Simone Page #3

ELAINE:

(confused)

The picture's dead.

VIKTOR:

So there's no problem -- I can have

the rights, the negative too?

ELAINE:

(believing she's getting

off lightly)

They're yours. But how are you

going to finish it? Without a star

there's no movie.

VIKTOR:

I don't need a star. All I need is

an actor -- I'll reshoot the part,

cut out Nicola and replace her with

a real actor. A real leading lady.

ELAINE:

Even if you find her, you know the

problem with unknowns, Viktor. If

they're good, they get known. And

then you're back to sorting their

candy... and worse.

(kissing him on the cheek

as she departs in her

studio golf cart)

I'm sorry, Viktor.

Viktor watches her depart down the canyon of stages, left

alone on the deserted lot.

EXT. STUDIO ENTRANCE - DUSK

Twenty NICOLA ANDERS' FACES jiggle into frame. VIKTOR's face

appears amongst them.

They are cardboard figures, standing together in the trailer

of an electric cart. A WORKMAN is collecting the promotional

standees from around the lot.

VIKTOR places his hands on the neck of a cardboard cut-out --

we sense he is about to rip her head off -- when a fourteen

year old girl, LAINEY, appears beside him, carrying a laptop

computer.

LAINEY:

Hi, Dad.

VIKTOR:

(slightly ashamed)

Hello, sweetheart.

Viktor, embarrassed by his childishness, steps aside for the

suspicious workman who carries the standee away.

Lainey smiles sweetly. She hugs him.

LAINEY:

I'm sorry Mom canned you.

VIKTOR:

(shrugging)

It's really... not anything,

Lainey. It's just --

LAINEY:

Don't feel too bad.

(glancing to a standee)

Mom runs the place and they still

walk all over her. You're better

off out of it.

VIKTOR:

(regarding his daughter)

You look very grown up. What are

you doing? You meeting your mom

for dinner?

She glances towards the entrance where Lainey's mother,

ELAINE, and her dependable, uncomplicated businessman

boyfriend, KENT, wait beside Elaine's car.

LAINEY:

(reluctant admission)

Kent got tickets to the ballet.

Viktor shakes the idea of Kent and Elaine from his head.

VIKTOR:

(trying to convince

himself as much as

Lainey)

I'm going to finish the picture,

sweetheart. It's important.

LAINEY:

(not quite convinced)

I know you'll do it, Dad. You're

Viktor Taransky.

Lainey kisses the forlorn Viktor goodbye. She runs to her

mother and Kent.

VIKTOR:

(to himself)

That's right. I'm Viktor Taransky.

EXT. STUDIO BUILDING - SOME DISTANCE AWAY - DUSK

From a distance ELAINE and KENT regard the lonely figure of

VIKTOR.

KENT:

You had no choice, Elaine. He's a

liability.

ELAINE:

(wistful look to Viktor)

He also happens to be the most

talented man I've ever known.

Elaine climbs in the car as Lainey approaches.

EXT. STUDIO BACKLOT - TRAM - DAY

CLOSE UP on a copy of "Variety". The front page banner

headline:
"ANDERS RIDES OUT OF 'SUNSET' -- Cites Creative

Differences"

The man reading the trade paper sits in the back of a tram on

a studio tour -- HANK ALENO. He wears a pair of spectacles

with one lens blacked out, his head tilted on one side. It

is an item buried on the inside pages that catches Hank's one

good eye.

TARANSKY CALLS A-LIST:

"OVER-PRICED, OVER-PAMPERED PRIMA DONNAS"

- Director's Future Now In Doubt -

The tram pauses. The TOUR GUIDE keeps up a commentary.

TOUR GUIDE:

-- On your left, the house where

Claris Commodore uttered those now

immortal words, "If that door

doesn't hold, stand behind me".

And coming up on your right --

When the tram departs, we discover that Hank has exited the

tram and is hiding in the facade of a New York subway

entrance. The tag around his neck reads, "VISITOR -- Stay

With The Tour".

EXT. STUDIO GATE - NIGHT

VIKTOR wheels a stack of film cans on a dolly while holding

several framed black and white photographs of screen legends

under his arm.

HANK, hiding in the shadows of the soundstages, spies Viktor.

He hurries towards him as Viktor approaches his antiquated

Bentley.

HANK:

-- Mr. Taransky, Mr. Taransky...

thank God. I've been trying to see

you, calling -- Your assistant

wouldn't put me through. I told

her it was a matter of life and

death. I was afraid I wouldn't get

to you in time --

VIKTOR:

(using his stack of film

cans as a barrier)

-- Please, get away from me.

HANK:

I did it, Mr. Taransky. I licked

skin. I licked hair. I licked

every part of her.

VIKTOR:

(more disturbed, fearing

he is dealing with a

pervert)

You want me to call Security?

HANK:

I have her, Mr. Taransky. The

answer to your prayers.

(producing the "Variety"

article, conspiratorial)

The answer to this.

VIKTOR:

(regarding the article)

I was misquoted.

HANK:

I have your new leading lady...

(indicating the bulge in

his pocket)

... right here in my pants.

Viktor takes a step back, concerned once again about the

man's motives.

HANK:

(trying to reassure)

It's me, Mr. Taransky. Don't you

recognize me? -- The Future of

Film conference in San Jose.

Hank... Hank Aleno. I was keynote

speaker. You must remember my

speech... "Who Needs Humans?"

VIKTOR:

(faint glimmer of

recognition)

That's right. You were booed off

the stage. That's got to be -- ?

HANK:

-- Eight years ago. In that whole

time, I never left my computer.

VIKTOR:

(wary)

Good for you, Hank.

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