BOOGIE NIGHTS

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PAUL THOMAS ANDERSON Copyright C 1994, 1995

DRAFT September, 1995

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BOOGIE NIGHTS by Paul Thomas Anderson EXT. HOT TRAXX NIGHTCLUB - NIGHT CAMERA holds on this PACKED disco on Van Nuys Blvd. TITLE CARD: "San Fernando Valley, 1977" A CADILLAC SEVILLE pulls up to the valet area and CAMERA (STEADICAM) moves across the street, towards the car, landing close; From the Seville steps, JACK HORNER (50s) and AMBER WAVES (early 30s). CAMERA follows them (this is one continous shot) as they pass the crowd, greet a DOORMAN and enter INSIDE THE NIGHTCLUB. Twice as packed inside as outside. Music is full blast. Amber and Jack are greeted by; MAURICE t.t. RODRIGUEZ (30s). Owner of the nightclub. Puerto Rican. Wearing a suit and fifteen gold chains. MAURICE Jackie-Jack-Jack and Miss Lovely Amber Waves AMBER Hi, Maurice. JACK You bad ass little spick. How are you, honey? MAURICE Pissed off you ain't been around JACK I been on vacation. MAURICE Don't stay away this long from my club ever again, Jackie-Jack-Jack. JACK I promise. Maurice takes Amber's hand and gives it a kiss. MAURICE You are the foxiest bitch in ten countries. 1

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AMBER You're such a charmer. MAURICE (to Jack) I got you all set up at your booth. I wanna send over some clams on the half shell. JACK Beautiful. MAURICE Just remember, Jack: I'm available and ready. Cast me and find out JACK Yeah, yeah, yeah. Amber and Jack head off towards the booth. CAMERA stays with Maurice, follows him to the bar area, where he shouts some orders to a WAITER. MAURICE Clams on the half shell to Jack and Amber over there go I The WAITER takes off to the kitchen, Maurice walks onto the dance floor and greets three people; REED ROTHCHILD, 20s, tall and skinny, BECKY BARNETT, 20s, black girl in silk, BUCK SWOPE, 20s, black guy in cowboy gear. MAURICE Hello there, kiddies. REED/BUCK/BECKY Hi, hey, hi, Maurice. MAURICE Having a good time? BECKY Excellent. MAURICE Great, great, great. Maurice moves away to greet some more people. CAMERA stays with Reed, Becky and Buck, does a 360 around them. Reed and Becky Disco Dance. Buck does some Cowboy-Type Moves. Moments later, the WAITER carrying clams on the half shell passes and CAMERA picks up with him, follows him to Jack's booth, where he presents them;

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WAITER Compliments of Maurice. JACK Thank you. AMBER Can I get a Marguerita, please? JACK Seven-Up, here The WAITER exits, CAMERA PANS with him for a moment, leading to a young girl wearing roLlerskates, ROLLERGIRL (aged 18). She always, always wears rollerskates. CAMERA PANS with her back to Jack's booth. ROLLERGIRL Hi. JACK Hello, honey. AMBER (to Rollergirl) Did you call that girl today? ROLLERGIRL I forgot. AMBER If you don't do it tomorrow, then it's the weekend and you'11 never be able to get in to see her ROLLERGIRL OK. Rollergirl scratches her crotch as she speaks. Amber notices; AMBER What's the matter down there? ROLLERGIRL I gotta go pee. AMBER Well go, then.

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CAMERA stays with Rollergirl, following her across the dance floor. She passes Buck, Becky and Reed, says hello, dances a moment, then continues on into the clearing off the dance floor, heading for the bathroom.

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She passes something, CAMERA moves away towards this something: A bus boy cleaning a table, EDDIE ADAMS, aged 17. CAMERA moves into a CU ~ blending to SLOW MOTION (40fps) for a moment. (Note: In the text Eddie Adams will be referred to as Dirk Diggler.) ANGLE, JACK'S TABLE. Jack turns his head, looks across the dance floor and sees this kid cleaning the table. ANGLE, DIRK DIGGLER. He looks up, catches Jack looking back at him, then turns away, disappears into a back room. CAMERA DOLLIES in on Jack, who at that moment, is approached by a figure entering FRAME. Short, buffed out LITTLE BILL (late 40s). This is Jack's Assistant Director. LITTLE BILL Jack. JACK Hey, Little Bill. LITTLE BILL Whatsa schedule look like? Are we still on day after tomorrow? JACK I wanna do it the day after the day after tomorrow. LITTLE BILL For sure? 'Cause I wanna call Rocky, Scotty, Kurt and all those guys Jack's attention is with the backroom that Dirk entered. He stands and heads away. JACK Absolutely. But I wanna keep it small. I wanna keep a small crew on this one LITTLE BILL a relaxed deal. JACK Exactly. LITTLE BILL Do you have a script yet?

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JACK Tomorrow. Tomorrow is the day

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Jack is off across the dance floor.

CUT TO: INT. BACKROOM/KITCHEN - MOMENTS LATER JACK Hey. DIRK Hey. 2

JACK How ya doin'? DIRK Fine. JACK How old are you? DIRK I have a work permit, I got the paper JACK No, no, no. Not like that. How long have you worked here? DIRK A month. JACK Maurice give you a job here? DIRK Yeah. JACK How much he pay you? DIRK I'm not supposed to say how much I make. JACK He's a friend of mine
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DIRK Well you'll have to ask him.

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JACK You live around here, Canoga - Reseda? DIRK Um . . . no . . . do you know where Torrance is? JACK How do you get here? DIRK I take the bus. JACK So what do you wanna do? DIRK What? JACK You take the bus from Torrance to work in Reseda, why don't you work in Torrance? DIRK I don't want to.

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_*ACK Listen: Kevbe you think,~ what? You think I'm seme old queen trying t= cet in your oents cr something like thet ? but that's not it. And I'm tryin' to figure . _ a wav to tell you that without it sounding like a load of crappy poo-poc. Y'see: You got so many ahmoes out there"that ain't the real thing that when a guy like me with scmething legitimate to offer ccaes along, it's a pain in the ass fcr ^e *o"try and convince you of what I sight have DIRK You get tea bucks? Ten bucks? JACK Yeah, I got ten bucks.

You wanna watch me jack-eff, -_; s -sc! if you get ten bucks. JACK Guvs come in, ask you to jack off for them? DIRK Scmetiass. JACK You've done it tonight yet?

JACK And you can do it again? DIRK If you want... if you est te= bucks. B_AT. Jack locks Dirk over head to tc-e. JACK You a dancer? DIRK I like to dance... JACK Nc....you're a dancer...right? Yeah. DIRK I'm a dancer.

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JACX Everyone's a dancer...y'know? Eey: Everyone's an actcr", something, something: Question is: What do ycu wast, I mean: I seas this: What Do You Wast ?rcr. This Life?
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DIRK I' m already the best... now I vant everyone else to knew it. JACK I'm gonaa tell ycu something straight cut end I'm net gonaa hold back ead I just vast you to haag with me a minute, *kay? DIRK I'm supposed to be working. JACK Maurice is a friend, dea't worry about that, you let me wcrry about Maurice because that's how it's goana go from aw....me worrying, you just doing what I know you do well. DIRK Ch yeah? JACK Yeah.
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DIRK
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JACK So yeu got a face ca you like I've never seea is my life. You*were chiselled fret: precious metals, my friend. DIRK Yeah, right. JACK
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DIRK JACK v _ a t ' s your name? DIRK I'm Zddie \ d a s s - ?rea Torrance.

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JACK .. .Eddie Adans ... f rem Tor ranee. i _ _ + * ^ " r ^ T * * vp-r Jacx ocrner DISS /*"" Really? JACK I make adult filmsDIRK Like what? JACK Like what, like what films have I made? DIRK Yeah. JACK Al** -hose cnes, the caes with the nemes: -Amanda's Ride" "Inside Amber." You've heard cf thea...or? DIRK I know who you are. JACK DIRK I read about you in a magarina. JACK so you knew me, you knew new maybe that I'm act full of doggy-doo-doo. :k laughs, Jack laughs; DISS Yeah. JACK Why don't you come back to cy table, you wanna have a drink? DISK I'm working.... ?orcet that. JACK Hey. ?ut that dish down.

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DIRK I' m supposed to be working

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That's the last dish you ever wash in your life

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DISK I need money, Ihave to work. JACK You need money....yet gotta pay your rent? DIRK ...He. I mean, yeah, I aeed meaey. But I don't pay rest. I live at heme. JACK You aeed seme speadiag money.. .scmething? DISK I don't know... JACK 3ey. DIRK What? JACK Tell me how eld ycu are. DISK I'm seventeen. JACK I wanna tell you seme thing right acw and I want you to lis tea close: I'm a good man. You're a seveateea year old piece of gold. You treat me well aad I'm goana -treat you well. I've beea dcia' this for tweaty three years and I gotta pretty good clue as to what works and what doesn't... .you're a pure piece of gold, I told you that before, but I'm teilia' ycu again because you're youag aad that's what you need" From ages zero to eighteen all a kid needs is love, let the world be hard after that, you'll discover all that's fuckin' miserable But for now, for this moment you need love: And I'm prepared to give you all the love end encouragement that you need.... Because I know how it can be...ccae back to my table. I want you to eat dinner aad I want you to meet seme people. T
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DISK do that to Jiauriee.

JACK You're a coed worker, yeas?

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DISK ^'a acrry. I d p knew you. I know ycu're not fuli"cf JACK dccgy-do-dc. DISK ...yeah. Yeah. 3 u t I just caa'w a l k cut en Maurice. JACK It seems t o m e : Beneath those jeass there's scmething wonderful just waitiag t o get out. Jack leaves. H O L D WITH DISK. CUT TO: 2 E X T . HOT TSAXX NIGHTCLUB - NIGHT tLATER! The club is clcsiag, Maurice is lockiag uo aad turaiag the lcv<* off out froat. CAMERA hangs arouad with 3uck, Becky and Reed" J a c k and Amber cruise past in his Seville, say so lone and h-d ^p Van Nuys Blvd. *

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They pass Little Bill w h o walks t o his eld Station Kacon --os * parking ticket eff the windshield and gets behind the w h e e l . Dirk Digeler exits the club f r c s a side door and heads o f f

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EXT. VA.V NUYS SI.VD./3US STO? - NIGHT - MOMZKTS IATES

Dirk waits alone at"the bus stop.

It arrives and h e gets on.'

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IKT. JA^X'S BOL'SE/IAUSZL CANYON - NIGHT - IATER

J a c k and Amber enter the h o u s e. It resembles the June*e R o c a at Graceiand. H e heads for the kitchen, she makes e'drink... JACK You w a s t semethin' t o eat? I'm oanamake acme eggs. I'm coin' t o sieeo. JACK Gcedaight, heney-tits.
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Sleep beautiful.

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INT. AMBZS'S HEDROpy/TAgyS HOUSE - KIGHT - MOMENTS LATER ECU, AMBER. She does a quick line of coke. BEAT. She takes a valium, lights e cigarette, then picks up the phone; . _ _ AMBER Tern. ..hi...veah. I knew it's late, but. "(beat) v eah. Is Andy there? Is he...? (beat) ?'d " ' k - to sav hello, I'd like to say hello to mv son and that's ail. (beat) Lemme tell you something, Tern. Leaane tell you something you don't knew; I know a lawyer, you understand? You might think I doa't but I do aad I'11 take you to court.... (beat) No...please doa't, Tom, Tea, Tom the ohoae. She hangs rip.

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INT. LITTLE BILL'S SOCSS - NIGHT Little Bill eaters his house quietly, turns on a small light to hel: guide him dcwn a hallway. I,r^ FROM A BEDROOM DCOR we hear the souads cf MOANING AND GROANING. Little Bill walks to the doer, hesitates, thea epens

INT. LITTLE BH"-'S 9~D5Q0M - NIGHT - THAT MOMENT LITTLE BILL'S WIFE and a BIG STUD are doing it on the bed. They step a moment and casually look at him. LITTLE 3ILL What the fuck are ycu doing? LITTLE BILL'S WIFE The fuck does it look like I'm doing? I've get a cock in my pussy, you idiot. 5IG STUD Kill yet close the door? LITTLE BILL Will I close the door? You're fucking my wife, asshole. BIG STUD
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LITTLE SILT'S' WIFE Just get out, Bill. Fucking sleep or. the couch. (to Big Stud) Keep going, Bic-Stud. ._ Big Stud continues. Little 3ill watches a moment in a haoe then closes the doer.

INT. DISK'S PARENTS HOUSE/TORRANCE - NIGHT Dirk enters quietly, walks a hallway and goes into his room. CUT TO:

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INT. DISK'S ROOM - YUr,P.T - THAT MOMENT

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Dirk enters his rocs and begins to removes his clothes. Be turns the volume lew on his stereo. He stands in front of his mirror, does a few flexes, some dance moves, seme karate moves, etc. CAMERA DOES A SLOW 360 PAS ASOUND TEE ROOM. Posters on the walls of Travolta, Pacino, a 1976 Corvette, Bruce Lee, Hawaii, a Penthouse centerfold, Luke Skywalker, etc. CAMERA LANDS BACK ON DISK; DISK

INT. REED'S NOVA - MOVING - NIGHT Seed driving with 3uck and Becky. Let's get seme food. I'm hungry. Let's get a late night donut aad milk
BECKY vav
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SEED I ' l l drop you o f f . BUCK Whatta you mean, drop off? SEED I vas gonna go workout. It's three in the morning, Reed. SEED I need it. I haven' t done sy legs is tvo davs and we're sheeting

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3UCK Oc it in the morning, cause I wanna just "eat and get heme. I get work ir. the "morning the mcming and-I gctta get seme rest. REED I need it new, I'm ia the mood to do it new. I' vou're hungry you can eat at the gym. Hey*Becky, can I sleep at your place? BECKY If you want.
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3UCK ^-e ycu going heme or going to work out? CUT TO:

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EXT. VENTURA BLVD. - WTGHT - TEAT MOMENT Re-d's Nova flies past CAMERA which PANS to the sidewalk; Rollercirl is rolling down the street. She passes CAMERA. HOLD on Ventura Blvd.

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INT. DISK'S HOUSE/KITCHEN - MORNING Dirk eats breakfast. His MOTEES (mid 40s) stands, washing a dish. His FATEES (50s). enters, dressed in suite. He cresses the kitoher. INSERT CU. Father^ stubbie en his face, pieces a kiss en the cheek cf Mother. FATHER Good morning. MCTESS ...Jesus. Please, okay? Shave if you're oonna do that, it scratches my face. Father takes a seat at the breakfast table, looks to Dirk. FATEES Eew's that work, you get heme late, huh? DISK Yeah. MCTESS If ycu wanna work in a nightclub you should. ..if it's so important... you should find one closer. DISK
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Thev eaz in silence. DIRK Ive cctta get to work. Dirk stands npr places his plates in the sink and exits. CUT TO:
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TNT. TORRANCE CAS WAS? - MORNING fLATER) D-s-k <s working the end of the line at the car wash, cleaning the inside of a Piato. Dirk's eye catches scmething. DIRK'S POV: Across the lot, a mint condition 1976 Corvette. It drives past. CAMERA DOLLIES INTO A CU. ON DISK. -n P *TJ\SH D-'^k sees himself behind the wheel cf the Corvette. He's faring SUNGLASSES and a WHITS SHIRT, SMOKING A CIGARETTE. CAMERA DOLLIES BACK FROM CU. Dirk blinks his eyes. HOLD-. CUT TO:

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INT. BECKY'S APARTMENT - DAY Becky's one bedroom place in the valley.__She's asleep in her single bed, Seed is en the floor. OVEJ___AD ANGLE; You awake? BECKY Yeah. SEED What time is it?
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12:45 I had a dream. BECKY

I forget it, though ...I remember....No...1 forgel Wait NC....I think...Ncpe. I ferect it. I hate that.
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ECJCv I had a dream**! fell in Icve vith a -eaiiv goreeous guy. We fucked doggy style in the'bathrocm at Tail '0 The Cock. OC there's a BANGING on the front doer cf the apartment. ANGRY MALE VOICE 3SCKY. BECKY. OPEN UP, BECKY. I KNOW YOU'RE IN THERE Reed locks to Becky, whispers; Is that Ronnie?
Yeah. Shhh. BECKY B e ' 1 1 go away

RONNIE (OC) C'MON BECKY, BECKY, PLEASE OPEN THE DCOR I JUST WANNA TALK TO YOU.

There's the sound OC that resembles someone falling down, swearing, getting in a car and peeling off. BECKY I keep telling him we broke up. He doesn't listen. / /dwy \r
INT. HIGH SCHOOL rr.a-CTflQM - DAY

CUT TO:
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Two BOYS are looking at her and chuckling to themselves. One euv looks to the ether and makes a "blew jch" gesture. She looks away, they continue their gestures and giggling. Other students notice and smile. CAMERA ARRIVES CU. ON ROLLERGIRL - She stands up, heads for the door the teacher calls after her but she's gone. CUT TO:

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INT. SUPER-SURER STEREO SHOP - DAY A semi-high end sterec store in the vallev. Buok, dressed in h's usual cowboy-digs, is talking te a CUSTOMER about a stereo uhitT The manager, a skinny-white guy with a mustache and mustard suit, wiKY (30s) is standing nearby. ' BUCK sc basically you're gettin' twice the bass, cause of the TK421 modification we get in this system hers. CUSTOMER I don't knew - do I need that much bass? BUCK If you vant a ay stem to handle what you want yes you do. See this system here. Thia is Ei-Fi. "Eigh Fidelity." What that meana is that it's the highest quality fidelity. CUSTOMER It's the price 3UCK I have this unit at home.

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CUSTOMER ... really... ? BUCK Yes. But I've get it codified with the TX421, which is a bass unit that basically kicks in another twe, maybe three quads when you really crank lemme put another eight track in so you can get a better idea what*" I'm talkin about Buok ejects the Eight Track that vas oiavinc and cu- - w- = own cf a country western scng. *" " ----BUCK Hear that bass? It kicks and turns and curls up in your belly, makes you wanna freaky-deaky, right? If you get this unit as it is it won't sound like this without the modification and ve*dc that for a small price. The Cuszsaer listens another moment, then; CUSTOMER -hank ycu for yeur tine.

Nc problem.

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The Custcosr exits and Jerry approaches 3uok. JERRY ...the fuck vas that? BUCK Wha? JERRY Have I told you? Huh? What? BUCK I don't Have I?

JERRY Alright: A.) You play that country vestem-crap and no one's gonna buy a stereo. Ycu throw en seme KC end the Sunshine Band, a guy looks a particular vay and you've seen the profile sheet you throw on some Led Zepplin. No. Instead, you play this twingy-twangy, yappy-dappy music. What kiada brother are" ycu anyway, listening to that shit? 3UCK Hey, Jerry, look JERRY No veu look. I gave ycu a jcb hers because I thought your film work might bring acme nice pussy in the place and it has but I can't have anymore fuck ups you dig? BUCK JERRY .Alright. Go unload the new 434's from the backroom. Buck goes tc the backroom.

IV
-S ^ ( INT. SHERYL LYNN'S BEDROOM - DAY - LATER
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Dirk is in bed vith a young.neighborhood girl, SHERYL LYNN PARTRIDGE =er room is decorated in pastels vith equestrian things all around Horse models, trophies from ridiag, blue ribboas, etc" DIRK I have to get back. SHERYL LYNN Once more. DIRK I have to get back to vcrk. SHERYL LYNN Give it to me, Eddie. DISK Don't make me pounce you, Sheryl Lvnn. SHESYL LYNN Ohhhh-baby, baby, baby. DISK I'll do it SHESYL LYNN Promise?

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DISK That's it. Dirk jumps ^p and starts bouncing up end down en the bed, naked end flapping. She stares at his crotch, shakes her head; DISK (OC) What? SHERYL LYNN De ycu knew that guy John Holmes? DISK (OC) Yeah... . SHESYL LYNN I thought his cock was big, but ycur cock is bigger, Eddie. DISK (OC) When have you seen Jean Holmes? SHESYL LYNN I've seen seine movies, Eddie. DISK (OC) ... .and you think mine's bigger?

SHERYL LYNN Yes I do.

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Dirk stops ju=ing, looks down. BEAT. DIRK Everyone has one thing, y'think? I mean: Everyone is given one special thing....rieht? SHERYL LYNN That's right. DIRK Everyone is blessed vith One Special Thing. Dirk kneels down to her; DISK I want you to know: I plan on being a star. A big, bright shinning star. That's what I want and it's what I'm gonna get. SHESYL LYNN I know. DISK I have to get back to work. They Kiss.
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INT. HOT TRAXX NIGHTCLUB - SIGHT Nightolub is in full swing en a Fridav Night. CAMERA *anc v*-g Dirk for a while as he buses tables. ~ ANGLE, JACK'S BOOTH.- Scllergirl comes over to speak with Jack. He whisoers scoe^-'-c 5 in ner ear. she nods, "I understand," and roils away CUT TO: INT. HO- TRAXX/HALLWAY - SIGHT - THAT MOMTV"

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TEE KITCHEN

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Dirk is washing dishes. Ee looks up and soots Rollerciri She i'-.. e skate up just a little... She rolls closer to Dirk -Id pulishi^'in?: A CLOSET SPACE She goes dcwn on him, unoips his pants and nulls ou- ,~*s erv-v She hesitates. DOLLY IN CLOSE ON HER FACE." She s n i w ^ a-Vv-v
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INT. HOT TRAXX NIGHTCLUB - NIGHT - LATER CAMERA follows on the beels_?f the rollerskates as they sove^back towards Jack's table. * ~ ANGLE, CLOSE-UP, SLOW MOTION. Rollergirl whispers something into Jack's ear. CUT TO: EXT. HOT TRAXX NIGHTCLUB - NIGHT - LATER Clcsing hour. Dirk exits a side doer and starts walking. Jack , Amber and Rollergirl in the Seville pull alcng side him; JACK Hey. Eddie. DISK Hello. Jack? JACK Yeah. You wanna ride? DIRK I'm goin' pretty far. ROLLESGISL Ycu remember me? Couple hours ago?
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DISK Yeah...I remember vou. AMBER Ccse vith us, sweetie. DISK Okay.

Dirk gets in the backseat cf the oar with S o l l e r o i r i .

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INT. CANDY'S COFFEE SHOP - NIGHT - LATER

In a booth, after the meal. Dirk and Rollergirl on one side, Jack and.Amber on the other. JACK This thing here, I mean, you understand one thing and that's this: It costs. I mean, this stuff costs good 'ol American Green. You got film, you got lights, ycu get aeund, lab fees, developing, synchinc, editing next you thing you know you're spending thirty/forty thousand a picture.

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DISK That's a lot of money.

J A s . *

Hell yes it's a lot of money, but iesme tell vou scmething else: Yeu make a good film and there's practically no end to the asnunt of money you can sake, Eddie. AM3ES Have vou seen Jack's house? CAMERA HOLDS ON AM3ES. NO. JACK (OC) Ee'll see it. R0LLERGIS1 (OC) He'll see it. JACK (OC) Eddie: You got ten, fifteen people around and that'a juat to make 8ure the* lighting is right. ..shit, this is net an operation for the weak, and lemme tell you something else: When all is said and done, you gotta have the juice, you understand? I mean...you can work on your arms, your legs, workout morning, day, noon, night, the whole deal, but when it comes right down to it...what ve need is Mr. Torpedc Area, y'understand? Mr. Fun Zone? Okay, let's say you got that: right? And You Do Got, Yeah? He looks to Rollergirl. She smiles. CAMERA OF? AMBER NOW. She watches Dirk. DISK (OC)

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JACK I can go cut tonight the reputation I get:"l can find myself 15/20 guys, cocks the size of Willie Mayes Baseball Bat: Do I want that: No. Do I need that: Nc. I need actors. AMBES Uhhh-ohhh.... here ve go

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JACK Alright, yeah, I need* the big dick, and the big tits that GETS them in the theater. What keeps them in their seats even after, they've come? Huh? The beauty aad the acting. If you're able to give it up end shcv the verid: No, not juat your cock: Fuck that. What I'm talking about is showing your insides, from your heart...you understand? Hey, Sure: GET THEM IN TEE THEATER. That's one thing. I don't want 'em shovinc uo, sitting dovn, jacking off and splitting on* the story. I don't vant to make that film. I wanna make -the thing that keeps 'em around even after -they've come....what happens when you cane? You're done, you wanna split. My idea, ay goal: Suck 'em in with the story...they'11 aquirt their load aad sit in it...Just To See How The Story Ends. Sometimes we make -these films, we wanna make people laugh a little, then get into it and fuck heavy: That's good and that's fins. But I got a dream of a making a film that's true...true and right and dramatic. DISK ...Sight...right...1 understand. AMBER Dcn't listen to hard to all this, honey...it's just nice in theory. JACK It's a dream to be able to find a cock and an actor. ROLLERGIRL Dream, cream, dream, dream, cream. DISK If ycu don't have dreams you have nightmares. HOLD. Amber, Jack and Rollergirl look at Dirk. CUT TO:

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INT. JACK'S HOUSE/LIVTMf: a o Q M " K I G g T

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CAMERA DOES A 130 AROUND TEE MAIN PART OF THE HOUSE, LANDS TEE ANGLE WIT* DISK. He's sitting on a couch, hands folded across his Ian. *~OC~w'hear Jack, Ro-iergirl and Amber moving about-and talking. JACK (OC) I knew a guy once....I swear to you rh-'g is a true story.. .thia kid...he was about twenty or so vhen I met him and I invited him up to the house.. "Hey, I'm havin' a party, come by..." So on and so fcrth, right? ROLLERGIRL (OC) ...you're out of limes, Jack. JACK (OC) Look in the studio fridge....sc this ycung lad comes over, up to the hcuse, rips his shirt cff and what do I see? A fin. A fin on his back like a fish. I mean, he's got a fucking fin en his back like a fish...he gees straight for the water. AM3ER (OC) I don't believe this story.

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JACK (OC) 3elieve it, hcney. DISK Hew big was the fin? JACK (OC) Big.... it was like...it was a FIN. AM3ES (OC) On his back like a fish. JACK (CC) That's right. I vas gonna do a whole underwater series of films with him. "Scuba Sluts," waa the name. Funny, right? DIRK Yeah. Is that true? AM3ES (CC) JACK (CC) Gccd night, hcney.

AMBER (OC) - Good sight, Jackie. Don't stay up too late. Good night, Eddie. I'm glad you came by. She leans into FRAME and gives Dirk a good-night kiss. AM3ES You'rs great. DISK Thank ycu. CAMERA PANS WITH AMBER AND LZADS TO AN ANGLE WITH JACK. HOLD, JACK She's -the best, Eddie. A mother. A real and wonderful mother to all those who need love. DISK (OC) She's really nice. JACK So vhat de you think...! think ve ought to be in business together. You doa't have a fia oa your back, do you? DISK (OC) JACK What do ycu thiak cf Rollergirl? DISK (OC) She' s...she's really great... JACK Would yeu like to get it on vith her? DISK (OC) Have sex? JACK Yeas. DISK (OC) Yeah. I ' d l o v e t o . I mean, y e s . S h e ' s . . . s h e ' s r e a l l y foxy. JACK S e t your a s s she i s R o l l e r g i r l e n t e r s back i n t o t h e house.
ROLLERGIRL

CAMERA SWING PANS OVEP

Yeu'rs officially cut cf limes, Jack.

JACK _. I'll get vou some more tomorrow. Ccme over* here a minute. Sit nexto Eddie ca the couch there.
jf^S,

Here We Go! Yes you are.

ROLLERGIRL Are We Gonaa Fuck? JACK

ROLLERGIRL Oh, vait,vait,vait, thea. ch - 0 ii s over to the Ei-?i System aad picks a record. She sets the aeedle oa the turntable aad rolls over to the couch ia oae avift metioa rippiag her clothes cff. ROLLERGIRL You ready? DIRK Are you? ROLLERGIRL Ohhh-yeah. They kiss. They lean back on the couch. Dirk stops a Dement.

DISK Are you gonna take your skates cff? ROLLERGIRL I don't take my skates cff. DISK Okay. ROLLERGIRL Den' t fucking ceme ia me. JACK Don't ceme ia here, Eddie. I vant ycu to cull it out and jack off, make sure ycu"aim it towards her face. ROLLERGIRL Fuck you, Jack. JACK Towards her tits, then. CAMERA HOLDS ON JACK. OC sounds of Dirk and Rolleroiri makinc cut en the coueh. SLOW ZOOM INTO CU. ON JACK.

>-Jv

-NT. cag'S B-in^ - EARLY MORNING - ^ R D--k eaters quietly, walks down the hallway, passing the kitoheo. His'MOTHER i s * there, looking at his. BOLD, THEN:
>tf~*v.

DIRK

Where were you? DIRK Nowhere. Shut-up. MOTHER Shut-up. Where were ycu?

Dirk walks down the hall towards his room. MOTHER You see that little slut girl ycu see? . sheryl? Sheryl Lynn? DISK Don't say that. MCTESS Does it make you feel like a stud to see trash like that? Huh? What is she? Your cirl-friend? DISK She's net my girlfriend. MCTESS She's a little where and a little niece cf trash...I knew you're net the only one that she aees. DISK What... what' re ycu... you don' t knew. MCTHES I've heard things about her. That girl. Don't think I don't knew vhat goes on vhen I'm not here...I wash your sheets, kid. I know she*8 been here. Or are you doing seme ether thing in there? With your music and your posters en the wall?

jff*^.

26

INT. BEDROOM _ H O R W T W . - 7^-AT MOMSNT_ . Dirk's FATEES is sittinc on the edge cf his bed, listening to the fight outside. MCTHES (OC) Whv don't you oo to your little whore, Sheryl Lynn. Your little GIRL-FRIEND. DISK (OC) Maybe I will. Oh yeah? MOTHSS (OC) Yeah, what are you gonna do?

25

/ 5 j f i " * " * K

DISK (OC) I dunno, I'll do something. CUT TO: 27 INT. HALLWAY - MORNING - THAT MOMENT MOTHER you can't do anything. You're a loser. You'll always be a loser you couldn't even finish high school because you vere too stupid BO what are you .gonna do? DISK I'll do scmething...I'll do it. I'll go somewhere and do scmething, maybe'l'll run away were you can never find me. MCTHES Gc ahead. Go ahead and fuek that little GISL. Dirk heads for his room, Mother follows.
W W _ >
-. m*

27

2S

INT. DIRK'S BEDROOM - MORNING - THAT MOMENT Dirk heads for a drawer and starts to grab seme clothes MOTHER What do you think you're doing? DISK I'm getting my stuff MOTHER you think that's ycur stuff? That's net ycur stuff...you didn't pay for that "it's net yours because vou didn't pay for it, stupid.

r*-

Dirfc stops. His Mother leeks to the pesters en his wall. yCTSES None of this stuff ia yours. This: She starts to rip his posters "from the vail. CAMERA begins a SLOW DOLLY INTO CU. Dirk stands.

MOTHER (CC) I* vcu're genna leave, ycu leave with what vou* ve got: Nothing. Y' see...you treat me i_ke this and this is what ycu get. Tha-'s *ai~ Buh? You vanna live that'way? -Tick that little whore. I've taken care cf you' all your miserable fucking life CAMERA ARRIVES CU. ON DISK. He's starting to cry. MCTHES (CC) ycu nay fcr it...you ewe me for all the shit I've done for you in your life ycu l--*-le *ucker...veu understand? Think ycu'ra conna be thi3? Huh? These god damn pesters ycu're net gonna be this ycu're genna he shit...because you're stupid. DISK I'a net stuoid. Yes ycu are. DISK Why era ycu sc mean to =e? MCTHES Not by choice. Dcn't. DISK Don't he mean to se. You're my mcthar.

Ycu little fucicsr, I'm act being sseas to ycu, you're just toe stupid to see. DISK You don't knew what I can de. You don't knew what I can do or what I' m gonna do or what I'm gonna be. You don't knew. I'm good. I have gcod things that ycu dcn't knew aad I'm gonna be acme-thing y c u Dcn't Knew And You'll See. vcu
^CT5-_!_R.

You c a n ' t de anything. v c u ' 1 1 never do a s v i s i n g

/""*>

DISK Don't be mean to me.

MOTHER

(^

YOU LITTLE FUCKER, I'M NOT BEING MEAN TO YOU. Dirk CSASGES at hia Mother and SLAMS her against the vail. DIRK AND YOU DON'T BE MEAN, AND YOU DON'T TALK TO ME.. .NO. CUT TO: 29 EXT. DIRK'? gOUSg_TC____l-_S - MORNING nirk CHARGES out of the houae aad runs off down the a t r e e t . S o S e f a ^ L a i a the doorway, watches him leave , alams the doer
CUT TO:

29 -

30

EXT. VENTH-a M-VP. - n A Y = 1ATES Rollergirl ia rolliag dowa Veatura Blvd. carryiag seme groceries. CAMERA PANS RT, to catch a BUS which pull up, steps at the corner of Laurel Cyn and Ventura. Dirk steps off the bus. ROLLERGIRL Hey, ycu. DISK Hi....Hollergirl. ROLLERGIRL Watcha doin*? DISK I was...I was gonna go and see, Jack. ROLLERGIRL Perfect. Me too. We'll talk and walk. DISK Okay. CUT TO:

30

31

EXT. LAUREL CANYON/VTNTURA - DAY - MOMENTS LATER They're walking/talking. ROLLERGIRL The bus sucks, huh? DISK Yeah...

31

/ " " " *

ROLLERGIRL You should get seme rollerakates, it's better. DIRK-. I wanna get a car. ROLLERGIRL Cool, what kind? Corvette DISK It's the best car ever made.

ROLLERGIRL UH. I love those cars. DIRK I'd treat it right, y'kacw? Nose it. Rake it. New paint job. Ten coats of hand gloss. Candy Apple Red Laquer. I'd make it the fasteat thing in the street. ROLLERGIRL You'll have that car acmeday. DISS Oh yeah? ROLLERGIRL Yeah. You've got a great cock, Eddie. [f*^ Thank ycu. CUT TO: ^ 32 EXT. LAUREL CANYON/WOODROW WILSON DRIVE - DAY Dirk and Rollergirl walking/talking on the shaded street. DISK Do ycu go to school? ROLLERGIRL Net anymore. I quit. DISK I quit, too. ROLLERGIRL I've already got a job in the movies. I figured: Why get haaaled at achool? DISK Why'd ycu get haasled? 32 DISK

ROLLERGIRL _ I dunno I was supposed to take aecmetry final yesterday I bailed. _ lleTs Fshould've juat taken the teat. But But I didn't. Whatever. They continue to talk and walk CUT TO: 33 TXT. JACK'* gnoss - DAY 33

iTk %??' 2 E - * ~Z

_ *-.*_- -A^H

Buck and Becky. They're aetting up soda d chip

"

" " """*

DirK end Rollergirl C O M down the driveway end ran into Jeck; ROLLERGIRL Look who I found walking down Ventura... JACK Eddie Adams frcm Torrance I You made it, you made it, my darling, come on in here I want you to meet someone Ti~.ffirl skates into the house. CAMERA follows with Jack and Dirk a_ t S y ^ v e ^ t o the o i area and find Reed, who's aetting up the bar JACK Reed, honey I want you to meet a N e w Rid on The Block, Eddie Adams. DISK Hi...I'm Eddie.... REED Hi, Eddie. I'm Reed. You live on this block? DISK No, no.
REED

{/!****

Oh, I thought Jack said 702 did. You wanna drink? DISK Sure. JACK Eddie I want you to hang out for a while, I don't want you leaving this party.. .understand me? DISK Sure.
/^ CK .

Jack leavea. Reed looka to Dirk. REED Marguerite?

yrflS^V

DISK~ Great. BEAT. Seed fixes the drink. SEED Can I ask you scmething? DIRK Uh-huh. REED Do you work out? DIRK Yeah. REED You leek like it. Whadda ycu squat? DIRK Two. REED Super, super. DISK You? REED Three. DIRK Wcw. REED No b.s. Where do you wcrk cut? Torrance. DISK In Torrance, where I live,

SEED Cool. Cool. You ever go to Vince's out here no you couldn't, I vould've seen you. DISK I've always wanted to work out at Vince's. REED Here we go....taste that. Dirk sips the Marguerita.

DISK Rock and Roll. Thanks, RED_ what do~you bench?

DISK You tell me first. SEED You first. DISK Same time. REED Cool. DIRK Ready? REED Ready. DISK/REED One...Two...Three.... SNCS. DISK You dida't say it... REED ...neither did you. ANGLE, POLAROID CAMERA. it sita on a table top. It's auddealy saapped up by Rollergirl. CAMESA follows her and the Polaroid out to the pool area where ahe anaps photoa of Reed and Dirk. (Flash to Developed Polaroids.) CUT TO: 34 INT. JACK'S DRTVEWAY - AFTERNOON - LATER 34

The driveway is PACKED with cara now and the party ia in full awing. A Big Black Cadillac canes down the driveway. A LIMO DRIVES gets out t moves to the back aad opens the door. Prom the car steps: THE COLONEL JAMES (mid-6Oa) Heavy-set in a tan suit. Wrap around sunglasses. The Porno Film Distributor. His LADY FRIEND (aged 16) steps from the car and smiles; COLONEL Ycu look great, hcney.

>*",.

LADY FRIZND Is there gonna be coke at-this party, Colonel? Yes. COLONEL -

Jack is right there to greet the Colonel. JACK Colonel, hello and welcomeI COLONEL Hello, Jack. This is my Lady Friend. JACK Hello, darling. LADY FRIEND Do you have coke at this party? JACK Well I'm sure we can find you seme. COLONEL Find her acme coke, Jack. JACK We will, we will. Thanks for coming by. They exit. CAMERA follows the Limo Driver into the pool area CUT TO: 35 EXT. POOL AREA/JACK'S HOUSE - TEAT MOMENT CAMERA follows the Limo Driver for a while, then moves away, to find; Maurice and Amber. They're sitting down, speaking. MAURICE ..y'see, Mias Amber, I'm just a poor fellow from Puerto Rico. I have the club, yes, that's one thing...but scon...the club gees... I die...and vhat do I have? I've got nothing. AM3ZR Uh-huh. MAURICE I want scmething to send back heme. Scmething to aend back to my brothers aad say: Look At Me. Look At The Wcmen I've Been With. AMBER Why don't ycu just ask Jack? 35

j0**\

MAURICE ~ " I aak him all the time, he aaya, "OK. OK." Then: Nothing. I get to come and watch you film but I never get to have aex in them. AMBER So what.. .do you want me to talk to him? MAURICE Yea...I mean...y'know...what do you think I'm aakin' here? Amber, pleaae, honey, you talk to Jack...tell him I can do it...tell him I won't be bad. AMBER .. .you want me to talk to him? MAURICE Pleaae. AMBER I'll aee what I can do. CAMERA aoves away, through the party, to find Buck and Becky, BECKY ..becauae it'a old...if a old deal. BUCK Lemme tell you acmething:

'

BECKY He was obviously pissed about the music. BUCK What's wrong with it, y'kncw? BECKY Look, Buck: The cowboy look ended about six yeara ago BUCK it*a ccmin' back.

BECKY No it'a not. It's over, i f a dead. BUCK You don' t know what you' re talkin' about. BECKY I'm juat saying and it seems like ycur boss at the stereo store is saying the same thing
jflflBJV,

BUCK what, what?

;'^,

BECKYGet a new look. BUCK Yeah...yeah...yeah...22" 9 e t * new look. BECKY The look I've got is just fine. BUCK What's your look? BECKY Chocolate Love, Baby. BUCK Yeah, right. OC we hear the new scng start to play. BECKY OH SHIT! TURN IT UP I I LOVE THIS SONG! Becky leaves. CAMERA moves away to find:

The Colonel'a Lads 7-ri.end approaches a Younc Stud, who's wearing bikini-speedos and holding court ever a table cf coke. LADY FRIEND Excuse me...? YOUNG STUD Yes? LADY FRIEND May I please join in? YOUNG STUD Most certainly. CUT TO:

36

EXT. JACK'S HOUSE /DRIVEWAY - DAY - MOMENTS LATER

36

Little Bill and his Wife get out of his Station Wagon and enter the party fran the driveway. She's dressed up. He's dressed down. LITTLE BILL Just don't embarrass me, alright? LITTLE BILL'S WIFE Puck you, Bill.

LITTLE BILL I work with these people,~ alright? These are my ccworkers, ao just (^-' Bite it. LITTLE BILL Don't make me do something? LITTLE BILL'S WIFE Chhhh....I'm ao scared. She stoves away. Rollergirl passes aad takes a SNAPSHOT. CU. THE POLAROID - DEVELOPED Little Bill in a sort of angry-confused-surprised face. ROLLERGIRL What's wrong Little Bill? LITTLE BILL Nothing. How are you Rollergirl? ROLLERGIRL I'm fine. LITTLE BILL Is Jack arcund?
: j<SBS\

LITTLE BILL'S WIFE

ROLLERGIRL He's in the house. Little Bill leaves. CAMERA follows Rollergirl around as she mingles and snaps more Polaroids. CUT TO: 37 INT. JACK'S OFFICE - DAY - THAT MOMENT Jack and the Colonel are sitting, drinks in their hand. The Colonel smokes a cigar. JACK The idea is this: Amber ia a director of porno films and she's down on her luck. She hasn't had a hit in a year. She'a desperate. Her landlord is threateniag to kick her out, so she's desperate for a big dick hit, right? COLONEL Yes. Good dilenaaa. 37

yB^,

^
f

JACK Yes. So abe calla up all the agencies in town and aaya: "Send over your beat actoraV I'm casting a porno picture." well the story goes and develops with Amber auditioning various men and Ccmen...the whole thing wraps up with STlandlord, I'd like to get Jeremy if he'a atill ia town to play the part ne c o a i n - the landlord aaya: YOU better pay rent or you're through. W e u f e r dcea one helluva Buck job, ass fuck-come in the face-sort of thing and fade out - the end. COLONEL That's great. JACK There's a kid, a young man, I met him last night: Hia name is Eddie Adams. H ? a here, he'a at the party. He'a acmething special and I want to cast him. COLONEL What films has be doae? JACK This would be his first.

' ^

L<~le Bi1] pokes his head iato the office, sees the conversation

_"d quickly S o l v e s aad exits. The Colonel looks to Jack;

COLONEL Casting is uo to you, Jack. You wanna do it? Then do it. If it has big tita, tight pussy and focus: I'm happy.

CUT TO:
38 5XT. JACK'S ^TSWPCOL A ^ * - DAY - THAT MOMENT

3S

Reed and Dirk are swimming. REED Do a cannonball. No,

Dirk gets up on the diving board.

DISK no. Watch this Jacknife. DISK

Dirk runs and jumps

JACKNI7S.

He lands in the pool and swims to the surface. DIRK How did it look? REED Great. Check this out. (gets on the board) This is gonna be a full-flip- goes --,- for for tne the -A-F flip but land FLAT ON HIS BACK. Reed runs, 3umps, CUT TO:
39 THT. TOQL/TTMnERWATSR - i f M " MOMENT

J(4$P*\

39

Reed lands. CAMERA movea ia oa hia face. He'a ia SERIOUS PAIN. He floats down for a moment.... CUT TO: 40 3XT. POOL * " - *T MOMENT Everyone at the party ia looking., .holding their breath M d Waiting...Reed cornea to the aurface. REED Ouch.
I /$&\,

40

The party pecple turns back to their conversations... DISK You gotta try and bring your legs all the way around... REED Yeah. CUT TO:
41 I ? r r . JACK'S SOOSE/TS? P * * ^ - P** CAMERA
T5AT

MOMENT

41

follows behind Little Bill. He's walking around, looking for his Wife. He greets a few people here and there. He runs into a big guy, ROCKY (late 30a.) LITTLE BILL Hew you doin' Rocky? ROCKY Good, good, what's wrong? LITTLE BILL Ncthin'. Nothin' at all. He's a CREW member.

-v

ROCKY Do you have the schedule far

>f$^*%l

the shoot, or... ?

Yeah.

LITTLE BILL You're on.-. .ROCKY

Is it here? Yeah LITTLE BILL it's gonna be here, but i f a a aiatple one....

CAMERA picka up with the Lady Friend and the Young'Stud with the coke...ZOOM after them down a long hallway towarda a BEDROOM door. They close the door in the CAMERA'S FACE.
CUT TO:

42

I N T . JACK'S TCTTCgEN - "AV - THAT MOMENT

42

Maurice and Buck are talking; MAURICE Hey, hey, hey, my point is this: BUCK What? MAURICE Ycu knew what I say? BUCK What-What? MAURICE wear What You Dig. The P H O N E RINGS. Maurice and Buck look at the phone. HOLD. It rings and rings and rings. MAURICE Think I should get that? BUCK Yeah. Maurice picks up the phone. MAURICE Hello?(beat) I'm sorry...I can't hear you that well...say again...? Maggie? (to Buck) Is there a Maggie here?
/***>,

BUCK I don't know a Maggie. / * * * MAURICE (into phone) I think you might have the wrong number..... Your mother? I 'm sorry.. .wait...just...wait... Maurice sets the phone down, looks to Buck. MAURICE Watch that a minute.... CAMERA follows him as he walks out to the pool area MAURICE (calls out) Is there a Maggie here? No one at the pool area responds so he walks back inside to the phone. Buck ia still watching it cloaely. MAURICE (into phone) I'm aorry. ..there'a no Maggie here. Okay.. .okay.. .no problem.. .Bye. BUCK What waa it? MAURICE Seme kid lookin' for his mother. CUT TO: 43 INT. BATHROOM/JACK'S HOUSE - THAT MOMENT Amber is sitting in the bathroom, on the toilet. She reaches to the window, sets aside the curtaina and looks. AM3ER'S POV: Looking out to the pcol area. and does*a perfect FLIP in SLOW MOTION. Dirk dives off the board CUT TO:
44 EXT. JACK'S HOUSE/DRTVEWAY - MOMENTS LATER 44

43

CAMERA follows Little Bill. He spota aix people in a semi-circle around aomething. He walks over inside the aemi-circle, on the pavement, Little Bill'a Wife ia getting fucked by seme BIG DUDE. LITTLE BILL ..the fuck are you doing? She leeks up at him, smiles.

WATCHER *1 _ What does it look like they're doing? LITTLE BILL That's my wife. ~ LITTLE BILL'S WIFE Shut-up, Bill. WATCHER #2 Yeah, shut-up, Bill. The other WATCHER'S join in telling Little Bill to "Shut-up.' He walks away and CAMERA follows him until he's approached by a big man, KURT LONGJOHN (late 40a) He's the cameraman. KURT LONGJOHN Little Bill. LITTLE BILL Hey. Kurt. What's up? KURT LONGJOHN What'a wrong with you? LITTLE BILL ah...my fuckin' vife, nan, she's over there... she'a got 8cme idiot* a dick in her, people atanding around vatching i f a a fuckin' embarrassment. KURT LONGJOHN Yeah. Yeah. I know. Anyway, Listen: LITTLE BILL yeah. KURT LONGJOHN For the-shoot I wanna talk about the look. I wanted to see about getting -this new zoom lens LITTLE BILL Right. KURT LONGJOHN I wondered if we'd be able to look into getting acme more lighta, too, y'know LITTLE BILL Jack wants a minimal-thing KURT LONGJOHN Sight, well, very often, minimal means a lot more photographically than I think, well...then I think most people understand...

^ T

LITTLE BILL I understand. KURT LONGJOHN No, no. Hey. I know you understand, I waa talking abo-t acme other people. LITTLE BILL Well I think what Jack ia talking about ia minimal, not really "natural," out minf^ KURT LONGJOHN fine...I waa juat aaying OK LITTLE BILL I understand KURT LONGJOHN 'cause I'm j--t trying to give each picture i f a own look LITTLE BILL Can we talk about this later? KURT LONGJOHN Oh, yeah...you have to go semewhere.. .or...? LITTLE BILL well, ne, yeah...I mean....

U^ {

KURT LONGJOHN 'Cause I was hoping to, y'know, for the ahoot tomorrow, we could aend Rocky down and he could pick it up LITTLE BILL Kurt. KURT LONGJOHN Nc. Hey. Gotcha. You've gotta go acmewhere 30 hey what the fuck? I f a only the photography of the movie we're talkin' about Little Bill looks at him. HOLD. LITTLE BILL Are you givin' me ahit, Kurt? KURT LONGJOHN NO, NO, HEY. No way, Little Bill. LITTLE BILL My fucking wife has a cock in her ass over in the driveway, alright? I'm sorry if my thoughts aren't with the photography of the film we're shocting temcircw, Kurt. OK?

KURT LONGJOHNOK. No big deal. Sorry. LITTLE BILL Alright? KURT LONGJOHN Gotcha. Little Bill leavea. Kurt stands alone a moment. Be valks over to the driveway and watches Little Bill's Wife get fucked. CUT TO:
45 INT. JACK'S HOUSE/HALT-WAY - DAY - LATER 45

CAMERA follows HAND-HELD behind Jack, the Colonel and his Limo Driver as they walk quickly down a hallway that leads to a bedroom. CUT TO: 46 INT. BEDROOM - TEAT MOMENT Jack, the Colonel and Limo Driver BURST into the room REVERSE ANGLE: On the floor of the room, the Colonel'a LADY FRIEND ia lying naked. She'a passed out and she has blood pouring from her nose. The YOUNG STUD is naked, holding her in his arms. He looks up at the men who just entered. YOUNG STUD I think she's sick. COLONEL What the fuck ia this? YOUNG STUD I didn't do anything. JACK Is she breathing? YOUNG STUD I doa't kacw. I thiak she did too much coke? Duh. COLONEL Do you thiak so, smarty? 46

LIMO DRIVER She's definitely overdcsiag. COLONEL Oh... .what the fuck.... The four mea leek at the girl. The Colcael turns to his Limo Driver.

COLONEL Alright: Johnny. You're-gonna take care of this for me. You listening here? LIM0J5RTVER Yeah. COLONEL I want you pick her up, get her in the car, take her down to St. Joe's. LIMO DRIVER Okay. COLONEL Listen, though: You drop her off in the front, I don't want this. ..y'understand? I don't need this, here. LIMO DRIVER Gotcha. COLONEL Make aure no one aee'a the limo. LIMO DRIVER Got it. COLONEL Young Stud, I want you to help my driver johnny here get her in the car. The Young Stud atarta to cry hysterically. COLONEL (to Jack) What the fuck ia thia? (to Young Stud) Hey...hey...pal...get a grip, maa. YOUNG STUD I'm sorry...if s just...if s just.... COLONEL What? YOUNG STUD I...I...I COLONEL Spit it out. YOUNG STUD This is twice ia two days a chick has 0.D.'d on me.
>^^*v

COLONEL - Well maybe that means you oughta think about getting seme new shit, what do you think? YOUNG STUD Yes, sir. COLONEL Jesus Christ. Now be a man, deal with the situation and get her in the car. The Lady Friend atarts to go into CONVULSIONS. COLONEL Y'aee that, all thia fuckin* converaation YOUNG STUD Please don't die! LIMO DRIVER C'mon, pal. The Limo Driver and Young Stud carry her naked, convulaing body to the Black Limo out front. CAMERA holds with Jack and the Co: lcnel, JACK Close call COLONEL Yes. JACK Let' a go They exit.
CUT TO:

47

EXT. POOL AREA - DAY - THAT MOMENT CAMERA is with Reed and Dirk. They're sitting in two pool chairs, drinking their drinks and talking. A nervous young kid in red swianniag trunks, SCOTTY J. (mid-20s) comes over and interjects SCOTTY J. Hey Reed. Hey REED Scotty, how are you?

47

SCOTTY J. Y'kncw, y'know. (re: Dirk) Who's this? REED Eddie meet Scotty J. He's a friend, he work3 en seme cf the films.

/f$wfa*

DIRK Nice to meet you, / * * SCOTTY J. You too. Are you gonna be working? DIRK Maybe. REED Probably. SCOTTY J. That'a great. That's great, where did you meet, Jack? 'Cauae I work on the films, y'know, sometimea, that's why I'm wondering if you, you know JACK (OC) EDDIE 1 EDDIE! Cane over a minute. Dirk spots Jack calling him and stands, looks to Scotty J, DISK Excuse me. SCOTTY J. Yeah, okay. DISK Nice to meet you. CAMESA DOLLIES IN A LITTLE ON SCOTTY J. REED (OC) You wanna take a seat, Scotty? - - SCOTTY J. Um....I dunno...is it alright? SEED (CC) Yeah. SCOTTY J. Thank you. It geta a little hard mingling around...y'know...talking to people and stuff... i f a aort of That kid Eddie ia really good looking, huh?

'

49
ANGLE, JACK, THE COLONEL AND DISK. Dirk approaches and the Colonel smiles. They shaxe hands. JACK" This young m* n i8 interested in the busineaa. COLONEL Well, you're in good handa if you get "involved with Jack, here. DISK Oh, yeah? COLONEL I can't give you much advice that Jack probably doean't know, but I can adviae, maybe you think about your name....? DIRK My name...yeah...? COLONEL Think about scmething that makes ycu happy, something that also gives acme pizzaz.. .y'kncw? DISK Sight. . -^ \ JACK The Colonel pays for all our films, Eddie. He's an important part of the process. DISK Well, great. Great. COLONEL I look forward to seeing you in action. Jack says you've got a great big cock. DISK ..um...yeah, I dunno, I guess? COLONEL Can I see it? DISK Really? COLONEL Please. Dirk unzios his pants. CAMERA en the Colonel. He looks down, then up; COLONEL Thank ycu, Eddie.

{*^-

_u
DISK No problem. Dirk exits. The Colonel turns to Jack; COLONEL Jesus Christ. Jesus Lord in Heaven. CAMESA picks up with Dirk, who runa for the pool and DIVES IN CUT TO: 48 INT. POOL - THAT MOMENT CAMERA MOVES IN AS DIRK LANDS IN THE WATER, FLOATS TO THE BOTTOM, THEN PUSHES OFF, TOWARDS THE SURFACE. TIME LAPSE TO NIGHT. CUT TO: 49 EXT. DRIVEWAY/JACK'S HOUSE - NIGHT (LATER) The party ia coming to a cloae and people are trying to get in their car a and get out of the driveway. CAMERA hanga with Little Bill and his Wife. LITTLE BILL Thanks for fucking up this party for me. I appreciate it. LITTLE BILL'S WIFE Oh Fuck Off. Will You? LITTLE BILL You Fuck Off. -LITTLE BILL'S WIFE Yeah, right. CAMERA MOVES TO FIND: THE YOUNG STUD AND THE LIMO DSIVES. They're aittiag by the liao. The Young Stud ia crying. LIMO DRIVER Hey, hey, hey. I mean: Hew were you supposed to know? YOUNG STUD I wasn't. LIMO DRIVER That's right. So vhat did you do vrong? YOUNG STUD Nothing? 49 48

51
LIMO DRIVER Nothing ia abaolutely right, Young Stud. j^ YOUNG-STUD Thank you for your help. LIMO DRIVER No problem. The Colonel and Jack approach. The Colonel now baa ANOTHER YOUNG LADY FRIEND, picked up from the party. COLONEL You ready, Johnny? LIMO DRIVES Yea, sir. COLONEL How you doin' pal? YOUNG STUD I'm okay, air. COLONEL Don't worry about it. She'll be fine. YOUNG STUD She died in the limo on the way to the hospital. \ COLONEL I didn't hear that. YOUNG STUD What? COLONEL You never-told me that and what happened, never happened. You get me? YOUNG STUD I get ycu. New go heme. The Young Stud exita. JACK Thanks for coming, Colonel. COLONEL Great party, Jack. The Colonel and the new Lady Friend get in the car. f*^ CUT TO: COLONEL Sleep it cff.

5Z

50 (

EXT. JACK'S HOUSE /POOL AREA - NIGHT (LATER)

50

The party is over. Amber and*Rollergirl are inside playing cards. Scotty J. is cleaning up, Dirk and Reed ait in the JACUZZI, looking up at the stars. REED ...you wanna hear a poem I wrote? DISK Yeah. SEED Okay. Um... "I love you. You love me. Going down the Sugar Tree, we'll go down the Sugar Tree. And See Lots of Bees. Playing. Playing. The bees won't sting. 'Cause you love me." DISK That's fucking great, man. Jack approaches in a bath robe, holding a tcwel. JACK Howdy-boys. DISK/REED Hey, Jack. Jack removes his robe and climbs in the Jacuzzi. JACK Good party? DISK It was great. JACK Good. You had a good time then? DIRK Excellent time. Thank ycu. JACK What this place is for, right? SEED Right. JACK Ahhhh....this feels good. Bubbles, Tura those bubbles higher, Reed.

5i DISK Jack...I was thinking about my name...y'know...? . T*Yeah? DISK I was wondering if you had any ideas. JACK I've got a few...but you tell me... DIRK Well.. .my idea was...y'know... I want a name.. .1 want it ao it can cut glass...y'know...razer aharp. JACK Tell me. DISK When I cloae my eyes...I see this thing, a aign...I aee thia name in bright blue neon lights with a purple outline. And thia name is so bright and ao sharp that the sign it just blows up becauae the name is ao powerful... FLASH ON:
->N. r A 3SIGHT NEON SIGN IN BLUE LETTSBING, WITH A PURPLE OUTLINE: DISS DIGGLSS DISK (OC)

JACK-

I t a a y s , "Dirk D i g g l e r . "

The NEON SIGNS FLASEES, BUZZES, TEEN BUSSTS INTO AN ELECTRIC FLAME. BACK TO: 51 EXT. JACUZZI - THAT MOMENT Back to Reed and Jack. They leek at Dirk. JACK Heaven sent you here to this place, Dirk Diggler. You've been blessed. Dirk smiles. Reed smiles. Jack lcoks up and closes his eyes.
FADE CUT, CUT TO:
ei

/P*K5S

52

TNT. JACK'S GARAGS/FTl*

gTtroTO

PAY

52

The film crew acta up lights and other equipment around a small "office" set. The crew ccnaiata of; Kurt Lopgiohq,-Director of Photography. Rocky, Gaffer/Grip. Little B U - , Aaaiatant Director. Scottv J. ia working as a utility/Bound man. Jack ia aipping coffee, confering with Kurt about lighting. JACK How close? KURT LONGJOHN Give me twenty to thirty. I've got a couple tough ahadowa to deal with JACK Okay, but not too long, Kurt, right? Remember: there are shadows in real life. Little Bill approaches. LITTLE BILL You wanna go over thia? JACK Yeah. Let'a.... LITTLE BILL (reading fran script) Okay. Set up ia....here we go: 1.) Amber talking to Becky about auditioaa. They make the phone call to the agency to send over acme actors. 2.) Enter Reed to audition for Amber. They go at it. Becky juat watches. C.) Becky goes-to the bathroom to jack-off and is interrupted by Amber. They get into it. E.) Enter Dirk (looks up) Who'a Dirk Diggler? JACK The kid, Eddie, frcm the club. LITTLE BILL Good name. Anyway: 4.) Dirk entera. Meets with Becky. They go at it JACK I wanna change that that should be Amber. Dirk should be auditioning with Amber. Little 3ill makes a ncte. Jack walks over to Becky, who's sitting in a chair, shaving her pubic hairs.

JACK Becky, honey

BECKY What? JACK What're you doing? in twenty minutes. BECKY I'm ahaving my bush JACK Now? BECKY It only takes two seconds, Jack. JACK Fine, fine. Jack continues to get everyone ready. JACK Alright everyone, let"a go, let'a go, we need to shoot thia firat scene we need to get one off We're shooting

I-, 53 INT. 3EDR0OM - DAY - LATER

CUT TO: 53

Dirk is sitting on the edge of the bed, dressed up in a brown suit and his hair is brushed back, parted down the middle.' He paces a little, does some deep breathing, looks over script, etc. Scotty J. enters. SCOTTY J. Hey. Hi. Dirk. Dirk Diggler. DISK Hi. SCOTTY J. I'm supposed to ccme get you. Tell you -they're ready, new. DISK Okay, SCOTTY J. You look really gccd. DISK Thank ycu.

JVJ

SCOTTY J. You look really sexy. DISKThanks. SCOTTY J. I like your name. DIRK You do? SCOTTY J. It's really cool. DISK Thanks. SCOTTY J. OK.. .well.. .whenever you re ready.... I'll see you out there. Scotty J. exits. Dirk stands, takes a deep breath. CAMERA follows as he exits -the rocrn and walks through the house and into 54 INT. GARAGE/FILM SET the crew is ready and waiting. JACK Ready, champ? DISK Let's do this. They walk through the scene with Amber. JACK So we knew the scene, we know the thing. You're gonna start outaide the 8et, -through that door, I'll call your name and action, that'll be your cue...ccme through the door, atraight to the desk, right here, bocrn, you and Amber do the scene DIRK Do we go straight into having sex? JACK Is that alright? DIRK It would be better I think, y'knew, so we don't break up the momentum cr scmething
/#aV

54 Jack is there to greet him.

JACK Amber? AMBER Good. JACK So we'll just go straight through. DISK Okay. KURT LONGJOHN Are we doing a rehersal? JACK Eddie, you want a rehersal? DIRK It's okay. ..1 can do it JACK Great. DISK Jack? JACK Yeah? DISK .. .can ycu.. .um.. .will you call me Dirk Diggler frcm new en? Yes. JACK I'm sorry, yeah, yes.

Jack exits. Amber and Dirk huddle in the comer a moment. AMBES Do ycu want to practice your lines vith me. DISK I knew it. AMBER You look great, honey. DIRK Does he want me to keep going until I ccme? Yeah. AMBER You just ccme when you're ready....

DISX Where should I ccme?

jtf)&***.

DO

AMBER Where do you want?

j/SfWfcN.,

DISK Wherever you tell me. AMBER Ccme on my tits if you can, okay? Just pull it out and do it on my atcmach and tita if you can. DISK Yeah. she touches *r hand sof^y * the side of his face. (30fps) AMBER Are you alright, honey? DISK This is great. I'm ready. I wanna do good. I wanna do this good... .let's try and do it really sexy...you want to? AMBES Okay. ,y"s '( Li-tle 3ill takes Dirk and walks him off the aet, explaining things cne last time to him... .CAMERA HOLDS ON DISK. Little Bill walks away and he's left 8tanding alone a mcnent, waiting for his cue behind a cloaed door. SILENCE. HOLD. JACK (OC) and....action, Dirk. CAMESA blends to SLOW MOTION (30fps) and FOLLOWS Dirk through the door and into the set lights flare into CAMESA/DIRK and . we focus in on Amber, seated behind a desk. CAMERA blends back to 24fps. KURT LONGJOHN* S 1 6mm CAMERA POV: Dirk enters. A light shines straight at him. He walk3 into a two shot with Amber at the desk. BEAT, TEEN: AMBER Hello. Are you John? DIRK Yes, ma'am. AMBER Ycur agency recommends you very highly. ~ f DIRK I'm a really hard worker. You give me a job and I won't disappoint ycu.

59

AMBER What special skills do you have? DISK Well I spent three yeara in the Marinea. I just got back from a tour of duty. AMBER You're kidding? DISK No I'm not. It got really hard being surrounded by guya all day. AMBES When waa the last time you had a woman? DIRK A long time. AMBER That'a terrible. DISK But I'm back now and I'm ready to puraue my acting career.
/^Ste*.

AMBES Well as ycu may or may net knew, this is an important film for me. If it's not a hit, I'm gonna get kicked out of my apartment. My landlord is a real jerk. DISK Really? AMBES Whv don't you take your pants off? It's important that I get an idea of your size. DISK No problem. Dirk starts to remove his pants...just before they ccme off we go to: JACK AND TEE REST OF THE CREW Kurt Longjohn takes his eye away frcm the viewfinder for a moment. Reeky frewns slightly. Scotty J. is in shock. Reed and Becky smile. Amber looks frcm Dirk's cock to his face. AMBER I think that you have the part, but why dcn't I make sure of scmething...

bU 16mmCAMHvVS ?QV:
(*** AMBER This is a giant cock. So they go at it... taking each other'a clothes off and climbing up on the deak...OUR CAMERA ia hand held, moving around, looking at the crew filming and Dirk/Amber making love.... They continue for a while. Jack whispera aomething to Kurt, then walks over to Dirk and Amber, quietly interupts; JACK Guys... DIRK Is everything cool? JACK Hang in there, everything's cool, I juat wanna change the angle You're doin' great. Amber looks to Dirk. They holds still; i^m^ AMBER You're doin' ao good, Dirk. DISK Does it feel good? Amber smiles. Jack and Kurt have set up a new angle; JACK Okay- we're back, we're ready action They continue for a bit, getting faster and a little harder; CU. DISK AND AMBES. they're face to face. Following in sotto:

for the first time, we see Dirk's cock. It hangs about 12 inches. Amber's hand reaches and grabs hold of it

AMBER You're amazing. DISK You feel good, Amber. AMBES Are you ready to ccme? DISK Yes.

bl AMBER Ccme in me. DIRK " * What? AMBER Don't worry, I'm fixed. I want you to ccme in me DIRK Okay. Amber and Dirk ccme together. HOLD. They kiss and smile. * -

JACK CUT! FUCK! YES! YES! YES! THE CREW APPLAUDS THE PERFORMANCE.m Everyone gathers around. Dirk is giving hand shakes, high fivea, etc. CAMERA PANS over to Little Bill and Jack who atep aaide a moment. Following in actto; JACK That was great. LITTLE BILL Yes it waa. What do ycu want to do about the ccme ahot? We could go to the atock footage get a close up JACK It's not gonna match, we don't have a cock that big on film Dirk hears this and turns to Jack and Little Bill. DISK Jack? JACK Yes, Dirk? DISK I can do it again if you need a close-up. Everyone in the room looks at Dirk. HOLD. MUSIC CUE. CONTINUES OVER CUT AND TEE FOLLOWING SCENES: CUT TO:

/#,EV

UA

55

INT. JACK'S TJVT"5 * M " W T K a T = I A T S R ' The entire cast and crew together. ECU - CHAMPAGNE BOTTLES POP ECU - ROLLERGIRL*S CAMERA, she snaps POLAROIDS.

Sequence "A"

55

CUT TO: 56 TNT. RESEDA

CAMERA
M

" S^Ogg - DAY

56

TRACKS ALONG a row of shoes. Dirk, Reed and Scotty J. ^ a ^ S ? picScing acme out. Dirk falla in love with a pair of half-boots, zip-up style
CUT TO:

57

INT. HOT T*&*X NIGHTCLUB - NIGHT

CAMERA BEGINS ON TEE SHOES, DOES A QUICK BOOM UP TO A CU. ? O ^ S K ? He s danSng with Rollergirl. They talk about his

57

shoes,

QUICK DISSOLVE TO: OVERHEAD ANGLE, JACK'S TA3LE.

1

JackiTeating Clams On The Half Shell and talking to Amber. S f c S l o S l if aitting with a NEW LADY FSIgD. CAMERA begins a BOOM DOWN as Scotty J. enters FSAME and begins talking the Colonel's ear off. QUICK DISSOLVE TO: ANGLE, MAURICE , _ . CAMERA follows behind him as he shouts orders to waiters and busboys and bouncers QUICK DISSOLVE TO: ANGLE, BECKY ,. . She's hanoinq out near the bathroom with a FRIEND, talking. She's apploalhed by a body-builder-type. This ia RONNIE (late 20s.) RONNIE Becky._ Ronnie BECKY don't bother me.

RONNIE I don't wanna bother you, I just wanna sav hello and tell ycu that I love you.

OJ

BECKY OK. Fine. -Hello." sm.. RONNIE Why'd you break up with me? . _

Becky crabs her Friend and walks away, towards the dance floor where Dirk and Rollergirl are. CAMERA holds on Ronnie, who sheds a tear as he watches her go. QUICK DISSOLVE TO: INSIDE THE DJ BOOTH. A couple young girla aurround the Dj, who is a BLACK MIDGET, wearing headphones, dancing and doing coke with the girla. He aeta up another RECORD on the turntable.

S S n S L m s n QUICK ON THE RECORD, NEW MUSIC CUE.

CUT TO: 53 INT. MOTEL ROOM FTLM S^ - ANOTHER DAY_ 58

Cast and Crew ahooting a new film with a Spaniah-theme. Jack watches Rollergirl and Dirk who are on a WATERBED. They block the scene. JACK What we can do is make it all one thing, right? You can go frcm being on top below and then move and shift to the side pump away there for a while, then Dirk gets on the bed with Rollergirl and tries a move. DISK If she...Rollergirl...if you wrap your leg around...other one...your left leg. ...right... up around my neck. And over. Good. We can go right iato Doggy Style. KURT LONGJOHN Is the movement of the waterbed a problem? DISK Not at all, Kurt. Matter of fact, I dig it. CUT TO: 59 EXT. PUSSYCAT TEFftTgR/LOS ANGELES - NIGHT 59

The Marquee reada, "Spaniah Pantalonea" Under the title; A Jack Horner Film. Starring Amber Waves, Rollergirl, Dirk Diggler. CAMERA DOES A BOOM UP AND INTO THE MARQUEE. BURN TO:

60

INT. JACK'S HOUSE/KITCHEN - DAY

Jack i s reading, "Oui."

60

Dirk, Reed and Amber l i s t e n ;

JACK ~ j a c k Homer has found aomething a p e c i a l i n new-comer, Dirk D i g g l e r . I f a another a t e l l a r , aexual atandout frcm Horner and Company. D i g g l e r d e l i v e r a a performance worth a thouaand hard-ona. Hia preaence when d r e s s e d i s powerful and d e m a n d i n g . . . . CAMERA DOLLIES IN ON THE PAGE, TRACKS ALONG THE WORDS. CAMERA catches g l i m p s e s of t h e words on th e p a g e , " . . . D i g g l e r . . . " ^ a e x u S a t a n d o u t ! . . " " . . . aupple a a a . . . . - Continue w/STILL ' PHOTOGRAPHS from t h e f i l m . SPLIT SCREEN TO:
61 I N T . STUDIO CITY H*TT? AT/TO - DAY 61

CAMERA DOLLIES DOWN TEE LINE OF HAIRSTYLISTS. Dirk is getting a fluffy new hair style. Reed stands nearby and watches; JACK (VO) ...when stripped to the bone, Diggler's more eruptive than a volcano on a bad day. Amber Wavea ripe-cherry lipa do a wonderful job of handling Diggler'a wide load and Reed Rothchild's atiff bicepa do a slapping good job with Becky B a m e t f a supple asa... TESES-WAY SPLIT TO: 62 A CLIP FROM THE FTLM. "SPANISH PANTALONES." (16mm) 62

if0^

Thia ia filmed on the Motel Room Film Set. Reed ia wearing apeedos and-a aombrero. Becky ia naked. He alaps her ass. Dirk is facing CAMERA, Amber is kneeling down, covering his crotch giving him a blew job. CU. Dirk fcr the money shot. FOUS WAY SPLIT TO: 63 INT. SOT TRAXX NIGHTCLUB - NIGHT Dirk is disco dancing with Rollergirl and Becky aad Reed. JACK (VO) ... but it' s Diggler that remaias the ataadout ia this film. I f a eaay to predict, after oaly two films, that Diggler'B suck-ceaa can only grew and grew and grew END FOUR WAY SPLIT, STAYING WITH DIRK DANCING IN THE CLUB. Dirk, Seed, Sollergirl, Buck, Maurice and Becky begin doing a DANCE NUMBER. (Complete w/ccreocraohed moves, etc.) 63

bh "'
yf^S..

CUT TO: 64

64

INT. LITTLF BILL'S HOUSE - NIGHT tittle Bill sleeps on the couch. In the b.g., acme NEW STUD W s a S . , 2 5 - out of the bedroom - ANOTHER STUD walks past, goiag into the bedroom they exchange high fives. CUT TO:

65

INT. JACK'S HnUSS/AMBER'g ?"ROOM - NIGHT

65

Amber is on the phone. Dirk is sitting with her, holding her hand. AMBER Please let me talk to him, Tern. Pleaae. I juat want to aay hello and that'B all that'a it. Yea. I'm not. I'm completely aober. I'm not Tom Tern Tern Dial tone frcm the phone, ahe hanga up AMBER I don't knew what to do new. CUT TO: 66 \ INT. HOT TRAXX NIGHTCLUB /BACKROOM - DAY 66

Maurice alipa a PHOTOGRAPH and a letter into an envelope and seals it up. The VO is in Spanish, with SUB-TITLES. MAURICE (VO) Dear brothers: I'm aending you a picture CUT TO:
C-. 67 TWIn PUERTO irr=-,v\ RICO BTrfl _ STREET flfflfTT _ DAY DAY INT. 67

Maurice'a two BROTHERS atand at a MAIL30X. They rip open the letter and"check out a picture of Maurice atanding next to Rollergirl. MAURICE (VO) thia ia my girlfriend. I had aex with her laat night. lan't ahe hot? I get chicks like this every night. CUT TO: 63 INT. VINCI'S GYM - DAY Reed and Dirk are working cut. They smile, laugh, then become deadly serious as they get into their workout. CUT TO: 63

bb

69

INT. KARATE STUDIO - DAY

69

Buck, Dirk and Reed dressed ia Karate-gear, are taking lessons. Buck speaks about the ancient history of Karate. CUT TO: 70 INT. DEPARTMENT STORE - DAY CAMERA TRACKS ALONG A ROW OF SUITS. Dirk picks one out, tries it on and pays for it in cash. CUT TO: 71 INT. HOT TRAXX NIGHTCLUB - NIGHT 71 70

CAMERA with REED and ROLLERGIRL They're dancing near the DJ booth. Rollergirl requeata acme aonga from the MIDGET DJ. DOLLY IN ON THE TURNTABLE, NEW MUSIC CUE. ANGLE, BECKY ahe'a at the bar, talking with acme FELLA. Ronnie appears in the background and watches her ANGLE, DIRK he's wearing his new suit and dancing with three or four GIRLS who we've never seen before. They hang all over him. Suddenly, there'a a CRASH OC.
/f^N,

BECKY (CC) THE FUCK OFF ME. Dirk tuma hia head and aeea Becky has been knocked down and Ronnie ia standing above her. The FELLA she waa talking to is lying flat on his face in a pool of blood. CAMERA follows Dirk as he runs over in a flash JUMPS UP and does a FLYING KARATE KICK that knocks Ronnie back aad dcwa. Dirk stands over him in a karate stance like Bruce Lee Reed and Maurice come over and grab Ronnie, Dirk helps Becky up DIRK You okay, sexy? BECKY Thank you, Dirk. DIRK Do ycu aee that Karate Kick, I did? Did it look good? BECKY It lceked great. CUT TO:

67
72 EXT. DESERT HTGHWAY - DAY CAMERA moves with a Big Van and a Station Wagon that follows ~ CUT TO: 73 INT. JACK'S VAN MOVING

72

- DAY

(music over into radio)

73

Amber is driving the van, Buck is in the paaaenger aeat trying to figure out why the radio isn't working and speaking; BUCK If you were to open a bussiness specializing in, like, Super-Super Hi-Fi Stereo Equipment forget it, you're in the money. I mean, there's no limit to the technology that'a comin' out now AMBER Really? BUCK That's a fact. AMBER So what*s wrong with this radio?
/0<P\

BUCK I think i f s.. .uh.. .if s a wattage problem.. .yeah.. .we've get to many watts per channel going into the front two speakera....yeah... IN THE BACK OF TEE VAN: Reed, Dirk and Jack are huddled, speaking intensely; JACK what else? DISK That's it for now. I mean: I look at this character Holmes has come up with and lcok I juat JACK Tell me. DISK I don't like to aee women treated that way. This guy he plays, "Johnny Wad," it's always about slapping seme girl around or whatever. It's not right, it's not cool aad it just... isa't sexv.

oo
REED We could make it more of a James Bond character. This guy that's world traveled. f I like that. DISK Reed could play my partner. JACK I like this a lot. DISK We could make it really good, Jack. Honestly. If you direct it...we could make a whole series, with a whole story. This is exactly what we've always talked about. I know it. JACK I know it. JACK"

REED We should do this. JACK Alright. When we get back. We'll set un the typewriter and we'll see what we can" ccme up with. I'll talk to the Colonel when we get to Vegas. But Dirk, ycu gotta work on him too, okay? DISK Sight, right. JACK if we don't put every element into this, it's juat.nct gonna work... DISK Exactly. JACK Now: What'8 this guy's name? This character? De you kacv? DISK His a'ame is Brock Landers. SEED His partaer's name is Chest Rockwell. JACK ....these are great names. CUT TO:
jpBPv.

Y*^

69
74
yfl7^"\

INT. LITTLE BILL'S STATION WAGON - MOVING - nAY

74

Little Bill is driving. His Wife is in the passenger seat. Becky and Rollergirl are in the back. Little Bill's Wife looks at Little Bill, then looks away. BEAT. Little Bill looks at hia wife. LITTLE BILL'S WIFE ...what...? Please. LITTLE BILL On thia trip...don't embarrass me. Suddenly, ahe
SMACKS

She doesn't say anything. Fuck you.

him in the face.

LITTLE BILL'S WIFE Little Bill holds hia eye. Becky and Rollergirl atay quiet. CUT TO: 75 INT. ALADDIN HOTEL/CASINO - BANQUET ROOM - NIGHT The "2nd ANNUAL ADULT FILM AWARDS." Behind a amall PODIUM and in front of a packed to capacity CROWD of porn filmmakers is AMBER. She's about to open an envelope. AMBER And the award for, "Best Newcomer," goes to... .Yes! My baby-boy.. .DISK DIGGLESi JUMP CUT TO: COLONEL JAMES. He's on stage, ripa open an envelope. 75

COLONEL JAMES ...the award for, "Beat Cock," goes to...Here We Go Again...DIRK DIGGLER. JUMP CUT TO: A Porn Actress, JESSIE ST. VINCENT (early 20s) She opens;

JESSIE And The Award.. .for Beat Actor Gees To.... I've seen hia movies and I can't wait to work with him. ..Mr. Dirk Diggler! The Audience Applauds wildly. Dirk, dressed in a jean outfit, makes his way to the stage and accepts the award frcm Jessie. He turns to the crowd.

^rfffl^V

70
DIRK Wow. I dunno what to say....I guess. Wow. I guess the only thing I can aay, is that I promiae to keep rocking and rolling and to keep making better films, it seems we make these movies.. .and sometimes.. .they're considered filthy or acme-thing by acme people...but I don't think that'a true. These films we make can be better...they can help...they really can, I mean it. We can always do better and I'll keep trying if you keep trying ao let's keep ROCKING AND ROLLING. AUDICENCS APPLAUDS. Jessie St. Vincent ccmes over and plants a deep, wet kiss right in his mouth; JESSIE ST. VINCENT You're hot. Amber, in the audience, sees the kiaa and frowns. Dirk raises the award high above his head and doea a karate move ~ CUT TO: 76 INT. ITALIAN RESTARAUNT - SEERMAN OAKS - DAY TITLE CARD READS: "1978" Sequence "R" 76

Little Bill screams for everyone to settle down. ...Jessie St. Vincent is waiting for her cue.. ..CAMERA DOES SLOW DOLLY INTO CU ON JACK.
yf"~^y

JACK . ..and...ACTION. ...Jessie St. Vincent walks acrosa the restaurant to the bar. Kurt Longjohn end hia camera crew track with her. Dirk, in character with hia hair alicked, chewing on a toothpick and ameking a cigarette, wearing a auit and aunglaaaes ia Bitting at the bar. She apeaks to the Bartender (played by Maurice.) JESSIE ST. VINCENT Shot of Tequila, straight up. MAURICE Yea, ma'am. JESSIE ST. VINCENT (to Dirk) I've been in thia place twenty minutes, just to get a seat. DISK Ycu alone? JESSIE ST. VINCENT Yeah. Just visiting L.A. Some people told me the feed in here was really* gccd.

71 DISK Good. No i f a not good. It's probably the BEST place to eat in Los Angeles. It's excellent. JESSIE ST. VINCET I certainly hope ao. I could die of starvation before I get something to eat. JUMP CUT TO: 77 INT. BEDROCK SET - NIGHT - SCENE CONTINUED TN CLIR>ORM. (16ttaa) This bedroom set is decorated as Brock Lander a pad. Jea3ie St. Vincent unzipa Dirk'a panta... (porn muaic in b.g.) DISK You aaid you were hungry Starving. DISK Well, go ahead and feast. She pulls his cock out of his fly, looks at it. ohhh. [f^ What? JESSIE ST. VINCENT You're Brock Landers CUT TO: 78 EXT. VARTnng VIT.T.EY LOCATIONS - DAY - FILM CLIP (16nrol TITLE SEQUENCE FRCM; "Brock Landers: Angels Live In My Town." Dirk is running STRAIGHT TOWARDS CAMESA in a JEAN OUTFIT. He stops, does a KARATE KICK and turns FREEZE FRAME. TITLE READS: DIRK DIGGLER as BROCK LANDERS 78 JESSIE ST. VINCENT It's true DIRK CAMESA sees this. 77

>v

JESSIE ST. VINCENT

Various other footage of Reed, running down the street, firing a gun and knocking people down. FREEZE FRAME. TITLE READS: REED ROTHCHILD as CHEST ROCKWELL.

Finally, ever a WIDE ANGLE SHOT OF VENTURA BLVD; "3RCCK LANDERS: ANGELS LIVE IN MY TOWN" MATCH CUT TO:
sfiM*^

72
79 /^ INT. JACK'S HOUSE - EDITING ROOM - DAY " CAMERA PULLS BACK and WHIPS around from the Steenbeck image to find; Jack and Kurt Longjchn, working on the film. _ _ JACK Good, good, i f a cloae. Let'a head trim Dirk'a apin, looae Reed with the revolver and awitch the main title card it ahould really fly towards camera CUT TO: 80 INT. DISK'S NEW HOUSE/STUDIO CITY HILLS - DAY CAMESA (STEADICAM) begins on Seed who'a doing a MAGIC TSICK in the living room for Scotty J. and Becky. Dirk and Amber enter FRAME and CAMESA f ollowa them through the houae. Dirk ia giving her a tour, explaining what type of leather couches he has, what aort of hiatory he knows about the wood uaed to build the houae, ahowing her a painting on the wall of himaelf that was done by Jessie St. Vincent, etc. They move into THE KITCHEN Maurice and Rollergirl are deep in conversation. He'a trying to convince her that ahe ahould take a picture with him without her clothea on ao he can aend it to hia brothera in Puerto Rico. r CAMERA ataya foreground with their converaation while Dirk ahcws Amber the back deck area of the house -(Director'3 Note: Sound covers the four talking simultaneously.) Rollergirl stops arguing with Maurice; ROLLERGIRL Fuck it, fine, let's go. She rios off her bikini too, aeta the POLAROID on the counter, hits the timer, rolls backhand poses with Maurice CU - DEVELOPED POLAROID the image is of their waists - the Polaroid framing was too lew. Dirk and Amber come f .g. aad CAMERA leads them DISK Aad arouad thia coraer ia the big aurpriae. The maia thiag I wanna a hew you The ave down a hallway and into 80 79

73
THE GARAGZ it's dark for a moment, Dirk hits the garage door and it starts to open...LIGHT POURS INSIDE-on their faces DISK Isn't it beautiful? CAMERA holds CU images of a BRAND NEW 1978 CORVETTE. I f a candy apple red with auper trimmed out designs, etc. CAMERA DOLLIES IN ON DIRK. AMBER You deserve this, baby. DISK This ia it thia ia the thing. Thia ia the moat beautiful thing I've ever aeen in my life They get in the car and go for a ride. CUT TO: 81 INT. ITALIAN RESTARAUNT SET - NIGHT - FILM CLIP fl6mm) Dirk and Reed, in charachter look at each ether and say; DISK So we solved the ease and the women are safe SEED Just another day. DISK That's right. REED C'mon, Brock. Let's go out and get some of that Saturday Night Beaver They smile. FREEZE FRAME. TITLE CARD READS: Directed By Jack Horner MATCH CUT TO: 82 INT. JACK'S HOUSE - EDITING ROOM - DAY CAMERA PULLS BACK and WHIPS around frcm the Steenbeck image to fiad Jack aad Kurt Loagjoha; JACK This is the best work I've ever done. KURT I f 3 a real film, Jack. 82 81

74
JACK It feels good. KURTYou made it fly. JACK This is the one -they'll remember me by, baby. CUT TO: 83 EXT. PUSSYCAT THEATER - SAN FRANCISCO - DAY TITLE CARD READS: "1979"
83

CAMERA MOVES FROM THE STREET LIFE TO TEE MARQUEE; "Brock Landers II: Oral Majeaty" Starring: Dirk Diggler. DISSOLVE TO: 84 EXT. 42nd STREET CINEMA - NEW YORK - NIGHT CAMERA PANS FROM THE STREET LIFE TO TEE MARQUEE; "Brock Landers III: Silver Fingers" QUICK DISSOLVE TO: 85 INT. 42nd STREET CINEMA - NSW YORK - NIGHT CAMERA PANS from the SCREEN which has a CLIP of Amber in close up and Dirk in close up they're moaning and graoning and rocking back and forth. CAMERA finds the crowded AUDIENCE (mostly couples, swingers, etc.) watching the film CAMERA BOOMS UP/ZOOMS IN TOWARDS THE LIGHT FRCM TEE PROJECTOR IN THE BACK BURN WHITE TO; 86 INT. ALADDIN BANQUET ROOM - NIGHT The "4th ANNUAL ADULT FILM AWARDS." to accept another award. Dirk walks up to the podium 86
85 84

CAMERA DOLLIES IN ON EACH OF OUR PRINCIPLES SO FAR IN SLOW MOTION: Reed. Jack. Amber. Little Bill...then PAN to hia Wife. Kurt Longjohn. Rocky. Becky. Jeaaie St. Vincent. Scotty J. Maurice. Buck. Colonel and another new Lady Friend. Rollergirl. Finally, Dirk. He speaks into the microphone; DISK Thank ycu. FREEZE FRAME ON DISK.
/a* 5 **

End Secuence "3" WIPE TO:

75
87
(/%&**<

INT. JACX'S HOUSE - NIGHT CAMESA starts on a huge banner strung across the house. -Goodbye 70'a Hello 80'a" If reads:

87

CAMERA roams through the party. This is a bigger, better and more insane party than we have seen so far.... CAMERA hangs with Becky and a tall, heavy-set black guy JEROME. BECKY ...right, right... JEROME yeah....y'know....as far aa I'm concerned, i f a about love. Y'know? You love someone and how hard can the world be? I mean, people will come and go and ao will problems, and ultimately, if you have love on your aide and in your soul, whatsa problem gonna be that takes your attention away? Y* understand? BECKY I do...I do. That's really sweet. JEROME My name's Jereme. BECKY I'm Becky. JEROME Nice to meet 'ya, Becky. BECKY What do you do? JEROME I'm in the auto industry. BECKY Really? JEROME Yeah. I'm regional manager for "Pep Boys." BECKY And who do you knew at the party? JEROME Dirk Diggler.. .you kacw him? 3ECKY Cf course.

7b
JEROME He comes into my shop a lot to buy parts for his Corvette r I help him out... he told me about the party. CAMESA hangs with Kurt and Rocky who are discussing technology and the future.... CAMESA hangs with Reed, who's doing some Magic Tricks for Jack and explaining seme facts about, "the world of illuaion8." CAMERA hangs with Dirk and Jessie St. Vincent. JESSIE ST. VINCENT Because sometimes I feel like an outsider to -the whole thing. Y'know.,.1 see you and Amber and your relationship and I dunno DIRK No, no, Jea8ie. You 3houldn't feel like an outsider. JESSIE ST. VINCENT I know my tits aren't as big and I my pussy isn't as tight as all the girls in this industry but I still like I've got something that works I can paint, too. \ DISK Yes. Yes. Yes. JESSIE ST. VTNCSNT I dunno. I was just never really secure. When I was a kid, I was never really secure with myself that much I guess that's why I try and act like I'm all care-free and everything. DISK I knew what you mean, sometimes I'm like, "What am I doing?" "What the hell is wrong with me?" Y'know? JESSIE ST. VTNCSNT I knew, I know. DIRK But then...1 think... JESSIE ST. VINCENT it's just fun. It's great. knew ether feel

/fWS, ("

-^ f '

DISK It is. It's the be3t. I mean, lock: I couldn't be happier than where I am today, right" new, at this mement.

/ /

JESSIE ST. VINCENT You are so fucking awesome, Dirk. DISK~ Who says you don't have a tight pussy? JESSIE ST. VINCENT I don't know. No one, I guess. CAMESA hangs with Seotty J. and Amber. Be re-ccunts;

SCOTTY J. So I was all, "What's your problem?" And he was all, "Nothing." So I was like...really...y'know...I was fuckin' pissed, Amber. So then I was all, like, "What are you gonna do?" Y'know? And he was all, like acting tough, y'know, with his friends around and stuff. So I was just all...like..."Forget it." And I walked away. Amber's attention moves to Dirk talking with Jessie St. Vincent. AMBER Excuse me, Scotty. CUT TO: 88 INT. JACK'S HOUSE/KITCHEN - NIGHT Little Bill approaches Reed and Jack. LITTLE BILL You seen my wife? JACK No...net in a while... REED Everything alright? LITTLE BILL She's...just...y*knew...I dunno JACK It's tough. LITTLE BILL Yeah. Anyway. How much time left? What a joke: New Year. Yeah, right. Same old shit as far as I'm concerned. JACK 'Bout forty-five minutes
aa

/o
CAMERA moves away and hangs with The Colonel, a NEW LADY FRIEND, who's doing seme coke from a bowl and Maurice, who's begging for a part in a movie. The Colonel's attention turns acroa8 the room; COLONEL'S POV: A tall man in a white suite, FLOYD GONDOLLI (mid 50s) is standing with two young BOYS and two young GIRLS. The Colonel walks over, CAMESA WHIP PANS over to Floyd Gondolli; FLOYD The Colonel1 COLONEL Floyd Gondolli, great you could make it...great...great...great. Hew are you? I'm fine. FLOYD Meet Boys: Tcmmy and Pete. Meet Girls: Angie and Cyndi. TOMMY/PETE/ANGIE/CYNDI Ei. /**v Hello. COLONEL Happy New Year. FLOYD You look happy. COLONEL

/ * * .

FLOYD These are the next stars...the real people in the world. COLONEL I think we should do that talk with Jack now, whadda 'ya say? FLOYD Let's do it quickly. COLONEL C'mon. Floyd turns to the kids he is with and speaks very slowly to them; FLOYD Tanmy-Pete-Angie-Cyndi. Uncle Floyd is gonna split for a minute to do a little business talk. The Colonel and Floyd walk to the KITCHEN ASEA and towards Jack.

7y COLONEL Jack, you remember Floyd Gondolli. JACKYeah. Hello. FLOYD Great party, here, Jack. COLONEL Why don't we take a few minutes in your office to iron this thing out. Jack nods. They head off CUT TO: 89 EXT. POOL AREA - NTCHT - THAT MOMENT Dirk is talking with Jessie St. Vincent. Amber ccmes over and takes a seat on Dirk's lap. DISK Bey, Amber. AMBES What are you talking about cut here? DISK
j0>&\.

89

Nethin' AMBES Do ycu wanna ccme with me for a little while? DISK Where? AMBES A surprise, surprise, surprise. DISK Let's go. They excuse themselves frcm Jessie and walk off into the hcuse. ANGLE, BUCK. Be'a doing acme serious dancing and he'a wearing a new-style, Ccrnncdores look. He's talking to Rollergirl. BUCK Lemme tell you scmething, Rollergirl: This shit I got on is the look that everybody's gonna be wearin' in the eighties: Just you watch, it's gonna take off

RCLLSSGISL vou think so?

ou
BUCK I know so. And just remember: I'm the one that -told you ao and I'm the one that atarted it ROLLERGIRL It kind of looka the the Ccmmodorea or aomething BUCK No it doean't. No it doesn't at all. ROLLERGIRL What does your boss at the stereo store think? BUCK What? ROLLERGIRL Your boss at the stereo store? What does he think about the look? BUCK ... .I'm opening my own bussiness. I'm working out the financing right now. Who cares what that guy thinks, anyway?
\j0^S,

CUT TO: 90 EXT. JACK'S DRTVSWAY - NIGHT - THAT MOMENT 90

A guy in white jeans, black leather jacket, TODD PARKER (late 20s.) He exits his 2802 and flashes smiles at various party people. CAMESA follows him to the POOL AREA where he sees; REED Tcdd Parker. TODD Sockin" Seed Scthchild.

SEED
You made it TODD Yeah ."..yeah. This is an amazing party. Fuckin' chicks everywhere. REED You bet. TODD I wouldn't mind havin" 3cme of that action ever there

/0^\

81
Todd points out a B I K I N I PASTY GIRL. 7o^ f REED Want m e t o i n t r o d u c e you? Sure, TODD i n t r o d u c e h er t o m y l a p .

REED You g o t off w o r k ? TODD I don't d a n c e Sunday n i g h t s . Who's C o r v e t t e i s t h at o u t i n t h e driveway? REED It's D i r k ' s . TODD That c a r is j amain * Noaed, Racked, Dual Carnms, T e n C o a t s of Band G l o s s , Candy A p p l e R e d L a q u e r - WHOA.

CUT TO: 91 INT. JACK'S OFFICE - MOMENTS LATER Jack, Floyd Gondolli and the Colonel sitting. FLOYD ...so let's talk about the future. So let's talk about what video means to this industry and let's talk about how all of us not one of ua but all of ua will profit. I've been doing -theater work in San Francisco and San Diego for as long as you've been doing stag and hard-core, Jack. JACK I knew you're history, Floyd. COLONEL No one's doubting your history or your credentials, Floyd. FLOYD Then why the resistance? I mean: This industry is going to be turned upside dewn soon enough JACK Then why help it? 91

OA

'/**v '

rLOYD Why not b e prepared? T h e m o n e y comes frcm the C o l o n e l , t h e talent comes from y o u J a c k . I've got a c o n n e c t i o n t o t h e equipment and t h e m a i l order diatribution, not t o m e n t i on those kids I g o t o u t -there w h o a r e hot-fuck-action t o t h e m a x . Thia ia t h e future. V i d e o t a p e i s t h e truth. JACK I have a stable o f actora a n d a c t r e s s e s . They're p r o f e s s i o n a l s . T h e y ' r e n o t a bunch o f fucking a m a t e u r a . T h e y ' r e proven b o x office a n d t h e y g e t p e o p l e in theaters (where films s h o u l d b e seen) and they know h o w t o f u c k w e l l FLOYD Thaf a right, Jack and by that same token, you're the one with the power here. The video revolution is upon us and our .role ia critical. We have an obligation to use our resources and talent to help make it fly JACK You come in here, at my party, tell me about this and that tell me about the future, tell me about video and amateurs and all that well lemme tell you something new: I will not shoot films on video and no I will not loan out my actors who are under contract to me. Period. FLOYD What a minute, Jack. I'm not a complicated man. I like cinema. In particular, I like to see fucking on film. I don't want to win an Oscar and I don't want to re-invent the wheel I enjoy simple pleasures like butter in my ass and lollipops in my mouth. That's me call me crazy, call me a pervert, but thia ia scmething that I enjoy. One other small thing I want to do in this life is make a dollar and a cent in this bussiness I'm net trying to hurt you, I'm trying to help you stay one step ahead of the game JACK We're repeating ourselves new, Floyd. COLONEL Jack, I think this about cost and future

. _, If*'

-rfltP^v

OJ

JACK The future is as bright as we make it it shouldn't be sacrificed for a few dollars that can be saved-shooting on video tape if it looks like shit and sounds like shit, it probably is shit FLOYD I think you're one gin past this conversation JACK No...no. I'm crystal clear here. COLONEL Jack, please understand that this is not an argument...thia ia a fact of JACK ....What...? COLONEL This is not an argument, but a JACK What are you saying? COLONEL What do you mean, Jack, c'mon JACK Are you telling me that you're working with this shit? COLONEL I think that there is a serious case to be made for the price and the gamble on -the whole idea of a home video market Jack: Two, three yeara from now, everyone's gonna be able to walk into their local supermarket and buy or a rent a videccassette JACK True film fans won't watch that shit. It doesn't look good and more importantly it doesa't make sex look sexy. COLONEL It doesa't have to look good, Jack. Film is just too damn expenaive. The theaters are already planning converting to video projectora. JACK I haven't heard that. FLOYD fi~*' It's true.

54 JACK We've got ten minutes until the New Year and I don'* want it to start like this so I'm leaving now. We will or we won't continue this conversation some other time. Jack leaves. Floyd looks to the Colonel. BOLD. CUT TO: 92 INT. AMBER'S BEDROOM - NIGHT Dirk and Amber enter. She aita him on the bed. 92

./m^ f

AMBER I wanted you...to just..to come in and give me a minute so I could tell you how much I love you. It's gonna be a new year and we're gonna start -things and do things and I want you to know how much I really care for you, honey. I care for you ao much....you're my little baby... DIRK Thank you, Amber. AMBER You're the beat thing in the world that'a happened to me since my son went off...and I just...I love ycu, honey. DISK I love you too, Amber. Amber continues to talk as she sets up more lines of coke AMBES Fucking 1980. ..y'know? Can you believe it? DISK I can't... i f a like...next thing we know...if s gonna be 1990, then 2000...can you Imagine? AMBER Goodbye to 1979...hello to 1980... (handing him a straw) Make sure your snort it back quick and hard.... DISK ...wh..? ^ AMBER Really fast, like this...

She demonstrates. Dirk hesitates a moment, then leans down and does a line of coke.
Z/iifrs,

It bums.

DIRK

AMBER It's good, though, right7 DISK I f s in my throat.... uch... AMBER It's the drip...the drip's the best part. DISK Tastes like aspirin. AMBER Do one more in the other nostril. DIRK ...I need a glass of water, I think... AMBER One more, then the water. Dirk does another line. DISK Do I look cool when I do it? Amber is right there to KISS him very hard on the mouth. HOLD. CUT TO: 93 INT. JACr'g g&T.T.WAY - THAT MOMENT Dirk and Amber emerge from the bedroom and walk back to the party... .Amber stops to say hello to some people... .Dirk keeps walking.... CAMESA follows him outside. ..Scetty J. approaches".... 'SCOTTY J. Eey, Dirk. DISK Scotty. Hey. What's up, man? SCOTTY J. ...fuckin' New Years, y'kncw, right? DISK 1980. Right. SCOTTY J. Did ycu see my new car? 93

DISK You got a new car? Yeah. Sure. CAMESA FOLLOWS them outside, they pass Seed and Todd who are standing near the BBQ pit REED Hey, Dirk, c'mere and meet someone. This is Todd, my pal from the thing DISK How are 'ya? TODD We finally meet. REED Remember I told you about Todd? He works over at the Party Boys Strip Club DISK Oh, cool, cool. You're a dancer? TODD Yeah, 1 get seme moves. Dirk? SCOTTY J. Are you coming ? SCOTTY J. Wanna see? DISK

DISK Yeah, okay, Scotty. (to Todd) I'll see you arcund. We can talk later. CAMESA continues with Dirk and Scctty J. out to the DRIVEWAY. They check out the USED CANDY-APPLE RED TOYOTA CORSOLA. SCCTTY J. This is it. DISK Cool. " SCOTTY J. Wanna get inside? DISK When did ycu get this?

U I

SCOTTY J. Yesterday.

DIRK"* It's really great. SCOTTY J. Yeah, you wanna take a ride, or It's great.

DISK Wait a minute, wait aminute, wait-minute....fuckin' hell.. .hew much' time left? SCOTTY J. Six minutes... Oh, Shit! DISK Let's get back inside, come on

Dirk starts to walk away.. ..Scotty watches him go....Suddenly; Scotty CHARGES Dirk from behind and starts to KISS his neck. Dirk stumbles, pushes him away and turns: SCOTTY J. I'm sorry, Dirk. Please. I'm sorry. DISK ....why'd you do that? ( / * * " SCOTTY J. You look at me sometimes DISK What? SCOTTY J. I wanna know if you like m e . DISK
yssn 5Cw**%y

SCOTTY J. Can I kiss you? DISK ...Scott...I dcn't

SCOTTY J. can I please kiss your mouth? Please. Please let me. DISK No. SCOTTY J. I'm really sorry. I dida't mean to grab you.... I dida' t

/*s=v

DISK It's alright. SCOTTY J. ...I'm sorry... DISK ...it's alright. SCOTTY J. Do you waaaa kiss me? DISK Scotty. SCOTTY J. No, ao. Forget it. I'm sorry. I'm really sorry, I'm just drunk. I'm outta my head, okay? DISK ...yeah SCOTTY J. I'm just crazy, you knew? Crazy. I'm so wasted, drunk, drunk DISK Ycu wanna go back inside? SCOTTY J. Do you like me car, Dirk? What...? DISK Yeah. Yeah. Sight?

I /flJPS^v

SCOTTY J. I wanted" to make sure you thought it was cool or else I was gonna take it back. DISK Oh. PAUSE. Dirk hesitates.. .then turns and walks back into the house. SCOTTY J. (to himself) I lcve you, Dirk. CUT TO:

jrft^s^

94

INT. JACK'S gggSS -

vrlGWt

' K3-S1SS LATER

94

Jack c a l l s out t o the crowd of Party People. JACK**

WE GOT TWO MINUTES, PEOPLE1 TWO MINUTES I CUT TO: 95 INT. HALLWAY - THAT MOMENT CAMERA follows Little Bill as he walks the hallway .to a closed bathroom door. He opens it. OVER LITTLE BILL'S SHOULDER, INSIDE THE BATHROOM Little Bill's WIFE is getting FUCKED DOGGY STYLE by yet ANOTHER YOUNG STUD. She looks at him. LITTLE BILL'S WIFE You should be taking notes, Little Bill. ANOTHER YOUNG STUD This is a fresh cunt, pal. Little Bill stands a moment, then closes the door. CAMERA LEADS M-i as he walks back through the party.. .outside to the pool area and into the driveway for hia Station Wagon. He takes the keys from his pocket, unlocks the passenger side doer, reaches into the glove compartment and takes out a .38 SEVOLVES and AMMUNITION. CAMESA FOLLOWS him now as he heads back across the driveway, back through the pool area, loading -the gun as he walk3... People begin counting off to the New Year 10....9....8 PARTY PEOPLE 7 95

Little 3ill walks into the houae, down the hallway PARTY PEOPLE 6....5....4....3...2...!....

Little Bill arrives at the Bathroom door and SMASHES IT OPEN: Eis Wife aad the Young Stud are still fucking.... PARTY PEOPLE (OC) ....HAPPY NEW YEAR1 Little Bill FISES THE SEVOLVES INTO HIS WIFE'S NAKED STOMACH. He FISES THE GUN AGAIN, STRIKING THE YOUNG STUD IN THE EEART. THEY BOTH COLLAPSE AND FALL TO THE FLCOR OF THE BATESCCM. 3LCCD SPLATTERS LITTLE BILL

...EVESYONE IN THE PARTY JUMPS AT THE-SOUND OF THE GUNSHOTS... ..LITTLE BILL FIRES ANOTHER SHOT INTO HIS WIFE... ...BLOOD AND SMOKE FILL THE BATHROOM... ...LITTLE BILL TURNS AROUND, FACES THE PARTY PEOPLE AND SHOVES THE REVOLVER IN HIS MOUTH AND PULLS THE TRIGGER... BLOOD AND BRAINS SHOCT OUT THE BACK OF HIS SKULL AND HE COLLAPSES, FALLING OUT OF FRAME. TITLE CARD READS: "80s" FADE OUT. OVER BLACK, WE HEAR THE VOICE: AMBER (OC) ...what about your character, "Brock Landers," and what seme people might consider violent^ attitudes towards women? CUT TO:

yffPP^S

Sequence "C" 96 f " * ^ INT. DIRK'S HOUSE/BAJCONY - DAY - DOCUMENTARY FOOTAGE. (16mm) 96

Dirk is doing an interview. He's unahaven, thin and aweating,""wearing sunglaaaea. He apeaka quickly to Amber OC. (1982) DISK violence...? No, what? I mean, if there'8 scmething ia this series of movies that's liXe action or violence or whatever that's the movie. Y'know? Look: I'm not saying that these movies are for the whole family, but they've gotalotta action and acme-times the characters axe women who are Bay apiea or drug smugglers or working for seme organization that my character ia trying to....defeat. We've made twenty of these films in the past um...um...five yeara, aince 77...and thia kind of talk haa only come up in the past year or so...I mean: What's the problem? So y'know. CUT TO:

97

INT. BROCK LANDERS BEDROOM SET - NIGHT - 1 6 n a t l FILM CLIP

97

Dirk is in his underwear, asleep in bed. An actress named KC SUNSHINE plays in the scene with him as an Indian woman, wrapped in a sheet. She enters, holding a knife, coming towards Dirk... AMBER (VO) If Brock Landers is slick with a gun he does so only in the vein of good and right. Brock protects the values of -the American ideal and fights for causes that instill pride in a society where morals are hard to ccme by Dirk wakes in the scene, struggles with KC Sunshine, knocks the knife frcm her hand and pins her. down. The scene plays; DISK WHO SENT YOU? XC SUNSHIHE GET THE FUCK OFF ME, ASSEOLS. DISK LAY STILL, I'LL PUNCH YOU IN THE GOD DAMN FACE. KC SUNSHINE FUCK OFF. Dirk SMACKS her then starts to KISS her breats softly. CUT TO:

98

TNT,

ATJ.TY

WAY - NIGHT - 16mm FILM CLIP

98

In the scene, Dirk has Becky-(playing a PROSTITUTE) up against a wall. He's right in her face, holding his fiat up....The scene: DISK I'm onna ask once more and I'm onna ask you nice... .WHERE THE FUCK IS RINGO, YOU BITCH? BECKY Fuck you. Dirk SLAPS her across the face. BECKY Ohhh...do it again, maybe I'll get my pussy wet next time. BUCX arrives playing a PIMP and aims a REVLOVER at Dirk. BUCK HEY CRACKER-JACK, WATCHYOU DOIN' WIT MY WOMAN? Just then: REED appears with a GUN aimed at Buck. RSSD Make another move, motherfucker and give me a good god damn reason to blew you away J CUT TO: 99 EXT. VENTURA BLVD. - NIGHT - DOCU. FOOTAGE 99

,/^

Amber's VOICE OC, doing "ia the street" interviews. She's questioning a small, buffed-out BLACK DUDE. AMBER (OC) Have ycu ever heard of Dirk Diggler? Oh, yeah. BLACK DUDE He's that guy.

AMBER (OC) What would you do if you had what he has? BLACK DUDE Shit -- what makes you think I dcn't? JUMP CUT TO:

100

EXT. VENTURA BLVD. - NIGHT - DOCU. rOPTftGE Another person on the street, a SECRETARY (late 30a)

AMEER Dirk Diggler? SECRETARY (CC) Yeah, yeah. Of course. AMBER (OC) Would you ever consider sleeping with someone like that? SECRETARY I dunno...he's pretty big. AMBER (OC) And what about what he does, do you approve of that? SECRETARY Well...you know...if s his right to do that...to do what he does., .y'know? I f s a free country and he's got a right to express himself. CUT TO: 101 INT. 3SCKY'S APARTMENT /LIVING ROOM - DAY - DOCU. FOOTAGE. Becky is being interviewed by Amber. BECKY Hell, yes. He's the best. Yes. AMBES (OC) Do you love him? BECKY Absolutely. Hew could you net? CUT TO: 102 INT. COFFEE SHOP - NIGHT - DOCU. FOOTAGE. Sollergirl is being interviewed by Amber. AMBES (OC) Is it the best you've had? ROLLERGIRL Yes. AMBER (CC) Dc ycu leve Dirk Diggler? 102 101

X^&Sv

ROLLERGIRL I do...yeah...I do...He'a"~ AMBER (CC) ~ Why? ROLLERGIRL What? Wby? AMBER (OC) Why do you love him?

ROLLESGISL Why do I love him? AMBER (OC) Yeah. ROLLERGIRL I dunno...he's just...Special. He can fuck hard or...like...really gently...he's just...he'8 the best. CUT TO: 103 INT. JESSIE'S APARTMENT - NIGHT - DOCU. FOOTAGE. Jessie St. Vincent is interviewed by Amber. She's FRAMED next to an OIL PAINTING she did of Dirk that shows him in some sort of desert terrain with a lightning bolt and a big buldge in hia black leather pants.
/ ylBRNy

103

AMBER (OC) Is he the best you've had? JESSIE ST. VINCENT Oh, yes, yes. For sure. The best. AMBER (OC) Do you love him? JESSIE ST. VINCENT Oh, yeah. AMBER (CC) In what way? JESSIE ST. VINCENT ...y'kncw: as a friend, colleague, as an amazing man. This is a painting I did of M AMBES (OC) have you ever had sex with him off camera? JESSIE ST. VTNCSNT ...um....no. No I haven't.
/**v

', 'b:im

~ ' 104 EXT. JACK'S POOL - NIGHT - 16mm FILM CLIP

CUT TO: 104

Another clip frcm "Brock Landers"i Dirk is sitting at a table with two candles, wine and a cigarette. Amber and Jeasie play in the scene. They jockey for kissing position with Amber winning; AMBER Brock Landers is a world class kisser. CUT TO: 105 INT. JACK'S HOUSE/EDTTTNG ROOM - DAY - DOCU FOOTAGE. Jack and Dirk are sitting behind a Moviola for the interview with Amber. Dirk speaks very quickly... DIRK BLOCK... .uh...aad idea or a movement. Jack will put the final touches on what the camera needs for editing but, uh Be allows me to block my own sex scenes. ...and...he gives me flexibility to work with the character and develop, y'know.... I don't know of any other director'a -that would let an actor - uh - do that. BEAT. /^ JACK (to Dirk) I don't let you block your own aex scenes. Jack and Amber laugh. Dirk laughs a little less. CUT TO: 106 EXT. VENTURA BLVD. - DUSK - DOCU. FOOTAGE. Footage of Dirk walking along the street as the sun goes dcwn. Amber narrates. AMBER (CC) For Dirk Diggler, the future is something to look forward to, not to fear... .he is a creative man of many interests... film, poetry, music and dance...he ia a man of passion and mystery...He Is A Man Of Lust. FADE OUT, CUT TO: 106
105

End Secuence "C

107

INT. JACK'S HOUSE/EDITING ROOM - NIGHT-(May 82) Dirk and Amber, sitting in front of the Steenbeck. She flipa it off and looks to him;

107

' '

AMBES I f s my poem to you. DIRK It's great. It's so great, Amber. You're a director now. shit. Thank you. AMBES I'm proud of it.

DIRK Have you showed Jack? Just you. AMBES I wanted to show you first.

DISK It's so fuckin' good. Seally. (beat) Maybe you might want to think about cutting that part when Jack says that thing about y'know AMBES Blocking the sex ( yeah. CUT TO: 108 INT. JACK'S HOUSE - NIGHT - MOMENTS LATER 108 DIRK

CAMERA hangs with Reed and Todd who're playing Atari on Jack's television with Jessie and Rollergirl. Todd explains some technical info, abcut video games. Dirk and Amber enter. CAMERA follows Dirk into THE KITCHEN Jack is sitting with a handsome young kid, JOHNNY DOE (aged 18.) Dirk enters. JACK ..and it's tough is what I'm saying. JOHNNY DOE Sight. Hey, Dirk JACK here ycu are. Hew was it?

DISK Great. (re: Johnny Doe) Who's this? " * JOHNNY DOE Hi....I'm Johnny Doe. You're Dirk Diggler i t ' s great to meet you. JACK Dirk, meet Johnny Doe. ..New Kid On The Block. Dirk nods his head and walks out of the kitchen. JACK He's pretty tired, Johnny. He's also shy. Anyway: What I'm saying to you is this: It costs money, you got ten fifteen people standing around, and that'a juat to make aure the aound ia right

___,. * IN THE LIVING ROOM Dirk joins the gang playing video games and lays out a fat line of coke. He snorts it back and pasaes it to Amber. OC PHONE RINGS. THE PHONE IN THE KITCHEN. It rings again. Jack picks it up. DOLLY/ZOCM IN QUICK.

JACK Hello? Colonel? Wait, wait, wait. Yes. Calm down. Calm down. Okay. Right Now Yes Right New. He slams the phone down. CUT TO: 109 INT. POLICE STATION - HOLDING AREA - NIGHT The Colonel is sitting in handcuffs/ crying his eyes eut. Jack: sits across from him, speaking through the glass. COLONEL ...she was fifteen...fifteen...I didn't know...Jack, you gotta believe me. JACK I believe you. COLONEL I told her not to do so much coke, but she wouldn't liaten, ahe juat kept doing it and doing it like ahe was a vacuum. Like she had a vacuum in her nose or something.... ....next thing I knew...she|s got blood caning frcm her nose and...jesus...her, jesus
yTJUM^iV.

109

yo JACK What? /**** COLONEL It was coming out her ass, Jack. JACK Okay. It's gonna be okay. Just relax. The bail is a hundred thousand dollars. I don't have that kind of cash COLONEL I don't have any money left. JACK What do you mean? Nothing?

The Colonel ahakes hia head a little, doesn't answer. JACK Well...what...how? I spent it COLONEL 1 spent it.

JACK The films....or...I mean? _ ( COLONEL I spent it, alright? This shit gets expensive. Between you shooting film, the coke, the limos, the houses. It goes, alright? I spent it. JACK Alright, okay. Don't worry. COLONEL I can't have this happen to me. I'm a good man, right? JACK Yes you are. COLONEL I didn't know I didn't know she was gonna die right there with me or I wouldn't have picked her up. JACK Right. You know; you've done nothing wrong. I mean, look; You were just there, right? Ycu didn't...! mean...you didn't do anything. COLONEL They found scmething in ny house, Jack.

yy

JACK What? COLONEL . ..sanething... JACK .what are you saying? What did they find? COLONEL i f s my fuckin' weakness, Jack. They're....so small and cute I can't help myself, Jack. I can't help it when they're ao Snail _nd cute, I juat want to watch, I don't do anything, Jack. I've never touched one of them JACK Jesus Christ, Colonel. COLONEL You look at me like I'm an asshole, new. JACK ....I....1 don't.. COLONEL I'm going to jail for a long time. JACK i*s okay, Colonel. It's gonna be fine in the end....I premise.... COLONEL You premise me? JACK Yes. COLONEL Take it back, Jack. You can't help me. I'm done. I'm going to jail. I'm gonna go to jail for a long, long time. Take back your promise because there's nothing you can do for ae now. I've done wrong and I'm going to jail. They hold a look for a moment. A few OFFICERS ccme and escort the Colonel away. Jack watches hia leave. DOLLY IN CLOSE ON JACK. CUT TO:

i # ^ .

100
110 INT. JACK'S HOUSE/OFFICE - DAY CAMERA HOLDS A LOW ANGLE, LOOKING UP AT JACK, KURT and ROCKY. ' They look into CAMERA. BOLD. JACK Well there we go. KURT LONGJOHN Yeah. ROCKY Let of stuff on there to learn. JACK That's it. KURT LONGJOHN No turning back now. JACK The future. KURT LONGJOEN That's right. ROCKY The quality is, uh ^*\ > JACK It's not what we're used to. KURT LONGJOEN We can make it work, I think. ROCKY It's....potential... KURT LONGJOHN Yes. JACK Ycu can't beat the price. KURT LONGJOHN No you can't. JACK This is the future and we can't deny it anymore because the past is too expensive. KURT LONGJOHN I'm scared. ROCKY ^ Me tso. HO

101
JACK It's gonna make us rich. ' < Yep. ROCKY I f a a rather pretty thing, isn't it? REVERSE ANGLE: A new V T D E O CAMERA is sitting on the table in front of them. This is the thing they've been discussing. KURT LONGJOHN We can atill tell good stories, Jack. JACK No. It's about jacking off now, Kurt. No more atories....that'a over. CUT TO: 111 INT. HOT TRAXX NIGHTCLUB - NIGHT (Dec.82) BECKY looks into CAMESA; BECKY I do. JEROME looks into CAMERA; JEROME I do too. CU - BLACK AND WHITE SNAPSHOT Becky and Jerome kissing. Jack as Best Man. Amber as Brides Maid. CAMERA on the dance floor; Becky, dressed in a WHITE BRIDAL DRESS and Jerome, dressed in a TUXEDO. Reed is dancing with them. BECKY They made Jerome regional manager of the new "Pep Boys," they're building in Bakersfield. We're gonna move there. Buy a house. REED That's great, guys. That's so great. JEROME It's gonna be a great opportunity to run the store my way. Y'know. Get -those guys off my back and run the store mv way. HI KURT LONGJOHN

yffS*"N

102
CAMERA moves over to a table, where JESSIE ST. VINCENT and BUCK are sitting. He's wearing a Rick James look.
'/$&**, /

BUCK I like sunsets too...but... JESSIE ST. VINCENT Sunrises are better. BUCK Exactly. JESSIE ST. VINCENT I thought I was the only one who thought that. BUCK I think that. JESSIE ST. VINCENT I never thought we'd have so much in cannon, Buck. BUCK I knew...I know. Can you believe it? Have you ever heard my stereo system? JESSIE ST. VINCENT No. BUCK Y'know I'm thinking of opening my own bussiness JESSIE ST. VINCENT Really? BUCK It's mydream. Hi-Fi Stereo Equipment at a discount price i t ' s called, "Buck's Super Stereo world." JESSIE ST. VINCENT That's a great idea. ANGLE, JACK'S TABLE. Maurice and Jack are eating his clams on the half shell. Johnny Doe is sitting quietly nearby. Dirk is doing coke w/Amber. JACK Maurice, hew long have I known you? MAURICE Shit, Jack. ..almost ten years. JACK Ecw long ycu been askin' me that question?

yfidfl/i'y.

1VJ J MAURICE Shit...I've been askin' you: Ten Years. You w a n n a be in a movie? MAURICE Fuck y o u , Jackie-Jack, you kiddn' me? JACK I'm not kiddn' you, Maurice. MAURICE Oh my god, Jack...I love y o u . JACK Love m e later...you wanna do this or not? MAURICE Hell y e s , J a c k . And I won't disappoint you, baby. You'll see...you'11 aee me in action. Oh, m a n , oh, man, oh manl AMBER Congratulationa, Maurice. MAURICE Thank ycu, Amber. JACK You'll do a scene with Jessie, how's that? Oh, J a c k . Alright. JOHNNY DOE Make sure y o u jack off at least ten times the day before, Maurice or you'll end u p coming before you get it i n . . . . Oh, y e a h . MAURICE I will. I will. MAURICE It would be the b e s t . JACK The best I

DISK You giving advice new, Johnny Doe? JOHNNY DOE I was just saying DISK Y e a h , yeah, yeah.

JACK C'mon D i r k , take it easy.

104
DIRK What- did you say?

{/^\

What? Jack?

JACK You heard me, Dirk. Just relax. DISK Yeah....you relax. Dirk stands up from the table and heads for the dance floor Continue a bit with party stuff/etc. Jack has his dance w/Becky. CUT TO: 112 EXT. JACK'* txw.frRRA- DAY (Jan.83) 112

CAMERA begins with Kurt and Rocky Btanding nearby the VIDEO CAMERA. Reed ia watching them try and figure it out. Jack is waiting patiently, working on a crossword puzzle. Johnny Doe is swimming ia the pool. Rollergirl moves past aad CAMERA follows her iato CUT TO: 113 INT. JACK'S HOUSE - PAY - THAT MOMENT 113

Dirk is dressed ia Soeedos aad a headbaad for the aceae aad laying out 3cme coke oa the table. Rollergirl arrivea, they all do acme The televisioa ia the b.g., is taaed to MTV which is playiag "Video Killed The Radio Star." ROLLERGIRL This stuff burns. DISK It's crystal. ROLLERGIRL That'a why. Shit, why didn't you tell me you don't need to do that much You only have to do bumpa with crystal. DISK Yeah, well...mind your own business or get your own or whatever ROLLERGIRL You don't have to be mean about it Sollereirl skates off. Dirk looks out the window, sees Johnny Doe swimmimg. CAMESA DOLLIES IN A LITTLE (30fps) ON DISK. CUT TO:
yfljf^V

105 ;.;0|
114
'/%,

INT. BEDROOM - THAT MOMENT Maurice is sitting on the edge of the bed, shaking and sweating. Sollergirl enters and moves to a closet. MAURICE Hey...Rollergirl...hey. ROLLERGIRL What'a wrong? MAURICE Where? ROLLERGIRL With you? MAURICE Me?-Nothing-Why? ROLLERGIRL You look like a wreck. MAURICE Shit no, I'm cool aa a cucumber. Rollergirl takea off her clothes and gets into her BIKINI. MAURICE Sollergirl? ROLLERGIRL What? MAURICE My dick is really small. SOLLESGISL What? MAURICE My dick...if s small. SOLLERGIRL How small? MAURICE Really small. ROLLERGIRL Well...uh...so? MAURICE So I can't do this.

114

106
ROLLERGIRL Can you get a boner? MAURICE I don't think ao. ROLLERGIRL Well... Pleaae. Hew? MAURICE X dunno. ROLLERGIRL If you've got a small dick, there'8 really nothing I can d o , Maurice. MAURICE ....right....right.... ROLLERGIRL Just go for it, m a n . /** \ MAURICE What do you mean? ROLLERGIRL Just go for it...who cares if you've got a small d i c k . It's hew you use it, right? You can get a boner, I bet. I kaow you can. MAUSICE I guess. ROLLERGIRL Be a man about it. MAURICE Right. R i g h t . I have to be a m a n about it. I have t o d o this...I have t o show m y brothers in Puerto Rico the lifestyle that I'm living. I can d o it...I can do it. ROLLERGIRL You'll d o fine. MAURICE Right. ROLLERGIRL C'mcn. MAURICE Can you help me? ROLLERGIRL

107
MAURICE No...no...I wanna stay here for a bit ROLLERGIRL Okay....1'11 be out there. She exits. HOLD with Maurice a mcment. CUT TO: 115 EXT. JACK'S gOUSE_POOL A P ^ - PAY - MOMENTS LATER " Dirk approaches Jack, makes reference to Johnny Doe. DIRK I didn't think we allowed visitors on the set. Jack. JACK ...what...? DIRK I can't work with this kid here. JACK He's with me. DISK Can ycu ask him to leave, he's bothering me. JACK He's not bothering you. Dirk holds a mcment. CAMERA follows him back in the house. He paces, looks around, rubs his crotch a little. Rollergirl skates past, says nothing. CAMERA follows Dirk down the hall 115 ^

CUT TO: 116 INT. BATHRQCM - DAY - TgAT MOMENT Dirk closes the door, looks in the mirror; DISK ...yeah,yeah,yeah...ready. ..I'm ready. Dirk does seme quick KASATE moves, then turns his BACK TO THE CAMESA. He unzips his pants, looks down at his cock. His body starts to move a little, slowly at first then faster and faster as he tries to masturbate. DISK Caen.. .c'mon. ..c'mcn....I'm a star. I'm a star, I'm a rock and roll star. And My Cock Can Get Hard. 116

f"^

c'TPon c'mon.. .c'mon....!'m a s t a r . I'm a s t a r , I'm a s t a r , I'm a s t a r .

108
The DOOR to the Bathroom ia SUDDENLY OPENED by Scotty J. who catches Dirk in the mirror with his pants down, speaking to himself; -DISK w h a t the f u c k Scotty exits quickly. Dirk pulls up his pants and exita CUT TO: 117 EXT. JACK'S HOUSE/POOI. AREA - DAY - MOMENTS LATER Jack ia atill sitting in the same spot. Dirk cornea charging out _ DISK I'm ready to ahoct. JACK We need twenty minutes. No. DISK I'm ready now. It's gotta be new. Johnny Doe ia drying off. 117

JACK Twenty minutes. , '(** DISK Fuck it. Hey, No, Hey. Jack. I'm ready now...my cock is ready new. I'm ready to fuck...let's go new. JACK Yeah, well...NO. Get me? You wanna start something here, Dirk? DISK I wanna start fucking...who is it gonna be? JACK What? DISK Who do you want to fuck, me or him? Dirk points at Johnny Doe. JOHNNY DOE Me...what? DISK Shut up. /**K JOHNNY DOE I didn't do anything to ycu.

109 f
Dirk MAKES A QUICK KARATE-TYPE MOVE TOWARDS JOHNNY DOE, WHO FLINCHES, BUT QUICKLY GETS INTO A KARATE-STANCE OF HIS OWN. JOHNNY DOE HEY, MAN, DON'T. SHUT-UP DISK SHUT-UP.

JACK Dirk, you need to settle down. Go inside, have a drink and mellow this off...you understand? DIRK I'm ready to shoot. JACK Well I'm not. DISK I'm not gonna tell you again, Jack: JACK Get outta here. DISK ...What..
y^flr^V.

JACK Get off my set, get outta my house. ...you . .what? JACK Leave. DISK No. JACK You don't want to do this the state you're in, Dirk. DISK Whatta you mean, state? State? State of California? Yeah, I'm in the state of California. JACK Jesus Christ. DISK What are ycu, Jack, Jack, hey'

>H$B?s

110
JACK You're high and you need to sleep it off. You've been up for two days. DISK I haven't been up for two daya. JACK Whatever. You're high and you need to ccme down. Sleep it off, Dirk. DIRK YOU DON'T TELL ME ANYTHING. JACK Get the fuck outta here. DISK YOU'RE NOT THE BOSS OF ME. JACK Yes I am. DIRK ARE YOU THE KING? HUH?

JACK Jesus Christ. MOVE. GET OUT. GO. Jack starts to prod Dirk a little with a slight PUSH. DISK DON'T YOU FUCKIN TOUCH ME, MAN. Jack SLAPS Dirk across the face. HOLD. Dirk is shocked. Everyone has stopped what they're doing by now and is watching nervously. Amber.ccmes over. AMBES Dirk, hcney, why don't we go for a walk DISK YOU SHUT UP, TOO. YOU'BE NOT THE MOTEES OF ME OS MY BOSS. YOU'SE NOT MY MOTHES. AMBES Dirk, please, honey. JACK Reed Reed ccmes over to the fight. JACK Take hi-" heme, Reed. I den't need this.

Ill

, 2 7

f*^

DISK No. No. I wanna-ahoot the scene. I'm ready to ahoot the scene. I'm fine. JACK I don't want you here. DISK . Look...if a over...alright. I'm done...new I'm ready to ahoot. I'm calm, my cock ia cool and ready. REED Why don't we go home, Dirk? DIRK I'm the one with the cock, I'm the one with the big fucking cock, ao let's go JACK You listen to me now, kid

DISK DON'T CALL ME A KID. I'LL FUCK YOU UP. YOU WANNA SEE ME KICK SOME ASS. YOU WANNA FUCK WITH ME, I KNOW KARATE. SO C'MON. /*v REED Dirk, let's be cool, let's

DISK I'm the biggest star here TEAT'S THE WAY IT IS: I WANNA FUCK. AND IT'S MY BIG DICK, SO EVERYBODY GET READY. JACK Net anymore. WEAT? DIRK What "not anymore?" JACK Your dick. WHAT, WEAT? DISK SAY IT.

JACK I've seen you push thirteen inches, you'd be lucky if you could manage six today all the coke you got in you. You're not ready to fuck, your dick's not getting hard today, kid. ^ DISK DON'T YOU TALK ABOUT ME LIKE THAT, JACK.

112
JACK Alright: You'ra fired. Okay? You understand? 2aal__--U--SdGet outta here now. NOW. WHAT? DISK WHAT IS THAT? WHAT IS THAT?

,w f

. _

JACK Just leave, Dirk. Leave RIGHT NOW. DIRK My cock is SEADY. YOU WANNA SEE? HUH? YOU WANNA SEE MY BIG FUCKIN' COCK? Suddenly, blood beqina to poor violently from his nose. He cups his hand over his nose, hides his embarrassment; DISK FUCK THIS, FUCK THIS, FUCK YOU. FUCK ALL OF YOU. YOU'RE NOT MY BOSSES. NO ONE IS THE KING OF ME. Dirk runs away gets behind the wheel of his Corvette and tears off, bleeding all the way Seed, Jack, Scotty, Amber, Johnny Doe and the rest of the crew watch him go. ( / * ^ 113 INT. DISK'S HOUSE - NIGHT fLATSS) Dirk is lying in bed watching television. Blood has crusted around his nose and he's got used tissues everywhere. ON THE TELEVISION. it's tuned to MTV, playing Sick Springfield, "Jessie's Girl."
CAMESA DOLLIES IN ON DISK.

FADE OUT. 118

he starts to hum a little song to himself. CUT TO: 119 INT. RECORDING STUDIO - DAY (Mar. 83) Sequence "D" 119 Dirk stands in front of a microphone wearing head phones.There's a small STUDIO BAND of losers playing the song. The ENGINEER in the booth speaks; ENGINEER Okay...Dirk you ready? DISK I was t e n ready, man.
^3X

1 1 3 W
ENGINEER Okay...Dirk Diggler Demo Tape, "You Got The Toueh," Take seven.... -^

V^PN.

The BAND kicks in and Dirk begina to aing hia aong. I f a a croas between Kenny Loggina/Survivor and any "Rocky" anthem. DISK YOU GOT THE TOUCH...YOU GOT THE POWES. YEEEEAAAHHHH. AFTER ALL IS SAID AND DONE, YOU NEVER WALK, YOU NEVER RUN, YOU'RE A WINNER. CUT TO: 120 INT. RECORPTNG BOQTW - LATER Dirk, Reed and the Engineer are mixing. The aong PLAYS. DIRK Is the bass taking away frcm the vocala? ENGINEER Well...a little...but not really too much. DIRK Let'a take down the bass and let's take up the vocals. CUT TO: V 121 INT. RECORDING STUDIO - LATER Dirk is singing. "FEEL THE HEAT." Reed is playing guitar on a BALLAD called, CAMERA DOLLIES IN ON THEM. 121 120

DIRK THE HEAT WILL ROCK YOU THE HEAT WILL ROLL YOU BABY DON'T YOU KNOW MY HEAT WILL MOVE YOU IN YOUR SOUL C'MON, C'MON, C'MON LOVE ME TODAY, LOVE ME TOMORSOW ALL DAY, ALL NIGHT, YOU FEEL TEE EEAT REED FEEL, FEEL, FEEL DISK MY HEAT. CUT TO:

114
122 INT. RECORDING BOOTH - CONTINUED Dirk, Reed and the Engineer. Scotty and Todd are sitting around, making phone calls, eating the free food, etc. ENGINEER So...what do you think? DIRK Well I think that...maybe we could speed it up a little it's ENGINEER It's a ballad. I thought that DIRK We'll just speed it up a couple octaves. ...cause that might make it cooler, people like it when slow songs...y'know... when they're a little fast....ifs cooler. CUT TO: 123 INT. JACK'S LIVING ROOM - DAY 123 122

( /0^>\

Jack is directing a scene with an AMATEUR PORN ACTRESS and JOHNNY DOE. They're on the couch in Jack's living room. Johnny Doe has adopted more of a celebrity attitude. AMATEUR Is he gonna fuck me in the ass? JACK Is that what you want? AMATEUR It would be nice. JACK johnny: Fuck her in the ass. JOHNNY DOE Lock and Load, Jack. He takes a seat behind the VIDEO CAMERA and says; JACK Alright, friends; let's get it over with. DISSOLVE TO:

124 (***

EXT. BAKERSFIELD ROUSE - NIGHT

124

Establishing shot of a small little house with a white picket fence. Frcm the house we hear the sounds of SCREAMING AND VIOLENCE.

115
CUT TOi !smy 125 INT. BAKERSFTma HOUSE - NTGRT - THAT MOMENT 125

Becky is crouched in the corner of the kitchen. Jerome is standing above her, dressed in his Pep Boys uniform. JEROME YOU FUCKIN* WHORE, YOU'RE A FUCKIN' WHORE.
BECKY

Please, Jerane, don't

JEROME

You probably l i k e d those big cocks, huh?

BECKY Don't JEROME I'll tell you about a big cock yeah, you want my cock to be bigger, don't you? BECKY No, baby, please, please Jercme SMACKS 3ecky in the face DISSOLVE TO: 126 TUT. vaT.T.TY BANK - DAY 126

Buck is dressed like a regular joe in a suit, holding a briefcase on his lap, sitting patiently. Jessie St. Vincent is sitting with him, holding his hand. He's approached by a middle aged white male BANK WORKER. CAMERA DOLLIES IN. BANK WORKER Mr. Swope? BUCK Yeah, that's me. Hello. BANK WORKER You have a copy of your loan application? BUCK Yes I do. Good. BANK WORKER You wanna follow me?

Jessie gives 3uck a "gccd luck" sign and he walks off. CUT TO:

116
127 INT. JACK'S HQn^lMSER'S BEDROOM - NIGHT 127

CAMERA DOLLIES IN ON Rollergirl and Amber. They're playing backgammon and talking on Amber's bed, doing coke and smoking cigs. AMBER I was gonna take a pottery class at Everywoman's Village Oh, oh. ROLLERGIRL I wanna do that.

AMBER We'll do it, then. It's Monday, Wednesday, Friday at three. ROLLERGIRL Do you think I should AMBER What? ROLLERGIRL I was gonna see about taking the GED. Do you know what that is? AMBER For High School, to graduate? SGLLSSGISL Yeah. It's like so I can get my diploma 'cause I feel bad that I never did it. I think you were right. I think you right AMBER You should do it. That would be great for you you know cause if you wanted, Rollergirl, you could do anything. Amber turns her head to scmething CC. AMBER'S POV: Jack is directing another acene in the living room between TWO YOUNG PORN ACTRESSES with fake breasts who we have never seen before. Amber motions to Rollergirl, who gets up and SLAMS THE DOOR. CUT TO: 128 INT. DIRK'S H0US2 - DAY (2x) Todd enters ho1 dine
129

I was thinking something?

Dirk, Reed and Scottv J. are sitting arcund. an envelope. DOLLY IN SUPER-QUICK. TODD I'm back.

117
DIRK (f^Perfect timing. ~ They move to a table and anxiously set out acme coke. CUT TO: 129 INT. HOT TRAXX NIGHTCLUB - NIGHT CAMERA DOLLIES IN ON MAURICE. The club ia cloaed and empty. Maurice aita at the bar, writing a letter. An envelope and a videotape are placed nearby. Following ia SUB-TITLED; MAURICE (VO) . Dear brothera: Here'a an example of me with women ia Lo8 Aageles. I aleep with wcmea here all the time... CUT TO: 130 INT. APARTMENT BLDG./PUERTO RTCO - DAY Maurice'3 two BROTHERS rip opea the envelope, read the letter and slip the tape into their VCR that's wired to a crapov black and white television. CAMERA DOLLIES IN ON THE BROTHERS*. BROTHER #1 (in Spanish, sub-titled) Oh my God BROTHER #2 (ia Spanish, sub-titled) it's so...so...it looks like a peaaut. CUT TO: 131 INT. VALLEY BANK - DAY - CONTINUED CAMERA DOLLIES IN ON BUCK. He's speakiag to the BANK WORKER. BUCK That's what Buck's Super Stereo World is all about the customer. People wanna knew what -they're getting into technically and I have the specific technical hi-fi background to answer any technical question that someone might have I've been into sound equipment for long enough to know what a guy wants whea he walks right ia the door aad that's -the personel touch that Buck's Super Stereo World is gonna have CUT TO: 131 130 129 ~

118

, "

132

INT. JACK'S HOUSE/AMBER'S ROOM - NIGHT - CONTINUED

132

Amber and Rollergirl are sitting in front of a pile of coke that's laid out on top of a big book.... AMBER I miss my two sons my little Andrew and my Dirk I miss them both so much. I always felt like Dirk was my baby, my new baby. Don't you miss, Dirk7 ROLLERGIRL Yeah. AMBER Be's so fucking -talented. The bastard. I love him, Rollergirl, I mean; I really love the little jerk. ROLLERGIRL I love you, Mom. I want you to to be my mother, Amber. Are you my Mom? I'll ask you if you're my mother and you say, "yes." OK? Are you my mother AMBES Yes, honey. Yes. They cry and hug and laugh and do more coke, smoke more cigs, etc. CUT TO: 133 INT. SECORDING STUDIO - DAY CAMERA DOLLIES IN QUICK. Dirk and Reed are violently haggling in an office of the Recording Studio with the MANAGER. DISK C'mcn, man, c'mon, c'mcc, alright 133

MANAGER I can't let you take the taoes until the bill ia paid in full. DISK That makes a lot of sense. SEED Wait, wait, wait. Hew can he pay the price of the demo if he can't take -the demo tapes to a record company? MANAGER That's net my problem. My job is to collect payment before we hand ever the tapes.

119
REED You can't get a record contract if the record ccmpafTy can't hear what you've got. DIRX OK: Wait a minute - have you heard my tape? Huh? Have you even heard it? I'm gauranteed to get a record deal because my stuff is so good. Once that happens, I'll pay you MANAGER It's not gonna happen. This is a Catch-22, I understand. You're saying this thing and I get it but I juat won't let it happen. DISK A catch-what? CUT TO: 134 INT. JACK'S HOUSE/AMBER'S ROOM - NIGHT - CONTINUED 134

/ " " " ' *

Amber and Rollergirl, pacing around the room, talking, crying, etc. AMBER I don't wanna do this anymore, honey. I can't. I just can't. SOLLERGIRL What? AMBER Have fun now, let's keep going and going and going tonight because it's over. There's too many things ~ ROLLERGISL Okay. Okay. AMBER Let'3 go walk. ROLLERGIRL I don't wanna leave the room. AMBER Me either. OEHHHHHHHH. I love you, honey. ROLLERGIRL I love*you, Mem. They laugh and laugh and laugh and smoke, talk, walk. DISSOLVE TO:

120

135

INT. VALLEY RANX - DAY - CONTINUED CAMERA DOLLIES IN ON Jessie St. Vincent, who sits watching Buck as he finishes up with the Bank Worker. He approaches; JESSIE ST. VINCENT Tell me, honey BUCK We'll try somewhere else.

_ _

135

DISSOLVE TO: 136 INT. HORNER PROPUCTIQNS - VAN NUYS - DAY CAMERA (STEADICAM) follows Jack around hia new OFFICES. Posters of his films with Johnny Doe, Amber, Rollergirl, Buck and seme other's we've never seen cover the walls. A WAREHOUSE area is shipping out boxes of VHS VIDEOCASSETTE' S. CAMERA breezes past an EDITING ROOM where Kurt Long John and Rocky are setting in front of two 3/4 machines, cutting a new Jack Homer film with Johnny Doe doing some Karate-moves reminiscent of Dirk Diggler. Jack continues walking into the RECEPTION AREA where TWO UNIFORMED POLICE OFFICERS are standing. ( OFFICER Jack Homer? JACK Yeah, what is it? OFFICER There was an accident last night CUT TO: 137 INT. DIRK'S APARTMENT - ANOTHER DAY ' Dirk is in his bedroom. CAMERA ZOOMS/DOLLIES in SUPER QUICK on H* doing a line of coke. Reed ccmes into the room, quick; REED Oh, fuck, Dirk. DISK What? REED You knew t h a t kid Johaay Doe? DISK No. 137 136

121
REED Y'kacw, the kid frcm DISK What about him? REED Be died. Be got in a car accident. Couple nights ago...and he died. He like, went through the windshield or scmething. Fuckin' shit. Dead. DISK For real? REED Yeah. He's dead. Can you believe that? DISK That's gotta hurt, goin through a windsheild. It's tough luck. Dirk does another line of coke. The PHONE SINGS and Dirk answers. DOLLY/ZOOM IN QUICK. Hello? ^ ^ 138 DISK Becky? Becky-what? What? S?"T SCREEN; INT. BECKY'S HOUSE/BAKSRS'FTT" , DAY - THAT MOMENT Becky is locked in her bedroom on the phone with Dirk. OC outside the bedrocm, we can bear Jerome YELLING and SCREAMING. BECKY I think .Jerome is gonna kill me, Dirk. Please. Please ccme and help me. DISK Well...where are you, I dcn't knew where you are BECKY I need you to save me, Dirk if he catches me on the phone, I'm dead. DISK Tell me where you are. BECKY ...okay...okay...OH SHIT. He's caning in okay okay meet me at Denny's in Bakers field on Colfax Blvd. Please hurry.
/

138

i/^!\

122
DIRK Okay. I'm comin' right now, right now. I'm comin right now to kick sane ass, Becky.
i

SPLIT SCSEEN/CAMENA stays with Becky as ahe hanga up the phone. The DOOR to the BEDROOM IS SMASHED OPEN by Jerome he GRABS her by the hair of her head and throwa her acroaa the room and into the KITCHEN. BECKY Please don't do anything to me, Jerome." Please. Please. I ask. JEROME Think your Miaa Fuckin Movie Star with a dick in your mouth? Huh? You're gonna tell me tell it to me or I'm gonna break your fuckin' jaw. BECKY I don't knew what you want me JEROME I want you to tell me that you liked getting fucked by those men in those movies. I want you to tell me that you loved getting shit in your face YOU FUCKIN SAY IT, CUNT. ( * * " BECKY ...I liked it... JEROME Do you like big dicks? BECKY I don't know what you want me to JEROME SAY IT. BECKY Yes. Jerome LEANS DOWN AND PUNCHES BECKY IN THE FACE. HOLD. He catches his breath and walks out of the kitchen. Becky, crouched into a corner, bleeding from her nose and mouth reaches for a large FSYISG PAN on the floor CUT TO:

123
139 INT. DIRK'S ^PftPT^OT - PAX - I*
M<?fSyT 139

Dirk grabs his keys and his jccket and heads for the door REED Where you goin'? DISK Gotta go kick some ass, man.

. _

He steps a mcment and heads back into his bedroom..: .grabs hia coke in a newspaper fold and makes a dash for the door -CUT TO: 140 EXT. DIRK'S " S E - DAY - THAT MOMENT Dirk exita and geta ia his car QUICK. DOLLY/ZOOM IN FAST. CUT TO: 141 INT. BECKY'S HOUSE - "AV - CONTINUED CAMERA DOLLIES in froat of Jerome as he walks out of the kitchen. In the b.g., Becky appears with the frying paa ia her haad... She SMASHES THE FRYING PAN ACROSS THE BACK OF JEROME'S SKULL. He falls...she STANDS OVER EIM, STRIKING HIM AGAIN AND AGAIN. BECKY DON'T - YOU - EVER - TOUCH - ME. She ruas cut the door CUT TO: 142 EXT. BAKERSFISLD HOUSE - EVENING - TEAT MOMENT Becky ruas frcm the house aad off dewa the street. HOLD. CUT TO: 143 INT. DISK'S CORVETTE - MQVTNG - MOMENTS LATER 143 142 141 140

Dirk is driviag quickly through Laurel Caayoa and trying to do a few things; 1) He's trying to light a cigarette with matches, 2) he'8 trying to find a cassette tape to play and 3) he's trying to brush his hair in the rearview mirror.... CU. DISK the cigarette falls from his mouth and he leans down, OUT OF FRAME to pick it up the car atarta drifting tcwarda a TELEPHONE POLE that is fifteen yards ahead. ...Dirk gets the cigarette, ccmes up INTO FRAME, looks ahead and blinks; Dirk'S Corvetts SLAMS INTO THE TELEPHONE POLE.

124
CAMESA DOLLIES IN ON DISK, BEHIND THE WHEEL. He shakes his head, looks around in a daxe. A PEDESTRIAN runs over; PEDESTRIAN You alright, pal? DISK My fuckin' car, my car... .mv Corvette. PEDESTRIAN Holy ahit, you slammed right into thia' Dirk puts the car in reverse and backs away. PEDESTRIAN I don't think you should drive the car. DIRK Fuck you. Dirk drives off with the front of the Corvette SHREDDING along the pavement. CUT TO: 144 INT. BAKSRSFIELD DENNY'S - NIGHT (LATER) Becky is sitting at the counter. A few seats ever frcm her is an older man, MR. BROWN (late 60s) He wears an old grey suit,
z^*\

144

MS. BROWN Are you alright, ma'am? BECKY What? MR. BROWN Are you going to be alright? You seem... .you've been sitting there. A while now. And I want to knew if you're going to be alright. HOLD. Becky looks down. MR. BROWN Do you want to order something? A bowl of soup?

BECKY My friend was supposed to ccme here and get me, but he hasn't ccme. MR. BROWN Yes. Well why don't you let me buy you seme soup while you wait fcr your friend? No. No. BECKY I'm net hungry.

125
Mr. BROWN Please. Please.""I want to help you. This is not...this is something...you see, an act of kindess, I'm trying to do scmething good... .to help you.. .for no other reason....other than....just to help. Mr. Brcwn reaches into his pocket, takes out a quarter and placea it on the counter in front of Becky. MR. BROWN Why don't you try calling your friend? BEAT. Becky looks at the quarter. CAMERA HOLDS ON QUARTER. MR. BROWN (OC) Use the quarter, young lady. CUT TO: 145 INT. DIRK'S GARAGE - NIGHT Dirk rants and raves, verging on tears, circling the car. Scotty, Reed and Todd are now home and looking at the damage; REED Hew fast were you going? DIRK Fuck, I dunno. Ninety. SCOTTY J. Ninety miles an hour? Shit, yeah. DIRK I'm lucky I'm not dead. 145

TODD This is a lot of damage. REED At least it's driveable. DISK It's not driveable, look at it. OC we hear the PHONE RINGING. Scotty moves to get it.

DIRK Just let it ring, we gotta deal with this CUT TO:

126
146 __T__ DENNY' - NTGHT - MCfgNTS LATES Becky is sitting in a booth across from the Mr. Brown. BECKY I don't know where to go. I don't have anywhere to go, I can't get anywhere. MR. BROWN I f a alright. I f a alright, young lady. BECKY I'm ao sorry to make you hear this. MR. BROWN I want to help you. BECKY No, I can't. MR. BROWN You need help. You need acmeplace to sleep and to waah. I want to help you. BECKY You're a nice man. MS. BSOWN Listen to me a mcment, please. Pleaae. Look up at me; I'm trying. I'm trying to do things. Like I told you before. Let me help you. BEAT. CUT TO: 147 EXT. BAyf,3<*Tn"-T.n "RETIREMENT HOME - NIGHT Becky and Mr. Brown walk a path up to a small retirement heme*on a small, suburban street. CUT TO: 148 INT. RETIREMENT HOME - THAT MOMENT They enter, make a beeline for some stairs. A NURSE spots them; NURSE Mr. Brown....you can't bring visitors in here...Mr. Brcwn Becky and Mr. Brcwn walk past the Nurse and up the stairs. CUT TO: 148 147
U6

She s.crying.

/ " * " * '

127 149 INT. RETIRMENT HOME/MR. BROWN'S ROOM - LATER 149

Mr. Brown sets Becky up in a "chair near a window. He brings her a blanket and tucks her in like a child, then climbs into his own bed. BECKY Thank you. MR. BROWN You'd do the same for me. CAMERA DOES A SLOW DOLLY IN ON BECKY as she falls asleep. CUT TO: 150 INT. DIRK'S APARTMENT - NIGHT -LATER Dirk, Reed, Scotty and Todd sitting around. REED At least it still works, Dirk. DISK You can't just drive a Corvette down the street looking like that, Reed. C'mon, man. Be reasonable. i/"*"^ \ REED How you gonna pay for DISK I'll find a way to This is top priority, My car has got to get it? pay for it. Reed: fixed. 150

TODD It could -be like two - three thousand dollars worth of damage, Dirk. DISK So? TODD I dunno. DISK We gotta get those fuckin' demo tapes, too. I mean it...let's go kick -that guys ass or something. ..if we could get those demo taoes, -then we get the record deal, then the vette gets fixed. You cannot drive a Crovette down the street looking like that, you just can't. Dirk takes a rolled up dollar bill, leans OUT OF FRAME. End Secuenee "0" CUT TO BLACK:

128

TITLE CARD: "Six Months Later^ CUT TO:

151

grr.

PARTY

pnys

STOI:p

Sg =

ESTABLISHING SHOT

NIGHT

(sep.83)

151

An old, run down atrip joint in North Hollywood. The aign out front readt! DANCERS N I G H T L Y - SHOW STARTS 7:00 -- NO COVER CHARGE Tonight: Adult Film Star Dirk Diggler plus Magic Show CUT TO: 152 INT. STAG2/-P*RTY BOYS y T gl__ - NIGHT 152

Reed is on the stage in front of about twenty bored bussinessmen. He's wearing a spandex magician's outfit and doing tricks/performance art/dancing.... CUT TO: 153 INT. BACKSTAGE DRESSING ROOM/STRIP CLUB - NIGHT - THAT MOMENT Dirk is getting dressed in a COWBOY OUTFIT. Todd is there, dressed in a JAZZERCISE OUTFIT, applying make-up to his face. OC we hear polite applause for the end of Reed's shew. He appears; DIRK What's the crcwd like out there? REED I f 3 a little light... CUT TO: 154 INT. STAGS/STRIP CLU3 - NIGHT - MOMENTS LATER A black guy in a cheap tuxedo, MUTRIX, takes the stage. MUTRIX That was the magic of Reed Rothchild. Mr. Reed Rothchild. C'mon, c'mon... let's have a little more than that (light applause) Alright, alright, good enough. Stop it. Shut up. OK: Ready for seme dancing? One of -these fellas has been a regular for a while the other's fresh to Party Boys, but I think you'll recognize him frcm seme if his films or maybe you won't or maybe you'll just recognize his cock who know3? Give it up for Dirk Diggler and Tcdd Parker 154 153

129

A BALL AND OATS/NENA/DURAN DURAN mix plays on the speaker a in the nightclub and Todd and Dirk sake their entrance. They atart DANCING and STRIPPING. ANGLE, TWO DRUNK MEN IN THE AUDIENCE they watch Dirk and start laughing to themselves. These two drunk men are JERRY (Buck's boss from the stereo store) and RONNIE (Becky'a old boy-friend) They begin to point and laugh. Dirk notices them but tries to ignore their ccmmenta. JERRY ... fuckin' donkey dick... RONNIE Jesus. That's the dumbest, biggest looking dick I've ever seen. JERRY "Get the fork-lift, I gotta take a pee." Dirk dances over to them. all recognize each other. In this mcmeat, the three of them

DISK Hey. Why doa't you guys shut-up? I'm dancin' here. RONNIE Fuck you, asshole hey wait a minute -I know you. I knew you you karate kicked me at Hot Traxc that time Seed looks out frcm backstage. Todd sees the scene and ccmes over. Ronnie and Jerry are now up and ready in a fighting position. JERRY You get a problem, Donkey-Kong? DISK Yeah, I do. Keep yer mouth shut when I'm dancin'. RONNIE FUCK YOU, KID. I'm gonna get seme pay-back YOU LITTLE FUCKER Ronnie jumps on stage and starts to fight with Dirk. Jerry goes for Reed and Todd. One thing leads to another and they're all on the atage, kicking, acratching and punching at each other. Bouncers and Mutrix break it up. Mutrix yells to Todd,Dirk,Reed; MUTRIX Yeu three idiots get the fuck outta here. GST OUT, GET THE FUCK CUT. YOU'RE FIRED.

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CUT TO:
155 INT. HEARING ROOM - COURT BUILDING - PAY

. !

155

Amber is sitting in a room with a long desk, a few chairs and fluorescent lights. A middle aged female JUDGE enters and greets her; JUDGE Hello. You must be Maggie? AMBER Yes. JUDGE I'm Kathleen O'Malley. The judge. AMBER Yes. JUDGE Ycu have a lawyer with you? AMBER No. I don't. I do not. They sit in silence. The Judge looks over a couple of files. Moments later, Amber's ex-husband, THOMAS (late 30s) steps in with his LAWYER. They all take aeata. (^ , LAWYER Hello, Judge.

Introductions happen, etc. BEAT. The Judge looks over seme files; JUDGE You've been divorced for six years? Yes. AMBER Since 1977.

JUDGE (to lawyer) And the agreement on the money settlement was taken care of? LAWYER Yes.
JUDGE So. What w e ' r e t a l k i n g a b o u t t h e n i 3 coming t o an agreement on c u s t o d y of Andrew.
AMBER Yes.

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JUDGE What was decided during the divorce?
/0^\

LAWYER Initially. Andrew went with his father, aad visitation was given to his mother on (looks at a paper) from Saturday Noon to Sunday at aeven. With hia aether entitled to bring Andrew to her home or any reasonable place. JUDGE (to Amber) Was that the understanding? AMBER Yes. JUDGE And why wasn't that visiting privilege honored? THOMAS Well, it was for a time AMBER I only saw him twice.
/0ns, (

THOMAS It said, "reasonable place," and I didn't think a house of drugs and prostitution and pornography was that. JUDGE I'm sorry, what is it that you THOMAS My ex-wife is involved in the pornography business I didn't think that environment was a safe place for my -son. AMBER This is not right. My son was never exposed to pornographic material or drugs or any of these -things, my husband just assumed THOMAS I saw it with my cwn eye. PAUSE. Amber has no response. The Judge looks down at the file. JUDGE Did ycu register this as a complaint? THCMAS

/ * * *

No

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LAWYER My client didn'^officially register, but I think the circumstance called for something Immediate for the safety of the child. JUDGE Bow old is the boy now? THOMAS He'a twelve. AMBER Be'11 be thirteen next month. JUDGE Where do you live now? THOMAS We live in Long Beach. I have a job there and my new wife ia home with him. (pauae) You aee, the problem ia Judge, ia that my ex-wife ia a aick...she ia a very aick person and she needs help. She deals in drugs and aex for a living AMBER I don't do drugs. LAWYER You're honor, ahe has been in and out of trouble with the law on quite a few occasions regarding this sort of thing. AM3ER No. No.- Not anymore. CAMESA HOLDS ON AMBES. She watches the Judge. CC there's the sound of papers shuffling. JUDGE (CC) Have you ever been arrested? AMBES Yes. JUDGE (OC) When was -the last time you were arrested... .what was the charge....? CAMESA DOLLIES IN CLOSE ON AMBER. CUT TO:

>

133
gou

156

~T.

AT.T.EV-WAY

rTTTTT T

* T B2ILBIES - PAY - MTER.

Amber leans against a wall, crying her eyes out. HOLD. CUT TO: TITLE CARD, OVER BLACK: 157 "December 11, 1983" 157

INT. LIMOUSINE - NIGHT - MOVING.

CAMERA'S POV is a CAMCORDER operated by KURT LONGJOHN. JACK, dressed 2 T _ n f e d T sits S t h e back of the limo with ROLLERGIRL, who's w t J i S I ?_l_-legSh fur coat, liagere uaderaeath. JACK (into CAMERA) Okay, okay, okay. Welcome to the experimeat. This is Jack Homer, coming to you frcm the inside of a limousine that at this mcment is heading West down Ventura Blvd. I have w i t h ne _- a little princess in the world of adult film the lovely Miss Rollergirl. ROLLERGIRL Hello, hello, howdy. JACK Are you ready to do what we're gonna do? ROLLERGIRL Ready, ready. Ready like Freddy. JACK We are On The Lookout. That's what we'll call this On The Lookout. We're just gonna drive on down Ventura, heading west, like I said and see what we-find. Maybe we find seme new, young stud who wants to take a ahot and get hot and heavy with Rollergirl back here in the limo -- and we'll capture it on video. This is a first, ladies and gentleman. A first in porn history. Who knows what could happen....? (to Rollergirl) Maybe we come acroaa acme guy, maybe acme girl? See if they'd like to get aoft and sticky? CUT TO:
158 EXT. EL PUEBLO MOTEL - NIGHT 158

' Y

Establishing shot of a crap motel in Studio City. Dirk's DAMAGED CORVETTE is parked out front with a u-HALL connected. CUT TO:

134
159 ^ ' f INT. EL PUEBLO MOTEL - THAT MOMENT 159

Dirk, Reed, Todd and Scotty J- have moved into a small motel _ with two beds and a fold-out couch. Scotty ia Bitting on one bed watching television dressed in his UNION 76 GAS STATION UNIFORM. Dirk ia getting dressed, Reed ia trying to get hia attention; DIRK Where the fuck is Todd? REED C'mon, Dirk, seriously What? DISK I dunno, okay? Okay. I don't know.

REED We have to sell your car. DISK I will not do it, Seed. SEED What else is -there to do, Dirk? Huh? We have nothing left. DISK I worked way to fucking hard for that car...what am I supposed to do...? REED It solves all our problems. DISK I will not sell my Corvette: Simple as that. Where the fuck is Todd? Where are my jeans? SCOTTY What are you looking for? DISK My jeans SCOTTY The cool ones with the thing? DISK All my jeans are cool, Scotty. SCOTTY Sorry. Todd enters aad holds up aa ENVELOPE.
ytfFS

/fiffi^

TODD Get it.

135
DISK Sweet. Perfect timiag. mine to go

7*^

I'm taking

Todd and Dirk move to a table and divide up acme of the coke. Reed stands in the b.g. Dirk place hia atuff up in a newspaper fold and takes it to go. REED Dirk, please we gotta deal with this money situation. DIRK Yeah, yeah, yeah. SCOTTY Where are you goin' Dirk? DIRK Goin' out. Dirk notices that Todd is wearing the JEANS he was looking for. DISK What the fuck is that? TODD What? DISK Those are my jeans, Todd. been looking for those. I've

TODD You said I could borrow them. DISK I never said that. TODD I thought you did. SCOTTY Can I ccme with you, Dirk? DISK Don't get any shit on ay jeans, Todd, Seriously. TODD I won't. Dirk SCOTTY J. Can I go with you?

Dirk is out the dcor.

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CUT TO: 160 I N T . LIMO - PARKED - NIGHT - CONTINUED 160

The limo is pulled over and Jack ia speaking through the window to acme YOUNG COLLEGE STUDENT, wearing a backpack. (Thia kid ia one of the boys who waa making sexual gestures to Rollergirl earlier in the movie.) JACK What do you say? I dunno COLLEGE KID you mean it?

JACK Anything you wanna do you do it. Do you aee thia young lady here? COLLEGE KID Yeah. JACK You like what you aee? COLLEGE KID Sure. JACK Then get in here and do what you want. The College Kid geta in the car, aita next to Rollergirl, who nods hello. She may or may not recoginize him. Jack gets in the seat cpposite (behind the CAMERA.) JACK You a student? COLLEGE KID Uh...um...yeah. JACK Oh, great. Where do ycu go to school? COLLEGE KID Ua. ..uh...do I have to say? JACK No, no. Anyway. How'd ycu like to go round with Rollergirl, have you seen her film work?

137
COLLEGE KID . ..yeah*, .yeah I have. (to Rollegirl) We watch your filaa in my frat houae. I go to CSUN. The fuckin' guys are never gonna believe this JACK Alright...fantaatic cool... COLLEGE KID I think we met once before, actually. ROLLERGIRL Really?
CUT TO:

161

ESL STTtnTO CIg___J_E_d-AI - H I S S ^ T E R ) Dirk is standing ia aa alley-way. It starts to RAIN a little -

161

H5ADT.IGHTS FLOAT ACROSS A WALL, CATCHING A GLIMPSE OF DISK. f _ S _ ^ o y o ^ c r t v e s up aad stops aext to Dirk. A FIGURE iaside the car speaks; FIGURE Hello.
jtfwi^

DISK Hey. FIGUBE Are you waiting for scmeoae? DISK .. .yeah. I'm waiting for 8omeoae. I'm not aure if they're gonna shew up though. FIGUBE Ycu wanna wait in the car? DISK Alright. Dirk gets into the Toyota. It drives about fifty yards down the alley and makes a turn into CUT TO: 162 EXT. EMPTY PARSING LOS - M^GHT - T S A T WCttSNT The Toyota with Dirk pulls around and parks.
yfiifflnN.

It's raining.

162

CUT TO:

138
^ 163 INT. TOYOTA - PARKED - NIGHT - THAT MOMENT CAMERA holds a profile 2-shot on Dirk in the f.g. and the driver in the b.g. The driver is a young SURFER kid in his late 20s. SURFER I'm Joe. DISK Dirk. (beat) Do you know who I am? SURFER
* a JNO

163

DISK My name ia Dirk Diggler. SURFER No...I mean...you're a guy...I'm helping you out....You're lucky. You were about to get wet. DISK Yeah. SURFER So... .what do you want to do? DISK I'm...if s what you want. SURFER ....I wanna watch you. I mean, I'm net gay. I just wanna. Maybe you can jerk off a little and I can watch. Maybe I'll join in, but for new I just wanna watch. Dirk nods his head a little. HOLD. DISK Twenty bucks. SURFER Ten is ell I have.... HOLD. CUT TO:

139
164
. /ss&K

I N T . LIMO - MOVING - MOMENTS LATER

164

The limo is moving now. Jack-is sitting behind the CAMERA. The LIGHT held above the Camcorder SHINES brightly on them. Rollergirl and the College Kid atruggle in the aeat. He haa some trouble removing hia panta and ahe tries to help a little, but it's pretty ahe'a not enjoying thia. Jack -tries to coach them frcm the sidelines; JACK Alright, there, pal; make it look good, make it sexy don't juat ram your way up and in there The College Kid doesn't respond. JACK Hey, hey, hey....take it alow and make it kinky, kid. C'mon. Think of Mias Lovely Rollergirl as a beautiful instrument that you need to play...c'mon now...slow down... Pretend you're just a wonderful stud, pretend you're a wonderful stud that's just ready melt her pussy. ...hey, kid....? Are you listening to me? Hey Hey COLLEGE KID Just lemme do my thing, man. JACK Cut. Stop. Cut.

The College Kid looks a l i t t l e pissed, R o l l e r g i r l pushes him off;

ROLLERGIRL

This i s s t u p i d , Jack. JACK I knew....this isa't workiag cut. COLLEGE KID That's it? JACK (OC) Yeah, that's all. Sorry for the iacoaveaieace. The College Kid pulls his pants on. COLLEGE KID (to Rollergirl) You got me hard you could at least jack me off cr scmething, lady. RCLLESGISL What the fuck did you say?

140
COLLEGZ KID It's not so cool-to leave me with a hard on. ROLLERGIRL You motherfucker... She atarta to KICK and HIT him out of the car. ROLLERGIRL Get the fuck out of here, asahole. GET THE FUCK OUT. YOU FUCKIN' SHIT. GET OUT, GET OUT, OUT, OUT, OUT. Jack tries to break it all up and eventually geta the College Kid out of the car The College Kid laugha a little he turns back to Rollergirl and aaysi COLLEGE KID You're fuckin' films suck now anyway. ANGLE, CU. JACK. CAMERA DOLLIES IN A LITTLE IN SLOW MOTION. He freaks out.

Jack CHARGES out of the limo TACKLING the College Kid to the ground. He starts to BEAT the shit out him....
/flicks,

CUT TO: 165 INT. TOYOTA - PARKED - THAT MOMENT Dirk zips his pants open. The Surfer kid's eyes watch closely. Dirk pulls out his cock and the Surfer kid looks surprised, speaks sotto; SURFER ...holy shit...that's nice., .that's.. .big... Dirk nods, looks down. ' SURFER Why don't you jerk it a little, get it hard? I wanna see it get hard. Dirk's hand touches his cock and he starts to masturbate a little. The Surfer kid watches. CAMERA BEGINS A PAINFULLY SLOW ZOOM INTO PROFILE XCU. ON DISK. SURFER ...maybe...do it harder.... Dirk does it harder and faster. SURFER Get ycur hand wet. 165

141
DISK ...be quiet.... Dirk tries to do it faster ari d harder. SURFER ...c'mnn....c'mon...c'mon... Dirk tries harder and faster but only gets more frustrated. He verges on tears, looks to the Surfer Kid. DISK I can't...I can't get it hard...I can't. I'm aorry SUDDENLY: A PICK-UP TRUCK carrying THREE PUNK KIDS SLAMS ON IT'S BRAKES IN FRONT OF DISK IN THE TOYOTA. Dirk looks up in shock, turns his head to the Surfer Kid who aaya;
ST7R_n__R

You ahouldn't do thia aort of thing, faggot. Surfer PUNCHES Dirk in the face.... CUT TO: 166 EXT. VSNTUSA BLVD. - NIGHT - THAT MOMENT Jack eontinuea to BEAT the College Kid and yell at hia; JACK YOU HAVE SOME FUCKING HSSPECT. YOU LITTLE PSICK. YOU HAVE SOME GOD DAMN RESPECT FOR THAT GIRL. SHE'S A STAR, A WONDERFUL CHILD AND A STAR. YOU think you're worthy to fuck her - you're not worthy to TOUCH her - they way you fuck who taught you? WHO TAUGHT YOU HOW TO FUCK THAT WAY? 'YOU'RE AN AMATUER. YOU DON'T EVES FUCKIN DISSSSPECT ESS - EVES - EVES - EVES He KICKS the College Kid again and again.. .CAMERA DOLLIES IN ON BOLLESGISL as she watches. CUT TO: 167 EXT. PARKING LOT - THAT MOMENT The FOUR SURFER PUNKS drag Dirk frcm the car and proceed to beat the shit out of him. Kicking and punching him, calling out; SURFERS Little Fuckin Fag. Donkey-Dick. You don't do this. You don't. 167 166

14They continue to yell and acream and kick and punch -irk and eventually peel out of the parking lot. Dirk moans and cries and holda his stcmach in pain. He coughs up acme blood and vcmit.... CAMERA PANS away frcm him, looking out of the " i ^ ? ; J ^ S S S Veatura Blvd.. HOLD WIDE ANGLE ON THE STREET, EMPTY FRAME, THEN; The WHITE LIMO carrying Jack and Rollergirl cruiaea PAST. ANGLE, IN THE STREET, MOMENT LATER. . The WHIT" LIMO drivea PAST CAMERA LFT. BOLD, THEN; BUCK'S CAR enters il CAMERA RT. and we PICK UP AND PAN with it into CUT TO: 168 EXT. DONUT SHOP/VENTn-'A ^ V P . - NIGHT 168

Buck'a car pulla up and parka in front of the donut ahop. CAMERA DOLLIES IN CLOSE. Jesaie ia in the paasenger aeat, Buck leavea the engine running; BUCK What do ycu want, honey? JESSIE ST. VINCENT I want.. .um.. .apple fritter.. .Jelly.... and uh.... chocolate with aprinkles... and a bear claw, too.... \ Buck gets out of the car and we reveal that she is SEVEN MONTHS PREGNANT. 3uck looks down; BUCK How's my little kung-fu fighter? JESSIE ST. VINCST He's kicking ass inside my stcmach. BUCK That's a boy. CUT TO: 169 INT. DONUT SHOP - NIGHT 169

Buck enters and looks at seme donuts, helped by the DONUT BOY behind the counter. A MIDDLE AGED MAN in a camouflage baseball hat sits in the corner eating a donut and seme coffee, reading 'Guns and Ammo.' DONUT BOY Can I help you? BUCK Yeah....I'm gonna get a dozen.... /**^ The Dcnut Soy get3 a box and Buck starts to point cut;

143
BUCK Lemma get two bear claws.. .apple fritter... two chocolate... ^ w o sprinkles... gimne seme of those glazed...how many is that? At that acmaat a PUERTO RICAN KID walks ia, pulls a REVOLVER frcm his pocket and points at the Donut Boy. PUERTO RICAN KID Empty the safe. Behind the soda machine. BUCK Jesus Christ. The Puerto Rican Kid SWINGS HIS AIM at Buck. PUERTO RICAN KID Don't talk...abut the fuck up... (aims back at Donut Boy) Okay...empty the safe.... Donut Boy starta to empty the aafe, putting the money in a paper aack....3uck i3 frozen.... The MIDDLE AGED MAN in the corner reached into hia coat pocket and pulla out an extremely BIG GUN... The Middle Aged Man SHOOTS the Puerto Rican Kid in the BACK... ( ...the Puerto Rican Kid turns and returns FISS, hitting the Middle Aged Man with a bullett in the FACE... ... .the Middle Aged Man gets another wild SHOT off before he expires and that bullett hits the Donut Boy in the CHEST.... So: The Donut Boy is dead, The Puerto Sican Kid falla to the floor dead and the Middle Aged Man is face down dead in his donut and coffee.... Blood is ALL CVES Buck.he stands for a long moment....

f^

CU. TEE BAG OF MONEY ON THE FLCOS CU. BUCK. he looks at it. SLOW ZOOM IN. BEAT. Buck leans down, picks up the BAG FULL OF MONEY and walks out of the donut shop. FADE OUT. TITLE CASD, OVSS BLACK: "Cne Last Thing"

144

170

INT. EL PUEHLO MOTEL ROOM - NIGHT Reed, Todd and Dirk sit around a table. Dirk ia bandaged. Scotty J. ia mingling around in the background. CAMERA DOES A SLOW 360 AROUND THE TABLE. TODD Alright. I think thia could be the thiag. Scmething to help ua acore a little extra cash. I thiak if we decide to do this, we gotta be one hundred percent. REED I agree. TODD This guys name ia Rahad Jackson. He's got more money than God and twice as much coke, crack and amack. He'll buy juat about anything anybody wanta to sell him. He juat likes people hanging out at his house and partying. DISK Hew do you know him? TODD He used to come into Party Boys once in a while. Mutrix introduced me DISK And hew would we do it, exactly? I mean, how would it all go down? TODD It's like this: I call him up, tell him if got half of key of quality stuff. - REED Do you have his phone number? Yeah. TODD So we call hia up, give him the price? DISK How much? TODD Half a key for like....five thousand bucks. Split it three way3 DISK That's enough to get my Vetts fixed.

170

y#*"N.

145
TODD That's right. So we set up the deal, dtanp half a kilo of baking soda in a bag and walk ove* to hia houae BOOM. Right there thia could be a nifty bit *o huatle-buatle. REED Do you have hia adreaa? TODD Fuckin', Reed, yeah I have hia adress, c'mon. DIRK What if he tests it out? TODD Be won't. DISK How do you know? TODD I know he won't. I'm positive. Believe me. REED I f s a pretty good idea. DISK I think we should go for it. Scotty J. ccmes over to the table. SCOTTY J. What are you guys talkin' about? DISK Nothin' CUT TO: 171 INT. EL PUEBLO MOTEL ROOM - ANUTMSR NIGHT
171

./fcv \

Dirk and Reed are dumping some BAKING SODA into a large plastic bag. that's placed on a scale. Scotty J. is sitting and watching. Todd is on the phone TODD (into phone) Okay.. .okay.. .cool. See ycu then. (hangs up) He said he'd meet us in an hour. REED Hew dees this lock?

146
The PLASTIC BAG IS FILLED WITH BAKING SODA. I f 8 about the half the size of a brick in length and half as thick.
/'/f^B^v^

SCOTTY J. You ahould put a little of the real atuff in there oa the top in caae he teats it out... DISK Fuck that, man. Don't waate it. Todd wraps up the brick of baking soda in a brown grocery bag. SCOTTY J. You guys should be careful with this. DISK Scotty? SCOTTY J. What? DISK . Just.. .y*know.. .mind yer cwn business. SCOTTY J. Sorry.

CUT TO: 172 EXT. RAEAD JACKSON'S HOUSE - NIGHT The Corvette wills up in front of a tacky-one story house in the hills of Studio City. The Corvette steps and CAMERA DOLLIES IN QUICK. Dirk, Seed, Todd sit in the parked car. In sotto; DISK Okay. * TODD Ycu guys ready for this? SEED I am. TODD Dirk? Me? DISK Yeah...yeah I'm ready. TODD Alright. Tcdd takes cut a .45 AUTOMATIC PISTOL and leads a cartridge. I was bora ready. 172

j^Sm\

147

tjd/&\

DISK

What the fuck is that? TODD I f a a big gun. DISK I know-but-why? TODD Juat in caae, juat in caae. Let's go.

-'

They pile out of the damaged Corvette and walk up. CAMESA (STSADICAM) follows them. REED I'm nervous. TODD It'll be okay. REED Let's get in and out, in and out. TODD Not too quick that looks suspicious. Lemme do the talking They arrive and ring the doorbell. CUT TO: 173 INT. RAHAD JACKSON'S HOUSE - NIGHT - THAT MOMENT A really big fat black BODYGUARD ccmes to the door and opens up: BODYGUARD Hello. Come on in. The BodyGuard leads them down a hall and into a tacky and spacious, sunken LIVING ROOM. They're greeted by a man in a silk robe, slightly open to shew seme bikini briefs and a thin aheen of aweat covering hia body: RAHAD JACKSON (late 40a) Off in a corner of the room, a YOUNG ASIAN KID ia casually throwing seme FISSCSACKESS around. Sahad is DANCING around by himself to NIGHT RANGER, "SISTER CHRISTIAN." He spots the men; RAHAD Hello, friends. Which one is Tcdd? That's ae. TODD We met before at the club 173

<r*

148

Oh, yeah.

RAHAD Ccme on in here.

TODD These are my friends Dirk and Reed. RAHAD Great to meet you. You guys want something to drink or a pill or seme coke or seme dope? DISK/REED/TODD No thank you, thanks, no. RAHAD So what do we have, we have, scmething, yeah? TODD Here it is...half a key...if s really good, if you wanna teat it out RAHAD Oh, wait a minute, I love this part: (sings along) "SISTER CHRISTIAN, THERE'S SO MUCH IN LIFE, DON'T YOU GIVE IT UP BEFORE YOUR TIME IS DUE....IT'S TRUE!" (to Dirk) Thia aong is so amazing. Anyway; What'a the price? TODD We were thinking five thousand. RAHAD That's good. No problem, cool, cool. The Bodyguard brings ever a PAPER BAG FULL OF CASH and hands the bag to Todd in exchange for the PAPES BAG FULL OF BAKING SODA. Seed watches the Bodyguard take the bag and notices scmething. SEED'S POV: a SHOULDES HOLSTER holds a .45 Automatic Pistol. Rahad does an air guitar solo to the the Night Ranger song... .he walks across the roan, picks up a COKE PIPE and looks to the guys; RAHAD You wanna play baseball? DISK/SEED/TODD No thank you. Rahad smokes the pipe while dancing. bedrocm dcor. Dirk looks acress to an open

149
DIRK'S POV: Through the crack in the door, we can see a bloody, battered YOUNG BLACK WOMAN in a silk robe....ahe'a followed by another YOUNG WHITE GIRL in nothing. SAHAD (OC) Check thia out He takea out a nickel plated REVOLVER and loads a single bullet, spina the chamber and puta it to his head and sings; RAHAD SISTER CHRISTIAN - OH THE TIME HAS CCME....AND YOU KNOW THAT YOU'RE THE ONLY ONE TO SAY...OK.... He pulls the trigger....Click...he smiles and caaually speaks; RAHAD I put a mix tape together of all my favorite songs....This is song number three...I love putting mix tapes together, you knew...if you buy an album or tape or scmething, those guys put the songs in their order and they try and say how you should listen to the songs, but I don't like that. I don't like to be told what to listen to, when to listen to or anything...
/*s

The Night Ranger aong FADES OUT....BEAT Rahad smiles at the Asian Kid who's casually throwing some firecrackers around. RAHAD (to Dirk/Reed/Todd) He's Chinese...he loves to set off firecrackers..... REO SPEEDWAGON, "CAN'T FIGHT THIS FEELING," begins to play. RAHAD I CAN'T FIGHT THIS FEELING ANY LONGER AND YET I'M STILL AFRAID TO LET IT FLOW. WHAT STARTED OUT AS FRIENDSHIP HAS GROWN STRONGER I ONLY WISH I HAD THE STRENGTH TO LET IT SHOW -DISK Well...I think maybe....we better get going RAHAD No, stay. Hang out. We'll party. DISK No, we really gotta split. We have to be somewhere and we

{"* V

Dirk and Rahad continue to haggle about leaving/not leaving. CAMERA BEGINS A SLOW DCLLY INTO A CU ON TODD.

xou
TODD ' Not leaving YetDirk and Reed look at Todd. He stands up.

TODD We're here now and we want acmething elae. gey. We Want Something Elae Frcm You. Hey RAHAD What? Todd DIRK what the hell are you doing?

TODD In the master bedroom, under the bed, in a floor 8afe....You underatand? The Bodyguard turns hia head. Dirk and Reed are confused; DISK Todd...what the fuck, man, c'mon

TODD Shut-up, Dirk. I told you I got a plan. I got a good plan. RAHAD Are you kiddn' me kittie? TODD No I'm not. I'm not kidding. We want what's in the safe. We want what'8 in the safe in the floor under the bed in the master bedroom. Todd DISK don't be crazy, (to Rahad) Si^ve don't know anything about this. This is not the thing that we vanted. TODD SHUT THE FUCK UP, DISK. The BODYGUASD reaches into his coat... ...Todd pulls his REVOLVER quickly and AIMS at the BcdyGuard. TODD Doa't reach for your gua. ...Rahad reacts by AIMING HIS GUN AT TODD...

U l

j0&**\

RAHAD You don't wanna do this, friendly. TODD You've only got one bullet. Rahad PULLS THE TRIGGER...a bullett FIRES frcm the gun and atrikea Todd in the SHOULDER.. .the gun in hia hand falia to the floor and he atumblea back... .. .The Bodyguard takea thia mcment to GRAB HIS OWN GUN frcm the holster and FIRE off ahota at DISK and REED.... .. .Bulleta graze past them and they DUCK FOR COVER... ...The GIRLS in the bedroom SCREAM and SHOUT at the gunfire... ...a STRAY BULLETT HITS the ASIAN KID in the heart, but he doesn't fall... ...TODD reaches hold of his gun, crouches for cover and FISES a bullet STRAIGHT INTO the Bodyguard.. .who falls back DEAD.... Todd looks right and sees: RAHAD scuttles into the bedroom with the women....Todd looks over his shoulder to Dirk and Reed; DISK WHAT THE FUCK ASS YOU DOING, TODD? TODD He went in the bedroom. DISK ARE YOU CRAZY? WHEN DID YOU GO CSAZY? TODD He'a got cash and coke in the safe under the bed if ve leave here without it we're fools. SEED Let'8 just split, let's just split right nov, Todd. Don't be stupid. This wasn't part of the deal. TODD I'm goin' in that bedroom and get what's in that safe. Are you coming? DISK Fuck no. Todd. Don't. Don't do it.

Todd gets up and heads for the bedrocm with his revolver at the ready^. ..he"inches closer to the door and twists the dcor knob, then KICKS THE DCOS OPEN;

...Rahad Is standing right there, holding a SAWED OFF SHOTGUN. He pulls the trigger....Todd blinks.... ...Rahad's SHOTGUN HLAST blows Todd BACK and UP in the air about fifteen feet....he FALLS to the ground vith a HOLE in hia STOMACH the aize of a baaketball...Rahad calla out to Dirk and Seed; RAHAD C'mon out little puppiea. You vant to come and aee, come and aee, to get vhat is coming down, ceming down. Rahad peers out from his bedroom, sees a sliver of Dirk behind the vail. Rahad FIRES HIS SHOTGUN...vhich cuta right paat Dirk'a head and SHREDS the vail near him.... Reed and Dirk make a DASH for the front door.... ...Rahad FIRES another ahot... .. .a BLAST BREEZES PAST THEIR HEADS.... Dirk and Reed make it OUTSIDE... .Rahad chases after them CUT TO: 174 EXT. RAHAD'S HOUSE - THAT MOMENT Reed and Dirk make a dash for the Corvette they're steps away when a SHOTGUN BLAST BLOWS INTO THE PASSENGER'S SIDE DOOR Reed heads away from the car makes a run diagonally across -the street for shelter behind seme SHRUBS and TREES (he gets lost frcm CAMERA) Dirk gets around to the driver'a aide of -the Corvette, shielded and crouched he opens the door and atarts to get in ANOTHER SHOT BLOWS THE -PASSENGER'S SIDE WINDOW CUT. GLASS SPRAYS IN HIS EYES AND HIS HAND SLIPS DCWN, RELEASING THE EMERGENCY BRAKE OF THE CAR WHICH BEGINS TO ROLL DOWN THE STREET Dirk stumbles back frcm the car. He looks to the house: Rahad is about to FIRE the shotgun again.... ....he looks down the street: the Corvette is ROLLING away and picking up speed aa it goes down the hill Dirk gets on his feet and makes a run for the car, Rahad FIRES... ...Dirk catches up with the car, hops in . gets the key in the ignition and starts it up, peels off down the street CUT TO: 174

1JJ

175

INT. DIRK'S CORVETTE - MOMENTS LATER

175

Dirk pulls around and stops a*mcment. Be looka around he -looks back in his rearview mirror. DIRK Fuck Fuck Fuck.
CUT TO: 6 |!XT. STREET jremBY - TB M C M E N T A ,. -,,< no TOLL-SPEED down a r a a i d e n t i a l a t r e e t , i n and

176

CUT TO: 177 TNT. RAHAD aSSS--J ** =

RAHAD

W E^T

177

atorms around his house, the SHOTGUN in his hand. The tvo b ^ r e d S U N ^ S S E N are ahaking and shivering in a comer RAHAD ^ , What the fuck...vhat the fuck...vhat the fuck. Rahad rants and raves incoherently, sets dcwn the shotgun for element to take a hit frcm his crack pipe. A DISCO song is playing LOUDLY and Rahad ia dancing. HOLD, THEN: ANGLE, A WALL IN TEE HOUSE _-*,.._ _v .n a red flash hits the wall then a blue flash hits the wall. ANGLE, RAHAD he looks at the wall and sees the red-blue flash. CAMERA DOLLIES IN ON RAHAD. He smiles. More RED-BLUE FLASHES hit the house and the SOUNDS of POLICE ACTION starts to BUILD.... RAEAD It's coming dcwn, coming down. . . .RAEAD PICKS UP THE SHOTGUN, SMASHES THE WINDOW AND FIRES OFF A SHOT TOWASDS THE CC POLICE ACTION. . . OC POLICE FISE BACK ABOUT ONE MILLION BULLETS THAT HI? INTO RAHAD, SENDING HIM BACK, STUMBLING ACROSS THE HOUSE, FURTHER AND FURTHER ....BULLETS RIP INTO THE TWO GIRLS, KILLING THEM. OVERHEAD ANGLE, STRAIGHT DOWN: Rahad's dead body fall's next to Todd's dead body...a BEAT later, the Asian Kid finally falls over, face dcwn next to them.... QUICK FADE OCT, CUT TO:

, f**.

154
178 INT. NEARBY PHONE BOOTH - NIGHT - MOMENTS LATER CAMERA DOLLIES 360 AROUND HIM as he talks. DISK Scotty? SPLIT SCREEN: 179 INT. EL PUEBLO MOTEL - NIGHT Scotty is on the other end. CAMERA CIRCLES QUICKLY. SCOTTY Yeah, Dirk DISK Is Seed there, did he ccme there? SCOTTY He's with you. DISK No, listen, everything got fucked up and I can't find, Reed. I don't no if he'8 dead or shot or, or, or, FUCK FUCK FUCK We vent to the guy and ve it's just got all fucked and he started shooting and I have no idea vhere Reed is ve both ran in different directions and I'm aure the cops showed up and this this so bad and I'm so fucked here SCOTTY Where's Todd? . DISK He's fucking dead, this guy shot hia, he shot hia in the stcmach SCOTTY Jesus Christ, Dirk. You gotta, you gotta go to the police or something, I mean, this is DISK I can't go to the police, Scotty. I can't do that. SCOTTY What do you want me to do? DISK I have no idea, I'm-so-fuckin-scared. 179 178

1JJ

SCOTTY Maybe you should get out of town. DISK...I guess...I guess, I dunno SCOTTY Just go for as long as you can or aomething, something I dunno. I dunno what the hell to say right new, Dirk. This is so -- I just -DISK Yeah. Yeah -ohhhhhhhFUCK. He killed him, Scetty. And Reed ran off, and it vaa a mess, it vas blood and smoke everywhere. SCOTTY You gotta split, Dirk. You gotta just get the fuck outta town or scmething. DISK Alright. Yeah. Alright. SCOTTY OK. Call me when yeu get to wherever you're going ~ They hang up. END SPLIT SCREEN, STAY WITH DISK. He heps in the Corvette and puts the key in the ignition ECU. KEY INTO THE IGNITION. CAMESA TITLS up a little, to see the Gas Tank Display. The orange needle is on, "E." CUT TO: 180 INT. DISK'S COKV-TTE --MOVING - NIGHT HOLD CU. ON DISK. He's driving fast. Paranoid and freaked. The car starts to sputter... .slews Dirk panics when he sees the gas tank.... CUT TO: TITLE CARD: "Four*Miles Later" CUT TO: 181 INT. STREET/OUTSIDE LOS ANGELES - DAWN (LATERE Dirk's car is cut of gas. and down a side street. 181 180

He pushes the car off the main boulevard CUT TO:

156
182
((

EXT. SIDE STRCTT - THAT MOMENT Dirk pushes his car dcwn a small cul-de-aac, hops in and pulls the emergency brake. He looks around a mcment. HOLD. CAMERA DOLLIES IN CLOSE ON HIS FACE. Be looks at the atreet signs. OVERHEAD ANGLE, INTERSECTION. Dirk walks to the middle of the intersection and looks up at the aign posts, it reads, "Troost Street."

182

He walka down thia atreet, looking at -the houaea. He walks a full -two blocks down, stops, looks: He's standing in front of his PARENTS HOUSE. It looks just the same. A young PAPERBOY ridea past and throws the paper, hitting Dirk in the head. He hesitates, then valks up the steps; CAMERA MOVES IN SLOWLY ON THE DCOR, LANDS IN A CU. OVER HIS SHOULDER. He knocks. Moments later...the door opens; A young woman in a bathrobe with a BABY on her hip opens the dcor. This is SHERYL LYNN, who we met earlier. SHERYL LYNN Yes? DISK ....hello. SHESYL LYNN Can I help you? BEAT. Eddie...? - SHESYL LYNN Eddie.

Dirk hesitates a mcment, then recognizes Sheryl Lynn. DISK ...what are doing here7 Where's my mother?

SHESYL LYNN Eddie....! can't believe it... DISK ...I'm looking for my mother... I'm looking for my father and mother. SHESYL LYNN Eddie, honey....ay God...you just... DISK Why are you in this house? I don't want to see ycu, I want my mother.

157
SHERYL LYNN I live here, now^ With my husband. DIRK Where's my mom? SHERYL LYNN You ahould came in BEAT. HOLD CU. ON DIRK. DISK No....no. Jesus Christ, I knew what you're gonna say SHERYL LYNN Eddie, I can tell you vhat happened, just let me tell you inside here DIRK Just tell me. Just tell me. SHERYL LYNN They passed...last May The baby starts to cry. Dirk doesn't move; DISK i( ...hew*..? SHESYL LYNN Eddie, ccme inside right new, please. DISK YOU TELL ME, LADY. SHESYL LYNN There was no way to find you, to get in tcuch with you. To tell you all these things DISK TELL MS SIGHT NOW, YOU. SHESYL LYNN Eddie, it was at night and it was raining and there was a man and he was speeding and he was drunk and they didn't FLASH ON: 183 EXT. INTERSECTION - NIGHT It's raining. A little Station Wagon enters the intersection with the right of way but is IMMEDIATELY AND POWERFULLY CRUNCHED by a SPEEDING MALI3U that barrels into the intersection.
183

,/*^

/ * * .

158
The STATION WAGON is THROWN fifty yards away. A HORN blows... /*"* ' CAMERA DOES A SLOW DOLLY IN TOWARDS THE STATION WAGON. Dirk's MOTHER and FATHER are SOAKED IN BLOOD. CAMERA DOES A SLOW DOLLY IN TOWARDS THE SPEEDING MALIBU. Half in/half through the windshield of thia car ia JOHNNY Dog. QUICK FADE OUT, CUT TO: 184 EXT. DIRK'S HOUSE /TORRANCE - THAT MOMENT Back to the scene. HOLD ON DISK. SHERYL LYNN It vas juat acme drunk kid, Eddie. DIRK Why do you live here? SHERYL LYNN My husband and I bought this house. Why? DISK Why did you do that? 184

SHESYL LYNN Eddie, please f DISK . This is my house. THIS IS MY HOUSE. What the fuck? What the fuck are you doing here? I don't vant to see you, I need to see ay mother. I vant my mother. CUT TO: 185 INT. SHERYL LYNN'S HOUSE - MOMENTS LATER 185

CAMERA HOLDS IN THE KITCHEN. Sheryl Lynn makes breakfast vith the baby oa her hip. Her HUSBAND sits aearby ia his bathrobe, vatchiag the situation and keeping quiet. Dirk is on the phone in the living roan. WE HEAR ONLY MUFFLED BITS FROM HIS CONVERSATION. DISK (into phone) ....Scotty. It's Dirk...yeah...yeah... lemme talk to him....Seed...yeah. yeah. (beat) are you sure....? Yeah, okay...in a little... Dirk hangs up, looks at Sheryl Lynn and her husband. SHERYL LYNN Is everything alright?

Dirk noda. She aets him up with a cup of coffee. :(*** SHERYL LYNN You made sanething of yourself, Eddie. She smiles, nods, points to the living room. SHESYL LYNN I have all of your tapea...I' ve aeea all of your films....I knew you'd do scmething special vith it.... Dirk looks and aeea that she has a collection of about 100 videotapes on a shelf...the Husband looks a little depressed...the Baby cries.... DOLLY IN A LITTLE ON DIRK. CUT TO: 186 INT. JACK'S HOUSE - MORNING fLATER! CAMERA holds on the hallvay that looks towards the front door. It opens slowly and Dirk steps inside. Be takes his sunglasses off and stands a mcment. OC we hear seme noises coming frcm the kitchen. Sounds of someone cooking something. The SOUND from the television. Z^\ A few moments pass and Jack enters the EALLWAY and FRAME. Jack and Dirk stand a moment, looking at each other in silence. Dirk looks dcwn, fiddles with his sunglasses, looses it; DISK Can you please help me? HOLD. CUT TO: .37 INT. JACK'S OFFICE - DAY - MOMENTS LATES Dirk has broken dcwn in Jack's arms. Jack hugs him and pets his head. AMBES enters, brings Dirk a glass of vater and sits next to thea on the couch. CAMERA DOLLIES IN SLOW. JACK It's alright, boy. It's alright.
FADE CUT.

186

187

jrfWt2\.

188 ^

TXT. DOORWAY - DAY

gqy>ftce "E"

188

CAMERA holds on a doorway. Buck steps out, dressed in a BREAK DANCES outfit, looks INTO CAMESA: BUCK Did I hear somebody say DEALS? r-wva roNTTNtres BACK TO REVEAL the store front of "BUCK'S SUPER COOL

g g S 5 ! ? ! d 5 K ta9ebn: that reads, -Grand. Cpm.g.BUCK This veekend and thia weekend only Buck'a Super Cool Stereo World ia Baking Super-Cool Deals on ALL name branda. REVERSE ANGLE: AMBES and KURT LONGJOHN are standing next to aVIOEO CAMERA, filming a COMMERCIAL for Buck'a atore, BUCK We're open, ve're ready -- all you need to do is valk over, get dcwn and ccme inside us AMBES Cut. Excellent. CUT TO: 39 INT. HIGH SCHOOL CLASSROOM - DAY 189

CAMERA DOLLIES IN ON ROLLERGIRL. She's sitting at a desk, deep in the middle of taking the GED test. She starts to drift, looking out the window... .then back to the test. CUT TO:
190 INT. BAKZRSFIELD RETIREMENT HOME - DAY 190

CAMERA DOLLIES IN ON BECKY. She's wearing a UNIFORM and working with a group of OLD FOLKS in the retirement heme. She feed3 Mr. Brown seme soup and smiles. CUT TO: 191 INT. JAIL CELL - NIGHT THE COLONEL sits in a jail cell with a large black man, TSYONS. COLONEL Tyrone? TYRONE . Yes, Colonel.
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COLONEL Tell me. TYRONEYou knew that I love you. COLONEL I like hearing you say it. TYRONE You're my bitch. You always will be. BEAT. CAMESA DOLLIES IN ON THE COLONEL. He smiles. CUT TO: 192 EXT. HOT TRAXX NIGHTCLUB - DAY MAURICE is standing out front with hia two BROTHERS who are freah off the boat....they're unveiling a new aign in front of the club the aheet drops to reveal; "RODRIQUEZ BROTHERS NIGHTCLUB" CUT TO: 193 INT. NIGHTCLUB/CABARET - NIGHT CAMERA moves across the am^ii audience to the atage where REED is doing a MAGIC SHOW. He's wearing a leotard and floating acme brass rings in mid-air. He snaps his fingers and they drop into his hands he takes a bow and does a little dance. CUT TO: 194 INT. HOSPITAL/DELIVERY ROOM - DAY 194 193 192

CAMERA is HAND-EELD as" "JESSIE ST. VINCENT is screaming and kicking her way through labour. BUCK is holding her hand. SCOTTY J. ia with them,- filming the whole thing with a VIDEO CAMESA. BUCK C'mon, honey, c'mon, c'aon, c'mon. JESSIE ST. VINCENT JESUS MOTEES FUCKING CHSIST ALMIGHTY HELL. We hear a BABY pop out, kicking and screaming. DCCTOS Yes, yes, Jessie. I f s a boy. CUT TO:
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End Secuence "E"

195

EXT. JACK'S QRTVEWAY - DAY

(June 8 * 4 j

195

An EQUIPMENT TRUCK backs up towards CAMERA. ROCKY, SCOTTY J. and KURT LONGJOHN enter FRAMB- and lift the back up to reveal ^J. A whole SET of 16mm FILM EQUPIMENT. They begin to unload it... STEADICAM PULLS BACK and Jack enters FRAME, amiling and walking back into the houae...thia is one continuos shot...as he moves through, interacting vith: MAURICE ia cooking aome stuff up in the kitchen. Smoke everywhere. JACK Maurice, honey, turn the fan on. MAURICE It smells good, though. JACK It's atinkin up the whole house.
ROLLERGIRL

is skating around, listening to headphones. JACK Rollergirl, honey, please, I just had the floors re-done. ROLLERGIRL What? JACK Your skates on the wood floor, please. ROLLERGIRL What? JACK Are you going deaf? Turn the music down

ROLLERGIRL Jack, I can't hear a word you're saying. BUCK is setting up a new audio/video system in Jack's living rocm. He explains seme technical information about the new format of *ccmoact discs JACK Just do me a favor and make it work, Buck. BUCK Did I talk to you about the modification you're gonna need? Dcn't.
r f & t a i ^ x

JACK Dcn't do it, 3uck.

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BUCK Jack - you stick with the bass you got and it's not gonna be loud. JACK I don't listen to it loud, alright? I juat wanna hear scmething, okay? Jack continues out to the POOL AREA. REED is sviaming with the BABY. JESSIE ST. VINCENT is doing an OIL PAINTING of them. JACK Look at this, he's a awiameri JESSIE ST. VTNCSNT (to the baby) Cna you aay hello to your Uncle Jack? JACK (to Jessie) Be'3 not gonna piaa in the pool is he? JESSIE ST. VINCENT I don't think ao. JACK walks back in the house, down the hallway, CAMESA PANS to a PICTUSE on the wall of LITTLE BILL then PANS back to Jack, who continues down the hall into ,{** AMBER'S BEDROOM. She's sitting in front of her make-up table. He sit3 next to her; AMBES Are we ready? JACK Plenty of time. AMBES What are ypu looking at? JACK I'm looking at you, ay darling. AMBES You're staring. BEAT. He leans in, gives her a kiss on the cheek and says; JACK You're the foxiest bitch I've ever known. CUT TO:

/ * * ^

196 . / # * , . (

INT. JACK'S HOUSE/BEDROOM - DAY - THAT MOMENT Dirk is sitting is a jean costume, script in front of hia for the new film, working on the iinea. He'a cleaned up a bit, . _ hair alickad back. He looks in the mirror; DIRK I've been around thia block -twice looking for sanething...a clue. I've been looking for clues and sanething led me back here....yeah...ao here I am. (beat) coulda been me the one vho vas at Ringo'a place vhen the ahit vent down.... (beat) Hey....I knov hov it is...canse I been there...we've all done bad things.... ve all have those guilty feelinga in our hearta....you vanna take your brain out of your head and wash it and scrub it and make it clean....veil no. (beat) But I'm gonna help you settle this... (beat) First ve're gonna check for holes, see vhat ve can find...then ve're gonna get nice and vet...ao you're gonna apread your legs.... (beat) That's good...so you knov me, you know my reputation... .thirteen inches is a tough load, I don't treat you gently... .Thaf s right: I'm Brock Landers. (beat) So I'm gonna be nice and I'm gonna aak ycu one more time.... (beat) Where the fuck ia Ringo? Dirk stands uo, unzios'his pants and let's his cock hang out. Be locks at the REFLECTION of it in the mirror; DISK I'm a star, I'm a star, I'm a star. I'm a star. I'm a star, I'm a big bright shinning star. He puts his cock back in his pants, does a final karate kick and valks out of the room, closing the dcor behind hia.

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END.
/0^\

a PAUL T2CMAS ANDERSON picture. Copyright, 1995