‘ALL THAT JAZZ FADE IN IN_BLACK the single TITLE in WHITE appears: "ALL THAT Jazz" FADE OUT TITLE CROSS FADE FROM BLACK: ECU DOCTOR'S HANDS, SYRINGE AND NEEDLE. 1. An injection — into an arm, EMERGENCY RESIDENT (V.0.) Feeling any pain now? JOE (V,0.) (quite drugged) see. CUT TO BLACK: HALLUCINATORY DRESSING ROOM. JOE GIDEON AND ANGELIQUE. 2 NIGHT. STILL IN BLACK. We HEAR @ pop tune sung by a contemporary female vocalist (MeTissa Manchester or Carly Simon, etc.) We are in a strange limboesque dressing room. ‘There is a high wire strung ten to twelve feet above the floor. Suddenly an arc bangs in: Subject: Joe, who is walking the wi. JOE (as he's waltzing) To be on the wire is liz: rest is waiting. the We hear Angelique applaud. CAMERA PANS down to include Angelique. She is strikingly beautiful and is dressed in next year's Vogue high fashion. Her voice is soft, gentle, seductive. ‘Throughout, she never takes her eyes off Joe pr totally attentive. Along one side of the dressing room is a rack filled with costumes both male and female. ANGELIQUE That's very theatrical. JOE (swings down off of wire) Yeah, I know,CONTINUED 2 He crosses to dressing table which is filled with every conceivable kind of make-up and props. ANGELIQUE Did you make that up? JOE Wish I had. By now he is seated at the table and tries on a rakish cap. . JOE What do you think? ANGELIQUE (with a slow smile) I like it... JOE Moommmn. No. (discarding cap, picks up opera hat, pops it open, puts it on, strikes a pose) Bow about this? ANGELIQUE (smiling again) Stylish... .ve: stylish, Joe. (pause But I've seen it before. JOE ? Where?.,.Yeah? She smiles and nods, With a gesture of rejection, he dis- cards the opera hat. ECU JOE. JOE (very determined) This has gotta be the best one yet. MUSIC OUT ABRUPTLY FADE TO BLACK -- PADE UP _INMEDIATELY To: SLCC, == FADE UP IMMEDIATELY TO: INT. JOE'S BEDROOM. ECU HAND AND CASSETTE MACHINE, 3 Day, He slips in a cassette and we HEAR Vivaldi 5 Concerti.3a CONTINUED 3 THE MUSIC CONTINUES THROUGH TO: INT. JOE'S BATHROOM, ECU JOE'S EYE. DAY. 3a The aye is bloodshot. Joe's hand lifts a bottle of Visine. ee the drops go into the eye. ANOTHER ANGLE IN BATHROOM. CLOSE SHOT OF GLASS. an Alka Seltzer fizzles. aand reaches in, lifts out the glass. ANOTHER ANGLE IN BATHROOM. Joe takes an ice cold shower, ANOTHER ANGLE IN BATHROOM, ECU PILL CONTAINER. We clearly read the prescription label that says: Dexedrine 5 mg. We also see: Joseph Gideon, 61 W. 58, Dr. Hyman. Joe's hand reaches in, palms several pills; he swallows, aided by a long pull’at a coffee mug which rests on a sink, ANGLE INTO MIRROR. Combed, bright-eyed and bushy-tailed, he smiles at hime self in the mirror. Arms outstretched. JOE It's show time, folks! FADE TO BLACK -= FADE UP IMMEDIATELY TO: NEW MUSIC -- INSTRUMENTAL 4 INT, IMPERIAL THEATRE, STAGE AND WINGS. BOY AND GIRL DANCERS, JOE, MURRAY, GRETCHEN. DAY. A_SERIES OF DISSOLVING sHOTS: A typical Broadway musical ensemble audition -- 'a cattle call.'| In this case it is an audition for a new Broadway show, *NY/LA," to be directed and choreographed by Joe Gideon. There are dancers e here, crowding the wings, every available backstage afes-e sil trying to learn the audition combination, taught by Joe's assistant, Gretchen. The dancers are having trouble seeing and finding space to dance. ‘They bump into one another; curse themselves and the people flanking them, and the steps. As DISSCLVES Progress and Joe makes his eliminations, dancing neverCONTINUED 4 stops, the same dance combination being performed as the EEgBet of candidates is reduced fron the criginal couple of hundred. After the final DISSOLVE we end with a dozen girl dancers in line and a dozen boy dancers waiting in the background, also in line. ACROSS JOE TO LINE OF GIRL DANCERS. MUSIC CONTINUES. CAMERA tracks down line of twelve girls. Joe pauses to speak to each in turn, He reads from audition cards. Joe Gideon is a man who has developed a specific image. Dressed in casual black clothes, he is a chain smoker with a cigarette constantly drooping from the left corner of his mouth, He is unusually energetic -- seems to dart swiftly from place to place. His emotions change rapidly without transitions. Laughing, joking one iioment -- then suddenly angry (usually directed toward himsel£) but always accompa~ nied by a hyper-nervous energy. NOTE: SOME OF WHAT JOE SAYS TO THE GIRLS IS UNHEARD BEAYED IN DUMB SHOt Beeeeee ae Joe has brief DUMB SHOW exchanges vith che first tvo cirls. When he reaches the third, a very tall knockout, Victosic he indicates more than ordinary interest. MUSIC UNDER (LIGHT PERCUSSION) JOE (referring to card) Is this your home phone on the card? Victoria nods and smils MUSIC UP. |» Their eyes hold for a moment. Joe moves on to a nervous black girl, Astrid, There is a brief DUMB SHOW exchange. Then: MUSIC UNDER. JOE ++eTHE WIZ? ASTRID (after a long pause) Mr. Gideon, I've never been in THE WIZ or any show in my life... (MORE)CONTINUED 4 ASTRID (contd) I had to put something on my card. T really need-s Jobs oot owe Julliard a thousand dollars...so I lied. JOE That's OK, Astrid, I lie all the time myself. MUSIC UP. Joe moves on to the next girl. She is perspiring from the recent effort and nervousness, In DUMB SHOW there is an exchange between them as he takes a towel from across his shoulder and gently pats her forehead. He moves on to the next girl, Joan, After a brief exchange in DUMB SHOW: MUSIC UNDER. JOE And who was the director of TRAFFIC JAM? JOAN You were, Mr, Gideon. JOE How was I? JOAN Terrific. JOE And who was the choreographer? JOAN You were, Mr, Gideon, JOE How was I? JOAN Fantastic. JOE (to ali the dancers) Now, that's how to get a job. MUSIC UP. There is a DUMB SHOW exchange with two more girls 7 he ee by a terrible paroxysm of coughing. Then:Revised 3/1/78 6. CONTINUED: 4 MUSIC UNDER. JOE ++.8xcuse me, coughing is the only exercise I get. MUSIC UP. In DUMB SHOW he interviews two more girls, moves on to the next. With the gentleness of a beautician, he sweeps her hair back to another look. JOR Beautiful. ‘That's the way you should wear your hair. GIRL Yrom now on I will, Mr. Gideon. (CONTINUED)CONTINUED 4 MUSIC. OUT. ANOTHER ANGLE. JOE AND DANCERS. Joe addresses entire group. JOR “Te-you"just—stay—in—tine—fow. a stinate—volli-make—ous—decisions. Look, there are only twelve jobs +80 some of you have to be dis~ appointed. But, please, if you don't get the jobs promise me you won't go home, kick the dog and beat up your children. Ad lib laughs and nods of assent from entire group. Joan puts up her hand. JOAN Mr. Gideon, suppose we do get the job? JOE Go home, kick the dog and beat up your children, Big laugh from all. WIDE ANGLE TO INCLUDE STAGE AND ORCHESTRA. 5 ‘The dancers remain on stage. in the orchestra scattered about within the first ten rows are producers Jonesy Hecht, Ted Christopher, Larry Goldie; lyricist/composer Paul Dann; Production Stage Manager Murray Nathan, Toward the rear of the theatre sitting together on an aisle are Audrey Paris, Gideon's ex-wife and star of "NY, and their daughter, Michelle Gideon, ten years ©) J ps_from the stage across the pit into an aisle. CLOSER ANGLE TO CARRY JOE INTO GROUP. A second after landing he begins massaging his left hand. ABRUPT CUT TO: HALLUCINATORY DRESSING ROOM, JOE AND ANGELIQUE. NIGHT. § Joe is trying on a large clown nose that lights up. Angelique is seated where we last saw her, Joe blinks the nose on and off. In background we HEAR off-screen LAUGHTER.Revised 8/1/78 8, 6 CONTINUED 6 JOE Nowi That's what I call a real drinker's nose. Angelique smiles. Joe locks at himself. JOB You know what you get when you give a drunk a pot of black coffee? (pause) A very alert drunk. ANGELIQUE Who is also heavy into speed. - Sleeps with a great many women. JOE Stays awake with a great many women. - Awake.” Sleep? Sleep? I don't Gven sleep with me. (pause) A real turn off, huh? ANGELIQUE ++ee-just the opposite. LAUGHTER OUT. 7 RESUME THEATRE. 7 The group has gathered together except for Audrey and Michelle. Joe hands Murray all the audition cards SESeEE one which he tucks into his back pocket. Murray a clipboard. JOE I'll make up my mind about the boys later, but I know which girls I want. (pointing to stage) Roxanne, Astrid, Carol Ann, Marie, Joan...and Victoria. DANN: (disbelieving) ++ Victoria?... JOE (tiding over) ++And find out if any of the other ones. are interested in being a swing dancer. *7 CONTINUED : 7 DANN Victorial? She can't sing a note. She's tone deaf, Joey. JOE With those legs, who cares? CHRISTOPHER Look, Joey, I know I don't know that much about dancing; but does she even dance as well as some of those other girls? JOE She will, t-promiser He starts up the aisle as Murray comes flapping after him. MURRAY Joey, t-hnew-ypeulec—in—a—hurcy and-I don't want to bother you, but I just want to check the schedule. The dancers go into rehearsal a week from Monday and then the other actors and the book start the following week? JOE Same as always, Murray. Murray scurries to the stage. Joe starts to go and Hecht gestures him back. HECHT Joey..,one minute. Can we talk? Joe returns to the group who have been conferring urgently. By now Murray Nathan is on stage and in background we hear him dealing with the chosen dancers. The others will disperse. MURRAY {to male dancers) Gentlemen, Mr, Gideon will make up his mind in the next couple of days and you'll be notified by phone. Thank you so much for coming. (the men begin dispersing. Ee turns to the women) (HORE) HECHT What about Diane? I had her in three shows and she was wonderful. (Christopher nods, all ad lib agreement) DANN At least, she can sing. (MORE)CONTINUED MURRAY (contd) Ladies, Mr. Gideon has elected Miss Carter, Miss Braithwaite, Miss Steni: Miss Chapwick, (Miss Chapwick squeals with delight and hugs Miss Stenis) ++-Mise Hanson and Mise Porter. Mz. Gideon would like you to know that he has made his selections on the basis of types and the show's needs, The fact that you did not get the job is no reflection on your talent. 1o. DANN (contd) Now I don'thave a soprano. You left me without a soprano, I gotta have a soprano. JOE Paul,..the tall guy in the back...the one with the blue eye shadow...believe me, he'll hit the high notes. (Joe glances - to the stage) JOE'S POV, THE STAGE AND PEOPLE. The rejects have begun to leave with varying attitudes of despondency. RESUME JOE. A moment of sympathy, even a slight groan to himself. Joe once more starts to go, leaving a frustrated, bewildered group. MURRAY (contd) If any of you are interested in being the swing dancer would you please remain and move over there a moment. I'LL be right with you. (three girls move SR and stand waiting, the others exit) DANN I never know if he's kidding me or not, HECHT And neither does he, ANGLE TO INCLUDE JOE, AUDREY AND MICHELLE. He pausi Michelle's lap. MURRAY (contd) (when just the six remain) Rehearsals being a week from Monday. Ten o'clock at Broadway Arts. Mr. Gideon (MORE) on his flight up the aisle, grabbing a jacket from JOE (to Audrey) The six that Murray is talk- ing to -- these—ere—the—ones Sans. Okay with you?Revised 8/1/78 il. CONTINUED 7 MURRAY (contd) MICHELLE would like you to bring That tall girl, Victoria, ballet shoes and character she's so-o-o pretty. shoes. Everyone will start at basic Equity minimum. Joe looks at Michelle. * AUDREY +++Pine with me. * ANGLE IN THE WINGS. TWO GIRLS. Two of rejected girl dancers are changing in the wings. speech continues in background. YOUNGER GIRL DANCER Ob, fuck him, He never picks me. OLDER GIRL DANCER aoney Tala fuck him, and he rt . never picks me either. RESUME THEATRE. Joe leans over to give Michelle a kiss on the cheek. As he does so: MURRAY (contd) + oes AUDREY You should call our company What about this weekend manager, Mr. Larry Goldie, with vou and Michelle? * at 555-6818,,,that's 555- 6813 and he 11 arrange JOE for you to sign your contract. 0h, Jesus, Audrey, I * We would appreciate you doing gotta work this weekend. this as soon as possible. MICERLIE (obviously disappointed) That's okay. JOE Sorry, Michelle. * MICHELLE That's okay, He continues up the aisle. EXT. 44TH STREET. OUTSIDE STAGE DOOR. DAY. 8 Joe moves from the stage door in a big hurry. Reaching for a pill container, he quickly swallows several dexedrine tablets. A few steps later he suddenly stops.REV-LE/ a 1/18 12. (CONTINUED) 8 (CONTD) JOE (with Michelle on his mind) Oh, ... some kind of Father. He reverses his direction with the same urgency. INT, THEATRE. THE GROUP. 9 On Joe's re-entrance he finds Audrey and Michelle surrounded by the production staff. Audrey is conducting a spirited defense of Joe From the rear, 3 selection of Victoria. HECHT I don't want to sign that girl. DANN If she's in the show, I'm out ... I walk. AUDREY Listen Paul, if you're smart you'll do exactly what he wants you to do. Trust him. He's made an awful lot of money for all cf us ... all of us before and believe me, he'll do it again. Now if he wants to hire that girl you hire her and if he wants to hire a three-headed gorilla go out and find one and hire it. Joe, who has overheard, interrupts. JOE Auérey, c'mere. TWO SHOT. JOE AND AUDREY. As they meet in the aisle: JOE (smiling and whispering) You know I love you. (she nods) And we had a terrific marriage ... AUDREY © 2 te (nods) a+. until you screwed it up. JOE (nodding) until I screwed it up. You're @ great star and you're gonna be fantastic in this show ...9 (CONTINUED) 13. 9 (CONTD) AUDREY You don't think I'm too old for the part? JOE No, no, c'mon .., you're kidding AUDREY Have you worked on the script? JOE Of course I have. AUDREY You're lying. JOE Yes. AUDREY it needs a lot of work. Some ose lines are just terrible. e don't make me say them. JOE Audrey, I promise you by the first script reading I!ll have it all fixed, all rewritten ... Now you made me forget my point. AUDREY (as he said it) We had a terrific marriage. JOE Yeah, that's right. Now do me one small favor, please ... AUDREY What is it? JOE Stop being my mother! Now watch me do my father bit. (turning to Michelle, smiling) Hey, Michelle, about this weekend. If you don't mind hanging around the cutting room ... I'll have you picked up after school Friday ...Rev.10, 27/7 13a (CONTINUED) MICHELLE Will I get to see some of the movie? JOE sure. He checks Audrey's eyes expecting to get approbation and gets it, Once more he starts back up the aisle; Audrey catches up to him. AUDREY (smiling) Joey? (pause) That Victoria?? (pause. She buttons the top button of his shirt) Rotten! ! JOE (smiling, unbuttoning the same button) I know, I know. He exits. 9 (CONTD)10 14. ABRUPT CUT TO: ae HALLUCINATORY DRESSING ROOM. JOE AND ANGELIQUE. WIGHT. 10 Locking into the mirror, he's trying on a long-haired rock- star wig. Off screen we HEAR a female belter singing "A Scod Man Is Hard To Find." JOE (into mirror, with some regret) Ah*h-h. I screwed up that marriage because I cheated...ch, man, I cheated every chance I could get. CU ANGELIQUE. Deliberately she puts on a pair of horn-rimmed glasses. ANGELIQUE Now, why don't you just lie down and we'll talk about that little problem, JUMP CUT: Joe is now lying on an analyst's couch, Angelique seated behind him. ANGELIQUE (geod-naturedly, a la analyst) All right, we'll start with simple word association. JOE oh, I like playing that. ANGELIQUE Marriage. JOE Serewed up. ANGELIQUE Family. JOE Serewed up. ANGELIQUE work. JOE All there is.10 1s. CONTINUED 1o ANGELIQUE Women. JOE (rapidly) Music, poetry, -firewerks, laughter, bright lights, hips, legs, breasts, neck... (begins slowing down: Lips.. éreten. : (pause) aa ++ sHOpe.. ANGELIQUE (after a pause) Beauty. A long pause, he turns slowly, points directly at her, The looks hold for a moment and then she resumes. ANGELIQUE Mother. es oniasieey— —penEzQUa- roches, JOE Fat...jolly... (pause) ANGELIQUE Father. JOE vaudeville. ANGELIQUE Father. JOE Liar, cheat, womanizer, have liked him. Well... (claps his hands) I feel better already. How much do I owe you, Dr, Xronkheit? «You would ANGELIQUE (smiling) Just your life.10 nn 16. CONTINUED lo JOE Hmm, You work a lot cheaper than most analysts. MUSIC OUT, INT, CUTTING ROOM, CLOSE SHOT TRIPLE HEADED n STEENBECK, LATE AFTERNOON. on the three screens we see clapper slates and hear voices announcing take numbers. Slates say THE STANDUP. SCENES TIRE Ce binectarr Joe Gideon, Cinematographer: —Korthaze i we CUT into’a nightclub where the star of the film, Davis Newman, is performing a monologue. Davis wears jeans and a work shirt and is smoking a cigarette. During the ensuing we will see either the three different angles at once or will isolate each angle. DAVIS If I were God and sometimes I think I am...depends on... (takes a long hit from cigarette, pretending it's | grass..,and maybe it i Okay. -46 7 were God, man, every- body would live forever! No death man! No pennies on the eyes for anybody. (pause, looks shcughtiul) Well-1-1, there are a couple of people,..like my agent who boo me into this toilet... (pause) Man, I tell ya there are two things in life that are extremel difficult to avoid...Death and tno slap. So far I've managed to avoid one of then, (indicates an Unsmiling Man who sits zombie like at a ringside table) This cat has also managed to avoid one...the clap. One of § for at least part of the monogue includes Rimberly » the co-star of The Standup, sitting with another girl at a ringside table, She is watching Davis with open admiration, At some point we will hear the following dialogue in that ANGLE. ca11 Revised 8/1/78 17, CONTINUED a KIMBERLY He's cute. I'd like to meet him. * WIDER SHOT. Sitting at the Steenbeck in the cluttered cutting room are Joe and editor, Eddie Lerner. Joe has a cup of wine and never stops chain smoking. Also working in the room is an eager, long-haired youth, Jonathan, the assistant editor. At the rewind table is apprentice Stacy St. John, a shapely, pretty 19-year old. Although we continue the monologue here in its entirety, it will be seen in bits and pieces against the scene. DAVIS You know, man, Death is really a hip thing now. It But we all have ve: feelings about i for instance, man, to a Catholic...Death is a pro- motion! And to Billy Graham -man, he's really something ali Somebody finally pinned Billy down said, ‘Dr. Graham, what is Heaven really like?' Billy-Baby responded instantly, ‘In Heaven,' he said, ‘there Ro sex but a lot of golf. At the end of the word “golf,” (another hit: Joe manipulates the Steenbeck on cigarette) and reverses the film back to “really something else. He reruns the joke to the ‘same place, stops the machine and repeats the action, then allows the film to continue. DAVIS (contd) Z happen to know that Billy gets off on putters.,.Then there's our reaction to Death. Like Lenny Bruce said, You're working in a garage, see guy comes in and says, ‘Guess what, man? Charlie's been hit (MORE) (CONTINUED)a 1s. CONTINUED n DAVIS (contd) by a truck and he's dead.’ and you say, 'Oh my God! Charlie's deaa't conte Belteve tee Tstarts ‘sopbing) ‘dow can Charlie be dead? 1 saw him just last night...Charlie's dead! How can I live without Charlie? My best friend, man. I love Charlie. What am I gonna do without him?! (pause, tears dry up) Then, man...a chick with big boobs anda short skirt walks in and says, ‘Charlie's dead,' and you say, 'Who's Charlie?" That's it for Charlie, man. (pause, he lights another cigarette) There's all this bullshit Cae Death with dignity, man. know what Death with dignity is? +seyou don't drool. (pause) Oh, yeah, man. Death is really in. Books, magazine articl TV shows, lectures, Ken and Barbie dolls who have a mitual suicide pact, There's this lady in Chicago, man...wzote a book... Dr. Kubler-Ross. Now this chick, Man...without the benefit of dying herself, has broken the Process of Death into five stages. (ticking them off) Anger, Denial, Bargaining, Depression, Acceptance. Sounds like my Jewish law firm, (pantomimes answering phone, assumes Jewish accent) Good morning, Anger-Denial. (back to normal delivery) Okay, man...so here you are. You know you're going to die in six months... (assumes a pose, holds up one finger) One: Anger. (exploding in terrible rage) (MORE)il 13. CONTINUED n DAVIS (contd) Jesus Christ, Goddamn, son-of- Sebitch, mother-fucker... ———“(tlicks weist effeminately) Oh POOls.. (breaks out of anger) Now...if you work this first stage right, man, you'll have apoplexy and never have to go through the next i four stage However...if you should happen to get Ose (holds up two fingers) Denial. (totally negates any possibility of Death) No, not me, no. Couldn't possibly be'me. Somebody else maybe...but not me. How about my mother, man? She's old, I'm weaned, I'm toilet trained...I don't need her anymor' Goodbye, Mom, You've been terrific ++-but not me. Up three fingers) Three: Bargaining. (100Ks up to God) Psssst....Look, man, let's sit down and’talk this over like businessmen...a negotiation. Okay? I do not want to haggle. You'll find me a reasonable man, man. ‘Two: (pause) The blond...you know, the one on East Sixty-third Street I see on Tuesday nights...gone, finished, I'll never see her again. No more hard drugs... A little grass...maybe?. And, man, I promise I won't flash on subways anymore, Sol Have we got a deal? er (pause) Rry—ite—secien What?,..0kay. I'll screw my wife at least once a month, ‘ppeEs- Man, do drive a hard ‘het—new,—Joo2 bargain! _ jolds up four fingers) Four: Depression.n CONTINUED DAVIS (contd) (he becomes infinitely depressed, holding his head and pacing) Boy=oh-boy-oh-boy, man, I'm dying. , am I dying! Oi weh, am I dying! Nobody's dying but me doctor's not dying. Fourteen thousand dollars for seven enemas, man. He's alive in Florida! And I'm dying! Oh boy, oh boy. ‘Tm paying two hundred forty dollars a day for this hospital room... (thinks it over) At those prices, man, who can afford to live? So... (holds up five fingers) Acceptance. I accept. Receptyalis to the floor n a corpse-like 20. ei JOE “Tete deine He sewer It's Lonee lousy. md I directed Tele ‘ousy. EDDIE Oh, no...no, Joey, you're wrong. I think he's funny. I think he’s very funny. ‘The whole thing is funny. JOE (pointing to ‘Steenbeck) Why does he have to sumble like that? (pause) position) ‘11 tell you why, Because I’m an asshole and I let him Spot light fades. He's in mumble like that. BLACK. (be hits off-switeh on Steenbeck) JOE (contd) Let's try the long shot. Eddie examines coding number and calls to the assistant. EDDIE Jonathan, pull out 421D...No, that's BeesEe Joe crosses to the rewind table where he keeps his bottle of wine. Stacy is rewinding a reel of film. Joe entangles her in a seductive embrace from behind, reaching for wine. JOE Excuse me, Stacy. way of my wine. (smelling her hair) Qocc, Stacy. You smell so. You're in the ++.80 good, What is that you're wearing? STACY Joe-ey. You ask me that eve: day. It's Shalimar, ema 12 ah. CONTINUED wu JOE oh, that's right. It's Shalimar. (goes back to Steenbeck, starts running film) Stacy wears Shalimar ail the time, EDDIE How about putting in another audience shot, There's that great one with the fat couple, ‘ and they're really laughing. JOE In every theatre in America people would rise and say “what the fuck are they laughing at?* INT. PROJECTION ROOM. SHOT OF SCREEN, NIGHT. 12 We see a piece of the monologue sequence that has been cut together. Over the sound of the monologue, whichever piece of it we see: REVERSE ANGLE TO JOE, EDDIE, JONATHAN AND STACY. KATIE TO ENTER. Joe sits alone, slumped in his seat, still smoking and tinking. Stacy sits a couple rows behind him. Eddie and Jonathan sit at the console to the rear. The door to the screening room opens and Kate Jagger enters. She carries a small poodle, Katie is twenty-two, beautiful, a featured dancer in a Broadway show. She wears no makeup and is dressed in a denim suit. |All look briefly to see who has entered. By the reactions of Eddie and Jonathan, who obviously like her, she is a familiar figure around the cutting room, Eddie smiles and whispers, EDDIE ai, Katie, JOE (not taking his eyes off the screen) Sit down, Katie. She moves to a seat behind Joe, He acknowledges her presence by raising his left hand, which she takes warmly, at the same time gently kissing his neck. There is also a cool acknow~ ledgment between her and Stacy, Eagerly Katie looks at the22, 2 CONTINUED 12 7 sereen and almost immediately starts to laugh. Joe gives her one look as if to say ‘What is she laughing at?’ KATIE (with a glance at watch == whispers) Can we have dinner together before I go to the theatre? JOE I can't, KATIE Should I come over later? JOE We may be working very late... I'll call. Katie's eyes go back once more to the screen. She finds something funny, laughs again, She touches the back of Joe's head, then gets up and, with whispered goodbyes to the others, she leaves, A moment later the screen goes white, and the lights of the room come up. JOE Anybody got any better ideas? .+-besides burning the film? (silence) STACY I like it, Joe. I think it's really good. JOE tho asked y as rou, Stacy? (pause) Look...let's cut out the Jewish let's try to get some of the ‘mans sounds fake hip... (to himself) What about the Billy Graham joke? (to them) Yeah, let's cut the Billy Graham joke...a little more tightening. (begins massaging his left hand, which he continues to do for the remainder of the scene) (MORE)Revised 8/1/78 23. 12 CONTINUED : 2 JOE (contd) Maybe we can get away with it. * A squawky voice comes over the speaker from the projection room. PROJECTIONIST'S VOICE Finished? or do you want to run it again? Joe (shouting) No, thank you, we are finished! EDDIE (politely) Thanks, Irv. We're finished. Eddie flicks off intercom. Joe still sits slumped.in * his seat, staring blankly at the screen. * MUSIC: GUITAR INTRO TO “PERFECT DAY" BY HARRY NILSSON. THE SONG WILL CONTINUE OVER AND THROUGH THE FOLLOWING SCENE. JOE : Do you suppose Stanley Kubrick ever gets depressed?": 13 INT. JOE'S APARTMENT. TO CARRY JOE. HALLWAY TO 13 FRONT DOOR. NIGHT. Drunk, carrying a drink in one hand and a glass of wine in another, Joe unsteadily toward the front door in response to azzer EDDIE (V.0.) You wanna make those changes * tonight, Joey? JOE (V.0.) No...T think I'll work on the * show, TI start dance rehearsals * in a'week, and I don't have one idea in my head. ANOTHER ANGLE AT DOOR. He opens the door to reveal Victoria. He hands her the glass of wine. At that moment, we sung:13 Br Revised 8/1/78 24. CONTINUED 13 IT's A PERFECT WAY TO END A PERFECT DAY ABRUPT CUT TO: EALLOCTNATORY DRESSING ROOM. JOE AND ANGELIQUE. u ‘GET .. He wears 2 pluned hat and is applyiiig, a Cyrano-like nose. Off screen we BEAR instrumental guitar and rhy of same song. Also from off screen a wash of blue light hits him as he's adjusting his nose. JOE (to unseen lighting man) Too strong, Down two points. * (the adjustment is made, the nose applied, the hat cocked, Joe assumes the flamboyance of an old fashioned actor) Qh, what foolishness I would spout...what insipid insincerities «+ejust to seduce her.... resuming normal attitude) Whoaver "her" happened to be at the time. ANGELIQUE Never any regrets?...guilt? JOE only... * ANGELIQUE (finishing for him) * when I got caught.is REV.10/14/78 25 we INT. JOE'S LIVING ROOM. JOE AND VICTORIA. SIGHT The room is lit only with candles. CLOSE UP. JOE. He pours win CLOSE UP. PHONOGRAPH TURN TABLE. We see record spinning. CLOSE UP. JOE He lights a joint, takes a hit, passes it to Victoria who also takes a hit. LONG SHOT. JOE AND VICTORIA. The two are now dancing slowly barely moving. Joe is being very free with his hands. We hear sung: IT'S A PERFECT WAY TO END A PERFECT DAY Guitar instrumental continues under. JOE ++ Uh .., you've really got ... something ... special... VICTORIA All right, All ri-isight: I want 59 to be a movie star. JOE on. VICTORIA Ever since I was this dig ... (indicating three year old height) +++ I wanted to see my face on the screen f-o-o-rty feet wide. (extends arms) JOE Un huh. She moves away from him to the window, strikes a pose with the entire city backlighting her. VICTORIA (touching her hand to the back of her head in a Delsar- tian gesture) I've always depended on the kindness of strangers. (never breaking the pose) You're looking at my nose aren't you?a5 16 0/44/78 CONTINUED 1s JOE No. VICTORIA It's crooked see it goes to the left. JOE Oh yeah, “ VICTORIA I could always get that fixed. Like this. (gesture with finger) JOE Sure. VICTORIA I mean do you think I could be? JOE Huh? VICTORIA You know a movie star, I mean in the movies. JOE {still touching her hips, breasts, etc.) Look, that's a heavy question. I don't know anybody who could answer that. It's a freaky business, you know. «=. « VICTORIA Yeah, I know all about that. But like I want to know what you think? I mean do you think I could be a movie star? He glances at the clock. It reads nine forty-five. ABRUPT CUT TO: HALLUCINATORY' DRESSING ROOM. JOE AND ANGELIQUE. NIGET 16 Instrumental of "Perfect Day" continues.16 wv 18 18a CONTINUED 16 JOE (an ola actor role) On occasion, overwhelmed by desire and haunted by the swift fleeting of time, I might even possibly risk the truth. RESUME LIVING ROOM. JOE AND VICTORIA 17 When he shakes ABRUPT CUT TO: JOE (looks back from clock) No. VICTORIA Even with a nose job? his head "no", she sighs. VICTORIA (CONTINUED) well ... that's fair. It is a freaky business, though. You could be wrong, right? JOE Right. VICTORIA I don't dance so hot either, do 1? JOE But you will I promise. VICTORIA (she breaks away, looks out window, pause) Wanna go to bed? JOE (almost to himself) It is a freaky business. HALLUCINATORY DRESSING ROOM. JOE ANDANGELIQUE. NIGHT. 16 As Joe strips off his nose: ANGELIQUE Truth ... the inal ploy. RESUME LIVING ROOM. JOZ AND VICTORIA 18a She siowly starts up the stairs. He grabs a wine bottle and staggers after her. As he goes, he taxes cf: his shirt -- drops it on the stairs. During we hear sung:18a i 20 21 28, CONTINUED 18a RIDE WITH ME GLIDE WITH ME STAY BY MY SIDE WITH ME THROUGH THE NIGHT RIDE ON THE WINGS OF THE ANGELS OF LOVE WHO ARE ON OUR SIDE INT, OUTER HALLWAY OF JOE'S APARTMENT. ANGLE TOWARD 19 FRONT DOOR. KATIE AND DOG. NIGHT. The following lyric is heard sung through the succeeding action. IT's A PERFECT WAY TO END A PERFECT DAY IT'S A PERPECT WAY TO SAY I LOVE YOU Katie steps into the hallway leading the dog on leash. CAMERA FOLLOWS her to the door of Joe's apartment. With her_own key she opens the door. ee INT. APARTMENT. TO FOLLOW KATIE. NIGHT. 20 Katie glances at clock, It reads twelve thirty-one. Katie's assumption is that Joe is asleep. She walks to the kitchen where she refills the dog's water dish. From the refrigerator she takes a carton of milk and fills a glass. Carrying the milk, she starts upstairs. Unleashed, the dog fellows. On the way, she notices Joe's shirt - hesitates but continues. INT. JOE'S BEDROCM, KATIE AND DOG. 22 Katie enters the bedroom, comes to a dead stop. KATIE'S POV, JOE AND VICTORIA. She sees Joe and Victoria in bed, Both are asleep. On a bedside table are white wine bottles and half filled glasses. There are thick candles, still burning, heavy with drippings, HERE IS WHERE THE LYRIC ENDS WITH THE LINE: IT'S A PERFECT WAY TO SAY I LOVE YoU. The dog starts yipping. MUSIC CODA CONTINUES OVER THE FOLLOWING.21 21a 29. CONTINUED 21 RESUME KATIE. She reacts, staring for a moment, A mixture of disappoint: ment, hurt...resignation, There is an inadvertent, sma. gt RESUME JOE AND VICTORIA. Both awaken. Joe sits up, WIDE SHOT. KATIE. ae0I'm sorry...0-0-0, am I sorry. She starts to go. He starts to get up. KATIE (leaving) +esI should have called first. She leashes the dog and leaves, JOE AND VICTORIA. JOE (softly) Ah, shit... VICTORIA Did T like screw anything up? JOE No...it's my fault. I was supposed to Gall her and tell her to come or not to come.,.I forgot all about it. Pours another glass of wine. Turns to Victoria, pulls back the sheet a bit, looks at her nude body. MUSIC SEGUES INTO STRIPPER TYPE MUSIC. ABRUPT CUT TO: HALLUCINATORY DRESSING ROOM. JOE, ANGELIQUE AND JOE'S 21a MOTHER. NIGHT. Angelique is nude. Joe's mother is exactly as he has21a 22 23 30, CONTINUED 21a described her: a jolly, outgoing fat woman. She wears a Giowered house dreas from the 50's, She treats Angelique as though this is a favorite girl of Joe's that he has brought home for the first time and obviously pays no attention to her nudity. Joe is fascinated by the meeting, watching it at all times in the mirror, at the same time experimenting with an eyebrow pencil. At times he and Angelique make eye contact, both’ amused by the mother's gaenus asm and her total misinterpretation of her son's ee MOTHER I'm Joey's mother. Ever since he was this high he's had such a crush on you. ANGELIQUE (looking at Joe) I've alwaye been fond of Joe, too. MOTHER Of all the children, he was the least worry. He worked in all those cheap burlesque clubs. always around stark naked girls. But did it bother hime No! He never paid any attention...never even locked at them, Joe and Angelique exchange a look. INT. NIGHTCLUB. (1951) STAGE, CLOSE SHOT STRIPPER'S = 22 TASSELLED BREASTS. NIGHT. CAMERA slowly pulls back, We see that the STRIPPER MUSIC is played by a three piece combo =~ piano, drums and saxophone. With professional dexterity the stripper is Whirling tassels in opposite directions. When the entire set is revealed we see that we are in a large, cheap night- club with a capacity of two hundred. There are, however, only fifteen or twenty customers. BACKSTAGE. TEENAGE JOE (to be played by a young actor- 23 dancer). At age fourteen, Joe works in this sleazy burlesque night~ club in Chicago, Between shows he sits in a corner surrep~ titiously studying a first year Latin text, mumbling conjugations. Not yet fully costumed, he will be seen wearing white top hat, white tie and white tails. Off stage the stripper MUSIC CONTINUES, Behind Joe, ancther23 31. CONTINUED 23 stripper appears, a coat covering her costume. She has just come from the front of the club where she has been hustling drinks. JOE (mumbling) Amo, Amas, Amat...I love...you love seehe, she, it loves... Aware of stripper, he quickly closes the book. She stops, grins. SECOND STRIPPER Hey, kid, what have you got there? JOE Just a book. she takes the book away from him. Off screen we HEAR the end of the stripper MUSIC, scattered applause and ad lib thank yous from the MC. SECOND STRIPPER First year Latin??...How old are you? JOE (quickly) Nineteen. SECOND STRIPPER (just as quickly) What year were you born? JOE (caught) Nineteen thirty... thirty...uh... uh, wh..-nineteen SECOND STRIPPER Try nineteen thirty-four. JOE Right! Nineteen thirty-four. SECOND STRIPPER Now try nineteen thirty-two. ‘Trapped in the lie, Joe just lowers his head. SECOND STRIPPER (knows he's lying) Uh-huh, (with a big grin, she hands him back the book)24 25 26 27 32. INT. DRESSING ROOM, THREE STRIPPERS. NIGHT. 24 one Stripper has just finished performing, the Third is preparing for her performance by putting on pasties, eye Yashes, etc. as the Second Stripper enters and takes off her coat. “+ SECOND STRIPPER Hey, ya want a laugh? That tap dancer is only a kid. He can't be any more than thirteen or fourteen. THIRD STRIPPER You're kidding! RESUME JOE IN HALLWAY LEADING TO STAGE. 25 He is preparing to go on, putting on his jacket and snapping open his top hat, He is nervous and apprehensive. Off, we hear the Comic-MC. Me (0.C.) And now ladics and germs, I want to introduce Chicago's tap dancer~ extraordinaire...Oh waite. INT. NIGHTCLUB. ANGLE FAVORING MC. 26 ‘The MC is a Pinky Lee type -- wears a fedora hat. INTERCUT BETWEEN THE MC AND THE YOUNG JOE. REE Me (imitating Bert Lahr) eeejust a moment, just a moment... You there, the lovely lady who just walked in...that's right, lady, you with the mink coat. Can you tell me, madam, I mean Miss... How did you get that lovely mink goat? pon't bother to anaver that. We know, The same way minks get Rinks. “speaking ef fich people, my family is in the iron and steel busine: My mother irons and my father steals... Over sporadic laughter, the Comic continues a series of jokes on a similar level. ACROSS YOUNG JOE. 27 He is warming up. Behind him the doors of the dressing room27 28 33. CONTINUED 27 open and the three half-nude strippers, anticipating great fun, stalk the unaware Joe, THREE STRIPPERS (as they move in on him) So you're only fourteen...First year Latin?...Is your Mommy waiting out in the car for you? ++sYou better stop lying or your nose will grow...0oc0o, something's growing. By now they have surrounded him. The Second Stripper holds out a naked breast and thrusts it into his face. SECOND. STRIPEER Say something in Latin, baby. THIRD STRIPPER (now rubbing and addressing his groin) Little boy blue, Come blow your horn. The sheep's in the meadow...etc. JOE (terrified) don't do that!...Please stop! got to go ont! Don't... They continue teasing, titillating, massaging. YOUNG JOE'S Pov, A very large naked breast. ABRUPT CUT TO: HALLUCINATORY DRESSING ROOM. JOE, ANGELIQUE AND 28 MOTHER. NIGHT. ‘The three are in the same position as before. MOTHER Pht re ever cered—sbewt wae —te 3 —perfect-en-esewe. He's such a good boy...three times he won first prize for knowing more Bible verses than anyone else in Sunday School. Joe winks at Angelique,34. CONTINUED 28 MOTHER (contd) Joey never did anything to dis= appoint me. The mother continues chattering -- now in MIME. Joe fixes eye contact with Angelique. They look at one another for a long moment. MUSIC OUT. NIGHTCLUB. BACKSTAGE. JOE AND STRIPPERS. 29 With a breast thrust into his left eye, Joe is in utter panic; tries to avoid the inevitability by intense concen Eration on something else. He clenches his fists, his body becomes rigid. JOE (rapidly, mechanically) Yea, tho I waik through the valley of the shadow of death I will fear no evil for Thou art with me. Thy rod and Thy staff, they comfort me. STRIPPERS Rod?!? Staff?71? Now you're talking, sweetie. MC (0.C.) And here he is, folks...Tops in Tape..-ME. Joe Gideon! !1 A little fanfare, Nothing happens. ECU JOE LOOKING DOWN AT HIS CROTCH. Girls are giggling. He whimpers. JOE Oh, my God... ANGLE ON MC. MC (impatiently) aying, folks. Tops in Joe Gideon...and here29 30 al 32 33 35, CONTINUED 29 RESUME. JOE. JOE - (groaning with ee embarrassment) Abhhhhhhhhhh He exits through curtain. ANGLE ON STAGE. 30 Joe starts his tap number: SWEET SUE - stop tine. SHOTS OF AUDIENCE TO INTERCUT WITH JOE. 32 Indifferent to the performance, some of the audience begin to notice that Joe has a problem (a prominent stain on his immaculate white trousers). ‘There is pointed laughter until all are aware of his predicament. Completely humiliated, tears come into Young Joe's eyes as he continues to tap dance -- and cry. DISSOLVE: INT, JOE'S BATHROOM. ECU JOE'S EYE. DAY. 32 ‘The sound of music and tap dancing from preceding scene Slowly fades as the Visine drops are applied. MONTAGE: Morning waking zoutine continues: Vivaldi cassette, Arka Se! eltzaey cold shovel, dexedrine, coffee, "It's show time, Folks," etc. INT. BROADWAY ARTS VOCAL ROOM. JOE, HECHT, AUDREY, 33 CHRISTOPHER, DANN. DAY. At the piano Paul Dann is enthusiastically demonstrating a New opening song for the show NY/LA. During his performance it is obvious that Hecht and Christopher are delighted with the number. Joe sits listening, intently and without emotion. Audrey sits near by and occasionally checks Joe for any reactions, Dann ends with a flou-ish so immediate ad-libs of approval from Hecht and Christopher. The three men look first to Audrey. DANN (to Audrey) What do you think? AUDREY (shrugs, pointing to Joe) Ask the man.36. 33 CONTINUED 33 DANN ++-Joe?? JOE (hesitantly) wuh...well, I think it's okay... (pause) let me see what I can do with it. Dann is slightly disappointed. To assuage him: weer — Catchy and bouncy. RGAT, TED? CHRISTOPHER Ethink-tt1e—wenderfedy—jest: wondertar. Oh Very Bounsy and catchy 33A INT, BROADWAY ARTS. JOE, MURRAY, GRETCHEN, DANCERS, 33A DRUMMER, PIANIST. DAY. We're in a typical large rehearsal room in the Broadway area, Twelve dancers, six boys and six girls, are learning the beginnings of a Dance Number choracgraphed to the music of the song Dann just demonstzated. In addition we see a piano player and a drummer, Murray Nathan sits in the corner. After a brief eight bars, Joe blows the whistle to interrupt. JOE Hold it. Jesus Christ!! (rubs his: massages le: «ee¥ou can do better than that. victoria, you're dancing like you have salamis for feet. (nodding to Gretchen) Again... The dancers are intimidated. : GRETCHEN «sefive, six, seven, eight... They commence dancing again. JOE (blows whistle, stops them) Hold it. I've got an idea, I want to try something. Joan, come here. (she does) (MORE)Revised 8/1/78 37. 33A CONTINUED 33A JOE (contd) Lie down on your back. (she does) Now, spread your legs open. (she does; he kneels between her legs) I've got an idea I'd like to try. (he Lies down on her) Now, wrap your legs around me. (she does) comical sexual turns to mirror, asking! Does that look like anythins? All laugh. ABRUPT CUT TO: 34 -HALLUCINATORY DRESSING ROOM. JOE AND ANGRT.IOUE. 24 NIGHT. Joe ig slicking his hair in a Valentino, patent-leather haiz do. Off screen we HEAR a JOE ++sI once tried living with two girls...two girls at once... ANGELIQUE * Your “noble experiment". JOE (neds) * +slasted five and a half months... (he rises) We lived together...34 38. CONTINUED 34 Menage Partners #1 and #2 appear. They are two attractive young girls. Smoothly, Joe and the girls begin to TANGO As they dance, the two girls alternate the following line: MENAGE PARTNERS #1 & #2 Laughed together ‘prank together... Smoked together... copped poppers together... slept together... ‘The two girls continue to dance, Joe sits down next to Angelique. JOE Woke up one morning...one of them was gone. Partner #1 moves off as Partner #2 continues to dance. JOB (contd) On the bureau she left a note. TIGHT CLOSE UP, MENAGE PARTNER #1 MENAGE PARTNER #1 |. (emotionally —- tearful) "r'm sorry I cannot share you anymore! I want you all to myself or not at all. Please...please try.to under~ stand." TWO SHOT, JOE AND ANGELIQUE. JOE (slightly over dramatic) «se not only understood, I was flattered.,.flattered that she felt so strongly about me. ANGELIQUE How did you know tha note was to you? He looks startled. ANGELIQUE (contd) It could have been addressed "To Whom It May Concern." Joe laughs, ‘ Enchanted, he tentatively reaches out to touch er a ABRUPT CUT TO:35 35a 353 36 39. EXT, 44TH STREET, OUTSIDE STAGE DOOR. JOE. DAY. 35 Joe's hand swiftly moves to his chest. He feels an extreme shortness of breath. Puzzled, he leans against the wall. ABRUPT CUT TO: HALLUCINATORY DRESSING ROOM, JOE AND ANGELIQUE. 38a Just before his hand reaches her face, Joe hesitates, then slowly withdraws his hand. He rises and starts back to the dressing table. ABRUPT CUT TO: 44TH STREET. JOE. 353 Normal breath regained, Joe shows obvious relief. He begins massaging his left hand and slowly moves off as though to turn into Shubert Alley. INT, CUTTING ROOM, JOE, EDITING STAFF, PENN. DAY. 36 Joe sits alone, working the Steenbeck backwards and forwards, sipping wine and chain-smoking. We see and hear part of the Davis Newnan monologue. Jonathan and Stacy work at their individual chores. Everyone is terribly fatigued. Off to the side are THE STANDUP's producer, Joshua Penn, and Eddie Lerner, Penn holds time sheets and is in an obvious state of anxiety. Determinedly, Penn crosses over to the Steenbeck. Joe continues, obsessively, to wor! PENN to talk to you about ts.,.,.three weeks we've been on triple time and the brass is eating my ass out. You shot eighty- two days on a sixty-five day schedule. On a four month editing schedule, you've gone seven months. ‘We're already two million two over the original budcet, I mean, Ged created the entire world in six days and never went on overtime once. You can't even cut an hour and a half movie in seven months...on triple time, yet. Now, Joey, i just hate tc do this and I'm usually a very calm man; but this whole thing has got me terribly crazy. I must put my foot down. ‘This whole thing has gotta stop. It's just fo _stopi} It to s' i just = RUSE stopt36 36a, 40. CONTINUED 36 Joe has remained unresponsive during the preceding. JOE Joshua, I made some changes in monologue. I think it's better. Take-e—teok, He turns on the Steenbeck and maneuvers Penn to a position where he.can watch it. He picks up his coat, pops some dexedrine, washes it down with the remains of his glass of wine, kisses Stacy on the neck. JOE I've gotta get back to rehearsal. (to Stacy) Mmmm. You smell good. STACY (sniffing at Joe) So do you, California Chablis? He slowly moves his hand up to her breast. She giggles and moves it away. He repeats the action, she moves it away. At the same time, he addresses Eddi JOE Eddie, I'll meet you back here at We've gotta work ate. Nice seeing you, Before anyone can answer, he goes, Penn is completely involved'in the film and watches for several moments. PENN (almost to himself) Oh, my God, it is better. (pause) God help us all, It is better. INT. BROADWAY ARTS, LARGE REHEARSAL ROOM. JOE AND 36a MICHELLE. NIGHT. 2 It is raining outside. Almost midnight. Michelle sits next to the fi machine, (This is a machine used frequently by dancers and choreographers with which you can get various tempos and rhythms.) ~ Joe is experimenting with same slapping rhythms on his thigh, Michelle, watching intently, occasionally tries to imitate. ntlve-got-this—icea—wheresveryonesa peraai. 36A CONTINUED 36a JOE—teomts} ~seage-wihipe—siapping—at—the—sane : r Push up the tempo, Michelle moves to the machine, pushes a knob, The tempo increases, After experimenting a bit more, Joe gives up. JOE (contd) No, that stinks, (to Michelle) Flip that knob on the right to a waltz and slow down the tempo. This she does. We now hear the rhythm of a waltz. JOE (contd) (to Michelle) Come here. I want to try a few lifts, During the following, Joe will be lifting, carrying and turning Michelle in various positions. He instructs her as they move, She obeys each instruction, JOE (contd) First, sit on my shoulder and put your leg in arabesque. (he begins turning her) How are things at home? MICHELLE Oh, okay. JOE Be careful now, I'm going t> drop you backwards. (he does) Anything on your mind? Now, arch your back, MICHELLE (as she obeys his instruction) Well, I promised Mom I wouldn't bring it up, butes.s. JOE But you are going to bring it up. They continue to move around the floor in various positions.36a CONTINUED Revised 8/1/78 42. New Page 36R MICHELLE Well, it's just that I keep wonder: JOE Now, hang on, 2'm going to lift ue {he does) What are you wondering about? MICHELLE Why you don't get married again. JOE Now, do a head roll...slow... I don't get married again because T can't find anyone 1 dislike enough to inflict that kind of torture on. MICHELLE (ignoring his respons Why don't you marry Katie? She's terrific. JCE Yeah, she is...which is exactly why I won't marry her. Now, go off in the corner...zun and jump at me in a stag leap...I'1l catch you. MICHELLE (as she crosses ‘to corner) What about Victoria? You're not too crazy about her. (ahe runs -- jumps -- he catches her) What about the blonde? JOE what blonde? MICHELLE The one in Philadelphia with the television show that Mom keeps talking about. Why is it so iapereant to you that I get married again?36A 363 Revised 8/1/78 43. CONTINUED 36a MICHELLE Cause’ then you'd settle down and stop screwing around. JOE Michelle, watch your language. * (glances at his watch) Oh, my god, it's almost midnight. I gotta get you home Throwing her over his shoulder in another lift, he starts toward the door. MICHELLE . Daddy, can't I stay for a iitete while? This is fun. JOE Oh, no, your mother’1l kill me, By now they are out the door into the hallway. INT. BROADWAY ARTS HALLWAY. LEADING TO ELEVATOR. 363 SOE AND MICHELLE. NIGHT. CAMERA tracks them to the elevator. MICHELLE Besides, if you got married again then I'd have another mother. I'm the only kid in school who doesn't have at least two mothers and two thers By now they are at the elevator, The elevator door opens. Still carrying her, they enter. JOE * (laughs) Poor, underprivileged child. (hugs _her’ Michelle, I ove you, MICHELLE You say that to all the girls. JOE (affectionately) Nobody likes a smart ass kid, Michelle. The elevator door closes.36¢ 36D 37 37a 38 39 Revises 8/1/78 44. INT. ENTRANCE HALLWAY. BROADWAY ARTS. JOE AND 36C MICHELLE. NIGHT. Ag they come out of the elevator, Joe still carries Michelle only now in a slightly dizferent iift. as they cross to the front door: fi f a ied a If you got married, maybe you’ have a baby and maybe I'd have @ little brother. JOE I"11 call Hertz tomorrow and rent you a brother. They exit the front door. BXT. ANGLE PROM HALLWAY TO BROADWAY. JOE, 3e0 MICHELLE, DRIVER AND CAR. NIGHT. Tt is raining heavily, A limousine waits at the curb. Joe hustlas Har ts-the car, opens the back door and * tosses -her into the back seat. The car takes off. Joe waves, He turns and re-enters the hallway. He 48 soaking wat. Popping a dexedrine he heads for the elevator. INT. JOE'S BATHROOM. DAY. 37 MONTAGE: The morning waking routine: Vivaldi cassette, Alka "Seltzer, Bid shower Visine de isine, dexedrine, “It's show time, folks" into mirror, etc. OMIT 37a * INT. BEDROOM. KATIE, JOE. DAY. ae Katie is sitting up in bed. Joe hands her a cup of coffee, gently touches her cheek. As he does so: ABRUPT CUT TO: zannocrearony DRESSING ROOM. JOE AND ANGELIQUE. 39 GET. Joe is experimenting with make-up, having drawn vertical and horizontal black lines on his face. The flirtatious attitude is deepening between them. The MUSIC is a sentimental love song. JOE, You believe in love?36D 37 37a 38 39 39A 44a, EXT. ANGLE FROM HALLWAY TO BROADWAY. JOE, MICHELLE 36D DRIVER AND CAR. NIGHT. It is raining heavily. A limousine waits at the curb. Joe bustles her to the car, opens the back door and tosses her into the back seat. The car takes off. Joe He turns and re-enters the hallway. He is soaking wet. Popping a dexedrine he heads for the elevator. INT. JOE'S BATHROOM. DAY. 37 MONTAGE: The morning waking routine: Vivaldi cassette, Alka Seltzer, cold shower, Visine, dexedrine, "It's show time, folks" into mirror, etc. OMIT 37a INT. BEDROOM. KATIE, JOE. DAY. 38 Katie is sitting up in bed. Joe hands her a cup of coffee, gently touches her cheek. As he does so: ABRUPT CUT To: HALLUCINATORY DRESSING ROOM. JOE AND ANGELIQUE. 39 NIGHT. Joe is experimenting with makesup, having drawn vertical and horizontal black lines on his face. The flirtatious attitude is deepening between them. The MUSIC is a sentimental love song. ANGELIQUE You Believe. in love2 JOE I believe in ‘saying I love you. It helps people concentrate. (after a moment; turns to her, not joking) I'd believe in it if I knew what. it was. KATIE (0.S.) Joey ... MUSIC OUT. RESUME BEDROOM. JOE AND KATIE. 39a Katie is in bed, sipping coff, JOE (0.S.) Yeah?* ai 39K CONTINUED 39a (CONTD) KATIE They've asked me to go on tour with the show, Joe is at the bureau collecting his keys, wallet, etc. JOE How long? KATIE Six months. What do you think? ABRUPT CUT To: 398 HALLUCINATORY DRESSING ROOM. JOE AND ANGELIQUE. NIGHT. 398 MUSIC IN. : KATIE (0.S.) Six months. What do you think? ANGELIQUE And you say it all the time. JOE Yeah, I say it a lot ... a lot. ANGELIQUE ‘then? JOE When it works. Music our. 39C RESUME BEDROOM. JOE AND KATIE. 39¢ JOE I love you, Katie... but I think ... you have to do what's best for you ... KATIE Meaning? JOE Huh? KATIE What do you mean, Joe? ABRUPT CUT To:46 39D HALLUCINATORY DRESSING ROOM. JOE AND ANGELIQUE. NIGHT. 39D MUSIC IN. JOE Sometimes it doesn't work. Angelique laughs. Her laughter drifting across the cut to: MUSIC OUT. 40 RESUME BEDROOM. JOE AND KATIE. 40 JOE Well ... for your good, I think you should go. He exits into the bathroom. She sits for a moment, looking at bathroom door; then reaches for her purse, takes out small address book, looks up a phone number, then dials bedside phone. KATIE (into phone) von Michael? It's Katie... Kete Jagger . You're Michael ... (after a moment) That's right, me. It's me + So, did you mean it about dinner? -~=e~ dell, how about tonight? ... Youtre surprised? (a little laugh) Well, I'ma little surprised myseiz ... Let's make it eleven at Wally's. Goodbye, Michael. She hangs up phone. Joe emerges quietly from bathroom; calmly, controlled. JOE I'm a little surprised too. Now we're all a little surprised. (pause) Who was that? KATIE Michael Graham. JOE (remaining calm) Michael Graham. Who is Michael Graham? KATIE A dancer in my. ballet class.40 CONTINUED REV. 12/1/78 47 40 (CONTD) JOE A dancer in her ballet class. Straight or fag? KATIE What do you mean? JOE I mean is he looking to get laid or is he looking for Mr. Right? KATIE He's straight. JOE and tall. Michael Graham is a very tall name. A tall, blonde name. Joe exits very calmly into the bathroom. Instantly he re-emerges wildly angry. JOE God damn it! KATIE (introducing him to imaginary audience) And her's Joe again, ladies and gentlemen; this time in a towering rage -- JOE How dare you use my telephone BY telephone ... to call somecody who is not a fag! KATIE (so angry she is almost unable to speak.) +++ Oh =- it's okay for you to gu out with any -- any girl in town -- JOE Right. I go out with any girl in town. stay in with you. KATIE it's ... (inarticulate frenzy) It's happening to me ... you always ... you know I can't talk... I can never do these speeches ... I need -- I -- I need @ taxi to get me to the end of a sentence, I =- Oh, God, Joey, it's not fair —— look, it's all wrong ... I'm spilling the coffee +++ everything is all wrong. (to herself) 7 Taxil on40 40a 408 REV. 12/4/78 4a CONTINUED 40 (conTD) JOE Let me help you. First: you're obviously heading for a "door-slam- exit." Door-slam exits do not work within an apartment; and you are not @ressed for a door-slam exit out of the apartment. Second; here are your lines: “Joe, you are a self-centered ...." KATIE (suddenly, sharply, not missing a beat) Stop directing! You never stop directing! Don't give me my lines. Here. Here are your lines. You say softly, with feeling == “About that goddamn tour, I don't think you should go. Don't go, please ... Oh, Joe, I don't want to see Michael Graham or Graham Michael. I don‘t want dates. I have no more small talk left. I don't want to fool around, I don't want to play games and I don't want to fight. I just want to love you, Joe Oh, damn it, Joe why are you so generous with your cock? I love you. (she collapses on bed in clumsy un-dancer-like fashion, helplessly) ~ T dove him (helplessiy) why? ABRUPT CUT TO: THIPLE HEADED STEENBECK. 40a We see three CAMERA ANGLES of Katie having just delivered the above line. Joe's hand reaches in and reverses t film of all three angles. He then plays, it back so that we see and hear the line repeated. Repeats action, back- wards and forwards, one more time. RESUME JOE. 40B JOE (thoughtfully) +++ That's pretty good ... He slowly exits into bathroom. She remains seated on bed. STAY WITH JOE IN BATHROOM. He takes a long look at himself in the mirror, then speaks.40B 41 REV. 12/1/78 49 CONTINUED 408 (CONTD) JOE Katie ...? (silence) About the goddamn tour ... I don't think you should go ... KATIE. That's the wrong reading. He comes awkwardly into bedroom. JOE (quietly) Don't go, please ... (pause) Right reading? Katie smiles then both break into laughter. ABRUPT CUT TO: HALLUCINATORY DRESSING 200M. JOE AND ANGELIQUE. NIGHT. 41 Wearing white gloves, Joe is practicing a series of theatrical gestures. Angelique is smoking a long black cigarette. Off screen we HEAR a SAND DANCE. Suddenly a pin spot hits Joe, He makes a rather theatrical gesture with his hands in farewell and freezes. The pin spot slowly rises out, leaving Joe in silhouette and Angelique in the backlight. ANGELIQUE No, I don't think so, Joe. Too Las Vegas-sy- JOE You're right. He snaps his fingers and two side lights hit him. ANGELIQUE Sooner or later, of course, Katie would have to betray you. JOE woe Yeah, I know. ress ANGELIQUE As long as you could get away with it, right? JOE Right. (pause) Why do you suppose she put up with it?41 42 CONTINUED 41 (CONTD) ANGELIQUE (smiling) I can think of many reasons for wanting to be with you. JOE Don't bullshit a bullshitter. SAND DANCE OUT. INT. BROADWAY ARTS. JOE, DANCERS, GRETCHEN, PIANIST, 42 DRUMMER. DAY. The dancers are learning a rehearsal combination probably bustle number. Joe has concluded that to get Victoria away from her artificiality and amateurism, he must first break her down completely, then remold her. So, while they dance, he relentlessly critizes Victoria. JOE Stop smiling. Spot. Stretch, Victoria. Lay back, lay back. Casey, Candy good. (to Victoria) You're gonna do it again. Gary, Danny - (to Victoria) And don't smile, this isn't @ high school. play. (to Gretchen) Count. . Bold itt . Stand on your right foot poin: your left toe and drop that shoulder. That's not too hard now is it? As Joe turns to return to run the routine again, Victoria mumbles under her breath "you sonovabitch." They begin the rehearsal again ... Victoria loses her balance on the turns and breaks down. The dancers finish the combination. The pianist stops. Having achieved his objective, Joe turns crosses a couple of steps to a table, goes back and hands her a couple of kleenex. They talk by the bar.JOE I'm sorry. VICTORIA (still sobbing) No, you're right. I'm terrible... I know I'm terrible...1 can't like, seem to do anything right...1 look in the mirror and I'm embarrassed ...Maybe I should quit... just Gan't seem to do anything right. JOE (putting his arm ‘around her) Look, I can't make you a great @ancer. I'm not sure I can make : you a good dancer. But if you stick with it and don't give up I can make you a better dancer...and I'é like very mich to do that...stay. VICTORIA Are you gonna “ep yelling at ne? JOE Probably. VICTORIA I'll stay. She blows her nose. He touches ner cheek reessucingly. ICE Okay. Mere we go, everyhody, From the top. The dancers return to the center of the, room and pogin @ancing the corbination again. After a few steps, Joe Joots fo Victoria. She looks at him. He mouths, “etter. Pleased, she stiles. Se See nree ee GE YOIR PACE 51-52 ‘10 PAGE Sl.43 44 53. INT, BROADWAY ARTS VOCAL ROOM, JOE, LARRY GOLDIE, 43 JONESY HECHT, TED CHRISTOPHER, DCCTOR. DAY. An insurance examination. Joe and the Doctor, the latter an elderly hack, sit facing each other on straight chairs. The Doctor is listening through a stethoscope placed on Joe's chest. Joe waits with bemused anticipation as the three N¥/LA producers wait anxiously, Both the Doctor and Joe Save-Iong-ashed cigarettes drooping from the corners of their mouths, Lowering the stethoscope, the Doctor turns his insurance form ona table. He picks up a pen. Joe goes into a real paroxysm of coughing to which tn Doctor pays no actention.- Ait three producees Laugh very nervously. HECHT Well...does he pass??? Doctor just nods and signs the form. JOE (through cough) Good, I'm now worth a million dollars. GOLDIE (Jovially) That's only if you die before February 1st. JOE (as he exits) Schedules, schedules...always schedules..... INT, CUTTING ROOM. CLOSE SHOT. KIMBERLY ON 44 STEENBECK, NIGHT, On the screen we see a close up of Kimberly in an exterior (daytime) location. On the film we HEAR the off-camera voice of Joe as he directs Kimberly. She will react to each direction, KIMBERLY Where do you want me looking, Joey? JOE (0.C.) Camera Left, Kimberly. (when her eyes turn) No, Kimberly, your other left. WIDER ANGLE. JOE, EDDIE, STACY AND JONATHAN. NIGHT. Eddie runs the Steenbeck, Joe sitting next to him, Joe is44 CONTINUED drinking wine and leafing In the background Stacy and Revised 8/1/78 54. 44 through the script of musta. Jonathan are busy Seat jobs. Joe's Off-Camera instructions EDDIE to Kimberly continue through- Is this the shot you mean? out the succeeding dialogue. JOE (glancing up) Yeah, Run it down 7 to the end. (goes back to his script) EDDIE What are you reading? JOR It's the new rewrite on the show EDDIE How is it? ‘ JOE I really haven't had time to te (tossing it away) Ah, hell, I'll fix it out of town. (pointing to screen) Mark it right there and then pull out the mono logue. EDDIE * I thought you were finished with the mono- logue. JOE No, I've got some new ideas. i. EDDIE (totally resigned) Stacy...guess what?... reel three...the mono- logue.45 “Revised 8/1/78 9 55. INT. BROADWAY ARTS VOCAL ROOM. AUDPEY AND DANN. 4s JOE TO ENTER. DAY. Paul Dann is at the piano accompanying Audrey who pene rehearsing a few dance steps. door suddenly and Joe bursts in slamaing the door “Genin him. sits, buries his head. Audrey and Dann bots aes JOE I cannot go back in that room! I can't face those people!!... The number's lousy... DANN (nervously) The song? Joe No, not the song...the way I'm staging it. I think we should . just cut it. Dann abruptly stops playing. DANN (small voice) +escut it? I think I'll leave. AUDREY Sit right there, Paul. Go back to bar seventeen. Dann once more nervously obeys. Audrey begins dancing. JOE rilL xr get it. - \ODREY (gontasuing dancing, to Dann) He always says the same thing about every number in every show. JOE How the hell do you know what I always say? DANN (continuing to play) Den't you think it'd be better if I stepped outside... * AUDREY dust keep playing, Paul.45 Revised 8/1/78 56. CONTINUED 45 Totally frustrated, Joe starts to follow Audrey around the room. JOE ae Christ, I only did this show Decause you wanted to play that stupid twenty-four year old girl. Audrey dees a high kick aiming for Joe's chin which misses only because he jumps away. ‘AUDREY (not stopping) Oh=h-h, I knew sooner or later you'd say that. . You do think I'm too old for the part. But you're wrong. I can play twenty-four years old, and I'l] dam well prove it. You want to quit the show, that you're doing it for any other reason but guilt about me. JOE Guilt! What guilt? AUDREY For never going a day when you were faithful to me... (CONTINUED)45 57, CONTINUED 45 JOE Oh, that guilt! “(een exasperated) Faithful! Faithful! Don't you know to be faithful you gotta have faith? Not just in marriage, but the whole thin (paige telloeing her across the rocm) How do I know you were "faithful" to me? AUDREY | You know I was. = JOE That's right, I know you weze, She pirouettes and as she does her hand slaps him right across the mouth, JOE (accusingly) You meant to do AUDREY (politely) ses¥es, I did, You kept me working all the time, I never had a chance to cheat. Out of frustration, he grabs her by the wrists and stops her dancing. JOE What's the big hang up about fidelity? What makes you think that faithfulness is the greatest virtue in the whole world?! AUDREY Well, it's a hell of a lot better than those meaningless affairs you keep tap dancing through. Those Stacys.,.those Victoria: (MORE)45 46 47 48 58. CONTINUED o AUDREY (contd) (accusing finger) You're not even fooling Michelle about Victoria, you know. The Bonnies, the Wendys, the Debbies, the Donnas. I can't even remember ail the names and I'll bet can't either. Quick, té! was ‘ame of the girl in Philadelphia -~ the blonde with the television show. soz ‘The blonde with the television show...the blonde with the television show...her name...the blonde with the television show her name was Sweetheart... Dear.,.I don't remember (leng pausi Wait a minute, ~~ (to himsels) I-can't-remember-that-girl' s-name. Suddenly, as though he has experienced a revelation, he swiftly exits the room. DANN What was that? Where'd he go? AUDREY Don't worry, Paul, I think he just got an idea for the number. Let's go back to bar seventeen. Dann starts to play. She starts to dance. our 46 INT. JOE'S BATHROOM. JOE. DAY. 47 The mornin posin MONTAGE done in hort CUTS: Vivaldi very cas ‘tzer, shower, dexedrine, “It's show time, folks" into mirror, ets. INT. BROADWAY ARTS WAITING ROOM, PRODUCERS, COMPOSER. 48 NIGHT. Waiting are Hecht, Christopher, Goldie, and Dann.49 50 SL 52 59, INT, HALLWAY OUTSIDE DOOR TO REHEARSAL ROOM. NIGHT. 49 Joa comes through the door and CAMERA TRUCKS with him down the hallway past small rooms where we hear various frag- ments of other rehearsals. He enters the waiting room where they look at him 50 expectantly. JOE Look, it's really not ready yet, and I gotta lL ya, it didn't secety turn out the way we talked ut it...Why don't you go in... 11 show it to you in five I wanna get a drink of They rise and head to large rehearsal room as Joe heads toward bathroom. INT, BROADWAY ARTS BATHROOM, JOE. NIGHT. 51 Joe is bent over a bowl in a partitioned toilet retching violently, Finally recovering, he crosses to a applies cold water to his head and face, then pops dexedrine. Looking into the mirror over the sink, he parodies his "It's show time" gesture. RESUME LARGE REHEARSAL ROOM. JOE, AUDREY, DANCERS, 52 PRODUCTION STAFF, NIGHT. Sete The producers and composer seat themselves in a line of chairs facing away from the mirror, Audrey finds a corner away from the group. Like a fixed "jury," expecting a "Gideon -- Showbiz-type -~ Razzle Dazzle -- Crowd-pleasing Number," they have already decided they are going to like it -- only the amount of appreciation is in question. This is the Number we first heardDann audition for Joe and the Procucers. A_PRODUCTION NUMBER FOR "N¥/LA" RARTNREA AAT HENEEEA REN EREARERARERRA AER ARRREAAR AARON EEE And that exactly the way the Number starts: Traditional Broadway "with -o ‘style and moderate invention. The "jury" is obviously pleased at the beginning. It is exactly what they expected and want. They show their pleasure with frequent ad lib appreciative remarks and are all smiles.52 REV. 10/2/78 60 (CONTINUED) 52 CONTD THEN SUDDENLY the Number takes an acute chan: ! Dancers begin disrobing, the first being Victoria. Hecht stares at Sidgerla’ Ris face red with enbarrassment. HECHT What's going on? CHRISTOPHER (similarly embarrassed) ++I think they're taking off theiz i clothes. Both are now riveted by the sight of a boy dancer disrobing. DANN Jesus Chris: Soon the entire company has disrobed. ‘The boy dancers wear only dance belts “Tatthhats on their heads, o: course). The girls wear only a minimum of clothing. It's apparent that Joe has decided that the theme of the Number is "Casual or indifferent sexual encounters in contemporary society": People meet -- have sex -- separate Sithout a feeidues Sr even memory, of relationship. There are various mechanical sex couplings: every variation of girls and boys -- boys and boys -- girls and girls -- in threes and fours -- and so on and so on... This is certainly not what the "jury" had expected. Shock, contusion, Bevilderment read aed ctearly on thelr faces; The Number finishes with all the dancers in isolated areas; caressing only themselves, loving only themselves, incapable of making Contact with any other person. There is nothing left but self-love. JED OUD OOO USER SUD ES SIENA RHR IRS DEERE, pant E ERA AREER EERE There is a very long pause during which both 4ancers and Joe look tentatively toward the "jury". Dann appears to be on the verge of hysteria. COI HUD Tn rir nn iter nineties santana SONG - "TAKE OFF WITH us"REV.10/2/78 80a 'TER_SONG PRODUCERS AFTER SONG FeeeeaseEEe That's great Joey... eaeaeaeeeeeeeeeaaE *C.52 (CONTD) JOE SC.52 CONTE There's more. Wait a minute... there's more. This set moves over and another set moves on. MURRAY Smoke. Smoke. Smoke. JOE These lights go down and another light comes up over there. DANNY Welcome. Welcome aboard Airotica. VICTORIA Flying not only coast to coast. CANDACE But anywhere else your desires and fantacies wish to carry you. GROUP ~~ TAKE OFF WITH US. BRUCE Let's all get to know one anothe: EILEEN Remember we can take you anywhere CANDACE Anywhere you want to go. DANNY Sust reach out your hand and introduce yourselves. DANCERS My name is Cheryl. My name is Leland My name is Jennifer My name is Rema Gary. John. TANG rn After the tango all the dancers move and say their names. DANN Oh no.~~ SC.52 (CONTINUED) CALY PSO REV.10/3/78 60B 5¢.52 CONT CHRISTOPHER No. HECHT ‘Oh my God. Throughout the number the Producers whisper comments to each other. HECHT Oh, I think we lost the family audience. CHRISTOPHER There goes the family audience. Later as we see two boys together, DURING THE ROCK: HECHT We'll maybe get the gays. CHRISTOPHER Uh huh most likely the gays. HECHT There coes the deep. south. CHRISTOPHER Oh huh forget the south. DANN Wait a minute. I think I just heard a little bit of my sons. Sex, sex, sex. Doesn't he ever think of anything else but sex. Maybe he should have cut it. Murray moves in light curtain. JOE ‘Then an actor comes out of the side of the stage and he says: Wot once during any of our flights have we had the crash of any real human contact. Or the bumpiness of any real human communication.~~ sc.52 “REV. 1073/78 60c (CONTINUED) GROUP SC.52 CONTD Goodbye...uh...I hope to see you again soon...uh...Really nice to have met you...uh... You mean a lot to me...uh Goodbye. JOE Our motto is "we take you everywhere but get you nowhere". MURRAY Blackout. JOE Lights. Well... RECHT Interesting. CHRISTOPHER uh huh..,interesting. JOE But did you like it? HECHT Unusual. CHRISTOPHER Yah...unusual. JOE Well, maybe I can fix that out of town... Joe crosses to Audrey. JOE I don't like it...what do you think? AUDREY It's the best work you've ever done. (pause) You son of a bitch. She gets up and exits. (NOTE: DELETE BALANCE OF SC.52 AT TOP OF PAGE 61.)$3 61. Another pause. RECHT (clearing his throat) eeoeesinteresting... The rest of the "jury" hesitatingly ad lib uncertain praisa, Joe crosses to Audrey. JOE (quietly) I don't think they like it...What do you think? Audrey looks at him and we see that she's crying. AUDREY seeeeTt!s the best work you've aver done. (pause) You son-of-a-bitch. She ‘gets up and exits. ABRUPT CUT TO: HALLUCINATORY DRESSING ROOM. JOE AND ANGELIQUE. NIGHT. 53 She sits holding a rose, smelling it appreciatively. We jax the MUSIC of a Jazz Trio. JOE No...nothing, I ever do is good enough...it's not beautiful enough,..it's not deep enough seeit's not funny enough...it's not anything enough. He goes to her, takes the rose from her hand, examines it. JOE When I see a ro: pertect. partes (pause I want to look up to God and say, “How the fuck did you do that? Why the hell can't I do that?" ANGELIQUE (pause, nods appreciatively) Now, that's probably one of your better con lines. snow, that's33 Revised 8/1/78 62. comprNuED- ; 53 JOE Yeah, it is. But that doesn't mean I don't mean it. ANGELIQUE eT didn't say you didn't mean te JAZZ TRIO OUT. INT. PROJECTION ROOM. JOE, EDDIE, PENN, ALVIN 54 RACKMIL, AUDREY, KATIE, MICHELLE, STACY AND OTHERS. NIGHT. This is an invited screening of THE STANDUP. Seated at the console are Eddie Lerner, Joshua Penn and Stacy. Directly in front of the console are Audrey, Michelle and Joe's 1 t Alvin Rackmil. Katie sits a row or two done the sem Tights are still up. Joe stands in front of the blank screen addressing the small, invited audience. It is clear he is in the middle of a litany of excuses. JOE ++eThis ig a rough cut, I mean i ally rough. We don't have the titles in and a lot of the sound effects. The print doesn't match . and 80..... PENN (interrupting) apologies, Joe. Can we . just run the film? JOE Okay. He starts up the aisle and as he passes the console: JOE (contd) (to Baie) Okay. Start it, I'll be back in a second. He exits.54a 54B 63. INT. CORRIDOR CUTSIDE PROJECTION ROOM, ANGLE TO MEN'S 54A ROOM DOOR, NIGET. From inside the men's room we hear sounds of Joe retching. RESUME PROJECTION ROOM 543 Joe enters 23 the monologue has just started. He sits next to Eddie. Expecting audience response which is not forthcoming, he mumbles to Eddie. JOE It's a bomb, They hate it. (pause) Maybe they're not hearing it. EDDIE It's fine, it's fine... JOE (pause) They're not hearing it. (looks at screen - a moment) Maybe they are hearing it. (another pause) No, they're not hearing it. He reaches for the volume control and boosts sound until it booms through the room. Nervously he looks around for more response from the audience, He doesn't get it. Leans across Eddie to Penn. JOE I'm sorry, Joshua. (leans forward to Rackmil) You hate it, right, Alvin? You hate it. RACKMIL No, Joe, no. JOE Then why aren't. you laughing? RACKMIL Sheh-h-ht (indicating screen) I can't hear what he's saying. JOE (to Eddie) See!...I told you they can't hear iteS4B REV. 10/3/78 64 (CONTINUED) 54B CONTD He tries to boost sound again! PENN (to Eddie) Eddie, is there any way you can get him avay from that knob? Eddie reaches over and gently removes Joe's hand from the volume control, then turns down sound to proper level. After another few seconds, Joe finds the pressure unbearable. JOE (to Eadie and Penn) Call me later. Be holts out of the room. INT. JOE'S LIVING ROOM, JOE. — DAY. 55 He sits on the couch on thé phone. While we don't inmediately see them, we will be aware of Michelle and Katie in the kitchen. It's a Sunday. Michelle is preparing a salad and Katie a chicken for the oven. while we do not hear the specific wards, we are aware of Joe on the phone. Tt will ring again during this morent. The two speak in hushed tones. KATIE Did you find, ‘em? Michelle nods "yes". Where did you put ‘en? Michelle points to a cabinet. He didn't see you, did he?57 REV.10/11/78 65 (CONTINUED) 56 CONID Michelle neds "no". Katie nods "good". Both look over their shoulders then back to each other. KATIE & MICHETIE Let's go backwards when all else fails. Both go back to preparing dinner. RESUME JOE ON PHONE. 37 ccs No, Alvin, I was here, but T just wasn't answering the phone.. iw, came on, Alvin...Don't bullshit’ a_ bulishitter...yeah, yeah... RESUME KITCHEN 58 ‘The two girls are contimsing their preparations for dinner. ‘They still speak in hushed tones. MIGHETIE, T don't think I can go through with it. KATIE. (chopping) We'll make it. We can do it. Don't penic on the staircase. Both mouth the word "hop hop hop hop", as they point their fingers at each other on each word. SCE appears in the kitchen doorway, locking very pleased. (CONTINUED)REV.10/11/78 65a, 38 (CONTINUED) fettrraias . JOE Well, at least two people say the screening was a hit. (Michelle and Katie applaud) one was my producer and the other my lawyer. KATIE MICHELLE Oh, Joe, Everybody loved it. Oh, Daddy.... We told you that last night but you wouldn't listen to us. MICHELLE (slicing a tomato) That was the first R-rated movie I ever saw and I loved it. JOE Did you understand it? MICHELLE I understood everything except the part where there were two girls in bed together and they were kissin... What was that supposed to meen? JOE Is dinner ready yet? Katie laughs. MICHELLE (net to be denied) What was that supposed to mean?a 58 39 REV. 10/11/78 66 (CONTINUED) JOE 88 (CoD Well, Michelle, there are certain women who... (to Katie Thanks a lot. (to Michelle) there are certain women... uh...well, they don't relate to men. MICHELLE (interrupts, to Katie) I think Lesbian scenes are a big turn off. JOE You're right. I should have cut it. I'm hungry. RESUME LIVING ROOM, JOE, MICHELLE & KATIE. -~ NIGHT 59 Katie and Michelle are re-arranging living room for their musical number. KATIE an fe Brrrz-..Crash. Ladies and Gentlemen, in honor of the semi-successful screening... MICBELLE Dad, get the lights. KATIE ...0f Joe Gideon's new film “THE STANDUP", we are proud to present those new dance sensations, Jagger and Gideon. MICHELLE Gideon and Jagger. KATIE Gideon and Jagger. MICHELLE Dad, sit down. KATIE Yeah, sit down, Joe, sit down ++-in an under-rehearsed tribute. MICHELLE I'm so neryous.60 60a 67. CONTINUED 60 that the cast sits on one side and Joe and staff face them. The cast would include some of the dancers and also actors whom we have not yet met. Naturally, Audrey is present, Seated almost directly opposite Joe. A model of the set is prominently displayed in front of Joe. JOE (up and bright) OK...now you've all seen the set and costume designs..,what I'd like to do now ig read through the script tor—the-firse—time. None of us has ever heard it read aloud, so I think it'll give us an idea of what we have, Don't be nervous we eiehe—tt-easy...Don't try to act il.dust a simple read through. OK..,lights up, Audrey sings her first number and now, Audrey, your speech on page two. NOTE: From here on the book reading sequence is entizel; ‘silent, A DUMB SHOW, except for exa a aeaeed sound eff aces iivetving Joe, Por ex erase fe-will strike a match, Light fis cigarette and crack his knuckles. Tne reading evokes great positive response from both the cast and everyone else in the room except Joe and Audrey. We si d everyone tiga in the room Seeere each alt hex se responses: laughter, applause, thigh-slapping, locks of mutual joy and seli-satisfaction. Joe occasionally manu- factures a sickly smile during a continuation of the exaggerated sound effects, which further include coughing, sniffling, heavy Breathing, stubbing out cigarette in ashtray, etc, The pleased, laughing response of the on~ leokers has reached epic proportions. They have never heard anything so funny. The more Joe hears of the book, the more he realizes he and the show are in desperate trouble, At the end of the reading, Joe forcea the sick- Vest of smiles, touches his chest, massages his left arm and closes his book. It is the last sound effect we . INT. BROADWAY ARTS HALLWAY. KATIE, MURRAY, VICTORIA, — 60A OTHERS. DAY, Coming from the elevator Katie starts toward the big rehearsal room, She carries a rose. Victoria is getting a cup of coffee from the machine. She and Katie see one another. There is a moment of recognition and both cover with insincere smiles and nods,REV. LG/21/79 68-69 DELETE SC.60A BOTTOM OF PAGE 67. DELETE SC.61. 62 INT. HOSPITAL EMERGENCY AREA. OUTSIDE SMALL 62 CURTAINED EMERGENCY EXAMINING ROOM. AUDREY, KATIE, DR. HYMAN, HECHT, CHRISTOPHER, GOLDIE -- DAY They stand in a tight circle, all deeply concerned and at a loss. Dr. Henry Hyman is Joe's regular internist. DR. HYMAN (with honest bewilderment) I checked him out a month ago... cholesterol count was a little high, but otherwise... (CONTINUED)~ 62 63 4 rn 70. CONTINUED 62 AUDREY (very tight, furiously, ‘to Hyman) You mean, he conned you too! You mean, you’ nis doctor and you didn't know he gets no sleep. takes dexedrine like they wer M & M's...emokes five packs of unfiltered cigarettes a day... boozes every night..+ (a direct accusatory look at Katie) wssand God knows what else he does!... (back to Hyman) Y. Some fuckin’ doctor!!! Dr. Hyman has nothing to say. INT. SMALL EXAMINING ROOM. JOE, AUDREY, KATIE, 63 PRODUCERS, DR. HYMAN, DR. BALLINGER, $aGwHeeEMA DAY. HURSE PARSONS Dr. Burton Ballinger is a cardie peis ieee just completed his examination.. 7! is detaching Joe from the cardiogram machine. Joe is obviously in trouble, perspiring heavily and finding it difficult to breathe. DR. BALLINGER (who has had it with Joe, addressing group) All right,..who's in charge of this million-dollar show that Mr. Gideon keeps talking about? The producers look at each other. HECHT seeT guess I am. DR. BALLINGER (to Hecht) Mr. Gideon has a very serious case of angina that could possibly lead to a massive coronary... JOE, Oh, fuck!!! DR. BALLINGER (riding over) «ssAnd it is my opinion that if (MORE) ”“Revised 8/1/78 = 71. CONTINUED 63 DR. BALLINGER (contd) Mr. Gideon leaves this hospital his life is in jeopardy. A long pause. EECET I don't think there's any doubt that Joe should stay. CHRISTOPHER br. Ballinger, could you give us some idea of how long..... DR. (interrupting) Why don't we step outside? He exits, followed by the three producers and Hyman. * Nurse Parsons is still busy with the machine. Audrey and Katie remain. JOE Doctors...what do they know? (hits his ches! He reaches for his shirt. Audrey stops him. AUDREY +++please stay. KATIE Joa...stay. Joe looks at both of them. After a moment he reaches in pants pocket, removes his container of dexedrine. He beckons to Audrey. — smiles) +++you can get a good price for these in a schoolyard. The two doctors and the three producers re-enter, ~ the latter with somber expressions. JOE (to doctors) All right. I'll stay, but how much time are vou talking about?2 63 CONTINUED 63 DR. BALLINGER We can't give you an exact date. DR. HYMAN” We plan to move you upstaits to a private room where you can get complete rest. ‘ DR. SALLINGER We want to put you on a machine and see what happens. JOE Yeah, I get ya, but what are you ! talking about?’ One day?...Three days...2? There Goldie. an exchange of looks emong Hecht, Christopher and : DR. BALLINGER ee At least two to three weeks. JOE ' (exploding) You've got to be kidding?!! I've ' got a show to do. I've got a whole Gast sitting and waiting. Speak up and tell him, will ya Jonesy. When Hecht says nothing, Joe continues to doctors. JOE (contd) You've got to be out of your fucking (clutches chest) Oh, Christ!...0h, shit! DR. HYMAN What's wrong?! Ad libs of concern from all the others in room. JOE My_ chest! ~ It is obvious that Joe is having a massive coronary. Dr. Ballinger turns to Nurse Parsons. DR, BALLINGER Miss Parsons, Move!63 64 65 66 67 73. CONTINUED 63 She immediately rushes out to summon the emergency team. JOE (directing his rage at both doctors) It's your qostann fault! i!..,It's ry S_who are doing this to mel! en y screaming) I wasn't sick until I got here!! INT. ‘TAXI CAB. AUDREY AND MICHELLE ~ ‘DAY. 64 They sit in the cab, Michelle holds a bag of schoolbooks. MICHELLE What's wrong with him? AUDREY It's...exhaustion. INT. NEW YORK HOSPITAL. SINGLE ROOM IN CARDIAC 65 INTENSIVE CARE. JOE AND TECHNICIANS. DAY. Sedated, Joe lies on a bed completely cut. He has been connected to the proper monitoring machines. They click and flash. This room ke—e-enaii—giace pqgei tioned soem off-a—targes-coom., Can now be ooterved From a window tawen itera = longer reer, MICHELLE (V.0.) You're lying to me. CROSS FADE: . KATIE (V.0.) No, I'm not a member of his immediate family... INT, TEEATRE BACKSTAGE, KATIE. NIGHT. 66 In costume, Katie is on the phone. KATIE I'm...I'm...his girlfriend... (to herself) ++ -Sometime! RESUME JOE IN HOSPITAL. 67 Alone again, more machines going. RATIE (V.0.) Well, can I leave a messag Please tell him...wn 67 68 | 69 eae 70 7 o~ 74, CONTINUED 67 CROSS FADE: Hecht's voice. HECHT (V.0.) We have made a decision to post- pone for four months. INT. BROADWAY ARTS. LARGE REHEARSAL ROOM. 68 CU GIRL DANCER. DAY. PIRST GIRL Well, there goes the new apartment. RESUME JOE IN HOSPITAL. 69 Machines going. ae HECHT (V.0.) But we are assured that Jo# will be fine... RESUME BROADWAY ARTS. FEATURING HECHT. ENTIRE 70 COMPANY AND STAFF, A somber group listens to Hecht. Audrey sits nearby, attempting to look optimistic. HECHT «sand the show will definitely be done. CU SECOND GIRL DANCER. SECOND GIRL Let's go shopping and spend all our money. RESUME HECHT. HECHT We're aware of the financial burdens this might impose on some of you... RESUME JOE IN HOSPITAL, DR. BALLINGER AND TECHNICIANS. 71 Dr. Ballinger is checking charts. Joe remains out. HECHT (V.0.) «+.and we are prepared to try to gat you temporary jobs, even lend (HORE)” ~2 72 73 14 75 16 73, CONTINUED 2 HECHT (V.0. contd) you money. We don't have a lot of cash available...but what I'm trying to say is we'd like to do whatever possible to keep you all together. CROSS FADE: Audrey's voice. AUDREY (V.0.) seeAnd just an hour ago... RESUME BROADWAY ARTS. FEATURING AUDREY. ar) AUDREY «.sat the hospital he was making jokes...he said... RESUME JOE IN HOSPITAL. - 73 Nurse Parsons is exchanging intravenous bottles. Audrey observes through the window, obviously deeply concerned. aupREY (v.d.)"" «eeBe sure to tell all of you that he has a great idea for a new and hilarious hospital number... CU FIRST BOY DANCER AND VICTORIA. 74 He's crying. Victoria, also crying, tries to comfort him, RESUME JOE IN HOSPITAL. 75 Joe is still out...machines clicking, etc. DANN (V.0.) (Joking) :+-Hospital number?? Which I imagine will require me to write a NEWeee RESUME BROADWAY ARTS. FEATURING DANN. 76 DANN: +eesong. (crossing to piano) How does the title HOSPITAL HOP grab you? Over nervous laughter Dann bangs out a couple of bars of ragtime.77 738 79 80 81 82 Revised 8/1/78 76. RESUME JOE IN HOSPITAL. 7 Joe is still out. We hear Dann improvising a few bars of the ragtime. RESUME BROADWAY ARTS. DANN AT PIANO. 78 (to all) Hey!...I've got it already... RESUME JOE IN HOSPITAL. DR. BALLINGER AND DR. HYMAN. 79 DAY Joe is awake and reasonably alert. DR. BALLINGER Things are looking better. We're gonna move you upstairs to a private room for awhile. Joe nods "good." - ourr our = 80 RESUME BROADWAY ARTS. FEATURING HECHT. 81 RECHT : Really, what we all want you to know is, we picked you...we love you...You are, without question, an absolutely... ABRUPT CUT TO: os INT. VIVIAN BEAUMONT TEEATRE. DANN, LUCAS SERGEANT, 82 LIGHTING DIRECTOR. DAY. ba Lucas Sergeant is a successful director: sharp, energetic, and ambitious. At the moment he is engaged in setting lights for a scene involving a * brass bed set center stage. Nearby sits bic liyhting @irector who talks into an intercom to make the various lighting changes. He holds in front of him a iighting plot. Sergeant and Denn sit a couple rows behind him. The rest of the theatre is empty. During the succeeding, the lighting designer will cai cues and make adjustments ("Let me see twenty-seven at halt, now add twenty-eight..." etc). DANN ++sMarvelous cast! And now we've got to sit around four months, maybe even lose them...Revised 8/1/78 77. ‘eo pant eN to Dana) I can see where it would be ategionte to hold that cast together really a shame...and even aiiar four months, with a heart attack, there's really no guarantee he'll be able to work. DANN None...And he's the greate: SERGEANT (nods) Som. DANN And, Lucas, I think we have a sure hit, a sure hit...reads like a dream... SERGEANT +eeI'@ love to read it. I'LL gat a copy eoy to you this afternoon. (pause) What's your schedule like? I mean, E know you don't need the dough... LIGHT DIRECTOR How about this, Lucas? SERGEANT (glances at stage) No, it should be more shadowy. this is a seduction scene, ygu know. (to Dann) How much is Jos getting? DANY (very quickly) Five percent of the gross, until payoff. Then he goes to six percent, twenty percent of all subsidiary rights, including a movie sale. SERGEANT Well...my schedule is pretty full, but...of course, you know how I feel about you, and I'love Joey. 50. if there's any way I can help... 82 *Revised 8/1/78 78. 82 CONTINUED 82 * ‘The bed is now lit in a very seductive fashion. * SERGEANT * (to Lighting Director) Better, better...I like that. ABRUPT CUT TO: ~ 83 _HALLUCINATORY DRESSING ROOM. JOE AND ANGELIQUE. 83 NIGHT. Joe is trying on various styles of glasses, a la Elton John. She wears sunglasses. Off screen we hear MUSIC. JOE Soma people collect stamps.. soma collect dead butterflies ANGELIQUE - And you? - JOE Me? I'm a dedicated collectc> of injustices. ANGELIQUE Sometimes real, sometimes imagined. sOR (nodding) I always look for the worst in * people ANGELIQUE «esa piece of you in them... = JOE Yeah...a piece of me...and generally - T find it. ANGELIQUE It may take you years, but. you'll find it. You're cute, You.are cute. He laughs, looks at her a moment, his attraction to her obviously deepening. MUSIC OUT.84 Ravised 8/1/78 79. EXT. ‘CALIFORNIA POOL. XIMBERLY. DAY. a4 Near hysteria, the beautiful co-star of the film THE STANDUP is an a poolside lounge holding a telephone. she on a bikini and we see the trade papers somewhere nearby. (wailing) I just read about it in the trades, Joey...and I'm so upset. Don't die, Joey!...Please don't die!! weeI need you. INTERCUT BETWEEN: as INT. JOE'S BCSPITAL ROOM. CLOSE SHOT ON JOE ON PHONE. DAY. JOR Kimberly, please...calm down. KIMBERLY You're the only one who understands me. What I do without you? (CONTINUED)as a6 a0. CONTINUED as JOE You'd do fine, believe me, KIMBERLY (even more hysterical) Everyone I've ever loved leaves me. They all leave me,..they all leave me!!~ Please don't die, Joey! JOE Kimberly, I give you my sincere word, I won't die. OK? WIDER ANGLE, THE ROOM. KATIE, PENN, RACKMIL, STACY, TWO GIRL DANCERS, ONE BOY DANCER, DAY. A party atmosphere. Flowers, books, a pile of scripts, wall decorations which include a poster from THE STANDUP. The television set is on although the sound has been turned down. There is evidence of food-having been delivered from an outside delicatessen. While Joe is on the phone, talk among the people is subdued. Katie is arranging flowers which have just been delivered. JOE (contd) I have to get off now... (lying) ++sthe doctors just came in. KIMBERLY I love you, Joey. I love you, I love you, I love you, I love you, ete. JOE I love you, too, Kimberly. He hangs up. JOE (to all) eet wish I could have gotten that performance out of her in the picture, They laugh. RESUME KIMBERLY, ANGLE TO INCLUDE MALE COMPANION, 86 We now see a heavily muscled young man in the stringiest of bikinis. He stands waist deep in the pool oiling himself.a6 a7 al. CONTINUED 86 KIMBERLY {still hysterical) Joey's dying!!...oh my God, Joey's dying... ‘The young man just glances at her. Reaching to a table she lifts a drink, takes a deep swallow. KIMBERLY (never stopping her crying) How's the water? Young man nods that it's fine, Rising, Iimberly crosses to the edge of the pool removing the bikini top. She jumps in. Sobbing she embraces the young man and they start to make Iove INT. JOE'S ROOM. JOE AND KATIE, O'CONNER FLOOD ON 87 TELEVISION, NIGHT. ait Katie sits at the bedside as they both watch television. Joe holds a remote TV control. On screen is an ebullient O'Conner Flood performing his role of variety-talk show host. Flood is black. He is Mr. Showbiz and infinitely hip. He wears beads arid other accoutrements that weigh more than he do Now he assumes the air of a man about to announce the Second Coming. Throughout the introduction, Joe makes mocking comments which cause Katie to laugh. O'CONNER FLOOD My next guest...the word superstar is totally inadequate, man. (pause) Whenever I do a benefit, I know Z can get on the horn and call this Je...and ne-matterwherehe-ie snehte—wertd, I can count on him to be there with me...I feel humble in his presence... -ené—i-mean—thet... (tapping his chest) «sefom what's deep in here, Ladies and Gentlemen.,.let me lay on you. JOE (keeping just a beat ahead of O'Conner) A great entertainer... O'CONNER FLOOD (a split second later) seo@ great entertainer...87 CONTINUED 87 JOE +ee& great humanitarian... O'CONNER FLOOD (a split second later) +8 great humanitarian... JOE ssand my dear friend for twenty- five years O'CONNER FLOOD ++-and my dear friend for twenty years Joe clicks off set. RATIE (smiling) Missed it by five years. _ JOE Boy, do I hate showbiz. KATIE Joey, you love showbusiness. JOE Boy, do I love showbusiness. (pause) I'll go either way. ABRUPT CUT TO: HALLUCINATORY DRESSING ROOM. JOE AND ANGELIQUE. NIGHT. 98 Joe has stopped experimenting with make-up and is staring into the mirror, Behind him is Angelique. Off screen we = MUSIC. JOE ++Love showbusiness, hate show- business... Suddenly two girl dancers appear in scanty disco-type costumes, They are there to get Joe's approval of their costumes. 1ST DISCO DANCER Ia this okay, Joe? Joe inspects her, takes her waist, turns her around, inspects her rear, turns her back, feeeny engye on Argenque heping to avole a nesmense,Revised 8/1/78 23, CONTINUED ao JOE Fine. 2ND DISCO DANCER How about mine? He repeats the action, but this time mak ments of a tassel, a strap or something. i JOE T like it. I like it. ‘TWO DANCERS Oh good...good... They disappear, He locks after them, then locks back to Angelique. JOE (with an appreciative ~ * Honea, 8 tell the truth, I got to this business..... ANGELIQUE * (finishing) sseJust to meet girls. Re's taken aback by her ability always to anticipate * his thoughts. JOE Someone once asked Willy Sutton robbed banks, and he said why he ’ "Cause...that's where the money (pa is." use) This is where the girls are. ANGELIQUE You can't make me jealous, Joe. So I see. MUSIC OUT. MONTAGE: The following all takes place in Joe's room and will gover a peried of sevesal aeyes Tee eea8 a9 -- Revised 8/1/78 832. CONTINUED 88 from Day to Night. Sometimes Joe is heavily drugged a Gpasch sfuread) at Sen arred; ai jer times he is quite quite ‘alert. ansition between ea INT. JOE'S ROOM. JOE AND PAUL DANN. NIGHT. 89 Dann has just set up a cassette machine at Joe's bedside. Prom the number of cassettes he has brought, Dann slips one into the machine. ie hear the opening bars of Th Brahms?...I haven't listened to Brahms in years (CONTINUED)89 90 91 92 93 a4, CONTINUED a9 As the music swells, Joe closes his eyes. DANN (enjoying the music. - with him)». nes And you don't have to tap dance to it. JOE (blissfully) seeTt's beautiful. 2- FADE UP IMMEDIATELY TO: DAY. 90 FADE TO BLACK -- FADE UP IMMEDIATELY TO: DAY. g1 JOE'S POV, BOY DANCERS AND OTHER VISITORS. A room full of people, including Hecht, Christopher and cast members from N¥/LA. Two boy dancers in full ballet make-up == eye si 7 false eyelashes, etc. -- are doing a_campy pas-de-deux. Much laughter. FADE 70 BLACK -- FADE UP IMMEDIATELY TO: NIGHT. 92 Katie is reading to Joe from a collection of e.e. cummings. KATIE “now i love you and you love me (and books are shutter than books can be)" FADE TO BLACK <> FADE UP IMMEDIATELY TO: NIGHT. 93 Propped up in bed, Joe reads from the same e.e. cummings to First Poetry Girl. She is a pretty model-dancer type. He looks soulfully into her ey JOE "now 4 love you and you love me (and books are shutter than books can be)*~ 93 94 ~~ ' 95 ~~ 85. CONTINUED 93 He looks at her meaningfully. She is obviously moved. : FIRST POETRY GIRL Oh, Joey... FADE TO BLACK -- FADE UP IMMEDIATELY TO+ DAY. "94 In a smoke-filled bathroom with the door closed, Joe is frantically puffing away. Suddenly the door opens to reveal two starn nurses, Head Nurse, Mise Pierce, Floor Nurse, Miss Collins, Beyond them we should see 2 yecm full of people. In total-confusien, Joe tries to flush the cigarette down the toilet. NURSE PIERCE Mz. Gideon, what are you doing? JOE I caught someone smoking. I was just getting rid of it. 1 told then, - (pointing toward room) wesa man in my condition shouldn't @ven be around smoke. (addressing guests) Now, Goddamit, I don't want any more smoking in this room! DAY. 95 wadevill& straightman) No, Audr ‘tell\ge about the egomaniat with an igferiority complex. UDREY He said..."Putk you, I'm Number Forty-seven!" They resume the song and do aJittle dancAstep. Joe laughs.96 97 98 a6, PADE TO BLACK -- FADE UP IMMEDIATELY TO: NIGHT. 96 Student Nurse Capobianco -- young, virginal, attractive, business-like —- is giving Joe a massage, working on the thighs, Enjoying the experience, he teases her. JOE C-o-0-0...that feels good...I might get an erection. NURSE CAPOBIANCO (in real girlish panic) Oh, don't do that. JOE Miss Capobianco, how much do you charge for genitalia? NURSE CAPOBIANCO The same as I do.for.Jews, * Mr. Gideon. FADE TO BLACK <= FADE UP IMMEDIATELY Tu: DAY. 97 gor's POV. HECHT, CHRISTOPHER, GOLDIE. DUMB SHCH TO SOUND TO DUMB SHOW. Animatedly they are talking business that presumably interests Joe. The dumb show abruptly becon2s “live.” HECHT Ah, the hell with it. We'll do a Show...wa won't do a show. CHRISTOPHER Right! The main thing is to get you back on your feet. What's the difference in the long run? GOLDIE And speaking of long runs, Joey, should we keep building the scenery? (qaickly) Just a joke...just a joke. Back to DUMB SHOW. FADE TO BLACK ~- FADE UP IMMEDIATELY TO: DAY. 98 JOE'S POV. PAN SHOT. DUMB SHOW. The producers have been replaced by a group of racially- mixed doctors led by a Resident, who is the only one talking,99 100 1oL 102 aq. CONTINUED 98 tion to a couple of male doctors er of Kimberly, Among the student doctors are tvo Wopghs nage equal fascina- is" S86, 505 part of an elaborate ad-campaign display for THE STANDUP. FADE TO BLACK FADE UP IMMEDIATELY To: NIGHT. 99 Davis Newman perches in a chair at the side of the bed, keeping a slight distance and observing. DAVIS You're just like I am, It's got you by the balls, If you can't make it as a genius then fuck it, why not die?...Right? JOE seoright. He closes his eyes. PADE TO BLACK == FADE UP IMMEDIATELY TOs DAY. 100 JOE'S POV. A large portable, monster-like X-ray machine is wheeled into the room. A goggled technician operates the machine as it sweeps across Joe. Ses! FADE TO SLACK =~ FADE UP IMMEDIATELY. NIGHT. 101 Propped up in bed, Joe reads from a collection of 2 cummings to Second Poetry Girl, also 2 pretty model-cancer type. He looks soulfully into her eyes. JOE “and deep in the high that does nothing but fall (with a shout each around we go all) there's somebody calling who's we" He looks at her meaningfully. She is obviously moved. SECOND POETRY GIRL see'who's we'...0h, Joey. FADE TO BLACK -> FADE UP IMMEDIATELY TO: DAY. 102 JOE'S POV, Audrey holds up a Michelle water-color of her father lyingag. 102 CONTINUED 102 in the hospital. In the drawing he has a big smile. The drawing says: “To Dad, Love From Michelle." 103 FADE 0 BLACK -- FADE UP IMMEDIATELY TO; NIGHT. 103 Stacy at his bedside, Joe is on the telephone. JOE (distracted by Stacy) «..They have this rule about visitors where you have to be at least sixteen. (pause) I agree, Michelle...1t is a dumb Ful os 104 FADE TO BLACK =~ FADE UP IMMEDIATELYT0: DAY. 104 ‘The room is crowded, including Murray “athan. The Head Dietitian, an Oriental Noman, has the waek's menus. Over her speech Joe deliberately takes a huge turkey-cacrye from Murray's hand. DIETITIAN I'll leave these menus with you, Mr. Gideon. Please check off what you want for the coming week. JOE (looks at menus, does number for his’ audience, putting sandwich in his mouth and talking through it) Oh Monday I'11 have the roast beef, Tuesday chicken, Wednesday steak, and Thursday I plan to be dead so I'll just have something Light. 105 FADE TO BLACK -> FADE UP IMMEDIATELY TO: NIGHT. 10s Another visit from Davis, leaning into Joe. DAVIS (intensely) Shit, you're more obsessive than I am...and what's keeping you alive is that hope, that one possibility that once, just once, you'll create a work of real importance, Right?105 106 107 108 CONTINUED 105 JOE sright. He closes his eyes. FADE TO BLACK -- FADE UP IMMEDIATELY TO: DAY. 106 FADE TO BLACK -- 2 yee Now the visitors are.Penn, Eddie Lerner, Stacy and Alvin, EDDIE (Little shrug) It seems to be getting all laughs. RACKUIL ‘The response at the screenings has been sensational. STACY Joay, they love the picturs. You should hear what they say coming out of the screenings. Film freaks from.NYU..and..even old couples in their thirties. PENN eswhat makes me happy is we've got Cinema I in Wew York and the Westwood Village in LA. FADE TO BLACK -- FADE UP IMMEDIATELY TO: NIGHT. 107 Propped up in bed, Joe reads from a collection of @.9- cummings to Third Poetry Girl. She is also pretty and black. He looks soulfully into her eyes. JOE "(with a spin leap alive we're alive) we're wonderful one times one” THIRD POETRY GIRL (obviously moved) And that made you think of me? Joe gravely nods yes. FADE 10 BLACK -- FADE UP IMMEDIATELY TO: DAY. 108 FADE TO BLACK —— eee Nurse Bates draws what seems to be a lot of blood from Joe's arm,108 109 1lo ai 90. CONTINUED 108 JOE Jesus, I didn't know I had any left. NURSE BATES Just one more, Mr. Gideon. She gives another jab. FADE 70 BLACK =~ FADE UP IMMEDIATELY TO: DAY. 109 DUMB_SHOW: the party is at its height. Katie is present as Joe clearly enjoys a performance from Dann, ie is belting out a number with exaggerated showbiz gestur == FADE Wp IMMEDIATELY TO: NIGET. 1210 Katie sits reading to FADE T0 BLACK ~- FADE UP IMMEDIATELY TO: NIGHT. 1 FADE TO BLACK ~~ eee Another visit from Davis, leaning into Joe. DAVIS’ Gideon, I've. got reai insight into you...There's a deep-rooted fear of being conventional...First you left your wife and just lived with a woman, When society said that was you immediately broke off and tried living with two women... menages, all that shit. When society started to accept that wit threw you, you go from ‘three women? Ten?? I Gideon, I've got real insight’ into you...and what's underneath is this dreadful fear, that you'ze ordinary, not special weeThat sex thing...Z wouldn't say you're a faggot, but you have a lot of feminine characteristic JOE «seright. closes his eyes. 7gl. 112 FADE TO BLACK -- FADE UP IMMEDIATELY TO: DAY. 112 FADE T0 SLACK -- FD? ome qhe party continues, From a seated position on the bed, Joe Jumps down and begins dancing a la Fred Astaire. Over Joe dunes there are scattered ad lib protests that he's crazy, which he ignores. 113 FADE 70 BLACK <= FADE UP IMMEDIATELY TO: DAY. 113 pr. Ballinger and Dr. Hyman surround Joe, who lies in bed, ord are obviously laying down the law to him. He keeps nodding in mechanical assent. DR. HYMAN You're not resting...you're having too many visitors. DR. BALLINGER Your blood pressure is twenty points over what we'd hoped. Your caraiograns haven't improved one te ee DR. HYMAN Joe, you're flirting with disaster. DR. BALLINGER You've just got to rest. JOE (being a good boy) I will...t will. 114 FADE TO BLACK -- FADE UP IMMEDIATELY TO: NIGHT. 114 At night, Joa in a sexual frenzy is pressing Stacy to the seit? ue has her dress up and is pulling her pants down, She giggles and tries to resist-..but.not too seriously. STACY Joey, you're crazy...What ore you doing?...You're really crazy... Do you want to kill yoursel£??! JOE (never letting up) sweetheart, this could be the last act of a desperate man, Nurse Bates enters and observes. JOE (over his shoulder) pr. Ballinger said I should exercise a little. 5ie 11s Revised 8/1/78 92. CONTINUED i 14 FADE TO BLACK. ‘The Brahms ALSO FADES. END_OF MONTAGE. INT, LOUNGE. DR, BALLINGER AND HOSPITAL STAFF. 15 DAY. With the lounge door closed and no patients present, Dr. Ballinger meets with the floor staff. A large bisekboard has been rolled cut and is covered with chalked notations dealing with other patients. The subject now, however, is Mr. Gideon. In addition to Dr. Ballinger, there are a resident and two male interns plus all the nurses we have seen with the addition of two or three more. Or. Ballinger is nolding Joe's chart. * (lowers chart) ia Well...obviously, everything he does is a denial of his condition. NURSE CAPOBLANCO Dr. Ballinger, every time I go in * the room he's always grabbing and groping. DR. BALLINGER Have any others had that problem? All female nurses raise their hands slowly. Bemused, Br. Ballinger looks at a male interne. DR. BALLINGER How about you? PIRST INTERNE Not yet, but he's looking at me funny. RINE * ‘SECOND * INTE) He acts like he really doesn't * care.115 116 to 120 121 93. CONTINUED : 1s DR. BALLINGER oh, he cares ail right. #e-ceeee . The measure of his fear of death is how much he denies its possibility by his irrational behavior. (pause) weo-mueh-ctornes, Starting now, we wWill..,limit his visitors to no more than two...three at the most. (picks up another file) Let's go to Mr. Cartwright in fifteen twelve. 116 OMIT OMIT to 120 INT, HOSPITAL CORRIDOR. JOE AND PENN, OTHER PATIENTS 121 AND VISITORS. NIGHT. pressed in a robe, Joe walks along the corridor with Penn. Joe holds a sheaf of newspaper reviews of THE STANDUP and is reading one or two of them, Penn is excited as Joe studies what are obviously good notices, In the background are other patients and visitors, also strolling. PENN Jee, I wish you could have Deen there. Nine thirty this morning, before one review had come out, the line at Cinema One was around the block. I mean, Joe, the people know! The people know! Broke every dieseiey Pacord. A block- buster...a blockbuster...I mean aea-a blockbuster! And those guys from California...you wouldn't believe the phone calls... “Congratulations s.econgratulations v.Iim glad you took the time... it’was worth it...Zvery dollar we spent is up there on the screen...” They're talking a three million dollar advertising budget...three million dollars, can you believe that? I mean, with that kind of push this picture will go.right through the roof...right. through the roof. And look at those reviews. We did it, We did it!94. 121 CONTINUED 121 122 JOE (reading, unexcited) Where are the bad ones? PENN (lying) There are no bad ones. JOE (looking him right in the eye) Joshua?... PENN Well, thera were a couple that quibbled a little...I left them in the office. JOE Joshua, do me one favor. ~ > (smiling) I don't ever want to see them... not ever’ They continue to walk -- now approaching Joe's room. JOE (contd) What about the televisions? INT. JOE'S ROOM, CLOSE SHOT TELEVISION SCREEN. 122 LESLIE PERRY. NIGHT. The television reviewer, Leslie Perry, is a young, attractive, smiling-killer type. PERRY (very brightly) Following Joe Gideon's triumphant directorial achievement with 50 Beautiful Girls 50, when he wom ‘avery possible award, it would be nice to report WIDER ANGLE. JOE, KATIE, PENN, RACKMIL, NIGHT. JOE Q-o-oh, boy...here it comes. Joe lies in bed as the others are scattered about the room all watching the television.122 CONTINUED PERRY that Mr. Gideon's latest sifort, the standup, starring Davis Newman was a better film, The Standup, however, does no’ t@ stand up. Leaning toward the frenetic, Gideon falls into his charac- teristic weakness of trying too hard to please, to entertain. Slickness obscures reality, the old razzle-dazzle scme- times obliterates drama. Had Gideon trusted the truth of his story == the trials and tribulations of an alcoholic nightclub comic -- we might have bad a film to equal ‘the Steve Ag an example, there is one spectacular scene... (behind her we see stills" projected from the monologue) «sswhere the has-been comic, played impeccably by Davis Newman, demonstrates his fomer brilliance in a mono~ logue where, clearly, director Gideon gave Mr. Newman free rein. Rising above rather commonplace material, the actor creates a classic comic aria, Would that Gideon had allowed Newman more room throughout the entire film, but Joe Gideon, in his effort to keep standup upright, has resorted to the use of (uoRE) 95. 122 PENN Joey, turn it off. Joe does not respond but keeps his eyes glued to the screen, PENN (cueing off words "not quite stand up.") Joey, tur the fucking thing off! JOE No, I want to hear it. Immediately, in response to the review, the others become terribly indignant, directing their anger at the woman on the screen. OVERLAPPING REMARKS FROM ALL (to be allocated later) ».-What the hell does she know? She never gave any~ thing a good notice. The woman is totally unqualified to criticize anything... +..She doesn't know a ed thing about films... ve.0r anything for that MATTED eee She's not reviewing a’ film...just showing how clever she is.122 CONTINUED PERRY (contd) crutches, Frantic cutting, an earsplitting sound track, and his devotion to chopping off the ends of scenes before the drama has played out, left this reviewer with bewilderment and a four- aspirin headache, There are certainly fine moments in the film, and an inspired (a snart~ass pause) I cannot say that The standy fe’on its knees. .5ue-TE Sure does stumble. The instant the review over, Joe clicks off 96. 122 RACKMIL You know how she got that job, don't you? PENN «seAt the screening she told me she lixed it... Gr: Joe never takes his eyes 0: ‘acreen. 40: | JOE Hold it!...I want to hear it all. Im _tense silence they wait out_the review. set. RACKMIL Joey, her review doesn't mean a damn thing, (holding up reviews) I guarantee it will do thirty million domestic. Joe jumps off the bed and starts to pace. tensaly. JOE Everyone watches (with inereasing rage) Goddamn it! Two years work and she just wipes it out in one minute. down—the—soiiot! ‘Me-and—thre tucking broad! I know it's a Flawed picture and I made a lot of mistakes, but it's a hell of a lot better than most of the shit you see around now! ‘wo yearstiT” (MORE) |122 123 124 CONTINUED 122 JOE (contd) (to Penn) You did say the line went around the block, didn't you? PENN All day. All day. JOE (to television) Killer cunt!!! ee {then to other people, rising to a yet higher level of raga) I don't give a fuck what she says or what anybody says!! I XNOW IT'S AGODDAMY GOOD MOVIE. “— —— He breaks off abruptly, shocked awareness showing on his face. = JOE (softly, but intensely) wait a minute. You'd better get somebody. (holds chest) I think I'm in trouble, —¥few-better Deliberately he moves toward the bed, and begins to press the call button, at the same time throwing several nitro~ glycerin tablets under his tongue. He eases himself into a lying position. Out of a stunned silence, Penn reacts == runs out of the room. ANGLE IN CORRIDOR. 123 ‘The Emergency Team charges down the corridor into Joe's room. RESUME ROOM. 124 As_the team enters the room, we see Joe in deep trouble: cold sweat, trembling and troubled breathing. The four friends stand in shocked silence and begin to move out as team moves in. JOE (mumbling) Fucking cunt did it to me... EMERGENCY RESIDENT Everyone out, please.124 125 126 98. CONTINUED 124 They exit. JOE (to team) Get that goddamned television set out of this room! They begin the emergency procedures. RESUME CORRIDOR JUST OUTSIDE LOUNGE. KATIE, PENN, 125 RACKMIL, Past them we can see that the door to Joe's room has been closed, The three are quite terrified and we should have the feeling that none has said a word for a long time. Unable to bear the tension any longer, but with utmost seriousness: PENN - Jesus...I never heard of anyone dying from a bad notice. No one responds. INT. ANGIOGRAPHY ROOM. JOE AND SEVERAL TECHNICIANS. 126 DAY. In a Frankenstein setting, Joe is strapped to a table over which is suspended a giant machine. Everything move: the table and machine turning and tilting. Finally, machine descends like some predatory monster. For the first time we see Joe is obviously terrifies TECHNICIAN Feeling okay? JOE The truth?...I'm scared. ‘TECHNICIAN Everybody is, Don't worry about it. You can expect a warm rush of liquid all through your body sesbut don't be frightened by it. A mo ent passes; suddenly he feels the pain, JOE «+s0h, goddam... ABRUPT CUT TO:99. 127 HALLUCINATORY DRESSING ROOM. JOE, ANGELIQUE, AUDREY, 127 DRS, BALLINGER, HYMAN, GARRY. Dr. Garry is a young surgeon. They stand behind Joe, who looks and listens with increasing confusion as instantly, on the CUT, the three doctors start talking at once. The effect will be a babble of medical information. Audrey sits next to Angelique. Off screen we near a DRUM SOLO. DR. BALLINGER DR. HYMAN DR. GARRY The heart is the viscus From there the after it has of cardiac muscle that blood passes to passed through maintains the circula- the left ven= the tissues and tion of the blood. It tricle, which given up mich cf is divided into four forces it via the its oxygen, the cavities...two atria aorta through the blood then pass and two venticles. The arteries to supply to the right left atrium receives the tissues of the venticle and ‘ted blood from body. The right | then to the lungs the lungs. atrium receives to be oxygenated. the blood. ‘The babi nds_abruptly. JOE (totally confused) eeeeee -Huh??! TWO SHOT. AUDREY AND ANGELIQUE. DRUM SOLO continues. AUDREY (to Angelique) He had total blockage in two arteries. DRUM SOLO OUT. 128 fee JOE'S HOSPITAL ROOM, CLOSE SHOT, RACKMIL. 128 NIGHT. He reads in a quick flat monotone from a will. RACKMIL all my just debts and my funeral expenses ba paid as soon as prac ticable after my decea Fourth: I give and bequeath the sum of Fifty Thousand Dollars to my former wife, Audrey Paris Gideon. Fifth: I give and bequeath the sum of Fifteen Thousand Dollars to my friend, Kate Jagger. Sixth: I (MoRE)128 ~ 129 REV212/15/78 100 CONTINUED 129 (CONT: RACKMIL (contd) give, devise and bequeath all of the remainder of my estate, both real and personal, to Michelle Hope Gideon. WIDER SHOT TO INCLUDE JOE, DAVIS AND RACKMIL'S ASSISTANT. Davis is sitting in a chair, The assistant signs all copies of the will. RACKMIL We need another witness. Joe indicates Davis. DAVIS Wait a minute, I ain't signing nothin’ Tain't read. Davis segiis to read the will, mumbling to himself as he reads. JOE We'll be there all night. Finished reading, he rises and walks to the bedside with great deliberation. oavIS (quite seriousiy) Gideon, I do not see my name anywhere in this document. JOE, (flustered) Davis, it never occured to me ... I didn't think you... I mean... {apologetically) No... your name is ... not in the will. DAVIS My name is not in the will? (pause Then, fuck you, Gideon! ... Live !! INT. JOE'S HOSPITAL ROOM. JOE, KATIE, BLACK MALE ATTENDANT. 129 TIGHT SHOT OF RAZOR. NIGHT. The razor descends and scrapes across Joe's chest as a male attendant shaves his bocy hair preparing him for surgery. The television set is on and over this we hear another O'Conner Flood introduction. O'CONNER FLOOD (V.0.) . this is the man who would be my first choice as a modern day saint ... WICER SHOT. de see Joe, Katie and the Male Attendant. Joe holds the remote contro! as ne and Katie watch the Flood show.129 CONTINUED iol. 129 O' CONNER FLOOD +s.when T was on those marche! ike selma...this brother was shuffling right along with me, long before a lot of them other cats saw civil rights as a hip scene and jumped on the Blackwagon. (with self pleasure, he slaps his thigh and stamps his foot on the floor) Ladies and gentlemen lay on you... let me Katie gives the response, trying to evoke a laugh from Joe. KATIE (keeping just a beat ahead of O'Conner) A great entertainer... = O'CONNER FLOOD (a split second later) +eoa great entertainer... O'CONNER FLOOD’ (a split second later) -ssa great humanitarian... RATIE and my dear friend for... O'CONNER FLOOD and my dear friend for... KATIE (purposely gargling ‘the number) +esfassa-fassa years... O' CONNER FLCOD »ssSeventeen years, Joe clicks the set off. KATIE (still expecting ‘a laugh) See how much I learned from you?102, 129 CONTINUED 129 JOE (élatly) I'm afraid you learned too much from me. Katie, puzzled, just looks at him. Finished, the Attendant picks up his tools, runs his hand over Joe's chest. ATTENDANT There you are, Mr. Gideon, smooth as Kojak's head, (exiting) Good luck tomorrow. RATIE What do you mean. much from you? JOE - Remember last Tuesday night? +T learned too KATIE Tuesday... Tuesday?...No...no, I don't. JOE It was raining...very hard. KATIE Oh, yeah...yeah, right. JOE I called you at midnight. KATIE” | a I must've been out Walking’ the dog. ‘JOE I called again at twelve-tuenty. (pause) Then at two-thirty. Then-at —three—thirty, (pi «seand again at five. (long pause) You were with someone, KATIE ae e¥eS. JOE And you made love to him.103. 129 CONTINUED 129 RATIE, es. (she starts to cry) JOE (0.C.) Hold that frame. ABRUPT CUT TO: 129A TRIPLE HEADED STEENBECK. FROZEN FRAME. 129A We see three aspects of the previous moment FROZEN on the machine. JOE (0.C.) I shot it two ways. Put in the version where she says “no.” ‘The Steenbeck is reversed and stopped, then run forward. JOE = And you made love to him, KATIE (with a sincere smile) ne eNOs, JOE (0.C.) Hold it. The Steenbeck stops abruptly. JOE (0.C.) No, not right. It's not the way it happened. Go back to the other way. ‘The Steenbeck is run backwards, then forward. JOE And you made love to him, KATIE » Eat eeeyes. . (she starts to cry) ABRUPT CUT TO: 1298 HOSPITAL ROOM, JOE AND KATIE. 1298 KATIE «seWe're finished...104. 1298 CONTINUED 1298 JOE r don't know...how do you feel about me?” KATIE (through a burst of tears) Joe... love you. JOE Well, then...we're not finished. (a slight smile) Because I really love you. ‘They embrace, 129C HALLUCINATORY DRESSING ROOM. JOE AND ANGELIQUE. NIGHT. 129C : ANGELIQUE Sid you mean that? JOE Oh, hell no! I was fuckin' pissed off at her...I don't know...yeahy sort of. Oh, hell, sometimes I don't know where the bullshit ends I just wanted to say something to her, that's all. In case... ni ANGELIQUE seein case... she moves to him, kisses him on the lips. He gently pushes her back. JOE Hey, hold it! You're coming on awfully strong... 130 INT. HOSPITAL CORRIDOR. JOE AND SURGICAL TEAM, DAY. 130 A surgical team, consisting of about eight doctors and technicians, wheels Joe down the corridor on a gurney. They wear identical green gowns and caps, surgical masks hanging from their necks. JOE'S POV. He sees the team. CLOSE SHOT JOE. Effected by the sedative, his eyes close briefly. He re~ opens then. -130 431 132 133 134 105. CONTINUED 130 JOE'S POV. The team is gone. Taking their places are Audrey and Katie. They mova along with him offering encouraging smiles. CLOSE SHOT JOE. As he looks from one to the other. ANGLE TO HOLD JOE, AUDREY AND RATIE. JOE (to Audrey) If I die, I'm sorry for all the bad things I did to you, (then, to Katie) And, if I live, I'm sorry for all’ the bad things I'm gonna do to you. QUICK FADE TO BLACK -= FADE UP IMMEDIATELY TO: INT, OPERATING ROOM. JOE, DR. GARRY, ANESTHETIST, 131 OTHER TECHNICIANS. Dr, Garry is bent over Joe, the mask covering his face. Joe is totally surrounded by a formidable medical team. ABRUPT CUT TO: OMIT omrr 132 CLOSE ANGLE. JOE'S UPPER TORSO. 133 Fully prepared now for the operation, his chest has been marked for surgery. Over this we HEAR a voici INSURANCE MAN (V.0.) (dryly, flatly) «+sas stated in the Declarations, Sustained directly and solely as the result of injury... The speech continues into: INT, HECHT'S OFFICE, HECHT, CHRISTOPHER, GOLDIE, 134 INSURANCE MAN. The four men sit around a table. In evidence are copies of the Gideon Insurance Policy and Production Financial134 135 RESUME OPERATING ROOM, 106. CONTINUED 134 Statements. There is also a large apothecary jar filled with wrapped candies, The meeting is entirely businesslik INSURANCE MAN «+.sickness, death of or permanent total disability... Hecht holds up his hand. HECHT Excuse me, Mr, Clark. Larry, give me cur figur GOLDIE (zeading from the financial statement) Well, the scenery is half built... that's ninety-six thousand... 135 A surgical saw is passed from one pair of hands to another. GOLDIE (V.0.) ...costumes in the shop...about forty thousand, ty Bond, that's fifty...rehearsal salaries «s.We have made some advances to a’ few of the actors...about forty- three thousand...office expenses... eighteen...advertising...thirty= seven,,.author's advances...that's another...forty thousand...we're in for about three hundred twenty-four thousand and change. 136 RESUME HECHT'S OFFICE. 136 RECHT Now, let me try to understand, Of that money, how much do we recoup? CHRISTOPHER Yeah, I'm confused, too...do we get some, all.,.what? INSURANCE MAN Simply, here are the options:137 138 139 140 107. RESUME OPERATING ROOM. 137 The saw is switched on and is then moved to a point directly over Joe's chest and starts toward the marking. INSURANCE MAN (V,0.) seeif Mr. Gideon recovers and you resume production within the one hundred eighty days, we are not liable for any part of it. Two if Mr. Gideon... Just before the saw hits the flesh RESUME HECHT'S OFFICE. 138 INSURANCE MAN ...should die and you resume pro- auction with another director within the one hundred eighty days, we are still not liable. Three: however... ‘ RESUME OPERATING ROOM. 139 ‘The saw rips through flesh and bone cutting through the sternum... INSURANCE MAN (V.0.) «+.if Mr. Gideon should die before February One and you abandon the production, we are liable for the full million dollars. +++from top to bottom. RESUME HECHT'S OFFICE. 140 INSURANCE MAN ans, gentlemen, if Mr. s figures are correct, and God-forbid Mr, Gideon should expire before February One, you could make a profit of six hundred twelve thousand dollars... (leoking at Goldie) and change. Long pause. +ssoh, I se140 ui l4la 1418 142 108, CONTINUED 140 INSURANCE MAN (ere amas You could be the first show on Broadway to make a profit without ever opening. Another pause. Looks are exchanged. CLOSE SHOT JOE. 142 A.metal spreader splits his chest as though he were a chicken. RESUME HECHT'S OFFICE 141A HECHT Well, it's all very clear to me, After a long contemplative silence, Larry Goldie reaches into the apothecary jar, unwraps a piece of candy, puts it in his mouth and begins slowly sucking on it. Simultaneously, Hecht lights a cigarette. At the same time, Christopher takes out a finger nail clipper and begins Clipping his nails. The Insurance Man watches all three silently. ABRUPT CUT TO: HALLUCINATORY DRESSING ROOM, JOE AND ANGELIQUE, NIGHT, 1418 He's staring in the mirror. She looks at him for a long time, rises, comes slowly toward him. She gently touch the back of her hand to his cheek. ‘This is slape@ine jolute silence == no music, no sound effects whatsoever. ABRUPT CUT TO: INT. POST-SURGERY INTENSIVE CARE, FULL SHOT. JOE. 142 NIGHT. He lies completely still with tubes coming from every conceivable orifice. CLOSE SHOT JOE. His eyes are closed. Slowly they open. His body begins to tremble. WHAT HE SEES. EYES SCANNING: All the activity in the Post-Surgery Intensive Care Room: Nurses, Male Attendants, even visitors. There is much Movement in the room; but it is all done quietly, effi- ciently, swiftly. One of the swifter moving figures142 143 109 coNTINUED 142 crosses toward the bed and when she comes into FOCUS leaving over Joe we see possibly the world's most beautiful nurse, Miss Briggs. RESUME CU JOE. Because of the tube down his throat, his mouth is taped — his lips stretched grotesquely. ‘Trying to talk, he can only gag. T¥O SHOT. JOE aND NURSE BRIGGS. Gently, sweetly, she leans to him. WURSE BRIGGS Please don't try to talk. Joe closes his eyes, then opens them. Hallucinatory Joe appears. HALLUCINATORY JOB Do you want to shoot it now? Real Joe neds yes. CLAPPER. (with slate) Hospital Hallucination. Take one. HOSPITAL HALLUCINATION SET.” MICHELIE, EavrE, 1s3 JOE Peal ace EALLUCINATCRY, SuneaEé, “gos ital CREW, Fa EALLUCINATORT JOE are you on your marks? Roll. Speed. Playback. AUDREY AFTER YOU'VE GONE, AND LEFT ME CRYING AFTER YOU'VE GONE, THERE'S NO DENYING YOU'LL FEEL BLUE, YOU'LL FEEL SD KATI2 & MICHELLE YOU'LL MISS THE BESTEST Pal YOU'VE AUDRET EVER Had. THERE'LL COME A TIME NOW DON'T FORGET IT THERE'LL COME a TOE WHEN YOU'LL REGRET IT143 CONTINUED AUDREY Scat sing . lo feeaeaeemi 143 AUDREY /MIOHRLEE ‘rare SOME - DAY - WEEN YOU GROY LONELY AUDREY YOUR HEART WILL SREaK LIKE MINE AND YOU'LL a ae ONLY AFTER YOU'VE GO) AUDREY /MICHBLIE/EATIE AFTER YOU'VE GONE MICHELLE /ZATTB YOU'VE GONE LEFT ME cRYING NO DE Nruye YOU'LL BB (repeat) AUDREY /MICHELLE/ZATIE APTER YOU'VE GONE AFTER YOU'VE GONE away. HALLUCINATORY JOE Cut. Cray, print it. and, take two. Playback, (misie begins, he interrupts) Hold it. Hold it. “You're not on your marks. Once more. Playback. (MUSIC INTRO begins) Eatis YOU'D BETTER CHANGE YOUR WAY OF LIVIN’ AND IF THAT AIN'T ENOUGH AUDRET She's right, Joe, you'd better listen. KATIE YOU'D BETTER CHANGE THE WAY YOU STRUT YOUR STUFF ‘CAUSE NOBODY WANTS YOU WHEN YOU'RE OLD AND GRAY YOU'D BETTER CHANGE YOUR WAY, TODAY SATIS /AUDREY/MICHELLE YOU'D SETTER CHANGE YOUR WaT. Eatie Can you hear me Joe? I'm talvin' to you. AUDRET You gotta lay off the booze, Joe.143 CONTINUED 143 FATES X the enphetamines. MICHELIZE,. Tou gotta stop screwing around, Daddy. CHANGE YOU'D EEITER STOP aND CHANGE YCUR WAYS TODAY I sald STOP ~ CHANGE ~ STOP. mI Please. Ten show girls with fans are in a line. Audrey, Michelle and Katie sit on high ladders. SHOW GTRIS - WHO'S SORRY NOW KATIE It burts, doesn't it? “_- sBoW GIRES WHO'S SORRY Now AUDREY I'll bet you're sorry now, buh Joe? SHOW GIRS _ YEO'S HEART IS ACHING MICHELLE Just look at you, Daddy. SHOW GIRLS = FOR BREAKING EACH VOW. AUDREY Oh, all those broken vows. SHOW GIRLS WHO'S SaD AND BLUE Ears Paying the price, aren't you?143 CONTINUED SHOW GIRLS WHO'S CRYING, TOO AUDRET Deep inside you're crying, aren't you, Joe? SHOW ap Oe ee JUS? LIKE WE CRIED OVER mre And we cried a lot al Ob, a lot. MICHELLE Me, too. SHOW GIRLS BOO HOO AUDREY/MICHELLE/EaTTE BOO HOO. = SHOW GIRLS RIGHT TO THE END AUDREY And it's getting close, Jo SHOW GIRLS JUST LIZZ 4 FRIEND EACTE Where were ya, Joe, where were ya? ; SHOW GIRIS WE TRIED 70 WARW YOU SOMEHOW MICHELLE You didn't listen, daddy, you didn't listen. SHOW GIRLS /AUDREY/MICHELLS/EaTI= YOU HAD YOUR war NOW YOU MUST Pay AUDREY /MICHELLE/ZATIS You've only got one heart, Joe, one heart. SHOW GIRLS/ AUDREY/MICHELIG /EatIE WE'RE GLAD THAT YOU'RE SORRY NOW.143 CONTINUED 143 HALLUGLNATORY JOE approaches REAL JO in bed. Script girl is with HALLUCINATORY JOE (addressing Real Joe, a little Tou forget your line. You're supposed tO Say eee (rorning to seript girl) What's the SCRIPT GIRL ~ * (reading from eripty I don't want to die. I want to live. REAL JOE grunts, pointing to his mouth. MUSIC. HALLUCINATORY JOB ( a little peeved) Oh, well, 1% you can't say it, you can't say it. We'll just have tu cut ite Let's go to the next set up. MICSELLE SOME OF THESE Dats TOU'RE GONNA ‘rEED SO LONELY AUDREY YOU'LL MISS HER BUGGIIG Eatrs YOU'LL MISS HER KISSING : MICHELLE YOU'LL MISS ME DADDY MICHBLLB/AUDREY/EaTIE TP YOu Go awaT. MICHELLE I'LL FEEL so LONELY MICHELLE /AUDREY/EatIE JUS? FOR YOU ONLY MICHELEB FOR YOU KYOW, DADDY ToU'v2 HAD YOUR WaT. AUDRET /KATIS Alot. AND IF TOU LEAVE BER Tou EH now YOU. EVOY YOU'RE GONNA GONIA CONTA ‘A GONTA GR: Gt143 1454 1433 nue CONTINEED 143 MICHELLE/AUDREY/EATIS YOU'RE GONNA MISS TOUR SWEET LITTLE LOVIN' BABY DAUGHTER MICHELLE SHOW GIRLS/MICHELLE/AUDREY/MIDESLLE SOME OF B DAYS MICHELLE Don't die, Daddy, don't die please. ALL SOKB OF DATS Eatrg Tou can't leave this poor little kid without a father. ALL SOME OF THESE DATS AUDREY She needs ya, Joe, she needs ya. ALL SOME OF THESE-DAYS........--006 RESUME POST-SURGERY INTENSIVE CARE ROOM, JOB AND NURSE 14354 BRIGGS. NIGHT. Nurse Briggs is still there. She lifts a pad and pencil, poe you wan’ 0 te: me ,fust write on this pad. a oo ‘the pad and pencil and laboriously and slowly he 08. ABRUP? CUT TOs HALLUCINATORY DRESSING ROOM. JOE AND ANGELIQUE. WIGET. 1458 Her hand is exactly es we've seen it in the previous moment between them. ++ eLook, Ttnink we've deen flirting with each other long enough.. ANGELIQUE And you can only flirt so long, Joe, then you have to take the next step...or stop.14338 143¢ 144 CONTINUED 1453 JOE Well, I really don't want to go any further. irmly) I think you should leave. She removes her hand. ANGELIQUE Are you sure? Ia Yes, I'm sure. Please go. ing 20 sabgection) woes! Sight, Joos Resvie FOST-SURGERT INTENSIVE CARE ROOM, JOB AND NURSE ui3e BRIGGS. NIGHT, _ Yurse Briggs takes the pad trom Joe. Joe closes his eyes. DLBLACE WE BEAR: Tis ia ae eerie FADE UP. INT, INTENSIVE CARE ROOM. JOB, AUDREY, DR. GARRY, 144 OTHER DOCTORS. DaY. 4 SESEErER te th the otttohen are taken from Joe's chest. me removed from his throat. Behind Dr, Garry are a aumber of residents and/or interns watching the demonstration. Audrey stands next to Dr. Garry. From Joe, @ sharp exclamation of pain. Dr. Gerry examines the scar proudly. (CONTINUED)REV:12/15/78 12. 144 CONTINUED 144 (CONT. 145 ‘OR. GARRY (pleased) Came out nice. Audrey nods. INT. RESTAURANT (LINCOLN CENTER AREA). HECHT, CHRISTOPHER AND 145 SERGEANT. ACTRESS TO ENTER. OAY. Hecht, Christopher and director, Lucas Sergeant, are finishing lunch. A small pot of espresso 1s in front of each. Christopher devours @ very thick desert throughout. the scene and cruises the restaurant for celebrities. SERGEANT How soon do you think he'll be able to work? HECHT: Well, he's out of intensive care and back in a private room. It's dust a matter of rest. The word is two months at the outside:-“And you know Joey ... this morning Said he could hardly wait he had a Tot of new ideas. (with a smfle) Not all sex stuff either. SERGEANT That's terrific. You must feel very good about that, Jonesy. said HECHT Relieved. We're all relieved. (to Waiter) Check, please. SERGEANT (taking attache case from under tab] Opening it) Listen ... I did some thinking about «your script, and I made 2 few tes. (hands Hecht several pages of obviously detailed notes) +.» Use them, don't use them ... you know ... whatever you want. HECHT (glancing through notes) kucas, you put in an awful lot of work on this. 7~ 145 CONTINUED An aspiring ACTRESS She addresses Sergea: »REV312/15/78 113 145 (CONT SERGEANT Look, what are friends for? We're all rooting for each other. I'm dust pleased Joe is well again. approaches the table with menu and pen in hand. ACTRESS. (apologetically) T hate to bother you but are you +++ Lucas Sergeant? SERGEANT (smiling) ACTRESS (offers him menu) Would you mind? iT = Not at all. (signs menu) ACTRESS i Next to Joe Gideon you're ma... favorita director. EE Sergeant gives her a hasty glance and quickly finishes autograph, underlining it heavily. ACTRESS Thank you so much. She leaves. As she does, the waiter puts the check on the table. As Hecht starts to reach for it, Sergeant makes a quick grab. SERGEANT U'Tl get it. HECHT (reaching to retrieve check) No, Lucas this is on me. I sai u os said I' ie ith! A ARIS (glare A check, turns it over, begins to sign it) +s. I'm really pleased for you, Jonesy.REV: 12/15/78. TI3A, PN 146 146 ‘a OMIT OMIT to 9A 149A 150 INT. 2ND HOSPITAL ROOM. LONG SHOT. JOE, AUDREY, NURSE GIBBONS. NIGHT. 150 The room is in semi-darkness. Nurse Gibbons sits in the corner; Audrey sits close to the bed. Joe is asleep. CLOSE SHOT JOE. As Joe awakens, on his face is a look of total bewilderment. UOREY (0.C.) Joe, what's the matter? en (long moment) Tecan'tebel fevertt. WIDER SHOT TO INCLUDE JOE AND AUDREY. JOE (touching himself) ~ My chest ... ay y am... ay teeth «.. I'm having a fucking heart attack!Revised 8/1/78 14. 150 CONTINUED 150 NURSE GIBBONS (moving in) That's impossible, Mr. Gideon. I just gave you your medication. She has a cool, professional smile and is completely impervious to logic. JOR AUDREY ++show can it be...? Goddamn it, he knows the (to Nurse Gibbons) call somebody. Burry! NURSE GIBBONS He can't be in pain...let ma take his pulse. AUDREY - Goddamnit!...get somebody! 1 When Nurse Gibbons fails to respond, Audrey runs out. NURSE GIBBONS (taking pulse) But you just had the medication, twenty minutes ago...you couldn't possibly be in pain...it was just * twenty minutes ago. 151 INT, CORRIDOR. NURSES" STATION. ‘AUDREY AND 151 NURSE CHANG. yt wes With her back to Audrey, Nurse Chang is talking on the telephone in an Oriental language. AUDREY ee eMiss? (no answer ~~ Nurse continuing conversation) ss! (CONTINUED)11s. 151 CONTINUED 151 NURSE CRANG (after another few sentences, breaks into English) +eejust a second, please, Mr. Gideon needs help...he's Raving an meee Nurse Chang casually completes conversation, hangs up the phone, turns to Audrey, NURSE CHANG Now, what is it you would like? AUDREY I would like to kick you right in your eggroll... - (gzabs Nurse's arm, intensely) «+ebut what I need is help for Mr. Gideon who is having a heart attack. 152 RESUME HOSPITAL ROOM. JOE, EMERGENCY RESIDENT, 152 NURSE GIBBONS. AUDREY WATCHING. The Resident is preparing a shot. Joe is very frightened. He trembles -~ sweats. JOE Jesus, it's getting worse..,it's getting worse... NURSE GIBBONS Doctor, I gave him his medication... Impatiently, the Resident holds up his "hand to stop her. He is caring and expert; he gives Joe“the injection. EMERGENCY RESIDENT This should help, Mr. Gideon, As Joe and Audrey watch the needle go in. AUDREY (to Resident) What's that?152 153 134 155 116. CONTINUED 152 EMERGENCY RESIDENT {to Audrey) «+ -morphine. RESUME CORRIDOR, MOVING SHOT. 153 The Emergency Team is moving Joe. A worried Audrey accompanies to the elevator. EMERGENCY RESIDENT Feeling less pain? J t_shakes his head in growin: eoevidge the elevator doors are -alrecdy of is pushed onto the elevator. Audrey is left outside. Before the doors close, Audrey gives Joe an encouraging wave. The elevator doors close; Audrey is left standing alone. Her smile fades to deep concern. INT, LARGE ROOM, POST-SURGERY INTENSIVE CARE. 154 JOE, EMERGENCY RESIDENT, ICU TEAM, NURSE BRIGGS. The Resident is preparing another shot as the ICU Team, including Nurse Briggs, hooks Joe up to the various apparatus, EMERGENCY RESIDENT (effort to lighten the situation) Well, at least you're getting a lot of use out of the equipment, Mr. Gideon. Be injects Joe with more morphine. RESUME JOE'S ROOM, AUDREY AND NURSE GIBBONS. 1ss Audrey enters the room to get her coat, Nurse Gibbons is preparing to leave. On the way out, Nurse Gibbons hands Audrey a piece of paper. Audrey locks at it. AUDREY seewhat's this? 7 + NURSE GIBBONS My name and address..,you can send my check there. Outraged, Audrey lashes out with her hand, giving Nurse Gibbons a resounding slap.156 157 158 159 117. RESUME POST=SURGERY INTENSIVE CARE. 156 EMERGENCY RESIDENT (to Joe, meaning pain) oe oStdll?? Joe nods. As another shot is prepared. Joe closes his eyes. FADE TO BLACK == PADE UP IMMEDIATELY TO: The Resident is still intensely concerned with Joe. EMERGENCY RESIDENT Any pain now? JOE {quite drugged) +seno,,.pain...gone.,.but something (touches chest) = ++ssomathing breaking up in ther ABRUPT CUT TO: EALLOCINATORY ORESEING ROOM, CLOSE UP,” ANGELIQUE. 187 ANGELIQUE (referring to make-up) Erbtire—thet.. Now, ther I hte, WIDER SHOT, JOE AND ANGELIQUE. Joe is in the middle of applying grotesque make-up, Off screen we hear LAUGHTER and APPLAUSE, Startled, he looks ather, JOE What are you doing here? I told you to leave, Now, please... get out! ABRUPT CUT TO: RESUME POST~SURGERY INTENSIVE CARE. 158 JOE {to Emergency Resident) +eeI can feel damage being don ABRUPT CUT TO: eats RESUME HALLUCINATORY DRESSING ROOM, “JOE AND ANGELIQUE. 159 ANGELIQUE (quietly) No, Joe, I'm staying. .159 160 él 162 163 ie. CONTINUED 159 JOE No... LAUGHTER AND APPLAUSE OUT. ABRUPT CUT TO: RESUME POST-SURGERY INTENSIVE CARE. CLOSE SHOT. 160 JOE'S ARMS AND HANDS. He removes the Iv from his arm. JOE (0.C.) (very drugged) No...go_away!...go_ away! ANOTHER CLOSE ANGLE, HANDS. His hands remove the tapes and wires that connect his chest to the cardiac monitor. - JOE (0.C.) «seit can't happen now... INT, HOSPITAL CORRIDOR, OUTSIDE PCST-SURGERY 161 INTENSIVE CARE. NIGHT. In pajamas, Joe moves slowly down the corridor. ICE N04 0 oO NO. ee RESUME POST=SURGERY INTENSIVE CARE. NURSE BRIGGS 162 AND AIDES. Nurse Briggs is crossing the room, suddenly pausing when she sees Joe's empty bed, Turning to a male aide: NURSE BRIGGS Where's Mr. Gideon? INT. HOSPITAL STAIRWAY, JOE TO APPEAR. NIGHT 163 Over the empty stairway, we hear Joe's voic JOE (0.C.) seehere he is Ladies and Germs... tops in taps... Joe appears around the corner of the staircase. He has some difficulty in breathing and movément and speaks as loudly as the drugs will allow.163 164 164A 119. CONTINUED 163 JOR eestap dancer extraordinaire... (pause) If I were God, and sometimes I think I am... — (hesitates, bangs his head on wall several times; his forehead begins to bleed) seit depends on how much morphine I've had... (moving right to CAMERA, arms out~ spread) I would spare this terrific dancer. RESUME POST-SURGERY INTENSIVE CARE. CLOSE SHOT NURSE 164 BRIGGS. NIGHT. She's on the phone obviously agitated. — NURSE BRIGGS I don't know!,..We were busy with an emergency and the next time I noticed, he was gone. INT, HOSPITAL BASEMENT CORRIDOR, LONG SHOT. TO CARRY 164A JOE, NIGHT. Seemingly endless coridors connect at a central point. J approaches from the distance along one of them, Along the walls are stacks of cartons containing hospital supplies. Joe's voice echoes as he jumps from box to box singing his own orchestral accompaniment. JOE Bawasee (next box) “(next box). 7 ws boom! 1 . He stops, spreads his arms, looks up, JOE (contd) Godt take me out now! He jumps two or three more boxes, still singing hia ba-rum- boom accompaniment, stops once more, looks up plaintively.164A 165 166 166A 1668 120. CONTINUED 164A JOE (contd) What's the matter? Don't you like musical comedy? He ‘continues jumping from box to box singing. INT, ANOTHER HOSPITAL CORRIDOR, CLOSE SHOT ON DOOR 165 MARKED "NO ADMITTANCE. * Joe reads sign. Then, without hesitation, he opens the door and enter: INT, DISSECTION ROOM. JOE AND TWO TECHNICIANS. NIGHT. 166 Joe enters a room where bodies are dissected to save usable organs. Two men are dissecting a body on a gleaming steel table. They barely notice his presence. He crosses to a shelf where we see organs which are being preserved in formaldehyde: eyes, kidneys, etc. JOE (addressing entire shelf) Listen...I told you guys you should take better care of your- selves. Too much booze...too much smoking..,too much screwing around...it'll get ya every time. ‘The two men turn in surprise, look at Joe. JOE (as he exits) I'LL be back. INT. ANOTHER HOSPITAL CORRIDOR. CLOSE SHOT 166A REFLECTION OF JOE, NIGHT. The reflection is in a shiny piece of hospital equipment curving $0 the reflection locks distorted. He looks terrible. JOE What am I worried about? I'11 fix it out of town, INT, HOSPITAL OFFICE, TIGHT SHOT. BALLINGER. NIGHT. 1663 He is outraged. DR, BALLINGER (into phone) Goddamn it, find him! I want that man back in ICU, Right now!i2l. 167 ANOTHER HOSPITAL CORRIDOR 167 As Joe slowly makes his way down the hall, he pauses when he hears a woman poaning loudly. The moaning comes from a room directly across the way. Curious, puzzled, he crosses to the open door and looks in. 168 WHAT HE SEES: 168 A very old woman, practically skeletal and near death, lies helplessly on a bed. Her moans continu INT. OLD WOMAN'S ROOM, JOE AND OLD WOMAN, NIGHT. He crosses to the bed, looks at her tenderly for a moment. Carefully he climbs onto the bed, raises the sheet to get erie her and then enfolds her in his arms. He rocks her gently. JOE I think...you are..,the most beautiful woman I have ever seen 5 sand I love you. ie The moans subside, and she looks at him as though he has evoked a memory from the past. He kisses her -- as a lover. The old woman closes her eyes Seams lost. cently, breaks the embrace. She opens her eyes as he rises from the bed. He leans over her, holding her hand, caressing her cheek. She closes her eyes slowly. 168A INT. NURSES' STATION. TWO HISPANIC ATTENDANTS. NIGHT. 168A One attendant is on the phone responding to orders. ATTENDANT (thick accent) Yes sir, yes sir, yes sir. We do the best we can, sir. (hangs up phone, to other attendant in Spanish) I'm paid to give enemas not to chase lunatic patients. SECOND ATTENDANT (in Spanish) Jesus Christ! Both run off. R HOSPITAL CORRIDSR. MOVING = 168 Throghout all the hospit& séquences we\have heard the familiar paging voices for varibys’ doctors, etc.) oe \. 1688122, 1683 CONTINUED ey 16aB 8 down th&corridor, the voice over the PA is as that oK the Projectionist we heard in X \, derersonse $ VOICE you finishe it again? JOE Yes, ag&in! I'm not Rinished! I want tc\run the whold\ thin: againt 169 INT. HOSPITAL CAFETERIA. JOZ, CUSTOMERS, PERSONNEL. 169 NIGHT, The room is quite empty. At one table sits a Middle Aged Couple. An Attendant is mopping up. There is only one Woman Attendant at both the food counter and the cash xegister. Joe enters, without hesitation walks to the food counter, stops at the dessert display, There ar single portions of pie, whole pies as well. Picking up a piece of lemon meringue pie, he passes the cash register. WOMAN ATTENDANT That will be forty cents. (when Joe simply walks away) Sir!...Forty cents... She looks bewildered as Joe crosses to a table right next to the couple. He becomes increasingly fascinated in their totally mundane conversation. MIDDLE AGED WOMAN The lowest estimate is eight hundred and sixty dollars. MIDDLE AGED MAN For _a sprinkler system?! MIDDLE AGED WOMAN When we bought the house we both agreed we wanted a nice lawn. MIDDLE AGED MAN ++eT would like a nice lawn... ANGLE ON WOMAN ATTENDANT. She's on the phone.123. 169 CONTINUED 169 WOMAN ATTENDANT He's in pajamas, and he's acting like a junkie. (pause) Yeah,..that's him, RESUME JOE AND COUPLE. MIDDLE AGED MAN +eecan we afford that? MIDDLE AGED WOMAN If we don't get the new car this year, we... JOE (interrupting) Get it. They look at him with surprise. = MIDDLE AGED MAN Get what? Carrying his yet untouched pie, he crosses to them and sits down between them. JOE Get both, Get the automobile ++eget the sprinkle’ nt Sostpone any==ehing Laboriously, he pulls himself up on the table top. On all fours he begins to sing and play spoons on the table as if they were taps. JOE PACK UP YOUR TROUBLES IN YOUR OLD KIT BAG AND SMILE SMILE SMILE WHAT'S THE USE OF WORRYING IT NEVER WAS WORTHWHILE His hand hits the pie, he licks his fingers, JOE ++sThis pie is stale! Moving down off the table, carrying the plate of pie, he crosses to the Woman Attendant.169 169A 1698 124, CONTINUED 169 JOE This pie is stalet Ma. ‘ig! ster, I want you to stay right there.” JOE I'm telling you...this pie is stale! Nervously, she looks toward the door. WOMAN (stalling) And you still owe me forty cents. JOE This pie is stale! . WOMAN: Man, I couldn't care le: JOE Doesn't anybody care about anything? Joe picks up a whole lemon meringue pie. PLOP! He shoves the pie flat into her ta The final showbiz insult. ABRUPT CUT TO: TRIPLE HEADED STEENBECK 169A We see the same action (Joe throwing pie) repeated in three different ANGLES, PLOP. PLOP, PLOP, ABRUPT CUT TO: HOSPITAL CAFETERIA 1698 The Woman Attendant watches in shocked silence as Joe turns and walks away. Before he reaches the door, the two Hispanic male attendants enter, Swiftly, they move to his side, talking soothingly to him as they subdue him, Nice and quiet, please cause no trouble. Everything will be fine... All Fight? JOE (soul of reason) All right. 7125. 1698 CONTINUED 1698 170 1700 1708 170c 170 170 170F 1706 He takes their arms and leads them off singing. JOE WHAT'S THE USE OF WORRYING IT NEVER WAS WORTHWHILE... (spoken, to attendants) This is only a rough cut, ya know. I don't have the titles yet... and all of the underscoring is not in...It's really not finished yet...I need more time... MONTAGE OF CUTS BETWEEN POST-SURGERY INTENSIVE CARE WITH JOE AND HALLUCINATORY DRESSING ROOM. JOE AND ANGELIQUE. 1. Joe is strapped to the bed. 170 2. We See Angelique applying finishing” touches to 1700 his grotesque make-up. 3. IV is being replaced. 1708 4, Angelique works on Joe's mouth. He smiles. 170c 5. Heart monitor retaped to his chest. 170D 6. TIGHT SHOT, ANGELIQUE. 170E Angelique smiles, cbvicusly pleased with her make-up job, 7. REPEAT ANGLE of OPENING SHOT of A shot of morphin film. 170F EMERGENCY RESIDENT (V.0.) (repeating opening dialogue) Feeling any pain now? JOE (V.0.) (quite drugged) eevee 8. ECU JOE'S FACE IN INTENSIVE CARE. 1706 His eyes close as the morphine hits, His eyes open again,126. 170H JOE'S POV, THE CARDIAC MONITORING MACHINE. 1708 i721 172 Showing the lines reflecting his heart action. SLOWLY WE DISSOLVE AS THE CARDIAC MACHINE BECOMES A SEP SOTS TON eR MACHINE BECOMES A ON THE SCREEN WE SEE: ai FULL SHOT, O'CONNER FLOOD. In the familiar setting about to make yet another intro- duction. He holds a hand mixe and works in front of a curtain, O'CONNER FLOOD Folks, what can I tell you about my next guest? (he shakes his head in wonder) This cat...allowed himself to be adored but not loved. strictly a pro since age thirteen, starting in sleazy Chicago dives and bur-le cue,..this cat rose to become a leading director-choreographer on the Great White Way and in flicks. WE JUMP TO: 172 INT. TELEVISION STUDIO, MATCHING SHOT WITH ABOVE. We are now "live" with O'Conner Flood as he continues. O' CONNER FLOOD But succ in showbiz was matched by failure in the personal relation- ships bag... (looks thoughtful) And from all this experience he came to believe that his whole scene -- work, showbiz, personal life, even himself.,.all that jazz s+.was bullshit, The cat swung between heavy ego and very heavy self doubt. He had become Numero Uno gameplayer -- like to where he didn't know, (doing Amos and Andy) +s.wheah de games ended an' de reality began MORE)172 173 127, CONTINUED 172 O'CONNER FZ00D (contd) (out of Amos and Andy, fakes great sadness) Like to him the only reality... is death, man. (pause) Let me lay on you,.,.a so-so entertainer.,.not much of a humanitarian...and he was never nobody's fri In his final appearance on the great stage of aS Sascn tee Gitesn O'Conner clears and exits, later, possibly, to appear 173 and participate in the succeeding number, The curtain parts to reveal a stage. Center stage is a hospital bed. Standing close by is a Backup Rock Group, two Back Vocalists and two Backup Dancers. All are dressed gon’ ary flash. Surrounding the stage on three sides Se aaahs breaches 3, completely filled. Some of the audience, specifically, identified later, are characters we have seen in this film, The entire scene is at the moment completely motionless and Silent. Upstage there is a scrim on which various lighting effects and images can and will be projected. ven? StOnEy he CAME! In until the hospital bed fills the SHOT. Unseen until now, Joe rises from under a sheet into a sitting position, He is in completed make-up and flash costume, JOE (V.0.) (amplified, reverberating) ‘This has gotta be the best one yetees HEAVY MUSIC INTRO. He swings from the bed. WIDE ANGLE, THE FULL SCENE. The _entire scene bursts into life. The Rock Group playing, the dancers dancing as the entire audience bursts into wildly enthusiastic applause, Joe moves to front the Group. THE CONCERT HAS BEGUN. The entire effect is a bizarre,173° CONTINUED oe 12a. 173 wild rock concert with PHOTOGRAPHY to match: zoczs, strange angles, flares, etc. RAANWERRRE RHA NEREREEARANSENAAENRE RAR RREE EERE R RENNER EEEE JOE AND GROUP (singing) Bye bye life Bye bye happiness Hello loneliness I think ‘I'm gonna die Bye bye love Bye bye sweet caress Hello emptiness I feel like I could die Bye bye my life, goodbye There goes my baby With someone new She sure looks happy I sure am blue She was my baby Till he stepped in Bye bye life Bye bye happiness Hello loneliness I think i'm gonna die Bye bye love Bye bye sweet care: Hello emptiness I feel like I could die VARIOUS ANGLES JOE, GROUP, AUDIENCE. General applause has ended, Audience starts rhythmic applause on the beat. A smiling Katie, holding hands with her new Lover. RESUME ANGLE ON JOE. Slowly, a macabre, Bosche-like figure of DEATH resembling Angelique bleeds through the scrim. ANGLE OFFSTAGE, We see Angelique, thoroughly enjoying the show. ANOTHER ANGLE. JOE AND GROUP. Death image excluded. SERIES OF SHORT CLOSE UPS: Victoria, Stacy, other pretty Women, They are clapping rhythmically and enthusias- tically...all with big smiles.173 129, CONTINUED 173 JOE AND GROUP (contd) Bye bye my love, goodbye ee I'm through with romance ANOTHER ANGLE, JOE AND GROUP, I'm through with love I'm through with counting ‘The stars above And here's the reason More SHORT CUTS of more That I'm so free prominent characters all My loving baby clapping in time. Is through with me. (Before Chorus) WIDE SHOT OP AUDIENCE. Rising enthusiasm, some standing and squealing in ecstasy. Bye bye lite RESUME JOE AND GROUP. Bye bye happiness : Hello loneliness I think I'm gonna die Bye bye life ANOTHER SERIES OF CUTS OF THE AUDIENCE. Bye bye sweet caress Hello emptiness I feel like I could die Bye bye my lif Bye bye my lif Bye bye my 1i: Bye bye my 1i: The group begins a second instrumental chorus. The dancing continues on stage as Joe, carrying a hand mike, moves into the audience shaking hands, kissing people, Other people are reaching out dasperately to touch him. The following will be INTERCUT with the action on the stage. goodbye RESUME JOE AND. GROUP goodbye AUDIENCE IN BACKGROUND. ISOLATE JOE AND STACY. Stacy is completly ecstatic. STACY (hugging him) Joa, that was the best! JOE (whispering in her ear) No, Stacy, not the best. But it was the best I could do.130. 173. CONTINUED 173 He moves to: ISOLATE JOE, KATIE AND BOYFRIEND. | Embracing both of them, Joe pulls” then-together. JOE Be good. to each other. Ratie is obviously relieved at his acceptance. Responding to Joe's terrific generosity, the audience bursts into even wilder applause. He responds with a smile and outstretched arms as if to say "Yes, I really am a swell fellow." He moves to: ISOLATE JOE AND VICTORIA. VICTORIA (weeping copiously) Joey, I don'é know what I'll do without you. JOE (gently chiding, in her ear) You're over-acting, Victoria. He moves on to: ISOLATE JOE, PAUL DANN, LUCAS SERGEANT. Dann, sitting next to Sergeant, drops his head in embarrass~ ment as Joe approach Joe places his hand under Dann's chin, lifts his head. JOE (to Dann) What are you worried about, Paul? (indicating Sergeant) You've got a great director there. He embraces Dann, shakes hands with Sergeant. JOE Give ais Seles give him a hit. He moves on tor ISOLATE JOE, MICHELLE AND AUDREY. Joe embraces Michelle. She clings to him. He reaches out and touches Audrey's cheek. .173 174 131. CONTINUED 173 JOE (half-Laughing) At least I won't be able to lie to you again. As he starts back to the stage, he shakes hands and embraces others among them Hecht, Penn, etc. and has brief exchanges with them whether we hear them or not. For instance, Penn: “what a.finish, Joe, what a finish.” .Joe, now back on stage with group and dancers, finishes.numker. There is riotous applause, As he leaves the arena the audience stands continuing the ovation throughout the following. ANGLE OFF STAGE, JOB AND ANGELIQUE. She, too, is applauding. He walks to her; she coens her ams. He hesitates momentarily, then walks toward her. she embraces him tightly. He returns the embrace. They kiss. {t lasts for a long moment, then slowly out of the kiss ‘nto an even deeper embrace. Their cheeks press together. ANGELIQUE If you want tc be with me, Joe, you know you can never be with anyone else. REVERSE ANGLE. CLOSE UP JOE. As though in ecstasy, his eyes close. We HOLD for a moment. JOE I accept. ABRUPT CUT TO: INT. INTENSIVE CARE ROOM. CLOSE SHOT. JOE'S FACE. 174 PROFILE. CONTINUED APPLAUSE AND CHEERING THROUGH: Motionless, eyes closed...he's dead. Hands lift the body bag to cover his face. QUICK CUT TO BLACK CREDITS ROLL THE CHEERING AND APPLAUSE SEGUE INTO THE ETHEL MERMAN RECORDING OF “THERE'S NO BUSINESS LIKE SHOWBUSINESS.* MERMAN'S BELTING, EBULLIENT RENDITION OF THE SONG CONTINUES UNTIL THE CREDITS FINISH. FADE OUT TO: THE