the 35th position on the year-end chart. In the United States, the song started to receive airplay from 15 radio stations in March 1997, when "Wannabe" was topping the Billboard Hot 100. It debuted on the Hot 100 Airplay chart at number 65 on 5 April 1997, a month before it was commercially released. The song set a record on the Billboard Hot 100, when it debuted on 24 May 1997 at number five, with sales of nearly 60,000 copies. At the time, this was the highest entry by a British act on the Hot 100. "Say You'll Be There" peaked at number six on the Hot 100 Airplay and at number four on the Hot Singles Sales, peaking at number three on the Hot 100 for three consecutive weeks. It ended at the 28th position on the year-end chart, selling 900,000 copies by December 1997, and was certified gold by the Recording Industry Association of America (RIAA). The song peaked at number two on the Mainstream Top 40, and had crossover success, reaching number three on the Rhythmic Top 40, number nine on the Hot Dance Music/Maxi-Singles Sales chart, and number 12 on the Latin Pop Airplay chart. Music video The music video for "Say You'll Be There" was directed by Vaughan Arnell, produced by Adam Saward and filmed on 7–8 September 1996, in the Mojave Desert, located in California. It was inspired by the films Pulp Fiction and Faster, Pussycat! Kill! Kill!, the latter in which led the girls to adopt fictional identities, an idea that Halliwell came up with. The video features the group as a band of female techno-warriors, who use martial arts and high-tech ninja influenced weapons to capture a hapless male, played by American model Tony Ward, who happens to appear in a Petty blue Dodge Charger Daytona. The clip is presented as a narrative, with movie credits at the start introducing the Spice Girls as fantastic characters. Chisholm played "Katrina Highkick", Halliwell's alter ego was "Trixie Firecracker", Bunton took on the role of "Kung Fu Candy", Adams played "Midnight Miss Suki" (wearing a black PVC catsuit which would attract the attention of her future husband, David Beckham), and "Blazin' Bad Zula" was Brown's alter ego. The shots of male bondage are unexplained, and function as symbols of male disempowerment, just as the rest of the clip serves to assert the power and fighting