Mulholland Dr.

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 horror.
(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.