25 - Dollhouse
25 - Dollhouse
25 - Dollhouse
-Friedrich Nietzsche
INT. MANSION - LAKE COMO, ITALY - NIGHT
RADIOHEAD
Wake from your sleep / The drying
of your tears / Today we escape /
We escape...
LATER --
RADIOHEAD (CONT’D)
Pack and get dressed / Before your
father hears us / Before all hell
breaks loose...
She finishes her makeup routine and grabs a LAPEL PIN off of
the vanity. It’s CRYSTAL and GOLD and says ‘SP’. She twirls
the sharp end in her fingers, looking out at the lake...
RADIOHEAD
You can laugh a spineless laugh /
We hope your rules and wisdom choke
you...
RADIOHEAD (CONT’D)
We hope that you choke, that you
choke / We hope that you choke,
that you choke...
RADIOHEAD (CONT’D)
We hope that you choke...that you
choke...
The model holding NUMBER TEN does her runway walk. Whatever
“it” is, she has it. The Designer whispers to her assistant,
who looks up --
ASSISTANT
Please grab your things and move to
the next room.
ASSISTANT (CONT’D)
Number eleven.
ASSISTANT (CONT’D)
Name?
MIA
Mia Dawes.
ASSISTANT
Measurements?
MIA
Five-ten. One-twenty-one.
ASSISTANT
Go ahead.
Mia turns and does her runway walk to the back of the room.
It’s nothing like Number Ten -- Mia has a fake confidence,
one that can’t hide her nerves and insecurities.
ASSISTANT (CONT’D)
You may go.
MIA
Why do I keep getting sent on these
bullshit auditions?
4.
ALIX
Who was it for?
MIA
I can’t even remember.
SOPHIE
(throwing up)
I think I have alcohol poisoning.
ALIX
Maybe you’re pregnant.
SOPHIE
Fuck off.
MIA
I haven’t booked anything in
months. If I don’t get something
soon I’m gonna have to work at a
fucking Starbucks to make rent.
SOPHIE
No way you can make your guys rent
working at a Starbucks --
ALIX
Why don’t you talk to Drew?
MIA
Fuck Drew.
ALIX
I don’t understand why you hate him
so much. He’s not that bad --
SOPHIE
I mean at a managerial level,
maybe. But even then, after taxes --
MIA
Jesus Christ, I was joking.
SOPHIE
Okay, I for sure have alcohol
poisoning.
ALIX
Talk to him. He can help. If you’re
not booking, why not?
5.
ALIX
You’re gonna be fine. Everybody has
dry spells.
MIA
I don’t know if mine is just a
spell.
DREW
Ladies, wonderful to see you.
Thanks for coming.
ALIX
Of course. What’s the occasion?
DREW
Well, you know that place we did
your shoots? I finally put a down
payment on it. I officially have my
own studio now.
SOPHIE
Ooh la la! Congratulations! What
about the job? Did you get it?
DREW
I did. And thank you both so much
for helping, seriously.
ALIX
It was fun. What campaign is it?
DREW
Can’t talk about it. Confidential.
SOPHIE
Ah, Mr. Big Shot now, huh?
6.
ALIX
Congratulations, Drew.
DREW
Thank you. And congrats again on
Dior. I’m happy I could help.
DREW (CONT’D)
Anyways, uh -- nice to see you
guys. Thanks for coming.
MIA
Did you shoot with him?
ALIX
Not like that -- I mean, yes, I
did. But he was trying to get this
new job and I needed to update my
portfolio anyways. He said he knew
the casting director at Dior and --
SOPHIE
-- we auditions. But they’re just
auditions. But if he knows these
people, why not use him for it?
Mia looks like she’s been betrayed. She looks out over the
city, and spots a BILLBOARD on a building in the distance.
NPR (O.S.)
...is reporting that notorious
Parisian fashion designer Marceau
de Saint-Pierre, who suffered a
mental breakdown five years ago, is
planning a return to fashion this --
She climbs into bed and puts in her AirPods, clicking play on
a podcast on her phone called ‘HOW TO CONQUER YOUR ANXIETY’.
A soothing, male voice starts to speak.
PODCAST (O.S.)
Anxiety is a natural human
response. It is a positive reaction
from the central nervous system --
however, if it begins to intensify
in everyday situations, it can make
it difficult to function...
MIA
It’s not that they don’t deserve it
but it’s just like -- I’ve been out
here for three years and haven’t
made a dent. Why isn’t anything
good happening to me?
DR. WOODARD
That’s a very reasonable response.
You work just as hard, it must be
tough to see them succeed while you
struggle.
8.
MIA
It is. It really is.
DR. WOODARD
How’s your weight?
MIA
(lying)
One-thirty.
Dr. Woodard gives her a look. Watches as she bites her nails.
DR. WOODARD
Nails.
Mia sits on her hands. It’s clear they’ve been over this. She
looks out the window again -- fascinated as the construction
workers secure the tarp with ropes...
MIA
Okay, one-twenty-four. But I’ve
been so stressed lately. I can
barely eat, I have no money -- I
might have to stop seeing you.
DR. WOODARD
(alarmed)
I really don’t think that’s a good
idea, Mia --
MIA
I might not have a choice.
DR. WOODARD
Let me know if money is too tight
and we will figure out a system.
How are the night terrors?
MIA
Fine. I haven’t had any in a while.
But I was wondering if we could
increase my medication? With my
anxiety so bad I can’t sleep.
DR. WOODARD
We could, but the goal of therapy
is to conquer your anxiety without
depending on a cocktail of
chemicals. Have you been listening
to the podcast I recommended?
9.
Mia nods as her eyes drift out the window, just as the
workers let the tarp go and it UNFURLS TO THE STREET BELOW --
It’s the same BLACK and RED COMING SOON billboard she saw the
night before. Only this time, it’s MASSIVE, covering the
entire side of the building.
MIA
What? -- no, yeah, I’ve been
listening to it. It helps.
DR. WOODARD
We’ll increase the dosage to one-
point-five milligrams. But please,
listen to the podcast. Talk with
me. Don’t just take the pills.
MIA
You’re firing me?
AMANDA
I’m not firing you Mia, I’m just --
thinking that you should start
looking for other representation.
MIA
That’s what firing means. I’ve been
with you for two years.
AMANDA
I know. And I’ve -- we’ve -- loved
having you here. But let’s just
look at it for what it is. You’re
not getting any work.
10.
MIA
I’m not getting any work because
the jobs you’re sending me on are
bullshit. I’m doing my best --
AMANDA
Right. But you’re not booking them.
MIA
But if you sent me on more high
fashion auditions, something more
tailored to my look --
AMANDA
The auditions aren’t the problem,
Mia.
AMANDA (CONT’D)
Listen. You’re great. You know I
love you. But this -- relationship,
partnership, whatever you want to
call it -- is not lucrative. It has
to be lucrative.
MIA
And where am I supposed to go?
AMANDA
There’s plenty of smaller agencies
that might be a better fit.
Mia looks around -- for the first time, we see the whole
office. There’s, like, five people there.
MIA
A smaller agency? How much fucking
smaller can you get? There’s
literally five people here.
AMANDA
I’m sorry, Mia. It’s nothing
personal.
MIA
What the fuck!
JOSH
I’m sorry. I thought you were Alix.
MIA
Alix is black.
JOSH
What? I know. It’s hard to see
behind the mask -- here, let me
clean that up.
MIA
Don’t you have a job or something?
JOSH
I left early to surprise Alix.
We’re going to Lavo to celebrate if
you wanna come. My friend Kevin’s
gonna be there, you would love him -
MIA
I think your toxic masculinity is
enough for me, thank you.
JOSH
Very funny. You know who else has a
great sense of humor? Kevin. You
should really come.
MIA
I don’t even know what I’d talk to
your frat-boy friends about --
Entourage? Coachella?
JOSH
(shrugging)
I mean, yeah, we love both of --
MIA
Wait -- what are you celebrating?
JOSH
There she is! The new face of Dior!
He picks her up and swings her around. Mia’s face goes WHITE.
12.
JOSH (CONT’D)
I’m so proud of you. I’m proud of
me too for dating a supermodel, but
mostly you.
ALIX
Thank you. What’s with the mask?
JOSH
Oh, I was gonna scare you but I
thought you were Mia.
ALIX
Mia? I’m black.
JOSH
Jesus Christ, I know you’re black --
MIA
You got it?
ALIX
Yeah. I got the call today.
MIA
Congratulations.
ALIX
They should’ve at least given you
an audition, Mia. Some of those
girls were so out of place. It was
more luck than anything.
JOSH
Luck? It’s not luck, you earned
this. You work so hard --
ALIX
(snapping)
Shut up, Josh.
He does.
MIA
He’s right. You earned it.
LATER --
MIA
I need help.
DREW
I figured.
MIA
What’s that supposed to mean?
DREW
I knew there was a catch.
MIA
A ‘catch’? Fuck you. I’m talking to
you as a friend right now.
DREW
Yeah, a day after you wouldn’t even
look at me at my own party. I know
what you’ve said about me.
MIA
I was seventeen when I moved out
here. You were the first
photographer I met and all you did
was try to fuck me.
DREW
Fuck you? I liked you, Mia. There’s
a difference.
MIA
Well I didn’t know that, okay? I’m
sorry. But I’m really struggling
right now. My agent dropped me and
I haven’t booked anything in
months.
MIA (CONT’D)
What about your new job?
DREW
This new campaign is big. They’re
not going through agencies or
anything, it’s all really close to
the chest. They’re going for a real
specific look. I think you could be
a good fit but --
MIA
Really?
DREW
Yes -- but it’s not a walk in the
park. It isn’t a normal show.
MIA
Then what is it?
DREW
Marceau de Saint-Pierre’s new line.
He’s calling it Dollhouse.
MIA
Saint-Pierre? I thought he
disappeared. Didn’t he have some
kind of breakdown or something?
DREW
Nobody really knows what happened,
but he’s coming back.
MIA
And you think I’d have a shot?
DREW
I got a picture of the kind of girl
they want. I already submitted
Sophie and she got an audition.
You’d be great but...
MIA
What?
DREW
There are stories about him.
MIA
What do you mean?
15.
DREW
He’s a perfectionist. Obsessive. He
has a history of pushing people too
far. And I know you had, you
know...you were struggling,
mentally, for a while --
MIA
(snapping)
I’m fine.
DREW
Okay. Come by tomorrow.
HANNAH
You have beautiful skin.
MIA
Thank you.
HANNAH
You’re a stylist’s wet dream.
Naturally beautiful. Easy.
HANNAH (CONT’D)
I’m Hannah, by the way.
MIA
Mia. Nice to meet you.
HANNAH
So how do you know Drew?
MIA
I met him a few years ago when I
first moved here. You?
HANNAH
I worked with him on the H&M
campaign. I’ve been doing freelance
for him and I’m hoping he can get
me on Dollhouse.
(MORE)
16.
HANNAH (CONT'D)
Working for Saint-Pierre would be a
dream come true.
(then)
He’s had a few girls in here but
none are like you. You have exactly
what they want.
Mia BEAMS.
The studio is pitch black, save for a few BRIGHT LIGHTS set
up illuminating a mattress. Drew stands on a LADDER above --
Mia wears a robe while Drew pulls up the photos from the
shoot on his computer. We see the American Beauty shot, which
looks almost identical to the movie.
DREW
Amazing. This is exactly what he
wants, you look just like her.
MIA
Who?
DREW
The girl. The picture he sent me.
MIA
You’ll send them over today?
DREW
As soon as I do some editing.
PODCAST (V.O.)
...we have to face our demons and
find the root cause of our
anxieties. And remember, our fears
and insecurities can manifest
themselves in a variety of ways...
A WOMAN. Staring at her from the end of the car. Her hair
half up and half down, wearing a glittery BLACK DRESS with a
GOLD MASQUERADE MASK on. Looking very out of place. BLOOD is
dripping from her mouth, down her neck. A lot of it.
THE PLATFORM --
JOSH
Damn. Must’ve been some dream.
ALIX
Get her a towel, will you?
Josh heads to the bathroom. Mia wipes sweat from her face.
MIA
What happened?
ALIX
You were having a night terror. I
heard you screaming and found you
wandering around the kitchen so I
put you on the couch and kept an
eye on you until you fell asleep.
MIA
Fuck. I’m sorry.
ALIX
It’s okay.
JOSH
You know, I heard that sleeping in
a bed with another person can
really help night terrors.
Coincidentally, my friend Kevin is
very available and --
MIA
Please stop.
He shrugs.
ALIX
Want some coffee?
Mia and Alix sip green juices and wipe sweat off their faces.
MIA
Wanna get brunch?
ALIX
I have a fitting in two hours.
MIA
How’s it coming?
19.
ALIX
It’s coming.
She bites her tongue. Not wanting to say. Mia looks concerned
when her phone RINGS. She steps away to answer.
MIA
Hello?
CLAUDE (O.S.)
Mia Dawes?
MIA
Yes?
CLAUDE (O.S.)
This is Claude Bordeaux, I’m
Marceau de Saint-Pierre’s
assistant.
MIA
Oh my gosh. Thank you so much --
CLAUDE (O.S.)
The auditions will be tomorrow. See
you then.
ALIX
Actually, my fitting got pushed --
MIA
I got Dollhouse!
ALIX
Dollhouse?
MIA
Well I didn’t get it, I got an
audition but still --
ALIX
What’s Dollhouse?
20.
MIA
Saint-Pierre’s new line.
ALIX
Wait -- Saint-Pierre? Like, Marceau
de Saint-Pierre? He’s coming back?
MIA
Yeah. But it’s very confidential,
nobody knows yet. Sophie got an
audition and I went to Drew like
you said and I got it!
ALIX
I thought he went insane. Didn’t he
pull all of his clothes from stores
and shut down his company?
MIA
I don’t think anybody knows what
really happened.
MIA (CONT’D)
What?
ALIX
Nothing. It’s just, you know --
there are a lot of rumors out
there. About him and why he
disappeared.
MIA
Why can’t you just be happy for me?
I finally got an audition for
something I really want. You got
Dior and I was happy for you.
ALIX
I am happy for you.
MIA
You got a weird way of showing it.
ALIX
I’m just saying. Be careful.
MIA
I can handle myself.
21.
PODCAST (V.O.)
...deep breathing is the most
efficient way to calm the nervous
system. When it is on high alert,
oxygen can calm the muscles...
Sophie enters the room, signs in, and rushes towards Mia. She
takes the seat next to her. Mia takes out her AirPods.
SOPHIE
Well the secretary’s kind of a
cunt. Are you excited?
MIA
More nervous.
SOPHIE
You’re going to be great.
CASTING ASSISTANT
We’re ready for you.
CLAUDE
Good morning everyone. My name is
Claude Bordeaux and I am Monsieur
Saint-Pierre’s assistant.
Unfortunately, he could not be here
in person today as he is very busy
designing the show. However, he is
monitoring via livestream from his
home outside the city --
Point to camera --
22.
CLAUDE (CONT’D)
-- and will be making his decisions
in real time. So let us begin.
Number one, please step forward.
SERIES OF SHOTS:
- A BLONDE MODEL up next. Tilts her head back and does her
walk. Claude looks to the computer and shakes his head.
CASTING ASSISTANT
Number thirteen.
Mia steps to the middle of the room. Again, she’s all alone
under the lights, all eyes on her. The silence is DEAFENING.
MIA
Five-ten. One-twenty-one.
CASTING ASSISTANT
Go ahead.
And NODS.
23.
The girls sit in the next studio over where twelve chairs
have been arranged in a circle. Claude escorts in the last
MODEL inside. Mia sits next to Sophie, who’s losing her shit.
SOPHIE
See? Didn’t I tell you? I knew you
were going to kill it!
CLAUDE
Congratulations. You all have been
selected to walk for Dollhouse --
the greatest fashion show the world
has ever seen, from the greatest
designer the world has ever known.
CLAUDE (CONT’D)
These are NDAs. There has been much
speculation about Saint-Pierre’s
return but we have yet to make a
formal announcement. And until we
do, you are not to speak about this
to anybody. This campaign is to
remain entirely confidential. If we
find out you have spoken to anybody
you will be removed from the
campaign immediately. Understood?
CLAUDE (CONT’D)
Wonderful. We start tomorrow.
The girls get up and head to the door. As Mia grabs her
things, Claude GRABS HER ARM --
CLAUDE (CONT’D)
Mia.
She looks up --
CLAUDE (CONT’D)
Monsieur Saint-Pierre was very
impressed with your audition today.
24.
MIA
Wow -- really?
CLAUDE
He would like you to join him
tonight at his home in Montauk.
MIA
I -- of course. I’d love to.
CLAUDE
We’ll send a car.
TV ANCHOR
...rumors continue to swirl that
notorious Parisian fashion designer
Marceau de Saint-Pierre is prepping
a comeback nearly five years after
he vanished from the public eye...
HANNAH
I can’t believe how much hype this
is getting. I mean I knew he was an
icon but fuck -- it’s the only
thing anybody’s talking about.
TV ANCHOR
...the reason for his disappearance
has never been confirmed, although
sources close to him have alluded
to a mental breakdown that sent him
to Sainte-Anne psychiatric hospital
in Paris for nine months...
MIA
Jesus Christ.
HANNAH
Don’t concern yourself with that.
People just love to talk.
25.
MIA
What do you know about him?
HANNAH
Same things everyone else does. He
was the biggest thing in the world.
People treated him like God so he
thought he was. And when he figured
out he wasn’t, he couldn’t take it.
HANNAH (CONT’D)
Listen -- who knows what happened?
All that matters is that he’s back
and out of every girl in the world,
he picked you.
MIA
This is amazing.
CLAUDE
Come. Monsieur Saint-Pierre is in
the basement.
RADIOHEAD
We hope that you choke / That you
choke...
CLAUDE
Monsieur. Our guest has arrived.
MARCEAU de SAINT-PIERRE.
27.
His jet black hair is slicked black, speckled with grey. He’s
got crows feet, his skin ashen from the smoking. We can tell
he was once glowing -- but the years have not been kind.
SAINT-PIERRE
Mia -- it is a pleasure.
MIA
It’s -- an honor to meet you.
SAINT-PIERRE
Welcome to my home.
SAINT-PIERRE
To Dollhouse.
MIA
To Dollhouse.
She does this time. He sets his glass down and smiles at her.
SAINT-PIERRE
I must say, I have seen many models
over the years but seeing your
audition today -- you have
something I’ve never seen.
MIA
Thank you.
SAINT-PIERRE
It’s exactly what I want.
SAINT-PIERRE (CONT’D)
Tell me about yourself.
MIA
Okay, well, I’ve been modeling for
about three years now. I haven’t
really been in a lot but --
28.
SAINT-PIERRE
Not work. You. Who are you?
SAINT-PIERRE (CONT’D)
Relax. You are safe.
MIA
I’m from Indiana. I left home at
sixteen and came to New York.
SAINT-PIERRE
Against your parents’ wishes, I
presume?
MIA
Actually, no. My father was an
alcoholic. He was very abusive. My
mother supported anything that
involved me running away.
SAINT-PIERRE
I’m sorry to hear that. I’ve had my
own -- very publicized -- battles
with addiction. It is the devil.
MIA
Yeah. So, I came out here to model.
(then)
What about you? Where did you...go?
A darkness comes over his face. He looks out over the ocean.
SAINT-PIERRE
That is a story for another night.
All that matters is that I am back.
He gives her a smile. She smiles back -- sips more wine. She
looks out over the backyard. An iridescent pool with ‘DH’
painted on the bottom, orange trees, fire pit, a cabana --
SAINT-PIERRE (CONT’D)
I want you to open and close the
show for me.
MIA
What?
SAINT-PIERRE
Dollhouse is not just another
fashion show, Mia. It is my
comeback. My rebirth. I have clawed
my way back from places so dark
they can swallow you whole and this
my last collection. My greatest and
my final statement to fashion. And
I want you to be the face of it.
MIA
This is your last collection?
He nods.
MIA (CONT’D)
Why?
SAINT-PIERRE
Five years ago, I came to the
realization that I had nothing left
to give fashion. It had given me
everything but I had nothing left
to say. So I went away. And do you
know what happened?
She shakes her head ‘no’. His eyes light up, animated.
SAINT-PIERRE (CONT’D)
I got more famous. Because once you
take something away from people --
there is nothing they want more
than to get it back.
SAINT-PIERRE (CONT’D)
And now, I finally have something
to say again. The theme of
Dollhouse is death. It’s about
taking control of what we are most
scared of and seeing death as a new
beginning. This is a new beginning
for you, Mia. You are about to be
the biggest model in the world. Is
that what you want?
MIA
Yes.
SAINT-PIERRE
Then I was right. You are who I
have been looking for.
(then)
Come. I have a gift for you.
SAINT-PIERRE
You are stunning.
MIA
It’s beautiful.
SAINT-PIERRE
It’s the first dress I ever
designed. I was twenty-four and
broke. This dress changed my life.
SAINT-PIERRE (CONT’D)
Let this mark the beginning of your
ascent to greatness, just as it
marked mine. And one more thing --
SAINT-PIERRE (CONT’D)
A gift. For you.
Mia has changed out of the white dress. She emerges from the
bathroom in her black dress, the white one folded under arm.
She takes a look around the basement. The mannequins, racks
of the clothes, piles of design books. She starts to wander.
But she notices that the podium where the mannequin was in
EMPTY. Confused, she slowly walks towards it. Behind her, the
projector footage FREEZES on a FRAME of SAINT-PIERRE and a
WOMAN when suddenly --
As Mia claws at its plastic face, beyond it, she sees the
FREEZE FRAME on the wall...Saint-Pierre and some WOMAN...but
her vision blurry, she can’t make out who it is...
VOICE (O.S.)
Miss! Miss!
Mia’s eyes bulge and her lips turn blue. She desperately
tries to flail but she can’t. Its grip is fucking strong.
CONSTRUCTION WORKER
Miss! Get down from there!
MIA
And that was it. I woke up and he
walked me back to my apartment.
DR. WOODARD
And this is the first night terror
you’ve had in a while?
MIA
I had one three nights ago. Alix
found me screaming in the kitchen.
DR. WOODARD
Your parasomnia shouldn’t be this
bad with the benzodiazepines you’re
taking. Did you mix with anything?
MIA
Alcohol.
DR. WOODARD
I thought you didn’t drink.
MIA
I don’t. I felt pressured.
DR. WOODARD
By who?
MIA
Marceau de Saint-Pierre.
DR. WOODARD
The fashion designer?
Mia nods.
MIA
I got a job. Working for him on his
comeback campaign. I’m opening and
closing his new show.
DR. WOODARD
That’s...very impressive. I had no
idea he was...returning.
33.
MIA
It hasn’t been announced yet. I was
at his house and he offered me wine
and I got caught up in the moment --
DR. WOODARD
Nails.
Mia takes her fingers from her mouth, sits on her hands.
MIA
I know.
DR. WOODARD
He had a pretty publicized mental
breakdown last I heard. Did he tell
you why he left? What happened?
MIA
No. It’s not my business.
DR. WOODARD
I think we should see each other
more often. Especially with this
new added pressure and stress.
MIA
I can’t. I’ll be working everyday.
DR. WOODARD
Mia if you’re waking up on the roof
of your apartment building --
MIA
Shit. I have to go. I’ll see you
next week.
Off Dr. Woodard’s dreadful look as Mia heads for the door.
SOPHIE
What was his house like? I bet it
was fucking massive.
MIA
It was enormous.
SOPHIE
And him? What was he like?
MIA
He was...incredible.
CARA
You went to his house already?
Damn, good for you.
MELANIE
Doesn’t take long for some to start
sleeping their way up the ladder.
They smirk and turn back. Sophie flips them off. SAINT-PIERRE
and CLAUDE emerge from the back of the stage and the girls
immediately sit up straight.
SAINT-PIERRE
Good morning, ladies. I am Marceau
de Saint-Pierre -- and welcome to
your new home.
SAINT-PIERRE (CONT’D)
It has been five years since I last
debuted a new collection to the
world. But this isn’t just a show --
it is an experience that nobody
will ever -- ever -- forget.
SAINT-PIERRE (CONT’D)
The theme of the show is always the
most important, because it is the
vessel that allows you to get your
message across. The theme of
Dollhouse is death. People will
call it a resurrection but it is a
rebirth. I am not who I once was.
But who I am now is who I was
always meant to be.
(MORE)
35.
SAINT-PIERRE (CONT’D)
I hope your experience is the same.
(then)
Fittings will take place shortly.
And tonight, you will all join me
at the Metropolitan, which I have
rented out to officially announce
my return and unveil you all to the
world. Welcome to Dollhouse.
CLAUDE
Please follow me.
MODEL
Did he say the theme was death?
SERIES OF SHOTS:
TAILOR
It fits perfectly. I don’t see any
changes that need to be made.
SAINT-PIERRE
I agree. It’s outstanding.
SAINT-PIERRE (CONT’D)
Just one final touch.
36.
He takes out a GOLD MASQUERADE MASK from his jacket. The same
one we saw the Adalene wearing in Mia’s night terror on the
subway. That’s where she’s seen it before. She looks
startled, even fearful as he slides it over her face.
SAINT-PIERRE (CONT’D)
Perfect.
Hannah helps Mia wipe off her makeup. They’re the last two.
HANNAH
That dress was incredible.
MIA
I know.
SAINT-PIERRE (O.S.)
Mia.
SAINT-PIERRE (CONT’D)
Can I have a moment?
SAINT-PIERRE (CONT’D)
How did you feel about the dress?
MIA
I loved it.
SAINT-PIERRE
I’m glad. It is very special to me.
SAINT-PIERRE (CONT’D)
I would like you to dye your hair.
MIA
What?
SAINT-PIERRE
The aesthetic of the clothes I have
designed to open and close the show
were made with a brunette in mind.
37.
MIA
Oh. Uhm -- okay.
SAINT-PIERRE
Every detail of this show has been
planned for five years. Everything
has to be flawless. You have what I
want, but I need you to be a
brunette.
MIA
Okay. Yeah. Of course.
MIA
Are you sure we left it in long
enough? I don’t want it to look
like I did it myself.
HANNAH
That’s why I’m here. But it’s
ready, you can take it off now.
Nervous, Mia slowly unwraps the towel -- and her WET, BROWN
HAIR falls down to her shoulders.
HANNAH (CONT’D)
Jesus Christ. You’re beautiful.
SOPHIE
Seriously, I’ve been a brunette for
twenty-one years. You look better
than I do and you’ve been one for
like forty-five minutes.
38.
MIA
I’m kinda surprised at how much I
like it.
CARA (O.S.)
Already morphing into his dream
girl. Kinda sad.
SOPHIE
I think they like you.
SAINT-PIERRE
Well then -- shall we?
Mia is at the top, closest to him. She looks out over the
room, drinking in the adulation and attention. She spots
HANNAH in the crowd, who’s smiling and clapping.
SAINT-PIERRE (CONT’D)
Thank you. It’s a pleasure to be
back with you all tonight. I’ve
waited for this a very long time.
CHEERS.
SAINT-PIERRE (CONT’D)
I have had much success in my life
but over the last few years, I have
finally learned what I am truly
capable of. Ladies and gentlemen --
SAINT-PIERRE (CONT’D)
-- welcome to Dollhouse.
39.
Behind him, a giant BLACK and RED POSTER is UNFURLED from the
ceiling -- but this time, it doesn’t say COMING SOON.
It says DOLLHOUSE.
CLOSE ON: Mia, smile on her face as the crowd cheers and
cameras flash. A dream being realized.
LATER --
HANNAH
You have to celebrate somehow. Look
at this place!
MIA
I know. It’s packed.
HANNAH
Everyone’s here. Literally,
everybody who’s anybody. Probably
all want to get a look at you.
HANNAH (CONT’D)
What?
MIA
Nothing.
(then)
I’m gonna go get some air.
She cuts through the crowd towards the door. But just before
she reaches it, something catches her eye.
It’s RAINING. Mia stands under the awning and dials her
phone. DREW picks up. He sounds EXASPERATED.
DREW (O.S.)
Mia?
MIA
Drew?
40.
DREW
Where are you? I’ve been trying to
get a hold of you all night --
MIA
I’m at the Metropolitan. Why aren’t
you here?
DREW
Listen to me very carefully, Mia. I
fucked up. I made a mistake, you
shouldn’t be there.
MIA
What?
DREW
You have to leave. You’re in
danger.
MIA
In danger? Danger of what?
DREW
Saint-Pierre. There are some things
you don’t know, some things I need
to tell you. Meet me at my studio --
MIA
Wait -- what are you talking about?
I’m not leaving here.
DREW
Listen to me -- he has a plan. This
isn’t a normal fashion show. You
need to get out of there, now --
MIA
I’m not leaving. You can come here.
DREW
No, I can’t. I was fired.
MIA
Fired?
DREW
He knows I know. Claude came to see
me. I’m leaving town tomorrow, he’s
a fucking psychopath. You need to
quit right now --
41.
MIA
Claude? Drew, what’s going on? I’m
not quitting the campaign --
DREW
You’re not listening --
MIA
Just because you lost your job
doesn’t mean I have to quit mine.
DREW
I’m not -- (static) -- Mia, before
he -- (static) --
MIA
Drew?
CLAUDE
Must’ve been an important call for
you to step out of such a wonderful
celebration.
MIA
Oh -- yeah, it was nothing big.
Thanks.
Drew FREEZES.
DREW
Mia?
He WHIPS AROUND.
DREW (CONT’D)
Who’s there?
DREW (CONT’D)
Mia? Stop fucking around --
His office door suddenly SLAMS SHUT. He JUMPS and drops his
phone, the light streaming up towards the ceiling. And in the
SHADOW OF THE LIGHT, we see a HAND GRAB HIS THROAT, DRAGGING
HIM OFFSCREEN --
She walks to her bed and lies down, waiting for the pills to
kick in. The smile on her face still there when --
A FLOORBOARD CREAKS.
Her body has decomposed. Her eyes black holes, her dark hair
stringy -- like she’s just RISEN FROM THE DEAD. She’s
DRIPPING WET in that same WHITE DRESS from the opening. Mia
SCREAMS as her DEAD HAND CLASPS OVER HER MOUTH --
Mia shoots awake, gasping for air and covered in sweat as her
ALARM BLARES. She’s still in the dress and half sleeves from
the night before. Light pours through the windows.
43.
MIA
Drew? It’s me.
She knocks again. Nothing. She sighs and looks down the alley
next to the studio and spots a door.
MIA
Drew? I got all seven of your
fucking calls, if I don’t answer
the first time I probably --
SILENT, SLOW-MOTION:
A DOLLHOUSE BILLBOARD.
44.
MIA
He was just...swaying there...
SOPHIE
Jesus Christ. What’d they say?
MIA
Not much. Just that they’d follow
up after the autopsy.
HANNAH
(sniffling)
He was probably my best friend out
here. I can’t believe this.
SOPHIE
Well. Fuck. This sucks. It’s all
high fashion until somebody dies.
MIA
He called me last night. Told me he
was fired and that I was in danger.
HANNAH
Fired? And in danger of what?
MIA
I don’t know.
SOPHIE
Drew hangs out with some sketchy
people. Who knows what he was
really involved in.
MIA
What’s that?
It’s the front page of the NEW YORK TIMES. A picture of Saint-
Pierre with his arms out and all the models on the staircase
under the headline -- ‘NOTORIOUS PARISIAN FASHION DESIGNER
SAINT-PIERRE ANNOUNCES TRIUMPHANT RETURN WITH DOLLHOUSE.’
45.
CLAUDE
Mia.
SAINT-PIERRE
The papers asked me to comment
about Drew. I have yet to come up
with the right words. But I am very
sorry. I know you were -- close.
MIA
Thank you.
SAINT-PIERRE
He brought you to me, which I am
very thankful for. And he was a
very good photographer. It’s a
shame we had to get rid of him.
MIA
(shocked)
Get rid of him?
SAINT-PIERRE
Poor choice of words. Sorry. Fire
him. Let him go from the campaign.
SAINT-PIERRE (CONT’D)
Are you familiar with Lucinda
Fournier?
MIA
The photographer?
MIA (CONT’D)
Of course. Everybody knows her.
46.
SAINT-PIERRE
She is joining the campaign. She
will be shooting for us going
forward and she found you to be
very impressive.
MIA
She did?
SAINT-PIERRE
Yes. She knows the vision I have
for the show and she’s very excited
to work with you.
SAINT-PIERRE (CONT’D)
Now you understand why we had to
get rid of Drew.
A smile creeps across her face. She nods. Like all of her
sadness has just been washed away...
TAILOR #1
It’s right here, see? The hip just
kind of...juts out at this weird
angle, I don’t know why --
TAILOR #2
It’s not the hips, it’s the upper
thighs that are disproportionate.
MODEL
Sorry -- forgot my phone charger.
MODEL (CONT’D)
We’re all going to the 27 Club if
you want to come, you
know...whenever you’re done.
ALIX
Thanks. I might be here for a bit.
TAILOR #1
If only the legs were a little
longer --
ALIX
Well they’re not, so deal with it!
Alix runs down the streets in the pouring rain. She ducks
underneath a stretch of sidewalk under construction. The
plywood wall is covered in DOLLHOUSE POSTERS. She stops and
stares at them, envious.
SOPHIE
Hey.
ALIX
Hey. How are you guys holding up?
HANNAH
Alright. Considering.
ALIX
What did the cops say?
MIA
They’re looking for prints and DNA
at the studio.
ALIX
Fuck.
ALIX (CONT’D)
Do you think...him getting fired
had anything to do with it?
48.
MIA
What do you mean?
ALIX
He told you that Claude guy
threatened to kill him, right? And
that you were in danger?
MIA
I mean, yeah, that’s what he said.
But he sounded out of his mind.
ALIX
You don’t think he was telling the
truth? Why else would he call you
fourteen times in one night?
SOPHIE
He was probably high.
SOPHIE (CONT’D)
Hold on -- you don’t think Saint-
Pierre had something to do with
this, do you?
ALIX
I’m just saying it’s not out of the
realm of possibility --
SOPHIE
Wait -- Alix, you’re talking about
murder.
HANNAH
(softly)
I saw him throw a chair at a girl
earlier today.
ALIX
Last I heard, he went insane.
MIA
Not everything you hear is true --
ALIX
This is. I know it is.
SOPHIE
And how’s that?
ALIX
I had this stylist once. She styled
this girl who was the real deal --
Burberry, Marc Jacobs, Dolce. Then
she got the Saint-Pierre job and
started modeling for him
exclusively. He was going to make
her the biggest thing in the world
but he was so obsessive and
demanding that she had a breakdown.
Moved back to Florida, changed her
name. My stylist said he threw her
into a mirror and choked her in
front of everybody. They had to pay
her off not to press charges.
Sophie SCOFFS.
SOPHIE
So he’s a perfectionist. So is
everybody else in this business.
I’ve been verbally abused a hundred
times. It’s part of the job.
HANNAH
Jesus, he threw her into a mirror?
ALIX
Have you even read the stories
about him? Ten models of his have
been hospitalized with heart
problems after losing weight too
fast. Two more killed themselves.
He’s a fucking serial abuser
addicted to drugs who went broke
and wants a power trip --
SOPHIE
You don’t even know him --
ALIX
Do you?
SOPHIE
You’re just jealous because you
know Dollhouse is better than Dior
and your big break has been ruined
by ours.
SOPHIE (CONT’D)
Mia doesn’t need to hear this
either.
(MORE)
50.
SOPHIE (CONT’D)
She’s opening and closing the show.
This has nothing to do with
Marceau.
Alix looks to Mia, who’s still biting her nails. She rips off
some skin. BLOOD starts to bubble --
ALIX
Congratulations.
MIA
Thanks.
MIA (CONT’D)
That was kind of harsh.
HANNAH
Have his models really killed
themselves? Is that true?
SOPHIE
She needed to hear it.
MIA
What’d you guys do after I left the
launch party?
SOPHIE
Who?
MIA
You and him.
Sophie shrugs.
SOPHIE
Talked. I went home. Why?
MIA
Just wondering.
SOPHIE
It is odd though, isn’t it?
MIA
What?
51.
SOPHIE
The way he looks at you.
Mia runs her hand under the faucet, watching the blood pour
out of her finger and swirl with the water. She goes to peel
back an extra piece of skin when --
She RIPS her ENTIRE NAIL OFF, revealing the raw flesh
underneath. She GRITS her teeth in pain as the flesh of her
finger GLOWS PINK.
SAINT-PIERRE
Needs to be tighter. And shorter.
SAINT-PIERRE (O.S.)
Mia?
She freezes.
MIA
Yes?
SAINT-PIERRE (O.S.)
Sorry to disturb you -- but I have
a bit of news.
MIA
You’re serious?
MIA
Oh...hello.
OFFICER BAILEY
Evening, miss. Sorry to stop by
unannounced. We just had some
questions about your friend Drew.
MIA
Have you found anything?
53.
OFFICER BAILEY
Unfortunately, no. We found no sign
of forced entry and no unexpected
DNA. Whoever did this had been
there before.
MIA
What happened to him?
OFFICER BAILEY
He was strangled pretty severely,
but it didn’t kill him. The
official cause of death was
hypovolemic shock.
MIA
So he was --
OFFICER BAILEY
He was gutted alive, yes.
(then)
Is there anything you can tell us
about the night before? Anything he
might have said? Alix has told us
he called you a number of times?
Mia turns to her. Alix’s face begging her to tell the truth.
MIA
Yeah.
OFFICER BAILEY
Did they have a falling out?
MIA
He was fired. That’s all I know.
OFFICER BAILEY
There’s nothing you can recall he
was upset about? Nothing he said
that alarmed you?
MIA
No.
SOPHIE
Can you fucking believe it? The
Vogue cover?
MIA
Yeah. I know. When did he tell you?
SOPHIE
This morning. He said we start
shooting with Lucinda next week.
Mia nods.
SOPHIE (CONT’D)
How are you not freaking the fuck
out right now? Two weeks ago you
couldn’t get an audition for a
fucking antique shop and now you’re
modeling for the biggest designer
in the world, for the biggest
comeback in fashion history. We’re
gonna be on the cover of Vogue.
MIA
I know, I just -- I don’t know. The
Drew thing is still upsetting me.
SOPHIE
Look, I don’t mean to be cold but
Drew was an asshole. You said it
yourself. It’s not our fault.
(then)
Let’s go celebrate tonight. Get our
minds off of this and enjoy this.
CARA (O.S.)
Ah yes -- the Vogue cover.
MELANIE
Pretty impressive for a girl who
nobody’s heard of.
SOPHIE
Says more about you than us, no?
CARA
I’ve seen you around. At least
you’ve done something. As for Mia --
tell us your secret. How are you
swinging this?
SOPHIE
Somebody finally wised up and saw
her for what she is. Now why don’t
you both fuck off?
Sophie goes to leave, Mia following. Cara sticks her hand out
and STOPS HER. She leans in --
CARA
Be careful. You never know which
bitches bark and which ones bite.
FLASHING LIGHTS and TRAP MUSIC. The kind of place where you
can literally hear people sweat and the drinks are watered
down. I’m having a panic attack just thinking about it.
MIA
I’m not upset -- I just don’t
really get it.
HANNAH
She’s your best friend and you’re
going to get to do Vogue together.
That’s like a dream come true for
best friends everywhere.
MIA
I know. I just kind of thought it
was my moment. Only me.
56.
HANNAH
Well, that’s what fucking the
designer gets you.
MIA
How did you know that?
HANNAH
Sophie told me.
MIA
Sophie?
HANNAH
Shit.
MIA
Wait -- Sophie fucked him? What did
she say?
HANNAH
It doesn’t matter --
MIA
What did she say?
HANNAH
She said they fucked in the Met
bathroom before she left. But
again, she could’ve lied --
Mia looks like her world has just been turned upside down.
She glances around the club, trying to regain her breath --
SOPHIE (O.S.)
Ladiessss. How’s it goin’?
HANNAH
Are you okay?
57.
SOPHIE
Just took a shit ton of ecstasy in
the bathroom. Never been better.
MIA
I’m gonna go. These places make me
anxious. I’ll see you tomorrow.
She gives Sophie a kiss on the cheek and then she’s already
on her way to do shots with some other razor thin brunettes.
Hannah follows Mia, grabs her hand --
HANNAH
Wait.
HANNAH (CONT’D)
You need to be happy for yourself.
It’s great that you’re so
ambitious, but be proud when good
things happen. If you don’t, this
relentless pursuit of something
unachievable will ruin you.
Mia listens. Nods. We’re not sure if she got the message.
She takes out her phone to call an Uber and drops it,
SHATTERING the screen. Cursing under her breath, she begins
the walk home...
Sophie takes her keys out of her pocket and goes to cross the
street, stumbling over her own two feet.
58.
A fist GRABS HER HAIR and DRAGS her towards the building, the
concrete BURNING the flesh exposed by her backless dress,
leaving a TRAIL OF BLOOD as she’s dragged up the stairs...
LATER --
PODCAST (V.O.)
...the most important distinction
we can make in our daily lives is
what we can and cannot control...
PODCAST (V.O.)
...there are certain things that no
matter what we do, we will never be
able to control...
PODCAST (V.O.)
...for instance. Death. We’re all
dying. You will die too, Mia. Death
comes for us all.
PODCAST (V.O.)
Don’t fight it. Sometimes, it’s
better to give in. Death is coming.
59.
PODCAST (V.O.)
There is nowhere to run. Death has
come for you.
PODCAST (V.O.)
Tonight, you will die.
PODCAST (V.O.)
Everything you are afraid of is
coming true.
Mia rushes into her apartment and locks the door. She throws
her AirPods across the floor where they land at the feet of --
Mia races for the stairs but Adalene POUNCES as she reaches
the first steps. She DRAGS her back down and climbs on top of
her, dripping water, plunging the knife towards her chest...
Mia leans in close to the mirror as Hannah does her hair. She
has bags under her eyes from lack of sleep. She looks pale.
HANNAH
You okay?
MIA
I’m fine. Just not sleeping well.
She reaches in her purse and swallows three pills. She looks
down at her nails. She’s bitten them down HALFWAY -- they’re
jagged and raw.
MIA (CONT’D)
Have you seen Sophie?
HANNAH
No. I left right after you did last
night. Have you called her?
SAINT-PIERRE
It doesn’t look the same.
TAILOR
We didn’t touch it --
SAINT-PIERRE
I know what I’m looking at. Check.
TAILOR
You’re right. She went down a size.
MIA
What?
SAINT-PIERRE
You’re losing weight. Why?
MIA
I don’t know. I’m not trying to --
SAINT-PIERRE
We’ve already done ten fittings. If
you lose weight then we have to
redo all of them.
SAINT-PIERRE (CONT’D)
You’re pale. Why?
MIA
I -- I don’t know --
SAINT-PIERRE
This is not what I asked of you.
This is not what I want. This is
not what Lucinda wants, or Vogue
wants, or what the face of
Dollhouse should look like.
MIA
I’m sorry --
SAINT-PIERRE
This has to be perfect. Do you
understand me? I am giving you the
opportunity of a lifetime. You’re
the face of a vision that took me
five years to create. Five fucking
years. You have to be perfect. Bad
things will happen if you are not.
Do you understand?
SAINT-PIERRE (CONT’D)
Good.
SAINT-PIERRE (CONT’D)
(French; subtitled)
I said I did not want to be fucking
disturbed --
CLAUDE
(French; subtitled)
I’m sorry. I will handle this.
CLAUDE (CONT’D)
(French; subtitled)
Monsieur. It is urgent.
SAINT-PIERRE
Non je suis occupé --
CLAUDE
C'est la police.
Mia’s makeup runs as she wipes tears from her eyes. She’s
still in the black dress. Her GOLD MASK lays on the table as
she wipes the fake blood off her neck with a paper towel.
OFFICER HOLLOWAY
Again, you are not in trouble. We
just wanted to talk with you away
from...everything else.
MIA
Who found her?
OFFICER HOLLOWAY
One of the other tenants heard the
sound. Called it in. You said you
guys were out celebrating?
MIA
Yeah. We had just learned we got
the Vogue cover.
63.
OFFICER BAILEY
Vogue? Damn.
OFFICER HOLLOWAY
And there were drugs consumed?
Mia is silent.
MIA
She had been drinking. Took some
ecstasy, I don’t know what else.
But she does that all the time. She
wasn’t suicidal. I would’ve known
if something was wrong.
OFFICER HOLLOWAY
Sometimes we don’t always notice --
MIA
She wouldn’t have killed herself.
OFFICER HOLLOWAY
So you think she was murdered?
OFFICER BAILEY
Tell us about Mr. Saint-Pierre.
MIA
What about him?
OFFICER BAILEY
Has he ever been violent towards
you? Have you felt...unsafe?
MIA
No.
64.
OFFICER BAILEY
And Sophie? What was their
relationship like?
MIA
I don’t know. Normal? Why? You
think he killed the girl he had
just given the cover of Vogue to?
OFFICER BAILEY
You tell us.
MIA
He’s a fashion designer.
OFFICER HOLLOWAY
I’m not sure anyone knows what he
truly is.
MIA
What do you mean?
OFFICER HOLLOWAY
This isn’t the first time he’s been
on our radar. A model killed
herself on his first campaign.
There were signs of foul play but
we could never prove anything.
OFFICER BAILEY
Three girls since then have died on
his campaigns. Two of which he was
allegedly fucking.
OFFICER HOLLOWAY
I don’t know where he’s been. But I
know that before he left, there
were questions.
Mia wipes the fake blood off her neck. Avoiding their gaze.
MIA
I don’t know what you’re talking
about. He’s been great to me.
OFFICER BAILEY
What happened to your neck?
65.
ALIX
There has to be something.
MIA
I don’t why everyone’s asking me
this --
ALIX
Because he likes you --
MIA
Why do you think that? Because I
got Vogue it must be because the
designer wants to fuck me?
ALIX
Two of our friends are dead. And
both of them are working for him
and you don’t even seem sad, or
worried, or suspicious at all.
MIA
Don’t tell me I’m not sad. I’m not
suspicious because I know him.
ALIX
Do you? Because to me, it looks
like he has you wrapped around his
finger. He’s turning you into
something I don’t even recognize
anymore.
MIA
He’s turning me into a supermodel.
ALIX
What happened to Mia? Don’t you
want to be her?
MIA
I want to be somebody.
She plays with her nails -- they start to BLEED. Alix looks
at her with sad eyes. Takes a sip of Vodka.
66.
ALIX
I think I’m quitting Dior.
MIA
What? Why?
ALIX
It’s just not fun anymore. Josh got
a job offer in Philly and I’m
thinking of going with him.
MIA
So, what -- you’re just going to
leave me here by myself?
ALIX
There’s more to life than ‘being
somebody’, Mia. I hope that you’ll
see that someday soon.
She dumps five pills in her hand and swallows them dry. She
looks down at her hand and sees another one of her NAILS
BLEEDING. The blood starts coming faster and faster...
But the blood doesn’t stop -- it just keeps coming, more and
more, thicker and thicker until the ENTIRE SINK IS BLOOD RED.
She tries to suck the blood out and another NAIL comes off in
her mouth. She spits it out and it gets lodged in the drain.
The bloody water then OVERFLOWS THE SINK, seeping onto the
counter and dripping down the cabinets --
She goes to remove it when TWO MORE NAILS CRACK and COME OFF
HER HAND. She winces in pain. Brings her trembling hand out
of the water. ALL OF HER NAILS ARE GONE. Just bright red, raw
flesh. Panicking, she looks up in the mirror --
MIA
I know she wasn’t suicidal. I
would’ve known.
DR. WOODARD
I think we should leave the
speculation for the authorities.
What I can best help you with is
your grief. How are you feeling?
MIA
Awful. Two of my friends are dead.
Alix might be leaving me. I can’t
eat. I can’t sleep. And I’m
supposed to be on the cover of
Vogue in a week.
(then)
Every time something good happens
to me, something a thousand times
worse follows.
DR. WOODARD
Are you having night terrors?
MIA
I’m seeing somebody. In my dreams.
Sometimes during the day, too. A
woman. Skinny. Brunette. Pale with
dark eyes.
MIA (CONT’D)
She’s dripping wet sometimes and
looks like some kind of corpse.
DR. WOODARD
What does she do when you see her?
MIA
She’s trying to kill me.
68.
MIA (CONT’D)
I know it sounds crazy but she’s
wearing the same clothes I am in
the show. She follows me --
DR. WOODARD
I think you should step away from
work for a bit.
MIA
What? No. I can’t --
DR. WOODARD
Mia, this is something that goes
way beyond anxiety. You’re
experiencing intense trauma from
recent events which is very
understandable, but it has to be
dealt with.
MIA
If you could just increase my meds
while I get through this --
DR. WOODARD
I can’t do that. You’re on a very
high dose of benzodiazepines as it
is and this has nothing to do with
medication. Your emotions are in a
tailspin and they’re manifesting
themselves physically.
MIA
I just need something to get me
through the show, then we can --
DR. WOODARD
That’s not how this works. I
wouldn’t be doing my job if I just
handed you a bunch of pills.
MIA
Then maybe I should find a new
doctor.
The blinds are drawn and room is dark as Mia and Hannah watch
AMERICAN BEAUTY. The scene where Mena Suvari performs a dance
routine at the basketball game.
MIA
I’m good, thanks.
Hannah shrugs, sinks into the couch and eats gummy worms. Mia
is waiting for her new NEON BLUE FAKE NAILS to dry. In her
other hand, she twirls the ‘SP’ crystal and gold LAPEL PIN.
HANNAH
I love this movie so much.
MIA
She’s beautiful.
HANNAH
Drew really nailed that style for
your shoot.
HANNAH (CONT’D)
I helped his parents clean out his
studio yesterday. I have all the
files and hardcopies from your
shoot if you want them.
MIA
Oh -- sure. Thanks.
MIA (CONT’D)
Fuck it. I’ll try it.
HANNAH
You sure?
MIA
You just have to light it for me.
HANNAH
Have you smoked before?
Mia shakes her head, her trembling hand reaching for water.
HANNAH (CONT’D)
It’ll burn for a second. Just keep
drinking.
Mia drains the water. Keeps coughing. Sits back in her chair.
Her eyes start getting heavy. In a daze. The coughing slowly
subsides. She’s high.
HANNAH (CONT’D)
Hey, by the way -- I need to talk
to you about something. I’m --
Mia’s hands tremble as she holds it. Can’t tell if it’s real
or if she’s just really fucking high.
MIA
Who is this?
HANNAH
What?
MIA
(frantic)
This woman. Who is she? Where did
you get this?
HANNAH
Calm down, you’re freaking me out --
MIA
Who is this!
HANNAH
I don’t know! Saint-Pierre gave it
to me as a reference for your look!
Why, what’s wrong?
Mia puts her hands over her head, tries to breathe. Then,
abruptly, she takes the photograph and heads for the door...
HANNAH (CONT’D)
Mia!
MELANIE (O.S.)
Jesus Christ, what happened to you?
72.
Mia turns, sees Melanie and Cara fresh from their fittings.
Cara walks closer. Brushes Mia’s HAIR out of her face --
CARA
Odd when the dead friend is the
better looking one --
Mia GRABS her wrist. Her fake nails barely puncture the skin,
a single droplet of BLOOD running down Cara’s wrist. Both
girls try to hide their surprise at her flash of violence.
CARA (CONT’D)
This isn’t going to end the way you
think it will. I promise.
SAINT-PIERRE
I have heard about Sophie. I cannot
express to you how my heart breaks.
I feel a great sense of loss, but I
know it pales in comparison to the
pain you feel.
MIA
Thank you.
SAINT-PIERRE
If you need anything at all, please
-- I am here for you.
SAINT-PIERRE (CONT’D)
Mia, it is very apparent to me that
you are struggling. It is very
important to me that everything in
this show is absolutely perfect.
(MORE)
73.
SAINT-PIERRE (CONT’D)
But right now, you are not perfect.
And I cannot let you be the face of
it.
MIA
What?
SAINT-PIERRE
I think it’s best for us to pull
back on your role in the show. Cara
and Melanie will do the shoot --
MIA
No! You promised me I could do
this! This is supposed to be mine!
SAINT-PIERRE
Mia --
MIA
The theme of the show is death,
right? I’d think that with all the
shit I’ve been through since you
brought me on, that makes me a
pretty fucking good candidate.
MIA (CONT’D)
I can do this.
SAINT-PIERRE
Okay. I will keep you on the cover.
But let’s be clear. If it is not
perfect, or exactly what I want --
MIA
Thank you --
SAINT-PIERRE
Do not fucking interrupt me.
SAINT-PIERRE (CONT’D)
Get some rest and go back to being
who you were during your audition.
That’s the Mia I want.
SAINT-PIERRE (CONT’D)
One more thing. Hannah came to see
me yesterday. Seems she’s quitting
the campaign.
MIA
(shocked)
She’s what?
SAINT-PIERRE
What we are doing here is
confidential. And she has already
proven she can get me the exact
look I want with you. She cannot
leave. Not this late.
MIA
I’ll talk to her.
SAINT-PIERRE
So will I.
Mia hustles down the stairs of the subway. She checks her
phone -- 5% battery. She dials.
MIA
Fuck!
MIA (CONT’D)
Hey, it’s me. I need to talk to
you. You didn’t tell me you were
going to fucking quit the campaign,
the show is in three days. I need
you.
Mia moves pushes through the crowd towards the subway door --
75.
MIA (CONT’D)
And Saint-Pierre was really angry.
He said he was going to come and
talk to you but I --
MIA (CONT’D)
Shit!
HANNAH
Dammit --
She walks to the LIVING ROOM and to the vanity, where she
gathers her stylist supplies. As she grabs her pair of
STYLIST SCISSORS, she notices the manila DOLLHOUSE folder.
She opens it -- Adalene’s picture is gone.
She freezes for a moment. Checks her watch. 10:41 P.M. She
carefully walks towards the door...
HANNAH (CONT’D)
Who is it?
And finally, she DOES. But nobody’s there. Just the rain.
She shuts the door and goes back to her vanity. She gathers
her supplies -- but the scissors aren’t where she left them.
She checks the bag, her pockets. Nothing.
Confused, she turns OFF the living room lights and heads back
to her bedroom where she sees --
MIA
Excuse me, ma’am, but could I --
It’s ADALENE. Her BLACK EYE SHADOW running down her face,
just how it was styled for Mia in the hospital gown. She
stares at Mia, CRYING and WAILING...
LATER --
Mia takes two pills from her pocket and swallows them, hands
trembling as she hails a TAXI. She finally flags one down --
on the top of it is a black and red advertisement. DOLLHOUSE.
MIA
228 East 54th --
The driver turns around. It’s ADALENE in the GOLD MASK, BLOOD
DRIPPING DOWN HER MOUTH AND NECK. She smiles.
-- and races down the street, blood on her face and clothes.
She turns a corner, running as fast as she can, runs through
an alley, emerges on a street and finds herself at --
It’s pitch black. Mia feels her way through the seats and
towards the runway. She climbs up and searches for a light on
the wing of the stage. She pulls a lever.
EXIT MUSIC (FOR A FILM) starts to play and the entire theatre
ILLUMINATES. The fashion house of horrors suddenly feels much
more harrowing when she’s here by herself. The coffins
onstage, the fake blood on the runway and walls...
RADIOHEAD
Wake from your sleep / The drying
of your tears / Today, we escape /
We escape...
RADIOHEAD (CONT’D)
Pack and get dressed / Before your
father hears us / Before all hell
breaks loose...
MIA
What is happening to me?
The hairs on her forearms stand up. She turns around and sees
Adalene, standing a few feet away from her. Tears roll down
Mia’s cheeks. Adalene just stares. Looking dead as fuck.
MIA (CONT’D)
(screaming)
What do you want from me!
78.
Adalene steps towards her, just inches away now. Mia trembles
in fear. Adalene touches her hair, brushes it out of her
face. Then, just as she’s about to finally SPEAK --
She sits up, GASPING FOR AIR. Another night terror. Only this
time --
MIA
Hannah?
The window is open where rain has leaked in. She looks around
the bedroom -- most of her clothes and belongings are gone.
MIA (CONT’D)
Hannah, are you home?
She looks into the mirror, sees the blood on her face. Rushes
into Hannah’s --
BATHROOM --
MIA (CONT’D)
Fuck. Fuck fuck.
MIA (CONT’D)
Fuck! God fucking dammit!
She looks at herself in the mirror. Her lips are cracked and
bleeding. Her skin is white as a ghost. Her eyes are black
holes. Cheek bones jagged. She touches her face, as if she
can’t believe it’s really her.
She tries to smooth her hair -- and pulls out a CLUMP in her
fist. She stares in horror.
She reaches into her pocket for pills, her bloody hand
shaking, and as she pulls it out, the pills go SPILLING
ACROSS THE FLOOR along with --
A folded up picture.
ALIX
She didn’t even tell you?
MIA
No. She was already gone.
ALIX
Jesus. That’s kinda fucked.
MIA
I feel like I’m going crazy.
ALIX
Josh and I are leaving tomorrow.
MIA
What?
ALIX
You should come with us. We’re
staying in a hotel while we try to
find a place.
MIA
You’re leaving already? Why? What
am I supposed to do without you?
80.
ALIX
I’m saying you should come with us.
This job is killing you. It’s made
you into -- this.
MIA
My job has nothing to do with --
ALIX
Mia.
MIA
He’s given me everything! I
couldn’t afford rent a month ago
and now I finally have something to
be proud of. He’s making me
somebody I’ve always want to be.
ALIX
This is who you always wanted to
be? Look at yourself!
MIA
You can’t leave. Everyone else has
left, you can’t leave me too --
ALIX
He’s hurting you --
MIA
No! He’s not! You don’t know him!
Mia stands on the scale. 111 lbs. That can’t be right, can
it? She gets off, SHAKES THE SCALE, gets back on. 110 lbs.
The BONES START BURSTING THROUGH THE SKIN. The flesh starts
to RIP, like it’s a piece of clothing thats too tight, and
BLOOD starts to GUSH out of her. Her skin looks like it’s
MELTING.
81.
Panicked, she feels her face and watches as the skin MELTS
OFF HER FACE, like her body is RAPIDLY DECOMPOSING in front
of her very eyes. She SCREAMS...
MELANIE
Heard you lost your stylist. Tough
break. But don’t worry -- I’m sure
things will work out spectacularly
for you. Again.
She gives a wicked smile and leaves. Mia looks at all the
other girls -- their stylists applying make-up, transforming
them from normal to supermodel.
TAILOR
It’s falling off of her.
SAINT-PIERRE
She is closing the show in this.
TAILOR
We need more time --
SAINT-PIERRE
Everybody out.
SAINT-PIERRE (CONT’D)
I’m taking you off the Vogue shoot.
82.
MIA
What?
SAINT-PIERRE
It was a mistake. Melanie and Cara
will do it. And they will open and
close the show as well.
MIA
No, wait, I can do this --
SAINT-PIERRE
No you can’t! Look at yourself. You
don’t have what I need. I need
perfection. I thought you could
handle this opportunity but you
can’t. You will walk in the middle
of the show with the others.
SAINT-PIERRE (CONT’D)
This dress is the most important
part of the show. It is the end to
the masterpiece. It is everything I
have to say. It is why I fucking
chose you. It’s what makes you her.
MIA
Please --
Mia’s eyes glisten with tears. As one rolls down her cheek,
he GRABS HER THROAT, YANKS HER OFF THE PEDESTAL, THROWS HER
UP AGAINST THE MIRROR --
SAINT-PIERRE
I have given you everything you
could ever want. You are never
going to be who I thought you could
be. This is my fucking magnum opus.
And you are nothing to me.
OFFICER HOLLOWAY
Does her mom live in the city?
83.
OFFICER BAILEY
No. She lives in Portland. Says her
daughter was supposed to fly in
this morning but never did.
OFFICER HOLLOWAY
Anything?
OFFICER BAILEY
Her bags are here.
OFFICER HOLLOWAY
Maybe she hasn’t left?
Bailey ignores him, goes to the back of the car. Pauses for a
moment...then lifts the trunk...
HANNAH, her face covered in the bloody clear plastic bag. Her
eyes are open and her tongue has been CUT OUT.
84.
Her neck has been SLICED from EAR to EAR. Her scissors
STICKING OUT OF HER CHEST.
She opens the door and sees Mia standing there. Distraught.
LATER --
Dr. Woodard takes out a pill bottle and water bottle as Mia
sits on the couch, rambling, in a panic.
MIA
I know it was him. All of this is
him. He’s trying to turn me into
something. Or someone.
Dr. Woodard sets down a water bottle and two pills. Mia is
picking at her EYELASHES -- they’re coming off.
MIA (CONT’D)
What is this?
DR. WOODARD
Librium. It will calm you down.
She shoves them in her mouth and gulps them down. Dr. Woodard
watches with a keen eye as she takes a seat.
Mia reaches into her pocket, pulls out the folded photograph
and hands it over. It’s covered in DRIED BLOOD. She opens it.
MIA
I don’t know who she is but he
wants me to look exactly like her.
Made me dye my hair, dresses me
like her. He probably did to her
what he’s doing to me.
MIA (CONT’D)
He’s a monster. And he killed Drew
and Sophie. I know he did.
(MORE)
85.
MIA (CONT’D)
(then)
How strong are these pills?
DR. WOODARD
Where were you the night that Drew
died?
MIA
What?
MIA (CONT’D)
I was at the Metropolitan. For the
launch party.
DR. WOODARD
And where did you wake up?
MIA
Home?
DR. WOODARD
According to our session two days
after, you woke up on the couch
after Alix heard you screaming.
MIA
Oh. Yeah. I’d had a night terror --
DR. WOODARD
And on the seventeenth, you woke up
on your kitchen floor. Sophie was
found dead that morning.
(then)
You said you woke up at Hannah’s
last night. Where was she?
MIA
I’ve had night terrors my entire
life. I don’t see how --
DR. WOODARD
They’re not night terrors. It’s not
parasomnia. You’re having a
psychotic break with reality.
MIA
A psychotic...what?
86.
DR. WOODARD
The human brain has the ability to
protect itself from traumatic
events that it knows will harm the
psyche. What you thought were night
terrors are blackouts.
MIA
You think...I killed my friends?
DR. WOODARD
I wondered why the benzos weren’t
working. But when you started
losing weight and your physical
appearance deteriorated, I realized
-- hallucinations. Persecutory
delusions. Apathy. This is
psychosis. Your mind has conjured
up a reality where you are in
danger and need to protect
yourself. You don’t know what
you’ve done.
MIA
What did you give me?
DR. WOODARD
Extra-strength Haloperidol. It’s a
sedative-antipsychotic.
DR. WOODARD
This Dr. Helen Woodard. I’d like to
request the transport of a patient -
DR. WOODARD
Involuntary. Patient name is Mia --
87.
MIA
I said stop!
Mia LUNGES and WRESTLES Dr. Woodard to the floor. She climbs
on top of her, her vision blurry and head heavy, SEIZING HER
THROAT and SLAMMING the back of her head into the floor.
Dr. Woodard pries Mia’s hands from her throat but before she
can escape, Mia grabs a LETTER OPENER and THRUSTS it into her
eye. She SCREAMS, blindly clawing at Mia’s face, ripping off
EYELASHES and grabbing a FISTFUL OF HAIR OFF OF HER SCALP --
Mia YANKS the letter opener out of Dr. Woodard’s eye socket
and STABS it DEEP into her HEART, DRAGGING IT DOWN HER CHEST.
Blood SPLATTERS on her face.
Mia stands, grabs the phone off the table and SMASHES it on
the floor. Dripping with blood, she stands over her doctor.
CLUMPS OF HER HAIR are on the floor and Dr. Woodard’s fist.
Her fake nails have fallen off and her eyelashes have been
ripped off. Her lips are cracked. Blood on her face.
Mia’s POV: All of the lights and her surroundings are blurred
together. Her breathing is slowing. She’s sedated.
She tries to read street signs but she can’t. She uses all
her strength to walk but sedation overtakes her and she
collapses. Slowly, she crawls to a nearby ALLEYWAY and we --
CUT TO BLACK.
FADE IN:
88.
MIA
Hello?
CLAUDE (O.S.)
Mia.
MIA
Yes?
SAINT-PIERRE (O.S.)
Something has come up. Are you at
your apartment?
MIA
Yes.
CLAUDE (O.S.)
We are sending a car to you now.
MIA
For what?
CLAUDE (O.S.)
The Vogue Shoot. Cara and Melanie
have disappeared.
Mia’s face falls. She gets up, walks towards the bathroom --
MIA
I’d love to.
ASHLEY
Alright, well -- you’ll be in this
chair for a while, just so you
know. We’re only doing one style
but...we have a lot of work to do.
GABRIEL
We’ll start with the wig, and then
we can move onto the skin...and the
lips...and eyes...
LUCINDA
Tell him I’ll call him back, I’ll
be in London after Dollhouse and
then we go to Singapore before --
LUCINDA (CONT’D)
What is this?
MIA
I’m Mia --
LUCINDA
No, no -- this is not the same girl
Marceau sent me pictures of. What.
The Fuck. Is this?
LUCINDA (CONT’D)
You’re to be on the cover of Vogue.
With Marceau de Saint-Pierre. Is
this some kind of joke?
MIA
He asked me to do it.
LUCINDA
Then maybe he’s insane after all,
because I can do fuck all with
this.
MIA
He said he wanted me. Ask him.
LUCINDA
Okay. Fuck it. But I don’t want her
out of that chair for the next
three hours and if she doesn’t come
out looking like Marilyn fucking
Monroe, I’m firing everybody.
LATER --
ASHLEY
Alright. I think you’re just about
ready. The dress is upstairs in the
hallway bathroom.
MIA
Thank you.
Still following from the back, Mia walks into the bathroom
where the white dress hangs from the shower. She eyes it for
a moment, running her fingers across the cotton before
carefully undressing and slipping it on.
She has sparkling BLACK EYESHADOW over her eyes, which are
now an electric BLUE from contacts. Her cracked LIPS are now
full and scarlet red.
Down to the very last detail, from the closet to the vanity,
we recognize it as being an exact replica. Mia wanders
around, looks out the window and sees Saint-Pierre talking
with Lucinda on the beach, where an ALTAR has been set up.
She turns the picture over and sees a note scribbled on the
back -- “TO MARCEAU - I LOOK FORWARD TO WATCHING YOU TAKE
OVER THE WORLD. FOREVER YOURS, ADALENE.”
Mia rushes to the window. Sees the altar. The white set. The
flower decorations. To her horror, she realizes --
CLAUDE (O.S.)
What are you doing?
CLAUDE (CONT’D)
You should not be in here.
MIA
I’m sorry. I didn’t know.
MIA (CONT’D)
Why am I dressed like her?
CLAUDE
I do not choose the outfits.
MIA
Where is she?
CLAUDE
Marceau is ready for you.
SAINT-PIERRE
You look incredible.
LUCINDA
Stylists are heroes, I swear to
God. Okay Mia, you’re going to be
to his left. Head on his chest.
Left arm draped across him.
Her heart stops. She doesn’t move. Lucinda comes closer with
her camera, FLASHING a few to get a feel of the angles.
93.
LUCINDA (CONT’D)
Mia, head on his chest.
LUCINDA (CONT’D)
Put your arm across him.
She puts her arm across but it hovers off of his suit.
LUCINDA (CONT’D)
Closer!
LUCINDA (CONT’D)
There you go! Now give me a look,
Mia. Show me what you’re made of.
LUCINDA (CONT’D)
Smile! This is fucking Vogue for
God’s sake!
LUCINDA (CONT’D)
Smile Mia! Come on, Smile!
LUCINDA (CONT’D)
FUCKING SMILE!
FLASH!
ALIX (O.S.)
Mia.
MIA
Jesus fucking Christ.
She walks down a few steps, turns on the light. She’s still
in the white dress, her hair and makeup still perfect.
MIA (CONT’D)
I thought you’d left.
ALIX
Not yet.
MIA
Thank God. I have to talk to you.
Everything you said about Saint-
Pierre? I think it’s true. There’s
this reference photograph he’s been
using of this woman and --
ALIX
Mia --
MIA
-- he’s dressing me like her, my
hair and makeup and in the same
dress, like he wants me to be her,
and it’s his fucking wife. I looked
her up but I can’t find anything --
ALIX
Mia.
MIA
What’s going on?
JOSH
The kitchen.
95.
MIA
What?
JOSH
Look in the kitchen.
ALIX
(tearfully)
What happened to you, Mia?
OFFICER BAILEY
When did the call come in?
OFFICER HOLLOWAY
Twenty-five minutes ago. Said she’d
be home soon.
OFFICER BAILEY
NYPD! Open up!
MIA
Oh -- hello.
OFFICER BAILEY
Hello, Mia. Is Alix home?
MIA
Alix? Yeah, she’s in her room with
her boyfriend. Is something wrong?
96.
OFFICER BAILEY
May we come in?
MIA
Of course.
OFFICER BAILEY
Where’s her room?
MIA
At the back. Over there.
OFFICER BAILEY
Did you see your psychiatrist last
night? Dr. Helen Woodard?
MIA
Yeah, I did. Why?
OFFICER BAILEY
What time did you leave?
MIA
I’m not sure. Nine-thirty maybe?
MIA (CONT’D)
Sorry. Power’s out.
OFFICER BAILEY
Was working fine in the hallway.
MIA
I thought she was.
OFFICER BAILEY
Dr. Woodard was found stabbed to
death last night. There was a lot
of DNA at the scene. And your
friend Hannah was found in the
trunk of her car, her tongue cut
out and throat slit --
And then, ALIX AND JOSH’S DEAD BODIES TUMBLE OUT OF THE
CLOSET ON TOP OF HIM. Alix’s face has been SMASHED IN and
Josh has a KNIFE stuck in his stomach. He’s still alive,
barely, in excruciating pain, MOANING...
OFFICER HOLLOWAY
Fuck. Jesus fucking --
BAM!
Dozens of NEWS TRUCKS and COP CARS block the street, barriers
and officers keeping the massive crowds back. There’s a line
of people waiting to get in, snaking around the block.
NEWS REPORTER
...all eyes are on Manhattan today
as Marceau de Saint-Pierre prepares
to unveil his comeback line
Dollhouse to the world. In what is
being called the fashion event of
the decade, we’ve been told that
hundreds have already been turned
away at the door...
MIA steps out of her Uber and walks through all the madness.
She shows a cop her ID badge and gets through.
PODCAST (V.O.)
Once you conquer what you’re afraid
of, it can no longer control you.
You become the master of your own
life and your own decisions. You
can become...who you really are.
The Podcast ends. Mia takes out her AirPods as Claude enters.
CLAUDE
Marceau would like to speak to you.
He’s waiting in your dressing room.
Mia walks into a private room with white satin couches and a
glass coffee table. A dozen roses in a vase, a bottle of
whiskey. A vanity in the corner.
SAINT-PIERRE
I’ve decided we won’t need the
hospital gown. You’ll open in the
black dress and close in the white.
SAINT-PIERRE (CONT’D)
I must confess...five years working
on this and it still doesn’t feel
real.
MIA
What happened to Adalene?
100.
MIA (CONT’D)
Why are you dressing me like her?
SAINT-PIERRE
Why do you think I chose you? You
didn’t think I actually thought you
were something special, did you? I
chose you because you looked like
her. You’re a nobody.
MIA
What happened to her?
SAINT-PIERRE
The same thing that’s about to
happen to you. She died.
SAINT-PIERRE (CONT’D)
I met her when I was twenty-four,
working as a shoe salesman in Paris
trying to get my own designs off
the ground. We fell in love quicker
than either of us realized. She was
my model, my assistant, my toughest
critic -- she was everything.
SAINT-PIERRE (V.O.)
Shortly after, we were married.
SAINT-PIERRE (V.O.)
But before we knew it, I became an
overnight sensation. I went from
being a shoe salesman to being the
savior of fashion in a year.
SERIES OF SHOTS:
SAINT-PIERRE (V.O.)
Fashion is a cutthroat business. I
tried to keep Adalene away from the
ugliness. But she didn’t see it
that way. And it seeped in anyways.
SAINT-PIERRE (V.O.)
She begged me to be home more.
Wanted us to start building the
family we never had. But I had
become a God. I was the most
successful designer in the world
and all it did was make me want
more.
SAINT-PIERRE (V.O.)
Five years ago, we went to a
masquerade party. We had both been
drinking. We got into an argument
about my work, my drug abuse,
infidelities. She wanted me to take
a break. But I couldn’t.
SAINT-PIERRE
She was pregnant. I didn’t know.
She’d wanted me to be home because
we were starting a family. But I
couldn’t leave what I had built.
She gave me an ultimatum. Leave
fashion, or she’d leave me.
(then)
I went to Milan for a show the next
day.
SAINT-PIERRE (V.O.)
We lost the child. And I lost her.
MIA
So this was all some...twisted
fantasy?
SAINT-PIERRE
Fashion gave me everything I
thought I wanted -- but it took
away everything that mattered.
Dollhouse is my farewell to
fashion, to life. My last show, and
a love letter to what I lost.
MIA
You’re a psychopath.
SAINT-PIERRE
And what about you? I could smell
your desperation the night I met
you. You’d do anything to become
who you want to be, just like I
did. Think of what your shallow
dreams have made you do. You killed
everybody that stood in your way,
and for what? To be someone? You
could’ve walked away from me at any
point. But you didn’t.
A tear starts to roll down Mia’s cheek. What has she done?
SAINT-PIERRE (CONT’D)
We are both monsters. And tonight,
we will pay for what we’ve done.
104.
Mia is now in the black dress and gold mask, fake blood on
her mouth and neck. She stares at herself in the mirror.
CLAUDE
The show is about to begin.
SAINT-PIERRE
Claude will escort you to the
stage. After you walk, you will
come back here. And we will prepare
for the finale.
SAINT-PIERRE (CONT’D)
And think of it this way. You’ll be
more famous now than you could’ve
ever imagined.
PRODUCTION COORDINATOR
Ten seconds.
105.
RADIOHEAD
Wake from your sleep / The drying
of your tears / Today, we escape...
A smile creeps across her face as she strut the runway. When
she reaches the end, about to hit her turn, she sees --
Mia returns to the room, Claude guiding her, and finds Saint-
Pierre sitting in front of the vanity. The whiskey bottle
empty. He looks drunk, upset, and all around fucked up.
SAINT-PIERRE
Fun, isn’t it? Room full of people
paying attention to nothing but
you. There’s nothing else like it.
MIA
What are you going to do to me?
SAINT-PIERRE
Put on the dress. We have fifteen
minutes.
LATER --
MIA
I’m ready.
SAINT-PIERRE
Lay down on the tarp.
MIA
Tell me what you’re going to do to
me first. I at least deserve that.
SAINT-PIERRE
I am going to kill you. Then, I
will take you down the runway to
present my final contribution to
this glamorized, fucked up world,
where I will kill myself. The only
way I can escape this hell. And
Claude will hang this tarp from the
rafters. So nobody will forget.
Claude hands him the dagger. Mia’s eyes filled with terror.
MIA
Do you think this is what she
would’ve wanted?
SAINT-PIERRE
We’ll never know, will we?
He wipes tears from his bloodshot eyes and leans down, the
blade inching towards her throat as --
She suddenly THRUSTS THE CRYSTAL AND GOLD ‘SP’ LAPEN PIN IN
HIS THROAT. She DRAGS it across his neck, blood EXPLODING
onto her face and the tarp around her.
Mia shoves his body off of her and grabs the knife from his
hand. She PLUNGES it into his heart, and RIPS IT BACK OUT --
107.
But CLAUDE comes from behind and GRABS HER. She wrestles free
but drops the knife. Claude picks it up as she backs up to
the vanity, cornered in, blood dripping down her neck...
CLAUDE
You have no idea what you’ve done.
She yanks the flat iron chord from the wall and climbs on top
of him, HITTING him across the face twice more. He JAMS the
knife into her shoulder.
She lets out a HORRIFYING SCREAM before SHOVING THE FLAT IRON
INTO HIS MOUTH. His eyes are panicked as his mouth and cheeks
literally MELT. Mia uses all her strength to push the iron AS
FAR DOWN HIS THROAT AS SHE CAN --
His eyes start rolling into the back of his head. He reaches
for the flat iron, dropping the knife -- she grabs it and
THRUSTS IT IN HIS STOMACH. He stops moving. His face
literally melting off his bones. A horrifying sight.
She walks back over to the vanity. As she takes a paper towel
and starts to wipe the blood away, her makeup starts coming
off, exposing the cracks in her skin underneath. She looks at
her hands -- her fake nails have been pulled off.
She pulls her wig off and reaches for the crystal lapel pin.
RADIOHEAD (O.S.)
We hope your rules and wisdom choke
you...
Mia reaches the end of the runway and we SWING AROUND to see -
She looks out at the frightened crowd. Her eyes get blurry as
she smiles. Finally, her true self -- Mia -- on stage, in
front of everybody, captivating an audience...
The word ‘BEAUTIFUL’ CARVED DEEP INTO HER STOMACH. She starts
hyperventilating, but still smiles victoriously as --
-- her eyes ROLL BACK INTO HER HEAD and SHE COLLAPSES.
RADIOHEAD (CONT’D)
-- We hope that you choke / That
you choke...
CUT TO BLACK.
109.
MOVER
Hey -- can I take this?
OFFICER STARKS
No. Put it in the truck.
MOVER
But you said he had no next of kin.
Do you have any idea what I could
sell this shit for?
OFFICER STARKS
He had no next of kin so all of
this belongs to the state now. Put
it in the truck.
Starks steps down into the basement where FOUR MOVERS are
packing up the clothes and dismantling the mannequins. It
looks bare compared to the last time we saw it.
MOVER #1
Why does he have so many goddamn
mannequins? This place is a fuckin’
haunted house.
MOVER #2
No wonder that girl killed him.
OFFICER STARKS
Hurry up. The trucks are leaving in
a half hour.
THE END