Actor Point >> Movie Scripts >> Shampoo Film Script

Shampoo Movie Script

Writer(s) : Robert Towne, Warren Beatty

Genres : Drama

Search IMDb : Shampoo


	
	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