-
- Автор сценария:
- Майкл Фэллон
- Марк Верхейден
- Майкл Верб
-
- Режиссер:
- Чак Расселл
Робкий банковский служащий находит старинную маску, обладающую волшебной силой, благодаря чему его жизнь резко меняется. Он чувствует себя свободным и всемогущим, носится как вихрь, ничего и никогоне боясь, постоянно меняя обличия, нарываясь на неприятности и дразня судьбу. Ему ничего не стоит сплясать зажигательную румбу под дулами полицейских пистолетов.
Одна из лучших комедийных работ Джима Керри, а также роль, давшая Кэмерон Диаз дорогу в большой кинематограф.
СКАЧАТЬ
THE MASK
Directed by
Chuck Russell
Writing credits
Michael Fallon(story)
Mark Verheiden
Cast:
Actor Character
________________ _______________________
Jim Carrey Stanley Ipkiss/The Mask
Peter Riegert Lt. Mitch Kellaway
Peter Greene Dorian
Cameron Diaz Tina Carlyle
Amy Yasbeck Peggy Brandt
Richard Jeni Charlie Schumaker
Orestes Matacena Niko
Timothy Bagley Irv
Nancy Fish Mrs. Peenman
Johnny Williams Burt
Reg E. Cathey Freeze
Jim Doughan Doyle
Denis Forest Sweet Eddy
Joseph Alfieri Police Officer
EXT. HIGH SEAS - DAY
The dragonhead prow of an ancient Viking ship cuts through the thick fog of the rough North
Atlantic Sea.
MUSIC EXPLODES: WAGNER'S "GOTTERDAMMERUNG" (Twilight of the Gods)
SUPERIMPOSE: THE TENTH CENTURY A.D.
EXT. BOW OF THE SHIP - DAY
Viking explorer LEIF ERICSON carefully studies his fob compass as he dangles it above a
parchment map. His SAILORS steal nervous looks at
a large, diabolical-looking IRON BOX in the hold.
OLAF, a fierce, one-eyed Viking warrior approaches Ericson. NOTE: Dialog is in OLD NORSE,
with SUBTITLES)
OLAF
Leif, let's do the deed
before another night falls. The crew's
near mutiny.
Ericson draws his broadsword with a flourish.
LEIF ERICSON
Know this! The first man to turn
will taste my steel in his guts.
OLAF
But we've surely gone far enough.
ERICSON
That accursed box must be thrown
off the edge of the world. We
will go until we can go no more:
Suddenly there is an ear-splitting SCREECH and the entire boat rocks violently as it runs
aground.
The LOOKOUT is thrown from his crow's nest: and CRASHES straight through the deck right
in front of Ericson. His pained voice floats up
from the black hole.
LOOKOUT
:Land ho.
Ericson wheels about just as the fog parts off the starboard bow.
ERICSON'S P.O.V.
A beautiful rustic coastline stretching off as far as the eye can see.
LEIF
(gasps)
By Odin's beard:
EXT. THE NEW WORLD - A HARBOR - SUNSET
Olaf finishes digging a hole in the sand. He backs away, terrified, as burly Vikings, led by
Ericson, muscle the IRON BOX over to the hole and
quickly bury it. Ericson turns to an exotic-looking Eurasian WITCH.
ERICSON
Be quick, Witch. Let the deed
be done.
The Witch unravels a scroll and recites:
WITCH
Oh Loki, ancient one. Thy mischief
dwell now in waters, base and
bland. And in waves and sand thy
magic forever sleep:
As the Witch speaks, a strong wind kicks up and a black wall of clouds appears. The sky
explodes in THUNDER and LIGHTNING. The men
look about fearfully.
ERICSON (CONT.)
Back to the ship men, hurry.
OLAF
Captain, you've discovered a new
world. It is your right to name it.
ERICSON
Leave that to the Italians. We're
never coming back here. Never.
This land is now cursed.
DISSOLVE TO:
A SIGN: 'BEACH CLOSED - RAW SEWAGE - NO SWIMMING'
EXT. BEACH - PRESENT DAY
Hot, smoggy and packed. Cityscape of towering skyscrapers stands in the haze just beyond the
crowded beach.
SUPER: EDGE CITY - THE PRESENT
A caffeine-driven D.J's voice booms over the beach-goers' radios.
D.J. (V.O.)
Yessiree, it's a four-alarm
sizzler out there today with highs
in the upper nineties and no
relief in sight. We have a third
stage smog advisory and a metro
traffic gridlock alert.
Flourocarbons are up, the Dow
Jones is down and we're expecting
another Spike Lee movie any
second. In other words folks,
it's just another bee-youtiful
day in Edge City.
Camera ENDFRAMES on an industrial barge marked "Department of Sanitation." A crane's
cable line disappears underwater.
EXT. UNDERWATER - SAME TIME
SCUBA WELDERS repair a cracked, scum spewing pipe. One diver hits something hard with
his dredger. He unearths:
THE ANCIENT IRON BOX
Rust and barnacles partially obscure the engraved images of Norse gods and demons.
THE DIVER wedges his scuba knife under the corroded lock. Erie 'MASK' theme SFX rise as he
tries to pry open the lid.
Suddenly the PIPELINE BREAKS FREE, crushing the diver and cracking open the box.
SOMETHING (seen only in rippling shadow) explodes out of the box on a cloud of bubbles and
shoots toward the surface.
EXT. WATER
The Mask surfaces in the f.g. as lightening EXPLODES across the distant cityscape.
CUT TO:
EXT. EDGE CITY BANK
A banner displays their proud motto: "WE BANK ON TOMORROW."
EXT./INT. EDGE CITY BANK
CHARLIE SCHUMACHER (30's) gazes out the window from his cluttered desk as the crack of
THUNDER echos through the urban canyons.
CHARLIE
Look at those clouds rollin' in,
man. Freaky weather.
STANLEY IPKISS, a bright0eyed amiable young account exec pauses by Charlie's desk and
drops off a print-out.
STANLEY
Hey Charlie, can you go over these
stats? We're supposed to have
a complete report before lunch.
Charlie takes one looks at the complex print-outs and tosses them back.
CHARLIE
Woah. Sorry Stanley, I just had
my weave tightened and my head
is killing me. Be a pal and take
those over to Hinkleman, will ya?
MAGGIE, a cute young blonde now strolls by.
MAGGIE
Hi guys. Did you have any luck
with those concert tickets
Stanley?
Stanley perks up at the sight of her.
STANLEY
I sure did. Friday night, just
like you wanted.
MAGGIE
Oh, Stanley, that's wonderful.
STANLEY
What time should I pick you up?
MAGGIE
Gee, I don't know. My best
girlfriend just got into town and
I know she'd love to go. Can we
get an extra ticket for her?
STANLEY
Well: uh, actually it's sold
out. I was kinda lucky to get
these.
MAGGIE
She's only going to be in town
a couple of days and I just can't
let her sit at home all alone.
Are you sure there isn't something
we can do?
Stanley considers the situation for a moment, then pulls the tickets out of his pocket.
STANLEY
You know what? Here. You two
go.
MAGGIE
Oh Stanley, I couldn't do that.
STANLEY
No really. Go ahead. It's okay.
I hate concerts anyway. All that,
you know: music floating around.
Maggie snatches the tickets from Stanley's hand.
MAGGIE
That is so sweet. Sheila's just
going to love this.
STANLEY
So maybe you and I can get
together over the weekend?
MAGGIE
I'm not sure what's going on, but
just give me a call. You know
I like to be spontaneous.
STANLEY
Oh, sure. Me too.
MAGGIE
Stanley Ipkiss, you are the nicest
guy.
Maggie gives him a quick air-kiss and hurries off to her teller's window.
CHARLIE
That's it.
STANLEY
What?
CHARLIE
The kiss of death. As soon as
they use the "N" word it's all
over.
STANLEY
So maybe I am a nice guy. So
what?
CHARLIE
You are a rug. I am talking
astro-turf here. You're letting
these women sharpen their cleats
on you.
STANLEY
Hey, I'm a gentleman. If they
can't appreciate that, it's their
problem.
CHARLIE
You spend too much time being
"nice" to a girl, you'll wind up
sittin' around listening to her
complain about the son of a bitch
she really loves.
STANLEY
Charlie, you are a very sick
puppy.
CHARLIE
Wake up, Stanley! These are the
nineties. We're dealing with an
entire generation of dysfunctional
love junkies. You can't romance
'em. You gotta confuse 'em. It's
the only thing that gets their
attention.
(pauses)
Let me demonstrate. You see that
girl over there?
Stanley looks over at the coffee service where an attractive young WOMAN is pouring herself a
cup of coffee.
CHARLIE (CONT.)
Hi Lisa.
LISA
(forgets his name)
Oh, hi:
CHARLIE
Charlie.
LISA
That's right. Sorry.
CHARLIE
Lisa, this may seem a little odd,
but my friend over there and I
were having this discusion and
I thought maybe you could settle
it for us.
LISA
I'll help out if I can.
CHARLIE
(sheepishly)
Actually, I don't know: this
is kind of a personal question.
LISA
That's okay. Go ahead.
CHARLIE
Alright. Just for the sake of
argument, if I wasn't a happily
married man: am I the kind of
guy you'd go out with?
LISA
Oh, um: I don't know.
(pauses)
Well: yeah. I guess I would.
CHARLIE
Lisa, I have terrific news for
you.
LISA
What?
CHARLIE
I'm not married! Is this perfect
or what? Listen, there's not a
lot of women willing to come right
out like that and admit they're
attracted to a guy, but:
Lisa SLAPS Charlie, turns on her heel, and marches off.
CHARLIE (CONT.)
Jeez: make up your mind.
Stanley gives Charlie the fish eye as he returns.
CHARLIE
Okay. Bad example. Some
of these women got so much baggage
they need an emotional sky cap.
I'll tell you what Stanley,
tonight I'm gonna take you on a
love safari, deep into the darkest
heart of the urban jungle.
STANLEY
And where's that?
CHARLIE
The Monkey's Paw. Hottest new
club in town. It's a guaranteed
skirt alert and no dead beats
allowed.
STANLEY
So how are we gonna get in?
CHARLIE
Woah, do I detect a little
self-image problem there, buddy?
You just leave everything to me.
This, my friend is going to be
the perfect night on the town.
Suddenly a resounding peal of THUNDER rings out like the crack of doom. Sheets of rain pour
down on the bank's windows.
EXT. STREET
Pedestrians scramble for cover in the sudden downpour.
INT. BANK - FOYER
A young woman scurries into the bank holding a newspaper over her head. She's soaking wet
and pauses in the foyer to straighten herself out.
Charlie immediately notices her:
CHARLIE
Hold the phone. Killer at three
o'clock.
Stanley follows his gaze.
STANLEY'S P.O.V.
CAMERA does a classic CHEESECAKE TILT-UP starting with the woman's million dollar legs
as she squeezes some of the water out of her
skirt: up past her body, which through her damp summer clothes is undeniable proof that there
is a God: up: up: to her face as that
newspaper is tossed aside. She's a heart-stopping woman/child with a Cupid's bow mouth and ice
blue eyes. In other words she's trouble.
Big trouble, also known as TINA CARLYLE.
Charlie may as well have just seen the Virgin of Guadalupe.
CHARLIE
(hushed reverence)
Oh my god: A perfect dime. The
dame of dames. The Moby of my
dick.
STANLEY
Easy Charlie. You'll sprain your
eyes.
Tina now enters and walks towards Stanley and Charlie.
TINA
Excuse me, where can I open a new
account?
Charlie flashes his best 100 watt smile.
CHARLIE
You've come to the right place,
ma'am. Just step right this way
and pull up a chair:
Charlie tries to steer Tina to his desk, but she's still preoccupied with her damp clothing.
TINA
Oh, I'm sorry. I'm a complete
wreck. Will you hold this please?
She hands her shoulder bag to Stanley and peels off her wet blazer, creating another awe-
inspiring visual moment.
CHARLIE
Here, let me take that for you.
Charlie clutches her jacket with white knuckles.
TINA
Thanks.
But Tina turns and sits at Stanley's desk; Charlie is stunned at his near miss, but there's not a
thing he can do about it.
STANLEY
So, uh, what kind of account did
you have in mind?
TINA
(smiles sweetly)
Well, I'm not sure exactly. I'm
just terrible with things like
that. That's an interesting tie
Mr:?
STANLEY
Ipkiss. Stanley Ipkiss:
Tina extends her hand.
TINA
Tina Carlyle. Pleased to meet
you.
STANLEY
The, uh: pleasure's all mine.
Tina notices a box of Kleenex on Stanley's desk.
TINA
May I? I'm such a mess.
STANLEY
Oh... of course.
Tina takes out a compact and daintily blots the moisture from her face.
TINA
As I was saying about that tie. It's
like one of those, what do you
call them, ink blot tests.
STANLEY
A Rorschach test.
She twists open a tube of lip gloss andbegins to run it across her incredibly lush liips.
TINA
That's it. It looks like... um.
A young woman riding bareback.
You know, like a Lady Godiva or
something.
STANLEY
Really? I don't think I can...
She slowly runs a finger along Stanley's tie.
TINA
Or... if that's not a horse it
could be two lovers. A man and
a woman. That would be the woman
on top, of course.
STANLEY
(mesmerized)
...Of course.
She licks her lips and blots them on the Kleenex, leaving a perfect kiss impression and drops it
on Stanley's desk.
TINA
What do you see, Mr. Ipkiss?
Stanley starts to get uncomfortable under her gaze.
STANLEY
I don't know. ...Bold colors.
It's a power tie, y'know? They're
supposed to make you feel...
powerful.
TINA
Does it work?
STANLEY
Sort of. It's just a tie. Now,
about that account.
CLOSE-UP
as Tina drops her compact back in her shoulder bag and we see her flick a red L.E.D. light on.
She carefully adjusts the bag, aiming a tiny
CAMERA LENS neatly concealed within it.
Tina's pointing the bag at the open bank vault that stands a short distance from Stanley's desk.
CUT TO:
C.U. - VIDEO MONITOR
displaying the shot of the vault that Tina is broadcasting.
WIDER - INT. MONKEY'S PAW NIGHT CLUB
DORIAN TYREL - a slick nouveau-mobster complete with diamond ear stud and Matsuda
jacket watches the video broadcast from his inner
sanctum; an eclectic post-modern playroom with an array of electronic toys and minimalist gun
racks.
Dorian sips nervously on a Yoo-Hoo as he watches the show.
DORIAN
That's it sweetheart. A little
to the right.
His two gunsels, SWEET EDDY and CHUN WOO are busy at the back of the room playing air-
hockey. Serious firepower is visible in their
shoulder holsters.
DORIAN (CONT.)
Hey, will you guys keep it down
back there?
Dorian's safe cracking expert, a black hip-hop artist named DOCTOR FREEZE scribbles notes
as he watches the screen with a practiced eye.
DR. FREEZE
That's cool, man. Freeze it right
there.
Dorian punches a button and the image freezes.
DORIAN
What do you think, Doctor?
DR. FREEZE
Layout's not bad. We got us a
sweet little Perkins/Jenning time
lock. But them motion detectors
are putting the chill on my
thrill.
DORIAN
Can you pull it off?
DR. FREEZE
Hey, you're talkin' with the
Doctah, man. It's all about time
and money.
DORIAN
Yeah, well the meter's runnin'
on this one. We got less than
a week.
DR. FREEZE
Not cool. What about the coin?
DORIAN
There's plenty. And I'll be happy
to invest your share.
DR. FREEZE
What you talkin' about, man?
DORIAN
This isn't about the lousy couple
hundred thou' that's sitting in
that vault, Freeze. That's chump
change.
DR. FREEZE
Yeah? Then I'm chump number one,
man.
DORIAN
We gotta expand your horizons
Doctor. Take a look.
Dorian pulls back a curtain. An amazingly gaudy building stands on a pier across the river from
Dorian's club. A huge sign across it's archway
reads: "Opening Soon Valhalla Casino".
DORIAN (CONT.)
The Valhalla Casino. Twenty mil
of glass, neon, booze and dice.
World class sucker bait. The
grand opening is Saturday night
and it will drive this two bit
club of mine out of existence.
But I say if you can't beat 'em,
take 'em over.
DR. FREEZE
Yeah? That's Arnie the Swede's
place, man and he is one ice cold
meatball eatin' motha fucker.
DORIAN
Leave him to me. You pull off
this heist and I promise you,
it'll be all tits and champagne
from here on in.
CUT TO:
EXT. RIVER - CULVERT - SUNSET
The Mask lies tangled in a rat's nest of seaweed and garbage that's washed up in a culvert under a
bridge.
A large WHARF RAT now creeps out along the garbage sniffing curiously at its timeworn
wooden surface. It takes a tentative nibble.
CLOSER - THE MASK
begins to SHIMMER... to vibrate with its own magical inner life. The rat SQUEAKS and jumps
back, disturbing the pile of garbage.
WIDER
The Mask is dislodged and floats back out into the river. Camera TILTS UP with the Mask as it
follows the current into the dark heart of the city.
CUT TO:
EXT. CITY STREET - EARLY EVENING
Stanley and Charlie are riding along at breakneck speed in a taxi cab.
STANLEY
Hold it up right here, please.
A gun port suddenly SLAMS open and the wild-eyed Albanian TAXI DRIVER wheels about
and cocks a huge .45 from his side of the bullet
riddled partition as the cab continues to barrel through traffic.
DRIVER
Hold up?! No hold up! I keel
you very well! I splatter your
guts big time, Mr. Cowboy Man!
Stanley dives for cover.
CHARLIE
No! No! He only wants you to
stop the cab!
The driver instantly SLAMS on the brakes, throwing his passengers forward mercilessly.
DRIVER
(now totally calm)
Hokay. Pardon you very much.
Charlie helps Stanley sit back up.
CHARLIE
It's alright, Stanley.
STANLEY
(softly)
I hate this town. I really hate
this town.
CHARLIE
Why are you getting out here?
STANLEY
I gotta pick up my car.
CHARLIE
Fine. Now don't forget. Ten
o'clock at the Monkey's Paw. I've
already got us lined up with a
couple of authentic dimes.
Stanley steps out of the cab.
STANLEY
Charlie, please. The last time
you said that you showed up with
two lesbian mud-wrestlers.
CHARLIE
Well, I can't promise we'll get
that lucky again... Later!
With a SCREAM of tires the cab peels back out into traffic.
CUT TO:
INT. RIPLEY'S AUTO FINISHING - EARLY EVENING
Stanley enters the grease spattered, cluttered garage and scans the area for signs of life. We can
hear the CLANK-CLANK-CRASH of some
less than light-fingered automotive work in progress.
Stanley DINGS a little service bell sitting on a counter plastered with naked playmate decoupage
and Mrs. Power Tool '93 calendars.
STANLEY
...Hello?
IRV, a lumbering unshaven behemoth of a man with permanently low-slung refrigerator
repairman pants, makes his way past half rebuilt car
carcasses towards Stanley.
IRV
Hang on. Hong on. Don't get your
panties in a twist.
BURT, a thinner version of Irv with Coke bottle glasses and a mop of greasy hair, pops up from
beneath a car, RIPS out of chunk of motor and
wiring and holds it up to Irv.
BURT
(examining part)
Hey Irv, what the hell is this?
IRV
(eyes it carefully)
Ohh... I dunno. About seven
hundred bucks.
They both laugh evilly as Irv slaps Burt on the back. Irv makes his way over to Stanley, still
chuckling to himself.
IRV
Now what can I do for you, Bub?
STANLEY
I'm here for the Civic.
IRV
Japanese car, right? Kind of a
nasty pea soup green?
STANLEY
Well, they call it Emeral Forest,
actually...
Irv turns back to Burt.
IRV
Burt! Pea green Civic!
Burt pops back up from beneath the hood.
BURT
Green Civic... Green Civic. Oh
yeah! Brake drums are still on
order and I'm only halfway through
rebuilding the trans.
STANLEY
But I just brought it in for an
oil change!
IRV
Yeah? Well you're lucky we caught
those other problems before they
caused some serious trouble.
STANLEY
Alright. Alright. When will it
be ready?
Irv looks over at Burt, who gives him a "Make something up" look.
IRV
Come back tomorro...
(Burt shakes his head "no".)
...First thing next wee...
(Burt shakes again)
...next month?
(Burt shakes an enthusiastic "yes".)
Yeah, first thing next month.
That's if we can get the parts.
STANLEY
What am I going to do in the
meantime? I can't afford to keep
taking cabs all over town.
Irv smiles a rotten-toothed smile.
IRV
Oh, hell... we can take care of
that!
(to Burt archly)
Hey Burt, bring around the loaner.
(to Stanley)
And for you little buddy, only
ten bucks a day.
CUT TO:
EXT. MONKEY'S PAW - NIGHT
The joint is jumping with musclehead BOUNCERS picking and choosing from the crowd of
terminally trendy WANNABE'S gathered around the
entrance. A light drizzle is falling.
A parade of swanky cars pulls up one by one as CAR HOPS scurry to keep up with the flow;
A glistening pearlescent Rolls Royce.
A fire engine red Ferrari.
A classic two tone Corniche in tan and burgundy.
And finally a broken down Citroen in rust bucket red and spackle gray RUMBLES up to the
front of the club with a disgruntled Stanley behind
the wheel.
A car hop attempts to open the door, but it's rusted shut. Stanley throws his shoulder into it and
the door finally pops open with a SCREECH of
metal. Stanley nearly tumbles out into the street.
He smiles nervously at a high class couple looking with disdain at the eyesore-mobile. He pats
the hood.
STANLEY
It's a classic.
The car hop jumps in and tries to throw the car into gear with a horrible GRINDING. He finally
waves over two other car hops who quickly push
it off down the street.
CHARLIE
Hey, Stanley. Nice wheels. What
is that, a Rolls Canardley?
STANLEY
A what?
CHARLIE
You know, a Rolls Canardley.
Rolls down one hill canardley roll
up the next.
(he cracks up)
STANLEY
We are not discussing the car,
okay?
CHARLIE
Whatever you say, man.
Charlie gestures expansively towards the club.
CHARLIE
What do you think? Pretty
terrific, huh? This place make
Sodom and Gomorrah look like
Mayberry.
Stanley now notices a life-sized poster of Tina Carlyle standing by the main entrance that reads
"Featuring the Musical Stylings of Miss Tina
Carlyle."
STANLEY
Hey, isn't that...
CHARLIE
Right. The wet dream from the
bank.
(pauses)
Hold on... I think I see my future
ex-wife.
Two rather tacky looking GIRLS beckon Charlie from the crowd.
GIRLS
Hey Charlie! Charlie!
CHARLIE
(waves)
We're in luck. It's Barbie and
Pebbles.
STANLEY
Doesn't it bother you that all
the women you know are named after
cartoon characters?
Barbie and Pebbles hurry over through the crowd.
BARBIE
We've been waiting out here for
hours. Can you get us in?
CHARLIE
No, problemo. Ladies, this is my
pal Stanley Ipkiss.
(leans closer)
Stanley's very influential in the
banking business.
Charlie is truly in his element as he elbows his way through the crowd dragging his entourage
with him.
EXT. THE FRONT DOOR
Charlie finally makes through the crush of badies at the entry way's velvet ropes and calls to one
of the two hulking BOUNCERS that guard the
door.
CHARLIE
Hey Bobby! Bobby, buddy. What's
happening man?
Bobby completely ignores Charlie as he ushers a pasty faced ROCK STAR and his underage
TARTLET past the ropes.
CHARLIE (CONT.)
(to the girls)
This will just take a second.
(to the other bouncer)
Yo Nick! It's me... Charlie!
Nick is also completely oblivious.
STANLEY
Forget it, Charlie. I refuse to
stand here waiting to be judged
by these power-mad steroid
jockeys.
CHARLIE
How much cash you got on you?
STANLEY
What?
CHARLIE
You heard me. How much you got?
STANLEY
I dunno, fifty or sixty bucks.
CHARLIE
Hand it over.
STANLEY
No way.
CHARLIE
Hey, I'll pay you back! I'm only
carrying plastic. C'mon man, you
want to stand out here all night?
Stanley begrudgingly starts to count out some cash. Charlie snatches the whole wad and elbows
his way back around to the ropes.
CHARLIE
(subtly flashing bills)
Hey Bobby!
Bobby's uncanny tip radar suddenly lights up.
BOBBY
Charlie, how you doin' man? Long
time no see.
Bobby unsnaps the rope for Charlie and gets the cash handshake he longs for.
The crowd surges around Charlie, Barbie and Pebbles as they step by, briefly cutting Stanley off.
He catches up just as the all-important rope is SNAPPED closed.
STANLEY
Hey, wait a minute! Charlie!
But Charlie and the girls have already been whisked inside. Dorian now steps out of the club and
begins to check Bobby's list.
STANLEY (CONT.)
I'm with them! Hey, Bobby!
But Bobby is back into his deaf and dumb routine. Stanley unsnaps the rope himself and starts
throgh. Bobby and BOUNCER #2 immediately
grab Stanley and quickly subdue him.
STANLEY
Hey! Leggo... awk!
Dorian glares at Stanley.
DORIAN
Lose him.
The bouncers drag Stanley through the crowd and unceremoniously toss him out into the rain-
slick street.
ANGLE ON THE STREET
Stanley slowly rises, smoothing out his disheveled clothing. A horn BLARES and Stanley
scrambles to one side as a limo swings into the
club's alleyway, splattering him with a wave of muddy water.
Stanley wipes the mud from his eyes just in time to see Tina Carlyle escorted from the back of
the limo by a CHAUFFEUR carrying an umbrella.
She's shoe-horned into a heart-stopping red dress that's fighting a losing battle to restrain her
decolletage.
Their EYES MEET. Tina pauses as she recognizes him.
TINA
(smiles)
Oh... Stanley. Hi.
Stanley realizes he looks ridiculous but gives a pathetic little wave hello anyway.
TINA (CONT.)
Are you okay?
Stanley gestures "no problem" and tries to strike a casual pose against a street lamp, but slips and
nearly falls.
With a SQUEAL of grinding gears and the KA-POW of a backfire, the car hop pulls Stanley's
battered loaner right up behind him.
Stanley flashes a last nervous smile at Tina, and digs for the car hop's tip money... nothing.
He shrugs apologetically to the disgusted car hop and climbs in. The car RATTLES, COUGHS
the finally ROARS off in a cloud of noxious
exhaust fumes.
DISSOLVE TO:
EXT. TAHOOCHIE BRIDGE - NIGHT
A forlorn looking spot on the outskirts of Edge City. We can hear Stanley's car SPUTTERING
and POPPING along before it actually pulls into
sight on the dark rain-slick street.
INT. CAR
Stanley drives along in a miserable daze. Suddenly the engine starts KNOCKING violently and
the car dies.
EXT. BRIDGE
Steam HISSES from the radiator as the car slowly rolls to a stop. Stanley GRINDS the ignition
key again and again trying futilely to restart the
engine.
Finally, Stanley fights his way out of the rusted door with a SQUEAL of metal, turns and kicks
the bumper: which promptly falls off with a
resounding CLUNK.
Beat.
The front axle collapses, the tires fall off and the driver's side door CLATTERS to the ground.
Stanley stands there staring at the steaming heap of useless metal: his mind a complete blank.
He slowly turns, looking down at the black brackish water swirling along beneath the Tahoochie
Bridge. A wave of melancholy sweeps over
him. Stanley plucks a button from his coat and watches as it drops down: down to the river
below.
Suddenly, something catches Stanley's eye: a BODY, floating along in the darkness. He snaps
back to reality.
STANLEY (CONT.)
Hey: Hey mister!
EXT. RIVER BANK
Stanley rushes down the slippery embankment beneath the bridge. He spots the body dead ahead,
floating along in the moonlight and hurries
as fast as he can.
CAMERA DOLLIES with Stanley as he scrambles down the slope; a black cat YOWLS as it
races past him. He steps on and shatters a
discarded mirror, and he ducks under an old ladder that leans against the bridge's foundation as
he finally reaches the shore.
Stanley splashes into the waist deep water just in time to catch the body as it floats by.
CLOSER - BODY
As Stanley grabs it, the "body" falls to pieces: revealing that it's nothing but a trash bag, an old
tire and some floating bits of garbage all
clinging to the "head": an old wooden Mask.
Stanley shakes his head in disgust: some lifesaver.
Stanley inspects the Mask more closely; strange ritualistic symbols carved into a puckish face
with a leering grin and eerie empty eye holes.
The faintest sound of a haunting "Mask SFX Theme" rises as Stanley turns the Mask around and
inspects the inside: slowly bringing it
closer and closer to his face. The surface of the Mask begins to SHIMMER.
But then: RIBET! A frog jumps out of it, right into Stanley's face. Stanley nearly loses his
footing on the slippery river bottom.
Suddenly a blinding SPOTLIGHT shines down from the bridge and an amplified voice calls out
from a squad car.
POLICEMAN
Hey, you! What are you doing down
there?
Stanley squints into the light, trying to think of a reasonable answer.
STANLEY
I was just looking for:
(holds up Mask)
My mask.
CUT TO:
INT. MONKEY'S PAW - NIGHT
The club is closing up. WAITERS stack chairs on top of tables in the B.G. as Tina gathers her
sheet music from her PIANIST.
TINA
Thanks Reno, you're the greatest.
RENO
G'night, doll.
Tina crosses to the bar area where Dorian lounges with DR. FREEZE, SWEET EDDY and
CHUN WOO. Dorian toasts her as she pulls up a bar
stool.
DORIAN
That was a great performance,
baby. But not as great as the
one you pulled off at the bank.
TINA
Yeah, well don't get used to it.
I'm not going to start running
cons for you again, Dorian. I'm
a singer now and that's it.
Dorian rolls his eyes at Freeze, "Get her".
DORIAN
Oh, really? And you had such a
red hot career before you latched
on to me?
Tina pours herself a drink.
TINA
Who latched on to who?
DORIAN
Get real, Tina. You'll do what
I say or I'll drop you back where
I found you, slingin' hash and
dodgin' horny peterbuilt drivers.
TINA
(downs a shot)
Don't push me, Nicky. I might
just take a walk I should have
taken a long time ago.
DORIAN
(chuckles)
Easy, baby. Easy.
(to his men)
I love it when she gets pissed.
Dorian scoots over and puts an arm around Tina. She remains cool.
DORIAN (CONT.)
C'mere. You take a hike and who's
gonna kiss you like Dorian Tyrel.
Tina pours another shot.
DORIAN (CONT.)
C'mon. Who?
Tina finally cracks a smile.
TINA
Nobody.
DORIAN
(pulls her close)
That's right, baby. C'mere.
Tina slowly leans in for a kiss, her lips softly parted: but raises a finger to Dorian's lips,
stopping him cold. She glances over at Freeze.
TINA
Sorry. I never get personal in
front of the help.
Tina abruptly stands and exits as Freeze glares at her.
Dorian breaks into laughter.
DORIAN
That broad kills me.
DR. FREEZE
She just might, man. The bitch
is trouble.
Dorian pours them all a drink.
DORIAN
C'mon Doctor, lighten up.
(raises his glass)
Here's to Edge City Bank.
May it crack like an egg on Easter
Sunday.
Their glasses CLINK.
CUT TO:
EXT. APARTMENT BUILDING - NIGHT
The police car pulls up in front of Stanley's brownstone and he wearily climbs out.
OFFICER
Okay, Mr. Ipkiss. Try to be a
little more careful next time.
STANLEY
Thanks Officer.
The black and white pulls away and Stanley starts across the empty street.
VOICE
Hey, mister:
Stanley turns.
A razor-cut DEATH'S HEAD PUNKER hops down from a fire escape in a darkened alleyway.
DEATH'S HEAD
You a cop or something?
A half dozen other DEATH'S HEADS appear out of the shadows all decked out in nipple chains,
tattoos and other self-mutilation-as-fashion
oddments.
STANLEY
Uh: no. They just gave me a
lift.
DEATH'S HEAD
A cop chauffeur? I never seen
that before. How about you boys?
The other Death's Heads pipe up with "Not Me," "Nope," "Pretty special," etc. as they slowly
surround Stanley.
STANLEY
Alright, you guys. It's been a
tough night. I haven't got any
money. I haven't got a car. All
I have is this and you're
welcome to it.
Stanley tosses Death's Head #1 the Mask.
He briefly inspects the funky looking antique, still slick with river slime, then tosses it back. He
approaches Stanley.
DEATH'S HEAD
Hey, man. You got us all wrong.
We don't want any trouble. I was
just going to ask you for the
time. That's all. You got the
time?
STANLEY
Uh: yeah.
As Stanley pulls back his sleeve to check his watch, the Death's Head flicks out a butterfly knife.
With a FLASH of steel, he slices straight
through Stanley's watch band and snatches the watch.
DEATH'S HEAD
(holding up his prize)
See, I only wanted the time! Heh,
he, heh:
All the punkers laugh like the half-wits they are as Death's Head #1 shoves Stanley into Death's
Head #2. #2 pushes him back across to #3 and
so on. Stanley is roughly bounced back and forth more and more violently within the circle of
giggling street toughs. He finally breaks free and
scrambles to his front door, still reeling with dizziness. He fumbles with the key and SLAMS the
door behind him as the Death's Heads roar with
laughter.
CUT TO:
INT. APARTMENT BUILDING - NIGHT
Stanley's wet shoes SQUEAK as he tiptoes past -
APARTMENT "A" - MANAGER
A sign that reads "Quiet Please" hangs from the doorknob. Stanley continues past it to Apartment
"B". Just as he removes his keys - the
Manager's door flies open and MRS. PEENMAN appears. She's an old dragon in hair curlers
who will probably live forever just to spite her
relatives.
MRS. PEENMAN
Ipkiss! Do you have any idea what
time it is?
Reflexively, he looks at his (now empty) wrist.
STANLEY
Actually, no.
MRS. PEENMAN
It's three o'clock in the morning!
First, you wake up the entire
building laughing it up with your
pals. Then, you come in and start
squeak -
(sees puddles)
My new carpet! Just look at that!
This is coming out of your
cleaning deposit Ipkiss!
Stanley, battered, bruised and soaking wet is deep in urban shell-shock.
STANLEY
(softly)
Are you done?
MRS. PEENMAN
:Yes.
STANLEY
I think I'll be going to bed now.
Mrs. Peenman SLAMS her door.
INT. STANLEY'S APARTMENT - CONTINUES
Small, full of books but very neat. A few cherished animation cels from 1940s cartoons are
framed on the wall. As Stanley locks the door behind
him - he's greeted by MILO, a happy little terrie sized mutt with a big heart.
STANLEY
Hello, Milo.
Milo gets so excited he starts GAGGING and COUGHING.
STANLEY (CONT.)
Easy, buddy. I missed you too.
Stanley pats Milo on the rump, crosses his tiny kitchenette and heads straight into:
THE BEDROOM
Stanley's prized collection of "golden Age" Looney Tunes tapes are neatly displayed on a simple
bookshelf.
He tosses the Mask down on his bedside table, pops one of his cherished Tex Avery cartoons
into the V.C.R., plops down on his bed and
starts to strip off his shoes and socks.
MILO
enters, holding a Frisbee in his mouth.
STANLEY (CONT.)
C'mon, Milo. I'm beat.
(to the dog YIPS)
Okay, okay. One throw.
Stanley tosses the Frisbee into the air. The disk sails:
OUT OF THE BEDROOM AND INTO THE HALLWAY
Milo runs it down, leaps up, and makes a perfect catch. He trots back to the bedroom, and drops
it in Stanley's lap.
STANLEY
Easy. This is the best part.
On the screen a cartoon dog ZZZIPS into frame and drops a frizzing stick of dynamite down a
bad guy's pants. KA-BOOM! The dog LAUGHS
maniacally.
Suddenly there is a POUNDING on the wall that rattles Stanley's framed cartoon cels.
STANLEY (CONT.)
(calls out)
Sorry Mrs. Peenman.
With a sigh, he ejects the tape and a much quieter talk show POPS on. Larry King and a guest.
Stanley rises and crosses into the bathroom to wash up.
ANGLE ON T.V.
King's guest, Dr. Arthur Neuman, is replying to a caller.
DR. NEUMAN
That's correct. The truth is we
all wear masks, metaphorically
speaking. We repress the Id:
our darkest desires and hide
behind a more socially acceptable
image of ourselves in order to
cope with the frustrations of our
day to day lives.
Stanley's only half listening though the open bathroom door as he brushes his teeth.
STANLEY
Think I'm repressed, Milo?
Stanley tries a couple of fierce expressions in the bathroom mirror, his mouth foaming with
toothpaste.
Milo does that doggie-head-cocked-sideways "What the hell?" look.
STANLEY (CONT.)
(half-heartedly)
Nah.
He spits and rinses.
ANGLE ON T.V.
as King wraps it up, displaying the doctor's book.
LARRY KING
The book is "The Masks We Wear,"
by Dr. Arthur Neuman. Thank you
Dr. Neuman.
Stanley pops off the T.V.with his remote.
STANLEY
No thank you, Dr. Neuman.
As he buttons up his P.J.s, Stanley notices Milo warily sniffing at the strange Mask, which is still
lying on the bedside table. A subtle
SHIMMER crosses its surface. Milo WHIMPERS and quickly hops off the bed.
We now begin to hear the "Mask Theme": echoes of the POUNDING Viking drums: growing
louder. Haunting whispery VOICES seem to
call to Stanley as he slowly crosses to the bedside. He picks up the Mask and turns it over in his
hands running his fingers across the time
work wood. The music builds:
He turns back to the bathroom mirror and slowly raises the Mask to his face. Milo watches
apprehensively from beneath the bed.
For an instant - the MASK SHRINK WRAPS like a vacuum over Stanley's head. We hear the
PIERCING MASK SFX.
Then, a beat later, the Mask is off with a POP. The SFX STOP.
STANLEY (CONT.)
Whoa.
Stanley studies the old mask, then his own face in the mirror. Everything's status quo. It must
have been his imagination.
STANLEY (CONT.)
Naw:
He puts the Mask on again - firmly this time. Milo dives under the bed as:
AN INCREDIBLE METAMORPHOSIS BEGINS:
RUBBERY WOODEN WHIPS shoot out of the Mask and wrap around Stanley's head - locking
the Mask in place.
STANLEY'S PAJAMAS magically reweave themselves: growing in all directions.
HIS HEAD THROBS AND EXPANDS, turning lime green as it unites with the Mask.
STANLEY GRABS HIS HEAD - His body begins to move uncontrollably.
Spinning faster and faster like a gyroscope. The SFX get loonier and loonier as he becomes:
A HUMAN TORNADO. Stanley's words are almost unintelligible as his voice jumps one, two,
five octaves.
STANLEY
Hellllllllppppmmmmmmmeeeeeeeee:
A HAND reaches out of the twister and locks onto the bedpost. The whirlwind SCREECHES to
a halt, causing sparks and smoke to rise from
the singed carpet. The smoke clears revealing:
THE MASK CREATURE
He's dressed in a snazzy zoot suit - a distortion of the paisley material of Stanley's pajamas.
The head is no longer Stanley's. It's large, bald and bright green. The huge bug-eyes glow with
mischief. The nose is small, bony and beaked.
The mouth and teeth are enormous and gleaming white as he breaks into a learning grin.
The overall effect is devilishly loony, but not altogether unhuman. In fact, there's something
downright charming about him.
The Mask checks himself out in the mirror and likes what he sees.
THE MASK
S-s-s-nazzy!
He SNAPS his bow tie with a crazy gleam in his eyes.
THE MASK (CONT.)
It's party time!
INT. HALLWAY - NIGHT
Trying to ber VERY, VERY quiet, the Mask tiptoes down the darkened corridor. The floor
makes a barely audible CREEEEK as the Mask steps
with exaggerated care pst APARTMENT "A" with it's little "Quiet Please" sign. He raises a
finger to his lip, making the "SHUSH" sign.
Suddenly - and unexplicably - a ringing ALARM CLOCK leaps out of Stanley/Mask's pocket
and starts jittering down the hall.
STANLEY/MASK
O, jeepers--!
Stanley/Mask tries to snag the clock, but it bounces away every time. Frustrated, he pulls a full
sized SLEDGEHAMMER from his pocket and
starts POUNDING the floor in an effort to stop the clock. Glancing blows shatter the clock face
and most of the works, but those bells just keep
ringing.
The hammer, of course, slams craters the size of manhole covers into the floor and reverberates
through the building like THUNDERBOLTS.
The door bursts open and Mrs. Peenman's angry face pops out covered in blue mud pack and
framed in curlers. She gets one look at the Mask
with his oversized carnival mallet raised over his head and SCREAMS bloody murder.
The Mask SCREAMS in response, his eyes bugging out on stalks and his mouth expanding to
the size of a tuba in mock horror.
Mrs. Peenman's door SLAMS shut and reopens a beat later as she appears cocking an enormous
shotgun.
MASK
Easy lady! I was just killin'
time!
The Mask starts ricocheting off the walls HOOTING maniacal laughter as Mrs. Peenman lets
loose with both barrels. KA-BOOM.
The Mask bounces off walls as Mrs. Peenman continues to blast away, and finally leaps straight
out the window. KEE-RASH.
EXT. APARTMENT - NIGHT
Sending his body SAILING our through the air towards the street seven stories below.
STANLEY/MASK
Ahhhhhhhhhhhhhhhh-
EXT. CITY STREET - NIGHT
SPLAT. Stanley/Mask lands face up in the middle of the street. He slow: painfully starts to rise
as a STREET CLEANING machine turns a
corner and RUNS DIRECTLY OVER HIM. The machine disappears down the street as we
HOLD on Stanley/Mask's flattened body.
He raises one arm, grabs himself by the head and peels himself off the street. He shakes himself
out with one sharp CRACK and straightens his
zoot suit. He's shocked to find a tiny SPOT on his sleeve.
STANLEY/MASK
Hey! You missed a spot!
As if on cue, a SECOND street cleaning machine SLAMS into him and RUNS OVER HIM
AGAIN. This time he reinflates himself back into 3-D
by blowing into his thumb and hops up.
STANLEY/MASK
And next time, no starch!
Fully recovered, Stanley/Mask starts down the street, strutting like a prize fighter.
VOICE
Hey mister:
Death's Head punker #1 hops down from his fire esscape behind the Mask.
DEATH'S HEAD #1
(grins evilly)
:You got the time?
The Mask turns to see he is surrounded by the Death's Head punkers. He seems to be delighted
by their presence, but now that they see his
face, they're totally freaked.
MASK
(wiggles eyebrows)
Why of course, Cubbie. I got all
the time in the world!
He whips out his forearm (which grows large for emphasis cartoon-style). It's covered with
crazily spinning watches, CHIMING cuckoo clocks
and sun dials.
MASK
London, Paris, Rome, standard,
substandard and no standards at
all! And for our English friends
we have: Big Ben!
DEATH'S HEAD #1
Big Ben?
Stanley/Mask KICKS a nearby street post, snapping it in half and sending a large decorative
street clock PLUMMETING into the sidewalk.
KA-BONG! It completely obliterates Death's Head #1. The other gang members jump back in
shock as the Mask races around the corner.
DEATH'S HEAD #2
Get him!
The Death's Heads pull out nasty homemade weapons and race around the corner into the
alleyway.
INT. ALLEY
They come to a screeching halt as they discover Stanley/Mask dressed as a carnival barker.
Multicolored lights and Calliope music come from
out of nowhere.
MASK
And for my next trick:
Long pink and blue balloons appear in Stanley/Mask's hands and he instantly goes into a frenzy
of twisting and knotting them into an
elaborate balloon sculpture. SQUEAK. SQUEAK. SCREECH.
The Death's Heads are too stunned by the severe weirdness of all this to do anything but stand
there and stare. (These guys were no rocket
scientists in the first place.)
MASK (CONT.)
And viola! We have a giraffe!
Sure enough, he's created a first rate balloon sculpture. He hands it to the biggest, dumbest
Death's Head, who grins like a little kid upon
receiving it.
The Mask instantly goes into another flurry of motion, sculpting more balloons. SCREECH
POP.
MASK (CONT.)
A few more twists of the wrist
and for you, Cubbie.
He hands this next prize to Death's Head #3.
MASK (CONT.)
A French poodle! And finally my
favorite:
He goes into another flurry of motion.
E.C.U. - BALLOON
As the Mask pulls the ends of the knotted balloon, it straightens out and MORPHS into:
MASK (CONT.)
A Tommy gun!
A real one! He immediately sprays the Death's Heads with hot lead. RATATATATATAT!
The greasy punkers dive for cover and scramble out of the alley under a hail of bullets.
Stanley/Mask tosses the gun aside, intoxicated with his newfound powers.
MASK (CONT.)
Wait a minute. This is
incredible! Why, with these
powers I could be a superhero!
I could fight crime: Work for
world peace:
C.U. - THE MASK
MASK (CONT.)
But first!:
CUT TO:
EXT. RIPLEY'S AUTO FINISHING - NIGHT
It's late, but there's still a light on inside.
INT. GARAGE - NIGHT
Burt and Irv, both woozy from drink, attempt to finish a card game. A dozen empty beer bottles
and two half eaten chili dogs adorn the table.
Irv takes a big bite of his chili dog and pauses to regard it like a true connoisseur.
IRV
Now these are serious chili dogs.
BURT
I know. Here's the proof:
(lets out a long BUUURP)
Aaah. Even tastier the second
time around.
Irv leans forward and sticks out his index finger.
IRV
Hey Burt, pull on my finger.
BURT
No way, man.
IRV
No, really. Go ahead.
BURT
Irv, don't:
Irv raises a leg anyway and rips off a nasty fart. BRAAAP!
IRV
(proudly)
That, my friend is the sweet smell
of success.
BURT
(shrugs)
No style. I give it a five tops.
IRV
Okay, how about: Soprano.
Irv shifts his weight and hits an amazing high note. PWEEEEEP! Burt is impressed in spite of
himself.
BURT
Fine muscle control.
IRV
And now for my grand finale,
THX: The audience is listening!
Irv lets one loose in perfect sensurround.
Suddenly the front door EXPLODES inward. Stanley/Mask stands there SILHOUETTED like a
gunfighter from a Clint Eastwood movie.
Irv squints into the light, unable to make out the mysterious figure.
IRV
Hey, 40 watt: we're closed!
Nobody's here.
MASK
Ah: but you're here.
Irv rises.
IRV
What I mean is:
He lets loose a sneaker to help make his point. POOOOT.
IRV
Nobody's here that wants to
help you.
Stanley/Mask now steps into the light.
MASK
But I'm here to help you.
Burt and Irv's eyes go wide as they get a better look at their nemesis. Fear loosens Irv's sphincter
and a last feeble bit of gas escapes with a
FWEEP!
Stanley/Mask whirls about with a flourish and pulls two gleaming mufflers from the wall.
MASK
Sounds like you have a little
exhaust problem there!
There's a mad gleam in his eyes as he spins the mufflers like two huge pistols and SNAPS them
to a halt.
MASK (CONT.)
We better do a few touch ups
before you have some serious
trouble.
The Mask TWIRLS out of frame like a human tornado.
Camera PUSHES IN past Burt and Irv's shocked expressions into an E.C.U. of the garage's bare
light bulb as it JIGGLES on its wire.
We can't see the mayhem, but we can hear wacky/bizarre sound F.X. as the Mask whirls about
the garage. WHIZ! SCREECH! BANG! AHOOGA!
BURT AND IRV
No!: Wait! Eeeeeyaah!
SLOW DISSOLVE TO:
As that light bulb becomes the morning SUN peaking over Edge City's skyline. CAMERA
PULLS BACK through Stanley's bedroom window:
INT. STANLEY'S APARTMENT - BEDROOM - DAWN
Stanley slowly awakens. He grabs his head and moans, looking and feeling completely hung
over. Then suddenly he remembers - and jumps
out of bed with a start.
He looks in the mirror, touching his face. It's the same old Stanley. He looks at his paisley PJ's.
Same old PJ's.
He picks up the mask. Same old mask.
STANLEY
A dream: It was only a dream.
Stanley starts to relax. There's a KNOCK at the door.
INT. HALLWAY - DAWN
Stanley's greeted by LT. KELLAWAY (50). This hound-dog of a cop can't help but stare at
Stanley's garish pajamas.
LT. KELLAWAY
Nice PJ's pal.
STANLEY
Can I help you?
LT. KELLAWAY
You're Ipkiss? Stanley Ipkiss?
STANLEY
That's right.
LT. KELLAWAY
Some kind of prowler broke in and
attacked Mrs. Peenman.
STANLEY
(swallows hard)
Really? I didn't hear a thing.
LT. KELLAWAY
Then you must be a pretty sound
sleeper, Ipkiss 'cause she
unloaded a couple rounds of 20
ott buckshot five feet from your
door.
Kellaway swings Stanley's door open wider to give him a better view of the damage. Mrs.
Peenman stands there in the hall tearfully speaking to
anither OFFICER.
Stanley is flabbergasted to see:
QUICK CUTS
C.U. - The shotgun blasts in the walls.
C.U. - The pot holes left from the mallet.
C.U. - The shattered remains of the wacky alarm clock.
All flashbacks from last night!
STANLEY
(gasps)
That's: impossible!
LT. KELLAWAY
Excuse me?
Stanley quickly pulls himself together.
STANLEY
That's: a, possible. See, I
have this inner ear problem.
(wiggles a finger in his ear vigorously)
Sometimes I can't hear a thing.
KELLAWAY
(skeptical)
Is that a fact?
STANLEY
What?
Kellaway leans closer to speak more loudly, but catches himself and shoots Stanley a dirty look.
KELLAWAY
Forget it.
He hands Stanley his card.
KELLAWAY (CONT.)
Here. You remember anything
unusual about last night, anything
at all, call me.
STANLEY
Sure: thanks.
Stanley SLAMS the door and throws his body against it, his heart pounding in his chest. Milo
gives him that curious
dog-head-cocked-sideways look.
STANLEY (CONT.)
Milo, it was real! How could it
all be: real?
Stanley suddenly notices the clock on the wall.
STANLEY (CONT.)
Oh my god. I'm late!
He races into the bedroom.
INT. HALLWAY
Kellaway is taking notes as patiently as he can from Mrs. Peenman.
KELLAWAY
Look, Mrs. Peenman, you gotta
admit your description is pretty
tough to swallow.
MRS. PEENMAN
Then you can choke on it for all
I care. I saw what I saw.
KELLAWAY
Right.
(refers to notes)
A green head the size of a
pumpkin, purple zoot suit and
spats. That's a pretty serious
fashion risk for any
self-respecting second story man.
An OFFICER now hurries up the steps all out of breath.
OFFICER
Lt., we just got an emergency call
from a mechanic on 67th Street.
KELLAWAY
What?
POLICEMAN
Some kind of assault and battery.
Sound pretty bad.
KELLAWAY
(sighs)
Alright. Dont' worry Mrs.
Peenman, we'll find this guy for
you. Officer Deluca here has a
few forms you'll have to fill out.
CUT TO:
INT. STANLEY'S APARTMENT
Stanley rushes around the apartment, but he can't find his keys anywhere. He finishes tying his
tie as he searches.
STANLEY
Milo! Keys! Keys!
INT. LIVING ROOM - SAME TIME
Milo's ears prick. He leaps up and immediately starts sniffing around. He pulls a cushion off the
sofa and emerges with the keys just as Stanley
comes out, briefcaase in hand.
STANLEY
Good boy.
He pets his dog, takes his keys and starts out the door: but he pauses to take a last look at the
mask: It's eerie black eye holes and devilish
grin seem to mock him.
On sudden impulse, he grabs it, hurls it out the balcony's sliding glass door and exits.
SLOW-MO - THE MASK
Sailing end over end through the air.
EXT. BUILDING
As the mask flies out into the sir, a sudden wind kicks up.
The mask arcs back toward the building like a boomerang and lands balanced precariously on a
narrow ledge. Its mocking grin seems to glow
with triumph.
CUT TO:
EXT. RIPLEY'S AUTO FINISHING - DAY
The place looks like it's been hit by cartoon graffiti guerrillas: Everything's printed in polka-dots,
checks, tartan, etc. The
"Ripley Auto Finishing" sign hangs askew over the doorway. Letters have been sprayed out to
read "Rip Off!"
Several REPORTERS and curious ONLOOKERS stand nearby as Kellaway and his men take it
all in. PARAMEDICS appear wheeling Burt and
Irv out of the building on two gurneys.
They're both in severe discomfort and look more like cars than men: Bodies spray painted
metallic colors, hood ornaments glued to their
foreheads, wire rims under each limb, and gleaming four foot long mufflers sticking out of their
rear ends.
They wince in pain at each tiny bump of the gurney.
BURT AND IRV
Ah!: Eeeh!: Ooh!
Paramedic #3 speaks into his emergency radio-phone as Burt and Irv are loaded into the van.
PARAMEDIC #3
I want a proctologist standing
by! Yeah, you heard me! The best
one you can find.
An OFFICER steps out of the building and approaches Kellaway.
OFFICER
We were able to get a description
Lt., but it's pretty weird.
KELLAWAY
(sighs)
Let me guess: Big green head.
Zoot suit.
OFFICER
How did you:
KELLWAY
Whoever this guy is, he's a world
class twisto.
PEGGY BRANDT, an attractive young woman in her mid twenties, appears besides the other
reporters and approaches Kellaway, notepad in
hand.
PEGGY
Excuse me, Lt., I'm with the
Evening Star. Can you tell me
what happened here?
KELLAWAY
Sorry. Too early to comment.
PEGGY
It looks like some kind of mob
scare tactic.
KELLAWAY
I said no comment. Now break it
up. This is a crime scene.
As the officers disperse the reporters and other onlookers, Peggy slips away from the group.
Even though it's closed off with yellow police
tape, Peggy slips inside the garage.
INT. MECHANIC'S OFFICE - DAY
The empty garage has been turned into a topsy-turvy nightmare. The same cartoon paint job
covers the walls. Peggy looks around, sifting
through some papers scattered all over the floor. Nothing.
Then she spies the COMPLAINT BOX. Peggy opens it and pulls out a HANDFUL of pink
"comment" slips. She looks at them. Almost all of
them are from one customer - STANLEY IPKISS.
INT. BANK - DAY
Stanley, still looking rumpled and unshaven, hurriedly takes off his coat and powers up his
computer. Charlie steps over to his desk carrying a
newspaper.
CHARLIE
What happened to you last night?
The girls and I were looking all
over for you.
STANLEY
I uh, didn't feel so good. I
decided to go home early.
CHARLIE
As a matter of fact, you don't
look so good. You got to take
better care of yourself, man.
STANLEY
How was the club?
CHARLIE
Are you kidding? It was hotter
than a pistol. Did you see the
paper?
STANLEY
No.
CHARLIE
Your girlfriend got a great
review.
Chralie flips open the Entertainment section of the Evening Star. There's a great close-up of Tina
singing her heart out with the headline
"Bombshell Explodes at Monnkey's Paw."
MR. DICKEY, the smarmy office manager who is younger than Stanley, now appears.
DICKEY
Ipkiss! You're forty minutes
late! Every time you do that
you're robbing this bank of its
time and money!
STANLEY
Sorry, Mr. Dicky. It won't
happen again.
DICKEY
(snatches newspaper)
If you weren't so busy ogling
girlie pictures you'd get some
work done around here.
CHARLIE
Ah: She's a prospective client
of Stanley's, sir.
DICKEY
(sudden attitude change)
She is? Well: Next time she
comes in see that you send her
directly to my office.
STANLEY
Yes sir, Mr. Dickey.
Dickey tosses the paper back on Stanley's desk and marches off through the bank.
CHARLIE
Look at that little creep. If
it wasn't for his daddy he'd be
out somewhere shakin' down school
kids for lunch money.
Stanley toys with the Kleenex that bears Tina's lipstick "kiss".
STANLEY
You think she ever will come back,
Charlie?
CHARLIE
Who knows? Forget about her,
Stanley. A dame like that is
always looking for the B.B.D.
The bigger better deal. Ask her
what her sign is and she'll say
dollar.
STANLEY
You don't know that. She's an
artist. Maybe she's sensitive.
CHARLIE
Yeah. She can sense a guy's
credit line at two hundred yards.
Stanley, you need a girl you can
depend on. Someone a little more
down to earth... someone like...
ANGLE ACROSS THE BANK
as Peggy Brandt stops by a teller's window, looking sharp and pretty in a blazer and jeans.
PEGGY
Excuse me, can you tell me where
I can find Stanley Ipkiss?
BACK TO CHARLIE
CHARLIE
Like her! Someone like her.
(straightens tie)
As a matter of fact I could use
someone like her myself.
(rises as Peggy approaches)
Hel-lo there. May I be of some
assistance?
PEGGY
Stanley Ipkiss?
Charlie begrudgingly points to Stanley.
PEGGY (CONT.)
Hi. I'm Peggy Brandt. I'm with
the Evening Star.
STANLEY
Oh, hi. I already have a
subscription, thanks.
PEGGY
Oh no, actually I just wanted to
ask you a few questions.
STANLEY
Really? About what?
PEGGY
Ripley Auto Finishing. You're
a customer of theirs aren't you?
STANLEY
I... uh. No. I think you must
have made a mistake.
Peggy produces one of the complaint slips.
PEGGY
Isn't this a form of theirs you
filled out?
STANLEY
(nervous chuckle)
Oh, that Ripley Auto. I guess
I have stopped in there once or
twice, Miss... what did you say
your name was?
PEGGY
Peggy Brandt.
STANLEY
Wait a minute... Peggy Brandt of
"Ask Peggy"?
PEGGY
That's right.
STANLEY
(brightens up)
You printed my letter last year,
remember? "Nice Guys Finish
Last."
PEGGY
You're Mr. Nice Guy? Stanley do
you realize how much mail we got
about that letter? There's
hundreds of women out there who
are looking for a man just like
you.
STANLEY
Are you serious?
PEGGY
Of course. DO you know how hard
it is to find a decent man in this
town? Most of them think monogamy
is some kind of wood.
STANLEY
Why are you covering this story?
PEGGY
They cut my salary. I just can't
make it by on "Dear Peggy"
anymore. The truth is, I want
to be a real reporter and if I
can break this story I know
they'll let me.
(sits closer)
Look Stanley, I know Ripley Auto
is a crooked operation. They may
even have had ties to the Mob.
I'm not out to get you. I just
want the truth.
STANLEY
I wish I knew the truth, Peggy.
I really do.
CUT TO:
EXT. MONKEY'S PAW ENTRANCE - AFTERNOON
A well dressed MAN checks from beneath his sunglasses to see nobody's watching and RAPS on
the door. It opens and he quickly disappears
inside.
INT. DORIAN'S OFFICE
Sweet Eddy escorts him inside. The man removes his glasses and glances about nervously.
Dorian sits at his desk. Dr. Freeze and Chun Woo
are going over an array of high tech burglary equipment laid out on the air hockey table.
DORIAN
Good afternoon, Councilman Snell.
Nice of you to drop by.
SNELL
Cut the crap. Dorian. What's so
important that I had to come here
in person?
Dorian gazes out the window to the Valhalla Casino.
DORIAN
I got a little job for you, Tom.
I want you to pull the Swede's
gambling license.
SNELL
That's impossible. He was
approved six months ago.
DORIAN
Pull a few strings. Find
something in the fine print. I
don't care how you do it, but do
it. You owe me.
SNELL
(chuckles)
I owe you nothing, you little
piece of shit. I got your
liquor license when nobody else
would touch...
Dorian suddenly EXPLODES, overturning his desk and sending Snell tumbling backwards. In
less than a heartbeat, he grabs Snell by his shirt
ffront, SLAMS him up against the wall, SMASHES a whiskey bottle and presses the jagged edge
to his throat.
Snell hangs there whimpering. Dorian has a crazed look in his eyes as he gazes at the
Councilman's lapel.
DORIAN
(softly)
That's pretty. What is that, a
carnation?
Snell nods. Dorian takes a deep whiff.
DORIAN (CONT.)
Nice. Hey, Eddy... call my
florist. Two dozen pink
carnations to Mrs. Snell with my
regrets over her husband's
untimely accident.
Tears begin to well up in Snell's eyes.
SNELL
(gasping)
No... please. I can do it. I
can make it happen.
Dorian eases back... brushes off Snell's coat.
DORIAN
That's smart. You're a very smart
man. Now pull yourself together.
Look at you.
Dorian picks up an Uzi from Dr. Freeze's equipment.
DORIAN (CONT.)
Shut the Swede down, Snell. We'll
buy him out cheap with a little
collateral the bank is about to
provide us.
(looks at his men)
And Gentlemen... we are going to
be in the casino business.
CUT TO:
EXT. STANLEY'S BROWNSTONE - NIGHT
Distant sirens can be heard over the occasional sound of a gunshot. It's a reasonably peaceful
night in Edge City.
INT. STANLEY'S BEDROOM - NIGHT
CAMERA SLOWLY PANS off of Tina's picture, which is now taped to Stanley's dresser
mirror... to Stanley himself as he tosses and turns in a
fitful sleep. Milo lies curled up at the foot of the bed. He looks concerned over the little noises
Stanley is making in his sleep.
CAMERA PUSHES INTO AN E.C.U. of Stanley as we
DISSOLVE THROUGH INTO:
STANLEY'S DREAM - a 1940s noir-style montage:
Huge soft-lit faces loom over him, one dissolving into the next... Tina, luminous and
breathtaking speaks under heavily lidded eyes.
TINA
Or it could be two lovers.
That would be the woman on top,
of course...
Charlie looms up out of the darkness.
CHARLIE
Forget her, Stanley. Ask her what
her sign is and she'll say dollar.
Mr. Dickey appears, glaring down angrily at Stanley.
DICKEY
Every time you're late Ipkiss,
you're robbing this bank!
The shrink from the "larry King Show" floats by on a cloud of pipe smoke.
DR. NEUMAN
We must repress our Id... our
deepest darkest desires.
Finally Tina again standing beside the limo as she was that night in the Monkey's Paw alley:
TINA
Hey, are you okay.
Stanley stands at the curb, but this time he's not splattered with mud. He's decked out in first
class Armani and looks suave as hell. He looks
straight into her eyes.
STANLEY
I am now. C'mere, baby.
TINA
(swoons)
Oh, Stanley!
She runs to his arms and they embrace in a passionate kiss. But Tina suddenly pulls back and
begins rapidly licking Stanley's ear... which is
kinda weird.
E.C.U. - STANLEY
STANLEY
Tina?
Stanley suddenly realizes Milo is licking his ear... and he's just woken up.
STANLEY (CONT.)
Milo, down.
He pushes Milo away, tosses back the covers and rises out of bed. It's still the dead of night and
Stanley is all in a huff from his dream.
He spots Tina's clipping on his dresser mirror and rips it off, upset with himself.
STANLEY (CONT.)
Stupid, stupid. She'd never...
Stanley wheels about and to his complete surprise sees...
THE MASK
Through his bedroom window, propped up on the fourth story ledge. Its leering grin seems to
beckon Stanley as we begin to hear the
POUNDING beat of the Mask F.X. theme.
STANLEY
stands transfixed, staring at the moonlit face. He can almost hear echos of faint whispered
VOICES calling his name. A deadly siren song above
the pounding drums.
STANLEY
(softly)
No...
He backs away from the window.
E.C.U. - THE MASK
shimmers as the WHISPERS grow louder.
STANLEY
takes a last look at the crumpled picture of Tina in his hand and finally loses control. He bolts
from the room.
EXT. BALCONY - NIGHT
Stanley is a driven man as he makes his way out onto the narrow ledge. Milo tugs at his pajama
leg, but Stanley kicks him away and climbs out
over the ledge.
THE LEDGE
Stanley wavers precariously on the crumbling masonry, then catches his balance. His face is
bathed in sweat as he gazes at the leering face.
F.X. music THUNDERS in his head.
THE MASK
(faint echos)
Stanley... Stanley.
Stanley tries to steady himself, his eyes transfixed on his prize.
STANLEY
Just... one... last... time.
He lurches back out and makes his way one shaky step at a time towards the mask.
MILO
watches from the apratment window, whimpering softly.
C.U. - THE LEDGE
Narrow masonry begins to crumble.
STANLEY
carefully reaches down, his fingers just brushing the mask as he teeters out over nothingness.
Night traffic whizzes by down below.
THE MASONRY
cracks away.
STANLEY
SCREAMS as he begins to fall, jamming the mask to his face.
INT. APARTMENT
The window suddenly EXPLODES inwards as the whirling Stanley/Mask tornado bursts into the
room. Milo dives for cover.
The tornado scorches the rug as it wheels around the room, then SCREECHES to a halt,
revealing the Mask in his full glory. He strikes a grand
entrance pose with his arms held high.
MASK
(sings)
I gotta be me! I just gotta be me!
He ZZZIPS into the bathroom
INT. BATHROOM
The Mask sticks the picture of Tina on the bathroom mirror and blows her a kiss.
MASK
(a'la Big Bopper)
Oooooh Bay-bee. I knoooooows what
you likah!
He sprouts a couple of extra arms as he madly brushes his teeth, sprays on cologne and bats
himself with a powder puff all at once.
He ZZZIPS into the bedroom.
INT. BEDROOM
The Mask stands before a full length mirror and checks himself out. With a magical "hands are
quicker than the eye" move, he changes
wardrobe instantly... now posing in an effete fashion victim Don Johnson-style suit.
MASK
The G.Q. look?... Naw.
In a TWINKLING he's changed again: now in MTV Rapper-style over-sized jeans and
backwards baseball cap.
MASK (CONT.)
501's?
(shakes his head)
For buttonheads only.
He changes again in a flash... This time he's naked except for his Calvin Klein underwear (his
stomach muscles appear super-cut
washboard-style).
MASK (CONT.)
Marky Mark, eat your heart out.
He changes one last time and appears in a wild banana yellow zoot suit complete with a snap
brim fedora. That's the ticket!
MASK (CONT.)
S-s-s-mokin! Now let's see...
The Mask quickly searches his pockets. He pulls his pants pockets inside out and a moth flutters
out.
MASK (CONT.)
What? Seems to be a minor cash
flow problem here! I don't like
to keep a lady waiting, but...
(points a finger in the air)
First things first!
The Mask ZZZIPS out of frame.
CUT TO:
EXT EDGE CITY BANK - NIGHT
The street is quiet and empty, except for a Dipsy Doodle Diaper delivery van parked across from
the bank.
INT. TRUCK
Crowded with Dorian's men, it's been set up as a makeshift control room for the robbery. Dr.
Freeze SLAPS a clip in his 9mm and looks down
through the van's false bottom to Sweet Eddy, who is standing in an open manhole working on a
bundle of underground wiring.
DR. FREEZE
What's the E.T.A.?
SWEET EDDY
Another five minutes.
Freeze synchronizes his watch.
DR. FREEZE
Counting down... now.
Freeze presses a button on the side of a miniaturized headset he's wearing
DR. FREEZE (CONT.)
(into headset)
Lookin' good here, my man.
INTERCUT - DORIAN'S OFFICE
He sits at his desk, speaking into a high tech walkie talkie. In the B.G. Dorian's wall-mounted
video monitors display live shots of the club in full
swing.
DORIAN
Nice work, Freeze. You boy are
on your own now. I've got to make
sure I'm seen downstairs.
DR. FREEZE (V.O.)
Do it, man. The Doctah is about
to operate.
INT. VAN
Freeze turns to his men.
DR. FREEZE
Gentlemen...
(cocks his gun)
Let's do our duty and grab the
booty.
The burglars gather their gear when suddenly the bank alarm starts RINGING.
Freeze looks down the hole to Sweet Eddy.
DR. FREEZE (CONT.)
What the hell you doin', fool?
SWEET EDDY
Nothing! I didn't do nothing!
FREEZE
(to the others)
C'mon! You keep that motor
runnin'!
EXT. BANK
Freeze and company race across the street with guns drawn.
ANGLE ON THE BANK DOORS
Freeze and Chun Woo flatten themselves on either side of the door as Burglar #4 drops to one
knee and quickly picks the lock.
Suddenly the glass doors EXPLODE wide open as a HUMAN WHIRLWIND bursts out of the
bank, shoots right past them and zig-zags up the
street. Twenty dollar bills slowly drift down onto the stunned robbers in its wake.
In an instant the whirlwind does a U-turn, zig-zag races back up to them and SCREECHES to a
halt. The Mask, still in his banana yellow zoot suit
and carrying huge sacks of money like Santa Claus, plucks those stray twenties from the air, one,
two, three.
MASK
Sorry, fellas. Waste not want
not!
And ZZZOOM, he's off again. HOOTING laughter like a maniac.
Freeze pulls his gun.
DR. FREEZE
Get that sucker!
Two cop cars now SQUEAL around the corner, their sirens blaring and ROAR up the street at
the bank robbers.
DR. FREEZE
Oh, shit!
The robbers race back to the van, dive inside and PEEL OUT. The police open fire as they roar
after them in hot pursuit. Bullets tear into the
van, blowing out the rear windows.
CUT TO:
EXT. MONKEY'S PAW
The die-hard crowd of TRENDIES is piled up outside as usual clamoring to get in. But a buzz of
excitement begins to travel through the crowd
as one by one they notice...
A LIMOUSINE
But not just any limousine. As it slowly pulls up by the front of the club we realized it's long...
longer... the longest limousine we'vve ever seen.
Finally the passenger door rolls into sight and the limo comes to a halt.
The door bursts open and out leaps the Mask.
THE MASK
Ah... my public!
The crowd parts like the Red Sea as the Mask sashays to the front door. Bobby the Bouncer gets
one look at the Mask and actually loses his
cool.
BOBBY
Er, uh... Are you on the list?
THE MASK
No, but I believe my friends are.
(fans a wad of cash)
Jackson, Lincoln and Roosevelt.
He tosses a handful of loot in the air and struts into the club as the crowd scrambles for the cash.
INT. MONKEY'S PAW
This is the first time we've gotten a good look at the place and it's a real eyeful. CAMERA
BOOMS DOWN TO REVEAL its wild tropical decor
complete with live exotic birds in huge indoor Banyon trees. WAITRESSES in leopard skin
leotards make their way across the crowded dance
floor with trays full of oversized tropical drinks.
CAMERA ENDFRAMES as the hostess seats Dorian at his favorite ringside table and removes
the "reserved" sign. The lights dim an all eyes
go to the bandstand.
ANGLE OF THE BANDSTAND
A spotlight hits the stage and tropical ferns part like a gigantic fan revealing...
TINA CARLYLE
in a glittering gown that's made of little more than sequins and mesh. If there were such a thing
as fashion police this dress would be arrested
for disturbing the peace.
She talks/sings the intro of her number a capella.
TINA
There's all kinds of men
In this old world
That seek the affections
Of a beautiful girl.
But of the men from
Which to choose
There's only one type
That I... ap...aprooove.
And now the band slides in, in classic torch song style as Tina sings "Checks Appeal". She
works the room throughout the song, driving the
men crazy as she lingers by each table.
TINA (CONT.)
You can keep your cowboys
on the farm
The gigolos don't make me warm
It's mink my fingers
crave to feel
I need a man with checks appeal.
ANOTHER ANGLE
The Mask is seated at a table on the other side of the club and immediately reacts when he lays
eyes on Tina.
His eyes BUG OUT on stalks, an AHOOGA horn sounds and his heart starts POUNDING
wildly, shooting two feet out of his chest with each
beat. Customers at nearby tables are astonished.
TINA (CONT.)
Pretty boys are such a bore
There's manly macho types galore
But you'll always know
The diamond's real
If you've got a man with checks appeal.
The Mask snatches a bottle off a passing WAITRESS' tray and sucks it down in one gulp. His
head VIBRATES like an electric paint shaker.
WWWOOOING! He CLAPS both hands on his head to hold it still.
DORIAN'S TABLE
Sweet Eddy looks nervous as hell as he appears beside Dorian.
DORIAN
What the hell are you doing here?
EDDY
We got trouble. You better come
upstairs.
Dorian immediately rises and hurries through the corwd towards his office.
ANGLE ON THE MASK
as he continues to ogle Tina. His face now elongates into a wolf's. He HOWLS, WHISTLES,
pounds his fist on the table and stomps his foot on
the floor.
TINA
Don't want to see too fanatic
But dollar signs are so romantic
I want a love
That's deep and real
Just with a man that's got...
(big finish)
Checks ap-peaaal.
The audience goes crazy. Tina takes a bow.
Suddenly the Mask ZZZIPS around the perimiter of the club, leaps up on top of the piano and
SNAPS his fingers. A spotlight hits him.
THE MASK
Let's rock this joint!
He grabs the stuffy, tuxedoed PIANIST'S stool and spins it hard. When the pianist stops twirling,
he been transformed into a hip, beatnik
BE-BOPPER who immediately starts pounding out a mean BOOGIE-WOOGIE.
The Mask produces a conductor's baton from thin air, spins around and magically whips the rest
of the band into a frenzy, WAILING out a
driving rock 'n roll tune.
Satisfied with the music, the Mask leaps down onto the dance floor, grabs the astonished Tina
and drags her off her feet into a wild special
FX JITTERBUG.
THE CROWD
watches amazed as...
THE MASK AND TINA
put Fred and Ginger to shame. Jiving away at warp speed, the Mask movves like a combination
of Gumby and Barishnikov. He SHOOTS Tina
beneath his legs, SNAPS her back into midair, SPINS her like a baton and hits the floor in the
splits without missing a beat.
THE MASK
S-s-s-smokin!
CUT TO:
INT. DORIAN'S OFFICE
Dorian and Sweet Eddy enter to find Dr. Freeze, sitting there, gasping in pain with a bar towel
pressed against a bloody wound in his side.
DORIAN
What the hell happened to you?
FREEZE
I'll be okay. Nobody puts the
chill on Freeze.
DORIAN
Where's the money?
FREEZE
Deal went south, Bro'. Someone
else hit the place before we did.
DORIAN
Who?
FREEZE
Don't know. Dude looked like
a freakin' goblin or something.
Next thing we know there's cops
all over us, man.
DORIAN
Where's Chun Woo?
FREEZE
Takin' a dirt nap. It was bad,
man. Real bad.
(swallows hard)
I need a smoke.
DORIAN
Yeah... sure.
Dorian taps out a cigarette, places it between Dr. Freeze's lips and lights it... but the flame doesn't
draw.
Beat.
The cigarette tumbles from Freeze's mouth.
Dorian glances back up and sees that Dr. Freeze's eyes are glazed over in death.
Dorian leaps to his feat and hurls his chair across the room in anger. It SMASHES the mirror
over his bar.
DORIAN (CONT.)
Son of a bitch! Who did this
Eddy? Who?
Eddy is staring at Dorian's T.V. monitor. On it the Mask can still be seen in the midst of his wild
dance with Tina.
EDDY
That's him... That's the guy!
Dorian grabs a .45 from his desk, checks the barrel and jams it in his coat.
DORIAN
Come on!
CUT TO:
INT. DANCE FLOOR
The Mask spins Tina all around him like a top and then SHOOTS her straight up into the air.
Amazingly, she continues somersaulting at the apex of her ascent, suspended in mid-air by her
magical momentum.
THE MASK
stands there nonchalantly filing his nails, whistling to himself.
Tina continues to SPIN in place high above him.
THE MASK
casually checks his watch. Without looking up he holds out one hand for the catch.
TINA
perfect timing... A final somesault and she drops right back down into his arms. They go straight
back into a rockin' hitterbug without missing a
beat.
THE WINDING STAIRCASE
Dorian and Eddy race down the steps, guns drawn. Dorian calls to Bobby by the hostess' stand.
DORIAN
Clear the club. Now!
DANCE FLOOR
The dance's grand finale. The Mask spins Tina around and around his body like a baton in one of
those awful Hawaiian fire dances.
As the band bangs out the final bars of the tune, the Mask SCREECHES Tina to a halt, bends her
over backwards and nails her with a Valentino
kiss that literally blows her shoes off; SSSMACK! KAPOW!
She hangs onto the Mask's tie for support when BANG the tie is shot in half. Tina falls on her
cute behind.
C.U. - TIE
The shot-away piece of the Mask's tie flutters to the floor and MORPHS back into a piece of
Stanley's pajamas.
DORIAN
stands at the edge of the dance floor, his smoking gun trained on the Mask.
THE MASK
(gasps in mock horror)
Gee willickers! Does this mean
we won't make the Star Search
finals?
DORIAN
This means you won't make it out
of this club alive if you don't
tell me where my money is.
THE MASK
Okay...
The Mask immediately whips out an old fashioned pull handle calculator, snaps on a green visor
and starts tabulating. KA-CHING.
THE MASK (CONT.)
(fast talking)
You got a 27.5% in T-Bills
amortized over the fiscal yeah
16-3/4% in stocks and bonds/
(KA-CHING, KA-CHING)
Carry the nine and divide by the
Gross National Product...
DORIAN
Now cut that out!
(turns to Eddy)
Ventilate this goon!
Eddy pulls out his .38 and starts blasting BLAM. BLAM.
The Mask dodges the bullets by contorting his cartoon-flexible body.
BLAM. The Mask SPINS once and freezes in a pirouette, now dressed in a tutu.
BLAM. The Mask SPINS again and stops dressed as a matador, the bullet whizzes under his
cape.
BLAM BLAM BLAM
A hockey goalie bats the bullet away.
A Russian Dancer leaps over the shot.
A Cowboy DING! takes the hit.
The Mask staggers back... the forwards in a classic Western death scene. He throws an arm
around Sweet Eddy for support.
MASK
Ak... you got me Pahdnuh.
(cough... cough)
Eddy seems touched by the Mask's dying words as he holds him in his arms.
MASK (CONT.)
Hold me close, Red. It's a
gettin' dark.
(cough)
Tell Auntie Em to let Old Yeller
out.
(cough... cough)
Tell Tint Tim I won't be makin'
it home for Christmas.
(cough)
Tell Scarlet I do give a damn...
I... I... UUG!
And the Mask gives up the ghost, his pink tongue flops out the side of his mouth. Eddy bursts
into tears.
Suddenly a huge cartoon AUDIENCE pops up silhouetted in the foreground, applauding wildly.
An off-camera ARM shoots into frame handing
the Mask an Oscar.
The Mask leaps to his feet and starts taking bows.
THE MASK (CONT.)
Thank you! You love me! You
really love me!
Dorian pulls out his own .45 and opens fire.
The Mask starts HOOTING laughter and ricochets off the dance floor.
Dorian gives chase, but suddenly the nightclub doors are KICKED OPEN and Kellaway and a
squad of police burst into the room with their
guns drawn.
KELLAWAY
Drop it, Tyrel!
Dorian lets his .45 CLATTER to the ground. Kellaway retrieves it.
DORIAN
Hello, Kellaway. You got a
warrant or did you just drop by
for a night cap?
KELLAWAY
I got probable cause. A couple
of your boys were spotted knocking
over Edge City Bank.
One of his men begins to roughly frisk Dorian
DORIAN
Easy, junior. You're givin' me
a woodey.
KELLWAY
One of them was wearin' some kind
of big green mask.
DORIAN
For once you're on the right
track, but that's not one of my
men. Maybe you ought to try a
little actual police work instead
of this harassment bullshit.
KELLAWAY
This isn't harassment. You want
to see some harassment?
(to his men)
Search the place, boys.
His men begin to tear the club apart.
DORIAN
Ever wonder why you didn't make
Captain, asshole? I got friends
so high up they'd give you a nose
bleed.
Kellaway hauls off and CRACKS him in the face with a solid right cross.
KELLAWAY
Well what d'ya know? I guess they
gave you one too.
Dorian shakes it off and glares at him.
DORIAN
(softly)
You're a dead man.
One of the officers now appears on the stairway.
OFFICER
Lt., we got a stiff upstairs.
One of the guys from the heist.
KELLAWAY
(cuffs him)
Better call that high-priced
lawyer of yours, Tyrel. You're
comin' downtown.
DORIAN
I'll be back on the streets before
sunrise and you know it.
KELLAWAY
Then just think of this as the
city's way of showing you a little
hospitality.
(pats him on the cheek)
I'll stop by to tuck you in
myself.
As the police drag Dorian outside, Kellaway notices someting on the dance floor.
CLOSER
Kellaway picks up the slice of pajama fabric that was once the Mask's tie and inspects it
closely... It's the same fabric Kellaway saw Stalney
wearing that morning.
EXT. CLUB
Kellaway exits and walks right past the poster of Tina. Flattened into the poster, with his arm
around her, is a cartoon of the Mask. The eyes
follow Kellaway as he speaks to TWO COPS guarding the door.
KELLAWAY
You're on your own, boys.
COP
Don't worry, Lt. If he's in
there, well get him.
Kellaway slips the pajamas fabric in his pocket.
KELLAWAY
And if he's not, I got a
feeling I know where to find him.
As Kellaway heads for his car, the Mask slips out of the poster (still flat as a pancake), slides
along the wall behind unsuspecting policemen
and around the corner to safety.
CUT TO:
INT. STANLEY'S BEDROOM - DAWN
Milo GROWLS, Frisbee in mouth. Stanley wakes up with a massive headache and dark rings
under his eyes. The Mask, which lies on the pillow
next to him is taking a greater and greater toll. There's a BANGING on the door.
LT. KELLAWAY (O.S.)
Police. Open up.
Stanley runs to the closet to hide the Mask. The instant he opens the door, an avalanche of
CASH pours out, suffocating him.
STANLEY
Oh my god!
LT. KELLAWAY (O.S.)
Ipkiss! I know you're in there.
Stanley grabs the Frisbee and starts shoveling the money back into the closet. Now the doorbell
starts RINGING.
STANLEY
All right, I'm coming!
Stanley tosses the Mask and the Frisbee into the closet and SLAMS it shut. He scoops up a few
stray dollars and throws them under the bed.
He hurries to the door and opens it, an easy smile on his face.
STANLEY
Lieutenant, what a surprise! What
can I do for you?
LT. KELLAWAY
You can answer a few questions.
STANLEY
I've got to get ready for work.
LT. KELLAWAY
Trust me. Your bank's opening
late today.
Kellaway steps into the apartment, without waiting for an invitation. Stanley glances nervously
back at the closet. Milo is scratching at the door.
LT. KELLAWAY (CONT.)
Where were you last night?
STANLEY
Here... mostly. Is something
wrong?
LT. KELLAWAY
Maybe, yes. Maybe, no. Maybe
it's all just a crazy coincidence
that this so called "Mask"
character always seems to be
wherever you are.
STANLEY
Mask -- who?
LT. KELLAWAY
Don't insult my intelligence,
Ipkiss. First, he's spotted in
your building, then the bank where
you work and now I find this at
the Monkey's Paw.
He displays the TORN PIECE OF FABRIC. It matches the piece missing in Stanley's pajamas.
Stanley wilts.
Milo YAPS and leaps up, trying to open the closet door.
STANLEY
Milo. No!
(moves the dog away)
Okay, so I went out on the town
last night. A guy's got to have
a little fun.
LT. KELLAWAY
In your jammies?
Milo is back at the closet door. He's just about got it open as Stanley turns the detective to the
door.
STANLEY
Naw, I just took 'em with me in
case I didn't make it home. I
don't know about you, Lieutenant.
But I've got a pretty good track
record with the ladies.
Kellaway pulls away from Stanley and begins suspiciously SNIFFING the air around him.
LT. KELLAWAY
Wait a second... you smell that?
STANLEY
What?
KELLAWAY
(sniffs)
Bullshit. I hate the smell of
bullshit. Don't even think about
leaving town, Ipkiss. I'll be
in touch.
Kellaway SLAMS the front door, just as the closet door falls open -- spilling all the cash. Milo
happily snatches his Frisbee. Stanley sinks back
down on his bed.
STANLEY
What are we gonna do, Milo? What
are we gonna do?
C.U. - VIDEO MONITOR
A replay of the bank robbery, from the bank's grainy videocams. A blurred image of the Mask is
visible as he zig-zags around the bank at high
speed.
WIDER
Kellaway sips a cup of brackish coffee as Oliveras FREEZE-FRAMES the best image of the
Mask. There's a wild-eyed look of glee on his face as
he stuffs sacks full of money.
DEPUTY OLIVERAS
I don't know, boss. That's one
helluva rubber mask.
LT. KELLAWAY
Where's the lab report?
Oliveras hands it over.
DEPUTY OLIVERAS
We got fingerprints on some of
the currency, but nothing matches
Tyrel's men. Looks like this guy
beat 'em to the punch.
LT. KELLAWAY
Get the bank's employee files and
run down the prints on a guy named
Ipkiss.
DEPUTY OLIVERAS
You figure it was an inside job?
LT. KELLAWAY
Yeah, and all I need is a couple
of prints to lock this wack job
up 'till doomsday.
INT. DORIAN'S OFFICE - DAY
Dorian's assembled a war council. At the table are Sweet Eddy and assorted Button Men from
the city's underworld. An open attache case filled
with stacks of money sits before Dorian.
DORIAN
A fifty thousand dollar reward
to the man who finds this "Mask"
character before the cops do.
Get the word out to every street
hustler and low life in this town.
(pounds his fist)
I want him here. In my office.
Alive. By tomorrow! Now get
going!
Everybody scrambles out of their seats.
Tina sits in the corner of the room, painting her nails. She glances up at Dorian.
DORIAN
What are you looking at?
TINA
You. You're losing it Dorian.
DORIAN
I'm losing nothing. Except maybe
some extra baggage I don't need
around here.
TINA
What's that supposed to mean?
DORIAN
You weren't putting up much of
a fight when that green goon
kissed you last night.
TINA
C'mon, did it look to you like
I had a choice?
DORIAN
Maybe you did and maybe you
didn't, but I know this, one day
real soon I'm gonna run this town
and when I do there's gonna be
payback for anyone who crossed
me.
(glares at her)
I mean anyone.
CUT TO:
INT. BANK - DAY
The place is in general disarray but still functioning, jammed with worried depositors. Stanley
makes his way to his desk, his face pale and
unshaven. Dark circles ring his eyes.
MR. DICKEY
Ipkiss! We have a crisis on our
hands here and you stroll in over
an hour late. If I have to put
up with your slovenly:
Stanley develops an odd facial TWITCH, then:
STANLEY
(explodes)
Back off Monkey-Boy, before I tell
your daddy how you're running this
branch like it's your own personal
piggy bank! If the I.R.S. saw
some of those files we could
arrange a little vacation for you
at Club Fed!
Dickey is absolutely shocked into silence by this outburst, then:
MR. DICKEY
That will be all, Ipkiss.
Dickey turns on his heels and exits. Charlie Schumacher now appears glowing with new respect
for Stanley.
CHARLIE
Woah! What side of who's bed did
you wake up on?
STANLEY
I'm not sure.
(twitches)
I haven't exactly been myself
lately.
For a split second, Stanley's entire face CONTORTS into an alarming Mask-like expression.
CHARLIE
(warily)
Yeah, well you look like you
could use a little R and R there
buddy: and as a matter of fact
I've got just the ticket. Or
should I say tickets?
STANLEY
I'm afraid to ask.
Charlie flashes two tickets.
CHARLIE
Saturday night. Grand opening
of the Valhalla Casino. Serious
skirt alert. Everybody who's
anybody will be there. What do
you say?
STANELY
I don't know Charlie, I:
Stanley suddenly spots Tina making her way across the room to his desk.
STANLEY (CONT.)
Excuse me a second.
ANGLE ON STANLEY'S DESK
STANLEY
Tina: What are you doing here?
TINA
I heard about the robbery. I
guess I just wanted to make sure
you were okay.
STANLEY
Oh, don't worry about me.
(twitches)
I'm fine.
TINA
Are you sure? You look a
little:
STANLEY
I'm just having a little trouble
sleeping is all.
(beat)
I guess you won't want to open
that account after all this:
TINA
I'm not so sure I'll have much
to open an account with anymore.
STANLEY
What about the nightclub? I
thought you were doing great.
TINA
I don't know how much longer I
can stay there Stanley. Things
are getting a little intense.
STANLEY
Well, there must be plenty of
other places you could sing.
Maybe even get a record deal:
TINA
I wish it was that easy. There's
thousands of girls out there just
like me who:
STANLEY
Not just like you. You've got
a voice like: like an angel.
TINA
(lights a cigarette)
An angel huh? That's the first
time I've heard that one.
STANLEY
No, I mean it. You really do.
TINA
I can vamp my way through a tune.
But that's not really singing.
STANLEY
What is it with you, Tina? Why
don't you believe in yourself?
TINA
(sighs)
I guess I've just heard a lot of
promises from a lot of guys. In
the end they all wanted the same
thing and it wasn't a song.
STANLEY
So maybe you've been singing for
the wrong guys.
TINA
I'm not so sure there's any other
kind. Not for me, anyway.
(rises)
Well, I'm glad nobody got hurt.
STANLEY
Yeah.
TINA
What about this guy, the Mask?
Do the cops have a line on him?
STANLEY
I'm not sure. Why are you
interested?
TINA
Promise you won't say anything?
STANLEY
Sure.
TINA
He came to the club last night
and he was just so: well,
different. I haven't been able
to get him off my mind.
STANLEY
Really? They say he's pretty
weird looking.
TINA
Yeah. He's ugly: but he's kinda
cool: y'know, like Mick Jagger.
STANLEY
You really think so?
TINA
Yeah. If you hear anything about
him, would you call me at the
club?
Stanley nods - unsure of what to say. Tina opens the door, but before she exits:
STANLEY
Actually: I sort of know the
guy.
TINA
What?
STANLEY
The Mask. We're - old college
buddies him and I.
TINA
Are you serious?
STANLEY
Oh yeah. To tell you the truth,
I'm sorta covering for him on this
bank thing. He's not such a bad
guy, really. He just gets a
little carried away.
TINA
I'll say. Do you think you could
give him a message?
STANLEY
I suppose so.
TINA
Tell him I want to see him again
STANLEY
When? I mean, I'd need to tell
him exactly.
TINA
How about seven o'clock tonight
at Peninsula Park.
STANLEY
I'll be: I mean, I'll make sure
he's there.
CUT TO:
INT. APARTMENT BUILDING - GARAGE - AFTERNOON
Peggy parks her car in her space, locks it up and beeps on the car horn.
When she turns, she notices a shadowy FIGURE watching her from a bark corner of the garage.
She hurries down the row of parked cars, clutching her purse to her side.
The figure follows at a slow but relentless pace.
Peggy fumbles for her keys, finally finds the correct one and enters the building.
INT. APARTMENT HALL
Peggy is relieved as she reaches her apartment door and slips the key in the lock: but the lock is
jammed.
She tries and tries again: nothing. Suddenly, a hand enters frame and SLAPS an eviction notice
on her door.
LANDLORD
Sorry, doll. I had the locks
changed this afternoon.
PEGGY
You what? You can't do that!
LANDLORD
You've known we're going condo
for six months, Peggy. I can't
stall the owner a minute longer.
Either you pony up the downpayment
or you're out.
PEGGY
Just a couple more days, Phil.
The paper's ready to give me a
full time job.
LANDLORD
I've heard that one before.
PEGGY
C'mon, at least let me get a few
of my things.
Phil considers this a beat, then unlocks the door for her.
LANDLORD
Don't make me regret this. We
get a certified check by noon
tomorrow or a Sheriff will escort
you out of here.
PEGGY
Thanks Phil. You're a sweetheart.
Phil exits. Peggy picks up her things when she hears an off-camera "Pssst." She turns.
THE FIGURE
stands in the shadows by the fire escape. He's got a voice that sounds like he's been gargling
glass.
THE FIGURE
I heard you were lookin' for a
story.
PEGGY
Who: Who are you?
THE FIGURE
Just a guy with a little
information lookin' to make a
buck. But maybe I heard wrong.
You don't look like much of a
reporter to me.
Peggy gulps back her fear, determined to live up to her job.
PEGGY
You give me something worth
printing and I'll get you your
money. What's this about?
FIGURE
The guy they call the Mask and
why Dorian Tyrel's willing to pay
fifty large to get him.
PEGGY
How do I find this Tyrel?
FIGURE
Careful, sweet meat. You break
this story and he just might find
you.
CUT TO:
C.U. DORIAN
as he enters:
EXT. JORGENSON'S SMORGASBORD - AFTERNOON
Dorian and Sweet Eddy casually step through the front door of the restaurant's ersatz chalet
facade.
INT. SMORGASBORD
Sweet Eddy takes a position by the door as Dorian greets Artie the Swede at a large oak table in
the festeively decorated smorgasbord
The Swede is flanked by his gunsels as he's served by a big blonde waitress in a classic peasant
girl costume.
SWEDE
Dorian: thanks for coming by,
kid.
DORIAN
My pleasure, Swede. It's been
too long. I was worried you were
still pissed about that little
thing with Harry the Hat.
SWEDE
That? It was nothing. He was
a pain in my ass anyway. Here,
sit down, sit down.
DORIAN
Congratulations on the new casino.
SWEDE
Thanks, but it might be a little
early to celebrate. As a
matter of fact that's why I asked
you to stop by.
DORIAN
Is that right?
SWEDE
Here: have a little something
to eat. That's Svenska meatballs,
kid. The real thing.
DORIAN
Thanks.
Dorian starts to eat.
SWEDE
So, I tell you Dorian, it's a
terrible shame. I put all my hard
work into this beautiful casino
and what do you think? All the
sudden I got all kinda problems
with the city. Big problems.
The whole deal could fold.
DORIAN
Maybe I can help you out. I'm
expecting to come into a little
investment capital shortly. If
worse comes to worse and you
really need to bail out:
SWEDE
What a sweet guy. Isn't this guy
a sweetheart? Thanks for the
offer Dorian, but I think maybe
I can solve this myself.
DORIAN
Is that right?
SWEDE
That's right. You know that
Councilman you got in your pocket?
Dorian freezes with a forkful of meatballs halfway to his mouth. He notices a PINK
CARNATION squashed into the gravy.
SWEDE (CONT.)
Well now you've got 'im in your
mouth. How you like that?
The Swede and his men have a good laugh as Dorian spits out his meatball. The Swede pulls a
gun and jams it under Dorian's chin.
Sweet Eddy goes for his gun, but one of the Swede's men pops up, jamming a barrel to his
temple.
SWEDE (CONT.)
(to Dorian)
Now listen close scumbag! You
want to bw in business with me?
Okay, we're partners now. I'm
takin' fifty per cent off the
Monkey's Paw. You screw with me
again and I'll send you straight
down to Hell with your scumbag
councilman. You can apologize
for eatin' him for lunch.
DORIAN
Sure, Swede. Take it easy.
SWEDE
Good. Now get out of my sight.
Dorian rises.
SWEDE
Oh Dorian, here's a couple tickets
to my grand opening. Stop by.
And try to dress up nice. It's
good for business.
CUT TO:
CLOSE ON: NEWSPAPER HEADLINE
"The Mask Robs Bank - Police Scour The City." It's accompanied by a grainy blow-up of the
Mask from the bank video.
A HAND
jams a quarter in the slot, opens the machine and pulls out the entire stack of papers.
WIDER
to reveal Stanley, still looking pale and desperate as he dumps the entire stack of papers in a
nearby garbage can.
He starts to turn away when he notices an ad on the back of the paper for a book: "The Masks
We Wear" by Dr. Arthur Neuman, the same
man we saw interviewed on "The Larry King Show." The byline reads "The Mysterious Powers
of the Identities Within Us."
Stanley rips out the ad and hurries off down the street.
CUT TO:
INT. PSYCHIATRIST'S OFFICE - DAY
C.U. - MASKS: Dozens of them line one wall. Tribal masks. Victorian masks. Ceramic masks.
Masks from all countries and cultures.
WIDER
Stanley paces the plush office like a caged animal while Dr. Neuman sits nearby toying with his
pipe.
DR. NEUMAN
This is extremely unusual, Mr.
Ipkiss. Barging in without an
appointment or:
STANLEY
Look, you're the big expert on
masks, right? Well, I've got an
emergency here!
(his face TWITCHES)
DR. NEUMAN
Try to calm yourself. Now this
woman you were telling me about,
I'm not sure I understand the
problem.
STANELY
I've got a date with the girl of
my dreams, only she doesn't know
it's me:
Stanley suddenly reaches into his briefcase and pulls out the mask.
STANELY (CONT.)
It's this thing!
DR. NEUMAN
(takes the mask)
Very interesting: looks like
tenth or eleventh century
Scandinavian. Where did you get
this?
STANLEY
(snatches it back)
I found it: or it found me.
I'm not sure. The problem is it's
ruining my life!
DR. NEUMAN
So you believe this actually
changes you into a different
person?
STANLEY
Yes!
(face twitches)
It's turning me into some kind
of lunatic!
(briefly CONTORTS into a Mask expression)
DR. NEUMAN
Mr. Ipkiss, please. This is just
obsessional dellusion. What you
have here is nothing more than
a piece of wood.
STANELY
But your book says masks:
DR. NEUMAN
My book uses masks as a metaphor
for our complex personalities.
The masks we must present to the
outside world: to suppress the
id. To protect our innermost
desires.
STANELY
Yeah, well this one works in
reverse.
DR. NEUMAN
You're going to have to be willing
to work on this delusion or:
STANLEY
It's not a delusion! Alright,
I'll prove it to you if I have
to, but I won't be responsible
for the consequences.
DR. NEUMAN
Mr. Ipkiss please! There is no
such thing as a magical mask.
STANLEY
(holds up mask)
Last chance to hide all dangerous
objects.
DR. NEUMAN
Alright then, go on. You're not
going to frighten me.
Stanley takes a deep breath and shoves the mask onto his face.
STANLEY
Whooooooooaaaaa:
He starts spinning around.
DR. NEUMAN
Whoa, what?
Stanley just stands there like an idiot. Nothing happened. He tries it again. Same result.
STANLEY
It didn't work?
DR. NEUMAN
Does that surprise you? The mask
is nothing but a reflection of
you - the inner you.
Stanley isn't listening. He's thinking out load.
STANLEY
It worked last night. And the
night before. Maybe it only works
at night: What kind of mask
did you say this was.
DR. NEUMAN
Scandinavian. It looks like a
representation of Loki, the Norse
God of Mischief. He supposedly
caused so much trouble that Odin
banished him from Valhalla
forever.
STANLEY
(gasps)
What if he banished him: into
a mask?
DR. NEUMAN
(sighs)
I'm sorry, Mr. Ipkiss, we're out
of time.
STANLEY
But what should I do about my date?
DR. NEUMAN
Your date?
STANLEY
You know. Tonight. The park.
Tina. Do I go as myself of the
Mask?
Dr. Neuman puts an arm around Stanley and leads him to the door.
DR. NEUMAN
Mr. Ipkiss, please. Haven't you
been listening to anything I've
been saying? Go as yourself.
And as the Mask.
(a beat)
Because they are the one and the same,
beautiful person
Stanley sees this is a losing battle. He turns and walks out.
CUT TO:
INT. FORD TAURUS - DAY
Lt. Kellaway sits in this unmarked police car, finishing up lunch. The police band comes on.
Kellaway grabs it.
LT. KELLAWAY
Yeah?
OLIVERAS (V.O.)
I've got that cross-check from
the bank files.
LT. KELLAWAY
And?
OLIVERAS (V.O.)
It's Ipkiss, Alright. Stanley
Ipkiss.
Kellaway smiles to himself. At that moment -
STANLEY
comes out of Dr. Neuman's office building. He gets in his car and drives off.
OLIVERAS (V.O.)
You want us to pick him up?
LT. KELLAWAY
Don't do a thing until I tell you.
Just keep the SWAT team standing
by. If this guy's half as bad
as he's supposed to be we'll need
all the help we can get.
LT. KELLAWAY
fires up his engine and pulls away.
EXT. PARK - SUNSET
Topiaried ivy reads: "Welcome to Peninsula Park." A small sign below that reads: "No
dumping."
Carrying his briefcase, Stanley enters the park.
EXT. BENCH
Stanley passes through a stand of trees and nearly bumps into Tina.
TINA
Stanley, what are you doing here?
STANLEY
Oh, Tina: Hi. You're early.
TINA
A little.
STANLEY
I just: wanted to make sure you
two got together okay.
TINA
That's nice.
(sits down)
You know, I hardly ever stop by
here. It's hard to believe it
was just a garbage heap.
STANLEY
(looking at the sky)
It's always beautiful at sunset.
Those methane emissions really
pick up the colors.
TINA
Wow. They really do. All those
pinks and greens.
STANLEY
Well: I'm sure my cousin will
be along any minute. He never
shows up anywhere 'till after
sundown. He's sort of strange
that way.
(rises)
I guess I'll get going.
TINA
No, Stanley. Stay for a second.
I was thinking about what you said
and I, uh, I want you to know I
appreciate it. Maybe you're
right. If I believed in myself
a little more I wouldn't rely on
guys like Dorian.
STANLEY
Dorian: You mean Dorian Tyrel?
TINA
Yeah. He's sort of my manager.
STANLEY
Tina, you've got to be careful
of that guy. He's a dangerous
criminal.
TINA
You really mean that, don't you?
STANLEY
Absolutely. You ought to hear
the stories:
TINA
No, I mean, you're really worried
about me. That's: real sweet,
Stanley.
STANLEY
C'mon, Tina this is serious. How
involved are you with this guy?
TINA
I can take care of myself,
Stanley. I always have.
STANLEY
Oh, really? People close to Tyrel
have a nasty habit of turning up
dead, or haven't you noticed?
TINA
Look, this may sound a little cold
but I do what I have to do to get
by, okay? I'm nobody in this town
without Dorian.
STANLEY
And who are you with him Tina?
I'm not exactly sure who I am
anymore but at least I'm trying
to find out. If you really had
any faith in yourself, you
wouldn't be hanging on to some
kind of free ride.
That last bit stung, and Stanley knows it. A shadow falls over them as the last rays of the sun
disappear behind the clouds.
STANLEY (CONT.)
(sighs)
I'm sorry Tina. I guess I better
get going.
Stanley gets up and hurries off through the trees.
TINA
(rises)
Stanley: wait!
But he's already disappeared. Tina starts to follow after when she hears a strange WHOOOSH. A
whirlwind begins to kick up the leaves all
around her.
The Mask leaps out from behind a stand of trees in all his glory and literally sweeps her off her
feet. With his lower lip thrust out he romances
Tina in a deep syrupy French voice.
THE MASK
Cher! Ce moi! Je'taime, Je'
taime, Je any old tame! At last
we are together mon petite bon
bon!
ANGLE ON THE BUSHES
Kellaway, Doyle, and two other officers are watching from a distance. He speaks into his walkie
talkie in hushed tones.
KELLAWAY
This is Kellaway. I need back
up and I need it now! Every
available man down to Peninsula
Park.
INT. NEWSROOM - BULLPEN
MURRAY, an old timer newshound hurries into the room, grabs his
notebook and pulls on his coat.
MURRAY
Looks like it's gonna be a long
night. My wife is gonna kill me.
PEGGY
What is it, Murray?
MURRAY
The cops got your pal Ipkiss
staked out at Peninsula Park.
We just picked it up over the
police band.
PEGGY
Let me cover it, Murray! You go
on home to Claire.
MURRAY
I don't know, Peggy. Ramsey
said:
PEGGY
(grabs her coat)
I'll take care of Ramsey. Thanks
a million. I owe you one.
She gives Murray a quick peck on the cheek and runs out the door.
CUT TO:
EXT. PENINSULA PARK
The Mask is all over Tina like a cheap suit, stroking her hair grabbing her bod. She's definitely
having second thoughts about him as he backs
her up to the bench.
THE MASK
Our love is like a red red rose,
and I'm feeling so thorny already,
I'd like to nip you in the bud!
She ducks his grab, but he recovers smoothly, flipping out a pack of cigarettes. He pops one in
her mouth.
THE MASK (CONT.)
Cigarette?
His hand is a blur of motion as he sticks dozens of cigarettes in her mouth.
THE MASK (CONT.)
Regular? Menthol? Filter?
Cigar? Cigarette? Tiparillo?
He produces a huge blow torch from within his jacket and pops on the flame.
THE MASK (CONT.)
Let me get that for you!
He grabs the gigantic wad of cigarettes as if they were one, puts them in his own mouth and
applies the blow torch. With one mighty SSSUCK
he smokes them all down to gray ash.
Beat.
The ash tumbles away.
THE MASK (CONT.)
(exhales a huge cloud of smoke)
Aaaaaah. And now: amore!
He throws his arms wide and lunges at Tina.
KELLAWAY
Freeze!
The Mask freezes in mid-air, arms outstretched and feet suspended off the ground.
KELLAWAY (CONT.)
Put your hands up!
The Mask's lips barely move as he speaks in a tiny voice out the side of his mouth.
THE MASK
But eu 'tol me 'oo freeze!
KELLAWAY
Alright, alright. Unfreeze!
You're under arrest!
The Mask instantly drops to the ground and throws himself into wildly exaggerated expressions
of remorse and pain.
THE MASK
Under arrest! My god! The Law!
I knew I'd forgotten something!
(tears)
I was so young! So foolish! So
full of life!
Tears are gushing from Stanley/Mask's eyes like twin water taps. He puts his hands out and
Kellaway slaps on the cuffs.
THE MASK (CONT.)
What: What'll they do with me,
Sarge?
KELLAWAY
Sorry, son. That's not my
department. Search him!
Doyle reaches into the Mask's zoot suit and starts tossing stuff on the ground.
DOYLE
Comb - Flintstones vitamins -
Sousaphone - Bazooka -
(pause)
picture of Kellaway's wife:
Kellaway looks down at the photo. It really IS a picture of his wife with a handwritten note:
"Call me, lover - 555-1234!"
KELLAWAY
What the --?
(pause)
Margaret!
Furious, Kellaway LUNGES at Stanley/Mask's neck. Two other officers restrain him.
KELLAWAY
You son of a bitch -- !
STANLEY/MASK
Jeez, I figured you had a sense
of humor!
(pause)
After all, you married her!
Stanley/Mask honks Kellaway's nose which makes a loud AHOOGA noise and runs for it.
Kellaway starts to follow, but discovers he's now handcuffed to Doyle.
KELLAWAY
Get him!
The other police officers draw their guns and give chase as Stanley RICOCHETS off through the
trees hooting laughter.
EXT. PARK ENTRANCE
A twelve foot high stone wall surrounds the park. Stanley/Mask races through the entryway,
SLAMMING the park's huge wooden gates
behind him.
CLOSER - THE GATE
The Mask throws an iron bolt, SNAPS on a huge padlock, SLAMS down a steel plate ZZZIPS
up a gigantic zipper, HAMMERS in dozens of
nails at high speed and throws himself against the gate panting:
But then his eyes BUG OUT on stalks as he sees what lies on the opposite side of the gate.
STANLEY'S P.O.V.
COPS: more COPS than seems humanly possible. They're in cars, armed antipersonnel
carriers, hanging from trees, parachuting from
helicopters:
And they're all aiming serious looking guns at HIM.
BULLHORN VOICE
It's all over! Put your hands
over your head or we'll open fire.
Stanley/Mask looks around, like he's trying to figure a way out of this mess - then -
STANLEY/MASK
Hit it!
With that, a police SPOTLIGHT SNAPS on, and the brightly lit park entry-way becomes a
beautifully lit stage. Stanley/Mask strikes a pose,
now wearing a straw hat "boater" and weilding a cane.
Pedestrians with radios and ghetto blasters look down in shock as a RUMBA begins playing
from every speaker in town.
Stanley/Mask SWAYS seductively in time to the music.
A FEMALE COP steps forward, a look of surprise spreaading over her face as, against her will,
she opens her mouth in song.
FEMALE COP
They rave about Sloppy Joe - the
Latin lothario - but Havana -
has a new sensation.
It's "Cuban Pete RUMBA" by Desi Arnaz! (Yes, this is a real song!)
FEMALE COP (CONT.)
He's really a modest guy -
although he's the hottest guy -
in HavAAAAna - and here's what
he has to saaaay -
Stanley/Mask steps up to the "stage" and tilts the boater over his eyes, casting a sly glance
toward the crowd.
STANLEY/MASK
("Latin" voice)
They call me Cuban Pete - I'm
King of the Rumba beat - every
time I play the maracas I go chick
chick chickie boom!
Gene Kelly on acid, Stanley/Mask punctuates his number with any number of sly gestures -
winking, nodding, sliding seductively down a
street lamp post, doing repeated "splits" on the sidewalk - it's his big number!
The cops watch this with open mouthed astonishment.
ANGLE ON STONE WALL
Kellaway climbs over two of his men to scale the wall. He can't believe his eyes. Doyle clamors
up beside him.
DOYLE
Hey, he's not bad.
Kellaway shoots him a dirty look.
STANLEY/MASK
waltzes into the street, prancing just inches from the heavily armed cops. His legs twine around
each other like spaghetti, then his upper torso
SPINS until they're straightened out again.
STANLEY/MASK
(still singing)
Yessir, I'm Cuban Pete! The craze
of my native street! When I start
to dance everything goes chick
chick chickie boom!
Like some weird, loony case of mass hypnosis, Stanley/Mask waits for the "musical break" to
coax the armed cops into JOINING him on the
number - as the rough and tumble equivalent of CHORUS GIRLS!
ANGLE - LOOKING DOWN FROM HELICOPTER
The street takes the look of a Busby Berkeley musical as the cops HIGH STEP in time to the
infectious RUMBA beat.
EXT. STONE WALL - NIGHT
Kellaway leaps/tumbles down from the wall into some bushes and scrambles to his feet. He can't
believe his eyes. His cops, his tac squad, his
friggin' SWAT team - they're ALL in the street, dancing with this crazy maniac!
Stanley/Mask sidles up to a heavily armed female SWAT officer, "dirty dancing" her across the
street -
STANLEY/MASK
The senoritas they sing, and how
they sling their sombreros --!
(It's very nice! So full of
spiiiiice--)
(dip!)
And when they're dancing they
bring a happy ring to their
vaqueros - they sing their song,
all the day loonnnggg -
Doyle crash lands beside Kellaway and starts out to join the others, but Kellaway grabs him by
the back of his jacket.
KELLAWAY
You go out there and I'll blow
your brains out!
Furious, Kellaway yanks open the door of an abandoned squad car, pulls out a tear gas gun and
fires into the air. The sharp REPORT and
stinging gas seems to break the spell of THE MASK. The music suddenly STOPS and the high
stepping cops stagger away from the chorus
line, looking confused.
LT. KELLAWAY (CONT.)
Goddamn it! Arrest that thing!
The cops - shaken back to reality - fumble for their weapons.
THROUGH THE SMOKE
The Mask takes off - dashing into the crowd.
KELLAWAY
spots the Mask and races after him, calling his men.
KELLAWAY (CONT.)
This way!
THE MASK
bumps into an OLD LADY who SCREAMS at his hideousness.
The Mask realizes how obvious he is. He turns away and brings his arms to his head. There's a
RIPPPING sound. And when he turns around,
the Mask has now transformed back into:
STANLEY
Carrying the mask, Stanley tries to blend in with the crowd.
KELLAWAY
followed by a handfull of officers bears down on him.
KELLAWAY
Halt! Halt or we'll shoot!
Stanley quickly cuts down:
A NARROW ALLEY
Stanley races down the lane - cops hot on his trail. Bullets EXPLODE all around him. Just as he
reaches the next street:
A CAR
screeches to a halt - almost running Stanley over. The window rolls down revealing:
PEGGY BRANDT
PEGGY
Stanley! Get in!
Stanley jumps into the passenger seat.
INT. PEGGY'S CAR - MOVING - NIGHT
Peggy rips around the bend, easily outdistancing the cops.
STANLEY
Thanks. Where are we going?
PEGGY
Someplace where we'll be safe.
EXT. DAILY TRIBUNE BUILDING - NIGHT
The streets are empty.
INT. NEWS SHIPPING ROOM - NIGHT
Stanley and Peggy sit on stacks of bound newspapers in the vast shadowy shipping room. In the
b.g., a huge machine spews out hundreds of
newspapers on an assembly line. Everything's mechanized: printing, folding, wrapping.
Peggy hands Stanley a cup of coffee. He's a complete wreck, clothes disheveled, rings under his
eyes.
PEGGY
I saw it. I saw the whole thing.
What's happening to you, Stanley?
STANLEY
It's crazy: I've lost all
control. When I put on this mask
I can do anything: be anything,
but it's ruining my life.
PEGGY
Stanley, I don't know what's
happening to you, but I do know
this. That letter you sent my
column was from a guy with more
guts and heart than any of the
creeps I've met in Edge City.
Whatever this mask is, you don't
need it. You: Stanley Ipkiss,
are already all you ever need to
be.
STANLEY
Gosh, Peggy. Do you really mean
that?
PEGGY
(pauses)
Actually: no.
STANLEY
What?
We now hear a door open and footsteps.
PEGGY
(rises)
What took you guys so long? I've
been vamping here for twenty
minutes.
Dorian and three of his men stand there with their guns trained on Stanley.
DORIAN
This is him?
PEGGY
You have the fifty thou?
Sweet Eddy FLICKS open a briefcase lined with cash.
PEGGY (CONT.)
Right. When he puts on the mask
he becomes that green thingamajig.
STANLEY
(still dumbfounded)
Peggy, what are you doing?
PEGGY
Sorry, Stanley. You really are
a great guy, but I just can't lose
my condo. You know how hard it
is to find an apartment in this
city.
Sweet Eddy and a second thug grab Stanley and hang him over the steel maw of the whirring
news press.
DORIAN
Okay Ipkiss. Where's the money
from the heist?
STANLEY
My aparment. It's in my
apartment!
DORIAN
Thanks. Now I believe you have
a pressing engagement.
PEGGY
Hey, you said you wouldn't hurt
him!
Dorian toys with the wooden mask, enjoying his control over the situation.
DORIAN
You're right. Easy boys. One
thing at a time. Tell me about
this mask, Ipkiss. How does it
work?
STANLEY
I don't know: You just put it
on!
The Mask FX theme builds, Dorian raises the mask to his face.
SWEET EDDY
Better be careful, boss.
With a CRACK of thunder a whirlwind of light and power swirls around Dorian's figure. Unlike
Stanley's transformation, Dorian's is much more
diabolical. He grows and changes within a nimbus of ROARING light. Finally the light dies
away and Dorian/Mask rises from a circle of swirling
smoke.
C.U. DORIAN/MASK
While Stanley was a zoot suited bee-bopper in hyper-drive, Dorian/Mask is more like a hulking
evil GENIE, fresh out of the lamp and pissed at
the world. His diamond earring and touches of his neuvo-gangster look is still apparent, but his
huge grin stretches out like a Tyrannosaurus
Rex's under eyes that glow green with wicked power. His voice is a deep inhuman RUMBLE.
DORIAN
What a rush.
SWEET EDDY
Whoa, boss: are you okay?
DORIAN/MASK
I'm better than ever, you idiot.
Now stop the presses. There'll
be a new headline tonight.
Sweet Eddy stands there looking disappointed with Ipkiss still held dangling above the churning
presses.
SWEET EDDY
But what about him?
Dorian/Mask wheels about and ROARS at Sweet Eddy.
DORIAN/MASK
DO AS I SAY! I have other plans
for Ipkiss. Everything's become
so clear to me now!
Peggy sheepishly reaches for the suitcase.
PEGGY
Ah: excuse me. If you don't
mind, I'll just take my money and
be going. You guys make
yourselves at home.
Dorian/Mask slides up to Peggy threateningly.
DORIAN/MASK
Must you go? What a shame. You
and I could make beautiful
headlines together.
Peggy removes his arm from her shoulder.
PEGGY
Thanks, anyway. That wasn't part
of the deal.
Peggy snatches the briefcase, but Dorian/Mask blocks her exit.
DORIAN/MASK
Of course. You only want what's
coming to you, don't you?
Peggy whips out a snub-nose .38 out from beneath her coat.
PEGGY
Back off Freakazoid. I wasn't
born yesterday.
DORIAN/MASK
Ah: But you might die today!
Dorian throws the switch and the presses CHURN to life. In a flash he snatches Peggy off her
feet.
DORIAN/MASK (CONT.)
A girl like you deserves
to have her face plastered all
over page one.
He tosses her into the grinding mill of steel and paper.
CAMERA BOOMS DOWN as Peggy's feet disappear between the presses' huge rollers and
continues down, down past the whirling gears and
hydraulics to finally ENDFRAME on the chute where the newspapers roll out on a conveyor
belt.
Headlines in blood red ink now read: "Reporter Killed in Freak Accident" next to a picture of a
slightly flattened-looking Peggy, her mouth open
in a silent scream.
SWEET EDDY
What do we do with Ipkiss?
DORIAN/MASK
The police are looking for the
Mask. We shall give them the
Mask. And Eddy:
SWEET EDDY
Yeah, Dorian?
DORIAN/MASK
Get the boys ready. The Swedes'
expecting us at the casino opening
tomorrow night. We wouldn't want
to disappoint him, would we?
Dorian/Mask throws his head back and lets loose a deep BOOMING LAUGH. It's unnerving
even to Eddy, but he laughs nervously in response
and elbows the other thugs to join in.
CUT TO:
INT. STANLEY'S APARTMENT - NIGHT
The door is kicked open and two of Dorian's henchmen burst into the room. Milo leaps off the
couch and scrables behind the curtains. They
yank open the closet door and start scooping the cash into plastic garbage bags.
EXT. STREET - CAR
Stanley lies in the back seat, gagged, bound hand and foot and half hidden under a blanket. A
thug in the driver's seat pokes his .45 under
Stanley's nose.
THUG
That money better be where you
said it was, Ipkiss or you can
Ipkiss your ass goodbye.
He chuckles at his own little joke.
INT. APARTMENT
Milo peeks out from behind the curtain as the henchmen finish their job. He ducks behind the
curtain and looks out the window.
MILO'S P.O.V.
of the henchmen's car. Stanley can barely be seen peeking out the car window. The henchmen
pushes him back down.
MILO
His ears perk up. The boss is in trouble! He checks back outside the curtain.
THE HENCHMEN
finish up and start out the door carrying the trash bags. Milo races right by them, just out of
sight.
EXT. STREET
The henchmen hop in and start the engine. As the car peels out into traffic, Milo appears,
valiantly racing along the sidewalk, dodging
pedestrians and cross-traffic to keep the car in sight.
CUT TO:
EXT. POLICE STATION - NIGHT
Dejected, Lt. Kellaway heads up the steps with Sgt. Doyle.
LT. KELLAWAY
I still can't believe it.
Hardened cops dancin' in the
streets: and broadcast all over
the ten o'clock news.
DOYLE
The SWAT team got an offer to open
for Wayne Newton.
LT. KELLAWAY
I'm history. The Captain's going
to have my badge for breakfast.
With a little pension on top.
DOYLE
C'mon Lieutenant, it wasn't your
fault. Something will turn up.
LT. KELLAWAY
Sure. Stanley Ipkiss is going
to fall right into my lap:
A car SCREECHES BY. The door flies open and a BODY comes tumbling out - knocking
Kellaway down. He looks up at the body sitting in his
lap -
LT. KELLAWAY
:Ipkiss!
STANLEY
I can explain everything:
DOYLE
Don't bother.
Doyle pulls a GREEN RUBBER MASK out of Stanley's pocket. Kellaway starts hauling him up
the precinct steps.
LT. KELLAWAY
You have the right to remain
silent, you freakin' Looney Tune.
Anymore of your half-baked
wisecracks can and will be used
against you by me, personally:
STANLEY
You've got to listen to me!
Kellaway and Doyle drag Stanley into the precinct - just as MILO charges up. But the dog is
shut out of the station.
INT. JAIL CELL - NIGHT
Bruised, beaten and exhuasted - Stanley's thrown into a small cell. The KEY-GUARD locks the
cell up - then walks away.
Stanley looks around his dismal quarters. A filthy toilet. The cot even worse. There's a
YOWLING. He climbs up on the cot and looks out the
small, barred window.
STANLEY'S P.O.V.:
There's a dumpster below the window, overflowing with trash. Next to the trash heap - is MILO.
The dog looks up at Stanley and YIPS happily.
Stanley forces a smile.
STANLEY
Go find yourself a new home, Milo.
It looks like I'm going to be here
for a long long time:
Milo watches Stanley recede back into the cell.
INT. JAIL CELL - DAWN
Stanley lies on his cot - staring at the ceiling. The Guard bangs on the door.
GUARD
Wake up. You gotta visitor.
STANLEY
About time you found me a
lawyer:
(a beat)
:Tina?
TINA
Hello, Stanley.
STANLEY
What's wrong? Your boyfriend kick
you out for not delivering me on
schedule?
TINA
Is that what you think - that
I set you up?
STANLEY
I don't know. But I've got plenty
of time to figure it out.
TINA
You're just going to have to trust
me on this.
STANLEY
Now is not the best time for
me on trusting women.
TINA
I ran out on Dorian last night,
Stanley. I just came to tell you
I'm sorry. Sorry about
everything.
STANLEY
You ran out on him?
TINA
That magic mask of yours turned
him into some kind of monster:
STANLEY
He wasn't exactly Mother Theresa
in the first place.
TINA
He's going to the casino opening
tonight and he's planning to do
something terrible.
STANLEY
A real change of pace for him.
TINA
Half this town will be there
Stanley. I tried to tell the
cops, but they wouldn't listen
to me.
STANLEY
As long as he's got the mask,
there's nothing they can do to
stop him anyway. There's nothing
anyone can do.
TINA
There must be some way. How does
it work?
STANLEY
(pauses)
It's like it brings you innermost
desires to life. If deep down
inside you're a little repressed
and: a hopeless romantic, you
become sort of a love-crazy wild
man.
TINA
And if you've got a black heart?
STANLEY
Then the world's going to be a
very dark place. And if I were
you, I'd get out of town. Fast.
Tina takes a beat and absorbs this information.
TINA
Thanks.
STANLEY
For what?
TINA
Lots of things. For really
believing in me when I couldn't.
For sharing a sunset with me.
For being the first guy to treat
me like I was a person instead
of a slab of meat.
(a beat)
And for being any kind of
romantic. Even a hopeless one.
STANLEY
(softening)
You're welcome.
TINA
You know, that night at the club
I knew I met someone special.
Someone like nobody I'd ever met
before.
STANLEY
The Mask.
TINA
No: the guy that was inside the Mask
all the time. You. Stanley Ip -
They draw closer. The iron bars scrunch up their faces:
TINA (CONT.)
--kiss.
They KISS. A sweet, soft and romantic kiss. Then: the KEY-GUARD pulls her away.
KEY-GUARD
Time's up, lady.
TINA
I've got to disappear for awhile
Stanley. I'm not sure where I'll
go but I'll let you know as soon
as I can.
Stanley takes a long last look at Tina as she's escorted out.
EXT. STATION - DAY
Warily, Tina slips out of the precinct. She's about to cross the street, but spots a SUSPICIOUS
LIMO, engine idling. Quickly, she doubles back
and heads -
INTO THE ALLEY
Behind the station. She looks over her shoulder. No one's there. Tina hurries toward the next
street and -
A BIG SEDAN
roars up, cutting her off. She turns and runs back the way she came - but freezes when THE
LIMO screeches up, blocking her.
Sweet Eddy and Hicks jump out of the limo. She SCREAMS.
INT. STANLEY'S CELL - AT THE WINDOW - SAME TIME
Stanley watches helplessly as Tina is dragged into the limo. Frantic, Stanley runs to the cell door.
STANLEY
(to the Key-Guard)
Hey! A girl's being kidnapped
out there! Do something!
THE GUARD tunrs up the volume on JEOPARDY, drowning Stanley out.
EXT. DORIAN'S HOUSE - DAY
A slick/modern house on the hills overlooking Edge City. Sweet Eddy pulls Tina from the limo.
INT. DORIAN'S HOUSE
Sweet Eddy and Huey enter and push Tina roughly into the room. Dorian rises to meet her.
DORIAN
(sarcastically)
Baby, there you are:
(he embraces her)
I was gettin' all worried about
you.
TINA
I just went out for a little while
Dorian.
Sweet Eddy holds up a small suitcase and an overstuffed shoulder bag he got from her car.
DORIAN
Looks like maybe a long little
while, right baby?
Dorian grabs her by the throat and SLAMS her against the wall. The pictures rattle.
DORIAN
You know what happened to the last
bitch that ran out on me? Do
you?!
TINA
(choking)
No:
DORIAN
Nobody else does either. Nobody
ever will.
He tosses her onto the bed. She lies there gasping for breath.
DORIAN
Now fix yourself up, baby. And
pick out something pretty to wear
tonight.
Dorian picks up the mask and admires it.
DORIAN (CONT.)
We're going to make a big splash
at that opening. One this town
will never forget.
CUT TO:
INT. JAIL CELL - DAY
Agitated, Stanley paces around the room. Stanley's eyes pop open. An IDEA! He stands up,
clunking his heaad on the upper bunk. Stanley
peers down the hall and sees
THE KEY GUARD
watching a TV boxing match. He's CHEWING on the leather key-chain strap. There's a half
eaten sausage and a wedge of cheese on the desk.
STANLEY
climbs up on the cot and looks out the window.
STANLEY
(stage whisper)
Milo!
EXT. THE ALLEY - SAME TIME
Just a pile of trash. The dog's gone. Then: a RUSTLE. A filthy blanket moves: and MILO
emerges from it - tail waggling as he sees Stanley.
The little dog jumps up, helplessly trying to reach the window.
STANLEY
Come on, boy!
Milo gets an idea. He jumps on boxes and trash bags, using them as steps. He climbs higher and
higher until he's reached the top of the
dumpster.
STANLEY (CONT.)
Come on, Milo!
Milo jumps from the dumpster. He almost reaches the window, but falls back down again into
the trash heap.
The dog leaps a second time. On this jump, Stanley grabs him and brings him through the bars.
INT. JAIL CELL - CONTINUOUS
Stanley gathers Milo up in his arms. The dog licks his face and YELPS joyously. Stanley
muzzles him and peeks -
DOWN THE HALL
The Key-Guard's SNORING in his chair. The chewed leather key-chain strap is still in his
MOUTH. His half-eaten sausage and cheese still lies
before him.
STANLEY
shows Milo the guard, then whispers in the dog's ear.
STANLEY
Keys, Milo. Get the keys!
Milo cocks his head at the sound of the word KEYS. He zips out through the bars.
INT. HALLWAY - CONTINUOUS
Milo trots down the hall and approaches the key-guard's station. The dog stares and sniffs at the
SNORING man.
INT. STANLEY'S CELL - A MOMENT LATER
Milo returns, slipping back into the cell.
STANLEY
Good boy:
He pulls the wedge of cheese out of the dog's mouth.
STANLEY (CONT.)
I said "keys" not "cheese"! Keys.
K-E-Y-S: keys!
Stanley pushes the dog back out the cell.
FOLLOWING MILO
He approaches the guard and stops - staring at the keys dangling from the man's mouth. Milo
jumps up on the desk and bites down on the
key-chain. He starts to pull when:
The guard stirs and almost wakes up. Milo freezes. A moment later, the guard starts SNORING
again. Milo grabs the keys and trots back to
Stanley's cell.
STANLEY
Atta boy, Milo. Now let's see
if we can get out of here.
CUT TO:
EXT. VALHALLA CASINO - SUNSET
Built on pilings at the edge of the marina, the extravagant Vegas-like structure looks like a
stylized Viking castle. (Production note: Key mater
shots will be matte paintings.)
REPORTERS and tuxedoed GUESTS crowd around as the Swede and town DIGNITARIES
prepare to cut a huge red ribbon and officially open
the casino.
Two statuesque BLONDES in scanty Valkyrie (Viking goddess) costumes present the Swede
with a gigantic pair of SCISSORS. The crowd
applaudes and flashbulbs POP.
THE SWEDE
So, ladies and gentlemen with a
special thanks to Mayor Tilton
and everyone else who made this
possible, I give you... the
Valhalla Casino.
With a mighty SNAP of the scissors the Swede cuts the ribbon and the doors of the casino open
wide.
CUT TO:
EXT. STREETS - SUNSET
Dorian's limo barrels through the streets of Edge City followed by two sedans full of his men.
C.U. - THE SUN
as it disappears behind the clouds. CAMERA PULLS BACK as the limo's moon roof slides shut.
We tilt down to discover Dorian and Tina,
dressed to the nines for the opening. Dorian holds the mask in his lap.
DORIAN
It's almost time.
Tina nervously starts to light a cigarette. Dorian snatches the lighter away from her.
DORIAN (CONT.)
I wouldn't do that, Sweetie. We
don't want to start the
celebration early.
Dorian flips back a blanket covering four compact wooden crates marked "C-7 - Caution
U.S.M.C. Demolition Materials."
DORIAN (CONT.)
Now sit back and try to relax.
I've got to change for the party.
Dorian slowly raises the mask to his face as Tina watches in horror.
EXT. LIMO
The tinted glass LIGHTS UP from inside like muted fireworks as Dorian's transformation
begins.
CUT TO:
INT. POLICE STATION - C.U. - SLEEPING GUARD
CAMERA PANS from his snoring mouth down to his gun as a hand carefully lifts it out of his
holster.
WIDER
Gun in hand, Stanley silently backs away with Milo at his side.
The Guard chokes off a snore and begins to wake up. He sees Stanley's cell door standing open
and goes for his gun... but grasps air.
STANLEY
puts one hand over his eyes and slams the butt of the gun down as hard as he can on the Guard's
head. THONK. The Guard drops back down
on his chair unconscious.
Stanley peeks from beneath his hand and regards his work. Not bad. Milo yips happily.
STANLEY
Come on.
Stanley turns and starts for the door when he bumps straight into Lt. Kellaway.
KELLAWAY
Ipkiss!
Stanley is shocked, but quickly realizes he's got the gun. He points it at Kellaway with greater
authority.
STANLEY
Hold it! I warn you! I'm
seriously stressed out here!
Kellaway
Easy, Ipkiss. Don't be an idiot.
You're in the middle of a police
station. There's no way you're
just going to walk out of here.
STANLEY
(pauses)
You're right.
Stanley pockets Kellaway's gun while keeping him covered with the Guard's gun. He pulls the
handcuffs from Kellaway's belt and begins to
handcuff the two of them together.
KELLAWAY
Now what are you doing?
STANLEY
Putting myself in your custody.
KELLAWAY
You are certifiable.
Stanley unbuttons his shirt and holds it open.
STANLEY
Milo!
Milo immediately jumps inside and Stanley buttons up. He now looks like he has a pretty nasty
pot belly, but otherwise okay.
STANLEY (CONT.)
Okay. Now we have to hurry or
we'll miss the party.
KELLAWAY
Of course. We wouldn't want to
keep Alice and the white rabbit
waiting.
Keeping the gun jammed in Kellaway's ribs, Stanley folds his jacket over his gun hand. We hear
it cock beneath the jacket. KA-LATCH.
STANLEY
Now move.
CUT TO:
EXT. CASINO
The opening is in full swing as the limo and two sedans pull up to the front doors.
CLOSER - LIMO
as the CAR HOP attempts to open the passenger door, it EXPLODES off and shoots ten feet
from the car taking the unfortunate Car Hop with it.
Dorian/Mask steps out of swirling mists within the limo in all his wicked green glory.
DORIAN/MASK
Don't be shy, Tina. I know how
you like to make an entrance.
He pulls her out of the limo.
DORIAN/MASK
And I must say, that's a dress
to die for. Or should I say in?
Dorian's men scramble, hauling the C-7 out of the limo and racing off into the darkness with
their automatic weapons.
CUT TO:
INT. POLICE STATION
Lt. Kellaway and Stanley march past POLICEMEN, FELONS and CITIZENS in the front desk
area looking stiff and unnatural as hell. Doyle
waves hello from the coffee service as he munches on a chocolate doughnut.
DOYLE
Hi Lieutenant. Where are you
taking Ipkiss?
KELLAWAY
Ixnay! Ehay's otgay an ungay...
ouch!
Stanley jams him in the ribs with that hidden gun.
DOYLE
What did you say?
Milo pokes his head up out of Stanley's shirt, but Stanley instantly pushes it back down. Doyle
does a double-take wondering what's wrong
with this picture as they continue their stiff-legged walk out the door. Doyle gives an uncertain
wave with his half-eaten doughnut.
DOYLE (CONT.)
...See ya.
CUT TO:
INT. CASINO
CAMERA BOOMS DOWN. The casino is a true Caesar's Palace style show place featuring a
dragon-prowed Viking ship that's the centerpiece
of the room. The gaming floor is packed with happy PARTY GOERS.
CAMERA ENDFRAMES on Charlie Schumacher as he snatches a drink off a passing
WAITRESS' tray and turns to a gorgeous Valkyrie change
girl whose helmet has two large horns sticking out of it.
CHARLIE
Hello tall, Nordic and beautiful.
One look at you and I know how
your hat feels.
Suddenly Mrs. Peenman appears, pushing her way past Charlie with a paper bag filled with
quarters.
MRS. PEENMAN
Out of my way, Buster. Mama feels
lucky tonight.
She jams a quarter in a slot machine right behind Charlie and throws her weight behind the
handle.
ANGLE ON THE FRONT DOORS
as they suddenly EXPLODE inward, blowing Security Man off their feet.
Dorian/Mask steps through the smoking ruin dragging Tina after him. He's flanked by a half
dozen of his heavily armed men.
DORIAN/MASK
Now... let the games begin!
Armed Security pull their weapons, but are immediately blown away by the thugs. The crowd is
thrown into a panic.
CUT TO:
INT./EXT. POLICE CAR
As it tears through the streets of Edge City with its siren BLARING. Kellaway sits in the rear of
the car with his hands cuffed behind his back.
Stanley's at the wheel with Milo at his side. Kellaway is livid.
KELLAWAY
Ipkiss, I'll have you locked up
for this so long sex will be safe
again!
Kellaway is thrown into the door as Stanley SCREECHES around a corner.
CUT TO:
INT. CASINO
The frightened crowd mills about in terror as Dorian's thugs seal off the exits. They frisk down
their captives for loot and jewelry. Orlando runs
up to Dorian/Mask with canvas sacks filled with money.
ORLANDO
We scored over half a mil from
the safe!
A SECURITY GUARD now pops out from behind a mock-stone pillar and opens fire on Dorian.
BLAM. BLAM. BLAM.
Orlando dives for cover. The bullets seem to have no effect as Dorian rips a Viking spear off a
wall display and hurls it straight across the room
with supernatural force.
The spear SKEWERS the Security Guard, sends him flying back and PINS him to a slot machine
which immediately rings TILT and spills out
quarters.
DORIAN/MASK
You can come out now, Orlando.
I think he got the point.
Dorian hauls Tina over to the Vikin ship where his men are wiring up boxes of C-7 and sticks of
dynamite. He slams her up against the prow as
his men lash her in place with coils of rope.
TINA
Let me go you bastard!
DORIAN/MASK
What's wrong darling? This is
your big production number. You
of all people know how important
it is to go out with a bang.
Dorian pulls his walkie talkie out.
DORIAN/MASK (CONT.)
Eddy... How goes it?
EXT. PIER - PILINGS
Sweet Eddy and two other Thugs are busy wiring explosives to the pillars that support the pier
the casino rests on.
SWEET EDDY
All set boss.
INT. CASINO
Dorian plugs the timer into the nexus of all the wiring.
DORIAN/MASK
Excellent. The real party starts
now and ends in...
(sets timer)
Thirty minutes.
EXT. CASINO - PARKING LOT
Stanley SCREECHES to a halt in the cop car.
INT. CAR
He turns to Kellaway, brandishing his gun.
STANLEY
Okay. When I push the red button
the safety is off, right?
KELLAWAY
I'm not helping you, Ipkiss.
STANLEY
Alright, suit yourself.
(to Milo)
You stay and be a good boy.
As soon as Stanley shuts the door Milo starts pawing at the handle.
INT. CASINO
The Swede scrambles under a crap table to escape the mayhem and bumps into Mayor Tilton.
TILTON
Hey, watch it! Oh, Arnie...
Suddenly the entire table is lifted away as if it were a child's toy and they look up into the evil
grinning of Dorian/Mask.
DORIAN/MASK
Swede... my dear, dear business
partner. And Mayor Tilton! What
a surprise. We have just enough
time left to play my favorite
game!
INT. CASINO KITCHEN
As Stanley sneaks in an employee's door, the coast looks clear. He snaps off the kitchen lights.
Stanley spots a THUG standing guard outside the kitchen's double doors. He ducks back down
behind a barrel and gets an idea. The label on
the barrel reads "Olive Oil".
INT. CASINO
The Thug seems to be enjoying the mayhem when he hears an off camera WHISTLE. He pulls
out his .45 and cautiously enters the kitchen to
investigate.
INT. KITCHEN
The Thug enters, brandishing his gun and cautiously makes his way into the kitchen.
C.U. - FOOT
He steps into a large slick of olive oil and his legs shoot right out from under him. SLAM.
THUG'S P.O.V.
as he slides across the kitchen floor at high speed.
THUG
Whoaaaaa!
Suddenly Stanley pops up from behind the overturned barrel with a huge frying pan and slams it
right into camera. CLANG.
STANLEY
plucks the gun from the unconscious Guard and sneaks into the casino.
INT. CASINO
Stanley appears out of the kitchen doors and gets the attention of the nearest captive party-goers.
STANLEY
Pssst. You guys. Over here.
Charlie turns around.
CHARLIE
Stanley! What are you doing here?
He motions them over to the kitchen and hands Charlie the gun.
STANLEY
Start sneaking people out the
back. Watch out for the oil.
Stanley now makes his way deeper into the casino.
EXT. PARKING LOT - POLICE CAR
Milo finally manages to pop the lock and the car door opens. He scurries off towards the casino.
INT. CASINO
The Swede struggles desperately as he's tied to a spoke of a huge wooden NUMBERS WHEEL,
a kind of upright roulette wheel that's one of
the casino's attractions. Mayor Tilton and two other town dignitaries are tied to the other three
spokes.
SWEDE
Let me offa this thing, you
lousy scumbag!
Dorian/Mask pulls three Viking hand axes off a wall display and casually begins to juggle them.
DORIAN/MASK
Sorry Swede. I've got an ax to
grind with you. In fact I got
a couple and I'm afraid they may
give you a splitting headache!
He nods to one of his men who gives the wheel a big spin. As the captives SCREAM Dorian
prepares to throw his first ax.
DORIAN/MASK (CONT.)
Round and round she goes. Who
dies first, nobody knows!
ANGLE ON THE VIKING SHIP
Stanley pops up behind the dragon-prow and starts untying Tina.
TINA
Stanley!
STANLEY
Hang on, Tina.
TINA
Stanley, look out!
Stanley ducks just as a Viking ax splits the dragonhead right next to him in half.
Dorian ROARS with rage as he rushes across the room to the boat.
Stanley pops back up firing his gun. BLAM. BLAM. BLAM.
Dorian takes the direct hits. He grins horridly at Stanley and he extends his slimy tongue.
C.U. - TONGUE
The bullets all stand there on end in a neat little semi-circle.
Dorian now sucks in a mighty breath. Stanley grabs a Viking shield and protects Tina and
himself.
Dorian blows the bullets back at Stanley.
RAT-TAT-TAT-TAT.
They batter the shield. Stanley's knocked backwards from the impact.
A HUGE GREEN CLAW
drags Stanley out and SLAMS up against the prow next to Tina. One of his men immediately
begins tying Stanley in place.
DORIAN/MASK
How touching! The two love birds.
Just to show you there's no hard
feelings, I'm going to let you
spend the rest of your lives
together.
TINA
You've got it all wrong! I could
care less about this creep.
Nobody could replace you, Dorian.
Nobody!
DORIAN/MASK
If you think a line like that's
going to save your life, you're
dumber than he is.
TINA
(softly)
Okay. Maybe it's too late. Then
all I want is... a kiss.
DORIAN/MASK
A kiss?
TINA
One last kiss.
DORIAN/MASK
(a beat)
Sure, why not...
Dorian/Mask sticks out his slimy TWO-FOOT TONGUE, and stick his eyebrows back. Hiss
massive lips flutter as he puckers up. But Tina turns
her head way.
TINA
No! From the real Dorian. The
guy I used to love.
(breathy)
Nobody ever kissed me like Dorian
Tyrel.
ORLANDO
No time, boss. This building's
going down any minute...
DORIAN/MASK
I make the decisions! And I've
decided...
Tina stares at him dreamily. Ego gets the better of him. He reaches up and RIPS the mask off.
SSSSHUPP!
DORIAN/MASK TRANSFORMS BACK INTO DORIAN
DORIAN
...to give the girl one last
thrill.
He plants his mouth on Tina's -- kissing her roughly. Tina really gets into it. But Stanley watches
as Tina slyly positions the leg that he
freed up. And...
TINA DROP-KICKS THE MASK
right out of Dorian's hand. It flies into the air.
A SERIES OF SLO-MO SHOTS AS...
THE MASK SOARS THROUGH THE AIR...
DORIAN, ORLANDO and SWEET EDDY ON THE RUN...
THE MASK REACHES ITS SUMMIT THEN TUMBLES DOWN THROUGH THE AIR...
HANDS REACH HIGH... FINGERTIPS GRAZE IT...
But then suddenly... shockingly...
A SNOUT, FLAPPING TONGUE AND BARE TEETH
soar straight up through thr human hands and...
MILO GRABS THE MASK
as though it were a Frisbee. Everyone's stunned.
REAL TIME
The dog lands back on the ground -- the mask firmly in his mouth. He starts to run away but...
Dorian grabs his hind leg.
DORIAN
C'mere, you ugly little mutt...
MILO
legs pumping frantically, is losing ground. At the last second, he drops the mask and jams his
muzzle into it. Lightning FLASHES.
DORIAN'S
eyes widen as
MILO TRANSFORMS INTO -- DOG/MASK!
His pint-sized doggy body now has a giant-sized GREEN HEAD with a double-row of JAGGED
CANINE TEETH. The plain collar now sparkles
with GLEAMING STUDS. RAZOR-TOENAILS distend. The eyes glow hell fire green.
DORIAN (CONT.)
Whoa!
Reflexively, Dorian lets go. Dog/Mask unleashes an incredibly loud SONIC WOOF that
explodes glass front slot machines all around them.
DORIAN (CONT.)
Don't let it get away!
Sweet Eddy lunges at the Dog/Mask. But the canine-creature runs between his legs and
CHOMPS DOWN on his butt. The tiny dog picks big
Sweet Eddy up and shakes him back and forth, like a rag doll.
STANLEY
watches this, then takes a look at the TICKING DETONATOR. Less than a minute to go. He
strains at his bonds -- forcing the rope into a
FLAMING VIKING WALL TORCH.
Tina winces as Stanley's hand-rope begins to burn.
DOG/MASK
uses Eddy as a club -- knocking other Thugs down.
SWEET EDDY
Get him off me!
Dorian raises his Uzi and SPRAYS THE AREA WITH GUNFIRE! Dog/Mask leaps away in the
nick of time.
ORLANDO
C'mon! We've got the money.
Let's get the hell out of here!
DORIAN
I gotta have that mask!
Dorian chases Dog/Mask into the maze of slot machines.
STANLEY
burns through his ropes. He frees himself and races to the detonator. 15 - 14 - 13 - 12
IN THE MAZE OF SLOT MACHINES
Dorian stalks Dog/Mask, whistling for him to come. A stream of WATER now trickles down on
him from above.
Dog/Mask is in the chandelier taking a whiz and snorting doggie laughter. Dorian sprays the
ceiling with gunfire, but...
DOG/MASK
pounces on Dorian, knocking him flat, then races out of sight.
VIKING SHIP
Stanley yanks one wire after another, but the timer still ticks down -- 5 - 4 - 3 - 2 -- Stanley pulls
the last wire. The timer stops. Tina exhales,
relieved, as Stanley unties her.
TINA
(kissing him)
You did it...
C.U. - TIMER
as it TICKS back to life... 2 - 1 - 0!
A muffled EXPLOSION rumbles from beneath the floorboards.
EXT. THE PIER - NIGHT
The two front support pilings BLOW UP.
INT. CASINO - SAME TIME
The entire floor TILTS. Gaming tables and slot machines start to slide by. Stanley grabs Tina
and hangs onto the prow of the boat.
STANLEY
Milo! Milo, come!
Dog/Mask appears racing up the tilting floor and leaps into the boat as...
THE LAST TWO PILINGS BLOW UP!
The entire casino floor drops straight down.
THE SHIP SLIDES
straight across the gaming floor towards the huge front doors.
DORIAN
SCREAMS as the boat slides right over him.
EXT. HARBOR - NIGHT
The Viking ship CRASHES through the doors and SPLASHES down in the marina as the entire
casino sinks into the water.
EXT. VIKING SHIP - NIGHT
It bobs for a moment, then floats! Stanley, Tina and the dog emerge from their hiding place,
under one of the dining tables.
They can't quite believe they're alive. Their faces reflect romantically from the light of the
Viking torch sconces.
TINA
Stanley... we made it. We're
alive!
Milo lets loose a happy "Whoof!" and leaps into Stanley's arms. Stanley removes the mask with
a SCHWOOP and Milo transforms back into a
regular dog.
DORIAN
I'll take that.
They turn as DORIAN clamors over the side of the boat. He's got a gun pointed right at them.
Stanley slides an iron grappling hook through the mask's eye holes and holds it overboard.
STANLEY
Hold it right there or you'll be
looking for this on the bottom
of the harbor.
Dorian stops in his tracks.
DORIAN
Drop it and I'll kill you all.
STANLEY
You can have it. But she gets
to go.
DORIAN
Fine.
TINA
Go where?
STANLEY
Swimming. We're still close to
shore.
DORIAN
Five seconds, Ipkiss.
Stanley tosses a wooden barrel overboard and turns to Tina.
STANLEY
Go ahead. Hurry...
Tina takes the dog and slips overboard. Dorian moves in.
DORIAN
Okay. Put it down. Right over
there.
Dorian waves his gun at the nearest dining table. Stanley starts to put down the mask. But at the
last instant -- he tosses it
INTO THE PILE OF TNT
As Dorian turns to see where it lands, Stanley jumps him. Dorian FIRES but misses. Stanley
jumps Dorian -- knocking his gun away.
Dorian falls into one of the WALL TORCHES -- toppling it.
The TWO MEN slug it out as a FIRE STARTS. It burns closer and closer to the dynamite -- the
mask in the middle of the pile.
IN THE WATER
Tina and Milo cling to the floating barrel.
TINA
(sees fire)
Stanley! The dynamite!
BACK ON BOARD
Dorian pummels Stanley with a flurry of jabs to the head as the FIRE SEARS toward the
explosives.
But Stanley counters with a solid right that rocks Dorian back. Dorian grabs him by the collar to
retaliate but sees...
The FIRE licking at the dynamite casing on which the mask lies.
Dorian lunges for the mask. Stanley jumps overboard. The dynamite explodes!
FROM THE WATER
Tina and Milo watch as the ship blows up. The fireball burns bright, smoke everywhere.
TINA
...Stanley?
Beat. Stanley surfaces gasping for breath. Tina pulls him over to the barrel and Milo licks his
face.
And then the smoke parts revealing...
DORIAN/MASK
standing on the remains of the boat. Like Wile E. Coyote, he's charred pitch black, with singed
hair and clothes. But like a cartoon -- he just
shakes off the soot and stands there in all his fearsome Dorian/Mask glory.
DORIAN/MASK
What a BLAST! This mask makes
me a god!
He picks up the last fizzing, but UNDETONATED STICK OF TNT and laughs.
DORIAN/MASK (CONT.)
I'm immortal...
He raises his arms and thunders to the heavens. At that moment -- the SUN peaks over the
horizon.
DORIAN/MASK (CONT.)
Do you hear? I'm immortal!
The sun's rays hit the Mask. In an instant, he transforms back to regular Dorian. The mask pops
off Dorian's face -- useless.
Dorian stares dumbfounded at the TNT stick in his hand as it --
KA-BOOM! Dorian is blown to smithereens.
EXT. MARINA - DAWN
There are cops everywhere. Lt. Kellaway wraps Tina in a dry blanket. Stanley holds out his
arms.
STANLEY
Back to jail, Lieutenant?
LT. KELLAWAY
Ipkiss, I'd like to lock you up
for the rest of my life. But the
mayor and a hundred other witnesses say
Dorian Tyrel's the bad guy and
you're the good guy. So no jail.
Just a downtown parade at noon.
(resigned)
And I've got to be your escort.
Stanley smiles and puts his arms around Tina. They head down the beach. The two young lovers
and Milo walk past --
CHARLIE SCHUMACHER
standing near the crowd of post-party VICTIMS being helped by the POLICE and MEDICAL
PERSONNEL. He's still hitting on that statuesque
Valkyrie change girl.
CHARLIE
So I deck this thug, grab his gun
and tell Stanley, "Take cover,
Buddy. I'll get these folks out
sae and sound." Y'know
we should go back to my place so
I can tell you the rest of the
story.
ANGLE ON SHORELINE
Mrs. Peenman is walking along grumbling to herself when she notices the mask floating to shore
with some of the wreckage from the boat.
MRS. PEENMAN
Just look at this mess...
She picks it up out of the surf and The Mask FX theme begins to pound in her head.
Back to Charlie and his Valkyrie.
CHARLIE
So what do you say, sweetheart?
Let's you and me go back to my
place and scramble some eggs.
Suddenly Mrs. Peenman/Mask ZZZIPS up and sweeps Charlie off his feet. She's the most
whacked-out Mask creature yet with a huge green
Witch Hazel face and Bride of Frankenstein hair.
MRS. PEENMAN/MASK
Hello short, dark and handsome!
C'mere and give Momma a kissy-poo!
She starts SMACKING her king-sized lips horribly.
CHARLIE
(terrified)
Yah! Put me down!
She jams a hand down the front of Charlie's pants.
MRS.PEENMAN/MASK
Let's see what caliber pistol
you're packing there, soldier boy!
She gets a grip and squeezes. AHOOGA! AHOOGA! Charlie SCREAMS, ttears himself from
her grasp and starts running for his life. CAMERA
PANS with Mrs. Peenman as she RICOCHETS after him hooting laughter. We ENDFRAME on
Stanley and Tina as they watch the bizarre
spectacle pass them by. They turn and embrace for a well deserved kiss as Milo yips happily and
squirms up between them.
THE END
------Scripts Galore------
http://www.scriptsg.cjb.net
| The Mask | |
|---|---|
Theatrical release poster |
|
| Directed by | Chuck Russell |
| Screenplay by | Mike Werb |
| Story by |
|
| Based on | The Mask by Dark Horse Comics |
| Produced by | Bob Engelman |
| Starring |
|
| Cinematography | John R. Leonetti |
| Edited by | Arthur Coburn |
| Music by | Randy Edelman |
|
Production |
|
| Distributed by | New Line Cinema |
|
Release date |
|
|
Running time |
101 minutes[1] |
| Country | United States |
| Language | English |
| Budget | $18–23 million[2][3] |
| Box office | $351.6 million[2] |
The Mask is a 1994 American superhero comedy film directed by Chuck Russell and produced by Bob Engelman from a screenplay by Mike Werb and a story by Michael Fallon and Mark Verheiden loosely based on the comics published by Dark Horse Comics. The first installment in The Mask franchise, it stars Jim Carrey in the title role, alongside Peter Riegert, Peter Greene, Amy Yasbeck, Richard Jeni and Cameron Diaz in her film debut. Carrey plays Stanley Ipkiss, a hapless, everyday bank clerk who finds a magical wooden green mask that transforms him into The Mask, a green-faced troublemaker with the ability to cartoonishly alter himself and his surroundings at will. He starts using these powers to fight crime, only to become targeted by Dorian Tyrell, a gangster who desires to overthrow his superior. Filming began on 30 August 1993 and concluded in October 1993.[4]
The film was released on July 29, 1994, by New Line Cinema, becoming a critical and commercial success. The film grossed over $351 million on a $18–23 million budget, which made it the most-profitable film based on a comic up to that point. The film also influenced the resurgence of swing music in the 1990s. It cemented Carrey’s reputation as a significant actor of the 1990s, and it established Diaz as a leading lady. Carrey was nominated for a Golden Globe for his role, and the film was nominated for the Academy Award for Best Visual Effects but lost to Forrest Gump. A standalone sequel, Son of the Mask, was released in 2005 to a critical and box office bomb.
Plot[edit]
In Edge City, insecure bank clerk Stanley Ipkiss is frequently ridiculed by everyone except for his co-worker and best friend, Charlie Schumaker. Meanwhile, gangster Dorian Tyrell, who owns the Coco Bongo nightclub, plots to overthrow his superior, Niko. One day, Tyrell sends his dazzling singer-girlfriend, Tina Carlyle, into the bank to record its layout for an upcoming robbery. Stanley is attracted to Tina, and she seemingly reciprocates.
After being denied entrance to the Coco Bongo to watch Tina perform, Stanley’s faulty loaner car breaks down during his drive home. While looking over the harbor bridge in despair, he tries rescuing a humanoid figure in the waters but finds it to be a pile of garbage concealing a wooden mask. Upon returning to his apartment and donning the mask, he transforms into a green-faced, zoot-suited trickster known as «the Mask», who can cartoonishly alter himself and his surroundings at will. With newfound confidence, Stanley indulges in a comical rampage through the city, humiliating several of his tormentors, including his temperamental landlady, Agnes Peenman, and the mechanics who gave him the faulty car.
The next morning, Stanley encounters detective Lieutenant Mitch Kellaway and newspaper reporter Peggy Brandt, both of whom are investigating the Mask’s activity. To obtain the funds necessary to attend Tina’s performance, Stanley dons the mask and raids the bank, inadvertently foiling Tyrell’s robbery. At the Coco Bongo, Stanley dances exuberantly with Tina, whom he ends up kissing. Shortly after, Tyrell confronts him for disrupting the robbery and Stanley flees, leaving behind a scrap of cloth from his suit, which reverts into a piece of his pajamas. After arresting Tyrell and his henchman, Kellaway finds the piece of cloth and suspects Stanley’s involvement.
Later, Stanley consults Doctor Arthur Neuman, a psychiatrist who has recently published a book on masks, and deduces that the mask may be a creation of Loki, the Norse god of mischief, and its powers are only active at night. Though Neuman believes it is mythology, he concludes that the Mask’s personality is based on Stanley’s repressed desires. That night, Stanley meets Tina at a local park as the Mask, until they are interrupted by Kellaway, who attempts to capture him. Stanley flees with Peggy after he distracts the police with a mass performance of the titular song from Cuban Pete; she then reluctantly betrays him to Tyrell for a $50,000 bounty. Tyrell dons the mask, becoming a bulky and malevolent green-faced being. Tyrell’s henchmen force Stanley to reveal the location of the stolen money before turning him in to the police.
When Tina visits Stanley in the station, he urges her to leave the city. Tina thanks Stanley for showing her kindness and tells him the mask was unnecessary. She attempts to flee but is kidnapped by Tyrell and forcibly taken to a charity ball at the Coco Bongo, hosted by Niko and attended by the city’s elite, including the mayor. Upon arrival, the masked Tyrell kills Niko and prepares to destroy the club with a time bomb. Milo, Stanley’s dog, helps Stanley escape from the station by retrieving the keys from the guard. Stanley sets out to stop Tyrell, taking Kellaway hostage.
After locking Kellaway in his car, Stanley enters the club and enlists Charlie’s help, but is quickly discovered and captured. Tina tricks Tyrell into removing the mask, which is recovered and donned by Milo, who battles his way through Tyrell’s henchmen as Stanley and Tyrell fight each other. Stanley retrieves the mask, uses its powers to swallow the bomb seconds before it detonates, and then flushes Tyrell down the drain of the club’s ornamental fountain; the police arrive and arrest Tyrell’s henchmen. Kellaway tries arresting Stanley again, but the mayor intervenes, implicating Tyrell as the Mask and praising Stanley as a hero.
The following day, Stanley, exonerated and more secure returns to the harbor bridge with Tina. Tina throws the mask into the water before she and Stanley share a kiss. Charlie tries to retrieve the mask for himself, only for Milo to swim away with it.
Cast[edit]
- Jim Carrey as Stanley Ipkiss / The Mask: An everyday polite, nice, kind, down-on-his-luck bank employee who is mistreated and taken advantage of by people which Carrey commented that he characterized Stanley after his own father: «a nice guy, just trying to get by.» When he wears the Mask, Stanley becomes a mischievous, green-faced figure known as The Mask who has the ability to cartoonishly alter himself and his surroundings at will.
- Max as Milo, Stanley’s Jack Russell Terrier. When wearing the Mask, Milo becomes quite aggressive and mischievous but is still friendly and loyal to his owner.[5][6]
- Peter Greene as Dorian Tyrell, a mafia officer who desires to overthrow his superior, Niko. He is a psychopathic, manipulative, and arrogant individual with little regard for those lives destroyed due to his ambition. When wearing the Mask; acted by Garret T. Sato in make-up, Tyrell becomes a bulky and malevolent being that speaks in a deep demonic voice. He’s also Stanley’s arch-nemesis.
- Cameron Diaz as Tina Carlyle, Tyrell’s glamorous and beautiful girlfriend, is also attracted to Stanley. Tina is dissatisfied with Tyrell as a partner but does not defy him until his arch-nemesis has courted her.
- Orestes Matacena as Niko, Tyrell’s superior and the owner of the Coco Bongo.
- Peter Riegert as Lieutenant Mitch Kellaway, A slightly cynical police detective lieutenant who pursues the Mask, Tyrell, and Niko throughout the film.
- Jim Doughan as Detective Doyle, Kellaway’s slightly inept partner.
- Richard Jeni as Charles «Charlie» Schumaker, Stanley’s best friend. Charlie is amiable but can be selfish or irrational at times.
- Amy Yasbeck as Peggy Brandt, a reporter. The character appeared in the animated series.
- Jeremy Roberts as Bobby, one of Tyrell’s henchmen employed as the bouncer at the Coco Bongo. He is a friend of Charlie.
- Ben Stein as Dr. Arthur Neuman: A psychologist who tells Stanley about the mask being a creation of Loki. He is also the author of the book, The Masks We Wear, which deals with people portraying themselves differently on the outside to be accepted by others.
- Ivory Ocean as Mayor Tilton: The mayor of Edge City.
- Reg E. Cathey as Freeze, one of Tyrell’s henchmen and a loyal friend of his.
- Denis Forest as Sweet Eddy, one of Tyrell’s henchmen.
- Eamonn Roche as Mr. Dickey, Stanley and Charlie’s supervisor at Edge City Bank.
- Nancy Fish as Agnes Peenman, Stanley’s temperamental landlady.
- Nils Allen Stewart as Orlando, one of Tyrell’s henchmen.
- Blake Clark as Murray, Peggy’s supervisor at the city’s local newspaper.
- Joely Fisher as Maggie, a client who comes to buy concert tickets, and blows Stanley off for her friend. She appears only in the beginning of the film.
Production[edit]
Development[edit]
In 1989, Mike Richardson and Todd Moyer, who was Executive Vice President of Dark Horse Comics, first approached New Line Cinema about adapting the comic The Mask into a film, after having seen other offers. The main character went through several transformations, and the project was stalled a couple of times.[7]
One unused «Mask» idea, according to Mike Richardson, was to transform the story into one about a mask-maker who took faces off of corpses to put them on teens and turn them into zombies.[8]
Initially intended to become a new horror franchise, New Line Cinema offered the job of directing the film to Chuck Russell.[9] Russell found the violence of the comic to be off-putting and wanted the film to be less grim and adult-oriented and more fun and family-friendly than the source material.[10]
Writing[edit]
Mike Werb says Chuck Russell tapped him after reading his script for Curious George for Imagine. The two decided to turn The Mask into a wild romantic comedy.[11] Mike Werb wrote his first draft of The Mask in less than six weeks, and less than two months later it was green-lit.[12]
According to Mark Verheiden, they had a first draft screenplay for a film version done back in 1990. Verheiden then wrote the second draft in early 1991, adding more humor, and that ended up being the only work he did on The Mask. Veriheiden’s revised draft included more instances of fourth wall breaking like «cameos» by critics Siskel and Ebert, and dark content such as excessive bloodshed and sexual assault. The characters Stanley, Kellaway, and Doyle carried into the final film; Stanley’s girlfriend Kathleen (inspired by Kathy from the comics) evolved into Tina Carlyle while Scully and Vitelli became Dorian Tyrell and Niko, respectively.[13] After that, the film entered development hell.[14]
Casting[edit]
In the early stages various actors were suggested as possibilities for the lead role, including Rick Moranis, Martin Short, and Robin Williams.[15]
New Line executive Mike DeLuca sent a tape of Jim Carrey performing a sketch from the comedy show In Living Color to Richardson who was immediately impressed by the contortionist comedian.[15] Director Chuck Russell had seen Carrey perform live at The Comedy Store and followed him on In Living Color and was keen to cast him in the film. Carrey was top of his list and the script had been rewritten for him but Nicolas Cage and Matthew Broderick were also kept in consideration.[15]
For producer Bob Engelman, it was a good lineup, since Carrey came to act sick. He recalls:
Jim did things that, obviously when he became a superstar, he never would do. I remember one night when he was sick as a dog and he was throwing up and he said, «I can’t do this.» I said, «Look, Jim, they won’t let us shut down. If we don’t get this, we don’t get this.» We dragged him out of the trailer and he was a trooper and got it in there delivered and was fantastic. But those are the sort of things that would not have happened when Jim became the superstar that he became.[16]
Russell had wanted Anna Nicole Smith as Tina, but she had gone to do Naked Gun 33 1/3: The Final Insult instead. A costume director he had worked with had been recommending Cameron Diaz and they got her to audition for the part.[15] The character was originally written as a good girl who is actually bad but after Diaz was cast the part was rewritten to make her genuinely a good person.[15] In fact, Mike Richardson (Dark Horse founder and Mask creator) said to Forbes that Diaz was great on making the movie. «If you watch the film again, you’ll notice scenes where Jim and Cameron are together. If you watch her face, oftentimes, Jim was doing something, and she would break out laughing the minute the scene ended».[17]
Visual effects[edit]
![[icon]](https://upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Wiki_letter_w_cropped.svg/20px-Wiki_letter_w_cropped.svg.png){kind=small} |
This section needs expansion with: direction and Carrey’s performance regarding vfx & make-up. You can help by adding to it. (October 2022) |
The Mask‘s visual effects were handled by Industrial Light & Magic (ILM) and Dream Quest Images. The sequences in the film which involved computer animation were supervised by ILM animation director Wes Takahashi.[18] There were a lot of VFX scenes that had to be cut for budget.[12] Make-up effects artist Greg Cannom realized Carrey’s exaggerated facial expressions were part of his essence, and didn’t want them lost behind makeup.[19]
Music[edit]
Soundtrack[edit]
Swing music featured prominently in the film, and Royal Crown Revue made an on-screen cameo, which in turn influenced the swing revival later in the decade.[20]
The Mask: Music From the New Line Cinema Motion Picture was released on July 26, 1994, on Chaos Records through Sony Music Entertainment. It features music from Xscape, Tony! Toni! Toné!, Vanessa Williams, Harry Connick Jr., Carrey himself and more. The songs «Cuban Pete» and «Hey Pachuco» were also used for the trailer of the 1997 Disney film Flubber.
| The Mask: Music from the New Line Cinema Motion Picture | |
|---|---|
| Soundtrack album by
Various artists |
|
| Released | July 26, 1994 |
| Genre |
|
| Label | Chaos/Columbia |
| Chart | Position |
|---|---|
| Billboard 200 | 80[21] |
- «Cuban Pete» (C & C Pop Radio Edit) – Jim Carrey
- «Who’s That Man?» – Xscape
- «This Business of Love» – Domino
- «Bounce Around» – Tony! Toni! Toné!
- «(I Could Only) Whisper Your Name» – Harry Connick Jr.
- «You Would Be My Baby» – Vanessa Williams
- «Hi De Ho» – K7
- «Let the Good Times Roll» – Fishbone
- «Straight Up» – The Brian Setzer Orchestra
- «Hey! Pachuco!» – Royal Crown Revue
- «Gee, Baby, Ain’t I Good to You» – Susan Boyd
- «Cuban Pete» (Arkin Movie Mix) – Jim Carrey
Score[edit]
The record labels TriStar Music and Epic Soundtrax released an orchestral score soundtrack to The Mask after the original soundtrack’s release. The score was composed and conducted by Randy Edelman, performed by the Irish Film Orchestra, recorded at Windmill Lane Studios Ireland.[22]
- Opening – The Origin of the Mask
- Tina
- Carnival
- Transformation
- Tango In The Park
- Lovebirds
- Out of the Line of Fire
- A Dark Night
- The Man Behind the Mask
- Dorian Gets a New Face
- Looking for a Way Out
- The Search
- Forked Tongue
- Milo to the Rescue
- The Mask Is Back
- Finale
Reception[edit]
Box office[edit]
The film was a box-office success, grossing $119 million domestically and over $350 million worldwide,[2] becoming the second-highest grossing superhero movie at that time, behind Batman. In terms of global gross compared to budget, the film became the most-profitable comic book movie of all time, and remained so until 2019, when Joker surpassed it.[23] The Mask is one of three films featuring Carrey (the others being Ace Ventura: Pet Detective and Dumb and Dumber) released in 1994 that helped launch the actor to superstardom; The Mask was the most successful of these three films both critically and commercially.
Critical response[edit]
On Rotten Tomatoes the film has a «Certified Fresh» approval rating of 80% based on reviews from 54 critics, with an average rating of 6.5/10. The site’s consensus states: «It misses perhaps as often as it hits, but Jim Carrey’s manic bombast, Cameron Diaz’s blowsy appeal, and the film’s overall cartoony bombast keep The Mask afloat.»[24] Metacritic gave it a weighted average score of 56 out of 100 based on reviews from 12 critics, indicating «mixed or average reviews».[25] Audiences polled by CinemaScore gave the film an average grade of «B+» on an A+ to F scale.[26]
On the television program At the Movies, Gene Siskel and Roger Ebert gave the film «two thumbs up».[citation needed] In his column, Ebert, who was underwhelmed by his performance in Ace Ventura, thought Carrey found «a perfect vehicle» in The Mask. He also praised the art design and called Diaz «a true discovery».[19]
Accolades[edit]
The film was nominated for Best Visual Effects at the 67th Academy Awards, but lost to Forrest Gump. Carrey was nominated for a Golden Globe but also a Razzie Award (for «Worst New Star»).[citation needed]
Year-end lists[edit]
- Honorable mention – Betsy Pickle, Knoxville News-Sentinel[27]
- Honorable mention – Dan Craft, The Pantagraph[28]
Home media[edit]
The film was released on VHS and Laserdisc on January 18, 1995 and on DVD on March 26, 1997. The VHS version included the Space Ghost Coast to Coast episode «The Mask», which featured interviews with Jim Carrey and Chuck Russell. It was later released on Blu-ray Disc on December 9, 2008.[29] It was the most rented title in the UK for the year with 3.8 million rentals.[30]
Other media[edit]
Animated series[edit]
An animated television series, entitled The Mask: Animated Series, was made over 54 episodes from 1995 to 1997, with Rob Paulsen as Stanley Ipkiss, his alter-ego The Mask, and Neil Ross as Kellaway. Its final episode was a crossover with The Mask and another Jim Carrey character, Ace Ventura. This would later continue in an episode of the Ace Ventura: Pet Detective cartoon series.
Video game[edit]
A video game based on the movie, also titled The Mask, was released for the Super Nintendo Entertainment System by Black Pearl Software.
Sequel[edit]
After the success of the original, a sequel film was planned, with magazine Nintendo Power offering readers a chance, via sweepstakes, to win a cameo role in the film.[31] Carrey eventually bailed on the project, forcing, amongst other things, Nintendo Power to give the winner of the contest the equivalent cash value instead.[32] A standalone sequel, Son of the Mask, featuring neither Carrey nor Diaz, was eventually released in 2005, but it was a critical and commercial failure upon release, and the franchise was put on hold indefinitely. The film is considered one of the worst films ever made.
On the possibility of a direct sequel to the 1994 film with Carrey reprising the role of Stanley Ipkiss and Diaz as Tina Carlyle, Mike Richardson said in a 2014 interview, «We’ve been talking about reviving The Mask, both in film and in comics. We’ve had a couple of false starts».[33]
Notes[edit]
- ^ Credited as New Line Productions during the opening sequence.
References[edit]
- ^ «The Mask». British Board of Film Classification. Archived from the original on February 21, 2015. Retrieved February 22, 2015.
- ^ a b c «The Mask (1994)». Box Office Mojo. Archived from the original on February 4, 2021. Retrieved December 30, 2020.
- ^ «The Mask (1994)». The Numbers. Archived from the original on January 7, 2021. Retrieved December 29, 2020.
- ^ «The Mask — Filming & Production». IMDb. December 23, 2022.
- ^ «Milo (The Mask)». Archived from the original on June 30, 2020. Retrieved June 27, 2020.
- ^ Pinsker, Beth (August 19, 1994). «Max the dog steals The Mask«. Entertainment Weekly. Archived from the original on June 27, 2020. Retrieved June 27, 2020.
- ^ Brennan, Judy (July 31, 1994). «‘Mask’ Makes Dark Horse Into Sure Bet for Spinoffs : The booming comic-book publisher gets a multi-picture deal before the Jim Carrey film even opens». Los Angeles Times. ISSN 0458-3035. Archived from the original on March 25, 2019. Retrieved March 25, 2019.
- ^ Ching, Albert (October 20, 2013). «NYCC: Palmiotti, Richie & Richardson Talk Comics and Hollywood». Comic Book Resources. Archived from the original on September 9, 2017. Retrieved September 9, 2017.
- ^ THN Exclusive: Chuck Russell talks I Am Wrath, The Mask and Freddy Krueger Archived February 18, 2020, at the Wayback Machine Retrieved September 9, 2017.
- ^ Shapiro, Marc (August 1994). «Mask Maker». Starlog. No. 205. pp. 32–35. Retrieved September 9, 2017.
- ^ ‘MASK’ MASTERMIND: But Aren’t All Screenwriters Former Teen-Age Geek Losers? Archived December 3, 2020, at the Wayback Machine Retrieved September 9, 2017.
- ^ a b An Interview with Face/Off Screenwriter Mike Werb Archived November 26, 2020, at the Wayback Machine Retrieved September 9, 2017.
- ^ Verheiden, Mark. «The Mask (1994)» (PDF). Script Slug. Archived (PDF) from the original on June 4, 2020. Retrieved March 2, 2021.
- ^ Jankiewicz, Pat (September 1994). «Masks of Time». Starlog. No. 206. pp. 40–45. Retrieved September 9, 2017.
- ^ a b c d e Weiss, Josh (July 29, 2019). «A Ssssmokin! Oral History Of ‘The Mask’ On The Film’s 25th Birthday». Forbes.com. Archived from the original on July 29, 2019.
- ^ Weiss, Josh. «A Ssssmokin! Oral History Of ‘The Mask’ On The Film’s 25th Birthday». Forbes. Retrieved September 22, 2022.
- ^ Weiss, Josh. «A Ssssmokin! Oral History Of ‘The Mask’ On The Film’s 25th Birthday». Forbes. Retrieved September 22, 2022.
- ^ «Subject: Wes Ford Takahashi». Animators’ Hall of Fame. Archived from the original on August 12, 2016. Retrieved June 14, 2016.
- ^ a b Ebert, Roger (July 29, 1994). «The Mask». RogerEbert.com. Chicago Sun-Times. Archived from the original on December 16, 2013. Retrieved August 1, 2006.
- ^ Partridge, Kenneth (May 29, 2018). «In Defense of the Swing Revival: Why America Flipped for ’40s Sounds in 1998». Billboard. Retrieved October 31, 2022.
- ^ «Billboard 200 Chart». Billboard. August 27, 1994. Retrieved October 10, 2021.
- ^ «The Mask [Original Score]». AllMusic.
- ^ «Joker is the most profitable comic book movie of all time». Consequence of Sound. November 9, 2019. Archived from the original on November 10, 2019. Retrieved November 18, 2019.
- ^ «The Mask (1994)». Rotten Tomatoes. Archived from the original on February 27, 2021. Retrieved June 22, 2021.
- ^ «The Mask». Metacritic. Archived from the original on April 26, 2019. Retrieved May 4, 2020.
- ^ «Cinemascore :: Movie Title Search». December 20, 2018. Archived from the original on December 20, 2018. Retrieved July 28, 2020.
- ^ Pickle, Betsy (December 30, 1994). «Searching for the Top 10… Whenever They May Be». Knoxville News-Sentinel. p. 3.
- ^ Craft, Dan (December 30, 1994). «Success, Failure and a Lot of In-between; Movies ’94». The Pantagraph. p. B1.
- ^ Dreuth, Josh (December 9, 2008). «Today on Blu-ray – December 9». Blu-ray.com. Archived from the original on December 17, 2008. Retrieved January 3, 2009.
- ^ «Top 20 UK Video Rental Titles 1995». Screen International. January 26, 1996. p. 45.
- ^ «Player’s Poll Contest». Nintendo Power. No. 77. October 1995. pp. 82–83.
- ^ Ponce, Tony (February 4, 2015). «Meet the winner of Nintendo Power’s The Mask II contest». Destructoid. Archived from the original on September 16, 2016. Retrieved September 8, 2016.
- ^ Sunu, Steve (August 7, 2014). «EXCLUSIVE: Richardson Details Dark Horse’s «Itty Bitty Mask» Plans». Comic Book Resources. Archived from the original on September 9, 2017. Retrieved September 9, 2017.
External links[edit]
- Official Warner Bros. Site
- The Mask at IMDb
- The Mask at AllMovie
- The Mask at the TCM Movie Database
- The Making of ‘The Mask’ (1994) Behind The Scenes on YouTube
| The Mask | |
|---|---|
|
Theatrical release poster |
|
| Directed by | Chuck Russell |
| Screenplay by | Mike Werb |
| Story by |
|
| Based on | The Mask by Dark Horse Comics |
| Produced by | Bob Engelman |
| Starring |
|
| Cinematography | John R. Leonetti |
| Edited by | Arthur Coburn |
| Music by | Randy Edelman |
|
Production |
|
| Distributed by | New Line Cinema |
|
Release date |
|
|
Running time |
101 minutes[1] |
| Country | United States |
| Language | English |
| Budget | $18–23 million[2][3] |
| Box office | $351.6 million[2] |
The Mask is a 1994 American superhero comedy film directed by Chuck Russell and produced by Bob Engelman from a screenplay by Mike Werb and a story by Michael Fallon and Mark Verheiden loosely based on the comics published by Dark Horse Comics. The first installment in The Mask franchise, it stars Jim Carrey in the title role, alongside Peter Riegert, Peter Greene, Amy Yasbeck, Richard Jeni and Cameron Diaz in her film debut. Carrey plays Stanley Ipkiss, a hapless, everyday bank clerk who finds a magical wooden green mask that transforms him into The Mask, a green-faced troublemaker with the ability to cartoonishly alter himself and his surroundings at will. He starts using these powers to fight crime, only to become targeted by Dorian Tyrell, a gangster who desires to overthrow his superior. Filming began on 30 August 1993 and concluded in October 1993.[4]
The film was released on July 29, 1994, by New Line Cinema, becoming a critical and commercial success. The film grossed over $351 million on a $18–23 million budget, which made it the most-profitable film based on a comic up to that point. The film also influenced the resurgence of swing music in the 1990s. It cemented Carrey’s reputation as a significant actor of the 1990s, and it established Diaz as a leading lady. Carrey was nominated for a Golden Globe for his role, and the film was nominated for the Academy Award for Best Visual Effects but lost to Forrest Gump. A standalone sequel, Son of the Mask, was released in 2005 to a critical and box office bomb.
Plot[edit]
In Edge City, insecure bank clerk Stanley Ipkiss is frequently ridiculed by everyone except for his co-worker and best friend, Charlie Schumaker. Meanwhile, gangster Dorian Tyrell, who owns the Coco Bongo nightclub, plots to overthrow his superior, Niko. One day, Tyrell sends his dazzling singer-girlfriend, Tina Carlyle, into the bank to record its layout for an upcoming robbery. Stanley is attracted to Tina, and she seemingly reciprocates.
After being denied entrance to the Coco Bongo to watch Tina perform, Stanley’s faulty loaner car breaks down during his drive home. While looking over the harbor bridge in despair, he tries rescuing a humanoid figure in the waters but finds it to be a pile of garbage concealing a wooden mask. Upon returning to his apartment and donning the mask, he transforms into a green-faced, zoot-suited trickster known as «the Mask», who can cartoonishly alter himself and his surroundings at will. With newfound confidence, Stanley indulges in a comical rampage through the city, humiliating several of his tormentors, including his temperamental landlady, Agnes Peenman, and the mechanics who gave him the faulty car.
The next morning, Stanley encounters detective Lieutenant Mitch Kellaway and newspaper reporter Peggy Brandt, both of whom are investigating the Mask’s activity. To obtain the funds necessary to attend Tina’s performance, Stanley dons the mask and raids the bank, inadvertently foiling Tyrell’s robbery. At the Coco Bongo, Stanley dances exuberantly with Tina, whom he ends up kissing. Shortly after, Tyrell confronts him for disrupting the robbery and Stanley flees, leaving behind a scrap of cloth from his suit, which reverts into a piece of his pajamas. After arresting Tyrell and his henchman, Kellaway finds the piece of cloth and suspects Stanley’s involvement.
Later, Stanley consults Doctor Arthur Neuman, a psychiatrist who has recently published a book on masks, and deduces that the mask may be a creation of Loki, the Norse god of mischief, and its powers are only active at night. Though Neuman believes it is mythology, he concludes that the Mask’s personality is based on Stanley’s repressed desires. That night, Stanley meets Tina at a local park as the Mask, until they are interrupted by Kellaway, who attempts to capture him. Stanley flees with Peggy after he distracts the police with a mass performance of the titular song from Cuban Pete; she then reluctantly betrays him to Tyrell for a $50,000 bounty. Tyrell dons the mask, becoming a bulky and malevolent green-faced being. Tyrell’s henchmen force Stanley to reveal the location of the stolen money before turning him in to the police.
When Tina visits Stanley in the station, he urges her to leave the city. Tina thanks Stanley for showing her kindness and tells him the mask was unnecessary. She attempts to flee but is kidnapped by Tyrell and forcibly taken to a charity ball at the Coco Bongo, hosted by Niko and attended by the city’s elite, including the mayor. Upon arrival, the masked Tyrell kills Niko and prepares to destroy the club with a time bomb. Milo, Stanley’s dog, helps Stanley escape from the station by retrieving the keys from the guard. Stanley sets out to stop Tyrell, taking Kellaway hostage.
After locking Kellaway in his car, Stanley enters the club and enlists Charlie’s help, but is quickly discovered and captured. Tina tricks Tyrell into removing the mask, which is recovered and donned by Milo, who battles his way through Tyrell’s henchmen as Stanley and Tyrell fight each other. Stanley retrieves the mask, uses its powers to swallow the bomb seconds before it detonates, and then flushes Tyrell down the drain of the club’s ornamental fountain; the police arrive and arrest Tyrell’s henchmen. Kellaway tries arresting Stanley again, but the mayor intervenes, implicating Tyrell as the Mask and praising Stanley as a hero.
The following day, Stanley, exonerated and more secure returns to the harbor bridge with Tina. Tina throws the mask into the water before she and Stanley share a kiss. Charlie tries to retrieve the mask for himself, only for Milo to swim away with it.
Cast[edit]
- Jim Carrey as Stanley Ipkiss / The Mask: An everyday polite, nice, kind, down-on-his-luck bank employee who is mistreated and taken advantage of by people which Carrey commented that he characterized Stanley after his own father: «a nice guy, just trying to get by.» When he wears the Mask, Stanley becomes a mischievous, green-faced figure known as The Mask who has the ability to cartoonishly alter himself and his surroundings at will.
- Max as Milo, Stanley’s Jack Russell Terrier. When wearing the Mask, Milo becomes quite aggressive and mischievous but is still friendly and loyal to his owner.[5][6]
- Peter Greene as Dorian Tyrell, a mafia officer who desires to overthrow his superior, Niko. He is a psychopathic, manipulative, and arrogant individual with little regard for those lives destroyed due to his ambition. When wearing the Mask; acted by Garret T. Sato in make-up, Tyrell becomes a bulky and malevolent being that speaks in a deep demonic voice. He’s also Stanley’s arch-nemesis.
- Cameron Diaz as Tina Carlyle, Tyrell’s glamorous and beautiful girlfriend, is also attracted to Stanley. Tina is dissatisfied with Tyrell as a partner but does not defy him until his arch-nemesis has courted her.
- Orestes Matacena as Niko, Tyrell’s superior and the owner of the Coco Bongo.
- Peter Riegert as Lieutenant Mitch Kellaway, A slightly cynical police detective lieutenant who pursues the Mask, Tyrell, and Niko throughout the film.
- Jim Doughan as Detective Doyle, Kellaway’s slightly inept partner.
- Richard Jeni as Charles «Charlie» Schumaker, Stanley’s best friend. Charlie is amiable but can be selfish or irrational at times.
- Amy Yasbeck as Peggy Brandt, a reporter. The character appeared in the animated series.
- Jeremy Roberts as Bobby, one of Tyrell’s henchmen employed as the bouncer at the Coco Bongo. He is a friend of Charlie.
- Ben Stein as Dr. Arthur Neuman: A psychologist who tells Stanley about the mask being a creation of Loki. He is also the author of the book, The Masks We Wear, which deals with people portraying themselves differently on the outside to be accepted by others.
- Ivory Ocean as Mayor Tilton: The mayor of Edge City.
- Reg E. Cathey as Freeze, one of Tyrell’s henchmen and a loyal friend of his.
- Denis Forest as Sweet Eddy, one of Tyrell’s henchmen.
- Eamonn Roche as Mr. Dickey, Stanley and Charlie’s supervisor at Edge City Bank.
- Nancy Fish as Agnes Peenman, Stanley’s temperamental landlady.
- Nils Allen Stewart as Orlando, one of Tyrell’s henchmen.
- Blake Clark as Murray, Peggy’s supervisor at the city’s local newspaper.
- Joely Fisher as Maggie, a client who comes to buy concert tickets, and blows Stanley off for her friend. She appears only in the beginning of the film.
Production[edit]
Development[edit]
In 1989, Mike Richardson and Todd Moyer, who was Executive Vice President of Dark Horse Comics, first approached New Line Cinema about adapting the comic The Mask into a film, after having seen other offers. The main character went through several transformations, and the project was stalled a couple of times.[7]
One unused «Mask» idea, according to Mike Richardson, was to transform the story into one about a mask-maker who took faces off of corpses to put them on teens and turn them into zombies.[8]
Initially intended to become a new horror franchise, New Line Cinema offered the job of directing the film to Chuck Russell.[9] Russell found the violence of the comic to be off-putting and wanted the film to be less grim and adult-oriented and more fun and family-friendly than the source material.[10]
Writing[edit]
Mike Werb says Chuck Russell tapped him after reading his script for Curious George for Imagine. The two decided to turn The Mask into a wild romantic comedy.[11] Mike Werb wrote his first draft of The Mask in less than six weeks, and less than two months later it was green-lit.[12]
According to Mark Verheiden, they had a first draft screenplay for a film version done back in 1990. Verheiden then wrote the second draft in early 1991, adding more humor, and that ended up being the only work he did on The Mask. Veriheiden’s revised draft included more instances of fourth wall breaking like «cameos» by critics Siskel and Ebert, and dark content such as excessive bloodshed and sexual assault. The characters Stanley, Kellaway, and Doyle carried into the final film; Stanley’s girlfriend Kathleen (inspired by Kathy from the comics) evolved into Tina Carlyle while Scully and Vitelli became Dorian Tyrell and Niko, respectively.[13] After that, the film entered development hell.[14]
Casting[edit]
In the early stages various actors were suggested as possibilities for the lead role, including Rick Moranis, Martin Short, and Robin Williams.[15]
New Line executive Mike DeLuca sent a tape of Jim Carrey performing a sketch from the comedy show In Living Color to Richardson who was immediately impressed by the contortionist comedian.[15] Director Chuck Russell had seen Carrey perform live at The Comedy Store and followed him on In Living Color and was keen to cast him in the film. Carrey was top of his list and the script had been rewritten for him but Nicolas Cage and Matthew Broderick were also kept in consideration.[15]
For producer Bob Engelman, it was a good lineup, since Carrey came to act sick. He recalls:
Jim did things that, obviously when he became a superstar, he never would do. I remember one night when he was sick as a dog and he was throwing up and he said, «I can’t do this.» I said, «Look, Jim, they won’t let us shut down. If we don’t get this, we don’t get this.» We dragged him out of the trailer and he was a trooper and got it in there delivered and was fantastic. But those are the sort of things that would not have happened when Jim became the superstar that he became.[16]
Russell had wanted Anna Nicole Smith as Tina, but she had gone to do Naked Gun 33 1/3: The Final Insult instead. A costume director he had worked with had been recommending Cameron Diaz and they got her to audition for the part.[15] The character was originally written as a good girl who is actually bad but after Diaz was cast the part was rewritten to make her genuinely a good person.[15] In fact, Mike Richardson (Dark Horse founder and Mask creator) said to Forbes that Diaz was great on making the movie. «If you watch the film again, you’ll notice scenes where Jim and Cameron are together. If you watch her face, oftentimes, Jim was doing something, and she would break out laughing the minute the scene ended».[17]
Visual effects[edit]
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This section needs expansion with: direction and Carrey’s performance regarding vfx & make-up. You can help by adding to it. (October 2022) |
The Mask‘s visual effects were handled by Industrial Light & Magic (ILM) and Dream Quest Images. The sequences in the film which involved computer animation were supervised by ILM animation director Wes Takahashi.[18] There were a lot of VFX scenes that had to be cut for budget.[12] Make-up effects artist Greg Cannom realized Carrey’s exaggerated facial expressions were part of his essence, and didn’t want them lost behind makeup.[19]
Music[edit]
Soundtrack[edit]
Swing music featured prominently in the film, and Royal Crown Revue made an on-screen cameo, which in turn influenced the swing revival later in the decade.[20]
The Mask: Music From the New Line Cinema Motion Picture was released on July 26, 1994, on Chaos Records through Sony Music Entertainment. It features music from Xscape, Tony! Toni! Toné!, Vanessa Williams, Harry Connick Jr., Carrey himself and more. The songs «Cuban Pete» and «Hey Pachuco» were also used for the trailer of the 1997 Disney film Flubber.
| The Mask: Music from the New Line Cinema Motion Picture | |
|---|---|
| Soundtrack album by
Various artists |
|
| Released | July 26, 1994 |
| Genre |
|
| Label | Chaos/Columbia |
| Chart | Position |
|---|---|
| Billboard 200 | 80[21] |
- «Cuban Pete» (C & C Pop Radio Edit) – Jim Carrey
- «Who’s That Man?» – Xscape
- «This Business of Love» – Domino
- «Bounce Around» – Tony! Toni! Toné!
- «(I Could Only) Whisper Your Name» – Harry Connick Jr.
- «You Would Be My Baby» – Vanessa Williams
- «Hi De Ho» – K7
- «Let the Good Times Roll» – Fishbone
- «Straight Up» – The Brian Setzer Orchestra
- «Hey! Pachuco!» – Royal Crown Revue
- «Gee, Baby, Ain’t I Good to You» – Susan Boyd
- «Cuban Pete» (Arkin Movie Mix) – Jim Carrey
Score[edit]
The record labels TriStar Music and Epic Soundtrax released an orchestral score soundtrack to The Mask after the original soundtrack’s release. The score was composed and conducted by Randy Edelman, performed by the Irish Film Orchestra, recorded at Windmill Lane Studios Ireland.[22]
- Opening – The Origin of the Mask
- Tina
- Carnival
- Transformation
- Tango In The Park
- Lovebirds
- Out of the Line of Fire
- A Dark Night
- The Man Behind the Mask
- Dorian Gets a New Face
- Looking for a Way Out
- The Search
- Forked Tongue
- Milo to the Rescue
- The Mask Is Back
- Finale
Reception[edit]
Box office[edit]
The film was a box-office success, grossing $119 million domestically and over $350 million worldwide,[2] becoming the second-highest grossing superhero movie at that time, behind Batman. In terms of global gross compared to budget, the film became the most-profitable comic book movie of all time, and remained so until 2019, when Joker surpassed it.[23] The Mask is one of three films featuring Carrey (the others being Ace Ventura: Pet Detective and Dumb and Dumber) released in 1994 that helped launch the actor to superstardom; The Mask was the most successful of these three films both critically and commercially.
Critical response[edit]
On Rotten Tomatoes the film has a «Certified Fresh» approval rating of 80% based on reviews from 54 critics, with an average rating of 6.5/10. The site’s consensus states: «It misses perhaps as often as it hits, but Jim Carrey’s manic bombast, Cameron Diaz’s blowsy appeal, and the film’s overall cartoony bombast keep The Mask afloat.»[24] Metacritic gave it a weighted average score of 56 out of 100 based on reviews from 12 critics, indicating «mixed or average reviews».[25] Audiences polled by CinemaScore gave the film an average grade of «B+» on an A+ to F scale.[26]
On the television program At the Movies, Gene Siskel and Roger Ebert gave the film «two thumbs up».[citation needed] In his column, Ebert, who was underwhelmed by his performance in Ace Ventura, thought Carrey found «a perfect vehicle» in The Mask. He also praised the art design and called Diaz «a true discovery».[19]
Accolades[edit]
The film was nominated for Best Visual Effects at the 67th Academy Awards, but lost to Forrest Gump. Carrey was nominated for a Golden Globe but also a Razzie Award (for «Worst New Star»).[citation needed]
Year-end lists[edit]
- Honorable mention – Betsy Pickle, Knoxville News-Sentinel[27]
- Honorable mention – Dan Craft, The Pantagraph[28]
Home media[edit]
The film was released on VHS and Laserdisc on January 18, 1995 and on DVD on March 26, 1997. The VHS version included the Space Ghost Coast to Coast episode «The Mask», which featured interviews with Jim Carrey and Chuck Russell. It was later released on Blu-ray Disc on December 9, 2008.[29] It was the most rented title in the UK for the year with 3.8 million rentals.[30]
Other media[edit]
Animated series[edit]
An animated television series, entitled The Mask: Animated Series, was made over 54 episodes from 1995 to 1997, with Rob Paulsen as Stanley Ipkiss, his alter-ego The Mask, and Neil Ross as Kellaway. Its final episode was a crossover with The Mask and another Jim Carrey character, Ace Ventura. This would later continue in an episode of the Ace Ventura: Pet Detective cartoon series.
Video game[edit]
A video game based on the movie, also titled The Mask, was released for the Super Nintendo Entertainment System by Black Pearl Software.
Sequel[edit]
After the success of the original, a sequel film was planned, with magazine Nintendo Power offering readers a chance, via sweepstakes, to win a cameo role in the film.[31] Carrey eventually bailed on the project, forcing, amongst other things, Nintendo Power to give the winner of the contest the equivalent cash value instead.[32] A standalone sequel, Son of the Mask, featuring neither Carrey nor Diaz, was eventually released in 2005, but it was a critical and commercial failure upon release, and the franchise was put on hold indefinitely. The film is considered one of the worst films ever made.
On the possibility of a direct sequel to the 1994 film with Carrey reprising the role of Stanley Ipkiss and Diaz as Tina Carlyle, Mike Richardson said in a 2014 interview, «We’ve been talking about reviving The Mask, both in film and in comics. We’ve had a couple of false starts».[33]
Notes[edit]
- ^ Credited as New Line Productions during the opening sequence.
References[edit]
- ^ «The Mask». British Board of Film Classification. Archived from the original on February 21, 2015. Retrieved February 22, 2015.
- ^ a b c «The Mask (1994)». Box Office Mojo. Archived from the original on February 4, 2021. Retrieved December 30, 2020.
- ^ «The Mask (1994)». The Numbers. Archived from the original on January 7, 2021. Retrieved December 29, 2020.
- ^ «The Mask — Filming & Production». IMDb. December 23, 2022.
- ^ «Milo (The Mask)». Archived from the original on June 30, 2020. Retrieved June 27, 2020.
- ^ Pinsker, Beth (August 19, 1994). «Max the dog steals The Mask«. Entertainment Weekly. Archived from the original on June 27, 2020. Retrieved June 27, 2020.
- ^ Brennan, Judy (July 31, 1994). «‘Mask’ Makes Dark Horse Into Sure Bet for Spinoffs : The booming comic-book publisher gets a multi-picture deal before the Jim Carrey film even opens». Los Angeles Times. ISSN 0458-3035. Archived from the original on March 25, 2019. Retrieved March 25, 2019.
- ^ Ching, Albert (October 20, 2013). «NYCC: Palmiotti, Richie & Richardson Talk Comics and Hollywood». Comic Book Resources. Archived from the original on September 9, 2017. Retrieved September 9, 2017.
- ^ THN Exclusive: Chuck Russell talks I Am Wrath, The Mask and Freddy Krueger Archived February 18, 2020, at the Wayback Machine Retrieved September 9, 2017.
- ^ Shapiro, Marc (August 1994). «Mask Maker». Starlog. No. 205. pp. 32–35. Retrieved September 9, 2017.
- ^ ‘MASK’ MASTERMIND: But Aren’t All Screenwriters Former Teen-Age Geek Losers? Archived December 3, 2020, at the Wayback Machine Retrieved September 9, 2017.
- ^ a b An Interview with Face/Off Screenwriter Mike Werb Archived November 26, 2020, at the Wayback Machine Retrieved September 9, 2017.
- ^ Verheiden, Mark. «The Mask (1994)» (PDF). Script Slug. Archived (PDF) from the original on June 4, 2020. Retrieved March 2, 2021.
- ^ Jankiewicz, Pat (September 1994). «Masks of Time». Starlog. No. 206. pp. 40–45. Retrieved September 9, 2017.
- ^ a b c d e Weiss, Josh (July 29, 2019). «A Ssssmokin! Oral History Of ‘The Mask’ On The Film’s 25th Birthday». Forbes.com. Archived from the original on July 29, 2019.
- ^ Weiss, Josh. «A Ssssmokin! Oral History Of ‘The Mask’ On The Film’s 25th Birthday». Forbes. Retrieved September 22, 2022.
- ^ Weiss, Josh. «A Ssssmokin! Oral History Of ‘The Mask’ On The Film’s 25th Birthday». Forbes. Retrieved September 22, 2022.
- ^ «Subject: Wes Ford Takahashi». Animators’ Hall of Fame. Archived from the original on August 12, 2016. Retrieved June 14, 2016.
- ^ a b Ebert, Roger (July 29, 1994). «The Mask». RogerEbert.com. Chicago Sun-Times. Archived from the original on December 16, 2013. Retrieved August 1, 2006.
- ^ Partridge, Kenneth (May 29, 2018). «In Defense of the Swing Revival: Why America Flipped for ’40s Sounds in 1998». Billboard. Retrieved October 31, 2022.
- ^ «Billboard 200 Chart». Billboard. August 27, 1994. Retrieved October 10, 2021.
- ^ «The Mask [Original Score]». AllMusic.
- ^ «Joker is the most profitable comic book movie of all time». Consequence of Sound. November 9, 2019. Archived from the original on November 10, 2019. Retrieved November 18, 2019.
- ^ «The Mask (1994)». Rotten Tomatoes. Archived from the original on February 27, 2021. Retrieved June 22, 2021.
- ^ «The Mask». Metacritic. Archived from the original on April 26, 2019. Retrieved May 4, 2020.
- ^ «Cinemascore :: Movie Title Search». December 20, 2018. Archived from the original on December 20, 2018. Retrieved July 28, 2020.
- ^ Pickle, Betsy (December 30, 1994). «Searching for the Top 10… Whenever They May Be». Knoxville News-Sentinel. p. 3.
- ^ Craft, Dan (December 30, 1994). «Success, Failure and a Lot of In-between; Movies ’94». The Pantagraph. p. B1.
- ^ Dreuth, Josh (December 9, 2008). «Today on Blu-ray – December 9». Blu-ray.com. Archived from the original on December 17, 2008. Retrieved January 3, 2009.
- ^ «Top 20 UK Video Rental Titles 1995». Screen International. January 26, 1996. p. 45.
- ^ «Player’s Poll Contest». Nintendo Power. No. 77. October 1995. pp. 82–83.
- ^ Ponce, Tony (February 4, 2015). «Meet the winner of Nintendo Power’s The Mask II contest». Destructoid. Archived from the original on September 16, 2016. Retrieved September 8, 2016.
- ^ Sunu, Steve (August 7, 2014). «EXCLUSIVE: Richardson Details Dark Horse’s «Itty Bitty Mask» Plans». Comic Book Resources. Archived from the original on September 9, 2017. Retrieved September 9, 2017.
External links[edit]
- Official Warner Bros. Site
- The Mask at IMDb
- The Mask at AllMovie
- The Mask at the TCM Movie Database
- The Making of ‘The Mask’ (1994) Behind The Scenes on YouTube
Содержание/сюжет
Действие фильма разворачивается в вымышленном американском городе Эдж-Сити (буквально — Город-на-Краю(по русски Зажопинск)) в начале 1990-х годов.
Стэнли Ипкисс — мелкий банковский служащий, живущий в маленькой квартирке. Его постоянно все унижают: начальник, домовладелица и даже механики в автосервисе, временно одолжившие ему свою развалюху, пока его Honda Civic находится у них на ремонте. Он энергичен, добр и обладает чувством юмора, однако при этом скромен и деликатен, что делает его одновременно и «хорошим парнем», и «ботаном-неудачником», находящим утешение только в просмотре мультфильмов. Его единственные друзья — джек-рассел-терьер Майло и Чарли, коллега по работе.
Тем временем бандит Дориан Тайрелл заправляет ночным клубом «Коко Бонго». Желая занять место босса городской мафии, он вынашивает планы убийства нынешнего главаря Нико. С целью подготовки крупного ограбления, которое поможет ему совершить «переворот», Тайрелл подсылает свою подружку — певичку Тину Карлайл — в банк, где работает Ипкисс. Тина должна снять помещение банка скрытой камерой, спрятанной в дамской сумочке. Она знакомится со Стэнли, и между ними возникает взаимная симпатия. Желая увидеть Тину ещё раз, Стэнли тем же вечером идёт в «Коко-Бонго» с Чарли и двумя девушками, но, отвлёкшись на своих спутниц, Чарли забывает про друга, а когда Стэнли пытается пройти за ними, охрана по приказу Дориана вышвыривает его в лужу у бордюра. В это время мимо проезжает лимузин, в котором приехала Тина, и окатывает Стэнли грязной водой. Она замечает его и завязывает разговор, но парковщик передаёт Ипкиссу ключи от его машины-развалюхи, из-за чего Стэнли окончательно падает духом.
По дороге домой Ипкисс проезжает мимо грязной городской гавани. Приняв плывущую кучу мусора за утопающего, Стэнли бросается в воду и находит там деревянную маску. Вернувшись домой и надев маску, он превращается в зеленоголового трикстера в канареечном костюме. Выясняется, что маска наделяет своего обладателя магическими способностями, а также живучестью и неуязвимостью, как у мультяшного героя. С их помощью Стэнли пугает свою сварливую домовладелицу, наводит ужас на уличных хулиганов, попытавшихся его ограбить, и затем злобно шутит над оскорбившими его автомеханиками.
На следующее утро к Ипкиссу домой заявляется сотрудник полиции Эдж-Сити, лейтенант Кэлловей, а на работу — газетный репортёр Пэгги Брандт, с вопросами по поводу ночных выходок Маски. При этом полицейский обращает внимание на пижаму, которую носит Стэнли, а Пэгги узнаёт, что пару лет назад он посылал в её колонку анонимное письмо о себе, на основе которого Пэгги создала идеал «хорошего парня», о котором мечтают многие женщины в городе, включая её саму.
Ночью Стэнли видит сон, в котором происходит альтернативный исход встречи с Тиной у входа в «Коко-Бонго»: он — «крутой чувак» с сигаретой в зубах, а вместо его машины — Porsche Carrera. Стэнли просыпается от того, что во сне его начинает облизывать Тина, когда на деле его будит пёс Майло. Будучи уверен, что скромный клерк вроде него точно не привлечёт внимание звезды кабаре, Стэнли стоит у зеркала, глядя на фотографию Тины в газетной статье. Тут он замечает на диване маску, которую утром нашёл у зеркала, которая затем сама собой оказалась у него на подушке и которую он выбросил в окно, а та вернулась в квартиру, как бумеранг. Поначалу Стэнли решает не привлекать к себе излишнего внимания, но искушение снова надеть маску оказывается слишком велико — Ипкиссу позарез нужны деньги на вход в «Коко Бонго», где выступает Тина. На сей раз Маска оказался в жёлтом костюме и с широкополой шляпой с пёрышком.
Бандиты Тайрелла приступают к ограблению банка, но Маска ловко опережает их и присваивает себе деньги, после чего убегает. В ходе перестрелки с подоспевшей полицией один из бандитов получает смертельное ранение. На деньги, которые так и не достались бандитам, Маска на сверхдлинном лимузине едет в «Коко Бонго» и занимает там свободное место. Маска танцует с Тиной под песню «Hey Pachuco» свинг-бэнда Royal Crown Revue, а затем в первый раз целует её. Тем временем Тайреллу докладывают о том, что именно Маска сорвал ограбление банка. В развязавшейся перестрелке Орландо, один из бандитов Тайрелла, отстреливает часть галстука Маски, за который держится Тина. Дориан велит Тине убираться и приказывает сообщникам убить Маску, но тот убегает. Прибывший на место перестрелки Кэлловей задерживает Тайрелла по подозрению в ограблении банка и находит на полу клуба клочок пижамы Стэнли, в который превратился кусок галстука Маски, отстреленный Орландо.
Проснувшись снова, Ипкисс замечает в своём шкафу мешки с деньгами и старается спрятать их. Кэлловей приезжает к нему и требует объяснений по поводу куска пижамы в клубе. Стэнли только отшучивается, что пижаму кто-то украл. В то же время Ипкисс понимает, что маска начинает понемногу менять его самого. На полученное от начальника замечание по поводу опоздания он даёт отповедь. Чарли восхищён смелостью друга, после чего предлагает ему снова попытать счастье на благотворительном балу в «Коко-Бонго». В этот момент в банк приходит Тина и говорит о своём восхищении по поводу Маски. Стэнли говорит, что это его старый товарищ по колледжу, которого он учил танцам. Они решают назначить встречу в Лэндфилл-Парке на закате.
Чуть позже от доктора Артура Ньюмена, психолога и эксперта по маскам, Стэнли узнаёт, что его находка изображает Локи, скандинавского бога хитрости и озорства, но так как этот Локи — ночной бог, то, значит, и маска активна только ночью. Ньюмен, чтобы поскорее отвязаться от кажущегося сумасшедшим Стэнли, советует ему идти на свидание «и как он сам, и как Маска». Несмотря на то, что его разыскивают и полиция, и бандиты, он договаривается с Тиной и идёт на свидание. Напористость Маски, в этот раз принявшего облик французского Казановы, отпугивает Тину, к тому же их обнаруживает детектив Кэлловей с сотрудниками. Для задержания Маски прибывает наряд полиции Эдж-Сити, а у входа в парк находится отряд спецназа, но Маска заставляет полицейских танцевать под песню «Cuban Pete» и скрывается. Стэнли удаётся снять маску. Увидевшая это Пэгги помогает ему уйти от преследования, но затем передаёт его в руки Тайрелла за вознаграждение. Тайрелл надевает маску и становится демоническим троллеподобным существом, после чего выбрасывает Ипкисса из машины на полном ходу прямо в руки Кэлловею (с зелёной резиновой маской в качестве доказательства виновности). Стэнли помещают под стражу.
Тина навещает Ипкисса в тюрьме, и он убеждает её бежать из города (при этом она говорит ему, что считала его Маской с момента их встречи в ночном клубе). Она пытается сделать это, но попадает в руки Тайрелла. Он везёт её в «Коко-Бонго» на благотворительный бал, устроенный Нико для городской элиты. Надев маску, Тайрелл убивает Нико и минирует клуб, устанавливая динамитную мину у ног Тины, привязанной к одной из пальм в клубе.
Майло помогает Стэнли бежать из тюремной камеры. В участке Ипкисс попадается на глаза лейтенанту Кэлловею и, угрожая отнятым у охранника револьвером, вынуждает лейтенанта вывести его из участка и отвезти в клуб. После этого он приказывает Кэлловею вызвать подкрепление, а сам тайком проникает в клуб, где попадает в руки бандитов. Тина убеждает Тайрелла снять маску для прощального поцелуя и выбивает её. Майло в прыжке перехватывает маску, надевает на себя и превращается в мультяшного питбультерьера с огромными зубами. Пока пёс расправляется с бандитами, Стэнли побеждает Тайрелла.
Ипкисс в последний раз надевает маску и предстаёт в образе гангстера. Он глотает бомбу, и та взрывается у него в желудке. Затем он убивает Тайрелла с ножиком в руке, превратив декоративный фонтан в гигантский унитаз и смыв бандита в канализацию. Банду Тайрелла арестовывает полиция, вызванная Кэлловеем. Мэр города Тилтон, будучи очевидцем событий в клубе, по ошибке делает вывод, что Тайрелл был Маской с самого начала, и велит Кэлловею явиться к нему в кабинет завтра.
На рассвете Стэнли, Тина, Майло и Чарли отвозят маску обратно к гавани. Чарли пытается присвоить маску себе, но Майло оказывается проворнее и уплывает от него с маской в зубах.
Джиму Керри исполнилось 60 лет. И мы в телеграм-канале «Гола» спросили у читателей про его лучшую роль. Победил Стэнли Ипкисс – банковский клерк, который с помощью деревянной маски превращается в неуязвимого мультяшного героя.
На «Кинопоиске» среди всех фильмов Джима Керри оценки выше «Маски» только у двух серьезных драматических ролей – «Шоу Трумана» и «Вечное сияние чистого разума».
Там у «Маски» оценка 7,9. И это показывает, что фильм в России любят даже больше, чем в англоязычных странах. На сервисе IMDb у «Маски» средняя оценка всего 6,9.
9 гениальных видео с Джимом Керри, которому исполнилось 60 лет: стендап, пародии, интервью, сцены из фильмов
Не забываем. И открываем «Маску» заново через скрытые детали и неочевидные факты.
1. Изначально «Маска» – это безумный хоррор. Фильм основан на комиксе «Темная лошадка», в котором герой тоже надевает маску, но становится психопатом-убийцей, чья цель – беспричинно потрошить всех вокруг.
Режиссер Чак Рассел говорит, что «была настоящая битва за то, каким будет фильм». В какой-то момент создатели поняли: если делать все по оригинальным комиксам, то получится просто второй Фредди Крюгер (Рассел как раз снимал третью часть «Кошмара на улице Вязов»). Поэтому выбрали жанр и тональность хулиганской семейной комедии. Дошло до того, что после выхода «Маски» комиксы с первоисточникам тоже отошли от жестокости в сторону юмора.
2. Рассел надеялся, что роль в «Маске» станет для перспективного комика Джима Керри первой большой. Но подготовка затянулась, и Керри успел сняться в «Эйс Вентуре». Период 1994 года в итоге получился для Джима Керри суперхитовым: «Эйс Вентура», «Маска», «Тупой и еще тупее».
3. Самым сложным в подготовке Керри для роли был грим – зеленая маска каждый день делалась четыре часа. Но Керри приспособился и смог даже разговаривать с огромными вставными зубами (которые изначально одевались только для сцен без реплик). По оценкам студии, пластичность Джима Керри сэкономила бюджету миллион долларов на компьютерной графике.
4. Гонорар за главную роль – $450 тысяч. В следующем фильме «Тупой и еще тупее» он получит уже $7 млн.
5. «Маска» – первый фильм в актерской карьере Кэмерон Диаз. До фильма она была известной моделью и работала в Японии. Создатели говорят, что выбрали ее, потому что она забавная в общении. И на самых первых чтениях сценария Диаз лучше всех чувствовала Джима Керри и понимала его приколы.
Всем на съемках так нравилась Диаз, что ради нее создатели даже переписали сценарий – ее героиня Кристина Карлайл избавилась от плохих черт характера.
6. Главная вырезанная сцена из фильма – это пребывание бога обмана и плутовства Локи в Америку, где он закапывает свою маску. Создатели просто любят скандинавскую мифологию.
7. Когда главный герой Ипкисс впервые надевает маску, то удары молнии на заднем фоне освещают его скелет. Только это почти невозможно увидеть: нужно замедлить видео в десять раз.
8. «Маска» часто снималась ночью, и Керри уставал. Тогда Рассел придумал, как его вдохновлять и бодрить простой мотивационной цитатой: «Тебе нужно производить не просто впечатление, а двойное впечатление».
И Джим Керри, например, изображал, как другой актер вестернов Джон Уэйн мог бы спародировать Клинта Иствуда. Получалась пародия внутри пародии.
9. Часть сцен – импровизация Джима Керри. Например, когда он достает презерватив: «Извините, не в том кармане». И когда маска выпускает дымовое сердце, которое пронзает стрела, – тоже его идея.
10. Гараж, откуда Ипкисс забирает машину, – это та самая пожарная часть, в которой работали герои «Охотников за привидениями».
11. Помните безумные танцы Керри в клубе Coco Bongo? В Мексике на самом деле существует такой клуб, и да – им владеет Джим Керри. Там ставят акробатические номера в стиле Лас-Вегаса и даже драки. Посетители говорят, что однажды видели костюмированный бой между Бэтменом и Бейном.
Как Бен Аффлек тренировался для роли Бэтмена – через алкоголизм, диету и антидепрессанты. Но запил на съемках «Лиги справедливости»
12. И тот великий танцевальный номер Джим Керри исполнял с температурой. Он болел гриппом, чувствовал тошноту, но все сделал за одну ночь. Хотя продюсеры предлагали перенести съемки сцены.
13. В «Маске» Керри показал связь с родителями. Сам Стэнли Ипкисс похож на его отца. Керри говорит, что тот тоже напоминал мультик своей веселостью, но был белой вороной среди угрюмых взрослых.
А ярко-банановый костюм – это привет маме, которая сшила его на первое выступление Керри. И именно поэтому он попросил костюмеров сделать похожий.
14. Парадокс стиля «Маски». Создатели сделали фильм в духе 40-х годов, чтобы он смотрелся свежее – в те годы почти никто не делал ретро. Сначала авторы хотели делать фильм в футуристическом стиле, но поняли, что так «Маска» покажется идейно устаревшей.
«Я хотел, чтобы фильм не старел. Это мой единственный фильм, который, если вижу по кабельному, то досмотрю до конца», – говорит Рассел.
15. У «Маски» планировался сиквел, но Джим Керри отказался даже за $10 млн гонорара. Вторая часть «Эйс Вентуры» зашла хуже первой, и переживать такое разочарование снова он не хотел.
«Маска» все же получила второй фильм в своей вселенной – «Сын Маски» (2005), в котором главных персонажей первой части вообще нет. Зато есть совсем печальные оценки зрителей и победа в «Золотой малине» как худший приквел.
Хотя Джим Керри даже спустя 28 лет не отрицает возможность настоящего продолжения: «Я не хочу сниматься в таком фильме просто ради факта съемок. Я сделаю это, если найдется безумный режиссер-визионер».
«Маска» один из фильмов, работой над которым студия ILM гордится так же сильно, как и «Терминатором 2» и «Парком Юрского периода». Почему? Рассказываю.
Предыстория
Впервые сценарий картины, которую собиралась снимать на тот момент независимая киностудия New Line Cinema, попал в ILM на просчет в 1991 году. И это была совершенно другая история — более мрачная и с массой убийств. Вскоре тот сценарий канул в лету, поскольку концепцию полностью пересмотрели в сторону комедии, утвердив на главную роль Джима Керри. При этом, на момент утверждения, Джим Керри еще не был звездой. Ему только предстояло сыграть Эйс Вентуру. Режиссер Чак Расселл и продюсеры поверили в парня с невероятной мимикой и не прогадали. Студии ILM также значительно больше понравился переписанный сценарий, и они решили не упустить возможность впервые в истории совместить трехмерную стилизованную анимацию со съемочным материалом. В итоге 40% бюджета ушло на анимацию и визуальные эффекты. Это довольно много. Сейчас киностудии в среднем тратят не больше 20% на VFX при выросших объемах.
Съемки
Фильм снимался на Panavision Panaflex и камеры системы VistaVision. Зеленая маска была отлита Грегом Кэнномом по слепкам, снятым с Джима Керри, когда он работал на площадке «Эйс Вентуры». Первоначально Кэнном должен был заниматься и механическими эффектами, но от них отказались в пользу компьютерной анимации после просмотра «Парка юрского периода».
Маску отлили из вспененного латекса по форме лица, покрасив ее в зеленый при помощи Pax paint. Большие зубы — это протез. И маска и зубы отняли массу сил прежде чем удалось порадовать режиссера и сделать удобно для Керри. В общей сложности на грим Джима уходило 2,5 часа. Его нанесением занималась персональный стилист актера. Для дублеров также были созданы маски, но попроще. Они состояли из двух частей, когда как для Керри из пяти. Маску для антагониста сделали аналогичным образом. Вот только макушку не покрывали накладкой, а прикрыли париком. Глаза, как у рептилии — это линзы. Аниматронная голова для сцены с длинным языком не пригодилась. Язык создали и анимировали на компьютере трехмерщики Dream Quest — еще одной студии наряду с ILM привлеченной к проекту.
Компьютерная анимация
Студия ILM сканировала все элементы грима, созданные Кэнномом, для их последующего воссоздания в графике. На площадке работал супервайзер, курировавший съемку сцен под анимацию. Абсолютно все эпизоды с компьютерными эффектами снимались без моушн-контрол. Для усиления реализма происходящего и лучшего сживления графики и съемочного материала применялись физические спецэффекты. Например, в сцене первого превращения, когда Стенли Ипкис юлой кружит по комнате. Весь кавардак создавался прямо на площадке. Что касается кадров с маской, охватывающей голову, то это компьютерная анимация выполненная в Softimage. Основная сложность здесь заключалась в трекинге актера, вытирании волос и восстановлении заднего плана. Дизайн эффекта с кружением разрабатывался достаточно долго и претерпел множество изменений, пока аниматоры не использовали в качестве референса куклу на вращающемся сверле дрели. Сцена снималась следующим образом. Джим Керри начинал кружиться, потом выходил из кадра и далее его движение подхватывали 3D-аниматоры. В процессе вращения герой менял свою одежду с пижамы на желтый костюм. Для этого Керри в образе сняли на синем хромакейном фоне, после чего добавили полученные текстуры в вихрь. Сами кольца визуализировались с разной прозрачностью и преломлениями вокруг упрощенной трехмерной модели актера.
В сцене с прыжками по коридору зрителю также показывают трехмерную болванку со спроецированными фототекстурами актера в образе. В моменте с прыжком в окно и падением на камеру свой хлеб отрабатывал каскадер. Но рот крупным планом — это графика, как и расплющенная модель героя. Для ее визуализации Джима Керри сфотографировали в анфас и в профиль. Полученные снимки были отсканированы и вновь послужили текстурой. Вся анимация для эпизода воплощалась в программе Softimage на протяжении 10 недель. Но самые удивительные кадры не эти в первом эпизоде с превращением. Тут все очевидно. А дальше, когда Стенли Ипкис делает из надувного шарика фигурки животных, а потом создает автомат Томпсона. Все это время нам показывают CGI модель. Вложить в руки и анимировать шарик оказалось очень и очень сложно.
Интересны также сцены со снятием маски, с проглатыванием динамита и, конечно же, с собакой. Первоначально эффект со снятием хотели сделать малой кровью, запустив реверс, то есть проиграть эпизод с надеванием в обратной последовательности. Ничего путного не вышло. Эффект создавался в 3D с нуля. Трехмерщики смоделировали голову Ипкиса в маске, взяв за основу киберскан актера в гриме. При анимации сдираемой маски и пузырящейся кожи художники максимально старались придерживаться игры актера, который отыгрывал эпизод ничего не держа в руках. Маску моделировали в Alias и анимировали в Softimage.
Морду собаки в маске смоделировали по дизайну, предложенному арт-департаментом, но в процессе его сильно изменили. Художники сделали внешность пса более дружелюбной и похожей на Джека Рассела. В кадрах с динамитом нам показывают трехмерную модель взрывчатки и трехмерную лицевую анимацию. Все, что ниже носа — это графика, выше — пластический грим. Эффект выглядит по-прежнему великолепно.
Как я уже писал ранее, «Маску» заслуженно номинировали на «Оскар» за эффекты, но картина проиграла другому проекту ILM — «Форресту Гампу». Почитайте об этой картине тоже.