Irma Vep Page #2

Synopsis: French filmmaker René Vidal was once a renowned director, but most see his career on a quick downward slide based on his last several films. In Paris, he is just starting to film his latest movie, a remake of Les vampires (1915), and has hired Hong Kong based Chinese actress Maggie Cheung as the title lead, "Irma Vep" (an anagram for "vampire"), despite she knowing no French and she not being an obvious choice to most. Maggie has never worked with Vidal before and knows little about his movies, but many of his primarily French crew are part of his regular stable. As such, Maggie may become isolated among the cast and crew, unless there are those who bring her into their English conversations, they who may have somewhat ulterior motives in doing so. There are also factions within the cast and crew, who, based on their history, have a poisoned sense of what is going on. With Vidal, he is dealing with some personal issues while he tries to regain his film making form. He may transfer his
Genre: Comedy, Drama
Director(s): Olivier Assayas
Production: Dacia Films
  2 wins & 3 nominations.
 
IMDB:
7.0
Rotten Tomatoes:
91%
NOT RATED
Year:
1996
99 min
1,233 Views


how well Markus took it.

I was totally livid.

I've been working with him

for 15 years now.

Can it be that lousy?

He definitely has an eye.

- No, it's fine.

- I think so, too.

He got what he wanted.

It's his film.

He's pissed because it's pretty.

He'll muck it up in the editing room.

- It's not as good as Feuillade.

- Enough of Feuillade!

Feuillade's a drag.

Unless I just don't get it.

Have you seen Les Vampires?

I saw two episodes on video.

Thank God I could fast-forward!

It's pretty flimsy stuff.

It's like serialised novels.

There's a poetry to it.

Well, serialised novels

were never my thing.

Whatever.

It's been done. Why do it again?

You know what I mean?

I told him it wasn't a good idea.

It's a trap.

- He knew that.

- No, he's just starting to realise it. I swear.

That's why he's so down.

Obviously. He feels trapped.

Let's change the subject

and have a drink.

He takes out his problems

on everyone else.

- He's always been a hypocrite.

- That's why I told him off.

He didn't like it,

but he needed to hear it.

Directors thrive on hypocrisy.

Yeah, but sometimes

they go overboard.

I went too far railing on Feuillade.

Too late now.

- So what's the Chinese girl like?

- Not bad.

I don't think she knows why she's here

or what Rene expects of her.

She shuts up and does her job.

- Does she talk about it?

- Not much.

She keeps to herself.

- Is she bored?

- I don't know.

During her costume fitting,

she seemed to get into it.

Her costume is... Pretty tight.

All latex.

It's like she was poured into it.

Yeah.

We were in a sex shop

for God knows how long.

It's the usual,

but no zippers at the breasts.

- There are even zippers here.

- Wow.

But she's pretty,

so she wears it well.

She's pretty all right.

Is she into girls?

I don't know.

I tried hitting on her.

- And?

- I didn't insist. I don't want to f*** up.

But I like her a lot.

Go for it. What's there to lose?

She seems game.

Ren will make my life hell.

- He's interested in her, too?

- No.

If he finds out, he'll get jealous.

He'll torment us.

You don't have to tell him.

Take her home tonight and tomorrow

on the set... Mum's the word.

- I don't know if she'd want to.

- You said that...

No, Mireille.

I was talking about the costume.

- The costume?

- The costume. The tight fit, the latex.

It seemed to turn her on.

It seemed to or it did?

It did.

In fact, she asked

if she could buy it after the shoot.

- She asked you that?

- Yes, yes.

- When?

- Here. Just before dinner.

And you like her

dressed as Cat-woman?

Yeah, she's great-looking.

In fact,

you want to touch her,

play with her.

She's like a plastic toy!

Watch out.

- If she asked for the costume...

- Shh!

- Am I that funny?

- No, go on!

- Then you should go for it.

- You think so?

Why else would she have come?

They left her stranded at the lab.

I was the only person left.

She could have gone back

to her hotel.

She's all alone in Paris.

She has no one.

If she has no one,

make the most of it.

- I think she likes me.

- And wanting the costume...

Is a way of telling you

she wants you.

Stop! You're wrong about the costume!

It was cut to her size.

- That's all it means.

- Analyse the situation.

She follows you. She's in there,

surrounded by strangers.

She can't speak a word. Uh...

She's totally dependent on you.

She wants to be here. It's 1:00 a.m.

She's shooting tomorrow.

If she wasn't "into it,"

she'd be in bed already.

Stop. Stop.

- What's more...

- Stop!

...she takes you aside

to ask to buy her costume.

- Stop!

- It's obvious. It means, "I'm into it."

- No.

- "I'm into wearing my costume."

Stop it! You're crazy!

She's cold.

Maurice, pour me a glass.

I don't know which glass is mine.

Thank you.

- Your wife's a pain in the arse.

- What did she do?

I told her Maggie turned me on.

- Now she's throwing her into my bed!

- Thanks.

- Just to screw things up.

- Changed your mind?

I don't know.

I drank too much.

She's screwing things up!

Look how she's smooth-talking her!

You'll keep quiet next time.

Live and learn.

Thanks, but who has to work with her

for a certain lapse of time?

I do.

- Louder, Jessica.

- OK.

He'll tell Ren.

It'll all turn against me.

You're acting like kids.

Turn it down, Jessica.

- Good evening.

- Good evening, madam.

- Uh, Room 612, please.

- 612.

- 612.

- Thank you.

- You have several messages.

- Thank you.

Here. Goodnight.

- Are you OK?

- Yeah.

Can't we drive you to the hotel?

No, thanks. I have my car.

You sure you have a room?

I Reserved it.

There's no problem.

I'll call you tomorrow.

Here's the story:

the doctor's examining him.

The tranquillisers seem to be working.

On the surface, he's calm enough.

But all the same...

If he stays here,

I'm going to need a discharge.

What's a discharge?

I need two people to vouch for him.

Or else I'll take him in.

He was rude. Wasn't he rude?

- Was he or wasn't he?

- Yes.

I understand very well.

But he's a very fragile person.

OK, forget it.

The doctor said to take two now

and one tomorrow.

Obviously.

Oh. Ren. Are you OK?

We should let him get some rest.

- Yes.

- Let him rest up.

Half an hour to get a skeleton key!

Who knows what

may have happened to her?

- Excuse me.

- Maggie.

- I can open it.

- She's always on time.

I know you can open it.

That's why we're here.

- Turn on the light, please.

- Sure.

Everything's OK, so I'll go.

OK, cut.

Very good. Are you OK?

- We'll do it once more.

- OK.

I felt you were forcing it.

It should come across as effortless.

OK. I was too much of a pro.

I'll try to be more instinctive.

- You have to be even more supple.

- Uh-huh.

A little more... What's the word?

Feline. More feline.

- What are we doing?

- We'll do it one last time.

- OK?

- OK.

Positions, please!

You were supposed

to be here at 8:
30.

- She overslept.

- Why didn't you call her?

I did call. She didn't answer.

I let it ring and ring!

I bet you did!

What do you know? Anyway,

she won't start shooting until 11:00.

That's not your problem!

Don't bother picking her up anymore.

You're unreliable!

Where's Ren?

How should I know?

Maybe this is him calling!

Here she is.

Are you ready?

- Let me take a look.

- Come see.

Yeah.

Move in closer.

She's gorgeous.

I'll Sit here. OK.

Let me open this.

- There. How's that?

- Good.

- Ready?

- You can announce it.

Maggie Cheung. Take 1.

Ren is a pain in the arse!

- Has he really disappeared?

- I don't know.

Zo says Mat can't find him.

He's not at home.

His wife doesn't know where he is.

We're screwed!

Wait. It's happened before.

Yeah, sometimes he's late,

but he never just vanishes.

He better get back soon.

Today's my last day.

Tomorrow we take Polyeucte

to Hnin-Litard.

Did Polyeuctee do well?

Yeah. It's a three-month tour.

Incredibly well-paid.

Laure, follow me.

I can fix your costume now.

Don't iron now.

Get me the costumes from the truck.

Rate this script:0.0 / 0 votes

Olivier Assayas

Olivier Assayas (born 25 January 1955) is a French film director, screenwriter and film critic. more…

All Olivier Assayas scripts | Olivier Assayas Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Irma Vep" Scripts.com. STANDS4 LLC, 2024. Web. 18 Nov. 2024. <https://www.scripts.com/script/irma_vep_10954>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Irma Vep

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    In screenwriting, what does "FADE IN:" signify?
    A The end of the screenplay
    B A camera movement
    C The beginning of the screenplay
    D A transition between scenes