Mulholland Drive Pilot - The Screenplay
Typed (well, scanned actually) by Mike Dunn
About the formatting: I've tried to retain as close as possible the formatting of the original script, but it's not an exact copy. All the text is the same, but the spacing might be a bit different here and there. Also, I've removed the page numbers. These scripts are provided for archival purposes and for your information. If you absolutely must have an exact copy of the original script, I suggest you buy a copy of the original script from someone.
M U L H O L L A N D
D R I V E
1/5/1999
M U L H 0 L L A N D D R I V E
EXT. NIGHT - HOLLYWOOD HILLS, LOS ANGELES
Darkness. Distant sounds of freeway traffic. Then the closer
sound of a car - its headlights illumine an oleander bush and
the limbs of an Eucalyptus tree. Then the headlights turn - a
street sign is suddenly brightly lit. The words on the sign
read... "Mulholland Drive." The car moves under the sign as
it turns and the words fall once again into darkness.
CUT TO:
EXT. NIGHT - MULHOLLAND DRIVE
Gliding we follow the car - an older black Cadillac limousine
- as it winds its way up Mulholland Drive through the
darkness of the Hollywood Hills. There is no one else on the
road. As we drift closer to the car...
CUT TO:
INT. BLACK CADILLAC LIMOUSINE - NIGHT
Two men in dark suits are sitting in the front seat. A
beautiful, younger, dark-haired woman sits in back. She sits
close up against the door and stares out into the darkness.
She seems to be thinking about something. Suddenly she turns
and looks ahead. The car is slowing and moving off to the
side of the road.
DARK-HAIRED WOMAN
What are you doing? You don't stop
here ...
The car stops - half on, half off the road at a dark, blind
curve. Both men turn to the woman.
DRIVER
Get out of the car.
CUT TO:
EXT. FURTHER UP MULHOLLAND DRIVE - NIGHT
Two cars - a convertible and a late model sedan are drag
racing toward the blind curve blocking the view of the
Cadillac limousine. The cars are filled with crazed
teenagers. Two girls are standing up through the sunroof of
the sedan screaming as their hair is whipped straight back.
The cars are travelling so fast that they seem to almost
float as they fly with psychotic speed down both lanes of
Mulholland Drive.
CUT TO:
INT. EXT. - CADILLAC LIMOUSINE
The driver, still in his seat, has a pistol with a silencer
attached pointing at the woman. The other man is getting out
of the car. The woman is clutching the seat and the door
handle as if trying to anchor herself. She is visibly afraid.
The man who got out of the car tries the woman's door, but it
is locked. He smiles as he reaches in through the front door
and unlocks her door. He opens her door. As he reaches for
her, the woman's face becomes flooded with light. Her eyes
dart to the front windshield. The driver, flooded with light,
turns just as the late model sedan slams into the Cadillac
limousine. There is an explosion of metal and glass amidst
thunderous tearing sounds as the two cars become one in
death. The convertible screams past with hardly a notice.
The driver of the limousine dies instantly as his body is
jettisoned through the windshield. The other man is torn as
the cars screech over him. The woman is brutally thrown into
the back of the front seats as a cloud of dust and flying
rocks engulfs her. The disastrous moving sculpture of the two
cars wants to climb up the hill, then stops and slides back
toward the road The Cadillac tips onto its side. Then all is
silent. A fire erupts in the sedan and as the dust clears we
see the woman appear, then crawl out of the Cadillac to the
road. Her face is vacant. There is a bleeding cut just above
her forehead. She stands for a moment clutching her purse -
lost , then begins to walk as if in a trance across
Mulholland down through the bushes and into darkness.
DISSOLVE TO:
EXT. HOLLYWOOD HILLS - LATER - NIGHT
The woman slides down a hill through tangles of hostile
desert plants. Sirens can be heard in the distance. She
crosses through some trees and is suddenly confronted by a
coyote which snarls and leaps at her. She screams and strikes
out with her purse in self defense. The coyote backs away -
snarling. The woman then loses control and runs at the coyote
and it races off. She falls to the ground. We can hear the
thunder of her heartbeat as the sirens grow louder. She gets
up and stumbles through the trees. When she clears them she
is standing overlooking all of Los Angeles glowing down
below. She clumsily starts down toward it.
DISSOLVE TO:
HOLLYWOOD STREETS - LATER - NIGHT
The woman slides down a dusty hill and finds herself at
Franklin Avenue. A car races by and its headlights flare on
her face. Her expression shows fear and panic. She doesn't
know where she is or where to go. She runs frantically across
the street. She moves quickly to a sidewalk which takes her
into a residential area.
DISSOLVE TO:
EXT. HOLLYWOOD STREETS - LATER - NIGHT
The woman crosses Sunset Boulevard. Coming up Sunset in the
distance is a police car with its sirens and lights going.
She hurries into the darkness of another residential area. A
car turns onto the street and comes toward her. She
instinctively moves behind a tree until it passes.
DISSOLVE TO:
EXT. HOLLYWOOD STREETS - LATER - NIGHT
As if being hunted in a foreign land the woman moves
desperately down another residential street. A drunken couple
round the corner up ahead and start up the sidewalk toward
her. She runs off the sidewalk and into the bushes in front
of an apartment building. The couple passes by without
noticing her. Feeling safe in these bushes her exhaustion
overtakes her and she lays her head down to sleep.
DISSOLVE TO:
EXT. MULHOLLAND DRIVE - NIGHT
Police, paramedics surround the wreckage. Two detectives,
HARRY MCKNIGHT and NEAL DOMGAARD (both mid 40's to 50), stare
at the remains of the two cars glowing white hot under the
crime scene lights. A coroner's van pulls out just after an
ambulance. The ambulance's siren begins to wail as it speeds
off. The coroner's van cruises slowly. Detective Harry
McKnight and Detective Neal Domgaard continue staring. They
do not look at each other. They are each motionless for a
long moment.
DETECTIVE HARRY MCKNIGHT
You feel it?
DETECTIVE NEAL DOMGAARD
Yeah.
They continue to stare.
DETECTIVE NEAL DOMGAARD
Sammy thinks the Caddy had stopped along
the shoulder ... man up the road said he
saw two cars drag racin'...then you got
that blind corner.
DETECTIVE HARRY MCKNIGHT
Two men... two guns in the Caddy.
DETECTIVE NEAL DOMGAARD
The boys found this on the floor in back
of the Caddy.
Neal holds up a plastic bag holding a pearl earring.
DETECTIVE HARRY MCKNIGHT
Yeah, they showed me
DETECTIVE NEAL DOMGAARD
Could be unrelated.
DETECTIVE HARRY MCKNIGHT
Could be...any of those dead kids wearin'
pearl earrings?
DETECTIVE NEAL DOMGAARD
No. Could be someone's missin' maybe.
DETECTIVE HARRY MCKNIGHT
That's what I'm thinkin'.
Detective Harry McKnight turns and crosses Mulholland. His
eyes move over each blade of grass at the shoulder - each
desert bush just beyond. He slowly raises his gaze to the
shining lights of Hollywood laying far below like a galaxy.
He looks out and wonders.
CUT TO:
EXT. HOLLYWOOD STREETS - EARLY DAWN
The clang of a metal gate wakes the woman. It is just getting
light and she sees an older red-headed woman carrying a
suitcase to the curb where a cab stands waiting with its
trunk open. The cab driver appears with two suitcases which
he sets down next to the car. The red-headed woman and the
cab driver both go back through the iron gate. The woman in
the bushes pulls herself to the gate where she can peer into
the courtyard of this apartment building. She sees the red-
headed woman and the cab driver go into an apartment and come
back out with more luggage.
They leave the apartment door open. When the red-headed woman
and the cab driver reach the cab they both begin loading the
bags into the trunk and backseat. Their backs are to the
woman in the bushes who takes this opportunity to go quickly
into the courtyard and through the open apartment door.
CUT TO:
INT. APARTMENT - EARLY DAWN
The woman comes into a living room where a single trunk
remains. She goes further into the apartment and crouches
down in a back corner of the kitchen. She listens as
footsteps come across the courtyard. She hears the red-headed
woman and the cab driver get the trunk. She hears them set it
down once they have it in the courtyard. She hears the steps
of the red-headed woman come back inside the apartment. She
hears the footsteps go all around the apartment and then she
hears the footsteps come toward the kitchen. Remaining
frozen, the dark-haired woman's eyes look up as the red-
headed woman walks right past her, grabs a set of keys off
the kitchen counter, then leaves the apartment. The woman can
hear the door being locked. She lets go, slides to the
kitchen floor, and passes out.
CUT TO:
INT. DENNY'S RESTAURANT , HOLLYWOOD - MORNING
Two well-dressed men HERB and DAN (mid 30's) are sitting at a
table drinking coffee. Herb has finished eating his
breakfast, but Dan hasn't touched his bacon and eggs - he
appears too nervous to eat. A blonde waitress with a
nameplate saying "DIANE" lays the check on their table
smiles, then walks off.
HERB
Why did you want to go to breakfast if
you're not hungry?
DAN
I just wanted to come here.
HERB
To Denny's? I wasn't going to say
anything, but why Denny's?
DAN
This Denny's.
HERB
Okay. Why this Denny's?
DAN
It's kind of embarrassing but,
HERB
Go ahead.
DAN
I had a dream about this place.
HERB
Oh boy.
DAN
You see what I mean...
HERB
Okay, so you had a dream about this
place. Tell me.
DAN
Well ... it's the second one I've had, but
they were both the same......they start
out that I'm in here but it's not day or
night. It's kinda half night, but it
looks just like this except for the
light, but I'm scared like I can't tell
ya. Of all people you're standing right
over there by that counter. You're in
both dreams and you're scared. I get
even more frightened when I see how
afraid you are and then I realize what it
is - there's a man...in back of this
place. He's the one ... he's the one
that's doing it. I can see him through
the wall. I can see his face and I hope
I never see that face ever outside a
dream.
Herb stares at Dan to see if he will continue. Dan looks
around nervously, then stares at his uneaten food.
DAN (cont'd)
That's it.
HERB
So, you came to see if he's out there?
DAN
To get rid of this god-awful feeling.
HERB
Right then.
Herb gets up, picks up the bill and goes to the cashier to
pay. Dan just sits.
As Herb is paying the bill he looks over at Dan just as Dan
is turning to look at him. From Dan's point of view Herb is
standing in exactly the same spot as he stood in the dream.
Herb gets a strange feeling, turns back and finishes up with
the cashier. He motions for Dan to follow him. Dan rises
reluctantly and he and Herb make their way outside.
CUT TO:
EXT. DENNY'S
Now Herb waits for Dan to lead the way.
DAN
Around here.
Dan takes Herb across the front of Denny's to a narrow
sidewalk that leads down the side toward the back.
They begin walking down the narrow sidewalk - past a
payphone. Dan begins to sweat the nearer he gets to the rear
corner of the building. Red bricks glide by slowly.
CLOSER ON DAN
Beads of sweat cover his face. He finds it difficult to
breathe. Herb is just behind him unable to see the fear
overtaking his friend, but Herb can feel something himself.
The red bricks moving by now are coming to an end - the
corner is coming closer - the corner is now very close.
Suddenly a man - a face ... a face dark and bum-like- moves
quickly out from behind the corner and stops - freezes -
staring into Dan's eyes.
Dan lurches back. All his breath is suddenly gone. He falls
back into Herb who tries to catch him as he's falling. Dan
hits the ground unable to breathe - his eyes wide with
horror.
Herb looks up - the man is gone. He looks down to Dan.
HERB
Dan! ... Dan! You all right? ... Dan!
He kneels down and studies his friend. He feels for a pulse
in the neck. He listens for breathing. His friend is dead.
HERB (cont'd)
My God!
DISSOLVE TO:
EXT. LAX AIRPORT - DAY
The airport sits in blinding sunlight and veiled with smog.
A big jet lands.
CUT TO:
INT. LAX AIRPORT
A blonde girl walking with an old woman approaches us. As the
blonde's face fills the screen we move with her and stay with
her as she goes. Her face is bright and her eyes move here
and there taking in everything. She can hardly believe she's
in Los Angeles - the City of Dreams. She and the old woman
pass under a sign which reads "WELCOME TO LOS ANGELES."
The girl smiles and looks around excited by every detail.
CUT TO:
EXT. LAX AIRPORT
The girl and the old lady exit the terminal with their bags.
An older gentleman has joined the old lady. They stop at the
taxicab stand. The old lady takes the blonde girl's hand.
OLD LADY
It's time to say goodbye, Betty. It's
been so nice travelling with you.
BETTY
Thank you, Irene. I was so excited and
nervous. It was sure great to have you
to talk to.
IRENE
Now, remember I'll be watching for you on
the big screen.
BETTY
(smiling)
Okay Irene. Won't that be the day.
IRENE
The best of luck to you, Betty. Take
care of yourself and be careful.
BETTY
Okay I will. Thanks again.
Betty and Irene give each other a hug. The old gentleman nods
to Betty and takes Irene off. Betty smiles after them.
Suddenly someone is grabbing her bags. She turns abruptly to
find she is next in line and her cab is waiting. She turns
once more and waves at Irene as her bags are loaded into the
trunk of the cab.
CAB DRIVER
Where to?
BETTY
(smiling excitedly)
1612 Havenhurst.
CAB DRIVER
Got it!
They get into the cab and close their doors. The cab pulls
away.
CUT TO:
EXT. STREETS - LOS ANGELES - DAY
Betty goes from the right side of the cab to the left side of
the cab looking at every building, tree and sign. Each street
sign seems to be magical to her and she says the names to
herself as they pass by. She sees La Tijera, La Cienega,
Venice Boulevard, Pico Boulevard, Olympic Boulevard, Wilshire
Boulevard, etc., etc. until they reach Fountain and turn
right. Betty's heart is pounding when she sees Havenhurst
and the cab turns left. In the middle of the block on the
right the cab pulls over and stops. Betty sees her new
home ... an ancient, gorgeous courtyard apartment building,
built during the golden age of cinema.
CUT TO:
EXT. 1612 HAVENHURST
The cab driver puts Betty's bags down on the sidewalk next to
her. She can barely stop looking at the building long enough
to pay the cab driver who then goes off and drives away.
Betty picks up her bags and enters, as if in a dream, through
an ornate iron gate to a courtyard with a beautiful working
fountain at its center. A sign on a door to her right reads
Manager and she rings the bell.
An older, once very beautiful, woman wearing heavy make-up
and smoking a cigarette in a silver holder opens the door.
An unbelievable raspy voice comes out through the dark screen
of the still closed screen door.
MANAGER
Hi there...ten bucks says you're Betty.
BETTY
I am, Mrs. Lanois. It is Mrs. Lanois
isn't it?
MRS. LANOIS
In all my living glory, baby.
BETTY
Pleased to meet you.
MRS. LANOIS
You can call me Coco ... everybody does.
Stay there, I'll get the key.
BETTY
Okay, Coco.
Coco returns with the key and opens the screen door inhaling
a huge drag off her cigarette. She starts off into the
courtyard and Betty picks up her bags and follows. As Coco
speaks smoke comes out of her with every word.
COCO
I guess it was your grandfather, was
it ... he called me to check in, said you
were on your way and for you to call when
you get in. Nice man... farmer I hear.
BETTY
Yes, he is. He raises corn.
COCO
Damn lot of corn raised in Hollywood
these days too.
BETTY
Well, I ...
COCO
You don't have to tell me. It's written
all over that pretty face of yours.. You
came here to be an actress. I just hope
you'll remember there's never been a
great poem called "tits and ass."
BETTY
I...
COCO
You probably don't remember her, but
Louise Bonner lives right over there in
number 29. When she isn't drunk she runs
a damn good acting class.
BETTY
Have many famous actors and actresses
lived here? I was meaning to ask you
that.
COCO
Honey, all the great ones came through
here at one time or another.
A haunting music begins to swell.
COCO (cont'd)
People say in the springtime when the
wind blows the smell of the jasmine you
can still feel the presence of everyone
of them.
BETTY
I guess I've come to quite a place.
COCO
Sweetheart, you don't know the half of
it.
The music fades.
Coco looks down suddenly. On the cobblestone courtyard in
front of her she sees a fresh product of waste from a dog.
She angrily turns up to an apartment on the second level.
COCO (cont'd)
(yelling up)
WILKINS! ... (no answer) ... THAT DOG CRAPS
ONCE MORE OUT HERE AND I'LL BAKE HIS
BUTT FOR BREAKFAST!!
Coco turns back to Betty.
COCO (cont'd)
You don't have pets do you?
BETTY
No, I don't.
COCO
That's good. They're allowed, but I
don't like 'em...for obvious reasons.
One man used to live here that had a
prize fighting kangaroo. You wouldn't
believe what that kangaroo did to this
courtyard ... let's see your Aunt's
apartment ... it's a good one.
BETTY
I can hardly wait, Coco.
CUT TO:
INT. APARTMENT - BEDROOM
The dirty and torn black cocktail dress of the dark-haired
woman along with her shoes, purse and undergarments are in a
pile in the bedroom. We drift off them toward the bathroom
where the dark-haired woman can be seen showering through
rippled glass. There's the sound of a door opening. We see a
movement through the glass and the shower goes off instantly.
We can hear the dark-haired woman's frightened breathing as
she waits frozen listening.
CUT TO:
INT. APARTMENT LIVING ROOM
Betty enters, thrilled with what she sees. The apartment is
filled with movie memorabilia, deco furniture, oriental rugs,
brass floor lamps and a massive tiled fireplace. She sets her
bags down and stares.
BETTY
It's unbelievable!
COCO
I told ya.
BETTY
Wow!
COCO
Now I guess you and your Aunt have an
understanding. So here's the key and you
need anything, just give a holler.
(Coco hands Betty the key)
Everybody in this building's pretty much
okay with me or they wouldn't be here.
If you want, later I'll introduce you
around. No hard feelings if you don't,
and don't forget the rooftop garden.
It's just up the stairs we passed. It's
open to all the tenants. You can see the
Hollywood sign from there.
BETTY
Oh Coco thank you. Thank you so much.
COCO
You got it! See you later honey.
Coco leaves and closes the door behind her. Betty begins to
explore the apartment.- After walking a circle in the living
room she passes through the kitchen. She moves down a
hallway looking at paintings and posters. She goes into the
bedroom. She smiles when she sees the bed which has a huge
ornately carved head and foot board. She notices the soiled
dress on the floor and she frowns as she looks closer. She
stands back up, shrugs and goes into the bathroom which has
all the original thirties fixtures damndest floor to ceiling
tiles. As she goes toward the sink she smiles to herself in
the mirror above it. Suddenly something catches her eye and
she opens the shower stall. There before her is the naked,
beautiful dark-haired woman.
BETTY
Oh my!
She quickly closes the shower door.
BETTY (cont'd)
I'm sorry. My Aunt ... Ruth didn't tell
me someone was going to be here. I'm so
sorry.
DARK-HAIRED WOMAN
That's okay.
BETTY
I'm Ruth's niece. My name's Betty. I'm
sure she told you I was coming.
There's a silence.
DARK-HAIRED WOMAN
There was an accident. I came here.
BETTY
I understand. I saw the dress. I...I'm
sorry. Are you all right?
There is another silence.
BETTY (cont'd)
What happened?
DARK-HAIRED WOMAN
A car ... a car accident.
BETTY
Are you okay?
DARK-HAIRED WOMAN
I think so. I was just taking a shower.
BETTY
Oh my god. I'm sorry. I'll let you get
back to that. I'm going to get unpacked.
Betty goes to the bathroom door and is closing it when she
stops and looks back in.
BETTY (cont'd)
What's your name?
We see a close-up of the dark-haired woman. We see her eyes
widen with a kind of fear. She's frantically thinking -
searching her mind for an answer.
BETTY (cont'd)
I'm sorry. I'll get out of here and we
can talk later.
CUT TO:
INT. APARTMENT BEDROOM
Betty is unpacking in the bedroom and putting her belongings
in the closet and the dresser drawers. Many of her Aunt's
things are still there.
CUT TO:
INT. APARTMENT BATHROOM
The dark-haired woman is looking at herself in the mirror.
She turns and begins looking around the bathroom at shampoos,
cosmetics, until her eyes fall on a poster of "Gilda"
starring Rita Hayworth.
CUT TO:
INT. APARTMENT BEDROOM
The bathroom door opens and the dark-haired woman comes out
wrapped in a towel. She's drying her hair with another. She
and Betty stare at one another.
DARK-HAIRED WOMAN
My name is Rita.
BETTY
Hi...do you work with my Aunt?
RITA
No ..........I.
BETTY
I...I mean......I...it's none of my
business.
RITA
She has pretty red hair... she is very
kind I think.
BETTY
She sure is. She's letting me stay here
while she's working on a movie that's
being made in Canada, but I guess you
know that. I couldn't afford a place
like this in a million years. Unless of
course I'm discovered and become a movie
star. Of course, I'd rather be known as
a great actress than a movie star, but
sometimes people end up being both and
that is, I guess you'd say, sort of why I
came here. I'm sorry, I'm just so
excited to be here..I mean I just came
here from Iowa and now I'm in this dream
place. You can imagine how I feel.
RITA
I think I've been hurt.
BETTY
Oh...
Betty goes to Rita.
BETTY (cont'd)
Sit down...
Betty sits Rita on the bed. She leans down and looks at her
head and face.
BETTY (cont'd)
Where were you hurt?
Rita motions to her head above her forehead. Betty looks
through her hair and finds her wound which has stopped
bleeding but is surrounded by a very large blue black
bruising.
BETTY (cont'd)
We should get a doctor.
RITA
No.
BETTY
But, this could be serious.
RITA
No...I need to sleep.
BETTY
If you have a concussion you shouldn't
sleep.
RITA
It will be okay if I sleep. I need to
lie down and sleep.
BETTY
All right, but...I'm going to check on
you.
Rita lies down and is instantly asleep. Betty leans over her
and listens to her breathing. She gets a blanket and drapes
it over the beautiful sleeping Rita, then leaves the room.
CUT TO:
EXT. - DOWNTOWN LOS ANGELES - LOW RENT OFFICE BUILDING - DAY
The street level of the office building is filthy and houses
stores selling racks of cheap toys. Up above we see office
windows and a big sign saying "Office Space For Rent" along
with a telephone number to call. We drift in toward one of
the windows on the sixth floor.
CUT TO:
INT. OFFICE ON SIXTH FLOOR
Two men are in the room, JOE and ED. Joe leans up against a
rack of filing cabinets. He is in his late twenties. He
looks like a run down, heavy metal rocker - wears a blue
denim shirt open, T-shirt underneath, black denim jeans and
motorcycle boots. His black belt has silver studs. He's
smoking a cigarette and is laughing at something the man at
the desk has said. His laugh is easy and his grin is
infectious.
The man at the desk, Ed, wears a clean, crisp black suit,
like a business man's but unlike a business man his blonde
hair is long enough to go over his shoulders.
JOE
So man, that's unheard of ... an accident
like that ... who coulda foreseen that.
ED
Unreal ... so, you're looking good.
Whatcha doin' these days?
JOE
Well, not much Ed. Just doin' some stuff
for this guy.
ED
Making ends meet, huh.
JOE
Hardly.
ED
Yeah, look at my digs ... times are tough.
JOE
Oh, things aren't so bad. Gee, I hope
you're not goin' to get in any trouble.
ED
It was just a thing. The story made you
laugh.
JOE
Yeah, that's a funny story.
Looking like he's rubbing the small of his back Joe moves
over to Ed at his desk. Joe looks down to the surface of the
desk - to a small worn black book.
JOE (cont'd)
So, there it is ... Ed's famous black book.
ED
Yeah, the history of the world in phone
numbers.
Joe's hand still at the small of his back moves into view
holding a silenced pistol and in one swift move reaches out
and fires a hole through Ed's temple - blowing Ed's brains
out across the desk, carpet and wall. Ed's head bangs down
on the desk, then is still save the leaking of blood from the
wounds. Joe flips his finished cigarette out the open window
behind Ed's desk, wipes the gun clean with a handkerchief and
places the cleaned gun in Ed's right hand. He places Ed's
right forefinger gently onto the trigger. As he puts the
finger on the trigger he presses a little too hard and the
gun goes off. The bullet shoots out and penetrates the cheap
wall at the far end of Ed's office. Joe hears a muffled
scream.
JOE (cont'd)
(disgusted with himself)
Oh...man!
With a sense of "just more stuff I got to do" Joe moves
slowly and begrudgingly out of Ed's office, checks the
corridor and goes toward the screaming which still persists.
He opens up the office door next to Ed's and finds a heavy
set woman screaming bloody murder as she is grabbing her
buttock and lower back. He sighs and walks over to her and
cups his hand tightly around her mouth to squelch the
screaming. Wide-eyed, she tries to fight him off and he
begins dragging her out of her office. Joe's foot catches on
a computer cable clumsily taped across the floor and he falls
backwards bringing the heavy woman down with a bone-crushing
blow on top of him. The woman begins beating his face with
her meaty fists. Joe snaps her head back, instantly stilling
her violent activity. He wrestles the stunned heavyweight
back to her feet and out her door. He pushes and pulls her
into Ed's office. Just before they enter, Joe notices a man
with a vacuum cleaner watching him from the far end of the
corridor. He stops and calls to the man.
JOE (cont'd)
Hey man. She's hurt bad. Get down here
and use the phone. Help me out. You
gotta call the hospital.
The man hesitates...not sure if this jives with what he's
seeing.
JOE (cont'd)
I mean it! Get down here quick! She's
hurt and I can't do everything myself,
man.
Joe pushes the woman inside Ed's office, throws a glance back
down the corridor and sees the man is on his way to him,
pushing his industrial vacuum and trailing a 200 ft. long
thick black cord as he goes. Joe goes in to Ed's office
with the woman. He throws her down on the floor in line
between Ed's desk and the bullet hole in the wall. She
starts screaming immediately and struggles to get up. Joe
grabs the pistol from Ed's dead hand and lifts it to fire,
but the woman has turned around and is almost standing.
JOE (cont'd)
No, no, no. You gotta be turned around.
He goes to her, slaps her hard in the face and spins her
around. Before she can turn again Joe races back to place
himself in the proper line at Ed's desk and quickly fires two
silenced shots into the back of her head. The man with the
vacuum enters. His eyes begin to widen in reaction to the
scene. Just then Joe fires a bullet into the man's chest.
The man inadvertently flicks on the vacuum cleaner as his
hands rush up to the wound. As the vacuum cleaner whines Joe
rushes to the man before the man falls back out into the
corridor. He pulls him into the room - the man moaning and
clutching his chest, starting to collapse. Joe releases him
and the man goes down. The vacuum cleaner seems to be
screeching now in the threshold. Joe fires the last bullet
into the heavy duty vacuum cleaner. The bullet shorts out
the internal wiring of the vacuum. That in turn blows the
building's circuit breaker and all the lights go out.
JOE (cont'd)
(disgusted with himself)
Oh ... man!
Now he hears voices - voices moving into the corridor.
VOICES
What the hell .... what happened? What's
this cord doing here? It's the vacuum.
It's the vacuum what did it.
Joe cleans the pistol once again and places it back in
Eddie's hand - Eddie's finger on the trigger. Joe picks up
the black book - turns and makes his escape by going out the
office window and quickly descending the rusty fire escape.
CUT TO:
INT. CONFERENCE ROOM - CENTURY CITY BUILDING - DAY
We see three men sitting at a conference table RAYMOND(RAY)
HOTT -president of production, wearing a crisp blue
suit,VINCENT DARBY -senior vice-president, wearing a crisp
green suit and ROBERT SMITH -talent manager, wearing a crisp
brown suit. Ray and Mr. Darby sit at the head of the table
and Robert Smith sits along the side. A younger man -ADAM
KESHER enters and sits down, with an arrogant nonchalance,
next to Robert Smith. Adam is dressed in a frumpy old
fashioned plaid shirt, worn jacket, dark blue cotton slacks,
and a pair of old brown wing tips. As he sits he is holding
and twirling a vintage "7-iron" golf club.
ADAM
So what's the problem?
RAY
There is no problem.
ADAM
So why did you idiots bring me
here? ... I'm in the middle of making a
picture.
Silence for a moment. A man enters through a rear door and
whispers something to Mr. Darby and shows him something on a
piece of paper. Mr. Darby studies the piece of paper.
MR. DARBY
(to man who entered)
What was it last time?
The man who entered points to something on the paper.
MR. DARBY (cont'd)
Okay, let's try the next one.
The man nods and leaves.
RAY
He isn't gonna like it.
MR. DARBY
We'll see.
ADAM
Hello ... who're we talkin' about here?
Robert Smith shuffles nervously in his chair next to Adam.
ROBERT SMITH
You see Adam... there are some suggestions
which are to be brought forward ... and I
know you said you would entertain
suggestions and that's all anybody here
is asking you to do.
ADAM
What're you talking about?
ROBERT SMITH
An open mind ... You're in the process of
re-casting your lead actress and
I'm... (looks around) We're asking you to
keep an open mind.
CUT TO:
EXT. CENTURY CITY - DAY
Before us is a huge modern office building of glass and
steel. Two men in dark suits have exited a large limousine
and are walking up into the building. We drift up the facade,
higher and higher moving in toward the top of the building.
DISSOLVE TO:
INT. OFFICE BUILDING - DAY
The men exit an elevator and move through a lobby where a
plaque beneath an enormous bronze sculpture reads "Ryan
Entertainment". Gliding we travel behind the two men down a
wide, carpeted hallway with blonde wood and glass on each
side. They enter through two large blonde wooden doors to the
conference room.
CUT TO:
INT. CONFERENCE ROOM - DAY
The men in dark suits go in as if they owned the place. Ray,
Mr. Darby and Robert Smith stand immediately. Adam remains
seated. Mr. Darby is the only one near enough to attempt a
hand shake, but when he offers his hand it is not taken. The
men in dark suits sit down without wasting a movement and
without acknowledging anyone. One of the men in a dark suit
opens a briefcase. Ray has been trying to make
introductions.
RAY
Ah... the Castigliane brothers. Let me
introduce you around ... please ... sit down.
(after they've already seated
themselves) ... this is Mr. Darby whom you
know and this is the director Adam
Kesher and his manager Robert Smith
The Castigliane brothers do not acknowledge any of this,
however, during the introductions the one with the briefcase
removes a photo of a girl and sets it in front of Ray.
RAY (cont'd)
Ah... she's very pretty.
We see the photo of the girl - of a nice looking blonde -
someone we've never seen before. Adam looks like he doesn't
know what's going on and he's getting upset about not
knowing. His manager, Robert Smith, is beginning to see the
makings of a confrontation - he's starting to panic.
MR. DARBY
(referring to Castigliane
brothers)
May I offer you gentlemen anything?
LUIGI CASTIGLIANE
Espresso.
VINCENZO CASTIGLIANE
Nothing.
ADAM
Uh what's the photo for?
MR. DARBY
(picking up phone and speaking)
One espresso ... no, that's it.
(sets phone down - addresses
Castigliane brothers)
I think you're going to enjoy your
espresso this time... I've been doing
quite a bit of research knowing how hard
you are to please... this one comes highly
recommended.
ADAM
What's the photo for?
RAY
(to Adam)
A recommendation... a recommendation to
you Adam.
VINCENZO CASTIGLIANE
Not a recommendation.
LUIGI CASTIGLIANE
This is the girl.
ADAM
What girl? For what? What is this Ray?
Ray, still standing with a forced smile, turns to the
Castigliane brothers.
RAY
We'd be happy to put her in the pile for
considerations ... you'd be pleased to know
there's quite a lot of interest in this
role.
ADAM
Interest?! There's six of the top
actresses that want this thing.
LUIGI CASTIGLIANE
This is the girl.
ADAM
Ray...you better take care of this.
ROBERT SMITH
Hold on ... hold on, Adam.
ADAM
Hold on!!!!!!!! There's no way, there's
no way!!!
Luigi Castigliane's espresso is brought in by the man who had
been in earlier. The man sets the espresso down in front of
Luigi and takes a step back. The room becomes silent -
watching the Espresso Man and Luigi. Without looking up Luigi
speaks softly.
LUIGI CASTIGLIANE
Napkin.
ESPRESSO MAN
(leading forward to hear)
Pardon?
LUIGI CASTIGLIANE
Napkin.
ESPRESSO MAN
Of course. Excuse me.
The Espresso Man leaves the room. Luigi looks at the
espresso. Vincenzo stares at Adam.
Adam is doing his best to stare down Vincenzo. The Espresso
man returns with a cloth napkin and lays it down next to the
espresso.
ESPRESSO MAN (cont'd)
Will that be all, Sir?
Luigi doesn't answer and after a moment of standing very
still waiting, the Espresso Man turns and leaves the room.
Adam is stared down by Vincenzo and averts his eyes to the
espresso cup. He looks around at Ray and Mr. Darby - seeing
them stare at the espresso cup.
Vincenzo keeps staring at Adam.
Luigi picks up the napkin and holds it in his left hand.
With his right hand he lifts the espresso cup and places it
above the napkin. He brings the cup and napkin to his mouth.
He takes a sip of espresso. A small fleeting expression forms
on Luigi's impassive face as if for one millisecond he is
going to vomit. His mouth opens and he allows the espresso
to fall and dribble onto the napkin. He pushes any remaining
espresso in his mouth out with his tongue. He holds it in
that position for a moment.
LUIGI CASTIGLIANE
Is shit!
Luigi Castigliane stands up.
RAY
I'm sorry. That was a highly
recommended...
MR. DARBY
That's considered one of the finest
espressos in the world , Sir.
Luigi just stands there. A small thread on his left suit
jacket pocket catches his attention and he smooths it back
into the fabric. Vincenzo closes his briefcase, takes out a
hankerchief and cleans his nose - then stands, placing the
handkerchief back in his pocket.
ADAM
Wait a minute!! What's going on here?
Vincenzo just stares toward Adam as if he's not even there.
ADAM
There's no way that girl is in my movie!
Silence.
LUIGI CASTIGLIANE
That is the girl.
The Castigliane brothers begin to leave. Adam stands up
trembling with anger.
ADAM
Hey!!!!! That girl is not in my film!!!
VINCENZO CASTIGLIANE
It is no longer your film.
Adam turns white and stands very still as this sinks in. The
Castigliane brothers leave. As the big blonde wood doors
close behind them Adam starts to boil.
ADAM
(screaming)
You'd better fix this, Ray!!!
RAY
I'll speak to someone.
ADAM
(turning to his manager)
And you'd better speak to someone
too ... or find yourself another client!!
This smells like a set-up to me!
(back to Ray)
And by the way, Ray, I don't know who
these guys are kidding, but every foot of
film I've shot is in a vault at the lab
that only I can access. No one's getting
that film!!
ROBERT SMITH
This is a catastrophe...
(turning toward Ray)
you told me they might insist on a girl,
that's all.
ADAM
Why didn't you tell me, Robert? That's
what I mean ... you set me up! I woulda
never come here.
(standing)
I'm leaving. I'm a director you don't
want to lose ... you guys better fix this!!
Adam storms out of the room.
RAY
(standing)
Well...I didn't know that was going to
happen.
CUT TO:
EXTERIOR - OFFICE BUILDING - CENTURY CITY - DAY
Adam exits the building carrying his 7-iron. An attendant
takes his valet parking ticket. While Adam, still fuming,
waits for his car he notices the big limo standing off to one
side. He stares at the car and the huge limo driver leaning
up against the front driver's side door.
Adam's car arrives - a late model Porsche. Before Adam gets
into his car he addresses the attendant.
ADAM
Did the Castigliane brothers get out of
that limo?
ATTENDANT
They two guys in dark suits?
Adam nods and walks over to the limo. The limo driver eyes
him and his 7-iron suspiciously.
ADAM
Castigliane brothers?
LIMO DRIVER
Beat it!
ADAM
O.K.
Adam raises his 7-iron and smashes out the limo's windshield.
He whacks two big dents in the hood, then smashes out a
headlight. The limo driver starts towards him. Adam laughs,
runs to his car and takes off.
CUT TO:
INT. AUNT RUTH'S APARTMENT - LATER DAY
Betty is stretched out on the big leather couch in the living
room. A half eaten sandwich and chips are on a plate on the
coffee table next to her. She is talking on the phone.
BETTY
No Grandpa, you wouldn't believe it.
It's more beautiful than I ever
dreamed ... no she left me a lot of food.
The refrigerator's full ... Aunt Ruthie
said she'd call me when she got
settled... it was real smooth. I sat next
to a lady who gave up her first class
seat to a boy with a broken leg. She was
so nice to me. She invited me to her
house sometime. It's in Bel Air which is
a place where people have a lot of
money... I will. Everybody's telling me
to be careful, but I sure love it here
Grandpa. Thank you for helping me get
here ... yeah, it's long distance. I love
you. Say hello to Grams. Give her a big
kiss for me. Okay, I love you
Grandpa ... bye.
Betty hangs up the phone, takes a big bite of her sandwich
and lays flat out on the couch, chewing and smiling up at the
ceiling. She suddenly remembers Rita and her promise to look
in on her. She gets off the couch and goes into the bedroom.
CUT TO:
INT. BEDROOM - DAY
Rita is still asleep when she enters. She leans down and
finds Rita breathing normally. She feels her forehead.
Satisfied that all is well, Betty quietly leaves the bedroom.
CUT TO:
INT. - EXT. APARTMENT - DAY
Betty rinses her dishes in the kitchen sink and pours herself
a cup of coffee. She takes the coffee outside to the
courtyard - to a white metal table just outside her doorway.
She sits down and stretches in the warm afternoon sun.
Across the way she can hear a blues saxophonist practicing in
one of the apartments. She drinks her coffee and listens to
the music.
Some birds fly by overhead. She takes another sip of coffee.
The blues music which was mellow and slow is now building in
tempo and volume. The phone inside rings. Betty takes her
coffee back into the living room, shutting the door behind
her. She crosses to the leather couch and picks up the
phone.
BETTY (cont'd)
Hello ... Aunt Ruth!! I can't tell you how
happy I am. Your place is so fantastic!
Yes ... Coco...what a character. I really
like her... that's too bad...waiting in an
airport must not be too fun. What's a
mosquito plane? ... Oh I get it. How long
does that take from Montreal? ... Well,
you'll sleep good tonight ... Hudson Bay
sounds beautiful ...oh well, I hope you
packed your coat. (laughs). You mean
the audition...Wally Brown... she didn't
mention it but he'll fax the dialogue to
Coco? Suddenly I'm so nervous ... okay
Aunt Ruth... I'll try. I'll study those
lines until I know them inside out.
Yes, either right here on this fabulous
leather couch or I'll take them with a
coffee in the courtyard like a regular
movie star. (laughs). Oh! I got a real
shock to find your friend Rita here. She
was in the shower and I opened the
door ... Rita ... what do you mean? She was
in an accident ... your friend Rita. No,
Coco unlocked the door. No, she didn't
see her. She's sleeping. No... she's
very nice. I'm sure there's some
explanation, Aunt Ruth... I don't think we
have to do that. Please don't worry.
I'll take care of it. No, I'll let you
know. Where can I ... okay I'll get it
from Coco.
No, please don't worry... thank you so
much for letting me stay here. You've
made me so happy... thank you, thank you.
Please don't worry... Aunt Ruth we don't
need the police. I'll call you when you
get to Hudson Bay. Please...
please ... Goodbye Aunt Ruth.
Betty slowly and quietly hangs up the phone. She sits for a
moment listening. Silently she stands and moves toward the
bedroom. As she approaches the bedroom door she stops at
something she sees. Rita is sitting on the edge of the bed
crying quietly. Betty goes into the bedroom. Rita looks up
at her with desperation.
BETTY (cont'd)
You're awake... I think I misunderstood
you. I thought you knew my Aunt and
that's why you were here. I just talked
to my Aunt on the phone and she wants me
to call the police.
Rita starts crying harder, bows down, covering her face with
her hands.
BETTY (cont'd)
Rita?
RITA
(crying harder)
I'm... sorry. I ...
Betty's heart softens.
BETTY
What is it Rita?
RITA
(still sobbing)
I'm...I'm... oh no... I thought when I woke
up... I thought sleep would do it ...
Betty kneels down in front of her.
BETTY
What's wrong?
RITA
(crying)
I don't know who I am.
BETTY
What do you mean? You're Rita.
RITA
(crying)
I'm not. I don't know what my name is.
I don't know who I am!!
Betty looks down at the purse next to Rita's dress. She picks
it up and hands it to Rita.
BETTY
This is your purse. Your name must be in
your purse.
Rita takes the purse with sudden trepidation. She hesitates.
Something is worrying her. She looks at Betty for help.
BETTY (cont'd)
You want to know don't you?
RITA
I ... yes, but ... I ...
BETTY
Open it!
Rita slowly unzips the purse. The pressure of its contents
force the mouth of the purse to widen as the zipper opens and
then there is suddenly revealed what will later be known to
be $125,000.00 cash in hundred dollar bills.
Both Rita and Betty almost stop breathing. They look at each
other, then back to the money.
Rita takes the massive wad of bills out of the purse and sets
it on the bed. She reaches back inside and comes up with the
only other remaining item in the purse ... A BLUE KEY. Betty
sees Rita's expression change to a kind of horror.
(note: This blue key is made of very fine heavy metal and
does not look like a door key.)
CUT TO:
INTERIOR - OFFICE BUILDING - DAY
Ray crosses a carpeted closed area. He mounts a flight of
stairs. At the top of the stairs there's a plain blonde wood
door. Ray punches in a code on a security panel next to it.
The door opens automatically. Ray passes through and goes
down a narrow hall. At the end of the hall there is a small
elevator. Again Ray punches in a code. The elevator opens and
Ray goes in. The elevator door closes, but the elevator does
not move. Ray waits. Finally, a woman's voice comes through a
speaker.
WOMAN'S VOICE
Who is it please?
RAY
Raymond Harris ... 20743.
The elevator begins to move up. When it stops, the door opens
and Ray walks into a windowless reception area where a
beautiful Italian woman sits behind a large, blonde, modern,
built-in desk.
RECEPTIONIST
(very quietly)
You may go right in, Ray.
Ray crosses to a blonde wood double door and waits. The
receptionist pushes a button behind her desk - chimes sound
as the double doors open to an enormous office with no
windows. Heavy rich brown curtains line the walls.
Ray enters and the doors close behind him. Ray takes a few
steps forward, then stops. There is a solid glass wall that
we now notice running the width of the office. Cut into the
glass wall is a small speaker microphone apparatus. Beyond
the glass off in the center of the room is a man sitting in a
very plain, blonde, wood, modern, yet not motorized,
wheelchair. The man is paralyzed except for his right hand
and head. His head appears small in relation to the size of
his body. His suit is immaculate and one of the finest we've
ever seen. His manservant stands in the shadows behind him.
RAY
Good afternoon Mr. Roque. (pronounced
Rowk).
Mr. Roque stares at Ray silently.
RAY (cont'd)
Do you want him replaced?
Mr. Roque continues to stare.
RAY
I know they said...
MR. ROQUE
Then?
RAY
Then... I guess it's so .... alright, but
that means we should ...
MR. ROQUE
Yes?
RAY
Shut everything down ... Is that something
that...do you want us to shut everything
down?
Silence. Ray doesn't know what to do. He struggles to
interpret Mr. Roque's silence. He waits. Mr. Roque does
nothing but stare.
RAY (cont'd)
Then we'll shut everything down.
Silence.
Ray turns. The doors open as he approaches them and he
leaves the room. The doors close.
CUT TO:
EXTERIOR - OFFICE BUILDING - CENTURY CITY
Vincenzo and Luigi are staring silently and without
expression at the broken windshield of the limousine. The
limousine driver suddenly starts signaling to a car entering
the driveway to the building. He turns to the Castigliane
brothers.
LIMO DRIVER
The other car is here sirs. Please allow
me.
The limo driver opens the rear door of the new limo, then
hurries around and opens the other rear door. The new driver
gets out of the car.
LIMO DRIVER (cont'd)
Here's the key to the car. Take it
straight to the garage. They're waiting
for you.
The limo driver closes both back doors after the Castigliane
brothers are seated within. He then gets in himself and
maneuvers the big limo out into traffic.
CUT TO:
PINK'S CHILI DOGS - DAY
Two guys, JOE ( the guy who killed Ed in the sixth floor
office) and BILLY another unkept, rocker type delivery man
are standing waiting for their chili dogs with a girl, LANEY,
who could be very good looking but she seems to be in poor
health. Her hair is long and stringy. She's wearing a
tight, short sleeve blue sweater, black jeans and boots.
BILLY
Yeah, sure. Look what happened to them.
JOE
No, no, no, I told you. They're fine.
They're all real happy.
BILLY
My next delivery is up that way, so I'll
be getting down to it real soon.
JOE
You're so easy.
BILLY
Gotta keep an eye on her, that's all.
JOE
Yeah, what for?
BILLY
Keep her from gettin' in trouble, that's
all.
The chili dogs arrive and they pay for them.
BILLY (cont'd)
Can we eat in the van?
JOE
What's the matter now?
BILLY
Nothing... I don't like being out in the
open like this.
JOE
It must be just so pathetic being you.
Sure Billy, grab your dog we'll eat in
the van.
The three make their way to the van. Joe looks over at
Laney.
JOE (cont'd)
You sure you don't want anything?
LANEY
(hesitantly)
Not here...no thanks.
JOE
Not a coke or anything?
LANEY
No ... thanks though... I'll take a
cigarette if you have one.
JOE
Sure, reach in my shirt pocket there.
As Laney is getting her cigarette and lighting it..
JOE (cont'd)
Any new girls on the street these days?
LANEY
(taking her first big drag)
No. I haven't seen any.
JOE
A brunette? ... maybe beat up?
LANEY
No...
JOE
You'll keep your eyes open for me won't
you baby?
LANEY
Sure.
Joe spanks her butt as she gets in the van.
JOE
You bet you will.
CUT TO:
INT. MR. ROQUE'S OFFICE - DAY
Mr. Roque, in his wheelchair is still in the center of the
huge softly lit, windowless office. His manservant standing
silently behind him. The small built-in wheelchair phone
rings. Mr. Roque pushes a button on a small intricate remote
device he holds in his right hand. A slender streamlined
microphone rises from the arm of the chair.
MR. ROQUE
Yes?
He listens through a high-tech earplant which we now see.
MR. ROQUE (cont'd)
Thank you.
He pushes two buttons, one after another on the remote
device. We hear a small click, a dial tone, a number being
dialed, and a phone ringing.
CUT TO:
INT. DARK ELEGANT ROOM - SOMEWHERE - SIMULTANEOUS
We see the back of a man's head and just over his shoulder we
see the top of the phone which is ringing. The man picks up
the phone and brings the receiver to his ear.
THE MAN
Hello.
CUT TO:
INT. MR. ROQUE'S OFFICE - SIMULTANEOUS
MR. ROQUE
She's still missing.
We hear a small click and the line goes dead. Mr. Roque
pushes a button and the microphone descends back into the
chair.
CUT TO:
INT. DARK ELEGANT ROOM - SOMEWHERE
Again we see the back of the man's head. He's dialing a new
number. -He brings the receiver to his ear. We hear a phone
ringing - we hear a click- the phone being answered.
CUT TO:
INT. FILTHY LOW CLASS KITCHEN - SOMEWHERE - SIMULTANEOUS
We see only a black rotary wall phone and a portion of a
greasy filthy kitchen - The receiver has already been lifted
off the phone and we see only the cord extending to someone
off screen.
HAIRY-ARMED MAN
(off screen)
Talk to me...
CUT TO:
INT. DARK ELEGANT ROOM - SOMEWHERE
Again we see only the back of the man's head.
THE MAN
Same.
CUT TO:
INT. FILTHY LOW CLASS KITCHEN - SOMEWHERE - SIMULTANEOUS
A man's hairy-arm enters frame and the receiver is placed
back on the phone, then immediately picked back up and with
the receiver held in the hand the hairy man dials a new
number. Part way through the dialing...
CUT TO:
INT. A BLUE TABLE - SOMEWHERE - SIMULTANEOUS
The surface of this table is high gloss ultra smooth
material. A very modern phone sits on this table and begins
to ring softly. A hand enters frame - a woman's hand. The
skin is pale white, almost translucent. The fingers are long
and seem slightly too large. At the ends of the fingers and
thumb are stretched tapered high gloss red fingernails which
slightly curve downward. The forefinger of the hand presses
a button on the phone. A small tone sounds - followed by a
very modern sounding coded signal.
FADE OUT:
INT. - AUNT RUTH'S APARTMENT - day
We pull back from Rita's face until we see that Betty and
Rita are sitting on the leather couch about four feet apart
staring at the floor. They just sit this way for awhile.
BETTY
Well... what do you think about then? I
mean... well what do you think about?
RITA
What do you mean?
BETTY
Well ... if you don't remember anything, I
mean what goes through your mind then if
you don't remember anything?
RITA
Nothing. I do remember the car crash... I
told you... I remember the glass ... I
think about that sometimes ... I remember
walking here, sort of. Now I remember
this place and you. That's about it.
BETTY
How do you remember how to talk?
RITA
I don't know.
BETTY
You don't remember anything else?
RITA
No
(she covers her eyes with her
hands)
There is something...something there I
can't tell... I can't describe it.
(struggling to figure it out -
to express it)
There are things there.... but I'm... here.
Betty thinks about what Rita has said. Somehow it seems to
make sense to her.
BETTY
The money. You don't know where it came
from?
RITA
Unh, unh.
BETTY
When you think about them... the
money... the key ... does it make you
remember anything?
Silence.
RITA
The money... I don't know about the
money... the key... it makes me feel ...
afraid.
CUT TO:
BEVERLY HILLS CITY STREETS - DAY
A car - a late model generic sedan is moving toward us. Two
men dressed in suits and wearing dark glasses are driving
slowly. As they go each man is scanning sidewalks,
buildings, passing cars as if hunting for someone. They pass
by us and as we turn we leave them and pick-up Adam driving
in the opposite direction in the other lane. We stay with
Adam.
Adam drives his Porsche up a palm lined street.
ADAM
Office...
The voice activated phone connects the line to Adam's office.
A secretary answers.
SECRETARY
Adam Kesher's office.
ADAM
It's me. Where's Cynthia?
SECRETARY
She's on the set. I'll connect you Mr.
Kesher.
Another ringing sound, then a voice.
VOICE
Stage One.
SECRETARY
Paul, I have Mr. Kesher for Cynthia.
PAUL
Right baby, all Hell's broke loose down
here. I'll try to find her.
Adam listens to dead silence for a moment or two then Cynthia
speaks.
CYNTHIA
Adam, where are you?
ADAM
What's going on, Cynthia?
CYNTHIA
They've closed the set. They sent
everybody home.
ADAM
What did you say?
CYNTHIA
They fired everyone.
ADAM
Who fired everyone?
CYNTHIA
(starting to cry)
Ray did ... and then they closed the
set.... everybody's gone. You'd better
get down here Adam!
ADAM
No.
CYNTHIA
You've got to talk to Ray you've got to
fix this.
ADAM
I'm going home.
CYNTHIA
Home! Meet me at the office. We've got
to do something ... you've got to do
something Adam!
ADAM
I'm going home Cynthia.
CYNTHIA
Adam, this isn't like you. Please come
to the office. There must be something
we can do.
ADAM
I'm going home. I'll call you later.
CUT TO:
EXT. - 1612 HAVENHURST - DAY
ESTABLISH
CUT TO:
INT . AUNT RUTH'S APARTMENT - DAY
The girls are still sitting on the leather couch as before,
but now silently off in their own worlds. After a moment...
BETTY
I wonder where you were going.
Betty's question hangs in the air. Slowly we move close to
Rita who is on the verge of remembering something.
Suddenly -
RITA
Mulholland Drive.
BETTY
Mulholland Drive?
RITA
That's where I was going... Mulholland
Drive.
BETTY
Maybe that's where the accident was.
There must be a police report. We could
call.
RITA
No.... I don't...
BETTY
We could call anonymously from a pay
phone... just to see if there was an
accident.
Rita sits worrying.
BETTY (cont'd)
Come on. It'll be just like in the
movies. We'll pretend to be someone
else. I want to walk around anyway. I'm
in Hollywood and I haven't even seen any
of it. Come on Rita. Do you feel up to
it?
RITA
Okay... but just...just to see.
BETTY
Just to see if there was an accident on
Mulholland Drive.
RITA
(tentatively)
Okay.
BETTY
Come on... let's find you something to
wear.
CUT TO:
AUNT RUTH'S BEDROOM - DAY
Betty laughs as she holds one of Ruth's dresses in front of
Rita.
BETTY
It's terrible ... My Aunt dresses like Miss
Marple.
(off a blank stare from Rita )
She's kind of a frumpy woman detective in
British movies.
Rita laughs along with Betty. Betty goes back in the closet.
BETTY (cont'd)
Here's something okay.
She brings out a pair of khaki pants.
BETTY (cont'd)
Try these on. You can wear one of my T-
shirts with it and it won't look bad with
those sandals.
CUT TO:
EXT. ADAM'S HOUSE - BEL AIR
Adam pulls into his driveway, but is blocked from entering
the garage by a poolman's truck. He gets out of the car and
looks at the truck - sees the insignia on the door which is a
blue square with the word "Gene" above and the word "Clean"
below. Adam hears steps behind him and turns. A JAPANESE
GARDENER is coming toward him smiling and bowing.
JAPANESE GARDENER
Ah, Mister ... you remember me. I am Taka.
your gardener. For long time I not see
you. I pleased to see you.
Taka reaches out his hand and Adam shakes it.
ADAM
Hello Taka. It's 'cause I'm never home
in the day time. It's good to see you
again. The garden looks great.
Taka bows, smiling and nodding, and goes back to work. Adam
heads toward the front door of his house.
CUT TO:
INT. - ADAM'S HOUSE - DAY
Adam enters, puts his 7-iron in his golf bag just inside the
door, then looks around. He can see the pool through a wall
of plate glass windows, but there is no one visible poolside.
ADAM
(calling out)
Lorraine...
(then louder)
Lorraine ... you home?
He hears a noise, something falling. He walks in the
direction of the noise. It leads him to his bedroom. His
expression darkens as he approaches the closed door. He
hears voices as he throws the door open.
LORRAINE and the poolman GENE are in bed.
LORRAINE
Now, you've done it!
GENE
Just forget you ever saw it. It's better
that way.
LORRAINE
What the hell are you even doing here?
Adam stands stunned for a moment. Then finds himself walking
over to the dresser and opening the top drawer. He removes a
large case.
LORRAINE (cont'd)
What are you doing?
Adam starts walking out of the bedroom with the case.
LORRAINE (cont'd)
THAT'S MY JEWELRY!!!
Adam leaves the bedroom and starts through the house. He
goes into the kitchen and looks around - numb but trying to
think.
CUT TO:
INT. ADAM AND LORRAINE'S BEDROOM - DAY
Lorraine is getting dressed as fast as she can.
LORRAINE
That bastard!
GENE
He's probably upset Lorraine.
CUT TO:
INT. ADAM'S KITCHEN - DAY
Adam leaves the kitchen and goes out into the garage. He
turns on the light and looks around. He spots some paint
cans on a shelf and grabs one and goes back into the kitchen.
He can hear Lorraine calling his name. She seems to be
coming closer. He sets the jewelry case and the paint can on
the floor, kneels down and opens the paint can with his car
key. Just as Lorraine enters the kitchen, he opens the
jewelry box and empties the 3/4 full gallon can of Hot Pink
paint into her jewelry case.
LORRAINE
WHAT.. ARE ... YOU ... DOING!!!???
He puts his hands into the paint and jewels and smushes them
about. Lorraine rushes toward him.
LORRAINE (cont'd)
STOP IT!!!
Lorraine grabs hold of him. Starts pulling his hair,
slapping his face. She tears his jacket. Adam stands all at
once and with his wet Hot Pink hands he pushes Lorraine and
slams her into the kitchen counter just as Gene the poolman
enters. Gene grabs ahold of Adam, cocks back and slams his
huge suntanned fist into Adam's face.
GENE
That's not a way to treat your wife,
buddy. I don't care what she's done.
Adam gets up off the floor bleeding from the nose and tries
to hit Gene. Gene blocks his punch and slams Adam again,
knocking him down to the kitchen floor where he lands and
spills the jewelry case. Adam, now covered with paint, is
picked up by Gene and thrown out toward the front door.
LORRAINE
Throw him out!
Lorraine opens the front door while Gene picks Adam up, moves
him across the carpet and heaves him out onto the front lawn.
Lorraine slams the door behind him.
Adam picks himself up, severely dazed and bleeding pretty
badly, he heads for his car.
Taka stops gardening and smiles and bows at Adam as he gets
into his car.
Adam drives away - pink paint and red blood all over.
CUT TO:
INT. AUNT RUTH'S BEDROOM - DAY
Rita is now dressed to go out and is studying herself in a
mirror. She turns and her gaze falls to her purse. She
picks it up and looks questioningly at Betty.
BETTY (cont'd)
No ... you shouldn't take that. Let's hide
it.
They look around the room... There's a hatbox in the closet
above the clothes rack. Betty brings it down, takes out the
hat, and Rita puts the purse inside. Betty puts the hat over
the purse in the hatbox and puts in back in the closet.
Betty puts out her hand. Rita looks at it for a moment,
smiles, and they shake.
CUT TO:
EXT. APARTMENT COURTYARD - DAY
All dressed now Betty and Rita leave Aunt Ruth's apartment
and walk across the courtyard past Coco's apartment and out
through the iron gates. No one is about.
CUT TO:
EXT. HOLLYWOOD RESIDENTIAL STREET - DAY
Betty and Rita walk along. Birds are chirping in the trees
which line both sides of the street. Betty is smiling and
once again looking around at everything. Her good mood and
excitement about life lifts Rita's spirits.
Coming toward them on the sidewalk are two people - a middle-
aged woman and a young boy around 10 years old. The boy is
very thin and something is wrong with him as he is walking
awkwardly on crutches. As the two groups pass each other on
the sidewalk Betty is struck deeply by the boy's brilliant,
luminous blue eyes which are at once innocent and filled with
wisdom.
After they pass each other Betty turns back and sees the boy
and the woman enter 1612 Havenhurst. Betty and Rita continue
up the street.
CUT TO:
EXT. SUNSET BOULEVARD - DAY
The girls walk along the busy boulevard, past guitar shops,
video stores. Betty is looking for a payphone. Rita's eyes
dart back and forth nervously. She's beginning to feel
frightened.
CUT TO:
PAYPHONE ON RED BRICK WALL - DAY
We see the red brick building. It is Denny's. Betty and
Rita are walking to the payphone. Betty digs out some change
from her purse. She picks up the receiver, drops in a
quarter and dials the "0" for Operator. An Operator answers.
BETTY
Hollywood Police Department please.
OPERATOR
Is this an emergency?
BETTY
No, no, I just want the number.
OPERATOR
Hold for the number.
Betty gets the number for the Hollywood Police Station, re-
deposits the quarter and dials.
VOICE
Hollywood Police Department
BETTY
I'm inquiring about an accident that
happened last night on Mulholland Drive.
VOICE
Hold please. I'll connect you to
traffic.
Betty holds.
SERGEANT BAXTER
Traffic. Sergeant Baxter speaking.
BETTY
Hi. I'm inquiring ...well, I heard a
sound last night that sounded like a car
crash and I want to know if there was an
accident on Mulholland Drive.
SERGEANT BAXTER
Yes, there was.
BETTY
Can you tell me what happened?
SERGEANT BAXTER
No. I can't.
BETTY
Was anyone hurt?
SERGEANT BAXTER
May I have your name please?