RODNEY & SHERYL

by
Ian McDonald

Based On True Events

Mike Esola Andrew Deane / Stephen

United Talent Agency Crawford
Industry Entertainment
FADE IN:

EXT. STORAGE FACILITY - DAWN

A large aluminum building with the words "U-STORE-IT"
painted on the front sits on a desolate city street.
The adjoining lot is empty save a single BLUE DATSUN F-10,
parked with the trunk open.

SUPER:
SEATTLE, WA
July 1978
CUT TO:

CLOSER on the storage facility. Rows of aluminum doors are

closed and padlocked... except for one, which is propped
open with a brick.
CAMERA PUSHES IN ON THE PROPPED OPEN DOOR.

INT. STORAGE LOCKER

A man in his mid-30s sits cross-legged in the 6’ X 8’ locker
surrounded by cardboard boxes and clear plastic crates. He
is classically handsome, with a chiseled body, long brown
hair and dark eyes. He’s dressed in a blue tank top, flared
pants, sandals, and a beaded necklace.
This is RODNEY ALCALA and he is-- as we will soon discover--
a very dangerous man.

One of the boxes lays open beside him, with it’s contents
scattered on the floor: There are women’s earrings,
necklaces, locks of hair, and most disturbingly, a woman’s
nipple, which hangs shriveled on piece of twine like a
pendant.

And, of course, there are PHOTOGRAPHS. THOUSANDS OF THEM.

Rodney flips through the photographs of his victims: A young
woman... another young woman... a young GIRL... a young
BOY... another young woman... and so on.
Some of subjects are smiling, others are stoned and languid.
A few are terrified.
As he looks at the photos, Rodney unzips his fly...
 2.

EXT. SCHULTZ HOUSE - DAWN

A small ranch in a poor residential neighborhood. The paint
is chipped, the lawn sun-baked, and the picket-fence
battered and broken.
All the other houses on the block look more-or-less the
same.

SUPER:
SUN VALLEY, NV
Same Day

INT. AMY’S BEDROOM - SAME

AMY SCHULTZ, 18, stands at her dresser stuffing clothes and
books (an SAT STUDY GUIDE among them) into a backpack. Her
dog, GINGER, a scraggly looking mutt, lays on the bed behind
her.

When the bag is full, she looks up. Sees a family photo
hanging framed on the wall:
It shows her, as a child, standing with her parents, MARTY
and ELAINE. Behind them is the Santa Monica pier. Everyone
is happy and smiling.
She takes the picture out of the frame and RIPS IT IN HALF,
removing her father from the picture. She packs the
remaining half of the picture, and starts to zip the bag...
but the ZIPPER is stuck. Broken.

Frustrated, she safety pins it shut, then throws the

backpack over her shoulder.
AMY
Here Ginger.

Ginger hops off the bed and follows Amy into the living
room.

INT. LIVING ROOM

Amy moves through the living room where her mom, ELAINE
(40s), lays passed out on the couch. Elaine’s ring finger is
conspicuously naked, with a little tan line signaling where
a wedding ring used to live.

Beer bottles litter the floor around her and the television
plays an early morning news broadcast:

(CONTINUED)
CONTINUED: 3.

NEWS ANCHOR
Two young paper boys discovered
what appears to be the latest
victim of a killer who the Los
Angeles police are calling The
Hillside Strangler. The body had
been dumped 15 feet down an
embankment in a residential
neighborhood. The victim was a 20
year old woman and the body was
nude--

Amy SNAPS OFF the television. Finds her mom’s purse and
removes the cash from it. She pockets the money, then heads
to front door...
But stops before heading out.

Amy looks back at her mother, floundering.

She crosses back to the couch and covers her mother with an
afghan. Kisses her on the head and looks at her sadly for a
moment. Then heads back to the front door...

EXT. SCHULTZ HOUSE

Amy closes the door quietly behind her and crosses to the
street with Ginger leashed and walking beside her.

EXT. NEIGHBORHOOD
Amy and Ginger walk down the sidewalk as the sun rises up
over the mountains behind her.

EXT. DESERT HIGHWAY - NOON

A long stretch of desert highway. Mountains in the distance.
A road sign reads:

Bakersfield 3
Los Angeles 109
Suddenly, a BIG RIG barrels into frame, thundering down the
highway.
 4.

EXT. REST STOP - MOMENTS LATER

The Big Rig pulls up to a GAS STATION / DINER. The passenger
door opens and Amy and Ginger hop out.
AMY
Thanks!
Amy gives the driver a wave and heads into the diner as the
Big Rig takes off down the road.

INT. DINER - MOMENTS LATER

Amy sits at the counter, drowning a plate of pancakes in
maple syrup. She begins scarfing them down.
AMY
(To the waitress)
Could I also get a plate of corned
beef hash and a bowl of water?

EXT. DINER - MOMENTS LATER

Amy sits on curb, reading her SAT Study Guide while feeding
the corned beef hash to Ginger. The bowl of water sits on
the ground beside them.
CUT TO:
Moments later, Amy strips off her jacket and STUFFS it in
her backpack.

She re-affixes the safety pin. It holds... but just barely.

EXT. DESERT HIGHWAY - EARLY AFTERNOON

Amy continues down the highway with Ginger, thumb out, as

cars speed past her.
A pickup truck slows down as it passes. The DRIVER blasts
the horn and yells out the window:

DRIVER
Off the road, whore!
AMY
Fuck you, asshole!

Amy throws the driver the bird, and suddenly the safety pin
on her backpack SNAPS and all of her belongings pop out and
spill across the side of the road.

(CONTINUED)
CONTINUED: 5.

AMY
God damn it!
Amy drops to her knees and begins collecting her things,
stuffing them back in the bag.

As she’s doing this, the blue Datsun F-10 speeds past...

then slows to a stop further up the road.

INT. DATSUN

Rodney sits in the driver’s seat. He adjusts the rear view

mirror to get a better look at Amy. Stares at her as she
gathers her things, considering his options.

EXT. DESERT HIGHWAY

Suddenly, aware of it’s presence, Amy glances up at the car,
suspicious.
After a moment, the Datsun begins to BACK UP.

Amy stands as it pulls up next to her. Rodney leans over and

cranks down the passenger’s side window.
RODNEY
Looks like you’re in a bit of
trouble.
Amy nods.
RODNEY
Where you heading?

AMY
L.A..
Rodney checks the clock on the dashboard. Pretends to
deliberate.
RODNEY
Sure. Why not. Hop in.
Amy puts Ginger in the backseat, then hops in the front, and
the car rolls on down the road.
 6.

TO BLACK.

INT. SHERYL’S APARTMENT - MORNING, 1978

SHERYL LEE-ELLIS (mid-20s) stands in her living room, pacing
anxiously, clearly upset. When she turns to the person off
screen, she speaks with a desperation that betrays a
lifetime of dismissal and neglect.

SHERYL
"You wanna go? Go! Fine, get out of
here. I don’t give a crap. Pack
your bags and walk off the end of
the Earth for all I care. Jesus,
would you look at this place? It’s
a mess. I don’t know what it is, I
can never seem to keep things
together. You spend three hours
cleaning a house, then it takes ten
minutes to undo it all. Sometimes I
think "What’s the point?" Y’know? I
get the urge to just give up. But,
I couldn’t live in a sty. My mother
used to just throw her cigarette
butts out the kitchen window. You
believe that? Had an ashtray shaped
like a cat and when it got full
she’d toss them right out. It’s
amazing how many people can just
Live Like That! Sheets unwashed,
dishes a mess. And what’s even more
amazing is that I didn’t turn out
like that too. Because I think it
can go either way. Like, you see
your folks do something and even
though you think “That’s not right,
I don’t want to be like that,” you
do it anyway. You just do it.
Because you’ve lived with it for so
long. But not me. I did the exact
opposite. I fought like hell to be
different from them. I knew even
back then that I wanted to be
something different. I wanted to do
something with my life. And I’m
doing it! I am! I’ve got you,
Lenny. I’ve got a husband; a man in
my life who’s good to me. Because
if you got that, you don’t need
anything else.
(Pause)
You wanna go? You’re not going.
Because I’m gonna fight for you.
(MORE)
(CONTINUED)
CONTINUED: 7.

SHERYL (cont’d)
I’m gonna fight for us. Not because
you’re worth it, but because I am."

CAMERA PANS OVER to the PERSON OFF SCREEN and we see that
Sheryl has been talking to her reflection in a mirror.
Sheryl stops talking, instantly breaking character.
Suddenly, she is a different person. Calm, confident,
methodical. An actress who is serious about her craft.
She crosses to her dresser and picks up some pages of a
SCRIPT. Repeats her last line, changing the emphasis.
SHERYL
(Reading quietly)
"Not because you’re worth it, but
because I am--"
"Because I am."
"Because I am."

Sheryl looks up at the clock on the wall, checks it against

her watch: Time to go.

EXT. SHERYL’S APARTMENT, HOLLYWOOD - MOMENTS LATER

Sheryl steps out of her apartment-- a small, stucco

building-- and crosses the street to her shitty little
Chevrolet Chevette, red paint chipping away.
On the curb out front is a discarded couch with a homeless
man sleeping on it. In the distance, the HOLLYWOOD HILLS
loom large, seeming to look down on the people below.
SUPER:
LOS ANGELES, CA
September 1978

She hops in, turns on the ignition, and the car sputters to
life.

INT. CASTING OFFICE - MORNING

Sheryl sits in the waiting room beside several other

ACTRESSES who all look more-or-less the same as she does.
Posters of "recent" films hang framed on the wall. Mostly
low-budget horror films: The Touch Of Satan, The Incredible
Melting Man, Orca. Nothing you would want on your resume.
A CASTING ASSOCIATE steps out:

(CONTINUED)
CONTINUED: 8.

CASTING ASSOCIATE
Amber?
One of the other actresses stands and crosses the room.
Sheryl watches her go, then listens as Amber performs the
same monologue through the wall.

INT. CASTING OFFICE - SHORT WHILE LATER

Sheryl is now the last person in the room.

After a moment, the door to the audition room opens and THE
FILM DIRECTOR and another ACTRESS step out, CHATTING
QUIETLY. The Director is clearly flirting with the Actress.

DIRECTOR
I’m parked right around the corner.
Without so much as peeking at Sheryl, they cross the room
and slip out the exit.

Sheryl watches them go, confused. Then:

CASTING ASSISTANT (OS)
Sheryl?
Sheryl turns, sees the Casting Assistant standing in the
doorway to the audition room.
SHERYL
Yeah.
CASTING ASSISTANT
We’re ready for you.
SHERYL
That was the director.
CASTING ASSISTANT
Hm?
SHERYL
I mean, he’s not staying?

CASTING ASSISTANT
He had an appointment to get to.
But we can still tape you.
Sheryl nods, clearly disappointed. But then heads into the
audition room anyway.
 9.

EXT. HIGH RISE - AFTERNOON

Sheryl pulls into a parking garage below a 20 story high
rise in downtown L.A..
Outside, a small group of protesters hold up signs reading
"STOP the BRIGGS initiative!" A man with a bullhorn leads a
chant: "Hey, hey! Ho, ho! Homophobia’s got to go!" Nearby,
some television cameras film the demonstration.

INT. STAIR WELL - MOMENTS LATER

Sheryl takes the stairwell up, her bag slung over her
shoulder, and goes through a door to...

INT. FIRST FLOOR - CON’T

...an entry area with an unmanned information desk and TWO
DOORS on opposing walls. Above the info desk is a sign that
reads AMERICAN THREADS, INC..

Sheryl checks a hand-written note to make sure she’s in

right place.
SHERYL
Hello?

No response.
Sheryl crosses to one of the doors and peaks inside.
Behind the door is a vast, open FACTORY FLOOR with DOZENS of
black and brown women sitting behind tiny desks assembling
lingerie.
KOKO(OS)
Excuse me?

Sheryl looks back, sees a blond 20-something standing behind

her. Let’s call her KOKO.
KOKO
Can I help you with something?

SHERYL
I’m here for the audition.
KOKO
Come with me.
 10.

INT. ELEVATOR - MOMENTS LATER

Sheryl stands beside Koko as the elevator makes it’s way up
through the building. After a moment, there’s a DING and the
doors open.

EXT. LOFT - CON’T

Sheryl steps out of the elevator into a large futurist loft

and waiting area. All of the furniture is made of sleek
plastics and high-tech materials. Prints of women in
lingerie adorn the walls.
At the far end of the room, several other YOUNG WOMEN sit,
waiting to be seen.
KOKO
Can I get you a water?
SHERYL
No, thank you.
KOKO
Cappuccino?
SHERYL
I’m all set.
Sheryl takes a seat and Koko leaves.
After a moment, Sheryl looks over and sees a YOUNG MODEL
sitting beside her, her body trembling. All the women in the
room look young, but she looks particularly young.
SHERYL
Doing okay?
YOUNG MODEL
Hunh?
Sheryl gestures to her legs.
YOUNG MODEL
Oh, yeah, no. I’m just...

SHERYL
New to town?
YOUNG MODEL
(Nods)
My mom and I moved here a few weeks
ago.

(CONTINUED)
CONTINUED: 11.

SHERYL
Your mom?
YOUNG MODEL
Yeah. I’m sixteen... turning
sixteen. So, y’know. She’s waiting
in the car right now.
Sheryl smiles, sadly.
YOUNG MODEL
Do I actually... I mean... when I
get in there, do I just undress,
or--?
SHERYL
I mean, it’s a lingerie add, so--

YOUNG MODEL
Yeah, no. Sorry. That was a stupid
question.
Little pause.

SHERYL
You don’t have to do anything you
don’t want to.
The Young Model studies Sheryl, trying to decide if she
believes her. A look crosses her face like she thinks Sheryl
is deliberately giving her bad advice to get the job for
herself.
YOUNG MODEL
Yeah.

Suddenly, Koko reappears.

KOKO
Tiffany?

The Young Model looks up hopefully.

KOKO
We’re ready for you.

Tiffany stands and follows Koko into the other room. The
door shuts behind her with a soft click.
 12.

INT. THEATER STAGE - LATER THAT NIGHT

In a small black box theater, Sheryl rehearses a scene from
Jean Genet’s The Maids with another actress.
The THEATER DIRECTOR (male, 30s; let’s call him DAVID) and
STAGE MANAGER (female, 20s) sit, taking notes.
ACTRESS
"Speak more softly, please, please.
Speak-- speak of Madame’s
kindness."
SHERYL
"Her kindness, is it? It’s easy to
be kind and smiling and sweet-- ah!
That sweetness of hers-- when
you’re beautiful and rich. But what
if you’re only a maid? The best you
can do is give yourself airs while
you’re doing the cleaning or
washing up. You twirl a feather
duster like a fan. You make fancy
gestures with the dishcloth. Or,
like you, you treat yourself to
historical parades in Madame’s
apartment--!!"
Suddenly, mid-speech, the lights in the building go out.

DAVID
Fuck!
SHERYL
Um, David--?

DAVID
Hang tight everyone. Mitch check
the circuit breaker. Shelly could
you get the building manager on the
line?
STAGE MANAGER
On it.
DAVID
Actors, take five.
 13.

EXT. THEATER - SHORT WHILE LATER

Outside, the actors stand around chatting and smoking.
Sheryl stands a short distance away from the others,
studying her lines.

Suddenly, David steps out, says something to the other

actors. They nod and take off down the street.
David turns and approaches Sheryl.

DAVID
We’re gonna go to the Holler for a
drink.
SHERYL
So we’re done for the night?

DAVID
Power’s still out.
SHERYL
What happened?

DAVID
I dunno. Some bullshit with DWP.
We’ll take care of it Monday.
SHERYL
(Under her breath)
Unbelievable.
DAVID
Hey. Rehearsal isn’t over. We’ve
just moved locations. C’mon.

Sheryl looks like she doesn’t buy it, but either can’t think
of an excuse to bail or doesn’t have the energy to fight
him. She nods, acquiescing.

EXT. BAR - LATER THAT NIGHT

A hole-in-the-wall bar in Hollywood. A group of New Age-y
artists loiter out front, smoking and talking about
Halloween (1978): "I heard they shot it in Pasadena for like
$300,000." "That’s crazy."
 14.

INT. BAR - SAME

Inside, Sheryl sits at the counter nursing a beer and
looking bored while David waxes poetic about the theatre.
The other actors and crew are across the bar.

DAVID
I wanna make art that wakes people
up from their dead-end lives,
y’know? ’Art that just grabs them
by the collars and shakes the shit
out of them and says "Live! Live!"
Sheryl’s almost hasn’t noticed it, but David is HOLDING HER
HAND now, his thumb drawing little circles on her skin.
DAVID
Live theater is about connecting
with people. It’s about contact.
It’s about touch.
Sheryl looks up at him, brow furrowed.

DAVID
(Grinning)
Know what I mean?

EXT. STRIP MALL - FOLLOWING MORNING

Sheryl crosses the parking lot toward a MASSAGE PARLOR

that’s wedged between a liquor store and a donut shop.
As she approaches, she sees a WELL DRESSED MAN talking into
a pay phone.
WELL DRESSED MAN
Yeah, no, I think you’ve really got
something here. I mean, with the
right team supporting you-- because
you’re only as good as the people
around you, y’know what I’m saying?
I think--
The Well Dressed Man looks up, sees something coming his
way.

WELL DRESSED MAN

Hey man, I’m getting another call.
I gotta take this. Talk later?
Ciao.

(CONTINUED)
CONTINUED: 15.

Calmly, the well-dressed man hangs up the phone and lays

face down on the sidewalk. Suddenly, a POLICE CRUISER skids
into the parking lot. TWO COPS jump out, cuff the man, throw
him in the back of cruiser, and peel off.

Sheryl looks at this like she can’t believe what she just
saw. Goes inside the massage parlor.

INT. MASSAGE PARLOR - SHORT WHILE LATER

In a private room, Sheryl gives a deep tissue massage to

a MAN (40s) laying naked, face down on the table, his ass
covered by a thin sheet.
The room is dark and soft music plays out of wall-mounted
speakers.

SHERYL
How’s that?
NAKED MAN
Good. Could you do the tops of my
legs?
SHERYL
Um. Okay.
NAKED MAN
I have really bad shin splints.
SHERYL
Of course.

The Naked Man roles over. The sheet begins to slip from his
lap.
SHERYL
Oops. Don’t lose this.

She corrects the sheet.

NAKED MAN
Thanks.
Sheryl begins rubbing the man’s lower legs. He moans.

SHERYL
How’s that?
NAKED MAN
Could you go a little higher?

(CONTINUED)
CONTINUED: 16.

Sheryl nods. Goes a little higher. Working the area around

his knees. Trying to keep her eyes away from his midsection.
NAKED MAN
A little higher.

Sheryl slowly moves up to his thighs, her face a mask of

professionalism, trying not to show how uncomfortable she
is.
NAKED MAN
Higher.
Sheryl stops what she’s doing. She can’t go higher without
basically giving the guy a...
Understanding suddenly, she looks up towards the Naked Man.

NAKED MAN
I’ll give you ten dollars to jerk
me off. Twenty if you put it in
your mouth.

Sheryl freezes, like a deer caught in headlights. She looks

frightened and embarrassed and totally unsure of how to
handle this. Finally:
SHERYL
Excuse me.

She steps out of the room.

INT. MASSAGE PARLOR, BREAK ROOM - MOMENTS LATER

Sheryl sits alone in the break room, still upset from her
encounter with the naked man.
After a moment, her BOSS (an older Vietnamese man) peaks in:

BOSS
Sheryl, someone’s on the phone for
you.
The boss slips out and Sheryl crosses to a wall-mounted
telephone. Answers it.

SHERYL
Hello?
 17.

EXT. CAFE - FOLLOWING DAY

Sheryl sits at table outside of a bohemian cafe, sipping a
cup of coffee. The cafe is empty save one other guest-- a
beleaguered screenwriter scribbling feverishly into a
tattered notebook and mouthing his dialogue to himself.

Sheryl looks across the street towards a fancy bistro,

swarming with well dressed guests. A Porsche 911 pulls up
out front, and a WOMAN (20s) who looks like a model or an
actress steps out. The woman hands her keys to the valet,
then crosses to a group of friends who greet her with hugs
and kisses.
Sheryl stares at the woman like she’d give just about
anything to trade places with her.

Suddenly, a middle-aged woman in a pantsuit approaches. This

is HELEN (50s), her agent.
HELEN
Hey, sorry I’m late. Got stuck on a
conference call with some people at
Fox. How you doing?
A waitress steps up.
HELEN
Black coffee.

WAITRESS
Can I get you some menus?
SHERYL
Yes, please.

HELEN
(Deadpan)
And while you’re at it, we’ll take
a bucket of lard and straw. Thanks.

WAITRESS
Um...?
The waitress stands there, confused.

SHERYL
I’m fine. Thank you.
The waitress steps away.

(CONTINUED)
CONTINUED: 18.

HELEN
So what’s up? You look like your
dog died.
SHERYL
It’s been a long week.
HELEN
How’s that?
SHERYL
I don’t really wanna--
HELEN
C’mon, spit it out: Guy troubles?
SHERYL
Kinda?
HELEN
No shit. When isn’t it? Here, let
me set you up on a date. I just met
this young actor and I swear to
God, he’s Adonis made flesh. Just
signed a three picture deal with
Paramount--
SHERYL
I just want to work.

HELEN
I said he’s handsome. I didn’t say
it would be fun.

SHERYL
Helen, I--
HELEN
Oh, how’s the play going? Let me
know when it opens. I have a new
casting director I want you to
meet--
SHERYL
I need to talk to you about
something.

HELEN
What?
SHERYL
I can’t do this anymore.

(CONTINUED)
CONTINUED: 19.

HELEN
Do what?
SHERYL
Any of it. I’m working too hard to
be accomplishing so little, and
there are zero signs that things
will get better. I think I want to
move back to Pennsylv--
HELEN
Stop. Hold that thought.
Helen reaches down into her bag and removes a sheet of
paper. Slides it across the table.
Sheryl unfolds it. There’s an address written down.

SHERYL
What’s this?
HELEN
ABC Studios at Vine Street Theater
in Hollywood.
SHERYL
Why are you giving it to me?
HELEN
Why do you think?
SHERYL
A television show?
HELEN
Don’t say I never did anything for
you.
SHERYL
But I didn’t audition.

HELEN
You don’t have to. They’ve seen
you. They want you.
SHERYL
What’s the show?
HELEN
You’re the Guest Star. It’s gonna
be great.

(CONTINUED)
CONTINUED: 20.

SHERYL
Fine, but what’s the--?
HELEN
You’re due on set next Friday at
8:00.

SHERYL
Helen. What show is it?

INT. SHERYL’S APARTMENT - LATER THAT NIGHT

THE DATING GAME plays on Sheryl’s tiny television set at
home.
Sheryl watches despondently as the BACHELORETTE asks the
BACHELORS a series of mind-numbingly insipid, innuendo-y
questions. It’s heart-breaking.
After a moment, the PHONE RINGS.

EXT. CAFE - EARLIER THAT DAY

Back to Sheryl and Helen:
SHERYL
Helen.

HELEN
It happens all the time.
SHERYL
I can’t--

HELEN
You can.
SHERYL
It’s not acting--

HELEN
It’s a way to get you seen.

INT. SHERYL’S APARTMENT - LATER THAT NIGHT

Sheryl answers the phone:
SHERYL
Hello?

(CONTINUED)
CONTINUED: 21.

The voice of an OLDER WOMAN responds on the other end of the

line. This is Sheryl’s MOM (60s).
MOM (OS)
You answered this time. Have the
stars aligned or do you need money
again?
SHERYL
Hi Mom.

EXT. CAFE - EARLIER THAT DAY

HELEN
It’s not a sit com.

SHERYL
Yeah. Sitcoms have scripts.
HELEN
So will this.

SHERYL
It’s a game show. It’s
embarrassing.
Helen reaches across the table and takes Sheryl’s hand.
Squeezes it gently.

HELEN
It’s work.

INT. SHERYL’S APARTMENT - LATER THAT NIGHT

MOM (OS)
Your father’s birthday was this
week. Did you send a card?
SHERYL
Yeah, it’s in the mail.
MOM (OS)
(Not buying it)
Uh huh.

SHERYL
What?
 22.

INT. MOM’S HOUSE - SAME

CAMERA PANS TO TAKE IN THE HOUSE THAT SHERYL GREW UP IN: A
wooden farmhouse with cheap antiques and kitschy
decorations. One look at it should make you want to run away
to L.A..

WE PAN THROUGH THE LIVING ROOM where Sheryl’s DAD (60s)

sleeps in a recliner. He looks very old and very weak. The
TV flickers in front of him.

EVENTUALLY, WE LAND ON Sheryl’s MOM (60s), standing in the

Kitchen.
SHERYL (OS)
I put it in the mail on Monday. I
got him a card and a book on
Gettysburg.
MOM
For an actress you’re a shitty
liar.

SHERYL (OS)
I’m not lying--
MOM
Mike and Betty chipped in on a
riding lawnmower. Bonnie got him a
new tackle box. There’s nothing
practical about a card.
SHERYL
I told you. I got him a book.

MOM
It’s a gesture that the man is in
your thoughts. And if you can’t
even manage that, then what’s the
point?

SHERYL (OS)
Is this really what you want to
talk about?
MOM
I’m dying, Sheryl.
 23.

INT. SHERYL’S APARTMENT

Sheryl looks up. Suddenly concerned.
SHERYL
(Disbelieving)
What?

EXT. CAFE - EARLIER THAT DAY

HELEN
If you don’t want to do the show,
don’t. I can’t force you,
particularly if your heart isn’t in
it anymore.

SHERYL
I didn’t say that.
HELEN
Look: Is it Shakespeare? No. But
it’s a way in. And that’s what you
need.
Sheryl starts to say something-- Stops, looks away.
Frustrated.
HELEN
Who knows. You might even have fun.
SHERYL
...you said there’s a script?

INT. SHERYL’S APARTMENT - LATER THAT NIGHT

MOM (OS)
I’ve been having pains in my chest.

Sheryl looks like she’s heard this before; relaxes.

SHERYL
So see a doctor.
MOM (OS)
"A doctor." He doesn’t know what
he’s talking about. It’s my body. I
know.
 24.

INT. MOM’S HOUSE - SAME

Mom waits for a response. When none comes, she softens.

MOM
Y’know, your room’s ready. If you
ever wanted to come back for a
visit.

INT. SHERYL’S APARTMENT

SHERYL
Yeah. Thing’s are kind of busy
right now.

A pause.
MOM (OS)
A boy?

Sheryl looks back at the TV. Watches as the end credits roll
on The Dating Game.
SHERYL
(Equivocating)
A job.

Sheryl reaches for the nob on the television and changes the
channel--
FLASHBACK TO:

INT. SCHULTZ HOUSE, KITCHEN - MORNING, 1968

CU: A television screen switches channels. A COMMERCIAL
APPEARS wherein a man dressed as THE DEVILS laughs
maniacally while holding a bag of Lays Potato Chips.

THE DEVIL
Lays Potato Chips. Bet you can’t
eat just one.

WE CUT WIDE TO REVEAL the television sitting on a kitchen

counter, while the SCHULTZ FAMILY moves around, getting
ready for their day. The family consists of:
AMY, ten years younger than when we last saw her. Now a
precocious 8 year old. She drowns her pancakes in maple
syrup, just like she did in the scene at the diner.
Meanwhile, Amy’s mom, Elaine, (30s now, dressed in a
STEWARDESS’ UNIFORM) tidies the kitchen.

(CONTINUED)
CONTINUED: 25.

Amy’s dad, Marty (30s, in business attire) searches for his

keys.
GINGER, their yellow lab pads around the kitchen.
Elaine snatches up the syrup.

ELAINE
Okay, that’s enough.
AMY
Did you fix the zipper on my
backpack?
ELAINE
I didn’t.

AMY
Maaawwwwm...
ELAINE
I’ll fix it when I get back. Just
don’t load it so full.

MARTY
Have you seen the car keys?
ELAINE
They’re on the television.

Marty goes into the LIVING ROOM.

Amy feeds Ginger some of her pancake under the table.
MARTY (OS)
They’re not here.
ELAINE
Then I don’t know.
MARTY (OS)
God damn it.
Amy feeds Ginger some more pancake.
Through the doorway, we see Marty find his keys in his coat
pocket. Looking embarrassed, he comes back into the kitchen:
ELAINE
(Re: Keys)
Where were they?

(CONTINUED)
CONTINUED: 26.

MARTY
(Lying)
They fell between the couch
cushions.

Elaine turns to Amy, crouching down to eye level.

ELAINE
Where am I gonna be tonight?
AMY
Chicago?
ELAINE
And when am I coming home?
AMY
Tomorrow?
ELAINE
And who do I love the most?

AMY
Ginger?
Elaine smiles and pinches Amy’s nose.
MARTY
We gotta go.
ELAINE
See ya Spaghetti.
AMY
Bye Meatball.
Elaine kisses her daughter on the cheek.
MARTY
Don’t be late for school.

And with that, Marty and Elaine are out the door.
Amy sits there, alone, still picking away at her pancakes.

EXT. SCHULTZ HOUSE (OLD) - MORNING

A simple ranch home in West Hollywood, complete with a white
picket fence and a sprinkler watering the minuscule front
yard.

SUPER:

(CONTINUED)
CONTINUED: 27.

WEST HOLLYWOOD, CA
September 1968

Amy steps out front-- her backpack hanging precariously

open, books threatening to spill out-- and closes the door
behind her.

EXT. SCHULTZ NEIGHBORHOOD - SHORT WHILE LATER

WE FOLLOW Amy walks down the sidewalk.

Up close we can see that her name is embroidered on the
backpack.

As she walks, a SCHOOL BUS passes her by. Some kids wave out
the window towards her and Amy waves back. The school bus
rounds a corner and disappears down another street.

EXT. ADJACENT STREET - MOMENTS LATER

As Amy walks TOWARDS THE CAMERA a BEIGE PLYMOUTH rolls up

behind her, following slowly.
Amy shifts her backpack from one shoulder to the other and
suddenly the broken zipper SPLITS OPEN and all of her books
TUMBLE OUT on the side walk.
Amy groans and kneels to pick them up.
RODNEY (OS)
Looks like you’re in a bit of
trouble.
Amy looks back and sees RODNEY (in his 20s) standing on the
sidewalk behind her, his beige Plymouth idling beside him. A
CAMERA is slung around his neck.

It’s clear from Amy’s expression that she doesn’t recognize

him.
Rodney crosses to her and squats down, examining the
backpack.

RODNEY
The zipper broke?
Amy nods.

RODNEY
You’re Amy, right?
Amy looks surprised.

(CONTINUED)
CONTINUED: 28.

AMY
How did you know?
RODNEY
You don’t remember me?

Amy shakes her head no.

RODNEY
Really? I’m a friend of your
parents. We met at the Christmas
party.
AMY
(Confused)
We’re Jewish.

RODNEY
No, not at your house. Your dad, he
works at the...
Rodney Snaps his fingers as though trying to remember the
name of a company.

RODNEY
...whatsitcalled?
AMY
Anderson Windows.

RODNEY
Yes. That. I work with their
advertising department.
Photographing the, um, windows.
(Gestures to the camera)
See?
Amy looks at the camera, clearly dubious.

INT. NEIGHBORING HOUSE - SAME

A NEIGHBOR peeks through the blinds at Rodney and Amy,
talking out on the sidewalk.
RODNEY
Yeah, he told me all about you.
Said you’re one tough cookie.
Rodney gives Amy a playful shoulder punch.
 29.

EXT. ADJACENT STREET - SAME

RODNEY
In fact he called me just a little
bit ago and asked if I’d give you a
ride to school. Said you were late.
Are you late?
Amy stares at Rodney, evidently not trusting him.
Suddenly, a NEIGHBOR (female, 40s) steps out onto the
sidewalk:
NEIGHBOR
Amy? Everything okay?
Rodney looks up-- clearly caught.

RODNEY
Catch ya later.
Rodney smiles, winks at her, then strides back to his car.
SPEEDS OFF.

Amy watches him go.

FLASH-FORWARD TO:

EXT. ABC STUDIOS, PARKING LOT - BACK TO PRESENT, DAY

Sheryl hurries across the parking lot dragging a SUITCASE
behind her. Outside the wind blows in heavy gusts.
Sheryl enters...

INT. ABC STUDIOS - CON’T

...the studio where she’s greeted by the show’s contestant
coordinator, LISA (30s).

LISA
Sheryl?
SHERYL
Yeah, hi. I’m so sorry I’m late.
There was an accident on the 101
and the traffic was just--
LISA
No no no, you’re fine. You’re
totally fine. Right this way. Gosh,
(MORE)
(CONTINUED)
CONTINUED: 30.

LISA (cont’d)
it’s really blowing out there
today.
SHERYL
I heard that it might rain later.
Lisa helps Sheryl with her suitcase and leads her down a
LONG HALLWAY.
LISA
Do you need anything? Can I get you
coffee? Water?
SHERYL
No, thank you.

LISA
Have you eaten?
SHERYL
I’m okay. Thank you.

LISA
I saw on your information card that
you’re from Pennsylvania.
SHERYL
Hm? Oh, yeah.

LISA
Whereabouts?
SHERYL
Scranton.
LISA
Oh cool--
SHERYL
Well. Near Scranton.
LISA
I went to Penn State.
SHERYL
"Go Lady Lions."
Lisa chuckles and they keep walking.
After a moment:

(CONTINUED)
CONTINUED: 31.

SHERYL
(Interjecting)
Oh, I wanted to ask: Do you know
when I’ll get my script?

LISA
(Not understanding)
Sorry?
SHERYL
I was told there would be a script.

LISA
You mean the cue cards?
SHERYL
(Clearly lying)
Yeah.
LISA
They’re in the dressing room.
They continue walking. Sheryl looks disappointed.

INT. DRESSING ROOM - MOMENTS LATER

Sheryl LAYS DOWN HER SUITCASE. Unzips and opens it. Removes
several house dresses-- pretty, but nothing fancy.

Beside her stands the head of wardrobe, BRUCE (30s), looking

unimpressed.
BRUCE
This is it?

SHERYL
They said to bring three options.
BRUCE
Come with me.

INT. WARDROBE - MOMENTS LATER

Bruce opens a set of double doors leading to a massive
closet. Expensive outfits hang in long rows. Any one of
these is worth more than Sheryl’s entire wardrobe.
Sheryl stands there, eyes wide, stunned by the glut and
glamor of it all.
 32.

INT. DRESSING ROOM - MOMENTS LATER

Lisa leads Sheryl back into the dressing room, now dressed
in a hip cocktail dress-- leggy with a high neckline. Sexy,
but tasteful.

At the far end stands the hair and make-up team: MARILYN and
GRETCHEN (40s, both).
CUT TO:

Sheryl sits, half-studying her CUE CARDS, while Marilyn and

Gretchen work on her, passing a joint back and forth between
them. Sheryl looks nervous.
Music pours out of a radio-- something funky and low-key and
relaxing, like "Here, My Dear" by Marvin Gaye.

MARILYN
They’re idiots. All of them.
GRETCHEN
I don’t know where they get them
from.
MARILYN
Had this one guy on the show. The
"filmmaker--"

GRETCHEN
Jesus Christ--
MARILYN
And he’s beautiful. But seriously:
The IQ of a lug nut.
(offers Sheryl the joint)
Want some?
SHERYL
I’m okay.

MARILYN
(Without skipping a beat)
Shows up with his brother-- his
identical twin brother. And he sits
in the chair and we’re working on
him, asking questions. Trying to
put him at ease, whatever. And he
says he’s making a movie.
GRETCHEN
"An independent film," he called
it.

(CONTINUED)
CONTINUED: 33.

MARILYN
And he starts describing the
story--
GRETCHEN
Something about time travel?
MARILYN
I don’t remember. And he says,
gesturing back at his brother:
"Yeah, we’re both acting in it. I’m
the star, he’s playing my best
friend."
(Looks dumbfounded)
Your identical twin brother is
playing your best friend?
Brilliant. Love it. When can I see
it?
Gretchen bursts out laughing. Sheryl laughs with her,
loosening up.
MARILYN
I mean, is it too much to ask for a
great looking guy who’s not a moron
or a serial killer? Is that too
much?
Suddenly, the door at the back of room swings open and Lisa
enters with ED BURKE (50s), the host of the show. He’s
dressed in a hip 70s suit and rose colored glasses, both of
which look wildly incongruous on a man that’s oh-so-clearly
a square.

Gretchen hides the joint behind her back.

ED
Oh my God, look at all the
beautiful women. How’s everyone in
here doing today?

GRETCHEN
Oh, knock it off.
ED
(Quietly, to Gretchen)
Put that skunk-weed away, it reeks.
Turning to Marilyn:
ED
My darling.

(CONTINUED)
CONTINUED: 34.

MARILYN
(Unimpressed)
Hey Ed.
ED
So this is Sheryl Lee-Ellis?
SHERYL
This is.
ED
They tell me you went to Julliard.
SHERYL
Columbia, actually.
ED
(Ignoring the clarification)
That’s terrific. So you must be a
real music freak, hunh?
SHERYL
I--?

ED
What do you think of this?
Gestures to the music playing on the radio.

ED
You like it?
SHERYL
It’s cool.

ED
Yeah, women love that black sound.
I don’t know what it is. I’m more
of classics-guy myself. Bing
Crosby, Tony Bennett, Perry Como. I
mean, you wanna talk "soul," listen
to Perry Como sing Moonglow.
(Puts a hand to his chest)
That’s soul.
(Little pause)
I want you to do me a favor
tonight. Would you?
SHERYL
What is it?

(CONTINUED)
CONTINUED: 35.

ED
So you’re an intelligent girl,
anyone can see that. But when you
get out on the stage, don’t act too
smart, okay? The guys’ll feel
intimidated. What we need from you
is just to smile and laugh. Got it?
SHERYL
Um, okay?

ED
Is this the dress you’re wearing?
SHERYL
I think so.

ED
Hey Bruce, can we get her into
something a little skimpier? This
outfit you got her in, it’s no
good.

Ed turns back to Sheryl, puts a hand on her shoulder.

ED
Never trust a fag to do a real
man’s job. You’ve got a great body,
don’t be afraid to show it off.

Ed draws little circles on Sheryl’s skin with his thumb. He

smiles creepily.
SHERYL
I...
Suddenly, ED’s ASSISTANT peaks into the room:
ED’S ASSISTANT
Mr. Burke, your wife’s on the
phone.
Ed nods to the assistant then turns back to Sheryl,
unphased.
ED
(With a wink)
I’ll see you on stage.
And with that, Ed leaves. Sheryl sits, looking like maybe
this wasn’t a good idea.
 36.

EXT. PARKING LOT - SAME

A station wagon pulls into the lot, parks. The doors open
and the people inside spill out. There’s a YOUNGER COUPLE in
the front seats, and an OLDER COUPLE in the back.
The sky has darkened and begun to drizzle.
The younger woman (the driver) is terse and irritated,
clearly overwhelmed by her boyfriend’s parents. Her name is
LAURA (25); she’s the one in this group that we’ll be
following.
As for the others, let’s call her boyfriend KENNY (26), and
his parents MR. and MRS. SNOW (50s). Mr. Snow has a camera
hanging around his neck and his wife clutches a brochure.
Clearly tourists.
R. SNOW
This is it?

MRS. SNOW
It doesn’t look like a television
studio.
KENNY
How would you know, Mom? You’ve
never been to one.
MRS. SNOW
It just looks so drab. What you see
on TV, there’s always these big
lights and stages--
KENNY
What are you talking about? There
will be lights inside.

MRS. SNOW
Yeah, but still--
KENNY
This is just the parking lot.

MRS. SNOW
(To her husband)
Doesn’t it look drab to you?
RM. SNOW
Do we need the umbrellas? It looks
overcast.
Laura lights a cigarette.

(CONTINUED)
CONTINUED: 37.

KENNY
Seriously? You gotta light that
now?
LAURA
What?
Kenny takes it out of her mouth, throws it on the ground and
stamps it out.
LAURA
Hey!
KENNY
C’mon, we’re gonna be late. This
way.

CAMERA LEADS the group as they CROSS to the main building,

Laura and Kenny in the front, and Mr. and Mrs. Snow behind
them.
LAURA
Seriously, don’t grab things out of
my fucking mouth.
KENNY
My mom’s allergic.
LAURA
Just because she disapproves of
something doesn’t make her allergic
to it--
KENNY
Which door do we go in?
MRS. SNOW
I can’t find my ticket.
RM. SNOW
I have your ticket... Wait...
Where’d they go--?
KENNY
Calm down. I have the tickets.
(To self)
Jesus fucking Christ.
Suddenly, RODNEY WALKS BY IN A BROWN SPORTS JACKET. Laura
sees him and looks immediately frightened.
No one else notices.

(CONTINUED)
CONTINUED: 38.

LAURA
Kenny.
KENNY
Alright, fine, I’m sorry I took
your damn cigarette, okay? Now can
we just get through today? You can
yell at me later tonight, but for
right now can we just try to have a
good time? If not for us, then for
my parents? Please, can we just do
that?
LAURA
(Still stunned)
...okay.

KENNY
Thank you.
They head inside the main building.

INT. DRESSING ROOM - SHORT WHILE LATER

Sheryl looks at herself in the mirror.
Her hair and make-up are done, and she’s now in yet another
outfit: a slinky, shiny, liquid gold dress with spaghetti
straps. Very revealing.
Sheryl stares at herself, evidently, with mixed feelings.
GRETCHEN
What do you think?
SHERYL
It’s... nice.
Suddenly, LISA pokes her head into the room.

LISA
We’re ready for you.

INT. BACKSTAGE - MOMENTS LATER

Lisa leads Sheryl backstage.

LISA
(Whispering)
Ed’s introducing the Bachelors now.
When he’s done--

(CONTINUED)
CONTINUED: 39.

SHERYL
Wait. He’s already started?
LISA
Watch your step.

SHERYL
Oh. Thank you.
LISA
You’re in through here.

Sheryl steps inside...

INT. ISOLATION BOOTH - CON’T

...a small black room with doors on two walls and a red
light bulb on the ceiling.
LISA
When he’s done, the light will go
on and that door will open. Then
you just walk on and cross to Ed.
SHERYL
The stage is through here?
LISA
That’s right.
SHERYL
Okay.
LISA
You good?
Sheryl nods, still nervous.
LISA
Great. Have fun.

Lisa closes the door and takes off.

Sheryl stands there, clutching her cue cards. She closes her
eyes and takes several deep breaths.

SHERYL
It’s a job. It’s a job. It’s only a
job.
After a moment the LIGHT BULB snaps on and the door opens.
Sheryl steps out of the Isolation Booth...
 40.

EXT. TELEVISION STUDIO / STAGE

Sheryl steps out onto the stage, a Vanna White smile
plastered across her face.
The room fills with the sound of applause. Sheryl looks out
towards the audience, who cheers her on from bleacher-style
seating. In front of them are several television cameras
manned by operators.

A LARGE DIGITAL CLOCK hangs towards the rear of the room,

above the audience, counting down the time on the show:
00:12:45... 00:12:44... 00:12:43...
Her plastered-on-smile masks a kind of dazed bewilderment--
"Oh my God, this is really happening."
ED
Sheryl is an aspiring actress from
Scranton, Pennsylvania. She used to
work massaging feet but quit when
her boss asked her to work her way
up.
The audience ROARS with laughter.
Sheryl WINCES at the sexist joke, but holds her smile.

ED
Sheryl moved to L.A. after
graduating from college, and is
joining us tonight to find a Romeo
to complement her Juliet.
(Crosses to Sheryl)
Beautiful. What a knock out. How
you doing Sheryl?
SHERYL
Doing well.
ED
Good, glad to hear it. So the rules
of the game are simple: There are
three bachelors on the other side
of the partition. You can ask them
anything you want except for name,
age, and occupation. And when the
game is over, you just pick which
one you’d like to go out with.
Sound good?

Sheryl looks over towards the partition dividing her from

the bachelors. Something about it feels ominous. Like it’s
hiding something dangerous.

(CONTINUED)
CONTINUED: 41.

SHERYL
It does.

ED
Alright, well enough of my gabbing,
let’s hear from the fellas.
Bachelor #1, would you please say
hello to Sheryl?

BACHELOR #1 speaks from behind the partition.

BACHELOR #1 (OS)
(Nervous; painfully polite)
Hi Sheryl. Pleased to make your
pleasure--

The audience LAUGHS.

ED
Whoa, slow down fella.

BACHELOR #1 (OS)
Oh, no, I mean-- Pleasure to meet
your--
ED
Save that talk for the date.

BACHELOR #1 (OS)
(Trying again)
Pleasure to make your acquaintance.

ED
There we go, third time’s a charm.
Bachelor #2?
BACHELOR #2 (OS)
(Singing)
Helloooooo Sheryl! Sheryl Sheryl
fo-ferrell fananna fanna
fo-ferrell, Fee Fi Fo farrel.
Sheeeerrrrrryyyyylllll! If you
wanna groooove, pick number twooo.

SHERYL
(Disgusted)
Does he always talk like that?
The audience LAUGHS again.

ED
(Re: Sheryl)
I guess we’ll find out. Bachelor
#3, would you please greet Sheryl?

(CONTINUED)
CONTINUED: 42.

BACHELOR #3 (OS)
(Simple; cool)
Hey, how’s it going.
Sheryl smiles, listens as though waiting for something else
from him. When nothing else comes...
ED
Alright Sheryl, so that gives you
an idea of what they sound like.
(Out)
We’ll be right back to play the
game right after this word from our
sponsors.
Sheryl looks out towards the camera, forcing a smile.

Slowly, her eyes drift past the cameras to LAURA, sitting in

the audience amidst the happy faces, appearing terrified and
shaking her head "no."
Sheryl furrows her brow-- puzzled by the Laura’s expression.

Suddenly, from off screen we hear the...

FIRST AD
Alright, and we’re out!
TO BLACK.

STREET PREACHER(OS)
"The sun will be darkened, and the
moon will not give its light..."

FLASHBACK TO:

EXT. EAST VILLAGE, NY - DAY

A PREACHER stands on a street corner with a microphone and
amplifier bellowing his sermon at bypassers.
STREET PREACHER
"The stars will fall from the sky,
and the heavenly bodies will be
shaken. They will see the Son of
Man coming on the clouds of the
sky, with power and great glory. I
tell you the truth, this generation
will certainly not pass away until
all these things have happened."

SUPER:

(CONTINUED)
CONTINUED: 43.

NEW YORK, NY
June 1971
Rodney moves down a busy city street, wearing an NYU shirt,
his camera in hand. He passes by the preacher, ignoring him,
and moves on.

Rodney stops and SNAPS A PHOTO of a PRETTY GIRL crossing the

street.
As she approaches him:

RODNEY
Hey, would you mind if I took your
picture?
The PRETTY GIRL shakes her head and keeps walking.

RODNEY
Please? It’ll just take a second...
(As she walks off)
Okay, I’ll catch ya next time.

CUT TO:
SHORT WHILE LATER: Rodney approaches TWO MORE GIRLS, both in
their late teens.
RODNEY
I love your outfit.
GIRL 1
Me?
RODNEY
Yeah, you. Can I snap a photo?
GIRL 1
What for?
RODNEY
My portfolio. I’m a fashion
photographer.
GIRL 1
(Laughs)
Yeah, right.
RODNEY
I’m serious.

(CONTINUED)
CONTINUED: 44.

GIRL 2
Let’s get out of here.
RODNEY
C’mon. Just one picture.

Rodney SNAPS a picture.

RODNEY
See, that didn’t hurt, did it?

Girl 1 laughs, flattered, but her friend drags her away.

CUT TO:
SHORT WHILE LATER: Rodney is showing an open fashion catalog
to a ANOTHER GIRL.

RODNEY
See: John Burger. That’s me, right
there.
GIRL 3
You took that?
RODNEY
That’s my picture.
GIRL 3
She’s pretty.
RODNEY
No prettier than you.
GIRL 3
(Chuckles, flattered)
Stop it.
RODNEY
My studio’s just around the corner.
Come over, let me take your
picture.
GIRL 3
I shouldn’t.

RODNEY
C’mon. It’ll be fun. I promise.
GIRL 3
My mom would kill me.

(CONTINUED)
CONTINUED: 45.

RODNEY
I can keep a secret if you can.
Girl 3 looks around to see if anyone is watching, then looks
back down at the catalog, as if trying to make a decision.

GIRL 3
How far away is it?

EXT. EAST VILLAGE - NIGHT

Rodney moves down a busy city street. Eventually, he reaches

a NIGHT CLUB. ’Goes inside.

INT. NIGHT CLUB - NIGHT

Rodney grooves on the dance floor. He’s smooth on his feet

and clearly charismatic, moving between a number of
partners.
Eventually, he finds himself dancing with a cute club girl
we’ll come to know as CHARLIE (20s).
CUT TO:

CORNER BOOTH - SHORT WHILE LATER

RODNEY
I just took a class with Roman
Polanski. Have you heard of him?
Charlie shakes her head no.

RODNEY
Made Knife In The Water, Repulsion,
Rosemary’s Baby.

CHARLIE
Nope.
RODNEY
You haven’t seen Rosemary’s Baby?

CHARLIE
I don’t like scary movies.
RODNEY
It’s not a scary movie. It’s a
documentary.

(CONTINUED)
CONTINUED: 46.

CHARLIE
(Laughs)
No, it isn’t.
RODNEY
He told us in class: It’s a
survival guide for life in the
city.
CHARLIE
What can I say? I’m a wimp.

RODNEY
But you’re a flight attendant. You
don’t find that scary? Spending all
your time 30,000 feet above the
earth?

CHARLIE
I think that’s a little different.
RODNEY
How?

CHARLIE
Well, for one, flying is actually
very safe. You’re more likely to
die on the freeway than in the sky.

RODNEY
Fair enough.
CHARLIE
Besides, I figure we’ve all gotta
go sometime. If we crash, we crash.
I just don’t want to spend my life
thinking about it. What’s important
is that I’ve lived. Y’know?
Rodney leans back in his chair, smiles; studying Charlie.

RODNEY
Would you let me take your picture?

EXT. EAST VILLAGE - LATER THAT NIGHT

Rodney and Charlie move down a quiet city street. Rodney’s

camera is slung around his neck.
 47.

EXT. APARTMENT BUILDING

Charlie leads Rodney up the steps to the brownstone where
she lives. She digs out her keys and opens the door.
Behind them, a POLICE CAR drives by. Rodney looks back,
watches it disappear down the street, then turns and goes
inside.

INT. CHARLIE’S APARTMENT - LATER THAT NIGHT

Rodney stands shirtless over Charlie’s CORPSE, holding his

camera in both hands.
Charlie’s body is undressed. Her hands have been tied
behind her back, and there’s a length of rope twisted
tightly around her neck.
Rodney studies the body like a painter examining a work in
progress, moving slowly around the room and studying it from
different angles.

He goes to an OVERTURNED LAMP and sets it up right. Moves it

closer to the body, adjusting the lighting. Rodney holds the
camera up to his eyes and SNAPS A PICTURE.
At some point, Rodney looks up from the corpse and sees his
REFLECTION in the mirror. He studies himself coldly, as
though, for an instant, understanding just how awful he
really is.
FLASH-FORWARD TO:

INT. TELEVISION STUDIO / STAGE - BACK TO PRESENT

PICKING UP WHERE WE LEFT OFF:
FIRST AD (OS)
And we’re at commercial.
The house lights go up, and the crew begin moving quickly
around the stage.
A young woman with a little make-up kit crosses to ED on the
stage. Let’s call her PAM (20s)
ED
Pam, I don’t know what this new
shit you’re putting on me is, but
it won’t stay on my face.

(CONTINUED)
CONTINUED: 48.

PAM
It’s what I always use.
ED
These lights are a hundred degrees.
You need to find something that
won’t wash away when I sweat.
THE CAMERA PANS OVER TO...
Sheryl sitting, looking pensive. Gretchen and Marilyn run
over and begin touching up her hair and make-up.
MARILYN
What’d I tell you? Lug nuts.
GRETCHEN
The last guy didn’t sound bad.
SHERYL
How am I doing?
MARILYN
Great.
GRETCHEN
Fabulous.
MARILYN
"Does he always talk like that?"
SHERYL
I’m worried it was too
condescending.

MARILYN
Did you hear the audience? You had
’em in stitches.
SHERYL
Yeah, no, I know. I’m just trying
to-- You know: What Ed said about
not--
MARILYN
Fuck Ed.

SHERYL
What?
MARILYN
I mean, no disrespect, but fuck
him. This isn’t a sitcom and you’re
(MORE)
(CONTINUED)
CONTINUED: 49.

MARILYN (cont’d)
not coming back next week. What’s
he gonna do? Fire you? You’re
supposed to have fun. That’s the
whole point. So be yourself and say
whatever want.
Sheryl nods, taking in the advice.
SHERYL
Do either of you have a pen?

Marilyn hands Sheryl a pen and she begins to write on her

cue cards.
A female PRODUCTION ASSISTANT (18) steps up with a tray of
waters.

P.A.
Water?
SHERYL
No, thank you.

WE FOLLOW THE P.A. AS SHE CROSSES THE STAGE, MOVING AROUND

THE PARTITION TO THE THREE BACHELORS. This is the first time
we get a good look at them.
Bachelor’s #1 and #2 are new faces. But we’ve seen Bachelor
#3 before: It’s RODNEY.
Rodney sits there, quietly, looking serious and isolated,
while Bachelor’s #1 and #2 chat affably between themselves.

P.A.
Water?
BACHELOR #1
Yes, please, thank you.

BACHELOR #2
Don’t mind if I do.
P.A.
Water?

RODNEY
No.
He glares at her, and the P.A. hurries away.

(CONTINUED)
CONTINUED: 50.

BACHELOR #2
(Re: the P.A.)
Too small.
Rodney looks over at him.

BACHELOR #2
Seriously, nothing under a C-cup. I
don’t give a shit how smart she is,
how funny; her career, talents,
politics, whatever. Doesn’t matter.
Can’t do it.
RODNEY
What a gentleman.
BACHELOR #2
I’m a realist. I mean, if you know
it’s not gonna work, why go down
that road? Hunh?
RODNEY
(Gestures across the
partition)
What about her?
BACHELOR #2
What about her?

RODNEY
You haven’t seen her yet.
BACHELOR #2
No.

RODNEY
What if she’s petite?
BACHELOR #2
(Considers it)
I’d let her blow me. I mean, even
Mosquito Bites need some loving now
and then, right?
Bachelor #2 cackles to himself. Bachelor #1, the boy scout
of the group, looks uncomfortable.

Rodney stares at Bachelor #2 and grins, like he knows

something the other guys don’t.
RODNEY
Your last name is Aslan?

(CONTINUED)
CONTINUED: 51.

BACHELOR #2
Arnie Aslan, yeah.
RODNEY
What’s that Armenian?

ARNIE
Loud and proud.
RODNEY
Made of strong stuff.

ARNIE
How do you mean?
RODNEY
Two genocides and you’re still not
dead. It’s impressive.
ARNIE
Excuse me?
RODNEY
Like cockroaches. Small and ugly
but you’ll live forever. Until you
don’t.
Rodney grins.

Arnie tenses, like he can’t decide whether to laugh or throw

down.

INT. DIRECTOR’S BOOTH - SAME

On consecutive television monitors, we watch as:

- Bachelor #1 peeks around for help in case a fight breaks
out between Arnie and Rodney.

- Sheryl scribbles notes on her cue cards.

- A Hertz Car Rental commercial, starring O.J. Simpson,
draws to a close.

INT. TELEVISION STUDIO / STAGE

Suddenly, the house lights flash, signaling that the show is
about to begin again.

(CONTINUED)
CONTINUED: 52.

RODNEY
We’re on.

FROM HERE ON OUT, WE CUT BACK AND FORTH BETWEEN BOTH SIDES
OF THE PARTITION:
As Ed takes his place before the cameras and Marilyn and
Gretchen vacate the stage, the FIRST AD counts down:

FIRST AD
In place everyone. And we’re back
in five... four... three... two...
He points towards Ed.

ED
Welcome back to The Dating Game.
Sheryl, you had a little time to
think about those, um, colorful
introductions. Are you ready to ask
your questions?

SHERYL
I am.
ED
Okay, well then why don’t you have
a seat right here. Make yourself
comfortable. Remember you can ask
them anything you like except for
name, age, occupation and income.
Good luck and here we go.

Sheryl looks into the crowd, scanning for Laura. Finds her
seat empty.
Sheryl registers this. Then shakes it off and looks down at
her cue cards, where the official questions have been
scribbled out and replaced with her own handwritten ones.

SHERYL
Bachelor #1: Einstein said that
sitting on a hot stove for a minute
feels like an hour, and sitting
next to a nice girl for an hour
feels like a minute. That was his
theory of special relativity.
What’s yours?
BACHELOR #1
Um... what?

The audience chuckles. Sheryl smiles wryly.

(CONTINUED)
CONTINUED: 53.

SHERYL
I’ll come back to you on that.
BACHELOR #1
Wait, hold on: Was that the actual
question?

SHERYL
(Moving on)
Bachelor #2: When you invite a girl
out for dinner what do you expect
in return?
ARNIE
(Snickers)
I guess that depends on the meal. I
mean, are we talking Filet Mignon
or what?
SHERYL
Good question. Are we?
ARNIE
Yeah, sure. I’m a generous guy.
SHERYL
That’s good to know.
ARNIE
And if I’m spending an arm and a
leg on dinner, I’d like to think
she could at least buy the dessert.
Sheryl looks grossed out but keeps going, giving Arnie
enough rope to hang himself.

SHERYL
And what would you order for
dessert?

ARNIE
Oh, you know--
SHERYL
No, I don’t. Tell me.

ARNIE
Something hot...
SHERYL
What, like banana flambe?

(CONTINUED)
CONTINUED: 54.

ARNIE
...and wet and covered in cream.
SHERYL
Why do I get the impression that
you don’t eat out much?

ARNIE
Y’know, I’m happy to share.
SHERYL
(Shutting him down)
Sorry, I’m on a diet.
The audience laughs.
SHERYL
Bachelor #1: How’s that theory of
relativity coming along?
BACHELOR #1
Hunh?

SHERYL
Groovy. Keep at it.
The audience laughs again.
Rodney keeps his head down, listening, trying to gauge
Sheryl’s personality and what he thinks she’ll respond to.
SHERYL
Bachelor #3.
RODNEY
Yes.
SHERYL
What’s the difference between a boy
and a man?

RODNEY
A boy thinks that buying a woman
dinner means she owes you
something.

Sheryl smiles and nods approvingly.

The audience hoots and hollers.
SHERYL
And what does a man think?

(CONTINUED)
CONTINUED: 55.

RODNEY
Well for starters he knows better
than to talk about dessert before
you’ve made it through dinner.

Arnie gives Rodney a dirty look then tries to hide it with a

smile.
SHERYL
Bachelor #1, any luck?

BACHELOR #1
I can’t...
SHERYL
No? Bachelor #3, your buddy’s
drawing a blank. Wanna help him
out?
RODNEY
With his theory of special
relativity?

SHERYL
Yeah.
Rodney thinks about it for a second. Then:
RODNEY
Whether it’s for a minute or for an
hour, I’d love to sit relatively
close to a special girl when I can.
How’s that?

The audience ROARS; bursts out into applause.

Sheryl smirks like she can’t help liking this guy.
CUT TO:

EXT. ABC STUDIOS - SAME

Laura hurries through the parking lot, looking for her car.
Clearly lost and FRIGHTENED.

Rain pours down, drenching everything in site.

Eventually, Laura SPOTS HER CAR.
A voice calls out to Laura in the distance behind her:

(CONTINUED)
CONTINUED: 56.

KENNY (OS)
Laura! Laura!
Laura fumbles with her keys and unlocks the door.
She collapses into the driver’s seat and SLAMS THE DOOR
shut. She sits there, gasping and staring out the window as
rain beats down on the windshield and hood.
HOLD ON HER.

INT. TELEVISION STUDIO / STAGE - SAME

Sheryl flips to the next cue cards.
SHERYL
Bachelor #1, I threw you a curve
ball last time--
BACHELOR #1
I’ll say. I didn’t know you had to
be an astrologer to be on this
show.
SHERYL
Do you mean astronomer?
BACHELOR #1
Is there a difference?
SHERYL
Do you want there to be?
BACHELOR #1
Um: No?
The audience chuckles.
SHERYL
By the way: Einstein was a
physicist not an astronomer.
BACHELOR #1
Are you going to ask me a question?

SHERYL
I just asked you two. But yes:
Bachelor #1: In The Groundwork of
the Metaphysics of Morals, Immanuel
Kant argues--

(CONTINUED)
CONTINUED: 57.

BACHELOR #1
(Genuinely frustrated)
Oh fer crying out loud--
The audience laughs.

SHERYL
Kidding. Bachelor #1: What are
girls for?
BACHELOR #1
What do you mean?
SHERYL
Just what I said. What Are Girls
For?

BACHELOR #1
Oh geeze. You’re getting edgy.
SHERYL
Should we go back to Kant?

BACHELOR #1
No! No, I... I can do it...
SHERYL
Glad to hear it.

BACHELOR #1
Okay:
SHERYL
I believe in you, Bachelor #1.

BACHELOR #1
Thank you.
SHERYL
You can do this.

BACHELOR #1
Uh, girls are for... um... guys.
And for having fun with.
Sheryl waits for something else.

SHERYL
Is that it?
BACHELOR #1
(Dumbly)
Yeah.

(CONTINUED)
CONTINUED: 58.

The audience applauds and Bachelor #1 sinks down into his

seat, relieved to have the question over with.

SHERYL
Gloria Steinem would be proud.
Bachelor #2: What are girls for?
ARNIE
Why does this feel like a trap?

SHERYL
I don’t know. Why does it?
ARNIE
Because if I say girls are for
wining and dining, I sound like a
jerk. And if I say they’re for,
y’know, respecting or whatever,
then I just sound like some schmuck
who’s just looking to get laid--

SHERYL
Bachelor #2, I think you just
answered my question.
ARNIE
Hey, wait, no, hold on! I didn’t
mean it like that!
SHERYL
Bachelor #3--

ARNIE
Aw, God dang it--
SHERYL
Bachelor #3: What are girls for?

FLASHBACK TO:

EXT. FRANKLIN CANYON, CA - MORNING (DECEMBER 1977)

The morning sun crests above distant hills. Birds are
chirping. Everything is beautiful and the world is waking
up.
Somewhere, small in the frame, A DEAD GIRL (18) lays naked
in the grass. Her body is bent and broken.
CUT TO:

We cut to another landscape. More California hills dotted

with oak and sycamore trees. A pond, perhaps.

(CONTINUED)
CONTINUED: 59.

In the distance, some GRIP TRUCKS roll up a dirt road,

kicking up clouds of dust in their wake.
The trucks pull to a stop and some CREW hop out.
While the DIRECTOR and DP discuss the scene they’re about to
shoot, some GRIPS begin unloading the truck.
Meanwhile, one of the GRIPS (male, 20s) goes to the CRAFT
SERVICES TABLE and pours himself a coffee. Sips it and
wanders off into the brush to look at the hills.

Suddenly, something catches his eye:

It’s the DEAD GIRL (18).
CLOSE ON: An ant crawls across her cheek onto her ear. Her
lobe is pierced, but the earring is missing.
The grip stands there, stunned.

EXT. L.A. TIMES - MORNING, DAYS LATER

A tall stucco structure in downtown. The words "L.A. TIMES"

can be seen across the front of the building.
SUPER:

LOS ANGELES, CA
December 1977

INT. ATTACHED PARKING GARAGE - MOMENTS LATER

Employees cross from their cars to the entrance of the

building.
Rodney moves with the crowd, chatting with a co-worker.
CAMERA SLOWLY ZOOMS OUT until it’s revealed that we’re in
the backseat of A POLICE CRUISER, looking through the
windshield.
Two INSPECTORS sit in the front seat, looking at the crowd
through a pair of binoculars. We can’t see their faces from
here, but we will come to know them as WALKER and VANDERBILT
(40s, 50s).
WALKER
Tan slacks, blue shirt?

(CONTINUED)
CONTINUED: 60.

VANDERBILT
Yeah.

Walker checks his watch, jots something down in a little

spiral-bound notebook.
Vanderbilt sips his coffee, watches as Rodney disappears
inside the office building.

WALKER
See where he parked?
VANDERBILT
Upper level, I think.

WALKER
What’s he drive?
VANDERBILT
(Checks his notes)
Blue Datsun F-10.

WALKER
Let’s take a look.
They climb out of the car and begin working their way
through the parking garage.

INT. L.A. TIMES, TYPESETTING - MORNING

In a vast office space, TYPESETTERS (mostly men) sit at
small desks transcribing articles into a computerized
system.
Among them is Rodney, who transcribes an article with the
headline "Carter Delays Foreign Trips".

After a moment, a COPY BOY (17) comes up and taps Rodney on

the shoulder; hands him a SHEET OF PAPER.
COPY BOY
Murphy wants this prioritized.

The Copy Boy takes off.

Rodney looks at the typewritten article. It’s headline
reads: "WOMAN’S BODY FOUND IN CANYON"
Rodney studies the short article, focusing on a line towards
the bottom:
"Detectives said there may be a connection with the two
similar slayings in the last two weeks..."
 61.

Rodney reaches into his pocket and removes a GIRL’S EARRING.

’Turns it over between his fingers.

INT. L.A. TIMES, LAYOUT - LATER

Rodney moves through a room of men laying out the newspaper

on upright drafting desks.
COWORKER
Hey.

RODNEY
Brian.
COWORKER 2
Hey Rodney.

RODNEY
Allen.
Rodney passes through a door at the back of the room.

INT. BREAK ROOM - AFTERNOON

Rodney stands with THREE COWORKERS(40s - 50s), flipping
through pages of a small PHOTO ALBUM.

COWORKER 3
Ho God, look at that one.
COWORKER 4
The tits on her. I swear to Christ,
I could eat ’em.

COWORKER 3
Save some for me.
The guys giggle like mischievous children.

Rodney flips through some more pages.

RODNEY
Hold on, I gotta show you another
one. I met her at a party at Warren
Beatty’s house.
COWORKER 4
"Warren Beatty’s house." Listen to
this fucking guy.

Rodney finds the page he’s looking for.

(CONTINUED)
CONTINUED: 62.

Something about the photo SURPRISES the men.

COWORKER 4
(Grinning)
God damn.

RODNEY
I know, right?
COWORKER 4
God damn God damn God damn.

RODNEY
What’d I tell you?
COWORKER 3
(Slightly disturbed)
Wow. She’s, uh...
RODNEY
What?
COWORKER 4
She looks pretty young.
RODNEY
Hey Man: The fresher the fruit, the
sweeter the juice.

Coworker 3 and 4 LAUGH loudly.

COWORKER 4
You got that right.
Coworker 5, looking disgusted, slips quietly out of the
room. Rodney is the only one who notices. The other guys are
glued to the book.
Coworker 4 flips to the next page.

COWORKER 4
Oh shit, look at this one...

EXT. ALCALA HOUSE - DAYS LATER

A simple rancher home in Monterey Park. In the distance we

can hear the sound of children playing. This is a family
neighborhood.
 63.

INT. RODNEY’S BEDROOM

The curtains have been drawn, and a red light bulb is
screwed into the ceiling. A long table has been built into
the far wall, where various PHOTO DEVELOPING supplies sit.
On the wall above Rodney’s bed is the DEEP PURPLE POSTER
featuring the Hieronymus Bosch painting of Hell from "The
Garden of Earthly Delights."

Rodney puts a sheet of processing paper into the developer.

Slowly an image comes into focus: It’s a VOYEURISTIC SHOT of
a BLOND WOMAN IN THE STREET, oblivious that she’s being
photographed. We’ll come to know her as SUE KELLY.

Rodney stairs down at it admiringly.

Suddenly, someone KNOCKS on his door.
MOTHER(OS)
Rodney?

RODNEY
What is it, Mom?
The door opens a crack.

MOTHER(OS)
There are some men out here who
want to speak to you.
RODNEY
I’ll be right out.
CUT TO:
Rodney quickly collects his photos and stashes them in LOCK
BOX. A PISTOL, a couple of KNIVES, and other photos and
keepsakes are also in the box.
CUT TO:
Rodney HIDES THE LOCKBOX above a ceiling panel in his
closet.

INT. LIVING ROOM - MOMENTS LATER

Rodney steps out of his bedroom to find the TWO INSPECTORS
from earlier, WALKER and VANDERBILT, waiting in the living
room.
Rodney’s MOTHER stands by nervously.

(CONTINUED)
CONTINUED: 64.

RODNEY
Hello.
WALKER
Rodney Alcala?

RODNEY
That’s right.
WALKER
Hi, I’m Inspector James Walker.
This is Inspector Andrew
Vanderbilt. We’re investigating the
disappearance of Emma Allstone.
RODNEY
You’re a long way from New York,
aren’t you?
WALKER
So you’re familiar with the case.
RODNEY
Only what I’ve read in the papers.
Should I have a lawyer present?
WALKER
I don’t know. Should you?

Rodney shuts his mouth.

WALKER
Take a seat, please.
RODNEY
Mom, would you get us some tea?
Rodney’s Mother doesn’t move.
RODNEY
Please.

Finally, she steps out of the room.

Rodney moves to the couch. Sits.
The Inspectors pull up chairs opposite him.

WALKER
As may you know, Emma Allstone was
last seen on July 15th, leaving her
apartment building on 3rd Avenue at
44th Street, accompanied by a thin,
(MORE)
(CONTINUED)
CONTINUED: 65.

WALKER (cont’d)
white man with long brown hair. Her
calendar says that she was supposed
to meet up with a photographer
named John Burger at that time.
RODNEY
What does that have to do with me?

WALKER
An informant recently notified us
that you’ve worked under the name
John Burger in the past.
(No response)
Is this true?

RODNEY
Who told you that?
VANDERBILT
Answer the question, please.

RODNEY
I haven’t used that name in years.
WALKER
Why did you adopt a pseudonym?

RODNEY
’Felt like a change. I wanted to
forget the past.

WALKER
(Consulting file)
Are you referring to the rape of
Alice McAndrews, for which you
served 34 months in prison?

Rodney hears a sound. Sees his MOTHER’S SHADOW poking out

from around the corner. ’Knows he’s being listened to.
Rodney looks back at Walker.
WALKER
Rodney?
RODNEY
I’m referring to life.
WALKER
Another informant tells us that you
knew Ms. Allstone.
Rodney stares hard at Walker.

(CONTINUED)
CONTINUED: 66.

RODNEY
(Hesitates)
I met her.

WALKER
Where?
RODNEY
(Lying)
A club, I think. I can’t remember
which one.
WALKER
Were you with Ms. Allstone on July
15th this year?

RODNEY
(Lying)
We got lunch. Went to central park,
took some pictures. Then she went
home. I never heard from her again.

WALKER
Do you still have those pictures?
RODNEY
(Lying)
No.
WALKER
Why not?
RODNEY
(Kind of lying)
I only took them to get her into
bed.
WALKER
Did it work?
RODNEY
(Lying)
No.

WALKER
Mind if we look around?
RODNEY
Do you have a warrant?

In the other room a TEA KETTLE begins to WHISTLE.

Walker grins.

(CONTINUED)
CONTINUED: 67.

RODNEY
Anything else?

WALKER
Don’t go anywhere. We may need to
speak to you again.
Rodney’s Mom steps back into the room carrying a tray with
cups of tea on it.

WALKER
Thank you, Ma’am. We’re all set.
Walker and Vanderbilt see themselves out.

Rodney stares after them.

EXT. SANTA MONICA BOARDWALK - NIGHT

We follow Rodney down the boardwalk in Santa Monica, lit by
shopfronts and streetlamps. In the distance behind him, we
can make out the Ferris wheel at the end of the pier,
glowing in the night.
Beach bums and stoners mill about. There are guys on
skateboards and girls on roller skates. A street musician
plays a set of bongos to a few tourist who throw money into
his bucket.
Rodney ignores them all. They are not who he is looking for.

INT. SANTA MONICA BAR - NIGHT

Rodney sits quietly in a corner booth, a cigarette
smoldering in one hand. He studies the throngs of happy,
laughing women, while Etta James sings "Take It To The
Limit" through the jukebox.
Eventually, Rodney zeroes in on a single woman. It’s the
BLOND WOMAN from his photograph, SUE KELLY. She’s dressed in
a slinky cocktail dress, laughing with friends.

Among the friends is LAURA (from the audience of The Dating

Game). They order another round of drinks.
CAMERA PUSHES IN ON RODNEY, who stares at Sue, unblinking,
lost in thought.

CUT TO:
- IN SUE’S APARTMENT, LATER THAT NIGHT: Rodney PINS Sue to
her mattress, hands gripped around her throat.

(CONTINUED)
CONTINUED: 68.

The image lasts for a fraction of a second-- a snapshop of

what’s to come.
BACK TO:
CAMERA CONTINUES IN ON RODNEY, who now seems to be looking
past Sue. He lifts the cigarette to his lips then lets it
fall again without taking a drag.
CUT TO:

- Sue flails at Rodney, but it’s useless. He tightens his

grip.
BACK TO:
CAMERA CONTINUES IN ON RODNEY, who is lost in a 1000-yard
stare.
CUT TO:
- Sue collapses, dead. Rodney lets out a long, low, animal
growl.

BACK TO:
CAMERA CONTINUES IN ON RODNEY. A tear streaks down his
cheek.

CUT TO:
- Rodney leans forward and takes a BITE out of Sue’s right
breast. Blood pours down his chin.
BACK TO:

CAMERA CONTINUES IN ON RODNEY. Stops, close on his face. He

blinks away the tears. Wipes his face.
He stands and crosses to Sue.

FLASH-FORWARD TO:

INT. LAURA’S CAR - BACK TO PRESENT, DAY

Laura sits in her car, staring blankly out the window. Rain
beats down on the windshield.
HOLD ON HER.
FLASHBACK TO:
 69.

INT. SANTA MONICA BAR - NIGHT (DECEMBER 1977)

Rodney, Sue and Laura in the bar. The table is cluttered
with empty glasses and beer bottles. They’ve been talking
for a while; all a little drunk.

RODNEY
What’s the most beautiful thing
you’ve ever seen?
LAURA
(Chuckles)
’Scuse me?
SUE
What?

RODNEY
(Gestures to both women)
Present company excluded, of
course.
SUE
(Laughs loudly)
Is that your line? Please tell me
you’ve used that before--
LAURA
Did you really just call me a
thing?
RODNEY
(Ignoring Laura)
I’ve never used it before--

SUE
Is that what you do though? Just go
around telling women what you think
they want to hear?

RODNEY
Getting warm.
SUE
At least you’re honest about it.

RODNEY
No, but really. I’m being serious.
SUE
About--?

(CONTINUED)
CONTINUED: 70.

RODNEY
I want to know--
SUE
What’s the most beautiful--?

RODNEY
What’s your idea of beauty?
SUE
I don’t know. I’ve seen a lot of--

RODNEY
Because I have this theory--
SUE
Oh fer fucks sake--

RODNEY
No, really, I do. I have this
theory that all the things that
people tend to think of as being,
y’know, important ingredients for a
successful relationship-- looks,
career, politics, whatever-- are
wrong. What really matters is
whether or not you have a similar
vision of beauty. For some people
that’s the Grand Canyon. For
others, it’s some bearded guy
nailed to a cross. It’s about what
feeds your soul.
Sue looks at Rodney, clearly taken by him.

SUE
Do you wanna get out of here?
Rodney grins.

FLASH-FORWARD TO:

INT. LAURA’S CAR - BACK TO PRESENT

Laura sits, still staring out the window.

CAMERA PUSH IN ON HER...

FLASHBACK TO:
 71.

INT. SANTA MONICA BAR - NIGHT (DECEMBER, 1977)

Moments later. Sue is putting on her jacket while Rodney
pays the bill.
SUE
I’ll call you tomorrow.
LAURA
Hey, Sue. Um: You sure I can’t take
you home?

SUE
(Smiles)
I’m gonna be fine.
LAURA
I’m just saying. You’re kinda
drunk.
Suddenly, Rodney steps up to them.
RODNEY
You ready?
SUE
Let’s go.
Sue gives Laura a little toodle-oo wave and heads for the
exit.
RODNEY
(To Laura)
Don’t worry. I’ll bring her back in
one piece.

Rodney winks at her.

Laura winces, visibly creeped out by this.
Rodney turns and follows Sue out the door.

FLASH-FORWARD TO:

INT. LAURA’S CAR - BACK TO PRESENT

CLOSE ON Laura, lost in thought.

Suddenly, someone BANGS on the passenger’s window.
Laura JUMPS in her seat. Startled. She looks out the window
to see Kenny standing there.

(CONTINUED)
CONTINUED: 72.

Laura reaches over and unlocks his door. Kenny hops in with
her.
KENNY
What the fuck’s going on? You
scared the shit out of my parents.
You know that, right?
LAURA
It was him.

KENNY
Who?
LAURA
The guy on the show. Number three.

KENNY
What are you talking about? Are you
ovulating or something?
LAURA
What?

Laura starts to say something else. Stops. Collects herself.

Kenny shakes his head, frustrated, as if he thinks this is
all a ruse.

KENNY
It’s like whenever my folks come to
town you need to find some new way
to humiliate me.
LAURA
I--
KENNY
Well I’m sick of it. I know you
don’t like all the tourist-y shit,
but would it kill you to just
pretend? For once, make it about
someone other than yourself?
LAURA
Kenny, look, would you please
just--
KENNY
Y’know what: Fuck it. Do whatever
you want. We’ll get a cab back. See
you later.

(CONTINUED)
CONTINUED: 73.

Kenny throws open the passenger’s side door and steps out
into the rain. Walks off.
Laura sits there, looking crushed.
She puts her head in her hands, trying to decide what to do.
After a moment, she looks up towards the television studio.
She CLIMBS out of the car, SLAMMING THE DOOR behind her.
Walks off towards the studio.

INT. TELEVISION STUDIO / STAGE - DAY

AGAIN, PICKING UP WHERE WE LEFT OFF:
SHERYL
Bachelor #3?
RODNEY
What are girls for?
SHERYL
That’s right.
RODNEY
I guess I’d have to say that that’s
up to the girl.

The audience CHEERS.

SHERYL
Good answer.
Sheryl looks at a LARGE DIGITAL CLOCK towards the rear of
the room, counting down the time to the next commercial
break. 00:01:10... 00:01:09... 00:01:08...
Sheryl realizes that she only has time for one last question
and shuffles through the notes written on her cue cards.

SHERYL
Okay, Bachelor #3, I have a follow
up question.
RODNEY
Shoot.
SHERYL
You’ve been with the other
Bachelors for a few hours now,
right?

(CONTINUED)
CONTINUED: 74.

Bachelor #1 and Arnie shift in their seats, obviously

uncomfortable with where this question is going.
RODNEY
We talked a bit.

SHERYL
Okay: Tell me the most disgusting
thing that Bachelor’s #1 and #2
said or did backstage.

The audience HOWLS WITH DELIGHT.

SHERYL
Besides coming on this show, of
course.

Ed laughs, trying to be a good sport, but it’s clear that

he’s pissed off.
RODNEY
Oh Gosh. Wow, that’s a tough one.

Sheryl leans forward in her seat, listening intently.

RODNEY
Well, y’know, if I’m being honest,
Bachelor #1 really didn’t say
anything disgusting.

SHERYL
No?
Bachelor #1 slumps down in his seat, relieved beyond words.

RODNEY
Yeah, he’s basically a boy scout.
BACHELOR #1
It’s true! I didn’t say anything--

RODNEY
With the operative word being
"boy."
The audience CHUCKLES.

SHERYL
What about Bachelor #2?
Bachelor #2 stares daggers at Rodney.

(CONTINUED)
CONTINUED: 75.

RODNEY
I can’t repeat it word for word,
seeing as how we’re on television
and all. But he had some thoughts
about bra-size being a prerequisite
for a meaningful relationship.
SHERYL
Is that right?

RODNEY
Thought that was pretty, um,
tasteless.
The audience BOOS at Bachelor #2, who smiles bitterly and
shakes his head. Trying to hide his anger behind a twisted
smile.
Suddenly, a BUZZER sounds and Ed steps back out onto the
stage.

ED
And that buzzer signals that it’s
the end of the game.
BACHELOR # 2
Wait, hold on. What about me?

ED
It’s decision time, Sheryl--
BACHELOR # 2
I don’t get to answer the question?

INT. DIRECTOR’S BOOTH

The TV DIRECTOR motions to someone at the control panel.

TV DIRECTOR
Kill Bachelor #2’s mic.

INT. TELEVISION STUDIO / STAGE

BACHELOR # 2
Because he said some pretty--
But before Bachelor #2 can finish his sentence, his mic cuts
out. Suddenly, his voice sounds small-- inaudible to Sheryl
and the audience.
Rodney continues to smile out at the cameras, unconcerned.

(CONTINUED)
CONTINUED: 76.

ED
--so why don’t you stay right
there, analyze what you’ve heard
and make a decision.

INT. DIRECTOR’S BOOTH

CU on a TV MONITOR: Ed turns and speaks directly into the
cameras.

ED
And while Sheryl makes her decision
about her date, we’ll take a little
time off so you can make a decision
about the very fine products we’ve
selected just for you. We’ll be
back right after this.
Suddenly, the monitor cuts to a SHAKE ’n’ BAKE COMMERCIAL
showing a KNIFE CUTTING INTO A PORK CHOP.
CUT TO:

INT. ABC STUDIOS - DAY

Laura strides down a long corridor. Eventually she finds
what she’s looking for: a SECURITY GUARD (40s), feet propped
up on his desk, answering a call.
LAURA
Excuse me. Could you--?
SECURITY
(To the caller)
--Jim, gimme a second.
(To Laura)
Can I help you with something?

LAURA
I need to talk to someone on The
Dating Game.
SECURITY
F’you want tickets to see the show,
you need to go to Guest Relations.
Head down this hallway, go through
the doors and--
LAURA
No, no, I don’t want to see it. I
was just there. I need to talk to
(MORE)
(CONTINUED)
CONTINUED: 77.

LAURA (cont’d)
someone who works on the show. A
producer or something--

SECURITY
What for?
LAURA
There’s someone on it, right now,
who shouldn’t be there.
SECURITY
"Who Shouldn’t Be There?"
LAURA
Yes.
SECURITY
Your husband?
LAURA
No, I--
SECURITY
Boyfriend?
LAURA
Last year, my friend Susan Kelly
went missing. We were dancing at a
club, and she met this guy. Okay?
The following morning she was found
dead in her apartment. Murdered.
And that guy was the last person
with her before she died.
SECURITY
Uh huh. So what does this have to
do with--?

LAURA
That guy is Bachelor #3. He’s on
the show right now. And he’s
dangerous. Could you just call
someone for me? Anyone?
(little pause)
Please.
The Security Guard looks at her, still dubious, but
softening.
SECURITY
(To Caller)
Hey Jim. I’m gonna have to call you
back.

(CONTINUED)
CONTINUED: 78.

The Security Guard hangs up and begins to dial another

number.
Laura looks relieved.

INT. TELEVISION STUDIO / STAGE - DAY

Commercial Break: The cameras stop and the crew begins to
move around the stage.

FIRST AD
And we’re out.
Ed crosses the stage with his Assistant.
ED
’Soon as the show’s over, get that
cunt out of here. I don’t want to
see her face again.
Sheryl hears this. Looks hurt, if not surprised.

Marilyn and Gretchen dart over to Sheryl, resume with her

hair and make-up.
GRETCHEN
So who you gonna pick?

MARILYN
Knock it off.
GRETCHEN
What, I’m just asking.

SHERYL
Do you think I went too far?
MARILYN
I think he thinks you went to far.

GRETCHEN
He thinks everything’s too far.
SHERYL
Do you though?

MARILYN
I’ve been working on the show since
1968. I’ve listed to more idiots
flirt back and forth than I can
count. And the thing I’ve learned
is that no matter what words they
(MORE)
(CONTINUED)
CONTINUED: 79.

MARILYN (cont’d)
use, The Question Beneath The
Question is always the same.
SHERYL
I’ll bite. What’s The Question
Beneath The Question?
MARILYN
"Which one of you will hurt me?"
(Little pause)
You just asked it clearer than
most.
Sheryl nods: ’Yep. That’s the crux of it.’
GRETCHEN
So who you gonna pick?
CUT TO:

INT. THE OTHER SIDE OF THE PARTITION - SAME

Suddenly, Arnie WHACKS Rodney across the arm. Rodney looks
down at his arm, confused.
ARNIE
What the fuck, man!
RODNEY
Something wrong?
ARNIE
Why’d you tell her all that?
RODNEY
Because she asked.
BACHELOR #1
Whoa. Uh. Guys, c’mon--
ARNIE
"Because she asked." Fuck you,
asshole.

BACHELOR #1
Calm down, it’s just a game.
ARNIE
(To Bachelor #1)
Zip it, twerp. You didn’t get
humiliated on national television.

(CONTINUED)
CONTINUED: 80.

BACHELOR #1
Just saying--
ARNIE
(To Rodney)
Soon as this show’s over, you and
me are gonna have some words.
RODNEY
Words? Is that right?

ARNIE
You bet your ass.
BACHELOR #1
I gotta pee. I’ll be right back.

Bachelor #1 gets up and runs off stage.

Rodney stares hard at Arnie, a little smile on his face.
Trying to decide how far he wants to push this.
RODNEY
What if I don’t show? What then?
You gonna hire someone to track me
down?
ARNIE
(Impotently)
Fucking pussy.
RODNEY
I have a better idea. Let’s
exchange contact information now so
that we know where to find each
other in case the other person
get’s cold feet.
Arnie looks dubious.

ARNIE
Okay.
RODNEY
I’ll give you my I.D., and you give
me yours. Deal?

Rodney reaches into his pocket and takes out his wallet.
Digs through it until he finds a small square piece of
paper. He takes it out.
Arnie takes out his I.D.. The men trade.

(CONTINUED)
CONTINUED: 81.

RODNEY
(Reading)
Stocker Street, Glendale. That’s at
the base of the hills, right? Yeah,
I know where that is.

Arnie looks at the slip of paper in his hands-- it’s a small

black and white photo of a MURDERED WOMAN; naked, strangled
and posed in some bizarre position.
For a second, Arnie appears confused, like he can’t quite
tell what he’s looking at. Then it hits him, and he LEAPS
BACK IN HIS SEAT, dropping the photograph.
The photo flutters to the ground, landing face-side down.
ARNIE
What the fuck is that?
Rodney smiles at Arnie and hands his I.D. back to him.
Rodney leans forward and picks the photo up off the floor--
looks at it lovingly, then folds it up and puts it in his
mouth. Chews it. Swallows. SMILES.

Arnie stares at him, terrified.

Suddenly, Bachelor #1 returns, takes his seat. He registers
that the mood has shifted, but doesn’t question it.

FIRST AD (OS)
Alright folks. Everyone in place!

INT. ABC STUDIOS - DAY

Laura watches pensively as the Security Guard tries to

connect her to someone on The Dating Game.
SECURITY
(Into phone)
Okay, great. Tell Lisa we’re on our
way. Thanks.
He hangs up.
SECURITY
Come with me.
 82.

INT. CORRIDOR - MOMENTS LATER

The Security Guard leads Laura down a long corridor.
SECURITY
Don’t make me regret this.

Laura nods, nervous but grateful.

FLASHBACK TO:

EXT. DESERT HIGHWAY - DAY (SUMMER, 1978)

A desert landscape. Low hills in the distance; dry, rocky
terrain.

CUT TO:
A COYOTE trots off towards the hills with a chipmunk crushed
between it’s jaws.
CUT TO:

Back on the highway. Rodney’s blue Datsun speeds past the

camera, shrinking off into the distance.

INT. DATSUN - SAME

Rodney and Amy drive in silence. Amy glances over at him and
furrows her brow. He looks familiar but she can’t place
where she’s seen him before.
Rodney looks at Amy, and she turns away again.

RODNEY
So let me guess: An actress?
AMY
Hm?

RODNEY
Or are you gonna be a model?
Amy chuckles and shakes her head.

RODNEY
What? What’d I say?
AMY
I’m not gonna fuck you.

(CONTINUED)
CONTINUED: 83.

RODNEY
’Scuse me?
AMY
’Just saying. If that’s what you’ve
got in mind then you can pull over
and just let me off right here.
RODNEY
Whoa, hey, time out. I wasn’t
trying to--

AMY
I’m not gonna blow some dude for
the privilege of a ride in his
fucking Datsun. Got it?

RODNEY
I was just making conversation.
AMY
"Are you gonna be an actress or a
model?"

RODNEY
What? I was being serious.
AMY
Pfft.

RODNEY
You’re young, you’re pretty, you’re
moving to Los Angeles. You don’t
think that’s a reasonable
assumption?

AMY
It’s a perfectly reasonable
assumption. But it’s a creepy-ass
thing to say to someone who you’ve
just met.

RODNEY
How?
AMY
It’s flattery.
RODNEY
You don’t think you’re good
looking?

(CONTINUED)
CONTINUED: 84.

AMY
I don’t think "good looking,"
describes most models. They’re
exceptionally beautiful.

RODNEY
(Suggestively)
Well--
AMY
And by telling me that I look like
they do-- whether you meant it or
not-- you’re signaling a level of
sexual attraction; which puts me in
a position where either I have to
accept your advances or shut it
down and risk all the things that
women risk when they reject a man.
RODNEY
I--
AMY
And considering that I’m a) in a
car with someone I don’t know,
b) traveling with my
old-as-the-hills dog, and c)
currently passing through the
middle of fucking nowhere, that’s a
scary God damn position to be in.
Rodney starts to say something, then stops. He doesn’t look
upset, and certainly not ashamed of himself. There’s a
little smile on his face, like he’s pleasantly surprised by
the brazenness of his new passenger.
RODNEY
Alright. Alright, fair enough. Can
we try again?

AMY
I don’t know. Can we?
Rodney snaps on the radio to lighten the mood. Classic rocks
pours of the speakers. Something a light and folksy with
sinister undertones. "The Dark End Of The Street" by the
Flying Burrito Brothers, maybe.
RODNEY
Why are you going to L.A.?

(CONTINUED)
CONTINUED: 85.

AMY
I got into school there.
RODNEY
Congratulations. Which one?

AMY
UCLA.
RODNEY
’Know what you’re studying yet?

AMY
(Lying)
Criminal Justice.
RODNEY
Really?
AMY
Yeah.
RODNEY
How’d you settle on that?
AMY
(Lying)
Runs in the family. My dad’s a
Sergeant in the LAPD, and my
brother’s in the Marines, so--
y’know.
RODNEY
Cool. A whole family of protectors.

AMY
Something like that.
RODNEY
(Doesn’t buy it for a second)
Very honorable. Where’s he
stationed?
AMY
What?

RODNEY
Your brother, I mean.
AMY
(Floundering)
Oh. Um. He’s, uh--

(CONTINUED)
CONTINUED: 86.

RODNEY
I actually used to be in the army.
Trained to be a paratrooper, but
ended up working as a clerk, which
is fine by me. I’m not cut out for
combat.
(Little pause)
Sorry, I interrupted. You were
saying?
AMY
Oh, no. That’s fine.
RODNEY
(Gestures at Ginger)
What about her? She going to school
with you too?

AMY
No, Ginger’s staying with my dad.
RODNEY
(To Ginger)
Is that right? You gonna help hunt
down the bad guys, Ginger? You
gonna make the world safe for Good
People?
Amy reaches back and pets Ginger on the head.

AMY
(Chuckles)
I think her hunting days are just
about over. But I’ll see her on the
weekends, and with a Lieutenant to
look out after her, I think she’ll
be just fine.
RODNEY
’Thought you said your dad was a
Sergeant.
AMY
What?
(realizes her mistake)
Yeah, no. Uh: He used to be a
Lieutenant before he was promoted.
RODNEY
You mean he used to be a Sergeant
before he was promoted? Lieutenants
outranks Sergeants.

(CONTINUED)
CONTINUED: 87.

AMY
W... I, um...
RODNEY
Unless he used to work at a rural
precinct or something, and was
promoted to a lesser position in a
larger district?
AMY
Yeah. I think that’s what happened.

RODNEY
Gotcha.
AMY
Because he used to work in-- Yeah.
That’s definitely it. Sorry, it’s
been a long day. I’m...
Amy gestures that she’s mentally fried, forces a chuckle
then turns and looks out the window. ’Knows that she has
just blown her tough girl cover.

Rodney allows a slight smile to creep across his lips. Keeps

driving.

EXT. HIGHWAY - SAME

The Datsun speeds on down the highway.

INT. DATSUN - SHORT WHILE LATER

Rodney takes out a joint, lights it. Takes a hit then offers
it to Amy who shakes her head. Rodney shrugs.
Amy peaks over at Rodney, again seeming to recognize him.
RODNEY
Something wrong?
AMY
Sorry, I feel like I’ve seen you
before.

RODNEY
I’m not the kid on the milk carton,
if that’s what you’re wondering.
Again, Amy shakes it off. Looks out the window at a road
sign that says:

(CONTINUED)
CONTINUED: 88.

Los Angeles 65
Amy looks impatient. She turns and checks on Ginger in the
back seat, sleeping.
Rodney reaches down to scratch his ankle.

CUT TO:
Beneath the seat, Rodney reaches for a REVOLVER. He rotates
it so that it’s easily accessible, then removes his hand.

CUT BACK TO:

Amy suddenly notices a CAMERA CASE in the back seat. She
furrows her brow, like she’s just found another piece of the
puzzle but doesn’t know how to put it together yet.

AMY
You’re a photographer?
RODNEY
Hm? Oh, yeah.

AMY
What do you shoot?
RODNEY
People. Women mostly.

AMY
Like for magazines, or--?
RODNEY
Sometimes. Does that make me creepy
too?
AMY
Depends on the pictures.
RODNEY
Well, I don’t have any on hand,
so--.
AMY
I guess I’ll never know.

RODNEY
Bummer. My Pampers ad would have
blown your mind.
Amy chuckles.

(CONTINUED)
CONTINUED: 89.

RODNEY
You sure you don’t want some of
this?
Rodney re-offers her the joint.

Amy looks at it for a second, weighing the risks. Finally,

she accepts it, TAKES A HIT and hands it back.
Rodney finishes it off and flicks the rest out the window.

RODNEY
God look at view. How beautiful is
that?
(little pause)
Mind if I pull over and snap a
couple pictures?
AMY
Um...
RODNEY
If you’re in a hurry, we don’t need
to.
AMY
No, it’s fine.

RODNEY
Cool. Thanks.
Rodney pulls into a rest stop overlooking PYRAMID LAKE; a
vast reservoir surrounded by mountains.

EXT. PYRAMID LAKE REST STOP

Rodney and Amy climb out of the car.
RODNEY
Would you grab my camera case?
Amy does.
While she’s distracted, Rodney get the revolver from beneath
his seat and slips it in the back of his pants.

Amy steps around the car and hands him the case, oblivious
to the gun.
RODNEY
(Gesturing to Ginger)
Wanna take her?

(CONTINUED)
CONTINUED: 90.

AMY
She’s fine there.
RODNEY
Cool.

Rodney crosses to the edge of the look out, snaps some

pictures of the lake.
Amy loiters, not frightened but still on guard.

RODNEY
I can’t get the shot I want from
here. I think I’m gonna climb down
the embankment. Join me?
AMY
Is it safe?
RODNEY
I think we’ll survive.
AMY
Okay.
Rodney climbs over the guard rail and begins to move down
the hill towards the lake. Amy starts to follow him, then
stops and looks back towards Ginger who is staring out the
car window at her, whining pitifully.

Amy turns and follows him down the hill.

EXT. LAKE - AFTERNOON

Rodney snaps some more pictures of the lake while Amy

saunters around. She skips a stone.
RODNEY
Mind if I snap one of you?

AMY
Hm?
RODNEY
Nothing wild. I promise.

AMY
I don’t think so.
RODNEY
Just to give a sense of
perspective. These mountains--
(MORE)
(CONTINUED)
CONTINUED: 91.

RODNEY (cont’d)
they’re huge, y’know, but it’s kind
of hard to tell without a figure in
the image.

AMY
Let me think about it.
RODNEY
Fair enough.

Rodney sits beside the lake, reaches behind his back and
removes the gun from his waistband. He tucks it discreetly
beneath his leg.
Amy walks over to him, sits down. ’Looks at Rodney, sitting
there with his camera.

CUT TO:

EXT. SCHULTZ NEIGHBORHOOD - DAY

AMY’S POV: 10 years younger, Rodney Alcala squats down to

help Amy pick up her books. His camera dangles from the
strap around his neck. He looks up at her and smiles.
CUT BACK TO:

EXT. LAKE - AFTERNOON

Amy looks at Rodney with an expression of dawning
recognition.

AMY
That’s how I know you.
RODNEY
Hm?

AMY
You offered me a ride when I was a
kid. I was on my way to school and
my bag broke--

Rodney gives her a look like he doesn’t remember this, but

believes her nevertheless. There have been so many girls,
after all.
AMY
Heh. Not a lot has changed, I
guess.

(CONTINUED)
CONTINUED: 92.

Amy suddenly gets wistful, like this memory has triggered

emotions that she’s been holding back.
AMY
Actually everything has changed.
That may have been the last decent
day of my life.
Rodney’s hand finds it’s way to the gun-- strokes it
slightly.

RODNEY
How’s that?
AMY
Nevermind. Sorry, it’s stupid. I
sound like a--

RODNEY
No, what were you gonna say?
Amy starts to say something; stops herself. Looks
embarrassed.

AMY
Fuck it. You already know I’m full
of shit, so why not. My dad isn’t
in L.A. He, uh, took off when I was
a kid. It’s a total fucking cliche.
Met some woman on a business trip
and never came back. I think he
lives in San Antonio now.
Rodney’s hand freezes on the gun. Something about this last
line has seized him.

AMY
Which, I mean: Big whoop, right?
People deal with worse every day.
But still: Everything seemed to
fall apart after that that. My mom
moved back to Reno so she could be
near her parents, but then they
died, and she started drinking
and-- heh. It’s all normal stuff.
Totally ordinary dumb choices and
shitty luck. But once you’re IN it,
it’s just so hard to get OUT of.
RODNEY
Are you actually going to UCLA to
study Criminal Justice?

(CONTINUED)
CONTINUED: 93.

AMY
Pfft. I haven’t even finished
studying for the SATs. I’ve got a
cousin in Hollywood who manages a
laundromat. She’s gonna let me stay
there until I can get on my feet.
Pretty pathetic, hunh?
Rodney tries to say something, but the words won’t come out.
AMY
And I know it doesn’t make sense,
but sometimes I look back at that
time and wonder how everything
would have been different if Dad
hadn’t gone on that business trip,
or hadn’t met that woman. I think
about the details of the day, and
what I could have done to change
the course of events. And--
Amy stops herself; starts again, her mind changing
direction.

Rodney removes his hand from the gun.

AMY
I remember in high school my math
teacher was explaining angles and
distances. And she told us to
imagine a massive comet, the size
of Texas, on a collision course
towards the moon. And as it
torpedoes through space, it hits
some tiny space rock which shifts
it’s course 1 degrees in the other
direction. And, y’know, 1 degrees
over the course of a mile won’t
make a big difference. But 1
degrees over the course of a
million miles makes it so that
instead of hitting the moon, it
hits California. Over time, a
little thing can make a big
difference.
(Little pause)
Y’know what I mean?
Rodney looks at Amy with a pensive expression. Something
about all of this has struck a chord with him.

(CONTINUED)
CONTINUED: 94.

RODNEY
Yeah, I do.
AMY
Sorry, don’t listen to me. I’m
really high. I... never mind.

Amy looks at Rodney, sensing something that isn’t there.

Warming to him.
In the distance, the sun begins to lower behind the
mountains.
AMY
If you still want to take a picture
of me... you can.

RODNEY
We should get back to the car.
Amy nods, disappointed.
AMY
Okay.
They stand and begin back up the hill.

EXT. PYRAMID LAKE REST STOP - DUSK

Rodney and Amy get back into the car.

EXT. HIGHWAY - SHORT WHILE LATER

The Datsun speeds down a long, moonlit stretch of highway.

Amy stares out the window at the passing landscape while
Rodney keeps his eyes glued to the road. Hands gripping the
wheel.

EXT. LAUNDROMAT, HOLLYWOOD - NIGHT

The Datsun pulls into a laundromat parking lot. Through the
glass facade, we can see some customers folding clothes
inside.

Amy hops out, grabs Ginger and her bag. She leans in through
the passenger’ side window.

(CONTINUED)
CONTINUED: 95.

AMY
Well, thanks for the ride.
RODNEY
Sure thing.

AMY
If you ever want to talk, you know
where to find me.
Rodney nods.

AMY
See ya.
Amy turns and heads into the laundromat where she’s greeted
by a white woman-- presumably her COUSIN (30s).

Rodney watches as they hug. Something about it seems to

irritate him and he backs quietly out of the parking lot and
drives away.
FLASH-FORWARD TO:

INT. CORRIDOR - BACK TO PRESENT

The Security Guard and Laura continue down the corridor.
They turn a corner and move through a door into...

INT. PRODUCTION OFFICE

The Security Guard gestures to a couch.

SECURITY
Have a seat there and someone will
be with you in just a minute.
LAURA
Who?

SECURITY
George Bradshaw, the series
producer. He’ll be able to help
you.

Laura nods, nervous but grateful.

LAURA
Thank you. Really.

(CONTINUED)
CONTINUED: 96.

SECURITY
He’ll be here any minute.
The Security Guard turns and leaves.
Laura sits. She looks at the clock on the wall-- it reads
3:50.
She turns back and continues waiting patiently.

INT. TELEVISION STUDIO / STAGE

Again, Ed takes his place before the cameras as Marilyn and
Gretchen vacate the stage.
Again, the First AD counts down:

FIRST AD
Four... three... two...
He points towards Ed.

ED
Alright, welcome back to The Dating
Game. Sheryl, you played the game
beautifully, and now it’s time to
make a decision. The bachelors were
cool, candid and sharp, but only
one of them gets the date. So will
it be Bachelor #1, Bachelor #2 or
Bachelor #3? Who is the lucky
fellow?
Sheryl looks out into the audience, her eyes drifting over
to the Laura’s empty chair. Something about her absence
feels ominous.
SHERYL
Um...

ED
Yes?
On the other side of the partition, Rodney leans forward,
listening expectantly.

Sheryl looks off stage towards Marilyn and Gretchen.

Gretchen is smiling and holding up three fingers.
Sheryl looks back at Ed.

(CONTINUED)
CONTINUED: 97.

SHERYL
Number three.
ED
Number three!

The lights flash and spin and the audience cheers.

Rodney leans back in his chair and laughs.
Bachelor #1 and Arnie clap politely.

ED
Do you mind if I ask what it was,
what about Bachelor #3 appealed to
you?

SHERYL
He knows what girls are for.
The audience laughs.
ED
Very good. Alright, well before you
meet Bachelor #3, I want to
introduce you to the gentlemen who
you did not choose. Bachelor #1 is
from Sherman Oaks. He’s a medical
intern and plans on having a
private practice. His hobbies
include reading, golf and duplicate
bridge. Sheryl, meet Josh Young.
Bachelor #1 (Josh) steps out from behind the partition and
crosses to Sheryl. He smiles politely and shakes her hand.

SHERYL
Hello. Nice to meet you.
JOSH
Thank you. You too.
Ed shakes Josh’s hand and gestures for him to stand on the
other side of him.
ED
Thanks Josh. Marvelous job.
Josh takes his place.
ED
Sheryl, you also did not pick
Bachelor #2. He is a furniture
(MORE)
(CONTINUED)
CONTINUED: 98.

ED (cont’d)
designer from Glendale, who enjoys
Frisbee and dancing. Sheryl, please
meet Arnie Aslan.
Arnie steps out from behind the partition and crosses to
Sheryl. Sheryl forces a smile and goes to shake his hand.

SHERYL
Hi. Nice to meet you--
But Arnie isn’t smiling. As he takes her hand, Arnie leans
in and whispers into Sheryl’s ear.

ARNIE
Be careful. He’s dangerous.
Arnie steps back and gives Sheryl a look that says he’s
serious.

Sheryl struggles to maintain her smile.

ED
Very nice. Well done Arnie.
Arnie steps over next to Josh.

ED
Gentlemen, thank you both for
joining us. I hope you can come
back again. We’ve got some nice
gifts for you, just head out that
way.
Ed shakes both of their hands one more time and Josh and
Arnie exit the stage.

Rodney sits on the other side of the partition, waiting

eagerly. Turning the earring over in one hand.
Sheryl looks towards the partition, smiling but clearly
nervous.

ED
And now Sheryl, it’s time for you
to come face-to-face with the man
that you’ve chosen. But first I
want to tell you a little bit about
him. Bachelor #3 is a skydiver,
he’s into motorcycling. He’s also a
fine photographer. Say hello to
Rodney Alcala!

(CONTINUED)
CONTINUED: 99.

Rodney slips the earring back into his pocket as he hops out
of the chair.
Sheryl sees Rodney as he rounds the partition. He’s good
looking but also, somehow, threatening.

Rodney crosses to her quickly as the audience applauds--

goes in for a kiss before she can protest. He whispers in
her ear.
RODNEY
Smart choice.
When he steps back, Rodney already has one hand around her
waist, and the other one holding her hand.
ED
Well, Rod, you did it. You offered
some great answers to some very
tricky questions and now you’ve got
the girl.
RODNEY
Thanks Ed.
ED
You know, some people spend their
entire life trying to find the
perfect spot to fall in love, but
we here on The Dating Game think
we’ve found it. Grab your bags and
get ready, because you will both be
flying away to Carmel, California!

As Ed continues to babble on about the beaches and

resturants of Carmel, Sheryl looks down and notices that
Rodney is tracing little circles on the top of her hand with
his thumb.
Sheryl looks up at Rodney.

He peers down at her and smiles. Something about his grin is

unsettling.
As Sheryl holds his stare the sound of Ed and the audience
fades into a distant hum.
 100.

INT. PRODUCTION OFFICE - SAME

Laura continues to sit patiently, waiting for someone to
enter.
After a moment, the door opens and an elderly CUSTODIAN
(60s) steps in, dragging a vacuum cleaner behind him.
Laura looks over expectantly, then sighs when she realizes
that this clearly isn’t a producer.
She looks back at the clock on the wall: 4:00.
Outside, someone passes by the doorway LAUGHING. Laura looks
after them, but can’t see who it is.

The custodian plugs in his vacuum and gets to work on the

carpets.

INT. BACKSTAGE - MOMENTS LATER

Its moments after the show has ended. Members of the crew
swarm around backstage.
As Sheryl moves upstream through the flow of people:

SHERYL
Which way to the dressing room?
ED’S ASSISTANT
Right through there and around the
corner.

Suddenly, Rodney steps up beside Sheryl.

RODNEY
There you are. You disappeared on
me.
(To Lisa)
Could you give us a few minutes?
ED’S ASSISTANT
The next show starts loading in
five. Be out by then.
SHERYL
Oh, you don’t have to--
RODNEY
Cool. Thanks.
But it’s too late. Ed’s Assistant is gone.

(CONTINUED)
CONTINUED: 101.

RODNEY
Hey. I’m Rodney.
Sheryl forces a chuckle. Shakes his hand.
RODNEY
Figured I should introduce myself
again now that the cameras are off.
SHERYL
Sheryl.

RODNEY
So, pretty exciting, hunh?
SHERYL
Yeah. Very.

RODNEY
Did they tell you when the trip’s
scheduled for?
SHERYL
I think we need to our submit
availabilities to Lisa.
RODNEY
Ever been to Carmel?

SHERYL
No. You?
RODNEY
Yeah. They announce it like they’re
flying you Costa Rica, but it’s
like a six hour drive up the coast.
Fucking cheapskates.
SHERYL
Heh. Yeah.

RODNEY
Whatever. I’m sure we’ll find a way
to entertain ourselves.
Rodney reaches out and takes Sheryl’s arm. Strokes it.

SHERYL
I should probably get going. I’ve
got a, uh, rehearsal later tonight.

(CONTINUED)
CONTINUED: 102.

RODNEY
I’ll see you soon, Sheryl.
SHERYL
Yeah. I’ll see you.

Sheryl turns and heads towards the dressing room.

INT. DRESSING ROOM - MOMENTS LATER

Sheryl steps into the dressing room. Marilyn and Gretchen

applaud as she enters.
GRETCHEN
Look who’s got a hot date Friday
night!

MARILYN
Are you excited?
GRETCHEN
She’s so excited! I told you she’d
got for number three.
Sheryl forces a smile.
MARILYN
C’mon, let’s get that make-up off
you.

INT. PRODUCTION OFFICE - SAME

The custodian finishes vaccuming the floors. When he’s done

be begins to coil up the power cord.
Laura looks at the clock on the wall. It’s now 4:10.
LAURA
Excuse me?
The custodian looks up.
LAURA
Hi, I’m sorry to bother you, but
I’m supposed to meet with someone
named George Bradshaw. He’s a
producer.
CUSTODIAN
What the hell are you talking
about?

(CONTINUED)
CONTINUED: 103.

LAURA
Do you have any idea where his
office is, or how I could--
CUSTODIAN
Who’d you say you were waiting for?
LAURA
George Bradshaw. He’s an executive
producer on The Dating Game.

CUSTODIAN
No he aint.
LAURA
Or a series producer. I don’t know
what his exact title is--

CUSTODIAN
That aint it either.
LAURA
Would you just listen to me! It’s
very important that I speak with
him.
CUSTODIAN
I doubt that very much.

LAURA
Why? Why is that so fucking
impossible to believe?
CUSTODIAN
Because I’m George Bradshaw.
Laura’s face drops. In an instant, she realizes that she’s
been duped.
LAURA
What?
The Custodian lights a cigarette and takes a drag.
CUSTODIAN
Lemme guess: The security guard out
front set this up? Yeah, he’s an
asshole alright.
Laura starts to say something else, then stops. She looks
torn between embarrassment and heartbreak.

(CONTINUED)
CONTINUED: 104.

CUSTODIAN
I mean, if there’s something you
want me to do, I’m happy to try--
Then, finally:

LAURA
Excuse me.
Laura crosses to the door and leaves. George watches her go,
then continues coiling up the power cord.

INT. CORRIDOR - MOMENTS LATER

Sheryl moves down the corridor, dressed in her own clothes
again. Finally, Sheryl finds who she’s looking for...

SHERYL
Lisa.
LISA
Hey, congratulations!

SHERYL
Thanks.
LISA
Have fun?

SHERYL
(Forcing enthusiasm)
Yeah, no, it was, uh...
(Can’t do it)
Hey, I’m sorry, but could I ask you
something?
LISA
Yeah, what is it?

SHERYL
This is kind of a strange question,
but: What happens if I don’t
actually want to go on the date?
Little pause.

Sheryl looks nervous.

LISA
(Shrugs)
Then you don’t go on the date.

(CONTINUED)
CONTINUED: 105.

SHERYL
It’s just that simple?
LISA
Yeah. What, you think we’re gonna
make you?

SHERYL
(Chuckles)
I don’t know. I just--

LISA
Did he say something?
SHERYL
No, he didn’t... I just got kind of
a creepy vibe from him.
(little pause)
He makes me a little uncomfortable.
LISA
I’ll call him tomorrow.

SHERYL
Are you sure?
LISA
"Go Lady Lions."

Sheryl smiles gratefully. Turns and heads out the exit.

INT. RODNEY’S BEDROOM - FOLLOWING DAY

Rodney stands in his bedroom with several dozen photographs
spread out across the floor.
After a moment, he crouches down and picks up a few of the
pictures. Flips through them.
Then stops. Drops the photos.

CUT TO:
Rodney cuts up the photographs, one-by-one, with a pair of
scissors and stuffs them inside a large black garbage bag.
 106.

EXT. ALCALA HOUSE - MOMENTS LATER

Rodney carries the black trash bag out to a garbage bin at
the end of the driveway. Stuffs the bag inside.
In the distance we can hear the sound of children playing.
Maybe a boy rides by on a bicycle.
Rodney starts to turn to go back inside... then stops, as if
remembering something.

Rodney reaches into his pants pocket and removes the

EARRING. He puts it in the garbage can, sets the lid on top
and heads back inside.

INT. BATHROOM - MOMENTS LATER

Rodney stands in the shower, washing himself off.

INT. BEDROOM - MOMENTS LATER

Rodney steps into his bedroom with a towel wrapped around

his waist. Drops it and slips into some pants.
Suddenly, in the other room, the phone rings. Rodney’s
mother answers it:

MOTHER (OS)
Hello?
(Little pause)
Just a sec.
(Calls out)
Rodney, you’ve got a phone call!

Rodney throws on a shirt.

INT. LIVING ROOM - MOMENTS LATER

Rodney steps into the living room, looking nervous, like he

expects it to be a call from the police.
His mother hands him the phone and leaves.

RODNEY
Hello?
LISA (OS)
Mr. Alcala?

(CONTINUED)
CONTINUED: 107.

RODNEY
Yeah.
LISA (OS)
Hi, this is Lisa Weissmeuller from
The Dating Game. How are you doing
today?
RODNEY
Um, fine?

LISA (OS)
That’s great. So look, I’m afraid
that I’m calling with some
unfortunate news. Our office just
received a call from Sheryl Lee,
your bachelorette.

RODNEY
Oh?
LISA
Yeah. It turns out that she won’t
be able to attend the date after
all.
RODNEY
What?

LISA (OS)
She’s very sorry to have to cancel
on such short notice, but a family
emergency has called her back east.
RODNEY
Fine, so let’s reschedule it.
LISA (OS)
Unfortunately she won’t be able to
do that either. With that said,
your flight vouchers are still
active so if you have somebody else
that you’d like to go with--
RODNEY
Wait, no, hold on. Just shut up for
a second. What are you--? What’s
going on?
LISA (OS)
Mr. Alcala?

(CONTINUED)
CONTINUED: 108.

RODNEY
I won. I won the game. She asked
the questions and I answered, and
so we’re going on a date. Those are
the fucking rules.

LISA (OS)
I’m very sorry if you’re upset
but--
RODNEY
Give me her phone number, I want to
call her.
LISA (OS)
I don’t have it.

RODNEY
You’re lying.
LISA (OS)
Yep.

RODNEY
You’re a cunt. If I ever see you on
the street, I’ll bash your fucking
head in.
Lisa goes silent for a moment.

LISA (OS)
Yeah. ‘Can’t imagine why she turned
you down. Fucking freak.
Rodney looks like he’s about to say something, but then
there’s a CLICK and the line goes dead.
Rodney stands there, eyes filled with humiliation and hate.
Slowly, he sets the phone back on the cradle.
MOTHER (OS)
Rodney? Everything okay?

INT. BEDROOM - MOMENTS LATER

Rodney slips into a DRESS SHIRT...

CUT TO:
...laces up his boots..
CUT TO:

(CONTINUED)
CONTINUED: 109.

...loads FILM into his CAMERA...

CUT TO:

...cleans off a lock-blade KNIFE, then slips it in his back

pocket.

EXT. DATSUN - NIGHT

The Datsun drives along the highway at night.

We see distant hills, low and black and dotted with the
houselights.

INT. LAUNDROMAT - NIGHT

Amy is mopping up the floors as the last CUSTOMER packs up
her things to leave.

Ginger is laying on a dog bed behind the counter.

CUSTOMER
Buenas noches. Te veo mañana.
AMY
Si. Que tengas una buena noche.
Amy walks the woman to the door, closes it behind her and
locks it. She shuts off the overhead lights.
She crosses to the counter, loads the last of the folded
laundry into a plastic bag and sets it aside.
When she’s done, she grabs an IN-N-OUT bag off the counter
and whistles for Ginger.
AMY
C’mon girl.
Ginger stands and follows Amy to a door at the back of the
room. Amy opens it...

INT. AMY’S ROOM

Inside is a utility closet that has been turned into a very
small living space. There’s a twin bed and a small dresser.
Beside the bed is an overturned milk crate with a lamp and a
little radio on it.
Tacked to the wall beside the bed is the picture of Amy and
her mom.

(CONTINUED)
CONTINUED: 110.

Amy snaps on the lamp and the radio, and plunks herself on
the bed. She opens up her SAT GUIDE. Continues studying.
As music plays, she digs out the burger and begins chowing
down, stopping every so often to feed Ginger a French fry.

Suddenly, there’s a KNOCK on the front door.

Amy puts down her food and goes to her bedroom door. Looks
out.

INT. LAUNDROMAT
She sees Rodney standing at the front door, his camera
hanging around his neck. He gives her little wave.

Amy grins and crosses to the door. Opens it a crack.

RODNEY
Hi.
AMY
Hi.
RODNEY
Can I still take your picture?

EXT. LAUNDROMAT - CON’T

Amy chuckles and holds the door open for him.
Rodney steps inside and Amy closes the door behind him.
Locks it.

Together, they cross back to Amy’s little bedroom in the

utility closet.
TO BLACK.

Silence. The post-script appears on screen:

Sheryl Lee-Ellis eventually moved back to Pennsylvania where
she continues to perform in regional theater. She has never
spoken publicly about her experiences with Rodney Alcala on
The Dating Game.
These words fade. Replaced by:
In 1979, Rodney Alcala murdered a 12 y.o. on her way to
ballet class, as well as at least two other women. It was
among his bloodiest killing sprees to date.

(CONTINUED)
CONTINUED: 111.

Police eventually raided his apartment and found a receipt

for the storage locker in Seattle. The police were able to
arrest him based on evidence found there.
These words fade. Replaced by:

While Alcala has been in jail ever since, his list of murder
victims continues to grow. Some authorities now estimate the
actual number to be as high as 130.
These words fade. Replaced by:

In 2010, Alcala was tried for five murders based on new DNA
evidence. He was convicted and sentenced to death. He is
currently on Death Row in San Quentin Prison.
THE END