![Find Four Rooms on Amazon](https://www.scripts.com/images/script/860_four-rooms.png)
Four Rooms Page #11
- R
- Year:
- 1995
- 98 min
- 641 Views
What do we need?
REAL THEODORE:
Ice.
YUPPIE SCUM:
Ice?
REAL THEODORE:
Ice.
YUPPIE SCUM:
(into phone)
Ice.
TED:
Ice.
YUPPIE SCUM:
Yeah. Ice.
TED:
Right, sir. Ice. 404. I'll be with you momentarily.
CUT TO:
STORY TITLE CARD:
room 404
"THE WRONG MAN"
INT. DARK HALLWAY
Ted saunters down a hallway with a butt hanging out the corner of his mouth
and a bucket of ice swinging at his side. He pulls up at a door on which
the faded numbers read something like "Room 404."
Ted knocks on the door. After a moment, the latch is thrown and the door
swings open. Ted cautiously steps into the dark room.
INT. ROOM 404
TED:
Anybody home?
A DEMONIC CACKLE cuts through the darkness.
MAN'S VOICE
No one here but us chickens.
TED:
Say, it's pretty dark in here, sir.
MAN'S VOICE
What do you expect, Theodore, a f***in' floor show?
TED:
Do I know you?
MAN'S VOICE
I don't know. Do you?
In a flash the lights switch on and Ted finds himself staring down the
barrel of a pretty intense-looking .357 Magnum, cocked and ready to fire.
At the other end of the gun stands a 50-year-old man, Sigfried, who sports
a Cheshire Cat smile and a "just try f***in' with me" look on his face.
Sigfried isn't the only person in the room. Directly behind him sits a
beautiful young woman, Angela, gagged and bound to a chair. Ted drops the
bucket to the floor.
TED:
I brought your ice.
SIGFRIED:
That's cute. In fact, the whole getup's kind of cute. The
monkey suit's a nice touch, honey puss.
TED:
This has to be a mistake. Is this room 404?
SIGFRIED:
Theodore? What do you take me for, Theodore?
TED:
A very upset man?
Sigfried reaches in his pocket and throws a handful of assorted stimulants
into his mouth, chewing on them like they were breath mints. Sigfried
thrusts his hand forward, gripping Ted by the throat, and leads him to
Angela.
SIGFRIED:
(to Angela)
I am an upset man, Theodore.
TED:
How do you know my name, sir?
SIGFRIED:
I'm psychic, Theodore.
TED:
Look my name is Ted, actually, and I have no idea what's
going on here, but I've obviously come at a bad time.
SIGFRIED:
Let's not belabor the fact that you have no sense of timing,
Theodore. The fact is you're here.
Sigfried turns to Angela.
SIGFRIED:
(continuing)
And I couldn't think of a better time for you to introduce
me to your beau than on New Year's Eve.
TED:
Oh f***, there's a mistake. You're f***ing wrong here. My
name is Theodore, yes! My mother named me that and I
hate the name. But I'm a f***ing bellhop. People call me
Ted. I work here.
Suddenly, with great force, Sigfried slams the butt of his pistol smack
into Ted's temple, sending him to the floor. Ted looks up at Sigfried in
shock.
SIGFRIED:
Look, I'd love to sit here all night with you talking about
things like when you broke in your first mitt--
(pause)
That was insensitive of me, wasn't it, T H E O D O R E?
But let's cut to the chase, okay?
TED:
Okay.
SIGFRIED:
So apologize!
A tense silence fills the room. All eyes are on Ted, who can't figure out
what the f*** this guy wants.
TED:
For what?
Sigfried looks hard with disbelief at Ted, who winces back.
SIGFRIED:
You are really beginning to annoy me, Theodore.
Sigfried throws another handful of pills into his mouth.
TED:
Look, obviously you two are working something out and if I
could help you with your problem I would.
SIGFRIED:
What are you saying? Are you saying I got a problem? Are
you trying to say I don't give her what she needs? That I'm
F***ING INSENSITIVE!!
TED:
Look, is this about another man? Or something?
Ted has struck a raw nerve. Sigfried's mood swings drastically; he bends
down next to Ted.
SIGFRIED:
Let's get our ABC's right, here, Theodore. Theodore, right?
TED:
Ted's better.
SIGFRIED:
Ted, okay . . . Are you saying my wife cheats on me?
TED:
I didn't say that . . . I . . .
SIGFRIED:
Oh, for Christ's sake, Theodore, this is about as intimate a
situation as you can get, you, me, and Angela here. It's
pretty cozy. To say nothing of how stupid an idea it is to lie
to a man with a loaded gun without considering the possible
response. I demand an apology!
The phone rings.
SIGFRIED:
Don't move. I've got to take this.
Sigfried glances at it. Then to Angela. He picks up the phone.
Translation
Translate and read this script in other languages:
Select another language:
- - Select -
- 简体中文 (Chinese - Simplified)
- 繁體中文 (Chinese - Traditional)
- Español (Spanish)
- Esperanto (Esperanto)
- 日本語 (Japanese)
- Português (Portuguese)
- Deutsch (German)
- العربية (Arabic)
- Français (French)
- Русский (Russian)
- ಕನ್ನಡ (Kannada)
- 한국어 (Korean)
- עברית (Hebrew)
- Gaeilge (Irish)
- Українська (Ukrainian)
- اردو (Urdu)
- Magyar (Hungarian)
- मानक हिन्दी (Hindi)
- Indonesia (Indonesian)
- Italiano (Italian)
- தமிழ் (Tamil)
- Türkçe (Turkish)
- తెలుగు (Telugu)
- ภาษาไทย (Thai)
- Tiếng Việt (Vietnamese)
- Čeština (Czech)
- Polski (Polish)
- Bahasa Indonesia (Indonesian)
- Românește (Romanian)
- Nederlands (Dutch)
- Ελληνικά (Greek)
- Latinum (Latin)
- Svenska (Swedish)
- Dansk (Danish)
- Suomi (Finnish)
- فارسی (Persian)
- ייִדיש (Yiddish)
- հայերեն (Armenian)
- Norsk (Norwegian)
- English (English)
Citation
Use the citation below to add this screenplay to your bibliography:
Style:MLAChicagoAPA
"Four Rooms" Scripts.com. STANDS4 LLC, 2024. Web. 7 Sep. 2024. <https://www.scripts.com/script/four_rooms_860>.
Discuss this script with the community:
Report Comment
We're doing our best to make sure our content is useful, accurate and safe.
If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and we'll take care of it shortly.
Attachment
You need to be logged in to favorite.
Log In