Blue Velvet - The Screenplay
B L U E V E L V E T
screenplay by
David Lynch
FADE IN:
FOLDS OF BLUE VELVET UNDULATE EVER SO SLOWLY.
WITH TITLES
DISSOLVE TO:
1. EXT. BEAUMONTS' FRONT LAWN - DAY
Blue skies. PAN SLOWLY DOWN to clean white picket fence, with beautiful
red roses in front of it. Birds CHIRP in the distance. A faint sprinkler
SOUND is heard. Very sweet MUSIC is playing.
DISSOLVE TO:
2. EXT. TREE - DAY
A songbird SINGS in the tree.
DISSOLVE TO:
3. EXT. CROSSWALK - SHADY STREET - DAY
A very clean uniformed, smiling POLICEMAN with arms outstretched allows
clean happy SCHOOL CHILDREN to cross the street safely.
DISSOLVE TO:
4. EXT. SHADY STREET - DAY
A bright red gorgeous fire engine is moving very slowly down the street.
We MOVE IN to see the happy face of a FIREMAN.
DISSOLVE TO:
5. EXT. FLOWER GARDEN - DAY
Yellow tulips sway in a warm afternoon breeze.
DISSOLVE TO:
6. EXT. BEAUMONTS' FRONT LAWN - DAY
The same white picket fence with roses in front of it.
PANNING SLOWLY now away from the roses down to the rich green lawn
and over to the sprinkler which goes around and around shooting water
droplets sparkling in the light.
This is slightly SLOW MOTION and DREAMY.
DISSOLVE TO:
7. EXT. BEAUMONTS' FRONT LAWN - DAY
CLOSER ON WATER DROPLETS. The water droplets are somewhat abstracted
as they dance in the light.
PAN DOWN now to the green grass, traveling along the grass.
The MUSIC becomes fainter as we MOVE SUDDENLY under the grass, now as
if in a dark forest.
SLOWLY MOVING THROUGH.
The grass is like great timbers.
It is GETTING DARKER and ominous SOUNDS come up as we discover black
insects crawling and scratching in the darkness.
FADE TO:
8. EXT. BEAUMONT'S FRONT LAWN - DAY
MR. BEAUMONT is watering flowers and grass with the hose.
He is dressed in khaki trousers, canvas shoes, old white shirt, straw
hat and dark glasses.
CLOSE - MR. BEAUMONT
watches his watering, then looks up.
The sky and the neighborhood are reflected in his dark glasses. He
moves his false teeth around a little in his mouth, jutting out his chin
in the process. He's thinking about who knows what.
He looks back down at his lawn.
CLOSEUP - WATER ON GRASS
The water hits the grass and mats it down.
WIDER - MR. BEAUMONT
moves the hose over a bush and gets a kink in it.
Water stops coming out of the nozzle and there is a LOUD HISSING NOISE
of water under pressure.
CLOSEUP - KINK IN HOSE
Loud HISSING NOISE.
Mr. Beaumont goes around the bush and is undoing the kink when he is
suddenly hit with a tremendous seizure.
CLOSEUP - MR. BEAUMONT
He's doubling over and falls to the ground. He continues to grasp onto
the hose.
Water shoots crazily onto the driveway and his car.
Mr. Beaumont seems to be in tremendous pain.
CUT TO:
9. INT. BEAUMONTS' LIVING ROOM - DAY
Mrs. Beaumont is curled up on the couch, smoking a cigarette and watching
T.V. It's a daytime soap.
CLOSEUP - MRS. BEAUMONT
Takes a big drag of her cigarette and luxuriously french inhales a huge
quantity of blue smoke. She's enjoying her show.
CUT TO:
10. EXT. BEAUMONTS' FRONT LAWN - DAY
CLOSEUP - MR. BEAUMONT
His teeth are crooked in his mouth now as he tries to scream.
No sound is coming out.
WATER SOUND is loud.
WIDER - MR. BEAUMONT
Water is still spraying out over the driveway and onto the car and into
the yard beyond.
A small boy, GREGG, appears wearing only white underpants and a white
t-shirt. He holds a large red popsicle.
Gregg waddles around looking at the crazy water show. He holds his hand
out to get it wet in the spray. This makes him screw up his face in a
laugh.
He waddles over and looks at Mr. Beaumont on the ground.
Mr. Beaumont seems to be worse now, unconscious, but still gripping the
hose tightly. His clothes are sopping wet.
11. EXT. GREGG'S HOUSE - DAY
Screen window of Gregg's house. Gregg's mother calls out but remains
looking at a bowl she is holding in her hands.
GREGG'S MOTHER
(calling out)
Gregg. Billy's waiting for his teddy.
She then turns to look out.
GREGG'S MOTHER
(continuing)
GREGG! Billy's waiting for his teddy, honey.
CUT TO:
12. EXT. BEAUMONTS' FRONT LAWN - DAY
GREGG'S MOTHER P.O.V. THROUGH SCREEN WINDOW
IN THE DISTANCE, she sees Gregg's back, a bush, some legs with wet khaki
trousers and water squirting up in the air.
GREGG'S MOTHER (V.O.)
TOM!!!
CUT TO:
13. EXT. COLLEGE CAMPUS BUILDING - NIGHT
TRAVELING along sidewalk, bushes, to lighted windows of an auditorium.
MUSIC is heard.
14. INT. COLLEGE AUDITORIUM - NIGHT
A dance is going on. Sixties MUSIC plays, performed by a live band on
stage. College kids dance.
A COLLEGE BOY enters the auditorium, urgently looking for someone. He
quickly approaches a GIRL.
COLLEGE BOY
Louise? Where's Jeffrey? His mother's on
the phone - it's an emergency.
LOUISE
He disappeared to the men's room a little
while ago. I'm getting very tired of
waiting - let's go find him.
15. INT. JANITOR'S QUARTERS - COLLEGE - NIGHT
We MOVE INTO the face of JEFFREY. He is hiding behind a furnace. He is
fascinated by a sight beyond in the darkness of this basement room.
He sees a male student trying to rape his girlfriend. She is crying and
telling him to stop but the boy keeps forcing her down toward the ground.
forcing her clothes off her. Jeffrey at this point hears his name being
called. Each time he hears his name the caller is closer. The boy is now
hurting the girl. Before Jeffrey leaves the furnace room he yells out:
JEFFREY
Hey, shit head. Leave her alone. Don't
force girls!
The couple looks up but cannot see Jeffrey. The boy is scared and releases
the girl who promptly pulls farther away, crying.
Jeffrey leaves the furnace room.
16. INT. HALLWAY - COLLEGE - NIGHT
Louise and the college student see him and move quickly toward him.
COLLEGE BOY
Jeffrey, your mother's on the phone. It's
an emergency.
LOUISE
Thanks for keeping me waiting so long.
As Jeffrey moves quickly toward the telephone.
JEFFREY
I'm sorry, Louise.
17. INT. PHONE/HALLWAY - COLLEGE - NIGHT
The phone dangles on its cord in the foreground as Jeffrey moves toward
it in the background. Louise slowly follows Jeffrey, but stays in back
of him. Jeffrey picks up the phone.
JEFFREY
Hello. Mom? What's wrong with Dad?.
What's happening?. Come home? Sure I will.
18. INT. BEAUMONT'S BEDROOM - NIGHT
Mrs. Beaumont sits talking on the phone in a dark quiet bedroom.
MRS. BEAUMONT
I mean, for good, Jeffrey.
CUT TO:
19. INT. PHONE/HALLWAY - COLLEGE - NIGHT
CLOSEUP - JEFFREY
JEFFREY
For good?. I can't. Mom. Not right in
the middle of the term.
CUT TO:
20. INT. BEAUMONT'S BEDROOM - NIGHT
MRS. BEAUMONT
(now looks very tired and
poor health)
Jeffrey. honey. Your father's condition
is serious. It's going to cost so much.
We just won't have the money to keep you
in school. I'm telling you this now, so
that you can get your things together and
check out of school, honey, or whatever you
have to do. it'll save you another trip back.
You're going to have to work at the store.
CUT TO:
21. INT. PHONE/HALLWAY - COLLEGE - NIGHT
CLOSEUP - JEFFREY
JEFFREY
(crying)
Mom.
Louise looks at Jeffrey crying, then turns away. Jeffrey hangs up the
phone.
CUT TO:
22. INT. BEAUMONT'S BEDROOM - NIGHT
Mrs. Beaumont hangs up her phone. just next to the phone traveling into
a shadow is a winged termite.
FADE TO:
23. INT. GIRLS DORM LOBBY - COLLEGE - NIGHT
Jeffrey is waiting in a girls dorm lobby for Louise.
Girls are milling around. Louise gets off an elevator with some other
girls. She forces a smile at Jeffrey as she comes toward him.
JEFFREY
Can't you come to the damn airport?
LOUISE
Jeffrey. I can't. I really can't. I
have to go to that class tonight. I can't
get out of it. I really can't. I love
you, Jeffrey. I'll miss you.
JEFFREY
Alright. I'll call you in a couple of days,
you know. I'll let you know how things are.
LOUISE
Okay. I'll be here. You better git-going. I
gotta go too sweetie. I hope your father's
okay. I love you. I'm sorry, Jeffrey.
JEFFREY
I love you too, Louise. Damn it. I'll see you.
They kiss.
CUT TO:
24. EXT. LANDING STRIP
A PLANE TAKES OFF
DISSOLVE TO:
25. EXT. ANOTHER LANDING STRIP
A PLANE LANDS
26. EXT. AIRPORT - NIGHT
Jeffrey comes walking out of the airport, where his Mother and AUNT
BARBARA, who is a very absent-minded little woman with very thick glasses,
are waiting for him.
They are parked illegally and another car is honking at them. Their
trunk is open in anticipation of Jeffrey's things. They are waving and
yelling at Jeffrey to get his attention. He finally joins them and kisses
his Mother, then his Aunt.
JEFFREY
Hi Mom. Hi Aunt Barbara.
They AD LIB hellos.
MRS. BEAUMONT
(a bit concerned)
Where's all your things, Jeffrey?
JEFFREY
This is it.
Mrs. Beaumont looks at Jeffrey.
JEFFREY
I sent a trunk home yesterday. This is
all I have.
AUNT BARBARA
You look good, Jeffrey. Did you have a nice
flight?
JEFFREY
Yeah. How's Dad?
MRS. BEAUMONT
He's alright. We'll tell you on the way home.
27. INT. BEAUMONT'S CAR - NIGHT
They get in the car. Aunt Barbara is driving. She is not a good driver
and makes Jeffrey nervous. He watches her every move from the back seat.
They drive on surface streets. Many gas stations, traffic lights, bars.
MRS. BEAUMONT
He had a cerebral hemorrhage and they think
there's some sort of clot, or tumor, or
something in there. They're doing all sorts
of tests. On the surface, he looks pretty
good, but there are problems. They think he
may have to stay in two weeks now, at least.
You can go see him though tomorrow, Jeffrey.
AUNT BARBARA
They tore down the A & P, Jeffrey. Did you
see that?
JEFFREY
Aunt Barbara that was 5 years ago.
CUT TO:
28. EXT. BEAUMONTS' HOME - NIGHT
The car pulls into the Beaumonts' driveway. The neighborhood is quiet and
dark.
CUT TO:
29. INT. BEAUMONTS' LIVING ROOM - NIGHT
Jeffrey, Aunt Barbara, and Mrs. Beaumont enter the living room. Mrs.
Beaumont turns on a table lamp. A cold circle of light hits the light
blue rug.
AUNT BARBARA
Home again, home again, jiggidy jog.
They look at Jeffrey. He looks at them.
CUT TO:
30. INT. JEFFREY'S BEDROOM - NIGHT
Jeffrey enters his small attic-type bedroom, turns on the overhead light,
and sets his suitcase down. He goes to his desk and leans across it to
look outside.
JEFFREY'S P.O.V. - EXT. STREET
The street is dark, except for a pool of light from a street light.
CLOSEUP - JEFFREY
A breeze of cold powerful string MUSIC blows as we watch Jeffrey stare into
space.
31. INT. BEAUMONTS' KITCHEN/HALLWAY - DAY
Mrs. Beaumont is calling upstairs to Jeffrey.
MRS. BEAUMONT
Jeffrey, breakfast is ready.
JEFFREY (V.O.)
(calling)
Be right down.
Mrs. Beaumont joins Aunt Barbara at the breakfast table in the kitchen.
AUNT BARBARA
This is marvelous jam. Are you going this
morning?
MRS. BEAUMONT
I think Jeffrey would like to see his father
alone.
Jeffrey comes down the stairs. Everyone says their "good mornings," and
Jeffrey sits down to breakfast.
JEFFREY
What time are visiting hours?
MRS. BEAUMONT
I've made arrangements with Dr. Gynde for
10:30. But Jeffrey, you'll have to walk
over; I need the car this morning.
JEFFREY
Well. Okay.
MRS. BEAUMONT
Jeffrey, when you see your father.
JEFFREY
Yeah?
MRS. BEAUMONT
He doesn't know you're out of school. He
thinks it's a vacation for you.
JEFFREY
What?
MRS. BEAUMONT
It would be too much for him. So please
let him think as he does, that you're
home just to see him.
JEFFREY
Thanks a lot, Mom.
MRS. BEAUMONT
.Jeffrey!. Nobody wanted you to leave
school and go to work in the store. maybe
going back to school will be an option one
day. I hope so.
AUNT BARBARA
I think it's important not to get depressed.
Depression is a terrible thing. They say it
can bring on illness.
JEFFREY
(angry)
Aunt Barbara. I'll try not to get depressed.
CUT TO:
33. INT. HALLWAY - HOSPITAL - DAY
Jeffrey follows a nurse to a hospital room.
NURSE CINDY
Please wait outside while Dr. Gynde prepares
him to see you.
JEFFREY
Prepares him?
She peers into the room. Jeffrey does too.
34. INT. HOSPITAL ROOM - DAY
All he can see are curtains surrounding a bed and stacks of medical
machinery. Doctor Gynde comes out from behind the curtains and walks to
Jeffrey.
DR. GYNDE
Hello Jeffrey.
JEFFREY
Hello, Doctor Gynde. How is he?
DR. GYNDE
He's fighting hard. Jeffrey. it's very
important that your father doesn't try
to move. he's been immobilized. It would
be very painful for him. sit close. you do
the talking and moving. He knows you're
here. He became very emotional. I don't
think he likes the idea of you seeing him
like this.
Nurse Cindy goes to the bed. She begins to pull the curtains back
revealing Mr. Beaumont.
NURSE CINDY
(smiling a big smile)
Mr. Beaumont! Your son is here to visit you.
Then we see Mr. Beaumont. He has numerous tubes and needles going into
different parts of him. A stainless steel device holds his head perfectly
still. Nurse Cindy picks up a tray and leaves.
JEFFREY
(shocked but concealing it)
Hi Dad.
MR. BEAUMONT
(speaking as plainly as possible,
but sounds like mumbling)
Hey Jeff.
Jeffrey goes to him and puts out his hand to shake his father's hand but
remembers his father cannot move. Jeffrey pats him on the shoulder.
JEFFREY
Looks like they've got you strapped in
pretty good.
MR. BEAUMONT
(lips moving but hardly any sound)
uh uh.
JEFFREY
Are you feeling okay?
MR. BEAUMONT
(more mumbling)
uh uh.
Tears well up in Mr. Beaumont's eyes. Before Jeffrey can stop him he
reaches for Jeffrey's hand, then struggling against tremendous pain he
manages to form words.
MR. BEAUMONT
(more plainly but under strain)
Good to see you, son.
JEFFREY
(holding back tears)
It's good to see you, Dad.
Jeffrey squeezes his father's hand.
35. EXT. VACANT FIELD - DAY
Jeffrey is walking down a dirt road on his way home. He kicks up little
clouds of dust as he walks. He has some time to think about things. He
sees a green bottle in the distance. He gathers up a few more rocks and
pitches them one by one at the bottle. He misses.
He looks for a few more good rocks to throw and while looking through some
tall grass and weeds, he sees something strange.
He looks closer. It is a HUMAN EAR, covered with crawling ants.
Jeffrey immediately stands up and looks around. All he sees are houses
- some laundry drying - a very peaceful scene. No one seems to be around -
No one seems to be watching him.
He looks again at the ear.
We are so close we can hear ants racing frantically around the ear into it.
There is dried blood on part of it.
Jeffrey finds a brown paper bad and using a twig, he pushes the ear onto
it. Again, he stands up and looks around.
IN THE DISTANCE, a MAN goes into the back door of a house. Nothing more.
Jeffery hurries off, carrying the bag with the ear in it.
CUT TO:
36. EXT. POLICE DEPARTMENT - DAY
Jeffrey goes up the front steps...
37. INT. POLICE DEPARTMENT - DAY
... and to the Reception Desk. A POLICE OFFICER is standing behind the
counter.
JEFFREY
Hello. could you tell me if Detective
Williams is still working here?
POLICE OFFICER
He's up in Room 221. Right up the stairs.
CUT TO:
38. INT. ROOM 221 - POLICE STATION - DAY
Jeffrey enters Room 221 and sees the desk marked, "DETECTIVE J.D.
WILLIAMS," however, the desk is empty. TWO MEN are talking at the end
of the room; one of them comes toward Jeffrey.
JEFFREY
Are you Detective Williams?
DETECTIVE WILLIAMS
Yes.
JEFFREY
My name is Jeffrey Beaumont - I live near
you. I believe you know my father, Tom
Beaumont - Beaumont's Hardware Store?
DETECTIVE WILLIAMS
Sure I do. I understand he's in the
hospital. How is he?
JEFFREY
He's alright, I guess. I hope. They're
doing tests, that's why I'm home from
school. I was over at the hospital this
morning and I was going home and in the
field behind our neighborhood. there
behind Vista, I found an ear.
DETECTIVE WILLIAMS
(matter of factly)
You did? A human ear?
JEFFREY
Yeah. I've got it here in this bag. I
thought I should bring it to you.
DETECTIVE WILLIAMS
Yep, that's right. Let's take a look at it.
Jeffrey opens the bag and lets Detective Williams look inside.
DETECTIVE WILLIAMS
(continuing)
That sure looks like a human ear, doesn't
it?. Let's run it down to the Coroner's
Office and see what they make of it. Then,
I want you to show me exactly where you
found it.
CUT TO:
39. INT. CORONER'S OFFICE - DAY
Jeffrey, Detective Williams, and an OLD CORONER'S OFFICER are looking at
the ear, which is sitting in a medical dish on a table.
CORONER'S OFFICER
The tests will take awhile. Meanwhile,
we'll check the morgue records. I don't
recall anything coming in minus an ear.
The Coroner's Officer turns to Jeffrey.
CORONER'S OFFICER
(continuing)
Now if you'd found a jaw or let's say, a
heart, or even an arm, we would assume
that there was a corpse, however, a finger
or an ear. the person may very well be
alive somewhere.
JEFFREY
What can you tell about the person from the
ear?
CORONER'S OFFICER
Well. when the tests are done, quite a lot
. Sex, blood type, whether or not the ear
came off a dead person. Right now, I know
what you know. It's a real human ear. The
human was, or is, Caucasian.
. also. It looks like the ear was cut off
with scissors.
40. EXT. VACANT FIELD - DAY
Jeffrey is out with Detective Williams and a CREW OF OFFICERS who have
roped off the area and are doing a grid search.
A POLICE PHOTOGRAPHER is also there taking flash pictures all around the
field, especially where Jeffrey has told them he found the ear.
Detective Williams takes Jeffrey aside.
DETECTIVE WILLIAMS
By the way, Jeffrey, this story isn't going
to the press and I'm going to ask you to
consider all you've heard strictly
confidential. Do not discuss this business
with anyone, but me, or other police
personnel. Got it?
JEFFREY
Got it. Thanks for letting me in on as much
as you did.
DETECTIVE WILLIAMS
Come on. I'll drive you home. It's on my way.
CUT TO:
41. INT. BEAUMONTS' KITCHEN - NIGHT
Mrs. Beaumont and Aunt Barbara are doing the dishes. The news is on a
small portable television. There is a broadcast on the mounting crime
wave.
INSERT T.V. SCREEN
A series of murders are being discussed and a police drawing mug shot is
shown on the screen of the suspect who is at large.
CUT TO:
42. INT. JEFFREY'S BEDROOM - NIGHT
Jeffrey is sitting at his desk daydreaming. He suddenly picks up the
phone, hesitates, then dials.
JEFFREY
Hello?. LOUISE WERTHAM please. Louise?
. is she there?. Louise?
(very happy)
Yeah! How are you? He's okay. in the
hospital for tests.
(very serious)
I miss you so much.
(smiling now)
What have you been up to?. Louise, I don't
know. I've got to see how my father is
. It costs a fortune in that hospital.
When did he ask you to that?. Look. I
can't stop you. Go ahead. Just go ahead
. I may never be back, go. ahead. Look
Louise, stop trying to explain everything.
Just do it. let's talk again in a couple
of days or somethin', okay?. Yeah, I still
love you. Goodbye Louise. Goodbye.
Jeffrey sits alone in his room, thinking things over.
SLOW DISSOLVE TO:
43. INT. CORONER'S OFFICE - NIGHT
CLOSE UP - EAR IN MORTICIAN'S DISH
VERY SLOWLY, we MOVE very close to the ear, gliding slowly around the
crevices approaching the dark hole. A huge, low rushing of air SOUND,
THEN DARKNESS.
SLOW DISSOLVE TO:
44. INT. BEAUMONTS' LIVING ROOM - NIGHT
Low light. Jeffrey enters the room. Aunt Barbara and Mrs. Beaumont are
watching television. Aunt Barbara is knitting.
JEFFREY
I'm going out for awhile.
MRS. BEAUMONT
(looks at her watch)
Do you want the car?
JEFFREY
No, I'm just gonna walk around.
MRS. BEAUMONT
Alright.
AUNT BARBARA
Jeffrey. you're not going down by Lincoln,
are you?
JEFFREY
(yelling back)
No. I'm just going to walk around the
neighborhood. Don't worry.
Aunt Barbara and Mrs. Beaumont continue watching the television.
INSERT T.V. SCREEN
On T.V. we see a man's shoes. He is sneaking slowly up some stairs.
CUT TO:
45. EXT. NEIGHBORHOOD STREET - NIGHT
Jeffrey walks along the dark streets. The same sombre MUSIC plays low
and slow.
Some of the houses have a few lights on, some are dark. Some windows have
a slow uneven blue flashing light, indicating the television is on inside.
Jeffrey continues walking through the night. In the trees, the shadows
continuously re-arrange themselves in mysterious, sometimes frightening
patterns.
46. EXT. WILLIAMS HOME - NIGHT
Jeffrey finally comes to the house he's been looking for.
He goes up the front walk. Now, at the last minute, he feels a little
foolish and has second thoughts about knocking on the door.
He looks in a window. Inside, he sees a nicely-lit living room.
He goes ahead and knocks. A very pleasant-looking middle class WOMAN
answers the door.
JEFFREY
Hello. uh. my name is Jeffrey
Beaumont. Is Detective Williams in?
MRS. WILLIAMS
Oh, yes, Jeffrey. Come in. He'll be back
any minute now. You're welcome to wait.
Is it urgent?
47. INT. WILLIAMS' LIVING ROOM - NIGHT
JEFFREY
I just wanted to ask him a few questions,
that's all. Maybe I better go.
MRS. WILLIAMS
Really, he'll be home soon, would you like
a cup of coffee?
JEFFREY
(thinks a bit)
Alright.
48. INT. WILLIAMS' KITCHEN - NIGHT
She leads him back to the kitchen where she has him sit at the kitchen
table. She pours him a cup of coffee.
MRS. WILLIAMS
I was sorry to hear about your father. I
know your mother from church. It's such a
shame.
JEFFREY
Yeah, I know.
MRS. WILLIAMS
Would you like a piece of cake?
JEFFREY
No. No thank you.
MRS. WILLIAMS
It's a real good chocolate cake. Duncan
Hines' devil's food. real good.
JEFFREY
Yeah. okay.
49. INT. WILLIAMS' LIVING ROOM - NIGHT
Out in the living room, SANDY WILLIAMS and her BOYFRIEND, MIKE SHAW,
come up from the basement. They are both carrying books.
Sandy is a very good looking, high school senior and Mike is a big,
handsome football player type.
50. INT. WILLIAMS' KITCHEN - NIGHT
MRS. WILLIAMS
Sandy?.
Sandy and Mike come into the kitchen. Jeffrey has a big piece of chocolate cake in his mouth.
MRS. WILLIAMS
(continuing)
Jeffery, this is my daughter, Sandy, and.
her boyfriend, Mike.
They all say "Hi" to one another.
SANDY
Mike's gotta go.
(to Jeffrey)
Nice to meet you.
MIKE
Yeah, nice meetin' yuh.
JEFFREY
Yeah. It was nice meeting you too.
They leave and go out the front door.
MRS. WILLIAMS
(smiles)
He comes over to study.
JEFFREY
(smiles big)
Yeah.
The front door opens.
DETECTIVE WILLIAMS (V.O.)
Pam?
MRS. WILLIAMS
In the kitchen, John!
Detective Williams comes into the kitchen surprised to see Jeffrey.
DETECTIVE WILLIAMS
Oh. Hello, Jeffrey. what's up?
He kisses his wife.
DETECTIVE WILLIAMS
Come into the study a minute.
JEFFREY
(getting up)
Excuse me, Mrs. Williams.
MRS. WILLIAMS
Certainly.
Jeffrey follows Detective Williams into his study.
CUT TO:
51. INT. DETECTIVE WILLIAMS' STUDY - NIGHT
Detective Williams' study is filled with filing cabinets. The desk has
two phones and is covered with papers and folders and a picture of Mrs.
Williams and Sandy. The police radio is asking for Detective Williams as
they enter.
DETECTIVE WILLIAMS
(to Jeffrey)
Shut the door.
Detective Williams speaks through the radio while Jeffrey shuts the door.
DETECTIVE WILLIAMS
(continuing; in radio)
Detective Williams here. yeah. Tell him
to go to Sergeant Milton. yeah, copy.
(clicks off radio, turns to Jeffrey)
Well, Jeffrey, you found something which is
very interesting to us. Very interesting.
I know you must be curious to know more.
(scratches the middle of his back)
But. I'm afraid I'm going to have to ask
you not only not to tell anyone about your
find, but also not to ask more about the
case. One day. when it's all sewed up, I'll
let you know all the details. Right now,
though. I can't.
JEFFREY
I understand. I'm just real curious like
you said.
DETECTIVE WILLIAMS
I was the same way when I was you age. I
guess that's what got me into this business.
JEFFREY
It must be great.
DETECTIVE WILLIAMS
And it's horrible too.
(a cold look comes over
Detective Williams)
I'm sorry Jeffrey. That's the way it has to
be. Anyway. I'm sure you do understand.
Jeffrey studies Detective Williams' face as they walk back to the living
room.
52. INT. WILLIAMS' LIVING ROOM - NIGHT
JEFFREY
(calling into the kitchen)
Mrs. Williams? Thanks for the cake.
MRS. WILLIAMS
(coming out from the kitchen)
Oh, you're welcome. Nice to finally meet
you, Jeffrey.
JEFFREY
Say "goodnight" to Sandy.
DETECTIVE WILLIAMS
We will. Good night.
Jeffrey leaves and they shut the door behind him.
53. EXT. WILLIAMS HOME - NIGHT
As Jeffrey leaves the light of the front yard and enters onto the dark
sidewalk, he hears Sandy call out behind him.
SANDY
Are you the one that found the ear.
Jeffrey stops and turns around. Sandy comes up to him.
JEFFREY
Yeah, how did you know?
SANDY
(coyly)
I just know, that's all. I remember you
from Central.
54. EXT. NEIGHBORHOOD STREET - NIGHT
They slowly walk down the street together.
JEFFREY
Oh yeah?
SANDY
You were pretty popular. Didn't you run
for some office?
JEFFREY
Yeah I did. treasurer. Shouldn't you be
studying or something.
SANDY
Am I bothering you?
JEFFREY
No. You're not bothering me. You a senior?
SANDY
Yes.
JEFFREY
How is Central these days?
SANDY
Terrible. boring.
JEFFREY
What else is new?. right?
SANDY
Yeah. What are you doing now?
JEFFREY
I'm home from school. My father's in the
hospital.
SANDY
That's too bad.
JEFFREY
What do you know about the ear?. anything?
SANDY
Didn't my father tell you not to talk about
it?
(she smiles)
JEFFREY
Come on. you brought it up. Do you know
anything?
SANDY
I don't really know much but bits and pieces
. I hear things. My room is right above my
father's office. The ear. there's no corpse
in the morgue missing an ear, and it did come
off a living person. That's direct from the
Coroner's Office. The person is unknown.
There are a couple of cases I get mixed up on,
but I think there are some people who were
brought in for questioning on a murder case
that could have something to do with the ear.
I heard some of the same names.
JEFFREY
Do you know who was brought in for
questioning?
SANDY
There were at least three, maybe four. But
a name that keeps coming up is this woman
who lives in an apartment building very
close to your house and also close to the
field where you found the ear. There's
also a business man over by the Franklin
factory district that was questioned. and
a musician. and some others.
JEFFREY
Were all these people questioned this
afternoon?
SANDY
No. this has been going on for some time
. several months. About six months ago
some parts of bodies were found down by
the river. They were from people who were
reported missing. They never found one
complete body. only parts.
JEFFREY
The ear is from a missing person maybe?
SANDY
Maybe so.
JEFFREY
It's a strange world isn't it? Do you know
what building the woman lives in?
SANDY
Yeah. It's close by. that's what's creepy.
They've had her under surveillance for a
couple of months, except I don't know what
they've found out because my father isn't
in charge of her.
JEFFREY
I guess you have to get back home soon?
SANDY
Not really, why?
(then she understands)
You want to see the building?. Come on,
I'll show you.
CUT TO:
55. EXT. LINCOLN STREET - NIGHT
Jeffrey and Sandy walk through the light of a street light. The street
sign "LINCOLN ST" can be read. They walk into darkness and continue down
to an apartment building on the right side of the street.
SANDY
(nodding toward building)
That's the building. She lives on the
Seventh Floor. Don't stop to look long
. the police are watching.
JEFFREY
Where are they?
SANDY
I don't know. you're not supposed to see
them. They're supposed to see you.
They begin walking slowly back to Sandy's house.
JEFFREY
Did they find out anything when they
questioned her?
SANDY
I don't know. like I said, she's not my
father's case.
JEFFREY
Oh yeah. What about those other people?
. Anything?
SANDY
My father is watching the businessman.
The businessman had a partner who
disappeared. left his whole business and
family, his wife and two kids. They think
he's been murdered.
JEFFREY
You really do hear a lot, don't you?
SANDY
Yeah, I guess so.
(they continue walking)
What are you going to do now that you're
home?
JEFFREY
I have to help out in my father's hardware
store. they're giving me sort of my own
hours for a while. which is nice.
SANDY
Still, it must be kinda rough.
JEFFREY
It's not bad. but it's bad enough.
it's a lot worse for my father.
(Jeffrey points to a house)
I used to know a kid who lived there and who
had the biggest tongue in the world.
Jeffrey and Sandy both laugh.
SANDY
What happened to him?
JEFFREY
I don't know. he moved away.
CUT TO:
56. EXT. NEIGHBORHOOD STREET - NIGHT
A LONG SHOT
Jeffrey and Sandy walking and talking, sometimes laughing in the distance,
while the MUSIC theme, haunting yet warm, plays over.
57. EXT. WILLIAMS HOME - NIGHT
They arrive back at Sandy's home.
CLOSER ON JEFFREY AND SANDY
in front of Sandy's home.
SANDY
I've gotta go in.
JEFFREY
Thanks for the tour. It was nice talking
to you.
Sandy just looks at him shyly before she turns to go up the front walk.
JEFFREY
(continuing)
I guess I'll see you sometime.
SANDY
I guess so. Like you said. It's a
strange world.
JEFFREY
(smiles)
Yeah. Good bye.
Jeffrey watches as Sandy goes inside her house. He watches her house for
a moment and sees her cross the living room. He turns and walks away.
Again, the MYSTERIOUS CHORDS OF MUSIC swell up as Jeffrey walks through
the night.
CUT TO:
58. INT. BEAUMONT'S HARDWARE STORE - DAY
Jeffrey is poking around in the back room. He picks up some bug spraying
devices. He yells out to an old black man who works in the store.
JEFFREY
Hey, Ed, okay if I borrow these bug spraying
rigs later on?
Ed peers into the back room. Spots Jeffrey.
ED
Listen Bud. If you need to spray for bugs
they're yours. It causes me no pain.
JEFFREY
Okidoke Ed. Thanks.
CUT TO:
59. EXT. BEAUMONT'S HARDWARE STORE - DAY
Jeffrey puts the stuff in the trunk of the car. There are several "Awake"
magazines there too. He gets in the front seat and drives off.
CUT TO:
60. INT. BEAUMONTS' CAR - DAY
Jeffrey driving. He looks at his watch. It is 3:30.
61. EXT. CENTRAL HIGH SCHOOL - DAY
Jeffrey is parked across the street from the school. High school kids
are pouring out the front door. In a moment he sees Sandy come out with
two or three other girls. They walk down the sidewalk away from Jeffrey.
He starts the car and slowly follows them to the corner, where he pulls
up alongside of them. very close. Sandy suddenly recognizes him.
JEFFREY
You hungry or thirsty, or both?
SANDY
(taken back)
I don't know.
JEFFREY
I'd like to talk to you about something.
SANDY
Just a minute. pull over and wait a
minute.
Sandy pulls her girlfriends away from Jeffrey's car and says something to
them. There is some whispering and giggling and then,
SANDY
(to the girls)
Please, don't say anything to Mike.
promise?
The girls promise. Sandy goes around and gets in the car.
JEFFREY
I don't want to cause any trouble.
SANDY
I'm here, aren't I?
JEFFREY
(smiling as though he knew)
I guess Mike's got some sort of sports
practice in the afternoon.
SANDY
Ooooo, you are smart. Just don't get too
smart.
CUT TO:
62. INT. DINER - DAY
Jeffrey and Sandy are sitting in a booth. Jeffrey's grilled cheese on
white bread and a coke have just arrived along with Sandy's coke.
SANDY
Alright, now tell me. What is it?
JEFFREY
There are opportunities in life for gaining
knowledge and experience. sometimes, in
some cases. it's necessary to take a risk.
I got to thinking. I'll bet a person could
learn a lot by getting into that woman's
apartment. you know. sneak in and hide
and observe.
SANDY
You said it was a strange world.
and you're the strangest part of it. Are
you crazy.she is possibly involved in
murder. This gives me the creeps.
JEFFREY
Settle down. I have a plan which I think
will work. There is very little for you
to do, but I do need your help.
.Aren't you curious about my plan?
SANDY
(thinking and intrigued, plus she
is beginning to like Jeffrey)
It wouldn't hurt to hear the plan, I guess.
JEFFREY
(getting excited)
Alright. the first thing is to get into her
apartment and open a window that I could
crawl into later.
SANDY
Now, how are you going to do that?
JEFFREY
Right out in the car I happen to have some
old overalls and a bug spraying rig. I will
go to her apartment and be the pest control
man. I will spray her apartment. After a
few minutes you will knock on her door,
drawing her attention away from me and I
will then jimmy a window.
SANDY
What will I say when she comes to the door?
JEFFREY
You will be a Jehovah's Witness. I have a
few "Awake" magazines for you. You don't
have to keep her very long. a few seconds
is all I'll need. Whatiya think?
SANDY
I don't know. it sounds like a good
daydream, . but actually doing it is too
weird. too dangerous.
JEFFREY
Let's just try the first part. If that
goes well, we'll see about the rest. No one
will suspect us, because no one would
believe two people like us would be crazy
enough to do something like this.
SANDY
You've got a point there.
CUT TO:
63. INT. BEAUMONTS' CAR/LINCOLN STREET-DAY
Jeffrey and Sandy are in the car. Jeffrey is struggling to put on the old overalls.
JEFFREY
Now. we'll walk over so there's no license
plates and you give me at least three
minutes. I can stall if it's more, but I
need time to find a good window .alright?
SANDY
Alright.
JEFFREY
Let's go.
64. EXT. LINCOLN STREET - DAY
They get out of the car. Sandy has the "Awake" magazines.
JEFFREY
Okay, I'm going ahead. Wait a minute,
what's her name?
SANDY
Oh bother. Dorothy Vallens, Seventh
Floor. Look on the mailbox for her number,
bright boy.
JEFFREY
Thanks. Dorothy Vallens. Okay. good
luck . three minutes, no sooner.
SANDY
Alright. Good luck, yourself.
Jeffrey takes off in the direction of the apartment building.
CUT TO:
65. EXT. APARTMENT BUILDING - DAY
Jeffrey walks up the front steps and goes in the double outer doors.
66. INT. LOBBY - APARTMENT BUILDING - DAY
He looks up and down the mailboxes and finally finds "D. Vallens,
Apartment Number 710."
Jeffrey goes into the lobby.
CUT TO:
67. INT. STAIRWAY - APARTMENT BUILDING - DAY
Jeffrey climbs the stairs. An OLD LADY is making her way down the stairs.
She sees Jeffrey and his rig.
OLD LADY
Well, it's about time you came.
Jeffrey forces a smile at her and after she's gone.
JEFFREY
(to himself)
That's a good sign.
He keeps climbing. He arrives at the Seventh Floor. and finds Number 710.
He knocks and waits. He looks around. the hallway is empty.
DOROTHY VALLENS opens the door. She is a very beautiful woman in her
late thirties. She has a beautiful full figure, dark eyes, black thick
wavy hair. Full red lips. Right now, however, she looks a bit tired and
a bit frumpy in an old terrycloth robe.
DOROTHY
Yes? What is it?
JEFFREY
Pest control. gotta do your apartment.
DOROTHY
Oh God, that stuff stinks.
JEFFREY
(as he goes in)
Nope. it's new stuff. no smell.
DOROTHY
Oh yeah, that's good.
68. INT. DOROTHY'S APARTMENT - DAY
Jeffrey goes all around the baseboards, spraying. All the while he's
getting a good look around the apartment.
There is a window above the kitchen sink out to the fire escape. Jeffrey
looks around to see what Dorothy is doing and she is watching him spraying.
The apartment is smaller than he thought, so he sprays the kitchen very
slowly and makes believe the sprayer is jammed.
Suddenly, there is knocking at the door.
DOROTHY
What is this. Grand Central Station?
She opens the door. Jeffrey looks. It's not Sandy. A MAN, with a yellow
sports coat, is standing there. Jeffrey begins to sweat, because the MAN
looked around Dorothy to see him. Dorothy says something to the Man which
Jeffrey cannot hear.
The next time Jeffrey looks up, the Man is gone. The whole thing looks
to be turning out badly when Jeffrey spots a key on the counter. On a
long shot, he steals it just as the front door shuts. He wraps things up
and gets out.
JEFFREY
(to Dorothy)
That oughta do it.
DOROTHY
Yeah.
69. INT. STAIRWAY - APARTMENT BUILDING - DAY
Jeffrey leaves. Out on the stairs, he finds Sandy with her "Awake"
magazines.
SANDY
Are you alright?
JEFFREY
Yeah. let's get outta here. What
happened?
As they go downstairs,
SANDY
I was just about to go to the door, when
that man did my job for me. Was it alright?
JEFFREY
Yes and no. Did you recognize him?
SANDY
No. I only saw his back. He went down
another stairwell at the end of the hall.
JEFFREY
I didn't get a good look at him either, but
he sure looked at me. I didn't have time to
get a window, but I found this key.
(he shows it to her)
Pretty nifty, huh?
SANDY
Yeah, if it opens the door.
JEFFREY
Yeah.
70. INT. LOBBY - APARTMENT BUILDING - DAY
They get to the door of the apartment building.
JEFFREY
You go first.
71. EXT. LINCOLN STREET - DAY
They leave the building separately. When Jeffrey gets to the car,
Sandy isn't there. He looks around. He starts the car and drives off.
There, up ahead, he spots her. He pulls over and she gets in.
SANDY
So. what's next?
JEFFREY
Pretty clever. Are you game for more?
SANDY
I owe you. since I goofed up this one.
JEFFREY
You didn't goof it up, but. you still
owe me one. I want to sneak in tonight.
It's Friday. do you have a date tonight?
SANDY
Yes. I do.
JEFFREY
Well, it's Friday night and you're a
beautiful girl. I guess you would have
a date. that does that.
72. INT. BEAUMONTS' CAR/WILLIAMS HOME - DAY
Jeffrey is driving Sandy home.
SANDY
You really want to do this, don't you?
JEFFREY
I don't want you to get involved, really,
I mean, I do, but if something went wrong
I mean, like you said, they may be involved
in murder.
They pull up in front of Sandy's house.
SANDY
(making up her mind - against
her better judgment)
I'll tell Mike I'm sick. There's a game
tonight anyway and he'll never miss me.
Afterwards he can go out with the guys.
Just so the record is kept straight though,
I love Mike. What do want me to do?
JEFFREY
(studies her a moment, then)
First of all, we'll have a nice dinner.
Try to find out where Dorothy sings.
SANDY
I already know. The "Slow Club." It's on
Route 7.
JEFFREY
Great. I'll pick you up around eight
o'clock. Is that good?
SANDY
Yeah, but don't pick me up. my father may
think it's strange. I'll walk over to your
house. I'll be there at eight o'clock.
JEFFREY
Okay. You better get out before someone
sees us.
Sandy gets out of the car and without turning around walks into her
house. Jeffrey calls out after her.
JEFFREY
See ya!
DISSOLVE TO:
73. INT. BEAUMONTS' LIVING ROOM - NIGHT
INSERT T.V. SCREEN
The television is on. Some crime show is playing, but the SOUND is
very low.
The FAMILY DOCTOR is over and is giving Mrs. Beaumont an injection of
medicine. Aunt Barbara is sitting nearby.
DR. GYNDE
That will take care of you, Frances, for
another week. I don't want you to overdo
things either. Take it very easy.
AUNT BARBARA
I'll see to it, Bill.
DR. GYNDE
Good.
MRS. BEAUMONT
I feel fine.
DR. GYNDE
That's not the point. You're under a great
deal of stress. don't overdo it. don't
be foolish.
Jeffrey enters the room - to say goodnight.
JEFFREY
Doctor Gynde. my whole family's sick.
What's going on?
AUNT BARBARA
I'm not sick.
Jeffrey points to his head and makes a circular "crazy" gesture. They
all laugh, except Aunt Barbara.
AUNT BARBARA
(continuing)
We'll see who stays in my will.
They laugh again.
JEFFREY
(to his mother)
Can I use the car tonight?
MRS. BEAUMONT
Of course, Jeffrey.
They say their goodnights.
74. INT. BEAUMONTS' CAR - NIGHT
Jeffrey and Sandy are looking at each other. Jeffrey turns back to
driving.
Sandy watches Jeffrey drive then she turns and watches the stores and
shops go by.
When she is turned away, Jeffrey turns and look at her. Sandy is
thinking.
SANDY
What's the plan.
JEFFREY
First of all, we're going to the Slow Club
to see Dorothy Vallens. We'll watch her for
awhile. I'd like to hear her sing anyway,
and then also we'll know she is there and
not in her apartment.
SANDY
Brilliant.
JEFFREY
Then we'll drive back to her apartment and
I will plant myself there.
SANDY
This is not my usual Friday night!
CUT TO:
75. EXT. "SLOW CLUB" - NIGHT
The SLOW CLUB is a sleazy night club on the outskirts of town. It
has a dirty trash-strewn parking lot in front of it, where Jeffrey and
Sandy park. They get out of the car and enter the club.
CUT TO:
76. INT. "SLOW CLUB" - NIGHT
SLEAZY MAITRE D'
(French accent)
Good evening. two?
JEFFREY
Yeah. Could we get a small table in the
back?
SLEZY MAITRE D'
Surely, come this way.
They follow him and are seated.
MAITRE D'
May I get you something to drink?
JEFFREY
I'd like an ice-cold Heineken.
SANDY
(she might as well)
That sounds good.
JEFFREY
Two.
MAITRE D'
Two Heinekens, thank you.
The Maitre d' leaves.
On stage a FAT COMIC is telling jokes. The jokes are tailored for this
kind of working-class crowd. The people are laughing. The place is
almost full. Jeffrey and Sandy are taking it all in.
JEFFREY
(to Waiter)
When does Dorothy Vallens come on?
WAITER
(flustered; overworked)
I don't know. pretty soon. Who knows.
After the Waiter leaves,
SANDY
That guy was filled with information.
They pour their beers.
JEFFREY
(raising his glass)
Here's to. an interesting experience.
SANDY
I'll drink to that.
They drink.
DISSOLVE TO:
77. INT. "SLOW CLUB" - NIGHT
Later. Jeffrey and Sandy have just finished dinner. The M.C. is arranging
a floral art deco microphone and a SAXOPHONE PLAYER, a BASS PLAYER, and a
DRUMMER are on stage.
M.C.
(very low key)
Ladies and gentlemen. The Blue Lady.
Miss Dorothy Vallens.
There is quite a round of applause, even though most people continue
laughing, talking, and drinking. Dorothy Vallens comes out on stage.
She smiles. The house lights are still up. As she sings the first lines
of "BLUE MOON" the house lights go down and a blue spot light comes up on
her as she sings the word, "Blue." This is a very sexy and slow version of
the song.
During the song, Jeffrey and Sandy look at one another with the thought
that this is the woman whose apartment they are about to break into.
Jeffrey and Sandy leave as Dorothy starts her next song, "BLUE VELVET."
They hear the first few lines before they get out the door.
78. EXT. "SLOW CLUB" - NIGHT
They hurry to the car, get in, and drive off.
CUT TO:
79. INT. BEAUMONTS' CAR - NIGHT
Jeffrey and Sandy drive through dark areas of the city. They don't talk
as they drive, but again they sneak glances at one another.
80. INT. BEAUMONTS' CAR/LINCOLN STREET - NIGHT
They turn in to the street where Dorothy Vallens lives and glide to a stop
close to the building. Jeffery cuts the engine.
It is very quiet. Both are looking around to see if anyone is out or
watching. Jeffrey tries to look up out the front windshield to the
Seventh Floor. It is dark. Sandy moves. Every tiny sound is heard.
Sandy looks at Jeffrey for some time, then back at the building.
SANDY
Jeffrey, I don't think you ought to do it.
JEFFREY
Why not?
SANDY
It's crazy and dangerous. My God. I
shouldn't have told you.
JEFFREY
It'll be okay. I don't think you should
wait out here though. I think you should
go home. Can you drive this car?
SANDY
Yeah. but.
JEFFREY
Leave it in the front of your house for me.
okay?
SANDY
O.K.
JEFFREY
Could you wait a little while. this key may
not fit.
SANDY
. I wish you wouldn't do this. It doesn't
make any sense. Let's go somewhere and
have some coffee.
JEFFREY
I'm going in, Sandy. I'll see you tomorrow
and tell you how it went.
SANDY
I. I don't want to see you tomorrow.
Mike's coming over.
JEFFREY
Oh, okay. can I call?
SANDY
Okay. yeah, call.
JEFFREY
Look. it can wait till Sunday.
SANDY
Call tomorrow. It's okay. Good luck. I hope
you can sneak out okay. You're going to
wait until she's asleep?
JEFFREY
Yeah.
SANDY
I'm going to wait here until she comes.
JEFFREY
Are you sure?
SANDY
I'll honk four times so you'll hear it and
know she's on her way up. Okay?
Jeffrey nods.
JEFFREY
Okay. thanks.
SANDY
I don't know if you're a detective or a
pervert.
JEFFREY
That's for me to know and for you to find
out. I'll see you. I mean call you. okay?
SANDY
Okay, okay. Bye.
Jeffrey gets out of the car and shuts the door. He looks in one more time
at Sandy. They stare at each other silently.
Jeffrey can see her lips in the black darkness of the car. Sandy watches
him cross the lawn and go into the apartment building. She slides over and
sits in the driver's seat.
CUT TO:
81. INT. STAIRWAY - APARTMENT BUILDING - NIGHT
Jeffrey hurries up the stairs to the Seventh Floor.
SOMEONE comes out of an apartment just as Jeffrey gets to the Seventh Floor.
He goes up another flight of stairs to the Eighth Floor and waits until
the man goes downstairs.
Jeffrey then goes back to the Seventh Floor and goes to Door 710.
He takes out the key and looks around. No one. He inserts the key.
It fits. He turns it. The door opens.
82. INT. DOROTHY'S APARTMENT - NIGHT
He quickly enters the very dark apartment and shuts the door. It takes a
moment for his eyes to adjust to the darkness. Soon he finds his way
around. He decides on the closet to hide in. However before he goes in
to the closet he slowly surveys the apartment as well as he can in the
darkness. He goes down the hallway to the back bedroom.
Across the hallway he opens another door and is surprised to find an empty
child's room. In the child's room he sees a small pointed hat with a
propeller on top. The kind that plays music when the propeller turns.
The hat is sitting silently on the bed post. He quietly closes the door.
He returns to the closet. Once inside, he checks out how much he can see.
Through the slats he has a view of half the apartment. This is where he
will stay. He moves around some to relax. He takes several deep breaths.
He looks at his watch. It says "10:17."
83. INT. BEAUMONTS' CAR/LINCOLN STREET - NIGHT
Sandy sits in the car, carefully watching the apartment building and
street.
84. INT. DOROTHY'S APARTMENT - NIGHT
In the closet, Jeffrey shakes his shoulders and moves around some to
stretch his muscles which are getting tired. Again, he takes several
deep breaths. He looks at his watch - it says 12:45.
JEFFREY
(to himself)
Oh no, hurry up Dorothy. Come on!. and I
gotta pee. Great. it's now or never.
Jeffrey sneaks out of the closet and makes his way across the bedroom to
the door of the bathroom. His foot hits the door and it makes a loud
noise. He freezes.
85. INT. DOROTHY'S BATHROOM - NIGHT
He moves again into the bathroom. He starts to pee.
JEFFREY
Heineken.
CUT TO:
86. INT. BEAUMONTS' CAR/LINCOLN STREET - NIGHT
Suddenly Sandy sits up alert.
87. EXT. APARTMENT BUILDING - NIGHT
A car drives up and a MAN helps Dorothy Vallens get out. They walk into
the building.
CUT TO:
88. INT. DOROTHY'S BATHROOM - NIGHT
Jeffrey instinctively has flushed the toilet and because everything else
is so quiet the water SOUNDS seem very loud.
89. INT. BEAUMONTS' CAR/LINCOLN STREET - NIGHT
Sandy begins to honk the horn.
90. INT. DOROTHY'S APARTMENT - NIGHT
Unable to hear the warning horn, Jeffrey nonchalantly leaves the bathroom
as the tank is still filling.
SUDDENLY, he hears something. a key going in the door. He bolts toward
the closet. He flies inside it and is swinging the door shut as the front
door opens.
Just as suddenly, the toilet tank gets full and the water shuts off -
SILENCE, except for Dorothy Vallens at the front door.
DOROTHY (V.O.)
(we're watching Jeffrey trying to
control frightened breathing in
the dark closet)
Thanks Jimmy, see you tomorrow. You want a
drink, or something?
JIMMY (V.O.)
I better get back. thanks anyway.
DOROTHY
Goodnight.
JIMMY
Goodnight now.
The front door shuts and the living room lights go on. Jeffrey can see
Dorothy come toward him. She walks RIGHT UP, almost to his face, when
the phone RINGS.
She turns immediately and goes to answer it. Jeffrey almost passes out.
He thought he'd had it. He overhears.
DOROTHY
(on the phone)
Hello. yes. yes sir, Frank. Let me
talk to him. Please Frank, sir. I like
to sing Blue Velvet. Don? It's okay.
Don't worry. Don??. can you hear me?
Is little Donny OK? Is he there? Don? You
mean Meadow Lane? Frank?! What's the
matter with him? I know. When? Okay. In
an hour. I'll be sweet. Momma loves you.
Okay Frank, sir.
She hangs up the phone hard and puts her head in her hands.
DOROTHY
(to herself)
Frank, you son of a bitch!
She goes and sits down and starts chewing a fingernail. She nervously
gets up again and looks at a framed photograph for a moment then hides
the photograph under a pillow on the couch. She puts on a record, "FOR
YOUR PRECIOUS LOVE." She sits back down and chews her nail again,
listening to the MUSIC; she starts to cry. She stops herself and takes
the record off. She starts taking off her stocking. She then takes off
her dress.
Underneath, she has on a bra and panties. She crosses the living room,
goes down the hallway into the bathroom.
Jeffrey can't see her too well now. She takes off her panties in the
bathroom. She is now naked. She looks at herself in the mirror. We see
Jeffrey's face as he watches her. She disappears from view completely and
we HEAR her start a SHOWER.
DISSOLVE TO:
91. INT. DOROTHY'S APARTMENT - NIGHT
Jeffrey's face. He sees Dorothy - in a towel - come toward him again.
He quickly moves back into the closet as far as he can.
She opens the door, reaches in and gets a blue velvet robe. She doesn't
see Jeffrey even though he isn't well hidden. She closes the door. It
CLICKS shut.
Jeffrey is in almost total darkness. He listens. He can HEAR WALKING
around, then silence. He hears the kitchen sink WATER RUNNING.
He HEARS her WALKING AGAIN. Now he can see her. She sits down on her
bed. She looks up. Just as Jeffrey shifts his weight. She looks at the
closet strangely, but then calmly picks up a book and thumbs through it.
She slowly gets up.
Jeffrey doesn't know what is up. He looks but she walks out of view.
SUDDENLY, he hears a DRAWER OPEN, and just as suddenly, the CLOSET DOOR
FLIES OPEN, and there she is with a pistol pointed right at him. When
she realizes that SOMEONE IS REALLY THERE, she SCREAMS ONCE, very loud.
DOROTHY
(crazy scream, then)
GET OUT OF THERE!! GET OUT!! Put your
hands up, on your head. GO ON!! Get down
on your knees - DO IT!! What are you
doing? Who are you? What's your name?.
WHAT'S YOUR NAME?
JEFFREY
Jeffrey.
DOROTHY
Jeffrey. Jeffrey what?
JEFFREY
Jeffrey nothing.
DOROTHY
You tell me!! Let me see that wallet.
(reads his license)
Jeffrey Beaumont. What're you doing in
my apartment, Jeffrey Beaumont?
JEFFREY
I wanted to see you.
DOROTHY
What? Are you kidding me? Who sent you
here?
JEFFREY
Nobody.
DOROTHY
Shit. You better tell me something.
JEFFREY
I was. an experiment. Just to see if
I could do it.
DOROTHY
An experiment? Hey, I've seen you before.
JEFFREY
I sprayed your apartment. I took your key.
I really didn't mean to do anything but
see you.
DOROTHY
Tell me what you saw tonight. TELL ME.
JEFFREY
(scared, nervous)
. I saw you come in, talk on the phone.
get undressed.
DOROTHY
(interrupting)
The phone. What did you hear on the phone
. Tell me. Word for word.
JEFFREY
(trying to remember)
You said hello. to Frank. You wanted to
talk to someone?. Don?. and little Donny.
You said something about Momma loves you.
and something about a Meadow Lane.
something in an hour. I don't remember
any more.
Dorothy stares at Jeffrey studying him for some time thinking.
DOROTHY
That's right. That's what I said. You
have a good memory. Then what?
JEFFREY
Well.
DOROTHY
THEN WHAT?
JEFFREY
Then you got undressed.
DOROTHY
How many times have you sneaked into girls'
apartments and watched them undress?
JEFFREY
(quietly; feeling guilty)
Never before this.
DOROTHY
How'd you like it if someone sneaked into
your house and watched you.
(gets an idea)
Get undressed. I want to see you.
JEFFREY
No. Come on.
DOROTHY
NO, you come on. Take off your pants. I
want to see you.
JEFFREY
Look. I'm sorry. Just let me leave.
DOROTHY
No way.
Dorothy moves to the kitchen counter and gets a knife. She goes to
Jeffrey. Now she has a knife and a gun. He's scared.
DOROTHY
Get undressed. I want to see you.
Jeffrey begins to undress. First he takes off his shoes and socks,
Then his shirt. He undoes his belt and unzips his pants and takes them
off. Now he is only in his underwear.
DOROTHY
STAND UP.
He does.
DOROTHY
(continuing)
Come closer.
Dorothy has a strange look on her face. She reaches out and pulls
Jeffrey's underpants down to his knees. She looks at him.
DOROTHY
(whispering)
What do you want from me?
JEFFREY
(quietly, getting very hot)
I . I don't know.
DOROTHY
(whispering)
What do you want?
Dorothy is getting very DREAMY and begins to talk in a childlike voice.
She opens her robe and pulls Jeffrey to her breasts.
DOROTHY
Don't move. don't look at me.
Jeffrey's eyes close with nervous ecstasy as Dorothy begins touching him.
DOROTHY
Do you like that?
JEFFREY
Yes.
He tries to touch her.
DOROTHY
Don't move or I'll kill you.
She looks at him.
DOROTHY
(continuing)
Do you like talk like that?
JEFFREY
No.
DOROTHY
Lie down on the bed.
He lies down. He looks frightened.
There's a KNOCK, KNOCK on the door. Dorothy looks VERY frightened. She
quickly moves a finger to her lips in a "quiet" sign and whispers to
Jeffrey.
DOROTHY
(whispers, frantic)
Shut up. Hurry! Go in the closet. Don't
say anything or you'll get killed. I mean
it.
KNOCKING is heard louder at the door. Jeffrey picks up all his clothes
and gets in the closet. He's naked and hiding in the closet. Dorothy
closes her robe and glides to the front door.
Jeffrey sees FRANK come in.
Frank is medium height and stocky with a burr hair cut. He is wearing a
tight blue t-shirt and an old black sports jacket. He's got on a pair of
blue jeans and boots. He has a raw, mean sexuality - a "bomb about to go
off" - presence.
He comes into the room slowly, always looking at Dorothy. He sits on the
couch.
DOROTHY
Hello, baby.
FRANK
(annoyed, condescending)
Shut up. It's daddy. shithead.
DOROTHY
Hello, daddy.
FRANK
(can't-you-remember-
anything-attitude)
. my bourbon.
Dorothy goes into the kitchen to get Frank his drink. As she passes the
closet, Jeffrey can see the fear in her face.
She returns with a small glass of bourbon and hands it to Frank. Frank
sips on it.
FRANK
. sit down. get your chair.
Dorothy brings a small chair over from the wall and sits down. She
adjusts her robe.
FRANK
(studying her)
. spread your legs.
Dorothy slowly spreads her legs. She can see Jeffrey staring out of the
darkness of the closet at her.
FRANK
wider.
She opens her legs wider. Frank looks at her crotch and drinks his
bourbon. He stares at the floor for a moment, then slowly looks back at
Dorothy, her body - her crotch.
Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his
belt, where he has a small canister and a mask. He opens a valve on the
canister and places the mask over his nose and mouth. The canister is
filled with helium, which makes Frank's voice very high and strange
sounding. The result is frightening.
FRANK
(high voice)
. mommy.
Dorothy jumps. She keeps looking at the ceiling.
FRANK
(continuing, with high voice)
. MOMMY!.
DOROTHY
(frightened)
. mommy's here.
FRANK
(high voice)
Baby wants to fuck.
Then, Frank's voice goes to normal.
FRANK
(normal voice, but loud - like
an army order to himself)
GET READY TO FUCK!
Frank goes to Dorothy and kneels down in front of her. He takes one more
gasp of helium.
FRANK
(high voice)
Baby wants blue velvet.
Dorothy opens her robe and gives a part of the robe to Frank.
DOROTHY
(whispering)
Okay.
Frank slowly moves
Frank slowly moves his mouth to the robe and runs his lips along the
texture of the velvet. His hands rub the velvet and feel Dorothy's body
underneath. His hands start feeling her breasts as he sucks and bites the
velvet robe.
Dorothy is very frightened but she is getting hot in spite of her fear.
Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He
warns her.
FRANK
Don't look at me!
He begins stuffing part of the robe into her mouth. Then, he pushes her
arms back and she keeps them back, letting Frank have his way. Frank
sucks and bites the velvet coming out of her mouth, while he pinches and
feels her breasts in a strange, compulsive, timidly sickening way.
Dorothy is moaning. Frank is breathing very heavily. He feels her crotch.
FRANK
Don't look at me!!!
(heavy breathing)
Daddy's home.
He starts stuffing the robe in his mouth now and he gets on top of Dorothy.
He starts humping her and pulling her nude body up and down him. Faster
and faster, then he has a climax in his pants. Dorothy's head is falling
back. She can see Jeffrey blurred in the distance - in the closet.
Cautiously, she looks sideways at Frank.
FRANK
(screaming)
Don't look at me!!!
He slugs her in the face. His nose is running and he's stifling sobs from
deep within him. On his hands and knees, he moves away. The robe pulls
out of his mouth. His breathing is even heavier now. He stands and
begins to move around the apartment. He goes to a wall, turns off the
lights, then turns and walks into the bathroom, all the while breathing
big, heavy breaths, trying to stop the crying. Dorothy moans softly.
It gets very quiet and still for a moment. Then, Jeffrey hears Frank
with his high helium voice talking to himself in the bathroom. The high,
strange sound reverberates in the distance. Jeffrey can't make it out -
soon, he hears Frank's high laughing. Frank comes back into the living
room. The mask is around his face. All his breathing - every sound is
high . He laughs a little and crosses the darkened room to the door.
FRANK
Stay alive baby. See you next Christmas!
Frank leaves and shuts the door. The apartment is silent except for
Dorothy's moans.
Jeffrey is stunned. He doesn't move. He watches Dorothy in the
half-light. She rolls over and starts crying. The crying is deep and
genuine.
Slowly, Jeffrey emerges from the closet and goes to her. He bends down
and touches her. She flinches and turns to see him. She turns back
sobbing. He tries to get her up.
JEFFREY
Why don't you come lie down. Come on, I'll
help you.
She struggles up with Jeffrey's help and he takes her over to the bed.
She falls down on her side, turned toward the wall. He covers her with
the sheet.
DOROTHY
Don't.
(referring to the sheet)
I don't like that. What do you want?
JEFFREY
Nothing. Are you alright?
DOROTHY
Sure I'm alright.
(she starts crying again)
JEFFREY
I'll go then.
He starts to put on his underwear. They're inside out. He tries to turn
them around.
DOROTHY
Don?
JEFFREY
No.
DOROTHY
Don. Hold me. I'm scared. Hold me.
Please.
Jeffrey turns to her. He studies her. He reaches out and takes her
shoulders. He moves down and holds her.
DOROTHY
(whispering)
Thank you. honey.
JEFFREY
(whispering)
It's okay. It's okay.
They lie together for a long silent moment.
DOROTHY
Do you like the way I feel?
JEFFREY
(hesitates)
Yes.
DOROTHY
See my breasts? . See?
Jeffrey looks.
JEFFREY
Yes.
DOROTHY
See my nipples?
JEFFREY
Yes.
DOROTHY
(whispering)
You can kiss them if you want. Fell them
. They're getting hard.
Jeffrey starts to move closer. Dorothy closes her eyes.
DOROTHY
(continuing)
Go ahead. I don't mind.
Jeffrey can't help himself. He licks and sucks her nipples and feels her
breasts. They both are getting very hot.
DOROTHY
Feel me.
Jeffrey is all over her now. Dorothy suddenly seems to recognize him.
DOROTHY
You can hit me, if you want to.
JEFFREY
No. please. I won't.
Dorothy arches back and whining she throws her head back hard against the
wall.
JEFFREY
Stop it!
She moves and won't let him feel her anymore. She holds his hands away.
DOROTHY
(whispering)
Do you like me?
JEFFREY
(whispering)
Yes, I like you.
DOROTHY
(whispering)
You can be my special friend and come and
put that in me.
They start making love. Suddenly, Dorothy starts crying.
JEFFREY
What's the matter?
Suddenly Dorothy slaps Jeffrey in the face. very hard.
DOROTHY
Get off me.
Jeffrey gets off her, pressing his hand to his face. Dorothy goes into
the bathroom crying all the way. Jeffrey sits, confused.
Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of
horror. He rushes into the bathroom to see what is wrong.
92. INT. DOROTHY'S BATHROOM - NIGHT
She is just flushing something down the toilet. The water SOUND rushes.
He turns to her. She is trembling and in a state of shock.
DOROTHY
I made it go down the toilet.
JEFFREY
What?
He looks in the swirling water. It looks like an ear revolving around and
around then whatever it is disappears.
DOROTHY
I made it go down the toilet.
Jeffrey looks up. he sees written with a bar of soap the words "look down"
on the mirror.
He looks down into the sink. At the bottom he sees a small clot of blood
and a smear of fresher blood.
Jeffrey suddenly remembers mentally Frank's high helium voice reverberating
in the bathroom.
93. INT. DOROTHY'S BATHROOM - NIGHT
FLASHBACK
Frank in bathroom.
94. INT. DOROTHY'S APARTMENT - NIGHT
FLASHBACK
Frank at door saying "see you next Christmas."
95. INT. DOROTHY'S BATHROOM - NIGHT
JEFFREY
(inner voice)
Next Christmas. Is he Santa Claus who has
left a present for Dorothy? What was it?
An ear? Another ear?!!
(out loud, to Dorothy)
What was it?
DOROTHY
(strangely - extremely frightened
now that Jeffrey may have left it)
Do you know?
JEFFREY
No.
DOROTHY
(breathing heavily, strangely)
You don't?
JEFFREY
No. What is happening?
DOROTHY
Maybe you don't know. I know you though.
You're Jeffrey Beaumont and I know where
you live and I know ways to get you and I
know ways to kill you.
JEFFREY
Please don't talk like that. You're upset.
I'm not helping you. I'm sorry for what I
did. I better go.
DOROTHY
Go then. I can't let you put it in me now
but I want you. I like you.
JEFFREY
Then don't talk about killing.
DOROTHY
Did I say that?. I didn't mean it. or did I?
(laughs)
Sometimes I think it would be fun.
(strange smile)
Go ahead, you better leave now. I can't
open myself to you now. I'll tell you a little
secret.
(she leans close)
I want to die.
JEFFREY
Don't say that.
DOROTHY
It's a secret so don't tell anyone. Some day
I'll show you where. I've gotta go to sleep
now.
JEFFREY
(frightened by her craziness)
O.K.
He takes another look at the blood in the bottom of the sink. He takes
another look at the beautiful dark troubled eyes of Dorothy Vallens, and
turns, goes through the hall to the living room. He crosses slowly to the
door, suddenly he turns back and enters the hallway going down to the
bathroom. He stops and looks at Dorothy who is turned away from him.
She stares into the sink. Jeffrey notices that a square of fabric has
been cut from the bottom of her blue velvet robe
JEFFREY
I'm leaving now.
She is whispering something to herself.
DOROTHY
(very faint whisper)
Help me. help me. please help me.
Jeffrey doesn't know what he can do.
96. INT. DOROTHY'S APARTMENT - NIGHT
Jeffrey turns back, goes through the living room. He looks around and
sees the empty bourbon glass of Frank's. Suddenly he remembers the
photograph that Dorothy hid. He picks up the pillow and sees a picture
of a smiling man and a small boy standing next to him wearing a pointed
hat with a propeller. He turns the photo over and finds an old marriage
license. It reads: Dorothy Vallens to Don.
JEFFREY (V.O.)
Don. Oh my God.
He hides the photo again. He sees Dorothy's telephone. He memorizes the
number - moving his lips with each digit. He goes to the front door and
opens it quietly.
97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT
He looks out into the hall. It's empty.
97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT
He quickly goes to the back stairway and down the stairs. These steps are
cement and his feet make echoing sounds which seem very loud. He goes
through a door marked "EXIT".
98. EXT. LINCOLN STREET - NIGHT
. and comes out, crosses a lawn and goes out onto the sidewalk.
He walks along taking in deep cleansing breaths. He looks at his watch.
2:30. He feels so confused, exhilarated, so uneasy. He secretly worries
about what he's gotten into.
99. INT. BEAUMONTS' LIVING ROOM - NIGHT
Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a
foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a
chair, staring.
JEFFREY
(startled)
God. you scared me.
MRS. BEAUMONT
Is something wrong? What's happened to
your face?
JEFFREY
Nothing. I'm fine.
MRS. BEAUMONT
You can't just stay out half the night and
carry on, Jeffrey. There's got to be some
order, Jeffrey. I thought it would have
been nice to call your father when you got
home but now it is much too late.
FADE TO:
100. INT. JEFFREY'S BEDROOM - DAY
Jeffrey gets out of bed and goes to the phone. He dials a number.
JEFFREY
Louise Wertham, please. okay.
(waits)
Louise?. Jeffrey. Hi. What's up?
(pause)
MARRIED?! Good night! Louise! Are
you kidding?
(long pause)
Well, Louise, I wish you a lot of
luck and if things don't work out,
I think you should go into comedy.
Jeffrey hangs up the phone hard. He shakes his head.
101. INT. BEAUMONTS' HARDWARE STORE - DAY
Jeffrey's drinking a cup of coffee behind the counter in the store.
He thinks. He takes another drink of coffee and sets the cup down.
He clasps his hands behind his back and begins pacing up and down.
JEFFREY
(to himself, out loud)
How can I help her? I can't tell her to go
to Detective Williams. She'll think I'm a
policeman. She has my address. She can go
there. if she has to. I'll tell her. and
her. and she thinks I'm Don. her husband?
Where the hell is Don? - maybe he died.
Jeffrey dials the phone.
JEFFREY
Hello?. Mrs. Williams?. This is Jeffrey
Beaumont. Fine. Okay. Is Sandy there?
Okay. Hi Sandy. Can you talk? He is?.
Well, I guess I'll talk to you later on.
It went okay. I'll tell you about it.
Dinner?. Tomorrow night? Seven o'clock,
yeah, sounds good. Okay. he's still in
the hospital. Okay, yeah. See you
tomorrow. thanks.
102. INT. HOSPITAL LABORATORY - DAY
The searching, mysterious MUSIC plays over while,
A DOCTOR is looking at various blood samples under a powerful microscope.
Various sophisticated gadgets are seen in CLOSEUPS.
JEFFREY (V.O.)
This is what my father's disease looks like?
DR. GYNDE
Yes.
The BLOOD is seen in CLOSEUP. Cells are moving.
The Doctor makes a change in magnification. The cells are huge - then,
even bigger. They are so big we can hear them moving.
103. EXT. "SLOW CLUB" - NIGHT
The parking lot is half-full. A strong wind is blowing trash around.
Jeffrey parks his car.
104. INT. "SLOW CLUB" - NIGHT
. and enters the club. He speaks to the Maitre d'.
JEFFREY
A table in back, please.
MAITRE D'
Certainly
Dorothy is singing her opening song as the Maitre d' seats Jeffrey.
JEFFREY
I'll have an ice-cold Heineken.
MAITRE D'
One Heineken, certainly, sir.
Jeffrey surveys the place after the Maitre d' leaves. It is very dark and
smoky inside. He has trouble seeing, but suddenly he spots Frank sitting
with some other GUYS watching Dorothy sing. They are sitting two tables
away.
Frank is totally captivated by Dorothy's singing and is very serious-
looking. He looks right up to her eyes. In his hand he works a small
piece of blue velvet cloth with his fingers. Again her first number,
"BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to
Frank. When it is over Frank continues watching Dorothy and everyone else
applauds loudly.
Jeffrey drinks up his Heineken and goes back outside.
EXT. "SLOW CLUB" - NIGHT
He looks around at all the cars but none stand out as Frank's. He gets
into his car and pulls out across the street, re-parks the car and waits.
DISSOLVE TO:
106. EXT. "SLOW CLUB" - NIGHT
Traffic roars past Jeffrey and in the distance several people exit the
SLOW CLUB. Among them are Frank and his friends. They get into a black
Ford Fairlane and drive out of the parking lot - down the highway.
Jeffrey starts his engine and moves out after them. He has to gun the car
up to sixty-five to catch up with them.
107. EXT. CITY STREETS - NIGHT
The mysterious MUSIC plays.
He follows them to an intersection where they turn off to the right.
He waits at a light right behind them. Inside they are lighting
cigarettes. The light turns green and Frank takes off. Jeffrey follows
them through a dark area down by the docks. He follows them up a narrow
street through dark factories.
108. EXT. FRONT STREET - NIGHT
Dark, low MUSIC now.
Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his
lights and engine. He watches Frank and his friends enter an old apartment
building next to a bookbinding factory. They disappear within. The
electric lines above buzz loudly.
Jeffrey gets out of his car and walks up the deserted street. He reaches
Frank's car which is making popping and clicking NOISES as it cools down.
He looks at the license plates - walks a few paces ahead and then writes it
down in his notebook. He continues on to the apartment building.
109. INT. LOBBY - FRANK'S BUILDING - NIGHT
Inside he looks at the names on the mailboxes. He sees a name - Frank
Booth. The name gives him the chills. The apartment number is 26.
In the distance, he hears footsteps. He quickly leaves.
110. EXT. FRONT STREET - NIGHT
. and crosses the street down to his car. He gets in and waits. Frank
comes out of the building and crosses to his car.
JEFFREY
(out loud to himself)
I'll bet I know where you're going.
He follows Frank as he pulls out.
DISSOLVE TO:
111. EXT. DINER PARKING LOT - NIGHT
Jeffrey discreetly parks just after Frank kills the engine on his car.
He watches Frank leave the parking lot.
112. EXT. VACANT FIELD - NIGHT
He follows Frank through the same vacant lot where he found the ear. He
seems to use the lot as a secret short cut to Dorothy's apartment.
113. EXT. DINER PARKING LOT - NIGHT
Jeffrey goes back to his car to wait.
DISSOLVE TO:
114. EXT. DINER PARKING LOT - NIGHT
A storm is building. There is a roar of thunder as Frank slams his car
door as he gets in. His mouth twists into a smile as he guns the engine
and leaves. Jeffrey waits till Frank is safely gone.
JEFFREY
(thinking out loud)
I shouldn't go in. I shouldn't. but I'm
too curious. and I have to try to help her.
He then gets out of his car as the wind is building.
115. EXT. VACANT FIELD - NIGHT
. and runs through the vacant lot.
116. EXT. APARTMENT BUILDING - NIGHT
. to Dorothy's building.
117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT
He goes up to the seventh floor and knocks twice on 710. A moment passes,
then the door flies open.
Dorothy looks as if she was expecting Frank to be coming back. Dorothy
LOOKS BAD.
JEFFREY
Hi. can I come in?
DOROTHY
(looking around the hallway)
Yeah. hurry up though.
They go inside.
118. INT. DOROTHY'S APARTMENT - NIGHT
JEFFREY
Are you alright?
Dorothy breaks down crying.
DOROTHY
No. I'm not.
Jeffrey goes to her.
DOROTHY
Why are you here. whatiya want?
JEFFREY
. I. uh.
DOROTHY
(still crying)
I looked for you in my closet tonight.
(a little laugh)
It's crazy, I don't know where you came
from but. I like you.
JEFFREY
That's not crazy. I like you too.
Dorothy looks up. They stare at each other for some time.
DOROTHY
I liked being with you last night.
JEFFREY
. same here.
There is a loud knocking on the door.
DOROTHY
(she starts to stagger)
Oh shit.
JEFFREY
(frightened)
Frank? .can you stand up?
DOROTHY
I'm alright. go hide. This won't
take long. Be quiet.
Jeffrey gets in the closet and Dorothy closes the door. She holds her
head collecting her fragile self. Dorothy goes to the door and opens it.
It's the Man with the Yellow Sports Coat - tonight he's wearing a purple
sports coat and light blue double knit pants. His eyes are glazed and his
face is broken out in a sweat.
YELLOW MAN
Frank gone?
DOROTHY
Yeah. but get outta here. He's comin'
back.
YELLOW MAN
Bull.
DOROTHY
Alright, suit yourself.
YELLOW MAN
He's comin' back?. What for?
DOROTHY
(shaking)
'Cause he's comin' back, that's what for.
Frank's got you really loaded tonight.
YELLOW MAN
(getting upset)
Yeah, maybe so. Frank's got me. and you.
and really it's all thanks to Don. isn't
it. remember that. Your husband was the
one who started fucking my mind with drugs.
DOROTHY
Oh he forced you, huh?
YELLOW MAN
He's the reformed dealer though who wanted
to turn himself in. he's the one that caused
Frank to come and Frank's fucking us real
good. I just feel so horny. I'm supposed to
be here watching you why can't I be here
fucking you. Listen. I know his cock's the
size of a pin - let me give you the real
thing. let me wet my whistle, baby.
DOROTHY
(cool, but real mad)
No way. get out. I'm gonna tell Frank.
I'm gonna tell him what you said.
YELLOW MAN
Okay, I'm goin'. You'll see. I'll get you.
Dorothy kicks the door after he closes it, then she chains it. Jeffrey
comes out of the closet.
JEFFREY
(talking softly)
Nice guy. Who's he?
DOROTHY
Who's it, you mean.
SUDDENLY, Dorothy starts to shake and cry.
Jeffrey grabs her and shakes her and holds her tight to him. She starts
sobbing again.
DOROTHY
(continuing)
Oh God. Don!!! Why can't I just die.
JEFFREY
(quietly, soothing her)
There you go again. stop saying that.
You can make it.
DOROTHY
I can't. I can't. You think you know
so much.
JEFFREY
Take it easy. What's goin' on anyway?.
Why are you in so much trouble?
Dorothy is sobbing and Jeffrey is holding her. There is a long silence
and she calms down.
DOROTHY
(whispering)
I. don't. okay. Just don't. just be
with me.
(now very strangely)
Oh God. Come with me. Who are you.
Come up here.
Dorothy takes Jeffrey through the kitchen and out the back.
119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT
. to a back stairway leading to the roof.
120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT
The storm is closer and the dark clouds move violently in front of a full
moon. The wind continues to moan. They move to the roof top and Dorothy
leads Jeffrey through the chimneys to the edge of the building. A very
sad forlorn version of "Somewhere over the Rainbow" - creeps through the
wind.
DOROTHY
(as she stares down)
Look.
JEFFREY
(turning to her quickly)
No.
DOROTHY
(continuing to look down, her
eyes widening - she whispers)
Falling.
JEFFREY
No. Please, Dorothy. Why are you in so
much trouble?
He moves closer to her.
JEFFREY
(continuing)
Who is Don?
DOROTHY
(very crazy and angry)
Don?. Are you in with them?
JEFFREY
(whispering)
No. But you're in very big trouble.
DOROTHY
Why are you so interested? Why do you
keep asking me?
JEFFREY
I came back to help you. You said do I
let girls sneak into my house. You know
where I live. if you need to. come to
where I live. O.K.?
DOROTHY
Who are you? Maybe I'll need to. you like
me, huh?
JEFFREY
Yes.
DOROTHY
(whispering)
. or do you just want me? I'm going to let
you enter me now.
JEFFREY
No. I should go.
DOROTHY
Please. please stay.
She makes him kiss her. he really likes it. Once again, Jeffrey and
Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy
cries out suddenly and bangs her head hard again and again against the
roof.
JEFFREY
Why Dorothy?
We move very close to Jeffrey's ear as Dorothy's lips come up and whisper
into it.
DOROTHY
Don? I have to make it hurt. I want
there to be nothing again. Don!!!
(as she slams her head
again and again)
She reaches up and clutches Jeffrey then pulls him down with a feverish
kiss. Lightening cracks above them and the wind howls.
FADE TO WHITE:
FADE DOWN TO:
121. EXT. LINCOLN STREET - NIGHT
Jeffrey leaves the pool of light from a street light and walks into
darkness. He continues down the sidewalk. He looks up at the starry sky.
The stars are so far away - the feeling is cold and lonely.
DISSOLVE TO:
121A.
Darkness: There are bell tones sounding, and as each one sounds pin points
of light appear on Mr. Beaumonts distorted dream face. He is trying to
speak. He's trying to say "Jeffrey."
121B.
Another dark image appears. A robin sits in a tree at night. Very close.
There is a slow low reverberating chirping sound.
121C.
Now Dorothy's apartment building at night. A very low angle looking up
to the roof. Suddenly a pinpoint of red appears coming toward us from
the roof. It flies toward us very fast growing larger until we see it is
a red high-heeled shoe. As it fills the screen it becomes red lips of
Dorothy's which open into a scream.
121D.
Jeffrey wakes in his room - terrified.
122. INT. BEAUMONTS' LIVING ROOM - NIGHT
Jeffrey is talking with Aunt Barbara in the semi-dark living room.
JEFFREY
Will you tell Mom when she gets home from
the hospital that I've gone to dinner at
Sandy Williams' house?
AUNT BARBARA
Okay honey. that sounds nice. Jeffrey.
I think you've got termites in the house.
JEFFREY
Oh yeah?. Have you seen any?
AUNT BARBARA
I've seen a few.
JEFFREY
Well, I haven't seen any. I wouldn't worry
about it. Look. I better go.
AUNT BARBARA
Okay honey.
Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She
moves into a dark area and taps. Something falls. She reaches down.
In EXTREME CLOSEUP we see a termite walking by her shoe on the thick
carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the
termite and bring it up in front of her thick glasses for a look. She
looks at the termite, then looks back at the walls.
We GLIDE ALONG the dark walls of the house.
CUT TO:
123. INT. WILLIAMS' DINING ROOM - NIGHT
They all sit around the dining room table. They have their heads bowed
in a prayer before dinner.
SANDY
We thank you in the name of the Father, the
Son, and the Holy Ghost. Amen.
They start passing food around.
MIKE
Like I was saying. if you toss the ball like
this, with your fingers just down here, that
thing'll spin like a beauty. real straight.
DETECTIVE WILLIAMS
(teasing him)
Yeah? Then how come nobody caught anything
last week?.
MIKE
(not laughing)
'Cause we had a bad day.
DETECTIVE WILLIAMS
You play any sports, Jeffrey?
JEFFREY
No.
MIKE
Looks like you'd make a good runner.
JEFFREY
Well.
MIKE
I mean, you don't exactly have the build
for a football. I mean. no offense.
Jeffrey looks around and sees Sandy looking at him. She then gives a
stern look to Mike. Then Mike and Sandy both look at Jeffrey.
JEFFREY
(not offended)
No. you're right.
MIKE
I mean. some guys play anyway but they
usually get slaughtered.
JEFFREY
Yeah, well I never wanted to get
slaughtered much.
MIKE
(not getting any humor)
Well, most guys don't. I mean that's the
point. You all mind if I take my vitamins?
MRS. WILLIAMS
No, Mike. but there are vitamins in the
food, you know.
Everyone laughs.
MIKE
Yeah, but I gotta supplement that. I gotta
take a bunch of zinc too. The body is like
a machine. EVERYTHING has got to stay in
perfect tune for perfect health. That's
what I'm interested in.
Sandy looks at Mike.
MIKE
Oh yeah. and a few other things.
Everyone laughs again.
SANDY
We've got some Heinekens.
DETECTIVE WILLIAMS
Yeah. I like Bud myself.
SANDY
I'll get it. Mike, whatiya want?
MIKE
I guess another glass of water.
Sandy and Jeffrey share a look.
DISSOLVE TO:
124. INT. WILLIAMS' BASEMENT - NIGHT
Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting
on a chair nearby. The television set