rage-cut15 0 - revised scriptv3.fdr script

RAGE

A FILM BY SALLY POTTER

Final Script

Developed with the support of the MEDIA Programme of the European Community

© Sally Potter 2008

INTERTITLE 11 1

An unseen hand is typing the opening lines of a blog on a

black computer screen.

MY FIRST DAY

I MEET SOME IMPORTANT PEOPLE...

The unseen writer pauses, then deletes the word “IMPORTANT”

before continuing.

I MEET SOME PEOPLE THE DAY BEFORE THE SHOW WHO EXPLAIN WHY A

DRESS... IS NOT JUST A DRESS.

VIJAY: INTRODUCTION2 2

VIJAY, a young Indian man, sits down tentatively in front of

a blue screen. He is wearing an ill-fitting red uniform with

an appliquéed logo that says ”HOT”, and is clutching a large

pizza delivery bag.

VIJAY

You want me to look into the

telephone? This is the movie

camera?

He peers into the lens.

Like this? Now?

VIJAY smiles, a little uncertainly, and raises his voice.

My name is Vijay.

VIJAY peers anxiously past the camera.

Did I look in the right place?

MINX: INTRODUCTION3 3

MINX is a striking woman; dark-haired and pale-skinned. She

sits in front of the blue screen taking her time, looking

seductively into the lens, before she speaks, in a deep,

husky voice.

MINX

I am... Minx.

MR WHITE: INTRODUCTION4 4

MR WHITE, well-groomed and wearing the corporate uniform of

suit, shirt and striped tie, looks into the camera with a

bright, practiced expression.

MR WHITE

My name is Bradley White.

He looks at the unseen presence behind the camera and then

speaks with a slightly patronising air.

And yes, certainly I will explain

my work to you, Michelangelo. But

first, a little background, as this

is educational.

ANITA DE LOS ANGELES: INTRODUCTION5 5

ANITA is a small, dark-haired Mexican woman. She sits

uneasily on the edge of the chair.

ANITA DE LOS ANGELES

I am Anita. Anita de Los Angeles.

My job? My job is zip.

2.

(MORE)

Invisible zip, so you no can see

them. And hem, I do invisible hem.

DWIGHT ANGEL: INTRODUCTION6 6

DWIGHT ANGEL is a preppy, good-looking young man, about

twenty-one years old. He could have walked straight out of a

Ralph Lauren advert.

DWIGHT ANGEL

My name is Dwight Angel. I

graduated recently...

I majored in Philosophy,

Psychology, and Ethics.

MISS ROTH: INTRODUCTION7 7

MISS ROTH is elegantly and demurely dressed in a navy-blue

vintage coat. She looks slightly uncomfortable as she

announces herself to the camera.

MISS ROTH

My name is Roth, Edith Roth. My

friends call me Edie. I am the

manager here.

LETTUCE LEAF: INTRODUCTION8 8

LETTUCE LEAF is a very slender girl with long red hair who

looks not much older than thirteen. She is un-made-up and

wearing a wrap over her underwear.

3.

ANITA DE LOS ANGELES (cont'd)

LETTUCE LEAF

My name is Lettuce.... they call me

Lettuce Leaf. I was the new face of

the year.... well... last year.

MERLIN: INTRODUCTION9 9

MERLIN is dark-haired, with a thin moustache, and wears a

rakish black hat, black T shirt, and black trousers. He

speaks with a Middle Eastern accent. He smiles

condescendingly.

MERLIN

I think everyone knows who I am,

okay... but just for you - my name

is Merlin.

OTTO: INTRODUCTION10 10

OTTO - blond, Scandinavian appearance - looks at the unseen

presence behind the camera with a bright smile. He is wearing

jeans and a T shirt.

OTTO

My name is Otto. And my job is

public relations in this crazy mad-

house!

MERLIN: INTERVIEW 111 11

MERLIN turns and peers back over his shoulder at the blue

screen behind him.

4.

MERLIN

You like blue?

There is no audible reply.

Oh! Blue screen! Very

sophisticated, Michelangelo, very.

What background will you give me,

then? Desert with camels? Or Swiss

mountains?

But the image behind MERLIN is neither. The flat blue colour

dissolves into red, and then green, as MERLIN laughs and

claps at his own joke. Then finally the screen behind him

fills with a deep yellow ochre colour (the first of a series

of plain, saturated signature colour backgrounds that appear

behind each character throughout the film).

MERLIN

Let me explain something to you

right away... You see...

Michelangelo?... I am, above all,

an artist. That means two things:

first, I am a perfectionist. And

second, everything I do is an

event. In fact: I am an event.

You see, fashion is part of show-

business. I dress many beautiful

women and meet many, many

celebrities. Big cars. Big houses.

Yachts. But, it means nothing to

me. Nothing. Why? Because, you see,

above all, I am a poet.

5.

MERLIN pauses for effect.

How? Because I make sense of the

chaos of the world with my

collections, which are statements.

Do you know what a statement is,

Michelangelo? Okay... A statement

is something full of meaning in a

meaningless world. Ah, the life of

the city, so full of excitement,

but so empty! In fact, life is

empty and my role is to fill it

with truth. That is the role of the

poet.

MERLIN looks pleased with himself and his speech to

MICHELANGELO, the unseen interviewer, who, judging from

MERLIN’s tone of voice, must be young.

VIJAY: INTERVIEW 112 12

VIJAY sits clutching his huge delivery bag, talking eagerly.

VIJAY

My job? Actually usually I am

delivering pizzas, it’s a good job,

it’s a very good job, actually.

It’s not an official job as such.

But this Merlin, sometimes he’s

wanting pizza in the middle of the

night, when he is working. So I

come on my bike. It’s a good model.

6.

(MORE)

Import model, nice handling, good

pickup. Anyway, I ride very fast,

to keep the pizza hot.

VIJAY gestures at the HOT logo on his jacket.

Then last night, all of a sudden,

he asks me do I want to be in the

show, with my bike, with a

beautiful model - a girl - riding

on the back? So what can I say? I

say yes. And why do I say yes?

VIJAY puts his pizza bag on the floor and sits up straight.

Because actually I am trying to

break into the showbusiness.

MINX: INTERVIEW 113 13

MINX sits waiting for the interview to begin, before speaking

in a thick Russian accent.

MINX

No questions? You are shy, because

I am celebrity? Yes? Then let me

think. Maybe you want to know the

secret of my success. Am I right?

MINX leans forward, confidingly.

I love myself, Michelangelo! If you

do not love yourself you cannot be

beautiful. So I practice every

morning. Minx, I say, sincerely,

you are the one and I adore you.

7.

VIJAY (cont'd)

(MORE)

It's not easy, no, sometimes I

resist, sometimes I say to myself:

Minx, there is room for

improvement! You see, even me, I am

not perfect! With self esteem you

can always go higher.

MINX smiles radiantly, and laughs softly.

Only joking! Actually I do not have

narcissistic personality disorder.

OTTO: INTERVIEW 114 14

OTTO seems awkward, as if he is a little unfamiliar with

being interviewed.

OTTO

What do I do? Well, for example, I

get to co-ordinate the celebrity

guest list, the A list, the B list

and the nobodies.

What’s a nobody? A nobody is

somebody nobody has heard of! Miss

Roth - you’ll meet her later - she

takes care of everything backstage,

she has been doing that forever -

she doesn't really know how to

speak to the movie people - she is

a little older, you know? So it’s

down to me to decide who should sit

next to who. You have to know who

is important.

8.

MINX (cont'd)

(MORE)

Some people get very upset if I

don’t seat them in the front row.

But it’s all worth it when there is

a 'standing O'. An ovation. The

buzz! Oh, oh, oh. O is for Otto!

That's my motto!

MISS ROTH: INTERVIEW 115 15

MISS ROTH smiles sweetly at MICHELANGELO behind the camera,

and her manner tells us again that he must be young; perhaps

very young.

MISS ROTH

What a nice smile! Well, this is a

family business, Michelangelo. My

father named it after me when I was

born. Edie’s. Then everything

changed - including the name - when

we were bought out by Mr Diamonds.

The garment trade, it was called in

my father's day. Now it's called

the fashion industry. It’s the same

thing.

MISS ROTH gazes at MICHELANGELO and then continues.

Although, in my view, trade is a

better word. There have always been

markets. And women have always

needed clothes. Well maybe we want

a little more than we need, but is

that such a bad thing?

9.

OTTO (cont'd)

MISS ROTH smiles gaily at MICHELANGELO and searches for

something else to say.

Now, let’s see, what else can I

tell you that will help you? Yes...

In the old days we knew every bead

and button sewer, every cutter and

presser, every janitor in every

warehouse, every delivery boy...

all by name... But of course that’s

all changed now...

MR WHITE: INTERVIEW 116 16

MR WHITE speaks clearly and slowly, the voice of an adult

doing a child a favour.

MR. WHITE

I am the intermediary - do you know

what an intermediary is,

Michelangelo? - between the product

and the consumer. I find out what

people want, and I give it to them.

Well, not me personally, but the

companies I advise. Such as this

particular sector of the fashion

business.

Now, fashion, Michelangelo, is all

about image. The image becomes a

brand, which creates awareness of a

product; in this instance a

fragrance. A small product, but a

big idea. ‘M’.

10.

MR WHITE hesitates, momentarily, looks at MICHELANGELO and

then blurts it out.

Now listen to this: M is for

mystery. And I really shouldn’t

have told you that, because we’re

keeping the concept under wraps

until we launch the fragrance

tomorrow! But since this is

educational... Well, you know...

He shrugs and smiles, a little uncertainly.

DWIGHT ANGEL: INTERVIEW 117 17

DWIGHT sits with a bright, confident, expectant demeanour.

DWIGHT ANGEL

I guess, technically speaking, I’m

an intern, at the moment. But

actually I’ve been taking

initiatives at a high level. For

example, I’ve been brainstorming in

some depth about names for the

fragrance. At first I thought of

'Perfume' or 'Scent'. Straight-

forward, you know? Anyway, when

this 'M' idea came up -

DWIGHT leans forward confidingly.

11.

Well, to be honest, it was my idea,

actually - right away I thought of

taglines, such as the mystery

thing, or 'M is for Mother', you

know, for the mothers market. Lots

of people buy perfume for their

mothers. Or ‘M’ is for Mujer -

that's Spanish, right,

Michelangelo? There's a great big

niche right there, the Latin

American sector. Or 'M is for

Mother-fucker'-

DWIGHT suddenly looks uncertain.

- which is for the African-

American... community...

ANITA DE LOS ANGELES: INTERVIEW 1 18 18

ANITA sits shyly and nervously, as she explains her work.


I like to do invisible or very

visible. Same thing. Is about

quality. I give quality. No matter

if they see or no see.

ANITA pauses and then beckons to MICHELANGELO to come closer.

She continues, whispering.

Like me. I am not visible!

In this city, I no exist.

I come, I go, when they want.

12.

(MORE)

Is better for me and very better

for them, because they no have to

pay insurance, vacations, you

know...


MISS ROTH is talking openly and warmly.

MISS ROTH

It used to be 8th Avenue, then it

was Asian families in Brooklyn. And

now - now it's China. Everything is

made in China. You don't believe

me? Look inside your shoe! They say

the time will come when we won't

make a thing over here. Not a

thing!

MISS ROTH’s expression suddenly changes as she listens to a

question from MICHELANGELO- a question she can hear but we

cannot. In the silence, the sound of rhythmic chanting from a

group of demonstrators in the street outside becomes audible.

I do believe that life will become

difficult for some people in this

country in the near future. Indeed,

it already is difficult, and that

is what the people outside...

MISS ROTH sighs.

...yes, that is what they are

protesting about.

13.

ANITA DE LOS ANGELES (cont'd)


MERLIN looks suddenly impatient, irritated.

MERLIN

Okay, okay, Michelangelo. It is

true the collection is not

inexpensive. Okay. But you have to

pay for beauty. One way or another,

you have to pay. In this case with

money. Okay? I must go now -

MERLIN gets up and briefly leaves the frame, but returns

immediately. He is on the defence and cannot let the subject

go.

Wait. Except, the point is, my work

influences everyone even if they

cannot afford it. You see, it is

like a secret research laboratory.

In that sense I am a scientist.

Yes, I make discoveries! You see, a

dress is not just a dress. It is

a... revelation. It is like a

sacred vessel for the miraculous.

In that sense I am also a priest.

Yes, fashion is very spiritual.

Very. Okay? Now I must go.

At last MERLIN looks pleased with himself again.

14.

LETTUCE LEAF: INTERVIEW 121 21

In the distance a sound system is tested; a pounding rhythmic

music track is playing as LETTUCE poses playfully for the

camera, turning her face from side to side, before pulling

herself together in order to speak when the music abruptly

stops.

LETTUCE LEAF

Rhoda - that’s my agent - she said

like if I work really hard, I can

make it big, really big.

But she says of course to be big

you have to be little.

LETTUCE LEAF glances off camera, in the direction of the

sound of a young woman crying pitifully, then whispers to

MICHELANGELO.

That’s Dorothy. She’s crying

because thinks she looks like too

fat in the... dress thing. But then

that’s Dorothy.

LETTUCE shrugs.

Like, she’s always crying, you

know? And, another thing, she -

OTTO’s voice suddenly interrupts from behind the camera.

OTTO (V.O.)

I think that’s enough now, Lettuce.

15.

LETTUCE LEAF looks up, anxiously, and then hurriedly leaves

the frame.


VIJAY leans forward and speaks confidingly, anxiously.

VIJAY

There’s one other thing: this

Dorothy girl who will ride with me

on the bike, she - she’s always

crying. And she’s also very, very

thin. Like an insect. I don’t think

she is well. I am quite worried

about her, actually.

INTERTITLE 223 23

The cursor hovers on the black computer screen.

MY SECOND DAY

I MEET SOME MORE PEOPLE ON THE DAY THAT DOROTHY...

The unseen hand, that we now presume to be MICHELANGELO’s,

deletes the words “THAT DOROTHY”, then continues:

I MEET SOME MORE PEOPLE ON THE DAY... OF THE SHOW.

FRANK: INTRODUCTION24 24

FRANK is a grizzled, slightly unshaven man wearing an

extremely lived-in jacket.

16.

FRANK

Sit? No, I don’t want to sit.

Ready? My name is Frank and I take

pictures.

MONA CARVELL: INTRODUCTION25 25

MONA CARVELL is elegantly dressed and soft-spoken, with a mid-

Atlantic accent. She looks crisply, professionally into the

camera.

MONA CARVELL

Mona Carvell. Writer.

She pauses for a moment, before continuing with a slight,

ironic smile.

Critic.

TINY DIAMONDS: INTRODUCTION26 26

TINY DIAMONDS is immaculately dressed in a beautifully cut

suit and an embroidered waistcoat.

TINY DIAMONDS

My name is Diamonds. They call me

Tiny. I’ve no idea why!

JED: INTRODUCTION27 27

JED wears the bodyguard’s uniform of a discreet grey suit

over a T-shirt. He looks wired, edgy.

17.

JED

My name is Jed and I am Mr.

Diamond’s bodyguard. Is that okay,

kid? You want me to do it again?

MONA CARVELL: INTERVIEW 128 28

MONA CARVELL sits stiffly, somehow on the defence.

MONA CARVELL

I have no idea what I will write -

I haven’t seen the collection yet.

Merlin does not share his

“creations” in advance; more’s the

pity. One could help. One could

advise.

MONA CARVELL looks thoughtfully at MICHELANGELO for a moment.

You see, sadly, he believes he is

making art. But fashion is not an

art form. If it’s anything at all

it’s pornography. To which millions

are addicted. Hopelessly addicted.

Take the look in a woman’s eyes

when she’s shopping. It’s the

crazed lust of a desperate junkie,

who can’t afford the real thing,

but will settle for any rubbish

they sell on the street. It’s much

worse than heroin, take it from me.

MONA CARVELL glances at MICHELANGELO.

Oh, have I shocked you? Good.

18.

She stares into the distance.

And as for the designers... They’re

mostly desperate, deluded

individuals, who all think they are

doing something new. But nothing is

new in this game. If you think

you’re in, you’re already out.

OTTO29 29

OTTO suddenly appears in the frame and stares into the lens

with a puzzled expression.

OTTO

Have you started already? Okay...

He does not look pleased.

TINY DIAMONDS: INTERVIEW 130 30

TINY DIAMONDS speaks in a confident, unstoppable flow, the

mode of speech of a man who is rarely interrupted or argued

with.

TINY DIAMONDS

I am a collector of beautiful

things. Taste, refinement, beauty,

one must have beauty. Without

beauty there is nothing! And I

don't like nothing. That's why I

can't stand Buddhism. If I was an

archaeologist - well, no, I am an

archaeologist...

19.

(MORE)

an archaeologist of fashion -

you’re nodding, I see you

understand what I mean - is it

Michelangelo? - Okay, as an

archaeologist of fashion I like to

dig in the great civilizations -

the Pharaohs, the Greeks. My father

was Greek, you know. Oil And

shipping. And my mother: Turkish. A

dancer. An exotic dancer. What a

combination! After they got married

my mother stopped dancing - well,

he wouldn't let her continue, of

course - and so, naturally, she put

on a little weight. And then a

little more weight. After that I

didn't see my father so much. He

was a very busy man.

TINY DIAMONDS looks wistful for a moment.

But he gave me everything I wanted.

Even a little business. I showed an

interest in style and design- so he

gave me a garment business. And I

made it grow.

And that is when I discovered what

it really means to own.

FRANK: INTERVIEW 131 31

FRANK speaks standing up, pacing about restlessly.

20.

TINY DIAMONDS (cont'd)

FRANK

I did Afghanistan, the Gulf War. I

was one of the first embedded with

our boys in Iraq. That's my job,

it’s more than a job, it's a

vocation. I shoot.

Ha, ha, not with a gun - though I

know how to, you have to, the

places I've been, the things I've

seen. You don't know what danger is

'til you've been in a war-zone. You

don't know what death is.

And you know something, kid? If

somebody told me that I could never

take another picture I would go

right home and put my head in the

gas oven. If I had a home. Or an

oven. But I live in a hotel.

Actually, it’s a dive. That’s the

best kind of place to live. I don’t

bother to unpack. I keep a bag by

the door, ready. Just in case I get

the call.

FRANK turns as if to leave but then continues.

Things, you don’t need things in

this life. You need mobility and

you need chances. When you get a

chance you should take it, kid,

‘cause you wake up a minute later

and they say you’re too tired to

see action. Tired! Do I look tired?

21.

FRANK leans in towards the camera, his exhausted face looming

in close-up.

What they mean is: old. But this is

experience in my face. Experience.

FRANK is about to leave when he looks MICHELANGELO up and

down, before continuing his uninterrupted stream.

See, you’re young, but you won’t

always be young, that’s the thing,

kid.


MINX is now wearing a voluminous dark back-combed wig, and a

wrap over her corset.

MINX

Hello again!

MINX smiles, radiantly.

I’ve been thinking, Michelangelo,

and I would like to give you some

more advice. There are two things

in life which are important. Money

and fame. All the rest, frankly, I

would not bother with. Mr Andy

Warhol said everybody will be

famous for fifteen minutes. But

some people will be more famous for

longer. The beautiful ones. And if

you are not beautiful you better be

rich.

22.

(MORE)

So, no offence, but I think you

better start making plans,

Michelangelo. Okay?

MINX smiles playfully and is about to get up when she hears a

question - which, as usual, is inaudible to us. MINX looks

sharply at MICHELANGELO and sits very still. She suddenly

drops her Russian accent, and speaks in a low American drawl.

It is clear - if it wasn’t already - that MINX is a man in

drag.

MINX

What? Afraid? Afraid of what? Am I

afraid of getting old? Is that what

you’re asking me? Why? Do you think

I look old?

A tiny flicker of anxiety passes over MINX’s face, as she

scrutinises MICHELANGELO’s expression. She pauses, staring at

him.

Look, look at my face; look at the

light on my face. Some people, the

light makes big ugly shadows. Me,

it’s a fucking caress. The light

loves me and I love the light.

Together we can do anything.

A brilliant smile, again. Radiant, enigmatic.


MONA CARVELL looks bemused.

23.

MINX (cont'd)

MONA CARVELL

Is there anything I like about

fashion? Well, of course. It’s a

brutal, amoral business. Issues of

right and wrong, good and bad,

simply don’t come into it, which in

the current climate of political

correctness is extremely

refreshing.

You see, in evolutionary terms,

morality is irrelevant. Beauty is

worshipped infinitely more than

goodness. Why? Because without it

there would be indiscriminate

copulation, or even none at all.

Beauty attracts, my child. Beauty

is power. Which is unfortunate.

Because in fact it is surface,

Michelangelo. Surface through and

through.

MONA CARVELL pauses reflectively for a moment.

And when the bloom of youth fades

only those graced with the right

bones will survive. That’s what

beauty has become in the age of

photography. Bones.

24.


MINX looks closely at MICHELANGELO.

MINX

You know about fear - it’s human

nature to feel some fear from time

to time. And I am, after all, only

human.

You see, someone could maybe slash

my face with a razor, on account of

envy, and then how could I support

my family? Yes, Michelangelo, since

I was fucking fourteen, but enough

of that! Okay?

MINX gets up suddenly and disappears out of the frame.


TINY gazes thoughtfully into the distance.

TINY DIAMONDS

Life can be so insecure. Which I

why I am fond of permanence. Which

is why I collect! And a collection

must grow, that is its nature.

TINY DIAMONDS smiles.

Right now I’m collecting women’s

magazines and cable television. I

believe you’ve met Miss Carvell?

25.

(MORE)

A very dear friend of mine. Her

writing can be so brutal -

marvellous! Well, she doesn’t know

it yet - but the journal she writes

for-

TINY leans forward and whispers to MICHELANGELO.

I just bought it. Shh!

TINY puts his finger to his lips in a gesture of complicity.

JED: INTERVIEW 136 36

JED stands while talking; the familiar stance of a bodyguard:

feet apart, ready for anything. In the distance, a crowd is

chattering expectantly.

JED

Being a bodyguard, it's different.

Some people would probably tell you

it's a step down from being in the

police department but I wouldn't

agree.

And Mr Diamonds has been very good

to me. Very good. I mean he let me

talk to you, for instance, now that

he’s seated... in the front row, of

course, where he belongs...

The volume of chattering voices has increased to a feverish

pitch of excitement and anticipation.

I've got the eye, see, he knows

that. Oh, yeah.

26.


(MORE)

Watch my back, Jed, he says to me,

you can't miss it! What a jokester!

He’s a jokester ‘cause he’s

relaxed, see, and he’s relaxed

‘cause I take care of the anxiety

for him. We travel a lot. Paris,

Milan, Beijing, Delhi... we stay in

some fancy hotels. Very fancy.

Well, I sleep in the corridor.

That’s if I sleep. You know, I

gotta stay alert. So I drink

coffee. A lot.

JED looks down at MICHELANGELO and starts to relax, warming

to his subject.

Now it’s an interesting fact,

Michelangelo, but I’ve never been

interviewed before. No.

But sometimes at night when I’m

standing outside Mr. Diamond’s

door, you know, just standing there

staring at nothing, I get to start

thinking about things. A lot of

things.

Music, pounding rhythmic music, signals the start of the

show. We hear the audience applauding enthusiastically.

The coffee, I don’t know, maybe it

stirs me up a bit - do you drink

coffee, Michelangelo? Did you know

there are two hundred and fifty-six

Starbucks in the city?

27.

JED (cont'd)

(MORE)

I know where every one of them is.

It’s like a map in my head. I carry

a little flask with me, just in

case, but for a quick fix I drop in

for two triple shots, three to four

times a day. Minimum. Minimum.

The pounding music is joined by the sound of a motorbike

revving up.

Michelangelo, the thoughts I have,

I could fill a book... oh yeah, if

I had the time. But I’m paid for my

eye, not for my opinions, see.

Which doesn’t mean I don’t have

any.

What are my opinions? You’re asking

for trouble now!

The motorbike that has been revving now roars into action as

we hear it accelerate onto the runway in the distance but,

then, almost immediately, there is a terrible squealing of

brakes and the sickening sound of a crash. JED looks up with

an expression of horror.

JED

Son of a fucking bitch!

JED pulls out a gun from the holster inside his jacket as he

runs off in the direction of the screaming voices.

28.

JED (cont'd)

OTTO37 37

OTTO is pacing about, panicking. Police and ambulance sirens

are wailing in the street outside.

MONTAGE38 38

A montage follows of:

LETTUCE LEAF, almost unrecognisable in a blonde wig and

glamorous makeup, her face glazed with distress.

MERLIN, veiled, hiding his face from the camera, waving

MICHELANGELO away.

ANITA, silently weeping.

VIJAY, his face and body painted Shiva-blue, wearing a

biker’s leather jacket and elaborate jewellery, sitting

shocked, immobile, before looking fearfully into the camera.


FRANK rushes into the frame excitedly.

FRANK

Listen kid, I gotta go - I gotta

get these pictures in - but take it

from me, you missed the action out

there. What are you doing back here

with this frigging blue screen?

When you get a situation like this

you gotta concentrate on getting

the best angle of the real thing.

And you gotta make choices.

29.

(MORE)

Let’s say, for example, you’re in a

war-zone, and you see a little old

lady lying screaming on the side of

the road. Now, do you give her a

hand or take her picture and get it

in the papers? Which will do more

good in the long run? You get to

think about things like that in my

vocation, you have to, because

you're right there and you’re in

it.


LETTUCE LEAF looks wide eyed with shock as she speaks

breathlessly to MICHELANGELO.

LETTUCE LEAF

Did you see what happened at all?

To Dorothy? I just can’t - I just

can’t believe it, actually. I just

can’t... I mean Dorothy always had

like bad things happening to her

but now... like this is the worst -

well, you can’t get much worse...


DWIGHT ANGEL looks tousled and wide-eyed, slightly strung

out.

DWIGHT ANGEL

You know, I’ve seen a lot of movies

so I know how people die. Blood.

30.

FRANK (cont'd)

(MORE)

Violence. You see it a lot.

But actually this is the first time

that I saw it happen in real life,

you know? And it’s a little, its

upsetting, actually. It’s very

upsetting.

DWIGHT runs his hands through his hair and then stares,

unblinking, at MICHELANGELO.

But the weird thing is, that it’s

also kind of inspiring. Yeah.


VIJAY sits rigid and upright, like a blue-painted Hindu god,

draped in jewels, swallowing with fear as he tells his story

to MICHELANGELO.

VIJAY

I was on the bike, you know, ready

with smiling, then they told me:

Vijay, don’t smile. So I am

serious, very serious, I rev the

bike - it’s a good model, 250 cc,

one down, five up- they push me out

there, and for one, maybe two

seconds, it feels like the most

incredible moment of my life. Flash

flash flash, the pictures of me!

Rocking!

They did not tell me the lights,

they blind you, actually.

31.

DWIGHT ANGEL (cont'd)

(MORE)

Did you know that?

But anyway, the incredible moment

is finished, because there is

something stuck is in my back

wheel. Why did they last minute put

this long scarf round her neck?

Why?

And why did this thing happen to

her? And to me, also?

Now I must wait to speak to the

police detective. This is not good.

Not good at all.

Actually right now I think my life

is finished. Now. Finished.

Completely.

VIJAY suddenly looks up at the sound of OTTO’s voice behind

the camera.

OTTO (O.S.)

This interview is over. Over. Thank

you.

VIJAY jumps obediently out of his seat and staggers out of

the frame.


OTTO walks rapidly in front of the camera and stares, hard,

at MICHELANGELO.

32.

VIJAY (cont'd)

OTTO

Listen, Michelangelo, this is for

your school project, only, is this

so? Good, good... But, listen, I

don’t think you needed to speak to

the bike boy - Vijay, is it? You

can erase that little interview.

Okay? Good.

But OTTO cannot hide the anxiety in his face.


MERLIN stands with his back to the camera, a long black veil

draped across his body. He looks back over his shoulder

towards the camera.

MERLIN

How do I feel, Michelangelo? Not

good. Not good at all. I am

terribly upset about these events,

which are completely beyond my

control, completely out of

proportion, completely a nightmare.

Not just because of the pain of the

loss of my collection, which has

not yet been seen in its entirety,

and the complete vision of which I

have been working day and night to

achieve - do you understand,

Michelangelo? Artists, we work like

dogs - like slaves - we are slaves

to our vision...

33.

MERLIN suddenly stops his rant and stares at MICHELANGELO and

then hurriedly sits down, changing his tone.

Okay, if maybe for you, slaves is a

sensitive word, I might understand

that. I too have words that affect

me deeply, very deeply, because of

who I am and where I come from. So

in this we are like brothers - or

like father and son, because I am a

little older than you, just a

little - anyway - what I wanted to

say, Michelangelo is... what was I

saying?

MERLIN pauses. He has lost his way and sits, looking

bewildered.

Pain, yes, I am in pain. I am, as

they say in this country, in touch

with my feelings. And this is

confusing me, I admit to you.

Listen: the passing of friends is

always painful. Okay?

ANITA DE LOS ANGELES: INTERVIEW 245 45

ANITA is weeping softly, wiping her eyes with a handkerchief.


I say my prayers for Dorothy, poor

Dorothy. Poor little Dorothy. I

light candle so her soul can rest

in peace.

34.


OTTO sits with a thoughtful, preoccupied expression.

OTTO

My job is to find a way how...

well, how to communicate that this

tragedy of Dorothy Darling is a

human drama that will interest

print and cable a lot, really a

lot. So how to handle it, you know?

He hesitates.

With taste, and not too much haste!

OTTO looks momentarily pleased with his description.

You see, I have a lot of

responsibility now, Michelangelo.

Because in public relations, we are

always in public and we are always

in relations. And everything

relates and everyone relates...

OTTO has lost his way.

Let’s put a check on this little

project now, shall we? There will

be a press conference tomorrow, to

make a statement of sorrow and

bring closure, and you can come to

that, but no more now, okay,

Michelangelo?

35.

But MICHELANGELO keeps filming as OTTO sits, looking down at

his hands, depressed. OTTO suddenly looks up and gestures

angrily at the camera.

Off.

INTERTITLE 347 47

MY THIRD DAY

I MEET AN INTERESTING

MICHELANGELO pauses and then deletes the word “INTERESTING”

before continuing:

I MEET A DETECTIVE AND LOTS OF PEOPLE COME TO THE PRESS

CONFERENCE.

HOMER: INTERVIEW 148 48

DETECTIVE HOMER is an African/American, dressed in an

extremely sharp suit and tie.

HOMER

Homer. That is my name.

Detective. That is my occupation.

And to be or not to be, that is the

only meaningful question,

Michelangelo. Except by the time

I’m on the scene it’s usually been

answered. In the negative. So what

do I do? I look around. I observe.

HOMER looks off-camera with a puzzled expression.

And what do I see?

36.

(MORE)

That clothes proclaimeth the man.

Except in this specific situation a

man design the clothes that

proclaimeth the woman.

HOMER smiles and leans forward to emphasise his point.

If you can call them women,

Michelangelo.


MINX is now wearing a voluminous black coat and hat, and

gloves; a mourning outfit of theatrical proportions.

MINX

Minx is ready. She’s always ready

for a camera, even a little one

like yours. A lens is a lens and as

long as there is light she is

happy. But let me tell you - today

she is not happy, not happy at all.


FRANK paces about, looking very pleased with himself.

FRANK

I tell you, Michelangelo, my agency

got very excited about my pictures

yesterday! You see, experience does

count for something when it comes

to shooting a stiff!

37.

HOMER (cont'd)

(MORE)

The others, these fashion types

with their long lenses on tripods -

no mobility, Michelangelo. No

mobility. And they don’t have the

stomach for it, either, throwing up

like that all over their camera

bags.

FRANK comes closer, now looking sombre.

You gotta be able to get in there,

close-up, and look death in the

face. Reality, Michelangelo. This

is the first piece of real shit

these people have seen, you can

count on that.

FRANK is about to leave when he turns back and his face

brightens.

Hey, did you see my picture in the

Post this morning?

The Post, Michelangelo. It’s a

newspaper.

No? Well, my agency offered it to

the Times, but they said their

readership don’t have the appetite

for that kind of detail. So they

used some earlier photo of the

model before, looking nice and

alive. You know, the clean shit.

38.

FRANK (cont'd)

(MORE)

Then my agency says: You’re doing a

great job Frank, now you got to get

some pictures of the press

conference.

FRANK looms close to the camera, whispering fiercely.

But I am not a press conference

type of a guy, you understand me?


MR WHITE looks pale and tired. But he smiles brightly at

MICHELANGELO before launching into his speech.

MR WHITE

An accident, Michelangelo,

especially of a young and beautiful

model, terrible though it is,

attracts attention, focus. And you

have to rise above your own

tendency to have emotional

reactions and go with the flow of

the situation.

Now, the show is there to generate

awareness. Right? The show goes

wrong. But sometimes wrong can be

right! Guess what? Another chapter

heading for my book.

You see, I think this can become an

opportunity for ‘M’. And M is for

mystery ... The mystery of what?

39.

FRANK (cont'd)

(MORE)

The mystery of mortality! I thought

that up last night when I was

rising above the emotional

tendency.

MR WHITE sits back, confidently.

And I have decided that that is the

new tagline we will present at the

press conference today.


OTTO looks excited and is gesticulating dramatically as he

speaks.

OTTO

Otto is very busy, Michelangelo,

very. We have never, ever, had this

much interest. It’s a buzz, really,

I could not sleep at all last

night...

But I just want to make sure about

something, not to control what you

are doing, I would never do that,

now, would I? I have much more

important things to think about - I

have ABC, NBC, FOX, all the cable

channels coming - but my sister

tells me that her little girl has

seen me talking on the web. And I

know only one camera pointed in my

direction!

40.

MR WHITE (cont'd)

OTTO points vigorously into the lens and then leans forward,

very close to the camera.

Are you posting your material on

some kind of secret web-site,

Michelangelo?


MINX is sitting, soberly, in her mourning outfit, staring

into space.

MINX

Some people have no luck, you know?

No luck at all.

MINX glances at MICHELANGELO.

Perhaps, I don’t know, maybe

Dorothy brought it on herself. Mr.

Sigmund Freud called it a death-

wish. She was “pro-ana” you see. Do

you know what that is? It's good if

you don't because it's sick,

absolutely sick. They have

websites, everything, have you seen

them?

You have?

MINX looks shocked for a moment.

You see, I’m lucky. I can eat

anything. I just choose not to.

41.

(MORE)

You probably don’t read women's

magazines, Michelangelo, but

they’re always asking Minx for her

beauty regime. She says - salad,

fish, moisturiser, a good perfume

and fall in love!

You have to set an example, you

see.

MINX leans forward, smiling as she whispers confidingly to

MICHELANGELO.

But, just between you and me, I

like a diet of cookies and coke!


HOMER is puzzling over the women he seems to be looking at in

the distance.

HOMER

I do not relate well to the thin

thing. I prefer a more...

traditional female dimension.

HOMER turns his attention to MICHELANGELO, looking him up and

down.

However, I can see you like to eat.

With respect, you could do with a

little more on the fitness side.

You probably spend all your time at

a computer, am I right?

42.

MINX (cont'd)

(MORE)

You see, that is an observation. A

detective has to observe. Which, I

can assure you, is not always a

pleasant activity.

O woe is me! To have seen what I

have seen, see what I see!

HOMER pauses and gives a steely look at MICHELANGELO.

And whilst it is true that all that

live must die, passing through

nature to eternity, this particular

passing seems a little previous,

does it not?


TINY DIAMONDS is now wearing a suitably sombre suit and tie.

TINY DIAMONDS

This is a serious situation, very

serious. Not only has a young and

beautiful life been snuffed out.

But also - as your mentor - yes, I

think I can say I’m your mentor - I

can be open with you about this -

my investment in Merlin is

seriously at risk. I do not like to

be involved in conflict,

turbulence, anything dark - no

offence, Michelangelo!

TINY DIAMONDS pauses, smiling.

None taken? Good boy.

43.

HOMER (cont'd)

TINY DIAMONDS stares moodily into the distance for a moment

and then continues, speaking emphatically.

Because all my life, I had anything

I wanted, anything! Except peace!

Peace of mind. Harmony. At home it

was always war. And that is why I

am not interested in raised voices

and sad faces.

My father wouldn’t let my mother

out of the house! She was a

prisoner. If she put on her dancing

music, he would say it was the

Turkish invasion and he had to

defend his country. And I thought:

One day I will bring these two

sides together.

Beauty and investment. The two

sides together, do you see?

And now this terribly unfortunate

incident reminds us that life is

short and life is dangerous. And we

must do what we can to control it,

to tame it, to make peace with it.

And to collect pieces of it.

And now I must make my presence

felt at the press conference. The

responsibilities of ownership, you

see?

44.

TINY straightens his tie with a smile and leaves the frame.


JED sits down, tentatively.

JED

You got a second kid, can I talk to

you? I just wanted to add

something. Remember before I told

you I had opinions? Remember that?

Well, listen up, kid, listen up.

JED takes a flask from his jacket pocket and takes a swig of

thick, dark coffee.

There’s trouble brewing round here,

oh yeah, and its not the coffee!

But that guy I saw you talking to

just now- the detective Homer - I

used to work with him at the police

department. We had a nickname for

that guy. The Bard. The Bard. He

had ideas above his station, kid. I

mean, he thinks he’s a superior

kind of person, but you know what?

Between you and me, he’s way out of

his depth. Way out. Mind you, his

hands are tied.

Those protestors outside, for

instance, if it was up to me I

would just round those guys up and

throw them in jail.

45.

(MORE)

But they all think they have

rights, you see, Michelangelo,

rights. More rights than me. And

then they want job security on top

of that. Who the hell do they think

they are?

It’s a melting pot, we know that,

Michelangelo, and you and the Bard

are an example of that. Except you

are kinda polite, see, and that

counts for something these days,

don’t forget that. But right now

the pot is melting.

See, he tells me I’m fired, I’m

fired if it happens again. If I’m

not there when he needs me. But it

was him - he said to me, go talk to

the kid, and so I do, and then I

get this!

My first interview, Michelangelo.

You could have got me into big

trouble and that would have caused

me a whole lot of extra anxiety.

And extra anxiety is something I

don’t need.


The noise of people milling about waiting for the press

conference to begin has increased. MINX looks off-camera.

46.

JED (cont'd)

Oh, oh! They want me now. They want

to style Minx for the press

conference. But I think she is

ready, like this. Don’t you? Not

too much make-up. Serious.

Appropriate. Maybe with dark

glasses?

MINX puts on a pair of enormous dark glasses and then sits

quietly for a moment, before slowly taking them off again and

gazing at MICHELANGELO, sadly.

MINX

What do you think, Michelangelo?

About Dorothy. Do you believe in

karma?

INTERTITLE 458 58

MY FOURTH DAY

THEY PUT ON THE SHOW... AGAIN.


VIJAY walks slowly into the frame, wearing a sober outfit

that looks designed to be as inconspicuous as possible.

VIJAY

Hello, Michelangelo. Good morning.

VIJAY sits nervously on the edge of the chair, glancing

edgily around him.

47.

I am here because they say to me:

come back to see the show. No bike

this time. Just to see and enjoy.

The manager, Miss Roth, she told me

to call her Edie, she was very kind

to me actually, she said come see

the show, maybe it will help you

get over the shock feeling. But I

don’t want to see the show, not at

all. It reminds me of that

terrible, very bad thing. The worst

thing that ever happened to me in

my life, actually.

The familiar pounding music starts up in the background.

VIJAY looks restless and nervous.

Oh, that’s the music from the day

that... I feel quite sick. Sorry.

VIJAY leans forward, queasily, before pulling himself

together again.

I spoke to the police detective, Mr

Homer. He was very polite. He said

to me: What’s done cannot be

undone. A very nice person,

actually. But now he is asking for

my papers. This is most

unfortunate.

Now I see that pizza delivery, it

was a very, very good job indeed,

and no papers necessary.

48.

(MORE)

But unfortunately I left this job.

You see, because I thought, this

fashion show, with me on the bike,

it will be my lucky break. But now

I think what is broken is my life,

completely.

The sound of the demonstrators chanting outside increases in

volume and starts to break through the music.

Actually, some people don’t know

when they have a good life. Myself,

I didn’t, actually.

But why they so angry, the

protestors out there on the

sidewalk? They’re lazy, isn’t it?

They don’t realise they are the

lucky ones, actually. Because this

is a free country with free speech

and also they can say what they

like because they have papers.

Isn’t it? And also - don’t you

agree? - it’s because we are living

in a democracy -

VIJAY is interrupted by the unmistakable sound of a gunshot.

Followed by another. The camera shakes violently as VIJAY

stares off camera, shocked rigid.

OTTO60 60

OTTO runs in front of camera, shouting at Michelangelo.

49.

VIJAY (cont'd)

OTTO

No! No more. Go, go!

VIJAY61 61

VIJAY reappears, hovering on the edge of the frame.

VIJAY

Michelangelo, you come with me. You

coming?

He runs off.

MONTAGE62 62

We hear running footsteps as police and ambulance sirens

become a cacophony of sound. A montage follows:

MERLIN, looking exhausted, disbelieving.

ANITA, staring into the camera, her face white with shock and

anger.

MINX, staring defensively into the lens.

MR WHITE, sighing, helplessly.

LETTUCE, now in a short dark wig, sitting with tears rolling

down her face.


FRANK stands with his back to the camera. He turns to look at

MICHELANGELO.

50.

FRANK

Listen, kid, where Frank goes, the

action follows, get my drift?

That’s because when you get the

angle, the perspective, you see the

way it is. Being alive, see, is

just temporary shit. Every single

fucking life ends in a death,

simple but true. And truth is the

thing, right? The camera never

lies, right, Michelangelo? Right?


LETTUCE LEAF looks ashen, wide-eyed, the mascara running down

her cheeks. She is talking very fast, as if attempting to

block an avalanche of feeling.

LETTUCE LEAF

You know why it was amazing being

in the same show as Bonnie? Because

she was the person I admired most

in the whole world. And I was right

behind her on the runway, and then,

like suddenly, there was the shot

and she was like falling down....

LETTUCE stops talking for a moment and sits, staring wide-

eyed into space, before continuing.

Bonnie had amazing hair, you know?

51.

(MORE)

But her personality was, like,

abrasive, that's what the stylist

said. And you’ve got to listen to

the stylist - that's what Rhoda

said - but Bonnie liked to do her

own styling. She was a genius. In

fact she was like a mega super-

star.... and she had been in the

business for ever. She had

longevity.... that's what the

makeup artist said. She said she

had longevity - until it was cut

short.....

Not her hair, Bonnie wouldn't let

them cut her hair. Some of the

models with longevity keep changing

their look but Bonnie was

consistent.

LETTUCE suddenly reaches up and pulls off her short dark wig.

Her long red hair comes tumbling out.

Consistently demanding. That's what

Rhoda said. But you have to ask or

you don't get. That's what my dad

said.

Pause.

When he put me on the plane, you

know, to come here.

52.

LETTUCE LEAF (cont'd)

LETTUCE stops talking suddenly, struggling with herself and

her tears, then looks at MICHELANGELO and continues, in a

strangely matter-of-fact way.

I’d really like to go home, you

know?


MERLIN has wrapped a scarf diagonally around his body. It

gives him a vaguely guerilla-like appearance as he stands

anxiously looking around him.

MERLIN

Yes, Michelangelo. They are now

officially saying that this is a

murder investigation...

But look, perhaps they will find

that after Dorothy Darling’s

unfortunate accident, well, maybe

Bonnie, she - she killed herself,

somehow, because she was not a

happy person...

MERLIN sits down, abruptly.

How? I don't know how, because I am

not a pathologist. No, no - that is

something I never wanted to be,

never. Actually I don't like to be

around dead people.

Where I come from, people were

dying a lot, you see.

53.

(MORE)

Well, everywhere in the world

people are dying, actually, in

hospitals and so on, or at home,

privately, but not usually so much

in front of everyone... It’s not

good to die in public, on the

street, surrounded by strangers...

MERLIN pulls himself out of his anxious reverie.

And, anyway, me, I prefer to

explore life. I came here to this

city because it is full of life.

Empty, meaningless life, I admit,

but, nevertheless, not dead.

Understand, Michelangelo? Not dead

is better.


JED sits down quietly.

JED

Are you finishing up? Look, I

thought you might want to interview

me one more time, am I right, yes?

No? Yes? You tell me.

Because talking to you before, it

kind of got me kinda stirred up. It

did. And I realised that my

opinions aren’t generally taken

into consideration.

54.

MERLIN (cont'd)

(MORE)

That’s because in my line of

activity the attribute of loyalty

is more important than the

attribute of opinions. What does a

bodyguard do? He’s gotta stay close

to his subject at all times - so

you’re wondering, what am I doing

here, right? That’s because Mr

Diamonds said to me, he said, take

a few hours off, Jed, you deserve

it.

You know what that’s called?

Esteem. Esteem for loyalty.

JED pauses for effect, but then twitches with anxiety.

But I don’t need time off. Anything

could happen when I’m not covering

his back. He could be talking to

other bodyguards, for instance.

Right? But I’m not concerned as

such because I’m that guy, the one

in a thousand kind of a guy, who

will go the distance.

All the way.

JED stares fixedly at MICHELANGELO.


ANITA storms into the frame, dressed in a coat and clutching

a large bag. She is white with rage.

55.

JED (cont'd)


They no respect for the dead,

Michelangelo. They no respect for

nothing. Dorothy, Bonnie, they pass

on, poor babies! They just babies,

like you.

ANITA stares furiously at Michelangelo.

My daughter, yesterday night, she

say she see what you doing on

internet. She say she see me

speaking. She say, Mom, you are

famous. But I do not want to be

famous, I want to be invisible!

Invisible! So you stop now, right

now, Michelangelo. Child, you go

home. Please. You pray to God for

souls of dead.

ANITA gets up and rushes away, slamming a door behind her.

INTERTITLE 568 68

MY FIFTH DAY

I LEARN ABOUT DAMAGE... LIMITATION AND OTHER SERIOUSLY WEIRD

SHIT.


MISS ROTH sits down in front of the camera with a concerned

expression. She seems on the verge of tears.

56.

MISS ROTH

Hello dear. Are you alright? This

is a terrible, terrible time for

us, Michelangelo. Actually, I’m

really not sure you should still be

here. Poor Dorothy. Poor Bonnie.

Even if she was a little

difficult...

She made the backroom people

suffer, you see, at her fittings.

The lateness, the screaming, the

insults. She insulted me, too,

often enough. She had to have this,

and she had to have that. Whatever

you did was wrong. Whatever you

paid her, it wasn't enough. It was

a nightmare. Of course it was

galling to think that in one day -

a so-called day - she earned more

than some workers earn in six

months or even a year. It doesn’t

seem fair, does it? Well, but then

there she was the next day on the

front pages...

MISS ROTH shrugs and then drifts into reverie for a moment,

listening to the chanting demonstrators in the street

outside.

You know, dear, my father, he built

up this business from nothing.

57.

(MORE)

My mother worked all hours, they

both did. And I was their only

child. I wanted to go to law

school, and then into politics, I

wanted to change the world.

But how could I let them down? I

couldn’t do that.

And now it all seems irrelevant...

Bonnie’s family are flying in, the

whole thing is unbearable... I can

hardly bear to talk about it. Not

even to you.


MINX has changed her image again: short spiky hair, leopard

skin coat, earrings. She sits down breathlessly.

MINX

Let me tell you right away that

this is one of the worst days of my

life. Remember I said to you Minx’s

best friend was the light?

Well, now I realise I was wrong.

Bonnie was my best friend. Bonnie.

I saw that crystal clear today when

I went to the airport to pick up

her parents. They said it was an

important photo opportunity for

Minx. So she went, even though it

was very early...

MINX pauses for effect, glancing at MICHELANGELO.

58.

MISS ROTH (cont'd)

You didn’t laugh at my little joke

against Minx, Michelangelo. Maybe

you don’t have a sense of humour.

MINX leans forward and whispers.

Anyway, you know what? Her family

are fat. They’re all fat. And

small. All of them. Her little

sister looks like a sausage, look

over there!

MINX points off-camera. But the lens stays pointed at MINX.

But they loved Bonnie, really loved

her... Nursed her through the

operations... the eyes, the nose,

everything... worked day and night

to pay for it all... and now she’s

gone. All for nothing!


DETECTIVE HOMER sits staring thoughtfully into space.

HOMER

Life is a walking shadow, a poor

player, that struts and frets his

hour upon the stage and then is

heard no more. Evidently the case

in this situation. How so? Well,

first, there’s a show, on a stage

they call a runway. Second, there’s

a public come to watch the players.

59.

(MORE)

And third, there’s a gun, which led

to one particular woman being heard

no more.

Actually there were a lot of guns

on this particular runway, which is

seriously weird shit. But there are

more things in heaven and earth

than dreamt of in your philosophy.

So, what do I do now, you might

ask? Well, first, I wait for

forensic to come back to me about

the line of fire - complicated by

the mother of all wigs, apparently -

and then I look for motive. I’ve

been talking to people. I’ve been

asking questions. Lots of

questions. But from what they’s

been saying to me, seems everybody

loved everybody around here. My

best friend Dorothy this, my best

friend Bonnie that.

These fashion folk doth protest too

much... for praising what is lost

makes the remembrance dear.

HOMER stares into the distance thoughtfully.


MERLIN seems agitated and defensive.

60.

HOMER (cont'd)

MERLIN

The detective asks me how I feel

about my models. I told him again

and again. I adore them.

Of course I do, Michelangelo. They

wear my designs.

Okay, okay, Dorothy was, I must

admit, tiring. It was the tears,

like a fountain. And Bonnie was, I

admit, a nightmare. But in the

show, you see, she was a winner.

She could walk, you see.

And then there was the hair. Red.

Which was, in my opinion,

overrated, which was why I put her

in the wig. Not just any wig, you

understand, a thirty metre long

black braid - Chinese reference -

it was superb, truly, superb - a

little heavy, that is true -

anyway, she hated it. Hated me for

making her wear it. But then, you

see, models, they hate this or

that, and, ultimately, they hate

each other - like all women do.

MERLIN spreads his arms wide, in mock certainty.

61.


MINX leans in close to the camera and whispers confidentially

to MICHELANGELO.

MINX

Look, between you and me, I am a

little bit nervous, because... you

know... well, they say these things

come in threes. But I’m damned if

I’m gonna be the third,

Michelangelo.

MINX lifts her arms and poses dramatically.

Minx, stay on top!


MONA CARVELL sits down slowly and deliberately.

MONA CARVELL

Yesterday - was it yesterday? I was

trying to explain to you my views

on fashion and morality. I do feel

my views have been vindicated.

Forget beauty. Forget ‘creation’.

Look at the human race. What do you

see? Look honestly. Not a species

of ‘creatives’. Humans are, quite

simply, the greatest destroyers of

all time. Rape and pillage is the

norm.

62.

(MORE)

And not just of each other but of

the planet. You’ll be lucky if

there is a planet by the time

you’re my age. Afraid? You should

be.

Well, the world of fashion is no

exception. It thrives on fear and

on hatred, Michelangelo. Fear of

failure, hatred of the non-entity.

And why? Because only the brightest

sparks will gleam for longer than a

moment. None of us seek oblivion.

In fact we are all, secretly, foot-

soldiers in a great army marching

against time.

It’s a hopeless cause. Hopeless.

MONA CARVELL glances in the direction of the sound of

demonstrators chanting in the street outside.

Speaking of which, I’m sure you are

aware of the students standing

around outside with their tacky

placards and cliched slogans.

Listen. To a worker in the

Dominican Republic or a village in

China a garment factory is not a

sweatshop. It’s an employment

opportunity.

63.

MONA CARVELL (cont'd)


TINY DIAMONDS sits down, stares at his manicured hands for a

moment and then softly addresses the camera.

TINY DIAMONDS

You know something, Michelangelo?

Merlin kept this collection under

wraps. He said it would be a

wonderful surprise. He promised

there would be music, dancing,

beading... Now, you put that

together with a fragrance, and a

brand name that will work any time,

any place, any language - you’re

onto a winner.

And they came up with ‘M’.

Mysterious, magical, mother...

Excellent name for an excellent

investment, excellent. Very secure.

And now some clever journalist - in

a paper I do not yet own - writes

that ‘M’ is for murder.

My marketing people did not warn me

of this possibility, Michelangelo.

No, they did not. It was not what I

had in mind, not at all.

TINY indicates to MICHELANGELO that he should cut, stop

shooting.

64.

Okay. Did you get all that? Good

boy.


MR WHITE looks quietly distraught, brimming with grief and

anxiety.

MR WHITE

As I’ve always said, you must look

for opportunity in every situation.

A lot of people would think if they

are... let go from an employment

position, for example, that their

future is not looking so very

bright.

But then every ending is also a

beginning! That’s - guess what -

another chapter heading in the book

I’m going to write!

MR WHITE pauses.

Which I will be having a lot more

time for from now on. Also leisure

opportunities. As a matter of fact

I always wanted to dance.

MR WHITE is now weeping silently.

Have you spoken to Dwight a lot?

You have? Well he’s very bright,

isn’t he? Very well educated. They

seem to like that.

65.


DWIGHT ANGEL looks confident and pleased with himself. He has

changed his slouchy student clothes for a suit, striped shirt

and bow-tie.

DWIGHT ANGEL

Yes, it’s true, I have been

promoted, Michelangelo. How did you

guess? You see, I made a counter-

proposal to Mr Diamonds after

Bradley’s idea didn’t go over so

well at the press conference. I

could see that Mr Diamonds was not

impressed by “‘M’ is for

Mortality”. Ladies don’t want to

think about death and dying when

they’re buying a fragrance.

Anyway, so I thought, in the

circumstances, why not change tack

and target the youth market with

the perfume? Actually it was

talking to you gave me the idea.

You know that? Young people have

identity issues and insecurities

about body odour, am I right,

Michelangelo?

So I thought of “M is for Me”.

66.

DWIGHT ANGEL

It works for the twelve to sixteen

year old out of control hormonal

situation, that teenage

demographic. And as for the under

twelves - so used to violence with

their video games - the brand

association of murder and perfume

could really take off!

Mr Diamonds, he didn’t exactly get

it at first but then he got kind of

excited and he called it damage

limitation, Michelangelo. And I

think there’s an amazing niche

right there, in damage limitation.


MERLIN storms into the frame, pulling off a huge black scarf

that is wrapped around his body.

MERLIN

Okay, Michelangelo. I have decided

to use these disasters to re-think

everything. Yes. They want me to

revise my collection? Overnight?

Okay. I will give them a collection

they will never forget.

He throws his hat on the ground, furiously.

I will cover everything. Wrap it.

67.

(MORE)

And I will call it my Burkha

collection.

MERLIN drapes the scarf over his head, in a dramatic gesture,

completely covering his face, then whips it off again to

continue.

And then I will rip everything to

shreds. As if a burkha was hit by a

bomb. This is East/West, you see,

in one. Brilliant. No?

But my backer, my business manager,

my public relations people, they

all will say no...

Why must I listen to their

opinions? Because they control the

finance, Michelangelo. Therefore,

they think only of what will sell.

What will sell a perfume.

Second, they are afraid it might

offend. They don't want to upset

people. People like me. Not because

they care about our feelings but

because they are afraid of us. Do

you understand?

And suddenly, my designs, they must

attract people under twelve! What

are they thinking of? Suddenly my

designs must attract children? I

mean, children!

68.

MERLIN (cont'd)

(MORE)

No offence to you, Michelangelo. I

mean no offence to you.

I am very fond of children. Very

fond. I was once a child too.

But not for long. You have to grow

up fast where I came from. Very

fast.


TINY DIAMONDS sits down with a calm, satisfied expression.

TINY DIAMONDS

Yes, Michelangelo, a very

successful meeting. Sometimes you

just have you be firm with

designers. Ultimately, they are

reliant on my investment and they

do tend to forget this, from time

to time!

They get emotional. But then

everyone gets emotional when they

feel they may lose their position.

But as Mr Trump says, it’s not

personal, it’s business.

And now I am going to have a little

word with Miss Carvell.

I have some ideas for her column.

69.

MERLIN (cont'd)

(MORE)

See what an education you are

getting here, how to run things

from the top! Are you learning

things? Good.


MONA CARVELL sits stiffly on the chair, upright, formal,

revealing nothing.

MONA CARVELL

Yes, I did meet with Mr Diamonds,

Michelangelo, although quite

frankly it is none of your

business.

MONA CARVELL continues to sit silently, as if struggling with

herself.

MONA CARVELL

I am absolutely fine, thank you.


DETECTIVE HOMER sits glaring at MICHELANGELO, then suddenly

stands up, walks a few paces, and angrily beckons

Michelangelo to come closer.

HOMER

Now listen up, Michelangelo. See, I

have observed that you have been

speaking to the exact same people I

been speaking to. Sometimes ahead

of me.

70.


(MORE)

Maybe you have a fascination with

this fashion universe and you is

trying to make a reputation,

reputation, reputation with this

little camera.

Or maybe, as beauty provoketh

thieves sooner than gold, you is

stealing the truth out of their

mouths and by the time they get to

me they is all talked out.

So just what, exactly, have they

been saying to you? Anything you

want to pass on, brother to

brother?

INTERTITLE 682 82

MY SIXTH DAY

EVERYONE... NEARLY EVERYONE... WANTS TO TALK... TO ME.


VIJAY saunters into the frame and sits down with a bright

smile. He is wearing a cheap glittery jacket with the sleeves

rolled up and an open-necked shirt.

VIJAY

Hello, Michelangelo, how are you? I

have good news. My picture was in a

magazine for celebrities. My face.

71.

HOMER (cont'd)

(MORE)

Actually it was an action shot,

falling, you know?

VIJAY looks proud, momentarily.

And also Otto is phoning me, he is

telling me that a big producer is

calling him, to offer me a very

good role in a commercial.

VIJAY hesitates, his expression gradually crumpling into

anxiety.

The bad guy, actually. The killer,

actually. With a knife.


MINX is sitting with her head in her hands. She is wearing a

long blonde wig and rows and rows of pearls dangling around

her neck. She looks up at MICHELANGELO.

MINX

Alright, I’m gonna tell you

something, kiddo. I woke up last

night thinking about it. I couldn’t

sleep at all. First I thought - who

can I talk to? And then I thought:

Michelangelo! Because you are a

good listener, I mean that, really!

But it’s not easy to talk about...

because... well maybe...

MINX stares at MICHELANGELO, searching his face

questioningly.

72.

VIJAY (cont'd)

...maybe it was my fault, what

happened to Bonnie. And Dorothy.

Because you see, in a way, Minx

wanted them dead. But a girl can’t

help her feelings, can she? That's

all they were. Private feelings,

private thoughts. I didn’t really

want it, you know?

MINX gazes anxiously at MICHELANGELO.

What do you think, Michelangelo,

honestly? Do you think I made a

mistake with my career?

Silence.

You see... when I was born my

mother decided I was to be - well,

something respectable, reliable. So

you can imagine, when I started

playing with dolls, she started

crying, day and night. It was a

nightmare. That’s when I began to

dream of being a psychiatrist. To

stop mother from crying.

Then one day a man told me I was

beautiful, asked me if I wanted to

be in a commercial. Big hair, big

eyelashes, big fur. Vodka.

73.

(MORE)

It was a big success, they called

me Minx, sent me to New York, I

sent money home to mother and she

stopped crying.

That’s when I learned that the best

medicine is money. Money.

But I still dream of being a

psychiatrist. Because I think I

could help people with their

problems. Really I do. Do you?


DWIGHT ANGEL looks energised, confident. Well groomed. And

slightly manic.

DWIGHT ANGEL

I have been developing my ideas,

Michelangelo, and I’m here to make

a proposal to you. I’ve seen your

site. Yes, I have. I know my way

around the web, alright.

Now if you put your mind to it, you

could become one of our brand

awareness operators, Michelangelo.

You could become an influencer. Do

you know what that is? That’s a kid

who sets a trend. And we employ a

lot of them.

74.

MINX (cont'd)

(MORE)

Now tell, me, honestly. How many

hits did your site get yesterday?

DWIGHT ANGEL looks impressed by the inaudible reply.

Wow! Really?

You see, I knew the youth market

was the niche to explore, it’s just

where the numbers are. Except for

the ageing population, of course...

Wow! That just came to me.

Geriatrics! They sure need

fragrance, right? See, you have to

think ahead, Michelangelo, in the

world of the new.

It’s a pity it’s not called N.

“N is for new.”

DWIGHT stares at MICHELANGELO, as if waiting for a question,

but none comes. In the silence his confident veneer seems to

crack.

But then I guess that wouldn’t work

for the old...


LETTUCE LEAF is sitting, unmade-up and looking very young,

gazing nervously at MICHELANGELO.

LETTUCE LEAF

Michelangelo, can I - can I ask you

something?

75.

DWIGHT ANGEL (cont'd)

(MORE)

Do you think something is there,

whether you look at it or not? And

do you think everything... or

everybody... exists that ever was

or ever will be?

Because then logically you don't

have to do anything at all, except

wait for it all to happen. But I

don't want to wait, you know?

‘Cause what if that’s not true? I

mean free will must have something

to do with it, otherwise what's the

point of being alive?

LETTUCE is struggling to speak.

And have you... have you got like

some place I could stay? I mean

like would your mom mind if I...

I just really want to get away from

all this... you know like doing the

show again, and I thought... but

Rhoda said... but I thought

maybe... but what do you think?

A tear rolls down her flushed cheeks.


MERLIN looks exhausted. When he speaks, he glances around,

anxiously.

76.

LETTUCE LEAF (cont'd)

MERLIN

Michelangelo, I would like you to

record something, for posterity.

And you keep it safe. Understand?

You see, before you know it, they

will point a finger at me.

And why will they point a finger at

me? Think about it. This collection

was reflecting, quite deliberately,

the culture of violence in which we

live. So of course the models were

carrying guns! Of course they were

pointing the guns at each other! It

was a statement, Michelangelo, and

I already explained to you what a

statement is. But maybe they will

interpret this statement as part of

a larger plot to destroy the whole

of society!

And then I will be finished. Who

knows, maybe they will take me away

and I will disappear and that will

be that. So now you have a record

of... of this thought in your

little camera. Okay? Just in case.

INTERTITLE 788 88

MY LAST DAY

77.

THEY PUT ON THE SHOW... AGAIN, AND I LEARN THAT THE TRUTH...

HURTS.

Pause as MICHELANGELO thinks about it, then he deletes

everything except “THE TRUTH HURTS”.


OTTO sits down, quietly, with an uncharacteristically dour

expression. In the background we can hear excitable screams

and shouts - unmistakably children’s voices - in amongst the

chanting demonstrators.

OTTO

Good morning, Michelangelo. Yes.

Now we have to get serious. What

have you been doing? Are you crazy?

This is not what we agreed. All

those kids outside, hundreds of

them, among the protestors, and

some of them calling my name when I

came in just now.

O is for Otto! That’s my motto!

They were calling that. And

laughing.

78.

(MORE)

Now I don’t mind people calling my

name, not at all, I do feel it’s my

turn to have a little piece of the

limelight, you know, but this

information, it was private,

between you and me. You have

betrayed all the confidence I put

in you.

My God, Michelangelo, will you

switch that thing off.

Enough is enough!

OTTO reaches out, grabs the camera violently, and blocks the

lens.


MISS ROTH looks energised. There is a slight flush in her

cheeks, she’s wearing a more racy outfit than usual and

bright red lipstick.

MISS ROTH

Michelangelo, I think you were the

last person to speak with Lettuce

Leaf yesterday? She told me she

wanted to talk to you - and today

she is nowhere to be seen. Did she

say anything to you?

No?

79.

OTTO (cont'd)

(MORE)

Well, I can’t really blame her for

not wanting to turn up here. Merlin

will just have to manage as best he

can and... Minx... can fill in for

the absentees.

I won’t be helping out myself, as

it happens. No. I thought it might

interest you to know that I will be

joining the demonstration myself

this afternoon, when the show

begins.

Yes, I will be protesting against

the policies of the company I

manage.

MISS ROTH can hardly control her laughter, which spills out

of her, gleefully.


DETECTIVE HOMER is standing, glowering, in a leather jacket

and polo neck sweater - an outfit which means business.

HOMER

We have an escalation situation,

Michelangelo. An escalation

situation. We have demonstrators,

chanting and waving things in the

air. We have a mob of young people -

very young - crying in unison ‘to

be or not to be’ when I pass by.

80.

MISS ROTH (cont'd)

(MORE)

Now, I like to see young people

interested in Mr William

Shakespeare’s verse, Michelangelo,

but something doesn’t smell right,

and it just might be you.

HOMER reaches out and smacks the camera. The screen goes

black, momentarily. Then HOMER angrily beckons MICHELANGELO

to come closer.

You have to take sides, brother.

And I don’t know what side you’re

on.

See, when I was a kid, if we saw a

cop we started running. Right? ‘Cos

we knew that in the eyes of the law

we was guilty of something. Even if

that something was just the sin of

having a darker complexion. And

then one day, I made a decision.

I’d rather be the chaser than the

chased. I made a career choice,

brother.

That’s how I got the cuffs in my

hands and not on my wrists. And in

my hands is where they’re gonna

stay.


TINY DIAMONDS sits down, breathless, excited.

81.

HOMER (cont'd)

TINY DIAMONDS

It is absolute mayhem out there,

Michelangelo. I’ve never seen such

crowds. Incredible. Absolutely

incredible. And so young, the

demographic. He was right, the boy

was right.

TINY DIAMONDS wriggles in his seat.

So down to business. How much do

you want for it?

The website, Mikey, the website. He

told me all about it.

TINY DIAMONDS’ brisk smile fades.

What do you mean it’s not for sale?

Everything has a price,

Michelangelo, everybody has a

price. In the end, everything and

everybody is for sale.

TINY DIAMONDS stares coldly at MICHELANGELO and then smiles

again.

All right, all right, you think

about it and you give me a call

when you’re ready.

You will be. You will be.

82.


MONA CARVELL sits implacably, ignoring the mounting noise

outside. She calmly pulls out a spliff from her bag and then

a lighter shaped like a gun. She lights the spliff and

inhales deeply, smiling to herself. The now familiar pounding

music starts up again in the distance.

MONA CARVELL

I have decided to sit the show out,

Michelangelo, this time With you.

After all, what’s the point in

watching it if my opinions can

subsequently be cut to suit the

needs of... of the sales graph of a

perfume?

The music gets louder as do the shouts and chants of the

people outside. It’s impossible for MONA CARVELL to continue

to talk over the din.

So she sits, silently, continuing to inhale deeply, staring

into space, smiling to herself as the music continues.

And then, suddenly, there is a tearing, splintering sound

followed by the sound of crashing glass. We hear young voices

shouting - some of them very young - and a stampede of feet.

It’s a riot.

But MONA CARVELL remains implacable, smoking and gazing

dreamily into the distance.

83.

And then, suddenly a gunshot; two, three... The shouts become

screams. The gunfire escalates; explosions. It sounds like a

war.

MONA CARVELL sits very still, listening.

After the gunfire, in the sudden silence, we hear people

weeping, screaming, and groaning. Children. Young children

have been wounded, perhaps killed.

Tears start to roll down MONA CARVELL’s face.

MONA CARVELL

The fact is, Michelangelo, until

now I have had reservations about

Merlin’s work. Serious

reservations. He’s always had big

ideas, but in my view they were the

wrong ones.

But now I feel that Merlin is

having his moment.

You could say he’s a prophet in

this age of AIDS and century of

terror. His clothes are shrouds.

MONA slowly turns her attention to MICHELANGELO. Something

shifts in her expression. She looks warmly, even lovingly at

him.

Are you crying, sweetheart?

There, there. It’s better to face

up to things as they really are.

84.

(MORE)

But the truth hurts, my love.

Doesn’t it?

Sirens in the distance. Lots of sirens, coming closer.


DETECTIVE HOMER stands gazing into the distance, listening to

the sirens, the shouts, the weeping.

HOMER

It was chaos out there. I think I

may have... I was... I was trying

to save the white sister. And...

and there was a lot of people. Even

some kids, who were here because a

certain brother invited them on his

website-cell-phone-blog thing.

HOMER gestures helplessly and angrily at MICHELANGELO’s

camera, before turning away again.

You know what Macbeth said,

Michelangelo? He said “my life has

become a tale told by an idiot,

full of sound and fury,

signifying... nothing”.

I think you better start running

Michelangelo. There’s blood on your

hands.

We hear a helicopter hovering overhead. Relentless, rhythmic,

the sound that accompanies catastrophe.

85.

MONA CARVELL (cont'd)

MONTAGE95 95

A montage follows as the helicopter continues to hover

overhead:

ANITA, staring at Michelangelo. Tears roll slowly down her

cheeks.

A figure, sitting hunched over, wearing an enormous blood-

stained wedding dress. He looks up - it is MINX - seen for

the first time without a wig. Short, dark hair, accusing eyes

- or are they?

JED, rubbing his eyes, staring into space, then gazing at

MICHELANGELO. Is it a look of accusation or of guilt?

DWIGHT, hesitating before looking into the camera. He looks

broken, saddened, and unsure of himself for the first time.

VIJAY appears and disappears silently. A man on the run.

FRANK, staring into the lens and then turning his back

deliberately on MICHELANGELO.

MR WHITE, sitting hunched with his back to the camera. He

refuses to turn around.

MERLIN, sitting with his head in his hands. Eventually he

looks up at MICHELANGELO - a look of quiet despair.


ANITA is now gazing thoughtfully at MICHELANGELO. The sound

of the helicopter fades away as she starts to speak.

86.


Listen my words, Michelangelo.

There is one life only, we got

precious gift from Lord God. No

matter if nobody speak your name on

television, the Lord God he know

you are there. That’s why to him

you never invisible. Okay?

ANITA reaches out and touches MICHELANGELO - who is still

invisible behind the camera - softly and tenderly.

It’s not your fault, Michelangelo.

Even if you invite them to come

here, the childrens, they choose to

come. Everybody choose what they

do.

MICHELANGELO’S BEDROOM97 97

The camera is lying on the floor in what is evidently a young

boy’s bedroom, the first time we have been in a “real” space.

LETTUCE LEAF is lying on the carpet looking into the lens.

She smiles and reaches out to touch the camera, longingly,

before starting to playfully wrestle with it, and with

MICHELANGELO, who must still be holding it.

LETTUCE LEAF

Hey! Michelangelo. Give me that!

She is laughing, but she is serious.

87.

EXTERIOR98 98

It seems that LETTUCE LEAF has now taken hold of the camera

and is running with it, chasing MICHELANGELO and filming his

backview, but only catching his feet in the frame as he runs

away from her across derelict ground, on and on, through

pools of light and shadow.

THE END

88.

rage-cut15 0 - revised scriptv3.fdr script

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