“What’s the
story?”
Shooting Script
NOTE: This is
the original ‘shooting script’ direct from the pens of Baz & Craig, by way
of the Behind the Red Curtain DVD. I haven’t quite finished copying it out, so
at the moment it only goes up until the end of “Like a Virgin”—however, things
are in a slightly different order in this version, which makes you realise just
how much of the movie took shape in post. As you can imagine, it has taken me
quite a while to type all this out, so please do not post this elsewhere!
“Moulin Rouge”
By Baz Luhrmann & Craig
Pearce
Melancholic
strings. A beautifully hand-written card.
It
reads:
Twentieth
Century Fox presents
DISSOLVE
TO:
A
second hand-written card, it reads:
A
Bazmark Film
DISSOLVE
TO:
A
third hand-written card. It reads:
“
SUPER
OVER: A sepia-toned vista of turn of the century
PUSH
TOWARDS: The hill and cathedral. A ramshackle little village at the base of the
hill now comes into view.
SUPER:
“
PUSH
TOWARD: The village roof tops.
DISCOVER:
An unprepossessing garret.
SLOW
PUSH: Into the garret window.
INT.
CHRISTIAN’S GARRET. DUSK.
The
silhouette of a dishevelled, bearded man slumped over a typewriter.
TRACK
ACROSS: Books, papers, old photographs, strange and exotic furniture, a
junkyard of experiences. In the corner, a heavy iron contraption is covered in
grimy bedclothes. An incongruous splash of life, as a brightly coloured bird
hops inside its gilded cage.
SETTLE
ON: The bearded man. It is:
CHRISTIAN.
Head in his hands, Christian’s weary eyes stare at the blank page staring back
at him.
MACRO
SHOT: The words “Moulin Rouge” are hammered into the soft white paper.
WHIP
TO: Christian. He hesitates. His attention is suddenly caught by the bird as it
flaps its wings against the cage.
Expelling
a deep breath, Christian types.
DISSOLVE
TO:
EXTREME
CLOSE UP: Words type onto the page.
CHRISTIAN V/O
This story
is about love. The woman I loved is, she
is…she is….
Christian
breaks off. A moment of anguish. Barely able to form the words, he forces
himself to write.
CHRISTIAN V/O (CONT’D)
The woman
I loved is dead.
CLOSE
ON: Christian, staring, lost.
SUDDENLY:
We see words as Christian continues typing.
CHRISTIAN V/O (CONT’D)
She was
the most beautiful courtesan in all
The
screen momentarily fills with heavy, dark eyelashes and the corner of a painted
red mouth.
CLOSE
ON: Christian mouths the words as he writes.
CHRISTIAN V/O (CONT’D)
She sold
her love to men.
WE
SEE: An ocean of top hats tilting skyward to reveal lust filled eyes.
CHRISTIAN V/O (CONT’D)
Men who
came in their hundreds to gaze upon her.
WE SEE:
A flash of electrifying dance.
CHRISTIAN V/O (CONT’D)
Men who
happily paid for her love…
WE
SEE: A fine white neck encased in a blinding web of diamonds.
CHRISTIAN V/O (CONT’D)
They
called her Satin. The Sparkling Diamond.
WE
SEE: Words writing as we hear them in voice-over.
CHRISTIAN V/O (CONT’D)
She was
the star of the Moulin Rouge…
The
camera follows Christian’s gaze out the window, down on to the dilapidated
Moulin Rouge. We pass slowly over the boarded up façade and the decrepit windmill
and through the derelict garden. We push on, up the front steps and into the
once magnificent main hall. We slide forward to the stage, and into a shred of
red and gold curtain.
SUDDENLY:
INT.
MOULIN ROUGE. NIGHT.
A fleshy
moustachioed face pokes through a red curtain, into a spotlight and bellows:
ZIDLER
The Moulin
Rouge…
CUT
TO: The uniformed brass band of the Moulin Rouge; just when we think we are in
for a night of
SUDDENLY:
The mirrors beneath the bandstand spin and the music lurches forward a hundred
years into a super sexual fat funk.
SLAM
ZOOM: Zidler’s face as he leads a parade of CAN CAN
girls onto the floor.
ZIDLER (SINGS)
If life’s
an awful bore
And
living’s just a chore
That you
do, cause death’s
Not much
fun
I’ve just
the antidote
And though
I mustn’t gloat
At the
Moulin Rouge
You’ll
have fun!
Scratch
that little niggle
FOUR WHORES (SING)
Ooh
ZIDLER (SINGS)
Give a
little wiggle
You
know that we can
Because
we…
FOUR WHORES (SING)
We we we we…
ZIDLER (SINGS)
Can Can Can!
FOUR WHORES (SING)
We can can can
ZIDLER (SINGS)
Don’t say you can’t can’t can’t…
FOUR WHORES (SING)
Because we
can can can…
ZIDLER (SINGS)
You know
you can Can Can
FOUR WHORES (SING)
Yes you
can can can…
ZIDLER (SINGS)
You know
you can can can can can, can…
NINI (SINGS)
You can
because…
MOME FROMAGE (SINGS)
We can…
Don’t say…
You can’t…
FOUR WHORES (SING)
Because
you can.
Zidler
leads his troupe down the booths. Together, he and the girls taunt the RICH
RAKES that populate the booths.
ZIDLER (SINGS)
In this
pleasure dome
You’ll
feel right at home
There’s
just one tiny peeve
You’ll
never want to leave
Because
you can can can
FOUR WHORES (SING IN PARALLEL)
You’ll
feel right at home
Yeah,
yeah, yeah
The
Rakes answer:
RAKES (SING)
We can can can
ZIDLER (SINGS)
You know you
can can can
RAKES (SING)
Yes we can
can can
FOUR WHORES (SING IN PARALLEL)
Yeah,
yeah, yeah
ZIDLER (SINGS)
Don’t say
you can’t can’t can’t
RAKES (SING)
We can can can
ZIDLER (SINGS)
Cause you
can can can can can can
can
RAKES (SING)
Can can can can
can can can
Reaching
the bar at the end of the Main Hall, we introduce the performers of the Moulin
Rouge.
COCOLISCIOUS BROS. (SING)
From
black…
SIAMESE TWINS
To white…
LE CHOCOLAT
From tall…
LA PETITE PRINCESS
To
small…
LE CHOC/SIAMESE TWINS/COCO
BROS/
LA KO KA CHAU
No matter
where your fancies fall…
ZIDLER
You’re
free to choose in this dance hall.
La
Petite Princess dances the Can Can.
The
full company throw to LE PETOMANE at the bar. He farts:
LE PETOMANE
Th, th, th,
th,
EXT.
MOULIN ROUGE. GARDEN. NIGHT.
Zidler
and his merry MOULIN BAND enter the mind-blowingly
exotic garden of the Moulin Rouge. They entice super rich, cashed up RAKES to
come play with them in this seamy playground.
The Rakes
bay at the girl’s feet like lustful hounds.
ZIDLER (SINGS)
Got some
dark desire?
Love to
play with fire?
Why not
let it rip?
Live a
little bit!
RAKES (SING)
We can Can Can
Yes we can
can can can
You know
we can can can
Because
we can can can
Yes we can
can can can
We can Can Can
We can Can Can
Because we
can
Can we can
Can Can?
FOUR WHORES (SING)
Yes you
can Can Can.
If you pay
pay pay
Your
little way way way
A
PENNILESS POET moves in on NINI around the legs of the giant elephant.
PENNILESS POET (SINGS)
Please can
I Can Can?
NINI (SINGS)
You know
you can’t can’t can’t…
PENNILESS POET (SINGS)
Why can’t
I Can Can?
SUDDENLY:
From out of nowhere, a gruff looking SM appears, backed by two BURLY BOUNCERS.
SM (SINGS)
Because
you can’t afford it.
TRACK:
With the Penniless Poet dragged by SM and Bouncers out onto…
EXT.
MOULIN ROUGE. STREET. NIGHT.
…as
he is violently thrown to the ground. We become aware that the outside world is
once again in black and white.
TILT
UP: To discover Zidler. He stands, unaware of the poet on the ground, and pops
up an umbrella to ward off the rain that begins to fall.
ZIDLER (SINGS)
Outside,
it may be raining…
Zidler
turns and walks nonchalantly back into the colour and rain-free bacchanal of
the Moulin Rouge.
EXT.
MOULIN ROUGE. GARDEN. NIGHT.
ZIDLER (SINGS)
But in
here it’s entertaining.
ZIDLER
turns back to the black and white world of squalor below him as the tragically
poor sing up at him through the gates of Moulin Rouge in the rain.
EXT.
STREET. NIGHT.
POOR PEOPLE (SING)
Well we
would would would
If we
could could could
But we can’t
can’t can’t
‘Cause we
can’t afford it.
EXT.
MOULIN ROUGE. GARDEN. NIGHT.
We
return to the bacchanal in the garden.
ZIDLER (SINGS)
Outside it
may be boring,
But in
here nobody’s snoring
The show
must go on.
NINI (SINGS)
Do you like
like like…
What you
see see see?
What you
need need need…
MOME FROMAGE (SINGS)
Is me me me.
ZIDLER (SINGS)
Outside
things may be tragic
But in
here we deal in magic
The show
is always on.
SUDDENLY:
The entire company turns to Zidler, who pops out like a cork though the top of
a windmill. They all sing to the camera in the sky.
ENTIRE COMPANY (SINGS)
If you
love love love
To be free
free free
Then the
Moulin Rouge
Is the place
to be.
Zidler
backflips into the Main Hall and up onto the
bandstand as the Rakes, now in full abandon, scream back.
INT.
MOULIN ROUGE. MAIN HALL. NIGHT.
RAKES (SING)
We can Can Can, We can Can Can
We can Can Can, We can Can Can
We can Can Can, We can Can Can
We can Can Can, We can Can Can
Can can Can Can
ZIDLER (SINGS)
Because
you can Can Can.
ALL (SING)
We can Can Can
ZIDLER (SINGS)
You know
you can Can Can.
ALL (SING)
We can Can Can
FOUR WHORES (SING)
It goes
on, on, on, though the night, night, night.
LE CHOC/LA PETITE
PRINCESS/WHOLE TROUPE
We don’t
ask if it’s wrong or right.
ZIDLER (SINGS)
Because we
can Can Can.
ALL (SING)
We can Can Can
ZIDLER (SINGS)
You know
we can Can Can
ALL (SING)
We can Can Can
ENTIRE COMPANY (SING)
Every
need, every wish, every dream, dream, dream
It’s the
greatest place you’ve ever seen.
ZIDLER (SINGS)
Because we
can Can Can
ALL (SING)
Yes we can
Can Can
We can can can can
can can can
ZIDLER (SINGS)
Then we
all Can Can Can Can Can Can
Can!
SUPER
CLOSE: Zidler slowly turns the Moulin Rouge sign and incants the magic words
that appear.
ZIDLER (SINGS)
The Can Can!
The
screen explodes into Can Can chaos as dozens of
exotically costumed female dancers, skirts held high, thrash through the Main
Hall of the Moulin Rouge with death-defying physical abandon.
CUT
TO: Zidler. He continues to rouse the crowd as he leaps from the bandstand and
cavorts towards the booths. The image cranks down into slow motion. We hear
Christian’s voice-over accompanied by the clicking of typewriter keys:
CHRISTIAN V/O
But
nothing at the Moulin Rouge was as it seemed.
Harold Zidler had a sickness,
an unnatural obsession…
PUSH
IN: To the light bulbs (SCREEN BURNS WHITE)
EXT.
MOULIN ROUGE. NIGHT.
PULL
OUT: From the lights. Zidler’s sweaty, deliriously happy face as he blubbers
like a baby.
ZIDLER
I can’t
help myself. They’re so beautiful.
PULL
BACK: Zidler fondles a string of electric light bulbs.
CHRISTIAN V/O
Zidler had
overspent wildly on the electrification of the
Moulin Rouge, driving it to
bankruptcy.
PULL
BACK: Behind Zidler, the Moulin Rouge lights up like a Christmas tree. Zidler
coos excitedly.
INT.
MOULIN ROUGE. MAIN HALL. NIGHT.
PULL
OUT: From a light bulb back to Zidler cavorting toward the booths.
CHRISTIAN V/O (CONT’D)
Zidler had
a plan, he would convert the Moulin Rouge
from a dancehall into a theatre
and put his prized
possession…
CLOSE
ON: Zidler: high octane, hard sell, leans toward camera.
ZIDLER
Satin, the
Sparkling Diamond, on stage in a wild,
shocking, Bohemian spectacular
called…wait for it:
“Spectacular Spectacular”.
FREEZE
FRAME:
CHRISTIAN V/O
All he
needed was an investor.
CLOSE
ON: The small, beady eyes of THE DUKE.
DUKE
Shocking?
PULL
OUT: The Duke is seated next to Zidler in one of the side booths that line the
dance-floor. Behind them stands the Duke’s impeccably attired man-servant,
WARNER.
ZIDLER
The
dazzling sets and provocative costumes are being
realised by that outrageously
creative little monster
Toulouse-Lautrec.
INT.
Atop a
huge ladder, a bulbous-lipped dwarf with his shirt on his head is frozen mid
brush-stroke as he paints an alpine vista.
It
is: TOULOUSE-LAUTREC.
INT.
MOULIN ROUGE. MAIN HALL. NIGHT.
ZIDLER
And our
new writer is the world’s greatest living poet;
Audrey.
INT.
TOULOUSE-LAUTREC’S STUDIO. DAY.
An
intense, artsy chap in puffy sleeves and velvet hat: AUDREY. He reads from a
script.
AUDREY
The hills
are animated with the euphonious symphony
of descant…
INT.
MOULIN ROUGE. MAIN HALL. NIGHT.
ZIDLER
The ladies
will quiver with excitement over our leading
man, a tango-dancing
Argentinean.
INT.
The
Argentinean dances.
INT.
MOULIN ROUGE. MAIN HALL. NIGHT.
ZIDLER
And the music:
such sweet, beguiling tunes by the
Bohemian composer Satie.
INT.
Weird
buzzing noises emanate from Satie’s musical contraption.
INT.
MOULIN ROUGE. MAIN HALL. NIGHT.
ZIDLER
And you’ll
roll with laughter at the amazing stage
effects created by the Doctor.
INT.
The
screen fills with an explosion. We push through to discover the blackened face
of the Doctor.
DOCTOR
Whatever…
INT.
MOULIN ROUGE. MAIN HALL. NIGHT.
ZIDLER
I tell you
my dear Duke, everything’s going so well.
INT.
PULL
OUT: The Argentinian, hurling his script, screams.
ARGENTINIAN
This
script is shit! I’m going to stick a knife in someone!
The
Argentinian makes violently towards Audrey.
SUDDENLY
his eyes roll back in his head and he collapses catching the cords of the
electromagnetica machine and crashing to the floor.
FREEZE
FRAME: The Argentinian, inches away from crashing through the floor below.
INT.
MOULIN ROUGE. MAIN HALL. NIGHT.
CLOSE
ON: Zidler:
ZIDLER
Excuse me,
Duke.
PUSH
IN: The Duke’s lust-filled eyes as he peruses the Can Can
girls.
Zidler
rockets up to the bandstand and whips up the audience for some more “Can you
Can Can?”
We fast
wipe into the bacchanal.
CUT:
Back to the shocked, flabbergasted Duke. He cannot believe his eyes.
The
camera rockets away from the bacchanal through the hall…
EXT.
MOULIN ROUGE. GARDEN. NIGHT.
and
the magical garden and up…
EXT.
…through
the sky, and back to the
With
a final tumultuous chord, the night vista of
A
train can be seen pulling into the station.
CHRISTIAN V/O
But on the
day I arrived in
Bohemian spectaculars,
investors, Dukes, the Can
Can, or…
SUPER
FAST PUSH: Toward
INT.
CHRISTIAN’S GARRET. DAY.
A
young man, travel case in hand, stands back to camera, staring out the window of
the now sparsely furnished garret.
CHRISTIAN V/O
…the
Moulin Rouge.
PUSH
OVER: His shoulder to discover, through the other window, the Moulin Rouge.
As
the young man turns, we realise we are looking at a youthful, clean-shaven
Christian. He turns toward a crusty, old landlady who is waiting at the door
and pays the woman for the room.
CHRISTIAN V/O (CONT’D)
I had
turned my back on my secure bourgeois future
to follow my dream.
DISSOLVE
TO: Christian unpacking his beloved typewriter.
CHRISTIAN V/O (CONT’D)
I had come
to write…
DISSOLVE
TO:
INT.
CHRISTIAN’S GARRET. DAY.
Christian,
jacket slung over the chair, winds a clean piece of paper into the typewriter.
Fingers poised over the typewriter keys, Christian stares at the paper for a long
moment.
BEAT:
Nothing happens.
CHRISTIAN V/O (CONT’D)
There was
just one problem…
CLOSE
ON: Christian staring in horror at the blank page.
CHRISTIAN V/O (CONT’D)
I had
nothing to write about…
SUDDENLY:
A thunderous crash of plaster showers Christian as an electric generator
followed by a Latin looking man, dressed in walking socks and leder hausen,
falls through the ceiling, hitting the floor with a thud.
Christian
has leapt to his feet in shock. He doesn’t know what to do.
SUDDENLY:
The door is battered open by a bearded dwarf, costumed in a nun’s habit. The
dwarf/nun flails ill-proportioned limbs while spluttering an endless
stream-of-consciousness explanation.
It
is: TOULOUSE-LAUTREC. The bulbous-lipped, lisping Lautrec sounds like Daffy
Duck on speed.
How do you
do? Henri Marie Raymond Toulouse-
Lautrec-Montfa.
Terribly sorry about all this, we were
upstairs rehearsing the
world’s first totally Bohemian
Spectacular. It’s set in
played by
Satin; the sparkling diamond: the Moulin
Rouge’s most famous Can Can dancer. She’s a redhead
and redheads arouse me beyond
comparison. In the show
she engages in all manner of
healthy Bohemian outdoor
sex with the Swiss poet
goatherder. It’s going to be
wonderfully preposterous. (
typewriter.) A typewriter?
You’re a writer? Anyway the
Argentinian’s a narcoleptic: you know,
perfectly fine one
moment
then suddenly (
unconscious…
AUDREY
How is he?
Oh, my
goodness.
Coming
to, Leder Hausen moans.
CHRISTIAN
Can I
help?
Christian
bends to help, but is stopped by a voice from above that sounds like a cross
between Alan Ginsberg and Timothy Leary.
THE DOCTOR
Don’t
touch him!
CUT
TO: The hole in the ceiling. A drunk, fiftyish,
mad-eyed coot has joined Audrey: THE DOCTOR. A bottle slips from the The Doctor’s hand and crashes onto the head of Leder
Hausen.
THE DOCTOR (CONT’D)
He’s unconscious,
I can tell, I’m a doctor.
Audrey
the poet utters a thin-lipped exclamation.
AUDREY
Wonderful!
Audrey
explodes.
AUDREY
The
narcoleptic Argentinian is once again unconscious,
and therefore the scenario
will not be finished in time
to present to the financier
tomorrow!
SATIE
He’s right
Worry,
worry, worry; please; we’ll just find someone
to read the part…
AUDREY
Well, where
in heaven’s name are we going to find
someone to read the role of
the young, sensitive Swiss
poet goatherder?
INT.
TOULOUSE-LAUTREC’S STUDIO. DAY.
CLOSE
ON: A flushed Christian tries to sing.
CHRISTIAN (SINGS)
Far aloft on
this vertiginous promontory yodelodelehohoo!
PULL
OUT: Christian wearing leder hausen stands high up on a huge mountain set.
On
the floor, unconscious, is the Latin-looking man who crashed through the
ceiling. He is known as: THE UNCONSCIOUS ARGENTINEAN.
In
the corner Satie pounds the piano with one hand and makes weird electric noises
by moving a metal ring up and down a large tuning fork with the other. Christian
is trying to sing to this accompaniment.
CHRISTIAN (SINGS)
I joyfully
sing to my wandering flock.
A
melodious and dithyrambic fugue.
In
the centre of the room, Audrey reads from a script.
AUDREY (READS)
The poet goatherder’s song descends into the valley like
melodious snow, kissing the
young Nun’s parched ears
with song. Unbridled with joy,
she runs to the top of the
mount and sings:
(Audrey shouts)
Lautrec!
The hills
animate with the euphonious symphonies
of descant.
Audrey,
another tantrum, turns to the Doctor and Satie.
AUDREY
STOP,
STOP, STOP! That insufferable droning is
drowning out my words, can we
just stick to a
little decorative piano?
THE DOCTOR
How about
your words making sense then?
Audrey;
immediately defensive.
AUDREY
What are
you suggesting?
THE DOCTOR
(reading from a script)
“The hills
animate with the euphonious symphonies
of descant.” I don’t think a nun
would say that about
a hill.
Audrey
is mortally offended.
AUDREY
Oh really?
SATIE
It doesn’t
fit the music. What if she sings: “The hills are
vital intoning the descant”.
The
Doctor is adamant.
THE DOCTOR
No, no!
“The hill intones the wondrous orchestra
of suffering”.
The
Unconscious Argentinian, who has suddenly regained consciousness, chimes in.
ARGENTINIAN
The hills
are incarnate with symphonic melodies.
Christian
can’t help himself. He sings:
CHRISTIAN (SINGS)
(Sings the Sound of Music)
All
eyes are suddenly on Christian.
(Repeats Sound of Music
lyrics)
it’s
so…modern. So completely, revolutionarily,
Bohemianly, modern! That’s it. Yes, yes,
that’s it!
The
Argentinian is in raptures.
ARGENTINIAN
(Repeats Sound of Music
Lyrics)
I like it!
The
Doctor intones intensely.
THE DOCTOR
(Repeats Sound of Music
Lyrics)
Incredible!
Excitedly,
Satie plays and sings.
SATIE (SINGS)
(Repeats Sound of Music
Lyrics)
It fits
perfectly.
Christian
ventures the next phrase.
CHRISTIAN (SINGS)
(Continues Sound of Music
lyrics)
Incandiferous!
Audrey
protests.
AUDREY
Impossible.
You two should
write the show together!
Audrey
goes dangerously quiet.
AUDREY
I beg your
pardon?
It’ll be
absolutely marvellous, with the Doctor’s
contraptions and Satie’s
ridiculously stupefying music,
and all those loud words by you,
Audrey, and the boy
with his modern technique.
AUDREY
There will
be no modern technique, except for mine.
But
Audrey…
Audrey
screams.
AUDREY
Either the
boy goes or I do!
Audrey
pauses, desperately hoping they will ask him to stay.
AUDREY (CONT’D)
Do not
think I jest!
No
response. Finally Audrey has to act.
AUDREY (CONT’D)
I will not
waste my talents in this laughable free-for-all.
As he
exits, he threatens.
AUDREY (CONT’D)
Do not
expect to see me again!
Without
missing a beat,
Here’s to
your first job in
Christian
is shocked.
Satie
calls.
SATIE
(to Christian)
No
offence, but have you ever written anything like
this before?
CHRISTIAN
No.
The
Argentinian, with ridiculous machismo.
ARGENTINIAN
The boy’s
got talent. I like him. Nothing funny, but I
just like talent.
(Repeats Sound of Music
Lyrics)
Satie.
With Christian we can write the truly Bohemian
revolutionary show we’ve
always dreamed of.
SATIE
But how
will we convince Zidler?
The girl!
CHRISTIAN
The girl?
Satin.
We’ll go to the Moulin Rouge tonight. Once
Satin hears your revolutionary
Bohemian poetry,
she’ll be astounded and demand
you write the show.
CLOSE
ON: Christian nervous.
CHRISTIAN
But…
Satie,
dragging
SATIE
We won’t
get a penniless writer near Satin tonight; you
know what happened last time.
Don’t
worry, we’ll dress him up so he looks rich…
The
Argentinian whispers excitedly.
ARGENTINIAN
He can
wear my suit…
We’ll
engineer a moment alone between them, he’ll
speak his poetry for her, and
(Repeats Sound of Music
Lyrics), Satie.
Satie,
nervously excited, turns to Christian.
SATIE
Yes,
finally revolutionary Bohemian words for
Bohemian revolutionary music.
Christian
stammers nervously.
CHRISTIAN
But I’m
not sure I can write that sort of show…
Why not?
CLOSE
ON: Christian nervous.
CHRISTIAN
Ah…I’m not
sure I’m a…true Bohemian revolutionary.
You believe
in Beauty, don’t you?
CLOSE
ON: Christian.
CHRISTIAN
Yes.
ARGENTINIAN
Freedom?
CHRISTIAN
Yes.
SATIE
Truth?
CHRISTIAN
Yes.
THE DOCTOR
Love?
CLOSE
ON: CHRISTIAN.
CHRISTIAN
Love? More
than anything I believe in love. (Recites
“Love is Like Oxygen”),
(Recites “Love is a many
splendoured thing”), (Recites “Up Where
We Belong”),
(Recites
“All You Need is Love”)
Then you
can’t fool us, you’re a true Bohemian
revolutionary!
ARGENTINIAN/THE DOCTOR/SATIE
We can’t
be fooled!
Here’s to
the writer of the world’s first Bohemian
revolutionary show.
SATIE
A show
with revolutionary Bohemian music.
Satie
pounds heavy, fuzzy chords on his electromagnetica
machine.
They
all start revolutionary Bohemian dancing as they dress Christian up.
(Cast sings “Children of the
Revolution”).
SUDDENLY:
The music and Bohemians stop simultaneously. They turn to Christian, he
proffers the first thing that pops into his mind.
CHRISTIAN
The
children of the revolution.
The
music kicks back in as The Bohemians cheer.
ALL
(Sing
“Children of the Revolution”)
Simultaneously
Christian and the Bohemians drain their absinthe glasses.
SUDDENLY!
CHRISTIAN
AND BOHEMIAN’S POV: A giant green fairy shoots up in the universe, its demonic
eyes stare down as it booms.
FAIRY
I am the
green fairy absinthe: Thy God.
United
in an Absinthe torpor, they all blissfully sing.
ALL
(Sing
“Sound of Music”)
TRACK:
With The Bohemians and Christian as, still singing, they dance out of
EXT.
The
Bohemians and Christian joyously sing as they dance down the L’Amour sign.
A show to
open your eyes
ARGENTINEAN (SINGS)
A show to
blow you sky high!
SATIE (SINGS)
A show
with controversy
DOCTOR/CHRISTIAN (SING)
That will
set the world free, yeah!
ALL (SING)
Freedom,
beauty, truth and love!
Yeah
freedom, beauty, truth and love!
GREEN FAIRY
(Repeats
Sound of Music Lyrics)
EXT.
CHRISTIAN’S GARRET. NIGHT.
The Bohemians
and Christian, sing as they dance along the parapet.
ALL
(Sing
“Children of the Revolution”)
With
final rousing chorus The Bohemians halt.
GREEN FAIRY
(Repeats
Sound of Music Lyrics)
INT.
MOULIN ROUGE. MAIN HALL. NIGHT.
On
the bandstand, Zidler raps demonically to the crowd.
ZIDLER (SINGS)
Oh you can
Can Can
Yes you
can, Can Can!
Yes you
can, Can Can!
CUT
TO: Christian and the Bohemians as they dance towards the booths.
COUNTER
WITH: Zidler as he lightly steps down the mezzanine.
ZIDLER
Can you
CAN CAN CAN?
As
the Bohos are seen passing behind Zidler, we push toward them, discovering
Track
with
CLOSE
ON: The small, beady eyes of THE DUKE.
ZIDLER
My dear
Duke!
DUKE
When do I
get to meet the girl?
PULL
OUT: Zidler murmurs seductively.
ZIDLER
After her
number, I’ve arranged a special supper.
Just you and Mademoiselle
Satin; totally alone.
DUKE
Alone you
say?
TRACK
BACK: To
After her
number, I’ll arrange a private meeting. Just
you and Mademoiselle Satin;
totally alone.
CLOSE
ON: Christian, nervous.
CHRISTIAN
Alone?
HOLD:
Zidler and The Duke,
ZIDLER/TOULOUSE
Yes,
totally alone…
SUDDENLY:
BANG!
High above the crowd a thunderous flash of white light explodes into a trillion
sparkling embers.
CUT
TO: The held four shot. White light flashes on the Bohos, Zidler and The Duke.
PUSH
IN: Holding only Christian and The Duke.
TOPOGRAPHICAL
SHOT: Hundreds of top hats illuminated by the blazing white light. The hats
tilt back in unison to gaze upon the unearthly vision of the jewel encrusted SPARKLING
DIAMOND descending on a trapeze through the clearing smoke. A deep, hot silence
fills the hall.
Zidler
and
It’s her,
the Sparkling Diamond…
Zidler
whispering to The Duke.
ZIDLER
Satin.
SATIN:
Sadly Sings “Diamonds Are a Girl’s Best Friend”.
TRACK
IN ON: Christian.
SATIN (SINGS) (CONT’D)
(Continues
“Diamonds Are a Girl’s Best Friend”.)
SUDDENLY:
The orchestra pounds into a rambunctious, neo-swing dance-groove. The Top-Hats
scream like raucous school boys.
SATIN (SINGS) (CONT’D)
(Continues
“Diamonds Are a Girl’s Best Friend”.)
“Nervous”
finds himself palming a big franc note into the outstretched hand of
WICKED-FACED BOY who trails Satin.
SATIN (SINGS) (CONT’D)
(Continues
“Diamonds Are a Girl’s Best Friend”.)
Satin
allows THREE FAT FANS to plant kisses on her cheeks. She withdraws, lambasting
them with,
SATIN (SINGS) (CONT’D)
(Continues
“Diamonds Are a Girl’s Best Friend”.)
The audience
is becoming wilder.
SATIN (SINGS) (CONT’D)
(Continues
“Diamonds Are a Girl’s Best Friend”.)
Satin
rubs herself against a group of Top-Hatters like an affectionate feline.
SATIN (SINGS) (CONT’D)
(Continues
“Diamonds Are a Girl’s Best Friend”.)
Aided
by the TABASCO BROTHERS acrobats, Satin flies up onto a table then abandons
herself to a free fall. The
CUT
TO: Christian, mouth agape.
INT.
MOULIN ROUGE. MAIN HALL. NIGHT.
Terrified,
Christian rises.
CHRISTIAN
I should
go…
She’s really
very shy, and a great lover of poetry.
Satin
is joined by a chorus of Can Canning acolytes.
CUT
TO: The cold, beady eyes of The Duke. He watches Satin intently.
CUT
TO: Satin. She dances up the stairs through a line of rich Rakes, snatching
gifts as she goes.
SATIN (SINGS)
(Mixes
“Material Girl” and “Diamonds Are a Girl’s
Best Friend”.)
CUT
TO: The Duke’s booth. Zidler, hearing his cue, snaps back into showbiz mode.
ZIDLER
Excuse me.
Zidler
leaps onto the floor.
The
Tabasco Brothers, tumbling into the centre of the room, create a platform with
tables. They magically lift Zidler and Satin onto the platform. Satin and
Zidler dance out a funny little pantomime where Zidler plays a lustful older
gent.
SATIN (SINGS)
(Continues
“Diamonds Are a Girl’s Best Friend”.)
ZIDLER (SINGS)
(Continues
“Diamonds Are a Girl’s Best Friend”.)
CUT
TO:
CLOSE
ON: Christian’s stunned expression. He makes to leave.
CHRISTIAN
I should
really umm…, unpack.
Don’t
worry. I’ll sally forth and tee things up!
Oh, oh
terribly sorry.
The
Duke clearly loathes being touched.
DUKE
It’s all
right. Leave me! Don’t touch, please!
CUT TO:
The platform.
SATIN (SINGS)
(Continues
“Diamonds Are a Girl’s Best Friend”.)
Zidler
mimes pinching Satin’s bottom.
ZIDLER (SINGS)
(Continues
“Diamonds Are a Girl’s Best Friend”.)
Satin
snatches a diamond gift.
SATIN (SINGS)
(Continues
“Diamonds Are a Girl’s Best Friend”.)
NINI, MOME,
(Continue
“Diamonds Are a Girl’s Best Friend”.)
As
the chorus sing, Zidler mimes showering Satin with large fake diamonds in
exchange for pieces of her clothing. The other dancers move around them,
masking the striptease. The crowd roars with each exchange.
Satin
and Zidler murmur to each other as they dance.
SATIN
Is The
Duke here, Harold?
ZIDLER
Liebchen, would Daddy let you down?
SATIN
Where is
he?
Zidler
is now looking over Satin’s shoulder.
ZIDLER
In the
centre…
ZIDLER’S
POV: Through a blur of audience he can see The Duke being accosted by a madly
dabbing
CLOSE
ON: Zidler’s horror stricken face.
ZIDLER (CONT’D)
What’s
that bloody madman
supposed to be working with
Audrey on the script!
Because
of their choreography, Satin is turned away and cannot see
CUT
TO: The Duke’s booth. His face distorts with outrage.
DUKE
That silk
handkerchief was a gift from my mother.
Sorry.
CUT
TO: Zidler. He whispers.
ZIDLER
In the
middle booth, the one
hanky at.
As
Satin turns,
Excuse me
Christian.
CLOSE
ON: Satin. She strains to spy The Duke through the crowd.
CUT
TO:
May I
borrow?
CUT
TO: Satin, puzzled.
SATIN
The one
Zidler
dances around Satin.
ZIDLER
Give me a
peek.
You clean
him up.
CUT
TO: Zidler squatting down to join Satin behind the chorus of Can Can girls. Unseen by the audience, they talk as they
frantically disrobe.
ZIDLER
That’s him
chicken. I hope that demonic little loon
doesn’t frighten him off.
CUT
TO: The outraged Duke. Unseen by Zidler, he stalks off, Warner in tow.
CUT
TO: Satin and Zidler behind the Can Can girls.
SATIN
Will he
invest?
ZIDLER
Pigeon,
after a special supper with you, how could
he refuse?
SATIN
What’s his
type?
Satin’s
face suddenly transforms into that of a wilting flower’s.
SATIN (CONT’D)
Wilting
flower?
CLOSE
ON: Satin transforms into a bright and bubbly good-time girl.
SATIN (CONT’D)
Bright and
bubbly?
CLOSE
ON: A haughty demeanour.
SATIN (CONT’D)
Or
smouldering temptress?
Zidler,
a professional appraisal.
ZIDLER
I’d say
smouldering temptress.
Zidler,
a parting thought.
ZIDLER (CONT’D)
We’re all
relying on you, gosling. Remember: a real
show, in a real theatre, with
a real audience, and you’ll
be…
Satin,
a warm smile.
SATIN
A real
actress.
The
Can Can girls part, revealing Satin, apparently naked
but for a covering of fake diamonds. Zidler in his underwear makes a big show of
snatching up his trousers. As Zidler exits the platform, he almost collides
with
Satin,
wagging her finger at the departing Zidler, sings.
SATIN (SINGS)
(Continues
“Diamonds Are a Girl’s Best Friend”.)
CUT
TO:
Bejewelled
vision…
Satin
unaware of
SATIN (SINGS)
(Continues
“Diamonds Are a Girl’s Best Friend”.)
Amazonian
goddess…
SATIN (SINGS)
(Continues
“Diamonds Are a Girl’s Best Friend”.)
Oblivious
to
SATIN (SINGS)
(Continues
“Diamonds Are a Girl’s Best Friend”.)
CUT
TO: Christian. He is wide-eyed with amazement as the near-naked Satin leaps
from the diamante trapeze to land in front of him.
SATIN (SINGS)
Friend.
The
crowd applauds wildly as Satin bends to Christian.
Christian,
staring up into the beautiful blue eyes of Satin, has stopped breathing.
CLOSE
ON: Satin.
SATIN
I believe
you were expecting me.
CLOSE
ON: Christian, dumbstruck.
CHRISTIAN
Oh. . .
ah, yes.
As
the crowd chant, Satin cheekily extends her hand to Christian.
SATIN
I’m afraid
it’s lady’s choice.
I see
you’ve met my English friend Ch…
Satin
turns sharply to
SATIN
I’ll take
care of it!
He’s not
just anybody.
Satin
smiles conspiratorially.
SATIN
I know.
Satin
turns back to Christian.
SATIN (CONT’D)
Let’s
dance.
Satin
offers her hand once more to Christian.
CUT
TO:
SATIE
That
seemed to go well.
THE DOCTOR
Incredible.
ARGENTINEAN.
He has the
gift with the women.
I told
you. He is a genius.
CUT
TO: The dance floor. Christian’s awkwardness disappears as he finds his feet.
The crowd reacts as Satin and Christian really start to move.
INT.
MOULIN ROUGE. BACKSTAGE. NIGHT.
Zidler
has his eye to a spy-hole behind the bandstand. SM helps Zidler back into his
clothes.
ZIDLER’S
POV: Through a blur of crowd, Zidler can see Satin dancing with her top-hatted partner.
ZIDLER
That Duke
can move.
INT.
MOULIN ROUGE. MAIN HALL. NIGHT.
Satin
purrs coquettishly as she dances with Christian.
SATIN
So
wonderful of you to take an interest in our little show.
Christian
can’t believe his luck.
CHRISTIAN
It sounds
very exciting; I’d love to be involved.
Satin
tries to contain her amazement.
SATIN
Really?
CHRISTIAN
Yes;
Christian,
suddenly worried he is being too forward.
CHRISTIAN (CONT’D)
Provided
you enjoy what I do.
Satin,
a meaningful gaze.
SATIN
Of course
I will.
CLOSE
ON: Christian, blushing.
CHRISTIAN
Satine,
a saucy smile.
SATIN
Did he?
Christian
stammers.
CHRISTIAN
Yes a
private. . .y’know
CLOSE
ON: Christian, shy but intense.
CHRISTIAN (CONT’D)
‘Poetry
reading.
CLOSE
ON: Satin, confused. And then she thinks she understands: the young, rich Duke
is too shy to mention sex.
Satin
smiles knowingly.
SATIN
Oh, a
‘poetry’ reading. I’d love a little ‘poetry’ after supper.
CLOSE
ON: Christian amazed.
And then
comes the moment all have been waiting for: as the music builds, the Can Can girls kick top hats from men’s heads. Men writhe
ecstatically as their hats sail skyward. The air is filled with kicking feet
and popping hats.
SATIN (CONT’D)
Hang on to
your hat.
A
tumultuous crescendo of music as, with a lithe long-limbed kick, Satin sends
Christian’s hat sailing skyward.
FOLLOW:
The hat as it spins high above the dance floor.
BANG!
Christian’s hat falls with perfect precision, back on top of his head.
We
hear: Christian’s voice-over.
CHRISTIAN (V/O)
That was
the night I fell in love.
CUT
TO: Satin held high on a pyramid of Moulin performers. She launches into her
provocative finale.
SATIN (SINGS)
(Continues
“Diamonds Are a Girl’s Best Friend”.)
With
the final show-stopping chord, Satin throws her head and arms skyward: the
crowd thunders.
SUDDENLY:
A foreboding underscore.
TOP
SHOT: Satin high above the crowd. Her face is filled with panic. She gasps
desperately for air. Suddenly her eyes roll back and she is crashing to the
floor. Moments before impact, Le Chocolat catches her in his massive arms.
The
crowd, thinking this is another amazing stunt, cheers wildly.
CLOSE
ON: Satin in Le Chocolat’s arms. There is no sign of life. Le Chocolat looks
urgently to Zidler who is now atop the bandstand.
Zidler
signals to Le Chocolat to get Satin off the floor.
Le
Chocolat spirits Satin away as the crowd wildly claps.
INT.
MOULIN ROUGE. CORRIDOR. NIGHT.
CLOSE
ON: Satin’s unconscious face.
Le
Chocolat carries Satin through a dirty backstage corridor crowded with Can Can girls.
NINI
LEGS IN THE AIR, the bitchy lead dancer of the Can Can
troupe, comments dryly.
NINI
Don’t know
if that Duke’s going to get his money’s
worth tonight.
MOME
FROMAGE, a dumb but good-natured dancer, is concerned.
MOME FROMAGE
Don’t be
unkind Nini.
INT.
MOULIN ROUGE. DRESSING ROOM. NIGHT.
Le Chocolat
lays Satin on a tattered chaise lounge. The faces of the Can Can girls stare down at her.
Suddenly
an older woman: MARIE pushes her way through the girls.
MARIE
Let me
through girls.
CLOSE
ON: Satin. Her eyes open gently as Marie holds smelling salts under her nose.
Satin
coughs, then smiles as she mocks herself.
SATIN
Oh theses
silly costumes.
SM
pushes his way through the girls.
SM
Alright
you girls, back out front and make those gents
thirsty.
SM
hisses to Marie.
SM (CONT’D)
Problems?
CLOSE
ON: Marie, quickly covering.
MARIE
Nothing
for you to be worrying about.
SM
looks to Chocolat.
SM
Don’t just
stand there; frock on for the Hunkadola!
INT.
MOULIN ROUGE. MAIN HALL. NIGHT.
The
crowd continues to chant.
CROWD
Satin!
Satin!
Zidler,
worried, looks to the wings.
SM
indicates Satin will not be appearing.
SLAM
ZOOM: Zidler’s horrified face. Then, like the consummate professional, Zidler
pouts like a sad child.
ZIDLER
You’ve
frightened her away. But I spy some lonely
Moulin Rouge dancers who are
looking for a partner
or two, so if can Hunk Hunk, you can Hunkadola with
them.
The
music strikes up and they dance the Hunkadola.
Le
Chocolat and the COCOLICIOUS BOYS and La Petite Princess perform the Hunkadola.
INT.
MOULIN ROUGE. MOULIN ROUGE DRESSING ROOM. NIGHT.
Marie
laces Satin into a red satin dress.
MARIE
That
twinkle-toes Duke has taken the bait my girl.
With a patron like him and
Spectacular Spectacular,
all your dreams could come true: You could be the next
Sarah
Bernhardt.
With
almost religious reverence, Satin stares into one of the many hand-coloured
Sarah Bernhardt postcards that adorn her mirror.
SATIN
Oh Marie,
could I ever be like the great Sarah?
MARIE
You’ve got
the talent; you hook that Duke and you’ll
be lighting up the great
stages of
know it.
CLOSE
ON: Satin. Almost like a prayer, she whispers into the mirror.
SATIN
I’ll be an
actress Marie, and we can fly, fly away from
here.
SUDDENLY:
The door bursts open: revealing a panicked Zidler.
ZIDLER
Ducky,
everything alright?
Satin,
standing tall, radiates life.
SATIN
Of course
Harold.
Zidler
beams like a proud father.
ZIDLER
Oh thank
goodness, you certainly weaved your magic
with that Duke on the dance
floor.
SATIN
How do I
look?
CLOSE
ON: An ecstatic Zidler.
ZIDLER
My little
strawberry, how could he resist from gobbling
you up? Everything’s going so
well!
EXT.
MOULIN ROUGE. GARDEN. NIGHT.
The Duke
has been cleaned up. He hurries with Warner back through the garden and into
the hall.
DUKE
Find
Zidler; the girl’s waiting for me.
As
The Duke wipes frame, the heads of
Unbelievable,
straight to the elephant.
CLOSE
ON: The Argentinean awestruck.
ARGENTINEAN
The boy
has talent.
CRANE:
Up from the Bohemians, and around the elephant to look…
EXT.
MOULIN ROUGE. ELEPHANT. NIGHT.
Through
a heart-shaped window in the elephant’s head. There, we can see Christian
standing self-consciously in a magical red room upholstered like the inside of
a genie’s bottle.
INT.
MOULIN ROUGE. ELEPHANT. NIGHT.
Christian
looks nervously around the room. Satin appears from behind a screen wearing
nothing but a diaphanous silk gown.
SATIN
What do
you think; poetic enough for you?
Christian,
transfixed by the vision of this goddess, stammers.
CHRISTIAN
Y. . .
yes.
Satin
glides seductively to a small trolley laid out with caviar and
SATIN
A little
supper?
Christian
can hardly speak.
CHRISTIAN
Ah. . .
I’d rather just get it over and done with.
Satin,
startled, immediately recovers and drapes herself alluring over the chaise
lounge. She whispers naughtily.
SATIN
Very well,
why don’t you come down here and let’s
get it, “over and done with”.
CLOSE
ON: Christian, nervous.
CHRISTIAN
I’d prefer
to do it standing. . .
Satin,
unruffled, rises from the couch.
SATIN
Mmmm, of course.
Christian,
panicked by Satin’s near-naked proximity backs away.
CHRISTIAN
You don’t
have to; stand it mean, sometimes it’s
quite long, I want you to be
comfortable.
Satin
is momentarily thrown.
CHRISTIAN (CONT’D)
It’s very
modern what I do, it might feel a little
strange at first, but if
you’re open I think you’ll
enjoy it.
SATIN
I’m sure I
will.
Christian
suddenly stops, closing his eyes.
A
moment, Satin is puzzled.
SATIN (CONT’D)
Is
everything alright?
CHRISTIAN
I’m sorry,
I’m a bit nervous.
Satin;
quietly understanding.
SATIN
Oh. . .
CHRISTIAN
It’s just
sometimes it takes a while for the inspiration;
to come.
Satin’s
hand drops down out of frame.
Christian’s
eyes pop open very wide.
SATIN
Does that
inspire you.
CHRISTIAN
Oh. . .
SATIN
Let’s make
love.
Satin
throws Christian on the bed.
Christian
can’t believe what is happening.
CHRISTIAN
Make. . .?
SATIN
You want
to don’t you?
CLOSE
ON: Christian, dumbfounded.
CHRISTIAN
Ah. . .?
Satin
moves her lips closer.
SATIN
Tell the
truth, can’t you feel the poetry?
CHRISTIAN
Yes. . .
SATIN
Feel it,
feel it, feel the poetry.
Her
lips so close. Christian is melting.
CHRISTIAN
Oh yes.
EXT.
MOULIN ROUGE. ELEPHANT. NIGHT.
The
Argentinean holds
SATIE
How’s it going?
CLOSE
ON:
He really
does have a way with the words.
INT.
MOULIN ROUGE. ELEPHANT. NIGHT.
Satin
is on top of Christian.
SATIN
Come on
big boy.
Christian
is in ecstasy.
CHRISTIAN
Ha. . .
SATIN
Free the tiger.
CHRISTIAN
Oh. . .
Satin
is on top of Christian. Wearing his top-hat and holding a riding crop she rides
Christian like a horse.
SATIN
Show me
your poetry!
CLOSE
ON: Christian. Stunned.
CHRISTIAN
Now?
Satin
urgently.
SATIN
Yes, I
need it now.
Christian,
summoning all his willpower, leaps to his feet.
CHRISTIAN
Alright.
Satin
nearly falls off the divan, but covers her bemusement brilliantly.
Christian,
intensely reciting.
CHRISTIAN (CONT’D)
(Sings “Your
Song”)
CLOSE
ON: Satin, stunned.
SATIN
What?
CHRISTIAN
(Continues
“Your Song”)
Suddenly
Satin realises that “poetry”, means poetry.
SATIN
Oh,
poetry. . .ohhh
Christian
stops, unsure if he is doing the right thing.
CHRISTIAN
Is this
O.K.? Is this what you want?
Satin,
thinking she finally understands the game, purrs appreciatively.
SATIN
Oh; oh
yes. . .
CHRISTIAN
(Continues
“Your Song”)
Satin
begins to groan sensuously to the verse.
SATIN
Mmmm, yes.
Christian,
encouraged, goes further.
CHRISTIAN
(Continues
“Your Song”)
SATIN
Oh, oh,
oh, wonderful. . .
CHRISTIAN
(Continues
“Your Song”)
Satin
begins to sway erotically to the verse.
SATIN
Oh, oh,
don’t;
Christian,
dumbfounded, stops.
SATIN (CONT’D)
Don’t
stop. . . !
CHRISTIAN
(Continues
“Your Song”)
Satin
is writhing on the divan.
SATIN
Oh, oh, ohhhhhhh.
Christian,
closes his eyes and sings with the voice of an angel.
CHRISTIAN (SINGS)
(Continues
“Your Song”)
CLOSE
ON: Satin, stilled by the beauty of Christian’s voice.
CHRISTIAN (SINGS) (CONT’D)
(Continues
“Your Song”)
Christian
sings to Satin from the depths of his soul.
CHRISTIAN (SINGS) (CONT’D)
(Continues
“Your Song”)
Satin
is transfixed by this young man with the voice of an angel.
Christian
leads her onto the little elephant balcony.
EXT.
MOULIN ROUGE. ELEPHANT BALCONY. NIGHT.
With
the lights of
CHRISTIAN (SINGS)
(Continues
“Your Song”)
It is
as if Satin is seeing Christian for the first time.
CHRISTIAN (SINGS) (CONT’D)
(Continues
“Your Song”)
EXT.
SKY. (VFX). NIGHT.
As
violins swell to a full orchestral arrangement, Christian and Satin waltz
across the sky, past the
CHRISTIAN/ANGELS (SING)
(Continue
“Your Song”)
EXT. MOULIN ROUGE. ELEPHANT. NIGHT.
On
top of the elephant, to the romantic underscore of the final bars of music, The
Bohemians excitedly toast each other with a large bottle of absinthe.
Looks like
he got the job.
INT.
MOULIN ROUGE. ELEPHANT. NIGHT.
As
the song ends we are back inside the Elephant. Satin is in Christian’s arms. They
hold each other’s stare. Satin softly murmurs.
SATIN
I don’t
believe it; I’m in love. I’m in love with a
young, handsome, talented
Duke.
CLOSE
ON: Christian. A horrible realisation.
CHRISTIAN
Duke?
SATIN
Not that
the title’s important.
CHRISTIAN
I’m not a
Duke.
CLOSE
ON: Satin.
SATIN
You’re not
a Duke?
CHRISTIAN
I’m a
writer.
SATIN
A writer?
CHRISTIAN
SATIN
oh-so-talented, charmingly
Bohemian, yet tragically
impoverished protégés are you?
CHRISTIAN
You might
say that.
It is
Satin’s worst nightmare.
SATIN
Oh no; no,
no, no! I’m going to kill him!
EXT.
MOULIN ROUGE. ELEPHANT. NIGHT.
Satie
calls to
SATIE
How’s it
going?
I think
there might be a small hitch.
INT.
MOULIN ROUGE. ELEPHANT. NIGHT.
CHRISTIAN
Audrey
left and
write the show.
SATIN
What about
the Duke. . .
Suddenly
there is a knock on the door.
ZIDLER (O/S)
My dear,
are you decent for the Duke?
As
the door bangs open, Satin hisses to Christian.
SATIN
Hide!
Christian
leaps behind the food trolley as Zidler appears in the doorway. Zidler mouths
frantically to Satin:
ZIDLER
Where have
you been?
Satin
whispers.
SATIN
Waiting.
Zidler,
turning to bring The Duke into the room, is the picture of bonhomie.
ZIDLER
My dear
Duke, allow me to introduce Satin: the
Sparkling Diamond and star of the
forthcoming
Moulin Rouge presentation “Spectacular Spectacular”.
Satin
turns, beaming radiantly.
SATIN
Monsieur,
how wonderful of you to take time out of
your busy schedule to visit.
The
Duke eyes Satin’s silk clad form rapaciously.
DUKE
The
pleasure, I fear, will be entirely mine my dear.
Zidler
backs out like mumsy not wanting to interrupt a first
date.
ZIDLER
I’ll leave
you two squirrels to get better acquainted.
Nearly
out the door, Zidler points vigorously at The Duke’s back as he mouths silently
to Satin:
ZIDLER (CONT’D)
Investment!
With
a final. . .
ZIDLER (CONT’D)
Tatta!
Zidler
shuts the door and The Duke and Satin are seemingly alone.
DUKE
After
tonight’s pretty exertions you surely must be
in need of refreshment. . .
The
Duke turns towards the trolley behind which Christian is hiding. Satin
desperately stops him with:
SATIN
Don’t you
just love the view.
The
Duke, perturbed by Satin’s strange behaviour resists.
DUKE
My dear
I’d like a glass of
Christian
is now crawling on his hands and knees behind The Duke to the balcony door. The
Duke must turn and see him when Satin exclaims sharply.
SATIN
(Speaks
“Your Song” lyrics)
The
Duke turns back to Satin.
DUKE
What is?
Satin,
desperately thinking.
SATIN
(Continues
“Your Song”)
The
Duke a quizzical look. Satin, trying to remember the words.)
SATIN (CONT’D)
(Continues
“Your Song”)
Christian,
behind The Duke’s legs, mouths the words.
SATIN (CONT’D)
(Continues “Your Song”)
CLOSE
ON: The Duke engaged by the words.
SATIN (CONT’D)
(Continues
“Your Song”)
Satin
desperate, looks at Christian through The Duke’s legs, bursts into song.
SATIN (SINGS) (CONT’D)
(Continues
“Your Song”)
Satin
gently brings The Duke to his feet.
SATIN (SINGS) (CONT’D)
(Continues
“Your Song”)
A
moment of silence, The Duke is transfixed but still blocking Christian’s exit
to the balcony.
DUKE
That’s
very beautiful.
SATIN
It’s from
“Spectacular Spectacular”, suddenly with
you here I finally understood
the true meaning of
those words: “How wonderful
life is now you’re
in the
world.”
The
Duke is inexplicably moved.
DUKE
What
meaning was that my dear?
Suddenly
Satin is fighting back tears.
SATIN
Duke,
don’t toy with my emotions! You know the
effect you have on women!
CLOSE
ON: The Duke, he doesn’t but is delighted.
CLOSE
ON: Christian, appalled.
Satin
suddenly pulls The Duke down to the divan.
SATIN (CONT’D)
Let’s make
love.
The
Duke finds himself on top of Satin.
DUKE
Oooh. . .
Christian
stands, but unable to bear the sight of Satin and The Duke on the divan,
doesn’t leave.
Satin
pushes The Duke’s face into her breasts while motioning for Christian to get
out.
SATIN
You
want to make love don’t you?
Christian
is still not moving. The Duke struggles up for air.
DUKE
Love?
Satin
exclaims joyously.
SATIN
I knew you
felt the same way!
Pushing
The Duke’s face back down, Satin emits a strangled scream at Christian which
clearly means “Get out or I’ll kill you.” The Duke, thinking this is a cry of
passion, groans ecstatically.
Satin,
seeing Christian won’t budge, suddenly changes her tack. She holds The Duke’s
face firmly in both hands.
SATIN (CONT’D)
You’re
right, we should wait.
CLOSE
ON: The Duke mystified.
DUKE
Wait?
Christian
still will not go. Satin, with sudden inspiration.
SATIN
Yes. .
.wait until opening night.
This
is enough for Christian. He exits through the balcony door. Satin leaps to her
feet.
SATIN (CONT’D)
I don’t
know what came over me.
The
Duke is trying to catch up.
DUKE
But. . .
Satin
turns sharply to The Duke.
SATIN
There’s a power
in you that scares me. You should go.
The
Duke, snapping out of it.
DUKE
I just got
here.
SATIN
Yes, it’ll
be torture for us both but we must wait
until opening night.
Satin
beams love and affection as she pushes The Duke toward the door.
SATIN (CONT’D)
We’ll see
each other everyday during rehearsal.
Satin,
suddenly.
SATIN (CONT’D)
You are
investing aren’t you?
CLOSE
ON: The Duke trying to contain his excitement.
DUKE
(Continues
“Your Song”)
SATIN
(Continues
“Your Song”)
Satin
shuts the door on The Duke.
Christian
enters. Satin turns angrily on him.
SATIN (CONT’D)
Do you
have any idea what would happen if. . .
As
Satin’s agitation grows she starts to cough.
SATIN (CONT’D)
If you
were. . .
Satin
stops. She can hardly speak.
SATIN (CONT’D)
Found. . .
Suddenly
her knees are buckling and Satin is falling. Christian catches her.
INT.
MOULIN ROUGE. ZIDLER’S OFFICE. NIGHT.
Zidler,
in his vast office that overlooks the Moulin Rouge, bends to the brass
telescope that stands by the window. He murmurs.
ZIDLER
Let’s have
a peekaboo.
ZIDLER’S
POV: In the Elephant window he can see the silhouette of Satin in a man’s arms.
ZIDLER (CONT’D)
Right on
target.
INT.
MOULIN ROUGE. ELEPHANT. NIGHT.
CLOSE
ON: Christian, bewildered; Satin unconscious in his arms. Suddenly the door
opens and The Duke is there.
DUKE
I forgot
my. . .
CLOSE
ON: The Duke stops, horrified by the sight of Satin in Christian’s arms.
DUKE (CONT’D)
Foul play?
Satin
regains consciousness.
SATIN
Oh Duke.
The
Duke, leaping now to an entirely different conclusion, snarls darkly.
DUKE
(Continues
“Your Song”)
Satin,
completely unfazed, smiles radiantly.
SATIN
Beautifully
spoken Duke, let me introduce the writer.
The
Duke looks suspiciously towards Christian.
DUKE
The
writer?
SATIN
We were
rehearsing.
The
Duke mockingly.
DUKE
Do you
expect me to believe that scantily clad, in the
arms of another man, inside an
elephant, in the
middle of the night, you were
rehearsing?
SUDDENLY:
How’s the
rehearsal going?
The Duke
watches goggle-eyed as The Argentinean, The Doctor and Satie charge in.
ARGENTINEAN
Sorry, got
held up.
The Doctor offers his absinthe
bottle to The Duke.
THE
DOCTOR
Can I offer you a drink?
Satie sits at the little
piano.
INT. MOULIN ROUGE. ZIDLER’S
OFFICE. NIGHT.
ZIDLER’S
TELESCOPE POV: In the elephant room, he can suddenly see the silhouettes of six
men: one of whom appears to be a dwarf.
CLOSE
ON: Zidler, horrified.
ZIDLER
Oh my
goodness!
INT.
MOULIN ROUGE. ELEPHANT. NIGHT.
Satin
looks adoringly at The Duke.
SATIN
When you
spoke those words so beautifully you made
me realise we had a lot of
work to do before tomorrow.
So I called everyone together
for an emergency rehearsal.
The
Duke is suddenly suspicious again.
DUKE
If you’re
rehearsing, where’s Zidler?
SATIN
I didn’t
want to bother Harold.
SUDDENLY
Zidler enters.
Satin
beams delightedly.
SATIN (CONT’D)
Harold,
you made it.
Zidler
turns desperately to The Duke.
Satin
desperately interrupts.
SATIN
It’s
alright Harold, The Duke knows all about the
emergency rehearsal.
Zidler
stops.
ZIDLER
Emergency
rehearsal?
SATIN
To
incorporate The Duke’s artistic ideas.
Zidler
trying to catch up.
ZIDLER
Artistic.
. . I’m sure Audrey would. . .
Audrey’s
left.
ZIDLER
He’s what!
Satin
laughs mischievously.
SATIN
Harold,
the cat’s out of the bag, The Duke’s a big
fan of our new writer’s work.
That’s why he’s so
keen to invest.
CLOSE
ON: Zidler. He doesn’t quite know what’s going on but he doesn’t care.
ZIDLER
Invest! Oh
yes well, invest, you can’t blame me for
trying to hide, ah. . .
Christian.
ZIDLER
Christian
away.
DUKE
I’m way
ahead of you Zidler!
Zidler,
ushers The Duke from the room.
ZIDLER
Dear Duke,
why don’t we go to my office and
peruse the paperwork.
DUKE
What’s the
story.
Zidler
is stopped in his tracks.
ZIDLER
Story?
DUKE
If I’m to invest,
I’ll need to know the story.
Zidler,
desperately grasping for an idea.
ZIDLER
Yes, the
story’s about. . .
Zidler
turns to
ZIDLER (CONT’D)
Well it’s
about. . .
Christian
leaps in.
CHRISTIAN
It’s about
love.
CUT
TO:
DUKE
Love?
Christian
glances toward Satin.
CHRISTIAN
About love
overcoming all obstacles.
It’s set
in
The
Duke is unsure.
DUKE
Zidler
paints the picture.
ZIDLER
Exotic
Christian
taking in the lush Eastern décor of the elephant room, interjects.
CHRISTIAN
All
look toward Christian.
CHRISTIAN (CONT’D)
And there’s
a courtesan.
Christian
turns to Satin.
CHRISTIAN (CONT’D)
The most
beautiful courtesan in all
kingdom that the Courtesan
lives in is invaded by an
Evil Maharaja, she must seduce the Maharaja to save
the kingdom, but on the night of the seduction, she
mistakes a penniless Sitar Player for the Maharaja and
falls in love with him.
Christian
turns to Satin, hurriedly explaining.
CHRISTIAN (CONT’D)
The sitar
player isn’t trying to trick her or anything he
just happens to be dressed as
the Maharaja because he’s
appearing in a play.
The
Argentinean leaps forward, striking an intense Tango pose.
ARGENTINEAN
I will
play the penniless, tango dancing sitar player. He
will sing like an angel but
dance like the devil.
DUKE
What
happens next?
Christian,
furiously improvising.
CHRISTIAN
The sitar
player and the Courtesan have to hide their
love from the evil Maharaja.
Satie
suddenly interjects.
SATIE
The
penniless sitar player’s sitar is magical; it can only
speak the truth.
I will
play the Magical Sitar.
Turning
to Satin,
You are
beautiful.
To
Zidler.
You are ugly.
To
The Duke.
You are an
idi…
Zidler
frantically clamps his hand over
DUKE
He gives
the game away eh?
Zidler
blurts incongruously.
ZIDLER
Tell him
about the Can Can. . .
Christian
desperately improvising.
CHRISTIAN
Yes, the Tantric Can Can, it’s…
Zidler
jumps in.
ZIDLER
An erotic
spectacular scene that captures the
thrusting, violent, vibrant,
wild Bohemian spirit
that this whole production
embodies Duke!
CLOSE
ON: The Duke.
DUKE
What do
you mean by that?
Zidler
is caught out.
ZIDLER
Well. . .
I mean the show will be a magnificent, opulent,
tremendous, stupendous,
gargantuan, bedazzlement; a
sensual
ravishment it will be. . .
ZIDLER (CONT’D) (SINGS)
Spectacular,
spectacular
No words
in the vernacular
Can
describe this great event
You’ll be
dumb with wonderment
Returns
are fixed at ten per cent.
You must
agree that’s excellent
And on
top, of your
ALL (SING)
You’ll be
involved artistically
So
exciting
BOHOS/SATIN/CHRISTIAN (SING)
The
audience will stomp and cheer
ALL (SING)
So
delighting
BOHOS/SATIN/CHRISTIAN (SING)
It will
run for fifty years
ALL (SING)
So
exciting
The
audience will stomp and cheer
So
delighting
It will run for fifty years
ALL (EXCEPT
So
exciting
The
audience will stomp and cheer
So
delighting
It will run for fifty years
Elephants
THE DOCTOR (SINGS)
Bohemians
ZIDLER (SINGS)
Indians
Satin
coyly to The Duke.
SATIN (SINGS)
and
Courtesans
Satie
an acrobatic trick while still playing the piano.
SATIE (SINGS)
Acrobats
The Argentinean,
wearing the bear rug, juggles fruit.
ARGENTINEAN (SINGS)
and
juggling bears,
Exotic
Girls,
The
Doctor takes a mouthful of absinthe and igniting it from a candle blows a jet
of flame into the air.
EVERYONE (BUT THE DOCTOR)
(SINGS)
Fire
eaters
ALL (BUT CHRISTIAN AND
ARGENTINEAN) (SING)
Muscle men
Satie
contortedly plays the piano with his feet.
ALL (BUT CHRISTIAN AND
ARGENTINEAN) (SING)
Contortionists
The
Argentinean shoots Christian with a cork popped from the
ARGENTINEAN/CHRISTIAN (SING)
Intrigue,
Danger
and
Romance
ALL (SING)
Electric
lights, machinery
Zidler
joyously.
ZIDLER (SINGS)
And all
that electricity
ALL (SING)
So
exciting
The
audience will stomp and cheer
So
delighting
It will
run for fifty years
So
exciting
The
audience will stomp and cheer
So
delighting
It will
run for fifty years
Spectacular,
spectacular
No words
in the vernacular
Can
describe this great event
You’ll be
dumb with wonderment
Beautifully
artistical
CLOSE
ON: The Doctor’s eyes spinning in his head.
THE DOCTOR (SINGS)
Chemically mystical
Satie
suddenly performs an incredibly dazzling but almost unbearably discordant
arpeggio on the piano.
SATIE (SINGS)
Musically
electrical
The
Argentinean triumphantly jumps on top of the piano
ARGENTINEAN (SINGS)
Bohemian Spectactical!
ALL (SING)
(Sing the
Sound of Music)
ALL (SING)
So
exciting
The
audience will stomp and cheer
So
delighting
It will
run for fifty years
So
exciting
The
audience will stomp and cheer
So
delighting
It will run
for fifty years
DUKE
But what
happens in the end?
CHRISTIAN (SINGS)
The
Courtesan and Sitar man. . .
Are pulled
apart by an evil plan
SATIN (SINGS)
But in the
end she hears his song
CHRISTIAN (SINGS)
And their love
is just too strong
Suddenly,
all eyes are on The Duke as he half-sings, feelingly to Satin.
DUKE (SINGS)
(Sings
“Your Song”)
The
number carries on as if nothing has happened. Magically
ALL (SING)
So
exciting
The
audience will stomp and cheer
So
delighting
It will
run for fifty years
The
Argentinean and Satin act out the scene, framed by the drapes as if they are
onstage.
CHRISTIAN (SINGS)
The sitar
player’s secret song
Helps them
flee the evil one
Using
cloth as an elaborate turban, bedspread as cloak, a butter knife as sword and
silver dish cover as shield, Zidler dresses himself as the Evil Maharaja.
CHRISTIAN (SINGS)
Though the
tyrant rants and rails
It is all
to no avail
Zidler
suddenly launches into an incredibly hammy, interpretation of the Maharaja.
ZIDLER
I am the
evil Maharaja, you will not escape!
A
moment of stunned silence, all look toward Zidler.
SATIN
Oh Harold,
no-one could play him like you could.
Zidler,
indignant.
ZIDLER
No-one’s
going to.
ALL (SING)
So
exciting
The
audience will stomp and cheer
So
delighting
It will
run for fifty years
So
exciting
We’ll make
them laugh, we’ll make them cry.
So
delighting
CLOSE
ON: The Duke, very still.
DUKE
In the end
should someone die?
ALL
ignore The Duke.
ALL (SING)
So
exciting
The
audience will stomp and cheer
So
delighting
It will
run for fifty years!
Christian,
Satin,
The
number peaks into a climatic show stopping finale.
BANG!
Silence. All eyes are fixed on The Duke. With perfect, complete stillness, they
wait for his response.
CLOSE
ON: The Duke. He considers.
DUKE
Generally,
I like it.
An
explosion of cheers and screams as everyone goes berserk. The Bohemians
congratulate their new writer.
SUPER
FAST ZOOM: Out of the elephant to. . .
EXT.
MOULIN ROUGE. ELEPHANT. NIGHT.
Silhouetted
in the blazing windows of the elephant, everyone jumps for joy.
We
hear Christian’s voice-over.
CHRISTIAN V/O
Zidler had
an investor and the Bohemians had a show.
EXT.
CRANE:
Through the window and past the wildly partying Toulouse, Bohemians, Le
Chocolat, Le Petomane, Nini, Mome
Fromage and the Can Can
girls.
CHRISTIAN V/O (CONT’D)
While the
celebration party raged upstairs I tried to write. . .
CRANE:
Down through the hole in the studio floor and into Christian’s garret. . .
INT.
CHRISTIAN’S GARRET. NIGHT.
We
see Christian’s typewriter abandoned on the desk. The sheet of paper in the
typewriter has SPECTACULAR SPECTACULAR written at the
top. The rest of the page is completely blank.
CHRISTIAN
But all I
could think about was her.
TRACK:
Out onto the balcony.
CHRISTIAN V/O (CONT’D)
Had the Courtesan
mistakenly fallen in love with the
Penniless Sitar Player; or had
it all been an act?
EXT.
CHRISTIAN’S GARRET. BALCONY. NIGHT.
Christian,
leaning against the “L’Amour” sign, looks toward the silhouette of the Moulin
Rouge. He gently serenades the night.
CHRISTIAN (SINGS)
(Sings
“Your Song”)
INT.
MOULIN ROUGE. ELEPHANT. NIGHT.
Satin,
alone in the little elephant room, turns out the last lamp. She moves toward
the door but stops. The props used to pitch the show to The Duke still litter
the floor. As she gazes at them, she hears Christian’s voice in her head.
CHRISTIAN V/O
She
mistakes a Penniless Sitar Player for the Maharaja
and falls in love with him.
Lit
now only by moonlight, Satin whispers:
SATIN
(sings “One
Day I’ll Fly Away”)
As a
simple orchestration builds, Satin sings as she moves out onto the elephant
balcony.
SATIN (SINGS)
(sings
“One Day I’ll Fly Away”)
EXT.
MOULIN ROUGE. ELEPHANT BALCONY. NIGHT.
Satin
sings to the night.
SATIN (SINGS) (CONT’D)
(sings
“One Day I’ll Fly Away”)
SATIN (CONT’D)
Fly fly away.
Satin
turns. She is startled; Christian is there.
He is
nervous.
CHRISTIAN
I’m sorry,
I just. . . I couldn’t sleep. I wanted to. . .
thank you. For helping me get
the job.
Satin
is cool.
SATIN
CLOSE
ON: Christian staring back.
CHRISTIAN
I…
Satin
breaks the moment.
SATIN
I’d better
go, big day tomorrow.
Satin
moves off, Christian stops her with:
CHRISTIAN
Wait.
Satin
turns.
CHRISTIAN (CONT’D)
I know
before, you thought I was a Duke, but I was just
wondering; was it all. . .
Christian
is suddenly looking into Satin’s eyes.
CHRISTIAN (CONT’D)
. . .an
act?
Satin
meets Christian’s gaze.
SATIN
Yes.
CLOSE
ON: Christian covering his embarrassment.
CHRISTIAN
Yeah, of
course, I mean. . . I knew you wouldn’t really
fall in love with someone like
me.
Satin
smiles.
SATIN
I don’t
‘fall in love’ with anyone.
CLOSE
ON: Christian, taking this in.
CHRISTIAN
Why?
SATIN
I’m a
career girl. I’m not going to be a Can Can dancer
all my life, I’m going to be
an actress.
in love
with a man, the jealousy would drive him mad;
and he wouldn’t let me do what
I have to do to fly away.
CLOSE
ON: Christian considering this.
CHRISTIAN
A life
without love; that’s terrible.
Satin
looks at Christian with simple honesty.
SATIN
It’s
better than never being able to fly away.
CHRISTIAN
(States,
“Love Is Like Oxygen”)
(States,
“Love Is a Many Splendoured Thing”)
(States
“Up Where We Belong”)
(Recites
“All You Need Is Love”)
Satin,
strong.
SATIN
Don’t
start that again.
Christian
sings.
CHRISTIAN (SINGS)
Love, love, love.
SATIN
Please
don’t do that.
Satin,
irritated, moves away. Christian, charming, pursues her.
CHRISTIAN (SINGS)
(Recites
“All You Need Is Love”)
SATIN
Now I’m
getting angry.
CHRISTIAN (SINGS)
(Recites
“All You Need Is Love”)
SATIN (SINGS)
You’re
crazy
CHRISTIAN (SINGS)
(Sings
“All You Need Is Love”)
SATIN (SINGS)
A girl has
got to eat
CHRISTIAN (SINGS)
(Recites
“All You Need Is Love”)
SATIN (SINGS)
She’ll end
up on the street
CHRISTIAN (SINGS)
(Recites
“All You Need Is Love”)
SATIN (SINGS)
Love is
just a game
CHRISTIAN (SINGS)
(Sings “I
Was Made For Loving You Baby”)
SATIN (SINGS)
The only
way of loving me baby
Is to pay
a lovely fee
Christian
pleads.
CHRISTIAN (SINGS)
(Sings
“One More Night”)
SATIN (SINGS)
There’s no
way
Cause you
can’t pay
Christian
throws himself to his knees.
CHRISTIAN (SINGS)
(Sings
“Pride (In the Name of Love)”)
SATIN (SINGS)
You crazy
fool
I won’t
give in to you
Satin
tries to leave. Christian stops her with:
CHRISTIAN (SINGS)
(Sings
“Don’t Leave Me This Way”)
Satin
turns on Christian.
SATIN (SINGS)
(Sings
“Silly Love Songs”)
Christian
smiles.
CHRISTIAN (SINGS)
(Sings
“Silly Love Songs”)
Satin
sighs.
SATIN (SINGS)
(Sings
“Silly Love Songs”)
Christian
unstoppably charming.
CHRISTIAN (SINGS)
(Sings
“Silly Love Songs”)
Christian
heroically leaps up onto the railing of the balcony as he sings:
SATIN
No!
CHRISTIAN
(Sings “Up
Where We Belong”)
SATIN
No get
down.
CHRISTIAN (SINGS)
(Sings “Up
Where We Belong”)
Satin
will not surrender.
SATIN (SINGS)
Love makes
us act like we are fools,
Throw our
lives away
For one
happy day
Christian
sings to the stars.
CHRISTIAN (SINGS)
(Sings
“Heroes”)
Satin
won’t give in.
SATIN (SINGS)
(Sings
“Heroes”)
Christian,
sweetly, relentlessly, pursues her.
CHRISTIAN (SINGS)
(Sings
“Heroes”)
SATIN (SINGS)
We can’t
do that.
CHRISTIAN (SINGS)
(Sings “Heroes”)
And
that is that. Satin is melting.
SATIN (SINGS)
(Sings
“Heroes”)
CHRISTIAN (SINGS)
(Sings
“Heroes”)
Satin
turns and looks in Christian’s eyes.
CHRISTIAN/SATIN (SING)
(Sing
“Heroes”)
Christian
and Satin now sing together.
CHRISTIAN/SATIN (SING)
(Sing
“Heroes”)
A
final joyous exclamation of love.
CHRISTIAN (SINGS)
(Sings “I
Will Always Love You”)
SATIN (SINGS)
I. . .
Satin
and Christian are united. It is the identical image from the end of “Your
Song”.
CHRISTIAN/SATIN (SING)
(Sing
“Your Song”)
SATIN (SINGS)
(Sings
“Your Song”)
CHRISTIAN/SATIN (SING)
(Sing
“Your Song”)
Christian
and Satin are very close. They kiss. It’s long, slow and passionate. As Satin
and Christian sink to the cushioned floor of the balcony, Christian breathes
through the kiss.
CHRISTIAN
I promise
I won’t be jealous.
Satin,
a breathless reply.
SATIN
You’re
going to be bad for business, I can tell.
As
Christian and Satin disappear from frame. . .
PUSH:
Out over the Moulin and up toward
EXT.
MOULIN ROUGE.
CLOSE
ON:
(Sings
“Your Song”)
INT.
MOULIN ROUGE. MAIN HALL. DAY.
CLOSE
ON: An electric light bulb.
We
hear Zidler’s voice.
ZIDLER
To some of
you that may look merely like the very
latest in illuminatory
design. . .
PULL
BACK: Zidler, coat draped over his shoulders like some great man of the theatre,
addresses the full company.
ZIDLER (CONT’D)
But for
the next eight weeks that incandescent globe
will become your sun, your
moon, your stars. It will
look down upon us poor foolish disciples of Thespis.
. .
Outraged,
Nini interjects.
NINI
Steady on!
Zidler
turns a withering eye to Nini.
ZIDLER
Not Lesbos Nini; Thespis, the god of
dramatic arts.
It will look down upon us
disciples of Thespis and
watch the drama unfold. There
will be broken hearts
and broken teeth, tired limbs
and exhausted
imagination,
but at the end of those eight weeks, with
the good grace of our generous
patron. . .
CLOSE
ON: The Duke. A puppy dog smirk toward Satin. Satin returns a loving smile. The
Duke blushes.
PAN: Past
The Duke to realise that Satin’s smile was secretly aimed at Christian.
ZIDLER (CONT’D)
Our
beloved Moulin will be transformed into a theatre!
WIDE
SHOT: The Moulin, magically transformed into a theatre complete with red
curtain.
The
red curtain parts to reveal Zidler’s monstrously huge, beaming face. We realise
we have been looking at a model.
ZIDLER (CONT’D)
And we
will create the world’s first, completely
modern, entirely electric,
totally Bohemian, all
singing, all dancing stage
spectacular!
With
this a giant demolition ball explodes through the back wall of the main hall
spews dust and debris over the entire company.
SLAM
ZOOM: On an excited, dust-covered Zidler.
ZIDLER (CONT’D)
The show
must go on!
A
brassy, show-stopping orchestration of THE SHOW MUST GO ON plays as we DISSOLVE
TO:
INT.
MOULIN ROUGE. MAIN HALL. DAY.
Nini,
Mome, and the girls struggling with the Tantric Can Can. Zidler directs.
The Can Can girls wipe frame.
PUSH
PAST: The Can Can girls to see:
Satie
conducting a gaggle of alternate musicians.
The
Doctor desperately tries to tune the smoking electromagnetica
machine.
The
Argentinean, Satin, and Zidler rehearse while Christian frantically makes
pencil adjustments to his script. The Argentinean declares:
ARGENTINEAN
Fear not
we will conduct our love affair right under
the Maharaja’s. . .
SUDDENLY:
The Argentinean collapses unconscious.
Zidler
throws up his hands in despair.
The
Argentinean suddenly regains consciousness.
ARGENTINEAN (CONT’D)
Alright,
no problem, go back to your work!
ZIDLER
Honestly
amigo, this is impossible!
The
Duke shakes his head and smiles inanely at Satin. Warner sits in the shadows behind
him. Satin returns a loving smile.
TRACK:
Past The Duke to see the smile was secretly aimed at Christian.
THE
SHOW MUST GO ON plays as the struggling Can Can girls
wipe frame.
INT.
CHRISTIAN’S GARRET. NIGHT.
Satin
and Christian lie naked on the floor in a tangle of sheets.
They
make love.
CRANE:
Up from Christian and Satin, through the hole in Christian’s roof and into. . .
INT.
TOULOUSE’S STUDIO. NIGHT.
Toulouse’s
studio is littered with Champagne bottles and other evidence of carousal. Jammed
on the little bed Toulouse, The Doctor, Satie and The Argentinean are fast
asleep.
THE
SHOW MUST GO ON plays as we DISSOLVE TO:
INT.
TOULOUSE’S STUDIO. NIGHT.
Toulouse
drunkenly cooks up a storm in the studio kitchen. Satin, also drinking, coaches
from the sidelines. Christian, reading from typewritten pages, leaps around the
room acting out the scene for them.
CHRISTIAN
“For
curing me of my ridiculous obsession with love,”
screams the Sitar Player, as
he throws money at the
Courtesan’s feet. He is
leaving the kingdom forever.
Satin,
who has been hanging on every word, responds.
SATIN
Oh no,
he’s not going to live a life without love?
CHRISTIAN
Yes, but
suddenly the Magic Sitar. . . !
Toulouse
calls excitedly while busily dishing up food.
TOULOUSE
That’s my
part!
CHRISTIAN
Who can
only speak the truth, appears and says. . .
Toulouse,
holding plates of steaming food, jumps in.
TOULOUSE
I know!
Magic Sitar who can only speak the truth
says; “dinner’s ready”.
THE
SHOW MUST GO ON plays as we DISSOLVE TO:
The
girls wipe frame with an impressive Tantric Can Can
EXT.
CHRISTIAN’S GARRET. DAY.
Christian
is typing furiously. On the balcony of the garret Satin leans on the “L” of the
“L’Amour” sign. The Moulin Rouge is below, the Sacre
Coeur in the distance. Christian rips the page from the typewriter.
Walking
toward Satin, Christian acts out the scene as he reads.
CHRISTIAN
The Sitar
Player takes the Courtesan in his arms and,
joined by the people of the
kingdom, they sing together
of Truth, Beauty, Freedom,
and, above all things,
Love. . .
The End.
Christian
looks to Satin, but she has turned away.
CHRISTIAN (CONT’D)
What’s
wrong?
Satin
smiles sadly.
SATIN
It’s
beautiful, but things don’t end that way. Our
story’s not going to end that
way.
Satin
looks away from Christian, out over the lights of Paris.
SATIN (CONT’D)
On opening
night I’m going to sleep with The Duke. . .
CHRISTIAN
I know
that.
SATIN
I’m going
to sleep with The Duke and the jealousy
will drive you mad whatever
you feel now will be
forgotten.
CHRISTIAN
Then. . .
I’ll write a song and I’ll put it in the show
so no matter how bad things
seem, no matter what
happens, whenever I hear you
sing it, or hum it,
or whistle it, or tap it out.
. .
Christian
taps the tune on the L’Amour sign.
CHRISTIAN (CONT’D)
It’ll
remind me that. . . I never knew I could feel like
this. It’s like I’ve never
seen the sky before. I want to
vanish inside your kiss.
The
orchestra joins and Christian’s words seamlessly transform into song.
CHRISTIAN (SINGS)
Every day
I’m loving you more and more
Listen to
my heart, can you hear it sing?
Telling me
to give you everything
Seasons may
change, winter to spring,
But I love
you to the end of time
Come what
may
Come what
may
I will
love you until my dying day.
INT.
MOULIN ROUGE. MAIN HALL. DAY.
The
main hall, covered in scaffolding, is lit by a single work light. Toulouse
looks down from painting his backdrop. Satin, Christian and The Argentinean
gather around Satie who creates an ethereal melody by plucking the strings of
the piano. The Duke and Zidler look on. As The Argentinean and Satin now sing.
. .
CHRISTIAN (SINGS)
Listen to
these words when we hear this song
We’ll know
what we’ve known all along
Jealousy
and anger are suddenly gone
Cause you
love until the end of time
And come
what may, come what may
I will
love you until my dying day
CUT
TO: The Duke, watching intensely.
Nini,
leaning across to The Duke, whispers.
NINI
This
ending’s silly. Why would the courtesan go
for that penniless writer?
CLOSE
ON: The Duke. He looks sharply to Nini.
Nini,
a vicious titter.
NINI (CONT’D)
Whoops. I mean, Sitar Player.
CLOSE
ON: The Duke following Nini’s gaze to Christian.
SUPER
TIGHT: The Duke, Nini’s words ring in his ears.
NINI V/O (CONT’D)
Penniless
writer.
His
face darkens.
DISSOLVE
TO:
EXT.
CHRISTIAN’S GARRET. DAY
Christian
and Satin now back on the balcony of Christian’s garret, sing together.
SATIN/CHRISTIAN (SING)
Come what
may
I will
love you until my dying day
WIDE
SHOT: Satin and Christian kiss in front of the “L’Amour” sign.
DISSOLVE
TO:
INT. MOULIN
ROUGE. ZIDLER’S OFFICE. DAY.
CLOSE
ON: The Duke. He smiles through the storm within.
DUKE
I must be
her single, her solitary, her only patron.
Her only patron: do I make
myself clear?
ZIDLER
As
crystal, Duke.
The
Duke pauses, smiling delicately.
DUKE
It’s not
that I’m a jealous man.
Suddenly
The Duke’s mouth contorts into a hideous snarl as he crushes his hat.
DUKE
It’s just
that I don’t like other people touching my
things!
CLOSE
ON: Zidler shocked. He speaks slowly.
ZIDLER
I
completely understand Duke.
INT.
MOULIN ROUGE. MAIN HALL/STAGE. DAY.
CLOSE
ON: The Argentinean and Satin kissing onstage.
The
full cast reprise:
CAST (SING)
Come what
may, come what may
Christian
sits watching, smiling.
CLOSE
ON: The Duke watching intently.
ALL (SING)
Come what
may
SATIN/ARGENTINEAN (SING)
I will
love you
ALL (SING)
Come what
may
SATIN/ARGENTINEAN (SING)
Yes, I
will love you
ALL (SING)
Come what
may
SATIN/ARGENTINEAN (SING)
I will love
you until my dying day
A
final tumultuous chord.
SUDDENLY
a cold, hard voice cuts through
DUKE
I don’t
like this ending.
All
eyes turn to The Duke who now stands in the middle of the hall. Zidler is
flabbergasted as The Duke continues.
DUKE (CONT’D)
Why
shouldn’t the Courtesan choose the Maharaja;
he is offering a lifetime of
security; that’s real love!
The
Duke is now speaking directly to Satin.
DUKE (CONT’D)
One the
Penniless Sitar Player has satisfied his lust,
he will leave The Courtesan
with nothing. I suggest
that in the end the Courtesan choose the Maharaja.
CLOSE
ON: Christian barely able to restrain himself.
Leaning
down from the stage, Toulouse splutters:
TOULOUSE
Sorry, that
ending doesn’t uphold the Bohemian ideal
of truth, beaut.
. .
The
Duke’s anger explodes.
DUKE
I don’t
care about your ridiculous dogma! Why shouldn’t
the Courtesan choose the
Maharaja?
Christian’s
anger erupts.
CHRISTIAN
Because
she doesn’t love you. . .
A
moment of shocked silence. All eyes turn to Christian as he hurriedly
backtracks.
CHRISTIAN (CONT’D)
. . . him.
CLOSE
ON: The Duke. A hardening suspicion.
DUKE
Oh I see.
The
Duke turns to Zidler icily.
DUKE (CONT’D)
Monsieur
Zidler, this ending will be rewritten with
the Courtesan choosing the
Maharaja and without
the lover’s secret song. It
will be rehearsed in the
morning
ready for the opening tomorrow night! Do
I make myself clear?
Zidler
is horrified.
ZIDLER
But. . .
Suddenly
Satin’s voice cuts through.
SATIN
Harold,
the poor Duke is being treated appallingly.
Satin
flashes her most radiant smile at The Duke.
SATIN (CONT’D)
Why don’t
you and I have a little supper and
afterwards we can let Monsieur
Zidler know how
we would prefer this story to
end.
CLOSE
ON: The Duke, the anger draining from his face.
INT.
MOULIN ROUGE. CORRIDOR. NIGHT.
Satin
is hurrying towards the stairs that lead down to her dressing room.
Christian
appears and drags her into the shadows.
CHRISTIAN
I don’t
want you to sleep with him.
CLOSE
ON: Satin, gently.
SATIN
He could
destroy everything. It’s for the show. . . for us.
Christian
struggles to answer.
SATIN (CONT’D)
You
promised. You promised not to be jealous. . .
There
is a kerfuffle at the end of the hall.
SATIN (CONT’D)
I must go.
The Duke’s waiting.
Satin
is close to Christian.
SATIN (CONT’D) (SINGS)
Come what
may.
CLOSE
ON: Christian. A long moment, then, fighting the pain, he meets Satin’s gaze.
CHRISTIAN
Come what
may.
Christian
abruptly moves off.
CLOSE
ON: Satin. She is strangely still. She fights the convulsion that builds from
within.
Gasping
for air, Satin desperately struggles down the stairs, towards the sanctuary of
her dressing room. As she reaches the bottom of the stairs she begins to cough
and cannot stop.
Desperately
fighting to support herself, Satin staggers, her legs will not hold her.
Le
Chocolat and La Petite Princess emerge from a tiny room below the stairs and
run to Satin as she collapses to the floor.
LE CHOCOLAT
Mademoiselle
Satin!
HOLD:
On Satin, unconscious on the floor.
INT.
MOULIN ROUGE. GOTHIC TOWER. NIGHT.
The
Gothic Tower is a huge Gothic-styled room.
The
Duke sits alone at the end of a long table laid out for a magnificent supper.
Very still, he waits.
DISSOLVE
TO:
INT.
MOULIN ROUGE. MAIN HALL. NIGHT.
The cast,
chorus and orchestra wait in the main hall to resume rehearsal.
INT.
MOULIN ROUGE. ZIDLER’S OFFICE. NIGHT.
Zidler
peers through his telescope.
ZIDLER’S
POV: The Duke waiting alone in the Gothic Tower.
Zidler
is agitated.
ZIDLER
Where is
she!
INT.
MOULIN ROUGE. STAR DRESSING ROOM. NIGHT.
CLOSE
ON: A hypodermic syringe entering a vein.
PULLBACK:
A DOCTOR is giving Satin an injection.
Marie
and Le Chocolat look on.
Marie
enquires, hopefully.
MARIE
Do you think
she’ll be up and about tonight?
DOCTOR
Tomorrow
morning at the earliest.
Zidler
bursts into the dressing room. He can only see Le Chocolat and Marie, Satin is
lying behind the screen.
ZIDLER
Where the
bloody hell is she!
Marie
hushes Zidler. He approaches questioningly.
Once
in the room Zidler can see Satin and the Doctor behind the screen.
ZIDLER (CONT’D)
Oh my
goodness!
Drawing
Marie aside, Zidler whispers urgently.
ZIDLER (CONT’D)
What’s
wrong with her?
MARIE
She’s sick
Harold.
ZIDLER
I can see
that, but The Duke’s waiting; is it serious?
The
Doctor emerges from behind the screen. Zidler, pointedly excluding Le Chocolat,
pulls the Doctor aside.
ZIDLER (CONT’D)
How long
before she’s well?
The Doctor
looks blankly at Zidler.
ZIDLER (CONT’D)
When’s she
going to be better?
The
Doctor speaks slowly.
DOCTOR
Monsieur
Zidler, Mademoiselle Satin is dying.
CLOSE
ON: Zidler.
ZIDLER
What?
CLOSE
ON: Marie. She crosses herself as she murmurs.
MARIE
Blessed
mother.
Zidler
is in shock.
ZIDLER
My little
sparrow, dying?
CLOSE
ON: Zidler whispers to himself.
ZIDLER (CONT’D)
But The
Duke. . .
Zidler
again turns to the Doctor.
ZIDLER (CONT’D)
How long. .
. I mean; how long has she?
DOCTOR
A few
months, maybe less.
CLOSE
ON: Zidler as this sinks in. Zidler, conspiratorially to the Doctor.
ZIDLER
No one
must know, her position here, you
understand.
DOCTOR
Of course.
Zidler
turns to Marie, whispering.
ZIDLER
She
mustn’t know Marie. The show must go on.
Zidler
turns back to the Doctor.
ZIDLER (CONT’D)
Is there
something you can do, to get her through tonight?
Suddenly
SM bursts in.
SM
The Duke’s
leaving!
SLAM:
Into Zidler’s face. It explodes into tears.
PULL
OUT: We are in the Gothic Tower.
INT.
GOTHIC TOWER. NIGHT.
ZIDLER
She’s
confessing!
The
Duke rises as his anger explodes.
DUKE
Confessing?
What kind of fool do you take me for Zidler!
ZIDLER
She suddenly had a terrible desire to go to a
priest and
confess her sins.
The
Duke heads for the door.
DUKE
Find
another backer for your tawdry little show!
Zidler
grovels like a true professional.
ZIDLER
She wanted
to be cleansed of her former life, she looks
upon tonight as her. . .
The
Duke is out the door. Zidler; a pathetically desperate plea.
ZIDLER (CONT’D)
. . . her
wedding night!
CLOSE
ON: The Duke. He gives nothing away, but this stops him.
DUKE
Wedding
night?
Zidler
cautiously approaches The Duke.
ZIDLER
She’s like
a blushing bride. . . that a great man such
as yourself wants her only for
himself.
Zidler
leans close.
ZIDLER (CONT’D)
The thing
is dear chap, she says you make her feel like a
. . . like a. . . like a virgin.
CLOSE
ON: The Duke. The image is appealing.
DUKE
Virgin?
Zidler
slowly draws The Duke back into the room.
ZIDLER
(Sings
“Like a Virgin”)
The
Duke is desperately trying to keep his lip from quivering.
DUKE
(Sings
“Like a Virgin”)
CLOSE
ON: Zidler.
ZIDLER
(Sings
“Like a Virgin”)
CLOSE
ON: The Duke. He repeats the words like a magic spell.
DUKE
(Sings
“Like a Virgin”)
Zidler
leans close.
ZIDLER
(Sings
“Like a Virgin”)
(gently
singing)
As the
chorus explodes, waiters bearing trays laden with food burst into the room.
They suggestively serve food as they sing:
WAITERS/ZIDLER (SING)
(Sing
“Like a Virgin”)
Zidler
dances in the middle of the building number.
ZIDLER (SINGS)
(Sings “Like
a Virgin”)
Zidler
coyly turns down the sheets of the bed in the corner of the room. The waiters
plump up the pillows.
ZIDLER (CONT’D) (SINGS)
(Sings
“Like a Virgin”)
Zidler
plays the coy virgin as the waiters chase him around the room.
WAITERS/ZIDLER (SING)
(Sing
“Like a Virgin”)
The
Duke, fingering the bed sheets, sings with quiet intensity.
DUKE (SINGS)
(Sings
“Like a Virgin”)
(spoken)
One, two,
three.
ALL (SING)
(Sing
“Like a Virgin”)
DUKE (SINGS)
(Sings
“Like a Virgin”)
ALL (SING)
(Sing
“Like a Virgin”)
DUKE (SINGS)
(Sings
“Like a Virgin”)
ALL (SING)
(Sing
“Like a Virgin”)
CLOSE
ON: The Duke, deep in his reverie of desire.
Suddenly,
Satin glides into the room. Stunningly pale, she is like a beautiful but
delicate, otherworldly vision.
CLOSE
ON: Satin. With quiet sincerity, she speaks.
SATIN
My dear
Duke, I hope I have not kept you waiting?
The
Duke smiles like a lustful puppy dog.
DUKE
Not at all
my dear. Leave us Zidler.
Zidler
quietly backs out.
ZIDLER
Take your
time, I’ll keep rehearsals chugging along
downstairs.