Friday, August 24, 2007

S i n g l e R o o m O c c u p a n c y


Original Feature Film Screenplay by Paul Iorio



Here is a scan of the entire 130-page manuscript of

"Single Room Occupancy," published here for the first time

and available nowhere else.


This is the copyrighted version I wrote in 1995 and 1996.


There was movie industry (and HBO) interest in the

script at the time, though it was never made into a

feature film, and I'm not actively trying to sell it

anymore.


The plot, which really intensifies in the last 50 pages

or so, is about the sabotage of a reformist political

candidate in Hoboken, New Jersey, and it is fiction.


Keep in mind that every word of this was written

before Thanksgiving 1996 -- many years before

"The Sopranos" was even conceived -- so you can see

how it preceded that program in terms of subject

matter (e.g., the NJ mob milieu) and characters (e.g.,

my character Diane Milano was invented and copyrighted

long before Meadow Soprano was!).


Anyway, I'm presenting it here because most people

have never had a chance to read it, and I bet some

would enjoy it. Those who read it closely will catch

some subtle plot elements. (If I were writing

this today, by the way, I just might have the main

character hit the city government of Hoboken with

RICO charges.)


Just click on a page to enlarge it.






























































































































































































































































































































































THE END

_____________________________________________________
_____________________________________________________


Here's a second original screenplay by Paul Iorio:

It's a fictionalized story of a non-fiction murder case

that I solved in 1990. "60 Minutes" and "The Village Voice"

were both interested in doing a story based on my findings

at the time -- until key sources became too afraid to talk

on the record. Ultimately, with so many sources off the record,

I found the only way I could tell the tale was to create this

fictionalized version.


By the way, the screenplay is currently an inactive project

business-wise (meaning that I'm not trying to sell it anymore),

so there is of course no conflict of interest in my writing about

movies for various publications (the screenplay was written before

I reported about movies professionally).


Copyright 1995. I started writing it in 1990, initially

calling it "Number One Bullet," but wrote most of it in

'94 and '95. I also revised it in '97 and further revised

it in 2003, and that latest version is presented here.





The Buzz



Original Screenplay

By Paul Iorio
copyright 1995




Opening credits roll to the music of The Kinks's song "Top of the Pops,"
which begins with a flashy drum roll and the spoken words, "Yes, it's number
one, it's top of the pops!" (it's a song about the glory of going to the top of
the record charts).

Credits end and action begins at:

INT. THE RITZ NIGHTCLUB, GREENWICH VILLAGE -- NIGHT

From the balcony level, we see a punk band roaring through a chaotic set,
with the singer wearing only underwear, the bassist spitting beer in the air, the
bass drum bearing the name of the band, The Amazing Graces. The crowd
moshes wildly in the front rows.

Two twentysomething pals, TONY ARMONICA and ALEX DARROW,
watch the show from the balcony. Tony, a music journalist, is dressed a bit
conservatively by rock standards, in a white shirt, beige khakis and with short
hair, sort of David Byrne-style. Alex, the black director of music sales charts
for Big Hitz magazine, is wearing horn-rimmed glasses and a t-shirt with a
green comic book Spiderman on it.

The band ends its set with blaring feedback, and Alex and Tony file out with
the rest of the crowd.

TONY

Some gig, huh?

ALEX

Scorcher.

PAGE TWO


EXT. THE RITZ -- NIGHT

Alex and Tony walk from the Ritz in the Village amidst throngs of fans in
torn jeans and t-shirts reading Husker Du, Soul Asylum, the Ramones and
SST. The club's marquee -- "Tonight: The Amazing Graces -- Sold Out" --
recedes in the background as Alex and Tony are seen (but not heard) chatting
on the way to Tony's car.

The two get in Tony's Fiat and we see the post-concert street scene through
the windshield from their POV.

TITLE CARD: Memorial Day, 1987

Tony drives off with Alex.

INT. CAR -- NIGHT

TONY

This time last year the bandmembers were office temps.
Now they pack the Ritz.

ALEX

Actually, a couple of 'em are still temping, I hear.

TONY

They'd be top ten, if the charts were honest.

ALEX

So would R.E.M.



PAGE THREE
TONY

Speaking of which, wanna hear an advance tape of R.E.M.'s
new one? It's called "Document."

ALEX

Sure.

The traffic is stalled ahead in his lane, and Tony gets impatient, pulling into
the lane for oncoming traffic before rejoining his lane.

TONY

Fifth gear sure comes in handy.

ALEX

Man, you coulda got us killed.

TONY

It worked, didn't it?

ALEX

Sometimes I dunno about you. You're either really brave
or really suicidal.

Tony slips in a cassette, and we hear REM's "It's The End of the World As
We Know It" at medium volume as they small talk.

TONY

So how's the new job? Hear you're running
the charts at Big Hitz, my alma mater.


PAGE FOUR

ALEX

Sucks.

TONY

Hear the magazine's still got a great dental plan: on
your first day, they hand you a toothbrush.

ALEX

Oh, yeah.

TONY

One minute you're Alex the lowly researcher
and the next you're in charge of the Hot 100.
Did I miss something?

ALEX

Did I miss something? My boss, that Joe Montana guy,
comes in last week real nervous and suddenly quits.

TONY

Like that?

ALEX

Like that.

TONY

No explanation?


PAGE FIVE

ALEX

No nothing. He gave up twelve years of seniority!

TONY

Why do you think he did it?

ALEX

Dunno. Maybe the pressure, the promoters.
They're always like, "Gimme a top ten."

TONY

A what?

ALEX

A top ten number on the charts for their record.
It's like, "Hey, Montana usedta give me a number
for an advertisement or a few bucks."

TONY

[shocked] Really? That's sure not how they
do it at Billboard or R&R.

ALEX

Well, this aint Billboard. And I'm getting
tired of sending back the fifty dollar bills in his cassettes.

TONY

You mentioned it to the big boss, Sterling?

PAGE SIX

ALEX

It's always, "Uh, no time."

They stop at a red light and notice the high beams of the car behind them.

TONY

High beams. What a jerk. I wish cars had
high beams in the back so I could retaliate.

A bus passes with a huge display ad reading: "U2 at the Garden, July 15."
Tony tries to jot the date but his pen breaks.

TONY

You gotta pen?

ALEX

Here. [Alex hands him a novelty promotional pen
with a tuning fork at the end.] Keep it.

TONY

You sure that's a pen?

ALEX

Yeah. A Buzzpen.

TONY

Buzzpen?



PAGE SEVEN

ALEX

The Buzz sends 'em out. It's a pen and a tuning
fork and it buzzes.

Alex demonstrates, taking the pen from Tony and hitting the dashboard with
it, causing a buzz. He hands the pen back to Tony, who writes down the date
of the U2 show.
TONY

So who's The Buzz?

ALEX

Local promoter. CHR radio, singles mostly. Real
name is Frank Buzzardo or something. Promotes
losers who can't chart.

The high beams of the car behind them fills the car with light.

TONY

High beams again. Prick.

Tony arrives at Alex's apartment house in the west Village (on Ninth Street
off Sixth Ave.) and parks the car.

ALEX

Here we are at my rent stabilized abode.

TONY

Is Susan staying at your place tonight?



PAGE EIGHT

ALEX

No, she's at hers. Hey, you gotta come
upstairs; I just bought the campiest album
of all-time: "The Tom Jones Fever Zone" LP
from 1969.

TONY

"The Tom Jones Fever Zone"! [laughs] Where'd you get that?

ALEX

Rocks in Your Head.

Alex looks out the window and gazes briefly at a nearby car that has
autumnal leaf and flower droppings on its roof and hood (unlike all the other
nearby cars).

TONY

I'll come up for a few. But only if I can
watch the Carson monologue.

ALEX

You got it.

Tony turns off the ignition but the R.E.M. tape continues, now playing the
ominous "King of Birds."

ALEX

Y'know, we oughta connect for Bowie at the
Meadowlands next week. I've been looking
forward to it since --

PAGE NINE

Alex is interrupted by someone with a ski mask at his window who raises a
revolver; Alex quickly rams his door into the gunman and runs for his life
down 9th St. The gunman drops his gun and is briefly knocked aside by the
car door but recovers his revolver and chases Alex at top speed. The gunman
has a slight limp that doesn't slow him a bit. Tony runs after the gunman, who
is far ahead of him.
ALEX (running)

Shit! I'm dying already!

TONY (running after gunman)

Run, Alex! Don't look back! Run!

The gunman shoots once at Alex and misses, then shoots from a half-block's
distance, blowing off part of Alex's left shoulder. Alex falls to the ground
shouting in pain. The gunman runs toward Alex, bends over him and puts
two bullets in his head at very close range before running off into the deserted
night. Tony watches in horror as he runs over to Alex's body and falls to his
knees. (In the background we see Tony's car, the doors open, the car's tape
player playing the droning ending of "King of Birds," with the lyrics,
"Everybody hit the ground, everybody hit the ground.") He screams "Alex!"
once, and the screen goes black.

CUT TO:

INT. POLICE STATION -- NIGHT

An overhead fan spins as Tony, sweaty and raw from the heat and the night's
trauma, sits at a rectangular table in a dimly lit police interrogation room.
Flies are buzzing and the air conditioning is out. The wall clock reads 11:50.

A rotund DETECTIVE DALEY walks in, munching on peanuts and
accidentally bumping into a couple chairs. His assistant, a deferential rookie
named QUAIL, walks behind him.


PAGE TEN
DETECTIVE DALEY

[Pulls up a chair noisily, looks down at the police report
and says to Quail:] Looks like we have a 125,
maybe a 125.27, and definitely a 240, a definite 120,
a possible 460, but we have to know more.
And we need to investigate the possibility
of a 105. Got that?

OFFICER QUAIL

Yessir. How 'bout a 160?

DETECTIVE DALEY

No 160; no robbery involved.
[He turns to Tony.] So what can you tell me?
Did ya get a look at the guy who did it?

TONY

He was in a ski mask. Maybe six feet, 200 pounds,
running with a sort of limp. But that's about it.
[Tony swats at a fly with his hand.]

DET. DALEY

[Glances at a TV monitor with sound down on the wall.]
Hold on: looks like something's on the news about
the case. [He gestures to Quail to turn up the TV, and Quail
quickly does so.]

A local news station is on the air with the words "Breaking News" on the
screen. An anchor appears.




PAGE ELEVEN
NEWS ANCHOR (on TV)

This just in to the newsroom. At this hour, police are
investigating the murder of a 23-year-old music industry
employee in Manhattan. The victim -- whose name
is being withheld pending notification of his family -- was
reportedly chased down West Ninth St. and shot at close range
by a person wearing a ski mask and gloves. We'll have more
details on this as they become available. For now, our features
correspondent in Coney Island has an update on Clara, the
panda bear who shocked her owner last week by supposedly
speaking several complete sentences in French.

DET. DALEY

A talking panda bear. Now I seen it all.
[He stuffs peanuts in his mouth and motions
to Quail to cut the sound, which he does. He turns
to Tony again.] So is there anything else you can tell
us about what happened? Did he have any enemies
that you know of?

TONY

None I know of. Though he did mention he was being pressured
to acccept bribes at work. He ran the music charts for
a trade magazine.

Daley jots notes, glances at his watch and seems not entirely interested in the
case.
DET. DALEY

So there was pressure on the job but no real enemies
that you know of. Okay, I think we have enough for now.
We really have to break off here.



PAGE TWELVE
TONY

Can I use the phone to call his girlfriend?

DET. DALEY

Sure. On the desk there. You can have the room
to yourself.

[Daley and Quail leave the room and shut the door. Tony picks up the phone,
dials Alex's girlfriend SUSAN ADLER and hears "hello."]

TONY (talking on the phone)

Susan, hi.

INTERCUT TO:

INT. SUSAN ADLER'S APT. ON WASHINGTON SQUARE -- NIGHT

[Susan, with long black hair and jeans, sits near a window overlooking the
arch in Washington Square Park in the Village.]

SUSAN (on the phone)

[playfully] Hey, Tony. So why aren't you busy
reviewing the Amazing Graces? [We hear Tony from
her phone: "Sit down, Susan. There's some
bad news."]

SUSAN (on phone)

You sound terrible. What happened? Where's Alex?





PAGE THIRTEEN

INTERCUT BACK TO:

INT. POLICE INTERROGATION ROOM -- NIGHT

TONY (on phone)

Uh, we didn't -- I mean, he didn't -- he didn't --

[We hear Susan from his phone: "He didn't what?"]

TONY (on phone)

We ran into a problem. Alex is gone. He's been
shot. I couldn't help him. [He bangs his fist on the table.]
Dammit, I told him to run! I told him to run! [Tony
breaks into tears and the conversation ends. Screen
goes black.]

CUT TO:

TITLE CARD: Three Days Later

Tony, visiting several music industry executives as part of his investigation of
Alex's death, stops at a corporate office on West 57th St., the headquarters of
the small Pacific Records label, whose president is STAN TILDEN.

INT. RECEPTION AREA OF STAN TILDEN'S OFFICE -- DAY

Tony pushes open the glass door (bearing the words "Pacific Records -- Stan
Tilden, President") and approaches the RECEPTIONIST, a new wave
looking woman in her early twenties.

RECEPTIONIST

Stan's been waiting for you. Come in.


PAGE FOURTEEN

INT. STAN TILDEN'S OFFICE -- DAY

Tony walks into Tilden's office, which has a 25th-floor view of midtown
Manhattan and gold records on the walls. On one wall is a framed yellowed
Billboard magazine clipping with the headline: "Pacific Signs Brendan
Skye." Tilden, who looks a bit liked Harry Dean Stanton in his thirties, still
speaks with a southeastern accent, a holdover from his North Carolina
upbringing, though he's a long-time New Yorker.

TILDEN

Glad you could come.

TONY

My pleasure.

They both shake hands and sit down.

TILDEN

I hear you're investigating Alex's murder. Any idea
who did it?

TONY

Not yet. [Tony takes out his tape recorder and puts it on
his desk.] Mind if I record this?

TILDEN

No, go ahead.

TONY

Alex told me he had had lunch with you the day he died.

PAGE FIFTEEN
TILDEN

We did. He was scared that day.

TONY

Of what?

TILDEN

Look, Tony, I want this so far off the record we're in
Guam, hear?

TONY

Okay, we're in Guam.

TILDEN

[pause] Alex told me the pressure was getting to be more
than he could bear. Promoters wanted to buy their way to
the top of the charts. [Lights a cigarette nervously.] I run
Pacific Records, so I shouldn't even be talking to you. But I
loved that kid. So let me put it this way: Let's suppose.

TONY

Okay.

TILDEN

Let's suppose promoters paid for a top ten position by
overpaying for advertisements in the magazine. Y'know,
placing a full-pager but paying double.

TONY

Just supposing.

PAGE SIXTEEN

TILDEN

And suppose everybody before Alex, including Joe Montana,
always took the bribes, but Alex didn't.

TONY

Who was pressuring him most?

TILDEN

I don't name no names. But it can be figured out. Just
look at who was taking out advertisements in the
weeks before the murder and see if the advertised record got
a number in Big Hitz that was higher -- substantially higher --
than the honest number in Billboard.

TONY

But Big Hitz and Billboard have different reporting
stations, don't they?

TILDEN

Not that different. Also, look at the Big Hitz number for
the advertised record the week Alex took over compared
to its number during the last week Montana worked. In
other words, look at the charts the first week the bribes
weren't happening. Just supposin' now.

TONY

But how do you connect the ads to any one person?




PAGE SEVENTEEN


TILDEN

The promoter's name is listed at the bottom of the ad.
That's your man.

TONY

Alright tell me this: why would a singer pay to get on a chart
everyone knows is rigged?

TILDEN

'Cause not everyone knows it's rigged. A high chart
number in any trade's a huge boost. See,
Big Hitz may be out to lunch, but it's out to lunch in 17
countries and Puerto Rico -- the only trade besides Billboard that's
worldwide. So promoters'll pay $10-$15 thou per record.

TONY

It's that serious?

TILDEN

Someone's dead, aint they? You tell me. [He gets
buzzed by the receptionist.] Look, gotta step. But good
luck with finding out who did this. By the way,
how's Brendan?

TONY

He's fine. Still managing Custer.




PAGE EIGHTEEN

TILDEN

I'm glad I signed Brendan back in '79 but his record
just didn't sell. We did everything we could. I
really wish him well in management. And I always tell
him, if he ever runs into any financial trouble to call
my brother Paul on Wall Street.

TONY

Thanks for your time. [He takes his tape recorder
and puts it in his bag.]

Tony walks through the reception area (the receptionist waves sweetly),opens
the glass doors and walks out into the waiting area for the elevator.

INT. ELEVATOR WAITING AREA -- DAY

Tony waits for the elevator and is abruptly approached by an absurdly
FEARFUL GUY in his forties wearing slightly ridiculous cloak-and-dagger
garb, his collar pulled up and a hat pulled down.

FEARFUL GUY

[Comically nervous] Are you that reporter
asking about the murder?

TONY

I'm a reporter, yeah.

FEARFUL GUY

Well, I'm Calvin Hoover, indie promoter. And I know the
secret story behind the Darrow murder. [Looks around
furtively.] It was a mistaken identity hit.

PAGE NINETEEN

TONY

How do you know that?

CALVIN HOOVER

The killer wanted to murder me instead. He mistook
Alex for me.

TONY

[incredulous] You?! Are you serious?

CALVIN HOOVER

Yes, because I'm very outspoken, controversial.

TONY

Mr. Hoover --

CALVIN

Calvin.

TONY

Calvin, with all due respect, you don't look anything like
Alex. I mean, you're white and Alex is black.
Alex was in his twenties and you're not.

Calvin is startled by a loud ring from the elevator, which has just arrived.

CALVIN HOOVER

Oh, no! They're coming for me! I can feel it!

PAGE TWENTY

Calvin runs for the stairway and disappears.

Tony shakes his head, smiles and calmly boards the elevator.

CUT TO:

INT. POLICE INTERROGATION ROOM -- DAY

Tony sits down at the rectangular table, the overhead fan spinning.

DET. DALEY

So you're investigating the murder as a freelancer.

TONY

Yeah. Wondering if you have any leads yet?

DET. DALEY

Nothing that would've caused a bloody nose much
less murder.

TONY

People in certain circles say it was music-related, he was
killed because he refused bribes.

DET. DALEY

We've looked into that, talked to the main promoters:
Dykstra, Vance Wurmland, that guy Tom Coffee. What
a character, that Tom Coffee. He'll talk your ear off about
Presley. [Imitating him] "Elvis owes me money!"



PAGE TWENTY-ONE

TONY

He told me that, too.

They share a laugh.

TONY

Everyone's pointing to a promo guy named Frank Buzzardi,
nicknamed The Buzz.

DET. DALEY

[turns red in the face] Who?

TONY

Buzzardi. Three completely separate sources went out
of their way to say he might be involved.

DET. DALEY

Who says that?

TONY

That's confidential.

DET. DALEY

[Trying to change the subject.] So did you know Alex well?

TONY

Oh, yeah. Met him right after I moved to Manhattan
from Burbank.

PAGE TWENTY-TWO

Tony's face is seen in a tight shot, as he flashes back in memory.

CUT TO:

EXT. AERIAL VIEW OF SAN FERNANDO VALLEY -- AFTERNOON

We see vast stretches of deep suburbia, palm trees and lots of sunlight that
contrast with the dim police station of the previous scene.

TONY [voiceover]

I came up in the San Fernando Valley suburbs, where
my first real job was as a newswriter for the
Los Angeles Chronicle.

EXT. THE L.A. CHRONICLE OFFICES -- AFTERNOON

Wide shot of the newspaper building and adjacent hotel (on Sunset Blvd. east
of Fairfax in L.A.). There's a sign saying: "Temporary Offices of the L.A.
Chronicle" and a next door sign reading: "Mirage Motel: Weekly Rates."

CUT TO:

INT. NEWSROOM OF THE L.A. CHRONICLE -- AFTERNOON

A younger Tony (circa 1979) sits at his newsroom desk while an EDITOR
with a serious sunburn, Barnum Wiggles, stands over him against a
backdrop of loud overhead florescent lights.

EDITOR

Okay, no more daredevil stuff. I heard you chased the
guy on trial for killing his wife -- the CEO of
Palentine -- down the courthouse hallway, asking him
repeatedly whether he had found the murderer of
his wife yet.


PAGE TWENTY-THREE

TONY

I sure did. He always says he's looking for the killer and
denies he murdered his wife. So I simply asked whether he
had found the culprit.

EDITOR

Three times?

TONY

He didn't answer me the first two.

EDITOR

I guess it wouldn't mean anything if you knew he sits on
the board of a company that was one of our biggest
advertisers.

TONY

No, it wouldn't.

EDITOR

Look, Tony, the "without fear-or-favor" thing only applies
to non-advertisers. We've got to fear and favor our boosters
if we're going to stay in business. And if that's not okay
with you, you're free to go to Greenwich Village [he
pronounces it Green-witch] or some place.

TONY (voice over)

So I did.


PAGE TWENTY-FOUR


CUT TO:

EXT. AERIAL SHOT OF MANHATTAN SKYLINE -- AFTERNOON

The dramatic opening chords of The Cars's "Bye Bye Love" accompany an
aerial view of midtown Manhattan that shifts toward the East Village. The
panorama moves lower and lower toward the East Village as the song
continues, gradually zooming to street level on the Bowery near Bleecker
Street.

TITLE CARD: The spring of 1979, the East Village.

EXT. BLEECKER STREET SIDEWALK -- DAY

Tony walks west along Bleecker Street from the CBGBs rock club.

The sidewalk is crowded with New Wave and Punk aficionados in their early
twenties wearing wraparound shades, Fiorucci pants, and t-shirts with the
names of bands and clubs like Richard Hell, the Mudd Club, the Gang of
Four.

People are carrying copies of newspapers and fanzines like the New York
Rocker, the East Village Eye and the Soho Weekly News. We hear the
Talking Heads's "City" as Tony, with a slightly spikey haircut and a
characteristically conservative button-down shirt, walks to the offices of the
East Village Eye.

EXT. EAST VILLAGE EYE NEWSPAPER BUILDING -- AFTERNOON

Tony walks into a building on Bleecker that has an East Village Eye sign in
the window; there's an incidental sign nearby reading "Tailors since 1919."





PAGE TWENTY-FIVE

CUT TO:

INT. EAST VILLAGE EYE NEWSPAPER OFFICE -- AFTERNOON

Tony walks through the loft offices of the Eye, which is divided by partitions
into large cubicles adorned with rock posters, bumper stickers and buttons.

A young Alex is deep in thought, editing copy in front of a poster reading, "If
It Aint Stiff, It Aint Worth A Shit" and "Nuke the Knack" as Squeeze's "Up
the Junction" plays from a turntable.

TONY

Mistah Alex!

ALEX

[Initially startled] My main man!

They high five each other.

ALEX

[Holds up a telephone message.] Message from Brendan
Skye, that folksinger guy.

TONY

What'd he want?

ALEX

Says your glowing review landed him a record deal.




PAGE TWENTY-SIX

TONY

Really? With who?

ALEX

Pacific Records. He was signed by Stan Tilden himself.
Might get the opening spot on the Steve Forbert tour.

TONY

Wow. Gotta call 'im.

ALEX

So who's on the cover, chief?

TONY

Toss-up: the Clash or the Records. Whatdya think?

ALEX

"Starry Eyes" is huge.

TONY

Yeah, but we've got a real Clash scoop: they're playing
a secret benefit for the East Village Hunger Project.

ALEX

As part of their 30 nights or whatever at Bonds?




PAGE TWENTY-SEVEN


TONY

Separate. Nobody knows about it yet, not even the
Soho Weekly News. I found out through a political
source: Susan Adler.

ALEX

Susan Adler? Never heard of her.

TONY

She's amazing. She approached Joe Strummer cold backstage
and convinced him to do the show for free.

ALEX

That's something.

TONY

She's something. She comes from old money in the Village
but donates most of it to stuff like building schools in
El Salvador. Lives right on Washington Square. We did a
photo shoot of her with members of the Clash.

Tony takes out photos of a younger Susan with the band. Susan, dark-
skinned and pretty, with a haircut like a campanile bell, smiles warmly
in one picture. In another shot, she mischievously flashes the "v" sign behind
Joe Strummer's head.
ALEX

Hmm. I think I'm in love. [pause] Is that a
conflict-of-interest? [They laugh.]


PAGE TWENTY-EIGHT

CUT BACK TO:

INT. POLICE INTERROGATION ROOM -- AFTERNOON

At the desk, with the overhead fan turning, Tony and the detective continue
talking.

TONY

Any other leads you can tell me about?

DET. DALEY

We're checking a witness who says she saw a male
black running from the scene.

TONY

A black male?

DET. DALEY

Yeah, a male black, which would sort of refute your
theory, right? It might just be some black guy
who did it.

TONY

[slightly angry] What do you mean, 'just some black guy'?!

DET. DALEY

I'm just saying what the witness said. [Suspicious and going
on the offensive a bit.] And by the way, how come
you seem to know so much about this case anyway?


PAGE TWENTY-NINE


TONY

Shoe leather and phone calls, simple as that. [Stands
up and pulls out a business card.] Here's my card. Feel
free to call if you find something.

DET. DALEY

[Popping chewing gum in his mouth and eyeing
Tony suspiciously.] Uh huh.

Tony leaves the room.

CUT TO:

INT. BRENDAN SKYE'S WEST VILLAGE BROWNSTONE -- DINNER
HOUR

BRENDAN SKYE, a bearded mid-thirties former folksinger who now
manages alternative rock acts for a living, opens the door.

They hug as sunlight streams at a late-afternoon angle.

BRENDAN

Am I glad to see you in one piece!

TONY

Same here.

Tony steps into the living room, which is full of light, plants, a couple cats,
and a framed poster: "Brendan Skye Live at Folk City."



PAGE THIRTY

GENEVA MASON, wife of Brendan, comes in with a coffee cup that has a
Barnard College decal on it; she has very short blonde hair and wears a
Phranc t-shirt. The coffee is steaming and the air-conditioning is on. She
embraces Tony.
GENEVA

I'm so sorry about what happened. Are you okay?

TONY

I'm alright.

GENEVA

Have you seen Susan?

TONY

Not since I told her the news that night.

BRENDAN

Geneva's been visiting her just about every other night.
Says she seems depressed.

TONY

I'm not. I'm angry. I wanna find out who did this.

BRENDAN

Be careful. For all you know, you'll be fighting 50 thugs.

TONY

50 thugs, 50 bullets.

PAGE THIRTY-ONE

BRENDAN

They'll come after you.

TONY

50 thugs, 50 bullets. Nobody's more powerful than a bullet.

BRENDAN

You're always taking too many chances, Tony.

TONY

That's what Alex said the night he died. He said I was
either brave or suicidal, he hadn't decided which.
[They laugh mildly.]

BRENDAN

Well, we have some good news amidst all the tragedy. Geneva?

GENEVA

I'm finally pregnant.

TONY

Congrats!

GENEVA

We've tried for years. Not that I've minded the trying.

She nudges Brendan affectionately.


PAGE THIRTY-TWO

TONY

What are you going to name him or her?

GENEVA

We were thinking Alex or Alexa.

TONY

Alex, Alexa: I like that.

BRENDAN

So you were saying on the phone you wanted to look
at some charts?

TONY

Yeah, if that's okay.

BRENDAN

C'mon in.

INT. DEN OF BRENDAN'S APARTMENT -- LATE AFTERNOON

Brendan escorts Tony to his den, which is lined with bound volumes of music
trade magazines and books.

BRENDAN

My archive. Charts dating back to '53.




PAGE THIRTY-THREE

TONY

Do you have the Billboard and Big Hitz charts for the weeks
before and after Alex died?

BRENDAN

I think so. Have a seat.

Brendan takes two bound volumes from the shelves; one is labeled
"Billboard," the other "Big Hitz."

TONY

[flipping through the books] Just checking out a theory.

In Big Hitz, he comes to a cluster of advertisements. One ad reads: "'Cold
Sunshine' by The Pillagers -- National CHR promotion by Frank 'The Buzz'
Buzzardi."

Next ad reads: "DMV releases "Always," the new single: promotion by The
Buzz (Call 1-800-The Buzz)."
TONY

[flipping through the magazine] Just before Alex died, the
Buzz was pushing two songs: "Cold Sunshine"
and "Always." Took out big ads in Big Hitz.

BRENDAN

How'd they chart?

TONY

Let's see.


PAGE THIRTY-FOUR


Tony turns to the Big Hitz masthead: "Joe Montana, Chart Director; Alex
Darrow, Research Assistant." In the same issue, he turns to the charts:

"Big Hitz Hot 100 Singles Chart"
(week ending May 25, 1987)
Joe Montana, Chart Director//Alex Darrow, Research Assistant.

#1. Tom Blue "Cisco Meltdown"
#2. X-Lover "Leave Me Yesterday"
#3. Lindsey Alvarez "Tell a Stranger Named Me"
#4. Fixed Rig "The Love"

TONY

The week before Alex took over, the advertised songs
were top five. Just as I thought.

BRENDAN

How 'bout the week after?

They look at the following week's Big Hitz charts.

"Big Hitz Hot 100 Singles Chart"
(week ending June 2, 1987)
Alex Darrow, Temporary Chart Director.

Chart
position Artist Song

#1. DMV "Always
#2. The Pillagers "Cold Sunshine"
#3. X-Lover "Leave Me Yesterday"
#4. Tom Tim "Cisco Meltdown"


PAGE THIRTY-FIVE

TONY

They're not even in the Top Fifty, can you believe it?

He finds the two Buzz songs near the very bottom of the charts:

#94. The Pillagers "Cold Sunshine"
#95. Bloodpool "Love Overtime"
#96. DMV "Always"

TONY

Both songs are way down at 94 and 96 the week
the pay-offs stopped.

BRENDAN

A ninety point drop in a week! Unbelievable! Where
does Billboard put them?

Tony turns to the Billboard singles charts for the same weeks and finds that
both of Buzzardi's songs, "Cold Sunshine" and "Always," were at #92 and
#98, respectively, for both weeks.

TONY

Both Buzz songs are at 92 and 98 for both weeks
in Billboard. Exactly where Alex put them, too.

Tony and Brendan hover over the charts excitedly.

BRENDAN

Shit almighty, Tony. You've gotta go to someone
with this --


PAGE THIRTY-SIX

TONY

I know --

BRENDAN

'Cause this is like really --

TONY

I know. But the cops aren't listening to me.

BRENDAN

Figures. [lights a cigarette] Buzzardi has major clout with
the Sixth precinct. Two uncles and a cousin on the force.
One uncle wounded in the line of duty, retired with a gold
shield, though it was later taken away after an investigation.

TONY

No wonder Daley sees no evil.

BRENDAN

The Feds don't care, either, 'cause the money's too small to
make the radar. Buzzardi takes in thirty thou a year on
chart-fixing, which may not be the hundred-thou DiSipio pulls,
but it's not nothing. Particularly if it's everything he earns.

TONY

Why would anyone pay a promoter to buy numbers on
a chart everyone knows is corrupt?



PAGE THIRTY-SEVEN


BRENDAN

Because not everyone knows it's corrupt. Big Hitz freshens
up the front office with a name writer every few years
to give them credibility, which covers them to run a back office
sewer in chart fraud and coin op.

TONY

Tilden says Buzzardi had a key to the Big Hitz offices and
their computer passwords even after he left the magazine.

BRENDAN

He did. And enforced things with threats, violence. He's
openly violent and doesn't much care who sees it. He once
tried to rip out the eyeball of a rack-jobber backstage at a
Loverboy show in '83 in front of, like, seven people and a cop.

CUT TO (as the "Brendan voiceover" is heard):

INT. BACKSTAGE AT
LOVERBOY CONCERT
-- NIGHT

Buzzardi digs vigorously into
the eyesocket of someone
and a stream of blood squirts
from the victim's face onto
Buzzardi and all over the cold
cuts and fruit on the backstage
table as several people watch
in horror.

BRENDAN (voiceover):

Only thing that stopped him
was the blood spurting all
over his Brioni suit and
everything. True story.

PAGE THIRTY-EIGHT


CUT BACK TO:

INT. DEN OF BRENDAN'S APARTMENT -- DINNER HOUR

TONY

Why hasn't the press exposed him?

BRENDAN

Too smalltime. The NBC expose mostly caught the big fish.

Geneva walks in.
GENEVA

Bren, aren't we supposed to go to the Pointblank party?

BRENDAN

If you want to, honey. But I've gotta be up early for NARM.

TONY

[Looks at watch] Thanks for reminding me. I'm meeting
Susan at the party. Let's connect later, okay?

BRENDAN

Sure. And say hi to Susan.

GENEVA

Give her my love.

Tony leaves.

PAGE THIRTY-NINE


CUT TO:

EXT. CBGB ROCK CLUB -- EVENING

The sidewalk and street in front of CBGBs is packed with alternative rock
fans in ragged garb and bizzers in hip suits. Sign on the door reads: "Closed
for Private Party."

Tony opens the door, hearing a blast of loud recorded music, and walks in.

INT. CBGB ROCK CLUB -- EVENING

Tony walks by numerous partygoers and hears fragments of conversation.

PARTYGOER WITH SQUEAKY VOICE

Such a buzz around Pointblank -- and Minneapolis.

PARTYGOER IN A "REPLACEMENTS" T-SHIRT

Not every Minneapolis band'll make it big. I bet Soul Asylum stays indie.

PARTYGOER WITH A MOHAWK HAIRCUT

[to previous partygoer] My ears are still ringing from their '85 show.

PARTYGOER IN A "REPLACEMENTS" T-SHIRT

[to previous partygoer] My ears are still ringing from Altamont.

PARTYGOER WITH A MOHAWK HAIRCUT

[to previous partygoer] Huh?



PAGE FORTY


PARTYGOER IN A "REPLACEMENTS" T-SHIRT

[to previous partygoer] I said, my ears are still ringing from Altamont.

PARTYGOER WITH A MOHAWK HAIRCUT

[to previous partygoer] Can't hear ya.


Tony continues to walk toward the club's stage.


PARTYGOER WITH A GOATEE

R.E.M. will never have another hit as big as "Fall
on Me" -- they've peaked.

PARTYGOER IN A TURTLENECK WITH AFRO

Sifo Mabuse is giving a benefit against apartheid.

PARTYGOER WITH BLONDE HAIR

[to previous partygoer] Great cause, but it won't do any good.
Apartheid has about as much chance of falling as the Berlin
Wall or the twin towers.

PARTYGOER WITH A LISP

The drummer's not so smart. He was at 21 and a waiter asked
if anyone knew the Heimlich Maneuver. He goes, "Yeah"
and gives the Nazi salute. [demonstrates stiff arm salute]




PAGE FORTY-ONE

PARTYGOER WITH LONG BEARD

[to previous partygoer] You just don't understand
his creative tension.

PARTYGOER WITH A LISP

[to previous partygoer] There's a fine line between creative
tension and just being uptight.

Tony steps to the bar and orders a beer. JIM JOLSON, A&R vice president
for a major label, approaches with THREE MEMBERS OF A ROCK BAND
in their late teens.
JOLSON

Tony, you gotta meet these guys. This is Kurt, Krist and
Chad of Nirvana. I'm thinking of signin' 'em.

TONY

[to band] You guys done any records yet?

TEENAGED KURT COBAIN

[Shyly] We'll have one out next year on Sub Pop, an indie
out of Seattle. They released Green River and stuff.

THIRD PARTY TO CONVERSATION

[to band] Advice: move out of Seattle, if you wanna make it big.
Nobody but Heart ever came from Seattle.

JOLSON [to Tony]

Check this out.


PAGE FORTY-TWO


Jolson shows Tony a Pointblank promotional water pistol that publicists are
passing out at the club.

TONY

Another schlocky promo toy.

Susan Adler, wearing sunglasses that don't quite cover the fact that she's been
crying, walks quickly into the club and heads toward the cul de sac to the side
of the stage. Heads turn and people talk as she walks in.

JOLSON

Look who just walked in: Sue Adler.

TONY

Gotta go.

TONY

[waves to get her attention] Susan!

SUSAN

Hi Tony. How's your story going?

TONY

Lots of leads I'll tell you about later.

SUSAN

Wanna get together and trade notes?


PAGE FORTY-THREE


TONY

How about tomorrow?

SUSAN

Great.

Suddenly, a partygoer jokingly jumps in front of Susan with his water pistol
drawn. Susan reflexively kicks him in the groin.

SUSAN (to prankster)

You motherfucker! Comin' at me with a gun!

The prankster holds his crotch in pain as a small crowd begins to gather.

TONY

It's a toy, Susan, only a toy.

Susan walks briskly to the exit, with Tony a distance behind her.

EXT. CBGB -- NIGHT

Susan climbs into a cab on the Bowery. Tony knocks on the car window and
Susan lowers it.

SUSAN

Tony, I just don't want to talk now, okay? To anyone
now, okay? [Tony: "Okay."]

Tony watches as the cab drives away.


PAGE FORTY-FOUR


CUT TO:

EXT. WASHINGTON SQUARE PARK-- MORNING

Tony walks past a group of six jugglers passing balls to one another and a
guitar player performing near Washington Square Park before crossing to
Susan's apartment house.

INT. SUSAN'S APARTMENT -- MORNING

Susan's apartment is decorated with a hip old money sense of good taste. The
large living room window has a third floor view of the arch in Washington
Square Park. An original Warhol portrait hangs on the wall.

TONY

Hi Susan.

SUSAN

Come in.

TONY

[pointing to the Warhol] Is that an original Warhol?

SUSAN

Yeah. Warhol painted my great-grandfather John Adler,
the congressman.

TONY

Your great-grandfather was a congressman?


PAGE FORTY-FIVE

SUSAN

Represented downtown Manhattan for one term. He
once told me, "A congressman is less powerful
than a file clerk, if you're not the party in power."

TONY

Probably true. [pause] By the way, sorry about
that guy last night --

SUSAN

Forget last night.

TONY

So you doing alright?

SUSAN

I miss Alex and my life the way it was. Otherwise, I'm fine.

TONY

Same here.

SUSAN

I've even thought about seeing a shrink but don't think
so. Shrinks always seem less perceptive than me.

TONY

Yeah.


PAGE FORTY-SIX
SUSAN

Didja see the new Billboard? Some guy calls the murder
"music-related"?

TONY

You're kidding?

SUSAN

No, it quotes someone saying, [she reads from the article]
"'We will not hide from music-business related terror,'
said a senior executive who spoke on condition of anonymity."

TONY

My sources say it was hit, too. But who ordered it? Did
Alex mention any threats?

SUSAN

Come to think of it, there were quasi-threatening
messages on his answering machine.

TONY

Like what?

SUSAN

Like, oh, things you can't really put your finger on.
Like: [she imitates a hard sell voice] "Are you blind or
going blind? If so, enroll in blah blah Braille School" left
three or four times a day. Followed by two-second messages
of random stuff like: "Wheelchairs are a big expense."


PAGE FORTY-SEVEN

TONY

Anyone threaten him explicitly?

SUSAN

Not really. But the messages started after Alex sent
back a $700 bribe from a promoter who calls
himself the Buzz.

TONY

Everyone mentions him. I'm even interviewing him tomorrow.

SUSAN

The Buzz agreed to talk?!

TONY

Actually, he's probably checking me out to see what I know.

SUSAN

[excited] Let's connect after. Come by after dinner.
[Tony: "Sure.']

CUT TO:

EXT. THE BUZZ'S OFFICE -- AFTERNOON

Tony walks into a dilapidated building that houses the Buzz's office on West
14th Street off 10th Ave. in the meat-packing district. There's a butcher shop
in the first floor storefront and a police car parked out front.



PAGE FORTY-EIGHT


INT. THE BUZZ'S OFFICE -- AFTERNOON

Tony enters the Buzz's dark cluttered office, which looks as if time stopped in
1959. On the walls are posters and pictures of music events of the Fifties,
mostly local ones: "Flatbush Rockabilly Fest '56"; "The Roasters Play
Coney Island"; "Free Alan Freed." The room doesn't have a reception desk
or a computer and the clock on the wall is stopped at noon.

Seated behind a desk is Frank Buzzardi, a rough-looking, tough-talking guy
around 60 with tinted glasses, a full head of gray hair and acne scarring on his
face.

His assistant, Sammy Stompeto, is a thin, thirty-year-old, dark-haired guy
wearing all black and a gold chain around his neck. He looks a bit like a
bartender at a strip bar and walks with a slight limp.

THE BUZZ

Come in.

TONY

[taking a seat] Thanks for the interview.

THE BUZZ

Better interview me now, 'cause I'm an endangered species.
You don't find 'em like me in the biz any more. [Yells to
Sammy: "Sammy! My pills!"] Then to Tony: "Hypertension."

TONY

[Noticing tuning fork pens on his desk] Interesting pens.



PAGE FORTY-NINE


THE BUZZ

Ya want one? Promo thing for radio. See, I got character.
Back in the Fifties, we was all characters. I was there at the
birth of rock 'n' roll, staring down at the cradle, I sure was,
when the babe was rattling 'n' rockin' for the first time. Today,
the biz is all lawyers, accountants -- they don't know
nothin' 'bout music. [Shouts: "Sammy!"]


Sammy, walking with slight limp, rushes in with the pills and a deferential,
"Here, boss."

THE BUZZ

Hey, Sammy, you gonna do that brake adjustment this weekend?

SAMMY

If you want.

Sammy walks from the room.

THE BUZZ

Crack mechanic, Sammy is. The best in car repair before
he came to work for me.

TONY

So how long have you been in the music business?


PAGE FIFTY

THE BUZZ

I started as a producer in the Bronx in '55, recording
The Klezmers. The neighborhood was so rough back then
you can hear gunshots from the street on our first record,
if you listen close. We left the shots in. We useta joke that
song was number five with a bullet -- literally!
[laughs roughly] Later, I got into promotion, sold the studio,
and worked with the Chevettes, J.B. Preston -- that was
before he was with The Troubles -- and the Fontana Five.

TONY

I'm sure you've heard the accusation: some say you
might've manipulated the charts over the years.

THE BUZZ

Look, it's my cocksuckin' job to manipulate them charts, okay?!
[He pops a pill without water.] Every promoter everywhere
manipulates them charts, that's why they pay us. I get paid
to make my records number one, okay? Promoters get paid
to promote, okay? My job is to do whatever I gotta do to
get PDs, GMs, DJs, chart guys off the dime. [Shouts:
"Sammy! Water!" We hear "Yes, boss," offscreen.]

TONY

I read in a newspaper where you were charged with payola in 1963 --

THE BUZZ

And proud of it. 'Cause payola should be legal, and
them DJs should pay to play my records, I always say.
Radio aint even good enough to play most my stuff!


PAGE FIFTY-ONE

TONY

There's also talk the murder of Alex Darrow was
somehow linked to chart rackets.

THE BUZZ

I don't know nothing about no murder or no chart racket
whatsoever. [Sammy brings him water, and the Buzz drinks it.]

TONY

Some have gone so far as to link the Darrow thing to you
in some way.

THE BUZZ

Some people'll say anything about anybody. Don't make
it true, do it? I'll let ya in on a secret, kid: no accuser is
ever gonna stop Frank Buzzardi from conducting business.
No way, no how, nowhere. I've survived since the Fifties,
and not everyone did. I survived 'cause me and Morris and
Hy and all them guys had a rule: you never let a man
mess with your business. Me, I've always carried my
own personal bodyguard. [He reaches to the small of his
back and casually tosses a revolver on the desk.] He's named
Smith & Wesson. Go ahead, touch it. It's a $25,000
custom-made .44. Bought with royalties from
"Sweet Talk 'n' Jive."

TONY

[handling the gun] You ever shot someone with it?



PAGE FIFTY-TWO

THE BUZZ

I might. If some cocksucker comes up to me and wants
my fuckin' wallet, you think I'm not going to blow his freakin'
brains out? If some cocksucker tries to take away my business,
I assure you he'll come down with some incurable
gun-related disease, he sure will. [He takes the pistol back.]

THE BUZZ

Watch this.

Buzzardi gets a single bullet from a desk drawer, puts it into the revolver.

The phone rings.

SAMMY

[With phone in his hand] It's Daley at the Sixth.

THE BUZZ

I'll call him in five. [Turns to Tony.] Look, I'd like to talk
more, but I gotta go.

TONY

Thanks for your time. By the way, you said Daley was on
the phone. Was that Detective Daley of the Sixth Precinct?

THE BUZZ

Yeah, Daley. I known him for years. We shoot at the
range together. [picks up the phone and starts dialing.]

TONY

Thanks again.

Sammy escorts Tony to the door, and we see a tight shot of Sammy. We see
scarring on the right side of Sammy's head of the sort that might have been
caused by a bullet grazing.


PAGE FIFTY-FOUR


CUT TO:

EXT. BUZZ'S OFFICE BUILDING -- AFTERNOON

Tony walks from the building, where a police car is parked and two cops are
eyeing him suspiciously.

CUT TO:

INT. SUSAN ADLER'S APARTMENT -- NIGHT

TONY

[Popping the cork from a Champagne bottle.] And so he pulls
out a pistol. [imitating Buzzardi's gruff speech] "It's a
$25,000 custom-made .44. Bought with royalties from
"Sweet Talk 'n' Jive." [They both laugh.]


PAGE FIFTY-FIVE

SUSAN

Whatta thug. Sounds like some guy straight out of that book "Hit Men."

TONY

I was thinkin' that, too.

Tony pours Champagne for both of them, and they toast.

TONY

Here's to finding the guy who killed Alex.

SUSAN

You bet.

They clink glasses and sip Champagne.

TONY

Forgot to mention it, but I found this at the crime
scene that night.

He pulls out a business card for The Steak Joint, an uptown Manhattan
eatery.

TONY

Found it right next to Alex's body that night.

SUSAN

[looking at it curiously] Hmm.


PAGE FIFTY-SIX

TONY

But I checked out the place and it doesn't seem to link up
to anything.

They walk out to the balcony, with flowers in pots and a view of Washington
Square Park.

TONY

How'd you get such a great apartment?

SUSAN

It's been handed down in the family for three generations.

TONY

It's like a movie set.

SUSAN

So you think Buzzardi was capable of killing --

TONY

Capable of anything. I mean, re-open the file on Amelia
Earhart; he probably has her in a trunk.

They casually stroll back from the balcony to the apartment. Susan puts on
some music -- Bob Dylan's "She Belongs To Me" plays -- and they both sink
into a deep pillowed couch, both slightly tipsy.

SUSAN

So you still having nightmares about that night?

PAGE FIFTY-SEVEN
TONY

Not anymore. And to tell the truth, there're some days
when I wake up invigorated because I know I wasn't
supposed to live to see this day. There's nothing like missing
a bullet to make you feel so totally alive.

SUSAN

Know what you mean. Fuck survivor's guilt.

We hear a Dylan lyric from the stereo: "Meanwhile life outside goes on all
around you."

TONY

Can you believe the cop called it a possible black-on-black crime?
I never really thought of Alex as black, even though he was.

SUSAN

Same here. When I had a tan, my arms were actually
darker than Alex's.

TONY

Even my taste in music was blacker than his; I liked Melle
Mel, he liked Zep. [pause] Did you know we were gonna
room together in '80 but I didn't want to commit to a
two-year lease?

SUSAN

That was you back then: afraid of commitment. You couldn't
even decide whether you wanted to stay in New York or
move back to Burbank.


PAGE FIFTY-EIGHT

TONY

Lack of money can sometimes make you seem
like you can't commit.

Tony spots some unusual looking binoculars on her coffee table.

TONY

What're these? [He looks through them.] They make
everything upside down!

SUSAN

They're upside-down binoculars. They're a promo thing
from that band The Upside Downs.

TONY

Wow! Everything's upside down -- and close.

SUSAN

Is your world upside down?

TONY

[affectionately] Oh, ha ha.

He moves closer to her on the couch and puts down the binoculars.

TONY

This next thing is completely off-the-record, okay? Not
for attribution and on background.


PAGE FIFTY-NINE

SUSAN

Sure. What is it?

He moves over to her as if he's about to whisper something in her ear, pushes
her hair aside and kisses her on the ear and then on the face. They embrace
briefly, but then Susan stands up.

SUSAN

Tony, I like you a lot. But I have my own secret, which
is also completely off the record, okay?

TONY

Okay.

SUSAN

I'm gay. Always have been.

TONY

[shocked] You're kidding?! But what about you and Alex?

SUSAN

Our relationship wasn't that way. Why do
you think we had separate apartments?

TONY

Never would've guessed in a million years.

The phone rings and she picks it up.


PAGE SIXTY


SUSAN (on phone)

Hi, Geneva. [pause] Of course, we're still on. I
wouldn't miss our Tuesday nights for anything. [pause]
Eight's fine. [pause] Okay. [pause] Love you, too.
Bye. [She hangs up the phone.]

SUSAN

[Slightly blushing.] That was Geneva.

TONY

Look, I've gotta run. You wanna go to that thing tomorrow
at the Apollo, the Orphanheart show?

SUSAN

Sounds like fun. I love Sunday afternoon concerts.
Three would be fine.

Tony leaves her apartment.

CUT TO:

EXT. SUSAN ADLER'S APARTMENT -- AFTERNOON

Susan bounds from her apartment smiling and wearing a multi-colored
flowered dress that's loose and airy, suggesting the quality of a cloud or
balloon. She acts like someone glowing from having had sex the night
before. Tony is in his car at the curb, and Susan gets in.





PAGE SIXTY-ONE


INT. TONY'S CAR -- AFTERNOON


Tony begins driving from the Village to Harlem, taking the FDR Drive
uptown. Windows are open, it's a sunny day and the radio plays John
Mellencamp's good-timey "Rumble Seat."

SUSAN

Haven't been to the Apollo since Sly Stone didn't
show there in the Seventies.

TONY

Alex would've loved this gig.

SUSAN

He always liked going to concerts with you.

Tony is driving in the right lane on the FDR Drive when a station wagon (with someone in the back) pulls in front of him at a slow speed.

TONY

Crazy driver!

The station wagon slows even more, causing Tony to tailgate. We see the road ahead
from Tony and Susan's POV through the windshield, while someone in the
back of the station wagon opens the rear and throws a large plastic
bag of thick red paint at them while shouting, "Next time it'll be blood,
asshole!"




PAGE SIXTY-TWO

From the POV of looking out the windshield, suddenly the entire windshield turns bright red. Tony, not able to see through the front window, swerves to the side of the road while turning on the wipers, which just smear the paint into varying shapes and shades of red and pink. (We see this from inside the car, of course, and the smearing red paint is all we see on screen for a time.) Tony sticks his head out the side window to guide the car to the shoulder.

TONY

Can't see a damned thing!

SUSAN

What the hell was that?

TONY

Think it's red paint.

SUSAN

Did you hear what he shouted?

TONY

Yeah: "Next time it'll be blood."

They arrive at the curb, get out, and clean off most of the paint from the
windows and hood with rags.

TONY

Motherfucker could've fuckin' killed us!

After getting most of the paint off the windows, Tony throws down the rags
and looks at the mess all over his and Susan's clothes.

TONY

Looks like my Fiat's bleeding.


PAGE SIXTY-THREE
SUSAN

Shit. The dress is ruined!

TONY

We can't go to the show like this. What d'ya wanna do?

SUSAN

Should we file a police report?

TONY

Won't do any good. I'll talk to Daley about it later.

SUSAN

You think Geneva and Brendan might be home?

TONY

Let's head over.
CUT TO:

INT. BRENDAN SKYE'S APARTMENT -- EVENING

They ring the bell to Brendan's apartment and Brendan answers the door.

BRENDAN

My god! What happened to you two?

GENEVA

I hope that's just paint. Come in.


PAGE SIXTY-FOUR

TONY

It's just paint. Its mostly dry, though you might wanna
put some newspapers down on the carpet so we don't
track anything in.

Brendan spreads some newspapers on the floor and chairs. Tony and Susan
walk in.

BRENDAN

Can I get you anything?

TONY

Water would be fine.

SUSAN

Same here.

BRENDAN

So what happened?

TONY

Someone threw a plastic bag of red paint at us
on the FDR Drive.

SUSAN

Shouting something like, "Next time it'll be blood."

Geneva brings in water for everyone.


PAGE SIXTY-FIVE

BRENDAN

Sounds like vintage Buzzardi.

TONY

Tell me about it. But the cops won't listen to me. Cops
act like I'm a suspect.

BRENDAN

Glad you brought that up, 'cause that's the rumor
I'm hearing, too.

TONY

[enraged] How fuckin' dare they? I'm risking my neck
to solve this and that's what I get?

BRENDAN

Calm down. It's just they see you with Susan.

TONY

So what? We're just friends.

BRENDAN

They don't know that.

TONY

What? They think my life is some sort of noir movie? I'm here
for their tabloid entertainment? Meanwhile I'm going broke.


PAGE SIXTY-SIX

BRENDAN

No good deed goes unpunished, to coin a phrase.
[Looks at watch.] I've got to pick up my car and
head to Bear Mountain; I'm checking out The Confidentials
in a couple hours.

TONY

Need a lift to the auto shop?

BRENDAN

I'd appreciate it.

SUSAN

I'll stay here with Geneva. [To Tony] Drop by my
place later tonight, okay?

TONY

Okay. After the Top of the Sixes. [To Brendan] Ready when you are.

CUT TO:

INT. TONY'S CAR -- LATE EVENING

Tony drives Brendan uptown via Broadway.

BRENDAN

It's Piney's Auto Repair on Morningside Heights.




PAGE SIXTY-SEVEN

TONY

I saw Stan Tilden the other day. He says hi.

BRENDAN

Sweet guy. He still feels guilty about dropping me from
his label. But I don't blame him. I mean, my record
just didn't sell.

TONY

Says if you ever need money, call his brother Paul.

BRENDAN

[Smiles] Wall Street Paul, huh? I might take him up on that.
[pause] You think Geneva is having an affair?

TONY

Why do you ask that?

BRENDAN

I dunno. She's spending a lot of time away, supposedly
with Susan.

Tony's paint-splattered car begins making wheezing noises as it climbs hilly
Morningside Drive in Manhattan.

TONY

Hear that? Bet the paint screwed something up.
Lemme pull over.


PAGE SIXTY-EIGHT


He pulls over on Morningside Dr. where there's a hillside view of the city.
Tony jumps out, opens the hood, looks inside and comes back in the car.

TONY

Let the engine cool a minute.

They sit in the car on the hill for a couple minutes and talk.

BRENDAN

So what else did Stan say?

TONY

[pause] He thinks the Buzz killed Alex.

BRENDAN

But he won't go on the record, right?

TONY

Right. There's so much evidence that cuts both ways.
Like, Buzzardi's assistant has a limp like the gunman, but
that might just be coincidence.

BRENDAN

I just don't see a happy ending to this.

TONY

Why ya say that?


PAGE SIXTY-NINE

BRENDAN

[distant look] I just have a bad feeling. [pause] Y'know,
sometimes I wish I'd stayed a folksinger instead of getting
into the biz. I mighta had a hit by now, if I'd stuck with it.

The car fills with an increasingly bright light from an undetermined source.

TONY

There's still time.

BRENDAN

It's too late. It's too late.

TONY

[Looks at watch.] We'd better roll.

He drives to Piney's Auto Repair Shop and drops off Brendan.

BRENDAN

Thanks for the ride.

TONY

Don't mention it.

BRENDAN

[smiles] Have fun at the party. And wear something a little less red!




PAGE SEVENTY


They both laugh mildly, and Tony drives off. A block away, Tony passes by
The Steak Joint restaurant, the same place on the business card he found at
the murder scene.

TONY

[mumbles to himself] Didn't know it was so close.

CUT TO:

EXT. 666 FIFTH AVENUE BUILDING -- NIGHT

Shot of the building and the "666" sign at the top.

INT. ANTEROOM OUTSIDE BALLROOM AT 666 FIFTH -- NIGHT

An attendant stands at a podium behind a red velvet rope holding the guest
list to the party.

ATTENDANT

[With Brooklyn accent] Your name, please?

TONY

Tony Armonica, freelance writer.

ATTENDANT

Harmonica?

TONY

No, Armonica. I'm on the Stigma Records list.


PAGE SEVENTY-ONE

ATTENDANT

Sorry, not here.

TONY

What do you mean? Vaccina Bayard put me on personally.

ATTENDANT

First name is Henry?

TONY

No, Tony. T-o-n-y. [Looks over at the guest list himself.]
See! There it is.

ATTENDANT

You don't have to be nasty about it.

A security guard approaches.

GUARD

[To attendant] Is there a problem?

ATTENDANT

[To guard] No, I straightened him out. [To Tony] You can go in now.


Tony walks into the ballroom at 666 Fifth.




PAGE SEVENTY-TWO


INT. BALLROOM AT 666 FIFTH AVE. -- NIGHT

Tony walks into the party as a tape of Husker Du's "Never Talking to You"
plays and goes to a table full of cold cuts. Standing next to him is Jack
Worstman, a bearded writer for Big Hitz. Tony picks up a plastic fork.

JACK WORSTMAN

[Hold up his hands in mock fright.] Don't kill me! Don't kill me!

TONY

So, Jack Worstman. What are you doing here? It's a cash bar.

JACK WORSTMAN

Very funny. I hear you're gonna stab Big Hitz in the
back with your article. Some gratitude. They hired you
when you were a nobody.

TONY

I'm simply investigating Alex's murder. And how come I'm
the only one from the magazine who's coming forward
about this thing? Which side are you on?

JACK WORSTMAN

Not on the side of the rats, I'll tell you that.
[He shoves baloney in his mouth.]

TONY

No, you're busy with the snakes.


PAGE SEVENTY-THREE

JACK WORSTMAN

C'mon, the Darrow thing was random. Anyone walking
down that street at that time of night woulda been shot.
It was a spur-of-the-moment crime.

TONY

A guy wearing a ski mask is spur-of-the-moment?
And chasing him down and not stealing anything?
It was a hit, Worstman. [He points at Worstman
with a plastic fork.] And you know it. And you're not
doing anything about it.
CUT TO:

EXT. SUSAN'S APARTMENT BUILDING -- LATER THAT NIGHT

Tony walks across the street to Susan's apartment, and a police car at a red
light lurches forward as he walks in front of it.

INT. SUSAN'S APARTMENT -- NIGHT

TONY

Worst party I've been to in a long time. Talked to Jack Worstman.

SUSAN

What'd he have to say?

TONY

Still loyal to Big Hitz and Buzzardi, if you can believe it.




PAGE SEVENTY-FOUR

SUSAN

Gonna write up the party for Music News?

TONY

No. Assignment's canceled. My freelancing's going
down the tubes because of this thing.

SUSAN

Y'know, if it's causing you this much grief, maybe
you oughta consider dropping the story.

TONY

No way. I'm committed to the end.

SUSAN

But look what it's doing to you. You could lose
everything because of a cause.

TONY

If I don't solve it, who will?

SUSAN

Now you're sounding like me.

TONY

And you're sounding like me.



PAGE SEVENTY-FIVE


Susan switches on the 11pm local news and fixes some coffee. Tony watches
the news inattentively.

On the television screen there's live footage of a mountain cliff illuminated by
police lights, and highway patrolmen looking down at a car that fell into a
deep ravine.

NEWS ANCHOR (on television)

The car fell 100 feet down the cliff, killing the lone occupant
whose identity is being determined at this hour.

WITNESS (on television)

[upset] He took the turn sharp and look terrified,
like he was trying to pump the brake but it wouldn't
stop. And he went right over the cliff.

ANCHOR (on television)

The incident happened around two hours ago on
the main highway leading to Bear Mountain.

TONY

Wonder if Brendan saw this accident up on Bear Mountain.

Susan is still making coffee.

SUSAN

Huh?




PAGE SEVENTY-SIX

TONY

Some guy drove his car off a cliff right around where
Brendan was tonight. Bet he saw the whole thing.

Susan comes out to watch.

SUSAN

How awful.

On the television, we see live footage of the mountainside where the car fell
and a zoom view of the smashed car at the bottom of the valley.

SUSAN

Oh my god, Tony! That's Brendan's Karmann Ghia!

TONY

It is! [He puts his hands over his face and cries.]

Susan hurls her coffee mug at the TV, smashing the screen.

CUT TO:

TITLE CARD: A month later.

INT. BRENDAN AND GENEVA'S APARTMENT -- AFTERNOON

Nearly everything in Brendan and Geneva's apartment is packed in boxes and
stacked up, because Geneva is moving out. All the plants are in a corner next
to the "Brendan Skye Live at Folk City" poster. Geneva is visibly pregnant
now.



PAGE SEVENTY-SEVEN

GENEVA

Glad you could help with the move.

TONY

Wish I could do more.

GENEVA

I think it's the best thing for me to move in with Susan.
Can't afford this place without Brendan anymore.
And little Alex'll arrive in a few months.

TONY

I'm moving, too. Next month.

GENEVA

Really? Where to?

TONY

Don't know yet. I'm three months behind on the rent and
not earning any money. I guess I'll try temporary
housing for awhile.

In the sky outside the window is a single large cumulus cloud.

TONY

Have you talked to the police about Brendan?




PAGE SEVENTY-EIGHT

GENEVA

Just an accident, they say. And it might've been.

TONY

But the timing stinks.

GENEVA

So what's going to happen to you after next month?

TONY

I really don't know. I'm under a cloud till the case is solved.

GENEVA

Keep in touch, will you?

TONY

I will.

What follows is a series of fast forward glimpses of Tony's life through the
Nineties and the 2000s.


CUT TO:

TITLE CARD: 1994

INT. DENTIST OFFICE -- DAY

Tony reclines in a dentist's chair and the DENTIST is looking into his mouth.


PAGE SEVENTY-NINE


DENTIST

[shocked] Lord! When was the last time you saw a dentist?

TONY

Several years ago. I've been sort of broke for awhile.

DENTIST

The roots in a few teeth are almost gone. I can recommend
an endodontist.

Tony's cell phone rings while he's in the chair.

TONY

Mind if I take this call?

DENTIST

Be my guest.

TONY (on phone)

Yeah. [pause] I'm trying to get the money to go. I
haven't seen my relatives for years. [pause] Yeah, I'm
losing touch with my roots. [pause] Look, I'm at the
dentist right now. I'll call later. [pause] Okay, bye.


CUT TO:

TITLE CARD: 1997


PAGE EIGHTY


INT. BUS DRIVING INTO MEXICO -- AFTERNOON

As Los Lobos's "Que Nadie Sepa Mi Sufrir" plays, a bedraggled Tony, now
sporting a beard, rides a ramshackle bus into Tijuana, Mexico, past signs that
say, "Last U.S. Stop" and "Entering Mexico."

EXT. AVENIDA REVOLUCION IN TIJUANA, MEXICO - AFTERNOON

Tony walks with his suitcase and a shoulder bag down Tijuana's main drag
and into a hotel. The sidewalk is crowded with hawkers, barkers and whores.

INT. TIJUANA HOTEL -- AFTERNOON

Tony approaches the desk clerk, who is behind protective hard plastic and
bars. The place looks more like a pawn shop than a hotel.

TONY

Do you speak English? I need a room for a few nights.

DESK CLERK

[in broken English] So why you here?

TONY

Why am I here? I hear it's cheaper than California.

DESK CLERK

I maybe have room. I check for you.

To his left in the lobby, TWO MEXICANS are talking secretively; one
points at Tony and whispers, "Asesino."


PAGE EIGHTY-ONE

CUT TO:

TITLE CARD: 1998

INT. CORPORATE OFFICE IN LOS ANGELES -- DAY

Tony is seated at a desk in an office and his BOSS walks by.

BOSS

You're only temping for one day, so I want these letters
alphabetized and filed by five.

CUT TO:

TITLE CARD: 1999

INT. TONY'S LOS ANGELES APARTMENT -- NIGHT

Tony is in his seedy Los Angeles apartment as his LANDLORD tries hacking
through the door with a hammer while shouting death threats.

LANDLORD
(we hear him from the other side of the door)

[While banging on the door with a hammer] You had your
chance to pay rent! Now I'm gonna fuckin' kill you!

Tony calls the cops on his cell phone and we hear a 911 operator from Tony's
end of the phone: "This is 911. What's your emergency?

TONY (on phone)

My landlord is breaking in and threatening to kill me.
Hurry, if you want to save a life.


PAGE EIGHTY-TWO


CUT TO:

TITLE CARD: 2002

INT. LOS ANGELES BRANCH LIBRARY -- AFTERNOON

Tony is at a public branch library in L.A. surfing the Internet. He checks out
several websites before browsing the Hollywood Reporter site. He sees a
headline:

"Arrest Made In 1987 Slaying of Music Charts Worker"

Tony is in shock and stands up at his computer terminal. A LIBRARIAN
approaches from behind him.

LIBRARIAN

Sir, you've used your fifteen minutes computer time. You'll
have to wrap up.

TONY

[Waves her away] Hold on, hold on.

He reads the story:

"Music promoter Frank 'The Buzz' Buzzardi was arrested today and charged
with first degree murder in the 1987 slaying of Alex Darrow, former music
charts manager for the Big Hitz trade magazine. The case, which had stymied
investigators for years, finally came to a close this morning when Buzzardi,
now a 62-year-old casino pit boss, was captured by Las Vegas police on a
warrant from New York. Investigators theorize Darrow was murdered
because he refused to sell chart numbers for bribes."



PAGE EIGHTY-THREE


CUT TO:

EXT. SUSAN ADLER'S APARTMENT -- AFTERNOON

Tony knocks on Susan's apartment door. She opens it and looks at him with
shock and tears in her eyes, hugging him with a rush of enthusiasm.

SUSAN

You're back! Come in. [Tony: "Thanks."]

Susan hugs him again.

SUSAN

We thought we'd lost you. Last
I heard, you were in Mexico or something.

TONY

That was years ago. I'm okay now but there
were some rough times.

He looks around the apartment and sees a combination of Susan's things and
Geneva's. The Warhol portrait is still on the wall, Geneva's "Brendan Skye
Live at Folk City" poster is on another wall, and Geneva's plants are
everywhere.

In a corner are a collection of CDs and LPs, including, "The Tom Jones Fever
Zone."

SUSAN

Geneva's still here. And Alex, her son.


PAGE EIGHTY-FOUR


TONY

Alex must be --

SUSAN

He'll be sixteen next month. Can you believe it?

TONY

The view's the same. [He looks out over the balcony
over Washington Square Park.] There's the arch.

SUSAN

Yeah but the twin towers are gone. We used to
see them from the den.

TONY

Ever see the old crowd? Like Stan Tilden?

SUSAN

Not since 9/11. His brother Paul died in the south tower
collapse, and Stan hasn't been the same since. He doesn't
return my calls anymore.

TONY

Sorry to hear that.





PAGE EIGHTY-FIVE


Geneva walks in from the bedroom wearing an Indigo Girls t-shirt, her short
hair now grey.
GENEVA

Tony! I can't believe it!

They hug.

GENEVA

You look great.

TONY

You, too.

A teenage kid who looks strikingly like a very young Brendan Skye comes
from the den.

TEENAGER

Hi mom. I'm heading out to the show.

GENEVA

Alex, first say hello to Tony. He's an old family friend.

ALEX

Hi Tony.






PAGE EIGHTY-SIX


TONY

Hi Alex.

GENEVA

He'll be sixteen next month. And he's playing
guitar and sings just like Brendan.

TONY

[to Alex] So what concert you going to?

ALEX

R.E.M. I'm reviewing it for my school paper.

TONY

[to Geneva] The more things change, huh?

GENEVA

You'd better get going, Alex.

ALEX

Nice meeting you, Tony. [Tony: "Same here."]


Alex walks out the door.





PAGE EIGHTY-SEVEN

We hear R.E.M.'s instrumental "Last Date" in the background.

TONY

I have some good news: I'm moving back to New York.
That new magazine Music Dateline hired me as a writer.

SUSAN

Great. You're welcome to stay here until
you find a place.

TONY

Thanks.

SUSAN

Did you hear the case got solved?

TONY

Oh, yeah. Buzzardi's in a cage. We were
proved right.

SUSAN

You had it solved fifteen years ago. If only
the cops had listened to you then.

TONY

Some people have a lot of explaining to do.




PAGE EIGHTY-EIGHT


SUSAN

Can you believe it's finally over?

TONY

Wish I could tell Brendan the good news.


Screen goes black and we hear the song "Heroes" by David Bowie.


TITLE CARD (before the credits roll):

The music business changed its method of compiling charts in 1990, a year
after the murder on which some of this film is based. The industry now uses
the SoundScan system, which provides a more objective measure of record
units sold.

The murder case on which parts of this film is based was finally solved after
13 years of detective work in 2002, with the arrest of Nashville promoter
Richard D'Antonio (aka, The Tone).


THE END

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