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-------------------------
1973
by
Robert Waller
© June 2005
kauai@fastermac.net
FADE IN JANUARY 5, 1973
INT. WORKING CLASS HOME- NIGHT
We've just entered the back door of a modest home. We
stedicam through the darkness. Kitchen, living room, beginning of a hallway. Bright light
escapes the perimeter of the doorway at the end of the hall. Billy Holliday is singing Any
Old Time on a crackling 78. It gets louder as we get closer.
INT. BEDROOM. MODESTLY FURNISHED- NIGHT
A middle aged man, TRAVIS, 50's, is laying naked on a bed. A woman, MIDGE, 30's,
also naked, sits astride him. If she was standing she'd be five inches shy of four feet tall.
MIDGE
Travis, what do you want me to
do now?
TRAVIS
Let me catch my breath.
Travis turns under her to reach a cabled remote with his left hand and presses the on/off
switch. A 16mm Arriflex camera mounted on a tripod whirrs to a stop.
TRAVIS (cont'd)
Boy, you turned out to be a wildcat.
I always wanted to make it with a
midget.
Travis is grinning. Pleased with himself.
MIDGE
Good things come in small packages,
huh? We better hurry and finish. My
husband's going to be home soon.
TRAVIS
I have one more reel of film.
Ready for your big scene?
MIDGE
Do you want me to face the cam-
The bedroom door swings open. Midge's husband fills the doorway. All six foot eight,
two hundred seventy pounds of him.
Life under the two bright lights set up behind the camera has just gotten a whole lot
hotter.
Midge is flying through the air. She knocks over the record player. The needle scratches
across the record and the music stops. Travis has been bounced off a different wall. He
ends up on the floor in a sitting posistion, his left arm hanging crookedly over a chairseat
where earlier he had carefully folded his clothes. His shirt hangs off its back.
The giant isn't finished.
TRAVIS
Ohhh, sh-
EXTERIOR. 1920's SPANISH STYLE HOUSE- NIGHT
TRAVIS(cont.)
-it!
Travis's instinct to get a grip on his pants proved a good one. He's now sitting naked on
the front lawn looking up at the broken glass of the window he's just been tossed
through.
Travis is foggily concious of the fact that something massive and angry is staring back at
him, readying for another charge.
The keys to his car were in the pocket of his pants. He fumbles for them while at a naked,
hobbling, dead run to safety.
TRAVIS(mumbling)
Keys, keys, keys...
INTERIOR OF TRAVIS' CAR- NIGHT
The engine roars to life at the same moment a fist shatters the window just inches from
his head. Tires squealing, Travis flees the lion's den.
TRAVIS
Oh, God. Oh, God. Oh Shit...
Travis exhales a sigh of relief. His pants on the seat beside him. A look of crazed concern
on his face. Two quick pops of gunfire. In the rear view mirror headlights are fast
approaching.
Travis drives at top speed through sleepy residential streets. He is in the Hollywood Hills.
At one point the huge Hollywood sign appears briefly in the background. He makes his
way up Mt. Lee hoping to lose this maniac long enough to gain his bearings.
The Husband stays hot behind. The sound of more gunfire is heard. One of the shots
destroys the side view mirror near Travis's head. Travis buckles his seatbelt.
TRAVIS
Shit. Oh shit, oh shit...
Travis is on Resevoir Road now. The car using both lanes of curving mountain roads.
Moonlight shimmers on the surface of the lake below.
C.U. of Travis' bare foot on car's accelerator.
INSERT. Speedometer registers 90 mph.
Travis checks the rear view mirror. No headlights.
TRAVIS
I lost you!(laughs hysterically)
He checks the mirror again. He keeps his eyes off the road a little too long.
EXT. RESEVOIR TURNOUT- NIGHT
The husband comes around a curve in time to see a car sail a hundred feet into the air. It
lands with a huge splash. Midge's husband stops in a turnout and watches the car fill with
water and begin sinking. When the roof disappears below the surface he climbs into his
car. And drives away.
TITLE SEQUENCE. MOS of SCOTT DANIELS, 18, blond, typical Southern Cal kid,
driving home having just gotten off work. Led Zepellin's D'yer Maker is blasting out of
the speakers.
We see his 10 year old car. A 1963 Ford Galaxie. The lower middle class suburb where
he's lived his whole life. Finally we see the patchwork of houses on the street where he
lives. Definitely not a recently constructed addition.
INTERIOR. SCOTT'S PARENTS LIVING ROOM- DAY
Scott is laying on the couch at his parent's home. It's 9 a.m. The front door of the house
is wide open. The closed screen door allows a clear view of the walkway all the way to
the street.
Outside a '71 Mercedes sedan pulls to the curb opposite. A high school buddy that Scott
hasn't seen since they both graduated six months ago strolls up the walkway and rings
the doorbell.
Scott, more asleep than awake, lifts his head and sees MICHAEL WELLER, 18, dark
hair, average build, a not too recent New York City transplant, standing at the screen
door.
SCOTT
Mike? What're you doing? Come in.
...Mike Weller opens the screen door and enters the house.
MIKE
What're you doing. You asleep?
SCOTT
I just got off work.
MIKE
Come take a ride with me.
I'll have you back in thirty
minutes. I've gotta meet someone.
INTERIOR OF THE MERCEDES- DAY.
SCOTT
What kind of car is this?
Scott runs the tips of his fingers along the burnished wood dashboard. Mike shifts the car
into gear, Scott checks out the rest of the car.
MIKE
You've never seen a Mercedes?
SCOTT
No. Who makes it? Is this leather?
This is real leather? Where'd you
get this? What happened to your
Monte Carlo?
MIKE
It's in the shop. This is
a company car.
SCOTT
What company?
EXTERIOR. SHOPPING MALL PARKING LOT- DAY
The Mercedes prowls up one aisle and then down another.
INTERIOR OF MERCEDES- DAY (MOVING)
MIKE
You're working graveyard shift
for three bucks an hour? Where're
you working?
SCOTT
Whittier. Making fireplace logs.
MIKE
Making what?
SCOTT
You know. Those fake logs you buy
in the store to put in your fireplace.
MIKE
And it took you four months to
find that job?
SCOTT
It's not like I was looking
everyday.
MIKE
I kinda figured you would have
gone to college.
SCOTT
I'm just making some money til I
figure out what I want to do.
Mike finds the car he was looking for and backs up into the parking space to a car that
had similiarly backed into its space.
MIKE
Stay put. I'll be back in a second.
Mike was gone for the length of time it took for both trunk lids to pop open and close a
few seconds later.
SCOTT
What was that?
MIKE
Work. I could use some help. You
want a job? (beat) It pays more
than three bucks an hour.
INT. OF '72 MONTE CARLO- DAY (MOVING) The car is traveling west of the
Hollywood freeway on Sunset Bl. Mike is driving, Scott rides in the passenger seat. Scott
is wearing a fading STOP PRE T-shirt. Mike wears a Hawaiian print shirt. As he usually
does. Free Ride by Edgar Winter plays on the car stereo.
MIKE
We're gonna stop by the office
so my father can meet you.
Scott off looking out the window.
SCOTT
It's a long way to Hollywood, huh?
MIKE
Half hour. Hour in traffic.
SCOTT
I've never been here before.
MIKE
You were born in L.A. And you've
never been to Hollywood?
SCOTT
No reason to.
Back to looking out at the Cinerama Dome, NBC building, etc.
EXT. COOKIE SHOP- DAY
Mike pulls the car to the right out of traffic and comes to a stop at the curb. They've
stopped at a small white painted single story house set closer to the street than other
houses on the block. Both Mike and Scott exit the car and traverse the short walkway to
the front door of the small house, now a cookie shop. A small sign next to the door says
Famous Amos Cookies. Inside we see a black guy working the counter.
EXT. OFFICE BLDG- DAY
The Monte Carlo pulls into the parking lot of a small 8 story tall glass office building at
the corner of Sunset Bl. and Crescent Heights.
Mike and Scott enter the building, Mike carrying two small white paper bags of cookies.
INT. LOBBY. ELEVATOR DOOR- DAY
MIKE
We'll only be here for a few
minutes. Then we'll go get
some lunch.
INT. OFFICE. MODERN. ONE WALL IS FLOOR TO CEILING GLASS- DAY
There's an office off the conference room where everyone is gathered. Mike and Scott
walk through the open door. The two partners sit behind desks on opposing sides of the
room, facing each other.
Born salesmen, DAVID GREENE, tall, lanky, early forties. He's the front man.
RICHARD WELLER, 40's, Mike's father, known to everyone as Rich, is shorter,
heavier, darker. DUCK, 40, ruddy midwestern look, an investor, stands in the middle of
the room.
RICH
Hey, look who's here! You made it.
Mike sets one bag of the cookies on the desk in front of his father. The other bag he
hands to Duck, who after removing a handful, passes the bag to David Greene. David
already holding a cardboard cup of coffee and a Viceroy cigarette in the same hand.
Taking alternate pulls off each.
The men sit munching cookies.
RICH
You just got these, didn't you?
They're still warm.
He notices Scott.
RICH(cont'd.)
Is that Scott?
...Scott shakes hands with everyone in the room...
MIKE
What's going on?
RICH
Travis. Nobody's heard from the
guy in a month.
DUCK
Can you believe it? The best
fuckin' job in the world. Good
googly moogly! He was getting paid
to get his dick sucked everyday.
MIKE
You think he went to work for Bill?
RICH
Nah, he's not with Bill. Bill's
got Skip. He's doing something
though.
INSERT. Guy sitting behind wheel of car at bottom of lake.
DUCK (to Rich)
You're gonna have to find somebody.
We need some new film. Bill's
putting out new stuff everyday.
RICH
That dyke he's got for a photo-
grapher comes up with some pretty
wild shit.
DUCK
A broad is shooting all this?
RICH
You didn't know? Her and that
girlfriend of hers.
DUCK
So when they're not doing each
other they're busy trying to put
us out of business?
RICH
Pretty much.
Scott has a look on his face as if he's just heard a dog talk.
DAVID
I'll call around. There's plenty a
guys out there can work a camera.
MIKE
Did he give you back the camera?
RICH
No. We just bought all new equip-
ment for him. Five thousand bucks
for a new Arriflex. With a remote.
New lights. Everything.
DUCK
He'll surface one a these days.
DAVID
We find him he's gonna wish
he was dead.
MIKE
Where's the old camera?
RICH
In the other room.
...Mike looks toward the conference room...
MIKE
Where? In that suitcase?
Everything's in that suitcase?
RICH
Yeah. How much do you need? A
camera and some lights.
INTERIOR. PHOTOGRAPHY SHOP- DAY
Mike and Scott are standing in a photography store. A 16mm Arriflex motion picture
camera sits on the counter in front of them.
CLERK
See this knob? Keep it set at 24.
That's twenty-four frames per
second. That's normal speed. If you
want slow motion turn it up to
thirty-six. More is slower. That's
all you have to remember. These are
fifty foot reels of film. Keep them
in the refrigerator 'til you're
ready to use them. This is for
shooting in daylight. Outside.
...holding up a different box in his other hand...
CLERK (cont'd.)
This is for inside. Depends on what
kind of lights you're using. What are
you using? Tungsten?
...the clerk sets a separate stack of small yellow boxes on the counter.
CLERK (to Scott)
And you wanted the same film for
a 35 SLR? How many rolls?
SCOTT
I don't know...four?
...Scott looks at Mike. Mike nods yes.
SCOTT(cont'd.)
We'll take four. Two rolls each.
Twenty-four exposures.
The clerk leaves to get the film.
MIKE
That the camera you stole
from yearbook class?
SCOTT
I didn't steal it. I took it
home to take some pictures.
Nobody ever asked for it back.
INT. MIKE'S APT- DAY
Scott and Mike sit on the floor of the living room in the apartment Mike shares with
TRACY, 18, brunette, cheerleader looks/body, his wife of four months. Mike and Scott
are surrounded by boxes and boxes of 8mm skin flicks.
Scott is taking each reel from a white box and putting it inside a red box. Mike is sticking
labels on the red boxes. The labels are a graphic depiction of the films content.
Layla by Derek and the Dominos b.g. on the stereo. Scott has a reel of film spooled out,
part of it held up to the light.
SCOTT
This John Holmes guy is huge.
MIKE
He used to be the guy who played
Eddie Haskell on Leave it to Beaver.
SCOTT
No way.
MIKE
It's true. Doesn't that look like a
grown-up Eddie Haskell?
Scott resumes scanning the thin strip of film.
SCOTT(squinting)
I can't tell. (beat) Who buys this
stuff?
MIKE
Old guys. Old guys that have for-
gotten what young stuff looks like.
Mike's young bride, TRACY, walks through the room. She's wearing only sheer lingerie.
She talks as she's walking.
TRACY
Are you talking about me?
SCOTT
Hi Trace.
MIKE
What're you doing, babe?
TRACY (without looking over)
Thirsty.
Scott peels off a few more feet from the reel. Holds it up to the light, squinting at the
small frames.
MIKE(to Scott)
It'd be easier if you got a
projector.
Tracy returns from the kitchen, soft drink in hand. She's headed back to the bedroom.
She gives Scott a sly wink.
TRACY(to Scott)
It'd be more fun if you got
a girl.
Scott watches Tracy walking away. Mike eyes Scott watching Tracy.
EXTERIOR. DRIVEWAY AT LAB- NIGHT
At the far end of a long one lane driveway light reflects off the grill of a 1972 Cadillac El
Dorado. The driveway belongs to a nondescript single story white building.
INTERIOR OF CADILLAC- NIGHT Rich sits behind the wheel. His son, Mike, sits next
to him. Scott sits in the back seat. They sit in darkness. Superfly by Curtis Mayfield plays
on the stereo.
...after glancing at the watch on his wrist...
RICH
We been waitin' for an hour.
These fuckin' arabs must be
ridin' camels. If there was
another lab within a hundred
miles that would print this stuff
I'd tell these camel jockeys to
ride my dick. Pardon me Scott.
MIKE
They'll be here. (beat) I need
five hundred dollars.
RICH
I gave you four this morning.
MIKE
I spent it on film.
RICH
What's the five hundred for?
MIKE
We're going to see some girls
tonight. We need to find one
for the shoot.
RICH
You're not going to shoot
tonight. You don't give 'em
the money in advance.
MIKE
I know that. I like to show
'em I got it.
...A car pulls into the drive and its headlights flash twice.
RICH
About time. Let's load this
stuff up and get outta here.
EXTERIOR. FRONT DOOR OF HOUSE- NIGHT
A young female, TINA, 21, answers the door after Mike's third knock.
MIKE (O.S.) Natalie?
TINA
I'm Tina. Natalie's taking a bath.
MIKE (O.S.)
Can you tell her Mike's here?
I talked to her on the phone
earlier.
TINA
I'll go tell her. Be right back.
She closes the door. We hear the lock click.
EXT. HOUSE. ILLUMINATED BY PORCH LIGHTS- NIGHT
MIKE
Too bad that wasn't her. She
looked good enough.
SCOTT
You shouldn't have got married
so quick. See what you're missing
out on?
MIKE
Who says I'm missing out?
EXT. HOUSE- NIGHT
The door opens again.
TINA
She said you can go on in.
MIKE
She still in the bathtub?
TINA
Yeah. It's okay.
INT. SMALL BATHROOM- NIGHT
NATALIE, petite, early 20's, is naked in the tub.
NATALIE
I didn't know you were bringing
a friend.
MIKE
We work together. You said you
wanted to do the movie. We're
both gonna see you naked anyway.
NATALIE
Can you close the door?
Backing up making room to close the door Mike knocks Scott into the tub half full of
water.
Scott, flailing, sputtering, trying to get out as fast as he fell in.
NATALIE MIKE
What the hell... Hey, you awright?
Mike helping pull Scott out of the tub.
MIKE
You hit your eye on something.
It's all red.
NATALIE
He hit it on my knee.
MIKE
You didn't fall all the way in.
Your pants are still dry.
Mike hands him a towel.
NATALIE
You guys new at this?
MIKE
Been doing this for a year now.
We know what we're doing.
NATALIE
How old are you guys?
MIKE
Old enough to pay you two hundred
bucks for two hours work.
Scott's checking his eye in the medicine cabinet mirror.
MIKE
Just had to check you out first.
We're on for tomorrow if you want
to do it.
NATALIE
Okay. (beat) What do I have to wear?
MIKE
A nice skirt. A nice blouse. High heels. Lipstick.
NATALIE
Where do I meet you?
MIKE
I'll call you tomorrow with the
details.
INTERIOR OF MONTE CARLO- NIGHT (MOVING) ...Headed east on Sunset Bl.
SCOTT
I fucked up my eye.
MIKE
How'd you do that?
SCOTT
How'd I do that? You were there.
You knocked me in. (beat) She
had some nice titties, huh?
EXTERIOR. TELEPHONE BOOTH- DAY The Monte Carlo is parked next to a glass
telephone booth at a corner gas station. Mike, inside the booth, is talking on the phone.
INT. MONTE CARLO- DAY
Scott sits in the passenger seat. His left eye is swollen nearly shut. It looks like somebody
coldcocked him. Mike sticks his head in Scott's window.
MIKE
I'm outta change. I need to make
one more call. You got a dime?
Scott digs in his pocket. Hands over a dime. Mike returns to the phone booth.
Whole Lotta Love by Led Zeppelin plays on the radio. Square steel signs can be seen
nearby. Regular 31.9 cents a gallon. Ethyl 33.9 a gallon. In the background an attendant
washes the windshield of a car fueling up.
Mike finishes his call and slides behind the wheel, smiling.
MIKE
We're shooting at her place. I
offered her an extra 50 bucks.
SCOTT (concerned)
You sure about this? The money
is great but not if we get caught
and go to jail.
MIKE
Hey no sweat. I went with Travis
on a couple shoots. Nothing to it.
We won't get caught. We won't go to
jail. This is gonna be fun. You'll
see. The hardest thing is the plot.
The first thirty seconds has to be a
story that leads everybody to taking
their clothes off and getting it on.
I know you'll come up with some ideas.
SCOTT
Okay. If you're sure. What about
the guy?
MIKE
Oscar? We'll pick him up in a
couple hours then head over to
her house. We have some time
to kill.
EXTERIOR. PARKING LOT OF TOWER RECORDS ON SUNSET BL- DAY Midday,
on a Wednesday, the lot is deserted. Mike and Scott walk through the double glass doors.
INTERIOR. TOWER RECORDS- DAY
There's a huge display right when you walk in. Boxes and boxes of the newest hot album.
American Graffiti. Elton John's Crocodile Rock plays over the store speakers.
Scott picks one up. Reads the back of it.
SCOTT
Fifties shit. I hate this stuff.
MIKE
I need to find something Tracy
wants.
SCOTT
I'm going back to look at the
eight tracks.
MIKE
I'll be over there in a minute.
A SEPARATE AISLE OF 8 TRACKS AND CASSETTES.
Other than a clerk, (who's dyed the hair on the back of his head a bright pink,) busy
throwing cassettes into a cardboard box, Scott is alone.
Scott can't find what he's looking for. He approaches the clerk.
SCOTT
Hey. Do you have a minute to
help me find something?
CLERK
Sorry mate. I don't work here.
Scott looks at the box in the clerks hands. He's obviously lying. Walking away Scott
utters "Jerk" just loud enough for the clerk to hear him.
Mike pushes through the turnstile and joins him.
MIKE
Find anything?
SCOTT
Help me find the new Grateful Dead.
That jackoff with the pink hair
wouldn't help me.
...Mike looks over at the clerk.
MIKE
He looks familiar. Don't you think
he looks like Elton John?
Scott squints at the clerk out of his good eye.
SCOTT
The guy works here.
MIKE
I don't think so.
Mike walks over to the clerk.
MIKE
Are you Elton John?
ELTON
I am.
Elton holds his hand out for Mike to shake. They shake hands. Mike has a huge grin on
his face.
MIKE
Scott, hey, come over here.
Scott sheepishly walks over and shakes hands with Elton John.
SCOTT
I thought you worked here. I never
saw anyone buy so much they needed
a box.
Elton John just shakes his head and begins pulling cassettes off the shelf again.
INTERIOR. TOWER RECORDS. REGISTER COUNTER- DAY
Mike and Scott leave the store empty handed walking past a display of Yellow Brick
Road.
INTERIOR. LIVING ROOM. TINA AND NATALIE'S HOUSE- DAY
Mike, Scott, and OSCAR, a young guy in his twenties, are talking to Natalie and her
roommate.
MIKE
We're using your bedroom?
NATALIE Uh huh.
Mike picks up the suitcase and follows Natalie down the hall to her bedroom.
INTERIOR. NATALIE'S BEDROOM- DAY
MIKE
You're wearing a dress. Got a
skirt and blouse?
NATALIE
It makes a difference?
MIKE
Unbuttoning a girl's blouse is
a big turn on. Has to be in
the movie.
NATALIE
You want me to change?
MIKE
That would be great.
Mike sets the suitcase on the floor out of the way against a wall. He unzips the case.
MIKE
I need to hang this blanket over
the window. It keeps the neighbors
from seeing the lights.
NATALIE
You can use that chair to stand on.
He pays no attention as Natalie begins to undress, busy with the blanket. Down to a bra
and panties Mike stops her with a question.
MIKE
Do you have some matching
underwear? Pink? Red? Anything
but white.
...Natalie pulls open a drawer, starts searching.
Mike sets the Arriflex on the bed to load a reel of film.
Natalie strips off her bra and panties. Scott enters. He
sees Natalie naked. Out of his right eye. He doesn't see the coat tree to his left.
NATALIE
What the fuck?
Scott is on the ground wrapped up in coats, jackets, hats, and the broken coat tree.
MIKE
Are you awright?
SCOTT
Shit.
MIKE
You want to get out the lights
and set 'em up?
Scott fights his way out of the mess on the floor. He pulls two light stands from the bag
and starts extending the tubes.
MIKE(cont'd.)
Plug one in here and run the other
with an extension cord to another
room. We'll blow out the circuit
if we plug everything in here.
...Oscar enters.
MIKE
Oscar. We're just about ready.
OSCAR
What's all this stuff on the floor?
MIKE
Don't worry about that. Oscar,
you'll come to the door, She's
asleep, taking a nap, you sit down
next to her. I'm going to tell you
guys what to do the whole time.
Whatever you do, don't look at the
camera. It'll ruin the whole shot.
Scott re-enters the room.
SCOTT
Everything's plugged in.
MIKE
Face the lights to the door and
turn 'em on. Let's get started.
Scott looks up once during the shoot to see Natalie's roommate Tina standing in the
doorway watching her roommate fucking. The next time he looks at the doorway she's
gone.
INTERIOR. NATALIE'S BEDROOM- DAY
MIKE
That was easy.
The lights are turned off, cooling. Only Mike and Scott are in the room.
Scott is standing on a chair, removing the blanket from the window.
SCOTT
Beats working, huh?
MUSIC MONTAGE. Mike and Scott shooting six or seven separate erotic short films.
(ineptly; falling on each other, dropping the camera, knocking over the lights, etc.)
INTERIOR. STORAGE ROOM- DAY
Scott tunes in a radio station.
ANNOUNCER
... news Vice President Spiro Agnew
today was indicted on tax evasion
and obstruction of justice char...
Scott spins the dial looking for music. He stops when the radio picks up Janis Joplin's
Down on Me.
MIKE
You been here how long, three
months?
SCOTT
Yeah, about that.
MIKE
When you gonna move up here? You
could get your own place.
SCOTT
Saving my money for a new Firebird.
MIKE
I'm getting my 450 SL tomorrow.
Wanna buy the Monte Carlo?
SCOTT
That ain't really a cool car.
No offense.
MIKE
You thought it was cool when I
bought it.
SCOTT
That was last year.
MIKE
A Firebird, huh? I'll see about
getting you more money. You
really need to move up here.
SCOTT
Our stuff is selling, huh?
MIKE
Big time. You're gonna get to see
Skip today. We're going over to
Bill's to drop off a print.
SCOTT
She's there? What's she look like?
MIKE
You'll see.
Mike and Scott are working in the storage room of an apartment underground garage.
Improvised shelves line the walls. The shelves are full of boxes of 8mm film.
Orders are being filled for shipping. Several medium sized cardboard boxes ready to ship
are stacked on a dolly near the door. Mike has an order sheet in one hand. Business is up.
MIKE
Hand me ten 21's.
Scott looks on the shelf. Finds the right stack of film. He counts ten small boxes and
hands them over. Mike packs them
into a larger cardboard box.
MIKE
That's it.
Mike pushes a large cardboard box toward Scott. Scott tapes it shut and sticks a shipping
label on it.
PARKING GARAGE OF APARTMENT BUILDING ON FAIRFAX- DAY
They cross the darkened garage to the only apartment door on the parking level. Mike
knocks on the door. An old man pushes the door open. GRANPA, 70's, still spry.
INTERIOR. GRANPA'S APARTMENT- DAY
MIKE
Granpa.
The boys enter the apartment. It's a huge studio apt. Cheaply furnished. Everything is
openly visible at a glance. Rich lies sprawled out on the bed. A tv is on. He's watching
The Match Game. David is sitting at a small dining table smoking a Viceroy. Granpa
takes a seat. Mike and Scott take the other two seats.
SCOTT
How are you doing today?
GRANPA
I'm alive. That's all. That's all
that matters.
MIKE (to David)
Did you find him?
David retrieves a folded piece of paper from his shirt pocket and slides it across the table
to Mike.
Mike and Scott exchange a glance.
DAVID
You've been used to paying these
guys a hundred dollars? This guy
is going to cost you four hundred
everytime you use him.
MIKE
John Holmes? He's worth it.
DAVID
You know the guy is hot. Everytime
you meet him the cops could be
watching. Don't tell him where
you're shooting. Watch your back.
He could bring some heat on you.
MIKE
We'll be careful.
RICH (at TV)
Come On!
DAVID
Where you getting your girls?
MIKE Finding girls is easy.
(to Rich)
What're we taking to Bill's?
RICH
That right there.
(He points to a large film can on the counter.)
RICH(cont'd)
Dad! Do you have any juice?
EXT. MIKE AND SCOTT ARRIVE AT BILL'S WAREHOUSE- DAY
Next door to the PUSSYCAT THEATRE (DEEP THROAT is on the marquee, starring
LINDA LOVELACE) on Santa Monica Bl. at Fairfax is a long windowless white painted
wall. A steel door with three locks is the only way in.
Mike carries the film can under one arm.
C.U. of his finger pressing a small button attached to the doorframe.
A buzzer sounds. Mike and Scott enter Bill's warehouse.
INT. BILL'S WAREHOUSE- DAY
A wholesale supplier of sex products. Busy workers in b.g.
A pretty blonde, SKIP, 20's, sporting a butch modified mohawk haircut, sits at the first
desk they come to.
MIKE
Hi, Skip. Bill around?
SKIP
He's busy in back. You can leave
that with me.
MIKE
Sure. (He hands it to her)
MIKE (cont'd.)
This is Scott.
The athletic looking Skip eyes Scott but doesn't speak to him.
SKIP(to Mike)
I hear you're shooting now.
MIKE
We've knocked out a dozen or so.
How bout you?
SKIP
I stay busy.
MIKE
We're shipping a lot of product.
SKIP
That right?
MIKE
We know what guys want.
SKIP
(beat) You do, huh? (beat)
I'll see Bill gets this. You
know the way out.
Ship returns to what she was doing when they came in.
SCOTT
Nice to meet you.
Skip only eyes him again. POV: Skip watches the two boys until the door closes shut
behind them. C.U. On Skip's face.
We see her mentally lock the image somewhere in her brain.
EXTERIOR. MIKE'S 450SL TOP DOWN. SUNSET BL- DAY (MOVING)
Mike and Scott have already picked up the girl. CAROL ANN, 20's, is a southern beauty.
Her southern drawl brings a grin to both boys every time she talks. (T. Rex Bang A Gong
b.g.)
The stunning blonde is wedged onto the seat with Scott.
Mike's new Mercedes SL 450 is a tight fit for three people.
On Sunset, the car is passing the Chateau Marmont in b.g.
INT. MIKE'S 450SL- DAY (MOVING)
SCOTT
Do you know who you're doing this
with? John Holmes. Ever heard of him?
CAROL ANN
No, honey.
SCOTT
He's hung like a horse. What's the
biggest guy you've ever had?
CAROL ANN
I've seen a big one. Don't you worry.
SCOTT
This big?
...Scott holds up both hands. About fifteen inches apart...
CAROL ANN(eyes grow wide)
Gosh.
They pass the Sunset Hyatt Hotel, Tower Records, The Roxy.
MIKE (to Scott)
You ride with John. We're going up
Laurel Canyon to a house off
Mulholland that he lined up.
He wouldn't give me the address
so we're gonna follow you.
SCOTT
Alright.
MIKE
Don't let him lose me. If you
don't see me tell him to pull
over till we catch up.
SCOTT
Okay. (beat) So what's he driving?
MIKE
A silver El Camino.
EXT. POWER BURGER PARKING LOT- DAY
Mike turns the car off Sunset Bl. into the Power Burger parking lot.
MIKE
There he is.
...Mike pulls in next to him.
SCOTT
See you there.
Scott hops out and gets in the El Camino.
EXT. VERY PRIVATE RESIDENCE- DAY
The two cars park and all four people get out. A gated swimming pool is in view. Scott
follows Carol Ann to the pool. Mike and JOHN HOLMES, 28, rising porn star, are
shaking hands, meeting for the first time.
MIKE
I've been trying to
reach you for months.
JOHN
You're kidding. I'm not that
hard to find.
MIKE
You know Travis used to work for
my father.
JOHN
Did he split town? I haven't seen
him in awhile. He still owes me
money. (beat) You know I get paid
up front.
Mike pulls some bills from his pocket and hands them over.
MIKE
There's an extra hundred for the
location.
JOHN
Thanks. I'll go inside and let
them know we're here.
John Holmes walks across the yard toward the front door. Mike carries the suitcase to
where Scott and Carol Ann are near the pool. Carol Ann turns to Mike.
EXT. POOLSIDE- DAY.
CAROL ANN
He's got a really big one, huh?
He sure is skinny. I thought he
would be a big guy.
MIKE
You know he used to play Eddie
Haskell on Leave it to Beaver?
CAROL ANN
I remember that show. Wally was
cute. You couldn't get him?
MIKE
Wally and the Beav are both
junkies.
Carol looks flabbergasted.
MIKE
John said there was a pool here,
that's why I had you bring a swim
suit. Go ahead and put it on.
Carol Ann looks around. She carries a small bag with her over to the diving board where
she sits and begins to undress.
John, back from the house is suddenly in front of her. She looks up to see him standing
there.
CAROL ANN
You're this John guy? I just
have to see this. Can I?
POV from behind John's hip. His levi's are pulled down out of frame.
Carol Ann recoils about two feet.
Scott has come up behind John and stands next to him.
SCOTT (to Carol Ann)
Told ya.
After unpacking the camera Mike walks over and joins them.
MIKE
You guys starting without me?
Here's the set-up.
MOS. The four of them talking. Mike points toward the pool, some trees, a fence.
JOHN
That sounds good. We're gonna
need a towel.
SCOTT
I'll go up to the house and get
one.
Scott heads for the house.
JOHN (to Mike)
You can carry that chaise to the
other side of that fence to make
it look like her backyard.
MIKE
Yeah, that'll work. Carol Ann,
did you bring some sunglasses?
CAROL ANN (nodding yes)
You want me to put 'em on?
The camera pulls back to reveal Carol Ann standing there naked.
Music Montage of Mike filming Carol Ann sunbathing, hearing a splash, peeking over
the fence, sneaking through the trees, John diving naked, John catching Carol Ann spying
on him, John chasing her down, Carol Ann removing his towel.
Carol Ann is now flat on her back. The towel beneath her. Her knees are up, legs splayed
far apart. John's head is between her thighs. R RATED FRAMING. Mike has his camera
lens and attention focused on the action. Hot Butter's Popcorn plays during montage.
MIKE(over his shoulder to Scott)
You getting some good stills?
SCOTT
Yeah.
Scott has the back of his 35mm camera opened. The roll of film is totally sprung.
Uncoiled uselessly in the sunlight.
EXT. OFFICE BUILDING PARKING LOT- DAY Two new black Lincoln Mark III cars
sit side by side. Mike's baby blue 450 SL slides in next to the paired Lincolns. Scott pulls
his new Pontiac Firebird in next to Mike's just parked SL coupe. They exit both vehicles,
each carrying bags of sandwiches.
INT. RICH AND DAVID'S OFFICE- DAY
RICH
Ahh, I'm starving.
Mike and Scott pass around sandwiches and sodas.
RICH (cont'd.) Did you get these at Greenblatt's?
Did you have them put cole slaw on
my pastrami? With mustard and pickle?
A pastrami sandwich is not any good
if you don't make it that way.
MIKE
Yeah. Here's your cheesecake.
SCOTT
Rich, how do like that new Lincoln?
It looks like a real gangster car.
RICH
I hate it. I should have kept my
Cadillac.
DAVID
I like mine. I think it's a
great car.
RICH
The hood's about fifteen feet
long. I keep running into things.
DUCK
That's good to know. I'm gonna
start parking my car across the
street.
DAVID
You can start parking it across
town if you want.
...everyone laughs but Duck knows he means it. Duck is standing, chewing on his
sandwich. He turns toward the window. Something catches his attention.
DUCK
Hey look at these guys.
RICH
What is it?
DUCK
There's a couple guys down on
the sidewalk. (beat) One of 'em
has binoculars.
DAVID
So what?
DUCK
They're looking up this way.
Good googly moogly!
...Everyone jumps up and crowds around the window.
COP W/BINOCS DAVID
You see 'em? Cops.
COP W/CAMERA-telephoto lens RICH
I count four. Make it five. What are they gonna see?
We're up on the eighth
floor, behind dark glass.
...everyone starts laughing. And continue staring down at the cops on the street.
COP W/BINOCS
I'm just picking up shadows.
What are they doing?
COP W/CAMERA
I see 'em just fine. They're letting
me get some great shots. These gotta
be the dumbest fucks around.
DUCK
Those gotta be the dumbest fucks
around. They can't see anything.
Duck holds his arm above his head and gives them the finger.
COP W/ CAMERA
They're giving us the finger.
Both cops on the steet return the salute.
DAVID
You see that?
DUCK
Oh shit.
Everyone scatters. The cop's camera keeps clicking away.
INTERIOR. SCOTT'S NEW APT- DAY
Scott has just moved into his first apartment. It's furnished so there hasn't been much to
carry in.
MONICA HALL, 18, has kicked off her shoes and is sitting on the sofa. She's a cute
little brunette. She has a short Buster Brown haircut. She's wearing a Dodgers T-shirt. On
her head is a blue Dodgers baseball cap.
Scott has just unpacked a new television. The empty box sits on the floor. Scott plugs it
in. He's done moving. He turns on the stereo and joins Monica on the sofa. Van
Morrison's Brown Eyed Girl plays in b.g.
SCOTT
Thanks for helping me move.
I'm glad you called me.
MONICA
Were you surprised?
SCOTT
No...I mean...out of the blue,
I hadn't seen you in awhile.
MONICA
I ran into your brother at Ralph's.
He said you weren't seeing anyone.
He gave me your number. So I called
you.
SCOTT
First time he's ever done me a
favor.
MONICA
I guess you owe him one. How come
you never paid any attention to me
in school. You never saw me looking
at you? Whenever I smiled at you you
just ignored me.
SCOTT
I ignored everybody. I hated every
minute of it. Going to school was
like being in prison.
MONICA
Is it gonna feel weird living
here by yourself?
SCOTT
Maybe you better stay overnight.
In case I get scared.
MONICA
You'd like that, huh?
(beat) All this furniture came
with the apartment?
SCOTT
Uh huh. For two hundred a month it
better. You hungry?
MONICA
A little.
SCOTT
Wanna take a shower then go eat?
MONICA
Steppin' up to the plate, huh?
NEW UNDERGROUND APT. PARKING STRUCTURE- DAY
INT. NEW STORAGE ROOM- DAY
Mike is hard at work editing. He sits at a small table where a moviola is placed. Cranking
the film back and forth, cutting, splicing, re-running the edited stock, Mike is busy.
Wires strung from wall to wall near the ceiling are strung with plastic clothespins.
Hanging from the clothespins are snippets of 16mm film.
Scott sits at a chair behind Mike, watching over his right shoulder.
SCOTT
We've got more room here than
the old place. This worked out
pretty good. I guess we won't
have to be running lunch up to
the office anymore.
MIKE
Even better, they can't come here.
If the cops found this place they'll
take everything. Hand me that long
piece.
Scott gets up, unclips a snippet of hanging film, hands it
to Mike.
SCOTT
Hey, uh...you ever give Tracy head?
MIKE
All the time. Why? (beat) You
said Monica Hall was coming over.
She make you go down on her?
Whadja do? Throw up?
SCOTT
No. I figured it out.
MIKE
You found it, huh? Did she pay
you back?
SCOTT
A couple times.
MIKE
You gonna start missing work?
SCOTT
You kidding? I need to come to
work to rest up. I hurt all over.
MIKE
She come up with a name for your
dick yet?
SCOTT
I don't know but she calls her
pussy "dessert."
MIKE
Tracy calls hers a goldmine.
MIKE(cont'd.)
That reminds me. My father wants to
know if you'll take all the masters
and keep them at your house. It's the
last place the cops'd look.
SCOTT
No problem.
MIKE
I knew you'd say that. When we get
done here we're gonna meet my
father at Jerry's on Beverly Drive.
He wants to take us shopping.
SCOTT
Shopping for what?
MIKE
Clothes. He just wants us along
for company. But we'll get
something out of it.
INTERIOR. CLOTHING STORE- DAY
Interior of Jerry' Men's Store on Beverly Drive. Rich is standing on a small platform
being measured for a bright
yellow leisure suit.
Mike and Scott stand a few feet away, watching.
RICH
Why don't you two go pick out
a shirt?
Mike and Scott head toward the front of the store where shirts are stacked in cubbyholes
floor to ceiling high. A clerk stands behind a counter.
CLERK
Gentlemen. Are we looking for
shirts today?
MIKE
You don't have any Hawaiian
shirts?
CLERK
No sir. Only what you see.
MIKE
Okay.
CLERK(to Mike)
And your size would be?
MIKE
Fifteen. Thirty-three.
CLERK(to Scott)
And you sir?
SCOTT
I don't know.
CLERK
I have a tape. Shall we measure?
The clerk steps from behind the counter to measure Scott's neck and arm length.
He soon has stacks of shirts laid out on the counter before them. Mike pulls two shirts
from the piles and sets them aside. Scott chooses one and sets it with Mike's two.
Scott looks at the label of his shirt.
SCOTT
What is this? Geh vench ey?
MIKE
Chee von shay.
Rich pays the bill. Scott and Mike wait by the front door. SCOTT (to Mike)
Wow. Thirty-five bucks for a
shirt. That's more than I paid
for my first car.
MIKE
You're doing him a favor.
Rich walks up, carrying bags.
RICH
Have we spent enough money?
INT. OF LINCOLN- DAY (MOVING)
Steely Dan's Reeling in the Years on car radio b.g.
RICH
We're going to stop and see
Wyman for a minute then we'll
go have lunch. You wanna eat
at Nate and Al's?
MIKE
Sure. How's he doing with that
Deep Throat thing?
SCOTT
Deep Throat the movie?
MIKE
Yeah, he got a print of the movie,
cut some segments out of it, and
he sells them on 8mm reels.
Mail Order.
RICH
He's probably made a million
bucks already.
The Lincoln weaves its way through the parking lot of a row of nondescript office
builings. WYMAN, 60's, emerges
from one of them and walks out to the lowered window of the vehicle to talk with Rich.
EXT. PARKING LOT- DAY
WYMAN
When are you going to deliver
those films you promised me.
I should have had them already.
Not having them is costing me
money.
RICH
The lab hasn't done the copies
yet. They promised it would be
this week. As soon as I get
'em you'll get 'em.
WYMAN
I can't wait much longer. I'll
find them somewhere else.
RICH
You'll get them.
Rich has noticed a Rolls Royce parked at the rear of the building...
RICH
Who around here is driving
a Rolls?
WYMAN
That's mine.
RICH
What? You're kidding.
WYMAN
I got a great deal on it. It cost
me $10,000. It's a nice car.
RICH
The next time you find one for
that let me know. I'll buy it.
WYMAN
The next time I find one for
$10,000 I'll have two of them.
RICH
Don't be like that. What would you
do with two of them? We're going
to lunch. I'll get your film to you.
Go back and count your money.
... the old man turns and walks back toward his office. Rich puts the car into gear and
drives off.
RICH
Crazy old fuck.
INT. SCOTT'S APT- NIGHT
Scott places the last of multiple film cans in a closet. There must be fifty of them. These
are the masters, the original films from which copies are made.
Scott closes the door, retreats down the hallway, and joins his girlfriend on the sofa in the
living room. The stereo plays Tommy James I Think We're Alone Now.
Monica is laying naked, on her belly, putting red nail polish on her fingernails. Monica
flips over, lifts her feet onto
Scott's lap and passes the small bottle of red nail polish to him. He starts painting her toe
nails.
SCOTT
What do you wanna do tonight?
Wanna go see a movie?
MONICA
Sure. Can we stop and eat
somewhere first?
SCOTT
Uh-huh.
...Scott concentrating on her nails...
SCOTT
You work at the Sheriff's Academy.
Can you run a license plate?
MONICA
Why? Somebody chasing you?
SCOTT
I just want to check on a car.
See who owns it.
MONICA
Sure. Write it down for me. You
don't worry about getting in
trouble with this sex stuff?
SCOTT
I know it's illegal but I don't
know why. I can see why drugs are
illegal. You can fuck yourself up
and o.d.. Sex just makes me wanna
laugh. Two people getting naked
and jumping on each other. When
you see me standing there with a
hard on don't you wanna laugh?
MONICA
Actually, ...no.
Monica makes a move toward Scott.
SCOTT (O.S.)
Are your nails dry?
EXT. SANTA MONICA BL. 450SL TOP DOWN- DAY (MOVING)
Mike and Scott ride in the SL. The top's down. They talk to each other above the wind
noise. Johnny Rivers Baby I Need Your Lovin' plays on car radio b.g.
SCOTT
You ever notice how women are
always checking you out? I see
it like at an intersection. I'm
stopped at a light, waiting for it
to turn green and women in cars are
giving me a look. Even if their
boyfriend is in the car.
MIKE
Yeah, I've seen that. Women are
always shopping.
Skip's driving alongside. Her girlfriend in the backseat has the window down. The lens of
a Beaulieu 16mm is pointed at Mike and Scott in the convertible.
Skip pulls in front of the Mercedes and slows way down.
INT. MIKE'S 450SL- DAY (MOVING)
MIKE
What's wrong with this moron?
SCOTT
Go around 'im.
Mike jerks the wheel, changes lanes, and passes the slow moving car. He sees the camera
lens.
MIKE
That's Skip! What the hell?
SCOTT
Are they filming us?
MIKE(shouting toward Skip's car)
What are you doing?
The young woman in the backseat with the camera takes it from her eye and blows them
a kiss.
SCOTT
That Skip's girlfriend? She's
pretty cute, huh?
MIKE
Fucking cunts.
Skip turns her car left at the next side street.
SCOTT
What was that about?
Mike watches Skip's car for a few seconds, then turns his attention back to the road
ahead. Mike slams the steering
wheel with his fist.
MIKE
That can't be good.
We see Mike And Scott as they pass the Formosa Cafe on the right, Paramount Pictures
Studio gate on the left. As they
wait at the light two different women making left hand turns at the intersection give them
long looks.
EXTERIOR. SCHWAB'S PARKING LOT- DAY Mike and Scott pull into the parking
lot of Schwab's Pharmacy. They exit Mike's 450 SL.
EXT. SHOESHINE STAND- DAY
ODALIS, the elderly black man running the stand, has two customers seated. He is
working on one at a time.
SCOTT
Can I get a shoeshine?
ODALIS
Yes, young man. It'll be about
fifteen minutes.
SCOTT
Can I just leave 'em with you.
I'm going inside for lunch. I'll
pick 'em up on my way out.
...the shinestand operator gives him a long stare...
ODALIS
Sure. (beat) You could do that.
Scott removes both shoes, hands them over, and minus his shoes he and Mike walk down
the sidewalk and enter Schwab's.
INT. SCHWAB'S PHARMACY COFFEE SHOP. A BOOTH- DAY
Mike and Scott are seated at a booth. KAY, 40's,the waitress,
plunks tall glasses of icy cokes down in front of them.
SCOTT
Hi Kay. I'm ready. Patty melt
and fries.
MIKE
Hello Kay. How are you today?
...the waitress catches Mike's checking out a woman sitting in a nearby booth.
KAY (softly)
You can't afford her.
MIKE (mouths)
She's a hooker?
KAY
Uh huh. Do you know what your
having?
MIKE
Same as Scott. No onions. Thanks.
The waitress leaves with the order.
SCOTT
Who's sitting over there today?
...Mike twists around in the booth, and then back...
MIKE
Don't know. (beat) How is it
living by the beach?
SCOTT
I never see it.
MIKE
You get all that stuff out of
your car?
SCOTT
Yeah. Monica's running that
plate. You really think we're
being followed?
MIKE
I guess we'll find out.
The waitress sets two plates down on the table. Unasked she returns a minute later with
two fresh glasses of coke.
KAY(to Scott)
Lose your shoes?
SCOTT
Getting shined. Kay, who's that in
the booth up there? Sitting with
Chuck McCann and Bruno Kirby?
KAY
Huntz Hall? The Bowery Boys?
SCOTT
I know him. The other guy.
KAY(looks over)
The old guy wearing glasses? That's
Sid Skolsky. He writes for Variety.
Or The Hollywood Reporter. One of 'em.
She leaves to attend customers in another booth.
MIKE
My father's getting rid of the
Mark. He wants a Rolls.
He already ordered it. You want
the Lincoln?
SCOTT
Sure. I'll take it.
MIKE
Why don't you get a Ferrari? A
Dino's only like thirteen grand.
The red one looks pretty cool.
SCOTT
The Lincoln looks cool.
MIKE
It's American. You hear the doors
close on my Mercedes? They thunk.
That's solid. You close the door on
a American car it sounds like two
tin cans fucking.
SCOTT
I still want it. I can see Monica
A waitress at the pickup window drops plates and glasses. The loud crash causes
everyone eating to stop and look back toward the kitchen. The room is dead quiet for a
second.
SCOTT(cont'd)
sucking me off-
Scott is the only one still talking. Everyone hears him. Now everybody turns their gaze
from the broken plates to the booth where Mike and Scott are sitting.
Scott looks around at everyone, then back to Mike.
SCOTT(softly)
Shit.
MIKE
You ready to get outta here?
INT. SCHWAB'S NOTIONS COUNTER- DAY
Standing at the counter to pay the check Mike and Scott both stare up at a tv hanging
from the ceiling. The Watergate hearings are being televised. John Dean is testifying...
MIKE (to Scott)
I'll get the check. Go get your
shoes. I'll catch up to you.
EXT. SHOESHINE STAND- DAY
SCOTT
My shoes ready? What do I owe you?
ODALIS
Two dollars, young man.
SCOTT
Here you go. Thanks.
Scott slips his shoes back on and walks away.
Two customers are getting their shoes buffed out.
CUSTOMER #1
Fuckin' idiot.
CUSTOMER #2
Gotta be an actor.
EXTERIOR. 2 STORY APT. BLDG- DAY
Mike and Scott park in front of an apartment building north of Hollywood Boulevard.
They walk up the steps to a second story apartment. Richie Valens La Bamba blasts from
the stereo of a car being washed by some kid.
EXT. APT. DOOR- DAY
Mike raps on door. The door is opened by a middle aged woman.
SANDY, 50's, is a madam. She's dressed as for a business meeting. Skirt, blouse, high
heeled shoes. Blonde hair piled high on her head. Think Bonnie Hunt.
SANDY
You're David's friend?
MIKE
Right. I talked to you earlier?
SANDY
Come in.
INTERIOR. LIVING ROOM OF LARGE APT- DAY
The apartment has a large living room. Three doors lead into three small bedrooms.
Mike, Scott, and Sandy are seated on the sofa.
MIKE
David said you have a lot
of girls working for you.
SANDY
You're early. One is here already.
Toni's in the bathroom. She'll be out in a minute. You have twenty
dollars for each girl? You have
something for me?
Mike pulls out his wad of cash. He peels off two one hundred dollar bills and hands them
to her. She palms the money as the girl, TONI, 24, a talkative eager redhead walks in.
SANDY
These are the boys making
the movies.
TONI
Do you want to see me naked?
MIKE
You get twenty bucks if we don't
use you. Two hundred if we do.
Toni walks over to a chair and begins disrobing. Stripped bare she turns to face them.
MIKE
There might be some girl-girl
action for a few minutes. Is
that okay?
TONI
Sure. Do you want me to stick
around?
SANDY
The other girls should be here
any minute. Would you boys like
something to drink?
SCOTT
A coke, thanks.
MIKE
Sure, I'll have a coke.
...Sandy departs for the kitchen.
TONI
You guys want a blow job while
your waiting?
The doorbell rings. Toni allows three young women inside.
The first one gently squeezes one of Toni's breasts as she passes her. Toni closes the door
behind her.
The girls have lined up at the sofa. Sandy returns with the drinks, handing them to the
guys.
SANDY
Girls, these are the boys making
the movie. I guess this is like
an audition before they choose
the girls they want.
...The doorbell rings again. Sandy gets up to open the door
and four more girls come in.
SANDY (to all the girls)
You can use the bedrooms to
get undressed.
All the girls, now undressed, assemble in the living room.
MIKE
Wow. You're all naked.
Okay, let's see.
SCOTT(to Mike)
Take your time.
The girls mock pose, (Ad libbing)
Scott counts the girls with one finger.
SCOTT(to Mike)
One more and we could have a
baseball team. How come you
never see that? Naked women
playing baseball?
MIKE
They'd all be catchers.
DREAM SEQUENCE
We see Scott's fantasy. Naked women playing baseball on a field. Wearing only baseball
caps. And cleats.
SCOTT (V.O.)
I don't see any of them sliding
into second. The best part is when
they get a hit and run to first.
Camera on naked woman at the plate getting a hit. Halfway down the line REVERSE
ANGLE as she runs to first base.
MIKE
Are you zoning out again?
Mike rises from the couch heading for the little blonde and the oriental. He grabs each of
their hands and leads them to one of the bedrooms. He comes back outside alone.
MIKE (to the girls)
Thanks for coming. Here's twenty
for showing up.
Thanks, Thanks, maybe next time...
...passing out twenties until all have gotten their money.
SANDY
You can get dressed and go girls.
Tomorrow's Friday. Expect a lot of
out calls.
DREAM SEQUENCE
Scott daydreaming. He sees the umpire at his fantasy girls baseball game. The umpire
rips off the mask to make a call. It's Sandy. Calling a player out at the plate. And another.
He shakes his head. Clearing his mind. The girls have left.
MIKE
You said you rent the apartment
next door? We can use it for a
few hours?
SANDY
For a hundred dollars.
INTERIOR. APARTMENT NEXT DOOR- DAY
John Holmes is the last one to arrive at the shoot. He sees some props. Lingerie and two
pizza boxes.
JOHN
Pizza deliveryman? That's a better
choice than Chicken Delight. I
always feel like a fool standing
there holding a bucket of chicken.
John has the lingerie in his hands. He presents them in front of BETH, 19, blonde, petite,
pretty. and EMY, 22, Japanese descent, long black hair, exotic.
JOHN
Hookers or sorority sisters?
EMY
Which one sucks more dick?
BETH
Is it really as big as we've heard?
JOHN
You're in for an extra large tonight.
BETH
I heard it was like twelve inches.
JOHN
Closer to eighteen.
BETH (incredulous)
Your dick is eighteen inches long?
JOHN
I thought you were talking about
the pizza.
Beth pulls John closer and begins searching the front of his khaki's for his penis.
BETH
That was easy to find.
Beth directs it down the leg of his pants, pulling and stroking what she can feel through
the cloth. Emy moves closer to Beth and they work together.
John looks over at Scott and grins.
Emy pushes in on the cloth at the tip of John's dick. Both girls see that it's about two
inches above his knee. They look at each other wide-eyed.
Mike is standing by the sofa. A lightmeter hangs on a cord around his neck.
MIKE
About halfway through this can you
do a little girl girl stuff?
EMY
You mean like this?
Emy begins to unbutton Beth's shirt. Three buttons down she reaches in and pops Beth's
tit out and fondles it. Emy leans her face close to Beth's and runs her tongue around
Beth's lips. They begin a long kiss. Emy's hand travels up Beth's leg, under her skirt.
MIKE
I was thinking something
more sexy.
Scott is watching the girls. Slackjawed. The girls have John Holmes attention too.
INT. SCOTT'S CAR- DAY
Scott looks at a notepad.
INSERT
American Airlines. Flight 1210. From Detroit. ARR- 12:45 p.m.
EXT. LAX. AIRLINE TERMINAL. CURBSIDE ARRIVALS- DAY
When he gets there a heavy-set guy wearing a black leather jacket, sunglasses, waves him
down. BLACK JACKET GUY, 30's, opens the car door.
BLACK JACKET GUY
You Scott?
SCOTT
Yeah.
Blacket Jacket Guy throws a piece of luggage into the back seat and struggles to climb
into the cramped back seat.
INT. SCOTT'S CAR- DAY
SCOTT (looking back)
Hey. You can sit up here.
BLACK JACKET GUY
I'm fine back here. Let's go.
SCOTT
Where we going?
BLACK JACKET GUY
Just drive. I'll tell you.
SCOTT
Okay.
...While Scott's driving Black Jacket Guy has unzipped the luggage and removed a
smaller bag. He reaches over the seat and places it down on the passenger seat next to
Scott.
BLACK JACKET GUY
You know how much money is in there?
SCOTT
No.
BLACK JACKET GUY
You know you're picking up money?
SCOTT
Yeah.
BLACK JACKET GUY
There's $25,000 in there. You want
to count it?
SCOTT
No. I trust you.
Black Jacket Guy begins to laugh...
BLACK JACKET GUY
You trust ME? HaHa, haha. Maybe
I don't trust you. Now I'm not
saying you're dishonest. I'm saying
we're gonna find a place to pull
over and count it. When someone
gives you money you always count it.
That way there's no misunderstandings.
You know what I'm saying? Never be embarrassed to count the money.
It'll always keep you out of trouble.
You know what I'm saying? Pull in
here at the Burger King. (beat)
Park there in back.
Scott parks the car. Black Jacket Guy watches Scott count the money.
BLACK JACKET GUY
How much is there?
SCOTT
Twenty-five thousand.
BLACK JACKET GUY
There you go. Now take me back
to the airport.
EXTERIOR. CENTURY BL.- DAY (MOVING)
Scott looks at the bag of money sitting on his car seat. He pulls the zipper down to have a
look at all that cash. The down windows on his car create a vortex and the car is suddenly
filled with hundred dollar bills flying about.
SCOTT
Oh shit!
A few bills begin flying out the window.
Scott brakes the car to a screeching halt.
The car slides sideways across two lanes and slams into the curb.
SCOTT
Fuck! Fuck! Fuck!
Scott jumps out and races two nearby pedestrians who are hurrying to scoop up the
money. Scott snatches a few bills out of one person's hands.
SCOTT
What the fuck is wrong with
you people?
EXTERIOR. McDONALDS PARKING LOT- DAY
Scott pulls his car in next to Mike's Mercedes at a fast food place. Mike gets into Scott's
passenger seat.
INTERIOR SCOTT'S CAR- DAY
Mike picks up the package from Black Jacket Guy.
MIKE
Did he make you count it?
SCOTT
Yeah. Who is that guy?
MIKE
Was he wearing a black leather
jacket?
SCOTT
Yeah.
MIKE
That was Sam. From Detroit. He's
a good guy. You know what? Anybody
gives me money now, I count it.
Right there. I used to put it my
pocket. Now when people give me
money, I hold it up in their face
and count it. That's good advice.
You should always do that. David
said learning that is worth more
than what you learn in a year of
college. (beat) Sam's a good guy.
... Mike starts counting the money.
MIKE
There's twenty-five grand
here, right?
SCOTT
Should be. Pretty close.
EXTERIOR. ROY'S TOYS ADULT BOOKSTORE PARKING LOT- DAY
Mike and Scott arrive driving separate cars. Mike walks into the store while Scott stays
put. Mike returns in a minute.
MIKE
He's here. Give me the keys.
Which one's the trunk key?
Scott separates the correct key from the rest and hands it over. Mike pops the trunk and
removes a small cardboard box. He returns the keys to Scott and disappears back into the
store.
A few minutes later Mike returns and gets into Scott's passenger seat.
INTERIOR SCOTT'S CAR- DAY
Mike hands Scott two hundred dollars.
MIKE
This two hundred is yours.
SCOTT
One hundred. Two hundred.
Scott puts the money in his pocket. Mike starts laughing.
SCOTT
What's the deal with the Lincoln?
MIKE
The Rolls will be ready in a week.
And he doesn't want Duck getting the
Lincoln. That two hundred bucks in
your pocket? That's what it cost
every month. We can pay that from
just one sale a month. There has
to be a hundred bookstores like
this within fifty miles.
SCOTT
How come he doesn't want Duck to
get it?
MIKE
Duck's a pain in the ass. He didn't
invest in the business at the
beginning when they needed it.
He waited 'til the company was up
and going. He was supposed to be
a silent investor but he quit his
job and shows up every day. A
real pain in the ass.
SCOTT
You know, that car costs more than
my parents paid for their house.
MIKE
What'd the house cost?
SCOTT
Ten grand.
EXTERIOR. GRANPA'S APT. BLDG- DAY
Scott pulls up to the curb in front of Granpa's apartment building. He's driving the black
Lincoln Mark III.
...A BLACK GUY, 40's, tall, slim, approaches Scott as he's getting out of the car.
BLACK GUY
Hey my man. You looking good today.
Lissen up. I gotta sell some
of my jewelry. Lost my job and
rent's due. You hear me? I got a
diamond ring look good on you. I
got a diamomd watch I don't wanna
sell but I got myself in a bind and
don' have a choice. You know what I
mean? We all been there, am I right?
Somebody's gonna get a great deal.
Can have 'em both for a hunnerd bucks.
I know you got that on you. You
prob'ly spend that on lunch.
SCOTT
I don't think so.
BLACK GUY
You really be helpin' me out. You
won't even miss a hunnerd. Me,
pay my rent, feed my kid. Try this
on. See how it look. This stuff easy worth four, five hunnerd.
Scott puts on the ring. It'll only fit on his little finger. The watch's metal wristband is too
big for his wrist. The watch rotates around his wrist like a bracelet. When he drops his
arm it slides down and stops against his hand. He fishes a hundred dollar bill out of his
pocket and hands it over.
INTERIOR. GRANPA'S APT- DAY
Duck, Mike and his granpa are seated at the kitchen table. Rich is sprawled out on the
bed, his shoes kicked off, watching a game show.
...Mike picks up on Scott's new jewelry right away.
MIKE
What are you wearing?
GRANPA
What's he wearing?
SCOTT
A diamond watch and a diamond
ring. I just bought 'em.
MIKE
From where?
SCOTT
From a guy outside.
MIKE
For how much?
SCOTT
The guy said they're worth five
hundred bucks. Easy.
...Scott's removed the ring and watch. Granpa is holding the ring up to his eye. Mike is
rubbing one of the diamonds on the watch against a juice glass.
GRANPA
This isn't real. The man told you
this is a real diamond? How much
did you pay him?
MIKE
How much did you give the guy?
SCOTT
A hundred bucks.
GRANPA
A hundred dollars?
RICH(at TV)
PINNOCHIO! PINNOCHIO!
SCOTT
You're telling me this ring isn't
real? How can you tell?
GRANPA
A hundred dollars!
MIKE
Trust him. He knows what he's
talking about when it comes
to diamonds.
GRANPA
You gave the man real money?
RICH
Easy come. Easy go.
...Rich is only listening to the conversation. he hasn't taken his eyes off the game show.
MIKE
You wanna go see if we can
find him?
SCOTT
So you're saying the watch isn't
real either?
GRANPA
The next time you want to buy a
watch you come get me.
Scott is wearing a pair of ugly checked pants. White boots and a white belt.
DUCK
The next time you want to buy
some clothes you come get me.
Good googly moogly!
Scott checks himself out, a puzzled look on his face.
MIKE
Let's go eat lunch. I'll buy.
...Mike and Scott get up and start to leave.
RICH
If you see an old broad selling
pussy put a chokehold on him. (beat)
Before he spends all his money.
EXT. WALKING AWAY FROM APT. DOOR- DAY
After the door closes, Scott turns to Mike,
SCOTT
You told him about Sandy, huh?
MIKE
Sorry. It just came out.
Scott tosses the watch and ring in a bush by the sidewalk.
INTERIOR. SCOTT'S APT- DAY Scott enters the apt. Monica is in the kitchen washing
dishes. The stereo is on. So Much in Love by The Tymes plays softly in the b.g. Scott
gives the stereo playing oldies music a sour look. Scott walks up behind Monica and
gives her a hug and a kiss.
SCOTT
How long you been here?
MONICA
Maybe an hour.
SCOTT
Is it hot in here?
MONICA
I like being comfortable.
SCOTT
Did you get a chance to run
those plates?
MONICA
I set it on the table.
She continues with the last of the dishes, naked from the waist down.
Scott sits down at the table. He picks up two slips of paper and reads them.
SCOTT
Thanks for running those. You
won't get into any trouble
will you?
...She just gives him a look.
SCOTT
Wanna go out and get something
to eat?
...Monica nods her head yes. Scott picks up a section of the newspaper on the table and
begins reading it.
SCOTT
Wanna catch a movie?
MONICA
What's on?
SCOTT
There's a movie with Marlon Brando.
Last Tango in Paris.
MONICA
Isn't that supposed to be some
kind of sex movie?
...she gives him an exasperated look.
MONICA (cont'd.)
What's playing with it?
...Scott looks back to the movie section he has open in his hands.
SCOTT
American Graffiti. What do you
think that's about? The picture
has a bunch of kids and cars.
MONICA
How can they make a movie out of
that? Is Paper Moon playing?
My sister saw it already.
It's black and white but she
said it was really good.
SCOTT
What's wrong with Last Tango?
I heard it was good.
MONICA
You just like seeing naked women.
When's it start? Do I have time to
take a shower first?
SCOTT
If you hurry.
INTERIOR. SCOTT'S LINCOLN- NIGHT (MOVING)
SCOTT
You mind reaching back there
and grabbing another tape?
...Mike leans over the back of the seat.
MIKE
Which one you want?
SCOTT
Find a Lenny Bruce tape. The
picnic in the graveyard one.
Mike pushes the tape into the cars tape deck. The Bruce
tape plays through the speakers.
SCOTT
This guy wrote a book too. How to
Talk Dirty and Influence People.
You ever read it?
MIKE
Never heard of it.
SCOTT
You should read it. It changed
my life.
MIKE
How so?
SCOTT
It changed my view on things.
I don't give a fuck about
anything anymore.
MIKE
That's gonna come in handy. Did you
and Monica go see Last Tango?
SCOTT
Yeah.
MIKE
How was it?
SCOTT
Sucked. But American Graffiti
was pretty good.
...Scott checks the rear view mirror.
SCOTT (cont'd.)
Are we getting close?
MIKE
Next exit.
EXT. DUKE'S HOUSE- NIGHT
Mike knocks on the door of a modest home. He is carrying a large manila envelope. The
door opens.
MIKE (O.S.)
Is Duke home?
WOMAN IN HER FIFTIES
He's in the garage. Come in.
You'll have to go through the
house. He lost the key to the
lock on that gate.
INT. DUKE'S HOUSE. FRONT DOOR TO BACK DOOR- NIGHT
...Mike and Scott walk through and exit the house via the back door.
EXT. SIDE ACCESS DOOR TO GARAGE- NIGHT
Mike knocks on a side door leading to the garage.
INTERIOR. GARAGE- NIGHT
DUKE, late 40's, a tall, gaunt man with long dark hair and a beard down to his belt, sits
in a wellworn recliner. Mike shakes hands with one hand and hands over the envelope
with the other.
MIKE
Duke, this is Scott. He started
a few months ago.
DUKE
Partners in crime, huh?
...Scott and Duke shake hands. Duke still hasn't risen from the chair. A tv is on. There's a
bed in the background. An old refrigerator and table are against the opposite wall.
MIKE
Looks like you're living out here.
DUKE
It's not so bad. She threw me
out three months ago. At least
I didn't have to go out and
find a place to live.
MIKE
It's probably a lot quieter.
DUKE
And I'm not paying rent on
two places.
Duke has removed photos from the envelope. looking at the first one.
MIKE
There's six photos here. How soon
can you get these separated?
DUKE
Negatives are in here? (looks in envelope)
A week. Call me before you drop by.
MIKE
How much are we looking at?
Duke's taking a long look at each photo.
DUKE
A hundred.
MIKE
See you in a week. Want me to
bring you a house warming gift?
DUKE
I got everything I need.
INTERIOR OF LINCOLN- NIGHT (MOVING)
SCOTT
So that was Duke. Hope I don't end
up living in a garage when I'm his
age.
Mike fiddles with the radio.
ANNOUNCER
...the resignation of Vice President Spiro
Agnew today...
Mike turns it to music. (...show me the way to the next little girl...Alabama Song by the
Doors...begins to play thru opening of next scene.
EXTERIOR. GRANPA'S APT. BLDG- DAY
There is a line of cars parked at the curb. A Rolls, a Mercedes roadster, a Mercedes
sedan, a Lincoln.
INTERIOR. GRANPA'S APT- DAY
Inside Rich is sprawled on the bed watching television. Duck, Mike, Scott, and Mike's
Granpa sit at the small table. They are passing around a small boxed reel.
MIKE
You found her? I thought she'd
left town.
DUCK
I talked to her. Call her yourself.
She's living in the valley.
GRANPA
She's a beautiful woman.
MIKE
She's gorgeous. Look at her. Sharon
Dixon. How'd you find her? Is that
her real name?
DUCK
You kidding me? Dixon?
Rich and Duck begin chuckling. Mike and Scott don't get it.
DUCK
I think she was seventeen in
that film.
SCOTT
So how old is she now?
MIKE
Nineteen, twenty.
...Mike looks over at his father.
MIKE
We're gonna take a ride out there
and see her.
...Rich just nods, his eyes on the tv screen.
EXTERIOR. RUNDOWN APT. BUILDING- DAY
Mike and Scott are climbing stairs to the second story of a two story apartment building.
It's a rundown building in a rundown neighborhood. In The Summertime by Mungo Jerry
plays through an open apt. window.
EXTERIOR. APT DOOR- DAY
Mike raps on the door. A worn looking woman answers the door.
SHARON DIXON, 20, looks 40, a life weary bleached blonde.
MIKE
Does Sharon live here?
SHARON
Yeah.
MIKE
Can you tell her Mike's here?
SHARON
Yeah, I'm Sharon.
MIKE
You're kidding.
Can we come inside?
...She reluctantly opens the door wider to admit them.
INTERIOR. SHABBILY FURNISHED APT- DAY
MIKE
We're doing an 8mm short and
wanted you to be in it.
SHARON
No sound? I don't have any lines?
MIKE
No sound. You can talk all
you want.
SHARON
I get five hundred. Up front.
MIKE
I'll tell you what. Here's a
hundred. We'll come back tomorrow.
If you look like this we'll do it.
He holds up the small box. She takes it from his hand and stares at it.
She hands it back to him.
SHARON
What time tomorrow?
EXT. HOT DOG STAND ON LA BREA AT SUNSET BL- DAY
Mike and Scott are sitting at an outside table having lunch. They're eating hot dogs,
drinking cokes. I Get Around by The Beach Boys blares through outside speakers.
MIKE
You about done?
SCOTT
You can't wait to go back and see
her, huh? You're wasting your time.
She looked like a junkie. You
shoulda asked her to take her
clothes off. I bet she has track
marks all over.
MIKE
Got anything better to do?
SCOTT
No. (beat) Let's go.
NOTE Mike and Scott eating have been close up shots. Only when they get up to leave
does the camera pull back to reveal the hot dog shaped stand.
EXT. SHARON DIXON'S APT- DAY
Mike and Scott again make their way up the steps.
An amazing looking blonde answers the door soon after they knock on it. It's Sharon
Dixon.
She's had her hair styled and dyed a platinum blonde. She's wearing a simple black
cocktail dress and a new pair of white high heels. Mike and Scott are stunned by the
transformation.
They follow her inside.
INT. SHARON'S APT- DAY
Mike and Scott sit on her sofa. She poses for them. She stands, feet apart, arms extended
downward. She shows her hands, her newly done fingernails and toenails match the
bright red of her lipstick. She twirls around, talking in a whispery Marilyn Monroe voice.
SHARON
Is this what you wanted?
Mike and Scott remain dumbfounded.
MIKE
So how's your body? No, uh,
scars or anything?
Sharon grabs the hem of her dress and in one motion lifts it over her head. She's wearing
nothing underneath. She does another 360° turn. Her body is playmate perfect.
MIKE
No. No scars.
He punches Scott in the chest with his elbow.
SHARON
I'll be back in a second.
She pulls her dress back down as she retreats out of sight. As soon as her dress hides her
ass, Mike turns to Scott.
MIKE
We have to do this tonight. She's
never gonna look any better.
SCOTT
How you gonna pull this off?
MIKE
We've got the camera and enough
film. I'll call John. We need a
place. How about your apartment?
Didn't you say Monica's staying
at her Mom's all week?
SCOTT
Yeah. Okay.
Mike pulls a wad of money out of his pocket and starts to count it. Scott does the same.
MIKE
How much you got?
SCOTT
Almost three.
MIKE
We're good.
INT. SCOTT'S APT- DAY
Sharon sits on the sofa. Scott's apartment has a sliding glass door in the living room that
leads onto a balcony. Scott is taping long strips of aluminum foil onto the glass.
SHARON
Can I make a phone call? I need
to let my boyfriend know I'm
gonna be home late.
SCOTT
Sure. Go ahead.
...Scott doesn't notice that she has to dig a business card out of her bag for the number.
SHARON
It's busy. I'll have to try
again later.
...she hangs up the phone and walks over to the television. She chooses a channel before
going back to the sofa. The Lennon litho hangs on the wall behind her.
Mike is at the kitchen table organizing his reels of film. He numbers them with a felt tip
marker.
Scott has the glass door covered. He heads to the kitchen.
Sharon sits with her chin in her hands, her elbows on her knees, watching something on
tv.
Scott searches a cabinet and withdraws a large toolbox. He sets it on the table next to
Mike.
SCOTT
I've got an idea for the set-up.
MIKE
What is it?
SCOTT
John's gonna be a tv repairman.
Let me find a hat.
...Mike opens his hands, eyebrows raised, like tell me the rest of the story.
SCOTT
He fixes the tv, hands her a bill,
she hasn't got enough money. Next
shot she's naked on her knees
giving him a blow job.
MIKE
Works for me. Where's the bill?
SCOTT
I'll find an old invoice. We've
bought a lot of crap lately.
SHARON
Is this guy going to fuck me?
MIKE
That's why we're here.
SHARON
I'm kinda dry. Do you have some
vaseline?
SCOTT
No. I might have something in the
refrigerator.
SHARON
You want me to put a stick of
Parkay up my twat? Are you fuckin'
stupid?
SCOTT
It's, uh, butter. My girlfriend
doesn't buy that margarine crap.
SHARON
You think there's a difference?
SCOTT
She says there is. I saw Brando
use butter in Last Tango in Paris.
Only he put it up her ass.
SHARON
I know John Holmes. And he's not
putting that up my ass.
SCOTT
I'll go find the hat.
...Scott returns from the bedroom with a Dodgers cap.
SCOTT
So where is he?
...the intercom buzzes. Scott gets on it.
JOHN (through intercom)
Hey, let me in.
AN HOUR LATER
...Mike is seated at the table changing film.
Sharon sits on the sofa naked. She is wearing only her white high heels. She's sucking
down a Coke.
John squats naked in front of the television. He's watching the Tomorrow show with
Tom Snyder. With one hand he absently wipes the sweat he's worked up with a towel.
SCOTT (to Mike)
This girl's the real thing. So
that's acting? These other girls
have just been screwing on camera.
This chick could be in the movies.
MIKE
No kidding. I'm getting it all on
film. You getting some good stills?
...Scott walks back into the living room.
SCOTT
I need a couple more stills.
JOHN
What'd you have in mind?
SCOTT
You stand in front of her,
she'll give you head.
...Scott clicks off three or four shots and has an idea.
SCOTT
It looks great Sharon, can
you give me a big smile?
Sharon takes the huge cock out of her mouth and turns on Scott. R Rated. POV behind
Sharon's head.
SHARON
How can I smile when I have a
dick in my mouth?
Mike and John laugh. Scott, wounded, retreats to the kitchen.
A FEW MINUTES LATER.
POV behind Sharon. She walks over to John and pulls on John's dick with both hands.
John spins her around so they both face in the same direction. He pulls her tight. He
pushes his cock between her legs. POV. Camera faces Sharon, shooting waist up. We see
her arms reaching down.
SHARON
Wow. I've got both hands around it.
Like holding a baseball bat. (beat)
There's enough left over to make a
regular dick.
We hear Scott's camera clicking away.
EXT. GRANPA'S APT. EXPENSIVE CARS PARKED CURBSIDE- DAY
Mike pulls his 450SL to a stop and parks at the end of the row. Mike and Scott exit the
car and walk to the apt.
INT. GRANPA'S APT- DAY
Mike and Scott can hear loud laughter as they enter the darkened room. A small projector
sitting on the table is running. The image plays off the white wall of the apartment.
David, Rich, Duck, and Granpa sit at the table. More laughter as Mike and Scott appear.
MIKE(to everyone)
What's so funny?
DUCK (laughing)
Wait'll you see this.
RICH
Start it back at the beginning.
Mike and Scott stand watching as the short film begins.
MIKE
What's this?
GRANPA(to Mike)
Those lesbian girls made this.
DUCK
See if you recognize anybody.
C.U. of image on the wall.
Mike and Scott are seen riding in Mike's 450SL. Angles from left and right and front.
MIKE
Fuck me.
DUCK
Just wait.
The film shows two young guys from the back walking to the front door of a house. They
have the same build, same color hair of Mike and Scott. They're wearing the same color
shirts Mike and Scott had on in the clip earlier of them riding in the convertible.
The door of the house opens. A five hundred pound black woman and her husband run
out and give the two white boys big hugs.
Next shot, everyone is nearly naked. The large black woman is sprawled out on the floor.
The boy who looks like Scott is atop her, pumping away. The boy who looks like Mike
from behind is bent over a couch being sodomized by the husband.
DUCK(to Mike)
You didn't call me? I like to
have a good time.
SCOTT
That's not us.
All but Mike and Scott keep laughing.
MIKE
Where'd you get this?
RICH
They've probably sold ten
thousand of 'em by now.
The images on the screen change. The Scott stand-in has his face buried in the woman's
crotch.
SCOTT
That's not me.
DUCK
You're allergic to food but you
got no problem eating that?
DAVID
You could hide out in that pussy.
DUCK
You'd come out lookin' like a
giant glazed donut.
MIKE
This ain't even funny.
GRANPA
How you gonna get even?
You gotta get even.
DUCK
Get even? I don't even see how
you can walk after that. You
goofballs didn't see 'em
filming you?
More laughter.
MIKE (to Rich)
You can't stop Bill from selling
this?
RICH
What am I gonna say? You're gonna
have to take care of this one
yourself. You and Scott. Just tell
me what you're gonna do before you
do it. Don't do anything crazy.
DAVID
Kidnap her girfriend and film
yourself fucking her. Skip'll
like that.
DUCK
He's already been in one movie.
Ain't that enough?
The short film ends, its tail flapping against the reel.
INTERIOR. AH FONGS CHINESE RESTAURANT- DAY
Seated at a booth are Rich, LONI, 36, zaftig brunette and Rich's second wife, Mike,
Tracy, and Scott.
LONI (thick Brooklyn accent)
I can't wait to see Bobby Darin.
TRACY
How big was he?
LONI
He was huge. Like Elvis. And Fabian.
And Ricky Nelson.
TRACY
I never heard of Fabian.
LONI
Oh, he was so cute. When the Beatles
came they all just disappeared.
...Loni turns to Rich.
LONI
You need to get us really good
seats.
RICH
I'll get us a good table. Scott,
how you like that Beef Su Chow?
That's pretty good, huh? Benson
Fong owns this place. He's an
actor. He's on Bonanza.
SCOTT
It's really good.
TRACY
You've never had it before?
SCOTT
I've never been here before.
MIKE
Eight hours from now his eyes
will be swollen shut.
TRACY(to Scott)
You coming to Las Vegas with us
to see Bobby Darin?
MIKE
He's staying at the house to
watch Jack.
TRACY
Bring Jack with us.
LONI
They won't let us bring him on
the plane.
TRACY
Why aren't we driving?
LONI
Rich thinks he's putting too many
miles on the car. I think he loves
that damn car more than me.
RICH
That's because you're puttin'
on the miles. Hon.
MIKE
Scott's staying at the house so
he can bring his girlfriend over
to fuck her in the pool. Is she
coming over?
SCOTT
She's coming up after she gets
off work.
RICH (to Scott)
You can bring your girlfriend
over. There's plenty of food
in the refrigerator. Help yourself.
We got some stuff from Nate and
Al's. You don't have to waste your
whole weekend watching the dog.
Have a good time with your
girlfriend. Anybody want dessert?
Mike and Scott trade stares. Scott gives a warning shake with his head. Mike only grins at
him. Tracy looks from one to the other knowing something's up.
EXT. ROLLS TRAVELING NORTH ON COLDWATER CANYON- DAY (MOVING)
...Rich and Loni in front. Scott, and Mike in back. Tracy sits between them.
INT. ROLLS ROYCE SILVER SHADOW- DAY
RICH
You can't see the street from
Coldwater. You gotta look for
that house right there and that
post. There's no sign. If you
hit Mulholland you went too far.
MIKE
The street drops off too so go
slow or you'll bottom out. You
better call Monica and give her
directions.
...the Rolls turns onto Hidden Valley Rd.
LONI
Look, it's Bert and Angie.
SCOTT
That's Angie Dickinson? The one
that screwed JFK?
LONI
And Bert Bacharach.
...The Rolls slows to a stop next to Bert and Angie. Rich lowers his window and speaks
to Bert. Loni lowers her window. Angie walks to her side.
LONI
Hi Angie. What are you guys doing?
ANGIE
We're keeping an eye on our son.
He's riding his mini-bike.
LONI
We're just coming back from dinner
at Ah Fong's. Angie, I want you to
meet a friend of ours. Scott. He's
gonna stay at the house while we're
in Vegas. We're going to see Bobby
Darin.
ANGIE
Where's Bobby playing?
LONI
The Riviera.
...Angie sticks her head in the car. Her face is two feet away from Scott's.
ANGIE
Hello Scott.
SCOTT (stammers)
Hi.
The Rolls pulls into the drive of Rich's house. Bert Bacharach and Angie Dickinson live
two doors down the street.
MIKE
Scott, why didn't you ask her
if she wants to do a movie?
TRACY
I think saying "Hi" is about all
he was good for.
RICH
Let me show Scott where everything
is before the cab gets here.
EXTERIOR. RICH'S HOUSE. BACKYARD POOL AREA- NIGHT
Scott and Monica are next to the lighted pool. They are dancing to Heart and Soul by The
Cleftones playing on a radio. They're both pretty good swing dancers. The song ends.
RADIO DJ
K-earth one oh one. That wa-
Scott twists the on/off switch on the radio. Scott silently swings Monica to the edge of a
chaise lounge. She sits down and settles back. He stands facing her.
MONICA
So when they coming back?
SCOTT
Tomorrow. Sometime. Wanna
go for a swim?
MONICA
I don't have anything to wear.
SCOTT
You don't need anything.
MONICA
You don't think anyone can see us?
SCOTT
I don't see how. We're surrounded
by mountains.
MONICA
Well first of all they're hills,
and there are houses on those hills.
See all those lights?
SCOTT
That's why I turned all the lights
in the house off. It looks like
nobody's home. Come on.
Scott's wearing OP shorts and a T-shirt with two little feet logo. He takes off the T-shirt.
Monica watches him.
SCOTT
You coming?
MONICA
Maybe.
Scott dives in. Monica takes another sip from a bottle of beer they found in the
refrigerator.
EXT. CAR- NIGHT (MOVING)
Two men in a car are driving north on Coldwater Canyon.
INT. CAR- NIGHT (MOVING)
There are four handguns on the seat between them. All have silencers on them. The
PASSENGER, 40's, a scruffy loser,opens the cylinder of one and spins it, checking to see
that it's full. The DRIVER, 40's, another scruffy loser, watches his partner repeat the
action with each of the three other guns.
PASSENGER
Slow down. You're getting close.
This street is hard to find. PAUSE
Turn left up there, by that post.
EXT. RICH'S HOUSE. POOLSIDE- NIGHT
Monica watches Scott swim a lap. On the return he finds the steps and walks over to her
dripping.
SCOTT
If you don't come in, I'm gonna
drag you in.
MONICA
Okay, okay. I'm coming. Stand
back. You're getting me all wet.
Monica begins to strip bare.
MONICA
It better be warm.
SCOTT
It is.
Scott jumps back into the pool and climbs into a floating pool lounge.
The wind kicks up a gust so violent both Scott and Monica freeze staring up in the same
direction.
SCOTT
Santa Ana winds kicking up.
Monica wades into the pool one step at a time. (40fps) Purple blossoms from a nearby
locust tree float down on top of them. She swims over to Scott and grabs an arm of the
chair.
SCOTT
Told you it was nice. Don't I
always show you a good time?
MONICA
It does feel nice.
SCOTT
Know what would feel even better?
MONICA
You can't do that in the water.
SCOTT
We can do something.
MONICA
How about I sit in the chair?
You'll think of something.
SCOTT
I thought of something. And I'm
already in the chair.
MONICA
You could use the practice.
Okay. We'll flip for it.
SCOTT
We don't have a coin. PAUSE
You see that red ball on the
bottom of the pool? We'll dive
for it. Whoever gets it gets
the chair.
MONICA
Okay.
EXT. THE STREET IN FRONT OF RICH'S HOUSE- NIGHT (MOVING)
...the two gunmen are nearing Rich's home.
INT. GUNMEN'S CAR- NIGHT (MOVING)
PASSENGER
Turn the car around. We're gonna
have to get out of here fast.
DRIVER
You sure no one's home?
PASSENGER
He took the ol' lady to Vegas with
him. Look. There aren't any lights on.
The car stops on the street, just down from Rich's house. Each of the men are holding
two guns.
PASSENGER
Four guns. That's twenty four
rounds. Let's do this right. I
wanna get paid.
EXT. POOLSIDE- NIGHT
Scott and Monica are standing on opposite sides of the pool. Monica at the edge of the
pool with her hands on her knees.
SCOTT
When I raise my arm we both dive.
Monica nods her head. Scott shoots his arm into the air.
Seconds later the air is filled with the sound of gunfire.
INT. LAX AIRPORT TERMINAL- DAY
Mike is at a pay phone. The others stand around him. Mike replaces the receiver back
onto its hook.
MIKE
No answer.
LONI
Maybe they're out by the pool.
RICH
He called him last night and he didn't answer. Late. What time'd you call.
MIKE
After one.
RICH
They weren't out by the pool at
one in the morning. Let's go see
where this partner of yours is at.
EXT. CAB TRAVELING NORTH ON COLDWATER CYN- DAY (MOVING)
The cab begins its turn off Coldwater Canyon onto the hidden road. Rich's house comes
into view.
RICH (O.S.)
Oh my God, Oh my God!
What's happened?
EXT. RICH'S DRIVEWAY- DAY
...Rich and Mike scramble out of the limo. They stand next to each other, mouths open, a
disbelieving look on their faces.
Loni and Tracy come up behind them. They're faces show shock
also.
NOW we see what they're looking at.
They're looking at the driver's side of the Rolls Royce. It's riddled with bullet holes. One
of the side windows is completely shattered. the back side window has three bullet holes
in it. There are several bullet holes in each door. The rear tire is flattened.
The side gate that leads to the back yard pool area opens. Scott walks out.
SCOTT
Hey. I thought I heard you guys
drive up. How was Vegas?
RICH
What happened to my car?
SCOTT
Whaddya mean?
...Scott walks over to where they're standing.
SCOTT
Wow! What happpened to your car?
Look at this.
RICH
You don't know? You didn't hear
this? There must be fifty holes
in this car. The police didn't
come out?
MIKE
You really didn't hear anything?
Were you here all night?
SCOTT
Yeah. Monica's here. We were here
all night.
MIKE
You know I tried to call you
last night.
SCOTT
I didn't hear the phone. We were
out by the pool.
RICH
All night?
SCOTT
Well, most of the night.
RICH
You heard us drive up but you
didn't hear fifty gun shots
going off?
...Rich looks at Mike.
RICH
Should I call the police?
MIKE
They're gonna ask a lot of
questions. Talk to the neighbors.
Asking about you.
RICH
What am I gonna tell the insurance
company? I don't have a police
report? (beat) Scott. You really
didn't hear anything?
...Scott is poking a finger through one of the bullet holes in the door.
SCOTT
Wow.
...Scott turns and looks at Mike.
SCOTT
How was Bobby Darin?
EXT. SERVICE DRIVEWAY AT ROLLS DEALERSHIP- DAY
Several men dressed in suits crowd along the side of the Rolls surveying the damage. One
has his hand on the shredded leather of the drivers head rest. Another, his finger in a hole
in the landau roof.
SALESMAN W/BRITISH ACCENT
I've never seen a Rolls Royce
shot before.
RICH
But you can fix this, right?
SALESMAN W/BRITISH ACCENT
Do you want us to bullet proof it?
RICH
Just fix it. I want it to look like new.
Rich and Mike walk to Mike's car to leave.
Salesman with Brit accent turns to another salesman.
SALESMAN W/BRIT ACCENT(now has no accent)
That's one customer I'm not going
to fuck with.
EXT. GARANPA'S APT. BLDG- DAY (SET SHOT)
INT. GRANPA'S APT- DAY
Mike and Scott are inside sitting at the table.
MIKE
Duck's gonna be here any second.
You bring all those films he needs?
SCOTT
Yeah. They're in the trunk. I had
to stop and buy a hubcap for the
Lincoln. It cost me a hundred bucks.
Loan me twenty. I'll pay you
back later. (beat) You see that car
down the street?
MIKE
Where?
SCOTT
Take a look.
...Mike goes to the window and parts the curtain slightly, peeking out.
MIKE
What car?
SCOTT
The blue Volvo.
MIKE
What about it?
SCOTT
I think it's a cop.
MIKE
Cops don't drive Volvos.
SCOTT
I think you're wrong. The guy
sitting in it looked like that
vice squad guy. The guy taking
pictures on the sidewalk.
MIKE
Drive by when you leave and have
Duck take a look.
SCOTT
Okay. Your father's really upset
about the Rolls, huh?
MIKE
He loves that car. He says it sits
up higher than other cars. People
have to look up at him when they're
sitting in a car next to him. He
likes that kinda shit.
SCOTT
Why doesn't he just buy a pick-up?
MIKE
It's not the same thing.
SCOTT
What're you gonna do today?
MIKE
Go get my car washed. Wait for
April Davis to show up. I'm taking
her over to meet Mustafa.
SCOTT
April Davis from high school?
MIKE
I showed Mustafa a picture of her
and he wants to meet her. He's
been bugging me for months now.
SCOTT
Mustafa's what, fifty?
MIKE
So?
SCOTT
What's April get out of fucking
some old arab?
MIKE
He's got money. He can show her
a good time.
SCOTT
I hope she says no.
MIKE
If she goes out with him he'll
owe me a favor. She's not seeing
anyone. What's it gonna hurt? (beat)
I got the names of a couple hookers.
When you get back we'll go see 'em.
EXT. SMALL NEIGHBORHOOD BAR ON VENTURA BL- DAY (SET SHOT)
INTERIOR OF BAR- DAY
Off a guy dropping money in a jukebox and pushing his selections. Duck and Scott sit
facing each other in a booth.
Spill The Wine by Eric Burdon starts on the jukebox b.g.
SCOTT
What're you drinking that for?
DUCK
Scotch and milk? I've got an ulcer.
Can't drink anything else.
SCOTT
That helps?
DUCK
I know I feel better after the
second one. Let me bum one a
your cigarettes.
SCOTT
I'm almost out. There's a machine
right there.
DUCK
I don't wanna pay forty cents.
SCOTT
You want me to? (beat) Who are
these guys we're meeting?
DUCK
Couple guys from Dallas. They
own a bunch of theaters.
SCOTT
You know what they look like?
DUCK
I've met 'em before.
SCOTT
Check it out. There's that girl
from Hang Em High. That Clint
Eastwood movie.
DUCK
She looks familiar. She was in
that movie?
SCOTT
She played a hooker. They were
going to hang some guys and Clint
didn't want to watch. He grabs this
hooker out in the street and drags
her to the hotel room and fucks her.
You don't remember that?
DUCK
She played a hooker? I wouldn't
give her five bucks.
SCOTT
I would. I'm gonna go talk to her.
...Scott gets up and walks next to her where she's helping herself to the bar food on a
table next to the bar.
SCOTT
Hi.
ARLENE
Hi. How are you?
SCOTT
Good. You look familiar.
ARLENE
I do, huh? You want to put some
mustard on my hot dog?
SCOTT
Uh,..sure.
Scott squeezes a plastic bottle of mustard while Arlene Golonka holds her hot dog
beneath it.
...Scott returns to the booth and sits down.
DUCK
How'd it go stud? Didja fuck her?
SCOTT
Nah. I could'nt think of anything
to say.
DUCK
I saw her talking to you.
SCOTT
She asked me if I wanted to put
mustard on her hotdog. I couldn't
think of a comeback for that.
DUCK
Yeah. She got the jump on you. She-
Duck looks OS.
DUCK (cont'd.)
-Here we go.
...two tough looking guys walk into the bar. Both in their late twenties, both wearing
sunglasses and leather jackets. They spy Duck and slide into the booth. Duck shakes
hands with both of them. TIM, 29, college football lineman build,
affable as a cobra. CHRIS, 28, slim, jumpy, Texas accent.
The Stones Sympathy for the Devil from the jukebox b.g.
DUCK
This is Scott. He's one of the
kids shooting the series.
TIM
Heard about you. If you ever want
a job you should call me.
SCOTT
I'll remember you said that.
CHRIS
You're probably getting more pussy
than I have in my whole life.
SCOTT
I know I can't wait to get up in
the morning and go to work.
DUCK
He just don't care what it looks
like.
TIM
Are you fucking everything that
moves?
SCOTT
I haven't fucked Duck's old lady
yet. Even though she keeps calling.
DUCK
You sure it's my wife? Not a five
hundred pound black woman?
CHRIS
What's that about?
Duck takes a sip of his scotch and milk.
DUCK
We're just kiddin' ya. If I was
you I'd be doing the same thing.
You ain't gonna be...What are you?
eighteen?
SCOTT
Nineteen.
DUCK (cont'd.)
nineteen forever. The only women
I think about now are the ones I
had a chance to fuck and didn't.
TIM
I think about all the girls I
shoulda started fuckin' when
I was twelve.
CHRIS
That's how old I was first time I
got some pussy.
DUCK
How'd that happen? Your sister sit
on your face while she was beating
the shit outta ya? I'm just kiddin'
ya. You guys want something to drink?
TIM
Jack and Coke.
CHRIS
Make that two.
...Duck yells to the bartender.
DUCK
Rocky, we need a couple Jack and
Cokes over here.
ROCKY THE BARTENDER
I ain't a fucking waitress. Come
over and get 'em.
...Duck comes back from the bar with fresh drinks.
TIM
You guys got everything we came
out here for?
DUCK
Out in the car.
CHRIS
We already checked into the motel
across the street. We'll tranfer
it over there.
DUCK
That takes care a that. Now you
lookin for some L.A. pussy? Wanna
double up on a actress? (beat)
Clint Eastwood fucked her.
...Duck sips at his scotch and milk.
MONTAGE
EXTERIOR. HOLLYWOOD FREEWAY- TWILIGHT
Scott steers the black Lincoln off the Hollywood freeway.
The Capitol Records building is in the background. They pass the Hollywood Bowl. The
Band's Across the Great Divide plays on the car stereo b.g.
INTERIOR OF LINCOLN- TWILIGHT
DUCK
You hungry? Wanna get some dinner?
Stop at Musso & Franks.
SCOTT
What's that?
DUCK
You never heard a Musso & Franks?
SCOTT
No.
DUCK
It's on Hollywood Blvd. Take the
back way. Go down Franklin.
EXTERIOR. REAR PARKING LOT MUSSO AND FRANKS- NIGHT
Scott and Duck exit the car and walk down the sidewalk to Hollywood Bl. They enter the
restaurant.
INTERIOR. MUSSO-FRANKS RESTAURANT- NIGHT
Scott and Duck sit at a linen covered table. They're reading menus.
...a waiter approaches.
WAITER
Have you decided?
DUCK
T-bone steak. Medium rare. Baked
potato, sour cream. Does it
come with a vegetable?
WAITER
The dinner comes with green beans.
DUCK
Okay, if it comes that way. I
don't wanna pay extra for 'em.
SCOTT
I'll have the same.
DUCK
Can we get a drink? I want a
scotch and milk.
The waiter moves off, writing on a pad.
...an old man slides into the booth opposite the table where Scott and Duck are sitting.
Two muscular guys sit down with the old man. One on each side. Their backs are to the
wall. They can look out and see everyone in the restaurant. The waiter hands each of
them a menu. Duck leans toward Scott, his left hand shielding his mouth.
DUCK
Don't look over. That old guy who
just sat down. That's Mickey Cohen.
The gangster. You ever heard of him?
...Scott promptly looks over, staring at the three who return hard gazes.
DUCK
Good job...(Duck mutters.)
SCOTT
I heard of him. Him and Bugsy Siegel.
DUCK
Biggest gangsters in L.A. in the
fifties. They killed a lotta guys.
...Scott looks over again. The same hard stares.
SCOTT
You sure that's him?
DUCK
Yup. Good thing this ain't twenty
years ago. Somebody could be look-
ing to shoot him. We could get shot
right here.
SCOTT
By who?
DUCK
Anybody with a gun. Who do you
think?
Mickey Cohen and his two bodyguards get up from the booth. They escort the old man to
the restroom at the rear of the building.
DUCK
I'm going to the restroom.
SCOTT
What for?
DUCK
I want to see him up close.
...Duck returns a minute later, nose bleeding.
SCOTT
What happened?
DUCK
Let's get out of here.
SCOTT
Our food hasn't come yet.
DUCK
Let's go. I'll tell you in the
car.
INTERIOR OF LINCOLN- NIGHT (MOVING)
SCOTT
One of those guys hit you?
DUCK
You think I hit myself? I got to
the door and those two big guys
were standing so I couldn't get
past. One of them said the restroom
was closed. I kept going and got
pushed into the wall. Fucking
gorillas.
SCOTT
You still hungry?
DUCK
Drop me off at my car.
Duck leans back in the seat, a linen napkin from Musso and Frank's held to his nose.
INTERIOR. GRANPA'S APT- NIGHT
Mike and Scott are sitting at the table.
SCOTT
...so then he comes back with a
bloody nose. We didn't even get
to eat.
MIKE
Was it Mickey Cohen?
SCOTT
I don't know.
MIKE
Did you check out that Volvo when
you left?
SCOTT
I forgot.
MIKE
He's gone now anyway.
SCOTT
How'd it go with April?
What'd she think of that
conniving fuck, Mustafa?
MIKE
She never showed. Too bad. Ready
to go get laid?
SCOTT
Can we stop somewhere and eat first?
EXT. BARHAM EXIT OF HOLLYWOOD FWY- NIGHT (MOVING)
Mike is driving his 450SL. Scott in the passenger seat. Mama Told Me Not To Come by
Three Dog Night plays on the radio.
INTERIOR MIKE'S 450SL- NIGHT. (MOVING)
MIKE
All this traffic. I told them we'd
be there before eight.
SCOTT
So we're late. What's the big deal?
MIKE
They're going to a party.
SCOTT
We coulda done this tomorrow.
MIKE
What's wrong? You don't wanna
get laid?
SCOTT
No. It's just been a pretty weird day.
EXT. APT. BLDG- NIGHT
Mike and Scott park at the curb of a large apartment building. Walkways lead from the
sidewalk to each apartment.
EXT. APT. DOOR- NIGHT
MIKE
3315. This is it.
Scott knocks on the door. Nobody answers.
SCOTT
Maybe they left already.
MIKE
The lights are still on.
...suddenly the door swings open. Scott takes a step back. Alarmed look on his face.
Standing at the door is someone wearing a costume. It's a six and a half foot tall Easter
Rabbit. Behind the rabbit is a blonde girl dressed in a genie costume. TONYA THE
GENIE, 27, tanned, toned, maximum busty.
INT. HOOKER APT- NIGHT
MIKE
You look like I Dream Of Jeanie.
Barbara Eden. You're going to a
costume party?
TONYA THE GENIE
You're the guy that called? You're
late. Sorry, We're just leaving.
MIKE
We hit traffic. Come on. We drove
all the way out here.
TONYA THE GENIE
Sorry hon. Call me tomorrow.
MIKE
We'll be here for half an hour.
You're gonna throw away two
hundred bucks for a half hour?
TONYA THE GENIE
I don't care about the money.
We're already late.
Scott surveys the hookers apartment. White walls, white carpet, paintings of nude women
in white picture frames, white lamps. Everything white but the furniture. A long
single couch is a blazing red color.
MIKE
How 'bout three hundred?
TONYA THE GENIE
What do you think, Cheryl?
CHERYL THE RABBIT
It took me an hour to get this
thing on. I'm not taking it off.
TONYA THE GENIE
Three hundred bucks? Just give
him a hand job.
Scott looks down at the big furry hand.
...Mike and the blonde genie walk up the stairs to a bedroom.
Mike gives Scott a hurry up signal with his hand.
CHERYL THE RABBIT
You want a hand job, baby?
SCOTT
For a hundred and fifty bucks?
Are you crazy? Doesn't this thing
have a zipper somewhere?
CHERYL THE RABBIT
In back. If I have to go to the
bathroom.
...Scott gets sidetracked looking at a hanging lamp. It's a twelve inch high sculpture of a
naked woman surrounded by wires with beads of liquid constantly dripping down.
C.U. OF LAMP.
SCOTT
I've never seen one of these before.
CHERYL THE RABBIT
It's a lamp.
The woman in the bunny suit leads Scott up the stairs by the hand. Scott trailing behind
has his head turned back down the stairs. His eyes on the lamp.
INTERIOR. CHERYL'S BEDROOM- NIGHT
Scott is laying naked flat on his back. The bunny straddles him. Her big rabbit head leans
down close to his face.
CHERYL THE RABBIT
Don't mess up my costume, okay?
SCOTT
Got it.
...The rabbit begins slowly humping him.
INTERIOR. LIVING ROOM- NIGHT
Mike and the Genie are already done. They're back downstairs talking.
TONYA THE GENIE
I wonder what's taking them so long?
MIKE(looking upstairs)
What's that banging noise?
TONYA THE GENIE(glances upward)
(beat) Sounds like your friend's
really going at it.
INT. CHERYL'S ROOM- NIGHT
...the rabbit has picked up speed. She's humping Scott furiously. Scott can barely be seen.
The Rabbit costume dwarfs him completely. With every thrust of her hips his
head bangs loudly into the head board.
INT. LIVING ROOM- NIGHT
MIKE
Are you guys keeping the costumes
for a couple days?
TONYA THE GENIE
Why? Did you want to fuck the rabbit?
INT. CAB OF MIKE'S 450SL. WEST ON SUNSET BL- NIGHT (MOVING)
Mike and Scott headed home after the hookers.
SCOTT
You gonna get Tracy one a those
Genie costumes?
MIKE
I don't know. The rabbit looked
kinda cool. Did you grab her by
the bunny ears? Have her give
you a blow job?
SCOTT
I made her fuck me. I wanted to be
sure there wasn't a guy in there.
MIKE
Good thinking. (beat)
What's going on up here?
SCOTT
They're shooting a movie.
...Equipment trucks, generators, cables, people standing around. Lights focused on an
actor in a phone booth. Traffic slows down as drivers gawk at the scene.
SCOTT
That was James Garner in the
phone booth.
MIKE
That gold Firebird looks like
the one you used to have.
SCOTT
No. That's a new one. That's a '74.
I wonder what movie they're making?
MIKE
You want to stop at Schwab's for
coffee? Granpa will probably be
there. Waiting for his girlfriend
to get off work. Margie the waitress.
SCOTT
The one with the red hair? You're
kidding. What's he need a girlfriend
for?
MIKE
You think he's too old for that? My
father walked in last week and caught
him with his hand up her skirt. He
said she turned red. He said granpa
just had a big grin on his face. She's
probably over there every night giving
him a handjob or sucking him off.
SCOTT
And you want us to go there and
have her give us coffee and pie.
MIKE
I don't think about stuff like that.
SCOTT
I do. All the time. Drop me off.
It's been a long day.
They pass a fast food pizza franchise. The motto on the sign says Had a piece lately?
...Mike pulls to a stop next to Scott's Lincoln. Scott's about to get out when Mike stops
him.
MIKE
Oh. You gotta go to the airport
tomorrow and meet Sam. I'll find
out what time and call you later
tonight.
EXT. LAX AIRPORT- DAY
Scott stops at arrivals when he sees the guy in the black leather jacket. Honks. Sam gets
into the backseat of the car carrying his luggage.
INTERIOR OF SCOTT'S LINCOLN- DAY
SCOTT
This time I knew who I was
looking for.
BLACK JACKET GUY
New car, huh? You want to drive
to that burger place?
...Scott finishes counting money while Sam watches from the backseat.
SCOTT
Twenty-five thousand.
BLACK JACKET GUY
Good. Take me back.
When Scott starts the car the radio comes on. BEYOND THE SEA by Bobby Darin is
playing. The song ends.
RADIO DJ
We're gonna miss him. Again Bobby Darin.
Dead today at the age of thirty-seven.
EXT. GRANPA'S APT- DAY
Scott pulls into the underground garage. Three cars follow.
EXT. UNDERGROUND GARAGE- DAY
The cars stop in the middle of the garage. Three or four guys exit each vehicle. Most of
them enter Granpa's apartment. Three of them corner Scott at the rear of the Lincoln. All
three are wearing badges on their jackets.
COP 1
LAPD Vice.
...the cop takes the bag from Scott's hand.
COP 2
Put your hands on the back of your
car. Spread your feet apart.
...the cop pats him down.
COP 1
I need your car keys.
...The cop takes the keys and pops the trunk of Scott's car. There's nothing there.
COP 1
Let's go inside.
Three cops surround him as they all walk into Granpa's apt.
INT. GRANPA'S APT- DAY
Several cops are crawling over the apartment. They're searching every closet. Drawers
and cabinets are pulled open and left that way. Rich is sitting on the bed. Two cops are
standing in front of him, talking. Mike, Scott and Granpa are sitting at the table.
SCOTT
They got the money.
MIKE
That's all they're gonna get.
There's nothing here.
...two cops approach the table.
COP 4
You're Scott Daniels?
SCOTT
Yeah.
COP 4
You live at 4100 Ocean St in
Santa Monica? Apartment 205?
SCOTT
Yeah.
COP 4
We have several officers at your
apartment. Do you give us permission
to enter your apartment? If you say
no we'll get a warrant from a judge.
You'll just have to sit here a few
hours longer. But we are going in.
Scott looks at Mike. Mike shrugs. Scott looks over to Rich. Rich raises his hands, palms
up. They're telling him
to let the cops in.
SCOTT(to cop)
Go ahead. You're not going to
find anything.
COP 4
We think we will. This cash here.
Is this yours?
... Scott refuses to answer.
COP 4
Anybody here want to claim
this money?
RICH
I'm calling my attorney.
COP 4
Go ahead.
Rich dials the phone.
RICH
Is Roger there. This is Rich Weller.
PAUSE It'S urgent. PAUSE Roger?
Rich Weller. I'm at my father's
apartment. There's several cops
here turning the place upside down. PAUSE They haven't found a thing.
They're at the apartment of one of
my guys. PAUSE He had some money on
him and they want to know whose it
is. PAUSE What else can I do? PAUSE
I'll call you when they leave.
Rich hangs up the phone.
RICH
That money belongs to me. Nobody
here has to answer anymore questions.
COP 4
Depending on what we find in Santa
Monica some of you are going to be
asked to surrender for booking.
You'll know in a few days. Leaving
town wouldn't be a good idea.
The cops haven't found anything. They leave. A warrant and the bag of money sit on the
table.
SCOTT
They're gonna get all the masters
I've got in the closet.
Rich is on the phone.
RICH
David? We just got busted. Here at
my father's. Are the cops up there?
No, They didn't find anything here.
You should get out of there. PAUSE
Call me later.
Rich hangs up the phone.
RICH(cont'd.)
Nobody worry. We've got the best
lawyer in the business. Nobody's
going to jail.
Rich lies down on the bed.
MIKE
You know, I've got the camera in
my car. They didn't even look.
SCOTT
They checked my car. They opened
the trunk.
MIKE
That guy parked down the street
yesterday? They've been watching
granpa's.
SCOTT
How come they're only at my place?
I told you the cops have been
watching us.
INTERIOR. HALLWAY. SCOTT'S APT- NIGHT
Scott turns the key to his apartment. The door swings open.
INT. SCOTT'S APT- NIGHT
The place is a mess. Every drawer has been removed and its content dumped on the floor.
All the cabinet doors in the kitchen are flung open. Scott walks down the hallway. The
closet at the end of the hallway is open. The film cans are missing. Scott walks into the
bedroom. All the clothing from the dresser drawers have been dumped on the floor. The
drawers themselves were replaced but remain pulled open. Clothes on hangers in the
closet have been dumped in a heap next to the bed. The two nightstand drawers are
opened.
Scott returns to the living room. He goes to the bookshelf and searches for the computer
readouts Monica has been giving him. They're missing. Scott walks to the kitchen and
something on the table catches his eye. There's a folded sheaf of papers that turn out to
be a warrant. They had one after all. There's also a long sheet of paper. It's an itemized
list of everything that was taken.
Scott picks up the phone and begins dialing.
SCOTT
Hi Tracy. Is Mike home? The cops
never showed up there, huh? You
should see my place. It's a mess.
Well, have him call me when he
shows up. (beat) Okay, later.
Scott wades through the clutter on the floor to the television and turns it on. He sits on the
sofa, staring blankly at the screen. Kojak is chasing down some bad guy.
EXTERIOR. GLADSTONE'S 4 FISH RESTAURANT. OUTDOOR TABLE- DAY
The Pacific Ocean surf breaks in the background. Mike is reading the list of items taken
from Scott's apartment. The warrant sits on the table. Scott's last phone bill is here also.
MIKE
How'd they know all this was at
your place?
SCOTT
Look at this.
...Scott hands Mike the phone bill.
MIKE
It's your phone bill.
SCOTT
Check out the long distance calls.
MIKE
What am I looking for?
SCOTT
The one to Susanville? I don't
know anyone in Susanville. I had
to look on a map. It's up in
Northern Californa. By Tahoe.
MIKE
Yeah?
SCOTT
Duck said Sharon Dixon's real name
is Sharon Susans. The day of the
phone call? Same day of the shoot
with her. Remember that phone call
she made? She must have called
Susanville. There aren't any calls
to the valley. Look at the time.
MIKE
She was proving she was in your
apartment.
SCOTT
That's how they got the warrant.
MIKE
The bitch set us up.
SCOTT
Why?
MIKE
She traded us to get out of
something.
SCOTT
The closet was open when she
went to the bathroom. She saw
all the film.
MIKE
We're not going to jail. The
lawyer says we're gonna get
all the film back.
SCOTT
You sure?
MIKE
If we get booked we'll be out in
an hour. If there's a trial it'll
be at least a year from now. My
father has the best lawyer in the
business.
SCOTT
You said he owes the lab fifty
grand and they're about to cut
him off. What's the lawyer gonna
charge?
MIKE
It's covered. Don't worry. What'd
Monica say?
SCOTT
I didn't tell her. I broke up
with her.
MIKE
Because you didn't want her to
know about the bust?
SCOTT
Because I didn't want her to get
in trouble. You know all those
license plates she ran for us?
They got 'em. The cops took 'em.
MIKE
It's not on this list.
SCOTT
They were there the day before.
There was a whole stack of 'em.
MIKE
You should have thrown them away.
SCOTT
Thanks.
INT. HALLWAY. SCOTT'S APARTMENT- DAY
Scott knocks on a door that has a manager sign on it. A young man, MANAGER, late
twenties, opens the door. Scott hands him a rent check.
MANAGER
Your're the guy in 205?
...the manager's WIFE, 26, joins him at the door.
WIFE
Oh wow. There were cops all over
the place. The hallway was full
of them.
MANAGER
They wanted the key to your
apartment. They said if we didn't
give it to them they were going to
kick your door down.
WIFE
It was like a movie. It was pretty
exciting. What were they looking for?
SCOTT
They didn't find anything. They
messed the place up pretty good.
PAUSE I might be moving. I'll let
you know.
MANAGER
Sorry to here that. You're one
of the few tenants that pay the
rent on time.
SCOTT
I might be taking a job out of
state. As soon as I find out I'll
let you know.
INTERIOR. SCHWAB'S PHARMACY- NIGHT
Scott sits next to Granpa at the counter of Schwab's Pharmacy. It's late and the place is
deserted. Scott and Granpa are the only customers. Granpa's girlfriend, MARGIE, 63,
dyed red hair, stocky, sweet natured, is the only waitress working. There's one cook in
the kitchen.
GRANPA
Where's your partner?
SCOTT
Mike's meeting me here. He should
be here any minute.
GRANPA
Margie! Bring him a cup of coffee.
MARGIE
Hi Scott. How are you?
She sets down a cup of coffee in front of him.
SCOTT
Okay.
MARGIE
Do you want cream and sugar?
Scott gives her a long look.
SCOTT
Uh...just black.
MARGIE
What are you doing out this late?
We're about to close.
SCOTT
Meeting Mike. He's gonna give me
a ride home.
GRANPA
What's wrong with your car?
SCOTT
I'm leaving it here. I'm getting
another one.
GRANPA
You're not going to drive the
Lincoln anymore? That's a nice car.
SCOTT
I need to get something else.
Mike follows behind an older woman and a teenage girl that have just entered and sit
down at the counter. Scott looks over to check out the girl.
MIKE
Hi Granpa. Margie, how are you?
(to Scott) You're leaving the car here?
What's up?
Mike takes the seat next to Scott and sits down.
SCOTT
The cops know it. I'm gonna get
something else.
MIKE
What?
SCOTT
I don't know. Something I can afford.
...Scott leans toward Mike and whispers.
SCOTT (cont'd.)
That's Lenny Bruce's mom. Sally
Marr. Remember Harry and Tonto?
She was in that. That's gotta be
Lenny's daughter. What's her name? (beat) Kitty? That's it.
Mike looks over at them. He looks at Scott and nods his head.
MIKE
Are you quitting?
SCOTT
The vice squad could put me in
jail anytime. What would you do?
MIKE
You think that's gonna happen?
SCOTT
I don't want to stick around and
find out.
MIKE
You got any money saved?
SCOTT
A little.
MIKE
Are you sure you wanna do this?
Why don't you think about it?
SCOTT
I been thinking about it. I
shoulda quit sooner. Before the
bust. I'd still be with Monica.
...Scott shakes Granpa's hand.
SCOTT(TO MARGIE)
Margie...take care.
Mike and Scott get up and leave.
EXTERIOR. SCOTT'S PARENTS HOUSE- DAY
Scott and his parents are near the open trunk of a 1960 Ford Galaxie. SCOTT'S DAD,
45, middle class. SCOTT'S MOM the same.
SCOTT'S DAD
Here son, you're going to need
this. The car burns oil. You
better stop and check it every
couple hundred miles.
...Scott's dad places a case of quarts of motor oil into the open trunk.
SCOTT
Before I drive off and forget...
Scott hands his dad several twenty dollar bills. His dad hands back one of the bills.
SCOTT'S DAD
You only owe me a hundred. He
knocked twenty dollars off because
I could see it burns oil. You're
going to need your money till you
get out there and start working.
SCOTT
Thanks. I'll be alright.
SCOTT'S MOM
You take care of yourself.
Scott gives each of his parents a quick hug, closes the trunk lid, and gets in the car. He
gives the horn a quick blast and drives away from the curb.
SCOTT'S MOM
I hope he's going to be alright.
SCOTT'S DAD
He'll figure it out.
EXTERIOR. NEEDLES, CALIFORNIA- DAY
Panning shot as the Ford approaches, passes. Following shot as car passes LEAVING
CALIFORNIA sign at the Arizona border. FREEZE FRAME
THE END
FADE OUT
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