The King of Comedy Page #16

PUPKIN:

But what about me, Jerry? What about

my life? I made plans -- based on

what you said. You can't just turn

your back on me.

LANGFORD:

I'm not telling you again.

There is a long pause as the truth finally sinks in. PUPKIN

just stares at LANGFORD with disbelief that turns to anger.

PUPKIN:

So this is the way it works when

you're big, huh? You just play with

people. Is that part of the kick,

Jerry? (pause) I can see I was all

wrong about you. All wrong.

RITA starts tugging at PUPKIN.

RITA:

Come on, Rupert.

PUPKIN:

(to RITA)

Shut up! (to LANGFORD) You weren't

my friend at all, were you? You were

just playing some kind of game with me.

Well, that's not going to stop me,

Jerry. I'm just going to work a

little bit harder, that's all, use a

little bit more enterprise. And not

count on anybody. That's where I

made my mistake. I can see that now.

PUPKIN picks up the pair of small suitcases.

PUPKIN:

(glaring at LANGFORD)

Come on, Rita. We're wasting our time.

CUT TO:

79EXT. LANGFORD'S FRONT DOOR - DAY

PUPKIN strides out with RITA following. She casts LANGFORD

an apologetic glance as she goes. The door slams behind

them. They walk down the path silently for a few moments

as the CAMERA PULLS UP, following them in an OVERHEAD SHOT.

We hear them start talking as they make their way towards

the gate.

RITA:

(baffled and angry)

What did you think was going to

happen? You think he'd just ... ?

What's the matter with you? (pause)

You can't just walk into a guy's

house! And what about me? What

did you ...

PUPKIN:

(interrupting in a calm

but firm voice)

Shut up, Rita. I'm thinking.

CUT TO:

80EXT:
OUTSIDE THE U.N. PLAZA - DAY

CUT TO:

81INT:
A NEW MERCEDES BENZ - DAY

MARSHA sits at the wheel of this lavishly appointed sedan,

her face made up as though she were going to a fancy party.

PUPKIN sits on the other side of the front seat. His ex-

pression has changed somewhat from the PUPKIN we have seen.

He is less wide-eyed, less innocent, tougher.

MARSHA:

(whining)

How much longer?!?

PUPKIN:

Do you want him or not?

There is a pause.

MARSHA:

You sure he's in there?

PUPKIN:

Certain.

MARSHA:

(with obvious delight)

My parents are going to be furious!

PUPKIN pulls a toy revolver from his jacket pocket and looks

it over. MARSHA glances at it.

MARSHA:

It looks real.

PUPKIN:

That's the whole point. (gesturing

with his head towards the entrance

of the building which is some 50 yards

away) Pay attention.

MARSHA looks towards the entrance. A few beats pass.

MARSHA:

What if he doesn't come down?

PUPKIN:

He will.

MARSHA:

But what if he doesn't?

PUPKIN:

We'll come back tomorrow.

MARSHA:

And wait again?

PUPKIN:

Look, you're going to have him all

to yourself. What else do you want?

A MAN resembling LANGFORD walks out the entrance.

PUPKIN:

Is that him?!?

MARSHA:

No.

PUPKIN:

You sure?

MARSHA:

Sure I'm sure. That looks too much

like him.

PUPKIN:

What do you mean?

MARSHA:

When it's him it doesn't look like him.

PUPKIN:

Keep watching.

PUPKIN closes his eyes and rests for a moment.

MARSHA:

That's him.

PUPKIN's eyes snap open. WE SEE LANGFORD, concealed in his

trench coat, dark glasses and tightly pulled cap start walking

east.

MARSHA:

What should I do?

PUPKIN:

Wait a second and follow him.

CUT TO:

82EXT:
A STREET GOING EAST - DAY

LANGFORD is walking innocently towards his offices. The

Mercedes prowls a quarter of a block behind.

CUT TO:

83INT:
THE MERCEDES - DAY

MARSHA:

What about here?

PUPKIN:

Too busy. Keep going.

CUT TO:

84EXT:
ANOTHER EASTBOUND STREET - DAY

LANGFORD continues walking. The street is practically

empty.

CUT TO:

85 INT:
MERCEDES - DAY

PUPKIN:

Go past him and stop.

CUT TO:

86EXT:
THE SAME EASTBOUND STREET - DAY

WE STAY with LANGFORD as he walks. WE SEE the Mercedes

pull past him. Suddenly PUPKIN is IN THE FRAME, walking

side by side with LANGFORD.

PUPKIN:

Just keep walking or I'll kill

you right here.

LANGFORD looks at PUPKIN in terror. He falters a bit, out

of fear.

PUPKIN:

I said keep walking. This is a gun

in my pocket and I've got nothing

to lose.

LANGFORD:

(who keeps walking)

What do you want?

PUPKIN:

Just keep walking and don't talk

to anybody. I'll tell you what

to do.

A MAN coming the other way stops and stares at LANGFORD

out of curiosity. PUPKIN and LANGFORD keep walking. They

get to where the Mercedes is waiting. PUPKIN jabs LANGFORD

in the ribs with the gun.

PUPKIN:

Get in!

LANGFORD:

Look, this is ...

PUPKIN:

(interrupting)

Just shut up and get in.

LANGFORD gets in the front seat. PUPKIN follows.

CUT TO:

87INT:
THE MERCEDES - DAY

LANGFORD moves to the middle of the front seat.

MARSHA:

Hi, Jerry.

LANGFORD looks over and recognizes MARSHA. A CLOSE UP

records his reaction of sheer terror.

CUT TO:

88EXT:
A BROWNSTONE-LINED STREET IN THE EAST EIGHTIES - DAY

WE SEE LANGFORD get out of the Mercedes which is parked in

front of a fire hydrant. LANGFORD follows MARSHA into a

brownstone. PUPKIN walks behind LANGFORD.

CUT TO:

89INT:
MARSHA'S APARTMENT - DAY

PUPKIN, LANGFORD and MARSHA enter. It is an absolutely

stunning studio apartment, furnished lavishly by Marsha's

parents for their daughter in antique furniture suitable

for a woman of fifty. MARSHA has imprinted her own stamp

on the apartment in two ways: First, the place is abso-

lutely chaotic. Secondly, there are a number of blow-up

pictures on the wall. A picture of LANGFORD sits on the

bureau. There is a big brass bed with an ornate brass

frame at the foot. LANGFORD stares at MARSHA and PUPKIN.

PUPKIN closes the blinds and turns on the lights. MARSHA

trains the gun on LANGFORD. PUPKIN finishes his work and

takes the gun back.

PUPKIN:

I didn't like being so rough out

there, Jerry. But I wanted you to

know that I meant business. I didn't

want anything happening to you over

some misunderstanding.

LANGFORD just stares at him, frozen with fear.

PUPKIN:

Now I know you're wondering what

this is all about. Actually you've

got nothing to worry about. You

just do what I tell you and by, say,

midnight, you'll be safe and out of

here. Of course if you try anything

clever, I'll kill you -- or Marsha

will. She knows how to use this too.

LANGFORD:

You realize what you're saying.

PUPKIN:

Come on, Jerry. This isn't a spur

of the moment thing. Give me a little

credit, will you.

PUPKIN looks over to a small phone table with a chair next

to it. He motions to it with his head.

PUPKIN:

(to LANGFORD)

Sit down.

LANGFORD docilely sits by the phone.

PUPKIN:

Now, you're going to call your

office and tell them this: that

unless a man who identifies himself as

the King is allowed on the show

tonight as the first guest, they'll

never see you alive again.

LANGFORD:

What?

PUPKIN:

I'll say it again ...

CUT TO:

90INT:
BERT THOMAS' OFFICE - DAY

It is a large office in two pieces. A SECRETARY sits in

the smaller part next to the door of the larger section.

Her phone is ringing. She answers.

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