FASHION BEAST

A screenplay by

ALAN MOORE

From a story by

ROBERT BOYKIN
MALCOM MCLAREN
&
ALAN MOORE



FADE IN.
INT. SALON – CELESTINE’S ROOM – EARLY EVENING
FULL SCREEN CLOSE UP OF HAND MIRROR, DISTORTED GLASS. CELESTINE’S EYE REFLECTED.
As Celestine tilts the mirror, different features become visible, distorted and freakish. He is in his late thirties, bestubbled and dirty.
PULL BACK, SLOWLY REVEALING WHOLE OF CHAMBER.
First we see Celestine’s hand, then the desk he sits at. On the desk are a sketchpad with half completed image of Celestine’s MOTHER, a pencil stub, a half eaten candy bar, a deck of tarot cards and a pocket watch. SOUND: Ticking. Pulling back across a floor littered with candy bar wrappers and sketches of his mothers face, we see Celestine, hunched and shapeless, lit only by the lights beyond the horizontal strip window bisecting the dark and spacious b/g.

CUT TO:
CELESTINE’S POV, TABLETOP AND B/G STRIP WINDOW VISIBLE
Celestine puts down the mirror and picks up the tarot deck, dealing them one by one onto the desk before him. He lays down THE FOOL, followed by THE CHARIOT, THE TOWER STRUCK BY LIGHTENING, THE LOVERS and DEATH. Hear he pauses, picking up the pocket watch. It’s 7:57 P.M. He puts it down, then sighs, rising and crossing to the horizontal strip window in the b/g.

CUT TO:
CELESTINE’S NEW POV, LOOKING DOWN THROUGH WINDOW AT SALON BELOW.
We see some menial workers preparing for the night shift. MADAME S. and MADAME D. stand halfway up a flight of stairs, supervising. Celestine’s hand raps the glass sharply with a dirty knuckle. The women look up at us.

CUT TO:
O/S STRIP WINDOW, LOOKING IN AT CELESTINE, AN INDISTINCT MASS IN THE DARK.
He waves, slowly and ponderously as we PULL BACK AND DOWN into the Salon, coming to rest between the two Madames at waist level, the distant waving figure of Celestine visible as we look up between them.
MADAME S.
Oh look. Poor Patron, he is waving to us
(PAUSES TO DRAW ON CIGARETTE. EXHALES SMOKE INTO FRAME.)
MADAME S.
Why must the keepers of these beautiful lace gardens always be such ugly men in such lonely rooms? It seems rather cruel, don’t you think?

CUT TO:
HALF FIGURE FRONT ANGLE ON MADAMES.
Both gaze up at the slit window, off frame. Madame S. is lethally sweet. Madame D., larger and red faced, seems perpetually on the verge of anger.
MADAME S.
...but then, perhaps these things are cut according to their own peculiar pattern.
(PAUSE)
I rather suspect he wants us to switch on the sign, dearest, don’t you?
MADAME D. SWIVELS HEAD TO GLARE OFF FRAME LEFT. SHE BELLOWS FEROCIOUSLY.
MADAME D.
Girl!

CUT TO:
LEVEL OF STAIR PLATFORM, THE MADAME’S FEET BRACKETING THE SHOT.
Looking between their feet down one of the salon’s vast aisles we see a harassed-locking female worker named CHLOE cross the aisle towards us, trotting nervously and buttoning her work coat as she comes. She stops in front of the Madames, who stand half way up the staircase, and looks up at them apprehensively
CHLOE
Oh, Madame D, I’m sorry, I just arrived. It’s these evening shifts, I…

CUT TO:
CHLOE’S POV, LOOKING UP AT TOWERING MADAMES, WINDOW SLIT IN UPPER B/G.
MADAME S.
Evening work is economical. Power comes cheaply by night. Le Patron directs us to see that the Salon’s sign is illuminated punctually. The city tells it’s time by us, as it deduces its seasons from our hemlines. Please attend to it.
MADAME D. (Glares, bellows ferociously)
Sign!

CUT TO:
REPEAT OF SHOT LOOKING AT CHLOE BETWEEN MADAMES’ FEET, AISLE IN B/G
CHLOE
Uh, yes. Yes, right away. Madame D…Madame S…
CHLOE BACKS A FEW PACES, TURNS, THEN RUNS AWAY DOWN AISLE, DIMINISHING INTO
MADAME S.
The contemporary girls. Such dear little things, don’t you think? Have her begin clearing the stockrooms during tonight's Mannequin auditions, and when she’s finished that…
S. DROPS CIGARETTE INTO FRAME, GRINDS IT OUT WITH HER TOW. CHLOE VISIBLE,
MADAME S.
..I think we’ll fire her.

CUT TO:
INT. LARGE MACHINE SHOP, CONSPICUOUS HANDLE IN F/G, IDLING WORKERS IN B/G.
Chloe runs in from entrance, left of b/g, and consults with workers. One checks his watch then strides dramatically across to the lever in the f/g. Grimacing with effort he pulls it down, switching on.

CUT TO:
INSERT OF CELESTINE’S HAND LAYING DOWN ANOTHER TAROT CARD. IT IS ‘THE STAR’

CUT TO:
EXT. SALON, NIGHT. CLOSE UP OF WORD ‘CELESTINE’ IN NEON, LIGHTING UP.
As sign lights up we PULL BACK from the Salon down a nearby avenue, with bars and diners etc lighting up as we pass , cued by the Salon’s sign, with workers moving chairs and tables outside. We PULL BACK up into the sky, looking down on the city as its lights come on, radiating out from the salon.
CUT TO:
SHOT LOOKING DOWN DIFFERENT AVENUE, SEEDIER PART OF CITY.
We CLOSE IN past brothels and dives which light up as we pass upon a rooming house set across the avenues far end, a barking Rotweiler tethered outside. A sign above the door saying ‘ROOMS’ lights up, followed by the individual windows, in sequence. We continue to CLOSE IN on the house as a black boy named DENNIS in the upper left window switches on the lamp above his T.V. Two upper right windows light up simultaneously as two SOLDIERS in adjacent rooms switch on bare overhead bulbs. Continuing to CLOSE IN, the upper floor is excluded. On the lower left a feminine figure named JONNI TARE switches on the ring of bulbs around her starlet-type mirror. Finally we CLOSE upon the lower right window where a masculine figure in T-shirt and jeans named DOLL SEGUIN switches on an anglepoise lamp in her sparan room.

CUT TO:
INSERT: CELESTINE’S HAND LAYING ANOTHER TAROT CARD. IT IS ‘THE WORLD’

CUT TO:
INT. SALON, CLOSE UP ON MADAME D’S RED AND ANGRY FACE.
MADAME D. (Ferocious bellow)
Machines!
PULL BACK RAPIDLY FROM MADAME D.
Across the floor of the machine room seen earlier, until the worker who pulled the lever switching on the sign is again visible in the f/g, another lever in hand.
Grunting he yanks it downwards.

CUT TO:
SHOT OF SALON MACHINERY, LOOMS ETC., STARTING TO LIFE. SOUND: RHYTHMIC MACHINE NOISE.
The percussive beat of the Salon’s machinery is constant throughout the next sequence as other sounds are added to it to build the movie’s opening theme music.

CUT TO:
INT. DENNIS’ ROOM.
He switches on a T.V. News show.
T.V. VOICE
..and yet the question remains, “Are we facing a nuclear winter”? While scientists debate, the fighting continues.

CUT TO:
INT. SOLDIER’S ROOM.
In f/g, one soldier places a needle in the groove of a military march recording. The SOUND of a military band beat is added to the Salon machinery’s percussive beat. As he does this the other soldier enters through a connecting door and starts to undress. A prominent wall poster reads “WE’VE GOT A WAR ON..HAVE YOU GOT A UNIFORM ON?”

CUT TO:
INSERT OF CELESTINE’S HAND LAYING ANOTHER TAROT CARD. IT IS THE FIVE OF SWORDS.

CUT TO:
INT. JONNI’S ROOM
Softly lit and feminine. We see Jonni’s red-painted fingernails as she presses the ‘play’ button on a reel-to-reel tape deck. The SOUND of an ethereal woman’s choral piece is added to the mix of the soundtrack.

CUT TO:
INT. DOLL’S ROOM.
Shadowy, start and spotlit. She switches on a radio, a metallic, robotic street-beat joining the mix. In the b/g, through Doll’s window, we see Celestine’s distant neon sign.

CUT TO:
INSERT OF CELESTINE’S HAND LAYING ANOTHER TAROT CARD. IT IS ‘THE DEVIL’.

CUT TO:
C/U OF DOG, BARKING OUTSIDE ROOMING HOUSE.
FREEZE FRAME ON DOG’S SLAVERING, BARKING JAWS. SUPERIMPOSE TITLE OF FILM: FASHION BEAST. TITLES START HERE.

CUT TO:
SHOT OF SALON’S MACHINERY POUNDING.

CUT TO:
INT. DENNIS’ ROOM, HIS POV.
He opens a wardrobe to reveal a rack of fabulous, gaudy clothes and his reflection in the wardrobe mirror. The SOUND of his T.V. wells up on the soundtrack.
T.V. VOICE
A garment factory on the East bank has closed, laying off two hundred workers. The government, who claim to be shaving down unemployment figures…

CUT TO:
INT. SOLDIER’S ROOM.
In f/g we see a reflection of one soldier in his shaving mirror as he shaves. Across the room, his comrade is still undressing.

CUT TO:
INT. JONNI’S ROOM, HIS POV.
He studies his reflection in the bulb ringed mirror, wiping away make-up. On the dressing table we see a fabulous array of cosmetics.

CUT TO:
INSERT: CELESTINE’S HAND LAYING DOWN ANOTHER CARD. IT IS ‘THE MAGICIAN’.

CUT TO:
INT. DOLL’S ROOM, HER POV.
She looks out through the window into the dark, studying her shadowy refelction in the glass as she slicks down her boyish hair. Outside, through the glass, Celestine’s distant neon sign is visible.

CUT TO:
INSERT OF CELESTINE’S MIRROR FILLING SCREEN.
The distorted reflection of one huge eye swims across it.

CUT TO:
INT. DENNIS’ ROOM, HIS POV.
Studying himself in the wardrobe mirror, he undresses.
T.V. VOICE
..presenting an ugly picture, with municipal funds gradually stripped away…

CUT TO:
INT. SOLDIERS ROOM.
One is naked, one still undressing. The naked one takes a military uniform from a closet.

CUT TO:
INT. JONNI’S ROOM.
We se him half figure from the rear as he lets his robe slip to reveal soft, feminine shoulders.

CUT TO:
INT. DOLL’S ROOM.
We see her from the rear, half figure as she stares out her window. She pulls the T-shirt off over her head, boyishly.

CUT TO:
INT. SALON.
Chloe, looking very harassed, is undressing a dummy torso.

CUT TO:
INSERT OF SALON MACHINERY POUNDING.

CUT TO:
INT. DENNIS’ ROOM.
We see him half figure from thefront as he puts on a gaudy blue suit. Behind him, on T.V., we see marching feet footage.
T.V. VOICE
..and even with recruitment figures at an all-time high, conscription may still be necessary..

CUT TO:
INT. SOLDIERS ROOM.
They are both dressing in their smart military uniforms.

CUT TO:
INT. JONNI’S ROOM.
Half figure front view, we see him pull on a baggy masculine sweatshirt with the word ‘TOMBOY’ on the front, very large.

CUT TO:
INT. DOLL’S ROOM.
We see her shadowy form from the front as she pulls a Monroe-like filmstar dress down over her slim, boyish body.

CUT TO:
INT. SALON.
We see Chloe redressing the torso in different clothes.

CUT TO:
INSERT OF SALON MACHINERY, HAMMERING THE BEAT.

CUT TO:
INT. DENNIS’ ROOM.
He is carefully trimming the geometric topiary of his hair with nail scissors.
T.V. VOICE
…minister explained that with current disease scares, those not cut out for military service included indulgers in promiscuity and sexual perversion…

CUT TO:
INT. SOLDIER’S ROOM.
In f/g, one soldiers squirts a blob of white hair cream into his palm, obscenely. In the b/g, his comrade is already slicking back his own greased hair.

CUT TO:
INT. JONNI’S ROOM, HIS POV.
In the mirror, we see him tuck his long hair up into a cap.

CUT TO:
INT. DOLL’S ROOM, HER POV.
Reflected in the darkened window, she puts on a luxuriant blonde wig.

CUT TO:
EXT. ROOMING HOUSE, C/U OF DOG BARKING.

CUT TO:
INT. DENNIS’ ROOM.
He gives his appearance a final appreciative check in the mirror.
T.V. VOICE
..which they hope will have the economy looking ship-shape, after a fashion.

CUT TO:
INT. SOLDIER’S ROOM, ONE SOLDIER’S POV.
He checks himself in the mirror while his comrade finishes dressing behind him.

CUT TO:
INT. JONNI’S ROOM, HIS POV.
Now a boyish urchin, he checks the dressing table mirror to see how he looks.

CUT TO:
INT. DOLL’S ROOM, HER POV.
Now a glamorous starlet, she checks her reflection in the windowglass. Celestine’s neon sign is visible in the far distance.

CUT TO:
INSERT OF CELESTINE’S HAND MIRROR, FILLING SCREEN.
Another distorted eye swims across its concave surface.

CUT TO:
INT. DENNIS’ ROOM.
Now fully dressed he crosses to the television.
T.V. VOICE
..while tonight, design king Jean Claude Celestine will audition mannequins for his Spring collection.
DENNIS SWITCHES OFF T.V., THEN LAMP.
PULL BACK through his window until we can see the soldier’s windows as well. The military music is removed from the SOUNDTRACK with a scratch, and in each of their windows the lights click off. Continuing to PULL BACK we reveal the lower stories of the house with the dog still tethered outside. The SOUND of the ethereal woman’s choral piece is removed from the diminishing soundtrack, and then Jonni switches off his lamp. The front door of the house then opens, and Dennis leaves the building, coming towards us. As he passes the Rotweiler it flings itself at him, barking, to the end of its chain, he skips sideways, avoiding it, continuing towards us until vanishing off to one side of the f/g.
As he does this, in the lower right window Doll switches off her radio, the SOUND of the robotic streetbeat being removed from the mix. She next switches off her light.
As Doll does this, the soldiers emerge from the door of the rooming house, in step, and cross to the dog, untying it. Happily, it licks their hands as they slip it onto a leash, the lead it away to one side of the f/g, it’s happy barking fading from the SOUNDTRACK.
Next, Jonni exits the house, adjusting the last few items of his boyish garb and hurrying as if late, exiting in the f/g. As his hurried footfalls die away on the SOUND, so too does the background beat of the Salon machinery, leaving comparative silence punctuated by distant city night and traffic noises.
In this dramatic pause, Doll steps out of the rooming house, a glamorous blonde starlet. After briefly testing the air, she teeters towards us on high heels and exits off in the f/g.

CUT TO:
INSERT OF CELESTINE’S HAND, LAYING DOWN ANOTHER CARD. IT IS ‘THE FOOL’.

CUT TO:
STREET EXTERIOR, SEEDY NEIGHBOURHOOD.
In a street-level shot we see Doll’s high heels cross the screen, right to left in the f/g. Beyond this, we see the whorehouse noted earlier, two hookers lounging outside, following Doll with their eyes. The call out above the STREET SOUND>
1st HOOKER
Hey girl, what’s happening? You down here lookin’ for work?
2nd HOOKER (Sneering)
Shit, that ain’t no girl.

CUT TO:
HEAD AND SHOULDERS FRONT SHOT OF DOLL, WALKING TOWARDS US DOWN STREET.
Down the street beyond Doll as we track along with her we see the hookers, still shouting. Doll’s cheeks burn with embarrassment.
1st HOOKER
Dresses like a girl.
2nd HOOKER
Aah, you can always tell. They overdo it.

CUT TO:
EXT. STREET. NIGHT.
We have a street level shot of Doll’s high heels walking away from us down another avenue. We keep these in the f/g with the b/g creeping nearer. We see that Doll is approaching a club, left, with a line of youngsters waiting outside. In the b/g to the right, opposite the club entrance, there is a small Army recruiting stand, the two soldiers manning it with their now-silent dog tied up near the stand.

CUT TO:
HEAD AND SHOULDERS C/U OF DOLL, PROFILE.
She crosses the screen from right to left. Looking past her we see the line of teenagers leading to the club’s entrance. The include Dennis, and, further back, Jonni. He follows Doll with his eyes as she exits frame left, smirking at her obvious pretensions.

CUT TO:
POV. BEYOND CLUB ENTRANCE AND RECRUITING STAND, WATCHING DOLL APPROACH.
1st SOLDIER
Jesus Christ, willya look at him?
2nd SOLDIER
Hehehe. Almost swear he was the real thing, right?

CUT TO:
SHOT OVER SOLDIER’S SHOULDERS AS THEY SIT FACING THE CLUB ENTRANCE.
As they talk, Doll enters frame right, walking towards the centre.
1st SOLDIER
You’re damn straight. I’ve sure been out with worse-looking quiff.
2nd SOLDIER
You’re welcome. Hell, I ain’t never been even half way drunk enough for that.
HEARING THIS, DOLL PAUSES CENTRE FRAME, TURNS COOLEY REGARD SOLDIERS.
DOLL
You know, you shouldn’t laugh. I’m only this way because I have a disability. I was born without a penis.

CUT TO:
POV BEHIND DOLL AT WAIST LEVEL, LOOKING PAST HER AT SOLDIERS.
The soldiers look confused and ashamed, looking at each other, then apologetically at Doll.
1st SOLDIER
Christ, fella, I’m sorry. We didn’t know.

CUT TO:
REPEAT OF SHOT FROM BEHIND SOLDIERS, LOOKING AT DOLL WITH CLUB DOOR BEYOND HER.
DOLL
It’s hereditary. I got it from my mother.
DOLL SMILES, TURNS, WALKS TO CLUB DOOR, UNLOCKS AND ENTERS, HER HIGH HEELS CLICKING.

CUT TO:
INT. CLUB.
We are looking down a short flight of stairs to the lobby area. To the left, at the bottom of the stairs, is a cloakroom, behind a swing-gate wooden counter. Beyond that, also to the left, there is the box office window, and just beyond that the box office door. Doll enters through the glass door at the lobby’s end, calling a greeting to the unseen JULIETTE in the box office as she passes.
DOLL
Hi, Juliette.
JULIETTE
Hi Doll.
DOLL WALKS TO F/G CLOAKROOM, REMOVING HER COAT. OPENS SWING GATE AND STEPS THROUGH.

CUT TO:
INT. CLOAKROOM
We are looking out towards the lobby over the counter as Doll enters. Hanging her own coat she takes tickets and pins from a drawer, placing them on the counter. A cashbox she places below counter level. She sits, back towards us, and leans across the counter into the lobby, craning left to should to Juliette, off.
DOLL
Juliette? I’m ready for the herd of peacocks. You can let ‘em in.

CUT TO:
EXT. CLUB, LOOKING AT DOOR OVER HEADS OF LINE.
Tiny and elderly, we see Juliette through the glass door as she unlocks. The crowd surge forward into the lobby, carrying her peeved, protesting form before them.
JULIETTE
Okay, okay, don’t push! Let me get back into the office!

CUT TO:
SHOT FROM JUST BEYOND CLOAKROOM, LEFT, LOOKING TOWARDS CLUB ENTRANCE IN B/G.
Now back in her office, Juliette takes money as people enter, the first having already reached the cloakroom. It is a Japanese boy. He hands a gorgeous feather cloak to Doll. She tears off ticket number one from her book, pinning it to the cape before hanging it, indulging in banter with the customers.
DOLL
Good evening. Welcome to the catwalk. Can I take that? Let me just pin a number on it..my God, it’s fabulous! What did you do, poison an aviary?

CUT TO:
INSERT OF DOLLS HAND TEARING OFF ANOTHER NUMBER, THIS BEING NUMBER 12.
DOLL
Okay, Madame, here we are, the lucky number twelve. One for each year you’ve had it, huh?

CUT TO:
DOWNSHOT OF CLOAKROOM MOUTH AND CROWD.
Doll pins number 45 to a burly man’s fur coat.
BURLY MAN
Make sure you take care of this, okay?
DOLL
Sure. What does it eat? No, I’m kidding…

CUT TO:
INSERT OF DOLLS HAND TEARING OFF NUMBER 67.
DOLL
Okay, lady, just hand it over here..

CUT TO:
C/U OF DOLLS HAND TEARING OFF NUMBER 98
We PULL BACK for a rear view of Doll. Feigning dazzlement she pins number 98 to the electric blue coat of Dennis, who we saw earlier. Jonni is behind him in line.
DOLL
Jesus, do you mind if I switch this off? I got some tired old rags trying to sleep back here.

CUT TO:
SHOT O/S CLOAKROOM, LOOKING IN OVER COUNTER.
Dennis is in the left of the f/g, Jonni, on the right.
DENNIS
Oh, heartface, you can’t switch it off. It glows because its radioactive. We’re all gonna be radioactive pretty soon. They say we may be headed for a nuclear winter…
DOLL
Yeah, well, just so long as everybody dresses nice and warm for it, huh?
DENNIS EXITS LEFT, CHUCKLING. DOLL TURNS, SMILING, TO GREET JONNI, ENTERING RIGHT.
DOLL
Good evening, sir, welcome to the catwalk, can I take that?

CUT TO:
DOLL’S POV, LOOKING UP AT JONNI.
He has a superior smirk.
JONNI
You know, as a woman you’re not terribly convincing. You try to hard. Why can’t you just relax and be yourself?

CUT TO:
JONN’S POV, LOOKING AT DOLL.
His arm and coat are visible. Doll pauses, glaring.
DOLL
Why should I? Look where it got you. Now can I have your coat, sir, madame, whatever..
SHE REACHES OUT FOR JONNI’S COAT.

CUT TO:
DOLL’S POV, LOOKING AT JONNI.
Smiling, he jerks the coat back out of her reach. We PULL BACK as Jonni taunts Doll, until we are behind her in the cloakroom looking out.
JONNI
Y’know, I’ve seen you. I just moved into your rooming house, across the hall. Daytimes, you’re totally average, but at night…at night you come down here dressed like some big model just ‘cause you got this lousy hatcheck job.
FROSTY, IRRITATED, DOLL SHOVES JONNI TOWARDS OPPOSITE WALL, TURNING TO NEXT IN LINE.
DOLL
Uh huh. I see. Excuse me, could you just stand over there for a moment?
Can I take that, sweetheart?
DOLL PINS NUMBER 99 TO WOMAN’S COAT. JONNI SLOUCHES AGAINST WALL, SNEERING.
JONNI
I mean, what’s so great about working in this place? Jerks strutting by, showing off their jerky outfits. It’s like they know they can’t handle the world, but they think they can handle their wardrobe.
DOLL (To woman customer)
Thank you so much, Madame. Are you enjoying the floor show? He’s actually a brilliant performance artist, and right now he’s being a dick.
WOMAN EXITS RIGHT. DOLL TURNS TO NEXT CUSTOMER, PINS NUMBER 100 TO HIS COAT.
DOLL
Welcome to the Catwalk, sir. Can I take that?
JONNI
Do you ever listen to yourself, keeping up this stream of crap? You’re just like every failed stand-up comedian who ended up serving in a delicatessen. You’re insignificant, you’re insincere..

CUT TO:
JONNI’S POV, LOOKING AT CLOAKROOM.
Doll hangs the man’s coat, and he exits left. She turns to Jonni, cold and venomous.
DOLL
I’m also in work, in here, and totally indifferent to you. Now, as you can see, I’m all out of tickets. That means the club’s full, and that means there’s no more room for you or your coat.
SHE TURNS TO ADDRESS REMAINDER OF LINE, WHO GRUMBLE DISAPPOINTEDLY.
DOLL
I’m sorry, but that goes for the rest of you as well. Please collect your refunds from the box office as you leave.

CUT TO:
POV JUST BEYOND CLOAKROOMS, LEFT, LOOKING ALONG LOBBY TOWARDS ENTRANCE.
In the b/g, the kids collect their refunds and leave. Jonni loiters. Locking away the cash box, Doll steps through the swing gate, not looking at the coldly furious Jonni, and pauses head and shoulders facing us in the left of the f/g, with Jonni behind her, glaring at her back in cold disgust as he speaks.
JONNI
God, you know, you’re a prize bitch.
SMUGLY, DOLL PRIMPS HER WIG AND SMILES, NOT LOOKING ROUND AS SHE SPEAKS.
DOLL
Well, at least that’s one feminine quality I handle convincingly.
IN B/G, JULIETTE LEANS FROM OFFICE WINDOW AND SHOUTS TOWARDS THEM, OTHER KIDS GONE.
JULIETTE
Hey, c’mon. Any more up there?
JONNI GLANCES AT HER, THEN BACK AT DOLL
She ignores him, he turns, walking away to entrance. As he passes the box office, Juliette waves some money at him.
JULIETTE
Wait! Your refund! Don’t you want your money?
IGNORING JULIETTE, JONNI SLAMS OUT OF THE DOOR. WRYLY, DOLL MURMURS COMMENT IN F/G.
DOLL
Hm. Loved the sweatshirt, hated her.

CUT TO:
SHOT BEHIND DOLL AS SHE WALKS UPSTAIRS TO GLASS CLUBROOM DOORS, WHERE SHE PAUSES.
She stands looking into the clubroom through the door. SOUND: Muted clubnoise.

CUT TO:
INT. DARK CLUBROOM, LOOKING OUT AT DOLL IN C/U THROUGH GLASS DOORS.
As she peers in at us, we PULL BACK into room until the back rank of the club crowd faces us in the f/g. We see a woman and a couple of men, including Dennis. Doll is visible in the b/g through the glass door as we come to rest.
WOMAN CLUB-GOER ( To escort)
I told you we should have arrived earlier. I can’t even see who’s supposed to be singing.
FEMALE CLUB SINGER (Off)
Thank you. Thank you very much. Okay, now here’s a little something you might find familiar..
MALE CLUB-GOER (Responding to woman)
I can see her arm. She’s wearing a lot of rings. Looks Spanish or something.
OFF FRAME, THE SINGER BEGINS HER SONG.
The song, known as ‘DOLL’S SONG’ henceforth, is elegantly ironic, with imagery that relates both to dressing up and to death, perhaps with an ‘After The Masquerade’ type theme. As singer begins her song, off, Doll starts to lip-synch it through the glass in the b/g, writhing her body stage-seductively. Dennis, in the f/g, turns and notices her, excitedly alerting the other club goers.
DENNIS
My Goodness! Look at that!
WOMAN CLUB GOER
Hey! All right!

CUT TO:
FULL FIGURE SHOT OF DOLL FROM BEHIND AS SHE STAND MIMING AT THE DOOR.
We PULL BACK down the steps, past the cloakroom, across the lobby and out through the glass door. Doll is still visible in the b/g. Jonni’s hand rests upon the glass door in the f/g, his angry face reflected in it.

CUT TO:
INT. LOBBY, LOOKING OUT AT JONNI THROUGH GLASS DOOR.
He looks furious. Gently he opens the door and starts to come through it towards us, the noise of his movements drowned out by Doll’s song on the soundtrack. We PULL BACK along lobby ahead of Jonni as he creeps in, under the ticket window, to the cloakroom. We continue to PULL BACK until Doll faces us in the f/g, lip synching obliviously as Jonni enters the cloakroom unnoticed behind her.

CUT TO:
INT. CLOAKROOM, LOOKING TOWARDS COUNTER AS JONNI ENTERS.
Stealthily crossing to the coat rack he removes the nearest coat, smiling.

CUT TO:
INT. CLUBROOM, LOOKING TOWARDS DOOR, CLUBGOERS IN F/G, DOLL IN B/G.
The figures in the f/g look away from us, entranced by Doll’s beautiful mime.

CUT TO:
INT. CLOAKROOM, CLOSE ON JONNI’S HANDS.
He is removing numbers from the coats: 100, 99, 98.

CUT TO:
INT. CLUBROOM
We are closer to the door, with Doll facing us, performing half figure through the glass door.

CUT TO:
INT. CLOAKROOM, AT FLOOR LEVEL.
We see Jonni’s feet, tickets fluttering down: 45, 44, 43.

CUT TO:
INT. CLUBROOM
Closer to the door now we see Doll performing head and shoulders on the other side. As the song reaches its end she runs both hands wantonly through her hair then spins theatrically, facing away from us. We PULL BACK SHARPLY into the clubroom until we can see the clubgoers facing away in the f/g, with Doll motionless in the b/g, her back to us through the glass, arms lowered, fingers spread, dramatically still. The clubgoers begin to applaud spontaneously, whooping and cheering Doll.

CUT TO:
INT. CLOAKROOM.
We seen Jonni’s hand take ticket number one from the feathered cape. He drops both the cloak and ticket to the off-frame floor.

CUT TO:
EXT. CLUBROOM
We look at Doll c/u from the front as she stands with her back to the clubroom door. She stands poised for a moment, drinking in the applause filtering through the club door behind her with satisfaction. We PULL BACK down the stairs into the lobby, stopping just beyond the cloakroom, right. Straightening her skirt after her performance, Doll walks towards us down the stairs and enters the cloak room through the swing gate.

CUT TO:
INT. CLOAKROOM, CLOSE ON DOLL AS SHE ENTERS.
Still smiling, she has not yet noticed the state of the room. As she looks up we PULL BACK across the room to show all the racks empty save for a few nude hangers. Doll looks stunned as we pull back until the jumbled pile of coats is visible in the f/g with the feathered cloak on top of the pile. Doll, from the b/g, stares motionless and uncomprehending at this coat mountain.

CUT TO:
BEHIND DOLL, LOOKING PAST HER AS SHE WALKS SLOWLY TOWARDS PILE OF COATS.
There are scattered numbers on the floor. We follow Doll a few paces then close slowly over her shoulder upon the mountain of coats.

CUT TO:
INSERT OF CELESTINE’S HAND LAYING DOWN A TAROT CARD: IT IS ‘THE MAGICIAN’.
CUT TO:
INT. CLOAKROOM, SAME SHOT SHOWING MOUNTAIN OF COATS.
We hold on this briefly, and then, in a sudden slow-motion eruption, Jonni bursts up from beneath the coats. The feathered cloak seems to explode, feathers raining everywhere. As He erupts, Jonni roars ferociously, the SOUND distorted on the soundtrack to the roar of some savage, primal beast, Doll screams mingling with it.

CUT TO:
C/UP OF DOLL, SITTING AGAINST THE CLOAKROOM WALL IN SHOCK, STARING, BREATHING RAGGEDLY.
We hear the ragged SOUND of her deep, shuddering breaths as we PULL BACK across the devastated cloakroom until we are behind Jonni, at waist level as he stands facing away from us in the f/g. Doll stares at us from the b/g.

CUT TO:
DOLL’S POV, LOOKING UP AT JONNI.
He smiles. A final few feathers tumble down about him.

CUT TO:
EXT. CLOAKROOM, LOOKING IN. JONNI AND DOLL VISIBLE.
Turning, Jonni runs towards us and then vaults over the countertop. He runs off frame left and we hear the SOUND of his footsteps racing towards the club entrance, which we hear him bang through noisily as Juliette calls out from off frame right. Doll sits alone and speechless in the wrecked cloakroom.
JULIETTE (Off)
Hey! Hey you! What’s all this screaming?
WE HEAR THE SOUND OF THE CLUB DOOR BANGING SHUT, OFF FRAME RIGHT…
JULIETTE (Off)
You come back here! I’m gonna fetch the manager!

CUT TO:
INT. CLOAKROOM. C/UP FRONT ANGLE ON DOLL.
Looking dazed and heartsick, Doll shifts position to her hands and knees and starts to pick up random items of clothing and random fallen tickets, trying hopelessly to match them. We PULL BACK as Doll crawls towards us on hands and knees across the cloakroom floor, futilely trying to match coats and tickets, until we are just behind the feet of Juliette as she stands facing away from us in the f/g. Doll reaches the feet, and, as she notices them, starts to lift her head to look up to see who they belong to.

CUT TO:
DOLL’S POV, LOOKING UP AT JULIETTE TOWERING OVER HER.
Into shot behind Juliette after a moment’s pause, steps the club’s MANAGER, a huge and portly man with a red face, wearing a dinner jacket and towering much more than the wizened Juliette seems to. He glares down angrily.

CUT TO:
MANAGER’S POV, LOOKING DOWN AT DOLL ON HER HANDS AND KNEES.
Looking up at us, Doll laughs uncertainly.
DOLL
Ahahahahaha.
(PAUSE)
You can’t possibly hold me responsible for this.

CUT TO:
EXT. CLUB, REAR EXIT, NIGHT.
The rear wall of the club and its rear door are over to the right, looking out onto a colorfully corroded inner urban wasteland. The door opens and Doll is shoved unceremoniously out into the cold night air. She yelps in outrage.
DOLL
Oww!
THE DOOR SLAMS BEHIND HER. ANGRILY, SHE TURNS AND STARTS TO WALK TOWARDS US.
She picks her way over the rubble and junk on her high heels, looks furious. Behind her, the club’s rear door opens again. The Manager leans out and whistles. Turning, Doll goes back to the door. The Manager thrusts some official tax documents into her hand then slams the door again. Doll gives the door the finger before resuming her walk towards us. We PULL BACK from Doll as she walks down the side of the club towards the front. Dennis is talking to the Japanese boy off camera in the foreground, outside the front of the club. He sounds excited.
DENNIS (Off)
…I mean, isn’t that just incredible? I come along here to fritter away my welfare money on accelerated living; I end up getting a cloakroom job!
CONTINUE TO PULL BACK UNTIL WE SEE DENNIS AND JAPANESE BOY TALKING IN F/G.
They stand on the corner, the Japanese boy wearing the bedraggled remains of his feather cloak, smoking and listening to Dennis enthuse about his new job.
DENNIS
When the manager pulled me to one side, I almost died! I thought he was going to eject me! Oh God, just imagine! Employment!
DOLL CONTINUES PICKING HER WAY TOWARDS US FROM B/G. THE TWO BOYS IGNORE HER.
JAPANESE BOY
Nice. I’ve thought about enlisting. I mean, they’re going to introduce conscription soon, so what’s the difference?
DENNIS
Oh, but you’ll get hurt! You shouldn’t do that! Have you thought about becoming a model?
JAPANESE BOY (Dismissive)
Oh, fuck off.
BY NOW DOLL HAS REACHED THE TWO BOYS, WHO BLOCK HER PATH IN THE F/G.
DOLL (Restrained bitterness)
Excuse me. Can I get through here?
SEEMINGLY OBLIVIOUS TO HER HOSTILITY, DENNIS STEPS BACK TO LET HER PASS.
DENNIS (Sweetly)
Mais certainment.
DOLL WALKS BETWEEN TWO MEN, PAUSING IN F/G TO LISTEN AS THEY CONTINUE TALKING.
DENNIS
No, I’m serious. Celestine is auditioning for mannequins tonight. Didn’t you know?
IN F/G DOLL’S FACE REGISTERS INTEREST
JAPANESE BOY (Dismissive)
Ah, come on. That isn’t for guys.
WE PULL BACK FROM DOLL ACROSS THE STREET UNTIL RECRUITING STAND IS IN LEFT F/G.
We see the dog snuffling around the poster-decked stand, but the soldiers are leaning back out of frame here. The two boys are talking outside the club, with Doll in the centre of the street. Away down the dark avenue behind her, Celestine’s neon sign is burning in the distance. As we pull back from Doll the SOUND of the boy’s conversation grows fainter, eventually becoming inaudible.
DENNIS
My angel, Celestine takes anyone: Boys; girls; inbetweenies. Isn’t it better than getting your pretty arms blown off? He’d dress you in silk, in ermine, in velvet…
AS CAMERA COMES TO REST, BOYS CONVERSATION BECOMES INAUDIBLE.
Doll stares at the army stand in the f/g, then turns to look away from us towards the distant neon sign. Making up her mind she turns and walks away from us towards the sign. Outside the club, the boys conversation breaks up and Dennis leaves. The Japanese boy walks across the street towards us until he stops in front of the recruiting stand, speaking to the soldier behind it, off frame left.
JAPANESE BOY
Those jackets come with the job, right?
SOLDIER LEANS FORWARD INTO FRAME, ELBOWS ON STAND TOP, SMILING AT JAPANESE BOY.
The boy smiles uncertainly back. On cue, the Rotweiler starts to lick his hand affectionately. In b/g, Doll is almost out of sight. It begins to rain.

CUT TO:
EXT. SALON, NIGHT. C/U RIPPLED PUDDLE, CELESTINE’S SIGN REFLECTED IN IT.
There is the SOUND of high heels approaching, and then Doll’s feet appear in the frame, toes just breaching the rain-rippled puddle. We PULL UP AND BACK until Doll and the puddle are framed by one neon loop of Celestine’s sign, up in the f/g. Doll looks up at the sign for a moment or two, then walks through the puddle towards the Salon.

CUT TO:
EXT. SALON, BEHIND DOLL AS SHE APPROACHES THE DARKENED BUILDING.
There are a crowd of hopefuls gathered outside the Salon, some peering in the windows to detect some sign of life inside. Amongst the crowd are many fabulous grotesques. Doll wanders through the crowd, looking about her wonderingly.
1st CROWD MEMBER
Are you sure it was tonight?
2nd CROWD MEMBER
It was on the T.V. It said the auditions started at eleven…
3rd CROWD MEMBER
Well, it’s eleven o’clock now, and it looks awfully spooky and dark..

CUT TO:
INT. SALON, MACHINE ROOM. C/U MADAME D’S FACE AS SHE BELLOWS
MADAME D.
Lights!
WE PULL BACK TO SHOW A WORKER YANKING DOWN UPON ANOTHER LEVER.

CUT TO:
EXT. SALON.
We are looking at the front of the building from behind the crowd as the lights come on spectacularly, throwing the crowd into silhouette. All of them gasp in wonderment and appreciation. The now-illuminated glass doors are opened by costumed menials from the other side and the crowd surge forward, entering the building with Doll struggling along with them at the rear.

CUT TO:
INT. SALON.
We are close on Doll as she enters. We then PULL BACK from Doll past the audition crowd, leaving Doll and the rear of the chattering horde.
MADAME S. (Off, f/g)
Please..no more noise. No more talking. Le Patron prefers always to have silence in the Salon.
WE CONTINUE TO PULL BACK, STOPPING A FEW YARDS IN FRONT OF CROWD AS CHATTER SUBSIDES.
MADAME S. (Off, f/g)
The auditions will proceed quietly and quickly. Le Patron’s time is expensive. For him, each passing second has the smell of burning money.
MADAME S. EXHALES SMOKE INTO F/G, LOWERS HAND HOLDING CIGARETTE INTO FRAME.
MADAME S. (Off, f/g)
Therefore, after taking a number from Madame D, you will each parade along the catwalk to the far end, turn, and walk back. You will do this is strict sequence.

CUT TO:
DOLL’S POV, SHOT OF MADAME S FROM FRONT.
Behind Madame S. we see Madame D, in profile, glowering off left and holding a box of numbers. We PULL BACK from Madames over the heads of the audition crowd, now facing away from us in the f/g.
MADAME S.
..and please, do not suppose to better your chances by dragging your performance out to extraordinary lengths.
CONTINUE TO PULL BACK UNTIL DOLL’S HANDS ARE VISIBLE IN F/G.
Doll is holding a compact mirror in which we see the reflection of her nervous face as she hurriedly adjusts her make-up.
MADAME S.
We are certainly experienced enough to see through such cosmetic contrivances, and you would do well to reflect upon this. Now..form a line and collect your numbers.
MADAME D. (Bellows)
One!
IN F/G, DOLL SNAPS THE COMPACT SHUT.

CUT TO:
INT. CELESTINE’S ROOM, LOOKING DOWN ON DOLL AND SALON THROUGH WINDOW.
Celestine’s black-nailed hand rests on the windowsill in the f/g, stroking it lovingly. We begin to CLOSE IN slowly and lingeringly upon Doll, watching voyeuristically as she straightens her dress and her hair. The only SOUND is Celestine’s pocket watch, ticking. When we are very close on Doll she turns her head sharply and looks straight at us with a startled expression.

CUT TO:
EXT. CELESTINE’S ROOM, LOOKING IN THROUGH WINDOW.
Celestine’s dark and amorphous shape is visible behind the tinted glass.
MADAME D. (Off)
Five!
PULL BACK AND DOWN FROM O/S WINDOW UNTIL DOLL AND MADAME D. FACE EACH OTHER IN F/G.
Doll is gazing distractedly up at the dark window of Celestine’s room in the high b/g. Madame D. glares at the daydreaming girl impatiently.
MADAME D.
Five!
DOLL, NOW AT HEAD OF LINE, LOOKS STARTLED AS SHE TURNS TO MADAME D, TAKING NUMBER.
DOLL
Oh. Uh, I’m sorry. Right. Thanks.
DOLL TAKES NUMBER, WALKING OFF FRAME RIGHT, MADAME D. HOLDS UP NEXT NUMBER.
MADAME D.
Six!
GIRLS TAKES NUMBER SIX. MADAME S. ENTERS SHOT IN B/G, LANGUIDLY ADDRESSING CROWD.
MADAME S.
Please hurry. The auditions begin immediately. After all, one doesn’t wish to keep le Patron waiting..
MADAME D.
Seven!
MADAME S.
Does one?

CUT TO:
INT. SALON. C/U ON NUMBER ONE, HELD BY FIRST APPLICANT ON CATWALK.
It is a girl with burn-scarred arms. We PULL BACK from her as she walks towards us down the catwalk, rolling her hips like a hooker.
MADAME S. (Off, f/g.)
Oh, my dear, just look at the poor creature. Is she walking, do you suppose, or having sex with a mirage?
WE PULL BACK UNTIL, WITH MODEL, WE REACH THE END OF THE CATWALK.
Madame D. sits facing away from us towards the end of the catwalk on the left. Te model reaches the end of the catwalk, turns, and walks back along it. In the f/g, Madame S. lowers her cigarette into frame and exhales, with smoke billowing.

CUT TO:
REVERSE ANGLE.
Madame D. now faces us, with Madame S. sitting beyond her. Madame S. looks bored and languid while Madame D. glares ferociously and unblinkingly.
MADAME S.
No. No, I don’t think she’s quite the thing for us..although I did think those radiation burns were rather fun. Assuming they weren’t real, naturally. Real would be a little too tacky, don’t you think?
MADAME D.
No good! Next!

CUT TO:
OTHER END OF CATWALK, LOOKING AT WAITING LINE OF MODELS FACE ON.
Number one, looking disappointed, exits right. Smiling confidently, Number 2, a man in drag, walks forwards and out of frame in the f/g. We CLOSE IN past number 3, a pretty boy, upon numbers 4 and 5. 4 is female and very bizarre, with molten plastic hardened upon her face, freezing it into an artificial cheery smile. Number 5 is Doll, who speaks hesitantly and nervously to the freakish number 4.
DOLL
Wow. They don’t keep you waiting around for a decision here, huh?
NUMBER 4
Oh, are you kidding? I’ve seen them stop people halfway along the catwalk and tell them to go home…fat people, people with limps and like that. I mean, why do they bother, losers like that?
DOLL
Uh, do you come to many of Celestine’s auditions?
NUMBER 4
This is my ninth. You know, he watches every audition, all alone up behind that slit of glass. He never comes out because he has this deformity. You come to a lot of auditions, you find these things out.
MADAME D. (Off, bellows)
No good! Next!
EMBITTERED, NUMBER 2 EXITS. NUMBER 3 ADVANCES SMILING, GOING OFF FRAME IN F/G.
DOLL
What do you mean, “deformity”?
NUMBER 4
Well, I dunno. I guess he’s just all lumps and pus and kind of crushed up. I have this friend, Elaine, and, like, she heard that he was born with this kinda soft skull, you know? So, like, he doesn’t have any bones in his head and it just sort of sits there on his shoulders like a big squashy watermelon. You know when they go rotten in the sun?
DOLL
Well, I don’t see what’s so funny about it.
NUMBER 4
What? Oh, you mean this?
SHE TOUCHES HER FIXES, SMILING FACE
NUMBER 4
This is just some melted plastic I has applied, because I figured he might be sympathetic to people with weird faces. Once it sets you can’t move your face, so you have to make sure you have exactly the right expression, and not change your mind halfway through or anything. Does mine look okay? It’s supposed to say “Confidence”.
SHE TURNS HER HEAD TO DOLL TO DISPLAY HER EXPRESSION. DOLL LOOKS ALMOST STARTLED.
DOLL
Oh, it’s great. No, really. Just great.
MADAME D. (Off, bellows)
No good! Next!

CUT TO:
SHOT FROM BEHIND DOLL, LOOKING PAST HER TOWARDS FAR END OF CATWALK.
NUMBER 4
Here goes. This time I’m going to make it. I have this feeling.
DOLL
Good luck.
NUMBER 4 WALKS TO FAR END OF CATWALK AND BACK. ITS APPROACHING F/G WHEN:
MADAME D.
No good! Next!
NUMBER 4 FACES US, EYES TRAGIC AND TEARFUL, UNABLE TO STOP HER STUPID GRINNING.
NUMBER 4
Oh God, not again! I’m so depressed. I might just as well go home and kill myself.
MADAME D. (Impatient bellow, from b/g)
Next!
NUMBER 4 EXITS LEFT. HESITANTLY, DOLL STARTS TO WALK DOWN THE CATWALK AWAY FROM US.

CUT TO:
REVERSE ANGLE, DOLL WALKING TOWARDS US DOWN CATWALK.
There is suddenly no SOUND except the ticking of Celestine’s pocket watch. We PULL UP AND BACK from Doll, over the Madames’ heads, until we look down on whole Salon through Celestine’s view slit. Doll reaches end of catwalk, turns, and starts to walk back. Celestine’s hand enters the frame and raps sharply on the glass. The Madames both turn and look up at the view slit in surprise. Doll keeps walking.

CUT TO:
EXT. CELESTINE’S ROOM, LOOKING IN THROUGH SLIT WINDOW.
Celestine’s dark, vague figure is visible. It waves to us. The SOUND of normal Salon noise resumes as we PULL DOWN AND BACK until Madame D faces us to the right of the f/g with Madame S. behind her, looking up at Celestine’s window, in b/g.
MADAME S.
Oh dear. I rather think he likes her. I s the constant pressure affecting his judgment, do you think? Every day when I collect the latest sketches from his room he seems a little more withdrawn, a little quieter…
MADAME D. (Bellows)
Stop!
PULL BACK ALONG CATWALK UNTIL DOLL IS VISIBLE IN F/G, FREEZING AT SOUND OF VOICE.
MADAME D.
Come back here.
DOLL TURNS AND WALKS NERVOUSLY BACK ALONG THE CATWALK TO THE TWO MADAMES, IN B/G.
Reaching them, Madame S. says something inaudible to Doll, eliciting a squeal of delight in response.
DOLL (Excited, loud)
Really? Ohhh! That’s great!
MADAME D.
Shhhhh!
MADAME S. POINTS TO A DOOR, OFF LEFT. DOLL LEAVES CATWALK, WALKING TOWARDS IT.
Halfway there she turns and thanks the women in a stage whisper. They ignore her.
DOLL
Thank you.
MADAME D.
Next!

CUT TO:
CORRIDOR DOLL HAS BEEN DIRECTED TO, LOOKING DOWN IT TOWARDS MAIN SALON.
In f/g, Chloe is loading mannequin arms from a sideroom onto the corridor floor. Doll approaches from the b/g, looking curious.
DOLL
Uh, excuse me? I just got chosen, y’know? At the auditions? They told me Mr. Celestine would want to see how I looked in one of his designs next.
CHLOE CONTINUES STACKING SEVERED LIMBS, BEYOND, DOWN CORRIDOR, MADAME D. BELLOWS.
MADAME D. (Off)
No good. Next!
DOLL (To Chloe)
I mean, do you have any idea who I should see about that? They sent me along here…
CHLOE, HOLDING AN ARM IN ONE HAND, PAUSES AND LOOKS WEARILY AT DOLL.
CHLOE
Look, I’m sorry, I’m supposed to be clearing out the stockrooms right now. What you need to is the fitting rooms. They’re right along here.
SHE TURNS AND POINTS TOWARDS US, USING SEVERED ARM, THEN TURNS BACK TO DOLL.
CHLOE
You’ll find somebody there to give you a hand.
DOLL LOOKS DOWN AT THE HAND ON THE ARM CHLOE IS HOLDING, THEN AT CHLOE, DISQUIETED.
DOLL
Uh, right. Thank you.
SHE SMILES AT CHLOE THEN TURNS, THE SMILE DROPPING, TO EXIT IN THE F/G.
CHLOE (Indifferent)
You’re welcome.

CUT TO:
INT. FITTING ROOM.
We are looking at the door, close up. Doll leans round it, looking towards us.
DOLL
Hello?
WE PULL BACK INTO THE FITTING ROOM. JONNI’S VOICE COMES FROM OFF FRAME IN F/G.
JONNI
Yeah?
DOLL
Uh, my name’s Doll Seguin. I just got chosen, at the audition? They sent me along to you, said I had to get dressed in something more classic. Is this the right place?
CONTINUE TO PULL BACK UNTIL WE SEE JONNI’S TOMBOY SHIRT AS HE FACES US IN F/G.
DOLL
I mean, you are the person who’s supposed to do that for me?

CUT TO:
REVERSE ANGLE. DOLL’S HAND RESTS ON DOORKNOB IN F/G. BEYOND, JONNI TURNS TOWARDS US.
JONNI (Darkly amused)
Yes. Yes, I’m the person who’s supposed to do that for you.
IN F/G DOLL SCREWS HAND INTO FIST, BANGS IT ONCE ON DOOR. JONNI APPROACHES.
DOLL
Aw shit..
JONNI
So, what happened to the cloakroom comedian? You decided to trade being a coat hanger for a clothes hook?
REACHING DOLL HE PICKS DISDAINFULLY AT HER CHEAP DRESS.
JONNI
Well, I guess I better get you out of this thing for openers. Will you be wanting it back, or should I burn it? I mean, it’s hardly…

CUT TO:
PROFILE SHOT, WITH DOLL LEFT FACING JONNI RIGHT. SHE SNATCHES HER ARM AWAY, FURIOUS.
DOLL
Get your goddamned dyke hands offa me! Just don’t touch me, okay? You just shut up and get me dressed and leave me alone.
JONNI SPREADS HANDS HOPELESSLY AND PULLS FACE. PICKS UP SLIP FROM NEARBY TABLE.
JONNI
Well, you have to put on a slip. How can I dress you without touching you? I can’t.
DISGUSTED, DOLL SNATCHES THE SLIP FROM JONNI.
DOLL
Oh, give me that. Where are the changing rooms?
JONNI INDICATES CHANGING ROOMS WITH HIS THUMB.
Glaring, Doll turns, crosses to changing cubicle in b/g and pulls curtain shut. Jonni, in f/g stand talking amusedly over his shoulder to the closed door.
JONNI
Of course, you know this is pointless? I mean, it’s not like you’re fooling anybody. It’s not like anybody cares who you are, if you’re a boy, or a girl, or what. Who gives a shit? It’s totally irrelevant. I mean, the world could be looking at a fucking nuclear winter. Believe me, the last thing anybody is interested in is your dick.
CHANGING ROOM DOOR OPENS. DOLL EMERGES, STALKS TO F/G WEARING SLIP, HIGH HEELS, WIG.
DOLL
Where’s the outfit? The said I had to be classic.
JONNI
Oh, you’re classic, all right.
HE TAKES AN ELEGANT DRESS FROM ITS HANGER, RETURNING TO DOLL.
JONNI
Here, you better have this one. It’s all that’s around right now. But listen, get your fingers on this, mess it up or anything, and you’re finished. While it might look to you or I like a piece of over-rated, ostentatious shit, this is priceless. Okay, lift up your arms.
DOLL LIFTS ARMS. JONNI PULLS DRESS OVER HER HEAD THEN CIRCLES HER, CHECKING FIT.
JONNI
Uh-huh. Needs tacking in a little here. Let me find a pin…
HE FINDS PINS THEN TACKS IN DOLL’S DRESS, ACCIDENTALLY JABBING HER.
DOLL
Oww!
JONNI (Smiling)
Oh, I am sorry. There. Now, we better get this thing laced up…
DOLL FACES US. MOVING BEHIND HER, JONNI STARTS TO LACE UP HER DRESS.
She winces and grunts as he pulls the strings tight, smiling over her shoulder.
JONNI
You’re not enjoying this, are you?
DOLL (Seething)
No. I’m not enjoying this.
JONNI CONTINUES MAKING ADJUSTMENTS, TALKING WHILE HE DOES SO. UNBLINKING, DOLL GLARES.
JONNI
But you’re gonna take it. Wanna know why? You’re gonna take it because you’ve got no more class than those jerks whose coats you used to check. You’d crawl through a sewer for work, any work, just like all the rest. Well, you can lick ass here all you want, it won’t make any difference. You ain’t never gonna be a big model, because to do that, you gott look like you’re worth more than your clothes.
HE PAUSES, STEPS BACK AND APPRAISES HER. SHE GLARES AT US, SEETHING.
JONNI
Hmm. Now, why don’t you be a good boy and stay there. I’m going to see if I can find you some decent shoes, so you don’t trip over those heels while you’re jumping through hoops for Celestine.
PICKING UP ARTIFICIAL FLOWER HE PINS IT IN HER BLONDE WIG, SMILING INGENUOUSLY.
JONNI
I mean, we wouldn’t want you to look stupid.
HE SMIRKS THEN TURNS AND WALKS AWAY, EXITING THROUGH DOOR IN B/G BEHIND DOLL.
She stand motionless for a second, seething, then snatches the flower from her wig and flings it to the floor in disgust. Turning, she walks to the door and peers out.

CUT TO:
SHOT OVER DOLL’S SHOULDER, THROUGH DOOR, DOWN CORRIDOR.
The corridor is empty, leading to a junction at the far end. Doll walks away from us down corridor, occasionally catching her high heel upon her hem.

CUT TO:
OTHER SIDE OF JUNCTION, LOOKING DOWN STAIRS AND ACROSS CORRIDOR, DOLL APPROACHING.
As Doll approaches the junction there is the SOUND of a trolley approaching down the junction’s left arm. Doll flattens herself against one wall, freezing. Chloe enters left along corridor, pushing a trolley laden with mannequin arms. She doesn’t notice Doll, and exits to right of frame. As SOUND of trolley fades, Doll darts across the corridor and comes up the stairs towards us, looking furtive.

CUT TO:
TOP OF STAIRS.
The top of the stairs is seen through a glass panel in a door across the landing. There is the SOUND of many sewing machines. Doll comes up stairs into shot, then crosses the landing towards us, as if puzzled, peering in through the glass. We PULL BACK from the door into a huge room, showing rank after rank of women seated at sewing machines, heads bowed, working diligently. No one looks up. Through the glass panel in the b/g, Doll stares at this surreal multitude of drones, then exits.

CUT TO:
INT. SALON, A HIGHER STAIRCASE, LOOKING THROUGH THE BANNISTER BARS.
On the other side of the bars we see a limbless mannequin staring at us sightlessly like a prisoner in a cage. Other mannequins stand behind it. Doll’s feet enter the left of the foreground as she runs up the stairs with the dress frothing about her ankles, before she exits right, leaving the dummy staring us through the bars.

 

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