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REVENGE OF THE OLD QUEEN
---Fox *says* don't distribute it electronically, but I dunno, I just felt
like posting it. Please, don't blame Pfaff. Though he was not the first one to come in contact with this script, he posted it, I missed it, I whined on the
newsgroup, some kind souls mailed it to me, even after it was "forbidden," I changed it from .txt to .html, and here we are!
I think forbidden fruit is tastier (as does Brad), so let's just make this
LESS sacrosanct, and promise to see the movie when/if it comes out. If
it's not a big deal, and just available, then there should be less whining
about haves and have-nots on alt.cult-movies.rocky-horror.
If you parody this, PLEASE let me know, and I'll link to you!
(or you can put it here if you don't want to admit you've seen this)
thanks! --Auri
I finally also bookmarked this by song, so you can skip through this a little more easily, or perhaps just pick a sing to parody or write a tune for or whatever.
--=={{****************************************************************}}==--
This is a first draft of the official sequel to The Rocky Horror Picture Show.
I feel a bit awkward distributing this. With the RHPS screenplay and the
Brad and Janet Show and all of the others, those were things that had already
been presented to the public in some official form or another. With this, it
seems a bit like telling the punchline to somebody else's joke at a party.
Or, more accurately, peeking in on your blind date in the shower. In other
words, you ain't supposed to see that yet.
Unfortunately, though, it seems very unlikely that this will ever be made
into a movie, and I feel that this is unfortunate. It works well as a proper
followup to Rocky Horror, and is actually quite entertaining to read. I
balance my feelings of sleaziness with distributing this by telling myself
that fans of Richard O'Brien and Rocky Horror would be missing out if they
never got a chance to experience it. I /do/ have the utmost respect for Mr.
O'Brien, and I hope he realizes that I'm trying to honor, not cash in on, him.
Having said that, I would like it that these paragraphs be included whenever
and wherever this script is reproduced. I will also ask that this never be
sold for profit or otherwise exploited in any way.
As to the script, when typing it in, I kept fairly faithful to the
capitalization and punctuation. The spacing of the dialogue and songs are
fairly exact, but I did condense the spacing of the staging directions a tad.
I'm not sure exactly when this was originally written, but the context of the
setting would suggest between 1988 and 1990. I also can't verify that this
/was/ written by Richard O'Brien. That is, the hand of God didn't place this
in my lap. However, if you compare it with the original RHS script and the
screenplay for RHPS, you'll probably agree with me that, if this isn't
authentic, it's a damn good forgery.
Thank you to my anonymous source for providing this; you know who you are.
Jason Alan "P7A77" Pfaff
p7a77@rhps.com
11th January, 1997
--=={{****************************************************************}}==--
THE
ROCKY HORROR PICTURE SHOW
PART TWO
THE REVENGE OF THE OLD QUEEN
A FIRST DRAFT SCREEN PLAY OF
- A MUSICAL FOR FILM -
with
BOOK AND LYRICS
by
RICHARD O'BRIEN
and
MUSIC
by
RICHARD HARTLEY
TRANSCRIBED
WITHOUT PERMISSION
BUT
WITH GREAT RESPECT
BY
JASON ALAN "P7A77" PFAFF - p7a77@rhps.com
PRODUCED BY
LOU ADLER AND MICHAEL WHITE
FOR
TWENTIETH CENTURY FOX
-----
CAST LIST
THE OLD QUEEN: A very large ROYAL grandmother who, although dying, is not
going quietly into the dark night. She is not to be
crossed and not to be argued with. She resembles an
Elizabeth Taylor look-a-like that's been drowned for a
week or three. Don't step on her winkle-pickers.
STEVE MAJORS: He's a young(ish) guy who's trying to find the Aliens that
were responsible for his elder brother going off the rails
some years ago and winding up as a bottomless go-go dancer
in Vegas. Steve is a very serious young man who very
rarely sees the funny side of anything, including himself.
No offense to Mormons, but he'd fit right into their
missionary 'look'.
LORD DE LORDY: First cousin to the Old Queen and next in like (he hopes)
for the Royal Deck Chair. He's overfed, overweight,
overdressed and oversexed. He flatters himself that he is
a cross between Errol Flynn and Victoria Principal, hence
the pencil moustache plus thighboots over his fishnets.
GENERAL RIFF RAFF: A bad tempered, mean spirited opportunist, who is also the
unknown (but suspected) killer of his own sister and the
Old Queen's only begotten son, the late Frank 'N' Furter.
RAY AMMBO: Head of a U.S. Agency which investigates UFO and
extraterrestrial activity on Earth. He's really into
expensive designer suits, ties, shoes and aftershave in a
big way. He is also the possible father of Sonny.
SONNY AMMBO: Sonny is an outrageous, smart, good-looking, charming
teenager. He is completely without morals or compassion.
Everybody adores him and he sees no reason why he should
be any different.
JUDITH BRANKMIRE: Judy is a beautiful, rather over-endowed young woman who
is looking for Mister Right. Luckily for her and us, she
meets him in the shape of Lord De Lordy. She's fun, she's
smart, she's a honey-pot.
JANET WEISS: She's around 35 or so, but looks at least 50. She drinks,
smokes, dyes her hair, hooks and watches television,
probably all at the same time, she's a mess and she's also
possibly Sonny's real mother.
MARY LOU: Ray's bright-eyed, longhaired, glossy-lipped, short-
skirted secretary. Like Ray, she is also from the South.
She ain't smart, but she sure is purty.
VARIOUS TRANNIES: Subjects of the Old Queen.
VARIOUS EARTHLINGS: Hotel staff, guests, diner workers and customers, etc.
-----
We OPEN with the TITLES and a SONG which is sung by SONNY. Our visual
image is of a journey through space from Earth. It is very obviously
artificial and nothing more than a promotion video for the song.
We see the PLANET EARTH.
We travel through the MILKY WAY.
We pass the outer and well known PLANETS.
We hit DEEP SPACE.
We approach an unknown PLANET which has no sun, only a moon.
We skim its surface. It's quite gothic, natural formations appear to
resemble tomb-stones.
We follow a coast-line, the shore is black, the sea also.
We enter a CAVERN and travel along TWISTING TUNNELS.
We pass through OPULENT but FUNEREAL SALONS.
All images hint of sex and death.
We travel along ANOTHER CORRIDOR and finally stop before a GOTHIC-ARCHED
DOOR.
The song ends.
We then CROSS FADE back to our first image of the PLANET EARTH. This
time however it looks REAL, and in a blur of speed we repeat the journey
we've just made, only this time it all looks very real. This will be
underscored with both sounds and music which will, relate to, and round-
off, SONNY's song.
"THE MOON DRENCHED SHORES OF TRANSYLVANIA"
SONNY (V.O.):
LET ME TAKE YOU TO A PLACE OF SEDUCTION
WHERE HEARTS ARE LIGHT BECAUSE IT'S NIGHT ALL DAY
LET ME HELP YOU BREAK THE CHAINS OF SELF DESTRUCTION
I'LL START ENLIGHTENING YOU RIGHT AWAY.
SO IF YOU'RE HOT TO SPOT WHAT'S WHAT
YOU' BETTER GET A BIT OF WHAT THEY'VE GOT
WHERE THEY DON'T LIKE A LITTLE BUT A LOT OF EROTOMANIA
YOU'LL KNOW BLISS AS SOON AS YOU GET YOURS
AS WE KISS ON THE MOON DRENCHED SHORES OF TRANSYLVANIA
IF YOU DELIGHT IN CANDLE LIGHT AND THE INFERNAL
I KNOW THIS DANGEROUS LITTLE RENDEZVOUS
AND IF YOU CATCH A BITE WHERE NIGHT IS ETERNAL
YOU'LL FEEL A STRANGENESS COMING OVER YOU.
SO IF YOU SAY (YOU WANNA) STAY AWAY
FROM THAT SAME OLD GREY MAYDAY AFTER DAY
AND YOUR GAME IS TO PLAY AND PLAY THEN I CAN'T BLAME YAH
AND SO WE'LL STAND WHERE THE TOMB ENDURES
HAND IN HAND ON THE MOON DRENCHED SHORES OF TRANSYLVANIA.
(ANTHEM)
CLAYMATION GROUP first time around, TRANSYLVANIANS second time.
STAY VAIN IN TRANSYLVANIA
STAY SANE IN TRANSYLVANIA
REMAIN IN TRANSYLVANIA
IT'S TIME AND MONEY WELL SPENT
YOU ONLY LOSE RESENTMENT
AND SOON CONTENTMENT COULD BE YOURS
ON THE SANDS OF THE MOON DRENCHED SHORES OF TRANSYLVANIA.
LET ME SING FOR YOU THE SONG OF THE SIRENS
IT'S NOT UNKNOWN TO MAKE A GROWN MAN CRY
WHY DON'T WE SWING IT WITH THE MYRAS AND THE MYRONS
WHOAH MAN LIKE ONAN YOU'LL BE HOME AND DRY.
SO IF YOU'RE CHASING AN UNCHASTE DISGRACE
AN ANGEL FACE THAT'S ENCASED IN LACE
WELL OUT IN SPACE THERE'S THE PERFECT PLACE TO FAN YOUR MANIA
COME AND SEE WHAT THE GLOOM ADORES
HERE WITH ME ON THE MOON DRENCHED SHORES OF TRANSYLVANIA.
We stand before the GOTHIC-ARCHED DOOR again, only this time it's real.
It swings open and we enter the dark room beyond.
1. INT. RIFF RAFF'S CHAMBERS. ETERNAL NIGHT.
This is another of those strange, funeral decors. Again, natural rock
suggests imprisoned monsters of Hell and sumptuous drapes suggest an
evil decadence. RIFF RAFF is before a coffin and he runs his hands over
it in a sensual manner.
RIFF RAFF
Oh why, oh why did you make me
kill the only thing I ever loved
in my entire life, you??? You
drove me mad with jealousy, cut me
to the quick with your
shamelessness, how could you even
look at another, when I was all
you ever needed? And such a
miserable excuse for a life-form
as De Lordy as well. Oh Magenta,
my beloved sister, flesh of my
flesh, delight of my life, forgive
me you bitch.
It may be worth pointing out at this juncture, that RIFF is more than a
little loopy.
He lies on top of the coffin and begins kissing the head end.
RIFF RAFF
It'll be different this time my
darling, I've changed, I'm not
like I used to be, I'm fun, we'll
have lots of fun together, you'll
see, it'll be just like it was
right at the beginning, when we
were children, we can play doctors
and nurses. Oh my love, my
angel, you know what I want, don't
you? Yes, yes, I do and now, now ...
He slides off and starts to open the lid.
The door to the room opens and the light from beyond falls across the
coffin and catches RIFF looking hunted, guilty and furious.
RIFF RAFF
And what, the expletive very much
included, fuck do you want?
We PAN AROUND and see a very SMALL PERSON dressed in the manner of this
strange Planet (which as we all know by now) is the Planet of Transsexual
in the Galaxy of Transylvania.
SMALL PERSON
My apologies General Riff Raff,
but the Old Queen requires your
presence immediately.
RIFF RAFF
The Old Queen???
SMALL PERSON
Yes, General, the Big Furter
herself.
RIFF snarls with rage and smashes his fist into the side of the coffin, a
cloud of red steam escapes with a wistful sigh. He withdraws his
bloodied forearm and stares at it in disbelief.
RIFF RAFF
Now see what you made me do!!!
I'm sorry, my darling, but I'll
hurry right back and make it up to
you.
SMALL PERSON
General, the Old Queen is waiting.
RIFF screams at this tiny creature with every ounce of hate that he can
muster.
RIFF RAFF
Yes, yes I know the Old Queen's
waiting, you told me and I'm
coming, all right?
He looks straight into camera.
RIFF RAFF
Right now.
WE CUT TO
2. INT. THE OUTER OFFICE OF RAY AMMBO. WASHINGTON D.C. DAY.
We see STEVE MAJORS coming along the outer corridor and swing into MARY
LOU's secretarial office. As we do so, we hear STEVE's thoughts in VOICE
OVER.
STEVE (V.O.)
It all began for me the day that I
heard a song on the radio about
the moon drenched shores of
Transylvania and things started to
fall into place. So I headed on
over to my Chief's office in order
that I might tell him of my
suspicions and about a plan I'd
come up with which might put a
smile on his face, after all, he
was the big banana and with luck I
thought that I might be able to
pull it off.
MARY LOU looks up from her desk as STEVE enters.
STEVE
Is the Chief in?
MARY LOU
He is, but he's real busy right
now.
STEVE
This is too important to wait.
He waves what looks like a rolled up film poster at her, it is exactly
that. Then, he heads towards RAY's inner sanctum.
MARY LOU
Hey! You can't go in there.
It's too late. He's already in there. MARY LOU chases after him.
Now RAY's office is a real sight. It is full of erotica in all forms,
paintings, bronzes, books, etc., and on the huge T.V. screen there is a
fairly explicit strip act playing and what's even worse (yes, it gets
worse) the STRIPPER appears to have an extra something that doesn't
belong to the female form.
RAY is bent over his desk doing something with a rolled up dollar bill
and some white powder. As the door opens he stands up real quick, the
dollar still stuck in his nostril. The mound of powder, which is huge,
goes everywhere.
RAY is dressed that very baggy, expensive Italian designer look. He's in
his forties and is given to wearing his hair in a pony tail.
RAY
Who in the Hell are you?
STEVE
Agent Steve Majors, Chief, I have
to talk to you.
RAY
Not now, Agent Majors, I've got a
terrible headache, the only thing
that cures it is this ... ah ...
C17 H21 O4 N ... I's pretty hard
to get and costs a fortune.
He aims the remote switch at the T.V. screen and our transsexual STRIPPER
disappears.
RAY
I don't know what's gone wrong
with afternoon television these
days, can't get the script writers
I expect.
STEVE
I want to talk to you about that
song that's being played
everywhere, Chief, The Moon
Drenched Shores of Transylvania.
RAY's mood changes immediately, he smiles broadly and glows with what can
only be pride.
RAY
Why didn't you say so, Agent
Majors? Hell, let me call you
Steve, you did say Steve, didn't
you? ... Mary Lou, why don't you
go pour us a drink each and while
you're at it, see if you can
rustle me up some more of my
headache powder ... it's a great
song that song, Steve ...
(he sings)
LET ME TAKE YOU TO A PLACE OF
SEDUCTION.
Hell I knew it was going to be a
hit the first time I heard it. I
said, "Sonny, that one's gonna
make it all the way to the number
one slot", and boy, was I right.
STEVE
You mean you know the singer
personally, Chief?
RAY
Know him??? I should say I do.
Why I've known him all his life.
He's my boy.
We go to a CLOSE UP on STEVE, he's astonished by this news.
We hear the double beat of a bass drum, like a heartbeat and CUT TO
3. EXT. A STREET IN DOWN TOWN WASHINGTON. DAY.
We see SONNY for the first time. He looks a treat. He has high-heel
shoes and fishnet stockings on. On top he wears a leather jacket. His
face is heavily and beautifully made up. He trucks down the street
without a care in the world. He is without shame or embarrassment.
We CUT BACK TO
4. INT. RAY'S OFFICE. WASHINGTON D.C. DAY.
RAY
Yes sir, I sure am proud of that
boy of mine, he's never given me
one day's trouble in his life.
STEVE swallows hard, he's on fairly thin ice here and he'll have to watch
his step.
STEVE
Yes, I'm sure he's a wonderful
son, Chief ... I'm just a little
surprised that he's singing a song
like that.
RAY
Why??? What's wrong with it???
Are you some kind of music critic
or something??? I hope I didn't
get you wrong, boy.
STEVE
Ah no ... It's just that, well, as
Chief of this Agency and as ah ...
this agency ... is set up to
investigate Aliens and U.F.O.
activity ... well I thought you
should know that what Sonny, your
boy, is singing about, is true.
RAY studies STEVE for a while. STEVE sweats a bit. Then RAY talks and
this time it is both quiet and cold.
RAY
I think you'd better explain
yourself, Agent Majors, and I also
think that it better be good.
STEVE
(unrolls the film poster)
Have you heard of this film,
Chief? It's called.
RAY
The Rocky Horror Show .. I've
course I've heard of it. My
boy, Sonny, loves it, he used to
go all the time.
STEVE
So did a lot of other kids, Chief.
They still do, but what they don't
know is that it's a true story ...
There are aliens amongst us, they
call themselves Trannies and all
they want is for us to become
slaves to sensation.
We hear that bass drum give that loud heartbeat again. And we CUT TO
5. EXT. THE STREET IN DOWNTOWN WASHINGTON. DAY.
SONNY starts to sing a song that will go something or other like this.
SONNY:
LIFE IS SWEET ON THE STREET
WHEN YOU'RE TURNING ON THE HEAT
AND BURNING FOR SOME INDISCREET DEMENTIA
AN EPISODE IN THE ROAD
CAN CAUSE YOU TO EXPLODE
AND THEN SAY 'WELL I'M BLOWED! HAS HEAVEN SENT YAH?'
IT MAYBE HARD WHEN YOU'VE STARRED
TO A HATEFUL BOULEVARD
TO DISREGARD THE DETRIMENTAL CENSURE
JUST SKIP AND POST
HAVE A LAUGH
FLIP THOSE FOES YOUR AUTOGRAPH
AS YOU TRIP THE PRIMROSE PATH
TO FRESH ADVENTURE.
IF YOU TIC TACK DOWN THE TRACK
AND RUN SMACK INTO A PACK
OF GUYS WITH SOME WISE-CRACK AND NO ABSTENTIONS
TO REMAIN UP IN THAT LANE
CAN BE REALLY QUITE A STRAIN
BUT THEY'LL BE RIGHT AS RAIN WITH YOUR ATTENTIONS
A HAIRY MALE ON THE TRAIL
IS A KIND OF FAIRY TALE
REMINDING YOU'RE FRAIL WITH HIS DIMENSIONS
SO HISS AND SPIT
KISS AND TELL
AND REMEMBER THIS BIT WELL
THAT THEY PAVED THE ROAD TO HELL
WITH GOOD INTENTIONS.
LET ME SAY, SHOULD YOU STRAY
DOWN THAT FETED GREAT WHITE WAY
STILL PRAYING FOR THE DAY YOU PLAY THE PALAIS
FLOUT YOUR PRIDE AND STAY OUTSIDE
DON'T GET TAKEN FOR A RIDE
FORGET IT NOT THAT YOU'RE A HOT TAMALE
HOCK YOUR JOCK, SHOCK IN A FROCK
GET THEM ROCKING ROUND THE BLOCK
A FRILLY REALLY MAKES THEM DILLY DALLY
YES I REPEAT
IT'S A TREAT
WHEN YOU'VE RISEN FROM DEFEAT
(TO) FIND THE RHYTHM OF THE STREET'S
RIGHT UP YOUR ALLEY.
(SONG TO BE FINISHED LATER)
By the time he's finished it, he's probably made love to a few
bystanders, beaten up the odd red-neck and wound up in the window of a
lingerie shop with a couple of cops and several teenaged girls.
We CUT TO
6. INT. RAY'S OFFICE. WASHINGTON D.C. DAY.
RAY
I've been Chief of this agency for
more years than I care to
remember, Agent Majors and I've
never seen a U.F.O. or an Alien
that didn't turn out to be
something quite normal and
understandable. And, another
thing, do you really think for one
minute that monsters from outer
space could ever corrupt the
people of this great nation? Do
you think that the young people
would be weak enough, foolish
enough, to be taken in by a
proselytizing extraterrestrial
with a mouth full of sweet talk
and a dick that swings both
ways? ...
MARY LOU enters with three drinks and a huge brown paper grocery sack
full of white powder. She puts everything down except for her drink,
sits down and crosses her legs.
STEVE attempts to say a few words to RAY.
STEVE
But ... I ...
RAY
Take my boy for example, he's a
lovely boy
MARY LOU
He surely is and that's the truth.
RAY
He's a rock star, making his way
in an industry that's rife with
temptation, but does he lack moral
principles? No he does not and
why? Because he knows right from
wrong that's why. Sure, he
dresses a little crazy, but he's
young and in show business, and so
what if he sings strange songs
about other planets. Sci Fi and
Gothic horror are in, but, don't
try and tell me that this Planet,
this Transylvania really exists or
I'm going to have to start calling
for the men in white coats.
We CUT TO
7. INT. A DIMLY LIT CORRIDOR. PLANET OF T.S. ETERNAL NIGHT.
The SMALL PERSON and RIFF snake along the corridor. We hear the sighs,
moans and groans of unseen Transylvanians drowning in pleasure. RIFF
covers his ears. We lose the sounds with his action and we hear now the
thump of his heartbeat, followed by a dramatic drum fill. RIFF is
nervous and unhappy.
We CUT TO
8. INT. RAY'S OFFICE. WASHINGTON D.C. DAY.
RAY
I'm well aware that there are a
lot of people unable to dig
themselves out of the shit that
they've buried themselves into,
but let's face it, there's riff
raff everywhere these days.
9. INT. FURTHER ALONG THE CORRIDOR. PLANET OF T.S. ETERNAL NIGHT.
The 'HEARTBEAT' has under scored the last scene and now it becomes a full
rhythm section. RIFF sings.
"SHORT END OF THE STICK"
RIFF RAFF:
THERE'S SOMETHING GOING DOWN
OVER SOMETHING THAT'S COME UP
SO I'D BETTER GO INTO REMOTE
BECAUSE THEY'RE ALWAYS AT MY THROAT
TRYING TO MAKE THEIR STORY STICK
I WAS BORN TO JOIN THE GENTRY
BORN TO HAVE THE HORN OF PLENTY
BUT THE THING THAT MAKES ME SICK
IS I ALWAYS GET THE SHORT-END OF THE STICK
SOMEONE'S HOLDING COURT
OR SOMETHING OF THAT SORT
AND THE QUESTIONS WILL BE COMING FAST AND THICK
SO I'D BETTER TAKE THE STAND
WITH SOME ACES IN MY HAND
(OR THERE'LL BE) TROUBLE THAT'S AS SUBTLE AS A BRICK
I WAS BORN TO RULE, NOT FOLLOW
THERE ARE THINGS THAT I CAN'T SWALLOW
BUT THE THING THAT MAKES ME SICK
IS, I ALWAYS GET THE SHORT END OF THE STICK.
DRUNK WITH POWER, THEY SKIP WITH JOY
HOUR BY HOUR I'M THEIR WHIPPING BOY
THEY'RE SO SADISTIC THEY'LL STEAL YOUR LIPSTICK
AND TELL YOU THAT YOU'RE MASOCHISTIC
I GET NO THRILLS ON BITTER PILLS THEY MAKE ME SICK
AND I ALWAYS GET THE SHORT END OF THE STICK.
TRANNIES/SMALL PERSON/GUARDS:
HE WAS BORN TO JOIN THE GENTRY
RIFF RAFF:
BORN TO HAVE THE HORN OF PLENTY
OTHERS:
HE WAS BORN TO RULE NOT FOLLOW
RIFF RAFF:
THERE ARE THINGS I JUST CAN'T SWALLOW
OTHERS:
BUT THE THING THAT REALLY MAKES HIM SICK
RIFF RAFF:
IS, I ALWAYS GET THE SHORT END OF THE STICK.
SOMEONE HAS TO LOSE
SO THAT SOMEONE ELSE CAN WIN
IT'S A CHRONIC TRAGICOMIC KIND OF TRICK
IF I HAD A BIT OF SENSE
I'D JUST SIT HERE ON THE FENCE
AND PRETEND TO BE AN EMPTY HEADED HICK
(BUT) I WAS BORN TO BE THE VICTIM
BORN A PAWN WITHOUT THE SYSTEM
THAT'S THE THING THAT MAKES ME SICK
YES, I ALWAYS GET THE SHORT END OF THE STICK.
We CUT TO
10. INT. RAY'S OFFICE. WASHINGTON D.C. DAY.
Same three people as before. We OPEN with a CLOSE UP on STEVE.
STEVE
But Chief! You've got to believe
me ...
RAY and MARY LOU snigger a little.
STEVE
... They've got a safe-house in a
place called Fresno, over an
electrical store, this time we're
really on to them.
RAY
Oh really? How d'you come by
this information, Agent Majors?
STEVE
I was going through the files and
I found a folder marked The Denton
Affair, it made for really
interesting reading, chief, and
pencilled in the cover it said,
Transylvanian Safe House, then it
gave the address, and I've checked
and it's still there.
RAY
The Denton Affair was a long time
ago ... ah ... Steve, sure, the
address in Fresno might check out,
but Hell, anybody could be living
there now.
STEVE
Let me check it out, Chief.
RAY
What d'you think, Mary Lou?
Should we let Steve here check
Fresno out for monsters from outer
space?
MARY LOU
I don't know, Ray, it could be
kind of dangerous.
RAY becomes mock serious for a moment.
RAY
All right, Agent Majors, it's just
possible that this could be the
big break that we've been waiting
for. I'm going to put a priority
code on this one ...
He picks up the phone.
RAY
... It's Ray Ammbo here, Head of
the Bureau of Investigation into
U.F.O's and all other related
subjects. I want to be put
straight through to Camp David,
and I mean now.
STEVE's jaw drops and he gives a low whistle of approval ... This is
serious stuff going down here.
RAY
Hello David, send me an Agency car
round to the front of the
building, and make it the best.
He hangs up.
We CUT TO
11. INT. THE ANTE CHAMBER. OLD QUEEN'S PALACE. ETERNAL NIGHT.
RIFF and the SMALL PERSON enter. A VERY TALL THIN SERVANT, also dressed
in Transylvanian black, comes from the doorway that leads out to the moon
drenched shore.
SMALL PERSON
General Riff Raff to see the Old
Queen.
The TALL THIN SERVANT gives RIFF a haughty and disdainful look and sniffs
in a snooty manner. RIFF returns his rudeness with an arrogant sneer.
The TALL THIN one exits into the Alien night that lies beyond the door.
We CUT TO
12. EXT. THE STREET. OUTSIDE H.Q. WASHINGTON. DAY.
RAY and MARY LOU are seeing STEVE off in the Company car which is heavily
marked with tell tale Agency logos and give away identification.
STEVE
Shouldn't I fly?
RAY
What, and let them know that
you're coming. How
unprofessional can you get, Steve.
STEVE
Sorry, Chief.
RAY
I'm going to get one of our top
operators out on the coast to meet
you there and give you all the
help you need on this assignment,
Steve.
STEVE
I like to work on my own, Chief.
RAY
You'll follow orders, Agent
Majors. Am I understood?
STEVE
Yes, Chief.
RAY
Okay, Steve, good boy, and Steve,
be careful, you hear? Don't
trust anybody.
RAY and MARY LOU smile at STEVE in a phoney manner. They wave goodbye
and STEVE drives off.
As the car moves out into the traffic and is some way away from them,
SONNY walks into frame.
SONNY
Hi Pop, Hi Mary Lou.
BOTH
Sonny ...
SONNY
Who's the square in the car?
RAY
One of my finest agents, a real
asshole. Let's go back to the
office and party.
SONNY puts his arm around MARY LOU's waist.
SONNY
Sounds good to me.
MARY LOU
Me too.
We CUT TO
13. INT. THE ANTE CHAMBER. THE PALACE OF THE OLD QUEEN. ETERNAL NIGHT.
RIFF and the SMALL PERSON wait in a funereal silence. RIFF is fuming
with impatience.
RIFF RAFF
How much longer is she going to
keep me waiting? That's what I'd
like to know.
The SMALL PERSON says nothing but gives him a look which says that RIFF
would be best served by watching his tongue. The truth of the matter is
that the thought of RIFF getting drawn and quartered is not without its
attractions to him either.
We CUT TO
14. MONTAGE
A MONTAGE of SHOTS of STEVE's car hurtling through DAYS and NIGHTS,
RAIN and SUNSHINE, PUNCTURES and TRAFFIC COPS, etc.
This of course gives us the passing of time.
We CUT BACK TO
13. INT. THE ANTE CHAMBER. THE PALACE OF THE OLD QUEEN. ETERNAL NIGHT.
It's the same as before, nothing has changed. The SMALL PERSON yawns.
We CUT TO
15. INT. STEVE'S CAR. (TRAVELLING SHOT). DAY.
STEVE's driving and trying to look cool. We see that he's even wearing
those little leather driving gloves with the backs cut out of them, plus
of course, those oh-so-important sun-glasses. Let's face it, he's a hunk
and a half.
STEVE (V.O.)
The car was the tops and it had
all the high tech engineering that
those little yellow guys are
famous for. Hell, I'm as
American as the next guy but let's
face it. I want a car that's
compact, stylish and gives me big
miles per gallon, plus all the
optional extras, without putting a
dent in my pocket.
The car phone goes - STEVE picks it up.
STEVE
Hi, this is Agent Steve Majors on
special assignment, I'm not here
right now, but if you'd care to
leave your name and number after
the tone - I'll get right back to
you -
(he whistles the tone)
He listens. It's his contact, one JUDITH BRANKMIRE.
JUDY (V.O.)
Hello, ah ... this is Agent
Brankmire, I'm your contact in
Fresno, listen Steve, it's Judith,
Judy, Judy Brankmire? We went to
school together back in Denton,
way back when. I guess you won't
remember me, I'm 5 to 6 feet tall
with sandy, brown/blonde hair,
about 110 pounds, well, I was
then. I've picked up a few since
then maybe, but it's not easy with
this job, you tend to eat a lot of
junk food ...
Her voice FADES DOWN and STEVE's thoughts FADE UP.
STEVE (V.O.)
Judy Brankmire? Judy Brankmire??
Maybe I did remember her, sexy
little brunette, with a cute
little pushed-up button nose,
tight buns and a pair of tits you
could die for, then again, maybe I
didn't.
I was about to let her know that
the answer phone scam was an old
security trick of mine, when I
realised that maybe she wasn't who
she claimed to be, so I just let
her keep on talking, something she
was pretty good at.
JUDY (V.O.)
... anyway, Steve, the thing is,
I've managed to get a short lease
on the apartment you've been sent
to check out ...
We CUT TO
16. INT. EARTH. THE "SAFE HOUSE" APARTMENT. FRESNO. DAY.
JUDY sits on the sofa with the phone in her hand.
JUDY
... It's been unoccupied for so
long that I managed to talk the
servicing company into letting me
take it for the month. No one's
been near the place for years,
it's like a time warp here. I'll
wait for you here and see you
later tonight some time, maybe we
can catch up on old times,
Steve ...
We CUT TO
17. EXT. EARTH. CAR. DAY.
JUDY (V.O.)
... I'd like that.
The call ends.
STEVE hangs up as well.
STEVE
Yeah, me too, Judy Brankmire, me
too.
We leave STEVE exuding pheromones and ...
CUT TO
18. EXT. THE OLD QUEEN'S BEACH. ETERNAL NIGHT.
RIFF walks across the dark sand towards a black gothic deck chair. We
see protruding from one side of it, a rather hefty leg encased in ripped
silk stockings. The skin seen through these rips, is a deathly white.
The TALL THIN SERVANT announced RIFF as he comes alongside.
SERVANT
The General Riff Raff, your lace
curtain, your most excellent
Furter.
At last we see her and she's an incredible sight to behold. Skin as
white as snow. Hair black as pitch. Dressed in a black negligee,
beneath which her vast body is dressed in a regal girdle. On her head
she wears a tiara type crown made up of lightning streaks. Her small,
round, white frosted glasses gaze up at RIFF. She removes them to reveal
extremely heavily make-up eyes.
RIFF avoids her gaze and studies the moon, the sand, the ink-black
glutinous sea that gloops like an ocean of oil at the edge of the iron
sand, in fact anything.
RIFF
You wished to see me? Old Queen,
Silk Stocking, Lace Curtain, Big
Furter.
OLD QUEEN
I would never wish to actually see
you, Riff Raff - The sight of you
is like a finger down the throat.
But I have a request - An order -
A royal order.
RIFF RAFF
I would be proud and honoured to
serve you, my fleshy Queen. What
is it you wish of me?
OLD QUEEN
(she screams)
I want you to return to Earth and
find my little darling boy and
bring him back to me before I take
that great leap.
COURTIERS
Oh no, Big Furter, you will never
die ... etc.
RIFF looks decidedly furtive as indeed he might seeing as how he has
blasted the late FRANK 'N' FURTER with a laser until all life had fled
from that naughty boy's mortal frame.
OLD QUEEN
Hit the trail, Riff Raff, and make
sure you bring back my little
Frankie to me before I croak.
RIFF RAFF
Frankie? Frank 'N' Furter? You
want me to find Frank 'N' Furter
and bring him back to you?
OLD QUEEN
Yes, yes, yes ... I want my
treasure, my heart's delight, my
only born back in these arms,
locked on to these breasts once
more before I go to my great
reward.
RIFF RAFF
But the fruit of your capacious
loins has not been heard of for
fifteen years or so ... He may be
... ah ... busy ... he may not
want to come back.
OLD QUEEN
My cousin, Lord De Lordy will see
that you make it to the
transducer. De Lordy.
DE LORDY steps forward with a mocking grin which is meant for RIFF, he
gives a slight bow.
DE LORDY
General.
RIFF RAFF
(bows back grudgingly)
My Lord.
There is hate in RIFF's eyes.
OLD QUEEN
Stick with him, cousin and see
that he doesn't go anywhere other
than Earthsville.
DE LORDY
My life is to serve you, Big
Furter, Your silk knickers.
OLD QUEEN
Yeah, yeah. Just do it, and,
Riff, you can give him this
message from me.
She sings.
"I'M A MOTHER, (A REAL MOTHER)"
OLD QUEEN:
WAS EVER A MOTHER BLESSED WITH SUCH A BOY
WAS EVER ANOTHER'S BREAST PRESSED TO SUCH JOY
MY ONE AND ONLY SON WAS MORE LIBIDINOUS
THAN ANY HONEYBUN INCLUDING OEDIPUS
YES I'M A MOTHER, A REAL MOTHER
I'M THE MOTHER OF ALL MOTHERS
AND THERE'LL NEVER BE ANOTHER MOTHER FIGURE
AS BIG OR BIGGER
AS A MOTHER I SAID LOOK SON
THERE'S ONE THING THAT WE SHOULD COVER
YOU'LL DISCOVER
YOU'LL NEVER GET ANOTHER LOVER LIKE YOUR MOTHER
NEVER TO BEHOLD AGAIN HIS HANDSOME FACE
NEVER TO ENFOLD AGAIN HIS PANTY WAIST
THERE'LL ALWAYS BE A PART OF ME THAT'S LOST A CHILD
WITH FAR MORE REPARTEE THAN EVEN OSCAR WILDE
I KNOW I'M HELPLESS, I KNOW I'M SELFLESS
(BUT) I'M STILL STRIPPING I'M STILL SILKEN
I'M STILL DRIPPING
MOTHER'S MILK
AND ALL FOR BABY, MY BABY BABY
COME TO MOMMA TAKE A LOOK SON JUST ONE LAST LOOK
WATCH ME SUFFER
YOU'LL DISCOVER
YOU'LL NEVER GET ANOTHER LOVER LIKE YOUR MOTHER
SO RUN FOR THE COVER OF YOUR MOTHER AND START TO PUCKER
I'M UP AGAINST THE WALL YOU MOTHER SUCKER
EVERY MOTHER HOPES HER CHILD VOTES
FOR THE RIGHT TO SOW THEIR WILD OATES
AND WHEN THEY'VE DONE THEIR YUMMY YUMMY
THEY'LL COME RUNNING HOME TO MUMMY
THEY'LL COME RUNNING HOME TO MUMMY
YES I'M A MOTHER, A REAL MOTHER
I'M THE MOTHER OF ALL MOTHERS
AND THERE'LL NEVER BEE ANOTHER MOTHER FIGURE
AS BIG OR BIGGER
AS A MOTHER I SAID LOOK SON
THERE'S ONE THING WE SHOULD COVER
YOU'LL DISCOVER
YOU'LL NEVER GET ANOTHER LOVER LIKE YOUR MOTHER
(I TOLD HIM) WHEN YOU'VE HAD ONE BIMBO WITH HER LEGS AKIMBO
YOU'VE HAD THEM ALL
AND THERE'S NO DISHONOUR IN BOUNCING ON HER
AS LONG AS AFTER YOU'VE BEEN CHUMMY
YOU COME RUNNING HOME TO MUMMY
YES, I'M A MOTHER A REAL MOTHER
I'M THE MOTHER OF ... ETC.
The song ends - and RIFF and DE LORDY depart. RIFF walks with the step
of a condemned man.
We CUT TO
19. INT. EARTH. THE APARTMENT. FRESNO. EVENING.
JUDY is on the phone.
JUDY
I've got it, Chief, you want me to
get as much as I can out of him.
Don't worry, I'll pump him dry.
She hangs up.
She makes her way through the apartment. Takes a bottle of champagne
from a grocery bag and pops it in the ice-box. Then she heads on through
to the bathroom. She reaches in and turns on the shower then she moves
OUT OF SHOT to get undressed. We PULL IN TOWARDS the shower and see that
as well as having taps it has a few other strange knobs and levers. In
the centre of one of them, we see the lightning streak.
We CUT TO
20. INT. THE TRANSDUCER. ETERNAL NIGHT.
This is a teleportation device. RIFF stands inside it, DE LORDY outside.
RIFF RAFF
Damn you, De Lordy! You're
enjoying this, aren't you?
DE LORDY
But of course. Oh, and don't be
in too much of a hurry to find
"you know who" will you?
RIFF RAFF
That would suit you, wouldn't it?
Then you'd be next in line for the
Old Queen's deck chair.
DE LORDY
(yawns)
There are some who say that I'm
already next in line, as Frank 'N'
Furter is already dead, killed, so
the rumour goes, by somebody not a
million miles away from where I'm
standing right now.
RIFF RAFF
You can't prove that De Lordy.
DE LORDY
I wish I could, but you're stuck now,
it's either produce her pretty boy,
or else. My thinking is that it's
most likely going to be the "else".
By the way, your sister Magenta was
fabulous -
(he presses the
transducer button)
Going down.
RIFF becomes even more furious as he begins to dematerialise.
We CUT TO
21. INT. EARTH. THE SHOWER. FRESNO. EVENING.
JUDY's having a soap up.
JUDY
Wow!!! What weird looking
switches. Hey! Maybe they're
for needle-jet-massage, boy I love
those things.
She presses or flicks a couple of them, the door bolts itself and the
compartment begins to glow and hum.
JUDY
Holy shit! I'm going to
electrocute myself - God damn it!
The door's jammed - Hey, what the
hell is happening here??
She dematerialises - a second later, RIFF appears, he's not happy to find
the water running.
RIFF RAFF
Damn you, De Lordy. Damn you
all.
We CUT TO
22. INT. TRANSDUCER. ETERNAL NIGHT>
JUDY appears wet and naked, she turns around slowly and sees DE LORDY.
DE LORDY
How delicious, how mouth watering.
How do you do?
JUDY, to use a time-honoured phrase, is gob smacked.
JUDY
Lordy Lordy!!
DE LORDY
At your service, my dear.
DE LORDY sings - This is a great moment in the history of romantic
fiction. These two are smitten from the very first time they lay eyes on
one another.
"LOVE AT FIRST SIGHT"
DE LORDY:
LOOK WHAT'S POPPED UP
I THINK I'M IN LOVE
SHE LOOKS LIKE SHE'S OUT OF THIS WORLD
I'VE NEVER SEEN SO MUCH LOVELINESS
ALL IN ONE WONDERFUL GIRL
AS I STAND HERE BEFORE HER
CAN SHE TELL I ADORE HER
AM I MAKING TOO MUCH OF THIS THING
I'VE NEVER SEEN SO MUCH FLUFFINESS
SHE LOOKS LIKE SHE'S FIT FOR A KING
JUDY:
I WANT TO HOLD HIM TIGHTLY
DE LORDY:
I WANT TO LOVE HER SO
JUDY:
I WANT TO HOLD HIM NIGHTLY
DE LORDY:
I'LL NEVER LET HER GO
BOTH:
IT'S THAT SQUAREST OF SQUARE THINGS
AT THE BEST TRITE
THAT FAIREST OF FAIR THINGS
A SUNBURST SO BRIGHT
THAT RAREST OF RARE THINGS
LOVE AT FIRST SIGHT
JUDY:
I'M HOT AND I'M STRESSED
AND I'M NOT OVERDRESSED
BUT THE THING THAT MAKES ME SWEET ON YOU
IS THAT
BOTH:
WE CAN HAVE OUR CAKE AND EAT IT TOO
OUR MINDS AND OUR GLANDS
TELL US THESE ARE THE HANDS
WITH THE TOUCH TO EXCITE AND DELIGHT
WE'LL NEVER NEED ANY OTHER'S KISS
NOW WE'VE FOUND LOVE AT FIRST SIGHT
JUDY:
I WANT TO HOLD HIM TIGHTLY
DE LORDY:
I WANT TO LOVE HER SO
JUDY:
I WANT TO HOLD HIM NIGHTLY
DE LORDY:
I'LL NEVER LET HER GO
BOTH:
IT'S THAT SQUAREST OF SQUARE THINGS
AT THE BEST TRITE
THAT FAIREST OF FAIR THINGS
A SUNBURST SO BRIGHT
THAT RAREST OF RARE THINGS
LOVE AT FIRST SIGHT
At the conclusion of this intense declaration of true love,
We CUT TO
23. INT. EARTH. THE APARTMENT. FRESNO. NIGHT.
There's an electrical storm outside and it's raining heavily. RIFF has
dried himself off and wrapped himself in a voluminous, towelling dressing
gown (JUDY's perhaps?) He's picking through JUDY's wallet and handbag,
not to mention her suitcase. We see a CLOSE UP of her I.D. in the
wallet. RIFF has also found the champagne. The phone goes - he looks at
it for a second then picks it up.
STEVE (V.O.)
Judy? This is Agent Steve Majors,
if you want to bust this case wide
open, then you'd better stick with
the top man, and yes, I do remember
you now, a skinny little thing with
blonde hair and a pair of legs that
went right up to heaven, am I close?
RIFF RAFF
(falsetto)
Ah ... mmm-hummh ...
We CUT TO
24. EXT. EARTH. CAR. NIGHT.
STEVE
Listen, Judy, I'm going to be with
you in about ten or fifteen
minutes, so get some champagne on
ice and all your information
together and then you can show me
yours and I can show you mine.
Sound good to you?
RIFF RAFF (V.O.)
Ah mmmm - hummh.
STEVE
Me too - See you soon, Judith
Brankmire.
He hangs up - The windscreen wipers cut the rain, lightning flashes and
We CUT TO
25. EXT. EARTH. HIGHWAY. NIGHT.
We see the rear of STEVE's car heading away from us into the night -
There is yet another lightening flash which reveals a sign post which
reads "FRESNO 8 MILES". Around the sign there are the badges of the
various clubs and organisations of the town such as "THE ELKS" "LIONS"
"J.C.'s" "MASONIC LODGE" and, also a black badge bearing a lightening
streak.
We CUT TO
26. INT. EARTH. THE APARTMENT. FRESNO. NIGHT.
RIFF is in a slight panic. He crosses to a bookcase and pulls a secret
switch. It slides open to reveal a wardrobe labelled "EARTHWARE". One
side is male, the other female. On the top shelf there are wigs, the
next down spectacles, then suits or dresses and shoes at the bottom.
RIFF turns to the female side and runs a hand along the top shelf.
RIFF RAFF
Strawberry or platinum?
We CUT TO
27. EXT. EARTH. THE STREET OUTSIDE THE APARTMENT. FRESNO. NIGHT.
The neon lights from the Electrical store send streaks of colour across
the wet sidewalk. STEVE's car pulls in front and he gets out and runs to
a door alongside the store window, he pushes it open and goes in.
During this action we hear his thoughts again.
STEVE (V.O.)
I guess I should have known that
something was wrong, after all, I
had a little warning bell ringing
in the back of my head, but I put
it down to fatigue and told myself
not to be silly.
We hear a bell ring and
We CUT TO
28. INT. EARTH. THE LANDING, OUTSIDE THE APARTMENT DOOR. FRESNO. NIGHT.
STEVE has his finger on the bell push - he removes it and the ringing
stops.
STEVE
Judy?? Judy? I remember now ...
We CUT TO
29. INT. EARTH. THE APARTMENT. FRESNO. NIGHT.
RIFF is in full drag and looks pretty good, he fluffs up his blonde hair
and as he does so we hear STEVE on the other side of the door.
STEVE (V.O.)
You're a red-head, not a blonde.
RIFF sighs and pulls off the wig.
We CUT TO
30. INT. EARTH. THE LANDING. FRESNO. NIGHT.
STEVE
Yes - a cute little red-head -
with freckles and the kind of a
figure guys write songs about.
Judy?? Hey, Judy!! Come on,
I'm a little wet you know, Judy?
Are you in there?
We CUT TO
31. INT. EARTH. THE APARTMENT. FRESNO. NIGHT.
RIFF hurries to the door, complete with red hair and freckles. He passes
a full length wall mirror and does a double take, no tits. So he crosses
to the grocery bag that JUDY took the champagne from and hauls out a
couple of grapefruit, they're pretty big.
We CUT TO
32. INT. EARTH. THE LANDING. FRESNO. NIGHT.
RIFF opens the door and sprays STEVE with a drugged perfume.
RIFF RAFF
Hi! Why don't you come on in?
The picture goes into SOFT FOCUS and gives us a golden, dream-like
quality. RIFF looks gorgeous and his voice goes into echo. STEVE tries
to look nonchalant and debonair but in reality he just looks goofy. We
TRACK inside with them and have a MONTAGE sequence which cuts between the
various activities that STEVE talks about (pouring drinks, etc) and also
cut from the dreamlike state where STEVE is sophisticated and urbane and
RIFF is glamorous and provocative, to harsh reality, where STEVE is a
dribbling fool and RIFF is contemptuous and mean.
STEVE (V.O)
It was all like some wonderful
dream. I hated myself for
forgetting her. She poured some
champagne and I found myself
opening up to her in a way that
I'd never done with a girl before.
I told her everything I knew about
the aliens from the planet of
Transsexual in the galaxy of
Transylvania, and how the Rocky
Horror Show was a real story and
that Sonny Ammbo's song was about
an actual place. I even told her
about the crazy guy that turned up
one morning on the lawn outside my
house when I was just a kid and
how Mom had to call the cops.
And all the while I talked, she
hardly said a word. Boy what a
great looker and listener she was.
We come out of MONTAGE and RIFF pours STEVE some more champagne.
STEVE
Hey! Whoah!! All right!
Wow! Say, what year was that we
went to school together ...
(RIFF looks coy)
... Was it grade school or Denton
High? I think it must have been
grade school, because if you'd had
that figure at the high, I would
have never given you a moment's
peace? Boy that drive knocked me
out, I think I'll just close my
eyes for a moment, you don't
mind, do you, Judy? God! but
you're beautiful.
STEVE keels over. RIFF pours the remainder of STEVE's drink away. Then
he begins to empty STEVE's pockets. We go over his shoulder and see
STEVE's wallet in CLOSE UP. It has a similar I.D. to the one JUDY had,
credit cards, and a couple of rubbers. RIFF fishes them out, gives them
the once over and tosses them into a bin.
Then he stands up, takes off the wig and dumps the grapefruit, after
which he hauls STEVE into the bedroom and gets him onto the bed - When
RIFF returns to the living room he has STEVE's pants over his arm, he
tosses them down in the doorway.
Then he crosses to the window and stares out into the storm-lashed night,
if looks could kill the whole of Fresno would be a goner.
We CUT TO
33. EXT. NIGHT. THE APARTMENT WINDOW. FRESNO. NIGHT.
We PULL AWAY from RIFF's face. We see the store lights go out. We see
the rain bouncing off the top of STEVE's car. Lightning flashes and
bleaches the screen to white.
We CUT TO
34. INT. DE LORDY'S BEDROOM. ETERNAL NIGHT.
This is another place of gothic wonder with a little high-tech futurism
thrown in.
JUDY and DE LORDY have just engaged in an act of congress which has
nothing to do with politics. She can't believe how good it was and she
lies back against the pillows with her eyes crossed and her tongue
hanging out. There is a lunatic smile of exhaustion spread across her
face. DE LORDY gazes at her with adoration.
JUDY
Are you really a Lord.
DE LORDY
Indeed I am, I am the heir
apparent, the Quirk of fate and
first cousin to the Old Queen
JUDY
The Old Queen? Is she very old?
DE LORDY
She's on her last legs and when
she learns that her precious son
is well and truly dead that will
really send her on her way and the
royal deck chair will be mine,
ours, if you so desire. You
could be Queen of Transsexual in
the Galaxy of Transylvania.
JUDY
Wow!!! I could probably get
fired for this, my boss Ray Ammbo
gave me the job of trying to trap
a Transylvanian double agent
called Steve Majors and here I am
in bed with the real thing.
We begin to PULL AWAY from them, and as we do so DE LORDY and JUDY begin
to resume further acts of a salacious nature.
DE LORDY
I thought I knew all our double
agents ... By the way, what's you
name?
JUDY
Judith Brankmire, Judy.
DE LORDY
That's nice.
JUDY
I'll say.
We CUT TO
35. INT. EARTH. THE APARTMENT BEDROOM. FRESNO. DAY.
It's the next morning.
STEVE awakes, not knowing where he is. When he finds himself half
undressed he panics a little. When he finds he's still wearing his
shoulder holster and gun, he's a little more confident. He spots his
wallet by the side of the bed and check it out. Yes, all the money's
there, credit cards, his I.D. - he goes to close it, thinks for a moment,
re-checks it and remembers that he had two rubbers in it, and now they've
gone. He smiles to himself and shakes his head in a rueful manner.
STEVE
Steve Majors, you old dog, even
when you're incapable you're still
capable, twice ...
(he rubs his chin)
... Hey! This guy needs a shave.
RIFF appears at the door in male earthwear, no wig.
STEVE
Hey! Who the hell are you?
RIFF RAFF
Brankmire, George Brankmire, and I
think it should be me that's
asking the questions.
STEVE
Oh yeah? Like what?
RIFF RAFF
Like what have you done with my
sister, Judith Brankmire.
STEVE pulls the sheet to his chin and swallows nervously.
We CUT TO
36. INT. A COFFEE SHOP. FRESNO. EARTH. DAY.
It's a typical William Hopper style of diner, with the local crowd in
small attendance, perhaps eight of ten at the most. Two of these we
feature more than the others, one being the WAITRESS, the other being an
old timer named JOE, although his name is of no importance to us or the
story.
STEVE and RIFF are in a corner of their own. Above the booth they sit
in, there's an old 50's movie poster for a film entitled "INVASION OF
THE SAUCERMEN". They just don't make them the way they used to.
Incidentally, it's a nice sunny day.
STEVE
Honest, George, the last I saw of
her, she was well and happy, I
swear to God I never laid a hand
on her.
RIFF RAFF
Well somebody knows something.
STEVE
Listen, George, I don't know if
you know who Judy worked for, or
how much your really knew your
sister, I mean, that is if she
really was your sister. God!
What am I talking about? You've
got the same face, the same eyes,
the same oh so kissable lips - ah
- sorry, George.
RIFF RAFF
All I know is that Judy was doing
some important work for our
government and that the White
House had assigned her personally.
Their coffee comes.
WAITRESS
There you go.
She slops it down and goes.
STEVE
The White House???!!! Judy had
connections at the White House.
Wow! She was - IS some girl.
Are you involved in all of this.
RIFF RAFF
Indirectly, I answer only to the
President.
STEVE
Wow! Look, if we put our heads
together maybe we can come up with
a few answers. Judy may have
left a clue or two back at the
apartment. But it's my guess
that she's been kidnapped by
Aliens.
The diner stops dead. What did the guy say? STEVE has their undivided
attention.
ALL
Aliens???
That's right, it's a cue for a song, one which will include the entire
diner and by the time we get to the end of it, they'll be dancing in the
street with a few more of the citizens of Fresno.
"NEVER LET YOUR DAUGHTER DATE AN ALIEN"
WAITRESS:
CREEPING HORROR FROM THE EERIE DEPTHS OF TIME AND SPACE
OLD TIMER:
HEAPING HORROR ON THE FAIRER SEX OF A FINITE RACE
OTHERS:
THEY WANT OUR LAND
THEY WANT OUR AIR
THE RIO GRANDE
OUR SAVOIR FAIRE
OUR CASUAL WEAR
OUR SIMPLE FLAIR
OUR SOLITAIRE
OUR MEDICARE
WAITRESS:
OUR TABLEWARE
ALL:
SO ...
NEVER TRUST A CREATURE FROM OUTER SPACE
WE'VE NEVER MET A GOOD ONE YET
THEY JUST THRUST THEIR EVIL FEATURES ALL ABOUT THE PLACE
AND THAT'S ABOUT AS GOOD AS THEY GET
WAITRESS:
NO ...
NEVER LET YOUR DAUGHTER DATE AN ALIEN
YOU NEVER KNOW JUST WHERE THEY'VE BEEN
A WORSE THAN DEATH SORT OF FATE WITH A SCALEY ONE
COULD EVEN TURN YOUR FAMILY GREEN
ALL:
AND WE DON'T MEAN WITH ENVY
SO DON'T TELL US THAT THEY'RE FRIENDLY
OLD TIMER:
OH ...
NEVER TAKE THE WORD OF A MAN FROM MARS
DON'T GO FALLING FOR HIS EULOGIES
YOU'D THINK WE'D NEVER HEARD OF THEIR ABSURD BOUDOIRS
AND WE'D JUST FALLEN OUT OF THE TREES
TWO VOICES:
IT'S TERRIFYING GETTING TACTILE
WITH A MARTIAN PTERODACTYL
FOUR VOICES:
YOU GET NO SYMPATHETIC TOUCHES
ONCE THEY GET YOU IN THEIR CLUTCHES
SIX VOICES:
FOR EVERY NOW AND THEN YOU
ARE GONNA WIND UP AS THE MENU
ALL:
NO ... NO ... NO ... NO ...
NEVER LET YOUR DAUGHTER DATE AN ALIEN
IT'S A WARNING NO-ONE SHOULD REJECT
THEY ONLY CONTEMPLATE THE BACCHANALIAN
(AND) IN THE MORNING THEY' GOT NO RESPECT
TWO VOICES:
LET'S GET GLOBALLY ALERTED
BECAUSE THEY'RE TOTALLY PERVERTED
SIX VOICES:
YES, THEY'LL GET US ALL DISROBING
AND THEN THEY'LL START THIS PROBING
ALL (SAVE STEVE AND RIFF)
THEN DEGRADED AND PERSUADED
WE'LL HAVE EVERY SPACE INVADED
WAITRESS:
SO IF YOU'RE A GREAT SUPPORTER OF MAMMALIAN
ALL:
YOU'LL NEVER LET YOUR DAUGHTER DATE AN ALIEN.
At the end of the song everyone roars with laughter with the exception of
STEVE and RIFF.
WAITRESS
Oh by the way, you can forget the
check, that's more fun that I've
had since Joe here dropped his
dentures in the pancake mix.
They all roar with laughter again, JOE/OLD TIMER slaps his thigh and
wipes away tears of hilarity. STEVE smiles weakly and he and RIFF head
on back to the apartment.
JOE/OLD TIMER heads for a pay phone.
WAITRESS
Hey, Joe! Don't go lettin' them
Aliens know that we're on to them.
They all roar with laughter again and go their separate ways. We see JOE
drop the coin right into the slot. We hear him dial as we PULL FOCUS and
see STEVE and RIFF enter the street door to the apartment. We PULL BACK
and take in JOE as well and by this time, he's through to his party.
He now has a different voice to his Walter Brennan Gabby Hayes style.
JOE
They're going back into the
apartment now. Sure, I'll keep a
watch on them.
He hangs up.
We CUT TO
37. INT. DE LORDY'S PLACE. ETERNAL NIGHT.
JUDY is the center of attention and several of DE LORDY's SERVANTS flit
around her bedecking her with black lace, satins and ribbons and other
rich funereal fabrics.
DE LORDY sits drinking and watching.
DE LORDY
Delightful. Although I hate to
be deprived of your fabulous
flesh.
One of the SERVANTS plonks a crown of black jewels on her head.
DE LORDY
Oh yes - Oh yes - Every inch a
queen.
The doors fly open and there stands the OLD QUEEN and if she's dying,
Arnold Shwarztenegger is a Munchkin. Behind her stands her heavy MOB
with calf muscles like knots straining through their fishnets.
OLD QUEEN
I think it's time that you and I
had a little chat, cousin.
DE LORDY looks horrified as do JUDY and the SERVANTS.
DE LORDY
Ah ... ha ... ha... Anything in
particular, Great Furter?
OLD QUEEN
How about treason, insurrection,
recalcitrance, subversion and
halitosis.
DE LORDY
I don't - I haven't - I've never
had halitosis, never. Ask her,
she'll tell you. I'm shocked
that you, my own cousin should be
capable of such a slanderous
accusation ... look ... hoh! hoh!
(he breathes on his hand)
See! Nothing - It's as sweet as
a cherubs.
The OLD QUEEN walks back to the door, stops and turns.
OLD QUEEN
Lock them up together, they may as
well enjoy themselves before the
torture begins.
She exits - the GUARDS move in
DE LORDY
(still concerned about
his breath)
HoHHH!! See! Nothing to
complain about there -
Hohhh!!! ...
He expels air directly into a GUARD's face.
DE LORDY
... There, you see? Lovely,
isn't it? Nothing brackish or
stagnant about it, is there? ...
The GUARD staggers a little.
DE LORDY
You're putting that on, stop it,
you're putting that on.
JUDY begins to weep.
We CUT TO
38. INT. THE APARTMENT. FRESNO. EARTH. DAY.
STEVE and RIFF are pouring over a large manual which is inscribed
"TRANSDUCER PROGRAMMING FOR THE BEGINNER".
STEVE
It sure was lucky that you found
this book, George.
RIFF RAFF
Yes, wasn't it though.
STEVE
It sure was, is it any use to us?
RIFF RAFF
Yes, I think so. Is there a
shower in this apartment?
STEVE
Yes - yes, I believe there is.
RIFF RAFF
That's good. Why don't we both
go and get in it?
STEVE
Hey, George!!! Hold on there,
buddy, I'm not form California,
you know. I'm strictly down home
and apple pie, George. I mean
hey! Chicks yes - take last
night for instance, there I was,
drunk as a skunk, but still able
to get it on - Oh!!! ha ... ha ...
Not with Judy, of course, she's
too much of a lady - No, it was ah
... on the way here actually, yes,
I had to stop for some gas and
pow! I got lucky with the girl
on the cash register. Twice!!!
Just like that, boy! You should
have seen the looks on the faces
of the other customers ... So the
book is about showers, is it?
Fascinating subject showers.
I've got a shower in my .... ah ...
own apartment, yes, it's a ...
pressed steel surround, which in
my opinion, is superior to fibre
glass. I always think there's
something cheap about fibre glass.
Then again I suppose that's its
main attraction, and hell,
everyone wants to save a few
pennies these days, don't they?
It has to be cost effective.
George? George?
RIFF has wandered through to the bathroom - well, wouldn't you?
We CUT TO
39. INT. THE APARTMENT BATHROOM. FRESNO. EARTH. DAY.
RIFF stands waiting for STEVE.
STEVE
Oh! There you are. Oh yeah,
there's the shower.
RIFF climbs in with the manual. STEVE begins to follow.
STEVE
Ahh! Don't you think we should
take our clothes off? I mean
hell! We're both adults, it's
not as though it's something to be
ashamed of.
RIFF flicks a few switches. A small panel lights up. It reads.
"TRANSDUCER POWER ON"
STEVE
What's that? Hey, this isn't
just an ordinary shower - this is
... the thing that the book's
about.
RIFF RAFF
A sonic transducer, an audio
vibratory physiomolecular
transport device, capable of
breaking down solid matter and
projecting it through space and
who knows, perhaps even time
itself.
STEVE
My God! We've got these
Transylvanian Alien Creeps by the
short and curlies, George.
Assuming of course that they have
them.
RIFF RAFF
All we have to do is punch in the
destination and away we go.
STEVE
But where? Where do we go,
George?
RIFF RAFF
According to this handbook anyone
of a number of places - Alaska -
Algeria - Boston - Brussels -
Chile - Cincinnati - Denton etc.
right through to Washington - X -
Y and Zurich.
STEVE
Washington??!! Oh my God, the
seat of power - Does it say where
in Washington?
RIFF RAFF
No, but we only have to go there
to find out.
STEVE
Okay, let's do it. No, wait, one
of them might be using the shower,
I'd sure hate to turn up and be
confronted by a naked alien, Yuck!
Hey! Why don't we "go to
Denton", after all that's where
all this started and we both know
our way around there, don't we?
RIFF RAFF
We do?
STEVE
Sure we do - I went to school in
Denton with Judy, your sister
remember? Funny thing though, I
don't remember you as well as I
didn't remember her, if you get
what I mean.
RIFF RAFF
Oh, ah... I went to school in
Europe.
STEVE
Really? Hey, nice.
RIFF RAFF
But you're absolutely right.
Denton would be a good place to
start. Now let's see - One at a
time I think and you first.
STEVE
No, I think we should definitely
do this together.
RIFF RAFF
But what if our molecules should
get mixed together?
STEVE
Huh?? Oh! You mean like the
"Fly" I saw that movie - wow
you're right, you go first, I'll
follow on.
RIFF RAFF
No, I think you should go first,
after all I've read the book, you
wouldn't know how to program the
device.
STEVE
(grabs the manual)
Listen George, this may come as a
surprise to a Guy that's been
educated in Europe, but I can read
too you know. Hey, this is in a
sort of code.
RIFF RAFF
Runic script, cyphers are my hobby
as well as my job.
STEVE gives RIFF the book back. RIFF climbs out, after he's pressed a
button or two.
STEVE
I hope you pushed the right
buttons George, I don't want to
wind up in Alaska.
RIFF RAFF
Trust me, Steve.
STEVE begins to de-materialise.
STEVE
That's another thing, the Chief
said, that I shouldn't trust
anybody.
He's gone.
RIFF RAFF
And how right he was.
We CUT TO
40. INT. CELL BLOCK. ETERNAL NIGHT.
Two GUARDS are pushing the luckless JUDY and DE LORDY towards an iron
door.
DE LORDY
You've never noticed a trace of
bad breath have you Judy...
(he turns to the GUARD)
...ask her, go on, not a hint, no
so much as a hint, go on, smell
it, go on... Hohh...
The GUARD staggers again.
DE LORDY
...I wish you'd stop fooling
around like that, I really do.
JUDY
He's not fooling, look he's
keeling over.
The GUARD hits the deck - They are all stunned by this, who wouldn't be.
JUDY quickly breathes on the second GUARD.
JUDY
I've got a hohhh hunch that we're
more compatible than we realised.
The second GUARD sinks to his knees. JUDY gives him another blast, his
eyes glaze and he's out for the count.
DE LORDY
But this is so humiliating.
JUDY
Don't worry about it and just
thank your lucky stars that we ate
what we did last night. It's only
morning after mouth, nothing
a little mouthwash and orange
juice won't fix, meanwhile let's
get the hell out of here.
DE LORDY
Quite so, my dear, let's get to
the transducer and rethink our
plan of campaign on YOUR planet.
JUDY
Okay, I'm with you.
They head for the stairs.
We CUT TO
41. INT. THE SHOWER. FRESNO. EARTH. DAY.
We see RIFF climb into the shower with a small black suitcase, he presses
a few buttons and dematerialises. We then see JUDY and DE LORDY arrive.
JUDY
There's some champagne in the
refrigerator.
DE LORDY
Never mind the champagne, let's
hit the mouthwash.
We CUT TO
42. EXT/INT. HOLIDAY INN. DENTON. EARTH. DAY.
We have an EXTERNAL ESTABLISHING SHOT and then PULL TO a second floor
window. We DISSOLVE to the interior.
It's the usual double bedroom with it's ensuite bathroom which is known
the entire world over to those familiar with that sort of thing.
A MAID has the hallway door open and enters the bathroom with fresh
towels, we follow her in. She places the towels and exits, we stay. The
BATH TUB/SHOWER glows and RIFF RAFF appears. He steps out and leaves, we
go with him. We see the MAID with her back to us, over by the window,
she doesn't see RIFF, he hits the hallway and he's gone - She turns as if
she heard something, then goes back to what-ever it is that she's doing -
(This is room 220 by the way.)
We PAN around and see RIFF, going away from us down the hotel corridor,
he carries a small black suitcase.
We CUT TO
43. EXT. HOLIDAY INN. ANCHORAGE, ALASKA. EARTH. DAY.
STEVE is in a pay phone, it's snowing and behind him we can see the
hotel.
STEVE
Thanks for accepting the call
Chief - Steve Majors - Agent Steve
Majors - I know I'm in Alaska - I
took the shower - I know it sounds
crazy - but - listen Chief they've
got Judy - Judy Brankmire, my
contact in Fresno - yes - What??
She's there with you now?? Is
her brother with her?? - Of
course, she's got a brother -
George - They're the image of each
other, only he doesn't have
everything that she's got - Well
hair for a start. Of course. I
can give you a description of her
Chief, after all, I am a
professional - Sure, I know
strictly by the book.
STEVE sings a song about JUDY - which is entitled JUDY - JUDY. He tries
to give what you might term a police breakdown - you know female,
caucasian, height 5,7 - 5,8 - hair red etc. But let's face it the
guy's smitten so it winds up like this.
"JUDY JUDY JUDY"
STEVE:
SHE STOOD QUITE A GOOD FIVE FOOT SEVEN
A CAUCASIAN TO PRAISE AND INSPIRE
PEACHES AND CREAM
AN AMERICAN DREAM
BUILT MORE TO ADORE THAN ADMIRE
SHE WAS THE REAL McCOY
NOTHING LIKE A BOY
VERITABLY NATURAL
ACTUALLY FACTUAL
GENUINELY FEMININE
CONCLUDE THAT SHE'S A CUTIE
WHO'D STICK WITH YOU THROUGH THICK AND THINK
MY JUDY JUDY
SHE HAD LEGS THAT WENT RIGHT UP TO HEAVEN
AND HAIR THE COLOUR OF FIRE
THE SLIMMEST OF HIPS
IRRESISTIBLE LIPS
AND UNQUENCHABLE SEXUAL DESIRE
GOD WENT AND BROKE THE MOULD
WHEN THIS CENTRE-FOLD
LOST HER CHILDHOOD AWKWARDNESS
AND BLOSSOMED INTO LOVELINESS
THINK OF HOW OUR LIFE COULD BE
INCLUDE THE TOOTIE FRUITY
I THINK THAT SHE'S THE WIFE FOR ME
MY JUDY JUDY
We CUT AWAY TO
43B. INT. RAY'S OFFICE. WASHINGTON D.C.
The real JUDY, DE LORDY, MARY LOU and SONNY are there; it looks like a
party. RAY is on the phone.
RAY
What happened to professional
detachment? Objectivity? And a
dispassionate interpretation of
the facts, Agent Majors?
They all snigger.
We CUT BACK TO
43. EXT. HOLIDAY INN. ANCHORAGE, ALASKA. EARTH. DAY.
STEVE
Sorry, Chief ... ah ...
Sings:
HER WEIGHT WAS ONE HUNDRED ELEVEN
EXCEPT FOR HER LOVELY ATTIRE
HER DRESS WITH THE FLOUNCES
WEIGHED LESS THAN TWO OUNCES
AND COULDN'T HAVE GONE ANY HIGHER
SHE HAD THE KIND OF LIMBS
THAT YOU WON'T FIND ON HIMS
LONG AND LEAN DEVOID OF HAIR
STRONG AND CLEAN BOY DID I STARE
I WISH I HAD A PHOTOGRAPH
THEN YOU'D SEE HER TRUE BEAUTY
I'D LET HER BE MY BETTER HALF
MY ... JUDY JUDY
MY ... JUDY JUDY
The song ends and
We CUT TO
44. EXT. A ROAD OUTSIDE DENTON. EARTH. DAY.
We see an old pair of iron gates which are falling off their hinges and
an old broken sign which once said "Enter at your own risk".
(See "The Rocky Horror Picture Show" for exact example)
RIFF RAFF's legs come into view and the black bag - We PULL AWAY and see
him in LONG SHOT, there is a cab beside him - he gets back in and it
drives through the gates.
We CUT TO
45. INT. HOLIDAY INN. ALASKA. EARTH. DAY.
STEVE is in the hallway outside room 220. The room that has the
transducer in it. But the MAID here is not about to let him in.
STEVE
But you don't understand, this is
an emergency, I've got to use the
shower.
MAID
Only guests can use the showers.
You'll have to sign in at the
front desk.
STEVE
Look lady, I'm with the Bureau of
Investigation of UFO's and I've
got to get in that shower and
transport myself to Denton, do you
understand?
MAID
(she's scared - why not?)
I ... I ... ah ... you'd better
see the Manager - I'll go and get
him.
And she takes off, looking back at him. STEVE tries the door handle,
it's open. He calls to the retreating MAID.
STEVE
It's okay - I've got it.
He goes in. We hear the lock click behind him.
MAID
(not knowing which way to
go)
But - but... Oh my God.
She really goes this time.
We CUT TO
46. INT. ROOM IN THE HOLIDAY INN. ALASKA. EARTH. DAY.
In other words, we're on the other side of the door now - STEVE gets into
the bathroom and climbs into the shower.
STEVE
Okay, so where are all the knobs
and switches? Oh no! Don't
tell me I'm in the wrong shower -
I can't be, it was room 220. I
know it was.
He looks around him at the wall tiles. He presses a few of them, pulls
the plug lever, twists the taps, wishes he hadn't, pulls the nylon
clothes line that recoils into it's pulley, then he takes off his shoe
and starts smashing the tiles off the wall.
Finally, he sees that two of the tiles are hinged and open like cupboard
doors to reveal the transducer control panel.
STEVE
Okay -
(he slips his shoe back
on)
Now let's get our act together
here, use a little lateral
thinking - So, there are 26
letters in the alphabet - "A"
representing number "1"; "B"
number "2" and so on. So, if I
want to spell out Denton, I'd have
to press this button for D. - ABCD
-
(he counts his fingers)
4 times and then E - ABCDE -
(he does it again)
5 times - and N, that's ABCDEFG...
We CUT TO
47. INT. THE CORRIDOR OUTSIDE 220 HOLIDAY IN. ALASKA. EARTH. DAY.
The MAID has returned with the MANAGER.
MANAGER
Is this the room?
(she nods)
... Are you sure? All right, let
me have your pass key.
She hands it over and he puts it in the lock.
We CUT TO
48. INT. SHOWER. ROOM 220. HOLIDAY INN. ALASKA. EARTH. DAY.
STEVE
Okay, just the "O" and the "N" to
go A B C D E F G H I J K L M N O -
that's 1 2 3 4 5 6 7 8 9 10 11 12
13 14 15 and hey, what's happening
- I haven't finished yet, I've one
more to go.
He starts to fade. The MAID looks in and sees him go - she's about to
have a bad time of it - STEVE's gone. The MANAGER looks in, all he sees
are the broken tiles.
MANAGER
Perhaps you'd care to explain this
destruction. Miss Yerkovitch.
Come, come, speak up.
MAID
I ah ... he ah ... huh huh huh ...
MANAGER
In English please, Miss
Yerkovitch.
We CUT TO
49. EXT. THE OUTSKIRTS OF DENTON. EARTH. DAY.
RIFF is looking out of the cab window, his chin on the door sill, he
looks very dejected. We PAN AROUND and see why.
There in front of us stands a new-ish housing development and a sign
reading:
DENTON
HAPPY HOMES
HOUSING
DEVELOPMENT
RIFF sighs.
RIFF RAFF
I was afraid of something like
this.
CABBY
Why? Whatcha do? Bury a
bankroll down there before they
built all them houses.
RIFF RAFF
Something like that, take me back
to the Holiday Inn, will you?
CABBY
Sure.
He shoves the cab into gear and
We CUT TO
50. INT. RAY AMMBO'S EXECUTIVE WASHROOM. WASHINGTON. EARTH. DAY.
The shower starts to pulse. Again it's one which is incorporated with a
bath, only this one has a mahogany surround and the look of a wealthy
"Men's Club" to it, in fact the whole bathroom has that look. STEVE
looks around and approving of what he sees, gives a small whistle. We
see a few fishnets hanging around.
He crosses to the door, which is slightly ajar and peeking through, he,
and we, see RAY perched on the corner of his desk. He's smiling and
talking to someone out of sight.
STEVE pushes the door open a little.
STEVE
(sotto voce)
Good grief! It's the Chief!
RAY looks around towards STEVE and CAMERA.
RAY
Steve! Come on in, we've been
waiting for you. Judy and my
very good friend Lord De Lordy
have just zipped in from Fresno.
JUDY
Hi, Steve, we went to school
together.
DE LORDY
How do you do?
RAY
And this is my boy, Sonny.
RAY waves a hand towards SONNY. They all look as though they've been
having an orgy and it went rather better than expected.
We can take a SLOW PAN around the room to take all this in and while
doing so hear a few more of STEVE's deep and profound thoughts, i.e.
STEVE (V.O.)
It was like trying to put together
a jigsaw with all the wrong
pieces.
How come the Chief had a sonic
transducer in the executive
washroom? And just how had Judy
Brankmire zipped from Fresno to
here? Sure, this was the real
Judy Brankmire. I remember her
now, she used to sit at the back
of Miss Peterson's class and pass
wind. I hated her then and I was
hating her now. And who was the
phoney Lord that was pawing her
and why were they dressed up like
they didn't know whether they were
going to bed or a funeral?
And how come they were expecting
me?
And what was Ray's son, the rock
star Sonny Ammbo doing here?
RAY
Why don't we all have another
quick drink and then piss off to
Denton? That is where you were
trying to get to, isn't it, Steve?
STEVE
You seem to have all the answers,
Chief.
RAY
Do I? Well if I do, you must
have all the questions.
STEVE (V.O.)
Sure, I had a million questions
but it was my guess they had a
million and one answers.
RAY
I knew you were going to be
trouble, Steve, when you told me
that you knew that the Rocky
Horror Show was based on a real
event that took place in Denton
fifteen or so years ago and then
there was your name, Majors, you
wouldn't be related to the late
Brad Majors, would you?
SONNY mutters the word 'asshole' under his breath. STEVE is a little red
in the face and chooses to pretend that he didn't hear.
STEVE
So, you know that he's dead as
well, do you, perhaps you also
know how he died, no, well I'll
tell you. A transylvanian ...
SONNY
Frank 'N' Furter
STEVE again ignores SONNY
STEVE
Seduced my brother Brad ...
SONNY
Asshole.
STEVE
... and his fiance, Janet
Weiss ...
SONNY
Slut.
RAY
Let Steve get on with it, Sonny.
STEVE
They were both forced to do
despicable things and it sent
the two of them completely whacko ...
Janet only wound up as a hooker
and a drunk, but my brother ... my
brother finished up ... as a
bottomless go-go dancer in Vegas
... and ...
(this is getting hard for
him, he's all choked up)
... he fell to his death from a
trapeze which was thirty feet
above the crowd ...
The others are really enjoying this, they're having a hard job not to
laugh.
STEVE
(in tears)
... and they took him to the
morgue, wearing nothing, but six
inch heels and a rhinestone
choker.
They splutter with helpless laughter and then try to cover it up.
RAY
So, just what is it that you want
Steve?
"I WANT TO GET MY OWN BACK"
RAY:
DO YOU WANT MONEY?
STEVE:
NO NO NO
MARY LOU:
HOW ABOUT SOME HONEY?
STEVE:
NO NO NO
JUDY:
DO YOU WANT POWER?
STEVE:
NO NO NO
SONNY:
HOW ABOUT A SHOWER?
STEVE:
NO! NO! NO!!!
I WANT TO GET MY OWN BACK ON THE PEOPLE WHO'VE BEEN HURTING MY LOVED ONES
I WANT TO GET MY OWN BACK ON THE PEOPLE WHO'VE BEEN SMUTTY SMUT-TEE
I'VE GOT TO GET MY OWN BACK ON THE PEOPLE WHO'VE BEEN SQUIRTING THEIR
LOVE GUNS
I'VE GOT TO GET MY OWN BACK ON THE PEOPLE WHO'VE BEEN YUCKIE YUCK-EE
I'VE GOT TO GET MY OWN BACK. I WANT TO GET MY OWN BACK
OTHERS:
SUCK IT AND SEE
STEVE:
I WANT TO GET MY OWN BACK ON THE PEOPLE WHO'VE BEEN GETTING IN MY FACE
I WANT TO GET MY OWN BACK ON THE PEOPLE WHO'VE BEEN CAUSING ME PAIN
I'VE GOT TO GET MY OWN BACK ON THE PEOPLE WHO'VE BEEN GETTING ON MY CASE
I'VE GOT TO GET MY OWN BACK ON THE PEOPLE WHO ARE VAIN AND PROFANE
I'VE GOT TO GET MY OWN BACK. I WANT TO GET MY OWN BACK
OTHERS:
MAKE YOUR OWN RAIN
YOU'VE GOT TO GET TO THE BOTTOM OF YOUR PROBLEM
YOU'VE GOT TO STOP AND START TO TAKE YOURSELF IN HAND
YOU'VE GOT TO LIVE A LITTLE, LOVE A LITTLE, LAUGH A LITTLE MORE
AND THEN, AND ONLY THEN YOU'LL UNDERSTAND
IF YOU WANT TO GET YOUR OWN BACK THEN GET CLOSER
TO THE OBJECT OF YOUR HATE AND LEARN THEIR WAYS
THEN WHEN YOU KNOW THE WHY'S AND WHAT'S YOU CAN TRY AND CALL SOME SHOTS
BUT BEWARE THE HATEFUL FATEFUL RICOCHETS
STEVE:
I WANT TO GET MY OWN BACK ON THE PEOPLE WHO'VE BEEN TREADING ON MY TOES
I WANT TO PAY THEM BACK FOR ALL THE PEOPLE THAT THEY'VE BITTEN AND
SKINNED
I'VE GOT TO GET MY OWN BACK ON THE PEOPLE WHO ARE GETTING UP MY NOSE
AND YOU CAN TAKE THAT AS A STATEMENT OF FACT WHICH I'LL NEVER RESCIND
I'VE GOT TO GET MY OWN BACK. I WANT TO GET MY OWN BACK
OTHERS:
SPIT IN THE WIND
The song concludes in RAY's executive suite bathroom.
RAY
Okay, Steve, if you're committed
to getting your own back on those
Transylvanians, I suggest we try
and catch up with your new found
friend George Brankmire, who you
may or may not be surprised to
discover is a high ranking
Transylvanian General, name of
Riff Raff.
STEVE
I was beginning to figure that it
was something like that.
The other climb into the bath. Except for MARY LOU.
RAY
Sure you were. Hold the fort,
Mary Lou - Coming, Steve?
STEVE
What about the molecules?
RAY
What about them?
STEVE
Won't they mix together, like The
Fly?
SONNY
I think he means the movie.
RAY thinks about this for a moment, then the penny drops.
RAY
Oh! Hell no! Do you think I'd
risk getting mixed up with this
crowd? I like them but I'm
damned if I want their bodily
parts, any more than they want
mine or yours.
STEVE
Well ... If you're sure.
He climbs reluctantly into the bath.
STEVE
What I really want to know is, who
was the woman who was
impersonating Agent Brankmire
here?
All the faces radiate an innocence that is just that bit too wide-eyed to
be true.
ALL
Ah??? Yes ... Who indeed ...
etc ...
We CUT TO
51. INT. CORRIDOR. HOLIDAY INN. DENTON. DAY.
RIFF is outside the door of room 220, which, to save confusion in the
audience's mind, is a different colour and style from the one that we saw
STEVE outside in Alaska.
RIFF tries the handle quietly, it's locked. He takes a sonic key from
his pocket, switches it on and points it at the lock.
The door opens and standing there is a rather blowzy blonde of middle to
late thirties, but looking considerably older, her once beautiful face
showing the ravages of excess and despair. This is none other than JANET
WEISS, one time fiance of STEVE's elder brother, the late BRAD MAJORS.
RIFF and she have met before, but what with her looking as she does and
her fuddled mind neither of them make any instant recognition. They do
detect a 'certain something' which neither of them can put their finger
on, but that, for now, is all.
RIFF quickly hides the sonic key. JANET looks suspiciously at him.
JANET
Yeah? So what do YOU want?
RIFF RAFF
I have to check your bathroom out
for soundproofing, there have been
complaints from some of the
guests.
JANET
Oh yeah?
RIFF pushes past her and ducks into the bathroom, closing the door behind
him. JANET crosses to it and opens it a little.
JANET
Is this going to take long?
RIFF RAFF (V.O.)
Just shut the door, lady.
JANET pulls a face at the bathroom door, gives it the finger and after
she has pulled the bathroom door closed, turns and slams the hall door
shut in our face.
We CUT TO
52. INT. BATHROOM. HOLIDAY INN. DENTON. DAY.
RIFF pulls back the shower curtain and gets in and sits on the side of
the bath. He presses three of the wall tiles in a pattern of sorts and
on the last one we hear a kind of bleep and two others flip open to
reveal the operating panel.
RIFF hauls up his suitcase, opens it and taking out a raincoat puts in
on, then he fiddles with the panel until it comes loose, fits a bit of
high tech wizardry into the circuit board, replaces the panel, shuts his
suitcase. Then he programs the transducer. We see the word "TIMEWARP"
come up on the panel - he presses a knob or two and we see a few more
lights come on.
RIFF RAFF
(looks at his watch)
Let me see now, 14, 2, seventeen,
and 22 and a half - No - that's
not right, 18, 3 and a
quarter ...
(he primes the
transducer)
... All right, now let's do the
Timewarp again.
(he shuts the panel)
He disappears.
The door opens and JANET stands there with a drink in her hand and a
puzzles look on her face.
JANET
Hey! Don't I know you from
somewhere? Hey, where d'yah go?
How come I only get to meet the
riff raff now a days. Riff raff?
Why'd I say that?
We CUT TO
53. INT. THE PALACE OF THE OLD QUEEN. ETERNAL NIGHT.
Present are, the OLD QUEEN, the TWO GUARDS, who were supposed to have
locked up JUDY and DE LORDY, plus TRANSYLVANIAN COURTIERS.
The OLD QUEEN is furious, to say the least. The TWO GUARDS are on their
knees before her, both have been stripped naked and are about to be
tortured. I'm not sure how, but rest assured it'll be fairly disgusting.
OLD QUEEN
Well, this has to be a first in
anybody's book. 'With one breath
Jack was free', well you're about
to get a lesson in how to kiss
ass, and we all know who's ass
that's going to be as well, don't
we?
She sings.
"NO HIDING PLACE"
OLD QUEEN:
DO YOU CONSTRUE WHAT'S OVERDUE
NOT TO YOU
BUT YOU KNOW WHO?
GUARDS:
LOVE AND RESPECT
OLD QUEEN:
WHAT???!!!
GUARDS (LOUDER):
LOVE AND RESPECT
OLD QUEEN:
SO, WHY DON'T WE PAUSE AND REFLECT, ON ...
ENTIRE COURT:
LOVE AND RESPECT
OLD QUEEN:
AND THE POSSIBLE CAUSE AND EFFECT, OF ...
COURT:
LOVE AND RESPECT
OLD QUEEN:
YEAH!
VENGEANCE IS MINE
(TO THE GUARDS)
THE OFFENCES ARE THINE
SUFFER THE EVIL DOER TO COME UNTO ME
THERE'S GOING TO BE WEEPING, WAILING AND GNASHING OF TEETH
BLEATING AND RAILING AND LASHINGS OF GRIEF
A LOT OF GOOD GUYS HAVE DIED WHEN THEY LIED IN MY FACE
THERE'S GOING TO BE LYING, CRYING AND PENITENT PLEAS
SIGHTING, DYING BENT ON YOUR KNEES
AND YOU'RE GOING TO FIND THERE AIN'T NO HIDING PLACE
We CUT TO
54. INT. BATHROOM. HOLIDAY INN. DENTON. DAY.
We see JANET on the john with a drink in her hand and her pants around
her ankles. She's also trying to suck on a cigarette and remember what
she's spent the last fifteen odd years trying to forget.
We hear the (by now) familiar pulsing sound of the transducer, and a
strange light pulses with it and washes across JANET. She looks towards
the source and her mouth falls open. She's terrified. She dribbles with
fear. We PULL AROUND and see JUDY, DE LORDY, STEVE, RAY and SONNY appear
in the bath.
"NO HIDING PLACE" (cont.)
ALL (SAVE JANET):
YOU'RE GOING TO FIND THERE AIN'T NO HIDING PLACE.
The song takes a pause here but the beat goes on.
JANET
AHHHGGGHHH!!! BLAH BLAH BABBLE
BABBLE ...
RAY
Not you, mam, we have every
respect for a lady on the john.
Sonny, draw the shower curtain.
SONNY does so and as he does, he winks lasciviously at JANET. She looks
at him and as she does so, she starts to remember FRANK 'N' FURTER. It's
not that SONNY is a dead ringer for him, so much as the clothes he's
wearing and his painted face.
STEVE starts to stare a little harder at JANET as well. He thinks he
recognizes her. She looks at both him and SONNY and tries to work it
out.
RAY meanwhile has been fooling around with the control panel that RIFF
has re-programmed.
RAY
Yahooo!!
(pokes his head around
the curtain)
Excuse us, mam, we're going to
take a little trip down memory
lane. Bye bye now.
He presses the switch (or whatever) and they begin to fade away. As they
go we hear the following dialogue.
STEVE
I'm sure that woman is Janet
Weiss.
SONNY
Slut.
STEVE
My brother Brad's fiance.
SONNY
Asshole.
JUDY
I think perhaps you're right,
Steve.
SONNY (V.O.)
Where exactly is it that we're
going, Pop?
RAY (V.O.)
Into the past.
They've gone. JANET gets off the john and shuffles across to the bath.
She pulls back the curtain.
JANET
Brad??? Brad??? Frank 'N'
Furter??? It's me, Janet - It's
me. ME!!!
We CUT TO
55. INT. RAY'S EXECUTIVE BATHROOM. WASHINGTON D.C. DAY.
The very large bath/shower is at first empty. We see the same pulsing
light and hear the same pulsing sound as before, and before our very
eyes, the largest assembly of PEOPLE ever gathered together in one bath
appear. Their dress is of an extremely Gothic and provocative nature, to
say the least.
In the centre stands the OLD QUEEN. Many of the GUARDS have pitch-fork
ray-guns. As they step from the shower, a second wave of strange PEOPLE
arrive The new arrivals are dressed in black satin trousers, tail
jackets and dark glasses.. These are the Transylvanian AMBASSADORS from
the four corners of the Earth.
"NO HIDING PLACE" (cont.)
ALL:
THE SENTENCE IS DOOM
COMMENCEMENT IS SOON
OLD QUEEN:
THE ROUGHER WE HEAVE IN THE SKEWER (THE) MORE FUN IT'LL BE
ALL:
YOU'RE GOING TO BE SWEARING CARE AND CHEATING YOUR BEST
TEARING HAIR AND BEATING YOUR BREAST
OLD QUEEN:
WOULD THAT YOU'D TRIED SUICIDE NOT THIS MISGUIDED CHASE
We CUT TO
56. EXT. DENTON OUTSKIRTS. THE PAST. NIGHT.
It's pouring with rain and lightning reveals those gates again. This
time, however, they are exactly the same as they were those fifteen (or
so) years before.
We SWING AROUND and there in TIGHT SHOT we see RIFF, his collar turned up
against the rain.
He sings.
"NO HIDING PLACE" (cont.)
RIFF RAFF:
THERE'S GOING TO BE DANGERS WEIGHED AND PEOPLE TO STOP
CHANGES MADE WITH ME AT THE TOP - AND ...
We CUT TO
57. INT. RAY'S EXECUTIVE BATHROOM. WASHINGTON D.C. DAY.
Same crowd as before.
"NO HIDING PLACE" (cont.)
ALL:
... YOU'RE GOING TO FIND THERE AIN'T NO HIDING PLACE
The OLD QUEEN moves towards the door. It opens and MARY LOU stands there
with some chocolates in her hand (nice box too).
OLD QUEEN
Where the hell is everybody,
sister?
MARY LOU
Why, you all just missed them.
They all took off for Denton.
OLD QUEEN
DENTON!!! My Boy, my Frankie
used to send me postcards from a
place called Denton. Let's go.
They all surge back into the bath again.
MARY LOU
Hey! Wait!
They stop and a dreadful silence falls on the proceedings. The OLD QUEEN
looks at MARY LOU as though she were something very unpleasant. It's a
split second freeze.
MARY LOU
Can I come with you?
"NO HIDING PLACE" (cont.)
OLD QUEEN:
I'LL CONCEDE, OH YES INDEED
IF YOU CAN
FEED ME WHAT I NEED
MARY LOU:
LOVE AND RESPECT
OLD QUEEN:
WHAT!!!
MARY LOU (LOUDER):
LOVE AND RESPECT
OLD QUEEN:
WHEN PUSH COMES TO SHOVE I EXPECT
ALL:
LOVE AND RESPECT
OLD QUEEN:
WHAT MUST YOU NEVER NEGLECT?
ALL:
LOVE AND RESPECT
OLD QUEEN
Okay, let's go.
We CUT TO
58. EXT. GATES TO OLD HOUSE. DENTON OUTSKIRTS. THE PAST. NIGHT.
It's still hosing down. We see RAY, JUDY, DE LORDY, SONNY and STEVE
hurrying towards us and then through the gates.
"NO HIDING PLACE" (cont.)
ALL:
TIME AFTER TIME
AND TIME BEFORE TIME
THERE'S TOO MUCH TIME TO FILL
We CUT TO
59. EXT. THE OLD HOUSE GROUNDS. THE PAST. NIGHT.
RIFF runs across the lawns. He still carries his black case, but now he
has a pitchfork laser in his hand. A pack of baying DOGS run towards
him.
RIFF turns the ray-gun on the animals and keeps heading for the house,
singing as he goes.
"NO HIDING PLACE" (cont.)
RIFF RAFF:
TIME OUT OF MIND
AND THIS TIME YOU'LL FIND
THERE'S ALWAYS TIME TO KILL
We CUT TO
60. EXT. GATES TO OLD HOUSE. DENTON OUTSKIRTS. THE PAST. NIGHT.
The OLD QUEEN and her hordes sweep through the gates. The OLD QUEEN has
her arms locked around two people who are not dressed as the others. One
is MARY LOU, the other is a very mixed up JANET.
"NO HIDING PLACE" (cont.)
OLD QUEEN:
YOU CAN RACE THROUGH TIME
YOU CAN CHASE THROUGH SPACE
BUT THE TIME HAS FINALLY COME ...
ALL:
WHEN THERE AIN'T NO HIDING PLACE
JANET:
GIVE ME LOVE AND RESPECT
We CUT TO
61. EXT. THE GROUNDS. THE PAST. NIGHT.
RIFF is still weaving his way across the lawn. In fact, he's almost made
it to the house.
"NO HIDING PLACE" (cont.)
RIFF RAFF:
GOT TO CHANGE THE PAST
THERE'S NO TIME LIKE THE PRESENT
RE-ARRANGE IT FAST
AND TELL IT LIKE IT ISN'T
RAY and his team come running across the rain lashed garden towards him.
RAY'S TEAM:
TRYING TO ERASE
A TIME OF DISGRACE
THIS TIME YOU'RE GOING TO FIND ...
The OLD QUEEN arrives with the heavy mob.
ENTIRE COMPANY:
THERE AIN'T NO HIDING PLACE
OLD QUEEN:
GIVE ME LOVE AND RESPECT
The song ends, and as it does so RIFF fires at the OLD QUEEN and hits a
tree behind her.
OLD QUEEN
Holy shit! Get that sucker!
All hell breaks loose. RIFF ducks and weaves, firing as he does so. The
Transylvanian GUARDS spread out, as do the TRANNIE AMBASSADORS. RAY,
JUDY, DE LORDY, STEVE and SONNY are caught in a vicious crossfire.
RAY
Hold your fire. Hold your fire!
Everything stops for a second.
OLD QUEEN
Who the hell are you to
countermand my orders.
JANET
(to herself)
I know this place.
RAY
Ray Ammbo, an Earthling. Loyal
to the Transylvanian way.
OLD QUEEN
And who is that with you, Ray
Ammbo, loyal Earthling?
RAY
Your Royal cousin ...
DE LORDY
SHHHHH ...
RAY
Lord De Lordy is here, and ...
OLD QUEEN
Lord De Lordy??? Let them have
it, and give them everything
you've got.
DE LORDY runs towards RIFF RAFF.
DE LORDY
Riff Raff! I'm on your side.
I didn't really do it with your
sister. I was only teasing.
RIFF kills him. JUDY runs to DE LORDY's fallen body.
JUDY
You've killed him ... Kill me too.
He obliges.
While all this is happening RAY has thrown SONNY to the ground. STEVE
has been ducking a few wild shots and, as we know, the grass is very wet.
He gets a laser burn across his forehead, he slips, slides and rolls out
of sight and out of mind. In fact, he's out for the count.
OLD QUEEN
Okay! Okay! Hold your fire!
JANET
I know this place.
OLD QUEEN
Can it, sister. Okay. What the
hell is going on here?
RAY
Riff Raff is killing your son, in
that house, even as we speak.
RIFF RAFF
I am not!
OLD QUEEN
RIFF RAFF, IS THIS TRUE?
RIFF RAFF
No! I would never do such a
thing.
DE LORDY raises himself weakly from his prone position.
DE LORDY
He is, it's true. He came back
here to try and change the past
and save his neck.
RIFF RAFF
I didn't, I didn't.
DE LORDY
He did. Your precious son, the
noble Frank 'N' Furter is in that
house being assassinated by him,
and I'm glad. Do you hear me?
Glad ... ha ha ha ha ha ha ha.
RIFF gives him another blast of laser juice.
JANET
It's true. I was here - there -
here when it happened. It's all
coming back to me now.
OLD QUEEN
Okay, troops, get your asses into
that house and stop what ever's
happening in there.
(some of the TRANNIES
hang back)
All of you, move it.
The HORDES run towards the house. RIFF hides behind a tree (or
anything). MARY LOU tries to comfort JANET who keeps telling her and the
OLD QUEEN that 'she knows this place'. RAY and SONNY keep their heads
down. SONNY keeps saying how great it all is.
As the TROOPS get into the house and close to its windows and walls, the
house takes off and all of them are killed in the blast.
As one of the GUARDS gets thrown on his back, his laser is fired and poor
old RAY gets it between the shoulder blades.
We are now left with a small group of survivors; the OLD QUEEN, MARY LOU,
JANET, SONNY and RIFF RAFF. They all gather around the dying RAY. JANET
looks at SONNY.
JANET
Are you Frank 'N' Furter? You
look like Frank 'N' Furter.
RAY
He's his son. Your son, Janet.
Don't you remember? I know he
looks a little old for his age but
he always has done. You were in
a drunken stupor the day he was
born. I ah ... I'm going now ...
so ... look after ... him for
me ...
He dies. SONNY crosses to JANET and slipping his arms around her waist
he kisses her passionately.
SONNY
Hi sweet Momma.
OLD QUEEN
He is his father's son. Come to
grandma and give her some of what
she wants.
SONNY
Anytime, Grandma, anytime.
He gets real steamy with her and I'm afraid to say it's all a little too
much for the old girl.
OLD QUEEN
OH! OH! ... Oh the excitement
... I oh my heart ... Oh baby!
She keels over.
SONNY
Well, what do you know? I guess
that makes me numero uno now.
RIFF RAFF
The Big Furter.
They all turn and are aware of RIFF as if for the first time. They also
note that he is still holding the pitchfork laser.
SONNY
... I hope you're not thinking of
using that thing, Riff.
RIFF RAFF
On the contrary, I would never
harm a hair on the head of a Royal
Furter. My only wish is to
serve.
SONNY
That's good, because I'm going to
need a man like you, and first
off, you can get us out of here
and back to our own time. Then
you can take us to that place of
enchantment.
RIFF RAFF
The planet of Transsexual in the
Galaxy of Transylvania.
SONNY
Damn right! Lead the way.
They walk away with RIFF leading and SONNY following with his arms around
JANET and MARY LOU and his hands on their behinds. They disappear into
the rain.
We stay at a LONG and LOW SHOT and watch them go. We TIGHTEN FOCUS and
see STEVE in CLOSE UP. He shakes his head and looks around himself. The
lawn is littered with bodies.
STEVE
Hey! Where is everybody?
We CUT TO
62. INT. THE PALACE OF THE NEW FURTER. ETERNAL NIGHT.
It's just your average Transylvanian, gothic, rococo, glittering
coronation scene. SONNY is up on the royal deck chair and standing
behind him are JANET and MARY LOU. To one side, lurking in the crowd, we
see RIFF. The Royal Tiara is placed upon SONNY's head, and, it has to be
said, that he does look splendid. The SMALL PERSON steps forward.
SMALL PERSON
Long live Sonny Furter, son of
Frank, grandson of the Old Queen
and Great Furter to us all.
ALL
Hail to you, Great Furter, lace
curtain, silk stocking and panty
waist.
SONNY
What can I always expect?
ALL
LOVE AND RESPECT
SONNY
WHAT MUST YOU ALWAYS PROJECT?
ALL
LOVE AND RESPECT
"LITTLE OLD HEART STOPPING ME"
SONNY:
THIS IS A BRAND NEW BEGINNING
YES, THIS TIME YOU'RE GOING TO BE FREE
TO KNEEL AT THE ALTER
AND FEEL YOURSELF FALTER
SEDUCED BY THE BEAUTY YOU SEE
AND THE HYMN TO THE HIM YOU'LL BE SINGING
WILL UNLOCK IN ITS DOXOLOGY
THAT ABOVE ALL YOUR NEW JOY
YOU LOVE A NEW BOY
YES, LITTLE OLD HEART STOPPING ME
(GONNA) TO BUMP AND GRIND
(GONNA) TO STRUT MY STUFF
AND YOU'RE GOING TO FIND
YOU CAN'T GET ENOUGH
OF WHAT I'VE GOT
AND I'VE GOT A LOT
OF SO MUCH COOL
THAT I'M RED HOT
LET ME TELL YOU WHO'S THE STAR TO SET YOU FREE
YES, LITTLE OLD HEART STOPPING ME
SOME DAME WAS NAMED
AFTER HEAVEN'S QUEEN
A FAKE PRINCE CLAIMED
HE WAS A SEX MACHINE
SO SAVE YOUR TIME
AND YOUR LOYALTY
REMEMBER I'M
TRUE ROYALTY
IF YOU'RE THINKING WHO'S THE KING OF ECSTASY
IT'S, LITTLE OLD HEART STOPPING ME
ALL (MID 8):
YOU'RE MORE THAN A KING
YOU'RE OUR EVERYTHING
THE TRUE BLUE MESSIAH
OF OUR NEW DESIRE
OUR MOJO OUR FETISH
WHO'S OH SO COQUETTISH
OUR GYMNASTIC VENUS
WITH THE DYNASTIC GENUS
AND WE CAN'T GET ENOUGH OF IT
CAN'T GET ENOUGH OF IT
SONNY:
I'LL GIVE YOU WHAT YOU NEED
I'M HOLDING NOTHING BACK
UNTIL I HEAR YOU PLEAD
FOR A HEART ATTACK
I'LL BE YOUR SUGAR PLUM
UNTIL IT'S YOUR DEATH DAY
AND THEN I'M GONNA COME
AND TAKE YOUR BREATH AWAY
WHO GIVES HIS WHOLE UN-CHARTED SOUL TO THEE?
YES, LITTLE OLD HEART STOPPING ME.
IT'S LITTLE OLD HEART STOPPING ME.
This of course will be a fairly big production number, during which RIFF
sneaks away.
It's possible that we might cut away to STEVE staggering back out of the
gate of the OLD HOUSE as the rain stops and dawn begins to break.
At the conclusion of the song we
CUT TO
63. EXT. A SUBURBAN STREET. DENTON. THE PAST. EARLY MORNING.
The storm has finished and we are in a quiet, small American town suburb
of around fifteen years ago.
We see STEVE looking very rough after his ordeal. He is dirty and muddy
with grass stains all over his clothes. He's also in need of a shave.
He stands in front of one of the neat little houses and shouts at the
window.
Inside the same window, we see a terrified WOMAN hugging a BOY who is
about fifteen years younger than STEVE.
STEVE
But you've got to let me in, Mom!
I'm Steve, your son Steve. Hey
listen, Steve, I'm you, only
older. I'm trapped in the past.
Aliens did it. I can't get back.
Riff Raff must have destroyed the
Transducer back at the Holiday
Inn. I know it sounds crazy, it
is crazy, but it's true, Steve,
I'm you, you're me, only younger.
Why don't you let me in? Why
don't you listen?
The COPS arrive and start to drag him away.
STEVE
No! no! Listen, listen ..
they're here. They're
everywhere, Alaska, Washington,
all over. They use the showers,
the showers.
We go into TIGHT CLOSE-UP on him.
STEVE
KEEP WATCHING THE SHOWERS!!!
We CUT TO
64. INT. RIFF RAFF'S CHAMBER. ETERNAL NIGHT.
He is closing the door behind him, making sure that the bolt is across.
Then he glides towards Magenta's coffin. He strokes its surface and then
gently lifts the lid.
RIFF RAFF
Hi honey, I'm home.
He starts to climb inside.
We go into END TITLES.
THE END
--=={{****************************************************************}}==--
Jason Alan Pfaff - p7a77@rhps.com * The RHPS FAQ - http://www.faq.rhps.com
--=={{****************************************************************}}==--
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Last Updated 09/08/97
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