Dirt Page #8

INT. LUCY’S HOUSE -- NIGHT

Lucy drinks from red wine from a big glass. DiStefano sings

Boito’s Mefistofele (Death of Faust) loudly on the stereo.

She looks at the Prince Tyreese photos. They are damning by

any measure; graphic, weird, violent, drug-filled, even a

series of the Prince getting banged with a strap-on.

She lines several of them up together. Clicks on her large

computer monitor through several layouts she’s roughed out.

They are typical tabloid headlines of the “CAUGHT!”,

“BUSTED!”, and “FALLEN IDOL” variety. She takes a huge belt

on the wine.

46.

She picks up the phone, calls. INTERCUT Leo as necessary.

LEO:

Hello?

LUCY:

It’s me. Why are you home picking

up on the first ring?

LEO:

Because I’m a lonely bisexual man

with a shaved head.

LUCY:

One thing a bisexual man should

never have to be is lonely.

LEO:

What are you doing? Trolling theinternet for someone to drug you

and bang the crap out of you?

LUCY:

Funny...nothing...looking at

pictures of Prince Tyreese.

LEO:

Naked?

LUCY:

Actually, yes.

LEO:

I’ll be right over.

LUCY:

Right...like you’d ever leave your

cave at night to see your sister.

LEO:

I didn’t say I was coming to see

you, I said I was coming to see my

man the Prince.

LUCY:

Don’t bother...it’s depressing.

LEO:

You’re a little drunk, aren’t you?

LUCY:

I might be, yes.

LEO:

I’m glad I don’t have your job.

47.

LUCY:

I love my job.

LEO:

Oh yeah, I can tell. Do you thinksomeday we’ll have to pay for our

sins?

LUCY:

What’s that supposed to mean?

LEO:

Don’t be so sensitive...it’s just a

question.

Lucy turns the pictures over. Shakes her head. Now from the

stereo, the basso profundo of the Devil...

LUCY:

(sarcastic)

Well, you’ve made my night.

LEO:

Yeah, this has been great. Think

I’ll go run a bath and slit my

wrists.

LUCY:

Does this mean you won’t be bugging

me any more?

LEO:

Bye.

The wailing tenor of di Stefano is now joined by the voices

of the Mefistofele chorus...Lucy finishes the wine.

INT. DON’S APARTMENT -- NIGHT

Don carries Tristan in his arms, cradling him like a newborn.

Don reaches his shag-carpeted living room and sets Tristan

down on a cat bed. Goes to an old-fashioned portable Hi-Fi

and turns it on. We hear the warm HISS of the old vacuum

tubes coming to life.

He carefully slides an old phonograph record out of its

sleeve and lays it on the turntable. Sets down the needle.

HAWAIIAN MUSIC, dreamy and nostalgic, especially with the

static of the phonograph. Steel pedal guitar, far-away

vocals, ‘ukulele...

Don pets Tristan.

48.

DON:

Hey Tristan, that’s my buddy...you

like that...that’s my buddy.

TRISTAN:

It’s all coming to an end, Don.

Don blinks, looking at Tristan. The sweet music continues.

DON:

What, buddy?

A LOUD RUMBLING, like an earthquake. Don looks up; a small

but definite CRACK appears in the wall of the apartment. The

record skips, then continues on. The overhead light fixture

sways. SOUND of GALLOPING HORSES.

Don carries Tristan to the window and looks outside. Peoplewalking and driving, nothing out of the ordinary, except-

HUGE FLASHES OF LIGHT in the sky illuminating what appear to

be ARCHANGELS, winged heroic figures...the light flickers and

they’re gone. The Hawaiian music continues as-

END OF ACT TWO:

49.

ACT THREE:

INT. LUCY’S HOUSE, BEDROOM -- MORNING

Lucy opens her eyes. She’s hung over. Sits up and gets out

of bed.

She walks into the-

KITCHEN:

And starts to make coffee.

PHONE RINGS...she lets the machine pick up.

DOROTHY (V.O.)

Hello? Hello? Am I...oh...Lucy?

Lucy almost picks up, can’t bear it.

DOROTHY (CONT’D)

I just woke up and...is it just

because I’m sick, or...is it all

changing? Is the world

more...closed in? I just want youto be happy. Your father and

I...after the war...we were

happy...I think...

The machine cuts her off with an abrupt “Thank you for your

call.”

Lucy looks down into the counter. Clicks the coffee machine

on.

INT. SYDNEY POLLOCK’S OFFICE -- DAY

Holt sits in the outer office, trying to act cool.

SYDNEY POLLACK comes out of the office.

SYDNEY POLLACK:

Jeremy! Hey, c’mon in...

HOLT:

Hey. Um, it’s Holt. Holt McLaren.

SYDNEY POLLACK:

Right! Of course. We’ve had so

many people in and out of this

part.

HOLT:

Yeah.

SYDNEY POLLACK:

Anyway, c’mon in...

50.

INT. SYDNEY POLLACK’S BUNGALOW

Sydney Pollack and Holt sit there uncomfortably.

SYDNEY POLLACK:

Great piece the other day in NOW.

You’re all over the place.

HOLT:

Oh, thanks, yeah...

SYDNEY POLLACK:

Now, with all this stuff you have

in the works, are you still

available?

HOLT:

For what?

SYDNEY POLLACK:

The Generic Effect. PlayingCarson. In my movie. I want to

hire you.

HOLT:

Oh my God...thank you. Yes, I amabsolutely available.

SYDNEY POLLACK:

Great. We’re closing Clooney’s

deal and just had the offer

accepted by Kira Klay.

A beat.

HOLT:

Oh...I know Kira. She’s...a

friend.

SYDNEY POLLACK:

See the way things work out?

Fantastic. Anyway, I have a three

o’clock. Congrats, Galt.

HOLT:

It’s...thank you.

INT. LUCY’S OFFICE -- DAY

As she and Barrow look at the photos.

BARROW:

Are you kidding?

She just looks at him?

51.

BARROW (CONT’D)

You know what they’re gonna say in

corporate?

LUCY:

The strap-on looks painful?

Barrow slides the photos back across the desk at her.

BARROW:

You can’t run these.

Lucy tries to contain her rage...

LUCY:

Do you know how hard I worked to

get these photos? Do you have anyidea what they’ll do to

circulation? You can’t just-

BARROW:

I can’t just what? You walk around

here like you got my balls in a

vise...but you know who calls the

shots here, don’t you?

LUCY:

(smiles)

Yeah, the suits over in the

corporate. Sure as hell ain’t you.

BARROW:

Oh, yeah? Try this: Run these and

get fired. Leak ‘em and get sued.

Off Lucy-

INT. KIRA KLAY’S HOUSE -- NIGHT

Kira sits on the floor of her big house, a copy of The Bomb

with the damning cover next to her. And a mirror. And a

couple empty bottles of Dom.

She leans down into the mirror and we see her in extreme red-

eyed, glassed-out CLOSE-UP...

INT. CLUB VELVET, DANCE FLOOR -- LATE NIGHT

DANCE MUSIC is up and bumping, shirts are coming off, sweat

pouring...

A group of HOLLYWOOD GROOVSTERS, Holt and Julia at their

center, dance in a big circle, cutting loose...

Holt is finally letting go, enjoying a moment of success and

celebration...

52.

Julia dances with Holt, dirty-dogging him, giving him her

booty. She turns around and pulls off his shirt, uses it to

wrap around him and grind him in closer...

Feather in...MUSIC: Yoko Ono, “Listen The Snow Is Falling”

INT. KIRA KLAY’S HOUSE -- LATE NIGHT

The Yoko Ono track surging now...

Back on the floor. The mirror, the empty bottles, but no

Kira.

TRACK through the darkened house, to a brightly lit bathroom,

door ajar. White floor tile. Kira’s perfect, pedicured

feet.

EXT. SUNSET BOULEVARD, OUTSIDE CLUB -- VERY LATE

The group stumbles out of the club.

Julia’s cell phone rings.

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