kandake.africa / LittleShopOfHorrors.txt
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LittleShopOfHorrors.txt
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1A GREY VOID - SWIRLS OF THREATENING, EVER-CHANGING 2 3STORM-SKY COLOR 4 5A CHILLING "PHANTOM OF THE OPERA" ORGAN CHORD". A VOICE NOT UNLIKE GOD'S (OR ORSON WELLES') INTONES TH^ FOLLOW ING "PROLOGUE." SIMULTANEOUSLY, THE WORDS SCROLL SLOW LY ACROSS THE SCREEN. 6 7VOICE: On the twenty-third day of the month of September, in an early year of a decade not too long before our own, the human race * suddenly encountered a deadly threat to its very existence, ... 8 9VOICE: And this terrifying enemy surfaced — as such enemies often do — in the seemingly most innocent... and unlikely... of places... 10 11THE CHURCH-LIKE MUSIC CLIMAXES IN A DRUM ROLL AS WE SEE LIGHT DROPLETS OF WATER HITTING AND CAUSING RIPPLES IN THE IMAGE. 12 13IMMEDIATELY, BUBBLEGUM-ROCK MUSIC KICKS IN AS CAMERA PULLS BACK TO REVEAL THAT THE ABOVE-MENTIONED GREY VOID IS REALLY A PUDDLE OF MUCK IN A FOUL SKID ROW GUTTER AND THAT A WINO IS PASSED OUT BESIDE IT, -HIS LONG BLACK HAIR SOAKING IN THE GOO. 14 15EXT. MUSHNIK'S SKID ROW FLORIST'S SHOP - DAY - DARK 16 17CLOUDY SKY 18 19A RUN-DOWN STOREFRONT FLOWER SHOP, JUST BEYOND THE GUT TER. THE BUILDING IS SO OLD, SO FORLORN, SO DILAPI DATED, IT SEEMS TO LEAN TO ONE SIDE. 20 21SONG: Little Shop Little Shoppa Horrors Little Shop Little Shoppa Terror Call a cop! Little Shoppa Horrors No Oh Oh Oh No-ohl 22 23THE TITLE FADES OUT AND ON ANOTHER LIGHTNING FLASH WE CUT TO A DIFFERENT ANGLE OF THE SHOP AS THREE GIRLS, CRYSTAL, RONETTE AND CHIFFON ENTER THE SHOT. THEY ARE THE ONES WE HEARD SINGING IN VOICE-OVER. 24 25GIRLS: Little Shop Little Shoppa Horrors Bop sh' bopl Little Shoppa Terror What 'em drop! Little Shoppa Horrors No Oh Oh Oh No-oh! 26 27IN THE BACKGROUND OF THE PREVIOUS SHOTS WE'VE SEEN NOT ONLY THE SHOP BUT ALSO: A MALNOURISHED DOG POKING THROUGH AN OVERTURNED GARBAGE CAN, A PRE-1960'S CAR OR TWO PASSING BY, NEWSPAPERS BEING BLOWN BY THE WIND, AND A BUM BEGGING FROM PEOPLE WHO QUICKLY PASS BY GRASPING UMBRELLAS. 28 29THE GIRLS NOW TURN AND ENTER THROUGH THE DOORS OF THE SHOP. 30 31INT. SHOP - DAY 32 33THE PLACE IS A MESS. THE FLOWERS ARE ON THEIR LAST LEGS OR ARE ALTOGETHER DEAD. 34 35GIRLS: Shing-a-ling What a creepy thing to be happenin' Shang-a-lang Feel the Sturm-and-Drang . 36 37GIRLS: In the air Sha la la Stop right where you are Don'tcha move a thing! 38 39THE GIRLS HAVE DANCED PAST A STORAGE ROOM AND OVER TO A MAN WHO IS SITTING AT THE SHOP'S COUNTER READING A NEWSPAPER WHICH HIDES HIS FACE. THE PAPER, "THE SKID ROW HERALD EXAMINER." THE HEADLINE: UNEXPECTED TOTAL ECLIPSE! 40 41GIRLS: You'd better Tellin' you, you'd better Tell yo' mama Somethin's gonna get her She'd better Everybody' d better Beware! 42 43ON THE WORD "BEWARE" CAMERA FOLLOWS THE GIRLS AS THEY DANCE OVER TO A CLOSED DOOR. THEY OPEN IT AND WE CUT TO A REVERSE SHOT OF THE DOOR AS IT IS BEING OPENED AND THE CAMERA LEADS THE GIRLS DOWN A DINGY FLIGHT OF STAIRS AS THEY SING: 44 45GIRLS: Little Shop Little Shoppa Horrors Bob sh' bop You'll never stop the terror 46 47AS THE GIRLS REACH THE BOTTOM THEY SING AND DANCE PAST CAMERA TOWARDS . . 48 49GIRLS: Little Shop Little Shoppa Horrors No oh oh oh no Oh oh oh oh Oh Oh oh no-oh-oh-oh] 50 51ON THE LAST EXTENDED NOTE OF THE SONG THE GIRLS BACK AWAY FROM CAMERA AND WE ARE LEFT ALONE WITH SEYMOUR. AS HE CONTINUES STRUGGLING WE SEE AN OLD BEAT-UP RADIO ON THE LOWER SHELF NEXT TO HIM FROM WHICH WE HEAR: 52 53RADIO: At his press conference today. President Kennedy fielded questions concerning last Thursday's total eclipse of the sun, an unpredicted and unprecedented astrological phenomenon which has baffled the nation... 54 55DURING THE BROADCAST WE SEE SEYMOUR TEETERING UNTIL FINALLY, LOSING HIS BALANCE, HE GRABS FOR THE SHELF AND WITH A PATHETIC WHIMPER HE FALLS TAKING IT, SOME POTTED PLANTS, COMIC BOOKS, CLOTHING, JUNK, AND RADIO DOWN WITH HIM. 56 57SFX: CRASH! 58 59SEYMOUR HAS DROPPED OUT OF SHOT. WE HOLD ON WHAT'S LEFT OF THE WALL AS WE HEAR... 60 61MDSHNIK: Seymour, what is going on down there? ! Seymour pops BACK UP INTO FRAME IN A FULL-FACE CLOSEUP and shouts: 62 63SEYMOUR: Very little, Mr. Mushnik! 64 65INT. SHOP - DAY 66 67MUSHNIK: Aron, g'vorn, g'voxen, akebebble, mitzbeleh. 68 69INT. BASEMENT - DAY I 70 71• WE HAVE CUT TO ANOTHER ANGLE OF SEYMOUR TO SEE THAT THE GIRLS ARE NO LONGER THERE AND TO SEE THAT WE ARE IN: 72 73THE BASEMENT . THESE DARK SURROUNDINGS HAVE BEEN TRANS FORMED INTO SEYMOUR'S PATHETIC LIVING QUARTERS WITH CLOTHING, A HOTPLATE, JUN'- ^OOD CONTAINERS, A SLEEPING COT, AND CRUD EVERYWHERE. 74 75SEYMOUR STARTS PICKING UP THE MESS HE'S MADE. HE STARTS WITH THE RADIO WHICH IS TURNED OVER ON THE FLOOR AND WHICH IS NOW EMITTING STATIC. 76 77RADIO: He gets up each morning and he goes downtown. Where everyone's his boss and he's lost in an angry land. He's a little man. But then he comes Uptown each evening to my tenement..,. 78 79RADIO: As he's picking through the mess Seymour notices a par- ticular plant amongst the others that has fallen on the floor. 80 81RADIO: He worriedly picks it up, puts back the dirt in its Maxwell House coffee can and places it under a special gro-light, giving the feeling that the plant has its own theatrical spotlight. The plant is clearly on its last legs. 82 83RADIO: Its avocado-like pod is withered and dry, its leaves are brown and its little tendrils resemble a polio victim. He tends to it with great care. 84 85SFX: {O.S.) HIGH HEELS ON CONCRETE. 86 87SEYMOUR HEARS THE SOUND OF HIGH HEELS CLICKING QUICKLY IN THE DISTANCE. HIS EXPRESSION CHANGES TO ONE OF LONGING AS HE TURNS AND GOES TO THE BASEMENT WINDOW AND LOOKS OUT. 88 89EXT. SKID ROW STREET - RAIN HAS STOPPED - DAY ( 90 91CAMERA IS NOW ACROSS THE STREET AT AN EXTREME LOW ANGLE, WE SEE SEYMOUR'S HOPEFUL FACE THROUGH THE BASE MENT WINDOW IN THE BACKGROUND AS A CAR PASSES. IN THE EXTREME FOREGROUND A BUM IS SPRAWLED OUT ON THE SIDEWALK. 92 93THE SOUND OF THE CLICKING HEELS IS UPON US NOW AS A PAIR OF BLACK PUMPS ENTERS FRAME STEPPING OVER THE BUM. CAMERA MOVES WITH THE FEET UNTIL THEY ARE NOW WALKING TOWARDS CAMERA. 94 95SHE IS RUSHING TOWARDS CAMERA. WE SEE SHE HAS A BLACK EYE. 96 97INT. SHOP - DAY 98 99DOOR CHIME. MUSHNIK LOOKS UP TO SEE AUDREY ENTER HUR RIEDLY. 100 101MUSHNIK: So, she finally decides to come to work? 102 103AUDREY: Good morning, Mr. Mushnik. 104 105MUSHNIK: What morning? It's almost closing time. Not that we had a customer. A LOUD CRASH from the basement. 106 107MUSHNIK: What in the name of God is going on down there? Audrey, you'd better go see what he's... ... Audrey... where did you get that shiner? 108 109AUDREY: Shiner? 110 111INT. STORAGE ROOM 112 113AUDREY STARTS TO HANG UP HER COAT AND PUT ON HER UNI FORM, A FRILLY PINK SMOCK. MUSHNIK FOLLOWS HER IN. 114 115MUSHNIK: Audrey, that greasy boyfriend of yours, he's beating up on you again? Look, I know it's none of my business, but I'm beginning to think he's maybe not such a nice boy. 116 117AUDREY: You don^t meet nice boys when you live on Skid Row, Mr. Mushnik. Seymour comes up from downstairs carrying a precarious ly balanced pile of clay pots.' 118 119SEYMOUR: I got these pots unloaded for you, Mr. Mushnik... But even before the sentence is finished, he has lost his footing. Seymour and the pots fall to the floor with an EAR-SPLITTING CRASH, identical to the ones we have heard before. 120 121MUSHNIK: Seymour 1 Look what you've done to the inventory! 122 123AUDREY: Don't yell at Seymour, Mr. Mushnik. 124 125SEYMOUR: Hi, Audrey. You look radiant today. Is that new eye makeup? 126 127AUDREY: I'll help him clean it up before any customers get here. 128 129MUSHNIK: Well, that oughta give you plenty of time. Mushnik moves through the shop toward the front door. 130 131MUSHNIK: Look, God, what an existence I got. 132 133EXT. STREET - DAY ! 134 135MUSHNIK: Misfit employees, bums on the sidewalk, business is lousy... my life is a living hell. 136 137HE NOTICES CRYSTAL, ^ONETTE AND CHIFFON LOUNGING IDLY ON THE STOOP NEXT DOOI TO THE SHOP. 138 139MUSHNIK: You! Ui^chins! Off the stoopi It ain't bad enough I got the winos permanently decorating the storefront? I need three worthless ragamuffins to complete the picture? The Girls start walking away as they speak. 140 141RONETTE: Oh, we ain't botherin' nobody. Are we. Crystal? 142 143CRYSTAL: No we're not, Ronette. 144 145MUSHNIK: You oughta be in school. 146 147CRYSTAL: We on the split-shift. 148 149RONETTE: Right. We went to school 'til the fifth grade. Then we split. Mushnik has stopped following them. 150 151MUSHNIK: So how do you intend to better yourself? 152 153CRYSTAL: Better ourselves? You heard what he said. Chiffon? Better ourselves? Mister, when you from Skid Row, ain't no such thing. The Girls turn the corner into a darkened, narrow street where we see trash cans and fire escapes, and a WING lying amidst the filth. 154 155CRYSTAL: About twenty yards in the distance we see a WOMAN. She is in her fifties, wear- ing a working uniform. She could be a waitress or a maid. An old, worn coat hangs from her shoulders. 156 157SHE SEEMS VERY TIRED AND WALKS VERY SLOWLY TOWARD 158 159CAMERA. 160 161MASIC: INTRO TO "DOWNTOWN/SKID ROW." 162 163WOMAN: Alarm goes off at seven And you start uptown You put"' in your eight hours for the powers That have always been. 164 165RONETTE: Sing it, child. 166 167WOMAN: Till it's five P.M. 168 169WINO: Then you go, . . 170 171HE FALLS BACK DOWN. 172 173THE GIRLS JOIN THE WOMAN AS THEY WALK UP THE NARROW STREET TO THE MAIN SKID ROW STREET. 174 175WOMAN AND GIRLS: Downtown, where the folks are broke Downtown, where your life's a joke Downtown, when you buy your token you go. . . Home to Skid Row Home to Skid Row 176 177WINO 2: Yes, you go. . . 178 179HE FALLS OUT OF SHOT. 180 181FROM AROUND A CORNER, FROM AN ALLEYWAY, FROM A FIRE ESCAPE, FROM A TENEMENT BUILDING... MORE PEOPLE (MAIDS, JANITORS, BUS BOYS, BAG LADIES, WAITRESSES, BUMS, MESSENGERS, ETC.) JOIN THE WOMAN AND THE GIRLS. 182 183NEW PERSON 1: Downtown, where the cabs don't stop. 184 185NEW PERSON 2: fin a tenement window) Downtown, where the food is slop. PERSON 2 joins the others on the street. 186 187NEW PERSONS 3 & 4: Downtown, where the hop-heads flop In the snow! 188 189ALL: Down on Skid Row! Down on Skid Row! 190 191ALL: Uptown you cater to a million jerks Uptown, you're messenger and mailroom clerks Eating all your lunches at the hot dog carts The bosses take your money and they break your hearts. A 1950 's bus stops and discharges a few more people who join the throng. 192 193ALL: And uptown you cater to a million whores You disinfect terrazzo on their bathroom floors Your jobs are really menial, you make no bread And then at five o'clock you head... 194 195WINO: By subway... 196 197ALL: Downtown. 198 199EXT. SHOP - DAY 200 201AUDREY IS ON THE SIDEWALK EMPTYING BROKEN CLAY POTS INTO A TRASH CAN. WE SEE THE CHORUS REFLECTED IN THE SHOP' S WINDOW. 202 203AUDREY: Where the guys are drips. 204 205ALL: Downtown! CONTINUED: 10 206 207AUDREY: Where they rip your slips. 208 209ALL: Downtown! 210 211AUDREY: Where relationships are no-go! Audrey walks into the street where everyone is posed hyper-dramatically (a la "West Side Story") singing in powerful chorus. She, also singing, moves amongst them. 212 213ALL PLUS AUDREY: Down on Skid Row Down on Skid Row Down on Skid Row Down on Skid Row Down on Skid Row Down on Skid Row Down on Skid Row! 214 215INT. SHOP - DAY .11 216 217SEYMOUR IS SWEEPING HIS MESS. 218 219SEYMOUR: Poor! All my life I've always been poor I keep asking God what I'm for And He tells me, Gee, I'm not sure Sweep that floor kid! Oh! I started life as an orphan, child of the street Here on Skid Row! 220 221EXT. SHOP - DAY 222 223DURING THE PREVIOUS LYRICS, CAMERA HAS TURNED A FULL 224 225DEGREES TO SHOW THE CHORUS IN THE BACKGROUND AND IT 226 227NOW FOLLOWS SEYMOUR OUT OF THE SHOP ONTO THE SIDEWALK AS HE SINGS: 228 229HE TOOK ME IN, GAVE ME SHELTER A BED, CRUST OF BREAD AND A JOB TREATS ME LIKE DIRT, CALLS ME A SLOB... WHICH I AM SO I LIVE 230 231COMTINOED: 232 233EVERYONE ON THE STREET IS NOW MOVING, VERY SLOWLY, NOT UNLIKE ZOMBIES. (AUDREY IS NO LONGER WITH THEM.) SEYMOUR JOINS THEM IN THE STREET AND WALKS AMONGST THEM. 234 235ALL: Downtown 236 237SEYMOUR: That's your home address, you live... 238 239ALL: Downtown 240 241SEYMOUR: When your life's a mess^ you live... 242 243ALL: Downtown 244 245SEYMOUR: Where depressions' s jes' status guol 246 247ALL: Down on Skid Row! 248 249HIGH, WIDE SHOT OF CHORUS IN. BACKGROUND ON MAIN STREET AS SEYMOUR TURNS AND WALKS INTO A NARROW ALLEY. 250 251SEYMOUR: Someone show me a way to get outa here 'Cause I constantly pray I'll get outa here Please won't somebody say I'll get outa here Someone gimme my shot or I'll rot here. 252 253CAMERA CRANES DOWN WITH SEYMOUR AS HE STOPS IN FRONT OF AN OLD RUSTY CYCLONE FENCE WHICH CREATES A CUL DE SAC. CAMERA IS NOW BEHIND THE FENCE AS WE SEE SEYMOUR THROUGH THE STEEL MESH. 254 255SEYMOUR ALL: Show me how and I will Downtown I'll get outa here There's no rules I'll start climbin' For usl Uphill Downtown 256 257SEYMOUR: And get outa here Someone teXX me I Still Could get outa here 258 259ALL: 'Cause it's dangerous Downtown, where The rainbow's just A no-show I Seymour, feeling trapped, runs out of the a.:' y. 260 261SEYMOUR: Someone tell Lady Luck That I'm stuck here When you live. . . 262 263DURING THE FOLLOWING WE INTERCUT BETWEEN AUDREY AND SEYMOUR, EACH OF WHOM ARE AT DIFFERENT PARTS OF THE STREET. THEY WANDER ABOUT MELODRAMATICALLY TRYING TO GET AWAY FROM THE FILTH AND DEGRADATION OF SKID ROW. 264 265AUDREY: Gee it sure would be Swell to. get outa here Bid the gutter Farewell and get outa here I ' d move heaven and Hell to get .outa Skid... I'd do I dunno what To get outa Skid But a helluvalot To get outa Skid 266 267ALL: Downtown Where the sun don't shine Downtown Past the bottom line Downtown • Go ask any wino he'll know . Downtown Downtown Unable to escape from the shackles of Skid Row, and feeling desperately trapped, they stop at either side of a corner building. 268 269ALL: They do not see each other as, in an overly drwatic, yet heartfelt plea, they sing to the heavens. The sky becomes lyrical and pink and the entire chorus moves in slow, deliberate, guasi-Jerome Robbins choreography as everyone sings with starry-eyed intensity. 270 271AUDREY: People tell me There's not a way Outa Skid But believe ne I gotta get Outa Skid Row 272 273ALL: Downtown Skid Row! 274 275INT. SHOP - EARLY MORNING 276 277MUSHNIK, SEYMOUR AND AUDREY ARE IN THE SHOP, DEPRESSED, GLANCES UP AT THE CLOCK. 278 279MUSHNIK, 280 281MUSHNIK: Look at that! Six o'clock and we Yiaven* t. sold so much as a fern. All right. That's it. Don't bother coming in tomorrow. 282 283AUDREY: You don't mean... 284 285SEYMOUR: You can't mean... 286 287MUSHNIK: What? What? What don't I mean? 'I mean I'm closed, forget it, kaput. 288 289AUDREY: You can't! 290 291MUSHNIK: Kaputl Extinct. I'm closing this God and customer forsaken place. 292 293SEYMOUR: Mr. Mushnik, forgive me for saying so, but has it ever occurred to you that maybe what the firm needs is to move in a new direction? 294 295AUDREY: Seymour, why don't you run downstairs and bring up that strange and interesting new plant you've been working on? Seymour helpfully exits. 296 297AUDREY: You see, Mr. Mushnik, some of those exotic plants that Seymour's been tinkering around with are really... unusual... and we were both thinking that maybe some of those strange and interesting plants, prominently displayed and advertised, would attract business. 298 299AUDREY: Seymour is now standing behind them holding the same withered plant we saw earlier in the basement. It looks even worse than it did before. CONTINUED; (2) 300 301SEYMOUR: I'm afraid it isn't feeling very well today. 302 303AUDREY: There, now isn't that... bizarre? 304 305MUSHNIK: At least. What kind o£ a weirdo plant is that, Seymour? 306 307SEYMOUR: I dunno. It looks like some kinda flytrap, but I haven't been able to identify it in any of my books. So I gave it my own name. I call it an Audrey Two. 308 309AUDREY: After me? 310 311SEYMOUR: I hope you don't mind, ... You see, sir, if you put a strange and interesting plant like this, here in the window, maybe... 312 313MUSHNIK: Maybe what? Do you have any idea how ridiculous you sound? Just because you put a strange and interesting plant in the window, people don't suddenly... A CUSTOMER opens the door to the shop. 314 315CUSTOMER: Excuse me. I couldn't help noticing that strange and interesting plant. Mushnik and employees look up in amazement. 316 317CUSTOMER: What is it? 318 319SEYMOUR: It's an Audrey Two! CUSTOMER ' I've never seen anything like it before. CONTINUED: (3) 13 320 321SEYMOUR: No one has. 322 323CUSTOMER: Where did you get it? 324 325MUSIC: A HARP? BELLS? 326 327SEYMOUR: Well — you remember that total eclipse of the sun a couple of weeks ago? FLASHBACK ("DaDoo"): 328 329THROUGH THIS ENTIRE SEQUENCE, WE HEAR SEYMOUR IN V.O. AND SEE HIM IN THE SITUATIONS HE DESCRIBES. 330 331EXT. A STYLIZED, ALMOST CALIGARIAN RENDITION OF SIXTH 332 333AVENUE IN THE THIRTIES - THE. PLANT DISTRICT. 334 335GIRLS: Da Doo. Seymour is walking along, fascinated by the foliage for sale. 336 337SEYMOUR: I was walking in the wholesale flower district that day... 338 339GIRLS: Shoop Da Do 340 341HE PASSES A STRANGE- LOOKING FLORIST'S SHOP, ITS SIGN PRINTED IN CHINESE CHARACTERS. 342 343SEYMOUR: And I passed by this place where this old Chinese man. . . CLOSEUP: An elderly Mandarin with a crazed and evil leer. 344 345GIRLS: Chang! Da Doo Seymour and the Mandarin shake hands. 346 347SEYMOUR: He sometimes sells me weird and exotic cuttings. . . Mandarin chops a leaf off a plant with a dangerous- looking Oriental saber. 348 349GIRLS: Snip! Da Doo Mandarin extends the leaf to Seymour. 350 351SEYMOUR: 'Cause he knows, ya see, that strange plants are my hobby. Seymour examines it. 352 353GIRLS: Da da da da da Da Doo! And decides not to buy it. 354 355SEYMOUR: Be didn't have anything unusual there that day. 356 357GIRLS: Nope! Da Doo. Seymour starts to walk away. 358 359SEYMOUR: So I was just about to, you know, walk on by... 360 361GIRLS: Good for you! But suddenly, Seymour stops dead in his tracks. He notices something in the sky! 362 363SEYMOUR: When suddenly and without warning — There was this. . . CONTINUED: (2) 14 THE SKY. A total eclipse occurs before our eyes. 364 365SEYMOUR & GIRLS: Total eclipse of the suni 366 367SEYMOUR: It got very dark. Just as suddenly,: the eclipse is over. We're back on the street and Seymour looks at the Mandarin in puzzlement. The Mandarin glances down at a row of flower buckets containing cut flowers. 368 369GIRLS: Da Doo! Among the flower buckets, now, sits one strange and interesting plant — a baby version of... CLOSEUP - THE AUDREY TWO 370 371SEYMOUR: And when the light came back, this weird plant was just sitting there. 372 373GIRLS: Oops-ee-do! 374 375SEYMOUR: Just stuck in, you know, among the zinneas. Seymour picks up the plant and examines it. 376 377GIRLS: Aud-ree Twol 378 379SEYMOUR: I coulda sworn it hadn't been there before, but the old Chinese man sold it to me anyway . . . Seymour fishes in his pocket for one dollar and some change which he gives to the inscrutable MANDARIN. 380 381SEYMOUR: For a dollar ninety-five. Seymour walks up the street, away from us, carrying his new plant. 382 383GIRLS & MANDARIN: Sha la la la la la Doo doo doo doo! CONTINUED: (3) 14 384 385EXTREME CLOSEUP OF MANDARIN TURNING TO CAMERA AND FLASHING A KNOWING GRIN. 386 387EXTREME CLOSEUP OF THE GIRLS, ALSO SMILING KNOWINGLY TO CAMERA. 388 389EXTREME CLOSEUP OF TWO FILTHY BUMS, TNEIR FACES DISTORTED AND SMILING. CAMERA PULLS BACK AND WE SEE WE ARE IN. 390 391INT. SHOP - EARLY EVENING 392 393THE TWO BUMS ARE NOW IN THE BACKGROUND OUTSIDE THE SHOP. THEIR FACES ARE MUSHED AGAINST THE DISPLAY WINDOW AS THEY LOOK, WITH GREAT CURIOSITY, AT THE OTHERS IN THE SHOP. 394 395CUSTOMER: Yessir, that's an unusual story and a fascinating plant. 396 397HE TURNS TO LEAVE. MUSHNIK, SEYMOUR AND AUDREY EXCHANGE A LOOK OF MUTUAL DISAPPOINTMENT. 398 399CUSTOMER: Oh... I, might as well take fifty dollars' worth of roses while I'm here. 400 401MDSHNIK: Fifty dollars? Yessir! Right away, sir I 402 403CUSTOMER: Can you break a hundred? 404 405KOSHNIK: A hundred. Er, no... 406 407CUSTOMER: Well, then I'll just have to take twice as many, won't I? 408 409HE HANDS MUSHNIK A HUNDRED DOLLAR BILL. 410 411CLOSEUP OF SEYMOUR. 412 413SEYMOUR: Twice as many? CLOSEUP of Audrey. 414 415AUDREY: Twice as many? CLOr""-P of the two Bums we see outside the window. 416 417BUMS: "Twice as many?" The two Bums quickly glance to the front door. CLOSEUP of CUSTOMER 2 opening front door. 418 419CUSTOMER 2: That plant in the window, it's simply amazing! CLOSEUP of CUSTOMER 3 opening front door. 420 421CUSTOMER 3: That plant in the window, wherever 'd you get it? CLOSEUP of CUSTOMERS 4 and 5 opening front door. 422 423CUSTOMER 4: Look, there it is, Marge. CUSTOMER 5 (MARGE) Oh my gosh, it's peculiar 1 ' CLOSEUP of the two Bums as they open the front door. They are about to speak" when a look of fear crosses their faces and they turn and run as all the Customers come piling out of the front door. 424 425CUSTOMER 4: They are laden with bunches and bunches of flowers and are excitedly babbling about that amazing plant. 426 427MDSHNIK: Thank you! Come again! You know where to find us! Come and look at the weirdo plant some more. It's just gonna get bigger and more interesting! 428 429HE COMES INSIDE. THERE ARE NO MORE FLOWERS IN THE SHOP. 430 431IS COMTIHUED: (2) 15 432 433MUSHNIK: Well, don't just stand there! Quick, quick, quick. Put that plant. . . what do you call it? 434 435SEYMOUR: Audrey Two. 436 437MUSHNIK: Put that Audrey Two back in the window where the passersby can see it! I don*t mind admitting I'm wrong when I'm wrong and I'm wrong. My God, I'd never have believed it. My children, I'm taking us all out to dinner! Seymour, excited, looks at Audrey. 438 439MUSHNIK: Audrey looks up, intensely disappointed. 440 441AUDREY: Oh, I'd like to, Mr. Mushnik, but I have a date. 442 443SHE HEADS FOR THE STORAGE ROOM. MUSHNIK FOLLOWS HER IN. 444 445MUSHNIK: With the same nogoodnick? 446 447INT. COATROOM 448 449AUDREY REMOVES HER WORK SMOCK AND STARTS TO PUT ON HER JACKET. 450 451MUSHNIK: I'm telling you, Audrey, you don't need a date with him. You need major medical. 452 453SHE CLOSES HER JACKET, LOOKS UP MEEKLY, FORCES A SAD, EMBARRASSED SMILE. 454 455AUDREY: Enjoy dinner. 456 457INT. SHOP 458 459AS AUDREY HURRIEDLY PASSES THROUGH, SEYMOUR GAZES AT HER LONGINGLY. 460 461CONTINUED: 17 462 463GOODNIGHT, SEYMOUR. 464 465SEYMOUR: Goodnight. . . And she's gone. Seymour looks sadly off in her direction. Mushnik emerges from the storeroom. 466 467MUSHNIK: Poor girl. 468 469SEYMOUR: Are we still going to dinner? Mushnik is about to answer kindly when his eye notices: 470 471IT HAS WILTED SINCE WE LAST SAW IT. IT DROOPS OVER THE SIDE OF ITS POT AT A FORTY-FIVE DEGREE ANGLE. 472 473MUSHNIK APPROACHES THE PLANT, PICKS IT UP, AND TAKES IT TO SEYMOUR. 474 475MUSHNIK: You're not going anywhere, Krelbornl You're staying right here and taking care of this sick plant! 476 477SEYMOUR: I told you it's been giving me trouble. It just wilts like this. The Audrey Two is not a healthy girll 478 479MUSHNIK: Strictly between us, neither is the Audrey One. 480 481SEYMOUR: If only I knew what breed it was, what genus. But it's nowhere in the books. CONTINUED: (2) 17 482 483MDSHNIK: Well, Krelborn, my advice to you is you better figure it out and fast. Look what this exotic- little beauty did for business. 484 485SEYMOUR: I know. 486 487MUSHNIK: So work, Seymour! Nurse this plant back to health! I'm counting on you! 488 489SEYMOUR: I know. 490 491MUSHNIK: You do? 492 493SEYMOUR: I do. 494 495MUSHNIK: So fix! Goodnight! 496 497EXT. SKID ROW - A GLOWING, DEEP PINK SUNSET 498 499MUSIC IN: THE INTRO TO "GROW FOR ME." AS WE WATCH MUSHNIK DISAPPEAR, SUNSET GIVES WAY TO EVENING. ONE BY ONE, LIGHTS POP ON IN WINDOWS UP AND DOWN THE STREET. 500 501INT. THE BASEMENT 502 503SEYMOUR IS LOOKING THROUGH THE BASEMENT WINDOW AT. . 504 505AUDREY: Standing in the window of her own tenement flat, across the street. She has changed outfits and is now looking into a mirror on her wall, struggling to conceal her black eye with Cover Girl liquid eye makeup. 506 507AUDREY: Seymour gazes up at her with painful longing, then returns his attention to his pathetic botanical charge. 508 509HE SINGS AS HE WORKS WITH MISTING CAN, SPADE AND FERTILIZET. IT IS AN INTIMATE MOMENT WITH A BOY AND HIS PLANT. 510 511SEYMOUR: I've given you sunshine I've given you dirt You've given me nothin' But heartache and hurt. I'm beggin' you sweetly, I'm down on my knees. Oh please, grow for me. I've give you plantfood And water to sip. I've given you potash. You've given me... zip! Oh God, how I mist you. 512 513SEYMOUR: Oh pod, how you tease. Now. please, grow for me. Seymour grabs a gardening -book from the shelf and leafs through it. 514 515SEYMOUR: I've given you southern exposure To get you to thrive I've pinched you back hard, like I'm S ' posed ta You're barely alive I've tried you at levels of moisture From desert to mud 516 517HE GIVES UP FOR A WHILE AND STARTS PUTTING HIS ROOM IN SEMI-ORDER. 518 519. SEYMOUR (CONT.) I'VE GIVEN YOU GROW-LIGHTS AND 520 521MINERAL SUPPLEMENTS. WHAT DO YOU WANT FROM ME? 522 523SEYMOUR PICKS UP SOME DEAD ROSES, THE THORNS OF WHICH HAVE PRICKED HIS FINGER. IT BLEEDS JUST A LITTLE... 524 525SEYMOUR: Damned roses! Damned thorns! Seymour rummages around through a box to find some band-aids. His finger keeps bleeding. Near him, a light from behind casts the plant's shadow on the wall . Suddenly . . .. 526 527THE SHADOW MOVES. IN SILHOUETTE, THE POD HAS OPENED UP, SEYMOUR NOTICES THIS AND TURNS AROUND TO SEE — 528 529AUDREY TWO, OPEN WIDE, AS IF ASKING FOR SOMETHING. 530 531SEYMOUR MOVES TOWARD IT. IT OPENS WIDER. 532 533THE PLANT CLOSES. 534 535SEYMOUR NOTICES THIS AND BEGINS TO GET THE IDEA. HE REMOVES THE BAND-AID AND RAISES HIS FINGER IN FRONT OF THE POD. 536 537SEYMOUR SLOWLY HIDES HIS FINGER BEHIND HIS BACK. AND JUST AS SLOWLY, THE POD CLOSES. 538 539NOW HE TRIES TO TRICK IT. HE MOVES HIS HAND DOWN-UP VERY FAST. 540 541SEXMOUR (CENT.) I'VE GIVEN YOU SUNSHINE. I^VE GIVEN YOU RAIN. 542 543HE SQUEEZES A FEW DROPS OF BLOOD FROM HIS FINGER INTO THE GAPING POD. IT SNATCHES FOR THE RED STUFF LIKE A PUPPY FOR A BISCUIT. 544 545SEYMOUR: I guess a few drops couldn't hurt... long as you don't make a habit out of it or anything. Audrey Two is alone now, lit by a shaft of moonlight pouring in through the basement window. As MUSIC BUILDS under, the dirt in which the plant is potted begins to stir. 546 547SEYMOUR: The dry surface erupts like a small earthquake. Roots begin to push through. The Maxwell House coffee can starts to shake, then bulge. At last, the plant itself begins to grow. CONTINUED: (3) 19 The pod sort of bubbles, then swells. 548 549SEYMOUR: New leaves appear, first as buds, and then unfurl before our eyes. The stem extends three inches, then four. By the time the MUSIC REACHES ITS CLIMAX, the plant is a sturdy f oot-and-a-half tall. It then bends its SteiTi gracefully and rises back up. 550 551SEYMOUR: If we didn't know better, we'd think it had just taken a curtain call. 552 553INT. RADIO STATION 554 555AN ANNOUNCER SITS AT A DESK IN A SMALL RADIO STATION. BE SPEAKS INTO A MICROPHONE. 556 557ANNOUNCER: This is radio station WSKID... 558 559HE PLAYS FIVE NOTES ON A SMALL CHIME. 560 561ANNOUNCER: Where in just a few minutes we'll be bringing you "Wink Wilkensen's Weird World!" The show that talks to wonderful people who bring in their weird things. But first, the news ... ... The President today announced . . . 562 563INT. CONTROL ROOM 564 565IT IS SEPARATED FROM THE STUDIO BY GLASS. WE FAINTLY HEAR THE NEWS BROADCAST AS WE SEE, SITTING IN A CHAIR, A MAN HOLDING A FISH WHICH IS STUFFED AND MOUNTED. 566 567THE PLANT IS NOW A GOOD TWELVE INCHES TALLER THAN WHEN WE SAW IT LAST. SEYMOUR WEARS TEN BAND-AIDS... 568 569ONLY WHEN THE PLANT HAS ITS POD OPEN AND IS ABOUT BITE THE ENGINEER, DOES SEYMOUR NOTICE. HE GRABS POD AND PULLS IT BACK. 570 571INT. THE STUDIO 572 573THE ANNOUNCER IS FINISHING THE NEWS. 574 575ANNOUNCER: . . . Partly cloudy on Saturday with highs in the mid-seventies. 576 577HE BANGS ON THE CHIME AGAIN , FIVE TIMES. 578 579ANNOUNCER: And now, "Hink Wilkensen' s Weird World!" with your host. Wink Wilkensen! Through the glass, in the background, we see an assistant get Seymour and the plant. 580 581MUSIC: THEME OF "WINK WILKENSEN' S WEIRD WORLD!" 582 583ANNOUNCER: Thanks, Ted. Ei, everybody. We've got a great show for you today. Some wonderful people with some really weird stuff, Our first guest is someone you've probably read about in the papers by now... Mr. 584 585ANNOUNCER: Seymour Krelborn who has discovered a new breed of plant life hitherto unknown on this planet. Hello, Mr. Krelborn. 586 587SEYMOUR: Uh, hello... Wink. 588 589ANNOUNCER: Say, I sure wish the folks at home could see this . Where did you get such a weird plant? 590 591CONTINUED: 592 593SEYMOUR: Well... you remember that total eclipse of the sun a couple of ' weeks ago? 594 595OMITTED 596 597INT. CONTROL ROOM 598 599CRYSTAL, RONETTE AND CHIFFON POP UP FROM BEHIND THE ENGINEER. 600 601GIRLS: Da Doo! 602 603INT. STUDIO 604 605SEYMOUR: I was walkin' in the wholesale flower district that day... 606 607INT. THE SHOP - EARLY EVENING 608 609THE CASH REGISTER RINGS. ITS DRAWER OPENS AS, FROM IT, MUSHNIK GRABS AND COUNTS WADS OF MONEY. 610 611ANNOUNCER: And thus we conclude our interview with Seymour Krelborn, the young botanical... er, do you mind if I call you a genius? 612 613SEYMOUR: Gosh, not Mushnik shakes his head in disbelief. 614 615ANNOUNCER: The genius who has discovered America's largest and most amazing unidentified plant. 616 617SEYMOUR: I'd like to remind our listeners that the Audrey Two is on display exclusively at Mushnik's Skid Row Florist's... 618 619DURING THE ABOVE. FROM INSIDE WE SEE THAT AUDREY IS OUTSIDE BANGING ON THE FRONT DOOR. 620 621AUDREY: Am I late? Did I miss it? 622 623THEY MOVE TO THE RADIO, ON WHICH WE HEAR SEYMOUR STRUG GLING TO GET HIS LAST WORDS IN AS THE ANNOUNCER CON CLUDES THE BROADCAST. 624 625SEYMOUR: That's Mushnik's... M... U*«* S««a X**« K... Open six days a week, ten to six! 626 627ANNOUNCER: And so until next Wednesday, this is Wink Wilkensen saying so long and watch out for what's weird. Mushnik switches OFF TEE RADIO. 628 629MUSHNIK: That's what I call advertising. 630 631HE GRABS HIS COAT AND STARTS OUT THE FRONT DOOR WITH AUDREY FOLLOWING. 632 633AUDREY: Seymour's first radio broadcast. I wanted to hear so bad. I tried to be on time, but... 634 635EXT. SHOP - EARLY EVENING 636 637MUSHNIK AND AUDREY ON SIDEWALK. MUSHNIK LOCKS THE DOOR. 638 639MUSHNIK: Don't tell me. You got tied up. 640 641AUDREY: No, just handcuffed... a little. 642 643WE SEE A LARGE PICTURE OF SEYMOUR AND THE PLANT HUNG NEAR THE SIGN IN THE DISPLAY WINDOW AS MUSHNIK WALKS AUDREY ACROSS THE STREET. 644 645CONTINUED: 646 647MOSHNIK: Handcuffed. Audrey, I don't know who this noodnick is you're hanging out with/ but he is hazardous to your health. 648 649AUDREY: That's. for sure. But I can't leave him. Why not? 650 651AUDREY: He'd get angry. And if he does this to me when he likes me, imagine what he'd do if he ever got mad. 652 653THEY ARRIVE AT HER TENEMENT DOOR. MUSHNIK SIGHS IN EXASPERATION AND LEAVES. 654 655MUSIC: LEAD-IN TO "SOMEWHERE THAT'S GREEN." 656 657INT. AUDREY'S APARTMENT - EARLY EVENING 658 659IT IS A TYPICAL, SMALL SKID ROW APARTMENT, HOWEVER, AUDREY HAS TRIED TO COVER THE POVERTY IN WHICH SHE LIVES BY DECORATING IT IN A STYLE WE WOULD CALL "FRILLY WOOLWORTH' S." 660 661SHE ENTERS AND LOOKS OUT HER WINDOW AT THE PICTURE OF SEYMOUR ACROSS THE STREET AS SHE SINGS: 662 663AUDREY: I think Seymour's the greatest But I'm dating a semi-sadist. So I got a black eye And my arm's in a cast. Still that Seymour's a cutie. 664 665SHE LOOKS AT HIS PICTURE AGAIN, THEN DECIDES TO BE HONEST. 666 667AUDREY: Well, if not He's got inner beauty And I dream of a place Where we could be together At last. . . 668 669SHE PULLS OUT HER TREASURED COLLECTION OF MAGAZINES: "HOUSE AND GARDENS," "BETTER HOMES," "WOMAN'S DAY." 670 671MUSIC SVIELLS LYRICALLY AS SHE FLIPS THEM OPEN TO FAVORITE PICTURES: MODEL KITCHENS WITH AVOCADO COLORED, DOUBLE-C. .R REFRIGERATORS, PLAYROOMS WITH KNOTTY PINE PANELLING, PRISTINE EARLY AMERICAN BEDROOMS WITH WHITE CHENILLE SPREADS AND DOILY-COVERED NIGHT TABLES. 672 673SHE SIGHS AND CONTINUES SINGING: 674 675AUDREY: A matchbox of our own. ■ A fence of real chain link A grill out on the patio Disposal in the sink A washer and a dryer and An ironing machine In a tract house that we share. Somewhere that's green. 676 677CAMERA PUSHES INTO THE PICTURE. 678 679AUDREY'S DAYDREAM 680 681SHE'S IN THE MAGAZINE PICTURES NOW, DRESSED FOR ALL THE WORLD TTKE BARBARA BILLINGSLEY FROM PUMPS TO PEARLS, A RUFFLED APRON PROTECTING HER SHIRTWAIST. 682 683SHE MOVES FROM ROOM TO ROOM OF A PERFECT (AND PERFECTLY AWFUL) SUBURBAN CHEESEBOX — DUSTING THE PLASTIC COVERED SOFA, ADJUSTING THE POLE-LAMPS, STRAIGHTENING THE HAND- TINTED, PI AS TIC- FRAMED PHOTOS — SINGING ALL THE WHILE. 684 685AUDREY: Be rakes and trims the grass Be loves to mow and weed I cook like Betty Crocker And I look like Donna Reed There's plastic on the furniture To keep it neat and clean In the Pine-Sol scented air Somewhere That's Green. ORCHESTRAL INTERLUDE - a brief dream ballet. 686 687THE MOOD NOW IS PURE LESLIE CARON AS THE REST OF AUDREY'S DREAM IS DANCED OUT. 688 689EXT. THE FRONT LAWN - DAY 690 691WE SEE A MERRILY POT-BELLIED SEYMOUR MOWING THE LAWN IN A BRIGHTLY COLORED BAN-LON SHIRT, AS A COCKER SPANIEL YAPS AT HIS HEELS. 692 693INT. THE PLAYROOM - DAY 694 695THE CHILDREN WATCH SATURDAY MORNING TV AS AUDREY APPEARS WITH A SMILING PITCHER OF KOOL-AID. THE DAUGHTER IS PLATINUM BLONDE LIKE HER MOM AND WEARS A LITTLE LEOPARD-PRINT PINAFORE. 696 697INT. THE DINING ROOM - DAY 698 699AUDREY USHERS NEIGHBOR LADIES IN PEDAL-PUSHERS AND CURLERS TO A TABLE SET FOR MAH JONGG. IN A FLASH, SHE'S BACK WITH BRIDGE-MIX AND CRUSTLESS TUNA FISH SANDWICHES. 700 701INT. THE LIVING ROOM - DAY 702 703AUDREY AND NEIGHBOR AT A TUPPERWARE PARTY. 704 705INT. THE KITCHEN - DAY 706 707AUDREY DANCES TO THE OVEN TO PUT IN FOUR SWANSON TV DINNERS. 708 709EXT. LONG SHOT - DUSK 710 711OUTSIDE, THE SUN BEGINS TO SET>OVER A DEVELOPMENT WHERE ALL THE HOUSES LOOK JUST LIKE THIS ONE. 712 713INT. PLAYROOM AT NIGHT 714 715AUDREY AND SEYMOUR SNUGGLE ON THE COUCH. THE KIDS ARE ON THE FLOOR, WATCHING LUCY WITH BER HAND STUCK IN A BOWLING BALL. 716 717AUDREY: Between our frozen dinner And our bedtime, nine-fifteen We snuggle watching Lucy On our big Enormous 718 719INT. UPSTAIRS 720 721AUDREY AND SEYMOUR TUCK THE KIDS INTO BUNK BEDS AND CHUCKLE AT THE PETS ASLEEP WITH THEM. 722 723AUDREY: I'm his December Bride Be's Father, He Knows Best The kids' room, next to our room And a third room for a guest A picture out of Better Eomes and Gardens Magazine Audrey and Seymour reach the threshold of their Early American bedroom. 724 725AUDREY: He lifts her up and we tactfully — DISSOLVE BACK TO: 726 727EXT. SKID ROW - NIGHT 728 729CLOSEUF OF AUDREY AT BER WINDOW SINGING. CAMERA SLOWLY PULLS BACK AS SHE LOOKS OUT AND SEES A BLEAK SKID ROW CITYSCAPE OF BRICK WALLS, GARBAGE, FIRE ESCAPES, AND PASSED-OUT WINOS. 730 731AUDREY: Far from Skid Row I dream we ' 11 go Somewhere That's... Green. 732 733CAMERA HAS PULLED BACK ACROSS THE STREET SO WE SEE AN EXTREME WIDE SHOT OF AUDREY'S TENEMENT. EERS IS THE ONLY BRIGHT LIGHT WE SEE IN THIS DARK, DECAYED STREET. 734 735MUSIC:- A PULSING, HIGH ENERGY, BASS LINE. THE BEGINNING OF *SOME PUN NOW." 736 737THIS MUSIC DISSOLVES THE REFLECTIVE MOOD AS CAMERA TILTS UP TO SEE THE SKID ROW SKYLINE. ON A DISTANT "ROOFTOP ARE THREE FIGURES, SILHOUETTED AGAINST THE SKY. 738 739CRYSTAL, RONETTE AND CHIFFON, IN A GIRL-GROUP FORMATION, BATHED IN THE GLOW OF A ROOFTOP NEON SIGN. THEY BEGIN TO SING. 740 741GIRLS: Ya YaYaYa Ya Ya Ya Ya YaYaYa Ya Ya Ya 742 743GIRLS: Seymour, the shnook. His life was the worst Oh what a bore dirt poor is Now take a look His- "I ]ck has reversed Joy to the boy I It sure is Some fun now! 744 745GIRLS: INSERT - SPINNING NEWSPAPER - "Skid Row Gazette." HEADLINE — "Mystery Plant at Mushnik'sl" INSERT - SPINNING NEWSPAPER - "Garden Club News." HEADLINE — "Audrey Two! The New Plant for the Sixties?!" Photo of a larger Audrey Two being held by a weaker-looking Seymour. 746 747GIRLS: INSERT - SPINNING PERIODICAL - "The Second Annual Horticultural Awards Luncheon." Several photos of Seymour holding the plant and accepting an award. 748 749GIRLS: He was bringin' up the rear-o He was ringin' .up a zero Now he's swingin' into gear-o Some fun now Now TELEVISION APPEARANCE: Seymour, holding an ever-larger Audrey Two talks with Grouehe Marx on "Vou Bet Your Life." The duck flies down. The secret word is " chlorophyl . " 750 751GIRLS: Some fun now Most folks used to sock it to him Told jokes, used to try to screw him Now they're proud to say they knew him Some fun now INSERT - SPINNING "TV GUIDE." "TV Guide" stops spinning, opens and CAMERA pushes in to see listing for "Mr. 752 753GIRLS: Wizard." TELEVISION APPEARANCE - Seymour, holding an even larger Audrey Two, talks to Mr. Wizard and a couple of thirteen-year-old kids who look too smart for their own good. 754 755GIRLS: Some fun now That's the way the Whoople goes And That's the way the garden grows And Some fun heaven only knows It's... STILL PHOTOS - Various stills of Seymour being more successful. 756 757GIRLS: Some fun now! Some fun nowl Some fun now! Some fun nowl 758 759INT. SHOP - DAY 760 761THE SHOP IS BULGING WITH CUSTOMERS ALL CHATTERING ABOUT, AND VIEWING, THE AUDREY TWO AND BUYING FLOWERS AS IF THEY WERE GOING OUT OF STYLE. IT IS OBVIOUS THAT MUSHNIK HAS PLOUGHED SOME OF HIS PROFITS BACK INTO THE SHOP. 762 763CONTINUE SINGING "SOME PWN NOW," THE LYRLCS OF WHICH 764 765FADE INTO AND MINGLE WITH THE CACOPHONY OF THE PEOPLE IN THE STORE. 766 767GIRLS: Some fun nowl Some fun nowl Sane fun now. Some fun now. 768 769AS THE THRONG MOVES ABOUT THE SHOP THEY CLEAR THE PLANT ENOUGH FOR US TO SEE THAT IT IS NOW SITTING IN AN ENORMOUS POT ON THE FLOOR AND STANDING A FULL FOUR-FEET TALL WITH A SPOTLIGHT ON IT. MUSHNIK IS ON THE PHONE AND CAN BARELY MAKE HIMSELF HEARD OVER ALL THE BABBLE. 770 771MUSHNIK: Yes, Mrs. Shiva. No, Mrs. Shiva. Right away, Mrs. Shiva, Seymour! Did you send out the order for Mrs. Shiva? 772 773CONTINUED: 774 775SEYMOUR: Mrs. Shival I forgotl 776 777MUSHNIK: You forgoti You forgot! Do yc hear this, God? Are you listeni-ng, customers? He forgot! Seymour heads for the storeroom. 4 0 INT. STOREROOM - DAY 40 The shop's little storage room has been converted into a flower arranging area. 778 779MUSHNIK: Audrey is hard at work on a "Get Well Soon" arrangement which includes not only flowers but handy pocket packs of Kleenex and bottles of aspirin. Behind her a sign advertises "Arrangements by Audrey." From the other room, we hear the bustling SOUNDS of the successful shop. 780 781MUSHNIK: Seymour rushes in just as Audrey puts the final touch into her arrangement... a thermometer. 782 783SEYMOUR: Audrey, quick... we gotta do an emergency arrangement. 784 785AUDREY: Birthday? Wedding? Baby? 786 787SEYMOUR: Funeral.. 788 789AUDREY: Hand me the lilies. 790 791THEY CLEAR A SPACE ON THE TABLE AND AUDREY BEGINS TO ASSEMBLE A VERY LARGE AND SCRUPULOUSLY TASTELESS FUNERAL ARRANGEMENT. HUGE LILIES. 792 793SEYMOUR: Mr. Mushnik's really mad. I keep forgetting things. I guess it's 'cause I feel a little weak and lightheaded all the time.. 794 795AUDREY: Scissors. You've got a lot on your mind. Mushnik passes through on the way to the basement. 796 797MUSHNIK: Mind? What mind? The Shivas are our most important funereal account. Who could forget such an order? 798 799HE LEAVES. 800 801AUDREY: Sometimes I think Mr. Mushnik* s too hard on you. Glue. Seymour hands Audrey a can of spray glue with which she begins to spray the fresh lilies, carnations and mums in her arrangement. Neither she nor Seymour considers this anything out of the ordinary. 802 803SEYMOUR: I don't mind. After all, I owe him everything. He took me out of the Skid Row Borne for Boys when I was just a little tyke... gave me a warm place to sleep. . . under the counter... good things to eat like meatloaf and water... Floors to sweep and toilets to clean and... 804 805AUDREY: Glitter. 806 807SHE IS HOLDING OUT HER HAND LIKE A SURGEON DOES FOR A SCALPEL. SEYMOUR HANDS HER A PLASTIC BAG OF MULTI COLORED GLITTER. 808 809AUDREY: You know, I think you should raise your expectations, Seymour. Now that you're getting successful I mean. 810 811SHE PAUSES FOR A MOMENT AND LOOKS STRAIGHT AT HIM. 812 813AUDREY: It's clear you suffer from a low self-image. And it's high time you should get it fixed. Go out and do something nice for yourself, like buy some nice clothes. COMTINDED: (2) 814 815SEYMOUH: Aw, I'm a very bad shopper, Audrey. I don't have good taste., , 816 817HE LOOKS ADMIRINGLY DOWN AT THE GLITTERING ARRANGEMENT, THEN ADORINGLY UP INTO HER EYES. 818 819SEYMOUR: ... like you. 820 821AUDREY: Oh... Well... ... I could help you pick things out. 822 823HE CAN'T BELIEVE WHAT HE'S JUST HEARD, FIE LEANS CLOSER. 824 825SEYMOUR: You could? So does she. 826 827AUDREY: Surel And closer... 828 829SEYMOUR: You'd go shopping with me? 830 831AUDREY: Sure! And closer... 832 833SEYMOUR: You'd be seen with me in a public place like a department store? 834 835AUDREY: Surel 836 837SEYMOUR: Tonight? CONTINUED! (3) Reality intrudes. She pulls back, embarrassed and upset. She smiles shyly to cover it. Mushnik now re- enters, having come from the basement. 838 839AUDREY: Oh, I can't tonight. ... I've got a date. Seymour is crestfallen. Seeing Mushnik, he grabs the arrangement and exits. Audrey watches Seymour as he dejectedly walks away. She truly wishes she could go out with him. 840 841MUSHNIK: Again this date? Some date. A date gives you a corsage, not a multiple fracture, I'm telling you, Audrey, he ain't a good, clean kinda boy. 842 843AUDREY: He's a professional. 844 845MUSHNIK: What kinda professional drives a motorcycle and wears a black leather jacket? 846 847MUSIC: A JIASTY, TAMBOURINE AND CHAIN- FLAVORED "LEADER OF THE PACK" MUSICAL VAMP BEGINS AS WE — 848 849CUT TO; 850 851EXT. STREET - DAY 852 853EXTREME CLOSEUP OF A BLACK- LEATHERED GLOVE REVVING THE ACCELERATOR OF A MOVING MOTORCYCLE. CAMERA TILTS UP TO SEE A FACE COVERED BY A BLACK MOTORCYCLE HELMET. 854 855ORIN: When I was younger, just a bad little kid My mama noticed funny things I did Like shootin' puppies with a B.B. gun I'd poison guppies, and when I was done — I'd find a pussycat and bash in his head. That's when my Mama said... 856 857EXT. CITY STREET SCENE - DAY 858 859PEDESTRIANS BUSILY MOVING ALONG THE SIDEWALK. CRYSTAL, RONETTE AND CHIFFON .ARE SITTING ON A PARKED CAR AS ORIN PULLS UP. 860 861GIRLS: What did she say? Orin gets off the bike, which miraculously stays up by itself. He walks into an office building and down a corridor. 862 863SHE SAID, MY BOY I THINK SOMEDAY YOU'LL FIND A WAY 864 865TO MAKE YOUR NATURAL TENDENCIES PAY. 866 867HE STOPS IN THE CORRIDOR AND OPENS A DOOR. 868 869ORIN (CENT.) YOU'LL BE A ... 870 871INT. DENTIST'S OFFICE 872 873ORIN STEPS INSIDE AND UNZIPS HIS BLACK LEATHER JACKET UNDERNEATH WHICH HE IS WEARING A WHITE DENTIST'S UNIFORM. THE' GIRLS ARE NOW IN THE BACKGROUND WEARING DENTAL ASSISTANT'S UNIFORMS AND SINGING BACK-UP. 874 875ORIN: Dentist! You have a talent for causing things pain. Orin takes off his helmet and flings it aside, hitting his nurse. Hiss Mack, and knocking her out. 876 877ORIN: Son be a Dentistl People will pay you to be inhumane. 878 879ROOM ONE: Orin enters. A terrified patient, wearing God-awful looking braces, is in the chair. Orin, still wearing his motorcycle gloves, grabs an absolutely filthy, crud-caked towel and "cleans" his gloves. 880 881GRIN: Your temperment's wrong for the priesthood And teaching would suit you still less. CONTINUED : 44 Orin grabs a large pliers from a cabinet full of horrific-looking .dental instruments. He wrenches the patient's head back and maniacally "tightens" the patient's braces. 882 883GRIN: Orin twists the braces with the same subtlety he would use to jack up a car. The patient almost passes out. 884 885ORIN: Son, be a Dentist You'll be a success! Orin exits. MUSIC VAMPS. ROOM TWO 45 Grinning dementedly, he enters the room as a star would enter a stage. A twelve-year -old boy sits in the chair. His mother stands next to him, holding his hand. 886 887GIRLS: Here he is, folks The leader of the plague Orin yanks the gas mask off the terrified boy and he breathes in some gas. 888 889GIRLS: Watch him suck up that gasl Oh my Godl The mother faints. High on nitrous oxide, Orin giggles maniacally and exits. ROOM THREE 46 Orin enters giggling. 890 891GIRLS: He's a dentist and he'll never-ever be Any good. Another horrified PATIENT trembles in the chair as Orin goes into the Patient's mouth with a rusty pliers. Orin emerges with a large rotted tooth, roots and all. He flings the tooth aside and exits giggling. 892 893CONTINUED: 4 894 895GIRLS: Who wants their teeth done By the Marquis De SadeJ 896 897MUSIC VAMPS. 898 899ROOM FOUR 900 901ORIN IS LEANING OVER ANOTHER PATIENT TO WHOM HE'S JUST GIVEN AN INJECTION. ORIN RETRACTS THE- HUGE NEEDLE FROM THE PATIENT'S MOUTH. 902 903PATIENT: Oh, that hurts! Orin grabs his trusty pliers and heads for the Patient's teeth. PATIENT (cent.) Wait ! I'm not numb ! 904 905GRIN: Ah, shut up! Open wide! Here I come! REVERSE SHOT from inside the Patient's mouth. We see the back of his teeth, tongue, and lips and through the opening of the lips we see Orin and the Girls singing. 906 907ORIN: I am your Dentist! 908 909PATIENT: Goodness gracious! 910 911ORIN: And I enjoy the career that I picked. 912 913GIRLS: You love it! 914 915ORIN: I am your Dentist 916 917CUT TO OR IN AT THE DOOR. IT IS CLOSED. 918 919GIRLS: Fitting bracesl Or in stands with his ear to the door, listening. 920 921ORIN: And I get off on the pain I inflict! 922 923ON THE WORD' "INFLICT" ORIN VIOLENTLY SWINGS OPEN THE DOOR. 924 925TEE HALLWAY 926 927WE SEE ORIN HAS CAUGHT HIS NURSE, MISS MACK, IN MID STRIDE AND HAS FLATTENED HER AGAINST THE WALL. LOVING ITR HE CROSSES TO ROOM FIVE. 928 929GIRLS: He really loves it! 930 931ROOM FIVE: Orin is hand cranking a WWII field DRILL which emits a horrible SCREECHING NOISE. The Patient is absolutely catatonic with fear as, ever grinning, Orin gets down to it. 932 933ORIN: I thrill when I drill A bicuspid It's swell, though they tell me I'm maladjusted 934 935GIRLS: Dentist! WAITING ROOM Orin pokes his smiling head in. 936 937ORIU: And though it may cause my patients distress. All the Patients in the waiting room cower back. 938 939PATIENTS: Distress! 940 941ROOM FIVE: A PATIENT who is manacled hand and foot and whose mouth is filled with cotton bits, fights to remove herself from the chair/ The Girls hold her down. Grin relishes making her wait for the torment to come. 942 943ROOM FIVE: He opens a cupboard and inside we see an altar with candles burning and a large, gilt-framed photo of an elderly Italian lady. Be sings to it adoringly. 944 945ORIN: Somewhere, Somewhere in heaven above me I know — I know that my mama's proud of me 'Cause I'm a Dentist! And a success 1 946 947HE SLOWLY, MENACINGLY STARTS TO APPROACH THE PATIENT BRANDISHING A WHINING DRILL IN ONE HAND AND WITH THE OTHER HAND HE HOLDS A WATER SPRAYER. HE VICIOUSLY SPRAYS A THICK, STEADY STREAM OF WATER INTO THE PATIENT'S MOUTH. 948 949ORIN: Say ah. 950 951PATIENT: Ahhh. . . 952 953ORIN: Say ahl 954 955PATIENT: Aggggghhhh! Orin is leering, menacing, and wild-eyed as he's drown- ing the Patient. 956 957ORIN: _ Say ah ! 958 959PATIENT: Ahhhrrgggrr! 960 961ORIN: Now spit. 962 963CONTINUED: 964 965ORIN VIOLENTLY SLAPS THE PATIENT ON THE BACK. THE PATIENT HEAVES FORWARD SPEWING OUT A HUGE MOUTHFUL OF WATER AND COTTON BITS AS WE — 966 96751A EXT. STREET 51A 968 969A CLOSEUP OF ABOUT A GALLON OF WATER AND PIECES OF GRAVEL LANDING IN THE GUTTER. CAMERA TILTS UP TO SEE A LARGE VASE OF WATER BEING EMPTIED BY SEYMOUR. 970 971SEYMOUR: I'm sorry, sir. You can't go in there now. 972 973ORIN: Oh yes, I can. 974 975SEYMOUR: No, really, sir. We're dosedl 976 977ORIN: Relax. You want some nitrous oxide? 978 979SEYMOUR: No, no, thank you. 980 981ORIN: Suit yourself. 982 983SEYMOUR: Uh... sir... You really can't... Audrey comes out of the shop, dressed for her date. 984 985AUDREY: It's okay, Seymour. This is my date. . . 51A CONTINUED: 51A Orin nods, grins, and giggles inanely, feeling the gas. 986 987AUDREY: My boyfriend. Seymour. Orin • Scr ivello. . . Orin abruptly stops laughing and shoots her a murderous glare. 988 989AUDREY: D.D.S. Hev l Sir? 990 991ORIN: I know you. Sure, I saw you on the news... Gimme a minute, now. I know your name... it's Cedric, Steven, Simon. . . 992 993AUDREY: Seymour. . . 994 995ORIN: Somebody talkin' to you? 996 997AUDREY: Oh no... Excuse me. 998 999ORIN: Excuse me what? 1000 1001AUDREY: Excuse me... Doctor. 1002 1003ORIN: That's better. I know, you're the Plant Guy, right? Hey, wait l It must be in there, huh? 51A CONTINUED: (2) 51A 1004 1005HE INHALES SOME MORE NITROUS AND STUMBLES TO THE WINDOW. THERE VT IS, BIG AS LIFE. 1006 1007ORIN: Ow wow, is that incredible! 1008 1009AUDREY: Er... shouldn't we be leaving now? Or in shoots her another threatening look. 1010 1011AUDREY: I'm sorry! 1012 1013ORIN: Sorry what? 1014 1015AUDREY: Doctor! Doctor! Sorry, Doctor! 1016 1017ORIN: Ya gotta train 'em, eh, stud? Listen, here's my card. You ever need a root canal or anything just give me a buzz, you hear? I'm serious. It's on the bouse, okay, Aud-ree! Orin tosses his head summoning Audrey to follow. 1018 1019ORIN: She sneaks one miserable, trapped glance at Seymour, then forces herself to join Orin on the motorcycle. As Orin REVS it up we see, on the cycle, a decal insignia of a tooth stuck with a dagger and the letters. "A.D.A." Orin calls back to Audrey over the ROAR OF THE ENGINE. 1020 1021ORIN: You got the handcuffs? 1022 1023AUDREY: They're right in my bag. Seymour's blood is boiling. He leaps on his bicycle and pedals off to follow them. 1024 1025EXT. DRIVE-IN - NIGHT 1026 1027ORIN, ASTRIDE HIS BIKE GLEEFULLY WATCHES THE START OF "CREATURE FROM THE HAUNTED SEA." AUDREY, BEHIND HIM ON THE BIKE (WHERE SHE COULDN'T SEE THE SCREEN IF SHE WANTED TO) , IS FORCED TO SIT HOLDING THE LITTLE DRIVE IN SPEAKER. 1028 1029EXT. THE DRIVE-IN'S SNACK BAR 1030 1031WITH A TACKY NEON SIGN IN THE BACKGROUND AND A WOMAN IN ROBE AND CURLERS CARRYING FOOD IN THE FOREGROUND, SEYMOUR, DEPRESSED TO THE POINT OF DESPERATION, SITS AT A PICNIC TABLE WATCHING THEM. 1032 1033THUNDER. A SUDDEN CLOUDBURST. 1034 1035EXT. DRIVE-IN 1036 1037ON THE MOTORCYCLE, ORIN SNAPS HIS FINGERS. AUDREY PULLS OUT AN UMBRELLA AND HOLDS IT IN ONE HAND, THE SPEAKER STILL IN THE OTHER, COVERING ORIN WHILE SHE HERSELF GETS SOAKED. 1038 1039EXT. SNACK BAR 1040 1041SEYMOUR, DEJECTED AND GETTING WET, BICYCLES AWAY. 1042 1043INT. THE SHOP - NIGHT (AN HOUR LATER) 1044 1045SEYMOUR, MISERABLE AND WET FROM HIS RIDE, SITS ON THE FLOOR NEXT TO AUDREY TWO. HE. 1046 1047SEYMOUR: You oughta see the way he treats her Twoey. She deserves a prince, not a sadistic creep like him. The man's a total disgrace to the dental profession. I don't know what's goin' on sometimes. Seems like the whole world's goin' crazy. Least we got each other, right? 1048 1049SEYMOUR: I'm gonna turn in, Twoey. See ya in the. . . Seymour starts for the basement when he hears a CRUNCH- ING SOUND. He turns around and sees that — Audrey Two has wilted dramatically. 1050 1051SEYMOUR: Oh boy, here we go again. 1052 1053HE LOOKS DOWN AT HIS FINGERS. THERE'S STILL A BANDAGE ON EACH ONE. 1054 1055SEYMOUR (EONT.) C'INON, I HAVEN'T GOT MUCH LEFT. I'M ALL ANEMIC R I'VE GOT DIZZY SPELLS... 1056 1057THE PLANT SPEAKS. A DEEP, FUNKY BASSO. 1058 1059AUDREY TWO: Feed me. 1060 1061SEYMOUR: I beg your pardon? 1062 1063AUDREY TWO: Feed me! 1064 1065SEYMOUR: Twoey... you talked... you opened your trap, your.- thing and you said... 1066 1067AUDREY TWO: Feed me, Rrelbornl Feed me now 1 Seymour frantically starts removing a band-aid and starting toward the Plant. 1068 1069SEYMOUR: Look, maybe I can squeeze a little more out of this one, but Seymour stands over the gaping pod, trying to squeeze drop or two from his bone-dry finger.- 1070 1071AUDREY TWO: More! More! 1072 1073SEYMOUR: There isn't any more! Whatdya want me to do? Slit my wrists? Silently the Plant opens its pod as if to say "You got it!" 1074 1075SEYMOUR: Oh boy. Look... I got an idea... 1076 1077CONTINTJED: (2) 1078 1079SEYMOUR: I'm- a- go down to S hmendr i k ' s and pick you up some nice chopped sirloin. 1080 1081AUDREY TWO: Must be blood. 1082 1083SEYMOUR: Twoeyr .that's disgusting. 1084 1085AUDREY TWO: Must be fresh. 1086 1087SEYMOUR: I don't want to hear this. 1088 1089MUSIC IN. "GIT IT." THE PLANT STARTS TO SING. 1090 1091AUDREY TWO: Feed me! 1092 1093SEYMOUR: Does it have to be human? 1094 1095AUDREY TWO: Feed me! 1096 1097SEYMOUR: Does it have to be mine? 1098 1099AUDREY TWO: Feed me! 1100 1101SEYMOUR: Where am 1 s' posed to get it? 1102 1103THE PLANT GOES INTO A "ROCK ME, BABY" STYLE BLUES RIFF, SWAYING ITS LEAVES AND MOVING ITS POD WITH SLICK IN SINUATION. 1104 1105AUDREY TWO: Feed me, Seymour. Feed me all night long That's right, boy, you can do itl Feed me, Seymo-ur Feed me, all night long. 1106 1107AUDREY TWO: Henh, henh, henh, henh! 'Cause if ya feed me, Seymour, I can grov* rp, big and strong 1 Seymour starts for the storeroom. He's seen enough. 1108 1109SEYMOTO: You eat blood, Audrey Two, let's face it. How'm I s'.posed to keep on feeding you, kill people? 1110 1111AUDREY TWO: I'll make it worth your while. Seymour stops dead in his tracks. 1112 1113SEYMOUR: What? 1114 1115AUDREY TWO: You think this is all coincidence, baby? The sudden success around here? The press coverage? 1116 1117SEYMOUR: Look, you're a plant 1 An inanimate object 1 Seymour heads out again. The Plant sends a vine flying out across the room and wraps it around Seymour's waist. 1118 1119AUDREY TWO: Does this look inanimate to you, punk? ... If I can talk and I can move? Who's to say I can't do anything I want? 1120 1121SEYMOUR: Like what? 1122 1123AUDREY TWO: Like deliver, pal. Like see you get everything your secret, greasy heart desires! The SONG resumes as the Plant sensually rubs its vine up and down Seymour's side. AUDREY TWO (cont. ) Would you like a Cadillac car? Or a guest shot on Jack Paar? 1124 1125AUDREY TWO: How about a date with Hedy Lamarr? You gonna git it? The Plant's vine spins Seymour around abruptly so he's now facing the singing pod. It begins to rock in time to its own music.-' AUDREY TWO (COnt. 1126 1127AUDREY TWO: ) Mm hm* How'd ya like to be a big wheel Dinin' out for every meal I'm the plant who can make it real! You gonna git it! 1128 1129THE PLANT STARTS MOVING ITS VINES AND TENDRILS LIKE AN OCTOPUS AT A MODERN DANCE RECITAL AS THE MUSIC TURNS FUNKY, SLOW, AND HOT. 1130 1131AUDREY TWO (CONT. ) 1132 1133I'M YOUR GENIE 1134 1135I'M YOUR FRIEND 1136 1137I'M YOUR WILLING SLAVE 1138 1139TAKE A CHANCE. 1140 1141JUST FEED ME AND 1142 1143YA KNOW THE KINDA EATS 1144 1145THE KINDA RED HOT TREATS 1146 1147THE KINDA STICKY, LICKY SWEETS I 1148 1149CRAAAAAAAVEL 1150 1151ON THAT WORD "CRAVE , " THE PLANT OPENS ITS POD WIDE FOR THE FIRST TIME, GIVING US A GLIMPSE OF FEROCIOUS TEETH INSIDE. 1152 1153ONE VINE PULLS UP A CHAIR WHILE TWO OTHER VINES PUSH SEYMOUR DOWN ONTO THE CHAIR. 1154 1155THE POD RISES UP A BIT NOW, SO IT'S TOWERING OVER THE SEATED SEYMOUR LIKE THE GENIE FROM THE LAMP. THE STEM ON WHICH IT RESTS ROCKS OUT AS THE SONG STARTS GOING FOR BROKE. 1156 1157AUDREY TWO (CONT. ) 1158 1159" C'MON, SEYMOUR DON'T BE A PUTZ 1160 1161TRUST ME AND YOUR LIFE' 11 SURELY RIVAL 1162 1163KING TUT' S SHOW A LITTLE 'NITIATIVE WORK UP THE GUTS AND YOU'LL GIT ITL 1164 1165SEYMOUR STANDS AND, DURING THE FOLLOWING LYRICS WHICH SEYMOUR SINGS TO HIMSELF IN VOICE OVER, HE LOOKS IN A MIRROR AND SEES... INSTEAD OF HIS OWN FACE... 1166 1167SEYMOUR ' (V.O.) 1168 1169I DON' T KNOWL 1170 1171I DON ' T KNOW 1 1172 1173I HAVE SO MANY STRONG 1174 1175RESERVATIONS! 1176 1177SHOULD I GO 1178 1179AND PERFORM. . 1180 1181SEYMOUR TURNS AWAY FROM THE GRINNING BUM AND SEES A PAIR OF SCISSORS ON THE COUNTER NEXT TO SOME SHINY RED RIBBON. 1182 1183SEYMOUR (CENT.) . . 1184 1185SEYMOUR, STILL LOST IN THOUGHT. THE PLANT OVER HIS SHOULDER, LEANING CLOSER. 1186 1187AUDREY TWO: You didn't have nothin' till you met me. C'mon, kid. What' 11 it be? Money? Girls? One particular girl? How *bout that Audrey? Think it over. There must be someone you could eight- six, real quiet like... 1188 1189AUDREY TWO: and git me some LUNCH 1 The Plant rocks out again, moving its stem like Mick Jagger moves his hips, leaning its pod over one of its vines, almost as if the leaf held a microphone. 1190 1191AUDREY TWO: Think about that room at the Ritz! Wrapped in velvet, covered in glitz! A little nookie gonna clean up those zitsl And you'll Git Itl Seymour turns away from the doorway and sings to him- self. 1192 1193SEYMOUR: Gee, I'd like a Harley machine... 1194 1195AUDREY TWO: Now you're cookin' I 1196 1197SEYMOUR: Toolin' around like I was James Dean... 1198 1199AUDREY TWO: Yeah! . 1200 1201SEYMOUR: Makin' all the guys on the corner Turn green! 1202 1203AUDREY TWO: So Go Git It! Ooooh- oooh- oooh- oooh Seymour gets into it, now, as the Plant moves every- thing it's got ~ pod, vines, stem, leaves. It's actu- ally dancing with Seymour who bugaloos right back at it. 1204 1205AUDREY TWO: If you wanna be profound And you really gotta justify Take a break and look around A lotta folks deserve to die ! 1206 1207THE FUN STOPS. SEYMOUR CAN'T BELIEVE WHAT HE JUST HEARD. 1208 1209SEYMOUR: Wait a minute, wait a minute! That's not a very nice thing to say. 1210 1211AUDREY TWO: But it's true, isn't it? 1212 1213SEYMOUR: No! I don't know anyone who deserves to get chopped up and fed to a hungry plant! 1214 1215AUDREY TWO: Mininm, sure you do. And with that, the Plant sends a vine sailing across the room to a light switch, which it flicks off with the greatest of ease. CONTINUED: (7) 56 From the darkened shop's front window, the street out- side is now plainly visible. 1216 1217AUDREY TWO: The Plant's vines take Seymour firmly by the shoulders and point him toward the window. 1218 1219EXT. THE STREET OUTSIDE - SEYMOUR'S POV 1220 1221IT'S STILL RAINING LIGHTLY. 1222 1223GRIN'S MOTORCYCLE ROARS TO A HALT OUTSIDE AUDREY'S TENEMENT BUILDING. THEY "DISEMBARK." 1224 1225ORIN: Stupid woman! Christ, what a friggin' scatterbrainl 1226 1227AUDREY: I'm sorry, Doctor 1 I'm sorry. Doctor I 1228 1229ORIN: Drops the damned umbrella, gets me soaked I 1230 1231AUDREY: I'm clumsy. Doctor! I'm clumsy, Doctor ! 1232 1233THEY DISAPPEAR INTO AUDREY'S BUILDING, BUT THEIR MUFFLED VOICES ARE STILL AUDIBLE. 1234 1235ORIN: Get the door open, ya little slut. 1236 1237AUDREY: I'm trying. Doctor! I'm trying. Doctor 1 1238 1239THEY APPEAR NOW AS SILHOUETTES ON THE CLOSED SHADE OF AUDREY'S APARTMENT WINDOW. 1240 1241ORIN: Look at my jacket! Look at my hair! Get the Vitalisl Quick, the Vi talis! 1242 1243AUDREY: I'm out of it. Doctor! 1244 1245ORIN: What? !? !? I? Still in silhouette on the shade, he slaps her . CONTINUED: 57 1246 1247AUDREY: Orinl That hurt! 1248 1249ORIN: Can itl 1250 1251INT. THE SHOP 1252 1253MUSIC BUILDS TO A CLIMAX AS SEYMOUR SLOWLY TURNS, RED FACED AND TREMBLING, TOWARD THE PLANT. HE'S A MAN POSSESSED NOW — READY TO DO ANYTHING TO SAVE AUDREY FROM THE CLUTCHES OF THAT BEAST ACROSS THE STREET. 1254 1255SEYMOUR & AUDREY TWO: If you want a rationale It isn't very hard to see Stop and think it over^ pal, The guy sure looks like plantfood to me J The guy sure looks like plantfood to me! The guy sure looks like plantfpod to me! 1256 1257SEYMOUR & AUDREY TWO: , The Plant, jumping up and down ~ its pot hammering the floorboards — is singing and "dancing" wildly now, shaking everything it' s got working Seymour up to a frenzy. 1258 1259SEYMOUR: He's so nasty, treating her rough! 1260 1261AUDREY TWO: Smackin* her around and always talkin' so tough! 1262 1263SEYMOUR: You need blood, and he's got more than enough! 1264 1265AUDREY TWO: I need blood, and he's got more than enough! 1266 1267SEYMOUR & AUDREY TWO: You (I) need blood and he's got more than enough! The Plant's pod looks Seymour straight in the eye... AUDREY TWO • So go Git It l COHTINDED: Seymour turns away from the Plant and into a OuOSEUP his face a knot of utter resolve. 1268 1269INT. DENTIST'S OFFICE RECEPTION ROOM - 6 P.M. (THE 1270 1271NEXT AFTERNOON) 1272 1273MISS MACK, A RECEPTIONIST AND REFUGEE FROM THE WOMEN'S ARMY CORPS, SITS READING "COMBAT MAGAZINE." SHE HAS A LARGE BAND-AID ON HER FACE FROM WHEN THE HELMET HIT HER. ACROSS FROM HER WAITS A PATIENT, MR. 1274 1275GRIN'S GIGGLES WAFT IN FROM A -NEARBY EXAMINING ROOM. THEY ARE FOLLOWED BY A SCREAM OF PAIN. 1276 1277MISS MACK: Weakling. 1278 1279DENTON: Does that mean they're finished? Is it almost my turn? 1280 1281MISS MACK: Keep your pants on. A TEENAGED GIRL emerges from the examining room. Her mouth is encumbered by a grotesquely exaggerated ver- sion of a night-retainer so large, heavy, and rusted, the Girl can barely hold her head up. 1282 1283MISS MACK: Ber MOTHER, deeply shaken by the dentistry she has just witnessed, mumbles to herself in shock. 1284 1285THE LORD IS MY SHEPHERD, I SHALL NOT WANT. . 1286 1287DENTON APPROACHES THE TEENAGER. 1288 1289DENTON: What did he do? Tell me everything! 1290 1291TEENAGER: Argf luuggggshjenkrenh! The Mother and Daughter exit. Denton sits down. Miss Mack glances at the clock and starts to pack it in for the evening. CONTINUED: 59 Orin enters wearing a leather apron. He smiles madly; his eyes are glazed. 1292 1293ORIN: Next! Denton springs to his feet. 1294 1295DENTON: That's -me I Arthur Denton! I*m next! 1296 1297ORIN: Does that have an appointment? 1298 1299MISS MACK: Ask it, I'm off duty. 1300 1301SHE LEAVES. DENTON CHATTERS AWAY EXCITEDLY AS HE AND ORIN HEAD FOR THE OFFICE. 1302 1303■ DENTON 1304 1305YOU KNOW, I'VE BEEN SAVING UP ALL MONTH FOR THIS. I'M SURE I NEED A ROOT CANAL. 1306 1307ORIN: We'll see. 1308 1309DENTON: I have a history of dental illness. 1310 1311ORIN: Shut upl 1312 1313DENTON: Yes, sir! 1314 1315INT. ORIN'S 0FFIC3: 1316 1317ORIN, TAKING A HIT FROM HIS SMALL NITROUS OXIDE VIAL, COMES TOWARD DENTON BRANDISHING A DRILL. 1318 1319DENTON: Yes! Yes! That's it! Show it to me first! Show it to me first! Orin starts into his mouth. 1320 1321INT. RECEPTION ROOM 1322 1323SEYMOUR OPENS THE DOOR AND LOOKS AROUND. NOBODY THERE. 1324 1325DENTON: That was terrific! More! LOUDER DRILLING O.S. DENTON (O.S.) (COnt.) Don't stop! Oh, God, don't stop now! Seymour winces. 1326 1327INT. OFFICE 1328 1329DENTON IS IN A FRENZY. ORIN, HAVING PAUSED IN HIS WORK FOR A MOMENT, STARES AT HIM IN DISBELIEF. 1330 1331DENTON: Morel Yesi Yesl Yesl I want itl Now! Now! Now! Yesl What's wrong? 1332 1333ORIN: Get out. 1334 1335DENTON: Aw, come on. Doc. 1336 1337ORIN: I said, get outi Denton comes running out of the office, Orin following close behind, carrying his drill. ORIN ,(cont.) Goddamn sickol Move itl Denton is out the door in a flash. Orin, frenzied, whirls on Seymour, catching him off guard. 1338 1339ORIN: Lemme ask you something. Does this scare you? 1340 1341SEYMOUR: Yeah. 1342 1343ORIN: Would you like it if I took this thing and made straight for your goddamn incisors?! 1344 1345SEYMOUR: Nol 1346 1347ORIN: It'd hurt, right? 1348 1349SEYMOUR: Rightl 1350 1351ORIN: You'd scream, right? 1352 1353SEYMOUR: Rightl 1354 1355ORIN: Then get your ass in herel 1356 1357SEYMOUR: What? ! Before Seymour can do anything, Orin has started haul- ing him into the office. 1358 1359INT. OFFICE 1360 1361SEYRNOUR STRUGGLES, BUT ORIN EASILY STRAPS HIM INTO THE CHAIR AND SHINES THE LIGHT RIGHT IN SEYMOUR'S EYES. 1362 1363ORIN: Don' t I know you? 1364 1365SEYMOUR: Seymour Krelborn, we met yester... Orin forces Seymour's mouth wide open and looks in gleefully. 1366 1367ORIN: Oo, your mouth's a mess, kid. Let's start with that wisdom tooth I Orin gets his pliers. 1368 1369SEYMOUR: No! 1370 1371ORIN: We'll just rip the little bugger right outa there, whatdya say? 1372 1373SEYMOUR: Let me -:go! Grin turns to Seymour, suddenly smiling. 1374 1375ORIN: There's always time for dental hygiene, Seymour. You ever seen the results of a neglected mouth? Look, Seymour! With a flick of his finger, Orin turns on a light box, similar to those used to read X-rays. 1376 1377ORIN: This one, how- ever, displays an enormous color slide of a disgusting, rotted, decaying, salivating dog's mouth. . ORIN (cont.) This could happen to youl Seymour is about to be ill. 1378 1379ORIN: Unless I take immediate action. Orin grabs his WWII field DRILL and starts to pump the drill's pedal. It makes a high-pitched, HORRIBLE SOUND. 1380 1381SEYMOUR: What's that? 1382 1383ORIN: That's the drill, Seymour. 1384 1385SEYMOUR: It's rustyl 1386 1387ORIN: It's an antique! 1388 1389THEY DON'T MAKE INSTRUMENTS LIKE THIS ANY MORE. STURDY, HEAVY, DULL. 1390 1391HE IS ABOUT TO DRILL SEYMOUR WHEN HE GETS AN IDEA AND STOPS ABRUPTLY. 1392 1393ORIN: I'm gonna want some gas for this one. 1394 1395SEYMOUR: Gas? 1396 1397ORIN: Nitrous oxide. 1398 1399SEYMOUR: Oh, thank God. I thought you weren't going to use any. 1400 1401ORIN: Oh, the gas isn't for you, Seymour. It's for me. I wanna really enjoy this. In fact, I'm gonna use my special gas mask. As Orin speaks, he opens the cabinet and pulls out an elaborate mask. He straps it on around his neck, he is preoccupied enough not to notice... 1402 1403ORIN: Seymour loosening his wrist restraints. 1404 1405ORIN: I find that a little giggle gas before we begin increases my pleasure enormously. The mask in place now, Orin turns the knob on the wall all the way up to Full . ORIN (cent.) Here we go! HISSING SOUNDS. Orin immediately begins to get high and giggle. 1406 1407HE IS LAUGHING SO HARD NOW, HE HAS TO HOLD ONTO A COUNTERTOP FOR SUPPORT. THIS TURNS HIS BACK TOWARD S EYMOUR . 1408 1409ORIN: Oh boy, Seymour, I am flyin' now. . Oh, the things we are gonna do to your mouth 1 Eeeeeyaaaahahahahahal Orin tries to regain composure and straighten up. 1410 1411ORIN: Okay, okay, okay, okay. Work to do. 1412 1413ORIN: Time to work. Okay, okay, straighten up and.*. 1414 1415HE SOMEHOW MANAGES TO PULL HIMSELF TO AN UPRIGHT POSI TION AND TURNS AROUND. SUDDENLY, HIS EXPRESSION IS ONE OF SHOCK AS HE SEES... 1416 1417SEYMOUR, STANDING IN THE DOORWAY, POINTING A GUN AT HIM. 1418 1419ORIN: What the hell is that? Seymour closes his eyes and clenches his teeth, trying to make himself shoot. 1420 1421ORIN: A gun. The kid's got a goddajnn revolver! Jesus, I'm in trouble, huh? 1422 1423HE GIGGLES HYSTERICALLY AS HE TURNS THE GAS KNOB. 1424 1425IT COMES OFF IN HIS HAND. THE EISSZNG SOUND CONTINUES. 1426 1427ORIN: Dh oh. . . Laughs. Seymour keeps the gun pointed, trying to force himself to actually pull the trigger. Orin makes an attempt to get the mask off, but he can barely get his arms up to his head. Ee's too weak from the gas and the laughter. 1428 1429ORIN: Oh boy... uh... Dh... Seymour, give me a hand, would ya? Er... no, I guess you wouldn't. 1430 1431HE LAUGHS. HE TRIES TO PULL THE HOSE OUT OF THE WALL. 1432 1433CONTINUED: (4) 63 1434 1435ORIN FINDS THIS HILARIOUS. HE'S ON THE FLOOR LAUGHING LIKE AN IMBECILE, WHEEZING, AND DESPERATELY TRYING TO CATCH HIS BREATH. 1436 1437ORIN: The point is, Seymour, I could asphyx . . . asphyx . . . asphyx . . . Help me I ! ! Seymour just stands there watching, gun still pointed. 1438 1439ORIN: What'd I ever do to you? 1440 1441SEYMOUR: Nothin' ... It's what you did to her. Orin stares Seymour in the face. 1442 1443HER WHO? 1444 1445BEAT. HE GETS IT. 1446 1447ORIN: Oh. ... Her. Orin loses consciousness. His head, still encased in the mask, hits the floor WITH A THUD. He' s dead. Seymour slowly lowers the unused gun to bis side. 1448 1449MUSIC: STURM AND DRANG. A FULL ORCHESTRAL "LITTLE SHOP" IN A MINOR KEY. 1450 1451EXT. A DARK ALLEY - NIGHT 1452 1453SEYMOUR IS SLOWLY AND LABORIOUSLY DRAGGING A VERY LARGE AND HEAVY WHITE BAG. 1454 1455EXT. A STREET CORNER - NIGHT 1456 1457SEYMOUR, EMERGING FROM AN ALLEY/ CHECKS TO SEE THAT NO ONE IS AROUND AND THEN CROSSES THE STREET, STRAINING TO DRAG THE LARGE WHITE BAG WITH HIM. 1458 1459INT. THE SHOP - NIGHT 1460 1461SEYMOUR STANDS BEFORE AUDREY TWO, THE WHITE BAG AT HIS FEET. THE PLANT,, BACK-LIT, SEEMS BIGGER THAN EVER. 1462 1463SEYMOUR TURNS TO LEAVE. 1464 1465AUDREY TWO: Chop it up. Seymour stops in his tracks, appalled. 1466 1467SEYMOUR: What! 1 ! AUDREY Tiro Feed me l 1468 1469SEYMOUR: Okay, okay. Okay. 1470 1471EXT. A DIMLY LIT COURTYJOID - BEHIND THE SHOP 1472 1473STURM AND DRANG MUSIC CONTINUES. 1474 1475SEYMOUR LOOKS AROUND NERVOUSLY, THEN DRAGS THE WHITE BAG OUT OF THE SHOP, INTO COURTYARD. 1476 1477INT. THE BASEMENT 1478 1479SEYMOUR RUMMAGES AROUND IN THE TOOL CABINET UNTIL HE FINDS WHAT HE'S LOOKING FOR: 1480 1481AN AXE 1482 1483THE VERY SIGHT OF IT MAKES HIM WINCE. BUT WHAT MUST BE DONE, MUST BE DONE... 1484 1485EXT. COURTYARD 1486 1487SEYMOUR ENTERS WITH THE AXE, A BUCKET, AND A PILE OF OLD NEWSPAPERS. HE STARTS SPREADING THE PAPERS OUT ON THE CONCRETE* 1488 1489EXT. THE FRONT OF THE SHOP 1490 1491MUSHNIK APPEARS AT THE FRONT DOOR. THE NIGHT GATE IS DOWN AND LOCKED, OF COURSE. 1492 1493EXT. COURTYARD 1494 1495SEYMOUR GRITS HIS TEETH, CLOSES HIS EYES, AND RAISES THE AXE. 1496 1497ANGLE - THE COURTYARD WALL 1498 1499SEYMOUR'S SHADOW. HE BRINGS THE AXE DOWN. 1500 1501EXT. SHOP BACK DOOR 1502 1503MUSHNIK R FUMBLING WITH ANOTHER KEY, HEARS THE SOUND. HE TURNS. 1504 1505ANGLE - THE COURTYARD WALL 1506 1507THE SHADOW LOWERS THE AXE AGAIN. THAT SOUND. 1508 1509' CLOSEUP - MUSHNIK 1510 1511HIS JAW DROPS. IF THIS WERE 1925, HIS HAIR WOULD STAND ON END. 1512 1513THE SHADOW CONTINUES ITS TASK. 1514 1515EXT. THE SHOP BACK DOOR 1516 1517MUSHNIK, STUNNED AND SICKENED, FORGETS HIS BUSINESS IN THE SHOP AND TURNS. 1518 1519INT. THE SHOP 1520 1521AS MUSIC BUILDS TO A THUNDEROUS CLIMAX, SEYMOUR IS SEEN, GINGERLY AND WITH GREAT DISTASTE, LIFTING BITS OF ORIN (AN ARM WITH A STUDDED LEATHER WRISTBAND; A HEAD FROZEN IN A STUPID GRIN) AND DUMPING THEM INTO THE PLANT'S CAVERNOUS POD. EATING SOUNDS AND THEN — 1522 1523THE PLANT LAUGHS — A DEEP, ECHOING, FRIGHTENING LAUGH TER THAT REVERBERATES AS WE: 1524 1525THE BASEMENT - FOLLOWING MORNING 1526 1527SUNLIGHT STREAMS THROUGH THE BASEMENT WINDOW. 1528 1529SEYMOUR IS ASLEEP, BUT RESTLESS. THE PLANT'S LAUGHTER STILL ECHOES IN HIS DREAMS. 1530 1531HE GETS UP AND LOOKS THROUGH HIS WINDOW. 1532 1533EXT. SKID ROW - SEYMOUR'S POV 1534 1535A POLICE CAR HAS PULLED UP IN FRONT OF AUDREY'S HOUSE. TWO OFFICERS, FRANK AND JOE, ARE TALKING TO HER. 1536 1537SEYMOUR STARTS TO DRESS, FRANTICALLY. 1538 1539EXT. AUDREY'S FRONT STOOP - MORNING 1540 1541THE OFFICERS CLIMB INTO THEIR CAR AND PULL AWAY. AUDREY SITS ON THE STOOP, VERY UPSET. 1542 1543SEYMOUR WAITS UNTIL THE POLICE HAVE PULLED AWAY, THEN APPROACHES FROM ACROSS THE STREET. 1544 1545AUDREY IS ABOUT TO CRY AND DOESN'T WANT HIM TO SEE. SHE STARTS AWAY FROM HIM, MOVING DOWN THE STREET. 1546 1547SEYMOUR: Audrey — what did they say to you? 1548 1549AUDREY: Who? 1550 1551SEYMOUR: The police. 1552 1553AUDREY: Oh, nothing. 1554 1555SEYMOUR: Audrey, talk to me. What*d they say? 1556 1557SHE GIVES IN AND STOPS. 1558 1559AUDREY: It's Orin... They say he's disappeared! 1560 1561SEYMOUR: The... police told you that? 1562 1563AUDREY: They suspect foul play. 1564 1565THEY DO? 1566 1567HE WAS -HEAVILY IN DEBT TO CERTAIN RUBBER -:APPLIANCE FIRMS. HIS RECEPTIONIST. 1568 1569SHE STARTS TO CRY AND MOVES AWAY FROM HIM. SHE TURNS A CORNER AND HAPPENS INTO — 1570 1571EXT. A PICTURESQUE ALLEYWAY 1572 1573A JUMBLE OF FIRE ESCAPES FILLS THE BACKGROUND. THE VERY WALLS SEEM TO BE TINTED LAVENDER AND BLUE — A WATERCOLOR OF URBAN ARCHITECTURE — - SOMETHING OUT OF WEST SIDE STORY." 1574 1575AUDREY, STILL CRYING, FINDS A TRASH CAN AND PERCHES ON IT TO SOB. 1576 1577SEYMOUR: Audrey... Audrey, please don't cry... Would it be... so terrible... if SCTnething had happened to him? AUDREY • Seymour, what a thing to sayl 1578 1579SEYMOUR: Well, would it? 1580 1581AUDREY: It wouldn't be terrible at all. It would be — • A miracle. Not to mention all the money I ' d save on Epsom salts and ace bandages. 1582 1583SEYMOUR: See? 1584 1585AUDREY: But I*d still feel guilty. I mean, if he met with foul play or some terrible accident of some kind, it'd partly be my fault, you see. 'Cause secretly... I wished it. 1586 1587SHE FIGHTS BACK TEARS. SEYMOUR WORKS UP THE NERVE TO SIT BESIDE HER. 1588 1589SEYMOUR: Audrey, you shouldn't waste one more minute worrying about that creep. There's a lot of guys would give anything to go out with you. Nice guys. 1590 1591AUDREY: I don't deserve a nice guy, Seymour. 1592 1593SEYMOUR: That's not true. 1594 1595SHE RISES AND MOVES AWAY. SHE COULD NEVER SAY THIS TO HIS FACE. 1596 1597AUDREY: I deserved a creep like Orin Scrivello, D.D.S. You know where I met him? In the gutter. 1598 1599SEYMOUR: The gutter? 1600 1601AUDREY: The gutter. It's a nightspot. I used to work there. I'd put on cheap and tasteless outfits... not nice ones like this. Low and nasty apparel, and I'd... 1602 1603SHE BREAKS. SHE SITS ON A PILE OF CRATES, WEEPING SOFTLY. 1604 1605MUSIC UNDER: THE INTRO TO "SUDDENLY SEYMOUR." SEYMOUR COMES CLOSE AND KNEELS BESIDE HER. 1606 1607SEYMOUR: Audrey, that's all behind you now. You've got nothing to be ashamed of. 1608 1609SEYMOUR: You're a very nice person and I always knew you were. Underneath the bruises and the handcuffs, you know what I saw? A girl I respected. I still do. Lift up your head Wash off your mascara Here. . . 1610 1611SEYMOUR: take my Kleenex, Wipe that lipstick away Show me your face Clean as the mornin' I know things were bad But now they're okay. 1612 1613HE RISES AND IS SUDDENLY FRAMED AGAINST A YELLOW MORN ING SKY, GLIMPSED AT THE END OF THE ALLEY. FOR A MOMENT HE'S GARY COOPER, JOHN GLENN, GORDON MACCREA. 1614 1615SEYMOUR: Suddenly, Seymour Is standing beside you You don't need no make-up Don't have to pretend Suddenly, Seymour Is here to provide you Sweet Understanding Seymour's your friend. Audrey does not sing back to him. She sings, instead, to God, her eyes brimming with tears. 1616 1617AUDREY: Nobody ever Treated me kindly Daddy left early Mama was poor. I ' d meet a man and I'd follow him blindly He's snap his fingers Me, I'd say "Sure" As a look of quasi-religious redemption spreads across her masacara-stained face: 1618 1619AUDREY: Suddenly, Seymour Is standing beside me He don't give me orders He don't condescend 1620 1621AUDREY: Suddenly, Seymour Is here to provide me Sweet Understanding Seymour's my friend. 1622 1623HE MOVES TOWARD HER. 1624 1625SEYMOUR: Tell me this feelin' lasts ' til forever Tell roe the bad times Are clean washed away 1626 1627SHE MOVES AWAY FROM HIM, UP ONTO A FIRE ESCAPE — "TO THINK." 1628 1629AUDREY: Please understand that It's still strange and frightenin' For losers like I've been It's so hard to say... And s'he turns, all passionate commitment. Now he's on the ground and she's on a fire escape. It's the bal- cony scene. They reach for each other through the iron bars. 1630 1631AUDREY: Suddenly, Seymour 1 We PULL BACK to see that Crystal, Ronette and Chiffon are lurking on another fire escape, across the alley, prepared to sing backup. 1632 1633SEYMOUR & GIRLS: Suddenly, Seymour 1 1634 1635AUDREY: Be purified me! 1636 1637SEYMOUR & GIRLS: He purified youl 1638 1639AUDREY: Suddenly, Seymourl 1640 1641SEYMOUR & GIRLS: Suddenly, Seymour! 1642 1643AUDREY: Showed me I can — With one grand Errol Flynn gesture, Seymour pulls him- self up and floats ten feet high, up onto the fire escape beside her. 1644 1645SEYMOUR: Yesr you can — 1646 1647AUDREY: Learn how to 1648 1649ALL: Be more The girl that's inside me (you}! 1650 1651SEYMOUR: With Sweet Understanding — 1652 1653AUDREY: Sweet Understanding — 1654 1655SEYMOUR: With Sweet Understanding AUDREY . Sweet Understanding 1656 1657ALL: Sweet Understanding! Seymour's My (Your) Man ! And at the number's close, they're locked in the quin- tessential love-duet pose: his arms around her from behind, faces close together, eyes glistening, and mouths open to hold the last note as long as the ar- rangement demands. 1658 1659INT. SHOP - MORNING 1660 1661MUSIC: "SUDDENLY SEYMOUR" PLAYOFF. 1662 1663SEYMOUR ENTERS THE SHOP. HE IS ON CLOUD NINE. 1664 1665INT. BASEMENT 1666 1667SEYMOUR JUMPS ON HIS COT. FROM UNDER HIS PILLOW HE TAKES OUT A PHOTO OF AUDREY. 1668 1669MUSHNIK: You love her madly, don't you, Shmuck? Seymour turns around to see Mushnik standing in the shadows. 1670 1671SEYMOUR: Mr. Mushnik — you scared me. 1672 1673MUSHNIK: I scared him. After what I've seen, I scared him. Emph. You think I didn't know? I knew. I knew you lay down here on your pathetic cot and dreamed about her. But I didn't know the lengths to which you'd go, the depths to which you'd sink... 1674 1675SEYMOUR: What depths? What sink? What are you talking about? 1676 1677MUSIC IN: "SUPPERTIME INTRO," A TENSION-PRODUCING "TUBULAR BELLS"-STYLE VAMP. 1678 1679MUSHNIK: Little red dots all over the linoleum. . . Seymour, who had no idea they were there, loses his breath. 1680 1681MUSHNIK: Little red spots on the concrete outsidel! I'm talking blood, Krelbornl I'm talking under my own roof ... Mushnik is now at the tool cabinet. He opens it and grabs the axe... 1682 1683MUSHNIK: ... An axe murderer 1 1684 1685MUSIC: A BIG CHGRO. SEYMOUR'S FACE FALLS. 1686 1687CLOSEUP OF SEYMOUR AS AUDREY TWO IS HEARD IN ECHO. 1688 1689AUDREY TWO: He's got your number now. 1690 1691MUSHNIK: I saw everything. CONTINUED: (2) 80 1692 1693AUDREY TWO: He knows just what you done. 1694 1695MUSHNIK: Everything you... ugh... done to her boy*^riend. 1696 1697AUDREY TWO: You got no place to hide. Seymour clamps his hands over his ears so as not to hear the Demon Plant. Mushnik thinks Seymour doesn't want to hear him so he keeps going with more intensity. . . 1698 1699MUSHNIK: I saw you... chopping. 1700 1701AUDREY TWO: You got nowhere to run. 1702 1703SEYMOUR: It's truel I chopped him up. But I didn't kill himi 1704 1705AUDREY TWO: He knows your life of crime. Mushnik produces a gun and trains it on Seymour to hold him back. 1706 1707MUSHNIK: Tell it to the police! 1708 1709INT. SHOP 1710 1711WE NOW SEE THE PLANT ^ SINGING. 1712 1713AUDREY TWO: I think it's Suppertimell We INTERCUT between the shop, where the plant keeps singing, and the BASEMENT, where Mushnik is holding the gun on Seymour. Mushnik backs Seymour up the stairs as we are aware that Seymour is struggling to come up with a decent way out. 1714 1715AUDREY TWO: Must there be more bloodshed? 1716 1717AUDREY TWO: Come on, come on National Geographic! CONTINUED: 81 1718 1719AUDREY TWO: Come on, come on Your future with Audrey Come on, come on, Ain't no time to turn squeamish Come on, come on I swear on all their spores. When he's gone the world will be yours! , 1720 1721INT. THE SHOP 1722 1723THE DOOR FROM THE BASEMENT OPENS. THE PLANT IS IM MOBILE. 1724 1725CRYSTAL, RONETTE AND CHIFFON ARE LURKING IN THE SHADOWS OUTSIDE THE SHOP WINDOW. 1726 1727GIRLS: Come on. . . come on. . • Come on. . • come on. . • Mushnik walks Seymour to the front door. He stops. VAMP CONTINUES UNDER as he speaks. 1728 1729MUSHNIK: Rrelborn, I just want to say it kills me to have to do this. 1730 1731CUT TO THE GIRLS OUTSIDE IN THE SHADOWS. 1732 1733GIRLS: It's suppertime. 1734 1735MUSHNIK: Considering the fact you're something of an idiot, and the man you hacked to pieces wasn't such a paragon himself..; you could get off in thirty, forty years. 1736 1737CUT TO THE GIRLS WHOM WE STILL SEE OUTSIDE THROUGH THE WINDOW. 1738 1739GIRLS: Come on. . . come on. . . 1740 1741CUT TO WUSBNIK. 1742 1743MUSHNIK: And it, would be a shame, all things considered that your... life's work shouldn't be here waiting for you. 1744 1745CUT TO THE GIRLS WHO ARE NOW INSIDE THE SHOP SITTING ON THE COUNTER. 1746 1747GIRLS: Come on... come on... 1748 1749CUT TO MUSHNIK. 1750 1751MUSHNIK: So... if you want me to... take care of this plant of yours... I assume you fertilize... 1752 1753CUT TO THE GIRLS WHO ARE NOW STANDING RIGHT NEXT TO SEYMOUR. 1754 1755GIRLS: Come on. . . come on. . . 1756 1757SEYMOUR: She... needs... to be fed, sir. The PLANT RUSTLES ITS LEAVES in anticipation. 1758 1759MDSHNIK: Fed? 1760 1761CUT TO THE GIRLS WHO, STILL INSIDE THE SHOP, ARE IN 1762 1763FRONT OF THE DISPLAY WINDOW. A COUPLE OF FILTHY BUMS ARE OUTSIDE LEERING THROUGH THE WINDOW JUST BEHIND THE GIRLS. 1764 1765GIRLS: Come on. . • come on. ■ • 1766 1767SEYMOUR: Just... potash... you know... the usual minerals and all. 1768 1769MUSHNIK: Of course. CONTINUED: (2) 82 As Seymour speaks he casually backs Mushnik towards the plant. 1770 1771SEYMOUR: And on Thursdays you give it watfe* - . . 1772 1773CUT TO THE GIRLS WHO ARE NOW GRINNING BEHIND THE PLANT. 1774 1775GIRLS: Come on. . . come on. . . 1776 1777CUT TO THE BUMS WHO ARE GRINNING MENACINGLY THROUGH THE WINDOW. 1778 1779CUT TO SEYMOUR. 1780 1781SEYMOUR: ... Of course you have to clean the leaves. 1782 1783MUSHNIK: Yes... 1784 1785SEYMOUR: But most importantlyr whatever you do. . . 1786 1787MUSHNIK: Yes... CUT TO the Girls. 1788 1789GIRLS: COTie on. . • come on. • • 1790 1791CUT TO SEYMOUR. 1792 1793SEYMOUR: ... whatever you do... just be sure. . . By now we see the plant has opened its vastr cavernous mouth and is waiting... 1794 1795CUT TO THE BUMS OUTSIDE LEERING. 1796 1797CUT TO MUSHNIK. 1798 1799MUSHNIK: Yes? . . . Yes? . . . CONTINUED: (3) 82 1800 1801CUT TO THE GIRLS. THEY DON'T SING. 1802 1803MUSHNIK: Yes?... Yes?? All of a sudden Mushnik falls back and inside the open maw of the plant. 1804 1805GIRLS: ... It's suppertime! Seymour turns his back. Be can't watch what he knows will come next. With the force of a hungry shark, the jaws slam shut on Mushnik. CRUNCHING SOUNDS, punctuated by MUSICAL CHORDS, mingle with the old man's SCREAMS. . 1806 1807MUSHNIK: Krelborn! CRUNCH; CHORD. 1808 1809MUSHNIK: Nol CRUNCH; CHORD. 1810 1811MUSHNIK: Aaaaaaaggggghhhhhl 1812 1813THE GIRLS ARE NOW OUTSIDE THE SHOP AND THEY SOFTLY RETREAT BACK INTO THE SHADOWS. THE TWO BUMS CACKLE LOUDLY AT WHAT THEY'VE SEEN AND RUN AWAY. 1814 1815MUSIC MAKES A DIRECT SEGUE FROM "EATING OF MUSHNIK" UNDERSCORE TO THE CELLO- FLAVORED "MEEK SHALL INHERIT" VAMP. 1816 1817VOICE: Seymour Krelborn. . . Startled, Seymour turns to see a slick, grinning TALENT AGENT who has entered the shop. 1818 1819AGENT: It's so nice to meet you I'm from William Morris. The pleasure is yours. You don't answer calls So I came down in person We're dying to book you on lecturing tours. 1820 1821HE EXTENDS A CONTRACT TO SEYMOUR WHO JUST STANDS THERE IN CLOSEUP — THROWN. 1822 1823WOMAN'S VOICE {O.S.) YES, DARLING, WE'RE SENDING PHOTOGRAPHERS THURSDAY. 1824 1825CAMERA PULLS BACK FROM SEYMOUR AND WE SEE THAT WE ARE IN. . 1826 1827INT. RUSSIAN TEA ROOM-STYLE RESTAURANT 1828 1829SEYMOUR SITS IN A BOOTH WITH AN AGING BUT GLAMOROUS BLONDE LADY FROM LIFE MAGAZINE AND HER CREEPY, LEERING MALE ASSISTANT. THEY ARE FINISHING A VERY LAVISH LUNCH. 1830 1831BLONDE LADY: So get the plant ready and wear a clean shirt. Just sign this release. 1832 1833SHE PRODUCES A CONTRACT. 1834 1835CREEPY LEERING ASSISTANT: Need a pen? 1836 1837BLONDE LADY: Aren't you thrilled? It's the cover of Life Magazine 1 As if to bribe him, the Assistant pushes an enormous serving of something rich, cream- cove red, and cherry- topped in front of Seymour. 1838 1839CREEPY LEERING ASSISTANT: Dessert? We are CLOSE to Seymour's dazed expression. 1840 1841VOICE: I'm telling you son, it's a cinch to get ratings. 1842 1843AND CAMERA PULLS BACK TO REVEAL THAT WE ARE NOW IN. . 1844 1845INT. A TELEVISION STUDIO CONTROL ROOM 1846 1847BANKS OF TELEVISION MONITORS ARE IN THE BACKGROUND. THE SAME IMAGE IS ON EACH MONITOR: A SMILING PHOTO OF SEYMOUR WITH AUDREY TWO IN FRONT OF A LOGO. 1848 1849CONTINUED: 84 1850 1851THE WORDS ON THE LOGO READ... "SEYMOUR KRELBORN' S GARDENING TIPS." A TV EXECUTIVE, WRITER AND FLUNKY ARE SITTING WITH SEYMOUR. 1852 1853TV EXECUTIVE: ''he title is Marvin's. 1854 1855THE CONCEPT IS MINE. 1856 1857THE FLUNKY PRODUCES A CONTRACT AND PEN AND URGES THEM ON SEYMOUR. 1858 1859FLUNKY: The first weekly gardening show on our network! 1860 1861TV EXECUTIVE: And you're gonna host it, you lucky kid. EXECUTIVE, WRITER and FLUNKY Sign! 1862 1863INT. TYPING POOL - DAY 1864 1865WE ARE CLOSE IN ON TWO TALL IMPRESSIVE LOOKING MAHOGANY DOORS. THE DOORS SWING OPEN. 1866 1867THEY SAY THE MEEK SHALL INHERIT YOU KNOW THE BOOK DOESN' T LIE IT'S NOT A QUESTION OF MERIT IT'S NOT DEMAND AND SUPPLY 1868 1869INT. LIMOUSINE - NIGHT 1870 1871CLOSEUP OF A CHAUFFEUR DRIVING THE CAR. HE IS BOPPING TO THE MUSIC AND SMILING BROADLY INTO CAMERA AS WE HEAR THE GIRLS SINGING IN VOICE OVER. 1872 1873CONTINUED: 86 1874 1875GIRLS: They say the meek gonna get it And you a meek little guy 1876 1877CAMERA PUSHES PAST HIM TOWARD THE BACK OF THE LIMO. WE SEE THAT IT IS AN EXAGGERATED "STRETCH" LIMO... 1878 1879GIRLS: You know the meek are gonna get .what's comin' to 'em By and by. . . 1880 1881CAMERA PUSHES FORWARD TO SEE SEYMOUR SITTING IN THE BACK SEAT FLANKED BY TWO MEN URGING HIM TO SIGN A CON TRACT. A BUXOM WOMAN SITS ON SEYMOUR'S LAP OFFERING HIM CHAMPAGNE. 1882 1883LIMBO 87 1884 1885... MONEY FALLING IN SLOW MOTION IN FRONT OF SEYMOUR'S FACE AS SEYMOUR'S UNCONSCIOUS SINGS IN V.O. 1886 1887SEYMOUR: My future's starting I've got to let it Stick with that plant r and gee, My bank account will thrive The green, slow falling money has turned into green, thick, undulating plant vines. Seymour now struggles to disentangle himself from them. 1888 1889SEYMOUR: What am I saying No way, forget it It's much too dangerous to keep that plant alive. 1890 1891HE FINALLY FREES HIMSELF AND RUNS AS WE... 1892 1893LIMBO 88 A LONG, SEEMINGLY ENDLESS TUNNEL. 1894 1895CONTINUED: 8 1896 1897THROUGH ITS WALLS POKE DOZENS UPON DOZENS OF HANDS AND VINES HOLDING PENS AND CONTRACTS AND MONEY AND LIQUOR BOTTLES AND CAR KEYS AND. BRAS AND PANTIES... 1898 1899SEYMOUR: I take .these offers That means more killing Who knew success would come with messy, nasty strings. 1900 1901LIMBO: A dirt floor. An hour glass sits on a short ionic column. The sand in the top of the hour glass is green, but as it falls and collects on the bottom it becomes red. Tormented and panicky, Seymour races in FROM CAMERA and runs into the distance. 1902 1903LIMBO: Be is nude, except for his glasses and his cap. 1904 1905SEYMOUR: I sign these contracts, That means I'm willing To keep on doing bloody, awful, evil things LIMBO 9 All is dark. We follow Seymour who is perspiring heavily and running with all he's got. 1906 1907SEYMOUR: Suddenly he stops because in front of him is a very large hand- tinted photo portrait of a jaunty, smiling Mushnik. Blood oozes down from the top of the photo. 1908 1909SEYMOUR: No! Nol There's only so far you can bendl 1910 1911SEYMOUR WHIPS AROUND TO CAMERA AND WE SEE THAT JHE IS NOW A PLANT. HE IS GREEN, WITH PLANT MARKINGS. 1912 1913SEYMOUR: No! No! This nightmare must come to an end! 1914 1915INT. BASEMENT - EXTREME CLOSEUP - NIGHT 1916 1917OF SEYMOUR'S FACE AS HE VIOLENTLY SITS UP FROM HIS COT... PERSPIRATION DRIPPING FROM HIM. 1918 1919SEYMOUR: Nol Nol Seymour, in his pajamas, at the tool chest. He grabs the axe. 1920 1921SEYMOUR: You've got no alternative, Seymour old boy. 1922 1923CUT TO; 1924 1925SEYMOUR NOW AT THE STAIRS LEADING TO THE SHOP. EALF CRAZED, HE CLIMBS THEM AS HE SINGS... 1926 1927SEYMOUR: Though it means you'll be broke again And unemployed, It's the only solution The vegetable must be destroyed. 1928 1929HE HAS REACHED THE TOP OF THE STAIRS. HE FLINGS OPEN THE DOOR. 1930 1931SEYMOUR: But then. . . There' s Audrey. Lovely Audrey... 1932 1933LIMBO: A promontory on top of which Audrey stands. She looks like a goddess. She wears a flowing dress and wrapped around her neck is a very, very long diaphanous scarf that extends behind her about fifty feet blown by a strong wind. 1934 1935SEYMOUR: If life were tawdry and impoverished as before She might not like roe She might not want me CONTINUED: 92 1936 1937CAMERA HAS PULLED BACK TO A WIDE SHOT. WE SEE SEYMOUR STANDING OFF AT A DISTANCE AND LOOKING UP AT HER WITH HIS ARMS OUTSTRETCHED. 1938 1939SEWIOTO (V.O.) (CONT.) WITHOUT MY PLANT. . 1940 1941ON THE WORD "PLARTT," AUDREY RUNS PAST SEYMOUR'S WAITING ARMS AND FALLS INTO THE WAITING VINES OF AUDREY TWO WHO HAS BEEN JUST O.S. 1942 1943SEYMOUR: She might not love me Any more 1944 1945CUT TO A CLOSEUP OF SEYMOUR. BE LOOKS UP AT SOMEONE IN SOFT, SAD RESIGNATION. 1946 1947GIRLS: They say the meek shall inherit. 1948 1949CAMERA PULLS BACK AND HIGH MAKING SEYMOUR LOOK VERY SMALL. HE NOW STANDS ON A VERY LARGE CONTRACT WHICH COVERS THE ENTIRE FLOOR. 1950 1951A HAND EXTENDS, FROM CAMERA, TOWARD SEYMOUR. THE HAND HOLDS A CONTRACT. 1952 1953SE!;MOUR 1954 1955WHERE DO I SIGN? 1956 1957GIRLS: You know the book doesn't lie. The hand, and arm, have extended about fifteen feet from CAMERA to Seymour. The arm is the Agent's, whose face appears in the extreme foreground. 1958 1959AGENT: Right on the line. 1960 1961GIRLS: It's not a question of merit. 1962 1963CUT TO A MEDIUM SHOT OF SEYMOUR. HE TURNS AROUND AS, BEHIND HIM, THE BLONDE LADY FLOATS IN HORIZONTALLY LIKE CHAGALL'S LOVERS. 1964 1965BLONDE LADY: Your pen or mine? CONTINUED: (2) 92 1966 1967GIRLS: It's not demand or supply. Seymour turns around completely now as a MAN rises from below like a phantom, right in front of Seymour. He holds a pen and contract. 1968 1969MAN 1: Paragraph nine. Seymour signs the contracts. 1970 1971GIRLS: You'll make a fortune, we swear it. The TV Executive pops up from behind Seymour and grabs the signed contract. 1972 1973TV EXECUTIVE: This copy's mine. 1974 1975GIRLS: If on thXs fact you rely 1976 1977ALL: Bye bye. So long! LIMBO 93 EXTREME CLOSEUP of a flashbulb popping. CLOSEUP of Seymour. He is being besieged by autograph hounds. More flashbulbs pop. Each flash is like a rifle shot to Seymour. He tries to escape, but the crowd hems him in. It is nightmarish. 1978 1979GIRLS: You know the meek are gonna get what's comin' to 'em You know the meek are gonna get what's comin' to 'em You know the meek are gonna get what's comin' to 'em. 1980 1981WE SEE THAT SEYMOUR AND THE CROWD ARE ACTUALLY IN FRONT OF THE SHOP. 1982 1983EXT. SHOP - LATE AFTERNOON 1984 1985SEYMOUR TRIES TO PUSH THROUGH THE THRONG. 1986 1987CONTINUED: 94 1988 1989GIRLS: Bye... And . . . Sye. . . 1990 1991SEYMOUR: Please I Please! Let me through. 1992 1993SECURITY MAN: Hey, get back. They're filming. Security Man pushes him back, knocking Seymour into a surly WINO. 1994 1995WINO: Hey, watch where you're goin' . A scuffle ensues in which Seymour is punched and man- handled by Winos and Security. 1996 1997INT. THE SHOP - LATE AFTERNOON 1998 1999A CAMERA CREW AND TV CHORUS ARE IN THE MIDST OF FILMING A SPOT FOR "DEL MONTE PRESENTS AUDREY TWO IN A SALUTE TO VEGETABLES." 2000 2001AUDREY STANDS TO ONE SIDE WATCHING DELIGHTEDLY. 2002 2003SINGERS AND DANCERS ARE DOING SONETHING SILLY AND DALLAS COWBOY CHEERLEADERISH IN FRONT OF THE PLANT. IT'S BIGGER THAN EVER AND HAS BEEN DECORATED WITH RED, WHITE AND BLUE BUNTING. 2004 2005SINGERS & DANCERS: Who's the best, the beautiful green one? Who? Audrey Two l 1 Who's a star if ever I've seen one? Who? Audrey Two l I Look at theml Those leaves 1 * That stem! She puts the rest to root! Yes, who makes photosynthesis seem cute? Our Au-dr«yl Au. . . Au. . . Aud. . 2006 2007SINGERS & DANCERS: • 1 Suddenly, right as the Singers and Dancers start to go into a dance break, the Plant collapses. The vines wilt, the leaves sag, and the pod sinks to the floor. Gasps, h moment of chaos. 2008 2009DIRECTOR: Cut! What the hell's goin' on? What happened to the goddamn greenery? 2010 2011THE DIRECTOR SEES, SEYMOUR STUMBLE IN THE FRONT DOOR. HE DOESN' T SEEM TO NOTICE THAT SEYMOUR IS BRUISED AND DISHEVELED FROM THE FIGHT OUTSIDE. 2012 2013SEYMOUR: It just... needs to be fed. 2014 2015DIRECTOR: So feed itl 2016 2017SEYMOUR: I can' t, not now! 2018 2019DIRECTOR: Then I'll feed it. Where do you • keep the plant food? 2020 2021SEYMOUR: It doesn't eat plant food and I can't feed it nowl Just leave me alone, will ya? All of you I Why won't you all leave me a... 1 2022 2023AUDREY: Seymour 1 You're hysterical. They're only trying to help. 2024 2025SEYMOUR: I know... I know... I*m sorry... Seymour runs to the back door. Audrey follows him. 2026 2027DIRECTOR: Okay... Okay, guys, pack it up. 2028 2029EXT. THE COURTYARD 2030 2031THE SUN IS JUST BEGINNING TO SET. AUDREY DISCOVERS SEYMOUR SITTING ON A TRASH HEAP, FACE IN HANDS. 2032 2033SEYMOUR: What ain I gonna do? What am I gonna do? 2034 2035AUDREY: It's wilted before and you've always brought it back to life, somehow. ... Seymour, I think running this place all by yourself is too much for you. When did Mr. Mushnik say he'd be back? 2036 2037SEXMOUR: Huh? 2038 2039AUDREY: You know, in that note you told me he left you. The one that said he was goin' out to his sister's house in. . . 2040 2041SEYMOUR: Czechoslovakia. He could be gone a very long time, ... Audrey could I ask you something? 2042 2043AUDREY: Anything. 2044 2045SF2M0UR: Just suppose there' d never been an Audrey Two and I was just a nothing again, a nobody... Would you still like me? 2046 2047AUDREY: I'd still love you, Seymour. 2048 2049HE LOOKS AT HER FOR A MOMENT, THEN PULLS HER TO HIM. 2050 2051MUSIC: "SUDDENLY, SEYMOUR" PLAYS UNDER DIALOGUE, QUIETLY AND GENTLY. 2052 2053SEYMOUR: Then marry me, Audrey. I'll take you to that little development you've always dreeuned about and once we're there it'll be happy ever after » I promise. Nice little house... nice little car... and no. plants. Mo plants at all... .We'll go to Alaska! 2054 2055THEY SAY IT'S PRETTY THERE. 2056 2057SEYMOUR: Then will you? Will you marry me? 2058 2059AUDREY: ... Sure. 2060 2061SEYMOUR: You will? 2062 2063AUDREY: Sure! 2064 2065SEYMOUR: Tonight? 2066 2067AUDREY: Aw, sure! 2068 2069SEYMOUR: I'll pick you up in an hour and we'll go to City Hall! Suddenly, Seymour Is standing beside you... 2070 2071AUDREY: Suddenly, Seymour Showed me I can. . . Seymour, we better stop singing. I've gotta get ready! As MUSIC SWELLS, Audrey, the happiest girl in the world, flies out of the courtyard, turning back only once to blow Seymour a kiss. 2072 2073AUDREY: He watches her go, then closes his eyesi wishing with all his might that every- thing will turn out. 96A INT. THE SHOP 96A It's deserted now. Outside, the sun sinks lower. The plant is still wilted and lifeless. 2074 2075AUDREY: Seymour stands looking at it in silence for a moment, then very quietly tries to sneak past it. But just as he gets to the door, a spooky, hoarse whisper stop;, him dead in his tracks. 2076 2077AUDREY TWO: Feed me I 2078 2079SEYMOUR: Under no circumstances. 2080 2081AUDREY TWO: Feed me! 2082 2083SEYMOUR: I will not so stop asking. 2084 2085AUDREY TWO: Feed me! 2086 2087SEYMOUR: No. No more. I can't take living with the guilt. 2088 2089AUDREY TWO: Tough titty. 2090 2091SEYMOUR: Watch your language. 2092 2093AUDREY TWO: Awwh. Cut the crap and bring on the meat! 2094 2095SEYMOUR: Okay... okay... I'll bring you meat. I'll run down to the corner and I ' 11 pick you up some ground round , how * bout that? 2096 2097AUDREY TWO: Don't do me no favors. 2098 2099SEYMOUR: Lookr it's my last offer. Yes or no? 2100 2101AUDREY TWO: .... You sure do drive a hard bargain. 2102 2103SEYMOUR: Done. Fine. Great. And don't think you're getting dessert. EXT, SKID ROW - EVENING 2104 2105AS THE SUN SLIPS FURTHER DOWN, WINOS GATHER AND LIGHT FIRES. 2106 2107SEYMOUR WALKS DOWN THE STREET AND DISAPPEARS. 2108 2109INT. THE SHOP - EVT^^NG 2110 2111AUDREY TWO EMITS A. QUIET, SATISFIED LAUGH. 2112 2113THE VINE CRAWLS UP THE SIDE OF THE COUNTER. WHEN IT REACHES THE TOP THE VINE GOES TO THE CASH REGISTER. 2114 2115ANOTHER VINE LIFTS UP THE RECEIVER AS THE NICKEL IS DEPOSITED. THE RECEIVER IS BROUGHT UP TO THE POD WHERE, IF THE POD HAD AN EAR, ITS EAR WOULD BE. 2116 2117INT. AUDREY'S BEDROOM 2118 2119HER PHONE IS RINGING. GUESS WHO? 2120 2121AUDREY SITS AT HER DRESSING TABLE. SOME CHEAP LUGGAGE AND A VANITY CASE ARE ON THE BED. 2122 2123AUDREY: Hello. Audrey Two is heard FILTERED through the receiver. The Plant breathes heavily and obscenely, then... 2124 2125AUDREY TWO: Hey, little lady, hello I 2126 2127AUDREY: Who... who is this? 2128 2129CONTINUED: 2130 2131AUDKZY TWO: You're lookin' cute as can be! 2132 2133AUDPEY: Is this someone I know? 2134 2135AUDREY TWO: You're lookin' mighty sweet. 2136 2137AUDREY: Seymour. 2138 2139AUDREY TWO: No, it ain't Seymour, it's me! Audrey happens to turn around and look through her window. 2140 2141EXT. THE SHOP - AUDREY'S POV 2142 2143IT IS THE LAST BLAZE OF SUNSET. ACROSS THE STREET, THROUGH THE SHOP'S WINDOW, SHE SEES THE PLANT... 2144 2145AUDREY: Oh my God! 2146 2147INT. AUDREY'S APARTMENT 2148 2149AUDREY IS NOT THERE. ALL WE SEE IS THE RECEIVER DANGL ING TOWARD THE FLOOR. 2150 2151INT. THE SHOP 2152 2153THE VINE REPLACES THE RECEIVER AS ANOTHER VINE PULLS DOWN THE LITTLE COIN RETURN SLOW. NO NICKEL. 2154 2155CONTINUED: 2156 2157AUDREY HAS JUST OPENED THE FRONT DOOR AND SHE STANDS AND STARES IN AMAZEMENT. 2158 2159AUDREY: I don't believe it. 2160 2161AUDREY TWO: Believe it, baby, 2162 2163AUDREY: Am I dreaming this? , 2164 2165AUDREY TWO: No, and you ain't in Kansas, neither. ... I need me some water in the worst way. Look at my branch, I'm drying up. Come on and give me a drink. 2166 2167AUDREY: I don't know i£ I should. 2168 2169AUDREY TWO: Eey, little lady, be nice. 2170 2171AUDREY: Do you talk to Seymour like this? 2172 2173AUDREY TWO: Sure do! I'll drink it straightl Don't need no glass and no icel Don't need no twist of limel 2174 2175AUDREY: All right... I'll get the can. 2176 2177SHE MOVES INTO THE SHOP, COWERING ALONG THE WALL, JUST INTO RANGE OF THE LARGE TENDRILS ' GRASP. 2178 2179IN A FLASH, IT WRAPS AROUND HER LIKE A BOA CONSTRICTOR. 2180 2181AUDREY TWO: And now it's Suppertime l 2182 2183CONTINUED: (2) 2184 2185AUDREY SCREAMS AND STRUGGLES. THE TENDRIL STARTS PULL ING HER TOWARD THE GAPING POD. 2186 2187AUDREY FIGHTS FOR ALL SHE'S WORTH, BUT THE VINES EN SNARE AND ATTACK HER FROM ALL SIDES. SHE'S BEING PULLED > .-^XORABLY TOWARD THE POD. 2188 2189AUDREY TWO (CONT. ) RELAX, -T3OLL AND IT'LL BE EASIER. 2190 2191AUDREY SCREAMS. 2192 2193AUDREY TWO: They're right inside! And with one great heave, the vines pull her into the pod itself. The jaws clamp down. She screams again. The shop door flies open^ Seymour rushes in and begins prying at the pod with all his might. 2194 2195SEYMOUR: Get off of her! Get off of her! Ee finally succeeds in getting the pod open just enough to pull her out. She is alive, but just barely. Her dress is tastefully stained with just a bit of red. 2196 2197HE DRAGS HER OUT OF THE SHOP, KICKING THE FIGHTING VINES AND BRANCHES OUT OF HIS WAY AS HE GOES, UNTIL HE GETS HER BEYOND THEIR REACH AND THROUGH THE DOOR. 2198 2199EXT. SKID ROW 2200 2201IT IS NIGHT NOW. THE GOLDEN GLOW OF A STREET LAMP FLOODS LYRICALLY DOWN ON THEM, AS SEYMOUR LOWERS THE DYING AUDREY TO THE MOONLIGHT PAVEMENT, AND CRADLES HER IN HIS ARMS. 2202 2203MUSIC COMES IN SOFTLY UNDER. 2204 2205SEYMOUR: Don't die, Audrey. Please, please don' t die. 2206 2207AUDREY: You know, the plant just said the strangest thing just now... It said that Or in and Mr. Mushnik were already inside. 2208 2209CONTINDED: 2210 2211SEYMOUR: And that's what made it so big and strong and you so fjomous? 2212 2213SEYMOUR: I've done terrible things, but not to you, never to you. 2214 2215AUDREY: But. . . I want you to, Seymour. 2216 2217SEYMOUR: What? 2218 2219AUDREY: When I die, which should be very shortly, give me to the plant so it can live to bring you all the wonderful things you deserve. 2220 2221SEYMOUR: You don't know what you're saying Audrey is transfigured, she's Joan of Arc, Little Eva, Mel&nie Wilkes — going out in a blaze of angelic self- lessness. 2222 2223AUDREY: But I do. It's the one gift I can give you. And if I'm Jji the plant, then I'm part ^ the plant. So, in a way... we'll always be... together. You'll wash my tender leaves You'll smell my sweet perfume You'll water me and care for me You* 11 see me bud and bloom. 2224 2225AUDREY: I'm feeling strangely happy now, Contented and serene. Oh, don't you see... 2226 2227CONTINUED; (2) 2228 2229AUDREY: Finally I ' 11 be. . . Somewhere that's... Greenl And she collapses. There, in the moonlight, under a street lamp, she /dies in his arms. 2230 2231MUSIC: "THE DEATH OF AUDREY," A CHORALE WITH ANGELIC VOICES AND STRING ORCHESTRA, UNDERSCORES AS SEYMOUR LIFTS HIS LOVE FROM THE GROUND. 2232 2233BEHIND HIM, THROUGH THE SHOP WINDOW, WE CAN SEE THE POD OPEN CEREMONIOUSLY. 2234 2235ANGLE — SEYMOUR HOLDING AUDREY, POD IN B.G. 2236 2237THE POD EMITS BEAMS OF LIGHT NOW, PLUNGING SEYMOUR AND HIS DEAD LOVE INTO DRAMATIC SILHOUETTE. HE CARRIES HER SLOWLY TOWARD THE SOURCE OF LIGHT. 2238 2239THE MOOD IS ONE OF WAGNERIAN SPLENDOR. IT'S GOTTER DAMMERUNG, AS SEYMOUR RITUALISTICALLY FULFILLS AUDREY'S DYING WISH AND PLACES HER GENTLY, TENDERLY, INTO THE LIGHT-FILLED POD. 2240 2241HE KNEELS, TEARS STREAMING DOWN HIS CHEEKS, TO SEE THE ACT TO COMPLETION. 2242 2243AUDREY SLOWLY BEGINS TO SLIP FURTHER AND FURTHER AWAY FROM US, INTO THE LIGHT BEAMING FROM THE PLANT'S "THROAT." 2244 2245AT LAST, SHE'S GONE. 2246 2247SEYMOUR RISES, DESTROYED, AND RUNS FROM THE SHOP — OUT ONTO THE STREET. 2248 2249EXT. SKID ROW 2250 2251SEYMOUR FINDS THE FIRST FIRE ESCAPE HE CAN AND CLIMBS IT. 2252 2253EXT. ROOFTOP 2254 2255MUSIC: THE LAST' NOTES OF THE "DEATH OF AUDREY" CHORALE TRAIL OFF, GIVING WAY TO TRAFFIC SOUNDS, AS SEYMOUR REACHES THE TOP OF THE BUILDING, STUMBLES TO THE EDGE, AND LOOKS DOWN. 2256 2257- THE STRETTT - SEYT-IOITR'S POV. IT SPINS BELOW HIM, OF COURSE. 2258 2259EXT. RCX)FTOP 2260 2261SEYMOUR TAKES A DEEP BREATH AND PREPARES TO JUMP... I'/HEN HE HEARS A VOICE THAT STOPS HIM. 2262 2263VOICE (O.C.) MR. KRELBORN. 2264 2265SEYMOUR TURNS TO SEE — 2266 2267PATRICK MARTIN, A MIDWESTERN BUSINESSMAN IN A GREEN SUIT. WE WILL NEVER KNOW HOW HE GOT THERE. 2268 2269MARTIN: Patrick Martin. I'm in Licensing and Marketing. I wanna show you something. Seymour tiirns away and prepares once more to jump. 2270 2271SEYMOUE: I'm not interested. 2272 2273MARTIN: Aah, but you will be. Look... As MARTIN speaks he carefully takes something out of his "briefcase. 2274 2275MARTIN: ... .1 took the liberty of taking a cutting from that sunazing plant of yours and see what it grew in just a couple of days... MARTIN has taken out a tiny AUDREY TWO... about a few incbes tall but looking e jiaut ly like the real AUDREY TWO. 2276 2277MARTIN: It sits in a delightful, well designed container on which aire written the words: "Audrey Two". Seymour, surprised and uncomprehending, just stares at it. 2278 2279MARTIN: The design boys made the little pot. Cute,' huh? Get the idea? My firm is willing to pay you a reasonable ajnount to take leaf cuttings.. .develop little Audrey Two's... and sell them to florist shops — supermarkets across the nation. 2280 2281MARTIN: Why pretty soon every household in America could have one. These last words echo in Seymour's confused and frazzled mind. 2282 2283ECHO: JIave one... have one... have one... have one... Seymour shakes'Tiis "head to banish the echo. Something begins to dawn on him. 2284 2285MARTIN: Imagine it boy. We'll make a fortune'. Audrey Twos everywherel 2286 2287ECHO: Everywhere. . .'everywhere. . .everywhere. . . everywhere'. ... 2288 2289MARTIN: Thi5_^thing could be bigger than Hula Hoops'. ~ 2290 2291ECHO: Hula hoops... Hula hoops... Hula hoops... MARTIN , • • Whattya say Mr. Krelborn? Martin is "giving his best salesman's smile, his eyes fixed on Seymour, waiting for an answer. 2292 2293ECHO: Seymour looks at 'the tiny plant as, unseen by Martin,' it subtly turns and opens' its tiny moiith at Seymour' in an almost malicious, silent smile. Seymour is suddenly possessed of complete understanding. His face becomes a mask of rage and resolve. 2294 2295ECHO: Without another word he- races dotm the fire escape. 2296 2297MARTIN: Mr. Krelborn'. Mr. Krelbornl Hey'. We don't bsve to deal with you, you knowl A goddamned vegetable's public domainl Tou ask our lawyers I 2298 2299INT. THE SHC3P 2300 2301SEYMOUR BURSTS THROUGH THE DOOR AND FACES THE PLANT, WHICH IS EVEN BIGGER, STRONGER, AND HEALTHIER NOW. IT DWARFS HIM COMPLETELY. 2302 2303SEYMOUR: Every household in Americal That's what you had in mind all along, isn't it? 2304 2305AUDREY TWO: No shit, Sherlock. 2306 2307SEYMOUR: We're not talking about one hungry plant here J We're talking about... World conquest! 2308 2309AUDREY TWO: You got iti 2310 2311SEYMOUR: You ate the only thing I ever loved! ! The plant, laughing, draws itself up to its full height and begins to sing from old-fashioned Rock and Roll. 2312 2313AUDREY TWO: I used to hear the people talk about That old King Kong. They used to say he was the meanest. But them folks was wrong. He climbed the Empire State, Shoot, I could climb in half the time, But climbin' ain't my gig. I'm just bad! I'm real bad! I'm bad! Seymour is at the counter. 2314 2315AUDREY TWO: He opens the drawer and takes out the gun and loads it with bullets. 2316 2317AUDREY TWO: You know Godzilla was a monster. He was mighty mean. Now, even I had to respect him, "Cause the boy was green. But when he said to me "Hey, Audrey, you ain't all that tough," I had to show that leapin' lizard I was tough enough! Seymour aims and FIRES at the plant. 2318 2319AUDREY TWO: AUDREY TWO (cont. ) 2320 2321HE SAID "GAD!" 2322 2323BE FIRES AGAIN. 2324 2325AUDREY TWO: ■Don' t get mad!" And AGAIN. 2326 2327CONTINUED: (2) 2328 2329AUDREY TWO: "Boy you're badl" The bullets just bounce off. Seymour runs down to the basement. AUDREY TWO (cont. ) That' s- right, I'm bad! 2330 2331BACKUP VOICES: Badl 2332 2333AUDREY TWO: Bad! 2334 2335BACKUP VOICES: Bad! 2336 2337AUDREY TWO: So I ain't worried 'bout your biggest guns I'm just too badl Seymour returns from the basement with the axe. He tries chopping the vines. Every time he swings, the vine moves and he misses... and he smashes a piece of the shop. 2338 2339BACKUP: Bad! 2340 2341AUDREY TWO: Bad! 2342 2343BACKUP: Badl 2344 2345AUDREY TWO: I'm ten feet tall and weight at least two tons: I'm extra badl Audrey Two's littler pods sing backup as the big one sings lead. 2346 2347LITTLE PODS: Bad! 2348 2349AUDREY TWO: Bad! 2350 2351LITTLE PODS: Bad! 2352 2353CONTINUED: (3) 2354 2355SEYMOUR TRIES TO GET THE LITTLE PODS WITH THE AXE BUT THEY'RE TOO FAST FOR HIM AS HE SMASHES THE WALL, THE FLOOR, THE COUNTER. 2356 2357AUDREY TWO: Go on and bitch and whine and wail and curse Too badl I'm bad! 2358 2359LITTLE PODS: Bad! 2360 2361AUDREY TWO: Bad! 2362 2363LITTLE PODS: Bad! Seymour's had it. He just throws the axe at Audrey Two. The plant catches it and flips it from vine to vine. It gives Seymour a little juggling show. 2364 2365AUDREY TWO: And if you mess with me, I'll just get worse! The plant heaves the axe at Seymour. Seymour side- steps it in the nick of time and it goes crashing through a window. Seymour's really angry. During the following lyrics he throws a chair at the plant. It catches the chair. 2366 2367AUDREY TWO: He throws a small table at the plant. It catches the table. He throws a shovel. It catches the shovel. AUDREY TWO (cont. ) One day I met the Bride of Frankenstein, Just one encounter and she called me, "Mr. 2368 2369AUDREY TWO: Audrey, sir." CLOSEDP of Seymour grabbing the cash register to throw at the plant... but it's too heavy for him. But damn itl... he's not giving up and... yes he's lifting it! But no. CAMERA PULLS BACK and we see a vine wrapped around it. 2370 2371AUDREY TWO: It's the plant who's lifting it up and out of Seymour's arms. 2372 2373AUDREY TWO: So' it's a cinch no puny baldy of a botanist Is gonna be a half a match, for me when I get pissed. You got it. Dad? 2374 2375CONTINUED: (4) 2376 2377THE PLANT IS NOW HOLDING AND WAVING THE CHAIR, THE SHOVEL, AND THE TABLE... AND THE CASH REGISTER. 2378 2379CLOSEUP OF SEYMOUR. HIS M. 2380 2381AUDREY TWO: You been had! Oh I'm badi Seymour tries to get away, but each time he tries, a vine hurtles past him and tears a hole in the wall, sending off sparks from severed electrical lines, and spewing water into the room from busted pipes. 2382 2383AUDREY TWO: Seymour goes to the left, a vine shoots out to the left and smashes through the wall. Seymour goes to the right, a vine careens to the right smashing through the wall. Each vine is its own Bruce Lee. No fuckin' around. The plant is serious ! AUDREY TWO (cont. 2384 2385AUDREY TWO: ) So come and get me, kid, I dare you. Try and make your kill. I'll make you sorry you was messin' with my chlorophyll! The plant rips the radiator out of the wall sending a cloud of steam spewing into the room. It pulls the radiator apart like it was a toy accordion. 2386 2387AUDREY TWO: I hope you're gettin' close to ready now to end this fuss These foolish efforts to undo me is so te-di-ous. Getting a bit bored with it all, the plant flings its vines to the ceiling and holds on to the rafters. 2388 2389AUDREY TWO: It raises its pot about five fee from the floor and bounces and swings as it sings... AUDREY TWO (cont. ) See, all your methods are so corny, And so childish. And so undergrad. They jiist an exercise in stupid! 2390 2391AUDREY TWO: Why not face it Seymour I an Baa-aa-aad l Audrey Two goes for the big finish: with a gargantuan yank of the rafters it createe an avalanche of brick, wood, and plaster that rages down over the Plant and Seymour. Before the dust has even settled we hear the . 2392 2393AUDREY TWO: Plant laughing triumphantly. - The shop looks like it has just survived the blitzkrieg. The walls are partially demolished chunks of ceiling have caved in. 2394 2395AUDREY TWO: On the other side of what used to be the shop, Seymour, filthy, wounded, and exhausted emerges from under a pile of rubble. 2396 2397AUDREY TWO: Lazed, but sensing he is still in danger, he quickly scrambles, rolls, falls, and crawls away from the shop and into the street out of reach of the mocking Plant. 2398 2399AUDREY TWO: Breathing heavily and seemingly half -mad he takes the heroic stature of a mad prophet or of Kevin McCarthy in Invasion of the Body Snatchers as he shouts.., 2400 2401SEYMOITR: I'll warn 'eml I»ll warn •enl I'll tell 'em' you' re comingl The htunan race won't take this lyiiig downl And wherever. your kind grows, whatever you try... WE'LL BE WAITING FOR YOU l Seymour turns and runs pushing his way through a few bums that have been watching. 2402 2403SEYMOUB: They're coming'. They're comingl Don't feed 'eml Don't feed the plantsl Don't feed the plants I As Seymour exits screaming, ve hear the rumbling, demonic laughter of the Plant in the distance. 2404 2405SEYMOUB: The bums too begin cackling until we are left with the almost deserted streets echoing with dark, ominous laughter. LIMBO. AMERICAN FLAG/-" ' ' ,\ 2406 2407MUSIC: A TENSE RHYTHM BEGINS WHICH GROWS INTO GRAND MAGISTERIAL MUSIC— THE INTRO TO "SUBSEQUENT TO THE EVENTS". 2408 2409A HU.PRE AMERICAN FLAFR FILLS THE FRAME. IT IE HEIVI]Y BACK-LIT MAKING IT SNEM LUMINESCENT. 2410 2411CRYSTAL: Subsequent to the events You have just witnessed Similar events in cities Across America... Events which bore a striking Hesemblance To the ones you have just seen Began occurringl 2412 2413INT. GARDEN SHOP. DAY 2414 2415AN ECU OF THE WORDS "AUDREY TWO'S" FILLS THE SCREEN. CAMERA PULLS BACK TO SEE THAT THESE WORDS ARE PART OF A SIGN: "YESL WE HAVE AUDREY TWO'S ON SALE HERE'." CAMERA TRUCKS BY A VERY LON^R LINE OF BEAMING CUSTOMERS WAITING AT THE CHECK-OUT COUNTER EACH HOLDING ONE OR MORE TINY AUDREY TWO'S. 2416 2417GIRLS: Subsequent to the events You have just witnessed Unsuspecting jerks From Maine to California Made the acquaintance of A new breed of flytrap And got sweet -talked Into feeding it Blood I .Dissolve to: 2418 2419INT. SEARS BASEMENT. DAY. 2420 2421CLOSE-UPS OF DOZENS OF HANDS GRASPING FOR THE TINY AUDREY TWO'S." A SCREAMING, PUSHING THRONG OF PEOPLE ARE MASHED UP AGAINST A COUNTER BEHIND WHICH ARE 2422 2423>»«»»DREDS OF AUDREY TWO'S. PEOPLE ARE SHOVING , SCREAMING , WAVING MONEY AS THE SALES PEOPLE DO THEIR BEST TO HELP. 2424 2425KICKING OFF THE AUDREY TWO'S AND SCREAMING. 2426 2427GIRLS: Thus the plants Wked their terrible will Finding jerks Who would feed Then their fill And the plants Proceeded to grow... And grow. 2428 2429INT. HOUSE. NIGHT 2430 2431BEDROOM OF B SUBURBAN HOME, A 2432 2433MIDDLE-AGED COUPLE ARE "LYING IN BED. ALL WE 'SEE ARE THEIR FEET IN TFIE FOREGROUND. 2434 2435AND BEGAN 2436 2437WHAT THEY CAME HERE TO DO 2438 2439\INIICH WAS ESSENTIALLY TO.. 2440 2441EAT CLEVELAND'. AND DESMPINESL, AND PEORIA'. 2442 2443■CHOBUS.(V.O.) HERE I COME FOR HERE I COME FOR HERE I COME FOR YOU'. I III 2444 2445EXT. NEW JERSEY. NIGHT 2446 2447IN THE BACKGROUND I-LANHATTAN IS ON FIRE. IN THE FOREGROUND TWO OR THREE MORE AUDREY TWO'S ARE ATTACKING., A MIND BOGGLING MASS OF LEAVES, VINES, TENDRILS, AND ROOTS. 2448 2449■ THEY 'RE. HERE 11 THEY'RE HERELL RUNLL; THEY'RE HERELLLL' ' 2450 2451CHORUS: Hold your hat And hang onto your soul I Something's comin' To eat the world whole I If we fight it 2452 2453HE TURNS AND RUNS TO MID-BACKGROUND SCREAMING, TRYING TO HELP THE OTHERS FIGHT THE PLANT. 2454 2455AS WE SEE CARS OVERTURNED, BRDKEN FIRE HYDRANTS .SPEWING WATER, DOWNED ELECTRICALIILSNES CRACKLING WITH SPARKS, POLICE AND NATIONAL GUARD SOLDIERS FIRING AWAY, FIRES BURNING OUT OF CBRITROL IN THE DISTANCE. 2456 2457QLMEXF" UPON THEM AND: US. .ADVANCING MENACINGLY, 2458 2459INEXORABLY TO CAMERA AND, OPENING ITS V.". :, VVI^^ CAVERNOUS MAW IT SEEMS TO SWALLOW THE • 2460 2461CE^**^ER0^&S IT COMPLETELY BLACKS OUT THE SCREEN, ARE LEFT WITH THE HORRIBLE SOUNDS OF CATACLYSMIC DESTRUCTION. 2462 2463FADE UP: "THE.:END"— FOLLOVFFID BY— "?1?17" 2464 2465WE'VE STILL GOT A CHANCEL 2466 2467BUT -WHATEVER THEY OFFER YOUL 2468 2469THOUGH THEY'RE SLOPPIN' THE "FROU^. FOR YOUL 2470 2471PLEASE WHATEVER THEY OFFER YOU. 2472 2473DON'T FEED THE PLA-AH-ANTS '. ». 2474 2475MUSIC.