"MULHOLLAND DRIVE" (2001)

Thencar There is no one else on theNIGHTWOMAN LOS ANGELES

- s i tti ng in the front seat.and stares out into the darkness .

their hair is whipped straight back.

DARK-HAIREDDRIVER The cars dark-haired woman sits in back . as

words fall onceway up Mulholl and Drive through theclose~ MULHOLLAND the doorThe car is slowing and moving off to the

- Distant sounds ofcar - its headlights illuminef ollow the caryounger,a convertible and a late model sedan are dragTwo girls are standing up through the sunroof of

NIGHT As we driftBLACK CADILLAC LIMOUSINE limbs... men in dark suits areseems to be thinking about

TO: two - TO : -

we a

CUT but it

away amidst She She gets silencer the coyotethem she (CONTINUED) Her eyes body is Then all is DISSOLVE and strikeshear theDISSOLVE TO: a thrown into the door at is getting out can and clear~ man runsWe flooded with light, screams As he reaches forinto the Cadillac brutally coyote .backs She is visibly afraid. and it. trance across She pistol withother of the Cadillac to thebleeding cut just above with hardly a notice .The other man is torn asThe a slams onto its side .aand into darkness.grcnmd.When she then stops and slides back The out in a is toward has tries the woman's door,past NIGHT t.'he The driver, sedan - the sirens grow louder.NIGHT car The woman is There - seat,woman. as LATERa hill through tangles of hostile is clutching the seatHe opens her door.then crawl histhe - then loses controlLATER The disastrous moving sculpture of thet o walk as if at The Cadillac tips woman Sirens can be heard in the distance . the late modelthe limousine dies instantly as hisShe stands for a moment clutching her pursewoman

travelling so fast that they seem to almostCADILLAC LIMOUSINE

The - He smiles as he reaches in through the front doorThere is an explosion of metal and glass The

are pointing

A fire erupts in the sedan and as the dust clears car.as if trying to anchor herself.The convertible screamsthen beginsShe clumsily starts down

the woman's face becomes flooded with light.HOLLYWOOD HILLS

cars it races off. She falls to

CONTINUED:Thefloat as they fly with psychotic speed down both lanes ofMulholland Drive.INT .The driver, still inattachedof thehandleThe man who got out of theis locked.and unlocks her door.her,dart to the front windshield.turns just aslimousine.thunderous tearing sounds as the two cars become one indeath.The driver ofjettisoned through the windshield.the cars screech over him.the back of the front seats as a cloud of dust and flyingrocks engulfs her.cars wants to climb up the hill,toward the road.silent .see the woman appear ,~oad.her forehead.lost,Mulholland down through the bushesEXT .The woman slides downdesert plants.crosses through some trees and is suddenly confronted bycoyote which snarls and leaps at her.out with her purse in self defense.snarling.andthunder of her heartbeatup and stumbles through the trees .is standing overlooking all of Los Angeles glowing downbelow .HOLLYWOOD STREETS -

A

on

the stare a couple They

going. _

flare (CONTINUED)

DISSOLVE TO: DISSOLVE TO: DISSOLVE TO: Harry She to SO),as it speeds

She doesn't drunken

lights A

frantically across 40 ' swail

Two detectives, and

panic. finds herself at rnid Detective runs its headlightsand NIGHT MCKNIGHT and sidewalk which takes her DOMGAARO She NIGHT -

a (both

and - fear hill go. HARRYNEAL by

LATER NIGHT They are each motionless for LATER The couple passes by without with its sirens- -

dusty - OOMGAARD a two cars glowing white hot under thecoroner's van pulls out just after an

car DETECTIVEDETECTIVE A area. NEAL it? the sidewalk and into the bushes in frontDRIVE

downA car races

STREETS STREETS

expression shows feel

She moves quickly toa police The ambulance's siren begins to

slidesHer You Yeah .

paramedics surround the wreckage. residential MULHOLLAND HOLLYWOOD HOLLYWOOD MCKNIGHT and

where she is or where toa She runs off The coroner's van cruises slowly. woman

CONTINUED:TheFranklin Avenue.her face.knowthe street.intoEXT.The woman crosses Sunset Boulevard. Coming up Sunset indistance isShe hurries into the darkness of another residential area.car turns onto the street and comes toward her.instinctively moves behind a tree until it passes.EXT.As if being hunted in a foreign land the woman movesdesperately down another residential street .round the corner up ahead and start up the sidewalk towardher .of an apartment building .noticing her. Feeling safe in these bushes her exhaustionovertakes her and she lays her head down to sleep .EXT .Police ,HARRYat the remains of thecrime scene lights.ambulance .off .McKnight and Detective Neal Domgaard continue staring.do not look at each other.long moment .

They continue to stare .

,.

TO:

with itsThe woman in back

suitcases which apartment and come maybe . She sees the red- gate. below like a waitingtwoan woman

stopped along

MCKNIGHTCaddy. MCKNIGHT MCKNIGHT MCKNIGHT far

OOMGAARD DOMGAARD DOMGAARD OOMGAARD crosses Mulholland . Hisraises his gaze to theinto

bad stands

the DAWN go

NEAL HARRYNEAL HARRYNEAL HARRY NEAL HARRY The red-headed up the road said hein cab racin• those dead kids wearin ' red-headed

a thinkin'. EARLY

man He slowly driver

guns -

the Caddydrag ... I'm

older

DETECTIVE DETECTIVEDETECTIVEDETECTIVEDETECTIVEDETECTIVEDETECTIVEDETECTIVE cab

two driver appears with ~ luggage.

cars

what

thinks they showed me STREETS cab

Could be someone's missin'

two -sees

The

Sammythe shouldersawthat blind corner.Two men . ..The boys found this on the floor inof the Caddy.Yeah,Could be unrelated.Could be ... any ofpearl earrings?No.That'sshe

down next to the car. HOLLYWOODendopen. driver both go back through the iron

CONTINUED: Neal holds up a plastic bag holding a pearl earring.Detective Harry McKnight turns andeyes move over each blade of grassdesert bush just beyond.shining lights of Hollywood layingHe looks out and wonders .EXT.The clang of a metal gate wakes the woman. It is just gettinglightsuitcase to the curb wheretrunkhe setscabthe bushes pulls herself to the gate where she can peer intothe courtyard of this apartment building.headed woman and theback out with more

TO:

the woman She

CUT CUT TO: he -

quickly -

to thegodoor. trunk loading crouches

The woman can

to are

and Remaining are sitting at a

begin single

backsapartment She hears them set it both She listens as -

She hears the red-headedlook up as the red-

When the red-beaded breakfast if opportunity apartment grabs Their (mid 30's)check on their table they to going to say

eyes t

this the •

DAN

cab

She lets go, A blonde waitress with aDenny"s? HOLLYWOOD come here . andtouched his bacon and eggswasn Denny' s? toward the kitchen., lays

backseat .takesDAWN to why through the openliving room where Herb has finished eating hiseat.

a then leaves the apartment.HERBHERBDAN HERB DAN

and go all around the apartment and then shecometo but HERB and

trunk RESTAURANT driver reach the just wanted the apartment door open. ' S but Dan hasn ' t

comes intoback corner of the kitchen.come across the courtyard.Why did you want to goyou' re not hungry?!To Denny's? . . . Imtythin9 ,This Denny's .Okay .

the bushes whoShe goes further into thedoor being locked. cab a then walks off . in APARTMENT DENNY leave the the kitchen counter,

CONTINUED:Theyandbags into thewomaninto the courtyardINT.The . womanremains.down infootstepswoman and the cab driver get the trunk.down once they have it in the courtyard.of the red-headed woman come back inside the apartment.hears the footstepshears the footstepsfrozen , the dark-haired woman'sheaded woman walks right past her,thehearkitchen floor,INT .Two well-dressedtable drinking coffee.breakfast,appears too nervousnameplate sayingsmiles,

or Dan looks hope startday had, butthe I get through this they can ' t tellYou're in

but, see howhim out there?

I've

.... . . he's the one

this· place . can see dream same god-awful feeling . .. . in back of thisI

mean . .. man about

embarrassing kinda half night, but itacan see his face and I

and you ' re scared . by that counter .I

DAN HERB DAN HERB DAN HERB DAN DAN (cont'd)HERBDANHERB

to see if he will continue. dream Tell me . It ' s He's the one . . .then stares at his uneaten food. so you had a Of all people you're standing rightthe~ethere ' sDan you came to see if he ' s ahead. - never see that face ever outside a

It's kind ofGoI had aOh boy.You see what IOkay,place.Well ... it's the second onethey were both theout that I'm in here but it ' s notnight .looks just like this except forlight , but I'm scared like Iya.overbot h dreamseven more frightened when Iafr aid you are and then I realize what itisplace.that ' s doing it.the wall .Idream.That ' s it.So ,To get rid of thisRight then.

CONTINUED: Herb stares ataround nervously,

TO:

Dan r ear CUT - Dan as rises the a He falls (CONTINUED) with Dan

end - - freezes Dan justfinishes up with - past outside. an something himself . and i t difficult tot o see the fear point of view Herb isway He feels for a pulse he stood in the dream . over atfollow him. suddenly gone.his eyes widelooks down to Dan . way . as f i nds - Dan'stotheir He the He looks turns backDan From make face dark and bum-like- moves Herb c an feel the corner is now very close . now are c oming t o Red bricks gli de by slowly. is gone. to lead buc to breathe You all rigbt? ... Dan! him. the front of Denny's to a narrowbehind him unable DAN t o sweat the nearer he gets to the HERB d own the side toward the back. man at Dan d own the narrow sidewalkface . .. aeyes. here. j us t a wiablethe for -

picks up the bill and goes to the cashier toHe motions foris -

Dan ' s He listens for breathing. His friend is dead.

2.) exactly the same spotstrange feeling, from behind the corner and stops ( to look ' S man

a Arowid Dan begins Dan! . .. Dan !

just sits.in waits sweat cover his fac e .Herb

of the b ui l ding . DENNY o f

Dan looks up

t akes Herb acro s s Herb is paying the bill heturning

CONTINUED:Herb gets up,pay.AsisstandingHerb getsthe cashier.reluctantly and he and HerbEXT.Now HerbDansidewalk that l eadsThey begin walkingpayphone.cornerCLOSER ON DANBeadsbreathe .overcaking his friend,The red bricks moving bycorner is coming closer -Suddenly aquickly outstaring intoDan lurches back. All his breath isback into Herb who tr i es to catch him as he's falling .hits the groundhorror .HerbHe kneels down and studies his friend.in the neck .

TO: TO: the

CUT As CUT

hand.

with smog .

and with their bags .They stop at theIt's Take veiled TO LOS ANGELES.• and She and the old woman Betty. terminal Betty.

She can hardly believe she's ~WELCOME the was so excited I

LADY I'll be watching for you on DAY joined the old lady. Won't that be the day .

HERB OLD BE'ITYIt was sure great to have youIRENEBE'ITYIRENE

- screen. Her face is bright and her eyes move herethe City of Dreams . - The old lady takes the blonde girl ' stime to say goodbye,remember (smiling)

God!

AIRPORTsits in blinding sunlight AIRPORT a sign which readsAIRPORT

My It'sbeen so nice travelling with you.Thank you , Irene.nervous.to talk to .Now,the bigOkay Irene .The best of luck to you,care of yourself and be careful.

CONTINUED: EXT.TheA INT .A blonde girl walking with an old woman approaches us.blonde's face fills the screen we move with her and stay withher as she goes.and there taking in everything.in Los AngelespassThe girl smiles and looks around excited by every detail .EXT .The girl and the old lady exitAntaxicab st.and.

CUT TO: CUT TO : through Wilshire away. (CONTINUED) Each street She turns dream, The cab pulls La Cienega, loaded into the a

beautiful working are a The old gentleman nodsShe turns abruptly to is waiting. as if in tree and sign . hug. Olympic Boulevard,

a

again. Betty smiles after them. DAY

herher stops . Betty sees her new - they reach Fountain and turn She sees La Tijera , off.and DRIVER and courtyard with

Thanks DRIVER In the middle of the block on the

a

BETTY CAB BETTY CAB

grabbing ANGELES Irene g.orgeous courtyard apartment building, Pico Boulevard, to? LOS

I will. (smiling excitedly)

waves at Irene as her bags - takes cab. from the right side of the cab to the left side ofHAVENHURST

Okay Irene give each otherandWhere1612 Havenhurst.Got it !

and Betty's heart is pounding when she sees Havenhurstdriver puts Betty's bags down on the sidewalk next to and of the STREETS 1612 She can barely stop looking at the building long enough ... an ancient,cab ornate iron gate to

CONTINUED: Bettyto BettySuddenly someone isfind she is next in lineonce moretrunkThey get into the cab and close their doors.away .EXT .Betty goesthe cab looking at every building,sign seems to be magical to her and she says the names toherself as they pass by.Venice Boulevard ,Boulevard, etc . , etc. untilright .and the cab turns left.right the cab pulls overhomebuilt during the golden age of cinema.EXT .Theher .to pay the cab driver who then goes off and drivesBetty picks up her bags and enters ,anfountain at its center . A sign on a door to her right readsManager and she rings the bell .

... ...

Coco

make-up As (CONTINUED)

You

heavy

was Lanois said youI hear . I just hope It's writtenass.•

wearing Hollywood

you're Betty. baby. fanner and She starts off into the. ..

woman says It is Mrs. for you to call when

... everybody does.

silver bolder opens the door. •tits

man

a and

bucks LANOIS LANOIS I'll get the key .of her with every word .NiceHe raises corn .

MANAGERBETTY'MRS .BETITMRS. BETTY coco BETTYcoco BETI"lcocohave to tell me.

Mrs. Lanois.my living glory, remember there's never been a

raspy voice comes out through the dark screenCoco. I

here to be an actress.

cigarette in don ' t a am, guess it was your grandfather, once very beautiful,Hi thereIisn't it?In allPleased to meet you.You can call me CocoStay there ,Okay,Iit . .. he called me to check in,were on your wayyou get in.Yes , he is .Damn lot of corn raised inthese days too.Well ,Youall over that pretty face of yours.cameyou ' llgreat poem called

smoke comes

smoking unbelievable

huge drag off her cigarette.

CONTINUED:An older,andAnof the still closed screen door .Coco returns with the key and opens the screen door inhalingacourtyard and Betty picks up her bags and follows .speaks _

dog . a {CONTINUED)

from CRAPS but RIS she runs you half of waste DOG her, ask 'BAlCE ·drunk: a plac e .t~e came through THATLL • the jasmine you 7 know of remember mt> class·. ! she isn' t (cont' d ) On the cobblestone courtyard in(cont ' d) R£RE was meaning tot o swell. fresh product of don't come to qui t e When I time or another. you d o n ' ta OUT

BETTYcoco BETTY coco coco feel the presence of everyoneBETITcocoCOCOCOCO (cont'd)

I 've 29good acting don't have pets do you? b lows the smell 'MORLFOR probably s t i l l {yelling up) them . damn guess You

( 2) I ...YouLouise Bonner lives right over there innumberaHave many famous actors and actresseslived here?that.Honey, all the great one.shere at onePeop le say in the spri ngtime when thewindcanofISweetheart ,it.WILKINS!ONCEBOTT

haunting music begins

CONTINUED: A The music fades.Coco looks down suddenly .front of her she seesShe angrily turns up to an apartment on the second level.Coco turns back to Betty .

12. TO :

· CUT TO: CUT

We see a

She sets her you

a and The apartment is here . but Ihad toward the bathroom be wouldn't did to this holler. a door opening. key) them a

deco furniture, oriental rugs, good one.Coco. kangaroo purse and undergannents are in a a sound of So here's the key kangaroo. · You ROOM just give They're allowed,... for obvious reasons. that the it's We drift off 'em

BETTYcoco BE'ITY BETI'YcocoBETI'Ycoco (MORE)

... let's see your Aunt's listening. used to live here thatwhatBEDROOM LIVING and a massive tiled fireplace . good. - - -

I don't. man (Coco hands Betty the

thrilled with what she sees. can hardly wait,bedroom. lamps told ya.

( 3 ) No, That'sdon't likeOneprize fightingbelievecourtyardapartment ...IIt's unbelievable!IWow!Now I guess you and your Aunt have anunderstanding.need anything,Everybody in this building's pretty muchokay with me or they wouldn't

hear the dark-haired woman's frightened breathing as APARTMENT APARTMENT down and stares. can

CONTINUED: INT.The dirty and torn black cocktail dress of the dark-hairedwoman along with her shoes,pile in thewhere the dark-haired woman can be seen showering throughrippled glass . There'smovement through the glass and the shower goes off instantly .Weshe waits frozenINT .Betty enters,filled with movie memorabilia,brass floorbags

She

a huge

I'm

It's

Betty begins tofloor to ceiling I'm so

see the I ... I'm

She goes into the here. so much.

can

a circle in the livingShe moves down a

passed. you She notices the soiled

came

You darnndest I

coming . WOMAN name ' s Betty.WOMAN Than)c there. walking was My I There before her is the naked , saw the dress.

feelings if you don't, (cont ' d) tenants. Aunt . .. Ruth didn ' t tell

from you. I After you

later I'll introduce youSee you later honey. My hard the you all right? COCO (cont'd) coco Suddenly something catches her eye andBETITBETTYDARK-HAIREDBETITDARK-HAIREDBETIT

sign BETTY

No thank toward the sink she smiles to herself intold

Are

want,

shrugs and goes into the bathroom which has sorry . she Coco , someone was going to be here . above it. I'm Ruth ' s niece.I understand.sorry.

If youaround.and don't forget the rooftop garden.It's just up the stairs weopen to allHollywoodOhYou got it!she goesOh my!I'mmesorry.That's okay .-sureThere was an accident .

She smiles when she sees the bed which has a silence . As

mirror

CONTINUED: Coco leaves and closes the door behind her.explore the apartment.room she passes through the kitchen.hallway looking at paintings and posters.bedroom.ornately carved head and foot board .dress on the floor and she frowns as she looks closer.stands back up,all the original thirties fixturestiles.theshe opens the shower stall.beautiful dark-haired woman.She quickly closes the shower door .There's

14. TO: TO: TO:

- CUT CUT CUT

shampoos ,

•Gilda• We see her eyes shower .

Many of her Aunt's let you get

herself in the mirror . of here and we I'll at WOMAN WOMAN on a poster of just taking a She's frantically thinking

(cont'd) (cont'd) (cont'd)

was I'm going to get unpacked. I I'm sorry. I'll get out

BETTYDARK-HAIREDBETTYDARK-HAIREDBETTYBETTY BETTY

BATHROOM god. BEDROOM

happened?... a car accident.

you okay? my kind of fear .

2) car think so . ( What A Are I Ohback to that.What ' s your name?I'm sorry.can talk later .

APARTMENT and looks back in. APARTMENT

CONTINUED:There is another silence. Betty goes to the bathroom door and is closing it when shestopsWe see a close-up of the dark-haired woman.widen with asearching her mind for an answer .INT.Betty is unpacking in the bedroom and putting her belongingsin the closet and the dresser drawers .things are still there .INT .The dark-haired woman is lookingShe turns and begins looking around the bathroom atcosmetics, until her eyes fallstarring Rita Hayworth .

•t

She

I (CONTINUED)

but dream

woman comes out very

my Unless of feel. just came guess you sort of whyI she is I I movie that's WOMAN a afford a placemovie star,I'm just so

dark-haired but· mean

a it's none of I She leans down and looks at her with my Aunt? I ... than imagine how She's letting me stay herecouldn ' t another. work I I'm sorry,can DARX-HAIREDBE'M'YRITABETIT discovered and become a movieguess you'd say, ......RITA BETTY Iowa and now I'm in thisRITABETTYBETTY (cont'd) o.ne I . is Rita. actress You . . ...

BEDROOMat mean

do you from

towel. She's drying her hair with another.name

think I've been hurt .• ••

a

stareMy Hi . ..No . .. II ... Ibusiness.She has pretty red hair . . .kind IShe sure is.whi le she's working onbeing made in Canada,know that.like this in a million years.coursestar.a greatsometimes people end up being both andthat is,came here.excited to be here ..hereplace.IOb Sit down

in APARTMENT

Betty

Betty g.oes to RitaBetty sits Rita on the bed .head and face .

· _,,

16. TO:

DAY

houses

and the room. stopped we see office

Betty looks

hasblue black leaves need to Betty leans over her above I OFFICE BUILDING - whichlarge then Up

her forehead.

a She gets a blanket and drapesLOW I sleep . -

(cont'd) by (cont'd)

doctor.

above

a

BE'ITY finds her wound okay ifbut . .. I'm going to check on

BETI'Y'RITABE'ITYRITABETTY RITA BETTY ANGELES

and

right, big sign saying •office Space For Rent• along hair a

Where were you hurt?We should getNo.But, this could be serious .No . .. I need to sleep.If you have a concussion you shouldn'tsleep.It will belie down and sleep.Allyou .

and DOWNTOWN LOStelephone number to call.

motions to her head -

CONTINUED: Ritathrough herbleeding but is surroundedbruising.Rita lies down and is instantly asleep.and listens to her breathing.it over the beautiful sleeping Rita,EXT.the windows on the sixth floor .

The street level of the office building is filthystores selling racks of cheap toys.windowswith a

and

He

blue (CONTINUED)

the man at

wears a hope I s ome stuff trouble . his grin is black book. to the surface of the something

Joe leans up against a Gee ,any

silver studs . He'sand business man his blonde d oin ' down a famous

ED. bas clean, crisp black suit, The story made you in bis late twenties. story.

a Just

andi.s so bad. Ed's

huh . to get in

He funny JOE wears unheard of ... an accidenty ou ' re looking good .Ed .Joe looks(cont• d}

is laughing- at who coulda foreseen that .t hes e days ?my digs . . . ti.mes are tough .thing . but unlike

FLOOR black belt meet,

Ed, so, JOE ED JOEmuchED J OE ED JOE ED JOE JOE and ...

room, His laugh is easy guy .

His that ' s rubbing the small of his back Joe movesworn black book. down, heavy metal rocker - ends

SIXTH no t look at

man's

thecabinets.

things aren ' t there it is . ..

ON run said. man, was just a in

a boots. laugh . Solike thatUnreal . ..Whatcha doin 'Well ,f or thisMak i ngHardly .Yeah ,Oh ,you ' re not goin 'ItYeah, that's aSo, has

filing

business to a small

OFFICE of a - men are

man down a

a heavy (CONTINUED) open window moves pulls her bangs reaches out bone-crushing the he puts the and

phone handkerchief and You She's

of blood from theHe places Ed'schecks theover to her and move a As instantly stillingJoe notices

in him off and he

do\<m here myself, Joe's foot catches onwith a blowing Ed's brainsEd's head walks Get hand. Joe hears a muffled man. quick ! leaking office,Ed' s· and findsthe stunned heavyweightHe pushes got to do· Joe from the far end of the one swift I wall.theclean with Ed's begins beating his face with everything in Help me out . of his back moves into view

of the world screaming which still persists.

and gun save stuff and Ed's right (cont ' d) (cont ' d) He sighs andwoman small in she tries to fightHe wrestles Get down here more snaps her head back,phone. the hospital.can't do

histocy carpet The JOE (cont'd) JOE ED JOE She's hurt bad.not sure if this jives with what he's

gun Just before they enter,the wipes the Joe

the

The bullet shoots . out and penetrates the cheap(disgusted with himself)man! then is still hole through Ed's temple - Wide-eyed , feet and out her door. mean it! He stops and calls to theI

Yeah,numbers.silenced pistola Oh ... bringing the heavy woman downHey man.and usegotta callhurt and Iman.

Joe flips his finished cigarette out a her hesitates . .. vacuum cleaner watching him

fires goes off. man computer cable clumsily taped across the floor and he falls

CONTINUED: Joe's hand still at theholdingandout across the desk,on the desk,wounds.behind Ed's desk,places the cleanedright forefinger gently onto the trigger.finger on the trigger he presses a little too hard and thegunwall at the far end of Ed's office.scream.With a sense of "justslowly and begrudgingly out ofcorridor and goes toward theHe opens up the office door next toset woman screaming bloody murder as she is grabbing herbuttock and lower back .cups his hand tightly around her mouth to squelch thescreaming .begins dragging her out of her office .abackwardsblow on top of him.her meaty fists .her violent activity.back tointo Ed's office.with acorridor .Theseeing.

19. TO:

two

back

him Joe COT

longice bullet out the

She

glance up. to him, a Joe picks upgoing 200 ft.get way wall. a

arowid. Joe releases What ' s The man with the

throwshis lifts it to fire,

the man moaning and

and The bullet shorts out is almost standing.turned That in turn blows the

is ontrailing desk and quickly firesvacuum cleaner whines Joethe lights go out .

Joe fires the last It's the vacuum. struggles tobe falls back out into theroom - bandand

manandJoe goes in to Ed• s off the d)

Ed's I and on the vacuum cleaner as hisman

Ed's office, a bullet into the man's chest.As

her down on the floor in linedead around cont (cont'd) ( You gotta ... . what happened? The vacuum cleaner seems to be

sees thethe bullet bole in the inside JOE vacuum cleaner .JOE

him into the - voices moving into the corridor .VOICES

and and tu.medno. before the turns and makes his escape by

He throwsfrom Ed's down. slaps her hard in the face and spins herHis eyes begin to widen in reaction to the

woman (disgusted with himself)man!-

has no, man

2) ... ( goes

He pulls No, Oh What the hellthis cord doing here?It's the vacuum what did it . woman. Before she can turn again Joe races back to place woman Just then Joe firesinadvertently flicks the pistol man

CONTINUED:Joe pushes thedown the corridorpushing his industrial vacuumthick black cord as be goes.with thebetween Ed's deskstarts screaming immediatelygrabsbut theHe goes to her,around.himself in the proper line atsilenced shots into the back of her head.vacuum enters.scene.Thehands rush up to the wound.rushes to thecorridor.clutching his chest, starting to collapse.and the manscr eeching now in the threshold .into the heavy dutythe internal wiring of the vacuum .building's circuit breaker and allNow he hears voicesJoe cleans the pistol once again and places it back inEddie's hand - Eddie's finger on the trigger.the black bookoffice window and quickly descending the rusty fire escape .

a

crisp table

DAY crispa-ADAM

a old

-

man

RAYMOND(RAY)

nonchalance,

frwrpy

table ablue cotton slacks ,

younger

BUILDING he sits he is holding

A me the head of thearrogant manager,wearingdarkAs about here?

CITY at an

the piece of paper . golf club.

conferencesit

with

a -talentthe side.jacket1 enters through a rear door and

is dressed in

CENTURY the next one. at studiesDARBY DARBY DARBY

Darby wing tips. man

- worn~7-iron•

SMITH Adam in the middle of making aAwho entered)try ADAM RAY ADAM MR . MR . RAY .MR . ADAM Mr. points to something on the paper . -senior vice-president,wearing sits down,bro\t/Il I'm man who're we talkin'

ROOM sits along

and Mr . Darby ... (towas it last time? and moment . DARBY Ray a entered Smith So what's the problem?There is no problem.So why did you idiots bringhere? ...picture.WhatOkay, let ' sHe isn 't gonna like it.We'll see .Hello something to Mr . Darby and shows him something onpaper . enters

CONFERENCE pair of old -president of production,wearing a crisp blue

a

nrI'.We see three men sittingHOTI'suit,vmcmrgreen suit and ROBERTbrown suit.and RobertKESHERnext to Robert Smith.fashioned plaid shirt,andand twirling a vintageSilence forwhisperspiece o fThe man whoThe man nods and leaves .Robert Smith shuffles nervously in his chair next to Adam.

'I • I

21. TO:

The a Ray, CUT TO: CUT TO: and remains dark suit (CONTINUED) DISSOLVE •Ryan a

I

Adam here movement

and lobby where

large limousine a make Let me

...

enough to attempt ait is not taken.to.. . sit down. and We drift up the facade, anybody

some suggestions nearhand forward

all i.rmnediately.trying

are one of the men in

about? .. . please

DAY

you would entertain ••• tberebe DAY

and talking... You're in the process of go in as if they owned the place.

ROBERT ADAM ROBERT RAY (MORE) to you to do. Ray has been said Adam you

Gliding we travel behind the two men down aROOM

are

huge modern office building of glass and

see CITY

asking a Darby is the only one .. . the Castigliane brothers. but when he offers hissuits sit down without wasting

Youwhichknow yousuggestionsisWhat'reAn open mindre-casting your lead actressI'm . . . (looks around) We're asking you tokeep an open mind.Ahintroduce you around

Mr . Two men in dark suits have exited a dark CENTURY carpeted hallway with blonde wood and glass on eachThey enter through two large blonde wooden doors to theCONFERENCEa briefcase. OFFICE BUILDING Darby and Robert Smith stand

CONTINUED: EXT .Before us issteel.and are walking up into the building.higher and higher moving in toward the top of the building.INT .The men exit an elevator and move through aplaque beneath an enormous bronze sculpture readsEntertainment· .wide,side.conference room.INT.The men in dark suitsMr.seated.hand shake,men inwithout acknowledging anyone.opensintroductions.

J • l

Ray . of this,

any

whom you Adam Smith

looks like he doesn't is beginning to see the

Darby been doing

Adam addresses

seatedRobert

acknowledge f or ? recommendation to of a nice looking blonde - -

sets it in front ofSmith, CASTIGLIA.NE CASTIGLIANE - that ' s it. ..

and pretty. CASTIGLIANE down

(cont'd)manager (cont'd) no,

DARBY DARBY time Robert t he pho t o

his girl very RAY this is the directorRAY MR . LUIGIVINCENZOADAMMR . ADAM RAY VINCENZO

a

and and brothers do not a bit of research knowing how hardrecommendation .

brothers } wh at's Castigliane brothers)to Adam) (referri ng to Castigliane(picking up phone and speaking )(sets phone(

(after they've alreadythemselves) .. . this is Mr.JaiowKesherAhEspresso .UhOne espresso .. .Iespresso thisquiterecommended .A

His manager ,May I offer you gentlemen anything?Not hing.you are to please . . . this one comes highlyWhat's the photo for?you Adam.Not a during the introductions the one with the briefcase a photo of

what's going on and he's getting upset about not Castigliane

CONTINUED: Thehowever,removesWe see the photo of the girlsomeone we ' ve never seen before.knowknowing.makings of a confrontation - he's starting to panic .

I •

who had CONTnruED} ( man

Ray? there 's thisturns to the

is Without looking up Luigi pleased to know thing . no way, Luigi looks at the Wbat be this The room becomes silent -MAN Adam. Adam. MAN me . room. you'd SMITH There ' s forced smile, CASTIGLIANE CASTIGLI.ANECASTIGLIANE

CASTIGLIANE lot of interest in this

a sets the espresso down in front of to put her in the pile fora There's six of the top Excuse For what? LUIGI ROBERTADAM man LUIGI ESPRESSOLUIGIESPRESSO

LUIGIADAM RAY ADAM ADAM hold on ,

happy The leaves the a step back.

is the girl.girl? on!! ! !!!!! (leading forward to hear)

... you better take care of this. Man

(2) Vincenzo stares at This What We'd beconsiderations ...there's quiterole .Interest?!actresses that wantThis is the girl.RayHold on . ..Holdno way!!!Napkin .Pardon?Napkin.Of course .

still standing with

Ray,Castigliane brothers. Luigi Castigliane ' s espresso is brought in by thebeen in earlier .Luigi and takeswatching the Espresso Man and Luigi.speaks softly .The Espressoespresso.

forms seeing

Espresso -

The takes out a

placing the Darby He holds it in movie ! leaves the room.Mr. my f i nest and He pushes any remaining

lays it down next to theaverts his eyes to the

tongue . Sir.

(cont'd) then stands,

and he allows the espresso , moment of standing very

down Vincenzo .andturnsand -

a a highly small fleeting expression

MAN

Sir? Man A What's going on here?

stare CASTIGLIANE napkin after up . DARBY A small thread on his left suit to all,

That was and .. .

ESPRESSObe LUIGI RAY MR. M)M! ADAM

momen t.

cloth He brings the cup and napkin to his mouth. best a s tands no way that girl is in a His mouth opens considered one of theVincenzo closes his briefcase ,

that the EspressoHe looks around at Ray and

3) up the napkin and holds it in his left hand. ( impassive face as if for one millisecond he is

Will Is shi t !I ' m sorry .recommendedThat ' sespressos in the worldWait a minute!!There ' s a sip of espresso. j ust stares toward Adam a s if he ' s not even there .

just stands there .

is doing his is stared down by Vincenzopos i t ion for returns with

CONTINUED:AdamManespresso.Luigi doesn't answerstill waiting,Adamespresso cup.them stare at the espresso cup.Vincenzo keeps staring at Adam.Luigi picksWith his right hand he lifts the espresso cup and places itabove the napkin.He takeson Luigi ' sgoing to vomit.to fall and dribble onto the napkin .espresso in his mouth out with hist hatLuigi Castigl i aneLuigijacket pocket catches his attention and he smooths it backinto the fabric.hankerchief and cleans his nosehandkerchief back in his pocket .VincenzoSilence.

25. The

CONTINUED) (

stands up lab

this!! film!!! That'swoulda fix

Adam I

my

No one ' s getting but every foot of Robert? Ray!!! don't know who the big blonde wood doors ...

to leave. I

is not in CASTIGLIANEAs set-up to me! a SMITH

CASTIGLI.ANE Ray,

girl kidding, you guys better

begin someon~. you set me up!

starts to boil. can access. way,are ...Mre.... I'm a director you don't

LUIGI ADAMThatvmcENZO ADAM RAY ADAM I ROBERT ADAM

Adam mean

brothers guys come is the girl. screaming) I've shot is in a vault at thes tancling)

anger. ( (turning to his manager)(back to Ray)(turning toward Ray)didn't you tell me,( by the them

4) ( That with Hey!!!!!It is no longer your film.You ' d better fix this,I'll speak toAnd you'd better speak to someonetoo . . . or find yourself another client!!This smells likeAndthesefilmthat. onlythat film!!This is a catastropheyou told me they might insist on a girl ,that's all .Whywhat I~erI'm leavingwant to lose ...

Castigliane

CONTINUED: Thetrembling Adam turns white and stands very still as this sinks in.Castigliane brothers leave :close behindAdam stonns out of the room .

26. TO: TO :

CUT gets CUT alaughs,

off to one (CONTINUED) attendant Adam Adam DAY

to An

- still fuming,

standing on the phone .

going CITY

Adam, The limo driver eyes DAY 7-iron.limo then smashes out

was

towards him. tal~ing hisWhile CENTURY LATER

that

- - She is DRIVER carryingticket.

a late model Porsche. BeforeADAMLIMOADAMdriver starts

RAY BUILDmG ADAM ATTENDANT didn't know - guys in dark suits?

he notices the big APARniENT parking limo S limo?two

(standing)

car OFFICE The

( 5) ROTH" Well .•• Ihappen.- Did the Castigliane brothers get out ofthatTheyCastigliane brothers?Beat it!O.K.two big dents in the hood,

He stares at the car and the huge limo driver leaning A half eaten sandwich and chips are on a plate on the 1'.UNT exits the building against the front driver's side door.

CONTINUED: EXTERIORAdamtakes his valetwaits for hisside.upAdam's car arrivesinto his car he addresses the attendant.Adam nods and walks over to the limo .him and his 7-iron suspiciously .Adam raises his 7-iron and smashes out the limo's windshield.He whacksheadlight .runs to his car and takes off .nrr .Betty is stretched out on the big leather couch in the livingroom.coffee table next to her.

27. TO:

SWl .listens to was big lovea and She I Betty takes her leaves the bed.room. RuthieI sat next afternoon telling me She leans down and lot of

everlot of food. Give heryou

Aunt a

Ia wannher coffee

smooth. love a big bite of her sandwichchewing and smiling up·at theShe feels her forehead . broken leg.sure love it here

than I

up her first classaI DAY a blues saxophonist practicing indrinksShe takes another sip of coffee. real It's in Bel Air which isEverybody's She invited me to heryou for helping me gettakes but - gavewith Okay, She was hear

you wouldn't believe it. BETTYno she left meitboyThank bye.

The phone inside rings . a She takes the coffee outside to the

Say hello to Grams.DAY lady who refrigerator's full - APARTMENT a place where people haveShe gets off the couch and goes into the bedroom.to a white metal table just outside her doorway .into the living room, shutting the door behind

No Grandpa,It's more beautifuldreamedThesaid she'd call me when she gotsettledtoseat toso nice to me.house sometime.amoney . .. I will.to be careful,Grandpa.here . .. yeah, it's long distance.you.kiss for me.GrandpaShe suddenly remembers Rita and her promise to look-

BEDROOMRita breathing normally. and volume .She crosses to the leather couch and picks up the -

cup of coffee.

CONTINUED: Betty hangs up the phone ,and lays flat out on the couch,ceiling .in on her.INT.Rita is still asleep when she enters.findsSatisfied that all is well , BettyINT.Betty rinses her dishes in the kitchen sink and pours herselfacourtyardShe sits down and stretches in theAcross the way she canone of the apartments .the music.Some birds fly by overhead.The blues music which was mellow and slow is now building intempocoffeeher.phone.

looks

an toward the a She me No , Ric.a in She sits for a Bay okay She was

I reallyHow long You've

What's thank you. hope youYou mean got a real

tell you bow... Well, she didn'tsome

waiting I I Aunt and them with a No .. . she ' s I just talked ... she didn'tthis fabulous thank you so misunderstood ..• ... Hudson No, .. . my opened the I

can't I'll study thoseonOh! No. I'll let you

bad take .•. Aunt Ruth we don't

I too fun. Brown character.Montreal? knew

Please don't worry.Please

a toobe {laughs) . your friend Rita.Ruth . . . I don't think we... okay I'll get it...I'll call you when youthink

try. ! {cont ' d)

(cont'd) .. . thank you, I

... Oh I get it.fromWally not know them inside out....

Your place is so fantastic!what Aunt goes into the bedroom....

... I'll (laughs). I ' m sure there's that's ... what do you mean? Rita is sitting on the edge of the bedon the phone and she wants

BETIY... take She's sleeping . BETTY

mustplane? ... Silently she stands and moves

Aunt Ruth! !am...• thought you

Suddenly I'm so nervous ... Where can Betty

I I AWlt ••• that

... Rita she approaches the bedroom door she stops atmy

HellohappyYes •.• Cocolike herairportmosquitodoesyou'll sleep good tonightsounds beautiful ... oh well,packed your coat.the auditionmention it but he' 11 fax the dialogue toCoco?Aunt Ruthlines until IYes, either right hereleather couch or I'llcoffee in the courtyard like a regularmovie star.shock to find your friend Rita here.was in the shower and Idoorin an accidentCoco unlocked the door .see her .very nice .explanation,have to do that .I ' ll take care of it .know.from Coco.No , please don't worrymuch for letting me stay here.made me so happyPlease don't worryneed the police.get to Hudson Bay.please . . . Goodbye Aunt Ruth.AsYou ' re awakeyou.that's why you were here.toto call the police.

quietly.

CONTINUED: Betty slowly and quietly hangs up the phone.moment listening.bedroom.something she sees.cryingat her with desperation.

with

She picks hesitates . (CONTINUED) in woke She be I dress.

...

covering her face my name is.Rita's

Rita . name must

trepidation.you? thought when Your ) am . You're am!! . . . She looks at Betty for help. ... I I (cont, d)don't

bows down,(cont'd) 6Udden I

I ...

harder know Rita~ RITA BETTYRITA BETI'Y with BETTYRITA

BETTY RITA BE'M'YRITA BETTY I don't know what

... oh no

harder, know whoyou mean ?know who I

thought sleep would do itwrong? sorry . crying (crying) ( crying) purse ( (still sobbing)

crying don ' t ( 2) the I. . . yes , but . . .

Rita? I'm What is itI'm . . . I'mup . .. IWhat 'sI don'tWhat doI ' m not.IThis is your purse.your purse.You want to heart

starts takes hands.

Ritaher Betty's Betty kneels down in front of her .Betty looks down at the purse next toit up and hands it to Rita .RitaSomething is worrying her .

and

CUT TO : Bettyand modern, and setswith a small The

• KEY. the door opens chimes sound blonde, waits They look at each BLUE the zipper opens a plain blonde wood and office with no The elevator opens as ... A will later be known to He mounts a flight of a large , kind of horror. a whatbreathing. DAY woman ' s voice comes through aWhen it stops ,

The pressure of its contents closes, but the elevator doesRay . enormous

Ray passes through and goesa43 . VOICE

cioor money. code on a security panel next to it.

BETTY door key.) a Finally,WOMAN'SRAYwindowless reception area where aRECEPTIONIST

the At the end of the hall there is BUILDING to it please? blonde wood double door cash in hundred dollar bills.She reaches back inside and comes up top of the stairs there's (very quietly)arich brown curtains line the walls . Betty almost stop carpeted closed area.is The elevator back OFFICEa

( 3 ) Open it! and Ray waits.WhoRaymond Harris . ..You may go right in,

- Heav::r At the then This blue key is made of very fine heavy metalnarrow hall. Ray punches in a crosses to

CONTINUED: Rita slowly unzips the purse.force the mouth of the purse to widenthen there is suddenly revealedbe $125,000.00Both Ritaother,Rita takes the massive wad of bills out of the purseit on the bed.only other remaining item in the pursesees Rita's expression change to(note:does not look like aINTERIORRay crossesstairs .door .The door opens automatically.do'w11elevator. Again Ray punches in a code .Ray goes in.not move .speaker.The elevator begins to move up.and Ray walks into abeautiful Italian woman sits behindbuilt-in desk .Rayreceptionist pushes a button behind her desk -as the double doors open to an

windows.

a

that few him. a he Beyond (CONTINUED) wall sitting in and takesCut into the

but Rogue does

glassman them Ray a

Mr,

apparatus. solid He struggles to him. not motorized, do\lr'Il. a one of the finest we've(pronounced

alright, yet Is that something in relation to the size ofand He waits . .. . .. .

microphone

Roque.

There is

small ... everythiD9 modern,stands in the shadows behind Mr. (cont'd) (cont'd) ROQUE ROQUE

the width of the office.speakeriiranaculate know what to do .silence.

we should shut RAY RAY RAY MR. RAY MR. RAY RAY wood,is paralyzed except for his right hand guess it 's so . . . . 11 The doors close.

the center of the room is 1 smallman the doors close behindthen stops.manservant ... do you want us to shut everythingwe runningain Rogue ' s

blonde,The know they said The doors open as he approaches

and is His

His head appearsHis suit isGood afternoonRowk).Do you want him replaced?IThen?Then .. . Ithat meansYes?Shut everything downthatdown?Ray doesn'tMr.Then

forward,wall

plain,

enters Roque stares at Ray silently .Roque continues to stare .

CONTINUED:Raystepswe now noticeglassthe glass offverywheelchair.and head.his body.ever seen.Mr .Mr.Silence.interpretnothing but stare .Silence.Ray turns.leaves the room.

32. TO: TO:

CUT ct.rl' LANEY,

The then entering {CONTrnuED) boots. car The new driver aCastigliane and them. without to

CITYand She's wearing a Please allow Take it · They're waiting They"re fine. rocker type delivery man signaling (cont• d) CENTURY silently - He turns to the stringy. up that way, so I ' ll He then gets in himself and

and to it real soon. DRIVER DRIVER told you . staring Look what happened to I L.IMO LIMO DAY BILLY down JOE BILLY are - no, the key to the car. sure . the broken windshield of the limousine . ( the guy who killed Ed in the sixth floorno, OFFICE BUILDINGLuigi DOGS

( 2) at

- The other car is here sirs .me .Here ' sstraight to the garage.for you.JOEYeah,No,They're all real happy.My next delivery isbe getting and driver opens the rear door of the new limo,Her hair is long around and opens the other rear door.and BILLY another unkept, short sleeve blue sweater, black jeans

' limo

CONTINUED: EXTERIORVincenzoexpressionlimousine driver suddenly startsthe driveway to the building .brothers.Thehurriesgets out of the car.The limo driver closes both back doors after the Castiglianebrothers are seated within .maneuvers the big limo out into traffic .PINK ' S CHILITwo guys ,office)are standing waiting for their chili dogs with a girl,tight,

who could be very good looking but she seems to be in poorhealth.

..

a them. Joe looks over at lighting it take trouble, that's and in van ~ I'll

on her, that's all. (cont'd) so pathetic being you .your dog we ' ll eat in

eye

an

JOE BILLYJOE BILLY BILLYJOE BILLY JOE JOE LANEY JOE LANEY JOE

.. . I don't like being out in the reach in my shirt pocket there. what for? coke or anything? (hesitantly)a

You sure you don't want anything?

You're so easy.Gotta keepYeah,Keep her from gettin'all.Can we eat in the van?What's the matter now?Nothingopen like this.It must be justSure Billy , grabthe van .Not here . . . no thanks .NotNo .. . thanks though . . .cigarette if you have one .Sure,

CON'l'nmED: The chili dogs arrive and they pay forThe three make their way to theLaney.As Laney is getting her cigarette

TO: CUT being CUT

remote number a

days? the

on small intricate remote

these

His manservant standing drag) up? A slender streamlined dial tone, -miotheT big open for me won't a

str-eet beat (cont'd)

any. DAY of the chair.

eyes after arm seen maybe ROQUE ROQUE t she gets in the van. one her first The small built-in wheelchair phone

JOE (cont'd)LANEYJOELANEYJOE LANEY JOE MR. MR.

OFFICE haven• windowless office.from the I him.

new girls on the(taking

button~,phone ringing .

2) brunette? ... Roque pushes a button on a ( ROQUE'Sin his wheelchair is still in the center of the 'Any No. A No . . .You'll keep youryou baby?Sure.You bet you will.Yes?Thank you .two

We bear a small click, Mr . and a MR.

Roque, pu~hes

CONTINUED: Joe spanks her butt asINT.Mr .huge softly lit ,silently behindrings.device he holds in his right hand.microphone risesHe listens through a high-tech ea.rplant which we now see.Hedevice.dialed,

35. we TO: TO:

new CUT CUT phoneCUT TO:a CUT TO: CUT TO:

picks up Roque

SOOJLTANEOUS

man Mr.

- We hear a

The SIMULTANEOUSear. He ' s dialing a

head.

- just over his shoulder

head . SOMEWHERE man's

and - MAN

SOMEWHEREhead - SOME.'WHERE

MAN ROQUE - The receiver has already been liftedMAN

- -

KITCHEN -

man's THE MR . HAIRY-ARMED... THE

OFFICE ROOM

ROOM we see only the cord extending to someoneROOM

CLASS

of a

(off screen) brings the receiver to his an? LOW

back ROQUE' S ELEGANT ELEGANTand Hello. She ' s still missing .we hear a click- the phone being answered.Talk to meSarne.

He brings the receiver to his ear. - MR. a button and the microphone descends back into the DARK FILTHY

DARK DARK

36. TO:

OUT: longand The

with COT

are FADE new

and (CONTINUED)

a and begins I I

up I SIMULTANEOUS ...I

followed by a

- fingers

dials table -

back

remember woman's hand.Theof the hand presses man remember a

picked SIMULTANEOUS SOMEWHEREthe receiver is placed

hairy to - day Now I

- and frame -

thedialing At the ends of the fingersfo~efinger remember anything,That ' s

the The

frameband phone sits on this face until we see that Betty andyou think about then? imnediately A small tone sounds remember the glass ...sort · of. KITCHm They just sit this way for awhile .

SOMEWHERE do I that sometimes ... I tapered high gloss red fingernails whichAPARTMENTdo remember the car crash BETTY RITA BETTY RITA BETI'Y almost translucent.

then - I entersthrough .. •

modern

CLASS A hand enters on the leather couch about four feet apartwhatwell what do you think about?

about way RUTH ' S ...

LOW very

A the floor. Well . ..meanWhat do you mean?Well . .. if you don ' tmean what goes through your mind then ifyou don't remember anything?Nothing.told youthinkwalking here ,this place and you.How do you remember how Part AUNT

hairy-arm at FILTHY - on the phone,A BLUE TABLE

man's

37. TO:

to Two CUT

They pass (CONTINUED) seems

here. We stay with

someone. it. the Somehow it lane. else? where it came it out -but I'm... with her . .. the about

describe.... dark glasses are driving know something there I DAY eyes anything figure

- ... it ma.lees me feel . .. a I can't wearing don't know You don't !

RITA BETTYRITA BETTY RITA BETTY RITA and

something ...the key

know. STREETS

hands) to express it) unh. (she covers her{struggling to CITY

don' t we turn we leave them and pick-up Adam driving

they go each man is scanning sidewalks,

I You don't rememberNo • • .There iscan't tell ...from? passing cars as if hunting for

There are things thereThe money.Unh,When you think about themmoney . . . the key . . . does it make youremember anything?The moneymoney . ..afraid. As HILLSa late model generic sedan is moving toward us.

us and as

CONTINUED: Betty thinks about what Rita has said.make sense to her.Silence .BEVERLYA car -men dressed in suitsslowly.buildings,in the opposite direction in the otherAdam.Adam drives his Porsche up

by

office.

Adam's

down two then Cynthia

moment or They sent her. a

I'll connect you Mr. Cynthia? Kesher for Cynthia . Cynthia? t o find

set. _then a voice. say? all Hell's broke loose

ADAM SECRETARYADAMWhere'sSECRETARYVOICESECRETARYPAULCYNTHIAADAMCYNTHIAADAMCYNTHIAADAM

have Mr. closed the set . I'll try going on ,

... I baby, where are you?

Kesher's office. t o dead silence for

2) answers. ( Office Adam It's me.She's on theKesher.Stage One.Paul,Righthere.Adam,What'sThey'veeverybody home .What did youThey fired everyone.Who fired everyone?

ringing sound,

secretary

CONTINUED: The voice activated phone connects the line toAAnotherAdam listensspeaks.

....,,. ....

39. TO :

CUT TO: CUT

moment . .. (CONTINUED) a

After We've got

you've got to Please come

You'd better

Slowly we move close to ...

Ray DAY - were going . you've got to do I'll call you later.DAY There must be something - yo.u

to cry)then they closed the.Adam!

CYNTHIAandADAM CYNTHIAADAM CYNTHIA ADAM CYNTHIA ADAM BETI"i

here APARTMENT

this isn't like you.

(startingdiddown

) 3 RUTH ' S wonder where ( RaysetgetNo. You've got to talk tofix this.I'm going home .Home!to do something .. .something Adam!I'm going home Cynthia.Ada.~,to the office.we can do .I'm going home .I

1612 AUNT

CONTINUED: EXT .ESTABLISHINT.The girls are still sitting on the leather couch as before,but now silently off in their own worlds.Betty' s question hangs in the air .Rita who is on the verge of remembering something.

- -

I ' m

We could

s omeone Mulholland accident on even seen any t an something to

report. t o beDo you feel up to was you haven {cont ' d) find police ... just to see. was going • . . where the accident was .

Drive.Drive? RITA BETTY RITA BE'ITY RITA BETI'YRITA BETI'Y RITA BETTY BETTYIt ' ll be just like in the

We'll pretendwant to walk around anyway. don ' t ... Come on Rita. I but just that's on . .. let ' s {tentatively)

MulhollandMulhollandThat's where IDrive.MaybeThere must be acall.No . ... IWe could call anonymously from a payphone . . . just to see if there was anaccident.Come on.movies .else.in Hollywood and Iof it .it?Okay . ..Just to see if thereMulholland Drive .Okay.Cornewear .

CONTINUED:Suddenly - Rita sits worrying.

-·---·

41. TO:

Adam CUT TO: CUT

•clean•

front of

in A JAPANESE

Taka

am I detective in on the door which is a Rita) me . goes back to work.

woman He gets out of the car and above and the word and Betty goes back in the closet .·pants . but is blocked from enteringinsigniasmiling and bowing.long time I not see Aunt dresses like Miss GARDENER 'cause I'm never homeIt's good to see you stare from remember frumpy (cont'd) (cont'd) My truck.~Gene·himFor khakiYou can wear one of my T- ... you It's

DAY

blank time. BETTY BE'ITY BETTY JAPANESE ADAM a BEL AIR toward - pleased to see you .The garden looks great . day poolma.n ' s I Taka. (off a pair of Mister . . .

as she bolds one of Ruth's dresses

coming

S BEDROOM -It's terribleMarple.She's kind of aBritish movies.Here's something okay.Try these on .shirts with it and it won't look bad withthose sandals.smiling and nodding ,

Ah ,your gardener .you .Helloin theagain . Adam hears steps behind him and turns .

laughs Roni' ADAM'S HOUSE

AUNTBettyRita. Rita laughs along with Betty.She brings outEXT.Adam pulls into his driveway,the garage by alooks at the truck - sees theblue square with the wordbelow.GARDENER isTaka reaches out his hand and Adam shakes it.

Taka bows,heads toward the front door of his house.

TO :

wall He CUT

His ·

a He

poolside . (CONTINUED)

He removes a in the

just inside the

walks numb but trying to

bag It's better

one visible closed door . He no top drawer. the DAY him to his bedroom . Then finds himself walking -

see the pool through

are in bed. (cont'd){cont ' d)

can

there is the bedroom with the case.

He moment .

It leadsGENE BEDROOM but a

DAY

ADAM LORRAINEGENELORRAINE LORRAINELORRAINEJEWELRY!!! LORRAINE and opening the ... .. . you home?something falling. MY

around.

f orget you ever saw it . (calling out)(then louder) LORRAINE ' S

HOUSE - puts his 7-iron in his golf

LorraineLorraine Now , you've done it!Jus tthat way.What the hell are you even doing here?What are you doing?THAT ' S.ANDThat bastard!

plate glass windows,

mr.Adamdoor,of He hears a noise,direction of the noise.expression darkens as he approacheshears voices as he throws the door open .LORRAINE and the poolmanAdamover to the dresserl arge case .Adam starts walking out ofAdam leaves the bedroom and starts through the house.goes into the kitchen and looks around -think .INT .Lorraine is getting dressed as fast as she can.

43. TO: on

them his moveslawn.

CUT He can

be up, again, (CONTINUED) slams front stands all at Adam garage . Adam the the paint seems to he opens the Adam bleeding pretty done . and She back into the kitchen. and He spots some paint? ? ? j ewels and smushes cocks back and goes name. dazed face . now covered with paint, is him. and him.(cont' d ) a.round. Starts pulling his hair,Adam, goes out into the one Adam, Adam ' s

upset Lorraine .and severelycar .

looks toward way to treat your wife ,! DAY

GENE - grabs LORRAINE• .• YOU • •• DOING ! ! !LORRAINEintoGENELORRAINE~ut

She tears his jacket.ahold of his and ! I don't care what she ' s ARE He sets the jewelry caseempties the 3/4 full gallon can of Hot Pinkhim

probably

grabs Gene blocks his punch and slams KITCHEN Lorraine calling hisand kneels down and opens the paint can with his caras Lorraine enters the kitchen,

He's S shelf and WHAT . . STOP IT! That's not abuddy.Throw

Gene a hear Lorraine rushes Just ADAM'leaves the kitchen and with his wet Hot Pink hands he pushes Lorraine andpicks himself up, can

CONTINUED: INT.Adamturns on the lightcans onHecoming closer.the floor ,key.jewelry boxpaint into her jewelry case.He puts his hands into the paint andabout.Lorr aine grabs hold of him.slappi ng his fac e .onceslams her into the kitchen counter just as Gene the poolmanenters .huge suntanned fistAdam gets up off the floor bleeding from the nose and triesto hit Gene.knocking him down to the kitchen floor where he lands andspills the jewelry case.pic ked up by Gene and thrown out toward the front door.Lorraine opens the front door while Gene pickshim across the carpet and heaves him out ontoLorraine slams the door behindAdambadly, he heads for

-

is

CUT CUT and CUT middle- She boy a

as he gets moment , The

takes out the smiling he is walking

Adam

old. boy's brilliant, Her good mood andas Let's hide Betty. the Betty puts the hat over Betty is him DAY years at a hatbox in the closet , Coco' s apartment and out

red blood all over.is studying herself in a - 1-0 and bows at falls to her purse.

DAY

and and take that.

- There ' s Birds are chirping in the trees gaze (cont ' d) DAY STREET aroundthe two groups pass each other on Rita looks at it for a

smiles Betty brings it down,- No one is about . paint As

purse inside. · boy

and BETTY room. pink BEDROOM the - S young

COURTYARD a

away RUTH' gardening and

No .. . you shouldn ' tit .

car. She turns and her

and they shake . AUNT

stopshisdrives and Rita puts APARTMENT HOLLYWOOD RESIDENTIALwomanthin and something is wrong with

CONTINUED:TakaintoAdamINT.Rita is now dressed to go outmirror.picks it up and looks questioninglyThey look around theabove the clothes rack.hat ,the purse in the hatbox and puts in back in the closet.Betty puts out her hand .smiles,EXT.All dressed n ow Betty and Rita l eave Aunt Ruth's apartmentand walk across the courtyard pastthrough the iron gates .EXT .Betty and Rita walk along.which line both sides of the street.once again looking around at everything.excitement about life lifts Rita's spirits.Coming toward them on the sidewalk are two people -agedveryawkwardly on crutches.the sidewalk Betty is struck deeply byluminous blue eyes which are at once innocent and filled withwisdom .

45. TO: TO:

r e-

CUT eyes CUT

s {CONTINUED)

sees the boyRita continueRita•Betty and

andand drops in a

past guitar shops , to An Operator answers .

back Betty beginning to feel

payphone. you speaking. a Betty digs out some change

She's It is Denny ' s. boulevard, an accident that DAY connect BAXTERBaxter - Department DAY for Operator. the Hollywood Police Station ,

Havenhurst.

about I'll - looking for number . •o• for the busy BETTY BETTY SERGEANT is the payphone.Police Department please .OPERATORBETTYj ust want the number .OPERATORVOICEVOICESergeant the an emergency?I toShe picks up the receiver, BRICK WALL along number please .

enter 1612 forth nervously. no, inqui ring

woman

SUNSET back

CONTINUED:After they pass each other Bettyand theup the street.EXT .The girls walkvideo stores ·. Bettydartfrightened.PAYPHONEWe see the red brick building.Rita are walkingfrom her purse.quarter and dials theBetty getsdeposits the quarter and dials .Betty holds.

Dan and

an car cup of coffee a a a was

cup of not going a

I heard table where

it's

if there

He wouldn't tell the

well, newspaper open and she islate know They both have

BAXTER BAXTER BAXTER

just know it was . so

to

I (cont ' d)

want night that sounded like can see. BETTYI SERGEANTBETI'YSERGEANTBETTYSERGEANTBETTY BETTY RITA BETTY inquiring Come on I'll buy you happened I

Betty has

lastand can't. have your name please?there's something about it in theit I'm there was. DAY

you tell me what happened?Ianyone hurt?I.. She turns to Rita smiling like a girl who's-

Hi.soundcrashaccident on Mulholland Drive.Yes,CanNo.WasMayThere was an accident.me anything else, but that was youraccident Rita.Maybepapers.coffee and we can see .Maybeto be in today's paper .There's nothing?

Not that

DENNY'S

CONTINUED: Betty hangs updone something bad and gotten away with it .Betty and Rita enter Denny's.INT. -Rita and Betty are seated next toHerb sat earlier in the day.in front of them.scanning the last pages .

47. TO: TO:

and sees CUT CUT

very takes heated blue Betty's (CONTINUED)

table a

a and

smiles,

You \lllder

notices Betty woman ingoes through herputsShe does this

POV. she f.ear Diane you want but she sees the woman in the nameplate andover to the manager and the cup and smiles at Betty . tingwhich at

Betty looks up and Rita , Diane turns and looks to the comes up to the girl's(cont'd) Will that be all?

pen Betty turns. and watches standing with aA flee quickly Diane.

Diane, BETTY DIANE BETTY RITA the coffee.BETTY -

is huge from Rita ' swelco~e. thinking) fountain you ... - Just (still staring

2) ( Diane walks

Blanc Thank You'rewant your check?Just the coffee.something?No .We ' ll take our check .

waitress ~orANE• nameplate. sce.T}.e but Betty notices this

She surreptitiously reaches in her pocket Mont

same a

CONTINUED:Thefreshens up their coffee.Diane'sRita shoots a look from Betty to Diane to the nameplate.close-up nameplateThe wordBack toDiane finishes pouring Rita ' sDiane searches through her many checks to find Betty andRita's.The manager of Denny's,dress , calls Diane's name.manager and the woman.eyes.outcheck as she places it on their table .quicklynoticing.woman in the blue dress.conversation that she can't hear,the blue dress searching her purse and shrugging and thenleaving .

48. TO : she

two

Betty CUT TO : CUT and table .

Betty We see (CONTINUED)

who is tense turns her We notice her off

Rita, in front of the Diane wavesorder of food . apartment .

anddownHean from under the check and

remember I DAYBetty's shoulders . muscle)

Diane a on Bet ty . -

(cont'd) We will . Just after they enter through thegrabs

her attention to waitress reappears at their innocence. pats herself They are talking and gesturing in an

Come in again .and goes about her business . Rita Rita? the BETTYRITA DIANE BETTY RITA DAY APARTMENT

and turns

- wel come .

out and is it(without moving

thought. Rita wai t i ng for her to tell her somet hing .1612 Havenhurst and are out of sight we notice RUTH ' S

says something toa remember some thing ...

What Shhhh. Thank you .You ' r eI something !

insideshowing him her AUNT

manager lost in

CONTINUED:Thepocketsmanagergoes behind the counter to retrievestops watchingandAt that moment DianeDiane looks Betty in the eye and while looking at Betty herleft hand slides the Mont Blanc outback into her pocket .Be t ty hol ds her gaze.Relieved Diane leavesl ooks over a tRita slowly turns and focus e sEXT.Betty and Rita are walking back to thethem from a distance .excited and animated way .iron gates ofa car moving slowly up Havenhurst toward us.men in the front seat who seem to be looking around forsomething .INT .The door slams shut .

49. TO: O.

- The CUT TO:

CUT

loudly. - She finds the leatherand findsIt is thephone to

other onnumber.

name. message .

Selwyn. a

my know her.

-each She hands the I a click and the phone is1ne t~ Diane LATER

it's The machine starts recording.

but VOICELeave

Her finger drifts down There'sA woman's voice is heard

Maybe

MOMENTS me . ... maybe . off and Rita pushes the corresponding - address and phone

RITA BE'ITi'RITABETTY WOMAN 'S RITA BETTY RITA

anD. first name. my voice ... maybe a

Selwyn. number ...

(corning from answering machi ne) is rifling through the phone book.deafenirtg.her ear pressed up against the phone also APARTMENT with by a machine . It's not Diane Selwyn she can tell you who you

Diane Rita are sitting nextStrange to be calling yourself.Maybe it's not me.Cal 1 the number .Each tone seems to be louder than the last.Hi . .. this isMaybe the voice isn ' tMaybe that ' s your roommate or if it isare .Maybe

Betty see.ms and RtrrH'S Selwyn

CONTINUED: AUNTBettycouch.the listings for Selwyn.Selwyn followed byonlyRita.Betty reads thebuttons .ringinganswered -Betty now h a sstraining to hear everything .Betty hangs up the phone immediately.

so. -

some front off walkinglimo rubs the back. (CONTINUED) stops big stain he snaps out the door .Gene is back a Pink paint is Lorraine answers. covered with Kenny He goes back toAs .. . is him pink lightning speedshriek truck to door. a Where hands carpet. black suit is The NOW!!! the with Lorraine stops it and pushes it sitting in the . . .his

sharpthe street unconscious . Pool.man's foot house. hard ~

nodding to someone we don'ta Here ' s golf clubs sitting there.

at s Gene goes down.

in Get out Her long fingernails going for

and

ground Castigliane Kenny gets three punches in on Gene'sAdam's

AFTERNOON Parked Kesher ' sis!

... he .. . the

- KENNY,

KENNYLORRAINE KENNYLORRAINE GENE but Kenny

smiling Kenny and starts to pushts

Luigi that shakes the wall as the door slams openAdamthe kitchen fast,on Kenny. man, right . .. get lost! sledgehammer.

and house. is

begins walking around the house calling out

HOUSE A and

Kenny enters the house . force guess you don't understand English.He hands are covered with pink paint. Kenny slaps Lorraine Adam KesherYeah ,the door,ThisLike hell itIShe asked to leave .He sees nothing and hears nothing. POV -Adam' s

slams Adam.

Kenny knocks on Adam's front door .

pink paint off his hands and tries to getKenny begins snapping the shaft of each club .

51. TO: TO:

- and CUT CUT TO:

CUT CUT TO: CUT TO: -

box

The only

the sink

Vincenzo

and jewelry

and

off.

Finishing his work with

is walking slowly

sink fountain with muted distantand knees around the coffee

take

leaves. Millions of lights down belowSome of the apartment windowsNI'GHT

NIGHT a Jacaranda. - - drunk.

Kenny -

NIGHT Most all is in darkness .Her finger stops . AFTERNOON ANGLE - - BETTY SIMULTANEOUS on their hands APARTMENT - lights . HOUSE a street . S SHOT HIGH RUTH 'S some weeds beneath HAVENHURSTwannFar away a siren wails softly .It's right about here on Sierra Bonita.That ' s not too far away .

the kitchen we see that the tap is on A map of L .A. is unfolded and Betty is running her

in TO:

-·... CONTnruED:Andwater is now overflowing from thespilling out onto the kitchen floor.the vintage golf clubs -CUTEXT.Kenny jumps into the front seat of the limo.Luigi nod to the driver and theyTaka hoesL.A.Night descends on Los Angeles .twinkle like stars.EXT .We see the courtyard at night.have dim,sound is the water flowing in thetraffic.INT .Betty and Rita aretable.finger alongstrangely toward the door of Aunt Ruth's apartment . • - EXT.An older, beautiful woman

• ;...

_.._.....,.

52. TO : TO:

CUT CUT

Her eyes have Why We'll

SOOJLTANEOUS niece

not knowing what to Betty gets up , stares her

~•m Who are you? NIGHTShe knocks mechanically on

NIGHT

of something.

- this. that? Rita waits , apartment?

(cont'd) fibn . a afraid trouble. about Tomorrow we'll go over there Betty finds the face of the actress , onare you? COURTYARD - inRuth's

BETTYRITA BETTY BETTY BETTYLOUISEBETTY LOUISE

APARTMENT APARTMENT Who

you're gone May I help you? we'll find out. you in then at Rita. know the door.

ROTH'S RUTH' S What's wrong withI'm not sureIbe careful.andHAVENHURSTIt' ll be okay.Yes?Where is Ruth?truth'sBetty .Someone isare

AUNT AUNTand Rita both turn with alarm.

1612 woman moves up to the door we see her face. the door,

not are I'm

stay of the courtyard.

honey. I've beennow . and happening. That's She turns over to In fact and who you God, a scene for herI'll take you bad's you to get her darkness I ' m sure sheactress know and not it. want someone else in Here they are

Betty. I young Sometimes it happens.Let ' s get you She's letting me a is Something That one is in my room andRuth ' s niece.

That's was just coming to see Coco approaching across the courtyard.I but I don't faxed pages of

BETTYnameLOUISE BETTY coco LOUISE leave . coco LOUISEcoco

tomorrow. Louise . Ruth? want you to get her outBe.tty' s

My

... what're are you doing Louise?I (back to Betty)

her niece. (looking over to Louise)

she said it was

I'mhere.No it isn't.what she said.Where'sI'm sorry,and I'm . ..LouiseWhere have you been Coco?trying to find you all afternoon since3:00 o'clock .she won ' tout.This is Louise Bonner .meant well .This is Betty,fortunatelyBetty .deliveringauditionNow come along Louisehome. Sorry about this.trouble.

No, Stop it,home . .. goodnight Betty.

CONTINUED: Louise turns and seesCoco comes up and grabs hold of Louise.Betty.

Coco takes Louise back through theBetty closes the door and turns .

54. TO:

He CUT

Kesher is (CONTmtJED) to Adam room 214 .

her, horrified .ROOM 214

seems

at

door of your line of

·

staring the was here?

but there and here.

is

.. . NIGHT CORRIDOR OUTSIDEThe door opens and bank toward MANAGER MANAGER MANAGER

Rita - Kesher a representative MANAGER

- Kesher, All we do is take an Look what's going on. Mr . Mr. I'm afraid they said you'retaking out his wallet.)(MORE)

BETTY HOTEL ADAM HOTEL ADAM HOTEL ADAM HOTEL ADAM HOTEL ADAM

HOTELwalking is know. know how'd they know I Adam fact what did they say?{ HILLS .. . HILLS some problem concerning your credit

2) don't don ' t ( Whoa! Yes .. . what is it?I'm sorrybecard ... . What??Theof your bank called us .HowIimpression of the credit card and untilyou check out it just sits in our files.So ,Well , Sir,overdrawn at yourcredit has been cancelled.Unbelievable.I

·

CONTINUED: She catches Rita's look .EXT.EstablishINT.A Hotel Manager isknocks softly on the door.standing there - still beaten looking with remnants of pinkpaint.

55. TO:

The CUT

(CONTINUED}

It number. a made

enough pay

good asI closes the door.

cansorry. so

Adam Where are you?

YouI'm I've got the morning .Kesher. them

Ad.am? in knoww? I ' ve got enough Mr.

okay? When they couldn't

you

Kesber. ~you (cont• d)MANAGER MANAGER baloney. are Mr.

ADAM HOTEL ADAM HOTEL pocket for one night.

you check out. ADAM CYNTHIAADAMCYNTHIA ADAM CYNTHIAADAMCYNTHIAADAM Where I didn't believe not broke. my

so muchfine,duty to inform you.I'll check outNIGHTroom to the phone and dials for one night,when a good evening,-

my I ' m know . know , but you're broke .

That'scashThat'scashwasFine.Have Someone's shut off my money!IWhat do you meanSomeone called me.get you they told me you were asbroke .some calls.And?You're broke!But1Beverly Hills Hotel .cash in

ROOM 214

CONTINUED: The Hotel Manager turns to leave andINT.Adam crosses thephone is answered.

{CONTINUED)

wear think the Cowboy,thought

The good idea

him a place. the shooters?and I Should Iis connected have to ridetell six guy, Q\\Y I 1 Adam,think you shouldWhere do I meet my If ThisJason said heidea.Cowboy. him"? and me this mean do then call you back . . . If good I It is that kind of a day .

somebody called the happening , CYNTHIAADAM CYNTHIA .ADAM CYNTHIA ADAM CYNTHIAa very strange day.ADAMCYNTHIAon you're to go to the top ofADAMCYNTHIAADAMCYNTHIAhim,

funny boy .

know

the Cowboy. you meet with Cowboy?? Jason .thought it would be

Do youCowboy?TheYeah,wants to see you.it would be aOh,for me to meet themy ten gallon hatSomething tellswith what• syou should do it and Ido it right away.Cynthia . . . what 's going on?It's beenAnd getting stranger.this Cowboy?out to the range?Sort of,meeting ' sBeachwood Canyon. There's a corral upthere where he'll be.You gotta be kidding?WillYeah, sure .When?I'll callyou want you could stay at my

57. TO:

light CUT parks in The the

about.·No Adam red few twinklinginto a winding canyona forehead and eyes Stetson. sit. him He stops in front you forNow go and slow Western drawl . stay. noise in the yodel and get white a thanka stable X place .

anda cupping his way up the canyon. a place to know what you're Cowboy a is The road winds steeply up to a Adam hears

would not be a good idea.the NIGHT

Cynthia Suddenly some bare bulbs hanging from - head I'll find There walking toward

ADAM CYNTHIAADAM Ci'NTHIAADAM makes his COWBOYADAM that give an old barn and

me .

... above.

and but you don't CANYON dressed in clean blue denim jeans, well-oiled turns . offer. -where - Cowboy's sky begins to speak wit.ha true,

(2) up and seems to sag , and CynthiaI'm just offeringI understand,tlieaheadback toOkay,missing.Git along little dowgie and call me back.theHowdy!Howdy to you .

he nears the top of the canyon the residential areagrow accustomed to the dark and he looks and Cowboy BEACHWOODPORSCHEAs hangs At.op corral gate flare up. Adam

CONTINUED: Adamwith his hand.EXT.Adarn,in his Porsche,INT .Adam feeling like a fool drives up the dark,road.gives way to desert brush .dark dead enda little dirt lot and walks up past the barn to the corral.His eyesone is around. There's only a light windstars in thethebrightnessis theunscuffed, beautifully engraved cowboy boots,embroidered ivory buttoned cowboy shirt complete with stringtie.Cowboy is smiling warmly as he approaches .of

a

be a all the to thought the good n..-.s mind? to get to it Beverly Hills drivin' about your who wants to getman ' s life willyou agree with? for-that der:.ermi guess you could on anxious care ya man from a I said and answer cause not Kinda wanted to hear or did you thank What ' s somethin ' attitude say?

COWBOYADAMCOWBOY ADAM COWBOYhere ' sADAMCOWBOYtoward how aADAMCOWBOYADAMCOWBOYADAMCOWBOYADAM

man ' s I s that a

agree with what you said . . . truly.

Beautiful night.Yeah.Sure want toway up to see meHotel .No problem.Well now,right to it.are ya?Whatever .A man ' s attitude .. . a man's attitude goessome · waysbe .Sure .Now . . . did you answer cause youthat ' s what Ithink about whatyou truly believe that to be right?IWhat did IThatlarge extent how his life will be.So since you agree Iperson who doeslife .How ' s that?

The

and a than

Can ya buggy aleck for

for me?

will this but in bad

that smart hardly

How many know you haveaccess to thatsome men are ya to thinkWhat do you what a I

do then add on to

Some days are like smart aleck . but

little secondyawant

a buggy. thrown off yourand

a feeling

unsure . I ' m drivin ' (cont, d) You're probably thinkin' Will it be better

Will ... or worse?

Now I _ such buggy have?Y

a few things .the half of it,you don't have

it. WBOY I

a (MORE)

COWBOY ADAM COWBOY ADAM COWBOY ADAM COWBO ADAM CO COWBOY

thinking. bein ' their vehicle.The same sometimes a know where's this going? the heartache of seeing your wife

aboutI'm thin.kin' knowrough day. They are rough,

quit .• . don ' t

( 2) .•. realizin'nickel to your namethat the sickenin'gonna catch you and hurt youbustin'that.tomorrow bring?today? Well, just stop forthinkOkay,No . You're too busy beingto beanddo that for me?Lookwant me to do?There'sdrivers doesOne .So let ' s justand you fix y our attitude and y ou canride along with me.Okay.Now Ihad aIactual factbusiness of gittin'movie,with another man . . • losin'precious film vault . ..

suddenly looks stunned ,

CONTINUED: Adam

j J

up in the

was

but

lead butNow, to workthat Porsche is the

theis no girls for past the barn and You it, 'cause I

Adam walks that bank's the back girlyou will say until we meet

When many down •This sound of a car door I see you then

time if you do the case,longer. fella. two more times if The rest of the

said count . It's part of they meant me bit

re-casting you to goaudition (cont'd) a So then . ..

(cont'd} you were not going toee but he sees no sign of a car nor

you see s _ hears the ...

is up to us individually.girl.• He goes back our attitude.want Good night. this ' ll work out , brothersmean

I When Adamthen another opening and closing andThere standing by hisbut, just in

COWBOY You were COWBOY ADAM COWBOY ADAM COWBOYADAM COWBOY thatand do bad?one doesn ' t

U1yway You will I car. this is the last time part . this

) any r oad. 3 lot of This is the ( his AUp to usCastiglianelonger your film,•they didn'tdirect it.tomorrow.actresstheshown to you earlier today,•cast can stay- that is up to you,that lead girl is not up to you.you will see me one moregood.you do bad.You thinkin 'was thinkin' it just might.It will work out .Good then ,gonna stay closedunderstand that?I understand.You ' re an understandin 'So,unlessNo,the original one .again .

nor

CONTINUED: The Cowboy turns and walks until he is engulfed in darkness .Through the darknessopening and closing,then the sound of the car driving away .direction the Cowboy took,any duststables toCowboy .

61. TO:

CUT TO: CUT CONTINUED) (

it.

They dad on the huge letters my

can call MORNmG sun falling - here?• ... • thought that 's what you .. . I the hills surrounding

drives off leaving the Cowboy I

here?• and

ADAM and BETTYRITA BETTY RITA BETTY RIXA BETTYRITA

MORNING APARTMENT still wants y ou

car - SIGN Rita is reading her lines .

of the rising you won't . . . • him. (angrily) parents are right upstairs! face as we bear Betty off screen . ... su.rprise• .. .can call them came back.

4) RUTH'S ( rays •r •But Okay. "You ' re•rwanted. •"Nobody"Really?"aMythink you've left• so

behind HOLLYWOODAUNT HOLLYWOOD

gets in his

oving back we realize that the girls are acting out Betty's

CONTINUED: AdamsmilingEXT.We see theof theINT .We see Rita ' sWe see Betty.Maudition scene .

► · .z

-

ng.

l.aughi (CONTINUED)

back . start both!•

here. that my ... it's me with big

girls

game

cigarette holder ala I call say a it's not I tell what I hate usboth your his best

blackmail from behind her and

•.. good .

dangerous What will your dad

want (cont'd)

a

I you . • and then I knife

work.•

you?• hate you .. . Get out before

BETTY Rl:TAwhatBETrY ... •RITA BETTY RITA BETTYkillRITABE'M'Ycry,BETTY RITA

This will be the end ofso get out of here before . . . •"I

playing Just Stop!.. . they ' ll arrest you and put youwhat?•ltcbeo

lame scene. about you? they'd put you in jail.•ki know out! cry, {furious) ... he trusts you a table knife out the

•you'reIf you're trying tonot going to•Youdifficult . ••Getdadfriend.everything•Whatthink about•stop!from the beginning.happenedin jail ,"Before•Before•ThenCry ,emotion,Such aBut you are really

CONTINUED: Betty pulls Betty mimes with moving fingers tears flowing from her eyes.Betty dropsBetty mimes tapping a cigarette inDietrich.

t f

63. TO: TO :

holder CUT some

CUT her

she's

at (CONTINUED) and I kitchen . and I 'C . '

the Yes, You're just I'm going to will ya. saw Betty last one? I a real nice kid,Now keep yourlong sigh. her cigarette in itsthe great upto hear Ruthie there's DAY

The phone is ringingShe's - it. Row'ssorryI haven't seen her ifworrying, Now,about. You want DAY Betty starts for bringing I'm

Well, answer worry BETTY RITA BE'ITY

BETI'Ydahling! coco Oh,

Now stopI'll find you . APARTMENT I've got the production office

you sandwich.

... Ruthie . . .what? (into phone) no wonder I'm starving.all right. APARTMENT ...

2) ( S RUTH ' S fix aI'm Thank Hellonorth? ...itshe's in there.nothing tonight and she was just fine.gave them to her.Ruthie.I'll go over and have a look around.will .number.socks on up there and take lots ofGoodbye honey .Oh ,You've got to eat something .nervous about going over to see if you'reDiane Selwyn .

The front door to the apartment is open and sunlight

COCO' AUNT

CONTINUED: INT.On the move Coco is justup to her painted red lips.crossing the room toCoco puts down the receiver with aINT.Betty and Rita are sitting on the leather couch havingcoffee.is pouring in through the screen door . Betty lookswatch .Rita just looks at her.

64. TO:

on the CUT

knock was a

each other close, on the couch. explain

with you

Betty?

Rita connection

mine

DAY two, until she the Direct, clear. I tried to

share seeing

Suddenly there's kept telling her it who 's staying in herI

(cont'd)in, I'll night or your mind. Coco and Betty face a place.

you? know deliberately)Ruth, but pats her on the shoulder and goes any Ritas . . .

BETTY coco RITA coco HAVENHURSTcocoBETTYcoco BETTY coco

own are look at me straight .

change know

panicked. from the kitchen and sees the situation .see you outside a minute1612 Who (slowly, I my friend and she kept saying she ... was afraid of that.

Suit yourself.if youHi!Uh . .. Betty!?Can Your Aunt called me .IShe wants toapartment .It's just forfinds herthat to Auntbad and her plane was leaving and she gotit all mixed up.wasdidn'tsweetie,

COURTYARD

CONTINUED: Betty goes into the kitchen.screen door and Coco peersRita looks upBetty comes outBetty walks past Rita,outside to see Coco who bas moved away to wait.EXT .The screen door slams .out of earshot of Rita .Betty lifts her eyes to Coco's .

but I you . know she's

pucky thank - where to What you're Grandma face. sucker. Louise

We went to it all... know Sometimes

and enough to worry don't lie and Now I'm not going kid I had

nice. night .

(cont ' d) good Grandpa that Maybe some of it rubbedload of horsegood place. I'll trust apartment. a He had an uncanny abilityaShe ' s gotsomething Coco .. .

very I met her in junior college

your is

BETTY coco BE'I'I'Y' BETTY cocowas married to a director for BETIT coco

from a sure it is. you'reme really into Betty's innocent guess ... Betty ' s shoulder and squeezesit)

... she's make(Coco places her hand on

hard

Cocoschool together.So Iher.Not really .and she was from this other town.You can call my grandparents ... I'm surethey'd tell yousure wouldn't allow a stranger to invademy Aunt Ruth ' sHoney . . .thirty years.to read people.off on me or maybe Ialongtellingit comesyou to sort this out .against Ruth.about up there in Canada. If she asks-I'm going to say everything is okay, . andyouIf you need any help youfind me .You'reDon't make me out to be aBonner says there's trouble in there.You remember lastwrong, but if there is trouble - get ridof it.

CONTINUED: Coco looks Betty puts her hand on Coco's shoulder and gives her asqueeze.

..

..

66. TO:

h~r. (CONTINUED)

thinks

and You

'im .

going back inside.Rita studies

Harry pauses in the guys in the Is it bad for MCKNIGHT MCKNIGHT MCKNIGHT OOMGAARD OOMGAARD

and DAY

two but I've gotta get- two wallets down on the deskHARRYNEALHARRYNEALHARRY SAME

Betty studies her-right?

, (cont ' d)

all A-okay, here? STATION 'em still alive? RITA BETTY BETTY DETECTIVEDETECTIVEDETECTIVEDETECTIVEDETECTIVE

APARTMENT POLICE smile) Domgaard throws (slightly forcing a broadI've got an audition in one hour .(biting in and chewing) everything

2) Detective Harry McKnight .He looks down and studies the wallets . ( she said before turningRUTH'S

Isyou that I'mEverything isthat sandwich!Anda large bite of grilled cheese sandwich with baconNice wallets .Handstitched Italian. Filled with phonycredit cards . . . off theCaddy.The one ofYeah . . . just . . . . Dr . Scott's gotremember Dr . Scott .Oh yeah . o f o f

what AUNT HOLLYWOOD

CONTINUED:Coco turns and walks away.a.boutINT.Betty enters through the screen door.On her way to the kitchen she checks her watch .INT .Detective Nealin frontmiddleand tomato .

CUT TO :

a was so neckknow, He's

••. you car you Son of

there

wayguy you •cause he

away, body, rolledguy's

bis bad, little MCKNIGHT

he said, whileDr. Scott'sMCKNIGHTMCKNIGHT MCKNIGHT

DOMGAARD car t his guy. DOMGAARD DOMGAARDthe sameDOMGAARD DAY in thisaorta, chewing)

- thin So,

NEAL HARRY NEAL HARRY NEAL HARRYNEAL HARRY knowBesides the

up pretty a lot of blood, 'cause pretty soon we ti.me. Their fingerprints don ' t

you slit his long drive .

him a

...mean? HAVENHURST DETECTIVEI losin' You know how he is.DETECTIVEDETECTIVEDETECTIVEDETECTIVEDETECTIVEDETECTIVEDETECTIVE

kinda you know like he doesyou know and shakin ' ...laughin ' ... the nurse was

rolled up under the kidsslid up through

and they both use to the brain - all this time 'causenot y et . that ' s

what (another big bite -...

andjustguy's

Well be saidgettin'which bustedthis little knife-like torn piece ofmetal, you know, off theoutandbut they didn't find it righttheknow,it was just like thispuncture wound on the surface of his neckthat kinda sealed itself,inside the aorta is bleedin' prettysteady all thatlaughin'knows we want to talk tolaughin 'bitch couldn't stop laughin ' ... It waskinda contagiouswere alllaughin'.Find out who they are?Nope ,match up anywhere.Interesting .Yeahaddress .Where at?Palmdale .Damn , -know

CONTINOEO: EXT .

She

She calls my

give

Just

Something know.

apartment. great guy.

go. Coco. .... couple of hours. moment Coco answers .

Ruth's

in a my way to my audition. wanted to ask you if youIt'd be so embarrassing . ..I ' ll let you all the coke. I back It completely went out of

EE'l'TY RITA BETTY RITA BETl'Ycocoright gorgeous .BETTYcocoBETI'Ycoco BETTY

Rita call out.)·so be ready to I'm ongo I'm I Coco. Coco.

out of Auntdrink He wouldn't have cared .good performance and he'll be happy

and (we hear laughter from inside no. hope I Don't Good luck!When I get back I'll have the cabwaiting,Okay.Sorry to trouble you ,It's allwrong?No,Beforecould remember the man's name ... AuntRuthie's friend who helped put thistogether .mind .His name's Wally BrownBeen in the business since forever .ThanksNaw!him aand I 've got a feeling you'll do justthat.Thanks

coming

CONTINUED:Betty isback in to Rita. Betty closes the door and heads across the courtyard.knocks on Coco's door and in a

69. TO : TO :

a

CUT CUT

CONTINUED) C DAY - Miss ?

late. Coco smiles as she

dream. GATE

be

and fifty-seven

to

the

want ENTRANCE

of GUARD GUARD

You don't moment staring at a

ya : honey! BETI'YPARAMOUNTBETTYPARAMOUNT GUARDBETI'Y

coco BETTYcoco PARAMOUNT know

a

See STUDIOSt o the gate . Betty pays the driver and getswe f or (smiling) up where do who are we auditioning for today?dowe don't.

2) DAY ( Get going.Right.Good luck,- GUARD .And To my audition .AndWally Brown .Andbuildings Wally Brown is in?No ,

CONTINUED: Betty takes off through the iron gateswatches her go .INT.Betty is wide-eyed and filled with awe at something she isseei ng.EXT .The cab pullsout .She walks throu gh the gate and as she goes is stopped byPARAMOUNTBetty stops and turns .

70. TO: a

The

CUT

to offices. down the hall she enters DAY good - desk off to one want and a The receptionist

that out We from there. And crosses to thepointsseveral

at us go . pastarrives

figure the Executive pass for Bettywe

take three blocks downa SECOND FLOOR

GUARD GUARDin GUARD

Here - is willname? walk corridor

to Brown Elms . on the left.

PARAMOUNTBETTYPARAMOUNTturn right at the first street.Once we're on the second floorBETTYPARAMOUNTBETTYRECEPTIONISTBETTYRECEPTIONIST

... thank you very much. want BUILDING the long

now we've got toand Elms.

She hands over her pass . in hands it back to Betty and down

Well,first don't we?Yes, Sir.Mr.WallaceBuilding on the second floo.r.goThen wepast Stage 17 to the white ExecutiveBuilding.the receptionistNow do we have aBectyLet's see if we haveElms ... and we do .luck Miss.Thank youNumber 43,Thank you .May I help you?

CONTINUED: INT.Betty finishes climbing some stairs andreceptionist.looks at it,to her left.Bettydoor to office 43 is open when shelarge sitting room with a receptio·nistside.

)

then when

in the twice, the old ~hairs dear

and alone knocks very out of an extra She saw my He'll be seat and an elderly,BROWN comes out a rise door, Betty is

I'm here to a was very Taft ,

Have againWALLY who we ' ve already to and •Chuck• .you . people

Brown couch and looks at Elms. Your Aunt is a (cont ' d) (cont ' d )Katz

so it ' s particularly nice

Mr. walks

timing. Brown. several Jimmy(MORE)

BETI'Y RECEPTIONIST WALLYBETTYWALLY BE'IT'iWALLY WALLY WALLY for . . . I ' d like you to meet everyone . is Betty

Elms ? Elms this is Jack She sits on a i n . office

name

took the liberty of inviting

MyauditionGood . PerfectI'll get Mr .Betty stands up immediately .BettyYes .I' m Wal ly Brown .friend of mine,to meet you.Very pleased to meet you .ComeIperson to see your audition.your resume picture andinterested in meeting you.Bettyassistant,cast for the part ofdoing the scene with

Wally's

they walk into Wally' s office. ,w

CONTINUED: The receptionist stands ,enters.She closes the door behind hersitting room.movie posters covering all four walls .In a moment the same door opensdistinguished looking gentlemansmi ling.AsIn.sideWally enters with Betty.

is

who two of

agents looks to Bob the her to guest the

you'd likeand

Bob Brooker, affordcasting see, and Hello Betty. Jinny su:rpriseas so don't play it

anythingto

our but (cont'd) JAMES J:AMES a seat everyone . Betty couldn' t

Wally. my assistant .

Chadwickand something to Betty before We best~ across

take

WALLY SARAH BETTYSARAH WALLY BEITYWALLY BEITYWALLY .. . BOB

you,hands . way

James. Shall we get to it? Would you like is Julie

thankshake no , I' m fine .

2) ( Thisthe director,Sarahcast our picture,go she's theWhyPleased to meet you .This is Nicki,And this is Martha , Martha Johnson ,you met out front.Hi.Well.a water or a cof fee before we begin?No ,Well then ,why don't you join Jimmy and we'll playthe scene. ls thereto say Bobthey begin?Nothem with themselves,for real until it gets real.

Betty hands are beginning to sweat .

- -. and - :,. CONTINUED: She Nicki ,nods coolly to Betty .Betty nervously smiles to the room.Betty' sBetty stops on herdirector .

to

brings arms (CONTINUED)

and Like her father .

Sarah's I

just be Bob. it. baby. they say it who opens his close, and stuff like rush around Betty They say, it

She catches what?•

That felt good. Jimmy arm one close, don't 'em. I told you . . . the line(cont'd) (cont'd) Jimmy. Just don't rushthat. We play this ~Before You

to say. towardHe' s old enough to off

you in jail• ...They all say it the same way,puts his

BETTY JIMMYBETITJDSMY BOB JIMMY JIMMY JIMMY JIMMY what arrest you· ...

~put and Jimmy to Bob. Betty . walking . react like ... what's your name?.. I

3) want to playfrom was playin' (

Okay. Just tell me where it hurts,What?Iit was with that girl, what's her name,with the black hair.Whaddya think?That'd be good,that line again.where you say,IWThey ' llthat . .like that .soLookBetty.Yeahdon't rush it .like in the movies.Dad's best friend goes to work.

CONTINUED:Betty doesn't knowassistant, Nicki, rolling her eyes.Betty continuesher as she approaches .Betty looksJimmy turns to Betty .Jimmy reaches outher in against his pot belly.

eyes.

Jimmy's She is ear .

gives the you He Betty. now. herself away fromThey

the eyes. ground .

very difficult for up to her wr i s~ . my dad.

in

push her tow3rd

looks her in theisclench

her

little closer.

cheek

a Betty Jimmy stands can call

grabs lecherous smile .

as here .

scene . It thought that's what and and right upstairs!

looking I big this line to

you the

is ofout are them . . . I

WALLYBOB BETITJIMMY EE'ITY BETT'i JIMMY BETTYJIMMY

silence • ve left.

wcn ' t.

a ,,.,-ants back. he brings Bettyroomstart ::10~

has her in an absurd surprise:! yi::,u

as the line across herreachespa~en~s him 4) came back.this with a her !land away .. . can call ( che anger

Bob? And • • . ACTION!JinmtyYou're still here?Iwanted .NobocyReally?Mythinl-:SoIBut

in the Jimmy There is

~imrny

smiles and plays p•.ills smiles broadly and moves againpushes

CONTINUED:Jimmytrying to concentrate through the nervousness andbreath.EveryoneBettyBetty asJimmylast part ofBetty usesJi!nmy.BettyJirr.rnyBetty

hand . He gently

him.and heat. Betty

Jilmny If ...

herJimny'sover Betty back. thinklost in

on and squeezes herdifferent way. put

a

above here. .. . hand coming whatand

down ... it's not other - call my dad .

pulls her in to his gameme from Betty it can't nowShe stays in very close

whisperI tell

and hls hoveringstarted

presses will your dad on her thigh, If

and it accidently slips He becomes almost tender and

Withhas That's what you said

againHe jerkshand dreamy

dangerousblackmail What want .. . it's not that a gently

waist firmly I go around him)

... you're his best friend .in and smile . you? BETTY JIMMY BETTY JIMMY it BETTY

Jimmy's arms

Something what beginning . He doesn't - know where he is anymore.... they'll arrest you

on her

hand you?

sees slowly) the

(almost a hot whisper)know (whispering desperately(her rest more

banddown her hips.her playing ( S) and looking him right in the eyes .

You're playing ayou're trying togoing to work.Youdifficult .scene should turn to angerGet out .. . Get out before IHe trusts youThis will be the end of everything .What aboutaboutStop . .. just stop!fromhappenedyou in jail, so get out of here before

Betty by the wristhandhe sees her his goingtakesas now surprises himself. still

only see Betty ' s eyes .

grabs

CONTINUED:HeHe puts.keepslooks downBettyShe slowly looks up with the most seductivelets histhighpulls her closer.and she catches the drift of this scene inShe's surprising herself.Jimmygenuinely worked up from the heat coming off Betty .Where theand Betty plays it as she feels it.to Jimmy -Jimmy gets lost .canBetty

He him at but they

pulls on her the and from behind her hands how the sex of ends .

Jimmy knife

himself

pause) whispers)with his - jail . The scene

almost

long away in

transfixing, him andhe finds

her become mesmerized by Betty,

by an JIMMY BETl"Y JIMMYsupposed to cry now and it is very easyBETTYSARAHNICKIWALLYBETI'Y

is what? the knife a.round behind room has there it was .

sultry eyes,breathless ••.taking (caught {as she kisses time!(to everyone)

Sarah turns to Nicki. and pushes Betty

6) Betty· (

Beforewraps Before I kill you .Then they'd put youI hate you . .. I hate us both!I'm going to take her over there.BigWow!Well, She backs away. kiss. but panics a scene took her over. scripted Betty pretends to pull the

CONTINUED: Asback,into Jimmyshoulders as if forcing himself to come out of a trance.f inally is able to say his line.As scriptedfor her to do this because she's ashamed atthecheeks.She pretends to drop the knife.Everyone in thesoon drift back to reality and begin applaudingperformance.Betty wipes her eyes and turns smiling - still shockedherself .

s TO :

CUT

a

a

nice forcedvecythat. out by Sarah and the scene still was Betty out . mean We'd love to

you got Yeah, of

it was I You've done She moves to the center ~aken walk going to tell her and pleasure, Sarah,

Baby, mean

Brown. It I I'm just after. Remnants We ' llourstranger .they go to the door. Betty turn. I get. We'll speak again a. Betty. Mr .

was! humanistic. JAMES JAMES

and thank you so much forwhat to do. and

it stands

Really. you .Betty, of you. SARA.'9Wally . I'm sure you all haveSARAH

JIMMY WALLYBOB WALLY chance BETTY W.f\l.LYyou be B£"I'TYagain,

know

was

around here again real soon.all thank Nicki but still thank you. you , yes indeed . good. don ' tyou and

( 7) There itway!Bob?Verymaybegood, really .Well ,That was very impressive.your Aunt proud andthe firstsoon I'm sure,coming in.Well ,Tha.,kl ot tc talk about .Well,andseeWell come along,Thank youmeeting

nods and waves and Betty is

CONTmtJED: Betty doesn't quiteof the room and just stands .staying with her .Sarah standsSarah takes Betty's handback once more and smiles.EveryoneNicki .

let down on

and Katz and

day . Poor me wrong . Jimmyyou acrossdirector stell~ was married a and getI

DAY take - were

minute. (cont'd)actors ,t .orest. Be's got a

corridor.look of shock turn .

Katz? a Don ' t A You never had a all the

t:he poor Wally. He'll nevera little upset.is a very close friend

awful! had ought to. JAMES JAMES ago. JAMES ...JAMES JAMES

BUILDING Ji.ImnyKatz Iyears. we want

so

down was but Betty. just get a little cattyabove

Sarah. Brown never ten ~ctors ,Now SARAH SAR~.H NICKI SAF<Jl.H BETTY SARAH SARAHWe g.:ttin.g to picture made. Wally's days wereJir.lmy

walk that M!' . head

that, dcvm ,Wally.for Katz Aunt ' s , love a

EXECUTIVE (sickening little laugh)seem very nice to me,

not you Betty.that I spins my him mean he;,:-self Oh God, Oh,Igetup twenty yearsHow about thatOh god!JL1Tll'TlyWally.TheyWally . ..ofSettleI lovetoAndincluded.sometimes.the way and introduce you towho'sproject that you would kill! head

CORRIDOR fin:5 ~ does another shocked head - face.

ml'.The three of themBetty'sher Betty Betty At the word 'kill' Betty turns to her once again with aquestioning l ook.

79. on TO:

male sound and

etrr we

The guard shinyThe A (CONTINUED) A blonde up to the out of the set. -

the Behind her are right how busy the blonde girl Sarah and Nicki bring

park.

The stage is full It was reallylove this and movie set inside a know Connie Stevens.a Sensing something Bettyan I up

(cont'd} plate of glass.

by on a Car·ol. DAY are I sign? working.

JAMES - as they approach

(cont'd)come in. recording -studio Behind them there are many people a back and watch the girl finish the vintage microphone. They each seem to feel the thrill of

SARAH quiet ADAM ADAM CAROL

a

it right out of theSTUDIOvocalists dressed in three tone, are you kidding? IWhere do

like watching, turn at but each embarrassed to stare longer than Adam . electronic megaphone) (calling out througha.re .man , ma.le He shakes her hand.

Knock We hear strings soar

looks

..• The song plays loudly over.

eating,them to be Cut it! Thank you very much,great of you toyouOh,script! RECORDINGWe're looking through standing A screen test is being shot of the girl and as what - back-up into this scene through a giant stage door.forand sees

Sarah leads Betty up close Adam turns and his eyes fall

CONTINUED: INT.we see1960's.girl isthree60's suits.begins to sing SIXTEEN REASONSvocalists backing her up flawlessly.We move back and realize westage.continue moving back we see the director Adam Keshersurrounded by his crew .standing,bustling .Bet~ymimessong continues to play over.Asthe beautiful face of Betty Elms.turnsthe thunderbolt,they already havesong .He gets out of his chair and walks into the setblonde girl .

.. .I•

s The sound of his

way

thing

me too . over to his Assistant notepad. manager'

this

my night . ..Now, get out ofthe set onto the stage floor.being introduced by Sarah toHe goesman ' s

cast but there's no

can. causeand I (cont ' d ) ... day as 11 pleasure. Hank?

ADAM CAROL ADAM CAROL ADAM ADAM HANK ADAM HANK ADAM HANK love you, my

soon He sees BettyRhodes . you wi bug you her out. as I'm the girl that ' s going to play(lightly pinching her cheek)worries.(through walkie-talkie)

... I

- know and goes back out of

Lookthey're gonna let meuntil I've seen everyone. I'll let youknowIgonnaIt'll behere.Oh, you're just so cruel ... don't forgetme.this part.See ya later.and looks down at theWho 's next ,CamillaIs she ready?All ready .Bringbe heard in several locations throughout the stage.Camilla Rhodes next!

around .

can turns wonders l ooks

CONTINUED: AdamHesome of the studio executives.DirectorAdamHank speaks into his walkie-talkie headset.voice

I .t. ...

but Adam' s

GOLDWYN,Adam. a moment . (CONTINUED) Adam, to

back-up at wondering how

The give away a thing .

down comes through theJason follows eyes Adam

GIRL! Jason. looks

something,

THE .He

Rhodes . to see He watches Camilla for

IT IS (cont'd) (cont ' d )

•Speed• . side. spectacular . here. megaphone) Camilla

HANK ADAM ADAM away.~ot ADAM ~ver HANK JASON Camilla sing then turns

beautiful blonde steps into the set in Ada:t1 Adam' s

watch Camilla Rhodes sing.old silver-haired man,up right into Jason' sbut Jason's face doesn ' t but walkie-talkie .

a

over! N! . .. at (t.h=ough to watching calls out, Hank. his year

( 2) s oar up and Camilla Rhodes begins to sing.watcheslooks up -

Turn Playback !ACTIO Yeah? Get JasonCindy Did you want to tell me

passable ,

looks Hank over to him .

ti.me Adam turns cameraman is

CONTINOED:Adamfront of the microphone.singers step in behind her .Adam nods toTheCountdown be-fore the music begins .The stringsOn the set Bet t y hears the song again and turns and watches .She

Once again her eyes find Adam as his eyes are finding hers .ThispullsAdam pauses.Hank gets onAdam continuesa tall sixtycrowd and stopsAdam continuesgaze and heAdam slowlymuch Jason knows ,

- ...·-·

82. TO :

CUT TO : CUT •r•m He

of.

at her watch.I open.

segues in over of his world. afraid continues . apartment. Betty isstrikingly handsome

comes to Jason's side.looks

DAY a · someone. Sarah and Nicki watch Betty-

DAY Adam. - DUMONT

overheard, and Nicki's hands saying,off like Cinderella.The New Girl•- with back door

STREET nothing to be The New Girl · on his balcony playing the

have to be somewhere.runs friend.

ADAM RAYchoice, BETTY BE!TY CORNELL having

a •Except ... I and There ' s "Excep t HAVENHURST

Ray,

sung Adam. VENHURST

(3} song 1612 He stops playing when he sees the girls. This is the girl!Excel.lentOh . . . ohpromisedHA

at - C'mom . Hey!

moment

I'm sorry• 1 61 2Isaak Isaak song segues to the sounds of a blues saxophone.

that idl ing cab s its waiting

CONTINUED: AtHe smilesAdam is sick with himself.Across the room Betty panics when sheShe quickly shakes Sarah'ssorry ,Adam turns and sees her running off outChris Isaak ' sConnie Stevens and plays as Adam,disappear out the sound stage door .EXT .Ch!'.'isAnCOURTYARDChrisBetty and Rita come out of Aunt Ruth ' slaughi ng, pulling on Rita.

Across the courtyard CORNELL DUMONT,young black musician, issaxophone .stands and looks as if recognizing

They CUT TO :

cab. {CONTINUED) She speaks

smooth as syrup.

their eyes from bear.

flows shoulder.

(cont'd) name.

shielding

your Rita's

DUMONT DUMONT DUMONT Cornell smiles and picks up hisDUMONT

grabs

look up, forget

I haven't seen Sol lately. ... inaudible)come by the club. for the gate. your name? BETTY BETTY

CORNELL CORNELL RITA CORNELL BETTY CORNELL and .. . I

s so the cab driver won't Dumont . Well , how's Sol?not you(to Rita)(almost (big smile)(whispering)starts sorry ... DAY quietly

Rita stopHey,Sol?No I'm Rita.Yeah.Tell him toAnd what 'CornellAsk him who Sol is ...Maybe he could help ...-

and follows Rita through the gate to the waitingCAB

CONTINUED:Bettythe sun. Rita nods .. . biting her lip.sax.He begins to blow some sweet jazz thatRita hurriedlyBettyget in and the cab pulls away.INT .Betty reaches and gentlyfirmly but

84. TO :

car

{CONTINUED) two men DISSOLVE on both sides

at a black

She discerns Diane

Sol knows you!never heard of looking

I

aboue

him?

Sol. modern apartment compound of {cont ' d) Rita is back)see

ask

paper with the address in her hand.Rita) What do you see?! go know,

you BETTY BETTY RITA BETTY BETI'YRITAjust get in trouble. That's whyBETI'Y

.. . 2590 .

I'd... it's better not to get in They near a (points){nudgingfront.

didn' t(whispering A smooth stucco wall surrounds the complex.

LATER should be around here . .. the

Why But I don'tSol.we shouldn'tSelwyntrouble.You're not going to get in trouble.You're going to find out who you are .Finding out who you are gets you out oftrouble .ItThat's itDoes it look familiar?Don't stop !What is it?

Rita thinks about this silently then begins to worry anddoubt all over again.INT.Betty holds the slip o fShe turns back and forth watching the buildingsofRita watches out of the window pensively as the cab moves upSierra Bonita .bungalows and duplexes almost hidden in the trees andvegetation.Rita shakes her head . . no.parked down the street facing 2590 .sitting in

85. TO: a

As stay CUT

who then Betty#10 and

something This leads at DAY them. still looking in - bungalows man back. smiles

car. ALLEY Standing in the alley is

the and

the

to BACK

in - a registry is printed on a

They scan the list.(cont ' d) (cont'd)

frantic) around behind an arrow,

curving concrete walk.

front,

them?! Go

RITAin BETTYRITA BETTY BETTY BETTY BETTY

APARTMENT as possible .

lalow Suddenly he turns .. . number 12. but going. (panting whisper)you've got me scared.

(quietly - (to driver)

The girls go through a rear gate and enter the you BONITA do'n'Il quiet ...

Those menOoNo Keep Sel\oJyn It' s this way. Now,

and away. SIERRA a sign which says,in a dark suit wearing sunglasses . man still man

CONTINUED: EXT.Betty gets Rita out of the cab and pays the driver,drivescomplex walking along athem to an intersection whererough hewn wooden plaque.They both look around the various doors nearspotsthroughThey set offthey near it and actually can see it just ahead they passchainlink service gate to the alley.aBoth girls dive for the bushes .Themotion .asPeering through the bushes they see thetheir direction .to his left.

ordinary WOMAN (CONTINUED)

an . .• heavy is The girls st.and days yellow dress .They see the limomoment facing the She's in two a a

(cont'd) (cont'd)few

in foliage .a

nothing to be

forward.his work . at Rita.

the for

carrying WOMAN WOMAN WOMAN WOMAN WOMAN woman was

She knocks strongly on the by

about attractive MIDDLE-AGED

(cont'd)and stand for a.round

older embarrassed.there (cont'd) they were afraid of An an t12 going 112. man BETTY RITA RITA MIDDLE-AGEDBETTYMIDDLE-AGEDBE'ITYMIDDLE-AGEDMIDDLE-AGEDMIDDLE-AGED crawl further

little

thea of! 17.

Just walk down that way . It's just

Rita I told you kind of hidden

They wait. them. and

that switched apartments with her . followed by

See,afraid Oh no . .. don ' t. .No one's ...Yes ?Diane'?NumberBut it saidI#17.to the right.seems to be looking nowIt ' sShe hasn't been

They stand waiting. There's no answer so Betty knocks

realizerelieved woman

CONTINUED:He hurries off, but soon returnssuitcases,Both Betty andandlimousine driver justup,They go up to Bungalowfront door.Betty doesn't listen to Rita.door .agai n harder .Suddenly the door opens .stands beforeTheBetty and Rita start to leave .

87. n o

Betty and her head (CONTrntJED)

answer.

note.

closes the door. anyone

a WOMAN bungalow.WOMAN

them) and The front door is in deep shadow .I ' ll open the front I've got to get that . (cont'd) It's set back beneath tall bushesI guess. toward inside She tries a window and to her surprise

BETTY the walkway toward Bungalow RITA BETI'Y RITA BETTY MIDDLE-AGED MIDDLE-AGED BETTY #17. BETTY

backup think . ..

we'll leave her

from inside her t ' watching) ! ! (starting (turning back) (looking around forand catches her knees on the siding, stuff. ... go ahead.guess you're not Diane. don up

(2) Well ...I'll go with you. She's still got some of'ff'¥OhIStill not homeIC'mon help me in.door .No .PUSH!

She knocks again. jumps

CONTINUED; The phone ringsThe woman hurriesRita quickly moveRita , still fighting her fear doesn ' tThey reach Bungalowand an old Eucalyptus tree .Without even looking at Rita Betty knocks quickly . There ' sanswer .The girls drift off to the side of the bungalow . Betty triesto see in the windows .it opens .Bettythrough the open window.

88. TO: TO :

to TO: nose. CUT a and CUT scream The CUT A able and to swingwoman hand .(CONTINUED) They move hand a corridor. Through the make-up DAY A dried sea of dead woman,.

she closes the - They passseemsstanding upright

and a door which is Betty' s

As it

gets there just as by blasts. door clicks shut she and and andover her mouthof horrible to come in here wardrobe the BUNGALOW TOom hand kind the corridor .shotgwi want - force propelling her to look Before them isgray body of the couch,the by a

(cont'd)her(cont'd)

some downa just shutting the door to heras has the door. DAY of this is something she remembers .isDAY1!tlter

BETTY BETTY... something . . .- -

at APARTMENTS any The scream is stifled Betty They She covers Rita's mouth with her Betty touches the door though she's walking in a trance .

3) BONITA own . ( around to the front door She walks quickly in the direction of Bungalow

Meet you I don't know if youor not. There'ssmell like Betty lunges after Rita, ber eyes also not looking around at everything as they go . Betty looksits BUNGALOW BUNGALOWThey move on down the corridor to room and look in at walks - SIERRA - on

CONTINUED:Rita reluctantly pushes and Betty is in.window ...RitaBetty opens it.Rita is compelled to go in and asreacts to the smell.INT.Betty begins to go through the bungalow and Rita follows .All the blinds are closed and the curtains drawn.slowly,to Rita to see ifRita looks ashalf light they move deeper into the bungalow toEXT .The Middle-Aged Womanbungalow .#17 .INT.Betty and Rita are movingsmalltable.almost closed.openstarts to build inside Rita.lying on a bed.having been ripped and tornblood surrounds the bloated,scream comes out of Ritacloser.leave the sight.brings her close.

TO: a TO:

to CUT CUT looking with

nor the flies

crying .

Betty (CONTINUED)

back heard do tl7runs

hasgoes me

still placed over let be and DAY

dark hair with a tea.rs . stop crying, but letsbut

canhand violent

do , her eyes red with from the front door, Rita lets Betty take the then turns wrack Rita's body as she bendsBetty's is rushing to her -to other's eyes . Betty gently

Rita•s knocking BATHROOM

away - Rita can ' t have - but firmly for Rita's hand holding each

seep what you're doing .

She's not sure if she

quiet with her you wiping away some

backs DAY BETTYRITA BETI'Y

follows, loud sound of the scissors cutting deep

- 117. know

Rita She wonders, a

APARTMENT what Woman Music changes ...

that 117 followed closely behind by Betty,She keeps her from cutting and moves closer,(through uncontrollable sobs) eyes.

strands of hair . almost hysterical, know

keeps and looks up at Betty, but she can't Rita . . . IWhat . .. I •• HAVE • •• to do.Iit.

RUTH'S They look into There is

and churning music.music churning continues.many

BUNGALOW sobs , AUNT

CONTINUED:In the silencefreezesher mouth,horror in herEXT.The Middle-Agedaround at bungalowsomething or not.her bungalow.Just as she has disappeared the door to Bungalowopen and Rita,look of horror directly toward us until her tortured facefills the screen .Sounds,INT.Sounds,Greacover the sink, scissoring into her long ,frenzy.throughher hands reach tenderly,the scissors.whispering in Rita's ear.Betty hold her .Rita turnsBetty pulls her up facing her.scissors.strokes Rita's cheek,

90. TO : TO :

CUT comes variousbowl,Themake~up. a ALMOST (CONTINUED)

DISSOLVE TO: She hasno the oneDISSOLVEmatching

- apartment continue - and and counterWe bnish, They stare at the you slippers from a No , it'sthey EVENING What?The DAY WILKINS . .. music builds. and - hair . LATER chanceI got plenty bathroom LATE but.ago. gone out for combs, have the couch. eerie - AnyNo, LATERtheblack stuffed chair week blonde eyebrows MOMENTbathrobenext to Wilkins . Wilkinscan - on and a . . it's just I phone ringing .A

(cont'd) towels, working,

a - you How's it going? table enormous I'm mirror We move closer to Wilkins' some food.

BETTY HAVENHURST I just haven't(MORE)

BETTY WILKINS Sure , an APARTMENT Adam . Groovy man! in a side Yeah, empty (quietly with assurance)l ook like someone else .APARTMENT used Q-tips, op an long strands of cut RUTH'S ou

Let me do it. Y Hello.okay .wanted this scriptWhat's wrong with your house?poolman?No, it's no problerngotta . . . I gotta work.could bringof money -awhile .

of in the mirror. surrounded by piles of papers and coffee cups. Hisdeep thought and picks up the receiver as he runs slowly across we see AUNT COURTYARD 1612 WILKINS ' lots Rita as we move in we hear

CONTINUED: WT.Panningopen bottles,andmoving up toreflection of the new Rita moves into the mirror.short, beautiful blonde hair,Betty's reflection comes in. beside Rita's.newEXT.DARKWe move off the door of Aunt Ruth's apartment and craneslowly up to the apartment above hers -with the wayward dog .andINT .Wilkins still in his pajamas,morning slouchesottoman,Jack Russell Terrier wakes and stands at the sound of thephone ringingout of ahis hand through strange , matted tufts of dirty blonde hair .

TO:

91. TO :,

is

CUT CUT

and the

~t. She puts her all

No,

t ... We new

here for

That mightto startbrand NIGHT stay We know what shouldn a to be. ... now we knowI being somebody

d)to see you. can havebrand new

me . .. want seen the roof You

(cont•gladBEDROOM - be a

nice

plenty of food.- opens the purse and takes out the that money. be know what else to do .

can of

got doing?She You look like

was so afraid.only have this to offer.

I' 11 about We haven ' t WILKINS BET'n" RITA BETI'YRITA BETTY whoever youRITAkindBETI'Y

the hat.box from the closet shelf you the bed to the side of Rita .want you to stay here and you bed. I don't

and APARTMENT

have to give me that money.want to. are

no, he's taken I We shouldn't touch that money.

sounds

Murphyno, What You ' ve been so good towhy . . . why Ikind of trouble I'm in.ask you . . . II'll give you this if Iawhile.Rita . . . Idon ' tButNo.don't knowbe dangerous money.over again.person and youperson . ..Itbrand new.Hey, let's introduce the brand new you toHollywood.garden yet .

just She sits down on the bed and while staring AUNT RUTH'Sbas removes her purse. around Ri ta and holds her.

CONTINUED: mT.Ritasetting it on theBetty is sitting on the bed opposite. Rita opens the hat.boxandmoney.money she thinks of what to say.Betty moves acrossarm

92. TO: TO: TO:

CUT CUT Past CUT closer

pulling cOTnerand

move

and the ~ove

LATER along theface is We We

run across theeave.

Soon their wind- round It's' HOLLYWOOD. MOMENT NIGHT sits .

half and floating above screenA we

A the dumpsters We see the Blue Key-payphone,figure.they seem to be red.

covered - bum

a

Betty leadingThey

and

I.~ Slowlythe ...

My name's Betty.My name is . . . Rita.NIGHT amongst

an END

and tw:n - HOLLYWOOD THE

under -

silhouette of NIGHT the

NIGHT BETTY face fills the screen. a.long with her. BETTY (cont'd)RITA

It's eyes - to

- the stone steps toward us. APARTMENT dark

am Hollywood! am Hollywood! I S It is the

Rita up (to Rita)Imaybe waiting- for an answer blowing in the

bum's RESTAURANTcomedark alley.the are the lights of Hollywood with silhouetted a GARDEN RUTH' we is

to stone steps Here Say it!Herewind.

COURTYARD them move down inside Rita's purse.

smiling faces fill the screen as they look out. Thereslow-moving theater kleig lights, ROOF Ana AUNT DENNY'S we until

much happier

We move in to the pile of money next to Rita's purse.EXT.We drift along the red bricks past thewalland move totrash cansto the figure .closer and theblack with fungus.