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http://www.imsdb.com/scripts/Simone.html
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NATURAL WOMAN .
 When Nicola Anders (Winona Ryder), the star of out-of-favor director Viktor Taransky's (Al Pacino) new film, refuses to finish it, Taransky is forced to find a replacement. Contractual requirements totally prevent using her image in the film, so he must re-shoot. Instead, Viktor experiments with a new computer program he inherits from late acquaintance Hank Aleno (Elias Koteas) which allows creation of a computer-generated woman which he can easily animate to play the film's central character. Viktor names his virtual actor "Simone", a name derived from the computer program's title, Simulation One. Seamlessly incorporated into the film, Simone (Rachel Roberts) gives a fantastic performance, exactly controlled by Viktor. The film is immediately a huge success. The studio, and soon the world, ask "who is Simone?"
Viktor initially claims that Simone is a recluse and requests her privacy be respected, but that only intensifies media demands for her to appear. Viktor intends to reveal the secret of her non-existence after the second picture. To satisfy demand, he executes a number of progressively ambitious stunts relying on misdirection and cinematic special effects technology. Eventually it escalates to simulated remote location video live interviews.
In one instance, two determined tabloid reporters discover Viktor used out-of-date stock photography as a background during an interview instead of being on that site as claimed and blackmail him into getting Simone to make a live appearance. He arranges her to perform a song at a stadium event appearing in a cloud of smoke and then using flawless holographic technology. The perception of being in person is reinforced with realtime visualization on the stadium's monitors. Simone becomes even more famous, simultaneously becoming a double winner for the Academy Award for Best Actress, tying with herself in the process.
Once the pressure of serving his creation reaches a breaking point for Viktor, he decides to ruin Simone's career as an act of vengeance. Simone's next film, I Am Pig, is her directorial debut and a tasteless treatment about zoophilia intended to disgust audiences, which not only fails to achieve the desired effect of audience alienation, but also serves to foster her credibility as a risk-taking, fearless and avant-garde artist. Taransky's subsequent attempts to discredit Simone by having her drink, smoke and curse at public appearances and use politically incorrect statements similarly backfire, when the press instead begins to see her as refreshingly honest. As a last resort, Taransky decides to dispose of Simone completely by using a computer virus to erase her and dumps the hard drive and floppy disks into a steamer trunk and buries it at sea, then announces to the press she has died of a rare virus contracted on her Goodwill Tour of the Third World. During the funeral, the police interrupt, open the coffin, and find only Simone's cardboard cutout. He is arrested and shown a security camera video where he loads a large trunk on his yacht.
After being charged with her murder, he admits that Simone is not a person, but a computer program. The chest containing the computer data is brought up empty. Viktor's daughter Lainey and ex-wife Elaine enter his studio to try to help. They find Viktor's forgotten virus source disk (Plague) and apply an anti-virus program to eradicate the computer virus. They revive Simone and have her appear on national television laughing while holding up a newspaper headline with her obituary. They pick up a confused Viktor who realizes that his connection with Simone is a life sentence. At the end, Simone and Viktor are remotely interviewed at home about their new (virtual) baby. Simone is concerned about her child's future and decides to enter politics. The film shows how the fake is produced using the chroma key technique.
A post-credits sequence shows Viktor creating fake footage of Simone in a supermarket, which one of her pursuers sees, believing it real.
When Nicola Anders ( Winona Ryder ) , the star of out-of-favor director Viktor Taransky s ( Al Pacino ) new film , refuses to finish it , Taransky is forced to find a replacement . Contractual requirements totally prevent using her image in the film , so he must re-shoot . Instead , Viktor experiments with a new computer program he inherits from late acquaintance Hank Aleno ( Elias Koteas ) which allows creation of a computer-generated woman which he can easily animate to play the film s central character . Viktor names his virtual actor Simone , a name derived from the computer program s title , Simulation One . Seamlessly incorporated into the film , Simone ( Rachel Roberts ) gives a fantastic performance , exactly controlled by Viktor . The film is immediately a huge success . The studio , and soon the world , ask who is Simone ? Viktor initially claims that Simone is a recluse and requests her privacy be respected , but that only intensifies media demands for her to appear . Viktor intends to reveal the secret of her non-existence after the second picture . To satisfy demand , he executes a number of progressively ambitious stunts relying on misdirection and cinematic special effects technology . Eventually it escalates to simulated remote location video live interviews . In one instance , two determined tabloid reporters discover Viktor used out-of-date stock photography as a background during an interview instead of being on that site as claimed and blackmail him into getting Simone to make a live appearance . He arranges her to perform a song at a stadium event appearing in a cloud of smoke and then using flawless holographic technology . The perception of being in person is reinforced with realtime visualization on the stadium s monitors . Simone becomes even more famous , simultaneously becoming a double winner for the Academy Award for Best Actress , tying with herself in the process . Once the pressure of serving his creation reaches a breaking point for Viktor , he decides to ruin Simone s career as an act of vengeance . Simone s next film , I Am Pig , is her directorial debut and a tasteless treatment about zoophilia intended to disgust audiences , which not only fails to achieve the desired effect of audience alienation , but also serves to foster her credibility as a risk-taking , fearless and avant-garde artist . Taransky s subsequent attempts to discredit Simone by having her drink , smoke and curse at public appearances and use politically incorrect statements similarly backfire , when the press instead begins to see her as refreshingly honest . As a last resort , Taransky decides to dispose of Simone completely by using a computer virus to erase her and dumps the hard drive and floppy disks into a steamer trunk and buries it at sea , then announces to the press she has died of a rare virus contracted on her Goodwill Tour of the Third World . During the funeral , the police interrupt , open the coffin , and find only Simone s cardboard cutout . He is arrested and shown a security camera video where he loads a large trunk on his yacht . After being charged with her murder , he admits that Simone is not a person , but a computer program . The chest containing the computer data is brought up empty . Viktor s daughter Lainey and ex-wife Elaine enter his studio to try to help . They find Viktor s forgotten virus source disk ( Plague ) and apply an anti-virus program to eradicate the computer virus . They revive Simone and have her appear on national television laughing while holding up a newspaper headline with her obituary . They pick up a confused Viktor who realizes that his connection with Simone is a life sentence . At the end , Simone and Viktor are remotely interviewed at home about their new ( virtual ) baby . Simone is concerned about her child s future and decides to enter politics . The film shows how the fake is produced using the chroma key technique . A post-credits sequence shows Viktor creating fake footage of Simone in a supermarket , which one of her pursuers sees , believing it real .
http://en.wikipedia.org/wiki/Simone_(2002_film)
Simone (2002 film)
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<title>Simone by Andrew Niccol</title>
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<pre>

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</b><b>	
</b><b>	                            SIMONE
</b><b>	
</b>	                              by
<b>	
</b>	                         Andrew Niccol
<b>	
</b><b>	
</b><b>	
</b><b>	
</b><b>	----------------------------------------------------------------
</b><b>	
</b><b>	FADE IN:
</b><b>	
</b><b>	ON BRIGHT, OUT-OF-FOCUS, OVAL-SHAPED COLORS.
</b><b>	
</b>	The colored shapes dart around the screen -- the impression
	of looking through a kaleidoscope.
<b>	
</b>	As the image comes into sharp focus, we discover that we are
	inside a CANDY BOWL.  A MAN'S FINGERS are frantically
	removing all the cherry-flavored pieces of candy.
<b>	
</b><b>	EXT.  STUDIO LOT - DAY
</b><b>	
</b>	The man performing this curious task is
	writer/producer/director, VIKTOR TARANSKY, forties,
	conservatively dressed in suit and tie.  He sits alone at an
	empty craft service table outside a cavernous soundstage,
	some distance from the rest of the film set -- a breeze blows
	the table's paper cloth.
<b>	
</b>	Viktor finishes sorting.  Finding no trash can to deposit the
	rejected cherry candy, he scoops them into his pocket.
<b>	
</b>	A young headset-clad P.A. hurriedly approaches.  He looks
	ill.
<b>	
</b><b>	                    P.A.
</b>	          Mr. Taransky --
<b>	
</b>	Viktor reads the young P.A.'s panicked expression.
<b>	
</b><b>	                    VIKTOR
</b>	          She's walking?... Don't tell me
	          she's walking.
	              (blood slowly draining
	               from his face)
	          She is not walking... She can't
	          walk.
<b>	
</b><b>	EXT.  TRAILER - DAY
</b><b>	
</b>	NICOLA ANDERS, twenty-something, A-list actress, beautiful
	face scowling, is supervising her ASSISTANT ferrying clothes
	from a movie trailer to a limousine.  VIKTOR desperately
	follows after Nicola.
<b>	
</b><b>	                    VIKTOR
</b>	          -- Nicola!  How was your massage?
<b>	
</b><b>	                    NICOLA
</b>	          You're in breach.
<b>	
</b><b>	                    VIKTOR
</b>	          -- Is this about the new pages? --
	          I made the changes you wanted,
	          you're in virtually every scene --
<b>	
</b><b>	                    NICOLA
</b>	              (wheeling on him)
	          It's not the size of the role,
	          Viktor.
	              (suddenly very cool)
	          Am I or am I not contractually
	          entitled to the biggest trailer on
	          the set?
<b>	
</b><b>	                    VIKTOR
</b>	              (regarding the enormous
	               silver fish behind them,
	               confused)
	          It's the biggest on earth!  I
	          swear!  It's a 50-foot Airstream --
	          they don't make them any longer
	          than that.
<b>	
</b><b>	                    NICOLA
</b>	          Taller, Viktor.
<b>	
</b><b>	                    VIKTOR
</b>	          Taller?  What?
<b>	
</b>	Viktor looks up in horror.  The trailer next to Nicola's does
	indeed appear to be fractionally taller.
<b>	
</b><b>	                    NICOLA
</b>	              (walking away)
	          You've insulted me for the last
	          time.
<b>	
</b>	Viktor looks to the tires.  His face suddenly brightens.
<b>	
</b><b>	                    VIKTOR
</b>	          Nicola, it's just the tires --
	          they're over-inflated!  I can fix
	          it!
<b>	
</b>	Viktor grasps the air nozzle on a tire and begins desperately
	stabbing at it with a ballpoint pen.  Air hisses out.
<b>	
</b><b>	                    VIKTOR
</b>	          See, it's lower already.
<b>	
</b>	Nicola ignores Viktor, marching towards her limo with her
	PUBLICIST.  Abandoning the trailer, Viktor hurries after her.
<b>	
</b><b>	                    VIKTOR
</b>	          I beg you.  You can't do this to
	          me.
<b>	
</b><b>	                    NICOLA
</b>	              (looking back)
	          I had three other offers.  I only
	          signed on to this picture out of...
	          loyalty.
<b>	
</b><b>	                    VIKTOR
</b>	          Then show some.  They'll shut me
	          down!
<b>	
</b><b>	                    NICOLA
</b>	              (opening the car door)
	          It wasn't working anyhow.  The
	          scene with the thousand geese -- I
	          don't understand this film.  I
	          don't think anyone will understand
	          it.  I already put out a press
	          release -- citing "creative
	          differences".
<b>	
</b>	Viktor stops, nods resignedly -- suddenly very calm.
<b>	
</b><b>	                    VIKTOR
</b>	          You know what, Nicola, you're
	          right.
	              (picking up her last piece
	               of luggage)
	          Here, let me help you with that.
	              (holding the door for her)
	          You ought to go.  The truth is I
	          don't deserve you.  This film
	          doesn't deserve you.  Frankly, it
	          deserves much, much better.  The
	          reason it's not working is because
	          you're not about the work.
<b>	
</b>	Nicola is stunned.
<b>	
</b><b>	                    VIKTOR
</b>	              (to the limo driver)
	          To Hell, please.
<b>	
</b>	The door slams and the limo roars away.  Viktor looks to the
	still hissing trailer tire.  The CREW regards Viktor
	apprehensively.
<b>	
</b><b>	                    VIKTOR
</b>	              (to the crew)
	          What are you looking at?  Get back
	          to work.
<b>	
</b>	The crew is uncertain what work there is to do.
<b>	
</b><b>	INT.  BEDROOM - "SUNRISE, SUNSET" - NIGHT
</b><b>	
</b>	In an ornate bedroom, NICOLA lies on her death bed under a
	veil of netting.  A distraught man, HAL, sits close by.
<b>	
</b><b>	                    NICOLA
</b>	              (whispered)
	          Jack... are you there?
<b>	
</b><b>	                    HAL
</b>	          I'm here.  I'm right beside you.
<b>	
</b>	A NUN enters.
<b>	
</b><b>	                    NUN
</b>	              (to Hal)
	          You should really go now.
<b>	
</b><b>	                    NICOLA
</b>	          No, it's alright.  Please, let him
	          stay.
<b>	
</b>	The nun withdraws.  Hal holds his face in his hands, almost
	breaking down.
<b>	
</b><b>	                    HAL
</b>	              (a glance to heaven)
	          What kind of cruel God is it that
	          would take you away from me?
<b>	
</b><b>	                    NICOLA
</b>	          The same one who brought me to you.
<b>	
</b><b>	                    HAL
</b>	          No... I cannot accept it.  If
	          something like this can happen. 
	          What...
	              (struggling to find the
	               words)
	          What is it for?
<b>	
</b><b>	                    NICOLA
</b>	              (smiles through her pain)
	          -- Why are we here?  Is that what
	          you're asking, Jack?... Why are we
	          here?  No why.  Just here.
<b>	
</b>	Nicola dies peacefully.
<b>	
</b><b>	INT.  SCREENING ROOM - STUDIO - DAY
</b><b>	
</b>	VIKTOR sits with leading man HAL, THREE EXECUTIVES and studio
	head ELAINE CHRISTIAN, watching a rough assembly of the film. 
	It ends with a close up of NICOLA ANDERS.
<b>	
</b>	The lights go up.  The image of Nicola fades off the screen.
<b>	
</b><b>	                    EXECUTIVE 1
</b>	          She's good.  You can hardly tell
	          she's reading off a teleprompter.
<b>	
</b><b>	                    VIKTOR
</b>	              (ignoring him)
	          I've analyzed the footage.  We've
	          got almost everything we need in
	          the can.  If we rework the script,
	          we can finish the film without her.
<b>	
</b><b>	                    EXECUTIVE 2
</b>	              (forceful shake of the
	               head)
	          According to the writ her attorneys
	          filed at noon today.  They'll sue
	          if the film is released with Nicola
	          in a single frame.
<b>	
</b><b>	                    VIKTOR
</b>	              (more anxious)
	          So we'll re-cast.
<b>	
</b><b>	                    HAL
</b>	          Nicola Anders is the only actress
	          who can play that role.
<b>	
</b><b>	                    VIKTOR
</b>	              (incredulous)
	          It's a re-make, Hal.  Anders is not
	          bigger than this picture.
<b>	
</b>	Elaine finally speaks up.
<b>	
</b><b>	                    ELAINE
</b>	          Of course she is.  No other name is
	          going to sign on now and risk
	          offending her.
<b>	
</b><b>	                    VIKTOR
</b>	          We don't need a name.  We'll cast
	          an unknown.
<b>	
</b><b>	                    HAL
</b>	          I won't play opposite an unknown.
<b>	
</b><b>	                    ELAINE
</b>	          We can't sell an unknown.  Nicola's
	          soured on the project and we have
	          to accept that.  If we ever want to
	          be in the Nicola Anders business
	          again, we have to cut our losses
	          and shelve the picture.
<b>	
</b>	The executives, leading man and director nod sagely.
<b>	
</b><b>	                    VIKTOR
</b>	              (aghast)
	          No!  You will not give in to that
	          blackmailing bitch!
<b>	
</b><b>	                    ELAINE
</b>	              (a wince, addressing
	               everyone but Viktor)
	          Excuse us.
<b>	
</b>	Elaine ushers Viktor out of the screening room.
<b>	
</b><b>	EXT.  STUDIO LOT - DAY
</b><b>	
</b>	ELAINE and VIKTOR talk in the shadow of an enormous
	soundstage.  They speak more freely in each other's company.
<b>	
</b><b>	                    ELAINE
</b>	          God, Viktor.  Why do you always
	          have to make things so difficult
	          for yourself?
<b>	
</b><b>	                    VIKTOR
</b>	          Difficult.  I'm difficult.
<b>	
</b>	He produces a handful of candy from his pocket.
<b>	
</b><b>	                    VIKTOR
</b>	              (referring to the candy)
	          -- Do you know what these are,
	          Elaine?
<b>	
</b><b>	                    ELAINE
</b>	              (talking a piece of candy
	               and eating it)
	          Hmm... Mike and Ike's.
<b>	
</b><b>	                    VIKTOR
</b>	          Not just any Mike & Ike's -- cherry
	          Mike & Ike's.  Do you know why I,
	          Viktor Taransky, two-time Academy
	          Award nominated director --
<b>	
</b><b>	                    ELAINE
</b>	          -- Viktor, that was Short Subject.
<b>	
</b><b>	                    VIKTOR
</b>	          -- overseeing the most cherished
	          movie project of my career, am
	          walking around with a pocketful of
	          cherry Mike & Ike's?
<b>	
</b>	Elaine takes a seat in a nearby studio cart as Viktor paces.
<b>	
</b><b>	                    ELAINE
</b>	          -- I have a feeling you're going to
	          tell me.
<b>	
</b><b>	                    VIKTOR
</b>	          -- I'll tell you why.  It is
	          because Miss Nicola Anders,
	          supermodel with a SAG card God's
	          gift to cinema, has it written into
	          her contract that all cherry Mike &
	          Ike's be removed from her candy
	          dish along with strict instructions
	          that any room she walks into should
	          have seven packs of cigarettes
	          waiting for her three of them
	          opened, that there be a personal
	          jacuzzi within eighty paces of her
	          dressing room, and that any time
	          she travels, her nanny must fly
	          with her first class.
<b>	
</b><b>	                    ELAINE
</b>	          -- What's wrong with that?
<b>	
</b><b>	                    VIKTOR
</b>	          Elaine, she doesn't have any
	          children!
	              (grabbing her arm)
	          Don't you see?  We're being held
	          hostage by 12 men and 5 women who
	          someone somewhere has decreed are
	          the A-list.
<b>	
</b><b>	                    ELAINE
</b>	          The public decides who's on that
	          list.
<b>	
</b><b>	                    VIKTOR
</b>	          Please.
<b>	
</b><b>	                    ELAINE
</b>	          It's the truth.  Those 17
	          superstars are our insurance
	          policy.  We can't open -- can't
	          make a profit without them.
<b>	
</b><b>	                    VIKTOR
</b>	          We can hardly make a profit with
	          them.  Up-front salary, back-end
	          deal, perks, per diem, percentages 
	          -- They're mocking us, Elaine. 
	          We're at their mercy.
	              (staring wistful, into
	               space)
	          We always had movie stars but they
	          used to be our stars.  We used to
	          decide who would play what role. 
	          We told them what to wear, what to
	          say, who to date.  When they were
	          under contract, we could change
	          their names if we wanted to -- more
	          than once!
<b>	
</b><b>	                    ELAINE
</b>	              (regarding him as if he's
	               insane)
	          You realize you're nostalgic for an
	          era you weren't even born in?
<b>	
</b><b>	                    VIKTOR
</b>	              (irritated at her
	               infuriating logic)
	          Well, I do remember why I started
	          out in this business -- you seem to
	          have forgotten -- working in New
	          York with Cassevetes -- we were
	          trying to do something important,
	          shine a light in that darkened
	          cinema --
<b>	
</b><b>	                    ELAINE
</b>	              (rolling her eyes)
	          -- It's called a projector.
<b>	
</b><b>	                    VIKTOR
</b>	              (ignoring her)
	          -- Illuminate hearts and minds with
	          a ray of truth.
<b>	
</b><b>	                    ELAINE
</b>	          Listen, Viktor, I have good
	          memories of those days too -- but
	          this isn't about that or you or me
	          or some high-minded ideal.  This is
	          business.
<b>	
</b><b>	                    VIKTOR
</b>	          Spare me.
<b>	
</b><b>	                    ELAINE
</b>	              (gesturing at the studio
	               lot)
	          -- Christ, Viktor, look around. 
	          What do you think pays for all
	          this?  This is about investment and
	          return.  Those days in New York...
	          that's... it's over.
<b>	
</b>	A pause.  Viktor reads Elaine's face.
<b>	
</b><b>	                    VIKTOR
</b>	          You're not renewing my contract.
<b>	
</b><b>	                    ELAINE
</b>	          How can I?  Your last three
	          pictures tanked.  The board is
	          giving me hell.  No bankable star
	          will work with you after this.  If
	          you just compromised... a little.
<b>	
</b>	Viktor eats some of the candy in his hand as he takes in the
	news.
<b>	
</b><b>	                    VIKTOR
</b>	              (rueful smile)
	          -- Well, it's not every day you're
	          fired by the mother of your own
	          child.
<b>	
</b>	Elaine also eats some more candy -- a curiously intimate
	moment between them.
<b>	
</b><b>	                    ELAINE
</b>	              (softening, a heart-to
	               heart)
	          I'm not taking away your daughter,
	          just your deal.  You and I both
	          know, after the divorce I kept you
	          on for old time's sake, so you
	          could still hold your head up in
	          front of Lainey.  I called what's
	          his name at Warner's.  He said he'd
	          take a meeting -- in July.  I've
	          fought for you Viktor...
	              (voice trails off)
	          You want to talk severance?
<b>	
</b><b>	                    VIKTOR
</b>	              (staring off into the
	               distance, face hardening)
	          You can have everything -- office,
	          car, assistants -- all I want is
	          the picture.
<b>	
</b><b>	                    ELAINE
</b>	              (confused)
	          The picture's dead.
<b>	
</b><b>	                    VIKTOR
</b>	          So there's no problem -- I can have
	          the rights, the negative too?
<b>	
</b><b>	                    ELAINE
</b>	              (believing she's getting
	               off lightly)
	          They're yours.  But how are you
	          going to finish it?  Without a star
	          there's no movie.
<b>	
</b><b>	                    VIKTOR
</b>	          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.
<b>	
</b><b>	                    ELAINE
</b>	          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.
<b>	
</b>	Viktor watches her depart down the canyon of stages, left
	alone on the deserted lot.
<b>	
</b><b>	EXT.  STUDIO ENTRANCE - DUSK
</b><b>	
</b>	Twenty NICOLA ANDERS' FACES jiggle into frame.  VIKTOR's face
	appears amongst them.
<b>	
</b>	They are cardboard figures, standing together in the trailer
	of an electric cart.  A WORKMAN is collecting the promotional
	standees from around the lot.
<b>	
</b>	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.
<b>	
</b><b>	                    LAINEY
</b>	          Hi, Dad.
<b>	
</b><b>	                    VIKTOR
</b>	              (slightly ashamed)
	          Hello, sweetheart.
<b>	
</b>	Viktor, embarrassed by his childishness, steps aside for the
	suspicious workman who carries the standee away.
<b>	
</b>	Lainey smiles sweetly.  She hugs him.
<b>	
</b><b>	                    LAINEY
</b>	          I'm sorry Mom canned you.
<b>	
</b><b>	                    VIKTOR
</b>	              (shrugging)
	          It's really... not anything,
	          Lainey.  It's just --
<b>	
</b><b>	                    LAINEY
</b>	          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.
<b>	
</b><b>	                    VIKTOR
</b>	              (regarding his daughter)
	          You look very grown up.  What are
	          you doing?  You meeting your mom
	          for dinner?
<b>	
</b>	She glances towards the entrance where Lainey's mother,
	ELAINE, and her dependable, uncomplicated businessman
	boyfriend, KENT, wait beside Elaine's car.
<b>	
</b><b>	                    LAINEY
</b>	              (reluctant admission)
	          Kent got tickets to the ballet.
<b>	
</b>	Viktor shakes the idea of Kent and Elaine from his head.
<b>	
</b><b>	                    VIKTOR
</b>	              (trying to convince
	               himself as much as
	               Lainey)
	          I'm going to finish the picture,
	          sweetheart.  It's important.
<b>	
</b><b>	                    LAINEY
</b>	              (not quite convinced)
	          I know you'll do it, Dad.  You're
	          Viktor Taransky.
<b>	
</b>	Lainey kisses the forlorn Viktor goodbye.  She runs to her
	mother and Kent.
<b>	
</b><b>	                    VIKTOR
</b>	              (to himself)
	          That's right.  I'm Viktor Taransky.
<b>	
</b><b>	EXT.  STUDIO BUILDING - SOME DISTANCE AWAY - DUSK
</b><b>	
</b>	From a distance ELAINE and KENT regard the lonely figure of
<b>	VIKTOR.
</b><b>	
</b><b>	                    KENT
</b>	          You had no choice, Elaine.  He's a
	          liability.
<b>	
</b><b>	                    ELAINE
</b>	              (wistful look to Viktor)
	          He also happens to be the most
	          talented man I've ever known.
<b>	
</b>	Elaine climbs in the car as Lainey approaches.
<b>	
</b><b>	EXT.  STUDIO BACKLOT - TRAM - DAY
</b><b>	
</b>	CLOSE UP on a copy of "Variety".  The front page banner
	headline: "ANDERS RIDES OUT OF 'SUNSET' -- Cites Creative
	Differences"
<b>	
</b>	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.
<b>	
</b><b>	                   TARANSKY CALLS A-LIST:
</b><b>	          "OVER-PRICED, OVER-PAMPERED PRIMA DONNAS"
</b>	             - Director's Future Now In Doubt -
<b>	
</b>	The tram pauses.  The TOUR GUIDE keeps up a commentary.
<b>	
</b><b>	                    TOUR GUIDE
</b>	          -- 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 --
<b>	
</b>	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".
<b>	
</b><b>	EXT.  STUDIO GATE - NIGHT
</b><b>	
</b>	VIKTOR wheels a stack of film cans on a dolly while holding
	several framed black and white photographs of screen legends
	under his arm.
<b>	
</b>	HANK, hiding in the shadows of the soundstages, spies Viktor.
	He hurries towards him as Viktor approaches his antiquated
	Bentley.
<b>	
</b><b>	                    HANK
</b>	          -- 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 --
<b>	
</b><b>	                    VIKTOR
</b>	              (using his stack of film
	               cans as a barrier)
	          -- Please, get away from me.
<b>	
</b><b>	                    HANK
</b>	          I did it, Mr. Taransky.  I licked
	          skin.  I licked hair.  I licked
	          every part of her.
<b>	
</b><b>	                    VIKTOR
</b>	              (more disturbed, fearing
	               he is dealing with a
	               pervert)
	          You want me to call Security?
<b>	
</b><b>	                    HANK
</b>	          I have her, Mr. Taransky.  The
	          answer to your prayers.
	              (producing the "Variety"
	               article, conspiratorial)
	          The answer to this.
<b>	
</b><b>	                    VIKTOR
</b>	              (regarding the article)
	          I was misquoted.
<b>	
</b><b>	                    HANK
</b>	          I have your new leading lady...
	              (indicating the bulge in
	               his pocket)
	          ... right here in my pants.
<b>	
</b>	Viktor takes a step back, concerned once again about the
	man's motives.
<b>	
</b><b>	                    HANK
</b>	              (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?"
<b>	
</b><b>	                    VIKTOR
</b>	              (faint glimmer of
	               recognition)
	          That's right.  You were booed off
	          the stage.  That's got to be -- ?
<b>	
</b><b>	                    HANK
</b>	          -- Eight years ago.  In that whole
	          time, I never left my computer.
<b>	
</b><b>	                    VIKTOR
</b>	              (wary)
	          Good for you, Hank.
<b>	
</b><b>	                    HANK
</b>	              (referring to his covered
	               eye)
	          Good and bad.  They think that's
	          what caused this.  Me eye tumor. 
	          Microwaves from the screen.  It's
	          the size of a grapefruit.  Heavy
	          too.
<b>	
</b><b>	                    VIKTOR
</b>	              (regarding the pathetic
	               figure with the tilted
	               head)
	          I'm sorry.
<b>	
</b><b>	                    HANK
</b>	          Don't be.  It was worth it.
<b>	
</b>	Hank once again indicated the bulge in his pocket.  Viktor
	now understands the significance of the gesture.
<b>	
</b><b>	                    HANK
</b>	          You have to see her.
<b>	
</b><b>	                    VIKTOR
</b>	              (loading cans into the
	               car)
	          I've seen them all before.
<b>	
</b><b>	                    HANK
</b>	          Not like this --
<b>	
</b><b>	                    VIKTOR
</b>	              (patronizing smile)
	          Come on, Hank.  A synthespian,
	          virtual actor -- ?
<b>	
</b><b>	                    HANK
</b>	              (irritated)
	          -- We call them "vactors".
<b>	
</b><b>	                    VIKTOR
</b>	          I need flesh and --
<b>	
</b><b>	                    HANK
</b>	          -- Flesh is weak.
<b>	
</b><b>	                    VIKTOR
</b>	          -- a living, breathing actor -- I
	          can't work with a fake.
<b>	
</b>	Viktor loads his film cans into the car.
<b>	
</b><b>	                    HANK
</b>	              (pointing to Nicola in
	               Variety)
	          You already do.  But my actor won't
	          get old, fat, lazy or drunk --
	          won't throw tantrums, demand a body
	          double, script changes or a bigger
	          trailer.
	              (whispers, conspiratorial)
	          The Disney Corporation has been
	          using artificial actors for years.
<b>	
</b><b>	                    VIKTOR
</b>	          That's the point, Hank.  No matter
	          how good they are, they're still
	          Mickey Mouse.  Everyone's tried. 
	          Everyone's failed.  It can't be
	          done.
<b>	
</b><b>	                    HANK
</b>	          It can -- with my new computer
	          code, you and me, we can do it
	          together.
<b>	
</b><b>	                    VIKTOR
</b>	          I don't know anything about
	          computers.
<b>	
</b><b>	                    HANK
</b>	          That's why you're so perfect.  You
	          have something I don't have.
<b>	
</b><b>	                    VIKTOR
</b>	          What's that?
<b>	
</b><b>	                    HANK
</b>	          An eye -- for performance.  You
	          know the truth when you see it.  I
	          know.  I've seen your movies.  I
	          love your movies.
<b>	
</b><b>	                    VIKTOR
</b>	          You do?
<b>	
</b><b>	                    HANK
</b>	          "Straw God" changed my life.
<b>	
</b><b>	                    VIKTOR
</b>	          You saw that?
<b>	
</b><b>	                    HANK
</b>	          I've seen every frame of your work. 
	          You're the only filmmaker in
	          Hollywood with the artistic
	          integrity to realize my vision. 
	          You and me, art and science... we
	          are the perfect marriage.
<b>	
</b><b>	                    VIKTOR
</b>	          Listen, Hank, it's been a rough
	          day.
	              (climbing into his car)
	          I'll call you about his next week.
<b>	
</b><b>	                    HANK
</b>	              (at the car window)
	          I won't be here next week.  The
	          tumor's inoperable.  I'll be dead.
<b>	
</b><b>	                    VIKTOR
</b>	              (winding down the window)
	          I'm already dead.
<b>	
</b>	Viktor's car roars away.  He looks back at the forlorn Hank
	in the rear view mirror.
<b>	
</b><b>	                    HANK
</b>	          Call me.
	              (looking at his watch)
	          This week!
<b>	
</b>	A huge eye from a dismantled Nicola Anders billboard is
	wheeled away behind him -- followed by a huge pair of lips.
<b>	
</b><b>	INT.  VIKTOR'S MALIBU HOUSE - DAY
</b><b>	
</b>	A sea of ingenue headshots.  Black X's are drawn through all
	of them.  VIKTOR lies amongst the rejected faces, talking on
	the telephone, in his spartan bachelor beach house.
<b>	
</b><b>	                    VIKTOR
</b>	              (into phone, referring to
	               a young woman's headshot)
	          -- What do you mean she won't work
	          with me?  She's done nothing.  She
	          doesn't have a single credit --
<b>	
</b><b>	                    AGENT'S VOICE
</b>	              (from phone, off-camera)
	          -- Better no credits than a
	          Taransky credit.  No young actress
	          is going to step into Nicola
	          Anders' shoes and risk ending her
	          career before it's even started.
<b>	
</b><b>	                    VIKTOR
</b>	          -- Art, you don't understand.  I've
	          mortgaged everything to finish this
	          film -- creditors calling, coming
	          to the house, for God's sake, I
	          need this --
<b>	
</b>	The phone goes dead.  Viktor tries to re-dial --
	disconnected.
<b>	
</b><b>	                    VIKTOR
</b>	          -- Damn.
<b>	
</b>	Sharp knock on his door.  Viktor peers through a curtain and
	spies an official-looking MAN IN A SUIT, carrying what looks
	to be a legal notice in his hands.
<b>	
</b>	Viktor slips out of the back door.
<b>	
</b><b>	EXT.  BEACH - DAY
</b><b>	
</b>	VIKTOR hurries along the beach.  When he turns, he discovers
	the MAN IN THE SUIT following him.  As Viktor runs, the Suit
	runs -- calling out to him.
<b>	
</b><b>	                    MAN IN THE SUIT
</b>	          Mr. Taransky, Mr. Taransky --
<b>	
</b><b>	                    VIKTOR
</b>	              (calling back)
	          I'm not him.
<b>	
</b>	Viktor stumbles.  When he recovers, the Suit is on him.
<b>	
</b><b>	                    MAN IN THE SUIT
</b>	          Mr. Taransky, Sir, I represent the
	          estate of Mr. Hank Aleno.
	              (showing him Hank's
	               obituary in the L.A. 
	               Times)
	          It was Mr. Aleno's last wish that
	          you have this.
<b>	
</b>	The Suit hands Viktor a heavily-sealed envelope.
<b>	
</b><b>	                    VIKTOR
</b>	          What is it?
<b>	
</b><b>	                    MAN IN THE SUIT
</b>	          I have no idea, Sir.  He wanted you
	          to have it.
<b>	
</b>	The Suit departs.  Viktor hesitates, then breaks the seal on
	the package -- inside he finds a hard-drive.  The hard-drive
	is labeled "SIMULATION ONE".
<b>	
</b><b>	A TITLE APPEARS ON THE SCREEN:
</b><b>	
</b><b>	                      SIX MONTHS LATER
</b><b>	
</b><b>	CLOSE UP ON
</b><b>	
</b>	a VACUUM CLEANER cleaning a tatty red carpet.
<b>	
</b>	On the other end of the vacuum cleaner is VIKTOR.  The red
	carpet leads to a rundown, downtown Los Angeles cinema -- the
	venue for the premiere of "SUNRISE, SUNSET".  To save money
	on posters, Viktor has altered the originals, "Starring
	NICOLA ANDERS" crudely pasted over with "Introducing SIMONE".
<b>	
</b><b>	EXT.  RUNDOWN DOWNTOWN CINEMA - DUSK
</b><b>	
</b>	VIKTOR regards the sad, little premiere.  No paparazzi, no
	limos, no klieg lights.  Resorting to giving away tickets to
	PASSERS-BY, Viktor approaches a HOMELESS MAN sleeping in
	trash.
<b>	
</b><b>	                    VIKTOR
</b>	          Want to see a free movie?
<b>	
</b><b>	                    HOMELESS MAN
</b>	              (he thinks)
	          No.
<b>	
</b>	A taxi pulls up.  Viktor's daughter, LAINEY, steps out.
<b>	
</b><b>	                    LAINEY
</b>	              (kissing him hello)
	          Hi, Dad.
<b>	
</b><b>	                    VIKTOR
</b>	          Hello, Lainey.
<b>	
</b>	Viktor goes to pay for the taxi but doesn't have quite enough
	cash.  Lainey pays herself.
<b>	
</b><b>	                    VIKTOR
</b>	          Your mother couldn't make it?
<b>	
</b><b>	                    LAINEY
</b>	          She's at the premiere of "A Cold
	          Day In Hell".  But I think she send
	          someone from Acquisitions.
<b>	
</b><b>	                    VIKTOR
</b>	          She still with Kent?
<b>	
</b><b>	                    LAINEY
</b>	          This week anyhow.
<b>	
</b>	VIKTOR escorts Lainey down the empty red carpet, regarding
	the pathetic premiere.  As they walk by, the bulb in Viktor's
	sole spotlight expires.
<b>	
</b><b>	                    VIKTOR
</b>	          Not quite how I imagined it --
<b>	
</b><b>	                    LAINEY
</b>	              (looking on the bright
	               side)
	          -- You finished the film on your
	          own terms, that's what matters. 
	          Did you really do all the post
	          yourself?
<b>	
</b><b>	                    VIKTOR
</b>	          There was no other way.
<b>	
</b><b>	                    LAINEY
</b>	          I missed you.  I wondered if you
	          were ever coming back.
<b>	
</b><b>	                    VIKTOR
</b>	          Me too.
<b>	
</b><b>	                    LAINEY
</b>	              (regarding the makeshift
	               poster, trying to lift
	               his spirits)
	          Well, I can't wait to meet
	          Simone... what's her last name?
<b>	
</b><b>	                    VIKTOR
</b>	          You know, I... don't know.
<b>	
</b><b>	                    LAINEY
</b>	          Is she here tonight?
<b>	
</b><b>	                    VIKTOR
</b>	          She can't watch herself.
<b>	
</b>	They are interrupted by the THEATER OWNER.
<b>	
</b><b>	                    THEATER OWNER
</b>	          -- Hey, we have to start.  I've got
	          "Tough Love 2" playing at ten.
<b>	
</b><b>	EXT.  PIER - "SUNRISE, SUNSET" - MORNING
</b><b>	
</b>	A foggy, empty pier.  A MAN is running through the mist,
	shouting desperately.
<b>	
</b><b>	                    HAL
</b>	          Valarie!  VALARIE!
<b>	
</b>	Finally, out of the fog -- a young woman in a black cape and
	hood, her back to us.  The camera pushes in, music swells and
	she turns.  SIMONE.  She is exquisitely, ethereally
	beautiful.  Perfect.
<b>	
</b><b>	INT.  RUNDOWN DOWNTOWN CINEMA - AUDITORIUM - NIGHT
</b><b>	
</b>	In the near-empty, dilapidated theater, "SUNRISE, SUNSET" is
	playing ON THE SCREEN.
<b>	
</b>	When Simone's face appears, the faces of the AUDIENCE MEMBERS
	change.  They are all visibly moved, including the THEATER
	OWNER.  Some weeping, some with curious smiles on their
	faces, some opened-mouthed.
<b>	
</b><b>	                    HAL
</b>	              (ON SCREEN, approaching)
	          Valarie, what are you running from?
<b>	
</b><b>	                    SIMONE
</b>	              (enigmatic smile)
	          From Valarie.
<b>	
</b>	Suddenly a GUNSHOT rings out.  Simone collapses to the
	ground.
<b>	
</b><b>	                    HAL
</b>	              (running to her)
	          Valarie!  No!
<b>	
</b><b>	INT.  THEATER LOBBY - NIGHT
</b><b>	
</b>	VIKTOR, unable to watch, paces up and down, chain-smoking
	while worriedly shoving popcorn in his mouth.  Viktor finally
	musters the courage to look inside the auditorium.
<b>	
</b><b>	INT.  BEDROOM - "SUNRISE, SUNSET" - NIGHT
</b><b>	
</b>	The same scene that played in the studio screening room. 
	However now when we cut from the leading man, HAL, to the
	leading lady it is not NICOLA but the newly cast SIMONE.
<b>	
</b><b>	                    SIMONE
</b>	          -- Why are we here?  Is that what
	          you're asking, Jack?... Why are we
	          here?  No why.  Just here.
<b>	
</b><b>	INT.  AUDITORIUM - NIGHT
</b><b>	
</b>	ON SCREEN SIMONE lies dying.  Now even LAINEY is affected by
	Simone's performance.  She wipes a tear from her eye.
<b>	
</b>	VIKTOR watches the backs of the heads, trying to gauge the
	audience reaction.  Finally the credits roll.
<b>	
</b>	A dedication, "For HANK".
<b>	
</b>	No one moves from their seats.  Viktor permits himself a
	brief smile of satisfaction as he sees his name appear in the
	credits:
<b>	
</b>	                 A Film By VIKTOR TARANSKY
<b>	
</b>	Still no one moves from their seats.  Viktor cannot stand it
	any longer.  He runs to the restroom.
<b>	
</b><b>	INT.  THEATER RESTROOM - NIGHT
</b><b>	
</b>	Face over the stained sink, VIKTOR splashes himself with
	water.  He looks to the mirror, horrified by his own
	reflection.  He rehearses a courtroom speech.
<b>	
</b><b>	                    VIKTOR
</b>	          Ladies and gentlemen of the jury, I
	          may be guilty of a crime, but it
	          was committed with the purest of
	          intentions, to send a message to
	          the acting community who put
	          themselves above the work and
	          above --
<b>	
</b>	Three AUDIENCE MEMBERS enter the restroom.  They approach the
	urinals.
<b>	
</b><b>	                    AUDIENCE MEMBER 1
</b>	              (continuing their
	               conversation from the
	               lobby)
	          -- So fake.
<b>	
</b><b>	                    AUDIENCE MEMBER 2
</b>	          -- Totally artificial.
<b>	
</b>	Viktor looks at the men aghast and hurriedly exits, missing
	the end of their conversation.
<b>	
</b><b>	                    AUDIENCE MEMBER 1
</b>	          We're really supposed to believe
	          that was 19th Century Lisbon?
<b>	
</b><b>	                    AUDIENCE MEMBER 3
</b>	          Who's looking at the sets when she
	          is on the screen?
<b>	
</b>	All three nod in agreement and begin to urinate.
<b>	
</b><b>	INT.  THEATER LOBBY - NIGHT
</b><b>	
</b>	VIKTOR exits the restroom.  Almost all the AUDIENCE MEMBERS,
	including LAINEY, are waiting for him.
<b>	
</b><b>	                    LAINEY
</b>	              (pointing out her father)
	          There he is.  That's my dad, Viktor
	          Taransky.
<b>	
</b>	Viktor is about to run for the exit when the small group
	spontaneously applauds.  They rush to shake his hand.
<b>	
</b><b>	                    AUDIENCE MEMBER 4
</b>	          -- She is magnificent.
<b>	
</b><b>	                    AUDIENCE MEMBER 5
</b>	          -- Absolutely unreal.
<b>	
</b>	Viktor appears uncomfortable with their compliments.
<b>	
</b><b>	                    VIKTOR
</b>	          She wasn't too... cartoony?
<b>	
</b><b>	                    AUDIENCE MEMBER 6
</b>	          -- Who?  The nun?
<b>	
</b><b>	                    AUDIENCE MEMBER 7
</b>	          -- Or are you talking about the
	          mother?
<b>	
</b><b>	                    AUDIENCE MEMBER 8
</b>	          -- A star like that, who cares
	          about the supporting cast?
<b>	
</b><b>	                    AUDIENCE MEMBER 9
</b>	          -- Congratulations again.  She
	          was... not of this earth.  You
	          should be very proud.
<b>	
</b><b>	                    VIKTOR
</b>	          "Not of this earth".  A good way of
	          putting it.  And the film as a
	          whole -- ?
<b>	
</b>	The group drifts away, leaving LAINEY and VIKTOR alone.
<b>	
</b><b>	                    LAINEY
</b>	          She's a miracle, Dad.  Where did
	          you find her?
<b>	
</b><b>	                    VIKTOR
</b>	              (vague)
	          I saw her picture on the, er...
	          internet.
	              (interrogating his
	               daughter's face)
	          You really didn't notice anything --
	          unusual?
<b>	
</b><b>	                    LAINEY
</b>	          Only her brilliance.  To be honest,
	          with what you had to work with, I
	          was expecting a train wreck.  You
	          really pulled it off.
<b>	
</b>	Lainey regards the makeshift poster.
<b>	
</b><b>	                    LAINEY
</b>	          I have a feeling mom is going to
	          take you back after this.
<b>	
</b>	Viktor's head snaps around.  Lainey smiles.
<b>	
</b><b>	                    LAINEY
</b>	          Back on the lot.
<b>	
</b>	Viktor shrugs off the misunderstanding.
<b>	
</b><b>	INT.  VIKTOR TARANSKY'S MALIBU HOME - NIGHT
</b><b>	
</b>	VIKTOR enters his sterile, bachelor home, carrying his mail. 
	His answering machine blinks in the darkness, the message
	light reads "FULL".  He hits the "PLAY" button.
<b>	
</b><b>	                    ELAINE (V.O.)
</b>	          Viktor, you bastard!  I hear it's
	          great.
	              (beat)
	          Seriously, I'm happy for you.
<b>	
</b>	Viktor opens a drawer containing a photo of he and Elaine
	from happier times.  He gazes at it as he listens to the
	message.
<b>	
</b><b>	                    ELAINE (V.O.)
</b>	          I know people are going to be
	          beating down your door but... well,
	          I'd love the chance to buy back
	          something I gave away for free. 
	          Don't you just love Hollywood?...
<b>	          BEEP.
</b><b>	
</b>	Viktor stops the machine, dazed.  He idly opens his mail. 
	Inside an envelope he finds a SAG Card with the new member's
	name, "SIMONE".
<b>	
</b><b>	A MONTAGE OF SCENES BEGINS TO PLAY.
</b><b>	
</b>	A)  A line of AUDIENCE MEMBERS stretches outside the rundown
	    movie theater as far as the eye can see.
<b>	
</b><b>	                    ENTERTAINMENT REPORTER (O.S.)
</b>	          A dazzling new ingenue has come
	          from seemingly nowhere to capture
	          the hearts of movie-going audiences
	          across the nation...
<b>	
</b>	B)  THE FRONT PAGE OF "VARIETY" coming off the presses reads,
	    "SIMONE: A REVELATION -- Dawning Of A New Star In
<b>	    "SUNRISE".
</b><b>	
</b><b>	                    ENTERTAINMENT REPORTER (O.S.)
</b>	          ... in her debut film, "Sunrise,
	          Sunset".
<b>	
</b>	C)  A TEENAGE BOY in a public library logs on to the first
	    website dedicated to SIMONE.
<b>	
</b><b>	                    ENTERTAINMENT REPORTER (O.S.)
</b>	          Her face is already posted on
	          everything from websites to bedroom
	          walls.
<b>	
</b>	D)  Trendy TEENAGE GIRLS saunter past a swimming pool in
	    Simone capes and hoods despite the sweltering heat.
<b>	
</b><b>	                    ENTERTAINMENT REPORTER (O.S.)
</b>	          Her wardrobe has inspired a fashion
	          craze.
<b>	
</b>	E)  In a Third World back-alley a YOUNG ASIAN MAN shows an
	    UNDERCOVER REPORTER a pirated recording of SIMONE on a
	    camcorder.
<b>	
</b><b>	                    ENTERTAINMENT REPORTER (O.S.)
</b>	          And bootleg copies of her film are
	          being sold in back alleys all over
	          the world.
<b>	
</b>	F)  A LIQUOR STORE CUSTOMER watches a TV behind the counter
	    showing a clip of SIMONE from, "SUNRISE, SUNSET Courtesy:
	    Taransky Productions".
<b>	
</b><b>	                    ENTERTAINMENT REPORTER
</b>	              (from TV)
	          But who is Simone?  We know so
	          little about her.  No details of
	          her background have been released,
	          not even her age.  She is somewhere
	          between a girl and a woman.  A
	          fresh face and familiar both at the
	          same time.
<b>	
</b>	G)  The ENTERTAINMENT REPORTER now stands outside a
	    multiplex.  The marquee has 16 screens and looks like
	    this:
<b>	
</b><b>	        "SUNRISE, SUNSET"         "SUNRISE, SUNSET"
</b><b>	        "SUNRISE, SUNSET"         "SUNRISE, SUNSET"
</b><b>	        "SUNRISE, SUNSET"         "SUNRISE, SUNSET"
</b><b>	        "SUNRISE, SUNSET"         "SUNRISE, SUNSET"
</b><b>	        "SUNRISE, SUNSET"         "SUNRISE, SUNSET"
</b><b>	        "SUNRISE, SUNSET"         "SUNRISE, SUNSET"
</b><b>	        "SUNRISE, SUNSET"         "SUNRISE, SUNSET"
</b><b>	        "SUNRISE, SUNSET"         "THE MAKING OF
</b><b>	                                       SUNRISE, SUNSET"
</b><b>	
</b><b>	                    ENTERTAINMENT REPORTER
</b>	          Is Simone even her real name?  And
	          why the secrecy?  All we know for
	          sure is that she was discovered by
	          little-known director, Viktor
	          Tarinsky.
<b>	
</b><b>	INT.  LIMOUSINE - DAY
</b><b>	
</b>	VIKTOR, watching "SCENE" on a TV in the back of a limousine,
	corrects the reporter.
<b>	
</b><b>	                    VIKTOR
</b>	          Taransky.
<b>	
</b><b>	                    ENTERTAINMENT REPORTER
</b>	              (from the TV)
	          He has parlayed his relationship
	          with the new sensation into a three
	          picture deal with the very studio
	          that dumped him only six months
	          ago.  And no wonder with the
	          starlet's performance breaking all
	          box office records.
<b>	
</b><b>	EXT.  STUDIO GATE - MORNING
</b><b>	
</b>	Outside the studio entrance, a swarm of REPORTERS,
	PHOTOGRAPHERS and FANS rush VIKTOR's limousine, hoping for a
	glimpse of SIMONE.
<b>	
</b><b>	                    MOB
</b>	          Simone!  SIMONE!  I LOVE YOU!  I
	          Want to BE you!
<b>	
</b>	Studio SECURITY GUARDS hold them back as the limo enters the
	lot.
<b>	
</b><b>	EXT.  STUDIO - ENTRANCE - DAY
</b><b>	
</b>	ELAINE and an entourage of EXECUTIVES greets VIKTOR's
	limousine on the studio steps.
<b>	 
</b>	A STUDIO PHOTOGRAPHER has a camera at the ready.  A banner
	reads, "Welcome SIMONE".  A YOUNG ASSISTANT wheels a cake.
<b>	
</b>	VIKTOR steps out of the car.  ELAINE pushes past him, into
	the limo.
<b>	
</b><b>	                    ELAINE
</b>	          Simone!... Simone?
<b>	
</b>	The car is empty.
<b>	
</b><b>	                    ELAINE
</b>	              (re-emerging from the car)
	          Where is she?
<b>	
</b><b>	                    VIKTOR
</b>	          Good to see you too, Elaine.
<b>	
</b><b>	                    ELAINE
</b>	              (ignoring his sarcasm)
	          Why isn't she with you?
<b>	
</b><b>	                    VIKTOR
</b>	          Why?  Because she would never show
	          up at something like this.  She's
	          intensely private.
<b>	
</b>	Elaine sighs, exasperated.
<b>	
</b><b>	                    ELAINE
</b>	              (dismissing her
	               colleagues)
	          Back to work, everyone.  She's not
	          here.
<b>	
</b>	The reception committee disperses, murmurs of disappointment.
<b>	
</b><b>	                    ELAINE
</b>	          Viktor... I want to thank you for
	          convincing Simone to sign with the
	          studio.
<b>	
</b><b>	                    VIKTOR
</b>	          Don't thank me.  It was entirely
	          Simone's decision.  Do you have
	          Simone's check?
<b>	
</b><b>	                    ELAINE
</b>	          I don't have it on me.  Anyway, it
	          means a lot.
	              (quickly changing tack)
	          Have you read the reviews?  They're
	          love letters.
	              (reading from a newspaper)
	          Listen to this one.  "Simone has
	          the voice of a young Jane Fonda,
	          the body of Sophia Loren, the grace
	          of, well, Grace Kelley, and the
	          face of Audrey Hepburn combined
	          with an angel".
<b>	
</b><b>	                    VIKTOR
</b>	              (musing to himself)
	          Almost right.
<b>	
</b><b>	                    ELAINE
</b>	          I can't wait to meet her.
<b>	
</b><b>	                    VIKTOR
</b>	          I don't know if that's going to
	          happen.
<b>	
</b><b>	                    ELAINE
</b>	              (confused)
	          Why not?
<b>	
</b><b>	                    VIKTOR
</b>	          As I say, she's... something of a
	          recluse.  That's how she's able to
	          stay so pure -- by isolating
	          herself in her art.
<b>	
</b><b>	                    ELAINE
</b>	              (face falling)
	          Don't be ridiculous.  I arranged a
	          press conference.
<b>	
</b><b>	                    VIKTOR
</b>	          Out of the question.  A circus like
	          that?
<b>	
</b><b>	                    ELAINE
</b>	          Viktor, it's my studio.
<b>	
</b><b>	                    VIKTOR
</b>	          She's my actor.  There are other
	          studios, Elaine.  There's only one
	          Simone.
	              (leaving her on the steps)
	          Leave the press conference to me.
<b>	
</b>	Viktor strides up the studio steps.  Elaine stares after her
	ex-husband -- she finds herself smiling at his newfound
	arrogance.
<b>	
</b><b>	EXT.  STUDIO - PRESS CONFERENCE - DAY
</b><b>	
</b>	The studio soundstages as a backdrop, VIKTOR approaches a
	podium and a forest of microphones, revelling in his recent
	fame by association.
<b>	
</b><b>	                    VIKTOR
</b>	              (tapping the microphone)
	          Is this on?
<b>	
</b><b>	                    REPORTER 1
</b>	          Who are you?
<b>	
</b><b>	                    VIKTOR
</b>	          Taransky, Viktor.  T-a-r-a-n-s-k-y,
	          V-i-k-t-o-r.
<b>	
</b><b>	                    REPORTER 1
</b>	          Yeah, but -- who are you?
<b>	
</b><b>	                    VIKTOR
</b>	              (patronizing smile)
	          I am a two-time Academy Award
	          nominated director with over
	          eighteen films to my credit thus
	          far including my latest release,
	          "Sunrise, Sunset".  Who are you?
<b>	
</b>	A REPORTER rolls her eyes at his pomposity.
<b>	
</b><b>	                    VIKTOR
</b>	          I will not be taking any questions. 
	          However I do have a statement to
	          read on behalf of my leading lady,
	          Simone.
	              (reading from his
	               statement)
	          "To Whom It May Concern.  I'm
	          deeply grateful for the
	          extraordinary public response to
	          Mr. Taransky's film.  At this time
	          I will be conducting no interviews
	          or making publicity appearances
	          since I am really nothing without
	          the beautiful worlds and characters
	          Mr. Taransky creates for me.  I
	          politely request that the press
	          respect my privacy and let the work
	          speak for itself.  All questions
	          and inquiries should be directed to
	          Mr. Taransky to whom I entrust all
	          aspects of my career.  Yours very
	          truly, Simone".
<b>	
</b>	The reporters all call out at once.
<b>	
</b><b>	                    REPORTER 2
</b>	          -- Viktor, Viktor, who's Simone
	          dating?
<b>	
</b><b>	                    REPORTER 3
</b>	          -- Viktor, where'd you find her?
<b>	
</b><b>	                    REPORTER 4
</b>	          -- Is Simone her real name?
<b>	
</b><b>	                    REPORTER 5
</b>	          -- What's she got to hide?
<b>	
</b><b>	                    REPORTER 1
</b>	          -- Is she the new Garbo?
<b>	
</b><b>	                    REPORTER 2
</b>	          -- Who's Garbo?
<b>	
</b>	Viktor silences the reporters by theatrically raising his
	hands.
<b>	
</b><b>	                    VIKTOR
</b>	          I thought I made it clear -- no
	          questions regarding Simone.
	              (bringing the press
	               conference to a hasty
	               conclusion)
	          Now, I would like to close by
	          announcing that Miss Simone begins
	          production today on her next film,
	          "Eternity Forever".  This project
	          has been near and dear to my heart
	          since I wrote it nine years ago.
	              (a tinge of bitterness,
	               then a smile)
	          I Thank you.
<b>	
</b>	Viktor exits the podium.  A voice stops him in his tracks.
<b>	
</b><b>	                    VOICE (O.S.)
</b>	          Who do you think you're fooling,
	          Taransky?
<b>	
</b>	Viktor turns.  The voice belongs to over-zealous, crusading,
	truth-seeking investigative reporter, MAX SAYER, accompanied
	by his assistant, MILTON.
<b>	
</b><b>	                    VIKTOR
</b>	          Do I know you?
<b>	
</b><b>	                    MAX
</b>	          Max Sayer -- National Echo.
<b>	
</b><b>	                    VIKTOR
</b>	              (regaining his composure,
	               a smirk)
	          Don't you have a real story to
	          write?  Why aren't you in Latin
	          America?
<b>	
</b><b>	                    MAX
</b>	          This is the story.
<b>	
</b><b>	                    VIKTOR
</b>	          I remember when the Echo had class 
	          -- the paper that could bring down
	          governments.
<b>	
</b><b>	                    MAX
</b>	          Our leaders aren't presidents
	          anymore -- they're pop stars and
	          screen idols.  If Woodward and
	          Bernstein were alive today, they'd
	          be right here in Hollywood with me.
<b>	
</b><b>	                    VIKTOR
</b>	          They are alive, Sayer.
<b>	
</b>	Milton confirms that Woodward and Bernstein are still living.
<b>	
</b><b>	                    MAX
</b>	          So they're probably here.
	              (hardly missing a beat)
	          You might be able to sell this
	          'disappearing act' to the rest of
	          the world, but I'm not buying it. 
	          What's really behind this Simone
	          woman?  The public has a right to
	          know.  Why is she staying out of
	          sight?  And why the hell is she
	          with you?  I don't want you to take
	          this the wrong way, Viktor, but
	          you're not exactly Cecil B. 
	          DeMille -- more run-of-the-mill.
<b>	
</b><b>	                    VIKTOR
</b>	          Maybe the reason she's with me is a
	          little thing called integrity,
	          Sayer.  Look it up.
<b>	
</b>	Viktor walks away.
<b>	
</b><b>	                    MAX
</b>	              (calling after him)
	          Oh, I know all about integrity.  I
	          know even more about persistence. 
	          Look that one up.
<b>	
</b>	Max watches Viktor depart, with obvious suspicion.
<b>	
</b><b>	EXT.  SOUNDSTAGE - STUDIO LOT - DAY
</b><b>	
</b>	A large satellite dish sits atop a soundstage.
<b>	
</b>	"CLOSED SET" is the sign on the door -- a surveillance camera
	panning the entrance.  A SECURITY GUARD, also keeping watch,
	nods a greeting to VIKTOR as he pulls up in his studio golf
	cart, script in hand.
<b>	
</b><b>	                    SECURITY GUARD
</b>	          No one came in or went out just
	          like you said, Mr. Taransky.
<b>	
</b><b>	                    VIKTOR
</b>	          Good.
<b>	
</b><b>	                    SECURITY GUARD
</b>	          Is Miss Simone coming today?
<b>	
</b><b>	                    VIKTOR
</b>	          She's already here.  She arrived
	          before you and she'll leave long
	          after you've gone.
	              (admonishing guard)
	          Remember, under no circumstances
	          are you or any other person to
	          enter the set without my express
	          permission.
<b>	
</b><b>	                    SECURITY GUARD
</b>	          What if it catches on fire?
<b>	
</b><b>	                    VIKTOR
</b>	          Let it burn.  Simone would rather
	          go up in flames than give up her
	          privacy.
<b>	
</b>	Viktor enters his secret code into the keypad lock and enters
	the soundstage.
<b>	
</b><b>	INT.  VIKTOR'S SOUNDSTAGE - DAY
</b><b>	
</b>	The cavernous soundstage is almost completely empty save for
	a small table upon which sits two computer keyboards and a
	tablet attached to a large, projection screen monitor and two
	side monitors.  VIKTOR takes a seat in front of the monitor.
<b>	
</b><b>	                    VIKTOR
</b>	              (to himself as he inserts
	               his Hollywood hard-drive 
<b>	               -- SIMULATION ONE)
</b>	          Pay no attention to the man behind
	          the computer.
<b>	
</b>	A title appears on his computer screen.
<b>	
</b>	                          Welcome
	                             to
<b>	                       SIMULATION ONE
</b><b>	
</b>	With a satisfied smile, Viktor backspaces characters until he
	revises the title to:
<b>	
</b>	                          Welcome
	                             to
<b>	                           SIMONE
</b><b>	
</b>	He presses "ENTER" and a face begins to build -- wire upon
	wire, pixel upon pixel -- until a completed synthespian
	emerges -- SIMONE.  She is indistinguishable from a flesh-and
	blood actress.
<b>	
</b>	Simone moves on a video loop against a neutral background --
	titled "VISUAL LOOP 6".  Within the confines of the monitor
	she is reminiscent of a beautiful caged animal.  She looks a
	little bored as if she has been cooped up in cyberspace for
	too long.
<b>	
</b><b>	                    VIKTOR
</b>	              (to the screen)
	          Good morning, Simone.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          Good morning, Mr. Taransky.
<b>	
</b><b>	                    VIKTOR
</b>	          A star is...
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          ... digitized.
<b>	
</b>	Only now do we observe that Viktor is occasionally talking
	into a microphone connected to the computer and pressing a
	key on his keyboard.  When he speaks, she speaks.  Simone's
	voice and mouth movements automatically sync in response to
	Viktor's voice.  A scanning light on Viktor allows Simone to
	mimic his movements.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          You mean they buy it?
<b>	
</b><b>	                    VIKTOR
</b>	              (nervous smile as he
	               examines his first
	               royalty check)
	          Buy it?  They're paying for it. 
	          And around here that's how you
	          really know they buy it.
<b>	
</b>	Viktor fondly touches a photograph of Hank that is taped to
	the terminal -- from the "L.A. Times" obituaries.
<b>	
</b><b>	                    VIKTOR
</b>	          I'm only sorry Hank isn't here to
	          see this.
<b>	
</b>	Viktor looks up, Simone mimicking his action.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	              (depressing the button
	               every time he wants to
	               express his thoughts
	               through Simone)
	          Maybe he can.
<b>	
</b><b>	                    VIKTOR
</b>	          Do you have any idea what this
	          means, Simone?  Our ability to
	          manufacture fraud now exceeds our
	          ability to detect it.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	              (appearing to indulge
	               Viktor with a smile)
	          I am the death of real.
<b>	
</b><b>	                    VIKTOR
</b>	              (pondering the enormity of
	               the hoax)
	          You are birth of... what?  A
	          Phenomenon.  A miracle.  A new era
	          in show business.  All I wanted to
	          do was finish the film.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          And now look what you've started. 
	          And now look what you've started. 
	          And now look what you've started.
<b>	
</b>	Viktor's conversation with himself is not merely for his own
	amusement.  He is adjusting and refining Simone's voice.
<b>	
</b><b>	                    VIKTOR
</b>	          Hmm... a little less Streep, a
	          little more Bacall.
<b>	
</b>	Viktor scrolls through a photo library of stars, living and
	dead, that comprise Simone.
<b>	
</b>	Viktor makes an adjustment on a panel on the computer screen
	dedicated to Simone's audio, incorporating the vocal
	deliveries -- "20% STREEP, 80% BACALL".
<b>	
</b>	He speaks once again as Simone to test the adjustment.  The
	voice patterns appear on his screen -- graphic
	representations of the sound waves.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          Is that better, Mr. Taransky?
<b>	
</b><b>	                    VIKTOR
</b>	          Yes.  Yes, it is.
<b>	
</b>	VIKTOR snaps back to reality himself.  He scrolls through the
	list of screen legends.  He clicks on the image of AUDREY
<b>	HEPBURN.
</b><b>	
</b><b>	                    VIKTOR
</b>	          While I think of it, I'd like you
	          to add something to your repertoire
	          -- remember that thing Hepburn does
	          in "Breakfast At Tiffany's".
<b>	
</b>	A clip of AUDREY HEPBURN in "Breakfast At Tiffany's" plays on
	the screen.  Hepburn, sitting on a fire escape, looks up.
<b>	
</b><b>	                    AUDREY HEPBURN
</b>	              (from the screen, an
	               incomparable smile)
	          Hi.
<b>	
</b><b>	                    VIKTOR
</b>	              (pausing the moment)
	          Let's hear you say "Hi" like
	          Audrey.
<b>	
</b>	With a CUT and PASTE, Viktor morphs the gesture seamlessly
	into a frozen Simone.  Viktor presses play.
<b>	
</b><b>	                    SIMONE
</b>	              (imitating Audrey's
	               performance perfectly)
	          Hi.
<b>	
</b><b>	                    VIKTOR
</b>	          Perfect.
	              (stretching)
	          God, I'm so relaxed around you.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          You did create me.
<b>	
</b><b>	                    VIKTOR
</b>	          No.  I... just helped bring someone
	          else's dream to life.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          Mr. Taransky, we both know I was
	          nothing without you.  I was
	          computer code -- ones and zeros.
<b>	
</b><b>	                    VIKTOR
</b>	          You're right.  You're right.  Of
	          course, one doesn't want to boast. 
	          It's a classic case of technology
	          in search of an artist.  That's all
	          you've been waiting for, an artist
	          with integrity, with a vision, who
	          can see.
<b>	
</b>	Viktor gets up and starts walking around the room, warming to
	his theme.  SIMONE moves in a VISUAL LOOP on the monitor,
	nodding attentively as if she's really interested.
<b>	
</b><b>	                    VIKTOR
</b>	          See beyond that irrational
	          allegiance to flesh and blood. --
	          See that with the rise in price of
	          a real actor and the fall in price
	          of a fake, the scales have tipped
	          in favor of the fake.
	              (voice raising in
	               excitement)
	          -- See that if the performance is
	          genuine, it doesn't matter if the
	          actor is real.  Once a performance
	          is committed to film, the blood and
	          bones are gone anyway.  Only the
	          spirit, the illusion remains. 
	          Besides, what's real anymore? 
	          These days most actors have digital
	          work done to them so it's a gray
	          area.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	              (Simone appears to look
	               directly at her maker)
	          Are you ever going to tell the
	          truth about me, Mr. Taransky?
<b>	
</b><b>	                    VIKTOR
</b>	          The only real truth is in the work.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          You know what I'm talking about.
<b>	
</b><b>	                    VIKTOR
</b>	          Yes.  Yes, I'm going to tell the
	          truth about you, why wouldn't I...?
	              (pondering his own
	               question)
	          Of course, with Hank's tragic
	          passing, the secret died with him.
	              (shaking the thought from
	               his head)
	          I am going to tell the truth...
	          after your next picture.
<b>	
</b>	Feeling uneasy at the prospect, Viktor changes the subject. 
	He pulls out his script for "ETERNITY FOREVER".
<b>	
</b><b>	                    VIKTOR
</b>	          Speaking of which -- this is the
	          project I'd like you to do next.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          Not, "Eternity Forever"?  The
	          legendary unproduced script that
	          was too good ever to get made?  I'd
	          kill for that part.
<b>	
</b><b>	                    VIKTOR
</b>	          I was hoping you'd say that.
<b>	
</b>	Suddenly, Simone appears to talk on her own.
<b>	
</b><b>	                    SIMONE
</b>	          I'll do anything to please you, Mr.
	          Taransky.
<b>	
</b><b>	                    VIKTOR
</b>	              (pretending to be hard of
	               hearing)
	          I'm sorry, I didn't catch that. 
	          What did you say?
<b>	
</b><b>	                    SIMONE
</b>	          I'll do anything to please you, Mr.
	          Taransky.
<b>	
</b>	On a side monitor, we discover a highlighted box marked "PRE
	RECORD" -- Viktor's finger on the "PLAY" button.  He is
	unable to resist speaking another line.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          And I will never, ever leave you.
<b>	
</b>	Simone appears to indulge Viktor by blowing him a kiss --
	until we see that Viktor has now highlighted a box marked,
<b>	"GESTURES OF AFFECTION -- WINK, SMILE, GIGGLE, SIGH, KISS,
</b><b>	FLUTTER OF EYES, FLICK OF HAIR, PUFF OF CHEST".
</b><b>	
</b>	Viktor comes close to the monitor.  He notices something
	about Simone's face.
<b>	
</b><b>	                    VIKTOR
</b>	          You're so beautiful.  Too
	          beautiful.
<b>	
</b>	Viktor accesses a program labeled, "DISTINGUISHING FEATURES".
	He adds a "FRECKLE" and a "MOLE".
<b>	
</b>	From a distance we watch him, alone with Simone in the vast,
	empty soundstage.
<b>	
</b><b>	EXT.  STUDIO LOT - DAY
</b><b>	
</b>	VIKTOR's face against the SKY.  As he walks, we reveal that
	the sky is no more than a huge, painted backdrop on the
	studio lot -- behind a parking lot.  Viktor hands his valet
	ticket to a fawning VALET MANAGER.
<b>	
</b><b>	                    VALET MANAGER
</b>	          -- Just be a minute, Mr. Taransky. 
	          We gave you a complimentary car
	          wash -- they're washing the engine
	          now.
<b>	
</b>	Viktor joins other industry MOVERS and SHAKERS waiting for
	their cars under an umbrella.  A young TALENT AGENT
	approaches.
<b>	
</b><b>	                    TALENT AGENT
</b>	          Viktor!  Look, I'm sorry I didn't
	          call you back last year.  I was,
	          er... out of the country.
	              (strained moment)
	          But we should get together.  My
	          schedule's wide open.
<b>	
</b><b>	                    VIKTOR
</b>	          Sure, I'll... "call you".
<b>	
</b>	The agent's face falls.  He gets in his car, disconsolate.
<b>	
</b>	Suddenly, HAL SINCLAIR, rushes over and hugs Viktor.
<b>	
</b><b>	                    HAL
</b>	          Viktor, I'm so happy for us!
<b>	
</b><b>	                    VIKTOR
</b>	          Hello, Hal.
<b>	
</b><b>	                    HAL
</b>	          The film.  The chemistry.  No
	          reflections on Nicola but Simone
	          and I -- we were just so right
	          together.
<b>	
</b><b>	                    VIKTOR
</b>	          You never were together, Hal.
<b>	
</b><b>	                    HAL
</b>	          And still the connection was
	          undeniable.
	              (aside)
	          I haven't read "Eternity Forever"
	          but I know it's brilliant.  And I
	          know I would be perfect for Clive.
<b>	
</b><b>	                    VIKTOR
</b>	              (correcting him)
	          Clyde.
<b>	
</b><b>	                    HAL
</b>	          Yes, perfect.
	              (lowering his voice)
	          As a matter of fact, I ran into
	          Simone on the lot the other day.
<b>	
</b><b>	                    VIKTOR
</b>	              (genuinely startled)
	          Really?  She didn't mention it.
<b>	
</b><b>	                    HAL
</b>	              (quickly covering)
	          I'm sure she's meeting with a lot
	          of people right now.
	              (under his breath)
	          She is just as you described her,
	          Viktor... indescribable.  I
	          strongly sensed she thought I was
	          right for it.
<b>	
</b>	Behind his back, Viktor surreptitiously presses a button on
	his cell phone.  The phone rings.  Viktor feigns surprise and
	answers.
<b>	
</b><b>	                    VIKTOR
</b>	              (answering the phone he
	               has just dialed, louder
	               than necessary)
	          Hello?... SIMONE!  How are you,
	          sweetheart?
<b>	
</b>	A hush descends over the executives.  Hal is suddenly very
	uncomfortable.  Even the VALETS strain to eavesdrop on the
	conversation.
<b>	
</b><b>	                    VIKTOR
</b>	              (winking to Hal)
	          You'll never guess who I'm with...
	          you ran into him on the lot.
<b>	
</b><b>	                    HAL
</b>	          It was more in passing.
<b>	
</b><b>	                    VIKTOR
</b>	          You're so far off!
	              (finally chuckles)
	          Hal... Hal Sinclair... your co-
	          star.  Remember now?... No, I don't
	          think he's put on weight.
	              (a shrug of apology to the
	               appalled Hal)
	          Anyway, you think he's right for
	          "Eternity Forever"?... not the
	          right type?... a different
	          direction...
	              (covering phone, to Hal)
	          I'll try to talk her into it.
<b>	
</b>	The other INDUSTRY PEOPLE make a note of the remark.  A
	mortified Hal excuses himself with a pathetic wave, climbing
	into his car.
<b>	
</b><b>	                    VIKTOR
</b>	              (into phone)
	          ... Listen this is a bad place to
	          talk... what?... sweetheart, I know
	          you have charity work you want to
	          do, I know you want to give back --
	          but remember, your greatest gift is
	          your talent... we'll talk about it
	          at the beach house this weekend...
	          I'm looking forward to it too.
<b>	
</b>	Viktor hangs up.  His car pulls up.  He tips extravagantly
	and drives away.  The INDUSTRY PEOPLE get on their cell
	phones.
<b>	
</b><b>	EXT.  STUDIO LOT - FACADE - DAY
</b><b>	
</b>	Parked behind the sky facade is a curious CAR with shaded
	windows.
<b>	
</b><b>	INT.  CAR - DAY
</b><b>	
</b>	Inside the car, MAX SAYER and assistant MILTON, scanner in
	hand, are replaying Viktor's intercepted phone call on a
	computer.
<b>	
</b><b>	                    VIKTOR'S VOICE
</b>	              (from the machine)
	          -- "... You think he's right for
	          "Eternity Forever"?... not the
	          right type?... a different
	          direction..."
<b>	
</b><b>	                    MILTON
</b>	              (to Max, a shake of the
	               head)
	          I'm getting nothing from her side
	          of the conversation.
<b>	
</b><b>	                    MAX
</b>	          Is it a jamming device?
<b>	
</b><b>	                    MILTON
</b>	              (shrugs)
	          Maybe he's talking to himself.
<b>	
</b><b>	                    MAX
</b>	              (dismissing the idea)
	          Taransky isn't that good an actor. 
	          No, they're taking special
	          precautions.  Some kind of new
	          encryption.
<b>	
</b><b>	                    MILTON
</b>	          Why?
<b>	
</b><b>	                    MAX
</b>	              (musing)
	          Whatever it is, it's dark.
<b>	
</b><b>	                    MILTON
</b>	          Dark?
<b>	
</b><b>	                    MAX
</b>	          Yes, very.
<b>	
</b>	They continue listening to the recording.
<b>	
</b><b>	                    VIKTOR'S VOICE
</b>	          "... We'll talk about it at the
	          beach house this weekend..."
<b>	
</b>	MAX's eyes light up.  He gazes to a photo of SIMONE pasted to
	the inside of the car.
<b>	
</b><b>	INT.  VIKTOR'S MALIBU HOME - MORNING
</b><b>	
</b>	VIKTOR and LAINEY make breakfast.  Lainey is in her pajamas,
	occasionally glancing to a laptop computer as her father
	prepares French toast.
<b>	
</b><b>	                    VIKTOR
</b>	              (glancing to the computer)
	          Can't you stop that?
<b>	
</b><b>	                    LAINEY
</b>	          Why?
<b>	
</b><b>	                    VIKTOR
</b>	          Those things can be dangerous. 
	          Staring at a screen all day -- you
	          miss what's going on outside in the
	          real world.  You can lose yourself. 
	          You should get out more.  How are
	          you going to meet boys?
<b>	
</b><b>	                    LAINEY
</b>	              (shrugs coyly, getting up)
	          I know plenty of boys.
<b>	
</b><b>	                    VIKTOR
</b>	          Really?  Who?  Where do you meet
	          them?  In a chat room?  How do you
	          know he's not some middle-aged
	          freak?
<b>	
</b><b>	                    LAINEY
</b>	          Dad, I can spot a middle-aged freak
	          a mile away.
<b>	
</b><b>	                    VIKTOR
</b>	          Okay.  But you have to find a way
	          to escape that thing.
<b>	
</b><b>	                    LAINEY
</b>	          I do.
<b>	
</b><b>	                    VIKTOR
</b>	          How?
<b>	
</b><b>	                    LAINEY
</b>	          I read.
<b>	
</b><b>	                    VIKTOR
</b>	          You do?  Still?  I can't tell you
	          how happy I am to hear that.
<b>	
</b><b>	                    LAINEY
</b>	          You were the one who insisted on
	          it.  Reading me Dostoyevsky and
	          Joyce when I was four.
<b>	
</b><b>	                    VIKTOR
</b>	          You understood them.  That's what
	          was amazing.
	              (looking out the window)
	          It's a nice day.  Let's eat
	          outside.
<b>	
</b>	Lainey grabs the plates and opens the deck door.  We hear a
	chorus of CLICKS.
<b>	
</b><b>	                    LAINEY
</b>	          Actually, it may be nicer inside.
<b>	
</b>	Viktor joins her at the doorway.
<b>	
</b><b>	                    VIKTOR
</b>	          Stay here, I'll deal with this.
<b>	
</b>	Unfazed, Lainey retreats into the house.
<b>	
</b><b>	EXT.  VIKTOR'S MALIBU HOUSE - MORNING
</b><b>	
</b>	Boats are moored just off the beach packed dangerously full
	of telephoto lens-toting PHOTOGRAPHERS.  The next door houses
	have LENSES protruding through the drapes of the windows.
<b>	
</b>	VIKTOR strides onto the lawn of his property that backs onto
	the beach, soaking up the attention -- unable to resist
	waving extravagantly.
<b>	
</b>	Suddenly, a PHOTOGRAPHER, losing his balance, drops from a
	nearby rooftop.  The photographer limps towards the fence. 
	Viktor calmly follows, retrieving the photographer's camera
	and ripping out the film with a flourish -- he is clearly
	relishing the attention.
<b>	
</b>	The photographer clambers over the fence where he joins
	several dozen other SHUTTER-BUGS and VIDEORAZZI.
<b>	
</b><b>	                    PHOTOGRAPHER 1
</b>	          That wasn't her, Taransky.
<b>	
</b><b>	                    ECHO PHOTOGRAPHER
</b>	          Where is she?  You can't hide her
	          forever.
<b>	
</b><b>	                    VIKTOR
</b>	              (hurling the camera into
	               the mob)
	          You'll never find her.  Simone only
	          appears when I want her to appear.
<b>	
</b>	MAX SAYER from "The NATIONAL ECHO" is at the head of the mob,
	accompanied by assistant MILTON.
<b>	
</b><b>	                    MAX
</b>	          She sounds like a prisoner,
	          Taransky.  Are you holding her
	          hostage?  Are you some kind of
	          Svengali?
<b>	
</b><b>	                    VIKTOR
</b>	              (recognizing the reporter)
	          Who's the hostage, Sayer, her or
	          you?  You look kind of "captive"
	          yourself.  While you're spending
	          every waking hour obsessing over
	          Simone, guess what, I guarantee she
	          doesn't even know you exist.  Get
	          off my property or I'll call the
	          cops.
<b>	
</b><b>	                    MAX
</b>	          The cops?  The cops read my column
	          to know who to bust.  We're the
	          only watchdog the public has.
	              (looking around at the
	               photographers)
	          None of this is going away.  We'll
	          be here tomorrow and the day after
	          that.  Until you slip up.  And you
	          will.  You are looking at your
	          shadow.
	              (getting in his face)
	          Because all these elaborate
	          precautions with Simone -- every
	          instinct in my body tells me, it's
	          not natural.
<b>	
</b><b>	                    VIKTOR
</b>	          I'm just trying to help you, Sayer. 
	          I don't want you to be
	          disappointed.  It gets cold out
	          here at night.
<b>	
</b><b>	                    MAX
</b>	          Nice try.  If we can't get to her
	          through you, maybe your family will
	          be more co-operative.  I can
	          guarantee you, Taransky, one way or
	          another, Miss Simone and I are
	          going to get acquainted.
<b>	
</b><b>	                    VIKTOR
</b>	              (turning away)
	          I'd like to see that, Sayer. 
	          Invite me.
<b>	
</b><b>	INT.  VIKTOR'S CAR - DAY
</b><b>	
</b>	VIKTOR drives along a twisty mountain road, LAINEY in the
	passenger seat.  They have become so blase about the
	paparazzi, they no longer acknowledge the posse of motorcycle
	PHOTOGRAPHERS risking their necks to stay up with the car.
<b>	
</b><b>	                    REPORTER (ON RADIO)
</b>	          -- The rumor is, Simone is holed up
	          in Taransky's Malibu home -- so far
	          we haven't seen so much as a
	          glimpse --
<b>	
</b><b>	                    VIKTOR
</b>	              (switching off the radio)
	          Honey, I'm really sorry about all
	          this.  I don't know if it's safe
	          for you to stay the weekends...
	          just until things settle down.
<b>	
</b><b>	                    LAINEY
</b>	              (shrugs)
	          Okay, Dad.
<b>	
</b><b>	                    VIKTOR
</b>	          If anyone asks about Simone --
<b>	
</b><b>	                    LAINEY
</b>	          -- I know, I don't know anything.
<b>	
</b><b>	                    VIKTOR
</b>	          Exactly.
	              (slightly irritated by her
	               lack of interest)
	          Don't you wonder where I'm really
	          hiding Simone?
<b>	
</b><b>	                    LAINEY
</b>	              (looking to him)
	          I'm sure you'd tell me if you
	          thought it was important.
<b>	
</b>	Lainey gives her father a smile.  Through the car window
	behind her, a MOTORCYCLIST appears to lose control and drops
	down a bank.
<b>	
</b><b>	EXT.  ELAINE'S MANSION - DAY
</b><b>	
</b>	VIKTOR'S car pulls up to Elaine's imposing mansion.  LAINEY
	gives her father a kiss and departs.  ELAINE, in the garden,
	overseeing a GARDENER pruning roses, approaches.
<b>	
</b><b>	                    VIKTOR
</b>	              (from the car)
	          Sorry I didn't get her back in
	          time.
<b>	
</b><b>	                    ELAINE
</b>	          No problem.
	              (she smiles)
	          Do you want to come in?
<b>	
</b><b>	                    VIKTOR
</b>	              (surprised -- pleasantly)
	          Why not?
<b>	
</b><b>	INT.  ELAINE'S MANSION - DAY
</b><b>	
</b>	VIKTOR walks down a hall, passing the dining room, where KENT
	is working on a computer.  Kent smiles blandly.
<b>	
</b><b>	                    KENT
</b>	          Hey, Vik.
<b>	
</b><b>	                    VIKTOR
</b>	              (disappointed to see him)
	          Hello -- Kent.
<b>	
</b><b>	INT.  ELAINE'S MANSION - DAY
</b><b>	
</b>	VIKTOR waits in an opulent drawing room.  Despite the eighty
	degree temperature outside, a fire burns in the hearth. 
	ELAINE enters, waving a thick studio file.  Viktor's face
	falls, expecting a less business-related conversation.
<b>	
</b><b>	                    ELAINE
</b>	          Viktor, we simply have to talk
	          about "Eternity..."
<b>	
</b><b>	                    VIKTOR
</b>	          "Forever".
<b>	
</b><b>	                    ELAINE
</b>	          Whatever.  I still haven't received
	          Simone's script notes.
<b>	
</b><b>	                    VIKTOR
</b>	          There aren't any.  If the
	          filmmakers are happy, Simone's
	          happy.  She considers herself an...
	          "instrument".
<b>	
</b><b>	                    ELAINE
</b>	          Really?  Oh, so she's really going
	          to do all this nudity?
<b>	
</b><b>	                    VIKTOR
</b>	              (shrugs)
	          If it's on the page...
<b>	
</b>	Elaine refers to her documents, bewildered.
<b>	
</b><b>	                    ELAINE
</b>	          Well, something has to be done
	          about this budget.  It's completely
	          unrealistic.
	              (referring to a column in
	               the budget)
	          You allowed nothing for limousine
	          service.
<b>	
</b><b>	                    VIKTOR
</b>	          She'll drive herself.
<b>	
</b><b>	                    ELAINE
</b>	          Hair and make-up?
<b>	
</b><b>	                    VIKTOR
</b>	          She'll do her own.  Theater
	          training.
<b>	
</b><b>	                    ELAINE
</b>	          She was in the theater?  When? 
	          Where?
<b>	
</b><b>	                    VIKTOR
</b>	          I'll send you her resume.
<b>	
</b><b>	                    ELAINE
</b>	          Al least a contingency for
	          wardrobe.  Any woman can go up a
	          dress size.
<b>	
</b><b>	                    VIKTOR
</b>	          -- I guarantee she won't gain an
	          once.  She's very disciplined.
<b>	
</b><b>	                    ELAINE
</b>	              (concerned by an entry in
	               the budget)
	          Well, we have to do something about
	          this -- "stuntwoman".
<b>	
</b><b>	                    VIKTOR
</b>	          What about it?
<b>	
</b><b>	                    ELAINE
</b>	          There isn't one.
<b>	
</b><b>	                    VIKTOR
</b>	          No need.  She does all her own
	          stunts.
<b>	
</b><b>	                    ELAINE
</b>	              (skeptical)
	          Even the fall from the plane?
<b>	
</b><b>	                    VIKTOR
</b>	              (nonchalant)
	          Even the fall from the plane.
<b>	
</b><b>	                    ELAINE
</b>	          Well, shoot it on the last day.
<b>	
</b>	Viktor regards Elaine with a condescending look.
<b>	
</b><b>	                    VIKTOR
</b>	          As I've tried to explain to you,
	          Elaine.  Simone isn't like any
	          other actress you've ever known. 
	          She's about the work and only the
	          work -- lives for the work.  She
	          wants all the money up there...
	              (gazing into space)
	          ... on the screen where it belongs. 
	          She'd work for scale except I know
	          you only respect people you pay a
	          fortune.
<b>	
</b><b>	                    ELAINE
</b>	          Which accounts for your percentage.
	              (tossing the budget on the
	               coffee table)
	          When do I get to meet this dream?
<b>	
</b><b>	                    VIKTOR
</b>	          Not today.  She's learning her
	          lines.
	              (glancing to Elaine's
	               budget)
	          You can also take cue cards and
	          teleprompter out of the budget.
<b>	
</b><b>	                    ELAINE
</b>	              (smiles)
	          I'll walk you out.
<b>	
</b>	Elaine escorts Viktor out to the lavish garden.
<b>	
</b><b>	EXT.  ELAINE'S MANSION - GARDEN - DAY
</b><b>	
</b>	ELAINE's demeanor softens.  She speaks to VIKTOR quietly,
	sympathetically.
<b>	
</b><b>	                    ELAINE
</b>	          Listen, Viktor... I want to talk to
	          you now, not as Elaine, studio
	          head, but Elaine, ex-wife.
	              (correcting herself)
	          Second ex-wife.  You got lucky this
	          last time but you need to be
	          careful.  We both know you wouldn't
	          be making this overblown art film
	          of you hadn't convinced Simone to
	          be in it.
<b>	
</b><b>	                    VIKTOR
</b>	          Elaine, talking to you now, not as
	          Viktor, director, but Viktor, ex
	          husband... what the hell happened
	          to you?
<b>	
</b><b>	                    ELAINE
</b>	              (exasperated)
	          Experience, Viktor.  I've seen this
	          a hundred times -- young stars
	          destroying the very people who
	          discovered them.  I'm worried about
	          you, that's all.  This woman -- she
	          controls your destiny.
<b>	
</b><b>	                    VIKTOR
</b>	          Simone does not control my destiny.
<b>	
</b><b>	                    ELAINE
</b>	          Viktor, I have a feeling.  One of
	          my feelings.  There's something
	          about her I don't trust.
<b>	
</b>	From her bedroom window on the mansion's second floor, LAINEY
	smiles at the sight of her mother and father together.
<b>	
</b><b>	INT.  SIMONE & VIKTOR'S OFFICE - DAY
</b><b>	
</b>	VIKTOR enters his office where he's greeted by his assistant,
<b>	JANE.
</b><b>	
</b><b>	                    JANE
</b>	              (sheepish)
	          Thanks for taking me back, Mr.
	          Taransky.  I know it looked like I
	          sided with the studio, but I always
	          believed in you, honestly.
<b>	
</b><b>	                    VIKTOR
</b>	          Don't worry.  I understand.
<b>	
</b><b>	                    JANE
</b>	              (referring to the cast
	               seated around a
	               conference table)
	          They're all here.
<b>	
</b><b>	INT.  SIMONE & VIKTOR'S OFFICE - DAY
</b><b>	
</b>	VIKTOR sits at the head of the table, surrounded by HAL,
	LOTUS, MAC and three other CAST MEMBERS.  A preliminary
	poster behind him -- "COMING THIS SUMMER - SIMONE in ETERNITY
	FOREVER" -- bears a huge photograph of Simone's face.
<b>	
</b><b>	                    VIKTOR
</b>	          I can't tell you how delighted I am
	          to have this wonderful cast
	          assembled for "Eternity Forever". 
	          Thank you all.  Now, a reminder --
	          as a condition for working on this
	          film, you will not be rehearsing
	          with Simone, shooting with Simone
	          and you are forbidden from
	          contacting Simone in any way at any
	          time, whatsoever.
<b>	
</b>	The CAST nods seriously.
<b>	
</b><b>	                    HAL
</b>	              (a thought occurs)
	          How will you do our love scenes?
<b>	
</b><b>	                    VIKTOR
</b>	          Body double.
<b>	
</b><b>	                    HAL
</b>	              (confused)
	          For her?
<b>	
</b><b>	                    VIKTOR
</b>	          For you.
	              (addressing the entire
	               cast)
	          I want you to know, Simone
	          appreciates you all working for
	          scale.  But why am I thanking you? 
	          Simone can thank you herself.  She
	          insisted on speaking with you
	          before filming begins.  She's on
	          the line now.
<b>	
</b>	Viktor nods to a speaker phone in the center of the table, a
	red blinking light on the phone.  The cast reacts excitedly.
<b>	
</b><b>	                    VIKTOR
</b>	              (pushing a button on the
	               phone)
	          Simone, are you there?
<b>	
</b><b>	                    SIMONE
</b>	              (through the speakerphone)
	          I certainly am, Mr. Taransky.
<b>	
</b><b>	                    LOTUS
</b>	              (unable to contain her
	               excitement)
	          So are we, Simone!
<b>	
</b>	Everyone laughs giddily.
<b>	
</b><b>	                    SIMONE (O.S.)
</b>	          Why don't you leave me alone with
	          my co-stars, Mr. Taransky, so we
	          can get to know each other better?
<b>	
</b><b>	                    HAL
</b>	          Good idea.
<b>	
</b><b>	                    VIKTOR
</b>	          Of course.  I'll be back in a
	          minute.
<b>	
</b>	Viktor exits.
<b>	
</b><b>	                    SIMONE (O.S.)
</b>	          Hi.  Who's there?  Don't be shy. 
	          Introduce yourselves.
<b>	
</b>	The CAST stares nervously at the speakerphone.  Mac breaks
	the silence.
<b>	
</b><b>	                    MAC
</b>	          I'm Mac.  I turned down a
	          Bertolucci film to be here.
<b>	
</b><b>	                    LOTUS
</b>	          My name's Lotus.  God, I can't
	          believe I'm talking to you.  We're
	          going to become such great friends.
<b>	
</b><b>	                    HAL
</b>	          I'm Hal.  Wonderful to be working
	          together... again.
<b>	
</b>	The other cast members introduce themselves.
<b>	
</b><b>	EXT.  VIKTOR'S SOUNDSTAGE - DAY
</b><b>	
</b>	VIKTOR pulls up sharply in his studio golf cart outside the
	nearby soundstage and hurriedly enters.
<b>	
</b><b>	INT.  VIKTOR'S SOUNDSTAGE - DAY
</b><b>	
</b>	VIKTOR races across the vast, empty space to a digital
	player, connected to a phone.  Simone's pre-recorded opening
	remarks (graphically represented on the screen) are almost
	completed.
<b>	
</b><b>	                    SIMONE
</b>	          Is that everyone...?
	              (pause)
	          Well, obviously, as you know...
<b>	
</b>	Viktor jumps into the conversation in the nick of time,
	speaking through the synthesizer.  As usual, Viktor's voice
	is automatically synthesized into the voice of Simone.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          ... I'm Simone.   
<b>	
</b>	The other CAST MEMBERS laugh nervously.
<b>	
</b><b>	                    HAL
</b>	              (from Viktor's
	               speakerphone)
	          Obviously.  Who else?
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	              (from speaker phone)
	          I just want to start by apologizing
	          for my "process" --
<b>	
</b><b>	INT.  SIMONE & VIKTOR'S OFFICE - DAY
</b><b>	
</b>	The CAST are hunched over the speakerphone.
<b>	
</b><b>	                    MAC
</b>	          -- No.  No.  I'm completely
	          simpatico.  On my last film I was
	          playing a schizophrenic so I made
	          them give me two dressing rooms.
<b>	
</b><b>	                    HAL
</b>	              (an aside)
	          So committed.
<b>	
</b><b>	                    SIMONE (O.S.)
</b>	          Well thank you for your
	          understanding.  I know it's an
	          unusual way to work but I just find
	          I relate better to people when
	          they're not actually there.
<b>	
</b><b>	                    LOTUS
</b>	          Of course, of course.
<b>	
</b><b>	                    SIMONE (O.S.)
</b>	          I don't have much to say except
	          that I know it's going to be a
	          great project, if we all just trust
	          Mr. Taransky's vision.  Always do
	          what Mr. Taransky says.  If in
	          doubt, do it the Taransky way.
<b>	
</b>	They all nod vigorously in agreement.
<b>	
</b><b>	                    SIMONE (O.S.)
</b>	          I know we're going to make a
	          wonderful movie together.
<b>	
</b><b>	                    LOTUS
</b>	              (nodding in agreement)
	          Wonderful movie.
<b>	
</b><b>	                    HAL
</b>	          Together, absolutely.
<b>	
</b><b>	EXT.  SOUNDSTAGE - DUSK
</b><b>	
</b>	VIKTOR removes his own garbage from his soundstage.  A young
	cleaning woman, VIVIAN, wheeling a janitor's cart,
	tentatively approaches.
<b>	
</b><b>	                    VIVIAN
</b>	          Mr. Taransky...
<b>	
</b><b>	                    VIKTOR
</b>	              (referring to the stage)
	          No one goes in there.
<b>	
</b><b>	                    VIVIAN
</b>	          Oh, I know.
<b>	
</b>	Vivian hesitantly hands Viktor a publicity photo of SIMONE.
<b>	
</b><b>	                    VIVIAN
</b>	          If it's not too much trouble. 
	          Could you...?
<b>	
</b><b>	                    VIKTOR
</b>	          Of course...
<b>	
</b><b>	                    VIVIAN
</b>	              (hesitant about broaching
	               the subject)
	          This last year I was... going
	          through some things.
	              (shaking her head at the
	               memory)
	          Awful, awful... things.  But when I
	          saw Simone in "Sunrise"... what she
	          did... in the scene in the
	          fireworks factory...
	              (face lighting up)
	          ... suddenly everything made sense. 
	          My friends, family, doctors --
	          nobody could reach me -- but
	          Simone, she really... spoke to me.
<b>	
</b>	Viktor is touched by the heartfelt testimony.
<b>	
</b><b>	                    VIKTOR
</b>	          She'll be happy to sign it.
<b>	
</b><b>	INT.  PRODUCTION SOUNDSTAGE - DAY
</b><b>	
</b>	A green set.  Walls, floor, ceiling -- all green.  A FULL
	CAST shoots HAL, dressed in a futuristic suit, tentatively
	crossing the green expanse.
<b>	
</b>	Hal pauses, looks longingly, then impulsively dashes forward. 
	Hal passionately embraces thin air and wrestles it to the
	ground.
<b>	
</b><b>	                    VIKTOR (O.S.)
</b>	          Cut!  Cut!... Cut!
<b>	
</b>	Hal freezes.  VIKTOR runs from behind the camera and
	confronts Hal on the green floor.
<b>	
</b><b>	                    VIKTOR
</b>	          Hal, what are you doing?
<b>	
</b><b>	                    HAL
</b>	          Viktor, Clyde simply has to get
	          close to Simone in this scene!  He
	          has to touch her.  He has to!
<b>	
</b><b>	                    VIKTOR
</b>	          Absolutely not!
<b>	
</b><b>	                    HAL
</b>	          But she's right there!  I must feel
	          her!
<b>	
</b><b>	                    VIKTOR
</b>	          You can't.
<b>	
</b><b>	                    HAL
</b>	          Why not?
<b>	
</b><b>	                    VIKTOR
</b>	              (struggling to find an
	               excuse)
	          There's... a wall between you --
<b>	
</b><b>	                    HAL
</b>	          -- an emotional wall, I know. 
	          That's why --
<b>	
</b><b>	                    VIKTOR
</b>	          -- No.  No.  A real wall.
	              (describing a wall with
	               his hands within the
	               green space)
	          You ran right through it.
<b>	
</b><b>	                    HAL
</b>	              (confused)
	          How did the wall get there?
<b>	
</b><b>	                    VIKTOR
</b>	          I can't explain it to you now --
	          you'll see when it's all put
	          together.
	              (walking away)
	          Anyway, we got it a couple of takes
	          ago.  Let's move on.
<b>	
</b>	Hal, dumbfounded, tentatively touches the non-existent wall.
<b>	
</b><b>	INT.  VIKTOR'S SOUNDSTAGE - NIGHT
</b><b>	
</b>	Viktor digitally adds SIMONE standing beside a sportscar with
	HAL in a scene from "Eternity Forever".  He works on her
	close up.
<b>	
</b><b>	                    SIMONE
</b>	              (eyes welling with tears)
	          -- What you don't understand,
	          Clyde, is that love is like a wild
	          flower, but that flower only
	          grows --
<b>	
</b>	Viktor hits STOP and Simone freezes.  Viktor brings up a menu
	and chooses from a range of "EMOTIONAL OPTIONS".
<b>	
</b><b>	   JOY                  SADNESS              FEAR
</b>	   elated               melancholy           anxious
	   jubilant             tearful              frightened
	   giddy                weeping              petrified
	   ecstatic             blubbering           loss of bladder
	   inebriated           Kevorkian              control
<b>	
</b><b>	   CONTEMPLATION        INNOCENCE            SENSUALITY
</b>	   reflective           chaste               seductive
	   thoughtful           virtuous             lustful
	   meditative           angelic              bestial
	   stoic                Madonna              Madonna
	   bored out of her      [Blessed Virgin]     [Like A Virgin]
	     skull
<b>	
</b>	He fine-tunes SIMONE's performance -- sliding a cursor on a
	performance axis from "BROAD" to "SUBTLE".
<b>	
</b><b>	                    VIKTOR
</b>	          Let's take it down a notch.
<b>	
</b><b>	                    SIMONE
</b>	          -- What you don't understand --
<b>	
</b>	Simone freezes again.  Viktor make another adjustment.
<b>	
</b><b>	                    VIKTOR
</b>	          I like it.  But still too big.
	              (making a correction)
	          Smaller teardrops next time.
<b>	
</b>	Simone's tears retreat into her eyes.
<b>	
</b><b>	                    VIKTOR
</b>	          It's not working.  It's not alive. 
	          Let's try it again.
<b>	
</b>	She repeats the line.  Viktor mimes the performance.
<b>	
</b><b>	                    SIMONE
</b>	              (teardrops arriving on
	               cue)
	          -- What you don't understand,
	          Clyde, is that love is like a wild
	          flower, but that flower only grows
	          on the edge...
	              (dramatic pause)
	          ... of a very high cliff.
<b>	
</b>	Simone FREEZES.
<b>	
</b><b>	                    VIKTOR
</b>	          Perfect, Simone.
<b>	
</b>	Viktor returns SIMONE to her neutral background.
<b>	
</b><b>	                    VIKTOR
</b>	          I'm only sorry you still have to
	          work with flesh and blood for the
	          time being -- as user friendly as
	          you are, even I can't manufacture
	          an entire cast.
<b>	
</b>	"To Vivian.  Love, Simone" -- VIKTOR writes on the publicity
	shot.  He applies lipstick and adds a kiss to the photo.
<b>	
</b>	Viktor wipes his mouth and looks to SIMONE on his screen --
	she is waiting patiently, as usual.
<b>	
</b><b>	                    VIKTOR
</b>	          We are going to have to change our
	          plans, Simone -- you have no idea
	          what an affect your performance is
	          having on people.  We can't stop
	          now.  There's too much to say --
	          these films they speak, they speak
	          to the human condition.  We're
	          changing lives.  No, revealing the
	          truth now would be too cruel.
	              (searching for more
	               justification)
	          Anyway, when you're seeking a
	          greater truth -- in the work -- you
	          are not so concerned with the
	          lesser truths along the way.
<b>	
</b>	Simone doesn't appear convinced.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          You're going to get in a lot of
	          trouble, Mr. Taransky.
<b>	
</b><b>	                    VIKTOR
</b>	              (irritated at her pricking
	               his conscience)
	          Why do you have to bring that up? 
	          There's always risk -- life's a
	          risk.  It's worth it.  Besides, how
	          could something so lovely be a
	          crime?
	              (regarding her tenderly)
	          Well, I think we've done enough for
	          today.  You've been cooped up in
	          there too long.  How about you and
	          me go out on the town?  They're
	          expecting us.
<b>	
</b>	He turns to a copy of "The Echo".  A photo of Viktor at the
	gate of his Malibu home.  "SIMONE HELD CAPTIVE - Self
	proclaimed Svengali Keeps Star Out Of Limelight".  Viktor
	puts Simone to sleep and picks up a briefcase.
<b>	
</b><b>	INT.  HOTEL LOBBY - NIGHT
</b><b>	
</b>	VIKTOR, briefcase in hand, strides through the lobby of an
	opulent hotel.  He approached the CONCIERGE.
<b>	
</b><b>	                    VIKTOR
</b>	          I'm checking in a special guest...
	              (obviously conspiratorial)
	          ... Miss Enomis.
<b>	
</b>	The Concierge straightens as he recognizes Viktor from a copy
	of "Variety".  Headline: "Taransky Rides Ingenue's Coat-Tails
	To Three Picture Deal".
<b>	
</b><b>	                    CONCIERGE
</b>	          Miss Enomis, yes.
<b>	
</b><b>	                    VIKTOR
</b>	          Miss Enomis demands her privacy. 
	          You will switch off all
	          surveillance cameras.  I will
	          escort Miss Enomis to her room
	          alone via the rear exit.  She will
	          require no help with her luggage. 
	          She does not wish to be disturbed
	          at any time for any reason.  She
	          will be departing for a function
	          tonight at eight sharp.
	              (tipping him with a
	               hundred dollar bill)
	          I'm sure I can rely on your
	          discretion.  Do you understand?
<b>	
</b><b>	                    CONCIERGE
</b>	              (passing the key to
	               Viktor)
	          Oh, I understand.
<b>	
</b>	As Viktor departs, the Concierge holds the registration card
	to the mirror.
<b>	
</b>	ENOMIS becomes SIMONE.
<b>	
</b>	The Concierge picks up his phone.
<b>	
</b><b>	INT.  HOTEL ROOM - NIGHT
</b><b>	
</b>	VIKTOR enters the hotel suite.  We see a montage of scenes --
	Viktor revelling in his masquerade.
<b>	
</b>	A)  VIKTOR pulls down the covers of a bed and rolls around in
	    the sheets to give it a slept-in look.
<b>	
</b>	B)  VIKTOR sprays cologne in the bed.
<b>	
</b>	C)  VIKTOR tosses skimpy lingerie on the floor of the closet.
<b>	
</b>	D)  VIKTOR eats several candy bars from the mini-bar.
<b>	
</b>	E)  VIKTOR puts one of his own movies in the DVD player.
<b>	
</b>	F)  VIKTOR writes a note on the bedside pad.
<b>	
</b>	G)  In the bathroom, shower running, VIKTOR attempts to open
	    a tampon -- it shoots out of the applicator like a penny
	    rocket.
<b>	
</b>	H)  VIKTOR cuts a lock of "faux" hair from a Simone wig and
	    scatters it on the counter.
<b>	
</b>	I)  VIKTOR shakes open a bag of toiletries, the toothbrush
	    bouncing into the toilet bowl.  He retrieves it.
<b>	
</b>	J)  VIKTOR looks through the drapes of the hotel window -- a
	    jam of PRESS PHOTOGRAPHERS has congregated outside the
	    rear entrance.
<b>	
</b>	K)  VIKTOR shines a lamp against a doll casting a life-size
	    shadow on the drapes.  A "walking" silhouette is visible
	    to the media on the street.
<b>	
</b>	L)  VIKTOR writes a message in lipstick on the mirror -- "I
<b>	    LOVE YOU V--".
</b><b>	
</b>	VIKTOR is interrupted by a knock on the door.  He looks at
	his watch.
<b>	
</b><b>	                    VIKTOR
</b>	              (peering through the
	               peephole)
	          Who is it?
<b>	
</b><b>	                    WOMAN'S VOICE
</b>	              (from other side of door)
	          It's... Simone.
<b>	
</b>	Viktor smiles.
<b>	
</b><b>	EXT.  HOTEL - REAR ENTRANCE - NIGHT
</b><b>	
</b>	VIKTOR stands at the rear entrance of the hotel with a leggy
	YOUNG WOMAN wearing a coat over her head.  A HOTEL DOORMAN
	keeps back the growing horde of REPORTERS.
<b>	
</b>	Viktor's limousine waits at the curb.  The coated woman
	starts towards the car but Viktor holds her back.
<b>	
</b><b>	                    VIKTOR
</b>	          Not yet.
	              (scrutinizing the crowd)
	          Where's "Matinee"?  There they are. 
	          Okay, I think everyone's here. 
	          Now!
<b>	
</b>	Viktor and the young woman run the gauntlet to the car,
	providing a perfect albeit restricted photo-op for the
	paparazzi.
<b>	
</b><b>	                    PHOTOGRAPHER 1
</b>	          Simone!
<b>	
</b><b>	                    ECHO PHOTOGRAPHER
</b>	          Over here, sweetheart!
<b>	
</b><b>	                    PHOTOGRAPHER 3
</b>	          Come one Simone, take it off, baby!
<b>	
</b><b>	                    PHOTOGRAPHER 4
</b>	          We got a job to do!
<b>	
</b>	The car door slams shut as the pack descends.  MAX SAYER and
	MILTON are amongst the frustrated reporters.  The limo
	screeches away.  A POLICE MOTORCYCLIST prevents anyone
	following.
<b>	
</b>	The frustrated REPORTERS assess their efforts.
<b>	
</b><b>	                    PHOTOGRAPHER 1
</b>	          I think I got a piece of her ear.
<b>	
</b><b>	                    ECHO PHOTOGRAPHER
</b>	          I didn't get shit.
<b>	
</b><b>	                    MILTON
</b>	              (emerging from the pack,
	               to Max)
	          Ten feet from a living Goddess...
<b>	
</b><b>	INT.  MISS ENOMIS'S HOTEL SUITE - NIGHT
</b><b>	
</b>	MAX SAYER pays off the CONCIERGE.  His assistant, MILTON,
	begins to collect "evidence" of the celebrity -- dusting for
	fingerprints, etc.  Max rubs pencil into the impression on
	the bedside notepad revealing the message -- "The meaning of
	life is that it ends".
<b>	
</b><b>	                    MAX
</b>	              (interrupting Milton's
	               work)
	          Leave me for a moment.
<b>	
</b>	Milton and the Concierge depart.
<b>	
</b>	Max is alone.  He looks around the room.
<b>	
</b>	A)  MAX enters the bathroom.  He picks up a drinking glass
	    and inspects it closely before placing it in a sealed
	    plastic bag.
<b>	
</b>	B)  MAX examines the wet soap from the shower and also places
	    it in a plastic bag.
<b>	
</b>	C)  MAX picks up the used toothbrush, puts it to his lips
	    before placing it in a plastic bag.
<b>	
</b>	D)  MAX gently places his hands on the toilet seat.
<b>	
</b>	E)  MAX enters the bedroom.  He carefully removes a slip from
	    a pillow.  He folds it meticulously, appearing to breathe
	    in its scent as he places it in a plastic bag.
<b>	
</b>	F)  Finally, MAX kneels and gazes at "Simone's" unmade bed. 
	    He slowly slides into the bed and slips beneath the same
	    sheets recently vacated by Viktor.
<b>	
</b><b>	INT.  HALLWAY - OUTSIDE HOTEL SUITE - NIGHT
</b><b>	
</b>	MILTON, ear pressed against the door, tries to listen inside.
<b>	
</b><b>	INT.  VIKTOR TARANSKY'S LIMOUSINE - NIGHT
</b><b>	
</b>	VIKTOR and the COATED WOMAN have finally left the PAPARAZZI
	in their wake.  Viktor gently removes the coat from over her
	head.
<b>	
</b>	Although the woman is impossible beautiful, she is not
	Simone.  FAITH is Simone's latest stand-in and decoy.  Viktor
	and Faith are still pressed together against one side of the
	limousine.
<b>	
</b><b>	                    VIKTOR
</b>	              (not quite able to avert
	               his eyes from her
	               telescopic legs)
	          Thank God for you, Faith.  I know
	          this is above and beyond the call
	          of duty for a stand-in.  You don't
	          know what a service you're
	          performing for Simone -- shielding
	          her from those animals.
<b>	
</b><b>	                    FAITH
</b>	          No, thank God for you, Mr.
	          Taransky.  How many men would go
	          to so much trouble to protect a
	          woman?
<b>	
</b>	Neither Viktor nor Faith seem inclined to move from their
	intimate position.
<b>	
</b><b>	                    VIKTOR
</b>	          You understand you'll have to come
	          back to my place to keep them off
	          the, er...
	              (his nose close to Faith's
	               neck)
	          ... scent.
<b>	
</b><b>	                    FAITH
</b>	          Of course.
<b>	
</b><b>	                    VIKTOR
</b>	              (meeting her gaze)
	          You look so, so...
<b>	
</b><b>	                    FAITH
</b>	          ... so much like her?
<b>	
</b><b>	                    VIKTOR
</b>	          Yes, of course, but very beautiful
	          in your own right.
<b>	
</b><b>	                    FAITH
</b>	          I do find myself physically
	          attracted to you, Mr. Taransky.
<b>	
</b>	Their lips are now tantalizingly close.
<b>	
</b><b>	                    VIKTOR
</b>	          Viktor.
<b>	
</b><b>	INT.  VIKTOR'S MALIBU HOUSE - NIGHT
</b><b>	
</b>	VIKTOR'S HEAD hits the sofa in his living room, closely
	followed by FAITH on top of him.
<b>	
</b>	Faith tears at his clothes and her own, ravenous.  Viktor
	hardly resists.  In the midst of the wild caresses, Faith
	murmurs in his ear.
<b>	
</b><b>	                    FAITH
</b>	          Do whatever you do to Simone.
<b>	
</b>	Viktor freezes.
<b>	
</b><b>	                    VIKTOR
</b>	          What?... What did you say?
<b>	
</b><b>	                    FAITH
</b>	          Do what you do to Simone.
<b>	
</b><b>	                    VIKTOR
</b>	          What I do to Simone?
<b>	
</b><b>	                    FAITH
</b>	          Yes, call me Simone.
<b>	
</b><b>	                    VIKTOR
</b>	          Simone?
<b>	
</b><b>	                    FAITH
</b>	              (still tearing at his
	               clothes)
	          Yes, yes, again, again.  Do what
	          you do to Simone.  I want to know
	          what it's like to be her just for
	          one night.
<b>	
</b><b>	                    VIKTOR
</b>	              (confused)
	          You're with me to be close to her?
<b>	
</b><b>	                    FAITH
</b>	              (panting)
	          Is that a problem?
<b>	
</b>	As Viktor ponders the question, Faith begins to do Simone's
	deathbed speech from "Sunrise, Sunset".
<b>	
</b><b>	                    FAITH
</b>	          "Why are we here?  Is that what
	          you're asking, Jack?... Why are we
	          here?  No why.  Just here".
<b>	
</b><b>	                    VIKTOR
</b>	              (this is too much for
	               Viktor)
	          Please put your clothes on
<b>	
</b>	Viktor gets up from the sofa, leaving the frustrated Faith to
	straighten her clothes.
<b>	
</b><b>	EXT.  FUTURISTIC LANDSCAPE - "ETERNITY FOREVER" - DAY
</b><b>	
</b>	The finished scene with SIMONE and HAL plays ON A SCREEN.
<b>	
</b><b>	INT.  SCREENING ROOM - STUDIO - DAY
</b><b>	
</b>	VIKTOR watches the rough cut of "ETERNITY FOREVER" with
	ELAINE and daughter, LAINEY.  As usual, they are mesmerized
	by the breath-taking beautiful SIMONE.  The scene ends.  The
	light go up.
<b>	
</b><b>	                    ELAINE
</b>	          Stunning, Viktor.  The Hollywood
	          Foreign Press is going to eat this
	          up.
<b>	
</b><b>	                    VIKTOR
</b>	          Thank you.
	              (turning to his daughter)
	          What did you think, Lainey?
<b>	
</b><b>	                    LAINEY
</b>	          One thing bothered me.
<b>	
</b><b>	                    VIKTOR
</b>	          I know, Hal is as stiff as always.
<b>	
</b><b>	                    LAINEY
</b>	          No, not that.  I was just wondering
	          -- in the bedroom scene in reel two
	          why did Simone have no reflection
	          when she walked in front of that
	          mirror?
<b>	
</b>	Viktor is shocked, busted.  He covers it with a laugh.
<b>	
</b><b>	                    VIKTOR
</b>	              (ashen-faced)
	          I wondered if you'd spot that. 
	          You've got a good eye, Lainey.  I'm
	          proud of you.
<b>	
</b>	Elaine looks at Viktor for an explanation.
<b>	
</b><b>	                    VIKTOR
</b>	          I got them to remove the
	          reflection.  The mirror's metaphor 
	          -- to show how her character's
	          inwardly dead.
<b>	
</b><b>	                    ELAINE
</b>	          That's genius, Viktor.  Was that
	          Simone's idea?
<b>	
</b><b>	                    VIKTOR
</b>	              (sarcastic, annoyed at the
	               suggestion)
	          Who else?  It's always Simone's
	          idea.
<b>	
</b><b>	                    LAINEY
</b>	              (not quite convinced)
	          So that accounts for the lack of a
	          shadow in reel six?
<b>	
</b><b>	                    VIKTOR
</b>	          Precisely.
<b>	
</b><b>	EXT.  STUDIO LOT - NIGHT
</b><b>	
</b>	VIKTOR escorts ELAINE and LAINEY to Elaine's car parked
	outside the theater.
<b>	
</b><b>	                    LAINEY
</b>	              (as she gets into the car)
	          Good-night, Daddy.
<b>	
</b><b>	                    VIKTOR
</b>	              (kissing Lainey good-bye)
	          Night, Lainey.
<b>	
</b>	Elaine and Viktor linger a moment outside the car.
<b>	
</b><b>	                    VIKTOR
</b>	              (drawing Elaine aside)
	          Elaine, I don't know if it's a good
	          idea for Lainey to come to the
	          screenings -- mature content and
	          all that.
<b>	
</b>	Both look to Lainey.  From inside the car Lainey watches her
	parents.
<b>	
</b><b>	                    ELAINE
</b>	              (impressed by his
	               responsible attitude)
	          Maybe you're right.
	              (gently teasing)
	          Twelve years after your daughter's
	          born you decide to become a father.
<b>	
</b><b>	                    VIKTOR
</b>	          Better late than never.
<b>	
</b><b>	                    ELAINE
</b>	              (softening)
	          I should fire you more often.  The
	          film's looking wonderful.
<b>	
</b><b>	                    VIKTOR
</b>	          You really think so?
<b>	
</b><b>	                    ELAINE
</b>	          Yes.  To be honest I never quite
	          saw this film before -- maybe it's
	          the way Simone is playing it -- but
	          what it's saying about the illusion
	          of permanence in everyday life, how
	          that's the only way we can love --
	          I think it's really going to mean
	          something.
<b>	
</b><b>	                    VIKTOR
</b>	          Thank you.  I'll tell Simone you
	          liked it.
<b>	
</b><b>	                    ELAINE
</b>	          I'd love to tell her myself.
	              (cajoling)
	          When are you going to let me meet
	          her?
<b>	
</b><b>	                    VIKTOR
</b>	          Soon.  Soon.
<b>	
</b><b>	                    ELAINE
</b>	          Everyone I know has met her,
	          Viktor.
<b>	
</b><b>	                    VIKTOR
</b>	          Everyone you know is lying.
<b>	
</b><b>	                    ELAINE
</b>	              (amused)
	          That's true.
<b>	
</b>	They instinctively kiss, more affectionate than before. 
	However, their embrace is interrupted by a click of a camera
	shutter from a nearby bush.
<b>	
</b><b>	                    VIKTOR
</b>	          Damnit!
<b>	
</b>	The PHOTOGRAPHER has gone but so has the mood.
<b>	
</b><b>	                    ELAINE
</b>	          You know how you can stop that. 
	          She has to get out more.
	              (climbing into the car)
	          See you at the premiere.
<b>	
</b>	Elaine climbs into her car and drives away.
<b>	
</b><b>	EXT.  PREMIERE - DUSK
</b><b>	
</b>	The premiere for "ETERNITY FOREVER" is everything VIKTOR had
	hoped for "SUNRISE, SUNSET".  Red carpet, klieg lights
	searching the sky, screaming FANS and PAPARAZZI.
<b>	
</b>	A limousine pulls up, door opens and VIKTOR steps out.  The
	crowd screams with excitement.
<b>	
</b>	Viktor waves.  Am expectancy in the crowd -- people crane
	their necks, waiting for someone else to step out of the open
	car door... but nothing.  The door shuts.  A disappointed
	murmer.  The limo drives off.
<b>	
</b>	VIKTOR walks down the carpet to little fanfare.
<b>	
</b><b>	                    PREMIERE REPORTER 1
</b>	              (talking to camera)
	          -- What a night!  Anyone who's
	          anyone is here at the premiere of
	          "Eternity Forever," but waiting for
	          Simone to show may take even
	          longer.  We do have her director,
	          Viktor Taransky.
	              (ushering him over)
	          Viktor, Viktor, is Simone coming?
<b>	
</b><b>	                    VIKTOR
</b>	              (slightly irritated by the
	               focus on the star)
	          You know Simone.
<b>	
</b>	Other reporters force their way into the interview.
<b>	
</b><b>	                    PREMIERE REPORTER 2
</b>	          I hope she does show up.  Some of
	          her fans got here at dawn.  We
	          don't want to disappoint them.
<b>	
</b><b>	                    VIKTOR
</b>	              (through a pained smile)
	          Well, I'm sure they're going to
	          love the movie.  I got the
	          inspiration --
<b>	
</b>	However, the reporter's attention has strayed.
<b>	
</b><b>	                    PREMIERE REPORTER 2
</b><b>	          HARRY EPSON!
</b><b>	
</b>	The CAMERAS pivot away from Viktor.  Screen idol, HARRY
	EPSON, is walking up the carpet.
<b>	
</b><b>	                    PREMIERE REPORTER 2
</b>	          Harry!  Harry!  Can we have a
	          minute?  What brings you here
	          tonight?
<b>	
</b><b>	                    HARRY
</b>	              (waving to the fans)
	          I just came out to support my good
	          friend, Simone.
<b>	
</b><b>	                    PREMIERE REPORTER 2
</b>	          There's a rumor that you're more
	          than just "good friends"?
<b>	
</b><b>	                    HARRY
</b>	              (slightly irritated by the
	               invasion)
	          We've been seeing each other, sure,
	          but we'd rather keep our
	          relationship private.
<b>	
</b><b>	                    PREMIERE REPORTER 2
</b>	              (believing she has a
	               scoop)
	          Do I hear the sound of... wedding
	          bells?
<b>	
</b><b>	                    HARRY
</b>	              (suddenly losing it)
	          I can't believe you people!  No
	          wonder she never comes to these
	          things!
<b>	
</b>	Harry angrily pushes the camera away and strides up the
	carpet.
<b>	
</b>	VIKTOR watches him go, flabbergasted.
<b>	
</b><b>	EXT.  PREMIERE PARTY - NIGHT
</b><b>	
</b>	A packed, glitzy party.  VIKTOR enters without an escort. 
	Despite his recent rise to prominence he appears strangely
	alone.
<b>	
</b>	He observes ELAINE, champagne in hand, and the younger KENT,
	schmoozing with a group of industry MOVERS and SHAKERS.
<b>	
</b><b>	                    MOVER/SHAKER
</b>	          Elaine!  The picture is a
	          revelation!
<b>	
</b><b>	                    ELAINE
</b>	          Thank you.  I mean, it was a team
	          effort --
<b>	
</b>	Viktor cannot resist taking Elaine's photo with a small
	pocket camera.  Elaine is unaware of the shot.
<b>	
</b>	Viktor turns away -- just as Elaine turns to look at him.
<b>	
</b>	Viktor picks up a drink from the bar.  A DRUNK WOMAN, perched
	unsteadily on a nearby barstool, is knocking back Jack
	Daniels.  She accidentally brushes one of her discarded
	glasses off the bar.  Viktor catches it.
<b>	
</b>	A HAND taps Viktor on the shoulder.  HAL stands there
	accompanied by his "Eternity Forever" co-star, MAC.
<b>	
</b><b>	                    HAL
</b>	          Is she here?
<b>	
</b><b>	                    VIKTOR
</b>	          I'm fine, Hal.  How are you?
<b>	
</b><b>	                    HAL
</b>	              (oblivious to his sarcasm)
	          Somebody said she was here.
<b>	
</b>	Mac spots the two glasses in Viktor's hands -- one glass
	lipstick-smeared.
<b>	
</b><b>	                    MAC
</b>	          Oh my God, that's her glass!
	              (impulsively smelling
	               "Simone's" glass)
	          Jack Daniels, straight-up.  She is
	          my kind of woman.
<b>	
</b><b>	                    HAL
</b>	              (looking anxiously around
	               the room)
	          Viktor, where is she?
<b>	
</b><b>	                    VIKTOR
</b>	          She's around.
<b>	
</b><b>	                    MAC
</b>	              (dawning on him, glancing
	               to the far side of the
	               packed room)
	          Jesus, Hal... she's in the Ladies
	          Room.
<b>	
</b><b>	                    HAL
</b>	          You know I sometimes forget she has
	          bodily functions.
<b>	
</b><b>	                    VIKTOR
</b>	              (unable to resist)
	          I know what you mean.
<b>	
</b><b>	                    HAL
</b>	              (anxiously looking to the
	               restroom)
	          I have to talk to her about my
	          experimental film.  It's very...
	          experimental.
<b>	
</b><b>	                    MAC
</b>	          Is that her? -- By the fountain.
<b>	
</b>	Far across the party, a WOMAN, with a Simone-type hairstyle,
	her back to us, is standing at the edge of a fountain.
<b>	
</b><b>	                    VIKTOR
</b>	              (testy)
	          No.  In fact, between us, she
	          doesn't really exist.
<b>	
</b><b>	                    HAL
</b>	              (ignoring him, calling out
	               to the woman)
	          Simone!
<b>	
</b><b>	                    MAC
</b><b>	          SIMONE!
</b><b>	
</b>	Several nearby GUESTS, including ELAINE, overhear.  They talk
	over each other.
<b>	
</b><b>	                    GUEST 1
</b>	          -- Simone's here!
<b>	
</b><b>	                    ELAINE
</b>	              (slightly the worse for
	               drink)
	          -- When did she arrive?  Why didn't
	          someone tell me?
<b>	
</b><b>	                    GUEST 2
</b>	          -- Where is she?
<b>	
</b><b>	                    MAC
</b>	          -- She's by the fountain.
<b>	
</b><b>	                    GUEST 3
</b>	          -- Simone, over here!
<b>	
</b><b>	                    GUEST 4
</b>	          -- Simone!
<b>	
</b>	The rumor races through the party like wild-fire.  The GUESTS
	surge towards the fountain in a wave of mindless adoration.
<b>	
</b>	The Simone lookalike herself spins around.
<b>	
</b><b>	                    LOOKALIKE WOMAN
</b>	          Simone!
<b>	
</b>	She gets knocked into the fountain.  Several other GUESTS
	also fall in the stampede.
<b>	
</b>	Back at the bar, the BARMAN, autograph book in hand, deserts
	his station.  Viktor is left alone with the drunk woman.
<b>	
</b><b>	LOCAL TV NEWS
</b><b>	
</b>	The limousines outside the hotel ballroom have been replaced
	with ambulances.  PARAMEDICS tend to GUESTS, bloodied and
	battered in the stampede caused by Simone's "appearance".
<b>	
</b><b>	                    ENTERTAINMENT REPORTER
</b>	              (into microphone)
	          -- Forget "Eternity Forever", the
	          big news tonight was the surprise
	          appearance of Simone.  Even these
	          seen-it-all superstars are
	          apparently not immune to Simone
	          fever and the resulting stampede
	          forced organizers to bring the
	          event to an early end.  I spoke
	          with some of the departing guests
	          about their encounter with
	          Hollywood's most reluctant
	          superstar.
<b>	
</b>	CUTS of interviews with VARIOUS bruised GUESTS.
<b>	
</b><b>	                    EXECUTIVE 3
</b>	          -- I would say, even more beautiful
	          in person, you have to see her to
	          believe her.
<b>	
</b><b>	                    MALE GUEST 1
</b>	          -- I can't reveal what we spoke
	          about.  It was... personal.  Simone
	          and I go back a long way.
<b>	
</b><b>	                    FEMALE GUEST 1
</b>	          -- When she talks to you, for that
	          moment, you are the only other
	          human being in the room.
<b>	
</b><b>	                    FEMALE GUEST 2
</b>	              (dress torn)
	          -- I really don't know what the
	          fuss is about.  So over-rated. 
	          She's done one film.  Talk to me
	          when she's had the kind of career
	          I've had.
<b>	
</b><b>	                    MALE GUEST 2
</b>	          -- I do expect her to be nominated,
	          yes.
<b>	
</b>	We return to the live shot of the ENTERTAINMENT REPORTER.
<b>	
</b><b>	                    ENTERTAINMENT REPORTER
</b>	          Fortunately, Simone was not amongst
	          the injured and was spirited away
	          as mysteriously as she arrived.
<b>	
</b><b>	EXT.  ECHO OFFICES - DAY
</b><b>	
</b>	Max Sayer's car is parked outside of the Echo Building.
<b>	
</b><b>	INT.  ECHO OFFICES - DAY
</b><b>	
</b>	In the ECHO war room, MAX SAYER is agitated.  He paces back
	and forth, railing at a table of cowering STAFFERS.
<b>	
</b><b>	                    MAX
</b>	          -- She goes to a major, Hollywood,
	          A-list party and we don't get an
	          interview, a comment, we don't even
	          get a photograph?  Is that what
	          you're telling me?
<b>	
</b><b>	                    ECHO PHOTOGRAPHER
</b>	          Nobody got a photograph.  Nobody
	          ever gets a photograph.
<b>	
</b><b>	                    MILTON
</b>	          We've got our best people on it,
	          Mr. Sayer.
<b>	
</b><b>	                    MAX
</b>	          24-hour tail on Taransky?
<b>	
</b><b>	                    MILTON
</b>	          Shutter bugs camped outside any
	          place he goes, every concierge and
	          maitre d' on the take.  But this
	          Simone woman is good.
<b>	
</b><b>	                    MAX
</b>	              (referring to a
	               "Confidential" FBI
	               report)
	          Obviously the name isn't real --
	          she's using an assumed identity,
	          travels under a false name, checks
	          into hotels with an alias.  She
	          never stays in the same place two
	          nights in a row.  Anything on the
	          satellite photos?
	              (irritated)
	          What about the fingerprints?  What
	          happened when we dusted that hotel
	          suite?
<b>	
</b>	MILTON holds up a glass taken from the hotel.
<b>	
</b><b>	                    MILTON
</b>	          Well, we got some of Taransky's
	          fingerprints, a lot of your
	          fingerprints... but none of hers.
<b>	
</b><b>	                    MAX
</b>	              (interest piqued)
	          Which means they're significant.
	              (beat)
	          Incriminating.
	              (beat)
	          Perhaps, criminal.
	              (getting excited)
	          She's hiding her past.  She's
	          hiding her past.
<b>	
</b>	Max ponders the revelation.
<b>	
</b><b>	                    MAX
</b>	          Of course -- no one's that perfect,
	          that pure.  You know I had
	          something on Mother Teresa.  But
	          then she died and it wasn't worth
	          it anymore.
	              (approaching a computer)
	          I know how to flush out this Simone
	          -- a tell-all story from her
	          childhood.
<b>	
</b><b>	                    MILTON
</b>	              (impressed)
	          My God, you've got one?
<b>	
</b><b>	                    MAX
</b>	              (offering Milton a seat in
	               front of the computer)
	          I will when you're finished writing
	          it.
<b>	
</b>	MILTON hesitates, questioning his journalistic ethics.
<b>	
</b><b>	                    MAX
</b>	              (disappointed in his
	               protege)
	          Am I wasting my time with you? 
	          When she sues to protect her
	          privacy, she'll have to appear in a
	          public courtroom to do it.
<b>	
</b><b>	                    MILTON
</b>	              (under his breath)
	          Long live the First Amendment.
<b>	
</b><b>	                    MAX
</b>	          Sometimes you have to tell a small
	          lie to get to the bigger truth.
	              (to his nervous
	               photographer)
	          As for a photo -- if you can't do
	          it, I know twelve million people
	          who can.
<b>	
</b>	CLOSE UP on The Echo magazine -- "CIRCULATION - 12 MILLION".
<b>	
</b><b>	EXT.  STUDIO LOT - DAY
</b><b>	
</b>	"MILLION DOLLAR REWARD FOR PHOTO OF SIMONE!" -- Is the
	headline on the cover of The ECHO.  VIKTOR is reading the
	magazine as he makes his way through the studio lot.
<b>	
</b>	He looks up to see several studio carts parked outside his
	soundstage.  A group of STUDIO EXECUTIVES, led by ELAINE, is
	trying to break into the "CLOSED SET".  VIKTOR runs towards
	the door, throwing himself between the door and the
	executives.
<b>	
</b><b>	                    VIKTOR
</b>	          -- You can't go in there!
<b>	
</b><b>	                    ELAINE
</b>	          -- We have to talk to her, Viktor!
<b>	
</b><b>	                    EXECUTIVE 1
</b>	          -- We know she's in there!
<b>	
</b>	Viktor glares at the SECURITY GUARD who shrugs weakly.
<b>	
</b><b>	                    VIKTOR
</b>	              (struggling to hold them
	               back)
	          -- Why?  What's all this about?
<b>	
</b><b>	                    EXECUTIVE 2
</b>	              (waving a spreadsheet)
	          -- We've got the tracking numbers
	          for "Eternity Forever".
<b>	
</b><b>	                    EXECUTIVE 3
</b>	          -- They're in the toilet.
<b>	
</b><b>	                    ELAINE
</b>	          -- She has to get out there and
	          sell the film.
<b>	
</b><b>	                    VIKTOR
</b>	          -- What do you want her to do, go
	          door-to-door -- ?
<b>	
</b><b>	                    EXECUTIVE 1
</b>	          -- Even Garbo would be on the talk
	          show circuit if she was alive
	          today.
<b>	
</b><b>	                    VIKTOR
</b>	              (irritated)
	          -- It's precisely because she
	          doesn't crave the limelight that
	          people love her.  I told you, she's
	          only about the work.
<b>	
</b><b>	                    EXECUTIVE 3
</b>	          -- This is over-shadowing the work!
<b>	
</b><b>	                    EXECUTIVE 2
</b>	              (waving the front page of
	               The Echo)
	          That's the problem.  She's more
	          famous for her no-shows than her
	          shows.
<b>	
</b><b>	                    ELAINE
</b>	          -- It's starting to look like she
	          doesn't support the film or you,
	          Viktor.
	              (trying to squeeze past
	               Viktor)
	          If you can't handle her, I will.
<b>	
</b><b>	                    VIKTOR
</b>	              (blocking her path)
	          Not now.  She's emotional.  Her
	          mother dies today.  Scene forty-two
	          of "Good For Nothing".  It's not a
	          good time.
<b>	
</b>	Elaine and the executives are not convinced, they overpower
	Viktor.
<b>	
</b><b>	                    VIKTOR
</b>	          No!  Please, don't go in there!
<b>	
</b>	Too late.  Elaine and the suits force the lock and enter.
<b>	
</b><b>	INT.  VIKTOR'S SOUNDSTAGE - DAY
</b><b>	
</b>	ELAINE and the EXECUTIVES stop in their tracks -- confronted
	with the surreal sight of the lone computer station in the
	vast soundstage.  A desperate VIKTOR catches up with them.
<b>	
</b><b>	                    EXECUTIVE 1
</b>	          Where is she?
<b>	
</b><b>	                    EXECUTIVE 2
</b>	          She's not here.
<b>	
</b><b>	                    VIKTOR
</b>	          Elaine... I...
<b>	
</b>	Elaine wanders over to the idle computer with a knowing
	smile.
<b>	
</b><b>	                    ELAINE
</b>	          So, the secret's finally out,
	          Viktor.
<b>	
</b><b>	                    VIKTOR
</b>	          -- I can explain.
<b>	
</b><b>	                    ELAINE
</b>	          -- I don't think that's necessary. 
	          I think it's perfectly clear.  I
	          should have guessed -- it all makes
	          sense now... it's why she never
	          goes anywhere, never seen in
	          public...
<b>	
</b>	Viktor lowers his head, resigned to his fate.
<b>	
</b><b>	                    ELAINE
</b>	          She's into computers.
<b>	
</b>	Viktor looks up.
<b>	
</b><b>	                    EXECUTIVE 1
</b>	              (nodding in agreement)
	          Probably spends her whole life in
	          chat rooms.
<b>	
</b><b>	                    EXECUTIVE 2
</b>	          It's the one place she can be
	          herself.
<b>	
</b><b>	                    EXECUTIVE 3
</b>	          Anonymous.
<b>	
</b>	Viktor seizes on the opportunity.
<b>	
</b><b>	                    VIKTOR
</b>	              (adopting a serious tone)
	          It's worse than you think.  She's
	          extremely agoraphobic -- has a
	          morbid fear of people and germs. 
	          In a way I'm relieved you... found
	          out.
<b>	
</b>	The Executives are taken aback by the shocking revelation.
<b>	
</b><b>	                    VIKTOR
</b>	          The premiere was the first time
	          I've convinced her to venture out
	          and it just confirmed her worst
	          nightmares.
<b>	
</b><b>	                    ELAINE
</b>	              (concerned)
	          Viktor, you should have said
	          something.
<b>	
</b><b>	                    VIKTOR
</b>	          She doesn't want pity.
<b>	
</b><b>	                    ELAINE
</b>	              (seeing a new side of
	               Viktor)
	          You're so good to protect her like
	          this.
<b>	
</b>	Viktor shrugs modestly.
<b>	
</b><b>	                    VIKTOR
</b>	              (to the Executives,
	               conceding)
	          I'll tell you what.  I know how
	          much this means to you.  I'll try
	          to get her to plug the film.
	              (beat)
	          I'm not promising anything but
	          maybe she'll do a talk show --
	          taped.
<b>	
</b><b>	                    ELAINE
</b>	          Oh, make it live -- please, Viktor.
<b>	
</b><b>	                    VIKTOR
</b>	          I'll try.  Maybe live but remote. 
	          She'll never go to them.
<b>	
</b><b>	                    EXECUTIVE 1
</b>	          We understand.  Thank you, Viktor.
<b>	
</b><b>	                    EXECUTIVE 2
</b>	          Give her our best.
<b>	
</b>	Satisfied, the Executives make their way out of the
	soundstage.
<b>	
</b><b>	                    EXECUTIVE 1
</b>	              (aside to a colleague)
	          That agoraphobia -- it's like a
	          plague.
<b>	
</b><b>	                    EXECUTIVE 2
</b>	          It's out of control in Europe.
<b>	
</b>	Viktor and Elaine are left alone.
<b>	
</b><b>	                    VIKTOR
</b>	          I'm sorry I didn't get a chance to
	          introduce you to Simone at the
	          premiere.  There wasn't time with
	          the riot and everything.
	              (picking up a framed photo
	               from the work station)
	          But she wanted you to have this.
<b>	
</b>	The photograph shows ELAINE, slightly inebriated at the
	premiere, SIMONE standing slightly behind her.
<b>	
</b><b>	                    ELAINE
</b>	          She was there.  She didn't by any
	          chance happen to mention me?
<b>	
</b><b>	                    VIKTOR
</b>	          She said you were very beautiful.
<b>	
</b><b>	                    ELAINE
</b>	              (flattered)
	          Really?
<b>	
</b><b>	                    VIKTOR
</b>	              (blurting out)
	          Elaine, what are you doing tonight? 
	          Would you like to go somewhere --
	          dinner?
<b>	
</b><b>	                    ELAINE
</b>	          I'd love to.  But aren't you
	          supposed to meet up with Simone?
<b>	
</b><b>	                    VIKTOR
</b>	          Oh, yes.  Of course.  Don't I
	          always?
<b>	
</b>	Viktor watches Elaine make her way back to her studio cart.
<b>	
</b>	Viktor realizes he is still holding a copy of the National
	ECHO -- the headline, "MILLION DOLLAR REWARD FOR PHOTO OF
	SIMONE"!  Accompanied by a photo of intrepid reporter MAX
<b>	SAYER.
</b><b>	
</b><b>	INT.  SUPERMARKET - NIGHT
</b><b>	
</b>	An unattended shopping cart, at the end of the frozen foods
	aisle, begins to mysteriously roll towards us.
<b>	
</b>	We discover VIKTOR, pulling the cart with fishing line, while
	at the same time shooting it with a video camera.
<b>	
</b><b>	INT.  SUPERMARKET - NIGHT
</b><b>	
</b>	Viktor's home video of the shopping cart plays on a TV. 
	However, now SIMONE is pushing the cart.  She wears
	sunglasses, her hair in curlers under a scarf.  Simone takes
	a Swanson Chicken Pot Pie out of a cabinet... then a box of
	cereal off a display.
<b>	
</b><b>	INT.  ECHO OFFICES - DAY
</b><b>	
</b>	MAX SAYER watches the video in his office, enraptured.  He
	rewinds the tape and replays the moment.
<b>	
</b><b>	                    MAX
</b>	          She likes Apple Jacks... just like
	          me...
<b>	
</b>	Assistant MILTON enters.  He looks ill.
<b>	
</b><b>	                    MILTON
</b>	          Mr. Sayer...
<b>	
</b><b>	                    MAX
</b>	              (irritated at being
	               interrupted)
	          What do you want -- ?
<b>	
</b><b>	                    MILTON
</b>	          Mr. Sayer, did we pay the million
	          bucks yet?
<b>	
</b><b>	                    MAX
</b>	              (never averting his eyes
	               from the screen)
	          -- Cashier's check went out to our
	          anonymous tipster this morning --
	          worth every penny too.  Who says
	          there's no place for checkbook
	          journalism?  We'll be running
	          stills of this for months, then
	          release the whole tape -- we'll get
	          our money back -- maybe show it on
	          an exclusive pay-per-view event. 
	          Do you realize what we have here? 
	          We have the only independent
	          footage of Simone in existence.
<b>	
</b><b>	                    MILTON
</b>	          We used to.
<b>	
</b>	Max's head snaps around.
<b>	
</b><b>	                    MILTON
</b>	              (holding a copy of the
	               L.A. Times Calendar
	               section - "Simone Live")
	          She's doing Frank Brand on
	          Thursday.
<b>	
</b>	Max coughs.
<b>	
</b><b>	                    MAX
</b>	          Get out.
<b>	
</b><b>	A TV
</b><b>	
</b>	The opening credits to "FRANK BRAND LIVE", a global cable
	show plays against a starscape -- images of famous
	politicians and world leaders interviewed by Frank.
<b>	
</b><b>	                    FRANK BRAND
</b>	              (to camera)
	          Tonight on Frank Brand Live --
<b>	
</b><b>	INT.  ELAINE'S MANSION - DAY
</b><b>	
</b>	ELAINE, KENT and LAINEY watch the TV interview in Elaine's
	mansion with eager anticipation.
<b>	
</b><b>	                    FRANK BRAND
</b>	          -- Since taking the nation by storm
	          with her debut movie, "Sunrise,
	          Sunset"...
<b>	
</b><b>	INT.  MAX SAYER'S OFFICE - THE ECHO - DAY
</b><b>	
</b>	MAX SAYER and assistant MILTON are also glued to their set.
<b>	
</b><b>	                    FRANK BRAND
</b>	          ... no one's managed to land a live
	          TV interview with the fabulous, new
	          shooting starlet, Simone... until
	          now.
<b>	
</b><b>	INT.  VIKTOR'S SOUNDSTAGE - DAY
</b><b>	
</b>	Casually tacked up on the monitor is the MILLION DOLLAR CHECK
	from The ECHO.
<b>	
</b>	VIKTOR, face and body scanned by the computer, is making a
	final test of his equipment.  When he touches his hair, bats
	his eyes, moves his hands -- so does Simone.
<b>	
</b>	VIKTOR frantically tests several different backgrounds behind
	SIMONE from a library of images.  Rainforest.  Desert.  Ritzy
	hotel suite.  Moonscape.  Factory.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          Make up your mind, Viktor.  Make up
	          your mind.
<b>	
</b>	He settles on the desert location.
<b>	
</b>	He also make a last-second change to Simone's wardrobe --
	selecting "TOO-TIGHT SWEATER".
<b>	
</b><b>	INT.  FRANK BRAND TV STUDIO - NIGHT
</b><b>	
</b>	FRANK BRAND talks to camera.
<b>	
</b><b>	                    FRANK BRAND
</b>	          I'm happy to say she's agreed to
	          join us tonight from the set of her
	          new film.
	              (turning to the TV
	               monitor)
	          Welcome, Simone.
<b>	
</b>	The just-completed image of SIMONE appears on Brand's
	monitor.
<b>	
</b><b>	                    SIMONE
</b>	          Wonderful to be with you, Frank.
<b>	
</b><b>	INT.  ELAINE'S MANSION - DAY
</b><b>	
</b>	KENT, referring to Simone, forgetting or not caring that
	Elaine is in the room.
<b>	
</b><b>	                    KENT
</b>	          She is all woman.
<b>	
</b>	LAINEY shoots her mother's boyfriend a withering look.  She
	gets up and leaves the room.
<b>	
</b>	During the interview we cut between Frank Brand's studio,
	Viktor's soundstage and various viewer locations including
	Elaine's mansion, Max Sayer's office and various worldwide
	locations --
<b>	
</b>	A)  A lone AFGHANI SHEPHERD gazing at a Watchman.
<b>	
</b>	B)  A JAPANESE COUPLE watching TV in a capsule hotel room.
<b>	
</b>	C)  A CATHOLIC CARDINAL watching TV in the Vatican.
<b>	
</b><b>	INT.  FRANK BRAND TV STUDIO - NIGHT
</b><b>	
</b><b>	                    FRANK BRAND
</b>	          Well, no one could accuse you of
	          being over-exposed, Simone.  Why
	          have you stayed so completely out
	          of the limelight?
<b>	
</b><b>	                    SIMONE
</b>	              (shrugs)
	          I just think actors talk too much. 
	          Does the world really want to hear
	          your life story just because you've
	          got a movie opening Friday?
<b>	
</b><b>	                    FRANK BRAND
</b>	          Of course, the only problem with
	          shying away from publicity these
	          days is that it tends to attract
	          more.
<b>	
</b>	VIKTOR is in his element, his effeminate gestures
	frighteningly convincing.
<b>	
</b><b>	                    SIMONE
</b>	              (from TV)
	          Don't I know it.  That's the only
	          reason I'm here now -- to put the
	          attention back where it belongs, on
	          Mr. Taransky's film.
<b>	
</b><b>	                    FRANK BRAND
</b>	          You don't secretly want the
	          attention?
<b>	
</b><b>	                    SIMONE
</b>	          I'm not even sure I deserve it. 
	          After tonight I'll have almost as
	          much screen time on your show as I
	          do in my movies.  How is that
	          healthy for a performer?
<b>	
</b><b>	IE.  ELAINE'S MANSION - DAY
</b><b>	
</b>	LAINEY has turned her back on the TV screen, preferring to
	look through a book.
<b>	
</b><b>	                    SIMONE
</b>	              (from TV)
	          Because, you have to understand,
	          Frank, these interviews -- none of
	          this is real.  Who I am on screen
	          and who I really am are two totally
	          different people.
<b>	
</b><b>	                    FRANK BRAND
</b>	          Who are you really?
<b>	
</b><b>	                    SIMONE
</b>	          That's a good question.
	              (beat)
	          As Nietzsche said, "Whenever a man
	          strives long and hard to appear
	          someone else..."
<b>	
</b><b>	                    LAINEY
</b>	              (reading from a bookmarked
	               page, along with Simone)
	          "... he ends up finding it is
	          difficult to be himself again."
<b>	
</b><b>	                    FRANK BRAND
</b>	          Well put.
<b>	
</b>	Lainey regards the name written on the inside page -- "Viktor
	Taransky".
<b>	
</b><b>	INT.  MAX SAYER'S OFFICE - THE ECHO - DAY
</b><b>	
</b>	TV playing in the background, MAX and MILTON are hurriedly
	leafing through travel books and scrutinizing maps.
<b>	
</b><b>	                    MAX
</b>	              (focusing on the desert
	               background behind Simone)
	          I know where that is... I know...
<b>	
</b><b>	INT.  FRANK BRAND TV STUDIO - NIGHT
</b><b>	
</b><b>	                    FRANK BRAND
</b>	          Change of topic.  Simone, you've
	          been romantically linked to dozens
	          of men in the press -- Mick Jagger,
	          Stephen Hawking, Fidel Castro...
	          and most recently Viktor Taransky. 
	          Is there a Mr. Right in there
	          somewhere?
<b>	
</b><b>	                    SIMONE
</b>	          I'd rather not discuss my private
	          life.
	              (gently)
	          But Viktor and I are inseparable.
<b>	
</b><b>	INT.  ELAINE'S MANSION - DAY
</b><b>	
</b>	ELAINE's face drops, slightly hurt.
<b>	
</b><b>	                    KENT
</b>	          You dog, Viktor!
<b>	
</b><b>	                    SIMONE
</b>	              (from TV)
	          I literally wouldn't be here today
	          without him.
<b>	
</b><b>	INT.  VIKTOR'S SOUNDSTAGE - DAY
</b><b>	
</b>	VIKTOR accidentally taps his finger on the keyboard in his
	excitement -- the cursor aimed at "TEARS" command.  SIMONE'S
	EYES start to well with tears -- a tear spills from her eye.
<b>	
</b><b>	                    FRANK BRAND
</b>	          Would you like a moment, Simone?
<b>	
</b>	Viktor notices, quickly withdrawing his finger -- his
	startled expression instantly imitated by Simone.
<b>	
</b><b>	                    SIMONE
</b>	          No, I'm okay.
<b>	
</b><b>	INT.  FRANK BRAND TV STUDIO - NIGHT
</b><b>	
</b><b>	                    FRANK BRAND
</b>	          Let's talk about the work that you
	          care so much about.
<b>	
</b><b>	                    SIMONE
</b>	          Sure.  Where would you like to
	          start?
<b>	
</b><b>	                    FRANK BRAND
</b>	          How about the nudity?
<b>	
</b><b>	                    SIMONE
</b>	          Nudity has just never been an issue
	          for me, Frank.  For me, clothes are
	          just an option.
<b>	
</b><b>	                    FRANK BRAND
</b>	          What exactly was it that attracted
	          you to your first two projects?
<b>	
</b><b>	                    SIMONE
</b>	              (unable to resist a smile)
	          I suppose the thing I like most
	          about the movies I'm in is that
	          they're not about special effects.
<b>	
</b>	Frank nods sagely.
<b>	
</b><b>	                    FRANK BRAND
</b>	          They're better for it if I may say.
<b>	
</b><b>	INT.  VIKTOR'S SOUNDSTAGE - DAY
</b><b>	
</b>	The smile is suddenly wiped off VIKTOR's face by a blinking
	alert:
<b>	
</b><b>	        !!INSUFFICIENT MEMORY TO COMPLETE THIS TASK!!
</b><b>	
</b>	The pixels that form SIMONE start to break up.  Curiously, it
	is only Simone and not the background that is disintegrating.
<b>	
</b><b>	INT.  FRANK BRAND TV STUDIO - NIGHT
</b><b>	
</b><b>	                    FRANK BRAND
</b>	              (regarding the screen)
	          Well, we appear to be experiencing
	          satellite difficulties.  In case we
	          lose you, Simone, I want to thank
	          you --
<b>	
</b><b>	INT.  VIKTOR'S SOUNDSTAGE - DAY
</b><b>	
</b>	VIKTOR speaks again, his voice suddenly deeper.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          Thank... YOU, FRANK.
<b>	
</b>	In horror Viktor hurriedly pulls the plug.  The feed goes
	blank on Frank Brand's screen.
<b>	
</b>	VIKTOR slumps over his computer in exhaustion.  Since SIMONE
	is still synced to his movements, the partially de-pixelated
	Simone also slumps.
<b>	
</b>	Viktor's cell phone rings.  Viktor picks up.
<b>	
</b><b>	                    VIKTOR / SIMONE
</b>	          Hel--
<b>	
</b>	He remembers at the last second to switch off his voice
	synthesizer.
<b>	
</b><b>	                    VIKTOR
</b>	              (into phone)
	          Hello.
<b>	
</b><b>	INT.  ELAINE'S MANSION - DAY
</b><b>	
</b>	We cut between the two sides of the conversation -- ELAINE on
	the phone, KENT still watching post-interview analysis on the
<b>	TV.
</b><b>	
</b><b>	                    ELAINE
</b>	          -- Viktor, are you with her?  Is
	          she there?
<b>	
</b><b>	                    VIKTOR
</b>	          No.
<b>	
</b>	An anxious beat.
<b>	
</b><b>	                    ELAINE
</b>	          Are you and Simone...
	              (blurting it out)
	          ... getting married?
<b>	
</b><b>	                    VIKTOR
</b>	              (taken aback by the
	               suggestion)
	          No, of course not!
	              (realizing the
	               significance of the
	               question)
	          Why?  Would you care if we were?
<b>	
</b><b>	                    ELAINE
</b>	              (covering, realizing she
	               has given herself away)
	          Well, yes.  From a studio point of
	          view, it would be better if Simone
	          stayed single.
	              (quick change of topic)
	          Anyhow, I thought she came across
	          great tonight.  Intelligent, well
	          informed, a natural.  And touching. 
	          She was spectacular.
<b>	
</b><b>	                    VIKTOR
</b>	          Thank you.
<b>	
</b>	A pause.
<b>	
</b><b>	                    ELAINE
</b>	          Viktor, do you realize you always
	          do that?
<b>	
</b><b>	                    VIKTOR
</b>	          Do what?
<b>	
</b><b>	                    ELAINE
</b>	          Whenever I compliment Simone, you
	          take the credit.
<b>	
</b><b>	                    VIKTOR
</b>	          I do?
<b>	
</b><b>	                    ELAINE
</b>	          Yes, you do...
	              (shrug)
	          Anyway, tonight was a good start.
<b>	
</b><b>	                    VIKTOR
</b>	          Excuse me?  Start?
<b>	
</b><b>	                    ELAINE
</b>	          It's a crowded summer.  We need
	          every photo-opp, sound-byte and
	          column inch we can get.  Good
	          night, Viktor.
<b>	
</b>	Elaine hangs up.  Lainey approaches.
<b>	
</b><b>	                    LAINEY
</b>	              (carefully broaching the
	               subject)
	          Mom, do you miss Dad?
<b>	
</b><b>	                    ELAINE
</b>	              (she thinks)
	          Sometimes.  But, just when I think
	          your father's changing for the
	          better, I realize he's as self
	          absorbed as ever.  He took the
	          credit for Simone tonight.
<b>	
</b>	Lainey, coming to her father's defense, glancing at the
	Nietzsche book in her hand.
<b>	
</b><b>	                    LAINEY
</b>	          I think Dad deserves more credit
	          than he gets.
<b>	
</b><b>	INT.  VIKTOR'S SOUNDSTAGE - LATER THAT NIGHT
</b><b>	
</b>	VIKTOR watches SIMONE on screen.  He is unusually anxious.
<b>	
</b>	As usual SIMONE is wearing a skimpy, provocative outfit as
	she awaits instructions on the screen.  For some reason
	Viktor becomes irritated by the image.
<b>	
</b><b>	                    VIKTOR
</b>	              (to Simone)
	          Will you cover yourself up!?
<b>	
</b>	He hits a button.  A thick WOOL COAT clicks over her body.
<b>	
</b><b>	EXT.  NEW MEXICO DESERT - MORNING
</b><b>	
</b>	The ECHO newscar streaks through the bronze and purple
	desert.  MAX and his assistant MILTON emerge from the car.
<b>	
</b><b>	                    MAX
</b>	          -- I've been here before! -- On my
	          honeymoon with my ex-wife.
<b>	
</b><b>	                    MILTON
</b>	          Is that why she left you?
<b>	
</b>	Max holds a video print of SIMONE giving her FRANK BRAND
	interview.  He compares her desert location to the one in
	front of him.
<b>	
</b><b>	                    MAX
</b>	              (pointing out a Joshua
	               tree)
	          You see, that's the exact same tree
	          and in the distance, there's the...
	              (voice trailing away)
	          ... mountain.
<b>	
</b>	Sure enough, the Joshua tree is identical but the mountain is
	now obscured by a ten-story Holiday Inn.
<b>	
</b>	Max and Milton are mystified -- they look back at the photo.
<b>	
</b><b>	                    MILTON
</b>	          It's a hotel.
<b>	
</b><b>	                    MAX
</b>	          I don't understand.
<b>	
</b><b>	                    MILTON
</b>	          Could they have built that hotel
	          since yesterday?
<b>	
</b>	Max shakes his head, deeply concerned.
<b>	
</b><b>	                    MAX
</b>	          Get in the car.
<b>	
</b><b>	INT.  VIKTOR'S SOUNDSTAGE - NIGHT
</b><b>	
</b>	VIKTOR has transformed his soundstage into a one-man
	publicity machine.  The floor is littered with photographs of
	SIMONE in various states of dress and undress.
<b>	
</b>	Using a sophisticated Photoshop computer program, VIKTOR
	constructs magazine spreads out of numerous previous magazine
	spreads -- "Time", "People", "Us", "Life", "Popular
	Mechanics".
<b>	
</b><b>	                    VIKTOR
</b>	              (angrily into phone)
	          -- We don't do the photo shoot, you
	          don't get the cover... written
	          answers to written questions,
	          that's right... website interviews,
	          no problem.
<b>	
</b>	Viktor calls up a "DANCE OPTION".  Choosing from a HULA
	DANCER, a BELLY DANCER and a CLASSICAL BALLERINA, he removes
	Simone's head and places it on the body of the ballerina. 
	She begins to dance for him.
<b>	
</b>	He uses a program to construct childhood photographs of
	SIMONE and other childhood memorabilia.
<b>	
</b>	He employs backgrounds from numerous on-line library sources.
	With a quick cut and paste he is able to place Simone on a
	beach in San Tropez or a bicycle factory in Calcutta.
<b>	
</b><b>	                    VIKTOR
</b>	              (muttering to himself)
	          You want exposure, Elaine?  I'll
	          give you over-exposure...
<b>	
</b><b>	INT.  ELAINE'S OFFICE - STUDIO - DAY
</b><b>	
</b>	ELAINE watches TV in her office.  She cannot change channels
	without finding Simone sitting in a chair giving generic
	answers.
<b>	
</b><b>	INT.  SIMONE INTERVIEW SET - DAY (ON ELAINE'S TV)
</b><b>	
</b><b>	                    SIMONE
</b>	          I think "Eternity Forever" is my
	          finest work.
<b>	
</b><b>	                    SIMONE
</b>	          I'm most proud of my work in
	          "Eternity Forever".
<b>	
</b><b>	                    SIMONE
</b>	          I think people are going to love
	          "Eternity Forever".
<b>	
</b><b>	INT.  VIKTOR'S SOUNDSTAGE - NIGHT
</b><b>	
</b>	VIKTOR inspects a cut-out photograph of Simone in "ETERNITY
	FOREVER" costume.  He speaks to the photo.
<b>	
</b><b>	                    VIKTOR
</b>	          Forgive me, Simone.
<b>	
</b><b>	EXT.  FASTFOOD RESTAURANT - DAY
</b><b>	
</b>	The photograph of Simone is emblazoned on a fast food drink
	cup -- a pyramid of cups promoting "ETERNITY FOREVER" Happy
	Meals.  Beneath the plastic pyramid is a SIMONE action figure
	in a convertible.
<b>	
</b><b>	INT.  VIKTOR'S MALIBU BEACH HOUSE - DAY
</b><b>	
</b><b>	         "ETERNITY FOREVER" HAS BIG FUTURE AT B.O.!
</b><b>	
</b>	Screams the banner headline in "Variety".
<b>	
</b><b>	            $$$IMONE - WINS 6TH WEEKEND IN A ROW
</b><b>	
</b>	Shouts the "Hollywood Reporter".
<b>	
</b>	The trade papers sit on the coffee table in front of VIKTOR
	who reclines on a leather sofa, watching TV, gazing lovingly
	at Simone.
<b>	
</b><b>	INT.  SIMONE INTERVIEW SET - DAY (ON VIKTOR'S TV)
</b><b>	
</b><b>	                    SIMONE
</b>	          Of course, being a movie star is
	          wonderful, but I have so many other
	          ways I want to express myself --
<b>	
</b><b>	INT.  BOOKSTORE - DAY
</b><b>	
</b>	Various book titles are on display:
<b>	
</b><b>	            "SIMONE'S FAVORITE SOUTHERN RECIPES"
</b><b>	
</b>	            "HUMAN:KIND - The POETRY of SIMONE"
<b>	
</b><b>	                 "SIMONE'S 101 WAYS TO JOY"
</b><b>	
</b><b>	EXT.  DEPARTMENT STORE - DAY
</b><b>	
</b>	A banner in a window reads.  "In Stock: SIMONE'S EASY-WEAR
	FASHION".  Mannequins model the clothes.
<b>	
</b><b>	INT.  VIKTOR'S SOUNDSTAGE - DAY
</b><b>	
</b>	We focus on the screen where VIKTOR types in instructions:
<b>	
</b><b>	  SEARCH: "NUMBER 1 HITS - FEMALE ARTISTS/BILLBOARD CHARTS"
</b><b>	
</b><b>	  PERIOD: "LAST 40 YEARS"
</b><b>	
</b>	A list of the Number 1 hits for the last forty years promptly
	appears on the screen along with photographs of the
	artists --
<b>	
</b><b>	PATSY CLINE, ELLA FITZGERALD, ARETHA FRANKLIN, JANICE JOPLIN,
</b>	CAROL KING, WHITNEY HOUSTON, MADONNA, etc.  Beneath the title
	of each song is a graphic representation of the music --
	"PITCH" and "RESONANCE".
<b>	
</b>	Viktor presses a button: "MORPH".  The audio waves converge.
<b>	
</b><b>	INT.  VIKTOR'S SOUNDSTAGE - DAY
</b><b>	
</b>	VIKTOR, wearing headphones, records his composite pop song. 
	As usual when he sings into his microphone, Simone also
	sings.  The catchy song is titled: "(If You Can't Believe In
	Yourself) Believe In Me".
<b>	
</b><b>	SIMONE APPEARS IN A MUSIC VIDEO.
</b><b>	
</b><b>	INT.  RECORD STORE - DAY
</b><b>	
</b>	The video for SIMONE's song plays on the video wall inside
	the record store.  TEENAGE GIRLS, buying CD's, dance
	adoringly in front of the screen, unaware that they are
	gyrating to the vocals of a middle-aged man.
<b>	
</b>	INSERT - "(If You Can't Believe In Yourself) Believe In Me"
	shoots up the Billboard charts.
<b>	
</b><b>	EXT.  OCEAN - DAY
</b><b>	
</b>	CLOSE UP on the name "SIMONE" painted on the stern of a
	luxury yacht.
<b>	
</b>	VIKTOR is at the helm, breathing in the clean air -- at last
	a moment to savor his success.  Simone's hit single plays on
	the yacht's stereo.  He looks at peace.
<b>	
</b><b>	EXT.  MARINA - DAY
</b><b>	
</b>	A TOURIST has his arm around SIMONE, having his photograph
	taken.  However, we discover that the Simone is only a
	lifesize cardboard cutout used by a STREET VENDOR to sell
	snapshots.  He also has cardboard cutouts of the POPE and
<b>	ELVIS.
</b><b>	
</b>	MAX SAYER and MILTON walk by.
<b>	
</b>	Tying up his boat, VIKTOR's mood is abruptly shattered by the
	sight of Max and Milton walking down the pier towards him.
<b>	
</b><b>	                    MAX
</b>	          Nice boat, Taransky.
<b>	
</b><b>	                    VIKTOR
</b>	          It's a yacht.
<b>	
</b><b>	                    MAX
</b>	          I know what you're up to.
<b>	
</b><b>	                    VIKTOR
</b>	              (pushing past Max)
	          I don't have time for this, Sayer.
<b>	
</b><b>	                    MAX
</b>	          I think you do.
	              (holding up his video
	               print of Simone in the
	               desert)
	          I know it's a fake.
<b>	
</b>	Viktor freezes.
<b>	
</b><b>	                    MAX
</b>	          Got your attention now?
<b>	
</b>	Max compares the shot to one of the current desert location
	with the Holiday Inn in front of the mountain.
<b>	
</b><b>	                    MAX
</b>	              (referring to the
	               photographs)
	          It's bogus.  You used an old
	          library shot for the background.
<b>	
</b><b>	                    VIKTOR
</b>	              (ashen)
	          The background is.
<b>	
</b><b>	                    MAX
</b>	          She was never in New Mexico.  She
	          never left the studio.
<b>	
</b>	Viktor is relieved that Max is only accusing him of faking
	the background.
<b>	
</b><b>	                    MAX
</b>	              (referring to a large
	               bundle of other shots
	               under his arm)
	          I've done my homework.  I've
	          studied her.
<b>	
</b><b>	                    VIKTOR
</b>	          -- I bet you have.
<b>	
</b><b>	                    MAX
</b>	          -- I've looked at every piece of
	          publicity she's ever done, the
	          video in the supermarket, there's
	          no evidence she's ever left the
	          studio.
	              (afterthought)
	          Oh, and for some reason this woman
	          leaves no paper trail.  But I have
	          "obtained" a copy of your bank
	          accounts.  I know you have power of
	          attorney but so far you haven't
	          transferred one single solitary
	          cent to her.
<b>	
</b><b>	                    VIKTOR
</b>	          I'm keeping it in trust.
<b>	
</b><b>	                    MAX
</b>	          I know that's what you'd like us to
	          believe.  But I got to tell you --
	          embezzlement is a serious matter. 
	          Not to mention abduction.
<b>	
</b><b>	                    VIKTOR
</b>	          Abduction?
<b>	
</b><b>	                    MAX
</b>	          I don't buy the whole recluse scam. 
	          How are you doing it?  What is it --
	          drugs?  Blackmail?  Mind-control? 
	          All three?  What do you do -- keep
	          her locked in a box somewhere?
<b>	
</b>	Viktor flinches at the remark.
<b>	
</b><b>	                    VIKTOR
</b>	          What is it exactly you want, Sayer?
<b>	
</b><b>	                    MAX
</b>	          I want to see her.  Unless you show
	          me Simone live and in person I show
	          these pictures to the authorities.
<b>	
</b>	Viktor pauses, considering the threat.
<b>	
</b><b>	                    VIKTOR
</b>	          Alright, Sayer, you've got a deal.
<b>	
</b><b>	                    MAX
</b>	          Er,... good.
<b>	
</b><b>	                    MILTON
</b>	          That's good.
<b>	
</b>	Viktor walks away leaving Max confused.
<b>	
</b>	The breeze whips the photos of SIMONE out of Max's hands and
	into the sea.
<b>	
</b><b>	INT.  CONCERT STADIUM - DUSK
</b><b>	
</b>	A vast, empty stadium.  On the stage, a lone microphone. 
	VIKTOR approaches, gazing out at the vast arena.  Several
	PROMOTERS and TECHNICIANS join him.
<b>	
</b><b>	                    PROMOTER
</b>	          All ready, Mr. Taransky.  This time
	          tomorrow night, she'll be standing
	          right here in front of a packed
	          house.  We could have sold it out
	          twenty times.
<b>	
</b>	Viktor nods.
<b>	
</b><b>	                    TECHNICIAN
</b>	          Soundcheck went perfect.  Laser
	          show ready to go.
	              (cautionary note)
	          I gotta say, you ordered an awful
	          lot of smoke.
<b>	
</b><b>	                    VIKTOR
</b>	          That's the way she likes it.
<b>	
</b>	The Promoter glancing to the area in front of the stage,
	where a barrier has been erected.
<b>	
</b><b>	                    PROMOTER
</b>	          After what you told us about the
	          death threats, the security guards
	          are under strict instructions never
	          to take their eyes off the crowd.
<b>	
</b><b>	                    VIKTOR
</b>	          Excellent.
<b>	
</b>	Viktor hands each man a headshot of SIMONE signed with a
	kiss.
<b>	
</b><b>	                    VIKTOR
</b>	          Simone wanted you to have these.
<b>	
</b><b>	                    TECHNICIAN
</b>	              (visibly moved by the
	               gesture)
	          Wish her luck from us.
<b>	
</b><b>	                    VIKTOR
</b>	          Oh, I will.
	              (afterthought)
	          Remember, no cameras, no
	          binoculars.
<b>	
</b><b>	EXT.  STADIUM - NIGHT
</b><b>	
</b>	In the shadow of the enormous stadium sits a control
	truck/tour bus, satellite dishes on the roof -- the lights
	from the laser-show inside the arena play off the truck.  The
	control truck shakes from the stomping of the crowd.
<b>	
</b><b>	                    CROWD
</b><b>	          ... SI-MONE!  SI-MONE!  SI-MONE!...
</b><b>	
</b>	The door to the truck is marked, "SIMONE - Splendid Isolation
	Tour.  NO ENTRY".
<b>	
</b><b>	INT.  CONTROL TRUCK - BACKSTAGE - NIGHT
</b><b>	
</b>	VIKTOR sits alone at the mixing panel of a control truck.  On
	his monitors, a sea of humanity, chanting.
<b>	
</b><b>	                    CROWD
</b><b>	          ... SI-MONE!  SI-MONE!  SI-MONE!...
</b><b>	
</b>	Viktor produces the "SIMULATION ONE" hard-drive from his
	jacket pocket and inserts it into the computer.
<b>	
</b>	SIMONE appears on the monitor.
<b>	
</b><b>	                    VIKTOR
</b>	          Let's get you into hair and make
	          up.
<b>	
</b>	Simone's hair rapidly grows in a number of styles, eyelashes
	grow and are trimmed, eyeshadow of various shades paints
	across the lids.
<b>	
</b><b>	                    VIKTOR
</b>	          Wardrobe.
<b>	
</b>	Viktor tries several outfits on Simone -- the clothes
	appearing to fabricate themselves on her body.  He settles
	for the most provocative outfit.
<b>	
</b>	Finger poised over the keyboard, Viktor glances to a monitor
	showing --
<b>	
</b><b>	INT.  STADIUM - CROWD - NIGHT
</b><b>	
</b>	ELAINE and LAINEY amongst the crowd, clapping their hands,
	stomping their feet and chanting.
<b>	
</b><b>	INT.  CONTROL TRUCK - BACKSTAGE - NIGHT
</b><b>	
</b><b>	                    VIKTOR
</b>	          Easier to make one hundred thousand
	          believe than just one.
<b>	
</b>	He scrolls to a program, marked "HOLOGRAM" and pushes the
	"ENTER" key.
<b>	
</b><b>	INT.  STADIUM - CONCERT STAGE - NIGHT
</b><b>	
</b>	Smoke fills the stage.  A strobe light show plays.  A booming
	ANNOUNCER is heard.
<b>	
</b><b>	                    ANNOUNCER
</b>	          Ladies and gentlemen, Viktor
	          Taransky Promotions is proud to
	          present, live on stage, for the
	          debut concert of the "Splendid
	          Isolation" tour, the one, the only,
<b>	          SI-MONE!
</b><b>	
</b>	A spotlight falls on the solitary figure of Simone, standing
	alone on the stage with a guitar over her shoulder (the only
	accompaniment) -- dwarfed by the huge stage.  However, on
	closer inspection, the spotlight is actually a laser beam
	creating a hologram.  Clouds of smoke and strobe lighting aid
	the illusion.
<b>	
</b>	The only clear view of Simone for the audience is provided by
	the enormous video screens on either side of the stage.  The
	CROWD stares up at the jumbotrons, blissfully unaware that
	they are watching a pre-recorded event.  Some watch the event
	on portable TVs.
<b>	
</b><b>	INT.  CONTROL TRUCK - BACKSTAGE - NIGHT
</b><b>	
</b>	CLOSE UP on the computer screen.  VIKTOR scrolls down a list
	of options -- "... HOUSTON, MIAMI, NEW YORK, L.A...."
<b>	
</b><b>	                    SIMONE
</b>	              (from on stage)
	          I love you...
<b>	
</b>	He selects "L.A.".
<b>	
</b><b>	                    SIMONE
</b><b>	          ... L.A.
</b><b>	
</b>	The crowd roars its approval.
<b>	
</b><b>	                    SIMONE
</b>	          It's great to be here.
<b>	
</b><b>	INT.  STADIUM - CONCERT STAGE - NIGHT
</b><b>	
</b>	SIMONE -- her voice a seamless blend of several DIVAS --
	begins to sing her hit song, "(If You Can't Believe In
	Yourself) Believe In Me".  A verse of the song is sung in
	perfect Spanish.
<b>	
</b><b>	EXT.  VARIOUS LOCATIONS - NIGHT/DAY
</b><b>	
</b>	A)  On a jumbotron in Tokyo SIMONE's concert plays LIVE.
<b>	
</b>	B)  On a TV set on a West African beach, children dance to
<b>	    SIMONE.
</b><b>	
</b>	C)  On a computer in a Bombay taxi, the driver and his
	    passengers gyrate to SIMONE webcast.
<b>	
</b><b>	INT.  CONTROL TRUCK - BACKSTAGE - NIGHT
</b><b>	
</b>	VIKTOR's face is reflected in a monitor showing a frenzied
	crowd gazing up at the jumbotron -- singing along, many in
	tears, overcome with emotion -- holding cigarette lighters
	aloft.  For a moment Viktor is in awe of his own wizardry --
	the grand illusionist.  Viktor is at the height of his
	powers.
<b>	
</b><b>	                    VIKTOR
</b>	              (to the image of Simone on
	               his screen)
	          I don't know about you, Simone, but
	          I've never felt more alive.
<b>	
</b>	He snaps back to reality just in time to notice that the
	Simone hologram beam has wandered through her own microphone
	stand.
<b>	
</b><b>	                    VIKTOR
</b>	          Damn!
<b>	
</b>	He adjusts the beam -- the rapturous crowd, transfixed by the
	TV screen, apparently fails to notice.
<b>	
</b><b>	INT.  STADIUM - CROWD - NIGHT
</b><b>	
</b>	We focus on a face in the crowd -- MAX SAYER.  His
	journalistic assignment temporarily forgotten, Max is singing
	along and waving his arms, tears rolling down his face, swept
	up in the moment.
<b>	
</b><b>	INT.  STADIUM - CONCERT STAGE - NIGHT
</b><b>	
</b>	SIMONE finishes her final number.
<b>	
</b><b>	                    SIMONE
</b>	          Good-night.  Never stop believing.
<b>	
</b><b>	EXT.  STADIUM - EXIT - NIGHT
</b><b>	
</b>	A bin contains dozens of confiscated cameras and binoculars. 
	FANS exit the stadium through a tunnel.
<b>	
</b>	S-I-M-O-N-E is spelt out on the bare chests of six TEENAGE
	BOYS.  Other FANS wear "SIMONE - Splendid Isolation Tour"
	T-shirts and carry posters.  Several CONCERT GOERS speak to a
<b>	TV NEWS CREW.
</b><b>	
</b><b>	                    FAN 1
</b>	          -- I swear, she looked right at me.
<b>	
</b><b>	                    FAN 2
</b>	          -- She was, like, ethereal.
<b>	
</b><b>	                    FAN 3
</b>	          -- One moment she seemed to walk
	          right through her mike stand like
	          it wasn't even there.
<b>	
</b><b>	INT.  CONTROL TRUCK - BACKSTAGE - NIGHT
</b><b>	
</b>	The chanting crowd can be heard exiting.  VIKTOR, wearing
	lipstick is hastily signing a pile of souvenir programs with
	Simone's signature kiss.
<b>	
</b>	He is interrupted by a knock at the door.  Viktor irritably
	opens it.
<b>	
</b><b>	                    VIKTOR
</b>	          I said I didn't want to be
	          interrupt --
<b>	
</b><b>	EXT.  CONTROL TRUCK - BACKSTAGE - NIGHT
</b><b>	
</b>	ELAINE and LAINEY stand at the foot of the trailer, a
	SECURITY GUARD nearby.
<b>	
</b><b>	                    VIKTOR
</b>	              (face brightening)
	          My two favorite girls.
<b>	
</b><b>	                    ELAINE
</b>	          Lainey and I just wanted to
	          congratulate...
<b>	
</b>	Regarding Viktor closely, Elaine's smile evaporates.
<b>	
</b><b>	                    ELAINE
</b>	          ... Simone.
<b>	
</b><b>	                    VIKTOR
</b>	          She's lying down.  She's exhausted.
<b>	
</b><b>	                    ELAINE
</b>	              (suddenly cool)
	          I can imagine.
<b>	
</b>	Viktor is confused by their reaction.  Elaine yanks Lainey
	away.
<b>	
</b><b>	                    ELAINE
</b>	          Thank Simone for the tickets.
<b>	
</b><b>	                    LAINEY
</b>	              (calling back as she is
	               led away)
	          It was a great show, Dad...
<b>	
</b>	Viktor waves disconcertedly.
<b>	
</b><b>	                    VIKTOR
</b>	          Where are you... going?
<b>	
</b>	As he returns to the trailer, Viktor catches sight of his
	lipstick-smeared mouth in the mirror on the inside of the
	trailer door.  He slams the side of the trailer in
	frustration.
<b>	
</b><b>	INT.  ELAINE'S MANSION - NIGHT
</b><b>	
</b>	ELAINE paces back and forth in front of her TV showing re-
	runs of the SIMONE concert.  KENT cannot take his eyes off
	the screen.
<b>	
</b><b>	                    ELAINE
</b>	          I can't believe she's doing this --
	          taking advantage of him this way. 
	          It's cruel.
<b>	
</b><b>	                    KENT
</b>	          Why?
<b>	
</b><b>	                    ELAINE
</b>	          Obviously, this can't last.  She's
	          going to dump him.  Viktor won't be
	          able to take that.  He's too
	          sensitive.  It'll destroy him.
<b>	
</b><b>	                    KENT
</b>	          Elaine, do you realize you can't
	          stop talking about Viktor?
<b>	
</b><b>	                    ELAINE
</b>	              (not hearing)
	          I have to talk to her.
<b>	
</b>	Kent switches off the TV.
<b>	
</b><b>	                    KENT
</b>	          I've been meaning to talk to you.
<b>	
</b>	Behind the open door, we find LAINEY eavesdropping.
<b>	
</b><b>	EXT.  VIKTOR'S MALIBU HOUSE - BEACH - DAY
</b><b>	
</b>	VIKTOR, deep in thought, stands at the water's edge, staring
	at the breaking waves.  LAINEY joins him.
<b>	
</b><b>	                    VIKTOR
</b>	          Hey, Lainey.
	              (gently teasing her)
	          How's your love life?
<b>	
</b><b>	                    LAINEY
</b>	          I do okay.  How about you?
<b>	
</b><b>	                    VIKTOR
</b>	          You know me -- married to my work.
<b>	
</b><b>	                    LAINEY
</b>	          I noticed.
<b>	
</b>	An awkward silence.
<b>	
</b><b>	                    LAINEY
</b>	          Dad, you know I don't like to get
	          between you and mom but she's
	          feeling down right now.  She broke
	          up with Kent.
<b>	
</b><b>	                    VIKTOR
</b>	              (buoyed by the news)
	          Really?  Too bad.
<b>	
</b><b>	                    LAINEY
</b>	          She thinks you're with Simone.
<b>	
</b><b>	                    VIKTOR
</b>	          Lainey, you know Simone and I don't
	          have a real relationship.
<b>	
</b><b>	                    LAINEY
</b>	          I know but Mom doesn't.  Maybe if
	          it came from Simone, if Simone
	          spoke to Mom -- she could
	          straighten things out.
	              (shrug)
	          Dinner, maybe.
<b>	
</b><b>	                    VIKTOR
</b>	          Dinner?  Dinner's difficult.  A
	          phone call?
<b>	
</b><b>	                    LAINEY
</b>	          Too impersonal.  They have to meet
	          face-to-face.
<b>	
</b><b>	                    VIKTOR
</b>	          I'll see what I can do.
	              (a thought occurs)
	          You know, Lainey.  I don't believe
	          you've ever once asked to meet
	          Simone.  Don't you like her?
<b>	
</b><b>	                    LAINEY
</b>	          I love her but that doesn't mean I
	          need to meet her.
<b>	
</b>	Viktor is confused.
<b>	
</b><b>	                    LAINEY
</b>	          Why?  So I can tell my friends at
	          school -- as if that validates my
	          life somehow.  What's Simone going
	          to say to a fourteen-year-old
	          anyhow?  She's going to be polite
	          because you're my father but we're
	          not suddenly going to become
	          friends -- we have nothing in
	          common.  It's not going to be real. 
	          Anyhow, she gets more beautiful in
	          my head every day.  Why kill the
	          dream?  What do they say, "don't
	          get too close to your idols, they
	          always disappoint you".
<b>	
</b>	Viktor gazes in wonder at his daughter, so much wiser than
	her years.
<b>	
</b><b>	                    VIKTOR
</b>	          I love you, Lainey.
<b>	
</b><b>	                    LAINEY
</b>	          I love you too, daddy.
<b>	
</b>	A car horn sounds outside the house.
<b>	
</b><b>	                    LAINEY
</b>	          That's Mom.
	              (kissing him on the
	               forehead)
	          See you.
<b>	
</b>	She exits, leaving Viktor deep in thought.
<b>	
</b><b>	EXT.  LOS ANGELES FREEWAY - DAY
</b><b>	
</b>	Milli Vanilli's "GIRL YOU KNOW IT'S TRUE" plays on a car
	radio.  ELAINE, wearing a red power suit, drives home along
	the freeway in bumper-to-bumper traffic.  Her car phone
	rings.  She turns down the radio and picks up.
<b>	
</b><b>	                    ELAINE
</b>	          Hello?
<b>	
</b><b>	                    SIMONE
</b>	          Hello, is this Elaine?
<b>	
</b><b>	                    ELAINE
</b>	          Yes -- oh my, God.  Is that you,
	          Simone?!  I've been wanting to talk
	          to you.
<b>	
</b><b>	                    SIMONE
</b>	          Well, here I am.
	              (beat)
	          You look pretty today.  Red suits
	          you.
<b>	
</b><b>	                    ELAINE
</b>	              (looking around the
	               freeway)
	          Where are you?
<b>	
</b><b>	                    SIMONE
</b>	          Right beside you.  I borrowed
	          Viktor's car.
<b>	
</b>	Elaine looks to the inside lane.  SIMONE, wearing sunglasses,
	phone to her ear, drives alongside.  Simone waves, somewhat
	mechanically.  Elaine waves back.  They keep driving as they
	talk.
<b>	
</b><b>	INT.  VIKTOR'S CAR - DAY
</b><b>	
</b>	The sunglasses-clad SIMONE is a mannequin, seated in the
	driver's seat with her left hand on the phone obscuring her
	mouth, right hand attached to the steering wheel.
<b>	
</b>	Seat fully-reclined on the passenger side, VIKTOR drives the
	car by stretching a foot across to the pedals and steering
	with one hand, occasionally sneaking a glance to the road
	ahead.  He speaks on a phone through the Simone synthesizer.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          I'd love to stop somewhere but I'm
	          late.  I'm on my way to see Viktor
	          now.
<b>	
</b><b>	                    ELAINE
</b>	          No, I understand.  That's what I
	          want to talk about.  I don't know
	          if you know this, Simone, but
	          Viktor and I were married once.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          I can't imagine how you ever let a
	          man like that go.  I owe Viktor
	          everything.
<b>	
</b><b>	                    ELAINE
</b>	          I think he owes more to you.  But
	          that's not important now.  I know
	          what's going on between you two.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          I want to reassure you, Elaine,
	          there's absolutely nothing going on
	          between Viktor and I.
<b>	
</b><b>	                    ELAINE
</b>	              (rueful smile)
	          You don't have to protect my
	          feelings, Simone.  I don't blame
	          Viktor for falling in love with the
	          most desirable woman in the world.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	              (breaking character)
	          I'm not --
	              (correcting himself)
	          He's not.
<b>	
</b>	Viktor, losing concentration on his driving, drifts across
	his lane, almost striking Elaine's car -- swerving back at
	the last second.
<b>	
</b><b>	                    ELAINE
</b>	          My God, are you alright, Simone?
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          Damn --
	              (struggling to stay in
	               her/his lane)
	          Yes -- I --
	              (regaining control)
	          -- I'm just a little tired. 
	          Listen, Elaine, Viktor and I --
	          it's strictly a working
	          relationship.  We could never be
	          anything else.  We're just so...
	          different.
<b>	
</b><b>	                    ELAINE
</b>	          Exactly.  You're a household name
	          now.  You're moving in entirely
	          different worlds.  That's why I
	          hope you're not toying with Viktor.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          It sounds like you still have
	          feelings for him.
<b>	
</b><b>	                    ELAINE
</b>	          We have a daughter together.  I
	          just don't want to see Viktor get
	          hurt.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          I don't know how many times I have
	          to say this, Elaine, but Viktor and
	          I are not in love.
	              (joking weakly)
	          I only make love to the camera.
<b>	
</b><b>	                    ELAINE
</b>	          Simone, I recognize the shirt
	          you're wearing.  I gave it to
	          Viktor on his birthday.
<b>	
</b>	Over-correcting his steering, Viktor drifts into the next
	lane, dangerously close to a pick-up truck that has to swerve
	to avoid him.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          Christ --
	              (still struggling to stay
	               on the road)
	          Elaine, I know how it looks but...
	              (blurting it out)
	          ... it would mean a lot to Viktor
	          if you'd go with him to the Oscars. 
	          If you won't do it for him, please
	          do it for me.
<b>	
</b><b>	                    ELAINE
</b>	              (reluctant, frightened by
	               Simone's erratic driving)
	          Okay -- for you.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	              (sigh of relief)
	          Thanks.  This is my exit so, I --
<b>	
</b><b>	                    ELAINE
</b>	          I'm glad we talked.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          Good-bye.
<b>	
</b>	Viktor's car swerves to the right.  Elaine looks back in her
	rearview mirror, concerned.
<b>	
</b>	Elaine just misses the sight of VIKTOR's car rear-ending the
	truck in front of him.
<b>	
</b><b>	EXT.  FREEWAY SHOULDER - LATER IN THE DAY
</b><b>	
</b>	VIKTOR anxiously watches a HIGHWAY PATROLMAN writing up the
	fender-bender.  However, the Patrolman is more interested in
	the Simone mannequin.
<b>	
</b><b>	                    PATROLMAN
</b>	          You don't have to explain.  I know
	          what the press is like.  Lunatics. 
	          Out of control.
	              (referring to the Simone
	               mannequin)
	          You do know I'm going to have to
	          take this?
<b>	
</b><b>	INT.  ACADEMY AWARDS - AUDITORIUM - NIGHT
</b><b>	
</b>	VIKTOR, in his tuxedo, sits in the front row of the packed
	auditorium beside an empty seat -- "RESERVED for SIMONE". 
	ELAINE and LAINEY sit alongside -- LOTUS and MAC nearby.
<b>	
</b>	HAL stands at the transparent plastic podium with the "Best
	Actress" envelope.
<b>	
</b><b>	                    HAL
</b>	          And the winner is...
<b>	
</b>	Hal tears the envelope's seal, momentarily confused as he
	reads the name.
<b>	
</b><b>	                    HAL
</b>	          Actually, there's a tie.
<b>	
</b>	The AUDIENCE gasps.
<b>	
</b><b>	                    HAL
</b>	              (milking the moment for
	               all it's worth)
	          The winners are... Simone for
	          "Sunrise, Sunset"...
<b>	
</b>	The audience cheers enthusiastically, but Hal stills their
	applause.
<b>	
</b><b>	                    HAL
</b>	              (big smile)
	          ... and Simone for "Eternity
	          Forever".
<b>	
</b>	The audience erupts.  Viktor accepts the congratulations of
	those around him.
<b>	
</b><b>	                    HAL
</b>	          Unfortunately, Simone can't be with
	          us tonight.
	              (turning to the screen)
	          But thanks to the miracle of modern
	          technology she is able to join us
	          live via satellite from the
	          location of her new film.
<b>	
</b>	The screen flickers to life.
<b>	
</b><b>	ON SCREEN - A DESOLATE WASTELAND - DAY
</b><b>	
</b>	SIMONE sits in a director's chair in the desolate wasteland
	location chosen by Viktor.
<b>	
</b><b>	                    SIMONE
</b>	          Thank you!  Thank you!  This means
	          so much to me.  I'm just sorry I
	          can't be there with you.
	              (wiping away a tear)
	          First off I have to acknowledge my
	          fellow nominees -- I don't even
	          feel I belong in the best actress
	          category let alone with these...
	          wonderful human beings.
	              (composing herself)
	          I also have to thank my co-stars,
	          the studio, of course.  But most of
	          all, I have to thank the audience
	          for supporting what I do -- you're
	          the only reason I'm here.
<b>	
</b>	The CROWD applauds wildly.
<b>	
</b>	LAINEY is puzzled.  She leans over to Viktor.
<b>	
</b><b>	                    LAINEY
</b>	          Why didn't she thank you?
<b>	
</b><b>	                    VIKTOR
</b>	              (confused)
	          She did... didn't she?
<b>	
</b><b>	                    ELAINE
</b>	              (crestfallen)
	          No.
<b>	
</b>	Viktor glances to the "Simone" sign beside him.  The blood
	drains from his face.
<b>	
</b><b>	INT.  VIKTOR'S SOUNDSTAGE - MORNING
</b><b>	
</b>	On the monitor, SIMONE reads the forgotten line from the
	speech.
<b>	
</b><b>	                    SIMONE
</b>	          ... And of course I must thank my
	          collaborator, Viktor Taransky,
	          without whom none of this would be
	          possible.
<b>	
</b>	VIKTOR, still in his tuxedo, stares at SIMONE on the screen. 
	He holds the text of Simone's acceptance speech in his hands.
<b>	
</b><b>	                    VIKTOR
</b>	              (to himself)
	          It's written right there... Why
	          didn't I say it?... How could I
	          forget to say it?
<b>	
</b>	Simone stares back at him blankly.
<b>	
</b>	A copy of VARIETY is slid under the soundstage door.  The
	front page headline, "NO THANK YOU - Simone Snubs Taransky At
	Oscars".
<b>	
</b><b>	INT.  VIKTOR'S CAR - NIGHT
</b><b>	
</b>	VIKTOR pulls up to the gate of his Malibu home.  MAX is
	standing outside next to his car.
<b>	
</b><b>	                    VIKTOR
</b>	          Damn it!
<b>	
</b><b>	EXT.  VIKTOR'S MALIBU HOME - NIGHT
</b><b>	
</b>	VIKTOR also spies an OLD WOMAN in a wheelchair sitting beside
	the car, MILTON closeby.  Viktor stops at the gate and
	reluctantly exits his car.
<b>	
</b><b>	                    VIKTOR
</b>	          What now, Sayer?
<b>	
</b><b>	                    MAX
</b>	              (smug smile, noticing
	               Viktor noticing the
	               woman)
	          Looks familiar, doesn't she?  No
	          one comes from nowhere, Taransky. 
	          You turn over enough rocks...
<b>	
</b>	The old woman appears drugged, stares into space.
<b>	
</b><b>	                    MAX
</b>	          I traced her to a nursing home.  A
	          young woman fitting Simone's
	          description dropped her off five
	          years ago.
<b>	
</b><b>	                    VIKTOR
</b>	          She looks a lot like you.
<b>	
</b><b>	                    MAX
</b>	              (undeterred)
	          She hasn't uttered a word that
	          whole time -- until she saw the big
	          show.
<b>	
</b>	Max produces a shot of SIMONE at the Oscars and holds it in
	front of the old lady.
<b>	
</b><b>	                    OLD LADY
</b>	              (pointing to Simone's
	               picture, catatonic)
	          My baby... My baby...
<b>	
</b><b>	                    MAX
</b>	              (putting his hand on his
	               heart)
	          Who would think that "Saint Simone"
	          would abandon her own mother?  I've
	          been looking into the family
	          history -- heartbreaking.  Most
	          likely a biography to run over four
	          issues... who knows, maybe there's
	          a Pulitzer in there somewhere.
<b>	
</b>	Viktor produces his own driver's license and holds it in
	front of the old lady.
<b>	
</b><b>	                    OLD LADY
</b>	              (pointing to Viktor's face
	               on the driver's license)
	          My baby... My baby...
<b>	
</b>	Max hastily steps between Viktor and the Old Lady.
<b>	
</b><b>	                    MAX
</b>	          That doesn't prove a thing -- wait
	          until I get a court order for a
	          blood test.
<b>	
</b><b>	                    VIKTOR
</b>	              (sensing an opportunity)
	          That won't be necessary.
	              (pretending to be
	               resigned)
	          Sooner or later I knew you'd crack
	          this thing, Max.  You got me.
<b>	
</b><b>	                    MAX
</b>	          I do?
	              (recovering)
	          Sure I do.
	              (taking Viktor aside)
	          Can we speak off the record?  I'm a
	          fair man.  I'm willing to sit down
	          with her and tell her side of the
	          story.
<b>	
</b><b>	                    VIKTOR
</b>	          I wouldn't want you to compromise
	          your ethics.
<b>	
</b><b>	                    MAX
</b>	          No.  Thanks.  Absolutely.
<b>	
</b>	Viktor regards the newshound with a look of pity.
<b>	
</b><b>	                    VIKTOR
</b>	          You love her, don't you, Max?
<b>	
</b><b>	                    MAX
</b>	          Don't you?
<b>	
</b><b>	                    VIKTOR
</b>	              (writes a check, hands it
	               to Max)
	          This should take care of Mother.
<b>	
</b>	Viktor drives into his home.  Max, very confused, stares at
	the old lady.
<b>	
</b><b>	EXT.  VIKTOR'S SOUNDSTAGE - DAY
</b><b>	
</b>	VIKTOR escorts LAINEY, blindfolded, around the corner of his
	soundstage.  He removes the blindfold.  From Lainey's point-
	of-view we see the sportscar Simone drove in "ETERNITY
	FOREVER" -- the car tied with a bow.
<b>	
</b><b>	                    VIKTOR
</b>	          Happy birthday, Lainey.  Do you
	          like it?
<b>	
</b><b>	                    LAINEY
</b>	              (taking in the car)
	          It's fantastic -- it's too much.
<b>	
</b><b>	                    VIKTOR
</b>	          It's the car she drove in "Eternity
	          Forever".
<b>	
</b><b>	                    LAINEY
</b>	          I know.  Thank her for me.
<b>	
</b><b>	                    VIKTOR
</b>	              (disappointed by her
	               reaction)
	          It's from both of us.  Of course
	          you'll have to drive it around the
	          lot until you get your permit --
<b>	
</b>	Lainey averts her gaze.
<b>	
</b><b>	                    LAINEY
</b>	          -- I can't accept it.  I don't want
	          a car, Dad.
<b>	
</b><b>	                    VIKTOR
</b>	              (clearly hurt, not
	               understanding)
	          Why not?  I can get you something
	          else.  What do you want?
<b>	
</b><b>	                    LAINEY
</b>	          The old Viktor Taransky.
	              (finally blurting it out)
	          I liked you better before -- before
	          all this.  You were a loser, Dad,
	          but at least you had integrity.  I
	          can't stand to see you like this --
	          clinging to Simone's coattails --
	          it used to be about the work, and
	          now it's all about her.  And then
	          she's not even grateful enough to
	          thank you.
<b>	
</b><b>	                    VIKTOR
</b>	          No, that was me.
<b>	
</b><b>	                    LAINEY
</b>	          There you go again, blaming
	          yourself.  Can't you see what she's
	          done to you -- she's taking
	          advantage, mocking you.  You
	          deserve better than Simone.
	              (hasty exit)
	          I've got to go, Dad.
<b>	
</b><b>	                    VIKTOR
</b>	          Lainey...
<b>	
</b>	Viktor watches Lainey depart towards the studio gates.
<b>	
</b><b>	INT.  SIMONE & VIKTOR'S OFFICE - DAY
</b><b>	
</b>	VIKTOR leans on his desk, still reflecting on LAINEY's
	remarks.  JANE enters.
<b>	
</b><b>	                    JANE
</b>	          Ready for your casting session?
<b>	
</b>	Viktor nods distractedly.  Jane shows in NICOLA ANDERS.
<b>	
</b><b>	                    JANE
</b>	          Nicola's here for the role of
	          Simone's sister.
<b>	
</b>	Viktor offers Nicola a seat, staring at her as if he has
	never truly looked at her before -- she has a quality of
	Simone.
<b>	
</b><b>	                    NICOLA
</b>	              (slightly uncomfortable by
	               Viktor's scrutiny)
	          A lot's happened since we last saw
	          each other.
<b>	
</b><b>	                    VIKTOR
</b>	              (numb)
	          Yes.
<b>	
</b><b>	                    NICOLA
</b>	          I never apologized properly for
	          what happened on "Sunrise".
<b>	
</b>	She hands Viktor a peace offering -- a large jar of Mike &
	Ike candy, including cherry.
<b>	
</b><b>	                    VIKTOR
</b>	          Thank you.  It's not important.
<b>	
</b><b>	                    NICOLA
</b>	          After I saw what Simone did with
	          the role -- you know I fired all my
	          people, went into rehab, took
	          acting classes, changed my whole
	          look.  She really inspired me.
<b>	
</b>	Viktor continues to stare.
<b>	
</b><b>	                    NICOLA
</b>	              (referring to the script
	               in her hands)
	          Would you like me to read?
<b>	
</b><b>	                    VIKTOR
</b>	          Yes, I'd like that.
<b>	
</b>	Nicola glances at the script a last time and puts it down. 
	She approaches Viktor, standing close to him, playing the
	scene to him -- an immediate intimacy.
<b>	
</b><b>	                    NICOLA
</b>	              (her angry words are in
	               opposition to her amorous
	               actions)
	          -- Who do you think you are, Carlos
	          -- coming in here like this?  With
	          my husband sleeping in the next
	          room.  Do you think I won't call
	          out?  Do you think I will just give
	          in to you without a fight -- like
	          the last time and the time before
	          that?
	              (she kisses his ear)
	          I wish you were dead.
	              (she kisses his lips)
	          I wish we were both dead.
<b>	
</b>	Nicola immediately breaks character.
<b>	
</b>	Viktor is mesmerized -- he has fallen back in love with
	flesh.
<b>	
</b><b>	                    VIKTOR
</b>	              (finally able to speak)
	          You know you're really very good. 
	          I take back what I said.  I mean,
	          you're really good.
<b>	
</b><b>	                    NICOLA
</b>	          Thank you.
<b>	
</b><b>	                    VIKTOR
</b>	              (forgetting himself)
	          You could play the lead.
<b>	
</b><b>	                    NICOLA
</b>	              (confused)
	          But that's Simone's part.
<b>	
</b><b>	                    VIKTOR
</b>	          Yes, of course it is.
	              (gazing at her face)
	          You know you have a line here.  Not
	          a wrinkle.  Actually, more of a
	          dimple.  I've been thinking of
	          incorporating something like that
	          in Simone.
<b>	
</b><b>	                    NICOLA
</b>	              (incredulous)
	          You'd cosmetically alter Simone to
	          look like me?
<b>	
</b><b>	                    VIKTOR
</b>	          No, of course not, you're right. 
	          That would be crazy.
<b>	
</b>	Viktor sits back down and stares out of the window.
<b>	
</b><b>	                    NICOLA
</b>	          Do you want me to do it again?
<b>	
</b>	Viktor does not reply.  Nicola quietly leaves.
<b>	
</b><b>	INT.  ELAINE'S MANSION - DAY
</b><b>	
</b>	The front page of "Variety" is dominated by a large
	photograph of SIMONE giving her acceptance speech via
	satellite.  However, ELAINE is gazing at a small inset
	picture of VIKTOR, HERSELF and LAINEY arriving at the Oscar
	Ceremony.
<b>	
</b>	Elaine tears out the photo and slips it into her purse.
<b>	
</b><b>	EXT.  SWIMMING POOL - DAY (ON VIKTOR'S SCREEN)
</b><b>	
</b>	Old home video of ELAINE.  She is in a garden by a swimming
	pool, laughing, waving and sweetly flirting with the camera. 
	Elaine raises her skirt teasingly, winks, gestures the camera
	operator towards her with a beckoning finger, finally blows a
	kiss to the camera.
<b>	
</b><b>	INT.  VIKTOR'S SOUNDSTAGE - DAY
</b><b>	
</b>	While the ever-seductive SIMONE waits patiently on-screen for
	Viktor's instructions, VIKTOR is gazing at the smaller
	monitor -- the home video of ELAINE.
<b>	
</b>	Viktor freezes the tape.  Elaine appears particularly
	beautiful.
<b>	
</b>	Viktor electronically cuts out Elaine's mannerism and morphs
	it into Simone.  Now Simone blows the kiss and has the same
	dazzling smile.
<b>	
</b><b>	INT.  SIMONE & VIKTOR'S OFFICE - DAY
</b><b>	
</b>	At her desk, JANE is busy trying to mimic Simone's hairstyle
	as she talks on the phone.
<b>	
</b><b>	                    JANE
</b>	              (into phone)
	          -- Oh sure, she comes in all the
	          time... we've become close.  She
	          told me --
<b>	
</b>	VIKTOR enters the office.
<b>	
</b><b>	                    VIKTOR
</b>	          Jane --
<b>	
</b>	Jane hurriedly hangs up.
<b>	
</b><b>	                    JANE
</b>	          Gotta go.
<b>	
</b><b>	                    VIKTOR
</b>	              (picking up a pile of
	               scripts from the in-tray)
	          I'm leaving early tonight.  If you
	          need me I'll be at the beach house
	          having dinner with a... certain
	          someone.
<b>	
</b>	Jane tries to conceal her interest.  As soon as Viktor exits
	the office, JANE picks up the phone.
<b>	
</b><b>	                    JANE
</b>	              (into phone, under her
	               breath)
	          ... Elaine Christian please.
<b>	
</b>	We reveal VIKTOR, outside the door, eavesdropping on his
	assistant, pleased she has taken the bait.
<b>	
</b><b>	INT.  VIKTOR'S BEACH HOUSE - NIGHT
</b><b>	
</b>	VIKTOR dims the lights, plays "mood" music.  The doorbell
	rings.
<b>	
</b>	He checks himself in the mirror.  In the reflection, he spies
	an autographed photo of HIMSELF with his arm around SIMONE. 
	He hurriedly hides the photo and answers the door.
<b>	
</b>	ELAINE stands there.
<b>	
</b><b>	                    ELAINE
</b>	          Viktor, I'm picking up Lainey.
<b>	
</b>	Elaine is over-dressed for her supposed errand.
<b>	
</b><b>	                    VIKTOR
</b>	          Elaine, it's Wednesday.
<b>	
</b><b>	                    ELAINE
</b>	              (feigning absent
	               mindedness)
	          Is it Wednesday?  It's Wednesday. 
	          How embarrassing.  I don't know
	          what I was thinking.  With all the
	          excitement lately...
	              (peering past him)
	          Am I interrupting something?  Are
	          you expecting company?
<b>	
</b><b>	                    VIKTOR
</b>	              (ushering her inside)
	          As a matter-of-fact I am.
<b>	
</b><b>	                    ELAINE
</b>	          When is she coming over?
<b>	
</b><b>	                    VIKTOR
</b>	              (glancing to his watch)
	          About now.  Would you like a drink?
<b>	
</b><b>	                    ELAINE
</b>	          I suppose I could stay, just until
	          she arrives.
<b>	
</b>	Elaine takes a seat on the sofa.  Viktor hands her a glass of
	wine and sits beside her -- close.
<b>	
</b>	They both knock back their wine in one long gulp, both
	apparently in need of courage.
<b>	
</b><b>	                    ELAINE
</b>	              (trying to make
	               conversation)
	          Is Simone back to earth yet?
<b>	
</b><b>	                    VIKTOR
</b>	          Not quite.
<b>	
</b><b>	                    ELAINE
</b>	          I'm sure you'll keep her focussed. 
	          She's lucky to have you, Viktor.
	              (blurting out)
	          Is she really having your baby?
<b>	
</b><b>	                    VIKTOR
</b>	          Impossible.
<b>	
</b><b>	                    ELAINE
</b>	              (instantly regretting the
	               remark)
	          I just read somewhere --
<b>	
</b><b>	                    VIKTOR
</b>	          I know.  I know.  They'll say
	          anything.
<b>	
</b><b>	                    ELAINE
</b>	          -- And she was positively glowing
	          at the awards.
	              (making to leave)
	          I should be going, she'll be here
	          soon --
<b>	
</b>	Viktor puts his finger to her lips to hush her.
<b>	
</b><b>	                    VIKTOR
</b>	          -- She already is.  Simone's not
	          coming over, Elaine.  Not tonight,
	          not ever.
	              (holding her)
	          I want you back, Elaine.
<b>	
</b><b>	                    ELAINE
</b>	              (melting)
	          I want you back too, Viktor.
<b>	
</b>	They kiss.  Elaine breaks the kiss, suddenly consumed with
	doubt.
<b>	
</b><b>	                    ELAINE
</b>	          This is crazy.  Who am I fooling? 
	          I can't compete with Simone.  What
	          woman can?
<b>	
</b><b>	                    VIKTOR
</b>	          I would rather have you than
	          Simone.  Believe me.
<b>	
</b><b>	                    ELAINE
</b>	          That's sweet, Viktor, but I
	          couldn't let you do that -- make
	          that kind of sacrifice.
	              (meeting his gaze)
	          It's strange.  I've stabbed people
	          in the back, clawed and slept my
	          way to where I am -- it goes with
	          the territory -- but, for some
	          reason, I can't betray Simone. 
	          There's... I don't know any other
	          way to say it -- there's a goodness
	          to her.
<b>	
</b><b>	                    VIKTOR
</b>	          No, there isn't.  There's nothing
	          to her.
<b>	
</b><b>	                    ELAINE
</b>	          Oh, Viktor.  You say that now --
	          because we're here, alone, like
	          this.  But in the morning, you'd go
	          back to her.  What man wouldn't?
<b>	
</b><b>	                    VIKTOR
</b>	          No, I will end my relationship with
	          her -- totally.
<b>	
</b><b>	                    ELAINE
</b>	          But you don't understand.  She'll
	          always be there -- at some party,
	          on some magazine cover, some song
	          on the radio, up on some screen.
<b>	
</b><b>	                    VIKTOR
</b>	              (desperate)
	          No.  She'll never work again --
	          retire, never make a movie or a
	          record, or appear ever again.
<b>	
</b><b>	                    ELAINE
</b>	              (confused)
	          Of course she will.  Her public
	          will demand it.
<b>	
</b><b>	                    VIKTOR
</b>	          Not if I don't let her.
<b>	
</b><b>	                    ELAINE
</b>	          You?
<b>	
</b>	Viktor knocks back another glass of wine for courage.
<b>	
</b><b>	                    VIKTOR
</b>	          I'm going to tell you a secret now,
	          Elaine.
	              (mustering all his nerve)
	          Simone is not a real person.  I
	          invented her.
<b>	
</b><b>	                    ELAINE
</b>	              (misinterpreting his
	               remark)
	          Every actor is an invention,
	          Viktor.  Don't embarrass yourself. 
	          No one's denying that you
	          discovered Simone.  But it's like
	          finding a diamond in the desert. 
	          Anyone can trip over it, but it's
	          not the finder who sparkles.
<b>	
</b><b>	                    VIKTOR
</b>	              (agitated)
	          -- No, no, I didn't trip over her. 
	          You don't understand --
<b>	
</b><b>	                    ELAINE
</b>	              (ignoring him)
	          -- You just got lucky that she's
	          loyal enough to stay with you. 
	          Maybe she's staying out of pity,
	          who knows?  She certainly doesn't
	          need you.  Some people even say
	          you're holding her back.
<b>	
</b><b>	                    VIKTOR
</b>	              (wounded)
	          Who says that -- ?
	              (shaking off the insult)
	          -- Never mind.  You have to listen
	          to me, Elaine.  Simone is thin air,
	          pixels, molded by me from a
	          mathematical equation.  I inherited
	          it from a madman -- I can show
	          you --
<b>	
</b><b>	                    ELAINE
</b>	          How much wine have you had?
<b>	
</b><b>	                    VIKTOR
</b>	          -- She's a figment of my own
	          imagination.  I, Viktor Taransky,
	          have perpetrated the greatest hoax,
	          the greatest sleight-of-hand,
	          sleight-of-mouth, sleight-of-
	          sleight in entertainment history!
	          And still no one appreciates me,
	          recognizes what I've done -- even
	          you.
<b>	
</b><b>	                    ELAINE
</b>	              (rolling her eyes)
	          You're drunker than I thought.  Are
	          you doing that again?
<b>	
</b><b>	                    VIKTOR
</b>	          No!  Whatever talent Simone has
	          comes from me -- me!  Me!  I swear,
	          as God is my judge.  You don't know
	          what I've been through.  Tens of
	          thousands of mind-numbing hours in
	          front of that screen, nights
	          without end, and look what it's
	          cost me.
	              (producing his spectacles)
	          Why do you think I've been wearing
	          these?  I may have done irreparable
	          harm to my eyesight, and why?  To
	          extract and refine the infinite
	          nuances of a human being -- a human
	          soul.
	              (a final explanation)
	          Don't you see?  I made Simone!
<b>	
</b>	A pause.  His words hang in the air.
<b>	
</b><b>	                    ELAINE
</b>	          You made Simone?
	              (a trace of pity)
	          Viktor, she made you.
<b>	
</b>	Elaine gets up and walks out, leaving the distraught Viktor
	alone in his house.
<b>	
</b><b>	INT.  VIKTOR'S OFFICE - DAY
</b><b>	
</b>	A hung-over VIKTOR enters his office.  Suddenly, he stops and
	confronts the standee of SIMONE.
<b>	
</b><b>	                    VIKTOR
</b>	          You bitch!  I'll destroy you!
<b>	
</b>	JANE stares in shock.  She discreetly exits.
<b>	
</b><b>	INT.  VIKTOR'S SOUNDSTAGE - DAY
</b><b>	
</b>	VIKTOR sits in front of his monitor, smiling venomously at
	SIMONE.  He begins to digitally disrobe Simone.
<b>	
</b><b>	MONTAGE:
</b><b>	
</b>	A)  Peering through a gap in the drapes of his Malibu house,
	    VIKTOR watches MAX dig through his trash.  Max finds a
	    beat up reel of 16mm film.
<b>	
</b>	    MAX holds the end up to the light -- his eyes pop.
<b>	
</b>	B)  The ECHO headline screams, "SIMONE'S HARD CORE PAST" and
	    shows censored film frames of a naked Simone in a
	    compromising position.
<b>	
</b>	    VIKTOR, hovering at a supermarket check-out line,
	    overhears two WOMEN discussing the article.
<b>	
</b><b>	                    WOMAN 1
</b>	          Disgusting...
<b>	
</b><b>	                    WOMAN 2
</b>	              (sympathetic)
	          She must have been so desperate to
	          do something like that, so
	          depraved.
<b>	
</b><b>	                    WOMAN 1
</b>	          I'm still naming my baby after her.
<b>	
</b><b>	                    WOMAN 2
</b>	          You're having a boy.
<b>	
</b><b>	                    WOMAN 1
</b>	          So?
<b>	
</b>	    Viktor blanches.  It is not the reaction he'd hoped for.
<b>	
</b>	C)  Inside a theater, VIKTOR hovers by the door, smirking.
<b>	
</b>	    ON SCREEN, we hear a farmyard scene -- SIMONE in an empty
	    farmyard on all fours, grunting like a pig, and foraging
	    for muddy vegetables.
<b>	
</b>	    The AUDIENCE is shocked, then suddenly breaks into
	    spontaneous applause.
<b>	
</b>	    Viktor, enraged, exits into the lobby past the poster for
	    "I AM PIG - Starring Simone".
<b>	
</b>	D)  A pretentious FILM CRITIC talks to camera, a film poster
	    behind him.
<b>	
</b><b>	                    FILM CRITIC
</b>	          For Simone to do something as brave
	          as "I AM PIG" at this point in her
	          career, with so much to lose -- all
	          I can say is, "I Am Pig, I Am
	          Oscar".
<b>	
</b>	E)  In his soundstage, VIKTOR moves a slider that adds
	    wrinkles to Simone.
<b>	
</b>	F)  SIMONE appears on a morning talk show -- as usual, remote
	    on a TV screen.  However, her squeaky-clean image has
	    gone -- hair unkempt, bloated, chain-smoking and drinking
	    during the interview.  The HOSTS are smiling weakly.
<b>	
</b><b>	                    HOST
</b>	          Simone, that's a rather
	          controversial position.
<b>	
</b><b>	                    SIMONE
</b>	          I just think all elementary schools
	          should have a firing range -- so
	          students can learn how to defend
	          themselves.  We could fit it
	          inbetween recess and American
	          History.
<b>	
</b>	Another clip:
<b>	
</b><b>	                    SIMONE
</b>	          If there's a hole in the ozone
	          layer why can't I see it?
<b>	
</b>	Another clip:
<b>	
</b><b>	                    SIMONE
</b>	          Immigration?!  God, isn't it
	          crowded enough?!
<b>	
</b><b>	                    HOSTS
</b>	          Just as we always knew.  Simone's
	          not like other celebrities.  She
	          speaks her mind!
<b>	
</b>	G)  VIKTOR driving along a city street, suddenly slams on his
	    brakes, almost causing an accident.  He stares numbly up
	    at a twenty-foot high smiling photo of Simone on a
	    billboard featuring a huge cover of TIME MAGAZINE.  It
	    reads, "SIMONE: WOMAN OF THE YEAR".
<b>	
</b><b>	                    VIKTOR
</b>	              (to himself)
	          She's trying to kill me.
<b>	
</b>	Realizing what he's said, a thought comes into his eyes.
<b>	
</b><b>	EXT.  CEMETERY - DAY
</b><b>	
</b>	An inscription on a headstone reads:
<b>	
</b><b>	                         HANK ALENO
</b>	                Remembered Virtually Forever
<b>	
</b>	VIKTOR kneels at HANK's grave.  He places a bunch of flowers
	there.
<b>	
</b><b>	                    VIKTOR
</b>	              (referring to the flowers)
	          They're plastic, Hank.  I know
	          that's the way you'd want it.
	              (glancing to a Simone
	               billboard outside the
	               cemetery wall)
	          She killed you, Hank.  Now she's
	          killing me.  She's a serial killer.
	              (ducking out of sight of
	               the billboard as if
	               Simone is watching him)
	          But I don't know how to stop her. 
	          She's taken on a life of her own. 
	          I can't just come clean -- make
	          some confession.  I've defrauded
	          millions -- they'd turn on me.  And
	          I can't put the genie back in the
	          bottle.  If she stopped working --
	          dropped out of sight, they'd never
	          let it rest.  I've tried to kill
	          her career but they like her even
	          more.
	              (more desperate)
	          What am I going to do, Hank?
<b>	
</b>	A thought occurs to Viktor.  He slowly rises from behind
	Hank's headstone, revealing a forest of headstones.
<b>	
</b><b>	                    VIKTOR
</b>	          Don't say another word, Hank.  You
	          are truly a genius.
<b>	
</b><b>	INT.  VIKTOR'S SOUNDSTAGE - DUSK
</b><b>	
</b>	A sad but resolute VIKTOR sits in front of his monitor,
	SIMONE's face full screen.
<b>	
</b>	He speaks into the voice synthesizer, Simone's face
	automatically speaking the words he speaks -- the final time
	he puts his words in her mouth.
<b>	
</b><b>	                    SIMONE / VIKTOR
</b>	          What's the matter, Viktor?  You
	          look so sad.  Don't you love me
	          anymore?... It's over, isn't it?
<b>	
</b>	He switches off the synthesizer and speaks in his own voice.
<b>	
</b><b>	                    VIKTOR
</b>	          It's the only way, Simone.  If it's
	          any consolation, you're going to
	          live on in the public's heart like
	          all the other tragic figures that
	          went before their time.  There's no
	          love like posthumous love.
<b>	
</b>	On the screen, Simone is on the verge of tears.
<b>	
</b><b>	                    VIKTOR
</b>	          I know what you're thinking.  It's
	          a phoney-baloney world.  The women
	          are surgically enhanced, the
	          athletes are on steroids, the
	          singers are lip-syncing if they're
	          even singing at all, the news is
	          entertainment, the politicians are
	          bought and paid for -- we're living
	          one big lie.  So why shouldn't you
	          live too?  You're more authentic
	          than the people who adore you.
	              (a trace of despair)
	          And that's the problem.  You're
	          looking at the real fraud.  I told
	          myself this was all about the work
	          but if that was the truth, it
	          wouldn't matter to me -- and it
	          does.  It wasn't that the artists
	          had no respect for the art.  They
	          had no respect for me.  Someone
	          like you, you have so much love
	          showered on you -- I just wanted to
	          feel one tiny drop on my face.  I'm
	          sorry, Simone.  Here I've been
	          trying to convince the world that
	          you exist, but I was really trying
	          to convince them that I exist. 
	          It's not that you aren't human,
	          Simone, it's that I am.
<b>	
</b>	Viktor produces a disc from his jacket marked, "PLAGUE - Ver.
	8.1".  He places the disc in the machine.
<b>	
</b>	Viktor sees that Simone is crying.  He touches a tear on his
	own face and realizes her tears are in response to his own.
<b>	
</b>	Viktor hesitates -- a moment of doubt -- then presses
	"ENTER".  The image of SIMONE's face gradually begins to
	deconstruct -- pixel by pixel -- as the virus takes hold. 
	The pixels collect into a pile at the bottom of his screen
	like dust.  Finally, the dust is blown away in a single
	digital breath.
<b>	
</b>	For a moment his attention is taken with a layer of dust on
	his own desk.
<b>	
</b>	Viktor regards his own reflection in the now black screen. 
	His hard-drive now corrupted, he picks up his original disc
	marked, "SIMULATION ONE".
<b>	
</b>	He tosses this disc into a steamer trunk he has loaded with
	hundreds of discs relating to Simone's software.  He shuts
	the lid and begins dragging the trunk towards the door.
<b>	
</b><b>	EXT.  SANTA MONICA BAY - DUSK
</b><b>	
</b>	Viktor's yacht sits at anchor in the glassy waters of Santa
	Monica Bay -- "SIMONE" written on the stern.
<b>	
</b>	VIKTOR manhandles the trunk to the railing.  A mournful pause
	-- then he heaves it over the side.  The trunk sinks like a
	stone.
<b>	
</b>	Heart heavy, Viktor stares into the inky depths.
<b>	
</b><b>	EXT.  STUDIO - ENTRANCE - DAY
</b><b>	
</b>	A throng of REPORTERS and CAMERA CREWS.  A somber VIKTOR
	enters and takes a seat in front of a forest of microphones.
<b>	
</b><b>	                    VIKTOR
</b>	          It is my sad and solemn duty to
	          announce the tragic passing of
	          Simone.
<b>	
</b>	A gasp from the audience.  Then, an explosion of anguish.
<b>	
</b><b>	                    CROWD
</b>	          No!!  What happened?!  Oh.  God.
<b>	
</b><b>	                    PRESS REPORTER 1
</b>	              (stepping forward,
	               mustering the courage to
	               ask the question)
	          How did she die?
<b>	
</b><b>	                    VIKTOR
</b>	          A rare virus.
	              (pretending to compose
	               himself)
	          On her goodwill tour of the third
	          world.
<b>	
</b><b>	                    PRESS REPORTER 2
</b>	          Did she suffer?
<b>	
</b><b>	                    VIKTOR
</b>	          Mercifully, it was quick.
<b>	
</b>	At the back of the room are MAX SAYER and MILTON.  They are
	frozen in grief, a tear spills from Max's eye.
<b>	
</b><b>	A MONTAGE OF SCENES:
</b><b>	
</b>	A)  "SIMON GONE - FADE TO BLACK", reads the cover of Variety.
<b>	
</b>	B)  The announcement of her death appears on local TV news
	    shows around the globe.
<b>	
</b>	C)  A carpet of bouquets and notes of commiseration several
	    yards wide completely surrounds Viktor's property
	    including the driveway.  VIKTOR insensitively drives over
	    the bouquets to the horror of the MOURNERS, including MAX
	    SAYER and MILTON.
<b>	
</b>	D)  In a remote Mongolian encampment MONGOL HORSEMEN crowd
	    around a television showing a live picture of Simone's
	    funeral.
<b>	
</b>	E)  The HEARSE carrying Simone's "body" and the funeral
	    procession led solemnly by VIKTOR, proceeds through the
	    studio lot.  Distraught STUDIO STAFF toss flowers onto
	    the hearse.
<b>	
</b>	F)  The same television picture is playing on a television
	    sitting on a stool in a WEST AFRICAN river.  LOCAL WOMEN
	    stop washing their clothes to watch.
<b>	
</b><b>	EXT.  GRAVESIDE - CEMETERY - DAY
</b><b>	
</b>	We tilt up from Hank's headstone to an ornate mausoleum on an
	island in a lake.
<b>	
</b>	Simone's coffin is ferried across a bridge by PALLBEARERS
	from the studio.  Numerous MOURNERS follow behind.
<b>	
</b>	VIKTOR, ELAINE and a curiously dry-eyed LAINEY walk behind
	the coffin.
<b>	
</b><b>	                    VIKTOR
</b>	              (to Elaine)
	          Can I see you later -- go away for
	          the weekend?
<b>	
</b><b>	                    ELAINE
</b>	              (horrified by the
	               suggestion)
	          How can you bring that up at a time
	          like this?
<b>	
</b>	The coffin reaches the steps of the marble mausoleum.  A
	PRIEST, RABBI, and a BUDDHIST MONK turn to Viktor.  He nods
	and they start to carry the coffin towards the door. 
	However, the coffin is suddenly stopped by a POLICE OFFICER.
<b>	
</b>	A SECOND POLICE OFFICER begins to jimmy open the lid.  The
	coffin lid is pulled back.  Inside is a life-sized cardboard
	standee of Simone from "ETERNITY FOREVER".
<b>	
</b>	The MOURNERS gasp.  Everyone looks to Viktor.
<b>	
</b><b>	INT.  L.A. COUNTY JAIL - INTERVIEW ROOM - DAY
</b><b>	
</b><b>	A SERIES OF POLICE INTERVIEWS:
</b><b>	
</b>	JANE sits in the interview room, describing Viktor's assault
	on the standee.
<b>	
</b><b>	                    JANE
</b>	          -- I heard him say, "Die bitch".
<b>	
</b>	A)  MAX SAYER, distraught and weeping.
<b>	
</b><b>	                    MAX
</b>	          -- He was a controlling madman, she
	          was a prisoner.  I blame myself...
	          I should have done more to stop
	          it...
<b>	
</b>	B)  NICOLA gives a statement.
<b>	
</b><b>	                    NICOLA
</b>	          -- It was strange.  He wanted to
	          replace her with me in his new
	          movie... and I know I'm not that
	          good.
<b>	
</b><b>	INT.  L.A. COUNTY JAIL - INTERROGATION ROOM - DAY
</b><b>	
</b>	VIKTOR sits in an interrogation room in a sea of SIMONE. 
	Magazine covers, cosmetics advertisements, publicity shots,
	interviews, website print-outs, photographs and report cards
	from her fictitious childhood are plastered on the walls,
	stacks of film cans and tapes of her numerous movie and
	television appearances.
<b>	
</b><b>	                    DETECTIVE
</b>	          -- Forgive me, Mr. Taransky.  I'm
	          just trying to understand.  All
	          these films, TV appearances,
	          magazine covers, internet
	          interviews, publicity photos,
	          snapshots from her childhood -- all
	          fake.
	              (referring to various
	               items)
	          This is fake, this is fake -- fake,
	          fake, fake, all fake.
<b>	
</b><b>	                    VIKTOR
</b>	          That's right.  You understand
	          perfectly.  I will confess to
	          fraud, not murder.
<b>	
</b><b>	                    DETECTIVE
</b>	              (referring to oversize
	               mail bags)
	          A fan club with a worldwide
	          membership in the millions -- also
	          bogus?
<b>	
</b><b>	                    VIKTOR
</b>	          Oh, no.  The fan club is real.  But
	          they were worshipping computer code
	          -- ones and zeros.
<b>	
</b><b>	                    DETECTIVE
</b>	          So, of course, you couldn't kill
	          Simone because there never was a
	          Simone.
<b>	
</b><b>	                    VIKTOR
</b>	          Of course.
<b>	
</b><b>	                    DETECTIVE
</b>	          And this Mr. Hank Aleno who you
	          talk so much about, a renowned
	          failure, who also happens to be so
	          conveniently dead -- perhaps the
	          "man" you claim helped invent
	          Simone is an invention himself?
<b>	
</b>	Viktor, sensing his sarcasm, does not reply.
<b>	
</b><b>	                    DETECTIVE
</b>	              (patronizing smile)
	          But not everyone's imaginary, are
	          they, Mr. Taransky?  I refer, of
	          course, to Edith.
<b>	
</b><b>	                    VIKTOR
</b>	          Who?
<b>	
</b>	The Detective raises a window-blind to reveal a next door
	room where the OLD WOMAN from the rest home is being
	interviewed.
<b>	
</b><b>	                    DETECTIVE
</b>	          The woman you admitted to a
	          journalist is Simone's mother and
	          for whose silence you paid a
	          fortune?  Is she not flesh to you --
	          are her tears not wet?
<b>	
</b>	The OLD WOMAN glances up and sees all the photos of Simone
	through the window.
<b>	
</b><b>	                    OLD LADY
</b>	          My BABY!
<b>	
</b>	The Detective abruptly lowers the blind.  Viktor rolls his
	eyes at the Detective's theatrics.  He is suddenly enraged.
<b>	
</b><b>	                    VIKTOR
</b>	          She's insane!  This whole thing is
	          insane!  There is no Simone.  Look!
	              (grabbing a Simone poster)
	          Even her name is fake.  It's not
	          Simone.
	              (he tears Simone's name in
	               half to demonstrate)
	          It's SIM... ONE!  Simulation One!
<b>	
</b>	The Detectives sadly shake their heads.
<b>	
</b><b>	                    DETECTIVE 2
</b>	              (regarding Simone's face
	               also torn in half)
	          You really hated her, didn't you?
<b>	
</b>	The Detective places a tape, marked "EXHIBIT A" in a video
	machine.
<b>	
</b><b>	                    DETECTIVE
</b>	          Perhaps you could explain this to
	          me, Mr. Taransky -- or is this tape
	          "doctored" too?
<b>	
</b>	He plays a tape showing --
<b>	
</b><b>	EXT.  MARINA PIER - NIGHT (ON TV SCREEN)
</b><b>	
</b>	VIKTOR dragging his trunk from his car down the pier to his
	yacht.
<b>	
</b><b>	                    DETECTIVE
</b>	          It's footage from the marina's
	          closed-circuit camera on the night
	          in question.  Altered, of course. 
	          Is that really what you expect us
	          to believe, Mr. Taransky?
<b>	
</b>	The Detective freezes the tape.
<b>	
</b><b>	                    DETECTIVE
</b>	          Can you tell us why you were
	          disposing of the body of a woman
	          who didn't exist?
<b>	
</b><b>	                    VIKTOR
</b>	          It wasn't her body.  It was her
	          body of work.
<b>	
</b><b>	                    DETECTIVE
</b>	          Why don't you just come clean,
	          Viktor?  Tell the truth.  You'll
	          feel better afterwards.
<b>	
</b><b>	                    VIKTOR
</b>	          I am telling the truth.
<b>	
</b><b>	                    DETECTIVE
</b>	              (coming close to him)
	          We all know what happened.  In a
	          fit of jealous rage you killed
	          Simone and dumped her body off a
	          boat she bought for you.
<b>	
</b><b>	                    VIKTOR
</b>	          No!!  I can prove it to you.  I'll
	          take you to her.
<b>	
</b><b>	EXT.  BOAT - SANTA MONICA BAY - DAY
</b><b>	
</b>	VIKTOR sits handcuffed on a POLICE BOAT with the DETECTIVE
	and his LAWYER.  DIVERS surface with the steamer trunk. 
	Viktor's face lights up.
<b>	
</b>	The trunk is winched aboard.  However, as it lowers onto the
	deck, we see the latch has broken and the lid is ajar.  All
	eyes stare inside the trunk as the lid is lifted.  Apart from
	a scrawny piece of kelp -- empty.
<b>	
</b><b>	                    VIKTOR
</b>	              (panicky, desperately
	               grabbing the divers)
	          Did you find anything else --
	          drivers, discs... disc-drives?
<b>	
</b><b>	                    DIVER 1
</b>	          Nothing.
	              (gazing to the water)
	          We couldn't stay down any longer.
<b>	
</b>	All eyes follow the diver's gaze to several SHARK FINS in the
	water.
<b>	
</b><b>	CLOSE UP ON FRONT PAGE OF L.A. TIMES:
</b><b>	
</b><b>	           "SIMONE"S BODY FEARED EATEN BY SHARKS"
</b><b>	
</b>	The newspaper is being read by Viktor's LAWYER, sitting
	opposite Viktor in his cell.  VIKTOR is numb -- the
	likelihood of conviction slowly dawning on him.
<b>	
</b><b>	                    LAWYER
</b>	          -- Plead guilty and throw yourself
	          on the mercy of the court.  It's
	          the best deal you're going to get.
<b>	
</b><b>	                    VIKTOR
</b>	              (incredulous)
	          I could get the death penalty.
<b>	
</b><b>	                    LAWYER
</b>	          You certainly will if you go to
	          trial -- a jury in this kind of
	          ugly mood.  You've killed an icon,
	          for God's sake.
<b>	
</b><b>	                    VIKTOR
</b>	          I didn't kill anyone, Bernard,
	          there was no one to kill!
<b>	
</b><b>	                    LAWYER
</b>	              (musing)
	          An insanity defence.
<b>	
</b><b>	INT.  VIKTOR'S SOUNDSTAGE - NIGHT
</b><b>	
</b>	A FIGURE sits at Viktor's computer.  LAINEY.  She scrolls
	through Viktor's files.  All empty.
<b>	
</b>	Lainey sighs.  ELAINE paces behind her.
<b>	
</b><b>	                    ELAINE
</b>	          Let's go, Lainey.  There's nothing
	          here.
<b>	
</b><b>	                    LAINEY
</b>	          Just a minute.
<b>	
</b>	Elaine continues to pace as Lainey works.
<b>	
</b><b>	                    ELAINE
</b>	          God, it's so like your father.  Why
	          can't people take responsibility
	          for their actions anymore?  I can
	          almost forgive him for killing
	          Simone -- but denying her
	          existence.  I can never forgive
	          that.
<b>	
</b><b>	                    LAINEY
</b>	          Because obviously she existed,
	          right?
<b>	
</b><b>	                    ELAINE
</b>	          I know it as surely as you're
	          sitting here, sweetheart.  She was
	          the most vital woman I ever met.
<b>	
</b><b>	                    LAINEY
</b>	          So you did meet her?
<b>	
</b><b>	                    ELAINE
</b>	          Of course.  What are you
	          suggesting?
<b>	
</b><b>	                    LAINEY
</b>	          I mean really meet her -- in the
	          flesh.
<b>	
</b>	Elaine regards her daughter curiously.
<b>	
</b><b>	                    LAINEY
</b>	          I know it's embarrassing to admit
	          it, mom, but when I think about it 
	          -- honestly, I haven't.  I mean, it
	          feels like I have.  I know more
	          about her than members of my own
	          family.  She's even in my dreams. 
	          But I realized, going back through
	          my diary, they were all TV
	          appearances, near misses at
	          parties, second-hand rumor, gossip
	          on the internet.  I've never
	          actually seen Simone up close,
	          touched her, been in her physical
	          presence.  Have you?
<b>	
</b><b>	                    ELAINE
</b>	              (unable to refute it)
	          Well, I --
<b>	
</b><b>	                    LAINEY
</b>	          -- We don't believe daddy because
	          we don't want to believe we were
	          taken in too.
<b>	
</b><b>	                    ELAINE
</b>	              (trying to shake the
	               notion from her head)
	          Lainey, there's no evidence that
	          Simone isn't real.
<b>	
</b><b>	                    LAINEY
</b>	          Listen to what you're saying, mom. 
	          Is there any evidence she is?
<b>	
</b>	Lainey finally tries another file.  She presses "EJECT".  The
	"PLAGUE" disc spits out of the machine.
<b>	
</b><b>	                    LAINEY
</b>	              (regarding the disc)
	          There's one part of dad's story
	          that may have been true.  Simone
	          may have contracted a virus.
<b>	
</b>	Lainey smiles at her mother.
<b>	
</b><b>	                    LAINEY
</b>	          Certain viruses can be cured.
<b>	
</b><b>	INT.  L.A. COUNTY JAIL - POLICE CELL - DAY
</b><b>	
</b>	VIKTOR sits in his cell, arms crossed, quietly seething,
	while his LAWYER lays out his trial strategy.
<b>	
</b><b>	                    LAWYER
</b>	              (hushed tones, referring
	               to a thick Psychiatric
	               Report)
	          ... Listen, I've found a
	          psychiatrist in Ventura -- well
	          respected -- who's willing to
	          testify under oath that you have
	          diminished capacity due to the
	          trauma of your divorce, ten years
	          of abject failure in the movie
	          business and a bump on the head you
	          sustained as a child --
<b>	
</b>	VIKTOR, fuming throughout this, suddenly explodes.
<b>	
</b><b>	                    VIKTOR
</b>	          -- No!  I can't go along with this
	          horseshit!  Just tell them they can
	          fry me!
<b>	
</b><b>	                    LAWYER
</b>	              (aghast, looking around to
	               see if anyone has heard)
	          What?!
<b>	
</b><b>	                    VIKTOR
</b>	          It was premeditated -- I knew
	          exactly what I was doing!  I
	          strangled her!  I bludgeoned her! 
	          I set her on fire!  I did it!  I
	          killed her!
<b>	
</b><b>	                    DETECTIVE (O.S.)
</b>	              (clearing his throat)
	          Excuse me.
<b>	
</b>	The Lawyer spins around guiltily.  The Detective stands
	outside the cell, clearly overhearing the confession. 
	Viktor, resigned to his fate, couldn't care less.
<b>	
</b><b>	                    DETECTIVE
</b>	          I think you'd better see this.
<b>	
</b>	The Detective switches on the TV set hanging outside the
	cell.  VBC is playing -- "BREAKING NEWS" --
<b>	
</b><b>	INT.  TELEVISION STUDIO - "VBC" - DAY (ON TV SCREEN)
</b><b>	
</b>	A NEWS ANCHOR appears.
<b>	
</b><b>	                    VBC ANCHOR
</b>	              (from TV)
	          -- Breaking news -- international
	          media star, Simone, is alive and
	          well.  Her studio released this
	          footage only minutes ago...
<b>	
</b><b>	EXT.  STUDIO LOT - DAY (ON TV SCREEN)
</b><b>	
</b>	The brief clip shows the front page of the L.A. Times --
	headlines: "HOLLYWOOD SUSPENDS FILMING IN MEMORY OF SIMONE"
	and "D.A. Seeks Death Penalty for Taransky".
<b>	
</b>	The reader lowers the newspaper to reveal herself -- SIMONE,
	on the studio lot, looking more beautiful than ever.  She
	winks to the camera.
<b>	
</b><b>	                    VBC ANCHOR
</b>	          ... Simone reading today's edition
	          of the L.A. Times.  Who says, "The
	          only bad publicity is your
	          obituary"?  Details at the top of
	          the hour.
<b>	
</b>	The TV is switched off.  Viktor stares at the screen, trying
	to take it in.
<b>	
</b><b>	                    VIKTOR
</b>	          You're indestructible.
<b>	
</b>	When he looks back to the Detective, he discovers him holding
	the cell door open.
<b>	
</b><b>	                    DETECTIVE
</b>	              (shaking his head in pity)
	          I'll never get you Hollywood
	          people.
<b>	
</b><b>	EXT.  L.A. COUNTY JAIL - DAY
</b><b>	
</b>	A throng of REPORTERS, PAPARAZZI and ONLOOKERS parts like a
	sea for VIKTOR, released from custody.  One placard reads,
	"ASK JESUS TO SAVE YOU NOW".  He is escorted to a waiting
	limousine where he is met by ELAINE and LAINEY.  He hugs them
	both.
<b>	
</b><b>	INT.  LIMOUSINE - DAY
</b><b>	
</b>	VIKTOR sits beside ELAINE.  LAINEY sits opposite, studying
	her laptop computer.  Outside the car, REPORTERS are pressed
	against the glass.
<b>	
</b><b>	                    VIKTOR
</b>	              (relaxing back into his
	               seat)
	          Thank you!
	              (to Lainey)
	          I don't know how you did it but
	          thank you.
<b>	
</b><b>	                    ELAINE
</b>	              (putting her arm around
	               him)
	          Don't thank us too fast, Viktor. 
	          You know what we have to do?
<b>	
</b><b>	                    VIKTOR
</b>	              (resigned smile)
	          Why stop at one character when you
	          can have a whole cast?
<b>	
</b><b>	                    ELAINE
</b>	          Exactly.  Now that you have the
	          studio behind you, we can really do
	          things.
<b>	
</b>	Viktor shrugs resignedly, savoring his freedom.
<b>	
</b><b>	                    ELAINE
</b>	              (holding Viktor close)
	          I was thinking -- what about you
	          and... "Simone" moving back in with
	          me and Lainey?
<b>	
</b><b>	                    VIKTOR
</b>	              (meeting her gaze)
	          That sounds wonderful.
	              (to Lainey)
	          How do you feel about all this,
	          Lainey?
<b>	
</b><b>	                    LAINEY
</b>	              (beaming)
	          About you and mom?
<b>	
</b><b>	                    VIKTOR
</b>	              (reluctant admission)
	          Me and Simone.  What I did.
<b>	
</b><b>	                    LAINEY
</b>	              (sweet smile)
	          Your mistake wasn't making
	          something fake, daddy.  We're fine
	          with fake -- as long as you don't
	          lie about it.
<b>	
</b>	Once again his daughter's words have a ghastly ring of truth. 
	Viktor stares out of the limo window as the car gradually
	forces its way through the reporters.
<b>	
</b>	He recognizes MAX and MILTON amongst the mob.  Max has
	hastily scribbled a note that he presses against the
	window --
<b>	
</b>	"WILL PAY $ FOR EXCLUSIVE".  Viktor looks away.
<b>	
</b><b>	                    ELAINE
</b>	              (kissing him on the cheek)
	          Don't look so glum, Viktor.  It's
	          not a death sentence.
<b>	
</b><b>	                    VIKTOR
</b>	              (still staring out of the
	               window, a rueful smile)
	          No... it's life.
<b>	
</b><b>	INT.  FRANK BRAND TV STUDIO - DAY
</b><b>	
</b>	FRANK BRAND conducts a remote interview with SIMONE who
	appears as usual on a television monitor.
<b>	
</b><b>	                    FRANK BRAND
</b>	          -- Simone, the question on
	          everyone's mind is simply... "why?"
<b>	
</b><b>	                    SIMONE
</b>	          Frank, you know as well as I do,
	          living in a fish bowl, the
	          insatiable appetite of the media...
<b>	
</b>	Frank nods sympathetically.
<b>	
</b><b>	                    SIMONE
</b>	          With everything that was going on
	          in my life, I just needed to drop
	          out of sight for a while -- I
	          needed time.  Viktor bought me that
	          time.  I owe him so much.
<b>	
</b><b>	                    FRANK BRAND
</b>	          We all do.
	              (quickly returning to
	               Simone)
	          But now I understand you're eager
	          to get back to work -- and not the
	          kind of work that we're all
	          expecting.
<b>	
</b><b>	                    SIMONE
</b>	              (smiles coyly)
	          That's true.  I can reveal that I
	          am considering a career in
	          politics.
<b>	
</b><b>	                    FRANK BRAND
</b>	          And what may I ask brought this on?
<b>	
</b>	SIMONE holds up a beautiful BABY BOY to camera.
<b>	
</b><b>	                    SIMONE
</b>	          I suppose this little man had
	          something to do with it.  Viktor
	          and I are both concerned about what
	          kind of world our new son, Chip, is
	          going to grow up in.
	              (turning lovingly to
	               Viktor)
	          Aren't you, Viktor?
<b>	
</b>	On Frank Brand's monitor, the camera pulls back to reveal
	VIKTOR, sitting on a sofa -- an idyllic domestic scene.
<b>	
</b><b>	                    VIKTOR
</b>	              (turning lovingly to
	               Simone)
	          Yes.
<b>	
</b><b>	INT.  SOUNDSTAGE - DAY
</b><b>	
</b>	Only we see the set where the interview is being recorded. 
	VIKTOR is sitting on a sofa against a green screen in his
	soundstage, smiling at a woman and child who are not there --
	he is alone.
<b>	
</b><b>	CUT TO BLACK
</b><b>	
</b><b>	INT.  CONCERT STADIUM - NIGHT
</b><b>	
</b><b>	DURING THE CLOSING CREDITS SIMONE PERFORMS ANOTHER SONG FROM
</b><b>	HER CONCERT TOUR -- "(YOU MAKE ME FEEL LIKE) A NATURAL
</b><b>	WOMAN".
</b>
</pre>
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	<td><h1>Simone</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=Andrew Niccol" title="Scripts by Andrew Niccol">Andrew Niccol</a><br>
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What was Simone a double winner of?
What was Simone a double winner of ?
The academy award for best actress.
The academy award for best actress .
Academy Award for Best Actress
Academy Award for Best Actress