"MULHOLLAND DRIVE"
Unproduced Pilot
by
David Lynch
1/5/1999
EXT. NIGHT - HOLLYWOOD HILLS, LOS ANGELES
Darkness. Distant sounds of freeway traffic. Then the closer
sound of a car - its headlights illumine an oleander bush
and the limbs of an Eucalyptus tree. Then the headlights
turn - a street sign is suddenly brightly lit. The words on
the sign read... "Mulholland Drive." The car moves under the
sign as it turns and the words fall once again into darkness.
CUT TO:
EXT. NIGHT - MULHOLLAND DRIVE
Gliding we follow the car - an older black Cadillac limousine -
as it winds its way up Mulholland Drive through the darkness
of the Hollywood Hills. There is no one else on the road. As
we drift closer to the car...
CUT TO:
INT. BLACK CADILLAC LIMOUSINE - NIGHT
Two men in dark suits are sitting in the front seat. A
beautiful, younger, dark-haired woman sits in back. She sits
close up against the door and stares out into the darkness.
She seems to be thinking about something. Suddenly she turns
and looks ahead. The car is slowing and moving off to the
side of the road.
DARK-HAIRED WOMAN
What are you doing? You don't stop
here...
The car stops - half on, half off the road at a dark, blind
curve. Both men turn to the woman.
DRIVER
Get out of the car.
CUT TO:
EXT. FURTHER UP MULHOLLAND DRIVE - NIGHT
Two cars - a convertible and a late model sedan are drag
racing toward the blind curve blocking the view of the
Cadillac limousine. The cars are filled with crazed teenagers.
Two girls are standing up through the sunroof of the sedan
screaming as their hair is whipped straight back.
The cars are travelling so fast that they seem to almost
float as they fly with psychotic speed down both lanes of
Mulholland Drive.
CUT TO:
INT. EXT. - CADILLAC LIMOUSINE
The driver, still in his seat, has a pistol with a silencer
attached pointing at the woman. The other man is getting out
of the car. The woman is clutching the seat and the door
handle as if trying to anchor herself. She is visibly afraid.
The man who got out of the car tries the woman's door, but
it is locked. He smiles as he reaches in through the front
door and unlocks her door. He opens her door. As he reaches
for her, the woman's face becomes flooded with light. Her
eyes dart to the front windshield. The driver, flooded with
light, turns just as the late model sedan slams into the
Cadillac limousine.
There is an explosion of metal and glass amidst thunderous
tearing sounds as the two cars become one in death. The
convertible screams past with hardly a notice. The driver of
the limousine dies instantly as his body is jettisoned through
the windshield. The other man is torn as the cars screech
over him. The woman is brutally thrown into the back of the
front seats as a cloud of dust and flying rocks engulfs her.
The disastrous moving sculpture of the two cars wants to
climb up the hill, then stops and slides back toward the
road The Cadillac tips onto its side.
Then all is silent. A fire erupts in the sedan and as the
dust clears we see the woman appear, then crawl out of the
Cadillac to the road. Her face is vacant. There is a bleeding
cut just above her forehead. She stands for a moment clutching
her purse - lost, then begins to walk as if in a trance across
Mulholland down through the bushes and into darkness.
DISSOLVE TO:
EXT. HOLLYWOOD HILLS - LATER - NIGHT
The woman slides down a hill through tangles of hostile desert
plants. Sirens can be heard in the distance. She crosses
through some trees and is suddenly confronted by a coyote
which snarls and leaps at her. She screams and strikes out
with her purse in self defense. The coyote backs away -
snarling. The woman then loses control and runs at the coyote
and it races off. She falls to the ground.
We can hear the thunder of her heartbeat as the sirens grow
louder. She gets up and stumbles through the trees. When she
clears them she is standing overlooking all of Los Angeles
glowing down below. She clumsily starts down toward it.
DISSOLVE TO:
HOLLYWOOD STREETS - LATER - NIGHT
The woman slides down a dusty hill and finds herself at
Franklin Avenue. A car races by and its headlights flare on
her face. Her expression shows fear and panic. She doesn't
know where she is or where to go. She runs frantically across
the street. She moves quickly to a sidewalk which takes her
into a residential area.
DISSOLVE TO:
EXT. HOLLYWOOD STREETS - LATER - NIGHT
The woman crosses Sunset Boulevard. Coming up Sunset in the
distance is a police car with its sirens and lights going.
She hurries into the darkness of another residential area. A
car turns onto the street and comes toward her. She
instinctively moves behind a tree until it passes.
DISSOLVE TO:
EXT. HOLLYWOOD STREETS - LATER - NIGHT
As if being hunted in a foreign land the woman moves
desperately down another residential street. A drunken couple
round the corner up ahead and start up the sidewalk toward
her. She runs off the sidewalk and into the bushes in front
of an apartment building. The couple passes by without
noticing her. Feeling safe in these bushes her exhaustion
overtakes her and she lays her head down to sleep.
DISSOLVE TO:
EXT. MULHOLLAND DRIVE - NIGHT
Police, paramedics surround the wreckage. Two detectives,
HARRY MCKNIGHT and NEAL DOMGAARD (both mid 40's to 50), stare
at the remains of the two cars glowing white hot under the
crime scene lights. A coroner's van pulls out just after an
ambulance. The ambulance's siren begins to wail as it speeds
off. The coroner's van cruises slowly. Detective Harry
McKnight and Detective Neal Domgaard continue staring. They
do not look at each other. They are each motionless for a
long moment.
DETECTIVE HARRY MCKNIGHT
You feel it?
DETECTIVE NEAL DOMGAARD
Yeah.
They continue to stare.
DETECTIVE NEAL DOMGAARD
Sammy thinks the Caddy had stopped
along the shoulder... man up the
road said he saw two cars drag
racin'... then you got that blind
corner.
DETECTIVE HARRY MCKNIGHT
Two men... two guns in the Caddy.
DETECTIVE NEAL DOMGAARD
The boys found this on the floor in
back of the Caddy.
Neal holds up a plastic bag holding a pearl earring.
DETECTIVE HARRY MCKNIGHT
Yeah, they showed me.
DETECTIVE NEAL DOMGAARD
Could be unrelated.
DETECTIVE HARRY MCKNIGHT
Could be... any of those dead kids
wearin' pearl earrings?
DETECTIVE NEAL DOMGAARD
No. Could be someone's missin' maybe.
DETECTIVE HARRY MCKNIGHT
That's what I'm thinkin'.
Detective Harry McKnight turns and crosses Mulholland. His
eyes move over each blade of grass at the shoulder - each
desert bush just beyond. He slowly raises his gaze to the
shining lights of Hollywood laying far below like a galaxy.
He looks out and wonders.
CUT TO:
EXT. HOLLYWOOD STREETS - EARLY DAWN
The clang of a metal gate wakes the woman. It is just getting
light and she sees an older red-headed woman carrying a
suitcase to the curb where a cab stands waiting with its
trunk open. The cab driver appears with two suitcases which
he sets down next to the car. The red-headed woman and the
cab driver both go back through the iron gate. The woman in
the bushes pulls herself to the gate where she can peer into
the courtyard of this apartment building. She sees the red-
headed woman and the cab driver go into an apartment and
come back out with more luggage.
They leave the apartment door open. When the red-headed woman
and the cab driver reach the cab they both begin loading the
bags into the trunk and backseat. Their backs are to the
woman in the bushes who takes this opportunity to go quickly
into the courtyard and through the open apartment door.
CUT TO:
INT. APARTMENT - EARLY DAWN
The woman comes into a living room where a single trunk
remains. She goes further into the apartment and crouches
down in a back corner of the kitchen. She listens as footsteps
come across the courtyard. She hears the red-headed woman
and the cab driver get the trunk. She hears them set it down
once they have it in the courtyard. She hears the steps of
the red-headed woman come back inside the apartment. She
hears the footsteps go all around the apartment and then she
hears the footsteps come toward the kitchen. Remaining frozen,
the dark-haired woman's eyes look up as the red- headed woman
walks right past her, grabs a set of keys off the kitchen
counter, then leaves the apartment. The woman can hear the
door being locked. She lets go, slides to the kitchen floor,
and passes out.
CUT TO:
INT. DENNY'S RESTAURANT, HOLLYWOOD - MORNING
Two well-dressed men HERB and DAN (mid 30's) are sitting at
a table drinking coffee. Herb has finished eating his
breakfast, but Dan hasn't touched his bacon and eggs - he
appears too nervous to eat. A blonde waitress with a nameplate
saying "DIANE" lays the check on their table smiles, then
walks off.
HERB
Why did you want to go to breakfast
if you're not hungry?
DAN
I just wanted to come here.
HERB
To Denny's? I wasn't going to say
anything, but why Denny's?
DAN
This Denny's.
HERB
Okay. Why this Denny's?
DAN
It's kind of embarrassing but,
HERB
Go ahead.
DAN
I had a dream about this place.
HERB
Oh boy.
DAN
You see what I mean...
HERB
Okay, so you had a dream about this
place. Tell me.
DAN
Well... it's the second one I've
had, but they were both the same...
they start out that I'm in here but
it's not day or night. It's kinda
half night, but it looks just like
this except for the light, but I'm
scared like I can't tell ya. Of all
people you're standing right over
there by that counter. You're in
both dreams and you're scared. I get
even more frightened when I see how
afraid you are and then I realize
what it is - there's a man... in
back of this place. He's the one...
he's the one that's doing it. I can
see him through the wall. I can see
his face and I hope I never see that
face ever outside a dream.
Herb stares at Dan to see if he will continue. Dan looks
around nervously, then stares at his uneaten food.
DAN
That's it.
HERB
So, you came to see if he's out there?
DAN
To get rid of this god-awful feeling.
HERB
Right then.
Herb gets up, picks up the bill and goes to the cashier to
pay. Dan just sits.
As Herb is paying the bill he looks over at Dan just as Dan
is turning to look at him. From Dan's point of view Herb is
standing in exactly the same spot as he stood in the dream.
Herb gets a strange feeling, turns back and finishes up with
the cashier. He motions for Dan to follow him. Dan rises
reluctantly and he and Herb make their way outside.
CUT TO:
EXT. DENNY'S
Now Herb waits for Dan to lead the way.
DAN
Around here.
Dan takes Herb across the front of Denny's to a narrow
sidewalk that leads down the side toward the back.
They begin walking down the narrow sidewalk - past a payphone.
Dan begins to sweat the nearer he gets to the rear corner of
the building. Red bricks glide by slowly.
CLOSER ON DAN
Beads of sweat cover his face. He finds it difficult to
breathe. Herb is just behind him unable to see the fear
overtaking his friend, but Herb can feel something himself.
The red bricks moving by now are coming to an end - the corner
is coming closer - the corner is now very close.
Suddenly a man - a face... a face dark and bum-like moves
quickly out from behind the corner and stops - freezes -
staring into Dan's eyes.
Dan lurches back. All his breath is suddenly gone. He falls
back into Herb who tries to catch him as he's falling. Dan
hits the ground unable to breathe - his eyes wide with horror.
Herb looks up - the man is gone. He looks down to Dan.
HERB
Dan!... Dan! You all right?... Dan!
He kneels down and studies his friend. He feels for a pulse
in the neck. He listens for breathing. His friend is dead.
HERB
My God!
DISSOLVE TO:
EXT. LAX AIRPORT - DAY
The airport sits in blinding sunlight and veiled with smog.
A big jet lands.
CUT TO:
INT. LAX AIRPORT
A blonde girl walking with an old woman approaches us. As
the blonde's face fills the screen we move with her and stay
with her as she goes. Her face is bright and her eyes move
here and there taking in everything. She can hardly believe
she's in Los Angeles - the City of Dreams. She and the old
woman pass under a sign which reads "WELCOME TO LOS ANGELES."
The girl smiles and looks around excited by every detail.
CUT TO:
EXT. LAX AIRPORT
The girl and the old lady exit the terminal with their bags.
An older gentleman has joined the old lady. They stop at the
taxicab stand. The old lady takes the blonde girl's hand.
OLD LADY
It's time to say goodbye, Betty.
It's been so nice traveling with
you.
BETTY
Thank you, Irene. I was so excited
and nervous. It was sure great to
have you to talk to.
IRENE
Now, remember I'll be watching for
you on the big screen.
BETTY
(smiling)
Okay Irene. Won't that be the day.
IRENE
The best of luck to you, Betty. Take
care of yourself and be careful.
BETTY
Okay I will. Thanks again.
Betty and Irene give each other a hug. The old gentleman
nods to Betty and takes Irene off. Betty smiles after them.
Suddenly someone is grabbing her bags. She turns abruptly to
find she is next in line and her cab is waiting. She turns
once more and waves at Irene as her bags are loaded into the
trunk of the cab.
CAB DRIVER
Where to?
BETTY
(smiling excitedly)
1612 Havenhurst.
CAB DRIVER
Got it!
They get into the cab and close their doors. The cab pulls
away.
CUT TO:
EXT. STREETS - LOS ANGELES - DAY
Betty goes from the right side of the cab to the left side
of the cab looking at every building, tree and sign. Each
street sign seems to be magical to her and she says the names
to herself as they pass by. She sees La Tijera, La Cienega,
Venice Boulevard, Pico Boulevard, Olympic Boulevard, Wilshire
Boulevard, etc., etc. until they reach Fountain and turn
right. Betty's heart is pounding when she sees Havenhurst
and the cab turns left. In the middle of the block on the
right the cab pulls over and stops. Betty sees her new home...
an ancient, gorgeous courtyard apartment building, built
during the golden age of cinema.
CUT TO:
EXT. 1612 HAVENHURST
The cab driver puts Betty's bags down on the sidewalk next
to her. She can barely stop looking at the building long
enough to pay the cab driver who then goes off and drives
away. Betty picks up her bags and enters, as if in a dream,
through an ornate iron gate to a courtyard with a beautiful
working fountain at its center. A sign on a door to her right
reads Manager and she rings the bell.
An older, once very beautiful, woman wearing heavy make-up
and smoking a cigarette in a silver holder opens the door.
An unbelievable raspy voice comes out through the dark screen
of the still closed screen door.
MANAGER
Hi there... ten bucks says you're
Betty.
BETTY
I am, Mrs. Lanois. It is Mrs. Lanois
isn't it?
MRS. LANOIS
In all my living glory, baby.
BETTY
Pleased to meet you.
MRS. LANOIS
You can call me Coco... everybody
does. Stay there, I'll get the key.
BETTY
Okay, Coco.
Coco returns with the key and opens the screen door inhaling
a huge drag off her cigarette. She starts off into the
courtyard and Betty picks up her bags and follows. As Coco
speaks smoke comes out of her with every word.
COCO
I guess it was your grandfather, was
it... he called me to check in, said
you were on your way and for you to
call when you get in. Nice man...
farmer I hear.
BETTY
Yes, he is. He raises corn.
COCO
Damn lot of corn raised in Hollywood
these days too.
BETTY
Well, I...
COCO
You don't have to tell me. It's
written all over that pretty face of
yours... You came here to be an
actress. I just hope you'll remember
there's never been a great poem called
"tits and ass."
BETTY
I...
COCO
You probably don't remember her, but
Louise Bonner lives right over there
in number 29. When she isn't drunk
she runs a damn good acting class.
BETTY
Have many famous actors and actresses
lived here? I was meaning to ask you
that.
COCO
Honey, all the great ones came through
here at one time or another.
A haunting music begins to swell.
COCO
People say in the springtime when
the wind blows the smell of the
jasmine you can still feel the
presence of everyone of them.
BETTY
I guess I've come to quite a place.
COCO
Sweetheart, you don't know the half
of it.
The music fades.
Coco looks down suddenly. On the cobblestone courtyard in
front of her she sees a fresh product of waste from a dog.
She angrily turns up to an apartment on the second level.
COCO
(yelling up)
WILKINS!...
(no answer)
...THAT DOG CRAPS ONCE MORE OUT HERE
AND I'LL BAKE HIS BUTT FOR BREAKFAST!!
Coco turns back to Betty.
COCO
You don't have pets do you?
BETTY
No, I don't.
COCO
That's good. They're allowed, but I
don't like 'em... for obvious reasons.
One man used to live here that had a
prize fighting kangaroo. You wouldn't
believe what that kangaroo did to
this courtyard... let's see your
Aunt's apartment... it's a good one.
BETTY
I can hardly wait, Coco.
CUT TO:
INT. APARTMENT - BEDROOM
The dirty and torn black cocktail dress of the dark-haired
woman along with her shoes, purse and undergarments are in a
pile in the bedroom. We drift off them toward the bathroom
where the dark-haired woman can be seen showering through
rippled glass. There's the sound of a door opening. We see a
movement through the glass and the shower goes off instantly.
We can hear the dark-haired woman's frightened breathing as
she waits frozen listening.
CUT TO:
INT. APARTMENT LIVING ROOM
Betty enters, thrilled with what she sees. The apartment is
filled with movie memorabilia, deco furniture, oriental rugs,
brass floor lamps and a massive tiled fireplace. She sets
her bags down and stares.
BETTY
It's unbelievable!
COCO
I told ya.
BETTY
Wow!
COCO
Now I guess you and your Aunt have
an understanding. So here's the key
and you need anything, just give a
holler.
(Coco hands Betty the
key)
Everybody in this building's pretty
much okay with me or they wouldn't
be here. If you want, later I'll
introduce you around. No hard feelings
if you don't, and don't forget the
rooftop garden. It's just up the
stairs we passed. It's open to all
the tenants. You can see the Hollywood
sign from there.
BETTY
Oh Coco thank you. Thank you so much.
COCO
You got it! See you later honey.
Coco leaves and closes the door behind her. Betty begins to
explore the apartment. After walking a circle in the living
room she passes through the kitchen. She moves down a hallway
looking at paintings and posters. She goes into the bedroom.
She smiles when she sees the bed which has a huge ornately
carved head and foot board. She notices the soiled dress on
the floor and she frowns as she looks closer. She stands
back up, shrugs and goes into the bathroom which has all the
original thirties fixtures damndest floor to ceiling tiles.
As she goes toward the sink she smiles to herself in the
mirror above it. Suddenly something catches her eye and she
opens the shower stall. There before her is the naked,
beautiful dark-haired woman.
BETTY
Oh my!
She quickly closes the shower door.
BETTY
I'm sorry. My Aunt... Ruth didn't
tell me someone was going to be here.
I'm so sorry.
DARK-HAIRED WOMAN
That's okay.
BETTY
I'm Ruth's niece. My name's Betty.
I'm sure she told you I was coming.
There's a silence.
DARK-HAIRED WOMAN
There was an accident. I came here.
BETTY
I understand. I saw the dress. I...
I'm sorry. Are you all right?
There is another silence.
BETTY
What happened?
DARK-HAIRED WOMAN
A car... a car accident.
BETTY
Are you okay?
DARK-HAIRED WOMAN
I think so. I was just taking a
shower.
BETTY
Oh my god. I'm sorry. I'll let you
get back to that. I'm going to get
unpacked.
Betty goes to the bathroom door and is closing it when she
stops and looks back in.
BETTY
What's your name?
We see a close-up of the dark-haired woman. We see her eyes
widen with a kind of fear. She's frantically thinking -
searching her mind for an answer.
BETTY
I'm sorry. I'll get out of here and
we can talk later.
CUT TO:
INT. APARTMENT BEDROOM
Betty is unpacking in the bedroom and putting her belongings
in the closet and the dresser drawers. Many of her Aunt's
things are still there.
CUT TO:
INT. APARTMENT BATHROOM
The dark-haired woman is looking at herself in the mirror.
She turns and begins looking around the bathroom at shampoos,
cosmetics, until her eyes fall on a poster of "Gilda" starring
Rita Hayworth.
CUT TO:
INT. APARTMENT BEDROOM
The bathroom door opens and the dark-haired woman comes out
wrapped in a towel. She's drying her hair with another. She
and Betty stare at one another.
DARK-HAIRED WOMAN
My name is Rita.
BETTY
Hi... do you work with my Aunt?
RITA
No... I...
BETTY
I... I mean... I... it's none of my
business.
RITA
She has pretty red hair... she is
very kind I think.
BETTY
She sure is. She's letting me stay
here while she's working on a movie
that's being made in Canada, but I
guess you know that. I couldn't
afford a place like this in a million
years. Unless of course I'm discovered
and become a movie star. Of course,
I'd rather be known as a great actress
than a movie star, but sometimes
people end up being both and that
is, I guess you'd say, sort of why I
came here. I'm sorry, I'm just so
excited to be here..I mean I just
came here from Iowa and now I'm in
this dream place. You can imagine
how I feel.
RITA
I think I've been hurt.
BETTY
Oh...
Betty goes to Rita.
BETTY
Sit down...
Betty sits Rita on the bed. She leans down and looks at her
head and face.
BETTY
Where were you hurt?
Rita motions to her head above her forehead. Betty looks
through her hair and finds her wound which has stopped
bleeding but is surrounded by a very large blue black
bruising.
BETTY
We should get a doctor.
RITA
No.
BETTY
But, this could be serious.
RITA
No... I need to sleep.
BETTY
If you have a concussion you shouldn't
sleep.
RITA
It will be okay if I sleep. I need
to lie down and sleep.
BETTY
All right, but... I'm going to check
on you.
Rita lies down and is instantly asleep. Betty leans over her
and listens to her breathing. She gets a blanket and drapes
it over the beautiful sleeping Rita, then leaves the room.
CUT TO:
EXT. DOWNTOWN LOS ANGELES - LOW RENT OFFICE BUILDING - DAY
The street level of the office building is filthy and houses
stores selling racks of cheap toys. Up above we see office
windows and a big sign saying "Office Space For Rent" along
with a telephone number to call. We drift in toward one of
the windows on the sixth floor.
CUT TO:
INT. OFFICE ON SIXTH FLOOR
Two men are in the room, JOE and ED. Joe leans up against a
rack of filing cabinets. He is in his late twenties. He looks
like a run down, heavy metal rocker - wears a blue denim
shirt open, T-shirt underneath, black denim jeans and
motorcycle boots. His black belt has silver studs. He's
smoking a cigarette and is laughing at something the man at
the desk has said. His laugh is easy and his grin is
infectious.
The man at the desk, Ed, wears a clean, crisp black suit,
like a business man's but unlike a business man his blonde
hair is long enough to go over his shoulders.
JOE
So man, that's unheard of... an
accident like that... who coulda
foreseen that.
ED
Unreal... so, you're looking good.
Whatcha doin' these days?
JOE
Well, not much Ed. Just doin' some
stuff for this guy.
ED
Making ends meet, huh.
JOE
Hardly.
ED
Yeah, look at my digs... times are
tough.
JOE
Oh, things aren't so bad. Gee, I
hope you're not goin' to get in any
trouble.
ED
It was just a thing. The story made
you laugh.
JOE
Yeah, that's a funny story.
Looking like he's rubbing the small of his back Joe moves
over to Ed at his desk. Joe looks down to the surface of the
desk - to a small worn black book.
JOE
So, there it is... Ed's famous black
book.
ED
Yeah, the history of the world in
phone numbers.
Joe's hand still at the small of his back moves into view
holding a silenced pistol and in one swift move reaches out
and fires a hole through Ed's temple - blowing Ed's brains
out across the desk, carpet and wall. Ed's head bangs down
on the desk, then is still save the leaking of blood from
the wounds. Joe flips his finished cigarette out the open
window behind Ed's desk, wipes the gun clean with a
handkerchief and places the cleaned gun in Ed's right hand.
He places Ed's right forefinger gently onto the trigger. As
he puts the finger on the trigger he presses a little too
hard and the gun goes off. The bullet shoots out and
penetrates the cheap wall at the far end of Ed's office. Joe
hears a muffled scream.
JOE
(disgusted with himself)
Oh... man!
With a sense of "just more stuff I got to do" Joe moves slowly
and begrudgingly out of Ed's office, checks the corridor and
goes toward the screaming which still persists. He opens up
the office door next to Ed's and finds a heavy set woman
screaming bloody murder as she is grabbing her buttock and
lower back. He sighs and walks over to her and cups his hand
tightly around her mouth to squelch the screaming. Wide-eyed,
she tries to fight him off and he begins dragging her out of
her office. Joe's foot catches on a computer cable clumsily
taped across the floor and he falls backwards bringing the
heavy woman down with a bone-crushing blow on top of him.
The woman begins beating his face with her meaty fists. Joe
snaps her head back, instantly stilling her violent activity.
He wrestles the stunned heavyweight back to her feet and out
her door. He pushes and pulls her into Ed's office. Just
before they enter, Joe notices a man with a vacuum cleaner
watching him from the far end of the corridor. He stops and
calls to the man.
JOE
Hey man. She's hurt bad. Get down
here and use the phone. Help me out.
You gotta call the hospital.
The man hesitates... not sure if this jives with what he's
seeing.
JOE
I mean it! Get down here quick! She's
hurt and I can't do everything myself,
man.
Joe pushes the woman inside Ed's office, throws a glance
back down the corridor and sees the man is on his way to
him, pushing his industrial vacuum and trailing a 200 ft.
long thick black cord as he goes. Joe goes in to Ed's office
with the woman. He throws her down on the floor in line
between Ed's desk and the bullet hole in the wall. She starts
screaming immediately and struggles to get up. Joe grabs the
pistol from Ed's dead hand and lifts it to fire, but the
woman has turned around and is almost standing.
JOE
No, no, no. You gotta be turned
around.
He goes to her, slaps her hard in the face and spins her
around. Before she can turn again Joe races back to place
himself in the proper line at Ed's desk and quickly fires
two silenced shots into the back of her head. The man with
the vacuum enters. His eyes begin to widen in reaction to
the scene. Just then Joe fires a bullet into the man's chest.
The man inadvertently flicks on the vacuum cleaner as his
hands rush up to the wound. As the vacuum cleaner whines Joe
rushes to the man before the man falls back out into the
corridor. He pulls him into the room - the man moaning and
clutching his chest, starting to collapse. Joe releases him
and the man goes down. The vacuum cleaner seems to be
screeching now in the threshold. Joe fires the last bullet
into the heavy duty vacuum cleaner. The bullet shorts out
the internal wiring of the vacuum. That in turn blows the
building's circuit breaker and all the lights go out.
JOE
(disgusted with himself)
Oh... man!
Now he hears voices - voices moving into the corridor.
VOICES
What the hell.... what happened?
What's this cord doing here?
It's the vacuum.
It's the vacuum what did it.
Joe cleans the pistol once again and places it back in Eddie's
hand - Eddie's finger on the trigger. Joe picks up the black
book - turns and makes his escape by going out the office
window and quickly descending the rusty fire escape.
CUT TO:
INT. CONFERENCE ROOM - CENTURY CITY BUILDING - DAY
We see three men sitting at a conference table RAYMOND (RAY)
HOTT - president of production, wearing a crisp blue suit,
VINCENT DARBY - senior vice-president, wearing a crisp green
suit and ROBERT SMITH - talent manager, wearing a crisp brown
suit. Ray and Mr. Darby sit at the head of the table and
Robert Smith sits along the side. A younger man - ADAM KESHER
enters and sits down, with an arrogant nonchalance, next to
Robert Smith. Adam is dressed in a frumpy old fashioned plaid
shirt, worn jacket, dark blue cotton slacks, and a pair of
old brown wing tips. As he sits he is holding and twirling a
vintage "7-iron" golf club.
ADAM
So what's the problem?
RAY
There is no problem.
ADAM
So why did you idiots bring me
here?... I'm in the middle of making
a picture.
Silence for a moment. A man enters through a rear door and
whispers something to Mr. Darby and shows him something on a
piece of paper. Mr. Darby studies the piece of paper.
MR. DARBY
(to man who entered)
What was it last time?
The man who entered points to something on the paper.
MR. DARBY
Okay, let's try the next one.
The man nods and leaves.
RAY
He isn't gonna like it.
MR. DARBY
We'll see.
ADAM
Hello... who're we talkin' about
here?
Robert Smith shuffles nervously in his chair next to Adam.
ROBERT SMITH
You see Adam... there are some
suggestions which are to be brought
forward... and I know you said you
would entertain suggestions and that's
all anybody here is asking you to
do.
ADAM
What're you talking about?
ROBERT SMITH
An open mind... You're in the process
of re-casting your lead actress and
I'm...
(looks around)
We're asking you to keep an open
mind.
CUT TO:
EXT. CENTURY CITY - DAY
Before us is a huge modern office building of glass and steel.
Two men in dark suits have exited a large limousine and are
walking up into the building. We drift up the facade, higher
and higher moving in toward the top of the building.
DISSOLVE TO:
INT. OFFICE BUILDING - DAY
The men exit an elevator and move through a lobby where a
plaque beneath an enormous bronze sculpture reads "Ryan
Entertainment". Gliding we travel behind the two men down a
wide, carpeted hallway with blonde wood and glass on each
side. They enter through two large blonde wooden doors to
the conference room.
CUT TO:
INT. CONFERENCE ROOM - DAY
The men in dark suits go in as if they owned the place. Ray,
Mr. Darby and Robert Smith stand immediately. Adam remains
seated. Mr. Darby is the only one near enough to attempt a
hand shake, but when he offers his hand it is not taken. The
men in dark suits sit down without wasting a movement and
without acknowledging anyone. One of the men in a dark suit
opens a briefcase. Ray has been trying to make introductions.
RAY
Ah... the Castigliane brothers. Let
me introduce you around... please...
sit down.
(after they've already
seated themselves)
...this is Mr. Darby whom you know
and this is the director Adam Kesher
and his manager Robert Smith.
The Castigliane brothers do not acknowledge any of this,
however, during the introductions the one with the briefcase
removes a photo of a girl and sets it in front of Ray.
RAY
Ah... she's very pretty.
We see the photo of the girl - of a nice looking blonde -
someone we've never seen before. Adam looks like he doesn't
know what's going on and he's getting upset about not knowing.
His manager, Robert Smith, is beginning to see the makings
of a confrontation - he's starting to panic.
MR. DARBY
(referring to
Castigliane brothers)
May I offer you gentlemen anything?
LUIGI CASTIGLIANE
Espresso.
VINCENZO CASTIGLIANE
Nothing.
ADAM
Uh what's the photo for?
MR. DARBY
(picking up phone and
speaking)
One espresso... no, that's it.
(sets phone down -
addresses Castigliane
brothers)
I think you're going to enjoy your
espresso this time... I've been doing
quite a bit of research knowing how
hard you are to please... this one
comes highly recommended.
ADAM
What's the photo for?
RAY
(to Adam)
A recommendation... a recommendation
to you Adam.
VINCENZO CASTIGLIANE
Not a recommendation.
LUIGI CASTIGLIANE
This is the girl.
ADAM
What girl? For what? What is this
Ray?
Ray, still standing with a forced smile, turns to the
Castigliane brothers.
RAY
We'd be happy to put her in the pile
for considerations... you'd be pleased
to know there's quite a lot of
interest in this role.
ADAM
Interest?! There's six of the top
actresses that want this thing.
LUIGI CASTIGLIANE
This is the girl.
ADAM
Ray... you better take care of this.
ROBERT SMITH
Hold on... hold on, Adam.
ADAM
Hold on!!!!!!!! There's no way,
there's no way!!!
Luigi Castigliane's espresso is brought in by the man who
had been in earlier. The man sets the espresso down in front
of Luigi and takes a step back. The room becomes silent -
watching the Espresso Man and Luigi. Without looking up Luigi
speaks softly.
LUIGI CASTIGLIANE
Napkin.
ESPRESSO MAN
(leading forward to
hear)
Pardon?
LUIGI CASTIGLIANE
Napkin.
ESPRESSO MAN
Of course. Excuse me.
The Espresso Man leaves the room. Luigi looks at the espresso.
Vincenzo stares at Adam.
Adam is doing his best to stare down Vincenzo. The Espresso
man returns with a cloth napkin and lays it down next to the
espresso.
ESPRESSO MAN
Will that be all, Sir?
Luigi doesn't answer and after a moment of standing very
still waiting, the Espresso Man turns and leaves the room.
Adam is stared down by Vincenzo and averts his eyes to the
espresso cup. He looks around at Ray and Mr. Darby - seeing
them stare at the espresso cup.
Vincenzo keeps staring at Adam.
Luigi picks up the napkin and holds it in his left hand.
With his right hand he lifts the espresso cup and places it
above the napkin. He brings the cup and napkin to his mouth.
He takes a sip of espresso. A small fleeting expression forms
on Luigi's impassive face as if for one millisecond he is
going to vomit. His mouth opens and he allows the espresso
to fall and dribble onto the napkin. He pushes any remaining
espresso in his mouth out with his tongue. He holds it in
that position for a moment.
LUIGI CASTIGLIANE
Is shit!
Luigi Castigliane stands up.
RAY
I'm sorry. That was a highly
recommended...
MR. DARBY
That's considered one of the finest
espressos in the world, sir.
Luigi just stands there. A small thread on his left suit
jacket pocket catches his attention and he smooths it back
into the fabric. Vincenzo closes his briefcase, takes out a
handkerchief and cleans his nose - then stands, placing the
handkerchief back in his pocket.
ADAM
Wait a minute!! What's going on here?
Vincenzo just stares toward Adam as if he's not even there.
ADAM
There's no way that girl is in my
movie!
Silence.
LUIGI CASTIGLIANE
That is the girl.
The Castigliane brothers begin to leave. Adam stands up
trembling with anger.
ADAM
Hey!!!!! That girl is not in my
film!!!
VINCENZO CASTIGLIANE
It is no longer your film.
Adam turns white and stands very still as this sinks in. The
Castigliane brothers leave. As the big blonde wood doors
close behind them Adam starts to boil.
ADAM
(screaming)
You'd better fix this, Ray!!!
RAY
I'll speak to someone.
ADAM
(turning to his manager)
And you'd better speak to someone
too... or find yourself another
client!! This smells like a set-up
to me!
(back to Ray)
And by the way, Ray, I don't know
who these guys are kidding, but every
foot of film I've shot is in a vault
at the lab that only I can access.
No one's getting that film!!
ROBERT SMITH
This is a catastrophe...
(turning toward Ray)
you told me they might insist on a
girl, that's all.
ADAM
Why didn't you tell me, Robert? That's
what I mean... you set me up! I woulda
never come here.
(standing)
I'm leaving. I'm a director you don't
want to lose... you guys better fix
this!!
Adam storms out of the room.
RAY
(standing)
Well... I didn't know that was going
to happen.
CUT TO:
EXTERIOR - OFFICE BUILDING - CENTURY CITY - DAY
Adam exits the building carrying his 7-iron. An attendant
takes his valet parking ticket. While Adam, still fuming,
waits for his car he notices the big limo standing off to
one side. He stares at the car and the huge limo driver
leaning up against the front driver's side door.
Adam's car arrives - a late model Porsche. Before Adam gets
into his car he addresses the attendant.
ADAM
Did the Castigliane brothers get out
of that limo?
ATTENDANT
They two guys in dark suits?
Adam nods and walks over to the limo. The limo driver eyes
him and his 7-iron suspiciously.
ADAM
Castigliane brothers?
LIMO DRIVER
Beat it!
ADAM
O.K.
Adam raises his 7-iron and smashes out the limo's windshield.
He whacks two big dents in the hood, then smashes out a
headlight. The limo driver starts towards him. Adam laughs,
runs to his car and takes off.
CUT TO:
INT. AUNT RUTH'S APARTMENT - LATER DAY
Betty is stretched out on the big leather couch in the living
room. A half eaten sandwich and chips are on a plate on the
coffee table next to her. She is talking on the phone.
BETTY
No Grandpa, you wouldn't believe it.
It's more beautiful than I ever
Dreamed... no she left me a lot of
food. The refrigerator's full...
Aunt Ruthie said she'd call me when
she got settled... it was real smooth.
I sat next to a lady who gave up her
first class seat to a boy with a
broken leg. She was so nice to me.
She invited me to her house sometime.
It's in Bel Air which is a place
where people have a lot of money...
I will. Everybody's telling me to be
careful, but I sure love it here
Grandpa. Thank you for helping me
get here... yeah, it's long distance.
I love you. Say hello to Grams. Give
her a big kiss for me. Okay, I love
you Grandpa... bye.
Betty hangs up the phone, takes a big bite of her sandwich
and lays flat out on the couch, chewing and smiling up at
the ceiling. She suddenly remembers Rita and her promise to
look in on her. She gets off the couch and goes into the
bedroom.
CUT TO:
INT. BEDROOM - DAY
Rita is still asleep when she enters. She leans down and
finds Rita breathing normally. She feels her forehead.
Satisfied that all is well, Betty quietly leaves the bedroom.
CUT TO:
INT. - EXT. APARTMENT - DAY
Betty rinses her dishes in the kitchen sink and pours herself
a cup of coffee. She takes the coffee outside to the courtyard -
to a white metal table just outside her doorway. She sits
down and stretches in the warm afternoon sun. Across the way
she can hear a blues saxophonist practicing in one of the
apartments. She drinks her coffee and listens to the music.
Some birds fly by overhead. She takes another sip of coffee.
The blues music which was mellow and slow is now building in
tempo and volume. The phone inside rings. Betty takes her
coffee back into the living room, shutting the door behind
her. She crosses to the leather couch and picks up the phone.
BETTY
Hello... Aunt Ruth!! I can't tell
you how happy I am. Your place is so
fantastic! Yes... Coco... what a
character. I really like her... that's
too bad... waiting in an airport
must not be too fun. What's a mosquito
plane?... Oh I get it. How long does
that take from Montreal?... Well,
you'll sleep good tonight... Hudson
Bay sounds beautiful... oh well, I
hope you packed your coat.
(laughs)
You mean the audition... Wally
Brown... she didn't mention it but
he'll fax the dialogue to Coco?
Suddenly I'm so nervous... okay Aunt
Ruth... I'll try. I'll study those
lines until I know them inside out.
Yes, either right here on this
fabulous leather couch or I'll take
them with a coffee in the courtyard
like a regular movie star.
(laughs)
Oh! I got a real shock to find your
friend Rita here. She was in the
shower and I opened the door...
Rita... what do you mean? She was in
an accident... your friend Rita. No,
Coco unlocked the door. No, she didn't
see her. She's sleeping. No... she's
very nice. I'm sure there's some
explanation, Aunt Ruth... I don't
think we have to do that. Please
don't worry. I'll take care of it.
No, I'll let you know. Where can
I... okay I'll get it from Coco. No,
please don't worry... thank you so
much for letting me stay here. You've
made me so happy... thank you, thank
you. Please don't worry... Aunt Ruth
we don't need the police. I'll call
you when you get to Hudson Bay.
Please... Please... Goodbye Aunt
Ruth.
Betty slowly and quietly hangs up the phone. She sits for a
moment listening. Silently she stands and moves toward the
bedroom. As she approaches the bedroom door she stops at
something she sees. Rita is sitting on the edge of the bed
crying quietly. Betty goes into the bedroom. Rita looks up
at her with desperation.
BETTY
You're awake... I think I
misunderstood you. I thought you
knew my Aunt and that's why you were
here. I just talked to my Aunt on
the phone and she wants me to call
the police.
Rita starts crying harder, bows down, covering her face with
her hands.
BETTY
Rita?
RITA
(crying harder)
I'm... sorry. I...
Betty's heart softens.
BETTY
What is it Rita?
RITA
(still sobbing)
I'm... I'm... oh no... I thought
when I woke up... I thought sleep
would do it...
Betty kneels down in front of her.
BETTY
What's wrong?
RITA
(crying)
I don't know who I am.
BETTY
What do you mean? You're Rita.
RITA
(crying)
I'm not. I don't know what my name
is. I don't know who I am!!
Betty looks down at the purse next to Rita's dress. She picks
it up and hands it to Rita.
BETTY
This is your purse. Your name must
be in your purse.
Rita takes the purse with sudden trepidation. She hesitates.
Something is worrying her. She looks at Betty for help.
BETTY
You want to know don't you?
RITA
I... yes, but... I...
BETTY
Open it!
Rita slowly unzips the purse. The pressure of its contents
force the mouth of the purse to widen as the zipper opens
and then there is suddenly revealed what will later be known
to be $125,000.00 cash in hundred dollar bills.
Both Rita and Betty almost stop breathing. They look at each
other, then back to the money.
Rita takes the massive wad of bills out of the purse and
sets it on the bed. She reaches back inside and comes up
with the only other remaining item in the purse... A BLUE
KEY. Betty sees Rita's expression change to a kind of horror.
(note: This blue key is made of very fine heavy metal and
does not look like a door key.)
CUT TO:
INT. OFFICE BUILDING - DAY
Ray crosses a carpeted closed area. He mounts a flight of
stairs. At the top of the stairs there's a plain blonde wood
door. Ray punches in a code on a security panel next to it.
The door opens automatically. Ray passes through and goes
down a narrow hall. At the end of the hall there is a small
elevator. Again Ray punches in a code. The elevator opens
and Ray goes in. The elevator door closes, but the elevator
does not move. Ray waits. Finally, a woman's voice comes
through a speaker.
WOMAN'S VOICE
Who is it please?
RAY
Raymond Harris... 20743.
The elevator begins to move up. When it stops, the door opens
and Ray walks into a windowless reception area where a
beautiful Italian woman sits behind a large, blonde, modern,
built-in desk.
RECEPTIONIST
(very quietly)
You may go right in, Ray.
Ray crosses to a blonde wood double door and waits. The
receptionist pushes a button behind her desk - chimes sound
as the double doors open to an enormous office with no
windows. Heavy rich brown curtains line the walls.
Ray enters and the doors close behind him. Ray takes a few
steps forward, then stops. There is a solid glass wall that
we now notice running the width of the office. Cut into the
glass wall is a small speaker microphone apparatus. Beyond
the glass off in the center of the room is a man sitting in
a very plain, blonde, wood, modern, yet not motorized,
wheelchair. The man is paralyzed except for his right hand
and head. His head appears small in relation to the size of
his body. His suit is immaculate and one of the finest we've
ever seen. His manservant stands in the shadows behind him.
RAY
Good afternoon Mr. Roque. (pronounced
Rowk).
Mr. Roque stares at Ray silently.
RAY
Do you want him replaced?
Mr. Roque continues to stare.
RAY
I know they said...
MR. ROQUE
Then?
RAY
Then... I guess it's so... alright,
but that means we should...
MR. ROQUE
Yes?
RAY
Shut everything down... Is that
something that... do you want us to
shut everything down?
Silence. Ray doesn't know what to do. He struggles to
interpret Mr. Roque's silence. He waits. Mr. Roque does
nothing but stare.
RAY
Then we'll shut everything down.
Silence.
Ray turns. The doors open as he approaches them and he leaves
the room. The doors close.
CUT TO:
EXTERIOR - OFFICE BUILDING - CENTURY CITY
Vincenzo and Luigi are staring silently and without expression
at the broken windshield of the limousine. The limousine
driver suddenly starts signaling to a car entering the
driveway to the building. He turns to the Castigliane
brothers.
LIMO DRIVER
The other car is here sirs. Please
allow me.
The limo driver opens the rear door of the new limo, then
hurries around and opens the other rear door. The new driver
gets out of the car.
LIMO DRIVER
Here's the key to the car. Take it
straight to the garage. They're
waiting for you.
The limo driver closes both back doors after the Castigliane
brothers are seated within. He then gets in himself and
maneuvers the big limo out into traffic.
CUT TO:
PINK'S CHILI DOGS - DAY
Two guys, JOE (the guy who killed Ed in the sixth floor
office) and BILLY another unkempt, rocker type delivery man
are standing waiting for their chili dogs with a girl, LANEY,
who could be very good looking but she seems to be in poor
health. Her hair is long and stringy. She's wearing a tight,
short sleeve blue sweater, black jeans and boots.
BILLY
Yeah, sure. Look what happened to
them.
JOE
No, no, no, I told you. They're fine.
They're all real happy.
BILLY
My next delivery is up that way, so
I'll be getting down to it real soon.
JOE
You're so easy.
BILLY
Gotta keep an eye on her, that's
all.
JOE
Yeah, what for?
BILLY
Keep her from gettin' in trouble,
that's all.
The chili dogs arrive and they pay for them.
BILLY
Can we eat in the van?
JOE
What's the matter now?
BILLY
Nothing... I don't like being out in
the open like this.
JOE
It must be just so pathetic being
you. Sure Billy, grab your dog we'll
eat in the van.
The three make their way to the van. Joe looks over at Laney.
JOE
You sure you don't want anything?
LANEY
(hesitantly)
Not here... no thanks.
JOE
Not a coke or anything?
LANEY
No... thanks though... I'll take a
cigarette if you have one.
JOE
Sure, reach in my shirt pocket there.
As Laney is getting her cigarette and lighting it..
JOE
Any new girls on the street these
days?
LANEY
(taking her first big
drag)
No. I haven't seen any.
JOE
A brunette?... maybe beat up?
LANEY
No...
JOE
You'll keep your eyes open for me
won't you baby?
LANEY
Sure.
Joe spanks her butt as she gets in the van.
JOE
You bet you will.
CUT TO:
INT. MR. ROQUE'S OFFICE - DAY
Mr. Roque, in his wheelchair is still in the center of the
huge softly lit, windowless office. His manservant standing
silently behind him. The small built-in wheelchair phone
rings. Mr. Roque pushes a button on a small intricate remote
device he holds in his right hand. A slender streamlined
microphone rises from the arm of the chair.
MR. ROQUE
Yes?
He listens through a high-tech earplant which we now see.
MR. ROQUE
Thank you.
He pushes two buttons, one after another on the remote device.
We hear a small click, a dial tone, a number being dialed,
and a phone ringing.
CUT TO:
INT. DARK ELEGANT ROOM - SOMEWHERE - SIMULTANEOUS
We see the back of a man's head and just over his shoulder
we see the top of the phone which is ringing. The man picks
up the phone and brings the receiver to his ear.
THE MAN
Hello.
CUT TO:
INT. MR. ROQUE'S OFFICE - SIMULTANEOUS
MR. ROQUE
She's still missing.
We hear a small click and the line goes dead. Mr. Roque pushes
a button and the microphone descends back into the chair.
CUT TO:
INT. DARK ELEGANT ROOM - SOMEWHERE
Again we see the back of the man's head. He's dialing a new
number. He brings the receiver to his ear. We hear a phone
ringing - we hear a click - the phone being answered.
CUT TO:
INT. FILTHY LOW CLASS KITCHEN - SOMEWHERE - SIMULTANEOUS
We see only a black rotary wall phone and a portion of a
greasy filthy kitchen - The receiver has already been lifted
off the phone and we see only the cord extending to someone
off screen.
HAIRY-ARMED MAN
(off screen)
Talk to me...
CUT TO:
INT. DARK ELEGANT ROOM - SOMEWHERE
Again we see only the back of the man's head.
THE MAN
Same.
CUT TO:
INT. FILTHY LOW CLASS KITCHEN - SOMEWHERE - SIMULTANEOUS
A man's hairy-arm enters frame and the receiver is placed
back on the phone, then immediately picked back up and with
the receiver held in the hand the hairy man dials a new
number. Part way through the dialing...
CUT TO:
INT. A BLUE TABLE - SOMEWHERE - SIMULTANEOUS
The surface of this table is high gloss ultra smooth material.
A very modern phone sits on this table and begins to ring
softly. A hand enters frame - a woman's hand. The skin is
pale white, almost translucent. The fingers are long and
seem slightly too large. At the ends of the fingers and thumb
are stretched tapered high gloss red fingernails which
slightly curve downward. The forefinger of the hand presses
a button on the phone. A small tone sounds - followed by a
very modern sounding coded signal.
FADE OUT:
INT. AUNT RUTH'S APARTMENT - DAY
We pull back from Rita's face until we see that Betty and
Rita are sitting on the leather couch about four feet apart
staring at the floor. They just sit this way for awhile.
BETTY
Well... what do you think about then?
I mean... well what do you think
about?
RITA
What do you mean?
BETTY
Well... if you don't remember
anything, I mean what goes through
your mind then if you don't remember
anything?
RITA
Nothing. I do remember the car
crash... I told you... I remember
the glass... I think about that
sometimes... I remember walking here,
sort of. Now I remember this place
and you. That's about it.
BETTY
How do you remember how to talk?
RITA
I don't know.
BETTY
You don't remember anything else?
RITA
No.
(she covers her eyes
with her hands)
There is something...something there
I can't tell... I can't describe it.
(struggling to figure
it out - to express
it)
There are things there... but I'm...
here.
Betty thinks about what Rita has said. Somehow it seems to
make sense to her.
BETTY
The money. You don't know where it
came from?
RITA
Unh, unh.
BETTY
When you think about them... the
money... the key... does it make you
remember anything?
Silence.
RITA
The money... I don't know about the
money... the key... it makes me
feel... afraid.
CUT TO:
BEVERLY HILLS CITY STREETS - DAY
A car - a late model generic sedan is moving toward us. Two
men dressed in suits and wearing dark glasses are driving
slowly. As they go each man is scanning sidewalks, buildings,
passing cars as if hunting for someone. They pass by us and
as we turn we leave them and pick-up Adam driving in the
opposite direction in the other lane. We stay with Adam.
Adam drives his Porsche up a palm lined street.
ADAM
Office...
The voice activated phone connects the line to Adam's office.
A secretary answers.
SECRETARY
Adam Kesher's office.
ADAM
It's me. Where's Cynthia?
SECRETARY
She's on the set. I'll connect you
Mr. Kesher.
Another ringing sound, then a voice.
VOICE
Stage One.
SECRETARY
Paul, I have Mr. Kesher for Cynthia.
PAUL
Right baby, all Hell's broke loose
down here. I'll try to find her.
Adam listens to dead silence for a moment or two then Cynthia
speaks.
CYNTHIA
Adam, where are you?
ADAM
What's going on, Cynthia?
CYNTHIA
They've closed the set. They sent
everybody home.
ADAM
What did you say?
CYNTHIA
They fired everyone.
ADAM
Who fired everyone?
CYNTHIA
(starting to cry)
Ray did... and then they closed the
set... everybody's gone. You'd better
get down here Adam!
ADAM
No.
CYNTHIA
You've got to talk to Ray you've got
to fix this.
ADAM
I'm going home.
CYNTHIA
Home! Meet me at the office. We've
got to do something... you've got to
do something Adam!
ADAM
I'm going home Cynthia.
CYNTHIA
Adam, this isn't like you. Please
come to the office. There must be
something we can do.
ADAM
I'm going home. I'll call you later.
CUT TO:
EXT. - 1612 HAVENHURST - DAY
ESTABLISH
CUT TO:
INT. AUNT RUTH'S APARTMENT - DAY
The girls are still sitting on the leather couch as before,
but now silently off in their own worlds. After a moment...
BETTY
I wonder where you were going.
Betty's question hangs in the air. Slowly we move close to
Rita who is on the verge of remembering something.
Suddenly -
RITA
Mulholland Drive.
BETTY
Mulholland Drive?
RITA
That's where I was going... Mulholland
Drive.
BETTY
Maybe that's where the accident was.
There must be a police report. We
could call.
RITA
No... I don't...
BETTY
We could call anonymously from a pay
phone... just to see if there was an
accident.
Rita sits worrying.
BETTY
Come on. It'll be just like in the
movies. We'll pretend to be someone
else. I want to walk around anyway.
I'm in Hollywood and I haven't even
seen any of it. Come on Rita. Do you
feel up to it?
RITA
Okay... but just... just to see.
BETTY
Just to see if there was an accident
on Mulholland Drive.
RITA
(tentatively)
Okay.
BETTY
Come on... let's find you something
to wear.
CUT TO:
AUNT RUTH'S BEDROOM - DAY
Betty laughs as she holds one of Ruth's dresses in front of
Rita.
BETTY
It's terrible... My Aunt dresses
like Miss Marple.
(off a blank stare
from Rita)
She's kind of a frumpy woman detective
in British movies.
Rita laughs along with Betty. Betty goes back in the closet.
BETTY
Here's something okay.
She brings out a pair of khaki pants.
BETTY
Try these on. You can wear one of my
T-shirts with it and it won't look
bad with those sandals.
CUT TO:
EXT. ADAM'S HOUSE - BEL AIR
Adam pulls into his driveway, but is blocked from entering
the garage by a poolman's truck. He gets out of the car and
looks at the truck - sees the insignia on the door which is
a blue square with the word "Gene" above and the word "Clean"
below. Adam hears steps behind him and turns. A JAPANESE
GARDENER is coming toward him smiling and bowing.
JAPANESE GARDENER
Ah, Mister... you remember me. I am
Taka. Your gardener. For long time I
not see you. I pleased to see you.
Taka reaches out his hand and Adam shakes it.
ADAM
Hello Taka. It's 'cause I'm never
home in the day time. It's good to
see you again. The garden looks great.
Taka bows, smiling and nodding, and goes back to work. Adam
heads toward the front door of his house.
CUT TO:
INT. ADAM'S HOUSE - DAY
Adam enters, puts his 7-iron in his golf bag just inside the
door, then looks around. He can see the pool through a wall
of plate glass windows, but there is no one visible poolside.
ADAM
(calling out)
Lorraine...
(then louder)
Lorraine... you home?
He hears a noise, something falling. He walks in the direction
of the noise. It leads him to his bedroom. His expression
darkens as he approaches the closed door. He hears voices as
he throws the door open.
LORRAINE and the poolman GENE are in bed.
LORRAINE
Now, you've done it!
GENE
Just forget you ever saw it. It's
better that way.
LORRAINE
What the hell are you even doing
here?
Adam stands stunned for a moment. Then finds himself walking
over to the dresser and opening the top drawer. He removes a
large case.
LORRAINE
What are you doing?
Adam starts walking out of the bedroom with the case.
LORRAINE
THAT'S MY JEWELRY!!!
Adam leaves the bedroom and starts through the house. He
goes into the kitchen and looks around - numb but trying to
think.
CUT TO:
INT. ADAM AND LORRAINE'S BEDROOM - DAY
Lorraine is getting dressed as fast as she can.
LORRAINE
That bastard!
GENE
He's probably upset Lorraine.
CUT TO:
INT. ADAM'S KITCHEN - DAY
Adam leaves the kitchen and goes out into the garage. He
turns on the light and looks around. He spots some paint
cans on a shelf and grabs one and goes back into the kitchen.
He can hear Lorraine calling his name. She seems to be coming
closer. He sets the jewelry case and the paint can on the
floor, kneels down and opens the paint can with his car key.
Just as Lorraine enters the kitchen, he opens the jewelry
box and empties the 3/4 full gallon can of Hot Pink paint
into her jewelry case.
LORRAINE
WHAT.. ARE... YOU... DOING!!!???
He puts his hands into the paint and jewels and smushes them
about. Lorraine rushes toward him.
LORRAINE
STOP IT!!!
Lorraine grabs hold of him. Starts pulling his hair, slapping
his face. She tears his jacket. Adam stands all at once and
with his wet Hot Pink hands he pushes Lorraine and slams her
into the kitchen counter just as Gene the poolman enters.
Gene grabs ahold of Adam, cocks back and slams his huge
suntanned fist into Adam's face.
GENE
That's not a way to treat your wife,
buddy. I don't care what she's done.
Adam gets up off the floor bleeding from the nose and tries
to hit Gene. Gene blocks his punch and slams Adam again,
knocking him down to the kitchen floor where he lands and
spills the jewelry case. Adam, now covered with paint, is
picked up by Gene and thrown out toward the front door.
LORRAINE
Throw him out!
Lorraine opens the front door while Gene picks Adam up, moves
him across the carpet and heaves him out onto the front lawn.
Lorraine slams the door behind him.
Adam picks himself up, severely dazed and bleeding pretty
badly, he heads for his car.
Taka stops gardening and smiles and bows at Adam as he gets
into his car.
Adam drives away - pink paint and red blood all over.
CUT TO:
INT. AUNT RUTH'S BEDROOM - DAY
Rita is now dressed to go out and is studying herself in a
mirror. She turns and her gaze falls to her purse. She picks
it up and looks questioningly at Betty.
BETTY
No... you shouldn't take that. Let's
hide it.
They look around the room... There's a hatbox in the closet
above the clothes rack. Betty brings it down, takes out the
hat, and Rita puts the purse inside. Betty puts the hat over
the purse in the hatbox and puts in back in the closet. Betty
puts out her hand. Rita looks at it for a moment, smiles,
and they shake.
CUT TO:
EXT. APARTMENT COURTYARD - DAY
All dressed now Betty and Rita leave Aunt Ruth's apartment
and walk across the courtyard past Coco's apartment and out
through the iron gates. No one is about.
CUT TO:
EXT. HOLLYWOOD RESIDENTIAL STREET - DAY
Betty and Rita walk along. Birds are chirping in the trees
which line both sides of the street. Betty is smiling and
once again looking around at everything. Her good mood and
excitement about life lifts Rita's spirits.
Coming toward them on the sidewalk are two people - a middle-
aged woman and a young boy around 10 years old. The boy is
very thin and something is wrong with him as he is walking
awkwardly on crutches. As the two groups pass each other on
the sidewalk Betty is struck deeply by the boy's brilliant,
luminous blue eyes which are at once innocent and filled
with wisdom.
After they pass each other Betty turns back and sees the boy
and the woman enter 1612 Havenhurst. Betty and Rita continue
up the street.
CUT TO:
EXT. SUNSET BOULEVARD - DAY
The girls walk along the busy boulevard, past guitar shops,
video stores. Betty is looking for a payphone. Rita's eyes
dart back and forth nervously. She's beginning to feel
frightened.
CUT TO:
PAYPHONE ON RED BRICK WALL - DAY
We see the red brick building. It is Denny's. Betty and Rita
are walking to the payphone. Betty digs out some change from
her purse. She picks up the receiver, drops in a quarter and
dials the "0" for Operator. An Operator answers.
BETTY
Hollywood Police Department please.
OPERATOR
Is this an emergency?
BETTY
No, no, I just want the number.
OPERATOR
Hold for the number.
Betty gets the number for the Hollywood Police Station, re-
deposits the quarter and dials.
VOICE
Hollywood Police Department.
BETTY
I'm inquiring about an accident that
happened last night on Mulholland
Drive.
VOICE
Hold please. I'll connect you to
traffic.
Betty holds.
SERGEANT BAXTER
Traffic. Sergeant Baxter speaking.
BETTY
Hi. I'm inquiring... well, I heard a
sound last night that sounded like a
car crash and I want to know if there
was an accident on Mulholland Drive.
SERGEANT BAXTER
Yes, there was.
BETTY
Can you tell me what happened?
SERGEANT BAXTER
No. I can't.
BETTY
Was anyone hurt?
SERGEANT BAXTER
May I have your name please?
Betty hangs up. She turns to Rita smiling like a girl who's
done something bad and gotten away with it.
BETTY
There was an accident. He wouldn't
tell me anything else, but that was
your accident Rita. I just know it
was. Maybe there's something about
it in the papers. Come on I'll buy
you a cup of coffee and we can see.
Betty and Rita enter Denny's.
CUT TO:
INT. DENNY'S - DAY
Rita and Betty are seated next to the table where Dan and
Herb sat earlier in the day. They both have a cup of coffee
in front of them. Betty has a newspaper open and she is
scanning the last pages.
BETTY
Maybe it happened so late it's not
going to be in today's paper.
RITA
There's nothing?
BETTY
Not that I can see.
The same waitress - Diane, comes up to the girl's table and
freshens up their coffee. Betty looks up and smiles, sees
Diane's nameplate.
BETTY
Thank you... Diane.
Rita shoots a look from Betty to Diane to the nameplate.
CUT TO:
CLOSE-UP NAMEPLATE
The word "DIANE" is huge from Rita's POV.
CUT TO:
BACK TO SCENE
Diane finishes pouring Rita's cup and smiles at Betty.
DIANE
You're welcome. Will that be all?
You want your check?
BETTY
Just the coffee. Rita, you want
something?
RITA
(still staring at the
nameplate thinking)
No. Just the coffee.
BETTY
We'll take our check.
Diane searches through her many checks to find Betty and
Rita's.
The manager of Denny's, standing with a woman in a blue dress,
calls Diane's name. Diane turns and looks to the manager and
the woman. A fleeting fear goes through her eyes. She
surreptitiously reaches in her pocket and takes out a Mont
Blanc fountain pen which she puts under Betty's check as she
places it on their table. She does this very quickly but
Betty notices this and Diane notices Betty noticing. Diane
walks quickly over to the manager and the woman in the blue
dress. Betty turns and watches a heated conversation that
she can't hear, but she sees the woman in the blue dress
searching her purse and shrugging and then leaving.
The manager says something to Diane and Diane turns her
pockets inside out and pats herself down in front of the
manager showing him her innocence. He waves her off and she
goes behind the counter to retrieve an order of food. Betty
stops watching and turns her attention to Rita, who is tense
and lost in a thought.
BETTY
What is it Rita?
RITA
(without moving a
muscle)
Shhhh.
At that moment Diane the waitress reappears at their table.
Diane looks Betty in the eye and while looking at Betty her
left hand slides the Mont Blanc out from under the check and
back into her pocket.
DIANE
Thank you. Come in again.
Betty holds her gaze.
BETTY
You're welcome. We will.
Relieved Diane leaves and goes about her business. Betty
looks over at Rita waiting for her to tell her something.
Rita slowly turns and focuses on Betty.
RITA
I remember something... I remember
something!
CUT TO:
EXT. HAVENHURST - DAY
Betty and Rita are walking back to the apartment. We see
them from a distance. They are talking and gesturing in an
excited and animated way. Just after they enter through the
iron gates of 1612 Havenhurst and are out of sight we notice
a car moving slowly up Havenhurst toward us. We notice two
men in the front seat who seem to be looking around for
something.
CUT TO:
INT. AUNT RUTH'S APARTMENT - DAY
The door slams shut. Rita grabs Betty's shoulders.
RITA
Diane Selwyn. Maybe it's my name.
CUT TO:
AUNT RUTH'S APARTMENT - MOMENTS LATER
Betty and Rita are sitting next to each other on the leather
couch. Betty is rifling through the phone book. She finds
the listings for Selwyn. Her finger drifts down and finds D.
Selwyn followed by an address and phone number. It is the
only Selwyn with a D. first name. She hands the phone to
Rita.
BETTY
Strange to be calling yourself.
RITA
Maybe it's not me.
BETTY
Call the number.
Betty reads the number off and Rita pushes the corresponding
buttons. Each tone seems to be louder than the last. The
ringing seems deafening. There's a click and the phone is
answered - by a machine. A woman's voice is heard - loudly.
WOMAN'S VOICE
(coming from answering
machine)
Hi... this is me. Leave me a message.
Betty now has her ear pressed up against the phone also -
straining to hear everything. The machine starts recording.
Betty hangs up the phone immediately.
RITA
It's not my voice... but I know her.
BETTY
Maybe the voice isn't Diane Selwyn.
Maybe that's your roommate or if it
is Diane Selwyn she can tell you who
you are.
RITA
Maybe... maybe... maybe.
CUT TO:
EXT. ADAM'S HOUSE - AFTERNOON
Taka is bowing and smiling and nodding to someone we don't
see.
TAKA'S POV - A man, KENNY, in a sharp black suit is walking
down the driveway past Gene the Poolman's truck to the front
door of Adam's house. Parked at the street is a big limo
with Vincenzo and Luigi Castigliane sitting in the back.
Kenny knocks on Adam's front door. Lorraine answers.
Lorraine's hands are covered with pink paint. Pink paint is
on her face and clothes.
KENNY
Adam Kesher... he...
LORRAINE
Yeah, right... get lost!
She slams the door, but Kenny's foot stops it and pushes it
back with a force that shakes the wall as the door slams
open once again. Kenny enters the house.
KENNY
This is Adam Kesher's house. Where...
LORRAINE
Like hell it is! Get out... NOW!!!
Gene comes out of the kitchen fast, his hands covered with
pink paint.
GENE
I guess you don't understand English.
She asked to leave. Here's the door.
Gene grabs hold of Kenny and starts to push him out the door.
Kenny rabbit punches Gene in the nose with lightning speed -
his fist like a sledgehammer. Gene goes down. Lorraine shrieks
and leaps on Kenny. Her long fingernails going for his eyes.
Kenny slaps Lorraine hard. The shriek stops instantly and
she falls out cold on the carpet. Gene is back up and going
for Kenny. Kenny gets three punches in on Gene's head before
Gene hits the ground unconscious. Kenny rubs some pink paint
off his hands and tries to get a pink stain off his jacket.
He begins walking around the house calling out for Adam. He
sees nothing and hears nothing. He goes back to the front
door and sees Adam's golf clubs sitting there. Kenny begins
snapping the shaft of each club. As he snaps each club we
see Lorraine and Gene remain out cold on the floor.
And in the kitchen we see that the tap is on and the sink
water is now overflowing from the sink and jewelry box -
spilling out onto the kitchen floor. Finishing his work with
the vintage golf clubs - Kenny leaves.
CUT TO:
EXT. ADAM'S HOUSE - AFTERNOON
Kenny jumps into the front seat of the limo. Vincenzo and
Luigi nod to the driver and they take off.
Taka hoes some weeds beneath a Jacaranda.
CUT TO:
L.A. AERIAL SHOT HIGH ANGLE - NIGHT
Night descends on Los Angeles. Millions of lights down below
twinkle like stars.
CUT TO:
EXT. 1612 HAVENHURST - NIGHT
We see the courtyard at night. Some of the apartment windows
have dim, warm lights. Most all is in darkness. The only
sound is the water flowing in the fountain with muted distant
traffic. Far away a siren wails softly.
CUT TO:
INT. AUNT RUTH'S APARTMENT - NIGHT
Betty and Rita are on their hands and knees around the coffee
table. A map of L.A. is unfolded and Betty is running her
finger along a street. Her finger stops.
BETTY
It's right about here on Sierra
Bonita. That's not too far away.
CUT TO:
EXT. COURTYARD - SIMULTANEOUS
An older, beautiful woman - drunk, is walking slowly -
strangely toward the door of Aunt Ruth's apartment.
CUT TO:
INT. AUNT RUTH'S APARTMENT - NIGHT - SIMULTANEOUS
BETTY
What's wrong with that?
RITA
I'm not sure about this.
BETTY
I know you're afraid of something.
We'll be careful. Tomorrow we'll go
over there and we'll find out.
CUT TO:
EXT. 1612 HAVENHURST COURTYARD - NIGHT
The woman moves up to the door we see her face. Her eyes
have the eerie look of one possessed. She knocks mechanically
on the door.
CUT TO:
INT. AUNT RUTH'S APARTMENT
Betty and Rita both turn with alarm. Betty gets up, stares
at the door, then at Rita. Rita waits, not knowing what to
do.
BETTY
It'll be okay.
Betty opens the door. Betty finds the face of the actress,
LOUISE BONNER, staring questioningly at her.
BETTY
Yes? May I help you?
LOUISE
Where is Ruth?
BETTY
Ruth's gone on a film. I'm her niece
Betty. Who are you?
LOUISE
Someone is in trouble. Who are you?
Why are you in Ruth's apartment?
BETTY
I'm her niece. She's letting me stay
here. My name is Betty.
LOUISE
No it isn't. That's not it. That's
not what she said. Something bad's
happening. Where's Ruth?
BETTY
I'm sorry, but I don't know who you
are and I'm...
COCO
Louise... what're are you doing
Louise?
Louise turns and sees Coco approaching across the courtyard.
LOUISE
Where have you been Coco? God, I've
been trying to find you all afternoon
since 3:00 o'clock. That one is in
my room and she won't leave. I want
you to get her out. I want you to
get her out now.
Coco comes up and grabs hold of Louise. She turns over to
Betty.
COCO
This is Louise Bonner. I'm sure she
meant well.
(looking over to Louise)
This is Betty, Ruth's niece. In fact
and fortunately I was just coming to
see Betty. Betty's a young actress
and I'm delivering faxed pages of a
scene for her audition tomorrow.
Here they are honey. Now come along
Louise and I'll take you home.
(back to Betty)
Sorry about this. Sometimes it
happens.
LOUISE
No, she said it was someone else in
trouble.
COCO
Stop it, Louise. Let's get you home...
goodnight Betty.
Coco takes Louise back through the darkness of the courtyard.
Betty closes the door and turns.
BETTY
Whoa!
She catches Rita's look. Rita is staring at her, horrified.
CUT TO:
EXT. BEVERLY HILLS HOTEL - NIGHT
ESTABLISH
INT. BEVERLY HILLS HOTEL - CORRIDOR OUTSIDE ROOM
A Hotel Manager is walking toward the door of room 214. He
knocks softly on the door. The door opens and Adam Kesher is
standing there - still beaten looking with remnants of pink
paint.
ADAM
Yes... what is it?
HOTEL MANAGER
I'm sorry Mr. Kesher, but there seems
to be some problem concerning your
credit card.
ADAM
...What??
HOTEL MANAGER
The fact is Mr. Kesher a
representative of your bank called
us.
ADAM
How... how'd they know I was here?
HOTEL MANAGER
I don't know. All we do is take an
impression of the credit card and
until you check out it just sits in
our files.
ADAM
So, what did they say?
HOTEL MANAGER
Well, Sir, I'm afraid they said you're
overdrawn at your bank and your line
of credit has been cancelled.
ADAM
Unbelievable. Look... here.
(Adam taking out his
wallet.)
I don't know what's going on. That's
so much baloney. I've got enough
cash for one night, okay?
HOTEL MANAGER
That's fine, Mr. Kesher. You can pay
cash when you check out. I'm sorry.
It was my duty to inform you.
ADAM
Fine. I'll check out in the morning.
HOTEL MANAGER
Have a good evening, Mr. Kesher.
The Hotel Manager turns to leave and Adam closes the door.
CUT TO:
INT. ROOM 214 - NIGHT
Adam crosses the room to the phone and dials a number. The
phone is answered.
ADAM
Someone's shut off my money!
CYNTHIA
I know. Where are you Adam?
ADAM
What do you mean "you know"?
CYNTHIA
Someone called me. When they couldn't
get you they told me you were as
good as broke. I didn't believe then,
so I made some calls.
ADAM
And?
CYNTHIA
You're broke!
ADAM
But I'm not broke.
CYNTHIA
I know, but you're broke. Where are
you?
ADAM
Beverly Hills Hotel. I've got enough
cash in my pocket for one night.
CYNTHIA
Do you know somebody called the The
Cowboy?
ADAM
The Cowboy??
CYNTHIA
Yeah, the Cowboy. This guy, the
Cowboy, wants to see you. Jason said
he thought it would be a good idea.
ADAM
Oh, Jason thought it would be a good
idea for me to meet the Cowboy. Should
I wear my ten gallon hat and my six
shooters?
CYNTHIA
Something tells me this guy is
connected with what's happening,
Adam, and I think you should do it
and I think you should do it right
away.
ADAM
Cynthia... what's going on?
CYNTHIA
It's been a very strange day.
ADAM
And getting stranger. Where do I
meet this Cowboy? I mean do I have
to ride out to the range?
CYNTHIA
Sort of, funny boy. If I tell him
the meeting's on you're to go to the
top of Beachwood Canyon. There's a
corral up there where he'll be.
ADAM
You gotta be kidding?
CYNTHIA
Will you meet with him?
ADAM
Yeah, sure. It is that kind of a
day. When?
CYNTHIA
I'll call him, then call you back...
If you want you could stay at my
place.
ADAM
Cynthia... that would not be a good
idea.
CYNTHIA
I'm just offering a place to stay.
ADAM
I understand, Cynthia and thank you
for the offer. I'll find a place.
Now go ahead and give the Cowboy a
yodel and get back to me.
CYNTHIA
Okay, but you don't know what you're
missing.
ADAM
Git along little dowgie and call me
back.
Adam hangs up and seems to sag, cupping his forehead and
eyes with his hand.
CUT TO:
EXT. BEACHWOOD CANYON - NIGHT
Adam, in his Porsche, makes his way up the canyon.
INT. PORSCHE
Adam feeling like a fool drives up the dark, winding canyon
road. As he nears the top of the canyon the residential area
gives way to desert brush. The road winds steeply up to a
dark dead end where an old barn and stable sit. Adam parks
in a little dirt lot and walk up past the barn to the corral.
His eyes grow accustomed to the dark and he looks about. No
one is around. There's only a light wind and a few twinkling
stars in the sky above. Suddenly some bare bulbs hanging
from the corral gate flare up. Adam hears a noise in the
brightness and turns. There walking toward him into the light
is the Cowboy - dressed in clean blue denim jeans, well-oiled
unscuffed, beautifully engraved cowboy boots, a red
embroidered ivory buttoned cowboy shirt complete with string
tie. Atop the Cowboy's head is a 10 X white Stetson. The
Cowboy is smiling warmly as he approaches. He stops in front
of Adam and begins to speak with a true, slow Western drawl.
COWBOY
Howdy!
ADAM
Howdy to you.
COWBOY
Beautiful night.
ADAM
Yeah.
COWBOY
Sure want to thank ya for drivin'
all the way up to see me from that
Beverly Hills Hotel.
ADAM
No problem. What's on your mind?
COWBOY
Well now, here's a man who wants to
get right to it. Kinda anxious to
get to it are ya?
ADAM
Whatever.
COWBOY
A man's attitude... a man's attitude
goes some ways toward how a man's
life will be. Is that somethin' you
agree with?
ADAM
Sure.
COWBOY
Now... did you answer cause you
thought that's what I wanted to hear
or did you think about what I said
and answer cause you truly believe
that to be right?
ADAM
I agree with what you said... truly.
COWBOY
What did I say?
ADAM
That a man's attitude determines to
a large extent how his life will be.
COWBOY
So since you agree I guess you could
be a person who does not care about
the good life.
ADAM
How's that?
COWBOY
Well, just stop for a little second
and think about it. Will ya do that
for me?
ADAM
Okay, I'm thinking.
COWBOY
No. You're too busy being a smart
aleck to be thinkin'. Now I want ya
to think and quit bein' such a smart
aleck. Can ya do that for me?
ADAM
Look... where's this going? What do
you want me to do?
COWBOY
There's sometimes a buggy. How many
drivers does a buggy have?
ADAM
One.
COWBOY
So let's just say I'm drivin' this
buggy and you fix your attitude and
you can ride along with me.
ADAM
Okay.
COWBOY
Now I know a few things. I know you
have had a rough day. You're probably
thinkin' I don't know the half of
it, but in actual fact I know every
part of it. The business of gittin'
thrown off your movie, the heartache
of seeing your wife with another
man... losin' access to that precious
film vault...
Adam suddenly looks stunned, unsure.
COWBOY
...realizin' you don't have hardly a
nickel to your name and then add on
to that the sickenin' feeling some
men are gonna catch you and hurt you
bad for bustin' their vehicle. Some
days are like that. They are rough,
but what will tomorrow bring? Will
it be better than today? The same...
or worse? A lot of that is up to us
individually. Up to us and our
attitude. When the Castigliane
brothers said "This is no longer
your film," they meant it, but they
didn't mean you were not going to
direct it. I want you to go back to
work tomorrow. You were re-casting
the lead actress anyway... audition
many girls for the part. When you
see the girl that was shown to you
earlier today, you will say "This is
the girl." The rest of the cast can
stay - that is up to you, but that
lead girl is not up to you. Now, you
will see me one more time if you do
good. You will see me two more times
if you do bad. Good night.
The Cowboy turns and walks until he is engulfed in darkness.
Through the darkness Adam hears the sound of a car door
opening and closing, then another opening and closing and
then the sound of the car driving away. Adam walks up in the
direction the Cowboy took, but he sees no sign of a car nor
any dust nor any road. He goes back down past the barn and
stables to his car. There standing by his Porsche is the
Cowboy.
COWBOY
You thinkin' this'll work out, cause
I was thinkin' it just might.
ADAM
It will work out.
COWBOY
Good then, but, just in case, that
bank's gonna stay closed a bit longer.
You understand that?
ADAM
I understand.
COWBOY
You're an understandin' fella.
ADAM
So, this is the last time I see you
then unless I do bad?
COWBOY
No, this one doesn't count. It's
part of the original one. So then...
until we meet again.
ADAM
Okay.
Adam gets in his car and drives off leaving the Cowboy smiling
behind him.
CUT TO:
EXT. HOLLYWOOD - MORNING
We see the rays of the rising sun falling on the huge letters
of the HOLLYWOOD SIGN and the hills surrounding it.
CUT TO:
INT. AUNT RUTH'S APARTMENT. - MORNING
We see Rita's face as we hear Betty off screen.
BETTY
"You're still here?"
RITA
"I came back. I thought that's what
you wanted."
We see Betty.
BETTY
(angrily)
"Nobody wants you here!"
Moving back we realize that the girls are acting out Betty's
audition scene. Rita is reading her lines.
RITA
"Really?"
BETTY
"My parents are right upstairs! They
think you've left..."
RITA
"So... surprise"...
BETTY
"I can call them... I can call my
dad... "
RITA
"But you won't..."
BETTY
"You're playing a dangerous game
here. If you're trying to blackmail
me... it's not going to work."
RITA
"You know what I want... it's not
that difficult."
BETTY
(furious)
"Get out! Get out before I call my
Dad... he trusts you... your his
best friend. This will be the end of
EVERYTHING..."
RITA
"What about you? What will your dad
think about you?"
BETTY
"Stop! Just Stop! That's what you
said from the beginning. If I tell
what happened... they'll arrest you
and put you in jail, so get out of
here before..."
RITA
"Before what?"
Betty pulls a table knife out from behind her back.
BETTY
"Before I kill you."
RITA
"Then they'd put you in jail."
Betty mimes with moving fingers tears flowing from her eyes.
BETTY
Cry, cry, cry, and then I say with
big emotion, "I hate you... I hate
us both!"
Betty drops the kitchen knife and both girls start laughing.
BETTY
Such a lame scene.
RITA
But you are really good.
Betty mimes tapping a cigarette in a cigarette holder ala
Dietrich.
BETTY
Thank you dahling!
CUT TO:
INT. COCO'S APARTMENT - DAY
On the move Coco is just bringing her cigarette in its holder
up to her painted red lips. The phone is ringing and she's
crossing the room to answer it.
COCO
(into phone)
Hello... Ruthie... How's the great
up north?... Oh, I'm sorry to hear
it... what? Well, I haven't seen her
if she's in there. Now, Ruthie there's
nothing to worry about. I saw Betty
last night and she was just fine.
Yes, and I gave them to her. She's a
real nice kid, Ruthie. Now stop
worrying, will ya. I'll go over and
have a look around. I will. I've got
the production office number. I'll
find you. Now keep your socks on up
there and take lots of "C." Goodbye
honey.
Coco puts down the receiver with a long sigh.
CUT TO:
INT. AUNT RUTH'S APARTMENT - DAY
Betty and Rita are sitting on the leather couch having some
coffee. The front door to the apartment is open and sunlight
is pouring in through the screen door. Betty looks at her
watch.
BETTY
Oh, no wonder I'm starving. I'm going
to fix a sandwich. You want one?
RITA
I'm all right.
BETTY
You've got to eat something. You're
just nervous about going over to see
if you're Diane Selwyn.
Rita just looks at her. Betty starts for the kitchen.
BETTY
Suit yourself. I'll share mine with
you if you change your mind.
Betty goes into the kitchen. Suddenly there's a knock on the
screen door and Coco peers in, seeing Rita on the couch.
Rita looks up... panicked.
COCO
Hi! Who are you?
RITA
Uh...Betty!?
Betty comes out from the kitchen and sees the situation.
COCO
Can I see you outside a minute Betty?
Betty walks past Rita, pats her on the shoulder and goes
outside to see Coco who has moved away to wait.
CUT TO:
EXT. COURTYARD 1612 HAVENHURST - DAY
The screen door slams. Coco and Betty face each other close,
out of earshot of Rita.
COCO
Your Aunt called me.
BETTY
I was afraid of that.
COCO
She wants to know who's staying in
her apartment.
BETTY
(slowly, deliberately)
It's just for a night or two, until
she finds her own place. I tried to
explain that to Aunt Ruth, but the
connection was bad and her plane was
leaving and she got it all mixed up.
I kept telling her it was my friend
and she kept saying she didn't know
any Ritas...
COCO
Sweetie, look at me straight.
Betty lifts her eyes to Coco's. Direct, clear.
BETTY
Coco... she's very nice. We went to
school together.
COCO
So I guess your Grandpa and Grandma
know her.
BETTY
Not really. I met her in junior
college and she was from this other
town.
Coco looks hard into Betty's innocent face.
BETTY
You can call my grandparents... I'm
sure they'd tell you that I don't
lie and I sure wouldn't allow a
stranger to invade my Aunt Ruth's
apartment.
COCO
Honey... I was married to a director
for thirty years. He had an uncanny
ability to read people. Maybe some
of it rubbed off on me or maybe I
had it all along... you're a good
kid... What you're telling me is a
load of horse - pucky but it comes
from a good place. I'll trust you to
sort this out. Now I'm not going
against Ruth. She's got enough to
worry about up there in Canada. If
she asks - I'm going to say everything
is okay, and you make sure it is.
(Coco places her hand
on Betty's shoulder
and squeezes it)
If you need any help you know where
to find me.
Betty puts her hand on Coco's shoulder and gives her a
squeeze.
BETTY
You're really something Coco... thank
you.
COCO
Don't make me out to be a sucker.
Louise Bonner says there's trouble
in there. You remember last night.
Sometimes she's wrong, but if there
is trouble - get rid of it.
Coco turns and walks away. Betty studies her and thinks about
what she said before turning and going back inside.
CUT TO:
INT. AUNT RUTH'S APARTMENT - SAME
Betty enters through the screen door. Rita studies her.
RITA
Is everything all right? Is it bad
for you that I'm here?
BETTY
(slightly forcing a
broad smile)
Everything is A-okay, but I've gotta
get that sandwich!
On her way to the kitchen she checks her watch.
BETTY
And I've got an audition in one hour.
CUT TO:
INT. HOLLYWOOD POLICE STATION - DAY
Detective Neal Domgaard throws two wallets down on the desk
in front of Detective Harry McKnight. Harry pauses in the
middle of a large bite of grilled cheese sandwich with bacon
and tomato. He looks down and studies the wallets.
DETECTIVE HARRY MCKNIGHT
(biting in and chewing)
Nice wallets.
DETECTIVE NEAL DOMGAARD
Handstitched Italian. Filled with
phony credit cards... off the two
guys in the Caddy.
DETECTIVE HARRY MCKNIGHT
The one of 'em still alive?
DETECTIVE NEAL DOMGAARD
Yeah... just... Dr. Scott's got 'im.
You remember Dr. Scott.
DETECTIVE HARRY MCKNIGHT
Oh yeah.
DETECTIVE NEAL DOMGAARD
Well he said... you know in his way...
you know what I mean? Besides the
guy gettin' rolled up under the kids
car which busted him up pretty bad,
there was this little knife-like
torn piece of metal, you know, off
the car body, rolled out and slid up
through this guy's neck and just
kinda slit his aorta, you know, but
they didn't find it right away, so
the guy's losin' a lot of blood, you
know, to the brain - all this time
cause it was just like this thin
little puncture wound on the surface
of his neck that kinda sealed itself,
he said, while inside the aorta is
bleedin' pretty steady all that time.
So, Dr. Scott's laughin' you know
like he does 'cause he knows we want
to talk to this guy. He's laughin'
you know and shakin'... Son of a
bitch couldn't stop laughin'... It
was kinda contagious 'cause pretty
soon we were all laughin'...the nurse
was laughin'. You know how he is.
DETECTIVE HARRY MCKNIGHT
Find out who they are?
DETECTIVE NEAL DOMGAARD
Nope, not yet. Their fingerprints
don't match up anywhere.
DETECTIVE HARRY MCKNIGHT
(Another big bite -
chewing)
Interesting.
DETECTIVE NEAL DOMGAARD
Yeah... and they both use the same
address.
DETECTIVE HARRY MCKNIGHT
Where at?
DETECTIVE NEAL DOMGAARD
Palmdale.
DETECTIVE HARRY MCKNIGHT
Damn, that's a long drive.
CUT TO:
EXT. COURTYARD 1612 HAVENHURST - DAY
Betty is coming out of Aunt Ruth's apartment. She calls back
in to Rita.
BETTY
I hope I'm back in a couple of hours.
Don't drink all the coke.
(we hear laughter
from inside and Rita
calls out.)
RITA
Good luck!
BETTY
When I get back I'll have the cab
waiting, so be ready to go.
RITA
Okay.
Betty closes the door and heads across the courtyard. She
knocks on Coco's door and in a moment Coco answers.
BETTY
Sorry to trouble you, Coco.
COCO
It's all right gorgeous. Something
wrong?
BETTY
No, no. I'm on my way to my audition.
Before I go I wanted to ask you if
you could remember the man's name...
Aunt Ruthie's friend who helped put
this together. It completely went
out of my mind.
COCO
His name's Wally Brown... great guy.
Been in the business since forever.
BETTY
Thanks Coco. It'd be so embarrassing
COCO
Naw! He wouldn't have cared. Just
give him a good performance and he'll
be happy and I've got a feeling you'll
do just that.
BETTY
Thanks Coco. I'll let you know.
COCO
Get going. You don't want to be late.
BETTY
Right. See ya.
COCO
Good luck, honey!
Betty takes off through the iron gates and Coco smiles as
she watches her go.
CUT TO:
INT. CAB - DAY
Betty is wide-eyed and filled with awe at something she is
seeing.
CUT TO:
EXT. PARAMOUNT STUDIOS - MAIN ENTRANCE GATE - DAY
The cab pulls up to the gate. Betty pays the driver and gets
out. She-stands for a moment staring at a dream.
She walks through the gate and as she goes is stopped by a
PARAMOUNT GUARD.
PARAMOUNT GUARD
And where do we think we're going,
Miss?
Betty stops and turns.
BETTY
To my audition.
PARAMOUNT GUARD
And who are we auditioning for today?
BETTY
Wally Brown.
PARAMOUNT GUARD
And do we know which of the fifty-
seven buildings Wally Brown is in?
BETTY
(smiling)
No, we don't.
PARAMOUNT GUARD
Well, now we've got to figure that
out first don't we?
BETTY
Yes, Sir.
PARAMOUNT GUARD
Mr. Wallace Brown is in the Executive
Building on the second floor. We
want to go in and turn right at the
first street. Then we want to walk
three blocks down past Stage 17 to
the white Executive Building. Once
we're on the second floor the
receptionist will take us from there.
Now do we have name?
BETTY
Betty Elms.
PARAMOUNT GUARD
Let's see if we have a pass for Betty
Elms... and we do. Here we go. And
good luck Miss. Elms.
BETTY
Thank you... thank you very much.
CUT TO:
INT. EXECUTIVE BUILDING - SECOND FLOOR - DAY
Betty finishes climbing some stairs and crosses to the
receptionist. She hands over her pass. The receptionist looks
at it, hands it back to Betty and points down the hall to
her left.
RECEPTIONIST
Number 43, on the left.
BETTY
Thank you.
Betty walks down the long corridor past several offices. The
door to office 43 is open when she arrives and she enters a
large sitting room with a receptionist at a desk off to one
side.
RECEPTIONIST
May I help you?
BETTY
My name is Betty Elms. I'm here to
audition for... Mr. Brown
RECEPTIONIST
Good. Perfect timing. Have a seat
and I'll get Mr. Brown.
The receptionist stands, walks to a door, knocks twice, then
enters.
She closes the door behind her and Betty is alone in the
sitting room. She sits on a couch and looks at the old movie
posters covering all four walls.
In a moment the same door opens again and an elderly,
distinguished looking gentleman WALLY BROWN comes out smiling.
Betty stands up immediately.
WALLY
Betty Elms?
BETTY
Yes.
WALLY
I'm Wally Brown. Your Aunt is a very
dear friend of mine so it's
particularly nice to meet you.
BETTY
Very pleased to meet you.
WALLY
Come in. I'd like you to meet
everyone.
As they walk into Wally's office...
WALLY
I took the liberty of inviting an
extra person to see your audition.
She saw your resume picture and was
very interested in meeting you.
Inside Wally's office several people rise out of chairs when
Wally enters with Betty.
WALLY
Betty Elms this is Jack Taft, my
assistant, Jimmy Katz who we've
already cast for the part of "Chuck".
He'll be doing the scene with you.
This is Julie Chadwick and Bob
Brooker, the director, and our
surprise guest is Sarah James. We
couldn't afford her to cast our
picture, but as casting agents go
she's the best.
SARAH JAMES
Why thank you, Wally. Hello Betty.
She and Betty shake hands.
BETTY
Pleased to meet you.
SARAH JAMES
This is Nicki, my assistant.
Nicki, a very stylish, thin girl with black cat-eyed glasses
nods coolly to Betty.
WALLY
And this is Martha, Martha Johnson,
who you met out front.
Betty nervously smiles to the room.
BETTY
Hi.
WALLY
Well. Shall we get to it? Would you
like a water or a coffee before we
begin?
Betty's hands are beginning to sweat.
BETTY
No, no, I'm fine.
WALLY
Well then, take a seat everyone.
Betty why don't you join Jimmy and
we'll play the scene. Is there
anything you'd like to say Bob...
something to Betty before they begin?
Betty stops on her way across to Jimmy and looks to Bob the
director.
BOB
No... it's not a contest, see, the
two of them with themselves, so don't
play it for real until it gets real.
Betty doesn't know what to say. She catches Sarah's assistant,
Nicki, rolling her eyes.
BETTY
Okay.
Betty continues walking toward Jimmy who opens his arms to
her as she approaches. He's old enough to be her father.
JIMMY
Just tell me where it hurts, baby.
BETTY
What?
JIMMY
I want to play this one close, Bob.
Like it was with that girl, what's
her name, with the black hair. That
felt good. Whaddya think?
Betty looks from Jimmy to Bob.
BOB
That'd be good, Jimmy. Just don't
rush that line again. I told you...
the line where you say, "Before what?"
JIMMY
I was playin' off 'em. They say,
"They'll arrest you"... and stuff
like that... "put you in jail"...
they say it like that. They all say
it the same way, so I react like
that.
Jimmy turns to Betty.
JIMMY
Look... what's your name?
BETTY
Betty.
JIMMY
Yeah... Betty. You don't rush it. I
don't rush it. We play it close,
just like in the movies.
Jimmy reaches out and puts his arm around Betty and brings
her in against his pot belly.
JIMMY
Dad's best friend goes to work.
Jimmy smiles as he brings Betty a little closer. She is trying
to concentrate through the nervousness and Jimmy's breath.
There is a silence as Jimmy looks her in the eyes. Everyone
in the room is looking Betty in the eyes.
WALLY
Bob?
BOB
And... ACTION!
Betty and Jimmy start the scene. It is very difficult for
Betty as Jimmy has her in an absurd clench now.
BETTY
You're still here?
JIMMY
I came back. I thought that's what
you wanted.
Jimmy plays this with a big lecherous smile. He gives the
last part of the line across her cheek up to her ear.
BETTY
Nobody wants you here.
Betty uses the anger of this line to push herself away from
Jimmy. Jimmy reaches out and grabs her wrist.
JIMMY
Really?
Betty pulls her hand away and stands her ground.
BETTY
My parents are right upstairs! They
think you've left.
Jimmy smiles broadly and moves again toward Betty.
JIMMY
So... surprise!
Betty pushes him back.
BETTY
I can call them... I can call my
dad.
JIMMY
But you won't.
He grabs Betty by the wrist again and pulls her in to him.
He puts his hand on her waist and it accidentally slips and
keeps going down her hips. He jerks his hand back. Betty
looks down and sees Jimmy's hand hovering above her thigh.
Betty takes her hand and gently presses down on Jimmy's hand.
She slowly looks up with the most seductive smile. Jimmy
lets his hand rest more firmly on her thigh, and squeezes
her thigh as he sees her smile. With his other hand Jimmy
gently pulls her closer. Something has started coming over
Betty and she catches the drift of this scene in a different
way. She's surprising herself.
BETTY
(almost a hot whisper)
You're playing a dangerous game here.
If you're trying to blackmail me...
it's not going to work.
Jimmy now surprises himself. He becomes almost tender and
genuinely worked up from the heat coming off Betty.
JIMMY
You know what I want... it's not
that difficult.
Where the scene should turn to anger from Betty it can't now
and Betty plays it as she feels it. She stays in very close
to Jimmy - looking him right in the eyes.
BETTY
(whispering desperately -
slowly)
Get out... Get out before I call my
dad. He trusts you... you're his
best friend.
(her arms go around
him)
This will be the end of everything.
Jimmy gets lost. He doesn't know where he is anymore. He can
only see Betty's eyes.
JIMMY
What about you? What will your dad
think about you?
Betty still playing it in a dreamy whisper... lost in heat.
BETTY
Stop... just stop! That's what you
said from the beginning. If I tell
what happened... they'll arrest you
and put you in jail, so get out of
here before...
JIMMY
(caught by her
transfixing, sultry
eyes, and almost
breathless... he
finds himself taking
an extra long pause)
Before what?
As scripted Betty pretends to pull the knife from behind her
back, but wraps the knife around behind Jimmy and pulls him
into a kiss.
BETTY
(as she kisses him -
whispers)
Before I kill you.
Jimmy panics and pushes Betty away with his hands on her
shoulders as if forcing himself to come out of a trance. He
finally is able to say his line.
JIMMY
Then they'd put you in jail.
As scripted Betty is supposed to cry now and it is very easy
for her to do this because she's ashamed at how the sex of
the scene took her over. Tears begin running down her cheeks.
She backs away.
BETTY
I hate you... I hate us both!
She pretends to drop the knife. The scene ends.
Everyone in the room has become mesmerized by Betty, but
they soon drift back to reality and begin applauding the
performance. Sarah turns to Nicki.
SARAH JAMES
I'm going to take her over there.
NICKI
Big time!
WALLY
(to everyone)
Wow!
Betty wipes her eyes and turns smiling - still shocked at
herself.
BETTY
Well, there it was.
JIMMY
There it was it was! Baby, you got a
way!
WALLY
Bob?
BOB
Very good. Really. I mean it was
forced maybe but still humanistic.
Yeah, very good, really.
WALLY
Well, thank you Betty, and I mean
that. That was very impressive. You've
done your Aunt proud and I'm going
to tell her the first chance I get.
We'll speak again soon I'm sure, and
thank you so much for coming in.
BETTY
Well, thank you.
Betty doesn't quite know what to do. She moves to the center
of the room and just stands. Remnants of the scene still
staying with her.
Sarah stands and Nicki stands just after.
SARAH JAMES
Thank you, Wally. I'm sure you all
have a lot to talk about. We'll walk
Betty out.
WALLY
Well, yes indeed. Our pleasure, Sarah,
and don't you be a stranger. We'd
love to see you around here again
real soon.
SARAH JAMES
Well come along, Betty.
Sarah takes Betty's hand and they go to the door. Betty turns
back once more and smiles.
BETTY
Thank you again, Mr. Brown. It was
nice meeting all of you.
Everyone nods and waves and Betty is taken out by Sarah and
Nicki.
CUT TO:
INT. CORRIDOR EXECUTIVE BUILDING - DAY
The three of them walk down the corridor.
SARAH JAMES
Oh God, that was awful!
Betty's head spins to Sarah. A look of shock and let down on
her face.
SARAH JAMES
Oh, not you Betty. You were stellar
and I mean that, but poor Wally.
He'll never get that picture made.
Wally's days were up twenty-years
ago.
NICKI
(sickening little
laugh)
How about that Jimmy Katz?
SARAH JAMES
Oh god! Jimmy Katz never had a day.
Jimmy Katz never had a minute. Poor
Wally.
Betty finds herself getting a little upset.
BETTY
They seem very nice to me, and
Wally... Mr. Brown is a very close
friend of my Aunt's, so...
SARAH JAMES
Settle down, Betty. Don't get me
wrong. I love Wally. I ought to. I
was married to him for ten years.
Betty does another shocked head turn.
SARAH JAMES
And I love actors, all actors, Jimmy
Katz included. We just get a little
catty sometimes. Now we want to take
you across the way and introduce you
to a director who's a head above the
rest. He's got a project that you
would kill!
At the word 'kill' Betty turns to her once again with a
questioning look.
SARAH JAMES
...Knock it right out of the park.
CUT TO:
INT. RECORDING STUDIO - DAY
We see what looks like a recording studio right out of the
1960's. We're looking through a plate of glass. A blonde
girl is standing at a vintage microphone. Behind her are
three back-up male vocalists dressed in three tone, shiny
60's suits. We hear strings soar up and the blonde girl begins
to sing SIXTEEN REASONS by Connie Stevens. The male vocalists
backing her up flawlessly.
We move back and realize we are on a movie set inside a sound
stage. A screen test is being shot of the girl and as we
continue moving back we see the director Adam Kesher
surrounded by his crew. Behind them there are many people
standing, eating, watching, working. The stage is full and
bustling. The song plays loudly over. Sarah and Nicki bring
Betty into this scene through a giant stage door. A guard
mimes for them to be quiet as they approach the set. The
song continues to play over.
As Sarah leads Betty up close Adam turns and his eyes fall
on the beautiful face of Betty Elms. Sensing something Betty
turns and sees Adam. They each seem to feel the thrill of
the thunderbolt, but each embarrassed to stare longer than
they already have turn back and watch the girl finish the
song.
ADAM
(calling out through
an electronic
megaphone)
Cut it!
He gets out of his chair and walks into the set - up to the
blonde girl. He shakes her hand.
ADAM
Thank you very much, Carol. It was
really great of you to come in. I
know how busy you are.
CAROL
Oh, man, are you kidding? I love
this script! Where do I sign?
ADAM
Look... I love you, but there's no
way they're gonna let me cast this
thing until I've seen everyone. I'll
let you know as soon as I can.
CAROL
I know you will... cause my manager's
gonna bug you day and night... me
too.
ADAM
It'll be my pleasure. Now, get out
of here.
CAROL
Oh, you're just so cruel... don't
forget me. I'm the girl that's going
to play this part.
ADAM
(lightly pinching her
cheek)
See ya later.
Adam turns and goes back out of the set onto the stage floor.
He looks around. He sees Betty being introduced by Sarah to
some of the studio executives. He goes over to his Assistant
Director and looks down at the man's notepad.
ADAM
Who's next, Hank?
HANK
Camilla Rhodes.
Adam wonders - worries.
ADAM
Is she ready?
HANK
All ready.
ADAM
Bring her out.
Hank speaks into his walkie-talkie headset. The sound of his
voice can be heard in several locations throughout the stage.
HANK
(through walkie-talkie)
Camilla Rhodes next!
Adam looks up - a beautiful blonde steps into the set in
front of the microphone. IT IS THE GIRL! The back-up singers
step in behind her.
Adam nods to Hank.
HANK
Turn over!
The cameraman calls out, "Speed".
ADAM
(through megaphone)
Playback!
Countdown before the music begins.
ADAM
ACTION!
The strings soar up and Camilla Rhodes begins to sing.
On the set Betty hears the song again and turns and watches.
Once again her eyes find Adam as his eyes are finding hers.
This time Adam turns away. He watches Camilla for a moment.
She is passable, but not spectacular. Adam reaches out and
pulls Hank over to him.
HANK
Yeah?
Adam pauses.
ADAM
Get Jason over here.
Hank gets on his walkie-talkie.
HANK
Cindy... Adam wants to see Jason.
Adam continues to watch Camilla Rhodes sing. JASON GOLDWYN,
a tall sixty year old silver-haired man, comes through the
crowd and stops at Adam's side. He looks down at Adam, but
Adam continues watching Camilla Rhodes. Jason follows Adam's
gaze and he watches Camilla sing then turns back to Adam.
Adam slowly looks up right into Jason's eyes - wondering how
much Jason knows, but Jason's face doesn't give away a thing.
JASON
Did you want to tell me something,
Adam?
ADAM
This is the girl!
At that moment Ray, having overheard, comes to Jason's side.
He smiles at Adam.
RAY
Excellent choice, Adam.
Adam is sick with himself.
Across the room Betty panics when she looks at her watch.
BETTY
Oh... oh... I have to be somewhere.
I promised a friend.
She quickly shakes Sarah's and Nicki's hands saying, "I'm
sorry, I'm sorry" and runs off like Cinderella.
Adam turns and sees her running off out of his world.
Chris Isaak's song "Except The New Girl" segues in over Connie
Stevens and plays as Adam, Sarah and Nicki watch Betty
disappear out the sound stage door.
CUT TO:
EXT. 1612 HAVENHURST - STREET - DAY
Chris Isaak song "Except The New Girl" continues.
An idling cab sits waiting with back door open.
CUT TO:
COURTYARD - 1612 HAVENHURST DAY
Chris Isaak song segues to the sounds of a blues saxophone.
Betty and Rita come out of Aunt Ruth's apartment. Betty is
laughing, pulling on Rita.
BETTY
C'mom. There's nothing to be afraid
of.
Across the courtyard CORNELL DUMONT, a strikingly handsome
young black musician, is on his balcony playing the saxophone.
He stops playing when he sees the girls. He stands and looks
as if recognizing someone.
CORNELL DUMONT
Hey!
Betty and Rita stop and look up, shielding their eyes from
the sun.
CORNELL DUMONT
Hey, how's Sol?
BETTY
Sol?
CORNELL DUMONT
No... not you...
(to Rita)
I'm sorry... I forget your name.
RITA
(almost inaudible)
Rita.
CORNELL DUMONT
Yeah. Well, I haven't seen Sol lately.
Tell him to come by the club.
Rita nods... biting her lip. Cornell smiles and picks up his
sax.
BETTY
And what's your name?
CORNELL DUMONT
(big smile)
Cornell Dumont.
He begins to blow some sweet jazz that flows smooth as syrup.
BETTY
(whispering)
Ask him who Sol is...
Rita hurriedly starts for the gate.
BETTY
Maybe he could help...
Betty follows Rita through the gate to the waiting cab. They
get in and the cab pulls away.
CUT TO:
INT. CAB - DAY
Betty reaches and gently grabs Rita's shoulder. She speaks
firmly but quietly so the cab driver won't hear.
BETTY
Why didn't you ask him? Sol knows
you!
RITA
(whispering back)
But I don't know, Sol. I never heard
of Sol. I'd just get in trouble.
That's why we shouldn't go see about
Diane Selwyn... it's better not to
get in trouble.
BETTY
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 of trouble.
Rita thinks about this silently then begins to worry and
doubt all over again.
DISSOLVE TO:
INT. CAB - LATER
Betty holds the slip of paper with the address in her hand.
She turns back and forth watching the buildings on both sides
of the street.
BETTY
It should be around here...
Rita watches out of the window pensively as the cab moves up
Sierra Bonita. They near a modern apartment compound of
bungalows and duplexes almost hidden in the trees and
vegetation. A smooth stucco wall surrounds the complex.
BETTY
(points)
That's it... 2590.
(nudging Rita)
Does it look familiar?
Rita shakes her head... no. Rita is looking at a black car
parked down the street facing 2590. She discerns two men
sitting in the front.
RITA
Don't stop!
BETTY
What is it? What do you see?!
RITA
(quietly - frantic)
Those men in front, in the car.
BETTY
Do you know them?!
RITA
No... but...
BETTY
(to driver)
Keep going. Go around to the back.
CUT TO:
EXT. SIERRA BONITA APARTMENT - BACK ALLEY - DAY
Betty gets Rita out of the cab and pays the driver, who then
drives away. The girls go through a rear gate and enter the
complex walking along a curving concrete walk. This leads
them to an intersection where a registry is printed on a
rough hewn wooden plaque. They scan the list.
BETTY
Selwyn... number 12.
They both look around the various doors near them. Betty
spots a sign which says, behind an arrow, bungalows #10
through #20.
BETTY
It's this way.
They set off down another sidewalk toward Bungalow #12. As
they near it and actually can see it just ahead they pass a
chainlink service gate to the alley. Standing in the alley
is a man in a dark suit wearing sunglasses.
Both girls dive for the bushes.
The man in the black suit turns reacting to the noise and
motion. Both girls are trying to catch their breath and stay
as still and quiet as possible.
BETTY
(panting whisper)
Now, you've got me scared.
Peering through the bushes they see the man still looking in
their direction. Suddenly he turns and smiles at something
to his left.
He hurries off, but soon returns carrying two heavy suitcases,
followed by an older woman in a yellow dress. Both Betty and
Rita crawl further forward. They see the limo and realize
that the man they were afraid of is an ordinary limousine
driver just going about his work. The girls stand up, relieved
and a little embarrassed.
BETTY
See, I told you there was nothing to
be afraid of!
They go up to Bungalow #12 and stand for a moment facing the
front door.
RITA
Oh no... don't.
Betty doesn't listen to Rita. She knocks strongly on the
door. They stand waiting. There's no answer so Betty knocks
again harder. They wait.
RITA
No one's...
Suddenly the door opens. An attractive MIDDLE-AGED WOMAN
stands before them.
MIDDLE-AGED WOMAN
Yes?
BETTY
Diane?
MIDDLE-AGED WOMAN
Number 17.
BETTY
But it said #12.
MIDDLE-AGED WOMAN
I switched apartments with her. She's
in #17. Just walk down that way.
It's just to the right.
The woman seems to be looking now at Rita.
MIDDLE-AGED WOMAN
It's kind of hidden by the foliage.
Betty and Rita start to leave.
MIDDLE-AGED WOMAN
She hasn't been around for a few
days...
BETTY
Well... we'll leave her a note.
MIDDLE-AGED WOMAN
(starting toward them)
I'll go with you. She's still got
some of my stuff.
The phone rings from inside her bungalow.
MIDDLE-AGED WOMAN
(turning back)
Oh... go ahead. I've got to get that.
The woman hurries back inside and closes the door. Betty and
Rita quickly move up the walkway toward Bungalow #17.
BETTY
I guess you're not Diane.
Rita, still fighting her fear doesn't answer.
They reach Bungalow #17. It's set back beneath tall bushes
and an old Eucalyptus tree. The front door is in deep shadow.
Without even looking at Rita Betty knocks quickly. There's
no answer. She knocks again.
BETTY
Still not home I guess.
The girls drift off to the side of the bungalow. Betty tries
to see in the windows. She tries a window and to her surprise
it opens.
RITA
I don't think...
BETTY
(looking around for
anyone watching)
C'mon help me in. I'll open the front
door.
RITA
No.
Betty jumps up and catches her knees on the siding, her head
through the open window.
BETTY
PUSH!!!
Rita reluctantly pushes and Betty is in. As she closes the
window...
BETTY
Meet you at the door.
Rita walks around to the front door and gets there just as
Betty opens it. Betty has her hand over her mouth and nose.
BETTY
I don't know if you want to come in
here or not. There's some kind of
horrible smell like... something...
Rita is compelled to go in and as the door clicks shut she
reacts to the smell.
CUT TO:
INT. BUNGALOW #17 - DAY
Betty begins to go through the bungalow and Rita follows.
All the blinds are closed and the curtains drawn. They move
slowly, looking around at everything as they go. Betty looks
to Rita to see if any of this is something she remembers.
Rita looks as though she's walking in a trance. Through the
half light they move deeper into the bungalow to a corridor.
CUT TO:
EXT. SIERRA BONITA APARTMENTS - BUNGALOW #12 - DAY
The Middle-Aged Woman is just shutting the door to her
bungalow. She walks quickly in the direction of Bungalow
#17.
CUT TO:
INT. BUNGALOW #17 - DAY
Betty and Rita are moving down the corridor. They pass a
small room and look in at a couch, wardrobe and make-up table.
They move on down the corridor to a door which is almost
closed. Betty touches the door and it seems to swing open on
its own. They enter the room and stop cold. A scream starts
to build inside Rita. Before them is a dead woman lying on a
bed. Great chunks of mattress are standing upright having
been ripped and torn by shotgun blasts. A dried sea of blood
surrounds the bloated, gray body of the woman. The scream
comes out of Rita as a force propelling her to look closer.
Betty lunges after Rita, her eyes also not able to leave the
sight. She covers Rita's mouth with her hand and brings her
close. The scream is stifled by Betty's hand.
In the silence that follows, knocking can be heard. Betty
freezes and keeps Rita quiet with her hand still placed over
her mouth, but she can't stop Rita's violent shaking nor the
horror in her eyes.
CUT TO:
EXT. BUNGALOW #17 - DAY
The Middle-Aged Woman backs away from the front door, looking
around at bungalow #17. She's not sure if she has heard
something or not. She wonders, then turns and goes back to
her bungalow.
Just as she has disappeared the door to Bungalow #17 flies
open and Rita, followed closely behind by Betty, runs with a
look of horror directly toward us until her tortured face
fills the screen.
Sounds, churning music.
CUT TO:
INT. AUNT RUTH'S APARTMENT - BATHROOM - DAY
Sounds, music churning continues.
Great sobs, almost hysterical, wrack Rita's body as she bends
over the sink, scissoring into her long, dark hair with a
frenzy. There is a loud sound of the scissors cutting deep
through many strands of hair. Betty is rushing to her - her
hands reach tenderly, but firmly for Rita's hand holding the
scissors. She keeps her from cutting and moves closer,
whispering in Rita's ear. Rita can't stop crying, but lets
Betty hold her. Music changes...
BETTY
Rita... I know what you're doing.
RITA
(through uncontrollable
sobs)
What... I... HAVE... to do.
BETTY
I know what you have to do, but let
me do it.
Rita turns and looks up at Betty, her eyes red with crying.
Betty pulls her up facing her. Rita lets Betty take the
scissors. They look into each other's eyes. Betty gently
strokes Rita's cheek, wiping away some tears.
BETTY
Let me do it.
DISSOLVE TO:
INT. AUNT RUTH'S APARTMENT - LATER - DAY
Panning slowly across we see on the bathroom counter various
open bottles, used Q-tips, towels, combs, a brush, a bowl,
and lots of long strands of cut black hair. We continue moving
up to an empty mirror and eerie music builds. The reflection
of the new Rita moves into the mirror. She has short,
beautiful blonde hair, blonde eyebrows and no make-up.
Betty's reflection comes in beside Rita's. They stare at the
new Rita in the mirror.
BETTY
(quietly with assurance)
You look like someone else.
CUT TO:
EXT. COURTYARD 1612 HAVENHURST - LATE EVENING - ALMOST DARK
We move off the door of Aunt Ruth's apartment and crane slowly
up to the apartment above hers - WILKINS - the one with the
wayward dog. We move closer to Wilkins' apartment and as we
move in we hear a phone ringing.
DISSOLVE TO:
INT. WILKINS' APARTMENT - A MOMENT LATER
Wilkins still in his pajamas, bathrobe and slippers from
morning slouches in an enormous stuffed chair and matching
ottoman, surrounded by piles of papers and coffee cups. His
Jack Russell Terrier wakes and stands at the sound of the
phone ringing on a side table next to Wilkins. Wilkins comes
out of a deep thought and picks up the receiver as he runs
his hand through strange, matted tufts of dirty blonde hair.
WILKINS
Hello. Adam. How's it going? No,
it's okay. Yeah, I'm working, but...
they wanted this script a week ago.
What? What's wrong with your house?
The poolman? Sure, you can have the
couch. No, it's no problem... it's
just I gotta... I gotta work. Any
chance you could bring some food.
No, I got plenty of money - I just
haven't gone out for awhile. Groovy
man! Murphy and I'll be glad to see
you. No, no, no, he's got plenty of
food.
CUT TO:
INT. AUNT RUTH'S APARTMENT - BEDROOM - NIGHT
Rita has just taken the hatbox from the closet shelf and is
setting it on the bed.
BETTY
What are you doing?
Betty is sitting on the bed opposite. Rita opens the hatbox
and removes her purse. She opens the purse and takes out the
money. She sits down on the bed and while staring at the
money she thinks of what to say.
RITA
You've been so good to me... now we
know why... why I was so afraid. We
know what kind of trouble I'm in. I
shouldn't... ask you... I only have
this to offer. I'll give you this if
I can stay here for awhile. I don't
know what else to do.
Betty moves across the bed to the side of Rita. She puts her
arm around Rita and holds her.
BETTY
Rita... I want you to stay here and
you don't have to give me that money.
RITA
But I want to.
BETTY
No. We shouldn't touch that money.
We don't know about that money. That
might be dangerous money. You have
to start all over again. You look
like a brand new person and you can
be a brand new person... whoever you
want to be.
RITA
It sounds kind of nice... being
somebody brand new.
BETTY
Hey, let's introduce the brand new
you to Hollywood. We haven't seen
the roof garden yet.
CUT TO:
EXT. COURTYARD - NIGHT
The girls come out the front door... Betty leading and pulling
a much happier Rita along with her. They half run across the
courtyard to stone steps under an Ivy covered eave.
CUT TO:
EXT. ROOF GARDEN - NIGHT
The girls race up the stone steps toward us. Soon their wind-
blown, smiling faces fill the screen as they look out. There
before them are the lights of Hollywood with silhouetted
palms, slow-moving theater kleig lights, and floating above
it all the giant sign in the hills reading HOLLYWOOD.
BETTY
Here I am Hollywood! My name's Betty.
A pause.
BETTY
(to Rita)
Say it!
RITA
Here I am Hollywood! My name is...
Rita.
They look out, maybe waiting for an answer blowing in the
Santa Ana wind.
CUT TO:
INT. AUNT RUTH'S APARTMENT - NIGHT - A MOMENT LATER
We move in to the pile of money next to Rita's purse. Past
that we move down inside Rita's purse. We see the Blue Key
and move closer to it until it fills the screen.
CUT TO:
EXT. DENNY'S RESTAURANT - HOLLYWOOD - NIGHT
We drift along the red bricks past the payphone, along the
wall until we come to the corner. Slowly we round the corner
and move to a dark alley. There amongst the dumpsters and
trash cans is the dark silhouette of a figure. We move closer
to the figure. It is the bum and the bum sits. We move closer
and the bum's face fills the screen. It's face is black with
fungus. It's eyes turn and they seem to be red.
THE END