Phantom Thread_2017

PHANTOM
    THREAD
    Written By
    Paul Thomas Anderson CAMERAbegins on a close up of ALMA, sitting by a fire\_
    ALMA
    Reynolds has made my dreams come true. And I have given him what he desires most in return.
    OR. HARDY(OC)
    And what's that?
    ALMA
    Every piece of me.
    OR. HARDY(OC)
    He's a very demanding man, isn't he? It must be quite a challenge to be with him.
    ALMA
    Yes. Maybe he's the most demanding man...
    CUT TO: LONDON- DAWN.:

EXT. ESTABLISHING SHOT, THE HOUSEOF WOODCOCK,
    A Georgian house in Fitzroy Square, 1955, CAMERAPUSHES IN ANO

INT. APARTMENT
    - WORKROOM
    - THAT MOMENT
    Cyril enters, turns the lights on. This room has been converted into a workspace/fitting room to make clothes. Two long work tables, sewing machines, fabrics, flat overhead lighting, curtains drawn over windows . A mini-atelier. Slowly, over the next few minutes, the staff come in and prepare for a day's work. The staff in the House Of Woodcock is led by Cyril, two women NANA& BIDDY (40s) head sewers. There's an older woman named ELSA (60s) who never speaks and an awkward looking girl named IRMA (20s) who works beneath her and speaks less. Two other hands, PIPPA, WINN (30s) Various other Hands brings the total staff to around 15/20 . CUT TO:

INT. BREAKFAST.
    Breakfast for Reynolds is taken in the kitchen, which is on the bottom floor . Carrot juice and sausages. Cyril enters, Reynolds, •my old so & so - good morning" and they eat in perfect harmony, quietly, with small words here and there. Reynolds looks over sketches, newspapers, Cyril over mai l,
    JOHANNA
    Where have you gone, Reynolds? There's nothing I can say to get your attention aimed back at me, is there?
    He looks a t her/can't look at her ...
    REYNOLDS
    •. I cannot begin my day with a confrontation, please.
    I'm delivering the Dress today, and I cannot take up space with a confrontation.
    I simply don't have time for confrontations.
    CU. JOHANNA'S FACE. sad and defeated. CUT TO:

INT. APARTMENT
    - GROUNDFLOOR, FRONT DOOR- LATER MORNING
    Cyril opens the door for COUNTESSHENRIETTAHARDING(late 30s) and her business manager PETER MARTIN (40s) Greetings, smiles,
    HENRIETTA
    It's the most lovely thing I've ever seen.
    CUT TO: ANGLE REYNOLDSand HENRIETTA- MOMENTSLATER. As Henrietta is leaving, out of dress. Staff is packing up the dress in background.
    REYNOLDS
    I would like to send Nana & Biddy over to help you tonight, what time are you due to arrive?
    HENRIETTA
    Seven o'clock.
    REYNOLDS
    Why don't I have them come to you around five? And who will be doing your make-up?
    HENRIETTA
    Sally.
    REYNOLDS
    I will telephone her now and tell her what's

INT. ROYALGALA EVENT- BRITISH MUSEUM- NIGHT
    HENRIETTAappears at the royal event wearing the dress. A few large scale shots watching her make entrance, past guards, dignitaries. Cyril, is here, t rack i ng the dress from th e sidelines -- CUT TO:

INT. REYNOLDS' DINNER SPOT - NIGHT
    It's his usual spot, he enters, greeted by the Maitre D', shown to his table . He sits, settles in, settles down . Later, Cyril meets him here, they have their usual dinner:
    CYRIL
    what would you like to do about Johanna?
    REYNOLDS
    CYRIL
    I mean, she's lovely. But t he time has come. And she's getting fat sitting around waiting for you to fal l in love with her again.
    REYNOLDS
    CYRIL
    yes.
    REYNOLDS
    comforting to think the dead can watch the living .• I don't find t hat spooky at all.
    PAUSE, THEN:
    CYRIL
    Why don't you go to the country tonight? I ' ll follow tomorrow.
    REYNOLDS
    yes, good idea. I like that idea very much.
    DISSOLVE TO:

EXT. COUNTRY- DAWN
    Reynolds• car driving. Out of town and into the country ••.. he pulls over •. CUT TO: INT, HOTEL- DAY Reynolds comes inside. He sits. There are three or four WOMEN working here . not many customers. Reynolds looks up to see: ALMA. she serves an old couple. Reynolds sits at a table, He looks at her. She looks at him. This is a SILENT SEQUENCEOF LOOKSBETWEENTHBM. ..THIS GOES ON FOR A WHILE AS THEY ENGAGEEACH OTHER LIKE A SILENT FILM. CU. REYNOLDS transfixed and watching her, she comes and stands over him, looking down •.. sound and everything else seems to fade away ...
    ALMA
    What would you li ke?
    REYNOLDS
    welsh rarebit. with a poached egg on top and bacon. scones. jam. cream and butter. pot of lapsang.
    She comes back, brings his tea. then his food. They look some more at ea ch other:

EXT. STREET CORNER EVENING.
    She stands outside a pool of light . Reynolds comes roaring down the street in his Bentley . He picks her up . they drive off. CUT TO:

INT. BENTLEY - MOVING.
    He's driving as he does. she isn't scare d. He looks at her the entire time he drives ..-,.,
    REYNOLDS
    Are you ready for dinner?
    ALMA
    yes.
    REYNOLDS
    Good . me too. I'm famished.
    CUT TO: INT . RESTAURANT/SHALL HOTEL - NIGHT They are sitting together, eating dinner. Reynolds put s his
    REYNOLDS
    do you have a photograph of her?
    ALMA
    yes.
    REYNOLDS
    let me see.
    ALMA
    no, not with me. at home .
    REYNOLDS
    carry it with you. always carry her with yo u .
    ALMA
    where's yours ? your Mother?
    REYNOLDS(touches his coat) She• s here, in the canvas ...One can sew anything i nto a coat.
    ALMA
    what? what do you mean?

INT. CAR - DRIVING - NIGHT
    CU. ON ALMAas they enter the driveway to the house ...HOLDHER FACE, with Reynolds in the background.HER POV - THE ROAD, WIDE ANGLEBEHIND CAR - COMINGDOWNDRIVE, REVEALINGHOUSE ... CUT TO: EXT, COUNTRYHOUSE- NIGHT. Nice country house. They get out of the car , enter. CUT TO: INT . COUNTRYHOUSE- NIGHT. Alma and Reynolds enter. He brings her down a hall and into a room and straight to something he would like to show her .. He finds a PHOTOGRAPH OF HIS MOTHERIN A WEDDINGDRESS, circa 1917.
    REYNOLDS
    I made this dress for her when I was sixteen years old.
    ALMA
    It's beautiful. she's beautiful.
    II
    CU. PHOTOGRAPH.The dress is beautiful.
    ALMA
    Where is the dress now?
    REYNOLDS
    I don't know. I don't know what became of it. Most likely ashes. fallen to pieces.
    ALMA
    what about your Sister?
    REYNOLDS
    what?
    ALMA
    did she ever marry?
    REYNOLDS
    no.
    CUT TO:

INT. LIVING ROOM- LATER.
    ALMA
    She draws very well.
    REYNOLDS
    what are your talents?
    ALMA
    I have none. I play piano but not very well. I draw well - but not like my sister. I can make clothes.
    REYNOLDS
    can you?
    ALMA
    I do. Not like you, But I can •.•
    REYNOLDS
    Well - what will you be when you finally grow up?
    ALMA
    I want to be a Mother and I want to be a Wife.
    ALMA
    You're a very handsome man.
    ALMA
    You must be around many beautiful women.
    Why aren't you married?
    REYNOLDS
    I make dresses.
    ALMA
    yes, but - you can't marry if you make dresses?
    REYNOLDS
    I a111 qu i te certain I was nev e r meant to marry. I am a confirmed bachelor.
    Marriage would only make me deceitful. and I don ' t ever want that.
    ALMA
    You sound so sure about things. You're just acting s t rong. for who? not for me, I hope.

INT. UPSTAIRS/WORKROOM-ATELIER
    - THAT MOMENT.
    They arrive at the top of the steps and move into a large room, which is converted to a workroom/atelier ...
    Alma, without being told, steps out of her clothes ......standing in her bra and underwear ...Reynolds gets a tape measure and a notebook and proceeds to measure her out .....and write down her sizes. They do this in silence. CAMERAmoves around a little.,-.we hear someone coming up the steps .....it's CYRIL.
    CYRIL
    And who ' s this lovely creature making the house smell so nice ....
    Alma turns aro und, doesn't flinch
    ALMA
    I'm Alma.
    CYRIL
    I'm Cyr i l.
    ALMA
    stand up straight is what you want?
    REYNOLDS
    Like that yes. yes.
    ALMA
    you didn • t say that ,\_
    Reynolds walks off out of the room..\_.Alma is just standing there, Cyril finishes writing some things down,\_
    CYRIL
    You have the ideal shape.
    ALMA
    I do?
    CYRIL
    he likes a little belly.
    Reynolds comes back in wheeling a Dress Form with BODICE (top ha l f of a gown) in progress. Re removes it from the form a nd places it on Alma, so she is standing in her underwear and the
    REYNOLDS
    Careful of my pins.
    yes, yes, very good.
    no, no, that won't do
    can you walk a little
    She walks away, turns, stops, stands so he can see her. CAMERA PUSHES IN ON HER. REVERSE, CAMERAPUSHES IN ON CYRIL AND REYNOLDS .
    REYNOLDS
    Well that will be just lovely, won't it?
    CU. ALMA& REYNOLDS. they stan d close together, he parts her hair to the si de , brushing it across her forehead in a low swoop.
    REYNOLDS
    would you try on another?

INT. ATELIER - MOMENTS
    LATER.
    CAMERALOOKSUP. Seeing him place an old dress on her.

INT. FRONT HALLWAY
    / COUNTRYHOUSE- LATER.
    Reynolds puts Al ma into a great TWEEDOVERCOAT.
    REYNOLDS
    how does this fit? yes, well, almost. you alright for a walk home? it's far but we make it.
    ALMA
    Yes.
    CUT TOt

EXT. BEACH/CLIFFS NEAR HOUSE- NIGHT/DAWN
    They're walking as the sun barely starts to come up on a cloudy morning, in pale blue light ..

EXT. ALMA HOUSE - NIGHT/DAWN.
    They walk back to her house, he takes her to the front door and she starts to take the coat off...he puts it back on her •.holds her close ....•
    ALMA (VO)
    I never really liked myself. I thought my shoulders were too wide. My neck was skinny like a bird •. and I had no breasts. I felt my hips were larger than needed and my arms too strong. But in his work, I become prefect and I feel just right. Maybe that's how all women feel in his clothes.
    CUT TO: MUSIC UP , RHYTHMIC.

EXT. STREET/HOUSE OF WOODCOCK- DUSK.
    Alma in the finished version of the Dress from earlier in the

INT. RESTAURANT
    - NIGHT
    Dinner at his usual spot, walking through the restaurant, Alma turning heads. At the table;
    REYNOLDS
    You look very very good. very good, indeed. you're making me rather hungry.
    Reynolds and Alma close together . .Cyril arrives to Join them, talks over some business with Reynolds. (Barbara Rose's marriage stuff here, new collection details, dates,etc) CAMERAPUSHING IN ON ALMA, watching them. . CUT TO:

INT. APARTMENT
    - COMINGHOMEFROMNIGHT ON TOWN.
    They walk up the sta i rcas e , arrive at second floor landing. he takes her past bis room, to a guest bedroom, simply appo i nted.
    REYNOLDS
    This can be yours. That's my room. get your rest here and we will start early.

INT. APARTMENT/ATELIER
    - EARLYMORNING.
    The sun is rising and Reynolds is working on dresses with Alma. They are alone. Ho is at her feet and under the dress ...
    ALMA(VO)
    Sometimes we get up at four in the morning having got to bed at midnight and he is ready to start again ...
    I can stand endlessly .. no one else can stand as long as I can ...
    CUT TO:

INT. APARTMENT/ATELIER
    - DAY
    Cyril, Reynolds, Full Staff at work. A variety of images showing how he works . He utilizes Alma to wear toiles, or draping fabric on her to start an idea ... Seeing Sketches alongside swatches of fabric, wools, tweeds, silks, satins, the basis of a Spring Collection.
    ALMA(VO)
    I am his, and his alone ...! was not distracted, I was not late, or somewhere else . .I 'm not just

INT. APARTMENT/ATELIER - LATER
    She is in another dress with a flora l pattern.
    REYNOLDS
    you don't like this one either do you?
    ALMA
    well...I don't like the fabric and I don't like the straps .
    CYRIL
    This fabric is adored by the women who wear our design. It's perfect for this dress .
    Reynolds keeps working, his head down, says:
    REYNOLDS
    Cyril is right. Cyril is always right .
    And it's not because the fabric is adored by our clients that makes Cyril right.
    It's right just because it's right. Because it's beautiful . Perhaps your
    ALMA
    You' 11 have to do better than that .........

INT. DINNER SPOT - NIGHT.
    Reynolds, Cyril and Alma out to Dinner with financial investor and old friend NIGEL CHEDDAR-GOODE (60s) Alma wear ing a lovely dress, Nigel telling funny stories ... Two Young Women approach the table.
    YOUNGWOMAN
    Excuse me, Mr. Woodcock?
    REYNOLDS
    Yes.
    They curtsy, nervous, not knowing what to do .
    YOUNGWOMAN
    I would like to say that I hope one day I can wear one of your dresses.
    REYNOLDS
    I hope that is true for you,
    CU. ALMA- DRIVING IN THE BENTLEY- NIGHT Being thrown around, driving super fast, smiling. CUT TO:

INT. HALLWAYTO ALMA'S ROOM- NIGHT
    They walk down the hall towards her room and close the door. CUT TO:

INT. BREAKFAST- NEXT MORNING
    Cyril and Reynolds are here in their quiet morning breakfast session. Alma enters,
    ALMA
    Good Morning Reynolds, Good Morning Cyril.
    Silence from them both . She sits down and begins to make herself some toast, pour coffee. Reynolds finishes up quickly and exits. Alma looks to Cyril.
    CYRIL
    Perhaps you should take your breakfast after him or in your room.
    ALMA
    Be's being fussy.
    CYRIL
    His routine, when he is in it, is better not shaken.
    ALMA
    yes ...well..
    CYRIL
    It's a quiet time not to be misused. If breakfast isn't right, it's hard for him to recover the rest of the day ...
    ALMA
    WelL .I didn't know.
    INT, STORAGEROOM/COUNTRY
    HOUSE- NIGHT,
    Alma and Reynolds together. Ho finds some old boxes, stored deep in a safe, hidden place. The boxes are worn and have writing in French. He opens boxes containing long sheets of beautiful satin/ lace.
    REYNOLDS
    This is Satin from Colcombet of St. Etienne (OR - This is Flemish Bobbin Lace from the Late sixteen hundreds. It's very rare, Very precious . I rescued it from Antwerp During the war, during my time in the army . I've been waiting for the right moment to Make something with it.)
    He lays different colors of the satin out ...mapping a dress, loosely
    REYNOLDS
    this is beautiful, the lavender and the yellow\_,perhaps\_.like this ...shaped, thin through the waist .. and falling ...what would happen •. is to keep it uncut from hem to shoulder . .

INT. APARTMENT/WORKROOM
    - DAY/EVENING.
    CAMERAwatches some detail work on This New Dress being made by Biddy and Nana and Reynolds.
    Alma is with Irma & Elsa as her teachers ..working on something.
    Reynolds is doing some needle work on the dress with very thick magnifying glasses on-CU . his face as he works.
    BCU. INSIDE OF THE DRESS. a hand sewn note reads, simpl y her name 'Alma' He looks up and sees her across the room, sewi ng ... CUT TO:

INT. SOMEGRANDLOCATION- DAY
    A photo shoot in progress. Alma is wearing the finished dress. Lights on her, Reynolds standing next to a photographer, giving directions. He comes to Alma;
    REYNOLDS
    I have never had a dress come together so agreeably.

INT. APARTMENT/2
    �� FLOOR LANDING- NIGHT.
    Late one night, Alma, in a lovely nightgown, comes out of her room, sees the light on under his door and walks to it ...
    She wants to go in ...
    She listens, she knocks\_
    REYNOLDS(OC)
    I'm working\_ ,
    ALMA
    Do you need anything?
    REYNOLDS(OC)
    She waits for a reply that never comes ......
    ..up the stairs, comes Cyril, bringing some tea, she nods to Alma, who nods baclc .•Cyril enters the studio and closes the door. Alma goes back downstairs ..\_.
    CUT TO:

EXT. TOWNHOUSE
    - STREET
    After the collection, Alma and Reynolds walking to the car, get t ing in the car. He just sits, unable to move. zoom in o n Alma.
    ALMA
    let me do it ... aka
    would you like me to drive? CUT TO:

INT. COUNTRYHOUSEKITCHEN- DAY
    Back to Alma and Dr. Hardy together ..
    DR. HARDY
    how often does he fall ill?
    ALMA
    he doesn't .
    DR. HARDY

INT. CAR - MOVING- DAY
    Alma is driving the big Bentley, Reynolds in the passenger seat.
    REYNOLDS
    you're doing a lovely job driving, Alma. thank you. thank you.
    ALMA
    you can close your eyes.
    CUT TO:

INT. COUNTRYBOUSE- BEDROOM.
    He is in bed, half asleep. Alma coming in and out, taking care of him .. She is very happy and takes to this role quite well. She crawls into bed with him, he pulls the sheets back for her ...they lay together. CUT TO: INT . COUNTRYHOUSE- WORKROOM
    - DAWN
    Reynolds working alone, Alma comes in with a tray of tea ...
    ALMA
    oh hush it's going out
    REYNOLDS
    yes but it ' s too late - you never should have brought it in the f i rst place
    you can take the tea away, but the interruption stays right here with me, doesn't it?
    ALMA
    bluchhhh
    CUT TO:

INT. WOODS/GARDEN
    - BEHIND COUNTRYHOUSE- SPRING TIME
    Alma is walking with Minetta, picking mushrooms. Reynolds is gardening/walking ahead. CAMERAwith MINETTEA& ALMA.
    CUT TO:

INT. APARTMENT/BREAKFAST
    - MORNING
    Cyril, Reynolds and Alma eating. After some silence, Cyril speaks:
    CYRIL
    There is a very good chance that Barbara will wish you to be there tonight --
    REYNOLDS
    and what shall I do with that?
    CYRIL
    Accept her invitation if you can stomach it.
    REYNOLDS
    I really wish I hadn't heard this news until later •.this is very unsettling .•
    CYRIL
    well. ........ chin up -
    REYNOLDS

INT. SALON- LATER
    Reynolds is off to the side, allowing Nana & Biddy to do the dress i ng. It's awkward and uncomfortable and a little funny from time to time. Finally Barbara manages to get i n the Black Taffeta Dress. Reynolds comes around for some fina l touches to i t ...She smiles at him in a painful way, he smiles back a t her. They're face to face;
    BARBARA
    I know you ' re doing the best you can ...but I ' m still so ugly. Please ...Reynolds ...Will you come tonight?
    REYNOLDS
    No, Barbara. It ' s really not my place. This is what I do. This is my place, here.
    BARBARA
    I ' m afraid I must insist that you come.
    REYNOLDS
    as long as you don't insist, I will be there. of course I will.
    CUT TO:

INT. BARBARA'SHOTEL SUITE - DORCHESTER- NIGHT
    In the gigantic suite of her botel-residence ...This is a small PRESS CONFERENCEfor ten Reporters/Photographers. Barbara is sitting with Cal on a couch. She's in the black taffeta dress, wasted, diamonds dripping off her. A LAWYERfor Barbara runs the proceedings •. Reynolds and Alma, off to the side, watching. Enter RUBIO GURRERRO(30s) He ' s a polo-playing, playboy groom on his S' " marriage.
    RUBIO
    I'm here I Here Barbara I my love ...
    BARBARA
    Rubi, darling, here we are.
    He comes over, kisses her hand, takes his place on the couch, pushing the son Cal to the edge.
    REPORTER
    Who will be the attendant at the Wedding?
    CU. REYNOLDS& ALMA watching all this. Alma looks at Reynolds, who does not make eye contact, he stands stoic. Alma is starting to boil.
    REPORTER
    What has Barbara brought into your life? We understand she bought you a twin engine B- 25 airplane for a wedding gift?
    RUBIO
    She knows my love of flying and gave me a wonderful wedding gift - we'll be flying to Florida on our honeymoon
    BARBARA
    -- I brought sincerity to his life. The answer to the question is ...sincerity.
    Barbara stumbles as she gets off the couch, caught by Reporters and her Son - a drink sp i lls on the dress. CUT TO:

INT. DOMINICANEMBASSY- NIGHT
    The wedding party is in fu ll swing but Barbara is passed out. CU. REYNOLDS.looking at her,\_she looks at him right back and says:
    ALMA
    Go and get it,i t' s not to be treated like that ...
    Reynolds grabs her by the hand and they walk across the ballroom quickly - heading off - CUT TO:

INT. HOTEL SUITE - HALLWAY
    - NIGHT
    They march down the hotel hallway, Reynolds and Alma . He pounds on the door to the suite. The nanny Tippy answers the door;
    TIPPY
    Hello, Mr. Woodcock. What is it?
    REYNOLDS
    Tippy, I would like the dress back.
    TIPPY
    Ms. Rose is sleeping.
    REYNOLDS
    TAKE THB FUCKING DRESS OFF BARBARA.ANDBRING IT
    TO ME OR I'LL DO IT MYSELF,
    ALMA...
    Alma heads down the hall to get the dress, following Tippy. CUT TO:

INT. BEDROOM
    Alma and Tippy finish taking the dress off Barbara Rose, Alma says to Tippy:
    ALMA
    It's no business of ours what Mrs. Rose wishes to do with her life ...
    •.but she can no longer behave like this dressed by The House Of Woodcock.
    CUT TO: EXT, STREETS - MOMENTS CU. ALMA she stands up smiling and radiant ... WIDER ANGLE, THE ENTIRE STAFF IN THE APARTMENT
    - MORNING
    stands to attention.
    Cyril is opening the door and welcoming in the most elegant and beautiful woman so far:
    PRINCESS MONABRAGANZA (late 20s) She is BELGIAN ROYALTY
    •. she has three or four handlers and HER MOTHER(50s) Alma cannot help but melt at Mona's long, slim boauty and grace and her family . . Reynolds appears , greets the Princess warmly, as if they've known each other for a long time , they walk right past Alma and into his office, closing the door. Whispers and excitement amongst the Staff .. CU. ALMA with a look of jealousy for the first time ... CUT TO:

INT. CYRIL'S OFFICE - DAY.
    REYNOLDS
    I want to know what you think.
    PRINCESS MONA
    Silver.
    REYNOLDS
    Lace or a pearl?
    PRINCESS MONA
    Lace.
    REYNOLDS
    yes, that 's very good.
    CUT T01:

INT. SALON- DAY
    Princess Mona and Reynolds and Cyril step out of the office, speaking French to each other and being very intimate. Nana, Biddy receive her and start measuring her. Irma and Elsa start to measure all the Handlers ( Bridesmaids ) ..Alma is asked to help with this.\_

INT. CYRIL'S ROOM- DOWNSTAIRS- LATER
    Alma comes in to see Cyril.
    ALMA
    Cyril, I wanted to aek your help in a gift I want to give for Reynolds •.
    CYRIL
    ALMA
    I want to give him a surprise . If everyone left the house when he takes his walk on Thursday, I will prepare dinner for him. When he returns I will be waiti ng for him. No one will be here but me...waiting for him. I can surprise him and we will have a dinner together. just for us. do you like this idea? can you help me?
    CYRIL
    ALMA
    I'm trying to surprise him...and love him the way that I want to ..
    CYRIL
    If you're looking for something kind to do, perhaps you can think of something else.
    This may be disruptive, no matter what you'r e intentions are.
    ALMA
    (smiles)
    CYRIL
    ·-- I really must advise you against this, Alma. I don't think there could be a more
    inap propr iate time to try something new --
    ALMA
    But I want to do this and I think it will be very nice.
    CYRIL
    -·---If I agree to this ...I may be giving you enough rope to hang yourself ...do you understand?
    CYRIL
    ,,very well.
    ALMA
    Don't spoil the surprise.
    CYRIL
    oh No I won't.
    CUT TO:

INT. APARTMENT/ATELLIER
    - DUSK
    Everyone leaves, the entire staff packing up and leaving. Cyril seeing them leave .
    CUT TO:

INT. FRONT FOYER - DUSK
    Cyril and Alma in the front hallway .. Cyril about to leave:
    CYRIL
    Good luck.

INT. APARTMENT
    - FRONT DOOR- THAT MOM1!NT
    Reynolds comes in and it takes only a few steps, getting his hat and coat off to feel that something isn't right .•
    He looks into Cyril• s office ......he turns up the staircase, looks up and sees Alma on the first floor landing, waiting for him. ..
    REYNOLDS
    What is this?
    ALMA
    I love you, Reynolds.
    REYNOLDS
    yes, but what is this?
    ALMA
    A surprise for you, darling. are you hungry?
    REYNOLDS
    Where is Cyril?
    ALMA
    I've sent everyone home.
    REYNOLDS
    Let me collect myself ... I'll just have a bath.
    This is very kind of you, Alma.
    ALMA
    would you like a Martini or Champagne?
    REYNOLDS
    No thank you. (re:her dress) is this finished? it's quite wonderful. look at it, let• s see\_,
    She turns around, he looks at the dress, takes it in,\_
    RBYNOLDS
    it really i s very good, Alma. very well done.
    The Dress is very well done, HOLD, THEN:
    REYNOLDS
    I ' ll just have my bath now. when will Cyril be back?
    ALMA
    She's like a Statue of some kind. very beautiful.
    REYNOLDS
    yes .
    ALMA
    Will you make her wedding gown?
    REYNOLDS
    .. what do you mean?
    ALMA
    I thought there were so many superstitions that came along with it - that maybe
    it wouldn • t be something you would t ake on •.
    REYNOLDS
    I have made her Baptism, First Conmunion and Confirmation dresses. I made the dress for her presentation at Court - indeed, the entire wardrobe for her coming out season -
    it's only right that I should ma.ke her Wedding Dress.
    ALMA
    Anyway - she's lovely and you should make her a spectacular wedding dress.
    CU. REYNOLDS his reaction. CU, DINNER IS SERVED, LATER. i.moges of the food she's prepared.
    ALMA
    Lamb Chops, Asparagus and Chocolate Cake for pudding.
    REYNOLDS
    Beautiful.
    ANGLE, LATER. They're eating. He finishes his Martini and shovels food in hi s mouth. Long, awkward pause, then:
    ALMA
    Do you like it?
    REYNOLDS
    He puts his napkin down.
    REYNOLDS
    As I think you know, Alma, I like Asparagus served with oil and salt. And knowing this, you have prepared this Asparagus with butter ,
    I can imagine, in certain circumstances, being able to pretend that I like it cooked with butter. But right now I'm just admiring my own gallantry for eating it the way you've prepared it.
    ALMA
    don't be mean.
    REYNOLDS
    That's not being mean. Not by a great distance.
    ALMA
    why are you speaking to me like that?
    REYNOLDS
    don't look for my approval . Of your fucking asparagus. what is going on here??
    ALMA
    There's always ...there • s always something between us -
    REYNOLDS
    Something between us?
    ALMA
    yes .
    REYNOLDS
    what?
    ALMA
    some distance.-something, I don• t know...
    REYNOLDS
    well maybe we don • t go together, Alma ..\_..
    ALMA
    No, darling, don't say that.
    REYNOLDS
    No, I've said it. and that's i t, it's been said.
    REYNOLDS
    secrets . ?
    ALMA
    anything you want to tell me .• anything - .. there • s nothing I won't understand ...
    REYNOLDS
    Is there some mystery you're referring to? what secrets?
    ALMA
    I don ' t know...whatever it is that 's happened to you in your life to make you feel cursed .. or hurt ..whatever you
    have inside you that you wan t to get out ......tell me everything so that we can be close together
    REYNOLDS
    when did this happen? what's happened to make you behave like this?
    ALMA
    .. you' re not cursed. There• s no curse on you that can't be broken you can
    love you know. .I know you have generous love -
    REYNOLDS
    You're right. you're right. if I don't protect myself - intruders will come in the middle of the night and take over my corner of the room and ask me about their fucking Asparagus.
    ALMA
    Don't be a bully. you're a bully. and you're loved by me, not cursed.
    REYNOLDS
    ENOUGHOF THE FUCKING CURSE. who put this in your head?!? I have other things I'd like to do with my time. it's my time. my TIME.
    ALMA
    I don't know what I'm doing here. I'm standing around like an idiot waiting for you\_.
    REYNOLDS
    Waiting for what?
    ALMA
    Don't be ru de to me. don't speak to ~e Like that.
    REYNOLDS
    Is this my house? Thie ie my house, isn't it? Is th is is my house .•
    ALMA
    don't speak to me like thatll you brought ine here
    REYNOLDSor did someone drop me behind enemy lines, surrounded on all sides, I'm on foreign soil.
    ALMA
    oh stop talking like a child. stop -
    REYNOLDS
    - when the hell did this happen?l?l?I
    WHOARE YOU 717 do you have a Gun? are you here to kill me?
    ALMA
    You're a Baby. you're a stupid baby INT . TEA POT. - TOWNHOUSE
    CAMERAinside, looking up and she removes the lid, drops a few little bits of mushroom into the lapsang ...
    just enough for a nice good stomach ache, hopefully.\_
    CUT TO: INT . BREAKFAST- NEXT MORNING. Cyril and Reynolds at their usual spots. Reynolds is in a mood. It's quiet and then:
    CYRIL
    Would you like me to ask Alma to leave?
    REYNOLDS
    No. Why?
    CYRIL
    If you're going to make her a ghost, go ahead and do it, don't let her sit around here waiting for you.
    He eats , doesn • t answer ...... INT . WORKROOM
    - DAY.
    VARIOUS IMAGES showing a few weeks of work and mood around the House of Woodcock, Sketches, toiles, finished Garments, fit on Alma. Silence between Alma and Reynolds. Silence between Reynolds and Cyril.
    The Staff are on needles, feeling like Mom and Dad are fighting.
    The Wedding Dress takes up half the work space, laying on every square inch of table, a long train attached to a form...extra Women have been brought in to help.
    CU. REYNOLDS. thick glasses, sewing into a secret section of the dress, a message of good will to the Princess. "Never Cursed" He coughs. Nana is with him;
    NANA
    you don't sound well.
    REYNOLDS
    I have a tickle in my throat-nothing.

INT. ATELIER - NEXT MORNING
    The FINISHED WEDDINGDRESS is ready for final touches and looks. It hangs on a form. Everyone wears white gloves. Reynolds steps into the workroom, everyone stands and says hello. He's sweating and trying to act normal but it's very obvious he ' s ill. Reynolds walks along the train, inspecting , making small notes and approvals. Everyone notices his condi tion ...he is sweating , and it is soaking his shirt- ANGLEI LATER. He's l ooking over the sleeve of the dress.
    REYNOLDS
    This i s not right, what is t hi s?
    Nana and Biddy watching him struggling to keep it together.
    BIDDY
    You're burning up.
    REYNOLDS
    I'm not .
    ALMA
    Reynolds, what can I do?
    REYNOLDS(OC)
    I'll be out in a moment. I'm just fine.
    ALMA
    darling, please let me in...I can help you. I can help you if you'd let me.

INT. BATHROOM
    - THAT MOMENT.
    Reynolds is holding the sink to gain balance.
    REYNOLDS
    leave me alone and don't fuss.

INT. BEDROOM
    - THAT MOMENT
    .
    Back to Alma. She leaves the room quickly" ''""
    CUT TO:
    ALMA
    yes, but we'll just get you settled --
    REYNOLDS
    don't fuss. don't fuss. whatever it is. don't fuss - I'll die right here if you make a fuss.
    She keeps quiet and hovers near .. he • s cold shivers ...she grabs a BLANKETand covers him......... He's closing his eyes and laying stilL ......

INT. CYRIL'S OFFICE - THAT MOMENT
    Nana, Biddy have reported to Cyril what's happened . Dial.
    BIDDY
    Mr. Woodcock seems to be ill.
    CYRIL
    who seems to be ill?
    CYRI L
    shoe polish from what?
    BIDDY
    From his shoe .
    CYRIL
    Where is Hr . Woodcock right now?
    BIDDY
    He's gone to his room. I think to be sick. There's a terrible noise coming from there.
    CYRIL
    What does this mean for the dress?
    BIDDY
    We have to start over .\_
    CUT TO: INT . STAIRWELL - MOMENTSLATER Cyril heads up the stairs\_
    REYNOLDS
    It doesn't hurt, leave me alone, it's all over, it'll be gone quickly.
    CYRIL
    Is it in your stomach?
    REYNOLDS
    leave me alone.
    CYRIL
    Do you think it's something you ate?
    Alma places the cold towel to his head, REYNOLDS(to Alma) I don't know what this is. I've never had a feeling like this before.
    ALMA
    I'm here.
    REYNOLDS
    just give me silence.
    REYNOLDS
    I'm scared this will never go away.
    ALMA
    Yes of course you are but this is nothing to fear. you're simply sick and I will take care of you •.
    Reynolds looking with deep need at Alma and Alma looking at him with a deep mission to take care of him...she also seems aroused.
    REYNOLDS
    am I eve r going to get better?
    ALMA
    yes, darling, yes. I will take care of you.
    REYNOLDS
    my love .•
    He finally closes his eyes for some rest. CUT TO:
    ALMA
    there's no need, he's not dying, he's just sleeping now.
    CYRIL
    Come out of the room and immediately down the stairs to greet him.
    ALMA
    Yes, of course.
    Cyril leaves ...Alma comes out and down,\_ CUT TO:

INT. DINING ROOM- MOMENTS
    LATER
    Alma comes into the dining room. Cyril is here , with Dr. Hardy ,\_t his is the first time Alma meets him.,.,\_,
    CYRIL
    Alma, this is Dr . Hardy ...
    DR. ROBERT
    How'd you do, Mrs. Woodcock,
    OR. ROBERT
    would you like me to see him?
    CYRIL
    yes, why don't we go upstairs.
    ALMA
    yes of course why don• t we go ...
    Cyril leads the group going upstairs. CUT TO:

INT. BEDROOM- MOMENTS LATER.
    Alma, Cyril and Dr. Robert come into the bedroom. Cyril sits bedside.
    CYRIL
    Mr . Woodcock, Mr. Woodcock. Lady Baltimore has sent her Doctor ...
    He opens his eyes. He's completely out of it. half asleep/drained. Dr. Robert places h .ts hand on him - he's
    DR. ROBERT
    I admit I do look young, but I am here to help you.
    REYNOLDS
    fuck off
    ALMA
    I think that makes it clear, he wants you to fuck off.
    CUT TO:

INT. FRONT HALLWAY
    - MOMENTS
    LATER
    Alma and Cyril walking the Doctor to the door --
    DR. ROBERT
    I will drop by tomorrow in the morning to see how he's coming along -
    ALMA
    It 's not neccesary.
    DR. ROBERT
    Yes of course, but why not -
    ALMA
    He's not dying, this is nothing to worry about.
    Thank you for coming.
    DR. ROBERT
    yes, of course. Do please let me know if you need anything else. Good night.
    ALMA
    Thank You, Good Night, Dr.
    CYRIL
    good night, Dr.
    He leaves. Cyril and Alma stand together.
    ALMA
    what about the dress?
    CYRIL
    I'll take care of that.
    cu. Alma comes over, gets her assignment and puts her hand on the Wedding Dress .. as if she's breaking some spell or supers ti tion- ..-.They work all night to fix the dress -

INT. REYNOLDSBEDROOM
    - NIGHT.
    Reynolds is sweating, tossing, turning. Fire place is making shapes on the wall ...
    He looks and sees his MOTHERIN BER WEDDINGDRESS. She sits across the room and looks at him.
    REYNOLDS
    are you here? are you always here?
    I miss you. I think about you all the time. I hear your voice say my name when I dream and then I wake up and I have tears down my face.
    I just miss you. I want to tell you everything.

INT. WORKROOM
    or SALON- DAWN Alma is asleep in the atelier, alone, the Wedding Dress is finished and on the form. .. ,Reynolds crosses the room and comes to her. She wakes up;
    REYNOLDS
    I love you, Alma .
    I don't ever want to be without you.
    ALMA
    I love you too
    REYNOLDS
    I have things I want to do.
    I had thought my days were unlimited.
    The mistakes I've made and made again can no longer be ignored.
    There are things nagging at me. Things that now must be done.
    ALMA
    Yes. ..wil l you marry me?
    REYNOLDS
    Yes , I wil l.
    CUT TO1: I NT. LONDONREGISTRAR'S QFFICE - DAY Reynolds, Alma , Cyril, Nigel Cheddar - Goode and Alma's sister Steff arc here for a cer emony. Signatures, rings, kiss and then they' re done ...\_ . Alma looks beautiful in a new dr e ss made by Reynolds . CUT TO: INT . DINNER SPOT/ CLUB - NIGHT A dinner celebration for the wedding. Various Images. Reynolds stage managing and over-specific about how Wedding Photo's should be taken. Staff is here as well, seen for the first time outside of t he atelier .

EXT. BALTIMORE- ESTATE - DAY
    Alma and Reynolds come to visit the Estate of LADY OPAL BALTIMORE(50s) and her daughter MINI-LADY BALTIMORE(16) They are staying in a luxurious room, come down for a dinner, greet other weekend guests (TBO Guest List ) , they come across: OR. ROBERTHARDY, who is here ...he approaches them;
    DR. ROBERT
    Good evening, Mr. and Mrs. Woodcock
    ALMA
    How do you do, Dr . - Reynolds, do you remember Dr. Hardy?
    DR. ROBERT
    How do you do, Mr. Woodcock, how are you feeling?
    REYNOLDS
    I beg your pardon, I think I owe you an apology - we have met in a puddle of sweat, haven't we?
    DR. ROBERT
    Lady Baltimore comes over to ask everyone to sit for dinner .. she has her sights set on Reynolds and takes him to the table .......
    CUT TO:

INT. ESTATE - DINNING ROOM- NIGHT.
    Dinner is at a long table. Reynolds is at one end with Lady Baltimore and some other boring people. Alma is seated at the other end of the table, next to Dr. Robert and the young Daughter Baltimore ( 18 ) ... Reynolds watching. Alma looks at him, he SMILES WIDELY, she looks away ...his face drops .. Lady Baltimore engaging and distracting Reynolds ..
    LADY BALTIMORE
    It's such a pleasure to have you dine with us.
    REYNOLDS
    I wasn't aware I had a choice.
    LADY BALTIMORE
    LADY BALTIMORE
    that humour againl who am I to argue colour with you? DR.ROBERT & ALMA. He chats her up, sweet l y and innocent enough:
    DR ROBERT
    what are your plans for New Year's Eve?
    ALMA
    we don't have any. We'll stay in .
    DR ROBERT
    You should come out to for the Chelsea Arts Club Ball.
    ALMA
    I don't know what that is.
    DR ROBERT
    It's not something I 'd suggest if I didn't t hink that you'd have a wonderful time. It's really something to be seen.
    ALMA
    ALMA
    Maybe I've had all the fun I'll ever have. Maybe I've already had the greatest time He looks at her ..\_..she looks up at him.
    ALMA
    Where is it?
    DR, ROBERT
    The Devonshire Hall.
    ALMA
    Thank you for invit i ng us .-
    She looks back at Reynolds- . ,who is looking at her ...then he turns to listen to Lady Baltimore. CUT TO:

INT. BADMINTON
    ESTATE -LIVING/GAME ROOM- LATER.
    It's evening and the guests are by the fire in a large sitting room playing in a Backganwon Match round robin. Alma and Reynolds play against each other in a first round . It's tense.
    ALMA
    it's your turn.
    They roll back and forth. Alma counting out her moves -
    REYNOLDS
    Must you count your moves out loud?
    ALMA
    You snap your tongue together as you roll, must you do that each time?
    REYNOLDS
    oh quiet down. I don't do that.
    ALMA
    You quiet down. don't be so cranky about a game . it's a stupid game.
    REYNOLDS
    I'm sure it's stupid as long as you're losing at it, but if you happen to be victorious I'm sure you'd see it a different way --
    Reynolds rolls, clicks hi s teeth, wins the Backgammon game and

INT. TOWNHOUSE/DINING
    ROOM- LATER.
    Eating dinner. New Year's Eve program playing on the radio. Reynolds i s sketch i ng and eating and not talk i ng. She looks for conversat i on that never comes.
    ALMA
    I want to go dancing.
    REYNOLDS
    When?
    ALMA
    Right now .
    REYNOLDS
    •.you• re joking.
    ALMA
    No I'm not .
    REYNOLDS
    I'm not go i ng dancing.
    ALMA
    I ' m going dancing.

INT. UPSTAIRS ATELIER - NIGHT.
    Reynolds is working on a toile. Silent, can't focus . He leaves the room. .. CUT TO:

INT. ALBERT/DEVONSHIREHALL - NIGHT.
    It's New Years Eve madness at the Chelsea Arts Club Ball. People dressed in insane costumes under the theme "Buntin• Shootin• Fishin•• People dressed as cowboys, indians, aliens (see research footage for this) The crowd is young Art Students, Alma's age, who are all very very drunk, rowdy and looking for trouble. Reynolds, not in costume for the occasion, comes around looking for her ...He finds her. She's off to the side. She 's been crying. "Auld La ng Syne• is playing, people kissing, dancing. Reynolds and Alma face to face, he takes her by the wrist and out of there ... CUT TO:

INT. APARTMENT- SALON- MORNING
    MRS � VAUGHAN
    don't I look a little fat?
    Alma walks over.
    ALMA
    Where is it that you feel l ike that?
    MRS.
    Here,
    VAUGHAN
    around
    ALMA
    what if we did this ...do you think that would help?
    She squeezes some fabric together, slimming the silhouette ...
    MRS � VAUGHAN
    Yes, I do.

INT. CYRIL'S OFFICE - AFTERNOON.
    Cyril is at her desk. Reynolds comes in and sits down:
    REYNOLDS
    Chic? that's a dirty word. Chic. Whoever invented it should be spanked publicly. I don't even know what that word
    means . what is that word? Chic. Fucking chic.
    they should be hung, drawn and quartered for that word. fucking chic.
    CYRIL
    It shouldn't concern you.
    REYNOLDS
    But it does, Cyril. It does. It hurts my feelings. My feelings are hurt.
    CYRIL
    so what's all this moaning about?
    REYNOLDS
    I'm not moaning. I don't want to be ignored.
    CYRIL
    No one does. but I don't want to hear about it because it hurts my ears.

INT. CYRIL'S OFFICE - THAT MOMENT
    Reynolds looking at Cyril, lowers tone appeals to her:
    REYNOLDS
    I can't work. I can't concentrate. I have no confidence.
    you need to help me with this .. I can• t do this with her ...
    Behind Reynolds, Alma walks into the room, quietly CU. CYRIL doesn't move her eyes from Reynolds, allowing Alma in to hear everything ...
    REYNOLDS
    we built this house. the two of us.
    things casting a long shadow\_
    her arrival has cast a very long shadow, Cyril ...
    ALMA( to Cyr 11)

INT. COUNTRYHOUSE- KITCHEN- AFTERNOON.
    CU. ALMA . she is sorting mushrooms. the poison ones from the good ones. CU. REYNOLDS he is sketching. Gloomy silence between them. CU. ALMA she's about to throw away the bad mushrooms SLOWZOOMIN ON HER FACE. CU, REYNOLDS he is deep in his sketchbook. She discards the mushrooms, into a CUP. And then she takes the cup and she places them on a high shelf - she turns around. He's sketching.
    ALMA
    did you hea r what I said?

INT. COUNTRYHOUSE - KITCHEN- AFTERNOON.
    CU. ALMA. she is cooking dinner again. CU. REYNOLDS he is sketching. he looks up and watches her .• CU. ALMA, cooking\_ .. she looks up on a shelf. CU. THE CUP OF POISON MUSHROOMS. her hand reaches up to the shelf and takes them down.. CU. ALMA she turns and looks at Reynolds. SLOWZOOMIN ON HER FACE. SLOWZOOM IN ON REYNOLDS. They look at each other. She turns around, pours the poison mushrooms into the pan and sautes them with some butter ....\_.,\_,

INT. ATELIER - EVENING
    Alma gets dressed . She wea.rs the early 20s DRESS that Reynolds worked as an apprentice on...•. She looks in the mirror .. she takes on strength from the dress. CUT TO:

INT. DINING ROON/COUNTRY
    HOUSE - NIGHT
    The food is on the table. Reynolds enters, sits down. Alma enters . . .
    ALMA
    Wine?
    REYNOLDS
    no thank you.
    ALMA
    can I make you a martini?
    REYNOLDS
    nothing for me.
    ALMA
    ...you' re not going to die ...You might wish you were going to die, but you're not going to . You Just Need To Settle Down.
    He swallows.
    REYNOLDS
    Kiss me my girl, before I ' m sick,
    ANGLE,~ALMA AND REYNOLDS they kiss. And smile at each other. Reynolds couldn ' t be more excited at the sight of her- CUT TO: CU. ALMA petting his head, and keeping him safe.
    REYNOLDS
    should we call that Boy Doctor ..just in case . .?
    ALMA
    you don ' t trust me?

INT. COUNTRYHOUSE- HORNING
    Dr. Robert arrives. Alma opens the door for him.\_
    ALMA (VO)
    In this life and the next and the next after that and for whatever there is on the road that follows from here ...It would only require my patience that I would get to him again.
    Alma greets him:
    ALMA
    thank you for coming, or\_.
    DR. ROBERT
    Of course, Mrs. Woodcock -
    CUT TO:

INT. BEDROOM
    CU. REYNOLDS being checked on by Dr. RoberL.he flashes a light in his eyes, checks his vitals, etc . Alma stands nearby. EXT, LONDON/PARK - DUSK Reynolds and Alma, walking together in the park, winter. She's wearing the TWEEDCOAT from earlier .. ...... they are talking about their work. CUT TO: INT, SALON/PETIT SALON - DAY Alma, fitting a fashionable Young Woman (20s) for a dress of her design. Cyril working with Steff, who shadows her ... CUT TO: INT, COUNTRY HOUSE - LIVING ROOM - NIGHT It's months later, sitting by a fire, Alma and Reynolds together on the couch.
    ALMA
    Sometimes I jump ahead in our life together and I see a time, near the end...I can predict the future ...and everything has settled.
    All our lovers and chi l dren come back and

INT. COUNTRYHOUSE- LIVING ROOM- NIGHT
    Back to them sitting by the fire together.
    REYNOLDS
    but right now we're here.
    ALMA
    yes of course we are.
    REYNOLDS
    and I'm getting hungry

Summary: In 1954 London, fashion designer Reynolds Woodcock creates dresses for members of high society, including royalty. His clients view him as a genius whose creations enable them to become their best selves; but his creativity and charm are matched by his obsessive and controlling personality. Cyril, his sister, manages the day-to-day operations of his fashion house and tries to protect him from anything that might distract him from his work. The superstitious Reynolds is haunted by the death of their mother and often stitches hidden messages into the linings of the dresses he makes. After designing a new gown for a revered client, Lady Harding, Reynolds visits a restaurant near his country house and meets a foreign waitress, Alma Elson. She accepts his invitation to dinner. Their relationship blossoms, and she moves in with him, becoming his model, muse, and lover, although the physicality between the two is very subtle. Cyril initially distrusts Alma but comes to respect her willfulness and determination. At first, Alma enjoys being a part of Reynolds's work, but he proves aloof, hard to please, and finicky; as a result, they start to bicker. When Alma tries to show her love for Reynolds by preparing a romantic dinner, he lashes out, saying he will not tolerate deviations from the routines he has worked hard to perfect. Alma retaliates by poisoning Reynolds's tea with wild mushrooms gathered outside the country house. As he readies a wedding gown for a Belgian princess, Reynolds collapses, damaging the dress and forcing his staff to work all night to repair it. He becomes gravely ill and has hallucinations of his mother.  Alma stays by his side, tirelessly nursing him back to health. After Reynolds recovers, he tells Alma that a house that does not change "is a dead house" and asks her to marry him. Taken aback, she hesitates but then accepts. Following a pleasant honeymoon in Switzerland, however, Reynolds and Alma start bickering again as Reynolds's domineering personality reasserts itself. Cyril reveals to Reynolds that Lady Harding is now a client at a rival fashion house and suggests that his classic, conservative designs may be going out of style. Reynolds blames Alma for being more a distraction than an inspiration, and Alma overhears him telling Cyril that it may be time to end the marriage. At the country house, Alma makes Reynolds an omelet poisoned with the same mushrooms as before. As he chews his first bite, she informs him that she wants him weak and vulnerable so that he has to depend on her to take care of him. Reynolds willingly swallows the bite and tells her to kiss him before he is sick. As Reynolds lies ill once again, Alma imagines their future with children, a rich social life, and a bigger role for her in the dressmaking business. She acknowledges that while there may be challenges ahead, their love and their complementary needs can overcome them.