Treatments

 

ACT I: HOTEL ROOM

Scene 1: 07:00 — Wake Up Call

by Marie

Her mobile phone rings on the opposite side of the room. She slowly opens her eyes that seem stubbornly stuck together and blinks a few times. She drags herself out of the bed, untangling herself from the sheets which she has twisted around her and awkwardly dawdles towards the incessant ringing, a loud and fast paced rock song muffled by the plethora of junk in her bag. 

She drops to sit with one leg folded on the floor, drags her tote from the couch and searches through the items within: handkerchief, tissues, a camera, an i-pod, a magazine and a comic, an apple, bottled water, a scarf and some novelty souvenirs she bought for her younger siblings. She pulls these out and carelessly scatters them around her on the carpet. She snaps up the phone just as the ringing ceases, she mutters something obscene under her breath and checks the screen. It is an international call, she couldn't be bothered to ring back. 

The girl pulls herself up from the ground, leaving the mess as it is, and stretches as she walks to the mirror. She looks at her reflection, combs back her hair with her hands and leaves them around the back of her neck. Her eyes drift from her reflection onto something distant and unfocused. she contemplates something for a brief moment she looks sad, lost and hurt and she draws in a jagged breath as if about to sigh. 

Her thought is interrupted by a knock on the door.

Scene 1: 07:00 — Wake Up Call

by Kelsey Bostwick

A hotel suite, Paris. We can barely see in the darkness. Through tightly drawn drapes a long, very bright ray of daylight pierces the room. The actress lies face down on the bed, nude under a lace slip. The soles of her feet are dirty. On her wrist a thin diamond bracelet catches the morning light. Sirens. Then the phone rings. She whimpers. Finally she raises her head. A smudge of red lipstick stains her mouth. 

[The actress]: (slowly raising the phone to her ear) Hello? 
[Concierge]: Good morning mademoiselle. This is your wake up call. 
[The actress]: Merci 
[Concierge]: (sounding uncomfortable) Mademoiselle? 
[The actress]: Yes 
[Concierge]: We have your shoes mademoiselle. 
[The actress]: What? 
[Concierge]: Your shoes. Shall we send them up to your room? 
[The actress]: Why do you have my shoes? 
[Concierge]: A young gentleman dropped them off at the front desk last night. 

She rolls over onto her back. 

[The actress]: He did? 
[Concierge]: Oui mademoiselle. 

Silence. No one says anything. Then she starts. 

[The actress]: (Calmly) Well, send them up then. (pauses) Oh, and please send a gallon of milk. You can leave it outside of my door. 
[Concierge]: (Very polite) Oui mademoiselle. Is that all? 
[The actress]: One more thing. I need something to read, to wake up, I don’t have my books and... 
[Concierge]: (Routinely) We have the daily papers. (He begins to list the daily papers in Paris, then moves onto the international editions) 
[The actress]: (Sighing) No. (Pauses, then sweetly) Listen, Just bring me some Baudelaire, Okay? 
[Concierge]: In French? 
[The actress]: Mais Oui. 
[Concierge]: Of course mademoiselle. 

She hangs up. Now sitting up at the corner of the bed she runs her hands through her hair, thinking. She smiles. Stumbling to her feet, she walks to the bathroom and begins to run a bath. The actress looks at herself in the mirror. Next to the sink on a tray lie a pair of large chandelier earrings and a black satin cigarette case. She puts on a single earring, looks at herself again, and then takes a cigarette out. Placing it between her lips, she lights it, takes two drags, and then puts it out again. In the hall we hear footsteps. After they fade, she walks to the door, grabs the shoes and a leather copy of Fleurs du Mal, and picks up the glass pitcher of milk. Swiftly returning to the bathroom she pours the milk in the tub, drops her slip, and steps into hot bath. She still has one earring on.

Scene 1: 07:00 — Wake Up Call

by Konrad

The film opens with a MEDIUM CUT on an open window from the inside of a room. It is already light outside and the breeze moves the white, semi-transparent curtains gently. On the curtains the opening title credits are shown. The sounds of morning traffic are carried through from the street beneath, and the ringing of a telephone rhythmically breaks the peaceful atmosphere. The phone rings through the credits, and about nine rings in someone is heard fumbling with the phone and answering it. The camera begins to slowly pan around showing the room. As it slowly passes over the obvious female occupant's few things left scattered about [opened suitcase, clothes on a chair, empty water bottle etc] we hear the conversation on the phone. 

MODEL: Hello? 
[inaudible] 
MODEL: What time is it? 
[inaudible] 
MODEL: Mmm, right, thanks. 
[inaudible] 
MODEL: Can you bring the breakfast to my room? 
[inaudible] 
MODEL: Oh, I don't care, as long as there's no meat. 
[inaudible] 
MODEL: No, yes... that'll be great. 
[inaudible] 

CAMERA has now panned fully and has stopped on a shot of the bed. We see the MODEL lying with the covers messily around her, talking on the phone. 

MODEL: No that's fine, you can just open it and read it out to me now. 
[inaudible] 
MODEL: You have the addresses there then? 
[inaudible] 
MODEL: Ok, just bring it up with breakfast, and can you please arrange a car for the first one? 
[inaudible] 
MODEL: Great, thank you. I'll be taking a shower now so send the room service up in about a half. 
[inaudible] 
MODEL: Thank you. 

She hangs the phone up, and lies for a few seconds before slowly getting out of bed. She is wearing a nightgown. The CAMERA, having not cut yet, proceeds to follow her back across the room, moving backward across the same path it did before. She picks up a water bottle, and while slowly walking towards the window she takes a drink out of it and then places it back on another piece of furniture in the room. The CAMERA stops at the same spot as it started on, and we see the MODEL opening up the curtains to look outside. 

SHOT changes now to show a side CLOSE CUT of her face as she looks out to the streets below, thinking to herself. The breeze playfully plays with her messy hair. 

SHOT changes now to show a wider shot of the room with her in the window, back to camera. She is turning around and slowly begins to walk towards the BATHROOM door, camera following her. She turns the light on and steps inside with the door open. We see a reflection of her in the mirror, through the frame of the door, as she removes her nightgown, throws it within the frame of the door and steps out of view. 

The SCENE ends with the sound of a shower turning on the and the nightgown laid out on the bathroom floor.

Scene 1: 07:00 — Wake Up Call

by Rachel Ricucci

The camera pans over an enormous, luxurious hotel suite. Music is playing softly (something like "Kings of the Wild Frontier" by Adam & The Ants) The camer pans over a large bed with sheets and comforters dissheveled. There are several large, gorgeous couture gowns strewn across the bed, taffetta and silk is everywhere, heels are slung about and black tights with a seam down the back cascade off the side of the bed. There is the slight sound of a splash of water and the camera pans out to a large balcony with double french doors flung open. Light is streaming into the dark hotel room. The balcony is relatively private by virtue of an enormous tree offering shade and greenery, but what is most extraordinary is the presence of a large claw-foot bathtub. One long leg is extending out at the foot of the tub, while an arm dangles out to the side. A gorgeous gamine pops her head up high enough to take a long, langorous drag on her cigarette. The hotel phone, propped on a cushioned stool (taken from inside the bathroom armoire undoubtedly) begins to ring. 

"Yes?" the girl answers in a slow, relaxed drawl 

"Darling of course I'm up, you know I can't ever get a proper nights rest in these places" 

"Well then send them up" 

She plops the phone back down and reclines underwater, only her smoking hand remains out of the tub.

Scene 1: 07:00 — Wake Up Call

by Jere V

EXT. PARIS - MORNING 

The Latin Quarter is fairly quiet. Early hours in the twisted streets of this ancient student ghetto, nowadays better known from its vibrant life and cafeterias. Sun is slowly rising over the rooftops and dark corners are casting a mystical spell over a seemingly normal day in the city. 

Shadow edges are forming dividing lines. Sunbeams are bringing new life to these sleeping streets, but at same time the dark corners are reminding us about the past. We surely remember glorious days of Café Procope, fragile songs of Édith Piaf and of course Le Smoking Tuxedo, but for some strange reason something pushes us forward. Contradictory feelings fills the mind, but somehow we are addicted to it.

Whole La Rive Gauche, the left bank, is slowly getting up. A few boats are already in the river. Some unclear reflections on small puddles. Sounds mounting around the corner... mild wind, clicking high heels, muffled discussion and more. 

CUT TO: 
EXT. HOTEL BALCONY SOMEWHERE AT LATIN QUART. - MORNING 

Balcony doors are open. Friendly old wind is mildly swinging the halfway closed curtains. Also a lonely flower on the balcony table seems to enjoy the breeze. 

VOICE OF ACTRESS/MODEL: There are times when you just feel it. Tenderness & cruelty. Real life & surreal life. Terrifying things & funny things. Enthusiasm & Peacefulness. All during the same round... 

CUT TO: 
INT. INSIDE OF THE HOTEL ROOM - CONTINUING 

The actress/model is laying in empire style of sofa. She seems to be sleeping, although we can’t be sure because her face is out of picture. The Sunbeams are breaking in from partly covered balcony doorway, and it mainly lights the lower part of actress’/models elegantly postured body. She is wearing a black velvet dress, the same one she was apparently wearing at last nights cocktail party. Maybe she was just too tired to go all the way to the bed. Otherwise the room has very minimalist decorating style. Just phone, purse & gloves (latter two are part of the outfit) on the night table next to sofa and shoes on the floor. The walls are covered with light colored but astonishingly figured wallpaper. 

VOICE OF ACTRESS/MODEL (continues after a pause): Along the day & night...(slight pause) And it is actually quite peculiar thing that they gave me exactly this room. My lucky number - 24. (The number can be said here or for example next chapter can open with knock on the door & cameras attention point on number on the door or something similar.) 

SUDDENLY THE PHONE RANGS (moderately, but still eruptively). Ending the harmony that was built at the beginning. 

CUT TO: 
A WOMAN’S FACE. 

She peacefully opens her eyes & picks up the fone. Her face looks sleepy, but very engaging. 

ACTRESS/MODEL: Oui. 
(Inaudible answer) 
ACTRESS/MODEL: What time he is coming? 
(Inaudible answer) 
ACTRESS/MODEL: Merci. 
(Inaudible answer) 
She hung up & smiles mildly (not super happy, more like pleased and maybe just a little bit thrilled). 

FADE OUT.

Scene 1: 07:00 — Wake Up Call

by Bobbi Verdugo

FREDERIC 65, with amicable facial features, calls NATASHA from the Ritz Hotel's Front Desk. 

Frederic- Good morning Natasha. It's now 8 o'clock. You've got a big day ahead of you love. 

At that very moment Room Service knocks at the door. 

Frederic- I ordered your favorite. Now, trot on now. 

Natasha, 21, stunning, and elegant; she embodies a timeless beauty, sighs a little while doing a yawn and a stretch. She's had a restful sleep. 

Natasha- Thanks Frederic, you're the best.

Scene 1: 07:00 — Wake Up Call

by Sarah Tan

An unfocused blur of red focuses into red flashing numbers on a digital clock reading 7:00. As the numbers come into focus, so does the sound of a ringing mobile phone. The better the focus, the louder the sound. 

The bedside light is turned on, and you can hear the model pick up the phone. You are seeing the room from a first person perspective. You get brief glimpses of her manicured hands, the slip she wore to bed, and her dark long hair as she slips back under white sheets with her mobile phone. There is luggage, clothes and shoes strewn around the room. 

[Model]:Hello?

Scene 1: 07:00 — Wake Up Call

by Catherine Sellars

The room phone rings. She just brings it to her hear: "-Allo..." She listens as her face shows some effort to understand and her eyes hardly open, blinking everytimeshe tries to watch the window with the Paris skyline outside. 

"-No. I didn't forget, I'll be there on time..." She continues to listen as she watches all arround her,the room is a mess: all her clothes are hanging all arround, her lipstick rouge vibration on the floor, on the table next to the window,a letter she started to write but never ended, her I-pod she didn't switch off the night before and she can still listen it's Gainsbourg playing, a bottle of mineral water, a prefume, her Joseph Kessel book, a lithography she bought yesterday on the rivers of the Seine.. 

"Ok. I better hurry up so...Ok. See you later."

Scene 1: 07:00 — Wake Up Call

by Catherine Sellars

Rainbows glide across the high ceiling of a large, sparsely furnished hotel room. Early sunlight shines through raindrops and lace curtains at the window, patterning the walls with shifting shadows. A young woman sleeps in the arms of her lover in an ornate antique bed. Yesterday’s clothes are casually but not carelessly draped across the foot of the bed and over the single chair at the bed’s side. A rainbow travels across her cheek which dimples in a smile. 

She is woken by a scratching at the window. The lace curtains billow slightly to reveal a diamond ring, the source of the rainbows, suspended by a chain from the window catch. A pigeon is tapping at the glass as if to catch the diamond. 

The young woman leaves her bed, picking up her lover’s dinner jacket from the end of the chair and pulling it on as she walks towards the window. She pushes open the casement and the curtains billow around her. The pigeon files into the room in a flurry of beating wings. She catches the diamond ring which falls from the window catch and whirls around to watch the bird flying around the room. Her lover is woken by the commotion and laughs as he ducks to avoid the panicking bird. He jumps up, pulling on his shirt, to help her herd the pigeon out of the room through the open window. At last the pigeon flies free and the pair lean out of the window together to see it fly off over the rooftops of Paris. Below them the street is wet. They watch a woman with an umbrella pause at a wrought iron lamp post to allow her scottie dog to relieve itself. The woman teeters on her high heels as the dog is distracted by the smell of breakfast coming out of the café opposite. The dog barks, sending a flock of startled pigeons up into the sky. The couple at the window enjoy the scene, then the young woman looks down at the diamond ring in her hand, leans her head on her lover’s shoulder and murmurs. 

‘I wish this could all last just one more day.’

Scene 1: 07:00 — Wake Up Call

by Tina Jiang

An inconstant ringing echoes loudly throughout the hotel room, which is just enough to stir the sleeping model into alertness. She fumbles for the hotel phone and yawns briefly before picking up the phone. A few messages are relayed back to her, something or another about room service coming. She just nods and replies that she understands and then hangs up the phone. 

As the model moves from her bed to the bathroom, she tries to avoid the items scattered around the floor in complete disarray. Some cigarettes, champagne glasses, and lipstick tubes stand in the way of the sink. With no effort whatsoever she just casually sweeps them away from her. 

Inside the bathroom she peels off her clothes and changes into a black chiffon dress and a safari jacket. Making her way back to bedroom, the model gathers the stray objects off the floor and organizes her luggage. Then she takes a cigarette out of her leather tote and proceeds to smoke. This is just another day for her; another day of waiting.

Scene 1: 07:00 — Wake Up Call

by Lane Stewart

A lingering shot of the room in silence. Jill lies asleep in the bed. 
The phone rings. Her body is still. 
It rings again. She reaches for the receiver. She answers it with a rasp. 

[JILL] Yes? 
[PHONE] Good morning miss. I’m calling to remind you of your fitting, at 10 O’clock? 
[JILL] Thank you. 
[PHONE] My pleasure. 

She sets the receiver down and presses her fingers against the sleeping mask. She yawns and then nods off.

Scene 1: 07:00 — Wake Up Call

by Caz Kennedy

INT: Morning - Hotel Room - London 

Our model/Actress Sabrina is asleep in bed. The room is beautifully decorated in a modern contemporary style. The morning light through the curtains dimly shines on her face. Her mobile / Blackberry alerts her to a message. She slowly awakens by the noise and opens her eyes. She picks up the mobile / Blackberry from the bedside table and squints to read the message. 

Camera captures the message text: Good morning, are you ready for your big day? Have a look outside the door. X 

Sabrina looks puzzled. She stands, elegantly puts on the silk robe lying at the bottom of her bed and walks towards the door. She opens it. 

There is a cart with a platter of luscious, ripe fruit with a white envelope on top. Next to the platter is a single champagne flute filled with champagne. Sabrina looks left and right down the corridor but cannot see anyone. She wheels the cart in closing the door behind her. She takes a bite of strawberry and takes a closer look at the champagne. She smiles with curiosity as she takes a seat and opens the envelope. She unfolds a note. 

Camera captures the note’s text: I could have left you a dozen roses but champagne seems more appropriate. Enjoy X 

Sabrina smiles, takes a sip of champagne and leans back in her chair wondering who sent the room service.

Scene 1: 07:00 — Wake Up Call

by farrah karapetian

Between the noble profiles of two black Rhodesian Ridgebacks, we catch our first glimpse of your model’s feet. Her toes toy with the tousled sheets of her rented bed. The dogs are still and face only the camera. We watch as a third foot becomes visible under the sheets, then kicks them away and touches the ankles of your model, who responds, slightly. We catch glimpses of bored, clumsy fondling – the aftermath of a night of sleeplessness. 

The camera is still, but the space its frame encompasses is as deep as the bed. By the time the call comes, it has refocused many times, lingered on other bits of the model’s body above her calves – her lingerie, the ashtray on her lover’s stomach, the idle way in which he plays with the dog’s tail and a plate of sliced melons on the bedside table. 

We hear a ring, to which neither party responds whatsoever. Another man’s voice answers the phone and engages in brief conversation. His hand holding the phone, his suited shoulder, his speaking lips enter the frame. He hangs up, considers the scene on the bed for a moment, then dials room service.

Scene 1: 07:00 — Wake Up Call

by Roman L.A.

The room phone rings. She just brings it to her hear: "-Allo..." She listens as her face shows some effort to understand and her eyes hardly open, blinking everytimeshe tries to watch the window with the Paris skyline outside. 

"-No. I didn't forget, I'll be there on time..." She continues to listen as she watches all arround her,the room is a mess: all her clothes are hanging all arround, her lipstick rouge vibration on the floor, on the table next to the window,a letter she started to write but never ended, her I-pod she didn't switch off the night before and she can still listen it's Gainsbourg playing, a bottle of mineral water, a prefume, her Joseph Kessel book, a lithography she bought yesterday on the rivers of the Seine.. 

"Ok. I better hurry up so...Ok. See you later."

Scene 1: 07:00 — Wake Up Call

by Charles Warren

Marseille-Old Port, Le Vieux Porte. Breeze through the open window fluttering a black slip then the phone rings. TV plays an episode of the series 24. The phone rings a few extra times as the alarm clock erupts with a loud buzz and flashes amber 7:00 then 24:00 back to 7:00 then 24.

Scene 1: 07:00 — Wake Up Call

by Caroline Faigan

A girl is lying asleep in an enormous bed. Just behind her, slightly out of focus we see a door open and close with a loud click - simultaneously her eyes open wide. She flings her arm across the bed to find it empty. 

'Stephane!?' 

She calls 

"Stephane where are you going?' 

She pulls back the covers. She's wearing very little, just underpants and no top. She jumps out of bed and pulls open the heavy door, leaning into the hallway, putting her arm across her to cover her bare breasts. 

Stephane! Stephane!!! She calls. 

We see someone disappear behind a corner. As she steps out to call his name again, the heavy door shuts behind her. 

'Oh nooo!' she shouts 

She is practically naked in the hallway of an opulent paris hotel. She starts laughing hysterically at herself. But then as she hears her phone ringing behind the closed door, a look of panic sets in as she cannot open the door! 

'No no!' she half laughs half cries. 

Then her mobile phone starts. Then the message alert beeps. 

She sinks to the floor, wondering what to do... 

Just then we hear a ding, as the elevator doors open and an young porter wheeling a room service trolley comes her way.... She breathes a sigh of relief...

Scene 2: 09:00 — Room Service

by Emma Spencer

There's a knock at the door, which goes unanswered for several minutes. LK Today plays loudly from the television in the bedroom and a shower can be heard in the bathroom. The're another knock at the door. 

Room Service: "Hello, Miss (actress's name), you ordered room service?" 

The actress emerges from the bathroom, wearing a long silk kaftan. 

Actress: "Sorry, I'll be with you in a minute" 

The actress switches off the television and opens the window. She reaches for her handbag before opening the door. 

Actress: "Oh, thank you very much". 

Roomservice wheels in a breakfast table and positions it under the window. 

Roomservice: "You also have some mail". 

He places a handwritten letter and a FEDEX parcel on the table, before producing the check for her to sign. She signs it and hands it back to him, fishing her wallet out of the bag and handing him a handful of pound coins. 

Actress: "I'm sorry, I haven't much change!" 

Roomservice: "Thank you very much, Miss (actress's name) 

He takes a good look around the room before exiting. She switches on Radio Four before sitting down at the window to begin her breakfast. She opens up the FEDEX parcel, half empties its contents onto the table and then drops it on the floor in surprise.

Scene 2: 09:00 — Room Service

by Kelsey Bostwick

The actress walks into the living room of the suite in a pristine white terry robe, hair wet and brushed off her face. She walks over to inspect the breakfast laid out by the hotel’s room service. One by one she lifts the silver covers. A stack of wholegrain toast. A platter of fruit. A tray of croissants and pastries. She takes a swig of orange juice and sets it back down on the table. Returning swiftly to the bathroom she picks up a gold tube of YSL red lipstick off the countertop and expertly applies a thick layer of crimson.

Scene 2: 09:00 — Room Service

by Angela Tate

Hotel room stuffed to the brim with clothes and people. Model's stomach growls loudly. Knock on door--thankfully it's room service. 

[Maid]: Where-- 
[Model]: Food! I'm ravenous! 
[Fitter]: (pins in mouth) Stand still please 
[Fitter's Assistant #1]: Coffee! Just enough to color it, please. 
[Model]: Black, please. 
[Model's agent]: [Model's name] No coffee for you. You tend to spill it on yourself 
[Model]: At least something to eat. 
Model peers longingly at food before her head is enveloped in the gown being forced over her head. 
[Model's agent]: Here (Agent obliges by pushing a slice of apple into model's mouth)
[Maid]: Where do I put it? (clutches edge of cart, looks petrified by the clutter) 
At once: 
[Model]: Right here (motions beside her) 
[Fitter]: Leave it by the door 
[Agent]: Did you remember the steamed cauliflower? [Designer] must have cauliflower!

Scene 2: 09:00 — Room Service

by Rachel Ricucci

There is a loud knock at the door. It goes ignored, the music continues to play. Another loud knock. The gamine raises her head, barely hearing the knock across the room over the music and rustling of the leaves above her. 

"Come in!" she yells out 
[another loud knock on the door] 
"Come IN!" she yells even louder 
[the door opens, an immaculately dressed butler-type man enters with white gloves, pushing a breakfast cart. A silver carafe and several covered silver silver dishes gleam on the cart] 
"Gilles!' the gamine squeals, a large smile spreading across her face. 
"Mais comment savez vous que je suis ici!" she asks, emitting a grin that lights up the face of Gilles. 
"Mademoiselle, forgive my intrusion, but when I heard one of our new boys discussing a peculiar request to have the bath placed outside on the terrace, I knew to expect a visit from none other than you. Upon this information I had to deliver your breakfast myself." 
"Gilles darling you are so kind. I feel awful for not ringing you up myself to pay my regards but I only checked in late last night and am trying to keep my visit out of the papers you know. Just here for a quick shoot and it is so trying when I'm followed every which way!" 
"Perfectly understood ma cherie. I am only too happy to see you now. I understand a car will be here for you in half an hour so I leave you to your breakfast" 
[Gilles leaves the cart next to the bed, not wanting to come too close to our bathing gamine. He bows and ducks out of the room]

Scene 2: 09:00 — Room Service

by Bobbi Verdugo

Natasha, wearing a robe, answers the door. The Room Service boy is unexpectedly attractive but young. He gives her the rolling tray, unveiling, strawberries with cream, and a pot of Chamomile tea. She thanks the boy, and he leaves.

Scene 2: 09:00 — Room Service

by Sarah Tan

Model is seated in a formal armchair. She is only dressed in underwear but is impeccably groomed. The curtains have been drawn a part and morning light falls into the room. The television is on. 

Knock at the door. 

[Room Service]: Room service. 
[Model]: Come in. 

Room Service enters. He's young and baby-faced and wheeling in a breakfast cart. Dressed in a starched, formal uniform to contrast her semi-nakedness. He's trying to stare at her and she is aware of his self-conciousness. 

Model gets up and moves toward the tray. She sees that on the tray there's a calling card with her name written on it. She picks this card up, knowing who it's from. 

Room Service starts to walk away. 

[Model]: Wait. 

Model goes to her purse and extracts money. She walks up the Room Service, stands real close, and places money in his hand. 

[Model]: Don't forget your tip.

Scene 2: 09:00 — Room Service

by Jere V

INT. INSIDE OF THE HOTEL ROOM - MORNING (09:00) 

The actress/model is laying on empire style of sofa. Otherwise the room has very minimalist decorating style. Just phone, purse & some magazines on the night table next to sofa. She’s wearing black leggings, some edgy top type of thing & turban made of towel (it appers that she’s just gotten out of a bath). It’s looking like she’s just dreaming and raising her legs towards sky, almost like slowly trampling imaginary bicycle. (The view angle can change during the monolog between different types, like general angle & details etc.) 

VOICE OF MODEL: Last night was too hilarious. I will never forget what went on that premier. And where does those french bodybuilders came from? (pause) She shouldn’t have shown it to them though? But, who’s fault it really is? (another pause) Yes, I’m quite positive that she did it. Or did I just had an hyperactive imagination again? Should I call her and ask about it? I don’t think I have to. What ever the case might be I still love her... but what will Stefano say when he hears about it? Maybe nothing, coz you got to give it to her, she’s was so edgy in that dress. But as a friend, you can’t... 

There’s a gentle knocking on a door. The model is too deep on her thoughts to hear it, but it’s loud enough to distract us to hear the end of the sentence. 

VOICE OF MODEL (CONTINUES): ...that’s have to be the end of that story. Fashion is too beautiful to be waisted on little dirty details like that... 

At same the same moment we hear another knock-knock, but this time much more louder. We see the knocking on the door, but just a fist and the room number (24). 

MAN’S VOICE: Miss (name), are you there? 

Now the girl hears the knocking too. Looks to the door and says... 

MODEL: Yes. Who is it? 

View comes back to the outside of the room and the man is identified as a butler. 

MAN: This is roomservice bringing a little amuse bouche for the young lady. 

We can hear - fairy type of - quick & light steps from the room which are coming towards the door. The door opens and we can see our main girl standing there with brite smile & simple but chic outfit. The butler walks in with his trolley...

Scene 2: 09:00 — Room Service

by Tina Jiang

Light knocks are tapped against the solid oak of the hotel door and the model rises from the plush chair she is sitting on to answer the door. 

[Hotel Staff]: Good morning, I think someone called me for a quick cleaning? 
[Model]: Yes I called last night. As you can see, I need this place to look somewhat presentable. (She laughs softly) 
[Hotel Staff]: No worries Madame, I will get right to it. (She gives a friendly smile to her and begins her work) 

While the pillows are fluffed and the sink wiped clean with ammonia, the model can’t help but listen to her erratically beating heart in the silence of the room. Possibly the most important fitting of her life is to occur in an hour and all she can do is wait for it. Another cigarette is procured from her bag and the model brings it to her lips. She just needs anything to release her raw nerves and anxieties.

Scene 2: 09:00 — Room Service

by Roman L.A.

A knock at the door. She turns off the shower and runs to open the door, she doesn't find anything else to put on than a coat she finds on a chair. She opens the door and a young guy from the room service becomes all red as he's looking down the floor after seeing her all wet , wearing just this large unbuttoned trois quarts coat. He says: "-Excuse me Madame,i didn't think you were going to open the door, I could have let the trolley in front of your door..." 

She finds his shyness so cute, she bursts out laughing as if the young guy had made a funny joke and says to him: " It's OK, "Monsieur",don't worry i thought it was for the interview!" 

She turns back ,takes a belt she finds and fasten the coat as she walks to her bed to search for some towel to dry her hair and asks him: "-You want some croissant?"

The young guy smiles, her spontaneity changes from all the manners the usual clients have in this hotel and answers feeling confortable now: "-Madame, it would be a pleasure but I'm not allowed to share breakfast with hotel customers." 

She looks at herself close to the mirror as she puts on her red lipstick she just took from the floor, and answers:"-Rules,rules,rules...as you want,see you later then!" 

The young guy smiles again, watches her one more time before closing the door, she stills watching her reflection throw the mirror.

Scene 2: 09:00 — Room Service

by Caz Kennedy

Our model/Actress Sabrina walks out of the hotel bathroom with a towel wrapped around her body. She is drying her hair when she hears a knock at the door. Sabrina opens it. Her Assistant Roberto enters. They hug each other. Roberto tries to hurry Sabrina to get dressed as he rushes around the room tidying up. Sabrina is confused, and asks him what he’s doing there and what are they in a hurry for. Roberto explains that she has a flight to catch this afternoon. Sabrina tells him that her flight is at eight tonight. 

Roberto stands beside the bed and points to the phone. The telephone has a white, flashing light, blinking intermittently. ‘You haven’t check your messages have you?’ he asks. Sabrina looks at the telephone. ‘I just came straight in, had an hour in the Jacuzzi and went to bed,’ she replies. 

Roberto excitedly walks towards Sabrina. ‘Darling, you are off to Milan this afternoon, I got the call last night. They want you, my dear to model the new collection for a magazine spread.’ Sabrina’s mouth opens in shock. She sweeps her long hair back and hugs Roberto. ‘It’s all set, I cancelled your dinner engagement tonight and told the magazine that you would be in Milan late this afternoon.’ 

Sabrina gives Roberto a large smile. ‘Now come on, get ready, you have a fitting in one hour and press interviews downstairs at noon. You are the hot off the press news today so lets make sure you to look as beautiful as ever. Now lets get a move on.’ Roberto orders. 

Sabrina excitedly hugs Roberto.

Scene 2: 09:00 — Room Service

by Lane Stewart

Jill hears a loud KNOCK on the door. 

[MALE VOICE] Room service! 

She perks up in the bed, then yanks off the mask. 

[NARRATOR] Jill had not ordered for room service that day. 

He knocks again. 

[MALE VOICE] Open up! 

She carefully approaches the door... she opens it. 

A man stands at the doorway with a trolley full of grapes, apples and oranges... a splendid breakfast and a bottle of “YVRESS” brand champagne next to a box of cigarettes. 

[MATHIEU] Hello Jill. (with french accent) 

[NARRATOR] It was her lover, Mathieu. 

[JILL] What are you doing here? (smiling) 

He lets himself in. She dodges his trolley. 

[MATHIEU] I could not wait to see you... 

She picks up a pair of heels from the floor. 

[MATHIEU] Didn’t you miss me? 

She stops in her tracks and turns to him. 

[JILL]...Of course, my love... but... I have a fitting. I don’t think we'll have any time to-- 

Matthew sulks. He gestures to the cart like “look what I did for you”. 

[JILL] I’m sorry. 

They stare at each other. He storms out the door. 

She turns away and rubs her eye.

Scene 2: 09:00 — Room Service

by farrah karapetian

The man who called for room service answers the door. The Ridgebacks follow him. A man wheels a cart into the room. Whispers are heard from the bed and then a man’s voice comes from off-screen on the bed, directing the situation with the cart. The suited man and the hotel employee listen, but when the voice has finished its directive, the hotel employee looks at the suited man. The suited man tips the employee and indicates that he can leave. Once the door has shut, the suited man seats himself in a comfortable chair just next to the cart and pours himself a cup of coffee. His gaze remains fixed on the bed, from which issues protests and cries of selfishness. He feeds the dogs croissants.

Scene 2: 09:00 — Room Service

by Charles Warren

A knock on room number 24 door and room service enters and exits leaving a silver tray with breakfast food.

Scene 2: 09:00 — Room Service

by Caroline Faigan

Scene: The hallway outside the hotel room. Our model sits semi-naked on the carpet, locked out of her room. 

The porter smiles at the model as he wheels the trolley towards her. His smile implies that he's seen it all before, perhaps not quite as beautiful as her, but she regains her confidence and remembers she is a model. Covering her breasts, she stands and strikes a pose. 

-model (laughing) 

ThankYOU SO MUCH! Perfect timing! 

-porter (the epitome of discretion) 

Mademoiselle, good morning. 

The porter takes a keyring from his pocket and opens the door. The model runs into the room, throws on a robe and grabs her phone. She listens to her voicemail as she mouths THANK YOU to the Porter and hands him a generous tip. 

Mobile phone to ear, she lifts silver lids from steaming platters to examine the food. It's all very 'French' indiscernible and slightly gooey meaty visceral looking stuff. 

She uncovers a platter of strawberries and shoves a few in her mouth. There is no tea or coffee, just champagne. She takes a sip 'Ugh!' too early for that. 

She goes to the bathroom, tips the champagne down the sink and fills the flute with tap water. She drinks thirstily as she looks at herself in the mirror.

Scene 3: 10:00 — A Fitting

by Kelsey Bostwick

Inside the actress’ hotel room a woman in a white jacket is attending to a chrome rack of evening dresses. She is holding a steamer and smoothing the front of a sheer gown. Not far away the assistant to the designer is sitting in an upholstered chair. His expression is blank. We see a sudden and striking metamorphoses of his features; the actress has entered the room. 

She hugs him and smoothes his hair before running up to the rack of clothes. Excited, she quickly removes her silk dressing gown. A look of confusion, followed by amusement on the face of the assistant. The seamstress in white looks at him nervously. 

[Assistant]: Darling 
[Actress]: Yes love. 
[Assistant]: I thought you were quite done with Jack. 
[Actress]: Right. I am. Haven’t I told you? 

He leads her to the full length mirror and turns her around. We see her look at her reflected look of shock. At the small of her back, written in smudged black permanent marker right above her briefs: Love. Forever. J. 

[Assistant]: Not quite forever but quite lasting enough. 

She strains her neck to look over her shoulder at the small of her back. 

[Actress]: Shit. Give me a minute more will you? 

She runs back to the bathroom. We hear water running. The she yells back to the assistant. 

[Actress]: In the meantime darling, get that long black one ready for me. It’s gorge. I like it for tonight.

Scene 3: 10:00 — A Fitting

by Rachel Ricucci

[The scene opens in an atelier where gorgeous gowns in various states of completion adorn mannequins. Assistants busle about, some on the phone, some fetching coffee. Designer Stefano Pilato chats animatedly with several seamstresses when the door bursts open.] 

"Bon Matin a tout le monde bon matin!" [Our gamine swathes into the room smiling brightly and greeting as many of the seamstresses and assistants as possible] 
"Stefano, Stefano I have missed you! What are we in for today?" [She gives him two kisses before looking at one of the dresses on a mannequin] 
"Oh but this is fabulous, completely and utterly amazing. I love it! Though I couldn't wear it like this you know. I would need a natty leather jacket or something to bring it down. Toughen it up a bit. Oh but this is just extraordinary." 
"I knew you would like this one. It is perfect for the party non? 
"To die for" [she flings off her rugged coat, long cashmere scarf and bright tunic to reveal a black dancers unitard arms over head three seamstresses lift the dress over her head and begin pinning and pulling in all directions]

Scene 3: 10:00 — A Fitting

by Jere V

INT. HOTEL BEDROOM ROOM - MORNING (10:00) 

(This peaces background music for the selecting process: Kinks - All day and all of the night). Little intense but chic... 

Our beloved model is standing in front of the mirror. She is wearing only her fabulous panties, but there is first outfit option on a hanger in her hand. She ‘trying’ it on (keeping it front of her), so nothing too critical is not revealed. Couple meters behind her is light movable fitting ‘wall’ (the same type that they used mostly in old movies; to go change clothes behind it). The wall is nicely covered with different kind of outfits which mr. Pilati has send to her. The whole sequence is more about action and looking on details, rather than monologue. Even though described the way below. 

Model seems to be liking the first outfit. She’s measuring it every possible angle. 

MODEL: Oui. 

She walks back to the wall and change the hangar on her hand. Walks back to the mirror and strikes a pose with second outfit. 

MODEL: Oui. Oui. Oui. Stefano you are making my life so difficult... 

Second is obviously pleasing her also. Then it’s time for third outfit. She does it with same style as before, but just different poses and expressions. 

MODEL: Disco. 

She immediately notices that this is THE outfit to put on now. Goes behind the ‘wall’ and puts it on. 

She grabs her bag and leaves the room. She’s gotta run, the time is money...

Scene 3: 10:00 — A Fitting

by Tina Jiang

The Yves Saint Laurent crew arrives sharply on time at exactly 10 o’clock in the morning. A lanky brunette fashion assistant hastily brings in racks of clothing into the room, and another assistant is carting in piles of accessories and shoes. A third male assistant occupies himself with loading a Polaroid camera with fresh film. 

Finally, all three assistants turn their attention to the somewhat bedraggled model watching the scene fold out in front of her. The brunette assistant hurriedly pulls a garment bag off the rack and unzips it to reveal a tunic and trench coat ensemble. Matching the assistant with equal speed, the model takes off her clothes and changes into the ensemble. 

Snap. Click. A Polaroid captures the moment and everyone moves on to the next outfit. More pieces are pulled from the rack and few words pass between the assistants except maybe a few yes’s or no’s, or a slight purse of the lips. The fitting continues onward. (End Scene)

Scene 3: 10:00 — A Fitting

by Sarah Tan

Model is standing, elevated, on a square wooden box in the middle of a very busy room. She is distant and in a state of undress while the room is teeming with people working and attired in YSL. The comparison is between a Model who isn't dressed and the voyeur, who is dressed in luxury; the lack of movement and expression from the Model and the life from the people around here; the conversation around the Model/the orders given, and the silence on her part. 

This scene is juxtaposed with the following frames. 

[Frame 1]: Model is at a party. She's watching a man who is with another woman. The other woman looks back at the Model to acknowledge that she knows the connection the Model has with her husband. 

[Frame 2]: Model and man share a quiet moment in the corner of the room at the party. They are talking, quiet enough to hear the tone, but not loud enough to hear consistently what is said. 

[Frame 3]: Model and man in passionate moment, while man's wife is looking on, visible in the corner of the frame. 

4801 Jo Krebs soaponarope09@aol.com Scene 2: 21:00 - Hair & Make—Up 
Opening shot is of a multi-hinged mirror that fills the entire screen; the sequence mainly consists of all images being disjointed by the mirror's reflection. Mirror is of separate narrow panels that stagger backwards to the edge of the screen, creating a multi-faceted image. 

In the background of the mirror we see an empty chair (one that swivels and is preferably white and modern) and an empty pure white background with only a few completely black bottles and hairbrushes. (Black or one strong color that features prominently in the collection) 

We see the Model enter in the reflection and sit in the swivel chair looking somewhat cheeky and moving very slowly as she looks around. Only chest upwards is visible in the reflection, surrounded by the harsh black bottles of cosmetics. 

La Foule by Edith Piaf begins to be heard in the background; She bites her lip and begins fiddling with a large power puff found infront of the mirror on the countertop and soon a huge cloud of power covers the entire screen and image. She laughs and when the power cloud clears we see her surrounded by a team of makeup artists all pulling hair, or applying lipstick or curling eyelashes at the same time, very quickly. 

Model looks straight ahead and her personality seems to be lost as another one is carefully manifested on her by a team of professionals. When finished they all leave at once and model is again alone. 
She looks at herself closely as her new image is fragmented in the mirror; close ups of specific facial features- eyelashes, lips pursing and closeups of hair all fragmented again in the mirror. 
She leans back in the chair and spins around until an assistant with a clipboard comes to collect her for the shoot. She takes one last look as she gets up and we see her image slowly disappear in the mirror as she walks off-screen.

Scene 3: 10:00 — A Fitting

by Konrad

[The Fitting scene will be a montage accentuated by music without dialogue] 

MUSIC: I think if the fitting facilities can accomodate an aesthetic that matches some energetic Baroque Harpsichord piece, it would be perfect. It would highlight the almost aristocratic feel of the scene, while at the same time putting a bit of a focus on the almost boring aspect of the situation. 

INT. A LARGE, LUXURIOUS FITTING ROOM 

The scene opens up fading from black as the CAMERA slowly pans from behind a rack of gowns. As the clothing moves out of frame we see the MODEL standing in the near distance with her arms out at the sides while several people pin and adjust her outfit. The viewpoint of the CAMERA shows us her back, while the extremely large and antique mirror in front of her shows her face, and the room behind her. As the camera moves, it reveals details about the situation. We see the people working on her, the rack of clothes as reflected in the mirror, and several people [obviously in charge] watching off to the side in the reflection. Except for the MODEL and the people in charge, everyone else seems to be busy working, rushing to get the job done. The CAMERA will stop moving and focus on a beautiful composed frame, almost like a painting. 

There are several shots injected here; a close up of a hand pinning some fabric, a close up of the people in charge exchanging a comment while eyes are focused on the MODEL, and finally a shot of the MODEL looking fairly un-enthiusiastic while a flash goes off. 

The SCENE ends with a hand taping a freshly exposed POLAROID to a group of different "looks" previously taken on a wall. The newly added POLAROID develops in a very short period of time [time lapse].

Scene 3: 10:00 — A Fitting

by Roman L.A.

She looks inside her luggage and takes instinctively a dress she watches,taking it from each side of the shoulders with her arms straight:"-That should be perfect" She puts on the dress as she takes her blackberry on her table to watch her mails. She sits down over the bed as she is watching her blackberry and takes from under the bed a pair of heels. She stills watching her blackberry, makes an angry face and throws it at the other side of the bed with a disillusioned gesture. She stands up,goes to the table, searches inside her bag and brings out the eau de toilette vaporisateur de voyage l'Homme of Yves Saint Laurent ,sprays off two times on each side of her neck and one more time on her wrist.She smells her wrist with her eyes closed as if the smell was taking her to some other place in her imagination. She watches her reflection on the mirror with her eyes lost in the distance. 

Someone knocks again at the door, she looks at the door as if she had just wake up from a pleasant dream.

Scene 3: 10:00 — A Fitting

by Lane Stewart

Jill feels the fit of the dress. A seamstress with a tape measure around her neck stares Jill up and down. 

[JILL] It feels perfect. 

[SEAMSTRESS] It really is. Now, lets try a couple more. 

Jill tries on several amazing outfits. Each with it's own attitude. She feels the mood of each one and expresses it in the mirror. 

The moods transform her... 

SHOCKED: her jaw opens wide. 
VILLAINOUS: she arches a brow and smirks. 
MELANCHOLY: she slumps and places her her fingers on her collarbone. 

FRUSTRATION: she sticks her index fingers in the top of the strapless gown and appears to be trying to peel it off. 

[SEAMSTRESS] You should be an actress! 

Jill blushes.

Scene 3: 10:00 — A Fitting

by farrah karapetian

Just as the model has entered the frame that includes the suited man, and just as she has placed herself awkwardly, like a bad elf, at his feet, and seems to be begging for food, the door to the suite opens and in walks an incredibly tall woman – strong and with precise cheekbones that lead up to dark glasses. Behind her trips a small man, in each of whose outstretched arms is a series of garment bags. 

Your model is still standing still. These people move everything else out of the frame – the cart, the suited man, the chair on which he sat. They begin affixing clothing to her body. She barely flinches as they pull dresses over her head and then off again, as they sew skirts onto her, wrap and drape her mid-section, lift her feet for her and insert her legs into pants. They measure, take notes, pin, cut, tuck, and generally ignore her. 

Once, the suited man passes by her and inserts a cigarette into her mouth. The other man – wrapped in a jacket that is too large for him – comes over too and takes the cigarette away, walks out of the frame smoking it himself.

Scene 3: 10:00 — A Fitting

by Charles Warren

The room door just about to close when it swings back and two ladies enter. They look around. 

-“Mademoiselle?” They search around but both shrug their shoulders. 
-“OFF WITH THE ALARM, PLEASE!” shouts the fitter to the other. 

The fitter rushes over to the clock that is next to the window and the camera shot continues out the window. 
A black scooter driven by a black leather clad rider stops and allows actress Marion Cotillard to get off. She wears a red trench coat as she leans over and kisses the driver before he speeds off. She waves as she emits a coy smile. 

-“Marion, OH Marion!” Shouts a girl rushing down the street. Marion swings about and comes face to face with her twin sister. They kiss and then converse as they walk toward and into the hotel. 
-“Your trench coat is divine.” Exclaims Linette. 
-“Oui.” Marion says. Better than me.” They laugh. 
-“Love.” Winks Linette. 
-“Too much love.” Sighs a tired Marion as they enter the elevator. 
-In the room the two fitters sit waiting, one swinging a measuring tape and the other jamming pins into a cushion. Marion walks up to door and finding it not closed, peers in. She panics at the sight of the fitters and turns to her sister. 
-“Damnez-l'à l'enfer! You MUST HELP ME? I am in no shape to be Fitted now.” 
-“FITTED?” Linette smiles for she loves fashion. She heads for the door just as Marion grabs her and begins placing the trench coat around her. 
-“There is more but I will call you.” Instructs Marion as she hugs Linette whispering in her ear, “Be me and keep your cell on.” Marion exits down the hall as Linette enters the room. 
-The fitters jump up as Linette stands there emitting a Cheshire cat smile.

Scene 3: 10:00 — A Fitting

by Jere V

A FITTING (ALTERNATIVE VERSION OF MINE): 

INT. HOTEL BEDROOM ROOM - MORNING (10:00) 

Our beloved model is standing in front of the mirror. She is wearing only her fabulous panties, but there is first outfit option on a hanger in her hand. She ‘trying’ it on (keeping it front of her). Couple meters behind her is light movable fitting ‘wall’ (the same type that they used mostly in old movies; to go change clothes behind it). The wall is nicely covered with different kind of outfits which she can choose from. She is measuring herself with her eyes when suddenly the big gust of wind ‘explodes’ the window in and starts to fly outfits all over the place. It’s nothing like the wind would normally do. The outfits are whirling with the wind up and down, left and right & heaven and earth. It seems that those ‘bastards’ are not going to settle down anywhere. It’s the storm of outfits. 

Model has now a interesting dilemma how to catch them all. She decides to just do for it. She’s jumping towards the roof, crouching like a tiger, diving into bed, running like gazelle etc... everything starts working on a slowmotion. 

It doesn’t matter how hard she’s trying to catch the outfits nothing gets done. She has no chance to get on hold to those little things that seems to be living their own life. Suddenly outfits starts flying out of the window to the streets, further & further, to all over the Paris. One piece at the time. The show keeps going on until there is one piece left in the room. She grabs it and holds it all of her powers. She tries to close the window, which is fighting against her. CLOSED! 

Everything gets back to normal pace. 

Little bit exhausted she drags herself behind the clothes changing wall. Puts the outfit on and comes back to front of her mirror. Expression that she’s giving is oddly enough almost like relieved. Now she doesn’t have to live that dressing up circus through again (like every other morning). She takes her purse, gloves & sunglasses from the drawer. Puts those on and glances the mirror... 

MODEL (with Aubreyn Hepburn charm): Perfect. 

Now she’s gotta run, time is honey...

Scene 3: 10:00 — A Fitting

by Caroline Faigan

Our model is sitting on the bed. Her hair is wet and she's wearing a robe. She holds her mobile to her ear. We hear the phone ringing and an answerphone message: 

-answerphone-"Hello this is Stephane, please leave a message...' 

She looks annoyed and hangs up. 

She lies back on the bed. We hear a commotion out in the street below. She opens the curtains and looks out to see the chaotic scene - the YSL limousine and van has arrived. Trunks and clothing racks are being unloaded. Stylists and assistants are hurrying through the hotel's front doors. It's the calm before the storm. 

Our model sits on the bed and looks at the hotel room door - waiting for the knock. 

The look on her face is one of fear and excitement. She is breathing fast. 

Finally, three loud raps and the door springs open. Suddenly her room is filled with a blur of people, garment racks and bags, trunks. She is embraced and kissed as the clothes are unpacked and hung up. Soon people dissipate and it is just our model, a stylist and an assistant holding a tape measure and a packet of pins who looks like she is about to perform an experiment. 

-stylist- 'Welcome to Paris!' She checks her watch. " Shall we begin?' 
-model- 'Well sure, but all this just for the interview? I ....' 

The model examines the clothes on the racks, running her fingers gently over the fabrics. Before she knows it she is dressed in an outfit that is exquisite beyond her wildest fantasies. Al her dreams have come true in this moment. She sees herself in the full length mirror. Overwhelmed, a tear runs down her cheek, and drips onto the front of the dress. She gasps and covers it with her hand as she turns to see the look on the stylists face. 

-stylist- 'Please, try not to cry on the clothes'. 

The assistant laughs in the background.

Scene 4: 11:00 — The Arrival

by Kelsey Bostwick

In the lobby of the hotel a small film crew is quickly following a young man. He is walking fast, his stride is long, and he is holding himself completely upright, with rigid posture. In his turtleneck, black glasses and long blond hair, he has the look of an intellectual cliché. His youth, however—and the absolute beauty of his features—leave no doubt that he takes himself seriously. A member of the film crew narratives the arrival. 

[Crew member #1]: We are here in Paris with the respected philosopher and film critic Bertrand Noailles who is on his way to interview the actress staring in the most controversial film of her generation. Bertrand has stated that the film audience has become impossible to shock, and that the filmic image has no relevance anymore as a method of social commentary. 

He begins to read a small white paperback with Bertrand’s image on the back. 

[ Crew member #1]: “The public’s fascination with storytelling, with its successive unfolding of a logical series of events, belief in cause and effect, and ultimately with a moral conclusion, has destroyed the avant-garde. Because of their aesthetic degeneration, the public will be incapable of recognizing the new avant garde when it manifests.” 

The crew member pauses and looks at Bertrand expectantly. Bertrand begins to speak, but continues to look straight ahead while walking towards the elevator. 

[Bertrand]: I agree with everything I have said. 

Arriving at the doors, he stops and then turns to face the crew. 

[Bertrand]: The public has not responded to the film. It has responded to the woman.

Scene 4: 11:00 — The Arrival

by Tina Jiang

Heels click softly on the carpet as a fashion stylist makes her way to the hotel room. As she enters the room, a thin layer of YSL Opium wafts under her nose and she inhales deeply as if to capture the scent. The stylist exchanges la bise with the model and flips through the Polaroids. 

In French, the editor asks an assistant about the model’s measurements and the fit of the clothes. She furrows her brow for a second and the model takes it as a bad sign. If the model was nervous before, it was nothing compared to listening to rapid French spoken about her. 

More French circulates the room and higher anxieties fill the model. Are they saying good things or bad? Do they want me for the job or not? Her face shows none of these concerns, but her fingers are tapping against her body impatiently.

Scene 4: 11:00 — The Arrival

by Roman L.A.

She opens the door and a group of five persons with lighting and sound material enters without even looking at her and starts to analyse the room. The group is followed by two journalists, a man in a trench coat and a woman strictely dressed in a feminine suit. They look at her and the man says: "_ Hello Miss..., very happy to meet you,they told us you've got a plane to catch, so we'll try to make as fast as possible." 

Then watching the signs of a person from the team he adds: "- I think the armchair with the window and the sity in the background would be perfect! What do you think Miss...?" The model/actress answers right back: "-I don't feel confortable being static today. I'd prefer to do it mooving all arround the room doing my things , if you don't mind." 

The man looks at her with a surprised face and says: "Ok Miss...,as you want , there's no problem for us.."

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