THE ROCKY HORROR PICTURE SHOW A SCREENPLAY BY JIM SHARMAN AND RICHARD O'BRIEN Adapted from "The Rocky Horror Show" a musical with Book, Music & Lyrics by Richard O'Brien ----- 1 THE FIRST IMAGE IS A SET OF RED VELVET CINEMA CURTAINS Soft Drum-Roll. 2 THEY SPLIT OPTICALLY TO REVEAL THE DISTRIBUTION COMPANY LOGO. Fanfare. 3 A SMALL WHITE SCREEN - ACADEMY SIZE - APPEARS IN THE MIDDLE OF THE WIDE-SCREEN FORMAT On the sides of the image are stationary sprocket holes of celluloid. SCIENCE FICTION DOUBLE FEATURE * Musical Introduction. Film head runs down numbers: 10, 9, 8, 7, 6, 5, 4, 3, 2, 1, START. Very scratched. During the SONG we see snatches of the films mentioned in SONG. They look old and scratched and they are INTERCUT with flashes of white screen, burnt celluloid, etc. SONG: "SCIENCE FICTION DOUBLE FEATURE" 4 THE DAY THE EARTH STOOD STILL - THE END SEQUENCE OF THE ROBOT CARRYING THE HERO VOICE OVER Michael Rennie was ill. The day the earth stood still But he told us where we stand WIPE TO 5 FLASH GORDON - BUSTER CRABBE IN ACTION VOICE OVER (Cont) And Flash Gordon was there In silver underwear. WIPE TO 6 THE INVISIBLE MAN - CLAUDE RAINS IN BANDAGES AND DARK GLASSES VOICE OVER (Cont) Claude Rains was the invisible man. WIPE TO 7 KING KONG - EMPIRE STATE BUILDING SEQUENCE WITH FAY WRAY VOICE OVER (Cont) Then something went wrong For Fay Wray and King Kong They got caught in a celluloid jam WIPE TO 8 IT CAME FROM OUTER SPACE - GEODESIC GLOBE ECLIPSING THE EARTH VOICE OVER (Cont) Then at a deadly pace It came from outer space And this is how the message ran WIPE TO 9 TITLE SEQUENCE - CAST AND WRITING CREDITS CHORUS Science Fiction - double-feature Dr X will build a creature See Androids fighting Brad and Janet Anne Francis stars in Forbidden Planet Oh - at the late night, double-feature Picture Show. WIPE TO 10 TARANTULA - THE MUTATION SEQUENCE VOICE OVER I knew Leo G. Carrol Was over a barrel When tarantula took to the hills WIPE TO 11 THE DAY OF THE TRIFFIDS - FIGHT IN THE LIGHTHOUSE VOICE OVER (Cont) And I really got hot When I saw Jeanette Scott Fight a Triffid that spits poison and kills WIPE TO 12 THE NIGHT OF THE DEMON - SEQUENCE OF "RUNIC WRITING", FLYING INTO THE FIRE VOICE OVER (Cont) Dana Andrews said prunes Gave him the runes And passing them used lots of skills. WIPE TO 13 WHEN WORLDS COLLIDE - ROCKET INVASION SEQUENCE VOICE OVER (Cont) And when worlds collide Said George Pal to his bride I'm going to give you some terrible trills Like a - WIPE TO 14 TITLE CONTINUED - TECHNICAL AND PRODUCTION CREDITS CHORUS Science Fiction - double-feature Dr X will build a creature See Androids fighting Brad and Janet Anne Francis stars in Forbidden Planet Oh - at the late-night, double-feature Picture Show By RKO O- Oh At the late-night, double-feature Picture Show In the back row At the late-night, double-feature Picture Show I want to go. DISSOLVE TO 15 EXT. A STILL FRAME OF A DENTON CATHOLIC CHURCH DAY CHORUS (Cont) To the late night double feature Picture Show. The SONG ends with church bells ringing joyously as the IMAGE EXPANDS TO WIDE-SCREEN. The STILL FRAME bursts to life as the doors of the Denton Catholic Church are flung open and Mendelssohn's wedding march resounds from the church organ. The young married couple, RALPH and BETTY HAPSCHATT appear followed by a crowd of friends and well-wishers throwing confetti and shouting excitedly. The MINISTER shakes RALPH by the hand while RALPH slips him a $20 bill. PHOTOGRAPHERS take pictures. BRAD MAJORS, a young slightly awkward, clean-cut American in his mid- twenties, comes over the congratulate RALPH. BRAD and RALPH shake hands. RALPH Well Brad, I guess we made it huh! BRAD Well I don't think there was any doubt about that - You and Betty have been almost inseparable ever since you sat in on Dr Scott's refresher lectures. RALPH Tell you the truth Brad, she was the only reason I came in the first place. Science was never one of my favourite subjects but I sure with Dr Scott could have made it today. BRAD Yes, Janet and I are both fond of him. We drove over to see him last vacation. It's a shame his new job took him away from Denton. BETTY, the bride, throws the bouquet. JANET catches it. She squeals with delight. The GUESTS cheer. RALPH Hey fella. It looks like it could be your turn next. BRAD Who knows...ha ha. RALPH & BETTY drive off. GUESTS wave and shout, BRAD & JANET with great enthusiasm. GUESTS begin to disperse. JANET & BRAD linger outside the church. So do a strange FAMILY : An old man with a pitchfork and his wife and daughter. They resemble the Quaker family in "American Gothic", a painting. The MOTHER (MAGENTA) and FATHER (RIFF RAFF) stand outside the church doors. Their DAUGHTER (COLUMBIA) goes inside. The FAMILY, and the MINISTER (FRANK N. FURTER), and the GUESTS all resemble characters we shall meet later at the Frank N. Furter place. JANET (who is holding the bouquet) Oh Brad, wasn't it wonderful. Didn't Betty look radiantly beautiful. Just an hour ago she was plain old Betty Monroe. Now she's Mrs. Ralph Hapschatt. BRAD (Still looking after the car) Er...yes, Janet.......Ralph's a lucky guy. (They start to move d.s.) JANET Yes. BRAD Everyone knows Betty's a wonderful little cook. JANET Yes. BRAD And Ralph himself will be in line for promotion in a year or so. JANET Yes. FIRST CHORD OF "WEDDING SONG" 16 EXT. CHURCH DAY "WEDDING SONG" (Silent playback for dialogue) With great decision BRAD turns on JANET BRAD (spoken) Hey Janet. JANET Yes Brad. BRAD I've got something to say. JANET Uh huh. BRAD I really loved the skilful way You beat the other girls To the bride's bouquet. JANET Oh Brad. (Singing begins) BRAD The river was deep but I swam it. FAMILY (Riff & Magenta) Janet. BRAD The future is ours so let's plan it. FAMILY (R & M) Janet. BRAD So please don't tell me to can it. FAMILY (R & M) Janet. BRAD I've one thing to say and that's Dammit, Janet. I love you. The road was long but I ran it. (He runs backwards towards church doors) FAMILY (Riff and Magenta) Janet. BRAD (Climbing onto fence) There's a fire in my heart And you fan it. (Jumps off) FAMILY (Riff and Magenta) Janet. BRAD If there's one fool for you Then I am it. FAMILY (Riff and Magenta) Janet. BRAD (Getting chalk from pocket) I've one thing to say and that's, Dammit, Janet. He chalks a heart and arrow on the church door, which Riff Raff proceeds to wipe off. BRAD I love you. JANET runs to him, he kneels and produces a ring. BRAD Here's a ring to prove that I'm not joker. CHURCH BELLS Peal out. RIFF & MAGENTA open doors and solemnly enter the church, door closes behind them. BRAD There's three ways that love can grow. That's good bad or mediocre. JANET grabs the ring as BRAD rises. She throws down the bouquet and would fall into BRAD's arms but he goes to the door to chalk on it again. BRAD Oh - J - A - N - E - T I love you so. JANET, transfixed, bursts into the church. 17 INT. CHURCH DAY "WEDDING SONG" Pt. 2 JANET bursts into the church, hypnotised by the ring. BRAD follows her. JANET Oh!......It's nicer than Betty Munroe had MAGENTA (Peering up from behind pew) Oh Brad. JANET Now we're engaged and I'm so glad. MAGENTA & COLUMBIA Oh Brad. (Both peer up and disappear) JANET That you met Mom And you know Dad. WHOLE FAMILY Oh Brad. (peering up together) JANET (Taking his arm) I've one thing to say And that's, Brad I'm mad, For you too. BRAD & JANET start to walk d.s., arm in arm. the strange FAMILY march slowly across them l/r., in front. JANET (Laying head on Brad's sh.) Oh, Brad. BRAD Oh Dammit. JANET (Caresses his cheek) I'm mad..... BRAD Oh Janet JANET For you. BRAD (briefly kisses her) I love you too-oo-oo. BRAD takes JANET's hands, turning to her. We are aware of THE FAMILY bringing in coffin in b.g. through vestry door. BRAD & JANET There's one thing left to do-ah-ooh (They separate) BRAD And that's go see the man Who began it FAMILY (Carrying coffin) Janet. BRAD When we met in his science exam It - THE FAMILY move into position behind BRAD & JANET FAMILY Janet. BRAD Made me give you the eye And then panic, FAMILY Janet FAMILY lower coffin onto floor. BRAD I've got one thing to say, and that's Dammit, Janet. I love you. JANET runs to BRAD and he hugs her. BRAD (Circling Janet) Dammit, Janet. JANET circles BRAD twice, admiring her ring on the way. JANET Oh Brad, I'm mad. BRAD Dammit, Janet. BRAD & JANET kneel together with each following word until they are kneeling on the floor) BRAD, JANET, FAMILY. I love you. BRAD & JANET kiss. The cross above spits optically. 18 INT. A STUDY NIGHT Mahogany bookcases, a large desk with a prominent globe of the world. A well-padded armchair has its back to the camera. It swings around revealing the NARRATOR. He is in his smoking jacket. He speaks directly to us. NARRATOR I would like if I may to take you on a strange journey. He crosses to the bookshelf. He selects a dossier. We see the title: "The Denton Affair". He returns to his desk and places it on a bookstand. He puts on his reading glasses. NARRATOR It seemed a fairly ordinary night when Brad Majors and his fiancee Janet Weiss (two young ordinary healthy kids) left Denton that late November evening to visit Dr Everett Scott, ex. tutor and now friend of both of them. It's true there were dark storm clouds, heavy, black and pendulous, toward which they were driving. It's true also that the spare tyre they were carrying was badly in need of some air. But they being normal kids and on a night out, well they were not going to let a storm spoil the events of their evening. On a night out. He closes the book marking the place. Thunder is heard distantly on the sound track. NARRATOR It was a night out they were going to remember for a very long time. Lighting cracks on the sound track. WIPE TO 19 EXT. NIGHT A windscreen wiper working under strain. Torrential rain on the windscreen. BRAD concentrating on visibility. JANET eating chocolates and listening to the car radio playing an Orson Welles serial - The Shadow. A motorcycle roars past them. JANET Gosh. That's the third motorcyclist that's passed us. They certainly take their lives in their hands. What with the weather and all. BRAD Yes, Janet. Life's pretty cheap to that type. JANET takes another stick of gum. Offers BRAD some. He declines. The car slows to a halt. JANET What's the matter Brad, darling? Headlights on sign reading: "DEAD END". BRAD I think we took the wrong fork a few miles back. JANET Oh dear! But then where did the motorcyclists come from? BRAD Hmmm ... Well, I guess we will have to turn back. CUT TO 20 EXT. ROAD NIGHT Car reverses. BRAD puts his foot on the accelerator. The wheel skids and explodes. CUT TO 21 INT. CAR NIGHT JANET What was that bang? BRAD We must have a blow-out. JANET Oh... Pause CUT TO 22 EXT. ROAD NIGHT A bolt of lighting strikes a tree. CUT TO 23 INT. CAR NIGHT BRAD You'd better sit here and keep warm while I go for help. JANET But where will you go? We're in the middle of nowhere. BRAD Didn't we pass a castle back down the road a few miles? Maybe they have a telephone I might use. He unbuckles his seatbelt. JANET I'm coming with you. BRAD There's no point both of us getting wet. JANET I'm coming with you. (she unbuckles her seatbelt) Besides, darling, the owner of the phone might be a beautiful woman and you may never come back. BRAD laughs. A thunderclap. MUSIC commences and she alights from the car and follows him, newspaper over her head. CUT TO 24 EXT. ROAD NIGHT SONG: "OVER AT THE FRANKENSTEIN PLACE" The rain pours off the newspaper down JANET's face. She walks along, catching up with BRAD. She sing plaintively. JANET In the velvet darkness Of the blackest night Burning bright. We see the two of them - BRAD striding ahead, JANET nearly catching up with him. Behind them on the side of the road, sparse trees and rock formations. JANET There's a guiding star No matter what or who you are. They have passed a row of trees. A rock formation in the shape of a castle is silhouetted against the sky. It has a flag flying from the turret. Lightning strikes. A glow of light appears in a window. It illuminates a path to the castle. BRAD and JANET turn. The castle is in the distance between the two of them. BRAD & JANET There's a light The castle looms in the distance. PHANTOM VOICES Over at the Frankenstein place. BRAD stares hard. BRAD There's a light. The castle looms closer. PHANTOM VOICES Burning in the fireplace. JANET (looks to Brad) There's a light, a light In the darkness of everybody's life Taking JANET by the hand, BRAD moves off the roadway towards the house. BRAD I can see the flag fly I can see the rain Just the same There has got to be Something better here For you and me. Lighting strikes. JANET jumps towards BRAD. BRAD & JANET There's a light. The castle seems to move forward. PHANTOM VOICES Burning in the fireplace. BRAD There's a light. CUT TO 25 EXT. CASTLE DRIVEWAY NIGHT A motorcycle convoy roars by revealing a hidden road to the castle. BRAD A light In the darkness of everybody's life. The convoy drives up and disappears into a secret entrance in the rock. CUT TO 26 EXT. CASTLE FACADE NIGHT We see a cell-like window near a massive lighted window. A tortured face appears squinting into the darkness. RIFF RAFF The darkness must go Down the river of nights dreaming Flow morphia slow Let the sun and light come streaming Into my life. CUT TO 27 EXT. SKY NIGHT Lightning strikes. CUT TO 28 CASTLE FACADE NIGHT RIFF RAFF moves to the lighted window where his hunchbacked shape becomes a giant shadow. RIFF RAFF Into my life. CUT TO 29 EXT. CASTLE DRIVE NIGHT BRAD and JANET start moving down the driveway. BRAD & JANET There's a light. CUT TO 30 CASTLE FACADE NIGHT Shadow turns in the window. PHANTOM VOICES Over at the Frankenstein place. CUT TO 31 EXT. CASTLE DRIVE NIGHT BRAD and JANET approach the gateway to the castle. BRAD & JANET There's a light. CUT TO 32 CASTLE FACADE NIGHT The shadow slowly covers the whole window. PHANTOM VOICES Burning in the fireplace. CUT TO 33 EXT. CASTLE DRIVE NIGHT PHANTOM VOICES There's a light, a light. BRAD and JANET are at the gate. There is a rusted sign. BRAD & JANET In the darkness of everybody's life. A bolt of lighting illuminates the sign which reads: FRANK N. FURTER - SCIENTIST. WIPE TO 34 INT. STUDY NIGHT The NARRATOR is in his armchair. He leans forward with some urgency. NARRATOR And so it seemed that fortune had smiled on Brad and Janet and that they had found the assistance that their plight required - or had they? Thunderclap. WIPE TO 35 EXT. FRONT DOOR OF THE CASTLE NIGHT BRAD rings the doorbell. It makes a strange sound. JANET Oh, Brad. Let's go back. I'm cold and I'm frightened. BRAD Just a moment, Janet. They may have a telephone. The door opens. Throbbing music is heard in the background as if there is a party going on in the distance. The figure we have seen at the window emerges. He is a hunch-backed servant, RIFF RAFF. RIFF RAFF Hello. BRAD Uh - oh - Hi! My name is Brad Majors. And this is my fiancee, Janet Weiss. I - ah - wondered if you could help us. Our car has broken down about two miles up the road. Do you have a phone we might use? RIFF RAFF You're wet. JANET Yes, the rain has been very heavy. BRAD Yes. RIFF RAFF Yes. 36 EXT. CASTLE NIGHT A bolt of lighting illuminates a row of vehicles parked by the castle. 37 EXT. FRONT DOOR OF CASTLE NIGHT BRAD sees them and reacts with surprise. RIFF RAFF realises BRAD has seen them. RIFF RAFF I think you had better both come inside. JANET You're too kind. They enter apprehensively. DISSOLVE 38 INT. STAIRWAY NIGHT RIFF RAFF leads them down a stairway and beckons them to follow. The MUSIC has become louder. JANET (sotto voce) Oh Brad, I'm frightened. What kind of place is this? BRAD (sotto voce) Oh, it's probably some kind of hunting lodge for rich weirdos. CUT TO 39 INT. HALLWAY NIGHT They arrive at a hallway at the bottom of the stairs. Another servant, MAGENTA, who bears a striking physical resemblance to RIFF RAFF is vacuuming the stairs. RIFF RAFF This way. JANET steps over the vacuum lead. JANET Are you - giving a party? RIFF RAFF No. You've arrived on a rather special night. It's one of the master's affairs. JANET Oh, lucky him. MAGENTA He's lucky. BRAD and JANET look at MAGENTA, surprised by her voice. MAGENTA You're lucky, I'm lucky, we're all lucky. 40 SONG: "THE TIME WARP" BRAD and JANET are rather unnerved by this outburst from the domestic. They look back to RIFF RAFF. He is now standing by a set of mirrors reflecting to infinity. RIFF RAFF It's astounding Time is fleeting Madness takes its toll But listen closely Not for very much longer I've got to keep control. MAGENTA gives RIFF RAFF a strange signal. RIFF RAFF starts to dance in an extraordinary fashion. RIFF RAFF I remember doing the Time Warp. BRAD and JANET are amazed. RIFF RAFF Drinking those moments when The blackness would hit me. MAGENTA half closes her eyes in pleasure. JANET clings to BRAD. RIFF RAFF And the void would be calling. RIFF RAFF opens a set of double doors marked BALLROOM. 41 INT. BALLROOM NIGHT BRAD and JANET find themselves on a balcony of a huge black and silver ballroom. At the furthest end is a throne-like chair and, surrounding it, a theatre proscenium. In the body of the room are GUESTS. They are the people BRAD and JANET passed on the road. They are the Transylvanian Secret Agents - assembled on this special occasion from all over the earth. It is the Annual Transylvanian Convention - announced by an official banner suspended over the Ballroom. They are all dressed in strange but elegant evening wear. They are a distorted version of the GUESTS from the Denton wedding. A party spirit prevails, they throw their arms out in a plea to RIFF RAFF on the balcony. GUESTS Let's do the Time Warp again. JANET falls into BRAD's arms. RIFF RAFF is ecstatic. BRAD revives JANET. GUESTS (repeating action) Let's do the Time Warp again. JANET faints again. CUT TO 42 INT. STUDY NIGHT The NARRATOR moves from his desk to the wall behind him. He pulls down a chart with illustrated dance steps on it. He gestures to the appropriate section of the diagram with the pointer. NARRATOR It's just a jump to the left. WIPE TO 43 INT. BALLROOM NIGHT The GUESTS leap to the left in one giant step. GUESTS (dancing) And a step to the right - right - right - right - right. WIPE TO 44 INT. STUDY NIGHT NARRATOR points to next step on the chart. NARRATOR With your hands on your hips. WIPE TO 45 INT. BALLROOM NIGHT ALL GUESTS have hands on hips. GUESTS You bring your knees in tight. But it's the pelvic thrust. The rows of GUESTS open out with pelvic thrusts. GUESTS (Cont) They really drive you insane. We see them from the balcony and they open out in formation. GUESTS (Cont) Let's do the Time Warp again. JANET revives. The GUESTS re-form. GUESTS Let's do the Time Warp again. BRAD and JANET make a run out the door. CUT TO 46 INT. STAIRWAY NIGHT They collide with MAGENTA who has blocked off the corridor with her vacuum. She sings with menace, waving the cleaner hose dangerously. MAGENTA It's so dreamy Oh, fantasy free me So you can't see me No not at all. BRAD and JANET look at each other in alarm. In another dimension. (she forces them back towards balcony) With voyeuristic intention. BRAD blushes. Well secluded I see all With a bit of a mind flip You're into the time slip Nothing will ever seem the same. They are back at the balcony. You're spaced out on sensation. They are at the edge of the balcony. Like you're under sedation. They force BRAD and JANET into the Ballroom proper. The GUESTS turn on them. GUESTS Let's do the Time Warp again. BRAD and JANET are completely dismayed. GUESTS Let's do the Time Warp again. COLUMBIA, a young girl, is the household groupie. She sings with the band at the end of the Ballroom. CUT TO 47 INT. BANDSTAND NIGHT COLUMBIA Well I was walking down the street Just having a think When a snake of a guy Gave me an evil wink. Well it shook me up It took me by surprise He had a pick-up truck And the devil's eyes He stared at me And I felt a change Time meant nothing Never would again. CUT TO 48 INT. BALLROOM NIGHT GUESTS Let's do the Time Warp again. BRAD and JANET are reeling. GUESTS Let's do the Time Warp again. CUT TO 49 INT. STUDY NIGHT NARRATOR. He has now become rather involved in the dance and is standing on the blotter on the top of his desk. NARRATOR It's just a jump to the left. He jumps to the left. WIPE TO 50 INT. BALLROOM NIGHT GUESTS And then a step to the right. The GUESTS take one. WIPE TO 51 INT. STUDY NIGHT The NARRATOR dancing on the desk. NARRATOR With your hands on your hips. WIPE TO 52 INT. BALLROOM NIGHT GUESTS You bring your knees in tight. OVERHEAD TRAVELLING SHOT. But it's the pelvic thrust. LOW TRAVELLING SHOT between their legs. That really drives you insane. Let's do the Time Warp again. Everyone reverses direction. Let's do the Time Warp again. All the GUESTS fall to the floor like flies exhausted. CUT TO 53 INT. BALCONY/HALLWAY NIGHT JANET Oh....Say something. BRAD Say! Do any of you guys know the Madison? No one laughs. GUESTS turn nasty. 53A INT. HALL/LIFT NIGHT BRAD and JANET retreat to the hall. Behind them a lift slowly descends bearing a figure in a black cloak and a diamante stiletto heel - beating time to a rhythm the band has started playing. JANET Brad, please lets get out of here. BRAD For God's sake keep a grip on yourself Janet. JANET But it seems so unhealthy here. BRAD It's just a..a party Janet. JANET Well I want to leave. BRAD We can't go anywhere until I get to a phone. JANET Then ask the butler - or someone. BRAD Let's wait awhile Janet. We don't want to interfere with their celebrations. JANET This isn't the Junior Chamber of Commerce Brad. BRAD They're probably foreigners with ways different from our own. - They may do some more folk dancing. JANET Brad - I'm cold, I'm wet, and plain scared. BRAD I'm here, there's nothing to worry about. GUESTS rise, staring mesmerised at the lift. JANET sees the shoe, looks up at the face of its owner. JANET faints. -------------------------------------------- GO TO COLOUR AT BEGINNING OF FOLLOWING SCENE -------------------------------------------- 54 INT. LIFT/HALL NIGHT The figure turns and throws open lift cage door. As camera zooms in to the death mask above them the film changes from black and white to colour. However the only colour in evidence is the red lipstick on the mouth of their host. SONG: "SWEET TRANSVESTITE" FRANK How do you do. I see you've met my faithful handyman. He's a little brought down - Because when you knocked He thought you were the candyman. RIFF RAFF scowls. 54A INT. BALLROOM NIGHT FRANK Don't get strung out by the way that I look. FRANK strides across the Ballroom to the throne. FRANK Don't judge a book by its cover I'm not much of a man By the light of day But by night I'm one hell of a lover. JANET gives a silent scream. FRANK lets the cloak fall onto the throne, which reveals his transvestite attire. The GUESTS scream with delight. FRANK I'm just a sweet Transvestite From Transexual Transylvania. He slowly moves back to BRAD and JANET, doing leg kicks. Let me show you around, maybe play you a sound You look like you're both pretty groovie. He circles them and forces them into the Ballroom. Or if you want something visual not too abysmal We could take in an old Steve Reeves movie. BRAD clumsily attempts to circle around FRANK. FRANK meanwhile ignores him and greets his other guests. BRAD I'm glad we caught you at home Ah - could we use your phone We're both in a bit of a hurry. JANET joins BRAD. JANET Right! BRAD We'll just say where we are Then go back to the car We don't want to be any worry. FRANK turns on them. FRANK You got caught with a flat Well how about that Well babies don't you panic By the light of the night It'll seem alright I'll get you a satanic mechanic. FRANK turns his back on BRAD and JANET and splitting the ranks of his GUESTS, departs for the other end of the Ballroom. Streamers fall. FRANK I'm just a sweet transvestite From Transexual Transylvania. From the throne he gestures towards BRAD and JANET rather slowly over the next verse. FRANK Why dont'cha stay for the night RIFF & MAGENTA "night" Or maybe a bite RIFF & MAGENTA "bite" I could show you my favourite obsession I've been making a man With blonde hair and a tan And he's good for relieving my tension. We view from OVERHEAD as the GUESTS surround him adoringly. FRANK I'm just a sweet transvestite From Transexual Transylvania. FRANK storms down the Ballroom to the lift. I'm just a sweet transvestite. GUESTS "Sweet Transvestite" FRANK From Transexual Transylvania. GUESTS "Transylvania" 55 INT. LIFT AREA FRANK So come up to the Lab. CUT TO 56 CHORD: SUBLIMINAL FLASH - LABORATORY CUT TO 57 INT. LIFT AREA FRANK (Cont) And see what's on the slab. CUT TO 58 CHORD: SUBLIMINAL FLASH - ROCKY'S BIRTH IN THE LABORATORY CUT TO 59 INT. LIFT AREA FRANK (Cont) I see you shiver with anticipation CUT TO 60 CHORD: SUBLIMINAL FLASH OF LOVE MAKING CUT TO 61 INT. LIFT AREA FRANK (Cont) But maybe the rain CUT TO 62 CHORD: FLASH - THE CAR AND THE WINDSCREEN WIPERS CUT TO 63 INT. LIFT AREA FRANK (Cont) Is really to blame CUT TO 64 CHORD: SUBLIMINAL FLASH - THE WEDDING CUT TO 65 INT. LIFT AREA FRANK (Cont) So I'll remove the cause But not the symptom CUT TO 66 CHORD: SUBLIMINAL FLASH - THE EXPLOSION CUT TO 67 INT. BALLROOM NIGHT On the last chord the lift has disappeared. The GUESTS applaud ecstatically. RIFF RAFF and MAGENTA close in on BRAD and JANET. They remove BRAD and JANET's wet clothes. COLUMBIA moves down from the bandstand and crosses to BRAD and JANET. She witnesses the undressing. COLUMBIA Slowly, slowly. It's too nice a job to rush. The GUESTS moan softly as each piece of clothing is removed. BRAD and JANET stand shivering in their underwear. There is complete silence. The GUESTS and SERVANTS are motionless. BRAD and JANET are the total object of their attention. CUT TO 68 INT. HALL/LIFT NIGHT JANET Oh Brad. BRAD (confidentially) It's alright Janet, we'll play along for now and pull out the aces when the time is right. He turns to COLUMBIA who has been staring at his underpants. BRAD Ah, hi. My name is Brad Majors and this is my fiancee, Janet Weiss. You are ... COLUMBIA You are very lucky to be invited up to Frank's laboratory. Some people would give their right arm for the privilege. RIFF RAFF has opened the cage doors to the lift. The GUESTS rush for positions. BRAD People like you maybe COLUMBIA I've seen it. COLUMBIA escorts them to the lift. RIFF RAFF throws two GUESTS to the floor to make room for them. He slams the cage door. The two discarded GUESTS cry and claw at the cage door as the lift moves off under RIFF RAFF's control. BRAD and JANET are squashed, arms by their side. They stare straight ahead. JANET (to Magenta) It he - Frank - is he your husband? General amusement. RIFF RAFF The Master is not yet married. Nor do I think he ever will be. We are simply his servants. JANET Oh. The lift grinds to a halt. They have arrived at the laboratory. CUT TO 69 INT. LABORATORY NIGHT The laboratory is somewhere between a student observation operating theatre and a Greek gymnasium. It is pink-tiled throughout, facing the lift entrance is a circular area containing a TANK on pedestals which though screened at this stage will be revealed to contain the body of ROCKY submerged in chemicals, the wall to one side contains a raised dias area for the GUESTS, and facing one end of the tank, the operational controls, monitor and a giant refrigerator. A chandelier hangs above the tank. On the podium in front of Frank's chambers there is a stand microphone. Near the podium are some weights. Behind the tank is a vaulting horse. These are wrapped in sellophane - Rocky's presents. The GUESTS are waiting as the lift arrives. FRANK, now in surgeon's outfit stands in the middle of the room. RIFF RAFF gets out of the lift first, with a glass of champagne which he hands to FRANK. FRANK Magenta, Columbia, go and assist Riff Raff. As he speaks her name each one steps forward out of the lift. They cross to RIFF RAFF behind the tank. FRANK I will entertain...ah... BRAD & JANET step out of the lift. BRAD I'm Brad Majors and this is my fiancee, Janet Vice. JANET Weiss. BRAD Weiss. FRANK (Taking Janet's hand to kiss) Encante....How nice. (he circles them) And what charming underclothes you both have. (He takes two dust coats from Riff Raff and hands them to Brad). But here, put these on. They'll make you feel less vulnerable. MAGENTA & COLUMBIA cross to the podium. FRANK (continues) It's not often we receive visitors here. Let alone offer them hospitality. BRAD (Moving towards Frank) Hospitality! All we wanted to do was use your telephone. A reasonable request which you have chosen to ignore. JANET (Hurring after Brad) Don't be ungrateful Brad. BRAD (Stepping closer to Frank) Ungrateful! The room falls silent. All eyes are on FRANK, waiting for his reaction. A smile breaks on his face. FRANK How forceful you are Brad. Such a perfect specimen of manhood. So dominant. MAGENTA & COLUMBIA laugh. You must be awfully proud of him Janet. JANET Well, yes I am. THE GUESTS oh and ah appreciatively, BRAD laughs, a little embarassed. FRANK Do you have any tattoos Brad. BRAD Certainly not! FRANK Oh well. How about you. (He laughs) RIFF RAFF has approached behind FRANK, looming over his shoulder. RIFF RAFF Everything is in readiness, Master. We merely await your word. FRANK drinks his champagne then hands RIFF RAFF the empty glass. RIFF RAFF goes to the control panel and FRANK to the podium FRANK Tonight...One, one, one. Can you hear me at the back? Tonight, my unconventional conventionists. MAGENTA, COLUMBIA and GUESTS laugh politely. FRANK Tonight you are to witness a breakthrough in biochemical research. There is a gasp from COLUMBIA, MAGENTA and GUESTS. FRANK And paradise is to be mine. GUESTS and everybody applaud. JANET claps too, but BRAD indicates that she shouldn't. FRANK It was strange the way it happened. One of those quirks of fate really. One of those moments when you seem irredeemably lost: you panic; you're trapped; your back's against the wall. There's no way out, and then suddenly, you get a break. (He cracks the bones in his hand) All the pieces seem to fit into place. What a sucker you'r been. What a fool. The answer was there all the time. It took a small accident to make it happen. An accident! MAGENTA & COLUMBIA step forward one each side of him. MAGENTA & COLUMBIA (softly) An accident. FRANK That's how I discovered the secret. That elusive ingredient, that spark that is the breath of life. GUESTS applaud. FRANK (Moving to tank) You see, Brad and Janet, you are fortunate. For tonight is the night that my beautiful creature is destined to be born. Everybody applauds. FRANK then pulls the cover from the tank. RIFF RAFF is at the control panel. 70 INT. LABORATORY NIGHT The tank is revealed. There is something inside it is immersed in clear fluid. The GUESTS are astonished. FRANK Throw open the switches on the sonic oscillator. RIFF RAFF flicks the switch to activate the oscilloscopes in the panel. FRANK And step up the reactor power input three more points. RIFF RAFF presses a button three times then begins to unwind a wheel. FRANK watches excitedly from behind the tank as the chandelier is lowered. It spurts different coloured liquids into the tank. The liquids bubble and change colour. The thing inside begins to look like a human form. JANET Brad... BRAD It's alright Janet. The liquids drain away. The form begins to move. FRANK climbs the ladder at one end of the tank, RIFF RAFF the other. ROCKY HORROR sits up, raises his arms, finally stands upright with both arms outstretched. RIFF RAFF removes the bandage from ROCKY's head. ROCKY looks at RIFF RAFF then at FRANK. With a gasp he leaps for the chandelier above. At the same time RIFF RAFF is down the ladder making for the handle. He winds up the chandelier and ROCKY. 71 INT. THE LABORATORY NIGHT SONG: THE SWORD OF DAMOCLES. ROCKY HORROR with only his head unbandaged, is hanging on to the chandelier which RIFF RAFF is winding upwards. ROCKY The Sword of Damocles is Hanging over my head. FRANK runs down the ladder and kicks RIFF RAFF who starts to lower the chandelier. FRANK climbs up the other steps to meet his creation coming down. MAGENTA & COLUMBIA cross to the tank. ROCKY And I've got the feeling Someone's going to be Cutting the thread. Oh, woe is me. My life is a misery. Oh, can't you see That I'm at the start Of a pretty big downer.... As ROCKY gets level with him, FRANK lunges for him but lands inside the tank....because... ROCKY simultaneously abandons the chandelier, lands between MAGENTA and COLUMBIA who now each have a pair of scissors with which they will snip his arm and leg bandages. ROCKY I woke up this morning With a start When I fell out of bed. GUESTS (inc. Riff, Magenta & Columbia) That ain't no crime. ROCKY And left from my dreaming Was a feeling Of un-nameable dread. GUESTS That ain't no crime ROCKY My high is low. I'm dressed up With no place to go. And all I know Is I'm at the start Of a pretty big downer. FRANK, in the tank behind ROCKY, puts his arms round ROCKY's neck. ROCKY spins away. MAGENTA and COLUMBIA hang on to one end of his chest bandage so that it undoes as he goes. GUESTS (inc. RIFF RAFF, MAGENTA & COLUMBIA) Sha la la la That ain't no crime. ROCKY Oh, no no, no no. GUESTS Sha la la la That ain't no crime. ROCKY No no no, no no. GUESTS Sha la la la That ain't no crime - That ain't no crime. ROCKY is now unbandaged. He strikes a pose. During the last sequence, FRANK climbs out of the tank onto RIFF RAFF'S shoulders and purses ROCKY, but they fall. 72 INT. STUDY NIGHT NARRATOR reading from book. NARRATOR Rocky needed peace of mind. He didn't know He was doing just fine. He was the product Of another time. And as for feeling down - Well that's not a crime. 73 INT. LABORATORY NIGHT FRANK and RIFF RAFF are recovering from their fall. ROCKY makes a circuit of the GUESTS. GUESTS (Riff, Magenta & Columbia) That ain't no crime. ROCKY (To first group of guests) The sword of Damocles is Hanging over my head. GUESTS That ain't no crime. ROCKY (To second group) And I've got the feeling Someone's going to be Cutting the thread. GUESTS That ain't no crime. ROCKY (To third group) Oh, woe is me - My life is a mystery. (To fourth group) Oh can't you see That I'm at the start Of a pretty big downer. ROCKY set off at a run as FRANK looms up again. (FRANK is chasing ROCKY round the lab.) GUESTS Sha la la la That ain't no crime. ROCKY Oh no no no no. GUESTS Sha la la la That ain't no crime. ROCKY No no no no. GUESTS Sha la la la That ain't no crime. That ain't no crime. GUESTS Sha la la la That ain't no crime. ROCKY No no no no. GUESTS Sha la la la That ain't no crime. ROCKY No no no no. GUESTS Sha la la la That ain't no crime - That ain't no crime. At the end of number, ROCKY has climbed up the ladder attached to the end of the tank nearest the bridal chambers and FRANK is in a heap below. RIFF RAFF is behind the tank and MAGENTA and COLUMBIA in their positions in front of it. 74 INT. LABORATORY NIGHT FRANK picks himself up. ROCKY is sitting at the top of the ladder above him, with his perfect limbs near Frank's face. FRANK Well. That's no way to behave on your first day out. ROCKY looks hurt. But as you're such an exceptional beauty I'm prepared to forgive. FRANK crosses behind ROCKY to stand next to RIFF RAFF behind the tank. I just love success. RIFF RAFF (edging up to Frank) He is a credit to your genius, Master. FRANK Yes. MAGENTA (Moving to tank from controls) A triumph of your vill. FRANK Yes. COLUMBIA (Who is on opposite side of tank) He's o.k. FRANK O.K? (Moving out behind tank towards Janet and Brad) I think we can do a little better than that. You. (To Janet) What do you think? JANET Well. (She looks at Brad) I don't like men with...er, with too many, muscles. FRANK I didn't make him for you JANET nods hastily. FRANK moves towards microphone. He carries the Charles Atlas seal of approval....And he didn't even take the lessons. 74A INT. LABORATORY NIGHT SONG: CHARLES ATLAS (Pt. 1) As FRANK starts to sing, MAGENTA & RIFF RAFF collect one of ROCKY's presents, the vaulting horse, and place it in front of the podium. COLUMBIA leads ROCKY down from the ladder. FRANK A weakling weighing Ninety eight pounds Will get sand in his face When kicked to the ground. And soon in the gym (ROCKY sits on horse) With a determined chin The sweat from his pores As he works for his ca-ha-hause MAGENTA & RIFF RAFF now bring the weights. FRANK Will make him glisten - thank you - And gleam. And with massage And just a little bit of Ste-he-he-he-hem...(laughs) He'll be pink. And quite clean. FRANK He'll be a strong man - Oh honey - GUESTS, RIFF, MAGENTA & COLUMBIA & FRANK. But the wrong man. FRANK He'll eat nutritious high protein And swallow raw eggs. Try to build up his shoulders, His chest, arms and legs. Such an effort - If he only knew of my plan. In just seven days, GUESTS, RIFF, MAGENTA & COLUMBIA & FRANK I can make you a ma-aa-a-a-an ROCKY throws down the weights and begins press ups. FRANK He'll do press-ups and chin-ups, Do the snatch, clean and jerk. FRANK crosses to JANET & BRAD He thinks dynamic tension Must be hard work. Such strenuous living I just don't understand. FRANK moves back to ROCKY who is still pressing up. When, in just seven days - Oh baby...(ROCKY jumps up.) I can make you A ma-a-a-a-an...(laugh). 75 INT. LABORATORY: REFRIGERATOR NIGHT The large refrigeration unit door slowly opens, falling like a drawbridge. Inside is a wall of ice and many CocaCola bottles. Through these bursts an icy EDDIE riding a Harley Davidson motor bike, ex World War II, holding a Gibson guitar. Several guests are crushed to death. COLUMBIA Eddie! EDDIE Stay cool baby. JANET Who's Eddie? RIFF RAFF The delivery boy. MAGENTA His delivery wasn't good enough though. ROCKY looks terrified. JANET has fainted yet again. EDDIE comes to life. 76 SONG: "WHAT EVER HAPPENED TO SATURDAY NIGHT" EDDIE Whatever happened to Saturday night When you dressed up sharp And you felt alright It don't seem the same since cosmic light Came into my life and I thought I was divine. COLUMBIA leaps on to the pillion seat. I used to go for a ride with a chick who'd go And listen to the music on the radio. The MOTORCYCLISTS GUESTS remember only too well. A saxophone was blowing on a rock and roll show And we climbed in the back And we really had a good time COLUMBIA rushes to the switchboard, flicks a lighting switch and all the lights above the stairs start changing colour. The GUESTS go crazy and rock and roll all over the staircase. COLUMBIA dances with EDDIE. Even RIFF RAFF and MAGENTA step it out. ALL Hot patootie Bless my soul I really love that rock and roll (four times) EDDIE (more confident, less frozen) leaps onto the motorbike in a legs apart guitar strumming pose. FRANK is getting furious. ROCKY is perplexed. EDDIE My head used to swim From the perfume I smelled. My hands kind of fumbled With her white plastic belt. I'd taster her baby pink lipstick, And that's when I'd melt. And she'd whisper in my ear, Tonight she really was mine. Get back in front and put Some hair oil on. Buddy Holly was singing His very last song. With your arms around your girl You tried to - ah - sing along It felt pretty good, whoo. Really had a good ti-i-ime. EDDIE slips onto the pedal starting the bike. He takes off and roars round the laboratory, even riding up and down the walls. ALL Hot patootie Bless my soul. I really love that rock and roll. Hot patootie Bless my soul. I really love that rock and roll. Hot patootie Bless my soul. You know I love that rock and roll. Hot patootie Bless my soul. I really love that rock and roll. 4 bars instrumental (saxophone) FRANK steals towards the fridge where he collects an ice pick, innocently. ALL EDDIE Hot patootie HOT PATOOTIE - Bless my soul. BLESS MY SO-O-OUL. I really love that rock and roll. Hot patootie HOT PATOOTIE Bless my soul. I LOVE THAT ROCK & ROLL. I really love that rock and roll. Hot patootie HOT PATOOTIE... Bless my soul. I LOVE THAT ROCK & ROLL. I really love that rock and roll. Hot patootie HOT PATOOTIE... Bless my soul. BLESS MY SO-O-OUL. I really love that rock and roll. Hot patootie HOT PATOOTIE.. Bless my soul. I REALLY LOVE THAT ROCK & ROLL. I really love that rock and roll. Hot patootie HOT PATOOTIE... Bless my soul. BLESS MY SO-O-OOOUUL. I really love that rock and roll. Hot patootie HOT PATOOTIE Bless my soul. I LOVE THAT ROCK & ROLL. I really love that rock and roll. Hot patootie HOT PATOOTIE Bless my soul. I LOVE-A-LOVE-A-LOVE-A I really love that rock and roll. THAT ROCK AND ROO-AHOUL! On the last chorus FRANK rushes to EDDIE with the ice pick, in a demented fury. THE GUESTS are unbelieving. COLUMBIA covers her face with her hands. EDDIE is dead. FRANK walks away from his body unconcerned. JANET screams and screams. 77 INT. LAB NIGHT DIALOGUE SEQUENCE MAGENTA is very bored and picking up ice cubes and placing them in the ice bucket. FRANK One from the vaults. RIFF RAFF drags EDDIE's dismembered body back into the fridge. And so perish all those who reject my love! ROCKY cowers in terror. Oh no, my little Adonis - You're much too beautiful to be destroyed. He had a certain naive charm - but no muscle. ROCKY flexes. FRANK is thrilled. 78 INT. LABORATORY NIGHT FRANK But a deltoid And a bicep, A hot groin And a tricep Makes me - ooh - Shake. Makes me want To take Charles Atlas By the ha-and. In just seven days - Oh baby - GUESTS, RIFF RAFF, MAGENTA & COLUMBIA & FRANK I can make you a Ma-ha-ha-ha-haan. I don't want no dissension Just dynamic tension. In just seven days I can make you A ma-ha-ha-ha-haan. In just seven days I can make you A ma-ha-ha-ha-haaan. CUT TO 79 INT. BRIDAL SUITE NIGHT RIFF RAFF presses a button and a wall opens revealing a bridal suite done out in black silk. The GUESTS shout their approval. The end of the SONG turns into Mendelssohn's wedding march and FRANK leads ROCKY to his bridal chamber. The GUESTS throw confetti. BRAD and JANET look at each other in amazement. WIPE TO 80 INT. STUDY NIGHT NARRATOR There are some people who say that life is an illusion, and that reality is simply a figment of our imaginations! If this is so, then Brad and Janet are quite safe. However, the sudden departure of their host and his creation (into the seclusion of his sombre bridal suite) had left them feeling both apprehensive and uneasy. A feeling which grew as the other guests 'departed' and 'they' were shown to their separate rooms. WIPE TO 81 INT. JANET'S ROOM (RED FILTER) NIGHT JANET looks lost. She sits on the end of the bed. CUT TO 82 INT. BRAD'S ROOM (BLUE FILTER) NIGHT BRAD looks lost. He examines the TV monitor. 83 INT. LABORATORY NIGHT RIFF RAFF and MAGENTA by the monitor. They switch from channel to channel. We see BRAD looking at the TV monitor. And JANET sitting on the end of the bed. JANET lies back on the bed and switches off her bedside lamp. RIFF RAFF and MAGENTA smile at each other. CUT TO 84 INT. JANET'S ROOM (RED FILTER) NIGHT Only a soft glow of moonlight from a barred window. ON the netting round her bed. There is a knock at the door. JANET sits p. JANET Who is it? Who's there? BRAD's voice from behind the door. BRAD'S VOICE It's only me, Janet. She relaxes. JANET Oh, Brad, come in, darling. A silhouette enters and crosses to the bed. It moves onto the bed behind the net curtain. JANET Oh Brad - Mmmm - Oh yes, my darling - what if... BRAD It's alright Janet. Everything's going to be alright. JANET Oh, I hope so my darling. But let me switch on the light. BRAD No, don't do that. JANET Oh don't be so shy. She switches on the light to reveal FRANK. JANET YOU! FRANK sits up. FRANK I'm afraid so, Janet. But isn't it nice? JANET beats his chest with her clenched fists. JANET You beast, you monster, what have you done with Brad? FRANK Nothing. Why, do you think I should? JANET You tricked me - I wouldn't have - I've never - never FRANK I know. But it wasn't all bad was it? In fact, I think you found it quite pleasurable. Mmmmm so soft, so sensual. He re-commences making love to her. JANET Oh - Oh - no - stop - I mean help. I - Brad - Oh. (she shouts) Brad. FRANK places a finger on her lips. FRANK Ssssh. Brad's probably asleep by now. Do you want him to see you like this? JANET Like this - like how? It's your fault. You're to blame. (pause) I was saving myself. FRANK Well, I'm sure you're not spent yet. He switches off the light. CUT TO 85 INT. LABORATORY NIGHT RIFF RAFF and MAGENTA stare intently at the screen. They smile at each other. CUT TO 86 INT. JANET'S ROOM (RED FILTER) NIGHT Silhouette of FRANK and JANET making love. JANET Promise you won't tell Brad. FRANK Cross my heart and hope to die. JANET squeals with excitement. DISSOLVE TO 87 INT. BRIDAL SUITE ADJOINING LABORATORY NIGHT We see ROCKY chained to the bed sleeping. In the background RIFF RAFF and MAGENTA in laboratory. ROCKY stirs and makes a sound. RIFF RAFF walks across to the door and stares at the sleeping body. His eyes are full of hate. He looks at MAGENTA. She nods to him. He releases the chains. ROCKY stirs. RIFF RAFF picks up a candelabra from the bedside table and taunts ROCKY. ROCKY jumps out of the bed, terrified. RIFF RAFF pushes the candelabra in his face. ROCKY crashes through the laboratory and escapes. RIFF RAFF turns to MAGENTA who is now standing in the doorway. RIFF RAFF puts down the candelabra and they exchange a strange sign. DISSOLVE TO 88 INT. BRAD'S ROOM (BLUE FILTER) NIGHT A knock at the door. BRAD opens it cautiously. A shadowy figure moves across the room to the bed. JANET'S VOICE (distraught) Oh Brad, it's no good here. It will destroy us. BRAD takes her hand. BRAD Don't worry Janet, we'll be away from here in the morning. Hmmmm, you smell so good. He gently lays her down on the bed and attempts to caress her. JANET Oh Brad. Oh no. Not till after the wedding, Darling. BRAD sits up. BRAD Alright, Janet. I understand. The shadow rolls over. JANET Maybe we could try it this way. BRAD (surprised) Janet! Oh! Yes it's alright. Janet. Everything's going to be alright. JANET I hope so my darling. BRAD reaches out to the light. No, don't put on the l... BRAD switches on the bedside lamp an realises he is making love to FRANK wearing a JANET wig. BRAD You! FRANK I'm afraid so, Brad. But wasn't it nice? BRAD grabs FRANK around the throat. BRAD Why you - what have you done with Janet? FRANK Nothing. Why do you think I should? BRAD lets him go and turns away humiliated. BRAD You tricked me. I wouldn't have - I've never - never. FRANK I know, but it wasn't all bad was it? I think you found it quite pleasurable. (he caresses Brad) Oh so soft. So sensual. BRAD Ahhh - no - stop - I mean Janet. (shouts) Janet. FRANK Shush. Janet's probably asleep by now. Do you want her to see you like this? BRAD Like this. (throwing Frank aside) Like how? It's your fault - you're to blame. I thought it was the real thing. FRANK Oh come on, Brad, admit it. It was enjoyable, wasn't it? There's no crime in giving yourself over to pleasure. FRANK (Switches off light) Oh Brad, you have wasted so much time already. Janet needn't know, I won't tell her. BRAD You promise you won't tell? FRANK On my mother's grave. Suddenly the shadows are illuminated by the monitor as an image of RIFF RAFF appears on the screen above the bed. 89 TV MONITOR RIFF RAFF Master, Rocky has broken his chains and vanished. The new playmate is loose and in the castle ground. Magenta has just released the dogs. 90 FRAN'S SILHOUETTE THROUGH NET CURTAINS. FRANK is getting carried away. FRANK I'm coming. 91 EXT. CASTLE GROUNDS. NIGHT. A shot of pack of huge alsations careereing around the castle grounds. They are chasing a bewildered Rocky. WIPE TO. 92 INT. JANET'S ROOM (RED FILTER) NIGHT JANET is lying on the bed posed in the style of a "True Romance" comic heroine. JANET What's happening here? Where's Brad? Where's anybody? WIPE TO 92A INT. BRAD'S ROOM (BLUE FILTER) NIGHT BRAD is posed in the style of a "True Romance" comic hero. He is nervous and smoking. Behind him FRANK is asleep on the bed. BRAD Once in a while she don't want to call you Speaking on the telephone Once in your life she won't want to know you You look around The one you've found She is gone. WIPE TO 92B INT. JANET'S ROOM (RED FILTER) NIGHT JANET is sitting on the end of the bed. JANET I'm engaged to Brad just the same as Betty Monroe was to Ralph Hapschatt. But Frank's kisses overwhelmed me with an ecstacy I've never dreamt of before. Hot, burning kisses. WIPE TO 92C INT. BRAD'S ROOM (BLUE FILTER) NIGHT BRAD And that's all the time that it takes For a heart to turn to stone The sweeter the wine The harder to make the break You hear something about someone You'd thought you'd known. WIPE TO 92D INT. JANET'S ROOM (RED FILTER) NIGHT JANET is at the door. JANET I could see Brad's face before me and my mind screamed No! But my lips were hungry - too hungry. WIPE TO 92E INT. BRAD'S ROOM (BLUE FILTER) NIGHT BRAD So baby don't cry like there's no tomorrow After the night there's a brand new day. And there'll be no pain And no more sorrow. So wash your face And phone my place It'll be O.K. WIPE TO 92F INT. CORRIDOR (RED FILTER - OAKLEY COURT) NIGHT JANET I wanted to be loved completely. My body throbbed excitedly. Oh Brad, Brad my darling, how could I have done this to you? WIPE TO 92G INT. BRAD'S ROOM (BLUE FILTER) NIGHT BRAD And that's all the time that it takes For a heart to beat again. So give me a sign That a lover makes You look around The one you've found Is back again. WIPE TO 92H INT. LABORATORY NIGHT JANET If only we hadn't made this journey. If only the car hadn't broken down. If only we were amongst friends or sane