Shampoo - by Robert Towne and Warren Beatty
DARK SCREEN - NOVEMBER 4th, 1968
A darkness where even outlines are not discernible. There is
a dim point of light coming from a dot on the HI-FI which is
PLAYING the BEACH BOYS: "When we could say good night and
still stay together... wouldn't it be niiiice?... we could be
married, then we could be happy, wouldn't it be niiiiice?"
Through it there has been the SOUND of BANGING, distinct and
rhythmic. It GROWS LOUDER as the MUSIC ENDS. There are also
WHIMPERING SOUNDS from a woman.
FELICIA'S VOICE
Oh, no.
GEORGE'S VOICE
... what?...
FELICIA'S VOICE
That headboard.
GEORGE'S VOICE
Nobody can hear it.
It BANGS a couple of more times.
FELICIA'S VOICE
I can. It makes me nervous.
It continues to bang until Felicia screams, over the banging
of the headboard. She follows the scream with a few yelps.
Silence. Now the SOUND of the PHONE RINGING.
FELICIA'S VOICE (CONT'D)
(complimentary)
Oh my God... Jesus... Jesus
Christ... Jesus H. Christ.
The PHONE CONTINUES TO RING.
FELICIA'S VOICE (CONT'D)
(a slightly different
tone)
You going to answer it?
GEORGE'S VOICE
(meaning no)
Uh-uh.
It CONTINUES TO RING.
FELICIA'S VOICE
(being for her very
mischievous)
Want me to?
GEORGE'S VOICE
Let it ring.
And it does. It CONTINUES TO RING, killing all other
considerations.
FELICIA'S VOICE
Boy, whoever she is, she doesn't
give up.
After a moment's fumbling, George finally picks it up.
GEORGE'S VOICE
Hello...
(a little surprised)
Ah, hi.
The GIRL'S VOICE on the other end of the phone can be HEARD
only FITFULLY, when George holds the receiver loosely by his
ear. It is TINA.
TINA'S VOICE
What took you so long?
GEORGE'S VOICE
Wasn't sure it was you.
TINA'S VOICE
(muffled)
GEORGE'S VOICE
I... uh... I... uh... can't.
TINA'S VOICE
(laughter, sizing it up
immediately)
All right, who're you with? Jill?
GEORGE'S VOICE
No.
TINA'S VOICE
(lively but muffled)
GEORGE'S VOICE
No.
TINA'S VOICE
(she's heard Felicia)
Awww --
GEORGE'S VOICE
I'll call you back.
TINA'S VOICE
Come on by.
GEORGE'S VOICE
I'll call you back...
TINA'S VOICE
(raucous laughter,
muffled)
GEORGE'S VOICE
(to Tina)
Okay, okay...
He hangs up. Felicia has fished for a cigarette, lit it and
coughed.
FELICIA'S VOICE
You're rude. I mean, you're very
rude.
GEORGE'S VOICE
Hey, I tried to get her off the
phone.
FELICIA'S VOICE
You know what I'm talking about.
GEORGE'S VOICE
No, baby. Now look, that girl that
called -- I have to talk to her,
she'll do something.
FELICIA'S VOICE
Like what?
GEORGE'S VOICE
I don't know, kill herself. She's
O.D.'d four times.
This calms Felicia. A pause.
FELICIA'S VOICE
Well, is she your girlfriend?
GEORGE'S VOICE
No.
FELICIA'S VOICE
Are you in love with her?
GEORGE'S VOICE
Her?
FELICIA'S VOICE
Are you?
GEORGE'S VOICE
No.
FELICIA'S VOICE
Then it's not your problem.
GEORGE'S VOICE
It isn't?
FELICIA'S VOICE
No. You know too many sick ladies.
GEORGE'S VOICE
I guess so.
FELICIA'S VOICE
How do you expect to get anything
done if you allow yourself to get
sidetracked? Particularly in your
business... you deal with women
every day...
GEORGE'S VOICE
I guess so.
FELICIA'S VOICE
Don't worry, honey, I'll protect
you.
GEORGE'S VOICE
Okay.
FELICIA'S VOICE
God, I adore you.
She starts to kiss him, the SHEETS are RUSTLING. The PHONE
RINGS.
FELICIA'S VOICE (CONT'D)
Shit.
GEORGE'S VOICE
Hello.
JILL'S VOICE
You're home.
GEORGE'S VOICE
Yeah.
JILL'S VOICE
I'm coming over.
GEORGE'S VOICE
I'll call you back.
JILL'S VOICE
(firm but frightened)
No you won't.
GEORGE'S VOICE
What do you mean?
JILL'S VOICE
I told you I get 'scared up here,
so if you're not coming right
now...
(muffled)
I'm not kidding.
GEORGE'S VOICE
Okay.
JILL'S VOICE
(muffled)
GEORGE'S VOICE
Yeah, yeah -- 'bye.
George flips on the light.
FELICIA
Whoever she is, she doesn't give
up, does she?
GEORGE
No.
Bare-assed, George swings out of bed, looking for something.
FELICIA
What're you looking for?
GEORGE
My keys.
FELICIA
I thought you said you weren't
going anywhere.
GEORGE
I'm not. I mean I've gotta see this
friend of mine for a few minutes.
FELICIA
You mean that girl, don't you?
George finds his keys and has begun throwing on his clothes,
a pair of crumpled levis, and a brightly-colored shirt. He
leaves his shorts and socks on the floor. He's obviously in a
hurry.
GEORGE
What girl, she's not a girl, she's
just a friend of mine.
Felicia gives him a long hard look as he dresses.
FELICIA
You son of a bitch.
George sighs, shrugs, and heads toward the door.
FELICIA (CONT'D)
Wait, at least wait 'til I'm
dressed. I'm going.
She starts to get out of bed.
FELICIA (CONT'D)
Oh, Christ -- do you have any
Kleenex?
George is a little desperate now. He runs to the bathroom,
tosses her the whole box.
FELICIA (CONT'D)
Thanks a lot.
GEORGE
(desperate)
Listen, baby, don't leave, really.
FELICIA
Why not?
GEORGE
I'll be right back, it's just that
this girl is a different girl...
she has attacks.
FELICIA
What?
GEORGE
These attacks... it's got something
to do with her... uh... pancreas.
George is trying to remember the rest.
GEORGE (CONT'D)
She's got a...
FELICIA
(suddenly interested)
Does she have a pancreatic ulcer?
GEORGE
(anxious to go now)
Yeah, I think so.
FELICIA
That's very serious. Who's her
doctor?
GEORGE
I don't know.
FELICIA
Gee, that's very serious...
GEORGE
I know.
FELICIA
Ruth Lesserman had a pancreatic
ulcer.
GEORGE
She did?
FELICIA
It turned out to be cancer.
GEORGE
Wow.
FELICIA
So what are you doing going over
there? You're not her doctor.
GEORGE
I've gotta give her some pills.
Percodan, she ran out.
Before Felicia can say anymore, George goes to the bathroom
and grabs the first pill jar he can find, moves to Felicia
and kisses her.
GEORGE (CONT'D)
And listen, I'll be right back and
I want your ass in that bed when I
get back.
FELICIA
(acquiescing)
You're very rude... if you don't
come back --
GEORGE
I'll be back in a while.
FELICIA
I don't want to see you anymore.
GEORGE
I'll be right back, baby, really.
EXT. SUNSET STRIP - NIGHT
George on his bike threads through traffic on the Strip. OVER
this, we HEAR A FEW BARS of THE MAMAS AND THE PAPAS "Monday,
Monday." He pulls up to a signal beside a faded Eugene
McCarthy billboard. Somebody HONKS.
GIRL'S VOICE
George!
GEORGE
Hey, baby, what's happening!
GIRL
(not bad)
Nothing, my sister's back from
Vegas.
GEORGE
That's too bad.
GIRL
I have to see you.
GEORGE
Hey, stop by the shop.
He takes off. Winds through alleys and heads up the hill to
Jill's. It's a shortcut whose precision should make it
obvious he's traveled it a number of times.
EXT. AT JILL'S - NIGHT
George jumps off his bike and pounds on the door.
JILL'S VOICE
(soft)
Who is it?
GEORGE
(furious)
Who do you think it is?
JILL opens the door. She's shaking.
JILL
There were some shots.
GEORGE
What're you talking about?
JILL
Gunshots, there were some gunshots.
GEORGE
(looking around)
Where?
JILL
Here in the canyon.
GEORGE
Well, it's a big canyon.
(seeing she's upset)
Honey, I'm sorry but I've gotta get
back... just for a minute.
JILL
Let me come, too.
(pleading)
Please don't leave me alone.
GEORGE
What's gonna happen?
JILL
(near tears)
I don't know... every once in a
while I just get the feeling
something awful's going to happen.
GEORGE
Well, like what?
JILL
I don't know... just... somebody's
going to get me.
Jill starts to cry. She ambles into the carport in her
nightgown.
JILL (CONT'D)
I've had these dumb dreams lately.
GEORGE
What?
JILL
They're dumb, somebody... I don't
know...
GEORGE
(suspicious)
Who?
JILL
I just... who what?
GEORGE
You said somebody... who?
She's not answering.
JILL
I don't know. I can't remember. It
was just in my dream.
GEORGE
No shit?
Jill laughs. George comes over to her.
GEORGE (CONT'D)
Nobody's gonna get you. Now get
inside.
JILL
(uncertain)
George, I don't --
GEORGE
You'll do what I tell you. Now get
the fuck inside.
She backs inside. He moves in after her.
JILL
George --
GEORGE
(moving after her)
Keep moving --
JILL
Now, George --
GEORGE
Nobody's gonna get you but me!
He leaps after her and she screams, delighted. George chases
her into the bedroom. Jill screams. He throws her on the bed
and leaps on top of her, kissing her. She likes it.
GEORGE (CONT'D)
How are you, baby?
JILL
Fine. How are you?
GEORGE
Great, great, fantastic. Fantastic.
Incredible. Incredible, really
incredible.
JILL
What?
GEORGE
I'm gonna open the shop, baby, I'm
gonna open the shop. I'm getting it
together.
JILL
How?
GEORGE
(rising)
Right now -- I'm at the epitome of
my life.
Right now I feel so good I'm afraid
something's gonna happen.
He gets off the bed. Jill is fascinated.
GEORGE (CONT'D)
When I was a little kid, I used to
want to go to Europe but right now
wherever I am I'm gonna be in
Europe.
JILL
Honey, what happened?
GEORGE
I just came from a meeting... I
can't talk about it now, baby. But
in a few days -- see I'm disgusted
with my life.
JILL
I thought you said you were at the
epitome of your life.
GEORGE
I am, I am. But I've had it with
chicks. They're like an
occupational hazard. Six guys
working for me... I'm gonna retire
or settle down or something.
JILL
What about me?
GEORGE
(meaning it)
You're different.
JILL
I am?
GEORGE
You're great.
JILL
I am?
GEORGE
Yeah.
JILL
Do you really mean that?
GEORGE
Hey, baby -- I'm gonna retire with
you.
He kisses her. They start rolling around on the bed.
JILL
Honey?
GEORGE
Yeah, baby.
JILL
Why am I great?
George is a little annoyed.
GEORGE
Jesus, I don't know. You're great.
Jill looks a little perplexed.
JILL
Will we live together?
GEORGE
We live together now.
JILL
But in the same house, you know,
one house.
GEORGE
(just a slight hitch)
-- Sure.
She hugs him.
INT. JILL'S BEDROOM - LATER
George in bed, beginning to sleep. Hubert Humphrey expresses
opinion at his chances tomorrow on TV.
JILL
Maybe you don't even like children.
GEORGE
Of course I like children.
JILL
You've never even been around one.
GEORGE
I'm around you and I like you,
don't I?
JILL
(smiling despite herself)
Yeah.
GEORGE
Okay...
(sinking back down)
Night, baby.
JILL
(after a moment)
George?
GEORGE
What!
JILL
Not right now, I don't mean right
now... but eventually...
GEORGE
(grumpy)
Okay, baby. Okay...
JILL
Jackie says she wouldn't bring
children into this world. That it's
hypocritical and overpopulated.
EXT. BANK OF AMERICA - DAY
A FEW BARS OF THE BEATLES AND "SGT. PEPPER" OVER George on
bike whipping into bank parking lot.
INT. BANK OF AMERICA - DAY
George sits talking, with MR. PETTIS, a bank vice president.
He is perspiring a little. Somebody's breathing rather
heavily. It's Mr. Pettis seated behind his desk now and
opposite George. He's going over something.
PETTIS
(looking up now)
Oh yes. Mrs. Shumann called about
you.
GEORGE
(smiling)
Right.
PETTIS
How is she?
GEORGE
Great.
PETTIS
Wonderful woman.
GEORGE
She is.
PETTIS
I went to school with her husband.
GEORGE
Great.
PETTIS
(pleasantly affirmative)
So you want to go in business for
yourself?
GEORGE
Right.
PETTIS
And you need money?
GEORGE
Right, that's right.
PETTIS
(smiling)
You do know what money's like these
days.
GEORGE
(no)
Well, yeah... you know.
Pettis grabs a sheet off his desk, one in plastic containing
rates.
PETTIS
Jesus, look at this. Nine, nine and
three quarters -- that's our prime
rate. And I'll tell you something
else: the big boys are going for
it.
GEORGE
They are?
PETTIS
After all, Mr. Roundy, we're paying
six percent. Six percent. FHA's at
eight and a half -- no, we won't be
going back to the old days.
GEORGE
I guess not...
PETTIS
It's got nothing to do with
inflation. Rates, for example, rise
independently of tight money if you
look at interest curves carefully.
Historically, that's always been
true, though most people don't
realize it.
An uncomfortable pause.
PETTIS (CONT'D)
What sort of references do you
have?
GEORGE
Well, I do Barbara Rush.
PETTIS
Pardon me?
GEORGE
(embarrassed now)
Her hair, I do Barbara Rush.
PETTIS
I mean credit references, Mr.
Roundy.
EXT. MELROSE COFFEE HOUSE - DAY
Jill Haynes and JACKIE SHAWN, in mini skirts and boots, are
having coffee at one of the interior decorator hangouts
outdoors off Melrose in West Hollywood.
A CAR HONKS. A Cadillac pulls up to the curb. Its occupant
HONKS again, obviously trying to attract their attention.
Jill starts to look over.
JACKIE
I think you're crazy. Don't look
over, it's Lenny Silverman.
JILL
Who is that?
JACKIE
(deadly)
A real swinger. He's been trying to
fuck me for about two hundred
years.
LEONARD is now calling Jackie's name. Jackie can't avoid it
anymore.
JACKIE (CONT'D)
(pleasantly)
Hi, Leonard.
LEONARD
Jackie, what're you doing?
JACKIE
(they're having coffee)
Going for a pony ride at
Kiddielands, want to come along?
LEONARD
I have to meet a client... who're
you dating?
Jackie looks off and spots a billboard.
JACKIE
Poster-Kleiser.
LEONARD
Oh yeah?
JACKIE
That's right.
LEONARD
I'll call you.
JACKIE
Fine.
LEONARD
See you later.
JACKIE
Anyway, you're crazy.
JILL
I am? I mean why?
JACKIE
Oh, honey, don't be totally naive.
JILL
I'm not. Maybe I am.
JACKIE
No, listen. He's a very good
hairdresser.
Jill looks at Jackie.
JACKIE (CONT'D)
Well, he is.
JILL
(annoyed)
So what's your point?
JACKIE
Jill, I'm just trying to be
helpful.
JILL
I know, I'm sorry.
JACKIE
I spent three years with him. I
just couldn't take it not knowing
who was gonna pay the rent... his
unemployment or mine. George was
adorable but it drove me crackers.
Now at least I'm comfortable.
Lester does what he says he'll do.
Maybe you're happy living like a
gypsy. Are you?
JILL
George is great but I know what you
mean.
JACKIE
Face it, you can go around with
cute guys and get hung up on their
sexy bodies and things like that
but sooner or later you've got to
find somebody. Face it, time isn't
on your side.
JILL
I guess not.
INT. BANK OF AMERICA - DAY
George and Mr. Pettis.
GEORGE
(giving it all he's got)
I've got the customers... that's my
point. I'm the one they want. If I
had my own shop, they'd leave and
come to me. I have a lot of
customers.
PETTIS
Look, Mr. Roundy, why don't you
make out a financial statement?
It'll save us both some time. Miss
Michaels here can show you... have
it notarized and we'll see where we
go from there. Miss Michaels, would
you get me a couple of forms?
Pettis rises, shakes George's hand and disappears. George is
left with MISS MICHAELS, who has been more or less within
earshot of the whole conversation. George is very upset.
INT. OFFICE WAITING ROOM - DAY
Jill thumbs through a Life magazine with Eldridge Cleaver on
the cover, waiting for an interview in the outer office of
the 9000 Building whose open window overlooks a smoggy chunk
of the city.
She's one of so many girls that at first she's not
recognizable. All of them have composites which they carry in
leather folders. They eye each other uneasily.
INT. INTERVIEW OFFICE - DAY
There is the PRODUCER, Barry, and the director, JOHNNY POPE.
JILL
Egypt?
POPE
That's right.
JILL
But why Egypt?
POPE
Well, that's where the pyramids are
and we want real pyramids in the
ad.
Jill nods.
PRODUCER
You seem disappointed.
JILL
No... how long did you say?
PRODUCER
Three weeks.
Jill nods.
JILL
Egypt?
Pope, chagrined, shoots Jill a look. He's trying to get her
the job.
PRODUCER
Look, is there somewhere else you'd
rather go? Maybe we can change our
location.
JILL
No, it's not that...
PRODUCER
Do you have children?
JILL
No.
PRODUCER
Are you married?
JILL
No.
PRODUCER
Do you have something against
traveling?
JILL
(unable to interpret
Pope's looks to her)
No.
POPE
Well, do you have something against
us?
Jill laughs, a little embarrassed.
JILL
No!
PRODUCER
(to Pope, he's wasting
time)
John...
POPE
(ignoring him)
Go ahead, Jill, you can say it.
JILL
Now I'm embarrassed to tell you.
She is, too, and Pope can see it.
PRODUCER
We'll let you know tomorrow.
JILL
Please don't misunderstand... I'd
really like to go.
PRODUCER
(a little sarcastic)
Thanks for coming by.
Jill is at the door. She turns back. To Pope.
JILL
Oh. thank you.
POPE
Sure.
Jill leaves.
POPE (CONT'D)
(shaking his head)
This town...
At the shop on Brighton Way in Beverly Hills. A FEW BARS OF
SIMON AND GARFUNKEL'S "SOUNDS OF SILENCE" covers George
pulling up on his bike.
The street is empty of traffic except there are scores and
scores of parked cars, a few parking lot attendants, and some
meter maids. George starts toward the shop. A pair of women
in colored smocks and huge curlers burst out of the shop.
They look like Medusas. They hurtle down the sidewalk as if
they're running from something.
Then they find their respective cars and begin pouring
pennies into the meters. CLINK, BUZZ, CLINK, BUZZ.
George looks glum. He's walking along the street. A GIRL
stops him. She's driving by in a 3.4 Jag.
GIRL
Hi, George.
GEORGE
Hey, baby, what's happening?
GIRL
Nothing, I reconciled with Ron, you
know, the guy I divorced last
summer.
GEORGE
Great, great. I hope you make it.
Somebody HONKS in back of her.
GIRL
Call me!
GEORGE
I don't have your number, stop by
the shop.
GIRL
(waving goodbye)
Okay!
George looks after her, smiling. Then:
GEORGE
(disgusted)
God damn it.
He goes into the shop.
A large gilt mirror on one wall of the shop. It covers most
of the wall it leans against.
An attractive young woman in her early thirties, everything
matching, a real French garden, leans forward INTO SHOT and
looks at herself in the mirror. She studies her image
carefully. She moves closer to it. She seems uncertain at
first. Then as she looks her conviction grows:
TINA
Great... great... great... great...
great!
She turns back to DENNIS LOLLY, her hairdresser. She takes
his hand.
TINA (CONT'D)
Great, Dennis.
With her other hand she touches her hair.
TINA (CONT'D)
Do you think there's enough height?
I mean do you think there's enough
height?
Now she and Dennis look into the mirror at her together.
Dennis toys with the calico scarf around his neck. Felicia,
in far corner, waits defiantly. George spots her.
TINA (CONT'D)
George, do you think there's enough
height?
GEORGE
(on way to Felicia)
Yeah, sure.
TINA
Dennis doesn't think so.
DENNIS
Man, I didn't say a word.
TINA
Well, what do you think? Is there
enough height?
Both Dennis and Tina turn back to the mirror for further
deliberation.
FELICIA
You're late, George.
GEORGE
(taking her to his
cubicle)
I gotta talk to you.
FELICIA
I don't want to talk about it...
GEORGE
But you don't know what happened.
FELICIA
I don't care.
TINA
George, do you think there's too
much height?
GEORGE
(seating her)
It's great. You don't know what
happened, this girl she almost got--
FELICIA
(a little hysterical)
I don't care about that girl, I
don't care if she's dead.
GEORGE
Calm down, baby.
FELICIA
(calming down)
I'm perfectly calm, George, I'm
simply saying you have no respect
for me, that you're incapable of
distinguishing between me and one
of your average Hollywood...
mummers...
GEORGE
-- What?
FELICIA
Nummers.
GEORGE
What?
FELICIA
-- Numbers, and I don't need to
place myself in that kind of
position.
GLORIA tugs on George's arm.
GEORGE
What're you here for?
GLORIA
(as if giving away a
secret)
-- A wash and set.
GEORGE
No.
GLORIA
No?
GEORGE
You need a cut.
GLORIA
But Mr. Norman said --
GEORGE
Said what!
GLORIA
(whispered)
I just needed a wash and set, a
wash and set, that's all.
GEORGE
Well, baby, I'm George and it needs
to be cut.
(to Felicia)
But I don't want to place you in
that position either.
FELICIA
-- I like myself far too much, far
too much.
GEORGE
I don't want to place you in any
position --
FELICIA
-- to be put in that kind of
position...
GEORGE
(to Gloria)
I'll have Mary wash you. Mary!
MARY
(a schvar)
Yeah!
GEORGE
Wash her.
MARY
(looking at Gloria)
What with?
GEORGE
(nudging her)
-- A brillo pad, I don't care,
anything.
Mary has gone over to the shampoo stand above which are
several photographs of models and one of a handsome young
black Marine in fatigues. George has gone to pick up a razor,
changes it.
MARY
-- You takin' a lot of shit lately,
George.
GEORGE
-- Oh yeah.
MARY
(mixing)
But then again you ask for it --
you just like my Otis -- can't keep
his hands outta ladies' hair
either.
George laughs.
GEORGE
-- White ladies?
MARY
(laughing, too)
-- Oh my yes.
FELICIA
(burning with anger)
George --
GEORGE
(calling back)
I'm coming, baby --
(to Mary)
How's Otis doing, anyway?
MARY
That boy always does great. He's a
corporal or a squad leader or
something, just wrote me from some
place called Kwang Due?
GEORGE
I don't know if you don't know --
FELICIA
George!
George winks at Mary, heads back.
FELICIA (CONT'D)
(going right on)
I'm not used to that kind of
treatment.
GEORGE
What kind of treatment?
FELICIA
(going right on)
I've never been treated that way,
and I'm not going to start now.
GEORGE
Jesus, I don't know, baby, I been
cutting too much hair lately. I'm
losing all my concepts...
Jill has entered the shop. She approaches George.
JILL
George.
GEORGE
Hey, baby, what's happening?
JILL
They want me to go to Egypt for
three weeks.
GEORGE
Great.
Jill stands there now, not knowing what to say.
GEORGE (CONT'D)
Jill, say hello to Felicia.
JILL
Hello.
FELICIA
Hello.
JILL
George.
GEORGE
Yeah, baby...
JILL
How did it go at the bank?
George looks away.
GEORGE
Great.
JILL
Could I talk to you for a second?
GEORGE
Hey, I'm, you know --
JILL
Could I?
George moves away from Felicia.
GEORGE
Yeah.
JILL
(with some feeling)
I said I wasn't sure if I could go.
GEORGE
Go where?
JILL
(impatiently)
Egypt!
GEORGE
Oh, great, listen, baby, I gotta
get back, okay?
JILL
Okay, but how did it go at the
bank?
GEORGE
Great... can we talk later?
NORMAN
(the shop's owner)
George!
GEORGE
Yeah.
NORMAN
You're late, we're all backed up
and you're supposed to go to
Buffums.
GEORGE
Buffums?
NORMAN
Yes, Buffums.
GEORGE
I've got heads here, Norman.
NORMAN
You promised you'd do the show.
GEORGE
Oh fuck, Norman!
NORMAN
Don't use that tone of voice with
me... never mind, I'll take Gordon.
George turns back to Felicia as RICCI comes by. He's near
tears.
RICCI
Do you know what that Lillian
Bercovici just did?
GEORGE
(working on Felicia)
No, man.
RICCI
-- Right after I sprayed her?
GEORGE
What?
RICCI
(losing control)
She touched it! Then she played in
it and got it all into something
else. Now I don't know what it is!
He's waiting for George for sympathy. Jill steps away
gathering patience.
RICCI (CONT'D)
I can't even stand to talk to her
on the phone.
GEORGE
(sympathetic)
She's heavy.
(to Felicia)
See, Norman expects me to get in
here, take care of all the
customers and then do his show out
in Norwalk. I gotta have my own
shop, just out of self defense.
FELICIA
I can see that.
GEORGE
You're looking great, baby.
FELICIA
What're you doing later?
GEORGE
(half kidding)
Whatever you say.
FELICIA
We have this political thing
tonight. Could you comb me out at
the house?
George is torn.
GEORGE
I don't know. I'm beginning to feel
guilty.
FELICIA
What about?
GEORGE
All I ever do is play. I should be
doing something to get my own shop
open.
FELICIA
Why don't you see Lester?
GEORGE
(a little alarmed)
Your husband?
FELICIA
Yes.
GEORGE
(not sure what she's
driving at)
What about?
FELICIA
The shop. I think you're a good
investment, and I don't mind
telling him.
GEORGE
Hey, listen, baby, I'm a star.
Jill returns.
JILL
George.
GEORGE
Hey, baby, say hello to Felicia.
JILL
I already said hello.
GEORGE
Okay.
JILL
George.
GEORGE
Yeah, baby.
JILL
When can I talk to you?
GEORGE
Baby, I'm in the middle of work.
JILL
I know but this is important. I
have to make a decision.
GEORGE
About what?
JILL
Whether or not I'm going.
GEORGE
Going where?
JILL
Egypt.
GEORGE
Honey, have they offered you the
job?
JILL
No, but I think they might.
GEORGE
(to Jill)
Just a second, I'll be right with
you...
He turns back to Felicia. Jill moves away.
FELICIA
(interested)
Is she all right?
GEORGE
I don't know. Just a minute...
George moves over to Jill.
GEORGE (CONT'D)
What do you want?
JILL
Your advice!
GEORGE
They didn't offer you the job yet.
JILL
I want your feelings about it.
GEORGE
Right now?
JILL
Look, either we have a meaningful
relationship or we don't, I've got
to know.
GEORGE
(really harassed)
Look, baby, can we talk about it
later?
Felicia is watching them.
JILL
When?
GEORGE
When I get off work.
JILL
When is that?
GEORGE
I'll call you.
JILL
When is that, George?
GEORGE
I'll call you.
JILL
(really upset)
But I never know when you're
working and when you're not
working!
GEORGE
(half to himself)
Neither do I, baby.
JILL
What?
GEORGE
Nothing, I'll call you, okay?
JILL
... Okay...
Back to Felicia. As Jill leaves.
GEORGE
-- Anyway.
FELICIA
I hope she's all right.
GEORGE
She's fine. You really think I'd be
a good investment?
FELICIA
I wouldn't say so if I didn't.
GEORGE
No, I know.
FELICIA
And I certainly wouldn't tell
Lester.
GEORGE
I know.
FELICIA
I mean it or I wouldn't say it.
GEORGE
That's great. You look great, baby,
great. Dennis, look at Felicia's
hair.
Dennis stops. He's with the DESK GIRL. Both of them:
DENNIS & DESK GIRL
Great.
EXT. SHOP - DAY
Jill, in street, on verge of tears... moves to her car...
gets in... sits for a long moment.
EXT. OFFICE BUILDING - DAY
George on bike pulls into office building. The MUSIC OVER is
JEFFERSON AIRPLANE'S "WHITE RABBIT."
INT. LESTER'S OFFICE - DAY
In his inner office.
LESTER'S on the telephone, staring out the window.
LESTER
Look, Kurt, I don't care where you
have to go. I want Beluga Caviar
there. Call Jurgenson's, call
Chasen's... I don't care how much
it costs... how much?... then spend
it. Just make sure it's there.
You've got all the money in the
world to buy it. You understand?
Just make sure it's there on the
table tonight.
(he hangs up)
Jesus.
(to George, to no one)
You've got to do everything
yourself. You know?
Suddenly Lester gives George a steely look. It covers his
hair, his clothes. George is acutely uncomfortable.
LESTER (CONT'D)
Felicia says you're a very good
hairdresser.
GEORGE
Well, yeah.
LESTER
She says you're a fabulous
hairdresser.
GEORGE
Thank you.
LESTER
I didn't say it, she did. How'd you
happen to get in that line of work?
George sort of knows what Lester's driving at.
GEORGE
Oh, well, I went to beauty
school... you know you go to beauty
school... and you get your
operator's license... and you
graduate... and you're a
hairdresser.
LESTER
I see.
Long pause. George hasn't told Lester what he wants to know.
LESTER (CONT'D)
It's an unusual trade.
GEORGE
Yes it is.
An awkward pause.
LESTER
But the important thing is you're
successful at it.
GEORGE
In a way. But...
LESTER
But what?
GEORGE
I'm better than the guy I work for.
This seems to interest Lester.
LESTER
Well, George, I invest for a lot of
people. I make a lot of money for
them. More than they could do for
themselves.
GEORGE
After a while that hurts... doesn't
it?
Lester smiles. He appreciates this.
LESTER
It's good you want to do something,
George.
GEORGE
Thank you.
LESTER
But personal services are not the
kind of thing I usually get into.
GEORGE
They're not?
LESTER
(suddenly direct, almost
enthusiastic)
No, they're a pain in the ass,
there's no way of keeping track of
anything. It's a cash business and
you've got to watch your operators
or they'll steal you blind, am I
right or am I right?
GEORGE
You're right.
LESTER
Who needs that kind of aggravation?
Who needs that kind of aggravation
at my age? When I finish work I
want to...
The door bursts open. It's one of the SECRETARIES.
SECRETARY
Mr. Karpf...
Jackie is right behind her. She bounces in, not seeing
George.
JACKIE
I'm sorry but I need an extra
garage key.
In Lester's presence she seems distinctly younger than she
did with Jill. She's startled when she sees George.
LESTER
What for? What do you need the key
for?
Jackie continues to stare at George.
JACKIE
The man from Sloan's is coming. I
called you about it.
LESTER
How did you lose that key? Oh,
George, this is uh Miss -- this is
Jackie.
JACKIE
Oh, hi, I mean hello, we've met.
LESTER
(a little suspiciously)
Is that right?
JACKIE
(almost immediately on the
defensive)
Well, yes, George is a wonderful
hairdresser.
LESTER
Is that right?
Awkward pause.
JACKIE
So how's Norman?
GEORGE
Great. Who's been doing your hair?
Jackie glances at Lester.
JACKIE
I go to the blue'n gold barber shop
in Westwood. The guy in the third
chair's dynamite... nobody much.
LESTER
George is going to open a shop.
JACKIE
(really interested)
No kidding? Your own shop?
George starts to say yes.
LESTER
George, could you -- excuse us for
a minute?
GEORGE
Sure.
He leaves the office, shuts the door, leaving Jackie and
Lester alone. Lester shuts the door.
LESTER
I called to tell you I was sending
one over but the line was busy,
you're always on the phone.
JACKIE
I am?
LESTER
Who were you talking to?
JACKIE
Who do you think I was talking to?
LESTER
My secretary saw you with that boy.
JACKIE
Steve?
LESTER
Whatever his name is, that actor.
Jackie looks for a moment as if she's going to get very
emotional.
JACKIE
Steve Slutes, and he's not a boy.
(a touch bitter)
Steve couldn't get arrested as an
actor. He couldn't get arrested as
a boy.
LESTER
Then you were talking to him.
JACKIE
I ran into him at the 76 station on
little Santa Monica, what was I
supposed to do, hide in the ladies
room? Yes, I was talking to him.
Lester's a little chagrined now but not much.
JACKIE (CONT'D)
(an outburst)
I'm always on the phone because you
never let me see anybody, I can't
even bring my girlfriends over to
the house because they might run
into you. You're driving me up the
wall, Lester. You're even jealous
of the dogs. I mean I've gotta have
somebody I can talk to.
LESTER
I'm not jealous of the dogs.
Jackie looks at him in disgust.
LESTER (CONT'D)
(very positive)
Now listen, Jackie, I'm not jealous
of anybody, I just can't afford to
get caught... off base.
JACKIE
So I can't talk to some broken down
actor, what do you think, I'm going
to tell him I'm screwing Lester
Karpf!
LESTER
Of course not.
JACKIE
That's not very logical, Lester.
INT. OFFICE - GEORGE AND SECRETARY
picking up the tail end of this.
SECRETARY
He thinks the room is soundproofed.
Don't tell him it's not.
GEORGE
How come?
SECRETARY
He'll have that awful construction
crew back again, and they can never
do anything right.
INT. LESTER'S OFFICE
LESTER
(trying to think of why)
It's very logical, it's the most
logical thing in the world. You
wouldn't feel this confined if we
could go out with people and have
dinner, and a little conversation
and so forth...
JACKIE
Really? How about starting with
tonight?
By her tone, Jackie indicates she's been saying all of this
for months. Lester repeating it like it's just occurred to
him genuinely upsets her. She's near tears and she's not the
kind of girl who cries easily. Lester's sensitive to it.
LESTER
Sweetheart, I know it's rough but
at this point -- my business
involves handling money for some
very touchy people, politics and so
on... Felicia's at a very difficult
period in her life... any divorce
and settlement and so forth, my
finances would have to be looked
into.
Jackie knows what he's talking about.
JACKIE
(quietly)
You and your touchy investors.
LESTER
(finally)
Look... you do well for people,
they don't ask you to stop. Nobody
wants you to stop making money,
doll, not even Uncle Sam. They all
want their share.
Jackie comes over to Lester.
JACKIE
You're lying about one thing,
Lester.
LESTER
What's that?
JACKIE
You're still jealous.
She's said it provocatively and like the younger girl she can
be with him. Lester smiles. He's almost benign.
LESTER
God, you're a doll.
He takes her in his arms and she responds.
LESTER (CONT'D)
(he means it)
We'll work something out about
tonight, I promise...
INT. OFFICE - GEORGE AND SECRETARY
The door opens. Jackie and Lester emerge, distinctly subdued.
LESTER
Angie, give Miss Shawn a garage key
for the Bowmont House, would you?
ANGIE
Yes, Mr. Karpf.
Angie opens her desk and goes through some files, pulls out a
key, puts it in an envelope and hands it to Jackie -- she's
lightning quick about it, super efficient.
LESTER
Well, let's go down together.
C'mon, George, I'll walk you out.
LESTER, JACKIE AND GEORGE IN HALLWAY BY ELEVATOR
Jackie turns to stub out a cigarette in a standing ashtray.
LESTER (CONT'D)
(quietly)
Felicia's really interested in the
shop, isn't she?
GEORGE
Oh yeah.
Jackie moves back.
LESTER
(normal tone now)
Well, George, you may not think ten
or fifteen grand means much to me,
but I invest for myself and a lot
of particular people.
GEORGE
Oh yeah? I mean I know.
LESTER
So I'm going to want a little more
of your thinking on the subject.
The elevator doors open.
GEORGE
When?
LESTER
When?
The doors close on the three of them.
INT. ELEVATOR
going down. George is looking at Lester, waiting for an
answer.
LESTER
(looks up slowly)
How about tonight?
Jackie looks to Lester. Lester winks at Jackie.
GEORGE
Tonight?
LESTER
Yeah, little election party I'm
giving at the Bistro.
It's a pain in the ass but -- I
have to do it. We'll have a little
time to talk there.
The elevator stops on the third floor. A man in a suit and a
middle-aged woman with a cane get in. They're strangers to
each other. The elevator proceeds.
LESTER (CONT'D)
(quiet, almost solemn in
their presence)
-- maybe you could, on your way,
you know, pick up Jackie here.
GEORGE
(slowly)
Okay.
They've reached the basement and are standing as Bill the
maintenance man, races around the cars to get to Lester's
Rolls.
LESTER
It's good you want to do something,
George.
George doesn't answer this time.
LESTER (CONT'D)
I wish my son knew what he wanted
to do.
GEORGE
Oh yeah?
LESTER
-- Anything, I don't care what it
is, just so it's something.
GEORGE
I know what you mean.
Lester's car is backed up. The door opened for him.
LESTER
(thoughtfully)
Maybe he ought to go to beauty
school. Anyway, see you tonight,
doll, okay?
JACKIE
Fine.
Lester slips Bill a few dollars and takes off, leaving Jackie
and George looking at each other. Jackie shakes her head.
JACKIE (CONT'D)
Jesus...
GEORGE
-- Yeah... your car down here?
Jackie nods. They walk toward it.
GEORGE (CONT'D)
-- Listen, I'm supposed to take
Jill to El Cholo tonight. She's
really going to be pissed if I
don't.
JACKIE
-- Maybe she'll come with us. If I
tell her how important it is to me,
I don't think she'll mind. Do you?
GEORGE
I don't know. Probably not.
JACKIE
Jill's really great, isn't she?
GEORGE
Great... so how's everything with
you?
They've reached Jackie's 230SL.
JACKIE
Great, more or less.
She starts to get in.
GEORGE
How long you had this?
JACKIE
Oh, about six weeks now... Lester --
well, he's very sweet.
GEORGE
I'm sure.
JACKIE
He's a very private person,
actually.
GEORGE
Yeah -- he doesn't happen to know
that we went together, does he?
Jackie has started to get in the car several times. This
stops her again.
JACKIE
-- Well no. It never came up.
GEORGE
You going to tell him?
JACKIE
(smoothly)
-- What for? Honey, I'll see you
later.
They kiss each other's cheeks, she gets in and takes off.
EXT. SANTA MONICA BOULEVARD - JILL AND JACKIE - DAY
tooling along the tracks in Jackie's 230SL.
JACKIE
Jill, you're a real sweetie pie.
You really are.
(she glances over at Jill)
You're sure you don't mind?
JILL
Don't be silly.
JACKIE
You're really a love -- you sure?
JILL
-- No. No really.
JACKIE
Well, what is it, honey?
JILL
Nothing.
JACKIE
It must be something.
JILL
Well, it's George.
JACKIE
I thought you said things were
great with George.
JILL
Well they are. But we have
problems. You say things are great
with Lester. Is he going to marry
you?
JACKIE
We don't think marriage is
important.
JILL
But you have problems?
JACKIE
-- Yeah, honey...
JILL AND JACKIE
JILL
I don't know. One minute he's up in
the air and makes love to me five
times a day and tells me
everything's going to be great and
he's getting his own shop and then
suddenly he disappears and he won't
even talk to me. It's driving me
crazy.
Jackie pulls away from the signal a little jerkily.
JACKIE
Five times a day?
JILL
(sighs, then)
-- I guess it's all got to do with
this shop.
JACKIE
Really, Jill, aren't you
exaggerating just a little? Five
times a day?
JILL
(embarrassed)
Well, you know what I mean.
JACKIE
After four years? No I don't... and
I don't know too many girls who do.
JILL
I'm exaggerating.
JACKIE
How much?
JILL
(giggling a little)
Jackie --
JACKIE
What?
JACKIE AND JILL
JILL
(taking a little breath)
Well... it's not so much the number
of times he does it, it's... he
does it for a long time.
JACKIE
He does?
JILL
Well yes -- you know that about
George.
JACKIE
It's been so long I don't how long?
JILL
Quite a while... an hour, an hour
and a half -- sometimes forty-five
minutes -- that's quite a while,
isn't It?
JACKIE
I would say so, yes.
JILL
Honey?
JACKIE
What?
JILL
I think you're going to hit that
car in front of us.
Jackie slams on the brakes.
INT. UNEMPLOYMENT LINE - JILL AND JACKIE - DAY
standing there.
JILL
-- See, I just know that if I go to
Egypt, well, things happen, I just
don't know what'll happen to us, he
just never seems to think ahead,
does he?
JACKIE
-- When you say forty-five minutes
or an hour, do you mean continuous
time? Just continually, without
stopping?
JILL
-- Well -- not going in and out, I
don't mean just that. Why are you
asking me? You went with George
longer than I have.
JACKIE
-- I guess I just blocked it out,
that's all.
JILL
C'mon.
JACKIE
Well, there was this one time --
JILL
(a little devilish)
-- Yesss?
JACKIE
-- I was in the kitchen doing the
dishes and George was out in Long
Beach doing a show...
JILL
(meaning yes)
-- uhh-huhh...
JACKIE
-- Well it was very hot so I'd left
the door open and the water was
running so I didn't hear him come
down the stairs...
JILL
... Mmm-hmmm.
Now Jackie has begun to lose her self-consciousness and is
into the story. A little faint edge of nervousness or
something like it begins to take over Jill.
JACKIE
-- He came up behind me and I was
wiping a dish and he just... lifted
up my skirt, and, you know, right
there...
JILL
Didn't you have any panties on?
JACKIE
(remembering)
-- He reached up and tore them.
JILL
What did you do?
JACKIE
Well... I just kept wiping that
dish. Maybe it doesn't sound very
sexy but it was.
JILL
(faintly perturbed)
No, it sounds very sexy -- did you
just stay by the sink all that
time?
JACKIE
No, he picked me up and carried me
out to the sundeck -- God, it was
hot. The wood on the sundeck,
everything.
EXT. LESTER'S HOUSE - BEL AIR - AFTERNOON
A gardener is riding a mower around the front lawn. There are
three cars parked in and around the circular driveway.
INT. BEDROOM - LESTER
He slips into a cardigan sweater. His vanity is restricted
entirely to how well pressed and clean everything is he
wears.
He goes out of the dressing room toward the kitchen, passing
Lorna on the phone in the living room and Felicia at dining
room table, hair in curlers, reading Cosmopolitan magazine.
LESTER
Do you think George is a fairy?
FELICIA
Who?
LESTER
That kid... the hairdresser.
FELICIA
Well, I don't know for sure... he's
a hairdresser.
Mona brings her coffee from kitchen.
FELICIA (CONT'D)
Thank you, Mona.
Lester has swallowed some vitamins in the kitchen. Turns to
her.
LESTER
Maybe he's just a kooky guy who
likes doing something kooky like
that.
FELICIA
Maybe... why do you ask?
LESTER
I'm thinking of investing with him.
He worries me.
FELICIA
Why?
LESTER
Maybe he's too flighty and
irresponsible. That's why I asked
if he was a fairy.
FELICIA
I don't know. He's a hairdresser.
LESTER
(really asking)
You suggested it, don't you think
it's a good idea?
FELICIA
Yes, but... I thought...
LESTER
What?
FELICIA
That you were just indulging me.
LESTER
No, doll, I listen to you. And if a
deal loses money that's not so bad
either if it's handled right.
He gives Felicia a peck and starts out.
LESTER (CONT'D)
He's a nice boy. I invited him
tonight. I'm sorry he's a fairy.
INT. SHOP - GEORGE AT WORK - DAY
George is busy. He's working on ANJANETTE.
ANJANETTE
You're in a good mood today,
George.
GEORGE
Yeah, baby. Things are great.
Listen, there's Devra, whatta you
want?
ANJANETTE
Chicken salad.
GEORGE
Chicken salad, Devra!
DEVRA
I don't have any change.
GEORGE
Get some at the desk.
ANJANETTE
Anyway, you remember Harold?
GEORGE
Yeah, baby, how's it going?
The PHONE RINGS. Norman brings it to George.
NORMAN
George... Jackie Shawn.
George seems really surprised to hear the voice on the other
end. Anjanette looks around.
GEORGE
No, I'd like to but I've got too
many heads here, can't you stop by
the shop?
(to shampoo girl)
Two caps, Mary, yeah, two.
(back to phone)
Okay, but I have to be in Bel Air
at four...
He hangs up. It RINGS again.
ANJANETTE
Don't you think there's too much
gold?
GEORGE
(to Anjanette)
It's great.
(into phone)
You wanna speak to Mary? Hold on...
ANJANETTE
I don't know, I think...
GEORGE
(good natured, but firm)
Look, would you argue with your
doctor?
ANJANETTE
No.
Ricci comes up to him ready to cry.
GEORGE
(to Ricci)
Hey, what's happening?
(calling)
Mary! Telephone.
(to Ricci)
What's the matter?
RICCI
(furious)
Wanda...
GEORGE
Oh yeah?
RICCI
You were supposed to handle that
bitch, she's always asking for you,
and she was furious you weren't
here.
GEORGE
Yeah?...
RICCI
She's murdered her hair... you do
something with her, I'm never going
to touch her again.
GEORGE
I'm busy, man.
RICCI
If I have to touch her again, I'll
throw up!
GEORGE
(exploding)
Don't talk like a child. You're a
pro, now get out there and cut!
Ricci is stunned. He says under his breath, "I'll throw up"
again and leaves. Mary, her back to George, sits holding the
telephone to her ear.
ANJANETTE
I thought you were in a good mood.
GEORGE
I am... except I've gotta do
somebody at their house.
ANJANETTE
Don't you like her?
GEORGE
No, it's a very groovy girl.
ANJANETTE
Then what's the problem?
GEORGE
(really worried)
She's a very groovy girl. That's
the problem.
ANJANETTE
What're you talking about, George?
GEORGE
Well, it's a small town. Sooner or
later things catch up with you...
don't they?
Mary runs out of the shop, tipping over a magazine rack.
GEORGE (CONT'D)
Where's the caps, Mary?
She's exiting front door in a hurry.
GEORGE (CONT'D)
Mary? What's goin' on, Mary?
EXT. GEORGE ON HIS MOTORCYCLE - MOVING - DAY
MUSIC, THE BYRDS, "TURN, TURN, TURN."
He pulls up to a rustic house. He gets his little case off
the bike and then hesitates. He walks to the door and rings
the bell.
Jackie answers the door. She seems distracted and, at the
same time, a little wary. Much the same, in fact, as George.
JACKIE
Hi. C'mon in.
Jackie's wearing a robe. They walk into the living room, the
dogs yelping.
JACKIE (CONT'D)
Shut up, it's all right.
(to George, automatically)
Do you want a drink?
GEORGE
No, thanks.
JACKIE
Well, I do.
She starts to mix herself a drink. She changes her mind,
pours herself a shot of whiskey and hurls it back. She does
it again. When she turns back to George he's looking at her
noncommittally.
JACKIE (CONT'D)
Where do you want to do this?
GEORGE
Probably the bathroom.
JACKIE
Can't you do it out here?
George looks around.
GEORGE
Well, it depends. If you just
wanted a combout. I guess I could.
Jackie turns to him, honestly uncertain.
JACKIE
Well, what do you think?
George himself is tentative.
GEORGE
I don't know. Why don't you sit
down.
Jackie looks around a little at a loss and finally sits down
on the glass-topped coffee table.
JACKIE
(meaning her position)
Is this all right?
George moves in. He draws the drapes back so light comes in
from the backyard and the swimming pool can be seen.
GEORGE
Yeah.
He takes her hair in his hands. The contact makes them both
nervous. She looks away. George continues to run his hands
through her hair.
JACKIE
(a little nervous)
Well, what do you think?
GEORGE
I'd cut it...
JACKIE
You would?
GEORGE
Yeah, I think so...
JACKIE
(almost irritable)
You don't seem very sure.
GEORGE
No, I'm sure.
There is a moment where Jackie is trying to decide whether
she'll let George actually cut her hair.
JACKIE
(then)
Okay... but I want you to know one
thing.
(almost a threat)
I've got to look great tonight, I
mean I have to look great, okay?
GEORGE
Okay.
INT. FELICIA'S BEDROOM AND DRESSING ROOM - DAY
Felicia is throwing on a bandana and wraparound sunglasses.
She seems in a hurry.
She leaves the bathroom, moves quickly through the house to
the kitchen. She passes Lorna's bedroom. LORNA is changing
from her school clothes into a tennis dress. She watches her
mother flash by.
IN THE KITCHEN
Felicia stops. She is holding a dangling pearl earring in her
hand.
FELICIA
Mona, Mona!
MONA comes out from the laundry room. Felicia has called a
little too loud.
FELICIA (CONT'D)
(indicates earring)
Have you seen the other one of
these by any chance? I want to wear
them tonight.
(before Mona can answer)
Oh... when George gets here, tell
him to wait. I have to pick up a
dress and I may have to have it
fitted, but be sure...
Lorna ambles into the kitchen, expressionless.
FELICIA (CONT'D)
... to tell him to wait.
MONA
Yes, ma'am. But I have to go to the
market...
FELICIA
Just be sure he doesn't leave.
Felicia flashes out the door and into the carport, visible
through the kitchen. She takes off. Lorna slowly slips a
white swetlet onto her slender wrist.
INT. JACKIE'S BEDROOM AND BATH - DAY
which includes a sauna. Jackie's got on a terry-cloth robe.
George has been wetting her hair in the basin. Her terry
cloth robe is bulky and obviously in the way.
JACKIE
Jill's coming with us.
GEORGE
Great.
JACKIE
She's incredible...
(after a moment)
She loves you, George.
GEORGE
Yeah... I mean great.
George begins to cut. Jackie winces a little. George notices
it.
JACKIE
Getting my hair cut is always a
little nerve-wracking.
The cutting goes on. The bathroom is very close. George has
begun to perspire a little as has Jackie.
JACKIE (CONT'D)
... I don't get it done often.
GEORGE
Whew.
JACKIE
What's wrong?
GEORGE
It's hot in here.
JACKIE
(after a moment)
It's the sauna, I keep the sauna on
and it makes the whole bathroom
hot.
GEORGE
Yeah... wow.
George stops and takes off his shirt. He's wearing a purple T
shirt underneath. He goes back to cutting. Jackie's getting
more and more edgy, partly because of George's proximity and
partly because of her concern over what he's doing. George on
the other hand is now less tentative, more focused on the job
at hand.
JACKIE
(finally)
Not too much, don't cut too much.
GEORGE
Jackie, would you argue with your
doctor.
JACKIE
The shrink? Many times.
George stops and looks at her. Both are perspiring freely
now.
JACKIE (CONT'D)
Bernstein... seemed to think I
hated men.
GEORGE
Do you? You still see him?
Jackie tries to look at her hair in the mirror. George gently
pulls her back.
JACKIE
(with some feeling)
No.
GEORGE
Why not?
Jackie doesn't answer.
GEORGE (CONT'D)
Why not?
JACKIE
... he tried to... uh... make it
with me.
GEORGE
And?
JACKIE
And what?
GEORGE
Did you?
Jackie looks up slowly. George is still cutting, not looking
directly at her.
JACKIE
It was after you, baby. After you.
GEORGE
(breathes deeply)
Boy, that sauna is really... can't
you turn it down or something?
JACKIE
No... Lester likes it on all the
time in case he wants to use it.
INT. JILL'S BEDROOM - DAY
Jill, alone, sits on bed. Gazes into bureau mirror, shaping
her hair. The PHONE RINGS.
JILL
Hello... oh hi, Johnny. Oh really?
Thank you... Are you serious?...
Tonight I'm busy, I... Right now?
Oh no, you really couldn't come up
here.
INT. JACKIE'S BEDROOM & BATH - DAY
with Jackie's hair considerably shorter. George is sitting
now as he works, his knee wedged between her legs, working
very close.
JACKIE
Anyway, he offered me a silver
cloud. At least he should give me a
Ferrari and pay off my house and
give me a nine carat ring or
something...
GEORGE
(amused)
Did Lester know about him?
JACKIE
There was nothing to know.
Anyway... if I can't have love I
have to at least have money. I have
to have some pride I can do
something.
George has started to dry her hair. He stops. He picks up the
scissors. Her hair is askew still so it's difficult to see
what George has done.
JACKIE (CONT'D)
(staring at the scissors,
a warning)
George...
GEORGE
I just have to do one little thing.
JACKIE
If you screw me up for tonight,
I'll kill you, I swear to God, I'll
kill you.
GEORGE
I won't screw you up.
EXT. SUNSET BOULEVARD - LESTER DRIVING - DAY
his dark blue Rolls Royce. He's listening to the radio, keeps
switching to pick up fresh news reports.
He turns off Sunset and heads up Coldwater Canyon.
INT. JACKIE'S BATH AND BEDROOM - JACKIE AND GEORGE - DAY
JACKIE
George... how about Felicia?
GEORGE
(expressionless)
What?
JACKIE
Did you?
GEORGE
Did I what?
JACKIE
You know what I'm talking about.
GEORGE
Hey, I don't tell.
JACKIE
(teasing)
Can I count on that? I just want to
see Lester with me and that cunt in
the same room tonight.
GEORGE
Yeah?
JACKIE
Well, did you or didn't you?
George shuts the blower off. He picks up his comb for the
final comb out.
GEORGE
Now, baby... if I told you about
her... then you couldn't count on
me not telling anymore... could
you?
JACKIE
You did, didn't you?
They're very close and Jackie's moving closer. She's
intrigued, amused and at ease. George is trying to keep some
distance.
GEORGE
Baby...
JACKIE
You did, I know you did.
GEORGE
One of my few virtues is
discretion.
JACKIE
You just can't stand to miss one of
them, can you?
She's moving closer and closer, being deliberately
provocative -- to seduce the information out of him.
EXT. JACKIE'S STREET - DAY
Lester pulls into it. He stops, reaches in the glove
compartment and pulls out one of the little airline bottles
of vodka. He pours it into a glass, drinks it. He notices
George's bike in the driveway. Next to him on the seat is a
prettily wrapped package.
INT. JACKIE'S BEDROOM AND BATH - JACKIE AND GEORGE - DAY
George sprays her. He turns her around in the chair to face
the mirror so she can see herself for the first time. She
should look really different, her hair significantly shorter,
and modishly and beautifully cut to her face.
Jackie's lips part.
JACKIE
(softly)
George...
GEORGE
(staring at her)
Yeah, baby...
JACKIE
You're a genius.
Her hand automatically goes up to take his. He starts to pull
it back.
JACKIE (CONT'D)
(grabbing it, thrilled)
You're a genius, do you know that,
you're a genius?
She turns and throws her arms around George, kissing him.
It's too much for George. He kisses her back.
JACKIE (CONT'D)
(trying to resist)
Oh, no.
George is obsessed. He wraps his arms around her and she
responds, passionately.
JACKIE (CONT'D)
Oh, no.
They are grappling, pushing and pulling with each other.
George kicks away the stool by the mirror and tries to bend
Jackie to the rug-covered bathroom floor.
JACKIE (CONT'D)
(genuine)
No! Don't! Please!
GEORGE
(forcing her down)
I don't want to... I swear...
She throws her arms around him, kissing him and shoving him
away. George is tearing at his trousers. They are on the
floor now , rolling around, bouncing gently off the ceramic
molding from the sunken tub.
JACKIE
It'll ruin everything.
GEORGE
I know... you don't know, I know.
JACKIE
Don't, don't, don't...
They hit the sauna room door as they're rolling around and
the door opens. Steam comes pouring over them, momentarily
obscuring their struggles. George has trouble getting his
pants down. At the last instant, Jackie gives them a helpful
tug.
JACKIE (CONT'D)
(moans)
Oh, no...
Suddenly, the DOGS begin to BARK. There is the SOUND of the
DOOR OPENING. Jackie sits up.
JACKIE (CONT'D)
It's Lester.
She's frozen with fear.
LESTER'S VOICE
(muffled)
Hey, doll... Jackie... honey...
where are you?
JACKIE
Get up, get up, get up.
George is already trying to pull on his trousers. Jackie is
up and clutching her robe, unable to move.
JACKIE (CONT'D)
Oh God, oh God, oh God... do
something, please God, do
something.
LESTER'S VOICE
(nearer)
Hey, baby, are you sleeping?
GEORGE
Sit down.
JACKIE
(frantic)
What are you talking about?
GEORGE
(equally frantic, forcing
her)
Sit down!
WITH LESTER
He's moved into the bedroom, carrying the package obviously a
gift for Jackie. He's been a little puzzled. His puzzlement
is rapidly turning to suspicion.
LESTER
Jackie?... Jackie?
Lester opens the door. He's hit with a blast of steam and the
sight of George stripped to the waist, ostensibly working
over Jackie who is loosely wrapped with a towel. George has a
comb in one hand and now turns on the dryer, blowing it with
a somewhat exaggerated gesture.
JACKIE
Shut the door, shut the door!
LESTER
Oh, I'm sorry.
He shuts the door. Then he thinks better of it. He opens the
door again and takes a step into the bathroom.
George waves the comb at Lester a little impatiently. It's
wet and sprinkles Lester.
GEORGE
Look, either come in or stay out!
JACKIE
Shut the door, Lester. What do you
think this is, a picnic?
LESTER
(confused now)
Sorry, honey, I...
GEORGE
That's okay, that's okay, just shut
the door.
Lester shuts the door, feeling a little chagrined, and
relieved. He sits on the bed and puts the present beside him.
In a moment George emerges.
GEORGE (CONT'D)
... she's very upset...
LESTER
What about, tonight?
GEORGE
(seizing the opportunity)
That, and... I'll be done in a
minute.
He goes back inside.
IN THE BATHROOM GEORGE AND JACKIE
just stare silently into mirror at each other.
LESTER'S VOICE
Jackie?... Hey, I brought you a
little something, doll.
AT THE DOOR - LESTER AND GEORGE
George has his case of comb and scissors, etc., and is
standing with Lester. He's anxious to go.
LESTER
You look like you've had quite a
work-out.
GEORGE
It's nerve wracking sometimes...
women can get you very upset.
LESTER
I know it, I know it.
GEORGE
... this doing hair it's...
LESTER
I know it, son. But tonight's going
to be even tougher.
George just looks at him. Lester walks him to bike.
LESTER (CONT'D)
George, I know you have to deal
with Felicia and you're caught in
the middle, and if you can just
bear with me tonight, well, I
appreciate the way you've handled
the situation.
GEORGE
Oh, hey...
LESTER
It's a difficult situation, and I
want you to know I appreciate it.
Tonight's going to be real tough
for me --
GEORGE
I don't know what to...
LESTER
Son, we'll do business, I can tell
you that.
George roars off on bike.
JACKIE AND LESTER IN KITCHEN
Jackie is cleaning up some dog food. Lester stands there for
a minute.
LESTER (CONT'D)
I'd like a drink.
JACKIE
(looking up)
Just a second, I've gotta clean
this mess up or the dogs'll have it
all over the house.
LESTER
You ought to get rid of those dogs.
Jackie looks up and then controls herself.
LESTER (CONT'D)
They get hair all over the place.
JACKIE
They're Yorkies and they don't
shed.
Jackie goes into the living room and fixes Lester a drink.
Lester follows.
JACKIE (CONT'D)
(giving him a drink)
Here.
LESTER
Aren't you going to have one?
JACKIE
No.
LESTER
Why not?
JACKIE
Because I don't want one.
Lester goes over to her to kiss her.
LESTER
C'mon, doll, it's five o'clock,
have a drink.
Jackie turns away and explodes.
JACKIE
I don't want one! First you tell me
not to drink then you tell me to
drink, which is it? I don't want a
drink!
Lester's now a little intimidated, but even more suspicious.
LESTER
I called to tell you I was on my
way, but the line was busy, you're
always on the phone.
EXT. LESTER'S HOUSE IN BEL AIR - DAY
George pulls into the circular driveway. COVERED by a few
bars of The Mama's and The Papa's "California Dreamin."
There's only one car.
George gets off the bike and goes to the door. Nobody
answers. He hears the SOUND of a BALL BANGING. He looks
toward the tennis court.
ON THE COURT - LORNA
is banging away on the backboard. There's a basket of balls
nearby. She hits with considerable skill and power until she
misses the backboard and the ball lodges in the steel mesh
surrounding the court.
George is standing there. Lorna looks at him.
LORNA
You here to see my mother?
GEORGE
Yeah.
LORNA
She's out, but you're supposed to
wait.
LORNA WALKING TO GEORGE
LORNA (CONT'D)
Hungry?
GEORGE
A little.
AT THE KITCHEN TABLE
They're eating silently. Lorna has hauled all kinds of food
out of the refrigerators. She watches George as he eats with
some relish. She gets up and goes to the steel-doored
refrigerators.
LORNA
(indicating refrigerators)
This is the one thing I like about
this house... want some lox?
GEORGE
No thanks.
LORNA
You're my mother's hairdresser?
GEORGE
(warily)
I do her hair, yeah.
LORNA
Chopped liver?
GEORGE
No thanks.
LORNA
Are you gay?... baked apple?...
they're cold but they're good.
GEORGE
No thanks.
LORNA
Did you hear me?
GEORGE
Yeah.
LORNA
Well, are you? Are you queer?
GEORGE
... yeah.
LORNA
(laughing)
C'mon, are you or aren't you?
GEORGE
(trying to avoid it)
Gee, this is great.
He slices a piece of cheesecake. Lorna sits down, in the
chair nearest him now.
LORNA
C'mon, tell me. Don't be afraid.
GEORGE
Why do you wanna know so bad?
LORNA
See if you've been making it with
my mother.
GEORGE
(looking at her for a
minute, he changes his
tone)
What would my being a faggot have
to do with that?
Lorna shrugs.
LORNA
Nothing, I guess... have you ever
made it with a guy?
GEORGE
Have you ever made it with a girl?
LORNA
I asked you first.
GEORGE
Yeah... I've made it with a girl...
Lorna smiles. A pause.
LORNA
Well, are you?
GEORGE
Am I what?
LORNA
Making it with my mother?
George wants to avoid this at all costs. He stares at Lorna
intently.
GEORGE
I'd like to do your hair sometime.
LORNA
Why?
GEORGE
... just, you could look very
heavy...
LORNA
Don't make conversation with me.
GEORGE
What?
LORNA
You don't have to make conversation
with me, I'm not my mother... do
you have a thing about older
women... that's sort of faggoty
isn't it?
George is weary and getting annoyed.
GEORGE
Yeah, it is.
LORNA
I never get my hair done.
GEORGE
No kidding.
LORNA
In fact, I don't think I've ever
been to a beauty parlor in my whole
life.
GEORGE
No shit.
LORNA
You think that's funny, don't you?
GEORGE
(laughing a little)
Yeah.
LORNA
You live a phony cheap cop-out
existence.
GEORGE
(determined to be light)
Yeah...
LORNA
Beverly Hills hairdresser... what
kind of a thing is that to do...
you might as well be a faggot...
think that's funny too?
GEORGE
No.
LORNA
Then what do you think?
GEORGE
That you're just like your mother.
LORNA
I am not like my mother!
GEORGE
You are.
LORNA
I am not!
GEORGE
You are.
Lorna is furious.
LORNA
I am not!
GEORGE
(he starts to placate her)
Look...
(then defiantly)
Do you wanna fuck me?
LORNA
(defiantly)
Yeah.
George stops eating. He's not prepared for this.
GEORGE
(uneasily)
Right now?
LORNA
(a little more tentative
now that the moment has
arrived)
Yeah.
EXT. SOURCE RESTAURANT - JOHNNY POPE AND JILL - DAY
A scraggly bearded WAITER with long stringy hair sets down
two huge green salads before Jill and Johnny Pope.
In so doing the Waiter drops a wooden menu he's been
carrying. As he bends down to pick it up, he kneels beside
Pope. Pope taps him on the shoulder.
POPE
(tapping him)
Oh, scraves...
WAITER
Yes?
The Waiter looks up, and moves.
POPE
Thank you.
WAITER
What for?
POPE
Taking your hair out of my salad.
WAITER
Oh, I'm sorry.
Pope nods, Jill giggles. The Waiter goes off. Pope tosses out
a few pieces of lettuce from the top of his salad.
JILL
Why don't you ask for another one?
POPE
Are you kidding? His hair's
probably the most nutritious thing
in here. See, you've reduced me to
eating weeds.
JILL
... my friend doesn't like it here
either.
POPE
All right, forget this filth.
Continue about your friend.
JILL
Well he's not exactly a friend.
POPE
Is he an enemy?
JILL
(laughing)
Of course not... he's sort of a
boyfriend.
POPE
-- sort of a boyfriend?
JILL
Sort of.
POPE
I see. You mean he just sort of
fucks you.
JILL
Johnny!
POPE
My God, did I say that? I don't
believe it.
He looks under his chair to see if it was somebody else.
POPE (CONT'D)
I'm terribly sorry.
JILL
(amused)
-- never mind.
POPE
What does he do? Is he an actor?
JILL
-- no.
POPE
Good for you.
JILL
He's a hairdresser.
Pope drops his fork in the salad bowl.
POPE
-- oh, sure. A hairdresser. How...
how do you a... meet a hairdresser?
JILL
Getting your hair done...
(looks at him, abruptly)
Would you like to go to a party?
POPE
Not with your hairdresser.
EXT. LESTER'S HOUSE - FELICIA - DAY
pulls into the driveway. She gets out of her car, spots
George's bike.
INT. THE KITCHEN
She sees the food spread out.
FELICIA
moving through the house. She stops by Lorna's room. Lorna
has a sliding door, which is closed. Felicia opens it.
FELICIA
Lorna?
LORNA'S BEDROOM
Lorna is sitting on her bed, in her tennis dress but with her
tennis shoes off. She's straightening a string in her racket.
She looks to her mother, expressionless.
FELICIA (CONT'D)
Have you seen George?
LORNA
He's in the bathroom.
FELICIA
Your bathroom?
LORNA
Yes.
The toilet flushes. The sink runs, and George emerges. He's
looking a little haggard.
GEORGE
Hi.
FELICIA
(coolly)
Hello, George.
They walk out to the lanai together and George picks up his
case. There is considerable tension from Felicia as they walk
into her bedroom. Felicia slides the bedroom door shut, an
action which George unhappily notices. She turns to George.
She looks very hostile. She's trembling.
FELICIA (CONT'D)
I've missed you.
George is taken aback. He gropes for a moment.
GEORGE
I've... missed you too.
Felicia comes to him. She comes to him and touches his arm.
George suddenly flings his case across the room and pounds
his fist into a high-backed chair, turning away from Felicia.
She clearly misunderstands the action.
FELICIA
(touched)
It's okay, honey... it's okay now.
She moves to the door and quietly locks it. George winces.
She comes back to him and kisses him gently. She kisses him
again with more passion. George tries to respond.
FELICIA (CONT'D)
Comb my hair out later, honey.
GEORGE
No, that's okay, I'll do It now.
FELICIA
No, baby... I'm glad you're coming
tonight.
She gently tugs at him, leading him toward the bed. George is
miserable.
GEORGE
(looking toward the door)
But aren't you...
FELICIA
Right now, I just don't care.
As they sink to the bed, Felicia switches on the HI-FI. The
Tijuana Brass begin to play.
GEORGE ON HIS BIKE - LATE AFTERNOON
COVERED BY a few bars of Bob Dylan's "Like a Rolling Stone".
Riding home. He turns down his street and pulls into his
driveway. He gets off his bike and only as he starts up his
walk does he see Jill. She's been quietly waiting on his
front porch, hidden in the shadows of the overhang. She
doesn't look happy. George stops cold.
GEORGE
(?)
Jill says nothing.
GEORGE (CONT'D)
Where's your car?
JILL
A friend dropped me off.
GEORGE
Who?
JILL
Never mind. Where've you been?
GEORGE
A business meeting, I told you
that.
They go inside. The living room is messy. George looks around
in disgust.
JILL
What business meeting?
GEORGE
Look at the way I live.
JILL
I've been trying to reach you all
afternoon. You weren't in the shop.
What is this thing tonight?
GEORGE
What do you mean, what is it? It's
some political bullshit.
JILL
I have to have Jackie ask me? Don't
you think you could call me and let
me know? Look at my hair.
GEORGE
Wait a minute, God-damn-it. Do you
think I want to go to some God
damned party? I'm trying to get
that God damned shop open. I'm
trying to get a little bread
together. That's all I'm doing.
George's outburst has shocked Jill. George maniacally begins
straightening the mess.
GEORGE (CONT'D)
I just wanna live like everybody
else, that's all. I want clothes in
the closet, and food in the
refrigerator, and I don't want shit
all over the house and running my
ass all over town... I want my own
house... I want an appointment
book... I want to get up in the
morning and go to bed at night... I
want a normal life like everybody
else, that's all.
He collapses into a chair. She comes over to him and knee
beside him.
JILL
I know, honey.
GEORGE
Maybe I should get a dog... no, it
would just shit all over the house
and I'd never clean it up.
JILL
(laughing a little,
touching him)
Oh, honey. If we had one place, we
could have a nicer place and I
could take care of it. We're almost
never here.
REAR VIEW MIRROR - NIGHT
A signal red Porsche cabriolet pulls up into mirror. The top
is down. Under the brightly lit streetlights Jill's blonde
hair and features are VISIBLE.
WITH GEORGE AND JACKIE
in her Mercedes. George still looking through the rear view
mirror. Jackie's a knockout.
JACKIE
(looking at George looking
in mirror)
-- you'll be the prettiest thing in
the room -- light's green...
GEORGE
(he takes off)
-- oh yeah... what do you know
about this guy?
JACKIE
-- what guy?
GEORGE
(gesturing toward rear
window)
-- this guy with Jill.
JACKIE
He's a director.
OUTSIDE OF BISTRO - GEORGE AND JOHNNY POPE - NIGHT
pull up, Pope right behind George. Parking ATTENDANTS leap
for the doors.
A few photographers of the movie freak variety ask each other
who these arrivals are. One assures several others that
they're nobody.
GEORGE
(to Attendant)
Do I need a ticket for this?
ATTENDANT
We'll remember you.
POPE
as they move to take his Porsche.
POPE (CONT'D)
(shaking his head)
I'll park it.
Pope drives his own car onto the lot.
WITH JILL, GEORGE AND JACKIE
waiting for Pope who is now ambling toward them.
GEORGE
(to Jill)
What does he direct besides
traffic?
JILL
Ha, ha.
GEORGE
Television or movies?
JILL
Commercials.
JACKIE
(quietly, to George)
Feel better? Let's go.
Pope has joined them.
INT. BISTRO FOYER
They clear it to see the long elegant bar, bathed in soft
light, filled with elegant customers.
George looks and sees someone. A fortyish WOMAN, attractive.
GEORGE
(to Jackie)
Jesus Christ, there's Norma Stern.
Look at her hair.
JACKIE
What about it?
GEORGE
Looks like somebody took a dump in
it, that's the worst color job I've
--
Norma comes over, hugs George.
NORMA
George --
GEORGE
(pointing to her hair)
Baby, you've been chippying on me --
NORMA
Yes, isn't it awful --
GEORGE
(smiling)
-- yes.
Jackie tugs him by the arm.
JACKIE
We're upstairs, George. Now come
on. Behave yourself, and for
Christ's sake, do me a favor. Don't
let me drink too much.
GEORGE
(going upstairs)
You don't do that anymore, do you?
BISTRO STAIRS
Jackie doesn't answer. They've reached the top of the stairs.
They're hit by the full force of the upstairs gathering --
black tie, posters of Nixon, Agnew, Reagan, and Murphy,
vaguely familiar faces crossing back and forth, clustering,
watching early returns on television sets that are blaring
from various points around the room. An ORCHESTRA PLAYS Meyer
Davis Society Jazz. Jackie and George hesitate. Pope and Jill
are behind them. Pope jostles George as he stops, abruptly.
George looks around. Pope smiles. He's holding Jill's hand.
George notices. Jill disengages her hand casually, as though
it were necessary only for the walk up the stairs. Jackie
nudges George, forcing him to move into the room with her as
Lester comes toward them. He's stopped on his way over.
WAITER
Can I get you folks something?
JILL
A stinger, please.
POPE
A tomato juice.
GEORGE
I'll take a -- some white wine.
WAITER
And you, madam?
JACKIE
(searching the room)
Oh I'll uhh -- just a coke.
The Waiter moves on and they wait for their drinks.
Lester finally makes to them.
LESTER
George, glad you could make it,
son. Hi, doll.
JACKIE
Lester, this is my friend Jill and
this is Johnny Pope.
LESTER
Glad to meet you, Jill, Mr. Pope.
INT. BISTRO UPSTAIRS
George turns to get his drink from the Waiter as do Jill and
Pope. Lester takes Jackie's arm.
LESTER
Who are they?
JACKIE
(quickly)
Jill Haynes, Jill Haynes, I've told
you about Jill a hundred times,
Lester, you never remember anything
I say.
LESTER
Does she know about us?
JACKIE
Jesus, she's my best friend.
LESTER
Who's the guy, George's boyfriend?
JACKIE
I don't know. Why don't you ask
him?
LESTER
C'mon, Jackie, I'm only trying --
George --
He draws George aside.
LESTER (CONT'D)
-- do me a favor, kind of keep your
eye on Jackie, she's a little high
strung tonight --
GEORGE
-- yeah?
LESTER
See she doesn't drink too much.
Jackie has heard this last. Lester turns to her.
LESTER (CONT'D)
See you later, doll.
Jackie puts down her coke, picks up a glass of white wine
from a passing tray and downs it in one gulp, putting it on
another tray and picking up another glass of white wine.
FELICIA
with cleavage carefully prominent in a strapless gown, spots
George. She excuses herself from the couple she has been
talking with and goes straight to the powder room.
INT. POWDER ROOM - FELICIA
checks herself out in the mirror, glossing her lips with a
pale tint of something or other. She gives a final anxious
look, then hurries out, nearly bumping into a lady coming In.
OUTSIDE
she moves through the crowd up behind George, turning him
around.
FELICIA
George, darling.
She kisses him full on the lips, lingering on it.
GEORGE
(without batting an eye)
Hey, baby, what's happening. Oh
this is Jackie. Jackie, say hello
to Felicia.
It is only now that Felicia sees one of George's arms has
been holding onto Jackie.
JACKIE
(also without batting an
eye)
Hello, Felicia.
FELICIA
(instantly suspicious of
George)
... hello.
Felicia looks from George to Jackie and back again.
FELICIA (CONT'D)
I'm so glad you could make it. I've
been looking forward to seeing you.
LESTER
pours his drink on the cuff of a distinguished MAN sitting
beneath him at a table as he sees George and Felicia and
Jackie clustered together.
WITH LESTER AND MAN
MAN
Lester, what the fuck do you think
you're doing?
LESTER
Jesus, Nate, I'm sorry.
Lester fumbles, tries to clean Nate off with a napkin.
NATE
Never mind, I'll do it myself.
He dips the napkin into a glass of ice water and proceeds to
clean off his cuff.
Nate goes back to the TV monitor where Agnew is making some
remarks or commentators are repeating his comment about being
a household word.
LESTER
So far so good.
NATE
Aw there's nothing to worry about.
LESTER
You never know.
FELICIA WITH GEORGE
FELICIA
Why didn't you come alone? Lester
invited you. Did you have to bring
her?
GEORGE
(looking toward Lester)
Well she...
FELICIA
She what?
GEORGE
She's a friend of Jill's.
FELICIA
And who's Jill?
She spots Jill.
GEORGE
Well, she's a friend of Johnny
Pope's -- you know, the director.
She looks at Pope who is saying something to Jill which is
making her laugh.
FELICIA
Oh.
GEORGE
is threading his way through a crowd, holding two drinks, one
of them a coca-cola. It's a little more raucous now, with
election returns from the television sets creating a more
festive mood. Now and then someone jumps up from a set and
hugs someone so carrying drinks is a little dodgy.
JACKIE, F.G. - LESTER, B.G., TALKING
Jackie sits alone by the bar, an unlit cigarette in her
mouth. A man offers her a match. She stares at the burning
match as if it's obscene. She blows it out.
JACKIE
No thanks.
The man looks a little shocked, moves on.
GEORGE
has his arm held. It's KENNETH, a red-haired decorator.
KENNETH
Excuse me, I know I know you, but I
can't think where.
GEORGE
Look, I'd like to help but --
Felicia grabs George's other arm pulling him away from
Kenneth. Kenneth looks a little shocked at the ferocity of
Felicia's move.
FELICIA
There you are.
She tugs him with her.
GEORGE
Wait a minute --
She takes him right into the ladies room, George still
juggling the drinks.
JOHNNY POPE
watches Felicia and George disappear into the ladies room,
looking over Jill's shoulder. Jill has not seen it.
POPE
This other couple that we're here
with, do you know them very well?
JILL
Well... sure...
POPE
Then maybe you can tell me why
George would be going into the
ladies room.
Jill looks around and stares at the door.
JILL
George? Was he alone?
POPE
I don't think so.
JILL
Well did he go in there with
Jackie?
Pope points over to Jackie sitting at the bar drinking now.
JILL (CONT'D)
That bastard.
POPE
George is a hairdresser, isn't he?
Jill doesn't answer.
INT. BATHROOM - FELICIA AND GEORGE
GEORGE
(desperate)
Baby, you gotta let me out of here.
Felicia kisses him.
FELICIA
Sweetheart, it's a bore out
there... let's lock the door.
GEORGE
Holy Christ. You want to get us
killed?
FELICIA
Don't be silly. I'll just tell
Lester we were smoking a couple of
joints. See?
She pulls two joints out of her beaded bag.
LESTER
only a few seats from Jackie, Jackie staring daggers at him,
Lester aware of it. He's talking to a pair of lacquered
eminence grises.
LESTER
-- fellas, fellas, just listen, you
both have tidelands, you both want
Uncle Sam to come through with
offshore drilling permits -- so do
it together --
JACKIE
has taken an olive from an olive tray and hit Lester on the
back of the head. He's finished this little dissertation. He
sees the source of the missile. He grows pale, frozen.
Sixty-four year old bejeweled WOMAN in b.g.
WOMAN
So, little red riding hood says 'my
what big teeth you have and the
wolf says all the better to eat you
with, my dear, and she says -- eat,
eat, eat, doesn't anybody ever fuck
any more?'
Jackie has now picked up a carrot from a relish tray. George
appears.
GEORGE
Don't do it.
JACKIE
That son of a bitch, everything he
says is a phony piece of shit, what
does he think, I'm some cigar butt
he's got between his teeth --
GEORGE
(almost picking her up)
C'mon, cunt, you're going for a
walk.
He takes her into the next room and Lester watches the move
with a mixture of relief and concern.
INT. OTHER BAR
Jackie is now near tears.
JACKIE
He just completely ignores me. He
could have at least said something,
introduced me or something.
INT. SMALL BAR
GEORGE
Sweetheart, you're drunk.
She leans on George.
JACKIE
Oh God, what do I want, George?
Lester comes hurrying in, sweating, now.
LESTER
Hi, doll, what's wrong?
JACKIE
You know what's wrong.
Felicia trips coming into the small bar.
FELICIA
Lester --
Lester straightens up like he's been shot.
LESTER
Oh, Felicia, there you are, you
know George and uh -- uh --
He's genuinely forgotten her name.
JACKIE
Jackie Shawn.
LESTER
Yes, Jackie Shawn, my wi --
Felicia.
FELICIA
We've met.
JACKIE
Yes.
GEORGE
Well anyway...
LESTER
(to Felicia)
Your hair looks -- well fabulous.
FELICIA
That's George.
INT. SMALL BAR
LESTER
It's just -- fabulous.
(to George, an attempt at
levity)
Think you could do anything for me?
GEORGE
(he takes it seriously)
Well -- I could try. Do you wash
your hair every day?
LESTER
Isn't that bad for it?
GEORGE
No it keeps the skin peeling.
You've got to keep the follicles
open. You lose hair and the skin
grows over the follicle and that's
how you lose it.
George actually touches Lester's hair, professional interest
growing.
GEORGE (CONT'D)
This really ought to be layered...
LESTER
Layered?
GEORGE
Well yeah, otherwise it just sort,
you know, lies there -- layer so it
kind of fluffs out --
He starts to fluff Lester's hair a little when Johnny Pope
walks in with Jill to this. Pope stares at them.
POPE
I think they're waiting for
somebody to start dinner.
LESTER
Have they sat down?
POPE
Everybody but us.
FELICIA
They're waiting for you, Lester.
INT. BISTRO DINNER TABLE
Dinner is pretty much finished, waiters have begun picking up
plates.
IZZY SOKOLOFF
(to Jill)
I guess it's almost impossible to
get work in the business these
days.
Pope watches Sokoloff make his move.
JILL
Well, commercials. I read for a
soap the other day.
IZZY
A soap?
JILL
A daytime soap opera.
IZZY
And?
JILL
I was too old.
IZZY
What was it, somebody's daughter?
JILL
Somebody's mother.
JACKIE'S PLATE
is untouched. She holds up her wine glass.
JACKIE
Waiter!
George looks at her.
JACKIE (CONT'D)
One word out of you and I'll gargle
with it.
The waiter pours the wine. George looks to Jill, shrugs. Jill
mouthes, 'try and stop her.' George mouthes back, 'are you
kidding?'
INT. BISTRO
SID ROTH has been eyeing Jackie.
SID ROTH
Aren't you hungry, Miss Shawn?
Jackie looks at Roth. Roth shoots his cuffs and smiles.
JACKIE
Not for rubber chicken, no.
Sid Roth smiles. Jackie smiles back.
SID ROTH
(intime)
Well maybe I can get you something.
JACKIE
That's very sweet of you, Mr. Roth.
SID ROTH
Sid.
JACKIE
Sid. You must be a very important
executive.
SID ROTH
(almost a whisper)
Well, whatever I am, I think I can
get you whatever you'd like.
JACKIE
You do?
SID ROTH
Yes.
JACKIE
(same tone as Sid's)
-- well, more than anything else --
(indicating George)
-- I'd like to suck his cock.
She points to George. George chokes on the last of a piece of
chicken. Sid Roth is stunned. He doesn't know what to do.
George is coughing badly. Jackie slaps his back.
HEAD TABLE - FELICIA AND LESTER
Felicia is listening to Lester. The Agnew and Nixon posters
are directly behind them.
LESTER
(to East)
-- Senator, you should've seen
those little kids! About forty of
'em, all blind. We put out these
mattresses on the front lawn and
they came running out of the house,
tripping and falling all over the
place, having a hell of a good
time. I mean they were blind of
course. But it really gave you a
feeling of accomplishment. I tell
you I never had such a good time.
Felicia during the above has looked up to see Jackie fawning
over George. She can't believe her eyes.
FELICIA
Lester --
SENATOR
-- let me understand this was
exclusively a home for blind
children --
FELICIA
Lester --
LESTER
-- yes, Senator -- just a minute,
dear --
FELICIA
Lester, don't you think that uhh --
Now Lester spots it. He's very confused.
FELICIA (CONT'D)
That girl's making an awful
spectacle of herself.
LESTER
(angry himself)
What do you expect me to do about
it?
FELICIA
I just thought you'd like to know --
LESTER
Why would I like to know if there's
nothing I can do about it,
goddammit --
OTHER VOICE
Quiet! Cranston's on.
They quiet down.
JACKIE AND GEORGE
Jackie's now moving around kissing George on the mouth.
Jill is watching. Johnny Pope is fascinated.
JILL
-- Jackie really shouldn't drink --
POPE
-- oh I don't know --
JACKIE
(arm around George's
shoulders tonguing his
ear)
-- Just get me out of here, baby. I
can't stand it. It's killing me.
GEORGE
(indicating head table)
-- we can't now.
JACKIE
-- why not? C'mon, take me out of
here, somewhere I don't have to lie
to anybody and I'll fuck your
brains out, you little fiend, I
adore you --
FELICIA
is watching Jackie and George with ever greater intensity,
her mouth growing more and more agape.
JACKIE AND GEORGE
JACKIE (CONT'D)
(plaintive)
-- don't you want to --
GEORGE
Jackie, can we --
JACKIE
(a little louder)
Who's the greatest cocksucker in
the world? C'mon --
George looks around sweating now.
GEORGE
(very quietly)
-- you are.
JACKIE
Fuckin' A --
With that she slips right under the table. It's a
surprisingly fluid move.
FELICIA
almost simultaneously rises, knocking her chair back.
LESTER
sees both moves and interrupts the Senator.
LESTER (CONT'D)
Senator, excuse me a moment --
He turns to Felicia and then looks over toward Jackie's empty
chair and literally doesn't know which way to go first. He's
a little like the bear in the penny arcade that is shot and
keeps turning one way, then another. Finally he heads toward
Jackie's vacant chair and George.
GEORGE
his chin to the tablecloth is fishing under it for Jackie.
GEORGE (CONT'D)
Now, Jackie --
JILL
(trying for aplomb)
-- she's a very compulsive girl.
POPE
I can see that.
Lester rushes up.
LESTER
(a desperate smile)
Hello, George. Your friend feeling
a little under the weather?
Jackie surfaces through the tablecloth.
JACKIE
(to Lester)
-- you phony asshole --
LESTER
(as if he didn't hear it)
Oh, dear that's too bad.
(with quiet desperation,
to George)
-- get her out of here, get her out
of here.
A cheer goes up as some late returns come in. Dirksen is
talking about a new mandate for law and order and peace with
honor.
LESTER (CONT'D)
(to Sid)
What was that?
SID ROTH
Illinois.
LESTER
(doesn't know what he's
saying)
-- oh, good.
INT. BISTRO
Lester glances back toward Felicia who is watching him.
GEORGE
Jackie, c'mon --
George moves to Jill.
GEORGE (CONT'D)
I've got to get her out of here.
JILL
-- go ahead.
GEORGE
-- well aren't you --
JILL
-- what?
(indicating Pope)
-- I'll see you later...
GEORGE
(not liking it too much)
-- okay --
(pointed)
-- I'll see you later. Your house.
He moves away with Jackie. Lester turns back toward the main
table.
INT. 230SL - JACKIE AND GEORGE - NIGHT
driving down Sunset Boulevard. There is a long moment of
silence. The RADIO'S PLAYING the Eve of Destruction. George
gives Jackie a couple of sidelong glances.
JACKIE
(finally)
-- gee...
GEORGE
-- what?
JACKIE
(she sits up, lights a
cigarette)
I don't know what gets into me.
GEORGE
You were great.
JACKIE
No, I blew it, I blew it with
Lester.
GEORGE
No you didn't.
JACKIE
You don't think so? I do.
GEORGE
You were great.
JACKIE
You always say that... I really
care for Lester, don't I?
George laughs.
GEORGE
That sounds like me.
JACKIE
I am you, you little bastard.
She starts to scrunch over and kiss him, then stops.
JACKIE(CONT'D)
Where do you want to go?
GEORGE
Sammy's?
JACKIE
He still having parties?
GEORGE
He never stopped.
INT. BISTRO - FELICIA IS SITTING WITH LESTER
fuming. A woman, ROSALIND, is painstakingly and painfully
introducing the Senator.
ROSALIND
... and so... to have this man...
here... among us... who has
helped... as has everyone here to
bring so many people together... of
all races, creeds, and colors...
FELICIA AND LESTER
Rosalind droning on, b.g. She finally introduces Senator
East.
INT. BISTRO - FELICIA AND LESTER
FELICIA
Lester.
LESTER
Yes, sweetheart, shh.
He pats her hand. She gives him a look that could kill.
FELICIA
-- I hope you like Miss Shawn --
LESTER
-- what, who? Oh she's very nice,
yes -- I mean normally ---
FELICIA
-- cause she's going to be very,
very expensive.
LESTER
Can't we go into this later,
sweetheart?
ROSALIND'S VOICE
Ladies and gentlemen, to Senator
Joe East.
Glasses are raised, a little dissonant hurrah.
FELICIA
We cannot go into this later.
LESTER
That's okay too.
FELICIA
You make me sick. Just be straight
for once in your life.
There are now O.S. calls for East to do his Indian chant.
QUICK CUT TO:
EAST
SENATOR
-- this tells of the ancient
grandmother who, upon seeing the
garden gate of her childhood, stops
a moment and says, hello garden
gate, hello garden gate, garden
gate, hello.
INT. BISTRO - LESTER AND FELICIA
LESTER
(finally exasperated)
-- look, Felicia, this party
involves more than you and me, you
know. These people are concerned
about more than each other, you
know.
FELICIA
-- is that right?
LESTER
-- yes, we're all trying to do
something to make this a better
country to live in, believe it or
not.
THE SENATOR
has begun his weird chant, beating out accompaniment on a
cigar box and a pewter vase.
FELICIA
(glancing up)
-- is that what this is all about?
LESTER
Yes and you don't have to be
sarcastic about it, that's a
beautiful thing he's doing -- some
people do more than go to the
beauty parlor and shop at Saks --
FELICIA
Lester, you're a miserable man.
You're not helping anybody. You're
just twisting arms to raise money
for a lot of silly son of a bitches
that are out for themselves -- this
is just business, don't kid
yourself. And you know the worst
thing about it, even if it does
somebody some good somewhere which
I can't possibly imagine, you'll
never know the difference. You're
just sweating and kidding yourself
- and you're kidding yourself if
you think your new business partner
is going to keep his hands off that
girl -- or that she'll keep her
hands off him.
LESTER
(he turns like a shot)
What are you talking about?
INT. BISTRO - LESTER AND FELICIA
FELICIA
(she laughs)
-- think what you have time to
think, Lester.
Lester grabs her.
LESTER
What are you talking about,
Felicia?
Suddenly there's a rumble in the room and East has stopped
chanting. Several men have stepped to the center of the room.
One of them in a slate suit raising both hands.
DET. YOUNGER
Excuse me, Senator. Ladies and
gentlemen, we're going to have to
evacuate this room as quietly and
quickly as possible. There's
nothing to worry about. We'd like
you to exit through the door here
on my left... down the steps into
the street, please!
There are whisperings and rumblings of 'a bomb' and
rejoinders to the effect that it's a hoax. Nevertheless the
exodus begins and grows to bedlam. Waiters who had been
fawning over jeweled ladies are now unceremoniously pushing
them down the stairs, even going over them to make the
entrance.
OUTSIDE
the emergency doesn't keep autograph hounds from inhibiting
the exit as they try to hold up celebrities in the crowd that
flows onto the street. Jill and Johnny Pope are caught up in
the swirl of the crowd. Pope temporarily loses Jill. He looks
around. Jill taps him on the shoulder.
JILL
-- here I am. Now what?
Pope turns.
POPE
Well -- as I see it we've got two
choices. We can hang around here
and wait for the bomb to go off, or
we can go to my party.
JILL
Let's do that.
Lester is with some security people, trying to find out what
they're doing.
B.G. are several police cars, a fire truck, and the fire
truck ambulance. Lights are flashing.
LESTER
-- have they located it?
Somebody shrugs. A CAR HONKS. Lester is pulled to the side.
LESTER (CONT'D)
(looking toward driver)
-- oh, sorry.
Then he sees it's Felicia. She gives him the finger, and lays
rubber nearly sideswiping him.
ONE OF THE SECURITY MEN
What was that all about?
Somebody else says 'who was that?' Lester shrugs.
INT. SAMMY'S HOUSE - GEORGE AND JACKIE
are dancing to a tape of 'Good Vibrations.' George's coat is
off, his tie loose. They are near the entryway and sitting on
a large staircase b.g. a young girl can be SEEN breast
feeding her baby.
George and Jackie are obviously enjoying themselves. The tape
ends. George's silk shirt is clinging down the center of his
back.
He moves with Jackie, where she picks up a coke at the bar.
A black in a caftan with a huge Afro offers Jackie a joint.
She takes a drags, she and George move outside the living
room. As they walk she hands the joint to George who hands
the joint to a couple of girls lying on a low couch by the
door -- all without really losing stride.
OUTSIDE SAMMY'S - NIGHT
There's a long rolling lawn. The lights are soft coming from
the living room, the MUSIC more muted. Jackie, nevertheless,
is breathing rather heavily from the dancing. George is
looking at her intently, too intently for her not to notice.
She appears not to notice.
GEORGE
What are you looking at?
JACKIE
The lawn -- it looks like it goes
on forever, doesn't it?
She turns back to George.
GEORGE
-- yeah.
JACKIE
-- look, you don't have to
entertain me...
GEORGE
(a slight laugh)
Am I entertaining you?
JACKIE
We're friends.
GEORGE
-- sure.
JACKIE
-- well, if you feel like playing,
go play...
Jackie looks past George into the living room.
JACKIE (CONT'D)
-- there's a lot of players in
there --
The TWINS come up behind George, and Jackie, grabbing George.
The move should be a little startling almost as if it were an
attack.
TWIN ONE
George!
TWIN TWO
George!
They grab George and spin him around, temporarily pushing
Jackie OUT OF SHOT.
GEORGE
(pleasantly)
Hey, what's happening.
TWIN ONE
We're going to the jacuzzi.
TWIN TWO
Right now.
TWIN ONE
(tugging)
C'mon with us --
GEORGE
In the jacuzzi?
TWIN TWO
Sure, why not?
TWIN ONE
Come on, George --
GEORGE
No, later, maybe -- go ahead, I'll
catch up with you --
(they head off)
I've got --
He turns back to Jackie to finish what he was going to say,
and she's not there. Only a wisp of her cigarette smoke hangs
in the air, and then it disappears.
George looks surprised and disappointed.
INT. KITCHEN
Several tall stringy types are eating out of the
refrigerator, with a couple of dogs eagerly watching, others
are eating hash cakes off the formica counter.
RED DOG sits in a corner, sipping wine out of a measuring
cup. He smiles and looks up to Jackie, who has her arm on his
shoulder. Strobe lights from an adjacent room can be SEEN
PERIODICALLY.
RED DOG
Where the fuck you been, Jackie?
London?
JACKIE
-- no.
RED DOG
Real good to see you, man.
INT. KITCHEN - JACKIE AND RED DOG
JACKIE
So what's been going on, Red Dog?
RED DOG
Hey, it's the same old shit, ain't
it? No matter where you go, it's
the same old shit. Nothing ever
changes, nothing, man, nothing.
(with sudden intensity)
Hey -- you ever been to Cuuliacaan?
George, a little hastily moves through the kitchen, spotting
Jackie. He's nearly upended by a couple, tall man and woman
at the refrigerator. They grab him and kiss him, and he
shakes through them moving to Jackie.
GEORGE
-- where'd you go?
JACKIE
-- oh I thought you were --
GEORGE
-- what?
JACKIE
Nothing.
RED DOG
Hey, man, what's happening?
GEORGE
Nothing.
RED DOG
That's right, man!
And he laughs. George silently takes Jackie's hand and they
move through the kitchen and out of doors toward the grounds
in the rear of the house.
EXT. BISTRO PARKING LOT - JOHNNY POPE
The crowd has thinned out to a trickle, but Pope's red
Porsche is hemmed in by the fire trucks and a couple of other
cars.
Pope is vainly trying to talk to firemen and policemen to
move their trucks and they keep referring him to someone
else.
JILL AND LESTER
Lester stands, swaying a little unsteadily in the lot. The
Deputy secret service man seen twice earlier, comes on up to
Lester.
DEPUTY
-- we can't find a thing, Mr.
Karpf.
LESTER
(turns to him)
Can't find what?
DEPUTY
No bomb.
LESTER
-- oh -- well that's good, isn't
it?
DEPUTY
(he's serious)
It's good if there's no bomb. If
there is a bomb and we can't find
it, that's not good.
EXT. BISTRO PARKING LOT
Lester thinks this over.
LESTER
No of course not.
POPE
(coming up to Jill)
-- we're going to be here all
night.
JILL
-- why?
POPE
-- these bastards have me hemmed
in.
LESTER
(to Jill)
-- what's the problem, honey?
JILL
-- his car. They have it blocked.
LESTER
Oh that's no problem.
(to Deputy)
-- take care of this boy's problem,
will you, Gene?
DEPUTY
-- sure.
Pope and Deputy go off together.
LESTER
-- listen, I wonder if you kids
could give me a ride? I'm kind of
stranded here.
JILL
Sure thing, Mr. Karpf. C'mon.
They walk toward Pope's car. The trucks are being driven off.
LESTER
Everything okay, son?
POPE
Terrific. Now all I have to do is
find my car keys.
He heads back into the Bistro. Lester and Jill stand outside
the Porsche.
JILL
-- I'll get in the back --
LESTER
-- oh no, honey, I'll do that...
JILL
-- there's not much room --
LESTER
That's fine --
Lester opens the car door and pulls back the seat. He has a
hell of a time squirming into the back, but tries to be
lighthearted about it. Jill gets into the front.
INT. PORSCHE
The door on the driver's side is still open and Lester's feet
are poked out it. His head is pushing on the canvas top.
LESTER
See, nothin' to it.
Jill turns and smiles, but it's a mistake since Lester's
upper body is almost leaning on her as it is. Lester puts his
hand behind Jill's head, forcing her to hold the position,
almost nose to nose with Lester.
LESTER (CONT'D)
What did you say your name was,
sweetheart?
JILL
Jill.
LESTER
(not moving his head)
Jill.
Jill can't really move her head back and Lester is obviously
captivated by Jill's face.
JILL
(trying to be casual)
-- yes, Jill.
LESTER
(still holding her)
Gee... that's wonderful, Jill.
JILL
(very uncomfortable)
Thank you.
LESTER
(fondling her head, moving
her closer)
-- just wonderful.
POPE
is heading back to his car. He stops when he sees Lester's
feet hanging out the door.
POPE (CONT'D)
(another irritant)
Oh, no shit.
Pope gets into the car.
POPE (CONT'D)
Hi, what are we doing?
Lester falls back and hits the isinglass rear window. Pope
notices.
JILL
Oh, Johnny, Mr. Karpf needed a ride
home and I said we'd take him. Do
you mind?
POPE
(furious)
Of course not.
LESTER
Call me Les.
POPE
Where to, Les?
LESTER
Oh, say, how would you kids like to
stop off for a drink?
Jill and Johnny Pope exchange glances. Jill shrugs to say,
gee I'm sorry. Pope nods.
POPE
Well we'd love to, but we're going
to another party.
LESTER
Well... that's wonderful -- I'll
stop by there for a drink.
Pope is furious. He starts the car, backs it up quickly,
jostling Lester around as he goes. Lester chuckles.
EXT. FREEFORM SWIMMING POOL - JACKIE AND GEORGE - NIGHT
lie side by side on deck chairs at the end of the pool. The
house and upper grounds are obscured by neat rows of hedges
and all sorts of random shrubbery. Jackie and George watch
the Twins splash and flounce around in the jacuzzi with a
couple of androgenous men. The Twins stand up in the jacuzzi,
arm in arm and half move, half throw themselves to another
end of the jacuzzi.
Jackie smiles. She stretches, yawns.
JACKIE
(lazily)
-- very nice, very nice.
GEORGE
(yes)
-- mmm --
A pause. She glances at George scarcely moving her head.
JACKIE
-- but you never were much of a tit
man --
GEORGE
Mmmm --
JACKIE
-- ass and legs --
GEORGE
Look who's talking.
JACKIE
Me?
GEORGE
-- yes, you --
JACKIE
Well of course. Who loves a big
fanny on a man?
GEORGE
Not me, pal.
Jackie laughs. The Twins have gotten onto some sort of
splashing contest with the boys. Water hits George and
Jackie. They're hit again. They shrug, George rises, takes
Jackie's hand. They walk on around the pool, beside and along
a maze of hedgerows.
EXT. SAMMY'S - THROUGH PORSCHE WINDOW
as the slow moving car catches the rolling lawn seen earlier
and the neat hedgerows which wind around the property.
LESTER
Whose place is this?
INT. SAMMY'S FOYER
by the open staircase. Pope is greeting Sammy. Introducing
Jill. Sammy's a tall, Jesus figure with an Indian shirt that
goes to the knees on his levi's.
SAMMY
Sure I know Jill.
Lester is staring in some wonder at the girl who is still
sitting on the staircase, nursing her baby. She looks up,
smiles at Lester, who manages a nod back, doesn't take his
eyes off the sight.
POPE
(noticing)
-- the bar's in there, Les.
LES
(embarrassed)
-- oh, fine.
He strolls off toward the bar which is half visible through
the open foyer.
AT THE BAR
where Jill and George were earlier. Lester's ordered a drink.
The huge black in the Afro offers him a toke. Lester stares
at it dumbly.
LESTER
(a little lamely,
indicating drink)
... I'm...
He takes his drink and half toasts the black. He stops and
his eyes PAN the room. Lester is virtually the only person on
his feet. Everyone else is either on the floor or on deep
sofas, side by side, head to feet, barely talking, barely
moving. In fact the most mobile thing in the room in smoke
from the joints.
INT. LIVING ROOM - LESTER
Lester shakes his head as if to clear it. He takes a drink
and almost on cue the ACID ROCK MUSIC HITS and the strobe
lights go on.
Lester is momentarily alarmed, as if it had something to do
with his drink. He manages to stagger out of the strobe light
effect, hangs onto a railing in the next room.
INT. KITCHEN - JILL, RED DOG AND POPE
Jill stands over Red Dog who hasn't moved an inch, his
measuring cup of wine still half filled.
JILL
-- so what's new, Red Dog?
RED DOG
Nothing, man. Same old shit. It's
the same old shit wherever you go,
nothing ever changes.
Pope looks up, sees Lester just outside the kitchen door.
POPE
Jill, scraves is a --
He points toward the kitchen door where Lester looks like
he's about to enter.
Pope takes Jill and they move out the back door in the
direction of the rear grounds that Jackie and George had
taken earlier.
LESTER
peers into the kitchen. It's filled mostly with unkempt
beards. He decides against it, turns up a small staircase and
continues up it until he finds himself in a den.
Several people are seated on the floor, quietly smoking and
watching television. They seem a shade better dressed than
those in the kitchen.
Lester squints at the set which is a little blurry and
partially blocked, by someone sitting directly in front of
it. He kneels by a fortyish man in a bush jacket smoking a
pipe.
LESTER
(whispering)
-- how's it going?
INT. DEN
MAN WITH PIPE
(quietly)
-- just fine.
LESTER
(squinting to see)
-- is that Illinois?
MAN WITH PIPE
(taking a good look at
Lester, then)
No, that's Sally.
Lester looks at the screen. Sally, handled by bare arms, is
being placed on a foam rubber cushion. She laughs.
LESTER
(dumbly)
-- Sally?
MAN WITH PIPE
(pointing with his pipe
stem to a girl by
Lester's ear, also
watching the set)
-- Sally.
Lester looks at Sally. She looks at Lester, nods. Turns back
to screen to watch herself. Lester turns from Sally to see a
television camera and the foam rubber mattress, now
abandoned. Lester shakes his head.
OUTSIDE ON GROUNDS WITH JILL AND JOHNNY POPE
They're walking through shrubbery and hedges that lead them
to a pair of empty deck chairs by the jacuzzi end of the
pool. One of the Twins is still in the jacuzzi.
JILL
-- so when are you going to Egypt?
POPE
You mean when are you going to
Egypt?
Jill laughs. She turns and shakes her finger at Pope.
JILL
Now I didn't mean that, you rat.
POPE
Two weeks from tomorrow.
JILL
You're going?
POPE
You're going.
Jill stops cold. She turns to Pope.
JILL
You're kidding.
POPE
Those Arabs won't be when they
start chasing you around the sand
dunes.
JILL
(laughing)
Johnny!
(she hugs him)
Why didn't you tell me before?
POPE
-- just before I ask you out? I
can't do that. Let's get out of
here before good old Les catches up
with us again.
There's a flash of light from the poolhouse window. Jill
turns toward it, then back to Pope, still making up her mind.
ANGLE SHIFTS SLIGHTLY to HOLD on light from window.
INT. POOLHOUSE - GEORGE AND JACKIE
George has pulled a pair of cokes out of the fridge. He's
looking at Jackie, closes the refrigerator lamely. It opens
again and he closes it again.
JACKIE
What's wrong?
GEORGE
-- do you want ice?
Interior poolhouse lit now by lights from outside.
JACKIE
-- no.
George pops the tops of the cans, hands one to Jackie.
Neither one of them drink. They're staring steadily at each
other, their eyes shining from reflections from the tennis
court lights which someone has turned on.
GEORGE
(finally)
-- we're kidding ourselves.
JACKIE
(staring right back)
-- we are?
GEORGE
-- last night I dreamt I was fifty
years old and Mary told me I was
supposed to meet Jill at the shop.
It seared me shitless.
JACKIE
Why?
GEORGE
I can't imagine being with Jill
when she's fifty years old. I can't
imagine not being with you.
George moves to her. Jackie is waiting for him. They kiss. It
is long and lingering and deliberate. George breaks away and
goes to the poolhouse door. There's no lock, only an eye
latch on the screen door. He latches it, tests it. It gives
slightly. Nevertheless he shuts the door and heads back to
Jackie who stands waiting.
JACKIE
-- but what about her? I don't want
to hurt Jill.
George takes the coke out of her hand. She lets him.
LESTER
walks back in the foyer, holding a drink, swaying. The strobe
lights are going again in the living room.
Suddenly he sees a girl, at least half nude, her huge painted
lavender tits flashing at him through the strobe lights. The
vision disturbs him greatly.
He carefully steps down into the room in an effort to get
near her. She seems to move. He moves after her through the
lights down the length of the room, going as quickly as
prudence allows. Finally when they reach the end of the
living room she's disappeared. Then he looks out and sees her
poised at the top of the steps a few yards away by the hedged
path that leads down to the pool.
He lunges toward the vision, and bounces off a sliding glass
door.
JILL AND JOHNNY POPE
have made it through the entrance and Pope's Porsche is in
sight. Jill suddenly stops and looks at Pope.
POPE
What's wrong?
JILL
We can't really leave that poor man
here alone.
POPE
-- he'll never know the difference.
Jill is clearly thinking about something else besides Lester.
JILL
-- still -- at least we should tell
him we're going. C'mon.
POPE
(going along with it,
protesting)
I'm telling you he won't know the
difference.
BY THE POOL - LESTER
now with a sizable bump on his head he moves with the care
that only tightrope walkers and drunks can move: every step
is a possible disaster.
TWIN
(from Jacuzzi)
Hey.
Lester looks down, sees one of the Twins. Her arm is
outstretched, her breasts dripping water VISIBLE through the
shrubbery spotlights. She's holding a joint.
TWIN (CONT'D)
-- it's getting soggy.
Lester takes it.
THE GUY WITH HER
-- just put it on the bench over
there and come on in.
LESTER
-- in there?
THE GUY
Sure.
Lester takes the joint and with fierce concentration makes it
over to the bench. He puts the joint down.
Stares at it. He looks up and there's the other Twin standing
beside him, nude, with her breasts visible through the towel
loosely flung over her shoulders.
TWIN
(meaning joint)
Could I have that?
Lester silently hands it to her. Stares at the pool and the
other Twin isn't there. He looks back and the one who had
taken the joint is gone. He looks back to the pool and the
other Twin surfaces with the force of Flipper, beside the Guy
in the pool.
Lester stares, then he sighs and pulls off his pants, almost
falling down as he does.
Carrying them, he walks over to the edge of the jacuzzi.
LESTER
Say --
THE GUY
-- what is it now, man?
LESTER
Do you know where I can find a
towel?
THE GUY
-- the poolhouse.
Holding his trousers, his tux shirt hanging half down over
his boxer shorts, Lester moves on over to the poolhouse. He
tries the door. The latch creaks. He pulls at it again and
the latch pops open. He starts to open the door, then hears
the unmistakable sounds of a couple in the throes of intense
love making. The girl is quite carried away.
Lester hesitates. He listens as her sighs, interspersed with
fetching little sobs begin to mount in intensity. He thinks
better of it. He takes his hand off the door knob and quietly
closes the screen door.
He starts to walk away, then notices the window on the side.
He can't resist. He moves to it. He can't see anything. He
moves closer. The dim, dark but classical outline of a man
mounted on a woman moving with ease but increasing intensity
can be SEEN. Lester watches. The SOUNDS are not as loud from
this angle, but gradually they can be HEARD as the woman's
cries grow louder. Lester is glued to the window.
JILL'S VOICE
-- there you are. Les. Les -- Les --
Les, we're leaving.
The ANGLE has BROADENED to SHOW Lester holding his pants, not
taking his face away from the window. Jill and Johnny Pope
stand beside him.
LESTER
Shhh --
(with genuine awe)
-- now that's what I call fucking.
Pope almost inadvertently tries to look in the window.
As he does, a light begins to flood the room. It is the
refrigerator door slowly opening, due in part to the rhythmic
impact of the lovers transmitted through the sofa to an end
table to another end table and to the refrigerator.
It opens until the light shines on the upper body and face of
George and Jackie.
LESTER
who has been smiling continues to smile until the enormity of
the image hits him. His face freezes. It is harsh and
determined. He turns slowly away from the window and walks
past Jill without looking at her.
JILL
-- what --
She turns to the window and sees George and Jackie herself.
JILL (CONT'D)
(watching)
Oh my God. Oh no, oh no. Oh no.
She turns and picks up a wrought iron end table and hurls it
through the window, shattering the glass everywhere.
JILL (CONT'D)
(screaming)
You son of a bitch! You bastard!
WITH GEORGE AND JACKIE
George has leapt up.
GEORGE
Honey? Where've you been? We've
been looking everywhere for you.
Jackie doesn't move, only stares wide-eyed through the broken
window at the screaming Jill.
JACKIE
(softly)
Oh God.
An ashtray is hurled into the room, smashing against the
wall, and Jill can be SEEN now storming off with Pope.
George, with one leg in his pants, rushes over to a far
window, pulls it open.
GEORGE
Jill! Jill! Jill, goddammit!
He's got the pants on backwards. He turns back to Jackie who
has already slipped into her dress, is stuffing pantyhose
into a purse.
GEORGE (CONT'D)
-- Jesus --
JACKIE
-- well you better go after her.
He bends down, turns his pants around, and is hopping into
them.
GEORGE
-- shit...
(he grabs his shirt)
... wait here, honey --
He runs out of the door, beside the pool, past the jacuzzi
and into the maze of hedgerows. The Twins stand motionless
side by side in the water.
TWIN ONE
George?
(to Twin Two)
Who was that?
TWIN TWO
Far out.
George, searching wildly through hedgerows, is calling Jill.
He can't find her. He finds himself next to a ten foot ivy
covered wall. He can't reach the top. He moves along the
wall... arrives at a wrought iron gate. It's locked. He peers
through the gate calling frantically:
GEROGE
Jill, honey?
Inches from his face on the other side of the gate, the bare
teeth of a huge German Sheperd GROWL at him viciously. George
chooses to go up the hedgerows toward the living room of the
house.
He trips and falls.
INT. LIVING ROOM
George running through the strobe-lit party to the foyer.
He's bare-footed, but his pants are on. His frilly shirt is
unbuttoned.
INT. FOYER - GEORGE
breathing heavily, spots Red Dog.
GEORGE
Hey, Red Dog. You seen Jill?
RED DOG
She just went out the door, man.
George charges out the door in time to see the red Porsche's
taillights blink bright at the end of the driveway before it
purrs off into the night.
George turns and runs back into the house and through the
strobe-lighting living room.
AT THE POOLHOUSE
George heaving deep breaths now runs on into the poolhouse.
The refrigerator door still hangs open. Window glass is
scattered on the floor, and George steps on it, cutting his
foot, hopping a little, pulling out a shard. Jackie's gone.
GEORGE
Jackie?
He opens the poolhouse bathroom door.
GEORGE (CONT'D)
Jackie?
He runs back out the door of the poolhouse.
EXT. POOLHOUSE
GEORGE
Jackie?
TWIN ONE
She went up to the house, George.
TWIN TWO
You're a trip and a half, man.
INT. THE HOUSE
George runs through the living room again and the strobe
lights. Again he reaches the foyer. Red Dog is still there.
George is heaving deeply now.
GEORGE
Hey... you seen... Jackie...
RED DOG
(pointing)
-- out the door, man.
GEORGE charges out the door, this time seeing Jackie's 230SL
pulling away, tires screeching.
GEORGE
(shouting)
Jackie!
He looks down defeated. His foot is bleeding on the pavement.
EXT. HIGH ROAD - NIGHT
George on his motorbike, COVERED by a few bars of Buffalo
Springfield's 'For What It's Worth,' has thrown on a peacoat
but kept on his velvet trousers. He's riding up what should
now be a familiar road to Jill's. The lights from the city
below flash in and out of view.
JILL'S GARAGE - GEORGE
pulls in. Her slot in the three car garage is empty, only the
oil slick stares at him.
There's the SOUND of a CAR coming down the road. He looks up
expectantly. As it comes by the morning newspaper is tossed
at his feet.
George turns and fishes in the hanging planter by the door.
He pulls out a key, blows the dirt off it and goes inside.
INT. JILL'S - GEORGE - NIGHT
GEORGE
(swaying in)
Jill... Jill... Jill.
He looks in bedroom, then moves back to the phone and dials.
It rings three times.
OPERATOR'S VOICE
Jackie Shawn.
GEORGE
-- yeah, this is --
OPERATOR'S VOICE
-- yes, George.
GEORGE
I guess you haven't heard from her
yet.
OPERATOR'S VOICE
Not yet.
GEORGE
Okay... thanks...
He hangs up. Stares around the room. Jill's apartment is, as
usual, good-little-girl tidy. (A contrast with Jackie's
particularly kitchen.)
George walks over to the window and look's at the city. He
walks out onto the deck and sits in a deck chair.
DISSOLVE TO:
GRAY SCREEN
There is the SOUND of a CAR IDLING.
George opens his eyes. Above him is the carport and Jill's
yellow Mustang has just pulled in. George rises. He walks
into the living room as Jill comes down the steps to the
kitchen, carrying the paper. The kitchen clock reads 4:44.
George glances at it. Then back at Jill. She looks at him,
frightened but not moving. Her hair is stringy and she's got
no makeup on. There's a bruise on the inside of her upper arm
and a small one on her neck, and one on her left thigh all of
which George will note in the course of the scene.
George looks her up and down.
JILL
I don't want to fight, George.
GEORGE
I don't want to fight either.
Look... uh -- I love you.
JILL
Bullshit.
GEORGE
(moving to her, taking her
arm)
I do, Jill.
At this point he notes the arm bruise. Jill stares back at
him unflinching. George smiles.
GEORGE (CONT'D)
How come you took your own car?
JILL
(getting a cigarette)
I didn't want him meeting me here.
GEORGE
Well that's something.
JILL
What is.
GEORGE
You didn't plan on fucking him
tonight.
Jill doesn't answer.
She walks into the bedroom, kicks off her shoes, starts to
take off her dress, then changes her mind and puts on a robe
over it.
GEORGE (CONT'D)
You did fuck him, didn't you?
JILL
I'm very tired, George.
Jill goes into the living room. George grabs her arm again.
GEORGE
Didn't you, baby?
JILL
Let go of me.
George doesn't.
JILL (CONT'D)
Let go of me or I'll scream, I'll
call the police.
GEORGE
Oh, Christ.
He lets go of her. The PHONE RINGS. Jill answers it. Her tone
alters appreciably.
JILL
Oh, hi... listen, can I call you
back?... Yes... no, everything's
fine, really... bye.
She hangs up.
GEORGE
That was him.
JILL
Yes.
GEORGE
You told him I was here and he
wanted to know if I was beating you
up.
Jill smiles thinly.
JILL
Yes.
GEORGE
Well, did you get a job out of it
at least?
JILL
I'd like you to leave now.
George doesn't move. Jill goes over and fishes into a tote
bag by the wall. She returns with Felicia's missing earring.
JILL (CONT'D)
-- and take this with you.
GEORGE
Where did this come from?
JILL
Who knows, I'm sure you don't --
but if it'll help any, I found it
in your bed.
George nods. Jill's anger is growing and her hurt is
beginning to surface now. Tears start welling in her eyes.
JILL (CONT'D)
(unsteadily)
So who else was there besides
Jackie? Huh?... huh?
GEORGE
Baby, don't do this. I do love you.
JILL
Obviously there were others,
weren't there?
George stares at Jill. Then:
GEORGE
Obviously.
JILL
How many?
GEORGE
What do you wanna know for?
JILL
I just want to know, that's all.
GEORGE
What difference does it make?
JILL
I just want to know while we were
seeing each other... I just don't
want girls looking at me and
knowing and me not knowing...
Jill is crying a little now and looks very vulnerable. George
moves to her and tries to put his arms around her.
GEORGE
Baby, please don't... I love you.
JILL
(breaking away)
I don't want to be a fool!... I
want to look them in the eye and
say, I know!
GEORGE
(she's backing up, he's
trying to touch her)
Baby, don't do this --
JILL
(fighting for control)
-- it'll help me if you'll tell me.
GEORGE
-- please, baby --
JILL
-- no, it'll help me, really --
GEORGE
How?
JILL
I'll know you've lied to me... all
along. I'll know you're incapable
of... love... that'll help me...
not now, but eventually.
It's been rising in him the last few exchanges. Now all
George's restraints seem to leave him. He stops trying to
touch her and stands his ground, exploding:
GEORGE
You dumb cunt, everybody fucks
everybody, grow up, for Christ's
sakes. You're an antique, you know
that? Look around you -- all of
'em, all these chicks they're all
fucking, they're getting their hair
done so they can go and fuck,
that's what it's all about. Come
into the shop tomorrow and I'll
show you -- I fucked her, and her,
and her, and her, and her -- I
fucked 'em all!... That's what I
do, I fuck. That's why I went to
beauty school, to fuck. I can't
help that, they're there and I do
their hair and sometimes I fuck
'em. I stick it in and I pull it
out and that's a fuck, it's not a
crime.
George leans on a glass topped coffee table for support, not
even bothering to look at Jill. Jill has been pulled together
a little more by the speech.
JILL
... well I'm glad you told me.
GEORGE
(his eyes closed)
Jesus.
His tone has indicated disbelief and disgust.
JILL
I am... I mean, you know, that's...
She can't finish It.
GEORGE
What? What? What? What? What?
JILL
... honest. At least you're honest
with me.
GEORGE
Does it make you happy?
Jill doesn't answer.
JILL
I wish you'd go now.
GEORGE
That's all you've got to say?
JILL
-- yes.
GEORGE
-- tell me something -- did you
talk about me?
JILL
George...
GEORGE
Did you?
JILL
Please!... that's not like you.
GEORGE
Yeah, I know. Did you?
JILL
George, now cut this out.
GEORGE
Did you?
JILL
Stop it.
GEORGE
Did you?
JILL
Yes, yes, I did.
GEORGE
What did you say?
JILL
George, if you keep this up I'm
going to scream.
GEORGE
What did you say?
JILL
George...
GEORGE
What did you say?
JILL
I said you were a loser!
She starts to cry again. George smiles.
GEORGE
No, I'm not a loser, baby, I just
sort of break even.
George turns and walks up the stairs and out the door.
EXT. GEORGE'S HOUSE
George shuffles up the steps to his front porch and into the
living room.
INT. GEORGE'S LIVING ROOM
George finds himself facing Lester and two other MEN who look
like hoods. Lester sits in the chair George sat in the other
night. Before him is a bottle of J & B, a paper bucket filled
with melting ice. The other men rise when George walks into
the room.
Lester, glass in hand, stares silently at George.
LESTER
(to the other two)
Wait outside, would you?
The two Men walk toward George and pass him on either side,
coming very close. Both of them are much bigger than George.
They stare through George as they pass him.
George continues to stand there. Lester, drinking, continues
to stare. Lester glances idly around the living room. Then
back to George.
LESTER (CONT'D)
You live like a pig.
GEORGE
Yeah.
(Lester doesn't answer)
How long have you been here?
LESTER
(looking it)
All night.
GEORGE
Well... who are those guys?
LESTER
What do they look like?...
GEORGE
Look, Lester... are you unhappy
with me about something?
LESTER
Yeah, I'm unhappy with you about
something.
GEORGE
Well, what?
LESTER
Godammit, George...
GEORGE
Now wait a minute...
LESTER
Sit down.
GEORGE
But...
LESTER
I said sit down!
One of the men opens the door and peers through the screen.
MAN
Everything all right?
LESTER
I'll call you, it's okay.
George site down. Lester has risen to his feet, a little
unsteadily.
LESTER (CONT'D)
Now, George, I want to hear it from
you. Either you admit it, man to
man, to my face or I'll have him
pound it out of you, and he does a
hell of a job, believe me.
George nods.
GEORGE
I believe you...
Lester waits, standing over George.
LESTER
I wanna hear about it.
GEORGE
Oh Jesus Christ.
Lester slaps him.
LESTER
I wanna hear about it, George.
GEORGE
Hey, have 'em put me away, or
whatever you're gonna do, okay?...
I'm too tired to lie, I'm too tired
to tell the truth... I'm too tired
for anything.
LESTER
I wanna hear about it.
GEORGE
What can I say!
LESTER
I wanna know your thinking, I wanna
know how someone like you thinks.
Did you think you could get away
with it, did you think you could
put something over on me? Does a
guy like you get his kicks sneaking
around behind people's backs and
taking advantage of them? Maybe
that's your idea of being anti
Establishment!
GEORGE
I'm not anti-Establishment.
LESTER
That's got nothing to do with it...
You're so beyond my comprehension I
can't even discuss it with you.
GEORGE
Then don't... just have 'em beat me
up or whatever you're gonna do.
LESTER
No, not yet, not yet. You worry
about it for a while, I've been
worrying all night, now you can
worry.
A pause. Lester freshens his drink.
LESTER (CONT'D)
Was it me, did you have something
against me?
GEORGE
What, do you think I planned it?
LESTER
Did they have something against me?
GEORGE
Didn't they tell you?
LESTER
I wanna hear it from you!
GEORGE
(agonized)
... how am I gonna tell you what
they have against you?
I mean Jesus fucking Christ,
they're women, aren't they? Have
you ever listened to women talk,
man? Have you? Well I do, I do 'til
it's fucking coming out of my ears.
I'm on my feet all day, every
fucking day, listening to women
talk and you know what they talk
about, don't you? Being fucked up
by some guy. That's all that's on
their minds. I'm sure you've done
something they could get pissed off
about, what's that got to do with
it? All women are pissed off, man,
all of 'em. They fucking hate us!
Don't you know that?
Lester has listened to this with some alteration of his
intensity.
LESTER
... yes, I follow your thinking on
that.
GEORGE
We're always trying to fuck them...
they know it and they like it and
they don't like it... that's just
how it is... look, it's got nothing
to do with you, man. It just
happened. Felicia's got nothing to
do but shop and get her hair done
and she knows she's getting
older... her daughter hates her,
what's she going to do, go to PTA
meetings?
LESTER
Do you think Lorna hates her? I
don't think she hates her. I mean
she may resent her a little...
GEORGE
Oh, are you kidding, man? She hates
her.
LESTER
Why, why do you think that is?
GEORGE
Oh, fuck, Lester, how should I
know?
LESTER
Well, I don't know.
A pause. Lester goes to pour himself another drink.
LESTER (CONT'D)
(to George)
Want a drink?
GEORGE
No thanks.
LESTER
Have a drink.
GEORGE
Okay, thanks.
Lester gets up and goes to the kitchen.
LESTER
You don't have a clean glass in the
house.
GEORGE
I know.
LESTER
(talking to himself)
I'll have to wash one out.
He turns on the faucet in the kitchen. He brings the glass.
LESTER (CONT'D)
Jesus, what a way to live. I never
lived like this, not even when I
was your age, not even when I never
had a dime.
George takes the drink. Lester just shakes his head.
LESTER (CONT'D)
Hell of a way to treat a business
partner, that's all I can say.
GEORGE
Who?
LESTER
Me!
GEORGE
Hey, you were never going to give
me the money.
LESTER
(after a moment)
I was gonna give you the money.
Probably I was. Shit, I don't know,
I don't know anything anymore.
Lester sits and stares into his drink.
LESTER (CONT'D)
I tell you, you never know... you
just never know... one minute
you're here and the next... I mean
a man at my age, how long have I
got -- ten years? Five years? I
wish I knew... what I was living
for.
George looks at him.
LESTER (CONT'D)
... You can lose it all; you can
lose it all no matter who you
are... I don't know, what's the
point of having it all. Look at me.
I don't have a goddam thing... the
market's terrible right now, went
down ten points last week, goddam
Lyndon Johnson!
GEORGE
Oh yeah...
LESTER
Yeah,, it goes up a little and then
it goes down, maybe Nixon will do
something. What's the difference,
they're all a bunch of jerks. I
wouldn't let 'em run my business, I
can tell you that much. Not if I
had any choice in the matter.
(after a moment)
I don't know what to do with you. I
don't know, I don't know what's
right or wrong anymore.
GEORGE
I don't either, Lester, I swear to
you I don't.
LESTER
(suddenly)
What about Jackie?
GEORGE
What about her?
LESTER
I mean, how did that happen?
GEORGE
Lester, it just happened.
LESTER
She's nothing but a whore.
GEORGE
No --
LESTER
Just a whore, I go over there, have
a few drinks and get my gun off.
I'm through with her, she's nothing
but a whore.
GEORGE
No, man, no. You can say
everybody's a whore. She's okay. I
mean Jackie'll fuck around but not
that much. Somewhere she really
likes you, Lester, and it's not
just the bread. She's okay.
Lester sits and thinks about that.
LESTER
You really think so?
GEORGE
Yes I do.
LESTER
I'm finished with her.
Lester goes to the door. He turns as if he'd just thought of
something.
LESTER (CONT'D)
Oh, by the way, I think you oughta
know -- Lorna thinks she's got the
clap.
GEORGE
What?
LESTER
Yeah, the clap. That's what she
thinks. But who knows -- I don't
know.
George nods. Lester shakes his head.
LESTER (CONT'D)
I don't know anything anymore.
He opens the door and goes out. The two hoods are standing
there. They look to Lester.
LESTER (CONT'D)
(to hoods)
Go easy on him, he's a nice boy.
George looks shocked. Lester laughs, gives George a playful
punch.
LESTER (CONT'D)
Just having a little fun, George...
(to hoods)
Go on home.
(to George)
I'll call you later about the shop.
I'm beat. God, I'm beat.
With that, Lester's off.
EXT. SHOP - GEORGE - DAY
pulls up. He goes into the shop.
INT. SHOP - NORMAN AND DEVRA
Norman is by the front desk.
NORMAN
You're late, George.
GEORGE
Devra, try Jackie Shawn will you?
And if you don't reach her, keep
trying.
DEVRA
(on desk)
Mrs. Shumann and Mrs. Young are
waiting. Mrs. Young is kind of
p.o.'d.
George nods.
GEORGE
Where's Mary?
DEVRA
She hasn't showed up yet.
GEORGE
(grumbling something under
his breath, then:)
Norman!
(to Devra)
Devra, I asked you to call Jackie.
Call her.
DEVRA
(perturbed)
All right.
Norman from upstairs shouts down.
NORMAN
What!
GEORGE
Somebody's going to have to wash
Mrs. Young. Mary's not here.
NORMAN
You do it.
GEORGE
(he's had about enough)
Look, Norman, I'm not the shampoo
girl.
NORMAN
You are today.
George starts to say something but he's tired. He goes to his
corner, slams his jacket down.
MRS. SHUMANN
Temper, temper, George.
George fiddles around with the shampoos and rinses, knocks
over one where the top was not on, and the shampoo spills all
over the table top and starts to drip on the floor.
GEORGE
Oh, Jesus, that fucking goddam Mary-
He starts to look for a rag and sees that Mary, wearing a
cloth coat is coming into the shop.
GEORGE (CONT'D)
Mary! Get over here!
Mary moves very slowly, George waits, hands on hips. It
should almost be a little faggy, his petulance as if,
inevitably some of the shop must rub off on him.
GEORGE (CONT'D)
Mary, where were you yesterday?
Huh?
Mary doesn't answer.
GEORGE (CONT'D)
You ran out on me and you left it
like a goddamn pig pen.
Mary's swaying.
GEORGE (CONT'D)
What's wrong, Mary, are you drunk?
Look, I've had a rough night, one
of the roughest I've ever had, now
I'm not in the mood for any sulking
bullshit, what's wrong? Are you
sick? Are you drunk? Can you work?
MARY
Otis is dead.
GEORGE
-- Otis?
She points to his picture on the wall.
MARY
My son Otis. He was killed in
Vietnam. They done phoned me at the
shop yesterday.
It's suddenly very quiet. The SOUND of the SHAMPOO DRIPPING
on the floor can be HEARD.
GEORGE AND MARY
GEORGE
Oh, Mary.
Mary starts to cry and like a little child buries her head on
George's shoulder.
MARY
-- you shouldn't talk to me like
that no matter what, George... you
know better...
GEORGE
-- oh -- sweetheart...
MARY
-- you shouldn't do me like that...
GEORGE
(hugging her)
-- please, please forgive me...
MARY
(crying)
-- you know better...
GEORGE
(after a moment)
-- why did you come in today?
MARY
-- left my bag, didn't have no
money...
GEORGE
-- how did you get here?
MARY
-- took a bus.
GEORGE
-- c'mon, I'll get you home...
EXT. STREET - GEORGE - DAY
on his cycle drives up Bowmont into Jackie's driveway. Her
car is there.
George jumps off his bike, fairly races to the door. It's
open and he barges in. He's met by Jackie's Yorkies who bark
furiously, jumping up and down, nipping his pantlegs for
attention.
JACKIE'S VOICE
-- just a minute, you're early --
Jackie comes walking out. She's carrying a large cooking
spoon and wears an apron over a travelling outfit, a
pantsuit. She's wearing more makeup than usual. She stops
when she sees George.
GEORGE
-- good afternoon --
JACKIE
-- you've got to leave.
George is not prepared for this.
GEORGE
I've got to leave?
JACKIE
-- yes, honey, you've got to get
out of here.
GEORGE
Why?
JACKIE
Lester's on his way.
George stares at her then walks past her into the living
room. Bags are packed, a coat thrown over them. The wire
kennel carrying cages for the Yorkies are beside the bags.
George looks into the kitchen where Jackie's been cooking
some pasta.
GEORGE
Where are you going?
JACKIE
Please, we'll have to talk later --
GEORGE
Look about last night --
JACKIE
(exasperated but not
unkind)
Forget about last night, it's okay,
we'll talk when I get back --
GEORGE
It's not okay, I mean we've got to
talk now. Where are you going?
JACKIE
Look -- either you leave or I leave
because I don't want the two of us
here when Lester arrives. I just
don't --
The level of her nervousness has just risen about fifty
decibels. There's the SOUND of a CAR outside.
JACKIE (CONT'D)
My God that's him --
George looks out the window.
GEORGE
-- It's Malone's.
JACKIE
That's it, then I'm leaving.
With that she tosses the spoon onto an end table and rushes
out the door. George starts after her. The DRY CLEANER comes
to the door, stopping George.
CLEANER
Cleaners.
George has to fumble with Jackie's cleaning and keep the dogs
contained. He does, tosses the cleaning down and races
outside to his bike.
ON THE STREET
he sees Jackie's car rounding the corner, going up the hill,
winding around the curves. George guns his bike and takes off
after her.
AROUND WINDING CURVES - GEORGE
almost sideswipes a car parked on a hairpin turn. Jackie's on
the curve above him.
AT THE NEXT CURVE - GEORGE
catches up with her, pulls even to her.
GEORGE
Pull over, pull over!
He threatens to run her into the curb. She stops the car
sharply and jumps out.
AT THE TOP OF THE DRIVE
They've reached a cul de sac where there's a parched 'view
lot' not built on.
Yellow October weeds cover it and there's a huge television
antenna in its center which sways slightly in an afternoon
wind.
Jackie has run onto the lot, then slows to a walk. She grabs
one of the rusty stays of the swaying antennas, stares down
below her.
Her house can be seen from this angle, the Malone's truck
just pulling away.
George comes up to her.
JACKIE
(looking below her)
You're going to kill me.
GEORGE
No --
JACKIE
(turning to him,
imploring)
Well then what are you trying to do-
GEORGE
I want to marry you. I want to take
care of you and I want your
children, and I want you to be my
girl. That's all I want. That's all
I want out of my life, and it's a
lot.
She stares at him in disbelief. She actually clutches her
stomach.
GEORGE (CONT'D)
Look, I don't know if I'll ever
make it. I mean I'm a fuckup, but
I'll take care of you, I'll make
you happy, I swear to God I will.
Jackie doesn't answer. She slowly sinks to the ground. George
sinks beside her. Her eyes are wet.
GEORGE (CONT'D)
Jackie... Jackie?... answer me, for
God's sake, answer me.
JACKIE
If you knew how many times I wanted
to hear you say that...
GEORGE
So I'm saying it...
JACKIE
It's too late...
GEORGE
What's too late about it? Look,
we're not dead, are we? That's the
only thing that's too late.
JACKIE
Lester's left Felicia. He's taking
me to Acapulco on the five o'clock
flight. He's asked me to marry him.
GEORGE
So what? You don't love him, do
you? Answer me.
JACKIE
What's that supposed to mean?
GEORGE
I don't know... Jackie?
JACKIE
What?
George now is very near tears himself. What he says now he
has to force out of himself, as if it's the biggest secret he
holds.
GEORGE
I don't trust... anyone... but
you...
George lets his head fall on her shoulder. She's kneeling,
supported by the television aerial, and George cries quietly
on her shoulder. She has her arm around him.
JACKIE
Oh my baby...
As she's holding George, and looking down the hill, Lester's
silver Rolls pulls up. Lester gets out of the car, goes to
the front door.
JACKIE (CONT'D)
God, there's Lester...
GEORGE
Don't go, Jackie...
JACKIE
I can't just let him stand by the
door...
GEORGE
Don't leave me...
JACKIE
I've got to... I've got to tell him
where I am.
GEORGE
What for?
JACKIE
I don't know -- I've got to.
She gets up and hurries over to her car, starts it and goes
back down the hill. George sits under the television aerial
and watches her car go down the hill, periodically flashing
INTO VIEW.
Finally she pulls up while Lester is pacing back and forth.
She hurries to him. He taxes her by the shoulders. They talk
for a moment. The discussion looks like Jackie is giving
Lester directions. She glances uneasily up toward George.
George is watching them.
He sees that Lester and Jackie have their backs to him, his
arm around her shoulder, hers around his waist. They're going
through the front door.
THE END
