大景堂

M U L H O L L A N D



D R I V E

























1/5/1999











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





EXT. NIGHT - HOLLYWOOD HILLS, LOS ANGELES



Darkness. Distant sounds of freeway traffic. Then the closer

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

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

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

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

it turns and the words fall once again into darkness.



CUT TO:



EXT. NIGHT - MULHOLLAND DRIVE



Gliding we follow the car - an older black Cadillac limousine

- as it winds its way up Mulholland Drive through the

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

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



CUT TO:



INT. BLACK CADILLAC LIMOUSINE - NIGHT



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

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

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

She seems to be thinking about something. Suddenly she turns

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

side of the road.



DARK-HAIRED WOMAN

What are you doing? You don't stop

here ...



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

curve. Both men turn to the woman.



DRIVER

Get out of the car.



CUT TO:



EXT. FURTHER UP MULHOLLAND DRIVE - NIGHT



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

racing toward the blind curve blocking the view of the

Cadillac limousine. The cars are filled with crazed

teenagers. Two girls are standing up through the sunroof of

the sedan screaming as their hair is whipped straight back.







The cars are travelling so fast that they seem to almost

float as they fly with psychotic speed down both lanes of

Mulholland Drive.



CUT TO:



INT. EXT. - CADILLAC LIMOUSINE



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

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

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

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

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

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

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

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

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

turns just as the late model sedan slams into the Cadillac

limousine. There is an explosion of metal and glass amidst

thunderous tearing sounds as the two cars become one in

death. The convertible screams past with hardly a notice.

The driver of the limousine dies instantly as his body is

jettisoned through the windshield. The other man is torn as

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

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

rocks engulfs her. The disastrous moving sculpture of the two

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

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

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

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

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

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

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

Mulholland down through the bushes and into darkness.



DISSOLVE TO:



EXT. HOLLYWOOD HILLS - LATER - NIGHT



The woman slides down a hill through tangles of hostile

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

crosses through some trees and is suddenly confronted by a

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

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

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

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

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

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

is standing overlooking all of Los Angeles glowing down

below. She clumsily starts down toward it.



DISSOLVE TO:



HOLLYWOOD STREETS - LATER - NIGHT



The woman slides down a dusty hill and finds herself at

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

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

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

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

into a residential area.



DISSOLVE TO:



EXT. HOLLYWOOD STREETS - LATER - NIGHT



The woman crosses Sunset Boulevard. Coming up Sunset in the

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

She hurries into the darkness of another residential area. A

car turns onto the street and comes toward her. She

instinctively moves behind a tree until it passes.



DISSOLVE TO:



EXT. HOLLYWOOD STREETS - LATER - NIGHT



As if being hunted in a foreign land the woman moves

desperately down another residential street. A drunken couple

round the corner up ahead and start up the sidewalk toward

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

of an apartment building. The couple passes by without

noticing her. Feeling safe in these bushes her exhaustion

overtakes her and she lays her head down to sleep.



DISSOLVE TO:



EXT. MULHOLLAND DRIVE - NIGHT



Police, paramedics surround the wreckage. Two detectives,

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

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

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

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

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

McKnight and Detective Neal Domgaard continue staring. They

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

long moment.



DETECTIVE HARRY MCKNIGHT

You feel it?



DETECTIVE NEAL DOMGAARD

Yeah.



They continue to stare.





DETECTIVE NEAL DOMGAARD

Sammy thinks the Caddy had stopped along

the shoulder ... man up the road said he

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

that blind corner.



DETECTIVE HARRY MCKNIGHT

Two men... two guns in the Caddy.



DETECTIVE NEAL DOMGAARD

The boys found this on the floor in back

of the Caddy.



Neal holds up a plastic bag holding a pearl earring.



DETECTIVE HARRY MCKNIGHT

Yeah, they showed me



DETECTIVE NEAL DOMGAARD

Could be unrelated.



DETECTIVE HARRY MCKNIGHT

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

pearl earrings?



DETECTIVE NEAL DOMGAARD

No. Could be someone's missin' maybe.



DETECTIVE HARRY MCKNIGHT

That's what I'm thinkin'.



Detective Harry McKnight turns and crosses Mulholland. His

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

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

shining lights of Hollywood laying far below like a galaxy.

He looks out and wonders.



CUT TO:



EXT. HOLLYWOOD STREETS - EARLY DAWN



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

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

suitcase to the curb where a cab stands waiting with its

trunk open. The cab driver appears with two suitcases which

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

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

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

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

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

back out with more luggage.





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

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

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

woman in the bushes who takes this opportunity to go quickly

into the courtyard and through the open apartment door.



CUT TO:



INT. APARTMENT - EARLY DAWN



The woman comes into a living room where a single trunk

remains. She goes further into the apartment and crouches

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

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

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

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

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

hears the footsteps go all around the apartment and then she

hears the footsteps come toward the kitchen. Remaining

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

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

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

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

kitchen floor, and passes out.



CUT TO:



INT. DENNY'S RESTAURANT , HOLLYWOOD - MORNING



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

table drinking coffee. Herb has finished eating his

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

appears too nervous to eat. A blonde waitress with a

nameplate saying "DIANE" lays the check on their table

smiles, then walks off.



HERB

Why did you want to go to breakfast if

you're not hungry?



DAN

I just wanted to come here.



HERB

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

anything, but why Denny's?



DAN

This Denny's.



HERB

Okay. Why this Denny's?





DAN

It's kind of embarrassing but,



HERB

Go ahead.



DAN

I had a dream about this place.



HERB

Oh boy.



DAN

You see what I mean...



HERB

Okay, so you had a dream about this

place. Tell me.



DAN

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

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

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

night. It's kinda half night, but it

looks just like this except for the

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

ya. Of all people you're standing right

over there by that counter. You're in

both dreams and you're scared. I get

even more frightened when I see how

afraid you are and then I realize what it

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

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

that's doing it. I can see him through

the wall. I can see his face and I hope

I never see that face ever outside a

dream.



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

around nervously, then stares at his uneaten food.



DAN (cont'd)

That's it.



HERB

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



DAN

To get rid of this god-awful feeling.



HERB

Right then.





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

pay. Dan just sits.



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

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

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

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

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

reluctantly and he and Herb make their way outside.



CUT TO:



EXT. DENNY'S



Now Herb waits for Dan to lead the way.



DAN

Around here.



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

sidewalk that leads down the side toward the back.



They begin walking down the narrow sidewalk - past a

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

corner of the building. Red bricks glide by slowly.



CLOSER ON DAN



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

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

overtaking his friend, but Herb can feel something himself.



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

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



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

quickly out from behind the corner and stops - freezes -

staring into Dan's eyes.



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

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

hits the ground unable to breathe - his eyes wide with

horror.



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



HERB

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



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

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







HERB (cont'd)

My God!



DISSOLVE TO:



EXT. LAX AIRPORT - DAY



The airport sits in blinding sunlight and veiled with smog.

A big jet lands.



CUT TO:



INT. LAX AIRPORT



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

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

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

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

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

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

The girl smiles and looks around excited by every detail.



CUT TO:



EXT. LAX AIRPORT



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

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

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



OLD LADY

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

been so nice travelling with you.



BETTY

Thank you, Irene. I was so excited and

nervous. It was sure great to have you

to talk to.



IRENE

Now, remember I'll be watching for you on

the big screen.



BETTY

(smiling)

Okay Irene. Won't that be the day.



IRENE

The best of luck to you, Betty. Take

care of yourself and be careful.





BETTY

Okay I will. Thanks again.



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

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

Suddenly someone is grabbing her bags. She turns abruptly to

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

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

trunk of the cab.



CAB DRIVER

Where to?



BETTY

(smiling excitedly)

1612 Havenhurst.



CAB DRIVER

Got it!



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

away.



CUT TO:



EXT. STREETS - LOS ANGELES - DAY



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

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

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

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

Venice Boulevard, Pico Boulevard, Olympic Boulevard, Wilshire

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

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

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

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

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

built during the golden age of cinema.



CUT TO:



EXT. 1612 HAVENHURST



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

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

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

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

an ornate iron gate to a courtyard with a beautiful working

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

Manager and she rings the bell.





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

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

An unbelievable raspy voice comes out through the dark screen

of the still closed screen door.



MANAGER

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



BETTY

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

isn't it?



MRS. LANOIS

In all my living glory, baby.



BETTY

Pleased to meet you.



MRS. LANOIS

You can call me Coco ... everybody does.

Stay there, I'll get the key.



BETTY

Okay, Coco.



Coco returns with the key and opens the screen door inhaling

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

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

speaks smoke comes out of her with every word.



COCO

I guess it was your grandfather, was

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

were on your way and for you to call when

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



BETTY

Yes, he is. He raises corn.



COCO

Damn lot of corn raised in Hollywood

these days too.



BETTY

Well, I ...



COCO

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

all over that pretty face of yours.. You

came here to be an actress. I just hope

you'll remember there's never been a

great poem called "tits and ass."





BETTY

I...



COCO

You probably don't remember her, but

Louise Bonner lives right over there in

number 29. When she isn't drunk she runs

a damn good acting class.



BETTY

Have many famous actors and actresses

lived here? I was meaning to ask you

that.



COCO

Honey, all the great ones came through

here at one time or another.



A haunting music begins to swell.



COCO (cont'd)



People say in the springtime when the

wind blows the smell of the jasmine you

can still feel the presence of everyone

of them.



BETTY

I guess I've come to quite a place.



COCO

Sweetheart, you don't know the half of

it.



The music fades.



Coco looks down suddenly. On the cobblestone courtyard in

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

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



COCO (cont'd)

(yelling up)

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