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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