DRIVE
Written by
Hossein Amini
Based on the novel by
James Sallis
09.24.10
1 INT. CAR ENGINE - NIGHT. 1
We're close on a maze of metal rods, tubes, and wires. It's only
as we pull out that we realize it's the engine of a car. Over
the image we hear a voice talking on a phone.
DRIVER O/S
...hundred thousand streets in this city,
you don't need to know the route. You give
me a time and place, I give you a five
minute window. Those five minutes I'm
yours. Whatever goes down I'm yours. Minute
either side you're on your own...
As the engine ignites and roars to life we DISSOLVE TO:
2 INT. LOW RENT APARTMENT/ KOREATOWN/ L.A. - NIGHT. 2
A map of downtown L.A. spread out on a bed, dozens of different
routes marked in pencil. The voice continues -
DRIVER O/S
...One last thing. You won't be able to
reach me at this number again...
DRIVER hangs up the phone. He folds his map of LA and slips it
in his duffel bag. A few clothes and other essentials are neatly
packed inside. He zips the bag shut and takes one last look at a
cheap TV set. On screen, a movie is playing. On a radio, the LA
Clippers are taking a pounding from the New York Knicks.
3 INT. UNDERGROUND PARKING LOT/ APARTMENT/ KOREATOWN - NIGHT. 3
Driver strides through a dimly lit car park, carrying his duffel
bag. A YOUNG COUPLE emerge from their car after a late night
out. Driver lowers his eyes, avoiding their gaze as he makes his
way towards a sleek 1970's Chevelle
4 INT/EXT. DRIVER'S CAR/ ALVARADO - NIGHT. 4
The Clippers-Knicks game plays on the car radio now. Driver is
only half listening, focused on the road. We see his face in the
passing neon lights. Feline good looks. Impassive blue eyes.
Something almost melancholy in his unwavering gaze. He drives
carefully, letting other cars overtake.
5 EXT. APARTMENT BUILDING/ ECHO PARK - NIGHT. 5
Driver glides into the parking lot of another low-rent apartment
block.
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6 INT. UNDERGROUND CAR PARK/ APARTMENT/ ECHO PARK - NIGHT. 6
Clutching his duffel bag Driver heads towards the car park
elevator. Hurrying out in the opposite direction he sees a
pretty GIRL in her 20's wearing a waitress outfit. Their eyes
meet briefly, before Driver walks on.
7 INT. APARTMENT/ ECHO PARK - NIGHT. 7
Driver heads down the hallway and unlocks the door to his new
apartment. It's not all that different from his last one. Clean,
sparse, and anonymous. He doesn't even bother to walk in. He
tosses his duffel bag inside and locks the door again.
8 INT/EXT. DRIVER'S CAR/ SILVERLAKE BOULEVARD - NIGHT 8
Driver's back on the road, the basketball game still playing on
the radio. He drives past a row of brightly lit Mexican food
shacks on Silver Lake Boulevard and turns into a run down garage
lit up with a neon sign - Shannon's Picture Car Warehouse -
vintage cars.
9 INT. SHANNON'S GARAGE/ SILVERLAKE BOULEVARD - NIGHT. 9
SHANNON, the owner of the garage, has a distinctive limp. Driver
follows him past rows of vintage cars.
SHANNON
...Plain Jane cheap like you asked for but
with a hundred and sixty horsepower inside.
You get any sleep?
DRIVER
Not this week.
As Shannon grins we feel the familiarity between them.
SHANNON
I can offer you some Halcyon.
DRIVER
Won't work.
They head past more cars -- Fords, Dodges, Buicks -- until they
arrive at a plain looking Impala.
SHANNON
There she is. Silver Impala. Most popular
car in the state of California...
Driver casts his eyes over the unimpressive vehicle then holds
out his hand for the keys.
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10 INT/EXT. SILVER IMPALA/ TOY DISTRICT/ DOWNTOWN L.A. - NIGHT. 10
The basketball game is approaching the end of the third quarter.
Driver's behind the wheel of the Impala now, cruising past rows
of dingy toy stores on 3rd Street. He glances at his watch. It's
9:50. He checks his mirror then turns into a side street.
11 INT/EXT. IMPALA/ ELECTRONICS SUPERSTORE/ DOWNTOWN - NIGHT. 11
A vast electronics superstore dominates the deserted street.
Under the pale yellow glow of the street lamps, Driver sees
signs advertising a `huge blow out weekend sale'. He pulls over,
making sure he has a good view of the entrance. On the radio,
the basketball commentator is getting more excited.
BASKETBALL COMMENTARY
...This is some comeback from the Clippers!
Only a few minutes ago they looked dead and
buried!...
Driver reaches under the seat and pulls out a small handheld
scanner. He switches it on, tuning it to the right frequency.
Crackling police dispatches are interspersed with the basketball
commentary now.
POLICE SCANNER
...9 Adam 81, what is your current
location?...Repeat, what is your current
location?...
BASKETBALL COMMENTARY
...Another unbelievable three pointer from
Davis and the Clippers are within five!...
Out of the corner of his eye Driver sees two MEN approach. He
doesn't react, expecting them. They cut through the fence with
bolt cutters and approach the main building. Driver watches them
pull on their masks, then one of them takes out a shotgun and
blasts the lock to the front door. Instantly the alarm shrills.
The only thing Driver does is to turn on his stop watch.
BASKETBALL COMMENTARY
...Time out Knicks...
The stop watching keeps ticking away, the siren blaring, the
commentary continuing, the police scanner crackling.
The storefront is hidden in shadow, impossible to tell what's
going on inside. Driver looks at his stop watch. Almost three
minutes. One of the masked men emerges now, carrying a duffel
bag. He hurries over and gets in the back of Driver's car
without a word. There's no sign of the other robber.
(CONTINUED)
4
9/24/10
11 CONTINUED: 11
The commentary continues, so does the crackling on the police
scanner. Four minutes. Still no sign of the second armed robber.
His companion in the back starts to look nervous, wondering
what's happened to his partner.
Driver doesn't betray a hint of nerves. Four and half minutes on
his stop watch. Thirty seconds more and he's on his way.
Suddenly the second robber appears from the shadows, running as
fast as he can to the getaway car. He jumps into the back seat a
few seconds short of five minutes and Driver screeches off.
12 INT/ EXT. SILVER IMPALA/ STREETS/ DOWNTOWN - NIGHT. 12
Driver thunders over the 1st Street bridge towards Boyle
Heights, then eases his foot off the gas, slowing to a steady
speed. In the back seat the two armed robbers rip off their
masks, looking pumped up with adrenalin. Driver studies them in
his rear view mirror, then swerves right on Mission Street as
his police scanner crackles to life.
POLICE SCANNER
...Attention all units...211...Superstore
on Traction Avenue...Suspects headed
Eastbound on 1st Street...Driving a Silver
Impala...
Driver swings sharply into 4th Street now, crossing the L.A.
River again, heading back in the same direction he came.
POLICE SCANNER
...Airships dispatched...Downtown and Boyle
Heights...All units standby. Repeat, all
units standby...
Up ahead, the lights of Downtown L.A. glitter against the night
sky. Hovering between the neon green glow of the skyscrapers
Driver sees the red and white glint of a police helicopter. He
switches off his headlights, turning left on Santa Fe Avenue.
13 INT/EXT. IMPALA/ALLEYWAYS/INDUSTRIAL AREA/DOWNTOWN - NIGHT. 13
The armed robbers watch in tense silence as Driver weaves in and
out of the industrial alleyways with his lights switched off.
It's as if he's trying to find his way out of the maze or
probing to see if there's anyone out there.
POLICE SCANNER
...1 Baker 11, headed south on Boyle
Avenue...No sign of suspects...Repeat, no
sign of suspects...
The armed robbers look relieved when suddenly a police car
glides past at the end of the alleyway, its lights also off.
(CONTINUED)
5
9/24/10
13 CONTINUED: 13
It's like catching a glimpse of a passing shark's fin. Driver
taps the brakes gently, his car sliding to a stop. He stays
there a moment, then eases the Impala forward, turning in the
same direction as the black-and-white.
14 INT/EXT. IMPALA/ LA RIVER INDUSTRIAL AREA/ DOWNTOWN - NIGHT. 14
It's a high-risk strategy but Driver follows the black-and-white
at a distance, hidden in the darkness, knowing other squad cars
won't be checking the same route. The police car makes its way
through the dimly lit industrial zone, unaware it's being
shadowed. Driver turns his car radio up a whisper.
BASKETBALL COMMENTARY
...And for the first time in the game the
Clippers have the lead. 71 to 69. Seven to
go in the Fourth here at the Staples
Centre...
Driver turns the sound back down. Up ahead, the police car
swings left, disappearing from view. Driver slows down too,
anticipating the next obstacle. He doesn't have long to wait. In
the distance he suddenly sees the piercing beam of a police
chopper's search-lights, sweeping the area one more time.
Driver floors the gas, speeding straight towards the approaching
helicopter. The armed robbers are too stunned to protest. They
just sit there, watching the sweeping searchlights getting
closer and closer.
Then suddenly it becomes clear what Driver's doing. Up ahead,
there's a small underpass below the 7th Street bridge. Driver
slides the car under the safety of the bridge just before the
chopper's searchlights spot them.
15 INT/EXT. IMPALA/ UNDERPASS/ LA RIVER INDUSTRIAL AREA - NIGHT.15
The roar of the helicopter thunders overhead. The underpass is
crammed with dirty mattresses and shopping carts. Sleeping HOBOS
can be seen under dirty blankets. Driver waits for the echo of
the helicopter to fade, then moves forward again.
16 INT/EXT. IMPALA/ OLYMPIC BOULEVARD/ DOWNTOWN - NIGHT. 16
Gloomy yellow street-lamps shine down on the industrial zone.
Rows of delivery trucks are parked outside the meat-packing
factories. Driver cruises cautiously down the deserted street.
The crackling of the police scanner and the droning of the
basketball commentary add to the tension. Finally up ahead he
sees car-lights streaming back and forth on Broadway.
DRIVER
Get down...
(CONTINUED)
6
9/24/10
16 CONTINUED: 16
The armed robbers lie flat on the back seat, paying Driver more
respect now.
17 INT/EXT. IMPALA/ BROADWAY/ DOWNTOWN - NIGHT. 17
There's a steady flow of traffic on Broadway. Driver falls in
behind the other cars. On the radio, the basketball game is
still playing.
BASKETBALL COMMENTARY
...Three thirteen left on the clock.
Dunleavy calls a time out and it's the
Clippers by one...
The passing head-lamps light up Driver's face. There's not a
trace of emotion in his eyes -- even when he spots a patrol car
approaching in the opposite direction.
BASKETBALL COMMENTARY
...Buckle up your seat belts Clippers fans.
This game really is too close to call...
The two cars pass each other slowly. Driver sees the cops in the
Black-and-White peering at the Impala as they head past. He
turns down the basketball game and focuses on the scanner.
POLICE SCANNER
...This is 1 David 16...Silver Impala
headed South on Broadway and
Pico...Couldn't get a look at her license
plates...Appears to be only one occupant...
In the back seat, the armed robbers wait nervously for the
police dispatch to respond.
POLICE SCANNER
...1 David 16...why don't you check her
out...
As soon as he hears this Driver swerves sharply into the next
street.
18 INT/ EXT. IMPALA/ SIDESTREET OFF BROADWAY/ DOWNTOWN - NIGHT. 18
Driver guns around the block now, building up speed.
POLICE SCANNER
...This is 1 David 16...We lost the suspect
somewhere between Broadway and
Grand...Possible evasive action...Request
airship and additional units...
7
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19 INT/ EXT. IMPALA/ WEST PICO BOULEVARD/ DOWNTOWN - NIGHT. 19
Driver bursts out onto Pico now. A squad car headed in the
opposite direction slows down as it sees him but is caught up in
the flow of traffic, unable to turn round and give chase.
POLICE SCANNER
...1 David 11...suspect headed West on
Pico...
Driver threads his way through the vehicles in front of him, so
smooth and effortless it's hard to tell how fast he's going. He
glances up as he hears the dull rumble of a police chopper
overhead. The helicopter is almost directly above him, swinging
its search-beam back and forth to get a lock on his position.
Driver pushes the car as fast as it will go, but there's no way
of outrunning the chopper. Blue light floods the asphalt around
him as he guns down Figueroa.
POLICE SCANNER
All units...pursuit in progress...silver
Impala...Headed North on Figueroa...
Even now Driver doesn't panic, turning his attention back to the
basketball game.
BASKETBALL COMMENTARY
Thornton pulls up from behind the arc,
misses. Rebound New York. One eighteen to
play...
Driver swerves sharply towards the sparkling lights of the
Staples Centre.
20 INT/EXT. IMPALA/ STAPLES CENTRE/ PARKING LOT - NIGHT. 20
The terraced parking lot looms up ahead. A sign above the
barrier says `Season Ticket Holders Only'. Driver punches in a
ticket and roars into the parking lot.
21 INT. IMPALA/ STAPLES CENTRE PARKING LOT - NIGHT. 21
The Impala screeches from one level to the next. With a game
going on, the parking lot is almost full. Finally Driver pulls
into a free parking space.
BASKETBALL COMMENTARY
...Thirty seconds remaining and all the
Knicks have to do is run out the clock...
Driver glances in his side mirror. Behind him, dozens of FANS
are already streaming out into the parking lot before the game
is over, hoping to avoid the inevitable traffic.
(CONTINUED)
8
9/24/10
21 CONTINUED: 21
BASKETBALL COMMENTARY
...Gordon back to Davis...Davis for
three...This is unbelievable!...
The jubilant commentary continues, but Driver isn't listening
anymore. The game has served its purpose. More fans flood into
the parking lot. Dozens of cars pull out of their places.
BASKETBALL COMMENTARY
...What a remarkable comeback...Outplayed
for most of the game, the Clippers have
shown incredible resilience...
Driver glances at the armed robbers and nods. It's time. They
climb out of the car, merging in with the crowd. Driver watches
them disappear, then slips on a Clippers cap, climbs out of the
Impala himself and heads towards another car.
22 EXT. STAPLES CENTRE/ DOWNTOWN L.A. - NIGHT. 22
Outside the parking lot, the police are waiting, stopping
anything that looks like an Impala, shining their flashlights
into the windows. Wearing his Clippers cap and a Clippers
sticker on his new car, Driver calmly drives past them, making
his getaway.
DISSOLVE TO:
23 EXT. FILM SET/ SAN PEDRO/ LOS ANGELES - DAY. 23
Driver's face is fixed ahead, sunglasses hiding his eyes. As we
PULL OUT we see to our surprise that he's wearing a policeman's
uniform. It's only as we pull out further that we see several
other `POLICE OFFICERS' sitting in the same fold up chairs,
reading car magazines and scripts as they're powdered by MAKE-UP
GIRLS, and realize we're on a movie set.
Driver glances up from his script and sees another STUNTMAN
being fitted with an SFX mask. The stuntman now looks identical
to the STAR of the movie who stands nearby.
ASSISTANT DIRECTOR O/S
I need you guys to sign this contract...
Driver takes the form along with all the other stuntmen and
signs it without a glance.
24 EXT. FILM SET/ SAN PEDRO/ LOS ANGELES - DAY. 24
Shannon is discussing a car stunt with another AD, using two toy
cars on the hood of a cop car to demonstrate the danger.
(CONTINUED)
9
9/24/10
24 CONTINUED: 24
SHANNON
...This is a whole new thing. He taps the
fender any faster than fifty not only will
she roll, she'll roll all the way to Baja.
Driver heads off, disinterested in the negotiations.
SHANNON
A high risk stunt like that's worth at
least a thousand five.
AD
They won't go higher than a thousand.
SHANNON
Done.
For all his charm we sense something of the hustler about
Shannon.
25 EXT. CRAFT TABLE/ FILM SET/ SAN PEDRO/ LOS ANGELES - DAY. 25
Driver approaches a buffet table laid out with food. He's about
to help himself when JACK, the caterer, stops him.
JACK
Sorry, that's for the director...
26 INT/ EXT. POLICE CAR/ FILM SET/ SAN PEDRO - DAY. 26
Driver sits at the wheel of the Black-and-White while a STUNT
SUPERVISOR checks his harness. Shannon leans into the window
with a smile.
SHANNON
I managed to get them up to five hundred.
Driver doesn't seem to care, focussed on the job.
2ND UNIT DIRECTOR O/S
Camera ready, sound ready...
Shannon joins the rest of the crew, looking on.
2ND UNIT DIRECTOR O/S
...ACTION!...
Driver floors the gas, screeching out of the alleyway. He
swerves between several oil drums then straightens up on the
main road.
In his rear view mirror he sees a black Dodge Charger appear on
cue, bearing down on him.
(CONTINUED)
10
9/24/10
26 CONTINUED: 26
Driver slows to forty, like he's supposed to, but the black
Charger keeps coming at speed.
Driver's eyes stay fixed on his rear view mirror, judging the
other car's speed and angle of approach to perfection.
The Charger slams into the back of Driver's car at sixty miles
an hour, hitting him just above the left rear wheel.
Driver's reactions are quick as lightning, counter-steering as
his Black-and-White goes careening off the road. He keeps the
car upright long enough to slow it down before it finally flips
end over end.
Up ahead, the Charger skids to a showy stop.
2ND UNIT DIRECTOR O/S
...And CUT!...
Some clapping and cheering breaks out, but most the crew
couldn't care less, returning to their cell-phones and shot
lists. Only Shannon seems interested in Driver, limping over and
helping him out of his battered Black-and-White.
SHANNON
Nice work, officer...
Driver spits out some fake candyglass from the shattered
windscreen.
27 INT. NINO'S PIZZERIA/ WESTWOOD - DAY. 27
A New York style pizza-by-the-slice restaurant. A WAITER takes a
delivery of Chinese food at the door and carries it over to a
table where Shannon is sitting with an old friend, BERNIE ROSE.
WAITER
Here you go, Mr. Rose.
(Taking out the white boxes)
Egg rolls, chicken chow mein, five flavor
shrimp and Peking duck.
BERNIE ROSE
Did they remember the chop sticks?
WAITER
Doesn't look like it, sir. Let me run and
get the guy.
From the way the waiter hurries off we get a sense of Bernie's
power and authority. He turns back to Shannon, resuming their
conversation.
(CONTINUED)
11
9/24/10
27 CONTINUED: 27
BERNIE ROSE
...You run a perfectly good business. Why
would you want to change now?
SHANNON
You know how much my business made last
year? Thirty Grand. Takes me six months to
build a car and a couple of seconds for
these jerks to write it off on a stunt that
doesn't even make it into the movie.
Bernie shakes his head but clearly has a soft spot for Shannon.
BERNIE ROSE
How much do you need?
SHANNON
Let me talk you through it first.
BERNIE ROSE
That sounds like a lot.
SHANNON
Doesn't have to be. The big money teams
burn through three, four million a year but
that's `cause they're using half a dozen
test drivers and a stable of cars.
BERNIE ROSE
I don't know anything about car racing but
I assume there's a reason for that?
SHANNON
Sure, but it's not the only way. All I need
is a hard-used stock car. We start off with
the small-town action then work our way up.
There's close to two thousand events out
there and once we make the Show we're
talking millions.
BERNIE ROSE
`Millions'?
SHANNON
There's a fortune to be made. Sponsorship.
TV deals. We'll even name the team after
you.
Bernie looks at his friend in mild exasperation then turns away
as the waiter returns with a handful of chop sticks.
BERNIE ROSE
Thank you, Ron. You sure you don't want any
of this?
(CONTINUED)
12
9/24/10
27 CONTINUED: (2) 27
SHANNON
No, thanks.
Bernie waits for the waiter to leave then continues.
BERNIE ROSE
You still haven't given me a number?
Shannon hesitates but only for a second.
SHANNON
Four hundred and thirty thousand dollars.
Bernie Rose can't help grinning at his nerve.
SHANNON
Look, I wouldn't come to you unless I was
sure about this.
BERNIE ROSE
Come on, Shannon. How can you be sure? What
have you got these big money teams don't
have?
SHANNON
I got a driver.
BERNIE ROSE
And they got half a dozen Drivers you told
me.
SHANNON
Not like this one.
He stares at his friend with quiet conviction.
SHANNON
I been working with this guy a long time -
I've never seen anything like it. I had the
money I'd back him myself...
Bernie Rose considers him quietly.
BERNIE ROSE
But you don't have the money.
SHANNON
Everything I own is in metal. I had to sell
my Bullit car the other day just to pay the
gas bill. I'm telling you, Bernie, put this
kid behind a wheel there's nothing he can't
do.
(CONTINUED)
13
9/24/10
27 CONTINUED: (3) 27
BERNIE ROSE
And what happens to my money if this kid
gets hit by a bus?
Shannon's about to reply when they're interrupted by a big bull
of a man with a gruff voice.
NINO
What are you doing eating Chink food in my
restaurant?
BERNIE ROSE
What's a Jew doing running a Pizzeria?
Worst fucking pizza in LA by the way. How
hard is it to bake a loaf of bread?
NINO
It's the fucking water in this city...
Shannon smiles, intimidated by Nino, giving up his seat
respectfully. Nino doesn't even acknowledge him.
BERNIE ROSE
I thought you were supposed to be out of
town anyway?
NINO
Well, I'm back.
(Barely a glance at Shannon)
Take a hike. I need to talk to my partner.
BERNIE ROSE
Be polite, Nino. I invited him here.
NINO
Oh, I'm sorry. How you doing, Shannon?
How's the fucking leg?
Bernie senses things are only going to get worse and dismisses
Shannon gently.
BERNIE ROSE
I'll think about it but I want to meet your
guy first...
28 INT. ELEVATOR/ APARTMENT BLOCK/ ECHO PARK - DAY. 28
Driver stands in the elevator as it climbs slowly. It reaches
the ground floor then the doors slide open. Driver finds himself
face to face with the pretty girl he saw the other night. She
looks a little startled to see him, then recovers
PRETTY GIRL (IRENE)
Hi...
(CONTINUED)
14
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28 CONTINUED: 28
She joins him in the elevator, carrying a grocery bag with some
milk and Fruit Loops cereal.
DRIVER
Which floor, ma'am?...
IRENE
Fourth please...
Driver presses the fourth floor button even though it's already
lit. The doors shut and the elevator starts to climb. Driver
stares out quietly. Irene takes a glance at him, feeling awkward
in the silence. She looks relieved as the elevator doors finally
open. Driver steps aside to let her out first.
IRENE
Thank you...
29 INT. CORRIDOR/ APARTMENT/ ECHO PARK - MORNING. 29
Driver and Irene walk down the corridor in the same direction,
only a few feet apart. She seems more aware of his presence than
he is of hers. She reaches the door to her apartment first.
IRENE
Goodbye...
DRIVER
Goodbye, ma'am...
Driver looks at her just long enough not to seem impolite, then
continues down the corridor, not even glancing back.
30 EXT. SAUGUS SPEEDWAY - DAY. 30
Bright sunlight. In the distance we see a trail of dust moving
across the flatland. Everything is silent, then slowly the hum
of an engine rises as the stock car turns towards us. It
shimmers in the heat waves, the noise of its engine getting
louder as it picks up speed.
Shannon stands with his friend Bernie Rose at the edge of the
makeshift track, staring at the glittering car with its colorful
signage advertising everything from Snickers to Cheerios.
BERNIE ROSE
Looks like a chocolate bar. You're gonna
have to tell me if that's fast or slow
`cause I got no idea...
Shannon smiles to himself.
SHANNON
It ain't slow...
15
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31 INT. RACE CAR/ SAUGUS SPEEDWAY - DAY. 31
Even in the cramped space of the roll cage there's something
effortless about the way Driver controls the car. His eyes are
fixed in concentration, his body tensing only slightly as he
lifts his foot off the gas and turns the wheel.
32 EXT. SAUGUS SPEEDWAY - DAY. 32
The glinting vehicle is lost in a cloud of dust, then reappears
again, moving even faster now. The STOCK CAR'S OWNER, a bearded
hot-rodder with a t-shirt that says, "Drive it like you stole
it", joins Shannon with a confident smile.
STOCK CAR OWNER
Told you she was a beauty...
SHANNON
(Playing hard to get)
Maybe where you come from...
Bernie Rose pays no attention to their banter, his eyes fixed
thoughtfully on the stock car as it finally slows to a stop.
33 EXT. RACE CAR/ SAUGUS SPEEDWAY - DAY. 33
Driver climbs out of the car. As he looks up he sees Shannon
limping over with the stock car's owner, a couple of MECHANICS,
and Bernie Rose.
SHANNON
Looks a little long in the tooth to me.
Think we should take her home?...
Driver shrugs. Shannon grins, turning to Bernie now.
SHANNON
Bernie, this is the driver I been telling
you about...
One look at Bernie Rose and Driver senses the power and
authority behind his deceptively gentle eyes.
SHANNON
Bernie's thinking of investing in our race
team...
The old mobster holds out his hand, meeting Driver's gaze.
DRIVER
My hands are a little dirty.
BERNIE ROSE
Don't worry. So are mine...
(CONTINUED)
16
9/24/10
33 CONTINUED: 33
He gives Driver a big grin and a warm handshake, sizing him up.
Driver smiles politely, gazing back at him. The stock car's
owner interrupts the moment between them, holding a stopwatch.
STOCK CAR OWNER
Couldn't see much wrong with that. You beat
the fastest lap by more than half a second.
DRIVER
You might wanna take a look at the
suspension before we go again.
(Turning back to Bernie)
Nice to meet you...
Bernie's still studying him.
BERNIE ROSE
You too...
Their eyes stay on each other, then Driver follows the stock car
owner and his mechanics back to the car. Bernie Rose stares
after him quietly, thinking to himself. Shannon can feel he's
getting interested.
SHANNON
You gonna give me the four?
BERNIE ROSE
I'll give you three for seventy percent...
34 INT. SUPERMARKET/ ECHO PARK - DAY. 34
Tinny supermarket music plays in the background. Driver walks
past the vast selection of instant coffee brands, bemused by the
choice. Suddenly he notices something out of the corner of his
eye. At the far end of the aisle his pretty neighbor, Irene, is
browsing through the confectionery section. Standing next to her
is a young boy of six or seven, (BENICIO). He grabs a multi-pack
of snickers and puts it in Irene's shopping basket. Irene calmly
picks it out, replaces it on the shelf, and takes a single
snicker bar for him instead. As Driver watches them, the boy
turns around and notices him. Driver heads down another aisle
before Irene sees him too, keeping to himself to himself.
35 EXT. CAR PARK/ SUPERMARKET - DAY. 35
Driver heads out of the supermarket with a small bag of
groceries when he spots Irene and Benicio again in the car park.
Irene sits in a battered Oldsmobile, trying to start the engine.
She tries several times then gets out in frustration, opening
the hood and peering at the engine she has no idea how to fix.
Benicio peers in too, trying to be helpful.
(CONTINUED)
17
9/24/10
35 CONTINUED: 35
Driver hesitates, all his instincts telling him to continue to
his car and drive away, but as he feels Irene's increasing
frustration he can't help himself, finally heading over to help.
Irene looks over and sees him coming, surprised at first, then
smiling. We watch from a distance as they talk now.
35a INT. ELEVATOR/ APARTMENT BLOCK/ ECHO PARK - DAY. 35a
Driver, Irene and Benicio stand in silence in the elevator,
Driver clutching some of Irene's grocery bags.
36 INT. IRENE'S APARTMENT/ ECHO PARK - DAY. 36
Driver carries Irene's grocery bags into the kitchen for her.
DRIVER
Where do you want me to put them?
IRENE
Just over there. Thanks...
Driver places the bags on the kitchen counter.
IRENE
Would you like something to drink?
DRIVER
I'm okay.
IRENE
A glass of water?
DRIVER
Sure...
She pours him a glass of water and hands it to him.
IRENE
Excuse me a second...
She walks out of the room, leaving Driver alone with Benicio.
The little boy stares at him fixedly.
36a INT. BATHROOM/ IRENE'S APARTMENT - DAY. 36a
Irene closes the bathroom door behind her, looking at herself in
the mirror, feeling a little uncertain.
37 INT. IRENE'S APARTMENT - DAY. 37
Benicio's still staring at Driver. Feeling a little awkward,
Driver takes a long piece of string from his pocket, tugs it
gently, then holds up two pieces of string.
(CONTINUED)
18
9/24/10
37 CONTINUED: 37
Benicio keeps staring at him, puzzled by the magic trick. Irene
walks back into the room, smiling.
IRENE
You just move to LA?
DRIVER
No, I been here a while.
IRENE
And before that?
DRIVER
Here and there...
IRENE
(A gentle smile)
Too many questions, huh?...
Driver smiles back awkwardly, not sure how else to respond.
Irene switches on the TV for Benicio, sitting him down on the
couch.
Driver has a sip of water, glancing around the room. He notices
a few photographs on a side table. Most of them are of Benicio
and Irene, but one of them shows the little boy standing next to
a strikingly handsome Latino man.
Irene turns around and sees him looking at the picture.
IRENE
That's Benicio's father.
Driver takes in the significance of this, then looks back at
her.
DRIVER
What's he do?
IRENE
He's in jail.
DRIVER
I'm sorry.
IRENE
(Changing the subject)
What do you do?
Driver hesitates.
DRIVER
I drive.
(CONTINUED)
19
9/24/10
37 CONTINUED: (2) 37
IRENE
Like a limo driver?
DRIVER
No, for the movies...
IRENE
(INCREDULOUSLY)
You mean all those car chases and stuff?
He nods, a little embarrassed.
IRENE
Isn't that dangerous?
He seems thrown by her concern.
DRIVER
It's just part-time. Most days I work in a
garage.
IRENE
Where?
DRIVER
Reseda Boulevard.
IRENE
You should tell Benicio you're a stunt guy.
DRIVER
He interested in that kind of stuff?
IRENE
Aren't all little boys?
She smiles softly and he realizes she's teasing him.
BENICIO O/S
Mama, I don't like this...
Irene takes the remote and changes the channel for him. Driver
watches her quietly, then drains his glass of water.
IRENE
Would you like another glass?
DRIVER
I should get going...
He catches the disappointment in her eyes, but she covers it
with another good humored smile.
(CONTINUED)
20
9/24/10
37 CONTINUED: (3) 37
IRENE
Well, thank you for your help.
DRIVER
Thank you for the drink...
She takes his empty glass and walks him to the door.
38 EXT/INT. STREET/ DRIVER'S APARTMENT/ ECHO PARK - DAY. 38
Passing traffic roars by on the busy street. Irene and Benicio
are walking home from the bus stop, chatting happily. They look
like they've just come back from the beach, Irene carrying a
basket full of towels, Benicio clutching a dusty soccer ball.
Driver watches them from the window of his apartment, blowing
gently on a cup of coffee.
39 INT/ EXT. DRIVER'S CAR/ HOLLYWOOD BOULEVARD - NIGHT. 39
The reflection of passing neon rolls down the Camaro's
windscreen. Driver's cruising down Hollywood Boulevard, shut off
from the world outside, listening to `Purple Rain'. The HOOKERS
and HIPSTERS have taken over the streets while up above
airbrushed movie stars stare down from their lofty billboards.
40 EXT. PARKING LOT/ MINI MALL - MORNING. 40
It's early morning and Driver's been driving all night, unable
to sleep. He heads across the parking lot towards a garishly lit
mini-mall. Up ahead a small group of GANGBANGERS are hanging out
with intent. They see him coming and look over intimidatingly.
Driver's only reaction is to bunch his car keys in his hand, the
longest key sliding between his second and third fingers like a
weapon. The gangbangers don't see it but the unflinching look in
his eyes unnerves them and they look away, letting him pass.
41 EXT/ INT. BUFFALO BAR AND GRILL/ LA - MORNING. 41
Jukebox music plays in the bar and grill. Driver sits on his
own, working his way through a plate of bacon and eggs.
BEARDED REDNECK OFFSCREEN
Mind if I cut in?...
Driver looks up and sees a burly REDNECK with an unkempt beard
and a wrestler's physique. The redneck slides into the seat
opposite him.
BEARDED REDNECK
You're Shannon's buddy, right? We met last
year. You drove me and my brother back from
Palm Springs...
(CONTINUED)
21
9/24/10
41 CONTINUED: 41
Driver stares into the redneck's coked-up eyes, then looks back
down at his food.
BEARDED REDNECK
Next run we hired another wheelman - I
spent six months in jail, my brother got
himself killed...
(He grins through yellowing teeth)
He wasn't much, mind you, just family...
Driver doesn't seem to hear him.
BEARDED REDNECK
Thing is -
DRIVER
I'm not interested...
Driver looks up quietly, fixing him with his icy gaze. The
Redneck's smile slowly fades. He considers his response for a
moment, then decides against it, standing up.
BEARDED REDNECK
Well, it's good to see you again...
Driver carries on eating as if the man didn't exist.
42 EXT. FORECOURT/ SHANNON'S GARAGE - DAY. 42
The loud stutter of an unhealthy engine. Shannon sits in the
second hand race car he bought in Montecito, revving the engine.
SHANNON
Sounds like a goddamn M-16...
Driver smiles, popping the hood. As Shannon limps out of the
vehicle he sees a battered Oldsmobile drive into the forecourt.
He takes one look at the owner, then runs his hand through his
white hair, breaking into a friendly smile.
SHANNON
Gorgeous day just got even nicer. How can I
help you, ma'am?
WOMAN'S VOICE O/S
I've got a problem with my car.
SHANNON O/S
I can imagine. That thing must be older
than I am...
Driver turns around in surprise now, recognizing Irene's voice.
(CONTINUED)
22
9/24/10
42 CONTINUED: 42
IRENE
Hi...
DRIVER
Hi...
A mischievous smile lights up Shannon's face as he watches them.
SHANNON
You boys and girls know each other?
IRENE
We're neighbors.
SHANNON
I see...
Driver ignores the sly look in the old man's eyes.
SHANNON
So what seems to be the problem, ma'am?
IRENE
Either it doesn't start or it stalls.
SHANNON
Well, why don't we park her over there and
take a look...
Driver is still watching Irene quietly.
IRENE
I can come back later if you're busy...
SHANNON
He's busy, I'm not...
Shannon gives Driver another sly look as he takes her car keys.
43 EXT. SHANNON'S GARAGE/ SILVERLAKE BOULEVARD - DAY. 43
The Oldsmobile's engine looks like it hasn't been serviced in
years. Shannon is bent over the hood.
SHANNON
...Just my opinion, but I think you should
consider buying a new car...
IRENE
(With gentle irony)
That would be great...
She glances round and sees Benicio standing in the forecourt
with Driver, watching him work on his own car now.
(CONTINUED)
23
9/24/10
43 CONTINUED: 43
Driver's so busy tuning the engine he hardly notices the boy.
His lack of interest finally gets a rise out of Benicio.
BENICIO
That thing doesn't work.
DRIVER
(Without looking round)
You think?
Benicio watches him sullenly, more intrigued than he lets on.
BENICIO
Drive it.
DRIVER
Okay. Get in the car...
Benicio considers a moment, then turns and calls out to Irene.
BENICIO
Mama, can I go in the car?!
Irene looks over in surprise, not sure what to say.
44 INT/ EXT. DRIVER'S CAR/ SILVERLAKE BOULEVARD - DAY. 44
Driver and Benicio sit in the Chevelle, driving in silence.
DRIVER
Your mom said you like movies?
BENICIO
Sometimes.
DRIVER
Ever see the Terminator?
BENICIO
No.
DRIVER
Grease?
Benicio shakes his head.
DRIVER
Wanna see where it was shot?
45 INT. SHANNON'S GARAGE/ SILVERLAKE BOULEVARD - DAY. 45
Shannon's got his tool kit out, examining the Olds. Irene looks
at the forecourt but there's no sign of Driver and her son.
(CONTINUED)
24
9/24/10
45 CONTINUED: 45
IRENE
How long has he been working for you?
SHANNON
Don't worry, ma'am, your son'll be fine.
IRENE
I didn't mean it like that...
Shannon smiles to himself, sensing her interest in Driver.
SHANNON
We been together about five years now. He
showed up out of the blue one day, no
references or nothin', asking me for a job.
I offered him half the wages I normally pay
and he didn't even blink. Been exploiting
him ever since...
(HE GRINS)
Only thing he knows is cars...
46 INT/ EXT. DRIVER'S CAR/ LA RIVER - DAY. 46
The car roars along the drainage canals. In the passenger seat
Benicio looks tense but exhilarated. The car glides past a
landscape of abandoned shopping carts, garbage bags, and
shredded tires, picking up speed all the time.
47 EXT. LA RIVER - DAY. 47
Driver's parked the car now in an area of the drainage canal
which looks like an oasis. He leans against the vehicle, soft
rock playing on his radio as he watches Benicio climb a tree.
48 INT. DRIVER'S CAR/ SILVERLAKE - NIGHT. 48
Benicio is asleep in the back of Driver's car now. Driver's
giving him and Irene a ride back to their apartment. Irene looks
at Driver, waiting for him to say something, but he keeps his
eyes fixed on the road.
49 INT. BENICIO'S BEDROOM/ IRENE'S APARTMENT/ ECHO PARK - NIGHT.49
Cradling the sleeping Benicio in his arms Driver lays him down
on his bed. Irene takes off her son's clothes and puts on his
pyjamas, careful not to wake him. Driver slips out of the room,
uncomfortable with the intimate moment between mother and son.
50 INT. LIVING ROOM/ IRENE'S APARTMENT/ ECHO PARK - NIGHT. 50
Irene walks out of the bedroom, smiling at Driver gratefully.
IRENE
Thank you for today. He had a great time...
(CONTINUED)
25
9/24/10
50 CONTINUED: 50
DRIVER
I'm glad...
He stares back at her in the silence, both of them looking a
little uncertain.
IRENE
I'm sorry if I put you on the spot, you
know, just showing up like that...
DRIVER
Don't worry...
Their eyes stay on each other, the attraction palpable. Driver
finally breaks the tension, making a tentative move towards the
door. Irene opens it for him, looking up into his eyes. Driver
knows he could kiss her, wants to, but something inside holds
him back. Instead he just offers his help.
DRIVER
You need a ride anywhere over the weekend
I'm not doing much...
50a INT. DENTISTS/ NORTH HOLLYWOOD - DAY. 50a
Benicio sits in a dentist's chair, looking nervous. Irene sits
beside him, mimicking his expression, trying to make him relax.
51 EXT. DENTISTS/ NORTH HOLLYWOOD - DAY. 51
Irene emerges with Benicio from the dentists. The little boy is
clutching his mouth, making a show of being in pain. Irene
teases him gently as they walk. Driver waits for them in his
car, watching them quietly.
52 INT. DRIVER'S CAR/ ECHO PARK - SUNSET. 52
Soft rock plays on the car radio. Irene sits in the passenger
seat with a smile. Driver looks at her curiously as he drives,
no idea why she's grinning. Benicio suddenly leans forward and
changes the radio to a different station -- hard rock blaring
out. Driver lets it go for a moment, then changes it back.
Benicio responds, until it becomes a game, Irene laughing now.
53 EXT. SHANNON'S GARAGE/ SILVERLAKE BOULEVARD - DAY. 53
The roar of machinery. We see quick shots of Driver's day in the
garage -- fixing cars, taking out some fruit he's left to ripen
in his tool box for lunch, working on more engines and frames.
At the end of the day Driver and Shannon examine the stock car.
SHANNON
...I still can't believe I bought this
piece of shit...
(CONTINUED)
26
9/24/10
53 CONTINUED: 53
He grins, looking at Driver.
SHANNON
I thought maybe we'd take her for a run
Thursday or Friday.
DRIVER
I can't make Friday.
SHANNON
Yeah? Why's that?
DRIVER
I told Irene I'd drive her to Burbank.
SHANNON
Irene, huh?
(TEASING HIM)
You're seeing quite a lot of the young
lady.
DRIVER
You're taking a long time to fix her car...
54 INT. LIVING ROOM/ IRENE'S APARTMENT/ ECHO PARK - NIGHT. 54
On the TV, a Japanese cartoon is playing, a masked hero
confronting the villains, the screen flickering from color to
black and white. Driver and Benicio sit on the couch, watching
the cartoon. From their relaxed body language it's clear some
time has passed and they know each other a little better.
DRIVER
What's happening now?
BENICIO
He's telling him if he doesn't leave the
earth alone he'll fight him.
Irene calls out from her bedroom.
IRENE O/S
I'm almost ready...
Driver looks back at the screen. Werewolves appear now,
surrounding the hero.
DRIVER
Looks like he's in trouble.
BENICIO
He's okay.
Just as the fight begins the color on the TV screen flickers.
(CONTINUED)
27
9/24/10
54 CONTINUED: 54
DRIVER
I'm gonna show you another trick...
Benicio watches curiously as Driver gets off the couch and
kneels beside the TV.
DRIVER
This is pretty complicated. You watching?
Benicio nods. Driver suddenly gives the TV set a hard smack and
the interference stops.
DRIVER
Think you can remember that?...
Benicio grins. Driver smiles back then looks away as he hears
the phone ring. Irene walks out of her bedroom, dressed in her
waitress's uniform, and answers it.
IRENE
Hello?...Yes?...Yes, this is she...
Driver sees the look of surprise on Irene's face as she listens
to the voice on the other end. The doorbell suddenly rings.
Irene catches Driver's eye and asks him to open it. He heads
over, checks the spy-hole, then opens the door. A YOUNG WOMAN
who's sitting for Benicio walks in, looking at Driver curiously.
YOUNG WOMAN (IRENE'S FRIEND)
Hi...
DRIVER
Hello...
BENICIO
Hi Cindy...
Irene's friend heads past Driver and scolds Benicio
affectionately.
IRENE'S FRIEND
It's 8:30. Teeth. Pyjamas. TV off.
BENICIO
It's not the TV. It's a DVD...
Driver looks back at Irene now. She puts down the phone, forcing
a smile but still looking distracted.
55 INT/ EXT. DRIVER'S CAR/ ECHO PARK - NIGHT. 55
Irene sits next to Driver in the passenger seat, staring out of
the window at the glittering fountain in Echo Park.
(CONTINUED)
28
9/24/10
55 CONTINUED: 55
IRENE
I've never come this way before...
DRIVER
It's a short cut...
IRENE
The park looks pretty at night...
She looks at Driver, watching him quietly, then looks away
again.
DRIVER
You okay?...
Irene takes a long time to answer, still staring out of the
window.
IRENE
That was my husband's lawyer on the phone.
He's getting an early release...
She tries to sound casual. Driver takes the news quietly, even
though it hits him like a sledgehammer.
DRIVER
That's great...
IRENE
I'm happy for Benicio...
Driver knows she's trying to explain herself but doesn't say
anything, driving in silence.
Up ahead the traffic lights turn red and the car slows to a
stop.
Inside, the silence is unbearable. Irene pauses, then looks at
Driver. He's even more handsome in the shadowy half-light,
something achingly lonely and melancholy about his stillness.
She hesitates, then moves her hand towards his, brushing the
back of his hand, then slipping her fingers between his.
The gesture is tiny but charged with emotion. They both stare
out in silence, fingers clasped, then Irene gently withdraws her
hand, as if nothing's happened.
Outside the lights change to green.
56 INT. IRENE'S APARTMENT/ ECHO PARK - SUNSET. 56
The sound of laughter. A sign over the door says, Welcome home
Dad. Inside the apartment there's a small party going on.
(CONTINUED)
29
9/24/10
56 CONTINUED: 56
Irene's husband, STANDARD, has been released from jail and his
FRIENDS and FAMILY are here to celebrate. Holding Benicio in his
arms he makes a thank you speech to his guests.
STANDARD
...I'm touched and grateful that you're all
here today -- even though I know it's
probably for the food not me...
His self-deprecating humor gets a chorus of laughter and
agreement from the guests. Irene is standing next to her friend
Cindy, looking a little uncomfortable.
STANDARD
...Anyhow, now that I've completed my MBA
in catering from Chino Business School...
(MORE LAUGHTER)
Irene, Benicio and I are finally going to
get our lives back together...
He raises his glass to her.
STANDARD
I'd like to thank my wife for being the
smartest, most beautiful, most patient and
loyal woman I know...
More applause. Irene stares back at Standard's handsome face,
feeling even more uncomfortable.
57 INT. DRIVER'S BEDROOM/ APARTMENT/ ECHO PARK - SUNSET. 57
Driver lies on his bed, gazing up at the ceiling, listening to
the sound of the party echoing down the corridor.
58 INT. IRENE'S APARTMENT/ ECHO PARK - NIGHT. 58
It's nighttime and the party's getting louder. Standard's on the
phone to someone, trying to hear them over the music.
STANDARD
I'm sorry, I can't hear you...
He heads into the bedroom to take the call. The voice on the
other end is accented and unfriendly.
MAN'S VOICE ON THE PHONE
Can you hear me now, you cunt?
Standard pauses, looking concerned.
STANDARD
Sure.
(CONTINUED)
30
9/24/10
58 CONTINUED: 58
MAN'S VOICE ON THE PHONE
You're gonna come see me tomorrow, you
understand?...
Across the crowded room, Irene is looking for Standard. She sees
him in the bedroom, switching off his phone, and heads over.
IRENE
Benicio wants you to put him to bed.
STANDARD
Okay.
He gives her a warm smile.
IRENE
Who was that on the phone?
STANDARD
My parole officer. He thinks he may have
found me a job.
59 INT. DRIVER'S BEDROOM/ APARTMENT/ ECHO PARK - NIGHT. 59
The noise of the party is finally too much for Driver. He gets
off the bed and slips on his jacket.
60 INT. APARTMENT/ CORRIDOR/ ECHO PARK - NIGHT. 60
Irene is finding the party overwhelming too. She heads out into
the corridor to have a cigarette when she sees Driver across the
hallway, locking the door to his own apartment. She hesitates,
then calls out.
IRENE
Hey...
He turns around and sees her standing there with a smile.
IRENE
I'm sorry about the noise. I was going to
leave a note under your door warning you we
were having a party.
DRIVER
Don't worry. I won't complain.
IRENE
I wish you would. Maybe the cops'd show up
and send everybody home.
Their eyes stay on each other, the music pounding in the
background.
(CONTINUED)
31
9/24/10
60 CONTINUED: 60
IRENE
The car works great by the way. Hasn't
stalled once.
DRIVER
I'm glad.
Another awkward silence, so much she wants to say but can't.
IRENE
Listen, if you're hungry we got plenty of
FOOD -
Suddenly she turns around as she hears her apartment door open.
Standard stands there with Benicio, holding a bag of trash. He
pauses, then smiles.
STANDARD
I thought if we emptied the trash everyone
would get the message and go home...
He grins at his wife, then looks over at Driver, his smile
hiding whatever he feels inside.
STANDARD
You're the new neighbor, right? Benicio's
told me all about you...
Driver seems unsure how to respond.
DRIVER
He's a great kid.
STANDARD
I can't take any of the credit. He's got a
great mother.
Standard rests his hand gently on Benicio's head, still staring
at Driver.
STANDARD
He tells me you drive for the movies?
DRIVER
Yeah.
STANDARD
Must be pretty good?
DRIVER
I get by.
STANDARD
Not like a nine to five gig, huh?...
(CONTINUED)
32
9/24/10
60 CONTINUED: (2) 60
He's still smiling but there's a slight edge to his voice. Irene
looks uncomfortable.
IRENE
You want me to take that?
STANDARD
No, we got it.
His eyes are still fixed on Driver.
STANDARD
You want to come in, join us for a drink?
DRIVER
I've got some things to do.
STANDARD
At this hour of night?
IRENE
Standard, he's busy...
Standard doesn't respond, still holding Driver's gaze.
STANDARD
Well, if we're still going by the time
you're back you know where we are. It's
good to meet you...
He slips his arm around his son now and continues down the
corridor, brushing past Driver on his way to empty the trash.
Driver looks at Irene, then heads off in the same direction as
Standard and Benicio to take the elevator. The two men stand
there in charged silence, one emptying the trash, the other
waiting for the elevator, only Benicio oblivious to the tension.
61 EXT/ INT. DRIVER'S CAR/ LA - NIGHT. 61
Brooding movie stars look down from the billboards. Driver is in
his car now, soft rock playing on the radio.
62 INT. IRENE'S APARTMENT/ ECHO PARK - DAY. 62
Standard is helping his son get ready for school, interacting
with him affectionately. Irene watches them from the doorway,
looking thoughtful.
63 EXT/ INT. DRIVER'S CAR/ LA - DAY. 63
Anonymous streets roll by, Driver's eyes fixed on the road.
33
9/24/10
64 INT. CHUCK E. CHEESE RESTAURANT/ LA - NIGHT. 64
Standard, Irene and Benicio are having dinner at a Chuck E.
Cheese restaurant. We still sense the distance between Standard
and Irene, but Benicio seems completely unaware of it, talking
excitedly as he eats his pizza. Standard reaches out and takes
Irene's hand gently as he listens to his son.
65 OMITTED 65
66 INT. SHANNON'S GARAGE/ SILVER LAKE BOULEVARD - DAY. 66
A noise of hammering and drills. The corporate signage has been
scraped off the race car and the seats ripped out. Bernie Rose
has bought his partner Nino to the garage to take a look at his
investment.
NINO
...We paid three hundred fucking grand for
this?
BERNIE ROSE
I paid for it. Out of my own pocket.
Anyway, that's just the shell. You start
with the shell, then you build the frame,
then the motor.
(Pointing to an engine nearby)
I paid three hundred for that. The money
goes on the inside not the outside.
NINO
Fuck that. If I'm gonna blow three hundred
I wanna make sure everyone can see it. Go
waste your money on something else...
Shannon smiles nervously, worried Nino's going to sabotage his
deal with Bernie.
NINO
(Pointing to a Thunderbird)
...How about that fucking pussy mobile over
there.
BERNIE ROSE
You buy it. Shannon sell him the car...
At the far end of the garage Driver hears them laughing, too
busy working on his car to pay any attention. Shannon opens the
door of the Thunderbird and invites Nino to take a seat.
SHANNON
Try her out. She's more comfortable than a
water bed.
(CONTINUED)
34
9/24/10
66 CONTINUED: 66
NINO
I already got a fucking water bed.
He sits heavily in the car and starts prodding and pressing all
the control buttons as if he wants to break them.
NINO
What does this fucking thing do?
SHANNON
Windshield wipers.
NINO
How about this little clit? I don't know
whether to fuck it or drive it. Fuck it,
I'll drive it...
Bernie Rose shakes his head at his partner's foul language then
looks away, observing Driver quietly.
Driver applies a blow torch to his car, so absorbed in his work
he doesn't hear Bernie Rose approach.
BERNIE ROSE O/S
How you doing?...
Driver hears him and turns off the blow torch, standing up
respectfully. Bernie Rose gives him a friendly smile.
BERNIE ROSE
So, when's our first race?
DRIVER
Soon.
BERNIE ROSE
You gonna be ready?
There's something gently challenging in his gaze.
DRIVER
I hope so...
BERNIE ROSE
Cautious man. Like myself. Don't wanna make
promises you can't keep...
Driver smiles but doesn't respond. Bernie Rose finds him as hard
to talk to as everyone else. Across the garage, Nino sits in the
T-Bird with Shannon, still fucking with him. Bernie watches
them.
BERNIE ROSE
He ever tell you how we met?
(CONTINUED)
35
9/24/10
66 CONTINUED: (2) 66
Driver shakes his head.
BERNIE ROSE
I did some producing back in the 80's.
Interesting pictures. Kind of European.
Shannon arranged the cars for us and did
all the stunts. I knew he was overcharging
me but I loved having him around. His next
business venture he tried the same thing
with some of Nino's friends they broke his
spine. He never had much luck...
He's about to continue when they're interrupted by a familiar
voice.
STANDARD O/S
Hey!...
Driver turns around and sees Irene's husband, Standard, heading
towards him with a confident smile.
STANDARD
You got a minute? I want to -
BERNIE ROSE
We're talking...
Bernie Rose barely raises his voice but it's full of quiet
menace and authority. Standard pauses, stung, but instinctively
senses this is someone you don't mess with.
STANDARD
I'll wait outside...
Bernie Rose watches him leave with a look of contempt, then
turns back to Driver with a smile, resuming their conversation.
BERNIE ROSE
The reason I'm telling you this is because
he's got a lot invested in you. So do I...
Their eyes stay on each other with just a hint of tension.
BERNIE ROSE
Anything you need just let me know...
Driver nods. Bernie Rose studies him a moment, then finally
walks away.
67 EXT. SHANNON'S GARAGE/ SILVER LAKE BOULEVARD - DAY. 67
Driver joins Standard in the forecourt of the garage, the midday
sun blazing down on them.
(CONTINUED)
36
9/24/10
67 CONTINUED: 67
STANDARD
Irene told me you'd fixed our car. How much
do I owe you?
DRIVER
Don't worry about it.
STANDARD
I do worry. I like to pay my debts.
Driver senses the quiet pride in his voice, and lets it go.
DRIVER
Call it fifty.
Standard counts out some bills from his tattered wallet, his
eyes lowered.
STANDARD
I was thinking of trading her in for a new
car. Something fast and cheap.
DRIVER
You can't have both.
STANDARD
Alright then, fast.
Even though he smiles Driver senses just a hint of tension on
his handsome face.
DRIVER
(Pointing to a car)
Something like that Buick over there'll
cost you nine grand but there isn't much
point in a city where you can't drive
faster than sixty five.
Standard considers the car a moment, something clearly bothering
him, then looks back at Driver.
STANDARD
You must think I'm an asshole?
Driver isn't sure what he's getting at.
DRIVER
I wouldn't know.
STANDARD
Well, I am. Six months inside for holding
somebody else's stolen shit...
He smiles ironically, his gaze still fixed on Driver.
(CONTINUED)
37
9/24/10
67 CONTINUED: (2) 67
STANDARD
I appreciate what you did for my family
when I was away but I don't plan to fuck up
a second time...
It's a thinly veiled message that he's back and here to stay.
Driver stares back at him when Shannon emerges from the garage
with Bernie Rose and Nino, calling out.
SHANNON
Hey, kid! Come say goodbye, the money
people are leaving!...
Driver and Standard stare at each other a moment longer then
Driver breaks off.
DRIVER
Excuse me.
STANDARD
See you around...
Driver walks off, leaving Standard alone with his thoughts.
Shannon watches Standard curiously as Driver approaches.
SHANNON
Who was that?
DRIVER
Irene's husband.
SHANNON
(GRINNING)
What did I tell you about married women?
Nino can't resist another dig at Shannon.
NINO
What the fuck do you know about married
women?
BERNIE ROSE
Can you for once say something without the
word fuck in it?
As they continue their banter, Driver glances at Standard. He's
walking back to his car, dialling someone on his cell phone.
68 INT/EXT. DRIVER'S CAR/ MEXICAN RESTAURANT/ DOWNTOWN - NIGHT. 68
Passing traffic blurs past. Through the windows of a Mexican
restaurant we see Irene at work, serving tables in her
waitress's uniform.
(CONTINUED)
38
9/24/10
68 CONTINUED: 68
Driver's parked across the street, watching her from his car. He
hesitates, conflicted, then finally gets out of the car.
69 INT. MEXICAN RESTAURANT/ BROADWAY/ DOWNTOWN L.A. - NIGHT. 69
Irene walks out of the kitchen with a tray of food, then stops
as she sees Driver sitting at a booth. She looks surprised to
see him, but pleased, serving her table first then heading over.
IRENE
Hi...
DRIVER
Hi...
Their eyes stay on each other, oblivious to the noise.
IRENE
We haven't seen you around in a while. You
must have been pretty busy?...
DRIVER
You look pretty busy yourself...
She smiles, glancing at the tables she's supposed to serve.
IRENE
What can I get you?
DRIVER
I already ate. I just wanted to see how you
were?
His concern touches her and makes her uncomfortable at the same
time.
IRENE
We're okay. Standard thinks he may have
found a job so I can give up my night
shift...
Driver stares back at her with his intense gaze.
IRENE
Benicio misses you...
From the way she says it she could almost be talking about
herself.
IRENE
He keeps asking me to invite you for
dinner...
(CONTINUED)
39
9/24/10
69 CONTINUED: 69
DRIVER
I'd like that...
His gentle gaze is finally too much for her. She grins, excusing
herself.
IRENE
I better serve some food...
It's only when she has her back turned that we see how hard this
is for her. Driver watches her walk away, lost in thought.
70 INT. KITCHEN/ MEXICAN RESTAURANT - NIGHT. 70
Irene piles some plates of tacos on her tray, bracing herself to
go back out and face Driver -- but when she finally walks out
again he's no longer there.
71 INT/ EXT. DRIVER'S CAR/ APARTMENT BLOCK/ ECHO PARK - NIGHT. 71
Driver leans out of his car window and inserts a key to open the
gates of the underground car park.
72 INT/ EXT. DRIVER'S CAR/ UNDERGROUND CAR PARK - NIGHT. 72
As Driver descends into the darkness of the car park, he sees a
group of SHADOWY FIGURES walking in the opposite direction,
heading up the ramp, one of them being pushed in a wheelchair.
Their leader, a large, balding man, (COOK), glances in Driver's
direction then looks away.
Driver cruises past the mysterious group and winds his way
further down the car park. Suddenly he notices something else in
the shadows. A figure lies sprawled against one of the pillars.
A smaller figure kneels a few feet away. Driver stops his car
now, climbing out to see what's happened.
The prone figure groans in pain. As Driver approaches he
realizes it's Standard. His face is covered in blood and he
clutches his ribs. The smaller figure is Benicio. He stares at
his father helplessly, then looks up at Driver in tears. Driver
kneels beside Standard, checking nothing's broken.
DRIVER
Can you move?
STANDARD
Where's Benicio?
DRIVER
He's right here...
Driver glances at Benicio. He looks terrified. Standard raises
his head painfully and looks at his son.
(CONTINUED)
40
9/24/10
72 CONTINUED: 72
STANDARD
It's okay, Benicio. I'm okay...
Driver watches the boy struggling to hold back his tears.
STANDARD
(GENTLY)
Don't say anything to your mother, you
understand? This is between you and me.
Benicio nods, too choked-up to speak. Standard turns to Driver.
STANDARD
Can I use your bathroom to clean up? I
don't want Irene to come home and see me
like this...
73 INT. BATHROOM/ DRIVER'S APARTMENT/ ECHO PARK - NIGHT. 73
Standard is bent over the sink, splashing water on his face. As
he turns off the tap he notices how neatly Driver's laid out his
toothbrush, shaving cream, and razor. He finally turns around
and looks at Driver.
STANDARD
Thanks. Sorry about getting all this blood
everywhere...
He's still shaken but tries to pass it off with a smile.
STANDARD
Fucking punks took me by surprise...
Driver watches him, unconvinced.
DRIVER
Fucking punks didn't look like they needed
to...
Standard looks at him in surprise now.
STANDARD
You saw them, huh?...
Driver doesn't answer, waiting for him to continue. Standard
hesitates, still not sure whether to trust him.
STANDARD
You ever been inside?
DRIVER
Why?
(CONTINUED)
41
9/24/10
73 CONTINUED: 73
Standard takes another glance at the items laid out neatly by
the sink.
STANDARD
I owed some protection money in the joint.
Driver begins to see how worried he is.
DRIVER
How much?
STANDARD
They want twenty thousand. I told them I
couldn't pay so they want me to do a job
for them...
DRIVER
Is that why you need a car?
Standard stares back at him.
STANDARD
What did you say you were inside for?
DRIVER
I didn't.
A beat, then he finally opens up.
STANDARD
It's a pawn shop in the valley. I tried to
back out tonight, they said they'd come
after Irene and Benicio next time...
Driver stares at him in surprise now, more concerned than he
shows.
DRIVER
Why don't you take them away?
STANDARD
Where would I go? Irene finds out I fucked
up again I'll lose everything...
He sounds upset, angry with himself.
STANDARD
This lousy job's my only way out...
Driver stares at his battered face and the blood stains on his t-
shirt, then walks out of the bathroom to check on Benicio.
42
9/24/10
74 INT. LIVING ROOM/ DRIVER'S APARTMENT/ ECHO PARK - NIGHT. 74
Benicio is watching a baseball game on TV, his back to Driver.
DRIVER
You okay?
The little boy nods without turning round, still frightened by
his ordeal.
DRIVER
You want something to drink?
Benicio shakes his head, trying to hide his tears. Driver heads
over, then stops as he notices something in Benicio's hand. The
little boy is clutching it as if he's afraid to let go.
DRIVER
What have you got there?...
Benicio holds out his hand to reveal a small bullet. Driver
stares at it, then looks at him.
DRIVER
Who gave you that?...
BENICIO
One of those men. He told me not to lose
it...
Driver gazes at the little boy's frightened face in concern now,
his eyes faraway, thinking to himself.
75 OMITTED 75
76 EXT. OUTDOOR TACO SHACK/ EAST LA - DAY. 76
An outdoor food shack in a park. COOK, the leader of the group
of men who beat Standard up in the parking lot, sits at a table
with his girlfriend, BLANCHE, a stunning blonde with short
cropped hair.
COOK
I've got you to do this fucking job for me,
why do I need to pay someone else?
Standard sits next to Driver, holding his ground even though
he's clearly intimidated by the Albanian.
STANDARD
I'll pay him out of what's left of my
share. I can't do something like this on my
own.
(CONTINUED)
43
9/24/10
76 CONTINUED: 76
COOK
You got Blanche...
He grins, looking at Driver now. Blanche doesn't even seem to
hear them, hung-over from the previous night.
COOK
You look like you're hard to work with?
DRIVER
Not if we understand each other.
COOK
What's to understand? It's my score. Either
you sign on or you don't.
Driver stares at him quietly, finding it hard to conceal his
contempt.
DRIVER
I drive. That's all I do.
Blanche gets up from the table before Cook can respond.
COOK
Where are you going?
BLANCHE
They've forgotten my Coke.
COOK
They'll bring it. Sit down.
(His eyes still fixed on Driver)
Standard, why don't you hire a fucking taxi
cab?
STANDARD
He didn't mean it like that, man...
Standard looks worried, trying to diffuse the tension.
COOK
So, what does he mean?
Driver looks him calmly in the eye.
DRIVER
You tell me where we start, where we're
headed, where we'll be going afterwards. I
don't take part, I don't carry weapons, I
drive...
Standard seems surprised by Driver's professional patter. So
does Cook. Even Blanche looks interested for once.
(CONTINUED)
44
9/24/10
76 CONTINUED: (2) 76
COOK
Standard, get Blanche her coca cola.
Standard hesitates, but has no choice. As he leaves to fetch
Blanche her drink, Cook starts to write something down on the
palm of his hand.
COOK
Okay, here's the deal. This much for
Blanche, this much for that asshole minus
what he owes me, and this much for you...
He holds up the palm of his hand to Driver, the words Fuck Off
written in marker pen.
COOK
You still interested?
Driver looks at him, all his instincts telling him to walk away,
but he stays where he is, thinking of Irene and Benicio.
COOK
Good. Anything else?...
Driver stares back at him with his clear blue eyes.
DRIVER
We do this job he's paid his debt. You
leave him and his family alone...
Cook looks surprised at first, then laughs at his nerve.
COOK
Whatever you say, boss...
77 EXT. PARKING LOT/ EAST LA - DAY. 77
The midday sun beats down on a maze of cars. Driver strolls past
rows of glittering vehicles until he spots an old model Mustang.
78 INT. LIVING ROOM/ IRENE'S APARTMENT/ ECHO PARK - NIGHT. 78
Driver sits at the dinner table with Standard, Irene and Benicio
now. Standard's in high spirits, beaming at his wife.
STANDARD
...I was such a jerk the first time we met.
We're at this party and I see the most
beautiful girl I ever laid eyes on and I
walk over and say, `Hello Miss, my name's
Standard Guzman'. She takes one look at me
and asks, `Where's the deluxe version?'...
(HE LAUGHS)
It took me like a minute to get it...
(CONTINUED)
45
9/24/10
78 CONTINUED: 78
Irene smiles awkwardly, glancing at Driver. Benicio grins, eager
to please his dad.
STANDARD
You don't get it either do you, Benicio?
Hope you didn't inherit your Papa's brains.
He ruffles his son's hair then pours himself another shot of
tequila. Irene notices he's drinking, turning to Driver.
IRENE
Would you like some more chicken?
DRIVER
Thanks...
Their eyes stay on each as she serves him. Standard sees the
look between them but his only reaction is to drain his glass
and tuck into his food.
STANDARD
Now this is what I call a deluxe chicken.
Irene and I are gonna open a restaurant
together once I raise the money. That's why
she's working in that Mexican joint. Figure
out how it's done. She's got more ambition
than anyone I know, more smarts too...
(He raises his glass)
We're gonna drive all those fucking
Mexicans out of business -
IRENE
STANDARD -
STANDARD
Excuse my language, Benicio...
IRENE
(Changing the subject)
How's the movie going?...
DRIVER
Fine...
Irene looks at Standard as he pours himself another drink.
IRENE
Don't you think that's enough?
STANDARD
Come on, we're celebrating. I've got my
family around me and our new friend...
(CONTINUED)
46
9/24/10
78 CONTINUED: (2) 78
He raises his glass to Driver now. Driver senses how nervous he
is about the job ahead, and how uncomfortable he is depending on
someone his wife clearly admires.
IRENE
Are you working on anything else?
STANDARD
Stop asking the poor guy all these
QUESTIONS -
IRENE
(LOSING PATIENCE)
Then why don't you go ahead and talk for
all of us.
STANDARD
All right, I will. This time next week I'm
gonna take you and Benicio away with me...
Irene stops and looks at him in surprise.
STANDARD
Where you wanna go, Benicio?...
His quiet confidence concerns her even more.
BENICIO
Disneyland.
STANDARD
Forget Disneyland. I'm gonna take you and
your mother away from this bullshit city -
IRENE
Benicio, it's time for bed -
STANDARD
Your papa's got it all figured out -
IRENE
Benicio, you heard me -
STANDARD
It's okay. I'll take him...
Standard gets up from the table, lifting Benicio up in his arms
and carrying him back to his bedroom. Driver watches them. Even
in this kind of mood Standard's clearly devoted to his son.
Irene waits until they're gone, then turns back to Driver.
IRENE
I'm sorry.
(CONTINUED)
47
9/24/10
78 CONTINUED: (3) 78
DRIVER
Don't worry...
She hesitates, torn, then looks up at him again, needing to
confide in someone.
IRENE
Every time he makes that speech about
taking me and Benicio away from here he's
in some kind of trouble...
Driver sees the deep concern in her eyes and feels even more
torn. Irene gets up, clearing away some plates.
79 INT. UNDERGROUND PARKING LOT/ APARTMENT/ ECHO PARK - NIGHT. 79
Driver strides through the parking lot and climbs in his car.
80 INT. CAR/ UNDERGROUND PARKING LOT/ ECHO PARK - NIGHT. 80
Driver sits in the car as if it's his retreat from the world. He
stares out, then turns on a stop watch, listening to it tick,
finding his balance again in the familiarity of the ritual.
81 EXT. PAWN SHOP/ TARAZANA/ LA - DAY. 81
The pawn shop is nothing much to look at from the outside,
another anonymous LA store front. Driver's parked the car a
hundred yards from the entrance, his police scanner crackling.
Standard sits beside him in the passenger seat, looking tense.
DRIVER
You don't have to do this.
STANDARD
(Forcing a smile)
What are you talking about?
He tries to make light of it but doesn't sound convincing. Out
of his window he sees Blanche cross the street and enter the
pawn shop and looks even more nervous now.
STANDARD
Irene and Benicio think the world of you,
you know that, right?...
Driver glances at him, sensing his anxiety.
STANDARD
Say something happens to me, you think you
could find a way to take care of them?...
Standard's still staring ahead, but Driver can sense his fear.
(CONTINUED)
48
9/24/10
81 CONTINUED: 81
DRIVER
It's not too late...
Standard considers a moment, then shakes his head.
STANDARD
I gotta do this for them...
He forces a smile, slips on his sunglasses, then finally opens
the door.
DRIVER
You got five minutes...
STANDARD
(GRINNING)
I'll see you in four...
Driver watches him cross the street with a strong sense of
foreboding. Standard enters the pawn shop. Driver starts his
stopwatch now, listening to the seconds tick away.
He casts his eyes around the street, observing the smallest
details -- the number plates of other vehicles; the windows of
overlooking buildings.
The white hot sun blazes down, reflecting on the pawn shop
windows, hiding everything inside.
The police scanner crackles but picks up no activity. Driver
listens to his stop watch, in his own world. He starts the
engine and sets off, cruising slowly past the pawn shop, heading
for the corner where he told Standard he'd be waiting.
He pulls over by the curb when suddenly he notices something.
Parked a hundred yards down the road he sees another vehicle
glinting in the sunlight. To the ordinary eye it's no different
from the other cars parked nearby, but to Driver it stands out.
For one, it's a Chrysler. Secondly, it has reinforced bumpers
and racing tires.
Driver's stopwatch shows four minutes now. He looks away from
the Chrysler, gazing at the doors of the pawn shop, expecting
Standard and Blanche to burst out at any moment.
But there's no sign of them.
The seconds tick away. Five minutes. Driver hesitates, all his
instincts telling him to drive off, but he stays where he is,
thinking of Irene.
Suddenly he sees Standard and Blanche emerge from the pawn shop,
Standard clutching a big black gym bag in his hand.
(CONTINUED)
49
9/24/10
81 CONTINUED: (2) 81
He smiles at Driver as he approaches when suddenly he hears the
crack of gunshots behind him. Driver sees the look of panic on
his face as he spins around.
A GUY IN A SUIT strides out of the pawn shop. Crouching low in
an expert firing position he squeezes off several shots. The
force of the bullets sends Standard flying.
Driver sees him hit the sidewalk, arterial blood pumping from
his neck. Blanche screams, grabbing the gym bag and leaping into
the back seat of the car. Driver hesitates, takes one last look
at Standard's lifeless body, then hits the gas as more gunshots
crack behind him.
As Driver's car roars down the street, the Chrysler suddenly
comes to life, pulling out of its parking place.
82 INT/ EXT. CAR/ STREET/ TARZANA/ LA - DAY. 82
Driver glances in his rear-view mirror and sees the Chrysler on
his tail. It doesn't seem to be trying to close the gap, just
following at a discreet distance. In the back seat, Blanche zips
open the gym bag, then stares in shock.
BLANCHE
...Christ, there wasn't supposed to be this
much money!...
There are literally stacks of hundred dollar bills crammed
inside the gym bag. Driver catches her reaction in the mirror,
but his attention is focussed on the Chrysler. Up ahead, at an
intersection, the lights turn red. Driver thinks about running
them, but decides against it, braking sharply. The Chrysler
draws up beside him, its windows glinting in the sunlight.
BLANCHE
Move for Chrissakes!...
Driver ignores her, still watching the Chrysler out of the
corner of his eye. The lights change to green but Driver doesn't
move. Nor does the Chrysler. Behind them, other cars start
honking their horns. Suddenly Driver roars off, swerving left at
speed.
The Chrysler reacts, screeching off in pursuit.
Driver floors the gas. On speed and power his vehicle may be no
match for the Chrysler, but in traffic the odds are even. He
weaves his way past the slower cars, putting obstacles between
himself and the Chrysler. The pursuing car matches him move for
move, staying on his tail.
In the back seat, Blanche looks terrified, buckling herself in.
(CONTINUED)
49A
9/24/10
82 CONTINUED: 82
Driver swerves left then suddenly makes a hard right onto a
deserted canyon road. The mustang somehow manages to make
the same turn. It gets close enough to "pit" Driver, its nose
pressing against the rear corner of Driver's vehicle.
Driver's almost run off the road, but manages to save it and
regains control of his car.
The Mustang pulls out wide to build momentum and smash into
him. As it moves in to deliver the knockout blow, Driver
pulls the Emergency Brake and spins 180 degrees, causing the
Mustang to miss and lose control for a brief moment.
Now the two cars are nose to nose, barrelling down the road,
Driver heading in reverse as fast as he can, the Mustang
closing fast.
It rams Driver's front bumper. BAM! The two cars separated
for an instant.
The Mustang guns it, ready to smash into Driver again...
Driver clocks an upcoming three way intersection dotted with
construction equipment. In a last ditch attempt to evade his
pursuer he throws a reverse 180, then incredibly keeps going,
spinning 270 degrees.
The Mustang tries to make the same turn, but this time the
maneuver is beyond his ability. Driver's suckered him into a
corner he can't control.
The Mustang crashes into the construction equipment in a
sickening crunch of metal on metal.
Driver guns the motor and speeds away.
50
9/24/10
83 EXT. MOTEL/ LA - DAY. 83
Purple neon spills onto the forecourt of a seedy motel.
84 INT. MOTEL ROOM - DAY. 84
The black gym bag lies open on a double bed, full to the brim
with stacks of cash. Blanche sits on the bed, looking pale.
DRIVER
How much did Cook tell you you could expect
to net?
BLANCHE
Forty Grand...
She glances at the bag, staring at how much more money there is.
Driver switches on the cheap TV set with the remote, flicking
through the news channels. There's no mention of the robbery
yet. He zips up the bag and heads out.
DRIVER
Stay here. Don't answer the door...
Blanche nods, too shaken to protest.
85 EXT. MOTEL/ LA - DAY. 85
Driver hesitates, then dials a number on his cell-phone. Benicio
answers.
BENICIO'S VOICE ON THE PHONE
Hello?...
Driver hears the tremor in his voice.
DRIVER
Benicio?...
BENICIO'S VOICE ON THE PHONE
Yeah?...
DRIVER
Is your mom there?...
(CONTINUED)
51
9/24/10
85 CONTINUED: 85
There's an uncomfortable silence. Driver can feel the little boy
trying to hold it together.
BENICIO'S VOICE ON THE PHONE
She's talking to the police...
85a INT. IRENE'S APARTMENT/ ECHO PARK - DAY. 85a
In the living room we can see Irene sitting on the couch with a
male and female POLICE OFFICER, looking dazed, taking in the
news of Standard's death.
INTERCUT
Driver pauses, still on the phone to Benicio.
DRIVER
Tell her I'll call later...
86 INT. MOTEL ROOM - DAY. 86
A soap opera plays on the TV. Driver walks back into the motel
room. Blanche lies on the bed, looking more relaxed. Driver
picks up the remote and flicks through the channels until he
finally finds a breaking news story on the robbery. There is a
police mug-shot of Standard on screen.
TV REPORT
...The armed robber was pronounced dead at
the scene. He was identified as Standard
Guzman of Echo Park, Los Angeles...
Driver listens to the report in silence. Blanche seems upset
again, confronted with the reality of what's happened.
TV REPORT
...Other details are unclear but the owner
of the pawn shop told reporters that the
robber had no accomplices and that the
items he'd taken had been recovered. In
other news...
Driver switches off the TV, staring at the blank screen in
surprise. He turns to Blanche.
DRIVER
The guy saw you grab the money and jump in
the car -- why didn't he say anything?
BLANCHE
I've no idea.
DRIVER
Any idea there'd be another car waiting?
(CONTINUED)
52
9/24/10
86 CONTINUED: 86
This time she takes a fraction too long to answer.
BLANCHE
I already told you everything -
Driver suddenly slaps her -- hard.
DRIVER
You just got a little kid's father killed.
You think I won't hurt you?
He raises his hand to slap her again and this time she talks,
tears welling in her eyes.
BLANCHE
...Cook told me another car would hold us
up...but he never said anything about this
much money or anyone getting killed...
Driver stares at her quietly, beginning to put the pieces
together in his head.
DRIVER
You were gonna rip us off and split the
take?
She nods guiltily.
DRIVER
How long have you known him?
BLANCHE
Just a couple months. We were fooling
around. I've never been mixed up in
anything like this -
DRIVER
You know his real name?
BLANCHE
He told me it was Chris, but I just called
him Cook.
DRIVER
You're going to take me to him right now,
you understand?
She nods, terrified, tears running down her face.
BLANCHE
....Can I go wash up?...
Driver nods distractedly, his mind racing. Blanche heads over to
the bathroom.
(CONTINUED)
53
9/24/10
86 CONTINUED: (2) 86
As she disappears inside Driver notices something on the bed
where she's just been lying. It's her cell phone. Still flipped
open as if she's called someone recently.
Driver reaches for the cell phone when he notices the silhouette
of a MAN crossing the curtains. Someone's outside. The door
handle of the motel room starts to turn, slowly -- then suddenly
there's the roar of a shotgun from the bathroom.
Driver reacts in an instant, rushing towards the bathroom door.
He has to barge it open, something obstructing his way.
87 INT. BATHROOM/ MOTEL ROOM - DAY. 87
Driver almost trips over Blanche's sprawled body as he bursts
through. One quick glance and he knows she's dead - half her
head blown off. Another quick glance and he sees her killer, a
big burly HITMAN, trying to climb through the same bathroom
window where he just shot her.
Driver moves like lightning, grabbing the man's arms before he
can get off another shot and pulling him through the window. The
hitman lands heavily in a sea of broken glass, cutting his
forehead open, blinded momentarily by the blood in his eyes.
Driver takes his opportunity and slams the man's face back into
the glass strewn floor, stunning him for a few more seconds as
they struggle. Crawling away, he grabs the towel rack and pulls
the metal bar off the wall. Using it as a spear he impales the
hitman and grabs his shotgun.
88 INT. MOTEL ROOM - DAY. 88
In the bedroom, the 2nd HITMAN finally kicks the door open.
Driver bursts through the bathroom door at the same time --
firing the 1st shooter's shotgun. The force of the blast picks
up the 2nd hitman and flings him against the wall like a rag
doll.
The startling explosion of violence is over just as suddenly as
it began. Driver slumps to the floor in exhaustion, his hand and
his arm ripped open by the broken glass. There's blood splatter
all over the wall. Neon lights from outside flashing on the dead
man's face. But no panicked footsteps or sirens yet.
Driver crawls over to the dead hitman and rifles through his
pockets. All he finds are a set of car keys.
89 INT. OFFICE/ SHANNON'S GARAGE - DAY. 89
Shannon stands in his office, listening silently on the phone,
looking like he's been punched in the gut.
(CONTINUED)
54
9/24/10
89 CONTINUED: 89
SHANNON
Why didn't you tell me?...
All he hears is silence on the other end.
SHANNON
Well, I guess it's done now...
He leans back against a car.
SHANNON
How big's the take?...
DRIVER'S VOICE ON THE PHONE
One million I guess...
SHANNON
Jesus...
He looks dazed by the thought of so much money.
SHANNON
You better bring it over.
DRIVER'S VOICE ON THE PHONE
I'm hurt. I need a doctor to patch me up...
SHANNON
I'll take care of it...
90 OMITTED 90
91 INT. OFFICE/ SHANNON'S GARAGE - NIGHT. 91
An underworld doctor, "DOC", a shabbily dressed old man who
looks well past his prime takes out a small bottle of scotch
along with his surgical tools, preparing for Driver's arrival.
Shannon watches him uncertainly then heads downstairs as he
hears a noise in the garage.
92 INT. SHANNON'S GARAGE - NIGHT. 92
Shannon arrives downstairs to see Driver walking unsteadily
towards him in the gloom. Shannon can't help glancing at his
hands, expecting him to be carrying the bag with the money, but
there's no sign of it.
93 INT. OFFICE/ SHANNON'S GARAGE/ SILVER LAKE BOULEVARD - NIGHT.93
Scissoring Driver's blood soaked shirt away Doc examines the
shards of glass embedded in his arm, then notices the deep scars
running down his back.
(CONTINUED)
55
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93 CONTINUED: 93
DOC
...Looks like you got more metal inside you
than a ten ton truck...
(His hand shakes)
You'd be better off with a mechanic not a
medic...
Driver looks up at him warily from Shannon's pull out bed.
DOC
Relax. Just having my fun with you...
Doc picks up his bottle of scotch from among his bowls of
Peroxide and Betadine, takes a drink, then offers it to Driver.
DOC
Take a hit off that. Chances are you'll
need it...
Driver shakes his head, closing his eyes. Shannon watches him
quietly, concerned for him but also curious about the money.
SHANNON
What did you do with the cash?
DRIVER
It's safe.
Shannon hesitates, but can't help himself.
SHANNON
You want me to look after it for you?
Driver doesn't answer, gritting his teeth as Doc pulls out the
largest shard of glass.
SHANNON
Just think what we could do with all that
DOUGH -
DRIVER
Two guys just tried to kill me for it. I
want to find out who it belongs to first...
Shannon nods, coming back down to earth.
SHANNON
This guy Cook got a real name?...
DRIVER
Maybe Chris. Probably not...
SHANNON
I'll ask Bernie if he's heard of him...
(CONTINUED)
56
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93 CONTINUED: (2) 93
Driver grimaces again as Doc pulls out another shard of glass.
SHANNON
I wish you'd talked to me first...
Driver doesn't reply, his eyes fixed on the ceiling.
SHANNON
Lotta guys fall for other mens' wives, but
you're the only one I know robs a joint to
make it up to the husband...
94 INT. BERNIE ROSE'S APARTMENT - DAY. 94
An elegant apartment full of framed photographs of beautiful
grandchildren and movie posters from Hollywood's golden age.
Bernie is in his silk pyjamas, looking like he's just woken up.
BERNIE ROSE
You want some coffee?
SHANNON
No, thanks...
Shannon looks tense but tries to hide it. From next door they
can hear the sound of raised voices. Bernie Rose grabs the TV
remote and turns up the volume to drown out his neighbors.
BERNIE ROSE
They've been going at it ever since they
moved in. She's such a nice lady but it's a
lousy Shidach. It's a wonder they haven't
killed each other...
(A BEAT)
So, what's your interest in the Seventh
Heaven?
Shannon doesn't understand, looking confused.
BERNIE ROSE
It's a strip joint on La Cienega. Your
friend Cook runs it. Why're you curious
about him all of a sudden?
Even though they're close, Shannon's wary of giving away too
much information.
SHANNON
A friend of mine owes him some money. I was
wondering if you knew him?
BERNIE ROSE
Yeah, I know him. He's a crazy Albanian. If
I were your friend I'd pay up.
(CONTINUED)
57
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94 CONTINUED: 94
Bernie Rose pours himself a cup of coffee in the kitchenette.
BERNIE ROSE
You wake me up this early this friend must
be a close friend?
SHANNON
(HESITATING)
Yeah...
BERNIE ROSE
How's our car by the way?
SHANNON
We're all set for next month.
BERNIE ROSE
And our driver?
SHANNON
He's doing great.
BERNIE ROSE
That's what you should worry about...
Shannon smiles back but Bernie senses how distracted he is.
BERNIE ROSE
You want my advice? Let your friend work it
out for himself. Don't take pills for other
people's headaches...
(HE GRINS)
You got twenty minutes? I need you to run
down to the market and get me some milk...
95 OMITTED 95
96 INT. HALL/ STAIRS/ STRIP JOINT - DAY. 96
Sunlight pours through a doorway. Driver heads down some stairs,
passing some half naked STRIPPERS at the bar. There's a handful
of CLIENTS watching a pole dance, but otherwise the place is
empty. Driver turns down a long corridor. A couple of STRIPPERS
emerge from their changing room, surprised to see him, but he
puts them at ease with a friendly smile.
DRIVER
Cook moved office again?
STRIPPER
That one over there...
Driver smiles gratefully, then heads towards an office at the
end of the corridor. He knocks on the door. A voice calls back.
(CONTINUED)
58
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96 CONTINUED: 96
COOK O/S
It's open...
Driver takes a hammer out of his jacket, then starts turning the
door handle as if he can't get in.
COOK O/S
It's open, goddamit!...
He hears Cook striding impatiently towards the door now. He
waits, then suddenly kicks the door open, right in Cook's face.
Before Cook can recover, Driver storms into the office, smashing
him across the shoulder with the hammer. Cook collapses in a
heap. Driver's about to hit him again, when he sees that Cook's
left hand is broken and there are cuts and bruises on his face.
Someone's clearly given him a beating since the robbery.
DRIVER
Should've figured you for a shill. Who were
you fronting for?
COOK
Fuck you -
Driver smashes the hammer into Cook's right hand now, breaking
it too. Cook screams. Some of the strippers have gathered at the
door but Driver couldn't care less.
DRIVER
Whose money am I holding?
COOK
Don't worry. They'll come get it. You don't
know who you're fucking with -
Driver smashes the hammer into the metal plates supporting
Cook's left hand. He screams like a stuck pig.
DRIVER
Who's money am I holding?
COOK
(Barely able to get the words out)
Fuck you...
The strippers look stunned and riveted at the same time. Driver
bends over Cook and rifles through his pockets. Finally he finds
what he's looking for. Cook's cell phone. He scrolls down the
call log and finds the same number appearing again and again.
97 OMITTED 97
59
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98 INT. NINO'S PIZZERIA - DAY. 98
The kitchen is busy, CHEFS taking out hot pizzas from the oven
and slicing them up in takeaway boxes. In the background we hear
the phone ringing.
99 INT. BACK ROOM/ PIZZERIA - DAY. 99
An impeccably dressed MAN IN A TAN SUIT answers the phone.
TAN SUIT
Hello?...I'm afraid we're closed. Could you
call back after twelve...
100 EXT. PARKING LOT/ BURGER KING/ SUNSET BOULEVARD - DAY. 100
(INTERCUT)
Driver leans against his car, talking on Cook's cell phone.
DRIVER
I could, but your boss won't be happy when
he finds out you've kept him waiting...
Tan Suit looks curious now.
TAN SUIT
Can I ask what this is about?
DRIVER
I have something that belongs to him.
TAN SUIT
And that would be?
DRIVER
A million dollars...
There's a pause on the other line now.
TAN SUIT O/S
Please hold...
101 INT. NINO'S PIZZERIA - DAY. 101
Tan Suit walks into the dining area. A large bull of a man sits
on his own in the empty restaurant with his back to us. It's
only when he hears Tan Suit approach and turns around that we
realize it's Nino, Bernie's partner.
102 EXT. PARKING LOT/ BURGER KING/ SUNSET BOULEVARD - DAY. 102
Driver hears a heavy chesty voice come on the line.
(CONTINUED)
60
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102 CONTINUED: 102
NINO O/S
You have something that fucking belongs to
me?...
The voice is unmistakable. Driver stares quietly.
DRIVER
Seems that way...
(INTERCUT)
NINO
And you're calling me why? You expect me to
buy my fucking stuff back from you?...
DRIVER
I'm not selling. I give you a time and
place, you come collect your stuff...
NINO
And what do you get out of it?...
DRIVER
Just that. Out of it. You put a muzzle on
Cook, forget your zombies at the Motel,
forget we ever had this conversation...
Nino's thinking to himself, looking more concerned than he
sounds.
NINO
Your partners happy with that?...
DRIVER
I don't have partners...
NINO
You discuss this with anyone else?
DRIVER
Just you...
Nino begins to relax now, still calculating.
NINO
You're not very good at this, are you?...
DRIVER
This isn't what I do. I'll call again with
instructions...
Driver switches the cell phone off.
61
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103 INT. BACK ROOM/ NINO'S PIZZERIA - DAY. 103
Nino hangs up. Behind him we see that Tan Suit is also in the
room, waiting for his orders.
104 INT. LIVING ROOM/ IRENE'S APARTMENT/ ECHO PARK - NIGHT. 104
Irene is sitting on the couch next to Benicio, talking to him
gently as he watches TV.
IRENE
...I'll be back before you go to bed. How's
that sound?...
The little boy nods, watching his Japanese cartoon. Irene's
friend, Cindy, is also there, gazing at them both in sympathy.
Irene looks up at her.
IRENE
Are you going to be okay?
CINDY
We'll be fine...
Irene gets up to leave when the buzzer rings. She walks over and
opens the door then stops in surprise. Driver stands there.
DRIVER
You got a minute?...
She looks at him in a daze.
IRENE
Where have you been?...
He stares back at her in silence.
IRENE
I tried to reach you. Standard's been -
DRIVER
I know...
His eyes stay on her, as if he's trying to tell her something
more. She looks confused, staring back at him curiously when a
small voice interrupts.
BENICIO O/S
Hey...
Driver looks over at the little boy.
DRIVER
Hey...
(CONTINUED)
62
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104 CONTINUED: 104
Irene begins to see the guilt in his eyes and slowly it hits
her. She stares in disbelief, reeling.
DRIVER
I'm sorry about your father...
Benicio nods. Driver keeps staring at the boy but can't find any
more words of comfort. Irene watches him, still stunned. He
looks back at her.
IRENE
I can't talk now. I have to go.
DRIVER
Can I give you a ride?
She stares at him in dismay, close to tears.
IRENE
The car's working fine.
DRIVER
Then let me walk you down...
She wants to say no but can't.
105 INT. CORRIDOR/ APARTMENT/ ECHO PARK - NIGHT. 105
Driver and Irene head down the long corridor in silence.
IRENE
(Almost a whisper)
Why?...
Driver misunderstands, thinking she's talking about Standard.
DRIVER
He was into one of the prison gangs for a
lot of money. He was trying to protect you.
IRENE
Great job...
She walks faster now, striding towards the elevator. Driver
follows her.
DRIVER
I still have the money. Whatever you need -
She turns around and slaps him hard.
IRENE
What are you, a bank? I work for a living.
I don't need your widow's pension!
(CONTINUED)
63
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105 CONTINUED: 105
Her eyes well up with tears, staring at him in anger and
frustration.
IRENE
Just tell me one thing. How did he talk you
into it?
DRIVER
He didn't talk me into anything. I've been
doing this my whole life. It's what I do...
She stares at him in deep disappointment.
IRENE
Stupid me...
She turns away when the elevator bell rings. The doors open,
revealing TAN SUIT. Neither Driver or Irene recognizes him but
we do. He smiles, pretending to look confused.
TAN SUIT
Sorry, I'm supposed to be going down...
IRENE
So are we...
She steps into the elevator. Driver follows her in.
TAN SUIT
Which floor?
DRIVER
Parking lot, please...
Tan Suit presses the button and the doors slide shut.
106 INT. ELEVATOR/ APARTMENT BLOCK/ ECHO PARK - NIGHT. 106
Driver and Irene ride down in silence, their eyes fixed on each
other. Tan Suit watches them quietly, considering a move, but
Driver glances at him and he smiles, biding his time. The lights
on the panel descend. The elevator bell finally rings as they
reach the lower level. Tan Suit hesitates, but Driver waits for
him to go out first. He nods goodnight and heads off into the
darkness of the parking lot. Driver follows Irene, the two of
them heading in the opposite direction.
107 INT. UNDERGROUND GARAGE/ APARTMENT/ ECHO PARK - NIGHT. 107
The overhead lights flicker, the huge underground car park
hidden in shadow. Driver walks alongside Irene in silence. In
the distance Tan Suit's footsteps slowly fade.
(CONTINUED)
64
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107 CONTINUED: 107
DRIVER
I'm leaving. I want you to come with me...
Irene can't believe what she's hearing.
IRENE
What are you talking about?
DRIVER
You and Benicio...
She's almost too stunned to speak, walking even faster now.
IRENE
You're crazy. I don't even know you -
DRIVER
You will. Once I straighten out this thing
I'm getting out for good. We'll go some
place. Anywhere you want.
She shakes her head, fighting her feelings for him.
IRENE
It doesn't work like that.
DRIVER
Why not?...
She stops and looks at him.
IRENE
Because people like you never get out. And
I don't want my son to grow up like that...
She holds his gaze with regret. Driver's about to respond when
suddenly he catches a fleeting movement out of the corner of his
eye.
A beat -- then he suddenly lunges -- grabbing Irene and pulling
her to the ground. In the same instant Tan Suit appears out of
the darkness, opening fire with his automatic.
Bullets spark as they hit the concrete floor and the other
parked vehicles. Driver drags Irene behind a car now, covering
her with his body as Tan Suit fires another burst.
More sparks light up the darkness, the bullets penetrating the
car with ease, narrowly missing Driver and Irene.
Driver moves again, dragging the terrified Irene behind him. Tan
Suit loses sight of them in the darkness, striding past rows of
parked cars.
(CONTINUED)
65
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107 CONTINUED: (2) 107
Driver turns to Irene as they take cover behind a pillar. She
looks terrified -- not just of Tan Suit but of him. It's as if
all her worst fears have been confirmed.
Driver stares back at her, then hears Tan Suit's footsteps
approaching.
He holds her gaze apologetically, then gets to his feet and
runs, trying to draw Tan Suit's fire.
Tan Suit hears him and opens up again, more bullets lighting up
the darkness. Driver keeps moving. Tan Suit strides after him,
reloading, when suddenly his gun jams.
Crouching behind another vehicle, Driver sees this and takes his
chance, darting out after his pursuer. Tan Suit sees him coming
and runs, the hunter becoming the hunted now.
Still lying on the ground, Irene listens to their echoing
footsteps.
Driver runs after Tan Suit through the darkness, gaining all the
time. Tan Suit looks desperate now, tiring. He turns to face his
pursuer but Driver's on him in a flash, hurling him against a
car.
Tan Suit slams into the car, losing his balance. Driver grabs
him, swinging him around, smashing him into another car.
Irene's watching from the shadows, stunned by the violence. She
picks herself up and runs towards the elevator.
Driver keeps slamming Tan Suit against the car, beating the
resistance out of him. As his body begins to slump, Driver grabs
him by the throat and rams his head into a car window.
The glass splinters with blood, the force of the blow shattering
Tan Suit's skull.
Driver looks around for Irene now and sees her standing in the
elevator, framed against the light.
She stares back at him, but makes no attempt to step out.
Driver stands there, his hands covered in Tan Suit's blood. The
elevator doors finally close, hiding Irene from view.
108 OMITTED 108
108a EXT. LA STREET - NIGHT. 108a
Shannon gets out of his car. Driver is waiting for him by his
own car, silhouetted against the streetlight. Shannon stares at
him a moment, then notices the blood stains on his shirt.
(CONTINUED)
66
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108a CONTINUED: 108a
SHANNON
What happened?
DRIVER
Nino's guys came after me. How did they
know about Irene?
Shannon takes a moment to reply, looking dazed.
SHANNON
I called Bernie...I asked if he could help.
Him and Nino are like brothers. I told him
you weren't interested in the money, that
you only did it for the girl...
(From the heart)
I wanted to make sure once you returned the
money that was the end of it...
Driver doesn't seem to hear him.
SHANNON
Let me talk to Bernie again. They probably
didn't listen to him -
DRIVER
It's too late...
Shannon says nothing now, knowing he's right.
DRIVER
They're gonna come after you to find me.
You have to leave...
Shannon takes this in slowly.
SHANNON
What are you gonna do?...
Driver doesn't answer, but from his silence Shannon can guess.
SHANNON
How the fuck did this happen? We're
supposed be in Charlotte or Daytona
drinking champagne out of trophies and
getting laid by pit lizards...
He stares at Driver with quiet regret.
SHANNON
Fuck...
109 OMITTED 109
67
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110 INT. NINO'S PIZZERIA - MORNING. 110
Bernie Rose looks quietly furious.
BERNIE ROSE
...I already gave you my advice. You should
have taken your money and left this guy
alone.
Nino and Cook sit opposite him, both of Cook's hands broken now.
NINO
It's not that simple, Bernie.
BERNIE ROSE
Not now that it's bounced up in your face.
COOK
Mr. Paolozzi, I owe you this guy. Just give
me the okay and I'll -
BERNIE ROSE
You like taking orders, go shut the blinds.
He looks at Cook's broken hands.
BERNIE ROSE
Sun's in my eyes...
Nino doesn't look at Cook, a clear indication he should do as
he's told. Cook stands up, humiliated, and walks over to the
windows. Bernie Rose waits for Nino to explain.
NINO
...The money belonged to a half assed
wiseguy from Philly. I had a tip-off he was
keeping a million in a pawn shop and was
gonna invest it here in LA, try to run a
rival operation. I wanted to teach him a
lesson...
The lights in the restaurant gradually fade as Cook shuts the
blinds.
BERNIE ROSE
(INCREDULOUSLY)
You stole from the East Coast mob?
NINO
I stole from a jumped up punk who was gonna
step on our business -
(CONTINUED)
68
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110 CONTINUED: 110
BERNIE ROSE
And where did this punk find a million
dollars? You ever consider he may have
consulted some higher-ups? You even bother
to check? -
NINO
I don't give a fuck who gave him their
blessing. This is my city -
BERNIE ROSE
Your city? This is a big city, pal, and
last time I checked we were partners! -
NINO
We are partners -
BERNIE ROSE
Then why the fuck didn't you come to me
before you set up your dummy robbery or
hired this fucking amateur?!...
Cook sits back down at the table, having closed the blinds. Nino
looks almost embarrassed for once.
NINO
This was off to the side, Bernie. I didn't
wanna involve you.
BERNIE ROSE
Well, now you fucked up I am involved.
Anyone finds out you stole from the family
they'll kill both of us -
NINO
What family? These fucks still call me a
kike to my face. I'm fifty nine years old,
they pinch my cheek, treat me like a
fuckin' kid. They're the reason we left New
York in the first place. Decrepit old men
waving us over to their dinner and domino
tables to complain.
BERNIE ROSE
Those old men gave us the funds to move out
here.
NINO
And I made them a lotta money. I made you a
lotta money too...
He stares at Bernie, genuinely indignant now.
(CONTINUED)
69
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110 CONTINUED: (2) 110
NINO
I pay them half of everything I fucking
earn and then they set up some fucking kid
from Philadelphia just because he's a
fucking wop!
There's a hint of sympathy in Bernie's eyes.
BERNIE ROSE
The money always flows up, Izzy. You know
that.
He calls Nino by his childhood name now, emphasizing the fact
that they're both outsiders in this organization. For the first
time Nino's tough guy act slips and he looks anxious.
NINO
That's why this driver has to go. Him, and
maybe your friend Shannon, are the only two
people who can tie me to the robbery.
BERNIE ROSE
What about this prick?
He doesn't even bother to look at Cook.
COOK
Mr. Paolozzi -
NINO
Shut up...
The two friends stare at each other as if Cook didn't exist.
BERNIE ROSE
Are you asking my permission?
NINO
I'm asking for your help. I shoulda' come
to you first, Bernie. I know that. We're a
team.
He stares at Bernie apologetically, appealing to their
friendship.
NINO
I'll pay you back the three hundred you
spent on the race car.
BERNIE ROSE
It's not about the money...
He stares out quietly, torn.
(CONTINUED)
70
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110 CONTINUED: (3) 110
BERNIE ROSE
All right...
Nino nods in gratitude.
BERNIE ROSE
(TO COOK)
Pass the salt...
Cook hesitates, thinking Bernie's fucking with him for having
two broken hands. He stares back dumbly and it's the final
straw. Bernie suddenly grabs a stainless steel fork and rams it
in his eye. As Cook screams, Bernie takes a knife and buries it
in his neck. He twists the knife deeper for good measure, then
with one powerful sweep of his arm clears Cook off the table.
Cook's not dead yet, just writhing on the floor, choking on his
own blood. Bernie Rose keeps his eyes fixed on Nino.
BERNIE ROSE
Your turn to clean up after me...
110a EXT. TRAILER/ FILM SET/ SAN PEDRO/ LOS ANGELES - MORNING. 110a
The CREW are setting up for their first shot of the day. In the
background we see a DIRECTOR blocking out an action scene.
Driver walks past without even a glance, heading towards the
make-up trailer. He opens the door and walks in, looking around
the trailer until he finds what he's looking for -- the SFX mask
he saw previously on the film set.
111 INT. SHANNON'S GARAGE/ SILVERLAKE BOULEVARD - MORNING. 111
Shannon limps down the steps from his office with a suitcase in
his hand. He heads into the main garage then suddenly stops.
Bernie Rose stands beside the stock car, waiting for him.
BERNIE ROSE
All these priceless cars, you should get
better locks...
SHANNON
Door's always open to you...
Bernie Rose heads towards him with his hands in his coat
pockets.
BERNIE ROSE
Going somewhere?
SHANNON
Thinking about it.
(CONTINUED)
71
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111 CONTINUED: 111
BERNIE ROSE
I'm looking for your driver.
SHANNON
You break in like this I figure it's bad
news.
BERNIE ROSE
It's bad luck. Two thousand heists in this
city a year, he had to pick the wrong one.
SHANNON
He tried to put it right.
BERNIE ROSE
Picked the wrong guy for that too. My
partner's a belligerent asshole with his
back against the wall...
He stops, facing Shannon.
BERNIE ROSE
Right now so am I. I don't take care of
this I'm in big trouble...
He stares at his old friend.
BERNIE ROSE
Any idea where he is?
SHANNON
Probably across the border by now. Mexico.
Belize. That's where I'd go...
Bernie Rose smiles, not believing a word.
BERNIE ROSE
He just walked out on you after everything
you've done for him, took all the money?
SHANNON
That's gratitude, I guess.
Bernie Rose can't help grinning, fond of Shannon despite
everything.
BERNIE ROSE
I ever tell you how long Izzy and I been
friends? Since we were six. Only Jews in a
neighborhood of wops. Long as I can
remember he was getting me into trouble and
I was getting him out of scrapes...
He looks almost apologetic.
(CONTINUED)
72
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111 CONTINUED: (2) 111
BERNIE ROSE
Anyone else I'd take your side...
SHANNON
Anyone else I'd do the same...
Bernie Rose watches him with a mixture of affection and regret.
BERNIE ROSE
What's this fucking kid to you anyway?
Shannon shrugs, no idea himself.
BERNIE ROSE
I leave here without finding out where he
is, there'll be others coming after me. I
guarantee they'll be too stupid to figure
out you won't talk and drag this out
unnecessarily...
SHANNON
Then I'm glad you got here first...
Bernie Rose holds his gaze, then looks away, admiring the shiny
stock car.
BERNIE ROSE
You know, it's too bad, I was getting
excited about our race team, having my name
all over the car. I think we could have
made something of this business...
SHANNON
Nah, I'd have fucked it up too...
Shannon smiles, reconciled with himself. Bernie Rose grins, and
extends his hand. They shake hands firmly, like old friends,
when suddenly Shannon recoils, as if he's been stung.
We see now that his shirt sleeve is covered in blood, his vein
cut all the way from his elbow to his wrist. He looks dazed,
paralysed with shock.
Bernie Rose holds a razor knife in his hand, the blade wet with
Shannon's blood. He takes Shannon gently by the arm and sits him
down against the boot of the stock car.
BERNIE ROSE
You won't feel a thing. Close your eyes and
you'll fall asleep...
Shannon stares out numbly, the life ebbing out of him. Bernie
Rose watches him quietly, wiping his bloody razor with a
handkerchief.
73
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111a INT. BERNIE ROSE'S APARTMENT - DAY. 111a
Bernie Rose replaces the razor knife in a small lacquered box
full of other knives. From next door he can hear his neighbors
arguing again. He stands there a moment, deflated, then suddenly
storms towards his front door.
111b EXT. CORRIDOR/ BERNIE ROSE'S NEIGHBORS' APARTMENT - DAY. 111b
A loud knocking. Bernie Rose's neighbor opens his door.
HUSBAND
Yeah?
BERNIE ROSE
Bernie Rose, next apartment over -
HUSBAND
Yeah, I know. I'm kind of busy here.
BERNIE ROSE
I heard...
There's something threatening in the old mobster's eyes now. The
husband moves to close the door but Bernie jams it open with his
elbow, shoves him aside, then looks over at the wife.
BERNIE ROSE
You all right, Shonda?
The woman nods without meeting his eyes.
HUSBAND
Get the hell out of my -
Bernie doesn't give him time to finish, clamping a powerful hand
on his throat.
BERNIE ROSE
What's your fucking name?
HUSBAND
LENNY -
BERNIE ROSE
I'm a patient man, Lenny, not much for
getting in other people's way. What I
figure is, we've all got our own lives,
right? And the right to be left alone?
(SQUEEZING HARDER)
So I sit next door for almost a year now
listening to what goes down in here and I
keep thinking, hey, they'll work it out.
You gonna work it out, Lenny?
(CONTINUED)
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111b CONTINUED: 111b
He jerks the husband's neck forward, making him nod.
BERNIE ROSE
You're lucky to have her, lucky she's put
up with you this long. Lucky I've put up
with you. She has good reason: she loves
you. I don't have any reason at all. So
stop raising your voice or fucking move...
He lets go of the terrified man and storms out again.
112 INT/ EXT. DRIVER'S CAR/ RESEDA BOULEVARD - DAY. 112
Sunlight glints on the parked vehicles by the curb. Driver slows
down as he approaches the sign for Shannon's Custom Kings,
glancing out of the window to see if anyone's staking out the
garage. Satisfied there's no-one there, he drives through.
113 INT. SHANNON'S GARAGE/ RESEDA BOULEVARD - DAY. 113
Driver pulls open the garage door and sees the rows of vintage
cars shimmering in the shafts of sunlight. As he heads past the
vehicles he suddenly spots a figure slumped against the stock
car. Shannon's eyes have been closed, his head resting gently
against the trunk of the car.
Driver kneels down and lifts him up in his arms, holding him for
a second, then lays him down on the floor. He turns back and
opens the car boot now, revealing the black gym bag full of
money.
114 EXT. SHANNON'S GARAGE/ RESEDA BOULEVARD - DAY. 114
Driver's car roars out of the garage.
115 INT. NINO'S PIZZERIA - SUNSET. 115
Nino stands in the kitchen, wearing a beautiful suit but no
shoes or socks, listening on his cell phone. We hold on the
curious image for a moment, then reveal a beautifully dressed
WOMAN polishing his shoes. And now we see more of Nino's MEN,
also smartly dressed and accompanied by GORGEOUS WOMEN, getting
ready for an event. Nino's talking to his wife on the phone.
NINO
Alright honey, I'll pick you up in an hour.
116 EXT. NINO'S PIZZERIA - SUNSET. 116
Two big Lincoln Towncars are parked outside. Across the road we
recognize Driver's car. He opens the trunk. When he closes it
again we see that he's wearing the eerily convincing SFX mask.
He crosses the road, entering the pizzeria.
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117 INT. NINO'S PIZZERIA - SUNSET. 117
Several of Nino's men look up as Driver enters but none of them
recognize him.
NINO'S GUY
We're closed...
Driver stares past them at Nino in the kitchen, surrounded by
more of his men. We feel his mind calculating then he walks out
again.
118 EXT. NINO'S PIZZERIA - NIGHT. 118
Nino emerges with his bodyguards now, heading towards one of the
white Lincolns.
NINO
(To one of his men)
I'm going to pick up my wife. I'll meet you
there...
Across the road Driver climbs into his car, still wearing the
mask. He starts his car, setting off after Nino's Lincoln.
119 INT. DRIVER'S CAR/ NINO'S PIZZERIA/ WESTWOOD - NIGHT. 119
Driver drifts in behind a couple of other cars, keeping them
between himself and the Lincoln.
120 EXT. STREETS - NIGHT. 120
The sunlight is fading fast. The neon cityscape has come to life
and the streets are a sea of glittering lights.
121 INT. NINO'S CAR/ STREETS - NIGHT. 121
The CHAUFFEUR checks his mirror as he turns into another street,
seeing only the anonymous glare of headlights behind him.
122 INT. DRIVER'S CAR/ STREETS - NIGHT. 122
Driver slows down and lets another car turn in front of him,
keeping it between himself and Nino's car.
123 EXT. STREETS - NIGHT. 123
The streets are less crowded in this residential area. As the
car in front of Driver pulls into its front drive, Driver takes
the next turning, making sure the Lincoln doesn't spot him.
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124 INT. DRIVER'S CAR/ PARALLEL STREET - NIGHT. 124
Driver cruises along another residential street. At every
intersection we glimpse the Lincoln heading in the same
direction down a parallel street.
125 EXT. SAN VINCENTE BOULEVARD/ BRENTWOOD - NIGHT. 125
The Lincoln turns back into traffic on San Vincente.
126 INT. NINO'S CAR/ SAN VINCENTE BOULEVARD - NIGHT. 126
Nino's talking on a cell phone in the back seat.
NINO
...Sure, Carlo, I'll send him your
regards...
127 INT. DRIVER'S CAR/ SAN VINCENTE BOULEVARD - NIGHT. 127
Driver merges in with the traffic, weaving between the cars in
front of him until he has Nino's Lincoln back in his sights.
128 EXT. AERIAL VIEW/ SAN VINCENTE BOULEVARD - NIGHT. 128
The sun has almost set, the red backlights of the cars blinking
in the fading light.
129 INT. NINO'S CAR/ SAN VINCENTE/ 7TH STREET - NIGHT. 129
Nino's car turns into 7th Street.
130 INT. DRIVER'S CAR/ SAN VINCENTE/ 7TH STREET - NIGHT. 130
This time there are no other vehicles turning into the same
street. Driver has no choice, settling in behind the Lincoln.
131 INT. NINO'S CAR/ 7TH STREET/ PACIFIC PALISADES - NIGHT. 131
The chauffeur glances in his rear-view mirror and spots Driver's
car for the first time. For now he doesn't give it much thought.
In the back seat Nino finally says goodbye on the phone.
NINO
...Nice talking to you too...
(As he hangs up)
Asshole...
132 EXT. ENTRADA DRIVE/ PACIFIC PALISADES - NIGHT. 132
Both cars head into Entrada Drive.
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133 INT. NINO'S CAR/ ENTRADA DRIVE/ PACIFIC PALISADES - NIGHT. 133
The chauffeur checks his mirror again and notices Driver's car
still on his tail. Just as a precaution he slows down, seeing if
the pursuing car will overtake.
134 INT. DRIVER'S CAR/ ENTRADA DRIVE - NIGHT. 134
Driver has to decide in an instant whether to take up the
invitation. He overtakes the Lincoln, speeding ahead.
135 INT. NINO'S CAR/ ENTRADA DRIVE/ PACIFIC PALISADES - NIGHT. 135
Nino's chauffeur sees Driver's car disappear up ahead, relaxing
now.
136 INT. DRIVER'S CAR/ WEST CHANNEL ROAD/ PCH - NIGHT. 136
Driver puts his foot on the gas, taking sharp turns on small
side streets, driving fast around the block until he's back on
the Lincoln's tail, keeping a safe distance now.
137 INT. NINO'S CAR/ W.CHANNEL RD./ PCH - NIGHT. 137
Nino's chauffeur turns right into the Pacific Coast Highway.
138 INT. DRIVER'S CAR/ PACIFIC COAST HIGHWAY - NIGHT. 138
Driver follows the Lincoln at a distance, keeping the winding
corners of the PCH between himself and his prey.
139 EXT. AERIAL VIEW/ PACIFIC COAST HIGHWAY - NIGHT. 139
From above we see Driver's car gliding along the open highway,
the rising hills on one side, the churning ocean on the other,
no vehicles in sight.
140 INT. NINO'S CAR/ PACIFIC COAST HIGHWAY - NIGHT. 140
In the back seat Nino dials another number on his cell-phone.
NINO
...Bernie, it's me...
141 EXT. AERIAL VIEW/ PACIFIC COAST HIGHWAY - NIGHT. 141
The headlights of Driver's car sweep ahead of it on the open
road. From above it looks like a shark closing in on its prey.
142 INT. BERNIE ROSE'S APARTMENT/ LA - NIGHT. 142
Bernie Rose stands by the window, listening to the phone in
silence.
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143 INT. NINO'S CAR/ PACIFIC COAST HIGHWAY - NIGHT. 143
Nino sounds apologetic.
NINO
...Look, about that thing today...I'm
sorry. I know how much you liked the guy...
In his rear view mirror the chauffeur sees the headlights of the
car behind getting closer.
144 INT. DRIVER'S CAR/ PACIFIC COAST HIGHWAY - NIGHT. 144
Driver stares ahead, his eyes fixed on the Lincoln's backlights.
145 INT. BERNIE ROSE'S APARTMENT - NIGHT. 145
Bernie Rose doesn't speak, looking weary.
NINO O/S
Bernie?...
BERNIE ROSE
Yeah?...
NINO O/S
You're the only fucking person in the world
I trust. I love you, man...
Bernie shakes his head, the same old apologies.
146 INT. NINO'S CAR/ PACIFIC COAST HIGHWAY - NIGHT. 146
In the front seat Nino's chauffeur checks his mirror curiously.
NINO
When this is over I'll make it up to you, I
swear...
The lights of the car behind have vanished.
147 EXT. AERIAL VIEW/ PACIFIC COAST HIGHWAY - NIGHT. 147
Even from above we can't see Driver's car with its lights off -
no idea how close it is to Nino's car.
148 INT. BERNIE ROSE'S APARTMENT - NIGHT. 148
Even though he's still angry, Bernie can't help forgiving his
childhood friend.
BERNIE ROSE
How many times I heard that before...
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149 INT. NINO'S CAR/ PACIFIC COAST HIGHWAY - NIGHT. 149
Nino grins.
NINO
I lost count -
Suddenly blazing headlights explode to life behind him.
150 INT. DRIVER'S CAR/ PACIFIC COAST HIGHWAY - NIGHT. 150
Driver rams the Lincoln at over a hundred miles an hour, hitting
it just above the left rear wheel.
151 EXT. PACIFIC COAST HIGHWAY - NIGHT. 151
The impact is momentous. The huge Continental is lifted up in
the air and spun round at the same time. It slams back into the
tarmac then flips end over end for a hundred yards.
152 INT. BERNIE ROSE'S APARTMENT - NIGHT. 152
Bernie Rose is left holding the phone as the line goes dead.
153 INT. DRIVER'S CAR/ PACIFIC COAST HIGHWAY - NIGHT. 153
The collision has barely knocked Driver off course. His car
skids to a stop near the overturned wreck.
154 INT. NINO'S CAR/ PACIFIC COAST HIGHWAY - NIGHT. 154
Among the carnage, we see Nino, bloodied but still alive. He
unbuckles his seat belt and crawls out of the twisted wreck.
155 EXT. PACIFIC COAST HIGHWAY - NIGHT. 155
Driver gets out of his car, calmly walking over to the
pulverized Lincoln. He sees Nino stumbling off towards the beach
but doesn't hurry after him yet. He checks to make sure the
other passengers are dead, then heads on.
156 EXT. BEACH/ OCEAN/ PACIFIC COAST HIGHWAY - NIGHT. 156
Nino stumbles through the sand, running for his life now. He
looks behind him and sees Driver calmly pursuing him. He keeps
running, but he's badly injured, slowing all the time. Fear
clouds reason and he staggers towards the crashing waves.
Driver slows down as he watches the gangster wade into the
ocean, a pathetic last attempt to evade him. The crashing waves
and the undertow are an impenetrable wall. Every time Nino tries
to wade out further, the ocean drags him back.
(CONTINUED)
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156 CONTINUED: 156
Driver stares at his trapped prey. Nino's attempts become more
and more feeble as the ocean exhausts him and snuffs out any
hope of escape. Finally he retreats back into the shallow water,
barely able to keep his footing. He turns around and faces
Driver, the crashing waves still smashing into his back.
They stay like that for a moment. Gazing at each other. Driver
silhouetted against the white sand. Nino trapped in the ocean.
Then Driver wades out into the water. Nino has no fight left in
him, staring at the masked man. Driver stares back at him then
grabs him by the throat, forcing his head under the water. Nino
splutters as Driver lets him up again.
NINO
It was Bernie...Bernie Rose killed your
friend not me...
Driver shoves his face back under the water, keeping it there
until Nino's body finally stops thrashing.
157 INT. BERNIE ROSE'S APARTMENT/ BEL AIR - NIGHT. 157
A phone shrills. Bernie Rose answers it.
BERNIE ROSE
Nino?
DRIVER'S VOICE ON THE PHONE
He's dead.
Bernie Rose stares out in silence. Whatever he thinks of Nino, a
part of him has died. We feel the regret in his eyes but there's
no trace of emotion in his voice.
BERNIE ROSE
Looks like me, you and your girlfriend are
the only pieces left on the board...
158 EXT. BEACH/ OCEAN - NIGHT. 158
Driver is no longer wearing a mask, framed against the ocean. He
catches the veiled threat in Bernie's words but doesn't respond.
INTERCUT
BERNIE ROSE
I'd say this has gone far enough. See any
reason why it should go on?...
DRIVER
Doesn't have to...
(CONTINUED)
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158 CONTINUED: 158
BERNIE ROSE
Then we should talk. You know a place
called the Great Wall -- out on Sherman
Way?
DRIVER'S VOICE ON THE PHONE
I can find it.
Bernie pauses, staring out.
BERNIE'S VOICE ON THE PHONE
I'll see you there at one.
A charged silence, then the line goes dead.
159 OMITTED 159
160 INT. GREAT WALL RESTAURANT/ LINCOLN BOULEVARD - DAY. 160
A large Chinese restaurant. We follow Driver through the crowd.
He sees Bernie Rose sitting at a table on his own, pouring
himself a glass of wine. The mobster's dressed for the occasion,
wearing a jacket and tie. He smiles at Driver as he sits down.
BERNIE ROSE
Care for a glass?...
Driver doesn't smile, gazing back at him across the table.
Bernie Rose doesn't seem to care.
BERNIE ROSE
I can recommend the duck. Hell, I can
recommend everything -- Walnut prawns,
shredded beef, Velvet chicken -- but the
duck's to die for...
He delivers the last line with a pointed smile, then turns away,
calling over a WAITRESS.
BERNIE ROSE
The duck, please. For two.
WAITRESS
Anything else?
BERNIE ROSE
No, thanks...
He waits for the waitress to leave, then turns back to Driver.
BERNIE ROSE
You've been on a roll. Cut yourself quite a
swath out there.
(CONTINUED)
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160 CONTINUED: 160
DRIVER
I never asked for any of it.
BERNIE ROSE
We usually don't. But it comes down on our
heads regardless. Look at Shannon...
Driver holds his gaze, the tension palpable, laughter and
conversation drifting over from the other tables.
BERNIE ROSE
Anyway it's water under the bridge now.
Question is where does that leave us?
DRIVER
That's up to you.
BERNIE ROSE
You bring the cash?
Driver nods. Bernie Rose studies him quietly.
BERNIE ROSE
Tell me something, how does someone with no
interest in money get mixed up in a heist?
(Off his silence)
Shannon told me it was because of the girl?
Driver hesitates, betraying a hint of concern. Bernie sees it
and smiles.
BERNIE ROSE
Don't worry. Nobody else knows about her.
Just me...
(A BEAT)
You still see her?...
DRIVER
She's not interested.
BERNIE ROSE
She's got her head screwed on right. I got
two ex-wives, three kids, four
grandchildren. Not one of them speaks to me
now...
He smiles again, looking into Driver's eyes with just a hint of
sympathy.
BERNIE ROSE
This is what I'll do for you. You give me
the money, nobody knows she exists. But
it's a different matter with you.
(MORE)
(CONTINUED)
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160 CONTINUED: (2) 160
BERNIE ROSE (cont'd)
These people I have the misfortune to be
involved with, they don't mind Nino being
gone, but they'll wanna know what happened
to him...
DRIVER
Sounds like we have a problem...
BERNIE ROSE
And just when we were getting to know each
other...
Their eyes are fixed on each other, deadly enemies but kindred
spirits of a kind.
BERNIE ROSE
...We shake hands, say goodbye, it's the
start of your new life. Sooner or later
they'll come after you. No end to it.
Someone gets tired, somebody else takes
their place. It goes on and on. Whatever
dreams you have, whatever plans, you might
as well forget `em, because this is what
it's gonna be like till the day you die...
(A BEAT)
I just thought you should know...
Driver stares back at him quietly.
DRIVER
What do you suggest I do?
BERNIE ROSE
First time I heard about you, Shannon told
me you drove. Fast. That's a start...
He keeps staring at Driver, then smiles.
BERNIE ROSE
Either that or you choke on the duck...
161 EXT. PARKING LOT/ LINCOLN BOULEVARD - DAY. 161
Driver's car is parked at the back of the parking lot, half
hidden by a fenced area for garbage. Driver pops the trunk,
taking out the black gym bag with the cash. Bernie Rose doesn't
even look at it, still admiring the car.
BERNIE ROSE
How much does something like this cost?
DRIVER
Nine, ten thousand. If you can find one
that still runs.
(CONTINUED)
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161 CONTINUED: 161
BERNIE ROSE
Maybe I'll take yours. Part of our deal.
He grins, then holds out his hand for the gym bag.
BERNIE ROSE
Guess we won't be seeing each other again..
Driver reaches out to give him the bag, when suddenly Bernie's
hand snakes out of his pocket, twisting a switch-blade into
Driver's gut. He pulls it out, ready to stab again, but this
time Driver catches his wrist, slowly forcing the knife up to
his throat.
Their eyes are fixed on each other for a moment, with something
like regret, then the blade pierces Bernie Rose's neck, sinking
deeper and deeper. Driver holds the old man in his arms as he
dies. They stay like that, locked in a fatal embrace, then
Driver lowers Bernie Rose gently to the ground, out of sight.
Blood seeping through his shirt, Driver picks up the gym bag and
puts it back in the trunk, slamming the door shut.
162 EXT. AERIAL VIEW OF A MUCH LARGER PARKING LOT/ LA - DAY. 162
We're looking down on an enormous parking lot, hundreds of
different colored vehicles gleaming down below. Driver pulls
into the lot, searching for a place to park.
163 EXT. LARGE PARKING LOT/ LA - DAY. 163
Driver climbs out of his car, wearing a jacket over his blood-
soaked shirt. He walks to the back of the car, kneels down, and
hides the keys behind the left rear wheel, drops of blood
dripping on the tarmac beneath him. He gets up again, then sets
off through the maze of parked vehicles, dialling a number on
his cell-phone.
164 EXT. ECHO PARK - DAY. 164
Irene and Benicio sit in the park.
IRENE
(Picking up her phone)
Hello?...
(INTERCUT)
The blazing sun beats down. Driver walks through a long corridor
of glinting cars.
DRIVER
It's me...
(CONTINUED)
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164 CONTINUED: 164
Irene stares in surprise.
DRIVER'S VOICE ON THE PHONE
Don't hang up...
She says nothing but stays on the line.
Driver continues painfully through the maze of cars.
DRIVER
You got a pen? I need you to write
something down...
Irene looks confused as she hears the quiet urgency in his
voice, then reaches inside her handbag.
Sunlight glitters on the roofs of the parked cars, dazzling
Driver's eyes.
DRIVER
...JJT 108...
IRENE'S VOICE ON THE PHONE
...JJT 108...
DRIVER
It's the license number for my car. I've
left it in a parking lot on the corner of
Culver and Lincoln. Section M 10...
Irene writes down the details, looking even more confused.
DRIVER'S VOICE ON THE PHONE
There's a bag in the trunk with some money.
Keys are under the left rear wheel...
IRENE
What do you want me to do with it?...
Driver walks with difficulty, finding it hard to breathe.
DRIVER
It's yours. It's safe to keep it...
All around him the Chevys, Dodges, and Fords glitter in the
sunlight.
IRENE
I told you, I don't need your money...
Blood seeps through Driver's shirt, dripping on the tarmac.
Irene hears his labored breathing now, looking concerned.
(CONTINUED)
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164 CONTINUED: (2) 164
IRENE
Are you okay?...
Driver's skin looks deathly pale, his eyes a haunting shade of
blue. He keeps walking through the maze of cars, casting his
eyes from one vehicle to the next, looking for the perfect ride.
DRIVER
Just out of breath...
Finally he spots a beautiful white Camaro up ahead.
DRIVER
How're you doing?...
For the first time we see the Echo Park fountain sparkling in
the background.
IRENE
Fine. I'm in the park with Benicio...
Irene can no longer hold back her tears, heartbroken.
Driver stops in front of the white Camaro, unsteady on his feet.
DRIVER
I gotta go Irene...
He pauses.
DRIVER
Meeting you was the best thing that ever
happened to me...
Irene smiles sadly.
IRENE
It was nice to meet you too...
165 EXT. LARGE PARKING LOT/ LA - DAY. 165
From above we see the maze of vehicles stretching out forever --
Chevys, Chryslers, Fords -- the history of America on wheels.
Driver switches off his cell-phone reluctantly then heads
towards the Camaro.
166 INT. WHITE CAMARO/ LARGE PARKING LOT - DAY. 166
Driver climbs into the front seat of the Camaro, catching his
breath. He sits there a moment, sheltering from the world
outside, then pulls out a pocket knife, opening the blades until
he finds the screwdriver. He starts with the left side of the
steering column, then gets to work on the section below the turn
signal.
(CONTINUED)
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166 CONTINUED: 166
His face shows the strain, but his fingers are as steady as
ever. A master at work. Finally he breaks into the ignition
device, leaning back in the seat to take a rest.
167 EXT. AERIAL VIEW/ LARGE PARKING LOT - DAY. 167
We're gazing down at the white Camaro from above, waiting for it
to move.
168 INT. WHITE CAMARO/ LARGE PARKING LOT - DAY. 168
Driver's face is completely still now. So are his eyes. He looks
almost at peace. There's a long pause, then slowly he leans
forward and turns on the ignition. As the engine comes to life,
we CUT TO BLACK.
Mulholland Drive Screenplay
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
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 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.
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
Diane Selwyn. 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 really 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
