INT. LIVING ROOM – NIGHT

[Opening scene begins in color. After the murders, the color digitally drains from the screen, leaving the scene Black and White.]

 Opening scene is a contemporary residence where a mother and her two children are watching a flat-screen TV. The TV establishes the era. The room is well appointed with large windows overlooking a vast cityscape of Los Angeles. We are in Beverly Hills.

Lots of family photos taken at the Santa Monica Pier and other amusement parks are placed around the room. There is a miniature roller coaster under a glass dome on a bookshelf, several miniature carousels, and a life-size arcade game against a wall. There are many glass water globes with carousels or Ferris Wheels in them.

 TYLER, twelve years old, is manning the TV remote, switching channels rapidly. CISSY, eight years old, is playing with a glass water globe with a miniature carousel in it. She is turning it upside down to make the glitter swirl over the tiny carousel. She notices TYLER playing with the remote and she doesn’t like it. She is getting jumpy on the sofa. CATHY PENNEL, their mother, is reading a magazine, oblivious to the pending confrontation.

TYLER is wearing a soccer jersey with RONOLDO on it.

 CISSY
Mommy, make Tyler stop running through the channels.

 CATHY
It’s a guy thing, honey. Your father does it all the time.

 CISSY
But daddy isn’t here and I want to watch something on TV.

 CATHY
What do you want to watch, darling?

 CISSY
I don’t know, just something. 

CATHY
Tyler, can’t you find any place to land that spaceship?

TYLEr
There’s nothing on TV and the World Cup isn’t on ’til 11:30.

CATHY
And what makes you think you’ll be staying up for the game, young man?

TYLER
Dad said he’d come home early and watch with me. School’s out and…and dad said.

CATHY
Your father. If you plan on watching that silly hockey—

 TYLER
The World Cup is soccer.

CATHY
That silly soccer game, let your sister watch what she wants now.

TYLER
I don’t think Cissy’s qualified.

CISSY sets the water globe on the sofa, jumps off the sofa, and then marches to the recliner and reaches for the remote. TYLER pulls it away and then extends his hand toward his little sister. When she reaches for the remote again, he yanks it away, again. This repeats until CISSY whines.

CISSY
Mommmmeee. Tyler won’t let me have the remote.

CATHY
Tyler, give Cissy the remote. Why don’t you watch the TV in your room?

TYLER
It isn’t as much fun. (teases CISSY for a moment longer then hands her remote) Okay, here. Don’t break it.

CISSY grabs the remote and runs back to the sofa. Settling in with the water globe on her lap, she starts going methodically through the channels. TYLER bobs his head with each agonizingly slow switch of the channel, slumping down in the recliner as the ordeal takes its toll. CISSY starts watching him rather than the television. He is a much better show.

TYLER
Are we there yet?

CISSY
I’m still looking. Don’t get your shorts in a knot.

CATHY
Cissy! Where did you learn that kind of language?

CISSY
On television.

CATHY
Maybe your father was right. We should have tossed the TV sets out with his old bell-bottom pants.

TYLER
You know, bell­bottoms are making a comeback. I bet he coulda got a hundred bucks for ’em on Ebay. Never throw anything way. That’s my motto.

CATHY
Don’t remind me. I’ve seen your room.

CATHY goes back to her magazine, only half paying attention to the kid’s conversation.

CISSY
(mispronouncing veritable)
So have I. It’s a veri-table pigsty.

TYLER
Hey, vermin. Stay outta my room. I don’t go in yours.

CISSY
Yes, you do. Who hung Barney from the canopy?

TYLER
(avoiding a swear word)
Who the…heck is Barney?

 CISSY
The bear you hung from my canopy bed.

TYLER
(to himself)
Oh, him.
(feigning innocence)
Now, would I do that?

CISSY
Mommmeee. Keep Tyler out of my room

 CATHY
Tyler, stay out of Cissy’s room. And find something to watch on television.

TYLER
I don’t have the remote, remember? 

CATHY
Oh, right. Cissy, find something to watch.

 CISSY stops on a rerun of Murder, She Wrote or some other TV detective show. TYLER realizes what it is and swoons.

 TYLER
What will father say? His only daughter contorting (sic) with the enemy.

CATHY
That’s “consorting” with the enemy. But what would your father say?

 CISSY changes to another channel.

 CATHY
No. Leave it on. I never get to watch TV detectives.

CISSY
(in a rehearsed manner)
But daddy said there weren’t any good detectives on television.

All three laugh at the family joke.

 CATHY
What does he know about detectives? Anyway, the cat’s away so we mice might as well play. Find a good murder mystery.

A thump is heard somewhere in the house. CATHY and TYLER hear it. Both cock their head to listen.

 TYLER
What was that?

 CISSY
(frightened)
Mommmmeee. Tyler’s trying to scare me.

 CATHY
Quiet just a minute, honey.
(listening)

 CATHY and TYLER glance toward the stairs in the entry hall as TWO KILLERS descend the stairs rapidly. They are wearing ski masks and wielding guns. CISSY sees them and SCREAMS. She jumps off the sofa, and starts to run. The water globe rolls onto the floor. She is shot dead. CATHY runs to protect her son, but both are killed.

 PSYCHEDELIC MURDER SCENE – PENNEL LIVING ROOM  – NIGHT

 [The scene begins in Color.]

 The blood from the bodies of CISSY, TYLER and CATHY starts to run into pools that begin spinning. The pools of red merge with the colors in the carpet that also start to spin. The legs of the sofa and coffee table melt into the whirlpool like a Salvador Dali painting and both the sofa and table fall over as though their legs have melted. The standing lamp melts. The colors in the paintings on the wall wash down to the floor. The TV picture liquefies and starts running onto the floor. As the pools of color continue spinning, they merge into one massive whirlpool that spins downward like a drain. Soon all the color pools are gone and the scene is in Black and White, but all the furniture and the bodies are back to where they had been originally, intact.

 INT. DOWNSTAIRS OF PENNEL HOUSE – NIGHT (BLACK & WHITE)

 The TWO KILLERS have removed their ski masks and continue searching the lower level of the house. As they come out of the den, one speaks.

 KILLER 1

Where the hell is the son of a bitch? He’s supposed to be here.

 

INT. EDDIE BUICK’S OFFICE – DAY (BLACK AND WHITE)

 

[MOST OF THE NEXT 16 SCENES ARE SHOT TOTALLY IN BLACK AND WHITE.]

 

Cut to a private detective’s office, vintage late Sixties. It is typical gumshoe establishment, but a little too camp for reality. This is a mystery writer’s view of what the office would look like. EDDIE is wearing dark trousers, a dark turtleneck sweater and Hush Puppies. (Think Steve McQueen.)  His light brown hair is cropped short. He is leaning back in his chair listening to The Doors and watching his Lava lamp, transfixed.

 

INT. EDDIE’S PSYCHEDELIC OFFICE AND LAVA LAMP – DAY

 

[Only the Red & Blue Colors in Lamp are in color. The rest of the scene is Black & White.]

 

EDDIE watches his Lava lamp undulate on the side table. The globs grow longer and longer at the bottom of the bullet shaped glass until pieces break off and float to the surface where they combine with other globs and fall of their own weight to the bottom. Soon the globs take on the shapes of bodies writhing at the bottom of the glass bullet until they break free and swim to the top of the container. At the top they make contact with other bodies and embrace and then swirl together as more bodies join them until they, too, fall to the bottom. EDDIE watches, unblinking.

 

A horn HONKS outside. EDDIE snaps out of his trance.

 

 

INT. EDDIE’S OFFICE – DAY (BLACK & WHITE)

 

EDDIE looks around the room. He doesn’t quite remember where he was. Cups of drugstore coffee are on his cluttered desk. He reaches for the only one with anything left in it and tries drinking it.

 

EDDIE

(calling to his secretary in another room)

Gracie! Don’t you have any fresh coffee?

 

GRACIE’S VOICE

(from outer office)

Sorry, Eddie. The coffeepot’s still on the fritz.

 

EDDIE

(still yelling)

Can’t you buy a new one?

 

GRACIE

(stepping into doorway)

With what? You haven’t had a case in three months.

 

EDDIE looks at her, hoping she’ll pop for the price of a new one.

 

GRACIE (CONT’D)

Don’t look at me. I haven’t seen a paycheck in five months.

 

EDDIE

Why do you stick with me, honey?

 

GRACIE

The fringe benefits, Eddie. You’re the only guy I ever worked for who gave me a mink coat.

 

EDDIE

It was stolen.

 

GRACIE

I know. But it’s the thought that counts. Anyway, you didn’t steal it. And I’m the only gal at church with a coat like that. It does a girl good to—

 

PHONE RINGS.

 

EDDIE

Hello? (Pause) Yeah, sometimes I answer my own damn phone. Anyway, Gracie’s out…buying a new coffeepot.

 

EDDIE hands wadded up bills to GRACIE.

 

EDDIE (CONT’D)

What gets you out of bed at the crack of noon, counselor?

 

GRACIE leaves. EDDIE is listening to the person on the phone while he watches Gracie’s less than statuesque figure sashay through the front office and out the door. EDDIE still thinks she’s all right, even for a middle-aged dame.

 

EDDIE (CONT’D)

When did it happen? (Pause)  It’s still a police matter, Hank. I don’t like stepping on their toes. You know Lt. Warren gets pissed when somebody muscles in on his turf. (Pause)  Okay. But how am I getting paid? The milk of human kindness has been running a little dry lately. (Pause)  Oh!  That Maxwell Vernon. Sure, I remember his name.

 

(still a little vague on the name)

 

He’s some big cheese in the movie business. Right? (Pause) Yeah. I’ll be right over. Hey, Hank. What’s in it for you? (Pause) Hank?

 

Hank has hung up on him; EDDIE hangs up.

 

EDDIE stands up. He feels for his gun that is securely seated in its holster under his left arm. He’s been wearing it so long he doesn’t even notice it. He checks his ankle gun and it’s there, too. He pulls on his tweed jacket. Patting his breast pocket, he feels for his cigarettes. Finding it empty, he searches his desk drawer and retrieves a nearly empty pack that he stuffs into the pocket. There is a half smoked butt in the ashtray that he rescues. Placing it between his lips, he lights it as he leaves the office.

 

 

INT. MAXWELL VERNON’S LIVING ROOM – AFTERNOON (BLACK AND WHITE)

 

Cops are finishing up their investigating. The room is identical to the murder room in the opening sequence except the furniture is different. It is late Sixties California posh. The TV is one of those housed in a piece of furniture. (Called a “console television” for those of you under thirty.)  The artwork is in the identical place as the artwork in the earlier setting, but it is different art. Some Andy Warhol and Lichtenstein’s Comic Strip Art. Chalk outlines (not tape during this era) of the victims are on the carpet. The bodies are gone. There are two adult outlines and one child size outline on the carpet. They aren’t quite in the same positions as were the dead from the Pennel family in opening scene, but close.

 

EDDIE walks in the open front door. EDDIE is the coolest guy on the scene, in both dress and demeanor. A COP stops him, but EDDIE points to a man in gray suit who motions to the COP that EDDIE is okay. EDDIE surveys the scene as he walks up to his friend.

 

EDDIE

Where are the stiffs?

 

HANK

Coroner took them. Not much to go on. Shot at fairly close range. Probably a break-in.

 

EDDIE

(looking at the chalk outlines)

What was it? The mother and two kids?

 

HANK

(pointing to each outline)

The mother. The daughter. The boyfriend.

 

EDDIE

The kid had a boyfriend?

 

HANK

Not the kid. The mother.

 

EDDIE

There’s your motive, Hank. What do you need me for?

 

HANK

Maxwell has an alibi.

 

EDDIE

So he hired it done. With his bread, he hires it out of Chicago or Detroit. No problem.

 

HANK

He didn’t know about the boyfriend.

 

EDDIE

That’s what they all say.

 

MAXWELL

(coming from hall)

It happens to be true, Mr. Buick. I didn’t care that my wife had extracurricular activities, but I care very much that somebody killed my daughter.

 

HANK

Eddie, this is Maxwell Vernon, your client, as well as mine.

 

EDDIE

You got a lawyer and a detective, Mr. Vernon. You’re either very innocent or very guilty. Which is it?

 

MAXWELL

Hank said you were tough, Mr. Buick. Now maybe you’ll direct that energy toward finding who killed my daughter. You have three days.

 

EDDIE

What’s with this three days crap, Hank? Does your boy have someplace to be in three days or is he running out of money?

 

HANK

Maxwell is premiering his new movie on the 25th and he wants this cleared up by then.

 

EDDIE

You’re kidding?

 

MAXWELL

No, Mr. Buick. Hank said you were the best. You wouldn’t want to make a liar out of him, would you?

 

MAXWELL steps directly on the chalk outline of his wife’s body and her lover as he walks to the entry hall. He stares for a moment at the small outline of his daughter, and then looks at his watch and heads up stairs.

 

EDDIE

Cold s.o.b.

 

HANK

He has to be in his business.

 

EDDIE

What exactly does he do?

 

HANK

He’s a producer.

 

EDDIE

And they do what?

 

HANK

Raise money, lots of money to make movies and then he hopes to make some of it back if the movie’s any good.

 

EDDIE

Are his?

HANK

I only saw one. Sara and I went to the premiere of Night of the Badger.

 

EDDIE

(small grimace)

I saw that one. I was on a stakeout.

 

HANK gives him a dubious look. EDDIE shrugs.

 

EDDIE (CONT’D)

The guy I was tailing was shacked up with this bimbo at a Motel 6 up in Fresno. It was his fifth time. I knew his routine and his stamina. I figured I had a few hours to kill, so I went to a flick. Jesus, what a movie. I slept with a gun under my pillow for six months. I already stopped taking showers after seeing Psycho.

 

HANK

You don’t need to see any of his movies, just find the killers.

 

EDDIE

Who doesn’t like him?

 

HANK

This is Hollywood. Nobody likes him. Most people are afraid of him. Everybody wants something from him, but kill his wife and kid…? I don’t know anybody who would go that far.

 

EDDIE

Somebody did, Hank. Maybe revenge? Did he stiff anybody?

 

HANK

Like I said, this is Hollywood. He stiffs people everyday. He has more money than God, but I’ve never seen him pick up the check at a restaurant. My business manager is calling his office five or six times a year to get him to pay his bills.

 

EDDIE

That’s reassuring. Maybe I should start bugging him now for my fee.

 

HANK

You find the killer and Maxwell Vernon will make you famous. You’ll be the darling of Hollywood.

 

EDDIE

Only if there are a lot more murders in this town.

 

HANK

Trust me. Eddie. There will be.

 

 

EDDIE

I need to speak to his alibi. What was he doing? Playing Mahjong with the mayor?

 

HANK

No. He was with Pearl Dawn.

 

EDDIE

(eyebrows raised)

I’d ask if they were out in public, but no man in his right mind would want to be in a crowd with Pearl Dawn.

 

HANK

Have you seen any of her films?

 

EDDIE

Strictly research, you understand.

(lifts his turtleneck to cool himself off)

Those two know each other?

 

HANK

They were friends in college.

 

EDDIE

That woman went to college? Why? With that pair of assets, she could corner any market.

 

HANK

In silicone, maybe.

 

EDDIE

(his hands forming melon-size grips)

Those aren’t real? Don’t tell me that, Hank. I’ve dreamed about those babies.

 

HANK

They’re as phony as she is.

 

EDDIE

Aw, hell. I guess I’ll have to force myself to interview her. Do you have her number?

 

HANK

(snaps answer)

Get it from Maxwell’s secretary.

(storms off)

 

EDDIE watches HANK leave. EDDIE shows interest in HANK’s reaction.

 

EXT. PEARL DAWN’S FRONT DOOR – DAY (BLACK AND WHITE)

 

EDDIE walks up formal sidewalk to the elaborate entryway. He glances around at the classic Roman statuary and columns. The place is a study in 1940’s Hollywood chic. As he studies the statuary they become animated. Their eyes and/or heads turn in EDDIE’s direction and follow him to the door. EDDIE blinks a few times to clear his head of what he thinks he is seeing.

 

EDDIE rings the bell and waits, taking a quick glance at a nearby statue to see if it is still looking at him.

 

The door opens and PEARL, in jeans, white blouse and glasses, but without her trademark pearl white wig, now sporting her natural dark hair, peers out.

 

EDDIE

My name is Eddie Buick. I’m a private detective. I have an appointment with Pearl Dawn.

 

PEARL

You don’t look like a detective. Where’s the trench coat?

 

EDDIE

Must have left it in my other suit.

 

PEARL

Come on in. I’m Pearl Dawn.

 

PEARL leads EDDIE to the living room. EDDIE studies her walk and tries to make out her famous body under the baggy clothes.

 

 

INT. PEARL’S PLUSH LIVING ROOM – DAY (BLACK AND WHITE)

 

The living room is done in light colors. Lots of sun is pouring through the windows. It is extremely elegant, but there is an overlay of clutter like the maid hasn’t been in for a few days.

EDDIE

I’m working on the murder of Maxwell Vernon’s wife and daughter.

 

PEARL

So you said on the phone.

 

EDDIE

I thought I was talking to your secretary.

 

PEARL

I can’t keep a secretary.

 

EDDIE

Why don’t you hire a male one?

 

PEARL

They were male. They just don’t last.

 

EDDIE

Maybe you work ’em too hard.

 

PEARL

Maybe they didn’t work hard enough. Just because I’m an X-Rated movie star they think they can chase me around the house.

 

EDDIE

Hire a female.

 

PEARL

I tried that first. They were either jealous or they chased me around the house.

 

EDDIE

Hire a middle-aged broad. They don’t run that fast.

 

PEARL

I’ll keep that in mind. What did you want to see me about?

 

EDDIE

You’re Maxwell Vernon’s alibi when his wife and daughter were killed.

 

PEARL

That’s right. We had a business appointment.

 

EDDIE

Vernon planning on producing one of your movies?

 

PEARL

Sort of. I’m Max’s partner. His silent partner.

 

EDDIE

(in all seriousness)

Let me guess. You’re the brains of the outfit.

 

PEARL

(semi­flatterd he guessed correctly)

Now why would you say that, Mr. Buick?

 

 

 

EDDIE

You didn’t get a place like this just by exposing your assets. Maybe old Max is keeping you on the side or maybe you have another source of income, like co-producing.

 

PEARL

You are good, Mr. Buick.

 

EDDIE

Call me Eddie.

 

PEARL

Sure, Eddie. You know, I’ve been to meetings at the studio in a business suit, my real hair pulled back, wearing glasses and nobody recognized me.

 

EDDIE

They’ve probably never seen you with your clothes on.

 

PEARL

You gotta point.

 

EDDIE

So, you and Maxwell Vernon went to college together?

 

PEARL

Yeah. We took some of the same business courses. He was really something back then.

 

EDDIE

You liked him?

 

PEARL

I admired him. I could tell he was going places.

 

EDDIE

Did you want to go with him?

 

PEARL

Not especially. Max is a little cold.

 

EDDIE

That’s what I thought. He didn’t seem too broken up over his wife’s death.

 

PEARL

Make no mistake, Eddie. He loved his wife. She’s the one who didn’t return the favor. Frankly, she was a bitch. God rest her soul.

 

 

EDDIE

Are you sure he didn’t—

 

PEARL

Kill her or have her killed? I don’t think so. I never heard him say a bad thing about her. True, he didn’t spend much time at home, but he works eighteen hours a day. Frankly, I don’t think he liked his home all that much, except his daughter. This will kill him.

 

EDDIE

And he was with you all evening?

 

PEARL

Until the police called.

 

EDDIE

They called him here?

 

PEARL

We were at a restaurant. The Golden Dragon off Sunset. Everybody must have known we were there. A couple business associates called Max during dinner. Two…uh… fans even tracked me down before the police called.

 

EDDIE

Who did you go as, Pearl Dawn or yourself?

 

PEARL

Myself, of course. But you knew that, didn’t you?

 

EDDIE

What makes you say that?

 

PEARL

I heard you had visions.

 

EDDIE

(uneasy)

Hank talks too much.

 

PEARL

He isn’t your lawyer so he isn’t breaking any lawyer-client privilege.

 

EDDIE

I just might break his neck.

 

 

PEARL

He didn’t mean anything by it.

 

EDDIE

He’s a lawyer.

 

PEARL

Hank says you might need him some day. Him or an undertaker.

 

EDDIE

He still talks too much. (Shrugs)  So I do a little maryjane. Everybody does. So what?

 

PEARL

Hank said you did LSD.

 

EDDIE

Hank has a rye* sense of humor.

 

*Ergot is gotten from rye fungus. Ergot is related to LSD.

 

PEARL

He told me about your swan dive into the pool at the Beverly Hilton. He said you climbed onto the railing…

 

(her speech fades away as she talks)

 

…and dove into the pool. A few feet either way and I’d be talking to another detective.

 

EDDIE blinks several times as his mind flashes back. PEARL is still talking in the background, but her speech fades to a hum.

 

 

Screen Flashes Red

 

 

 

EXT. BEVERLY HILTON HOTEL BALCONY – NIGHT SCENE SHOT WITH RED FILTER

 

EDDIE is flashed back to that night at the Beverly Hilton when he was in an LSD-induced stupor. He walks out on a balcony and looks down at the pool. The pool begins to sway wildly and starts to look like a bowl of red Jell-O. EDDIE smiles as he steps onto the railing. The Jell-O wobbles back and forth as he continues smiling at the undulating pool. Soon he is balancing on the rail and then dives, arms outstretched into the red Jell-O.

 

 

 

 

INT. BACK IN PEARL DAWN’S LIVING ROOM – DAY (BLACK AND WHITE)

 

PEARL is still talking. She guesses EDDIE zoned out temporarily, but goes on. EDDIE blinks back to reality and hears PEARL’s voice.

 

PEARL

I’ve used it.

 

EDDIE

Huh?

 

PEARL

LSD. I used it.

 

EDDIE

Making movies?

 

PEARL

No. My doctor prescribed it for migraines.

 

EDDIE

It’s great stuff.

 

PEARL

I had a bad trip.

 

EDDIE

(uneasy)

That happens. Sometimes you need to…uh, like have a guide to get you there and back.

 

PEARL

I almost needed that undertaker, Eddie. It was a really bad trip. I thought bugs were crawling inside my body and I tried cutting them out…with a butcher knife.

 

EDDIE remembers the costumes, or lack there of, she wore in the movies she made.

 

EDDIE

Somebody stop you before you hurt yourself?

 

PEARL

No. I cut myself up pretty bad. Lucky for me, I passed out before I took out something important.

 

EDDIE

At least you didn’t scar yourself up.

 

PEARL pulls up her white blouse and shows the scars around her stomach.

 

PEARL

That’s why I wear all the dominatrix gear in my newer movies. It covers up the worst of the scars. Make-up does the rest. Eddie, I almost cut out my liver. I have a chunk of it in a jar in my bathroom. Wanna see it?

 

EDDIE

No, thanks. Where’d you meet Hank?

 

PEARL

(this time she’s uneasy)

He’s…He’s Max’s lawyer.

 

EDDIE

He had sort of a funny reaction when I wanted your number. Did you turn him down?

 

PEARL

                                    It was the other way around.

 

EDDIE

                                    Is he gay or just crazy?

 

PEARL

I asked him to do me a favor. He said no.

 

EDDIE

                                    He’s crazy.

 

PEARL

                                    Maybe I’ll ask you the same favor when this is over.

 

EDDIE

                                    I’m in the book.

(EDDIE stands to leave.)

Can I ask you another question?

 

PEARL

Go ahead.

 

EDDIE

Why do you do porno flicks?

 

PEARL

The money. It pays more than my MBA could ever guarantee. It opened doors.

 

EDDIE

Why didn’t you get out when you could?

 

PEARL

Who said I could get out? Nice talking with you, Eddie. Come back anytime.

 

PEARL ushers EDDIE to the door.

 

 

INT. PEARL’S FRONT DOOR – DAY (BLACK AND WHITE)

 

EDDIE and PEARL are standing in her doorway.

 

EDDIE

Any of your movies playing around town?

 

PEARL

There’s an art house on Olympic Boulevard in Santa Monica. They run them sometimes. I think you’re old enough.

 

PEARL wraps her hand behind EDDIE’s neck and pulls him close, giving him a kiss. EDDIE’s knees buckle slightly as she backs away.

 

PEARL (CONT’D))

See you around, big guy.

 

Before she closes the door EDDIE manages to get in one last question.

 

EDDIE

You didn’t kill them, did you?

 

Slightly disappointed he would ask, PEARL shakes her head slowly as she closes the door. EDDIE walks a few steps before speaking.

 

EDDIE (CONT’D)

(to himself)

That would sure ruin a beautiful illusion.

 

 

INT. THE GOLDEN DRAGON IN BEVERLY HILLS – DAY (BLACK AND WHITE)

 

Lights are on inside the ornate Oriental eatery. TWO CHINESE WAITERS are setting the tables with white tablecloths and fine silverware. Flowers are being placed on each table while TWO WORKERS are vacuuming the rugs. Nobody notices EDDIE as he strolls to the rear of the room. Finally MARK, a waiter not yet decked out in his complete waiter attire, notices him

 

MARK

We’re not open…Oh, hi, Mr. Buick. Charlie’s in his office.

 

EDDIE

Were you here last night, Mark?

 

MARK

Yeah.

 

EDDIE

Remember seeing Pearl Dawn?

 

MARK

Sure. She was with Maxwell Vernon. Too bad about his wife and kid. Who was the man killed with them?

 

EDDIE

Didn’t the newspaper say?

 

MARK

I don’t read the papers, Mr. Buick. I heard the scuttlebutt from somebody in the kitchen.

 

EDDIE

Who?

 

MARK

Charlie. He knows everything about everybody. You know.

 

 

INT. CHARLIE’S OFFICE – DAY (BLACK & WHITE)

 

EDDIE goes to the office. The door is open and he goes in.

 

CHARLIE

You’re a little slow today, Eddie. Cops were here already.

 

EDDIE

Then you can tell me what they learned from you and what you left out.

 

CHARLIE

Eddie, I don’t know—

 

EDDIE

You know plenty, Charlie. Remember, I know you. Spill.

 

 

 

CHARLIE

They were both here. Pearl and Maxwell. From eight ’til after ten-thirty. And you know how broads like that attract attention. She had people buzzing around her like flies.

 

EDDIE

Did either of them disappear anytime during the evening?

 

CHARLIE

That’s the same thing the cops asked. She went to the powder room a couple of times. And you know broads. They spend half theirs lives in the can. She got a couple of calls at the payphone out front. But I told that to the cops.

 

EDDIE

You didn’t happen to overhear the conversation?

 

CHARLIE

Come on, Eddie. That’s not my style

 

EDDIE

Yes, it is. Are you sure you didn’t pick up a name? Or maybe one of your boys happened to overhear something.

 

CHARLIE

Not this time.

 

EDDIE

That’s not like you, Charlie. You must be slipping.

 

CHARLIE doesn’t like this affront to his shady character. He fiddles with the papers on his desk.

 

CHARLIE

Maybe…maybe there was something. One of the boys thought he heard the bitch mention a name. Look, I don’t want anybody to get into trouble.

 

EDDIE

What name?

 

CHARLIE

He wouldn’t tell me. Said he heard her talking and, well, I think he might try getting money from her, you know, hush money.

 

EDDIE

Which one of your boys?

 

 

CHARLIE

Philippe. He’s new. Doesn’t know you can’t shakedown some of these people. They’re…they’re power players. No matter what they might have going on the side. You know what I mean, Eddie.

 

EDDIE

Got an address on this Philippe?

 

CHARLIE

Sure. But it’s kind of a rough neighborhood. In fact, you…you probably remember it. It’s in Chinatown. Behind the French Hospital. You remember that area, don’t you, Eddie? That’s where they found you. Remember?

 

EDDIE

(sweat appears on his forehead)

The French Hospital? Yeah. That was a long time ago, Charlie. What’s that address? Philippe’s address.

 

CHARLIE

Sure, Eddie. The address. Here. Yeah, his place is right behind the hospital. Funny, isn’t it? Right behind it.

 

CHARLIE scribbles the address on a slip of paper and hands it to EDDIE who is blinking rapidly and sweating. EDDIE wants to leave.

 

EDDIE

Yeah. Thanks.

 

CHARLIE

Sure, Eddie. Be careful. Wouldn’t you know, it’s in the same—

EDDIE stumbles out of the office. CHARLIE stands up and watches him leave. He puts his hand on the intercom.

INT. THE GOLDEN DRAGON’S FRONT DINING ROOM – DAY (BLACK AND WHITE)

WAITERS are still setting up tables. EDDIE stumbles into a table that has been set up and he knocks over a vase of fresh flowers. EDDIE doesn’t try to straighten anything. His hands are trembling. He rights himself and tries getting out of the place. EDDIE stumbles into the next table. The TWO WAITERS, both Oriental, walk toward him. This triggers another psychedelic episode.

EXT. PSYCHEDELIC ALLEY IN CHINATOWN – NIGHT SCENE SHOT WITH YELLOW FILTER

EDDIE stumbles into garbage cans as two Oriental men chase him. EDDIE rights himself as he comes face to face with the TWO ORIENTAL THUGS. He swings at THUG 1, knocking the man down, and then spins around to handle THUG 2. EDDIE punches at THUG 2, but this guy knows karate and comes flying at him with feet and fists. EDDIE sidesteps and THUG 2 falls to the ground, but THUG 1 is now up on his feet and chopping his way toward EDDIE. EDDIE grabs THUG 1’s arm and brings it down in one yelping crunch. Now THUG 2 is back on his feet coming toward EDDIE. THUG 2 does a few kicks at EDDIE, but none do too much damage. EDDIE starts toward him only to get a chop in the face. EDDIE goes down to his knees. When he looks up, the alley starts spinning in a yellow whirl. THUG 2 is left standing and literally turns into one THUG after another after another until there are eight identical Chinese THUGS coming at him. EDDIE staggers to his feet and tries swinging at each one, but his punches go right through the apparitions until he actually hits the one that is solid. EDDIE tries to punch again, but he is hit with a barrage of karate chops that brings him to his knees, again. EDDIE looks up only to see the eight identical faces spinning around in front of him like a telephone dial. EDDIE shakes his head to clear the image, but as he does his head shatters like glass and he watches the pieces of his own face fall around him. From another angle we see a 3rd Chinese THUG hit EDDIE over the head with a board and EDDIE passes out.

EXT. SIDEWALK IN FRONT OF THE GOLDEN DRAGON RESTAURANT – DAY (BLACK AND WHITE)

 

The TWO CHINESE WAITERS from Charlie’s restaurant finish beating EDDIE up and then they dump EDDIE on the sidewalk and go inside. MARK is grabbing a smoke and watches the scene. He makes no attempt to help. He finishes his cigarette. MARK can’t see EDDIE move so he goes to him and bends down. MARK prods him for a moment to see if EDDIE is conscious before going through EDDIE’s pockets. MARK finds the wallet, takes out a few bucks and returns the wallet. EDDIE stirs. MARK lifts EDDIE up to a sitting position.

MARK

Mr. Buick. You all right, sir?

EDDIE

(groggy)

The hospital...Am I in the hospital?

MARK

Are you hurt, Mr. Buick?

EDDIE

(coming around)

Huh? What…?

MARK

A couple of thugs roughed you up, Mr. Buick. I saw them dump you out here. Do you need a doctor?

EDDIE

No. I’m okay. Did you recognize the men?

MARK

(lying)

I couldn’t see their faces. They ran down the alley when I came around the corner. What was it all about?

EDDIE

I must have struck a nerve somewhere.

MARK

Huh?

EDDIE

You worked ’til closing last night?

MARK

Yeah.

EDDIE

Did Maxwell Vernon or Pearl Dawn leave anytime during the evening?

MARK

I don’t think so. I really don’t remember.

 

EDDIE

Do you remember what Pearl was wearing?

MARK

Not really. To tell you the truth, Mr. Buick, I didn’t even recognize her. Charlie’s the one who told us she was in the restaurant.

EDDIE

Did you wait her table?

MARK

No. I didn’t know she was here until this morning.

EDDIE

Which waiter was on her table?

MARK

Some new guy. Name’s Philippe.

MARK helps EDDIE stand up. EDDIE reaches for his wallet to give the guy a few bucks and notices some bills missing. He glances at MARK and then smiles slightly. He still hands the bum some money.

EDDIE

Mark, set your sights a little higher next time.

MARK nods, but he hasn’t a clue what EDDIE means. EDDIE walks away. MARK stuffs the bills in his pocket.

EXT. STREET NEAR CHEAP APARTMENT BUILDINGS IN CHINATOWN – DAY (BLACK AND WHITE)

EDDIE drives down the street past the French Hospital. He parks along Hill Street and studies the foot traffic. Most of the people ignore him; the others are only marginally curious. EDDIE feels a little warm. He rolls down the window all the way, but that doesn’t help. He reaches for his glove compartment.

CLOSE–UP ON GLOVE COMPARTMENT – DAY (BLACK AND WHITE)

EDDIE’s HAND opens glove compartment and we see medicine bottles and a few packets of medicine with Oriental writing. EDDIE’s HAND hesitates and then slams shut the glove compartment.

EDDIE’S VOICE

Easy does it, boy. Try it without the crutch.

EDDIE opens his car door and steps out.

EXT. STREET IN CHINATOWN – DAY (BLACK AND WHITE)

EDDIE walks down the street. He passes a few people who don’t pay any attention to him. He stops, reaches in his pocket and pulls out the piece of paper with the address Charlie had given him. He looks up and down the street.

EXT. OUTSIDE CHINESE RESTAURANT – DAY  (BLACK AND WHITE)

A large Chinese restaurant is on the corner. The sushi bar is on the lower floor. The sit-down restaurant is on the second floor. Apartments are crammed on the third floor. A wide alley runs past the restaurant and the adjacent grocery store. There are other shops across the way. More small shops line the alley. EDDIE looks again at the paper with the address. He looks up. He sees the apartments above the restaurant.

EDDIE walks around to the far end of the building and sees a glass-fronted door. Looking in, he sees mailboxes on one wall and narrow stairs leading up.

EDDIE finds himself standing next to a box of iced fish from the grocery store and looks at a glassy eyed fish staring back at him.

EDDIE

(to the fish)

Hey, man. You ain’t the only thing fishy around here.

EDDIE walks into the vestibule. The door rattles loudly as it closes.

INT. APARTMENT STAIRWAY – DAY (BLACK AND WHITE)

EDDIE walks cautiously up the stairs past the restaurant landing and then stops to listen. He turns around and goes silently back down the stairs. He quietly goes out the door, propping it open with a discarded newspaper so it won’t make any noise.

INT. UPSTAIRS HALL IN APARTMENT BUILDING – DAY (BLACK AND WHITE)

TWO CHINESE THUGS are hiding in opposite doorways in the upper hall. THUG 3 is part of the way down the stairs. They heard Eddie enter and are waiting for him. CHINESE THUG 3 peers down the stairs, but no Eddie. They wait.

 

EDDIE comes quietly through the rear fire exit and walks up on CHINESE THUG 1.

EDDIE

(tapping guy on back)

Lookin’ for me?

CHINESE THUG 1 turns slowly only to get punched by EDDIE.  He falls to the ground. CHINESE THUG 2 comes running from across the hall and tries to get in a kick, but EDDIE grabs his foot and flips him over. EDDIE bends down and picks up CHINESE THUG 1 with one hand and pummels him. When he finishes, EDDIE turns just in time to punch CHINESE THUG 2 who goes down. CHINESE THUG 3 races up the stairs and attacks EDDIE. EDDIE punches him a few times, but the man won’t go down, so EDDIE spins him around, grabs him by the seat of the pants and collar and races to the rear window where he throws the man through the glass window and sends him sailing through the air. EDDIE watches the man hit the ground.

 EDDIE

Cool. Gravity. Works every time it’s tried.

[THIS ENDS THE BLACK AND WHITE PORTION.]

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