Young Writers Society

INT. DRESSING ROOM - DAY

VALERIE (30), tall, beautiful, sits in a makeup chair, attended to by a MAKEUP ARTIST. Her hair is perfectly coiffed, and she’s dressed in a sparkled evening gown.

A RADIO plays a classic Hawaiian tune, something like “Sweet Leilani”. It’s 1964, a forgotten time.

The Makeup Artist sets her brushes down, and hands Valerie a mirror.

VALERIE

It’s perfect.

Valerie stands up, and leaves her dressing room.

INT. STUDIO SOUNDSTAGE - DAY

Valerie leaves her dressing room and emerges on a set that’s been made to look like a tropical island. One would barely guess it’s in the middle in Los Angeles.

A clock tells us it’s seven in the morning, and the set is still sparse of CREW MEMBERS.

She sits on her chair, where a script is waiting for her. Beside her, DINAH (25), wide-eyed, sweet, already sits, reading a newspaper.

VALERIE

What are they saying about us today?

DINAH

That we’re awful as ever.

Valerie laughs ruefully.

DINAH (CONT’D)

Read this one. “Valerie Ross and Dinah Strong do their best to elevate the material, but unfortunately, there’s only so much even Laurence Oliver would be able to do with such poorly conceived characters.”

Valerie bites her lip. Then, she picks up her script.

VALERIE

Did you’d ever think you’d end up here?

DINAH

What do you mean?

VALERIE

I left Broadway to do this show, you know.

Their attention is drawn to TED (29), lanky but with a kind face. He’s a ways on set, juggling prop coconuts. Dinah and Valerie both laugh.

VALERIE (CONT’D)

He’s funny.

Dinah yawns.

DINAH

Can’t they push makeup a half hour later?

VALERIE

We’re women, aren’t we?

Valerie gives her a half smile.

INT. STUDIO SOUNDSTAGE - LATER

Ted, Valerie and Dinah film a scene. Unlike most comedies, there’s no studio audience. But the three are so natural, so genuinely funny, it’s hard for the crew to keep a straight face.

EXT. STUDIO SOUNDSTAGE - NIGHT

Valerie leaves for the night, wearing regular clothes. It’s late, and most everyone is already gone for the night.

She catches eyes with Dinah and Ted, chatting off to the side. They wave to her, and she waves back.

EXT. FAST FOOD STAND - NIGHT

Valerie gets a milkshake and fries from a fast food stand. Just then, a FAN approaches her.

FAN

Excuse me, I don’t mean to bother you, but aren’t you-

Valerie’s eyes widen, knowing where this is going.

VALERIE

No, I’m sorry.

She walks off into the night.

INT. VALERIE’S APARTMENT - DAY

New York. It’s now 1969. Valerie, now 35, sits on her couch, on the phone.

VALERIE

No, I understand. You have to pick the right person for the part. Thank you.

She hangs up the phone, dejected, and slumps back into the couch. Valerie looks at a black and white picture on her wall of her with Dinah.

Just then, ANDY (36) enters. Square jawed, handsome. He joins her on the couch.

ANDY

What’s going on?

VALERIE

I didn’t get it.

Andy puts his arms around her.

ANDY

That’s all right. Something will be right around the corner. I know it.

VALERIE

We’ve been saying that for two years now. No one’s going to want to cast me in anything else because that’s all they see. That show. It’s going to haunt me my whole life.

ANDY

Don’t be so hard on yourself. It couldn’t have been that horrible.

There’s a long pause before Valerie responds.

VALERIE

No.

Valerie looks back at the picture of her and Dinah. She smiles wryly.

VALERIE (CONT’D)

(barely audibly)

It wasn’t.

INT. STUDIO SOUNDSTAGE - DAY

1964. Lunch. While the crew eats, Valerie, Ted and Dinah, each in costume, sit in a circle, reading their fan mail.

DINAH

(reading out loud)

I was in love with you from the moment I saw you, and I knew we were meant to be.

She can’t get through the rest of it without laughing.

TED

No, you’ve got to do a dramatic reading.

Dinah is still laughing.

DINAH

I can’t.

Ted takes the letter.

TED

(imitating Humphrey Bogart)

I was in love with you from the moment I saw you.

Then they see Valerie, silently reading a letter of her own, trying hard not to laugh.

TED (CONT’D)

What’s yours say?

Valerie, still biting her lip, gives the letter for Ted to read. As he does, he laughs too.

VALERIE

Why do we get all the crazies?

TED

That’s Hollywood.

VALERIE

Peter was saying that some people thought we were real castaways?

DINAH

What?

TED

Okay, that’s funny.

The three share a laugh.

INT. STUDIO SOUNDSTAGE - DAY

1964. Another morning, waiting on set. As crew members mill about, Valerie, Dinah and Ted sit in their chairs, reading through a scene.

Just then, a NETWORK EXECUTIVE approaches them. They stop.

EXECUTIVE

Excuse me, I didn’t mean to interrupt your work.

VALERIE

That’s okay.

EXECUTIVE

Listen, the network wants the three of you to visit the children’s hospital. As your characters. Ratings are good as ever, but... everyone just thinks it’s a good idea.

They listen.

EXECUTIVE (CONT’D)

These kids, life dealt them a bad hand, and seeing all of you, it’ll make their day.

VALERIE

Yes, of course.

INT. HOSPITAL LOBBY - DAY

Ted, Valerie and Dinah sit in an isolated corner of the lobby, bags beside them. They’re dressed in plain clothes, but still people stop. Do double takes.

VALERIE

Do that many people really watch our show?

TED

Guess so.

A DOCTOR approaches them.

DOCTOR

Hi everyone. So glad you could make it.

They all stand up. Shake hands.

DOCTOR (CONT’D)

My daughters love the show, by the way.

INT. HOSPITAL ROOM - DAY

JANE (4), a visibly sick girl, sees the two of them. Her mouth opens when sees Valerie in costume.

JANE

Anna!

Valerie walks up to her. Kneels down, and takes her hand.

VALERIE

Hi, sweetheart.

JANE

You made it off the island!

VALERIE

Yeah, we did.

JANE

And Johnny and Lauren are okay too?

VALERIE

Yeah. We all made it back. A big boat came in and rescued us.

JANE

Yay!

Just then, Jane shuffles through the cards on her end table, and takes out a piece of paper. It’s a drawing she made of the entire cast.

JANE (CONT’D)

That’s all of you.

VALERIE

I love it. Thank you.

JANE

It’s for you.

VALERIE

Thank you.

JANE

Are you going to star in more movies now?

VALERIE

I hope so.

JANE

Will you miss the island?

VALERIE

I don’t know.

The nurse smiles. Jane and Valerie continue to talk.

INT. VALERIE’S APARTMENT - DAY

1969. Valerie is alone in her apartment. She turns on the television, flipping through channels. Just then, she sees her face. Black and white, reciting ridiculous dialogue. The laugh track. She blushes and turns the TV off.

She looks back at the picture of her and Dinah. She sighs deeply.

INT. STUDIO - DAY

1952. A seventeen year old VALERIE performs a Shakespearean monologue for a DIRECTOR, old and stuffy.

VALERIE

My courage try by combat, if thou darest, and thou shalt find that I exceed my sex. Resolve on this, thou shalt be fortunate, if thou receive me for thy warlike mate.

DIRECTOR

Very good. Have a seat, Valerie.

Valerie, nervous, does.

DIRECTOR (CONT’D)

Tell me about yourself.

VALERIE

I was born in New York. Lived there all my life. Been acting since I was 2.

DIRECTOR

So you want to come to Ohio to study theater?

VALERIE

Well, would be nice to get out of the city.

DIRECTOR

Why do you want to be an actress?

VALERIE

Well...

Valerie’s eyes go distant.

VALERIE (CONT’D)

I grew up watching Bette Davis and Vivien Leigh... I guess there was a part of me that wanted to be like them. But the other part, well, getting to step into someone else’s life, have a moment, make someone feel, I think that’s really special.

DIRECTOR

Why’d you pick Joan of Arc? For your monologue?

VALERIE

Oh. Because she’s brilliant.

DIRECTOR

Most girls come in with Romeo and Juliet.

Valerie smiles nervously.

DIRECTOR (CONT’D)

What’s your dream?

VALERIE

Oh, I’d love to star in pictures.

DIRECTOR

Well, Valerie, I think we can make this work.

She beams. 

DIRECTOR (CONT’D)

You’ve got something. You do.

FADE OUT.