Cast List
Moon Drenched Shores of Transylvania
Life is Sweet
Short End of the Stick
I'm a Mother
Love at First Sight
Never Let Your Daughter Date an Alien
Judy Judy Judy
I Want to Get My Own Back
No Hiding Place
Little Old Heart Stopping Me
--=={{****************************************************************}}==--
This is a first draft of the official sequel to The Rocky Horror Picture Show.
I feel a bit awkward distributing this. With
the RHPS screenplay and the
Brad and Janet Show and all of the others, those were
things that had already
been presented to the public in some official form or
another. With this, it
seems a bit like telling the punchline to somebody else's
joke at a party.
Or, more accurately, peeking in on your blind date in
the shower. In other
words, you ain't supposed to see that yet.
Unfortunately, though, it seems very unlikely that
this will ever be made
into a movie, and I feel that this is unfortunate.
It works well as a proper
followup to Rocky Horror, and is actually quite entertaining
to read. I
balance my feelings of sleaziness with distributing this
by telling myself
that fans of Richard O'Brien and Rocky Horror would be
missing out if they
never got a chance to experience it. I /do/ have
the utmost respect for Mr.
O'Brien, and I hope he realizes that I'm trying to honor,
not cash in on, him.
Having said that, I would like it that these paragraphs
be included whenever
and wherever this script is reproduced. I will
also ask that this never be
sold for profit or otherwise exploited in any way.
As to the script, when typing it in, I kept fairly
faithful to the
capitalization and punctuation. The spacing of
the dialogue and songs are
fairly exact, but I did condense the spacing of the staging
directions a tad.
I'm not sure exactly when this was originally written,
but the context of the
setting would suggest between 1988 and 1990. I
also can't verify that this
/was/ written by Richard O'Brien. That is, the
hand of God didn't place this
in my lap. However, if you compare it with the
original RHS script and the
screenplay for RHPS, you'll probably agree with me that,
if this isn't
authentic, it's a damn good forgery.
Thank you to my anonymous source for providing this; you know who you are.
Jason Alan "P7A77" Pfaff
p7a77@rhps.com
11th January, 1997
--=={{****************************************************************}}==--
THE
ROCKY HORROR PICTURE SHOW
PART TWO
THE REVENGE OF THE OLD QUEEN
A FIRST DRAFT SCREEN PLAY OF
- A MUSICAL FOR FILM -
with
BOOK AND LYRICS
by
RICHARD O'BRIEN
and
MUSIC
by
RICHARD HARTLEY
TRANSCRIBED
WITHOUT PERMISSION
BUT
WITH GREAT RESPECT
BY
JASON ALAN "P7A77" PFAFF - p7a77@rhps.com
PRODUCED BY
LOU ADLER AND MICHAEL WHITE
FOR
TWENTIETH CENTURY FOX
-----
CAST LIST
THE OLD QUEEN: A very large
ROYAL grandmother who, although dying, is not
going quietly into the dark night. She is not to be
crossed and not to be argued with. She resembles an
Elizabeth Taylor look-a-like that's been drowned for a
week or three. Don't step on her winkle-pickers.
STEVE MAJORS: He's
a young(ish) guy who's trying to find the Aliens that
were responsible for his elder brother going off the rails
some years ago and winding up as a bottomless go-go dancer
in Vegas. Steve is a very serious young man who very
rarely sees the funny side of anything, including himself.
No offense to Mormons, but he'd fit right into their
missionary 'look'.
LORD DE LORDY: First cousin
to the Old Queen and next in like (he hopes)
for the Royal Deck Chair. He's overfed, overweight,
overdressed and oversexed. He flatters himself that he is
a cross between Errol Flynn and Victoria Principal, hence
the pencil moustache plus thighboots over his fishnets.
GENERAL RIFF RAFF: A bad tempered, mean spirited
opportunist, who is also the
unknown (but suspected) killer of his own sister and the
Old Queen's only begotten son, the late Frank 'N' Furter.
RAY AMMBO:
Head of a U.S. Agency which investigates UFO and
extraterrestrial activity on Earth. He's really into
expensive designer suits, ties, shoes and aftershave in a
big way. He is also the possible father of Sonny.
SONNY AMMBO:
Sonny is an outrageous, smart, good-looking, charming
teenager. He is completely without morals or compassion.
Everybody adores him and he sees no reason why he should
be any different.
JUDITH BRANKMIRE: Judy is a beautiful, rather
over-endowed young woman who
is looking for Mister Right. Luckily for her and us, she
meets him in the shape of Lord De Lordy. She's fun, she's
smart, she's a honey-pot.
JANET WEISS:
She's around 35 or so, but looks at least 50. She drinks,
smokes, dyes her hair, hooks and watches television,
probably all at the same time, she's a mess and she's also
possibly Sonny's real mother.
MARY LOU:
Ray's bright-eyed, longhaired, glossy-lipped, short-
skirted secretary. Like Ray, she is also from the South.
She ain't smart, but she sure is purty.
VARIOUS TRANNIES: Subjects of the Old Queen.
VARIOUS EARTHLINGS: Hotel staff, guests, diner workers
and customers, etc.
-----
We OPEN with the TITLES and a
SONG which is sung by SONNY. Our visual
image is of a journey through
space from Earth. It is very obviously
artificial and nothing more
than a promotion video for the song.
We see the PLANET EARTH.
We travel through the MILKY
WAY.
We pass the outer and well known
PLANETS.
We hit DEEP SPACE.
We approach an unknown PLANET
which has no sun, only a moon.
We skim its surface. It's
quite gothic, natural formations appear to
resemble tomb-stones.
We follow a coast-line, the
shore is black, the sea also.
We enter a CAVERN and travel
along TWISTING TUNNELS.
We pass through OPULENT but
FUNEREAL SALONS.
All images hint of sex and death.
We travel along ANOTHER CORRIDOR
and finally stop before a GOTHIC-ARCHED
DOOR.
The song ends.
We then CROSS FADE back to our
first image of the PLANET EARTH. This
time however it looks REAL,
and in a blur of speed we repeat the journey
we've just made, only this time
it all looks very real. This will be
underscored with both sounds
and music which will, relate to, and round-
off, SONNY's song.
"THE MOON DRENCHED SHORES OF TRANSYLVANIA"
SONNY (V.O.):
LET ME TAKE YOU TO A PLACE OF
SEDUCTION
WHERE HEARTS ARE LIGHT BECAUSE
IT'S NIGHT ALL DAY
LET ME HELP YOU BREAK THE CHAINS
OF SELF DESTRUCTION
I'LL START ENLIGHTENING YOU
RIGHT AWAY.
SO IF YOU'RE HOT TO SPOT WHAT'S
WHAT
YOU' BETTER GET A BIT OF WHAT
THEY'VE GOT
WHERE THEY DON'T LIKE A LITTLE
BUT A LOT OF EROTOMANIA
YOU'LL KNOW BLISS AS SOON AS
YOU GET YOURS
AS WE KISS ON THE MOON DRENCHED
SHORES OF TRANSYLVANIA
IF YOU DELIGHT IN CANDLE LIGHT
AND THE INFERNAL
I KNOW THIS DANGEROUS LITTLE
RENDEZVOUS
AND IF YOU CATCH A BITE WHERE
NIGHT IS ETERNAL
YOU'LL FEEL A STRANGENESS COMING
OVER YOU.
SO IF YOU SAY (YOU WANNA) STAY
AWAY
FROM THAT SAME OLD GREY MAYDAY
AFTER DAY
AND YOUR GAME IS TO PLAY AND
PLAY THEN I CAN'T BLAME YAH
AND SO WE'LL STAND WHERE THE
TOMB ENDURES
HAND IN HAND ON THE MOON DRENCHED
SHORES OF TRANSYLVANIA.
(ANTHEM)
CLAYMATION GROUP first time around, TRANSYLVANIANS second time.
STAY VAIN IN TRANSYLVANIA
STAY SANE IN TRANSYLVANIA
REMAIN IN TRANSYLVANIA
IT'S TIME AND MONEY WELL SPENT
YOU ONLY LOSE RESENTMENT
AND SOON CONTENTMENT COULD BE
YOURS
ON THE SANDS OF THE MOON DRENCHED
SHORES OF TRANSYLVANIA.
LET ME SING FOR YOU THE SONG
OF THE SIRENS
IT'S NOT UNKNOWN TO MAKE A GROWN
MAN CRY
WHY DON'T WE SWING IT WITH THE
MYRAS AND THE MYRONS
WHOAH MAN LIKE ONAN YOU'LL BE
HOME AND DRY.
SO IF YOU'RE CHASING AN UNCHASTE
DISGRACE
AN ANGEL FACE THAT'S ENCASED
IN LACE
WELL OUT IN SPACE THERE'S THE
PERFECT PLACE TO FAN YOUR MANIA
COME AND SEE WHAT THE GLOOM
ADORES
HERE WITH ME ON THE MOON DRENCHED
SHORES OF TRANSYLVANIA.
We stand before the GOTHIC-ARCHED DOOR again, only this time it's real.
It swings open and we enter the
dark room beyond.
1. INT. RIFF RAFF'S CHAMBERS. ETERNAL NIGHT.
This is another of those strange,
funeral decors. Again, natural rock
suggests imprisoned monsters
of Hell and sumptuous drapes suggest an
evil decadence. RIFF RAFF
is before a coffin and he runs his hands over
it in a sensual manner.
RIFF RAFF
Oh why, oh why did you make me
kill the only thing I ever loved
in my entire life, you??? You
drove me mad with jealousy, cut me
to the quick with your
shamelessness, how could you even
look at another, when I was all
you ever needed? And such a
miserable excuse for a life-form
as De Lordy as well. Oh Magenta,
my beloved sister, flesh of my
flesh, delight of my life, forgive
me you bitch.
It may be worth pointing out
at this juncture, that RIFF is more than a
little loopy.
He lies on top of the coffin and begins kissing the head end.
RIFF RAFF
It'll be different this time my
darling, I've changed, I'm not
like I used to be, I'm fun, we'll
have lots of fun together, you'll
see, it'll be just like it was
right at the beginning, when we
were children, we can play doctors
and nurses. Oh my love, my
angel, you know what I want, don't
you? Yes, yes, I do and now, now ...
He slides off and starts to open the lid.
The door to the room opens and
the light from beyond falls across the
coffin and catches RIFF looking
hunted, guilty and furious.
RIFF RAFF
And what, the expletive very much
included, fuck do you want?
We PAN AROUND and see a very
SMALL PERSON dressed in the manner of this
strange Planet (which as we
all know by now) is the Planet of Transsexual
in the Galaxy of Transylvania.
SMALL PERSON
My apologies General Riff Raff,
but the Old Queen requires your
presence immediately.
RIFF RAFF
The Old Queen???
SMALL PERSON
Yes, General, the Big Furter
herself.
RIFF snarls with rage and smashes
his fist into the side of the coffin, a
cloud of red steam escapes with
a wistful sigh. He withdraws his
bloodied forearm and stares
at it in disbelief.
RIFF RAFF
Now see what you made me do!!!
I'm sorry, my darling, but I'll
hurry right back and make it up to
you.
SMALL PERSON
General, the Old Queen is waiting.
RIFF screams at this tiny creature
with every ounce of hate that he can
muster.
RIFF RAFF
Yes, yes I know the Old Queen's
waiting, you told me and I'm
coming, all right?
He looks straight into camera.
RIFF RAFF
Right now.
WE CUT TO
2. INT. THE OUTER OFFICE OF RAY AMMBO. WASHINGTON D.C. DAY.
We see STEVE MAJORS coming along
the outer corridor and swing into MARY
LOU's secretarial office.
As we do so, we hear STEVE's thoughts in VOICE
OVER.
STEVE (V.O.)
It all began for me the day that I
heard a song on the radio about
the moon drenched shores of
Transylvania and things started to
fall into place. So I headed on
over to my Chief's office in order
that I might tell him of my
suspicions and about a plan I'd
come up with which might put a
smile on his face, after all, he
was the big banana and with luck I
thought that I might be able to
pull it off.
MARY LOU looks up from her desk as STEVE enters.
STEVE
Is the Chief in?
MARY LOU
He is, but he's real busy right
now.
STEVE
This is too important to wait.
He waves what looks like a rolled
up film poster at her, it is exactly
that. Then, he heads towards
RAY's inner sanctum.
MARY LOU
Hey! You can't go in there.
It's too late. He's already in there. MARY LOU chases after him.
Now RAY's office is a real sight.
It is full of erotica in all forms,
paintings, bronzes, books, etc.,
and on the huge T.V. screen there is a
fairly explicit strip act playing
and what's even worse (yes, it gets
worse) the STRIPPER appears
to have an extra something that doesn't
belong to the female form.
RAY is bent over his desk doing
something with a rolled up dollar bill
and some white powder.
As the door opens he stands up real quick, the
dollar still stuck in his nostril.
The mound of powder, which is huge,
goes everywhere.
RAY is dressed that very baggy,
expensive Italian designer look. He's in
his forties and is given to
wearing his hair in a pony tail.
RAY
Who in the Hell are you?
STEVE
Agent Steve Majors, Chief, I have
to talk to you.
RAY
Not now, Agent Majors, I've got a
terrible headache, the only thing
that cures it is this ... ah ...
C17 H21 O4 N ... I's pretty hard
to get and costs a fortune.
He aims the remote switch at
the T.V. screen and our transsexual STRIPPER
disappears.
RAY
I don't know what's gone wrong
with afternoon television these
days, can't get the script writers
I expect.
STEVE
I want to talk to you about that
song that's being played
everywhere, Chief, The Moon
Drenched Shores of Transylvania.
RAY's mood changes immediately,
he smiles broadly and glows with what can
only be pride.
RAY
Why didn't you say so, Agent
Majors? Hell, let me call you
Steve, you did say Steve, didn't
you? ... Mary Lou, why don't you
go pour us a drink each and while
you're at it, see if you can
rustle me up some more of my
headache powder ... it's a great
song that song, Steve ...
(he sings)
LET ME TAKE YOU TO A PLACE OF
SEDUCTION.
Hell I knew it was going to be a
hit the first time I heard it. I
said, "Sonny, that one's gonna
make it all the way to the number
one slot", and boy, was I right.
STEVE
You mean you know the singer
personally, Chief?
RAY
Know him??? I should say I do.
Why I've known him all his life.
He's my boy.
We go to a CLOSE UP on STEVE, he's astonished by this news.
We hear the double beat of a
bass drum, like a heartbeat and CUT TO
3. EXT. A STREET IN DOWN TOWN WASHINGTON. DAY.
We see SONNY for the first time.
He looks a treat. He has high-heel
shoes and fishnet stockings
on. On top he wears a leather jacket. His
face is heavily and beautifully
made up. He trucks down the street
without a care in the world.
He is without shame or embarrassment.
We CUT BACK TO
4. INT. RAY'S OFFICE. WASHINGTON D.C. DAY.
RAY
Yes sir, I sure am proud of that
boy of mine, he's never given me
one day's trouble in his life.
STEVE swallows hard, he's on
fairly thin ice here and he'll have to watch
his step.
STEVE
Yes, I'm sure he's a wonderful
son, Chief ... I'm just a little
surprised that he's singing a song
like that.
RAY
Why??? What's wrong with it???
Are you some kind of music critic
or something??? I hope I didn't
get you wrong, boy.
STEVE
Ah no ... It's just that, well, as
Chief of this Agency and as ah ...
this agency ... is set up to
investigate Aliens and U.F.O.
activity ... well I thought you
should know that what Sonny, your
boy, is singing about, is true.
RAY studies STEVE for a while.
STEVE sweats a bit. Then RAY talks and
this time it is both quiet and
cold.
RAY
I think you'd better explain
yourself, Agent Majors, and I also
think that it better be good.
STEVE
(unrolls the film poster)
Have you heard of this film,
Chief? It's called.
RAY
The Rocky Horror Show .. I've
course I've heard of it. My
boy, Sonny, loves it, he used to
go all the time.
STEVE
So did a lot of other kids, Chief.
They still do, but what they don't
know is that it's a true story ...
There are aliens amongst us, they
call themselves Trannies and all
they want is for us to become
slaves to sensation.
We hear that bass drum give that
loud heartbeat again. And we CUT TO
5. EXT. THE STREET IN DOWNTOWN WASHINGTON. DAY.
SONNY starts to sing a song that will go something or other like this.
SONNY:
LIFE IS SWEET ON THE STREET
WHEN YOU'RE TURNING ON THE HEAT
AND BURNING FOR SOME INDISCREET
DEMENTIA
AN EPISODE IN THE ROAD
CAN CAUSE YOU TO EXPLODE
AND THEN SAY 'WELL I'M BLOWED!
HAS HEAVEN SENT YAH?'
IT MAYBE HARD WHEN YOU'VE STARRED
TO A HATEFUL BOULEVARD
TO DISREGARD THE DETRIMENTAL
CENSURE
JUST SKIP AND POST
HAVE A LAUGH
FLIP THOSE FOES YOUR AUTOGRAPH
AS YOU TRIP THE PRIMROSE PATH
TO FRESH ADVENTURE.
IF YOU TIC TACK DOWN THE TRACK
AND RUN SMACK INTO A PACK
OF GUYS WITH SOME WISE-CRACK
AND NO ABSTENTIONS
TO REMAIN UP IN THAT LANE
CAN BE REALLY QUITE A STRAIN
BUT THEY'LL BE RIGHT AS RAIN
WITH YOUR ATTENTIONS
A HAIRY MALE ON THE TRAIL
IS A KIND OF FAIRY TALE
REMINDING YOU'RE FRAIL WITH
HIS DIMENSIONS
SO HISS AND SPIT
KISS AND TELL
AND REMEMBER THIS BIT WELL
THAT THEY PAVED THE ROAD TO
HELL
WITH GOOD INTENTIONS.
LET ME SAY, SHOULD YOU STRAY
DOWN THAT FETED GREAT WHITE
WAY
STILL PRAYING FOR THE DAY YOU
PLAY THE PALAIS
FLOUT YOUR PRIDE AND STAY OUTSIDE
DON'T GET TAKEN FOR A RIDE
FORGET IT NOT THAT YOU'RE A
HOT TAMALE
HOCK YOUR JOCK, SHOCK IN A FROCK
GET THEM ROCKING ROUND THE BLOCK
A FRILLY REALLY MAKES THEM DILLY
DALLY
YES I REPEAT
IT'S A TREAT
WHEN YOU'VE RISEN FROM DEFEAT
(TO) FIND THE RHYTHM OF THE
STREET'S
RIGHT UP YOUR ALLEY.
(SONG TO BE FINISHED LATER)
By the time he's finished it,
he's probably made love to a few
bystanders, beaten up the odd
red-neck and wound up in the window of a
lingerie shop with a couple
of cops and several teenaged girls.
We CUT TO
6. INT. RAY'S OFFICE. WASHINGTON D.C. DAY.
RAY
I've been Chief of this agency for
more years than I care to
remember, Agent Majors and I've
never seen a U.F.O. or an Alien
that didn't turn out to be
something quite normal and
understandable. And, another
thing, do you really think for one
minute that monsters from outer
space could ever corrupt the
people of this great nation? Do
you think that the young people
would be weak enough, foolish
enough, to be taken in by a
proselytizing extraterrestrial
with a mouth full of sweet talk
and a dick that swings both
ways? ...
MARY LOU enters with three drinks
and a huge brown paper grocery sack
full of white powder.
She puts everything down except for her drink,
sits down and crosses her legs.
STEVE attempts to say a few words to RAY.
STEVE
But ... I ...
RAY
Take my boy for example, he's a
lovely boy
MARY LOU
He surely is and that's the truth.
RAY
He's a rock star, making his way
in an industry that's rife with
temptation, but does he lack moral
principles? No he does not and
why? Because he knows right from
wrong that's why. Sure, he
dresses a little crazy, but he's
young and in show business, and so
what if he sings strange songs
about other planets. Sci Fi and
Gothic horror are in, but, don't
try and tell me that this Planet,
this Transylvania really exists or
I'm going to have to start calling
for the men in white coats.
We CUT TO
7. INT. A DIMLY LIT CORRIDOR. PLANET OF T.S. ETERNAL NIGHT.
The SMALL PERSON and RIFF snake
along the corridor. We hear the sighs,
moans and groans of unseen Transylvanians
drowning in pleasure. RIFF
covers his ears. We lose
the sounds with his action and we hear now the
thump of his heartbeat, followed
by a dramatic drum fill. RIFF is
nervous and unhappy.
We CUT TO
8. INT. RAY'S OFFICE. WASHINGTON D.C. DAY.
RAY
I'm well aware that there are a
lot of people unable to dig
themselves out of the shit that
they've buried themselves into,
but let's face it, there's riff
raff everywhere these days.
9. INT. FURTHER ALONG THE CORRIDOR. PLANET OF T.S. ETERNAL NIGHT.
The 'HEARTBEAT' has under scored
the last scene and now it becomes a full
rhythm section. RIFF sings.
"SHORT END OF THE STICK"
RIFF RAFF:
THERE'S SOMETHING GOING DOWN
OVER SOMETHING THAT'S COME UP
SO I'D BETTER GO INTO REMOTE
BECAUSE THEY'RE ALWAYS AT MY
THROAT
TRYING TO MAKE THEIR STORY STICK
I WAS BORN TO JOIN THE GENTRY
BORN TO HAVE THE HORN OF PLENTY
BUT THE THING THAT MAKES ME
SICK
IS I ALWAYS GET THE SHORT-END
OF THE STICK
SOMEONE'S HOLDING COURT
OR SOMETHING OF THAT SORT
AND THE QUESTIONS WILL BE COMING
FAST AND THICK
SO I'D BETTER TAKE THE STAND
WITH SOME ACES IN MY HAND
(OR THERE'LL BE) TROUBLE THAT'S
AS SUBTLE AS A BRICK
I WAS BORN TO RULE, NOT FOLLOW
THERE ARE THINGS THAT I CAN'T
SWALLOW
BUT THE THING THAT MAKES ME
SICK
IS, I ALWAYS GET THE SHORT END
OF THE STICK.
DRUNK WITH POWER, THEY SKIP WITH
JOY
HOUR BY HOUR I'M THEIR WHIPPING
BOY
THEY'RE SO SADISTIC THEY'LL
STEAL YOUR LIPSTICK
AND TELL YOU THAT YOU'RE MASOCHISTIC
I GET NO THRILLS ON BITTER PILLS
THEY MAKE ME SICK
AND I ALWAYS GET THE SHORT END
OF THE STICK.
TRANNIES/SMALL PERSON/GUARDS:
HE WAS BORN TO JOIN THE GENTRY
RIFF RAFF:
BORN TO HAVE THE HORN OF PLENTY
OTHERS:
HE WAS BORN TO RULE NOT FOLLOW
RIFF RAFF:
THERE ARE THINGS I JUST CAN'T SWALLOW
OTHERS:
BUT THE THING THAT REALLY MAKES HIM SICK
RIFF RAFF:
IS, I ALWAYS GET THE SHORT END OF THE STICK.
SOMEONE HAS TO LOSE
SO THAT SOMEONE ELSE CAN WIN
IT'S A CHRONIC TRAGICOMIC KIND
OF TRICK
IF I HAD A BIT OF SENSE
I'D JUST SIT HERE ON THE FENCE
AND PRETEND TO BE AN EMPTY HEADED
HICK
(BUT) I WAS BORN TO BE THE VICTIM
BORN A PAWN WITHOUT THE SYSTEM
THAT'S THE THING THAT MAKES
ME SICK
YES, I ALWAYS GET THE SHORT
END OF THE STICK.
We CUT TO
10. INT. RAY'S OFFICE. WASHINGTON D.C. DAY.
Same three people as before. We OPEN with a CLOSE UP on STEVE.
STEVE
But Chief! You've got to believe
me ...
RAY and MARY LOU snigger a little.
STEVE
... They've got a safe-house in a
place called Fresno, over an
electrical store, this time we're
really on to them.
RAY
Oh really? How d'you come by
this information, Agent Majors?
STEVE
I was going through the files and
I found a folder marked The Denton
Affair, it made for really
interesting reading, chief, and
pencilled in the cover it said,
Transylvanian Safe House, then it
gave the address, and I've checked
and it's still there.
RAY
The Denton Affair was a long time
ago ... ah ... Steve, sure, the
address in Fresno might check out,
but Hell, anybody could be living
there now.
STEVE
Let me check it out, Chief.
RAY
What d'you think, Mary Lou?
Should we let Steve here check
Fresno out for monsters from outer
space?
MARY LOU
I don't know, Ray, it could be
kind of dangerous.
RAY becomes mock serious for a moment.
RAY
All right, Agent Majors, it's just
possible that this could be the
big break that we've been waiting
for. I'm going to put a priority
code on this one ...
He picks up the phone.
RAY
... It's Ray Ammbo here, Head of
the Bureau of Investigation into
U.F.O's and all other related
subjects. I want to be put
straight through to Camp David,
and I mean now.
STEVE's jaw drops and he gives
a low whistle of approval ... This is
serious stuff going down here.
RAY
Hello David, send me an Agency car
round to the front of the
building, and make it the best.
He hangs up.
We CUT TO
11. INT. THE ANTE CHAMBER. OLD QUEEN'S PALACE. ETERNAL NIGHT.
RIFF and the SMALL PERSON enter.
A VERY TALL THIN SERVANT, also dressed
in Transylvanian black, comes
from the doorway that leads out to the moon
drenched shore.
SMALL PERSON
General Riff Raff to see the Old
Queen.
The TALL THIN SERVANT gives RIFF
a haughty and disdainful look and sniffs
in a snooty manner. RIFF
returns his rudeness with an arrogant sneer.
The TALL THIN one exits into the Alien night that lies beyond the door.
We CUT TO
12. EXT. THE STREET. OUTSIDE H.Q. WASHINGTON. DAY.
RAY and MARY LOU are seeing STEVE
off in the Company car which is heavily
marked with tell tale Agency
logos and give away identification.
STEVE
Shouldn't I fly?
RAY
What, and let them know that
you're coming. How
unprofessional can you get, Steve.
STEVE
Sorry, Chief.
RAY
I'm going to get one of our top
operators out on the coast to meet
you there and give you all the
help you need on this assignment,
Steve.
STEVE
I like to work on my own, Chief.
RAY
You'll follow orders, Agent
Majors. Am I understood?
STEVE
Yes, Chief.
RAY
Okay, Steve, good boy, and Steve,
be careful, you hear? Don't
trust anybody.
RAY and MARY LOU smile at STEVE
in a phoney manner. They wave goodbye
and STEVE drives off.
As the car moves out into the
traffic and is some way away from them,
SONNY walks into frame.
SONNY
Hi Pop, Hi Mary Lou.
BOTH
Sonny ...
SONNY
Who's the square in the car?
RAY
One of my finest agents, a real
asshole. Let's go back to the
office and party.
SONNY puts his arm around MARY LOU's waist.
SONNY
Sounds good to me.
MARY LOU
Me too.
We CUT TO
13. INT. THE ANTE CHAMBER. THE PALACE OF THE OLD QUEEN. ETERNAL NIGHT.
RIFF and the SMALL PERSON wait
in a funereal silence. RIFF is fuming
with impatience.
RIFF RAFF
How much longer is she going to
keep me waiting? That's what I'd
like to know.
The SMALL PERSON says nothing
but gives him a look which says that RIFF
would be best served by watching
his tongue. The truth of the matter is
that the thought of RIFF getting
drawn and quartered is not without its
attractions to him either.
We CUT TO
14. MONTAGE
A MONTAGE of SHOTS of STEVE's
car hurtling through DAYS and NIGHTS,
RAIN and SUNSHINE, PUNCTURES
and TRAFFIC COPS, etc.
This of course gives us the passing of time.
We CUT BACK TO
13. INT. THE ANTE CHAMBER. THE PALACE OF THE OLD QUEEN. ETERNAL NIGHT.
It's the same as before, nothing has changed. The SMALL PERSON yawns.
We CUT TO
15. INT. STEVE'S CAR. (TRAVELLING SHOT). DAY.
STEVE's driving and trying to
look cool. We see that he's even wearing
those little leather driving
gloves with the backs cut out of them, plus
of course, those oh-so-important
sun-glasses. Let's face it, he's a hunk
and a half.
STEVE (V.O.)
The car was the tops and it had
all the high tech engineering that
those little yellow guys are
famous for. Hell, I'm as
American as the next guy but let's
face it. I want a car that's
compact, stylish and gives me big
miles per gallon, plus all the
optional extras, without putting a
dent in my pocket.
The car phone goes - STEVE picks it up.
STEVE
Hi, this is Agent Steve Majors on
special assignment, I'm not here
right now, but if you'd care to
leave your name and number after
the tone - I'll get right back to
you -
(he whistles the tone)
He listens. It's his contact, one JUDITH BRANKMIRE.
JUDY (V.O.)
Hello, ah ... this is Agent
Brankmire, I'm your contact in
Fresno, listen Steve, it's Judith,
Judy, Judy Brankmire? We went to
school together back in Denton,
way back when. I guess you won't
remember me, I'm 5 to 6 feet tall
with sandy, brown/blonde hair,
about 110 pounds, well, I was
then. I've picked up a few since
then maybe, but it's not easy with
this job, you tend to eat a lot of
junk food ...
Her voice FADES DOWN and STEVE's thoughts FADE UP.
STEVE (V.O.)
Judy Brankmire? Judy Brankmire??
Maybe I did remember her, sexy
little brunette, with a cute
little pushed-up button nose,
tight buns and a pair of tits you
could die for, then again, maybe I
didn't.
I was about to let her know that
the answer phone scam was an old
security trick of mine, when I
realised that maybe she wasn't who
she claimed to be, so I just let
her keep on talking, something she
was pretty good at.
JUDY (V.O.)
... anyway, Steve, the thing is,
I've managed to get a short lease
on the apartment you've been sent
to check out ...
We CUT TO
16. INT. EARTH. THE "SAFE HOUSE" APARTMENT. FRESNO. DAY.
JUDY sits on the sofa with the phone in her hand.
JUDY
... It's been unoccupied for so
long that I managed to talk the
servicing company into letting me
take it for the month. No one's
been near the place for years,
it's like a time warp here. I'll
wait for you here and see you
later tonight some time, maybe we
can catch up on old times,
Steve ...
We CUT TO
17. EXT. EARTH. CAR. DAY.
JUDY (V.O.)
... I'd like that.
The call ends.
STEVE hangs up as well.
STEVE
Yeah, me too, Judy Brankmire, me
too.
We leave STEVE exuding pheromones and ...
CUT TO
18. EXT. THE OLD QUEEN'S BEACH. ETERNAL NIGHT.
RIFF walks across the dark sand
towards a black gothic deck chair. We
see protruding from one side
of it, a rather hefty leg encased in ripped
silk stockings. The skin
seen through these rips, is a deathly white.
The TALL THIN SERVANT announced
RIFF as he comes alongside.
SERVANT
The General Riff Raff, your lace
curtain, your most excellent
Furter.
At last we see her and she's
an incredible sight to behold. Skin as
white as snow. Hair black
as pitch. Dressed in a black negligee,
beneath which her vast body
is dressed in a regal girdle. On her head
she wears a tiara type crown
made up of lightning streaks. Her small,
round, white frosted glasses
gaze up at RIFF. She removes them to reveal
extremely heavily make-up eyes.
RIFF avoids her gaze and studies
the moon, the sand, the ink-black
glutinous sea that gloops like
an ocean of oil at the edge of the iron
sand, in fact anything.
RIFF
You wished to see me? Old Queen,
Silk Stocking, Lace Curtain, Big
Furter.
OLD QUEEN
I would never wish to actually see
you, Riff Raff - The sight of you
is like a finger down the throat.
But I have a request - An order -
A royal order.
RIFF RAFF
I would be proud and honoured to
serve you, my fleshy Queen. What
is it you wish of me?
OLD QUEEN
(she screams)
I want you to return to Earth and
find my little darling boy and
bring him back to me before I take
that great leap.
COURTIERS
Oh no, Big Furter, you will never
die ... etc.
RIFF looks decidedly furtive
as indeed he might seeing as how he has
blasted the late FRANK 'N' FURTER
with a laser until all life had fled
from that naughty boy's mortal
frame.
OLD QUEEN
Hit the trail, Riff Raff, and make
sure you bring back my little
Frankie to me before I croak.
RIFF RAFF
Frankie? Frank 'N' Furter? You
want me to find Frank 'N' Furter
and bring him back to you?
OLD QUEEN
Yes, yes, yes ... I want my
treasure, my heart's delight, my
only born back in these arms,
locked on to these breasts once
more before I go to my great
reward.
RIFF RAFF
But the fruit of your capacious
loins has not been heard of for
fifteen years or so ... He may be
... ah ... busy ... he may not
want to come back.
OLD QUEEN
My cousin, Lord De Lordy will see
that you make it to the
transducer. De Lordy.
DE LORDY steps forward with a
mocking grin which is meant for RIFF, he
gives a slight bow.
&nb