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THE PENANCE - A SCREENPLAY BY HOWARD PUGH. 

INSPIRED BY NIK MATIC' 

Characters: 

JOE NIRVANA

THE VOYEUR

CHARLIE NIRVANA

PARIS NIRVANA

ANGEL STRANZ-NIRVANA- JOE NIRVANA'S 1ST WIFE. MOTHER OF HIS TWO DAUGHTERS

SANDY NIRVANA - JOE NIRVANA'S ELDER DAUGHTER

VICTORIA NIRVANA - JOE NIRVANA'S YOUNGER DAUGHTER

LARISSA RUMPLE - JOE NIRVANA'S 2ND WIFE 

DOT RUMPLE - MOTHER OF REBEKHA

JACK RUMPLE - DOT RUMPLE'S HUSBAND

TONY VEGA TO BE CAST

MAYA VEGA - TONY VEGA'S SISTER

AL VEGA - FATHER OF TONY AND MAYA

PATINA - VEGAS CALL GIRL


THE PENANCE - POSTER IMAGE 

PHOTOGRAPHY COPYRIGHT (2017) : HOWARD PUGH & NIK MATIC'


SUB TITLES: "DECEMBER 2016 JFK AIRPORT" 

BACKGROUND AIRPORT AMBIENCE AND ANNOUNCEMENTS 


CU OF A MARTINI GLASS - IN THE LIQUID OF THE TRANSPARENT COCKTAIL, THE SILHOUETTE OF AN OUT OF FOCUS, DISHEVELLED MAN HOLDING HIS HEAD IN HIS HANDS. HE REMAINS IN THIS POSITION - INDISTINCT SHADOWS AND SHAPES MOVE AROUND HIM. 


A LONG SILENCE AND THEN THE SOUND OF A JET ENGINE ROARS IN TAKE OFF.


CUT TO:


SUB TITLES: " NOVEMBER 1989, NEW YORK".


EXTERIOR. DAYLIGHT. BLACK & WHITE FOOTAGE ONLY. FADE IN JUST AUDIBLE BACKGROUND RADIO ...

https://www.youtube.com/watch?v=2BIYcbiYNEE

JOE'S VOICE OFF CAMERA: "IS THIS SELF INFLICTED ..."


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ONE SHOT. JOE DISTRIBUTING LEAFLETS ON A NEW YORK STREET CORNER. ON THE OPPOSITE SIDE OF THE STREET, A YOUNG BLACK WOMAN DOES SIMILAR. BOTH ARE DRESSED WARMLY ON A FREEZING COLD NEW YORK MORNING.

SNOW COVERED STREETS AND PAVEMENTS: (SHIVERS OUT LOUD)"IS THIS MY PENANCE FOR DOING WRONG ? - MY ILL-TIMED PUNCH ON PUTNEY BRIDGE ... MY VOIDED VENEZUELA SCAM ... "(JOE'S HEAD TURNS TOWARDS A NOISE OF A VAN PULLING UP TO THE PAVEMENT). 


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A WIDE SHOT. A VAN PULLS UP TWO NAKED PEOPLE, A MAN AND A WOMAN JUMP OUT, FOLLOWED BY A PHOTOGRAPHER. THE NUDE COUPLE LIE IN THE SNOW. 'CLICK CLACK' IT'S ALL OVER IN A MATTER OF SECONDS. THEY DISAPPEAR INTO THE VAN AS IF THE PHOTOGRAPHY FANTASY DID NOT HAPPEN. 


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CLOSE UP OF JOE'S FACE MOMENTARILY INTO CAMERA: "YOU THINK I IMAGINED THAT ... I DIDN'T ... THE PHOTOGRAPHER LATER BECAME FAMOUS FOR HIS NAKED CITY SHOTS. DISTRACTION ALL PART OF OUR PENANCE ..."


SOUND OF VAN DRIVING OFF INTO THE URBAN SNOW SCAPE. 


CUT TO:

CLOSE UP: JOE'S HEAD MOVES TO THE SIDE AND LOOKS BEHIND THE CAMERA. HIS EYEBROWS RAISE. THE CORNERS OF HIS MOUTH CURL UP IN A FLIRTATIOUS SMILE.


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WIDE SHOT OF TWO OPPOSING PAVEMENTS. WALDO'S PAVEMENT AND THE BLACK GIRL ACROSS THE STREET. BOTH LAUGH - THEY ACKNOWLEDGE WHAT EACH OTHER SAW HAPPEN IN THE WAY 'STREET-LEAFLET-PEOPLE' DO - THEY PLAY OUT THE 'NUDE PHOTOGRAPHY MOMENT' IN STREET MIME.


WALDO'S SOLILIOQUY OFF CAMERA CONTINUES:


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WIDE SHOT OF CRAP PLAYERS KNEELING ON THE STREET PAVEMENT WHERE THE SNOW HAS BEEN SWEPT AWAY. THEY HIDE THE DICE UNDER CUPS. THEIR SOILED HANDS, STREET-STAINED, IN FINGER-LESS WOOL MITTENS CLUTCH PAPER NOTES .... US DOLLARS. THEY ARE MOVERS, SHAKERS ATTRACTING ATTENTION. BUT THERE 'IS' ... MORE TO THEM ...


"OUR PENANCE IS ENDURABLE WHEN LIFE'S DISTRACTIONS ARE LARGE. BY THE TIME WE ARRIVE, THESE DISTRACTIONS ARE A DISTANT MEMORY ... HOW PRECIOUS THEY WERE TO OUR JOURNEY IN SEARCH OF SUCCESS. OUR PENANCE EQUATES TO HOW WE VALUE HUMANITARIAN AND MONETARY WORTH. OUR SCALES OF JUSTICE.

- WHEN WE FIND LOVE, WE LIVE. 

- HOW WE VALUE LIFE AND LOVE DEPENDS ON HOW LONG WE LOVE ... 

- THIS IS 'THE PENANCE'. WATCH CAREFULLY, LIFE, LOVE AND MONEY WILL FLOW, BEFORE YOU KNOW IT ... THEY GONE"


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WIDE SHOT: FULL COLOR. THE RELAXED AMBIANCE OF A WELL-TO-DO RESTAURANT. DINERS TALKING, WAITING TO BE SEATED. IN THE BACKGROUND, THE LIVE MUSIC (A NASHVILLE INSTRUMENTAL VERSION OF ETTA JAMES " I'D RATHER GO BLIND" ) PLAYS QUIETLY EXPRESSING AN EMOTIONAL, MIXED MESSAGE. THIS IS HOW THE UPPER CRUST LIVE, WINE AND DINE. THE MEANINGFUL MESSAGE HUSHED IN THE BACKGROUND, WHILE THE MONOTONES OF SELF IMPORTANCE ARTICULATE ARROGANTLY FOREGROUND.


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EXTERIOR NIGHT LANDSCAPE. CITY LIGHTS. AN EXPENSIVE NEW YORK ROOFTOP RESTAURANT OVERLOOKING AN URBAN NEW YORK SKYLINE - AN ELECTRIC-LIGHT-LIT SKYSCRAPER SKYLINE. A MOTHER AND DAUGHTER IN EVENING DRESS SIT WITH A SMARTLY ATTIRED 'CREATIVE' WEARING A VELVET JACKET WITH LONG DISHEVELED DESIGNER HAIR POURING OVER THE VELVET LAPELS (A YOUNGER LOOKING WALDO). THE THREESOME ARE IN SEEMINGLY MATTER OF FACT DISCUSSION


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MEDIUM SHOT. THE MOTHER: "YOU NEVER PUT 'IT' OUT THERE WALDO ... AND YOU NEVER WILL. IT WAS ALWAYS ABOUT YOU HAVING A GOOD TIME AT OTHERS' EXPENSE."


TWO SHOT. 2ND WIFE STUDYING WALDO'S REACTION. 


WALDO (FROWNING, ACTING A LITTLE SHOCKED): "HOW CAN YOU SAY THAT. IS NOT ALL YOU DO, NOT FOR YOURSELF ?" 


MEDIUM SHOT. THE MOTHER (LOSING COMPOSURE AND PATIENCE): "HOW DARE YOU !"


MEDIUM SHOT. 2ND WIFE: "THAT'S ENOUGH WALDO. MOM'S RIGHT. WHY DID YOU THINK I WENT TO MONGOLIA ? ... I WASN'T SIGHT SEEING! I WENT TO GET AWAY FROM YOU. WATCHING YOU WITH YOUR HAND OUT ALL THE TIME WHILE MOM AND I PAID FOR EVERYTHING".


MEDIUM SHOT. WALDO TO 2ND WIFE (WRY SMILE): "WHAT THE FUCK HAVE 'YOU' EVER DONE ! DON'T YOU MEAN WHILE YOUR ALIMONY PAID FOR EVERYTHING."


TWO SHOT. MOTHER AND DAUGHTER. THE MOTHER DOWNS HER NAPKIN AND CHECKS HERSELF. AGE AND EXPERIENCE GAIN HER COMPOSURE. SHE SLOWS AND DELIBERATELY, GRACIOUSLY MOVES OUT OF HER CHAIR. SHE LEANS FORWARD TOWARDS WALDO:(UNDER HER BREATH) "I'VE HAD IT. LOOK AT ME ! YOU CAN'T PLAY A TUNE LET ALONE SELL IT. I'M DONE WITH YOU ! DON'T BOTHER COMING BACK TO THE APARTMENT. WE'LL LEAVE YOUR BELONGINGS DOWNSTAIRS WITH THE DOORMAN. COME LARISSA !  YOU'VE WASTED ENOUGH TIME WITH THIS LOSER".


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WIDE SHOT: 

WALDO LOOKS DOWN AT THE TABLE SETTING. SEATED ALONE AT THE TABLE HE SIPS SOME WINE AND CONTINUES EATING. MID-MOUTHFUL HE HESITATES AND MUTTERS: "HOW THE FUCK AM I GOING TO PAY FOR ALL OF THIS ?"


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EXTERIOR. NIGHT PAVEMENT. CLOSE UP OF SNOW FLAKES BEING WHISKED INTO THE AIR. 


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MARILYN IS STANDING ATOP A NEW YORK SUBWAY GRATE, HER SKIRTS BILLOWING UP AROUND HER WAIST.


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CLOSE UP. MARILYN'S SURPRISED FACE: "IS'NT IT DELICIOUS"




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4 AM. NEW YORK. EMPTY STREETS OF NEW YORK. 


CUT TO THE LIFELESS BODY OF JACK RUMPLE LYING SUPINE ACROSS A KING SIZE BED. HE HAS HAD A HEART ATTACK AND DIED IN THE BEDROOM OF THEIR NEW YORK APARTMENT.


JOE NIRVANA DRIVING HIS 2ND WIFE ALONG 42ND STREET. SHE IS HYSTERICAL ON THE PHONE TO HER MOTHER

THROUGH THE MOUTH PIECE OF LARISSA'S PHONE:

DOT WAILING: "HE'S GONE, HE'S GONE !!! ... HURRY, HURRY PLEASE !" MORE WAILING HYSTERIA


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JACK RUMPLE DRIVING HIS ENRAGED WIFE AROUND NEW YORK. JACK IS LOST. JOE IS IN THE BACK SEAT.

DOT: "JACK YOU STUPID FUCK DON'T YOU KNOW WHERE TO GO !"


JACK WAS DOT'S PUNCH BAG, HER YES MAN. ALL HIS LIFE HE DID EVERYTHING FOR HER. NEVER A WORD OF GRATITUDE FROM DOT.


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CLOSE UP JOE'S FACE. WE HEAR THE SOUND OF A PLUNGER IN A FLUSHING TOILET. 


CUT TO:

A TOILET BOWL. THE TOILET WATER REFLECTS THE MANY FACE LIFTS OF DOT RUMPLE


CUT TO LATER THAT DAY.

DAYLIGHT. INTERIOR OF BEDROOM. CORPSE STILL THERE. JOE SITTING ON THE KING SIZE BED, NEXT TO THE CORPSE OF JACK. THE CORPSE IS SULLEN FACED. JOE LOOKS TOWARDS THE BEDROOM DOOR. THE CAMERA PANS WITH HIS GAZE TO THE ENTRANCE OF THE BEDROOM DOOR. MORE WAILING FROM ANOTHER ROOM. 


CUT TO MEDIUM SHOT OF JOE. HE TURNS TOWARDS THE CORPSE AND DOES A DOUBLE TAKE. THERE IS A SMILE OF THE LIPS OF THE CORPSE. JACK LOOKS GLAD TO HAVE LEFT HIS 'BITCH' (DOT).


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THE BEDROOM DOORWAY. DOT AND LARISSA STAND FRAMED. THEY LOOK AT JACK'S CORPSE AND DOT STARTS WAILING AGAIN. HER WRINKLED FACE LIFTS BURIED IN A HANDKERCHIEF.


LARISSA: "JOE. JOE THE FUNERALS GOING TO COST $2000. $2000 DOLLARS !!!  JOE LOOKS ALARMED. HELPLESS. 


JOE NOT SURE OF HIMSELF: "WHAT CAN I DO ? I ... I HAVEN'T ANY MONEY."


LARISSA: "FOR ONCE JUST DO 'SOMETHING' ... YOU USELESS FUCK." JOE LOOKS ACROSS TO JACK'S CORPSE. HE'S STILL SMILING. 

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THE SAME (OLDER LOOKING) WALDO FROM THE ROOFTOP RESTAURANT PEERS THROUGH WOODEN BLINDS. FOR A FEW MOMENTS HE LOOKS FOR SOMETHING. THE BLINDS SNAP SHUT CONCEALING HIS FACE - FADE TO BLACK. FADE IN MUSIC - AN INSTRUMENTAL MEMPHIS / NASHVILLE TENNESSEE VERSION OF "TELL MAMMA" (ETTA JAMES). DISSOLVE FROM BLACK TO A FULL FRAME BIRDS EYE VIEW OF AN OLDSMOBILE. A CAMERA FOLLOWS THE CLASSIC CAR HURTLING DOWN AN UNENDING DESOLATE DESERT ROAD (TARMAC).


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EXTERIOR. DAYLIGHT. FULL COLOR. A FOOTBALL GAME IN PROGRESS. SLOUGH, LONDON 1989.


FROM THE STANDS OF FIRST DIVISION FOOTBALL CLUB WALDO WATCHES A FOOTBALL GAME. A THUG-LIKE MAN STANDING NEXT TO HIM CURSES THE REFEREE. THE THUG TURNS TO WALDO SLAPPING HIM ON THE BACK. THUG HAS AN UGLY CYNICAL LAUGH. HE HOLDS ON TO WALDO'S SHOULDER ...


CUT TO

MEDIUM TWO SHOT


THUG (MATTER OF FACT VOICE): "USA, MEXICO ...NEXT STOP VENEZUELA (MOMENTARILY TURNS HIS ATTENTION BACK TO THE GAME) ... I'M GONNA FUCK YOU UP REF, YOU FUCKINNN CUNNNNTT !!!" LAUGHS LOUD AND UGLY. AGAIN. TURNS BACK TO WALDO ARM STILL AROUND WALDO'S SHOULDER - WALDO SEEMS AT EASE AS IF THUG IS A MATE FROM SCHOOL.


THUG: "SO YOU GOT YOURSELF A BITCH I HEAR ?" HE THROWS WALDO A SARCASTIC LOOK.


WALDO: "NAH. SHE LEFT TODAY ... FOR GOOD" HE LOOKS AWAY A LITTLE SAD.


THUG: ATTEMPTS A LOOK OF SYMPATHY. "NOT GOOD MY SON ..... WHAT ABOUT VENEZUELA EH?? SIT ON A BEACH, DRINK, FUCK WOMEN. " HE HUGS WALDO CLOSER. "BE BACK BY CHRISTMAS ?"


WALDO SHRUGS: "WHY NOT. I'VE GOT THREE GRAND LEFT."


THUG LAUGHS UGLY: "YOU RICH !! THUG LOWERS HIS VOICE "NOW SEE, I GOT ME A PLAN ..." 


THEY SEEM TO DRAW BACK AS THE CAMERA ZOOMS FORWARD INTO THE FOOTBALL ACTION ON THE FIELD. 


FADE SOUND


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28 DECEMBER 1989. EXTERIOR. PAYPHONE OUTSIDE AN APARTMENT BLOCK IN NEW YORK, NEW YORK. FREEZING COLD DAY. WALDO IS DRESSED IN LONG WINTER COAT, SCARF AND SNOW BOOTS. HE IS IN A PAY PHONE BOOTH WITH A FOLDED NEWSPAPER

                                                                                                                                                                                  CUT TO:


CLOSE UP OF NEWSPAPER AND A BLUE BIRO HAND DRAWN CIRCLE AROUND AN ADVERT. APARTMENT SHARE. "FEMALE WANTS FEMALE ONLY TO SHARE APARTMENT WITH LAUNDRY, GYM, AND POOL INCLUDED. DOORMAN SECURITY (917) 756 8470"


CUT TO FINGERS TAPPING OUT A PHONE NUMBER.


CUT TO PHONE MOUTH PIECE, WALDO'S LIPS AND CHIN


WALDO: "HI :) I'M ENQUIRING ABOUT THE APARTMENT


FEMALE VOICE: "OH ... (SILENCE) ... YOU'RE ENGLISH !


WALDO: "AFRAID SO"


FEMALE VOICE: " ... ONE MOMENT PLEASE"


SOUNDS OF EXCITED IMMATURE FEMALE VOICES DISCUSSING, PLEADING AND GIGGLING.


FEMALE VOICE: "OK. WHEN WOULD YOU LIKE TO MEET".


WALDO: "I DON'T SUPPOSE WE COULD DO IT TODAY. I'M RIGHT NEAR YOUR BUILDING.

(SILENCE). MORE DISCUSSION AND IMMATURE GIGGLING".


FEMALE VOICE: "OK. WE'LL MEET YOU DOWNSTAIRS IN TWENTY. THERE'S A FOYER WITH THREE DOORMAN. WE'LL LET THE DOORMEN KNOW YOU HAVE AN APPOINTMENT".


WALDO: "COOL :). SEE YOU SHORTLY.



NOTES: CATALYST - THE BEAUTIFUL BRUNETTE DAUGHTER OF A GANGSTER (JEW) WHO HAS JUST GOT OUT OF PRISON. WALDO AND FLAT MATE PRETEND TO BE COLLEGE BUDDIES FOR FATHER'S SAKE. FATHER'S WIFE DIED OF CANCER - HEARTBROKEN - WHAT HAPPENED TO OLD MAN - DEAD. HOW DID DEATH OF MOM EFFECT TONY AND BJ'S RELATIONSHIP ? WALDO FUNERAL IN BOSTON. TONY DEFLECTS WITH SEX JOKES. EMAILS - I MISS MY NIK. WHERE IS THE OLD MAN NOW - DEAD. WHERE IS TONY NOW - PHONIX PENNSYLVANA OFFICES ALL OVER USA.


CUT TO VENICE CANAL, LONDON, UK


CLOSE UP: TWO CUPS OF COFFEE ON A WOODEN TABLE.


WALDO: "... BECAUSE HER FRIEND, WHO PICKED UP THE PHONE HEARD MY ACCENT AND HAD A THING FOR ENGLISH GUYS, SHE CONVINCED HER FLATMATE TO MEET ME AND THAT IS HOW I MET MY BEST FRIEND IN NEW YORK ...SHE WAS A SISTER TO ME ..."


IMMEDIATE CHEMISTRY. VIRGIN. NON SEX RELATIONSHIP. STUDIO APARTMENT WITH ONE ROOM TWO BEDS.


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CLOSE UP OF A CLUTTER OF MUSICAL INSTRUMENTS, AN ELECTRIC GUITAR AND RECORDING EQUIPMENT STACKED AND RESTING AGAINST THE BASE OF A TRANSPORT VEHICLE. (FADE IN MUSIC GUITAR MAN - DAVID GATES BREAD - NIK MATIC NASHVILLE INSTRUMENTAL VERSION)


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YELLOW ROAD MARKINGS FLASHING BENEATH THE CAMERA LENS. FADE IN SUB TITLE: "INDIAN PROVERB - NO ONE WAS EVER LOST ON A STRAIGHT ROAD"


DAYLIGHT EXTERIOR. THE SUBTITLED INDIAN PROVERB REMAINS AS THE ROAD MARKINGS CONTINUE TO FLASH BY BENEATH THE CAMERA. THE TITLES FADE AS THE YELLOW MARKERS DIVIDE A TARMAC ROAD INTO TWO LANES. THE CAMERA ANGLE WIDENS, OPENING OUT TO A WIDE SHOT OF AN UNENDING TARMAC ROAD DIMINISHING BETWEEN THE UNDULATING HILLS OF A SUNNY, DESERT LANDSCAPE. FADE OUT THE GUITAR MAN MUSIC. ROLL CREDITS.


CREDITS FADE OUT WITH THE NOISE OF BRAKES SCREECHING. A CAR DOOR OPENS. THE SOUND OF FOOTSTEPS ON THE GROUND. 


A FORTY SOMETHING, EASTERN EUROPEAN MALE MUSICIAN TYPE WITH A PROMINENT NOSE AND CURLY ROCK STAR HAIRDO STEPS IN FRONT OF THE CAMERA. 'REBEL REBEL' T-SHIRT OVER HIS PAUNCH AND FADED BLUE FLARED JEANS. HE WALKS AROUND IN CIRCLES LIKE HE CANT QUITE BELIEVE THIS IS HAPPENING TO HIM. HE STOPS IN WIDE SHOT AND FACES THE CAMERA, LEGS WIDE APART. HE SEEMS TO HAVE NO PURPOSE BUT TO STARE DOWN THE CAMERA AND BEYOND. WALDO IS CLEARLY NOT HAPPY.


IT IS A BEAUTIFUL DAY FOR AN ADVENTURE. YET TO THE VIEWER THIS MAN'S JOURNEY SHOULD HAVE BEEN MADE YEARS AGO


THE SOUND OF SOMEONE VOMITING.


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THE BACK SEAT OF A SECONDHAND OLDSMOBILE 442. A SKINNY LONG NOSED SLIGHTLY BUILT MAN IS LYING PRONE ON THE BLACK LEATHER UPHOLSTERY, HIS UPPER TORSO IS HANGING OUT THE OLDSMOBILE. HE IS CONTINUOUSLY RETCHING AND MOANING. 


CUT TO 


CLOSE UP OF RETCHING MAN. THERE IS A FAMILY RESEMBLANCE - THE SKINNY BROTHER OF WALDO. HE STARTS CRYING IN SELF PITY.


WALDO CHUCKLES OFF CAMERA. THE RETCHING CEASES WITH WALDO'S KATAGELASTICISM


DENIRO: (BITTER. AGGRESSIVE) "FUCK YOU !" 


WALDO: "SORRY DEN. I DIDN'T MEAN TO LAUGH" FOLLOWED BY MORE SNORTS, AND CHUCKLES FADING WITH THE IMAGE AND SOUND

CUT TO 


A WINDOW FRAMES A BLUE SKY. THERE IS AN EERIE SILENCE FOLLOWED BY A THUD. EERIE SILENCE AGAIN. FOLLOWED BY A SECOND THUD. THE CAMERA PANS FROM THE WINDOW AND ZOOMS DOWN TO FRAME A PHOTOGRAPH OF A SUNNY NEW YORK ROOFTOP. IN THE DISTANCE THE TWIN TOWERS BILLOW SMOKE LIKE MASSIVE CHIMNEYS. THE SUN STREAKS ACROSS THE GOLDEN HAIR OF THIS YOUNG CHILD, RUNNING CAREFREE ON THE SUNNY ROOFTOP, OBLIVIOUS TO THE WAR BEING FOUGHT BEHIND HER.


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A ROOM FULL OF SULLEN TEARFUL ADULTS. SILENT. STARING IN FRONT OF THEM. THE VOICE OF PRESIDENT BUSH CAN BE HEARD ON A TV - "I WANT YOU TO KNOW THE NATION STANDS WITH THE PEOPLE OF NEW YORK ..." THE UNSEEN CROWD BAYS "USA, USA. USA !!!" 


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A TEAR RUNS DOWN A CHEEK BELONGING TO A DARK RINGED, PUFFY EYE. "USA !! USA!! USA" FADE SOUND. FADE TO BLACK


CUT TO


A CAUCAISAN ARM ON AN OLDSMOBILE DOOR. NIK MATIC'S INSTRUMENTAL VERSION OF TELL MAMMA PLAYS IN THE BACKGROUND ON THE RADIO.


WALDO: DEN ALL YOU NEED IS A FEW GOOD GYM SESSIONS, STRETCH OUT BY THE POOL, GET SOME SUN, CHECK THE BABES OUT ... IT'S ALL THERAPY ...


DENIRO: (STARING AHEAD. LONG SILENCE. OUT OF NOWHERE) ... YOU'RE NOT A GOOD FATHER !


CUT TO



TWO YOUNG KIDS, BRUNETTE AND STRAWBERRY BLONDE, PULLING FACES AND WEARING THEIR FATHER'S SHOES. THEY ARE POSING FOR PHOTOGRAPHS. WALDOS'S JUVENILE SNORTS OF LAUGHTER CAN BE HEARD OFF CAMERA. HE IS ENCOURAGING THEIR TOM FOOLERY.


CUT TO 


A BED AND MATTRESS BOUNCING UP AND DOWN. FOUR CHILDRENS' FEET AND TWO ADULT FEET CAN BE SEEN JUMPING UP AND DOWN ON THE MATTRESS. MUCH HUMOR HYSTERIA AND BOISTEROUS BEDLAM, FOLLOWED BY AN ALMIGHTY CRACK. THE WOODEN BED COLLAPSES TO THE FLOOR.


WALDO: OH SHIT !!!!!!!!! KIDS LAUGHTER ESCALATES IN HYSTERIA AND VOLUME. 


WALDO SNORTS AGAIN AND JOINS IN THE CHORUS OF CHUCKLES.


CUT TO


INTERIOR OF THE OLDSMOBILE 422. TELL MAMMA MUSIC FADES OUT. WALDO SWITCHES THE RADIO OFF.


WALDO: WHAT DO YA MEAN ???


DENIRO: YOU SHOULD NOT HAVE LEFT YOUR KIDS LIKE THAT !


WALDO:  I SHOULD NOT HAVE LEFT MY KIDS ? ... YOU'VE JUST LEFT YOUR KIDS ... TO COME HERE ... AND I PAID FOR IT


DENIRO: YOU LEFT YOUR WIFE AND KIDS FOR $15 GRAND


WALDO: I WAS KICKED OUT !!! ... I NEEDED TO GET AWAY - TIME TO RETHINK MY FUTURE, MY MUSIC ... AND LAS VEGAS IS THAT CHANCE ... CAN'T YOU ENJOY YOURSELF ... FOR ONCE. I KNOW YOU HAVEN'T MUCH MONEY BUT THIS ONE IS ON ME !!!! ... ANYWAY, I'LL NEVER LEAVE MY KIDS. 


THE OLDSMOBILE PULLS UP ON A GRAVEL PAVEMENT IN FRONT OF A LAS VEGAS TYPE APARTMENT COMPLEX ON THE NEWER WEST SIDE OF THE STRIP. IT IS SUNSET.


CUT TO


A WIDE SHOT: MODERN APARTMENT INTERIOR. THE WINDOW BLINDS ARE CLOSED. DENIRO IS SITTING ON THE COUCH. WHITE T-SHIRT, SKINNY JEANS AND BROWN ANKLE BOOTS - SLIP ONS. HE HOLDS HIS HEAD, HANDS OVER HIS EARS LIKE HE DOES NOT WANT TO HEAR.


DEN: WHY IS IT SO DULL IN HERE

WALDO: OH. I SHUT THEM (INDICATES THE WOODEN BLINDS). THE LIGHT HURTS MY EYES. BUT YOU'RE RIGHT. IT'S A SUNNY DAY, GO HAVE A DIP DEN. GO ON. KNOCK YOURSELF OUT. PUT THE SHADES ON AND GO CHECK OUT SOME BABES. PLENTY AROUND THE POOL ON A DAY LIKE TODAY ... I'M GOING TO SAY HELLO TO TONY AND 'BEEJ'

DEN: BEEJ ??

WALDO: TONY'S WIFE ... BEEJ. BOOB JOB. BJ. (SMILES AND WALKS OUT OF THE APARTMENT)


CUT TO


APARTMENT BEDROOM INTERIOR. DENIRO WANDERS AROUND IN A PAIR OF POLYESTER SWIMMING TRUNKS - HIS PALE SKINNY BODY IN CONTRAST TO HIS DARK BROWN BOARD SHORTS. DEFINITELY NOT YOUR TYPICAL LAS VEGAS LOCAL. DENIRO IS SELF CONSCIOUS HE KEEPS LOOKING IN THE MIRROR. HE HAS HIS PASSPORT IN HIS HAND. WHILE HE KEEPS ADJUSTING HIS HAIR NERVOUSLY. 


CLOSE UP: DENIRO'S HAND PLACES HIS PASSPORT IN THE BACK POCKET OF HIS SWIMMING TRUNKS.


CUT TO 


MEDIUM SHOT. 

WALDO HOLDS A COFFEE CUP TO HIS MOUTH, PAUSES: "LAST TIME I STAYED IN THE HOUSE. SHE'S MARRIED TO A FAMOUS PHOTOGRAPHER NOW. BASTARD STAYS WITH MY KIDS (QUICKLY LOOKS OFF CAMERA). ALTHOUGH I HEAR HIS PHOTOGRAPHY WORK HAS DRIED UP (CHUCKLES TO HIMSELF)"


WIDE SHOT OF VENICE CANAL UNDER THE TABLE. FOREGROUND NIKE BLUE TRAINERS WORN BY WALDO.


A.N.OTHER: "SO YOUR HAIRDRESSER WIFE GAVE YOU 15 GRAND TO DISAPPEAR ?"


WALDO: "YIP. I SPENT 5 GRAND ON MY MUSIC EQUIPMENT, DEN'S FLIGHT AND HIRING A VEHICLE TO GET TO VEGAS ..."


A.N.OTHER: "AND THEN YOUR LAWYER MATE SPONSORED YOU AN APARTMENT ACROSS THE WAY FROM HIS MANSION ... HOW DO YOU DO IT ??"


CUT TO:

CLOSE UP. HEAD AND SHOULDERS WALDO.

WALDO: "DO WHAT? HE WAS LONELY. MAKING BOODLES OF MONEY. PLUS DADDY WAS LOADED. HE WANTED TO KICK START MY MUSIC CAREER AND HAVE SOME COMPANY ... A PARTY MATE"


A.N. OTHER: "AND HIS WIFE"


CAMERA WIDENS TO MEDIUM SHOT OF WALDO. COFFEE CUP IN HAND.

WALDO: "BEEJ ? YEAH, WELL ... SHE WASN'T EXACTLY EASY. THEIR RELATIONSHIP WAS GOING THROUGH A BAD PATCH. SHE WAS A LAS VEGAS STRIPPER. THAT'S WHERE THEY MET. HE PAID FOR HER BOOB JOB ...HENCE BEEJ ...BJ ...BOTH BORN AGAIN CHRISTIANS. BOTH WITH A DEVIANT SIDE. HE LOVES WATCHING STRIPPERS AND SHE LOVES BEEN WATCHED GETTING HER KIT OFF. MARRIAGE MADE IN VEGAS ... OF COURSE NEITHER ACCEPTS THE OTHER'S DEVIANCE ... AND I WAS KINDA IN THE MIDDLE. ON TOP OF THAT BEEJ DIDN'T LIKE IT THAT 'THAT' MONEY I GOT, COULD HAVE GONE TOWARDS HER LIFESTYLE. INSTEAD IT WAS GOING TO ME AND MY MUSIC."


A.N.OTHER: "SO YOU GUYS USED TO HANG OUT TOGETHER ?"


WALDO: "OCCASIONALLY ... ONCE A MONTH WE'D GO OUT. BEEJ WAS QUITE POSSESSIVE. TONY WOULD OFTEN DISAPPEAR. BUSINESS AND PLEASURE. LATER I FOUND OUT THROUGH BEEJ HE WAS A SEX ADDICT. COULD NOT STOP FREQUENTING STRIP BARS. SHE HATED IT ... HIM WATCHING OTHER STRIPPERS THAT IS (CHUCKLES TO HIMSELF).


A.N. OTHER: "EXPLAIN TO ME HOW DID THAT WORK. DID YOU HAVE TO ASK FOR THE MONEY ? DID YOU WAIT UNTIL SHE LEFT THE HOUSE. THE HOUSE WAS ACROSS THE ROAD FROM YOUR APARTMENT RIGHT."


WALDO: CORRECT. IT WAS WEIRD. I COLLECTED OR ASKED FOR A CHECK EVERY MONTH. HE ALSO GAVE ME A CAR.


A.N. OTHER: LAUGHS OUT LOUD: "JESUS ! ARE ALL BORN 'AGAINS' AS GENEROUS AS THAT ?? ... SO YOU WATCHED THROUGH THE BLINDS UNTIL YOU SAW BJ LEAVE THE HOUSE AND THEN MADE AN INNOCENT DASH ACROSS TO COLLECT YOUR CHECK."


WALDO (NODS): "I HARDLY USED THE CAR EXCEPT TO BUY GROCERIES AND TAKE THE ODD JOURNEY OUT TO DEATH VALLEY."


A.N. OTHER: "WHY DEATH VALLEY ?"


WALDO: "I'M ON MY OWN. MY WIFE OF XX YEARS HAS KICKED ME OUT FOR GOOD. MARRIED A PHOTOGRAPHER. I'M NO LONGER WITH MY KIDS ... THE REASON I STAY ON THIS PLANET. SO I STAYED IN THAT APARTMENT FOR 14 MONTHS WITH THE SHUTTER BLINDS CLOSED. I WENT TO DEATH VALLEY BECAUSE I WAS SO LOW SOMETIMES I WONDERED WHAT IT WOULD BE LIKE JUST TO WALK OFF AND NEVER COME BACK ..." FADE IN MUSIC. NIC MATIC NASHVILLE TENNESSEE GUITAR INSTRUMENTAL, "IT LOOKS LIKE I'LL NEVER FALL IN LOVE AGAIN - REFERENCE: TOM JONES. ITS NOT UNUSUAL ALBUM"


FADE TO BLACK.

CUT TO:

A LINE OF COCAINE. A PAPER STRAW AND A DEEP INHALATION. PERFECTLY MANICURED RED NAILS. VARNISHED TALON-LIKE FINGER NAILS DELICATELY SCRAPE THE WHITE POWDER FROM AROUND HER NASAL PASSAGES.

 

BJ: "I SWEAR TONY, IF I FIND YOU BEEN AT IT AGAIN ... THAT'S IT !


CUT TO:

ONE SHOT. TONY (SLOUCHED BACK IN A COMFY CHAIR, HOLDING A SCEWDRIVER IN A PERSONALISED FLAMINGO HI BALL GLASS): "WHATTT ? I'M GOOD BABE. I LOVE YOU BABE ... YOU KNOW THAT ... "


BJ: " DO I ? ... WELL SHOW ME"

TONY: "ANYTHING BABE. YOU KNOW I'LL DO ANYTHING FOR YOU. "

BJ: "ANYTHING "

TONY: "YES ! ANYTHING ? "

SILENCE. BB WALKS AROUND THE ROOM, BOOBS PUSHED OUT OF HER WHITE MINI DRESS. TALL LONG BROWN TONED LEGS HIGH IN KILLER HEELS. LIKE A PREDATOR SHE CIRCLES THE LIVING ROOM. THEN STOPS IN HER TRACKS ...

BJ: " HIM " (SHE NODS HER HEAD IN THE DIRECTION OF THE APARTMENT ACROSS THE ROAD) TONY LOOKS IN HER INDICATED DIRECTION

TONY: "WALDO ??" (CONFUSED)

BJ: "HE'S A LEECH. A MONEY SUCKING LEECH. 14 MONTHS AND WHAT HAS HE DONE ?? ... APART FROM DRAW THE BLINDS AND SULK."

TONY: "WALDO'S MY FRIEND BABE ... HE'S DEPRESSED. DIVORCED. HE LOST HIS WAY ... HIS KIDS "

BJ: "AND WHOSE FAULT IS THAT ? HUH ? ... YOURS ... MINE ? "

TONY: "BUT I SAID I WOULD HELP HIM."

BJ: "AND YOU HAVE. NOW IT'S TIME HE HELPED HIMSELF ... AND NOT TO ANYMORE OF 'OUR' MONEY ! "

TONY: "BABE !"

BJ: "SORT IT OR I AM OUT ! I'VE HAD IT WITH YOUR TRICKS ... AND HIM DOING FUCK ALL, ALL DAY. SORT IT TONY ... OR THAT'S IT. OVER ... YOU AND ME " BJ MAKES A CUTTING GESTURE WITH HER HAND.

TONY: "BABE !".

BJ: "NO !"

BJ: "HIM, OR ME. YOU CHOOSE. GOTTA PUT UP WITH HIM AT THIS PARTY TONIGHT ... THAT'S BAD ENOUGH "

TONY: (DEEP IN THOUGHT LOOKS AWAY. GUILTY)"... I'LL TALK TO HIM BABE ..."

HEAD HELD HIGH, BJ WALKS OUT THE ROOM - FEELING GOOD ABOUT HERSELF. LECTURE OVER.



DAYLIGHT APARTMENT INTERIOR. BUSTY BLONDE AND WALDO IN LONG TWO SHOT. BOTH ARE DRESSED SMARTLY FOR THE LAS VEGAS STRIP PARTY CIRCUIT.


WALDO: " RED BULL ... ONE HUNDRED ! WHY ...  FOR WHO ? "

BJ: "WALDO. SHOW TONY ... AND ME ... SOME RESPECT" 

WALDO: "BY BUYING ONE HUNDRED RED BULL ?"

BJ: "DO IT WALDO ... FOR THE GUESTS, ME ... AND TONY !"

WIDE SHOT: A BUSY ITALIAN RESTAURANT OVERLOOKING VENICE CANAL. MOODY SUNSET AFTER THE RAIN.

A.N.OTHER: "AND DID YOU ?"


WALDO: "YOU MIGHT THINK LIVING OFF MY WIVES AND LOOKING AFTER THE KIDS WAS EASY. THEN MY MUSIC BEING SPONSORED BY A LAS VEGAS HOT SHOT LAWYER WHO DOES NOT EVEN LIKE MY MUSIC, WHOSE WIFE LIKES ME EVEN LESS ... IT'S CALLED 'PENANCE'. TONY SPONSORED MY APARTMENT, MY MUSIC, THE CAR ... I HAD TO ... SPEND $300 ON RED BULL FOR NO OTHER REASON OTHER THAN SHE WANTED ME TO SPEND MY ALLOWANCE. THEN SHE KNEW I'D HAVE LESS LEFT OF MY MONTHLY ALLOWANCE AND I'D NEED TO KEEP ASKING TONY FOR MORE MONEY. THEN HE'D GET PISSED ... ANYWAY WE'RE AT THIS PARTY..."


CUT TO: 

WIDE SHOT: A RAUCOUS LAS VEGAS ORGY. RON JEREMY DEMONSTRATES HIS FINGER CLICKING TRICK IN BETWEEN SERVICING ALL COMERS. MUSIC BLARING. STRIPPERS AND CALL GIRLS EVERYWHERE. DANCE FLOOR PACKED. WALDO PROPS UP THE BAR. HE IS TALKING TO AN UNKNOWN BALDING, BESPECTACLED MAN IN A SUIT. THEY ARE SEATED NEXT TO TWO HOOKERS ONE GOOD LOOKING THE OTHER 'ROLLY POLLY'.


CUT TO: TWO SHOT WALDO AND BESPECTACLED


WALDO:  "DON'T DO IT MAN ... YOU'VE GOT 3 BEAUTIFUL KIDS, YOUR WIFE ..."


CUT TO

A COMPUTER DESKTOP SCREEN. LAS VEGAS PARTY MUSIC CONTINUES ON BLASTING IN THE BACKGROUND


AN EMAIL: "DEAR WALDO. ITS JUST NOT GOING TO WORK OUT. THE BED WAS THE LAST STRAW. I'M GOING TO DEPOSIT £15000 INTO YOUR ACCOUNT. I NEVER WANT TO SEE YOU IN MY HOUSE AGAIN. YOU CAN SEE THE KIDS. I AM GETTING MARRIED. I AM SORRY. JUST NOT MEANT TO BE ..."


CUT TO:


BESPECTACLED (BIG SMILE): "NAH. YOU KEEP HER FRIEND COMPANY FOR A WHILE"


CLOSE UP OF A DJ'S MIXING DESK


CUT TO: A HUGE VIBRATING BLACK SPEAKER. 


CUT TO: TWO SHOT ROLLY-POLLY, AND WALDO. ROLLY-POLLY BEGINS TO GYRATE HER OVERLY GENEROUS BUST. WALDO APPEARS TO BE CLIMBING UP THE BAR BACKWARDS ... BUT HE CAN'T !


CUT TO BLACK SPEAKER


"(HUH)! YOU KEEP SAY YOU FULL UP OF ACTION, NOW IS THE CHANCE TO SHOW ME YOUR MOTION "


ONE SHOT: ROLLY-POLLY SHAKES 'DA BOOBIES' IN THE DIRECTION OF WALDO


ROLLY-POLLY C'MON !!! LETS DANCE ! DETERMINED OBVIOUS PURPOSE BEHIND HER ACTIONS


WALDO: (SICK POLITE SMILE) "NAH I'M OKAY" - BECOMING MORE ANAEMIC WITH EVERY BEAT OF THE SPEAKER


CUT TO:


SPEAKER: "(HEY HEY) I'VE WAITED SO LONG, YOU'D BETTER COME ON STRONG, MR LOVERMAN, THRILL ME WITH IT ..."


WALDO WATCHES BESPECTACLED DISAPPEAR UPSTAIRS WITH GORGEOUS.


CUT TO:


SPEAKER: "MR LOVERMAN - SHABBA, MR LOVERMAN - SHABBA ... I CANT WAIT !"


CUT TO:


CLOSE UP: GARISH LIT FACE OF ROLLY POLLY: "C'MON LETS DANCE ???!!!"


CUT TO: MEDIUM SHOT WALDO


WALDO: (REACHES INTO HIS POCKET AND BRINGS OUT $300: "HERE TAKE THIS ...  I'M OUTTA HERE !"


WIDE SHOT OF WALDO STRUGGLING TO MAKE HIS WAY THROUGH THE PARTYING, DANCING PEOPLE.


OVER THE SHOULDER SHOT OF ROLLY-POLLY

ON HER MOBILE PHONE TO HER PIMP, WATCHING WALDO EXIT. SHE SOUNDS DISAPPOINTED:"HE GAVE ME $300 BUT HE DIDN'T WANT TO DANCE !"


CUT TO:


CLOSE-UP OF A PACKET OF SLICED BREAD BEING OPENED. THE BREAD HAS CIRCULAR HOLES IN IT.


CUT TO: 

TWO SHOT FROM THE BONNET OF THE OLDSMOBILE. WALDO DRIVING BESPECTACLED DOWN A SUNNY STRIP.


BESPECTACLED: "WHAT HAPPENED TO DEN?"


WALDO "ONE WEEK AND HE SPLIT"


BESPECTACLED: "HOW COME ??"


WALDO: "DEN'S LIKE THAT. MOOD SWINGS. WANTED TO GET BACK TO HIS KIDS".


BESPECTACLED: "I THOUGHT HE WANTED TO GET AWAY FROM THEM ?"


WALDO: "UH HUH ... AND IT COST ME A GRAND TO FLY HIM BACK."


BESPECTACLED: "OH SHIT ! TOO MUCH MAN. HO ... HO ... HERE THEY ARE."


FROM THE DRIVING SEAT WINDOW,WALDO'S  P.O.V. WIDE SHOT: A PERFECT FAMILY, BESPECTACLED, WIFE AND THREE KIDS ARM-IN-MOTHER-FUCKING-HAPPY-FAMILY-ARM, WAVING GOODBYE TO WALDO FROM THE PAVEMENT AS HE DRIVES BY.

CUT TO:

EXTERIOR. DESERT SUNSET. A MAN GETTING OUT OF A CAR WALKING INTO THE DESERT. FADE IN NASHVILLE TENNESSEE INSTRUMENTAL (NIK MATIC) "IT LOOKS LIKE I'M NEVER GONNA FALL IN LOVE AGAIN" - (TOM JONES). TOWARDS THE END OF THE INSTRUMENTAL VERSION THE MAN TURNS AROUND. IT IS WALDO. HE IS IN WHITE SNEAKERS, LOOSE WHITE CORD-TIED LINEN TROUSERS AND A BROWN T-SHIRT. HE QUICKLY WALKS BACK TO THE CAR.


CUT TO:

INTERIOR OF OLDSMOBILE 422. CLOSE UP OF SPEEDOMETER AND INSTRUMENT WINDOWS. THE ENGINE STARTS UP AND THE CAMERA ZOOMS INTO THE PETROL NEEDLE. ITS ON EMPTY. FREEZE FRAME.


CUT TO:

RELAXED HANDS SUDDENLY GRIP A STEERING WHEEL. FADE OUT INSTRUMENTAL. FADE TO BLACK.

CU TO: 

WIDE SHOT: AN OLDSMOBILE COUGHING AND CUTTING OUT. THE DRIVER JUST MANAGES TO FREE WHEEL THE VEHICLE TO PARK PARALLEL TO A PAVEMENT, OVERLOOKING THE STRIP. WALDO GETS OUT. HE LOOKS RELIEVED. RUNS HIS HAND THROUGH HIS HAIR AND TAKES A BREATH. AS HE LOOKS UP HE SEES SOMEONE APPROACHING.


WALDO: "TONY !" AFFECTIONATELY. SLIGHTLY PRETENTIOUS "GREAT PARTY LAST NIGHT MAN ! HOW YOU" - THEY HUG


CUT TO:

INTERIOR OF WALDO'S APARTMENT. DARK. BLINDS DRAWN


WALDO: "THAT WAS A BIT OF LUCK TONY. JUST RAN OUT OF JUICE BY THE PAVEMENT. (WALDO CHUCKLES) WONDERED IF I'D MAKE IT BACK FROM DEATH VALLEY ... WANT SOME COFFEE ?" PLUGS THE KETTLE INTO THE WALL PLUG.


TONY SEEMS DISTRACTED: "NAH I'M OKAY DUDE". HE STROLLS OVER TO THE BLINDS AND OPENS THEM TO LET IN THE LAST OF THE ORANGE SUNSET. HE STARES OUT FOR A WHILE HIS BACK TO WALDO IN THE KITCHEN.


WALDO: RETURNING TO THE OPEN PLAN LIVING ROOM COFFEE MUG IN HAND. HIS EYES NARROW HE IS NOT USED TO THE BLINDS BEING OPENED. "I WAS GOING TO COME OVER AND SEE YOU. BLEW SIX HUNDRED BUCKS LAST NIGHT, THREE HUNDRED ON BJ'S RED BULL, AND THEN THIS CHICK LAST NIGHT, SHE WOULD NOT LEAVE ME ALONE ... JESUS. I WAS GOING TO GO OUT OF MY MIND. I GAVE HER THREE HUNDRED BUCKS TO LEAVE ME THE FUCK ALONE." HE LAUGHS. "I'M SKINNED ! WAS JUST ABOUT TO COME ACROSS AND SEE IF I COULD GET MY CHECK EARLY THIS MONTH ... IF THAT'S OKAY WITH YOU ...?" WALDO COLLAPSES ON THE COUCH.

WALDO HAD NO FURNITURE. MUSIC DESK CHAIR LIVING ROOM BIG AND EMPTY. DEN STAYED IN THE MANSION WITH BJ 


WALDO LOOKS AT TONY. HE SENSES SOMETHING IS NOT RIGHT. TONY KEEPS LOOKING OUT THE WINDOW


WALDO (GETS UP): "YOU OKAY BRO"

TONY: "NO MORE CHECKS"

WALDO: "WHAT YOU MEAN?"

TONY TURNS AROUND. HE STARES AT TONY: "YOU GOTTA GO MY FRIEND" TONY TURNS BACK TO THE WINDOW: "ANYWHERE BUT HERE. BEEJ IS GONNA LEAVE OTHERWISE"

WALDO: "YOU NOT SERIOUS !"

TONY TURNS: "VERY !" AND WALKS OVER TO THE LIVING ROOM AND SITS DOWN:  ITS ALL GOING SOUR FOR WALDO. HE CAN FEEL IT. THAT PARTY FROM HELL, DEATH VALLEY DRIVE, NO PETROL. NOW THIS ...

TONY: (SIGHS) "LOOK ... WE GO BACK SOME. YOU, ME, AND PENNY ... BUT THIS (HE LOOKS AROUND THE APARTMENT) HAS TO END. YOU GOTTA FIND A WAY TO FEND FOR YOURSELF. MY WIFE AND I HAVE CARRIED YOU FOR 14 MONTHS. IT STOPS HERE. I'D GO A BIT LONGER BUT SHE'S HAD IT (INDICATES HIS FOREHEAD WITH HIS HAND)

WALDO: (SILENT. THOUGHTS RACING THROUGH HIS MIND) "I SEE" (HOARSELY) HE SIPS HIS COFFEE, HOLDING THE MUG CLOSE TO HIS LIPS.

"I'LL NEED TO GET MY EQUIPMENT BACK TO NEW YORK."

TONY: "I'LL GIVE YOU $7000.00"

WALDO: (WITHOUT THINKING) "IT'LL COST ME FIVE JUST TO TRANSPORT MY GEAR. THEN I HAVE NOWHERE TO STAY. I'LL NEED FIFTEEN IF I'M GOING TO MAKE IT !"

TONY: "JESUS WALDO ! (WEIRD LOOK)... OKAY FIFTEEN ... AND NOT A WORD TO MY WIFE ! DEAL ? THROWS WALDO A GLANCE AND HOLDS HIS EYES"

WALDO: "DONE ! I'LL PAY YOU BACK, EVERY CENT. THANK YOU TONY."

TONY: (GETS OUT HIS CHECK BOOK): "IT'S MONDAY TOMORROW. (SIGNS THE CHECK) I WANT YOU OUT BY TOMORROW EVENING."

WALDO: "SHIT TONY !" 

TONY: "I'LL ORGANIZE THE HIRE VEHICLE FIRST THING. I'LL DROP YOU THERE AND THEN YOU'RE ON YOUR OWN." (TONY STANDS UP. HANDS THE SIGNED CHECK TO WALDO)

WALDO: (QUIETLY) "THANK YOU TONY. I'D BETTER GET SOME FOOD AND SLEEP - I GUESS IT'S GOING TO BE A LONG WEEK."

TONY: (CALMLY) "YES IT IS. I'LL SEE YOU BRIGHT AND EARLY." HE WALKS TO THE APARTMENT DOOR. OPENS AND CLOSES THE DOOR WITHOUT LOOKING BACK AT WALDO.

WALDO SLUMPS BACK INTO THE CHAIR: "SHIT !"

FOR THE FIRST TIME IN 14 MONTHS THE APARTMENT BLINDS ARE OPEN. FADE TO BLACK


CUT TO:
A TRANQUIL DIMINISHING VIEW OF VENICE CANAL FROM A RESTAURANT OVERLOOKING THE CANAL AND IT'S MOORED BOATS. IT IS OVERCAST. EUROPEAN WEATHER. TWO CUPS OF COFFEE ON A WOODEN TABLE. VOICES SPEAKING OFF CAMERA.

WALDO: HE SMOKES TOO MUCH AND HIS WHOLE LIFE IS BASED ON WHAT HE READS IN THE TABLOIDS


A.N.OTHER: ALWAYS DID. WEED TOOK AWAY HIS AMBITION. WHEN WE TRAVELED EUROPE TOGETHER HE USED TO LOSE IT ... BUT AFTER A WHILE WE'D BOTH BURST INTO FITS OF LAUGHTER. HE WAS ACCIDENT PRONE DEN. BUT IT WAS ENDEARING NOT PATHETIC AS HE SAW IT. NOW HE DOESN'T LAUGH AT HIMSELF ANYMORE ... WEED ... MENTAL STATE ... DEPRESSION ... ALL OF THE ABOVE.


WALDO: YEAH ... SAD. MY BROTHER. AND DID I TELL YOU ABOUT HIS SON


A.N.OTHER: NO ?


A BOAT PASSES ... SEEMINGLY UNDER THE RESTAURANT TABLE


CUT TO


DENIRO SITTING IN THE SHALLOW END OF THE SWIMMING POOL. WET HAIR SLICKED BACK LIKE A LATINA. 


OFF CAMERA:


WALDO: THAT IS MORE LIKE IT !


DENIRO RISES IN A WAVE OF WATER, AS HE REMEMBERS SOMETHING URGENT ...


DENIRO'S HAND PULLS A SODDEN PASSPORT OUT OF HIS BACK POCKET


DENIRO: OH FOR FUCKS SAKE !!!!!!!!!!!!!!!!!


WALDO BURSTS OUT LAUGHING ... DENIRO LOOKS DOWN AT THE DRENCHED PASSPORT IN HIS DRIPPING WET HAND




CUT TO

WIDE SHOT. KITCHEN INTERIOR. DAYLIGHT, MORNING. 


PIECES OF BREAD FLYING ACROSS A KITCHEN TABLE. DENIRO IS HURLING HOLEY BREAD PIECE BY PIECE ACROSS A KITCHEN TABLE, CURSING AND HISSING WHILE WALDO AND A LITTLE OLD ELDERLY LADY SEEM SHOCKED. 


CUT TO CLOSE UP 

AN ASHTRAY FILLED WITH ASH AND SPENT ROLLERS.


DENS FATHER FORCING HIM TO EAT

 

CUT BACK TO WIDE SHOT 

THREE IN THE KITCHEN


WALDO AND THEIR MOTHER TRY TO CONSOLE DEN ... DEN HAS BEEN SMOKING WEED THE NIGHT BEFORE, AND EVERY OTHER NIGHT SINCE HIS TEEN YEARS.


WALDO: "DEN, DEN ... C'MON DEN ITS ONLY BREAD"

                                                                                                                                                                         

THEIR MOTHER: "DENIRO WE BUY YOU SOME BETTER BREAD"


WALDO: "RELAX DEN"


DENIRO: "DON'T TELL ME TO FUCKING RELAX". HE POINTS THE BREAD KNIFE MENACINGLY AT HIS BROTHER. HIS EYES HAVE NO REASON. WALDO BACKS OFF. DENIRO THROWS DOWN THE KNIFE AND STORMS OUT OF THE ROOM. THE CAMERA FOLLOWS HIM DOWN A NARROW PASSAGE TO THE FRONT DOOR. HE GRABS HIS CAR KEYS OFF A SIDE TABLE NEAR THE DOOR.


WALDO: "DEN. YOU SHOULDN'T BE DRIVING ..."


DENIRO TURNS TO WALDO HE DOESN'T HAVE TO SAY ANYTHING. THE RAGE ON HIS FACE SAYS IT ALL. HE PUSHES HIS FACE UP CLOSE TO WALDO.


WALDO: "ITS DANGEROUS DEN"


AN EVIL SMILE LIGHTS UP DENIRO'S FACADE.


HE STORMS OUT THE HOUSE. HIS AGITATION REFLECTED IN HIS ROUNDED SHOULDERS SEEMINGLY CARRYING A HEAVY BLACK CLOUD OF WEED. HE DISAPPEARS INTO HIS CAR. WALDO FOLLOWS.


WALDO: "YOU SHOULDN'T BE DRIVING DEN"


DENIRO ROLLS DOWN THE WINDSCREEN: "DIDN'T  YOU TAKE YOUR RED PILL THIS MORNING" HE LAUGHS CYNICALLY. JAMS THE CAR INTO GEAR.


WALDO: "WHAT ABOUT YOUR SON ..."


DENIRO: "THE PIGS FRAMED HIM !!! NOW FUCK OFF." THE CAR EXPLODES INTO LIFE AND RIPS UP THE GRAVEL FORECOURT. 


THEIR MOTHER STANDS SMALL AND ALONE. 


CLOSE UP: HER EYES ... DARK TUNNELS.


A MOLE IN THE BACK GARDEN LIFTS UP THE SOIL. DISTURBED BY A NOISE IT BURIES ITSELF UNDERGROUND LEAVING A MOUND OF SOIL ON TOP OF THE RECENTLY DISTURBED GRASS.


CUT TO:

CLOSE UP DENIRO'S FACE: "I'M A FIGHTER" HE MUTTERS UNDER HIS BREATH. A PASSING CAR LIGHTS UP DE NIRO'S DESPERATE FACADE.


CUT TO:

2015. NIGHT TIME. A BUS STOP IN WINDSOR. TWO TEENAGERS KISSING. A BEAUTIFUL WHITE GIRL AND A HANDSOME BROWN BOY. THEY STOP TO TALK UNDER THE ILLUMINATION OF AN OVERHEAD ELECTRIC STREET LAMP.


TWO SHOT. HAND IN HAND: "I CAN'T PAC." THEY WALK AWAY FROM BUS SHELTER. THE BROWN BOY IS SILENT. HIS BODY LANGUAGE IS UNCOMFORTABLE.


PACINO: "YOU WOULD IF YOU LOVED ME !"


GIRLFRIEND: "THAT'S UNFAIR. HE'S JUST BEING PROTECTIVE."

PACINO: "HE'S RACIST"

GIRLFRIEND: "HE IS NOT !" (EMPHATIC. EMOTIONAL)


SHE PULLS AWAY UNLOCKING HER HAND FROM HIS. "WE NEED A BREAK ... FROM US"


PACINO LASHES OUT AND PUNCHES HER OFF HER FEET. ON THE GROUND SHE STARTS CRYING. A CAR PASSES BY WITH SOME WHITE TEENAGERS INSIDE - THE CAR BREAKS AHEAD AND REVERSES. PACINO BOLTS INTO THE BUSHES NEARBY.

A VOICE FROM THE CAR: "ARE YOU OKAY ...?"


FADE TO BLACK


DAYLIGHT. SAME BUS SHELTER. FADE IN TO TWO SHOT OF TWO MALE TEENAGERS - ONE WHITE, ONE BROWN, IN THE BUSH BY THE SAME BUS SHELTER. THEY ARE UP TO SOMETHING. THEY KEEP PEERING OVER BUSHES TO A PEDESTRIAN CROSSING THAT LEADS TO A NURSERY SCHOOL. MOTHERS ARE DROPPING OFF THEIR CHILDREN AT SCHOOL. A CAR DRAWS TO A HALT AT THE PEDESTRIAN CROSSING TO ALLOW MANY KIDS TO CROSS THE ROAD. A LADY IN A YELLOW HEALTH AND SAFETY UNIFORM WITH A MANDATORY STOP SIGN STANDS IN FRONT OF THE MAN'S CAR.


PACINO AND COMPANION BOLT OUT OF THE BUSHES CALLING OUT TO THE WHITE DRIVER OF THE CAR. HE RECOGNIZES PACINO. HE SEEMS SURPRISED. ITS TOO LATE. PACINO STRIKES HIM WITH A BARE KNUCKLED FIST THROUGH THE CAR WINDOW. THE TRAFFIC LADY GASPS.


PACINO PULLS THE DRIVER OUT OF THE CAR WITH THE HELP OF HIS COMPANION. THEY PROCEED TO PUNCH HIM UNTIL HE FALLS TO THE GROUND. THEN PACINO DRAWS A KNIFE OUT FROM HIS JEAN JACKET. HE STABS THE MAN IN THE CHEST SEVERAL TIMES. THEN BEFORE ANY BY PASSERS CAN REACT PACINO AND HIS MATE SPRINT OFF INTO THE BUSH. A CAR IS HEARD PULLING OFF AT BREAK NECK SPEED BEFORE THE COMMOTION OF SCREAMS AND PEOPLE RUSHING IN TO TO SEE WHAT HAS HAPPENED TO THE DRIVER OF THE CAR.


CUT TO: A HOSPITAL HELICOPTER OVERHEAD IN THE GREY SKIES


CUT TO: A KNIFE BEEN THROWN INTO A POND BY A BROWN HAND.


CUT TO: CLOSE UP OF A TV SCREEN. A BBC TV ANNOUNCER REPORTS ON A MURDER


CUT TO: MEDIUM SHOT OF DENIRO BY A MISTED WINDOW. HE TAKES A BIG DRAG ON A SPLIFF


WIDE SHOT VENICE CANAL.


A.N. OTHER: "... HE STABBED SOMEBODY ??!!                                                             


WALDO:  DOING A 17 YEAR STRETCH FOR MURDER. OF COURSE DEN CLAIMS HIS BOY WAS STITCHED UP BY THE POLICE.  YEARS AGO PAC HAD A CHANCE TO BE A PRO ATHLETE - DEN'S WEED AND ANGER PUT HIS SON RIGHT OFF SPORT. HE WAS AFRAID TO ACCOMPANY HIS FATHER IN THE CAR AS A YOUNGSTER. DEN HAD BECOME LIKE 'HIS' FATHER ... VIOLENT AND AGGRESSIVE TOWARD HIS OWN CHILD. SOON AFTER, PACINO WAS SMOKING WEED AND HANGING OUT WITH THE WRONG CROWD. GOT TOOLED UP. FELL IN LOVE WITH SOME GIRL. SHE GOT SCARED OF HIS VIOLENT, POSSESSIVE BEHAVIOR AND LEFT HIM. HE WENT AFTER HER AND THEN HER RELATIVE GOT IN THE WAY. REST'S HISTORY. NOW I AM LIVING WITH A WEED ADDICTED FATHER WITH A MURDERER FOR A SON. I CAN'T IMAGINE WHAT HABITS AND SCARS PRISON WILL LEAVE WITH HIM. 


CUT TO

A YOUNG BOY AND FATHER DRIVING OUTSIDE A LONDON FOOTBALL CLUB. NO SOUND. THE FATHER IS SCREAMING. ENRAGED. THE YOUNG BOY LOOKS AWAY FROM HIS FATHER, OUT OF THE CAR WINDOW, LIKE HE DOES NOT BELONG. DISTRAUGHT, NERVOUS ... HE CAN'T WAIT TO GET AWAY.


CUT TO:

VENICE CANAL. TWO CUPS OF COFFEE ON A WOODEN TABLE.


A.N. OTHER:   "... DEPRESSING WHAT  LACK OF LOVE AND ADDICTION DOES. LOOK THIS STORY HAS SUCH AN AUDIENCE APPEAL. IT BELONGS TO BOTH OF US. YOU LIVED IT. I AM THE VOYEUR THROUGH WHOSE EYES AND EARS EXPERIENCED IT. A LARGER AUDIENCE SHOULD SEE AND HEAR IT. 'THE PENANCE' IS THERAPY AND A LESSON TO ALL OF US WHO WANT TO MAKE IT. ALL THOSE WHO HAVE REACHED A POINT IN THEIR LIVES WHERE THEY BEGIN TO THINK IT WILL NEVER HAPPEN FOR THEM ... THE PENANCE BRINGS US TO THAT POINT ...".


WALDO: "WHAT DO YAH MEAN ?"


A.N. OTHER: "I MEAN A SCREENPLAY. I WRITE IT, ILLUSTRATE IT WITH OUR IMAGES, RELEVANT TO THE STORY. COMBINE THE SCREENPLAY AND IMAGES AND WE PROPOSE HOWARD STERN AND RON JEREMY PLAY THE MAIN CHARACTERS".


WALDO: "WAIT A MINUTE ... LISTEN. LISTEN. WHEN I WAS DISTRIBUTING LEAFLETS IN THE SNOW IN NEW YORK I LISTENED TO HOWARD STERN EVERY MORNING ON THE RADIO. HIS SHOW HELPED. HE MADE ME SMILE".


CUT TO:

DAYLIGHT EXTERIOR. BLACK AND WHITE FOOTAGE. WALDO'S SOLILOQUY RESUMES.


CUT TO:

CLOSE UP OF AN OLD PORTABLE TRANSISTOR RADIO. IN THE BACKGROUND HOWARD STERN IS INTERVIEWING RON JEREMY.

"RON JEREMY IS HERE. HE WROTE A BOOK CALLED THE HARDEST MAN IN SHOW BUSINESS ..." FADE OUT RADIO

JOE NIRVANA (OFF CAMERA): "THE PENANCE IS A GAME. GAMES ARE LIFE. THEY ARE ORGANISED. THEY HAVE PLAYERS. GOOD AND BAD. LUCKY AND SAD. THEY ATTRACT OTHER PLAYERS. INNOCENTS AND GUILTYS. THE TRUTH BLENDS THEM TOGETHER. SOME WATCH SOME PLAY ..."


WIDE SHOT: THE CRAP PLAYERS ARE KNEELING ON THE PAVEMENT THE CUPS ARE MOVING. THEY HAVE ATTRACTED AN AUDIENCE ONE OF THE SPECTATORS HAS PLACED A BET. THE CAMERA MOVES LIKE A STREETWISE PEDDLER. IT ZOOMS ACROSS THE STREET TO A 'LOOKOUT'. IT PANS ACROSS THE STREET TO ANOTHER.



CUT TO: A CLOSE UP OF A HAND REMOVING A WALLET FROM A JACKET POCKET. THE EXCITEMENT BUILS AND THE CAMERA PANS UP TO THE EXCITED SPECTATORS' FACES. 


JOE NIRVANA (OFF CAMERA): "THE VICTIMS KNOW THEY ARE VICTIMS. THEY SENSE IT. BUT THEY WANT TO BE A PART OF LIFE. TO BE SOMEONE. BUT WANTING SO MUCH TAKES THEIR EYES OFF THE REAL GAME ... WHATS HAPPENING TO THEM"


CUT TO: 

WIDE SHOT: THE BET MAN POINTS A FINGER TO A CUP. THE 'CRAP' PLAYER LIFTS AN EMPTY CUP. OH THE NOISE OF DISAPPOINTMENT. THE BETTING MAN HANDS OVER HIS MONEY. THERE IS A LOUD WHISTLE. CAMERA SWINGS ACROSS TO THE NOISE ONLY TO SEE ONE MAN BOLTING TOWARDS A SIDE STREET - THEN ANOTHER AND ANOTHER UNTIL ALL THE CRAP PLAYERS ARE GONE. THE CAMERA PANS BACK TO THE GAME SCENE ... NOBODY BUT THE SPECTATORS TO BE SEEN. IN THE DISTANCE, APPROACHING THE CRIME SCENE, NEW YORK'S FINEST BOYS IN BLUE SHAKING THEIR HEADS. THEY KNOW WHAT TO EXPECT ... DISAPPOINTMENT LIES IN STORE FOR THE 'PLAYED'.


CUT TO

CLOSE UP WALDO'S FACE: 


WALDO: "THE PENANCE IS WHAT YOU PAY WHEN YOU DON'T PAY ATTENTION TO THE GAME. EXPERIENCE IS VALUABLE. IT TEACHES YOU TO WEIGH UP THE PLAYERS, VALUE THEM. SEE THEIR TRAITS FROM ALL SIDES. AND THEN MAYBE, JUST MAYBE, YOU'RE THE ONE WHO CAN AFFORD TO EARN AND BUY LOVE. YOU SEE WE ALL HAVE 'IT' WHEN WE ARE YOUNG THE FIRST BET IS A GIVEN. INEXPERIENCE KNOWS NO FEAR. LOVE LOVES NO FEAR. THEN THE FIRST CUT. THE FIRST CUT IS THE DEEPEST. AND AFTER THAT IT IS INTO THE DESERT. 40 DAYS AND 40 NIGHTS. WHO COMES OUT AND IN WHAT CONDITION IS DOWN TO PERSEVERANCE AND LUCK."




SUNNY DAY IN LAS VEGAS. POOLSIDE

WIDE SHOT OF SUNBATHERS AROUND A SPARKLING BLUE SWIMMING POOL

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ONE SHOT OF A BOYISH HAIR STYLED, BLONDE BABE, TOPLESS IN G-STRING, ICED DRINK IN HAND. SHE SITS UP BRINGING HER LONG BROWN LIMBS EITHER SIDE OF THE LOUNGER UPON WHICH SHE WAS RECLINING SUPINE.  SHE LOWERS HER SHADES BENEATH HER EYES AND LOOKS TOWARDS AN AUBURN HAIRED MAN IN BEIGE T-SHIRT AND NAVY COTTON, CALVIN KLEIN TIE-CORD BATHING TRUNKS. HE IS SEATED BENEATH A SUN UMBRELLA TO HER RIGHT. HE TOO, IS SIPPING A LONG TALL ICED DRINK.


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MEDIUM SHOT BLONDE BABE: "HEY ! (FRIENDLY) MR PHOTOGRAPHER"

CAMERA PANS TO A MEDIUM SHOT OF A TWENTY SOMETHING AUBURN HAIRED MAN. HE TURNS HIS HEAD IN THE BLONDES DIRECTION. HE SMILES: "HI"


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MEDIUM SHOT BLONDE: "HEY ! (FRIENDLY) WHEN CAN I GET SOME SHOTS DONE. I NEED TO UPDATE MY PORTFOLIO AND I HEAR YOU ARE THE MAN !" SHE SMILES FLIRTATIOUSLY.

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AUBURN PHOTOGRAPHER: "WHAT KIND OF SHOTS YOU LOOKING FOR ?"

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BOYISH BLONDIE: "WELL ... YOU SEE THERE IS THIS AUSTRIAN GUY WHO TRAINS LIPIZZAN SHOW HORSES AND IF YOU DON'T MIND I'D LIKE TO GET SOME SHOTS DONE OF ME ... ON THE HORSES ... NUDE ?" QUIZZICAL AMUSED LOOK

AUBURN PHOTOGRAPHER: "WHEN DO WE START !"


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WIDE SHOT OF A GIGANTIC VEGAS TYPE STAGE. WHITE AND BLACK LIPIZZAN HORSES RACE ACROSS AN OPEN STAGE - HORSES DRAWING A ROMANESQUE CARRIAGE DRIVEN BY A SEXY BOYISH BLONDE LADY IN G-STRING, FISHNETS AND GOLD ROMAN WRIST BANDS AND SANDALS. TRUMPETS HERALD HER TRIUMPHANT ENTRANCE


SAME VIEW OVER A CANAL. LITTLE VENICE.


VOICES OF JOE NIRVANA AND 

A.N.OTHER: "TELL ME MORE ABOUT THE MUSIC SCENE. NEW YORK ... COMPARED WITH VEGAS." 

JOE: IN 1989 /90  IT ALL BEGAN FOR ME IN NEW YORK ...19 TH STREET, AT THE ROXY CLUB. I HAD A DAY JOB AS A WAITER AND ALSO WORKING IN THE RESTAURANT WAS A GAY GUY ... LOU-LOU. WE BECAME FRIENDS. HE CALLED ME HIS 'LITTLE BROTHER' JOE SMILES TO HIMSELF. " IT WAS CRAZY. FROM THE NOTHING LIFE OF SLOUGH AND ENGLAND ... STOPS TO THINK TO EXPRESS HIMSELF BETTER ... MY EMANCIPATION FROM MACHO ENGLISH FOOTBALL FANS, GETTING PISSED IN ENGLISH PUBS, GETTING LAID AND THE EVER-BREWING ENGLISH VIOLENCE. ALL THOSE NEGATIVES I LEFT BEHIND WITH MY INTRODUCTION TO THE ROXY CLUB. IT WAS WILD, CREATIVE ... AND IT DEFINED HOW I WANTED TO BE ... AT THAT TIME. 


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WIDE SHOT A CIRQUE DE SOLEIL TYPE SCENE. JOE NIRVANA WITH PINE APPLE HAIR STYLE ENTERS THE ARENA BETWEEN MASSIVE STAGE CURTAINS. 300 MEN IN G-STRINGS DANCE WILDLY TO SNAP'S HOOK 'I'VE GOT THE POWER'. SCANTILY CLAD BEAUTIFUL WOMEN SURROUND THE DANCE FLOOR, EVERYWHERE THE EYE CAN SEE THE SEXES BLEND IN SHOWS OF FLAGRANT TRANS GENDER ACTS.


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JOE NIRVANA (SMIRKS):  "NO VIOLENCE. A FEELING OF EMANCIPATION. AND THE WOMEN ... WELL (RAISES HIS EYE BROWS AND WHISTLES). MY FAVORITE CLUB WAS JACKY 60'S ... EVERY PERVERT WAS THERE. (LAUGHS ALOUD) LIVE ACTS PERFORMED ON A STAGE, BUT THERE WERE DARK INTIMATE CORNERS WHERE YOU COULD TALK. THE DRUG SCENE AT THESE CLUBS WAS BIG BUSINESS. CRACK COCAINE, THE AMERICAN GANGSTER IT WAS ALL THERE OUT IN THE OPEN. BY THE TIME I GOT THERE IN 1989 IT WAS AT A PEAK, LIKE A JUNKIE HAVING WITHDRAWAL SYMPTOMS - CRAZY TIME ! AND THEN IT ALL CRASHED ... THE POLICE CORRUPTION, THE DRUG DEALERS AND THE ADDICTS ALL HAD TO GO UNDERCOVER, FLEE. SOMETHING PROFITABLE HAD TO REPLACE THE DRUGS AND CLUB SCENE. CORPORATE DESIGNER REAL ESTATE KILLED THE CLUBS LIKE THE LIMELIGHT - A MECCA FOR DRUG DEALERS - THE ROXY AND OTHERS. A PART OF NEW YORK DIED AND WITH IT THE CREATIVE FREEDOM, DRUGS, AND THE MUSIC ALL SHIFTED FROM NEW YORK TO VEGAS. AND I FOLLOWED. BUT IT WASN'T THE SAME ... THE HOUSE MUSIC WAS EXCHANGED FOR 1992 VEGAS GRUNGE, NIRVANA HEAVY ROCK. I FLEW WITH A FRIEND TO LA. MET A MULTI MILLIONAIRE. THEN THERE WERE THESE LIVE AUDIENCE GUITAR AUDITIONS - NOTHING CAME OF IT. FROM LA I TOOK A GREYHOUND BUS TO LAS VEGAS, THROUGH THE DESERT. AND FROM THE EMANCIPATION OF THE NEW YORK AND ROXY CLUB SCENE TO THE PORN STARS OF LAS VEGAS EVERYTHING SPIRALED FOR ME INCLUDING THE MUSIC ... DRUM AND BASE, ASIAN HIP HOP, PORN STARS AND DJs' ...


THEN THERE WAS A CROSSROAD FOR ME. UP TIL THEN I HAD FOLLOWED MY INSTINCTS. I'M AT LAX MY FLIGHTS BEEN CANCELLED. I'VE BEEN GIVEN THE OPTION OF FREE ACCOMMODATION AND A NIGHT IN LA. I SEE THIS BLONDE MILF IN A FEDORA AND LONG LEOPARD SKIN COAT AND BOOTS AND I KNOW IF SAY SOMETHING TO HER MY LIFE GOES IN ANOTHER DIRECTION. BUT I'M TIRED. MAN I'M TIRED. I IGNORE MY INSTINCTS SAY NOTHING TO HER AND BEFORE I KNOW IT I'M BACK IN NEW YORK. A WEEK LATER I MEET MY WIFE.


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LITTLE VENICE CANAL


A. N. OTHER: "TIMES MOVE ON. FOR ME OUR SCREENPLAY IS ABOUT EVOLUTION. MY STORY BEGINS IN SUN CITY THE VEGAS OF SOUTH AFRICA. MY LIBERATION, IF YOU WILL - HETEROSEXUAL EMANCIPATION. DURING THE DAY BEAUTIFUL WOMEN IN G-STRINGS - DANCERS LOUNGING AROUND SWIMMING POOLS. BY NIGHT THE SAME DANCERS SWIMMING IN NEON ILLUMINATED FISH TANKS, DANCING SEMI-NAKED ON STAGE. THE ART OF STAGE STRIP TEASE. WE ARE TALKING 1984-85. I REMEMBER ONE SHOW ..."


FADE IN. THE SONG 'MR BO JANGLES' SAMMY DAVIS JNR BEGINS TO PLAY LIGHTLY IN THE BACKGROUND


CUT TO

A GIGANTIC TOP HAT EMERGES OUT OF THE STAGE FLOOR. IN IT THE BEAUTIFUL TONED BODY OF A NAKED BLONDE LADY - THE SAME BOYISH HAIR STYLED LADY WHO DROVE THE LIPIZZAN HORSES AND CHARIOT. HER BACK IS TO THE AUDIENCE. SHE RISES OUT OF THE HAT. PEERS OVER HER SHOULDER - STAGE RIGHT - AND FROM BEHIND THAT CURTAIN A BEAUTIFUL BLACK MALE DANCER IN GOLD, GLITTERING TROUSERS, BARE TORSO, BRACES AND WALKING STICK SPIRALS ON TO THE STAGE AND INTO 'TAP'. AS HE DANCES THE SVELTE FIGURE OF THE SHORT HAIRED BLONDE LADY POURS HERSELF INTO A SILVER LAME' DRESS. SHE DESCENDS THE HAT AND AT STAGE LEVEL THE DANCER PICKS UP AND THROWS HER A MICROPHONE. FOUNTAINS OF WATER BURST OUT OF THE STAGE FLOOR. TOGETHER THEY BEGIN A DANCE ROUTINE. SHE SINGS THE SAMMY DAVIS SONG WHILE THE DANCER TAPS OUT THE STORY BEHIND THE SONG. A TRIBUTE TO A VEGAS NO MORE. 



NOTES:  MUSIC. DJS - DRESS UP DO WHAT YOU WANTED. 1989 - 90 ROXY CLUB 19 TH STREET. INTRODUCED BY GAY FRIEND LOUIS PEREGO - DAY JOB WAITER - BECAME FRIENDS - LITTLE BROTHER. ROXY CURTAINS 3000 MEN IN G-STRINGS.  JOE NIRVANA PUT HIS HAIR UP IN PINEAPPLE. NO FEELING OF VIOLENCE. FEELING OF EMANCIPATION. ROXY'S GONE - APARTMENT / CORPORATE. 14 STREET, JACKY 6O'S WALDO'S FAVORITE CLUB. INTIMATE DARK CORNERS STAGE - EVERY PERVERT WAS THERE. DOOR CHARGE. PAY FOR DRINKS. SUM UP BY VISUAL INTERESTS. REPLACED BY CORPORATE DESIGNER REAL ESTATE.  LIMELIGHT WAS BIG IN NEW YORK 5-6 LEVELS DRUG INFESTED. HOUSE MUSIC. 1992 VEGAS GRUNGE, NIRVANA (HEAVY ROCK) - FLEW TO LA STAYED WITH FRIEND - GUITAR AUDITIONS PLAYING IN FRONT OF PEOPLE - MET MULTI MILLIONAIRE - GREYHOUND BUS TO LAS VEGAS - LA THROUGH THE DESERT 3 -4 HOURS WITH AUSTRIAN GIRL - MEET UP WITH TONY, STEVE THE CROAT, FRENCH GUY. PORN STARS. 1992 MET YOUR FIRST WIFE - LAX BACK TO NY. OVERBOOKED. 40 SEXY - SOMETHING STOPPED ME. A WEEK LATER MET WIFE. TONY GOT DANISH AUPAIR PREGNANT GOT MARRIED. DEBAUCHERY CARRIED ON TWO KIDS. SHE DIVORCED. DRUM AND BASE ASIAN HIP HOP.