
 
 
 
 
 
 
 
 
 “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:
 
“Paris, 1899”
 
SUPER OVER: A sepia-toned vista of turn of the century Paris. The Eiffel Tower vaults skyward. In the distance a solitary hill is crowned with a half constructed cathedral.
 
PUSH TOWARDS: The hill and cathedral. A ramshackle little village at the base of the hill now comes into view.
 
SUPER: “Montmartre”
 
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 Paris;
 
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 facade 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 Offenbach high jinx –
 
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…
 
CHINA DOLL (SINGS)
                                      Don’t say…
 
ARABIA (SINGS)
                                      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…
 
CHINA DOLL (SINGS)
                                      What you see see see?
 
ARABIA (SINGS)
                                      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.
 
COCO BROS./SIAMESE TWINS/LE PETOMANE/
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. TOULOUSE LAUTREC’S STUDIO. DAY.
 
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. TOULOUSE’S APARTMENT STUDIO. DAY.
 
The Argentinean dances.
 
INT. MOULIN ROUGE. MAIN HALL. NIGHT.
 
ZIDLER
                                      And the music: such sweet, beguiling tunes by the
Bohemian composer Satie.
 
INT. TOULOUSE’S APARTMENT STUDIO. DAY.
 
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. TOULOUSE’S APARTMENT STUDIO. DAY.
 
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. TOULOUSE’S APARTMENT STUDIO. DAY.
 
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. PARIS SKY. NIGHT/DAY.
 
…through the sky, and back to the Eiffel Tower.
 
With a final tumultuous chord, the night vista of Paris turns to day.
 
A train can be seen pulling into the station.
 
CHRISTIAN V/O
                                      But on the day I arrived in Paris, I knew nothing of
Bohemian spectaculars, investors, Dukes, the Can
Can, or…
 
SUPER FAST PUSH: Toward Montmartre and through the garret window.
 
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.
 
TOULOUSE
                                      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  Switzerland and there’s a nun
                                      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. (Toulouse taking in the
typewriter.) A typewriter? You’re a writer? Anyway the
Argentinian’s a narcoleptic: you know, perfectly fine one
                                      moment then suddenly (Toulouse snaps his fingers)
unconscious…
 
Toulouse is interrupted as a head appears through the hole in the ceiling. It belongs to a willowy-looking chap in a loud striped vest and puffy sleeves: AUDREY THE POET. Audrey calls:
 
AUDREY
                                      How is he?
 
Toulouse suddenly remembers Leder Hausen.
 
TOULOUSE
                                      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!
 
Toulouse turns to the bewildered Christian.
 
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 Toulouse. I still have to finish the music.
 
TOULOUSE
                                      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. Toulouse slops paint on an enormous half finished theatrical back-drop of the Swiss Alps.
 
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!
 
Toulouse runs into the middle of the room, and sings:
 
TOULOUSE (SINGS)
                                      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. Toulouse is awestruck.
 
TOULOUSE
(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)
                  
Toulouse cries ecstatically.
 
TOULOUSE
                                      Incandiferous!
 
Audrey protests.
 
AUDREY
                                      Impossible.
 
Toulouse turns excitedly to Audrey.
 
TOULOUSE
                                      You two should write the show together!
 
Audrey goes dangerously quiet.
 
AUDREY
                                      I beg your pardon?
 
TOULOUSE
                                      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.
 
TOULOUSE
                                      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, Toulouse turns to Christian and hands him a large glass of absinthe.
 
TOULOUSE
                                      Here’s to your first job in Paris.
 
Christian is shocked.
 
Satie calls.
 
SATIE
                                      Toulouse, Zidler’ll never agree.
(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.
 
Toulouse murmurs intensely.
 
TOULOUSE (CONT’D)
(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?
 
Toulouse exclaims to Christian:
 
TOULOUSE
                                      The girl!
 
CHRISTIAN
                                      The girl?
 
TOULOUSE
                                      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 Toulouse aside, whispers agitatedly.
 
SATIE
                                      We won’t get a penniless writer near Satin tonight; you
know what happened last time.
 
TOULOUSE
                                      Don’t worry, we’ll dress him up so he looks rich…
 
The Argentinian whispers excitedly.
 
ARGENTINIAN
                                      He can wear my suit…
 
TOULOUSE
                                      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…
 
TOULOUSE
                                      Why not?
 
CLOSE ON: Christian nervous.
 
CHRISTIAN
                                      Ah…I’m not sure I’m a…true Bohemian revolutionary.
 
TOULOUSE
                                      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”)
 
Toulouse exclaims.
 
TOULOUSE
                                      Then you can’t fool us, you’re a true Bohemian
revolutionary!
 
ARGENTINIAN/THE DOCTOR/SATIE
                                      We can’t be fooled!
 
Toulouse pouring glasses of absinthe, proposes a toast.
 
TOULOUSE
                                      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 Toulouse’s studio and onto the fire escape.
 
EXT. TOULOUSE’S APARTMENT BUILDING. NIGHT.
 
The Bohemians and Christian joyously sing as they dance down the L’Amour sign.
 
TOULOUSE (SINGS)
                                      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 Toulouse scaring some tourists out of his seat.
 
Toulouse glances around the hall. He cannot see Zidler in the booth next to them.
 
TOULOUSE
                                      Mission accomplished. We’ve successfully evaded Zidler.
 
Track with Toulouse and Christian to Zidler and The Duke.
 
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 Toulouse. He leans in to Christian.
 
TOULOUSE (CONT’D)
                                      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, Toulouse and Christian in the one frame.
 
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 Toulouse join Christian and The Duke in the frame.
 
Toulouse whispers:
 
TOULOUSE
                                      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 Tabascos catch her and carry her high above the crowd. The Top-Hatters strain to touch her. The wicked-faced boy’s hat now overflows with cash and sparkling trinkets.
 
CUT TO: Christian, mouth agape.
 
INT. MOULIN ROUGE. MAIN HALL. NIGHT.
 
Terrified, Christian rises.
 
CHRISTIAN
                                      I should go…
 
Toulouse and The Bohemians pull him back into his seat.
 
TOULOUSE
                                      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: Toulouse’s booth.
 
CLOSE ON: Christian’s stunned expression. He makes to leave.
 
CHRISTIAN
                                      I should really umm…, unpack.
 
Toulouse reassures Christian with a devilish grin.
 
TOULOUSE
                                      Don’t worry. I’ll sally forth and tee things up!
 
Toulouse raises his cane like a mock sword. It sends a drinks tray, held by a passing waiter, flying into the lap of The Duke in the adjacent booth.
 
TOULOUSE (CONT’D)
                                      Oh, oh terribly sorry.
 
Toulouse snatches a white handkerchief from The Duke’s breast pocket and begins manically dabbing.
 
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, ARABIA, CHINA DOLL (SING)
                                      (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 Toulouse.
 
CLOSE ON: Zidler’s horror stricken face.
 
ZIDLER (CONT’D)
                                      What’s that bloody madman Toulouse doing? He’s
supposed to be working with Audrey on the script!
 
Because of their choreography, Satin is turned away and cannot see Toulouse.
 
CUT TO: The Duke’s booth. His face distorts with outrage.
 
DUKE
                                      That silk handkerchief was a gift from my mother.
 
TOULOUSE
                                      Sorry.
 
CUT TO: Zidler. He whispers.
 
ZIDLER
                                      In the middle booth, the one Toulouse is shaking the
hanky at.
 
As Satin turns, Toulouse leaps to Christian and plucks a handkerchief from Christian’s pocket.
 
TOULOUSE
                                      Excuse me Christian.
 
CLOSE ON: Satin. She strains to spy The Duke through the crowd.
 
CUT TO: Toulouse. He waves the handkerchief at Christian.
 
TOULOUSE (CONT’D)
                                      May I borrow?
 
CUT TO: Satin, puzzled.
 
SATIN
                                      The one Toulouse is shaking the hanky at, are you sure?
 
Zidler dances around Satin.
 
ZIDLER
                                      Give me a peek.
 
Toulouse, having returned to The Duke’s booth, is enthusiastically dabbing. He stops, confused by the cold hard shape beneath The Duke’s jacket; it feels suspiciously like a gun. Toulouse looks up. He realises he is not dabbing The Duke, but The Duke’s man-servant, Warner. Warner shakes his head in stern warning. Toulouse indignantly throws the handkerchief in Warner’s face.
 
TOULOUSE
                                      You clean him up.
 
Toulouse leaps onto the dance floor.
 
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 Toulouse.
 
Toulouse pops out of the frame just in the nick of time.
 
Satin, wagging her finger at the departing Zidler, sings.
 
SATIN (SINGS)
                                      (Continues “Diamonds Are a Girl’s Best Friend”.)
 
CUT TO: Toulouse yelling up at Satin from ground level.
 
TOULOUSE
                                      Bejewelled vision…
 
Satin unaware of Toulouse continues to sing.
 
SATIN (SINGS)
                                      (Continues “Diamonds Are a Girl’s Best Friend”.)
 
TOULOUSE
                                      Amazonian goddess…
 
SATIN (SINGS)
                                      (Continues “Diamonds Are a Girl’s Best Friend”.)
 
Oblivious to Toulouse, Satin catches hold of an enormous diamante bracelet on the end of a trapeze. The Tabasco Brothers swing Satin through the air.
 
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.
 
Toulouse’s head suddenly pops up between them.
 
TOULOUSE
                                      I see you’ve met my English friend Ch…
 
Satin turns sharply to Toulouse.
 
SATIN
                                      I’ll take care of it!
 
Toulouse leaning close, whispers;
 
TOULOUSE
                                      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. Toulouse shoves Christian up out of his seat. To wild approval from the crowd, Satin and Christian take the floor.
 
CUT TO: Toulouse and Cohorts, amazed.
 
SATIE
                                      That seemed to go well.
 
THE DOCTOR
                                      Incredible.
 
ARGENTINEAN.
                                      He has the gift with the women.
 
TOULOUSE
                                      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
                                      Toulouse said we might be able to do it in. . .private.
 
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 Europe before you
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 Toulouse, Satie, The Argentinean and The Doctor pop up in front of the camera. They gaze up towards the towering wood and papier-mache Elephant that stands in the garden.
 
Toulouse whispers, amazed.
 
TOULOUSE
                                      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 Champagne.
 
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 Toulouse by his heels. Toulouse can see into the small elephant window.
 
SATIE
                                      How’s it going?
 
CLOSE ON: Toulouse amazed.
 
TOULOUSE
                                      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 Paris stretched out before them, Christian sings.
 
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 Eiffel Tower and around a smiling man in the moon. A band of heavenly ANGELS joins the chorus as Christian’s voice soars.
 
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.
 
TOULOUSE
                                      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
                                      Toulouse thought. . .
 
SATIN
                                      Toulouse? Oh no;  you’re not another of  Toulouse’s
oh-so-talented, charmingly Bohemian, yet tragically
impoverished proteges 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 Toulouse.
 
SATIE
                                      How’s it going?
 
TOULOUSE
                                      I think there might be a small hitch.
 
INT. MOULIN ROUGE. ELEPHANT. NIGHT.
 
CHRISTIAN
                                      Audrey left and Toulouse wanted me to audition to
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 Champagne!
 
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: Toulouse bursts in.
 
TOULOUSE
                                      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. . .
 
Toulouse casually.
 
TOULOUSE
                                      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. . .
 
Toulouse prompts:
 
TOULOUSE
                                      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 Toulouse.
 
ZIDLER (CONT’D)
                                      Toulouse?
 
TOULOUSE
                                      Well it’s about. . .
 
Christian leaps in.
 
CHRISTIAN
                                      It’s about love.
 
CUT TO: Toulouse and Bohemians nodding approvingly.
 
DUKE
                                      Love?
 
Christian glances toward Satin.
 
CHRISTIAN
                                      About love overcoming all obstacles.
 
Toulouse interjects.
 
TOULOUSE
                                      It’s set in Switzerland.
 
The Duke is unsure.
 
DUKE
                                      Switzerland?
 
Zidler paints the picture.
 
ZIDLER
                                      Exotic Switzerland.
 
Christian taking in the lush Eastern decor of the elephant room, interjects.
 
CHRISTIAN
                                      India! It’s set in India.
 
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 India. When the
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.
 
Toulouse waddles forward.
 
TOULOUSE
                                      I will play the Magical Sitar.
 
Turning to Satin, Toulouse mimes plucking his own strings.
 
TOULOUSE (CONT’D)
                                      You are beautiful.
 
To Zidler.
 
TOULOUSE (CONT’D)
                                      You are ugly.
 
To The Duke.
 
TOULOUSE (CONT’D)
                                      You are an idi…
 
Zidler frantically clamps his hand over Toulouse’s mouth. The Duke turns to Christian.
 
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 TOULOUSE) (SING)
                                      So exciting
                                      The audience will stomp and cheer
                                      So delighting
It will run for fifty years
 
Toulouse grabs an elephant mask from the wall and puts it on Zidler.
 
TOULOUSE (SINGS)
                                      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,
 
TOULOUSE (SINGS)
                                      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 Champagne bottle.
 
ARGENTINEAN/CHRISTIAN (SING)
                                      Intrigue, Danger
 
Toulouse grabs the bottle and jumps into The Duke’s arms.
 
TOULOUSE (SINGS)
                                      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
 
TOULOUSE (SINGS)
                                      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 Toulouse and The Bohemians make the drapes fall so they look like theatre curtains.
 
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, Toulouse, The Argentinean, The Doctor, Satie, and Zidler sing as they form the elaborate final tableau.
 
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. TOULOUSE LAUTREC’S STUDIO/CHRISTIAN’S GARRET. NIGHT.
 
Toulouse’s rooftop studio id ablaze with light.
 
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
                                      Toulouse is right, you are talented.
 
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. London, New
York, Moscow. One day I’m going to be someone. If I fall
                                      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 Toulouse’s Studio.
 
EXT. MOULIN ROUGE. TOULOUSE’S STUDIO BALCONY. NIGHT.
 
Toulouse sits alone on the little studio balcony. Through the window behind him we can see The Doctor, Satie and The Argentinean asleep on the bad. Wreckage from the party litters the studio and one or two revellers are passed out on the floor.
 
CLOSE ON: Toulouse. Gazing down toward the Moulin, he wistfully sings.
 
TOULOUSE (SINGS)
                                      (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:
 
Toulouse painting a backdrop as workmen tear the building apart.
 
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.
