compiled by Steve Farmer and Bob Cantor
Changes found in the US TV version are shown in this color. Scenes or lines removed in the TV version are enclosed in 's, while dialogue in ()'s replaces whatever came immediately before it. Various TV versions may differ due to editing for time (this is not the same as the British TV version which is reputed to contain all of the scenes from the theatrical version in addition to the deleted scenes and also to have less dubbing than the US version). The Blu-Ray disc is supposed to contain the entire TV version (and some new interviews), but I have not been able to view this because I'm a slow adapter who doesn't yet have any Blu-Ray capabilities at home.
Directions and lines from the published screenplay are enclosed in ()'s and displayed in this color. The 1988 faber and faber publication (ISBN 0-571-12977-3) is used as the source of the screenplay.
Directions and lines from a screenplay available on Alex Cox's website are displayed in this color. This is an earlier version than the published one and contains handwritten notes in the margins.
Note that the US TV version was edited by director Alex Cox and contains scenes and lines which were not included in the theatrical version of the movie, although several of these scenes do appear in the video trailer. The VHS and DVD contain the theatrical release and therefore do not show the scenes. The extras included in the Collector's Edition DVD, released in January 2006, does contain an interview with Cox which shows the removed scenes. I have not included scenes which did not appear in either the theatrical or TV versions, but I do indicate where they would have been based on the original script.
Spanish dialog is provided on a best-guess basis, and enclosed in parenthesis when just making a wild guess. Reported goofs are flagged with an *.
A few key places in the film have been tagged with the time they appear. This is based on the Focus Features Collector's Edition DVD. The entire movie runs 1:32:04 (not including the DVD lead-ins and trailers).
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UNIVERSAL: An MCA Company
[00:00:17] music in background
Michael Nesmith Presents
An Edge City Production
Harry Dean Stanton
Repo Man theme music now begins playing. Map is shown in background (green text on black background), zoomed in on Los Alamos, New Mexico. While remaining credits are shown, the map travels to Sante Fe, then Albuquerque, then begins following US66 west through Arizona to California, finally ending up a few miles east of Goffs (northwest of Needles).
Green '64 Chevy Malibu
Malibu is weaving down the highway in the desert, passes billboard with motorcycle cop behind it. Actually, it's just an old sign on the ground propped up like a lean-to (it was supposed to be a billboard advertising Reverend Larry's Gospel Vigilante Hour, but in the movie, we can't see the front of it.)
Cop pulls out on road behind Malibu and then pulls up along side.
* From along side the car, we can see that the window is open, but when the shot changes to inside the car, the window is closed. *
J. Frank Parnell (driving the Malibu and singing softly): Forty-niner and his daughter Clementine. Oh my darlin, oh my darlin... (he's singing lyrics from "Viva Las Vegas")
Motorcycle cop pulls the car over, gets off motorcycle and raps on car window.
J. Frank Parnell: Clementine Clemen-
County Sheriff: Let me see your drivers license.
Motorcycle Radio: Post ten-eighteen. Post ten-eighteen.
County Sheriff: From out of town, hmm? What's you got in the trunk? (this was preceded by some questions about whether Parnell is intoxicated and Parnell explaining that he is "High on life")
J. Frank Parnell: oah...you don't want to look in there.
County Sheriff: Give me the keys.
* Looking from the back of the car as the Sheriff says this, we see that the driver is no longer wearing glasses and appears to be a completely different person. *
The motorcycle cop takes the keys, walks around to the back of the car and opens the trunk, leaving the keys in the lock.
The car has
New Mexico license plates KBB-283. In every scene after this when the plates
are visible, they will be 127-GBH. This might refer to
"Charged GBH", which was (and may still be) a British punk band, or to
the possibility that some consider GBH to stand for "Grevious Bodily
* In several scenes we see the plates on the front of the car, but it has been reported that New Mexico only uses plates on the rear. *
County Sheriff: AHHHHHH!
The motorcycle cop gets disintegrated, leaving behind a pair of flaming boots (a reference to the movie Timerider, which was co-written and produced by Michael Nesmith). Parnell watches from side mirror, where we see that the left side of his sunglasses have no lens.
* Parnell drives away without bothering to retrieve his keys from the trunk, but it could be that we're supposed to assume that they simply skipped showing him do this. *
J. Frank Parnell (driving away): Oh my darlin Clementine, you are lost now gone forever, dreadful sorry Clementine.
Otto and Kevin, in the supermarket, facing cans of generic yellow cling sliced peaches (cans of spinach).
Kevin and Otto are wearing pale blue aprons, pale blue striped shirts and black bow ties. They have a large button on their apron, but I've not been able to make out what it says (HI! I'M _____! I'M HERE TO SERVE). Otto very noticeably has an earring in his left ear, a dangling silver cross.
The sale sign behind the cans, and others in the scene, identify the market as the "Pik 'n Pay". "Pick 'n Pay" is a major chain in South Africa, which supposedly has something to do with producer Jonathan Wacks.
Kevin is singing the 7-up jingle. Note that the actual words have been reported as being "It's a crisp refreshing feeling, crispy clear and light, America's turning 7-up and it sure feels right..."
Kevin: Do Do Do De Do De Do De Do De Do Feeling Do De Da Do DeDo De Do Feeling seven-up. I'm feeling seven-up. Feeling seven up. I'm feeling seven up. It's a crisp refreshing feeling crystal clear and light. America's drinking seven-up and it sure feels right. Feeling lucky seven.
Otto puts price sticker on Kevin's glasses.
Otto: Kevin stop singing man.
Kevin: Feeling seven eleven.
Kevin: Hum. I wasn't singing guy.
Otto: I'm standing right next to you and you're fucking (flippin) singing. Cut it out.
Kevin: Jeeze. Why so tense guy?
(At this point, Otto catches Duke trying to shoplift. The scene ends and cuts to a conversation between the two in which Otto tells Duke that he's living in his parents garage, something we can briefly see in one of the deleted scenes.)
The Assistant Manager arrives, flanked by a security guard
Mr. Humphries: Otto?
Kevin: Mister Humphries!
Mr. Humphries: You were late again this morning. Now normally I'd let it go but it's been brought to my attention that you're not paying attention to the way you space the cans. Many young men of your age in these uncertain times-
Mr. Humphries: Otto! Are you paying attention to me?
Luis: Hey! He's talking to you!
Otto [giving Luis the middle finger with both hands]: Fuck (flip) you!
Otto grabs Kevin by the front of his shirt, steps around him, and pushes him into the stack of cans *(this has been reported as a goof but it's clearly just a case of awkward staging used to make the shot work)*.
Luis pulls his gun.
Luis: (Basta!) [Bendecho. Come on fucker. Come on just try it. Come on.]
Kevin: You gotta love getting fired from your job in a big way, Otto.
Mr. Humphries (to Kevin): What are you laughing at? Louie, throw him out too.
Luis: Come on you [fucking] worm. Get out of here.
Luis shoves Kevin down aisle where Otto is walking out. Otto takes off his clip-on bow tie and tosses it back towards Luis. Luis twirls his gun and puts it away. Note that the store aisle is lined with nothing but generic products, plain black lettering on white background. All products in the movie have this appearance.
Punks slamdancing to Coup D'etat in the back of a warehouse.
Otto is there slamdancing and Duke walks up, the two of them swing each other around. Behind them, the graffiti on the wall says "Circle Jerks", a band which will appear later in the movie.
Otto: How you doing dude? When did you get out of the slammer man?
* Reports say that Otto's mouth is not moving or properly synchronized, but it looks ok to me. *
Otto enters bedroom where Debbi is waiting in bed.
(Otto tells Debbi that he's been drafted, but that he can't skip town because he has to finish school so his father will pay for him to go to Europe.)
[ Otto, getting undressed: Ah. Excuse me while I fold my pants.
Debbi: What's the difference? ]
Otto lays back on the bed and puts his hands behind his head.
Debbi pulls back his shirt a little and begins kissing his stomach, then stops.
Debbi: Otto. Otto.
Debbi: Get me another beer.
Otto goes downstairs and there's a party going on. He passes Archie on his way to the kitchen. (Archie turns and enters the bedroom after Otto passes).
Institutionalized plays in background. (Kevin brags about a sexual conquest) (Kevin brags about a wild punk weekend)
Kevin: Ow. Cool. Ow. Dammit. I'm supposed to be the host here.
Kevin: Ow!(Otto returns to the bedroom with beer but finds that Debbi and Archie are there "getting down". Back in the kitchen, he and Duke are arm wrestling while Kevin talks about buying a gun. These scenes are shown in the "Missing Scenes" featurette on the DVD but were never used.)
(Now Kevin brags about the sexual conquest, followed by a discussion of Otto having to go fight in Mexico or Guatemala or somewhere)
Kevin: I think you done the right thing, Otto. I mean, we're all gonna get killed anyway. If the Government decides there's got to be a war, well, then, there's go to be a war, right? I mean, if you can't trust your leaders, who you gonna trust? The RUSSIANS?
Otto returns to the bedroom
Otto: Debbi honey. I got you a beer.
Otto turns on light and finds Duke there with Debbi.
Debbi: Just ignore him Duke he's nothing but a big baby.
Duke: Turn the fucking light out.]
Otto leaves room just as Kevin arrives and looks in the door.
Kevin: What are you doing? Nobody supposed to be up here. This is
my parent's room.
(Kevin: Dude, nobody supposed to be up here, this is my parent's room.)
[Otto in a vacant lot drinking a beer.
It's early morning and Otto starts walking.
Otto: Don't want to talk about anything else. We don't want toknow. We're just dedicated...to our favorite shows. Saturday night live,Monday night football, Dallas, Jeffersons, Gilligan's island, Flintstones.
(these are the lyrics from the song TV Party, but the way Otto says them could just barely be considered singing) ]
(the Malibu pulls up and passes Otto in slow motion)
Otto still walking, but it's light now.
Otto walks up street with what sounds like a slow version of Reel Ten playing in the background. After turning a corner, he walks by a blue sedan with Bud stting in the driver's seat and the windows open.
Bud: (whistles) Hey kid! (Hey Punk!) (Honks his horn) Hey! Hey kid! Hey! Hey! Are you hard of hearing?
Otto: What do you want?
Bud: You want to make ten bucks?
Otto: Fuck you, queer.(Shove off, pervert)
Bud: Now wait a minute, wait a minute kid you got the wrong idea. (offers Otto a cigarette - "Commanders") Look my old lady is real sick and I got to get her to the hospital, okay?
Otto: So what? Take her there.
Bud: I can't. I can't leave her car in this bad area. Look I need some helpful soul to drive it for me, okay? She's pregnant. She's with twins. She could drop at any time. All right?
Otto: Well, uh, how much are you going to give me?
Bud: Fifteen bucks.
Otto: No. Won't do it for less than twenty.
Bud: Twenty-five. Follow me in my old lady's car. It's right here. okay?
Otto: All right... Where's, uh, where's your old lady at?
Bud: Never mind about that. Right now we need to get both of my cars out of this bad area, all right? Come on.
Otto approaches car, a white 4-door Cutlass sedan.
[* Looking out of a window from an apartment overlooking the street, somebody pulls back a curtain to show Otto opening the door of the car, which has now become a 2-door coupe. *
from apartment:(a baby is crying) eh, Papa! (?) aqui. un gringo (en la calle consu coche)]
Otto sits down in the car, which is now a 4-door Cutlass sedan again. Looking in from the front, we see a dashboard Virgin Mary and a Christmas Tree air freshener hanging from the rearview mirror.
(Radio: -- confirmed reports that radiation levels in Los Angeles have risen drastically during the last month. A spokesman for the NRC said this was normal for the time of year --)
Bud, in front, backs up.
Bud: Let's go. (Honks his horn several times)
A couple, probably in their 50s, come running around the corner as the music "El Clavo Y La Cruz" begins to play. The man reaches in the window and grabs hold of Otto.
Car owner: (Vete la chingada!) (Hijo de puta!) (followed by several more exclamations in Spanish)
As Otto drives off, the man holds on while running along side, but is thrown to the ground after just 1-2 seconds. Otto drives off and throws a dashboard Virgin Mary out the window while laughing the whole time. (The woman running after the car throws a rosary which gets caught and dragged, but then a handwritten notation on the script says that Otto finding it on the mirror and throwing it out the window is preferred.)
(FREEZE FRAME. Unfold the dread words: REPO MAN) (Credits Roll in handwritten notation.)
Bud and Otto drive down freeway, Chevy Malibu swerves in front of them. It is moving right across the lanes but has the left blinker on.
Otto follows Bud as he turns into the Repo Yard, with Miller opening the gate and waving them in. The music is muted when the camera shot shifts from inside Otto's car to outside, giving us the impression that it was playing on the radio in his car.
Bud and Otto enter the Helping Hand Acceptance Corporation
Miner, a large, muscular repo victim, and his girlfriend Delilah are standing by the entrance arguing with Oly. A low partition prevents them from entering the office. During this entire scene, Marlene is talking on the phone simultaneously with the other conversations.
Marlene: Helping hand acceptance corporation, Marlene speaking.
Miner: You know damn straight what I'm talking about. It's sitting right out side. It took me two weeks to get this money up so I can come and get it.
Marlene: I don't think so sir you'll have to call back. I'll call you back O.K.?
Oly: That ain't your car.
Delilah: Hey don't let him lie to you like that. Unh?
As Delilah says this, Bud enters and unlocks a door which lets him into the office. Miner and Delilah follow, approaching Oly who is sitting behind a desk.
Marlene: Thanks Bud.
Miner: Are you going to give me my car or do I got to go to your house and shove your dog's head down the toilet.
Marlene: Helping hand acceptance corporation Marlene speaking.
Plettschner: (sitting and knitting) Take it easy sonny boy.
Delilah: Shut up rent-a-cop.
Oly: Best goddamn (gol-durn) car on the lot.
Miner: You damn right it is.
Oly and Miner nervously exchange keys and money, then both begin laughing. Miner and Delilah turn and start to walk out.
Marlene: Will you, Will you hold please?
Marlene: Helping hand acceptance corporation Marlene speaking.
Miner: (to Marlene) Say moma what's happening? You want to take a lift?
Marlene: No thank you. L.A.P.D. I wanted to report a repo in Boro heights area.
Delilah: Let's go.
Miner and Delilah exit
Plettschner: A Cadillac. Is he a pimp? (Live in a Cadillac, sleep in a tent.)
Bud: Shut up Plettschner.
Otto enters. As he comes in the door, he appears to have just finished reversing the Open/Closed sign which previously read "Open" on the inside of the room but now says "Closed". * Throughout the rest of this scene, the sign changes back and forth several times. *
Marlene: Bud what street was that car on?
Bud: Honey I don't know, some alley uh. Hey kid!
Bud: Hey what street was the Cutlass on?
Otto: I don't know. What happened to your old lady?
Marlene: They don't know I'll call you back.
Marlene: Helping hand acceptance corporation Marlene speaking.
Bud: My old lady? Oh shit (shoot)! I forgot all about her. Well she'll take the bus. She's a rock.
Marlene: What kind of car? What kind of car?
Bud: Hey come on in. Marlene! Marlene!
Marlene: Can you hold?
Oly: Got a name kid?
Otto: Yeah! It's Otto.
Oly: Otto! Otto parts? HAHAHA
Oly throwing Otto a beer: Here kid.
The phone rings and Oly answers
Oly answering the phone: Helping hand.
* Marlene is talking on the phone, but a continuous cut now shows her holding a pencil in both hands. *
Marlene: You got a drivers license honey?
Oly on the phone: Oh Yeah! Fuckin-a (flippin right) we ripped your car. Asshole (airhead)!
Marlene: Let me see it.
Oly on the phone: You want to know who told us where it was? Your goddamn (gol-durned) brother.
Marlene: Are you really twenty-one?
Otto: That's what it says doesn't it.
Oly: Hey you want some help with that beer kid?
Otto: You're all repo men.
Oly: What if we are?
Otto pours the beer on the floor.
(Otto simply mumbles that being a Repo Man is like being a landlord. After laughing at him, the Repo Men splatter him with beer. A handwritten note says that Otto isn't "tuff enuf" and maybe should pour beer on the floor to get back at them.)
Bud: You know kid, uhh, usually when someone pulls shit (stuff) like that my first reaction is uhh I want to punch his fucking (flippin) lights out.
Bud: But you know something?
Bud and Oly: (in unison) You're all right!
Bud: Right Lite?
Lite: Got any messages for me baby?
Marlene: Yeah. Here you go.
Oly: Cracks me up.
Lite: Somebody pissed (puked) on the floor again?
Oly: Maybe he's looking for a job? Huh budsky?
Bud: Could be? What do you say kid were always on the look out for a few good men.
Otto: Screw (stuff) that! Ain't going to be no repo man. No way!
Marlene, handing Otto the 25 dollars: It's too late...you already are.
Otto out in the repo yard with Miller
Miller (handing Otto a pine tree air freshener): You find one in every car. You'll see.
(This is where the scene in the market with Mr. Humphries firing Otto takes place. This is followed by a short version of the Otto at Home scene which is followed up with a shot of Otto living in the garage as seen in the deleted scenes. There is then a moderately long Kafka-esque scene of Otto at his Army examination where we get introduced to Captain Bellknap and his blond assistant Danvers. Back in the Desert and Otto and Kevin in the Rain are not in this version of the screenplay.)
Back in the desert
We begin scene looking through the windshield of a police motorcycle. The windshield of the police motorcycle naturally has a pine tree air freshener hanging from it. We see some people searching around in the desert, most of them in radiation suits, with a local sheriff following a woman in a business suit. We can faintly hear both the police radio on the motorcycle and the sheriff talking.
Radio: Come in Officer Labeef do you read me?
Radio: Chuck, will you stop screwin' around?
Sheriff: [Years ago I saw five cows mutilated. Legs sticking up in the air. Their ah their ah testicles were cut off. I think Canadian bacon is better myself.] I've never seen the like of that.
Radio: I've got the stats on that car, Officer Labeef.
Radio: Ten-forty Baker...
Sheriff: What could have done that to him? Gasoline? Napalm?
Agent Rogersz: It happens sometimes. People just explode. Natural causes.
Sheriff: What?Rogersz enters van. Sheriff tries to follow, but door is closed by an agent wearing radiation suit. Inside van, computer screen prints out the following:
Agent Rogersz: Suspect presence on west coast confirmed. Do not notify police.
Otto and Kevin in the rain
Otto and Kevin are sitting on a ledge with people going in and out of a door behind them. It's an unemployment office. Kevin has a newspaper on his lap along with some other papers. Otto is wearing what looks like some kind of red Chinese hat.
Otto: Night watchman in Pomona.
Otto: Asbestos worker. City of industry.
Kevin: Yep Yep!
Otto: French fry maker Agoura. Ha Ha that's absurd.
Kevin: Yeah? Well you think it's funny huh? There's fucking (lots of) room to move as a fry cook, man. You know I could be manager in two years? King! God! (egad!)
Otto: You know Kevin, I had this wild fucking (flippin) dream the other night.
Kevin: I bet.
Otto: It was with you and me and we were working in this sleazy shithole (shabby) motel down in Miami, Florida. And we were bellhops and we were sixty-five years old. It was so real it was really real, realistic.
Kevin: And then what, you woke up in a puddle (cold sweat)?
Otto: Fuck you! (drop dead) Fucking (you) jerk.
Otto stands up and starts to walk away.
Kevin: Where you going asshole (snotnose)?
Otto: Away from you.
Otto at Home
The Edge City #127 bus pulls forward and stops. As a crowd of people get on, Otto struggles to get off, taking off his "chinese hat" and setting it on the head of a child getting on the bus. Happy Animals plays in the background on a radio.
Note: Edge City, the name of the film's production company, was the alternate title for Alex Cox's first film Sleep is for Sissies, made while he was attending film school at UCLA. It appeared originally as a recurring theme in Tom Wolfe's "Electric Kool-Ade Acid Test".
We now cut to the Reverend Larry's face on a television screen, and then discover that we are inside of Otto's house where his parents are watching TV and Otto is just entering. Note that in the credits, the parents are listed simply as "Otto Dad" and "Otto Mom".
Reverend Larry on the TV: The lord has told me personally. Yay for I walk with the lord, Amen. He said Larry you and your flock shall seek the promised land. But only if you first destroy the twin evils of godless communism abroad and liberal humanism at home. Oh joy and Hallelujah smash'em down. Now my friends.
Otto: Mother, father. Got anything to eat?
Otto goes to the kitchen, opens the referigerator and pulls out a can of generic "food". He begins eating straight out of the can.
Reverend Larry: Occasionally we get a letter from a viewer that says now the only reason Reverend Larry comes on your television set is because he wants your money. And do you know what? They're right! I do want your money. Because god wants your money. So I want you to go out and mortgage that home and sell that car and send me your money. You don't need that car. (continues in background)
Otto mom: Put it on a plate son you'll enjoy it more.
Otto: I couldn't enjoy it any more mom MMM MMM MMM This is swell.
Otto: Dad? Hey Dad?
Otto dad: What is it son?
Otto: Do you remember that you once told me along time ago. Well not too long ago but ummm. That you told me that you'd give me a thousand dollars to go to Europe if I finish school. Well you know something? You were right. About finishing school that's ah that's what I'd like to do. But umm I want to know if I could have the money first. Like now. [You know I really love you Dad I've always loved you. You too mom. What do you say?
Otto mom lights a joint.
Otto dad: I don't have it anymore.
Otto mom takes a drag off of the joint.
Otto mom: You father gave all our extra money to the Reverend's telethon, Otto. [We're sending bibles to El Salvador.]
Otto: Well what about me?
Otto dad: You're on the honor roll of the chariots of fire. Same as us, Otto. It was a gift. From all of us jointly.
Otto mom: We're sending bibles to El Salvador.
Otto beds down in parents garage and smokes a joint. This scene can be seen on the "Missing Scenes" featurette.
Otto and Bud riding in Bud's car
See See Rider plays on the radio. In almost all scenes inside of Bud's car, Jazz music will be playing on the radio.
In this sequence the background changes from day to night, back to day, and back to night again (during the speed snorting scene) even though the dialog (and radio music) seems continuous. This was intentionally done to show the passage of time, but the disjointed events are cut so smoothly as to make it seem like a continuity goof. It's clearer in the TV version where there truly is a break between the line about speed and the actual snorting.
Otto: So how much do I get paid, twenty-five bucks a car?
Bud: Paid? You don't get paid. Are you kidding, you work on commission, that's better than getting paid.
Bud: Most cars you rip are worth two or three hundred dollars. Fifty thousand dollar Porsche (german pronounciation) might make ya five grand.
Bud honking at car in front of him: Come on dickhead (dumbhead).
Cut to night
Bud: It helps if you dress like a detective, too. Detectives dress kind of square. People think this guy is a cop. They're going to think you're packing something. They don't fuck (mess) with you so much.
Otto: Are you?
Bud: Am I what?
Otto: Packin' something.
Bud: Ha. Only an asshole (a jackass) gets killed for a car.
Note that later in the film we will discover that Bud actually does pack something.
Cut to day (A brief exchange occurs based on Otto telling Bud that doing repo work sounds better than juvy).
Bud: Guys who make it are the guys who get into their cars at any time. Get in at three A.M.get up at four. That's why there ain't a repo man I know that don't take speed.
Otto: Speed huh?
Bud is talking on phone. (Bud is chewing out a woman named Dolores for not making her payments when the phone goes dead.)
Bud: I'll call you back! (hangs up) Flippin general telephone.
Bud picks up phone and dials. Phone begins making a loud whining noise.
Bud gets sledgehammer from car and destroys phone while Otto watches. When Bud is done, Otto gets crowbar from car and beats side of phone with it while laughing.
Bud: C'mon. (Let's go see your friend.)
Otto and Bud in car in alley
(In the television version, this entire scene takes place while watching Bud's car drive down a road, but you can still hear the snorting in the background.)Rhumboogie plays on the radio.
[Bud snorting a line: Jesus Christ.]
Bud: Never broke into a car. Never hot-wired a car. Kid. I never broke into a trunk. I shall not cause harm to any vehicle nor the personal contents thereof. Nor through inaction let that vehicle or the personal contents thereof come to harm. That's what I call the repo code, kid. Don't forget it, etch it in your brain. Not many people got a code to live by anymore.
Bud: Hey! Hey look at that. Look at those assholes (that) over there.
We see a tow truck with a car hanging from it. Four tennis players are running around next to the car and appear to be very agitated. Lite is leaning calmly on the tow truck while the driver stands and watches.
Bud: Ordinary [fucking] people I hate 'em.
Otto: Me too.
Bud: What do you know? See an ordinary person spend his life avoiding tense situations. Repoman spends his life getting into tense situations.
(during a tornado chasing scene in the movie Twister, two flunkies in one of the chase vehicles quote this line)
Bud: [Assholes]! Lets go get a drink.
(Instead of drink, it's Club, but a handwritten note suggests changing the name to something non-product specific.)
Otto and Bud in a store
Bud sets 2 six packs of "drink" down on the counter.
Bud: Tense situations kid. Get into five or six of them a day and it don't mean shit (zilch) any more. I mean I seen men stabbed and it didn't mean shit (zilch). I've seen guns. Guns too they don't mean shit (zilch) but that's when you got to watch your self. Here I'll handle it pal. Uh settle down.
Bud: Have a nice day. Or night. Night, day, it doesn't mean shit (zilch).
Duke, Archie, and Debbi rise from behind counter as Otto and Bud leave. They are holding guns on the cashier and rifling the cash register.
Duke: Wasn't that Otto?
Debbi: Otto who?
Duke: You gotta watch yourself. (takes off mask) Have a nice day . . . night.
Parnell drives Malibu across bridge
The Malibu passes Agent Rogersz van. It's parked on the bridge and two men in radiation suits are working under the hood.
Otto and Bud in front of house with tow truck
Otto and Bud driving down concrete riverbed
Bud: There's going to be some bad shit (stuff) coming down one of these days kid.
Otto: Oh yeah? Where you going to be? On the moon?
Bud: Ung Uh, I'm going to be right here heading north at a hundred and ten per.
Otto: In this junker?
The Rodriguez brothers pull up along side of them in a red convertible with black fuzzy dice hanging from the rear view mirror. Latino music plays on the radio.
Otto: Cool car.
Bud: Uh Oh! The Rodriguez brothers.
[Lagarto flips them off
Otto: Motherfucker just flipped you off.
Bud: Roll the window down.] Roll the window down.
Lagarto: A donde vas, pendejo?
Bud: A chingas tu esposa!
A brother: Hey Bud, hey Bud, who's your new girlfriend?
Otto: Watch it mother fucker. (Girlfriend? watch it melonfarmer!)
Lagarto: Hey fuck you pussy punk. (flip you, you punk.)
[Otto: Holy shit.]
Napo: Want me to take them?
Otto: Wo! Hey!
They chase each other and end up sliding out in a huge puddle. * In one shot during the chase, Lagarto is missing from the passenger's seat *.
Bud: God damn dipshit Rodriguez gypsy dildo punks. I'll get your ass!
(Bud: dang blamed dumb suck Rodriguez gypsy devil punks. I'll get your can!)
Otto: HAHAHA WOW! That was intense.
Bud: Repo man's always intense. Come on let's go get a drink.
Otto: Gee bud. You never told me it was going to be like this man. Cops and robbers. Hahahahah. Real live car chases. Hahahahah.
Duke, Archie and Debbi leaving a liquor store they just robbed
Archie has a bag over his head. Debbi, wearing a ski mask, fires a shotgun into the air for no apparent reason.
Archie: Shit (shoot)! Duke!
Duke: If you say our names we'll have to kill all these people, Archie.
Archie: They all ran away.
Debbi: Come on you douchebags. (come on, get the lead out.)
They run out, Archie's bag flying off his head. Bud and Otto enter just after they leave.
Bud: Awful quiet in here. It's too quiet.
Otto: So who are these Rodriguez boys.
Bud: Rodriguez brothers. Lagarto and Napoleon. Two notorious delinquents currently responsible for at least thirty vehicles in the field.
Quick shot of Rodriguez brothers in car lot signing papers on a car.
(Bud: What they do is this. One of them buys a hundred-dollar junker and they pay it off in time. Never miss a payment. Now they've got a perfect CREDIT RECORD. Dig? ... A week later they come back looking for another car. They sign the papers and they're outta there in a brand new Chrysler LE BARON. With no money down. And that's the last dealer ever sees of 'em. Three missed payments later, it's another job for REPO MAN.)
(Lite does not appear until much later in this version of the screenplay; the following scenes with Lite and Otto were added later)
Lite and Otto driving in Lite's car
Lite: They ain't scumbags. They car thieves just like use.
Lite: There's Miss Magruder. You want to go for it?
As Lite comes to a stop, he hands Otto a bag. Otto looks inside and laughs.
Otto: Good gag, you pull this one a lot?
Lite: Only on the women. It never fails.
Otto gets out of the Lite's car and approaches a convertible.
Otto: Excuse me? Miss Magruder? I have something here for you.
Otto takes dead rat from bag and tosses it into Ms. Magruder's car
Ms. Magruder: Uhm how utterly charming.
Ms. Magruder sprays Otto in the face with mace and then drives off when the traffic light changes. The music changes to Reel Ten as Lite takes off in pursuit.
Otto: Ow! Ow! Ow! Motherfucker! (mother...) Ow! Ow! Ow! Christ! I'm blind man. Lite? Lite, where are you man?
(in a quick scene, Marlene informs the repo men that the collateral on the Malibu has been raised from one thousand to five thousand dollars.)
Otto and Bud driving in Bud's car
A few bars of Reel Ten play in the background and taper off. The car comes to a stop.
Bud:Bruce I. Peason, brokerage consultant. Fucking (flippin) millionaire six payments behind. I've never understood it.
Otto: What's that?
Bud: The fucking (flippin) millionaires. They never pay their bills. See you at the yard.
Otto: Let me get this one.
Bud: No. I'll handle this one. Mister Peason is carrying a permit for a pistol.
Bud: Hey! Hey! Hey! Give me that.
Otto grabs the keys, gets out of the car and jauntily approaches a huge red Cadillac convertible parked in front of a laundromat.
Otto: (turning back towards Bud) Don't underestimate me ace.
Inside laundromat, talking to two kids:
Peason: And also, naturally, I'd like them to be right next to each other. In addition I'd like them to be as close to the window as possible so I can sit in my car and watch my things. So all you have to do is take your clothes out of here like this and put them into a machine over there like that.
Peason Sees Otto driving off with the car.
Peason: Oh my god (lord)! Oh! Oh my god (lord)! Stop!
Peason runs out door after car. Two kids grab Peason's clothes and throw them out the door while laughing.
Car radio plays Pablo Picasso. Otto sees Leila running on the sidewalk and slows down while watching her.
Otto: Hey! Hey! You want a ride? Hey babe need a ride?
Otto runs into some garbage cans, stops and gets out just as an old lady walks up.
Old lady: Pick it up! Look at you. You pick it up. You know yourself you were wrong.
Otto: Well what were they doing out in the middle of the street?
Old lady: They weren't in the middle of the street. That not the middle of the street that's the corner.
Old lady: Go on you pick it up.
Old lady: You pick it up.
Otto: Haha, no way. You still want a ride or what?
Old lady: No I don't.
Leila and Otto drive off in the car
Otto: My name is Otto.
Leila: Leila. Is this your car?
Otto: Yeah it's one of them.
Leila: Heh, one of them? You think you're pretty slick don't ya? I bet you're a used car salesman.
(Otto feeds Leila a story about being a rock star. Handwritten in red ink are instructions stating that the following lines are very important and they should not forget to include them:
Leila: Gee, Otto. You've really been around. Animal trainer, faro dealer, mercenary, spy. Now you're a PUNK ROCK STAR --
Otto: Well music's where my head is really at. I guess I'm in the vanguard of the POST APOCALYPTIC SENSIBILITY. You know?)
Otto: I am not.
Leila: You dress like one.
Otto: I'm a repo man.
Leila: What's that?
Otto: It's a repossesser. I take back cars from dildos (deadbeats) who don't pay their bills. Cool huh?
Hombre Secreto plays on car radio.
Leila hides as a car with two men in mirrored sunglasses pulls up beside them
Otto: What are you doing?
Leila: Those men in the car next to us don't look at them. Don't look at them! If they see me they'll kill me.
Otto: Really why?
Leila grabs wheel and turns.
Otto: Ow! What the hell are you doing?
Otto: What's going on?
Leila: Take a look at this.
Leila shows Otto a picture of condoms filled with water and wearing grass skirts. We notice that she is wearing a yellow happy face watch.
Otto: What's this? It looks like sausage.
Leila: It isn't sausage, Otto. That's a picture of four dead aliens.
Leila: Laugh away fuckface (fatface) that picture is going to be on the cover of ever major newspaper in two days time.
Otto: How do you know that?
Leila: Part of a secret network. A scientist who is also in our secret sect smuggled the corpses off of this air force base. Now he's got them in the truck of his car. It's a Chevy Malibu. We've got to find him.
Otto: What are you going to do with them, put them on Johnny Carson?
Leila: Yes! We're going to have a press conference and tell the world.
Radio: Ehw. What's that? I don't know dear. But it is alive. It seems friendly though. Aw look it's curled up. How cute oh no. Maybe we can take it home it doesn't seem to have any. Oh yes let's. But no! No matter how appealing do not let strange creature in you house. We all know strange creatures are on the increase. Many of them do seem furry and adorable, but beware we don't know from whence they came. Be safe. Be safe. Report strange incidences today. (continues in background)
They pull up in front of a building
Otto: United fruitcake outlet.
Leila: My door doesn't open.
Otto lets Leila out
Leila: Thanks for the ride.
As Leila stands there, we notice she has a yellow happy face pin on her dress.
Otto: Sure Ummm I don't know. what do you think? Ah want to go out with me again sometime?
Leila: I don't know. I'm going to be kind of busy with work, the Malibu and everything.
Otto: Hey great. Terrific. Here's your shit (stuff).
Leila: What's your problem? I mean girls might like you if you lightened up a little bit.
Otto: Fuck (Flip me). Girls pay to go out with me. All right?
Leila: You wanna get back in the car?
Otto: What, here?
Watching from outside the car, squeals are heard from the back seat as people walk by in a short speeded-up time lapse segment.
(The scene, playing out slightly differently, ends with
them at the Santa Monica Cliffs and exiting the car disheveled
and wearing each others clothes.
Otto: This friend of yours. What kind of car is he driving?
Leila: A Chevy Malibu. With New Mexico Plates.)
Back at the Helping Hand Acceptance Corporation
Oly: Twenty thousand dollars for a Chevy Malibu?
Oly: Who's double X finance?
Marlene: Store front operation, but the money is in escrow.
Otto sits down and picks up a copy of the News. The alien picture is on the front page and the headline reads "Top Professors Startling Discovery: ETs Will Land Any Day Now".
Marlene: Want me to notify the boys?
Oly: Uh, naw. They're always bitching (crying) about their case load. I think I'll go out for a while.
Marlene: Why? We out of beer?
Oly: Somebody has to work around here. Keep making me money kid.
Otto: (* his mouth closed and lips not moving *): Fuck (flip) you.
Otto and Lite out in the field
Lite: Man we've been looking for this little red devil for a long time. Just act natural. Nobody knows if it's your car or somebody elses car.
They approach the car, Otto carrying the slimjim and Lite carrying his briefcase.
Lite: Now you work with that. You give it a try. All right?
Lite: Let me give you a hand we don't have a whole year to find it boy.
Together, they slimjim the car and open the door.
Otto: Got it.
With the alarm going off, Lite hands Otto the briefcase and gets in the driver's seat. Otto walks around car, gets in and opens the case.
Lite: Lets get out of here.
Lite begins pulling tools out of the case as he pops the ignition and hotwires the car.
Lite: Put your seat belt on boy! I don't ride with anybody unless they wear their seatbelt. It's one of my rules.
Otto, going through Lite's briefcase, picks up gun.
Lite: Put that damn gun down boy. It ain't no toy. [Shit.]
The car starts, the alarm goes off and they drive away.
Driving away in the car
(Lite's monologue starts as in the song Bad Man)
Lite: I walk into someone's place of work. They shit (plum) scared. They know I'm not a cop. They think I've come to kill 'em and I would. I'd kill anybody who crosses me. You know what I mean?
Otto goes through glove compartment, puts on pair of sunglasses he finds there (reference to the movie Kings of the Road with cinematography by Robby Mueller). * Lite puts a lighter to the cigarette in his mouth, but fails to light it *. A few moments later he does it again and succeeds in getting it lit.
Lite: Do you like music?
Lite: In that case you're going to love this.
Lite puts a cassette in the player and music starts. Although the monologue is based on the lyrics for Bad Man, the music playing here is probably I Just Want to Satisfy.
Lite: I was into these dudes before anybody. Partied with them all the time. Asked me to be their manager.I called bullshit (no way) on that. Managing a pop group hey that ain't no job for no man.
Otto sees boxes wrapped in ribbons in back seat and hands one to Lite who throws it out window. A car runs over box and we see that it is full of money. Otto continues throwing boxes out of the window.
Lite: You read that book I gave you?
Otto: What book?
Lite: Dioretix. Science of matter over mind.
Otto: Unh uhg
Lite: You'd better read it and quick. That book will change your life. Found it in a Maseratti in Beverly hills. [You know what I mean?]
Otto and Miller in vacant lot under bridge
(no part of this scene is in the older screenplay)
Otto holds up book he's about to throw in burning garbage can. Book says "Dioretix: The Science of Matter over Mind. By A. Rum Bi...". This is a reference to "Dianetics" by Scientology founder L. Ron Hubbard.
Miller: A lot of people don't realize what's really going on. They view life as a bunch of unconnected incidences and things. They don't realize that there's this like lattice of coincidence that lays on top of everything. I'll give you an example, show you what I mean. Suppose you're thinking about a plate of shrimp. Suddenly somebody will say like plate or shrimp or plate of shrimp out of the blue no explanation. No point in looking for one either. It's all part of a cosmic unconsciousness.
Otto: You eat a lot of acid Miller, back in the hippie days?
Miller: I'll give you another instance. You know the way everybody's into weirdness right now. Books in all the supermarkets about Bermuda triangles,UFO's, how the Mayans invented television. That kind of thing.
Otto: I don't read them books.
Miller: Well the way I see it it's exactly the same. There ain't no difference between a flying saucer and a time machine. People get so hung up on specifics. They miss out on seeing the whole thing. Take South America for example. In South America thousands of people go missing every year. Nobody knows where they go. They just like disappear. But if you think about it for a minute, you realize something. There had to be a time when there was no people. Right?
Otto: Yeah. I guess.
Miller: Well where did all these people come from? hmmm? I'll tell you where. The future. Where did all these people disappear to? hmmm?
Otto: The past?
Miller: That's right and how did they get there?
Otto: How the fuck (hell) do I know?
Miller: Flying saucers. Which are really? Yeah you got it. Time machines. I think a lot about this kind of stuff. I do my best thinking on the bus. That how come I don't drive, see?
Otto: You don't even know how to drive.
Miller: I don't want to know how. I don't want to learn. See? The more you drive, the less intelligent you are.
Driving around in Bud's car at night
(Bud tells Otto about the time he saw a UFO, then regrets telling him)
Bud: You know I think I saw one of those things once. One of those UFOs. I mean it was really it was kind of kind of scary. I saw all these colored lights and, uh, sounds. I mean sounds and lights like I never heard before. I mean it was really weird.
Otto: Do you think all repo men follow the code?
Bud: Of course. Well I mean you see a lot of fucked (messed) up cars come in but...99 time out of 100 it was the customer who fucked (mucked) them up. Assholes (Damn fools).
We see a close-up of Parnell at the wheel with his broken sunglasses. Eerie mood music plays in the background.
Bud in phone booth outside the Rodriguez brothers'apartment.
Bud: I'm offering a thousands dollars for his Falcon. You know what that is Napoleon? It's a bribe.
Napo: Who the hell is this? Napoleon? Who the fuck (hell) are you calling?
Bud: It's a grand if you show me where his car is Napoleon.
[Napo: Ahh. Go fuck yourself asshole.]
Bud: Hello? Prick (Jerk).
Inside the Rodriguez brothers' place, Napo looking at repo sheet on Malibu, which Marlene brought to them. The room is filled with crates. Napo sits at a table with a half-assembled machine gun.
Napo: Sixty-four Chevy Malibu. Twenty grand.
Bud (from outside the window): Waiting!
Napo: We could buy ten of them for that, Marlene.
Marlene: Think you can find it now?
Bud in the street: I'm not going anywhere.
Napo: Now how come this junk is worth so much? What's in it? Drugs?
Bud in the street: Got all night amigo!
Lagarto: Los Hermanos Rodriguez don't approve of drugs.
Marlene: Neither do I, but it's my birthday.
(Marlene talks about using the money to buy guns and medical supplies for their "brothers in Central America", then impresses everyone with how quickly she can assemble a machine gun.)
Bud in the street: I'm going to get your [ass].
[Marlene: That motherfucker's still down there.]
Bud in the street in front of the Rodriguez brother's house
Bud: Don't care how long it takes, dildos (jerks). Repo man's got all night every night.
Brothers make paper airplane of repo sheet and float it down to Bud. Bud picks it up and reads it.
Bud: [Jesus Christ] twenty thousand dollars.
Agent Rogersz in her van listening to an earpiece
(The blond agent, named Gloria, is questioning Leila about the Malibu. The screenplay then jumps straight to the car wash scene.)
Leila's answering machine: Hi this is Leila. I'm not here right now. So please leave your name, number and a brief message and a time you called at the beep. And please try to be frank.
Otto: Hey Leila! All right, um, this is Otto. The guy who gave you a ride and stuff. I heard something about that car.
Leila answering the phone: Otto? Otto?
Leila and Otto at the United Fruitcake Outlet
An agent photographs Leila and Otto as they enter the building. * Otto already has bruises from the beating he takes several scenes later. *
(a white, middle class UFO cultist lady explains why they chose the HAPPY FACE as their symbol)
Leila takes Otto into a cinderblock room which has a neon sculpture on the wall and in the center of the room, standing on a pedestal, is a humorous statue of what could be a squat bigh-headed humanoid type alien.
Leila: Otto. Otto stop. You said you had something to tell me.
Leila: Otto? Otto!
Leila: What did you want to tell me?
Otto: Oh! Take off your clothes.
Leila: I'm at work, Otto!
Otto: Oh yeah? Me too.
Leila: Your work is different than mine.
Otto: Says who?
Otto takes down his pants (according to the filmmakers, Estevez enjoyed doing this on a regular basis. Maybe they were just joking?).
Leila: What are you doing.? Don't do that.
[Otto: Well the least you could do is give me a blow job.
Leila slaps Otto
Otto: Heh, I guess that means no.]
A woman enters the room
Deirdre: Leila? We have a cell meeting in two minutes time.
* She doesn't pronounce Leila the same as everywhere else in the film. *
Leila: Thanks Deirdre. I'll be right there.
Leila slaps Otto again and leaves. Otto laughs.
Bud and Lite parked in their cars side by side
Bud: See that motherfucker (melonfarmer) only thinks I don't know what's going on, Lite. As soon as I find that Chevy I'm going indy. I'm going to buy myself a tow truck, a couple of pitbulls, and run a yard. Sit around and watch everybody else do the work for a while (change).
Lite lights up a roach.
Lite: No way you can do that on twenty grand man.
Bud: The hell I can as long as you have good credit and my credit
(Bud: The hell I can't, as long as your credit record's good and mine is spotless.)
Lite: If I find the Malibu, you won't see me for dust, I'm going to move to Mendecino County, raise me a bumper crop of tomato plants. (brussels sprouts)
Bud and Otto in a car
Bud: Credit is a sacred trust. It's what our free society is founded on. You think they give a damn about their bills in Russia? I said do you think they give a damn about their bills in Russia?
Otto: They don't pay bills in Russia. It's all free.
Bud: All free? Free my ass, what are you a fucking (flippin) commie? Huh?
Otto: No I ain't no commie.
Bud: Well you'd better not be I don't want any commies in my car. No Christians either.
Chevy Malibu exits car wash and pulls up to gas pumps.
That's director Alex Cox wiping the car as it pulls away from the car wash and over to the pumps.
It is reported that the actor driving the car, Fox Harris, damaged one of the Malibus after crashing into one of the pumps. You can supposedly see a severely damaged pump, but I've not been able to spot it.
The pumps at the gas station say "Pace Gas". Next to the pump is a campaign poster for Harry Pace, running for City Council. These posters appear elsewhere in the film. In his posters, Harry Pace has a happy face.
(This scene starts with Oly pulling up to a gas pump and placing a gun on the dashboard. He sees the Malibu and gives pursuit, but loses it when it ducks into the car wash. The screenplay then jumps to the John Wayne scene after a very short scene in which Otto gets to drive Marlene home.)
(Kevin is warning a worker about sloughing off while simultaneously extolling the virtues of Harry Pace)
Kevin: I'll deal with you later. I've got a customer to attend to. You too.
Kevin walks over to Malibu.
Kevin: (Holding up a vacuum hose) Hi! I'm Kevin. Vacuum sir?
Kevin: Need a vacuum sir? (Kevin runs the vacuum for a second)
Parnell runs fingers through sweaty hair and pulls out a clump.
J. Frank Parnell: Have you any machines?
Kevin: You don't want to eat from a machine. Look, there's a nice Del Taco across the street. They've got enchiritos and everything.
(note: Enchirito is actually a trademarked product of Taco Bell)
J. Frank Parnell: But I do want to eat from a machine. Vended food contains all the necessary nutrients for survival. Taste damn good too, by golly. And plus, on any given evening, the machine that last night gave you cheetos might dispense instead... Doritos. Yohos. Oreos. Tosquitos (tostitos?). Or Lorna Doones.
Kevin: Lorna Doones? I love Lorna Doones. (All we got left is Ding Dongs).
(J. Frank Parnell: The randomness of it all is quite appalling. It is, in fact, too random to be random.)
Parnell walks off screen and we hear puking sounds.
Kevin: Oh hey! You want me to check the trunk? Scuze me.
Lagarto and Napo pull up in a car one other side of pumps. Latino music plays on their car radio.
Kevin: Hi! I'm Kevin!
Napo: Hey buddy! How you doing? Huh? Hey don't you remember me? I was here yesterday. Heh. Listen I think I left a book of matches over in your office over there. You want to go and check for me huh?
Kevin: Sure thing.
Napo: Hey thanks a lot buddy.
Kevin: Any thing for you babes.
Napo: All right, you're beautiful. I love you.
Kevin: I'll be right back.
Lagarto gets in the Malibu and both cars drive off. Kevin returns from inside and sees both cars gone. Two other attendants sit at a table and also look; the attendant on the right is director Alex Cox.
Shot of car driving down freeway, passed by a group of 6 men on 4 motorscooters weaving in and out among themselves (these are "The Untouchables", a soul/mod revival band from LA who will appear as Mrs. Parks children in the next scene).
Otto and Mrs. Parks in Mrs. Parks' living room
Otto: It's really very simple Mrs. Parks. You don't want me to take your car and I don't want to take your car. Now I said to the boss I said ah Look! I do not want to repossess this lady's car.
Sound of motorscooters pulling up outside of house.
Mrs. Parks: Well I' ve been in the hospital you see.
Otto: Yeah, Yes I understand. My job is really on the line over this one. I could lose it right away.
Mrs. Parks: I'll see if I can borrow some money from somewhere.
Otto: That's terrific. Really terrific.
Mrs. Park's son and his fellow band members enter. A particularly huge one sits down next to Otto.
Mrs. Parks: Oh how was the rehearsal son?
Mrs. Parks' son: It was O.K. Who's this?
Mrs. Parks: Oh this is Mr. Otto. He's from the finance company. He's been telling me that he isn't going to take the car this time, even though he could.
Otto: Well, uh, gotta get going here.
Otto fumbles nervously with his briefcase trying to close it.
Mrs. Parks: Did you like the tea?
Otto: The tea?
Mrs. Parks: Uh huh?
Otto: Yeah, it was terrific.
Otto: Thank you
Mrs. Parks: You're welcome.
Otto: Uh excuse me.
Otto walks outside and gets in car. From outside we hear Mrs. Parks yelling at her sons.
Mrs. Parks: I gave you the money last week to pay it and you didn't do it. What did you do with it? I'm so tired of giving you money and you squandering it. I know what you done you all went out dancing somewhere. That's what you did. Next time I give you some money I want you to put it in the car, ya hear. You're working. How come you didn't do it huh? I don't know what's happened to you. (continues softly)
Otto starts car and guns engine, but now we clearly see that the rear wheels are up on jacks (* that it wasn't up on jacks before has been listed as a goof and even confirmed by Alex Cox, but I think they're wrong. It is hard to tell in the dark, but you can see the base of one of the jacks lit up by a light from the house which goes dark as a band member runs in front of it on the other side of the car, thus confirming that the car actually was up on jacks in all the scenes *).
Band members run out of house and pull Otto out of car.
Otto: Hey it's cool. It's cool. I like music too man, hey
Otto gets beat up. One band member hits him twice over the head with a guitar, making an audible "kabong" noise. Supposedly you can hear one member saying "this one's for Keith Moon", but I've never been able to make it out.
Miller, Plettschner and Otto in the lot.
Miller is chanting and dancing like a native American as he puts a bandage on Otto's head.
Plettschner: Some people aren't cut out to be repo men. Why don't you smarten up kid?
Otto: Fuck (flip) you Plettschner! OWW! OWW!
Plettschner: Don't you say fuck (flip) you to me. Don't you know who I am?
Otto: Yeah you're Plettschner.
Plettschner: You're fucking (flippin) right I'm Plettschner. Otto Plettschner. Three times decorated in two world wars. I was killing people while you were still swimming around in your father's balls (guts). You little scum bag! I worked five years in a slaughter house and ten years as a prison guard in Attica.
Otto: So what?
Plettschner: So what? So never say fuck (flip) you to me. Because you haven't earn the rights yet.
(Several lines of dialog in which Bud asks for a contract driver and chews out Otto for not taking the opportunity.)
Lite: Hey kid I need a contract driver.
Plettschner: See what I mean punk?
Otto: Fuck (flip) you!
Plettschner: Fuck you! (What!) You little scumbag.
Lite: Shut up, Phlettschner.
Plettschner: Don't you ever tell me to shut up.
Lagarto and Napo in the Malibu
They pull up in front of a diner.
Napo: Shit (shoot)! Que calor!
Napo: It's too hot in here man. What the hell's going on? So fucking (flippin) hot I think that shit in the trunk is going to melt. I think we better take a look, all right?
Lagarto: Go get us two sodas.
Napo: All right, as soon as I check the trunk.
Lagarto: We're just the mules, comprende? (Andale')...
Napo leaves the car first. As Lagarto gets out from behind the wheel, we can see he's holding a stack of papers. The one on the bottom says Top Secret and Clear Intent. This is a flyer created by Barry Greenwood to announce a book he co-wrote with Lawrence Fawcett called "Clear Intent". It's about government investigations into UFOs and was published in 1984. Some sources also claim "Clear Intent" to be the original title of the screenplay for the Emilio Estevez film "Men At Work"
Lagarto calls Marlene from phone booth. A sign in the window of the diner behind him says "2.95 Plate O-Shrimp Luncheon Special".
Marlene: Helping hand.
Lagarto: Marlene! We've found the car.
Archie, Duke, and Debbie exit a window and go down a fire escape [dropping armloads of pills as they go]. Behind them, a sign says "Fox & Mac Taggert Pharmaceutical Company".
Duke: Come on you guys!
Duke: Get the lead out.
Debbi: Stop pushing Duke.
[Archie: My medication. Aw man!
Duke: Aw be cool dude we got more.
Debbie picking up some dropped pills: Aw let me help you Archie dear.]
Archie: Come on. Come on. da-dee-dee-dee-dah-dah dee-dee... (continues to the tune of The Ride of the Valkyries)
As they run down the alley, Archie pauses to shake hands with a wino laying on the ground.
Lagarto on the phone with Marlene
Lagarto: Yeah well that's not the only thing Marlene. This car is hot.
Marlene: What do you mean? Stolen?
Lagarto: No. No I mean it's hot really hot.
Lagarto: Yeah, we're sweating like pigs man.
Marlene: I got the papers. Where is the car from?
Lagarto: It's from someplace. Ah Roswell, New Mexico
Archie and Duke run by the Malibu. Debbie stops, whistles and gets in the car. Archie and Duke jump in and they drive off to the sound of a Latino version of The Ride of the Valkyries. Lagarto walks out of the phone booth just as this is happening and drops his clipboard in disgust. Napo walks out of the store, silently hands Lagarto a soda, and they both stand there and sip their drinks through straws.
Otto and Lite in a car
An instrumental version of Bad Man is playing on the tape deck in Lite's car. According to Cox, this is a scene originally written for Bud but changed because of the difficulty Cox was having working with Harry Stanton Dean. For more information on this, see the FAQ.
Lite: Me fight in a war man? Fuck (hell) no way! Nobody's got to do that shit. Not in this country. A new I.D. don't cost no more than a pink slip. You know what I mean?
Lite: Something wrong?
Otto: You know Marlene? Man she's pretty hot.
Lite: Otto my man. I jumped on that action from day one. I found out where she was coming from.
Otto: See ya back at the yard.
Lite: Have fun.
Otto slimjims car and tries to start it. While bending down, window shatters from gunshot.
Otto: Oh shit (damn). Holy shit (smoke). Lite! [Holy shit. Holy fucking shit]. Lite! Lite! Lite! Lite! Open the door. There's a maniac in there. What are you doing? Open the door man! What are you doing? What are you doing? Open the door. Lite!
Lite gets out and starts shooting back. He fires 9 times (one or two of the shots doesn't flash like the others).
Lite: You're still on the job white boy. Get in the car.
Otto: Open the door man, open the [fucking] door. Open the door Lite.
Lite: Get in the car.
Otto: Jesus Christ. (Holy cripes.)
Otto gets back in the car, starts it, and both cars drive off.
Lite and Otto in a field
Otto: You're crazy Lite. I mean you can't just shoot into people's houses. I mean maybe you shot the guy.
Lite: So what if I did?
Otto: Well I don't know I mean that's pretty severe.
Lite shoots the gun at Otto's feet. Otto drops his beer, getting some on his pants.
Otto: Jesus Christ. (Holy cripes!)
Lite: Hey! Blanks get the job done too.
Otto: You repo men, you guys are all out to fuckin (flippin) lunch. Let's get out of here.
Sunrise on the Skyscrapers of LA
We hear a phone ringing.
Leila walking down street
Leila walks by a phone booth and hears the phone ringing. She picks up the receiver and hears the sound of someone reciting Jabberwocky, played backwards.
Leila: Hello. Is it you? This is Leila. Are you using a scrambler?
Parnell is directly across the street speaking into another pay phone.
J. Frank Parnell: I can't hear you. I'm using the scrambler.
Leila: (garbled noises in background) Look out!
J. Frank Parnell: What?
A car swerves into the phone booth, then crosses street and hits a fire hydrant. The agents are trapped inside by the airbags. More agents appear and chase Leila
Agent: Happy face! You want a ride?
Leila makes some yipping noises as the agents grab her and push her into the car. * Her mouth doesn't appear to be open or moving. *
In Agent Rogersz van
An agent types while eating potato chips. The camera pans across the van to Agents Rogersz, who is watching a monitor which shows Leila being questioned
Leila: What do you want from me?
Agent: We ask the questions.
Leila: You're not going to torture me are you?
Agent: Torture you? What for?
Leila: To find out what I know. I'd torture someone in a second if it was up to me.
Agent: Huh? Why are you looking for the Malibu?
Leila: Because of the trunk. The aliens inside.
Agent: Illegal aliens?
Leila: No, Silly, Extraterrestrials.
Agent: Ahhh, heh. Did you ever think about joining the CIA?
Leila: Um. I going to have to ask my boyfriend.
Rogersz computer screen prints up the following information
subject: Otto Maddox
A party at the Helping Hand yard
(It was Lite who was beaten up instead of Otto. He makes his first appearance in this scene and the only other scene he appears in is the party scene.)
Everybody: Jingle bells. Jingle bells. Jingle all the way. Oh what fun it is to ride in a one horse open sleigh.
Otto: What's going on?
Marlene: Oh. The usual.
Plettschner: Marlene! How you doing baby?
Oly: Jesus (Golly) who done that to ya son?
Otto: Who done what?
Bud: Who done what he says. You want to talk about guts. What did you do to your face kid?
Otto: Oh some dude it doesn't matter.
Lite: Oh yes it does.
Marlene: Why don't you do something Plettschner? Aren't you a cop or something?
Plettschner: Hey Marlene. I'm on my coffee break.
Bud: Repo man don't go running to the man Marlene. A repo man goes at it alone.
Lite: Yes sirree bob.
Marlene: Just like John Wayne.
Oly: Damn right just like John Wayne what's wrong about that?
Plettschner: Greatest American that ever lived.
[00:53:30] Miller: John Wayne was a fag (freak).
Bud: What did you say man?
[Miller: John Wayne was a fag.]
Everyone: (in unison) The hell he was.
Miller: He was too you boys. I installed two way mirrors in his pad in Brentwood. And he'd come to the door in a dress.Some people seem to believe that the "fag" line is a reference to the movie Midnight Cowboy. After Ratso Rizzo tells Joe Buck that his cowboy appearance only appeals to fags, Joe Buck replies: "John Wayne! You wanna tell me he's a fag?"
Plettschner: Ah, you're fucking (flippin) nuts.
Oly: That doesn't mean he was a homo (freak), Miller. Lotta straight guys like to watch their buddies fuck (play). I know I do.
Bud: They do?
Oly: Don't you?
Plettschner: Damn straight I do.
Lite: Fuck (Damn) John Wayne man. Tell us his name you little pussy (sissy).
Otto: Kiss off you asshole (airhead).
Otto starts to walk away, but the others grab him, drag him back, and hold him down by the back of his neck.
Otto: Ow you bastards (loonies)!
Bud: Hey take it easy. Take it easy. The guys head is hurt.
Oly:You're taking this too personal, son. The thing is a repo man got beat up in the line of duty. Now it doesn't matter that that man was you. What really matters is that the guy that did it has got to pay the price. Now stop being selfish and tell us his name.
Lite: Come on.
Otto: Ahh Oww You bastard (buzzard).
Lite twists Otto's arm and Oly stubs his cigar out on his neck.
Otto: All right! All right! All right! All right! O.K. his name was...
Repo men driving at night
Lite, Bud, Oly and Miller in the car wearing baseball caps and mirrored sunglasses.
The repo men in the front of Mr. Humphries's house
Two of the repo men are at the door and ring the bell. Mr. Humphries opens the door. In the background, we get a glimpse of Kevin, who appears to be in his pajamas and is standing by a Christmas tree. (This is specifically called for in the script but never explained).
Oly: Mr. Humphries?
Mr. Humphries: Yes? Yes I'm Mr. Humphries. What do you want? Ungghhh...
Repo Men beat up Mr. Humphries.
(CUT TO - Kevin being dragged along behind the Impala)
(Standing over an unconscious man and beating him with baseball bats, the Repo Men consider that they might have the wrong address. This is followed by a scene where Otto drops Marlene off at home and successfully talks his way inside. After some lovemaking, they discuss Otto having to go off and fight in a war and Marlene makes her anti-imperialist views known.)
At the Helping Hand Acceptance Corporation office
T.V.: The president admitted that U.S. war planes have napalmed refugees camps in Southern Mexico. He explained that these camps were in fact guerrilla bases. In strife torn Guatemala shots were fires at the U.S. embassy and government troops retaliated killing 50... (continues in background)
Marlene: Helping hand acceptance corporation. Marlene speaking.
Leila: Hello, is Otto there?
Marlene: It's for you. A girl.
Otto (on phone): Yeah.
Leila: Hi Otto? It's Leila.
Otto: Leila who?
In a bar.
Duke, Archie, and Debbie enter the bar, checking their weapons at the door. They assemble at the bar standing next to Rodney Bingenheimer (listed in the credits as Bengenheimer). The Circle Jerks are on stage playing When the Shit Hits the Fan.
(Otto and Leila are in a restaurant where Leila tells Otto about an underground network called the Keepers of Ezekiel.
Otto: Do you write for the National Enquirer?
Leila: Sometimes. It pays the bills.)
Otto: I can't believe I used to like these guys.
Agent Rogersz: Listen to me! For the sake of this and future generations you must tell us everything you know.
Otto: Yeah. Sure. I need another drink.
(Agent Rogersz describes the secret agency she works for and explains to Otto why they must not let the aliens fall into the wrong hands.)
Leila: Otto, these aliens aren't on ice or anything. They could be starting to decay. We've got to find them before they turn into mush.
Duke: Well! Well! Well! If it ain't the repo man.
Archie: You look like shit (snot) you wankers (weirdos).
Otto: Duke. Debbi. Archie. I'd like you to meet Leila and her weird friend.
Duke: How you doing, asshole (airhead)?
Archie: How come you don't hang out with your friends no more?
[Otto: What friends?
Debbi spits at Leila
Duke: Want some byoot dude?
(The screenplay starts with coke, but eventually it is crossed out and "byoot" is handwritten next to it.)
Duke spills his bottle of generic Butyl Nitrate on the table. Debbie and Archie yell and put their noses to the table to sniff it all up.
Duke: I really love ya man. You're my best friend. Because you always fucking came to see me while I was in Juvie.
Otto: I'm busy man. I told ya I was working.
Debbi notices Agent Rogersz gloved hand which is supposed to appear like it's made of metal but really doesn't.
Debbi: Look, a metal hand.
Debbi: Can we feel it?
Archie: Oh Chante.]
Duke: Fuck (flip) this let's go do some crimes.
[Archie: Adios butthole.]
Leila: Charming friends you got there Otto.
Otto: Thanks, I made'um myself.
(The next scene is J. Frank Parnell at the Car Wash talking about vended food. It starts with his comment about almost being able to see the stars. This is followed by the Malibue drives down the street scene.)
Debbi, Archie and Duke leave to find J. Frank Parnell breaking into the Malibu
Debbi: Hey what [the fuck are] you doing with our car?
J. Frank Parnell: Your car?
J. Frank Parnell: Are you sure? This looks like my car. Are there pecan pies in the back seat?
Archie: Not any more. We ate 'em.
Duke: Shut up Archie.
Archie: You shut up.
Duke: You're still here?
J. Frank Parnell: My car looks just like this. But this is yours, your car?
Archie: Yeah four eyes.
J. Frank Parnell: Of course...what's in the trunk?
Duke: What do you mean?
J. Frank Parnell: You don't even know what's in your own trunk.
Debbi: Kill him Duke!
J. Frank Parnell: You know what? I think you're afraid to find out.
Debbi: Kill him.
Archie: Come on Duke you putty butt, kill him.
Duke: (softly, and like he's doing a bad Jimmy Cagney imitation) I aint afraid of nothing see.
J. Frank Parnell: It's all right I don't blame you for being afraid.
Duke: I said I ain't afraid of nothing. I kill people like you.
J. Frank Parnell: Oh well. I guess you're right. It's better not to look.
J. Frank Parnell: Beautiful evening. You can almost see the stars.
Archie: Oh shut up. Duh. He's going to open it. HAHAHA
Archie: Come on Duke.
Duke burns his hand on the trunk and wraps a handkerchief around it.
Duke: This thing is hot.
Archie: AWWW, heh heh heh
Debbie: Well we don't have all night.
Duke opens the trunk a little and a bright light is emitted. Debbi pushes him away.
Debbi: Close it Duke! No! No!
Archie (jumping down off the roof of the car): Aw. Dukie Wookie hurt his wittle hand.
Duke: Fuck (flip) you Archie! Just for that your not in the gang anymore.
Archie: I'm taking over now.
Debbi: Oh leave it off.
Archie: King Archie the invincible.
Debbie: Shut up Archie.
Archie: Hey Debbi! Watch this.
Archie opens the trunk and is disintegrated
J. Frank Parnell: Oh dear, what a shame.
Debbie: Come on duke let's go do those crimes.
[00:59:50] Duke: Yeah. Yeah. Let's go get Sushi and, and not pay.
Malibu drives down the street
(Parnell hears Reverend Larry on the radio tell him that April 5th, 1999 is going to be a very special day. Parnell reaches for his pocket diary.)
Napo and Lagarto in a convertible pull up along side of J. Frank Parnell driving the Malibu
Napo: Hey! Yo! Hey buddy!
Napo: Special deputies pull over. Special deputies pull over.Hey!
The repo men in a car
The mirrored sunglasses are now off.
[Oly: So the department says the ice broke and he fell in.
Bud: Look at these people man there's one person in each car. City wants up to car pool but nobody gives a shit.
Miller: People car pool, we'd be out of work.
Lite: AWW bullshit!
Oly: How come that pig's got a wooden leg? Well said the farmer said about three months ago I was out there walking the pig.
Miller: (whistles) Look at that car.]
They see the Rodriguez brothers driving alongside the Malibu
Lite: Hey Budsky. There's your Girlfriend.
Bud: Aww! Those Rodriguez brothers Humm? O.K., boys, we've got the whole team here tonight lets settle these motherfucker's (melonfarmers) hash for good.
Lite: Let's do it.
[Napo: Yo! Pull over.
Lagarto: Meda Bud. Shit!]
Napo: Don't lose him man.
Bud swideswipes the Rodriguez brothers' car while the Malibu drives off with a noticable green glow coming from inside. Bud begins chasing the Rodriguez brothers.
Miller: Hey! Hey! Take it easy. Stop this [fucking] car. Hey come on. Come on.
The Rodriguez brothers are forced underneath a bridge or elevated highway and eventually have to stop the car. Napo jumps out of his car and onto the hood of Bud's car where he begins yelling and kicking at the windshield.
Napo: [Shit motherfucker! Come on! Come on motherfucker! Yeah. Come on I kick you fucking ass.] Come on! Come on! What are you going to do with that bat? What? Huh? What?
Lagarto: Hey! Hey! Hey!
Lagarto: Too bad Bud. This is going to cost you plenty.
Bud: What do you mean its going to cost me plenty?
Lagarto: How's your neck Napoleon?
Napo: Oh my neck? Yeah! Oh! [Shit! Oh shit] my neck is killing me man. I think I got whiplash.
Lagarto: Aside from whiplash, this isn't a repo car.
[Bud: Bullshit! I got the fucking papers on it.]
Lagarto: We paid it off. You see, uh this is our favorite car.
Napo: Yeah that's right. You got insurance [motherfucker]?
Bud goes after them with a baseball bat but the rest hold him back. According to Alex Cox, Harry Dean Stanton infuriated everyone by insisting on using a real baseball bat even though it was clearly not safe to do so. For more on this, see the FAQ.
Bud: Come on [cock sucker]. Whose side are you on [for Christ'ssake]? Let me go [goddamn it].
(This is followed by:
REPO MAN THEME MONTAGE
in which OTTO repoes countless cars - hurling dead rats into convertibles at traffic signals - extorting favors from FASHION MODELS - evading BELLKNAP and DANVERS - building a cheerful necklace of BLUE XMAS TREES...
There is then a scene where Bud drives Otto up into the mountains to see his outpost, the place where he's gonna hole up when the shit comes down.)
Next morning at the Helping Hand office
Plettschner is sitting in a corner knitting. A television set on Oly's desk is showing a football game which gets interrupted for a commercial. The commercial, featuring Michael Nesmith as a high energy pitchman, is actually a scene from the video "Elephant Parts".
Bud: [Shit!] This is bullshit (hokum) Oly.
Oly: Yeah Yeah that's what I said when the marshal woke me upat 4 o'clock this morning . Unfortunately it isn't bullshit (hokum), it's a summons.
Bud: [Well bullshit.] You should have refused to accept it.
Oly: Have you read it? The goddamn (gol-durn) Rodriguez brothers are suing us for malicious damage, medical expenses and harassment for a car they fucking (flippin) own.
Bud: The Rodriguez brothers. But. Ha! You believe the fucking (flippin) Rodriguez brothers? They're a couple of scumbags Oly. You know that?
Oly: I know that bud. But we've got to sit down and get our stories straight.
Bud: Bullshit (Hogwash) you're taking their word against mine.
Oly: I was there, remember? Why don't you go home? Take the rest of the week off.
Bud: Take the rest of the? I can't take the [fucking] rest of the...OW yeah! I Un Huh I get it. Take the flippin rest of the week off budsky. So you can get the flippin twenty thousand dollars for the Malibu.
Oly: Make it a fucking (flippin) month.
Bud: Yeah? Well fuck (flip) you.
Oly: On second though Budsky. Don't bother coming back at all.
Bud: Great! I'll come back and pick up my stuff later when the fucking (flippin) place don't stink so bad.
Plettschner: Ha! Ha! Ha!
Oly: Shut up!
Bud and Otto in Bud's car
Otto is driving the car.
Bud: [Fucking trash]. Makes you wonder how much they owe. Most of them are on the run. Don't even use their fucking (flippin) social security numbers. If there was just some way to find out how much the motherfuckers (melonfarmers) owe and making them pay.
Otto: Jesus Christ (Holy cow) bud. They're winos, they don't have any money. You think they'd be bums if they did?
Bud: You want out? Do ya?
Bud: What's a matter with you? Don't you like your job anymore? Not too happy in your job? I mean I feel like were not communicating anymore. When we first started out I though I could teach you something share something with you for Christ's sake. Answer me!
Bud reaches over and turns off the car. Otto gets out and walks down street amongst the bums, winos and Harry Pace posters. A slow version of Reel Ten plays in the background and he passes two agents in radiation suits carrying off a dead body and putting it in the trunk of a car.
Agent: (heard in background) I'm picking up the dead. I'm putting my hands around this dead body. I'm, I'm carrying his limp torso to the truck. And he feels like like he has only been dead a little while but...
Otto sees the Malibu and gives chase, music changes to strains from the Repo Man Theme. Losing the car, Otto stops to puke over the side of the bridge. When done, he sees the Malibu emerge from under the bridge. He runs down the stairs and after the Malibu as it goes through a railroad crossing which has red lights blinking and bell ringing. J. Frank Parnell stops and lets him in at what appears to be the corner of Palmetto and Mateo.
It is reported that they pass this corner several times during the following sequence, but this could be just because Parnell is driving in circles.
J. Frank Parnell: [Oh do me de.] (holds out hand) J. Frank Parnell.
Otto (out of breath): Ott, Ott...J. Frank Parnell: What line of work you in?
(J. Frank Parnell: Reporter? Used to be one myself, back in my college days. I covered all the folk concerts and protest songs. Michael Row the Boat Ashore, Little Boxes. Familiar with those songs? Pete Seeger and the Weavers, wasn't that a time! I almost had an affair with Ronnie Gilbert. Stopped myself in the nick of time!)
(begins singing, badly) We shall overcome, we shall overcome...
J. Frank Parnell: (stops singing and scratches ear) Did you ever feel as if your mind had started to erode?
* As Parnell says this, we see a shadow of the camera vehicle with crane on the wall outside of Parnell's window. *
J. Frank Parnell: (That's all right. You will. You will. You ever think that maybe you were sitting on the greatest gift that Mother Nature ever gave the world? Only the world was just not old enough to use it wisely?) Ever been to Utah?Otto: Nuh-uh
Otto: Sir. I represent the Helping Hand Acceptance Corporation.
J. Frank Parnell: Radiation, yes indeed! You hear the most outrageous lies about it. Half-baked goggle-boxed do-gooders telling everybody it's bad for you. Pernicious nonsense! Everybody could stand a hundred chest X-rays a year. They ought to have 'em too. When they canceled the project it almost did me in. One day my mind was literally a-burst. The next day nothing. Swept away... But I'll show them. I had a lobotomy in the end.
Otto: Lobotomy? Isn't that for loonies?
J. Frank Parnell: Not at all. A friend of mine had one. Designer of the neutron bomb. Ever hear of the neutron bomb? Destroys people. Leaves buildings standing. It fits in a suit case. It's so small no one knows it's there until blammo. Eyes melt skin explodes everybody dead. It's so immoral working on the thing can drive you mad. That's what happened to this friend of mine. So he had a lobotomy. Now he's well again.
Otto: What kind of car does your... does your friend drive?
J. Frank Parnell: Chevy Malibu.Otto: And you do the same type of work?
Otto: This is really a nice old car. Why don't you let me drive?
J. Frank Parnell: What do you mean?
Otto: Well I don't know. I mean...uh! Don't you feel funny.?
J. Frank Parnell: Why should I feel funny? The two hemispheresare fundamentally at odds. Hemisphere, Hemisphere. You know it's strange. I do feel funny...
J. Frank Parnell slumps forward and drives slowly into the sign at another railroad crossing. Otto lifts Parnell's head and sees blood dripping from the nose. We presume him dead. Otto dumps him and drives off with the Malibu.
Otto parks Malibu at the lot and locks it up. He sees a note posted on the gate: "Big Party at Millers. CU There."
(This is where agents poke around Parnell's body and it's also the scene with the conversation between Leila and Gloria (aka Agent Rogersz) where Gloria will pull up Otto's info on her computer. In this version, she'll also convince Leila that it was Otto who killed Parnell.)
Party at Miller's that night
Miller has a camera and the flash goes off as he accidentally takes a picture of himself.
Four woman surround Otto, two beside him and two behind. One or both of the ones behind him may be transvestites. Milk Cow Blues plays in the background.
Repo wife 1: Here's the young new-waver we've all heard so muchabout.
Repo Wife 2: My old man had a mohawk on him when I met him. He was in the service then.
Oly: He signed it over to me. But he didn't realize
Repo wife 2: My old man was such a monster. I used to have to tell him no.
Repo wife 1: My old man was exactly the same way until we got married.
Lite: Hey Oly. You're wife's hanging all over Otto.
Oly: Yeah. Like flies on shit (spit).
Otto: Um. Have you see uh bud anywhere?
Repo wife 1: Who?
At the Repo Yard
Somebody cuts the padlock and opens the gate. The Malibu awaits within.
(This does not occur until after the shootout at the liquor store.)
(In the screenplay, the scene with Otto's parents covered in cobwebs goes here.)
Bud driving in his car
Otto walks down street
Otto passes Bud's car. We hear a dog growling.
Bud: Hey ace. Wait up.
Otto driving Bud's car
Otto: So you want to talk about it?
Bud: Talk about what kid?
Otto: Why you're so damn mad at me?
Bud: I'm not mad at you. [God] damn. I'm not. I'm not mad at you.
Otto: All right O.K.
Duke and Debbie in car in front of a liquor store
Let's Have a War is playing faintly on the car radio. A sign in the store window advertises "Commando" cigarettes at $7.99 a carton.
Duke: I've been thinking. Now that we've got some money and Archie's gone, don't you think it's time we we settle down? Get a little house. I want you to have my baby.
Duke: Well I don't know. Every body does it. And it just seems like the thing to do and...
Duke: Let's go do the job.
Bud and Otto are at the counter. Duke and Debbi enter waving guns.
Otto: Duke! Debbie! What what are you guys doing here?
Duke: What's it look like ace?
Debbie: Up against the wall.
Duke: I'm going to kill him. I'm going to kill him. I'm going to kill everybody. ha-ha-ha
Bud sneaks his pistol out. Louie sees him from down an aisle.
Louie (to Bud): Drop it motherfucker (melonfarmer).
Louie now sees the others with the guns. Bud waves his pistol back and forth. Debbi shoots Bud in the head.
Bud grasps the side of his head as his arm swings out into a row of bottles which break open with red liquid everywhere. * It is reported that the settings on his pistol now show the magazine to be empty even though he has not fired a single shot (the slide is locked to the rear, but wasn't earlier). *
Bud (grasping his head): Oww shit (shoot).
Duke shoots Louie. Louie goes down but manages to shoot Duke, but then is out of bullets. Duke walks over to Louie to finish the job, but the counterman pulls out a shotgun and shoots Duke. Debbie shoots the counterman. Now only Debbie and Otto are left standing, and Debbie is pointing her gun at a very scared Otto.
Otto: Debbie Ah. Ah Do You, uh, do you think it's too late uh for us to get romantically involved?
Debbie: I think a little.
Otto: Wait! Wait! Stick with me. I'll make you a repo wife.
Debbi: Bollocks. Here. (tosses Otto a bag of popcorn)
(Debbi gets shot also and as she is dying tells Otto that it was him she always loved... if only he hadn't been such an asshole at the party.)
Duke (laying face down on floor): Otto?
Otto: Yeah I'm here man.
[01:13:43] Duke: The lights are growing dim. I know a life of crime led me to this sorry fate. And yet I, I blame society. Society made me what I am.
Otto: That's bullshit (nonsense). You're a white suburban punk, just like me.
Duke: But it still hurts.
Otto: You're going to be all right man.
Duke pukes up some blood.
Otto: Maybe not.
Agents photographing a dead J. Frank Parnell
One of these agents is Jimmy Buffet, who was working with Michael Nesmith at the time the film was made.
Agent: Yep he's dead all right.
Agent: No doubt about it.
Agent: He's a goner.
Agent: Man.Agent Rogersz: Don't touch the body, don't touch the body.
A man in a radiation suit pours gasoline on the body and lights it on fire
Agent: Booth's setting him on fire
Otto enters Parents living room
Later that same night at the Repo Yard
Otto sees a big argument going between Marlene and blond agents inside the office and runs towards the door.
Agent (from in the office): Where's the car baby? That Chevy Malibu baby. Where's the car?
Plettschner jumps out of the shadows and grabs Otto by the arm.
Plettschner: You got to stay out of this.
Plettschner: It's none of your business. You want to be a hero? Or would you rather be a chicken man?
Plettschner: A chicken man. Did you ever see a farmer's wife? Huh?
Otto: Let go of me!
[Plettschner: It's peaceful man.]
Inside the Helping hand office
Agent 1: The Malibu.
Agent 2: Yeah?
Otto enters and Marlene uses the distraction to kick the shit out of the agents.
Marlene: Let's go
Otto: No way Marlene.
Otto: My car's gone and we're going to get to the bottom of this.
Marlene (holding chair over head of agent 2): Like hell we are.
Agent 2: Not in my face.
Plettschner: Hold it Marlene. Freeze!
Marlene drops chair.
Agent 2: My Face!
Marlene: Over my dead body.
Plettschner: That's how it's going to have to be.
Marlene: Come and get me. Come on.
Plettschner: I've been wanting to do that one for a long time honey.
Marlene: Come on. Come on. Come on if you think your man enough.
Otto: Hey Plettsch. Coffee break.
Otto throws a pot of coffee into Plettschner's face.
Marlene steps out the back door. Otto leaves by the front door and is immediately captured by agents (he's captured by a midget in a blue suit who adopts a martial arts stance and fells him with a single blow).
Inside Agent Rogersz van
Rogersz and Leila in the van with a Blond agent behind them. The blond agent has a bandaged nose. Rogersz and Leila watch a monitor where we see Otto is laying on a table in a mostly empty room with an agent standing behind him.
Agent Rogersz: Good evening Otto. This is agent Rogersz. I'm going to ask you a few questions. And since time is short and you may lie, I'm going to have to torture you. But I want you to know it isn't personal.
Otto: Look Ah this isn't really necessary. I'll tell you anything you want to know.
Agent Rogersz: Good! Where is the Malibu?
Otto: I don't know. Somebody ripped it from the yard.
Rogersz nods to Leila who toggles a button, which results in Otto screaming.
Leila: I don't think he knows.
Agent Rogersz: Increase the voltage.
Leila: But what if he's innocent?
Agent Rogersz: No one is innocent. Proceed.
Another button toggle followed by screams. Then Marlene and the Rodiguez brothers enter interrogation room and rescue Otto, carrying him off over their shoulders.
Agent Rogersz: Ah yes! Look at them. High heels, hair nets, those ridiculous trench coats. They're pathetic.
Agent 1: But agent Rogersz, they're getting away.
Agent Rogersz: That's all part of the plan.
Brothers, Marlene, and Otto drive away.
(a handcuffed Otto is taken to the roof of a parking garage by the blond agents where they apparently plan to dump him off the top, but their plans are cut short when Marlene uses a sniper rifle to shoot them with poison darts. Before Marlene and the Rodriguez brothers get to Otto, however, he is picked up by Leila and Gloria who were watching the previous interrogation but not participating in it. Gloria explains that they need to prepare Americans for the coming of Extraterrestial Beings.
Gloria: A great American once said, MANKIND CANNOT STAND TOO MUCH REALITY. If the news broke too rapidly, there would be panic. Society as we know it would break down.
As they drive around, being tailed by Marlene and the Rodriguez brothers, Otto attracts the attention of the cops by making an illegal U-Turn and is forced to swallow his entire stash, leaving him gibbering unintelligibly. Gloria and Leila then take him to the hospital that Bud is in as they attempt to locate the Malibu.)
It's day now (previous shots could've been day or night).
Marlene: Otto, Otto pull your self together.
Otto: Marlene? What's going on?
Marlene: We're going to the hospital.
Otto, Marlene and the Rodriguez brothers enter the hospital
Voice on the loud speaker: Dr. Benway to surgery.
(Dr. Benway is a character in William Burrough's novel "Naked Lunch")
Old lady: Hey, I know you. You're the one that run into my trash.
Old lady: Shhh to you too.
Voice on the loud speaker: Visiting hours are now over. Thank you for you assistance.
Otto and Marlene enter elevator with 2 health professionals. Lagarto turns away woman on crutches trying to get in.
Lagarto: Out of order. Take the stairs.
Otto and Marlene exit elevator wearing clothes taken from health professionals. Otto has a smiley face button on his right collar.
Voice on the loud speaker: Mr. Lee. Mr. Lee Please return the scalpel. Mr. Lee.
(William Lee, a fictionalized version of William Burroughs, is the narrator of "Naked Lunch" )
Otto pulls back sheet covering body on gurney and sees Kevin.
Cut back to ER waiting room where nurse is talking to patient who has just filled out a form.
Nurse 1: Let me see that. All wrong do it over.
Old lady: They're going through it all the and they won't pick it up.
Nurse 2: Oh well isn't that a shame.
Old lady: Oh tell you it comes to something when they expect you to pick it up.
Otto and Marlene see a door with a pine tree air freshener hanging from the knob. It's Bud's room. They go in.
Otto: How are you doing man?
Marlene: Ask him about the Malibu.
Otto: Look about the other night. I'm sorry I split. I know I should have stayed with you but ah it's like when I was a kid you know I I had this set of big wheels you know.
Otto, Marlene and the Rodriguez brothers get chased by the agents down the stairs.
Voice on the loud speaker: Please be quiet in the stair wells.Please be quiet in the stair wells.
Back in Bud's room
Reverend Larry on the TV: A very sad unchristian thing just happened. A sweet old lady's car was stolen. It's a Chevy Malibu. Brothers and sisters. Please if you've seen this car. Just call this toll free number.
Bud: Shit (shoot). (starts to get up off of the bed)
Reverend Larry: Praise the lord.
(A handwritten note states that the following direction is "VERY IMPORTANT, Without this Rev. Larry Means Nawt (sic)":
The camera judders to a halt below the pulpit. We see REV LARRY's lower torso for the first time. A mass of wires and lights on a tripedal stand. REV LARRY IS A MACHINE)
Otto, Marlene and Rodriguez brother drive off and the agents chase them through the parking garage.
Napo: Go. Go. Go.
Napo: Come on. Let's go.
As they drive off and agents run after, the glowing Malibu drives by and strikes down two of the agents with lightening bolts.
Otto: Dude slow down.
Agent Rogersz stands in the exit with a gun and the door coming down in back of her. They screech to a stop, causing the cars chasing them to pile up behind.
Napo: All right don't shoot come on all right all right
Agents: Chicken shits (stuff). braak-braak-braak
Agent Rogersz: Where's the Malibu?
Otto: Don't even ask because I don't know. I mean I don't have it Marlene doesn't have it you and your crazy friends don't have it. So that only leaves...
Everybody in Bud's hospital room
Bud is gone.
Agent: Where is he.
Agent: Where the fuck (hell) is he.
Reverend Larry on the TV: He is risen, Holy Jesus' Name.
Otto dives through the open window. As he does this, the Rodriguez brothers yank the handles on the tear gas cannisters hanging off the vest of one of the agents. In the confusion, everybody escapes.
In the parking garage, Marlene and the brothers drive off while Otto steals a car by smashing the window with a wooden piling and then hotwiring it.
Marlene: Bye, Bye.
Voice from the Radio: Here's another weird one. Reports are coming in about apparent hail of ice cubes south of downtown. Scientist are at a loss to explain the freak showers of tiny cubes of ice.
(A more elaborate chase scene and several shots later we eventually find Otto going to Bud's mountain outpost with everybody else covertly following. Otto finds Bud and the Malibu there).
Otto arrives at Helping Hands lot while it rains ice cubes.
The Malibu is sitting by itself in the lot and glowing green. Bud is at the wheel.
Otto: That's some weird fucking shit (filthy stuff) Eh Bud? What's going on man?
Bud: Shit (damn)! Eleven years of repoing cars and what have I got? Shit (zilch)!
Otto: Bud listen to me. You're sitting in a car worth twenty thousand dollars. Look look we we turn it in we take the money and split it sixty forty. You and me.
Bud: Who gets the sixty kid?
(Bud confesses that he broke the code by looking in the trunk. Otto takes a look, burning his hand in the process. He catches a glimpse of "a LARGE METAL CYLINDER covered with lights and dials.")
A bright light approaches in the sky behind Otto as we begin to hear a helicopter.
Otto: Well I don't know. I figured since I found the car first that uh (Bud holds up a pistol) you'd get it.
Voice from the Helicopter: Get away from the car. This is your only warning.
[01:25:57] Reel Ten begins playing quietly in the background, slowly increasing in volume during the rest of the scene.
Otto: We got problems man.
Bud starts to get out of the car, still holding the pistol.
Otto: No no no no no no no no wait! Stop fucking (fooling) around man! Only an asshole (a jackass) gets killed over a car.
Bud: You calling me an asshole (a jackass) punk?
Otto: Yeah I'm calling you an asshole (a jackass).
Bud, now completely out of the car, waves the pistol in the air.
Bud: Come and get me copper I'm well armed and I know where you live.
Bud goes down in a hail of bullets coming from the helicopter. Otto, standing next to him and catching him as he falls, is miraculously untouched.
[Otto: Son of a fucking bitch.
Bud: I would rather die on my feet than live on my knees.]
A translation of the quote "Prefiero morir de pie que vivir de rodillas." which is generally attributed to the Mexican revolutionary Emiliano Zapata.
A truck load of agents shows up
(Gloria has her suited men hustle Otto off. She also suggests he take a shower and burn his clothes. When asking why, Otto is answered by Kevin who is wearing a protective suit as part of his new job doing Hazardous Disposal Duty. They watch a tow truck take the Malibu away.)
[Agent: Come on, out, out.
Agent: Come on you fucking popsicles let's get that car.
Lite: Hey Oly! Catch Bud?
Oly: Fuck you
Agent Rogersz: We'll talk to Cliff and drive it off.]
Oly: I have the papers on this car. You guys want a beer?
Lite: Hey Bud, want a beer?
Bud: No, a cigarette.
Agent Rogersz: No beer is needed here.
Two agents grab Oly and slam him up against a car
Agent in a radiation suit: Touching the car I'm encountering a strange eerie kind of force field. I don't know what it is it's it's...
A helicopter lands.
Agent: Come on you popsicles.
Agent approaching Malibu catches fire. Others try to put him out.
Two agents sit togethor talking. One is wearing a radiation suit and has a heavily bandaged nose.
Agent: God I love this job.
Agent with bandaged nose: Linear and inverse vectors merge in zero.
Agent Rogersz (escorting the Reverend Larry): This way your holiness.
Reverend Larry approaches flanked by several other holy men. It isn't clear how they arrived on the scene.
It has been reported that the Rabbi standing next to him is Michael Nesmith. It has also been reported that Muhammad Ali had been asked to be one of the men, but turned down the role.
Agent: It's more than a job it's it's a calling.
Agent with bandaged nose: Critical mass is at a point of zero.
Agent: Why, you can say spiritual.
Agent with bandaged nose: Spiritual?
Agent: Look out.
Reverend Larry walks up to car and holds up a book titled "Holy Bible". He is flanked by a group of people in various religious garb.
The "Holy Bible" is struck by a small bolt of lightening.
Reverend Larry: Holy sheep shit (dip).
voices in background: get back, get back
Reverend Larry turns and runs. Miller begins to calmly approach the Malibu as lightning bolts dance on and around it.
Agent Rogersz: Get back in there or you don't get paid.
Agent: Have you read this book? Dioretix.
Agent with bandaged nose: Chapter seven. It's great.
Agent: I've got it marked.
Miller gets in the glowing Malibu and sits down behind the wheel
* When seen from behind, the license plate appears to be reversed * even though the driver is on the correct side of the car - some claim that the shot itself is shown as a reverse image, but I believe that the license plate was turned around as a cheap, easy way of matching the rest of the glowing car.
Otto: Miller what are you doing?
Miller: I'm going for a little spin.
Otto: But you don't know how to drive.
Miller smiles and motions for Otto to get in.
Leila: Otto, don't go. What about our relationship?
Leila: What about our relationship?
Otto: Fuck (fill) that.
Leila: You shithead (turd)! I'm glad I tortured you! How can you leave me? I'm the one who's supposed to be in that car.
There is a deleted scene (not shown in the DVD extras) which features Otto and Leila spending some time together, so the line about the "relationship" might have made more sense if that scene had been left in.
Otto gets into the Malibu with Miller and the car rises straight up in the air.
Oly: Best god damned (gol-durn) car in the yard.
We see the car in the air with a helicopter behind it, at which point the car suddenly zooms off.
Otto and Miller go for a spin
Otto: Wow! This is intense.
Miller: The life of a repo man is always intense.
The car flys around Los Angeles while Otto looks out of the window. It flies over top of the First Interstate building and into to a field of stars, which pause for a second before zooming ala Star Wars to a black screen.
(The Malibu is at an anti-aircraft base hooked up to a tow truck and Gloria has just given the driver the thumbs-up. Kevin lies stripped and senseless in the weeds. Marlene and the Rodriguez Brothers follow as the tow truck drives away and the last shot of the film shows us that the tow truck driver is a diabolically grinning Otto.)
[01:28:56] Credits begin to scroll from the top down (opposite of normal direction) while Repo Man theme [with lyrics] plays.
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