Mulholland Dr.

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.