Simone

Synopsis: SIMONE has made a decision: after years of relationships with women, she decides to be with a man for the first time. The film broaches sexual freedom issues through the experiences of its protagonist. SIMONE is an engaging story, surrounded by inner questions and uncertainties that put to the test the convictions of the protagonist. Based on true events, the film combines elements of fiction and documentary. It plays with scenic creation and edition, as well as creates an unique, private and intimate world.
 
IMDB:
5.7
NOT RATED
Year:
2013
72 min
375 Views


FADE IN:

ON BRIGHT, OUT-OF-FOCUS, OVAL-SHAPED COLORS.

The colored shapes dart around the screen -- the impression

of looking through a kaleidoscope.

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.

EXT. STUDIO LOT - DAY

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.

Viktor finishes sorting. Finding no trash can to deposit the

rejected cherry candy, he scoops them into his pocket.

A young headset-clad P.A. hurriedly approaches. He looks

ill.

P.A.

Mr. Taransky --

Viktor reads the young P.A.'s panicked expression.

VIKTOR:

She's walking?... Don't tell me

she's walking.

(blood slowly draining

from his face)

She is not walking... She can't

walk.

EXT. TRAILER - DAY

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.

VIKTOR:

-- Nicola! How was your massage?

NICOLA:

You're in breach.

VIKTOR:

-- Is this about the new pages? --

I made the changes you wanted,

you're in virtually every scene --

NICOLA:

(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?

VIKTOR:

(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.

NICOLA:

Taller, Viktor.

VIKTOR:

Taller? What?

Viktor looks up in horror. The trailer next to Nicola's does

indeed appear to be fractionally taller.

NICOLA:

(walking away)

You've insulted me for the last

time.

Viktor looks to the tires. His face suddenly brightens.

VIKTOR:

Nicola, it's just the tires --

they're over-inflated! I can fix

it!

Viktor grasps the air nozzle on a tire and begins desperately

stabbing at it with a ballpoint pen. Air hisses out.

VIKTOR:

See, it's lower already.

Nicola ignores Viktor, marching towards her limo with her

PUBLICIST. Abandoning the trailer, Viktor hurries after her.

VIKTOR:

I beg you. You can't do this to

me.

NICOLA:

(looking back)

I had three other offers. I only

signed on to this picture out of...

loyalty.

VIKTOR:

Then show some. They'll shut me

down!

NICOLA:

(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".

Viktor stops, nods resignedly -- suddenly very calm.

VIKTOR:

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.

Nicola is stunned.

VIKTOR:

(to the limo driver)

To Hell, please.

The door slams and the limo roars away. Viktor looks to the

still hissing trailer tire. The CREW regards Viktor

apprehensively.

VIKTOR:

(to the crew)

What are you looking at? Get back

to work.

The crew is uncertain what work there is to do.

INT. BEDROOM - "SUNRISE, SUNSET" - NIGHT

In an ornate bedroom, NICOLA lies on her death bed under a

veil of netting. A distraught man, HAL, sits close by.

NICOLA:

(whispered)

Jack... are you there?

HAL:

I'm here. I'm right beside you.

A NUN enters.

NUN:

(to Hal)

You should really go now.

NICOLA:

No, it's alright. Please, let him

stay.

The nun withdraws. Hal holds his face in his hands, almost

breaking down.

HAL:

(a glance to heaven)

What kind of cruel God is it that

would take you away from me?

NICOLA:

The same one who brought me to you.

HAL:

No... I cannot accept it. If

something like this can happen.

What...

(struggling to find the

words)

What is it for?

NICOLA:

(smiles through her pain)

-- Why are we here? Is that what

you're asking, Jack?... Why are we

here? No why. Just here.

Nicola dies peacefully.

INT. SCREENING ROOM - STUDIO - DAY

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.

The lights go up. The image of Nicola fades off the screen.

EXECUTIVE 1

She's good. You can hardly tell

she's reading off a teleprompter.

VIKTOR:

(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.

EXECUTIVE 2

(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.

VIKTOR:

(more anxious)

So we'll re-cast.

HAL:

Nicola Anders is the only actress

who can play that role.

VIKTOR:

(incredulous)

It's a re-make, Hal. Anders is not

bigger than this picture.

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Andrew Niccol

Andrew M. Niccol is a New Zealand screenwriter, producer, and director. He wrote and directed Gattaca, S1m0ne, Lord of War, In Time, The Host, and Good Kill. more…

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