Part of: 24hrs
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Article

Treatments: 24hrs

published on 25 October 2007

Script submissions from around the world were selected and compiled to make a fashion film telling the story of a day in the life of the YSL Woman.

Script submissions from around the world were selected and compiled to make a fashion film telling the story of a day in the life of the YSL Woman.

ACT I: HOTEL ROOM

SCENE I

SCENE 1: 08:00 — 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: 08:00 — 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: 08:00 — 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] What time is it? [inaudible] Mmm, right, thanks. [inaudible] Can you bring the breakfast to my room? [inaudible] Oh, I don't care, as long as there's no meat. [inaudible] No, yes... that'll be great. [inaudible] No that's fine, you can just open it and read it out to me now. [inaudible] You have the addresses there then? [inaudible] Ok, just bring it up with breakfast, and can you please arrange a car for the first one? [inaudible] Great, thank you. I'll be taking a shower now so send the room service up in about a half. [inaudible] 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: 08:00 — 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 disheveled. There are several large, gorgeous couture gowns strewn across the bed, taffeta 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, languorous 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: 08:00 — 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 coloured 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) What time he is coming? (Inaudible answer) Merci. (Inaudible answer)

She hangs up and smiles mildly (not super happy, more like pleased and maybe just a little bit thrilled). FADE OUT.

SCENE 1: 08:00 — 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 favourite. 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: 08:00 — 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: 08:00 — 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 every time she 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 around her,the room is a mess: all her clothes are hanging all around, 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 perfume, 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: 08:00 — 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 organises 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: 08:00 — 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: 08:00 — 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: 08:00 — 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: 08:00 — 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: 08:00 — 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 II

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. There 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". Room service wheels in a breakfast table and positions it under the window. Room service: "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!" Room service: "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-consciousness. 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 appears 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 room service 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 bright smile and 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 comfortable 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 III

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 bustle 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.

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 accommodate 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 unenthusiastic 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 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. All 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 IV

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 narrates 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 recognising 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 des bisous 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 strictly 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 city in the background would be perfect! What do you think Miss...?" The model/actress answers right back: "-I don't feel comfortable being static today. I'd prefer to do it moving all around the room doing my thing, 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."

Scene 4: 11:00 – The Arrival

by Farrah Karapetian

When the tall woman and her assistant have finished ravishing our poor sprightly model, they leave, taking with them all of their accoutrement. She stands alone in an empty frame, lit only by mid-morning light streaming in from the window. Silently, the actress Jeanne Moreau – now 80 years old – enters the frame and stands before the actress. They look at one another for some time. Then both of your model’s men enter the frame with simple metal chairs, which they place in back of each of the women. The women sit. The men place a simple table between them and begin to set it with simple fare – something like a carafe of lemonade, small sandwiches of easy breads. The women eat. Jeanne Moreau asks for a more comfortable chair and they bring it. She switches to it and the metal chair she was sitting on is whisked away.

Scene 4: 11:00 — The Arrival

by Charles Warren

Marion walks across the hotel lobby and right into her next appointment-the photographer Nick Knight and his assistant. She tries to avoid him as he and the assistant greet her.

SCENE V

SCENE 5: 12:00 – THE INTERVIEW

by Farrah Karapetian

At noon, a man brings in a third chair, but it remains empty for some time. Finally, a reporter comes racing into the room with a pen and paper and begins to ask questions of Jeanne Moreau. He faces your model, but he has no questions for her at first. She begins to feel ignored. She looks around for her companions. She is alone. She is used to threesomes, but this is a new one. It takes her some time to determine what she should do. Finally, she turns to the interviewer and opens her mouth to speak...

SCENE 5: 12:00 – THE INTERVIEW

by Charles Warren

“Where shall we do the interview?” Asks Nick looking directly into her eyes as the eyes roll about. “Puits…”She says then hesitatingly. “This way” And off she goes back through the lobby with the surprised men in tow. The cell phone rings and Linette standing in underwear being measured grabs it. “Hello?” Marion rattles off a need for clean clothes and where to find them quick. “Ok.” Says Linette as she smiles at the harried looking fitters. The elevator door opens and reveals a small yellow bag in it. Marion picks it up as the two men stare incredulously at her. “Excusez-moi?” She says as she heads toward the bathroom tailed by the men. The fitter’s write and then measure up and down Linette’s body. She is in heaven. Marion pulls a purple YSL pocket dress. Nick Knight knocks on the door. “Yes?” Asks Marion slipping into the dress. “Last minute dear.” Pleads Knight. “Can we talk about the studio shoot this afternoon?” Marion sticks her head out and says calmly, “Oui.” Before she quickly disappears back into the bathroom.

SCENE 5: 12:00 – THE INTERVIEW

by Rachel Ricucci

[A gorgeous sitting room in a different part of the atelier. Our gamine reclines on a sofa, wearing a simple shift dress she's been gifted with her own enormous cashmere scarf wrapped all around her. She is sipping tea from an ornate teacup that matches the tea service on a trolley beside her. In walks devastatingly stylish Emmanuelle Alt of French Vogue]

"Hello!" [our gamine springs up with her disarming smile and large eyes focused squarely on the somewhat intimidating figure who has just entered the room (ushered in by no less than 3 atelier assistants)] "I am so excited for this opportunity to be in Vogue"

"Please. We are more than excited to profile you for the magazine. My god you are it right now! Absolutely it!" [Emmanuelle replies]

"Well I feel like something that rhymes with it" [she lets out a nervous laugh]

"Honestly the past few weeks have been absolutely mad but I am loving every minute!"

[An assistant enters with a bottle of sparkling water and a glass with ice and a lime inside. She sets the glass next to Emmanuelle, pours the sparkling water, and scurries away."

"Now tell me" Emmanuelle begins "Everyone wants to dress you all of a sudden, you are THE international girl. How do you put together this fabulous disheveled style that you have? What are you thinking when you get up in the morning and pair a couture gown with your beat up combat boots?"

"Well it's not so very thought out...I suppose I just have things I've always loved, like my boots. And now designers are just heaping more things that I love at me and so I'm sort of just trying to wear everything that I like and not giving too much thought to weather it goes together you know"

"Yes yes, very modern this way of dressing. I understand you are a bit of an insomniac yes? Your style seems to be well suited to the active nightlife"

"Yes, I suppose I am a bit of an insomniac. I can't get a proper nights sleep when I'm not home and I haven't been home for almost two months now! As for my nightlife style...I just dress to be active and live my life. Part of that is going out to see my friends who are in these great bands and the parties get a bit wild so I have to feel glamourous and fun but be able to move you know"

"Yes. And what's this I've heard about your baths? That you take them early in the morning?"

SCENE 5: 12:00 – THE INTERVIEW

by Kelsey Bostwick

The film crew is in the actress’ suite. We hear the slow unzipping of a garment bag as one of the assistants to the film crew tries to look at the actress’ new gowns. He then bends down to look inside a shoe box. In the centre of the room, Bertrand is sitting with his legs crossed, elbow propped up on knee and chin in hand. One gets the impression of a yoga pose. With each question he gestures at the actress with his free hand, which reveals a slight tremor when at rest.

[Bertrand]: The problem with interviews of course is that the most interesting questions can never be answered. That said, I have been thinking quite a bit about you. It seems to me that you have finally forced the conclusion of a long debate.

[Crew member #1]: (Narrating in the background) Professor Noailles is of course referring to his famous assertion that beauty is an emotional state and not a visual condition.

[Bertrand]: (continuing)…and so, I am curious, do you find yourself beautiful?

[Actress]: No, but I do quite well for myself despite it. I suppose if I were beautiful I might risk becoming ugly. Besides, how can a person be beautiful anyway? An image is beautiful. This dress is beautiful. A person is, well, more physical than anything. (pauses) Do you find me beautiful?

[Bertrand]: You are so much more than beautiful. You are disturbing and difficult, both of which I have been in desperate need of.

At his statement the actress leans back in her chair and crosses her legs. Her hands are now slightly trembling.

[Actress]: What is the place of women in your life Professor?

[Bertrand]: There is none beyond them.

SCENE VI

SCENE 6: 13:00 – A NOISY INTERRUPTION

by Farrah Karapetian

At that very moment, the dogs begin to bark. All parties at the table turn towards them. The shot shifts. We see now both of your model’s male companions wrestling on the bed with an intruder: paparazzi. The dogs are poised at the foot of the bed, barking loudly. Your model screams and runs over to save her men. The paparazzi bargains: he will stop beating up the men and he will leave if she poses for a series of photographs. She agrees, and they take turns photographing her in a series of freeze frames, alone, with one man or another. When she dissolves in an embrace with the men, the paparazzi takes notice of Jeanne Moreau, and abandoning the erotic scene near the bed, goes to shoot stills of her seated figure, munching sandwiches, then bidding adieu.

SCENE 6: 13:00 – A NOISY INTERRUPTION

by Charles Warren

The elevator opens and the fitters walk out noisily talking to each other. Linette emerges behind them and while creeping in the lobby’s shadows she interrupts the interview. They stare at Linette who stares back then smiles before she hurries away. Nick begins to speak but the door opens and Marion appears. “Must hurry.” She says. Plane to catch.” Elegantly she walks away and disappears into the whiteness of the lobby’s light.

SCENE 6: 13:00 – A NOISY INTERRUPTION

by Vikrma Alexei Kansara

Open on MODEL in a Louis XV armchair. Opposite across a table, an INTERVIEWER. Autumn light falls on a silver cigarette case on the table. MODEL lights cigarette, flicks her head back and exhales.

[Interviewer]: He’s a genius isn’t he?

[Model]: Yes. Spring was so energetic. Revolutionary.

[Interviewer]: And the new collection?

[Model]: There’s something romantic about it.

[Interviewer]: Mmm.

[Model]: Something touching. Even tragic.

Sounds of disturbance on the street below. Interviewer stands and goes to the balcony.

[Model]: A demonstration?

[Interviewer]: Err, no.

Model puts out her cigarette, stands and goes to the balcony.

Exterior Sound: "Allez allez! Allez allez! Allez allez le P-S-G!"

[Interviewer]: Looks like football supporters.

[Model]: Ah oui. C’est drole. Paris St. Germain.

SCENE 6: 13:00 – A NOISY INTERRUPTION

by Sylviane Louzoun

The Paris hotel room where the interview is conducted is now filled with screams outside.

It is a demonstration from the "ni putes, ni soumises" group. Their slogans are quite provocative.

- from the open window:

"porter la culotte, oui. la montrer, non."

"ni Barbie. ni Ken"

- the model to the interviewer:

"cue-lotte? they mean underpants, yes?"

- the interviewer

"yep. don't worry, they're a bunch of hysterics..."

- the model:

"why are they so angry"

- the interviewer (closing the window):

"they're just jealous, because you're such a sex symbol.

let's just go on. you were telling me about your childhood..."

SCENE 6: 13:00 – A NOISY INTERRUPTION

by Kelsey Bostwick

A small monkey with a red leather collar runs at top speed down the hall towards the half open door of the actress’ hotel room. From inside we can hear the screams of the animal growing louder as he approaches. Suddenly, he pops through the door and begins to jump from lamp to bed to chair. He grabs the small microphone from the interviewer and starts screaming into it. The actress starts laughing uncontrollably as the interviewer and his assistant desperately try to retrieve their equipment from the monkey. Suddenly, appearing at the door wearing an original YSL “Mondrian” day dress, a very glamorous woman in her sixties claps her hands, and the monkey drops the mic. He runs to her, leaps onto her shoulder. She winks at the actress and says in a heavy French accent:

[Older woman]: I’m so sorry. I left the door open by mistake and Charles is so naughty. Good day.

SCENE 6: 13:00 – A NOISY INTERRUPTION

by Rachel Ricucci

[A door slams somewhere outside the sitting room, causing the china to rattle. Suddenly an assistant rushes into the room and kneels beside our gamine]

"The paparrazzi have are surrounding the hotel downstairs. They have discovered your arrival. I regret the interview must end now."

[A look of boredom mixed with annoyance crosses the gamines face. She turns to Emmanuelle]

"I am so sorry for the interruption. It is always like this now...I so apologise. I thought they would not know I had checked in...I don't know how they know"

"Pas grave, I have enough. But dear you must realise that they always know...I will see you at Stefano's dinner next week non?

"Yes! I will be happy to see you then!"

[An assistant appears to usher Emmanuelle out of the room, a manager figure enters]

"We must get you out of the hotel. They are clamouring below. They think you must be in town to see _____ he is playing a show tonight you know?"

"Yes I'd heard. Don't they think I have better things to do than go to every lousy show? Like I don't have a job that might bring me here? I've finished fitting the gown for Stefano, I should like to leave town immediately. I don't wish to be mixed up with _____ at all. Particularly since he's been photographed all around town with that Dior girl, though I wouldn't know if somebody weren't insisting on delivering those trashy magazines to my door every day"

"Now Gilles will help us leave out the back and head directly for the airport. You can make the party for that new hotel that's opening up after all..."

ACT II: PLANE

SCENE I

SCENE 1: 14:00 – A LAST MINUTE PHONE CALL

by Farrah Karapetian

We are now in a small private plane resembling a space like a capsule, as blank a slate as the hotel room from which they just came. We watch as each man walks a dog onto the plane, then up and down the aisle, exercising them. We hear a conversation in our model’s voice, but we do not see her.

SCENE 1: 14:00 – A LAST MINUTE PHONE CALL

by Charles Warren

The cell phone rings and Marion answers.

“MERDE!” She curses. “You’re on the plane?” She turns and looks down the aisle. Linette waves. Marion spins back into her seat.

“You OK, Marion” Asks Nick from his seat beside her. Marion nods her head and forces a grin. The phone rings again and Marion grabs it. She speaks in rapid French.

“Etes vous stupide ou fou?

“You got me into this!” moans Linette. “And I must have a more fashionable frock?”

Marion slaps the phone shut, grabs a bag and down the aisle she goes. Nick stares at his assistant. Linette pulls Marion into the bathroom.

SCENE 1: 14:00 – A LAST MINUTE PHONE CALL

by Sylviane Louzoun

The first class counts 3 boring business men, 1 tired business woman, an older chic woman and herself. She's sitting comfortably, finally relaxed. An old Frankie Goes to Hollywood tune resonates. It's her cellphone. Everyone turns back at her with a severe look. Except the older woman who seems to enjoy the others' indignation. The model looks everywhere around. the content of her YSL purse flies all over the seat. She cannot find it. When she finally does - it simply was where it should be, in the pocket of her purse -, the voice-mail rings Blondie's 'Call me, my love'. Checking around, she decides to turn off her cellphone.

SCENE II

SCENE 2: 15:00 – THE DRINKS TROLLEY

by Farrah Karapetian

The men have stopped walking the dogs and loll about on the plane’s seats. The model sleeps stretched out on a couch in the corner. A waiter rolls the drinks trolley into the area, and the men ask for what they want, make conversation. They look at the model, but she needs her rest, so they let her be.

SCENE 2: 15:00 – THE DRINKS TROLLEY

by Charles Warren

The plane experiences turbulence just as the stewardess begins to push the drinks trolley down the aisle and Linette is in the act of pulling on a new YSL dress (24 collection yes). She flies out the door and toward the trolley. The stewardess bends over a seat and Linette grabs the trolley and down the aisle they go.

SCENE III

SCENE 3: 16:00 — AN AWKWARD MOMENT

by Farrah Karapetian

She awakes an hour later to see that the two men are more intimate with one another than with her. They sit close to one another, speak quietly, touch. She is jealous and about to speak, but the plane jolts and she falls from the couch. They giggle. She picks herself back up and lies down on the couch again, covering her eyes with one arm and stretching out the other for a drink. Something colourful is placed in her grasp and she drinks it from a straw, lying down.

SCENE 3: 16:00 — AN AWKWARD MOMENT

by Charles Warren

Linette stops and looks back at everyone including the stewardess staring at her. She pulls the dress up as an arm emerges and zips it for her. She grabs a coke and holds it up. She smiles as she walks back to the bathroom.

SCENE 3: 16:00 — AN AWKWARD MOMENT

by Kelsey Bostwick

The older woman seated next to the actress gets up to use the lavatory. She arranges a few items on her seat and walks away, leaving behind a few paperbacks, a small notepad, and a box of pastries. Once the woman is gone, the actress looks left, then right, opens the box and sneaks a pastel coloured macaroon. Biting into it, she recoils in shock. Inside we see a syrupy, dark liquid oozing from the centre. She touches her finger to the centre and tastes it. Unsure, she hesitates, then she finishes it off. All of the sudden the lights in the cabin dim, then brighten. The older woman seated next to her returns. Her clothing seems strange. She is dressed unusually ornately, in brocade and velvet, though the colours are muted. Her hair, which at first seemed conservatively styled in a French twist, reveals two diamond horns protruding from her forehead. She settles back into her chair and places the box at her feet. The actress realises that she has drugged herself with a stolen pastry. She decides to calm herself and work through it. A man nearby opens his carry-on bag and several doves fly out. The flight attendant walks down the aisle with one fishnet stocking and black eyes. The actress begins to breathe heavily. This is going to be more difficult than she thought. The older women looks over at her and notices her breathing and the absent look in her eye. A few yellow crumbs still cling to her shirt betraying her. The woman pulls a bottle of water from her bag, and opens the large ring on her finger to retrieve a small white pill. Handing them both to the actress she says:

[Woman]: Here you go. That will teach you to be such a curious little kitten.

The actress looks at her, takes the pill and swallows it.

SCENE IV

SCENE 4: 17:00 — A DAYDREAM

by Farrah Karapetian

She begins to imagine what life would have been like had she not been discovered. We see her back in her hometown engaged in various activities. They start out idyllic – painting in plein air – but soon take on a more serious tone, and your model shakes off the daydream just in time for the movie.

SCENE 4: 17:00 — A DAYDREAM

by Charles Warren

Nick is dreaming he is photographing Marion but as she floats on heavenly fabric wings her hand reaches out and takes the camera. The camera turns into dozens of golden 24s that dissolves into 24 Marion’s all dressed in the different YSL outfits. He opens his eyes and Marion is talking to herself. I am still dreaming he smiles as he turns to the movie which is playing.

SCENE 4: 17:00 — A DAYDREAM

by Elinor Perry-Smith

The Model relaxes in her seat as the Stewardess tucks her taser gun into the pocket of her apron.

MODEL: Do me a favour, I'd prefer to be alone for the rest of the flight.

STEWARDESS: Of course.

The Model stares out of the window, lost in a reverie.

She stares at the bald, middle-aged man as he leans across her, brushes his hand against her breasts... The Model grabs his middle finger and bends it upwards until it breaks.

MAN: Ow! You bitch, that's my pussy finger!

MODEL: Then I have done the women of the world a favour.

The Model chuckles and switches on the screen in front of her.

SCENE 4: 17:00 — A DAYDREAM

by Jere V

INT. DREAMWORLD/PLANE

(The scene’s color world is darkly toned. Benchmarking point can be movie Black Dahlia.) The music box covered with YSL fabric is on the mahogany table. It is playing this sweet old sleep tune, that took us far away when we were child. To meet clouds, lambs & more... We are just adoring this magical box for a while when suddenly it’s deck pops up. Our beloved miniature model climbs out and starts wondering the huge world outside. She is wearing this marvellous piece from YSL. She carefully jumps down from the edge of the music box. She is very cautious. The model is just a tiny creature on the table and the surrounding world is so big and scary (normal sized world). But curiosity is pushing her forward. The table is otherwise empty, but there is of course the music box and then this tiny golden coin. It fascinates the girl. She goes behind the box and comes back with the flag which is approximately same height as our miniature model friend. Her elegant conquistador march towards the coin is precious thing to watch. She’s looking to be so sure that she’s going to declare the coin herself and after that conquer the rest of the big surrounding world. As the girl stands next to this massive gold piece (compared to her size) a thought comes to her mind. She takes black gloves from her bag and puts those on. ‘It's good to cover your hands when working’, she thinks. The moment has come. She raises the flag and is ready to declare her independent ownership to the coin. Suddenly the sunbeams comes from a window, hits the coin, which reflects those to the girls eyes. She gets blinded by the light. Our model (back to real life & full sized) wakes up. The airplane has just inclined a bit and therefore turned for a bit new direction. The beams that hit her eyes was from this pretty great sunset which is shining from the airplanes window. She’s watching it motionless. FADE OUT.

SCENE 4: 17:00 — A DAYDREAM

by Kelsey Bostwick

The actress is sitting on a park bench with her legs stretched out watching the activity around her. Several couples are picnicking, and children are playing. A group of joggers runs past. All of the sudden she feels raindrops. She brushes the dampness off her trench. Her hands are streaked with gold paint. She begins to struggle with her umbrella. Finally we see her standing in a circle of dry ground obviously protected by her umbrella. The grass and asphalt around her are gilded. Her YSL shoes are intact.

SCENE 4: 17:00 — A DAYDREAM

by Erin

The plane. She sits back in the oversized first-class leather seat with an off-white silk pillow behind her head, a black silk eye mask over her eyes, and two iPod earbuds firmly in her ears. One French-manicured hand clutches the iPod, flipping songs restlessly until there’s a tap on her shoulder. She drops the iPod in her lap and raises the eye mask expectantly, only to be met with a glass of cool chardonnay from the stewardess. She smiles and accepts the glass, raises her seat slightly and takes a sip as she begins to gaze out the window. One delicate strap of her summery boho top falls off her shoulder as she folds up a long leg into her seat and stares out the window. Her mind quits spinning long enough for her to admire the delicate features of the clouds they fly over while her iPod continues to play.

She imagines being down on the ground of the landscape below – walking through meadows, up mountain paths, wading into a stream for a cool drink of water. She imagines having nothing on her schedule and no one to whom she must answer. A garden of her own, a cow, a goat. An earthy cottage and cool breeze, and being able to just sit in the sun as a fat barn cat comes and rubs up against her face. She picks berries she passes by and pops them into her mouth. She has only what she must have to survive; only what she needs and nothing more. She daydreams about a simpler state, a simpler time that she knows she can’t have. She is having nothing so seductive when you have it all?

The dream vanishes as her blackberry vibrates on the seat beside her for the fifth time but she’s just now hearing it. She glances at it for a moment and notices a gentleman in the seat across from her smiling at her. As she looks away, she notices she hasn’t touched her wine and takes a thoughtful sip as she leans back against the cool silk pillow and contemplates a change of scenery. The lights dim as the in-flight movie begins, and out of the corner of her eye, she takes stock of her newfound admirer. People stare at her everyday, sure -- in the subway, on the street, in shops -- her beauty is not something that can be hidden beneath a trench coat and sunglasses. It’s so much more than a familiar face, more like a warmth that causes people who have never laid eyes on her to stare. But this man’s glance was a bit different – as intriguing as other people found her, and just as mysterious…

SCENE 4: 17:00 — A DAYDREAM

by Michael Paterson

As our heroine flicks through the pages of the in flight magazine, she lapses into reverie. She dreams she is in a hall of distorting mirrors. We see her body twist and turn in the reflections. Her clothes seem to expand and contract as she steps gingerly forward looking to see when this all leads. Now and then we see one of her co-passengers; they too are transformed by the mirrors. One might be wearing an inflight face mask, another might be reading a novel or drinking a glass of wine. Finally she takes a step and bumps into an airline stewardess who frowns at her. Has she been sleepwalking?

SCENE V

SCENE 5: 18:00 — THE MOVIE

by Farrah Karapetian

She sits up, still tired, but not wanting to close her eyes again. The men gesture to her to come over to them, but she is pissed and doesn’t. They come over to her and flank her sweetly. An attendant rolls down a screen and dims the lights. Another comes by with some refreshments. The men feed her little bits of things, try to give her drinks… At first she resists, but she soon succumbs happily to their attention. Andy Warhol’s Beauty #2 mumbles lazily in the background.

SCENE 5: 18:00 — THE MOVIE

by Farrah Karapetian

The movie is moving on every wall and on every surface and our model is a part of it through no choice of her own. Characters yell at her, invite her in for tea, invite her out for swims, ask questions of her, and she can of course respond, but they cannot (of course) respond to her... They just keep on keeping on, including her in their every activity. When finally she tires of what feels like torment, the characters subside, and she is left lounging on the floor in the middle of this vast projection: water rippling under her bare crossed calves.

SCENE 5: 18:00 — THE MOVIE

by Charles Warren

Marie Antoinette is dancing across the plane’s movie screen followed by the two Marion’s dressed in the most plain YSL 24 collection. IN a close up of Nick’s eyes we see the three figures walk across his pupils. The plane disappears into a large cloud.

SCENE 5: 18:00 — THE MOVIE

by Elinor Perry-Smith

The Model scrolls down the screen until she finds ONE MILE HIGH. She dons the headphones. A young and handsome couple make their way to the bathroom. Once inside they strip and start to have sex while a queue outside bangs on the door at the obvious noises. Inside, the Woman ties a necktie around the Man's neck and pulls tight.

WOMAN: It's better this way, darling. You'll never be bald and middle-aged.

The screen suddenly switches to a Company Logo.

ANNOUNCEMENT: We apologise for interrupting the adult movie, ladies and gentlemen but we are now beginning our descent to Paris.

SCENE 5: 18:00 — THE MOVIE

by Kelsey Bostwick

The actress is sitting in her seat, watching the movie. She is just staring at the screen, without headphones. We notice that the in-flight film is an ordinary romantic comedy. On a large couch five twenty-somethings are laughing and drinking lattes. All of the sudden the image cuts to scenes from the lavatory. The actress grabs her headphones and struggles to put them on quickly. On the screen we see all the passengers, for approximately two seconds or so. Images of people flossing, applying makeup, etc.. A few rows ahead two little boys with a laptop start giggling, obviously responsible for the practical joke. The flight attendant walks over and slams down the cover of their laptop just as the actress comes on screen. We see her in the lavatory, looking in the mirror. Then she opens the door to let a young gentleman in...

SCENE 5: 18:00 — THE MOVIE

by Edward Zachary Lust

The plane is dim and calm despite the jerking pulls of turbulence. A flight attendant is pushing a well-stocked liquor-trolley through the bumps toward our sleeping Lady. The plane shakes violently. Our Lady wakes and is immediately caught up in the rising stir of the surrounding passengers. One man a few rows in front has already secured his life-vest over the top of his pin striped suit. A few women breath into bags. A voice over the speaker system starts:

PILOT: Ladies and gentlemen. Please do not be alarmed by this mild case of tu/...

The voice cuts away. The flight attendant abandons her trolley and walks briskly toward the front of the plane. Our Lady looks over to the un-manned trolley, undoes her seatbelt and stands up before her seat. Her attention is caught by a large movie screen at the front of the aisle. Her made-up face fills the screen in a soft-focus closeup. Her character is crying, metres above a city on the ledge of a building. Hands grab at her and pull her into a blind embrace. A female passenger across the aisle is devoted to the film. She pushes a tear back into her eye and sobs secretly. Our Lady slowly sinks into her seat again. She takes a wine from the trolley and fills her glass.

SCENE VI

SCENE 6: 19:00 — THE OVERHEAD LOCKER

by Farrah Karapetian

Suddenly, your model is in a panic. She pats herself down, then touches the seat around her. The guys at her side try to find out what is wrong, but instead of telling them, she tears up. She walks from the couch to the window next to the screen, on which the projections are still running. She opens the window shade and looks out. Light streams into the cabin and fades part of the image on the screen. Then, inspired, she whips around and opens what appears to be an empty overhead locker. She fishes around inside and finally pulls out a ring. She is quite relieved.

SCENE 6: 19:00 — THE OVERHEAD LOCKER

by Charles Warren

A hand opens the overhead locker and pulls a green leather bag from it. We follow the bag back to the rear of the plane. The hand unzips it and begins to pull forth clothes. Linette smiles as the clothes emerge from Marion’s hand. In a few moments the sisters are covered with clothes. They laugh and giggle. An exasperated Nick looks on. “Who knew?” He sighs.

SCENE 6: 19:00 — THE OVERHEAD LOCKER

by Elinor Perry-Smith

The plane lands with a jolt and sighs of relief from the passengers.

ANNOUNCEMENT: Please be careful when opening the overhead lockers. Thank you for travelling with La Mort Airways and have a pleasant day.

The Model waits until the plane empties, then puts her coat on. She snaps open the overhead locker and screams as a dead body with a bag over its head tumbles out. The Stewardess rushes up.

STEWARDESS: Don't alarm yourself, madam. George will deal with it.

SCENE 6: 19:00 — THE OVERHEAD LOCKER

by Juan Claudio Betancor González

A woman dressed in a strict black pantsuit and wearing gigantic black sunglasses is placing her "hand luggage" (just a plastic bag these days!) into the overhead locker. She feels angry, because the airport police didn't allow her to board on the plane with her big black leather YSL duffle bag...but no liquids are allowed either? No parfums?? No!! Her mini-bottle of Opium was like oxygen to her! And the islamic terrorists don´t work for Vogue, so they don´t have enough style to use Opium!!.What a stupid thing! She couldn't allow to smell like a normal woman. She needed her parfum so much. So, in a moment of desperation, she placed her mini-bottle of parfum inside her underwear.

Just some minutes before sitting down on her plane seat, she went to the airplane bathroom to wear a bit of Opium over her skin. She felt like a drug addict, but if the plane crew would see her with a liquid, she could get into trouble...

When she get out of that little box called airplane bathroom, a woman from the airplane crew stopped her:

Excuse me Madam, what´s that smell?

Err..what are you asking for? It must be my parfum!

Madam what´s that think you have coming out from your breasts? OH MY GOD!! MARY HURRY CALL THE POLICE!!! THIS WOMAN IS HIDING SOME KIND OF LIQUID ON HER BRA!!

Hey, CHILL OUT!! It´s just a mini-bottle of Opium by Yves Saint Laurent! I am not a terrorist or something like that!

TE-TE-TERRORIST?? PLEASE DON´T HURT ME!

What are you talking about, you crazy woman?? Don´t you know Opium from YSL??

Suddenly a couple of police men with a big dog come into the airplane...

(To be continued...or not?)

ACT III: STUDIO SHOOT

SCENE I

SCENE 1: 20:00 — THE INTRODUCTION

by Farrah Karapetian

In the studio, your model is walked down a hallway – also curiously blank in its décor, but with doors that open onto either side of her, in each of which stands a distinct technician. She is introduced to each of these people, but lingers with none of them until finally she meets the person with whom she will be shooting today. It is a woman who looks very much like her. Your model is, for a moment, unnerved, but the woman takes such unreserved interest in her that she reciprocates. They circle each other, looking one another up and down.

SCENE 1: 20:00 — THE INTRODUCTION

by Charles Warren

Like a circus introduction everyone enters from different doors, assistant’s carrying the clothes, lights, tripods, then Nick walks up to the two stylist. Then the camera zooms (POV) from the door opening and follows two heads into the busy crowd. Every motion stops as every eye stares at the camera. The twins smile and stare at each other. The crowd begins to clap.

SCENE 1: 20:00 — THE INTRODUCTION

by Daniela Toledo

The scene shows a hall, with the sound of high heels knocking firmly the red floor, while a female voice can be heard from above:

[voice]: I swear i'll never do that again, it is so teenager...well, doesn't matter, I'm a complete and made lady and that doesn't do nothing to me.

She grabs a mirror, fixes a little her hair, opens a glass door (to an office) and talks to the secretary on the desk.

[secretary]: Hello, may I help you?

[model]: yes please dear, could you tell Leon that the model is here please?

[secretary]: (talking to her ambient voice receiver on table) Mr. L, the model is ...

The receiver call is suddenly interrupted and Leon appears at the hall immediately.

[Leon]: Oh my god... you are gorgeous, as usual... there's some time we haven't met ah?

[Model]: Yes, really some time, but it's never late my dear Leon.

[Leon]: (To the secretary,who looks everything whit a little bitter in her eyes, but always smiling) Tell everyone my model is here, prepare everything for the shooting. Oh! another thing... whatever she needs... is a MUST ok? Take it personal honey.

[secretary]: I sure will (cynically smiling, fixing her white-blonde hair, perfectly cut)

(Leon grabs the model by her waist and takes her inside the studio, everything starts to move at the studio with the secretary calls to all the staff, and the door closes behind leon and the model while the secretary keeps calling everyone... the shoot is about to start now she has arrived)

SCENE 1: 20:00 — THE INTRODUCTION

by Frances

Location: 33 Old Bond Street, London.

No dialogue.

Wide shot, walking towards the camera - A quiet ambiance surrounds her as she walks through the streets of London. Ooozing feminity and sexual liberation, wrapped up in her given grey cashmere shirt dress, black platform shoes, black tights. Hands in pocket, large bag over her shoulder. Close up - Her platform heels tapping at the ground gradually gaining speed. Side profile/ Closeup - As she knocks on the door of 33 Old Bond Street, she awaits in solitude for someone, anybody... to answer the door, hiding the lack of sleep behind her wavey hair, side parted covering half her face. She gathers her composure by removing her hair from her face and bringing her bag to her side. She looks down, then up, smiles and walks out of frame. Wideshot (whilst door is still open) - Her walking into distance with back to camera: the stylist, hair, make-up people, photographer greet her whilst pulling her off for hair and make up, takes off her shoes in the process. Door closes on camera.

SCENE 1: 20:00 — THE INTRODUCTION

by Marilyn Ashworth

Establishing Scene - The studio is busy preparing for the shoot. Hot music plays setting the tone. There is a light test going on. The Photographer and his Assistant Photographer (Assistant) work together flawlessly. Lights pop. Lights are moved. Light intensity is adjusted. Dressing Room - The Hair/Make-up Artist (H/M artist) has just arrived. Setting up at the mirror. Model - knocks on the door… nothing. She tries again… nothing. The song ends and they hear this time. The Assistant opens the door to a very humble looking girl. She wears no make-up, hair in a ponytail, simple jeans and a T-shirt.

Assistant: "Hi?"

Model: "Hi. I’m (name)."

Assistant - responds by opening the door giving her the once over. Takes her and introduces her to the photographer and make-up artist and leaves her in the dressing room. The model puts down her bag and drops in the chair.

SCENE II

SCENE 2: 21:00 — HAIR & MAKE—UP

by Farrah Karapetian

The shot is of your model’s face only as she goes through hair and make-up, resembling, of course, Warhol’s Screen Tests. The camera does not move, but people move in and out of the shot as need be. When the hour is up, your model opens her door onto the hallway and is faced with the other woman doing exactly the same thing. They both feel spooky, as though looking into a mirror.

SCENE 2: 21:00 — HAIR & MAKE—UP

by Charles Warren

A double decker bus passes down Piccadilly Circus, London. The camera follows a pair of YSL shoes into a shop then halts on a large photo of Jean Shrimpton standing by Yves Saint Laurent this cuts to a stylist fingers twilling Marion’s hair then zooms out to her face then pans over to the artist applying makeup to Linette’s face the camera continues to-

SCENE 2: 21:00 — HAIR & MAKE—UP

by Kelsey Bostwick

Close up on the face of a peacock. It moves its head back and forth in response to something out of frame. We hear the photography assistant’s voice.

[Assistant]: No. Forget it. He doesn’t like that one.

We see the actress seated in a swivel chair nearby. She is surrounded by the fashion team. They quickly change her look, then spin her back around to face the peacock. He fans his tail.

[Actress]: (Looking up at the assistant) Well, that’s it then.

SCENE 2: 21:00 — HAIR & MAKE—UP

by Marie Curtin

A make-up brush slowly approaches the camera, as if in the vision of the model. It is coated in powder. The screen blacks out - as she closes her eyes. Powder explodes on the screen, and dances in the blackness. Vision is restored as the girl reopens her eyes. Figures pass in front of her, blurred by her hair which now hangs in front of her face. The sound is muffled - a mixture of the base of the music playing in her ears and the background noise of people talking softly and objects clattering against one another. One voice punctuates the fuzziness:

Voice: What do you want? (directed to the model)

Model: I don't know...

Her hair - or extensions - is being sculpted into an amorphous shape. The camera focuses on the model, who is staring into space, the background is blurred. Waves of makeup swirl gracefully and explode onto the girl softly and end up applied neatly onto her face. She blinks once or twice and then closes her eyes. The girl stands up slowly and is flooded by white light. The camera moves around to see her in profile.

SCENE 2: 21:00 — HAIR & MAKE—UP

by Marilyn Ashworth

H/M artist - Examines her bone structure, removes ponytail elastic and runs hands through her hair till satisfied and begins. H/M artist is obsessed with perfection and transforms the submissive model, till finished. We see the face go from naked, foundation, contouring, eyes, cheeks, lips and hair. This scene is shot in one long take without dialogue. The finished product is a result of jump cuts, a la Nouvelle Vague.

H/M artist: transformation is complete. We have a diva. The H/M artist spins the chair around so the model can see herself in the mirror. "Voila!"

Model: smiles politely. "Merci."

She knows what she can look like with hair and make-up. She stands up and dresses.

SCENE III

SCENE 3: 22:00 — THE SHOOT

by Farrah Karapetian

Your model stands in a room in front of bright tungsten lights. The walls are mirrored and confusing. She closes her eyes, and when she opens them, she sees the other woman across from her. She is mildly confused as to whether the girl is her own reflection or not. Stefano Pilati enters the shot to adjust something on her body. She is happily distracted by him, and convinced of her own individuality because the other girl is not being adjusted. She is relieved and grasps Stefano’s face. He tries to calm her down but she shakes her head in the direction of the other girl.

SCENE 3: 22:00 — THE SHOOT

by Charles Warren

Two thin figures slowly walking, out of focus cut to flashes and we are in the shoot. The camera emerges from a cylinder (lens barrel) to Nick’s eye. Across the eye the twins walk and then the camera pans across 24 different outfits and then follows two sets of calves to the centre of the studio. The clothes fly on them and then the camera crew begins to swirl around them with lights, and stylist touches then Nick firing the camera. The camera pans then slows down at a junction where the twins are changing morning clothes to afternoon then follows a series of stills.

SCENE 3: 22:00 — THE SHOOT

by Tina Jiang

Along an extremely long white wall, large sized glass cubes are stacked against each other like children’s building blocks. We see a dizzying stair effect created when some of the cubes are placed higher than others. Some of the cubes glow from fluorescent blue illumination. It’s like a child’s twisted dream. Edition 24 lights up against the wall in large letters. The camera pans to the model standing casually on one end of the boxed cubes. She is wearing a white men’s shirt, sheer black satin tights, and black platform heels. Her eyes are covered by dark round sunglasses, and a smouldering cigarette is held in her hands. Suddenly she walking and climbing along the cubes while wobbling precariously on her heels.

In slow motion, she is falling into glass cubes and they shatter. Not a single drop of blood is spilled along the way, but the glass shards are paused in midair. The model’s still face is zoomed into and we see the reflection of the glass in her sunglasses. Laughing sounds fill the empty space and we see the video rewind backwards to the model standing upright. She continues to walk along the cubes and suddenly a man out of frame runs toward her. Dressed in a sharp midnight blue Rive Gauche suit, he tries vainly to grab her waist but she escapes away from her. She looks towards him with a smirk and brings a cigarette to her lips and blows a ring towards his direction. The chase is on.

Only shots of the models’ shoes are shown clicking against the glass running towards something and nothing. Tapped by Skream plays in the background as their game continues on. Finally, the male model catches up to her and brings her towards him for a kiss, but his image on video flickers like a hologram and then he fades away. With the model’s long legs crossed together as she leans against the wall, she throws down her cigarette and fades away like a hologram as well. A closing shot shows the only real object in the shoot, which is the cigarette leaving burn marks against the glass.

SCENE 3: 22:00 — THE SHOOT

By Kelsey Bostwick

The studio is set up like an elegant restaurant. Tables with white linen tablecloths are positioned around a centre point. Here, hanging from the ceiling by a thick gold chain, a golden cage swings very slightly back and forth. The team leads the actress into the set-up. They help her climb into the cage in her evening gown and shut the door with a large padlock. She settles in, arranging her limbs to stick out of the bars at various points.

SCENE 3: 22:00 — THE SHOOT

by Marilyn Ashworth

Model and H/M artist - emerge from dressing room.

Assistant - walks over and escorts model onto set.

Photographer - adjusts camera, looks through camera and begins.

Photographer: gives direction from behind the camera.

"Look here." He points.

"Lift chin … Good."

Model – finds her groove.

Photographer: "Ah … Beautiful."

And the rhythm begins. The photographer-model dance is in full swing.

The camera circles the set beyond the180 degree axis.

Assistant - stands by, off set, watching intently, entranced. It will become clear that the Assistant is a fashionista.

H/M artist - intensely looking for any flaws.

Assistant - for a brief second, takes his eyes off the set and glances past the H/M artist.

Cameo appearance - Pilati standing back from the set by door.

Assistant – sees, Stefano Pilati, who must have let himself in.

Assistant looks at the photographer who is engrossed in what he is doing – then to the model. Both are hard at work and unaware of Pilati. The Assistant looks at the H/M artist, who’s eyes are locked on the model.

Assistant: (turns to camera and asks us) "How long has he been standing there!"

Assistant - launches into a "full flap." Cutting between the H/M artist and the set, arms in wide animation, sounds the alarm.

Assistant: "Stefano Pilati!"

Realising that a first name basis may be too presumptuous.

Assistant: "Monsieur!"

The shooting stops. All eyes turn to Pilati.

SCENE 3: 22:00 — THE SHOOT

by Jason Evans

Not really sure how this would be introduced but rather than write dialogue I'd like to introduce a prop/method . Maybe this prop, a dossier of strategies, could be introduced at the overhead locker scene, covertly planted in the model's luggage? Or a dossier switch ? She had already received her instructions at the fitting, but these are switched on the plane ? I'm suggesting a series of instructions and references which inform the attitude taken by the model while being photographed. For example :

A compact disc of different sounds which the model has to interpret through dance or expression.

A series of images where the model is instructed to assume positions depicted therein.

A series of instructions for interactions with pre-assigned props.

It's a bit like the Generation Game, but no conveyor belt.

These instructions should remain unknown before the shoot. The exception would be that the prop stylist would need to be advised as to the props needed for interaction scenes.

SCENE IV

SCENE 4: 23:00 — A NEW DIRECTION

by Farrah Karapetian

The other girl is seated on the outskirts of the shot with the Rhodesian Ridgebacks. The men have given her the leashes. They walk into the light and they begin to attend to the model. Nick Knight is in this frame, photographing himself among all of the other characters. Some of the assistants in this shot are quite colourful – a pregnant woman holds a sign with text from which no one seems to read.

SCENE 4: 23:00 — A NEW DIRECTION

by Charles Warren

Marion falls back and suddenly she is in the arms of 24 semi-naked men (like a Busby Berkeley musical) followed by Linette and the clothes change with each musical transition finally to evening wear-where in a swirl of clothes the twins emerge in beautiful soft light.

SCENE 4: 23:00 — A NEW DIRECTION

by Kelsey Bostwick

The hair and makeup team rushes in, surrounding the actress. We loose sight of her. As they dissipate, the photographer gets ready for the shot. She starts to pose. Then, suddenly, she closes her eyes and sticks out her tongue. We see the YSL logo in black written on her eyelids and in her mouth.

SCENE 4: 23:00 — A NEW DIRECTION

by Sylviane Louzoun

The model is back to hair and make-up. She's beyond upset, but smiles professionally when Sam Mc Knight starts pullling this ridiculous catherine-deneuve-in-les-demoiselles-de-rochefort-like puffy blond wig. Nick's assistant checks out on her.

The model: "Catherine Deneuve!!! I looove this idea."

SCENE 4: 23:00 — A NEW DIRECTION

by Marilyn Ashworth

Pilati walks on the set and adjusts the model’s clothing dramatically.

Photographer: (under his breath) "Of Course."

The look and mood change direction flawlessly. Shooting continues. All eyes are on the set except for the Assistant’s who can’t take stargazing eyes off Pilati. Assistant – realising Pilati is consumed with the image, attempts to turn attention to the set. Eventually looks back - Pilati is gone. Assistant – looks behind, on the other side, everywhere – Palati is indeed gone. Disappointment registers. Shooting continues and wraps. Model - leaves the set and heads to the dressing room. She begins to undress. Assistant - happily folds down lights with a smile of satisfaction.

Photographer: notices his assistant’s glee. "What," he asks the assistant.

Turning to H/M artist, "What," he nods head toward his assistant.

Assistant: "Huh? Nothing." Continues to tear down, a smile slowly creeping back.

Contained shrieking from the dressing room.

Model: "My face! My face!

Everybody runs to the dressing room. Model - in underwear and top only.

H/M artist: What’s wrong? What?

Model: My face! It’s … It’s on fire!"

H/M artist: "Let’s get your make-up off. Now!"

H/M artist works quickly removing make-up.

"How’s that?"

Model: "Still too hot!"

Photographer: turns to assistant "There’s cold water in the fridge.

Assistant - runs off. H/M artist - continues with model’s face as photographer looks on.

SCENE V

SCENE 5: 24:00 — THE DELIVERY

by Farrah Karapetian

Finally, the pregnant woman calls all of the characters around her and begins to read from the text on the signs she was entrusted to hold. They are the list of scenarios of this very film. “ACT I: Hotel Room, and so on.” As she continues, the crowd of models and hangers-on becomes rowdy, interjecting their own memories of events as they disagree with what is written: was the daydream really at 17:00 and was it really a daydream? Didn’t she sleep in this morning? Had the men really fondled one another on the plane?

SCENE 5: 24:00 — THE DELIVERY

By Charles Warren

Suddenly a door opens and we see a figure in silhouette and everyone stops to look. A beautiful older woman dressed in a beautiful white YSL evening dress sashes across the studio floor over to the crew.

SCENE 5: 24:00 — THE DELIVERY

By Marilyn Ashworth

Assistant Photographer - arrives with arms over full of water bottles. Photographer - realising this won’t work, runs off for a large bowl and cloth. H/M artist - tries to dab cold water on model’s face with small make-up sponge, then a Kleenex. It’s not working. Photographer - returns with a large bowl, sets it on the table and fills bowl with water, and hands cloth to H/M artist. Model - doesn’t wait … she begins splashing water on her face a few times. Water flies. She is splashing like a duck in desperate measure. She stops for a second.

Photographer and H/M artist: "Well?"

Model: "Better but still warm."

H/M artist - searches bag to find face soap. Hands it to the model. Model - lathers and splashes until soap is gone. H/M artist - pours bottled water onto cloth over bowl and continues to rinse the model’s face. She stops.All: lean forward waiting for the model's response.

Model: hesitates, "Um, I think that worked."

All: sigh.

H/M artist: pulls out moisturizer. Speaks to nobody in particular. "I just bought this 2 weeks ago." Proceeds to cream models face.

Model - turns to mirror to examine her face. She looks at every inch not sure what she will find.

Photographer: to model. "Well?"

Model: "OK"

All - are relieved. Photographer- stands contemplative. Assistant – watching.

H/M artist: does a thorough examination. "OK?"

Model - nods agreement, stands up, and starts dressing. Photographer and Assistant - leave the room.

SCENE VI

SCENE 6: 01:00 — A PASSIONATE EXCHANGE

by Farrah Karapetian

Your model is growing quite tired by the end of all this, and sits drooped in the centre of the crowd. Stefano notices and touches her on the shoulder. She looks up and touches his hand, seeming to thank him for his kindness. He takes the camera from Nick’s hands and hands it to her. “Shoot,” he says, and so she is entrusted with the images for the rest of the hour.

SCENE 6: 01:00 — A PASSIONATE EXCHANGE

by Charles Warren

“La mode est au delà des passages de vêtements-mode de la génération à lageneration. “ She says. “Fashion is forever.” She leans over and kisses Nick on the cheek. The whole scene breaks out in a huge musical number that ends on a gigantic number 24 surrounded by the twin, dancers and crew.

SCENE 6: 01:00 — A PASSIONATE EXCHANGE

by Mamoru Kobayakawa

Our paths crossed once again. It was a dry autumn. "Craquer pour elle. " it had happened six years ere. Life would seep out of me when we were in proximity. She was, for me, such a burning muse that it was best if i kept my distance. The Manuel du Parfait Poete stipulates, "... one must never wed nor should one ever sleep with one's muse without which one would be accused of being guilty of vampirism and other psychic osmosises".

But the caroussel had revolved for a second time and i had no choice but to leap onto it. How to do otherwise? She exulted of beauty mounted on legs that were interminable in their finesse, she incandesced. And i revelled in silence of her presence. "Rien ne pressait d'arriver a la vitesse des choses simples", as the poet would say.

Delinquescente muse qui croit en son etoile !

SCENE 6: 01:00 — A PASSIONATE EXCHANGE

By Marilyn Ashworth

A shaken H/M artist stares at the table full of make-up and water droplets. Looks up and sees model dressing. Leaves room.

Photographer: to H/M artist, "What happened back there?"

H/M artist: reaching back in memory. "I just don’t get it."

Assistant: "Old make-up could do that."

Photographer: to H/M artist, " Old make-up? … Old make-up! … At your rate?"

Assistant – seeing the future, walks toward the sound system.

H/M artist: ""It’s never happened before, ever!"

Music kicks up more than a few notches and we watch a passionate fight, via body language, between the Photographer and H/M artist. Assistant - goes into dressing room. Model - is packed up and needs her voucher signed. She hands it to the assistant. Assistant – signs voucher. Model – bare faced and ponytail picks up her bag to leave. She walks past H/M artist who enters the dressing room. Model forces a weak smiles at H/M artist and leaves. Assistant - watches H/M artist pick a few pieces i.e.) eye shadow, lipstick and puts them in the case. Then in frustration explodes and in one sweep the whole remaining lot go flying as H/M artist wipes them off the table.

ACT IV: COCKTAIL BAR

SCENE I

Scene 1: 02:00 — The Wrong Place

by Farrah Karapetian

The exterior of a space: white muslin on wooden supports in a circular tent-like situation, something like a yurt. Well-lit from the inside, with the sound of Middle Eastern singing and many voices speaking quietly to one another. The shadows of guests leap around the walls of the thing, as your model, her two men and her two dogs trip around its exterior looking for an entrance. When they finally find the flap, they untie it and enter, expecting cocktails and an exotic lounge. Instead, indeed, it seems a place of prayer, or at least extremely male community, and our entourage is out of place. They quickly back away from the exterior, but a man ushers them inside. They enter, ready for anything, and are plied with little glasses of mint tea.

Scene 1: 02:00 - The Wrong Place

by Charles Warren

A taxi pulls up in front of Bar Italia and a worn looking Marion steps out holding her cell phone. "Yes, I am here Bar Italia.” She says looking around. “I don’t see you…” But she spots a handsome man that she makes eyes at. She smiles.“Oui, I’ll look.” She says into the phone flipping it shut and coming to see her reflection in the café window. “I am beautiful.” She spins around and spots her sister walking to a taxi with the handsome man. “Se faire enculer!” She exclaims and starts to run but stops. She turns around and runs into the bar.

Scene 1: 02:00 - The Wrong Place

by Michael Paterson

The cocktail bar is not all that it seems. Like a scene out of Last Year at Marienbad we see a disparate group of socialites, gigolos, hipsters and ageing businessman. The setting is a highly ornate gilded marble floored hotel bar, like the Crillon. The characters all have one thing in common: they are frozen in time, as though caught in a moment. Our heroine walks thought the parade of people. she twists and turns around them, examining them, unsure of how and why this is so. Suddenly as though the film has started moving again they all resume the cocktail hour as though nothing has happened.

Scene 1: 02:00 - The Wrong Place

by Angela Tate

Lit by lone flickering lamp, street in supposedly chic part of the city oddly deserted as model peers from her taxi.

[Model]: are you certain this is [X street]?

[Driver]: Oui! Oui! [Number] euros.

[Model]: (inaudible) Thieves!

She pays anyways and slinks from the cab. Driver peels off with a screech, slightly acrid breeze ruffling model's hair. She curls her lip briefly before strutting to the dimly-lit door.

[Model]: Hello? Anyone here?

Pounds on door. According to invitation, she is two hours late.

[Loiterer]: Êtes-vous perdu?

Loiterer handsome but obviously drunk.

[Model]: Oui. Yes. [Designer] is hosting a party and I fear I'm a trifle late.

Handsome loiterer isn't so handsome when he slings his arm around model's shoulder. Breath reeks.

[Loiterer]: I'll take you to the party. But come to my place first.

[Model]: No thank you.

Disengages herself from the loiterer.

[Handsome Loiter]: Don't play so hard to get...come back

Model clutches purse and attempts to put as much distance between she and the stumbling loiter. Loiter guffaws, his hoots subsiding into a maudlin tune. In her haste to flee him, she catches a stiletto in pothole and falls face first on pavement. Petrol and gravel scratch her bare knees and coat her new ensemble. And she's still late and lost.

Scene 1: 02:00 - The Wrong Place

By Marie Curtin

The model pays the sleepy driver and alights from the car which immediately speeds off down the quiet street. It is an unfamiliar scene, the park is strangely silent and empty. The sky is slightly overcast and trees are dressed in new summer leaves but the moonlight manages to filter through the dark lace. She does not have long to go before she reaches her true destination, so she decides to walk and enjoy the moment of silence so in contrast with her usual hectic life. A warm breeze makes the litter and blossoms waltz gracefully across the pavement and the girl takes off her light jacket to enjoy it, whilst listening to the clack of her heels on the pavement. A white cat darts out from under a bench and pauses to stare at her. She is startled but advances slowly to pet the animal, but it turns and slinks away from her towards the glimmer of the city and the echoes of drunken singing. The cat glides ahead of her like a ghostly guide and disappears as she finds herself at her destination and pauses to take in the strange scene. Sophisticatedly dressed women walk past a dark alley filled with rubbish bins and littered with gleaming glass fragments, whilst soft seductive music seeps out of a nearby bar. A man negotiates with a deluded drunkard and pushes him into a waiting cab. A wry smile blesses the girl's usually emotionless face, and she strides across the street into the madness.

SCENE II

Scene 2: 03:00 — A Quick Change

by Farrah Karapetian

After a few such shots of sugary tea, the entourage confers. They decide that they will try to leave the circle of extremely friendly hosts one by one so as not to offend. One man leaves, then another. They await the model outside, but when she does not come, they look inside to find her towering over a sea of men, laughing but looking slightly panicky. One of the models calls out to Stefano to bring him a caftan so that he can disguise himself and enter the scene unnoticed. Stefano brings him something and outfits him then and there. The man enters the scene and reels in the model. He begins to tug her out the door and they almost escape…

Scene 2: 03:00 - A Quick Change

by Charles Warren

She emerges in a different YSL outfit.

SCENE III

Scene 3: 04:00 — A White Lie

by Farrah Karapetian

The men close in around her. They begin to interrogate the man in languages he doesn’t understand. He does understand, however, the way they are approaching his clothing. It appears different to them from their own. He claims to have brought stashes of the clothing for the men and calls out of the tent for masses of like garb to be delivered. Soon, the entire tent is full of men changing their outer garments, but our stars are no further out the door and on to their next cocktail bar. Where are they anyway? Your model begins to feel confused, tearful, like she might have had a better time staying put with the other man…

Scene 3: 04:00 - A White Lie

by Charles Warren

In the taxi Marion calls Linette as she stares at the taxi meters that turns to 24.

“I am still waiting.”

“I am in the toilet.” Says Linette.

“A little white lie…” Marion speaking to herself as she looks out the window and spots Linette’s taxi stopping in front of the YSL store on Sloane Street.

SCENE IV

Scene 4: 05:00 — Performance

by Farrah Karapetian

The other man bursts onto the scene. He demands that a path be cleared to where she stands. People understand the majesty of his gestures, which are inflated with a kind of jocularity he must seldom employ. Every inch the dandy at this moment, he unfurls a carpet and invites her to walk out on it. She takes the hand of the man who tried to rescue her first and walks gingerly out the door. The men in the tent murmur as she goes.

SCENE V

Scene 5: 06:00 — The Past Catches Up With Her

by Farrah Karapetian

Once outside, she finds herself again in the dark night of some unnamed place. No longer on a schedule, but really quite tired, she leans on the shoulders of her companions. The stress of such a circus-like day has finally caught up with her and she stumbles to keep herself together. The reassure her that something extremely comfortable awaits her. They improvise, describing fantasy spas, rooms full of baklava, a night of simple sleep. Then, in the distance, almost directly in front of them, but over a hill, emerges a white shining windowless castle. Perhaps all of this landscape is a projection on a wall, but to her, it could not be more real… They begin to move more quickly, running toward this Oz.

Scene 5: 06:00 - The Past Catches Up With Her

By Charles Warren

“Oh well…” She moans as she leans against the window and patting out her dress. “I deserve it…” She remembers the past and a smile breaks forth on her face. Then she laughs and (wide shot) opens out her arms and twirls.

Scene 5: 06:00 - The Past Catches Up With Her

By Bart Van den Eynde

The bar is starting to empty so she decides to leave. When she is heading for the exit, her eye catches a man staring at her. It is an older man, elegant and very attractive in a devilish almost scary way. When he sees her noticing him, he comes towards her, takes her chin in his hand, a gesture which is threatening by its sudden intimacy and dominance, but the stranger compensates the aggression of his act with a smile that is both endearing and mocking. Se is surprised but doesn't show it, let it happen, waits - she has experience with the guys - and gives him her version of a defiant smile.

He says:” I never never never forgot the blue of your eyes " (Her eyes are clearly not blue.)

She wants to correct him, to say that he is mistaking her for somebody else, but something stops her. Does she know his face, is it his smell, the gesture? There something like a recognition rising up from the depths of her memory, but it refuses to surface, stays just out of reach, like an unrecognisable phantom, strange but familiar.

He goes on, looking through her, taking his hand of her chin and caressing with it the aura of her hair, never touching it: ” You always bullied me in combing your blond mane, wild and long. ” (She clearly has no blond hair, it doesn't look like she ever has been blond.)

She doesn't move, doesn't now what to say. She shivers and on that moment she sees her friends at the door. Her rescue. She goes to them, trying not to run. Only when she arrives at the door she looks back at the man. He hasn't moved, is still caressing her hair as if she is still standing there with him.

She doubts for a moment - feeling that he is a part of her, but being unable to pinpoint him in her memories - then shivers again and runs out.

(IF THE ACTRESS HAS BLUE EYES, THE MAN SPEAKS OF BROWN EYES, IF SHE IS BLOND, HE SPEAKS OF BROWN HAIR)

Scene 5: 06:00 - The Past Catches Up With Her

By Kelsey Bostwick

The actress is sitting close to a man, flirting. Something at the bar catches her eye. We see another man talking to a young woman. The actress watches them. The man whispers into the girl’s ear. She laughs, and we see he is kissing her neck. The actress gets up and excuses herself. Walking over to the bar, she positions herself next to the couple and orders a drink. The man hears her voice and stops suddenly.

[Actress]: Oh, don’t mind me.

[Man]: Good evening, or shall I say morning?

[Actress]: You can say whatever you like, since it obviously isn’t the truth.

[Man]: (to girl) Excuse me.

[Actress]: (to girl) Did he show you his shoulder, the teeth marks, where he had me bite him?

She grabs at his collar and pulls it over to one side. He pushes her against the bar.

[Man]: Maybe we should show her this other little scar, since we’re playing show and tell.

He grabs at her skirt and tries to lift it to reveal her legs. She pushes it back down. The girl looks at them both in disgust and walks away.

[Man]: Tell me, why such a scene from someone who never returns my calls?

He pauses, then leans in closer to smell her perfume.

[Man}: Forget it, you always get what you want anyway.

The actress fixes him in her stare before he kisses her.

Scene 5: 06:00 - The Past Catches Up With Her

Juan Claudio Betancor González

A woman goes to a second hand fashion store. Among hundreds of uninteresting rags she founds something amazing: a crimson red knee-length dress, by Yves Saint Laurent Couture. That dress has a special glow that catches the attention of the woman. She immediately buys it; and she is very happy with her discovery. That night she must go to a cocktail bar with a few friends, and she needed something to wear. And a vintage YSL haute couture dress was more than perfect! When she wears the dress, she feels strange, uneasy and nervous without a particular reason. She looks like a Hollywood actress with that dress on, but somehow she feels something is not going well. Maybe it´s just her imagination! Or not? She finally arrives at the cocktail bar. Everyone is looking at her. She looks like a queen, and all her friends tell her that she looks breathless. But she keeps feeling bad... A man in the bar looks at her. He cannot get his eyes off from that woman wearing a crimson red dress. Suddenly he approaches her; and then he asks her:

(MAN)-Where did you get that dress??

(WOMAN)- Why are you asking me that?

(MAN)-Please tell me! Where did you get that dress??

(WOMAN)-I just bought it at a vintage store. Why are you so interested? Are you a stylist, a fashion collector; or what??

(MAN)-Some years ago I placed an order to YSL atelier in Paris. I wanted a red crimson dress to be made specially for my girlfriend. It was our 5th anniversary. A year ago she disappeared, and she was last seen wearing that dress. Then...a month later police found her naked body in a river near our house. Police is still investigating to find the killer who murdered my darling...and now you are here wearing that same dress!!!

The woman has now an eerie feeling all over her. Her face is pale white. She now understands why she felt uneasy when wearing that dress...sometimes vintage clothes hide more than timeless style...

SCENE VI

Scene 6: 07:00 — The Coat Check

by Farrah Karapetian

Still decked out in their varying regalia from the day, the night, the yurt, they dash into the castle and find themselves in a comfortable bar. Instead of ending their night here, they realise that another day has just begun, so they check their coats and caftans and settle in at a cozy booth, ordering everything on the menu. The model manages to murmur, "Thank you, Jules... Thank you, Jim..." then nods and nods and... Before the food can arrive, they are asleep, all in a pile on top of one another.

Scene 6: 07:00 - The Coat Check

By Charles Warren

The music is “New Order - Age Of Consent,” as Marion and Linette appear on the street next to the Thames with in the London Eye in the background. They are dressed in beautiful YSL evening clothes and accompanying them are too handsome men. Everything is correct with the world as they pass into the excitement as they pass underneath a giant shimmering ring composed of golden number 24’s.