Return to SimplyScripts.com
-------------------------
AGE OF SWIRL by Neil Stratton INT VOLUCCI HALLWAY NIGHT Crista heads for her bedroom, pursued by her parents Gwinny and Jolly, who are in formal evening wear. CRISTA No no no. GWINNY But you must, ma chérie. CRISTA I'm not going. JOLLY For the sake of your mother. GWINNY Not to mention your father. CRISTA No. She goes inside her bedroom, slamming the door. GWINNY Your daughter is impossible. JOLLY I believe you were also at the conception. GWINNY Only in body. JOLLY Below the belt. GWINNY What are we going to do? JOLLY We'll say she's sick. GWINNY She is sick. JOLLY The truth. Even better. GWINNY She must be. When I was her age, I lived for parties. JOLLY Whereas now you positively die for them. GWINNY Don't be irrelevant. JOLLY Why not? It's the one thing I'm good at. GWINNY While she who has her grandfather's talent buries herself. Jolly shrugs helplessly. EXT VOLUCCI HOUSE NIGHT A black hearse-like car pulls up outside the large vine-clad house. Bindweed steps out. He's tall, thin and sombre-looking. As if in contrast, he's wearing a bright crimson waistcoat. Gwinny and Jolly come up to greet him. JOLLY She's barricaded herself in. GWINNY Her door doesn't have a lock. JOLLY Mentally barricaded, dear. Mentally barricaded. BINDWEED Then I'll have to talk tough. Do I have your consent? INT CRISTA'S BEDROOM NIGHT Crista's lying on her bed, surrounded by flickering candles. There's a knock on the door. CRISTA Go away. Bindweed enters. CRISTA Oh it's you. BINDWEED What's this nonsense about? Everyone's expecting you. CRISTA Then they'll have to un-expect me. BINDWEED Torrenti's defection has hurt us considerably. We need to show Volucci is still a force to be reckoned with. CRISTA Find someone else. BINDWEED There's not enough time. CRISTA I've never done a major exhibition before. BINDWEED It's a party, not an exhibition. CRISTA Do I look in a party mood? BINDWEED You just have to be there. It's a symbolic gesture. CRISTA And what if some half-wit asks me to dance? He sighs. BINDWEED If Xavier were dead, your period of mourning would be excessive. Since he's very much alive... CRISTA It's a crime against humanity. BINDWEED Shall I tell you about his latest piece of fluff? CRISTA I loved him. I don't care how stupid that makes me. I loved him. BINDWEED And now? CRISTA Now I love no-one and nothing. So how can I create? BINDWEED Then you leave me no choice. I'll liquidate the firm. CRISTA You can't. You don't have a majority. BINDWEED I have your father's support. INT VOLUCCI LIVING ROOM NIGHT Crista bursts in on her parents sipping pre-party cocktails. Bindweed follows. CRISTA How dare you even consider it? JOLLY Consider what? CRISTA Ganging up with Bindweed to destroy the firm. BINDWEED The term I used was liquidate. CRISTA Liquidate, vaporise, whatever. What Pippo put together, you would break apart. BINDWEED The time to sell is now, while the House of Volucci still has value. CRISTA Torrenti can and will be replaced. This is just scaremongering. BINDWEED We've been living under the cloud of losing your grandfather. There was some hope of improvement, but Torrenti's departure has changed that. CRISTA Temporarily. BINDWEED The period of grace with our bankers is about to end. CRISTA Then re-negotiate. Bindweed throws up his hands and goes to the window, looking out into the night. CRISTA I can't believe things are that desperate. JOLLY Well you know, carissima, you do spend a lot of time in your room. I admit when I try and read financial reports, the numbers do a jiggle before my eyes, but I'm not colour-blind. Crista turns her back and is silent. The others watch and wait. She whirls around. CRISTA All right. I'll go to your stupid party. INT PARTY VENUE NIGHT Natasha, 17, enters with her parents Gwinny and Jolly. The two greet everyone profusely, while Natasha makes a beeline for Oscar. Torrenti is holding forth to a group of supporters. Crista arrives with Bindweed. All eyes go on her and conversation stops. The band, noticing the change, winds down uncertainly. People part, so that Torrenti and Crista, though some distance away, face each other. CRISTA What's the matter, Torrenti? Afraid of a little competition? Torrenti smiles and twirls his right hand with an extravagant bow. He ends by blowing her a kiss. Bindweed gestures to the band, who resume playing. Bindweed and Crista go to the bar and order drinks. CRISTA How was I? BINDWEED Blatant. Your mere presence was enough. CRISTA Indulge me. It's probably the only fun I'll have all evening. Torrenti makes his way through the crowd and approaches them. TORRENTI Cristabellissima, you have never looked more gorgeous. CRISTA Doesn't he make a wonderful liar? TORRENTI When truth is a jaded whore, a lie becomes the sincerest form of flattery. CRISTA And I thought imitation had that honour. Silly me. TORRENTI Ah, imitation. That is the mother of originality CRISTA And that's no invention. So we shall expect a truly original collection from you. TORRENTI I deliver surprises, not expectations. He holds out his drink in a toast, takes a sip and moves off. Crista pulls a face at Bindweed, but his attention is elsewhere. BINDWEED I've just spotted Borinsky. You'll be all right on your own a moment? CRISTA Of course. I'll just stand here all symbolic. He goes off. She sips her drink looking mildly bored until Oscar and Natasha come up. CRISTA Hello, Oscar. Made any new enemies in high places? OSCAR My dear Crista, they're the only sort worth having. Anything less is not worth the fuss and bother. NATASHA Oh look, there's Metalla. Before Crista can continue the conversation, Natasha drags him away. Crista continues sipping, occasionally nodding at acquaintances. She doesn't notice Dexter, who may as well have been wearing the cloak of invisibility, nervously approach. DEXTER Excuse me, Miss Volucci... You are, aren't you? CRISTA I'm always what I am. Even when I'm not. DEXTER Now that Mr Torrenti's gone, will you be doing this season's collection? CRISTA Are you a reporter? DEXTER No. CRISTA Are you anybody? DEXTER A friend of Lyndon's. CRISTA Little tip. The idea in name-dropping is to pick one that actually means something. DEXTER I'm sorry, have I said somethihg to offend you? CRISTA If only. Then at least you'd be memorable. DEXTER The thing is, I was wondering about a dance. CRISTA You mean us? DEXTER Yes. CRISTA Do you believe in reincarnation? DEXTER Why? CRISTA Because it's not going to happen in this lifetime. She glances about the room, takes a sip of her drink, and is surprised to find him still there. She raises an eyebrow. He edges away. Bindweed returns. BINDWEED What did you say to the poor fellow? CRISTA The mad fool wanted to dance. I declined. BINDWEED You could have used tact. CRISTA That would only have confused him. He sighs. CRISTA What? He's nobody important. BINDWEED So now you're a snob? CRISTA It wasn't my idea to come here tonight. I'm doing my best. BINDWEED Your best would be to apologise. CRISTA I'll write him a note. You know who he is? BINDWEED A friend of Lyndon's. CRISTA Am I to be tormented all night by this meaningless name? BINDWEED He's a potential backer. The last one here you should've insulted. CRISTA Well I'm sorry, but they weren't lined up in order. She scans the crowd. CRISTA Point him out. BINDWEED So you can insult him personally? CRISTA Bindweed, don't you trust me? He reluctantly indicates. BINDWEED He's over there. However I suggest... He turns to Crista but she's gone. Crista comes up to Lyndon, who's standing alone. He spares her the merest of glances. LYNDON Miss Volucci. CRISTA I've come to apologise for insulting your friend. LYNDON I'm sure it wasn't entirely your fault. Dexter's brilliance with figures doesn't extend to the feminine kind. CRISTA (coolly) Really? LYNDON Besides, I did try and warn him. CRISTA About me? LYNDON That you don't dance. CRISTA Rather presumptious. I do what I like. In fact, if you were to ask me now, I might take great pleasure in proving you wrong. LYNDON Reluctantly I must deprive you of that pleasure. CRISTA So it's really you who doesn't dance. LYNDON Not since Trixie died. CRISTA Oh. She stands there fuming a moment before marching off. She intercepts Bindweed, about to greet an acqaintance. CRISTA He's arrogant, impudent, and who the hell is Trixie? BINDWEED No idea. CRISTA I thought you knew everything. BINDWEED I'll find out. CRISTA Do so. And why he's at this party if he's in mourning. BINDWEED Mourning? INT CRISTA'S STUDIO DAY Crista's at her drawing board, facing blank paper. Bindweed enters and picks his way through the litter of discarded rejects. He glances over her shoulder. CRISTA I don't know why you insisted I start drawing. It's too early. I have no ideas. BINDWEED What you produce isn't as important as it is to be seen to do so. CRISTA Is everything with you façade? BINDWEED You still don't understand. Our position is precarious. CRISTA Because Torrenti walked? He doesn't have a fraction of Pippo's talent. BINDWEED I don't need to remind you il maestro is no longer with us. CRISTA Well I for one still feel his presence. And how will Torrenti get on without the Volucci classic style to reign in his overblown self-importance? BINDWEED Despite your bravado, the money is indeed on him. However we haven't been written off yet. That's why you're here. He turns to leave. CRISTA Hold on. You haven't told me about Trixie. BINDWEED She isn't worth bothering about. CRISTA I'll hire a private investigator. BINDWEED Okay, but after our dinner with Lyndon. CRISTA You're mistaken if you think I have any feelings for him. I'm merely curious. He still hesitates, then relents. BINDWEED He maintains a collection of - let us say - exotic creatures. CRISTA A collection? My God, and to think I only called him arrogant. BINDWEED You will behave at this dinner? CRISTA Don't worry, he's money, nothing else. I could never love someone so loathesome. INT BINDWEED'S LIVING ROOM NIGHT Bindweed ushers in a suavely dressed Crista. Already seated with their drinks are Metalla, Gwinny, Jolly, Lyndon and Oscar. Natasha lounges on the floor by Oscar's feet. Bindweed fixes Crista a drink. CRISTA I didn't realise tout le monde would be here. OSCAR No, just the demi-monde. BINDWEED Lyndon suggested a family gathering, and Oscar and I qualify as hangers-on. NATASHA Are we related, Metalla? Why wasn't I told? GWINNY You were, darling. You always make it a point of honour to forget everything on te dit. METALLA Distant cousins. Barely counts. NATASHA Sounds like she's disowning us. METALLA I didn't think you liked being owned by anyone. NATASHA Quite right. When I grow up - that's next birthday so start saving madly - I intend to become fully independent. That includes never marrying. JOLLY I thought you were going to marry Oscar. NATASHA That amounts to the same thing. OSCAR I'm honoured. She doesn't bestow the title of non-entity on just anyone, you know. GWINNY Such gallantry, to make a joke out of wounded feelings. JOLLY Critics don't have feelings - just opinions. NATASHA Yes they do. Permanently wounded ones, because nothing meets their expectations. OSCAR And you, my sweet Natasha, are never more sublime than when you're being ridiculous. NATASHA Hear that, everyone? Henceforth I'm to be known as Your Sublimity. CRISTA I'm sure all this nonsense is boring our special guest. (to Lyndon) Would you like to introduce some more worthy topic? LYNDON What is more worthy than amusement? CRISTA A frivolous answer for a financier. LYNDON Yet you want me to invest in the fashion industry. Isn't that based on frivolity? OSCAR And therefore to be treated with the utmost respect. We should only laugh at serious things. JOLLY Easy for you to say. I always confuse the two. BINDWEED They are indeed inextricably linked. And what is a joke to one, is another's livelihood. NATASHA Oh Bindweed, Master of Doom and Gloom. If the House of Volucci fell tomorrow, we'd all find something else to do. GWINNY Says she, who's not even going into the business. LYNDON What do you intend to do? NATASHA I'm going to be an actress. METALLA We won't notice any difference then. NATASHA Oh ha. Oscar, find me something clever to say. JOLLY Cheating. OSCAR Unfortunately Metalla is the one person armoured against my barbs. NATASHA I didn't mean for Metalla's benefit. Everyone knows she's impervious. LYNDON Not entirely true, I hope? METALLA You expect me to freely confess my weak point? LYNDON To succumb is not always a weakness. CRISTA And what is your weakness, Lyndon? Collecting things? OSCAR My weakness is parking tickets. I simply can't resist them. LYNDON I have a few collections. I would hardly define it as a weakness. CRISTA Oh just a minor diversion, are they? BINDWEED Crista, would you like a re-fill? He gives her a warning look. She holds out her half-full glass while continuing to face Lyndon. CRISTA I admire your candour, although it's hardly flattering to Metalla. NATASHA What's Metalla got to do with collecting? Oscar? OSCAR She's suggesting he wants to add Metalla to his collection. LYNDON I only collect what can be bought. That inevitably excludes the heart. CRISTA Then I'm a little puzzled as to how your recent loss can have left you so heartbroken. LYNDON Loss? CRISTA Trixie. NATASHA Who's Trixie? LYNDON My budgie. CRISTA Your what? She gets up and walks out. INT CRISTA'S STUDIO DAY Crista hurls paint bombs at a wall as Bindweed watches on impassively. Finally she turns round and confronts him. BINDWEED This gives you inspiration? CRISTA His damn budgie! BINDWEED I'm sorry, I should've explained. But was it totally necessary to walk out? CRISTA I don't like being patronised. BINDWEED A pity, because that's what we do need - a patron. CRISTA Anyway, he's only interested in Metalla. BINDWEED I've set up another meeting. Crista prepares another paint bomb. BINDWEED That includes you. CRISTA No thanks. BINDWEED Without you there's no point. CRISTA Without me you can talk business, because that's what you both are - businessmen. BINDWEED He needs to see you're committed. She tries to ignore him. BINDWEED Remember who you are. CRISTA I'm not my grandfather. BINDWEED But you are a Volucci. CRISTA So is Natasha. BINDWEED Giuseppe trained you. He recognised your talent. CRISTA I'm not ready, damn you. Maybe in a year or two. BINDWEED Unfortunately we don't have the luxury of that option. CRISTA Get out. BINDWEED As you request. He goes to the door then adds a parting shot. BINDWEED But you will come to the meeting. He leaves before she can object further. She hurls the paint bomb at the door. INT LYNDON'S BOARDROOM DAY Lyndon and Bindweed are seated at a massive oval table. Crista walks slowly around it, tracing the circumference with her finger. CRISTA This is to impress me? LYNDON No, you're here to impress me. CRISTA And how can I do that? LYNDON By convincing me I should invest in Volucci. CRISTA The House of Volucci is synonomous with quality design. LYNDON You've lost Torrenti. CRISTA My grandfather had two pupils. LYNDON Yes. I understand you've never done a major collection. She looks at Bindweed. BINDWEED Nevertheless she has exhibited small ranges extensively. Commentators recognise she's inherited her grandfather's flair. LYNDON I've read the reports. But still, it's Torrenti everyone's talking about. BINDWEED The rivalry between Torrenti and Volucci will generate much useful publicity. LYNDON What point publicity without winning designs? I see you've brought nothing along. CRISTA Are you a designer? Can you read patterns? Understand fabrics? How fashion editors will respond? You know all this? LYNDON I'll seek advice. Crista pauses. CRISTA Give me a week. LYNDON What for? CRISTA You'll see Metalla in a dress that'll make you fall in love. Their eyes lock for a moment. LYNDON One week. INT UNDERGROUND CARPARK DAY Crista marches determinedly out of the lift. A remonstrating Bindweed follows after her. BINDWEED Are you mad? First you say you have no ideas, and then you pin everything on a single dress that doesn't even exist. CRISTA What's the big deal? He's already in love with her. INT CRISTA'S STUDIO NIGHT Crista's sketching furiously as Oscar enters. She barely glances up. OSCAR Calamity. CRISTA You've split a fingernail. OSCAR No that would be an absolute tragedy. She rips off a page and thrusts it at him. CRISTA What do you think? He studies it bemusedly. OSCAR Is this in fashion? CRISTA The idea is to create fashion, not be constrained by it. OSCAR I know nothing about fashion. CRISTA That never stopped you being an art critic. OSCAR On the contrary, it's my one qualification. Knowing nothing, I'm free to indulge my opinions. CRISTA So opine. Or don't you believe fashion has anything to do with art? OSCAR Sometimes too much, which makes it hard to critique since one is timeless and the other of the moment. CRISTA But both are born of their time. Stop stalling. He studies the drawings. OSCAR Not your usual style. CRISTA You mean I never swirled before. OSCAR It's as though you deliberately set out to captivate. CRISTA I did. OSCAR You do for the curve what cubism did for the straight line. CRISTA Thank-you. She notes his expression and sighs. CRISTA Okay, what's the bad news? OSCAR Metalla's been scooped up. CRISTA By? OSCAR Adam Zedd. CRISTA Who? OSCAR And I say unto you, from the west shall come a veritable pinball wizard. INT BINDWEED'S OFFICE DAY Crista bursts in on Bindweed. CRISTA Adam Zedd. Why wasn't I told about him? Damn it, Bindweed, you must keep me informed. BINDWEED What about him? CRISTA He's in town. BINDWEED So? CRISTA He's setting up here. BINDWEED Adam Zedd is underground - in fact, anti-fashion. Our paths don't cross. CRISTA They just have. He's ensnared Metalla. BINDWEED Professionally? CRISTA Yes. She now works only for him. BINDWEED Well she's an ultramodel. They're subject to these irrational whims. It won't last. CRISTA We need her now. BINDWEED What do you suggest I do? CRISTA Offer her a contract. BINDWEED We can't afford her. CRISTA We can't afford not to have her. BINDWEED Please remember there are other models. CRISTA But none Lyndon's in love with. Or have you found another backer? BINDWEED Have more faith in your own creations. She storms out. INT ADAM ZEDD'S STUDIO NIGHT The studio is a converted warehouse, the style industrial chic. Metal chains hang from the rafters. Adam Zedd shows Crista in. Metalla is suspended above a king-size bed. CRISTA So this is where you hang out these days. He pushes a button, releasing the chains. Metalla falls onto the bed. ADAM ZEDD I'm a great admirer of your grandfather. CRISTA Really? It doesn't show. ADAM ZEDD If you've come for Metalla, the answer's no. CRISTA Just for the Sho-Down. He unlocks Metalla's bracelets. CRISTA I don't see how that'll compromise any plans you have for her. ADAM ZEDD Then you obviously don't know. CRISTA Know what? ADAM ZEDD I'm also in the Sho-Down. CRISTA You? METALLA Meine Süße, afraid of a little competition? CRISTA Not when the emphasis is on little. ADAM ZEDD You're right, I'm not interested in competing. It's more a forum for my ideas. CRISTA Clothes are for wearing, not de-constructing. ADAM ZEDD Without ideas, clothes are just wrapping. CRISTA With you, they're not even that. Like when you chained naked models to a contraption and called it 'Slaves to the Machine'. ADAM ZEDD You know my work. I'm impressed. CRISTA I had you researched. ADAM ZEDD And what else did you learn? CRISTA That you don't need Metalla. ADAM ZEDD No, you don't. To you, she's just a mannequin. CRISTA And what is she to you? ADAM ZEDD Art. He kisses Metalla. CRISTA (to Metalla) Glaubst du daß? METALLA Natürlich. You should find something to believe in. Crista turns and walks off. INT TORRENTI'S STUDIO DAY Crista is shown in by Julie, Torrenti's assistant. He's with a client, who's trying on one of his designs. TORRENTI Magnifica, no? CRISTA Sì, squisita. The client nods approvingly and goes off to change. CRISTA Sorry to interrupt your work. TORRENTI When you call, Cristabella, work is the interruption. CRISTA Nevertheless, I'll get straight to the point. TORRENTI Un momento. He says a few words in Julie's ear then motions Crista to sit down. TORRENTI Sto in ascolto. CRISTA You were grandfather's protégé. TORRENTI True. CRISTA He fostered your talent. TORRENTI And I'm grateful. CRISTA So grateful you felt obliged to leave us when we needed you most? TORRENTI Il maestro had more than one protégé. CRISTA I'm not ready, as you well know. TORRENTI If I knew that, I wouldn't have left. CRISTA You saw me as a threat? TORRENTI You're Volucci. How could I not? CRISTA That's ridiculous. TORRENTI Maybe, but everytime I step away from the Volucci style, I am reminded of you. Cristabella has the Volucci touch. Through her, il maestro lives. CRISTA You thought I wanted you out? TORRENTI I think only this. However meagre my talents, I must express them. CRISTA You want freedom, then that's what I'm offering. Julie arrives with the tray of drinks. TORRENTI I have it already. CRISTA As an independent, you'll struggle. TORRENTI Maybe I enjoy the challenge. CRISTA Okay, I'll resign. You won't be haunted by my presence. TORRENTI Resign? To do what? You're a designer. CRISTA I'll handle small commissions for private clients. Nothing on a grand scale. TORRENTO And that will satisy you? CRISTA The survival of the firm will satisfy me, and that's what's at stake. TORRENTI Bindweed, he's always worried about the money. I never believe. CRISTA We need this season to be a success, and that means the Sho-Down. TORRENTI You will make it one, I'm sure. CRISTA We've lost Metalla. TORRENTI Your strategy depended on Metalla? CRISTA It's complicated. TORRENTI Well I don't have her either, so it will be a fair business. CRISTA She's with Adam Zedd. TORRENTI Adam Zedd? CRISTA He's been invited to the Sho-Down. TORRENTI I know the name, but is he so important? CRISTA We make clothes, he makes statements. He'll turn the event into a three-ring circus. TORRENTI He's a clown to amuse the people. But our clothes are what they'll remember. CRISTA Not if he makes them appear insipid. TORRENTI Then I have my theme - death to the insipid. CRISTA Save your theatrics for the gallery. Are you willing to deal? TORRENTI I already have my plans. It will mean havoc. CRISTA You need distribution. We have the outlets. TORRENTI And what about your aunt? CRISTA Bindweed and I between us control sixty-percent. She can't stop you. TORRENTI Il mastro's daughter commands the respect and loyalty of the staff. I cannot work in inharmonious surroundings. CRISTA I'll talk to her. TORRENTI I must have the consent of la zia. EXT FRANCESCA'S LAWN DAY Francesca sits with her protégé Sylvan under a sun umbrella. They're sipping cool drinks. Crista and Natasha approach. NATASHA Oh no, it's Sylvan. CRISTA You don't like him? NATASHA Of course I do. Even if he is dull. CRISTA You mean he's not Oscar. NATASHA Unfortunately that's what encourages Aunt. CRISTA Well if it pleases her... NATASHA I thought I was here to pursuade her about Torrenti. CRISTA And scorning her favourite designer is the way to go about it? Natasha pouts. They arrive at the table. CRISTA Beautiful day. FRANCESCA Isn't it? Natasha, I've just been extolling your merits on the badminton court. NATASHA I'm bloody awful. I just bash about, you know. FRANCESCA (to Sylvan) Don't you admire such affecting modesty? He smiles at Natasha. She darts a look at Crista, who returns one of her own. CRISTA Why don't you give him a game? NATASHA Because I'm not dressed and I sweat like a pig. CRISTA I mean a friendly one. NATASHA In badminton there are only enemies. Sylvan stands uncertainly then goes to sit down again. NATASHA Well come on then. She takes his hand and hauls him off to the court. FRANCESCA Who is this Adam Zedd they're all talking about? CRISTA I guess you'd call him a conceptual artist. FRANCESCA So not a designer. CRISTA Isn't fashion about ideas? FRANCESCA They're indispensable, yes. But only as fuel to the fire for what is forged in the heart. Your designs, how are they coming along? CRISTA We need Torrenti. FRANCESCA Really? CRISTA You know our financial position. FRANCESCA We're not short of talent. Both you and Sylvan are closer to the Volucci style. CRISTA Bindweed thinks Gabini is backing Adam Zedd. FRANCESCA And since when did we concern ourselves with chain stores of the likes of Gabini? CRISTA Since they became ambitious enough to want to cut into our market. FRANCESCA I see it as a complete mismatch. A publicity gimmick, that's all. CRISTA Regardless, I don't think this is the time for us to go head to head with Torrenti. Francesca sips her drink and watches the playing couple. FRANCESCA You must do what you think best. CRISTA He won't come back without your blessing. FRANCESCA How flattering. Which rather makes me suspect a ploy. CRISTA I approached him. FRANCESCA Very well, I'll arrange a meeting. No, better still, I'll invite him to our photo-exhibition. EXT BADMINTON COURT DAY Natasha slams the shuttlecock. Sylvan dives for it, misses and lands in a tangled heap. She laughs and flops down by a tree. He comes over and they sit a moment in silence while regaining breath. He turns to her. SYLVAN Can I kiss you? NATASHA What if you didn't? Would you positively explode with unrequited passion? SYLVAN I love you, Tasha. NATASHA And I love my family, dancing, music and chocolate. Not always in that order. He continues looking at her fondly. She rolls her eyes. NATASHA Just a quick peck then, because I hate people drooling. He kisses her tenderly. She responds at first then suddenly breaks away and jumps to her feet. NATASHA Let's go, I'm dying of thirst. She heads off to rejoin the others. He remains by the tree watching her. INT ART GALLERY NIGHT People stand around in groups sipping wine. A few wander among the black-and-white photos on display of women modelling Volucci creations. Crista comes up to her father. CRISTA What do you think? JOLLY Superb. I'll say this for Fran, she knows her wines. CRISTA I meant the photos. JOLLY Ah yes. Did you know cats see only black-and-white? Or is it dogs? CRISTA Dogs. Possibly cats too, since they hunt at night. JOLLY Well, lacking their specialised knowledge of chiaroscuro, I'm loathe to pontificate. Instead I'll put safety first and stick to the wine. She smiles and moves away. Lyndon sees her passing and calls out. LYNDON Crista. She whirls around. CRISTA Hi. LYNDON You've been avoiding me. CRISTA Not at all. LYNDON Our appointment? CRISTA There's been a delay. Didn't Bindweed explain? LYNDON He explained very little. I don't enjoy being kept in the dark. CRISTA Okay, we lost Metalla. LYNDON You didn't have her under contract? CRISTA No. LYNDON Yet people associate her with Volucci. CRISTA They'll have to dis-associate. She's with Adam Zedd. LYNDON How much to get her back? She laughs. CRISTA She's not interested in money. LYNDON Then what's he offering, this Adam Zedd? CRISTA Art. He gestures with a sweep of his hand. LYNDON And what's this? CRISTA Mostly my grandfather, with some Torrenti thrown in. LYNDON Show him up. CRISTA Giuseppe Volucci? LYNDON Adam Zedd. He walks off. Natasha arrives, having witnessed his abrupt departure. NATASHA What's happened? What have I missed? CRISTA Testosterone rising. Crista goes and joins Oscar and Gwinny, who are discussing the photos. GWINNY Isn't black-and-white an oversimplification? OSCAR The simple isn't always simple. Think of Chinese painting, where a few brushstrokes can conjure up an entire landscape, all suggested by shadow. GRINNY But what about this one, for instance? There's no background at all. OSCAR In movement, colours blur. What becomes important is the distinction between light and shade. Here the swirling silk is frozen in time, but we feel its suspension could be broken at any moment. CRISTA Torrenti. They all turn and regard Torrenti, who makes his grand entrance in a long red cape. He nods to various people in greeting, occasionally smiling, but doesn't speak. He walks slowly among the exhibits until reaching Francesca. TORRENTI My compliments. Your Monsieur Jacquin has captured the essence of everything that's important. Addio. He sweeps out, passing and ignoring a returning Natasha. She watches him leave in bewilderment. NATASHA Am I completely ignorable or have I missed something again? FRANCESCA It seems we were misled. CRISTA The photos. NATASHA What? CRISTA They're all in black-and-white. FRANCESCA Well of course. That's what Jacquin is famous for. CRISTA And Torrenti's known for his dramatic use of colour. FRANCESCA He should've been flattered to have his work included in the great Jacquin's exhibition. OSCAR Flattery is in the eyes of the beholder. NATASHA That's what they used to say about beauty. OSCAR And look where it got them. INT ROOM OF MIRRORS DAY The large fitting room is dominated by mirrors. A model in a swirling, sensuous wrap-around struts along, striking poses before a seated Lyndon, Crista and Bindweed. After she exits there's a long silence. CRISTA You hate it. LYNDON I love it. CRISTA But? LYNDON I'm concerned about Adam Zedd. CRISTA I'm not. LYNDON Your style is sophisticated and voluptuous. CRISTA But where's the socio-political statement, right? LYNDON No, I've been studying his work and his statements are rather banal. But his style has genuine visual impact, which generates visceral excitement. CRISTA So? LYNDON So we either match him or run the risk of appearing staid. CRISTA There will be no comparison, because our styles and aims are completely different. LYNDON Then why did the organising committee invite him to the Sho-Down? CRISTA I don't know - possibly because he has Gabini behind him. The point is, I'm a designer, not a performing seal. LYNDON Adam Zedd's presence changes the configuration. You must react. CRISTA This isn't about me and Adam Zedd, it's about you and him fighting over Metalla. Well I refuse to be caught in the middle. Volucci can survive without your money. She walks out. BINDWEED She didn't mean that. Creatives, you know. LYNDON Storming out appears to be her modus operandi. BINDWEED I'll talk to her. LYNDON Do. EXT PARK DAY Crista and Bindweed stroll in the park, but their conversation is animated. CRISTA I refuse to turn Volucci into the House of Zedd. All to appease his desire for Metalla. BINDWEED We need his money. CRISTA We need money, yes. Not his. BINDWEED You imagine they're lining up to lend to us? CRISTA There must be someone. BINDWEED We're running out of time. CRISTA Then we'll pull out of the Sho-Down. BINDWEED What? That's our platform. Without it, we're sunk. CRISTA We'll do our own show. Invite labels who don't get a chance to be in the Sho-Down. BINDWEED The Sho-Down has world-wide prestige. You can't create that overnight. CRISTA And who in large part created that prestige? Volucci. BINDWEED And when do you propose holding this exhibition? Before or after? CRISTA The same date. BINDWEED That'll only cause trouble. CRISTA Did the organising committee consult us about Adam Zedd? BINDWEED That's not how it works. CRISTA Likewise. He sighs and shakes his head. Crista marches on, resolute. INT CRISTA'S STUDIO DAY Crista's sifting through fabric samples as Bindweed enters. BINDWEED You haven't forgotten our meeting? CRISTA What meeting? BINDWEED With our bankers. CRISTA Finance is your province. Just let me know the outcome. BINDWEED That's easy. If you don't attend, they'll shut us down. CRISTA They wouldn't dare. BINDWEED Maybe not, but they will take control and insist you go to the Sho-Down. Either that or be replaced by Sylvan. CRISTA He isn't up to it. BINDWEED Francesca may think otherwise. CRISTA Is she in on this? BINDWEED She's maintaining a dignified aloofness, while naturally being concerned at this new confrontational attitude. CRISTA Which she precipitated by - no, let's not go into that. BINDWEED She's genuinely fond of you, and of course loyal to the Volucci name. The same can't be said for our bankers. CRISTA Very well, I'll talk to them. Have I got time to go home and get changed? BINDWEED Not necessary. (calls) Emma. Emma, Crista's assistant, enters carrying the appropriate change of clothes. CRISTA You've given me an idea. But we'll have to move fast. INT CONFERENCE ROOM DAY Crista stands facing a row of seated bankers, headed by Silberman. She nods to Bindweed, who dims the lights and plays music on the sound system that's clearly not his own personal choice. A model enters draped only in chains, parades around then leaves. CRISTA What do you think? Silberman coughs. SILBERMAN She's very attractive. CRISTA I was referring to her clothing. SILBERMAN Clothing? He exchanges looks with his colleagues. CRISTA Yes. That, or at least something similar, was Adam Zedd's entry in a recent exhibition. SILBERMAN So? CRISTA So I repeat, what do you think? SILBERMAN We're financiers, Miss Volucci. We don't sit in judgement on artistic matters. CRISTA Then may I presume you'll respect mine? I do not intend to compete with that, which is what I'm being asked to do. SILBERMAN So instead you'll exhibit separately - at great cost to your sales. You cannot hope to match the publicity and reputation of the Sho-Down. CRISTA I have neither the ability nor desire to emulate Adam Zedd. Our clothes are made to be worn in life, not in pantomine. They all watch her intently. No-one speaks. CRISTA Okay, I admit what I'm doing is a gamble, one you appear unwilling to support. I'll raise the money elsewhere. All I ask is that you grant me an extension. SILBERMAN You've already had one. CRISTA No, Bindweed has. This time I'll conduct the search. SILBERMAN We appreciate your talent in design, but what do you know about finance? CRISTA I know this much. I am a Volucci, and I will not stand by and see all that my grandfather built be destroyed. Two weeks, gentlemen. They confer. Finally Silberman gives the nod. INT UNDERGROUND CARPARK DAY Crista, Bindweed and the now dressed model walk to their car. BINDWEED (to model) You worked a treat, my darling. The look on their faces. (to Crista) A nice theatrical touch, even if they didn't buy your plan. CRISTA Oh they bought it all right. I got two weeks. BINDWEED Two weeks isn't enough. CRISTA It has to be. BINDWEED Lyndon still wants our business. CRISTA Under his terms. BINDWEED You'll find it hard to interest others. CRISTA Why? BINDWEED He has friends and influence. CRISTA If he's in business, he also has enemies. Find me them. BINDWEED Is that wise? CRISTA Wisdom is a luxury and we're skint. INT RESTAURANT DAY Crista's lunching with Montescu, a genial round-faced, silver-haired man who looks like a distinguished diplomat, except that his eyes have a sharpened focus. MONTESCU I have to say I'm impressed. CRISTA Enough to loan us the money? MONTESCU I'm not a banker, Miss Volucci. I take positions. CRISTA You mean a stake? MONTESCU In public companies I look for twenty-percent. In private concerns such as yourself, a minimum of forty. CRISTA We're a family business, still run very much in the manner set by my grandfather. MONTESCU Times change. That's why we're having lunch. CRISTA Forty is too much. MONTESCU The Volucci interests will retain control. CRISTA I'd still want some guarantees. MONTESCU Regarding? CRISTA Non-interference on the design side. MONTESCU You may design as you please. But I can only market what will sell. She sips her wine, eyeing him thoughtfully. He finishes off his meal with relish. INT CRISTA'S STUDIO NIGHT Crista's working on designs as Lyndon bursts in, barely preceded by Emma. LYNDON What the hell are you playing at? CRISTA Thank-you, Emma. Emma nods and leaves them to it. CRISTA Whatever do you mean? LYNDON Signing with Montescu. CRISTA My, good news travels fast. LYNDON He'll devour you. CRISTA Your concern is touching. My heart almost melts. LYNDON You've ruined everything. CRISTA Of course I have. The entire world has been laid waste by my decision. Or could it be the only damage done has been to your ego? For once in your life, things haven't gone your way. LYNDON You're being ridiculous. CRISTA No you are. Ranting in no way becomes you. LYNDON And mourning becomes Electra? CRISTA If there's nothing else, and I'm sure there isn't, please toddle off. LYNDON My offer to help was serious, yet I'm to be treated only as a source of amusement? CRISTA I'm just repaying the compliment. He turns and starts to leave. She waits a moment then calls after him. CRISTA One other thing. He waits. CRISTA Give my love to Metalla. He storms out. She smiles in satisfaction. INT ADAM ZEDD'S STUDIO DAY Metalla stands on a small raised platform facing an outlandish projectile contraption. Adam Zedd enters with Lyndon and returns to fiddling with the controls. ADAM ZEDD I seem to be becoming quite popular. LYNDON You haven't returned my calls. ADAM ZEDD I'm not your conduit to Metalla. Lyndon turns to Metalla. LYNDON You believe that about me, Louise? ADAM ZEDD Her name's Metalla. METALLA (to Lyndon) Sie haben Recht. But I prefer Metalla. ADAM ZEDD You lost her to me, and Volucci to Montescu. What does that make you? LYNDON You're about to find out. When you can spare the time. ADAM ZEDD In a sec. (to Metalla) Ready? METALLA How do you want me to look? ADAM ZEDD Like you're not expecting it. She turns to Lyndon and smiles. Adam Zedd activates the machine, sending a volley of green slime over her. She shrieks then begins laughing. Adam Zedd joins in. Lyndon remains coolly impassive. ADAM ZEDD She's a natural. Lyndon looks away. ADAM ZEDD That's a wrap. Take a shower. She goes off. ADAM ZEDD What do you think? LYNDON You don't want to know. ADAM ZEDD But I do. LYNDON Is this for the Sho-Down? ADAM ZEDD Maybe. Maybe not. I'm experimenting. LYNDON Metalla inspires you to cover her in green slime? ADAM ZEDD What do you believe in, Lyndon? Truth or beauty? LYNDON What truth is there in that display? ADAM ZEDD That we're all risen from primordial sludge. LYNDON And you're indulging in a bout of nostalgia. ADAM ZEDD What do you want? LYNDON I'm having lunch at Cellini's. Be there at one. He starts to go. ADAM ZEDD Who the hell do you think you are? LYNDON Your new boss. He leaves without waiting for a response. INT CELLINI'S RESTAURANT DAY Metalla picks fitfully at her food. Adam Zedd and Lyndon are in intense discussion. ADAM ZEDD You bought Gabini? As simple as that? LYNDON Nothing involving lawyers is simple. It's not in their interest. I won't get ownership for some time. But what I have done is buy the management contract, and that's effective now. ADAM ZEDD Where's the morality in that? LYNDON I'm still under the constraint of the board. But don't expect them to stand up for you. ADAM ZEDD Is that a threat? - because I'm not an employee. LYNDON No but you are under contract. ADAM ZEDD So what's the score? You're shutting me down? LYNDON I wouldn't want to make you a martyr. But the Sho-Down is out. ADAM ZEDD Let me guess. You'll arrange an alternate venue. Something small and out of the way. LYNDON Let's call it intimate. The scale you're used to working on. ADAM ZEDD I make it a point not to get used to anything. LYNDON More wine, Metalla? METALLA No thank-you. He looks at her barely touched plate. LYNDON I was informed this was one of your favourite places. METALLA Not today. The food's off. She rises. LYNDON Please. I haven't finished. She reluctantly sits. METALLA You have plans for me too? LYNDON I've signed Torrenti. METALLA And? LYNDON I believe you're an admirer of his work. METALLA That's beside the point. I'm with Adam now. LYNDON Not any more. I've peeled your contract. She looks at Adam inquiringly. He shrugs blankly. LYNDON I bought your management company, then onsold it minus your contract. Normally people can bail if there's a change in ownership. You were rather careless in that regard. METALLA You don't own me. LYNDON I'm sorry, I didn't mean to offend you. METALLA No? Then why am I only learning of it now as a fait accompli? LYNDON I guess I was afraid you'd escape. METALLA You'd sue me? LYNDON No. METALLA Then there's nothing more to be said. She leaves. Adam Zedd flashes a grin and follows. EXT HILLTOP TWILIGHT Adam Zedd gazes at the view below of the city. There's a fierce wind blowing. Metalla's eyes are in him. ADAM ZEDD That was a good show you put on. METALLA I meant it. ADAM ZEDD I need the Sho-Down. METALLA What for? The publicity? Believe me, it's a meaningless distraction. ADAM ZEDD Publicity inspires me - it's like a whirlwind feeding on itself, and we're all caught up in the havoc. She regards him curiously a moment. METALLA Then I'll strut for Torrenti. ADAM ZEDD And me? METALLA You'll be my condition. He raises his arm then brings it down with finger aimed at some far-off point. ADAM ZEDD Zap. They kiss. INT LYNDON'S OFFICE NIGHT Lyndon is seated at his desk in the semi-lit office. Metalla's at the window, observing the city lights. LYNDON Why did you insist on meeting here? There are better places. METALLA No, here is perfect. I like to see people in their natural habitat. LYNDON I don't spend as much time here as you seem to think. I do have other interests. METALLA Why did you buy my contract? LYNDON I wanted you. METALLA But you haven't got me. And you never will. LYNDON Louise... METALLA But I am willing to deal. LYNDON Let's not talk about deals. METALLA No? And you the businessman. LYNDON And you're a model. So why are you with Adam Zedd? METALLA Because he doesn't see me as a model. LYNDON And what do you see him as? METALLA Someone you and others scoff at. But I don't. LYNDON What's the deal? METALLA Let Adam into the Sho-Down. LYNDON No. METALLA Otherwise I won't do it for Torrenti. LYNDON I can't make you. But there are provisions of your contract I can enforce. Or perhaps you'd like to buy me out. She stares at him coolly then walks out. He bangs the desk. LYNDON Damn. EXT HEADLAND DAY Torrenti stands on the rocks, looking out to sea while the waves crash around him, sending up spray. A figure clambers along, finally reaching him. It's Lyndon. TORRENTI I love the water surging around the rocks. It's like life, no? All whirls and eddies. LYNDON Why have you stopped? TORRENTI You know why. LYNDON No. Are you lacking in inspiration? TORRENTI Inspiration comes from the word 'breathe'. Everytime I breathe, I am inspired. LYNDON Then I don't understand. I gave you everything you asked for. TORRENTI And also what I didn't - Metalla. LYNDON She'll be the torch that lights up the brilliance of your designs. TORRENTI I like that. It's something I might say. But she is unhappy. I must have l'armonia. LYNDON She wants Adam Zedd at the Sho-Down. Have you seen his work? TORRENTI It is perhaps not for me to judge. But he has a following, and he has Metalla. We cannot dismiss him. LYNDON You talk of harmony, yet you're known for your use of dissonant colours. TORRENTI I create new harmonies. LYNDON Not at the moment. TORRENTI You understand money. That is your field and I respect that. But you must respect me in mine. LYNDON It's not that simple. TORRENTI Then I will make it so. Adam Zedd is in, or I am out. LYNDON On what grounds? TORRENTI I have said. LYNDON Legally. TORRENTI Unlike Metalla, I am not lax about contracts. LYNDON You have a harmony clause? TORRENTI Not with that word. I explain to my lawyer and she translates into abracadabra legale. LYNDON I'll check it out and see if I have a case. TORRENTI You will not win. LYNDON I meant for replacing my legal team. INT ART GALLERY NIGHT Among the featured works is a sculpture by Adam Zedd entitled 'Metalla'. It's a mould of her body coated in shiny black lacquer. The upper torso though has been converted to a few abstract wisps. Natasha and Oscar contemplate the statue. Adam Zedd stands nearby. NATASHA That's Metalla? OSCAR With gaps. NATASHA But what does it mean? OSCAR It's a statement about nothing and as such, can't be toppped. Personally, I would've called it 'Air on a G-string'. Adam Zedd overhears and turns to them. ADAM ZEDD It's about gain and loss. OSCAR A profit and loss statement. No business should be without one. ADAM ZEDD And your business is criticism. I've read some of your pieces. Very amusing, if you go in for that sort of thing. OSCAR Sometimes I go out for it, in which case I charge double. ADAM ZEDD Again we have babble masquerading as wit. I guess it must be hard living up to a name. OSCAR Infinitely so in your case, since you're both alpha and omega. ADAM ZEDD Except I don't suffer delusions of grandeur. OSCAR No you take pleasure from them. ADAM ZEDD My pleasure is in taking away to reveal - in this case, the hollowness of ideal beauty. NATASHA What's false about Metalla? I wish I looked that false. She eyes Metalla, who's with some admiring art aficionados and looking somewhat bored. Torrenti arrives and proceeds to examine the statue with the expertise of a world-class poker player. Finally he makes his pronouncement. TORRENTI Magnifico. ADAM ZEDD You understand it? TORRENTI It is beyond understanding. That is why it is magnificent. ADAM ZEDD It was inspired by one of your designs. TORRENTI Mine? Really? ADAM ZEDD You showed me what could be done with emptiness. He moves away, leaving Torrenti to ponder. OSCAR He means the stuff between your ears. How can you say something is magnificent when you don't understand it? TORRENTI Precisely why. What we understand is prosaic. I must return to the source of my inspiration. I must create mystery. He sweeps off, stopping by Metalla. TORRENTI La mia cara, there is only one word - magnifica. METALLA Me or the statue? TORRENTI You are the statue. The statue is you. Brilliant. She gives him a look both quizzical and amused. TORRENTI Space is very important in design. I knew that once and then I forgot it. But in my own way, I will match this. He indicates the statue. TORRENTI The people will gasp. Torrenti will make them gasp. Oscar's now talking to Borinsky, much to Natasha's annoyance. Someone accidentally jostles Borinsky with a drink and she uses this distraction to pull Oscar to one side. NATASHA You know I don't like being ignored. OSCAR I was talking Volucci business. NATASHA Well I'm a Volucci and it's your business to explain all this stuff here. OSCAR What about your own response to it? NATASHA I didn't bring my own personal critic so I could think for myself. Honestly, you'd talk yourself out of any job. No wonder they don't appreciate you. She drags him over to a painting - an abstract riot of colour. NATASHA What's that? OSCAR Breakfast revisited. They move off to another painting. Gilbert, the painter, glowers unnoticed. EXT ART GALLERY ROOFTOP NIGHT Natasha and Oscar tumble outside, laughing. It's a beautiful starry night, and suddenly she's filled with a wistful sadness. NATASHA Oh Oscar, why are you you? OSCAR Because if I wasn't, I'd be someone else, and anyone who isn't me has my deepest sympathy. NATASHA You know what I mean. OSCAR No. So now it's your turn to explain. NATASHA Aunt Fran's trying to fix me up with Sylvan. OSCAR What's wrong with him? NATASHA Nothing I guess. But he's not you. OSCAR He's closer your age. NATASHA Oh I'm sorry, I didn't realise that was the point. What else? Same height? Same blood group? What happened to bio-diversity? He laughs at her nonsense. On impulse she kisses him. At that same moment a drunken Gilbert staggers out and confronts Oscar. GILBERT So you think my work's vomit? OSCAR I was being flippant. Totally out of character, I know. Besides, that remark was meant for private consumption. GILBERT What I paint is raw emotion. You know what that is? OSCAR Yes, it's what I experience when I have raw eggs for breakfast. Generally I prefer the hangover. Gilbert moves in threateningly. GILBERT Go on, say it again. Say my work's vomit. OSCAR I never repeat myself, except in front of a mirror. Natasha laughs, despite the situation. This maddens Gilbert more. GILBERT So everything's a joke to you, eh? Including Adam Zedd. Yeah, I heard that too. OSCAR My, what big ears you have. GILBERT Not as big as your mouth. But he's beyond you. OSCAR Of course. As an art critic, I only deal in art. Gilbert comes right up close. OSCAR Tash, go inside. NATASHA No, you'll be safer if I stay. OSCAR I wasn't suggesting you fetch duelling pistols. Get security. She hesitates. Gilbert continues eyeballing. OSCAR Quick. She darts inside to get help. The two men square off. OSCAR I presume I'm to be given a lesson on how the artist maturely handles criticism. GILBERT No, an art lesson. The best art should hit you like a smack in the face. He feints a kick to the groin, then punches Oscar in the face, felling him in a single blow. He pauses uncertainly, wondering if Oscar's unconscious but then he groans. Gilbert walks off. Moments later Natasha returns with a security guard. NATASHA Oscar? She bends over him. NATASHA What's he done? What's he done? Oscar shakes his head and begins wiping the blood from his mouth. She turns on the guard. NATASHA Don't just stand there. Call an ambulance. OSCAR No no, make it the tooth-helicopter. A crowd is gathering. Natasha stands and sweeps them all with pointed finger. NATASHA You're all witnesses. INT ART GALLERY NIGHT Word of what's happened quickly spreads, creating a disturbed buzz. Gilbert locates Adam Zedd, whose expression is grim. GILBERT I've just done a stupid thing. ADAM ZEDD Yes. Taken my audience. INT ADAM ZEDD'S STUDIO NIGHT Gilbert and Adam Zedd confer over coffee. GILBERT You have to help me. ADAM ZEDD I don't have to do anything. GILBERT He insulted your work. ADAM ZEDD I'd be more insulted if he hadn't. GILBERT That statue is a bloody great work of art. ADAM ZEDD Metalla is very fond of Oscar. If I help you, I risk losing her. GILBERT This is about your career? ADAM ZEDD You were defending it a moment ago. But no, she means more than that. Metalla enters. Gilbert gets up. GILBERT How is he? She looks at him frostily without answering. GILBERT Metalla, I'm sorry, believe me. Again she doesn't deign to make any response. He glances at Adam Zedd, who makes a brushing movement with his hand, a signal to leave. Gilbert puts down his half-finished coffee and goes out. METALLA What was he doing here? ADAM ZEDD He was upset. We were talking. METALLA He smashes Oscar's face and you're consoling him? ADAM ZEDD It was a dispute about art that got out of hand. Over your statue to be precise. METALLA I see. I'm the one to blame. He circles round her. ADAM ZEDD Only as the innocent flame that consumes the dazzled moth. She pulls him to her and they share a violent kiss. INT OSCAR'S APARTMENT NIGHT Oscar's on the sofa, attended to by Natasha. There's a knock on the door, which Sylvan answers. It's Gilbert, and the two speak quietly at first, so that Natasha doesn't recognise his voice. Gilbert becomes heated and pushes past Sylvan. GILBERT I must see him. SYLVAN That's not a good idea. Realising who the visitor is, Natasha leaps to her feet to confront him. NATASHA Get out. Get out. GILBERT Shut-up you stupid... (checks himself) I'm here to apologise. NATASHA You stay away from him. I'll have you arrested. OSCAR Natasha. NATASHA Sylvan, throw him out. Sylvan hesitates. GILBERT Oscar, I really didn't... He breaks off to duck the barrage of objects Natasha begins hurling at him, first cushions then ornaments. NATASHA Out. Out. GILBERT Hey, what's the matter with you? NATASHA I'll kill you. GILBERT She's mad. OSCAR You'd better go. A furious Gilbert leaves, slamming the door. INT CRISTA'S STUDIO DAY Crista's on her knees pinning cloth on a mannequin as Bindweed enters. BINDWEED You heard about Oscar? CRISTA Metalla rang. I'll visit him when I get the chance. He waits. She looks up. CRISTA He's all right, isn't he? Apart from his tooth. BINDWEED That no longer is the issue. CRISTA Well whatever it is, can you deal with it? He doesn't answer. She climbs to her feet to confront him. CRISTA What? I can't do everything. BINDWEED It's Natasha. She's out for vengeance. CRISTA My sister being melodramatic. Well there's a surprise. BINDWEED I believe it cuts deeper than that. She feels guilty for abandoning him. CRISTA I heard she went to get help. BINDWEED I'm just warning you it could escalate. CRISTA How? BINDWEED We know Gilbert's an Adam Zedd supporter. However she goes further, by claiming Gilbert was acting in league. CRISTA This is silly. Natasha is silly. Why are we even having this conversation? BINDWEED Because she's insisting we pull out of the Sho-Down. CRISTA She can't insist on anything. You control her voting rights. BINDWEED Only till her next birthday. CRISTA Which is after the Sho-Down. BINDWEED It wouldn't pay to underestimate her. She is, after all, il maestro's granddaughter. She eyes him warily. CRISTA Okay, Bindweed, what aren't you telling me? BINDWEED What you should already know. It appears she and Sylvan are together. CRISTA You mean she's angling to gain Francesca. Well let her. Between us, you and I still have majority. BINDWEED Except we've ceded forty-percent to Montescu. CRISTA Yes - a minority stake. BINDWEED You're overlooking some basic arithmetic. Each family holding is effectively reduced from twenty to twelve. Francesca with Montescu gives fifty-two percent. CRISTA Oh God, what have I done? INT RESTAURANT NIGHT Crista and Francesca are rounding off their meal with liqueurs. The conversation turns serious. CRISTA I know Tasha's upset about Oscar... FRANCESCA We all are. CRISTA Yes. I'm concerned though at the way she's handling it. FRANCESCA Oh? CRISTA Specifically her talk of Volucci pulling out of the Sho-Down. FRANCESCA Sometimes it pays to keep an open mind. CRISTA You support her? FRANCESCA As I said, I have an open mind. Montescu is willing to back us on this. CRISTA He and Lyndon have a long and deep-seated rivalry. FRANCESCA Isn't that why you chose him? They sip their drinks in momentary silence. CRISTA A war between Gabini and Volucci could be very destructive. FRANCESCA Strong words, when all I'm talking about is a little healthy competition. CRISTA Then what's wrong with competing at the Sho-Down? FRANCESCA Perhaps if the Committee were more accommodating. CRISTA In what way? FRANCESCA Let's see. Gabini has two entries. Our invitation is for one. CRISTA If you're thinking of Sylvan, he doesn't have the experience. FRANCESCA And this Adam Zedd is experienced in what - the art of self-promotion? CRISTA He does have the media interest. FRANCESCA Because he likes to stir things up. Maybe we should too. Crista rolls her empty glass around in her hand while coming to a decision. CRISTA I'll see Borinsky. EXT PARK DAY Crista and Borinsky are wrapped up well against the early morning chill as they stroll together in the park. BORINSKY Out of the question. CRISTA And here's me thinking you wanted Volucci. BORINSKY But Sylvan... The name doesn't register. CRISTA You know his stuff. BORINSKY I do, yes. But the others... CRISTA Are always on the lookout for someone new. BORINSKY He has promise, and that's what they'll say. But the Sho-Down isn't a talent quest. CRISTA I'll work with him. BORINSKY Fine. And maybe next year... CRISTA No. BORINSKY We have an international reputation I must consider. CRISTA While being inconsiderate of ours. BORINSKY We are honoured by the Volucci presence. But one entry is the norm. CRISTA Yet you allowed Gabini both Torrenti and Adam Zedd. BORINSKY Their styles are entirely different. Besides, Torrenti was invited before he was taken up by Gabini. CRISTA Adam Zedd is a wild card. BORINSKY Yes. He'll supply the one element the Committee felt was lacking. CRISTA And yet you're not prepared to risk Sylvan? BORINSKY The issue is one of timing. CRISTA My hands are tied on this. If you don't take Sylvan, Volucci will be forced to withdraw. BORINSKY I'll put it to the Committee. CRISTA I don't have time for endless debate, not with the Sho-Down looming. I need a decision within twenty-four hours. BORINSKY You're delivering an ultimatim? CRISTA No, just pointing out the obvious - stalling works in your favour, not mine. He stops. She continues on regardless. He watches her go with clouded expression. INT VOLUCCI LIVING ROOM NIGHT Natasha comes in and throws herself onto the sofa. Crista follows after her but remains standing. CRISTA It's time to stop this irrational opposition. Natasha glowers. CRISTA They're letting Sylvan exhibit. You've got what you wanted. NATASHA What I wanted has nothing to do with petty ambition. CRISTA No it's a health issue. You don't want us contaminated by sharing the stage with Adam Zedd. NATASHA How can you forget what he did to Oscar? CRISTA He didn't do anything. It was Gilbert, and when Gilbert tried to apologise, you attacked him. NATASHA And what about the statue of Metalla? He only did that to spite Lyndon. CRISTA Enough. You simply are the silliest girl. Natasha refuses to respond. Crista softens. CRISTA Okay, what's really the matter? NATASHA You didn't see him lying there and blood was coming out of his mouth and it was all my fault because I left him and... and... CRISTA That's right, stop for air. Natasha bursts into tears. Crista comforts her. CRISTA And you wanted someone to pay for it, and Gilbert wasn't a big enough target. NATASHA Oscar's my friend. Our friend. Un amico dei Volucci. That used to mean something. No-one respects us anymore. CRISTA You poor mixed-up thing. Natasha breaks away. NATASHA Don't think a few tears mean I'm giving up. We'll do our own show. We'll bury Adam Zedd. CRISTA That isn't going to happen. NATASHA Aunt Fran will back me. CRISTA You're wrong. I've spoken to her. I have her support. Natasha glares at her defiantly but Crista remains unfazed. CRISTA Now, do I have yours? Natasha hesitates but the steam has gone out of her and she reluctantly gives the nod. INT CRISTA'S STUDIO DAY Natasha lounges on a sofa while Crista studies Sylvan's sketches. He watches her intently. CRISTA They're good. Very good. And also entirely unsuitable. NATASHA Aunt Fran loves them. CRISTA And I admire them. But there's too much of everything. Here a jagged cut. Here a classic sweep. SYLVAN For contrast. CRISTA You can't contrast what's entirely different. Where's the link? SYLVAN I chose my best designs. CRISTA And it shows. Individually they're great. But they don't make up a collection. SYLVAN Is that so important? CRISTA Maybe not so much if you were to exhibit elsewhere. But remember, this is the Sho-Down. He nods gravely and is silent a moment. SYLVAN So what do I do? CRISTA Pick one. SYLVAN Just one? CRISTA Yes. I suggest whatever you're least satisfied with. SYLVAN Why? CRISTA Because that'll give you more room for development. After all, your whole line will be based around this one design. SYLVAN That's not going to show them what I'm capable of. NATASHA He wants to make a big splash, Crissy. CRISTA Pointless, because you'll still be overshadowed by Adam Zedd. But the man lacks finesse. We must work on a more subtle plane. NATASHA And risk being vapid? Il nonno was never vapid. CRISTA Sylvan, you'll follow Adam Zedd, who'll open. You have therefore the least favourable spot. NATASHA Then insist he be moved. CRISTA There are limits and we've reached them. We must play the cards we've been dealt. Now in face of his raging ego, your restraint will be the key to survival. SYLVAN I don't want to survive - I want to make my mark. CRISTA I assure you, surviving will be making your mark. SYLVAN I don't have time to come up with new stuff. The Sho-Down's almost upon us. CRISTA I'll help you. And Natasha can help us by doing two things - making coffee and keeping quiet. NATASHA Don't worry, I'm becoming quite the expert at being ignored. She goes off to make the coffee. Crista and Sylvan exchange smiles. INT CRISTA'S OFFICE NIGHT After days in the studio, Crista is now trying to catch up on her paperwork but her eyes keep losing focus. Oscar appears at the door. OSCAR Like a knight in shining armour I arrive, just as you're about to be devoured by paperwork. CRISTA Unfortunately this has to be done sometime. OSCAR My motto is, never put off till tomorrow what can be put off till the following day. CRISTA Anyway, you're looking good. Sorry I've been neglecting you. OSCAR No, you've been neglecting yourself. CRISTA I'm fine. Honest. OSCAR Sylvan and Natasha think you're overdoing things. CRISTA It's only till the Sho-Down's over. OSCAR Or you collapse, whichever comes first. CRISTA Half an hour. OSCAR I'm sure there are lots of things you can do in half an hour, but a three-course meal at Cellini's isn't one of them. EXT HARBOURSIDE NIGHT Crista and Oscar share a bench looking out onto the harbour. They sip coffee out of plastic cups. OSCAR This is good. My very first stake-out. CRISTA I'm sorry it's not Cellini's. OSCAR Two apologies in one night. You really must be coming down with something. CRISTA A touch of humanity, perhaps? OSCAR Yes, that could be it. In which case, fine but don't go overboard. CRISTA So how is life in the world of irony? OSCAR Getting tougher by the day. Most people look on irony as pointless, when it should be pointed. CRISTA And what's the latest in rumours, scandal and pure slander? OSCAR There are rumblings in the Committee. CRISTA There always is. I meant real news. OSCAR I believe you've stepped on a few toes. OSCAR Only the ones trying to trip me. Anyway, it's all settled. We're at the Sho-Down, two entries matching Gabini. Let 'em bitch. OSCAR Crista... CRISTA No. Let's not spoil such a perfect night. I could breathe it in whole. She breathes in deeply. Oscar looks troubled. INT ROOM OF MIRRORS DAY Crista and Emma are fitting a model as Bindweed bursts in. Emma notices his expression and prods Crista. She looks up and grows ever more alarmed as he begins talking. INT BORINSKY'S OFFICE DAY Crista storms in. Borinsky remains calmly seated. CRISTA Are you insane? BORINSKY Naturally I understand your disappointment... CRISTA Disappointment? I assure you, outrage is the very least I feel. This is sabotage. BORINSKY That's an unwise word. CRISTA You wanted Volucci, I delivered. BORINSKY I didn't want you competing against us. I've secured that. CRISTA What? He meets her stare but doesn't elaborate. CRISTA Have you been speaking to Montescu? BORINSKY In my job I talk to a lot of people. The point you should remember is that Volucci will still be represented. CRISTA Shutting me out is an insult. BORINSKY Your designs, while commendable in themselves, are too reminiscent of your illustrious grandfather. CRISTA So they're not good enough to be in your exhibition, but too good to compete with? Is that what you're saying? BORINSKY I'm saying the Committe made the decision based on the Sho-Down as a whole. If you choose to take offence when none was intended, that is your prerogative. I suggest, however, you don't do anything to jeopardise Sylvan's entry. INT CRISTA'S BEDROOM DAY Crista sits on her bed with the curtains drawn. The room is lit by a single candle. There's a knock in the door. She doesn't respond. A second knock then Jolly enters. JOLLY Mind if I join you? CRISTA I'm moping. It's not a team event. JOLLY They're making a mistake. Eventually they'll see that. She shakes her head. JOLLY There'll be other chances. CRISTA Don't you understand what's happening? Montescu's behind this. JOLLY Don't be silly, why would he do that? CRISTA Sylvan is no Torrenti. JOLLY Then we'll hold our own exhibition like you were intending. CRISTA Except that now there's no time. JOLLY We'll all help. Just say the word. CRISTA There's an even more important reason. Montescu wouldn't allow it. JOLLY I thought you said he was a canny businessman. CRISTA Too canny. He wants us to fail. JOLLY How is that to his advantage? CRISTA He has forty-percent. That's not a controlling interest. But if we're forced to raise capital through new shares, he has first call. It's in our agreement. JOLLY Was that a wise option? CRISTA No it was a bloody stupid one. We were desperate. JOLLY Then we take a loan. CRISTA He's the single largest shareholder. If he opposes, who'll lend on such a shaky foundation? JOLLY Mortgage some assets. CRISTA How do you mortgage such assets as style and flair? JOLLY Maybe Bindweed can some up with something. CRISTA He doesn't see a problem. As far as he's concerned, an investor is an investor. JOLLY And you? CRISTA Volucci will no longer be the creative force it was under il nonno. JOLLY He's gone. CRISTA But his name remains, and that's what Montescu wants. He'll milk the brand then move on. JOLLY So what do you plan to do? Spend the rest of your life in here? CRISTA I'll stick with the company. Montescu won't have it all his own way. JOLLY There's a party tonight. You'd enjoy it. CRISTA I'm tired. I didn't realise how much until now. He takes her hand but has run out of things to say. He lets it go and leaves. She barely registers. EXT PARTY HOUSE POOL NIGHT While the party rages on inside, Sylvan stands by the pool drinking. Natasha comes out. NATASHA I want to dance. SYLVAN Ask Oscar. NATASHA He trips over his feet the way others trip over his tongue. SYLVAN I'll just finish this. NATASHA It must be a magic glass. You've been finishing it all night. He ignores her. Borinsky comes out and approaches Sylvan. BORINSKY Congratulations. Sylvan observes him coolly before responding. SYLVAN Why did you drop her? BORINSKY She'll have other chances. This is yours. Take it. SYLVAN I want to pull out in favour of Crista. BORINSKY That would be a mistake. SYLVAN Why? BORINSKY Her designs ae not currently in tune with the Committee's aims. SYLVAN She deserves better. BORINSKY She deserves all she gets. Sylvan turns to Natasha. SYLVAN You're right. I've had enough. He hands her his glass then swings at Borinsky, flooring him with a single punch to the jaw. NATASHA What are you doing? What are you doing? Borinsky sits up and rubs his jaw, but makes no effort to stand. NATASHA He didn't mean it. (to Sylvan) Say you didn't mean it. Instead Sylvan glowers at her then stomps off into the night. Borinsky now climbs to his feet. NATASHA He's very sorry. He brushes past her, his expression impassive, and goes inside. INT VOLUCCI LIBRARY NIGHT Natasha bursts in on Crista, who's curled up in a chair with a book. NATASHA You have to do something. CRISTA I am. NATASHA How can you read at a time like this? CRISTA A time like what? You're not making any sense, which of course you never do. The day you start, well that in itself will be serious cause for alarm. NATASHA It's Sylvan. He slugged Borinksy. Quiet peaceful Sylvan, who never before hurt a fly. CRISTA And what did this particular fly do to provoke him? NATASHA Borinsky tried to congratulate him. CRISTA The sheer insolence. NATASHA The point is, it's all your fault and you've got to do something. CRISTA Mine? I've been here the whole time. NATASHA He only did it because he was upset you'd been dropped. CRISTA And I'm to blame for that? NATASHA Who else? You antagonised the Committee and they took action. Sylvan felt guilty and tried to get himself expelled so they'd reinstate you, only we're likely to be barred completely. Are you proud of yourself? CRISTA Natasha, shut-up. NATASHA What? CRISTA I'm sorry but it doesn't concern me. NATASHA I can't believe I'm hearing this. Volucci out of the Sho-Down and it doesn't concern you? CRISTA You know you always exaggerate and mix things up. NATASHA Then call Bindweed. He was at the party too. He told me it doesn't look good for us. CRISTA So let him deal with it. NATASHA Cristabella, Dio mio! CRISTA It seems to me Sylvan was defending the Volucci honour. Admittedly, not in a way I'd approve. It's up to him to apologise to Borinsky. Now if you'll excuse me... She returns to her book, flicking over a page. At a loss for words, Natasha lets out a piercing shriek. The two look at each other, then Natasha goes out. EXT VOLUCCI GARDEN DAY Gwinny finds Crista relaxing in the garden. GWINNY Anything I can do? CRISTA Do? GWINNY To help. CRISTA I'm fine. GWINNY And the firm? CRISTA It's a bit late to start caring now. GWINNY I've always cared. And I've always supported your talent. CRISTA Yes - in your own way. But face it, for you Volucci is just a name. GWINNY So finally I know what you condemn me for. CRISTA I don't condemn you for anything. Don't be absurd. GWINNY No? In your eyes I'm not a Volucci, I only married one. CRISTA Well you could've been more involved in the business. GWINNY It's not easy. What do I know about such things? I suppose if someone had been willing to show me... CRISTA And if you'd shown more interest... GWINNY I should've expected this. I came to offer support and end up being reproved instead. CRISTA Maman, je m'excuse. It's just I'm bad company at the moment. GWINNY And you know why? Because you've given up. CRISTA I haven't. Not exactly. I'm just tired of all the pettiness and squabbling and... Why can't they see the things I see? GWINNY Because they're not you. People have their own interests, their own reasons. Nous sommes toutes sortes. CRISTA So where's this leading? What do you want me to do? GWINNY Something. Anything. CRISTA I'm hamstrung. I can't even turn to Bindweed. He's in with Francesca, who believes salvation lies with Montescu. GWINNY Doesn't it? CRISTA No. You talk of people having their own interests. Well so does Montescu, and that's what Volucci will be made to serve. Not ours. GWINNY So do something. CRISTA Oh yes? And how? I have no-one. GWINNY You have me. CRISTA Ah oui, merci. I appreciate the gesture but I need concrete votes. GWINNY And because you have me, you have your father. CRISTA He'll vote with Francesca. Sister or no, he's always been a little afraid of her. GWINNY But she doesn't share his bed. Trust me, I'll deliver him. CRISTA It's still not enough. Not with Bindweed controlling Natasha's portion. GWINNY Ecoute-toi! You talk as though boardroom manoevres were the only thing. CRISTA I know it's not all, but it's a reality I have to deal with. GWINNY Then deal with it. Neither Francesca nor Bindweed is a designer. CRISTA But their support is vital. Why do you think Torrenti left? GWINNY And why you're here moping? CRISTA Yes I have feelings, I get depressed. But the most depressing thing is Montescu can save the firm and I can't. It won't be the same one Giuseppe founded, but it will preserve jobs. GWINNY The people we hire are skilled and talented. They could work elsewhere. They choose to stay because they believe in Volucci. Do you? She leaves Crista reflecting. INT BORINSKY'S OFFICE DAY Crista taps on the door. Borinksy looks up from his desk but doesn't otherwise react. CRISTA I'm sorry about what happened. BORINSKY Sorry how? That my jaw wasn't broken? CRISTA You know that's not what I meant. BORINSKY Yes I was joking. Now what can I do for you? CRISTA Reinstate Volucci. BORINSKY Why? CRISTA Sylvan has already apologised for lashing out. BORINSKY I'm not convinced though it was unmeditated. CRISTA What are you suggesting? I put him up to it? BORINSKY I wouldn't go that far. But he may have seen some benefit in forfeiting his place. If so, the ploy has failed. CRISTA I'm not pleading for myself, but if you don't let Sylvan exhibit, there'll be no Volucci entry. BORINSKY Perhaps you were a little hasty in letting Torrenti go. However I wouldn't presume to tell Volucci how to run their affairs, just as I would expect the same consideration. CRISTA And I was hoping an unpleasant situation could be resolved amicably. You however seem intent on seizing it as a pretext for driving us out. Very well, you leave me no choice. She turns abruptly and marches out. Borinsky smiles uneasily. INT VOLUCCI BOARDROOM NIGHT Francesca, Bindweed, Jolly and Natasha are seated around the table. Crista is standing to address them. CRISTA Thank-you all for coming to this board meeting at such short notice. BINDWEED If this is a board meeting, there are certain procedures to follow. For instance, only board members can sit in council. CRISTA Then damn procedures and damn the board meeting. This is a council of war. JOLLY Stirring stuff. Board meetings are always so dull anyway. FRANCESCA How would you know? You've always slept through them. NATASHA It's about time we did something dramatic. BINDWEED Are we going to be called on to vote? CRISTA You mean why is Natasha here? Okay, I asked her to attend because although you hold her shares in trust, I believe she is still entitled to an opinion. Naturally it'll be non-binding. NATASHA But a bloody good one. CRISTA She is, after all, Giuseppe's granddaughter. I believe she represents in its unadulterated form, the Volucci spirit. FRANCESCA Fine words. May we now get down to business? CRISTA Certainly. We've been expelled from the Sho-Down. We must act. FRANCESCA Why did Sylvan punch Borinsky? Were you behind it? CRISTA No. FRANCESCA You must admit it was totally out of character. CRISTA He was made to carry the weight of Volucci without adequate support. Who wouldn't crack? FRANCESCA So what do we do now? It's too late to mount our own show. CRISTA That's what they're counting on. BINDWEED Before we get too excited, let me give you a résumé of our financial situation. CRISTA We all know it's bad. It'll be worse after the Sho-Down. FRANCESCA You're forgetting Montescu. CRISTA No, that's my point. We'll be forced to go cap in hand. We'll lose our independence. FRANCESCA You'll still be able to design. You have his assurance on that. CRISTA Yes but he's not obliged to use any of them. I mean he could carry them as a minor side-line. He could bring in anyone he chose and stick on the Volucci label. The profits will be at the expense of our name, our primary asset. FRANCESCA Let's at least hear his terms. We can't decide an issue without all the relevant facts. CRISTA The facts are simple - he has forty-percent and wants more. At least fifty-one. JOLLY I have a few things I could cash up. CRISTA And what will you live on if Volucci is unable to pay a dividend? JOLLY I'll go to parties. I've given enough of them. BINDWEED We could retrench. Lay off staff, close outlets. NATASHA I say we fight. BINDWEED That isn't a plan. NATASHA The Committee has no right to bar us. Il nonno made the Sho-Down. If Monty won't help us, then we do it alone. But we fight. BINDWEED Yes but how? And with what? NATASHA Fight. She marches out defiantly without looking back. BINDWEED The simple and dramatic is always her favoured option and we love her for it, but reality dictates a more measured response. CRISTA Okay, we raise the money by factoring our orders. Is that the right word? BINDWEED You normally do that with invoices, or at least confirmed sales. Not hoped-for orders from an event yet to take place. CRISTA Don't we have any spare cash? BINDWEED Not to speak of. We're barely meeting payroll. CRISTA Then we must factor our reputation - Volucci futures. Can you arrange that? BINDWEED It's highly unorthodox. FRANCESCA Not to mention very high risk. If it fails, we'll certainly be delivered to Montescu, and on his terms. No-one speaks. All eyes are on Francesca. FRANCESCA (to Crista) Very well. It's your campaign. Do what you must. She gets up to go. FRANCESCA Come on, Giulio. JOLLY Bu we haven't voted yet. Isn't anyone interested in my vote? Francesca leaves. Jolly decides to follow, giving Crista a peck on the cheek on the way out. INT ROOM OF MIRRORS DAY It's organised chaos as Crista and Sylvan, along with Emma and other assistants do fittings. Borinsky bursts in and marches straight up to Crista. BORINSKY (fiercely) If you please. Without waiting, he stalks off into her office. Crista carries on, seemingly unconcerned. EMMA I've never seen Borinsky mad before. CRISTA Then we must be doing something right. INT CRISTA'S OFFICE DAY Borinsky is seated when Crista enters but immediately jumps up. CRISTA I hope it won't take too long because as you can see, I'm very busy. He plants a notice on her desk. BORINSKY The date. CRISTA What of it? BORINSKY You know damn well. CRISTA Did you expect me to wait till after the Sho-Down? This isn't Paris or Milan. They won't come twice. BORINSKY But the very same night? That'll hurt us both. CRISTA As oppposed to just, say, Volucci when you shut us out? BORINKSY What do you want? CRISTA To get on with the job. So if there's nothing else..? BORINSKY (loudly) All right. CRISTA All right what? BORINSKY You're in. Volucci is in. CRISTA Two entries. BORINSKY You don't have Montescu with you on this. CRISTA And yet we're managing. He eyes her coolly. BORINSKY Anything else? CRISTA Top billing. He laughs despite himself. She doesn't blink. BORINSKY You're not Torrenti. CRISTA And he's not me. They face off. CRISTA I understand Torrenti's launching himself in a new direction. BORINSKY Consistent with the aims of the Committee. CRISTA It's one thing to gamble on a novelty act like Adam Zedd. An off-beam Torrenti could blow up in your face. He maintains a stubborn silence before finally relenting. BORINSKY I'd better not regret this. He leaves. She breathes in deeply. INT VOLUCCI LIVING ROOM NIGHT An exhausted Crista has flopped on the sofa. Natasha whirls herself around the room in celebration. NATASHA We've won. We've won. CRISTA We've been given an opportunity, that's all. There's still so much to do. NATASHA Your first major show on the world stage and you're not the least bit excited. CRISTA Fortunately I have a sister I can safely delegate that aspect to. Natasha bumps into a table, smashing a vase. There's a moment's awed silence then she collapses on the floor in a laughing fit. CRISTA I take it back. Nevertheless she permits herself a little smile. INT RECEPTION VENUE NIGHT The guests mingle before the grand show. Crista enters looking coolly elegant in a gown with single bare shoulder. She accepts a glass of champagne from a waiter just as Natasha bounces up. NATASHA Sylvan said he would come and he hasn't. A damn cheek. CRISTA I shouldn't be here either. There's a million and one things need checking on. NATASHA That's why you've got Emma. Your job is to stand around while people make arty-farty pronouncements like 'haut-coûture is dead'. Crista doesn't respond. NATASHA What's wrong? CRISTA What do you think? NATASHA You simply can't be nervous. CRISTA Of course I bloody am. NATASHA But your designs are so wonderful. This night is wonderful. I want it to go on forever. CRISTA Look, there's Oscar. Go and annoy him. Natasha flounces off huffily. Bindweed comes over. BINDWEED What did you say to your sister? CRISTA I sent her away because she was prattling on and I'm not in the mood. BINDWEED You're nervous? CRISTA Yes but apparently I have no right to be, which only makes it worse. He smiles at her. BINDWEED Volucci is in capable hands. I'm sorry I ever doubted you. CRISTA Why shouldn't you have? I doubted myself. Anyway, all that matters now is that this evening goes well. She spies someone in the crowd. CRISTA Excuse me, there's something I must do. She makes her way over to where Gwinny is chatting in a group and speaks in her ear. CRISTA Viens. GWINNY What? Crista takes her mother by the hand and leads her over to the French ambassador. CRISTA Monsieur l'ambassadeur, puis-je vous déranger un moment? DUPRES Avec grand plaisir. CRISTA Je vous présente ma mère, Guênièvre. DUPRES Ravis, madame. Un nom très charmante, comme vous-même. Mais Crista, c'est pas français. GWINNY Si, c'est le diminutif de Christabèle. DUPRES Ah oui, bien sûr. The two share a little laugh and continue chatting. Crista notices Lyndon standing nearby. He moves up to greet her. LYNDON Crista. CRISTA Hi. LYNDON Am I interrupting? CRISTA Only jokes about my name. By the way, no hard feelings? LYNDON What? CRISTA About knocking Torrenti off his perch. LYNDON Oh that. Not at all. In fact, let me say how beautiful you're looking. CRISTA Thanks but it's not one of my designs. LYNDON That's not what I meant. CRISTA I hope the show is a success for the both of us. She turns back to rejoin her mother and the ambassador in conversation. Lyndon downs the rest of his drink in one. Dexter sidles up. LYNDON (brusquely) Don't ask. INT EXPO AUDITORIUM NIGHT As the last of the latecomers take their seats, the auditorium is plunged into darkness. A loud shriek is heard - a piercing metallic rasp. Grotesque stick-like creatures enter, their legs short stilts. The heads of the models are hidden in the creatures' long necks, which end in tiny heads with eyes on long stalks. Clicks of various pitch punctuate the shrieks - this is music of an alien kind. A large knotted ball is lowered from the ceiling. The creatures encircle it, grasp threads and unravel it. Metalla is revealed, spinning on a small platform disk. She's clad in a thousand translucent scales. Her head is shaven, and sprouts two antennae. The disk slowly stops spinning. She opens her eyes and steps off, beginning her walk along the runway. The scene swirls into dissolve, coalescing into the next entry - Sylvan's 'Casual Twilight', a loose garb collection featuring overlapping folds and colours of burnt orange, black and dark green. Other entries whirl past as brief flashes. Again darkness reigns. Solemn organ music begins as Metalla enters in a long flowing white robe. Suddenly there's an explosion of light and sound - a strobing rainbow battles a sonic wall of feedback. She stops, surprised. Something's amiss. She starts walking again. Then it happens. The robe disintegrates into red tatters. She stumbles, losing her balance and falls into the audience. It appears as though she's been blown off the runway, and a wave of panic ripples through the crowd. Jostling occurs as people head for the exits. Some fall, creating more confusion. More fall and are trampled. Those who stop to help are themselves knocked down. One impulse dominates - escape. INT AUDITORIUM CONTROL BOOTH NIGHT The light and sound display continues. Oblivious to the panic below, the technician concentrates on his control panel while munching an apple. INT EXPO AUDITORIUM NIGHT Lyndon has Metalla in his arms and struggles to avoid going under. Although the people around him try to make way, they themselves are being swept along. EXT EXPO CENTRE NIGHT The crowd is disgorged into the night. People with cellphones are calling for ambulances. Lyndon emerges with Metalla. He lays her on the ground, ignoring the onlookers who immediately surround them. METALLA Why are we outside? LYNDON It's okay. Help is coming. METALLA This isn't blood. I slipped, that's all. LYNDON What was Torrenti thinking? Later. The ambulances have arrived and crush victims are being loaded inside. A TV reporter and cameraman find and confront Torrenti, standing motionless amidst the chaos. REPORTER Viewers at home will be wondering how much of this was orchestrated. He gapes at her. REPORTER What are your thoughts on the statement 'artists are cultural terrorists?' He blinks. REPORTER Well folks, that's our second scoop for the night - the great Torrenti lost for words. CAMERAMAN They've cut. REPORTER That wasn't too flippant, was it? I'm not looking at a change of career, am I? EXT EXPO CENTRE DAY The sun has barely risen as Crista, still in evening dress under her coat, enters the building. INT EXPO AUDITORIUM DAY Crista surveys the empty theatre, bathed in gloom. Footsteps behind her snap her out of her reverie. She glances around, recognises Lyndon and turns back. LYNDON I thought I might find you here. CRISTA Silly, I know. It's just... no, it doesn't matter. It's all over. LYNDON Let me take you home. You must be tired. CRISTA No I'm fine. Really. LYNDON You're not. You spent all night at the hospital. CRISTA Not that there was anything I could do. I'm just glad no-one was seriously hurt. It could've been - no, I don't want to think about it. He watches her a moment in silence. CRISTA When Metalla fell I tried to get to her but couldn't. You saved her life. LYNDON Hardly. It was minor concussion. CRISTA She could've been trampled. LYNDON Crista... His eyes are wholly on her but she still hasn't noticed. CRISTA She's very beautiful. LYNDON Yes. CRISTA You don't need to hang around. Honestly. CRISTA I'm just... I can't go home. Not yet. He moves in close. LYNDON Then let me take your coat. CRISTA What? LYNDON Your coat. CRISTA I don't understand. LYNDON Please. She slowly removes he coat, still puzzled. He lays it carefully on a seat and returns. LYNDON Now tell me what you see. CRISTA Nothing. He kisses her bare shoulder. LYNDON And what do you feel? CRISTA What are you doing? LYNDON Forgive me but you've made me wait too long. CRISTA What about Metalla? LYNDON There is no me and Metalla. She finally turns round. LYNDON May I have this dance? CRISTA There's no music. LYNDON I can hear music. CRISTA What if I fell? LYNDON I'll catch you. CRISTA And what if you fall? He smiles. LYNDON I already have. She looks into his eyes, still not believing. LYNDON Let's swirl. CRISTA For how long? LYNDON An age. He takes her hand and they swirl. END
Return to SimplyScripts.com