BOOGIE NIGHTS by Paul Thomas Anderson 1 EXT. HOT TRAXX NIGHTCLUB - NIGHT CAMERA holds on this PACKED disco on Van Nuys Blvd. TITLE CARD: "San Fernando Valley, 1977" A CADILLAC SEVILLE pulls up to the valet area and CAMERA (STEADICAM) moves across the street, towards the car, landing close; From the Seville steps, JACK HORNER (50s) and AMBER WAVES (early 30s). CAMERA follows them (this is one continous shot) as they pass the crowd, greet a DOORMAN and enter -- INSIDE THE NIGHTCLUB. Twice as packed inside as outside. Music is full blast. Amber and Jack are greeted by; MAURICE t.t. RODRIGUEZ (30s). Owner of the nightclub. Puerto Rican. Wearing a suit and fifteen gold chains. MAURICE Jackie-Jack-Jack and Miss Lovely Amber Waves -- AMBER Hi, Maurice. JACK You bad ass little spick. How are you, honey? MAURICE Pissed off you ain't been around -- JACK -- I been on vacation. MAURICE Don't stay away this long from my club ever again, Jackie-Jack-Jack. JACK I promise. Maurice takes Amber's hand and gives it a kiss. MAURICE You are the foxiest bitch in ten countries. AMBER You're such a charmer. MAURICE (to Jack) I got you all set up at your booth. I wanna send over some clams on the half shell. JACK Beautiful. MAURICE Just remember, Jack: I'm available and ready. Cast me and find out -- JACK Yeah, yeah, yeah. Amber and Jack head off towards the booth. CAMERA stays with Maurice, follows him to the bar area, where he shouts some orders to a WAITER. MAURICE Clams on the half shell to Jack and Amber -- over there -- go! The WAITER takes off to the kitchen, Maurice walks onto the dance floor and greets three people; REED ROTHCHILD, 20s, tall and skinny, BECKY BARNETT, 20s, black girl in silk, BUCK SWOPE, 20s, black guy in cowboy gear. MAURICE Hello there, kiddies. REED/BUCK/BECKY Hi, hey, hi, Maurice. MAURICE Having a good time? BECKY Excellent. MAURICE Great, great, great. Maurice moves away to greet some more people. CAMERA stays with Reed, Becky and Buck, does a 360 around them. Reed and Becky Disco Dance. Buck does some Cowboy-Type Moves. Moments later, the WAITER carrying clams on the half shell passes and CAMERA picks up with him, follows him to Jack's booth, where he presents them; WAITER Compliments of Maurice. JACK Thank you. AMBER Can I get a Marguerita, please? JACK Seven-Up, here -- The WAITER exits, CAMERA PANS with him for a moment, leading to a young girl wearing rollerskates, ROLLERGIRL (aged 18). She always, always wears rollerskates. CAMERA PANS with her back to Jack's booth. ROLLERGIRL Hi. JACK Hello, honey. AMBER (to Rollergirl) Did you call that girl today? ROLLERGIRL I forgot. AMBER If you don't do it tomorrow, then it's the weekend and you'll never be able to get in to see her -- ROLLERGIRL OK. Rollergirl scratches her crotch as she speaks. Amber notices; AMBER What's the matter down there? ROLLERGIRL I gotta go pee. AMBER Well go, then. CAMERA stays with Rollergirl, following her across the dance floor. She passes Buck, Becky and Reed, says hello, dances a moment, then continues on -- into the clearing off the dance floor, heading for the bathroom. She passes something, CAMERA moves away towards this something: A bus boy cleaning a table, EDDIE ADAMS, aged 17. CAMERA moves into a CU -- blending to SLOW MOTION (40fps) for a moment. (Note: In the text Eddie Adams will be referred to as Dirk Diggler.) ANGLE, JACK'S TABLE. Jack turns his head, looks across the dance floor and sees this kid cleaning the table. ANGLE, DIRK DIGGLER. He looks up, catches Jack looking back at him, then turns away, disappears into a back room. CAMERA DOLLIES in on Jack, who at that moment, is approached by a figure entering FRAME. Short, buffed out LITTLE BILL (late 40s). This is Jack's Assistant Director. LITTLE BILL Jack. JACK Hey, Little Bill. LITTLE BILL Whatsa schedule look like? Are we still on day after tomorrow? JACK I wanna do it the day after the day after tomorrow. LITTLE BILL For sure? 'Cause I wanna call Rocky, Scotty, Kurt and all those guys -- Jack's attention is with the backroom that Dirk entered. He stands and heads away. JACK Absolutely. But I wanna keep it small. I wanna keep a small crew on this one -- LITTLE BILL -- a relaxed deal. JACK Exactly. LITTLE BILL Do you have a script yet? JACK Tomorrow. Tomorrow is the day -- Jack is off across the dance floor. CUT TO: 2 INT. BACKROOM/KITCHEN - MOMENTS LATER JACK Hey. DIRK Hey. JACK How ya doin'? DIRK Fine. JACK How old are you? DIRK I have a work permit, I got the paper -- JACK No, no, no. Not like that. How long have you worked here? DIRK A month. JACK Maurice give you a job here? DIRK Yeah. JACK How much he pay you? DIRK I'm not supposed to say how much I make. JACK He's a friend of mine -- DIRK Well you'll have to ask him. JACK You live around here, Canoga - Reseda? DIRK Um . . . no . . . do you know where Torrance is? JACK How do you get here? DIRK I take the bus. JACK So what do you wanna do? DIRK What? JACK You take the bus from Torrance to work in Reseda, why don't you work in Torrance? DIRK I don't want to. JACK . . . ok . . . DIRK So . . . you want five or ten? JACK . . . what . . . ? DIRK If you wanna watch me jack off it's ten bucks. If you just wanna look at it then it's five. JACK Guys come in, ask you to jack off for them, ask to see it? DIRK Yeah. JACK Have you done it tonight? DIRK Couple times. JACK And you can do it again? DIRK If you want, if you got ten bucks. BEAT. Jack extends his hand. JACK I'm Jack. DIRK Eddie. Eddie Adams. JACK Eddie Adams from Torrance. I'm Jack Horner, Filmmaker. DIRK Really? JACK I make adult films. Erotic pictures. BEAT, THEN; DIRK . . . I know who you are. I read about you in a magazine. "Inside Amber," "Amanda's Ride." You made those -- JACK So you know me, you know I'm not full of doggy-doo-doo -- DIRK Yeah . . . . JACK So why don't you come back to my table, have a drink, meet some people -- DIRK I'd love to but . . . I'm working -- JACK You need money, you have to pay the rent -- DIRK . . . No . . . I mean, yeah. I need money. But I don't pay rent. I live at home. JACK Tell me how old you are, Eddie. DIRK . . . I'm seventeen . . . . JACK You're a seventeen year old piece of gold. DIRK Yeah, right. JACK Why don't you come back to my table, have a drink, meet some people -- DIRK I can't do that to Maurice. JACK You're a good worker, yeah? DIRK I'm sorry, I do know you, I know who you are, I'd love to have a drink with you and I know you're not full of -- JACK -- doggy-doo-doo. DIRK Yeah, yeah. But I just can't walk out on Maurice. I'm sorry. BEAT, THEN; JACK It seems to me, beneath those jeans, there's something wonderful just waiting to get out -- Jack leaves. 3 EXT. HOT TRAXX NIGHTCLUB - NIGHT (LATER) The club is closing, Maurice is locking up and turning the lights off out front. CAMERA hangs around with Buck, Becky and Reed. (Director's Note: Reference improv. Notes) Jack and Amber cruise past in his Seville, say so long and head up Van Nuys Blvd. They pass Little Bill who walks to his old Station Wagon, rips a parking ticket off the windshield and gets behind the wheel. Dirk Diggler exits the club from a side door and heads off -- CUT TO: 4 OMITTED 5 INT. JACK'S HOUSE/LAUREL CANYON - NIGHT - LATER Jack and Amber enter the house. It resembles the Jungle Room at Graceland. He heads for the kitchen, she makes a drink . . . JACK You want somethin' to eat? I'm onnamake some eggs. AMBER I'm goin' to sleep. JACK Goodnight, honey-tits. Sleep beautiful. CUT TO: 6 INT. AMBER'S BEDROOM/JACK'S HOUSE - NIGHT - MOMENTS LATER ECU, AMBER. She does a quick line of coke. BEAT. She takes a valium, lights a cigarette, then picks up the phone; AMBER Tom . . . hi . . . yeah. I know it's late, but . . . (beat) Yeah. Is Andy there? Is he . . . ? I'd like to say hello, I'd like to say hello to my son and that's all. (beat) Lemme tell you something, Tom. Lemme tell you something you don't know; I know a lawyer, you understand? You might think I don't but I do and I'll take you to court . . . . (beat) No . . . please don't, Tom, Tom, Tom -- Dial tone from the phone. She hangs up. 7 INT. LITTLE BILL'S HOUSE - NIGHT Little Bill enters his house quietly, turns on a small light to help guide him down a hallway. FROM A BEDROOM DOOR we hear the sounds of MOANING AND GROANING. Little Bill walks to the door, hesitates, then opens -- CUT TO: 8 INT. LITTLE BILL'S BEDROOM - NIGHT - THAT MOMENT LITTLE BILL'S WIFE and a BIG STUD are doing it on the bed. They stop a moment and casually look at him. LITTLE BILL What the fuck are you doing? LITTLE BILL'S WIFE The fuck does it look like I'm doing? I've got a cock in my pussy, you idiot. BIG STUD Will you close the door? LITTLE BILL Will I close the door? You're fucking my wife, asshole. BIG STUD Relax, little man. LITTLE BILL'S WIFE Just get out, Bill. Fucking sleep on the couch. (to Big Stud) Keep going, Big Stud. Big Stud continues. Little Bill watches a moment in a haze then closes the door. CUT TO: 9 INT. DIRK'S PARENTS HOUSE/TORRANCE - NIGHT Dirk enters quietly, walks a hallway and goes into his room. CUT TO: 10 INT. DIRK'S ROOM - NIGHT - THAT MOMENT Dirk enters his room and begins to remove his clothes. He turns the volume low on his stereo. He stands in front of his mirror, does a few flexes, some dance moves, some karate moves, etc. CAMERA DOES A SLOW 360 PAN AROUND THE ROOM. Posters on the walls of Travolta, Pacino, a 1976 Corvette, Bruce Lee, Hawaii, a Penthouse centerfold, Luke Skywalker, etc. CAMERA LANDS BACK ON DIRK. DIRK That's right. FADE OUT, CUT TO: 11 OMITTED 12 OMITTED 13 INT. DIRK'S HOUSE/KITCHEN - MORNING Dirk eats breakfast. His MOTHER (mid 40s) stands, washing a dish. His FATHER (50s) enters, dressed in suite. He crosses the kitchen INSERT, CU Father, stubble on his face, places a kiss on the cheek of Mother. FATHER Good morning. MOTHER . . . Jesus. Please, okay? Shave if you're gonna do that, it scratches my face. Father takes a seat at the breakfast table, looks to Dirk. FATHER How's that work, you get home late, huh? DIRK Yeah. MOTHER If you wanna work in a nightclub you should . . . if it's so important . . . you should find one closer. DIRK . . . yeah . . . They eat in silence. DIRK I've gotta get to work. MOTHER . . . at a car wash . . . DIRK What? MOTHER You work at a car wash, school never occurred to you? Dirk stands up, places his plates in the sink and exits. CUT TO: 14 OMITTED 15 OMITTED 16 INT. HIGH SCHOOL CLASSROOM - DAY A crowded high school geometry classroom. In the back of the class, sitting at a desk is Rollergirl. A TEACHER walks about, handing out the final exam. Rollergirl looks it over; a lot of questions, diagrams and generally confusing material. She looks across the room; Two BOYS are looking at her and chuckling to themselves. One guy looks to the other and makes a "blow job" gesture. She looks away, they continue their gestures and giggling. Other students notice and smile. CAMERA ARRIVES CU. ON ROLLERGIRL. She stands up, heads for the door -- the teacher calls after her -- but she's gone. CUT TO: 17 INT. SUPER-DUPER STEREO SHOP - DAY A semi-high end stereo store in the valley. Buck, dressed in his usual cowboy-digs, is talking to a CUSTOMER about a stereo unit. The manager, a skinny-white guy with a mustache and mustard suit, JERRY (30s) is standing nearby. BUCK -- so basically you're gettin' twice the base, cause of the TK421 modification we got in this system here. CUSTOMER I don't know - do I need that much bass? BUCK If you want a system to handle what you want -- yes you do. See this system here. This is Hi-Fi. "High Fidelity." What that means is that it's the highest quality fidelity. CUSTOMER It's the price -- BUCK I have this unit at home. CUSTOMER . . . really . . . ? BUCK Yes. But -- I've got it modified with the TK421, which is a bass unit that basically kicks in another two, maybe three quads when you really crank -- lemme put another eight track in so you can get a better idea what I'm talkin about -- Buck ejects the Eight Track that was playing and puts in his own of a country western song. BUCK Hear that bass? It kicks and turns and curls up in your belly, makes you wanna freaky-deaky, right? If you get this unit as it is -- it won't sound like this without the modification -- and we do that for a small price. The Customer listens another moment, then; CUSTOMER Thank you for your time. BUCK No problem. The Customer exits and Jerry approaches Buck. JERRY . . . the fuck was that? BUCK Wha? JERRY Have I told you? Huh? Have I? BUCK What? I don't -- JERRY Alright: A.) You play that country western-crap and no one's gonna buy a stereo. You throw on some KC and the Sunshine Band, a guy looks a particular way -- and you've seen the profile sheet -- you throw on some Led Zeppelin. No. Instead, you play this twingy-twangy, yappy-dappy music. What kinda brother are you anyway, listening to that shit? BUCK Hey, Jerry, look -- JERRY No, you look. I gave you a job here because I thought your film work might bring some nice pussy in the place -- and it has -- but I can't have anymore fuck ups -- you dig? BUCK Yeah. JERRY Alright. Go unload the new 484's from the back room. Buck goes to the back room. CUT TO: 18 INT. SHERYL LYNN'S BEDROOM - DAY - LATER Dirk is in bed with a young neighborhood girl, SHERYL LYNN PARTRIDGE. Her room is decorated in pastels with equestrian things all around. Horse models, trophies from riding, blue ribbons, etc. DIRK I have to get back. SHERYL LYNN Once more. DIRK I have to get back to work. SHERYL LYNN Give it to me, Eddie. DIRK Don't make me pounce you, Sheryl Lynn. SHERYL LYNN Ohhhh-baby, baby, baby. DIRK I'll do it -- SHERYL LYNN Promise? DIRK That's it. Dirk jumps up and starts bouncing up and down on the bed, naked and flapping. She stares at his crotch, shakes her head; DICK (OC) What? SHERYL LYNN You're so beautiful. DICK (OC) Yeah . . . SHERYL LYNN Do you know how good you are at doing this, Eddie? Having sex . . . fucking me . . . making love to me? Dirk looks down. BEAT. DIRK Everyone has one thing, y'think? I mean: Everyone is given one special thing . . . . right? SHERYL LYNN That's right. DIRK Everyone is blessed with One Special Thing. Dirk kneels down to her; DIRK I want you to know: I plan on being a star. A big, bright shining star. That's what I want and it's what I'm gonna get. SHERYL LYNN I know. DIRK And once I get it: I'm never gonna stop and I'll never, ever make a mistake. They Kiss. CUT TO: 19 INT. HOT TRAXX NIGHTCLUB - NIGHT Nightclub is in full swing on a Friday Night. CAMERA hangs with Dirk for a while as he buses tables. ANGLE, JACK'S BOOTH Rollergirl comes over to speak with Jack. He whispers something in her ear. She nods, "I understand," and rolls away -- CUT TO: 20 INT. HOT TRAXX/HALLWAY - NIGHT - THAT MOMENT CAMERA follows on the heels of the rollerskates as they move down the hallway and into -- THE KITCHEN Dirk is washing dishes. He looks up and spots Rollergirl. She lifts a skate up just a little . . . She rolls closer to Dirk and pulls him into A CLOSET SPACE She goes down on him, unzips his pants and pulls out his cock. She hesitates. DOLLY IN CLOSE ON HER FACE. She smiles up at Dirk. CUT TO: 21 OMITTED 22 EXT. HOT TRAXX NIGHTCLUB - NIGHT - LATER Closing hour. Dirk exits a side door and starts walking. Jack, Amber and Rollergirl in the Seville pull along side him; JACK Hey. Eddie. DIRK Hello. Jack? JACK Yeah. You wanna ride? DIRK I'm goin' pretty far. ROLLERGIRL You remember me? Couple hours ago? DIRK Yeah . . . I remember you. AMBER Come with us, sweetie. DIRK Okay. Dirk gets in the backseat of the car with Rollergirl. CUT TO: 23. INT. CANDY'S COFFEE SHOP - NIGHT - LATER In a booth, after the meal. Dirk and Rollergirl on one side, Jack and Amber on the other. JACK This thing here, I mean, you understand one thing and that's this: It costs. I mean, this stuff costs good ol' American Green. You got film, you got lights, you got sound, lab fees, developing, synching, editing -- next thing you know you're spending thirty/forty thousand a picture. DIRK That's a lot of money. JACK Hell yes it's a lot of money, but lemme tell you something else: You make a good film and there's practically no end to the amount of money you can make, Eddie. AMBER Have you seen Jack's house? CAMERA HOLDS ON AMBER. She watches Dirk. DIRK (OC) No. JACK (OC) He'll see it. ROLLERGIRL (OC) He'll see it. JACK (OC) Eddie: You got ten, fifteen people around and that's just to make sure the lighting is right . . . shit, this is not an operation for the weak, and lemme tell you something else: When all is said and done, you gotta have the juice, you understand? I mean . . . you can work on your arms, your legs, workout morning, day, noon, night, the whole deal, but when it comes right down to it . . . what we need is Mr. Torpedo Area, y'understand? Mr. Fun Zone? Okay, let's say you got that: right? And You Do Got, Yeah? He looks to Rollergirl. She smiles. CAMERA OFF AMBER NOW. JACK I can go out -- tonight -- the reputation I got: I can find myself 15/20 guys, cocks the size of Willie Mays Baseball Bat: Do I want that? No. Do I need that? No. I need actors. AMBER Uhhh-ohhh . . . here we go -- JACK -- Alright, yeah, I need the big dick, and the big tits -- that GETS them in the theater. What keeps them in their seats even after they've come? Huh? The beauty and the acting. If you're able to give it up and show the world: No, not just your cock. Fuck that. What I'm talking about is showing your insides, from your heart . . . you understand? Hey, Sure: GET THEM IN THE THEATER. That's one thing. I don't want 'em showing up, sitting down, jacking off and splitting on the story. I don't want to make that film. I wanna make the thing that keeps 'em around even after they've come . . . what happens when you come? You're done, you wanna split. My idea, my goal: Suck 'em in with the story . . . they'll squirt their load and sit in it . . . Just To See How The Story Ends. Sometimes we make these films, we wanna make people laugh a little, then get into it and fuck heavy: That's good and that's fine. But I got a dream of making a film that's true . . . true and right and dramatic. DIRK . . . Right . . . right . . . I understand. AMBER Don't listen too hard to all this, honey . . . it's just nice in theory. JACK It's a dream to be able to find a cock and an actor. ROLLERGIRL Dream, dream, dream, dream, dream. DIRK If you don't have dreams you have nightmares. HOLD. Amber, Jack and Rollergirl look at Dirk. CUT TO: 24 INT. JACK'S HOUSE/LIVING ROOM - NIGHT CAMERA DOES A 180 AROUND THE MAIN PART OF THE HOUSE, LANDS THE ANGLE WITH DIRK. He's sitting on a couch, hands folded across his lap. OC we hear Jack, Rollergirl and Amber moving about and talking. JACK (OC) Did you want a Fresca, Eddie? DIRK No thanks. JACK You're sure . . . ? ROLLERGIRL (OC) . . . you're out of limes, Jack. JACK (OC) Check in the studio fridge . . . AMBER (OC) I'm going to bed. JACK (OC) Good night, honey. AMBER (OC) Good night, Jackie. Don't stay up too late. Good night, Eddie. I'm glad you came by. She leans into FRAME and gives Dirk a good-night kiss. AMBER You're great. DIRK Thank you. CAMERA PANS WITH AMBER AND LEADS TO AN ANGLE WITH JACK. HOLD. JACK She's the best, Eddie. A mother. A real and wonderful mother to all those who need love. DIRK (OC) She's really nice. JACK So what do you think . . . I think we ought to be in business together. DIRK (OC) . . . yeah . . . ? JACK What do you think of Rollergirl? DIRK (OC) She's . . . she's really great . . . JACK Would you like to get it on with her? DIRK (OC) Have sex? JACK Yeah. DIRK (OC) Yeah, I'd love to. I mean, yes. She's . . . she's really foxy. JACK Bet your ass she is -- Rollergirl enters back into the house. CAMERA SWING PANS OVER: ROLLERGIRL You're officially out of limes, Jack. JACK I'll get you some more tomorrow. Come over here a minute. Sit next to Eddie on the couch there. ROLLERGIRL Here We Go! Are We Gonna Fuck? JACK Yes you are. ROLLERGIRL Oh, wait, wait, wait, then. She rolls over to the Hi-Fi system and picks a record. She sets the needle on the turntable and rolls over to the couch -- in one swift motion ripping her clothes off. ROLLERGIRL You ready? DIRK Are you? ROLLERGIRL Ohhh-yeah. They kiss. They lean back on the couch. Dirk stops a moment. DIRK Are you gonna take your skates off? ROLLERGIRL I don't take my skates off. DIRK Okay. ROLLERGIRL Don't fucking come in me. JACK Don't come in her, Eddie. I want you to pull it out and jack off, make sure you aim it towards her face. ROLLERGIRL Fuck you, Jack. JACK Towards her tits, then. CAMERA HOLDS ON JACK. OC sounds of Dirk and Rollergirl making out on the couch. SLOW ZOOM INTO CU. ON JACK. CUT TO: 25 INT. DIRK'S HOUSE - EARLY MORNING - LATER Dirk enters quietly, walks down the hallway, passing the kitchen. His MOTHER is there, looking at him. HOLD, THEN; DIRK Hi. MOTHER Where were you? DIRK Nowhere. MOTHER Shut up. Shut up. Where were you? Dirk walks down the hall towards his room. MOTHER You see that little slut girl you see? Sheryl? Sheryl Lynn? DIRK Don't say that. MOTHER Does it make you feel like a stud to see trash like that? Huh? What is she? Your girl-friend? DIRK She's not my girlfriend. MOTHER She's a little whore and a little piece of trash . . . I know you're not the only one that she sees. DIRK What . . . what're you . . . you don't know. MOTHER I've heard things about her. That girl. Don't think I don't know what goes on when I'm not here . . . I wash your sheets, kid. I know she's been here. Or are you doing some other thing in there? With your music and your posters on the wall? CUT TO: 26 INT. BEDROOM - MORNING - THAT MOMENT Dirk's FATHER is sitting on the edge of his bed, listening the fight outside. MOTHER (OC) Why don't you go to your little whore, Sheryl Lynn. Your little GIRLFRIEND. DIRK (OC) Maybe I will. MOTHER (OC) Oh yeah? Yeah, what are you gonna do? DIRK (OC) I dunno, I'll do something. 27 INT. HALLWAY - MORNING - THAT MOMENT MOTHER You can't do anything. You're a loser. You'll always be a loser -- you couldn't even finish high school because you were too stupid -- so what are you gonna do? DIRK I'll do something . . . I'll do it. I'll go somewhere and do something, maybe I'll run away where you can never find me. MOTHER Go ahead. Go ahead and fuck that little GIRL. Dirk heads for his room, Mother follows. 29 INT. DIRK'S BEDROOM - MORNING - THAT MOMENT Dirk heads for a drawer and starts to grab some clothes. MOTHER What do you think you're doing? DIRK I'm getting my stuff -- MOTHER -- you think that's your stuff? That's not your stuff . . . you didn't pay for that -- it's not yours because you didn't pay for it, stupid. Dirk stops. His Mother looks to the posters on his wall. MOTHER None of this stuff is yours. This: She starts to rip his posters from the wall. Dirk stands. CAMERA begins a SLOW DOLLY INTO CU. MOTHER (OC) If you're gonna leave, you leave with what you've got: Nothing. Y'see . . . you treat me like this and this is what you get. That's fair. Huh? You wanna live that way? Fuck that little whore. I've taken care of you all your miserable fucking life . . . . CAMERA ARRIVES CU. ON DIRK. He's starting to cry. MOTHER (OC) . . . you pay for it . . . you owe me for all the shit I've done for you in your life . . . . you little fucker . . . you understand? Think you're gonna be this? Huh? These god damn posters -- you're not gonna be this -- you're gonna be shit . . . because you're stupid. DIRK I'm not stupid. MOTHER Yes you are. DIRK Why are you so mean to me? You're my mother . . . MOTHER Not by choice. DIRK Don't. Don't be mean to me. MOTHER You little fucker, I'm not being mean to you, you're just too stupid to see. DIRK You don't know what I can do. You don't know what I can do or what I'm gonna do or what I'm gonna be. You don't know. I'm good. I have good things that you don't know and I'm gonna be something -- you -- You Don't Know And You'll See. MOTHER You can't do anything. You'll never do anything -- DIRK Don't be mean to me. MOTHER YOU LITTLE FUCKER, I'M NOT BEING MEAN TO YOU! Dirk CHARGES at his Mother and SLAMS her against the wall. DIRK AND YOU DON'T BE MEAN, AND YOU DON'T TALK TO ME . . . . NO. CUT TO: 29 EXT. DIRK'S HOUSE/TORRANCE - MORNING Dirk CHARGES out of the house and runs off down the street. Mother appears in the doorway, watches him leave, slams the door -- CUT TO: 30 OMITTED 31 OMITTED 32 OMITTED 33 INT. JACK'S HOUSE - DAY Jack, Amber, Rollergirl, Reed, Buck and Becky. They're setting up for a pool party. Cases of beer, soda and chips all around. Dirk comes walking up towards the front door . . . Jack opens up, CAMERA PUSHES IN . . . Jack opens his arms; JACK Eddie Adams from Torrance! You made it, you made it, my darling, come on in here. I want you to meet someone -- CAMERA follows with Jack and Dirk as they move to the pool area and find Reed, who's setting up the bar. JACK Reed, honey, I want you to meet a New Kid On The Block, Eddie Adams. DIRK Hi . . . I'm Eddie . . . REED Hi, Eddie. I'm Reed. You live on this block? DIRK No, no. REED Oh, I thought Jack said you did. You wanna drink? DIRK Sure. JACK Eddie, I want you to hang out for a while, I don't want you leaving this party . . . understand me? DIRK Sure. Jack leaves. Reed looks to Dirk. REED Marguerita? DIRK Great. BEAT. Reed fixes the drink. REED Can I ask you something? DIRK Uh-huh. REED Do you work out? DIRK Yeah. REED You look like it. Whadda you squat? DIRK Two. REED Super, super. DIRK You? REED Three. DIRK Wow. REED No b.s. Where do you work out? DIRK Torrance. In Torrance, where I live. REED Cool. Cool. You ever go to Vince's out here -- no you couldn't, I would've seen you. DIRK I've always wanted to work out at Vince's. REED Here we go . . . taste that. Dirk sips the Marguerita. DIRK Rock and Roll. REED Thanks. What do you bench? DIRK You tell me first. REED You first. DIRK Same time. REED Cool. DIRK Ready? REED Ready. DIRK/REED One . . . Two . . . Three . . . . SILENCE. DIRK You didn't say it . . . REED . . . neither did you. ANGLE, POLAROID CAMERA. It sits on a table top. It's suddenly snapped up by Rollergirl. CAMERA follows her and the Polaroid out to the pool area where she snaps photos of Reed and Dirk. (Flash to Developed Polaroids.) CUT TO: 34 EXT. JACK'S DRIVEWAY - AFTERNOON - LATER The driveway is PACKED with cars now and the party is in full swing. A Big Black Cadillac comes down the driveway. A LIMO DRIVER gets out, moves to the back and opens the door. From the car steps: THE COLONEL JAMES (mid-60s). Heavy-set in a tan suit. Wrap around sunglasses. The Porno Film Distributor. His LADY FRIEND (aged 16) steps from the car and smiles; COLONEL You look great, honey. LADY FRIEND Is there gonna be coke at this party, Colonel? COLONEL Yes. Jack is right there to greet the Colonel. JACK Colonel, hello and welcome! COLONEL Hello, Jack. This is my Lady Friend. JACK Hello, darling. LADY FRIEND Do you have coke at this party? JACK Well I'm sure we can find you some. COLONEL Find her some coke, Jack. JACK We will, we will. Thanks for coming by. They exit. CAMERA follows the Limo Driver into the pool area -- CUT TO: 35 EXT. POOL AREA/JACK'S HOUSE - THAT MOMENT CAMERA follows the Limo Driver for a while, then moves away, to find; Maurice and Amber. They're sitting down, speaking. MAURICE . . . y'see, Miss Amber, I'm just a poor fellow from Puerto Rico. I have the club, yes, that's one thing . . . but soon . . . the club goes . . . I die . . . and what do I have? I've got nothing. AMBER Uh-huh. MAURICE I want something to send back home. Something to send back to my brothers and say: Look At Me. Look At The Women I've Been With. AMBER So what . . . do you want me to talk to him? MAURICE Yes . . . I mean . . . y'know . . . what do you think I'm askin' here? AMBER . . . you wanna be in a movie? MAURICE Please. Tell him I won't be bad. Please. AMBER I'll see what I can do. CAMERA moves away, through the party, to find Buck and Becky. BECKY . . . because it's old . . . it's old deal. BUCK Lemme tell you something: BECKY He was obviously pissed about the music. BUCK What's wrong with it, y'know? BECKY Look, Buck: The cowboy look ended about six years ago -- BUCK -- it's comin' back. BECKY No it's not. It's over, it's dead. BUCK You don't know what you're talkin' about. BECKY I'm just saying and it seems like your boss at the stereo store is saying the same thing -- BUCK -- what, what? BECKY Get a new look. BUCK Yeah . . . yeah . . . yeah . . . you get a new look. BECKY The look I've got is just fine. BUCK What's your look? BECKY Chocolate Love, Baby. BUCK Yeah, right. OC we hear the new song start to play. BECKY OH SHIT! TURN IT UP! I LOVE THIS SONG! Becky leaves. CAMERA moves away to find: The Colonel's Lady Friend approaches a Young Stud, who's wearing bikini-speedos and holding court over a table of coke. LADY FRIEND Excuse me . . . ? YOUNG STUD Yes? LADY FRIEND May I please join in? YOUNG STUD Most certainly. CUT TO: 36 EXT. JACK'S HOUSE/DRIVEWAY - DAY - MOMENTS LATER Little Bill and his Wife get out of his Station Wagon and enter the party from the driveway. She's dressed up. He's dressed down. LITTLE BILL Just don't embarrass me, alright? LITTLE BILL'S WIFE Fuck you, Bill. LITTLE BILL I work with these people, alright? These are my coworkers, so just -- LITTLE BILL'S WIFE Bite it. LITTLE BILL Don't make me do something. LITTLE BILL'S WIFE Ohhh . . . I'm so scared. She moves away. Rollergirl passes and takes a SNAPSHOT. CU. THE POLAROID - DEVELOPED Little Bill in sort of an angry-confused-surprised face. ROLLERGIRL What's wrong, Little Bill? LITTLE BILL Nothing. How are you, Rollergirl? ROLLERGIRL I'm fine. LITTLE BILL Is Jack around? ROLLERGIRL He's in the house. Little Bill leaves. CAMERA follows Rollergirl around as she mingles and snaps more Polaroids. CUT TO: 37 INT. JACK'S OFFICE - DAY - THAT MOMENT Jack and the Colonel are sitting, drinks in their hand. The Colonel smokes a cigar. JACK The idea is this: Amber is a director of porno films and she's down on her luck. She hasn't had a hit in a year. She's desperate. Her landlord is threatening to kick her out, so she's desperate for a big dick hit, right? COLONEL Yes. Good dilemma. JACK Yes. So she calls up all the agencies in town and says: "Send over your best actors, I'm casting a porno picture." Well, the story goes and develops with Amber auditioning various men and women . . . the whole thing wraps up with the Landlord, I'd like to get Jeremy if he's still in town to play the part -- he comes in -- the landlord says: You better pay rent or you're through. Well, Amber does one helluva suck job, ass fuck, come in the face, sort of thing and fade out - the end. COLONEL That's great. JACK There's a kid, a young man, I met him last night: His name is Eddie Adams. He's here, he's at the party. He's something special and I want to cast him. COLONEL What films has he done? JACK This would be his first. Little Bill pokes his head into the office, sees the conversation and quickly apologizes and exits. The Colonel looks to Jack; COLONEL Casting is up to you, Jack. You wanna do it? Then do it. If it has big tits, tight pussy and focus: I'm happy. You tell the stories you wanna tell, make yourself happy. CUT TO: 38 EXT. JACK'S HOUSE/POOL AREA - DAY - THAT MOMENT Reed and Dirk are swimming. Dirk gets up on the diving board. REED Do a cannonball. DIRK No, no. Watch this Jacknife. Dirk runs and jumps -- DIRK JACKNIFE. He lands in the pool and swims to the surface. DIRK How did it look? REED Great. Check this out. (gets on the board) This is gonna be a full-flip. Reed runs, jumps, goes for the flip but lands FLAT ON HIS BACK. CUT TO: 39 INT. POOL/UNDERWATER - THAT MOMENT Reed lands. CAMERA moves in on his face. He's in SERIOUS PAIN. He floats down for a moment . . . . CUT TO: 40 EXT. POOL AREA - THAT MOMENT Everyone at the party is looking . . . holding their breath and waiting . . . Reed comes to the surface. REED Ouch. The party people turn back to their conversations . . . DIRK You gotta try and bring your legs all the way around . . . . REED Yeah. 41 INT. JACK'S HOUSE/THE PARTY - DAY - THAT MOMENT CAMERA follows behind Little Bill. He's walking around, looking for his wife. He greets a few people here and there. He runs into a big guy, ROCKY (late 30s). He's a CREW member. LITTLE BILL How you doin', Rocky? ROCKY Good, good, what's wrong? LITTLE BILL Nothin'. Nothin' at all. ROCKY Do you have the schedule for the shoot, or . . . ? LITTLE BILL Yeah. You're on. ROCKY Is it here? LITTLE BILL Yeah, it's gonna be here, but it's a simple one . . . CAMERA picks up with the Lady Friend and the Young Stud with the coke . . . ZOOM after them down a long hallway towards a BEDROOM door. They close the door in the CAMERA'S FACE. CUT TO: 42 INT. JACK'S KITCHEN - DAY - THAT MOMENT Maurice and Buck are talking; MAURICE Hey, hey, hey, my point is this: BUCK What? MAURICE You know what I say? BUCK What-What? MAURICE Wear What You Dig. The PHONE RINGS. Maurice picks up the phone. MAURICE Hello? (beat) I'm sorry . . . I can't hear you that well . . . say again . . . ? Maggie? (to Buck) Is there a Maggie here? BUCK I don't know a Maggie. MAURICE (into phone) I think you might have the wrong number . . . . Your mother? I'm sorry . . . wait . . . just . . . wait . . . Maurice sets the phone down, looks to Buck. MAURICE Watch that a minute . . . . CAMERA follows him as he walks out to the pool area -- MAURICE (calls out) Is there a Maggie here? No one at the pool area responds so he walks back inside to the phone. Buck is still watching it closely. MAURICE (into phone) I'm sorry . . . there's no Maggie here. Okay . . . okay . . . no problem . . . Bye. BUCK What was it? MAURICE Some kid lookin' for his mother. CUT TO: 43 INT. BATHROOM/JACK'S HOUSE - THAT MOMENT Amber is sitting in the bathroom, on the toilet. She reaches to the window, sets aside the curtains and looks. AMBER'S POV: Looking out to the pool area. Dirk dives off the board and does a perfect FLIP in SLOW MOTION. CUT TO: 44 EXT. JACK'S HOUSE/DRIVEWAY - MOMENTS LATER CAMERA follows Little Bill. He spots six people in a semi-circle around something. He walks over -- inside the semi-circle, on the pavement, Little Bill's Wife is getting fucked by some BIG DUDE. LITTLE BILL . . . the fuck are you doing? She looks up at him, smiles. WATCHER #1 What does it look like they're doing? LITTLE BILL That's my wife. LITTLE BILL'S WIFE Shut up, Bill. WATCHER #2 Yeah, shut up, Bill. The other WATCHERS join in telling Little Bill to "Shut up." He walks away and CAMERA follows him until he's approached by a big man, KURT LONGJOHN (late 40s). He's the cameraman. KURT LONGJOHN Little Bill. LITTLE BILL Hey. Kurt. What's up? KURT LONGJOHN What's wrong with you? LITTLE BILL Ah . . . my fuckin' wife, man, she's over there . . . she's got some idiot's dick in her, people standing around watching -- it's a fuckin' embarrassment. KURT LONGJOHN Yeah. Yeah. I know. Anyway, listen: LITTLE BILL -- yeah. KURT LONGJOHN For the shoot -- I wanna talk about the look. I wanted to see about getting this new zoom lens . . . LITTLE BILL Right. KURT LONGJOHN I wondered if we'd be able to look into getting some more lights, too, y'know -- LITTLE BILL Jack wants a minimal-thing -- KURT LONGJOHN Right, well, very often, minimal means a lot more photographically than I think, well . . . then I think most people understand . . . LITTLE BILL I understand. KURT LONGJOHN No, no. Hey. I know you understand, I was talking about some other people. LITTLE BILL Well, I think what Jack is talking about is minimal, not really "natural," but minimal . . . KURT LONGJOHN OK . . . fine . . . I was just saying . . . LITTLE BILL I understand -- KURT LONGJOHN -- 'cause I'm just trying to give each picture it's own look -- LITTLE BILL Can we talk about this later? KURT LONGJOHN Oh, yeah . . . you have to go somewhere . . . or . . . ? LITTLE BILL Well, no, yeah . . . I mean . . . KURT LONGJOHN 'Cause I was hoping to, y'know, for the shoot tomorrow, we could send Rocky down and he could pick it up -- LITTLE BILL Kurt. KURT LONGJOHN No. Hey. Gotcha. You've gotta go somewhere so -- hey -- what the fuck? It's only the photography of the movie we're talkin' about -- Little Bill looks at him. HOLD. LITTLE BILL Are you givin' me shit, Kurt? KURT LONGJOHN NO, NO, HEY. No way, Little Bill. LITTLE BILL My fucking wife has a cock in her ass over in the driveway, alright? I'm sorry if my thoughts aren't with the photography of the film we're shooting tomorrow, Kurt, OK? KURT LONGJOHN OK. No big deal. Sorry. LITTLE BILL Alright? KURT LONGJOHN Gotcha. Little Bill leaves. Kurt stands alone a moment. He walks over to the driveway and watches Little Bill's Wife get fucked. CUT TO: 45 INT. JACK'S HOUSE/HALLWAY - DAY - LATER CAMERA follows HAND-HELD behind Jack, the Colonel and his Limo Driver as they walk quickly down a hallway that leads to a bedroom. CUT TO: 46 INT. BEDROOM - THAT MOMENT Jack, the Colonel and Limo Driver BURST into the room -- REVERSE ANGLE: On the floor of the room, the Colonel's LADY FRIEND is lying naked. She's passed out and she has blood pouring from her nose. The YOUNG STUD is naked, holding her in his arms. He looks up at the men who just entered. YOUNG STUD I think she's sick. COLONEL What the fuck is this? YOUNG STUD I didn't do anything. JACK Is she breathing? YOUNG STUD I don't know. I think she did too much coke? COLONEL Duh. Do you think so, smarty? LIMO DRIVER She's definitely overdosing. COLONEL Oh . . . what the fuck . . . . The four men look at the girl. The Colonel turns to his Limo Driver. COLONEL Alright: Johnny. You're gonna take care of this for me. You listening here? LIMO DRIVER Yeah. COLONEL I want you to pick her up, get her in the car, take her down to St. Joe's. LIMO DRIVER Okay. COLONEL Listen, though: You drop her off in the front, I don't want this . . . y'understand? I don't need this, here. LIMO DRIVER Gotcha. COLONEL Make sure no one sees the limo. LIMO DRIVER Got it. COLONEL Young Stud, I want you to help my driver Johnny here get her in the car. The Young Stud starts to cry hysterically. COLONEL (to Jack) What the fuck is this? (to Young Stud) Hey . . . hey . . . pal . . . get a grip, man. YOUNG STUD I'm sorry . . . it's just . . . it's just . . . . COLONEL What? YOUNG STUD I . . . I . . . I . . . . COLONEL Spit it out. YOUNG STUD This is twice in two days a chick has O.D.'d on me. COLONEL Well maybe that means you oughta think about getting some new shit, what do you think? YOUNG STUD Yes, sir. COLONEL Jesus Christ. Now be a man, deal with the situation and get her in the car. The Lady Friend starts to go into CONVULSIONS. COLONEL Y'see that, all this fuckin' conversation -- YOUNG STUD Please don't die! LIMO DRIVER C'mon, pal. The Limo Driver and Young Stud carry her naked, convulsing body to the Black Limo out front. CAMERA holds with Jack and the Colonel. JACK Close call. COLONEL Yes. They exit. CUT TO: 47 EXT. POOL AREA - DAY - THAT MOMENT CAMERA is with Reed and Dirk. They're sitting in two pool chairs, drinking their drinks and talking. A nervous young kid in red swimming trunks, SCOTTY J. (mid-20s) comes over and interjects -- SCOTTY J. Hey Reed. REED Hey -- Scotty, how are you? SCOTTY J. Y'know, y'know. (re: Dirk) Who's this? REED Eddie -- meet Scotty J. He's a friend, he works on some of the films. DIRK Nice to meet you. SCOTTY J. You too. Are you gonna be working? DIRK Maybe. REED Probably. SCOTTY J. That's great. That's great. Where did you meet Jack? 'Cause I work on the films, y'know, sometimes, that's why I'm wondering if you, you know -- JACK (OC) EDDIE! EDDIE! Come over here a minute. Dirk spots Jack calling him and stands, looks to Scotty J. DIRK Excuse me. SCOTTY J. Yeah, okay. DIRK Nice to meet you. CAMERA DOLLIES IN A LITTLE ON SCOTTY J. REED (OC) You wanna take a seat, Scotty? SCOTTY J. Uh . . . I dunno . . . is it alright? REED (OC) Yeah. SCOTTY J. Thank you. It gets a little hard mingling around . . . y'know . . . talking to people and stuff . . . it's sort of -- That kid Eddie is really good looking, huh? ANGLE, JACK, THE COLONEL AND DIRK. Dirk approaches and the Colonel smiles. They shake hands. JACK This young man is interested in the business. COLONEL Well, you're in good hands if you get involved with Jack, here. DIRK Oh yeah? COLONEL I can't give you much advice that Jack probably doesn't know, but I can advise, maybe you think about your name . . . ? DIRK My name . . . yeah . . . ? COLONEL Think about something that makes you happy, something that also gives some pizzaz . . . y'know? DIRK Right. JACK The Colonel pays for all our films, Eddie. He's an important parts of the process. DIRK Well, great. Great. COLONEL I look forward to seeing you in action. Jack says you've got a great big cock. DIRK . . . um . . . yeah, I dunno, I guess? COLONEL Can I see it? DIRK Really? COLONEL Please. Dirk unzips his pants. CAMERA on the Colonel. He looks down, then up: COLONEL Thank you, Eddie. DIRK No problem. Dirk exits. The Colonel turns to Jack; COLONEL Jesus Christ. Jesus Lord in Heaven. CAMERA picks up with Dirk, who runs for the pool and DIVES IN . . . . CUT TO: 48 INT. POOL - THAT MOMENT CAMERA MOVES IN AS DIRK LANDS IN THE WATER, FLOATS TO THE BOTTOM, THEN PUSHES OFF, TOWARDS THE SURFACE. TIME LAPSE TO NIGHT. CUT TO: 49 EXT. DRIVEWAY/JACK'S HOUSE - NIGHT (LATER) The party is coming to a close and people are trying to get in their cars and get out of the driveway. CAMERA hangs with Little Bill and his Wife. LITTLE BILL Thanks for fucking up this party for me. I appreciate it. LITTLE BILL'S WIFE Oh Fuck Off. Will You? LITTLE BILL You Fuck Off. LITTLE BILL'S WIFE Yeah, right. CAMERA MOVES TO FIND: THE YOUNG STUD AND THE LIMO DRIVER. They're sitting by the limo. The Young Stud is crying. LIMO DRIVER Hey, hey, hey. I mean: How were you supposed to know? YOUNG STUD I wasn't. LIMO DRIVER That's right. So what did you do wrong? YOUNG STUD Nothing? LIMO DRIVER Nothing is absolutely right, Young Stud. YOUNG STUD Thank you for your help. LIMO DRIVER No problem. The Colonel and Jack approach. The Colonel now has ANOTHER YOUNG LADY FRIEND, picked up from the party. COLONEL You ready, Johnny? LIMO DRIVER Yes, sir. COLONEL How you doin', pal? YOUNG STUD I'm okay, sir. COLONEL Don't worry about it. She'll be fine. YOUNG STUD She died in the limo on the way to the hospital. COLONEL I didn't hear that. YOUNG STUD What? COLONEL You never told me that and what happened, never happened. You got me? YOUNG STUD I get you. COLONEL Now go home. Sleep it off. The Young Stud exits. JACK Thanks for coming, Colonel. COLONEL Great party, Jack. The Colonel and the new Lady Friend get in the car. CUT TO: 50 EXT. JACK'S HOUSE/POOL AREA - NIGHT (LATER) The party is over. Amber and Rollergirl are inside playing cards. Scotty J. is cleaning up, Dirk and Reed sit in the JACUZZI, looking up at the stars. REED . . . you wanna hear a poem I wrote? DIRK Yeah. REED Okay. Um . . . "I love you. You love me. Going down the Sugar Tree. We'll go down the Sugar Tree. And See Lots of Bees. Playing. Playing. The bees won't sting. 'Cause you love me." DIRK That's fucking great, man. Jack approaches in a bath robe, holding a towel. JACK Howdy-boys. DIRK/REED Hey, Jack. Jack removes his robe and climbs in the Jacuzzi. JACK Good party? DIRK It was great. JACK Good. You had a good time then? DIRK Excellent time. Thank you. JACK What this place is for, right? REED Right. JACK Ahhhh . . . this feels good. Bubbles. Turn those bubbles higher, Reed. DIRK Jack . . . I was thinking about my name . . . y'know . . . ? JACK Yeah? DIRK I was wondering if you had any ideas. JACK I've got a few . . . but you tell me . . . DIRK Well . . . my idea was . . . y'know . . . I want a name . . . I want it so it can cut glass . . . y'know . . . razor sharp. JACK Tell me. DIRK When I close my eyes . . . I see this thing, a sign . . . I see this name in bright blue neon lights with a purple outline. And this name is so bright and so sharp that the sign -- it just blows up because the name is so powerful . . . . FLASH ON: A BRIGHT NEON SIGN IN BLUE LETTERING, WITH A PURPLE OUTLINE: DIRK DIGGLER DIRK (OC) It says, "Dirk Diggler." The NEON SIGN FLASHES, BUZZES, THEN BURSTS INTO AN ELECTRIC FLAME. BACK TO: 51 EXT. JACUZZI - THAT MOMENT Back to Reed and Jack. They look at Dirk. JACK Heaven sent you here to this place, Dirk Diggler. You've been blessed. Dirk smiles. Reed smiles. Jack looks up and closes his eyes. FADE OUT, CUT TO: 52 INT. JACK'S GARAGE/FILM STUDIO - DAY . . . . The film crew sets up lights and other equipment around a small "office" set. The crew consists of: Kurt Longjohn, Director of Photography. Rocky, Gaffer/Grip. Little Bill, Assistant Director. Scotty J. Is working as a utility/sound man. Jack is sipping coffee, conferring with Kurt about lighting. JACK How close? KURT LONGJOHN Give me twenty to thirty. I've got a couple tough shadows to deal with -- JACK Okay, but not too long, Kurt, right? Remember, there are shadows in real life. Little Bill approaches. LITTLE BILL You wanna go over this? JACK Yeah. Let's . . . . LITTLE BILL (reading from script) Okay. Set up is . . . here we go: 1.) Amber talking to Becky about auditions. They make the phone call to the agency to send over some actors. 2.) Enter Reed to audition for Amber. They go at it. Becky just watches. C.) Becky goes to the bathroom to jack-off and is interrupted by Amber. They get into it. E.) Enter Dirk -- (looks up) Who's Dirk Diggler? JACK The kid, Eddie, from the club. LITTLE BILL Good name. Anyway: 4.) Dirk enters. Meets with Becky. They go at it -- JACK I wanna change that -- that should be Amber. Dirk should be auditioning with Amber. Little Bill makes a note. Jack walks over to Becky, who's sitting in a chair, shaving her pubic hairs. JACK Becky, honey -- BECKY What? JACK What're you doing? We're shooting in twenty minutes. BECKY I'm shaving my bush -- JACK Now? BECKY It only takes two seconds, Jack. JACK Fine, fine. Jack continues to get everyone ready. JACK Alright everyone, let's go, let's go, we need to shoot this first scene -- we need to get one off -- CUT TO: 53 INT. BEDROOM - DAY - LATER Dirk is sitting on the edge of the bed, dressed up in a brown suit and his hair is brushed back, parted down the middle. He paces a little, does some deep breathing, looks over script, etc. Scotty J. enters. SCOTTY J. Hey. Hi. Dirk. Dirk Diggler. DIRK Hi. SCOTTY J. I'm supposed to come get you. Tell you they're ready, now. DIRK Okay. SCOTTY J. You look really good. DIRK Thank you. SCOTTY J. You look really sexy. DIRK Thanks. SCOTTY J. I like your name. DIRK You do. SCOTTY J. It's really cool. DIRK Thanks. SCOTTY J. OK . . . well . . . whenever you're ready . . . I'll see you out there. Scotty J. exits. Dirk stands, takes a deep breath. CAMERA follows as he exits the room and walks through the house and into -- 54 INT. GARAGE/FILM SET The crew is ready and waiting. Jack is there to greet him. JACK Ready, champ? DIRK Let's do this. They walk through the scene with Amber. JACK So we know the scene, we know the thing. You're gonna start outside the set, through that door, I'll call your name and action, that'll be your cue . . . come through the door, straight to the desk, right here, boom, you and Amber do the scene -- DIRK Do we go straight into having sex? JACK Is that alright? DIRK It would be better I think, y'know, so we don't break up the momentum or something -- JACK Amber? AMBER Good. JACK So we'll just go straight through. DIRK Okay. KURT LONGJOHN Are we doing a rehearsal? JACK Eddie, you want a rehearsal? DIRK It's okay . . . I can do it . . . JACK Great. DIRK Jack? JACK Yeah? DIRK . . . can you . . . um . . . will you call me Dirk Diggler from now on? JACK Yes. I'm sorry, yeah, yes. Jack exits. Amber and Dirk huddle in the corner a moment. AMBER Do you want to practice your lines with me? DIRK I know it. AMBER You look great, honey. DIRK Does he want me to keep going until I come? AMBER Yeah. You just come when you're ready . . . DIRK Where should I come? AMBER Where do you want? DIRK Wherever you tell me. AMBER Come on my tits if you can, okay? Just pull it out and do it on my stomach and tits if you can. DIRK Yeah. She touches her hand softly to the side of his face. (30fps) AMBER Are you alright, honey? DIRK This is great. I'm ready. I wanna do good. I wanna do this good . . . let's try and do it really sexy . . . you want to? AMBER Okay. Little Bill takes Dirk and walks him off the set, explaining things one last time to him . . . CAMERA HOLDS ON DIRK. Little Bill walks away and he's left standing alone a moment, waiting for his cue behind a closed door. SILENCE. HOLD. JACK (OC) and . . . action, Dirk. CAMERA blends to SLOW MOTION (30fps) and FOLLOWS Dirk through the door and into the set -- lights flare into CAMERA/DIRK and we focus in on Amber, seated behind a desk. CAMERA blends back to 24fps. KURT LONGJOHN'S 16mm CAMERA POV: Dirk enters. A light shines straight at him. He walks into a two shot with Amber at the desk. BEAT, THEN: AMBER Hello. Are you John? DIRK Yes, ma'am. AMBER Your agency recommends you very highly. DIRK I'm a really hard worker. You give me a job and I won't disappoint you. AMBER What special skills do you have? DIRK Well, I spent three years in the Marines. I just got back from a tour of duty. AMBER You're kidding? DIRK No I'm not. It got really hard being surrounded by guys all day. AMBER When was the last time you had a woman? DIRK A long time. AMBER That's terrible. DIRK But I'm back now and I'm ready to pursue my acting career. AMBER Well as you may or may not know, this is an important film for me. If it's not a hit, I'm gonna get kicked out of my apartment. My landlord is a real jerk. DIRK Really? AMBER Why don't you take your pants off? It's important that I get an idea of your size. DIRK No problem. Dirk starts to remove his pants . . . just before they come off we go to: JACK AND THE REST OF THE CREW Kurt Longjohn takes his eye away from the viewfinder for a moment. Rocky frowns slightly. Scotty J. is in shock. Reed and Becky smile. Amber looks from Dirk's cock to his face. AMBER I think that you have the part, but why don't I make sure of something . . . 16mm CAMERA'S POV: for the first time, we see Dirk's cock. It hangs about 12 inches. Amber's hand reaches and grabs hold of it -- AMBER This is a giant cock. So they go at it . . . taking each other's clothes off and climbing up on the desk . . . OUR CAMERA is hand held, moving around, looking at the crew filming and Dick/Amber making love . . . . They continue for a while. Jack whispers something to Kurt, then walks over to Dirk and Amber, quietly interrupts; JACK Guys . . . DIRK Is everything cool? JACK Hang in there, everything's cool, I just wanna change the angle -- You're doin' great. Amber looks to Dirk. They hold still; AMBER You're doin' so good, Dirk. DIRK Does it feel good? Amber smiles. Jack and Kurt have set up a new angle; JACK Okay -- we're back, we're ready -- action -- They continue for a bit, getting faster and a little harder; CU. DIRK AND AMBER they're face to face. Following in sotto: AMBER You're amazing. DIRK You feel good, Amber. AMBER Are you ready to come? DIRK Yes. AMBER Come in me. DIRK What? AMBER Don't worry, I'm fixed. I want to come in me -- Amber and Dirk come together. HOLD. They kiss and smile. JACK CUT! FUCK! YES! YES! YES! THE CREW APPLAUDS THE PERFORMANCE. Everyone gathers around. Dirk is giving hand shakes, high fives, etc. CAMERA PANS over to Little Bill and Jack who step aside a moment. Following in sotto; JACK That was great. LITTLE BILL Yes it was. What do you want to do about the come shot? We could go to the stock footage -- get a close up -- JACK It's not gonna match, we don't have a cock that big on film -- Dirk hears this and turns to Jack and Little Bill. DIRK Jack? JACK Yes, Dirk? DIRK I can do it again if you need a close-up. Everyone in the room looks at Dirk. HOLD. MUSIC CUE. CONTINUES OVER CUT AND THE FOLLOWING SCENES: 55 INT. JACK'S LIVING ROOM - NIGHT - LATER Sequence "A" The entire cast and crew together. ECU - CHAMPAGNE BOTTLES POP ECU - ROLLERGIRL'S CAMERA. she snaps POLAROIDS ECU - DEVELOPED PICTURES cast and crew smiling, holding thumbs up. Dirk in the middle. CUT TO: 56 INT. RESEDA SHOE STORE - DAY CAMERA TRACKS ALONG a row of shoes. Dirk, Reed and Scotty J. are in the store, picking some out. Dirk falls in love with a pair of half-boots, zip-up style -- CUT TO: 57 INT. HOT TRAXX NIGHTCLUB - NIGHT CAMERA BEGINS ON THE SHOES, DOES A QUICK BOOM UP TO A CU. ON DIRK. He's dancing with Rollergirl. They talk about his shoes. QUICK DISSOLVE TO: OVERHEAD ANGLE, JACK'S TABLE. Jack is eating Clams on the Half Shell and talking to Amber. The Colonel is sitting with a NEW LADY FRIEND. CAMERA begins a BOOM DOWN as Scotty J. enters FRAME and begins talking the Colonel's ear off. QUICK DISSOLVE TO: ANGLE, MAURICE CAMERA follows behind him as he shouts orders to waiters and busboys and bouncers -- QUICK DISSOLVE TO: ANGLE, BECKY She's hanging out near the bathroom with a GIRLFRIEND and flirting with some YOUNG GENT, who's a body-builder type. QUICK DISSOLVE TO: INSIDE THE DJ BOOTH. A couple young girls surround the DJ, who is a BLACK MIDGET, wearing headphones, dancing and doing coke with the girls. He sets up another RECORD on the turntable. CAMERA DOLLIES IN QUICK ON THE RECORD, NEW MUSIC CUE. CUT TO: 58 INT. MOTEL ROOM FILM SET - ANOTHER DAY Cast and Crew shooting a new film with a Spanish-theme. Jack watches Rollergirl and Dirk who are on a WATERBED. They block the scene. JACK What we can do is make it all one thing, right? You can go from being on top -- below and then move and shift to the side -- pump away there for a while, then -- Dirk gets on the bed with Rollergirl and tries a move. DIRK If she . . . Rollergirl . . . if you wrap your leg around . . . other one . . . your left leg . . . right . . . up around my neck. And over. Good. We can go right into Doggy Style. KURT LONGJOHN Is the movement of the waterbed a problem? DIRK Not at all, Kurt. Matter of fact, I dig it. CUT TO: 59 OMITTED ** Director's Note: 2nd Unit/TBA BURN TO: 60 INT. JACK'S HOUSE/KITCHEN - DAY Jack is reading "Oui." Dirk, Reed and Amber listen. JACK Jack Horner has found something special in newcomer Dirk Diggler. It's another stellar, sexual standout from Horner and Company. Diggler delivers a performance worth a thousand hard-ons. His presence when dressed is powerful and demanding . . . CAMERA DOLLIES IN ON THE PAGE, TRACKS ALONG THE WORDS. CAMERA catches glimpses of the words on the page, ". . . Diggler . . ." ". . . sexual standout . . ." ". . . supple ass . . ." Continue w/STILL PHOTOGRAPHS from the film. SPLIT SCREEN TO: 61 INT. STUDIO CITY HAIR SALON - DAY CAMERA DOLLIES DOWN THE LINE OF HAIRSTYLISTS. Dirk is getting a fluffy new hair style. Reed stands nearby and watches; JACK (VO) . . . when stripped to the bone, Diggler's more eruptive than a volcano on a bad day. Amber Waves ripe-cherry lips do a wonderful job of handling Diggler's wide load and Reed Rothchild's stiff biceps do a slapping good job with Becky Barnett's supple ass . . . THREE-WAY SPLIT TO: 62 "A CLIP FROM THE FILM, 'SPANISH PANTALONES." (16mm) This is filmed on the Motel Room Film Set. Reed is wearing speedos and a sombrero. Becky is naked. He slaps her ass. Dirk is facing CAMERA, Amber is kneeling down, covering his crotch giving him a blow job. CU. Dirk for the money shot. FOUR WAY SPLIT TO: 63 INT. HOT TRAXX NIGHTCLUB - NIGHT Dirk is disco dancing with Rollergirl and Becky and Reed. JACK (VO) . . . but it's Diggler that remains the standout in this film. It's easy to predict, after only two films, that's Diggler's suck-cess can only grow and grow and grow -- END FOUR WAY SPLIT, STAYING WITH DIRK DANCING IN THE CLUB. Dirk, Reed, Rollergirl, Buck, Maurice and Becky begin doing a DANCE NUMBER. (Complete w/choreographed moves, etc.) CUT TO: 64 OMITTED 65 INT. JACK'S HOUSE/AMBER'S BEDROOM - NIGHT Amber is on the phone. Dirk is sitting with her, holding her hand. AMBER Please let me talk to him, Tom. Please. I just want to say hello and that's all -- I'm not. I'm completely sober. I'm not -- Tom -- Tom -- Tom -- Dial tone from the phone, she hangs up -- AMBER I don't know what to do now. CUT TO: 66 INT. HOT TRAXX NIGHTCLUB/BACKROOM - DAY Maurice slips a PHOTOGRAPH and a letter into an envelope and seals it up. The VO is in Spanish, with SUB-TITLES. MAURICE (VO) Dear brothers: I'm sending you a picture -- CUT TO: 67 INT. APARTMENT BLDG./PUERTO RICO - DAY Maurice's two BROTHERS rip open the letter and check out a picture of Maurice standing next to Rollergirl. MAURICE (VO) -- this is my girlfriend. I had sex with her last night. Isn't she hot? I get chicks like this every night. CUT TO: 68 OMITTED 69 INT. KARATE STUDIO - DAY Buck, Dirk and Reed dressed in Karate-gear, are taking lessons. Buck speaks about the ancient history of Karate. CUT TO: 70 INT. DEPARTMENT STORE - DAY CAMERA TRACKS ALONG A ROW OF SUITS. Dirk picks one out, tries it on and pays for it in cash. CAMERA then PUSHES IN through a series of QUICK DISSOLVES on SUITS hanging individually on the wall. CUT TO: 71 OMITTED 72 EXT. DESERT HIGHWAY - DAY CAMERA moves with Jack's Big Van and Little Bill's Station Wagon that follows. CUT TO: 73 INT. JACK'S VAN - MOVING - DAY (music over into radio) Amber is driving the van, Buck is in the passenger seat trying to figure out why the radio isn't working and speaking; BUCK If you were to open a business specializing in, like, Super-Super Hi-Fi Stereo Equipment -- forget it, you're in the money. I mean, there's no limit to the technology that's comin' out now -- AMBER Really? BUCK That's a fact. AMBER So what's wrong with this radio? BUCK I think it's . . . uh . . . it's a wattage problem . . . yeah . . . we've got too many watts per channel going into the front two speaker . . . yeah . . . IN THE BACK OF THE VAN: Reed, Dirk and Jack are huddled, speaking intensely; JACK -- what else? DIRK That's it for now. I mean: I look at this character Holmes has come up with -- and -- look -- I just -- JACK Tell me. DIRK I don't like to see women treated that way. This guy he plays, "Johnny Wad," it's always about slapping some girl around or whatever. It's not right, it's not cool and it just . . . isn't sexy. It isn't sexy like it should be. REED We could make it more of a James Bond character. This guy that's world traveled. JACK I like that. DIRK Reed could play my partner. JACK I like this a lot. DIRK We could make it really good, Jack. Honestly. If you direct it . . . we could make a whole series, with a whole story. This is exactly what we've always talked about. JACK I know it. I know it. REED We should do this. JACK Alright. When we get back. We'll set up the typewriter and we'll see what we can come up with. I'll talk to the Colonel when we get to Vegas. But Dirk, you gotta work on him too, okay? DIRK Right, right. JACK -- if we don't put every element into this, it's just not gonna work -- DIRK Exactly. JACK Now: What's this guy's name? This character? Do you know? DIRK His name is Brock Landers. REED His partner's name is Chest Rockwell. JACK . . . those are great names. CUT TO: 74 OMITTED 75 INT. ALADDIN HOTEL/CASINO - BANQUET ROOM - NIGHT The "2nd ANNUAL ADULT FILM AWARDS." Behind a small PODIUM and in front of a packed to capacity CROWD of porn filmmakers is -- AMBER. She's about to open an envelope. AMBER And the award for "Best Newcomer" goes to . . . Yes! My baby-boy . . . DIRK DIGGLER! JUMP CUT TO: COLONEL JAMES. He's on stage, rips open an envelope. COLONEL JAMES . . . the award for "Best Cock" goes to . . . Here We Go Again . . . DIRK DIGGLER. JUMP CUT TO: A Porn Actress, JESSIE ST. VINCENT (early 20s). She opens; JESSIE And The Award . . . for Best Actor Goes To . . . I've seen his movies and I can't wait to work with him, I can't wait to get that big cock in my mouth, my ass, my pussy or any which way he'll give it to me . . . Mr. Dirk Diggler! The Audience Applauds wildly. Dirk, dressed in a jean outfit, makes his way to the stage and accepts the award from Jessie. He turns to the crowd. DIRK Wow. I dunno what to say . . . I guess. Wow. I guess the only thing I can say, is that I promise to keep rocking and rolling and to keep making better films. It seems we make these movies . . . and sometimes . . . they're considered filthy or something by some people . . . but I don't think that's true. These films we make can be better . . . they can help . . . they really can, I mean it. We can always do better -- and I'll keep trying if you keep trying so let's keep ROCKING AND ROLLING. AUDIENCE APPLAUDS. Jessie St. Vincent comes over and plants a deep, wet kiss right in his mouth; JESSIE You're hot. Amber, in the audience, sees the kiss and frowns. Dirk raises the award high above his head and does a karate move -- 76 INT. ITALIAN RESTAURANT SET - DAY (16mm) Sequence "B" TITLE CARD READS: "1978" . . . Jessie St. Vincent walks across the restaurant to the bar. Kurt Longjohn and his camera crew track with her. Dirk, in character with his hair slicked, chewing on a toothpick and smoking a cigarette, wearing a suit and sunglasses is sitting at the bar. She speaks to the Bartender (played by Maurice). JESSIE Shot of Tequila, straight up. MAURICE Yes, ma'am. JESSIE (to Dirk) I've been in this place twenty minutes, just to get a seat. DIRK You alone? JESSIE Yeah. Just visiting L.A. Some people told me the food in here was really good. DIRK Good. No, it's not good. It's probably the BEST place to eat in Los Angeles. It's excellent. JESSIE I certainly hope so. I could die of starvation before I get something in my mouth -- JUMP CUT TO: 77 INT. BEDROOM SET - NIGHT - SCENE CONTINUED IN CLIP FORM (16mm) This bedroom set is decorated as Brock Landers pad. Jessie St. Vincent unzips Dirk's pants . . . (porn music in b.g.) DIRK You said you were hungry -- JESSIE Starving. DIRK Well, go ahead and feast. She pulls his cock out of his fly, looks at it. CAMERA sees this. JESSIE Ohhh. It's true -- DIRK What? JESSIE You're Brock Landers -- CUT TO: 78 EXT. VARIOUS VALLEY LOCATIONS - DAY - FILM CLIP (16mm) TITLE SEQUENCE FROM "Brock Landers: Angels Live In My Town." Dirk is running STRAIGHT TOWARDS CAMERA in a JEAN OUTFIT. He stops, does a KARATE KICK and turns -- FREEZE FRAME. TITLE READS: DIRK DIGGLER as BROCK LANDERS Various other footage of Reed, running down the street, firing a gun and knocking people down. FREEZE FRAME. TITLE READS: REED ROTHCHILD as CHEST ROCKWELL Finally, over a WIDE ANGLE SHOT OF VENTURA BLVD; "BROCK LANDERS: ANGELS LIVE IN MY TOWN" MATCH CUT TO: 79 INT. JACK'S HOUSE - EDITING ROOM - DAY CAMERA PULLS BACK and WHIPS around from the Steenbeck image to find; Jack and Kurt Longjohn, working on the film. JACK Good, good, it's close. Let's head trim Dirk's spin, lose Reed with the revolver and switch the main title card -- it should really fly towards camera -- CUT TO: 80 INT. DIRK'S NEW HOUSE/STUDIO CITY HILLS - DAY CAMERA (STEADICAM) begins on Reed who's doing a MAGIC TRICK in the living room for Scotty J. and Becky. Jessie is oil painting. Dirk and Amber enter FRAME and CAMERA follows them through the house. Dirk is giving her a tour, explaining what type of leather couches he has, what sort of history he knows about the wood used to build the house, showing her a painting on the wall of himself that was done by Jessie St. Vincent, etc. They move into -- THE KITCHEN Maurice and Rollergirl are deep in conversation. He's trying to convince her that she should take a picture with him without her clothes on so he can send it to his brothers in Puerto Rico. CAMERA stays foreground with their conversation while Dirk shows Amber the back deck area of the house -- (Director's Note: Sound covers the four talking simultaneously.) Rollergirl stops arguing with Maurice; ROLLERGIRL Fuck it, fine, let's go. She rips off her bikini top, sets the POLAROID on the counter, hits the timer, rolls back and poses with Maurice -- CU - DEVELOPED POLAROID the image is of their waists - the Polaroid framing was too low. Dirk and Amber come f.g. and CAMERA leads them -- DIRK And around this corner is the big surprise. The main thing I wanna show you -- They move down a hallway and into -- THE GARAGE It's dark for a moment, Dirk hits the garage door and it starts to open . . . LIGHT POURS INSIDE on their faces -- DIRK Isn't it beautiful? CAMERA holds CU images of a BRAND NEW 1978 CORVETTE. It's candy apple red with super trimmed out designs, etc. CAMERA DOLLIES IN ON DIRK. AMBER You deserve this, baby. DIRK This is it -- this is the thing. This is the most beautiful thing I've ever seen in my life -- They get in the car and go for a ride. CUT TO: 81 INT. ITALIAN RESTAURANT SET - NIGHT - FILM CLIP (16mm) Dirk and Reed, in character look at each other and say; DIRK So we solved the case and the women are safe -- REED Just another day. DIRK That's right. REED C'mon, Brock. Let's go out and get some of that Saturday Night Beaver -- They smile. FREEZE FRAME. TITLE CARD READS: Directed by Jack Horner. MATCH CUT TO: 82 INT. JACK'S HOUSE - EDITING ROOM - DAY CAMERA PULLS BACK and WHIPS around from the Steenbeck image to find Jack and Kurt Longjohn; JACK This is the best work I've ever done. KURT LONGJOHN It's a real film, Jack. JACK It feels good. KURT LONGJOHN You made it fly. JACK This is the one they'll remember me by, baby. CUT TO: 83 OMITTED ** Director's Note: 2nd Unit/TBA QUICK DISSOLVE TO: 84 OMITTED ** Director's Note: 2nd Unit/TBA QUICK DISSOLVE TO: 85 OMITTED ** Director's Note: 2nd Unit/TBA BURN WHITE TO: 86 INT. ALADDIN BANQUET ROOM - NIGHT The "4th ANNUAL ADULT FILM AWARDS." Dirk walks up to the podium to accept another award. CAMERA DOLLIES IN ON EACH OF OUR PRINCIPLES SO FAR IN SLOW MOTION: Reed. Jack. Amber. Little Bill . . . then PAN to his Wife. Kurt Longjohn. Rocky. Becky. Jessie St. Vincent. Scotty J. Maurice. Buck. Colonel and another new Lady Friend. Rollergirl. Finally, Dirk. He speaks into the microphone; DIRK Thank you. FREEZE FRAME ON DIRK. End Sequence "B" WIPE TO: 87 INT. JACK'S HOUSE - NIGHT CAMERA starts on a huge banner strung across the house. It reads: "Goodbye 70's -- Hello 80's" CAMERA roams through the party. This is a bigger, better and more insane party than we have seen so far . . . . CAMERA hangs with Becky and a tall, heavy-set black guy JEROME. BECKY . . . right, right . . . JEROME Yeah . . . y'know . . . as far as I'm concerned, it's about love. Y'know? You love someone and how hard can the world be? I mean, people will come and go and so will problems, and ultimately, if you have love on your side and in your soul, whatsa problem gonna be that takes your attention away? Y'understand? BECKY I do . . . I do. That's really sweet. JEROME My name's Jerome. BECKY I'm Becky. JEROME Nice to meet 'ya, Becky. BECKY What do you do? JEROME I'm in the auto industry. BECKY Really? JEROME Yeah. I'm regional manager for "Pep Boys." BECKY That's great. JEROME You've got a nice smile, Becky. BECKY Thank you. CAMERA hangs with Kurt and Rocky who are discussing technology and the future . . . CAMERA hangs with Reed, who's doing some Magic Tricks for Jack and explaining some facts about "the world of illusions." CAMERA hangs with Dirk and Jessie St. Vincent. JESSIE Because sometimes I feel like an outsider to the whole thing. Y'know . . . I see you and Amber and your relationship and I dunno -- DIRK No, no, Jessie. You shouldn't feel like an outsider. JESSIE I know my tits aren't as big and I know my pussy isn't as tight as all the other girls in this industry but I still feel like I've got something that works -- I can paint, too. DIRK Yes. Yes. Yes. JESSIE I dunno. I was just never really secure. When I was a kid, I was never really secure with myself that much -- I guess that's why I try and act like I'm all care-free and everything. DIRK I know what you mean, sometimes I'm like, "What am I doing?" "What the hell is wrong with me?" Y'know? JESSIE I know, I know. DIRK But then . . . I think . . . JESSIE -- it's just fun. It's great. DIRK It is. It's the best. I mean, look: I couldn't be happier than where I am today, right now, at this moment. JESSIE You are so fucking awesome, Dirk. DIRK Who says you don't have a tight pussy? JESSIE I don't know. No one, I guess. CAMERA hangs with Scotty J. and Amber. He re-counts; SCOTTY J. So I was all, "What's your problem?" And he was all, "Nothing." So I was like . . . really . . . y'know . . . I was fuckin' pissed, Amber. So then I was all, like, "What are you gonna do?" Y'know? And he was all, like acting tough, y'know, with his friends around and stuff. So I was just all . . . like . . . "Forget it." And I walked away. Amber's attention moves to Dirk talking with Jessie St. Vincent. AMBER Excuse me, Scotty. CUT TO: 88 INT. JACK'S HOUSE/KITCHEN - NIGHT CAMERA hangs with The Colonel, a NEW LADY FRIEND, who's doing some coke from a bowl and Maurice, who's begging for a part in a movie. The Colonel's attention turns across the room; COLONEL'S POV: A tall man in a white suit, FLOYD GONDOLLI (mid 50s), is standing with two dirty-looking BOYS and two similar GIRLS. The Colonel walks over, CAMERA WHIP PANS over to Floyd Gondolli; FLOYD The Colonel! COLONEL Floyd Gondolli, great you could make it . . . great . . . great . . . great. FLOYD How are you? You look happy. COLONEL I'm fine. FLOYD Meet Boys: Tommy and Pete. Meet Girls: Angie and Cyndi. TOMMY/PETE/ANGIE/CYNDI Hi. COLONEL Hello. Happy New Year. FLOYD These are the next stars . . . the real people in the world. COLONEL I think we should do that talk with Jack now, whadda 'ya say? Maybe iron this thing out before we start the new year . . . FLOYD Let's do it. Floyd turns to the kid he is with and speaks very slowly to them; FLOYD Tommy-Pete-Angie-Cyndi. Uncle Floyd is gonna split for a minute to do a little business talk. The Colonel and Floyd walk away. CUT TO: 89 EXT. POOL AREA - NIGHT - THAT MOMENT Dirk is talking with Jessie St. Vincent. Amber comes over and takes a seat on Dirk's lap. DIRK Hey, Amber. AMBER What are you talking about out here? DIRK Nothin'. AMBER Do you wanna come with me for a little while? DIRK Where? AMBER A surprise, surprise, surprise. DIRK Let's go. They excuse themselves from Jessie and walk off into the house. Jessie looks across the party and sees Buck. CAMERA moves away, towards him -- He's sitting alone, wearing a new-style, Commodores look. A few beats later -- Jessie enters frame. JESSIE Hey, Buck. BUCK Hey, Jessie, how ya doin'? JESSIE You sitting alone? CUT TO: 90 EXT. JACK'S DRIVEWAY - NIGHT - THAT MOMENT A guy in white jeans, black leather jacket, TODD PARKER (late 20s). He exits his 280z and flashes smiles at various party people. CAMERA follows him to the POOL AREA where he sees; REED Todd Parker. TODD Rockin' Reed Rothchild. REED You made it -- TODD Yeah . . . yeah. This is an amazing party. Fuckin' chicks everywhere. REED You bet. TODD I wouldn't mind havin' some of that action over there -- Todd points out a BIKINI PARTY GIRL. REED Want me to introduce you? TODD Sure. Introduce her to my lap. REED You got off work? TODD I don't dance Sunday nights. Who's Corvette is that out in the driveway? REED It's Dirk's. TODD That car is jammin' -- Nosed, Racked, Dual Camms, Ten Coats of Hand Gloss, Candy Apple Red Laquer -- WHOA. CUT TO: 90A EXT. POOL AREA - THAT MOMENT Buck and Jessie St. Vincent sitting/talking. BUCK I'm pretty happy with it . . . JESSIE . . . It's a great look for you, I think. BUCK It's sort of original, I think. JESSIE Right. BUCK What were we talking about before? JESSIE Um . . . oil painting . . . ? BUCK No . . . yes, I mean . . . but we were talkin' about . . . JESSIE Oh! Oh! "Sunsets." BUCK Oh yeah! I was saying: I like sunsets too . . . but . . . JESSIE Sunrises are better. BUCK Exactly. JESSIE I thought I was the only one who thought that. BUCK I think that. JESSIE I never thought we'd have so much in common, Buck. BUCK Yeah, yeah . . . hey, have you ever heard of my stereo system? JESSIE No. BUCK Y'know I'm thinking of opening my own business -- JESSIE Really? BUCK It's my dream. Hi-Fi Stereo Equipment at a discount price -- it's called "Buck's Super Stereo World." JESSIE That's a fucking great idea. CUT TO: 91 INT. JACK'S OFFICE - MOMENTS LATER Jack, Floyd Gondolli and the Colonel sitting. FLOYD