30. INT. LIVING ROOM. NIGHT
Miss Peach enters the living room, which is now bathed
in candlelight. Scarlet has beautifully arranged candles
all around the room; it is a breathtaking sight. Miss
Peach stands in awe. On the table, Scarlet has laid a bea-
utiful dinner set for two, the food is simple but inviting.
Two place cards sit on each plate. In beautiful italics on
one is written “Lady Peach” and on the other “Lady
Scarlet.” Miss Peach turns back to Scarlet who has now
disappeared. She turns back to the table and sits down.
Miss Peach observes the place settings, and
surreptitiously, she rearranges the incorrect silverware
arrangement.
CUT TO:
31. INT. BATHROOM DOOR. NIGHT
Miss Peach taps on the bathroom door. Timidly, she
whispers.
MISS PEACH
Scarlet. Scarlet.
There is no response.
I’m sorry Scarlet.
CUT TO:
32. INT. BATHROOM. NIGHT
Scarlet sits in front of the mirror. She removes her wig
and sits bald. From a large jar Scarlet scoops some
cream and smears it on her face, drastically her thick
makeup is loosened.
MISS PEACH
You’re so colorful, my dear, so full of color . . . I
probably appear as rather a grey person to you . . .
and you’re right.
CUT TO:
Short Screenplays 291
App-B.qxd 9/27/04 6:02 PM Page 291
31. INT. BATHROOM DOOR. NIGHT
Miss Peach stands close to the door.
MISS PEACH
You see, I’ve been a housekeeper to a man for over
thirty years. Our relationship was overwhelmingly
professional in tone . . . though naturally we might
discuss informal topics . . . from time to time.
Miss Peach pauses.
MISS PEACH
I came to deliver his love letter. I don’t know this
woman . . . you see. All I know is that . . .
32. INT. BATHROOM. NIGHT
With a sponge Scarlet rubs and rubs and gradually
removes all the makeup. Scarlet stops and begins to
listen to Miss Peach. Scarlet takes a drag on her
cigarette and stares at her bald reflection. She remains
effeminate in features, but without all the makeup, all
the glamour is gone.
MISS PEACH
I gave him the best years of my life. The very best
and he didn’t even notice. I suppose you could call
me a coward. So you see, I’m in no position to
judge your actions . . . I simply envy your courage.
Gently and slowly Scarlet removes her loud and glitzy
ear rings.
31. INT. BATHROOM DOOR. NIGHT
Miss Peach leaves, taking her candle with her. The
candle is blown out.
CUT TO:
33. EXT. MANHATTAN SKYLINE. EARLY MORNING
The sun gradually rises over the building tops. A RADIO
UPDATE echoes out. Pull back to reveal Scarlet standing
at a window.
DISSOLVE TO:
292 WritingtheShortFilm
App-B.qxd 9/27/04 6:02 PM Page 292
34. INT. LIVING ROOM. MORNING
Scarlet stands at a window. The room is lit by the blue
light of morning. Miss Peach lies on a sofa fast asleep.
Scarlet sits down opposite her; she is dressed simply, but
beautifully. Her outfit and hairstyle are feminine, but
she has shed all her flamboyance. Her beauty now stems
from her pure precision and simplicity. She smokes a
cigarette. Miss Peach wakes up. Spread on a chair in
front of Miss Peach is a beautiful outfit and an elegant
pair of shoes.
SCARLET
People used to tell me how I could be straightened
out. What I needed was a good woman. I said fine,
since a woman is the best there is . . . I want to
be one, the most beautiful one.
34. INT. LIVING ROOM. MORNING (CONT.)
Scarlet looks at Miss Peach and smiles.
SCARLET
You must realize what you have . . . and enjoy it.
If it was up to the rest of the world, they wouldn’t
let you.
DISSOLVE TO:
35. INT. LIVING ROOM. LATE MORNING
We move through the apartment. The dull light of
morning highlights the odd object here and there.
Candles stand burnt down. All is still. Someone SINGS in
the distance. We enter the living room. A dressing table
has been set up. Miss Peach sits in front of the mirror.
Scarlet stands above and SINGS while she tends to Miss
Peach.
DISSOLVE TO:
36. INT. LIVING ROOM. DAY
Nail polish is placed on some nails. They are filed and
trimmed. Eyeliner is placed on some eyes. Mascara on
lashes. Lipstick on lips. The tight curls of Miss Peach’s
hair are brushed out. Powder on the face. Shoes are
Short Screenplays 293
App-B.qxd 9/27/04 6:02 PM Page 293
slipped on some feet. A dress is put on. Earrings are
clipped on. A necklace is delicately wrapped around a
neck.
DISSOLVE TO:
37. INT. LIVING ROOM. DAY
Scarlet continues to tend to Miss Peach. She then goes
over to get a scent bottle. Miss Peach reaches for her bag
and out falls the letter. She withdraws the envelope and
it reads “Mrs Catherine Spencer.” She holds it closely and
then looks up at her reflection in the mirror. She is now
complete—beautiful and elegant in both style and
makeup. She pauses and stares at the letter. She remains
silent. Scarlet returns and stands close by. Miss Peach
remains silent. She then takes the letter and replaces it.
MISS PEACH
I’m not Catherine Spencer, I would have liked to
have been, but I’m not. Had I been anyone worthy
of respect at all, I dare say I would have left
Fortley Manor long before this letter was ever
written.
Miss Peach smiles and puts the letter away. She stands
up straight and is a picture of refined beauty.
SCARLET
Miss Peach your carriage awaits.
Miss Peach gives a curtsey and then twirls to show off
her attire. She twirls and twirls and twirls and
twirls . . .
DISSOLVE TO:
38. INT. APARTMENT. NIGHT
Classical MUSIC can be heard. Miss Peach continues to
twirl and is dressed beautifully and Scarlet simply, as
before. Miss Peach’s formal hair is now loose and
relaxed, and both Scarlet and Miss Peach have a content
expression on their faces. Delicately and tentatively the
pair waltz elegantly around the room. Miss Peach limps,
294 WritingtheShortFilm
App-B.qxd 9/27/04 6:02 PM Page 294
but hardly. Miss Peach and Scarlet continue to dance.
The music finishes, and they come to a stop. They
hesitate and then move closer together. Behind them we
see the city lit up. They hesitate as if they’re about to
kiss. Suddenly there is a sound of energy being
CHARGED. The lights in the apartment flicker on, and
then off, and then on again. Under the bright lights Miss
Peach and Scarlet break their embrace. The spell ends
and all is revealed. They shift awkwardly, embarrassed
by their intimacy.
CUT TO:
39. INT. HALLWAY OF APARTMENT. NIGHT
Miss Peach and Scarlet begin to leave the apartment.
Scarlet gathers her bag, and before exiting Miss Peach
removes the letter from her purse and places it in the
frame of a mirror. Miss Peach pauses with her hand and
then looks up at her reflection, which is youthful and
content. She smiles.
40. INT. ELEVATOR. NIGHT
The HUM of the elevator as it glides down. Miss Peach
and Scarlet stand side by side. They are SILENT and do
not communicate in any way. It’s as if they are total
strangers to one another. The elevator stops and in gets
an ELDERLY MAN.
OLD MAN
They promised us back in ‘65 that it was the last
time. Well twenty-seven hours I was trapped in my
apartment. It’s a disgrace. I say hang the lot of them.
The elevator comes to rest on the ground floor. The old
man gets out, followed by Scarlet and Miss Peach.
CUT TO:
41. INT. LOBBY. NIGHT
The lobby of the apartment block is busy with
postblackout activity. Miss Peach turns to Scarlet. For a
moment they smile. Scarlet’s expression changes as she
observes something of interest over Miss Peach’s shoulder.
Short Screenplays 295
App-B.qxd 9/27/04 6:02 PM Page 295
SCARLET
Goodbyes were never my thing.
Scarlet smiles and walks past Miss Peach and wanders
toward a handsome-suited man across the lobby. Miss
Peach watches as Scarlet introduces herself, asking the
man for a light. Miss Peach decides to leave and walks
slowly toward the exit.
DOORMAN
(calling)
Miss Spencer! Can I help you.
Miss Peach swings around, responding to the name
Catherine Spencer and is faced with the back of an
elegantly dressed WOMAN who carries some luggage.
Miss Peach freezes and watches as the woman stands
waiting for the doorman. Miss Peach begins to approach
and then stops herself. She looks up and sees Scarlet
watching her. The doorman picks up the woman’s
luggage and begins to carry it toward the elevator. The
woman hesitates, tidies herself, and follows the
doorman. Scarlet gives Miss Peach a wave of her hand.
Miss Peach smiles and turns away, briskly walking out
the front door.
FADE OUT
296 WritingtheShortFilm
App-B.qxd 9/27/04 6:02 PM Page 296
SLEEPING BEAUTIES
by Karyn Kusama
CAST OF CHARACTERS
IRIS—a sixteen-year-old girl. Iris is still a bit awkward, a little uncomfortable
with her developing body. She is remarkably mature in some ways, a girl
with a detailed imagination and a feverish sense of her future. She is a talker.
LUCY—Iris’s fifteen-year-old sister. Lucy is very fresh looking and has an
unusually mature beauty for her age. She and Iris look much alike, but some-
how Lucy seems more at ease with her appearance. Lucy respects Iris’s opin-
ion of everything. Lucy is the less articulate of the two girls, but is
comfortable letting Iris be the “leader.”
MAN—a very nebulous character in some ways. Between the age of nine-
teen and twenty-five years old. He must have strong features. It would be
preferable if he was pale and of a medium height. He must have longish and
finely textured hair. He is the type of person who wears nothing but jeans
and John Deere t-shirts. He wears cowboy boots because they are practical.
He probably worked in a gas station at one point in his life. He may have
committed some small-scale crimes as well, but nothing worthy of a major
newspaper. He is from a small town—there isn’t a single clear-sounding
radio station for miles and all the kids hang out at the 7-Eleven off of the
interstate. Until he was about eighteen, he had never seen a James Dean or
Marlon Brando movie. He has, however seen almost every Elvis movie,
somewhat by default. His voice is low, with a slight drawl. He doesn’t talk
much, unless he’s got a six-pack with him, and then he’s always got a story
and needs to prove that he saw it first.
DESCRIPTION OF LOCATION
Large three-story house in a quiet suburban area. Spacious backyard with
high, full trees and a large open area in the center. Iris and Lucy share a room
on the top floor, preferably at the very side of the house. The only apparent
light comes from their room; no one else seems to be home. From their large
bedroom window they can hop onto a wooden trellis that runs down the
side of the house.
The bedroom itself is relatively large, with two parallel beds, a large win-
dowsill, a cluttered vanity table with a huge round mirror, a small night
table, a lamp, an overhead light, and a chair or two. The room should not
look especially contemporary at all, there should be a strange sense of isola-
tion from the outside teenage world. There are no posters on the wall, and
no fan magazines on the floor—only odd antique knickknacks, cheesy sou-
Short Screenplays 297
App-B.qxd 9/27/04 6:02 PM Page 297
. dance.
The music finishes, and they come to a stop. They
hesitate and then move closer together. Behind them we
see the city lit up. They hesitate as if they’re. content
expression on their faces. Delicately and tentatively the
pair waltz elegantly around the room. Miss Peach limps,
294 Writing the Short Film
App-B.qxd 9/27/04