"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

I DREAM OF JEANNIE

"The Lady In The Bottle"

Pilot Episode #101

Written by

Sidney Sheldon

Final Draft

December 2, 1964



CHARACTERS:

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



FADE IN:

EXT. CAPE KENNEDY - PRE-DAWN (STOCK)

ESTABLISHING SHOT

We see the activity preparatory to blast-off

LAP DISSOLVE:

OMITTED

INT. BUNKER

The General approaches a guarded door. The MP checks his
bade and admits him.

INT. READY ROOM

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:

OMIT

EXT. GANTRY ELEVATOR - (STOCK)

Astronaut enters gantry elevator and we PAN it up.

LAP DISSOLVE:

ASTRONAUT AND MISSILE - (STOCK)

He gets into missile.

CONTROL ROOM - (STOCK)

We see the activity of the countdown.

CONTROL ROOM

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)

Missile firing.

INT. CONTROL ROOM

Large map of world indicating projected flight pattern.

CLOSE SHOT - GENERAL STONE

GENERAL STONE
A perfect blast-off.

MONTAGE

(1) The oscilloscope

(2) Men at the panel board.

(3) Large map. End of montage.

INT. CONTROL ROOM

MED. SHOT Alarm bells begin to sound. General Stone and the
others are looking at the map.

OMIT

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)

Parachute balloons out.

EXT. PARACHUTE - (STOCK)

And Capsule descending into water.

LAP DISSOLVE:

EXT. OF ISLAND BEACH

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 coconuts. He has lit a fire on the beach.

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 does, smoke begins to pour from the neck, accompanied by
a shrill sound. He drops 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

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 course 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 airplane flying through the sky and landing.
She watches, enjoying the performance.

TONY
See? Understand? -- airplane?

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
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)

POV

16th century galley oared by slaves is moving toward island.

EXT. BEACH

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.

SHOT - GALLERY - (STOCK)

It suddenly vanishes.

EXT. BEACH

TWO SHOT - JEANNIE AND TONY

TONY
They'll never find me. I'm going to
be here the rest of my life.

INT. HELICOPTER

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

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

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.

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.

CLOSE SHOT - FIRE

Jeannie's eyes are visible over the fire.

EXT. BEACH

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.

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.

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

LOW ANGLE SHOT

The green bottle rolls across the sand toward Tony's gear
and buries itself in the gear.

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

INT. JEANNIE'S BOTTLE - JEANNIE

Jeannie is in the bottle. She GIGGLES.

MEDIUM CLOSE SHOT - PILOT

As he picks up Tony's gear. From inside the bottle we HEAR A
GIGGLE (ECHO CHAMBER).

WIDER ANGLE

PILOT
Did you say something, Captain?

TONY
No. Let's go.

The men start toward the helicopter.

DISSOLVE TO:

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

A jet landing.

INT. READY ROOM - DAY

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

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 everyday 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

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

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.

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

MEDIUM SHOT

Jeannie 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

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
America.

Jeannie gives him a look.

TONY
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
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.

CLOSE SHOT - TONY

TONY
I wish you to vanish.

He blinks his eyes three times.

TONY
Goodbye, Jeannie.

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
(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 piece 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.

CAMERA PANS

With him as he goes out the door, carrying the bottle.

EXT. TONY'S HOUSE

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 OMITTED

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.

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.

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

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

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.

CLOSE SHOT - TONY

as he realizes the trouble he is in.

TONY
Wait a minute!

He suddenly conceives a plan.

WIDER ANGLE

TONY
(continuting; fighting
for his life)
You believed me, didn't you?
(laughs heartily)
I really had you fooled! 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.

CLOSER ANGLE TONY

as he sinks to the couch in relief 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.

DISSOLVE TO:

INT. TONY'S HOUSE - NIGHT

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

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

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.

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.

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.

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

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:

CLOSER ANGLE - OVER BAR

Jeannie appears over the bar and floats down to the top of
the bar.

CLOSE SHOT - TONY

As he reacts.

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
You don't want me to make allowances?

TONY
(quickly)
I do. I do.

Jeannie goes to a chair 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
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.

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.

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

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

Tony locks the door, takes a deep breath and starts to get
undressed.

INT. LIVING ROOM

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

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