The producers of this BLOG would like to state that any similarities between characters herein and any persons living or dead is purely coincidental and in no way reflects the policies of the BLOG makers. The opinions and ideas of the author are purely phantasmagorical and are not to be taken as any kind of reality.
Also...
The following BLOG contains BLUE material of a provocative nature. Rated a hard (very hard) R. READER DISCRETION IS ADVISED (AND ENCOURAGED).
FADE IN:
EXT. SAN FRANCISCO STREET -DAY
A cable car passes by on the street with a crisp DING DING! The camera pans a 180 degree sweep and we're looking at the front window of CABLE CAR CLOTHIERS; a posh, old-world men's haberdashery. CHRISTOPHER "CHRISSY" REIDY, LATE 50'S, jauntily enters the frame. He takes a moment to look at the facade, smiles brightly, straightens his collar and goes through the door.
CUT TO:
INT. CABLE CAR CLOTHIERS -DAY
Chris walks across the selling floor, looking hither and yon at all the beautiful furnishings:
Also...
The following BLOG contains BLUE material of a provocative nature. Rated a hard (very hard) R. READER DISCRETION IS ADVISED (AND ENCOURAGED).
FADE IN:
EXT. SAN FRANCISCO STREET -DAY
A cable car passes by on the street with a crisp DING DING! The camera pans a 180 degree sweep and we're looking at the front window of CABLE CAR CLOTHIERS; a posh, old-world men's haberdashery. CHRISTOPHER "CHRISSY" REIDY, LATE 50'S, jauntily enters the frame. He takes a moment to look at the facade, smiles brightly, straightens his collar and goes through the door.
CUT TO:
INT. CABLE CAR CLOTHIERS -DAY
Chris walks across the selling floor, looking hither and yon at all the beautiful furnishings:
He's approached by an older man in a jaunty hat. This is MR. ZENDRAZIK, 90'S.
MR. ZENDRAZIK
Hello there young man, how can I help you today?
CHRIS
(LAUGHS) Young? Let's just say young at heart!
MR. ZENDRAZIK
This is funny? How old are you?
CHRIS
I'll be sixty in December.
MR. ZENDRAZIK
I'll be ninety-five in October; so, to me, you're a young man. It's all in your head anyways. Now what are you looking for today.
CHRIS
Actually, I'm looking for a Baracuta jacket. It's a windbreaker. It's a--
MR. ZENDRAZIK
You want the G9...
CHRIS
Yes. That's it. It's also called the--
MR. ZENDRAZIK
Harrington. We have the best selection in America. Follow me.
CUT TO:
INT. DRESSING ROOM -DAY
Chris is standing in front of a three-way mirror as Mr. Zendrazik slips a beige golf jacket on him.
MR. ZENDRAZIK
This is what they call "natural"; I call it oyster; but whatever. Size 42--the last one.
CHRIS
Oh, yeah, this is it!
MR. ZENDRAZIK
Do you want me to wrap it up or do you want to wear it out?
Chris is looking at the price-tag. He GULPS.
CHRIS
Oh, ah...so it's four-hundred-ninety-eight?
MR. ZENDRAZIK
I know: sticker shock. But you get what you pay for. You'll have it forever; that is, if you live as long as me.
CHRIS
Ahhhh--
The curtain to the dressing room SWOOSHES open and a man in a white racing suit with the GULF oil logo emblazoned on it steps into the room. It is STEVE MCQUEEN, famous movie star, 40's. He puts his helmet on a chair.
MR. ZENDRAZIK
Oh! Mr. McQueen! So nice to see you!
Chris is now an afterthought.
STEVE MCQUEEN
Hey Mr. Z. I'm not interrupting am I?
MR. ZENDRAZIK
Hello there young man, how can I help you today?
CHRIS
(LAUGHS) Young? Let's just say young at heart!
MR. ZENDRAZIK
This is funny? How old are you?
CHRIS
I'll be sixty in December.
MR. ZENDRAZIK
I'll be ninety-five in October; so, to me, you're a young man. It's all in your head anyways. Now what are you looking for today.
CHRIS
Actually, I'm looking for a Baracuta jacket. It's a windbreaker. It's a--
MR. ZENDRAZIK
You want the G9...
CHRIS
Yes. That's it. It's also called the--
MR. ZENDRAZIK
Harrington. We have the best selection in America. Follow me.
CUT TO:
INT. DRESSING ROOM -DAY
Chris is standing in front of a three-way mirror as Mr. Zendrazik slips a beige golf jacket on him.
MR. ZENDRAZIK
This is what they call "natural"; I call it oyster; but whatever. Size 42--the last one.
CHRIS
Oh, yeah, this is it!
MR. ZENDRAZIK
Do you want me to wrap it up or do you want to wear it out?
Chris is looking at the price-tag. He GULPS.
CHRIS
Oh, ah...so it's four-hundred-ninety-eight?
MR. ZENDRAZIK
I know: sticker shock. But you get what you pay for. You'll have it forever; that is, if you live as long as me.
CHRIS
Ahhhh--
The curtain to the dressing room SWOOSHES open and a man in a white racing suit with the GULF oil logo emblazoned on it steps into the room. It is STEVE MCQUEEN, famous movie star, 40's. He puts his helmet on a chair.
MR. ZENDRAZIK
Oh! Mr. McQueen! So nice to see you!
Chris is now an afterthought.
STEVE MCQUEEN
Hey Mr. Z. I'm not interrupting am I?
Mr. Z. glances at Chris who is just realizing who has entered the room. He puts his dropped jaw back in place as Steve begins to unzip his jumpsuit.
STEVE
Oh, I'm sure this fellah won't mind if we share--
Before Chris can answer, Steve is stripped down to his skivvies and socks. Chris GULPS again for a different reason.
CHRIS
Oh, ah, sure. That's fine...
MR. Z.
Your pants are ready Mr. McQueen, I'll just be a minute.
Mr. Z. leaves the room. Steve leans against the wall and scratches his stomach. Chris stands there like an idiot.
STEVE
G9 huh? Good taste.
STEVE
Oh, I'm sure this fellah won't mind if we share--
Before Chris can answer, Steve is stripped down to his skivvies and socks. Chris GULPS again for a different reason.
CHRIS
Oh, ah, sure. That's fine...
MR. Z.
Your pants are ready Mr. McQueen, I'll just be a minute.
Mr. Z. leaves the room. Steve leans against the wall and scratches his stomach. Chris stands there like an idiot.
STEVE
G9 huh? Good taste.
CHRIS
It's also called the Harrington...
STEVE
Please. Fuck Ryan O'Neal. I put that jacket on the map. Not him, the cocksucker. Actually, I would like to fuck him. I'm so horny right now. It's that racing suit...
CHRIS
(At a loss) Oh, ah...gee...ahm...that is to say...well, you see...what I mean is...I guess you two didn't get along?
STEVE
We were always after the same trim. Bastard dickflected me on more than one occasion. (LAUGHS) Hah! "Dickflected"! I just made that up!
CHRIS
We call it cock-blocking where I'm--
STEVE
Speaking of cocks; look what's come up.
Steve is, as they say, sporting wood.
CHRIS
Gee whiz--
STEVE
Why don't you get on your knees and I'll christen that new jacket.
He puts his hands on Chris' shoulders and positions him with little protest.
FADE TO BLACK
FADE UP:
INT. CABLE CAR CLOTHIERS -DAY
Mr. Z. is finishing up writing an invoice as he taps a calculator. Steve, now looking super-cashe-cool in a dapper weekend ensemble, is on the opposite side of the counter and Chris is absently looking at the outfit on a mannequin.
MR. Z.
And here we are Mr. McQueen...
He tears a tape off the calculator and hands it to Steve. Steve looks at the total and nods.
STEVE
And let's throw the Baracuta on my tab for Mr....
Steve glances at Chris.
CHRIS
Oh, ah, Reidy. Mr. Reidy.
STEVE
Yeah, what he said.
MR. Z.
Very good--
He taps in more numbers, hits print and rips off the tape and hands it to Steve.
STEVE
That's fine.
MR. Z.
I wouldn't feel right if I didn't point out that there's some kind of stain on the jacket...
STEVE
What?
Mr. Z turns to the jacket which is hanging on a stand next to the register and points.
MR. Z.
I told Manny not to eat his yogurt on the floor!
STEVE
Ah, that's nothing, right...Reidy?
CHRIS
I see nothing! Nothing!
STEVE
(LAUGHS) Okay. So, could you just pack everything up and send it to the Mark?
MR. Z.
Absolutely.
STEVE
And Mr. Reidy will just wear the jacket out.
MR. Z.
Excellent.
Mr. Z. takes the Baracuta off its hanger and comes around the counter and once again, slips it on Chris. Steve hugs and kisses Mr. Z. on the cheek and he and Reidy are out the door.
It's also called the Harrington...
STEVE
Please. Fuck Ryan O'Neal. I put that jacket on the map. Not him, the cocksucker. Actually, I would like to fuck him. I'm so horny right now. It's that racing suit...
CHRIS
(At a loss) Oh, ah...gee...ahm...that is to say...well, you see...what I mean is...I guess you two didn't get along?
STEVE
We were always after the same trim. Bastard dickflected me on more than one occasion. (LAUGHS) Hah! "Dickflected"! I just made that up!
CHRIS
We call it cock-blocking where I'm--
STEVE
Speaking of cocks; look what's come up.
Steve is, as they say, sporting wood.
CHRIS
Gee whiz--
STEVE
Why don't you get on your knees and I'll christen that new jacket.
He puts his hands on Chris' shoulders and positions him with little protest.
FADE TO BLACK
FADE UP:
INT. CABLE CAR CLOTHIERS -DAY
Mr. Z. is finishing up writing an invoice as he taps a calculator. Steve, now looking super-cashe-cool in a dapper weekend ensemble, is on the opposite side of the counter and Chris is absently looking at the outfit on a mannequin.
MR. Z.
And here we are Mr. McQueen...
He tears a tape off the calculator and hands it to Steve. Steve looks at the total and nods.
STEVE
And let's throw the Baracuta on my tab for Mr....
Steve glances at Chris.
CHRIS
Oh, ah, Reidy. Mr. Reidy.
STEVE
Yeah, what he said.
MR. Z.
Very good--
He taps in more numbers, hits print and rips off the tape and hands it to Steve.
STEVE
That's fine.
MR. Z.
I wouldn't feel right if I didn't point out that there's some kind of stain on the jacket...
STEVE
What?
Mr. Z turns to the jacket which is hanging on a stand next to the register and points.
MR. Z.
I told Manny not to eat his yogurt on the floor!
STEVE
Ah, that's nothing, right...Reidy?
CHRIS
I see nothing! Nothing!
STEVE
(LAUGHS) Okay. So, could you just pack everything up and send it to the Mark?
MR. Z.
Absolutely.
STEVE
And Mr. Reidy will just wear the jacket out.
MR. Z.
Excellent.
Mr. Z. takes the Baracuta off its hanger and comes around the counter and once again, slips it on Chris. Steve hugs and kisses Mr. Z. on the cheek and he and Reidy are out the door.
CUT TO:
EXT. STREET -DUSK
Steve directs Chris over to a sleek, racing-green Jaguar XKSS and jumps into it without opening the door. Chris attempts the same on the other side and ends up on the pavement. He stands and brushes off his new jacket, opens the door and gets in. Steve GUNS the engine and peels out into the street.
SMASH CUT TO:
EXT. TAYLOR STREET -NIGHT
We see the Jaguar, airborne, leap across the SCREEN from one side to the other as the skyline moves in the opposite direction.
CUT TO:
INT. JAGUAR -NIGHT
In SLOW-MOTION, we see a tight two-shot of Chris and Steve's PROFILES. Steve's head is thrown back as he GUFFAWS and Chris seems to be SCREAMING something. Or maybe just SCREAMING.
INSERT SHOT: Chris' white knuckles as he grips the dashboard.
SMASH CUT TO:
INT. TOP OF THE MARK -NIGHT
We hear a light jazz version of THIS GUY'S IN LOVE WITH YOU as we look at the city lights below. The camera does a SLOW ZOOM-OUT and we find Chris and Steve at a widow-side table. Steve is drinking a HEINEKEN from the bottle as Chris attempts to steady his hands and bring his cocktail to his lips.
EXT. STREET -DUSK
Steve directs Chris over to a sleek, racing-green Jaguar XKSS and jumps into it without opening the door. Chris attempts the same on the other side and ends up on the pavement. He stands and brushes off his new jacket, opens the door and gets in. Steve GUNS the engine and peels out into the street.
SMASH CUT TO:
EXT. TAYLOR STREET -NIGHT
We see the Jaguar, airborne, leap across the SCREEN from one side to the other as the skyline moves in the opposite direction.
CUT TO:
INT. JAGUAR -NIGHT
In SLOW-MOTION, we see a tight two-shot of Chris and Steve's PROFILES. Steve's head is thrown back as he GUFFAWS and Chris seems to be SCREAMING something. Or maybe just SCREAMING.
INSERT SHOT: Chris' white knuckles as he grips the dashboard.
SMASH CUT TO:
INT. TOP OF THE MARK -NIGHT
We hear a light jazz version of THIS GUY'S IN LOVE WITH YOU as we look at the city lights below. The camera does a SLOW ZOOM-OUT and we find Chris and Steve at a widow-side table. Steve is drinking a HEINEKEN from the bottle as Chris attempts to steady his hands and bring his cocktail to his lips.
Steve notices the smudges on Chris' jacket from where he fell.
STEVE
We're really breakin' that baby in!
Chris smiles wanly and drains his glass. He gazes at a small stage where a BEAUTIFUL WOMAN is singing the Alpert song.
STEVE
We're really breakin' that baby in!
Chris smiles wanly and drains his glass. He gazes at a small stage where a BEAUTIFUL WOMAN is singing the Alpert song.
Steve finishes his beer and motions for the WAITRESS who approaches the table. He smiles at her.
STEVE
He'll have another--what is that?
CHRIS
Limoncellotini.
STEVE
Yeah, that. And I'll take another Heine...(suggestively)...or two. (The waitress ignores this) Did anyone ever tell you you look like Ali McGraw?
WAITRESS
(Flatly) I don't know who that is--
The waitress strides off. Steve CHUCKLES.
CHRIS
Okay, if you're not gonna say it, I'll say it: "Doesn't she KNOW who you are!??!"
STEVE
Believe you me; there were a lot of broads who were immune to my charms. But no. She doesn't know who I am.
CHRIS
How could she not? You're icon--
STEVE
Because I don't want her to. It's a fringe benefit of the fringe I'm tuning in from.
CHRIS
I'm not even gonna ask.
Steve has been peeling the label off his beer bottle and rolling the paper into little balls. He flicks one off the table.
CHRIS
Have you seen F1?
STEVE
No. Why do you ask?
CHRIS
Oh, your beer put me in mind of it.
STEVE
How so?
CHRIS
'Cuz it's kind of a giant Heineken ad.
STEVE
I thought it was a racing picture.
CHRIS
It is. But it's also a product-placement-palooza.
STEVE
I don't know what that is.
CHRIS
Well, you know how your racing suit from Le Mans had the big GULF patch on it? (Steve nods) Well, they paid to have that there--
STEVE
No they didn't. I produced that picture. That was there for the realism. Nobody got paid.
CHRIS
Well, that game has certainly changed.
STEVE
Racing has always been covered with logos; it's part of it.
CHRIS
Yeah, well I'm pretty certain all the logos we see plastered all over F1 were all selected and paid for. And there were a lot. But there was so much Heineken branding it got ridiculous.
STEVE
How so?
CHRIS
To the point where it was the only beer anyone was drinking in the movie and the only beer at any of the numerous party scenes...to the point where the actors were holding the bottles in such a way as to make sure the labels were getting on camera.
STEVE
So Heineken paid for that?
CHRIS
Yeah.
STEVE
Why didn't I think of that?
The waitress returns with the drinks.
STEVE
Thanks sweetheart.
The waitress smiles and displays her smartphone. There's a picture on the screen.
WAITRESS
Is this the lady you were talking about?
STEVE
He'll have another--what is that?
CHRIS
Limoncellotini.
STEVE
Yeah, that. And I'll take another Heine...(suggestively)...or two. (The waitress ignores this) Did anyone ever tell you you look like Ali McGraw?
WAITRESS
(Flatly) I don't know who that is--
The waitress strides off. Steve CHUCKLES.
CHRIS
Okay, if you're not gonna say it, I'll say it: "Doesn't she KNOW who you are!??!"
STEVE
Believe you me; there were a lot of broads who were immune to my charms. But no. She doesn't know who I am.
CHRIS
How could she not? You're icon--
STEVE
Because I don't want her to. It's a fringe benefit of the fringe I'm tuning in from.
CHRIS
I'm not even gonna ask.
Steve has been peeling the label off his beer bottle and rolling the paper into little balls. He flicks one off the table.
CHRIS
Have you seen F1?
STEVE
No. Why do you ask?
CHRIS
Oh, your beer put me in mind of it.
STEVE
How so?
CHRIS
'Cuz it's kind of a giant Heineken ad.
STEVE
I thought it was a racing picture.
CHRIS
It is. But it's also a product-placement-palooza.
STEVE
I don't know what that is.
CHRIS
Well, you know how your racing suit from Le Mans had the big GULF patch on it? (Steve nods) Well, they paid to have that there--
STEVE
No they didn't. I produced that picture. That was there for the realism. Nobody got paid.
CHRIS
Well, that game has certainly changed.
STEVE
Racing has always been covered with logos; it's part of it.
CHRIS
Yeah, well I'm pretty certain all the logos we see plastered all over F1 were all selected and paid for. And there were a lot. But there was so much Heineken branding it got ridiculous.
STEVE
How so?
CHRIS
To the point where it was the only beer anyone was drinking in the movie and the only beer at any of the numerous party scenes...to the point where the actors were holding the bottles in such a way as to make sure the labels were getting on camera.
STEVE
So Heineken paid for that?
CHRIS
Yeah.
STEVE
Why didn't I think of that?
The waitress returns with the drinks.
STEVE
Thanks sweetheart.
The waitress smiles and displays her smartphone. There's a picture on the screen.
WAITRESS
Is this the lady you were talking about?
STEVE
Yeah, that's her!
WAITRESS
She's really pretty.
STEVE
She's a star baby!
The waitress GIGGLES and leaves.
Steve winks at Chris and chugs his beer. He bangs the bottle down and wipes his mouth.
STEVE
Where are you staying anyways?
CHRIS
With...friends...in San Rafael.
STEVE
It's getting late. You're staying with me tonight.
He stands and strides towards the exit.
CHRIS
But...my bus...
CUT TO:
INT. -HOTEL SUITE -NIGHT
Chris and Steve, their heads propped up with pillows, are watching the TV. Love Story is in progress:
Yeah, that's her!
WAITRESS
She's really pretty.
STEVE
She's a star baby!
The waitress GIGGLES and leaves.
Steve winks at Chris and chugs his beer. He bangs the bottle down and wipes his mouth.
STEVE
Where are you staying anyways?
CHRIS
With...friends...in San Rafael.
STEVE
It's getting late. You're staying with me tonight.
He stands and strides towards the exit.
CHRIS
But...my bus...
CUT TO:
INT. -HOTEL SUITE -NIGHT
Chris and Steve, their heads propped up with pillows, are watching the TV. Love Story is in progress:
STEVE
Man, she was really robbed of that Oscar.
CHRIS
Ryan too, I think--
STEVE
That schmuck? He wasn't even nominated for a Golden Globe.
CHRIS
He was nominated for Best Actor for it. Both, actually--
STEVE
Get outta town.
CHRIS
He was! Can I ask you a question?
STEVE
Sure...(he turns the TV VOLUME down with the remote).
CHRIS
What's with the car racing?
STEVE
Let me think about that for a second before I give you some bullshit answer. I guess it's the power. The power of knowing your life is in your own hands.
CHRIS
Isn't that true of anyone?
STEVE
Yeah. But getting behind the wheel of a car and driving two-hundred miles per hour in something deemed official gives you an excuse. It's kind of like playing Russian roulette without the gun. The gun is too in your face, so to speak.
CHRIS
Can I ask you something else?
STEVE
You can ask me anything. Buddy, I've done it all and I could give two shits less about anything. It's why Hollywood hates me.
CHRIS
But you were one of the biggest Stars, like, ever.
STEVE
Yeah. I had them by the balls. And the twats. What's your question?
CHRIS
Have you ever been ripped off?
STEVE
How do you mean? Like mugged? Rolled? Scammed?
CHRIS
More like...your ideas...
STEVE
(LAUGHS) Oh shit man! They're still stealing my ideas! That F1 is a remake of Le Mans for fucksakes. They're stealing me! I'm one of the fucking highest paid dead celebrities in the world; which is pretty goddamned morbid if you ask me. But I guess it's good for my family; I sure don't need it where I am now.
Man, she was really robbed of that Oscar.
CHRIS
Ryan too, I think--
STEVE
That schmuck? He wasn't even nominated for a Golden Globe.
CHRIS
He was nominated for Best Actor for it. Both, actually--
STEVE
Get outta town.
CHRIS
He was! Can I ask you a question?
STEVE
Sure...(he turns the TV VOLUME down with the remote).
CHRIS
What's with the car racing?
STEVE
Let me think about that for a second before I give you some bullshit answer. I guess it's the power. The power of knowing your life is in your own hands.
CHRIS
Isn't that true of anyone?
STEVE
Yeah. But getting behind the wheel of a car and driving two-hundred miles per hour in something deemed official gives you an excuse. It's kind of like playing Russian roulette without the gun. The gun is too in your face, so to speak.
CHRIS
Can I ask you something else?
STEVE
You can ask me anything. Buddy, I've done it all and I could give two shits less about anything. It's why Hollywood hates me.
CHRIS
But you were one of the biggest Stars, like, ever.
STEVE
Yeah. I had them by the balls. And the twats. What's your question?
CHRIS
Have you ever been ripped off?
STEVE
How do you mean? Like mugged? Rolled? Scammed?
CHRIS
More like...your ideas...
STEVE
(LAUGHS) Oh shit man! They're still stealing my ideas! That F1 is a remake of Le Mans for fucksakes. They're stealing me! I'm one of the fucking highest paid dead celebrities in the world; which is pretty goddamned morbid if you ask me. But I guess it's good for my family; I sure don't need it where I am now.
CHRIS
Actually, with the technology that exists now they could literally recreate you for a movie.
STEVE
What? How?
CHRIS
They feed every scrap of filmed imagery of you into a computer program and the machine can extrapolate a performance. Recreate you.
STEVE
Animation?
CHRIS
In a way; but it's more than that. It's hyperrealistic. It's attempting to achieve reality. It's called deep-fake.
STEVE
Won't work without the voice.
CHRIS
They do the same thing with your voice and then put the two together; tell the machine what they want you to do and there you are--making movies again.
STEVE
But it's not me.
CHRIS
I know. But no one seems to care.
STEVE
Well, no computer on earth could recreate this--
Steve throws back the blanket and grabs a handful of his freewheelin' manhood and gives it a playful shake.
CHRIS
Well, not yet anyway.
STEVE
Did you want to talk some more about movies; or do you want some deep-real?
CHRIS
Well, yes I do--I mean--I do want to talk--
He is interrupted by a KNOCK on the door.
STEVE
Hold that thought.
He stands and pulls on his pants and heads to the door. OFF SCREEN we hear excited FEMALE VOICES and LAUGHTER.
Steve returns, escorting in the waitress and the singer who we saw in the hotel bar. They are stunningly alluring.
STEVE
Brigitta, Lolana...I'd like you to meet...Reidy.
Steve goes to the bar and pops a bottle of Cristal as the two women start taking off their wraps.
BRIGITTA (WAITRESS)
Hey there...
LOLANA (SINGER)
Nice to meet you.
CHRIS
Yeah, ah, nice to meet you both as well. Excuse me.
STEVE
(As he hands glasses of champagne to the women) Where you going?
CHRIS
The, ah, bathroom!
CUT TO:
INT. HOTEL SUITE -NIGHT
CLOSE on the bathroom door as it opens and Chris pops his head out. The lights are dim and he tip-toes into the room. Steve is in bed, under the covers, with Lolana on one side and Brigitta on the other. There is a lot of snuggling and GIGGLING going on. Chris sits in a chair in the corner.
STEVE
Lolana and Brigitta tell me they're very open-minded. Would you like to join us?
CHRIS
Ahh, you know...say...Stevie; do you remember where I put my drawing pad? Because while you three are doing that, I think I'm gonna do some drawing...
STEVE
You're gonna draw us? Hot damn that's hot! There's a pad of paper in my suitcase.
Chris goes to the suitcase, finds the pad and sits back down.
From the bed we hear delighted SQUEALS and ECSTATIC MOANS and ENTHUSIASTIC LOVE CHUCKLES. Chris clears his throat, finds a pencil in the desk and looks towards the bed:
MONTAGE: CHRIS' POV
In a series of quick CUTS, we see the trio in the bed go through a rapid series of positions erotiques, CROSS-CUT with SHOTS of Chris's rapidly drawing hand and his sweaty brow, which he wipes. We also see a vast variety of EXPRESSIONS on Chris' face ranging from shock, to delight, to concern to perplexity and back again. All of this is done in the PABLO FERRO style and continues on a SLOW FADE TO BLACK.
Actually, with the technology that exists now they could literally recreate you for a movie.
STEVE
What? How?
CHRIS
They feed every scrap of filmed imagery of you into a computer program and the machine can extrapolate a performance. Recreate you.
STEVE
Animation?
CHRIS
In a way; but it's more than that. It's hyperrealistic. It's attempting to achieve reality. It's called deep-fake.
STEVE
Won't work without the voice.
CHRIS
They do the same thing with your voice and then put the two together; tell the machine what they want you to do and there you are--making movies again.
STEVE
But it's not me.
CHRIS
I know. But no one seems to care.
STEVE
Well, no computer on earth could recreate this--
Steve throws back the blanket and grabs a handful of his freewheelin' manhood and gives it a playful shake.
CHRIS
Well, not yet anyway.
STEVE
Did you want to talk some more about movies; or do you want some deep-real?
CHRIS
Well, yes I do--I mean--I do want to talk--
He is interrupted by a KNOCK on the door.
STEVE
Hold that thought.
He stands and pulls on his pants and heads to the door. OFF SCREEN we hear excited FEMALE VOICES and LAUGHTER.
Steve returns, escorting in the waitress and the singer who we saw in the hotel bar. They are stunningly alluring.
STEVE
Brigitta, Lolana...I'd like you to meet...Reidy.
Steve goes to the bar and pops a bottle of Cristal as the two women start taking off their wraps.
BRIGITTA (WAITRESS)
Hey there...
LOLANA (SINGER)
Nice to meet you.
CHRIS
Yeah, ah, nice to meet you both as well. Excuse me.
STEVE
(As he hands glasses of champagne to the women) Where you going?
CHRIS
The, ah, bathroom!
CUT TO:
INT. HOTEL SUITE -NIGHT
CLOSE on the bathroom door as it opens and Chris pops his head out. The lights are dim and he tip-toes into the room. Steve is in bed, under the covers, with Lolana on one side and Brigitta on the other. There is a lot of snuggling and GIGGLING going on. Chris sits in a chair in the corner.
STEVE
Lolana and Brigitta tell me they're very open-minded. Would you like to join us?
CHRIS
Ahh, you know...say...Stevie; do you remember where I put my drawing pad? Because while you three are doing that, I think I'm gonna do some drawing...
STEVE
You're gonna draw us? Hot damn that's hot! There's a pad of paper in my suitcase.
Chris goes to the suitcase, finds the pad and sits back down.
From the bed we hear delighted SQUEALS and ECSTATIC MOANS and ENTHUSIASTIC LOVE CHUCKLES. Chris clears his throat, finds a pencil in the desk and looks towards the bed:
MONTAGE: CHRIS' POV
In a series of quick CUTS, we see the trio in the bed go through a rapid series of positions erotiques, CROSS-CUT with SHOTS of Chris's rapidly drawing hand and his sweaty brow, which he wipes. We also see a vast variety of EXPRESSIONS on Chris' face ranging from shock, to delight, to concern to perplexity and back again. All of this is done in the PABLO FERRO style and continues on a SLOW FADE TO BLACK.
Please see: RACE TO RAP! PART 2 for the continuation.
CFR 7/5/25
CFR 7/5/25