BOOGIE NIGHTS
by
Paul Thomas Anderson
1 EXT. HOT TRAXX NIGHTCLUB - NIGHT
CAMERA holds on this PACKED disco on Van Nuys Blvd.
TITLE CARD: "San Fernando Valley, 1977"
A CADILLAC SEVILLE pulls up to the valet area and CAMERA (STEADICAM) moves
across the street, towards the car, landing close;
From the Seville steps, JACK HORNER (50s) and AMBER WAVES (early 30s).
CAMERA follows them (this is one continous shot) as they pass the crowd,
greet a DOORMAN and enter --
INSIDE THE NIGHTCLUB. Twice as packed inside as outside. Music is full
blast. Amber and Jack are greeted by;
MAURICE t.t. RODRIGUEZ (30s). Owner of the nightclub. Puerto Rican. Wearing
a suit and fifteen gold chains.
MAURICE
Jackie-Jack-Jack and Miss Lovely Amber Waves --
AMBER
Hi, Maurice.
JACK
You bad ass little spick. How are you, honey?
MAURICE
Pissed off you ain't been around --
JACK
-- I been on vacation.
MAURICE
Don't stay away this long from my
club ever again, Jackie-Jack-Jack.
JACK
I promise.
Maurice takes Amber's hand and gives it a kiss.
MAURICE
You are the foxiest bitch in ten countries.
AMBER
You're such a charmer.
MAURICE
(to Jack)
I got you all set up at your booth.
I wanna send over some clams on the half shell.
JACK
Beautiful.
MAURICE
Just remember, Jack: I'm available
and ready. Cast me and find out --
JACK
Yeah, yeah, yeah.
Amber and Jack head off towards the booth. CAMERA stays with Maurice,
follows him to the bar area, where he shouts some orders to a WAITER.
MAURICE
Clams on the half shell to Jack
and Amber -- over there -- go!
The WAITER takes off to the kitchen, Maurice walks onto the dance floor and
greets three people;
REED ROTHCHILD, 20s, tall and skinny, BECKY BARNETT, 20s, black girl in
silk, BUCK SWOPE, 20s, black guy in cowboy gear.
MAURICE
Hello there, kiddies.
REED/BUCK/BECKY
Hi, hey, hi, Maurice.
MAURICE
Having a good time?
BECKY
Excellent.
MAURICE
Great, great, great.
Maurice moves away to greet some more people. CAMERA stays with Reed, Becky
and Buck, does a 360 around them. Reed and Becky Disco Dance. Buck does
some Cowboy-Type Moves.
Moments later, the WAITER carrying clams on the half shell passes and
CAMERA picks up with him, follows him to Jack's booth, where he presents
them;
WAITER
Compliments of Maurice.
JACK
Thank you.
AMBER
Can I get a Marguerita, please?
JACK
Seven-Up, here --
The WAITER exits, CAMERA PANS with him for a moment, leading to a young
girl wearing rollerskates, ROLLERGIRL (aged 18). She always, always wears
rollerskates. CAMERA PANS with her back to Jack's booth.
ROLLERGIRL
Hi.
JACK
Hello, honey.
AMBER
(to Rollergirl)
Did you call that girl today?
ROLLERGIRL
I forgot.
AMBER
If you don't do it tomorrow, then it's
the weekend and you'll never be able to
get in to see her --
ROLLERGIRL
OK.
Rollergirl scratches her crotch as she speaks. Amber notices;
AMBER
What's the matter down there?
ROLLERGIRL
I gotta go pee.
AMBER
Well go, then.
CAMERA stays with Rollergirl, following her across the dance floor. She
passes Buck, Becky and Reed, says hello, dances a moment, then continues on
-- into the clearing off the dance floor, heading for the bathroom. She
passes something, CAMERA moves away towards this something:
A bus boy cleaning a table, EDDIE ADAMS, aged 17. CAMERA moves into a CU --
blending to SLOW MOTION (40fps) for a moment.
(Note: In the text Eddie Adams will be referred to as Dirk Diggler.)
ANGLE, JACK'S TABLE.
Jack turns his head, looks across the dance floor and sees this kid
cleaning the table.
ANGLE, DIRK DIGGLER.
He looks up, catches Jack looking back at him, then turns away, disappears
into a back room.
CAMERA DOLLIES in on Jack, who at that moment, is approached by a figure
entering FRAME. Short, buffed out LITTLE BILL (late 40s). This is Jack's
Assistant Director.
LITTLE BILL
Jack.
JACK
Hey, Little Bill.
LITTLE BILL
Whatsa schedule look like?
Are we still on day after tomorrow?
JACK
I wanna do it the day after
the day after tomorrow.
LITTLE BILL
For sure? 'Cause I wanna call
Rocky, Scotty, Kurt and all those guys --
Jack's attention is with the backroom that Dirk entered. He stands and
heads away.
JACK
Absolutely. But I wanna keep it small.
I wanna keep a small crew on this one --
LITTLE BILL
-- a relaxed deal.
JACK
Exactly.
LITTLE BILL
Do you have a script yet?
JACK
Tomorrow. Tomorrow is the day --
Jack is off across the dance floor.
CUT TO:
2 INT. BACKROOM/KITCHEN - MOMENTS LATER
JACK
Hey.
DIRK
Hey.
JACK
How ya doin'?
DIRK
Fine.
JACK
How old are you?
DIRK
I have a work permit, I got the paper --
JACK
No, no, no. Not like that.
How long have you worked here?
DIRK
A month.
JACK
Maurice give you a job here?
DIRK
Yeah.
JACK
How much he pay you?
DIRK
I'm not supposed to say how much I make.
JACK
He's a friend of mine --
DIRK
Well you'll have to ask him.
JACK
You live around here, Canoga - Reseda?
DIRK
Um . . . no . . . do you know where Torrance is?
JACK
How do you get here?
DIRK
I take the bus.
JACK
So what do you wanna do?
DIRK
What?
JACK
You take the bus from Torrance to work
in Reseda, why don't you work in Torrance?
DIRK
I don't want to.
JACK
. . . ok . . .
DIRK
So . . . you want five or ten?
JACK
. . . what . . . ?
DIRK
If you wanna watch me jack off
it's ten bucks. If you just wanna
look at it then it's five.
JACK
Guys come in, ask you to jack off
for them, ask to see it?
DIRK
Yeah.
JACK
Have you done it tonight?
DIRK
Couple times.
JACK
And you can do it again?
DIRK
If you want, if you got ten bucks.
BEAT. Jack extends his hand.
JACK
I'm Jack.
DIRK
Eddie. Eddie Adams.
JACK
Eddie Adams from Torrance. I'm Jack
Horner, Filmmaker.
DIRK
Really?
JACK
I make adult films. Erotic pictures.
BEAT, THEN;
DIRK
. . . I know who you are. I read about you
in a magazine. "Inside Amber," "Amanda's
Ride." You made those --
JACK
So you know me, you know I'm not full
of doggy-doo-doo --
DIRK
Yeah . . . .
JACK
So why don't you come back
to my table, have a drink,
meet some people --
DIRK
I'd love to but . . . I'm working --
JACK
You need money, you have to pay the rent --
DIRK
. . . No . . . I mean, yeah. I need money.
But I don't pay rent. I live at home.
JACK
Tell me how old you are, Eddie.
DIRK
. . . I'm seventeen . . . .
JACK
You're a seventeen year old piece of gold.
DIRK
Yeah, right.
JACK
Why don't you come back to my table,
have a drink, meet some people --
DIRK
I can't do that to Maurice.
JACK
You're a good worker, yeah?
DIRK
I'm sorry, I do know you, I know
who you are, I'd love to have a drink
with you and I know you're not full of --
JACK
-- doggy-doo-doo.
DIRK
Yeah, yeah. But I just can't
walk out on Maurice. I'm sorry.
BEAT, THEN;
JACK
It seems to me, beneath those jeans,
there's something wonderful just
waiting to get out --
Jack leaves.
3 EXT. HOT TRAXX NIGHTCLUB - NIGHT (LATER)
The club is closing, Maurice is locking up and turning the lights off out
front. CAMERA hangs around with Buck, Becky and Reed. (Director's Note:
Reference improv. Notes)
Jack and Amber cruise past in his Seville, say so long and head up Van Nuys
Blvd.
They pass Little Bill who walks to his old Station Wagon, rips a parking
ticket off the windshield and gets behind the wheel.
Dirk Diggler exits the club from a side door and heads off --
CUT TO:
4 OMITTED
5 INT. JACK'S HOUSE/LAUREL CANYON - NIGHT - LATER
Jack and Amber enter the house. It resembles the Jungle Room at Graceland.
He heads for the kitchen, she makes a drink . . .
JACK
You want somethin' to eat?
I'm onnamake some eggs.
AMBER
I'm goin' to sleep.
JACK
Goodnight, honey-tits. Sleep beautiful.
CUT TO:
6 INT. AMBER'S BEDROOM/JACK'S HOUSE - NIGHT - MOMENTS LATER
ECU, AMBER. She does a quick line of coke. BEAT. She takes a valium, lights
a cigarette, then picks up the phone;
AMBER
Tom . . . hi . . . yeah. I know it's late, but . . .
(beat)
Yeah. Is Andy there? Is he . . . ?
I'd like to say hello, I'd like to say
hello to my son and that's all.
(beat)
Lemme tell you something, Tom.
Lemme tell you something you don't know;
I know a lawyer, you understand?
You might think I don't but I do
and I'll take you to court . . . .
(beat)
No . . . please don't, Tom, Tom, Tom --
Dial tone from the phone. She hangs up.
7 INT. LITTLE BILL'S HOUSE - NIGHT
Little Bill enters his house quietly, turns on a small light to help guide
him down a hallway.
FROM A BEDROOM DOOR we hear the sounds of MOANING AND GROANING. Little Bill
walks to the door, hesitates, then opens --
CUT TO:
8 INT. LITTLE BILL'S BEDROOM - NIGHT - THAT MOMENT
LITTLE BILL'S WIFE and a BIG STUD are doing it on the bed. They stop a
moment and casually look at him.
LITTLE BILL
What the fuck are you doing?
LITTLE BILL'S WIFE
The fuck does it look like I'm doing?
I've got a cock in my pussy, you idiot.
BIG STUD
Will you close the door?
LITTLE BILL
Will I close the door? You're fucking
my wife, asshole.
BIG STUD
Relax, little man.
LITTLE BILL'S WIFE
Just get out, Bill. Fucking sleep on the couch.
(to Big Stud)
Keep going, Big Stud.
Big Stud continues. Little Bill watches a moment in a haze then closes the
door.
CUT TO:
9 INT. DIRK'S PARENTS HOUSE/TORRANCE - NIGHT
Dirk enters quietly, walks a hallway and goes into his room.
CUT TO:
10 INT. DIRK'S ROOM - NIGHT - THAT MOMENT
Dirk enters his room and begins to remove his clothes. He turns the volume
low on his stereo. He stands in front of his mirror, does a few flexes,
some dance moves, some karate moves, etc. CAMERA DOES A SLOW 360 PAN AROUND
THE ROOM. Posters on the walls of Travolta, Pacino, a 1976 Corvette, Bruce
Lee, Hawaii, a Penthouse centerfold, Luke Skywalker, etc. CAMERA LANDS BACK
ON DIRK.
DIRK
That's right.
FADE OUT, CUT TO:
11 OMITTED
12 OMITTED
13 INT. DIRK'S HOUSE/KITCHEN - MORNING
Dirk eats breakfast. His MOTHER (mid 40s) stands, washing a dish. His
FATHER (50s) enters, dressed in suite. He crosses the kitchen
INSERT, CU
Father, stubble on his face, places a kiss on the cheek of Mother.
FATHER
Good morning.
MOTHER
. . . Jesus. Please, okay? Shave if you're
gonna do that, it scratches my face.
Father takes a seat at the breakfast table, looks to Dirk.
FATHER
How's that work, you get home late, huh?
DIRK
Yeah.
MOTHER
If you wanna work in a nightclub you
should . . . if it's so important . . . you
should find one closer.
DIRK
. . . yeah . . .
They eat in silence.
DIRK
I've gotta get to work.
MOTHER
. . . at a car wash . . .
DIRK
What?
MOTHER
You work at a car wash, school never
occurred to you?
Dirk stands up, places his plates in the sink and exits.
CUT TO:
14 OMITTED
15 OMITTED
16 INT. HIGH SCHOOL CLASSROOM - DAY
A crowded high school geometry classroom. In the back of the class, sitting
at a desk is Rollergirl. A TEACHER walks about, handing out the final exam.
Rollergirl looks it over; a lot of questions, diagrams and generally
confusing material. She looks across the room;
Two BOYS are looking at her and chuckling to themselves. One guy looks to
the other and makes a "blow job" gesture.
She looks away, they continue their gestures and giggling. Other students
notice and smile.
CAMERA ARRIVES CU. ON ROLLERGIRL. She stands up, heads for the door -- the
teacher calls after her -- but she's gone.
CUT TO:
17 INT. SUPER-DUPER STEREO SHOP - DAY
A semi-high end stereo store in the valley. Buck, dressed in his usual
cowboy-digs, is talking to a CUSTOMER about a stereo unit. The manager, a
skinny-white guy with a mustache and mustard suit, JERRY (30s) is standing
nearby.
BUCK
-- so basically you're gettin'
twice the base, cause of the TK421
modification we got in this system here.
CUSTOMER
I don't know - do I need that much bass?
BUCK
If you want a system to handle
what you want -- yes you do.
See this system here. This is Hi-Fi.
"High Fidelity." What that means is
that it's the highest quality fidelity.
CUSTOMER
It's the price --
BUCK
I have this unit at home.
CUSTOMER
. . . really . . . ?
BUCK
Yes. But -- I've got it modified
with the TK421, which is a bass unit
that basically kicks in another two,
maybe three quads when you really
crank -- lemme put another eight track
in so you can get a better idea what
I'm talkin about --
Buck ejects the Eight Track that was playing and puts in his own of a
country western song.
BUCK
Hear that bass? It kicks and turns
and curls up in your belly, makes you
wanna freaky-deaky, right? If you get
this unit as it is -- it won't sound
like this without the modification --
and we do that for a small price.
The Customer listens another moment, then;
CUSTOMER
Thank you for your time.
BUCK
No problem.
The Customer exits and Jerry approaches Buck.
JERRY
. . . the fuck was that?
BUCK
Wha?
JERRY
Have I told you? Huh? Have I?
BUCK
What? I don't --
JERRY
Alright: A.) You play that country
western-crap and no one's gonna buy
a stereo. You throw on some KC and
the Sunshine Band, a guy looks a particular
way -- and you've seen the profile sheet --
you throw on some Led Zeppelin. No.
Instead, you play this twingy-twangy,
yappy-dappy music. What kinda brother
are you anyway, listening to that shit?
BUCK
Hey, Jerry, look --
JERRY
No, you look. I gave you a job here
because I thought your film work
might bring some nice pussy in the
place -- and it has -- but I can't
have anymore fuck ups -- you dig?
BUCK
Yeah.
JERRY
Alright. Go unload the new 484's
from the back room.
Buck goes to the back room.
CUT TO:
18 INT. SHERYL LYNN'S BEDROOM - DAY - LATER
Dirk is in bed with a young neighborhood girl, SHERYL LYNN PARTRIDGE. Her
room is decorated in pastels with equestrian things all around. Horse
models, trophies from riding, blue ribbons, etc.
DIRK
I have to get back.
SHERYL LYNN
Once more.
DIRK
I have to get back to work.
SHERYL LYNN
Give it to me, Eddie.
DIRK
Don't make me pounce you, Sheryl Lynn.
SHERYL LYNN
Ohhhh-baby, baby, baby.
DIRK
I'll do it --
SHERYL LYNN
Promise?
DIRK
That's it.
Dirk jumps up and starts bouncing up and down on the bed, naked and
flapping. She stares at his crotch, shakes her head;
DICK (OC)
What?
SHERYL LYNN
You're so beautiful.
DICK (OC)
Yeah . . .
SHERYL LYNN
Do you know how good you are at
doing this, Eddie? Having sex . . . fucking me . . .
making love to me?
Dirk looks down. BEAT.
DIRK
Everyone has one thing, y'think? I mean:
Everyone is given one special thing . . . . right?
SHERYL LYNN
That's right.
DIRK
Everyone is blessed with One Special Thing.
Dirk kneels down to her;
DIRK
I want you to know: I plan on being a star.
A big, bright shining star. That's what
I want and it's what I'm gonna get.
SHERYL LYNN
I know.
DIRK
And once I get it: I'm never gonna stop
and I'll never, ever make a mistake.
They Kiss.
CUT TO:
19 INT. HOT TRAXX NIGHTCLUB - NIGHT
Nightclub is in full swing on a Friday Night. CAMERA hangs with Dirk for a
while as he buses tables.
ANGLE, JACK'S BOOTH
Rollergirl comes over to speak with Jack. He whispers something in her ear.
She nods, "I understand," and rolls away --
CUT TO:
20 INT. HOT TRAXX/HALLWAY - NIGHT - THAT MOMENT
CAMERA follows on the heels of the rollerskates as they move down the
hallway and into --
THE KITCHEN
Dirk is washing dishes. He looks up and spots Rollergirl. She lifts a skate
up just a little . . . She rolls closer to Dirk and pulls him into
A CLOSET SPACE
She goes down on him, unzips his pants and pulls out his cock. She
hesitates. DOLLY IN CLOSE ON HER FACE. She smiles up at Dirk.
CUT TO:
21 OMITTED
22 EXT. HOT TRAXX NIGHTCLUB - NIGHT - LATER
Closing hour. Dirk exits a side door and starts walking. Jack, Amber and
Rollergirl in the Seville pull along side him;
JACK
Hey. Eddie.
DIRK
Hello. Jack?
JACK
Yeah. You wanna ride?
DIRK
I'm goin' pretty far.
ROLLERGIRL
You remember me? Couple hours ago?
DIRK
Yeah . . . I remember you.
AMBER
Come with us, sweetie.
DIRK
Okay.
Dirk gets in the backseat of the car with Rollergirl.
CUT TO:
23. INT. CANDY'S COFFEE SHOP - NIGHT - LATER
In a booth, after the meal. Dirk and Rollergirl on one side, Jack and Amber
on the other.
JACK
This thing here, I mean, you understand
one thing and that's this: It costs.
I mean, this stuff costs good ol' American
Green. You got film, you got lights,
you got sound, lab fees, developing, synching,
editing -- next thing you know you're
spending thirty/forty thousand a picture.
DIRK
That's a lot of money.
JACK
Hell yes it's a lot of money, but lemme
tell you something else: You make a good
film and there's practically no end to the
amount of money you can make, Eddie.
AMBER
Have you seen Jack's house?
CAMERA HOLDS ON AMBER. She watches Dirk.
DIRK (OC)
No.
JACK (OC)
He'll see it.
ROLLERGIRL (OC)
He'll see it.
JACK (OC)
Eddie: You got ten, fifteen people around
and that's just to make sure the lighting is
right . . . shit, this is not an operation for
the weak, and lemme tell you something else:
When all is said and done, you gotta have the
juice, you understand? I mean . . . you can work
on your arms, your legs, workout morning, day,
noon, night, the whole deal, but when it comes
right down to it . . . what we need is Mr. Torpedo
Area, y'understand? Mr. Fun Zone? Okay, let's
say you got that: right? And You Do Got, Yeah?
He looks to Rollergirl. She smiles. CAMERA OFF AMBER NOW.
JACK
I can go out -- tonight -- the reputation
I got: I can find myself 15/20 guys,
cocks the size of Willie Mays Baseball Bat:
Do I want that? No. Do I need that? No.
I need actors.
AMBER
Uhhh-ohhh . . . here we go --
JACK
-- Alright, yeah, I need the big dick,
and the big tits -- that GETS them in
the theater. What keeps them in their
seats even after they've come? Huh?
The beauty and the acting.
If you're able to give it up and show the world:
No, not just your cock. Fuck that.
What I'm talking about is showing your
insides, from your heart . . . you understand?
Hey, Sure: GET THEM IN THE THEATER.
That's one thing. I don't want 'em showing up,
sitting down, jacking off and splitting on
the story. I don't want to make that film.
I wanna make the thing that keeps 'em around
even after they've come . . . what happens when you
come? You're done, you wanna split.
My idea, my goal: Suck 'em in with the
story . . . they'll squirt their load and sit in it . . .
Just To See How The Story Ends.
Sometimes we make these films, we wanna
make people laugh a little, then get into
it and fuck heavy: That's good and that's fine.
But I got a dream of making a film that's
true . . . true and right and dramatic.
DIRK
. . . Right . . . right . . . I understand.
AMBER
Don't listen too hard to all this,
honey . . . it's just nice in theory.
JACK
It's a dream to be able to find
a cock and an actor.
ROLLERGIRL
Dream, dream, dream, dream, dream.
DIRK
If you don't have dreams you have nightmares.
HOLD. Amber, Jack and Rollergirl look at Dirk.
CUT TO:
24 INT. JACK'S HOUSE/LIVING ROOM - NIGHT
CAMERA DOES A 180 AROUND THE MAIN PART OF THE HOUSE, LANDS THE ANGLE WITH
DIRK. He's sitting on a couch, hands folded across his lap. OC we hear
Jack, Rollergirl and Amber moving about and talking.
JACK (OC)
Did you want a Fresca, Eddie?
DIRK
No thanks.
JACK
You're sure . . . ?
ROLLERGIRL (OC)
. . . you're out of limes, Jack.
JACK (OC)
Check in the studio fridge . . .
AMBER (OC)
I'm going to bed.
JACK (OC)
Good night, honey.
AMBER (OC)
Good night, Jackie. Don't stay up too late.
Good night, Eddie. I'm glad you came by.
She leans into FRAME and gives Dirk a good-night kiss.
AMBER
You're great.
DIRK
Thank you.
CAMERA PANS WITH AMBER AND LEADS TO AN ANGLE WITH JACK. HOLD.
JACK
She's the best, Eddie. A mother.
A real and wonderful mother to all
those who need love.
DIRK (OC)
She's really nice.
JACK
So what do you think . . . I think
we ought to be in business together.
DIRK (OC)
. . . yeah . . . ?
JACK
What do you think of Rollergirl?
DIRK (OC)
She's . . . she's really great . . .
JACK
Would you like to get it on with her?
DIRK (OC)
Have sex?
JACK
Yeah.
DIRK (OC)
Yeah, I'd love to. I mean, yes.
She's . . . she's really foxy.
JACK
Bet your ass she is --
Rollergirl enters back into the house. CAMERA SWING PANS OVER:
ROLLERGIRL
You're officially out of limes, Jack.
JACK
I'll get you some more tomorrow.
Come over here a minute. Sit next
to Eddie on the couch there.
ROLLERGIRL
Here We Go! Are We Gonna Fuck?
JACK
Yes you are.
ROLLERGIRL
Oh, wait, wait, wait, then.
She rolls over to the Hi-Fi system and picks a record. She sets the needle
on the turntable and rolls over to the couch -- in one swift motion ripping
her clothes off.
ROLLERGIRL
You ready?
DIRK
Are you?
ROLLERGIRL
Ohhh-yeah.
They kiss. They lean back on the couch. Dirk stops a moment.
DIRK
Are you gonna take your skates off?
ROLLERGIRL
I don't take my skates off.
DIRK
Okay.
ROLLERGIRL
Don't fucking come in me.
JACK
Don't come in her, Eddie. I want you
to pull it out and jack off, make sure
you aim it towards her face.
ROLLERGIRL
Fuck you, Jack.
JACK
Towards her tits, then.
CAMERA HOLDS ON JACK. OC sounds of Dirk and Rollergirl making out on the
couch. SLOW ZOOM INTO CU. ON JACK.
CUT TO:
25 INT. DIRK'S HOUSE - EARLY MORNING - LATER
Dirk enters quietly, walks down the hallway, passing the kitchen. His
MOTHER is there, looking at him. HOLD, THEN;
DIRK
Hi.
MOTHER
Where were you?
DIRK
Nowhere.
MOTHER
Shut up. Shut up. Where were you?
Dirk walks down the hall towards his room.
MOTHER
You see that little slut girl you see?
Sheryl? Sheryl Lynn?
DIRK
Don't say that.
MOTHER
Does it make you feel like a stud to
see trash like that? Huh? What is she?
Your girl-friend?
DIRK
She's not my girlfriend.
MOTHER
She's a little whore and a little
piece of trash . . . I know you're not
the only one that she sees.
DIRK
What . . . what're you . . . you don't know.
MOTHER
I've heard things about her. That girl.
Don't think I don't know what goes on
when I'm not here . . . I wash your sheets, kid.
I know she's been here. Or are you doing
some other thing in there? With your
music and your posters on the wall?
CUT TO:
26 INT. BEDROOM - MORNING - THAT MOMENT
Dirk's FATHER is sitting on the edge of his bed, listening the fight
outside.
MOTHER (OC)
Why don't you go to your little whore,
Sheryl Lynn. Your little GIRLFRIEND.
DIRK (OC)
Maybe I will.
MOTHER (OC)
Oh yeah? Yeah, what are you gonna do?
DIRK (OC)
I dunno, I'll do something.
27 INT. HALLWAY - MORNING - THAT MOMENT
MOTHER
You can't do anything. You're a loser.
You'll always be a loser -- you couldn't
even finish high school because you were
too stupid -- so what are you gonna do?
DIRK
I'll do something . . . I'll do it.
I'll go somewhere and do something,
maybe I'll run away where you can never
find me.
MOTHER
Go ahead. Go ahead and fuck
that little GIRL.
Dirk heads for his room, Mother follows.
29 INT. DIRK'S BEDROOM - MORNING - THAT MOMENT
Dirk heads for a drawer and starts to grab some clothes.
MOTHER
What do you think you're doing?
DIRK
I'm getting my stuff --
MOTHER
-- you think that's your stuff?
That's not your stuff . . . you didn't pay
for that -- it's not yours because
you didn't pay for it, stupid.
Dirk stops. His Mother looks to the posters on his wall.
MOTHER
None of this stuff is yours. This:
She starts to rip his posters from the wall. Dirk stands. CAMERA begins a
SLOW DOLLY INTO CU.
MOTHER (OC)
If you're gonna leave, you leave with what
you've got: Nothing. Y'see . . . you treat me
like this and this is what you get.
That's fair. Huh? You wanna live that way?
Fuck that little whore. I've taken care of
you all your miserable fucking life . . . .
CAMERA ARRIVES CU. ON DIRK. He's starting to cry.
MOTHER (OC)
. . . you pay for it . . . you owe me for all the
shit I've done for you in your life . . . . you
little fucker . . . you understand? Think you're
gonna be this? Huh? These god damn posters --
you're not gonna be this -- you're gonna
be shit . . . because you're stupid.
DIRK
I'm not stupid.
MOTHER
Yes you are.
DIRK
Why are you so mean to me? You're my mother . . .
MOTHER
Not by choice.
DIRK
Don't. Don't be mean to me.
MOTHER
You little fucker, I'm not being mean
to you, you're just too stupid to see.
DIRK
You don't know what I can do. You don't
know what I can do or what I'm gonna do
or what I'm gonna be. You don't know.
I'm good. I have good things that you
don't know and I'm gonna be something --
you -- You Don't Know And You'll See.
MOTHER
You can't do anything.
You'll never do anything --
DIRK
Don't be mean to me.
MOTHER
YOU LITTLE FUCKER, I'M NOT BEING MEAN TO YOU!
Dirk CHARGES at his Mother and SLAMS her against the wall.
DIRK
AND YOU DON'T BE MEAN, AND YOU DON'T
TALK TO ME . . . . NO.
CUT TO:
29 EXT. DIRK'S HOUSE/TORRANCE - MORNING
Dirk CHARGES out of the house and runs off down the street. Mother appears
in the doorway, watches him leave, slams the door --
CUT TO:
30 OMITTED
31 OMITTED
32 OMITTED
33 INT. JACK'S HOUSE - DAY
Jack, Amber, Rollergirl, Reed, Buck and Becky. They're setting up for a
pool party. Cases of beer, soda and chips all around.
Dirk comes walking up towards the front door . . . Jack opens up, CAMERA
PUSHES IN . . . Jack opens his arms;
JACK
Eddie Adams from Torrance! You made it,
you made it, my darling, come on in here.
I want you to meet someone --
CAMERA follows with Jack and Dirk as they move to the pool area and find
Reed, who's setting up the bar.
JACK
Reed, honey, I want you to meet
a New Kid On The Block, Eddie Adams.
DIRK
Hi . . . I'm Eddie . . .
REED
Hi, Eddie. I'm Reed. You live on this block?
DIRK
No, no.
REED
Oh, I thought Jack said you did.
You wanna drink?
DIRK
Sure.
JACK
Eddie, I want you to hang out for
a while, I don't want you leaving
this party . . . understand me?
DIRK
Sure.
Jack leaves. Reed looks to Dirk.
REED
Marguerita?
DIRK
Great.
BEAT. Reed fixes the drink.
REED
Can I ask you something?
DIRK
Uh-huh.
REED
Do you work out?
DIRK
Yeah.
REED
You look like it. Whadda you squat?
DIRK
Two.
REED
Super, super.
DIRK
You?
REED
Three.
DIRK
Wow.
REED
No b.s. Where do you work out?
DIRK
Torrance. In Torrance, where I live.
REED
Cool. Cool. You ever go to Vince's out
here -- no you couldn't, I would've seen you.
DIRK
I've always wanted to work out at Vince's.
REED
Here we go . . . taste that.
Dirk sips the Marguerita.
DIRK
Rock and Roll.
REED
Thanks. What do you bench?
DIRK
You tell me first.
REED
You first.
DIRK
Same time.
REED
Cool.
DIRK
Ready?
REED
Ready.
DIRK/REED
One . . . Two . . . Three . . . .
SILENCE.
DIRK
You didn't say it . . .
REED
. . . neither did you.
ANGLE, POLAROID CAMERA.
It sits on a table top. It's suddenly snapped up by Rollergirl. CAMERA
follows her and the Polaroid out to the pool area where she snaps photos of
Reed and Dirk. (Flash to Developed Polaroids.)
CUT TO:
34 EXT. JACK'S DRIVEWAY - AFTERNOON - LATER
The driveway is PACKED with cars now and the party is in full swing. A Big
Black Cadillac comes down the driveway. A LIMO DRIVER gets out, moves to
the back and opens the door. From the car steps:
THE COLONEL JAMES (mid-60s). Heavy-set in a tan suit. Wrap around
sunglasses. The Porno Film Distributor. His LADY FRIEND (aged 16) steps
from the car and smiles;
COLONEL
You look great, honey.
LADY FRIEND
Is there gonna be coke at this party, Colonel?
COLONEL
Yes.
Jack is right there to greet the Colonel.
JACK
Colonel, hello and welcome!
COLONEL
Hello, Jack. This is my Lady Friend.
JACK
Hello, darling.
LADY FRIEND
Do you have coke at this party?
JACK
Well I'm sure we can find you some.
COLONEL
Find her some coke, Jack.
JACK
We will, we will. Thanks for coming by.
They exit. CAMERA follows the Limo Driver into the pool area --
CUT TO:
35 EXT. POOL AREA/JACK'S HOUSE - THAT MOMENT
CAMERA follows the Limo Driver for a while, then moves away, to find;
Maurice and Amber. They're sitting down, speaking.
MAURICE
. . . y'see, Miss Amber, I'm just a poor fellow
from Puerto Rico. I have the club, yes,
that's one thing . . . but soon . . . the club goes . . .
I die . . . and what do I have? I've got nothing.
AMBER
Uh-huh.
MAURICE
I want something to send back home.
Something to send back to my brothers and say:
Look At Me. Look At The Women I've Been With.
AMBER
So what . . . do you want me to talk to him?
MAURICE
Yes . . . I mean . . . y'know . . . what do you
think I'm askin' here?
AMBER
. . . you wanna be in a movie?
MAURICE
Please. Tell him I won't be bad. Please.
AMBER
I'll see what I can do.
CAMERA moves away, through the party, to find Buck and Becky.
BECKY
. . . because it's old . . . it's old deal.
BUCK
Lemme tell you something:
BECKY
He was obviously pissed about the music.
BUCK
What's wrong with it, y'know?
BECKY
Look, Buck: The cowboy look ended
about six years ago --
BUCK
-- it's comin' back.
BECKY
No it's not. It's over, it's dead.
BUCK
You don't know what you're talkin' about.
BECKY
I'm just saying and it seems like your
boss at the stereo store is saying the
same thing --
BUCK
-- what, what?
BECKY
Get a new look.
BUCK
Yeah . . . yeah . . . yeah . . . you get a new look.
BECKY
The look I've got is just fine.
BUCK
What's your look?
BECKY
Chocolate Love, Baby.
BUCK
Yeah, right.
OC we hear the new song start to play.
BECKY
OH SHIT! TURN IT UP! I LOVE THIS SONG!
Becky leaves. CAMERA moves away to find:
The Colonel's Lady Friend approaches a Young Stud, who's wearing
bikini-speedos and holding court over a table of coke.
LADY FRIEND
Excuse me . . . ?
YOUNG STUD
Yes?
LADY FRIEND
May I please join in?
YOUNG STUD
Most certainly.
CUT TO:
36 EXT. JACK'S HOUSE/DRIVEWAY - DAY - MOMENTS LATER
Little Bill and his Wife get out of his Station Wagon and enter the party
from the driveway. She's dressed up. He's dressed down.
LITTLE BILL
Just don't embarrass me, alright?
LITTLE BILL'S WIFE
Fuck you, Bill.
LITTLE BILL
I work with these people, alright?
These are my coworkers, so just --
LITTLE BILL'S WIFE
Bite it.
LITTLE BILL
Don't make me do something.
LITTLE BILL'S WIFE
Ohhh . . . I'm so scared.
She moves away. Rollergirl passes and takes a SNAPSHOT.
CU. THE POLAROID - DEVELOPED
Little Bill in sort of an angry-confused-surprised face.
ROLLERGIRL
What's wrong, Little Bill?
LITTLE BILL
Nothing. How are you, Rollergirl?
ROLLERGIRL
I'm fine.
LITTLE BILL
Is Jack around?
ROLLERGIRL
He's in the house.
Little Bill leaves. CAMERA follows Rollergirl around as she mingles and
snaps more Polaroids.
CUT TO:
37 INT. JACK'S OFFICE - DAY - THAT MOMENT
Jack and the Colonel are sitting, drinks in their hand. The Colonel smokes
a cigar.
JACK
The idea is this: Amber is a director
of porno films and she's down on her luck.
She hasn't had a hit in a year. She's
desperate. Her landlord is threatening to kick her
out, so she's desperate for a big dick hit, right?
COLONEL
Yes. Good dilemma.
JACK
Yes. So she calls up all the agencies
in town and says: "Send over your best
actors, I'm casting a porno picture."
Well, the story goes and develops with
Amber auditioning various men and
women . . . the whole thing wraps up with
the Landlord, I'd like to get Jeremy if
he's still in town to play the part --
he comes in -- the landlord says:
You better pay rent or you're through.
Well, Amber does one helluva suck job,
ass fuck, come in the face, sort of thing
and fade out - the end.
COLONEL
That's great.
JACK
There's a kid, a young man, I met him
last night: His name is Eddie Adams.
He's here, he's at the party. He's something
special and I want to cast him.
COLONEL
What films has he done?
JACK
This would be his first.
Little Bill pokes his head into the office, sees the conversation and
quickly apologizes and exits. The Colonel looks to Jack;
COLONEL
Casting is up to you, Jack. You wanna do it?
Then do it. If it has big tits, tight pussy
and focus: I'm happy. You tell the stories
you wanna tell, make yourself happy.
CUT TO:
38 EXT. JACK'S HOUSE/POOL AREA - DAY - THAT MOMENT
Reed and Dirk are swimming. Dirk gets up on the diving board.
REED
Do a cannonball.
DIRK
No, no. Watch this Jacknife.
Dirk runs and jumps --
DIRK
JACKNIFE.
He lands in the pool and swims to the surface.
DIRK
How did it look?
REED
Great. Check this out.
(gets on the board)
This is gonna be a full-flip.
Reed runs, jumps, goes for the flip but lands FLAT ON HIS BACK.
CUT TO:
39 INT. POOL/UNDERWATER - THAT MOMENT
Reed lands. CAMERA moves in on his face. He's in SERIOUS PAIN. He floats
down for a moment . . . .
CUT TO:
40 EXT. POOL AREA - THAT MOMENT
Everyone at the party is looking . . . holding their breath and waiting . .
. Reed comes to the surface.
REED
Ouch.
The party people turn back to their conversations . . .
DIRK
You gotta try and bring your legs
all the way around . . . .
REED
Yeah.
41 INT. JACK'S HOUSE/THE PARTY - DAY - THAT MOMENT
CAMERA follows behind Little Bill. He's walking around, looking for his
wife. He greets a few people here and there.
He runs into a big guy, ROCKY (late 30s). He's a CREW member.
LITTLE BILL
How you doin', Rocky?
ROCKY
Good, good, what's wrong?
LITTLE BILL
Nothin'. Nothin' at all.
ROCKY
Do you have the schedule for the shoot, or . . . ?
LITTLE BILL
Yeah. You're on.
ROCKY
Is it here?
LITTLE BILL
Yeah, it's gonna be here, but it's a simple one . . .
CAMERA picks up with the Lady Friend and the Young Stud with the coke . . .
ZOOM after them down a long hallway towards a BEDROOM door. They close the
door in the CAMERA'S FACE.
CUT TO:
42 INT. JACK'S KITCHEN - DAY - THAT MOMENT
Maurice and Buck are talking;
MAURICE
Hey, hey, hey, my point is this:
BUCK
What?
MAURICE
You know what I say?
BUCK
What-What?
MAURICE
Wear What You Dig.
The PHONE RINGS. Maurice picks up the phone.
MAURICE
Hello?
(beat)
I'm sorry . . . I can't hear you
that well . . . say again . . . ? Maggie?
(to Buck)
Is there a Maggie here?
BUCK
I don't know a Maggie.
MAURICE
(into phone)
I think you might have the wrong number . . . .
Your mother? I'm sorry . . . wait . . . just . . . wait . . .
Maurice sets the phone down, looks to Buck.
MAURICE
Watch that a minute . . . .
CAMERA follows him as he walks out to the pool area --
MAURICE
(calls out)
Is there a Maggie here?
No one at the pool area responds so he walks back inside to the phone. Buck
is still watching it closely.
MAURICE
(into phone)
I'm sorry . . . there's no Maggie here.
Okay . . . okay . . . no problem . . . Bye.
BUCK
What was it?
MAURICE
Some kid lookin' for his mother.
CUT TO:
43 INT. BATHROOM/JACK'S HOUSE - THAT MOMENT
Amber is sitting in the bathroom, on the toilet. She reaches to the window,
sets aside the curtains and looks.
AMBER'S POV: Looking out to the pool area. Dirk dives off the board and
does a perfect FLIP in SLOW MOTION.
CUT TO:
44 EXT. JACK'S HOUSE/DRIVEWAY - MOMENTS LATER
CAMERA follows Little Bill. He spots six people in a semi-circle around
something. He walks over -- inside the semi-circle, on the pavement, Little
Bill's Wife is getting fucked by some BIG DUDE.
LITTLE BILL
. . . the fuck are you doing?
She looks up at him, smiles.
WATCHER #1
What does it look like they're doing?
LITTLE BILL
That's my wife.
LITTLE BILL'S WIFE
Shut up, Bill.
WATCHER #2
Yeah, shut up, Bill.
The other WATCHERS join in telling Little Bill to "Shut up." He walks away
and CAMERA follows him until he's approached by a big man, KURT LONGJOHN
(late 40s). He's the cameraman.
KURT LONGJOHN
Little Bill.
LITTLE BILL
Hey. Kurt. What's up?
KURT LONGJOHN
What's wrong with you?
LITTLE BILL
Ah . . . my fuckin' wife, man, she's
over there . . . she's got some idiot's
dick in her, people standing around
watching -- it's a fuckin' embarrassment.
KURT LONGJOHN
Yeah. Yeah. I know. Anyway, listen:
LITTLE BILL
-- yeah.
KURT LONGJOHN
For the shoot -- I wanna talk about the look.
I wanted to see about getting this new zoom lens . . .
LITTLE BILL
Right.
KURT LONGJOHN
I wondered if we'd be able to look into
getting some more lights, too, y'know --
LITTLE BILL
Jack wants a minimal-thing --
KURT LONGJOHN
Right, well, very often, minimal means
a lot more photographically than I think,
well . . . then I think most people understand . . .
LITTLE BILL
I understand.
KURT LONGJOHN
No, no. Hey. I know you understand,
I was talking about some other people.
LITTLE BILL
Well, I think what Jack is talking
about is minimal, not really "natural,"
but minimal . . .
KURT LONGJOHN
OK . . . fine . . . I was just saying . . .
LITTLE BILL
I understand --
KURT LONGJOHN
-- 'cause I'm just trying to give each
picture it's own look --
LITTLE BILL
Can we talk about this later?
KURT LONGJOHN
Oh, yeah . . . you have to go somewhere . . . or . . . ?
LITTLE BILL
Well, no, yeah . . . I mean . . .
KURT LONGJOHN
'Cause I was hoping to, y'know, for the
shoot tomorrow, we could send Rocky down
and he could pick it up --
LITTLE BILL
Kurt.
KURT LONGJOHN
No. Hey. Gotcha. You've gotta go somewhere
so -- hey -- what the fuck? It's only the
photography of the movie we're talkin' about --
Little Bill looks at him. HOLD.
LITTLE BILL
Are you givin' me shit, Kurt?
KURT LONGJOHN
NO, NO, HEY. No way, Little Bill.
LITTLE BILL
My fucking wife has a cock in her ass over
in the driveway, alright? I'm sorry if my
thoughts aren't with the photography of the
film we're shooting tomorrow, Kurt, OK?
KURT LONGJOHN
OK. No big deal. Sorry.
LITTLE BILL
Alright?
KURT LONGJOHN
Gotcha.
Little Bill leaves. Kurt stands alone a moment. He walks over to the
driveway and watches Little Bill's Wife get fucked.
CUT TO:
45 INT. JACK'S HOUSE/HALLWAY - DAY - LATER
CAMERA follows HAND-HELD behind Jack, the Colonel and his Limo Driver as
they walk quickly down a hallway that leads to a bedroom.
CUT TO:
46 INT. BEDROOM - THAT MOMENT
Jack, the Colonel and Limo Driver BURST into the room --
REVERSE ANGLE: On the floor of the room, the Colonel's LADY FRIEND is lying
naked. She's passed out and she has blood pouring from her nose. The YOUNG
STUD is naked, holding her in his arms. He looks up at the men who just
entered.
YOUNG STUD
I think she's sick.
COLONEL
What the fuck is this?
YOUNG STUD
I didn't do anything.
JACK
Is she breathing?
YOUNG STUD
I don't know. I think she did too much coke?
COLONEL
Duh. Do you think so, smarty?
LIMO DRIVER
She's definitely overdosing.
COLONEL
Oh . . . what the fuck . . . .
The four men look at the girl. The Colonel turns to his Limo Driver.
COLONEL
Alright: Johnny. You're gonna take care
of this for me. You listening here?
LIMO DRIVER
Yeah.
COLONEL
I want you to pick her up, get her in
the car, take her down to St. Joe's.
LIMO DRIVER
Okay.
COLONEL
Listen, though: You drop her off in
the front, I don't want this . . . y'understand?
I don't need this, here.
LIMO DRIVER
Gotcha.
COLONEL
Make sure no one sees the limo.
LIMO DRIVER
Got it.
COLONEL
Young Stud, I want you to help my driver
Johnny here get her in the car.
The Young Stud starts to cry hysterically.
COLONEL
(to Jack)
What the fuck is this?
(to Young Stud)
Hey . . . hey . . . pal . . . get a grip, man.
YOUNG STUD
I'm sorry . . . it's just . . . it's just . . . .
COLONEL
What?
YOUNG STUD
I . . . I . . . I . . . .
COLONEL
Spit it out.
YOUNG STUD
This is twice in two days a chick
has O.D.'d on me.
COLONEL
Well maybe that means you oughta think about
getting some new shit, what do you think?
YOUNG STUD
Yes, sir.
COLONEL
Jesus Christ. Now be a man, deal with the
situation and get her in the car.
The Lady Friend starts to go into CONVULSIONS.
COLONEL
Y'see that, all this fuckin' conversation --
YOUNG STUD
Please don't die!
LIMO DRIVER
C'mon, pal.
The Limo Driver and Young Stud carry her naked, convulsing body to the
Black Limo out front. CAMERA holds with Jack and the Colonel.
JACK
Close call.
COLONEL
Yes.
They exit.
CUT TO:
47 EXT. POOL AREA - DAY - THAT MOMENT
CAMERA is with Reed and Dirk. They're sitting in two pool chairs, drinking
their drinks and talking. A nervous young kid in red swimming trunks,
SCOTTY J. (mid-20s) comes over and interjects --
SCOTTY J.
Hey Reed.
REED
Hey -- Scotty, how are you?
SCOTTY J.
Y'know, y'know.
(re: Dirk)
Who's this?
REED
Eddie -- meet Scotty J. He's a friend,
he works on some of the films.
DIRK
Nice to meet you.
SCOTTY J.
You too. Are you gonna be working?
DIRK
Maybe.
REED
Probably.
SCOTTY J.
That's great. That's great. Where did
you meet Jack? 'Cause I work on the films,
y'know, sometimes, that's why I'm wondering
if you, you know --
JACK (OC)
EDDIE! EDDIE! Come over here a minute.
Dirk spots Jack calling him and stands, looks to Scotty J.
DIRK
Excuse me.
SCOTTY J.
Yeah, okay.
DIRK
Nice to meet you.
CAMERA DOLLIES IN A LITTLE ON SCOTTY J.
REED (OC)
You wanna take a seat, Scotty?
SCOTTY J.
Uh . . . I dunno . . . is it alright?
REED (OC)
Yeah.
SCOTTY J.
Thank you. It gets a little hard
mingling around . . . y'know . . . talking to
people and stuff . . . it's sort of --
That kid Eddie is really good looking, huh?
ANGLE, JACK, THE COLONEL AND DIRK.
Dirk approaches and the Colonel smiles. They shake hands.
JACK
This young man is interested
in the business.
COLONEL
Well, you're in good hands if you
get involved with Jack, here.
DIRK
Oh yeah?
COLONEL
I can't give you much advice that Jack
probably doesn't know, but I can advise,
maybe you think about your name . . . ?
DIRK
My name . . . yeah . . . ?
COLONEL
Think about something that makes you happy,
something that also gives some pizzaz . . . y'know?
DIRK
Right.
JACK
The Colonel pays for all our films, Eddie.
He's an important parts of the process.
DIRK
Well, great. Great.
COLONEL
I look forward to seeing you in action.
Jack says you've got a great big cock.
DIRK
. . . um . . . yeah, I dunno, I guess?
COLONEL
Can I see it?
DIRK
Really?
COLONEL
Please.
Dirk unzips his pants. CAMERA on the Colonel. He looks down, then up:
COLONEL
Thank you, Eddie.
DIRK
No problem.
Dirk exits. The Colonel turns to Jack;
COLONEL
Jesus Christ. Jesus Lord in Heaven.
CAMERA picks up with Dirk, who runs for the pool and DIVES IN . . . .
CUT TO:
48 INT. POOL - THAT MOMENT
CAMERA MOVES IN AS DIRK LANDS IN THE WATER, FLOATS TO THE BOTTOM, THEN
PUSHES OFF, TOWARDS THE SURFACE. TIME LAPSE TO NIGHT.
CUT TO:
49 EXT. DRIVEWAY/JACK'S HOUSE - NIGHT (LATER)
The party is coming to a close and people are trying to get in their cars
and get out of the driveway.
CAMERA hangs with Little Bill and his Wife.
LITTLE BILL
Thanks for fucking up this party for me.
I appreciate it.
LITTLE BILL'S WIFE
Oh Fuck Off. Will You?
LITTLE BILL
You Fuck Off.
LITTLE BILL'S WIFE
Yeah, right.
CAMERA MOVES TO FIND: THE YOUNG STUD AND THE LIMO DRIVER.
They're sitting by the limo. The Young Stud is crying.
LIMO DRIVER
Hey, hey, hey. I mean: How were
you supposed to know?
YOUNG STUD
I wasn't.
LIMO DRIVER
That's right. So what did you do wrong?
YOUNG STUD
Nothing?
LIMO DRIVER
Nothing is absolutely right, Young Stud.
YOUNG STUD
Thank you for your help.
LIMO DRIVER
No problem.
The Colonel and Jack approach. The Colonel now has ANOTHER YOUNG LADY
FRIEND, picked up from the party.
COLONEL
You ready, Johnny?
LIMO DRIVER
Yes, sir.
COLONEL
How you doin', pal?
YOUNG STUD
I'm okay, sir.
COLONEL
Don't worry about it. She'll be fine.
YOUNG STUD
She died in the limo on the way to the hospital.
COLONEL
I didn't hear that.
YOUNG STUD
What?
COLONEL
You never told me that and what happened,
never happened. You got me?
YOUNG STUD
I get you.
COLONEL
Now go home. Sleep it off.
The Young Stud exits.
JACK
Thanks for coming, Colonel.
COLONEL
Great party, Jack.
The Colonel and the new Lady Friend get in the car.
CUT TO:
50 EXT. JACK'S HOUSE/POOL AREA - NIGHT (LATER)
The party is over. Amber and Rollergirl are inside playing cards. Scotty J.
is cleaning up, Dirk and Reed sit in the JACUZZI, looking up at the stars.
REED
. . . you wanna hear a poem I wrote?
DIRK
Yeah.
REED
Okay. Um . . .
"I love you. You love me.
Going down the Sugar Tree.
We'll go down the Sugar Tree.
And See Lots of Bees. Playing.
Playing. The bees won't sting.
'Cause you love me."
DIRK
That's fucking great, man.
Jack approaches in a bath robe, holding a towel.
JACK
Howdy-boys.
DIRK/REED
Hey, Jack.
Jack removes his robe and climbs in the Jacuzzi.
JACK
Good party?
DIRK
It was great.
JACK
Good. You had a good time then?
DIRK
Excellent time. Thank you.
JACK
What this place is for, right?
REED
Right.
JACK
Ahhhh . . . this feels good. Bubbles.
Turn those bubbles higher, Reed.
DIRK
Jack . . . I was thinking about my name . . . y'know . . . ?
JACK
Yeah?
DIRK
I was wondering if you had any ideas.
JACK
I've got a few . . . but you tell me . . .
DIRK
Well . . . my idea was . . . y'know . . .
I want a name . . . I want it so it
can cut glass . . . y'know . . . razor sharp.
JACK
Tell me.
DIRK
When I close my eyes . . . I see this thing,
a sign . . . I see this name in bright blue neon
lights with a purple outline. And this name
is so bright and so sharp that the sign --
it just blows up because the name is so powerful . . . .
FLASH ON:
A BRIGHT NEON SIGN IN BLUE LETTERING, WITH A PURPLE OUTLINE:
DIRK DIGGLER
DIRK (OC)
It says, "Dirk Diggler."
The NEON SIGN FLASHES, BUZZES, THEN BURSTS INTO AN ELECTRIC FLAME.
BACK TO:
51 EXT. JACUZZI - THAT MOMENT
Back to Reed and Jack. They look at Dirk.
JACK
Heaven sent you here to this place,
Dirk Diggler. You've been blessed.
Dirk smiles. Reed smiles. Jack looks up and closes his eyes.
FADE OUT, CUT TO:
52 INT. JACK'S GARAGE/FILM STUDIO - DAY
. . . . The film crew sets up lights and other equipment around a small
"office" set. The crew consists of: Kurt Longjohn, Director of Photography.
Rocky, Gaffer/Grip. Little Bill, Assistant Director. Scotty J. Is working
as a utility/sound man.
Jack is sipping coffee, conferring with Kurt about lighting.
JACK
How close?
KURT LONGJOHN
Give me twenty to thirty. I've got a
couple tough shadows to deal with --
JACK
Okay, but not too long, Kurt, right?
Remember, there are shadows in real life.
Little Bill approaches.
LITTLE BILL
You wanna go over this?
JACK
Yeah. Let's . . . .
LITTLE BILL
(reading from script)
Okay. Set up is . . . here we go:
1.) Amber talking to Becky about auditions.
They make the phone call to the agency to
send over some actors.
2.) Enter Reed to audition for Amber.
They go at it. Becky just watches.
C.) Becky goes to the bathroom to jack-off
and is interrupted by Amber. They get into it.
E.) Enter Dirk --
(looks up)
Who's Dirk Diggler?
JACK
The kid, Eddie, from the club.
LITTLE BILL
Good name. Anyway: 4.) Dirk enters.
Meets with Becky. They go at it --
JACK
I wanna change that -- that should be Amber.
Dirk should be auditioning with Amber.
Little Bill makes a note. Jack walks over to Becky, who's sitting in a
chair, shaving her pubic hairs.
JACK
Becky, honey --
BECKY
What?
JACK
What're you doing? We're shooting
in twenty minutes.
BECKY
I'm shaving my bush --
JACK
Now?
BECKY
It only takes two seconds, Jack.
JACK
Fine, fine.
Jack continues to get everyone ready.
JACK
Alright everyone, let's go, let's go,
we need to shoot this first scene --
we need to get one off --
CUT TO:
53 INT. BEDROOM - DAY - LATER
Dirk is sitting on the edge of the bed, dressed up in a brown suit and his
hair is brushed back, parted down the middle. He paces a little, does some
deep breathing, looks over script, etc. Scotty J. enters.
SCOTTY J.
Hey. Hi. Dirk. Dirk Diggler.
DIRK
Hi.
SCOTTY J.
I'm supposed to come get you.
Tell you they're ready, now.
DIRK
Okay.
SCOTTY J.
You look really good.
DIRK
Thank you.
SCOTTY J.
You look really sexy.
DIRK
Thanks.
SCOTTY J.
I like your name.
DIRK
You do.
SCOTTY J.
It's really cool.
DIRK
Thanks.
SCOTTY J.
OK . . . well . . . whenever you're ready . . .
I'll see you out there.
Scotty J. exits. Dirk stands, takes a deep breath. CAMERA follows as he
exits the room and walks through the house and into --
54 INT. GARAGE/FILM SET
The crew is ready and waiting. Jack is there to greet him.
JACK
Ready, champ?
DIRK
Let's do this.
They walk through the scene with Amber.
JACK
So we know the scene, we know the thing.
You're gonna start outside the set,
through that door, I'll call your name
and action, that'll be your cue . . . come through
the door, straight to the desk, right here,
boom, you and Amber do the scene --
DIRK
Do we go straight into having sex?
JACK
Is that alright?
DIRK
It would be better I think, y'know,
so we don't break up the momentum
or something --
JACK
Amber?
AMBER
Good.
JACK
So we'll just go straight through.
DIRK
Okay.
KURT LONGJOHN
Are we doing a rehearsal?
JACK
Eddie, you want a rehearsal?
DIRK
It's okay . . . I can do it . . .
JACK
Great.
DIRK
Jack?
JACK
Yeah?
DIRK
. . . can you . . . um . . . will you call me
Dirk Diggler from now on?
JACK
Yes. I'm sorry, yeah, yes.
Jack exits. Amber and Dirk huddle in the corner a moment.
AMBER
Do you want to practice your lines with me?
DIRK
I know it.
AMBER
You look great, honey.
DIRK
Does he want me to keep going until I come?
AMBER
Yeah. You just come when you're ready . . .
DIRK
Where should I come?
AMBER
Where do you want?
DIRK
Wherever you tell me.
AMBER
Come on my tits if you can, okay?
Just pull it out and do it on
my stomach and tits if you can.
DIRK
Yeah.
She touches her hand softly to the side of his face. (30fps)
AMBER
Are you alright, honey?
DIRK
This is great. I'm ready. I wanna do good.
I wanna do this good . . . let's try and do it
really sexy . . . you want to?
AMBER
Okay.
Little Bill takes Dirk and walks him off the set, explaining things one
last time to him . . . CAMERA HOLDS ON DIRK. Little Bill walks away and
he's left standing alone a moment, waiting for his cue behind a closed
door. SILENCE. HOLD.
JACK (OC)
and . . . action, Dirk.
CAMERA blends to SLOW MOTION (30fps) and FOLLOWS Dirk through the door and
into the set -- lights flare into CAMERA/DIRK and we focus in on Amber,
seated behind a desk. CAMERA blends back to 24fps.
KURT LONGJOHN'S 16mm CAMERA POV:
Dirk enters. A light shines straight at him. He walks into a two shot with
Amber at the desk. BEAT, THEN:
AMBER
Hello. Are you John?
DIRK
Yes, ma'am.
AMBER
Your agency recommends you very highly.
DIRK
I'm a really hard worker. You give
me a job and I won't disappoint you.
AMBER
What special skills do you have?
DIRK
Well, I spent three years in the Marines.
I just got back from a tour of duty.
AMBER
You're kidding?
DIRK
No I'm not. It got really hard being
surrounded by guys all day.
AMBER
When was the last time you had a woman?
DIRK
A long time.
AMBER
That's terrible.
DIRK
But I'm back now and I'm ready to pursue
my acting career.
AMBER
Well as you may or may not know, this is an
important film for me. If it's not a hit,
I'm gonna get kicked out of my apartment.
My landlord is a real jerk.
DIRK
Really?
AMBER
Why don't you take your pants off?
It's important that I get an idea of your size.
DIRK
No problem.
Dirk starts to remove his pants . . . just before they come off we go to:
JACK AND THE REST OF THE CREW
Kurt Longjohn takes his eye away from the viewfinder for a moment. Rocky
frowns slightly. Scotty J. is in shock. Reed and Becky smile.
Amber looks from Dirk's cock to his face.
AMBER
I think that you have the part,
but why don't I make sure of something . . .
16mm CAMERA'S POV:
for the first time, we see Dirk's cock. It hangs about 12 inches. Amber's
hand reaches and grabs hold of it --
AMBER
This is a giant cock.
So they go at it . . . taking each other's clothes off and climbing up on
the desk . . . OUR CAMERA is hand held, moving around, looking at the crew
filming and Dick/Amber making love . . . .
They continue for a while. Jack whispers something to Kurt, then walks over
to Dirk and Amber, quietly interrupts;
JACK
Guys . . .
DIRK
Is everything cool?
JACK
Hang in there, everything's cool,
I just wanna change the angle --
You're doin' great.
Amber looks to Dirk. They hold still;
AMBER
You're doin' so good, Dirk.
DIRK
Does it feel good?
Amber smiles. Jack and Kurt have set up a new angle;
JACK
Okay -- we're back, we're ready -- action --
They continue for a bit, getting faster and a little harder;
CU. DIRK AND AMBER
they're face to face. Following in sotto:
AMBER
You're amazing.
DIRK
You feel good, Amber.
AMBER
Are you ready to come?
DIRK
Yes.
AMBER
Come in me.
DIRK
What?
AMBER
Don't worry, I'm fixed.
I want to come in me --
Amber and Dirk come together. HOLD. They kiss and smile.
JACK
CUT! FUCK! YES! YES! YES!
THE CREW APPLAUDS THE PERFORMANCE. Everyone gathers around. Dirk is giving
hand shakes, high fives, etc.
CAMERA PANS over to Little Bill and Jack who step aside a moment. Following
in sotto;
JACK
That was great.
LITTLE BILL
Yes it was. What do you want to
do about the come shot? We could
go to the stock footage -- get a close up --
JACK
It's not gonna match, we don't
have a cock that big on film --
Dirk hears this and turns to Jack and Little Bill.
DIRK
Jack?
JACK
Yes, Dirk?
DIRK
I can do it again if you need a close-up.
Everyone in the room looks at Dirk. HOLD.
MUSIC CUE. CONTINUES OVER CUT AND THE FOLLOWING SCENES:
55 INT. JACK'S LIVING ROOM - NIGHT - LATER Sequence "A"
The entire cast and crew together.
ECU - CHAMPAGNE BOTTLES POP
ECU - ROLLERGIRL'S CAMERA.
she snaps POLAROIDS
ECU - DEVELOPED PICTURES
cast and crew smiling, holding thumbs up. Dirk in the middle.
CUT TO:
56 INT. RESEDA SHOE STORE - DAY
CAMERA TRACKS ALONG a row of shoes. Dirk, Reed and Scotty J. are in the
store, picking some out. Dirk falls in love with a pair of half-boots,
zip-up style --
CUT TO:
57 INT. HOT TRAXX NIGHTCLUB - NIGHT
CAMERA BEGINS ON THE SHOES, DOES A QUICK BOOM UP TO A CU. ON DIRK. He's
dancing with Rollergirl. They talk about his shoes.
QUICK DISSOLVE TO:
OVERHEAD ANGLE, JACK'S TABLE.
Jack is eating Clams on the Half Shell and talking to Amber. The Colonel is
sitting with a NEW LADY FRIEND. CAMERA begins a BOOM DOWN as Scotty J.
enters FRAME and begins talking the Colonel's ear off.
QUICK DISSOLVE TO:
ANGLE, MAURICE
CAMERA follows behind him as he shouts orders to waiters and busboys and
bouncers --
QUICK DISSOLVE TO:
ANGLE, BECKY
She's hanging out near the bathroom with a GIRLFRIEND and flirting with
some YOUNG GENT, who's a body-builder type.
QUICK DISSOLVE TO:
INSIDE THE DJ BOOTH. A couple young girls surround the DJ, who is a BLACK
MIDGET, wearing headphones, dancing and doing coke with the girls. He sets
up another RECORD on the turntable. CAMERA DOLLIES IN QUICK ON THE RECORD,
NEW MUSIC CUE.
CUT TO:
58 INT. MOTEL ROOM FILM SET - ANOTHER DAY
Cast and Crew shooting a new film with a Spanish-theme. Jack watches
Rollergirl and Dirk who are on a WATERBED. They block the scene.
JACK
What we can do is make it all one thing, right?
You can go from being on top -- below and then
move and shift to the side -- pump away
there for a while, then --
Dirk gets on the bed with Rollergirl and tries a move.
DIRK
If she . . . Rollergirl . . . if you wrap your leg
around . . . other one . . . your left leg . . . right . . .
up around my neck. And over. Good.
We can go right into Doggy Style.
KURT LONGJOHN
Is the movement of the waterbed a problem?
DIRK
Not at all, Kurt. Matter of fact, I dig it.
CUT TO:
59 OMITTED ** Director's Note: 2nd Unit/TBA
BURN TO:
60 INT. JACK'S HOUSE/KITCHEN - DAY
Jack is reading "Oui." Dirk, Reed and Amber listen.
JACK
Jack Horner has found something special
in newcomer Dirk Diggler. It's another
stellar, sexual standout from Horner and Company.
Diggler delivers a performance worth a thousand
hard-ons. His presence when dressed is powerful
and demanding . . .
CAMERA DOLLIES IN ON THE PAGE, TRACKS ALONG THE WORDS. CAMERA catches
glimpses of the words on the page, ". . . Diggler . . ." ". . . sexual
standout . . ." ". . . supple ass . . ." Continue w/STILL PHOTOGRAPHS from
the film.
SPLIT SCREEN TO:
61 INT. STUDIO CITY HAIR SALON - DAY
CAMERA DOLLIES DOWN THE LINE OF HAIRSTYLISTS. Dirk is getting a fluffy new
hair style. Reed stands nearby and watches;
JACK (VO)
. . . when stripped to the bone, Diggler's
more eruptive than a volcano on a bad day.
Amber Waves ripe-cherry lips do a wonderful
job of handling Diggler's wide load and
Reed Rothchild's stiff biceps do a slapping
good job with Becky Barnett's supple ass . . .
THREE-WAY SPLIT TO:
62 "A CLIP FROM THE FILM, 'SPANISH PANTALONES." (16mm)
This is filmed on the Motel Room Film Set. Reed is wearing speedos and a
sombrero. Becky is naked. He slaps her ass. Dirk is facing CAMERA, Amber is
kneeling down, covering his crotch giving him a blow job. CU. Dirk for the
money shot.
FOUR WAY SPLIT TO:
63 INT. HOT TRAXX NIGHTCLUB - NIGHT
Dirk is disco dancing with Rollergirl and Becky and Reed.
JACK (VO)
. . . but it's Diggler that remains the standout
in this film. It's easy to predict, after only
two films, that's Diggler's suck-cess can only grow
and grow and grow --
END FOUR WAY SPLIT, STAYING WITH DIRK DANCING IN THE CLUB. Dirk, Reed,
Rollergirl, Buck, Maurice and Becky begin doing a DANCE NUMBER. (Complete
w/choreographed moves, etc.)
CUT TO:
64 OMITTED
65 INT. JACK'S HOUSE/AMBER'S BEDROOM - NIGHT
Amber is on the phone. Dirk is sitting with her, holding her hand.
AMBER
Please let me talk to him, Tom.
Please. I just want to say hello
and that's all -- I'm not. I'm completely sober.
I'm not -- Tom -- Tom -- Tom --
Dial tone from the phone, she hangs up --
AMBER
I don't know what to do now.
CUT TO:
66 INT. HOT TRAXX NIGHTCLUB/BACKROOM - DAY
Maurice slips a PHOTOGRAPH and a letter into an envelope and seals it up.
The VO is in Spanish, with SUB-TITLES.
MAURICE (VO)
Dear brothers: I'm sending you a picture --
CUT TO:
67 INT. APARTMENT BLDG./PUERTO RICO - DAY
Maurice's two BROTHERS rip open the letter and check out a picture of
Maurice standing next to Rollergirl.
MAURICE (VO)
-- this is my girlfriend. I had sex
with her last night. Isn't she hot?
I get chicks like this every night.
CUT TO:
68 OMITTED
69 INT. KARATE STUDIO - DAY
Buck, Dirk and Reed dressed in Karate-gear, are taking lessons. Buck speaks
about the ancient history of Karate.
CUT TO:
70 INT. DEPARTMENT STORE - DAY
CAMERA TRACKS ALONG A ROW OF SUITS. Dirk picks one out, tries it on and
pays for it in cash. CAMERA then PUSHES IN through a series of QUICK
DISSOLVES on SUITS hanging individually on the wall.
CUT TO:
71 OMITTED
72 EXT. DESERT HIGHWAY - DAY
CAMERA moves with Jack's Big Van and Little Bill's Station Wagon that
follows.
CUT TO:
73 INT. JACK'S VAN - MOVING - DAY (music over into radio)
Amber is driving the van, Buck is in the passenger seat trying to figure
out why the radio isn't working and speaking;
BUCK
If you were to open a business
specializing in, like, Super-Super
Hi-Fi Stereo Equipment -- forget it,
you're in the money. I mean, there's
no limit to the technology that's
comin' out now --
AMBER
Really?
BUCK
That's a fact.
AMBER
So what's wrong with this radio?
BUCK
I think it's . . . uh . . . it's a wattage
problem . . . yeah . . . we've got too many
watts per channel going into the front two
speaker . . . yeah . . .
IN THE BACK OF THE VAN:
Reed, Dirk and Jack are huddled, speaking intensely;
JACK
-- what else?
DIRK
That's it for now. I mean: I look
at this character Holmes has come
up with -- and -- look -- I just --
JACK
Tell me.
DIRK
I don't like to see women treated that way.
This guy he plays, "Johnny Wad," it's always
about slapping some girl around or whatever.
It's not right, it's not cool and it just . . .
isn't sexy. It isn't sexy like it should be.
REED
We could make it more of a James Bond
character. This guy that's world traveled.
JACK
I like that.
DIRK
Reed could play my partner.
JACK
I like this a lot.
DIRK
We could make it really good, Jack.
Honestly. If you direct it . . . we could
make a whole series, with a whole story.
This is exactly what we've always talked about.
JACK
I know it. I know it.
REED
We should do this.
JACK
Alright. When we get back. We'll set up
the typewriter and we'll see what we can
come up with. I'll talk to the Colonel when
we get to Vegas. But Dirk, you gotta work
on him too, okay?
DIRK
Right, right.
JACK
-- if we don't put every element into this,
it's just not gonna work --
DIRK
Exactly.
JACK
Now: What's this guy's name?
This character? Do you know?
DIRK
His name is Brock Landers.
REED
His partner's name is Chest Rockwell.
JACK
. . . those are great names.
CUT TO:
74 OMITTED
75 INT. ALADDIN HOTEL/CASINO - BANQUET ROOM - NIGHT
The "2nd ANNUAL ADULT FILM AWARDS." Behind a small PODIUM and in front of a
packed to capacity CROWD of porn filmmakers is --
AMBER. She's about to open an envelope.
AMBER
And the award for "Best Newcomer"
goes to . . . Yes! My baby-boy . . . DIRK DIGGLER!
JUMP CUT TO:
COLONEL JAMES. He's on stage, rips open an envelope.
COLONEL JAMES
. . . the award for "Best Cock"
goes to . . . Here We Go Again . . . DIRK DIGGLER.
JUMP CUT TO:
A Porn Actress, JESSIE ST. VINCENT (early 20s). She opens;
JESSIE
And The Award . . . for Best Actor Goes To . . .
I've seen his movies and I can't wait to
work with him, I can't wait to get that big
cock in my mouth, my ass, my pussy or any
which way he'll give it to me . . . Mr. Dirk Diggler!
The Audience Applauds wildly. Dirk, dressed in a jean outfit, makes his way
to the stage and accepts the award from Jessie. He turns to the crowd.
DIRK
Wow. I dunno what to say . . . I guess. Wow.
I guess the only thing I can say, is that
I promise to keep rocking and rolling and
to keep making better films. It seems we make
these movies . . . and sometimes . . . they're considered
filthy or something by some people . . . but I don't
think that's true. These films we make can be
better . . . they can help . . . they really can, I mean it.
We can always do better -- and I'll keep trying
if you keep trying so let's keep ROCKING AND ROLLING.
AUDIENCE APPLAUDS. Jessie St. Vincent comes over and plants a deep, wet
kiss right in his mouth;
JESSIE
You're hot.
Amber, in the audience, sees the kiss and frowns. Dirk raises the award
high above his head and does a karate move --
76 INT. ITALIAN RESTAURANT SET - DAY (16mm) Sequence "B"
TITLE CARD READS: "1978"
. . . Jessie St. Vincent walks across the restaurant to the bar. Kurt
Longjohn and his camera crew track with her. Dirk, in character with his
hair slicked, chewing on a toothpick and smoking a cigarette, wearing a
suit and sunglasses is sitting at the bar. She speaks to the Bartender
(played by Maurice).
JESSIE
Shot of Tequila, straight up.
MAURICE
Yes, ma'am.
JESSIE
(to Dirk)
I've been in this place twenty minutes,
just to get a seat.
DIRK
You alone?
JESSIE
Yeah. Just visiting L.A. Some people
told me the food in here was really good.
DIRK
Good. No, it's not good. It's probably
the BEST place to eat in Los Angeles.
It's excellent.
JESSIE
I certainly hope so. I could die of
starvation before I get something in my mouth --
JUMP CUT TO:
77 INT. BEDROOM SET - NIGHT - SCENE CONTINUED IN CLIP FORM (16mm)
This bedroom set is decorated as Brock Landers pad. Jessie St. Vincent
unzips Dirk's pants . . . (porn music in b.g.)
DIRK
You said you were hungry --
JESSIE
Starving.
DIRK
Well, go ahead and feast.
She pulls his cock out of his fly, looks at it. CAMERA sees this.
JESSIE
Ohhh. It's true --
DIRK
What?
JESSIE
You're Brock Landers --
CUT TO:
78 EXT. VARIOUS VALLEY LOCATIONS - DAY - FILM CLIP (16mm)
TITLE SEQUENCE FROM "Brock Landers: Angels Live In My Town." Dirk is
running STRAIGHT TOWARDS CAMERA in a JEAN OUTFIT. He stops, does a KARATE
KICK and turns -- FREEZE FRAME.
TITLE READS: DIRK DIGGLER as BROCK LANDERS
Various other footage of Reed, running down the street, firing a gun and
knocking people down. FREEZE FRAME.
TITLE READS: REED ROTHCHILD as CHEST ROCKWELL
Finally, over a WIDE ANGLE SHOT OF VENTURA BLVD;
"BROCK LANDERS: ANGELS LIVE IN MY TOWN"
MATCH CUT TO:
79 INT. JACK'S HOUSE - EDITING ROOM - DAY
CAMERA PULLS BACK and WHIPS around from the Steenbeck image to find; Jack
and Kurt Longjohn, working on the film.
JACK
Good, good, it's close. Let's head trim
Dirk's spin, lose Reed with the revolver
and switch the main title card -- it should
really fly towards camera --
CUT TO:
80 INT. DIRK'S NEW HOUSE/STUDIO CITY HILLS - DAY
CAMERA (STEADICAM) begins on Reed who's doing a MAGIC TRICK in the living
room for Scotty J. and Becky. Jessie is oil painting.
Dirk and Amber enter FRAME and CAMERA follows them through the house. Dirk
is giving her a tour, explaining what type of leather couches he has, what
sort of history he knows about the wood used to build the house, showing
her a painting on the wall of himself that was done by Jessie St. Vincent,
etc. They move into --
THE KITCHEN
Maurice and Rollergirl are deep in conversation. He's trying to convince
her that she should take a picture with him without her clothes on so he
can send it to his brothers in Puerto Rico.
CAMERA stays foreground with their conversation while Dirk shows Amber the
back deck area of the house --
(Director's Note: Sound covers the four talking simultaneously.)
Rollergirl stops arguing with Maurice;
ROLLERGIRL
Fuck it, fine, let's go.
She rips off her bikini top, sets the POLAROID on the counter, hits the
timer, rolls back and poses with Maurice --
CU - DEVELOPED POLAROID
the image is of their waists - the Polaroid framing was too low.
Dirk and Amber come f.g. and CAMERA leads them --
DIRK
And around this corner is the big surprise.
The main thing I wanna show you --
They move down a hallway and into --
THE GARAGE
It's dark for a moment, Dirk hits the garage door and it starts to open . .
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