Mulholland Dr.

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!