Premiere Script
For Entertainment And Educational Purposes Only I Dream Of Jeannie Series Premiere WRITER'S FIRST DRAFT "Pilot" Original Airdate: 18-SEP-1965 Written by Sydney Sheldon . Directed by N/A © Courtesy of I Dream Of Jeannie: Behind-The-Scenes. Original Writer's First Draft Important Notes - The following is not a dry transcript
but an original writer's draft of the series premiere. -------------------------------------------------------------------------------- Pilot Script 2nd Revised Final Draft December 2, 1964 Written by: Sidney Sheldon Screen Gems * Hollywood . JEANNIE TONY NELSON MELISSA STONE GENERAL WINGARD STONE DR. ALFRED BELLOWS, COL. LT. PETE CONOWAY CAPT. ROGER HEALEY 1ST TECHNICIAN 2ND TECHNICIAN PILOT CAPT. ROBERTS CO-PILOT FIRST GARBAGE MAN SECOND GARBAGE MAN HUSBAND WIFE WORKMEN AT CAPE KENNEDY M.P.'S AT CAPE KENNEDY OFFICER DRIVER OF GENERAL'S JEEP OFFICER DRIVER OF TONY'S JEEP ENLISTED MAN DRIVER OF GENERAL'S CAR TWO BEARDED ARABIAN SLAVES FOUR HAREM DANCING GIRLS FIVE BEARDED HAREM MUSCIANS EXTRAS AT COCOA BEACH STREET SETS: INTERIORS: READY ROOM CAPE CANAVERAL CAPSULE CONTROL ROOM HELICOPTER BRIEFING ROOM & EXAMINATION ROOM TONY'S PATIO TONY'S BEDROOM GENERAL STONE'S OFFICE EXTERIORS: ROCKET PAD (STOCK) CAPE KENNEDY ROAD & READY BUNKER TROPICAL BEACH SIDE TONY'S HOUSE BRICK WALL & NEIGHBOR'S PATIO HELICOPTER RESIDENTIAL STREET IN COCOA BEACH TONY'S HOUSE I DREAM OF JEANNIE FADE IN: EXT. CAPE KENNEDY - PRE-DAWN (STOCK) 1 ESTABLISHING SHOT We see the activity preparatory to blast-off LAP DISSOLVE 2 OMITTED INT. BUNKER 3 The General approaches a guarded door. The MP checks his bade and admits him. INT. READY ROOM 4 CAPTAIN ANTHONY NELSON is being helped into a space suit by NAVAL LIEUTENANT PETE CONWAY and ARMY CAPTAIN ROGER HEALEY, his fellow astronauts and Tony's back-up team. DR. ALFRED BELLOWS,
the Base psychiatrist, is just finishing checking out Tony. He holds the rank of Colonel. DR. BELLOWS Fit as a bird. PETE (to Tony) You lucky devil. You wouldn't like to sit this one out, would you? TONY Oh, no. This is my baby. ROGER I wish I were making this one instead of you. TONY Cheer up. It's your turn next. General Stone enters. PETE Good morning, General. There are ad lib greetings. GENERAL STONE How are you feeling, Tony? TONY Kind of eager, sir. GENERAL STONE Melissa asked me to give you her love. She wanted to come and see you off,
but I don't break regulations -- not even for my own daughter. PETE (to Tony) This is quite a week for you - going into orbit today and marrying Melissa Sunday. GENERAL STONE (to Dr. Bellows) Is he all set, Doctor? DR. BELLOWS He's as ready as he'll ever be. GENERAL STONE Then let's go. Roger slips the space helmet over Tony's head and Pete helps to secure it.
The oxygen tube is inserted into the side of the space suit and
the carrying tank handed to Tony. The CAMERA MOVES INTO A CLOSE SHOT of Tony. FLIP TO: 5 OMIT EXT. GANTRY ELEVATOR - (STOCK) 6 Astronaut enters gantry elevator and we PAN it up. LAP DISSOLVE ASTRONAUT AND MISSILE - (STOCK) 7 He gets into missile. CONTROL ROOM - (STOCK) 8 We see the activity of the countdown. CONTROL ROOM 9 CLOSER ANGLE - ON OSCILLISCOPE We PULL BACK to see the operator and Pete, Roger and General Stone OPERATOR All systems A okay. Ten seconds to final stage of rocket firing.
9-8-7-6-5-4-3-2-1-zero -- FIRE! EXT. FIELD - (STOCK) 9A Missile firing. INT. CONTROL ROOM 10 Large map of world indicating projected flight pattern 10A CLOSE SHOT - GENERAL STONE GENERAL STONE A perfect blast-off. 10B MONTAGE (1) The oscilliscope (2) Men at the panel board. (3) Large map. End of montage. INT. CONTROL ROOM 10C MED. SHOT Alarm bells begin to sound. General Stone and the others are looking at the map. 11 OMIT 11A GENERAL STONE, PETE AND ROGER GENERAL STONE He's off course. What happened? He turns to the technician at his side. TECHNICIAN The final stage misfired. He won't be able to maintain orbit.
We're going to have to bring him down. Roger moves to microphone. ROGER Control to Stardust I. Control to Stardust I. Come in, Tony. TONY'S VOICE Stardust I to Control. Read you loud and clear. ROGER Tony! The final stage rocket misfired. We're going to have to bring you back. Stand by. TONY'S VOICE I was just getting warmed up. GENERAL STONE (into phone) This is General Stone. We have an emergency. Stardust I is coming down.
It's re-entry target will be . . . He turns to Pete at the tracking panel. PETE He's over India, approaching Australia. GENERAL STONE Alert the 7th Fleet . . . INT. CAPSULE - (STOCK) 12 Parachute balloons out. EXT. PARACHUTE - (STOCK) 12A And Capsule descending into water. LAP DISSOLVE EXT. OF ISLAND BEACH 13 AERIAL VIEW We see a large S. O. S. formed on the sand.
We descend and see that Tony is just finishing the 'S' using driftwood, rocks and cocoanuts. He has lit a fire on the beach. 13A CLOSER ANGLE As Tony places a piece of wood, then an ornate green bottle to finish the 'S'.
He moves away and the bottle gives a jiggle, then rolls out of position.
He reaches back again and puts it into place. The bottle does it again.
He kneels down and picks up the bottle and he examines it thoroughly.
He tries to work the ornate stopper loose. It gives with a pop. He looks into it. Then he rubs the sand off it, and as he dows,
smoke begins to pour from the neck, accompanied by a shrill sound. He dops the bottle.
It lands sideways in the sand, smoke still pouring from the neck. He watches transfixed.
The smoke stops and from it appears JEANNIE. She is a beautiful blond,
dressed in the fashion of Arabian nights. Her hair is in a high pony tail. She kneels in the sand,
her hands together in prayer, her head bowed. Tony's eyes widen. JEANNIE (in Arabic) Your wish is my command, Master. Tony can say nothing, but he blinks his eyes in disbelief. TONY I must have gone further into orbit than I thought. Jeannie takes him in her arms and kisses him. On Tony's incredulous expression. FADE OUT: (TITLES) FADE IN: EXT. TROPICAL BEACH - DAY 14 MED. SHOT - JEANNIE AND TONY TONY I've read about geniis, but I never thought they really --
I mean -- it's like something out of Arabian Nights. JEANNIE (in Arabic) My heart sings at having such a handsome Master. As she speaks, the English translation appears on the screen. TONY Yes. I'm Captain Tony Nelson of the U. S. Air Force. How do you do? JEANNIE (in Arabic) I am yours to command. TONY Don't thank me. I'm glad I was able to help you out. JEANNIE (adoringly) You have the face of a wise and fearless caliph. TONY I suppose if I hadn't come along, you'd still be -- (as he realizes) I rescued you! That means I get a free wish or something.
Isn't that what geniis do? Of cours it is. JEANNIE (in Arabic) You speak in a strange tongue. TONY Sure. I'll tell you what I wish, Jeannie. I wish there was a big,
beautiful B-69 flying in the sky right over my head. JEANNIE (in Arabic) How fortunate I am to have you as my Master. TONY Why do I have to find a genie who doesn't speak English? Look -- airplane. He pantomimes an airpland flying through the sky and landing. She watches,
enjoying the performance. TONY (cont'd) See? Understand? --airpland? JEANNIE (in Arabic) Meluka ta. TONY That's it! Meluka ta. Jeannie tosses her head. Her pigtail makes a circle, then points straight up in the air.
A large bloodthirsty falcon suddenly appears on Tony's wrist. TONY (panicky) No, no. Get him out of here. Jeannie tosses her head and the falcon disappears. JEANNIE (in Arabic) I am sorry if I have displeased you, Master. TONY Forget about the plane. Ship. Bring me a ship -- you know -- boat. He points to the ocean, pantomiming a ship riding the waves. TONY (con't'd) Understand? JEANNIE Ah -- Bakaru. TONY (happily) That's it -- Bakaru. Jeannie tosses her head and looks toward the water. Tony follows her look EXT. OCEAN - (STOCK) 15 POV 16th century galley oared by slaves is moving toward island. EXT. BEACH 16 TWO SHOT - JEANNIE AND TONY Tony's expression changes. TONY You're older than you look. JEANNIE (in Arabic) You are displeased with me, Master. TONY (shaking his head) It's the wrong kind - take it away. Jeannie looks at him disappointed, then tosses her head. 17 SHOT - GALLERY - (STOCK) It suddenly vanishes. EXT. BEACH 18 TWO SHOT - JEANNIE AND TONY TONY They'll never find me. I'm going to be here the rest of my life. INT. HELICOPTER 19 In flight. In the plane are a pilot and a Lieutenant Commander.
Below them is a vast expanse of ocean. COMMANDER There's nothing down there but fish. It could take us years to find him.
Let's go home to mother. PILOT Okay. (into radio) X-Z-1 to Base. Search negative. Heading back EXT. BEACH 20 MED. SHOT JEANNIE (in Arabic) How did you come to be on this island, Master? TONY I wish you could speak English! JEANNIE Selam taber -- (she bows, then in English) Somehow I must find a way to please thee, Master. TONY Forget it. You'll never -- (staring) You spoke English. That's it! All I had to do was say, "I wish." JEANNIE (rising and moving towards him) Thou may ask anything of your slave, Master. TONY (nervously) Yes. Well that's very nice of you. I don't really need anything right now.
I mean -- I do -- I mean -- I could use a helicopter. JEANNIE Helicopter? TONY It's like an airplane. It's a big, nosy -- it has blades on the top -- like this -- He starts acting out a helicopter. Her face lights up.
Jeannie tosses her head and looks up. EXT. ISLAND 22 MED. SHOT - JEANNIE AND TONY The helicopter pops into the picture, hovering in the sky above them. TONY You've done it! It's here! Jeannie, I don't know how to thank you. JEANNIE (moving toward him) I will teach thee, Master. TONY That's very kind of you, but I'd better get my gear together.
I can't wait 'til I get you back to the Base. JEANNIE I will travel anywhere with thee, Master. TONY Wait until General Stone sees you and -- (his expression changes) Oh, no. They'll never believe me. In the b.g. the helicopeter is starting to land. TONY (making up his mind) Jeannie, I can't take you back with me. I could never explain you.
They'd drum me out of the space program. I'm setting you free. JEANNIE Thou hast set me free, Master. Now I belong to thee. TONY No. You don't understand. I rescued you and you rescued me.
We're even. I'm going home now and you can go -- wherever it is you go. Goodbye. Tony walks over to meet the helicopter in the b.g. 23 CLOSE SHOT - JEANNIE She looks after him. Two tears roll down her cheeks.
She starts to dissolve into smoke. CAMERA moves with the smoke as it joins the smoke coming fromt he fire. 24 CLOSE SHOT - FIRE Jeannie's eyes are visible over the fire. EXT. BEACH 25 The pilot and the Commander get out of the helicopter and join Tony. COMMANDER Captain Nelson? TONY Are you a welcome sight! COMMANDER Thank heavens you're safe. The whole world is wondering where you are at this minute. TONY I was kind of wondering, myself. Where am I? The pilot and Commander look at one another. COMMANDER (awkwardly) I . . . uh . . . I'm not quite sure. 26 TRUCKING SHOT As they move toward the gear. COMMANDER A storm blew us off course. TONY How did you find me? COMMANDER Instinct, Captain -- instinct. (to Pilot) Stow Captain Nelson's gear aboard. 27 MED. SHOT As Tony, Pilot and Commander approach the fire.
Over the flames we see Jeannie's eyes. Suddenly, the eyes vanish. Jeannie turns to smoke and
we see the smoke move away from the fire. EXT. BEACH 28 LOW ANGLE SHOT The green bottle rolls across the sand toward
Tony's gear and buries itself in the gear. 29 MEDIUM SHOT - TONY, PILOT AND COMMANDER As they move toward Tony's gear.
Tony walks over to where the bottle was lying. It is, of course, gone. He looks around in the sand. COMMANDER Did you lose something? TONY (nervously) No, no. It's all right 29A INT. JEANNIE'S BOTTLE - JEANNIE Jeannie is in the bottle. She GIGGLES. 30 MEDIUM CLOSE SHOT - PILOT As he picks up Tony's gear.
From inside the bottle we HEAR A GIGGLE (ECHO CHAMBER). 31 WIDER ANGLE PILOT Did you say something, Captain? TONY No. Let's go. The men start toward the helicopter. DISSOLVE TO: 32 SHOT HELICOPTER - DAY In flight, SUPERIMPOSE OVER CRUISER AT SEA.
Over the scene we hear the crackle of short wave radio. A newspaper spins into the foreground.
The headline reads: 'Nelson Safe!' LAP DISSOLVE. EXT. CAPE KENNEDY - DAY 33 A jet landing. INT. READY ROOM - DAY 34 MEDIUM SHOT Pete and Roger stand near a closed door leading to the
Examination Room. Dr. Bellows enters from the outside door. He carries some reports. DR. BELLOWS Tony inside? ROGER (evasively) Cer-- yes. He's being de-briefed. The Doctor starts toward the inner door. PETE I wouldn't go in there just now, Doctor. He's -- Dr. Bellows has opened the door. INT. EXAMINATION ROOM 35 MEDIUM SHOT As Dr. Bellows enters. Tony is embracing MELISSA STONE. Melissa, General Stone's daughter, is cool and sculptured. DR. BELLOWS I'm always fascinated by these local courtship customs. MELISSA Hello, Dr. Bellows. DR. BELLOWS Melissa. Would you excuse us while your fiancee and I have a chat. MELISSA Certainly. (to Tony) I'll wait for you outside, darling. I'll drive you home. TONY It's a date. Melissa exits. DR. BELLOWS (glancing at the papers) I've just looked over your report. You don't seem to have suffered any physical after-effects. TONY No, sir. DR. BELLOWS No emotional after-effects? Tony hesitates a moment. TONY Not exactly. DR. BELLOWS (quickly) But something? TONY It was nothing. I had a kind of -- hallucination . . . DR. BELLOWS (interested) Did you? TONY I'd been floating around up there, and I suppose I was kind of dizzy and
-- well, it was probably a combination of lack of oxygen and worry and
-- wishful thinking . . . DR. BELLOWS (leading him on) Uh huh . . . TONY She seemed real to me at the time but I know now, of course, that it was just my subconscious.
I knew I was off the beaten track and that I might never be found.
So, when I saw this bottle on the beach I -- I hallucinated a genie out of it. DR. BELLOWS (slowly) A genie? TONY Yes. A girl genie. DR. BELLOWS A girl genie. What did she do? TONY First she got this falcon, because she didn't know about airplanes.
And, of course, she didn't speak English -- I taught her English
-- I mean I just wished it and she could --
you know? And then this slave ship came, but she got rid of that.
And then she brought the helicopter. During this insane recital, Dr. Bellows has been staring at him. DR. BELLOWS (hollowly) Then she brought the helicopter. TONY Yes, sir. DR. BELLOWS What was this genie like? TONY Just your average everydy run-of-the-mill genie. DR. BELLOWS Of course. Beautiful? (as Tony nods) Desirable? Tony nods. DR. BELLOWS (continuing) And helpful. Tony nods. DR. BELLOWS (continuing) Captain, that's the classic fantasy. A beautiful girl on a desert island
. . . a girl who would do anything for you. Do you know who that girl was? TONY I never saw her before in my life. DR. BELLOWS She was your mother. Tony reacts. TONY My mother's in Salt Lake City. DR. BELLOWS I'm a psychiatrist. I know a mother when I see one.
I suggest you go home and get rest. A lot of it. TONY Yes, sir. I feel better now that I've gotten this off my chest.
For a while there, I was afraid I was cracking up. DR. BELLOWS (tonelessly) Were you? TONY Goodbye, Doctor. Tony exits. The Doctor looks after him a moment, then grabs the telephone. DR. BELLOWS Get me General Stone. DISSOLVE TO: EXT. RESIDENTIAL STREET IN COCOA BEACH - DAY 36 LONG SHOT SHOOTING OVER sports car at curb toward Tony's house.
Tony and Melissa are just entering the house. ZOOM TO TONY as he opens the door.
Melissa gives him a kiss. They go inside. INT. LIVING ROOM 37 MEDIUM SHOT As they enter the house. They house is a bachelor place,
attractively done. O.S. we hear the sound of a shower running. MELISSA It's good to have you back, darling TONY It's good to be back. Tony takes Melissa in his arms. MELISSA (listening) Tony, is someone in your shower? TONY Of course not. Who'd be in my -- As he sees something O.S., he freezes. 38 ANOTHER ANGLE Tony's pile of belongings have been set on the floor.
On top is the green bottle. Tony pulls away from Melissa. TONY (panicky) Lis---Goodbye! O.S. we hear the sound of the shower stop. MELISSA Goodbye? Don't you want me to fix dinner for you? TONY No! I mean -- yes, but not tonight. (he yawns elaborately) I didn't realize how tired I was. MELISSA Poor darling. Of course, I understand. INT. TONY'S BEDROOM 39 MEDIUM SHOT Jeanie is wearing a shirt of Tony's. She is in her bare feet.
She looks enchanting. She heads toward the living room. INT. LIVING ROOM 40 MEDIUM SHOT Tony is pushing Melissa toward the door. TONY I'll call you later. Maybe after I get some rest, I'll pick you up for dinner. MELISSA All right, Tony. Tony opens the front door. At that moment, Jeannie appears from the bedroom. Melissa stares at her incredulously. TONY (trying to carry it off; brightly) Well! Look who's here! MELISSA (icily) I'm looking. TONY (weakly) This is Jeannie. MELISSA I pride myself on being broad-minded, Tony, but I want you to explain what she's doing here. TONY (eagerly) That's the explanation -- she's not here! Melissa gives him a look. TONY (continuing) I mean she's here -- but she's, she's not a girl. MELISSA Goodbye, Tony. TONY Wait, Lis -- you don't understand. MELISSA I'm afraid I do. Darling, I'm broad-minded -- but -- that's a girl! Melissa slams out of the house. Tony turns to Jeannie. Jeannie looks after Melissa. JEANNIE What was that one doing here, Master? TONY That one was my fiancee. JEANNIE (indignantly) Thou art kidding! TONY Now just a minute. Melissa happens to be a -- JEANNIE Black-haired demon. TONY Look who's talking. JEANNIE I can do much more for thee than she can. She walks over to him and starts putting her arms around him. TONY (backing away) Now stop that! We don't do that in American. Jeannie gives him a look. TONY (cont'd) I mean when you're engaged to General Stone's daughter you don't do that in America. The phone rings. Tony picks it up. TONY (cont'd) Hello . . . Hi, Eddie . . . General Stone's on his way here? Thanks a lot. (desperately) Jeannie, you've got to get out of here. JEANNIE I am happy here with thee. TONY I hate to do this to you, but -- He stands at attention. 41 CLOSE SHOT - TONY TONY I wish you to vanish. He blinks his eyes three times. TONY (cont'd) Goodbye, Jeannie. 42 WIDER ANGLE Jeannie is still there. TONY Where did I go wrong? JEANNIE Thou hast set me free. That means I am free to please thee.
And I am going to please thee very much. She moves toward him. TONY You don't understand. General Stone will be here at any minute.
You've got to get back in this bottle -- right now! He puts one arm around her and picks up the bottle with his other hand.
She obviously won't fit into the bottle. TONY (cont'd) (coaxingly) In you go! JEANNIE (adoringly) Thou art so masterful. Tony gets an idea. He picks up a colored marble from a Chinese checker board. TONY See the marble? Pretty? Jeannie's face lights up JEANNIE It is a peice of rainbow TONY It's yours. Here. As he holds it out, she reaches for it. Tony drops it in the bottle.
Jeannie turns to smoke and goes into the bottle for the marble.
Quickly Tony covers the top of the bottle with the flat of his hand. TONY (continuing) Ow! Tony quickly finds a stopper and puts it in the bottle. TONY (continuing) I'm sorry about this, Jeannie. I'm going to take you out now and release you. 43 CAMERA PANS With him as he goes out the door, carrying the bottle. EXT. TONY'S HOUSE 44 MEDIUM SHOT - TONY Tony carries the bottle toward the curb.
There is a trash can at the curb. He looks around to make sure that no one is in sight. SCENE 45 OMITTED 46 MEDIUM SHOT Tony at curb. TONY (to bottle) I'm going to let you out now, Jeannie. Thanks for everything. Have a nice trip. He starts to pull out the stopper. General Stone's car pulls up.
General Stone, Dr. Bellows, Pete and Roger get out.
Tony hastily puts the bottle into a trash can. GENERAL STONE Are you feeling all right, Tony? TONY Great. Just great. GENERAL STONE Dr. Bellows told us about your -- er -- hallucination. TONY (a little hysterical) He did? He should never have mentioned it. I mean --
it was just the heat of the excitement. It was nothing. I explained all that to him. DR. BELLOWS Sometimes these hallucinations recur, Captain. In all conscience,
I can't qualify you for active duty again until we are certain that you are completely normal. TONY Of course I'm normal. There's no girl in a bottle. I -- O.S. we hear the SOUND of a garbage truck coming to a stop and
starting to grind garbage. Tony looks back toward the street. 47 WIDER ANGLE Group in f.g. In the b.g. we see the garbage truck.
It is one of those modern devils that has a revolving mechanism in the back that crushes everything put into it.
There are two men. One of them is emptying the trash can with the bottle into the truck.
Tony looks on in horror. 48 GROUP SHOT - TONY GENERAL STONE, DR. BELLOWS, PETE AND ROGER GENERAL STONE Dr. Bellows and I both think that for your own sake -- TONE Excuse me. Tony races toward the truck. The men look at one another, then follow. EXT. STREET 49 MED. SHOT - THE GARBAGE TRUCK The two GARBAGE MEN are emptying cans and bottles into the truck.
The mechanism is turning and we can see it grinding up the contents. Tony races into the scene. TONY (frantically) Stop the truck! There's a girl in there! The Second Garbage Man hurriedly shuts off the mechanism. It grinds to a halt. FIRST GARBAGE MAN She must have sneaked past me. General Stone, Dr. Bellows, Pete and Roger come up behind Tony. TONY (calling into the truck) Jeannie! Are you all right? There is no answer. The Second Garbage Man joins his friend. SECOND GARBAGE MAN What's with this guy? TONY I told you. There's a girl in there! She's in a bottle. General Stone, Dr. Bellows, Pete and Roger look at one another. FIRST GARBAGE MAN Oh! (to Tony) You're sick. He moves to start the mechanism again. TONY You'll kill her! Wait a minute! I -- I'll buy that garbage from you. SECOND GARBAGE MAN What? TONY I'll buy it. The whole truckload. SECOND GARBAGE MAN I don't know how much you charge for garbage. FIRST GARBAGE MAN This is a pretty high class neighborhood. I mean, we get a good grade of garbage here. TONY I'll give you ten dollars. Dr. Bellows steps forward and takes Tony's arm. DR. BELLOWS (soothingly) You come along with us, Captain. We'll buy you all the garbage you want. It's all right. Tony sees the green bottle in the corner of the truck. TONY (breaking loose) There she is! There she is! He reaches in and grabs the bottle. TONY (continuing; to the bottle) Are you all right? Speak to me! The others look at one another. TONY (continuing; to Dr. Bellows) You didn't believe me, did you? (triumphantly) Well, watch this. He removes the stopper, then slowly pulls the handkerchief out of the top of the bottle. TONY (continuing) Jeannie . . . Nothing happens. The men look at one another. TONY (continuing; to the bottle; babbling) Come on . . . We know you're in there. I'm sorry I had
to trap you like that but I had no choice. I wasn't going to keep you in there.
Those men took you by mistake. General Stone gives a signal. Pete and Roger each take an arm and propel
Tony toward the house, CAMERA TRUCKING WITH THEM. DR. BELLOWS (to General Stone) It's the worst case of paranoia I've ever come across. GENERAL STONE He's always seemed so normal DR. BELLOWS That's the worst kind. Notice how he clings to that bottle?
Do you know what it is? His blanket.
Complete reversion to childhood . . . nursing . . . mother. Tony, Pete and Roger have exited into the house. The General and the Doctor follow. INT. LIVING ROOM 50 MEDIUM SHOT TONY, PETE AND ROGER TONY I'm sorry I tried to keep her a secret. I thought it was simpler that way.
Who knows? Maybe we can use her as a secret weapon. Wait until you see here.
You'll like her. Jeannie, you can come out now . . . The General and the Doctor enter the scene. TONY (continuing) She saved my life, you know. DR. BELLOWS (signalling to the others) Of course she did. PETE Yeah. You're a lucky fellow, having a girl like that save your life. TONY She's really beautiful. DR. BELLOWS (pretending he can see her) Yes, she certainly is, isn't she? The others look in the same direction. Tony looks at them in bewilderment. TONY What are you talking about? You can't see her. Desperate, Tony holds the bottle close to his mouth and whispers into it. TONY Jeannie, come out of there! Do you hear me? He turns the bottle upside down and the marble falls out of it. TONY (continuing excitedly) There you are! See? PETE (soothingly) Now I see her. She's really smooth. TONY That's not the girl. That's her marble. PETE Anything you say. TONY That's how I tricked her. She went into that bottle to get that marble. Now do you understand? ROGER (soothingly) Sure we understand, Tony. It's perfectly clear.
You and this girl were in the bottle playing marbles . . . GENERAL STONE (to Dr. Bellows) Call an ambulance. Dr. Bellows picks up the telephone. 51 CLOSE SHOT - TONY as he realizes the trouble he is in. TONY Wait a minute! He suddenly conceives a plan. 52 WIDER ANGLE TONY (continuting; fighting for his life) You believed me, didn't you? (laughs heartily) I really had you folled! If you could only have seen the expressions on your faces! They look at one another, puzzled. GENERAL STONE What do you mean -- you had us fooled? TONY (acting it up) You really believed I thought I saw a girl in a bottle. DR. BELLOWS Didn't you? TONY Of course not! (holds up the bottle) How could a girl fit in that? ROGER But you said -- TONY I was putting you on! (to Roger) Do you remember the time you locked me in the freezing chamber and walked off and left me? (to Pete) And do you remember the day you blew me out of the wind tunnel? (to the General) I was just getting back at them, General. PETE You mean this whole thing was a gag? TONY And what a gag! I really had you going. DR. BELLOWS (annoyed) Five more minutes of that kind of joke, Captain, and you would have been under shock treatment. TONY (to the General) I'm sorry if I carried it too far, sir. GENERAL STONE You had me worried, Tony. I wouldn't want a son-in-law who went around seeing geniis would I? TONY Of course not, sir. GENERAL STONE You get some rest. I'll see you in the morning. TONY Yes, sir. GENERAL STONE Let's go. General Stone exits. The others follow. The Doctor is last.
He stops to look at Tony, his face filled with suspicion.
Tony gives him a bland smile. The Doctor exits. 53 CLOSER ANGLE TONY as he sinks to the couch in relieaf and mops his brow. He pulls himself together. TONY (grimly; looking around) Jeannie . . . Jeannie . . . Come on out! In front of Tony there is a swirl of rainbow smoke and Jeannie materializes. TONY (continuing; bitterly) Where were you when I needed you? JEANNIE (furious) Thou! Thou deceived me! I should turn thee into a serpent . . . (she raises her hands) . . . with two heads. TONY (nervously) Now wait a minute, Jeannie. Don't do anything you'll be sorry for. JEANNIE I trusted thee. What manner of man art thou? TONY Thou is -- I mean I'm really very grateful to you for everything, Jeannie.
It's just that there's no room for you in my life. A man likes to stand on his own two feet. (nervously) I wish you'd take that off. Jeannie starts to take off the shirt. TONY (hastily) I mean I wish you'd -- get into your own clothes. Jeannie appears in her costume. TONY Thanks. I'm afraid you're not in Air Force regulations.
I have a career . . . a fiancee . . . JEANNIE (contemptuously) That one. She is made of ice. She could never make thee happy. Jeannie leaps onto the couch. JEANNIE (continuing) For over two thousand years I have been imprisoned in that bottle and then -- She takes Tony's hand and strokes it. JEANNIE (continuing) Then this hand released me and I saw they wise face.
I cannot tell thee how much happiness thou has brought to me. Tony pulls his hand away nervously. JEANNIE (continuing) Thou must relax. She blinks her eyes and Tony levitates to a horizontal position. 53A CONTINUED MELISSA (making up her mind) Let's go. As they start toward the door. DISSOLVE TO: INT. TONY'S HOUSE - NIGHT 53B JEANNIE AND TONY They are no longer in levitation. TONY How did you get in that crazy bottle in the first place? JEANNIE A wicked and powerful Djinn put me there because I would not marry him. TONY (fascinated) Incredible. What was it like in those days? JEANNIE Art thou really interested? TONY Yes. JEANNIE Like this. The room is instantly transformed, with drapes, pillars, etc.
Dancing girls weave around a small pool in the center of the room.
Jeannie is in a beautiful costume. Tony is in an Arabian costume
with shoes that have curled toes. Servants wheel up trays of exotic foods. TONY (leaping to his feet) Get them out of here! He starts to walk toward the dancing girls and stumbles over his shoes. JEANNIE Thou art not pleased? TONY Pleased? They'll lock me up! JEANNIE Thou art the most stubborn and ungrateful master I have ever served She vanishes into smoke and the smoke moves out the window. TONY Jeannie! Don't leave me like this -- I mean you can't leave them here. He goes out to the patio, following the smoke. INT. PATIO 54 MED. SHOT As Tony enters. A brick wall separates Tony's garden from the garden of his next door neighbor.
On the other side of the wall we see smoke rising.
A knowing look comes over Tony's face. He walks over to the smoke. TONY (to the smoke) I want us to part friends. What do you say? EXT. STREET 55 MED. SHOT A car pulls up in front of Tony's house. Melissa and General Stone get out. GENERAL STONE There's nothing to worry about. I'm sure Tony has some perfectly reasonable explanation. MELISSA I hope so, father. They start toward the house. They see Tony in the patio, and start toward him. 56 MED. SHOT - TONY AT BRICK WALL talking to smoke. TONY Let's go get your bottle. I'll drive you to the beach or somewhere
where no one can see you, and you can take off. Melissa and General Stone look at one another. TONY (continuing to the smoke) I'm sorry if I hurt your feelings. As Tony speaks, CAMERA PULLS UP AND BACK to reveal the patio on
the other side of the wall. The smoke is coming from a barbecue fire.
A tough-looking HUSBAND and his WIFE are on the patio, cooking steaks. TONY (continuing to the smoke) You see, there's just no room in my life for you. HUSBAND So that's what's been goin' on while I was out of town! WIFE I never saw him before in my life! HUSBAND Hah! But he's got a bottle waiting for you at his place, huh?? Tony leans forward and sees the fire and the couple. HUSBAND (continuing) Rotten home-breaker! TONY What? Wait a minute! I wasn't talking to your wife. I was talking to your smoke.
I thought it was a friend of mine. I mean -- He sees Melissa and the General looking at him. TONY (continuing; his voice breaking) We were just having a little barbecue. (to the Husband) Well - So long. In the b.g. in a bush in front of Tony's window, we see a small cloud of smoke.
Through the window, we see the dancing girls in Tony's house. MELISSA Are you going to a costume ball? TONY (nervously) I might be. GENERAL STONE (to Tony - grimly) Let's go inside. Tony looks through the window. TONY No! I mean -- why don't we stay out here. It's so cool. MELISSA Let's go inside, Tony. TONY (nervously) You won't like it in there. I -- to tell you the truth I've been redecorating. 57 CLOSE SHOT - BUSHES Jeannie's face is visible in the smoke. She smiles tenderly at Tony and blinks.
Through the window in back of her we see the room transformed into its normal decor.
The dancing girls and slaves vanish. Melissa and General Stone push their
way past Tony and into the living room. TONY Wait a minute. Jeannie blinks and Tony is dressed in his own clothes.
The smoke zooms in through the window and into the house. Tony enters the house. 58 GROUP SHOT - TONY, MELISSA AND GENERAL STONE have reached the door. TONY (backing into the house) I can explain all this. It's really very simple. I -- INT. LIVING ROOM 59 As Tony, Melissa and General Stone enter. Tony turns to face the living room. He reacts in relief. TONY (cordially) Make yourselves comfortable. MELISSA (referring to Tony's clothes) I like that better. Tony goes up to the mantle where the green bottle sits. GENERAL STONE There are certain things that are expected of Melissa's husband, Tony. TONY Yes sir, I know. There is a giggle from the bottle. GENERAL STONE Do you find that amusing? TONY (quickly) No sir. GENERAL STONE There is a great military tradition in my family. I have been in the service
all of my life. My father was in the service -- and his father before him.
If I thought anyone would tarnish that record -- I'd break him. A puff of smoke erupts from the bottle. Tony quickly claps his hand over the top. TONY (sotto voce) That isn't funny. MELISSA What did you say? TONY Nothing. They watch Tony as he carries the bottle to the bar. GENERAL STONE You're very nervous, Tony. TONY I feel fine. As Tony approaches them from the bar we see smoke pouring from the bottle. CUT TO: 59A CLOSER ANGLE - OVER BAR Jeannie appears over the bar and floats down to the top of the bar. 59B CLOSE SHOT - TONY As he reacts. 59C WIDER ANGLE GENERAL STONE I'm going to recommend a vacation for you. TONY That might be a good idea. Somewhere a long way from here. In the b.g. Jeannie moves up behind Melissa. She examines her, trying to find
out what makes Tony love her. MELISSA (during the above) I know you've been under a terrible strain, darling. And I'm willing to make allowances
-- up to a point. Tony shakes his head at Jeannie MELISSA (cont'd) You don't want me to make allowances? TONY (quickly) I do. I do. Jeannie goes to a chiar and transforms herself so that she is wearing the identical
outfit that Melissa has on, with a black wig. She apes Melissa's gestures. TONY (cont'd) Get out of that dress. MELISSA What? TONY (quickly) I wasn't talking to you. GENERAL STONE Tony, when you were up there you didn't meet any unidentified flying objects, did you? TONY Not exactly. I mean -- no, sir. MELISSA The poor darling is just tired. He's been through a lot. TONY You have no idea, Melissa. MELISSA I think you'll feel a lot better after we're married During the above, Jeannie has been mimicking Melissa. TONY Will you go away. GENERAL STONE What? TONY Not you, sir. I mean -- MELISSA (rising) It's all right, darling. I think you should get to bed. Jeannie smiles. Melissa turns around to get her bag. A horrified look comes over Tony's face.
But at the crucial instant Jeannie vanishes. TONY (relieved) Yes. Maybe you're right. 60 ANOTHER ANGLE The group walks toward the door. The bottle is on the bar in f. g. MELISSA I'll come by in the morning. TONY It might be better if -- MELISSA Naturally, I never want to see that girl around here again. TONY (hollowly) Naturally. GENERAL STONE Good night, Tony. TONY Good night, sir. Melissa gives Tony a kiss on the cheek. MELISSA I'm going to see that everything is fine, darling. Melissa and General Stone exit. The bottle starts to wiggle and burp smoke. We hear giggling and the bottle
falls to the floor. 60A CLOSE SHOT Bottle on the floor. Smoke begins to come out of it. Tony closes the door. The smoke is
lying on the floor. It dissolves into Jeannie. She is laughing. TONY (bitterly) I'm glad you had a good time -- because the party's over! Jeannie gets to her feet and moves toward Tony. TONY I'm a grown man. No one can take over my life like this. I won't have it, do you understand? I won't have it. By this time, Jeannie has melted into Tony's arms. She shuts him up with a kiss. TONY Oh, Jeannie . . . As he kisses her. FADE OUT. FADE IN: INT. LIVING ROOM - NIGHT 61 TWO SHOT - JEANNIE AND TONY Tony is kissing her. TONY (pulling away) What're you doing to me? I'm sorry Jeannie, but you've got to go --right now! Go catch your magic carpet or
whatever it is. I don't want to see you here in the morning. Goodbye. Tony goes into his bedroom and slams the door. INT. TONY'S BEDROOM 62 Tony locks the door, takes a deep breath and starts to get undressed. INT. LIVING ROOM 62A MED. SHOT - JEANNIE She looks at the closed door tenderly a moment, walks over to it, smiles and turns into smoke.
The smoke zooms under the door. TONY'S VOICE (O.S.) Get out!! The smoke zooms back into the living room and materializes into Jeannie. She stands there a moment looking at
the door adoringly, knowing that time is on her side. As she turns to the camera and blinks three times, we FADE OUT. With the optical effect of a television set being turned off. OMIT SCENES 63 THRU 68. THE END
