going here —

AARON

Your whole story is full of holes!  

With great power, McCabe advances on the guard. His presence, when he turns on the switches, is considerable.

MCCABE

Stop! I cannot do my job correctly in this environment. Please leave. Right now. I'll take responsibility.

AARON
(whispering, exiting)

Daddy's boy freak.  

DAVID

My parents are dead, you fuck!  

MCCABE

Enough!  

The Contentious Guard leaves.

MCCABE

Is it true?  

DAVID
(sing-song)

Good cop ... bad cop.  

MCCABE

That you're a Daddy's boy?  

DAVID
(in darkness, by rote)

Primer on David Aames, senior. My father was not built for the twenty-first century. He never ate at McDonald's, not once, and never watched television. Yet his biggest magazine is still TV Times. He and my mother threw the grandest parties of the literary world. He ballooned, jumped from planes, sought adventure ... survived three plane crashes and two heart-attacks. Read his book. His autobiography is the manual for every cut-throat publisher in New York. It's called Defending the Kingdom.

MCCABE

I've read it.  

DAVID

Page 127. 'David Junior was a delight as a child.' That's all he wrote. I don't think he ever got over the fact that I was scared of heights. And when he and my mother were run over by a drunken teenager on New Year's Eve, ten years ago ...

David Aames moves closer to the light. We see a strange, bland expression of his mask, at first other-worldly ... and then more clearly.

DAVID

... he left it all to me, and a group of seven Board members who all thought they were first in line. Am I 'Daddy's boy'? Oh, I'm a real 'delight' to them. And they're delighted I'm here.

MCCABE

How much are you worth, David?  

DAVID

I inherited a lot. I lost a lot. I gave a lot away.  

MCCABE

Which left you with?  

DAVID

A lot.  

MCCABE

And you believe the Board, the Seven Dwarves, put you here to take control of your company?

DAVID

What do you care?  

MCCABE

We're just talking. And tonight's Wednesday night, and I go to Black Angus for dinner with my daughters on Wednesday nights, so I'll have to leave soon. You understand that our time is limited, don't you?

DAVID

If I talk, you'll just think I'm crazy.  

McCabe gathers his things.

MCCABE

With all the respect I can offer a man wearing a latex mask and spouting conspiracy theories, David, trust me — you've crossed that bridge.

DAVID

Fine. Enjoy your dinner.  

Somehow the lilt in McCabe's voice draws him closer.

MCCABE

I understand your resistance. It's unfair to be wrongly accused isn't it?

DAVID

Yes.   Pause.

MCCABE

That's right. Don't think of any affiliation, or any possible harm I could do you. Just remember one thing. We both are human. We both have a beating heart. Tell me a story. Not about yourself. Tell me a story about an innocent man who had it all, and ended up in prison.

McCabe addresses the shadows where Aames has retreated. There is no answer. Just the feeling that David Aames is listening.

MCCABE

There are five basic emotions in life. Tell me. What emotion gripped ... him ... before he entered that cell? Was it Guilt?

Shadows. There is no answer, just a rustling and a growing sense of anticipation in the darkness.

MCCABE

Hate? Shame?  

Shadows. Still no answer.

MCCABE

Revenge ...  

McCabe now shows the invisible skill with which he has brought his client to the precipice. And now, with one word, he invites David Aames to look over.

MCCABE

Love?  

In the darkness, a rustling and the slight turn of a head.

MCCABE

    I'm completely on the wrong track, aren't I?

Invisible dissolve to:


INT. DAVID'S APARTMENT/BACK ROOM OFF KITCHEN — NIGHT

From the darkened back room, David Aames appears with ice, and re-enters his party.

DAVID

Who wants ice?  

Aames moves — swirls is more like it — through into his party, which is nicely under way. Upscale. Part literary crowd. Part fashion crowd. He's great in a crowd. Surrounded by people, David Aames comes alive.

On Colleen chatting with Older Editor-Type.

COLLEEN

Is that weird for you? To be the editor of a magazine like Rise? I mean, it's sorta for teenage boys.

EDITOR

You know — that's a fascinating observation. I think I'll kill myself now.

David moves through party, catching the attention of a model (Lynette).

LYNETTE

David! Happy birthday.  

DAVID

Jesus, you have the greatest taste in shoes I've ever seen. Bar none. Anywhere.

Woman Caterer in Whites (Emma) slips by with a knowing smile.

EMMA THE CATERER

The old place sure looks more crowded with people in it.  

DAVID

Emma, do you know Lynette?  

EMMA THE CATERER

No, but I shudder to think what we might have in common.  

DAVID

How was your sister's graduation?  

EMMA THE CATERER

You remembered?  

David notices that Brian Shelby has arrived with a guest, a Woman who struggles with a package and a very large coat. On first glance, she's just another girl. On second glance, she's a killer. He notes her oddly funny behaviour. She removes the coat to reveal a very simple natural beauty. She is Sofia Serrano, a twenty-seven-year-old city girl with a barely containable life-force. Enter Peter Brown, David's male assistant, with surreptitious headset.

PETER BROWN

The Living Stereo system is online and looking great. It's an amazing prototype. They'd love an article on it if you like it.

Angle on a holographic display connected to stereo. An odd and disarmingly beautiful display of Coltrane performing 'My Favourite Things' in David's living room. David passes a hand through Goltrane's image, admires it.

PETER BROWN

And we have to discuss your schedule for next week.  

David nods, still focused on Sofia. Suddenly, he finds he can't take his eyes off her:

DAVID

Who's that girl, Peter?  

PETER BROWN

I do not know. But your schedule —  

DAVID

Peter?  

PETER BROWN

Yes, sir.  

DAVID

I say this kindly. Fuck off.  

PETER BROWN

I will do that. And happy birthday.  

Angle on front entrance, as David arrives to greet Brian and his guest.

BRIAN

Hey, man. Happy birthday and all the usual shit people say to each other. How you doing?

Excerpted from VANILLA SKY by Cameron Crowe. Copyright © 2001 by Cameron Crowe. Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.


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Sort by: Showing all of 3 Customer Reviews
  • Posted August 5, 2009

    more from this reviewer

    I Also Recommend:

    "Tonight You'll Fly So High Up In The Vanilla Sky"

    This screenplay is so special to me, and I think it's a film that everyone should watch, and dwell on it and the questions it poses. We follow David Aimes, a playboy who has everything and every girl he wants on sight, and we see how his life is tragically transformed into a horrible nightmare. When David meets Sophia, a beautiful Latina who he instantly wants, he drops a girl he was previously sleeping with, Julie, and she is left jealous plus she secretly loves him. David goes over to Sophia's apartment, and in the early morning when he is leaving, he sees that Julie had been sitting in her car outside the entire night. She offers him a ride and in a few minutes destroys his life by crashing the car, killing herself, and leaving him awfully disfigured. David then embarks on a disturbing journey of self-discovery of who and where he is and why the reasons are for being there. Really special movie, and I like better than it's original, Spanish Film Abre Los Ojos.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted February 1, 2008

    The original story

    The real creative mind here, who created this story is Alejandro Amenabar and I can say that the original movie made by Amenabar was 10 times better than Cameron Crowe's version

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted February 5, 2002

    great book, great movie. PERIOD

    read this book, thats all i have to say.

    Was this review helpful? Yes  No   Report this review
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