Линч Д. Малхолланд Драйв (Eng)

             M U L H 0 L L A N D    D R I V E

       EXT.  NIGHT - HOLLYWOOD HILLS, LOS ANGELES

Darkness. Distant sounds of freeway traffic. Then the closer

sound of a car - its headlights illumine an oleander bush and

the limbs of an Eucalyptus tree. Then the headlights turn - a

street sign is suddenly brightly lit. The words on the sign

read... "Mulholland Drive." The car moves under the sign as

it turns and the words fall once again into darkness.

                                                               CUT TO:

EXT. NIGHT - MULHOLLAND DRIVE

Gliding we follow the car - an older black Cadillac limousine

- as it winds its way up Mulholland Drive through the

darkness of the Hollywood Hills. There is no one else on the

road. As we drift closer to the car...

 

                                                               CUT TO:

 

INT. BLACK CADILLAC LIMOUSINE - NIGHT

 

Two men in dark suits are sitting in the front seat. A

beautiful, younger, dark-haired woman sits in back. She sits

close up against the door and stares out into the darkness.

She seems to be thinking about something. Suddenly she turns

and looks ahead. The car is slowing and moving off to the

side of the road.

 

                                    DARK-HAIRED WOMAN

                  What are you doing? You don't stop

                  here ...

 

The car stops - half on, half off the road at a dark, blind

curve. Both men turn to the woman.

 

                                    DRIVER

                  Get out of the car.

 

                                                               CUT TO:

 

EXT.  FURTHER UP MULHOLLAND DRIVE - NIGHT

 

Two cars - a convertible and a late model sedan are drag

racing toward the blind curve blocking the view of the

Cadillac limousine. The cars are filled with crazed

teenagers. Two girls are standing up through the sunroof of

the sedan screaming as their hair is whipped straight back.

 

 

 

The cars are travelling so fast that they seem to almost

float as they fly with psychotic speed down both lanes of

Mulholland Drive.

 

                                                               CUT TO:

 

INT. EXT. - CADILLAC LIMOUSINE

 

The driver, still in his seat, has a pistol with a silencer

attached pointing at the woman. The other man is getting out

of the car. The woman is clutching the seat and the door

handle as if trying to anchor herself. She is visibly afraid.

The man who got out of the car tries the woman's door, but it

is locked. He smiles as he reaches in through the front door

and unlocks her door. He opens her door. As he reaches for

her, the woman's face becomes flooded with light. Her eyes

dart to the front windshield. The driver, flooded with light,

turns just as the late model sedan slams into the Cadillac

limousine. There is an explosion of metal and glass amidst

thunderous tearing sounds as the two cars become one in

death. The convertible screams past with hardly a notice.

The driver of the limousine dies instantly as his body is

jettisoned through the windshield. The other man is torn as

the cars screech over him. The woman is brutally thrown into

the back of the front seats as a cloud of dust and flying

rocks engulfs her. The disastrous moving sculpture of the two

cars wants to climb up the hill, then stops and slides back

toward the road The Cadillac tips onto its side. Then all is

silent. A fire erupts in the sedan and as the dust clears we

see the woman appear, then crawl out of the Cadillac to the

road. Her face is vacant. There is a bleeding cut just above

her forehead. She stands for a moment clutching her purse -

lost , then begins to walk as if in a trance across

Mulholland down through the bushes and into darkness.

 

                                                               DISSOLVE TO:

 

EXT. HOLLYWOOD HILLS - LATER - NIGHT

 

The woman slides down a hill through tangles of hostile

desert plants. Sirens can be heard in the distance. She

crosses through some trees and is suddenly confronted by a

coyote which snarls and leaps at her. She screams and strikes

out with her purse in self defense. The coyote backs away -

snarling. The woman then loses control and runs at the coyote

and it races off. She falls to the ground. We can hear the

thunder of her heartbeat as the sirens grow louder. She gets

up and stumbles through the trees. When she clears them she

is standing overlooking all of Los Angeles glowing down

below. She clumsily starts down toward it.

 

                                                               DISSOLVE TO:

 

HOLLYWOOD STREETS - LATER - NIGHT

 

The woman slides down a dusty hill and finds herself at

Franklin Avenue. A car races by and its headlights flare on

her face. Her expression shows fear and panic. She doesn't

know where she is or where to go. She runs frantically across

the street. She moves quickly to a sidewalk which takes her

into a residential area.

 

                                                               DISSOLVE TO:

 

EXT. HOLLYWOOD STREETS - LATER - NIGHT

 

The woman crosses Sunset Boulevard. Coming up Sunset in the

distance is a police car with its sirens and lights going.

She hurries into the darkness of another residential area. A

car turns onto the street and comes toward her. She

instinctively moves behind a tree until it passes.

 

                                                               DISSOLVE TO:

 

EXT. HOLLYWOOD STREETS - LATER - NIGHT

 

As if being hunted in a foreign land the woman moves

desperately down another residential street. A drunken couple

round the corner up ahead and start up the sidewalk toward

her. She runs off the sidewalk and into the bushes in front

of an apartment building. The couple passes by without

noticing her. Feeling safe in these bushes her exhaustion

overtakes her and she lays her head down to sleep.

 

                                                               DISSOLVE TO:

 

EXT.  MULHOLLAND DRIVE   - NIGHT

 

Police, paramedics surround the wreckage. Two detectives,

HARRY MCKNIGHT and NEAL DOMGAARD (both mid 40's to 50), stare

at the remains of the two cars glowing white hot under the

crime scene lights. A coroner's van pulls out just after an

ambulance. The ambulance's siren begins to wail as it speeds

off. The coroner's van cruises slowly. Detective Harry

McKnight and Detective Neal Domgaard continue staring. They

do not look at each other. They are each motionless for a

long moment.

 

                                    DETECTIVE HARRY MCKNIGHT

                  You feel it?

 

                                    DETECTIVE NEAL DOMGAARD

                  Yeah.

 

They continue to stare.

 

 

                                    DETECTIVE NEAL DOMGAARD

                  Sammy thinks the Caddy had stopped along

                  the shoulder ... man up the road said he

                  saw two cars drag racin'...then you got

                  that blind corner.

 

                                    DETECTIVE HARRY MCKNIGHT

                  Two men... two guns in the Caddy.

 

                                    DETECTIVE NEAL DOMGAARD

                  The boys found this on the floor in back

                  of the Caddy.

 

Neal holds up a plastic bag holding a pearl earring.

 

                                    DETECTIVE HARRY MCKNIGHT

                  Yeah, they showed me

 

                                    DETECTIVE NEAL DOMGAARD

                  Could be unrelated.

 

                                    DETECTIVE HARRY MCKNIGHT

                  Could be...any of those dead kids wearin'

                  pearl earrings?

 

                                    DETECTIVE NEAL DOMGAARD

                  No. Could be someone's missin' maybe.

 

                                    DETECTIVE HARRY MCKNIGHT

                  That's what I'm thinkin'.

 

Detective Harry McKnight turns and crosses Mulholland. His

eyes move over each blade of grass at the shoulder - each

desert bush just beyond. He slowly raises his gaze to the

shining lights of Hollywood laying far below like a galaxy.

He looks out and wonders.

 

                                                               CUT TO:

 

EXT. HOLLYWOOD STREETS - EARLY DAWN

 

The clang of a metal gate wakes the woman. It is just getting

light and she sees an older red-headed woman carrying a

suitcase to the curb where a cab stands waiting with its

trunk open. The cab driver appears with two suitcases which

he sets down next to the car. The red-headed woman and the

cab driver both go back through the iron gate. The woman in

the bushes pulls herself to the gate where she can peer into

the courtyard of this apartment building. She sees the red-

headed woman and the cab driver go into an apartment and come

back out with more luggage.

 

 

They leave the apartment door open. When the red-headed woman

and the cab driver reach the cab they both begin loading the

bags into the trunk and backseat. Their backs are to the

woman in the bushes who takes this opportunity to go quickly

into the courtyard and through the open apartment door.

 

                                                               CUT TO:

 

INT. APARTMENT - EARLY DAWN

 

The woman comes into a living room where a single trunk

remains. She goes further into the apartment and crouches

down in a back corner of the kitchen. She listens as

footsteps come across the courtyard. She hears the red-headed

woman and the cab driver get the trunk. She hears them set it

down once they have it in the courtyard. She hears the steps

of the red-headed woman come back inside the apartment. She

hears the footsteps go all around the apartment and then she

hears the footsteps come toward the kitchen. Remaining

frozen, the dark-haired woman's eyes look up as the red-

headed woman walks right past her, grabs a set of keys off

the kitchen counter, then leaves the apartment. The woman can

hear the door being locked. She lets go, slides to the

kitchen floor, and passes out.

 

                                                               CUT TO:

 

INT. DENNY'S RESTAURANT , HOLLYWOOD - MORNING

 

Two well-dressed men HERB and DAN (mid 30's) are sitting at a

table drinking coffee. Herb has finished eating his

breakfast, but Dan hasn't touched his bacon and eggs - he

appears too nervous to eat. A blonde waitress with a

nameplate saying "DIANE" lays the check on their table

smiles, then walks off.

 

                                    HERB

                  Why did you want to go to breakfast if

                  you're not hungry?

 

                                    DAN

                  I just wanted to come here.

 

                                    HERB

                  To Denny's? I wasn't going to say

                  anything, but why Denny's?

 

                                    DAN

                  This Denny's.

 

                                    HERB

                  Okay. Why this Denny's?

 

 

                                    DAN

                  It's kind of embarrassing but,

 

                                    HERB

                  Go ahead.

 

                                    DAN

                  I had a dream about this place.

 

                                    HERB

                  Oh boy.

 

                                    DAN

                  You see what I mean...

 

                                    HERB

                  Okay, so you had a dream about this

                  place. Tell me.

 

                                    DAN

                  Well ... it's the second one I've had, but

                  they were both the same......they start

                  out that I'm in here but it's not day or

                  night. It's kinda half night, but it

                  looks just like this except for the

                  light, but I'm scared like I can't tell

                  ya. Of all people you're standing right

                  over there by that counter. You're in

                  both dreams and you're scared. I get

                  even more frightened when I see how

                  afraid you are and then I realize what it

                  is - there's a man...in back of this

                  place. He's the one ... he's the one

                  that's doing it. I can see him through

                  the wall. I can see his face and I hope

                  I never see that face ever outside a

                  dream.

 

Herb stares at Dan to see if he will continue. Dan looks

around nervously, then stares at his uneaten food.

 

                                    DAN (cont'd)

                  That's it.

 

                                    HERB

                  So, you came to see if he's out there?

 

                                    DAN

                  To get rid of this god-awful feeling.

 

                                    HERB

                  Right then.

 

 

Herb gets up, picks up the bill and goes to the cashier to

pay. Dan just sits.

 

As Herb is paying the bill he looks over at Dan just as Dan

is turning to look at him. From Dan's point of view Herb is

standing in exactly the same spot as he stood in the dream.

Herb gets a strange feeling, turns back and finishes up with

the cashier. He motions for Dan to follow him. Dan rises

reluctantly and he and Herb make their way outside.

 

                                                               CUT TO:

 

EXT. DENNY'S

 

Now Herb waits for Dan to lead the way.

 

                                    DAN

                  Around here.

 

Dan takes Herb across the front of Denny's to a narrow

sidewalk that leads down the side toward the back.

 

They begin walking down the narrow sidewalk - past a

payphone. Dan begins to sweat the nearer he gets to the rear

corner of the building. Red bricks glide by slowly.

 

CLOSER ON DAN

 

Beads of sweat cover his face. He finds it difficult to

breathe. Herb is just behind him unable to see the fear

overtaking his friend, but Herb can feel something himself.

 

The red bricks moving by now are coming to an end - the

corner is coming closer - the corner is now very close.

 

Suddenly a man - a face ... a face dark and bum-like- moves

quickly out from behind the corner and stops - freezes -

staring into Dan's eyes.

 

Dan lurches back. All his breath is suddenly gone. He falls

back into Herb who tries to catch him as he's falling. Dan

hits the ground unable to breathe - his eyes wide with

horror.

 

Herb looks up - the man is gone. He looks down to Dan.

 

                                    HERB

                  Dan! ... Dan! You all right? ... Dan!

 

He kneels down and studies his friend. He feels for a pulse

in the neck. He listens for breathing. His friend is dead.

 

 

 

                                    HERB (cont'd)

                  My God!

 

                                                               DISSOLVE TO:

 

EXT.  LAX AIRPORT - DAY

 

The airport sits in blinding sunlight and veiled with smog.

A big jet lands.

 

                                                               CUT TO:

 

INT. LAX AIRPORT

 

A blonde girl walking with an old woman approaches us. As the

blonde's face fills the screen we move with her and stay with

her as she goes. Her face is bright and her eyes move here

and there taking in everything. She can hardly believe she's

in Los Angeles - the City of Dreams. She and the old woman

pass under a sign which reads "WELCOME TO LOS ANGELES."

The girl smiles and looks around excited by every detail.

 

                                                               CUT TO:

 

EXT. LAX AIRPORT

 

The girl and the old lady exit the terminal with their bags.

An older gentleman has joined the old lady. They stop at the

taxicab stand. The old lady takes the blonde girl's hand.

 

                                    OLD LADY

                  It's time to say goodbye, Betty. It's

                  been so nice travelling with you.

 

                                    BETTY

                  Thank you, Irene. I was so excited and

                  nervous. It was sure great to have you

                  to talk to.

 

                                    IRENE

                  Now, remember I'll be watching for you on

                  the big screen.

 

                                    BETTY

                           (smiling)

                  Okay Irene. Won't that be the day.

 

                                    IRENE

                  The best of luck to you, Betty. Take

                  care of yourself and be careful.

 

 

                                    BETTY

                  Okay I will. Thanks again.

 

Betty and Irene give each other a hug. The old gentleman nods

to Betty and takes Irene off. Betty smiles after them.

Suddenly someone is grabbing her bags. She turns abruptly to

find she is next in line and her cab is waiting. She turns

once more and waves at Irene as her bags are loaded into the

trunk of the cab.

 

                                    CAB DRIVER

                  Where to?

 

                                    BETTY

                           (smiling excitedly)

                  1612 Havenhurst.

 

                                    CAB DRIVER

                  Got it!

 

They get into the cab and close their doors. The cab pulls

away.

 

                                                               CUT TO:

 

EXT. STREETS - LOS ANGELES - DAY

 

Betty goes from the right side of the cab to the left side of

the cab looking at every building, tree and sign. Each street

sign seems to be magical to her and she says the names to

herself as they pass by. She sees La Tijera, La Cienega,

Venice Boulevard, Pico Boulevard, Olympic Boulevard, Wilshire

Boulevard, etc., etc. until they reach Fountain and turn

right. Betty's heart is pounding when she sees Havenhurst

and the cab turns left. In the middle of the block on the

right the cab pulls over and stops. Betty sees her new

home ... an ancient, gorgeous courtyard apartment building,

built during the golden age of cinema.

 

                                                               CUT TO:

 

EXT. 1612 HAVENHURST

 

The cab driver puts Betty's bags down on the sidewalk next to

her. She can barely stop looking at the building long enough

to pay the cab driver who then goes off and drives away.

Betty picks up her bags and enters, as if in a dream, through

an ornate iron gate to a courtyard with a beautiful working

fountain at its center. A sign on a door to her right reads

Manager and she rings the bell.

 

 

An older, once very beautiful, woman wearing heavy make-up

and smoking a cigarette in a silver holder opens the door.

An unbelievable raspy voice comes out through the dark screen

of the still closed screen door.

 

                                    MANAGER

                  Hi there...ten bucks says you're Betty.

 

                                    BETTY

                  I am, Mrs. Lanois. It is Mrs. Lanois

                  isn't it?

 

                                    MRS. LANOIS

                  In all my living glory, baby.

 

                                    BETTY

                  Pleased to meet you.

 

                                    MRS. LANOIS

                  You can call me Coco ... everybody does.

                  Stay there, I'll get the key.

 

                                    BETTY

                  Okay, Coco.

 

Coco returns with the key and opens the screen door inhaling

a huge drag off her cigarette. She starts off into the

courtyard and Betty picks up her bags and follows. As Coco

speaks smoke comes out of her with every word.

 

                                    COCO

                  I guess it was your grandfather, was

                  it ... he called me to check in, said you

                  were on your way and for you to call when

                  you get in. Nice man... farmer I hear.

 

                                    BETTY

                  Yes, he is. He raises corn.

 

                                    COCO

                  Damn lot of corn raised in Hollywood

                  these days too.

 

                                    BETTY

                  Well, I ...

 

                                    COCO

                  You don't have to tell me. It's written

                  all over that pretty face of yours.. You

                  came here to be an actress. I just hope

                  you'll remember there's never been a

                  great poem called "tits and ass."

 

 

                                    BETTY

                  I...

 

                                    COCO

                  You probably don't remember her, but

                  Louise Bonner lives right over there in

                  number 29. When she isn't drunk she runs

                  a damn good acting class.

 

                                    BETTY

                  Have many famous actors and actresses

                  lived here? I was meaning to ask you

                  that.

 

                                    COCO

                  Honey, all the great ones came through

                  here at one time or another.

 

A haunting music begins to swell.

 

                                    COCO (cont'd)

 

                  People say in the springtime when the

                  wind blows the smell of the jasmine you

                  can still feel the presence of everyone

                  of them.

 

                                    BETTY

                  I guess I've come to quite a place.

 

                                    COCO

                  Sweetheart, you don't know the half of

                  it.

 

The music fades.

 

Coco looks down suddenly. On the cobblestone courtyard in

front of her she sees a fresh product of waste from a dog.

She angrily turns up to an apartment on the second level.

 

                                    COCO (cont'd)

                           (yelling up)

                  WILKINS! ... (no answer) ... THAT DOG CRAPS

                  ONCE MORE OUT HERE AND I'LL BAKE HIS

                  BUTT FOR BREAKFAST!!

 

Coco turns back to Betty.

 

                                    COCO (cont'd)

                  You don't have pets do you?

 

 

                                    BETTY

                  No, I don't.

 

                                    COCO

                  That's good. They're allowed, but I

                  don't like 'em...for obvious reasons.

                  One man used to live here that had a

                  prize fighting kangaroo. You wouldn't

                  believe what that kangaroo did to this

                  courtyard ... let's see your Aunt's

                  apartment ... it's a good one.

 

                                    BETTY

                  I can hardly wait, Coco.

 

                                                               CUT TO:

 

INT. APARTMENT - BEDROOM

 

The dirty and torn black cocktail dress of the dark-haired

woman along with her shoes, purse and undergarments are in a

pile in the bedroom. We drift off them toward the bathroom

where the dark-haired woman can be seen showering through

rippled glass. There's the sound of a door opening. We see a

movement through the glass and the shower goes off instantly.

We can hear the dark-haired woman's frightened breathing as

she waits frozen listening.

 

                                                               CUT TO:

 

INT. APARTMENT  LIVING ROOM

 

Betty enters, thrilled with what she sees. The apartment is

filled with movie memorabilia, deco furniture, oriental rugs,

brass floor lamps and a massive tiled fireplace. She sets her

bags down and stares.

 

                                    BETTY

                  It's unbelievable!

 

                                    COCO

                  I told ya.

 

                                    BETTY

                  Wow!

 

                                    COCO

                  Now I guess you and your Aunt have an

                  understanding. So here's the key and you

                  need anything, just give a holler.

                           (Coco hands Betty the key)

                  Everybody in this building's pretty much

                  okay with me or they wouldn't be here.

                  If you want, later I'll introduce you

                  around. No hard feelings if you don't,

                  and don't forget the rooftop garden.

                  It's just up the stairs we passed. It's

                  open to all the tenants. You can see the

                  Hollywood sign from there.

 

                                    BETTY

                  Oh Coco thank you. Thank you so much.

 

                                    COCO

                  You got it! See you later honey.

 

Coco leaves and closes the door behind her. Betty begins to

explore the apartment.- After walking a circle in the living

room she passes through the kitchen. She moves down a

hallway looking at paintings and posters. She goes into the

bedroom. She smiles when she sees the bed which has a huge

ornately carved head and foot board. She notices the soiled

dress on the floor and she frowns as she looks closer. She

stands back up, shrugs and goes into the bathroom which has

all the original thirties fixtures damndest floor to ceiling

tiles. As she goes toward the sink she smiles to herself in

the mirror above it. Suddenly something catches her eye and

she opens the shower stall. There before her is the naked,

beautiful dark-haired woman.

 

                                    BETTY

                  Oh my!

 

She quickly closes the shower door.

 

                                    BETTY (cont'd)

                  I'm sorry. My Aunt ... Ruth didn't tell

                  me someone was going to be here. I'm so

                  sorry.

 

                                    DARK-HAIRED WOMAN

                  That's okay.

 

                                    BETTY

                  I'm Ruth's niece. My name's Betty. I'm

                  sure she told you I was coming.

 

There's a silence.

 

                                    DARK-HAIRED WOMAN

                  There was an accident. I came here.

 

                                    BETTY

                  I understand. I saw the dress. I...I'm

                  sorry.   Are you all right?

 

 

There is another silence.

 

                                    BETTY (cont'd)

                  What happened?

 

                                    DARK-HAIRED WOMAN

                  A car ... a car accident.

 

                                    BETTY

                  Are you okay?

 

                                    DARK-HAIRED WOMAN

                  I think so. I was just taking a shower.

 

                                    BETTY

                  Oh my god. I'm sorry. I'll let you get

                  back to that. I'm going to get unpacked.

 

Betty goes to the bathroom door and is closing it when she

stops and looks back in.

 

                                    BETTY (cont'd)

                  What's your name?

 

We see a close-up of the dark-haired woman. We see her eyes

widen with a kind of fear. She's frantically thinking -

searching her mind for an answer.

 

                                    BETTY (cont'd)

                  I'm sorry. I'll get out of here and we

                  can talk later.

 

                                                               CUT TO:

 

INT. APARTMENT BEDROOM

 

Betty is unpacking in the bedroom and putting her belongings

in the closet and the dresser drawers. Many of her Aunt's

things are still there.

 

                                                               CUT TO:

 

INT.  APARTMENT BATHROOM

 

The dark-haired woman is looking at herself in the mirror.

She turns and begins looking around the bathroom at shampoos,

cosmetics, until her eyes fall on a poster of "Gilda"

starring Rita Hayworth.

 

                                                               CUT TO:

 

INT. APARTMENT BEDROOM

 

The bathroom door opens and the dark-haired woman comes out

wrapped in a towel. She's drying her hair with another. She

and Betty stare at one another.

 

                                    DARK-HAIRED WOMAN

                  My name is Rita.

 

                                    BETTY

                  Hi...do you work with my Aunt?

 

                                    RITA

                  No ..........I.

 

                                    BETTY

                  I...I mean......I...it's none of my

                  business.

 

                                    RITA

                  She has pretty red hair... she is very

                  kind I think.

 

                                    BETTY

                  She sure is. She's letting me stay here

                  while she's working on a movie that's

                  being made in Canada, but I guess you

                  know that.  I couldn't afford a place

                  like this in a million years. Unless of

                  course I'm discovered and become a movie

                  star. Of course, I'd rather be known as

                  a great actress than a movie star, but

                  sometimes people end up being both and

                  that is, I guess you'd say, sort of why I

                  came here. I'm sorry, I'm just so

                  excited to be here..I mean I just came

                  here from Iowa and now I'm in this dream

                  place. You can imagine how I feel.

 

                                    RITA

                  I think I've been hurt.

 

                                    BETTY

                  Oh...

 

Betty goes to Rita.

 

                                    BETTY (cont'd)

                  Sit down...

 

Betty sits Rita on the bed. She leans down and looks at her

head and face.

 

 

                                    BETTY (cont'd)

                  Where were you hurt?

 

Rita motions to her head above her forehead. Betty looks

through her hair and finds her wound which has stopped

bleeding but is surrounded by a very large blue black

bruising.

 

                                    BETTY (cont'd)

                  We should get a doctor.

 

                                    RITA

                  No.

 

                                    BETTY

                  But, this could be serious.

 

                                    RITA

                  No...I need to sleep.

 

                                    BETTY

                  If you have a concussion you shouldn't

                  sleep.

 

                                    RITA

                  It will be okay if I sleep. I need to

                  lie down and sleep.

 

                                    BETTY

                  All right, but...I'm going to check on

                  you.

 

Rita lies down and is instantly asleep. Betty leans over her

and listens to her breathing. She gets a blanket and drapes

it over the beautiful sleeping Rita, then leaves the room.

 

                                                               CUT TO:

 

EXT. - DOWNTOWN LOS ANGELES - LOW RENT OFFICE BUILDING - DAY

 

The street level of the office building is filthy and houses

stores selling racks of cheap toys. Up above we see office

windows and a big sign saying "Office Space For Rent" along

with a telephone number to call. We drift in toward one of

the windows on the sixth floor.

 

                                                               CUT TO:

 

INT. OFFICE ON SIXTH FLOOR

 

Two men are in the room, JOE and ED. Joe leans up against a

rack of filing cabinets. He is in his late twenties. He

looks like a run down, heavy metal rocker - wears a blue

denim shirt open, T-shirt underneath, black denim jeans and

motorcycle boots. His black belt has silver studs. He's

smoking a cigarette and is laughing at something the man at

the desk has said. His laugh is easy and his grin is

infectious.

 

The man at the desk, Ed, wears a clean, crisp black suit,

like a business man's but unlike a business man his blonde

hair is long enough to go over his shoulders.

 

                                    JOE

                  So man, that's unheard of ... an accident

                  like that ... who coulda foreseen that.

 

                                    ED

                  Unreal ... so, you're looking good.

                  Whatcha doin' these days?

 

                                    JOE

                  Well, not much Ed. Just doin' some stuff

                  for this guy.

 

                                    ED

                  Making ends meet, huh.

 

                                    JOE

                  Hardly.

 

                                    ED

                  Yeah, look at my digs ... times are tough.

 

                                    JOE

                  Oh, things aren't so bad. Gee, I hope

                  you're not goin' to get in any trouble.

 

                                    ED

                  It was just a thing. The story made you

                  laugh.

 

                                    JOE

                  Yeah, that's a funny story.

 

Looking like he's rubbing the small of his back Joe moves

over to Ed at his desk. Joe looks down to the surface of the

desk - to a small worn black book.

 

                                    JOE (cont'd)

                  So, there it is ... Ed's famous black book.

 

 

                                    ED

                  Yeah, the history of the world in phone

                  numbers.

 

Joe's hand still at the small of his back moves into view

holding a silenced pistol and in one swift move reaches out

and fires a hole through Ed's temple - blowing Ed's brains

out across the desk, carpet and wall. Ed's head bangs down

on the desk, then is still save the leaking of blood from the

wounds. Joe flips his finished cigarette out the open window

behind Ed's desk, wipes the gun clean with a handkerchief and

places the cleaned gun in Ed's right hand. He places Ed's

right forefinger gently onto the trigger. As he puts the

finger on the trigger he presses a little too hard and the

gun goes off. The bullet shoots out and penetrates the cheap

wall at the far end of Ed's office. Joe hears a muffled

scream.

 

                                    JOE (cont'd)

                           (disgusted with himself)

                  Oh...man!

 

With a sense of "just more stuff I got to do" Joe moves

slowly and begrudgingly out of Ed's office, checks the

corridor and goes toward the screaming which still persists.

He opens up the office door next to Ed's and finds a heavy

set woman screaming bloody murder as she is grabbing her

buttock and lower back. He sighs and walks over to her and

cups his hand tightly around her mouth to squelch the

screaming. Wide-eyed, she tries to fight him off and he

begins dragging her out of her office. Joe's foot catches on

a computer cable clumsily taped across the floor and he falls

backwards bringing the heavy woman down with a bone-crushing

blow on top of him. The woman begins beating his face with

her meaty fists. Joe snaps her head back, instantly stilling

her violent activity. He wrestles the stunned heavyweight

back to her feet and out her door. He pushes and pulls her

into Ed's office. Just before they enter, Joe notices a man

with a vacuum cleaner watching him from the far end of the

corridor. He stops and calls to the man.

 

                                    JOE (cont'd)

                  Hey man. She's hurt bad. Get down here

                  and use the phone. Help me out. You

                  gotta call the hospital.

 

The man hesitates...not sure if this jives with what he's

seeing.

 

                                    JOE (cont'd)

                  I mean it! Get down here quick! She's

                  hurt and I can't do everything myself,

                  man.

 

 

Joe pushes the woman inside Ed's office, throws a glance back

down the corridor and sees the man is on his way to him,

pushing his industrial vacuum and trailing a 200 ft. long

thick black cord as he goes. Joe goes in to Ed's office

with the woman. He throws her down on the floor in line

between Ed's desk and the bullet hole in the wall. She

starts screaming immediately and struggles to get up. Joe

grabs the pistol from Ed's dead hand and lifts it to fire,

but the woman has turned around and is almost standing.

 

                                    JOE (cont'd)

                  No, no, no. You gotta be turned around.

 

He goes to her, slaps her hard in the face and spins her

around. Before she can turn again Joe races back to place

himself in the proper line at Ed's desk and quickly fires two

silenced shots into the back of her head. The man with the

vacuum enters. His eyes begin to widen in reaction to the

scene. Just then Joe fires a bullet into the man's chest.

The man inadvertently flicks on the vacuum cleaner as his

hands rush up to the wound. As the vacuum cleaner whines Joe

rushes to the man before the man falls back out into the

corridor. He pulls him into the room - the man moaning and

clutching his chest, starting to collapse. Joe releases him

and the man goes down. The vacuum cleaner seems to be

screeching now in the threshold. Joe fires the last bullet

into the heavy duty vacuum cleaner. The bullet shorts out

the internal wiring of the vacuum. That in turn blows the

building's circuit breaker and all the lights go out.

 

                                    JOE (cont'd)

                           (disgusted with himself)

                  Oh ... man!

 

Now he hears voices - voices moving into the corridor.

 

                                    VOICES

                  What the hell .... what happened? What's

                  this cord doing here? It's the vacuum.

                  It's the vacuum what did it.

 

Joe cleans the pistol once again and places it back in

Eddie's hand - Eddie's finger on the trigger. Joe picks up

the black book - turns and makes his escape by going out the

office window and quickly descending the rusty fire escape.

 

                                                               CUT TO:

 

INT. CONFERENCE ROOM - CENTURY CITY BUILDING - DAY

 

We see three men sitting at a conference table RAYMOND(RAY)

HOTT -president of production, wearing a crisp blue

suit,VINCENT DARBY -senior vice-president, wearing a crisp

green suit and ROBERT SMITH -talent manager, wearing a crisp

brown suit. Ray and Mr. Darby sit at the head of the table

and Robert Smith sits along the side. A younger man -ADAM

KESHER enters and sits down, with an arrogant nonchalance,

next to Robert Smith. Adam is dressed in a frumpy old

fashioned plaid shirt, worn jacket, dark blue cotton slacks,

and a pair of old brown wing tips. As he sits he is holding

and twirling a vintage "7-iron" golf club.

 

                                    ADAM

                  So what's the problem?

 

                                    RAY

                  There is no problem.

 

                                    ADAM

                  So why did you idiots bring me

                  here? ... I'm in the middle of making a

                  picture.

 

Silence for a moment. A man enters through a rear door and

whispers something to Mr. Darby and shows him something on a

piece of paper. Mr. Darby studies the piece of paper.

 

                                    MR. DARBY

                           (to man who entered)

                  What was it last time?

 

The man who entered points to something on the paper.

 

                                    MR. DARBY (cont'd)

                  Okay, let's try the next one.

 

The man nods and leaves.

 

                                    RAY

                  He isn't gonna like it.

 

                                    MR. DARBY

                  We'll see.

 

                                    ADAM

                  Hello ... who're we talkin' about here?

 

Robert Smith shuffles nervously in his chair next to Adam.

 

 

                                    ROBERT SMITH

                  You see Adam... there are some suggestions

                  which are to be brought forward ... and I

                  know you said you would entertain

                  suggestions and that's all anybody here

                  is asking you to do.

 

                                    ADAM

                  What're you talking about?

 

                                    ROBERT SMITH

                  An open mind ... You're in the process of

                  re-casting your lead actress and

                  I'm... (looks around) We're asking you to

                  keep an open mind.

 

                                                               CUT TO:

 

EXT. CENTURY CITY - DAY

 

Before us is a huge modern office building of glass and

steel. Two men in dark suits have exited a large limousine

and are walking up into the building. We drift up the facade,

higher and higher moving in toward the top of the building.

 

                                                               DISSOLVE TO:

 

INT. OFFICE BUILDING - DAY

 

The men exit an elevator and move through a lobby where a

plaque beneath an enormous bronze sculpture reads "Ryan

Entertainment". Gliding we travel behind the two men down a

wide, carpeted hallway with blonde wood and glass on each

side. They enter through two large blonde wooden doors to the

conference room.

 

                                                               CUT TO:

 

INT. CONFERENCE ROOM - DAY

 

The men in dark suits go in as if they owned the place. Ray,

Mr. Darby and Robert Smith stand immediately. Adam remains

seated. Mr. Darby is the only one near enough to attempt a

hand shake, but when he offers his hand it is not taken. The

men in dark suits sit down without wasting a movement and

without acknowledging anyone. One of the men in a dark suit

opens a briefcase. Ray has been trying to make

introductions.

 

                                    RAY

                  Ah... the Castigliane brothers. Let me

                  introduce you around ... please ... sit down.

                  (after they've already seated

                  themselves) ... this is Mr. Darby whom you

                  know and this is the director Adam

                  Kesher and his manager Robert Smith

 

The Castigliane brothers do not acknowledge any of this,

however, during the introductions the one with the briefcase

removes a photo of a girl and sets it in front of Ray.

 

                                    RAY (cont'd)

                  Ah... she's very pretty.

 

We see the photo of the girl - of a nice looking blonde -

someone we've never seen before. Adam looks like he doesn't

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

knowing. His manager, Robert Smith, is beginning to see the

makings of a confrontation - he's starting to panic.

 

                                    MR. DARBY

                           (referring to Castigliane

                           brothers)

                  May I offer you gentlemen anything?

 

                                    LUIGI CASTIGLIANE

                  Espresso.

 

                                    VINCENZO CASTIGLIANE

                  Nothing.

 

                                    ADAM

                  Uh  what's the photo for?

 

                                    MR. DARBY

                           (picking up phone and speaking)

                  One espresso ... no, that's it.

                           (sets phone down - addresses

                           Castigliane brothers)

                  I think you're going to enjoy your

                  espresso this time... I've been doing

                  quite a bit of research knowing how hard

                  you are to please... this one comes highly

                  recommended.

 

                                    ADAM

                  What's the photo for?

 

                                    RAY

                           (to Adam)

                  A recommendation... a recommendation to

                  you Adam.

 

                                    VINCENZO CASTIGLIANE

                  Not a recommendation.

 

 

                                    LUIGI CASTIGLIANE

                  This is the girl.

 

                                    ADAM

                  What girl? For what? What is this Ray?

 

Ray, still standing with a forced smile, turns to the

Castigliane brothers.

 

                                    RAY

                  We'd be happy to put her in the pile for

                  considerations ... you'd be pleased to know

                  there's quite a lot of interest in this

                  role.

 

                                    ADAM

                  Interest?! There's six of the top

                  actresses that want this thing.

 

                                    LUIGI CASTIGLIANE

                  This is the girl.

 

                                    ADAM

                  Ray...you better take care of this.

 

                                    ROBERT SMITH

                  Hold on ... hold on, Adam.

 

                                    ADAM

                  Hold on!!!!!!!! There's no way, there's

                  no way!!!

 

Luigi Castigliane's espresso is brought in by the man who had

been in earlier. The man sets the espresso down in front of

Luigi and takes a step back. The room becomes silent -

watching the Espresso Man and Luigi. Without looking up Luigi

speaks softly.

 

                                    LUIGI CASTIGLIANE

                  Napkin.

 

                                    ESPRESSO MAN

                           (leading forward to hear)

                  Pardon?

 

                                    LUIGI CASTIGLIANE

                  Napkin.

 

                                    ESPRESSO MAN

                  Of course. Excuse me.

 

The Espresso Man leaves the room. Luigi looks at the

espresso. Vincenzo stares at Adam.

 

Adam is doing his best to stare down Vincenzo. The Espresso

man returns with a cloth napkin and lays it down next to the

espresso.

 

                                    ESPRESSO MAN (cont'd)

                  Will that be all, Sir?

 

Luigi doesn't answer and after a moment of standing very

still waiting, the Espresso Man turns and leaves the room.

 

Adam is stared down by Vincenzo and averts his eyes to the

espresso cup. He looks around at Ray and Mr. Darby - seeing

them stare at the espresso cup.

 

Vincenzo keeps staring at Adam.

 

Luigi picks up the napkin and holds it in his left hand.

With his right hand he lifts the espresso cup and places it

above the napkin. He brings the cup and napkin to his mouth.

He takes a sip of espresso. A small fleeting expression forms

on Luigi's impassive face as if for one millisecond he is

going to vomit. His mouth opens and he allows the espresso

to fall and dribble onto the napkin. He pushes any remaining

espresso in his mouth out with his tongue. He holds it in

that position for a moment.

 

                                    LUIGI CASTIGLIANE

                  Is shit!

 

Luigi Castigliane stands up.

 

                                    RAY

                  I'm sorry. That was a highly

                  recommended...

 

                                    MR. DARBY

                  That's considered one of the finest

                  espressos in the world , Sir.

 

Luigi just stands there. A small thread on his left suit

jacket pocket catches his attention and he smooths it back

into the fabric. Vincenzo closes his briefcase, takes out a

hankerchief and cleans his nose - then stands, placing the

handkerchief back in his pocket.

 

                                    ADAM

                  Wait a minute!! What's going on here?

 

Vincenzo just stares toward Adam as if he's not even there.

 

                                    ADAM

                  There's no way that girl is in my movie!

 

Silence.

 

 

                                    LUIGI CASTIGLIANE

                  That is the girl.

 

The Castigliane brothers begin to leave. Adam stands up

trembling with anger.

 

                                    ADAM

                  Hey!!!!! That girl is not in my film!!!

 

                                    VINCENZO CASTIGLIANE

                  It is no longer your film.

 

Adam turns white and stands very still as this sinks in. The

Castigliane brothers leave. As the big blonde wood doors

close behind them Adam starts to boil.

 

                                    ADAM

                           (screaming)

                  You'd better fix this, Ray!!!

 

                                    RAY

                  I'll speak to someone.

 

                                    ADAM

                           (turning to his manager)

                  And you'd better speak to someone

                  too ... or find yourself another client!!

                  This smells like a set-up to me!

                           (back to Ray)

                  And by the way, Ray, I don't know who

                  these guys are kidding, but every foot of

                  film I've shot is in a vault at the lab

                  that only I can access. No one's getting

                  that film!!

 

                                    ROBERT SMITH

                  This is a catastrophe...

                           (turning toward Ray)

                  you told me they might insist on a girl,

                  that's all.

 

                                    ADAM

                  Why didn't you tell me, Robert? That's

                  what I mean ... you set me up! I woulda

                  never come here.

                           (standing)

                  I'm leaving. I'm a director you don't

                  want to lose ... you guys better fix this!!

 

Adam storms out of the room.

 

 

                                    RAY

                           (standing)

                  Well...I didn't know that was going to

                  happen.

 

                                                               CUT TO:

 

EXTERIOR - OFFICE BUILDING - CENTURY CITY - DAY

 

Adam exits the building carrying his 7-iron. An attendant

takes his valet parking ticket. While Adam, still fuming,

waits for his car he notices the big limo standing off to one

side. He stares at the car and the huge limo driver leaning

up against the front driver's side door.

 

Adam's car arrives - a late model Porsche. Before Adam gets

into his car he addresses the attendant.

 

                                    ADAM

                  Did the Castigliane brothers get out of

                  that limo?

 

                                    ATTENDANT

                  They two guys in dark suits?

 

Adam nods and walks over to the limo. The limo driver eyes

him and his 7-iron suspiciously.

 

                                    ADAM

                  Castigliane brothers?

 

                                    LIMO DRIVER

                  Beat it!

 

                                    ADAM

                  O.K.

 

Adam raises his 7-iron and smashes out the limo's windshield.

He whacks two big dents in the hood, then smashes out a

headlight. The limo driver starts towards him. Adam laughs,

runs to his car and takes off.

 

                                                               CUT TO:

 

INT. AUNT RUTH'S APARTMENT - LATER DAY

 

Betty is stretched out on the big leather couch in the living

room. A half eaten sandwich and chips are on a plate on the

coffee table next to her. She is talking on the phone.

 

 

                                    BETTY

                  No Grandpa, you wouldn't believe it.

                  It's more beautiful than I ever

                  dreamed ... no she left me a lot of food.

                  The refrigerator's full ... Aunt Ruthie

                  said she'd call me when she got

                  settled... it was real smooth. I sat next

                  to a lady who gave up her first class

                  seat to a boy with a broken leg. She was

                  so nice to me. She invited me to her

                  house sometime. It's in Bel Air which is

                  a place where people have a lot of

                  money... I will. Everybody's telling me

                  to be careful, but I sure love it here

                  Grandpa. Thank you for helping me get

                  here ... yeah, it's long distance. I love

                  you. Say hello to Grams. Give her a big

                  kiss for me. Okay, I love you

                  Grandpa ... bye.

 

Betty hangs up the phone, takes a big bite of her sandwich

and lays flat out on the couch, chewing and smiling up at the

ceiling. She suddenly remembers Rita and her promise to look

in on her. She gets off the couch and goes into the bedroom.

 

                                                               CUT TO:

 

INT. BEDROOM - DAY

 

Rita is still asleep when she enters. She leans down and

finds Rita breathing normally. She feels her forehead.

Satisfied that all is well, Betty quietly leaves the bedroom.

 

                                                               CUT TO:

 

INT. - EXT. APARTMENT - DAY

 

Betty rinses her dishes in the kitchen sink and pours herself

a cup of coffee. She takes the coffee outside to the

courtyard - to a white metal table just outside her doorway.

She sits down and stretches in the warm afternoon sun.

Across the way she can hear a blues saxophonist practicing in

one of the apartments. She drinks her coffee and listens to

the music.

 

Some birds fly by overhead. She takes another sip of coffee.

The blues music which was mellow and slow is now building in

tempo and volume. The phone inside rings. Betty takes her

coffee back into the living room, shutting the door behind

her. She crosses to the leather couch and picks up the

phone.

 

 

                                    BETTY (cont'd)

                  Hello ... Aunt Ruth!! I can't tell you how

                  happy I am. Your place is so fantastic!

                  Yes ... Coco...what a character. I really

                  like her... that's too bad...waiting in an

                  airport must not be too fun. What's a

                  mosquito plane? ... Oh I get it. How long

                  does that take from Montreal? ... Well,

                  you'll sleep good tonight ... Hudson Bay

                  sounds beautiful ...oh well, I hope you

                  packed your coat. (laughs). You mean

                  the audition...Wally Brown... she didn't

                  mention it but he'll fax the dialogue to

                  Coco? Suddenly I'm so nervous ... okay

                  Aunt Ruth... I'll try. I'll study those

                  lines until I know them inside out.

                  Yes, either right here on this fabulous

                  leather couch or I'll take them with a

                  coffee in the courtyard like a regular

                  movie star. (laughs). Oh! I got a real

                  shock to find your friend Rita here. She

                  was in the shower and I opened the

                  door ... Rita ... what do you mean? She was

                  in an accident ... your friend Rita. No,

                  Coco unlocked the door. No, she didn't

                  see her. She's sleeping. No... she's

                  very nice. I'm sure there's some

                  explanation, Aunt Ruth... I don't think we

                  have to do that. Please don't worry.

                  I'll take care of it. No, I'll let you

                  know. Where can I ... okay I'll get it

                  from Coco.

                  No, please don't worry... thank you so

                  much for letting me stay here. You've

                  made me so happy... thank you, thank you.

                  Please don't worry... Aunt Ruth we don't

                  need the police. I'll call you when you

                  get to Hudson Bay. Please...

                  please ... Goodbye Aunt Ruth.

 

Betty slowly and quietly hangs up the phone. She sits for a

moment listening. Silently she stands and moves toward the

bedroom. As she approaches the bedroom door she stops at

something she sees. Rita is sitting on the edge of the bed

crying quietly. Betty goes into the bedroom. Rita looks up

at her with desperation.

 

                                    BETTY (cont'd)

                  You're awake... I think I misunderstood

                  you. I thought you knew my Aunt and

                  that's why you were here. I just talked

                  to my Aunt on the phone and she wants me

                  to call the police.

 

 

Rita starts crying harder, bows down, covering her face with

her hands.

 

                                    BETTY (cont'd)

                  Rita?

 

                                    RITA

                           (crying harder)

                  I'm... sorry. I ...

 

Betty's heart softens.

 

                                    BETTY

                  What is it Rita?

 

                                    RITA

                           (still sobbing)

                  I'm...I'm... oh no... I thought when I woke

                  up... I thought sleep would do it ...

 

Betty kneels down in front of her.

 

                                    BETTY

                  What's wrong?

 

                                    RITA

                           (crying)

                  I don't know who I am.

 

                                    BETTY

                  What do you mean? You're Rita.

 

                                    RITA

                           (crying)

                  I'm not. I don't know what my name is.

                  I don't know who I am!!

 

Betty looks down at the purse next to Rita's dress. She picks

it up and hands it to Rita.

 

                                    BETTY

                  This is your purse. Your name must be in

                  your purse.

 

Rita takes the purse with sudden trepidation. She hesitates.

Something is worrying her. She looks at Betty for help.

 

                                    BETTY (cont'd)

                  You want to know don't you?

 

                                    RITA

                  I ... yes, but ... I ...

 

 

                                    BETTY

                  Open it!

 

Rita slowly unzips the purse. The pressure of its contents

force the mouth of the purse to widen as the zipper opens and

then there is suddenly revealed what will later be known to

be $125,000.00 cash in hundred dollar bills.

 

Both Rita and Betty almost stop breathing. They look at each

other, then back to the money.

 

Rita takes the massive wad of bills out of the purse and sets

it on the bed. She reaches back inside and comes up with the

only other remaining item in the purse ... A BLUE KEY. Betty

sees Rita's expression change to a kind of <U>horror</U>.

(note: This blue key is made of very fine heavy metal and

does not look like a door key.)

 

                                                               CUT TO:

 

INTERIOR - OFFICE BUILDING - DAY

 

Ray crosses a carpeted closed area. He mounts a flight of

stairs. At the top of the stairs there's a plain blonde wood

door. Ray punches in a code on a security panel next to it.

The door opens automatically. Ray passes through and goes

down a narrow hall. At the end of the hall there is a small

elevator. Again Ray punches in a code. The elevator opens and

Ray goes in. The elevator door closes, but the elevator does

not move. Ray waits. Finally, a woman's voice comes through a

speaker.

 

                                    WOMAN'S VOICE

                  Who is it please?

 

                                    RAY

                  Raymond Harris ... 20743.

 

The elevator begins to move up. When it stops, the door opens

and Ray walks into a windowless reception area where a

beautiful Italian woman sits behind a large, blonde, modern,

built-in desk.

 

                                    RECEPTIONIST

                           (very quietly)

                  You may go right in, Ray.

 

Ray crosses to a blonde wood double door and waits. The

receptionist pushes a button behind her desk - chimes sound

as the double doors open to an enormous office with no

windows. Heavy rich brown curtains line the walls.

 

 

Ray enters and the doors close behind him. Ray takes a few

steps forward, then stops. There is a solid glass wall that

we now notice running the width of the office. Cut into the

glass wall is a small speaker microphone apparatus. Beyond

the glass off in the center of the room is a man sitting in a

very plain, blonde, wood, modern, yet not motorized,

wheelchair. The man is paralyzed except for his right hand

and head. His head appears small in relation to the size of

his body. His suit is immaculate and one of the finest we've

ever seen. His manservant stands in the shadows behind him.

 

                                    RAY

                  Good afternoon Mr. Roque. (pronounced

                  Rowk).

 

Mr. Roque stares at Ray silently.

 

                                    RAY (cont'd)

                  Do you want him replaced?

 

Mr. Roque continues to stare.

 

                                    RAY

                  I know they said...

 

                                    MR. ROQUE

                  Then?

 

                                    RAY

                  Then... I guess it's so .... alright, but

                  that means we should ...

 

                                    MR. ROQUE

                  Yes?

 

                                    RAY

                  Shut everything down ... Is that something

                  that...do you want us to shut everything

                  down?

 

Silence. Ray doesn't know what to do. He struggles to

interpret Mr. Roque's silence. He waits. Mr. Roque does

nothing but stare.

 

                                    RAY (cont'd)

                  Then we'll shut everything down.

 

Silence.

 

Ray turns. The doors open as he approaches them and he

leaves the room. The doors close.

 

 

 

                                                               CUT TO:

 

EXTERIOR - OFFICE BUILDING - CENTURY CITY

 

Vincenzo and Luigi are staring silently and without

expression at the broken windshield of the limousine. The

limousine driver suddenly starts signaling to a car entering

the driveway to the building. He turns to the Castigliane

brothers.

 

                                    LIMO DRIVER

                  The other car is here sirs. Please allow

                  me.

 

The limo driver opens the rear door of the new limo, then

hurries around and opens the other rear door. The new driver

gets out of the car.

 

                                    LIMO DRIVER (cont'd)

                  Here's the key to the car. Take it

                  straight to the garage. They're waiting

                  for you.

 

The limo driver closes both back doors after the Castigliane

brothers are seated within. He then gets in himself and

maneuvers the big limo out into traffic.

 

                                                               CUT TO:

 

PINK'S CHILI DOGS - DAY

 

Two guys, JOE ( the guy who killed Ed in the sixth floor

office) and BILLY another unkept, rocker type delivery man

are standing waiting for their chili dogs with a girl, LANEY,

who could be very good looking but she seems to be in poor

health. Her hair is long and stringy. She's wearing a

tight, short sleeve blue sweater, black jeans and boots.

 

                                    BILLY

                  Yeah, sure. Look what happened to them.

 

                                    JOE

                  No, no, no, I told you. They're fine.

                  They're all real happy.

 

                                    BILLY

                  My next delivery is up that way, so I'll

                  be getting down to it real soon.

 

 

                                    JOE

                  You're so easy.

 

                                    BILLY

                  Gotta keep an eye on her, that's all.

 

                                    JOE

                  Yeah, what for?

 

                                    BILLY

                  Keep her from gettin' in trouble, that's

                  all.

 

The chili dogs arrive and they pay for them.

 

                                    BILLY (cont'd)

                  Can we eat in the van?

 

                                    JOE

                  What's  the matter now?

 

                                    BILLY

                  Nothing... I don't like being out in the

                  open like this.

 

                                    JOE

                  It must be just so pathetic being you.

                  Sure Billy, grab your dog we'll eat in

                  the van.

 

The three make their way to the van. Joe looks over at

Laney.

 

                                    JOE (cont'd)

                  You sure you don't want anything?

 

                                    LANEY

                           (hesitantly)

                  Not here...no thanks.

 

                                    JOE

                  Not a coke or anything?

 

                                    LANEY

                  No ... thanks though... I'll take a

                  cigarette if you have one.

 

                                    JOE

                  Sure, reach in my shirt pocket there.

 

As Laney is getting her cigarette and lighting it..

 

 

                                    JOE (cont'd)

                  Any new girls on the street these days?

 

                                    LANEY

                           (taking her first big drag)

                  No.  I haven't seen any.

 

                                    JOE

                  A brunette? ... maybe beat up?

 

                                    LANEY

                  No...

 

                                    JOE

                  You'll keep your eyes open for me won't

                  you baby?

 

                                    LANEY

                  Sure.

 

Joe spanks her butt as she gets in the van.

 

                                    JOE

                  You bet you will.

 

                                                               CUT TO:

 

INT.  MR. ROQUE'S OFFICE - DAY

 

Mr. Roque, in his wheelchair is still in the center of the

huge softly lit, windowless office. His manservant standing

silently behind him. The small built-in wheelchair phone

rings. Mr. Roque pushes a button on a small intricate remote

device he holds in his right hand. A slender streamlined

microphone rises from the arm of the chair.

 

                                    MR. ROQUE

                  Yes?

 

He listens through a high-tech earplant which we now see.

 

                                    MR. ROQUE (cont'd)

                  Thank you.

 

He pushes two buttons, one after another on the remote

device. We hear a small click, a dial tone, a number being

dialed, and a phone ringing.

 

                                                               CUT TO:

 

 

INT. DARK ELEGANT ROOM - SOMEWHERE - SIMULTANEOUS

 

We see the back of a man's head and just over his shoulder we

see the top of the phone which is ringing. The man picks up

the phone and brings the receiver to his ear.

 

                                    THE MAN

                  Hello.

 

                                                               CUT TO:

 

INT.  MR. ROQUE'S OFFICE   -   SIMULTANEOUS

 

                                    MR. ROQUE

                  She's still missing.

 

We hear a small click and the line goes dead. Mr. Roque

pushes a button and the microphone descends back into the

chair.

 

                                                               CUT TO:

 

INT. DARK ELEGANT ROOM - SOMEWHERE

 

Again we see the back of the man's head. He's dialing a new

number. -He brings the receiver to his ear. We hear a phone

ringing - we hear a click- the phone being answered.

 

                                                               CUT TO:

 

INT. FILTHY LOW CLASS KITCHEN - SOMEWHERE - SIMULTANEOUS

 

We see only a black rotary wall phone and a portion of a

greasy filthy kitchen - The receiver has already been lifted

off the phone and we see only the cord extending to someone

off screen.

 

                                    HAIRY-ARMED MAN

                           (off screen)

                  Talk to me...

 

                                                               CUT TO:

 

INT. DARK ELEGANT ROOM - SOMEWHERE

 

Again we see only the back of the man's head.

 

                                    THE MAN

                  Same.

 

                                                               CUT TO:

 

INT. FILTHY LOW CLASS KITCHEN - SOMEWHERE - SIMULTANEOUS

 

A man's hairy-arm enters frame and the receiver is placed

back on the phone, then immediately picked back up and with

the receiver held in the hand the hairy man dials a new

number. Part way through the dialing...

 

                                                               CUT TO:

 

INT. A BLUE TABLE - SOMEWHERE - SIMULTANEOUS

 

The surface of this table is high gloss ultra smooth

material. A very modern phone sits on this table and begins

to ring softly. A hand enters frame - a woman's hand. The

skin is pale white, almost translucent. The fingers are long

and seem slightly too large. At the ends of the fingers and

thumb are stretched tapered high gloss red fingernails which

slightly curve downward. The forefinger of the hand presses

a button on the phone. A small tone sounds - followed by a

very modern sounding coded signal.

 

                                                               FADE OUT:

 

INT. - AUNT RUTH'S APARTMENT - day

 

We pull back from Rita's face until we see that Betty and

Rita are sitting on the leather couch about four feet apart

staring at the floor. They just sit this way for awhile.

 

                                    BETTY

                  Well...  what do you think about then? I

                  mean...  well what do you think about?

 

                                    RITA

                  What do you mean?

 

                                    BETTY

                  Well ... if you don't remember anything, I

                  mean what goes through your mind then if

                  you don't remember anything?

 

                                    RITA

                  Nothing. I do remember the car crash... I

                  told you... I remember the glass ... I

                  think about that sometimes ... I remember

                  walking here, sort of. Now I remember

                  this place and you. That's about it.

 

                                    BETTY

                  How do you remember how to talk?

 

 

                                    RITA

                  I don't know.

 

                                    BETTY

                  You don't remember anything else?

 

                                    RITA

                  No

                           (she covers her eyes with her

                           hands)

                  There is something...something there I

                  can't tell... I can't describe it.

                           (struggling to figure it out -

                           to express it)

                  There are things there.... but I'm... here.

 

Betty thinks about what Rita has said. Somehow it seems to

make sense to her.

 

                                    BETTY

                  The money. You don't know where it came

                  from?

 

                                    RITA

                  Unh, unh.

 

                                    BETTY

                  When you think about them... the

                  money... the key ... does it make you

                  remember anything?

 

Silence.

 

                                    RITA

                  The money... I don't know about the

                  money... the key... it makes me feel ...

                  afraid.

 

                                                               CUT TO:

 

BEVERLY HILLS CITY STREETS - DAY

 

A car - a late model generic sedan is moving toward us. Two

men dressed in suits and wearing dark glasses are driving

slowly. As they go each man is scanning sidewalks,

buildings, passing cars as if hunting for someone. They pass

by us and as we turn we leave them and pick-up Adam driving

in the opposite direction in the other lane. We stay with

Adam.

 

Adam drives his Porsche up a palm lined street.

 

 

                                    ADAM

                  Office...

 

The voice activated phone connects the line to Adam's office.

A secretary answers.

 

                                    SECRETARY

                  Adam Kesher's office.

 

                                    ADAM

                  It's me. Where's Cynthia?

 

                                    SECRETARY

                  She's on the set. I'll connect you Mr.

                  Kesher.

 

Another ringing sound, then a voice.

 

                                    VOICE

                  Stage One.

 

                                    SECRETARY

                  Paul, I have Mr. Kesher for Cynthia.

 

                                    PAUL

                  Right baby, all Hell's broke loose down

                  here. I'll try to find her.

 

Adam listens to dead silence for a moment or two then Cynthia

speaks.

 

                                    CYNTHIA

                  Adam, where are you?

 

                                    ADAM

                  What's going on, Cynthia?

 

                                    CYNTHIA

                  They've closed the set. They sent

                  everybody home.

 

                                    ADAM

                  What did you say?

 

                                    CYNTHIA

                  They fired everyone.

 

                                    ADAM

                  Who fired everyone?

 

 

                                    CYNTHIA

                           (starting to cry)

                  Ray did ... and then they closed the

                  set.... everybody's gone. You'd better

                  get down here Adam!

 

                                    ADAM

                  No.

 

                                    CYNTHIA

                  You've got to talk to Ray you've got to

                  fix this.

 

                                    ADAM

                  I'm going home.

 

                                    CYNTHIA

                  Home! Meet me at the office. We've got

                  to do something ... you've got to do

                  something Adam!

 

                                    ADAM

                  I'm going home Cynthia.

 

                                    CYNTHIA

                  Adam, this isn't like you. Please come

                  to the office. There must be something

                  we can do.

 

                                    ADAM

                  I'm going home. I'll call you later.

 

                                                               CUT TO:

 

EXT. - 1612 HAVENHURST - DAY

 

ESTABLISH

 

                                                               CUT TO:

 

INT . AUNT RUTH'S APARTMENT - DAY

 

The girls are still sitting on the leather couch as before,

but now silently off in their own worlds. After a moment...

 

                                    BETTY

                  I wonder where you were going.

 

Betty's question hangs in the air. Slowly we move close to

Rita who is on the verge of remembering something.

 

 

Suddenly -

 

                                    RITA

                  Mulholland Drive.

 

                                    BETTY

                  Mulholland Drive?

 

                                    RITA

                  That's where I was going... Mulholland

                  Drive.

 

                                    BETTY

                  Maybe that's where the accident was.

                  There must be a police report. We could

                  call.

 

                                    RITA

                  No.... I don't...

 

                                    BETTY

                  We could call anonymously from a pay

                  phone... just to see if there was an

                  accident.

 

Rita sits worrying.

 

                                    BETTY (cont'd)

                  Come on. It'll be just like in the

                  movies. We'll pretend to be someone

                  else. I want to walk around anyway. I'm

                  in Hollywood and I haven't even seen any

                  of it. Come on Rita. Do you feel up to

                  it?

 

                                    RITA

                  Okay... but just...just to see.

 

                                    BETTY

                  Just to see if there was an accident on

                  Mulholland Drive.

 

                                    RITA

                           (tentatively)

                  Okay.

 

                                    BETTY

                  Come on... let's find you something to

                  wear.

 

                                                               CUT TO:

 

AUNT RUTH'S BEDROOM - DAY

 

Betty laughs as she holds one of Ruth's dresses in front of

Rita.

 

                                    BETTY

                  It's terrible ... My Aunt dresses like Miss

                  Marple.

                           (off a blank stare from Rita )

                  She's kind of a frumpy woman detective in

                  British movies.

 

Rita laughs along with Betty. Betty goes back in the closet.

 

                                    BETTY (cont'd)

                  Here's something okay.

 

She brings out a pair of khaki pants.

 

                                    BETTY (cont'd)

                  Try these on. You can wear one of my T-

                  shirts with it and it won't look bad with

                  those sandals.

 

                                                               CUT TO:

 

EXT. ADAM'S HOUSE - BEL AIR

 

Adam pulls into his driveway, but is blocked from entering

the garage by a poolman's truck. He gets out of the car and

looks at the truck - sees the insignia on the door which is a

blue square with the word "Gene" above and the word "Clean"

below. Adam hears steps behind him and turns. A JAPANESE

GARDENER is coming toward him smiling and bowing.

 

                                    JAPANESE GARDENER

                  Ah, Mister ... you remember me. I am Taka.

                  your gardener. For long time I not see

                  you. I pleased to see you.

 

Taka reaches out his hand and Adam shakes it.

 

                                    ADAM

                  Hello Taka. It's 'cause I'm never home

                  in the day time. It's good to see you

                  again. The garden looks great.

 

Taka bows, smiling and nodding, and goes back to work. Adam

heads toward the front door of his house.

 

                                                               CUT TO:

 

INT. - ADAM'S HOUSE - DAY

 

Adam enters, puts his 7-iron in his golf bag just inside the

door, then looks around. He can see the pool through a wall

of plate glass windows, but there is no one visible poolside.

 

                                    ADAM

                           (calling out)

                  Lorraine...

                           (then louder)

                  Lorraine ... you home?

 

He hears a noise, something falling. He walks in the

direction of the noise. It leads him to his bedroom. His

expression darkens as he approaches the closed door. He

hears voices as he throws the door open.

 

LORRAINE and the poolman GENE are in bed.

 

                                    LORRAINE

                  Now, you've done it!

 

                                    GENE

                  Just forget you ever saw it. It's better

                  that way.

 

                                    LORRAINE

                  What the hell are you even doing here?

 

Adam stands stunned for a moment. Then finds himself walking

over to the dresser and opening the top drawer. He removes a

large case.

 

                                    LORRAINE (cont'd)

                  What are you doing?

 

Adam starts walking out of the bedroom with the case.

 

                                    LORRAINE (cont'd)

                  THAT'S MY JEWELRY!!!

 

Adam leaves the bedroom and starts through the house. He

goes into the kitchen and looks around - numb but trying to

think.

 

                                                               CUT TO:

 

INT. ADAM AND LORRAINE'S BEDROOM - DAY

 

Lorraine is getting dressed as fast as she can.

 

                                    LORRAINE

                  That bastard!

 

 

                                    GENE

                  He's probably upset Lorraine.

 

                                                               CUT TO:

 

INT. ADAM'S KITCHEN - DAY

 

Adam leaves the kitchen and goes out into the garage. He

turns on the light and looks around. He spots some paint

cans on a shelf and grabs one and goes back into the kitchen.

He can hear Lorraine calling his name. She seems to be

coming closer. He sets the jewelry case and the paint can on

the floor, kneels down and opens the paint can with his car

key. Just as Lorraine enters the kitchen, he opens the

jewelry box and empties the 3/4 full gallon can of Hot Pink

paint into her jewelry case.

 

                                    LORRAINE

                  WHAT.. ARE ... YOU ... DOING!!!???

 

He puts his hands into the paint and jewels and smushes them

about. Lorraine rushes toward him.

 

                                    LORRAINE (cont'd)

                  STOP IT!!!

 

Lorraine grabs hold of him. Starts pulling his hair,

slapping his face. She tears his jacket. Adam stands all at

once and with his wet Hot Pink hands he pushes Lorraine and

slams her into the kitchen counter just as Gene the poolman

enters. Gene grabs ahold of Adam, cocks back and slams his

huge suntanned fist into Adam's face.

 

                                    GENE

                  That's not a way to treat your wife,

                  buddy. I don't care what she's done.

 

Adam gets up off the floor bleeding from the nose and tries

to hit Gene. Gene blocks his punch and slams Adam again,

knocking him down to the kitchen floor where he lands and

spills the jewelry case. Adam, now covered with paint, is

picked up by Gene and thrown out toward the front door.

 

                                    LORRAINE

                  Throw him out!

 

Lorraine opens the front door while Gene picks Adam up, moves

him across the carpet and heaves him out onto the front lawn.

Lorraine slams the door behind him.

 

Adam picks himself up, severely dazed and bleeding pretty

badly, he heads for his car.

 

 

Taka stops gardening and smiles and bows at Adam as he gets

into his car.

 

Adam drives away - pink paint and red blood all over.

 

                                                               CUT TO:

 

INT.  AUNT RUTH'S BEDROOM - DAY

 

Rita is now dressed to go out and is studying herself in a

mirror. She turns and her gaze falls to her purse. She

picks it up and looks questioningly at Betty.

 

                                    BETTY (cont'd)

                  No ... you shouldn't take that. Let's hide

                  it.

 

They look around the room... There's a hatbox in the closet

above the clothes rack. Betty brings it down, takes out the

hat, and Rita puts the purse inside. Betty puts the hat over

the purse in the hatbox and puts in back in the closet.

Betty puts out her hand. Rita looks at it for a moment,

smiles, and they shake.

 

                                                               CUT TO:

 

EXT. APARTMENT COURTYARD - DAY

 

All dressed now Betty and Rita leave Aunt Ruth's apartment

and walk across the courtyard past Coco's apartment and out

through the iron gates. No one is about.

 

                                                               CUT TO:

 

EXT. HOLLYWOOD RESIDENTIAL STREET - DAY

 

Betty and Rita walk along. Birds are chirping in the trees

which line both sides of the street. Betty is smiling and

once again looking around at everything. Her good mood and

excitement about life lifts Rita's spirits.

 

Coming toward them on the sidewalk are two people - a middle-

aged woman and a young boy around 10 years old. The boy is

very thin and something is wrong with him as he is walking

awkwardly on crutches. As the two groups pass each other on

the sidewalk Betty is struck deeply by the boy's brilliant,

luminous blue eyes which are at once innocent and filled with

wisdom.

 

 

After they pass each other Betty turns back and sees the boy

and the woman enter 1612 Havenhurst. Betty and Rita continue

up the street.

 

                                                               CUT TO:

 

EXT. SUNSET BOULEVARD - DAY

 

The girls walk along the busy boulevard, past guitar shops,

video stores. Betty is looking for a payphone. Rita's eyes

dart back and forth nervously. She's beginning to feel

frightened.

 

                                                               CUT TO:

 

PAYPHONE ON RED BRICK WALL - DAY

 

We see the red brick building. It is Denny's. Betty and

Rita are walking to the payphone. Betty digs out some change

from her purse. She picks up the receiver, drops in a

quarter and dials the "0" for Operator. An Operator answers.

 

                                    BETTY

                  Hollywood Police Department please.

 

                                    OPERATOR

                  Is this an emergency?

 

                                    BETTY

                  No, no, I just want the number.

 

                                    OPERATOR

                  Hold for the number.

 

Betty gets the number for the Hollywood Police Station, re-

deposits the quarter and dials.

 

                                    VOICE

                  Hollywood Police Department

 

                                    BETTY

                  I'm inquiring about an accident that

                  happened last night on Mulholland Drive.

 

                                    VOICE

                  Hold please. I'll connect you to

                  traffic.

 

Betty holds.

 

                                    SERGEANT BAXTER

                  Traffic. Sergeant Baxter speaking.

 

 

                                    BETTY

                  Hi. I'm inquiring ...well, I heard a

                  sound last night that sounded like a car

                  crash and I want to know if there was an

                  accident on Mulholland Drive.

 

                                    SERGEANT BAXTER

                  Yes, there was.

 

                                    BETTY

                  Can you tell me what happened?

 

                                    SERGEANT BAXTER

                  No. I can't.

 

                                    BETTY

                  Was anyone hurt?

 

                                    SERGEANT BAXTER

                  May I have your name please?

 

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 (cont'd)

                  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 (cont'd)

                  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 (cont'd)

                  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

                  <U>Diane</U> <U>Selwyn</U>. 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 (cont'd)

                  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 214

 

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 (cont'd)

                  ... 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 (cont'd)

                  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 (cont'd)

                  Such a lame scene.

 

                                    RITA

                  But you are <U>really</U> 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 (cont'd)

                  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 (cont'd)

                  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 (cont'd)

                  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 call 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 (cont'd)

                  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 (cont'd)

                  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 (cont'd)

                  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 (cont'd)

                  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 accidently 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 (cont'd)

                  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 (cont'd)

                  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 (cont'd)

                  ... 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 (cont'd)

                  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 (cont'd)

                  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 (cont'd)

                  Turn over!

 

The cameraman calls out, "Speed".

 

                                    ADAM

                           (through megaphone)

                  Playback!

 

Countdown before the music begins.

 

                                    ADAM (cont'd)

                  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 (cont'd)

                  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 (cont'd)

                  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 (cont'd)

                           (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 (cont'd)

                  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 (cont'd)

                           (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 (cont'd)

                  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 (cont'd)

                  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 (cont'd)

                  It's kind of hidden by the foliage.

 

Betty and Rita start to leave.

 

                                    MIDDLE-AGED WOMAN (cont'd)

                  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 (cont'd)

                           (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 (cont'd)

                  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 (cont'd)

                  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 (cont'd)

                  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's 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 (cont'd)

                  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!

 

 

                                    WILKINS (cont'd)

                  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 (cont'd)

                           (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

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