Melvin and Howard

ss	#00433					Rev. 2/1/79
 
			MELVIN AND HOWARD    
 
	FADE IN 

	TITLES 

1	WATERHOLE - STONEWALL PASS, NEVADA - LATE DAY 

	The desert between Las Vegas and Tonopah, nothing but sage
 	and greasewood.  Sound in the distance, a motor.  It comes
 	closer then fades, comes closer, fades.

 	Pan off the waterhole in the direction of the sound.  It
 	approaches again, a figure appears in the distance.
 

2	ON THE MOTORCYCLE
 
	Only the rider's back, silver-streaked hair.  This gaunt figure 
	circles lazily in the moonlight, motorcycle tires rumbling over
	the alkali.  The circles get bigger and now bigger, and as he
	comes around this time, the moonlight catches his face, aristo-
	cratic cheekbones, a stringy beard, a pilot's light windbreaker. 
	This is Howard, age 62, looks over 70.
 

3	ANOTHER ANGLE - HOWARD
 
 	sweeping under the moon, wider and wider and now he speeds 
	towards the waterhole, giving the Harley full throttle.
 

4 	ON THE WATERHOLE 

	A knoll running up to the edge of it.
 

5	ON HOWARD 

	heading straight for the knoll, the chopper kicking up sage
	and greasewood and alkali behind it.  Tremendous speed -- it
	hits the knoll.
 

6	ON THE MOTORCYCLE

	Howard flying through the air, his knees clutched around the
	machine, his eyes wide with joy, laughter ringing through the 
	desert.
 
	The motorcycle clears the waterhole on the leap, Howard snug
	in the saddle, lands in the mud on the other side, skids,
	churns, the tires spitting mud, now he rolls out on the
	desert again.


7	ANOTHER ANGLE - HOWARD
 
	sweeping into a figure eight, testing his motor now, picking 
	up speed once more, heading straight for the knoll.
 

8	ON THE KNOLL 

	The motorcycle invisible, only the sound blasting through the 
	night, louder, louder, and now the motorcycle hits the top of
	the knoll.  A rock, a stone, something, it kicks, it stutters, 
	it flies short.
 

9	ON HOWARD 

	His face exactly the same as before, exultation at the leap, 
	but there is no motorcycle under him now, only air.
 

10	ANOTHER ANGLE - HOWARD 

	His momentum carrying him over the water and he lands with a 
	crunch on the other side, his head hits the mud, a flare of 
	blood spurts from his ear.
 

11 	HOWARD'S POINT OF VIEW 

	His eye catching sight of his motorcycle fluttering down, 
	landing with a splash, bubbling as it disappears into the
	waterhole. 

	TITLES OUT
 

12	EXT. DESERT - DUSK - ON HOWARD

	picking himself up, stumbling across the desert, nothing but 
	silence around him, his feet kicking over the alkali.  He 
	trips, rights himself, moves on.
 

13	ANOTHER ANGLE - HOWARD
 
	faltering, falling.
 
	He picks himself up, his face scratched, his lips crusted 
	with saliva, blood caked around his ear.
 

14	HOWARD'S POINT OF VIEW 

	Way in the distance, the headlights of a car.
 

15	ON HOWARD 

	He starts to raise his hand, almost furtively, but then he
	draws it back.  He does not want to wave.

	He looks towards the moon, spins once like a shot-putter. 
	Now he falls.
 
	The headlights pass on down the Interstate.  Darkness.
 

16	EXT. NEVADA HIGHWAY - NIGHT - LONG SHOT 

	Two headlights, one dimmer and more yellow than the other, 
	are coming down the Interstate now.  Sound -- a man singing. 
	The song is horrible, the voice joyous.
 
				MELVIN (v.o.) 
			(singing) 
		'Well, he called his elves together 
		To soup up his old sleigh 
		So Rudolph and the other reindeer 
		Could rest on Christmas Day....'
 
 
17	INT. CAR - NIGHT - ON MELVIN DUMMAR
 
 	a face with no secrets, a cowlick and sideburns, looking 
	younger than his thirties; Montgomery Ward pants and a 
	shirt with cowboy roses.
 
				MELVIN 
			(singing) 
		'He's got a million miles to travel
		And he'll do it in one day 
		Oh that's because old Santa Claus 
		Got a souped-up Santa sleigh.'
 
	The song trails off into a hum as Melvin pulls off onto the 
	side of the road.
 

18 	ON MELVIN 

	undoing his fly.  As he reaches into his pants, the sound of 
	a car in the distance, he quickly turns to hide himself, the 
	car passes.
 
	Now he reaches in again, but another car catches him in its 
	lights.
 
				MELVIN 
		Jeesuz.
 
	He climbs back into his car, stomps on the gas, and he zooms 
	off the highway and on to the alkali, up an old cattle road. 
	Now he scuds to a stop, steps out onto the emptiness of the 
	desert.
 

19	ANOTHER ANGLE - MELVIN
 
 	pissing, sighing with relief, his sigh mingling with the 
	crackling of his urine as it hits the desert crust.
 

20	ON MELVIN'S FACE

	Pleasure.  The same pleasure he feels at eating, sleeping, 
	defecating, copulating.
 
 	Climbs back into his car.  Starts up the motor, backs around, 
	and the headlight catches a body lying in the deserted cattle
	road.
 

21	ANOTHER ANGLE - MELVIN
 
	blinks.  Squints, now he throws the car into low gear, rolls 
	slowly towards the body, stops a few feet away.
 

22	ON MELVIN'S POINT OF VIEW 

	The body doesn't move.  Limp, dead.
 

23 	ON MELVIN

	following the shaft of the headlight, moving towards the body. 
	Poised a step away.
 
	Now he crouches over it.  A grunt.  Melvin rolls it over.  A 
	beard, Howard's long hair.  He lifts him, the headlight shines 
	full into Howard's eyes, they open, flicker.  Howard grunts
	again.
 
				MELVIN
		Whut?
 
	Howard doesn't stir, doesn't answer.  Melvin cradles Howard's
	head, and the ear comes into view, fresh blood trickling over 
	the clotting.  Melvin heaves Howard up, half-stumbling, half-
	carrying him towards the car, opens the passenger side and
	shovels him in.
 

24	ANOTHER ANGLE - MELVIN

	slamming the door shut.  Now Melvin looks out towards the
	desert.
 

25	MELVIN'S POINT OF VIEW 

	Only blackness and silence.
 

26 	ANOTHER ANGLE - MELVIN 

	climbs into the car on the driver's side, looks over at his 
	passenger.  Howard has scrunched himself into a corner, his 
	eyes are wide open now, and wild with terror.  Melvin catches
	it.

	Melvin smiles, nothing from Howard.  Melvin smiles again.
 
				MELVIN 
		Whut's the matter, ol' buddy?
 
	Howard doesn't answer.  He turns his head a little but as he 
	turns, blood oozes.
 
				MELVIN
		Whut are you doin' out here?
 
 	Silence again.  Howard doesn't take his eyes off Melvin. 
	Melvin leans toward him.  Howard braces himself against the
	door.
 
				MELVIN 
			(peering into
 			Howard's face)
 		That ear don't look too good to me. 
		You want a doctor?
 
	Howard shakes his head.
 
				MELVIN (Cont'd) 
		There's a doctor in Beatty.  That
		ain't but a few miles.  Want to go
		to Beatty?
 
	Howard doesn't answer, just holds himself stiff against the
	door.
 
				MELVIN 
		We'll go to Beatty.  Okay?
 
 	He throws the car into gear, spins around and heads off to-
	wards the interstate.
 
            
27	INT. CAR - NIGHT
 
 	Melvin at the wheel, Howard hiding in the corner of the seat 
	offering Melvin as narrow a view of his face as possible. 
	Suddenly a clatter, Melvin's head whips around, Howard has 
	been taken with the shakes, terrible heaves, his teeth chat-
	tering.
 
	Howard doubles over trying to warm himself, clutching both 
	shoulders cross-handed.  Melvin reaches for the heater, 
	clicks it on, nothing happens.
 
				MELVIN 
		This ain't but a '66 -- damn heater
		never did work.
 
	Howard shudders again, a terrible whistling through his teeth. 
	Melvin bangs the heater with his fist.
 
				HOWARD
 		It's okay.
 
				MELVIN 
		What do you mean it's okay?  Now 
		you just hold on there.
 
	Melvin pulls over to the side of the road.
 

28	ON MELVIN
 
 	climbing out, opening the trunk.  The trunk light shows two 
	giant plastic bags full of white powder, some horse harness, 
	a bow and arrow, a fishing rod, stuffed animals and pull-toys, 
	a ratty blanket and a pillow.
 
	He fishes out the blanket and pillow.
 

29 	TWO-SHOT - HOWARD AND MELVIN 
 
	Melvin leans towards Howard, drapes the blanket over him, but
	does not drape.  It is about the size of a shirt and the pil-
	low he places under his head would fit a doll.
 
	Howard regards them.
 
				MELVIN
		They belong to my little girl. Can't 
		sleep without her bumby.
 
 	Melvin laughs.
 
				MELVIN
		Shit.
 
	Howard shivers, the tiny blanket falls off him. He doesn't
	have the strength to pick it up,  Melvin bends over to re-
	trieve it, as he does his head hits the dashboard and the 
	heater whirrs on.
 
				MELVIN
		Well, damn!  Damn!
 

29-A	INT. CAR NIGHT
 
	He laughs again.  Nothing from Howard, still underneath the
	baby blanket, but now allowing his head to ease back ever so 
	slightly into the pillow.
 
	Melvin reaches his hand under the heater.
 
				MELVIN 
		Warm as toast!  You brought me luck,
 		ol' buddy.  That heater ain't worked
		since my wife kicked it last time I 
		undressed her in the car.
 
	Howard stirs slightly, Melvin squints over at him.  Melvin
	reaches across Howard, flips open the glove compartment --
	a torrent of bills and kleenex, a flashlight, half-eaten 
	candy bars, some knitting needles, a pair of scissors, old 
	Dixie cups.
 
	Melvin rummages around in the mess.
 
				MELVIN 
		I was lookin' for a band-aid.
 
				HOWARD 
		Keep your eye on the road.
 
				MELVIN 
		How's that?
 
				HOWARD 
		I said keep your eye on the road.
 
				MELVIN 
		Well, up yours, ol' timer.

				HOWARD 
		What?
 
				MELVIN 
		I said 'Up yours.'
 
	Melvin rummages some more, more papers fall out, Howard half-
	tries to pick them up.
 
				MELVIN 
		Leave 'em.  They ain't but a bunch
		of collection notices.
 
	He snaps the glove compartment shut, looks over at Howard's
	ear.

				MELVIN 
		We ain't gonna get to Beatty any 
		too soon.
 
				HOWARD 
		No doctors.
 
				MELVIN 
		There ain't no doctors there.  Just 
		a public health nurse.
 
				HOWARD 
		No nurses.
 
				MELVIN 
		You don't like nurses? 

				HOWARD 
		No, I don't.
   
				MELVIN 
		Okay, okay. 

	They ride in silence.
 
	Howard is heaving now, Melvin watches him closely.
 
				HOWARD 
		I'm not going to Beatty.
 
				MELVIN 
		Where are you going?
 
				HOWARD 
		Where are you going?
 
				MELVIN 
		Aw, Jeezus.
 
				HOWARD 
		I'm sorry ---
 
				MELVIN 
		Don't apologize ---
 
				HOWARD 
		I never apologize but I'll try to 
		explain ---

				MELVIN 
		Don't explain!
 
				HOWARD 
		You want to stop at Beatty, fine. 
		I don't.  I'm going to Vegas ---
 
	Howard is silent.  Melvin grits his teeth.  Howard shrugs.
 
				MELVIN 
		Man, you sure beat it, don't you? 
		Squirrelly ol' wino layin' out 
		there in the west 40, nobody sees 
		you 'til kingdom come -- I pick you
		up and what do you do?  Rag me.
 
				HOWARD 
		I'm sorry.
 
				MELVIN 
		What?
 
				HOWARD 
		Nothing. I just think I'll rest a
		while.

				MELVIN 
		You do that.  You lay back now --
 		we're coming up to Beatty now --
		you still don't want to stop?

				HOWARD 
		No, no stops, please.
 
				MELVIN 
		You'll be sorry, you're gonna miss 
		the knockers on the public health
		nurse there.
 
	Howard smiles.

				HOWARD 
		Nice, huh?
 
				MELVIN 
		Do we stop at Beatty or no?
 
 	Howard sighs. 

				HOWARD 
		No.

	Melvin stomps on the gas.
 
				MELVIN
		Vegas, here we come. 

	They drive for a long while in silence.
 

30	HOWARD 

	is silent, always watching Melvin, shifting, shaking some, 
	Melvin loose at the wheel.
 
				HOWARD 
		You're not a bad driver.
 
				MELVIN
		I been driving since I was seven 
		years old.
 
				HOWARD 
		How'd you reach the pedals?
 
				MELVIN
		Make it nine.  I had most of my
		growth by nine.
 
				HOWARD 
		I'll bet you did.  Jacking off in 
		that trailer.
 
				MELVIN
		How'd you know I lived in a trailer?
 
				HOWARD 
		Didn't you say so?
 
				MELVIN
		They was my three brothers in the 
		trailer with me.

				HOWARD 
		In one trailer?
 
				MELVIN 
		Two of us slept on cots and two on
		the old dinette table.  We didn't
		have nothing but an outhouse.  I 
		remember the first day I went to 
		school I peed in the water fountain.
 
				HOWARD 
		Interesting.
 
				MELVIN 
		Took me right down to the Salvation 
		Army, bought me shoes and carted me
		back to school.
 
				HOWARD 
		What'd you say your name was?
 
				MELVIN 
		Melvin Dummar.
 
				HOWARD 
		You're kidding me, Melvin.
 
	Melvin smiles, looks over at Howard.
 
				MELVIN 
		Hey, ol' buddy.  You want to do me 
		a favor?
 
				HOWARD 
		Depends on what it is.
 
				MELVIN 
		I've written a song.
 
				HOWARD 
		No ---
 
				MELVIN 
		It's a Christmas number -- 'Santa's
		Souped-Up Sleigh.'
 
				HOWARD 
		Oh God.

				MELVIN 
		I sent it to Hollywood Music. 
		You know you give them the words 
		-- they write you the music --
		seventy dollars and worth every
		penny -- you want to hear it?
 
				HOWARD 
		No.
 
				MELVIN 
		Here's how it goes --
			(sings) 
		'Well, he called his elves together 
		To soup up his old sleigh 
		So Rudolph and the other reindeer 
		Could rest on Christmas Day
 
 		'He's got a million miles to travel 
		And he'll do it in one day 
		Oh that's because old Santa Claus 
		Got a souped up Santa sleigh'
 
				HOWARD 
		Enough, sir ---
 
				MELVIN 
		Wait till you hear the talk part 
		-- a dramatic narration like Red 
		Sovine --
			(speaks)
		'Now listen there fat man
		Just because you're Santa Claus 
		That don't give you the right 
		To come around and making all
		   that noise
		In the middle of the night. 
		Now I don't care who you are, 
		   fat man 
		You get those reindeer off my 
		   roof --'
 
				HOWARD 
		Please stop ---
 
				MELVIN 
		What's the matter?
 
				HOWARD 
		My ear.
 
				MELVIN 
		Told you we should have stopped
		at Beatty.

				HOWARD 
		It's the sound.
 
				MELVIN 
		What do you mean, the sound?
 
				HOWARD 
		Your song.

				MELVIN 
		You're cruel, man, you know that? 
		You're a cruel man.
 
				HOWARD 
		I have an aversion to song.
 
				MELVIN 
		You never sung in your life?
 
				HOWARD 
		Not if I could help it.
 
				MELVIN 
		That's how you got to be an ol' 
		asshole.  Now you come along on 
		the chorus --
			(sings)
 		'He's got a rocket burnin' mighty 
		   quick
		Turnin' souped up Santa's sleigh 
		He'll come in like a streak of light 
		And he'll blast off right away...' 
		You got that?
 
				HOWARD 
		I don't know.
 
				MELVIN
		Now sing along with me.  Or you
		gonna walk to Vegas. 
			(sings) 
		'He's got a rocket burnin' mighty 
		   quick'
 
	Motions to Howard to join in.
 
				HOWARD 
			(mumbling; gingerly 
			singing) 
		Turnin' souped up Santa's sleigh'
 
				MELVIN
 		Now you're gettin' it!  Once more ---
 
 	Howard starts to sing.
 
				HOWARD 
			(singing) 
		'He's got a rocket burnin' mighty
		   quick
		Turnin' souped up Santa's sleigh....'

				MELVIN
			(speaking)
		'Now now, Mr. Fat Man, what are 
		you trying to do?  Now that 
		chimney's too small and you might 
		fall -- so you just get down off
		that roof'

	Melvin points to Howard and Howard joins in.
 
				HOWARD AND MELVIN 
			(singing) 
		'When you hear those rockets roar 
		You'll know Santa's on his way
 		But he'll be back again next year 
		In his souped up Santa's sleigh!'
 
	Howard seems pleased with himself.
 
				MELVIN
		You done it!  And you want to know
		something?
 
				HOWARD 
		What?

				MELVIN
		You weren't bad.
 
				HOWARD 
		Come on.
 
				MELVIN
		Now you sing me one of your songs ---
 
				HOWARD 
		I don't know any songs ---
 
				MELVIN
		Anythin'.  'Stop And Smell The
		Roses,'  'My Woman, My Woman, My 
		Wife' -- whatever you like --
 
				HOWARD
		I don't know any songs.  My father
		was the singer in the family, 
		'When The Sunset Turns The Ocean's 
		Blue To Gold,' 'Bill Bailey.'
			(imitates)
		'Sonny, you do the verse, I'll 
		take the chorus.'  And off he'd 
		go.
 
				MELVIN
		What songs do you know?
 
				HOWARD
		Me?  Nothing --  
			(shrugs) 
		'Bye Bye Blackbird.'
 
				MELVIN
		There you go!
 
	Melvin punches Howard in the arm.
 
				MELVIN 
		Lay it on me, ol' timer.
 
				HOWARD
		Don't be crazy.
 
				MELVIN 
		'Ladeez and gentlemen -- to wind 
		up our program tonight -- and I 
		want y'all t'drive home safely -- 
		y'hear? -- we got a brand new 
		number by an ol' ol' timer --
		he's been a pickin' and a strummin' 
		for many a year -- so let's hear it
		for this little ditty -- the ol'
		timer and "Bye Bye Blackbird!" 
		-- take it, ol' timer!!'
 
	Howard looks at him.
 
				HOWARD
		Let me out.
 
	Melvin winks.
 
				MELVIN 
		Come on.
 
	Howard starts to hum a little.
 
				MELVIN 
		Ooh, that's nice -- did I hear a
		word?
 
				HOWARD
		'Bye, Bye, Blackbird.'
 
				MELVIN 
		There she goes.
 
				HOWARD
			(starting to sing 
			faintly) 
		'Pack up all my cares and woes 
		Here I go 
		Singing low'
 
				HOWARD AND MELVIN 
			(singing)
		'Bye, bye, blackbird!'
 
	Howard is gaining strength.
 
				HOWARD 
			(singing) 
		'Where somebody waits for me 
		Sugar's sweet
		So is she'
 
				HOWARD AND MELVIN 
			(singing) 
		'Bye, bye, blackbird!'
 
	Melvin turns to Howard, presenting him like an emcee.
 
				HOWARD 
			(singing) 
		'No one here can love and understand
		   me
		Oh what hard luck stories they all
		   hand me
 
		Make my bed and light the light
		I'll arrive
		Late tonight 
		Blackbird ---'
 
				MELVIN 
			(singing)
		'Blackbird!'
 
				HOWARD AND MELVIN 
			(singing 
			together)
		'Blackbird
		Bye!  Bye!'
 
	Howard's face is aglow with joy, but no more so than Melvin's.
 
				MELVIN 
		Hey!
 
	Melvin reaches out his hand -- Howard gives it a boogie
	slap.
 
				MELVIN 
		I like that song -- clean up 
		that lyric a little and she'll
		take right off.
 
	Suddenly Howard withdraws -- dim and distant.  They ride 
	again in silence.
 
	Melvin looks over to him.
 
				MELVIN
		How're you doin'?
 
				HOWARD 
		I'm fine.
			(after a moment) 
		So where are you going now?
 
				MELVIN 
		Home to Gabbs.  Bringin' back 
		some stuff for our trailer my 
		sister wanted to get rid of.
 
				HOWARD
		What do you do in Gabbs?
 
				MELVIN
		I work in the Mag Ox Plant.  You
		know -- Maalox -- you get an ulcer ---
 
				HOWARD
		I know, I know ---
 
				MELVIN
		You know what?
 
				HOWARD
		I know Maalox comes from magnesium
 		oxide.  All the Jews in New York
 		drink it.
 
	Melvin looks at him.
 
				MELVIN
		Well that's more than most people
		know.
  
				HOWARD
		Thank you.
 
				MELVIN
		I wasn't complimenting you.  That 
		was just a comment.
 
				HOWARD 
		Still I appreciate it.
 
	Silence.

				MELVIN 
		Don't bother me, dirty work or no. 
		Was a milkman once -- used to 
		stink of sour milk.  Now I smell 
		like Maalox.
 
				HOWARD 
		What a shame.
 
				MELVIN 
		I remember once -- I was delivering 
		milk in the middle of the night --
		and it come to me -- why don't I 
		get a job on graveyard like some 
		of them old gals' husbands -- so 
		I went around to McDonnell Douglas 
		and Hughes --
 
				HOWARD 
		And what happened?
 
				MELVIN 
		Nuthin.'
 
				HOWARD 
		What a shame.
 
				MELVIN
		You keep saying 'what a shame' ---
 
				HOWARD 
		I might have done something.
 
				MELVIN
		Done what?
 
				HOWARD 
		I'm Howard Hughes.
 
	Melvin's head swivels, he squints over at Howard beside him. 
	Now he looks back at the road.  Suddenly he turns back
	to Howard.
 
				MELVIN
		How's that?
 
				HOWARD 
		I said I'm Howard Hughes.
 
	Melvin stifles a smile, tries to look very serious, steals 
	another look over at Howard, now he shakes his head to 
	himself.
 
				MELVIN
		Well I believe in anybody callin' 
		themselves anything they want to.
 
				HOWARD
		I appreciate that.
 

31	MELVIN'S POINT OF VIEW
 
 	Windshield, a raindrop, then another.  Then a sudden 
	downpour, a desert shower, stopping almost as soon as
	it starts.
 

32	ANOTHER ANGLE - MELVIN'S POINT OF VIEW
 
	The rain clearing, just a gray sky.  He opens the window. 
	Howard opens his window.
 
				MELVIN 
			(breathing in)
		Greasewood.
 
				HOWARD 
			(breathing in)
 		Sage.
 
				MELVIN
		Nothing like the smell of the
		desert after the rain.
 
				HOWARD 
		Greasewood and sage. 

	They roll along for a while.
 

33	HOWARD AND MELVIN'S POINT OF VIEW - NIGHT
 
	Way in the distance, the casinos and hotels rising out of the 
	desert -- Las Vegas.
 

34	OMITTED
 

35	MELVIN'S POINT OF VIEW - NIGHT
 
	rolling into Las Vegas on the boulevard.  The blaze of neon 
	lighting up his and Howard's face.
 
				MELVIN 
		Can I let you off at the Salvation
 		Army?
 
				HOWARD 
		No thanks. What are you going to 
		do?
 
				MELVIN
		We'll keep pluggin'.
 

36	ANOTHER ANGLE - MELVIN AND HOWARD
 
				HOWARD 
		Let me off at The Sands.
 
	Melvin drives down Las Vegas Blvd., and pulls in at The Sands. 

				HOWARD 
		Over there.
 
	Melvin drives around the back, towards the bungalows, slowly, 
	about 10 MPH.
 
				HOWARD 
		Stop ---
 
				MELVIN
		Right here?
 
				HOWARD 
		This is the place.
 
	Melvin stops, looks over at Howard. 

				MELVIN 
		You got a friend in the kitchen? 
		Give you some money to get that 
		ear attended to?
 
	Howard doesn't answer, fiddling with the door handle.
 
				HOWARD 
		How do you get out of this thing?
 
	Melvin reaches across Howard, flips the door handle, the door 
	opens.
 
				MELVIN 
		Well I enjoyed it, ol' buddy.
 
	He smiles at Howard, swings the door wide open, Howard hesi-
	tates.
 
 	Suddenly ---
 
 				HOWARD
 		You got any money?
 
 	Melvin sighs, reaches in his pocket, fumbles. 


37	CLOSEUP - HOWARD 

	waiting, watching. 


38	ON MELVIN
 
	fishing in his pocket.
 
				MELVIN 
		Ain't got but a quarter change ---
 
	Howard doesn't answer, holds out his hand, Melvin drops the 
	quarter into it.
 
	Howard gets out now, shuts the door.
 
				HOWARD
		Thank you, Melvin.
 
	And he is gone.
 

39	EXT. GABBS, NEVADA - BEFORE SUNRISE
 
 	The middle of nowhere.  In the distance, dense, white chemical 
	smoke curling up off the ridge where a magnesium plant hovers. 
	Down below, almost a mile away, the town, rutted dirt streets
	lined with trailers.
 

40	OMITTED
 

41 	ON MELVIN
 
 	driving down a baked-clay side street, dirty dogs clearing 
	out of the way.  A battered Airstream trailer lies ahead on
	the right.  Pulling into the yard, grassless and sandy, a
	plastic pool caked with mud.  A pull toy straddling an old 
	clothes wringer.  A clothesline, a child's snowsuit pinned 
	to it.
 

42	ON MELVIN
 
	climbing out of the car, picking his way to the door of the 
	trailer, past a new Honda leaning against the air drums.
 

43	INT. MELVIN'S TRAILER - DAWN
 
 	A dinette set fighting for space with a child's bicycle and 
	toys.  A new TV, a dishrag from the evening meal draped over
	it.
 
	Melvin moves to a partition, a blanket strung on a piece of 
	twine.
 
 
43-A	MELVIN'S POINT OF VIEW
 
 	Darcy, a nymphet 10 years old, sound asleep.  He bends to kiss 
	her, tucks the blanket around her.  She smiles.  Melvin adjusts 
	the heater, then moves off, pulling the partition closed.
 

44	ON LYNDA
 
 	in her middle twenties, hunched sexy shoulders of an ex-cheer-
	leader, busky and redolent with sleep now.  Melvin peels off 
	his clothes, they drop at his ankles as he climbs into bed.
 
	ON MELVIN AND LYNDA
 
	He touches her.  And she stirs.  Melvin is glazed with the
	heat of her sleep, the warmth of the bed, Lynda's proximity. 
	He rustles, she tries to quiet him, but now he moves over
	her.  Excited by her, and now she by him, their intimacy
	always contained, conscious of Darcy beyond the curtain.
 

45	LATER
 
 	Melvin falling asleep. Lynda awake beside him.  The sound of 
	a car pulling up.  Lynda freezes.  A car door opens, shuts.
 
	Another car door opens, shuts.
 

	ON LYNDA
 
 	She doesn't move, tuned into the sounds, familiar with them 
	almost, dreading them.  Now she gets up and goes to the win-
	dow, looks out.
 

46	EXT. MELVIN'S YARD - EARLY MORNING - LYNDA'S POINT OF VIEW
 
 	A jump cable being connected to a battery in Melvin's car. 
	A spark flies, the car starts.  Repossession men in their 
	Montgomery Ward suits, flip the cable off, throw it in the
	trunk of their car.  One starts to close the trunk, the 
	other stops him.
 

 	ON MELVIN'S MOTORCYCLE
 
 	One lifts the handlebars, the other the rear wheel, and they 
	heave it into their trunk.
 
 
47	INT. TRAILER - EARLY MORNING - ON LYNDA
 
 	She starts for the door, then stops.  She lifts the curtain of 
	the other window.
 

48	EXT. MELVIN'S YARD - EARLY MORNING - LYNDA'S POINT OF VIEW
 
 	Melvin's car driving down the dusty street.  Following it the
	repo car, the trunk lid catching the dawn light as it bobbles 
	over the motorcycle.
 

49	CLOSEUP - LYNDA
 
	turning back to Melvin.  He sleeps soundly, oblivious, beati-
	fic.
 
	Lynda reaches for the telephone.
 

50	ROAD TO GABBS - DAWN - A PICKUP
                 
	jaunting down the road.  At the wheel in a straw cowman's hat, 
	Clark Taylor.  Stashed in a rack behind him, like a shotgun, 
 	his guitar.
 

51	INT. MELVIN'S TRAILER - DAY - LYNDA
                           
	pressing a doll of Darcy's into a little wicker suitcase. 
	Darcy dressed and scruffy, wiping the sleep from her eyes. 
	They hear Clark's truck pull up  Lynda goes to the door, 
	makes a motion for Clark to wait.
 
      
51-A	EXT. MEL'S YARD - DAY - CLARK
 
	reaching for his guitar, opening the case, starts to noodle 
	as he waits.


52	ON LYNDA 

	frantically finishes throwing clothes into a bag as Melvin
	begins to stir.  She half-pulls, half-pushes Darcy out the
	door.  Darcy heads for the pickup.
 
	Lynda reaches for her own bag, and she sees Melvin turn over. 
	She rushes out the door, then stops.  Goes back.
 

53	ON LYNDA AND MELVIN 
	For an instant, the feeling she might want to climb into bed
	with him.  She reaches down, jostles him awake.  Melvin
	looks up.
 
				LYNDA
 		Good-bye, Melvin.
 
 	She leaves.
 

54	ON MELVIN 

	He blinks, sits up.
 
				MELVIN
		Hunh?
 

54-A	MELVIN'S POINT OF VIEW
 
 	The partition pulled, Darcy's bed empty. 


55	ON MELVIN 

	He throws himself out of bed, dives out the door. 


56	MELVIN'S POINT OF VIEW - THE PICKUP TRUCK
 
 	already disappearing up the road, Darcy's face pressed to the
	rear window.  She waves.
 
	The old dog sitting where Melvin's car was.  Melvin spins
	for his motorcycle.  Nothing there but an oil rag in the dust.
 

57	CLOSEUP - MELVIN

 	blinking, bewildered.  He looks down the road, the smoke
 	ever curling up from the magnesium plant.


58 	EXT. RENO, NEVADA - DAY - ESTABLISHING SHOT
 

59	EXT./INT. MOTEL ROOM - RENO - DAY
 
	Clark Taylor exits a motel room and heads for his truck. In-
	side, Lynda lies in the shards of a glass coffee table as 
	Darcy creeps out of the bathroom where she has been hiding.
 
	Lynda and Darcy stare at the doorway for a long time.
 
				LYNDA 
		Musicians stink.
 
	Darcy moves to Lynda now, sinks in her mother's arms, now she 
	turns and helps her mother up on the couch.  She examines 
	Lynda's face, touching a bruised cheek; licks the blood from 
	a scratch on her forehead.
 
	They just lie there.
 
				DARCY 
		It's my fault.
 
				LYNDA
		What are you talking about?
 
				DARCY
		He didn't want a kid around.
 
				LYNDA
		He said he wanted a kid. He said
		he wanted you. Been after me for
		months.  I would divorce Melvin
		and he would adopt you.
 
				DARCY
		Didn't Johnny Pike say that?
 
	After a moment.

				LYNDA
		Yeah. 

				DARCY
		What did Johnny Pike play?
 
				LYNDA
		Bass.
 
	Lynda gets up wearily from the couch, picks up the pieces of
	glass.  Darcy helps her.
 
				DARCY
 		How're we gonna pay for this?
 
				LYNDA
		With a job.
 
				DARCY
		What job?
 
				LYNDA
		I don't know -- a job. 
 
				DARCY
		At the donut shop?
 
				LYNDA
		Maybe not a donut shop again.
			(smiles) 
		Maybe a donut shop.
 
				DARCY
		It doesn't matter, Ma.
 
	Lynda sighs.

				LYNDA
		Or cocktail waitress ---
 
				DARCY 
		I'll have to help you.
 
				LYNDA
		What are you talking about?
 
				DARCY
		Don't you remember?  Last time you 
		flunked.  You thought a Moscow Mule 
		was a King Alfonse and a King 
		Alfonse was a Moscow Mule?  And 
		then you had the fight with the
		bartender?
 
	A heel is broken in Lynda's shoe. She throws it against the
	wall.
  
				LYNDA
		I remember.
  
				DARCY
		I think I want to go home.

	Silence.
 
				LYNDA
		I can't go home, honey.
 
				DARCY 
		I know it's hard without a car for
		you.  But you know I only have to
		walk to school.
 
	Lynda looks at her.
 
				LYNDA
		You miss school.
 
				DARCY  
		I miss my friends.
 
				LYNDA
		And Daddy?
 
 	After a moment.
 
				DARCY
		I don't miss him.
			(after another
			moment) 
		Yeah, I miss him.
 
				LYNDA
		Me, too ---
 
				DARCY
			(jumping up)
		Good!
 
				LYNDA
			(jumping up) 
		But, I wouldn't go back to that
		sonofabitch if he were the last man
		on earth!
 
				DARCY
		Don't swear, Mama.
 
				LYNDA
		I'm sorry. 
 
	She touches Darcy.
 
				LYNDA
		C'm'on, I'll walk you to the bus.
 
	Lynda makes her way across the room, picks up the broken shoe, 
	strips the padding off the sole, takes out a ten-dollar bill.
 

60	INT. BUS TERMINAL - RENO - DAY
 
 	Lynda coming away from the ticket window, counting her change,
	a couple of dollars.  She presses the ticket into Darcy's hand. 
	Now she moves to the lunch counter.
 
 
61	LYNDA'S POINT OF VIEW - A LUNCH COUNTER CUSTOMER
 
 	Sitting at the counter, chewing on a ham sandwich.  Lynda 
	looks at the sandwich warily.
 
				LYNDA
		You're not eating here.  Take a 
		seat, honey, I'll be right back.
 

62	ANOTHER ANGLE - LUNCH COUNTER
 
 	Lynda undoing a grocery bag.  Pulls out a loaf of Italian 
	bread.
 
				LYNDA
			(to the 
			Counterman)
		Hey, you got a knife?
 
	He turns around from the sandwich board, Lynda smiles.  He 
	hands her the knife.  She cuts the loaf in half.
 
	Reaches for a jar of mustard resting on the counter.  Smears 
	the bread.
 
	Now she removes a packet of ham from the grocery bag, lays 
	the whole, thick stack on one of the slabs of bread.  She 
	steals a leaf of lettuce from a plate that hasn't been 
	cleared, presses it on the ham, covers the concoction with 
	a second slab of bread.  Wraps the sandwich up in the waxed 
	bread paper.
 
				COUNTERMAN 
		Now how about something to drink?
 
	Lynda opens her palm to the nickel and dime that remain.
 
				LYNDA 
		Give us a Milky Way.
 
	The Counterman flips her a Milky Way, she opens it, breaks it
	in half, hands half to Darcy.  They walk out, munching on
	their halves of candy bar.
 

63	EXT. BUS BAYS - RENO BUS STATION - DAY

	Lynda kisses Darcy at the door.  Darcy climbs up, moves to a
	seat on the bus, Lynda following her from the platform.  Darcy 
	takes a seat, opens her brown bag.
 

64	ON DARCY 

	waving to Lynda, reaching into the bag, lifting out the sand-
	wich, takes a huge bite. 

	She flashes the "okay" sign.
 

65	ON LYNDA 

	The bus is thrown into gear, Lynda waves hysterically as the 
	bus backs out.
 
	And then all of a sudden it disappears.
 

66	EXT. RENO STREET - GO-GO SALOON - DAY - LYNDA
 
	walking down a Reno street.  The sound of music coming from a 
	doorway.  She looks through the window.
 

67	OMITTED 


68	EXT. GABBS - BUS STOP - DAY
 
	The bus arrives.  Darcy gets off -- runs to Melvin.  They hug.
 

69 	BAGGING ROOM - BASIC MANUFACTURING - GABBS, NEVADA
 
	Melvin is seated astride a crate in front of a bagging machine. 
	He holds open the bag, the magnesium oxide powder pours out,
	the machine seals the bag.  Melvin heaves it on a treadmill
	behind.
 
	At the base of the treadmill is Little Red, sacking the bags 
	on a pallet as they come off.  A forklift reaches in, plucks 
	the pallet, and shovels it onto a trailer outside.
 
	The whistle blows.  Melvin hits a button -- the machine stops.
 
	Melvin reaches for his lunch pail.  Opens it.  The remains of 
	a sandwich, encrusted with staleness.  He snaps it shut, 
	follows Little Red out onto the loading platform.  They jump 
	down, move into the weigh-shack.
 

70	INT./EXT. WAREHOUSE AREA - DAY
 
 	A gauge for a scale, a radiator, a five-gallon coffee urn.
 
 	It is cold out and when they enter the shack, their breath 
	vaporizes.  They sit on the edge of the radiator.
 
				MELVIN
 		Your coffee's on.
 
 				LITTLE RED
 		I always leave it on.
 
				MELVIN 
		How long's it been on?
 
				LITTLE RED
		What's the date today?
 
				MELVIN 
		Twenty-fourth, twenty-fifth ---
 
				LITTLE RED 
		Twenty-four, twenty-five days.  I
		start it on the first of the month.
 
 	Little Red looks at Melvin.
 
				LITTLE RED 
		You can't go on like this, Mel.
 
				MELVIN 
		Like what?
 
				LITTLE RED
		Moonin' like a baby.  Lynda'll
		come back.  They always do -- take
		me, I can't stand my wife.
 
				MELVIN 
		You told me.
 
				LITTLE RED
		But I always go back.  I'm going
		back this weekend.  You wanna
		come?
 
				MELVIN 
 		See your wife?
 
				LITTLE RED
		I got a sister.
 
				MELVIN 
		You got a sister?
 
	Little Red reaches for a coffee cup.
 
				MELVIN 
		She short like you with red hair?
 
				LITTLE RED
		Tall with blue.  Takes tolls on
		the Golden Gate Bridge.  You'll
		like her.
 
	Little Red places the cup under the coffee spout.  It doesn't 
	flow.  He tips the urn, now releases the spigot, the coffee 
	spurts out.
 
	Follow the coffee from the spout to the floor.  On the floor, 
	a hole has been worn, like a crater, from the drippings of 
	the coffee.
 
				LITTLE RED
		What do you say, Melvin?
 
 	Melvin sighs, looking at the hole in the floor.
 
				MELVIN 
		I don't want to go to San Francisco, 
		Red.  But I'll hitch a ride with 
		you to Reno.
 

71 	EXT. GABBS HIGHWAY - LATE AFTERNOON
 
 	Melvin driving, Little Red beside him.  Little Red is drunk. 
	He reaches for his bottle, takes a pull, tries to hand it to 
	Melvin.
 
				LITTLE RED
		Here you go, Mel.
 
				MELVIN
		Put that stuff away.
 
				LITTLE RED
		You sure are good, Mel.
 

72	ON LITTLE RED
 
 	half-asleep, occasionally lighting a cigarette, smoking it 
	dreamily.
 

73 	ANOTHER ANGLE 

	Little Red sleeping in the front seat.  Suddenly he leaps up, 
	Melvin almost swerves off the road.
 
 				LITTLE RED
 		What happened?
 
				MELVIN 
		You dropped your cigarette!
 
	Smoke pours up from under Little Red.  He jumps out of the
	car.
 
				MELVIN 
		You little red asshole!
 
 	Melvin whips off his jacket, starts beating away at the 
	smoking seat.  Little Red is running around outside of the
	car, cooling himself.  Finally, Melvin who is making no
 	headway, rips the whole seat out from its slides, throws
 	it in the road.

				MELVIN 
		Now you drive.  And stay awake!
 
 	Little Red dutifully climbs into the driver's seat.  Melvin
 	lays down in the rear, goes to sleep.
 

74 	EXT. MUSTANG RANCH - NIGHT 

	The car is stopped.  Melvin coughs, wakes up.
 

75	MELVIN'S POINT OF VIEW 

	Little Red is gone.  It is night.

	Nothing around but desert.  Melvin peers in another direction. 
	A barbed-wire fence, a group of trailers, elevated guard 
	tower, spotlights.
 
				MELVIN 
		Oh, no.


76	ANOTHER ANGLE - MELVIN
 
 	climbing out of the car, walking slowly to a high gate made
	of hurricane fencing.  He tries the knob, nothing happens. 
	Jiggles it.
 
 	A Voice booms out over the desert.
 
				VOICE 
		Yes?

				MELVIN 
		You got a little red-haired guy in 
		there?
 
				VOICE
		Name?
 
				MELVIN
		Little Red.
 
				VOICE
		Just a minute.
 
	Melvin cups his hands, blows air through them, stomps his 
	feet in the cold.
 
				VOICE 
		He's here.
 
 	Melvin jiggles the gate again.
 
				VOICE
		What do you want?
 
				MELVIN
		Him.
 
				VOICE
		Are you a customer?
 
 				MELVIN
 		No, sir, I'm not.
 
				VOICE
		'Ma'am'---
 
				MELVIN
		No, ma'am, I'm not.
 
				VOICE
		We can't let you in unless you're 
		a customer.
 
				MELVIN 
		I don't want to get laid, ma'am. 
		I just want my buddy.
 
				VOICE
		Hold on.
 
	The wind whistles, a coyote calls.  Melvin stomps his feet.
 
				VOICE
		Sorry ---
 
	Melvin looks around the desert, shrugs.  He walks back to 
	the car, climbs into the driver's seat, reaches for the 
	ignition. 

	No key.
 

77 	ANOTHER ANGLE - MELVIN 

	climbing slowly out of the car, jiggling the gate again.
 
				VOICE
		What do you want?
 
				MELVIN 
		I'd like to get laid.
 
 	The gate buzzes, Melvin moves through, walks up to the 
	trailer.  He presses a buzzer, a face appears at the window, 
	lets him in.
 

78 	INT. TRAILER - NIGHT
 
				MADAM
		Welcome to the Cottontail Ranch.
 
 				MELVIN
		Thank you, ma'am.
 
 	There are a couple of security men lolling in the lounge.
 
				MADAM
		Your friend's with Tina in 4, right 
		down the hall.
 
 	Melvin starts down the hall.
 
 				MADAM
 		Just a minute --
 
 	Melvin keeps walking, the security man blocks his path.
 
				MADAM
		It'll cost you twenty-two fifty.
 
 				MELVIN
		You're kidding.
 
	The security man moves a step closer.
 
 				MELVIN
		I got a problem ---
 
				MADAM 
		What's your problem?
 
				MELVIN 
		I don't have twenty-two fifty.
 
				MADAM
		What have you got?
 
				MELVIN 
		I got shit.  My wife's left me, my 
		little girl's home with my brother's 
		family, I almost got burned up in 
		a car, and now my best buddy's 
		crapped out in a cathouse in the 
		middle of the desert!
 
 	After a moment.

				MADAM
		I see.
 
 				MELVIN
 		Let me get my buddy.
 
				MADAM
		You can't go back there for less 
		than twenty-two fifty.
 
				MELVIN 
		All I want's the key to the car. 
		You can have him.
 
				MADAM
		I don't know what to tell you, son. 
		We don't make the rules.  The
 		county does.  Twenty dollars for the
 		trick.  A dollar for a towel.  A
 		dollar-fifty deposit on the towel.
 
 	Melvin looks at his watch.
 
				MELVIN 
		Lynda give this to me for my thirtieth 
		birthday ---
 
 	She takes the watch from him.
 
				MELVIN 
		You get the phases of the moon ---
 
				MADAM
		Our girls know the phases of the 
		moon.
 
 	She hands the watch back.  Melvin shifts, parts a curtain on 
	the window.
 
				MELVIN 
		Tell you what.  He's got a brand new 
		spare tire on the Monaco -- four-ply
		radial -- non-skid -- whitewall ---
 
				MADAM
		What am I going to do with a tire?
 
				MELVIN
			(points at the
			security man)
		I don't know, maybe you can hang it 
		on his dick!
 
 	The security man smiles.
 
				MELVIN 
			(to the Madam)
 		Help me, lady.
 
	She drums her fingers.
 
 				MADAM
 		Go get your friend.
 

79	INT. TRAILER CORRIDOR - NIGHT
 
 	The security man buzzes Melvin through a door, and Melvin 
	moves down the curtain corridor, opens the door to number 4.
 
                               
79-A	INT. TRAILER ROOM #4 - NIGHT
 
	A pretty girl, Tina, is practicing tap dancing on a practice
	board in a corner of the room.  Little Red is resting on the
	edge of the bed, his head slumped on his chest.  All his 
	clothes are off except one shoe and a sock.  He holds the 
	shoe in one hand.  He is fast asleep.
 
				TINA
		That's as far as he got.  Our license 
		requires we give him thirty minutes 
		-- he's got seven to go.
 
	Melvin looks down at Little Red.
 
 				MELVIN
 		Give me a hand here.
 
 	Tina gets up, Melvin lays Little Red on his back, together 
	they start to dress him.
 
 				MELVIN
		You married, Tina?
 
				TINA
		I got a kid in Carson City, my hus-
		band's in Reno.  My mother's in Vegas
		and you just passed my father out in 
		the hallway.
 
 				MELVIN
		Lord.
 
	Tina is struggling with Little Red's pants.
 
				TINA
		You do his fly.  I don't want to
 		catch him in it.

	Melvin sighs.

				MELVIN
		You sure got a sense of humor.  My
		name's Melvin Dummar.  Let me shake 
		your hand, Tina.
 
	Tina shakes Melvin's hand.  Their eyes meet.
 
				TINA
		You married, Melvin?
 
 	Melvin beams, looks down at Red, dressed all lopsidedly, 
	still sound asleep.
 
				MELVIN 
		Where could we put this if we wanted 
		to share a few minutes together?
 
				TINA
		In the hallway.  No one will know
		the difference.
 
	They heave Little Red onto a chair outside the crib.  Prop 
	him up, and close the curtain on him.
 
				MELVIN
		There's only one problem.
 
				TINA
		What's that?
 
				MELVIN 
		I haven't got twenty-two fifty.
 
				TINA
		That's all right, he's still got 
		seven minutes.  And besides, my watch 
		just stopped.
 

79-B	RENO - NIGHT - MELVIN AND LITTLE RED
 
	speeding along, approaching Reno, the neon beckoning.
 

80	EXT. MOTEL - RENO - NIGHT

	Melvin exits Little Red's car and enters the motel office. 
	Little Red drives off.
 

81	LYNDA'S MOTEL ROOM - NIGHT
 
 	Melvin enters, looks into the unmade bed, checks the sheets. 
	Now moves into the bathroom.  Spies some false eyelashes on
	the shelf.  Examines them between his fingers.
 
	Now he sits down on the commode.  As he does, he sees the 
	fringe and tassels of a go-go costume, lovingly laid out to
	dry on a towel.  He picks it up, holds it away from himself. 
	Now he brings it close, smells it, buries his nose in the 
	tiny swatch of material.
 

82	INT. GO-GO SALOON - RENO - NIGHT - MELVIN
 
 	muscling his way through the crowded casino, up to the 
	scattered characters at the bar.
 

83	LYNDA

	dancing go-go, kind of enjoying it.
 

84 	GO-GO DANCER 

	next to Lynda; her name is Lucy and her arm is in a cast. 
	She pokes Lynda's elbow, tries to yell over the noise.
 
				LUCY
		A guy's waving at you over there.
 
	Lynda looks down.
 
				LYNDA
		Oh my God, it's Melvin.
 
	She dances off in the other direction, but Melvin runs around 
	the bar following her.  She dances back the other way now, but 
	Melvin has leaped up on the stage and pulled the plug on the 
	speaker.  He carries a suitcase.
 
	Silence in the bar.  Two security men head towards Melvin.
 
				MELVIN
		You come home with me, Lynda.  Get
		out of this place and come home 
		with your husband, Melvin Dummar.
 
	A Voice from the crowd.
 
				VOICE 
		You go home, Melvin.
 
 				ANOTHER VOICE
 		Yeah, go on home, Melvin.
 
 	Lynda looks on helplessly.
 
				MELVIN 
		Lynda, you're my wife!  Now come
		home!
 
 	The security men leap on the bar.
 
				MELVIN 
		Git outa these bars, Lynda, and 
		come back where you belong.
 
				LYNDA
		I won't! 

				MELVIN 
		You gotta! 

				LYNDA
		I can't! 

				MELVIN 
		Why not?!
 
				LYNDA
		I love to dance!
 
				LUCY
			(hugging Lynda) 
		Oh, Lynda!  You make me feel so
		good.
 
 	Melvin throws off the security men, and rips open the suitcase.
 
				MELVIN 
		All right, you like these damn
 		bars?!  Then you can live in these
 		damn bars!
 
 				LYNDA
		How's Darcy?
 
				MELVIN 
		She's fine!
 
	Melvin strews Lynda's clothes on the bar, shirts, pants,
	underwear.
 
 				LYNDA
  		Oh Jeezus, Melvin.
 
	Now as the security men charge Melvin a last time, he leaps 
	off the bar, at the same time throws a torrent of fringe and
	tassels at Lynda.
 
	Lynda catches them in the face, they stop her. She reaches 
	down and picks a few up.
 
				LYNDA
		He cut up my best Day-Glo.
 
	The owner plugs in the music, instantly the girls resume 
	dancing.  Melvin threads his way out to catcalls and a
 	single "Attaboy, Melvin!"
 
 	The owner beckons Lynda.
 
				JERRY 
		How often does this happen, Lynda?
 
				LYNDA
		I'm sorry, Jerry.
 
				JERRY
		I feel for you and everything, but 
		you know it's not the best thing 
		for business --
 
				LYNDA 
		I know, I know.
			(sighs) 
		I was quittin' anyway. 

	She heads for her dressing room.
 

84-1A	EXT. GO-GO CLUB - NIGHT - MELVIN
 
	stomps off into the night.

 
84-1B	RENO BUS STATION - NIGHT - AN OUTBOUND BUS
 
	pulls out of the station, Melvin sitting alone in the back.
 
					FADE OUT
 

	FADE IN
 
84-A	EXT. RENO OUTSKIRTS - DAY - MELVIN 

	burning up the road in Little Red's car, Darcy riding with 
	him this time.
 

85	INT. CLUB 29 - RENO - LATE AFTERNOON
 
	Another saloon -- Lynda in another go-go costume, serving
	drinks now.  The Owner leans over her shoulder.
 
				OWNER
		Someone here to see you.
 
	Lynda looks up.  It is Melvin.
 
				LYNDA 
		Oh God.
 
	She walks right up to him.
 
				LYNDA
		What do you want, Melvin?
 
				MELVIN 
		No fights, no bickering -- just 
		carrying out the law, plain and 
		simple.
 			(hands her
 			a paper)
 		Interlocutory decree.  She's final 
		in six weeks.
 			(hands her
			a ring) 
		And my wedding ring -- keep yours 
		if you like.
 
				LYNDA
		Aw, Melvin.
 
				MELVIN 
		I'll be seein' you, Lynda.
 
 	He stalks off.  She unfolds the document.
 
				LYNDA
		Hey, wait a minute!  What's it say
		about Darcy in here?
 
				MELVIN 
		I get custody.
 
				LYNDA
		What do you mean, you get custody?
 
				MELVIN 
		No daughter of mine's going to 
		hang around these bars.
 
	Lynda throws the tray of drinks she is carrying in his face.
 
	Melvin comes up spitting, reaches over the bar for a customer's
	glass of beer and throws it at Lynda -- The Owner jumps on the 
	bar, grabs Melvin by the neck.
 
				OWNER
 		Now, wait a minute!
 
				MELVIN 
			(loosing himself) 
		I was goin' anyway.
 
 	Melvin turns on his heel and walks out.
 
				OWNER
			(exasperated) 
		Hey, look, Lynda --
 
				LYNDA
		Never mind.  I quit.
 
	She draws the string on her go-go costume, it drops to the 
	floor in front of the astounded Owner and patrons.  And now, 
	with the utmost dignity, Lynda, all naked, strides to the 
	dressing room past the gawks of the bewildered customers.
 

85-A	EXT. CLUB 29 - MAGIC HOUR 
 
 	Melvin leaps into Red's car beside Darcy, roars off with
 	tires smoking.  A fender falls off into the street.  Melvin
	keeps going.
 

86	EXT. RENO STREET - LUCY'S HOUSE - NIGHT
 
	A house on a side street, the Reno neon glitter burning bright 
	in the b.g.  Lynda walks to the door.
 
                     
86-A	INT. LUCY'S HOUSE - NIGHT
 
	Lucy picks up Lynda's bag, leads her to a bedroom.
 

86-B	INT. LUCY'S BEDROOM - NIGHT
 
	Lucy turns on the light. The room is a mess, but cozy. 
 
				LYNDA
		Gee -- and I almost had to spend 
		the night with some sonofabitch 
		lawyer.
 
				LUCY
		Are there any other kind?
 
				LYNDA
		I just want to get my little girl 
		back.  My husband's divorcing me.
 
				LUCY
		Why?
 
				LYNDA
		Because he can't make any money and
		it makes him feel bad.
 
	Lynda pitches her bag on the bed, starts undressing.  Lucy
	hangs up her clothes.
 
				LYNDA
		So I can stay here as long as I
		want?
 
				LUCY
		Long as you want.  Until your baby
		comes.  Don't ask me how, I always 
		know.
 
				LYNDA
		And did you know I'll never see the
		father again?
 
				LUCY
		Don't worry, kid.  You'll get an 
		abortion, it'll all be over ---
 
				LYNDA
			(interrupting) 
		Oh, no, I had one of those. I kept
		dreaming of bunnies drowning.
 
 	Lynda climbs under the covers.
 
				LUCY
		I'll bet I know what that means ---
 
				LYNDA
		Don't tell me.  I'm just not going
		to do it again.
 
 				LUCY
 		Melvin knocked you up.  That
 		bastard.
 
				LYNDA
		Maybe Melvin.  Maybe not Melvin. 
		Melvin's okay.
 
				LUCY
		You mean we like Melvin?  A few 
		kind men left in this world, right? 
		But we're leaving him, right?
 
				LYNDA
		Melvin's left me.
 
				LUCY
		What are you going to do now?
 
				LYNDA
		Same thing I always do.  Go home 
		to Mother.
 
					FADE OUT
 

	FADE IN 

87	LOS ANGELES - FREEWAYS - DAY - ESTABLISHING SHOT 

	down the San Diego past Disneyland.
 

88	BEHIND DISNEYLAND - LYNDA'S MOTHER'S HOUSE
 
	A sea of tract houses.  Zoom in on one, any one.  The Sisk's
	dog, "Tramp" is outside.  We see some girls on bicycles go by
	and two boys tossing a football.
 
 
89	INT. LYNDA'S MOTHER'S HOUSE - DAY 

	Lynda sits on a couch in a pair of pregnant hot pants and a 
	bra watching television.
 
	Lynda is eight months pregnant.  Her mother, Mrs. Sisk, sits
 	beside her.  The dog, "Tramp" wanders in.
 
				MRS. SISK 
		You want something cold to drink, 
		Lynda?
 
				LYNDA 
		No thanks, Ma.
 
				MRS. SISK 
		I'm going out for a few minutes.
 
				LYNDA
		Okay, Ma.
 
				MRS. SISK 
		Anything happens, call a cab to 
		take you to the hospital.
 
				LYNDA
		Nothing's going to happen, Ma.
 
	The door slams. 


90	OMITTED 


91	LYNDA ON THE COUCH

 	watching the TV set.  She reaches for a book, "The Magic of
 	Believing."   Glances at it, then back at the TV set. 

	Now she looks at the phone.
 

92	INT. MELVIN'S TRAILER - DAY 

	Melvin is fixing breakfast.  Chaos.  Toasters, griddle cakes,
	pop up tarts.  Bubbling coffee pot.  Whirring milkshake
	blender.  Vegamatic.  Darcy is watching "Easy Street" on
	television.  Melvin has his eye on it.
 

93	ON THE TV

				WALLY 
		And here we go with the Gateway to 
		Easy Street!
 
 	A lady dressed like a phonograph record can't decide which
 	gate to choose.
 

94	ON MELVIN AND DARCY 
 
 				DARCY
 		Gate number 2.
 
				MELVIN
		Gate number 1.
 
	The lady chooses door number one -- she wins.  Melvin's face
	lights up.

				WALLY 
		And you've entered it, madam, the
 		Golden Gate!  Inside....
 
 	The gate swings open.
 
				WALLY 
		A brand new camera and! -- a trip 
		to Hawaii on United Airlines --
		United, the friendly airline ---
 
				MELVIN 
		I told you!  I told you!
 
 	Melvin claps his hands with delight.
 
 				DARCY
		Geez --
 
				MELVIN 
		Whatsa matter?
 
				DARCY
		I'm jealous, Daddy.
 
				MELVIN 
		Aw no, honey, it's a wonderful 
		thing -- lookit that -- Hawaii --
		the friendly skies -- look! --
		look how happy she is! -- aw
	 	gee, she's embarrassed -- Wally
 		kissed her ---

	The telephone rings.
 
	Darcy turns the television set off, tumbles outside and
 	climbs on her bike.  Past the windows of the trailer, riding
 	lazily in the dusty twilight, past dogs, past a kid on a
 	wagon, past a basket of laundry.
 
	Melvin picks up the phone.   Darcy keeps riding around the
	trailer.
 
				MELVIN
		Hullo?

				LYNDA
  		Hello, Melvin?
 
   				MELVIN
 		Hey, Lynda.  How's it going? 
 
				LYNDA
		How's what going?
 
				MELVIN 
		I dunno, whatever you got going.
 
				LYNDA
		Could Darcy come down and see me?
 
				MELVIN 
		You pregnant?
 
				LYNDA
		What do you mean, am I pregnant?! 
		What do you say a thing like that
 		for?!!
 
				MELVIN
		I dunno.  You sound pregnant.  For
		what other reason would you ask me 
		to let Darcy go down there and hang 
		around them bars?
 
				LYNDA
		I don't go to bars, Melvin.
 
				MELVIN
		And that air in L.A.  All that 
		smog.  All them people.  How preg-
		nant are you?  For your sake, you 
		better hope it's a girl.
 
				LYNDA 
		What are you talking about, Melvin?
 
				MELVIN 
		Because if it's a boy and it looks 
		like Clark Halsted, I'm going to
		kill it.
 
				LYNDA
		I just want to see Darcy.
 
				MELVIN 
		And then I'm going to kill you. 
			(after a moment) 
		I'd rather have you come up.
 
				LYNDA
		Where?
 
				MELVIN 
		Las Vegas.  We'll do it in Las Vegas. 
		I'll marry you there.
 
				LYNDA
		You just divorced me, Melvin.  What
		do you want to marry me for?
 
				MELVIN
		I don't want my little girl having
		illegitimate kin.

				LYNDA
		Melvin?
 
				MELVIN
		Yes, honey?
 
				LYNDA
		I've been reading this book 'The 
		Magic of Believing.'
 
				MELVIN
		Yeah, what's that?
 
				LYNDA
		It's about you.
 
				MELVIN
			(smiling) 
		Hey.

				LYNDA
		It says you can be anything you 
		want to be if you'll just believe 
		in yourself.  And you believe in
		yourself -- it's just the believing
		hasn't been enough to let you become 
		what you believe you can be.
 
				MELVIN 
		Rome wasn't built in a day.  We'll 
		keep plugging.
 
				LYNDA
		I've been thinking, Melvin.  I 
		haven't been good to you.  I
		haven't believed in you like you
		believe in you.
 
				MELVIN 
		How's insurance sound to you?
 
				LYNDA 
		Insurance.  Real estate.  Anything
		but bagging at Basic.
 
				MELVIN 
		Yeah, the ol' paycheck-to-paycheck. 
		Frustratin', when I know I was born
		for something else.
 
				LYNDA
		You really want to marry me, Melvin?
 
	Mrs. Sisk enters (she's been eavesdropping) and frantically,
	silently, signals "No!  Not again!"
 
				MELVIN
		I heard you was livin' with whores
		over in Reno.
 
				LYNDA
		I knew you didn't.
 
				MELVIN 
		But I want you to know I'm not going 
		to hold it against you, however ---
 
				LYNDA
		Melvin, don't start gettin' around 
		me now ---
 
				MELVIN 
		Aw, honey, I want to get around you. 
		I been missin' you.  Miss your lovin' ---
 
	He starts to sing over the telephone.
 
				MELVIN 
			(singing) 
		'My woman, my woman, my wife --'
 

95	EXT. GAS STATION - LAS VEGAS - DAY - MELVIN AND LITTLE RED 
 
	are waiting in Little Red's car, which has been specially 
	spruced and decorated for the occasion; as has Little Red. 
	A replacement fender is in evidence.
 

96	INT. GAS STATION RESTROOM - DAY - LYNDA

	waits as Darcy struggles with the ties on an 8-month pregnant 
	sateen suit, bought for the wedding. 

	Now she presents herself to Darcy.
 
				LYNDA 
		How do I look?
 
 				DARCY
 			(worshipful)
 		Fat.  But nice.
 
 
97	EXT. GAS STATION - DAY - LITTLE RED
 
	drives to the door of the restroom.  Melvin leaps out and 
	swings the door open.  Darcy helps Lynda in.
 

98	EXT. SILVER BELL WEDDING CHAPEL - LAS VEGAS BLVD. - DAY
 
	Melvin helps Lynda out.  He is dressed in boots, spurs,
	double-knit pants and his best cowboy roses shirt.
 
	Before they go inside, he gives his hair a lick with his 
	comb.  Then he takes Darcy and gives her hair a lick with 
	his comb, wipes the comb off and puts it back in his pocket.
 

99	INT. SILVER BELL WEDDING CHAPEL - DAY

	A tiny room with ice-cream chairs and a white pulpit under 
	an arbor of wax flowers.
 
	The Owner, a kindly, fat woman is at her desk at front.
 
				MELVIN
 		We're the Dummars.
 
				OWNER 
		Not yet, you're 'The Dummars.'
 
				MELVIN
		Oh yeah, we're the Dummars and we're 
		getting married again.
 
				OWNER 
		Wonderful!  Were you with us the 
		first time?   We've had a lot of 
		repeaters -- repeaters are our 
		favorite folks.
 
				MELVIN
		No, ma'am.
 
				OWNER 
			(to Lynda) 
		Would you like a veil?
 
	Lynda looks over at Melvin.
 
				MELVIN
		How much is a veil?
 
				OWNER 
		Four dollars.
 
	Lynda motioning "don't."
 
				MELVIN
		We'll take a veil.
 
	Owner hands Lynda a pink veil.
 
				LYNDA
		Ya got a blue one?  To go with
		my suit?
 
				OWNER 
		I've got white.   The second time 
		around the girls like a color.
 
				MELVIN
		We'll take white.
 
				OWNER 
		Now, on the music ---
 
 				MELVIN
 		What have you got?
 
				OWNER 
		We have Inspirational, 'Because,' 
		we have Hawaiian, the 'War Chant,' 
		we have ---
 
 		LYNDA                        MELVIN
	'Because.'                 'Hawaiian War Chant.'
 
	They look at each other.
 
				LYNDA
		'Hawaiian War Chant.'
 
				OWNER 
		Very good.  That's five dollars on 
		the veil, five dollars on the music, 
		fifteen dollars for the ceremony, 
		four dollars for the license, ten 
		dollars for the witnesses -- thirty-
		nine dollars all together.
 
 	Melvin reaches in his pocket, pulls out all his money.
 
				OWNER 
		Thirty-nine out of forty.  Thank
		you.
 
	She hands Melvin a dollar back.
 
				MELVIN
		That don't leave us much for break-
		fast.  I wasn't counting on the
		witnesses.
 
	The Owner indicates a terribly decrepit old couple, waiting 
	in an ante-room in two chairs, wearing their Sunday best.
 
				OWNER 
		Well, they've got to make a living,
		too.
 
	Darcy tugs on the Owner's arm who is pressing button behind 
	her desk.
 
				DARCY
		A bag of rice, please.
 
				OWNER 
		Well aren't you sweet, honey?
 
	She hands Darcy a bag of rice and collects fifty cents.
 
 	The Hawaiian War Chant starts.  The lights lower.  A Justice
	of the Peace materializes behind the pulpit.  And Lynda and
	Melvin, with Darcy behind then, move stately down the aisle.
 

100	PULPIT - JUSTICE OF THE PEACE
 
				JP 
		'Til death do us part.'
 
				MELVIN 
		'Til death do us part.'
 
				JP 
		Lynda and Melvin, I now pronounce 
		you man and wife.
 
	Melvin and Lynda kiss.
 
				LYNDA
		This is it, Melvin.
 
	He hugs her tight.
 
				MELVIN 
		Ooh, you got a fat belly, woman.
 
	The witnesses come forward.  The old Lady kisses Melvin and
	the old man busses Lynda -- a long long time.  They all start
	up back the aisle -- Darcy is throwing rice.
 
	The old man falters.  The wedding party stops.
 
				OLD LADY 
		What's the matter, George? 
			(to Lynda and Melvin) 
		He gets weak in the heat -- I better 
		take him home.
 
 	They turn to go, the Owner pays them off at the desk and they 
	leave.
 
				OWNER 
		Now what am I going to do?  I got 
		three couples coming in at eleven ---
 

101 	MONTAGE - MELVIN, LYNDA AND DARCY
 
	Outside, Melvin and Lynda saying good-bye to Little Red; 
	inside, witnessing a dozen marriages.  Kissing their opposites. 
	Darcy scattering bags of rice.  Melvin enjoying immensely.
 

102	EXT. SILVER BELL CHAPEL - THAT NIGHT
 
 	Melvin is drying himself with a towel, Lynda has loosened her 
	suit and her stomach hangs over pants, Darcy asleep in the 
	car.
 
				OWNER 
			(paying Melvin) 
		That's 12 couples at ten dollars
		each -- 120 dollars --
			(looks up)
		And may I say you were wonderful! 
		You're so in love -- it's good for 
		business.  Come back as witnesses 
		anytime.
			(reaches into 
			her drawer)
		And here's some party packets --
		five dollars free at Caesar's Palace 
		-- five dollars free at the Sands --
		five dollars free at the Desert Inn
		-- Love ya both!
 

103	VEGAS MONTAGE - NIGHT - LYNDA, MELVIN AND DARCY
 
	eating, drinking, dancing, playing the slots.  Darcy hitting 
	nickel jackpots, Melvin buying chances on classic cars, Lynda 
	spraying complimentary perfume.
 

104	ANOTHER ANGLE - THE DUMMARS 
 
 	at the Desert Inn.  Melvin, Lynda and Darcy playing auto-poker. 
	They hit a flush. Cheers.
 

105	EXT. DAIRY - DAWN
thru
111	Dairy work montage.  Bonnie and Jim Delgado are out on the 
	loading dock with Melvin, George, Pete and Ralph.  Other 
	drivers are pulling in, loading and driving out.
 

112	INT. ROCKWOOD DIARY - BELLFLOWER - THE DRIVER'S ROOM
 
	Melvin walking to the Cashier's window, pushes a stack of 
	bills through the cage.
 
				MELVIN
		That's 225, Bonnie.
 
	She counts it.
 
				BONNIE 
		225 is right.
 
				MELVIN 
		I tell you I'm going to win that 
		color TV.  I'm going to be Milkman 
		of the Month.
 
				BONNIE 
		Well, you're in the lead, Melvin. 
			(smiles) 
		And you want to know something?
		I'm rooting for you.
 
	She blushes.
 
				MELVIN 
		You married, Bonnie?
 
	But Bonnie doesn't answer, folds up the money, starts to turn 
	back to her desk.
 
				BONNIE 
		Hey -- almost forgot -- Bill wants
 		to see you.
 
 
112-A	INT. BILL'S OFFICE - DAIRY - DAY - MELVIN
 
 	Walks down the hall, enters an inner office.  A sign
 	"JIM DELGADO, Assistant Manager."
 
				JIM 
		Listen, Melvin, I just want to tell
		you, you been doin' real good!
 
				MELVIN 
		Why, thank you.
 
				JIM 
		Only thing is -- you know that 
		engine that blowed up your first 
		week -- I talked to Mr. Rockwood 
		-- there's just no way we can see 
		to doing anything but deducting it ---
 
				MELVIN 
		Now, wait a minute ---
 
				JIM 
		We'll take it real slow, just a 
		few dollars a week ---
 
				MELVIN 
		That wasn't my fault -- you give 
		me that old junker -- the motor 
		was shot.
 
				JIM 
		You signed the note, Melvin ---
 
				MELVIN 
		Didn't you know I was in the lead 
		for the Zenith 197K with the tri-
		focus picture tube?
 
				JIM 
		What can I tell you, Melvin?  We 
		figure Driver of the Month on net 
		-- and with your deductions coming 
		up ---
 
	He shrugs.  Suddenly, Melvin reaches across and grabs him by
	the shirt.

				MELVIN 
		Listen, you sonofabitch, that color 
		TV is mine!  That's for me!  My 
		wife and my little girl!  Deduct 
		whatever the hell you want, but 
		you know it and I know it -- I am 
		the goddamn Driver of the Month!
 
 	Bill is choking.
 
				JIM 
		Let go, Melvin.
 
	Melvin doesn't let go.
 
				JIM 
		Let go, or don't come back tomorrow.
 
	Melvin releases him.
 
				MELVIN
		What do you say?
 
				JIM 
		You're a good driver, Melvin ---
 
				MELVIN
		Driver of the Month!  Twenty new
		damn accounts!
 
				JIM 
		I'm sorry about the engine, Melvin 
		but it's your responsibility ---
 
				MELVIN
		Am I or am I not?!
 
	Jim waits.
 
				JIM 
		You'll pay for the engines?
 
				MELVIN 
		I asked you, you bastard, am I
 		Driver of the Month?!
 
				JIM 
		You are.
 
				MELVIN 
		And do I get the color TV?
 
 	After a moment.

				JIM 
		Okay.
 
	Melvin nods.
 
				MELVIN 
		Deduct your goddam engine.

 
A-113	EXT. HOSPITAL - DAY
 
	Melvin walks up the ramp to the main entrance.
 
 
113	INT. HOSPITAL - ANAHEIM, CALIFORNIA - BABY NURSERY
	CORRIDOR - DAY

	Melvin passes among a few visitors, patients and medical staff. 
	He stops at the nursery where a baby is raised to the window.
	Nurses attend to several other infants.
 

114	CLOSEUP - MELVIN
 
 	registers nothing.
 
 
115	INT. LYNDA'S ROOM - DAY - LYNDA
 
 	Waiting, looking up at the ceiling.  Melvin enters.  There is 
	a long silence.  Two other women lie quietly in their beds.
 
				LYNDA
		I'm sorry, Melvin.
 
				MELVIN 
		He's got them beady eyes and that 
		slack tongue.  Looks just like 
		Clark Taylor.
 
				LYNDA
		He could be yours, Melvin.
 
				MELVIN
		Mine!
 
				LYNDA
		You remember the morning the car
		was repossessed?
 
				MELVIN 
		You mean the morning you woke me 
		up to say good-bye?

	Silence.

				LYNDA
 		I am sorry, Melvin.  I prayed.  I
 		prayed for a little girl.
 
 	Lynda doesn't move.
 
				MELVIN 
		Jee-zus!
 
	He strides into the bathroom.  The sound of him urinating. 

	Two nurses appear.  One has a stack of photographs.
 
				NURSE BURNS
		Hello, everybody!  What we have here
		is a few pictures taken at delivery 
		-- Miss Crockett and I work together 
		-- she photographs -- I process.
 
				MELVIN 
			(returning) 
		I'll bet you do.  You married,
 		Miss Crockett?
 
				NURSE BURNS
		I'm Miss Burns.  My partner's
		Miss Crockett.
 
				MELVIN 
		How do you do, Miss Crockett.
 
				LYNDA
		No thank you, Miss Burns.
 
				MELVIN
		How much?
 
				NURSE CROCKETT
		A hundred and twenty dollars for 
		five beautiful color prints.
 
				LYNDA
		A hundred and twenty dollars!  You 
		got some racket!  Git outa here!
 
				MELVIN 
		Wait a minute -- let me see 'em.
 
	Miss Burns shows him the pictures.   Melvin giggles -- then he
	giggles some more.  Miss Crockett exits the room.
 
				MELVIN 
		Belly button looks like a corkscrew.
 
				LYNDA
		Tell her to go away, Melvin.
 
	Melvin looks some more.
 
				MELVIN
		How much you gettin' for 'em?  A
		hundred and twenty?
 
	Nurse Burns clears her throat.  Melvin looks at her nameplate 
	heaving on her breast.
 
				MELVIN 
		Did I ask if you was married, 
		Miss Burns?
 
				LYNDA
		Melvin!
 
				MELVIN 
		We'll take 'em.  I'll give you the 
		cash tomorrow.
 
	He snatches the pictures, grabs a pen from her breast pocket, 
	scribbles something on the clipboard.
 
				MELVIN 
		And my boy's name is Faron Dummar.
 
 	Hands her the clipboard.
 
 				MISS BURNS
 		What a good name.
 
 				MELVIN
 		He's a good boy.
 
	Lynda smiles. Miss Burns goes.

				LYNDA
 		Melvin?

 				MELVIN
		Yes, Lynda? 

				LYNDA
		How's Darcy?
 
 				MELVIN
		She's waiting downstairs.  They 
		won't let her come up.
 
				LYNDA
		Why not?
 
 				MELVIN
		Hospital rules.
 
	But the first nurse, Miss Crockett, reappears with Faron.
 
				NURSE CROCKETT
		Dairy-time!
  
 				MELVIN
		Gimme that baby and forget them 
		jokes!
 
	He snatches Faron, carries him gingerly over to Lynda, lays 
	him beside her.  She uncovers a breast.
 
 	Melvin watches tensely.  The two nurses leave the room.
 
 	Now Melvin seems to relax.  He starts to hum, he begins to
	sing a lullaby of his own making.
 
	Everything peaceful.  Darcy appears secretively at the door. 
	He motions her to come in.  He is still singing as Darcy 
	climbs on his lap to watch her mother nurse.
 

116	EXT. CHURCH OF THE LATTER DAY SAINTS - ANAHEIM - NIGHT
 
	Music -- a chorus booming forth with "Now Thank We All Our 
	God."
 

117	INT. CHURCH - NIGHT 

	The church empty, in the choir loft a chorus of thirty-five 
	singers rehearsing.
 
				CHORUS 
			(singing)
		'...Lord Sabaoth his name 
		From age to age the same'
 

118 	CLOSEUP - MELVIN
 
 	singing up a storm.
 

119	CLOSEUP - BONNIE 

	The Cashier at Rockwood Dairy.  Singing and sneaking a
	look at Melvin.

				CHOIRMASTER 
			(singing)
 		'On earth is not his equal.' 
			(speaks) 
		That's it for tonight, folks. 
		See you on Sunday.
 
	The group breaks up.  Bonnie heads straight for Melvin,
	bumping into him accidentally.  They walk to the parking
	lot together.
 

119-A	EXT. CHURCH PARKING LOT - NIGHT
 
				BONNIE 
		You have a lovely baritone, Melvin.
 
				MELVIN
		Why thank you, Bonnie.
 
				BONNIE 
		Everybody thinks so, we're so 
		pleased you joined us.
 
				MELVIN 
		I dunno, I felt like getting back 
		to the church.  I tried them all 
		when I was a kid, Nazarene, Four 
		Square Gospel, Church of Christ, 
		but Latter Day Saints -- I was 
		born Mormon, you know -- only 
		one ever made me happy.
 
				BONNIE
		Are you happy now?
 
				MELVIN 
		Can't seem to get ahead, Bonnie. 
		The job 'n everything, you 
		know -- bought too much car, I
		guess.  Can't stand living under
		the same roof with my mother-in-
		law and not paying the mortgage 
		-- baby clothes, baby furniture --
 
				BONNIE 
		The Church will help you.
 
				MELVIN 
		I know, Bonnie.  Mormons are kind. 
		You got that Mormon aura, Bonnie.
 
 	They arrive at Melvin's truck.
 
				MELVIN 
		Well, we'll just keep pluggin'
 
				BONNIE 
			(radiant) 
		What a beautiful attitude, Melvin.
 

120	INT. LYNDA'S MOTHER'S HOUSE - MORNING
 
 	Melvin staggers in wearing his work clothes. The TV is 
	switched to "Easy Street."  Mrs. Sisk bustles around.  Baby 
	Faron is crying, Darcy is holding him, Lynda sips a drink. 
	A neighbor can be seen outside mowing his lawn.
 
				MELVIN 
		What are you doing?
 
				LYNDA
		Just a little brandy.  They 
		repossessed the car today.
 
 	Melvin shrugs.
 
				MELVIN 
		It's okay.
 
				LYNDA
		Sure.

	Faron starts to scream. Lynda takes him from Darcy, puts
	him on the breast.
 
	Melvin takes off his shirt.
 
				MELVIN 
		Whaddya got for supper?
 
				LYNDA
		Bell peppers.

				MELVIN 
		I hate bell peppers.
 
				LYNDA
		I got bell peppers. How was God
		tonight?
 
				DARCY
		Ssh! -- it's the Gateway to 'Easy
		Street!'
 
 	Melvin's face lights up, looks at the screen.
 
 				DARCY
 		Gate number two.
 
 				LYNDA
 		Gate number one.
 
 				MELVIN
 		Gate number three.
 

121	TV SET

 	A Contestant dressed as a lady martian is in agony.
 
				CONTESTANT
		Gate number three.
 
				WALLY WILLIAMS 
		Madam, you have entered the Golden 
		Gate!  Inside....
 
 	Gate number three revolves, revealing a large boat.
 
				WALLY WILLIAMS 
		A Chris Craft with depth finder 
		and ---
 
 	Suddenly, Melvin jumps out of his chair.
 
 
121-A	HOLLYWOOD - TVC STUDIOS - DAY
 
	Melvin and Lynda run through the main gate to TVC Studios, 
	late.  They rush towards the rear entrance of a sound stage,
	following the signs pointing to "Easy Street:"
 
 				LYNDA
			(running) 
		I'll never do it.
 
				MELVIN 
			(pulling her along)
 		You'll do it.  I got confidence in
		you.  Now remember, once you're at 
		the Gateway, keep on betting up. 
		Settle for nothing.
 
	They enter the stage door and find themselves:
 

122	OMITTED
 

123	INT. BACKSTAGE - DAY
 
 	Passing ballerinas, comics, rope dancers, torch singers, 
	jugglers, jews harp players putting last minute touches on 
	their act, signing releases.
 
				LYNDA
		But suppose I'm a few hundred 
		dollars ahead, my God, think what 
		we could do with a few hundred 
		dollars.
 
				MELVIN
		Try a few thousand?!  Try them on 
		for size!  We'll be flying to
 		Hawaii with cash besides!  Be bold,
 		baby!
 
				LYNDA
		Baby?
 
				MELVIN 
		We're in show business now.
 
 
123-A	THE EASY STREET NEON LOGO
 
 	goes berserk, signalling the start of the show.
 
 
123-B	WALLY WILLIAMS
 
	greets the audience to thunderous applause, calls Act # One on 
	stage.
 

123-C	ACT # ONE
 
	performs their specialty.  Wally Williams leads Act # One to 
	the dias for the audience's judgement.
 

123-D	MELVIN AND LYNDA
 
 	join in the applause for Act # One.
 

123-E	ON STAGE
 
	Wally now presents Act # One with a check for $500 and leads 
	them to the Gateway.
 
				WALLY WILLIAMS 
		Now it's time for the Gateway to
 		Easy Street.  There are three doors
 		in front of us.
        			(to Act # One) 
		Now, which gate do you choose?
 
 	Act # One agonizes.
 
				EUREKA
 		One.
 
	The model swings open the gate, a platform jammed with tiles.
 
				ANNOUNCER (v.o.)
		200 square feet of...Z-Brick.  Give
		character and elegance to your walls. 
		From the family of Z-Brick Products. 
		It's worth $276.60!
 
 
123-F	MELVIN AND LYNDA
 
 	horrified at the prize.
 
 
123-G	ON STAGE
 
 	Wally calls today's Act # Two on stage.  They perform their 
	material.
 

123-H	WALLY
 
	leads Act # Two to the dias, and invites the audience's
	judgement.
 

123-J	THE AUDIENCE
 
	loathed them.  Amongst universal booing hissing and shouts of 
	"NO!", Melvin and Lynda applaud bravely.
 

123-K	ON STAGE
 
 	Humiliated, Act # Two leaves the stage.  Wally approaches the
	mike.
 
				WALLY WILLIAMS 
		Now, from Anaheim, California, 
		Mrs. Lynda Dummar, you are on!
 
123-L	LYNDA
 
	Down the ramp from the clapping audience, Lynda takes the 
	stage, launches into her act.
 
 
123-M	WALLY
 
 	races from the wings as Lynda completes her act.  He leads 
	her to the dias, turning to the audience.
 
				WALLY WILLIAMS 
		How about Lynda Dummar, ladies and
		gentlemen?
 

123-N	THE AUDIENCE
 
	loved her. Wild applause.  Melvin, amongst them, trying to 
	catch his breath.
 

124	ON STAGE 

	Wally presents Lynda with the check for $500.
 
				WALLY WILLIAMS 
		Now Lynda -- do you want to keep 
		your five hundred dollars or do 
		you want to bet it for what's behind 
		one of the three gates to Easy 
		Street?
 
	Lynda looks at the Gateway, then at the money in Wally's hand.
 
 
125	MELVIN - IN THE AUDIENCE
 
	trying valiantly to get Lynda's attention.  Nodding his head
	like a marionette.  The audience yelling "No!  No!"
 
				LYNDA 
			(tranced)
		Okay.

	Wally leads Lynda by the hand to the Big Gateway.
 

126	AUDIENCE 

	Melvin is signalling like crazy, raising three fingers, 
	throwing the three fingers at Lynda.
 
	Lynda looking from gate #1 to gate #2 to gate #3, the audience 
	squealing advice.
 

127	MELVIN - IN AUDIENCE 

	flailing and throwing three fingers at Lynda.
 
 				MELVIN
		Three!! Three!!
 
 	Lynda turns to Wally.
 
				LYNDA 
		Two.
 
				WALLY WILLIAMS 
		Gate number two...Carol!
 
	Carol draws the curtain.  The Announcer's voice comes over.
 
				ANNOUNCER (v.o.) 
		The Sonny James Living Room Suite 
		by Berkline!
 
 	The model starts walking around the living room set.
 
				ANNOUNCER (v.o.) 
		The arms have a saddlebag effect
 		with tufting in the seats and backs
 		for deep-down comfort.  Complete 
		with tables and lamps!  It retails
		for...$1,307!
 
	Lynda jumps up and down.  Suddenly the air is filled with 
	Bonus Golden Gate Fanfare.  The audience goes insane.
 

128	MELVIN - IN THE AUDIENCE

 				MELVIN
		That's my wife!
 

129	ON STAGE

	Wally and Lynda hugging.
 
				WALLY WILLIAMS 
		Lynda, you've done it!  You've 
		opened the Golden Gate!  The 
		Golden Gate to Easy Street!  Look 
		what else you've won.
 
	Carol drives a golf cart on stage towing a piano.
 
				ANNOUNCER (v.o.) 
		The Kimball Country French Artist 
		Console -- including hand-carved
		cabinetry, grand-style side-hinged
		top and grand lyre.  From Kimball
		...It retails for...$1,700!
 
				WALLY WILLIAMS 
			(to a staggered Lynda) 
		And with that new piano, you're 
		probably gonna wanna have it tuned
 		and take lessons.  So you'll need
 		a tuning fork and some sheet music, 
		so to take care of those expenses 
		take a look at the rest....
 
 	The revolve turns to reveal the flashing light board, which 
	is flashing.
 
				WALLY WILLIAMS 
		$10,000 in cash! 
			(applause) 
		That makes the total value of your
		Golden Gate...$11,700! 
			(applause)
 
 
130 	MELVIN - IN AUDIENCE
 
 	falling off his chair.
 

131	ON STAGE
 
 	Music, applause, commotion, the credits rolling, Wally being 
	kissed by a frantic Lynda, everybody taking bows.
 
				WALLY WILLIAMS 
		Do you know what you're going to 
		do with the money, sweetheart?
 
				LYNDA
		I sure do know what I'm going to do 
		with the money.
 

132	INT. REAL ESTATE OFFICE - ANAHEIM - DAY
 
	Melvin and Lynda are seated beside scale models of two houses. 
 
				REAL ESTATE MAN
		So which'll it be?  The Landlord?!
 		Or the Sentinel.
 
 				MELVIN
 		The Landlord!
 
				LYNDA
		How much are they again?
 
				REAL ESTATE MAN
			(elated) 
		The Landlord is 59,900! 
			(depressed) 
		And the Sentinel is 44,300.
 
				LYNDA
		We'll take the Sentinel.
 
				MELVIN 
		Now wait a minute, honey --
 
				LYNDA
		I won the goddamn money!  And we're 
		going to live in the goddamn Sentinel! 

	Go out on the fallen faces of Melvin and the Real Estate Man.
 

133	EXT. THE SENTINEL - ANAHEIM - DAY 

	A little house in a development on a quiet street.
 

134	INT. HOUSE - DAY
 
 	All the rooms empty but for the living room where the Sonny 
	James living room suite by Berkline is laid out.
 
	It doesn't look as good here.
 
              
135	ANOTHER ANGLE - LIVING ROOM - DARCY AND LYNDA
 
 	seated on the window sill, a pad and a pencil and some 
	figures laid out in front of them.
 
				LYNDA
		If we're very, very careful ---
 
				DARCY
		Do I get the tap dancing lessons?
 
				LYNDA
		I think so.
 
				DARCY
		And my Girl Scout uniform?
 
				LYNDA
		I think we'll have to wait on that 
		til next month, honey.
 
 
136	EXT./INT. HOUSE - DAY - DARCY'S POINT OF VIEW
 
 	looking out the window.
 
				DARCY
		Here comes Daddy.
 
	Melvin rolls into the driveway, driving a Cadillac which
	pulls a boat cradle.  On it rests a twenty-five-foot outboard.
 

137	EXT. HOUSE - DAY - LYNDA 
 
 	dazed by the sight of Melvin's possessions, staggers outside
	with Faron in her arms.
 
 	Over the fence, the neighbors are having a barbecue.  The 
	mother is taking pictures.
 
				MELVIN 
		Hey, Ortiz!  Give us a picture!
 
 	Mrs. Ortiz swings her camera around.  Melvin poses proudly by 
	the boat and the new car.  Darcy and Lynda and Faron creep out 
	to explore them.
 
	Now Lynda straightens up.
 
				LYNDA 
			(suddenly)
 		Take 'em back, Melvin!
 
				MELVIN 
		I can't, I'd lose my down payment.
 
	Melvin, with great proprietariness, slaps the fender of the
 	Cadillac.

				MELVIN 
		We got a lotta horses here, honey.
 

138	EXT. BACKYARD - DAY - MELVIN
 
	is at the tiller of his boat.  He wears a duck-billed cap,
	and in clipped tones is addressing a CB.
 
				MELVIN 
		Come in Long Beach, come in...come 
		in Long Beach Coast Guard, this is 
		Country Roads ---
 
 	He looks up as the back door of the house opens, Lynda is
 	holding a suitcase in one hand, Faron in the other.  A taxi
 	appears at the end of the driveway.
 
				MELVIN 
		Where you goin'?
 
				LYNDA
		I'm leaving you, Melvin.
 
				MELVIN 
		You can't leave me ---
 
				LYNDA
		Oh yes I can ---
 
				MELVIN 
		You leave me now, I'm never takin' 
		you back, Lynda.
 
				LYNDA
		I'm never coming back.  And remember,
 		half of the house is mine.  I spoke
		to the real estate man ---
 
				MELVIN 
		It was me got you on the show.
 
				LYNDA
		It was me won the money -- I get
		half.
 
				MELVIN 
		You're gettin' nuthin'!
 
				LYNDA 
		Melvin, you're an asshole ---
 
				MELVIN 
		Don't call me no asshole ---
 
				LYNDA
		Then what are you?!  The first 
		time we have a prayer of getting 
		ahead, you go out and buy a big 
		fancy car, a big, fancy boat ---
 
				MELVIN 
		You can't take it easy on 'Easy 
		Street.' 

				LYNDA 
		Huh?
 
 	Melvin turns to Darcy.
 
				MELVIN 
			(to Darcy) 
		You like this boat, Darcy?
 
				DARCY 
		I do, Daddy.

				MELVIN 
		You like that car?
 
				DARCY
		I love it, Daddy.
 
				LYNDA
		Cut it out, Melvin ---
 
				MELVIN 
		I seen cars like that boil by on 
		the way from Reno to Vegas when I
 		was a little kid.  I'd be cleanin'
 		out the goddam tar heater while my
 		father was layin' road for them to
 		drive by on, and now I've got one!
 
				LYNDA
		You got me cryin', Melvin.
 
				MELVIN 
		Don't make fun, Lynda.
 
				LYNDA
		We're poor, Melvin -- poor!
 
				MELVIN 
		Lynda, we're on Easy Street.
 
				LYNDA
		I'm on Easy Street!  I won!
 
	Melvin climbs down from the boat.  There is a terrible silence. 
	It seems for the moment as if he might hit her.  But he can't.
 
				MELVIN 
		Lynda -- don't go ---
 
	She puts Faron down, turns back to him.
 
				LYNDA
		Melvin, you are an asshole -- but 
		I love you.
 
				MELVIN 
		Now wait a minute ---
 
				LYNDA
		Aw, c'est la vie.
 
				MELVIN
		What does that mean?
 
				LYNDA
		It's French.  I used to dream I'd 
		be a French interpreter.
 
				MELVIN 
		You don't speak French ---
 
				LYNDA
		I told you it was a dream.
 
	She goes.  Melvin watches emptily as Lynda climbs into the
	taxi with Faron.  Darcy comes running out of the house.
 
				DARCY
		G'bye, Daddy.  Will I see you?
 
				MELVIN 
		You'll see me, honey.
 
 	Darcy chases out front and the taxi disappears with Darcy 
	waving to Melvin through the rear window.
 

139	INT. HOUSE - SUNSET - MELVIN
 
 	shuffles through the back door, into the living room of 
	"Easy Street" furniture. It is well battered now -- he 
	slumps in a chair.
 
 				CB RADIO
			(from the boat
 			outside)
		'Hello there, Country Roads, small 
		craft warning from Point Dume to 
		the Mexican border, barometric 
		pressure twenty-two point nine....'
 

139-A	EXT. LOS ANGELES - FREEWAYS - NIGHT 
 
	Zoom in on a milk truck.
 

139-B	EXT. NEIGHBORHOOD - NIGHT - ROCKWOOD TRUCK
 
	pulling up to a curb, Melvin hustling out, juggling cartons 
	of milk in a container, working two or three houses at once.
 

139-C	ANOTHER ANGLE - MELVIN
 
 	leaving gallons of milk on tops of cars, in baby strollers, 
	all the appointed places.  Sweating, running, hustling.
 

139-D	EXT. MRS. WORTH'S HOUSE - NIGHT
 
	Melvin rushing up with his delivery. From out of the dark-
	ness ---
 
				MRS. WORTH
 		Is that you, Melvin?
 
 	Melvin stops.
 
				MELVIN 
		Yes, ma'am.
 
	She appears at the doorway in her bathrobe.
 
				MRS. WORTH
		I thought it was you.
 
				MELVIN 
		Yes, ma'am, two quarts of Hy-line, 
		a Garden Cottage and 25-pound 
		laundry compound.
 
				MRS. WORTH
		Sounds right, Melvin.  Wouldn't you
		like a nice hot cup of coffee.
 
				MELVIN
		Oh I dunno, ma'am -- I got my whole
		route ahead of me.
 
				MRS. WORTH
		It's cold out, Melvin -- don't you 
		want a cup of coffee?
 
 	Melvin looks back at his truck.
 
				MRS. WORTH
		A nice-hot-cup-of-coffee.
 
	Melvin takes a deep breath.
 
				MELVIN 
		Well, don't mind if I do, Mrs. Worth.
 
				MRS. WORTH
		Melva. 

				MELVIN 
		Melva.

 
139-E	MELVIN

	He brings her order inside.
 
				MRS. WORTH
		Melva -- Melvin -- get it?
 
	Melvin smiles.
 
				MELVIN
		Yes, ma'am, I do.
 
	She turns around.
 
				MELVIN
		I mean Melva.
 
	She pours some coffee, sets it on the kitchen table.
 
				MRS. WORTH
		Cream?
 
				MELVIN
		Yes, ma'am.
 
				MRS. WORTH
		Sugar?
 
	He looks at her, her parted bathrobe.
 
				MELVIN
		Four.
 
	She scoops them in.  They sit down.
 
	They drink in silence, Mrs. Worth watching Melvin.
 
				MRS. WORTH 
		Why don't we take our coffee in-
		side?  Where it's warmer.  Would 
		that suit you, Melvin?

				MELVIN 
		Suits me fine.
 

139-F	MRS. WORTH
 
	leads the way into a May Company living room.  They sit.
 
				MELVIN
			(brightly)
		Where's Mr. Worth today?
 
				MRS. WORTH 
		He's working graveyard.  He won't
		be home for an hour.
 
				MELVIN 
		A tough shift, graveyard.
 
				MRS. WORTH 
		He doesn't have any choice.  Neither 
		do I.  If you know what I mean, 
		Melvin.
 
				MELVIN
		Yes, ma'am, I do.
 
				MRS. WORTH 
		Makes for a long night.
 
				MELVIN 
		You bet.
 
				MRS. WORTH 
		I thought you'd never come, Melvin. 
		I lay in bed waiting all night. 
		Then finally -- you came.
 
				MELVIN
		Yes, I did.
 
	Melvin smiles.
 
				MELVIN 
		You got any more coffee there, Melva?
 
				MRS. WORTH 
		Do you want any more coffee, Melvin?
 
				MELVIN 
		No, Melva, I don't.
 
				MRS. WORTH 
		So what do you say, Melvin?
 
				MELVIN 
		You know what I say, Melva?
 
 				MRS. WORTH
 		What?
 
 				MELVIN
		Let's get to it.

	Mrs. Worth takes off her robe.  They sink to the living room 
	floor.
 
 
139-G	EXT. MRS. WORTH'S HOUSE - DAWN - MELVIN
 
	rushing outside, buttoning pants, Mrs. Worth reaching the 
	door with him.
 
 				MRS. WORTH
		Don't forget tomorrow, Melvin.  A
		quart of Lo-Fat and a pound of 
		Nippy Cheddar.
 
 				MELVIN
		Yes, ma'am!
 
	He leaps into his truck, Mrs. Worth disappears inside.  Melvin
	drives off:
 

139-H	OMITTED
 

139-I	EXT. RESIDENTIAL STREET - DAY - ON MELVIN
 
 	hustling into a house with an order.  Hustling out.
 
 
140	EXT. ROCKWOOD DAIRY - LOCKERS - DAY
 
	Christmas lights strung around the lockers.  Melvin unloading 
	full cases of milk, tamping ice around them.
 
	His movements are slower now, the enthusiasm is gone.  Some 
	ice won't chop for him.  He leaves it in a block on top of 
	the milk.  It perches precariously.
 

141	INT. ROCKWOOD DAIRY - JIM DELGADO'S OFFICE - A CHRISTMAS TREE 
 
 	on Jim's desk.  Melvin looking through it at Jim.
 
				JIM 
		After 'Easy Street,' you paid us 
		a thousand dollars.  Rather, your
		wife did.  You still owed us twenty-
		four hundred. That's back to thirty-
		four now --
 
 				MELVIN
		No kiddin'?
 
				JIM 
		I've got a note here for 3500 dollars 
		-- plus another note for 2500 -- the 
		balance you owe us on the truck --
 
				MELVIN 
		I told you about that truck!
 
				JIM 
		On your uniforms, 250 dollars --
 		we'll take that out of next week's
 		earnings -- a total of six thousand 
		and fifty dollars -- Sign where the 
		x's are ---
 
 	He passes some papers over to Melvin.  Melvin reads them
	quietly. Bonnie enters and delivers some paperwork to Jim.
 
				MELVIN 
		You got me paying a hundred and
 		ninety-five dollars a week interest
 		-- for God's sake -- I'll never 
		catch up ---
 
				JIM 
		It's up to you, Melvin.
 
	Melvin blinks.
 
				MELVIN 
		I got to get me another job.
 
				JIM
		Wherever you go, you'll be working 
		for us.
 
	Melvin bends his head over the paper.
 
				JIM
 		Did you sell your boat?
 
				MELVIN 
		I sold it.
 
				JIM
		What about the Cadillac?
 
				MELVIN 
		They took it.
 
				JIM
		That's right they did, didn't they? 
		Well you just got to hustle a little
		more, kid ---
 
	Bill looks up at the route map behind him.
 
				JIM 
		We got Ralph over here in Artesia --
		he could use a little help ---
 
				MELVIN 
		My God, that's clear across the 
		county -- I can't make it, Bill, 
		the milk gets warm --
 
				JIM 
		Get up a little earlier.
 
				MELVIN
 		I'm up at 2 now --
 
				JIM 
			(shakes his head
 			sincerely)
 		Tough.
 
				MELVIN
		I used to collect in the afternoon. 
		I don't even have time to get my
		money out of my customers.  You got
		me running in circles ---
 
				JIM 
		Planning's the name of the game. 
		You got to organize your time, 
		Melvin.
 
 	Bill waits.  Now he holds out his hand, Melvin signs the
	papers which are well-crumpled.  Hands them over.
 
				MELVIN
			(sags, tries 
			to brighten) 
		'We'll keep plugging.'
 

142	LA HABRA - TIKI RESTAURANT
 
 	A Polynesian place, strobe-lite and palms and grass skirts.
	Christmas trees, a Christmas party.
 
	Familiar faces from The Rockwood Dairy dancing up a storm, 
	the music loud.
 
	Melvin gets up, goes to a pay telephone.  Dials, drops coins.
 
				MELVIN
 		Lynda?
 
				LYNDA 
		Hello, Melvin.
 
				MELVIN
		How're you doin'?
 
 	Lynda is back home in Anaheim with Mother, Darcy is there and 
	so is the dog "Tramp."
 
				LYNDA 
		I'm doing okay. What do you want,
		Melvin.
 
				MELVIN
		I was calling about Christmas.
 
				LYNDA
		Oh yeah, Christmas.
 
				MELVIN
		What does Darcy want?
 
				LYNDA
		I'm getting her a Barbi. You can
		get her Ken.
 
	Silence.

				MELVIN
		How about Faron? I was thinking
		about an airgun.
  
				LYNDA
		Faron's nine months old, Melvin.
 
	Silence.

				MELVIN
		Lynda?

				LYNDA
		Yeah?
 
				MELVIN
		You still there?
 
				LYNDA
		I'm still here.
 
	Silence.  Jim Delgado approaches, waits impatiently as 
	Melvin resumes his conversation.
 
				LYNDA
		Melvin, tell you what -- you buy 
		Darcy what you wanna buy her --
		and I'll buy her what I wanna buy 
		her -- okay?
 
				MELVIN
		I was hoping you'd say that.
 
				LYNDA
		Good-bye, Melvin.
 
				MELVIN
		Good-bye, Lynda.
 
	Melvin hangs up slowly, turns to Jim.
 
				JIM 
		You said you were a big Country 
		and Western singer -- we built our 
		entertainment around you -- Are you 
		going to or aren't you, Melvin?
 
				MELVIN
		I'm sorry, Jim, I don't feel like
		singing tonight.
 
				JIM
 		I knew you'd crap out.
 
				MELVIN 
		Now wait a minute ---
 
				JIM
 		Never mind, Ralph will whistle 
		through his belly button.
 
	Jim walks off. 


143	OMITTED 


144	ANOTHER ANGLE - MELVIN 

	seated in a corner by himself. One of the drivers comes over,
	Ralph.
 
				RALPH
		Gee, Mel, we heard you wasn't going 
		to sing ---
 
				MELVIN 
		New Year's maybe ---
 
				RALPH
		I told my wife you sang Country. 
		She's crazy for Country.
 
				MELVIN 
		I'm real sorry, Ralph.  And tell 
		your wife I'm sorry too, will you?
 
	Another old-timer comes by, George, a veteran of the driver's
	locker room.
 
				GEORGE 
		Delgado was saying how you was 
		yellow ---
 
				MELVIN 
		Did he?
 
				GEORGE 
		I said if Melvin don't want to sing, 
		that's his right.
 
 				MELVIN
 		What'd he say?
 
				GEORGE 
		It's not what he says, Melvin.
 		It's what he don't say, y'know
		what I mean?
 
	There is a sudden fanfare from the band.
 

145	ANOTHER ANGLE - THE STAGE

	Jim Delgado at the microphone.
 
				JIM
		Ol' Melvin Dummar promised us a 
		song tonight -- but I'm afraid --
		or am I thrilled? -- he's chickened 
		out.
 
	Melvin stands up.
 
 				MELVIN
		Who says?! I got a song!  I got a
		song right here!
 
	Applause and cheers as Melvin makes his way to the stage.
 
				JIM
		I guess I had it wrong -- take it, 
		Melvin.
 
	Melvin moves out in front of the band.
 
				MELVIN 
		These Japs here probably don't 
		know 'Six Days On the Road.'
			(turns to
			the band) 
		You know 'Six Days On the Road?'
 
	They shake their heads.
 
				MELVIN 
		Well this song I written is sung
		to 'Six Days On the Road.'  And
		now I'm going to sing it.
 
	He grabs a guitar from a startled Polynesian musician.
 
				MELVIN 
			(sings) 
		Well I pulled out of Rockwood
 		Headed down the Santa Ana Freeway
		I got my Divco wound up and 
		I guess it's running okay.
 
		Well I know it's the middle of the night
		But heck that's all right 
		'Cause I'm a milkman for Rockwood, 
		So everything's okay.
 
		Well my truck's kind of old 
		And man it's awful slow 
		The temperature is hot and the oil 
		  pressure is low 
		If I make it to my route tonight 
		Everything will be all right 
		Ten hours on the road -- I just hope I 
		Make it home by tonight.
 

146	ON THE AUDIENCE
 
	They are getting with it, starting to clap in rhythm.
 

147	ON MELVIN 

	He looks toward Jim.
 
				MELVIN
			(singing) 
		I know Jim Delgado will be checking 
		  my books today 
		'Cause a big milk bill he said I 
		  have to pay 
		But that don't bother me tonight 
		'Cause I can dodge ol' Jim all right 
		Twelve hours on the road I just hope 
		  I make it home today. 

		Well it seems like the price of milk 
		  gets higher every day -- 
		But us poor milkmen don't get no 
		  raise in pay ---
 
	The guys boo along with their wives.  Jim doesn't smile. 
	Melvin smiles down at his friends, looks to them as he sings. 
	The crowd is really with him.
 
	Melvin spots Bonnie down in the audience.  She is smiling up 
	at him worshipfully.  He sings to her now.
 
				MELVIN
			(singing) 
		Well it seems like a week since I 
		  left my house last night 
		You know I could have a lot of 
		  women but somehow it don't seem right 
		Yeah I could find some to hold me tight 
		  but I'd never make my deliveries all right 
		Fourteen hours on the road man I hope 
		I make it home today.
 
	The place is absolutely quiet now, the people all on his side. 
	Melvin sees Jim Delgado leave. He points at him.
 
	Melvin takes it real slow for a finish.
 
				MELVIN 
			(singing) 
		Now I work like a dog trying to
		  collect my pay
		But all my customers say -- can't 
		  you come back some other day 
		Boy I just know that there's an
		  easier way
		Twenty hours on the road I just know 
		  I'm going to make it home today.
 
	Dead silence, then applause and cheering erupts.  Melvin is 
	shy on the stage, his friends, Pete and Ralph and George rush
	over to him, lift him off the stage, the band strikes up --
	Bonnie rushes to Melvin.
 
	She throws her arms around him.
 
				MELVIN 
			(all embarrassed) 
		Hey, that was nice.  You married, 
		Bonnie?
 
	Bonnie steps away from Melvin, looks him in the eye.
 
				BONNIE
		No I'm not, Melvin Dummar.  And
		neither are you any more.
 
	Melvin waits.
 
				BONNIE
		So what do you say?
 
				MELVIN 
			(shrugs) 
		Gee, I don't know, Bonnie.
 
				BONNIE
		I'll take care of you, Melvin --
		til you get on your feet. I got my
		kid's child support money saved up ---
 
				MELVIN 
		You got kids, Bonnie --- ?
 
				BONNIE
		I got two kids ---
 
				MELVIN 
		Oh my Lord ---
 
				BONNIE
		Listen, Melvin, I got a cousin up 
		in Utah -- lost his lease on a gas
		station -- we run it right we get 
		a thousand a month clear -- I've 
		been waiting for this moment -- and 
		the moment is now -- so what do you 
		say?!
 
	Melvin hesitates.
 
				BONNIE
		Or don't you come swinging your 
		dick around the cashier's office 
		no more!
 
				MELVIN 
		Bonnie?  A Mormon girl -- swearing?!
 
				BONNIE
		Bet your ass!
 
	Melvin looks over at Jim Delgado who is dancing with a 
	Japanese hostess.  Melvin shakes his head.
 
				MELVIN 
		When do we leave?
 
				BONNIE
		Tonight.
 

148	EXT. SERVICE STATION - WILLARD, UTAH - DAY
 
	Melvin's milk truck rolls in with a U-Haul behind it.  The 
	U-Haul is jammed with bedding, Melvin's "Easy Street" 
	furniture, the Kimball French Provincial piano, a goat, a
	lamb, and some rabbits.  Bonnie tumbles out with her two tow-
	headed kids.
 
	Melvin leads the goat out, ties it to one of the gas pumps. 
	He looks around, exhilarated by the new surroundings, the 
	sense of a fresh start.
 

149	EXT. GAS STATION - LATE AFTERNOON 
 
 	Melvin hustling around the pumps, handling two cars at once,
	flipping hoods, washing windows, collecting cash.  Terry and
	Bonnie help out.

				DRIVER 
			(smiling) 
		You're goin' to get a coronary running 
		around like that.
 
				MELVIN
		Better than starving to death!
 
 	He grabs the man's cash, locks up the pumps now.  The man 
	drives off and Melvin trudges up to the house behind the 
	station.
 

150 	INT. MELVIN'S HOUSE - DAY

	A pathetic place, the "Easy Street" furniture squeezed
	in on top of the Kimball piano.  A television set drones away.
 
	The telephone rings.  Melvin and Bonnie look at each other. 
	Bonnie grabs the phone.
 
				BONNIE 
			(on phone) 
		I'm sorry, Mr. LaMar, Mr. Dummar 
		is in Salt Lake today.  Yessir, 
		yessir, I understand -- yes, I'll 
		give him the message.
 
 	She hangs up.
 
				BONNIE 
		He's not going to make the gasoline 
		delivery next week -- unless he has 
		a check.
 
				MELVIN
		Well, we'll give him a check.
 
				BONNIE 
		What check?
 
				MELVIN
		Well, I can't pump gas unless I 
		give 'em a check, can I, honey?
 
				BONNIE 
		But our check's no good, Melvin.
 
				MELVIN
		Easter weekend.  Oughta pump a
		thousand gallons.  Give 'em a check 
		tomorrow, we'll have it covered by 
		Monday.
			(back to the TV) 
		Hey, look at this, ol' Howard
		Hughes died.  That's too bad.
 

151	ON THE TV - HUGHES NEWSREEL FOOTAGE
 
		NEWSCASTER                             MELVIN
	'The reclusive billionaire         I told you about pickin' up
	expired at 1 p.m. this after-      that old wino in the
	noon on a flight to Houston,       desert --
	Texas -- no direct heirs are
	known, and a search for a                    BONNIE
	will has begun ---'                You told me, Melvin.
 
				MELVIN
		Sure didn't look anything like that.
 
				BONNIE
		Well, why would he?   Those pictures 
		are 40 years old.
 
				SHARON 
			(one of Bonnie's
			kids)
		When are we going to eat, Ma?
 
				BONNIE
		In a minute, honey, in a minute.
 
	Bonnie gets up and moves to the stove.  The TV is droning on. 
	Melvin sniffs.
 
				MELVIN
		Chicken?
 
				BONNIE
		This time, don't tell me how Lynda's
		is better.
 
	Melvin watches as the pictures of Hughes flash by, in an 
	airplane, at the Hell's Angels premiere, flying around the 
	world.
 

152
and 	OMITTED
153


154	EXT. GAS STATION - DAY
 
	Melvin hustling, pumping gas into a car, wiping windows. 
	Takes cash, the car drives off. 

	Melvin calls through to the grease rack.
 
				MELVIN
		Hey, Terry -- I'll be inside.

	Terry, a teen-age helper, rolls out from under a car.
 
				TERRY
		You going up to the house?
 
				MELVIN 
		In the office. Got class at four
		o'clock.
 
				TERRY
		What class, Melvin?
 
				MELVIN 
		Business Practices.  Weber State --
		four o'clock.
 
				TERRY
		Business?

	Terry rolls back under the car.


155
thru	OMITTED
159
 

160	INT. GAS STATION - DAY
 
	Melvin, his back to the door, his nose buried in a textbook.
 

161	EXT. GAS STATION - DAY 

	Ventura, the crisp, three-piece-suited character we saw at
 	the Desert Inn, appears at the door.  He calls in to Terry.
 
				VENTURA 
		Hey!
 
	Terry rolls out. 

				TERRY
		Yeah?


162	CLOSEUP - TERRY
 
	looking up.
 

163	CLOSEUP - VENTURA
 
	hesitating, checking out Terry's face.
 
				VENTURA
		Where's Melvin?
 
	Terry points towards the office.
 

164	INT. OFFICE - DAY
 
 	Ventura walks in.  Melvin has his head in his book.  Ventura 
	studies the back of Melvin's head.
 
				VENTURA
		Hello.
 
	Melvin swivels around.
 
				MELVIN
		Yes sir?
 

165	CLOSEUP - MELVIN
 
	All earnestness, his ready smile.
 
				VENTURA
		You got cigarettes?
 
				MELVIN 
		Sure we got cigarettes.  What kind 
		of cigarettes you like?
 
				VENTURA
		Uh -- Camels.
 
				MELVIN 
		Camels?  We don't get much call for 
		them -- that's a real cigarette.
 		Nowadays they want brown ones or 
		thin ones or long ones, lo-tar, 
		no-tax -- lemme see --
			(reaches
			into rack)
		There you go.
 
	Ventura hands him a dollar.  Melvin goes to make change.
 
				VENTURA
		Say, if I was heading down to Las
		Vegas ---
 
				MELVIN 
		Catch Interstate 15, take her
		right on through ---
 
	Melvin hands him the change, sits back down to his books. 
	Terry can be seen outside.
 
				VENTURA 
			(watching Melvin)
		I heard I could get 6 and 50, takes 
		me over the line, and then head 
		south ---
 
				MELVIN 
		Sure, you could do that ---
 
	Stays with his book.
 
				VENTURA 
			(watching Melvin)
 		But I guess 15's my best bet.
 
	A car horn honks outside, Melvin runs out.
 
				VENTURA 
		So what do you think?
 
				MELVIN 
		Give me a minute --
 
				VENTURA
		Sure thing --

	Melvin runs to the pumps.
 
 
166	EXT. STATION - AT THE PUMPS - DAY - MELVIN
 
	servicing another car.  Looks over, sees Terry rolling down
	the door to the grease rack.  They wave good night.
 

167	ANOTHER ANGLE
 
	Melvin walking back to the office.
 

168	MELVIN'S POINT OF VIEW
 
	Sees Ventura leaving the office.
 

169	INT. GAS STATION - DAY
 
	Melvin ringing up the cash.  Sits down to his books again. 
 

170	CLOSEUP - BOOK
 
	Stuck in the binding of the page Melvin is studying, is an 
	envelope.
 

171	CLOSEUP - MELVIN
 
 	puzzled, looks at the envelope, Now looks out the window of 
	the office.  Ventura is nowhere in sight.
 

172	CLOSEUP - ENVELOPE
 
 	In longhand, "Dear Mr. McKay, please see that this will is
	delivered after my death to Clark County Court House, Las 
	Vegas, Nevada."
 
	Signed "Howard R. Hughes."
 

173	ON MELVIN
 
 	turning the envelope over.  And over.
 

174	EXT. STATION/INT. LIMOUSINE - DAY 

	Ventura jumping in the car.
 
				DRIVER
		Where to?
 
				VENTURA
		Airport.
 
	The Driver hits the gas and they zoom out on to the Ogden/
	Salt Lake Interstate.  Ventura tosses the pack of cigarettes
	out the window.
 

175	EXT. GAS STATION - DAY - BONNIE'S POINT OF VIEW FROM HOUSE
 
	Melvin climbing into his tow truck.
 
				MELVIN 
			(calling up) 
		See you, honey, I'm off to class. 
		Mind the store.
 

176	EXT. UTAH HIGHWAY - DAY - CLOSEUP - MELVIN
 
	bent over the wheel of the truck, speeding down the interstate, 
	driving with wild concentration.
 

177	LONG SHOT - TRUCK
 
	pulling off the road onto a knoll which overlooks the marshes 
	leading to the Great Salt Lake.  Melvin, a dot in the distance, 
	climbing out of his truck, standing on top of the knoll, slowly 
	raises his hands in the air.
 
	A scream, paralyzing, explosive, rising up out of Melvin and 
	shattering the countryside.
 

178	EXT. MORMON SQUARE - SALT LAKE CITY
 
	Melvin hurrying past the Temple and the Tabernacle.
 

179	INT. CHURCH BUILDING/LOBBY/MC KAY'S OFFICE - DAY 

	Melvin delivers the envelope.
 

180 	INT. MELVIN'S HOUSE - WILLARD - DAY - CLOSEUP - BONNIE
 
	She drops a telephone receiver. Screams.
 

181	EXT. MELVIN'S GAS STATION 

	A van rolling up to it. 


182 	ON THE DOOR OF THE VAN
 
	Emerging from it, a directional microphone, followed by four 
	TV engineers in suede jackets, with porta-pak equipment, and 
	a shag-hair-cutted newscaster, all heading straight for Bonnie 
	who is bouncing up and down in front of the station.
 

183	EXT. MELVIN'S GAS STATION - DAY
 
	New day.  The place is swarming with TV vans, cars, reporters,
	minicameras.
 
				WALTER CRONKITE (v.o.) 
		'A 31-year-old gasoline station at-
		tendant from Willard, Utah, was made 
		a beneficiary of the purported will. 
		His share is estimated at 156 mil-
		lion dollars -- The will, discovered
		yesterday at the World Headquarters
		of the Mormon Church --- '
 

184	EXT. MELVIN'S HOUSE
 
	Melvin, unseen, is crouched on the brow of the hill, watching 
	the circus below.
 

185	ON THE HILL - MELVIN 

	circling around behind the crowd. 


186	OMITTED
 
 
186-A	MELVIN'S POINT OF VIEW - TV CAMERAS
 
 	closing in on the station, interviewing Bonnie, her eldest 
	child, Sharon.  Roger Dutson is there.
 
				TERRY
		I just heard Bonnie come screaming
		out of the pay phone -- it was 
		Chuck Henry from ABC News in Los 
		Angeles....

				SHARON
			(with another reporter)
		Well, I guess I don't have to sell 
		night crawlers any more....

 
187 
thru	OMITTED
190


191	INT. MELVIN'S LIVING ROOM - WILLARD - NIGHT
 
 	Melvin sitting surrounded by his relatives -- his father, 
	his mother, his six brothers and two sisters, and Fred Smith. 
	Also present are Dutson (Melvin's lawyer) and Bishop Poole.
 
				MELVIN
		Gee, it's nice to meet you again,
		Fred -- I haven't seen you since I
		met you at your mom's wedding --
		When was that, two years ago?
 
				FRED
		First thing, Melvin, is a press
		conference ---
 
				MELVIN
		No press conference, Fred, please.
 

192	EXT. MELVIN'S GAS STATION - DAY
 
 	The next day. On the hill behind Melvin's gas station is a
	sea of reporters and TV cameras.   Fred Smith is lecturing them.
	Melvin's family is there along with Roger Dutson.

				FRED
 		There'll be no litigation questions 
		-- questions only on the basis of 
		the will -- no litigation questions ---
 

193	MELVIN AND BONNIE
 
 	standing on the summit of the hill. Melvin in his best cowboy
 	roses shirt.
 
				REPORTER
		Mr. Dummar, the relatives of
		Howard Hughes claim this will is
		a forgery
 
	Fred Smith puts his hand over the lens of the Reporter's 
	camera.
 
 	A scuffle, then Fred pulls the second plug.  A suspicious man
	is noticeable among the onlookers.
 

194 	ANOTHER ANGLE - MELVIN IN THE PRESS CONFERENCE
 
				MELVIN 
		He was just an ol' wino -- asked me 
		for some money -- I give him a 
		quarter -- I told him I once applied 
		for a job at Hughes Aircraft -- He 
		told me he owned Hughes Aircraft ---
 

195	ANOTHER ANGLE  
 
				REPORTER
		Melvin, did you ever believe a 
		dream like this could come true?
 
				MELVIN 
		In the dream, there's no hassle.
 

196
thru	OMITTED
198
 

199	INT. MELVIN'S GAS STATION OFFICE - DAY

	Later -- a TV screen.
 
				JIM DELGADO 
		He may be getting 156 million
		dollars -- I'd just like to see the 
		4500 that he owes our dairy -- of 
		course, I wish him good luck and 
		everything.'
 

200	EXT. MELVIN'S GAS STATION - DAY
 
	Vans pulling away, cars pulling away, reporters vanishing.
 
 	Melvin pumping gas again, comes around to collect money from 
	a Driver.  He's the same suspicious individual seen earlier 
	in the crowd.
 
				MELVIN 
		That'll be four-fifty.
 
 	The door opens slightly.  The Driver pulls a gun.
 
				DRIVER
		You remember me, Melvin?  I was
		with you.  We were all together.
		You and me and Howard.  But it was 
		me that give him the quarter!
 
	Melvin slams the door on the Driver's arm, the gun fires and 
	shatters the car window, Melvin wrestles the Driver from the 
	car, pinning him to the ground. Terry and Bonnie jump into 
	the scuffle.
 

201	ANOTHER ANGLE - MELVIN 

	watching as the Box Elder Sheriff's car drives away with the 
	Driver, handcuffed in back.
 

202	AT HOME - MELVIN AND BONNIE 

	A stack of mail, Bonnie is reading to Melvin, Melvin is watch-
	ing "Gunsmoke."
 
				BONNIE 
			(reading) 
		'...Some of the money will pay for 
		me to help my parents, some pay
		debts --- '
 
				MELVIN 
		Let's go on to the next.
 
				BONNIE 
		'Dear Mr. Dummar -- I have my own 
		wealth so I do not want a thing --- '
 
				MELVIN 
		Haven't we heard that one?
 
				BONNIE
		'Dear Mr. Dummar --- '
 
				MELVIN 
		Skip to the end, okay?
 
				BONNIE
		'P.S.  Do not give away the money
		until you have settled all your
		tax obligations to Uncle Sam.  Re-
		member Joe Louis.'
 
	Melvin yawns.
 
				MELVIN 
		I think that's enough for tonight, 
		Bonnie.
 
	He gets up.
 
				BONNIE
		Where you going?
 
				MELVIN 
		To bed.
 
				BONNIE 
		You're going to bed so early?
 
				MELVIN 
		I'm opening at six tomorrow.
 
				BONNIE 
		At six?
 
				MELVIN 
		I was talking to this guy from the 
		highway department -- he said they 
		may jog the new freeway by here --
		Labor Day, we'll never see another 
		car ---
 
				BONNIE 
		By Labor Day, you'll be a million-
		aire.

	Melvin smiles.
 
				MELVIN 
		Turn out the lights when you go to 
		bed, will you, honey?
 

203	EXT. RESIDENTIAL AREA - CALIFORNIA - NIGHT - ESTABLISHING
	SHOT
 
	Lynda and her new husband Bob's house.  The lights are out 
	in most houses.
 

204 	INT. LYNDA'S HOUSE - NIGHT 

	Lynda asleep next to her new husband Bob.
 
	The telephone rings with a chime.  Lynda wakes up, picks up
	the phone.
 
				LYNDA
			(into phone)
		Hello?  Who's that?  Is that you,
		Melvin?
 

205 	INT. MELVIN'S GAS STATION - NIGHT

	Melvin is seated in the darkened office of the gas station, 
	phone in hand.
 
				MELVIN
			(into phone)
		Yeah, it's me.

	Intercut:

				LYNDA
		God, Melvin, what happened?

				MELVIN
 		I dunno.  I guess that old wino
		really was Howard Hughes.

	Silence.
 
				LYNDA
 		Are you all right, Melvin?
 
				MELVIN
		Yeah, I'm all right.  How's Darcy?
 
				LYNDA
		She's real proud.
 
	Silence.

				MELVIN
		Don't let any of the kids at school 
		make fun or anything.
 
				LYNDA
		Don't worry, Melvin.  Melvin?
 
				MELVIN
		Yeah?

				LYNDA
		Melvin, I'm sorry I didn't believe 
		you.
 
				MELVIN
		Aw, Lynda, that's okay.
 
				LYNDA
		Melvin?
 
				MELVIN
		Yeah?
 
				LYNDA 
		Why did you call me?
 
				MELVIN 
		I dunno...I better go now.  Good-
		bye, Lynda.
 
				LYNDA 
		G'bye, Melvin.
 
	Bob, who has not stirred, moves as Lynda hangs up the phone.
 
				BOB 
			(drowsy)
		What was that?
 
				LYNDA 
		Nothing....
 
	Bob rolls over.  Lynda lies there staring at the phone.


206	EXT. CLARK COUNTY COURTHOUSE - DAY - ESTABLISH


207	INT. CLARK COUNTY COURTROOM - LAS VEGAS - DAY - MELVIN
 
	seated in the modern witness chair.  A spotlight set in a 
	cave in the ceiling.  The cave comes down to meet the witness 
	chair -- it gives the feeling the witness might be sucked up 
	into it.
 
 
208	COURTROOM - SPECTATORS
 
	The gallery filled, up front is Melvin's family, sisters,
	brothers, mother and father.  On another bench, Lynda with 
	Faron and Darcy.  Beside them, Bonnie with her children. 
	Other spectators, Lucy from Reno, Little Red, Mrs. Worth, 
	Tina from the Cottonwood Ranch and Fred Smith.
 

209	ON THE BENCH 

	Judge Hayes, a short, unhealthy-looking young man.  He bends 
	down towards Melvin.
 
				JUDGE HAYES 
		Melvin, turn your chair around and 
		face me.
 
	Melvin turns his chair around.
 
				JUDGE HAYES 
		Are you lying, Melvin?
 
				MELVIN
		No, sir.
 
				JUDGE HAYES 
		Melvin, I want you to know there is 
		a still, small voice that many 
		people are blessed with that tells 
		them when the truth is being spoken. 
		It has been said, 'What doth it 
		profit a man if he gain the whole
		world yet lose his own soul?'  If
		you are lying, Melvin, which you 
		are, in my opinion, your soul may 
		be in jeopardy, but I am not con-
		cerned about your soul, Melvin, 
		right now I am concerned about your 
		hide, because if I find that you 
		are lying before this Court, I will 
		make it a special duty to have a 
		piece of your hide.  I will direct 
		that the district attorney bring a 
		criminal prosecution against you and 
		I will make it my special project 
		that if you are convicted I will 
		recommend that you do prison time. 
		And I want you to know Nevada State
		Prison is no country club like the
		Gabbs local jail or wherever you 
		have served time.  If you're lying,
 		you're going straight to Nevada 
		State Prison.  All right, Melvin?
 
				MELVIN
		You bet, Your Honor.
 
				JUDGE HAYES 
		Brother Dummar, I want the truth.
		Where did that will come from?
 
				MELVIN
		A man brought it to the station.
 
				JUDGE HAYES 
		You persist in the answers that
		were elicited from you this morning?
 
				MELVIN
		I do, Your Honor.
 
				JUDGE HAYES 
		Do you know who wrote the will?
 
				MELVIN
		I do not know.
 
				JUDGE HAYES 
		Did you in any way participate in 
		the preparation of that will?
 
				MELVIN
		No, I did not.
 
				JUDGE HAYES
		Do you know of anyone else who
		participated in the preparation 
		of that will?
 
				MELVIN
		No, I don't.
  
 	The Judge looks down at the battery of lawyers.  He sighs.
 
				JUDGE HAYES 
		Gentlemen, I've done my best.
 

210	CORRIDOR - COURT HOUSE 
 
 	Melvin surrounded by his relatives and Bonnie and Lynda and
	the children.  Syvella, his sister, holds up a sign "We're 
	with you, Melvin!"
 
 	The court bell rings, everybody hustles back, Melvin finds 
	himself standing for a moment with Lynda and Darcy and Faron.
 
				LYNDA
		You're doin' good.
 
				MELVIN
		You think so?
 
				LYNDA
		Real good.
 
 	Lynda hesitates.
 
				LYNDA
		Bob ---
 
				MELVIN
		Who's he?
 
				LYNDA 
		My husband wishes you luck. 

 				MELVIN
		Well, you thank him.
 
 	The bells rings again.  Melvin picks up Faron.
 
 				MELVIN
			(to Darcy)
		You hold on to Faron, honey.  Give
		your mama a rest.
 
	Darcy takes Faron.
 
				LYNDA 
		What happens now?
 
 				MELVIN
		I got to face the meanest lawyer 
		in the whole damn world.
 

211	INT. COURTROOM
 
	Harvey Maxwell, an urbane five-foot seven-inch man from Los
	Angeles, is examining Melvin.

				MAXWELL 
		How did you open the envelope?
 
				MELVIN
		Steamed it open.
 
				MAXWELL 
		Why didn't you take a knife or a 
		letter opener and open it the way 
		everybody else opens an envelope?
 
				MELVIN
		I was scared.
 
				MAXWELL 
		What were you scared of?
 
				MELVIN
		That it might actually be true.
 
				MAXWELL 
		Why was that frightening?
 
				MELVIN
		I don't know.
 
				MAXWELL 
		Had you ever performed this little
		act before of steaming open an
 		envelope?
 
				MELVIN
		Yes.
 
				MAXWELL 
		What were the occasions for this 
		activity?
 
				MELVIN
		Looking at letters that my ex-wife 
		had written to her boyfriend and 
		what have you, before she could
		mail them.
 

212	LYNDA
 
 	She smiles at Melvin reassuringly.  Syvella raises the sign.
 

213	ON MELVIN AND MAXWELL
 
				MAXWELL
		Why did you take the will to the 
		church?
 
				MELVIN 
		Because I was too afraid to take it 
		anywhere else.
 
				MAXWELL
		Say that again.
 
	Melvin hesitates.
 
				MELVIN 
		I thought they would help me.
 
				MAXWELL
		Mr. Dummar, you believe, do you 
		not, that if in the name of God, 
		you lie, God will hear you and 
		you will incur his wrath.  You 
		believe that don't you, Mr. Dummar?
 
				MELVIN 
		Yes, I do.
 
	Suddenly Maxwell darts across the room, snatches up from the 
	counsel desk a weather-beaten Bible.
 
				MAXWELL
		Mr. Dummar, I have a Bible here. 
		Please stand up.
 
 	Melvin stands.
 
				MAXWELL
		Put your hand on it, raise your 
		right hand.
 
	Melvin raises his hand.

				MAXWELL
		Do you swear before God that this
		story about how that will was left
		to you is the truth?
 
				MELVIN
		I do.
 
				MAXWELL
		All right, sit down.

	Melvin sits.

				MAXWELL
		That's all for now.  Mr. Frost?
 
	Frost, a Los Angeles lawyer for Hughes' relatives, heads 
	straight for Melvin.
 
				FROST
		Can you give me one reason on earth 
		why this strange man would have left 
		that will with you, Melvin Dummar?
 
				MELVIN
 		No, I don't.  I've been wondering
		that myself.
 
				FROST
		Did you come up with an answer?
 
				MELVIN
		No, I haven't.
 
				FROST
 		Melvin, isn't it true you can't 
		come up with an answer because it
		never happened that way?
 
				MELVIN  
		That is the way it happened.
 
				FROST
		Well, Melvin, if it meant eternal 
		damnation in hell would you just 
		say it still happened that way?
 
				MELVIN  
		Yes, I would.
 
				FROST
 		Melvin, you know, don't you, that 
		perhaps other than your relatives,
		there is nobody in this courtroom
 		who believes you.  You know that,
 		don't you?
 
				MELVIN 
		I don't know what people believe. 
		And I don't care.  People have
		been calling me an asshole all my
		life.  And it don't matter either
		way.
  
	The courtroom erupts, Judge Hayes slams his gavel. 

	Melvin leans back.  Darcy waves.  Melvin waves back.
 
				FROST 
		Let's go back to when you got the
 		will, and everybody celebrated and
		you were a national hero, Melvin. 
		And they asked you about your
		getting over a hundred million
		dollars and I think you sobbed, 
		choked, went into a sort of deep, 
		heavy mood.  I was kind of caught 
		by it as I watched it on TV, but 
		then my wife said, 'My God, it is 
		just like the women on the game
		shows!'  I don't watch the game
		shows myself, but soon after I 
		learned you had gotten your wife
 		on one.

 	Melvin looks at Lynda.  She waves.
 
				FROST
		Let's go through the Golden Gate
		together, Melvin.  Tell us the real
		truth.  I know the dream is so much 
		better -- My God, I was a child in 
		Minnesota during the Depression and 
		I can remember, kind of hoping one 
		of those trucks going by might have
		a box of chewing gum on it and it 
		would fall off.  That was the dream 
		-- it never happened.  And I never 
		tried to make it happen.
 
 	Frost takes a deep breath.
 
				FROST
		Let's make a deal, Melvin.  Tell 
		us the truth and you know what I'll 
		give you -- I'll plead in your be-
		half a whole day to have the judge 
		give you probation.  But if you don't 
		tell the truth, I'll do my utmost 
		to see you never breathe another 
		free breath in the state of Nevada.

	Silence.

				JUDGE HAYES 
		Mr. Dummar, do you wish to make any 
		response to what I would characterize 
		as an offer from Mr. Frost?
 
				MELVIN 
		I would like to say I don't know if
		the will is a forgery or not.  If
		it is, I didn't do it.  And if it
		isn't --
			(shrugs) 
		I guess it's for real.
 
				FROST
		That's no deal, Melvin.
 
				MELVIN 
		I know that. 

				FROST
		And I'm sorry. 

				MELVIN 
		Yes, sir.
 
	Frost stalks back to the counsel table.  He is exhausted. 
	Pilbrow, another lawyer, rises unsteadily.  Looks at Melvin.
 

214	PILBROW'S POINT OF VIEW - MELVIN
 
	Fresh as a daisy, his head tucked into his neck, he is snapping 
	his fingers, trying to get a rise out of Faron.
 
                          
215	MELVIN'S POINT OF VIEW - LYNDA
 
	raises Faron's hand with hers, waves to Melvin.
 
 
216	INT. MELVIN'S HOTEL ROOM - LAS VEGAS - DAY
 
	Melvin is packing, Roger Dutson, Melvin's lawyer enters, a 
	broad smile on his face.
 
	Melvin looks up.
 
				ROGER
		You did it, Melvin.  The Judge set 
		a trial for July 6 ---
 
				MELVIN
		What does that mean?
 
				ROGER
		That means he believes you.  On 
		July 6th, they're going to deter-
		mine the validity of the will. 
		Like he said, 'It's the only will
		we've got,' plus the positive
		testimony by the handwriting ex-
		perts.  I think the will is going
		to be admitted to probate.  You're 
		going to get your inheritance.
 
				MELVIN
		You think so?
 
				ROGER
		Of course it's going to be a long,
		long road -- but we've won the
		first battle.  I can tell -- the 
		T-shirt people called again --
		Rockwood Dairy says they'll lift 
		the garnishes on your entire
		earnings at the filling station ---
 
				MELVIN
		Really?
 
				ROGER
		The T-shirts are an easy fifteen 
		thousand.  What do you say?
 
				MELVIN
		No, thanks ---
 
				ROGER
		But you can use the cash ---
 
				MELVIN
		You want to get paid?
 
				ROGER
		No no no -- it's just they started 
		paving the freeway today down from 
		the gas station -- within two weeks, 
		you're going to be pretty lonely up 
		there.
 
				MELVIN
		Don't worry about me.
 
	Roger sighs.
 
				ROGER
		Well, you won, Mel --
 
				MELVIN 
		Then what are you so sad about?
 
				ROGER
		I just hope you don't have any
		illusions.  They'll fight it 
		through every court they can --
		the relatives -- Summa -- 
		meanwhile the government'll be 
		taking out taxes -- the states'll 
		be taking out taxes -- the 
		lawyers'll be taking out legal 
		fees -- the money's going to 
		be siphoned off --
 
				MELVIN 
		I knew all that the day I found 
		the will.
 
				ROGER
		You're kidding.
 
				MELVIN 
		Melvin Dummar's never going to 
		see 156 million dollars -- in 
		fact he's never going to see 
		a dime.
 
 	Melvin closes his suitcase, puts it on a cart and pushes
	it out the door.
 
				MELVIN 
		But Howard Hughes sang Melvin 
		Dummar's song.   Howard Hughes 
		sang 'Santa's Souped Up Sleigh.'
 
	The door slams.
 
				ROGER
			(bewildered) 
		'Santa's' what, Melvin?
 
 	Melvin has gone.
 

217 	EXT. CLARK COUNTY COURTHOUSE - DAY
 
	Melvin rolls up in Little Red's old car, Lynda is standing
	on the sidewalk with Faron and Darcy.
 
				MELVIN 
		Sorry --
 
				LYNDA
		It's okay.  Gave me a chance to
		get them fed.  You really want 
		to do this?
 
				MELVIN
		See my kids?  Get them out of
		that smog?  You kiddin'?
 
	Lynda looks at the car doubtfully.
 
				MELVIN
		Little Red lent it to me for
		the trip.  He went back up with
		Bonnie in the tow truck. 
			(to Darcy) 
		Hop in, kids.  There's Lifesavers 
		and comic books back there.
 
	Darcy pushes Faron into the back seat.
 
				MELVIN
		I bought a pair of shoes for 
		Faron -- help him try them on, 
		Sister.
 
 	Darcy takes Faron's shoes off.
 
				MELVIN
		You got money to get back to 
		L.A.?
 
				LYNDA
		Don't worry about me, Melvin.
 
				MELVIN
			(smiles) 
		It's in my blood.
 
				LYNDA
		You're not going to hassle me 
		when I want them back end of
 		the summer?

				MELVIN
		You've got my word.
 
				LYNDA
		That's what I'm afraid of.
 
				MELVIN 
		Howsa bout you takin' me back
		the end of the summer?
 
	Lynda smiles.
 
				LYNDA
		You're married, Melvin.
 
 	Melvin shrugs.
 
				MELVIN 
		So are you.
 
 	Lynda smiles again.

				LYNDA
		I do miss it sometimes, Melvin 
		-- it was always exciting.
		Lousy -- but exciting.
 
				MELVIN 
		We could make it that way again.
 
				LYNDA
		It is now.

 	Lynda smiles once more.
 
				LYNDA
		Give us a kiss.
 
	She kisses him hard.  He blushes.
 
				MELVIN
		End of the summer? 
 
				LYNDA
		Maybe.
 
	Now he piles into the car.
 
				LYNDA
			(yelling)
		G'bye, kids!
 
	But Darcy is reading a comic book out loud to Faron. They
	don't even look up.
 
 
218	EXT. TONOPAH HIGHWAY - LATE AFTERNOON
 
	Melvin rolling along in Little Red's car.  Darcy and Faron
	have moved into the front seat, sound asleep.
 
	Melvin rests his hand on Darcy's forehead.


219	ON MELVIN THROUGH WINDSHIELD
 
	Windshield, a raindrop, then another.  Then a sudden 
	downpour, a desert shower, stopping almost as soon as it
	starts.
 

220	ANOTHER ANGLE - MELVIN'S POINT OF VIEW
 
 	The rain clearing, just a gray sky. He opens the window.
	Howard opens his window. They're in Little Red's car.
 

221	ON MELVIN
 
	breathing in the desert after the shower.
 
				MELVIN 
		Greasewood.
 
				HOWARD 
			(breathing in)
		Sage.
 
				MELVIN 
		Nothing like the smell of the
		desert after the rain.
 
				HOWARD 
		Greasewood and sage.
 
	They roll along for a while.
 
				HOWARD 
		How about letting me drive?
 
				MELVIN 
		You?
 
				HOWARD 
		Just for a little while.
 
				MELVIN 
		Drive?

				HOWARD 
		I'm a goddamn good driver ---
 
				MELVIN 
		You haven't driven a car since 
		they put out the last Hudson.
 
				HOWARD 
		I'm a goddamn good driver.  I'll 
		bet you.
 

222	ON MELVIN 

	He looks at Howard.
 

223	ON HOWARD 

	waiting.
 

224 	ON MELVIN 

	Smiles, pulls off the road.
 
				MELVIN 
		When we get to Vegas, I'll run 
		her into town.
 
 	Howard hesitates.
 
				MELVIN 
		Take the wheel, ol' timer.
 
 	Howard gets out and Melvin slides over.
 

225	MELVIN'S POINT OF VIEW
 
	Howard looking carefully at the dashboard.  Very slowly
	he puts the car into gear, very slowly he releases the 
	brake, and very slowly he rolls it out onto the road.
 

226 	ON MELVIN AND HOWARD
 
 	Melvin watching as Howard drives.  Howard watching 
	Melvin watching him.  Now Melvin's head begins to nod. 
	His eyes close.
 

227	ON HOWARD
 
 	Driving, now he turns, sneaks a look at Melvin who is
	sound asleep beside him.  Gives the car a little gas
	and begins to sing.
 
				HOWARD
			(singing quietly) 
		'Make my bed 
		And light the light
		I'll arrive
 		Late tonight 
		Blackbird! 
		Blackbird! 
		Bye!  Bye!'
 
 	Howard props his arm out the window, adjusts the mirror, 
	now he gives the car more gas. 

	He is very happy.
 

228	MELVIN'S CAR 

	rolling down the highway to Las Vegas.  From it --
 
				HOWARD (v.o.)
			(singing)
		'Pack up all my cares and woes 
		Singin' low 
		Here I go 
		Bye bye blackbird....'
 
	The car becomes a dot.  It never disappears, nor does 
	the music end.

					FADE OUT

 
				THE END
 
 

February 1, 1979 revised first draft screenplay by Bo Goldman


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