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Niccol, Andrew
Simone (2002)
Left in the lurch when a temperamental actress walks off the set, director Viktor Taransky (Al Pacino) is in trouble. Not only is he without a star, but his studio-exec ex-wife (Catherine Keener) fires him, endangering his chance at a comeback. So he decides to take matters into his own hands ... digitally, that is. He creates the ultimate star: Simone, a beautiful, computer-generated actress who will always do exactly what he says. Or will she?
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Niccol, Andrew. Simone
Simone scipt
FADE IN:
ON BRIGHT, OUT-OF-FOCUS, OVAL-SHAPED COLORS.
The colored shapes dart around the screen -- the impression
of looking through a kaleidoscope.
As the image comes into sharp focus, we discover that we are
inside a CANDY BOWL. A MAN’S FINGERS are frantically
removing all the cherry-flavored pieces of candy.
EXT. STUDIO LOT - DAY
The man performing this curious task is
writer/producer/director, VIKTOR TARANSKY, forties,
conservatively dressed in suit and tie. He sits alone at an
empty craft service table outside a cavernous soundstage,
some distance from the rest of the film set -- a breeze blows
the table’s paper cloth.
Viktor finishes sorting. Finding no trash can to deposit the
rejected cherry candy, he scoops them into his pocket.
A young headset-clad P.A. hurriedly approaches. He looks
ill.
P.A.
Mr. Taransky --
Viktor reads the young P.A.’s panicked expression.
VIKTOR
She’s walking?... Don’t tell me
she’s walking.
(blood slowly draining
from his face)
She is not walking... She can’t
walk.
EXT. TRAILER - DAY
NICOLA ANDERS, twenty-something, A-list actress, beautiful
face scowling, is supervising her ASSISTANT ferrying clothes
from a movie trailer to a limousine. VIKTOR desperately
follows after Nicola.
VIKTOR
-- Nicola! How was your massage?
NICOLA
You’re in breach.
VIKTOR
-- Is this about the new pages? --
I made the changes you wanted,
you’re in virtually every scene --
NICOLA
(wheeling on him)
It’s not the size of the role,
Viktor.
(suddenly very cool)
Am I or am I not contractually
entitled to the biggest trailer on
the set?
VIKTOR
(regarding the enormous
silver fish behind them,
confused)
It’s the biggest on earth! I
swear! It’s a 50-foot Airstream --
they don’t make them any longer
than that.
NICOLA
Taller, Viktor.
VIKTOR
Taller? What?
Viktor looks up in horror. The trailer next to Nicola’s does
indeed appear to be fractionally taller.
NICOLA
(walking away)
You’ve insulted me for the last
time.
Viktor looks to the tires. His face suddenly brightens.
VIKTOR
Nicola, it’s just the tires --
they’re over-inflated! I can fix
it!
Viktor grasps the air nozzle on a tire and begins desperately
stabbing at it with a ballpoint pen. Air hisses out.
VIKTOR
See, it’s lower already.
Nicola ignores Viktor, marching towards her limo with her
PUBLICIST. Abandoning the trailer, Viktor hurries after her.
VIKTOR
I beg you. You can’t do this to
me.
NICOLA
(looking back)
I had three other offers. I only
signed on to this picture out of...
loyalty.
VIKTOR
Then show some. They’ll shut me
down!
NICOLA
(opening the car door)
It wasn’t working anyhow. The
scene with the thousand geese -- I
don’t understand this film. I
don’t think anyone will understand
it. I already put out a press
release -- citing "creative
differences".
Viktor stops, nods resignedly -- suddenly very calm.
VIKTOR
You know what, Nicola, you’re
right.
(picking up her last piece
of luggage)
Here, let me help you with that.
(holding the door for her)
You ought to go. The truth is I
don’t deserve you. This film
doesn’t deserve you. Frankly, it
deserves much, much better. The
reason it’s not working is because
you’re not about the work.
Nicola is stunned.
VIKTOR
(to the limo driver)
To Hell, please.
The door slams and the limo roars away. Viktor looks to the
still hissing trailer tire. The CREW regards Viktor
apprehensively.
VIKTOR
(to the crew)
What are you looking at? Get back
to work.
The crew is uncertain what work there is to do.
INT. BEDROOM - "SUNRISE, SUNSET" - NIGHT
In an ornate bedroom, NICOLA lies on her death bed under a
veil of netting. A distraught man, HAL, sits close by.
NICOLA
(whispered)
Jack... are you there?
HAL
I’m here. I’m right beside you.
A NUN enters.
NUN
(to Hal)
You should really go now.
NICOLA
No, it’s alright. Please, let him
stay.
The nun withdraws. Hal holds his face in his hands, almost
breaking down.
HAL
(a glance to heaven)
What kind of cruel God is it that
would take you away from me?
NICOLA
The same one who brought me to you.
HAL
No... I cannot accept it. If
something like this can happen.
What...
(struggling to find the
words)
What is it for?
NICOLA
(smiles through her pain)
-- Why are we here? Is that what
you’re asking, Jack?... Why are we
here? No why. Just here.
Nicola dies peacefully.
INT. SCREENING ROOM - STUDIO - DAY
VIKTOR sits with leading man HAL, THREE EXECUTIVES and studio
head ELAINE CHRISTIAN, watching a rough assembly of the film.
It ends with a close up of NICOLA ANDERS.
The lights go up. The image of Nicola fades off the screen.
EXECUTIVE 1
She’s good. You can hardly tell
she’s reading off a teleprompter.
VIKTOR
(ignoring him)
I’ve analyzed the footage. We’ve
got almost everything we need in
the can. If we rework the script,
we can finish the film without her.
EXECUTIVE 2
(forceful shake of the
head)
According to the writ her attorneys
filed at noon today. They’ll sue
if the film is released with Nicola
in a single frame.
VIKTOR
(more anxious)
So we’ll re-cast.
HAL
Nicola Anders is the only actress
who can play that role.
VIKTOR
(incredulous)
It’s a re-make, Hal. Anders is not
bigger than this picture.
Elaine finally speaks up.
ELAINE
Of course she is. No other name is
going to sign on now and risk
offending her.
VIKTOR
We don’t need a name. We’ll cast
an unknown.
HAL
I won’t play opposite an unknown.
ELAINE
We can’t sell an unknown. Nicola’s
soured on the project and we have
to accept that. If we ever want to
be in the Nicola Anders business
again, we have to cut our losses
and shelve the picture.
The executives, leading man and director nod sagely.
VIKTOR
(aghast)
No! You will not give in to that
blackmailing bitch!
ELAINE
(a wince, addressing
everyone but Viktor)
Excuse us.
Elaine ushers Viktor out of the screening room.
EXT. STUDIO LOT - DAY
ELAINE and VIKTOR talk in the shadow of an enormous
soundstage. They speak more freely in each other’s company.
ELAINE
God, Viktor. Why do you always
have to make things so difficult
for yourself?
VIKTOR
Difficult. I’m difficult.
He produces a handful of candy from his pocket.
VIKTOR
(referring to the candy)
-- Do you know what these are,
Elaine?
ELAINE
(talking a piece of candy
and eating it)
Hmm... Mike and Ike’s.
VIKTOR
Not just any Mike & Ike’s -- cherry
Mike & Ike’s. Do you know why I,
Viktor Taransky, two-time Academy
Award nominated director --
ELAINE
-- Viktor, that was Short Subject.
VIKTOR
-- overseeing the most cherished
movie project of my career, am
walking around with a pocketful of
cherry Mike & Ike’s?
Elaine takes a seat in a nearby studio cart as Viktor paces.
ELAINE
-- I have a feeling you’re going to
tell me.
VIKTOR
-- I’ll tell you why. It is
because Miss Nicola Anders,
supermodel with a SAG card God’s
gift to cinema, has it written into
her contract that all cherry Mike &
Ike’s be removed from her candy
dish along with strict instructions
that any room she walks into should
have seven packs of cigarettes
waiting for her three of them
opened, that there be a personal
jacuzzi within eighty paces of her
dressing room, and that any time
she travels, her nanny must fly
with her first class.
ELAINE
-- What’s wrong with that?
VIKTOR
Elaine, she doesn’t have any
children!
(grabbing her arm)
Don’t you see? We’re being held
hostage by 12 men and 5 women who
someone somewhere has decreed are
the A-list.
ELAINE
The public decides who’s on that
list.
VIKTOR
Please.
ELAINE
It’s the truth. Those 17
superstars are our insurance
policy. We can’t open -- can’t
make a profit without them.
VIKTOR
We can hardly make a profit with
them. Up-front salary, back-end
deal, perks, per diem, percentages
-- They’re mocking us, Elaine.
We’re at their mercy.
(staring wistful, into
space)
We always had movie stars but they
used to be our stars. We used to
decide who would play what role.
We told them what to wear, what to
say, who to date. When they were
under contract, we could change
their names if we wanted to -- more
than once!
ELAINE
(regarding him as if he’s
insane)
You realize you’re nostalgic for an
era you weren’t even born in?
VIKTOR
(irritated at her
infuriating logic)
Well, I do remember why I started
out in this business -- you seem to
have forgotten -- working in New
York with Cassevetes -- we were
trying to do something important,
shine a light in that darkened
cinema --
ELAINE
(rolling her eyes)
-- It’s called a projector.
VIKTOR
(ignoring her)
-- Illuminate hearts and minds with
a ray of truth.
ELAINE
Listen, Viktor, I have good
memories of those days too -- but
this isn’t about that or you or me
or some high-minded ideal. This is
business.
VIKTOR
Spare me.
ELAINE
(gesturing at the studio
lot)
-- Christ, Viktor, look around.
What do you think pays for all
this? This is about investment and
return. Those days in New York...
that’s... it’s over.
A pause. Viktor reads Elaine’s face.
VIKTOR
You’re not renewing my contract.
ELAINE
How can I? Your last three
pictures tanked. The board is
giving me hell. No bankable star
will work with you after this. If
you just compromised... a little.
Viktor eats some of the candy in his hand as he takes in the
news.
VIKTOR
(rueful smile)
-- Well, it’s not every day you’re
fired by the mother of your own
child.
Elaine also eats some more candy -- a curiously intimate
moment between them.
ELAINE
(softening, a heart-to
heart)
I’m not taking away your daughter,
just your deal. You and I both
know, after the divorce I kept you
on for old time’s sake, so you
could still hold your head up in
front of Lainey. I called what’s
his name at Warner’s. He said he’d
take a meeting -- in July. I’ve
fought for you Viktor...
(voice trails off)
You want to talk severance?
VIKTOR
(staring off into the
distance, face hardening)
You can have everything -- office,
car, assistants -- all I want is
the picture.
ELAINE
(confused)
The picture’s dead.
VIKTOR
So there’s no problem -- I can have
the rights, the negative too?
ELAINE
(believing she’s getting
off lightly)
They’re yours. But how are you
going to finish it? Without a star
there’s no movie.
VIKTOR
I don’t need a star. All I need is
an actor -- I’ll reshoot the part,
cut out Nicola and replace her with
a real actor. A real leading lady.
ELAINE
Even if you find her, you know the
problem with unknowns, Viktor. If
they’re good, they get known. And
then you’re back to sorting their
candy... and worse.
(kissing him on the cheek
as she departs in her
studio golf cart)
I’m sorry, Viktor.
Viktor watches her depart down the canyon of stages, left
alone on the deserted lot.
EXT. STUDIO ENTRANCE - DUSK
Twenty NICOLA ANDERS’ FACES jiggle into frame. VIKTOR’s face
appears amongst them.
They are cardboard figures, standing together in the trailer
of an electric cart. A WORKMAN is collecting the promotional
standees from around the lot.
VIKTOR places his hands on the neck of a cardboard cut-out --
we sense he is about to rip her head off -- when a fourteen
year old girl, LAINEY, appears beside him, carrying a laptop
computer.
LAINEY
Hi, Dad.
VIKTOR
(slightly ashamed)
Hello, sweetheart.
Viktor, embarrassed by his childishness, steps aside for the
suspicious workman who carries the standee away.
Lainey smiles sweetly. She hugs him.
LAINEY
I’m sorry Mom canned you.
VIKTOR
(shrugging)
It’s really... not anything,
Lainey. It’s just --
LAINEY
Don’t feel too bad.
(glancing to a standee)
Mom runs the place and they still
walk all over her. You’re better
off out of it.
VIKTOR
(regarding his daughter)
You look very grown up. What are
you doing? You meeting your mom
for dinner?
She glances towards the entrance where Lainey’s mother,
ELAINE, and her dependable, uncomplicated businessman
boyfriend, KENT, wait beside Elaine’s car.
LAINEY
(reluctant admission)
Kent got tickets to the ballet.
Viktor shakes the idea of Kent and Elaine from his head.
VIKTOR
(trying to convince
himself as much as
Lainey)
I’m going to finish the picture,
sweetheart. It’s important.
LAINEY
(not quite convinced)
I know you’ll do it, Dad. You’re
Viktor Taransky.
Lainey kisses the forlorn Viktor goodbye. She runs to her
mother and Kent.
VIKTOR
(to himself)
That’s right. I’m Viktor Taransky.
EXT. STUDIO BUILDING - SOME DISTANCE AWAY - DUSK
From a distance ELAINE and KENT regard the lonely figure of
VIKTOR.
KENT
You had no choice, Elaine. He’s a
liability.
ELAINE
(wistful look to Viktor)
He also happens to be the most
talented man I’ve ever known.
Elaine climbs in the car as Lainey approaches.
EXT. STUDIO BACKLOT - TRAM - DAY
CLOSE UP on a copy of "Variety". The front page banner
headline: "ANDERS RIDES OUT OF ’SUNSET’ -- Cites Creative
Differences"
The man reading the trade paper sits in the back of a tram on
a studio tour -- HANK ALENO. He wears a pair of spectacles
with one lens blacked out, his head tilted on one side. It
is an item buried on the inside pages that catches Hank’s one
good eye.
TARANSKY CALLS A-LIST:
"OVER-PRICED, OVER-PAMPERED PRIMA DONNAS"
- Director’s Future Now In Doubt -
The tram pauses. The TOUR GUIDE keeps up a commentary.
TOUR GUIDE
-- On your left, the house where
Claris Commodore uttered those now
immortal words, "If that door
doesn’t hold, stand behind me".
And coming up on your right --
When the tram departs, we discover that Hank has exited the
tram and is hiding in the facade of a New York subway
entrance. The tag around his neck reads, "VISITOR -- Stay
With The Tour".
EXT. STUDIO GATE - NIGHT
VIKTOR wheels a stack of film cans on a dolly while holding
several framed black and white photographs of screen legends
under his arm.
HANK, hiding in the shadows of the soundstages, spies Viktor.
He hurries towards him as Viktor approaches his antiquated
Bentley.
HANK
-- Mr. Taransky, Mr. Taransky...
thank God. I’ve been trying to see
you, calling -- Your assistant
wouldn’t put me through. I told
her it was a matter of life and
death. I was afraid I wouldn’t get
to you in time --
VIKTOR
(using his stack of film
cans as a barrier)
-- Please, get away from me.
HANK
I did it, Mr. Taransky. I licked
skin. I licked hair. I licked
every part of her.
VIKTOR
(more disturbed, fearing
he is dealing with a
pervert)
You want me to call Security?
HANK
I have her, Mr. Taransky. The
answer to your prayers.
(producing the "Variety"
article, conspiratorial)
The answer to this.
VIKTOR
(regarding the article)
I was misquoted.
HANK
I have your new leading lady...
(indicating the bulge in
his pocket)
... right here in my pants.
Viktor takes a step back, concerned once again about the
man’s motives.
HANK
(trying to reassure)
It’s me, Mr. Taransky. Don’t you
recognize me? -- The Future of
Film conference in San Jose.
Hank... Hank Aleno. I was keynote
speaker. You must remember my
speech... "Who Needs Humans?"
VIKTOR
(faint glimmer of
recognition)
That’s right. You were booed off
the stage. That’s got to be -- ?
HANK
-- Eight years ago. In that whole
time, I never left my computer.
VIKTOR
(wary)
Good for you, Hank.
HANK
(referring to his covered
eye)
Good and bad. They think that’s
what caused this. Me eye tumor.
Microwaves from the screen. It’s
the size of a grapefruit. Heavy
too.
VIKTOR
(regarding the pathetic
figure with the tilted
head)
I’m sorry.
HANK
Don’t be. It was worth it.
Hank once again indicated the bulge in his pocket. Viktor
now understands the significance of the gesture.
HANK
You have to see her.
VIKTOR
(loading cans into the
car)
I’ve seen them all before.
HANK
Not like this --
VIKTOR
(patronizing smile)
Come on, Hank. A synthespian,
virtual actor -- ?
HANK
(irritated)
-- We call them "vactors".
VIKTOR
I need flesh and --
HANK
-- Flesh is weak.
VIKTOR
-- a living, breathing actor -- I
can’t work with a fake.
Viktor loads his film cans into the car.
HANK
(pointing to Nicola in
Variety)
You already do. But my actor won’t
get old, fat, lazy or drunk --
won’t throw tantrums, demand a body
double, script changes or a bigger
trailer.
(whispers, conspiratorial)
The Disney Corporation has been
using artificial actors for years.
VIKTOR
That’s the point, Hank. No matter
how good they are, they’re still
Mickey Mouse. Everyone’s tried.
Everyone’s failed. It can’t be
done.
HANK
It can -- with my new computer
code, you and me, we can do it
together.
VIKTOR
I don’t know anything about
computers.
HANK
That’s why you’re so perfect. You
have something I don’t have.
VIKTOR
What’s that?
HANK
An eye -- for performance. You
know the truth when you see it. I
know. I’ve seen your movies. I
love your movies.
VIKTOR
You do?
HANK
"Straw God" changed my life.
VIKTOR
You saw that?
HANK
I’ve seen every frame of your work.
You’re the only filmmaker in
Hollywood with the artistic
integrity to realize my vision.
You and me, art and science... we
are the perfect marriage.
VIKTOR
Listen, Hank, it’s been a rough
day.
(climbing into his car)
I’ll call you about his next week.
HANK
(at the car window)
I won’t be here next week. The
tumor’s inoperable. I’ll be dead.
VIKTOR
(winding down the window)
I’m already dead.
Viktor’s car roars away. He looks back at the forlorn Hank
in the rear view mirror.
HANK
Call me.
(looking at his watch)
This week!
A huge eye from a dismantled Nicola Anders billboard is
wheeled away behind him -- followed by a huge pair of lips.
INT. VIKTOR’S MALIBU HOUSE - DAY
A sea of ingenue headshots. Black X’s are drawn through all
of them. VIKTOR lies amongst the rejected faces, talking on
the telephone, in his spartan bachelor beach house.
VIKTOR
(into phone, referring to
a young woman’s headshot)
-- What do you mean she won’t work
with me? She’s done nothing. She
doesn’t have a single credit --
AGENT’S VOICE
(from phone, off-camera)
-- Better no credits than a
Taransky credit. No young actress
is going to step into Nicola
Anders’ shoes and risk ending her
career before it’s even started.
VIKTOR
-- Art, you don’t understand. I’ve
mortgaged everything to finish this
film -- creditors calling, coming
to the house, for God’s sake, I
need this --
The phone goes dead. Viktor tries to re-dial --
disconnected.
VIKTOR
-- Damn.
Sharp knock on his door. Viktor peers through a curtain and
spies an official-looking MAN IN A SUIT, carrying what looks
to be a legal notice in his hands.
Viktor slips out of the back door.
EXT. BEACH - DAY
VIKTOR hurries along the beach. When he turns, he discovers
the MAN IN THE SUIT following him. As Viktor runs, the Suit
runs -- calling out to him.
MAN IN THE SUIT
Mr. Taransky, Mr. Taransky --
VIKTOR
(calling back)
I’m not him.
Viktor stumbles. When he recovers, the Suit is on him.
MAN IN THE SUIT
Mr. Taransky, Sir, I represent the
estate of Mr. Hank Aleno.
(showing him Hank’s
obituary in the L.A.
Times)
It was Mr. Aleno’s last wish that
you have this.
The Suit hands Viktor a heavily-sealed envelope.
VIKTOR
What is it?
MAN IN THE SUIT
I have no idea, Sir. He wanted you
to have it.
The Suit departs. Viktor hesitates, then breaks the seal on
the package -- inside he finds a hard-drive. The hard-drive
is labeled "SIMULATION ONE".
A TITLE APPEARS ON THE SCREEN:
SIX MONTHS LATER
CLOSE UP ON
a VACUUM CLEANER cleaning a tatty red carpet.
On the other end of the vacuum cleaner is VIKTOR. The red
carpet leads to a rundown, downtown Los Angeles cinema -- the
venue for the premiere of "SUNRISE, SUNSET". To save money
on posters, Viktor has altered the originals, "Starring
NICOLA ANDERS" crudely pasted over with "Introducing SIMONE".
EXT. RUNDOWN DOWNTOWN CINEMA - DUSK
VIKTOR regards the sad, little premiere. No paparazzi, no
limos, no klieg lights. Resorting to giving away tickets to
PASSERS-BY, Viktor approaches a HOMELESS MAN sleeping in
trash.
VIKTOR
Want to see a free movie?
HOMELESS MAN
(he thinks)
No.
A taxi pulls up. Viktor’s daughter, LAINEY, steps out.
LAINEY
(kissing him hello)
Hi, Dad.
VIKTOR
Hello, Lainey.
Viktor goes to pay for the taxi but doesn’t have quite enough
cash. Lainey pays herself.
VIKTOR
Your mother couldn’t make it?
LAINEY
She’s at the premiere of "A Cold
Day In Hell". But I think she send
someone from Acquisitions.
VIKTOR
She still with Kent?
LAINEY
This week anyhow.
VIKTOR escorts Lainey down the empty red carpet, regarding
the pathetic premiere. As they walk by, the bulb in Viktor’s
sole spotlight expires.
VIKTOR
Not quite how I imagined it --
LAINEY
(looking on the bright
side)
-- You finished the film on your
own terms, that’s what matters.
Did you really do all the post
yourself?
VIKTOR
There was no other way.
LAINEY
I missed you. I wondered if you
were ever coming back.
VIKTOR
Me too.
LAINEY
(regarding the makeshift
poster, trying to lift
his spirits)
Well, I can’t wait to meet
Simone... what’s her last name?
VIKTOR
You know, I... don’t know.
LAINEY
Is she here tonight?
VIKTOR
She can’t watch herself.
They are interrupted by the THEATER OWNER.
THEATER OWNER
-- Hey, we have to start. I’ve got
"Tough Love 2" playing at ten.
EXT. PIER - "SUNRISE, SUNSET" - MORNING
A foggy, empty pier. A MAN is running through the mist,
shouting desperately.
HAL
Valarie! VALARIE!
Finally, out of the fog -- a young woman in a black cape and
hood, her back to us. The camera pushes in, music swells and
she turns. SIMONE. She is exquisitely, ethereally
beautiful. Perfect.
INT. RUNDOWN DOWNTOWN CINEMA - AUDITORIUM - NIGHT
In the near-empty, dilapidated theater, "SUNRISE, SUNSET" is
playing ON THE SCREEN.
When Simone’s face appears, the faces of the AUDIENCE MEMBERS
change. They are all visibly moved, including the THEATER
OWNER. Some weeping, some with curious smiles on their
faces, some opened-mouthed.
HAL
(ON SCREEN, approaching)
Valarie, what are you running from?
SIMONE
(enigmatic smile)
From Valarie.
Suddenly a GUNSHOT rings out. Simone collapses to the
ground.
HAL
(running to her)
Valarie! No!
INT. THEATER LOBBY - NIGHT
VIKTOR, unable to watch, paces up and down, chain-smoking
while worriedly shoving popcorn in his mouth. Viktor finally
musters the courage to look inside the auditorium.
INT. BEDROOM - "SUNRISE, SUNSET" - NIGHT
The same scene that played in the studio screening room.
However now when we cut from the leading man, HAL, to the
leading lady it is not NICOLA but the newly cast SIMONE.
SIMONE
-- Why are we here? Is that what
you’re asking, Jack?... Why are we
here? No why. Just here.
INT. AUDITORIUM - NIGHT
ON SCREEN SIMONE lies dying. Now even LAINEY is affected by
Simone’s performance. She wipes a tear from her eye.
VIKTOR watches the backs of the heads, trying to gauge the
audience reaction. Finally the credits roll.
A dedication, "For HANK".
No one moves from their seats. Viktor permits himself a
brief smile of satisfaction as he sees his name appear in the
credits:
A Film By VIKTOR TARANSKY
Still no one moves from their seats. Viktor cannot stand it
any longer. He runs to the restroom.
INT. THEATER RESTROOM - NIGHT
Face over the stained sink, VIKTOR splashes himself with
water. He looks to the mirror, horrified by his own
reflection. He rehearses a courtroom speech.
VIKTOR
Ladies and gentlemen of the jury, I
may be guilty of a crime, but it
was committed with the purest of
intentions, to send a message to
the acting community who put
themselves above the work and
above --
Three AUDIENCE MEMBERS enter the restroom. They approach the
urinals.
AUDIENCE MEMBER 1
(continuing their
conversation from the
lobby)
-- So fake.
AUDIENCE MEMBER 2
-- Totally artificial.
Viktor looks at the men aghast and hurriedly exits, missing
the end of their conversation.
AUDIENCE MEMBER 1
We’re really supposed to believe
that was 19th Century Lisbon?
AUDIENCE MEMBER 3
Who’s looking at the sets when she
is on the screen?
All three nod in agreement and begin to urinate.
INT. THEATER LOBBY - NIGHT
VIKTOR exits the restroom. Almost all the AUDIENCE MEMBERS,
including LAINEY, are waiting for him.
LAINEY
(pointing out her father)
There he is. That’s my dad, Viktor
Taransky.
Viktor is about to run for the exit when the small group
spontaneously applauds. They rush to shake his hand.
AUDIENCE MEMBER 4
-- She is magnificent.
AUDIENCE MEMBER 5
-- Absolutely unreal.
Viktor appears uncomfortable with their compliments.
VIKTOR
She wasn’t too... cartoony?
AUDIENCE MEMBER 6
-- Who? The nun?
AUDIENCE MEMBER 7
-- Or are you talking about the
mother?
AUDIENCE MEMBER 8
-- A star like that, who cares
about the supporting cast?
AUDIENCE MEMBER 9
-- Congratulations again. She
was... not of this earth. You
should be very proud.
VIKTOR
"Not of this earth". A good way of
putting it. And the film as a
whole -- ?
The group drifts away, leaving LAINEY and VIKTOR alone.
LAINEY
She’s a miracle, Dad. Where did
you find her?
VIKTOR
(vague)
I saw her picture on the, er...
internet.
(interrogating his
daughter’s face)
You really didn’t notice anything --
unusual?
LAINEY
Only her brilliance. To be honest,
with what you had to work with, I
was expecting a train wreck. You
really pulled it off.
Lainey regards the makeshift poster.
LAINEY
I have a feeling mom is going to
take you back after this.
Viktor’s head snaps around. Lainey smiles.
LAINEY
Back on the lot.
Viktor shrugs off the misunderstanding.
INT. VIKTOR TARANSKY’S MALIBU HOME - NIGHT
VIKTOR enters his sterile, bachelor home, carrying his mail.
His answering machine blinks in the darkness, the message
light reads "FULL". He hits the "PLAY" button.
ELAINE (V.O.)
Viktor, you bastard! I hear it’s
great.
(beat)
Seriously, I’m happy for you.
Viktor opens a drawer containing a photo of he and Elaine
from happier times. He gazes at it as he listens to the
message.
ELAINE (V.O.)
I know people are going to be
beating down your door but... well,
I’d love the chance to buy back
something I gave away for free.
Don’t you just love Hollywood?...
BEEP.
Viktor stops the machine, dazed. He idly opens his mail.
Inside an envelope he finds a SAG Card with the new member’s
name, "SIMONE".
A MONTAGE OF SCENES BEGINS TO PLAY.
A) A line of AUDIENCE MEMBERS stretches outside the rundown
movie theater as far as the eye can see.
ENTERTAINMENT REPORTER (O.S.)
A dazzling new ingenue has come
from seemingly nowhere to capture
the hearts of movie-going audiences
across the nation...
B) THE FRONT PAGE OF "VARIETY" coming off the presses reads,
"SIMONE: A REVELATION -- Dawning Of A New Star In
"SUNRISE".
ENTERTAINMENT REPORTER (O.S.)
... in her debut film, "Sunrise,
Sunset".
C) A TEENAGE BOY in a public library logs on to the first
website dedicated to SIMONE.
ENTERTAINMENT REPORTER (O.S.)
Her face is already posted on
everything from websites to bedroom
walls.
D) Trendy TEENAGE GIRLS saunter past a swimming pool in
Simone capes and hoods despite the sweltering heat.
ENTERTAINMENT REPORTER (O.S.)
Her wardrobe has inspired a fashion
craze.
E) In a Third World back-alley a YOUNG ASIAN MAN shows an
UNDERCOVER REPORTER a pirated recording of SIMONE on a
camcorder.
ENTERTAINMENT REPORTER (O.S.)
And bootleg copies of her film are
being sold in back alleys all over
the world.
F) A LIQUOR STORE CUSTOMER watches a TV behind the counter
showing a clip of SIMONE from, "SUNRISE, SUNSET Courtesy:
Taransky Productions".
ENTERTAINMENT REPORTER
(from TV)
But who is Simone? We know so
little about her. No details of
her background have been released,
not even her age. She is somewhere
between a girl and a woman. A
fresh face and familiar both at the
same time.
G) The ENTERTAINMENT REPORTER now stands outside a
multiplex. The marquee has 16 screens and looks like
this:
"SUNRISE, SUNSET" "SUNRISE, SUNSET"
"SUNRISE, SUNSET" "SUNRISE, SUNSET"
"SUNRISE, SUNSET" "SUNRISE, SUNSET"
"SUNRISE, SUNSET" "SUNRISE, SUNSET"
"SUNRISE, SUNSET" "SUNRISE, SUNSET"
"SUNRISE, SUNSET" "SUNRISE, SUNSET"
"SUNRISE, SUNSET" "SUNRISE, SUNSET"
"SUNRISE, SUNSET" "THE MAKING OF
SUNRISE, SUNSET"
ENTERTAINMENT REPORTER
Is Simone even her real name? And
why the secrecy? All we know for
sure is that she was discovered by
little-known director, Viktor
Tarinsky.
INT. LIMOUSINE - DAY
VIKTOR, watching "SCENE" on a TV in the back of a limousine,
corrects the reporter.
VIKTOR
Taransky.
ENTERTAINMENT REPORTER
(from the TV)
He has parlayed his relationship
with the new sensation into a three
picture deal with the very studio
that dumped him only six months
ago. And no wonder with the
starlet’s performance breaking all
box office records.
EXT. STUDIO GATE - MORNING
Outside the studio entrance, a swarm of REPORTERS,
PHOTOGRAPHERS and FANS rush VIKTOR’s limousine, hoping for a
glimpse of SIMONE.
MOB
Simone! SIMONE! I LOVE YOU! I
Want to BE you!
Studio SECURITY GUARDS hold them back as the limo enters the
lot.
EXT. STUDIO - ENTRANCE - DAY
ELAINE and an entourage of EXECUTIVES greets VIKTOR’s
limousine on the studio steps.
A STUDIO PHOTOGRAPHER has a camera at the ready. A banner
reads, "Welcome SIMONE". A YOUNG ASSISTANT wheels a cake.
VIKTOR steps out of the car. ELAINE pushes past him, into
the limo.
ELAINE
Simone!... Simone?
The car is empty.
ELAINE
(re-emerging from the car)
Where is she?
VIKTOR
Good to see you too, Elaine.
ELAINE
(ignoring his sarcasm)
Why isn’t she with you?
VIKTOR
Why? Because she would never show
up at something like this. She’s
intensely private.
Elaine sighs, exasperated.
ELAINE
(dismissing her
colleagues)
Back to work, everyone. She’s not
here.
The reception committee disperses, murmurs of disappointment.
ELAINE
Viktor... I want to thank you for
convincing Simone to sign with the
studio.
VIKTOR
Don’t thank me. It was entirely
Simone’s decision. Do you have
Simone’s check?
ELAINE
I don’t have it on me. Anyway, it
means a lot.
(quickly changing tack)
Have you read the reviews? They’re
love letters.
(reading from a newspaper)
Listen to this one. "Simone has
the voice of a young Jane Fonda,
the body of Sophia Loren, the grace
of, well, Grace Kelley, and the
face of Audrey Hepburn combined
with an angel".
VIKTOR
(musing to himself)
Almost right.
ELAINE
I can’t wait to meet her.
VIKTOR
I don’t know if that’s going to
happen.
ELAINE
(confused)
Why not?
VIKTOR
As I say, she’s... something of a
recluse. That’s how she’s able to
stay so pure -- by isolating
herself in her art.
ELAINE
(face falling)
Don’t be ridiculous. I arranged a
press conference.
VIKTOR
Out of the question. A circus like
that?
ELAINE
Viktor, it’s my studio.
VIKTOR
She’s my actor. There are other
studios, Elaine. There’s only one
Simone.
(leaving her on the steps)
Leave the press conference to me.
Viktor strides up the studio steps. Elaine stares after her
ex-husband -- she finds herself smiling at his newfound
arrogance.
EXT. STUDIO - PRESS CONFERENCE - DAY
The studio soundstages as a backdrop, VIKTOR approaches a
podium and a forest of microphones, revelling in his recent
fame by association.
VIKTOR
(tapping the microphone)
Is this on?
REPORTER 1
Who are you?
VIKTOR
Taransky, Viktor. T-a-r-a-n-s-k-y,
V-i-k-t-o-r.
REPORTER 1
Yeah, but -- who are you?
VIKTOR
(patronizing smile)
I am a two-time Academy Award
nominated director with over
eighteen films to my credit thus
far including my latest release,
"Sunrise, Sunset". Who are you?
A REPORTER rolls her eyes at his pomposity.
VIKTOR
I will not be taking any questions.
However I do have a statement to
read on behalf of my leading lady,
Simone.
(reading from his
statement)
"To Whom It May Concern. I’m
deeply grateful for the
extraordinary public response to
Mr. Taransky’s film. At this time
I will be conducting no interviews
or making publicity appearances
since I am really nothing without
the beautiful worlds and characters
Mr. Taransky creates for me. I
politely request that the press
respect my privacy and let the work
speak for itself. All questions
and inquiries should be directed to
Mr. Taransky to whom I entrust all
aspects of my career. Yours very
truly, Simone".
The reporters all call out at once.
REPORTER 2
-- Viktor, Viktor, who’s Simone
dating?
REPORTER 3
-- Viktor, where’d you find her?
REPORTER 4
-- Is Simone her real name?
REPORTER 5
-- What’s she got to hide?
REPORTER 1
-- Is she the new Garbo?
REPORTER 2
-- Who’s Garbo?
Viktor silences the reporters by theatrically raising his
hands.
VIKTOR
I thought I made it clear -- no
questions regarding Simone.
(bringing the press
conference to a hasty
conclusion)
Now, I would like to close by
announcing that Miss Simone begins
production today on her next film,
"Eternity Forever". This project
has been near and dear to my heart
since I wrote it nine years ago.
(a tinge of bitterness,
then a smile)
I Thank you.
Viktor exits the podium. A voice stops him in his tracks.
VOICE (O.S.)
Who do you think you’re fooling,
Taransky?
Viktor turns. The voice belongs to over-zealous, crusading,
truth-seeking investigative reporter, MAX SAYER, accompanied
by his assistant, MILTON.
VIKTOR
Do I know you?
MAX
Max Sayer -- National Echo.
VIKTOR
(regaining his composure,
a smirk)
Don’t you have a real story to
write? Why aren’t you in Latin
America?
MAX
This is the story.
VIKTOR
I remember when the Echo had class
-- the paper that could bring down
governments.
MAX
Our leaders aren’t presidents
anymore -- they’re pop stars and
screen idols. If Woodward and
Bernstein were alive today, they’d
be right here in Hollywood with me.
VIKTOR
They are alive, Sayer.
Milton confirms that Woodward and Bernstein are still living.
MAX
So they’re probably here.
(hardly missing a beat)
You might be able to sell this
’disappearing act’ to the rest of
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