Four Rooms

Four Rooms 

Screenplay by       Allison Anders

          Alexandre Rockwell

          Robert Rodriguez

          Quentin Tarantino

Produced by       Lawrence Bender

Directed by       Allison Anders

          Alexandre Rockwell

          Robert Rodriguez

          Quentin Tarantino

Cast List:

Tim Roth      Ted the Bellhop

Madonna      Elspeth

Sammi Davis      Jezebel

Amanda De Cadenet   Diana

Jamie Kennedy     Randy

Valeria Golino      Athena

Jennifer Beals      Angela

David Proval      Sigfried

Lawrence Bender    Long Hair Yuppie Scum

Antonio Banderas    Man

Tamlyn Tomita      Wife

Lana McKissack    Daughter

Danny Verduzco    Son

Patricia Vonne Rodriguez  Corpse

Quentin Tarantino    Chester

Paul Calderon      Norman

Bruce Willis      Leo

MAIN TITLES

As presentation credits begin, we hear Johnny Cash's "Home of the Blues." Then we see Allison's name, under it Alex's, under that Robert's, under that Quentin's, then under that the title logo for Four Rooms, followed by "Starring Tim Roth as the Bellboy." Then "The Guests" listed in alphabetical order of all the actors playing guests. After the actors' names, we...
 

FADE UP ON A WALL

The camera pans down a weathered wall covered with postcards from Miami Beach, Florida, the Copacabana, N.Y.C., "Wish You Were Here" from Niagara Falls, rickshaws and babes on beaches, etc...

The camera comes to rest on an old photograph of a 1930s hotel, the "Mon Signor," in its heyday, with a full staff of 30 people posed on the lawn in front.

An old guy with a staccato voice delivers a monologue:

VOICE-OVER

There used to be a staff of fifty in this place. I'm the only one left from those days. It all comes down to one sap: the night-shift bellhop, that's me. What the hell is a bellhop? You know where the name comes from?

(silence)

Of course not... It's so simple it's stupid. They ring a bell and you hop. You hop to front and center. No heroes in this line, kid. Just men doing a job. No questions asked, none answered. I try to keep it simple, kid, not too personal...

Another voice of a young man interrupts.

TED

You met any of those old stars?

THE OLD GUY

Stars! Are you kidding me? I took Rin Tin Tin out for a shit, for Christ's sakes. I taught Shirley Temple how to roller-skate. I saw Fatty Arbuckle regurgitate three cheese sandwiches right on the spot you're sitting, kid. What did you say your name was?

TED

Ted.

THE OLD GUY

Ted, right. I remember Marilyn used to come down at night and doze off in the kitchen. She liked the sound of the fans out back spinning around. Sure, these were stars, kid. Errol Flynn used to call me "Alibi." You'll pick up a few stories yourself, kid.

TED

I don't think so, not like yours.

THE OLD GUY

What do you think a star does when he goes to the bathroom, kid?

TED

Beats me.

THE OLD GUY

He pulls his pants down and takes a crap just like you and me. Take my word for it.

A wisp of smoke passes over a napkin pinned to the wall with a lip print on it signed "Marilyn." The camera pulls back to reveal Ted and the Old Guy sitting on a foldout cot in a small back room of the Hotel Mon Signor. The old man is dressed in a striped T-shirt with a bellhop's cap on. He looks like an old pirate. Next to him on the bed sits Ted, a young guy with a bellhop jacket draped over his knees. The old bellhop takes a long drag off a big cigar.

THE OLD GUY

Camacho!

TED

Who?

THE OLD GUY

The cigar. Cuban. A good cigar, wrapped in Miami. I get a box of them every Christmas from the chairman of the board. I think he sends them to me to keep my mouth shut. It's tough not to get a little personal in this business.

The old bellhop takes a hit off his cigar and stares down at his cap, lost in thought.

TED

What do you mean?

The old guy passes the cap over to Ted.

THE OLD GUY

Put it on.

Ted puts the cap on.

THE OLD GUY

Frankly, you look stupid... like the Philip Morris guy. I can't believe I wore that thing for fifty years. You keep it.

The Old Guy gets up from the bed and throws a jacket on. Pulls a few postcards off the wall, throws them in an old straw suitcase, and slams the lid down. He heads for the door. Ted follows.

THE OLD GUY

Stay away from night clerks, kids, hookers, and marital disputes.

The Old Guy pauses for a second and looks Ted dead in the eye.

THE OLD GUY

Never have sex with the clientele.

TED

No way, not me. You got any other advice.

THE OLD GUY

Always get a tip.

The door slams shut on the back room.

INT. HOTEL LOBBY – TWILIGHT

The big empty lobby of the Mon Signor. You can tell that at one point this used to be a swank place. It still is, kinda. It's also kinda decrepit. The concierge – a snappy, fast-talking, red-haired young woman in a blue blazer named Betty – stands behind the reception desk. The old man, suitcase in hand, makes a beeline through the lobby, heading toward the front door. Betty sees him.

BETTY

Sam! Hey, Sam, wait a minute!

The Old Guy stops in his tracks and turns around.

THE OLD GUY

What?

Betty comes from behind the desk.

BETTY

I just want to say good-bye.

THE OLD GUY

Who are you?

BETTY

Uhhh, Betty. The concierge. Your boss.

The Old Guy squints his eyes at the young gal.

THE OLD GUY

Oh yeah. Gotta light, sister? Goddam cigar went out.

BETTY

Yeah, sure.

She speaks to the Old Guy as she lights his cigar and he puffs away.

BETTY

I just want you to know, from the owner and all the staff, your fifty years of service have been an inspiration to us all. You're a legend in your own time, and the Mon Signor will never be the –

THE OLD GUY

Just forward my cigars, Red.

(he turns around the walks out, saying over his shoulder)

Aufwiedersehen!

Betty is left standing in the lobby. Ted appears behind her in his bellbody uniform, sans cap.

TED

Sam the bellboy. Now there was a man.

BETTY

Yeah. Oh, hi, Teddy. Ready to start the night shift?

TED

Yeah.

BETTY

Well, let me buy you a drink.

TED

You wanna buy me a drink? I'm starting my shift.

BETTY

You're not an alcoholic, are you; one drink won't kill you.

TED

Yeah, sure.

They walk out of frame. In the empty frame we...

SUPER: "NEW YEAR'S EVE 7:00 P.M."

INT. BACK ROOM – NIGHT

Betty and Ted sit in the back room, both with drinks in their hand. This dialogue is to be delivered rapid fire, Howard Hawks style.

BETTY

After fifty years, Sam retires, and you're taking over the night shift.

TED

Correct.

BETTY

You're filling some mighty big shoes.

TED

Oh, I know.

BETTY

Sam was a legend in the hotel business.

TED

Oh, I know...

BETTY

A bellhop's bellhop.

TED

An inspiration to us all.

BETTY

He ran the night desk for fifty years, all by himself.

TED

An amazing man.

BETTY

No desk clerk. No night man. No help. Just fuckin' Sam, and his wits.

TED

A man alone.

BETTY

And you're gonna do the same.

TED

I know.

BETTY

Tonight.