Last Night in Soho (2021) | Transcript

An aspiring fashion designer is mysteriously able to enter the 1960s where she encounters a dazzling wannabe singer. But the glamour is not all it appears to be and the dreams of the past start to crack and splinter into something darker.
Last Night in Soho

An aspiring fashion designer is mysteriously able to enter the 1960s where she encounters a dazzling wannabe singer. But the glamour is not all it appears to be and the dreams of the past start to crack and splinter into something darker.

* * *

♪ ♪

♪ ♪

(record player clicks, crackles)

(“A World Without Love” by Peter and Gordon playing)

♪ Please lock me away ♪

♪ And don’t allow the day ♪

♪ Here inside where I hide ♪

♪ With my loneliness ♪

♪ I don’t care what they say ♪

♪ I won’t stay in a world without love ♪


♪ Birds sing out of tune ♪

(humming along)

♪ And rain clouds hide the moon ♪

(sighs, whispers): Me?

♪ I’m okay ♪

♪ Here I’ll stay ♪

♪ With my loneliness ♪

♪ I don’t care what they say ♪

♪ I won’t stay ♪

♪ In a world without love ♪

♪ So I wait ♪

(humming along)

♪ And in a while ♪

♪ I will see my true love smile ♪

♪ She may come, I know not when ♪

(gasps, scoffs)

♪ When she does, I’ll know ♪

♪ So, baby, until then ♪

♪ Lock me away ♪

(continues humming)

♪ And don’t allow… ♪

Beautiful gown, darling.

♪ Here inside… ♪

Thank you.

♪ With my loneliness ♪


♪ I don’t care what they say ♪

(humming along)

♪ I won’t stay in a world without love ♪

Who are you wearing?

Eloise Turner.

Who are you wearing?

Eloise T, of course.


(blows raspberry)

Ellie Turner.


♪ So I wait… ♪

(record scratches)

(gasps, scoffs)

(record skipping): ♪ I know not when they come ♪

♪ I know not when they come ♪

♪ I know not when they come ♪

♪ I know not when they come ♪

♪ I know not when they come… ♪

It’s good news, isn’t it?

PEGGY (in distance): Eloise, post!

♪ I know not when they come… ♪

PEGGY: Ellie?


(breath trembling)

Well, what does it say?

I’m going to London.

I knew you would be.

I’m going to London!

(singsongy): I’m going to London.

I’m going to London. I’m going to London.

I’m going to London.

(Peggy chuckling)

(“Wishin’ and Hopin'” by Dusty Springfield playing)

♪ Wishin’ and hopin’ and thinkin’… ♪

ELOISE: You sure I can take all of these?

PEGGY: I got you hooked on them.

I can’t deprive you now.

Do you have enough space?


Don’t you need socks?

(chuckles) Socks.

This was one of the first times your mum and me went to London.

God, the shops.

We used to look at all the clothes.

Liberty. Selfridges.

Carnaby Street.

The snooty shopgirls knew we couldn’t afford anything, but they didn’t know we could copy it.

Take it.

No, I can’t, Gran.

Bring her up when I’m settled.

We’ll have dinner at the Criterion, like in the photo.

We didn’t eat there. Couldn’t afford to.

Just took a picture outside and went to a Wimpy.

When I’m a big-time fashion designer, we’ll go.


I don’t think Wimpy still exist.

(chuckles) You know what I mean.

I know how much you want this.

It was her dream, too, but it’s not what you imagine, London.


You’ve got to look out for yourself.

I know.

But I’m gonna say it anyway.

There are lots of bad guys.

You’ve got to be careful.

There’s lots of bad people.

I’ll be careful.

They’re bad apples.

I’m scrappy. I can take ’em.

I’m just saying, London can be a lot.

It was too much for your mum, perhaps, and she didn’t have your gift.

My gift?

She didn’t feel things, see things like you do.

I… I worry you’ll get all overwhelmed again.

Gran, it’s… it’s not just that I need to do this for me.

I really want to, for her.

And maybe it won’t be so bad.

Maybe up there, I won’t be reminded of her so much.


Besides… I haven’t even seen Mum in ages.

(alarm beeping)


PEGGY: You’ll call?

ELOISE: You know I will.

PEGGY: And if it all gets too much in there, you’ll tell me?

In the city?

In here.

Please don’t do that to yourself.

Don’t do it to me, okay?

I love you.

Oh, Ellie.

I want us both to be there.

I won’t let you guys down.

You never could.

(“Don’t Throw Your Love Away” by The Searchers playing)

(train screeching)

♪ Don’t throw your love away ♪

♪ No, no, no, no ♪

♪ Don’t throw your love away ♪

♪ For you might need it ♪

♪ Someday ♪

♪ Don’t throw your dreams away ♪

(indistinct chatter)

♪ No, no, no, no ♪

♪ Keep them another day ♪

(electronic bell chimes)

♪ For you might need them ♪

♪ Someday ♪

(train rumbling and clacking)

♪ Don’t throw your love away ♪

(indistinct P.A. announcement)

♪ No, no, no, no ♪

♪ Don’t throw your love away. ♪

Charlotte Street, please.

My pleasure, darling.

DRIVER: First time?

ELOISE: I visited once with my mum, but I was small.

It looks so different now.

It changes fast, all right.

But don’t you worry, love.

It’s still the same old London underneath.


DRIVER: What brings you down, then?

ELOISE: I’m studying.

London College of Fashion.

So, you’re a model?


I design clothes.

Well, I want to. I mean… I want to be a designer.

Yeah, but you could be a model, couldn’t you?

You got the legs for it.

(driver chuckling)

DRIVER: So, what’s in Charlotte Street, then?

Uh, student housing.

It’s all girls in that building?

If all you supermodels are gonna be in Charlotte Street, you’ll see plenty of me, don’t you worry.

You might have found your first stalker.

I’ll get out here.

Oh, no, it’s a couple more streets, love.

No, I haven’t got enough cash.

Oh, I’m sure we could sort something out, sweetheart.

Plus, it’s not good round here at night for young girls on their own.

I want to go to the shop anyway.

Please yourself.

(brakes squeak, gearshift clicks)

(indistinct chatter)

(entry bell chimes)

SHOP OWNER: Excuse me.

Can I help you?

Uh, sorry.

(cash register dings)

(entry bell chimes)

Hey, do you want a hand?


You don’t look fine.

Well, I am.

Are you Eloise?


Yeah, you-you look like an Eloise.

Well, Ellie.

I’m Jocasta.

Did they spell your surname wrong or something?

Oh, no, I’ve just decided to drop it because I feel like it’s way more singular to be known by just your Christian name.

You know, like, so famous in your work that you can actually just go by Kylie.




Okay, bad example, but… how many Jocastas do you know?


Exactly, babes.

You don’t mind I snagged the bed by the window, do you?


If we don’t end up throttling each other, we could maybe talk about switching next term.


So, where are you from?

Uh, Redruth.

It’s in Cornwall.

I’m sorry.

You know, Cornwall, in the countryside.

No, no, I-I heard you, babes.

I’m just, I’m sorry.

Uh… what about you?

Manchester originally, but I, uh, moved down here in my gap year.

Uh, I had an internship at an atelier in Savile Row.

Oh, wow. I’ve just been in Redruth making my own clothes.

I had a hunch you made that. (chuckles)

Yeah, this is Bouchra Jarrar.

Before she sold out and moved to Lanvin, obviously.



Is it allowed in here?

Oh, I-I just took the batteries out of the alarm.

I can go outside if you really have a problem with it.


No, it’s fine.

I tried vaping.

I just think it makes you look like so much more of a cunt.

Yeah, totally.

So, what does your dad do?

Uh, I don’t know him.

Oh, tell me about it.

And your mum?

My mother’s dead.

Well, I knew we’d find some common ground eventually.

Yeah, I was only 15 when she died.

What about you?


Oh, wow, that is young.

Although I guess it’s maybe easier at that age.

Not that it’s a competition, though, is it? (chuckles)

(distant door opens)

(chatter in hall)

Ooh, fresh blood!

(door opens)

Oh, my God, wow, is that a bloody Bouchra Jarrar?

Oh, good eye.

Yeah, well, before she sold out and moved to Lanvin, obviously.


Obviously. (chuckles)


Oh, this is my roomie, Eloise.


Yeah, she literally made the outfit she’s wearing.

How amazing. All of us turn up in our Sunday best, and she’s here rocking her own design.


I’m thinking we should call her Brass Balls Ellie.

ASHLEY: And what will we call you?

Oh, well, by tomorrow morning, you’ll know me only as Hurricane Jocasta.

Ooh. So you guys know each other from before?

Oh, yeah, we go way back.

What is it, like 15 minutes?


Yeah, something like that.

JOCASTA: We’re in the Dead Mums Club.


Fuck leukemia, am I right?

That’s awful.


It’s pretty shit. I’m not gonna lie.

But, I don’t know, I feel like it kind of fuels my work.



What happened to your mum?

Uh, she wasn’t well… mentally.

She… she killed herself.

ASHLEY: (gasps) Sorry.

We shouldn’t have asked.

It was a long time ago.

You’re, like, so brave.

So brave.

Yeah, I had a-a great-uncle commit suicide… hung himself.

ASHLEY: Oh, God.

So, yeah, I know exactly what it’s like.

ASHLEY: Also so brave.

LARA: So brave also.

CAMI: Yeah.


JOCASTA: First rodeo, Ellie?

Got to mark your territory, babes.



Time to break out the big guns.


Let’s really get on this bitch.

CAMI: Do we really want to be hungover on our first day?

JOCASTA: Oh, hush. That’s future you talking.

You know what, fuck her.


You’ve got to live in the now, girls.

So, hos…

(others chuckling)

…to Soho.

OTHERS: To Soho.

To Soho.

(others whooping)

Come on, Ellie. Keep up.

♪ ♪

(car horns honking)

You’re gonna love it!


(excited chatter)

Let’s go!

I dated an Irish guy twice.


Well, like, the-the same guy but, like, two separate times.


Yeah. Yeah.

And, yeah, he was Irish.

Yeah, and, I don’t know, I kind of feel like I kind of get the culture.

MAN: Watch and learn, guys.

And I just love Ireland.

Like, he literally introduced me…

Um, excuse me, miss.

Um, my dick just died.

Can I bury it in your arse?

Ew, absolutely not.

(groans) Get away.

That’s disgusting.

Oh, you should try that line on Eloise.

I bet she’s complete filth once you get a few drinks inside her.

MAN: Okay. Okay.

(others laughing)


Oh, come on, play the game.



(quiet chatter)

Freshers… they’re a blessing and a curse.

(takes deep breath)

(groans) It’s just a bit shit. I’m just like…

She’s such a code beige, I’m getting these, like, born-again Christian vibes off her.

Who, Country Mouse?

She comes to her first day at LCF wearing clothes she fucking made.

ASHLEY: Yeah, that was a bit much.

JOCASTA: Bringing up her mum’s suicide… I’m sorry, but, like, who the fuck does that for attention?

LARA: Yeah, right.

ASHLEY: She’s a bit weird.

JOCASTA: She’s a lot fucking weird.

I’d lay bets on her slashing her wrists before Christmas.

(gasping, laughter)


LARA: You can’t say that.

JOCASTA: It’s true.

ASHLEY: Jocasta!

JOCASTA: Come on. We’ve got another three pubs to hit before the clubs open.

(laughter, whooping)

(indistinct chatter)

♪ ♪

♪ ♪

(distorted chatter)

(“Starstruck” by The Kinks playing)

♪ Baby ♪

♪ You don’t know what you’re saying ♪

♪ Because you’re a victim of bright city lights ♪

♪ And your mind is not right… ♪

(door bangs open)

(man grunts)

JOCASTA: Get in here.

(Jocasta grunts)

♪ Baby, starstruck ♪

♪ You’re taken in by the lights ♪

♪ You’re so starstruck, baby, starstruck ♪

♪ Think you’ll never look back ♪

♪ Starstruck, baby, starstruck ♪

♪ You know you’re starstruck on me ♪

♪ Baby, you’re running around like you’re crazy ♪

♪ You go to a party and dance through the night ♪

♪ And you’ll drink till you’re tight ♪

♪ And then you’re out on your feet ♪

♪ ‘Cause you’re starstruck… ♪

What are you listening to?

(music stops)

Nothing now.

You actually listen to this granny shit?

How old are you?

Mate, you can fucking talk.

Didn’t you put on that techno Riverdance shit at The Toucan?

(sighs) All yours.

Don’t pay any attention to him.

I’m John, by the way.


Oh, shit.

Uh, this is your can, isn’t it?

Have it.

(“Starstruck” resumes)

(singers scatting)

(song ends)

(door slams shut)


No, no, no, no!


(horns honking)


♪ ♪

Yasmine Rogers?


Gemma Boker?


Poppy Porter?


Eloise Turner?

It’s Ellie.

Uh, sorry. What was the question?

Are you present?

Yeah. (chuckles)

(students snickering)

Serena Lowe?


Jack Sharp?

PEGGY (over phone): So, how’s my big-time fashion designer?

ELOISE: I’m good. I’m good.

PEGGY: And did you wow them all?

I don’t know, Gran.

I bet you did.

Anyway, you still haven’t told me anything about your place.

It’s great.

Very modern.

And how’s your roommate?


Is she nice?

Yeah, yeah, she’s fun.

How lovely.

I say pub crawl, round two.

Almost too much fun.

PEGGY: Well, that’s wonderful.

I-I thought maybe you’d need more time to get used to being around so many people.

It’s not all too much, is it?

No, I’m okay.

I can’t wait to come down and see you.

When you feel more at home.


When I feel more at home.

(phone ringing)

MS. COLLINS: Soho 0827.

ELOISE: Hi. I saw your advert for a room to rent.


ELOISE: Uh, I’d like to rent it.

MS. COLLINS: Do you know Goodge Street?

ELOISE: Uh, no, but I can find it.

MS. COLLINS: Well, it’s 8 Goodge Place.

Press the buzzer for Collins.

(doorbell ringing)

MS. COLLINS: Just coming, deary.

Ms. Collins?


It’s Ellie. We spoke on the phone.

Oh, yes.

Room is on the top floor.

I’ve a few rules.

Don’t take smokers.

I don’t smoke.

No male visitors after 8:00.

Not a problem.

And no using the laundry room at night.

It rattles right through to mine.

I don’t do laundry.


I mean… I don’t do nighttime laundry.

I do do laundry. I’m very clean.


(door creaking)

It’s a bit old-fashioned for some, but I won’t do nothing to it.

If you don’t like it, you can find somewhere else.

It’s perfect.

I love it.

MS. COLLINS: Bed, kitchenette, bathroom.

You won’t have to worry about it until the summer, but then you’ll have to keep the plugs in ’cause all the smells rise up.

How long have you lived here?

Oh, a long while.

I used to work here, cleaning and such, back when round here was a bad spot.

I bought it for buttons off the old owner.

Must be worth a lot now.

Oh, I could never sell it.

Too many memories.


If I could live any place and any time, I’d live here in London in the ’60s.

It must have felt like the center of the universe.

I hope you know what a landline is.

Some of your lot don’t.


Don’t get too excited.

It only makes emergency calls.

Oh, and I hope you like garlic.


There’s a French bistro next door.

Pretty soon, you won’t be able to smell anything else.

MS. COLLINS: So, when you looking to move in?

ELOISE: As soon as possible.

You’re not in any trouble, are you?


No, I just need, uh, an escape.

Oh, don’t we all, deary.

What’s your line of work?

I’m a student, but I have a loan and a bursary.

Well, what do you study?


Ah. Interesting.

Yeah. My gran’s a seamstress, and my mum is… was in the industry, too.

And you’re sure you’ll be able to make the rent?

Mm-hmm. Yeah, I’ll make it work.

I do ask more than your average landlady.

I want two months rent in advance and two months deposit.


I’ve had people just take off in the middle of the night. That’s why.

Ms. Collins…

…I would never do that.

(lively chatter, laughter)

(lights buzzing)

♪ ♪

♪ ♪

(“You’re My World” by Cilla Black playing)

♪ You’re my world ♪

♪ You’re every breath I take ♪

♪ You’re my world ♪

♪ You’re every move I make ♪

♪ Other eyes see the stars ♪

♪ Up in the skies ♪

♪ But for me, they shine ♪

♪ Within your eyes ♪

♪ As the trees reach for the sun ♪

♪ Above ♪

♪ So my arms reach out to you ♪

♪ For love ♪

♪ With your hand ♪

♪ Resting in mine ♪

♪ I feel a power ♪

♪ So divine ♪

♪ You’re my world ♪

♪ You are my night and day ♪

♪ You’re my world ♪

♪ You’re every prayer I pray ♪

♪ If our love ♪

♪ Ceases to be ♪

♪ Then it’s the end of my world ♪

♪ For me ♪

May I take your cloak, madame?

My cloak?

♪ With your hand ♪

♪ Resting in mine ♪

♪ I feel a power ♪

♪ So divine ♪

♪ You’re my world… ♪

And are we meeting a gentleman this evening?

We are not.

Oh, so madame is alone?

I am.

Very good.

♪ If our love ♪

♪ Ceases to be ♪

♪ Then it’s the end of my world ♪

♪ End of my world ♪

♪ End of my world for me. ♪


(song ends)

ANNOUNCER: Once again, Miss Cilla Black.

Hello. You’re a gorgeous creature.

What’s your name?


Care to join my friends and I, Sandie?

Thanks, but I’m here to meet the owner.

I am the owner.

Oh, I doubt that.

I’m whatever you want me to be, Sandie.

What’s your poison, miss?

I’m not here to drink, actually.

I want to speak to the owner.

Owner’s not in tonight.

What do you want to speak to them about?

I want to be your new headline act.

Where have you played before?


Who starts at the Cafe de Paris?


I can take your name if you want, but maybe you should speak to Jack in the meantime.


Over there.

The guy standing next to Cilla Black.

Brilliant, Cilla. Honestly, what a performance.

He manages a lot of girls.

(quiet chatter)

(indistinct conversation)

Well, hello there.

The bartender said I should get to know the handsome fella standing next to Cilla Black.

You should.

And you are?

The next Cilla Black.

Are you, now?

Well, you know, she started out as a coat check girl.

You willing to work your way up?

Of course.

What can I get you to drink?

It’s Sandie, and I’d love a Vesper.

James, we’d love a Vesper.

(band playing a lively tune)

So, what do you do, Sandie?

Well, I sing, of course.

How’s your dancing?

Care for a demonstration?

BAND MEMBER: Here we go.

♪ ♪

♪ ♪

♪ ♪

Your thoughts?

You’re already a star.


But you could be an old lady before you get onstage here.

How about I get you a gig somewhere this week?

You could do that?

I could, indeed.

But first, let me get your Vesper.

Do I get a dance now?

Afraid not.

Oh, you looked up for it just then.

I’m just waiting for my friend Jack to get my drink.

Well, I’m sure Jack won’t mind.

I mind.

Now, don’t pretend you don’t love the attention.

Is this man bothering you?

I was just asking our friend Sandie for a dance.

Her card is full right now.

That’s all right, old chap.

Don’t hog her all night.

You’re the only hog round here, old chap.

Now, don’t be a cunt about it.

You can keep your little whore.

What did you call the lady?

She’s a slut, mate. Look at her.



(people gasping)

JACK: Come on.

(Sandie chuckling)

(song ends)

♪ ♪


(band playing upbeat tune)

(both laughing)

(Sandie gasps)

Least I can do is drive you home.

Oh, what’s the most?


Do you know Goodge Street?

Very well.

I’m on Goodge Place, number eight.

JACK: Madame.

(“Anyone Who Had a Heart” by Cilla Black playing)

♪ Anyone who ever loved ♪

♪ Could look at me ♪

♪ And know that I love you… ♪

JACK: Being here with all these lights shining on you,

it’s the closest most people ever get to being onstage.

You know, to their dreams.

Not me.

Not you.

I can see you want it.

More than anything.

Well, this is just a taste of things to come, Sandie.

♪ In his arms and love me, too ♪

♪ Who couldn’t be another heart that hurt me ♪

♪ Like you hurt me and be so untrue ♪

♪ What am I to do? ♪

♪ Every time you go away, I always say… ♪

So, I’ll see you again?

I hope so.

Tomorrow, 8:00 p.m.?

You know where to find me.

♪ I take you back ♪

♪ Without you, I’d die, dear ♪

♪ Knowing I love you so ♪

♪ Anyone who had a heart ♪

♪ Would take me in his arms ♪

♪ And love me, too ♪

♪ Who couldn’t be another heart that hurt me ♪

♪ Like you hurt me and be so untrue ♪

♪ What am I to do? ♪

♪ Knowing I love you so ♪

♪ Anyone who had a heart ♪

♪ Would take me in his arms ♪

♪ And love me, too… ♪

(music stops)

(alarm beeping)

Self-portrait, is it?



ELOISE: Uh, uh, no.

It’s just someone I know.

Yeah. She looks cool.

ELOISE: She is.

JOHN: Like that retro style?


There’s just something about the ’60s that speaks to me.

JOHN: Yeah. Nice.

I’m gonna go check this out.


Fine. What?


This is rather retro.

The hickey. Very daring.

So, what did you get up to last night in Soho?

Out with some guy?

Or-or girl.

(quiet chuckling)

No judgments here.

Live your best life, you know.

You should get some arnica on that, babes.

(hushed chatter)

(quiet laughter)

(toilet flushes)

(door closes)

(gasps softly)

(door opens)

(door closes)

(“Got My Mind Set on You” by James Ray playing)

♪ I’ve got my mind set on you… ♪


I really liked what you drew today.

The design.


Oh, and, uh…

Ah, you didn’t have to.

It’s the least I could do.

What’s the most?


Uh, I don’t know why I said that.

I thought it’d sound cool.


Do you have any plans tonight?

(heartbeat pulsing)

Yeah, I kind of do, actually.

♪ Everywhere I go, you know ♪

♪ Bad luck follows me ♪

♪ Every time I’ve fallen in love ♪

♪ You know, I’m left in misery ♪

♪ This time, I really feel ♪

♪ I feel that it’s really real ♪

♪ I feel if I put my mind to it ♪

(doorbell rings)

♪ I feel that I really could do it ♪

♪ I’ve got my mind set on you ♪

♪ I’ve got my mind set on you ♪

♪ I’ve got my mind set on you ♪

♪ I know what I got to do ♪

♪ It’s gonna take money… ♪

I’m sorry I’m a little late.

“A little” doesn’t quite cover it.

I’ve got a feeling you’ll forgive me.

(lively chatter, laughter)

♪ I’ve got my mind set on you ♪

♪ I know what I got to do ♪

♪ It’s gonna take money ♪

♪ It’s gonna take money ♪

♪ A whole lot of spending money ♪

♪ It’s gonna take hard money ♪

♪ To do it right, child ♪

♪ It’s gonna take time ♪

♪ It’s gonna take time ♪

♪ A whole lot of precious time ♪

♪ It’s gonna take patience… ♪

SANDIE: It’s closed.

Not for you.

♪ To do it, to do it, to do it, to do it ♪

♪ Oh, yeah. ♪

(song ends)


What’s going on?

An audition.


All right, knock us dead.

♪ When you’re alone and life is making you lonely ♪

♪ You can always go ♪

♪ Downtown ♪

♪ When you’ve got troubles, all the noise and the hurry ♪

♪ Seems to help, I know ♪

♪ Downtown ♪

♪ Just listen to the music of the traffic in the city ♪

♪ Linger on the sidewalks where the neon signs are pretty ♪

♪ How can you lose? ♪

♪ The lights are much brighter there ♪

♪ You can forget all your troubles ♪

♪ Forget all your cares ♪

♪ So go downtown ♪

♪ Things will be great when you’re ♪

♪ Downtown ♪

♪ No finer place, for sure ♪

♪ Downtown ♪

♪ Everyone’s waiting for you ♪

♪ Everyone’s waiting for you ♪

♪ Everyone’s waiting ♪

♪ For you… ♪


So, she can sing.

♪ ♪

(sighs) I can’t fucking believe it.

I can.

SANDIE: Can’t wait to get back in there.

It’s no Cafe de Paris.

It’s perfect, Jack. Thank you.

Well, like I said, least I can do.

Much better than being a coat check girl.

And we all have to start somewhere.

Indeed, we do.

Do you think I should get a stage name?

What’s Sandie short for?


Nah, stick with Sandie. Suits you.

Could do with some new outfits.

Oh, yeah?

Anything else you need?

A manager.

Know anyone?

I think I can manage you.

SANDIE (distorted, echoing): Just as long as you’re in it for the long run.

Just as long as you’re in it for the long run.

Just as long as you’re in it for the long run.

Just as long as you’re in it for the long run.

Sandie, I’m with you till the end.

(alarm beeping)


(alarm continues)

(“(Love Is Like a) Heat Wave” by The Who playing)

I can’t fucking believe it.

PEGGY: Well, it’s certainly a surprise.

(camera clicking)

If I didn’t know it was you, (over phone): I’d walk right by you on the street.

It makes you look so grown-up.

Don’t you like it?

I like it if you like it.

Yeah, I love it.

I’m just glad you’re finding yourself in London, Eloise.

Gran, it’s everything I ever dreamed of.

MS. TOBIN: It’s ambitious… I’ll give you that… but I’m not sure this vintage fabric will behave.

I think it’s gonna be tricky to work with.


I know this is exactly what it needs.

It needs something radiant but not too structured.

Okay. Go on.

Well… It needs to flow.

I like how it drapes on her arms and gathers at her sides.


So, you imagine the wearer when you’re designing?

When I see someone in it, when-when I imagine it, sh-she’s wearing the dress.

The dress isn’t wearing her.

I hope you were all listening to that.

Something about the ’60s?

(quiet laughter)

MS. TOBIN: It’s excellent, Ellie.

And I like your hair.


(makes choking sound)

(quiet laughter)

(bell jingles)


Yeah, it really suits you.

Yeah, it does, doesn’t it?

Everything was so well made back then.

We have a Biba dress in the back.

1967, immaculate condition.

You should try that one, too.


♪ Just give me another chance ♪

♪ This could be a new romance ♪

♪ Heat wave ♪

♪ Heat wave… ♪

(song fades)

♪ ♪


Are you going to pay for that?

Uh, yes. Sorry.

So, that will be 375 pounds.



ELOISE: Excuse me.

I was just wondering, are you still hiring?

Sorry, it’s Irish only.


Only joking. Speak to Carol down the stairs.

(chuckles softly)

CAROL: You’d think I’d have more sense than to take a racing tip from that fella after all these years, wouldn’t you?


What can I get you, love?

Well, I was hoping a job.

Take a seat. You want a drink?

Uh, yeah.

Could I get a Vesper?

This isn’t Mayfair, darling.

Have you ever even worked in a pub before?


But we all have to start somewhere.

I’ll get you a G and T so.

♪ ♪

CAROL: So, what shifts can you do?

Whenever you want.

♪ ♪

Excuse me.

Excuse me, love.

I’m talking to you, blondie.

Sorry, I have to be somewhere.

I’m not trying to pick you up, sweetheart. Don’t worry.

I’m not worried.

You look familiar to me.

Who’s your mother?

My mother’s dead.

I thought she might be.

Most of ’em are.

(tires squeal, horn honks)

DRIVER: Get out of the fucking road!

Watch where you’re going, girl.

DRIVER: Jesus Christ.

(horn honks)

Can I help you?

It’s me, Ellie.

So it is.

Look at that.

You’ve changed your hair.


I wanted to go for something different… you know, a bit ’60s.

You play a lot of that music, don’t you?

Is it too loud?

Not at all, but what’s that about?

It’s more my time than yours.

My gran plays it a lot.

Guess I just like the old songs better than the stuff today.

Music was better, yeah.

(“Downtown” by Petula Clark playing)

♪ When you’re alone and life is making you lonely ♪

♪ You can always go ♪

♪ Downtown ♪

♪ When you’ve got worries, all the noise and the hurry ♪

(heartbeat pulsing)

♪ Seems to help, I know ♪

♪ Downtown… ♪

ANNOUNCER: Ladies and gentlemen…

(rhythmic clapping)

…keep those hands clapping.

Welcome to the world-famous Rialto Revue.

Now onstage, give a warm welcome to the exotic, the alluring Marionetta.


♪ ♪

♪ I… ♪

♪ Wonder if one day that ♪

♪ You’ll say that you care ♪

♪ If you say you love me madly ♪

♪ I’ll gladly be there ♪

♪ Like a puppet on a string… ♪


♪ Love is just like a merry-go-round ♪

♪ With all the fun of the fair ♪

♪ One day, I’m feeling down on the ground ♪

♪ Then I’m up in the air ♪

♪ Are you leading me on? ♪

♪ Tomorrow, will you be gone? ♪

♪ I… ♪

♪ Wonder if one day that ♪

♪ You’ll say that you care ♪

♪ If you say you love me madly ♪

♪ I’ll gladly be there ♪

♪ Like a puppet on a string… ♪

(men shouting)

♪ I may win on the roundabout ♪

♪ Then I lose on the swings ♪

♪ In or out, there is never a doubt ♪

♪ Just who’s pulling the strings ♪


♪ I’m all tied up in you ♪

♪ But where’s it leading me to? ♪

(song fades)

(Eloise gasps)

(Sandie exhales slowly)

(yelps, whimpers)

(banging at door)

(both gasp)

JACK: Where’s my Sandie?

(pounding on door)

Come on, night’s not over yet.

Open up.

What do you want?

Don’t talk daft. You know.

ANNOUNCER: Once again, show your appreciation for Cleopatra!


♪ ♪

(men chattering, laughing)

All right, Jack?

Enjoy yourself.


Mr. Pointer.

Well, well, well.


We were promised a great show, and show you did.

Show you did.

Thank you.

Maybe we could, uh… go for some drinks, Sandie, eh?

Just us.

I’m with Jack.

Oh, Jack doesn’t mind. Do you, Jack?

Not one bit.


Sorry, sir.

Sandie, get back here. Sandie.

Jack, I don’t want to do this.

You told me you were serious about being a performer, so if you want to keep doing it, then these are the kind of men that you need to keep happy.

The men you really need to perform for.

No, Jack.

Everybody else is doing it. What makes you so special?


She said no!

(chuckling): We all have to start somewhere.

(echoing): Sandie, don’t be a damn fool!


(bell ringing)

(distorted chatter)

JACK: Listen, love, come here!

No, it’s not what I thought.

JACK: Sandie, this is the way it works.

I’d do what your manager tells you.

Don’t want to make me unhappy, do you?


Wake up.

JACK: You were the one who wanted this!

More than anything, you said.

You know this is all an act.

You know where this is heading, Sandie.

Where are you gonna run to, eh?


♪ ♪

JACK (echoing): This is just a taste of things to come, Sandie.

(toilet flushes)

(singsongy): Coo-ee.

(chuckles) I know you’re not asleep.

Leave her alone!

(alarm beeping)


(alarm continues)

You know you’re not asleep.


(alarm continues)

(alarm stops)

♪ ♪

JACK: You were the one who wanted this!

More than anything, you said.

What makes you so special?

What makes you so special?

What makes you so special?


STUDENT: Oh, my God.

Ellie. Hey, what-what are you doing?

What are you doing?

Starting again.

MS. TOBIN: Listen. This is a wobble, okay?

It’s just a crisis of confidence, and I see it all the time.

But you are really onto something here, so don’t stop now.


♪ ♪

(distorted siren blaring)

(fingers snap)

(siren stops)

Tuned to the moon?




What do you want?

Well, I heard you work here now, and I was going for a drink, so I thought, kill two birds with one stone.

Just because you seemed a little upset in class today.

And I thought maybe I could swing by, see how you were getting on.


I meant, what do you want to drink?

Oh, yeah.

Three Kronenbourgs, please.


JOHN: Heard you got a new place.

ELOISE: Yeah. I’m in a bedsit.

That’s good, right?

It’s really something else.

It must be great living on your own.

Must be.

Why? What’s up?


I’m just a bit overwhelmed at the moment.

London can be a lot.

I get it.

Coming to the city can be a bit of a nightmare.

Honestly, I’d be lying if I said I had the best time in North London so far.

Where’d you move from?

South London.

I’m gonna get these to my mates.


…I know what it’s like to feel like you don’t belong.

And I’m a good listener, if you ever want to talk.

They’re meant to talk to you about their problems, not the other way round.


(cell phone ringing, buzzing)

PEGGY (over phone): So, how is everything?

You never tell me anything anymore.

Everything’s great, Gran.

(slurring): Goodbye, beautiful.

I’ll see you tomorrow.

(man laughing)

PEGGY: Who was that?

Uh, no one.

(chuckling): Look, we’re at the pub, a whole bunch of us, having fun.


Yeah, Hurricane Jocasta.

Everyone, really. The whole class.

Something’s wrong.

No. (chuckles)

Ellie, I can hear it in your voice.

Gran, I really am at the pub.

I’m working here.

Working there? Why?

I moved out the halls.

Oh, no. What…

I needed to get a place of my own.

Did-did something happen?

Did you see her again?


No, Mum’s not here with me.

Then what is it?

What’s wrong?

Please tell me.

Look, I should go back in.

I know you think you have something to prove, but it’s okay to ask for help.

She didn’t.

Gran, I have to go.

I love you.

Love you, too.

Everything all right, Ellie?

Or do I call you Eloise, like the old song?

I don’t know that song.

And how do you know my name?

I make it my business to know all the pretty girls around here.

All their problems.

Always have done.

You smoke, don’t you, love?


Oh, must be thinking of some other blonde.


…be well.

(gasps softly)

Was Handsy bothering you?



The man’s like an octopus.

Carol says he was a right ladies’ man back in the day.

Probably thinks he has a shot with you.

ELOISE: Do you believe in spirits?

CAROL: What kind of a question is that?

That brown stuff pays your wages.

I mean… do you believe in ghosts?

Ghosts? No.


Are you scared down here?

If this place is haunted by anything, it’s the good times.

When it’s empty, all I hear is the laughs.

Every gangster, every copper, every red-faced lush has been in here, and all those high spirits have soaked into the walls.

You could probably get drunk on just that.


Ellie, I love you, girl.

You fit right in.

But you can’t sleep here.

♪ ♪

(steps creaking)

(door opens)

♪ ♪

♪ ♪

(record player clicks)


(“Land of 1,000 Dances” by The Walker Brothers playing)


Come on, they’re waiting for you!


Don’t touch me!

JACK: Oh, shut up, will you?

ELOISE: Leave me alone!

♪ La, la-la-la-la ♪

♪ La-la-la-la, la-la-la, la-la-la ♪

♪ La-la, la-la ♪

♪ La, la-la-la-la ♪

♪ La-la-la-la, la-la-la, la-la-la ♪

♪ La-la, la-la ♪

You know how to dance.

You know why you’re here.

Get on with it.

♪ You gotta know how to pony ♪

♪ Like a Bony Maronie ♪

♪ And do the jerk ♪

♪ Let’s see you work ♪

♪ Wa-Watusi ♪

♪ Like a Lucy Goosey ♪

Hello there.

Thank you.

What’s your name?


That’s a lovely name.


♪ La, la-la-la-la ♪

♪ La-la-la-la, la-la-la, la-la-la ♪

♪ La-la, la-la ♪

What’s your name?


That’s a lovely name.


♪ Mashed potato ♪

♪ Alligator ♪

♪ Do the snake ♪

♪ Do the hippie shake ♪

What’s your name?


That’s a lovely name.

♪ Roll over on your back now ♪

♪ I said I like it like that now ♪

♪ Ah, goodness ♪

Hey, what’s your name?


That’s a lovely name.

Thank you.


♪ Everybody now ♪

♪ La, la-la-la-la ♪

♪ La-la-la-la, la-la-la, la-la-la ♪

♪ La-la, la-la ♪

(music distorts)

♪ Clap your hands now, clap your hands now… ♪

What’s your name?



What’s your real name, love?

I reckon you’re a copper or something.

Do you, now?

So, what is it?


You’re too good for this, Sandie.

Pretty little thing like you, laying in the gutter.

I’d get out while you can, girl.

You’re better than this.

I don’t think I am.

Course you are.

Just look in the mirror.

What if I don’t want to?

Then maybe it’s too late for you.


(muffled): Sandie.

Sandie, look at me. Look at me, Sandie.

Look at me, Sandie! Look at me, Sandie!


(distorted female voice pulsing quietly)

SANDIE (growing louder): You know where to find me.

You know where to find me. You know where to find me.

You know where to find me.

(echoing): You know where to find me.

♪ ♪

(distorted male voice pulsing quietly)

MAN (growing louder): That’s a lovely name.

That’s a lovely name.

That’s a lovely name.

(distorted voices overlapping)

That’s a lovely name.

That’s a lovely name. That’s a lovely name.

What’s your name?

SANDIE: Alexandra.

What’s your name?


What’s your name?


What’s your name?


MAN: That’s a lovely name.

(distorted voices overlapping)

MAN: That’s a lovely name.

SANDIE: That’s a lovely name!

SANDIE: Andie. Sandie.

MAN: That’s a lovely name.

SANDIE: That’s a lovely name!

MAN: That’s a lovely name.

MAN: That’s a lovely name.

SANDIE: That’s a lovely name!


(breath trembling)

♪ ♪

♪ ♪

SANDIE: That’s a lovely name!


(distant siren blaring)

(door opens)

Got any plans tonight, Ellie?

Uh, yeah, I’d love to come out.

I haven’t even said what it is yet.


But you’re saying yes anyway?

Yeah, I need to get out of the house.


Well, there’s a student union night.

A Halloween thing.

Don’t we have to dress up?

I was gonna go like this.

And you’re already in black, so it’s perfect.

Will that be enough?

Well, I was gonna slap a bit of this on.

Tell ’em I’m a ghost.

(spooky voice): So, want to haunt this party with me?

(“There’s a Ghost in My House” by R. Dean Taylor playing)

♪ There’s a ghost in my house ♪

(lively chatter, whooping)

♪ The ghost of your memory ♪

♪ The ghost of the love you took from me ♪

♪ Where our love used to be ♪

♪ Only shadows from the past I see ♪

♪ Time can’t seem to erase ♪

♪ The vision of your smiling face ♪

♪ Though you found someone new ♪

♪ I can’t get over you ♪

♪ There’s a ghost in my house ♪

♪ I can’t hide ♪

♪ From the ghost of your love that’s inside ♪

♪ It keeps on haunting me… ♪

Hey, do you want to dance?

I might need some alcohol first.

All right, I’m on it.

No need, guys.

Get these down you.

Happy Halloween, lovebirds.

(“Happy House” by Siouxsie and the Banshees playing)

♪ Ooh… ♪

♪ Ooh, ooh ♪

♪ Ooh… ♪

♪ Ooh, ooh ♪

♪ This is the happy house ♪

♪ We’re happy here in the happy house ♪

♪ Oh, it’s such fun ♪

♪ Fun, fun ♪

♪ Whoa ♪

♪ We’ve come to play ♪

♪ In the happy house ♪

(music distorting): ♪ And waste a day ♪

♪ In the happy house ♪

♪ It never rains ♪

♪ Never rains ♪

♪ We’ve come to scream ♪

♪ In the happy house ♪

♪ We’re in a dream ♪


♪ In the happy house ♪


♪ We’re all quite sane… ♪

JOHN: El? El!

What is it, El?

♪ Whoa ♪

♪ This is the happy house ♪

I need some air.

♪ We’re happy here… ♪


(thunder crashes)

(rain pattering)

(siren passing)

(whimpers, pants)

(gasping, panting)

JOHN (distorted): Ellie!


Is there anything I can do?

I don’t want to be like this.

Like what?

I just wish I was like everybody else.

I’m glad you’re not.

Do you want to go somewhere else?

I’m not meant to have guys back.



So you’ll have to be quiet.



(both chuckle)

You don’t just want to go to sleep?

No, I really don’t want to go to sleep.

Well, I can keep you up.

(both laughing)

Oh, what am I saying?

(brakes squeal)

(both laughing)

(Eloise squeals)

(John whoops)

JOHN: Come on.

ELOISE: I’m coming!

(both whooping)

JOHN: Ellie!

(both laughing)

(both giggling)

(Eloise shushing)

(whispers): Okay.

(thunder rumbling)

♪ ♪

♪ ♪

Get off me.

Are you okay?

(crying): Get off her.

(Eloise whimpering)

Get off her.

What’s wrong?

(muffled gasping)

Get off her! Get off her!

I’m not… I’m not on her.

JACK (muffled): Who would even want you?

You belong to me!

(gasping, whimpering)

JACK: I own you!

Don’t you ever disobey me.


JACK: I’m the one who’ll pay, not you.

(Jack grunts)

(gasping, yelping)

Ellie, what’s wrong?

JACK: Who’d have you now, eh?

MS. COLLINS: Eloise! What is going on in there?

No male visitors!

(door rattling)

Who’s in there?!

(whimpers, screams)

I’ll call the police!


MS. COLLINS: Get him out of here!

Where are you gonna go, eh?

Where you going? Where you going?

(door rattling)

JOHN: Fuck.


(distorted screaming)

Get out! Get out!

(Eloise screams)

Get out!


(distorted screaming)

MS. COLLINS: Get out!

SANDIE (distorted): You know where to find me.

You know where to find me.

You know where to find me.

(gasping breaths)

Are you okay?


Did he hurt you?


You sure?

He didn’t hurt me.

We’ll talk about this in the morning.

(shuddering breaths)

♪ ♪



For everything.

It won’t happen again, will it?


I-I’ll-I’ll pay for the mirror, too.

We all pay for a broken mirror, deary.

Ms. Collins.

Did a girl live upstairs before?

Lots of girls have lived here over the years.

Someone called Sandie?

Lots of girls have lived here over the years, and not all of them with their real names.

Why do you ask?

Did someone die in my room?


This is London.

Someone’s died in every room in every building in this whole city.

Every street corner, too.

Oh, and speaking of which, I would have killed your gentleman friend last night if I’d caught him, so count yourself lucky, broken mirror or not.

(light buzzing)

(thumping, creaking)

(voice whispering indistinctly)

(echoing whisper): Where you going?

Where you going?

Where you going?

Where you going? Where you going?

Where you going?

Where you going?


(alarm beeping)

(passing car honks horn)

(“Always Something There to Remind Me” by Sandie Shaw)

Good morning, Ellie.

Oh, something happened last night. (chuckles)

♪ I walk along the city streets ♪

♪ You used to walk along with me… ♪

How’s that?

Um, do you think it’s a bit long?


♪ Oh, how can I forget you ♪

♪ When there is always something there to remind me? ♪

You know where to find me.

Eloise, what’s wrong?

Ellie, are you okay?

JOCASTA: What the fuck is wrong with her?

JOHN: Ellie.


Talk to me.

(distorted): Talk to me.

(gasping, whimpering)

♪ You’ll always be a part of me ♪

Ellie! Ellie!


♪ When shadows fall, I pass the small café ♪

♪ Where we would dance at night ♪

♪ And I can’t help recalling ♪

♪ How it felt to kiss and hold you tight ♪

♪ Well, how can I forget you ♪

♪ When there is always something there to remind me? ♪

♪ Always something there to remind me ♪

♪ I was born to love you ♪

♪ And I will never be free ♪

♪ You’ll always be a part of me ♪

♪ Oh, whoa-whoa-whoa ♪

♪ Whoa, whoa, oh… ♪

(song fades)


♪ ♪

(voices whispering): Where you going?

Where you going?

(echoing): Where you going?

Watch where you’re going, girl.

JACK: These are the kind of men that you need to keep happy.

(siren wailing nearby)

MAN: Then maybe it’s too late for you.

JACK: Don’t you ever disrespect me!

MAN: I’m talking to you, blondie.

MS. COLLINS: This is London.

MAN (echoing): You look familiar to me.

MS. COLLINS (echoing): Did he hurt you?

DETECTIVE: Just so I’ve got this straight, you-you witnessed the murder last night, but you believe this was a vision from the past, the murder of a young woman in the mid to late 1960s by a man you believe to be her pimp.


You’re an art student, correct?

Uh, fashion.

Have you ever taken any hallucinogens?

Acid, mushrooms, mescaline?

We’re not gonna get you into trouble if you have.

Yeah, I know it sounds crazy, but I’m not on drugs.

I don’t take anything.

You were at a party before.

Could somebody have slipped you something?

Maybe somebody bought you a drink?

Get these down you.

Uh, no.

No, it-it… it started before last night.

When I was sober, I saw landmarks in my dreams, details of nightclubs, places that I’d never been to before, and then I saw those details in real life.

I know something bad happened to this girl, ’cause I have these visions, these visions of the past.

Ever since I moved to London, I keep seeing Sandie.

Th-That’s the murdered girl.

Have you only been here a short time?

A few weeks.

London, well, it can be a lot.

Maybe it would help if you spoke to someone.

Look, please just listen to me!

Is there a history of s-schizophrenia or mental health issues in your family?

I know who the killer is.

It’s her boyfriend, uh, and her pimp, Jack.

I’ve seen him in the present day.

Look, there’s this man I’ve seen around Soho who follows me.

The first time I saw him outside one of those models places, he didn’t take much notice of me, but he did suddenly take notice when I changed my hair to the same style as Sandie’s, the murdered girl.

What, this hairdo?

Look… look, my point is I’ve seen Jack.

I’ve seen the killer as an old man around Soho.

Can you narrow down “around Soho”?

He drinks at The Toucan.

I think we’ve got all we need.

(papers shuffling)

(door bangs open)


(toilet flushes)

DETECTIVE: And then she says the… the killer drinks at The Toucan and-and narrows it down to me, you and the whole rest of Soho.

(men laughing)

DETECTIVE: Yeah, I’m sitting there thinking, “This is complete bullshit, darling.”

Miss Turner.

Miss Turner, don’t go.

I’d really like you to stick around.

What do I need to do to convince you I’m not crazy?

I don’t think you are.

I just think you need a bit of help to settle in.

A-A support system.

You’ve done the right thing.

Please hear that, okay?

And I will look into Sandie’s murder, and I’ve got your contact details, so if anything comes up, I’ll be in touch.

Thank you.

Though I will say, in such cases, especially this old, it’s hard when you don’t have something concrete to go on… even a last name.

♪ ♪

I want to look up murdered women, uh, missing persons in the Central London area from 1960 to 1969.

Aren’t you a fashion student?

Yeah. Yeah, it’s research.

You’re doing some cool fashion shoots based on infamous murder sites or something?


Yeah, that’s exactly right. (chuckles)


It is.

♪ ♪

JOHN (quietly): Hey, Ellie, I got your…

(panting): Jesus, John!

Why whisper like that?

It’s a library.


I have your stuff.

You ran out.

Uh, left your bag.

Everyone’s here, cramming for the test.

Listen, about last night.

I mean, if I did something wrong…

No, you didn’t.

Sorry, it’s not about you.

Then… what is it, El?

You’ll think I sound crazy.

Talk to me.

Last night, I saw something.

In the bedroom, from the past.

What did you see?

A girl was stabbed.

There’s a girl that used to live in my room…


The guy that killed her is still out there.

So I’m looking for murdered women and missing persons from the ’60s to try and find out her name.

And if I don’t, I’m gonna lose my mind.

Maybe I already have.

Feel free to run a mile now.


My auntie believes in all sorts of weird shit.

So you just tell me how I can help.

Well, I guess you can start with the next year of boxes: 1966.

Damn. This is just one year?

London’s a bad place.

(chimes play over P.A.)

WOMAN (over P.A.): Library will be closing in 15 minutes.

♪ ♪

(ringing, buzzing)

(ringing and buzzing stop)

That was quick.


(panicked gasping)

(voices whispering indistinctly)

(growling, indistinct whispering)

(snarls, hisses)




Fuck this!

(yells, gasps)

(shuddering breaths)

CAMI (whispers): Did you see that?

Ashley, she could have fucking killed her.

It’s okay.

It’s okay.

It’s not fucking okay.

What the actual fuck?!


Stay here.

Jocasta! Jocasta, wait!

JOCASTA: Security!

JOHN: Stop!

Jocasta, it was an accident.

JOCASTA: An accident? Are you fucking kidding me?


♪ ♪

SANDIE (distorted): What happened to me?

What happened to me? What happened to me?

What happened to me?

What happened to me? What happened to me?

What happened to me?

(alarm whooping)

What happened to me?

What happened to me?

(siren blaring nearby)

What happened to me?

What happened to me? What happened to me?

What happened to me?

What happened to me? What happened to me?

What happened to me?

What happened to me? What happened to me?

What happened to me?

What happened to me? What happened to me?

(whistle blows)

(tires squeal, horn honks)

What happened to me?

What happened to me? What happened to me?

What happened to me?


Where do you think you’re going?

You think you can just walk away?

(distorted voices overlapping)

♪ ♪



Leave me alone!

♪ ♪

Hey, come back here, you slut!

Get back here, whore!

I’m talking to you, Sandie!

Leave me alone!

(thunder rumbling)


(siren wailing in distance)


(shuddering breaths)

Jack! Jack!



♪ ♪

Where the hell have you been?

I’ve been covering you downstairs for the last hour, for fuck’s sake.

Ellie, get down in that basement, girl.

You’ve got a customer.

(“Eloise” by Barry Ryan playing on jukebox)

MAN (to rhythm of song): ♪ Bum-bum-bum, bum-bum-bum ♪

(on jukebox): ♪ Every night, I’m there ♪

♪ I’m always there ♪

♪ She knows I’m there ♪

♪ And heaven knows ♪

MAN: ♪ Bum ♪

(on jukebox): ♪ I hope she goes ♪

MAN: ♪ Bum, bum ♪

MAN: ♪ Eloise ♪

(jukebox): ♪ I find it hard ♪

♪ To realize that love was in her eyes ♪

(man hums along)

♪ It’s dying now ♪

♪ She knows I’m crying now… ♪

And here she is.

You know your siren song is playing?

I just put this on the jukebox, and lo and behold, you appear.

Carol was worried about you.

Thought you’d gone missing.

I told her no one ever really disappears.

They’re always around somewhere.

I’m right here.

Aren’t you just?

I’ll have a pint of Numbers, love.

I hear you were quite the ladies’ man.


How dare you?

Still am.

You never lose it.

You knew a lot of the girls round here?

A lot of ’em?

I knew all of ’em.


Who didn’t know Sandie?

(singing along to jukebox): ♪ My Eloise-a ♪

♪ I’d love to please her ♪

♪ I’d love to care ♪

♪ But she’s not there ♪

(whimpers softly)

Do I scare you?


I knew all the girls.

Like to think I looked after ’em.

Had to keep them in order, too, mind.

Keep ’em in line.

Sandie, she was special, though.

She didn’t belong.

I thought she was too good for it.

But, you know, at the end of the day, you all look the same on a slab.

I know what you did.

I’ve done a lot of things, Eloise.

You’re gonna have to be more specific, love.

I know what you did to Sandie.

Do you, now?


Yeah, I saw her.

I see her.

I know what happened.

Well, whatever happened to Sandie, she brought it on herself.

But no one deserves that.


I know where you live, Eloise.

And I don’t know what you’ve seen or heard, but I can tell you Sandie ended up exactly where she wanted to be.

Funny you mention her, though, because the first thing I did when I dragged myself back to this miserable smoke was to look up her old bones.

But turns out some people don’t want to be found.

But you killed her.

You think I killed Sandie?

I know you did!

(glass shatters)

Ha! I think you’ll find Alex killed Sandie.

Come back.

Nah. I’ve had enough of this line of questioning.

You think she was an angel, but don’t be fooled.

I’m recording this.

You won’t get away with it!

So what? I do what I like in this manor.

The police know! I told them!

Like I give a flying fuck.

Look, wait!

When you see Alex in whatever little hell she’s currently in, you tell her I said hello.

(tires screech)

(Eloise gasps)

(onlookers gasping, murmuring)


Oh, my good God.


(Eloise sobbing)

What happened?

DRIVER: He just stopped in-in the middle of the street.

Oh, Lindsey, you poor bastard.

Call an ambulance, pet.


And tell ’em he used to be police.

That’ll make them hurry.

Right. Okay.


He’s police?

Yeah, he’s ex-vice.

He used to be a copper in Soho for years and years, working the red light district, and now look at him.

Then his name’s not Jack?


No, love.

That’s Lindsey.

(whimpering, panting)

BARTENDER: Yeah, he looks very bad.

I reckon you’re a copper or something.

(echoing): I reckon you’re a copper or something.

Do you, now?

(echoing): Do you, now?

(echoing): I’d get out while you can, girl.

CAROL: Ellie?


(siren blaring)

ELOISE (sobbing): I’ve let you down.

I’ve let Mum down.

PEGGY (over phone): You haven’t let anyone down.

You never could.


Ellie, I don’t know what’s happened, but it’s okay to come home.

You haven’t failed anyone.


I’ll-I’ll come and get you first thing tomorrow.

No, Gran, I can’t stay another night.

Well, uh, I’ll get someone to drive me now.

JOHN: Ellie?

(siren wailing)


PEGGY: Hello?

PEGGY: Hello?

Look, I have someone who can help.


I’ll call you.

PEGGY: Ellie? Eloise?

JOHN: Ellie!




Thank God.

I saw the flashing lights, and I thought… I’m scared here.

I’ll take you back to yours.

No, I want to go home. Home, home.

I-I need to get out of London.

Can you help me get to the train station?

Forget the train. I’ll drive you.

You have a car?

How else am I supposed to get to North London from South London?

ELOISE: Right, I’m gonna go in there, get my things and never see that fucking room ever again.

JOHN: Do you want me to come up and help?

ELOISE: No, better not. Ms. Collins would probably kill you if she sees you again.

Maybe if I plead, she might give me some of my deposit.


If I’m not back in 15 minutes, maybe come check on me.


(sirens wailing in distance)

(door opens, closes)

Ms. Collins, it’s me, Ellie.

MS. COLLINS: Just coming, deary.

(gasps) You look like you’ve had a fright.

I need your help.

Just you, is it?


I’ll put the kettle on. Come in.

(“Alfie” by Cilla Black playing)

Your music upstairs got me breaking out my old records.

Oh, I picked up a letter of yours by mistake.

It’s in that pile.

(Ms. Collins chuckles)

Don’t judge me on the cigarettes.

All that hoo-ha last night got me going again.


Oh, it’s not your fault.

I was always on the edge of starting again.


How can I help you?

Ms. Collins, I-I’m really sorry to do this.

I-I didn’t want to be this person, but I’m leaving tonight.


Are you, now?

I’m not having a very good time here, and I… I really need to go back home, and I promise…

I promise I’ll pay you for the mirror, but I really need some of my deposit.

Slow down.

I don’t want to beg, but this has been a disaster.

(chuckling): Hush. Slow down.

Drink your tea.

You went to the police, didn’t you?

About the room upstairs, hmm?


A nice police lady came round asking questions about you.

About your well-being.

Welfare check, she called it.

Had me worried.

You’d been saying a girl died up there.



It’s funny ’cause… there is some truth in it.


I hadn’t thought about it until you brought it up, but… a girl did die up there, I suppose.

The young me… that came to this big city.


MS. COLLINS: I had hopes and dreams like you.

I wanted to be a singer.

I wanted to perform.

To act.

Being a whore is a bit like being an actress, I suppose.

You have to pretend you’re someone else.

Someone that’s not you.

I’d pretend I was somewhere else.

LINDSEY (echoing): It’s too late for you.

That this wasn’t happening to me.

MS. COLLINS and SANDIE: Try and forget all those… all those men.

Their faces.

I’d blank them out.

I had to.

Make like they were nothing.

So, yes, you could say Sandie died in that room.

She died in that room a hundred times.

And then one night… the man who put me there… the man who put me to work… the man who stole my dream…

(echoing yell)



…I put a knife in him… a hundred times.

And do you know what, Ellie?

Oh, I can call you Ellie, can’t I?


It felt right, Ellie.

All those bastards who came ringing my bell,

(doorbell ringing)

…creeping up my stairs, they sent me to hell, so… I sent them to theirs.

The papers call them missing persons.

As far as I’m concerned, they were already lost.

So they don’t know where they are.

I say they didn’t know who they were.

(board sliding)

I was doing everyone a favor.

MS. COLLINS and SANDIE: I wasn’t gonna be used anymore.

I wasn’t gonna let this city break me.

I’m so sorry.


It’s not your fault.

No, I mean I understand.

I know what you’ve been through.


Do you, now?

Yeah, I didn’t mean to get you in trouble with the police.

Oh, it’s all right.

They think you’re mad.

And it’s not like you’re gonna tell anyone else.

No. No, I’m not.

Of course not. I-I would never.

No. I mean… I know you’re not going to tell anyone else.

(trembling breaths)

Oh, don’t worry. I’m not gonna stab you like the others.

I wouldn’t do that to you. No.

(Eloise groaning)

You’re gonna go to sleep.

And everyone will think you just topped yourself because, you know, they all thought you were going to do that anyway.

(gasping breaths)

They’re all very concerned about you.


So, you… just get comfy, and… you can doze off listening to some of that nice music of yours.



No more excitement for you tonight.

(doorbell rings)


(Eloise coughs)

Just you, is it?

Little liar!

(Eloise coughs weakly)

(doorbell rings)


Just coming, deary.


(Eloise gasping)


What is it?

Um, I’m here to see Ellie.

She’s upstairs. Come on in.

(Eloise whimpering)


John! (screams)

(John groans)

Will you keep it down!

Enough to wake the bloody dead!

ANNOUNCER: Ladies and gentlemen… Ellie!

ANNOUNCER: …once again, Miss Sandie Collins!

♪ You’re my world ♪

♪ You’re every breath I take ♪

♪ You’re my world ♪

♪ You’re every move I make ♪

JOHN (muffled): Leave her alone!

♪ Other eyes ♪

♪ See the stars ♪

♪ Up in the sky ♪

JOHN (faint, echoing): Stop!


♪ But for me ♪

♪ They shine ♪

JOHN: Fire!

♪ Within your eyes ♪


♪ As the trees reach for the sun ♪

♪ Above ♪

♪ So my arms reach out to you for love ♪

♪ With your hand ♪

♪ Resting in mine ♪

♪ I feel a power ♪

♪ So divine ♪


♪ You’re my world ♪

♪ You are my night and day… ♪

I’ll get you!

MS. COLLINS: I’ll get you!

(gasping, coughing)

MS. COLLINS: Eloise!

(retching, gasping)


♪ Ceases to be ♪

♪ Then it’s the end… ♪

(panicked gasping)


(voices growling)

(Eloise screaming)







(wood crashing)



(bones crackling)

MS. COLLINS: Eloise!

(strained grunting)



MS. COLLINS: Let me in!



(straining): Help.


ALL (moaning): Help.


MS. COLLINS: Eloise!

I’m coming in.

Kill her.

Kill her.

ALL: Kill her.

Save us.

Kill her.


MAN: That’s a lovely name.

JACK: Sandie!

MAN: That’s a lovely name.

JACK: Sandie! Sandie!

That’s a lovely name.

JACK: I’m with you till the end, Sandie.

You were the one who wanted this.

More than anything, you said.

(slap echoing)

(echoing): I didn’t… I didn’t want any of this.

I know.

I saw.

They deserved it.

I know.

(sirens approaching)

I’m not going to prison.

I’ve been in a prison all my life.

No! No!

(knife clatters)

(Eloise crying)


You don’t have to do this, Sandie.

You can live.

Please live.

You have to let go!



You can’t save me.

Save yourself.

Save the boy.


♪ ♪


(coughing, gasping)

John, get up!

(banging at door)

♪ ♪

(sirens wailing)

♪ ♪

♪ ♪

(air whooshing softly)

(air continues whooshing)

(glass shattering)

(air stops whooshing)

♪ Downtown… ♪

ANNOUNCER: And now, with a collection that turns back the clock to those swinging ’60s, this is first-year student Eloise Turner.

♪ Downtown ♪

♪ Things will be great when you’re ♪

♪ Downtown ♪

♪ No finer place, for sure ♪

♪ Downtown ♪

♪ Everything’s waiting for you… ♪

ANNOUNCER: And once again, Eloise Turner.


♪ ♪

I knew you could do this.

(Eloise chuckles)

You’re a star, Ellie.

Thank you.

That was incredible.

You really are so brave.

So brave.

Thanks, guys.

JOHN: This is where she’ll be, over here.

PEGGY: There she is.

My big-time fashion designer.

JOHN: That was amazing, El.

PEGGY: Oh, it was.

It really was.

You’re amazing.


I’m just so happy I was here to see it.


I’m glad I’m here to see it, too.

And you don’t need me to say this, but… your mum would have been so proud of you.

I know she is.

(“Last Night in Soho” by Dave Dee, Dozy, Beaky, Mick & Tich)

♪ You came into my life ♪

♪ Like rain upon a barren desert ♪

♪ One smile, and I was born again ♪

♪ I felt sure ♪

♪ It wasn’t too late ♪

♪ I found strength ♪

♪ To make me go straight ♪

♪ I had love ♪

♪ And threw it away ♪

♪ Why did they lead me ♪

♪ Astray? ♪

♪ For last night in Soho ♪

♪ I let my life go ♪

♪ I never told you ♪

♪ Of some things I’ve done ♪

♪ I’m so ashamed of ♪

♪ I thought my foolish past ♪

♪ Was over and done ♪

♪ I would prove ♪

♪ I’d make a new start ♪

♪ I tried ♪

♪ With all of my heart ♪

♪ I had dreams ♪

♪ And broke them in two ♪

♪ I’m just not worthy of you ♪

♪ For last night in Soho ♪

♪ I let my life go ♪

♪ Well, hi there, kid ♪

♪ You ain’t been around ♪

♪ For quite some little while ♪

♪ You got yourself ♪

♪ A real cute doll ♪

♪ You’re living life in style ♪

♪ But, boy, don’t get ♪

♪ Above your station ♪

♪ If you don’t want ♪

♪ Aggravation ♪

♪ Got a little job for you ♪

♪ This is what you’ve ♪

♪ Gotta do, boy ♪

♪ That’s how last night ♪

♪ In Soho ♪

♪ I let my life go ♪

♪ Don’t cry, my baby ♪

♪ As they lead me ♪

♪ Where no love can help me ♪

♪ Don’t stay around ♪

♪ To watch me go ♪

♪ Just forget ♪

♪ There once was a time ♪

♪ You were proud ♪

♪ To call yourself mine ♪

♪ I had love ♪

♪ Right here in my hand ♪

♪ Why could I not understand? ♪

♪ For last night in Soho ♪

♪ I let my life go ♪

♪ For last night in Soho ♪

♪ I let my life go. ♪

(song ends)

♪ ♪

♪ ♪

♪ ♪

(music ends)


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