IINT. DAY. JONES JEFFERSON’S APARTMENT.
JONES, 30, stocky, good-looking, gets up out of bed. He is
living in a studio with a roommate, SMITH, who is still
asleep on the other side of the room on their bunk bed.
Jones’ side of the room is immaculate and Smith’s side is
completely dirty.
Jones stands in front of the mirror, he is shirtless. We see
that he has a well-developed torso.
JONES then puts his shirt back on and start brushing his
teeth.
EXT. DAY
Construction yard. We see Jones, with a hard-hat on,
cleaning drywall up in a construction yard.
He is working effortlessly. He is happy. He is always
working his upper body, hard. He is whistling while he
works.
The FOREMAN comes walking towards him. He has a last check
in his hand. He hands it to Jones regretfully.
FOREMAN
Jones! You know I love you man. You
do good work here, I’ve been
meaning to tell you that.
JONES
Yeah?! How’s bout a raise?
FOREMAN
Ha?! That’s just what I wanted to
talk to you about . . . listen man
. . . I uh, I can’t afford to keep
you around anymore. I’m sorry.
FOREMAN spits.
JONES
Sure.
Jones sets the dry wall down. He takes off his hat, and
looks at the check.
(CONTINUED)
________________________________________
Page 3
CONTINUED:
2.
EXT. Day. Supermarket. Jones is still upset. He walks into
the supermarket, with his head down. Out in the outside of
the supermarket, sits an OLD MAN. He is somewhat attractive,
dignified, and metropolitan. He wears a three-piece suit and
watches Jones.
EXT. DAY. POV OLD MAN. VARIOUS SHOTS
We Jones as the old man sees him. He is able to look past
the dirt, the dust and the grim to see that Jones is
vintage, stocky, sexy, tragic, high cheek bones - a
model-in-the-making wearing a tight t-shirt. He is
Abercrombie and Fitch. He is Gap to this man.
Suddenly, a white light goes up around Jones, and we hear
club music. The old man’s eyes perk up. He sips his coffee,
and zeros in on Jones, his next target. He smiles widely.
EXT. DAY.
We see that the old man is perhaps a bit out of place, in
this sort of hipster neighborhood, but Jones does not notice
him.
The old man is crossing his legs, slightly gay, sipping a
cappuccino, he watches as Jones walks into the store. He
reads a men’s magazine.
EXT. DAY Close Up on magazine, we make out that the magazine
the man is reading is a gay magazine from West Hollywood, it
is called "Full Frontal", and on the cover is a near-perfect
torso of a male is posing with a baby.
EXT. DAY. GROCERY STORE.
Jones walks out of the store, the old man, restless, or
perhaps it’s calculated this time, gets up and bumps into
Jones.
Jones, who has a bag of groceries in one hand, and eggs in
the other, bumps into the old man, and the eggs smash all
over his shirt.
JONES
Ah shit!
OLD MAN
I’m terribly sorry.
JONES
No, it’s alright, I bumped into
YOU.
OLD MAN (calculating)
(MORE)
(CONTINUED)
________________________________________
Page 4
CONTINUED:
3.
JONES (cont’d)
Oh . . . it looks as if I ruined
your shirt.
JONES
No, no, it’s alright it was a crap
shirt to begin with. As a matter of
fact, well, here . . .
Jones then takes off his shirt entirely, and wipes some of
the egg off his face with the shirt. There is still some on
his neck.
The old man steps back, and looks at Jones. Jones is left
there vulnerable, with his shirt off, looking at old man.
JONES
There, did I get it all? I just
want to make sure that I got it
all.
OLD MAN
No, I think you did, I think you
got most of it, well, here . . .
The old man man grabs a handkerchief out of his pocket,
licks it the way a father would, and wipes away at Jones’
neck, and then a little bit down on Jones’ chest. He then
steps back completely to admire Jones’ physique.
OLD MAN
My friend, I couldn’t help but
notice that, well, you, you have a
striking physique!
JONES
What?!
OLD MAN
Oh, I don’t mean any offense by it,
as a matter of fact, quite the
opposite, a compliment, if you
will. What kind of work do you do?
Construction?
JONES
I used to, just got laid off. . .
you know, concrete, general
construction, a little bit of
everything, you know. Something to
keep me in shape while I
audition.
(CONTINUED)
________________________________________
Page 5
CONTINUED:
4.
Jones spits, much like the foreman did, a construction
spit. Old man is somewhat taken aback, yet turned on by
Jones’ crudeness.
OLD MAN
My, you are still a bit provincial
around the corners, aren’t you?!
Listen, if you just need work,
well, then, I can tell you of a
place that would really help you
out . . . does that interest you?
JONES
Of course!
OLD MAN
Well, OK, then . . . write this
number down -
JONES
OK
Jones clumsily searches in vain for a pen. He pulls all
sorts of crap out of his jean pockets that fall all over the
floor. The old man is in love.
OLD MAN
He is laughing.
Better yet, let me give you a card.
JONES
OK
EXT. BENCH. DAY.
OLD MAN hands Jones a card, his finger narrowly missing
JONES’left little finger.
OLD MAN
Oh, and, um, don’t call me until
you’re ready . . .
JONES
OK.
OLD MAN SMILING
OK good, and it’s a pleasure
meeting you.
(CONTINUED)
________________________________________
Page 6
CONTINUED:
5.
JONES
It’s a pleasure meeting you . . .
sir.
OLD MAN
That’s good . . . because pleasure
is my specialty. . .
INT. DAY JONES’ APARTMENT.
Jones looks in the mirror, takes his shirt off, sizes
himself up again, and then . . . he decides to pick up a
piece of paper and look in the classifieds.
INT. DAY DOWNTOWN HOLLYWOOD.
We see Jones, going to all the bars on the main strip. He is
dressed sort of raggily, like someone who is used to working
construction, not fitting to the elite, downtown
atmosphere.
There is a montage sequence of bar owners and restaurant
owners shaking their head no, and turning Jones away.
He constantly is getting rejected, and he has his head down.
INT. DAY. RESTAURANT. TITLED JOHNNY’S.
Jones enters Johnny. An amazingly attractive WAITRESS, 25
going on 40, comes up to him.
She is quintessential downtown Hollywood, in the sexually
provocative way that she dresses, the way she acts, and the
warm way in which she greets a stranger. Her skirt is high,
she is wearing black stockings and a very loosely-fitted
white shirt.
WAITRESS
Hello, can I help you?
JONES
Yeah, are you guys hiring?
Waitress immediately looks down at Jones’ feet, he is not
wearing the best shoes, pans up his dirty jeans, and onto
his spotted shirt.
She makes a judgmental, and wicked grimace. There is a sort
of weird, sexual power-play going on here.
WAITRESS
Right . . . let me talk to the
manager.
Waitress walks away, as she does, she swishes her
classically shaped ass, an ass too good for television, and
not good enough for the movies, back and forth, and shaking
her head, even laughing a little bit.
Jones watches on, both wistfully and resentfully. He purses
his lips.
INT. RESTAURANT DAY.
The MANAGER comes out, an older man, slicked back hair,
former real estate, kind of sleazy-looking, just a guy.
MANAGER
He looks at Jones’ resume
What did you do before this?
JONES
Well, I used to uh, do
construction.
MAN
That doesn’t surprise me. You look
built for it . . . so . . . uhm .
. .. what are you doing here?
MAN then gives a similar look up and down Jones’ physique,
in a disapproving way. . .
JONES
Looking for a job.
MAN, laughing to himself.
Let me tell you something, you’ve
got a better chance getting a job
with the higher ranks of the Gulag
in Moscow!
Man laughs to himself and goes back to what he was doing.
JONES goes up to the MANAGER again.
JONES
I’m a good worker, I could rock
this joint, dishes, whatever, I’ll
do whatever.
Manager picks up a few menus and looks at Jones, pulls him
aside.
(MORE)
(CONTINUED)
________________________________________
Page 8
CONTINUED:
7.
MAN (cont’d)
MANAGER
You seriously want a job here? Is
that right?
JONES
Yeah!
MANAGER stares back at him in disbelief. He leans in to give
some advice. He puts his hand on his shoulder.
Listen, did you, by any chance,
catch the ass on that little
shtrumpet that pulled me out of the
kitchen? Because if you did, you
might have noticed one thing, SHE
IS PHENOMENAL!
JONES nods in agreement, as if to say " so what? Of
course!"
MANAGER
Listen, come on buddy, have you
ever eaten here? Have you ever
tasted the omelets here? We don’t
sell food, we sell sex, plain and
simple, buddy. I mean, I want you
to look over there, look at her
interact with the customers.
INT. RESTAURANT DAY.
We see what the manager is describing, as the waitress does
the rounds, and talks to the customers. It is a sort of
dance, gracious and charming, but also deeply sexual.
MANAGER
Her name is Suzy, her uhm, her
shirt is unbuttoned just so, isn’t
it? She is not even wearing
perfume. She exudes perfume, she
secretes it. And, the way she’s
leaning over, it’s almost as if
those guys can get a gander any
time they want, she’s wearing a
black bra. It’s a dark science. The
way she smiles at them, the voice
inflections, the nodding, the
bowing, the curtsying, the big,
wide laughs out loud. These
motherfuckers feel full before they
even touch the plate! They have one
thing on their mind . . . do you
understand what that is?
(CONTINUED)
________________________________________
Page 9
CONTINUED:
8.
JONES
Blow job.
MANAGER
Sexuality. . .sexuality on a
plate!
We see a montage of everything as it happens, everything
that he is describing.
It’s genius, it can’t be taught.
Jones looks at the guy, trying to get the relevance of what
he just said.
MAN
You want to make money? Find a way
to make rich men feel the way she
just made those men feel, you will
have the key to the city.
Just then, the waitress walks by, and winks at the MANAGER.
MANAGER
Isn’t that right Suzy?
Then, whispering to Jones
Just be careful, because it’s a
dark art, and there is a negative
side to it.
JONES
What do you mean?
MANAGER
If you start using these tricks,
these charms of the flesh, you make
a deal with the devil, a deal that
can’t be broken.
JONES
OK . . . thanks, got it.
MANAGER
Manager pats Jones on the back.
Good luck. Guys have it harder,
they have to actually work.
Sometimes I wish that I could be
objectified like that, you know
what I mean?! Just show up . . .
wearing the right outfit . . . and
bam! They hand the world to me on a
silver platter.
________________________________________
Page 10
9.
EXT. DAY.
Jones walks out of the restaurant, and as he does, he sees a
a 50-foot tall sign of a woman in a bikini advertising
Belvedere Vodka.
Jones shakes his head and walks on, pondering what the man
said, as he does, he continuously passes by a lot of
beautiful women, who look up and glare at him with evil
faces.
They all sort of smile at him condescendingly, as if they
are benefiting from one of the oldest tricks of marketing .
. . and he isn’t, to his utter financial demise.
EXT. DAY.
Suddenly Jones looks at all the beautiful women some more,
and he starts seeing dollar signs line their assets as they
walk by.
A dollar sign on their breasts, dollar signs on asses, on
bare stomachs, and dollar signs in their crotches.
Then we hear a cash register sound.
EXT. DAY. Close up on Jones. He feels dizzy. He opens up his
wallet, and looks in, and he realizes that doesn’t have $3
to his name.
EXT. DAY Sidewalk.
Suddenly, Jones turns up a hill to go back home, and as he
does, the beautiful women’s faces then turn into homeless
and desperate faces, dirty, hungry, angry.
This is a different side of town, where Hollywood’s real
people live.
Suddenly, one of the desperate and hungry women comes up to
him. She is not beautiful, she is gaunt, and hungry.
WOMAN
Excuse me sir, did you happen to
have any food I could have? Or
money? I am three months pregnant,
and I have nowhere to go.
JONES
I’m sorry, I’m a little broke
myself! Isn’t there a homeless
shelter or something that you could
go to?
WOMAN
Homeless shelters is all shut down.
There is nowhere to go. This is no
longer the city of Angels, it’s the
city of Satan.
JONES
I wish I could help you, but I just
lost my job myself.
WOMAN
Be lucky that that’s all you lost
young man.
INT. NIGHT JONES’ APARTMENT.
JONES lights up a cigarette, and he starts looking in the
classifieds.
Suddenly, he comes across an ad for a gay bar, and he sees a
man’s beautifully defined torso, as the art for the ad.
He gets up, and takes his shirt off again, his body, fresh
from doing construction, still looks good and sharp.
He flexes around, and then slightly unzips his pants,
mimicking the pose. He laughs in embarrassment.
INT. NIGHT. POV JONES
Jones smiles as he sees that the reflection is very
pleasing.
Jones then does some push ups. He looks back in the mirror,
and smiles. He takes off his shirt again, he looks ripped.
JONES looks at the picture, and he then looks at himself,
and realizes that he has got to shave.
He goes into his drawer, and picks up a razor, and a shaver,
and starts to get to work.
INT. NIGHT. JONES’ APARTMENT
Close up on the sink, where there are all sorts of hair and
shaving cream, and a little bit of blood. Jones looks at it, and laughs. He nods
approvingly and flexes.
All the sudden, his roommate, SMITH, Asian, in his late
twenties - homely, suspect and creepy.
He barges in,
and almost knocks Jones down.
Jones tries to cover up, but it is almost too late.
SMITH
What are you doing?
JONES
Nothing.
SMITH
Are you shaving?
JONES
Yes. So?
SMITH
Are you going to be able to pay
rent?
JONES
Yes, I got a plan.
SMITH
OK, well don’t you think whatever that plan is is more important than shaving our chest? It’s almost the first of the month!
JONES
I got it covered man!
Smith goes and lays down on his bunk bed.
Jones looks back
at Smith angrily. He then looks at his card again, the one
Frank gave him, and he strokes his chin.
This time, he is ripped and shaven, and looks very much like
an underwear model, if he does not say so himself.
JONES
Would you fuck me?
He pulls his pants down a little further.
SMITH
Excuse me?
JONES
Not you! I’d fuck me. . .would you fuck me?
EXT. DAY.
Jones gets off the metro, and starts walking through a
barrio part of town. He has the card in his hand and he is
looking up at addresses.
There are many homeless people there but also other sorts of
people just hawking their wears.
People look at him . . . and sort of laugh, knowingly, as he
walks by, he gets a sense as if he is walking to his doom.
MAN
(Walking by)
Sexy, very sexy!
JONES
Hi. Thank you.
INT. DAY.
Jones approaches the outside of a warehouse. It is an ugly
blue up top. We see a SIGN that says "Jimmy John’s
hardware".
Jones looks at the card, and checks the address,
just to make sure that he was right.
The place is a sort of warehouse, brick building. The
building looks empty. The windows are rusted and dirty. The
site looks as if it is completely broke down.
There is a tall, rusted metallic door. Jones knocks on it. We hear a hollow, metallic sound.
Jones knocks several more times, until an eye-slide hole
opens up, and the manager sticks his eye out.
OLD MAN
Can I help you?
JONES
Hi, yes. Um, it’s me, I was in
town, anyway, I thought that I
would stop by, to see what this
whole crazy job offer thing that
you were telling me about was well
. . . really all about! Hey! This is a crazy neighborhood you’re in, I mean
there are certain things I will do
and other . . . you know there are
limits to . . .
OLD MAN
Hold on . . . I will let you in.
EXT. DAY.
The eye hole shuts.
There is fumbling with a
series of chains. It is a long, drawn- out process, until the old man is able to slide the door open, and when the door slides open, it reveals a darkened bar, and night-club with places to dance.
There are different, elevated boxes and stools, etc. It is
glossy, gold, a little tacky but sexy at the same time.
There is glitter and gold dust on the floor. It is bordello chique.
Old man, now in his element, has his coat unbuttoned,
doesn’t even greet Jones at the door, he just walks back to
the back of the bar, smoking a cigarette.
There is a sort of spot-light, which casts an interesting
silhouette over the old man, as he goes to a comfortable place
at back at the end of the bar.
He is looking over some business papers. He has to talk
loudly to reach Jones.
OLD MAN
So . . . you came. . . . did it
take you long to get here?
JONES
No.
OLD MAN
(pulling out a long drag out of his cigar).
I’m sorry I didn’t catch your last
name. . .
JONES
Jefferson.
OLD MAN
(snickering)
I see . . . and . . .Mr. Jefferson
. . . . are you aware of what it is
that we do here?
JONES
Not exactly, but from the looks of
things . . . it is a sort of bar
and night club, correct?
OLD MAN
(Overly emphatic as he gets up, and going straight for
Jones, as if Jones).
Precisely! That’ s precisely what
it is! You are a very perceptive
young man, I only wish that my
ENEMIES could realize the same
thing. My . . . critics from West
Hollywood if you will. They have
said terrible things, called me
terrible names . . . and rumor has
passed that I do terrible things
here. . .sweat shop! Meat market!
they say . . . I assure you my
nubile friend . . . THIS is none of
those things, or rather, (laughing) all of
those things . . . but . . . more
though, more! We have a higher
calling Mr. Jefferon, I hope you
know that.
JONES
I see!
OLD MAN
We are . . . well, never mind that, but tell me, Mr. Jefferson, have you
ever, and I ask this not to pry,
but to compare, and prove a point,
have you ever been objectified?
JONES
I’m not even sure what that means.
OLD MAN
Sorry, let me know if I’m moving
too fast, by all means . . . but .
. . have you ever had your um, your
physical assets placed somewhere,
on a pedestal so to speak, on a
plate . . . figuratively of course
. . . in a deli . . . in a clothing
store . . . for everyone to eye
and oggle? And even worship at
times?! Have you ever put
yourself in that position where you
are the key focus of sexual
attraction?
JONES
No!
OLD MAN
Never once?
JONES
I don’t think so. I wasn’t aware of
it if I did.
OLD MAN
Nary a . . . Chippendale’s talent contest
in high school? Never anything like
that? You never had to go work on
the cheerleader’s cars with your
shirt off? You’ve never been
stripped down against your will,
and leered at, fondled even? No boy
scout boating trips? No trips to
your Uncle’s house, that you would
e 16
CONTINUED:
15.
OLD MAN (cont’d)
rather not talk about? Never
spotted doing landscape in Miss
Olawf’s lawn while you took your
shirt off, as you took a swig of
Gatorade? Nothing like that?! Think
back, think hard, we have all the
time in the world . . .
JONES
No.
OLD MAN
That . . . my friend . . . is a
shame. . . and that . . . is all
about to change! Take your shirt
off!
JONES
What?
FRANK, (snapping his fingers)
Go on, don’t be shy, I want
you to take off your shirt for
a second, that’s right, and
keep your jeans on. . .
consider this an audition of
sorts.
JONES
Alright.
JONES hesitates, looking at the man curious, and then takes
off his shirt.
JONES
Like this, is that what you wanted
to see?
FRANK
Precisely, that is precisely what I
wanted to see.
INT. DAY.
Frank poses like an artist, eyeing his canvass for the first time, hands to lips, pursed.
FRANK
We’re going to have to clean you up
a little bit, aren’t we Mr.
Jefferson?
JONES
What do you mean?
FRANK
Never mind . . . you’ll see.
JONES
Fair enough.
Frank begins to adjust the jeans a little bit.
JONES
Hey man, the sign on my ass says do
not enter!
FRANK
Yes I can read, as a natter if fact it says here that you’re a size 32 - I
See - OK, I will be right back!
FRANK runs into the back room. He is in there for a little
while . . .
JONES
(nervous, standing there, vulnerable again)
Did you want me to give you any
references or anything like that?!
FRANK from in the room
No, no need for references.
JONES
OK
(To
himself).
This is weird!
OLD MAN
Ha! I got it! Oh boy! Do I get it!
Jones m’boy!
JONES
Yes?!
OLD MAN
I want you to take this home!
OLD MAN throws him a package outfit, and we don’t quite see
what it is.
OLD MAN
I want you to take your new uniform
. . . and show up a week from
tonight . . .
JONES gets excited.
OLD MAN
You my friend, have just got yourself a job! You
start Friday, don’t be late!
JONES
Hot damn, man! I knew it. Thank you
so much Mr. . . . Mr. . .
OLD MAN (cont’d)
It’s Mr. Frank Preston. If you
manage to show up here on time next
Friday night . . . you can call me
Frank!
JONES
Hot damn Mr. Preston, you really
helped me out of a blind spot here
Mr. preston, and you will not be
disappointed - I guarantee you of
that!
FRANK
Just don’t be late!
EXT. JONES gets on metro, back towards home. He sits,
contemplating the events of the night. He has a curious
smile on his face.
INT. NIGHT. JONES’ APARTMENT.
JONES gets back home in his apartment, he barges in on his
roommate SMITH. . . who is masturbating.
Smith tries to hide it quickly, as Jones puts his things
down.
This seems to be a regular ritual, or a routine. Jones
pretends to ignore it by busying himself in the kitchen, as
Smith zips his pants up and cleans up.
JONES
Hey guess what man?
SMITH (pulling up his pants, zipping them).
Why do I have to guess? Can’t you just tell me?!
JONES
I got a job!
SMITH
Congratulations! Now you’re just
the same as 3 billion other people
out there – you’re doing what you’re supposed to do!
JONES
I got cash . . . and I got more
cash coming baby . . . it’s about
time to grind son number one. Let’s
celebrate!
SMITH
As long as your half of rent is
Covered - that’s all I care about.
Smith, with no clear intention of wanting to celebrate, gets
up only to roll over with his back to Jones.
JONES
Oh, it pays alright, and it’s going
to make me a biiiig star!
SMITH
OK. Well I knew you when.
Jones dismisses Smith’s comment. He takes another look into
the mirror . . .
JONES
Would you fuck me?! I would fuck
me!
CUT TO night club, the next Friday.
EXT. CLUB ZANE’s. Night.
Closeup on Club Zane. Suddenly, there is a neon sign on the
building, the metal door is drawn up, music is blaring,
people are dancing outside on roller skates, promoting it .
. . CLUB ZANE . . . is a white light beacon in the cold,
disgusting night. Club Zane is truly open for business.
EXT. Night. Close up on Jones. Who stands across the street,
and has a huge shit-eating grin on his face.
He starts to go in through the front.
Suddenly, Frank pops out in front of him, with his hands up.
FRANK
Wo wo wo my friend! Talent goes in
through the back kid, you work here
now, remember that?
Frank smacks Jones on the head.
FRANK
Remember that kid, remember where
you’re at.
(Frank’s demeanor has changed again, now he is more Like a football coach. Frank can do this now, he is the
boss, he IS the coach).
Is your head on straight? I hope it
is, because this is the biggest
moment of your life in LA. For goodness sake, it’s make or break!
FRANK
It’s your debut . . . so look
sharp kid . . . I can’t have you
going in there like you’re half
dead, like everyone else in this
pathetic business, in this
crazy-ass city. Button up, gear up,
man up, zip up, sit up straight,
and by the way . . . you’re almost
late . . .
JONES
Right, boss.
FRANK
Did you bring the uniform that I
Specifically told you to bring? Are you wearing
it?
JONES
Yes. I got it right here, it’s on
underneath.
FRANK
Ok-let’s see.
JONES
OK.
Jones pulls down his pants and reveals a certain type
of underwear that we can’t see yet.
FRANK
Ah . . . very good.
FRANK zips up for him .
FRANK
Now, get in there, as you can see,
as you can see, well, this place is
about to explode!
There are some screams as Frank says this.
FRANK
It’s time to cut the cake. It’s
time to give the children the candy
they came for. It’s time my friend.
EXT. Night.
Close up on Club Zane’s. Then pan out to
see all of the homeless people crowd around look in. The
look on their faces is hungry, as they all crowd around Club
Zane - which is a beacon in the night.
This is ignored by Frank, and Jones, and everyone else who
works at the club.
There is a clear difference between the
bacchanal ritualistic nature of the club, and the people who
are hungry, sitting, watching from the outside.
INT. NIGHT. Frank looks at Jones and talks to him like a
football coach.
FRANK
Remember . . . you’re everything
they always wanted . . .but could
never have, you’re the guy in high
school, the jock . . . the high
school captain . . . the one-day
substitute, whatever it is, I mean
. . . after all. . . you’re
Straight! You’re the guy they
could never have. Sell a dream!
JONES
(getting pumped up and thinking of it like a football
game.)
I’ll sell a dream alright. I’ll
sell them what they can’t have. I’m
going to reinvent the idea of Jones
Jeffersom tonight ladies and
gentlemen! Jones Jefferson is a new
concept, a new brand.
FRANK
You . . . you just give
them gold and passion tonight, for,
it truly is the first night of your
after-life.
JONES
What?
FRANK
Nothing.
JONES
Right!
INT. Night. Jones starts running down the hall way, cheering
and delighting.
He high-fives one of the waiters who thinks
he is crazy.
Maybe he is.
He laughs to himself, loudly.
INT. Night.
JONES goes in the back room, and what is revealed are 10
other guys, just as fit and attractive as he is . . . and
they are powdering and oiling themselves down.
INT. NIGHT.
Close up on their flawless abs, their body parts, their legs, etc. The changing room looks like the back room of a male
bordello. A rooster house, if there is such a thing.
INT. NIGHT.
Close up on Jones. This lets out a little bit of his steam.
JONES to himself
Wow!
DANCER
Where the fuck is my oil bitch?!
DANCER 2
Don’t look at me, I didn’t take it.
DANCER
Well, someone did.
JONES
Hey, I’m Jones.
DANCER 3
Blame it on this dip shit, he’s
new! Hey gorilla boy, hey dip shit!
What’d you do with his oil?!
DANCER 1
Yeah John Deere, where’s the oil?!
DANCER 2
Yeah, where’s the oil fuck face!
DANCER 3
In this place we share OK!
JONES
Hey, I’m Jones, I’m new here, it’s
my first night, what’s your name?!
DANCER 3
You took my oil?! Is that right?!
Is he the one?! Hey, you’re in my
way, get the fuck out of the way!
JONES
(taken back, slightly offended)
Hey, how you doin’ my name is
Jones…
DANCER 3
Really bitch, well I don’t know how
they do it in the Ozarks, but in LA
we STAY THE FUCK OUT OF PEOPLE’S
MIRROR LIGHT WHEN THEY ARE
CHANGING!
________________________________________
DANCER 2
Is your brother named Jebadiah?!
INT. NIGHT.
Closeup on Jones. He freezes. He is humbled.
INT. NIGHT. CHANGING ROOM OF CLUB ZANE.
FRANK walks in. He is very much the boss of this little
roost.
He slaps one dancer in the ass, who is already in his thong,
as he walks in.
He has all the authority that there is to
give.
His shirt at half-mast, and now, that it is show night, he
smokes a big cigar.
He busy bodies around the changing room -
adjusting and then readjusting everyone’s costume.
FRANK
OK ladies, I want you to get ready,
and realize that this is the first
day of the rest of your life. Enjoy
it, get in touch with it. Smell it,
and ease into it. DJ Funky Face has
some amazing tunes out there for
us, so I want you to give it your
all. Really give it your all.
DANCER 1
(applying more makeup)
Yes Pappa Bear!
FRANK
(putting his arms around Dancer 1 in a fatherly way)
Make love to these customers, and
sell them a dream.
Frank slaps the ass of one of the dancers as he says this.
FRANK
That’s right ladies and gentlemen,
you dance . . . with your hearts .
. .
DANCER 1
And you bounce with your ass!
The three dancers do some sort of one-two-three thing in the
back with their hands, like "Goooo team".
Then, all of the sudden, "I’ve got the power" starts blaring, and Jones starts doing push-ups like a crazed man, close to putting his back out.
Then, he starts doing forced, anatomically incorrect sit-ups and chin-ups.
The dancers look on, they are amused by this newbie’s
dedication.
Jones starts running in place, then, he runs
into the bathroom, and starts puking.
________________________________________
DANCER 1
(He was watching this).
You picked a real stud there Frank.
FRANK
Never question my judgement Julio,
I know what I’m doing. . .
INT. Night. POV Frank, in the male bathroom, out steps Jones
in the outfit that Frank chose for him - Football pants bottoms, with pads in them, shirtless, wearing cleats, and with and with the black marks under his
eyes.
The pants are way low. Jones is nervous, and has a blank
look on his face.
Frank smiles, and realizes what a complete genius he is. He
nods and takes a long puff on his cigar.
INT. NIGHT. POV JONES.
JONES, in full go-go outfit, is ready to go, and he jumps
out, and is blinded by the light, and the immediacy of
everything.
It is awe-inspiring. The entire club is switched around. It
is packed from end to end with people.
There are already
boys dancing, gyrating to the primal music.
At first . . . Jones sort of runs through the crowd . . .
there is a light beam up top . . . and the music is blaring
loud.
There is yelling . . . Jones feels completely
objectified. People are cat-calling, and whistling at him,
even throwing stuff. . . as he runs through the room.
He stops and thinks about it, and then smiles. Something
takes him over. He realizes that he is having fun, the
sweat, the music blaring, the cheers, the attention. He
starts dancing more enthusiastically.
He starts to feel the music . . . in his bones . . . in his
body, he feels the music.
Jones starts dancing a little bit . . . in a go-go fashion.
Someone grabs at him, quickly, and he squirms.
________________________________________
Then, Jones gets up on a box, and starts to dance even more,
then the DJ puts on a different song, and it has a lot of
groove, and Jones starts to dance to the groove, and he
starts to smile as he dances.
Frank notices this, and he starts to grin. The DJ gives
Jones a heads-up props, and a thumbs up.
Fast forward. Jones gets more and more into it, as the night
goes on. . . . people put more and more hands in his
underwear, hands run down his chest.
INT. NIGHT.
Close up on Jones’ abdomen. Hands rub down his abdomen . . .
again and again . . . . first single hands . . . and then
more and more hands on his abdomen . . . and his pectorals.
Old men beckon him down. Hands are placed on his chest. .
. he is instantly very popular. Fresh meat in the dirty go-go world.
Jones wags his finger in a non-confrontational way. He
starts to enjoy the worship aspect of it.
One guy licks the sweat off Jones’ chest. Jones laughs and half waves him off. The guy puts a 20 in Jones’ underwear. Jones looks down at his underwear that is chalk full of 20s.
INT. NIGHT. We see a montage of 1s, then 5s, then 20s,
stuffed in his underwear.
JONES starts to get more and more into the dancing.
INT. CLUB ZANE’s. NIGHT. Jones sits in the back of the club,
he is finished, by the dressing room.
It is the end of the night, and Jones has glitter on him, he
is smudged in oil, and he is wearing a ball cap, and
underwear, and he is grinning from ear to ear, as he counts
his cash.
He wipes the sweat off himself with a towel. It is very much
a scene from "The Wrestler", or even from "Blaze", after the female stripper has tried stripping for the first time. Jones cannot hide the smile on his face.
INT. NIGHT. Backstage.
JONES
(Talking to no one specifically, everyone else changes as
well, not as enthusiastic, this is just routine for them).
This is rent! I mean, I made rent
in a night! This is unbelievable. Completely unbelievable! I’ve never felt like that, felt so alive, felt
so wanted, you know! It’s like they
were in the palm of my hand, I
mean, I really really felt like
Jess Ventura out there, it was
absolutely crazy!
DANCER 1
Oh, how I wish every night was this
new to me!
DANCER 2
It’s like seeing a kid in a candy
store.
DANCER 3 (licking his lips, watching Jones count his money,
with part envy, part desire, and part criminal intent).
I think we should steal it! The
candy I mean.
DANCER 1
Oh behave you! We’ll get him soon
enough.
FRANK walks in, smiling from ear to ear, he lights up
another cigar. He walks amicably up to the three dancers . .
. who are much like a chorus in this group of studs, or even
like a pack of coyotes or wolves.
FRANK puts his hands around them all.
Easy kids, easy . . . I know how
you get . . . give the fresh meat a
few weeks before you descend . . .
you carnivorous animals. . .
DANCER 1
Where did you find this one?
FRANK
The grocery store.
They all three burst in laughter.
INT. NIGHT.
Dressing Room. Jones looks back and wonders if they are
talking about him.
DANCER 1 (laughing)
The man’s got an eye!
DANCER 2
What section did you find him in?
FRANK
(grinning from ear to ear).
Frozen meat!
INT. DRESSING ROOM. NIGHT.
Pan backwards on Frank, and the three dancers laughing like
hyenas. They clearly have a plan for old JONES there.
INT. NIGHT DRESSING ROOM.
Jones is still counting his cash in front of the Manager.
JONES
Yeah? I mean, you know I don’t
dance much I tried some new moves.
FRANK
We’ll give you a video! I think
that Antonio Sabatto Jr. has
something out. Hip hop abs, you know, join a dance studio, something. You did great kid -
you managed not to fall, I mean,
you flexed your muscles and you got
all the men very excited. What more
could I expect from my boys? Am I
right?! Give yourself a pat on the
back, you deserve it.
JONES
Yeah?
FRANK
For sure, for sure.
JONES
Hey Mr., I just wanted to thank you
so much for this opportunity, I
mean this is great, and it helps me
out a lot.
FRANK
(brandishing an even bigger grin – enjoying this weird father figure thing)
Well, it’s what we do . . . we help
people.. . here at club Zane.
FRANK grabs another roll of hundreds and starts counting
them, with his ASSISTANT.
JONES
He is still needy for attention, codependent with the man
who hired him.
Well, anyway, my roommate is going
to be stoked.
JONES
What? Oh! Good. Good. Alright then,
well, I will see tomorrow night.
FRANK is putting on a smile, more concerned with counting
his cash.
Sure, I look forward to it.
EXT. NIGHT.
Jones starts to take off from the club.
EXT NIGHT. WIDE SHOT
We see in the background, the name of the club in big yellow
neon letters. The name is “Crazy Zane”. We hear Frank laugh in
the distance. His laugh rings throughout the barrio.
There is a HOMELESS GUY digging through the trash. He looks up and he hears the laugh, and he lifts his head to see what’s going on, and then he goes back to the trash.
EXT. NIGHT.
Outside of Crazy Zane’s.
Jones leaves on foot, and then he realizes that he’s
forgotten something, so he goes back in. He lingers near the
front, and he does he sees . . .
INT. BAR.
Two goons have grabbed one of the dancers, JULIO, by the
arm.
JULIO is strung out. He grabs his legs, they hurt. He is too
old for the business.
Frank goes up to him with a cigar in his mouth, slightly
less sympathetic than he was with Jones.
Frank takes on a nastier, more
intimidating air. He is
circling . . . prowling . . .
blowing smoke. . .this is again a different gear for Frank, hyped up, angry, vile.
________________________________________
FRANK
Hello Julio, my . . . . My . . . .
My . . . what a mess you’ve become. . .
. you have become a real mess . . .
do you know that?! Do you
understand that?! We can’t have
this, you see, we can’t have our
workers turning into messes over
night, you see . . . I am trying to
run a business here, you see. . . .
NOT a play pen. . . . And, if I let
one boy slip, then all of the other
boys start to slip and then, you
see . . . I have nothing. . . I have a
play- pen, a play-ground, filled
with little boys doing jumping
jacks, while old, rich European men
watch, and lose interest and
erections . . . because there is no
discipline. . . . and . . . as you
know . . . no discipline is bad
business, and bad business is not
sexy. It’s not sexy to me Julio, to
have you falling all over the place
like a pathetic old cow! . . . like
a fucking muppet . . . and it’s not
sexy for the people to whom I
answer to, the people who own this
building, the people I pay rent
to. . .
JULIO
Can I say something?
FRANK
Did I say you could say something?
When I want your opinion . . . I
will give it to you . . .what? Why
is your mouth open Julio?! Did I
rattle my zipper?! I mean, really,
here. Do you understand what I am
saying to you?!
JULIO
I’m sorry boss.
FRANK slaps JULIO on the cheek.
What the fuck happened to you man?!
JULIO
You’re right boss . . .I’m just
trying to get it together . . . you
know my sister left town. My cousin
My cousin has been pulled in for immigration
reasons, my uncle was pulled in for
. . .
Frank slaps Jones suddenly in the face.
JONES
I lost focus.
FRANK
Fuckin’ A right you did! What are
we going to do about this?!
JULIO
Do?
INT. NIGHT.
FRANK circles Julio with disgust.
FRANK
Oh Julio, Julio, Julio, look at
this guy! Look at Julio, he used to
be beautiful. Beautiful Julio we
used to call him, or something like
that!
Frank looks at the bodyguards who are holding Julio tight.
I ought to show you guys pictures
some time. Kid, you used to be
beautiful. He, this thing, cowering
before you . . . he was an
underwear model, you know, a real
underwear model.
(Frank flips Julio’s underwear tight).
A Calvin Klein, Dolce and Gabana
underwear model. No joke about it.
He was, well, he was beautiful. The
abs, the legs, the hair - you know .
. . you can be beautiful again . .
.it doesn’t HAVE to go away!
JULIO
Come on boss, I won’t let it happen
again, can’t we just leave it at
that?!
FRANK
No we can’t Julio, I like to nip
problems right in the ass.
FRANK pulls out a knife and cuts off Julio’s shirt.
FRANK
I think, Julio, that you need the juice. That is my professional opinion anyway.
INT. NIGHT.
Frank then takes the knife to Julio’s throat and slowly
traces it down his long torso.
FRANK
When I was in Mexico, I met a
chemist friend who said he could
cure aging faster than any western
agent. He said it was an illegal
mix of an illegal fluid from
Argentina, the blood of a cow and
natural remedies. He sold me this
at a bargain rate, eventually I was
able to get the recipe from him
before he died.
And now, I want to
export it to the U.S. And in the
mean time, you see, in the mean
time, I am able to try it out on
all of my boys here.
INT. NIGHT.
Closeup on Frank’s knife going down Julio’s Julio’s happy trail. He then puts it down Julio’s pants, switches it around and flips open Julio’s belt. Julio’s pants fall down.
JULIO
The juice?!
FRANK
(Taunting Julio with the syringe)
The . . . Juice! The . . . juice.
The . . . juice!
FRANK slaps Julio dead in the face.
JULIO
(almost mumbling)
The juice. I . . . need. . . the .
. . juice.
FRANK
Good, I’m so glad you see it my
way, the juice you will get my
friend. The juice . . . is what you
will get.
Frank pulls out a golden box, in green lettering it has "The
Juice" written on it in cursive. One of the body guards
starts laughing. Frank looks at him.
FRANK
Is something funny?! What the fuck
is so funny?! Are you amused over
there?!
BODY GUARD
No, not at all, nothing’s funny,
sorry Frank!
Frank taps the needle of the syringe and starts to prepare
it.
FRANK opens the box and starts humming to himself as he
prepares it.
FRANK
The juice, the juice, the juice the
juice. Don’t get loose with the
juice. Julio, did I ever tell you
the first time I saw someone on the
juice?!
JULIO
No!
FRANK
She was a dancer, this woman in Mexico, and she was the
most beautiful woman I had ever
seen. It was a small village in
Mexico. A friend and I had snuck
there from another village about 20
miles away. I asked the promoter of
the show how old she was and he
said that she was 130 years old, I gasped, I looked on with laughter, and then I howled! He
showed me a birth certificate, and
photos of her. It was true. She had
been preserved. You, my friend, are
one beautiful boy, and I want to
preserve you too! I want to PICKLE you,
the way she was preserved. It’s the
best way, trust me!
Julio lets out an inaudible sound.
FRANK
What’s the matter?! Ha?! Do you want to grow old and detestable like me?! A scab of a man with some TV credits and a disgusting old dog?! No Property, no family to speak of, with all your family dead?! HA?! You ant to burn out like that motherfucker or do you want to LIVE FOREVER?! Stay young forever?! You want to keep that body forever?! I already know the ansnwer to that question Julio so I am going to make the choice for you!
JULIO
No.
Frank bursts into laughter.
________________________________________
Page 33
We see a closeup of the syringe. There is a little green
fluid in there. Frank goes into a bag and augments it with a
black fluid.
JULIO
Easy Frank!
FRANK
This hurts me more than it does
you! You know, you boys work so
hard for me, but, I think, every
now and again, that you need to be
punished!
JULIO
No, please, no, not that, please, I
changed my mind, I want to go home.
I want to go home. I want to go . .
.
INT. NIGHT.
FRANK inserts the juice into Jose’s left butox. Jose goes
limp.
FRANK pulls out an elegant napkin to wipe the sweat off his
brow.
I just sent you home baby!
INT. NIGHT.
Next day. Dressing room.
Everyone is getting changed again. Jones is somewhat careful
this time.
He is a little more tentative. He is changing, oiling
himself, then suddenly . . . Julio walks in.
INT. NIGHT. POV JONES
Julio, while the same person, looks different. Like his
spirit has left him. He has a blank look on his face. His
hair is black, and his skin is whiter. His eyes are glassed
over. It is as if something, a life force, has been taken
from him.
Julio is somewhat silent. He is pale. His hair is
disheveled. He doesn’t look right. The dancers give him a
knowing look.
JULIO Sits down, and Jones is forced to reach across from
him to get some powder. He may look a little stoned, or high on crack or something like that.
JONES
Excuse me.
Jones goes for the powder, reaching across, and Julio growls
at him. It is a sort of inhumane growl.
Several people around him take notice . . . and immediately
back way up!
JONES steps back in fear.
DANCER 1
(Looking on with great concern – a comraderie, a care for Jones.)
Y’alright baby? Did you have a
rough night, Julio?! You alright?
DANCER 1 puts his arm on Julio in a concerned fashion.
You alright? You going to make it?!
JULIO
It’s like you said, a rough night!.
I can’t wait to dance tonight, you
see, I can’t wait to tease those
fucking bitches. Right?!
DANCER 1
Right. That’s right Julio, you tell
them.
JULIO
Take their money for all they’re
worth! Steal from them outright,
right?! You know, it’s like, you
take from me motherfucker?!
(getting heated)
You take from me?! I take from you cock
sucka. Your wife is my wife, your
car is my car! What?!
DANCER 1
Right! Get him Julio.
INT. NIGHT.
Julio starts jumping around and shadow boxing.
JULIO
We’re the ones who belong in their
houses, with their wives, not them.
NOT the other way around! With
JULIO (cont’d)
their little fucking pooches, and
their priceless fucking cars! I
want to take back the night! I want
to take all those puny pathetic
cock suckers to the cleaners!
JULIO gets fired up and swings at the mirror and cracks it.
DANCER 1
Right, go on and get dressed sweet
heart, it will be alright.
JULIO
Fine, just fine, I just don’t need
this new guy fucking with me right
now, you see!
INT. NIGHT
Frank enters, concerned.
FRANK
What the hell is going on in here?!
Who has enough money in their
pockets to replace a mirror in my
establishment?! Oh . . . hello
Julio.
JULIO
Hey Frank! How are you?!
INT. NIGHT.
Frank eyes Julio suspiciously, slowly, cautiously. There is awkwardness, and tension, as Frank examines Julio
from afar, to see if he has any after effects of the juice
that he just gave him.
FRANK
(awkward, carefully worded)
Glad you made it home safe, the
word is that you simply had a rough
night. . . please, I hope you will let
me know if anything changes, my
boys and I here are more than happy
to help in any that you see fit!
We are happy to assist! Just uhm. .
. try to watch the mirrors, yes? We’re happy to have you working so soon after .. . I mean . . . we’re happy to have you working here my friend!
In Julio’s ear
FRANK
Keep a lid on it Julio! This can
only get worse!
JULIO
Right Frank! Sorry. I’ll watch it, I’ll watch myself, sorry.
INT. NIGHT. JONES’ APARTMENT.
JONES walks in. Caught again in the wanton act of masturbating, Smith quickly throws a sock over his mid-
section.
SMITH
How was, I mean, how’s your new job?
JONES
(distressed look on his face . . . as he counts his
cash.)
Fine. Just fine!
SMITH
(walking up behind Jones and eyeing the cash)
Are you a drug dealer? Is that what you’re doing man, you’re dealing vicodin?
JONES
No. Try again.
SMITH
A money launderer? You sell livers,
how the fuck did you get a job so
quick my friend!? In this economy?! In this freakish, goulish nightmarish economy?! How the hell did you get a score like that?!
JONES
(As he takes his shirt off and looks in the
mirror again. This time he is very puffed out in his go go
boy get up.)
I have begun to use Black magic. Dark
arts.
EXT. NIGHT. Outside of Zane’s.
Jones walks outside.
He walks out, and into the back of the bar to smoke a
cigarette. Suddenly, he hears screaming.
Int. Night.
Jones then walks around to the back of the bar, and looks in
through the back window.
He finally gets in the window, and he looks in, and he sees
three or four GOONS, along with Frank wrestling with Julio,
trying to pin him down.
________________________________________
Julio wrestles all of them, and wrestles free, and then
waves violently at Frank with his hands.
His body has taken on another earthly form. He is strong,
and resilient. We see this as he bounces back and forth and
he is agile and able to quickly overcome obstacles.
We see some of the body guards fly, as Julio vigilantly fights
them.
We see Julio reach out and gash Frank in the face.
Suddenly, Julio breaks free, and slaps one of them and
breaks free into the night.
FRANK
Julio, come back!
At first, Julio is kind of stooped over. Then, he runs out
of the door, into the night, screaming.
His screaming fills the night air. Jones hunkers down, and
hides behind the dumpster. . . .
JULIO gives out an unearthly howl, as he leaves the club for
good, into the night.
EXT. NIGHT
We then hear Julio throw a dumpster across the street with
unearthly strength, and go running off into the night.
The sound of Julio’s tortured voice rings through the night
air, it is chilling.
INT. NIGHT.
Jones is sitting at the make-up table, getting ready. He is
getting more and more intricate, and competitive with his
outfits. Tonight, he is the male version of Jessica Alba’s dancer in Sin City.
He has a cowboy hat, and a whip, and assless chaps. He goes
down to do last minute push ups. The Dancers look on.
DANCER 1
Someone should tell him that Shane wants his look back.
________________________________________
DANCER 2
Shane motherfucker, I would have
danced with Shane.
JONES walks by again to grab the powder. He walks by all
three of the dancers. He knows he must face them. This turns
into a sort of nightly dance with these guys.
Precarious at best. Jones tries to face it with a sense of
humor.
Jones starts powdering his chiseled body as he talks to
them. He makes sure to taunt them with each stroke of his
body and chest.
JONES
Hey guys, what’s up, how’s it
going?! Like my outfit? You guys
makin’ any money out there?
DANCER 1
You tryin’ to prove something?!
JONES
I try to prove something every
night. That’s football man. That’s
the background I came from. That’s
the way I live man! I don’t know about you guys, about your world over there!
DANCER 2
Right!
JONES
You know what’s wrong with you
guys? With your little chorus line
here? Your little wolf pack?! You
know what’s wrong?!
DANCER 1
No, please tell us.
JONES
You guys can’t handle competition
from a straight man!
INT. NIGHT. POV DANCERS
We see Jones waddle off his ass-less chaps, he trips,
spilling a big clump of powder all over him. He has to pick
himself and everything else up. Then, he waddles on.
The three dancers howl with laughter.
________________________________________
INT. NIGHT. THE CHANGING ROOM.
In walks Frank. He has a bandage on his
face.
FRANK
Hey Jones, love your outfit. Listen,
I am going to need you to fill in
for Julio tomorrow night, your
night off.
DANCER 1
My my, someone is rising quick,
isn’t he?!
FRANK
Well, no one has heard from Julio.
Jones is the most qualified to take
his spot. Plus, people like him and
most importantly, I don’t have to
explain my business tactics to a
tacky little scrub like you!
DANCER 1
Right Frank!
FRANK
Anyway, guys, have you seen Julio?
I’m beginning to panic a little
bit.
DANCER 2
Jesus boss, what the hell happened
to you?
FRANK
Got mugged kids. Let that be a
lesson to all of you ladies out
there, if you travel alone, if you
don’t have a car in this
God-forsaken city-
INT. NIGHT.
POV Dancers. Frank looks in the mirror and fingers his
bandage.
FRANK
Listen, guys, it’s important for
me, if you get in contact with
Julio, let me know. I don’t know
where he is, but I have a few
FRANK (cont’d)
suspicions. . . I think he’s fallen
on hard times, his judgement is off
. . . he’s in trouble, and he needs
our help.
JONES
(Curious)
Why are you so concerned about his
whereabouts?
FRANK
(Suspecting that JONES knows something. Frank fondles his
bandage nervously.)
Because, Jones, I care about him.
I care about all my soldiers, and I
want to know that they are OK.
INT. NIGHT.
Frank then turns around and addresses everyone.
I want you all to know that I care
about each and everyone of the
people who work here. As if they
were my children. You are my own
children, and I care deeply. And if
anything were to happen to Julio,
by the hand of anyone, not to
mention the people who work here, I
would hold myself personally
responsible.
FRANK
to JONES specifically
I hope you know that, I hope you
realize that, I won’t let you go!
He grabs Jones and kisses him on the head, passionate, drawn
out, like the Godfather.
FRANK
(Then, to everyone)
Attention everyone. I want to make
an announcement. Here is our new
sales leader - Jones. He has led us
in all sales, including towel
sales, and drink sales . . . and
table sales. As a reward, he’s
taking over Julio’s shifts, and he
FRANK (cont’d)
may just be promoted to manager and
other things as well. He’s a rising
star for sure over here at Club
Zane. Please give him a hand, come
on, we’re all family here, right?!
Yes?!
FRANK
(to Jones)
Keep it up kid, you may be our
quickest manager ever to make it.
JONES
Then I would have to stop dancing -
FRANK
Oh! No, no, no, you never stop
dancing kid. You never, ever stop
dancing, not in this business.
JONES
Well, OK. I’ll give it a shot.
FRANK
Keep going for a few weeks, and
we’ll see how it goes.
INT. NIGHT.
Everyone is dancing, including Jones. We pan over to see
Frank overseeing the dancing. Then, we pan across the room
at all the dancers. We see Dancer 1, who is standing on a
box.
He suddenly slows down. He coughs and then he puts his hands on his knees. He looks tired, he is not
keeping the same pace as everyone else around him. No one is
around him.
This catches Frank’s attention. He looks to either side, and
signals each of his goons to focus their eyes on Dancer 1 as
he wobbles about.
POV Frank.
We look over and we see the Frank look over at Dancer 1, who
is dancing in the corner.
He is dancing on the square, he loses focus, he is getting
sweaty and dizzy, and he starts to fall over.
Suddenly, he falls flat on his face.
________________________________________
FRANK, with the efficiency and intensity of a professional
track coach, beckons his two GOONS to come over and strike
DANCER 1, and get him off the floor.
INT. NIGHT.
Two GOONS come in and strike DANCER 1, quickly, trying not
to let anyone notice.
DANCER 2 and 3, who are dancing on opposing blocks, look
over towards each other. They are worried about their
friend.
JONES looks over, thinks nothing of
it.
INT. NIGHT.
Everyone is leaving. Jones leaves. He takes his place back
behind the club, and watches in from the window.
Jones hears everything that is going on and he watches in.
FRANK
He is leaning up against the door, his arms crossed, this is
an intimate session with one of his employees, his
soldiers, his athletes.
Hey, listen, it happens to the best
of us.
DANCER 1
His lip is starting to quiver.
I need my shifts. I have bills. I
have obligations. I need my shifts,
I can keep up, I promise.
FRANK
It’s not about that, my friend.
DANCER
What, then what?! I will do
anything!
FRANK
I’m glad to hear that . . I want
to show you something. . .
DANCER
What?!
Frank pulls out a picture and shows it to Dancer 1.
(CONTINUED)
________________________________________
Page 43
CONTINUED:
42.
FRANK
Here is a picture of you when you
first started. You were fresh. You
see, fresh-faced . . . look at that
smile . . . look at that eagerness
. . . fresh-eyed, and ready to go.
Your abs showed right through your
skin. Look at you, you were young
then, you were 185 pounds, not an
ounce of body fat . . . Oh, and
here’s one with Julio. You, Julio
and me. You were like my adopted
Guatemalan sex fantasy twins, when
we started this place. I was the
envy of the town with you two on my
arm. Most of my friends, if they
got a pair of ass like you two,
they would have blown their wad in
three minutes flat, and then did
cocaine off your backs, slapped
your ass, and hoped that you came
back. But me, I made a business out
of it, a family, a home. You were
great! You were the sexiest boys we
have ever had in here. Do you
realize that? What that means? What
that means to me and this
establishment?!
POV OF PICTURE COMPARED TO DANCER 1 AS HE IS NOW.
FRANK
And now, what?! What are you?! What
have you got to offer?!
DANCER 1 AS A FRIEND.
He puts his hand on Frank.
Come on Frank, that’s not fair.
FRANK
Not fair?! If I don’t make a
certain amount of money in this
club, I get kicked out and they put
in some goddamn Mojito joint. Is
that that you want? To make tacos
and serve drinks with me in some
fucking dirty Mojito joint on fifth
street?!
(CONTINUED)
________________________________________
Page 44
CONTINUED:
43.
DANCER 1
Putting his hands up
Listen, I’m on to you and your
steroids, Frank! You think that by
feeding everyone steroids out here,
they’re going to be on your side?!
That it’s going to help your
business grow?! WHy don’t you get
rid of the allusions and just find
talent from somewhwere else?!
Frank slaps Dancer 1 in the face.
FRANK
How dare you accuse me of filling
my boys with the devil’s juice!
This is not steroids, this is a
sacred, Mexican, herbal remedy
meant for restoring broken down
bodies. Your body is broke, and I
am going to fix it. Now, bend over.
DANCER 1
Frank, I have seen what this stuff
does to other people, it turns them
into an animal, I don’t want to be
turned into an animal!
FRANK
It’s sex kid, sex is animal.
DANCER 1
Look, Frank, this has been fun. But
I may just be past it. You know,
there comes a time when you just
simply want to wear a full set of
clothes to work. Do you understand
what I mean?!
FRANK
No, I mean . . . sort of.
DANCER 1
Frank, I got a part time job, and
it may turn into full time. It’s at
this customer-service banking
center. It starts at 12 dollars an
hour, it’s not a lot, I know, but
it’s something, it’s a start, you
see.
________________________________________
Page 45
44.
INT. NIGHT.
Close up on Frank, who is suddenly filled with rage. He
feels betrayed. Dancer 1’s words are warped.
And from there, you know, I am
going to try to get into law
school, culinary school maybe. Just
something, you see, something, I
want to make something out of my .
. . .
INT. NIGHT.
Close up on Dancer 1’s leg.
We see the syringe, now entirely full of the black fluid, go
into Dancer 1’s leg. Dancer 1 screams, more out of terror
than out of pain.
It is the equivalent of an aids needle going into his leg.
DANCER 1
Frank, what the fuck?!
FRANK
You gonna go be a big shot fucking
lawyer ha?! You gonna be a banker
ha?! You don’t want to work for
Frank anymore? Do you?! You don’t
want to work for Uncle Frank! Well!
Mr. Big dick! You want to wear a
full set of clothes to work?! You
don’t like what Uncle Frank chooses
for you, is that it?! Ha hotshot?!
You want to have a little pencil-
holder by your desk, and slap your
secretary on your ass without me,
you’ll be helpless . . . they’re
gonna fire yon the first day . . .
you want to join all those fucking
zombies?! Well then, you be my
guest. But, if you come to your
senses, then you know where to find
me!
DANCER 1
What have you done?!
FRANK
I have made you whole again.
________________________________________
Page 46
45.
INT. NIGHT.
Close up on Dancer 1’s face, it starts to change color. He
starts to choke. It starts to turn a certain black and then
goes stark white. His hair drains, and loses its color. It
goes from blond to a stark white.
FRANK
Now get the fuck out of my sight!
I’m trying to run a business here!
INT. NIGHT. DANCER 1 falls by the way side. He faints and
falls to ground.
INT. NIGHT. CLUB ZANE. Picture of Jones working. He starts
really working and we see a montage of Jones with more
money.
He has more money. He is promoted to manager. He starts
making more money as a manager.
EXT. NIGHT
Jones exits Club Zane and he walks into the night. He walks
around the corner, and then suddenly Julio jumps in his
face.
JULIO
You always were a good worker,
weren’t you . . .Frank?!
JONES
Shit!
JULIO
How you doin’ Jones?
Julio is white, his hair is frizzled, his eyes, gaunt, he
has an otherworldly quality about him. He is the extreme of
dancer 1.
His voice has turned dark, low, and he sort of moves with an
exagerated growl and limp. He is still though, cocky as
well.
JONES
Shit Julio, we’ve been wondering
about you. We care about you! Where
have you been man? Everyone has
been worried sick, especially Frank
. . .
Jones suddenly throws a garbage can at Julio, and tries to
get away. He runs frantically.
(CONTINUED)
________________________________________
Page 47
CONTINUED:
46.
EXT. NIGHT. Wide Shot from above.
We pan out, and see Jones get about 50 yards on Julio,
before Julio catches up with super human speed, and swipes
with his fist, and knocks Julio down to the ground fast.
Jose trips and falls face first.
Julio catches up to him, and makes sort of a beastly swat.
He swats Jose down. Julio has a brand new sort of
other-worldy strength.
JULIO
Don’t try to run away, you dip
shit! Don’t do it. You see, the
juice, he gave me, it gave me this
extra strength. . .I’m like a
super- human now, and I have been
haunting the streets, running all
over creation. . . it’s actually
quite fun.
JONES
He is recovering, brushing himself off. He realizes that he
is not going to get away. He gets up and addresses Julio
directly.
Oh man, haven’t you ever heard of
Jose Canseco? What the fuck is it
about this juice that I keep
hearing about? Can’t everybody just
work?! Without any supplemental
bullshit?! You know . . . without
any dietary this, and protein
that?! I am just trying to work! To
get by in this city! All I ask is
that other people do the same! What
are you guys going to start, some
sort of click, where you are all on
the juice?! Its your little gaggle
of fags isn’t it, you are trying to
pressure everyone to get into your
drug of choice aren’t you?! Or is
it PCP?! Are you on PCP?!
JULIO
Relax Jones. This isn’t exactly
steroids, it’s different. This
isn’t just your average after
school special, OK. This juice . .
. that Frank gave to me . . . and I
do think of it as a gift . . . not
a burden or a curse as some people
might describe it . . . but this
(MORE)
(CONTINUED)
________________________________________
Page 48
CONTINUED:
47.
JONES (cont’d)
gift . . . well . . . it has some
sort of root extraction in it,
fairy dust . . .. the bones of
bats tails . . . horse balls . . .
I don’t know . . . to be honest I
forget what Frank told me. . . Fuck
if I know, you would have to ask
Frank what the recipe is, but all I
know is that this shit really
changed me. For the better I think.
I mean, I really think that I am a
better man because of it.
JULIO
Looking at his fingernails and his arms. Enjoying the
freshness of them.
Something tells me that you will
find out soon enough. . .
JONES
He is looking at Julio, who is white and is shaking.
Have you eaten lately?!
JULIO
He pauses. Then looks at Jones
Yes, as a matter of fact I just ate
an hour ago.
JONES
Why do you look like such shit?! I
mean you’re all fucking white and
shit, it really looks you’re on
Angel dust bro!
JULIO
You really know how to compliment a
guy, don’t you.
JONES
You look like a fucking New Kid on
the Block for Christ’s sake, what
the fuck do you want from me?!
JULIO
I eat flesh! OK! Mr. Nosy, if you
have to pry! Maybe that is why I
look a little different to you!
(CONTINUED)
________________________________________
Page 49
CONTINUED:
48.
JONES
Flesh?!
JULIO
Flesh!
JONES
Of what?!
JULIO
Don’t be tedious Jones. . . I eat
the flesh of humans . . . you see.
That seems to be the only thing
that will sustain me.
JONES
And how did you find that out?!
JULIO
Well, you see, nothing else would
go down, and I had an insatiable
hunger come over me as my mother
kept serving me her bullshit
tacquitos, with the chili and the
fucking tapatio sauce, it’s just
not good for you! Shit gives me
indigestion. But then . .
. suddenly . . . I felt like
eating her.
JONES
I see . . . what . . . you ate your
own mother?!
JULIO
No, I still have a conscience, you
fuck tart. I ate a bus driver who
pissed me off the other day, he had
just gotten off of work. This
motherfucker drove right by me and
I had to wait another hour for the
next bus! Can you believe that?!
Can you believe that shit?! Pinche
bus driver! I ought to have eaten
him in front of his entire family!
JONES
You ate a fucking bus driver?!
JULIO
That’s what I said isn’t it?!
JONES
Jesus Julio.
(CONTINUED)
________________________________________
Page 50
CONTINUED:
49.
JULIO
I know. I know.
JONES
How. . . did it taste?!
JULIO
The bus driver?!
JONES
Yeah
JULIO
wELL, HE TASTED LIKE A NICE WARM
STEAK, WITH POTATOES. i THINK IT’S
RELATED TO THEM, WHAT THEY EAT, HOW
IT TASTES AND EVERYTHING. buT
SOMETIMES IT’S HARD TO GET IN AND
EAT THE LIVING YOU KNOW, THE
WORKING, SO MOSTLY i RESORT TO THE
HOMELESS. i DON’T WANT THE COPS TO
GO AFTER ME AND EVERYTHING, THAT
DOESN’T REALLY SPEAK TO ME. bUT
SOMETIMES, i DO GO ON BINGES.
JONES
BINGES?
julio
yEAH WELL, i MEAN, THE OTHER DAY i
WENT INTO WEST hOLLYWOOD, ON A
SATURDAY NIGHT ACTUALLY.
JONES
yEAH? aND?
JULIO
WELL, I ATE A GO GO BOY FROM TRUNKS?
jones
aND?!
JULIO
SINEWY. HE TASTED SINEWY.
jones
sINEWY?!
JONES
YEAH, I MEAN, YOU KNOW, HIS ASS TASTED GOOD BUT I ATE THAT
BEFORE I KILLED HIM.
julio
jESUS.
(CONTINUED)
________________________________________
Page 51
CONTINUED:
50.
JONES
NOW, HE TASTED GOOD. OH . . . AND YOU KNOW ALL OF THOSE HOT
GIRLS WHO HANG OUT AT RAGE WHO YOU’VE ALWAYS WANTED TO
PORK?!
julio
yEAH?!
JONES
I ATE ONE OF THEM, I APPROACHED THEM AS THEY WERE GETTING IN
THEIR CAR. THEIR LITTLE FUCKING WHTIE TRASH TRANS AM OR
SOMETHING. THEY WERE DELICIOUS, TRULY DELICIOUS.
julio
wOW jULIO.
JULIO
WHAT CAN I SAY, THOSE LITTLE PETITE STOMACHS AND THEOSE
PETITE TOES, I REALLY TRHIVE OFF THAT STUFF.
jones
so, WHY AREN’T YOU EATING ME?!
JULIO
eH.
JONES
WHAT?!
julio
yOU DON’T EAT RIGHT, YOU KNWO, YOU
SMOKE, YOU DRINK AFTERWARDS, i HAVE
EVEN YOU SEE YOU SMOKE SOME
CIGARETTES, i AM NOT SURE HOW GOOD
THAT WOULD TASTE.
JONES
YEAH, BUT LOOK AT ME.
julio
i’VE SEEN IT, NOT INTERESTED.
JONES
YEAH WELL FUCK YOU TOO, I’M SURE THERE ARE A LOT OF FLESH
EATING HALF DEAD PEOPLE OUT THERE WHO WOULD SORELY DISAGREE
WITH YOU, THEY WOULD CCONSIDER ME A HOT BUFFET ITEM IF I
DON’T SAY SO MYSELF.
julio
kEEP TELLING YOURSELF THAT MAN.
JONES
I WILL.
julio
iT’S NOTHING PERSONAL, i JUST LIKE
TASTING CERTAIN TYPES OF FLESH AND
NOT OTHERS, THERE’S NOTHING TO GET
UPSET ABOUT.
(CONTINUED)
________________________________________
Page 52
CONTINUED:
51.
JONES
I;M NOT UPSET I’M JUST SAYING DON’T KNOCK SOMETHING BEFORE
YOU TRY IT.
julio
i’M NOT KNOCKING ANYTHING. bESIDES,
i SROT OF WANT TO KEEP YOU ALIVE.
JONES
fOR WHAT PURPOSE?!
JONES
YOUR SOUL.
hAH, i’M JUST KIDDING, i JUST WANT
TO RAP WITH YOU TALK TO YOU, i
HAVEN’T HAD A REAL CONVERSATION
WITH ANYONE SINCE ALL OF THIS
STARTED TAKING PLACE, THIS IS NICE,
i ENJOY THIS.
JONES
WELL, I’M GLAD THAT YOU ARE ENJOYING IT, I PERSONALLY THINK
IT IS ALL SORT OF WIERD.
julio
wELL, YOU GO ON THINKING THAT MAN!
JONES
I WILL.
JONES
SO what the fuck have you been
doing, you don’t shower? You don’t
work what.
JULIO
Was kicked out of my place.
JONES
WHere do you stay?!
JULIO
Around.
JONES
SO, you’re homeless?!
JULIO
I guess you could put it that way.
JONES
Yo man, it’s dangerous around here, to be that way I mean. I
mean, more and more homeless are dying every day around
here.
(CONTINUED)
________________________________________
Page 53
CONTINUED:
52.
JULIO
I’m not too worried about it.
JONES
You fucking should be people get
stabbed to death all the time out
here.
JULIO
The juice has given me an
otherworldly sort of strength.
JONES
HAVE YOU BEEN EATING?
JULIO
I can’t eat food, I don’t have a
job, I don’t have any money.
JONES
Then?
JULIO
I eat the flesh of other humans.
JONES
You what? Get the fuck out of here,
I don’t need this shit man.
JULIO
Oh, don’t freak out kid, they don’t
know what is happening to them, I
only eat the disenfranchised, you
see, the homeless, the retards, the
crippled, they don’t taste as good,
as corn-fed hard working American
farm boy football star like
yourself would taste a lot better .
. . with your lean muscle meat,
those nice calves, and also your
pecks and . . . of course, who
could resist those hip hop abs of
yours without a little Chianti . .
.
JONES
GET AWAY FROM ME.
JULIO
Relax kid, you’re safe with me. I
want to see you live, you have a
great job at a great place, I want
to see how long that lasts, you
see, I want to see, indeed, how all
(MORE)
(CONTINUED)
________________________________________
Page 54
CONTINUED:
53.
JONESGET AWAY FROM ME. (cont’d)
of this is going to end. Because,
you see, my life is over. All I
have to do is eat and prey, eat and
prey.
JONES
I NEVER KNEW YOU TO BE A RELIGIOUS PERSON JONES. THEN WHAT
DO YOU WANT FROM ME?
JULIO
I’m not sure.I want to see your
last days. I want to see you live.
I want to see what mistakes you
will make that will lead to your
end as a human being on this earth.
JONES
Ah! Well, at least I am still
human.
JULIO
ARE YOU? DO YOU FEEL ANYTHING? DO YOU SAY ANYTHING THAT’S
ORIGINAL? DO YOU HAVE ANY ORIGINAL THOUGHTS? IF ONE OF YOUR
FRIENDS WERE TO STRAY FROM THE PACK OR DO SOMETHING
DIFFERENT WOULD YOU STAND BY THEM OR WOULD YOU JUST MOVE
ON?! WHO ARE YOU?! WHAT IS IT KID, CLEARLY YOU HAVE
SOMETHING ON YOUR MIND!
JONES
You attacked Frank!
JULIO
Yes, that’s right, I attacked
father figure Frank and now his
beautiful visage is gone. His
beautiful god given visage is
damaged forever. Poor little Frank
. . . oh god, I am getting hungry.
the other day I ate a female model
in west hollywood, she had the best
stomach you have ever seen . . . i
mean really tits, of course, and
ass . . . but that stomach . . . I
mean you really start to wonder
where all these girls go to school.
JONES
HOW DID SHE TASTE?!
JULIO
Butter, parmesean, she was olive
oil with cilantro, cotton candy,
the was meatball marinara, she was
delicious. It’ s like, there’s a
(MORE)
(CONTINUED)
________________________________________
Page 55
CONTINUED:
54.
JONESHOW DID SHE TASTE?! (cont’d)
girl who you can’t eat and you
can’t touch and there’s literally
nothing left for you to do so you
eat her. You simply . . . eat her
and she becomes part of you. She’s
not there to drain you, she’s not
there to pull you away from your
studies, because . . . well . . .
you ate her. That’s all. End of
story.
JONES
AND? HAVE YOU EVER EATEN A
PRODUCER?!
JULIO
NO, THAT’S MY NEXT CONQUEST FOR SURE I IMAGINE THEY WOULD
TASTE GREAT.
JONES
Yeah . . . what about agents.
JULIO
My friend, I have until the end of
time to dine on this god forsaken
place. I am going to take my place
with it, start in west hollywood
and move on up. I think i might
just start with the same people who
never gave me the time of day . . .
not once . . . ever . . . in my
life . . . and go from there!
JONES
This is a lot for me to handle
right now?!
JULIO
Well, you know, it was more of a
bitch slap than anything, just to
remind him of what was going on. Of
what was really going on. I, well,
I felt betrayed.
JONES
I can understand why . . . and
you’re not upset about me taking
over your shifts?
JULIO
Well, Of course I envy you, I envy you, I envy that you
still have been able to keep your shape, while I have been .
. . invited to the afterworld so to speak.
(CONTINUED)
________________________________________
Page 56
CONTINUED:
55.
JONES
This has been the weirdest night of
my life.
JULIO
It’s not night anymore, the subway
is started again, you need to get
home for a shit, shower and shave
before works tarts again. Hup to
man! Can’t be late!
JONES
Of course.
JULIO
See you around old friend.
JONES
See you around.
INT. NIGHT.
Jones is walking back to his apartment and he is thinking
about all of this, pondering it as the sun comes up. He gets
a slight smile on his face as he remembers how much cash he
has.
His hand goes down to his cash and he starts fondling it.
INT. JONES’ APARTMENT.
He is tired. He walks into the bathroom and there is a shit-
stain on the toilet seat.
JONES
Unfucking believable!
INT. NIGHT.
JONES is by the dressing room, this time in a police outfit.
FRANK
Hey Jones.
JONES
Hey Frank.
FRANK
Are you ready to make a little
extra cash tonight?
(CONTINUED)
________________________________________
Page 57
CONTINUED:
56.
JONES
Of course I am.
FRANK
Well then, good.
INT. NIGHT. INSERT
Montage of Jones working his double shifts, rolling around
from table to table, dancing, pulling in all sorts of money.
INT. NIGHT
Back door changing place
FRANK
How much did you make tonight?
JONES
A lot. Enough . . . Enough to get
my own place, that’s for sure.
FRANK
Good! good for you kid! I’m happy
for you. And a little bit left over
for breakfast in the morning?
JONES
You betcha, I’m going to Denny’s.
FRANK
Denny’s?
JONES
Yeah, what?!
FRANK
He is whispering in Jones’ ear.
You’re going to be manager starting
Friday night, here’s SOME advICe,
get thee to a respectable place for
breakfast, go to Peg’s, Meg’s
something like that. Go to one of
those places in Hollywood that
wouldn’t give me a job. You’re the
new king, you see, the new king of
downtown, and I’m the one who
promoted you, and I want you to be
noticed, I want you to be strong.
You’re my hard working boy, yes you
are! And really . . . Jones . . .
(MORE)
(CONTINUED)
________________________________________
Page 58
CONTINUED:
57.
FRANK (cont’d)
do me a favor, stay away from that
chicken fried steak at Denny’s for
the rest of your life. That shit
will kill you man.
INT. DAY RESTAURANT. POV JONES.
tHIS IS THE RESTAURANT WHERE JONES ORIGINALLY TRIED TO GET A
JOB. Suddenly, the waitress who had previously taken him to
the manager comes out.
She is a little less lovely than before and a little more
beat down.
WAITRESS
Is there anything else sweetheart?
JONES
Yes, I would like to speak with
your manager.
WAITRESS
Is anything wrong?
JONES
Nah, everything is very right.
WAITRESS
OK sweetheart.
INT. POV MANAGER
He sees Jones, sitting there, cocky.
MANAGER
Hey, I remember you, you look a lot
better than that one day you came
by here.
JONES
Life is good.
MANAGER
It seems that way.
JONES
I came by to thank you.
(CONTINUED)
________________________________________
Page 59
CONTINUED:
58.
MANAGER
Yeah, for what?
JONES
For straightening me out.
MANAGER
Oh yeah, how so?
JONES
You were right, sex does sell. And,
everything in this town is about
sex, I knoW that now. I didn’t
before, but I know that now, and
I’m happy that I know that, and I
am glad that I ran into you and you
could tell me that!
MANAGER
hE IS weIrded out.
Uh hu. Well, you’re not gonna try
to sell any more here are you?!
He laughs uncomfortably.
JONES
No, of course not. Oh and . . .by
the way . . you should give
yourself a little credit, the uhm,
the omeleTtes are pretty darned
DELICIOUS here.
MANAGER
I see.
JONES
And I’m ready for my check,
whenever she gets around to it.
MANAGER
I will send her right over.
JONES
Please do.
WAITRESS
I hope you enjoyed your meal.
JONES
Oh, I did, very much so.
(CONTINUED)
________________________________________
Page 60
CONTINUED:
59.
WAITRESS
Is there anything else?
JONES
Yes, there is one more thing.
He grabs her arm.
JONES
In a business like this, in the
service business, there is one
thing that will slow you down more
than anything else, it’s age, of
course. And without ever putting
any juDgement on anybody, or saying
anything that I shouldn’t, I just
wanted to put it out there that if
age is getting to you, well, then,
I may just have a product that can
help you. Would you be interested
in knowing what this product is?
WAITRESS
No, keep your arms off me.
JONES
You’re an idiot. I could have
really helped you.
MANAGER
Alright then, friend, get the hell
out of here you bum! You will
always be a bum, you know that!
Those clothes don’t change a damned
thing! Get the hell out of here!
JONES
I could have helped you. I could
have helped both of you!
MANAGER
Don’t come around here anymore!
INT. APARTMRNT BEDROOM SCENE.
Jones walks in, counting his money.
JONES
Hey buddy.
(CONTINUED)
________________________________________
Page 61
CONTINUED:
60.
SMITH
Yeah?!
JONES
I um, I got great news, and then
I’ve got not so great news.
SPENCER
What’s the great news?!
JONES
I just paid rent.
SPENCER
OK and . . .wait what . . . it’s
the middle of the month, what
gives?!
JONES
Well, that’s just what I’m getting
to, the not-so-great news, the not-
so-great news, for you anyway, is
that I paid it by myself, you see,
with my own money, that I am making
at this new job of mine, this cash
industry that I have entered into.
SPENCER
Which you still won’t tell me what
it is-
JONES
I don’t have to!
SMITH
Jesus man, but we’re business
partners.
JONES
I uhm, you’re messy, you’re a slob,
and I don’t feel like you’re the
kind of person who’s going to go
anywhere. I am suffocating with you
here, and I need to move on. I - I
am dying, I want you out of here!
SPENCER
But we had an agreement-
JONES
We had an agreeement, sure, but
there is a by-clause in the
contract?!
(CONTINUED)
________________________________________
Page 62
CONTINUED:
61.
SPENCER
And what is that?!
JONES
You broke the agreement, and you
got lazy, and you didn’t achieve
your goals within the first three
years. You are lame hollywood. I
want to be with cool Hollywood.
Remember that when we first hooked
up as roommates, you told me that
your goal was going to be a writer
for a major network show by the
time you had been three years?! And
now, three years have passed, and
where are you, ha?! What are you
doing?! You sit around and you
stink up this shit hole apartment.
You’re working at Borders bro!
You’re a barista for Christ’s sake.
I can’t deal with that, you got to
go! You are not the few and the
proud working actors! You are shit!
You are going nowhere.
SPENCER
Jones, are you out of your fucking
mind?! I AM a Hollywood writer, for
fuck’s sake, you don’t see that?! I
live in Hollywood, I write every
day, I create.
JONES
Yeah, but I mean when is the last
time you ever visited a studio,
have you worked with George Clooney
or anything?! Any big DPs, or any
of that shit?! Any one I would
know, recognize. you know you talk
a huge game, but I don’t really
fucking remember seeing you at the
Emmy’s last year! In this town,
it’s either put up or shut up.
Everyone around you hates you if
you don’t move up or if you don’t
move on. Shut the fuck up man,
you’ve expired!
SMITH
OH, AND WHAT ABOUT YOU?! I COME HOME ONE DAY AND YOU’RE
SHAVING YOUR CHEST, I COME HOME AGAIN AND YOU GOT MORE THAN
ENOUGH MONEY FOR BREAKFAST, RENT, WHO KNOWS, WHAT’S NEXT,
MAYBE YOU’RE GOING TO BUY ONE OF THOSE GAY SCOOTERS THAT
(CONTINUED)
________________________________________
Page 63
CONTINUED:
62.
EVERYONE HAS, I DON’T KNOW YOU ANYMORE, I HONESTLY DON’T
FUCKING KNOW YOU! ONE OF THOSE GAY FUCKING ELECTRIC SCOOTERS
MAN!
JONES
I come in here, and there are cans
and trash everywhere, shit stains
on the seat. You live like an
animal. You ARE an animal, and I
can’t take living with you anymore.
I can’t take you anymore. I’m, I’m
changing the locks tomorrow.
SPENCER
And just where the fuck am I going
to go?
JONES SMILES A LITTLE WICKEDLY
Don’t have to go home but you can’t
stay here! I’m sorry man, I truly
am sorry.
SPENCER
What the fuck has happened to you?!
JONES
A lot of good things that have
enabled me to handle my own
business, with out any help from
anyone else, do you understand what
I mean?! Now go! I am moving up in
this town, I am somebody, I am
important, and you are moving out!
If you want to find me, look to the
skyline bro! Look in the poshest of
clubs in Hermosa Beach, Marina Del
Rey, Hollywood, West Hollywood and
beyond. Beverly Hills rings a bell
! Do you understand me?! Out!
SPENCER
Can I just say something?!
JONES
Go right on ahead.
SPENCER
I sometimes wish I could take
people like you aside, and take you
in front of your own parents, the
ones that I met when you were
moving in, and I wish that I
could show them what you have
(MORE)
(CONTINUED)
________________________________________
Page 64
CONTINUED:
63.
SPENCER (cont’d)
become, because I don’t think
they’d be very happy at all. They
RAISED YOU! People fall far from
the apple out here, they fall
through the cracks into the sewer
and they do things they never
thought they would do . . . it’s a
travesty. It’s a world turned
upside down, and you’ve become part
of it.
SPENCER spits on the ground.
So! You book a go go boy gig at a
club and all the sudden, you think
you are somebody?! How long is that
going to last?! How long is your
little fifedome going to last?! How
long until you become the next
piece of meat at that gay club of
yours?!
JONES
Well, whatever sort of dressing you
want to put on this situation, I
want you out, do you hear me?! I
want you out of here!
SPENCER
God can see inside these city
limits, just like anyone else!
JONES
Get god to find you another
place then.
SPENCER
Fuck!
INT. CHURCH. DAY.
Spencer is there, in the back, it has been days since he has
slept. He keeps going up for the communion. His eyes are
red, his hair scruffy. It is clear that he has been living
on the streets. People stay at least three pews away from
him.
He stays there, shivering, as everyone else walks by him,
into the cold.
He stays there. The priest walks up to him.
(CONTINUED)
________________________________________
Page 65
CONTINUED:
64.
PRIEST
Son, I’m going to have to ask you
to leave. I have to shut up now, I
have got to close up.
SPENCER
I thought I could stay here. My
friend said that I should ask God
for a place to stay, please, while
I try to get my feet on the ground,
I-
PRIEST
I understand son, I understand, and
I wish that we could provide that
service for you, but we can’t. We
can not. Not in these crazy times .
. . the city has made us stop! The
city is falling apart, God help
your soul. And for that reason, I’m
afraid that I have to ask you to
leave. It’s a matter of liability,
it’s a matter of insurance, if we
keep you here. It’s the city that
does not want you, not us. You
simply cannot stay here!
SPENCER
You don’t understand what shape
this city is taking. Look out
around you father, if I go, if I
leave, they will eat me alive.
PRIEST
I know it may feel that way at
times my son but . . .
SPENCER
No, no, you don’t understand, I
haven’t slept for days, people walk
the night now, and it’s not just
the stragglers, it’s everywhere,
they are walking the night, a
certain type of people, they are
white, their skin is white, their
hair a black death, they prowl the
night, looking for anything and
everything to eat, and I might be
the next victim. YOU DON’T
UNDERSTAND WHAT IT’S LIKE OUT
THERE, I have to sleep with a crow
bar, I can’t fall asleep, if I fall
asleep, they eat me. Do you
(MORE)
(CONTINUED)
________________________________________
Page 66
CONTINUED:
65.
SPENCER (cont’d)
understand that?! Have you ever
been under that kind of pressure
before?!
PRIEST
My son, it seems that you are in
grave trouble. It seems to me that
you are exaggerating. Do you not
have family or anyone else who can
take care of you?!
SPENCER
Would you, at age 30, want to tell
your father that you had failed in
every way possible, and that you
were on the streets?! That you were
back to square one, and that you
needed money again and that . . .
PRIEST
But my son, God will lead you to
the right place.
SMITH
So, you believe that God looks out
for the hideous. . .
PRIEST
God looks out for all his
creatures, now please. . .
SMITH
Don’t touch me!
PRIEST
I’m sorry, yes, but you must go!
INT. NIGHT.
Jones takes the subway down to work.
He is dressed in a three-piece suit, much like Frank. There
is a certain glow to his walk.
People in the neighborhood, in the barrio, nod at him, and
acknowledge him as he walks by.
________________________________________
Page 67
66.
EXT. NIGHT.
As Jones lifts his head, he sees an odd sight. He at first
sees the tennis shoes that belong to his old roommate Smith,
and someone is huddled over him.
He creeps along and he screams
JONES
. . . .hey!
Jones runs up to the the man huddling over the shoes.
EXT. NIGHT.
Suddenly, up looks Julio with blood all over his face.
JULIO
Well, if it isn’t old Jones
Jefferson, come to join the party
at last?!
JONES instinctively runs up to the body.
JULIO
Away from my food boy, or you’re
next...I mean it this time Jones,
don’t interrupt this sacred ritual,
it’s a sacred right . . . to eat
your fellow man!
JONES
He was, he was . . .
JULIO
Someone you knew?! I’m terribly
sorry.
JONES
He was my old roommate.
JULIO
He is picking his teeth.
Ha! That’s actually, wow, that’s
actually pretty funny. Well, he uhm
. . . he tasted great! If that
means anything!
________________________________________
Page 68
67.
INT. NIGHT
Behind stage at Club Zane.
JONES goes to sit at his usual table, but there is already
someone sitting there.
JONES
He is feeling weak, stressed from the previous encounter.
Excuse me.
POV JONES
A perfect young man in his prime with beautiful abs stands
up, putting Jones to shame. He gets up in a way that enables
him to flex his beautiful abs.
ZEEK
Hey man, I’m Zeek, that’s right,
I’m Zeek the freak! Frank asked me
to take care of a couple of your
tables tonight.
JONES
What?!
FRANK
Don’t worry about it Jones. You
still got your two tables by the
bar. You still got the stuff baby,
you know I love you! Everyone loves
you, it’s just that I love to throw
a little fresh meat down every now
and again.
Pulling Frank aside and whispering in his ear.
FRANK
I found this one in Weho, he was
actually hitch-hiking home, can you
believe it?! Hitch hiking! Could
you resist? Tell me you couldn’t
resist?! Member what I said my
friend, you’re always dancing, you
see. No matter what happens. You’re
always dancing. Enjoy it buddy!
JONES
Frank, I don’t need any help with
tables though, you know, I got it
just fine.
(CONTINUED)
________________________________________
Page 69
CONTINUED:
68.
FRANK
Kid, I think some of your meals are
going to your stomach is all.
You’re hedonistic, you get a little
money and it goes to your head.
Look at you, I saw you smoking,
that’s a number one no no. And, the
other day, Jimmy saw you just chug
all this cream from the coffee bar.
That, my friend, truly is a no-no!
I mean, it all goes to your
stomach! I tell you to eat nice one
night, and it seems like you go
crazy! Let this guy take care of
business, he is straight out of
Playgirl magazine my friend, he is
Patrick Swayze morphed into a young
Tom Cruise, with a little bit of,
dare I say, Mel Gibson involved.
And you well, to be quite honest,
you’re not. . . .anymore. I thought
there was something special with
you, I really did. I mean, where’s
the guy I met outside the grocery
store . . . not so many years ago?!
Where’s that flat-abbed kid, with a
stomach of gold, from Tennesse or
whwereever it was . . . ha? What
are you a dad now or something?!
Get with it kid! Where’s my
quarterback?! More Tom Brady and
less of the Andy Green, whatever
coach of the Packers?! You see what
I’m saying kid, smarten up!
INT. DAY. CLOSEUP ON JONES.
This hits him like a brick. He contemplates what was just
said to him.
Jones becomes green with envy, furious with jealous rage,
paranoid that he might be replaced.
ZEEK
Yeah, I just signed a contract man,
it’s crazy. Crazy hot. Hey bro,
maybe after this whole thing, I
could show you some ab exercises or
something show you how it works in
my neighborhood, show you why we
are so hot! . . .hey are you on
actor’s access?! I keep booking all
(MORE)
(CONTINUED)
________________________________________
Page 70
CONTINUED:
69.
ZEEK (cont’d)
of these mad crazy gigs! I’m
working on a hip-hop album, it’s
coming out this fall it’s going to
be whack yo! I get more bitches
than King Solomon yo!
JONES WALKS BY DANCER 2
DANCER 2
What’s up now big baby kitten, now
you get to compete with a
19-year-old straight man, could
luck. I would suggest you start
doing some sit ups my friend! Life,
as they say, can be a raging cunt!
INT. NIGHT. DANCE FLOOR. THE MUSIC IS BLARING. POV JONES. HE
SURVEYS THE ENTIRE SCENE.
DANCER 3 is white and chalky looking, his hair black, but
his body is still good.
Just like Julio. One of his eyes are drooping, the juice, as
they say . . . has taken effect. It gives him a sort of
otherworldly charm. A lot of the patrons seem to be into
this whole after life look.
JONES looks at Dancer 1, with sad eyes, worried.
INT. NIGHT.
Jones is dancing. He keeps danceing.
INT. NIGHT. Closeup on Jones.
His eyes start to glaze over. He is tired. He is taken aback
by everything he has seen. He starts to sort of stumble.
He blinks his eyes to regain focus. Suddenly, he thinks he
sees Smith in the corner. And then, in another corner, he
sees Julio.
It’s as if they are haunting him.
Then he trips backwards and falls down.
________________________________________
Page 71
70.
INT. NIGHT. POV JONES.
Jones looks up at two of the goons, who are looking down at
him.
His eyes are shut. Frank comes up over him and looks down.
He is smoking from his cigar. He looks down and starts
shaking his head. Then, Zeek the Freak comes up and stands
over Jones with his crazy head band and superior abs, he
glares down at Jones and shakes his head.
ZEEK
Frank, do you want me to take more
of his shifts?!
FRANK pats Zeek on the back and takes a puff on his cigar,
pondering his next move.
INT. NIGHT. POV JONES.
It is after hours. Suddenly, Jones opens his eyes, and finds
that he is tied to the table.
Jones looks up, and sees FRANK with a syringe in his hand,
with black fluid.
Julio is there, trying on new outfits in his zombie attire.
Zeek is talking with Julio.
FRANK
Well, look who we have here. An old
friend, Hey jones, it looks as if
you finally came to. Listen, I uhm,
I found Julio. I found him alright.
Or he found me. We’re going to be a
family again, all three of us, you
me and him, we’re going to start
this place up, and set this place
on fire once and forever. It’s OK
my friend, you will always, always
have job with me, you see. My, how
I have missed my child. All my
children.
INT. NIGHT.
Frank puts his arms around both Zeek and Julio.
You know, a gay man never gets to
experience the feeling of having a
family-run business, you see. It’s
sad, but it’s true. But, you see,
that’s what I feel that I have
(MORE)
(CONTINUED)
________________________________________
Page 72
CONTINUED:
71.
here, is a family-run business, yes
sir! And, you two, well, you’re
like feuding cousins. As you see,
as a gay man, I too want to live
forever, don’t you!?
INT. NIGHT.
FRANK suddenly takes out a syringe of the juice. He sticks
himself in the neck with the syringe.
Why would I expect you two to do
something that I was not capable of
doing myself?
JONES
Frank no!
FRANK slowly inserts the juice of the syringe into his neck
and lets it take effect. He immediately turns white, and
loses his color. Then, Jones and Julio crowd around FRANK.
FRANK
Now you see, my friend, it is your
turn to experience this. It is your
turn.
JONES
No, I don’t want it. I don’t choose
it.
FRANK
That, my friend, is just . . . too
. . . bad!
FADE OUT.
INT. DAY.
We see the metal door once again of Club Zane. It is closed,
but suddenly, it opens up, and Frank is there to greet an
INSPECTOR.
The inspector walks into Club Zane.
INSPECTOR
Hi, Are you Mr. Frank Preston?
(CONTINUED)
________________________________________
Page 73
CONTINUED:
72.
FRANK
Yes, yes I am, I am Mr. Frank
Preston, the owner of Club Zane, we
don’t open til six, but tell all of
your friends, tonight we are having
bungalow boys night until 2 a.m.,
you wouldn’t want to miss it for
the world.
INSPECTOR
Oh, uhm, Mr. Preston, it’s not
that, it’s not that at all, I uhm,
I’m not a customer here I just
wanted to come by and inspect. Uhm,
well, we have had some noise
violations and also some people say
that all your settings might not be
to spec. So, you see, I just wanted
to come in and see what was going
on and verify or debunk the rumors.
Just dong my job here, you see.
As the INSPECTOR is saying this, we see the boys, Jones,
Julio, Zeek, Dancers 1, 2, and 3. They have all taken on
that otherworldly, white glow. Along with Frank. Their hair
is black and their skin is white. They all are sort of
attractive in a sort of sheek, zombie way. They all have
their shirts off and we can see their blue veins, but their
muscles still protrude.
INSPECTOR
Clearly aroused by the boys on his side.
Oh, I’m sorry, I didn’t mean to interrupt anything, I don’t
know if you were doing anything.
FRANK
Nonsense, we were just getting ready for tonight’s rush. You
are more than welcome to come have a drink with us.
The boys are on the side. They are all hungry. They all sit
there and wait and prety. They follow the inspector, and
smell him. They are ready to devour him.
Frank is holding his hand up, and making sure that they
don’t jump in just yet.
He has his hand up and waiting for the gun shot, or so that
they can jump on him at any minute.
JULIO and Jones stand behind the bar cautiously.
(CONTINUED)
________________________________________
Page 74
CONTINUED:
73.
FRANK
Well, I thank you for coming, but
first, can I offer you a drink of a
special juice?! It’s titled "Black
Sabbath"!
INSPECTOR
At this time of the morning? What?
You gonna kill me man?!
JONES
No, you’ll find that this juice
will do quite the opposite. It will
make you live forever.
INSPECTOR
OK, MAYBE JUST ONE!
FRANK
Gooood!
FRANK lifts his syringe and prepares for his deadly blow.
INT. DAY AT MEG’S.
Frank and Jones are on a recruiting trip together.
This is the place where Jones originally went to look for a
job.
He has come to gloat.
FRANK luxuriates over a nice piece of toast, with grape
jelly on it and real orange juice.
FRANK sees the server, the one that served him before, she
is getting older in the years. She drops milk or water on
him.
Something about her, she seems to have lost her charm a
little bit.
JONES
How long have you been working
here?
WOMAN
Ten years!
JONES
And how old are you?!
(MORE)
(CONTINUED)
________________________________________
Page 75
CONTINUED:
74.
WOMAN
I am almost 39, but between you,
me, my agent and all the casting
directors around town, I am the
ripe young age of 25. Understand?!.
JONES
Well, if you don’t mind me saying
so, I think that you look very
beautiful, I think that you could
easily pass as a 22-year-old with
the right outfit and make
up.
FRANK
Well, you’ll have to excuse my
coleague here of his boyhood
fantasies, he is a bit spoiled, but
you do. . . look magnificient . . .
your skin is nice and supple and
your breasts have maintained their
form over the years. It is clear
that even though you work in a
greasy kitchen, and, you smoke and
drink, you have somehow managed to
take care of your skin, and that,
of course is a big plus.
JONES
Who si your agent.
FRANK
You’ll excuse my parntner, more
importantly, what sorts of products
do you use to uhm. . . how do you
say . . . enhance yourself. . . my
young fair lady?!
WOMAN
Well, mainly, I just use natural
woman products you see, nothing
big, no big deal!
FRANK
Well, my girl, my sweetheart, we
have a pitch for you, something you
absolutely will not be able to turn
down you see, it’s a gift, a gift
if you will. If I told you that you
could live forever, if I whispered
in your ear, and I told you that I
had the cure for life, and that you
(MORE)
(CONTINUED)
________________________________________
Page 76
CONTINUED:
75.
FRANK (cont’d)
could live forever, what would you
say to that?!
WOMAN
I would say that you are a nice old
man, but for me, I am ready to
retire, and move out the country
and be with my family. I am through
with this town. I have had a good
ride. How many girls in this town
could say tha tboth Mickey Rourke
and Jerry Bruckheimer have seen
them in their underwear?
FRANK
WELL, ACTUALLY, I WOULD SAY THAT MOST GIRLS IN THIS TOWN
COULD SAY THAT BUT THAT’S NOT THE POINT NOW IS IT?!
JONES
What we’re trying to say is . .. .
I have had a good run I tell you.
FRANK
INDEED, WHAT MY COLLEAGUE IS TRYING TO IMPART TO YOU IS . .
. .
JONES
WHat we’re getting at is . . .
FRANK
I THINK WHAT MY COLLEAGUE IS TRYING TO SAY IS . . . .
SUDDENLY, Jones grabs a syringe with black fluid and stabs
it into the ladies leg, she falls to the ground.
JONES
Nobody leaves this town bitch! You
stay young forever.
WOMAN starts screaming.
JONES
Now THIS is more like it!
FRANK
The city is yours . . . my young
chappie.
BLACK OUT.
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