scanned by Mike Dunn
RONNIE ROCKET
OR
The Absurd Mystery of
The Strange Forces of Existence
Property of:
David Lynch
Registered with
W.G.A.
Black . . . fade in a giant stage . . . enormous with black cur-
tains--open. The entire stage is filled with a wall of fire
200 feet high. Within the fire are thousands of souls screaming
out silently . . . only the roaring of the fire.
FADE OUT
There is a dark land where mysteries and confusions abound, where
fear and terror fly together in troubled cities of absurdities.
Black clouds race by over a soot-covered city, where it is dark-
est night. Only a few tiny yellow squares of light in the old
buildings and factories. Everything is so dark. Very little
life is noticed except the tiny dark yellow squares. There are
no cars seen from this high angle looking down over the city--no
people out this night.
A closer look at some of the buildings reveals a thirties style
architecture, although quite plain and very massive. Office
buildings with heavy industrial factories. A smoke stack pours
tons of heavy black smoke slowly and silently into the dark night
sky. Hundreds of heavy electrical wires crisscross through
the sky and electricity hums come from giant boxes on the poles.
The headlights and then a car--it moves slowly below, down a
street then turns out of signt. An old neon sign over a diner
says "City Diner." A large old hospital and the, front steps.
Inside a nurse goes by wheeling a patient on a rolling bed.
The corridor is now empty. Moving slowing through the empty
corridor. An open steel door.
Down now two flights of cement stairs and along a dark and moist
corridor off of which sit decaying subterranean hospital rooms.
We hear the heavy machinery that keeps the massive building ope-
rating. Pipes leak rusted festering water into puddles on the
cold floor.
Entering one of these small decaying rooms we see an old hospital
bed. A dim name tag on the end of the bed bears the name RONALD
DE ARTE.
In the bed, under the white sheets, lays RONALD DE ARTE who,
because of some strange unnamed happening is now here quite dis-
figured. There is no human form to him really except he does
have arms and legs, but they're under the sheets. The chest
and head area are very strangely shaped, but there is a hole
for a mouth and a nose. In the mouth there are teeth and a tongue
which moves. There are two eyes above the nose hole. The eyes
dart back and forth.
Suddenly, and quite mysteriously there is a detective now standing
in this room. He wears black pants and shoes, a white shirt,
a black jacket which is now hanging on a rack over against the
cement wall. Over his shirt, he wears leather straps and a
shoulder holster which supports a .38 pistol under his arm.
He is standing, looking at the hospital bed. Ronald De Arte'
is now making some sounds--very high pitched whines and is
attempting to reach a piece of paper which lies on a moveable
steel tale next to his bed. The Detective moves in closer and
hands the paper to Ronald who contorts in order to get his arm
over to it. More high pitched whines and a knocking of his hand
on the table near a pencil which leaps with every hit lets the
Detective know that Ronald now requires a pencil with which to
write. Ronald very shakily scribbles out the following symbols
and all the while he makes very long, high pitched whines:
The Detective takes the paper to a small lamp across thd room
and looks the symbols over. He folds the paper and continues
to hold it as he turns toward Ronald again. He comes up closer
to Ronald. Ronald makes some more noises. The Detective now
is very close to Ronald looking into his eyes. Very faintly
the big close up of Ronald stays double exposed as the Detective
turns, gets his coat and goes quickly out of the room. Putting
on his coat he looks suspiciously, left and right down the dark-
corridor--no one--he goes down the hall and disappears around
the corner. No one is on the street as he crosses it to a large
building where he stops and turns back to see if anyone is follow-
ing him. He looks carefully all around him. Satisfied with
the situation as it is, he turns back again and goes down the
street into the darkness. Ronald's CU fades.
Now the Detective is in a train station. Several people are
boarding a black steel train in a dimly lit passenger loading
area. The Detective climbs aboard and finds a seat. Even with
the lights on it is still so dimly lit. The cigar and cigarette
smoke is very thick. People talk but not too audibly because
the train and station sounds are so loud. It is a dull crowd
of very poor working-class people. The train begins to move
and rumbles through the night. At the first station nearly every-
one lets off. An arcing of electricity and on again to the next
station which appears to be the last because everyone gets off
except the Detective. The people hurry through the underground
station than all is deserted. The train continues to make sounds
but doesn't move. A conductor appears and finds the Detective
still aboard.
CONDUCTOR
(speaking loudly)
Off the train!!!
DETECTIVE
I want to go deeper into the city. I'm
a detective.
CONDUCTOR
You a detective?
DETECTIVE
Yes.
CONDUCTOR
Train doesn't go far into the city . . .
can only go one, maybe two, more stations
. . . closed up beyond that . . . no
one. You want to go, but only one, maybe
two, stations.
DETECTIVE
Can I get another train to go further?
CONDUCTOR
No more trains ever beyond here
never go . . . now three people.
(looks up with a "now this is curious" expression)
At this, two strange looking people slowly enter the train car
from the other end and begin coming toward the Detective and
the Conductor.
CONDUCTOR CON'T
'Board!!!
The Conductor leaves the car and the other two sit down and look
at the Detective, then at each other, then down at the floor,
then up at the Detective.
Outside the Conductor yells something which echoes in the back-
ground, then someone way far away yells. The Conductor yells
again and the train begins to move very slowly ahead with much
grinding metal sounds. Streaking along the train moves into
even heavier darkness. Occasionally a light can be seen outside
the windows but mostly all is black. The lights in the train
dim down lower as a humming sound comes from above the trains.
The train slows and enters a station. This station is empty
and very old. It looks completely un-used. Papers and dirt
are blown through-out, windows are broken, and most of the lights
are out. The outside is suddenly lit up considerably by a huge
electrical arcing of the wiring on the train. It stops and the
lights inside come up slightly. The Conductor walks quickly
into the car and as he goes by the three of them:
CONDUCTOR
Bad repair . . . electrical sparks!
Outside the electricity arcs again and the train jumps forward.
It moves along slowly and the giant humming sound is now con-
tant. The train goes through darkness then comes to an area
where there are some lightbulbs strung on wires and then the
train slows to a grinding halt. The two across from the Detec-
tive leave the train as the Conductor walks in.
CONDUCTOR
End of the line.
DETECTIVE
Is this the station?
CONDUCTOR
No one uses the station . . . all that's
left. We have train trouble now . . . a
bad place. Get off the train now . .
. this is the end of the line. From
here on you're on your own, Bub!
The Detective steps off the train and the train begins backing
up out of sight. The Detective stands near a bulb. Moths fly
against the bulb . . . over and over again they hit at it, try-
inz, to get at the light. The Detective watches the moths.
There are noises, the Detective turns. He is surrounded by snarl-
ing black dogs circling him--moving closer. The Detective freezes
with fear. Now out of the darkness comes a group of men wearing
black woolen overcoats, black hats, gloves and boots. They stamp
their feet up and down as they slowly surround and move in closer
to the Detective. They join with the dogs and become like the
moths around the light bulb. Suddenly like animals they attack
and quickly beat the Detective to the ground. One of the men
"zaps" the Detective with a huge electrical jolt from an elect-
rical hand gun which is shaped like a cattle prod. The Detective
doesn't move. They continue to circle. They "zap" him again
and the ground begins to smoke. Now laughing they storm off
into the night with the dogs. The Detective strains to open
his eyes and maintain consciousness.
DETECTIVE (outloud to himself)
What has happened to this place?
Now out of the darkness comes an old man, TERRY. In fact, one
of the two people that travelled on the train with the Detective.
He is an older man--rather mean looking and wears one pant leg
rolled up exposing a gauze bandage. He carries a fly swatter
with him and from time, swats his sore leg at the bandage. When
the sore is particularly acting up, Terry turns the swatter around
and digs under the bandage with the wire handle.
Now Terry circles the Detective slowly--eyeing him.
TERRY
Get up . . . Get up here outa the light
. . . I was supposed to meet you but
had to get rid of that guy I was
travelin with. Now you listen to me
. . . and listen carefully . . . answer
my questions too . . . You're new in
this part of the city . . . right sucker?
DETECTIVE
Yes.
TERRY
Yes . . . Jut what I thought . . . what
a mess you seem to be too. I meet a
lot of people and I can tell a few things
about em . . . I can see that you are
a mess.
DETECTIVE
Settle down . . . What do you . . .
TERRY
Don't try to tell me . . . I'll tell
you . . . I can tell you that too.
believe me . . .
DETECTIVE
Well tell me then . . .
TERRY
You want to go further into the city.
To the inner city.
DETECTIVE
Yes.
TERRY
Can you hold a thought?
DETECTIVE
What?
TERRY
Can you hold a thought?
DETECTIVE
I can think if that's what you mean?
TERRY
My God, we're going to have trouble.
Let me ask you a question. Where did
you get that ugly fresh face? (silence)
Let me say it another way . . . How is
it that you came to an arrangement of,
features such as that which you are expos-
ing to me now? Can you answer that?
DETECTIVE
No.
TERRY
This is unbelievable Are you a detec-
tive?
DETECTIVE
Yes!
TERRY
OK smart guy . . . what are the three
rules of a detective then?
DETECTIVE
--stay alert
--concentrate
--stay clean
TERRY
Right! Now . . . there's new rules in
this part of the City see? NEW rules
. . . say new rules.
DETECTIVE
New rules.
TERRY
That's right . . . It's hard to under-
stand . . . HARD to concentrate . . .
I don't know if you heard me?
DETECTIVE
Yes I heard you.
TERRY
What did I say?
DETECTIVE
You said it is hard to concentrate.
TERRY
Where?
DETECTIVE
In this part of the city.
TERRY
. . . that's right . . . now where you
want to go . . the inner city . . . it's
impossible to concentrate see? huh Buddy
do you comprehend what I'm telling ya?
DETECTIVE
Yes.
TERRY
So . . .?
DETECTIVE
So tell me what I have to do.
TERRY
Hell I suppose you want me to do it for
ya too . . . You don't even KNOW?
DETECTIVE
Yes I know some things but not everything
. . .
TERRY
God help us . . we are rally gonna need
it . . . Look at this Detective . HEY!!
Let's get in off the street . . . this
is going to take some time to explain.
Terry takes the Detective along a street lined with old cheap
hotels. He leads the Detective to one of them. Outsidse the
door a mangy black dog growls. The Detective jumps back.
TERRY
Hey, it's a dog is all.
DETECTIVE
I . . . I'm afraid of dogs . . . and
they know it.
Inside, behind the desk, there is a clerk who's sleeping. The
Detective rings the bell and the clerk awakens slowly as if he
may have been drinking a lot.
DETECTIVE
How much is a room here?
CLERK
Three and a half a night, hot shot?
DETECTIVE
Oh yeah?
CLERK
(staring defiantly at the Detective)
Yeah . . . and you'll have to share the
room with some knitters.
DETECTIVE
Knitters?!?
Terry quickly places his hand over the detective's hand as a
signal for him to be quiet.
TERRY
That'll be fine . . . we'll share the
room with the knitters.
CLERK
Who's rentin this room? . . . You or
him?
TERRY
He's payin' for it and I'm makin' the
arrangements . . . OK? . . . Is that
OK by you?
CLERK
Yeah maybe so . . . You're in 5B . .
. top of the stairs . . . turn left.
That's three and a half in advance.
The Detective gives him the money and the clerk hands him the
key to 5B. At the top of the stairs, he and Terry turn left
and go to the door of 5B--open it--and enter a tiny hotel room.
Old wallpaper, some floor lamps, and old iron bed and two filthy
old women sitting in chairs at opposing walls . . . the knitters.
One knitter is actually knitting. The other is sewing a button
on a dirty old sweater. Terry digs into his wound with his fly
swatter then looks closer at the sewing of the button. He smiles
a curious smile at the detective. The knitters are talking while
this is happening.
KNITTER #1
I feel terrible . . . I just have no
energy and I feel nauseous.
KNITTER #2
I have a terrible cold . . . It's gone
in the back of my throat now and in my
ear.
KNITTER #3
Ahhh! Now you know how I felt . . .
I felt horrible . . . remember I had
two colds . . . the second one last week
was the worst . . . I never felt so
bad . . . Now it's in my chest . . . just
wait till your's goes into your chest
then you'll maybe know how drained I
feel . . . just drained . . .
KNITTER #2
I guess I never told you about my back?
TERRY
(still leaning over near Knitter #1)
. . . close to the button. As Terry
speaks the knitters shut-up).
See . . . the button?
DETECTIVE
Yeah?
TERRY
See?
DETECTIVE
Yes . . . I see the button.
TERRY
See the needle . . . the thread . . .
DETECTIVE
Yeah . . .
TERRY
(speaking as if any minute the detective
will suddenly "understand")
the needle goes in and out. The needle
goes in . . . comes out . . . it turns
around and then (very loud) IT GOES
BACK IN AGAIN!!
DETECTIVE (jumping back)
Yeah?
TERRY
Damn it! It's a symbol . . . Don't you
understand a damn thing? Symbols . . .
numbers . . . parables . . . mysteries
This is what I am tryin' to tell
you about.
DETECTIVE
What's with the button, Terry?
TERRY
It's a process, see . . . of steps . . .
a rhythm . . . involving a continuum
i.e., the THREAD you idiot!! and the
needle . . . Now what do you suppose
the needle stands for?
DETECTIVE.
I don't know.
TERRY
You don't know . . . well can you guess?
DETECTIVE
Well . . . possibly it's a
TERRY
Yes?
DETECTIVE
Well possibly it's a
TERRY
YES?!
DETECTIVE
I don't know.
Terry collapses.
TERRY
My God . . .
DETECTIVE
Well you tell me.
Terry walks over to Knitter #2.
TERRY
Look at this . . . a knitter . . . Look
. . . two needles working . . . See?
Look . . . yarn. . . a continuum . . .the
fabric . . . the form.
DETECTIVE
Terry! What are you trying to tell me?
TERRY
I don't go around explainin' the unex-
plainable, Buddy.
DETECTIVE
Oh yeah. Well tell me Terry what we
have to do . . . try to tell me in a
realistic way . . . using words.
TERRY
It's not so easy.
DETECTIVE
Try . . .
TERRY
It's a man named Hank Bartells.
DETECTIVE (stepping closer to Terry)
Yes?
TERRY
He's the problem.
DETECTIVE (stepping very close to Terry)
Yeah . . . how so?
TERRY
He got all the electricity see?
DETECTIVE
Yeah?
TERRY
And he's got the electricity fouled up,
reversed or somethin' so's its around
the wrong way and all the power is suckin
up light . . . he's making darkness as
fast as you can pee your pants and with
this darkness buddy comes confusion and
this confusion gets stronger as you get
close to him, i.e., Hank Bartells, which
you've got to do but you can't do so
if you did though you wouldn't even remem-
bear your own name . . . see?
DETECTIVE
If I lose consciousness . . . I die.
TERRY
Hey . . . It's the same with everybody
here. So are you beginning to see a
picture forming on the old Litmus paper.
(points to his head).
DETECTIVE
Not really Terry . . .
TERRY
Look here's a map see? Of the city.
(The detective looks down.with Terry
to study a map of the city). . . . this
here's the inner city where Hank is
but no one's allowed to go there
see? So's my friend or so called friend
Bill see . . . he maybe was going to
take you in there but now he won't so's
anyway . . . he was that guy that was
with me on the train and hey watch out
for him, man, cause he's mean as hell
. . . he'll kill ya . . . I gotta tell
you.
DETECTIVE
He will?
TERRY
He sure as hell will.
DETECTIVE
Is it safe to talk here? (referring
to the knitters)
TERRY
(he walks over next to Knitter #2 and
holds the top of her head)
You know what's inside here? . . . If
you had a power drill you'd burn the
damn thing out before you drilled even
one half inch into this head. This is
rock man . . . solid rock . . . Hell
yes it's safe to talk here . . .
Terry comes back to the map and the detective.
TERRY (con't)
What's on your mind?
DETECTIVE
How do we get into the inner city and
find Hank Bartells . . . and stop him?
TERRY
Well . . . the inner city's locked up
pretty tight like I told you but more
and more its . . . well . . . more people
is coming out of it . . . a lotta the
electric trucks are coming out . . . the
trucks pipe out the bad electricity .
. . see so's . . . and like the donut
men . . . they're comin' out
DETECTIVE
The donut men?
TERRY
Yeah . . . and those men with those
black coats . . . you know . . . the
one's that zap you . . . so' if they
are coming out there's got to be a way
in . . . Bill knows one of the gates
. . . he knows Hank supposedly . . . It's
bad I'll tell ya . . . One way though
is the dangerous way but it's . . . it's
goin backwards.
DETECTIVE
Backwards.
TERRY
Yeah . . . memory lane stuff . . . scary
dangerous stuff . . .
DETECTIVE
Whatya mean . . . Memory Lane.
TERRY
You know . . . starting with his parents
and working our way back . . . and some-
where back there is that gate to the
old inner city.
DETECTIVE
Oh yeah? . . .
TERRY
Yeah . . . So you think you can handle
this kinda job Boy-o?
DETECTIVE
I can stand on one leg.
TERRY
Bull.
DETECTIVE
I can stand on one leg and give you the
Detectives' Motto.
TERRY
This I gotta see.
The Detective stands up and then raises one foot so he can hold
it with one of his hands. Across the room one of the knitters
looks over.
KNITTER #1
My God look at that . . . He's standing
on one leg . . . imagine.
DETECTIVE
The detectives' motto
Stay alert
Concentrate
Stay clean.
TERRY (amazed)
People here can't hardly stand up anymore
let alone go for a period on one leg
believe me. We do stand on one leg for
a moment when we walk. As one foot swings
TERRY (cont'd.)
forward on the stride the other remains
on the ground and for that moment we
are technically speaking on one foot.
However, we are in motion, not station-
ary. The balance is there but are we
sure? Because in the next moment the
other foot will be on the ground to save
us from falling. It's not the same thing
with you. You can maintain balance for
possibly even minutes let alone seconds
and this is remarkable. It's unbelievable
in this part of the city. Or really,
in any part of the city. Of course I've
seen people stand on one foot while hold-
ing on to something with their hands.
MAIN CITY - NIGHT
Meanwhile, at the hospital, two men, DR. DAN PINK, and DR. BOB
PLATINUM, sneak down to the hospital basement and look into each
room, searching. When they find Ronald's room they enter. They
move toward Ronald and he starts a high scream. They muffle
him with their gloved hands, unhook his electrical apparatus,
scoop him up and steal him away from the hospital.
They carry Ronald in an old sedan through dark streets to an
old building. They go to a service elevator and travel to one
of the top floors to a laboratory which the two of them maintain.
It is equipped with black massive electrical appliances and
gadgets. The walls are a yellow-green and all is lit by blue
glowing fluorescent lights giving the place a scientific eeri-
ness.
They sit Ronald in a very special electrical chair which has
several tiers behind the back of the place Ronald sits. Each
tier has new dials and cords and antennae and symbols. They
take a blood test and spin the blood in a special jar. They check
his tongue and eyes. They throw levers, turn dials and mumble
things to themselves as they work. They work very quickly.
Suddenly, something begins to smoke on one of the levels of the
chair and Ronald begins to bounce up and down. There is a shud-
dering noise . . . the fluorescent lights waiver . . . then a
small poof explosion and Ronald's head droops down. Quickly
the doctors analyze the situation and brings thing under control.
Ronald's head comes back up and he looks around . . . dazed.
The doctors study his eyes again. After studying for a while
they turn to each other.
DAN
Bob, we made it . . . this is a specimen.
BOB (excited)
Let's have a malted.
DAN
A malted???
BOB
(surprised)
Yes.
DAN
WHAT?
Dan stands up. He leaps and punches his friend hard on the jaw,
smacking him hard and knocking him down to the floor.
DAN CON'T
Malteds before we even hardly get a look
at this!!! After all we've been through?
We're going to work!!!
BOB
I meant to celebrate.
DAN
Hell no!!
BOB
I guess so, but why'd you hit me so hard?
(he pushes Dan back against a machine)
Don't hit me so hard.
DAN
All right, but let's get a look at this
specimen.
BOB
Okay, let's get a look at this specimen
what a beauty! You know, we can
rally do something with this. Get the
chart out.
They both go to the wall and Dan pulls down a wall chart entitled
"The Average Handsome Man." Arrows point to specific features
such as straight nose, clear eyes, ears not large, strong chin,
good jaw, clear complexion, etc.
BOB
It's going to be some work.
DAN
We just have to take our time and think
it through . . . NO MISTAKES THIS TIME,
BOB!!
BOB
Whadda mean, Bob?! What happened last
time? Whaddya mean, Bob? Scalpels,
boy! We'll do it okay, just don't dwell
in the past. The past is past.
DAN
Look, look, look . . . we'll do it!
We'll just take our time and get it per-
fect! You know I'm a PERFECTIONIST!
(slams his fist into his hand) I can't
stand these mistakes and then you wanted
a malted right away. What is it?!!
You understand, right Bob, we're surgeons!
BOB
We're surgeons . . . I meant to cele-
brate. You really get to me. You want
me to quit? I will . . . . I've had
it . . . no malteds, okay. No malteds,
but stop dwelling in the past. Are we
in the past? No!! Hell no, I'm not
going to quit . . . we're in the present.
Why go where you're not. It's gone.
DAN
Alright.
BOB
You can't bring it back, Dan. Face it
. . . you can't change what's . . .
DAN
ALRIGHT!!!
BOB
. . . already happened.
DAN
Shut up. Just you be quiet. Look at
this chart, okay? We're in the present
. . . we're going to operate. (Suddenly
Dan has realized he has urinated in his
pants. He looks down at the wetness.)
DAN (cont'd.)
Damn! (he looks back up at Bob)
Let's get some sort of idea where we
stand with this specimen, Ronald De
Arte'. Then we'll fix some malteds . . .
alright Bob, alright?? Now, we're start-
ing off. It's going to be one of our
finest projects . . . .
There is a knocking at the door. The Doctors turn as the door
opens. In comes DEBORAH very small, very finely dressed and
heavily made-up woman. The doctors obviously know her and have
been expecting her.
BOB AND DAN (in unison)
Hi Deborah.
DEBORAH (excited)
Hello boys, let's see him.
The Doctors take her over to Ronald on the chair.
DEBORAH (cont'd)
Oh, Sweeties . . . an awful lot of work
for you . . . oh.
DAN
Don't worry about what he looks like
now.
DEBORAH
He'll be all ours, won't he?
DAN
Yes, he will.
BOB
Yes, he will.
DEBORAH
Please come up to dinner now. I've been
waiting dinner in my apartment for you,
will you come now?
DAN
Deborah, we're just barely started.
DEBORAH
You have to eat, don't you
DAN
Yes, but . . .
BOB
I can't work on an empty stomach, Dan.
I'm going to start shaking.
DAN
(disgusted)
Shaking, shaking, shaking . . . let's
eat then! I'm going to take off my light,
(takes off forehead light) and I'm going
to pull three light plugs (pulls plug)
and I'm going to put on my coat . . .
DEBORAH
Sweetie, (she goes to Dan and takes him
by the arm, then referring back to Bob)
Come, Bobby.
They exit after Bob struggles into his coat. (His lining of
his coat was torn and his hand stuck in it.)
Upstairs, Deborah's apartment is extremely elegant. She has
a big poodle dog and big vases of flowers. The poodle spends
the entire time laying on its back under the dinner table, pant-
ing. Deborah has an older women in a uniform serving the dinner.
The dish this evening is a strange looking vegetable with clusters
of leaves on it. They begin eating by breaking the leaves off
and floating them in a bowl of water which sits in front of them.
With special spoons, they spoon in small round balls which dis-
solve and make the water thicker. They then cut off parts of
the remaining vegetable and dip it into the thickened water bowl
and eat it. It has a spicy hot taste and they all breathe funny
after eating each mouth full.
The conversation during dinner is dominated by Deborah, and the
older uniformed lady listens to all of it from behind the kitchen
door.
DEBORAH
. . . A little tickle, you know where,
I mean now . . . oh, you can bounce too,
Sweetie, and roll and bounce . . . oh,
that's good! I have a tongue, you know,
and right away I start using it, don't
I? Right away I start using it because
this is the way I believe. I have
DEBORAH (cont'.)
fingers, too, and right away I start
using them because this is the way I
believe. I take my time, hmm? And I
have a breath . . . this breath . . . I
breathe so quietly and softly on the
neck.
The poodle continues panting under the table,
DEBORAH (cont'd.)
This is done over and over . . . and
now I breathe all around . . . this is
why I am breathing . . . because it
makes a softness . . . the hair stands
and the skin gets funny . . . you know
. . . The whole thing is so pretty, like
picture . . . like a furniture. Now
the rubbing . . . (they both turn to
her)
Behind the kitchen door the uniformed lady presses herself harder
to the door to hear better.
DEBORAH (cont'd.)
The rubbing is something that I do because
this is the way I believe. The rubbing
for me is beautiful . . . I am an artist,
rubbing and rubbing. Sometimes I rub
hard, sometimes I rub softly . . . some-
times my little fingers rub, rub, rub
so softly . . . so tenderly. Bobby,
you look tired, I think Dan will stay
tonight.
BOB
But, he stayed last night.
DEBORAH
You will stay tomorrow night, Sweet,
I promise.
Downstairs, Ronald sits in his chair in the laboratory. He looks
lonely in this strange green room, many electrical sounds humming
Moving closer to Ronald De Arte' at night in the labora-
tory. His eyes, confused . . . staring . . .
BACK IN THE DEEP CITY
Terry is still talking. The Detective is still standing on one
leg. The knitters are knitting.
TERRY
. . . there have been stories of people
standing on their hands but both of their
hands . . . never only one. There's
a man around the corner who supports
himself on one hand and one leg . . .
maybe you'll see him when we go get some-
thing to eat because he's usually out
front of the diner. I knew a man once
who could get out of bed without using
his hands but then he'd usually fall
over or get sick ya know? Nowadays with
Hank reversing the electricity most people
like to sit down or lie down. A lot
of people have diseases now . . . you
know . . . diseases? . . . physical
disorders . . . Even if they are feelin'
good sometimes after the trucks come,
around they act funny from then on . . .
In other words they get permanently
changed you know . . . but you bein'
able to stand on one foot is damned near
unbelievable . . . damn good.
MAIN CITY - BOB AND DAN'S LABORATORY - DAY
It is foggy outside the Lab windows. Distant factory sounds
are heard.
The doctors have opened Ronald up and are putting electrical
components inside of him. After closing him, they leave a tube
through the skin onto which they hook an electrical device that
Ronald will always have to wear on his chest. Out of the device
comes another tube and at the end of it there is a rubber bag
and a small needle which is again inserted back into Ronald's
skin and taped over with adhesive tape.
They use electricity in several foreign manners to carve Ronald's
face and graft on new features. Unfortunately, these doctors
aren't the artist they think they are. Their hearts are in the
right place, and they have tremendous energy, but the results
are far and away from handsome. The doctors are very serious
while they work. They concentrate very hard and their faces
contort in funny ways. It's now break time and Bob is bringing
the malteds over to where Dan is by Ronald. As they drink their
malteds they discuss their work.
BOB
What are you thinking?
DAN
I'm thinking that the ears will have
to be really done well this time, Bob.
BOB (sensing something)
I agree with that.
DAN (carefully)
They're complicated. And always before
we seem to hurry through the ears.
BOB
You want to divide up the work as usual?
I'll take the ears and you do the nose
or something?
DAN (going around the bush)
Maybe . . . (he reaches over slowly and
turns a dial and Ronald moves some and
opens his mouth. Inside the mouth the
tongue starts flapping. He turns the
dial down some.) That mouth is going
to be a problem.
BOB
Well, do you want to talk it through?
Shall we start on it?
DAN
There's something else that we haven't
thought about, Bob. And, that is hair.
BOB
I was going to say . . . yes, I know,
hair, that is something to think about.
DAN
Hair . . .(he downs the rest of his
malted and stands up, pauses--moves close
to Ronald) . . . I'd like to do the ears,
Bob.
BOB
You've been leading up to this! I knew
it!! I know they weren't quite right
last time. You want the ears? Well,
I want the ears, too! (he stands up)
I grafted them high last time . . . but,
this isn't the point. I'm the ear spec-
ialist!!! . . . you've got no right taking
the ears. You've only done one ear!
I want the ears (he's trembling). You've
been trying to think of a way to get
the ears. I know you. You've been lying
awake nights thinking of how you could
manipulate me into giving you the ears
. . . and on THIS project! I've seen
you planning . . . I knew you were trying
to get them from me, I knew it.
Bob strikes cut and smashes Dan in the face. A short fist fight
follows and then . . .
DAN
All right! . . . You keep the damn ears!
BOB
(bleeding & panting)
No . . . You take the ears. It's not
worth it. I'll work on something else.
Maybe the hair or something.
DAN
(panting)
No . . . I'm sorry, Bob. We'll both
work on everything. That way it'll be
perfect. You take an ear and I'll take
an ear. We just have to keep good mea-
surements. . WE'VE GOT TO KEEP GOOD
MEASUREMENTS!! (He buckles over and
slams his fist into his hand for emphasis)
The laboratory is now lit for precision work and the chart of
"The Average Handsome Man" has been moved in closer to the
doctor's work area. They are each working an Ronald's head.
The process involves a light foam over the skin and electrical
instruments hooked here and there. Small electrical tools are
used by the doctors to reform Ronald's skin. The foam hides
most of the work. Dan is now putting the nose into place.
Bob is assisting. Dan lifts the nose off the table (where he
has been fashioning it). The area for the nose has now been
cleared. Dan is just starting to place the nose.
BOB
That looks good.
DAN
If I can place it now, let's have the
opening.
BOB
All right. (He pulls some skin apart)
DAN
(placing the nose)
This is about the best nose we've ever
done.
BOB
It is.
DAN
Hand me the cotter and then let's stitch
this.
BOB
Hold it . . . let me plug it in (as he
plugs the cotter in Ronald begins to
make a strange noise. Bob adjusts a
dial and the noise stops. He hands Dan
the cotter)
DAN
Good. (he begins a delicate burn all
around the seam of the note and head,
Bob begins a stitching process.) . . .
the ears will be next . . .
Later, Deborah is standing looking at Ronald and his new nose.
The rest of Ronald's head is covered with foam except for the
mouth which looks like it always has.
DEBORAH
This nose reminds me of a small pillow
it's so soft looking. I like it
very much. You are rebuilding this boy
. . . he is so fortunate to have you
two.
Dan and Bob smile. Deborah walks slowly crossing the room, then
turns.
DEBORAH (con't)
Bobby, come now . . . upstairs with me.
DAN
Go ahead, Bob. It's late, we're through
for the night.
BOB
(smelling a rat)
Don't do anything till I get back.
DAN
I won't.
BOB
Don't even clean up anything . . . Promise?
DAN
I won't.
BOB
Do you promise?
DAN
(screaming)
I PROMISE!
BOB
Just go to bed . . .
DAN
I PROMISE . . . I PROMISE, I PROMISE!
(stamps his feet
DEBORAH
Come, Bobby, Dan will behave himself.
Deborah and Bob are crossing her living room. It is fairly dark.
DEBORAH
Remember the yellow light bulb? (she
laughs, Bob is embarrassed) I've got
a new one for you, Bobby. And, some
new wire. Happy? Hmm? . . . Happy?
Bob smiles sheepishly.
Downstairs in the laboratory, Dan is over near Ronald and he
is pacing around and around. Suddenly, he can't help himself
. . . he decides to break his promise and plunges into work on
Ronald. He begins to prepare the side of Ronald's head for an
ear.
Upstairs Deborah and Bob are in bed. It is quite dark. Bob
is on his hands and knees under the blanket and straddling
Deborah, who is smiling and laughing as she reaches back to plug
in a wire. Bob screams outs as yellow light glows out from under
the blanket illuminating Deborah's chin and sending a faint yellow
glow around the wall. The light begins to blink on and off and
Bob begins to laugh and scream, laugh and scream, in unison with
the yellow light.
In the laboratory the next morning, Dan is still at work. Dense
fog is seen out the windows. Dan already has one ear on and
is working on another.
Upstairs, Bob and Deborah are crossing the living room. Deborah's
poodle is whining softly.
DEBORAH
Hmm?
BOB
Yes.
DEBORAH
Better than ever before?
BOB
Yes. Deborah? Can I come up again
tonight? Dan had two nights in a row.
DEBORAH
We'll see.
BOB
All right. Would you clean my hands
again?
DEBORAH
Here, let me wipe your hand and face,
Sweet. (she begins to wipe Bob's face
with a damp cloth she has been carrying.
She wipes his face over and over again,
and then she cleans his hands carefully.)
BOB
I guess I better go wake Dan.
DEBORAH
All right, my Sweet Cabini . . . fly
away. Remember to try and sit up
straight. You're getting round shoulder-
ed. (she curves her hands over his
shoulders.) Take these sweets for you
and Dan. (she goes to the table and
gets some very fancy large candies and
gives them to Bob. He has to hold them
with both hands.)
BOB
I'll have to clean my hands again now.
DEBORAH
Goodbye for now, Sweet.
BOB
Goodbye . . . maybe I should have cleaned
my hands better . . . these candies . . .
DEBORAH
They're fine, Bobby. Your hands are
clean. Now go wake up Dan . . . Goodbye.
BOB
(calling back as he goes downstairs)
Goodbye . . . I'll clean them again anyway
soon for work. we're putting on the
ears today!
It's hard for Bob to open the door to the laboratory while his
hands are full of candies, but he finally manages.
Meanwhile, Dan hears Bob coming in, however, he's in a tickleish
spot and has to hold several things in place, including a cord
in his mouth. He can't hide the fact that he's been working
on Ronald without Bob.
Bob enters and sees Dan. At first he smiles then he sees the
ears.
DAN
Now you wait just a damn minute . . . I
can't figure out how these ears got on
here . . .
In a rage, Bob flies across the room. He wads the candies in
his fists and he hits Dan over and over again.
DAN
I can't figure it!!
Later, the two of them are working very silently. Both are beaten
looking. Dan has mussed candies stuck in his hair. As he rubs
his eyes . . .
DAN
What was that? My eyes are still burning.
BOB
Your eyes deserved to be burned.
Suddenly, Bob moves a lot of the foam away with an air instrument
and forgetting his anger, yells out . . .
BOB
Dan, look! He's looking good!!!
They push more foam away to get a look. They're both excited.
All the features on Ronald are well formed but they do not work
well together. One ear is quite a bit larger than the other.
And there is no hair at all. Several areas are not yet healed
either.
DAN
. . . we've got the touch, Bob. We've
got the touch. Let's come up to 15,000
on the device. Maybe we can speed that
healing up.
BOB
That's a good idea. (turns some dials)
DAN
All the fluid there is just left over,
you know.
BOB
I know.
Bob crouches down and surveys the ears on Ronald.
BOB
The ears may be slightly off . . . (he
looks at Dan, Dan dives him a look back)
Bob removes more foam revealing the new Ronnie.
BOB
I mean, what can you say. Look at the
quality . . . the workmanship.
Theey slap each other on the bank.
DAN
I'm a little worried about the
hair.
BOB
He's got to have hair!
DAN
Well, we've got to do it then. What
color do you think?
BOB
We've got a bunch of brown ones left.
DAN
All right, by God, let's use them.
LATER: The top of Ronald's scalp. Dan and Bob have put in
several hairs. The hairs are long and wirey, and they have many
more to place before Ronald will even begin to look like he has
hair. He looks quite strange now with these few wirey hairs
sticking out.
BOB
You keep going. I'm going to get us
a malted. This hair is getting to me.
DAN
All right . . . me, too.
Bob goes over and scrubs his hands and gets going on a couple
of malted milks. Dan remains sticking in more hairs--one at
a time. Bob brings the malted milks over and Dan stops working
and takes a drink.
BOB
My hands came clean.
DAN
They look clean . . . I'm going to suggest
something and you can stop me if you
want to, but I'm going to suggest it
anyway . . . a wig.
BOB
A wig?
DAN
A wig.
BOB
A wig . . . that's a qood idea. We'll
stop sticking in hairs then?
DAN
We won't stick another.
BOB
Shall we get a brown wig?
DAN (pause)
I've been thinking red.
BOB
Dan, you won't believe it but I've been
thinking red, too.
Later that night Deborah, Bob and Dan are all staring at Ronald.
He has on his new red wig of high wavy pompadore style hair.
DAN
It's perfect.
BOB
It's perfect.
DEBORAH
It is perfect, Sweets. Is he finished?
DAN
Almost, but we have to start him. You
set, Bob?
BOB
All set!
DAN
Pull three light!!
DEBORAH
Oh!!
Bob and Dan each have several controls. They begin turning dials
and pulling levers. The chair begins to vibrate some and Ronald
begins to come to, but very slowly. From time to time he opens
his mouth and emits strange sounds and also from time to time
he blacks out altogether. Even when he's out, he twitches and
bounces. When he begins to fade, Bob and Dad pour on the juice
and the lights dim way down and there is an eerie glow. Deborah
looks beautiful in the glow as she watches the spectacle. Slowly,
Ronald begins to come to again. He looks very awake and his
eyes roll about. He begins to move and he begins to scream.
He starts to stand as he screams and vibrates violently when
all the lights blow out. POW!!! All at once. Ronald falls
back in his chair and is still, however, he looks awake now.
The moonlight is illuminating the room slightly.
DAN
Scapels!
BOB
(looking down out the window)
I think we blew out the whole building.
Ronald moans and his eyes start rolling.
DAN
I hope he's all right.
DEBORAH
How will you fix the electricity?
DAN
They'll be on it soon, but last time
it took hours. I'm afraid this is it
for a while.
Ronald stops moaning and looks peaceful.
DEBORAH
He looks peaceful now . . . in the dark-
ness. Is he all right honeys?
DAN
I think he's all right . . . we brought
him around.
A CU of Ronald reveals open eyes and a dazed, peaceful look.
Bob, Dan and Deborah move to a window and look out on the city.
Deborah turns to Bob and then to Dan. She gives Dan a slow tender
kiss on the lips and then she gives Bob the same. The three
of them stand close together looking out the window. Ronald
sits looking around the room still tied to many wires and sitting
low in the chair.
Some clouds go by slowly, and Bob and Dan and Deborah hugging
now, watch the city and the sky.
Suddenly the power comes back on. Ronald screams bloody murder
and is shot out of his chair twenty feet through the air. The
wires stuck to him keep him from going any further. The lights
in the room blink on and off and the equipment goes crazy with
sounds and sparks. Dan and Bob rush to turn things off.
BOB
What happened?!!!
DAN
You forgot to turn the damn machines
off, that's what happened.
BOB
I forgot?
DAN
Well, what does it look like?
DEBORAH
Sweets, stop.
BOB
I forgot?! What about you?
Bob shoves Dan and he trips over Ronald's wires. Bob hits Dan
hard in the nose. The fight goes on all around Ronald who is
also on the floor. In and amongst the wires, Dan and Bob beat
each other while Deborah is screaming for them to stop. Ronald
sits up . . . the lights flutter several times, dim and then
go out. This stops the fight and all is dark and quiet except
for heavy breathing.
DAN
There must have been 10,000 volts through
him.
BOB
I think we may have some trouble there.
DEBORAH
You're bad . . . you're bad, bad, bad.
DAN
Did you see him fly across the room?
Like a rocket?
Sounds come up slowly.
BOB
Ronnie the Rocket.
DEBORAH
Ronnie Rocket.
Up close on Ronald. In the moonlight laboratory he says
RONNIE
Ronnie Rocket.
The other three turn to him in amazement.
DISSOLVE TO:
INT. Bob and Dan's Laboratory - Day
Ronnie is now fitted with a small black suit with a nice white
shirt. Bob and Dan now have the shirt open and they are in the
last stages of fitting Ronnie with his electrical chest appli-
ance. This is a life sustaining device which Ronnie will have
to wear continually. It fits to his chest with little shoulder
straps and one strap which goes around his torso. A series of
electrical wires come off this device and go surgically into
Ronnie's body. One fat cord comes out of the appliance and it
ends in a plug.
DAN
Don't tighten that strap too tight Bob.
BOB
I'm not.
DAN
See Ronnie? . . . See the plug? You
have to learn to plug yourself in every
fifteen minutes . . . When you hear the
little warning signal . . . . otherwise
you will (not wanting to upset Ronnie)
otherwise you will feel . . . funny.
RONNIE
Funny.
DAN
Yes!! (to Bob) He said funny.
BOB
Can you say Bob?
RONNIE
canuu SayBob
BOB
Yes!!
DAN
You're all dressed now Ronnie . . . you're
a little human being . . . can you say
H U M A N B E I N G?
RONNIE
canuu . . . beann.
BOB
It sounded like he said can of beans.
RONNIE
Head canu bean.
DAN
Yes . . . H U M A N B E I N G. My God
Bob . . . he can TALK!
INT. Bob and Dan's laboratory. Bob has painted yellow footsteps
on the floor at one end of the lab. This is planned as a learning
device in order to teach Ronnie to walk.
BOB
Ronnie, we're going to learn to walk!
RONNIE
WAAAA.
BOB
That's right, now, come here . . . that's
it . . . now, put your foot . . . no,
your right foot, right there on the
painted foot step . . . that's it . . .
NO! . . . on the painted footstep . .
. there . . . Yes . . . Now . . carry
the other foot through the air like this
. . . watch me . . . like this and put
it on the next painted footstep . . .
See? Watch me walk . . . then you do
it . . . OK? Watch me first.
Ronnie watching Bob as he picks one foot up very high and carries
it to the next painted footstep. Ronnie watches this strange
walking; then he mimics it perfectly. The only problem is Ronnie
doesn't ever smooth out his walk . . . He learns the high step
and the high step is what he does from then on.
BOB
No Ronnie, you don't have to lift your
feet so high . . . I was just doing that
in order to very carefully show you the
various phases of walking . . . Now
you can stop this high step which I showed
you and walk NORMALLY . . . walk NORMALLY.
RONNIE
MALLY.
BOB
Yes . . . Now let's walk around NORMALLY.
They begin walking again but Ronnie maintains this very meticu-
lous high, long stride. Dan enters the lab carrying a box of
electrical apparatus.
Even though he sees this strange sight of Bob and Ronnie, he
smiles proudly . . . their son is walking!!
INT. Deborah's apartment - DAY
DAN
Look Ronnie, this is Deborah's apart-
ment.
DEBORAH
I'm so happy you are finally able to
see it.
BOB
I am too.
DAN
Can you say apartment?
RONNIE
Can you say partma.
DEBORAH
Come Ronnie, let me show you around.
Deborah takes Ronnie's hand and begins to lead him but her poodle
dog stands up and begins to growl. Ronnie makes a small noise
and leaps back. He shakes with fear.
DEBORAH
I think he's afraid of the dog . . .
I will have it removed . . . I will have
it removed Ronnie.
Slowly, so that Ronnie can see everything the three of them take
him through the living room and dining room. His little eyes,
darting here and there. In the kitchen. Ronnie high steps around
looking at all the different shapes and textures. He spots the
toaster. He goes to it and looks at his reflection in the shiny
metal.
BOB
It's a toaster . . . look.
He puts a piece of bread into the toaster and pushes the toaster
"on." As the toaster heats up a strange electrical disturbance
starts in Ronnie's chest and soon he is emitting through his
mouth a high pitched electrical scream. The toast blows out
of the toaster scorched black and burning. Deborah screams.
Smoke begins filling the room. Bob and Dan rush Ronnie into
the living room. His little eyes are rolled back. Bob and Dan
begin looking at various components of the chest-appliances.
DAN
It's the RZ factor again.
BOB
I think he really got too much the other
night.
DAN
Yeah . . . what can we do? Maybe we
should run him through again.
BOB
Hell! The work!
DAN
Yeah but the shielding's all gone to
hell Bob . . . that jolt the other night
. . .
DEBORAH (worried)
Will he be all right?
DAN
Sure he will . . . we just have to keep
an eye on him . . . (Dan looks around)
turn something else on . . . turn the
radio on.
Deborah goes over to a big floor model radio and turns it on.
She turns the dial trying to find a station. She passes a station
where a woman is singing a song. Ronnie almost leaps to the
radio.
DEBORAH
Do you like that? . . . Do you like
that song?
She tunes in the music. A beautiful melody is being sung by
a women with a high clear voice. Dan stands Ronnie by the radio.
There is a slight static sound. He adjusts a dial on the chest
appliance. The static disappears and he stands back away from
Ronnie. Ronnie suddenly opens his mouth and begins to mimic
the woman's voice on the radio. He actually sings some very
beautiful notes. Deborah looks amazed and she happily turns
to Bob and Dan who also begin to smile.
BOB
What a voice!.
DEBORAH
A singer!
Suddenly though the electricity goes funny again. Ronnie's voice
causes tremendous static to build. The electrical complication
causes a wild distortion in the woman's voice and before Dan
or Bob can get to Ronnie the radio speaker is blown out with
an explosion. The radio, having been destroyed, sits smoking
silently. Ronnie begins to cry. Deborah is horrified and rushes
to his side joining Bob and Dan.
DEBORAH
It's all right Ronnie . . . What can
you do boys?
DAN (worried)
We'll shield him good so unless he's
near lots of power he'll be OK . . .
BOB
Yes this is it . . . this is what we
will do.
DEBORAH
Good . . . I noticed he's developing
several sores on his little face honeys.
What is this?
DAN
It looks like acne.
DEBORAH
Yes it does.
BOB (going to look for himself)
It sure does.
DEBORAH
What do you suppose is the cause of this?
BOB
It could be the electricity but . . .
(thinks) how old is Ronnie do you think?
BOB
I don't know . . . twenty maybe.
DAN
Twenty. I'll bet he's sixteen . . .
Look at that acne . . . he's high school
age.
BOB
Probably sixteen, yes. I was overshooting
it a little with twenty. Yes . . . prob-
ably sixteen.
DEBORAH
I think you're right . . . Oh how wonder-
ful . . . high school age. High school
was such a dream.
BOB
Yes, but he's not in high school.
DEBORAH
No . . . that's right . . . that's
horrible.
DAN
We'll get him in high school then.
BOB
Oh I don't know . . . He's going to have
to learn an awful lot before we could
ever get him in high school.
DEBORAH
Oh do you think we can?
DAN
Ask Ronnie if he wants to go to high
school.
Deborah does and Ronnie mumbles some sounds happily. She turns
back to Dan and Bob.
DAN
We'll have to get him enrolled though
. . . that will mean questions . . . we
have to have a plan!
BOB
We have to think!!
DISSOLVE
INT. B & D LABORATORY - DAY
Dan stands at a portable blackboard with a pointer stick and
Bob stands back with Ronnie. All the letters of the alphabet
have been drawn with chalk on the blackboard. Dan says a letter
outloud as he points to it with his pointer stick.
DAN
A. (he points)
Bob says the letter with Dan then Ronnie says it as he makes
a smaller pointing gesture with his hand as if he had an imagi-
nary pointing sticks. B . . . C . . . D . . . E . . .
DISSOLVE TO: Dan, Bob and Ronnie huddled together. Ronnie
is speaking.
DAN
A. (he points)
Bob says the letter with Dan then Ronnie says it as he makes
a smaller pointing gesture with his hand as if he had an imagi-
nary pointing sticks. B . . . C . . . D . . . E . . .
DISSOLVE TO: Dan, Bob and Ronnie huddled together. Ronnie
is speaking.
RONNIE
T . . . . . . . F . . . . . .
DAN
right . . . now flip the penny like
I showed you.
Ronnie flips the penny in the air with his little thumb and
it bounces down on the floor . . . heads up, Ronnie bends down
real low and looks at it. Bob and Dan crouch down and look
at it too then they look at Ronnie. They wait.
RONNIE
head . . . . . . T
Bob and Dan smile proudly.
DAN
Good Ronnie.
BOB
Very good. Very good. Heads is T.
Tails is F. Very good.
INT. BOB AND DAN'S LABORATORY - MORNING.
Dense fog is outside the windows. Deborah is there with Dan
and Bob and Ronnie and everyone is dressed up. Ronnie is saying
the alphabet over and over again.
DEBORAH
Oh, I'm getting nervous.
DAN
Everything will be fine. They'll just
probably ask a few questions then enroll
Ronnie and we'll go home. When they
ask for his school records just hand
them this. I got this made up to show
them. Just average grades, etc.
Dan shows this to Deborah.
BOB
I've changed my mind. You go ahead,
I'll stay here. (suddenly screaming)
I helped make that up!! (referring to
the raxe high school transcripts).
DAN
OK! OK! and you're'going. You're his
uncle. You can go!! I'm sure many times
several members of a family go to the
offices to register a boy for high
school. I'm sure sometimes the grand-
parents go . . . It's an important deci-
sion and its a memorable experience
. . . An experience to have in the
memory for a lifetime. If should be
shared by all members of the family.
They may even wonder why more relatives
aren't with us.
DAN
My God . . .
DAN
So you have to go!! That's all there
is to it . . . understand!! No one
will find out about us.
RONNIE
C, D, E, F, G, H, I, J,
INT. HIGH SCHOOL -- HALL AND OFFICES
They enter the front hall of a large old high school and proceed
to the school offices. They are as nervous as they can be.
When they enter they are confronted by a very old stern RECEP-
TIONIST who speaks right up.
RECEPTIONIST
Can I help you? What is it you need?
All react to her stern manner.
DAN (nervous)
Yes, we're Mr. and Mrs. Pink. We have
an appointment with Mr. Murdough . . . the
principal.
RECEPTIONIST
Who's the father?
DAN
I am . . .
RECEPTIONIST
Who's he then?
DAN
He's Ronnie's uncle.
RECEPTIONIST
I see. (she looks at her watch) I'll
get him. . . . you're eight minutes
late . . . I'm sure we haven't got
three chairs in Mr. Murdough's office
. . .
She exits and returns with MR. MURDOUGH
M.R. MURDOUGH (looking at the group
carefully)
Come into my office.
RECEPTIONIST
By the way . . . I obtained a third
chair for the uncle.
When they walk through the outer office everyone stares at Ronnie
. . . including the principal. Once inside his office they
face Mr. Murdough behind his desk. The door has been closed
very hard by the receptionist.
MR. MUROCUGH
Hello Mr. and Mrs. Pink.
DAN
Hello Mr. Murdough. This is Ronnie
and his uncle Bob Platinum.
MR. MURDOUGH
Hello Ronnie . . . Hello Mr. Platinum.
Would you all be seated? Yes, good,
now, you want to enroll Ronnie in our
school?
DAN
Yes, we would.
RONNIE
Q, R, S, T, U, V, W, X . . .
MR. MURDOUGH
Ah . . . yes . . . well.
RONNIE
B, C, E, E, F, . . .
MR. MURDOUGH
(worried)
Where did Ronnie attend school last
year?
DAN (voice shaking)
High school of Factories and Service
we have his records.
MR. MURDOUGH
Good, may I see them?
DEBORAH
Here they are.
RONNIE
P, Q, R, S, T, U, V . . .
MR. MURDOUGH
I see you have a complete list . . . also
the office transcripts . . . usually
we request this information ourselves
this is unusual . . .
DAN
We wanted everything to be orderly . .
. prepared . . . for our Ronnie . . . so
he could begin . . . again . . . I mean
. . . continue in higher education.
MR. MURDOUGH
We will have to give him an entrance
exam of our own, I'm afraid. (he studies
Ronnie) It is our policy on all transfers
. . . it allows us to better place
the student in a class where he will
fit in. What is the chest appliance
I see on Ronnie?
DAN
(answers for Ronnie)
He's recovering from an illness . . .
He has to wear this . . . it must be
plugged in every fifteen minutes.
MR. MURDOUGH
I'm sorry . . . every fifteen minutes,
too. He's not a talker, huh?
RONNIE
F, G, H, I, J, K, L . . .
BOB
As his uncle I can truthfully say that
he does talk . . . I've heard him.
MR. MURDOUGH
Yes . . . I meant he's probably some-
what shy.
BOB
This is what I meant.
DEBORAH
We hope this will be a good school for
our Ronnie. He needs your co-operation,
he needs the care . . . he needs the
attention . . . this is the way we
believe.
MR. MUROCUGH
I see.
DAN
When will the entrance exam be given?
MR. MURDOUGH
Right now if you like . . . Ronnie?
RONNIE
P, Q, R, S, T, U . . .
BOB
(to Ronnie)
Your test Ronnie.
Dan crouches down to Ronnie.
DAN
Ronnie . . . listen to me . . . Ronnie
. . . (the principal watches wide-eyed)
You're going to'take your test now . .
. all right? Ronnie? Your test . . .
your test is now.
DEBORAH
Ronnie . . . the TEST . . . TEST.
RONNIE
B, C, D . . . E . . . test.
DAN
Yes! NOW (to principal) he's ready
now.
The principal is staring at Ronnie and the group.
INT. TESTING ROOM AND SURROUNDING HALLS - DAY
This testing room is surrounded by wire reinforced glass so
the student can be observed on all four sides. There is a large
clock above the glass on one wall. Ronnie is seated in a desk
and'the stern receptionist is speaking to him. An extension
cord and electrical box have been provided for Ronnie's electrical
needs. Bob, Dan and Deborah have been allowed to watch but
They are outside the room looking in through the glass. They can just
barely hear the Receptionist.
RECEPTIONIST (to Ronnie)
This is not a party . . . this is not a rowdy
night on the town. This is a TEST. This is a
three part test . . . multiple choice, true or
false, and essay. I will be watching, you, young
man, so no funny business . . . You have one half
hour . . . I might add that this test has been
devised by Dr. Herbert Smythe of Freeport Univer-
sity.
RONNIE
Funny business . . .
The stern Receptionist turns and leaves the room but she remains for
awhile at the glass until she sees Ronnie start filling in squares on the
multiple choice part of the test.
DAN (quietly to Deborah and Bob)
I told him just color in the blocks where he
wanted to . . . we'll leave it up to fate.
BOB
I told him too Deborah . . .
SUDDENLY Ronnie starts flipping pennies and going, crouching down, looking
then going back and marking his paper. Deborah looks at Bob and Dan.
DAN (to Deborah)
He's on the true or false section now.
Just then the Receptionist appears again. She is shocked by what she sees
Roonie doing. She enters the testing room in a rage.
RECEPTIONIST
All right young man!! . . . What is the meaning
of this? Don't think you'll put on over on me
. . . or Dr. Smythe You cannot fool Dr. Smythe.
The bell rings. Ronnie's head flies back and the Receptionist grabs
the test from him and marches off. Bob, Dan and Deborah look worried.
Later in the prinicpal's office they all wait as the Receptionist
brings in the results of the entrance exam.
She hands them to Mr. Murdough. She looks very agrily at them all
--then leaves.
Murodugh looks at the exam and then at Ronnie.
MR. MURDOUGH
Ronnie Rocket.
RONNIE
Ronnie Rocket.
MR. MURDCUGH
You like mathematics?
Ronnie says nothing.
MR. MURDOUGH (cont'd.)
Are you interested in mathematics?
(getting no response from Ronnie he
speaks to the rest) He shows a definite
gift in higher mathematics, quite a
gift. The rest of the exam is mediocre,
but as far as I'm concerned, he is
eligible for our school.
Bob, Dan and Deborah share an incredulous look.
MR. MURDOUGH (cont'd.)
He's a puzzling bcy. Does he have
brothers and sisters?
DAN
No, he's an only child.
MR. MURDOUGH
I see, an only child, huh Ronnie?
Ronnie says nothing.
MR. MUROCUGH (cont'd.)
(looking at Ronnie)
He's got the blemishes they all seem
to get at this age. (he chuckles over
this and tries to get them to chuckle
along) I had the blemishes bad when
I was a youngster. Coal cities is where
I grew up. The black coal dust clouds
would blow all day and all into the
night, it got the coal dust in my teeth
and hair and all in the pores of my
skin. All the kids had it bad. It's
when I saw Ronnie here, I hadn't seen
MR. MURDOUGH (cont'd.)
it quite like his since I was back in
the coal cities. The factories here
will do it, too. The coal, the smoke.
The black smoke makes red sores. That
always seemed funny to me . . . that
black smoke would make red sores. All
the kids sure had 'em. Reminds me just
looking at Ronnie. (he picks up the-
exam) So this Ronnie Rocket is a mathe-
matician, is he? (all nod up and down)
Ronnie Rocket.
RONNIE
Ronnie Rocket.
MR. MURDOUGH
Yes, well you can start school on Monday,
Ronnie.
At this, Ronnie's warning signal starts up on his chest appliance
and he gets a queer expression on his face. He bends over
slowly and walks to an outlet and plugs himself in. The principal
watches this. Ronnie's face is forlorn, a far away look in
his eyes. Deborah, Dan and Bob all look at Ronnie, and then
at each other and Mr. Murdough then back to Ronnie who has
found several dead flies by the window. He is gathering them
together in his hand.
Terry and the Detective go along a filthy city street; walking.
People going by wear a glazed, dazed, totally spaced out look.
TERRY
Things have gotten bad here . . . I
can tell you . . . these people are
in bad shape.
In a pastry shop across the street two shop owners stand behind
the counter. A man stands in the middle of the square store
and looks at the pastries.
MAN
Well I guess I'll get some of them . . .
The clerk is about to get the pastry for the man.
MAN (cont'd.)
No. . . I changed my mind. I'll take
some of them.
The clerk moves to the new pastry.
MAN (cont'd.)
No . . . I'll get some of them.
The clerk moves again. The man looks up at the ceiling.
MAN (cont'd.)
How much ya want for the light up there?
EXT. STREET DEEP IN CITY - DARK CLOUDY DAY
Terry and the Detective continue walking toward the diner.
The Detective stops to look at a man balancing on one hand and
one foot.
TERRY
Hey let's go in the diner . . . get
something to eat . . . Hey!! . . . (sees
the Detective looking at the man balanc-
ing). That's the guy I was telling
you about . . . (goes to the man balanc-
ing) He (referring to Detective) can
stand on one foot!
At this the man, incapable of receiving such shattering informa-
tion, cries out in agony.
TERRY (cont'd.)
(to Detective)
Come on!
They enter the diner and sit at the counter. The place is fairly
full; mostly vacant eyes low class people eating dull looking
food. The counter has now become crowded as more people come
in to the diner. It is steamy and hot inside. The grill is
sizzling. The coffee machine is steaming. The man next to
the Detective on his left is having a large bowl of soup.
TERRY
(to waitress)
Gimme some bacon and eggs will ya and
a cuppa coffee. (turning now to Detective
- smiles slyly) Do you know the symbolic
meaning of an egg?
DETECTIVE
Terry . . . (He frowns at Terry but
the waitress is waiting). Cheese sandwich
and a cuppa coffee.
Coffees are brought immediately. As he drinks his coffee the
Detective watches the people eating . . . he watches the food
being prepared. Everything here, at least, seems to be fairly
normal. Terry's bacon and eggs arrive and he begins eating
hungrrily. The knitters have followed the Detective and Terry
to the diner. They and some of their friends stand around
outside talking about the Detective. "If only I was younger"
. . . laugh . . . laugh . . . "and he can stand on one foot!"
Inside the diner the Detective watches the man to his left slurp-
ing his hot soup. Now the Detective's sandwich is being pre-
pared. He sees the cheese being placed on the white bread and
mayonnaise being spread on the top piece of bread. The sandwich
is put together and sliced in half with a big kitchen knife.
On a plate it goes and the waitress sets it down in front of
the Detective. He picks up one half and takes a big bite.
He chews.
TERRY
How's the sandwich?
DETECTIVE
Pretty good.
TERRY
Yeah . . . you like that cheese huh?
DETECTIVE
Yeah.
TERRY
Cheese is made from milk.
Outside on the street suddenly people are running and
acting crazy . . . Slobbering, unable to stand, spinning,
falling, walking into posts or walls, dogs whimper and press
themselves to the pavement. The knitters begin to walk back-
wards. A massive black truck with an enormous antennae is round-
ing the corner. The antennae issues forth tremendous electrical
sparks and there is a loud humming and buzzing in the air.
People are getting very confused.
Inside the Diner.
TERRY
AOH OH . . . hold on buddy . . . Here
comes the truck I was teelinguablaotingki
The electricity gets very loud. Suddenly the diner goes crazy.
The man to the left of the Detective immediately puts his elbows
in his soup. The Detective is suddenly off his stool with his
chin pressed into the center of his cheese sandwich on the
counter. Terry's hand wants to go down Terry's throat and Terry's
teeth want to bite his hand. The waitress must be standing
on her head because only her legs and feet rise up above the
counter. Each person in the diner is having his own personal
seizure from bloody noses to head pounding to tongue swallowing
The Detective's eyes are rolling and his chin is flattening
his cheese sandwich to the thickness of fine paper.
The door to the diner flies open and in comes a large fat man
with a wild smiling face. His eyes bug out with each smile.
In his arms he holds a box of powdered sugar donuts. In his
hand is a nice donut, which he eats all at once. As he chews
he happen, surveys the pandemonium.
Behind him a large gang of black coated men pour crazily into
the diner. They begin zapping people with electricity!!!
The Donut Man goes over to the Detective and leans down--looking
him in the eyes. The Detective tries to focus on the Donut
Man.
The Donut Man holds up a donut right in front of the Detective's
face.
DONUT MAN
Life is a donut . . .
The Donut Man laughs uproariously.
Outside in the streets there are fires burning and electrical
sparks in the air. Men, women and children and animals are
running wild. Some are on fire.
Inside the diner a black coated man wades through a pile of
bodies and stands in front of the man eating the soup. The
black coat zaps the soup man and the soup man's arm flies back,
hitting the Detective in the eye.
DETECTIVE
OWWW!
The Black coat moves quickly to zap some more people. The Detec-
tive's eye is watering and puffing up, but he sees a strange
sight across the diner. Someone yells at the donut man that
the donut man's shoes are untied. The donut man does not have
a "normal" reaction to this. He screams bloody murder and runs
wildly out of the diner. Just then a black coat turns and zaps
the Detective right in the head with an electrical cattle prod
gun. The Detective flips off his chair and lands next to Terry
on the floor. The black coats leave as quickly as arrived.
TERRY
Did you see how dark it got? Do you
understand . . . Light and dark . . .
Light and dark?
DETECTIVE
TERRY !! . . . (struggles to sit up)
. . . I almost bought it . . . I almost
lost consciousness.
TERRY
Yeah a lotta them did here . . . look.
They look around and see many dead people around the diner.
DETECTIVE
When that guy's arm hit me it hurt so
much . . . It made me able to concentrate
otherwise. When I got zapped I woulda
checked out.
TERRY
Hey wait a minute . . . same with me,
only it was my sore that was killin'
me. You're a pretty smart fella . . .
this sore hurt like hell all the time
. . . do you think its helpin me, by
God?
DETECTIVE
Yeah . . . Terry! We gotta make some
rigs to keep us in pain . . . you know
. . . not always . . . but when we need
it. Understand?
TERRY
Yeah! . . . that's a hellova idea . . .
INT. HOTEL ROOM - DAY
Terry has found several things and he's showing them to the
Detective.
TERRY
Look at these pin cushions I got from
the knitters upstairs . . . stick the
pins all the way through . . . Yeah . .
. now stick it under your collar on
the side or back of your neck.
Terry places the wad of pins inside the Detective's collar against
his neck.
DETECTIVE
OWWWW . . . that hurts! Man is that
painful!! . . . (tears from his eyes
from the pain)
TERRY
I'll get us some knitting needles too
EXT. STREET - DEEP CITY - DUSK.
Terry and the Detective are cautiously walking down a sidewalk.
TERRY
Now we're gettin' back in there. Don't
look now but that's Ronald's parents'
house . . .
DETECTIVE
It is??
TERRY
Yeah . . . we gotta start here . . . a
lot of things begin to go wrong at home
with the parents if you understand what
I'm talkin about . . .
DETECTIVE
Yeah . . . but this is all memories?
TERRY
You'd play hell to tell the difference
. . . oh oh!
Bill, the other man on the train with Terry is seen walking
toward them on the other side of the street. Terry pulls the
Detective with him behind a tree.
TERRY (cont'd).
It's Bill . . . go ahead into Ronald's
parents' house . . . get going . . . .
Bill would kill me if he saw me go in
there. Go quick before he sees us!
I'll find you, don't worry! Hurry!
Don't leave the house!
The Detective hurries up the walkway to Ronald's parents' house
and rings the bell. He looks around. Bill has seen him. Bill
stands across the street grinning an evil grin at the Detective.
The door is answered.
DETECTIVE
Hello . . . I've come to speak to you
about . . . Are you the parents of
Ronald De Arte'? Yes? I've come to
speak to you about Ronald . . . Are
you available for speaking?
The father is whittling a piece of wood.
MOTHER
Come in . . . we've changed the house
. . . did you know it before?
DETECTIVE
No . . .
MOTHER
It now is the way it is . . . Sit down.
DETECTIVE
You haven't been in touch with Ronald
for a long time.
FATHER
We've been here all along.
DETECTIVE
Yes, but there's been no correspondence?
MOTHER
No . . . He couldn't seem to stay out
of trouble . . . It became difficult
for us . . . his parents . . . and family
who loved him so much.
DETECTIVE
I think he's in a great deal of trouble
now.
MOTHER
He always was . . . A great deal of
trouble . . . (She has difficulty breath-
ing . . .)
DETECTIVE
You are fond memories of his . . . I'm
sure . . .
FATHER
Oh yes? How does he remember me like
this? (he makes a strange smiling face)
MOTHER
And me like this? (she makes the same
strange smiling face).
They laugh with each other.
FATHER
I'm sure he's in trouble . . . we haven't
heard from him in ages . . .
MOTHER
I'm sorry, did we offer you some coffee?
Suddenly the Detective sees some electrical sparks shoot out
of a socket . . . It is instantly later and coffee is being
poured.
MOTHER
Some sweets?
DETECTIVE
Thank you . . . (he takes some chocolate)
FATHER
So. . . . you are a detective?
DETECTIVE
Yes I am.
Suddenly the father has frozen with paralyzed nerves and fallen
head first into the rug. He remains with his bottom up in the
air still resting on the chair while his forehead carries the
weight of his body pressed against the rug. Paralyzed.
MOTHER
(nervous)
Oh, he's gone off again. Give me a
hand would you?
DETECTIVE
Surely . . .
MOTHER
Daddy . . . Daddy, it's all right. It's
all right.
FATHER
Yes . . . my God . . . Gone off again.
MOTHER
Yes you did Daddy . . . It's the excite-
ment . . . take a drink of your coffee
let me pat your forehead . . . is
that better . . . let me rub your neck
there and there . . . is that better
. . . do you like that.
FATHER
(extremely irritated with the mother)
OK, OK, that's enough . . .
MOTHER
(very defensive suddenly)
Oh, I'm sorry.
FATHER
(trying to stop the inevitable fight)
No, No thank you. It's better
now . . .
MOTHER
(still at him)
Oh, so, I did do something good, huh
. . . Did I?
FATHER
Yes. Sure, you did.
MOTHER
Yes . . . I saw how much you enjoyed
it.
Now in comes the daughter, Celia.
CELIA
Who's this?
MOTHER
This is a detective . . . I suppose
looking into Ronald's life . . . What
led him to ruin . . . such a sweet
lad. . .
CELIA
(to detective)
You can just come in to homes and lives
and all like that?
DETECTIVE
Yes . . . I guess so.
FATHER
(to detective)
I've lost my job . . .
MOTHER
(amazed)
He hasn't been able to discuss it with
anyone, have you?
FATHER
(very angry at her)
No I haven't . . . I'm speaking to him!!
MOTHER
I just meant it's nice that you can
talk about it now, isn't it?
FATHER
(to detective)
Everything's gone to hell.
CELIA
(to detective)
You like music?
DETECTIVE
Some music . . .
CELIA
You wanta listen to records? I have
a record player in my room.
FATHER
What's wrong with the victrola right
here young lady?
MOTHER
Oh, let her show him her room . . .
It's nice to have someone drop by, isn't
it sweet?
FATHER
What the hell's wrong with this victrola
right here?
CELIA
Come up . . . they don't like my records
anyway.
She takes the Detective to the stairs and starts up. The father
follows and grabs the Detective by the wrist.
FATHER
(under his breath)
To her room heh? For records? Give
it a rest . . .
CELIA
Dad!
FATHER
Just what in the hell is wrong with
that Victrola right there . . .
CELIA
He's coming up to my room to listen
to records . . .
MOTHER
Honey, let them go . . . I think it's
nice . . .
CELIA
See Dad?
FATHER
(under breath again)
I see . . . I see . . . (close to Detec-
tive's ear). What did you walk into
heh? (he squeezes the Detective's wrist
really hard) (now he speaks loudly)
Why don't you just get the hell out!!
CELIA
Mom . . . I wanta talk to you about
something.
FATHER
OK!!! Go on up . . . listen to that
puke . . . that's what it is too, all
of it . . . It's all junk now . . . ruined
. . . forever!!!! You call that music!
It's pitiful!!!
The sister brings the Detective into her room and shuts the
door. She goes to the phonograph and starts a swing record.
Organ playing - very faint, very scratchy. She starts to sway
with the music--her head, her shoulders. She looks to the
Detective. He is swinging, too. She stands up and bares her
breasts to the Detective.
CELIA
They hurt so touch them easy.
The father is mounting the stairs. He comes down the hall and
listens at his daughter's door.
Inside the Detective is kissing Celia who has now removed her
blouse.
FATHER
(yelling through the door)
You call that music?
CELIA
Oh shut up - (she scratches the needle
across the record - the music stops
. . .) Just shut up.
FATHER
(yelling)
Ronnie used to sing . . . He really
did . . . He knew a damn good song . . .
Come out and mother and I will sing
it to you.
Celia is reaching for and opening a jar of medicated salve or
ointment. She opens the jar and indicates to the Detective
to get some ointment and rub it on her breasts. The lid makes
some noise as she turns it closed on the jar. The father hears
it.
FATHER
(now screaming)
Is that your ointment!! Is it? Stop
it!! Stop it!! Is it? I heard it.
CELIA
I'll sing the song! (as her breasts
are being rubbed and her eyes close
in ecstasy . . .she sings a beautiful
love song . . . very pure, very beauti-
ful.
FATHER
Stop it . . . You're not going to sing
his song in there with him!!
The mother climbs the stairs.
MOTHER
Is that Ronald's song I hear? Is it?
FATHER
Yes! . . . He begins pounding violently
on the door--frantically.
FATHER (cont'd)
Come out of there.
FATHER
Come out of there . . . I mean it
. I'll call the police! I'm going to
get them now . . . they'll be here any
minute!
The father rushes downstairs . . . past the mother who stands,
confused.
CELIA
(to detective)
He won't call them . . he's all talk
. . . come closer to me . . . touch me
(as he does) don't do it that way! (he
changes ways) OK . . . that's better
. . . I have to move a little because
I can't stand still like you do . . . (she
starts swaying quite quickly back and
forth) Can't you kiss me? . . . yes
there . . . wait! Don't push in
like that though . . .
The Detective tries once more to kiss Celia but she stops him
again.
CELIA
Can I lean a little bit? I have an ear
ache and I can't put my head back like
that . . . It hurts . . . hold my waist
so I can lean over OK? . . .
The Detective is now holding her up as she is leaning way over
to her right, her long hair almost touching the floor.
CELIA (cont'd.)
Let me lean over more . . . Now you can
feel me . . . don't let go with that
hand . . . use the other one.
He starts feeling her breasts with his right hand, while he holds
her up with his left.
CELIA (cont'd.)
. . . a little bit less . . . they hurt
. . . I told you that!! . . . I have
to move my feet . . . move your feet
over some, OK? . . . yeah.
There are noises of steps outside the door. Several people.
CELIA (cont'd.)
Do you like police?
The Detective turns frantically to look at the door.
DETECTIVE
Well . . . maybe not right now.
CELIA (smiling)
No?
DETECTIVE (nervous)
No . . . not so much right now . . . Is
there another way out of here.
CELIA (as she stands up)
Go upstairs . . . through the door.
Ask the nurse to let you out the back.
DETECTIVE
The nurse?
DETECTIVE
My grandfather's up there . . . he's
real sick--hurry up.
There is loud banging on the door.
FATHER (yelling through the door)
Open up . . . I have the police!!
CELIA
Come on Dad . . . we're not doing any-
thing.
She hurries the Detective up the back stairs. As he climbs the
stairs he can still hear the father yelling and Celia yelling
back.
CELIA
Send them away or I'll tell them what
you do to me . . . I will!
The Detective enters a small room. A nurse stands next to a
bed where an old man lies. The nurse turns and studies the Detec-
tive.
DETECTIVE
She said you'd let me out the back door.
NURSE (very calmly)
You'll have to get a saw and some lumber
and make one then because there sure
isn't a back door up here.
DETECTIVE (looking around frantically)
Oh yeah?
OLD MAN
I'm awfully sick . . . Did you know
that? . . . and then guess what?
DETECTIVE
What's that?
OLD MAN (starting to cry)
Someone must have snuck in here last
night and glued my arms to the bed . .
. the bastards . . . Can't move em'
now . . . stuck down . . .
NURSE (whispering to Detective)
He's paralyzed . . . What about it?
He won't care . . . and what can he do
if he does? Do you want to kiss me? .
. . real hot?
DETECTIVE
I gotta get out of this house . . .
NURSE
Look at this . . .
She shows the Detective one of her breasts.
DETECTIVE (as he studies it)
. . . but . . . I really have to go . . .
really.
NURSE
All right then . . .
She puts her breast away.
OLD MAN
Hey . . . let me see . . . let me see
. . . Oh my God!
The Detective crawls out the window and looks around. He sees
another building within jumping distance. He hurries across
the roof and leaps to a small balcony of the neighboring build-
ing. He crosses the balcony and goes through a very dark room
to an interior hallway, high in the old building. Suddenly a
policeman appears climbing a staircase. The policeman grabs
the Detective and pulls him along the corridor.
POLICEMAN
Almost!! . . . you almost got away . . .
but how would he like to remember this?
The policeman shoves the Detective's head into a room where a
small boy is hit in the back of the head with a rock.
POLICEMAN
Or this?
He shoves the Detective into another room where a bird with a
broken neck is doing backward sommersaults.
POLICEMAN
Or this?
He shows the Detective the next room. In it he sees a stairway
as if coming down from above. Slowly someone is descending the
stairs but all he sees are the feet . . . coming down--closer
. . . frightenly close.
POLICEMAN
Or this
He shows the Detective the next room. In it the Detective can
see the shape of a woman. He looks closer. He sees two breasts
as screams are heard echoing horribly in the distance.
Suddenly there is a spark shooting out of a wall socket in the
corridor. The Detective notices then looks up. The policeman
is gone. Then, above the Detective hears a loud screeching sound
as the light is drained from the overhead bulb. The Detective
moves slowly to the end of the corridor and starts climbing some
stairs.
He climbs higher and higher. Each flight of stairs looks the
same. Finally, he stops to rest. Just as he does, he hears
something. A moaning distant wind. Then suddenly some music,
"Reminds me of you." A door opens above and a beautiful girl
appears. The Detective cautiously goes to her.
GIRL
Hello . . .
DETECTIVE
Hello . . .
GIRL
Who are you?
DETECTIVE
I'm . . . a Detective . . . Who are
you?
GIRL
Don't you know?
DETECTIVE
No . . .
DIANA
I'm . . . well . . . I'm Diana.
DETECTIVE
You are? You're beautiful . . .
DIANA
Do you think so?
DETECTIVE
Yes . . .
DIANA
We're all going to the club tonight.
DETECTIVE
Yes? What club is that?
DIANA
It's called the Circle Club. I'm putting
on my make-up.
DETECTIVE
Oh yeah?
DIANA
Do you want to come in?
DETECTIVE
Yes . . . sure . . . if it's all right.
DIANA
Come in.
She takes the Detective inside. He sits in an easy chair while
she sits at her make-up table and starts getting ready to go
out.
Suddenly the wall begins to shake very quietly . . . It begins
to strain, the light on Diana's make-up table strains and dims
. . . the light explodes as two sections of the wall blow out
. . . electric wires bend into the room and begin to jump and
flip like hissing snakes shooting out electrical sparks. The
room darkens to a haunting feeling, Diana rubs a long line of
lipstick up her face-up her nose, eye, forehead and into her
hair before she flips backwards out of her chair onto the floor
next to the Detective's chair. The Detective is pushing a pin
cushion into his neck and blood is forming in little dots. Both
their eyes are wild. The Detective strains and pushes a knitting
needle into Diana's leg. Her eyes focus on she reaches out for
him. The electrical violence reaches a fever pitch then begins
to subside. The ceiling light glows a bit brighter. Diana and
the Detective slowly come out of their fits and find they are
looking into each others eyes. As she looks dreamily at the
Detective.
DIANA
You put a knitting needle into my leg.
DETECTIVE
Yes.
DIANA
But why?
DETECTIVE
So you wouldn't lose consciousness.
If I hadn't you . . . you would have
died.
DIANA
I felt it save me . . . may I touch your
face?
DETECTIVE
Yes. . . .
DIANA
May I touch your lips?
DETECTIVE
Yes.
DIANA
With my lips?
DETECTIVE
Yes.
They kiss.
DIANA
I want to be with you always . . .
DETECTIVE
And I want to always be with you . . .
DIANA
It's a dream . . . Yes . . . is it?
DETECTIVE
It must be.
DIANA
Why?
DETECTIVE
When I kissed you I saw fire . . . (we
now see what he talks about--a wall of
fire) and I saw that three of my fingers
were on fire . . . (we see three burning
fingers) and I saw three explosions of
light in the sky and streamers falling
down (we see this) and I saw three people
who couldn't walk (we see them)
DIANA
You did?
Suddenly a friendly large woman, THE AUNT, enters hurriedly.
THE AUNT
Aren't you coming Diana? Oh my dear
you look a dreadful sight . . . whatever
happened?
DIANA
I would like you to meet my friend . .
. he's a Detective . . . He saved my
life . . .
THE AUNT
Oh my Lord. Are you two all right?
Thank heavens. Oh . . . he's a handsome
one . . .
DIANA
Yes he is . . . this is my aunt . . .
didn't anything happen in other parts
of the house?
THE AUNT
No dear . . . the lights dimmed . . . we all had a jump . . .
nothing more. Is that a knitting needle in your leg darling?
DIANA
Yes it is. It save my life.
THE AUNT
Oh it did? Oh my. Thank heavens . . .
hurry along, we're late for the club.
Your pretty face is quite a mess honey
. . . really it is. (she leaves)
DIANA (with her very messy face,
she turns to the Detective)
Would you take me to the dance tonight?
DETECTIVE
Yes . . . absolutely yes . . .
DIANA
Do you think it's safe?
DETECTIVE
I have a feeling we can do anything .
. . as long as we're together.
Outside Bill is standing in some bushes looking up at Diana's
house.
The Detective and Diana walk arm in arm down the sidewalk along
with Diana's uncles and aunts and friends--a group of at least
fifteen very dashingly and beautifully dressed people. They
arrive at a striking entrance to the "circle club." It is a
gigantic white neon circle glowing against the black night sky.
Underneath it is a smaller glowing circle and passing through
it one enters the "circle club." The Detective and Diana look
up at the big circle. The Detective is struck by the power of
the image and tries to figure something out inside his head.
He shrugs off the thoughts and happily enters the club with all
the others.
Inside the night club, which is very elegant in a 30's sort of
way, a maitre 'd seats the large party at a big round table near
the center of the vast room. The place is crowded with fancy
People. The Detective and Diana are so in love. "I think we've
discovered a pair of love birds, don't you?" someone says. "I
think they make a darling couple." "It's a perfect match."
INT. DEBORAH'S APT. - NIGHT
This is a cozy setting. Bob, Dan, Deborah and Ronnie are all
sitting happily together in Deborah's livingroom.
DEBORAH
Ronnie you are such a love . . . and
how hard you study on your homework?
Ronnie's page, however, is blank except for tiny scribbles of
the symbols he showed the Detective in the hospital. We move
into a CU of Ronnie.
INT. NIGHT CLUB - DEEP CITY - NIGHT
DETECTIVE
I'm wild about love.
DIANA
Me Too.
DETECTIVE
How can life be so dreamy?
DIANA
I know.
Drinks are served--large bottles of champagne. All sorts of
little hors d'oeuvres are brought out. The party is getting
happier and happier. An old gentleman proposes a toast.
OLD GENTLEMAN
to love
Everyone "to love." They drink. The Detective asks Diana if
she would like to dance. The music is by a large orchestra play-
ing a 30's style waltz. Very beautiful. The Detective and the
girl hold each other tightly as they sway to the music.
A large group of people enter the Club. They are all smiling
as they look around at all the other happy smiling people.
MAN IN CROWD (smiling)
Gee this is a happy place!!
As they dance the Detective notices that the light coming from
one of the table lamps is decreasing in intensity. He holds
Diana tighter. He tries not to think about it but it worries
him.
At the table the old Gentleman who gave the toast is reminiscing.
A few people are half listening to him as they watch the dancing.
OLD GENTLEMEN (smiling in his reverie)
I had a girl like her once . . . I was
in love . . . her lips were red like
this one's are . . . her eyes were bright
I wanted to touch her and kiss her all
the time. My love was so intense!!
No one could love that way . . . so
strongly.
The Detective looks over to the bad lamp. It is now flickering
and getting darker. He hears the light being sucked out of it.
It goes out. The Detective looks quickly around. All the other
lights are still going.
Back at the table the talk of the old gentleman changes.
OLD GENTLEMAN
However . . . in this world love like
that doesn't last . . . it withers like
the vine . . . it vanishes like the snow
It drys up like the leaves . . . it
changes . . .
The Detective notices another light flickering . . . and another.
A low ominous wind comes now along with the beautiful music.
The old Gentleman is now getting a bit upset with his memory
of love. There is some growing anger and tension at the table.
OLD GENTLEMEN
. . . The love almost rots . . . it
becomes rancid, sour, foul smelling .
. . it putriefies the atmosphere . . .
It degenerates into loathing . . . I
hated that girl . . . let me tell you
she was a whore of the first order . . .
a filthy whore . . . unclean
The Detective sees six more small lights flickering. They screech
as they go out. Others begin to notice. There's a growing
uneasiness in the room.
At the table the old gentleman is enraged with his memory. He
is almost foaming at the mouth with hatred and anger.
OLD GENTLEMEN
. . . I despised everything she ever
thought or said or did . . . She was
like a plague, festering and bubbling,
coughing up foul horror and sickness,
the kind that makes a man plead to die
. . . just to end the trial, just to
be left alone . . . to be rid of every-
thing . . . longing for unconsciousness.
The Detective is dancing very close with Diana. His eyes are
closed. He opens them and moves to look into her eyes. They
are in love, but there is trouble in this circle club. She sees
him looking about, worrying.
DIANA
What is it?
DETECTIVE
I don't know . . . something's wrong
here . . .
He suddenly sees Bill entering.
DETECTIVE
Oh no . . . Bill! . . . I think something
is definitely wrong . . . I think the
trucks are coming.
DIANA
Oh no!
Light slowly starts to drain from the big light above the dance
floor. There is a slow screeching, sucking sound with the
decreasing light.
Now the kitchen doors fly open. The cook stands trembling and
screaming.
COOK
All my animals!! Bleeding from the mouth
. . . All my animals . . . going wild!!
My PIG!!
Suddenly a small screaming pig rushes into the club, zig-zagging
all around, crazily. The cook screaming and running after it.
Everyone in the club is now tense, standing, looking around,
worried. The orchestra plays but musicians are missing notes
and not following the score. The Detective and Diana cling to
each other. The bleeding pig races past them.
OLD WOMAN
Oh my!! A pig is loose. Oh my!!
OLD GENTLEMAN
It's bleeding from the mouth! Look at
the blood!!
Out in the street two giant trucks are coming toward the "circle
club." Each truck shooting electrical sparks high into the air.
The sound is deafening.
Inside the club the pig races into another crowd. More screams.
Then a loud gunshot.
MAN #1
I shot a pig!! I shot a pig. Why did
I do that?
The lights are all flickering now, giving the place a strange
nervous feeling. Sucking and screeching sounds getting louder
and more frequent. Musicians playing horribly--erratic--ner-
vous.
The cook rushes up to the man who shot his pig.
COOK
My God!! . . . You shot my Pig . . .
He tries to kill the pigshooter with his bare hands. People
hold him back.
Suddenly a tall man with a beard, a pipe, and a black and red
checkered lumber jacket pushes his way through the crowd to the
dead pig. With a booming voice he speaks.
LUMBER MAN
I can throw that pig.
COOK
Don't throw my pig!
PIG SHOOTER
It's dead . . . whatdyou care?
COOK
Don't throw it!!
LUMBER MAN
I can throw that pig farther than anyone
can . . . By God I know I can . . .
MAN IN CROWD
I'll bet you can't throw that pig clear
across the room!!
LUMBER MAN
Watch me! MOVE BACK!! (calling out
very loud) Watch out . . . I'M GOING
TO THROW A PIG OVER THERE
People begin frantically clearing away from the line of flight.
COOK (holding his head between his
hands)
Leave it alone!! That was a damn good
pig too . . . now look at it!!
The Lumber Man grabs the pig by the hind legs and like a chain
ball he starts twirling himself and the pig . . . faster and
faster. People scream and move back. The Lumber Man twirls
faster. Everyone is watching him now.
Bill moves closer to the Detective. The Detective has been watch-
ing the pig but has kept an eye on Bill too. Bill is smiling
in an evil way. The Detective holds Diana closer.
Outside the big trucks round the corner. People are screaming -
sparks shoot crazily. Some people burst into flames. Others
bounce or gyrate.
Inside the Lumber Man twirls violently with the pig one more
revolution then with tremendous force releases it. The pig flys
wildly through the air, across the night club and crashes into
the far wall, bounces back with a squeak onto a table crushing
it to the floor. The sounds of the truck are now heard inside
the Club. All begin to go wild.
LUMBER MAN
I KNEW I could! I told you all!
DETECTIVE (to Diana)
Take these . . . here it comes!!
He jabs a knitting needle into each of her legs then he does
the same to himself. He puts a pin cushion inside his collar
and forces the pins into his skin. The big light screeches like
hell then blows all over the room. Other lights pulsate vio-
lently. A horse and two cows, all bleeding heavily from the
mouth come out of the kitchen. The horse whinnies horribly.
Their eyes are wild.
The horrible sound of buzzing, hissing, humming, electricity
is heard. Wall sockets spurt electrical sparks. As the room
gets darker and the people start to get confused. Absurdity
runs rampant. People try to eat their hands or feet. They crawl
on or under the tables. Their tongues get tied and they can't
speak. Some more small table lamps begin to blow out.
"Ill bet you I can spit!" says one man, Out comes his tongue
but no spit. The Lumber Man's pipe starts spewing smoke in huge
clouds. "Let's jump off a table!" yells someone in a rage.
The Donut Man appears on the stage. The Detective is trying
to turn himself in a circle while he is standing on his head.
His girl, Diana, is in a fetal position as if she is trying despe-
rately to propell herself through water. Her tongue is cut and
pressed against her cheek. People are running furiously for
unknown destinations. The orchestra is totally confused and
is playing very abstract sound arrangements. Some musicians
even destroying their instruments in the process. The drummer
is playing very complicated jazz timings and the audience is
beginning to shake and gyrate in robot like movements. The music
becomes more and more abstract sounding like a syncopated barnyard
button factory. All the while it's getting darker and darker.
Then the Black Coats enter. They begin to violently zap people
while the Donut Man stands in front of the orchestra smiling
and eating donuts. His eyes bug out with sadistic happiness.
The black coats try to zap the Detective and Diana but they are
clinging to each other and it is at this point that they realize
that their love is protecting them. They yell at the Black Coats.
DIANA
You can't hurt us because we love each
other so much.
DETECTTVE
She's right.
BLACK COATS
But we can separate you.
They grab Diana and pull her away from the Detective.
BLACK COAT (cont'd.)
(to Detective)
Can you say "separate"?
The Detective watches in horror as they drag her away. She is
screaming desperately.
DETECTIVE (hardly able to talk)
Come back . . .
Their eyes watch each other until Diana disappears in the dark-
ness. SPARKS! All is death . . . bodies barely move. Bill
stands against a far wall staring at the Detective. The orchestra
is almost silent--only the barest most abstract arrangement now--
very low--very strange. Suddenly in this darkness a man enters.
The Detective is so far gone he cannot see him clearly. The man
walks silently through the bodies but, with his back to the Detec-
tive. The man extends his arms toward the far wall. Bolts of
dark electricity issue from his finger tips and shoot into the
dead pig. Now a horrible thing . . . the dead pig comes to life
and stands up like a human. It's hind legs growing longer, the
pigs stands in the darkness, in front of the unknown man and
along with the very low strange music. The pigs says, "Life
is a donut." Then issues a horrifying laugh. The man and the
pig both laugh then. The unknown man moves his hand up and down.
The pig speaks again.
PIG
(slowly and strangely)
I know a man who is afraid of dogs.
The donut man laughs. Bill laughs. The Detective watches in
horror, his mind trying, straining to cling to consciousness.
Outside the trucks have just passed. The streets are quiet.
The "circle club" sign is barely lit but it is visible. Terry
runs quickly down the street toward the "circle club."
INT. HIGH SCHOOL - MAIN CITY - DAY
CU Ronnie. He is sitting in a classroom in high school. The
room is very dirty and drab. Soot clouds go by and smoke stacks
blow out smoke and everything is dingy. The blackboard is filthy
with coal dust and the white chalk looks dark grey. The teacher
is an old man with wild hair and glasses. With a long pointer
in his hand he is pointing to a detailed drawing of a dog with
stars and swirling lines around it as if it may be some constel-
lation in space.
TEACHER
Can anyone show us the equation for the
time involved here?
No one raises his hand. Ronnie is sitting in a desk by the wall.
His acne has gotten even worse and together with his red hair
he is quite a sight. He is still wearing his chest apparatus
and still needs a plug-in every fifteen minutes. The little
warning sound is going and he is just rising to go with his plug
to the wall when the teacher spots him.
TEACHER (cont'd.)
All right, Ronnie, step to the blackboard
and write out the equation. (Ronnie
doesn't move) Step to the board and
write out the equation.
Ronnie goes to the board and stands there. Finally the teacher
goes and puts a piece of chalk in his hand. Ronnie puts his
nose right next to the blackboard and very carefully draws a
very small symbol like the ones in the hospital.
STUDENT
Not again.
Even before Ronnie finishes the second symbol the teacher is
asking for another student.
TEACHER
Can anyone write out the proper equation?
Jane?
JANE
All right . . .
Jane is a very beautiful girl who is stacked. She is dressed
in a tight white sweater and a black tight skirt. She has blonde
bee-hived hair. She goes to the board and begins to write out
her answers. Meanwhile, Ronnie is still working on his symbols.
Some guys and the teacher are looking at Jane's beautiful body.
Suddenly, the bell rings and Ronnie's head flies back violently
and his mouth opens wide. School is over for the day. All the
students leave the room, bumping into Ronnie who is going to
his desk to get his books. On the way out he and the teacher
stare at each other. Ronnie is in sort of a trance, running
low on electricity.
TEACHER
School's out for the day . . . Ronnie!
Ronnie leaves the room. The hall is practically empty. The
clock says 3:30. Ronnie grabs hold of his plug and as he walks
down the hall he looks from side to side for an outlet. There
are none in the hall. He comes to come steps leading down to
the basement and he follows them down--looking for an outlet.
Finding no outlets on the steps, he pushes the basement doors
open and enters a large room where a rock and roll band is setting
up to rehearse. They are getting equipment together and tuning
up as Ronnie enters. The musicians are factory greaser types
dressed in black suits. The band is not big time but they do
have managers. The main manager is a fat man who is mean and
powerful. His name is MR. BARKO, and his associate is MR. GREEN.
Ronnie goes to the opposite end of the room and plugs in, minding
his own business. There are a few other kids in the room waiting
to hear the band play.
MR. BARKO
(to the band)
You guys are late setting up for
rehearsals again. I'm SICK of this.
We're not going to win any record deal
tomorrow night if you guys don't get
to work. I'll pull my money out quick
. . . I'll break a few arms, too . . . we
don't want to manage a bunch of losers.
MR. GREEN
(under his breath to Barko)
We may not want to but I think we are.
MR. BARKO
Hey, Johnny, let's go!
JOHNNY
Sorry, Mr. Barko, but we got a lot of
equipment to set up. We're almost ready.
Johnny plugs in some big amplifiers and microphones. All the
equipment has a very foreign look to it. It is equipment that
is very strange looking, the microphones are very large . . . the
amps and speakers and equipment are all jet black and very
strangely designed like a cross between 1920's electrical and
a gloss black Porche speedster. The band is ready and they warm
up by playing about fifteen seconds of very cool music, then
Johnny stops and takes a long cord and finding no other place
to plug it in, goes over to where Ronnie is sitting to use his
outlet. He and Ronnie look at each other as Johnny plugs in
his cord right above Ronnie's. Johnny is carrying his electric
guitar and in order to test the new change he turns his guitar
on and begins to play. SUDDENLY out of Ronnie's mouth comes
a very strange loud musical sound. The sound scares Johnny.
Ronnie then lets out another strange sound, a musical scream
and one of the band's speakers begins to vibrate and it blows
out. Ronnie begins to make some new strange sounds, sounds he
has never made before and he begins to twitch in a rhythm and
for a short while something begins to happen but Ronnie pulls
his cord out and stops. The entire Band is staring at Ronnie.
Outside Dan and Bob pull up to the high school and wait for
Ronnie.
Back inside, Johnny is still staring in disbelief at Ronnie.
MR. BARKO
What happened? Let's get to work . . .
leave that kid alone. What's going on
here?
JOHNNY
Wait a minute . . . we could use this
kid. I've never seen or heard anything
like him. We could use this kid, Mr.
Barko.
MR. BARKO
(Thinking, then looking at Mr. Green,
eyebrows go up, then, turning to Ronnie,
squinting at him) What's your name?
Ronnie is silent.
MR. BARKO (cont'd.)
Hey, kid . . . what's your name?
They walk towards him. Ronnie remains silent.
MR. BARKO (cont'd.)
Johnny, take him over and see what he
can do.
JOHNNY
Come here kid.
Johnny takes Ronnie over to the rest of the band up on the stage
and puts him in front of a microphone. When everyone is set
he puts Ronnie in. Instantly, he screams but he and the music
cause the scream to be beautiful and then he twitches and moves
in rhythm with the drummer. Ronnie begins to make strange sounds
which work together with the music. Some more students hurry
into the room drawn by the music. The managers hurry into the
room drawn by the music. The managers notice this. The kids
are staring in disbelief at Ronnie. Johnny signs a few lines
and Rcnnie mimicks him in a very strangely cool way. Ronnie
starts to vibrate and he turns around and all the instruments
change together going way up then down. Ronnie looks great in
front of ihe microphone and this rock and roll is totally crazy
and heavy and the students who are witnessing it are spellbound.
The band is really going.
The song ends, the people break into applause. Ronnie is gripping
the microphone. As the applause dies down someone yells out
"What's your name?" The others begin to ask. As the applause
is almost gone, there is a short space of silence coming up into
which Ronnie inserts:
RONNIE
Ronnie Rocket.
People begin to say his name out loud, as they burst into applause
again. Ronnie tries to pull his plug but Johnny has to help
him. When Ronnie finally gets unplugged he starts walking back-
wards in a circle and finally falls down and sort of collapses.
There are a few screams by some girls and lots of murmurings.
Mr. Barko and Mr. Green hold the kids back as they try to get
up close to Ronnie to see if he is all right. Just then, Dan
and Bob enter and look around. They are about to turn and go
when they hear someone mention Ronnie Rocket. They go into the
room. Finally they see him and rush to him.
DAN
What happened, Ronnie? (to others around)
What happened to him?
JOHNNY
He was playing some music with us and
guess it got him tired or something>
MR. BARKO
Are you the kid's father or what?
DAN
Yeah, come on, Bob, let's get him home.
Dan picks up Ronnie and carries him out of the room.
MR. BARKO
(to the band)
You guys keep rehearsing, we'll be right
back. (he winks at them)
JOHNNY
Get that kid!
Mr. Barko and Mr. Green catch up to Dan, Bob and Ronnie by their
car. The Doctors, Dan and Bob stare at Mr. Barko and Mr. Green.
MR. BARKO
We're very interested in your boy there.
DAN
Why, what did he do?
BOB
(he and Dan defensive)
What is it?
MR. BARKO
(chewing a cigar)
Hey, wait a minute, he didn't do anything
except make great music. Your kid's
got something. We think he could be
big. I mean, your kid's got something.
We want to make a deal, together we can
make more money than you ever dreamed
of. Are you his father?
DAN
(looks quickly at Bob)
Yeah, Bob's my partner. What's the deal?
Ronnie is feeling much better and during Mr. Barko's talk, he
has wandered out onto the ground in front of the school. As
the deal is being made, Ronnie wanders around. He looks up to
a window in the school and sees a boy and a girl. They are talk-
ing, then she pushes him, he pushes her. Then we see Mr. Barko
and Mr. Green from a distance talking with Dan and Bob. Then
Ronnie's acne covered face looking up at the window. The boy
and girl come together in a long tender kiss. Ronnie watches
them. Then Ronnie turns and sees Mr. Barko and Mr. Green shaking
hands with Dan and Bob.
Then from a distance we see Ronnie standing alone turning in
a small circle.
Later, at Deborah's apartment. Ronnie is sitting at the dinner
table with Deborah, Dan, and Bob, but he is at the other end
by himself while the others talk.
BOB
Yes, and he starts tomorrow night.
There's some contest. we should have
enough money to get all new equipment
and everything.
DEBORAH
Was anything wrong with my money7
DAN
No, no, Deborah.
DEBORAH
What if they find out about you and
Ronnie? You must stop and think. I'll
give you more money if this is what you
need. I never knew you needed more money.
DAN
They won't find out. They'll never know
and it's so much money, Deborah. We could
almost build our own hospital or become
famous someday. We could do surgery
everyday. Bob, we could do surgery every
day!!!
DAN
My God!!
DEBORAH
Maybe this will mean you'll go away from
me.
DAN
No!
BOB
No!
DEBORAH
Maybe you will be so famous you will
not need me any longer. This can happen.
BOB
No.
DAN
No, Deborah.
DEBORAH
Maybe you will not need my caresses,
someone else's maybe?
DAN
No.
BOB
No, never.
DEBORAH
Maybe you will not need . . .
Deborah breaks down crying. Bob and Dan go to her. They get
on their knees and caress her. Bob kisses her neck and Dan holds
her hand and kisses up her arm passionately. Ronnie sits at
the other end of the table watching.
DAN
We'll never leave you, Deborah.
BOB
Deborah, Deborah, please stop crying,
stop crying.
DEBORAH
(she calms down, Bob and Dan remain
close to her)
You see how I care so much for you two?
I'm crying my heart out. (She clutches
her chest) I'm crying for you to be
famous surgeons . . . two of the most
gifted doctors . . . you should be
famous. I'm crying because this is the
way I believe, that I don't want to have
things change so much. I want things
the way they are forever. I'm so happy
with my Bobby and Dan, and our little
Ronnie. I'm so happy.
DAN
Things will still be happy.
DEBORAH
Promise me.
DAN
I promise.
BOB
I promise, too!
DEBORAH
(whispering)
Dan, I want you to take my blouse off.
Bob goes and takes Ronnie to the livingroom. Dan removes
Deborah's blouse.
DEBORAH (cont'd.
Thank you, Dan, and now my shoes. And
remember how I believe . . . the night
is long . . . the way I believe is go
slowly. It is very dark . . . and time
is so big.
She begins to rub her breasts in front of Bob while Dan removes
her stockings.
Ronnie is in the livingroom. He is staring off into the ceiling.
He eyes are following some unseen object around and around and
around.
Friday night. Outside the factories blow howling smoke. At
the school dance, the room is crowded. Deborah, Dan and Bob
are in the audience, strange looking teenagers all around. The
high school principal is there and Ronnie's teacher, even the
stern little lady receptionist.
Behind stage the band is almost ready to go. Mr. Barko is off
stage chewing a big cigar. Johnny is setting Ronnie up by the
microphone.
JOHNNY
(to Ronnie)
You okay? . . . (no answer) You're
okay. Just stand there and then when
the curtain, up here (he points) when
it opens, I'll plug you in and we'll,
go. Just do what you do.
RONNIE
Weeeeel go.
JOHNNY
That's right, kid. We'll really go.
Johnny looks to the other members of the band to see if they're
ready, the nod that they are. Johnny signals Mr. Barko. Mr.
Barko goes to the Master of Ceremonies.
MR. BARKO
(to M.C.)
Okay, they're ready now . . . and remember
introduce them as Ronnie Rocket.
M.C.
All right, fine Mr. Barko.
From behind the curtain Ronnie hears the M.C.
M. C. (cont'd. )
Ladies and gentlemen . . . the last band
to perform tonight in the contest is
now ready. Ladies and gentlemen . . .
RONNIE ROCKET.
As the curtains open there is applause but it soon stops. Ronnie
isn't on the stage and the rest of the band stands embarrassed
in the uncomfortable silence. The curtain closes. Backstage
Mr. Barko is furious. He sees Bob walking Ronnie by the hand
towards him and the stage.
BOB
Can I help it if he had to do to the
bathroom?
MR. BARK0
Hurry up and get him back on that stage!
Ronnie now high steps across the stage. The M.C. can be heard
re-introducing Ronnie Rocket. Johnny turns up all the power
he can. There is a loud hissing sound coming from all the
speakers. The curtain opens just as Ronnie high steps into place
in front of the microphone.
The curtains open very slowly. Ronnie locks himself in front
of the microphone . . . hands gripping it and knees bent . . .
ready to go. Johnny plugs Ronnie in. He begins to vibrate like
crazy. He screams out and the music begins. The music is pound-
ing and powerful. The audience is loving it. Ronnie falls to
one knee and Dan and Bob look at each other with worry in their
eyes. Suddenly, sparks come from Ronnie's mouth and the music
gets wilder. Ronnie shakes violently. Ronnie starts to gag
and the lights go way low. He shakes in rhythm with the drummer.
When Johnny sings, Ronnie tries to mimick him. His eyes bug
but. The kids are watching Ronnie . . . dumbfounded. The ones
that started to dance have stopped and are watching. Ronnie
gags more sparks then whines. The guitar starts to whine, the
organ whines. Ronnie falls to the floor gagging and jerking.
Dan holds Bob back from helping him because he wants to see if
Ronnie can make it through alone. Ronnie starts mimicking
Johnny's echo reverbing rock and roll voice then starts to scream
out. This causes some electrical disturbances. Electricity
seems to go through the air between Ronnie and the instruments.
The sounds jump accordingly. Finally sounds are at a fever pitch
and Johnny decides that he should end the song. Ronnie is gagging
pretty badly and is on the floor. Johnny pulls Ronnie's plug.
RONNIE
(yelling)
Ronnie Rocket!
Just after the music stops and the lights come up, the applause
is thunderous and Ronnie passes out. The curtain closes. Johnny
and Fred (the bass player) pick Ronnie up and carry him back-
stage. Dan and Bob and Deborah are very upset.
DAN
(to Bob)
Go get your bag and I'll meet you back-
stage. (to Deborah) Come with me.
BOB
I'll go fast. (to himself) as he goes
through the crowd) I'll go fast . . .
I'll go fast.
Dan and Deborah run backstage where things are in somewhat of
a turmoil. Dan spots Mr. Green.
DAN
(excited)
Where's Ronnie?
MR. GREEN
He's in there.
Mr. Green points to a door marked "Private" down a hallway.
Dan and Deborah hurry to the door and both of them begin knocking
on it. No one answers but they hear moans and sounds within.
The door is locked.
DAN
OPEN UP!! OPEN UP!!! (to Deborah)
Go get Mr. Green or Mr. Barko to open
this door.
DEBORAH
All right.
She goes hurrying off back down the hall. Bob comes running
in the other way and Deborah points toward Dan. Bob hurries
down to join Dan in front of the locked door. Bob's shoulders
are going way up and down as he breathes heavily.
BOB
(out of breath)
What's wrong?
DAN
The door's locked. Ronnie's in there.
Deborah went for . . .
Just then the door opens. It's a nurse answering the knock.
NURSE
Yes?
DAN
I'm Ronnie's father. Where is he?
He and Bob go through the door.
NURSE
Wait a minute.
BOB
You wait a minute.
In the next room they see a doctor with Ronnie. The doctor is
fooling around with Ronnie's appliance and Ronnie is jumping
and sparking and the doctor is getting electrical shocks every
few seconds and yelling out. Dan and Bob move the nurse aside
and rush toward Ronnie. The doctor looks up and suddenly Bob
and Dan freeze just as they were about to enter the room. They
recognize this doctor and he recognizes them.
DOCTOR
Pink and platinium . . . what are you
guys doin' here?
NURSE
(hurrying forward)
It's Ronnie's father.
The doctor gasps as he realizes why Ronnie is the way he is,
he looks aghast at Ronnie then up to Bob and Dan. Then his
astonishment turns to anger.
DOCTOR
Ronnie's father, my big butt!! Wait
'till Mr. Barko hears about this!
Bob and Dan look at each other.
DAN
You take the nurse . . .
Bob begins chasing the nurse and Dan leaps on the doctor hitting
him hard.
Meanwhile, Deborah has found Mr. Barko talking with the M.C.
DEBORAH
Please, Mr. Barko, they won't open the
door. We have to see our Ronnie.
M.R. BARKO
He's with my doctor don't worry.
(turns away again)
DEBORAH
Please!!! . . . we must be with him now.
M.R. BARKO
All right. (to M.C.) I'll be right
back . . . if anything breaks in the
meantime I'll be in the office . . . let
me know.
M.C.
Right, Mr. Barka.
Together Deborah and Mr. Barko go off to the room.
When they open the door and enter, Deborah screams. The nurse
is taped up to a filing cabinet just inside the door. Her eyes
are wild; her mouth is taped shut. Bob is administering drugs,
etc. to Ronnie on the cot in the next room. Dan has the doctor
held in his lap with his belt running-through the doctor's mouth
causing the doctor's head to bend back at a very uncomfortable
angle. The doctor begins to make gurgling sounds when he sees
Mr. Barko. The doctor's eyes are also wild. Deborah covers
her mouth with both her hands.
MR. BARKO
What the hell is this?
DAN
(still pulling the belt)
Mr. Barko, I know we signed the papers
and all that, but we're afraid that this
is just too hard on Ronnie and we're
going to have to back out of our agree-
ment.
MR. BARKO
What was that?
DAN
I'm afraid we're going to have to . . .
Just then the door opens and Mr. Green is coming in with the
M.C. and the band . . . all are smiling.
M.C.
You won!!! Congratulations!
Everyone is yelling then they see this situation then everyone
is quiet.
MR. BARKO
Thanks, Gary, look . . . could you leave
us alone for a while to discuss this
thing . . . yeah, thanks Gary.
M.C. (GARY)
Yeah, sure, Mr. Barko, sure.
MR. BARKO
Green, you stay. Everyone else OUT!
Everyone but Mr. Green leaves and the door is shut. The nurse
and doctor are moaning crazily.
MR. BARKO
See, Ronnie just won us the recording
deal. You can't pull out now . . . this
will mean thousands and thousands of
dollars for you.
BOB
We don't want to discuss it.
DAN
He said it right, no more discussions.
MR. BARKO
Mr. Green . . .
Mr. Green pulls out a large pistol and points it in Bob and Dan's
direction.
MR. BARK0 (cont'd)
Let the doctor loose. Green, undo the
nurse.
DAN
We keep the doctor!!!
BOB
(standing and yelling)
We'll keep the doctor!!!
MR. BARKO
What's this? Green . . . damn it you
guys . . .
Mr. Green walks over and places his pistol right at Dan's head.
Suddenly Dan releases the doctor.
DAN
ALL RIGHT THEN!!
DOCTOR
(screams)
Mr. Barko. Mr. Barko.
BOB
Stop it!!!
MR. BARKO
Shut-up everybody!! (to the doctor)
Now what is it?
DOCROR
I know these two from the institute . . .
they were thrown out (gagging some)
experimenting . . . with terminal cases,
they're perverts . . . they've probably
stolen this Ronnie and built him like
this. They're clumsy butchers and wanted
by the authorities.
DEBORAH
No! No!
MR. BARKO
(smiling as if heaven itself fell
into his lap)
So, the deal is off, is it? We're hurting
your poor little son. Now you guys listen
to me for a while. If you want to stay
out of trouble, and I'm sure you do,
you'll continue along just the way we
discussed. If you're good you'll get
the money we talked about. You will
look after Ronnie and keep him in perfect
health. If there is any trouble, we'll
blow the big whistle. Do you understand?
DAN AND BOB
We understand.
They both give the doctor a dirty look.
MR. BARKO
Good . . . then all is well again. I
have a very good feeling things will
be going our way from now on . . . Do
you feel it, too?
Dan and Bob realize they're caught.
M.R. BARKO (cont'd)
GREEN! Bring everyone in.
Mr. Green opens the door and the band and the M.C. come in.
Bob helps Ronnie into a sitting position. Ronnie's eyes are
glazed over.
MR. BARKO (cont'd.)
We start rehearsals tomorrow at the record
company. Hall number seven. we're going
to make it . . . we were just discussing
. . . we all have a good feeling about
the whole thing.
Fred, the bass player, realizes that the nurse is still tied
up, he removes the tape from her mouth. A cooing, moaning sigh
escapes through her sore, but full and beautiful lips. The doctor
sees Fred to do this. All eyes go to the doctor as he yells:
DOCTOR
Don't you touch her!
And, he rushes to his nurse.
REHEARSAL HALL. Dan and Bob and Deborah look at each other
worried because Ronnie has been talking to himself in the micro-
phone . . . saying frantic little half sentences, word fragments.
Johnny is trying to work on a song and find out new sounds Ronnie
can make or cause the band to make.
RONNIE
(into microphone)
night / ho . . . circle . . . stop . .
. bad circle, Diana.
JOHNNY
You guys try different things this time,
we're getting somewhere. I want to use
this guy, use him to our best advantage
. . . right, Mr. Barko?
MR. BARKO
Get to work, Johnny.
RONNIE
(now whining very high)
Bang/jump/Ronnie Rocket/OW . . .
JOHNNY
All right . . . let's go.
RONNIE
Go.
The entire band is now wearing black rubber gloves and boots
in order to protect themselves from the electricity. Johnny,
plugs Ronnie in. Ronnie's eyes bug out and he starts to shimmy
across the stage. The drummer, AL, is going with Ronnie. Fred
and Johnny start experimenting. They move levers and walk closer
to Ronnie, stand at different angles to him, etc. Their sounds
starts going up and down or louder or softer. Sometimes, speakers
begin to screech and Ronnie, himself, is twirling, crawling,
jumping, gagging, mimicking Johnny's voice or lying out flat
on the floor, twitching. Electricity is flying all around.
After the rehearsal, Dan and Bob attend to Ronnie. A close up
of Ronnie reveals bad eyes and a dopey look. Also, a small amount
of blood in the ears. They are very concerned for his health.
Bob is checking out Ronnie's electrical device because he is
now waking wide-eyed, then nodding off to sleep in the next
moment.
DAN
Ronnie? Ronnie?
Ronnie nods off. Bob gives him a shot, and they plug him in.
Mr. Barko comes in the room.
MR. BARKO
How is he?
DAN
Not good . . . we're hurting him bad.
MR. BARKO
Fix him. I don't want to keep hearing
discouraging news. If you need any medi-
cine, or . . . materials or whatever,
I'll get'em. But keep that kid working.
BOB
If he's hurting any more than this, it's
over!!
MR. BARKO
Take care, my friends . . . quit threat-
ening me. I've been very cordial and
nice. . . don't let's get nasty. You'll
never win that game with me. Just get
set to enjoy your fortune your little
rocket is going to bring in.
BOB
(stands up, knees bent some)
You know, Barko, I don't like you.
(Yells) How would you like a great big
fat bloody nose?!
Mr. Barko snaps his fingers and Mr. Green comes in. Mr. Barko
points to Bob. Mr. Green starts toward Bob.
BOB
Oh yeah?
Bob hauls off and slugs out toward Mr. Green. Mr. Green catches
his hand and crunches it. The bones breaking make a sickening
sound. Bob falls down moaning, holding his hand. Dan flies
toward Mr. Green and shoots a punch into his stomach. It doesn't
do much. Mr. Green then decks Dan. Dan bleeds from the mouth.
Ronnie, Dan and Bob are all hurting and moaning.
MR. BARKO
Doya want to stop getting money? Do
you want to go to prison? Watch out
. . . next time, Mr. Green won't go
so easy, but there better not be a next
time. See you at the recording studio
at nine tonight.
Green and Barko leave.
Bob's hand is pretty bad and Dan is not feeling too good either.
They stay on the floor. Ronnie is watching them.
BOB
(whispering)
Things aren't working out too well.
At the recording studio--Bob's hand is wrapped in gauze and Dan
is black and blue on the upper cheek. Ronnie is in front of
the mi
