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Shampoo (1975)

by Robert Towne and Warren Beatty.

More info about this movie on IMDb.com


FOR EDUCATIONAL PURPOSES ONLY


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

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