THE
ROCKY HORROR
PICTURE SHOW
A SCREENPLAY BY JIM SHARMAN AND RICHARD O'BRIEN
Adapted from "The Rocky Horror Show" a musical
with Book, Music & Lyrics by Richard O'Brien
-----
1 THE FIRST IMAGE IS A SET OF RED VELVET CINEMA CURTAINS
Soft Drum-Roll.
2 THEY SPLIT OPTICALLY TO REVEAL THE DISTRIBUTION COMPANY LOGO.
Fanfare.
3 A SMALL WHITE SCREEN - ACADEMY SIZE - APPEARS IN THE MIDDLE OF THE
WIDE-SCREEN FORMAT
On the sides of the image are stationary sprocket holes of celluloid.
SCIENCE FICTION DOUBLE FEATURE * Musical Introduction.
Film head runs down numbers: 10, 9, 8, 7, 6, 5, 4, 3, 2, 1, START.
Very scratched. During the SONG we see snatches of the films mentioned
in SONG. They look old and scratched and they are INTERCUT with flashes
of white screen, burnt celluloid, etc.
SONG: "SCIENCE FICTION DOUBLE FEATURE"
4 THE DAY THE EARTH STOOD STILL - THE END SEQUENCE OF THE ROBOT CARRYING
THE HERO
VOICE OVER
Michael Rennie was ill.
The day the earth stood still
But he told us where we stand
WIPE TO
5 FLASH GORDON - BUSTER CRABBE IN ACTION
VOICE OVER (Cont)
And Flash Gordon was there
In silver underwear.
WIPE TO
6 THE INVISIBLE MAN - CLAUDE RAINS IN BANDAGES AND DARK GLASSES
VOICE OVER (Cont)
Claude Rains was the invisible man.
WIPE TO
7 KING KONG - EMPIRE STATE BUILDING SEQUENCE WITH FAY WRAY
VOICE OVER (Cont)
Then something went wrong
For Fay Wray and King Kong
They got caught in a celluloid jam
WIPE TO
8 IT CAME FROM OUTER SPACE - GEODESIC GLOBE ECLIPSING THE EARTH
VOICE OVER (Cont)
Then at a deadly pace
It came from outer space
And this is how the message ran
WIPE TO
9 TITLE SEQUENCE - CAST AND WRITING CREDITS
CHORUS
Science Fiction - double-feature
Dr X will build a creature
See Androids fighting Brad and Janet
Anne Francis stars in Forbidden Planet
Oh - at the late night, double-feature
Picture Show.
WIPE TO
10 TARANTULA - THE MUTATION SEQUENCE
VOICE OVER
I knew Leo G. Carrol
Was over a barrel
When tarantula took to the hills
WIPE TO
11 THE DAY OF THE TRIFFIDS - FIGHT IN THE LIGHTHOUSE
VOICE OVER (Cont)
And I really got hot
When I saw Jeanette Scott
Fight a Triffid that spits poison and kills
WIPE TO
12 THE NIGHT OF THE DEMON - SEQUENCE OF "RUNIC WRITING", FLYING INTO THE
FIRE
VOICE OVER (Cont)
Dana Andrews said prunes
Gave him the runes
And passing them used lots of skills.
WIPE TO
13 WHEN WORLDS COLLIDE - ROCKET INVASION SEQUENCE
VOICE OVER (Cont)
And when worlds collide
Said George Pal to his bride
I'm going to give you some terrible trills
Like a -
WIPE TO
14 TITLE CONTINUED - TECHNICAL AND PRODUCTION CREDITS
CHORUS
Science Fiction - double-feature
Dr X will build a creature
See Androids fighting Brad and Janet
Anne Francis stars in Forbidden Planet
Oh - at the late-night, double-feature
Picture Show
By RKO O- Oh
At the late-night, double-feature
Picture Show
In the back row
At the late-night, double-feature
Picture Show
I want to go.
DISSOLVE TO
15 EXT. A STILL FRAME OF A DENTON CATHOLIC CHURCH DAY
CHORUS (Cont)
To the late night double feature
Picture Show.
The SONG ends with church bells ringing joyously as the IMAGE EXPANDS TO
WIDE-SCREEN. The STILL FRAME bursts to life as the doors of the Denton
Catholic Church are flung open and Mendelssohn's wedding march resounds
from the church organ.
The young married couple, RALPH and BETTY HAPSCHATT appear followed by a
crowd of friends and well-wishers throwing confetti and shouting
excitedly.
The MINISTER shakes RALPH by the hand while RALPH slips him a $20 bill.
PHOTOGRAPHERS take pictures.
BRAD MAJORS, a young slightly awkward, clean-cut American in his mid-
twenties, comes over the congratulate RALPH. BRAD and RALPH shake
hands.
RALPH
Well Brad, I guess we made it huh!
BRAD
Well I don't think there was any doubt
about that - You and Betty have been
almost inseparable ever since you sat
in on Dr Scott's refresher lectures.
RALPH
Tell you the truth Brad, she was the
only reason I came in the first place.
Science was never one of my favourite
subjects but I sure with Dr Scott
could have made it today.
BRAD
Yes, Janet and I are both fond of him.
We drove over to see him last vacation.
It's a shame his new job took him away
from Denton.
BETTY, the bride, throws the bouquet.
JANET catches it. She squeals with delight.
The GUESTS cheer.
RALPH
Hey fella. It looks like it could be
your turn next.
BRAD
Who knows...ha ha.
RALPH & BETTY drive off. GUESTS wave and shout, BRAD & JANET with great
enthusiasm. GUESTS begin to disperse.
JANET & BRAD linger outside the church. So do a strange FAMILY : An
old man with a pitchfork and his wife and daughter. They resemble the
Quaker family in "American Gothic", a painting.
The MOTHER (MAGENTA) and FATHER (RIFF RAFF) stand outside the church
doors. Their DAUGHTER (COLUMBIA) goes inside. The FAMILY, and the
MINISTER (FRANK N. FURTER), and the GUESTS all resemble characters we
shall meet later at the Frank N. Furter place.
JANET (who is holding the bouquet)
Oh Brad, wasn't it wonderful. Didn't
Betty look radiantly beautiful.
Just an hour ago she was plain old
Betty Monroe. Now she's Mrs.
Ralph Hapschatt.
BRAD (Still looking after the car)
Er...yes, Janet.......Ralph's a
lucky guy. (They start to move d.s.)
JANET
Yes.
BRAD
Everyone knows Betty's a wonderful
little cook.
JANET
Yes.
BRAD
And Ralph himself will be in line for
promotion in a year or so.
JANET
Yes.
FIRST CHORD OF "WEDDING SONG"
16 EXT. CHURCH DAY
"WEDDING SONG" (Silent playback for dialogue)
With great decision BRAD turns on JANET
BRAD (spoken)
Hey Janet.
JANET
Yes Brad.
BRAD
I've got something to say.
JANET
Uh huh.
BRAD
I really loved the skilful way
You beat the other girls
To the bride's bouquet.
JANET
Oh Brad.
(Singing begins)
BRAD
The river was deep but I swam it.
FAMILY (Riff & Magenta)
Janet.
BRAD
The future is ours so let's plan it.
FAMILY (R & M)
Janet.
BRAD
So please don't tell me to can it.
FAMILY (R & M)
Janet.
BRAD
I've one thing to say and that's
Dammit, Janet.
I love you.
The road was long but I ran it.
(He runs backwards towards church doors)
FAMILY (Riff and Magenta)
Janet.
BRAD (Climbing onto fence)
There's a fire in my heart
And you fan it. (Jumps off)
FAMILY (Riff and Magenta)
Janet.
BRAD
If there's one fool for you
Then I am it.
FAMILY (Riff and Magenta)
Janet.
BRAD (Getting chalk from pocket)
I've one thing to say and that's,
Dammit, Janet.
He chalks a heart and arrow on the church door, which Riff Raff proceeds
to wipe off.
BRAD
I love you.
JANET runs to him, he kneels and produces a ring.
BRAD
Here's a ring to prove that
I'm not joker.
CHURCH BELLS Peal out. RIFF & MAGENTA open doors and solemnly enter the
church, door closes behind them.
BRAD
There's three ways that love can grow.
That's good bad or mediocre.
JANET grabs the ring as BRAD rises. She throws down the bouquet and
would fall into BRAD's arms but he goes to the door to chalk on it
again.
BRAD
Oh - J - A - N - E - T
I love you so.
JANET, transfixed, bursts into the church.
17 INT. CHURCH DAY
"WEDDING SONG" Pt. 2
JANET bursts into the church, hypnotised by the ring. BRAD follows her.
JANET
Oh!......It's nicer than
Betty Munroe had
MAGENTA (Peering up from behind pew)
Oh Brad.
JANET
Now we're engaged and I'm so glad.
MAGENTA & COLUMBIA
Oh Brad. (Both peer up and disappear)
JANET
That you met Mom
And you know Dad.
WHOLE FAMILY
Oh Brad. (peering up together)
JANET (Taking his arm)
I've one thing to say
And that's, Brad
I'm mad,
For you too.
BRAD & JANET start to walk d.s., arm in arm.
the strange FAMILY march slowly across them l/r., in front.
JANET (Laying head on Brad's sh.)
Oh, Brad.
BRAD
Oh Dammit.
JANET (Caresses his cheek)
I'm mad.....
BRAD
Oh Janet
JANET
For you.
BRAD (briefly kisses her)
I love you too-oo-oo.
BRAD takes JANET's hands, turning to her. We are aware of THE FAMILY
bringing in coffin in b.g. through vestry door.
BRAD & JANET
There's one thing left to do-ah-ooh
(They separate)
BRAD
And that's go see the man
Who began it
FAMILY (Carrying coffin)
Janet.
BRAD
When we met in his science exam
It -
THE FAMILY move into position behind BRAD & JANET
FAMILY
Janet.
BRAD
Made me give you the eye
And then panic,
FAMILY
Janet
FAMILY lower coffin onto floor.
BRAD
I've got one thing to say, and that's
Dammit,
Janet.
I love you.
JANET runs to BRAD and he hugs her.
BRAD (Circling Janet)
Dammit, Janet.
JANET circles BRAD twice, admiring her ring on the way.
JANET
Oh Brad,
I'm mad.
BRAD
Dammit, Janet.
BRAD & JANET kneel together with each following word until they are
kneeling on the floor)
BRAD, JANET, FAMILY.
I love you.
BRAD & JANET kiss.
The cross above spits optically.
18 INT. A STUDY NIGHT
Mahogany bookcases, a large desk with a prominent globe of the world. A
well-padded armchair has its back to the camera. It swings around
revealing the NARRATOR. He is in his smoking jacket. He speaks
directly to us.
NARRATOR
I would like if I may to take you on a
strange journey.
He crosses to the bookshelf. He selects a dossier. We see the title:
"The Denton Affair". He returns to his desk and places it on a
bookstand. He puts on his reading glasses.
NARRATOR
It seemed a fairly ordinary night when
Brad Majors and his fiancee Janet Weiss
(two young ordinary healthy kids) left
Denton that late November evening to
visit Dr Everett Scott, ex. tutor and
now friend of both of them. It's true
there were dark storm clouds, heavy,
black and pendulous, toward which they
were driving. It's true also that the
spare tyre they were carrying was badly
in need of some air. But they being
normal kids and on a night out, well
they were not going to let a storm
spoil the events of their evening.
On a night out.
He closes the book marking the place.
Thunder is heard distantly on the sound track.
NARRATOR
It was a night out they were going to
remember for a very long time.
Lighting cracks on the sound track.
WIPE TO
19 EXT. NIGHT
A windscreen wiper working under strain. Torrential rain on the
windscreen. BRAD concentrating on visibility. JANET eating chocolates
and listening to the car radio playing an Orson Welles serial - The
Shadow.
A motorcycle roars past them.
JANET
Gosh. That's the third motorcyclist
that's passed us. They certainly take
their lives in their hands. What with
the weather and all.
BRAD
Yes, Janet. Life's pretty cheap to
that type.
JANET takes another stick of gum.
Offers BRAD some. He declines.
The car slows to a halt.
JANET
What's the matter Brad, darling?
Headlights on sign reading: "DEAD END".
BRAD
I think we took the wrong fork a few
miles back.
JANET
Oh dear! But then where did the
motorcyclists come from?
BRAD
Hmmm ... Well, I guess we will have
to turn back.
CUT TO
20 EXT. ROAD NIGHT
Car reverses.
BRAD puts his foot on the accelerator. The wheel skids and explodes.
CUT TO
21 INT. CAR NIGHT
JANET
What was that bang?
BRAD
We must have a blow-out.
JANET
Oh...
Pause
CUT TO
22 EXT. ROAD NIGHT
A bolt of lighting strikes a tree.
CUT TO
23 INT. CAR NIGHT
BRAD
You'd better sit here and keep warm
while I go for help.
JANET
But where will you go? We're in the
middle of nowhere.
BRAD
Didn't we pass a castle back down the
road a few miles? Maybe they have
a telephone I might use.
He unbuckles his seatbelt.
JANET
I'm coming with you.
BRAD
There's no point both of us getting wet.
JANET
I'm coming with you.
(she unbuckles her seatbelt)
Besides, darling, the owner of the phone
might be a beautiful woman and you may
never come back.
BRAD laughs.
A thunderclap.
MUSIC commences and she alights from the car and follows him, newspaper
over her head.
CUT TO
24 EXT. ROAD NIGHT
SONG: "OVER AT THE FRANKENSTEIN PLACE"
The rain pours off the newspaper down JANET's face. She walks along,
catching up with BRAD.
She sing plaintively.
JANET
In the velvet darkness
Of the blackest night
Burning bright.
We see the two of them - BRAD striding ahead, JANET nearly catching up
with him.
Behind them on the side of the road, sparse trees and rock formations.
JANET
There's a guiding star
No matter what or who you are.
They have passed a row of trees. A rock formation in the shape of a
castle is silhouetted against the sky. It has a flag flying from the
turret.
Lightning strikes.
A glow of light appears in a window. It illuminates a path to the
castle.
BRAD and JANET turn.
The castle is in the distance between the two of them.
BRAD & JANET
There's a light
The castle looms in the distance.
PHANTOM VOICES
Over at the Frankenstein place.
BRAD stares hard.
BRAD
There's a light.
The castle looms closer.
PHANTOM VOICES
Burning in the fireplace.
JANET
(looks to Brad)
There's a light, a light
In the darkness of everybody's life
Taking JANET by the hand, BRAD moves off the roadway towards the house.
BRAD
I can see the flag fly
I can see the rain
Just the same
There has got to be
Something better here
For you and me.
Lighting strikes.
JANET jumps towards BRAD.
BRAD & JANET
There's a light.
The castle seems to move forward.
PHANTOM VOICES
Burning in the fireplace.
BRAD
There's a light.
CUT TO
25 EXT. CASTLE DRIVEWAY NIGHT
A motorcycle convoy roars by revealing a hidden road to the castle.
BRAD
A light
In the darkness of everybody's life.
The convoy drives up and disappears into a secret entrance in the rock.
CUT TO
26 EXT. CASTLE FACADE NIGHT
We see a cell-like window near a massive lighted window. A tortured
face appears squinting into the darkness.
RIFF RAFF
The darkness must go
Down the river of nights dreaming
Flow morphia slow
Let the sun and light come streaming
Into my life.
CUT TO
27 EXT. SKY NIGHT
Lightning strikes.
CUT TO
28 CASTLE FACADE NIGHT
RIFF RAFF moves to the lighted window where his hunchbacked shape
becomes a giant shadow.
RIFF RAFF
Into my life.
CUT TO
29 EXT. CASTLE DRIVE NIGHT
BRAD and JANET start moving down the driveway.
BRAD & JANET
There's a light.
CUT TO
30 CASTLE FACADE NIGHT
Shadow turns in the window.
PHANTOM VOICES
Over at the Frankenstein place.
CUT TO
31 EXT. CASTLE DRIVE NIGHT
BRAD and JANET approach the gateway to the castle.
BRAD & JANET
There's a light.
CUT TO
32 CASTLE FACADE NIGHT
The shadow slowly covers the whole window.
PHANTOM VOICES
Burning in the fireplace.
CUT TO
33 EXT. CASTLE DRIVE NIGHT
PHANTOM VOICES
There's a light, a light.
BRAD and JANET are at the gate. There is a rusted sign.
BRAD & JANET
In the darkness of everybody's life.
A bolt of lighting illuminates the sign which reads: FRANK N. FURTER -
SCIENTIST.
WIPE TO
34 INT. STUDY NIGHT
The NARRATOR is in his armchair. He leans forward with some urgency.
NARRATOR
And so it seemed that fortune had smiled
on Brad and Janet and that they had found
the assistance that their plight required -
or had they?
Thunderclap.
WIPE TO
35 EXT. FRONT DOOR OF THE CASTLE NIGHT
BRAD rings the doorbell. It makes a strange sound.
JANET
Oh, Brad. Let's go back. I'm cold
and I'm frightened.
BRAD
Just a moment, Janet. They may have
a telephone.
The door opens. Throbbing music is heard in the background as if there
is a party going on in the distance.
The figure we have seen at the window emerges. He is a hunch-backed
servant, RIFF RAFF.
RIFF RAFF
Hello.
BRAD
Uh - oh - Hi! My name is Brad Majors.
And this is my fiancee, Janet Weiss. I -
ah - wondered if you could help us. Our
car has broken down about two miles up the
road. Do you have a phone we might use?
RIFF RAFF
You're wet.
JANET
Yes, the rain has been very heavy.
BRAD
Yes.
RIFF RAFF
Yes.
36 EXT. CASTLE NIGHT
A bolt of lighting illuminates a row of vehicles parked by the castle.
37 EXT. FRONT DOOR OF CASTLE NIGHT
BRAD sees them and reacts with surprise.
RIFF RAFF realises BRAD has seen them.
RIFF RAFF
I think you had better both come inside.
JANET
You're too kind.
They enter apprehensively.
DISSOLVE
38 INT. STAIRWAY NIGHT
RIFF RAFF leads them down a stairway and beckons them to follow.
The MUSIC has become louder.
JANET
(sotto voce)
Oh Brad, I'm frightened. What kind
of place is this?
BRAD
(sotto voce)
Oh, it's probably some kind of hunting
lodge for rich weirdos.
CUT TO
39 INT. HALLWAY NIGHT
They arrive at a hallway at the bottom of the stairs. Another servant,
MAGENTA, who bears a striking physical resemblance to RIFF RAFF is
vacuuming the stairs.
RIFF RAFF
This way.
JANET steps over the vacuum lead.
JANET
Are you - giving a party?
RIFF RAFF
No. You've arrived on a rather special
night. It's one of the master's affairs.
JANET
Oh, lucky him.
MAGENTA
He's lucky.
BRAD and JANET look at MAGENTA, surprised by her voice.
MAGENTA
You're lucky, I'm lucky, we're all
lucky.
40 SONG: "THE TIME WARP"
BRAD and JANET are rather unnerved by this outburst from the domestic.
They look back to RIFF RAFF. He is now standing by a set of mirrors
reflecting to infinity.
RIFF RAFF
It's astounding
Time is fleeting
Madness takes its toll
But listen closely
Not for very much longer
I've got to keep control.
MAGENTA gives RIFF RAFF a strange signal.
RIFF RAFF starts to dance in an extraordinary fashion.
RIFF RAFF
I remember doing the Time Warp.
BRAD and JANET are amazed.
RIFF RAFF
Drinking those moments when
The blackness would hit me.
MAGENTA half closes her eyes in pleasure.
JANET clings to BRAD.
RIFF RAFF
And the void would be calling.
RIFF RAFF opens a set of double doors marked BALLROOM.
41 INT. BALLROOM NIGHT
BRAD and JANET find themselves on a balcony of a huge black and silver
ballroom. At the furthest end is a throne-like chair and, surrounding
it, a theatre proscenium. In the body of the room are GUESTS. They are
the people BRAD and JANET passed on the road. They are the
Transylvanian Secret Agents - assembled on this special occasion from
all over the earth. It is the Annual Transylvanian Convention -
announced by an official banner suspended over the Ballroom. They are
all dressed in strange but elegant evening wear. They are a distorted
version of the GUESTS from the Denton wedding. A party spirit prevails,
they throw their arms out in a plea to RIFF RAFF on the balcony.
GUESTS
Let's do the Time Warp again.
JANET falls into BRAD's arms.
RIFF RAFF is ecstatic.
BRAD revives JANET.
GUESTS
(repeating action)
Let's do the Time Warp again.
JANET faints again.
CUT TO
42 INT. STUDY NIGHT
The NARRATOR moves from his desk to the wall behind him. He pulls down
a chart with illustrated dance steps on it. He gestures to the
appropriate section of the diagram with the pointer.
NARRATOR
It's just a jump to the left.
WIPE TO
43 INT. BALLROOM NIGHT
The GUESTS leap to the left in one giant step.
GUESTS
(dancing)
And a step to the right - right -
right - right - right.
WIPE TO
44 INT. STUDY NIGHT
NARRATOR points to next step on the chart.
NARRATOR
With your hands on your hips.
WIPE TO
45 INT. BALLROOM NIGHT
ALL GUESTS have hands on hips.
GUESTS
You bring your knees in tight.
But it's the pelvic thrust.
The rows of GUESTS open out with pelvic thrusts.
GUESTS (Cont)
They really drive you insane.
We see them from the balcony and they open out in formation.
GUESTS (Cont)
Let's do the Time Warp again.
JANET revives.
The GUESTS re-form.
GUESTS
Let's do the Time Warp again.
BRAD and JANET make a run out the door.
CUT TO
46 INT. STAIRWAY NIGHT
They collide with MAGENTA who has blocked off the corridor with her
vacuum. She sings with menace, waving the cleaner hose dangerously.
MAGENTA
It's so dreamy
Oh, fantasy free me
So you can't see me
No not at all.
BRAD and JANET look at each other in alarm.
In another dimension.
(she forces them back towards
balcony)
With voyeuristic intention.
BRAD blushes.
Well secluded I see all
With a bit of a mind flip
You're into the time slip
Nothing will ever seem the same.
They are back at the balcony.
You're spaced out on sensation.
They are at the edge of the balcony.
Like you're under sedation.
They force BRAD and JANET into the Ballroom proper.
The GUESTS turn on them.
GUESTS
Let's do the Time Warp again.
BRAD and JANET are completely dismayed.
GUESTS
Let's do the Time Warp again.
COLUMBIA, a young girl, is the household groupie. She sings with the
band at the end of the Ballroom.
CUT TO
47 INT. BANDSTAND NIGHT
COLUMBIA
Well I was walking down the street
Just having a think
When a snake of a guy
Gave me an evil wink.
Well it shook me up
It took me by surprise
He had a pick-up truck
And the devil's eyes
He stared at me
And I felt a change
Time meant nothing
Never would again.
CUT TO
48 INT. BALLROOM NIGHT
GUESTS
Let's do the Time Warp again.
BRAD and JANET are reeling.
GUESTS
Let's do the Time Warp again.
CUT TO
49 INT. STUDY NIGHT
NARRATOR. He has now become rather involved in the dance and is
standing on the blotter on the top of his desk.
NARRATOR
It's just a jump to the left.
He jumps to the left.
WIPE TO
50 INT. BALLROOM NIGHT
GUESTS
And then a step to the right.
The GUESTS take one.
WIPE TO
51 INT. STUDY NIGHT
The NARRATOR dancing on the desk.
NARRATOR
With your hands on your hips.
WIPE TO
52 INT. BALLROOM NIGHT
GUESTS
You bring your knees in tight.
OVERHEAD TRAVELLING SHOT.
But it's the pelvic thrust.
LOW TRAVELLING SHOT between their legs.
That really drives you insane.
Let's do the Time Warp again.
Everyone reverses direction.
Let's do the Time Warp again.
All the GUESTS fall to the floor like flies exhausted.
CUT TO
53 INT. BALCONY/HALLWAY NIGHT
JANET
Oh....Say something.
BRAD
Say! Do any of you guys know the Madison?
No one laughs.
GUESTS turn nasty.
53A INT. HALL/LIFT NIGHT
BRAD and JANET retreat to the hall. Behind them a lift slowly descends
bearing a figure in a black cloak and a diamante stiletto heel - beating
time to a rhythm the band has started playing.
JANET
Brad, please lets get out of here.
BRAD
For God's sake keep a grip on yourself Janet.
JANET
But it seems so unhealthy here.
BRAD
It's just a..a party Janet.
JANET
Well I want to leave.
BRAD
We can't go anywhere until I get to a phone.
JANET
Then ask the butler - or someone.
BRAD
Let's wait awhile Janet. We don't want
to interfere with their celebrations.
JANET
This isn't the Junior Chamber of
Commerce Brad.
BRAD
They're probably foreigners with ways
different from our own. - They may
do some more folk dancing.
JANET
Brad - I'm cold, I'm wet, and plain scared.
BRAD
I'm here, there's nothing to worry about.
GUESTS rise, staring mesmerised at the lift.
JANET sees the shoe, looks up at the face of its owner.
JANET faints.
--------------------------------------------
GO TO COLOUR AT BEGINNING OF FOLLOWING SCENE
--------------------------------------------
54 INT. LIFT/HALL NIGHT
The figure turns and throws open lift cage door. As camera zooms in to
the death mask above them the film changes from black and white to
colour. However the only colour in evidence is the red lipstick on the
mouth of their host.
SONG: "SWEET TRANSVESTITE"
FRANK
How do you do.
I see you've met my faithful handyman.
He's a little brought down -
Because when you knocked
He thought you were the candyman.
RIFF RAFF scowls.
54A INT. BALLROOM NIGHT
FRANK
Don't get strung out by the way
that I look.
FRANK strides across the Ballroom to the throne.
FRANK
Don't judge a book by its cover
I'm not much of a man
By the light of day
But by night I'm one hell of a lover.
JANET gives a silent scream.
FRANK lets the cloak fall onto the throne, which reveals his
transvestite attire.
The GUESTS scream with delight.
FRANK
I'm just a sweet Transvestite
From Transexual Transylvania.
He slowly moves back to BRAD and JANET, doing leg kicks.
Let me show you around, maybe play you a sound
You look like you're both pretty groovie.
He circles them and forces them into the Ballroom.
Or if you want something visual
not too abysmal
We could take in an old Steve Reeves movie.
BRAD clumsily attempts to circle around FRANK. FRANK meanwhile ignores
him and greets his other guests.
BRAD
I'm glad we caught you at home
Ah - could we use your phone
We're both in a bit of a hurry.
JANET joins BRAD.
JANET
Right!
BRAD
We'll just say where we are
Then go back to the car
We don't want to be any worry.
FRANK turns on them.
FRANK
You got caught with a flat
Well how about that
Well babies don't you panic
By the light of the night
It'll seem alright
I'll get you a satanic mechanic.
FRANK turns his back on BRAD and JANET and splitting the ranks of his
GUESTS, departs for the other end of the Ballroom. Streamers fall.
FRANK
I'm just a sweet transvestite
From Transexual Transylvania.
From the throne he gestures towards BRAD and JANET rather slowly over
the next verse.
FRANK
Why dont'cha stay for the night
RIFF & MAGENTA
"night"
Or maybe a bite
RIFF & MAGENTA
"bite"
I could show you my favourite obsession
I've been making a man
With blonde hair and a tan
And he's good for relieving my tension.
We view from OVERHEAD as the GUESTS surround him adoringly.
FRANK
I'm just a sweet transvestite
From Transexual Transylvania.
FRANK storms down the Ballroom to the lift.
I'm just a sweet transvestite.
GUESTS
"Sweet Transvestite"
FRANK
From Transexual Transylvania.
GUESTS
"Transylvania"
55 INT. LIFT AREA
FRANK
So come up to the Lab.
CUT TO
56 CHORD: SUBLIMINAL FLASH - LABORATORY
CUT TO
57 INT. LIFT AREA
FRANK (Cont)
And see what's on the slab.
CUT TO
58 CHORD: SUBLIMINAL FLASH - ROCKY'S BIRTH IN THE LABORATORY
CUT TO
59 INT. LIFT AREA
FRANK (Cont)
I see you shiver with anticipation
CUT TO
60 CHORD: SUBLIMINAL FLASH OF LOVE MAKING
CUT TO
61 INT. LIFT AREA
FRANK (Cont)
But maybe the rain
CUT TO
62 CHORD: FLASH - THE CAR AND THE WINDSCREEN WIPERS
CUT TO
63 INT. LIFT AREA
FRANK (Cont)
Is really to blame
CUT TO
64 CHORD: SUBLIMINAL FLASH - THE WEDDING
CUT TO
65 INT. LIFT AREA
FRANK (Cont)
So I'll remove the cause
But not the symptom
CUT TO
66 CHORD: SUBLIMINAL FLASH - THE EXPLOSION
CUT TO
67 INT. BALLROOM NIGHT
On the last chord the lift has disappeared.
The GUESTS applaud ecstatically.
RIFF RAFF and MAGENTA close in on BRAD and JANET. They remove BRAD and
JANET's wet clothes.
COLUMBIA moves down from the bandstand and crosses to BRAD and JANET.
She witnesses the undressing.
COLUMBIA
Slowly, slowly. It's too nice a job
to rush.
The GUESTS moan softly as each piece of clothing is removed.
BRAD and JANET stand shivering in their underwear.
There is complete silence.
The GUESTS and SERVANTS are motionless.
BRAD and JANET are the total object of their attention.
CUT TO
68 INT. HALL/LIFT NIGHT
JANET
Oh Brad.
BRAD
(confidentially)
It's alright Janet, we'll play along
for now and pull out the aces when the
time is right.
He turns to COLUMBIA who has been staring at his underpants.
BRAD
Ah, hi. My name is Brad Majors and
this is my fiancee, Janet Weiss. You
are ...
COLUMBIA
You are very lucky to be invited up
to Frank's laboratory. Some people
would give their right arm for the
privilege.
RIFF RAFF has opened the cage doors to the lift.
The GUESTS rush for positions.
BRAD
People like you maybe
COLUMBIA
I've seen it.
COLUMBIA escorts them to the lift.
RIFF RAFF throws two GUESTS to the floor to make room for them.
He slams the cage door.
The two discarded GUESTS cry and claw at the cage door as the lift moves
off under RIFF RAFF's control.
BRAD and JANET are squashed, arms by their side.
They stare straight ahead.
JANET
(to Magenta)
It he - Frank - is he your husband?
General amusement.
RIFF RAFF
The Master is not yet married. Nor
do I think he ever will be. We are
simply his servants.
JANET
Oh.
The lift grinds to a halt.
They have arrived at the laboratory.
CUT TO
69 INT. LABORATORY NIGHT
The laboratory is somewhere between a student observation operating
theatre and a Greek gymnasium. It is pink-tiled throughout, facing the
lift entrance is a circular area containing a TANK on pedestals which
though screened at this stage will be revealed to contain the body of
ROCKY submerged in chemicals, the wall to one side contains a raised
dias area for the GUESTS, and facing one end of the tank, the
operational controls, monitor and a giant refrigerator. A chandelier
hangs above the tank.
On the podium in front of Frank's chambers there is a stand microphone.
Near the podium are some weights. Behind the tank is a vaulting horse.
These are wrapped in sellophane - Rocky's presents.
The GUESTS are waiting as the lift arrives.
FRANK, now in surgeon's outfit stands in the middle of the room. RIFF
RAFF gets out of the lift first, with a glass of champagne which he
hands to FRANK.
FRANK
Magenta, Columbia, go and assist Riff Raff.
As he speaks her name each one steps forward out of the lift. They
cross to RIFF RAFF behind the tank.
FRANK
I will entertain...ah...
BRAD & JANET step out of the lift.
BRAD
I'm Brad Majors and this
is my fiancee, Janet Vice.
JANET
Weiss.
BRAD
Weiss.
FRANK (Taking Janet's hand to kiss)
Encante....How nice. (he circles them)
And what charming underclothes you both have.
(He takes two dust coats from Riff Raff
and hands them to Brad).
But here, put these on. They'll
make you feel less vulnerable.
MAGENTA & COLUMBIA cross to the podium.
FRANK (continues)
It's not often we receive visitors here.
Let alone offer them hospitality.
BRAD (Moving towards Frank)
Hospitality! All we wanted to do was
use your telephone. A reasonable request
which you have chosen to ignore.
JANET (Hurring after Brad)
Don't be ungrateful Brad.
BRAD (Stepping closer to Frank)
Ungrateful!
The room falls silent. All eyes are on FRANK, waiting for his reaction.
A smile breaks on his face.
FRANK
How forceful you are Brad. Such a
perfect specimen of manhood. So dominant.
MAGENTA & COLUMBIA laugh.
You must be awfully proud of him Janet.
JANET
Well, yes I am.
THE GUESTS oh and ah appreciatively, BRAD laughs, a little embarassed.
FRANK
Do you have any tattoos Brad.
BRAD
Certainly not!
FRANK
Oh well. How about you. (He laughs)
RIFF RAFF has approached behind FRANK, looming over his shoulder.
RIFF RAFF
Everything is in readiness, Master.
We merely await your word.
FRANK drinks his champagne then hands RIFF RAFF the empty glass. RIFF
RAFF goes to the control panel and FRANK to the podium
FRANK
Tonight...One, one, one. Can you hear
me at the back?
Tonight, my unconventional conventionists.
MAGENTA, COLUMBIA and GUESTS laugh politely.
FRANK
Tonight you are to witness a breakthrough
in biochemical research.
There is a gasp from COLUMBIA, MAGENTA and GUESTS.
FRANK
And paradise is to be mine.
GUESTS and everybody applaud. JANET claps too, but BRAD indicates that
she shouldn't.
FRANK
It was strange the way it happened.
One of those quirks of fate really.
One of those moments when you seem
irredeemably lost: you panic; you're
trapped; your back's against the wall.
There's no way out, and then suddenly,
you get a break. (He cracks the bones
in his hand) All the pieces seem to
fit into place. What a sucker you'r
been. What a fool. The answer was there
all the time. It took a small accident
to make it happen. An accident!
MAGENTA & COLUMBIA step forward one each side of him.
MAGENTA & COLUMBIA (softly)
An accident.
FRANK
That's how I discovered the secret.
That elusive ingredient, that spark
that is the breath of life.
GUESTS applaud.
FRANK (Moving to tank)
You see, Brad and Janet, you are fortunate.
For tonight is the night that my beautiful
creature is destined to be born.
Everybody applauds. FRANK then pulls the cover from the tank. RIFF
RAFF is at the control panel.
70 INT. LABORATORY NIGHT
The tank is revealed. There is something inside it is immersed in clear
fluid. The GUESTS are astonished.
FRANK
Throw open the switches on the sonic
oscillator.
RIFF RAFF flicks the switch to activate the oscilloscopes in the panel.
FRANK
And step up the reactor power input
three more points.
RIFF RAFF presses a button three times then begins to unwind a wheel.
FRANK watches excitedly from behind the tank as the chandelier is
lowered. It spurts different coloured liquids into the tank.
The liquids bubble and change colour. The thing inside begins to look
like a human form.
JANET
Brad...
BRAD
It's alright Janet.
The liquids drain away. The form begins to move.
FRANK climbs the ladder at one end of the tank, RIFF RAFF the other.
ROCKY HORROR sits up, raises his arms, finally stands upright with both
arms outstretched.
RIFF RAFF removes the bandage from ROCKY's head. ROCKY looks at RIFF
RAFF then at FRANK. With a gasp he leaps for the chandelier above.
At the same time RIFF RAFF is down the ladder making for the handle. He
winds up the chandelier and ROCKY.
71 INT. THE LABORATORY NIGHT
SONG: THE SWORD OF DAMOCLES.
ROCKY HORROR with only his head unbandaged, is hanging on to the
chandelier which RIFF RAFF is winding upwards.
ROCKY
The Sword of Damocles is
Hanging over my head.
FRANK runs down the ladder and kicks RIFF RAFF who starts to lower the
chandelier. FRANK climbs up the other steps to meet his creation coming
down. MAGENTA & COLUMBIA cross to the tank.
ROCKY
And I've got the feeling
Someone's going to be
Cutting the thread.
Oh, woe is me.
My life is a misery.
Oh, can't you see
That I'm at the start
Of a pretty big downer....
As ROCKY gets level with him, FRANK lunges for him but lands inside the
tank....because...
ROCKY simultaneously abandons the chandelier, lands between MAGENTA and
COLUMBIA who now each have a pair of scissors with which they will snip
his arm and leg bandages.
ROCKY
I woke up this morning
With a start
When I fell out of bed.
GUESTS (inc. Riff, Magenta & Columbia)
That ain't no crime.
ROCKY
And left from my dreaming
Was a feeling
Of un-nameable dread.
GUESTS
That ain't no crime
ROCKY
My high is low.
I'm dressed up
With no place to go.
And all I know
Is I'm at the start
Of a pretty big downer.
FRANK, in the tank behind ROCKY, puts his arms round ROCKY's neck.
ROCKY spins away. MAGENTA and COLUMBIA hang on to one end of his chest
bandage so that it undoes as he goes.
GUESTS (inc. RIFF RAFF, MAGENTA & COLUMBIA)
Sha la la la
That ain't no crime.
ROCKY
Oh, no no, no no.
GUESTS
Sha la la la
That ain't no crime.
ROCKY
No no no, no no.
GUESTS
Sha la la la
That ain't no crime -
That ain't no crime.
ROCKY is now unbandaged. He strikes a pose.
During the last sequence, FRANK climbs out of the tank onto RIFF RAFF'S
shoulders and purses ROCKY, but they fall.
72 INT. STUDY NIGHT
NARRATOR reading from book.
NARRATOR
Rocky needed peace of mind.
He didn't know
He was doing just fine.
He was the product
Of another time.
And as for feeling down -
Well that's not a crime.
73 INT. LABORATORY NIGHT
FRANK and RIFF RAFF are recovering from their fall.
ROCKY makes a circuit of the GUESTS.
GUESTS (Riff, Magenta & Columbia)
That ain't no crime.
ROCKY (To first group of guests)
The sword of Damocles is
Hanging over my head.
GUESTS
That ain't no crime.
ROCKY (To second group)
And I've got the feeling
Someone's going to be
Cutting the thread.
GUESTS
That ain't no crime.
ROCKY (To third group)
Oh, woe is me -
My life is a mystery.
(To fourth group)
Oh can't you see
That I'm at the start
Of a pretty big downer.
ROCKY set off at a run as FRANK looms up again.
(FRANK is chasing ROCKY round the lab.)
GUESTS
Sha la la la
That ain't no crime.
ROCKY
Oh no no no no.
GUESTS
Sha la la la
That ain't no crime.
ROCKY
No no no no.
GUESTS
Sha la la la
That ain't no crime.
That ain't no crime.
GUESTS
Sha la la la
That ain't no crime.
ROCKY
No no no no.
GUESTS
Sha la la la
That ain't no crime.
ROCKY
No no no no.
GUESTS
Sha la la la
That ain't no crime -
That ain't no crime.
At the end of number, ROCKY has climbed up the ladder attached to the
end of the tank nearest the bridal chambers and FRANK is in a heap
below. RIFF RAFF is behind the tank and MAGENTA and COLUMBIA in their
positions in front of it.
74 INT. LABORATORY NIGHT
FRANK picks himself up. ROCKY is sitting at the top of the ladder above
him, with his perfect limbs near Frank's face.
FRANK
Well. That's no way to
behave on your first day out.
ROCKY looks hurt.
But as you're such an
exceptional beauty I'm
prepared to forgive.
FRANK crosses behind ROCKY to stand next to RIFF RAFF behind the tank.
I just love success.
RIFF RAFF (edging up to Frank)
He is a credit to your
genius, Master.
FRANK
Yes.
MAGENTA (Moving to tank from controls)
A triumph of your vill.
FRANK
Yes.
COLUMBIA (Who is on opposite side of tank)
He's o.k.
FRANK
O.K? (Moving out behind tank towards
Janet and Brad) I think we can do a
little better than that.
You. (To Janet) What do you think?
JANET
Well. (She looks at Brad) I don't
like men with...er, with too many, muscles.
FRANK
I didn't make him for you
JANET nods hastily. FRANK moves towards microphone.
He carries the Charles Atlas seal of
approval....And he didn't even take
the lessons.
74A INT. LABORATORY NIGHT
SONG: CHARLES ATLAS (Pt. 1)
As FRANK starts to sing, MAGENTA & RIFF RAFF collect one of ROCKY's
presents, the vaulting horse, and place it in front of the podium.
COLUMBIA leads ROCKY down from the ladder.
FRANK
A weakling weighing
Ninety eight pounds
Will get sand in his face
When kicked to the ground.
And soon in the gym (ROCKY sits on horse)
With a determined chin
The sweat from his pores
As he works for his ca-ha-hause
MAGENTA & RIFF RAFF now bring the weights.
FRANK
Will make him glisten - thank you -
And gleam.
And with massage
And just a little bit of
Ste-he-he-he-hem...(laughs)
He'll be pink.
And quite clean.
FRANK
He'll be a strong man -
Oh honey -
GUESTS, RIFF, MAGENTA & COLUMBIA & FRANK.
But the wrong man.
FRANK
He'll eat nutritious high protein
And swallow raw eggs.
Try to build up his shoulders,
His chest, arms and legs.
Such an effort -
If he only knew of my plan.
In just seven days,
GUESTS, RIFF, MAGENTA & COLUMBIA & FRANK
I can make you a ma-aa-a-a-an
ROCKY throws down the weights and begins press ups.
FRANK
He'll do press-ups and chin-ups,
Do the snatch, clean and jerk.
FRANK crosses to JANET & BRAD
He thinks dynamic tension
Must be hard work.
Such strenuous living
I just don't understand.
FRANK moves back to ROCKY who is still pressing up.
When, in just seven days -
Oh baby...(ROCKY jumps up.)
I can make you
A ma-a-a-a-an...(laugh).
75 INT. LABORATORY: REFRIGERATOR NIGHT
The large refrigeration unit door slowly opens, falling like a
drawbridge. Inside is a wall of ice and many CocaCola bottles.
Through these bursts an icy EDDIE riding a Harley Davidson motor bike,
ex World War II, holding a Gibson guitar.
Several guests are crushed to death.
COLUMBIA
Eddie!
EDDIE
Stay cool baby.
JANET
Who's Eddie?
RIFF RAFF
The delivery boy.
MAGENTA
His delivery wasn't good enough though.
ROCKY looks terrified.
JANET has fainted yet again.
EDDIE comes to life.
76 SONG: "WHAT EVER HAPPENED TO SATURDAY NIGHT"
EDDIE
Whatever happened to Saturday night
When you dressed up sharp
And you felt alright
It don't seem the same since cosmic light
Came into my life and I thought I was divine.
COLUMBIA leaps on to the pillion seat.
I used to go for a ride with a chick who'd go
And listen to the music on the radio.
The MOTORCYCLISTS GUESTS remember only too well.
A saxophone was blowing on a rock and roll show
And we climbed in the back
And we really had a good time
COLUMBIA rushes to the switchboard, flicks a lighting switch and all the
lights above the stairs start changing colour.
The GUESTS go crazy and rock and roll all over the staircase.
COLUMBIA dances with EDDIE.
Even RIFF RAFF and MAGENTA step it out.
ALL
Hot patootie
Bless my soul
I really love that rock and roll
(four times)
EDDIE (more confident, less frozen) leaps onto the motorbike in a legs
apart guitar strumming pose.
FRANK is getting furious.
ROCKY is perplexed.
EDDIE
My head used to swim
From the perfume I smelled.
My hands kind of fumbled
With her white plastic belt.
I'd taster her baby pink lipstick,
And that's when I'd melt.
And she'd whisper in my ear,
Tonight she really was mine.
Get back in front and put
Some hair oil on.
Buddy Holly was singing
His very last song.
With your arms around your girl
You tried to - ah - sing along
It felt pretty good, whoo.
Really had a good ti-i-ime.
EDDIE slips onto the pedal starting the bike. He takes off and roars
round the laboratory, even riding up and down the walls.
ALL
Hot patootie
Bless my soul.
I really love that rock and roll.
Hot patootie
Bless my soul.
I really love that rock and roll.
Hot patootie
Bless my soul.
You know I love that rock and roll.
Hot patootie
Bless my soul.
I really love that rock and roll.
4 bars instrumental (saxophone)
FRANK steals towards the fridge where he collects an ice pick,
innocently.
ALL EDDIE
Hot patootie HOT PATOOTIE -
Bless my soul. BLESS MY SO-O-OUL.
I really love that rock and roll.
Hot patootie HOT PATOOTIE
Bless my soul. I LOVE THAT ROCK & ROLL.
I really love that rock and roll.
Hot patootie HOT PATOOTIE...
Bless my soul. I LOVE THAT ROCK & ROLL.
I really love that rock and roll.
Hot patootie HOT PATOOTIE...
Bless my soul. BLESS MY SO-O-OUL.
I really love that rock and roll.
Hot patootie HOT PATOOTIE..
Bless my soul. I REALLY LOVE THAT ROCK & ROLL.
I really love that rock and roll.
Hot patootie HOT PATOOTIE...
Bless my soul. BLESS MY SO-O-OOOUUL.
I really love that rock and roll.
Hot patootie HOT PATOOTIE
Bless my soul. I LOVE THAT ROCK & ROLL.
I really love that rock and roll.
Hot patootie HOT PATOOTIE
Bless my soul. I LOVE-A-LOVE-A-LOVE-A
I really love that rock and roll.
THAT ROCK AND ROO-AHOUL!
On the last chorus FRANK rushes to EDDIE with the ice pick, in a
demented fury.
THE GUESTS are unbelieving.
COLUMBIA covers her face with her hands.
EDDIE is dead. FRANK walks away from his body unconcerned.
JANET screams and screams.
77 INT. LAB NIGHT
DIALOGUE SEQUENCE
MAGENTA is very bored and picking up ice cubes and placing them in the
ice bucket.
FRANK
One from the vaults.
RIFF RAFF drags EDDIE's dismembered body back into the fridge.
And so perish all those who reject my love!
ROCKY cowers in terror.
Oh no, my little Adonis -
You're much too beautiful to be destroyed.
He had a certain naive charm - but no muscle.
ROCKY flexes.
FRANK is thrilled.
78 INT. LABORATORY NIGHT
FRANK
But a deltoid
And a bicep,
A hot groin
And a tricep
Makes me - ooh -
Shake.
Makes me want
To take
Charles Atlas
By the ha-and.
In just seven days -
Oh baby -
GUESTS, RIFF RAFF, MAGENTA & COLUMBIA & FRANK
I can make you a
Ma-ha-ha-ha-haan.
I don't want no dissension
Just dynamic tension.
In just seven days
I can make you
A ma-ha-ha-ha-haan.
In just seven days
I can make you
A ma-ha-ha-ha-haaan.
CUT TO
79 INT. BRIDAL SUITE NIGHT
RIFF RAFF presses a button and a wall opens revealing a bridal suite
done out in black silk.
The GUESTS shout their approval.
The end of the SONG turns into Mendelssohn's wedding march and FRANK
leads ROCKY to his bridal chamber.
The GUESTS throw confetti.
BRAD and JANET look at each other in amazement.
WIPE TO
80 INT. STUDY NIGHT
NARRATOR
There are some people who say that life
is an illusion, and that reality is simply
a figment of our imaginations! If this
is so, then Brad and Janet are quite safe.
However, the sudden departure of their
host and his creation (into the seclusion
of his sombre bridal suite) had left them
feeling both apprehensive and uneasy.
A feeling which grew as the other guests
'departed' and 'they' were shown to their
separate rooms.
WIPE TO
81 INT. JANET'S ROOM (RED FILTER) NIGHT
JANET looks lost.
She sits on the end of the bed.
CUT TO
82 INT. BRAD'S ROOM (BLUE FILTER) NIGHT
BRAD looks lost.
He examines the TV monitor.
83 INT. LABORATORY NIGHT
RIFF RAFF and MAGENTA by the monitor.
They switch from channel to channel.
We see BRAD looking at the TV monitor.
And JANET sitting on the end of the bed.
JANET lies back on the bed and switches off her bedside lamp.
RIFF RAFF and MAGENTA smile at each other.
CUT TO
84 INT. JANET'S ROOM (RED FILTER) NIGHT
Only a soft glow of moonlight from a barred window. ON the netting
round her bed.
There is a knock at the door.
JANET sits p.
JANET
Who is it? Who's there?
BRAD's voice from behind the door.
BRAD'S VOICE
It's only me, Janet.
She relaxes.
JANET
Oh, Brad, come in, darling.
A silhouette enters and crosses to the bed. It moves onto the bed
behind the net curtain.
JANET
Oh Brad - Mmmm - Oh yes, my darling -
what if...
BRAD
It's alright Janet. Everything's going
to be alright.
JANET
Oh, I hope so my darling. But let me
switch on the light.
BRAD
No, don't do that.
JANET
Oh don't be so shy.
She switches on the light to reveal FRANK.
JANET
YOU!
FRANK sits up.
FRANK
I'm afraid so, Janet. But isn't it nice?
JANET beats his chest with her clenched fists.
JANET
You beast, you monster, what have you
done with Brad?
FRANK
Nothing. Why, do you think I should?
JANET
You tricked me - I wouldn't have -
I've never - never
FRANK
I know. But it wasn't all bad was it?
In fact, I think you found it quite pleasurable.
Mmmmm so soft, so sensual.
He re-commences making love to her.
JANET
Oh - Oh - no - stop - I mean help.
I - Brad - Oh.
(she shouts)
Brad.
FRANK places a finger on her lips.
FRANK
Ssssh. Brad's probably asleep by now.
Do you want him to see you like this?
JANET
Like this - like how? It's your fault.
You're to blame.
(pause)
I was saving myself.
FRANK
Well, I'm sure you're not spent yet.
He switches off the light.
CUT TO
85 INT. LABORATORY NIGHT
RIFF RAFF and MAGENTA stare intently at the screen.
They smile at each other.
CUT TO
86 INT. JANET'S ROOM (RED FILTER) NIGHT
Silhouette of FRANK and JANET making love.
JANET
Promise you won't tell Brad.
FRANK
Cross my heart and hope to die.
JANET squeals with excitement.
DISSOLVE TO
87 INT. BRIDAL SUITE ADJOINING LABORATORY NIGHT
We see ROCKY chained to the bed sleeping.
In the background RIFF RAFF and MAGENTA in laboratory.
ROCKY stirs and makes a sound.
RIFF RAFF walks across to the door and stares at the sleeping body.
His eyes are full of hate.
He looks at MAGENTA.
She nods to him.
He releases the chains.
ROCKY stirs.
RIFF RAFF picks up a candelabra from the bedside table and taunts ROCKY.
ROCKY jumps out of the bed, terrified.
RIFF RAFF pushes the candelabra in his face.
ROCKY crashes through the laboratory and escapes.
RIFF RAFF turns to MAGENTA who is now standing in the doorway.
RIFF RAFF puts down the candelabra and they exchange a strange sign.
DISSOLVE TO
88 INT. BRAD'S ROOM (BLUE FILTER) NIGHT
A knock at the door.
BRAD opens it cautiously.
A shadowy figure moves across the room to the bed.
JANET'S VOICE
(distraught)
Oh Brad, it's no good here. It will
destroy us.
BRAD takes her hand.
BRAD
Don't worry Janet, we'll be away
from here in the morning. Hmmmm,
you smell so good.
He gently lays her down on the bed and attempts to caress her.
JANET
Oh Brad. Oh no. Not till after
the wedding, Darling.
BRAD sits up.
BRAD
Alright, Janet. I understand.
The shadow rolls over.
JANET
Maybe we could try it this way.
BRAD
(surprised)
Janet! Oh! Yes it's alright. Janet.
Everything's going to be alright.
JANET
I hope so my darling.
BRAD reaches out to the light.
No, don't put on the l...
BRAD switches on the bedside lamp an realises he is making love to
FRANK wearing a JANET wig.
BRAD
You!
FRANK
I'm afraid so, Brad. But wasn't it nice?
BRAD grabs FRANK around the throat.
BRAD
Why you - what have you done with Janet?
FRANK
Nothing. Why do you think I should?
BRAD lets him go and turns away humiliated.
BRAD
You tricked me. I wouldn't have -
I've never - never.
FRANK
I know, but it wasn't all bad was it?
I think you found it quite pleasurable.
(he caresses Brad)
Oh so soft. So sensual.
BRAD
Ahhh - no - stop - I mean Janet.
(shouts)
Janet.
FRANK
Shush. Janet's probably asleep by now.
Do you want her to see you like this?
BRAD
Like this.
(throwing Frank aside)
Like how? It's your fault - you're to
blame. I thought it was the real thing.
FRANK
Oh come on, Brad, admit it. It was
enjoyable, wasn't it? There's no crime
in giving yourself over to pleasure.
FRANK (Switches off light)
Oh Brad, you have wasted so much time
already. Janet needn't know, I won't tell her.
BRAD
You promise you won't tell?
FRANK
On my mother's grave.
Suddenly the shadows are illuminated by the monitor as an image of
RIFF RAFF appears on the screen above the bed.
89 TV MONITOR
RIFF RAFF
Master, Rocky has broken his chains
and vanished. The new playmate is loose
and in the castle ground. Magenta has
just released the dogs.
90 FRAN'S SILHOUETTE THROUGH NET CURTAINS.
FRANK is getting carried away.
FRANK
I'm coming.
91 EXT. CASTLE GROUNDS. NIGHT.
A shot of pack of huge alsations careereing around the castle grounds.
They are chasing a bewildered Rocky.
WIPE TO.
92 INT. JANET'S ROOM (RED FILTER) NIGHT
JANET is lying on the bed posed in the style of a "True Romance" comic
heroine.
JANET
What's happening here? Where's Brad?
Where's anybody?
WIPE TO
92A INT. BRAD'S ROOM (BLUE FILTER) NIGHT
BRAD is posed in the style of a "True Romance" comic hero. He is
nervous and smoking. Behind him FRANK is asleep on the bed.
BRAD
Once in a while she don't want to call you
Speaking on the telephone
Once in your life she won't want to know you
You look around
The one you've found
She is gone.
WIPE TO
92B INT. JANET'S ROOM (RED FILTER) NIGHT
JANET is sitting on the end of the bed.
JANET
I'm engaged to Brad just the same as
Betty Monroe was to Ralph Hapschatt.
But Frank's kisses overwhelmed me with
an ecstacy I've never dreamt of before.
Hot, burning kisses.
WIPE TO
92C INT. BRAD'S ROOM (BLUE FILTER) NIGHT
BRAD
And that's all the time that it takes
For a heart to turn to stone
The sweeter the wine
The harder to make the break
You hear something about someone
You'd thought you'd known.
WIPE TO
92D INT. JANET'S ROOM (RED FILTER) NIGHT
JANET is at the door.
JANET
I could see Brad's face before me and my
mind screamed No! But my lips were hungry -
too hungry.
WIPE TO
92E INT. BRAD'S ROOM (BLUE FILTER) NIGHT
BRAD
So baby don't cry like there's no tomorrow
After the night there's a brand new day.
And there'll be no pain
And no more sorrow.
So wash your face
And phone my place
It'll be O.K.
WIPE TO
92F INT. CORRIDOR (RED FILTER - OAKLEY COURT) NIGHT
JANET
I wanted to be loved completely.
My body throbbed excitedly. Oh Brad,
Brad my darling, how could I have
done this to you?
WIPE TO
92G INT. BRAD'S ROOM (BLUE FILTER) NIGHT
BRAD
And that's all the time that it takes
For a heart to beat again.
So give me a sign
That a lover makes
You look around
The one you've found
Is back again.
WIPE TO
92H INT. LABORATORY NIGHT
JANET
If only we hadn't made this journey.
If only the car hadn't broken down.
If only we were amongst friends or sane persons.
WIPE TO
93 INT. STUDY NIGHT
The NARRATOR is leaning back in his armchair, cool and considerate.
NARRATOR
"If" and "Only", two small words. Words
which kept repeating themselves again and
again in Janet's thoughts. But it was too
late to go back now. It was as if she were
riding a giant tidal wave. It would be folly
to fight against it. Her only chance would
be to ride it out - adapt - and perhaps also
to survive.
WIPE TO
94 INT. LABORATORY NIGHT
JANET is pacing around the tank which is covered by a cloth. She
becomes aware of the sound of someone crying inside. She pulls the
cloth back to reveal ROCKY lying in the tank - exhausted and bleeding.
ROCKY HORROR looks miserable.
JANET
Yes. There you see it's instinctive.
This room is your womb. You returned
here for one thing - security.
JANET crosses to the TV monitor.
JANET
Oh Brad! What have they done with him?
CUT TO
95 TV MONITOR
She switches on the monitor.
She changes the channels on the monitor getting various empty rooms
in the castle.
Occasional shot of alsatian dogs.
Till finally she switches into BRAD's bedroom and sees BRAD sitting on
the end of the bed and FRANK lying asleep on the bed.
CUT TO
96 INT. LABORATORY NIGHT
JANET
Ahhh!
ROCKY smiles helplessly.
JANET moves away from the monitor and back to ROCKY.
JANET
Oh Brad. How could you?
(she sees Rocky's wounds)
Oh, but you're hurt. Did they do this
to you?
ROCKY nods.
JANET
Here, lie down. I'll dress your wounds.
ROCKY smiles at JANET.
A new expression crosses her face.
WIPE TO
97 INT. STUDY NIGHT
NARRATOR
(reads from a dictionary)
"Emotion". Mental agitation - an excited
state of.
(he looks up)
It is also an irrational and powerful master
and from what Janet had witnessed on the
monitor, there seemed to be little doubt that
she was indeed its slave.
WIPE TO
98 INT. COLUMBIA'S ROOM NIGHT
COLUMBIA and MAGENTA are watching the monitor.
COLUMBIA & MAGENTA
Tell us about it, Janet.
They giggle.
CUT TO
99 INT. LABORATORY NIGHT
SONG: "TOUCH A TOUCH ME"
ROCKY is lying on the operating table.
JANET is dabbing his wounds.
JANET
I was feeling done in
Couldn't win
I'd only ever kissed before
CUT TO
100 INT. COLUMBIA'S ROOM NIGHT
COLUMBIA and MAGENTA.
COLUMBIA
(to Magenta)
You mean she only ever kissed?
CUT TO
101 INT. LABORATORY NIGHT
JANET rips off a piece of her petticoat for a bandage.
JANET
I thought there's no use getting
Into heavy petting.
She rips off another piece of her petticoat.
It only leads to trouble
And seat wetting.
JANET rips another piece off her fast vanishing petticoat.
During the next verse she bandages ROCKY.
JANET
Now all I want to know
Is how to go
I've tasted blood
And I want more
I'll put up no resistance
I want to stay the distance
I've got an itch to scratch
And I need assistance.
JANET grabs ROCKY's hands and places them on her.
JANET
Touch-a touch-a touch-a touch me.
I wanna be dirty.
Thrill me, chill me, fulfil me.
Creature of the night.
Then if anything grows (she laughs)
While you pose,
I'll oil you up
And rub you down
RIFF RAFF, MAGENTA, COLUMBIA
Down, down down.
JANET
And that's just one small fraction
Of the main attraction
You need a friendly hand.
Oh, and I need action.
Touch-a touch-a touch-a, touch me.
I wanna be dirty.
Thrill me, chil me, fulfil me.
Creature of the night.
102 INT. COLUMBIA'S ROOM
COLUMBIA & MAGENTA are watching the TV relay of ROCKY & JANET.
They are amused by JANET'S inexperience, parodying her as they sing.
COLUMBIA
Touch-a touch-a touch-a, touch me.
MAGENTA
I wanna be dirty.
COLUMBIA
Thrill me, chill me, fulfil me.
MAGENTA
Creature of the night.
103 INT. LABORATORY NIGHT
JANET
Oh, touch-a touch-a touch-a touch me.
I wanna be dirty.
Thrill me chill me, fulfil me - oh -
Creature of the night.
Creature of the ni-i-ight.
We see JANET's p.o.v. of all the characters singing the last line:
ROCKY
Creature of the night.
103A B.C.S. BRAD
BRAD
Creature of the night.
103B B.C.S. FRANK
FRANK
Creature of the night.
103C B.C.S. COLUMBIA
COLUMBIA
Creature of the night.
103D B.C.S. RIFF RAFF
RIFF RAFF
Creature of the night.
103E B.C.S. MAGENTA
MAGENTA
Creature of the night.
103F B.C.S. ROCKY
ROCKY
Creature of the night.
103G B.C.S. JANET
JANET
Creature of the night. Oh.
104 INT. COLUMBIA'S ROOM NIGHT
COLUMBIA & MAGENTA's reactions.
105 INT. LABORATORY NIGHT
JANET & ROCKY in each other's arms hear another scream in the distance.
106 INT. CORRIDOR OUTSIDE LABORATORY NIGHT
FRANK is chasing RIFF RAFF with a whip. BRAD is following.
RIFF RAFF rushes into the lift and presses the button desperately but
FRANK follows him and so does BRAD. We see the lift descending.
107 INT. LABORATORY. NIGHT
RIFF RAFF slides across the laboratory floor escaping FRANK's whip.
RIFF RAFF
Aaaargh! Mercy.
FRANK
How did it happen? I understood you
were to be watching.
RIFF RAFF gets to his feet keeping a careful eye on the whip hand.
RIFF RAFF
I was only away for a minute Master.
FRANK
Well, see if you can find him on the monitor.
CUT TO
108 TV MONITOR
RIFF RAFF switches channels on the monitor.
An image of a middle-aged professorial man in a wheelchair appears.
The man is outside the castle, peering around the trees stealthily.
CUT TO
109 INT. LABORATORY NIGHT
RIFF RAFF
Master, we have a visitor.
CUT TO
110 TV MONITOR
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