8mm Page #17

DINO VELVET:

Come in. Make yourself comfortable.

Welles shakes Dino's hand. Max looks up at the walls.

IMAGES; porn pictures, news photos, world leaders, autopsy

photos, armies and insects, the naked and the dead.

WELLES:

It's an honor to meet you. Thank

you for seeing us.

DINO VELVET:

What can I do for you today?

Welles sits. Shelves behind Dino's desk are piled high with

VIDEO CASSETTES, old MOVIE CAMERAS, big REELS of 16mm FILM.

VIDEOS and MAGAZINES are stacked everywhere.

WELLES:

I'd like to commission a work. I'm

a great admirer of yours.

DINO VELVET:

Flattering. And, who's your

colorful little chum?

WELLES:

A fellow investor.

DINO VELVET:

Hmm.

MAX:

You're the only one still shooting

film and transferring it to video.

Nobody appreciates that kind of

integrity anymore... the grain, the

gritty look you get.

DINO VELVET:

Well, I'm glad you appreciate it.

(to Welles)

What would you say is your favorite

piece?

Welles considers. Max glances over, looks back to the walls.

MAX:

I know if I had to pick, it'd be

"Choke," or "Devil."

WELLES:

"Devil" frightened me as much as it

excited me, but I'd be hard pressed

to choose a favorite.

Dino grins, showing yellowed teeth.

DINO VELVET:

You said something about money.

WELLES:

Yes. What we're looking for is

rather specific.

Welles takes out an ENVELOPE, puts it on the desk.

WELLES:

That's five thousand dollars.

DINO VELVET:

Is it?

WELLES:

Five thousand now, five thousand on

delivery.

Two women, one white and one black,

as long as they have large breasts.

Hard bondage, or course. Other than

that, trusting your artistic

interpretation, I have only two

stipulations.

DINO VELVET:

And they are?

WELLES:

I want to watch you work.

DINO VELVET:

I'll consider it.

WELLES:

And the other performer... it has to

be that monster you use... the man

in the mask.

DINO VELVET:

Machine.

WELLES:

If it's not him, there's no deal.

Dino drums his painted fingernails on his lips.

DINO VELVET:

He might be interested... but it

would mean another five thousand.

WELLES:

We can do that.

DINO VELVET:

Well, well, I'll have to put my

thinking-cap on about all this.

You'll leave the money as a deposit?

(off Welles' nod)

Very good.

Dino stands, picks up a still CAMERA off his desk and comes

to look at Welles, studying him.

DINO VELVET:

You have a beautiful face... the way

the light hits it. I'd like to take

your picture. You don't mind?

WELLES:

I'd rather you didn't.

DINO VELVET:

What's the problem?

WELLES:

I'm camera shy.

DINO VELVET:

You trust me to keep your money, but

not to take your picture?

WELLES:

Those are two different kinds of

trust.

(stands)

Thank you for your time. I hope we

can do business.

Welles leaves. Max goes with him. Dino watches them leave.

EXT. MANHATTAN STREET -- NIGHT

HORNS BLARE. TWO CARS have collided head-on. A large CROWD

gathers. One windshield's shattered, blood spattered. The

driver is slumped over the wheel, gushing blood.

On a nearby street corner, Welles in on a PAY PHONE.

HEAVY METAL can be HEARD filtered through the receiver.

WELLES:

(into phone)

So, what do you say?

INT. DINO VELVET'S OFFICE -- NIGHT -- CONTINUOUS

Dino's stands in the middle of his office, naked, his back

to us, 8MM camera in hand, on the phone. A NAKED WOMAN

dances for Dino. A Heavy Metal MUSIC VIDEO plays on a TV.

DINO VELVET:

(into phone)

I'll do this for you. Fifteen

thousand dollars.

WELLES (V.O.)

(from phone)

Machine's in?

DINO VELVET:

(into phone)

He's in. It will be his pleasure.

INT. PHONE BOOTH -- NIGHT -- CONTINUOUS

DINO VELVET (V.O.)

(from phone)

Be at 366 Hoyt Avenue, three

o'clock, tomorrow.

Welles digs out his notepad, writing.

WELLES:

(into phone)

Where's that?

DINO VELVET (V.O.)

Brooklyn. Don't be late.

EXT. MOTEL COURTYARD, POOL -- NIGHT

HORNS and TRAFFIC are HEARD. Max and Welles sit in lawn

chairs at the tiny pool. Welles smokes. Max drinks beer.

They watch an ELDERLY WOMAN in a one piece bathing suit

climb from the pool and walk to the diving board, diving in.

MAX:

What's next?

WELLES:

I'm trying to figure that out

myself. I have to see Machine

without his mask.

MAX:

Still don't want to tell me what

you're doing?

WELLES:

Nope.

The old woman climbs out and heads back to the diving board.

Welles takes out a thick ENVELOPE, hands it to Max.

WELLES:

This is for you.

Max doesn't understand, opens the envelope, finds about

fifteen thousand dollars in the envelope.

MAX:

What's this?

WELLES:

It's money. People use it to

purchase goods and services.

Max looks at it again, can't believe it.

MAX:

Look... that's awful generous and

everything...

WELLES:

It's not my money. The woman I got

it from is never going to give it a

second thought. Let's not make a

big deal out of this, okay?

(pause)

Go be a race car driver. Go run for

President. Whatever.

Welles puts his cigarette out, stands.

WELLES:

I'll see you around.

Welles walks away, heading to his room. Max watches him go,

doesn't know what to say, looks in the envelope.

The old woman climbs out and heads back to the diving board.

EXT. BROOKLYN STREETS -- DAY

A deserted, war zone neighborhood of abandoned, graffittied

buildings. A few burnt out cars on the street. Welles

drives through, watchful.

Welles drives past a huge TWO-STORY WAREHOUSE, does a u-turn.

He parks the car.

INT. WELLES' CAR -- DAY

Welles checks his gun, returns it to his holster.

EXT. BROOKLYN WAREHOUSE -- DAY

Welles climbs crumbling concrete stairs, looking all

directions, crossing a LOADING DOCK towards a DOOR...

INT. BROOKLYN WAREHOUSE -- DAY

Welles enters slowly, trying to get his eyes to adjust to

the darkness. A vast, empty space looms before him.

In the middle of the warehouse, Dino Velvet stands, in a

powder blue suit, holding an archery BOW and ARROW.

DINO VELVET:

There you are. Come join us.

There's a wrought IRON BED not far from Dino. MACHINE is

seated on the mattress, a huge man, wearing a leather S+M

harness and the same WRESTLING MASK as in the snuff film.

Welles gathers his courage, walks towards them.

Dino pulls back on the bow, aiming away across the

warehouse. He stands by a TABLE with a QUIVER of ARROWS

propped up. He shoots an arrow toward a large TARGET...

Strikes the target dead center, BULL'S-EYE. As Welles gets

closer, he notices several things ...

... a 16MM CAMERA mounted on a TRIPOD, facing the bed, along

with several movie LIGHTS

... several BOWIE KNIFES are laid out on the table, beside

a pair of HANDCUFFS...

... Machine is watching him as he approaches...

Welles stops, not far from Dino and Machine, but keeping his

distance. Dino's still firing arrows at the target.

Machine's still staring at Welles.

WELLES:

(to Machine)

Hello.

Machine just stares at him with bloodshot eyes.

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