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FOR EDUCATIONAL PURPOSES ONLY
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 is on.
MRS. WILLIAMS
(calling downstairs)
Who wants dessert? It's blueberry pie. and
ice cream.
Jeffrey and Sandy say "yes."
MIKE
None for me, thanks.
Jeffrey looks over at Sandy. Mike sees this. There is more tension
growing.
MIKE
(referring to T.V.)
What are watchin' this junk for?
SANDY
You can change it if you want to.
MIKE
I don't know why we have to watch T.V.
SANDY
Mike. We don't have to watch it. Come
on.
Mrs. Williams comes downstairs carrying a tray with dessert.
MRS. WILLIAMS
Here you are. Would anyone like coffee?
JEFFREY
That sounds great!
MRS. WILLIAMS
Anyone else?. Alright Jeffrey, just a
minute.
Mrs. Williams goes back upstairs. Jeffrey and Sandy start eating their
dessert. Sandy watches Jeffrey happily wolf down his pie. Mike stands up.
MIKE
I'll be right back.
He leaves as if he's going to go upstairs. Once around the corner he
stops and listens to see what Jeffery and Sandy will say to one another.
SANDY
Well, how did it go?. What happened?
JEFFREY
Well. I've found out some things.
nothing really for certain. There are some
strange people involved.
SANDY
What did you see?
JEFFREY
Well.
(looking around, feeling funny)
Maybe we should discuss this somewhere
else. you know what I mean?
Just then, Mrs. Williams starts down with the coffee for Jeffrey.
She sees Mike at the bottom of the stairs. This seems strange to her.
MRS. WILLIAMS
Mike?. Are you alright?
Mike starts upstairs.
MIKE
(mumbling)
Yes.
Downstairs, Jeffrey and Sandy hear that Mike was close by. Mrs. Williams
and Mike pass on the stairs and Mrs. Williams enters the basement. She
throws Sandy a concerned look. Just then, Mike calls downstairs.
MIKE
Sandy?. Could I talk to you a minute?
SANDY
(calling up)
Sure. just a sec.
(to Jeffrey)
Excuse me.
125. INT. WILLIAMS' LIVING ROOM - NIGHT
Upstairs, Mike is by the front door.
MIKE
Come on out a minute, okay?
SANDY
Okay.
They leave.
125A. INT. WILLIAMS' BASEMENT - NIGHT
Downstairs Mrs. Williams picks up some dishes.
MRS. WILLIAMS
Please excuse me a moment, Jeffrey, and I'll
get to the dishes.
JEFFREY
Sure thing. please don't worry about me.
Can I help you with the dishes?
MRS. WILLIAMS
Nice of you to offer, Jeffrey, but certainly
not. just relax and enjoy your coffee.
I'm sure Sandy will be back soon.
Detective Williams comes to the top of the stairs and calls down.
DETECTIVE WILLIAMS
Jeffrey?
JEFFREY
Yes?
DETECTIVE WILLIAMS
If you want to come up a minute, I'll show
you some pictures.
126. INT. DETECTIVE WILLIAMS' STUDY - NIGHT
Jeffrey enters Detective Williams' study.
DETECTIVE WILLIAMS
(continuing)
Take a look at these. These are the photos
of the vacant lot where you found the ear.
You might find them interesting.
Jeffrey begins going through the pictures. They are 8 X 10 black and
white prints. Mostly they are pictures of weeds, but they look quite
beautiful in an abstract way. As he goes through them.
JEFFREY
These are beautiful. How's the case
coming?
DETECTIVE WILLIAMS
Okay.
JEFFREY
Anything you can tell me?
DETECTIVE WILLIAMS
The criminals are winning.
JEFFREY
Is that why you say it's horrible?
DETECTIVE WILLIAMS
Yes.
JEFFREY
I guess you've seen some bad things.
DETECTIVE WILLIAMS
Yes I have - so bad I wouldn't poison
your mind by telling you.
JEFFREY
Why do you do it?
DETECTIVE WILLIAMS
I won't let the bastards get me up against
the wall. It's an act of defiance.
JEFFREY
Yeah. I get it.
Suddenly Jeffrey sees something in the black and white photos. A piece
of cloth in the grass. Carefully he asks.
JEFFREY
What is this? What color is it?
DETECTIVE WILLIAMS
(leaning over to see)
Blue. It's Blue Velvet.
Sandy comes into her father's study looking upset. Detective Williams
puts the photos away.
SANDY
Can I use the car for a while?
DETECTIVE WILLIAMS
Sure. What's up?
SANDY
I want to buy Jeffrey a Dairy Queen.
JEFFREY
A Dairy Queen?
(he holds his stomach)
Oh yeah? Sure, that sounds great.
CUT TO:
127. INT. WILLIAMS CAR/NEIGHBORHOOD STREET - NIGHT
Jeffrey gets in and Sandy starts the car. She pulls out. They drive away.
JEFFREY
What's with Mike?
SANDY
He got a little jealous.
JEFFREY
I'm sorry, I didn't.
SANDY
It's okay. Don't worry about it.
The car glides along.
Jeffrey and Sandy smile at one another. They drive on.
SANDY
You want a Dairy Queen?
JEFFREY
No way. I'm about to blow up.
128. INT. WILLIAMS CAR/CHURCH - NIGHT
Sandy laughs as she pulls the car curbside in a quiet street by a church.
The church pipe-organ music drifts softly into the night.
SANDY
You want to tell me about it?
JEFFREY
. OK. It's a strange world, Sandy.
this is what I have found out. What I
think I have found out. Dorothy Vallens
is married to a man named Don. they have
a son. I think the son and the husband
have been kidnapped by a man named
Frank who has now cut off both of Don's
ears. I think he is holding them to make
her do things for him. I think she wants
to die. the ears were for her a warning
to stay alive. there is another man
involved. I call him the "yellow man".
you saw his back the other day in the hall
at her door. I don't know what he does but
I think he's on drugs supplied by Frank.
Frank is a very dangerous man.
SANDY
(quietly)
Wow. Should you tell my father?
JEFFREY
I don't see how I can. and I can't prove
any of this. I got all this information
illegally. also it could get you in
trouble.
SANDY
You saw a lot in one night.
JEFFREY
. Actually. I've been in twice.
SANDY
(uneasy)
Twice. without her sensing anything?
JEFFREY
(lying)
Yes.
SANDY
(pausing)
Did you see her undressed?
JEFFREY
Yeah. I mean. a little, . you know.
SANDY
Yeah?
JEFFREY
(a searching, slight smile)
That doesn't bother you, does it?
SANDY
Who, me? Why should it?
JEFFREY
(seeing some jealousy and
and happy for it)
That's what I thought.
SANDY
You're sure right. It is a strange world.
JEFFREY
Why are there people like Frank. Why is
there so much trouble in this world.?
SANDY
I don't know. I had a dream. in fact. the
night I met you.
(she reflects silently on
this before proceeding)
. in the dream the world was dark because
there weren't any robins. you know, birds.
robins stood for love. and all of a sudden
thousands of robins flew down and brought
this blinding light of love. and it felt
like that love would be the only thing that
would make any difference. I guess. until
the robins come there is trouble.
JEFFREY
Yeah I guess so.
(he turns to her)
You're a neat girl.
SANDY
So are you.
(laughs)
I mean you're a neat guy. We better
get back.
JEFFREY
I guess so. you want to help me watch
Frank?. I'm going to stake out Frank's
place tomorrow. with a camera.
Sandy starts the car and pulls out into the street. They begin driving
back.
129. INT. WILLIAMS CAR/NEIGHBORHOOD STREET - NIGHT
SANDY
No, silly - I'm still in school you know.
but I'll meet you after school and you
can tell me what you've learned. You better
be careful, Jeffrey.
JEFFREY
I will. I'll pick you up on the same
corner at three thirty-five, okay?
They pull up in front of Jeffrey's house.
SANDY
Okay. be careful.
JEFFREY
Okay, Sandy.
130. EXT. BEAUMONTS' HOME - NIGHT
Jeffrey gets out of the car. He goes around to her side and looks down
at her in the car. She looks very beautiful. He stands there for a
moment.
JEFFREY
Can I give you a kiss good night?
SANDY
(pauses, trembling)
You better not, Jeffrey.
JEFFREY
Okay. okay.
SANDY
Goodnight.
JEFFREY
See ya tomorrow.
Sandy slowly drives off. Jeffrey watches her go then turns and goes
inside his house.
131. INT. BEAUMONTS' LIVING ROOM - NIGHT
The house is very dark and quiet. Jeffrey finds a note by the one table
light is on. The note is from his mother. It reads, "Jeffrey hope you
enjoyed yourself. See you at breakfast. Love Mom." A postscript is written
on the note by Aunt Barbara. "Jeffrey, honey, I found these. Love, Aunt
Barbara." Jeffrey sees that Aunt Barbara has left him two dead termites.
He picks one up and studies it. Again we see a huge CLOSEUP of a termite
in the half-light. Jeffrey shakes his head in amusement.
132. INT. JEFFREY'S ROOM - NIGHT
Jeffrey paces nervously. He picks up the phone and mouthing the numbers
he dials Dorothy's number. There is a "click" but no one speaks.
Jeffrey instinctively speaks.
JEFFREY
Hello?
FRANK (telephone V.O.)
Speak to me Fucker.
Jeffrey hangs up immediately. He's scared.
JEFFREY
(to himself)
Stupid!! So stupid. now she might be in
even more trouble with Frank. I hope not.
I hope not. tomorrow I have to find out
more about Frank.
133. INT. BEAUMONTS' CAR/FRONT STREET - DAY
Jeffrey has a camera taped and rigged to the dashboard aimed at the front
door of Frank Booth's apartment building. The camera is covered with a
cardboard shoe box. Jeffrey is eating a sandwich which was
wrapped in wax paper and is waiting and watching.
A LADY steps out of the building and begins walking down the steps.
Jeffrey reaches over and removes the shoe box and quickly takes two
pictures.
We see a MAN walk down the street and turn up the steps. Jeffrey shoots,
but really only gets the back of the man.
JEFFREY
Damn!
He replaces the cardboard box and continues eating.
DISSOLVE TO:
134. INT. BEAUMONTS' CAR/FRONT STREET - DAY
Later in the day. Jeffrey sits waiting. He looks at his watch. It says
2:00.
As he looks up he sees Frank getting out of a car with another man. the
Yellow Man. They head for Frank's building. Jeffrey hurriedly removes
the shoe box and begins snapping pictures. They mount the steps and
disappear within the old dark structure.
JEFFREY
Wow.
DISSOLVE TO:
135. INT. BEAUMONTS' CAR/FRONT STREET - DAY
Jeffrey's watch - the hand - time lapses around to 3:00.
JEFFREY
(out loud to himself)
Fifteen more minutes.
Just then, he sees movement and takes the box off the camera. He starts
shooting as TWO MEN come out the door. It is the Yellow Man and a man who
is very well dressed with wavy hair and a mustache. He carries an
alligator-skin briefcase FRANK HAS DISAPPEARED. Both are talking together
and now laughing. Jeffrey takes five or six pictures and then tries to
cover the camera as they approach. The box falls. The Yellow Man looks,
but Jeffrey gets the box back in time and pretends to be looking in the
glove compartment.
The two men walk right by Jeffrey and get into the car behind his.
Jeffrey decides to follow them. He waits a few seconds and starts off.
136. EXT. CITY STREET - DAY
They drive through town.
137. FACTORY BUILDING - DAY
. to a large factory building, park and go up a flight of metal stairs on the side of the building. Jeffrey steps into the shadows and watches them. At a metal landing they stop. He sees them standing on their tip toes in order to see something in the
distance. The man with the alligator briefcase is laughing with the Yellow Man at what he sees. He grips the Yellow Man on the shoulder. Jeffrey cannot see what they see from his vintage point. He looks at his watch. "3:25".
JEFFREY
You gotta wait for me Sandy. I'm on a real roll.
He quickly takes a picture of the two of them on the staircase.
138. EXT. ALLEY - DAY
. then he goes down an alley in the direction they were looking. At the
end of the alley he turns left and stops short.
139. EXT. COLD STORAGE COMPANY - DAY
He sees a crowd of people, an ambulance, and two police cars. He walks
closer. Through the crowd he sees a broken window. Hanging in the window
is a dead man. Blood is dripping out of a huge wound to the head.
On the sidewalk in front of the building a woman is lying in shock.
Her legs have been brutally broken and are angled back toward her head
in horrible positions. Jeffrey stands next to two black guys. Suddenly
one of the police officers start pushing everyone away. Jeffrey turns to
them.
JEFFREY
What happened?
GUY #1
He was blown away man. can't you see?
GUY #2
That cracker was the biggest dealer in
this section of the city, brother. the
police are going to find more drugs in
there than you can believe. It's a
speedball heaven in there.
JEFFREY
Oh yeah? What about the woman?
GUY #1
Probably just a whore he happened to be
with at the time.
JEFFREY
Man oh brother.
GUY #1
This is the way the world is my man. take
a good look.
Jeffrey takes a last look before checking his watch and hurrying off.
CUT TO:
140. EXT. CENTRAL HIGH SCHOOL - DAY
Jeffrey drives up to the corner where Sandy is standing. She is
frantically looking around. Jeffrey stops for her.
SANDY
(looking beyond the car)
GO ON!!!. GO!
Jeffrey looks around. A big FOOTBALL PLAYER is running up to a chain
link fence across the street, but it's too late - Mike sees Jeffrey.
Everything stops for a moment. Then, Mike runs off.
SANDY
Oh great.
141. INT. BEAUMONTS' CAR/CENTRAL HIGH SCHOOL - DAY
Sandy goes around and gets in the car.
SANDY
(continuing)
You were late.
JEFFREY
I'm really sorry.
SANDY
What am I going to do?
JEFFREY
You want to go talk to him?
SANDY
Yeah, but. I don't think it's going to do
much good. Let's go. I'll try to talk to
him later.
CUT TO:
142. INT. DINER - DAY
Jeffrey and Sandy are sitting in the diner in a different booth, but
having the same things as before.
SANDY
You know, that cheese is practically
all chemicals.
JEFFREY
That's what makes it so good. You wanta
hear what I saw today?
SANDY
Shoot.
JEFFREY
Number one. I saw the Yellow Man go into
Frank's building, laughing with Frank.
Now. the only trouble is. what does this
prove?
SANDY
(thinking)
Nothing really, but it's interesting.
they know each other. they seem to like
each other.
JEFFREY
Maybe. But I think the Yellow Man is on
drugs. I think Frank supplies him.
SANDY
Oh yeah?
JEFFREY
Number two. I saw the Yellow Man come out.
This time with a well-dressed man with an
alligator briefcase. They drove down this
factory building and stood on a staircase
looking at something in the distance.
Number three. now get this. In the distance
was a murder. a drug dealer shot to death
and a woman with her legs broken.
SANDY
Jeffrey!!
JEFFREY
Then these guys told me the police will
find a huge amount of drugs inside the
dead man's place.
SANDY
I can't believe what you are finding out.
Are you going to continue with this. Are
you going back to her apartment?
JEFFREY
Yeah.
SANDY
Jeffrey?. Why?
JEFFREY
I'm seeing something that was always hidden.
I'm involved in a mystery. I'm learning.
and it's all secret.
SANDY
You like mysteries that much?
JEFFREY
Yeah. you're a mystery. I like you.
very much.
Jeffrey stands up and moves to her side of the booth. They stare at each
other.
SANDY
Oh yeah?
Jeffrey leans over and kisses her gently. She pulls away.
SANDY
Don't. please, Jeffrey.
Jeffrey looks at her for a moment.
JEFFREY
You worry about me really?
SANDY
Yes. is that so surprising?. Yeah I
worry. a lot. I got you into this.
CUT TO:
143. INT. STAIRWAY - APARTMENT BUILDING - NIGHT
Jeffrey winds his way up the staircase of Dorothy's apartment building.
He hesitates before crossing to Dorothy's door. He knocks on the door and
Dorothy opens it.
DOROTHY
Come in.
JEFFREY
Hello.
144. INT. DOROTHY'S APARTMENT - NIGHT
Dorothy closes the door. She chains it.
They kiss. The kiss gets hotter. The feeling begins.
They move down the hall to the back bedroom. They've never made love
there. As they hurriedly undress Jeffrey sees the pointed child's hat
with the propeller. He picks it up and spins the propeller. It makes a
bit of music. Dorothy shrieks as she lurches toward Jeffrey grabbing his
hand, stopping him from turning the tiny propeller. She gains some
control of herself. Jeffrey releases the hat into her hand.
DOROTHY
It used to make me laugh .but.
JEFFREY
I'm sorry .maybe I better go Dorothy.
DOROTHY
Yes. Frank-
JEFFREY
Frank is coming?
DOROTHY
No. how could he?. Don't go. You think
I'm crazy, don't you? I want you to stay.
(crying)
. don't hate me.
JEFFREY
(very nervous)
I sure don't hate you.
DOROTHY
I'm not crazy.
(thinking)
I know the difference between right
and wrong.
JEFFREY
That's good.
Jeffrey moves to get out of bed.
DOROTHY
(she poses)
Do you like my body?
JEFFREY
Sure I do.
She moves closer to him, towards his back touching it with her tongue.
She gets down in a pose and holds it.
DOROTHY
I'm a statue. you can feel me.you
can do anything you want.
Jeffrey's hands find her flesh and move about.
DISSOLVE TO:
Jeffrey and Dorothy are making love in her bed in almost total darkness.
DOROTHY
(dreamily)
What do you want to do?
JEFFREY
I'm doing it.
DOROTHY
Are you a bad boy?
JEFFREY
Whatiya mean?
DOROTHY
Do you want to do bad things?
(very dreamy)
Anything. anything.
JEFFREY
(whispering hot)
What do you want?
DOROTHY
I want you to hurt me.
JEFFREY
No. I told you. I don't want to hurt you.
I want to help you. I think I know some of
what is happening to you.
(she doesn't react)
. Dorothy? Frank has your husband and son.
Dorothy? Doesn't he? You have to do
something Dorothy. go to the police.
DOROTHY
No police!!!.
(pushing herself back against
the headboard; then frantic)
No police!!
Suddenly, Dorothy gets very odd. She turns into a little girl. She has
a frightening little girl smile.
DOROTHY
You like to open me. don't you?
JEFFREY
Yes.
DOROTHY
(thinking with a grin)
What if I told Frank that you opened me?
For just one quiet moment we see the stairway to Dorothy's apartment.
It is empty. Then back to Jeffrey and Dorothy.
JEFFREY
That wouldn't be too good, would it?
DOROTHY
Frank would open you.
JEFFREY
Okay. I know you've been scared. now you
want to scare someone.
DOROTHY
(smiles very strangely)
Does that scare you?
JEFFREY
Shut up.
DOROTHY
Beeeee careful.
JEFFREY
(scared and mad)
Come on Dorothy.
DOROTHY
What if Frank came over here and found us?
The curtains in the kitchen bellow out with an eerie gust of wind.
JEFFREY
Look, snap out of it, will ya?
DOROTHY
Kiss me.
They kiss.
DOROTHY
(continuing)
Do you love me?
JEFFREY
Do you love me?
DOROTHY
I asked first.
JEFFREY
Sometimes I think I do.
DOROTHY
And sometimes you think you don't?! Well,
get away then!
She bolts up.
JEFFREY
Wait a minute. Wait. Whatiya want? For
cryin' out loud!
DOROTHY
Just get outta my bed.
She hits out at Jeffrey and strikes him in the face. Jeffrey struggles
with her to keep her from hitting him again but she breaks loose and slams
out at his face again. He pushes back hard and her head actually hits the
wall. She smiles through the pain.
JEFFREY
Oh God. are you alright.
She falls on him and smothers him with kisses.
DOROTHY
See. see how you hurt me? Now. Open
me. enter me.
Jeffrey moves on top of her in the darkness.
We move very close to Jeffrey's ear as Dorothy's lips come up and whisper
into it.
DOROTHY
I love you Don with all my heart.
JEFFREY
No. it's not Don.
But he can't stop himself or her from making love.
DOROTHY
Come inside me. Oh yes, oh yes, oh yes.
(very frantic)
Oh yes, oh yes, oh yes.
The movement subsides. There is silence in the room, except for breathing.
JEFFREY
I didn't mean to hurt you.
DOROTHY
Shhhhhh. Now I have your disease.
JEFFREY
You. what?
DOROTHY
You put your disease in me. your semen.
it's hot and full of disease.
JEFFREY
There's no disease, I can tell you.
DOROTHY
Men are crazy. then they put their
craziness into me. then it makes me
crazy. then they aren't so crazy for
awhile. then they put their craziness
in me again.
(starts crying)
. it's burning me. but I love you. I
do, I do. Did you know that? Did you
know that I love you?
JEFFREY
(very apprehensive)
I'm glad you do.
DOROTHY
There's so much I want to tell you. I'm in
so much darkness though with things moving.
there is darkness sucking me. It's kissing
me and darkness is entering me. in every
hole. It's opening me to a death.
JEFFREY
Dorothy. no!
DOROTHY
(whispering)
If I die, then they'll be free. It's
getting late, isn't it? I can tell. it's
a cold feeling when it's late. It's warm
then it gets cold. Jeffrey. I feel it
getting cold.
JEFFREY
You called me Jeffrey.
DOROTHY
I did. are you?
JEFFREY
Yes.
DOROTHY
Why are you here?
(Jeffrey gets on top
of her again)
Hmmmmmmmm!!!! Ok.
JEFFREY
No. not really.
(they kiss - very hot)
but also because I really want you
to be alright.
Dorothy stops and looks at him - she holds his face. She starts to cry.
DOROTHY
You do .you really do.
She continues holding his face - looking in his eyes crying openly.
he pulls him down to her.
DOROTHY
Jeffrey. Jeffrey. Jeffrey.
Jeffrey smiles.
JEFFREY
I guess I should go.
DOROTHY
I want you to stay with me.
JEFFREY
I think I better go.
146. INT. DOROTHY'S APARTMENT - NIGHT
Later. Jeffrey is dressed and Dorothy comes out of the bathroom in her
robe. She is combing her hair. One or two lights are on now. She looks
at Jeffrey and smiles, brushes some of his hair back from his face.
DOROTHY
You're my special friend, aren't you?
(whispers)
I have you inside of me still.
(big smile)
It helps me. I need you.
Jeffrey doesn't know what to say. He starts walking toward the door with
Dorothy beside him.
JEFFREY
(lying)
I'll call you.
DOROTHY
Okay. soon? Do you think I'm too fat?
JEFFREY
What?
DOROTHY
I'm getting a little bit fat. I hate that.
JEFFREY
You look beautiful to me.
She pats her hips.
DOROTHY
Right in here. fat, fat, fat.
Dorothy takes the chain off the door and opens it. The hall is empty.
There is some noise on the stairs. Suddenly, Frank and TWO FRIENDS of
his come into view on the stairway.
JEFFREY
(to Dorothy)
Oh no.
DOROTHY
(her eyes glaze over -
she's gone again)
No.
(calling out to Frank)
Hi baby.
FRANK
Who's this fuck?
DOROTHY
He's a friend. from the neighborhood.
we were just talking.
FRANK
(to Jeffrey)
From the neighborhood?
(slowly)
Shut the fuck up.
(to Jeffrey)
You like telephones? Huh?. You wanta go
for a ride?
JEFFREY
No thanks.
FRANK
No thanks. what does that mean?
JEFFREY
(very carefully)
I don't want to go.
FRANK
Go where?
JEFFREY
On a ride.
FRANK
A ride?. Hell, that's a good idea. okay,
let's go. Hey, let's go.
Frank grabs Jeffrey and pulls him along.
FRANK
(continuing to Dorothy)
Come on. We're goin' for a joy ride.
147. INT. STAIRWAY - APARTMENT BUILDING - NIGHT
Frank takes Jeffrey on a wide-eyed terror walk down the stairway.
CUT TO:
148. INT. FRANK'S CAR/CITY STREETS - NIGHT
Frank and Dorothy are in the front seat. Jeffrey is sandwiched between
two very dirty strange guys in the back. Frank is driving very fast and
very crazy. Sitting next to him on the front seat is a police radio which
periodically blares out police reports. At the lights, when they turn
green, Frank lays rubber.
FRANK
Where you wanna go? I know!. We gotta see
Ben. We gotta, right?
PAUL
(laughing)
Yeah. we gotta see Ben.
The car roars through a seedy street lined with bars and clubs. Liquor
and sex shop signs glow in hot neon colors. They are blurred visions
because of the speed of Frank's car.
Driving music plays.
Frank careens dangerously down various narrow streets, just barely making
turns. The Ford bounces off several curbs. Dorothy occasionally steals
a glance back at Jeffrey. She squeals out loud - sometimes with glee,
mostly in fear.
Raymond and Paul laugh with Frank, yell out or light cigarettes.
149. EXT. "BARBARY COAST" - NIGHT
Frank finally gets to where he's going - a corner bar - and skids to a
hault. They all pile out. Frank grabs Jeffrey.
FRANK
Come on. I wancha to meet a frienda mine.
Raymond, get enough beer for Ben too.
RAYMOND
Okay Frank.
FRANK
(to Jeffrey)
What kinda beer do you like?
JEFFREY
(just says it)
Heineken.
FRANK
FUCK THAT SHIT. PABST BLUE RIBBON!!!
He grabs Jeffrey and pushes him into the bar.
150. INT. "BARBARY COAST" - NIGHT
Moving fast now, they go through this dark frightening place. Frank has
Jeffrey by the neck forcing him faster. In the back there is a black man
fondling a white girl near a doorway.
151. INT. BACK ROOM - "BARBARY COAST" - NIGHT
They go through the door to a back room. A few naked girls are there near
beds with curtains around them. One girl lies on her bed with dried vomit
around her head and pillow. Suddenly Frank spots his friend Willard.
He runs toward him violently and grabs him by the throat.
FRANK
Hey shithead. that's the last time I get
you high and watch you freak out -
motherfucker you tore my coat and I lost
my lucky piece of blue velvet, man.
152. INT. DETECTIVE WILLIAMS' STUDY - NIGHT
FLASHBACK
to the black and white photo of a piece of cloth in the weeds in the
vacant lot.
JEFFREY (V.O.)
What color is it?
DETECTIVE WILLIAMS (V.O.)
It's blue. blue velvet.
153. INT. BACK ROOM - "BARBARY COAST" - NIGHT
RESUME GROUP
WILLARD
Hey Frank I'm sorry buddy.
FRANK
Yeah?. get ready for a love letter.
When you least expect it.
WILLARD
Frank. please man.
FRANK
A big love letter.
Frank pushes him down on the bed with the dried vomit whore. They leave
Willard.
154. INT. STAIRS AND LANDING - BEN'S APARTMENT - NIGHT
... and go up a flight of dirty wooden steps. Frank bangs on a door at the
first landing. Raymond joins him with a case of Pabst Blue Ribbon Beer.
FRANK
Hey Ben. OPEN UP. It's Frank.
A tall, slender man with a smoking jacket and a mustache opens the door.
It's BEN. His voice is very horse from years of smoking.
BEN
(very gracious)
Frank. Come in.
FRANK
Hey, I brought some friends. and some
beer.
BEN
Fine. Welcome. Come sit down.
155. INT. BEN'S APARTMENT - NIGHT
The apartment is very large. All the furniture is over-stuffed. In
the room there is a very much over-weight WOMAN dressed in black and a
greasy-looking COUPLE. On the couch, a YOUNG WOMAN plays with a large
doll.
FRANK
(getting higher all the time)
Suave. goddam are you suave, you fucker.
You want some beer?
BEN
(smiling)
Certainly Frank.
(to the fat woman)
Darling, get some glasses. We'll have
some beer with Frank. Won't you sit down?
Everyone kinds of mills around. Paul sits down in a chair and starts
laughing at some private joke in his head.
FRANK
Shit Ben! How the shit are ya?
BEN
Fine Frank. Fine. How are you?
FRANK
Fuckin' good, real fuckin' good. You know
this little tid bit, Dorothy, and this thing,
here, (referring to Jeffrey) is a neighbor.
What the shit we're doin' with a neighbor, I
don't know. goddam!!!(referring to Ben) This
is the suavest guy I know. look at you. You're
one beautiful fucker, Ben. I love this jacket
and that cigarette holder of yours. shit, that
is too fuckin' much. Where's those glasses.
this beer's gonna get too warm. I can't stand
fuckin' warm beer. it makes me puke.
BEN
Darling, where are the glasses?. Oh.
here they are.
The Big Lady brings the glasses in and sets them on the card table.
She looks worried. She gives a helpless pleading look to Ben.
FRANK
Raymond! Where's the fuckin' beer?
RAYMOND
Right here Frank. You want me to pour it?
FRANK
No, I want ya to fuck it. Shit, yes.
pour the fuckin' beer.
RAYMOND
There ya go.
FRANK
Good, let's drink up.
BEN
To your health, Frank.
FRANK
Shit. let's drink to something else.
let's drink to fuckin'. Say here's
to your fuck Frank.
BEN
If you like Frank. Here's to your fuck.
cheers.
Frank's friends, Paul and Raymod, laugh.
FRANK
(laughs loud)
Cheers. Suave man. you're so fuckin'
suave. WE LOVE BEN! Here's to Ben!.
Frank slaps Jeffrey in the face.
FRANK
Hey neighbor. Here's to Ben.
JEFFREY
(stunned, grabbing his face)
Here's to Ben.
FRANK
Do you see, Ben?. I can make him do
anything I fuckin' please.
Ben goes to Jeffrey.
BEN
Thank you neighbor. let me see your
face. did he hurt you?
Jeffrey shows him.
BEN
(continuing)
Oh. my.
Suddenly Ben slugs Jeffrey in the stomach. Jeffrey doubles over.
BEN
(continuing again)
Is that any better?
Frank almost dies laughing. Everyone else joins in. Ben turns to Frank.
BEN
Frank, I have something for you. Excuse
us everyone.
FRANK
EXCUSE US por favor! Hey. let Tits see
her kid.
As Jeffrey tries to catch his breath, he sees tremendous emotion fill
Dorothy's face. She rushes forward. Raymond grabs her by the arm and
takes her into another room. Jeffrey hears her crying out. He hears a
small boy.
DOROTHY (V.O.)
Donny, oh my Donny.
DONNY (V.O.)
Mommy!
155A. INT. BACK ROOM - BEN'S APARTMENT - NIGHT
Dorothy is sobbing and clinging to Donny. He is crying and gripping her
like a small monkey would grip its mother. Suddenly Donny breaks away,
screaming.
DONNY
Mommy. You left me. you stopped loving me.
FRANK
(coming back into Ben's living room)
Okay. let's hit the fuckin' road. we're
givin' our neighbor a joy ride. let's get
on with it. Bye, Ben. Ya wanna go on a
joy ride with us, anyone? You?
(looking around)
Dorothy rejoins the group. She's in a state of shock. Frank pinches her
cheek.
FRANK
(continuing)
No smile for Frank? No? Okay, fuck it.
Let's go. Oh you wanna come with Raymond?
Raymond has picked up the greasy girl.
BEN
See you Tuesday, Frank.
FRANK
Right Ben. LET'S GO FUCK. I'll fuck
anything that moves.
156. EXT. "BARBARY COAST" - NIGHT
They leave and pile back into the car.
157. INT. FRANK'S CAR/CITY STREETS - NIGHT
Now there are four in the back. Raymond starts necking with the Greasy
Girl. They speed on into the night. Frank drives through various dark
streets.
158. INT. FRANK'S CAR/HIGHWAY - NIGHT
. then out onto a highway and goes over 100 mph down a two-lane highway.
FRANK
(to Jeffrey)
Hey? . You like to walk.
JEFFREY
What?
FRANK
Let's take our neighbor out. Let him
fuckin' walk back.
(laughs)
As Frank is driving Jeffrey sees Dorothy nervously look at the road and
surrounding countryside, then questioningly at Frank. She senses something
about where they are going.
DOROTHY
Where are we going, Frank?
FRANK
Hey. Tits. I'm taking your neighbor to
the country. maybe something for you too.
DOROTHY
(very anxious)
Frank?
FRANK
You want to see him too, right?
DOROTHY
Yes, but.
FRANK
Then, shut up!
Frank sees Dorothy look back at Jeffrey.
FRANK
(continuing)
Hey. What's this fuck got to do with
anything.
159. INT. FRANK'S CAR/DIRT ROAD - NIGHT
Frank angrily swerves the car off onto a small dirt road bouncing down
it, screeching to a halt near an orchard of trees. He turns violently
around to Jeffrey.
FRANK
What are you lookin' at?
JEFFREY
Nothing.
FRANK
(locks eyes with Jeffrey;
long pause)
Don't look at me, Fuck. I shoot when I see
the whites of the eyes.
(takes helium)
You like me?.
Jeffrey is quiet.
FRANK
(still high voice)
Look at these. What are these?
DOROTHY
Come on, Frank. Let's go. Please.
Frank is doing something to Dorothy's chest but Jeffrey can't see.
FRANK
Don't say PLEASE, Fuckhead. WHAT ARE
THESE?
DOROTHY
Those are my breasts.
FRANK
Can I feel 'em?
DOROTHY
If you want to.
Frank takes helium.
FRANK
Baby wants to pinch 'em.
She winces and tries to pull away.
FRANK
(continuing)
What's the matter? Give 'em back. They're
just a little red, that's all. let me feel
'em again. Come here.
Frank pulls her over and starts to pinch her again. It really hurts her
and she is frightened and in pain.
JEFFREY
Hey. leave her alone.
Frank pretends not to hear Jeffrey and pinches Dorothy's breasts real hard.
She stifles a scream. Jeffrey gets mad. He hits Frank hard in the face.
Everyone is deadly silent as Frank turns to Jeffrey. Frank stares at
Jeffrey.
FRANK
NEXT! . out of the car fuck. HELP HIM
OUT, RAYMOND!!
160. EXT. FRANK'S CAR/DIRT ROAD - NIGHT
Frank gets out and presses his face against the rear window. His distorted
face is hideous. He opens the back door. Raymond and Paul grab Jeffrey
and pull him out of the car. The Greasy Girl laughs nervously.
DOROTHY
Frank. he didn't mean it. Leave him
alone. come on. He didn't mean it.
FRANK
Shut up. Gimme your lipstick.
(takes gas)
. Hey, pretty, pretty.
Dorothy doesn't move fast enough so Frank dumps her whole purse out on the
front seat and grabs the lipstick and a flashlight. He puts lipstick
heavy onto his lips.
While Raymond and Paul hold Jeffrey. Frank kisses Jeffrey all over the
mouth. Jeffrey tries to hit Frank and pull away, but Raymond and Paul
have a hold of him. Jeffrey looks very strange with these big blotches
of red lipstick on his face and mouth.
DOROTHY
LEAVE HIM ALONE!! FRANK!!
Frank slams the front door shut to muffle Dorothy. He grabs Jeffrey and
presses his frightened face against the front window. Then, the back
window. Then, he flops Jeffrey up on the hood with Paul's help and presses
Jeffrey's face against the rear window. Inside the car, this show is
crazy and scary. Then, Frank takes Jeffrey over to the side of the car
again.
FRANK
(to Jeffrey)
You're fuckin' lucky to be alive.
LOOK AT ME!
Raymond pulls Jeffrey's face back so he's looking at Frank. Dorothy and
the Greasy Girl watch in terror.
FRANK
Don't be a good neighbor to her or I'm
gonna send you a love letter. straight
from my heart, fucker. You know what a
love letter is? It's a bullet. straight
from my gun, fucker. Once you get a love
letter from me, you're fucked forever.
Understand, Fuck?
JEFFREY
Yes.
FRANK
I'll send you straight to hell, Fuck!
Frank takes a small square of blue velvet out of his pocket and begins
feeling Jeffrey's face with it.
FRANK
(continuing; breathing heavily)
You feel good. feel my muscles.
Raymond makes Jeffrey raise his arm and Jeffrey feels Frank's biceps.
FRANK
(continuing)
You like that?
(to Raymond and Paul)
Hold him tight for me.
Suddenly Frank starts hitting Jeffrey in the face. Dorothy screams at the
car window.
CUT TO BLACK:
161. EXT. DIRT ROAD - DAY
NO SOUND. THEN A MOAN.
JEFFREY'S P.O.V. of rocks on the ground.
He slowly picks up and looks around. The car is gone. He is swollen,
bloody, and covered with lipstick. His pants have been pulled down and
"FUCK YOU" has been written with lipstick on his legs.
He struggles to his feet and pulls his pants up. He fastens his belt
and begins limping up the dirt road highway.
CUT TO:
162. EXT. PHONE BOOTH - HIGHWAY - DAY
Jeffrey dials.
JEFFREY
Yellow Cab? Is this Yellow Cab? I need a
cab. on Route 7.
(he looks around)
. Just by Meadow Lane.
163. INT. DOROTHY'S APARTMENT - NIGHT
FLASHBACK
Jeffrey remembers Dorothy mentioning "Meadow Lane" on the phone.
164. INT. FRANK'S CAR - NIGHT
FLASHBACK
Jeffrey remembers Frank saying "You want to see him too, right?" and
Dorothy saying, "Yes. but."
165. EXT. PHONE BOOTH - HIGHWAY - DAY
JEFFREY
(continuing)
Meadow Lane. There's a big Nehi sign.
Okay. I'll wait, don't worry, . I've
got to get home, don't I?
DISSOLVE TO:
166. INT. JEFFREY'S ROOM - DAY
Jeffrey is sleeping. His face is swollen and bruised. The clock says
4:30 p.m.
DISSOLVE TO:
167. INT. JEFFREY'S ROOM - NIGHT
The clock says 1:30 a.m. Jeffrey goes into the bathroom. Looks at his
puffed face and takes two aspirin. He stumbles back to bed.
DISSOLVE TO:
168. INT. JEFFREY'S ROOM - DAY
The clock says 7:30 a.m. and Jeffrey gets up and stretches.
JEFFREY
Owww.
His muscles are very sore.
CUT TO:
169. INT. BEAUMONTS' KITCHEN - DAY
At the breakfast table. Aunt Barbara and Mrs. Beaumont are staring at
Jeffrey.
JEFFREY
I don't want to talk about it. Everything's
okay now. I don't want to talk about it.
AUNT BARBARA
Sometimes it helps to talk things over.
for instance, many marriages are saved by.
JEFFREY
(interrupting, smiling
at Aunt Barbara)
Aunt Barbara. I love you, but you're not
gonna get it.
He holds his fist up.
DISSOLVE TO:
170. JEFFREY'S ROOM - DAY
Jeffrey dials the phone.
JEFFREY
Mrs. Williams? Hi, this is Jeffrey
Beaumont. fine and you? Good. Is Sandy
there? Good, thanks. Sandy?. Can you
talk? Good. I'm through with this
business. I'll explain, but it got a
little out of hand. I'm lucky to be
able to call you. anyway. I promise
I'll tell you everything .How are you?
CUT TO:
171. INT. SANDY'S BEDROOM - DAY
Sandy on her phone.
SANDY
We broke up. No. It's okay. It's okay.
Jeffrey?. Jeffrey?. Hey, Jeffrey?.
Do you want to go to a party with me
Friday night?. He won't be there, don't
worry. It'll be real nice. This Friday.
You don't dance? Well, I'll teach you,
silly.
CUT TO:
172. INT. JEFFREY'S ROOM - DAY
Jeffrey on his phone.
JEFFREY
Great. Hey. I've got a bit of a
problem. I know some things. that
could help your father but you
might get into trouble.
INT. SANDY'S BEDROOM - DAY
SANDY
Jeffrey. are they important things?
Well forget me - you have to tell
him. Jeffrey. I mean it.
INT. JEFFREY'S ROOM - DAY
JEFFREY
Ok but I promise I won't mention you.
Okay? .I'll see him at the police
station. okay? See you Friday night,
if not before.
DISSOLVE TO:
173. INT. POLICE STATION - DAY
Jeffrey climbs the stairs up to Detective Williams' office.
174. INT. ROOM 221 - POLICE STATION - DAY
He rounds the corner and steps inside the office, when he stops short with
fear. Detective Williams is not there, but sitting at a desk next to
Detective Williams' desk is the Yellow Man. Their eyes lock.
Jeffrey freezes.
JEFFREY
Excuse me.
Jeffrey turns away as quickly as possible and goes over to a water cooler
and gets a drink, keeping his back to the Yellow Man. He shakes with
fear. He slowly turns around. The Yellow Man is studying some papers on
his desk.
Again the Yellow Man looks up. This time he is slightly suspicious and he
cooks his head. Jeffrey cannot move.
Finally, Jeffrey is able to step away. As he leaves the Yellow Man's line
of sight, Jeffrey catches the names on the door.
DETECTIVES
J.R. WILLIAMS
AND
T.R. GORDON
JEFFREY
(inner voice)
Gordon. Gordon. a police inspector.
wait a minute. wait a minute.
175. EXT. COLD STORAGE COMPANY - DAY
FLASHBACK
Jeffrey remembers the black guy saying: "The police are going to find more
drugs in there than you can believe."
JEFFREY
(continuing, inner voice)
The police. the police. Gordon.
177. INT. BEN'S APARTMENT - NIGHT
FLASHBACK
Jeffrey remembers Frank's voice in the distance: "Gordon went right up
to them - in broad daylight of course - 'cause he's the man, right? And
he took all those drugs away."
178. INT. ROOM 221 - POLICE STATION - DAY
JEFFREY
(continuing, inner voice)
Took all those drugs away. Gordon
took those drugs away.
CUT TO:
179. EXT. WILLIAMS HOME - NIGHT
Jeffrey walks through the darkness, carrying the photos. He stops in
front of Detective Williams' house and hesitates. Jeffrey's face has a
troubled look. He approaches the front door.
He hesitates again before finally knocking. Detective Williams answers
the door. Sandy is in the background. When she sees the look on Jeffrey's
face, she knows why he's there.
DETECTIVE WILLIAMS
Jeffrey! Come on in.
JEFFREY
Hi. Hi Sandy. I'm sorry to bother you,
but I've got to talk to you.
DETECTIVE WILLIAMS
Okay. come on in. Looks like you had a
bad face lift.
JEFFREY
(with a goofy smile to Sandy)
Yeah.
180. INT. WILLIAMS' LIVING ROOM - NIGHT
Sandy gives him a concerned look. Jeffrey follows Detective Williams to
his study.
181. INT. DETECTIVE WILLIAMS STUDY - NIGHT
He closes the door behind him.
DETECTIVE WILLIAMS
Okay?
JEFFREY
Okay. I gotta tell you. I've. discovered
some things. .Anyway I have to show you
some pictures and tell you some things
about them. The first picture is this.
He shows him the picture of Frank and studies Detective Williams' face as
he sees it.
JEFFREY
(continuing)
This is Frank Booth. His address is on
the back of the photo. He, in my opinion,
is very sick and dangerous. This photo
here is of Frank with another man as they
went into Frank's apartment.
Jeffrey casually hands the photo over and watches Detective Williams' face
extra carefully. Detective Williams doesn't flinch, yet his eyes slowly
glide upwards to meet Jeffrey's.
JEFFREY
(continuing)
And that man came out with a third man -
this well-dressed guy. here's the photo.
I think a girl named Dorothy Vallens is
in trouble with these people. I think
Frank has taken her husband and her son.
JEFFREY
(continuing)
I have no hard proof of any of this. Her
address is also on the photos. I think
these people are involved with drugs. and
murder. I think Frank is killing drug
dealers and.
(he decides not to tell Detective
Williams everything)
. and somehow Frank is getting all their
drugs. I had to tell you I got slightly
more involved in this than you wanted me
to, but it's over now for sure. .I had to
tell you about these things in case it
could help.
DETECTIVE WILLIAMS
Well now Jeffrey, how did you come to get
so involved?
JEFFREY
I can't tell you the whole story. I. I
took it upon myself. I can't say more.
DETECTIVE WILLIAMS
Is Sandy part of this?
JEFFREY
No. not at all.
DETECTIVE WILLIAMS
(referring to the photos)
Who knows you have these?
JEFFREY
Only you. and the photo lab.
DETECTIVE WILLIAMS
You're all through with this now?
JEFFREY
Yes sir. I sure am.
Detective Williams studies Jeffrey, then the photos.
DETECTIVE WILLIAMS
For now. Alright. you better be. And
Sandy better not be involved with this,
I can tell you. Be prepared to come in
for further interrogation on this later.
JEFFREY
Yes sir.
Jeffrey leaves the study.
182. INT. WILLIAMS' LIVING ROOM - NIGHT
In the living room, Jeffrey looks at Sandy.
SANDY
Everything okay?
JEFFREY
Yeah. I think so. I just had to tell him
some of what I knew. Is Friday still on?
SANDY
You didn't tell him about me?
JEFFREY
No.
Detective Williams comes out of his study and sees the two of them talking.
He sees some nervousness. Sandy quickly changes the subject.
SANDY
I should never had gotten you going on this.
(changing, smiling)
Yes Jeffrey. Friday's on!
JEFFREY
Okay. great!
CUT TO:
183. EXT. BEAUMONTS' FRONT LAWN - DAY
Jeffrey waters the flowers and bushes as his father had done. His face
looks much better.
DISSOLVE TO:
184. INT. HOSPITAL ROOM - DAY
Jeffrey sits and visits with his father. His Mother and his Aunt Barbara are there too.
DISSOLVE TO:
185. INT. HOSPITAL LAB - DAY
CLOSEUPS of cells moving - dark cells move in - the picture gets dark.
DISSOLVE TO:
186. EXT. WILLIAMS HOME - NIGHT
Jeffrey is driving over to Sandy's.
He has to park across the street because a police car is sitting in front
of the Williams' house. Its lights are slowly revolving on top. The engine
idles. a Man is inside. his head down, studying some papers.
Jeffrey barely notices all this, as he heads for the door.
Mrs. Williams answers the door and Sandy is behind her in the dining room.
MRS. WILLIAMS
Hello, Jeffrey. Come in.
187. INT. WILLIAMS' LIVING ROOM - NIGHT
Jeffrey enters and crosses the room to Sandy.
JEFFREY
You all set?
Detective Williams comes in arranging some papers which he begins placing
in a briefcase on the dining room table. Just then a man comes up to the
door which is still open. Jeffrey turns to see. It is Detective
T.R. Gordon, the Yellow Man. All the color instantly drains from
Jeffrey's face.
YELLOW MAN
(yelling inside)
Hey John - get a move on!!
Detective Williams turns. He sees Detective Gordon. He turns again. He
sees Jeffrey's expression. Sandy hasn't seen it yet.
Detective Williams goes to Jeffrey. He looks him straight in the eye. He
also positions himself between Jeffrey and T.R. Gordon.
DETECTIVE WILLIAMS
Easy does it Jeffrey. Behave yourself.
don't blow it.
Sandy becomes curious and moves over to Jeffrey and her father. Jeffrey
decides to trust Detective Williams. The Yellow Man (T.R. Gordon) yells
again.
YELLOW MAN
Come on John, get it in gear pal!
DETECTIVE WILLIAMS
So long Jeffrey. You two have a nice
night, okay?
JEFFREY
Okay.
SANDY
What is it?
JEFFREY
Just some fatherly advice.
DETECTIVE WILLIAMS
That's right.
Jeffrey and Sandy head for the door. The Yellow Man's and Jeffrey's eyes
meet once more. The Yellow Man cocks his head. thinking. No recognition.
SANDY
(to her mother)
Goodnight mom.
(to the Yellow Man)
Goodnight Tom.
T.R. GORDON-YELLOW MAN
Goodnight, Sandy.
188. EXT. WILLIAMS HOME - NIGHT
They cross the yard to the car. Jeffrey helps Sandy in, then goes around
and gets in himself. They are both dressed very nicely.
189. INT. BEAUMONTS' CAR/NEIGHBORHOOD STREET - NIGHT
Jeffrey starts the car and pulls out.
SANDY
What was that all about?
JEFFREY
Nothing. really! It's good to see you.
SANDY
It's good to see you.
JEFFREY
Where to?
SANDY
Just go over to Gelford and up to Vista.
It's not far. Can you tell me any more
about what you learned?
JEFFREY
I'd rather not talk about it. I'll tell
you about it sometime.
SANDY
It's okay.
JEFFREY
... You look beautiful.
SANDY
Thank you. Whatiya say we just enjoy the
evening?
JEFFREY
I like that idea. that's a real good idea.
CUT TO:
190. INT. PARTY BASEMENT - NIGHT
Jeffrey and Sandy go downstairs to a basement which is dark and crowded
with kids dancing and talking. Jeffrey and Sandy are holding hands.
Jeffrey feels a little out of place.
A COUPLE OF GIRLS raise their eyebrows and give approving looks to Sandy.
The music is loud, fast dancing music.
SANDY
You want to dance?
JEFFREY
I can't dance fast.
SANDY
Really?
JEFFREY
Really. you want to dance with someone
else?
SANDY
NO.
JEFFREY
Let's wait for some slow one.
SANDY
Just a minute.
Sandy leaves Jeffrey for a moment and Jeffrey watches her make her way
through the crowd to a GIRL by the record player. Sandy confers with the
girl. Sandy comes back to Jeffrey.
SANDY
Don't worry. I took care of it. You
want something to drink?
Just then, the music goes slow.
JEFFREY
You want to dance?
SANDY
Okay.
They begin to dance. At first, further apart, then, they make the mistake
of looking in each other's eyes and they move very close together.
They move around to another look. Then they kiss. They kiss for the
entire rest of the song. Between songs and during the entire next song.
They finally, as they say, come up for air.
SANDY
I love you, Jeffrey.
They kiss again. Then they dance and look at each other. Then they hug
each other. As they hug, Jeffrey closes his eyes.
JEFFREY
(inner voice)
I really do love you.
DISSOLVE TO:
191. INT. PARTY BASEMENT - NIGHT
Later. Jeffrey gives Sandy a little kiss while they're over by the cokes. They're having a drink. Sandy introduces Jeffrey to some of her friends. She is very proud of him. They are both very happy. They look at each other and kiss again.
DISSOLVE TO:
193. INT./EXT. PARTY HOUSE - NIGHT
Later. The party is breaking up. Kids are beginning to go upstairs and go out the front doors to their cars. Jeffrey and Sandy are coming up stairs arm in arm. They say goodnight to the PARENTS in the living room and leave through the front door. The
y can't take their eyes off one another. They are totally oblivious to the THREE GUYS in a car across the street.
As soon as Jeffrey gets Sandy and himself in his car, he starts it and moves off.
194. INT. BEAUMONTS' CAR/NEIGHBORHOOD STREETS - NIGHT
The dark car comes to life with a loud low roar and peels out with a
scream. It follows Jeffrey and Sandy for a way, then it roars up behind
them swaying back and forth, honking its horn and trying to ram Jeffrey's
car in the rear.
Jeffrey looks frantically in the rear view mirror. Sandy turns around in
fear. Jeffrey guns his car and races down the street.
SANDY
Oh my God. What's wrong?
JEFFREY
Frank!!
He swerves around the corner. Up ahead, a car is pulling out of a
driveway.
JEFFREY
(continuing; referring
to the car ahead)
Come on. MOVE IT!
Jeffrey swings hard around another corner and heads up a dark street,
passing "Lincoln St."
JEFFREY
I can't outrun this guy.
He floors the car and flies down another street very fast.
JEFFREY
My father has a gun at home.
SANDY
No.
JEFFREY
Sandy. this guy is a killer!! I promise
you.
Sandy turns back to take a look. Jeffrey swerves the car again; he bangs
it off a curb as he rounds a corner. A hub cap goes flying off rolling
noisily down the street.
SANDY
Try to get to my house. then my father
can.
CLOSEUP ON JEFFREY
195. INT. WILLIAMS' LIVING ROOM - NIGHT
FLASHBACK
He remembers Detective Gordon, the Yellow Man, at Sandy's house.
196. INT. BEAUMONTS' CAR/NEIGHBORHOOD STREETS - NIGHT
JEFFREY
No!!
Jeffrey floors the car again. but the car behind him is fast and gains
on him. It swerves back and forth in the rear view mirror. Now it
swerves and roars up alongside Jeffrey's car. Sandy screams.
SANDY
It's Mike! It's Mike!
Jeffrey looks over. It is Mike. Out of enormous sense of relief he
starts laughing. He slows instantly and so does Mike.
197. EXT. BEAUMONTS' HOME - NIGHT
He pulls slowly up in front of his house, his head back laughing. Mike
swerves his car in front of Jeffrey's and jumps out.
MIKE
(out of the car; very drunk)
Hey come here, you stole my girl, you
bastard. I'm gonna kick your ass, right
in front of your stupid house.
SANDY
... Stop it Mike.
MIKE
(to Sandy)
You shut up. nobody's talkin' to you.
Hey who's that Jeffrey? Your mother?
Everyone turns and looks. Slowly out of the darkness comes a nude woman. It is Dorothy. She is totally in shock, bloody saliva is dripping from her mouth. She is bloody, swollen and bruised all over. She is totally different, drained of her sexuality
. She has been ravaged.
JEFFREY
Dorothy! ... Dorothy!
SANDY
Dorothy Vallens?
JEFFREY
Yes.
He jumps out of the car, gets a hold of her and helps her back. Mike
comes after him.
MIKE
(going for Jeffrey)
Hey, you ivy league shit. COME HERE!
JEFFREY
(pushing Mike off)
Later Mike. I gotta take care of someone
who's hurt here, in case you haven't
noticed.
SANDY
Mike, go home.
Mike's friends are dazed, watching Dorothy staggering beside Jeffrey.
Mike steps back as Jeffrey puts Dorothy in the car. Jeffrey stands back
up and glances at Mike.
MIKE
(dull, very drunk)
Hey, I'm sorry. Hey.
Jeffrey gets into the car.
JEFFREY
Yeah. okay, Mike.
Jeffrey shuts the door. Dorothy is sandwiched between him and Sandy in
the front seat.
SANDY
Take her to my house. My dad can get an
ambulance faster than anyone. Do you have
anything to put around her?
JEFFREY
(starts the car)
No. Is Detective Gordon going to be at
your house?
SANDY
Probably not. no. Why?
JEFFREY
OK. Let's get her over to your father's.
SANDY
(looking quickly from
Dorothy to Jeffrey)
Right. Watch out for Mike, there.
Mike and his friends are getting in Mike's car. Mike is trying to start
the engine. He does and clumsily throws the car in reverse. He screeches
out and screeches to a stop. Then he guns away forward and shoots crazily
down the road.
JEFFREY
Here we go.
They drive off.
198. INT. BEAUMONTS' CAR/NEIGHBORHOOD STREET - NIGHT
DOROTHY
(looking over)
Oh God. Jeffrey is that you?
Sandy looks at Jeffrey questioningly.
JEFFREY
Yeah, it's me.
DOROTHY
Oh God, Jeffrey. is that you? Oh God.
Sandy is confused. how do they know each other?
CUT TO:
199. EXT. WILLIAMS' HOUSE - NIGHT
Jeffrey and Sandy take Dorothy up the walk. Sandy opens the door.
200. INT. WILLIAMS' LIVING ROOM - NIGHT
They enter the living room. Mrs. Williams comes in from the kitchen.
SANDY
(hurrying)
Is Dad home?
MRS. WILLIAMS
(shocked at sight)
No.
SANDY
You better call him and get an ambulance
too.
Dorothy is clinging to Jeffrey. Mrs. Williams goes to call.
Sandy moves closer. Jeffrey looks at Sandy and she returns the look.
DOROTHY
(crazy)
Where have you been?
(screams)
Oh God. they hurt him, Jeffrey. Jeffrey,
Jeffrey, Jeffrey, hold me. HOLD ME.
Oh God.
JEFFREY
It's okay. it's okay.
DOROTHY
(like a little girl)
My secret lover.
Mrs. Williams comes in.
MRS. WILLIAMS
The ambulance will be here in a minute.
I left word for John. The police are on
their way.
DOROTHY
(screams)
Don't get the police. Oh God, ...Jeffrey
I CAN'T STAND IT!! STOP IT. STOP IT.
LOVE ME,
She looks up at Mrs. Williams.
DOROTHY
(continuing)
I opened myself to him. He put his
disease in me.
She presses herself tight to Jeffrey.
DOROTHY
(continuing)
Tell me its okay. I opened myself to
you. Okay, okay, okay, okay?
Mrs. Williams watches with confusion and worry for the hurt this is
causing Sandy. Sandy is crying now and turns away.
JEFFREY
Sandy? ...Sandy, please.
MRS. WILLIAMS
I'll get a coat for her.
She leaves the room hurriedly.
SANDY
(crying)
Jeffrey? .What's going on?
JEFFREY
Shh. I'll tell you.
DOROTHY
(quietly)
They hurt his head.
JEFFREY
Who, Dorothy?
DOROTHY
(whispers)
Don. help him. HELP HIM!! DONNY!!!!
A huge, roaring wind sound comes up.
Dorothy starts screaming.
201. EXT. WILLIAMS HOUSE - NIGHT
The SCREAMS DISSOLVE INTO a SIREN as it roars to a stop in front of the
Williams' house.
202. INT. WILLIAMS' LIVING ROOM - NIGHT
Dorothy clings to Jeffrey. Her eyes are turning a dull, milky white. The
effect is horrifying. She is in shock.
Sandy is still crying, while she moves back and watches Jeffrey. Jeffrey
turns to look at Sandy.
SANDY
(crying)
I still love you Jeffrey.
Mrs. Williams comes to put a coat around Dorothy. Mrs. Williams is
shaking.
The Paramedics enter the house.
DISSOLVE TO:
203. EXT. WILLIAMS' HOUSE - NIGHT
The PARAMEDICS are loading Dorothy into the ambulance on a stretcher.
Dorothy is moaning. A sickening, warm wind comes up and howls through the
neighborhood.
JEFFREY
I should go with her, Sandy.
SANDY
Go ahead.
JEFFREY
... Sandy?.
SANDY
Go ahead!
Jeffrey turns slowly and gets into the ambulance.
INT. AMBULACE - NIGHT
Jeffrey's head is very close to Dorothy's. Dorothy is saying something,
mumbling.
DOROTHY
Hold me, Don.
JEFFREY
Don?. Where is he?
DOROTHY
(straining her eyes to
focus on Jeffrey)
HELP HIM!! Promise me you'll help him!
JEFFREY
I promise, Dorothy. I promise.
DOROTHY
Hold me. I'M FALLING!
She bolts up screaming directly into Jeffrey's face. Her beaten face and milky eyes are a study in horror.
CUT TO:
205. INT. PAY PHONE - HOSPITAL CORRIDOR - NIGHT
Jeffrey finishes dialing.
JEFFREY
Mrs. Williams?. Is Sandy there? Please.
(long wait)
Sandy? (pause) Sandy, please.
(he closes his eyes)
. forgive me. I love you.
CUT TO:
206. INT. SANDY'S ROOM - NIGHT
Sandy with red eyes in a darkened room.
SANDY
(in phone, struggling
to keep from crying)
I forgive you. I just couldn't watch.
I love you Jeffrey. I love you. Is she
okay?. How horrible. What?
CUT TO:
207. INT. PAY PHONE - HOSPITAL CORRIDOR - NIGHT
Jeffrey on pay phone.
JEFFREY
(in phone)
Please get to your father and send him and
the police to Dorothy's apartment right
away. Be sure your father comes. Something
is happening over there. They're hurting
someone. the guy she loves. Tell them to
hurry. I'm going over right now.
SANDY (V.O.)
No Jeffrey!!
JEFFREY
Yes I'm going. I have to. I love you. I
will, believe me.
CUT TO:
208. INT. CAB - NIGHT
Driving through the night.
208A. EXT. APARTMENT BUILDING - NIGHT
Jeffrey arrives at Dorothy's apartment building and pays the driver.
He gets out of the cab and looks around. No police. Quiet. The
building looks just the same standing there in the dark. The dim lights
in the front entrance. Jeffrey moves up to the front doors and enters.
No one.
CUT TO:
209. DETECTIVE WILLIAMS' STUDY - NIGHT
Sandy is trying to get her father on the police radio.
SANDY
(over the radio)
No. he only wants my father to come over.
It's very important. he said someone was
hurt and he wants Detective Williams there.
well, find him!!
210. INT. STAIRWAY - APARTMENT BUILDING - NIGHT
Jeffrey slowly climbs the stairs. His shoes squashing the carpet make
mall crushing sounds as he climbs higher into the building.
He arrives at the Seventh Floor and stops. A high-pitched whine can be
heard faintly. It gets louder as Jeffrey crosses to Dorothy's apartment
door. He gets his key out and inserts it. Turns it. With a loud click
the door swings open and the high whine becomes piercing. He sees
something and jumps back.
211. INT. DOROTHY'S APARTMENT - NIGHT
It is Detective Gordon, the Yellow Man, standing in the center of the room.
FLASHBACK
He plays the look into the apartment again in his mind and again.
CLOSER ON DETECTIVE GORDON
Something is wrong with him. He is bleeding from the head. He stands
almost motionless. in shock.
Jeffrey peers into the room again. He enters carefully and lets the door
close behind him. He very cautiously moves forward into the room. Slowly
he moves closer to a hideous sight. Standing in the middle of Dorothy's
apartment is T.R. Gordon, the Yellow Man. He is in an extreme state of
shock. He is bleeding badly from a huge wound at the top left of his head. His eyes focused on something only his twisted inner mind see. Sitting in one of Dorothy's chairs is a dead man with no ears. only half-healed bloody wounds at each side of his
head. A bullet hole in the center of his forehead. The T.V. is crushed in but it is turned on and it is the television that produces the high electrical whine. Jeffrey moves forward again and kicks the television cord out of the wall. The high whine s
tops instantly. Silence except for the Yellow Man's labored breathing.
Suddenly there is a loud "radio voice" coming from the Yellow Man's police
radio which is turned "on" in his jacket pocket. Jeffrey's heart leaps
and just as suddenly the Yellow Man throws his arms out wildly knocking a
floor lamp to the ground and crushing out its light. Jeffrey's heart goes
wild at this sight and he jumps back but the Yellow Man is silent and
motionless again. The radio talks again.
RADIO VOICE #1
Get back and stay down.
RADIO VOICE #2
. It's apartment eight.
Music. LOVE LETTERS STRAIGHT FROM MY HEART. begins to play.
Jeffrey watches the Yellow Man and listens to the radio.
RADIO VOICE #2
(continuing)
I'm sending Jack and Pete to the roof.
It's.
RADIO VOICE #1
Hey.
Sounds of shots.
RADIO VOICE #1
(continuing)
He's shooting. from the second window.
RADIO VOICE #3
Stay in place.
RADIO VOICE #2
Jack. get up there quick. can return
fire?.
RADIO VOICE #3
I think he's alone. but return fire to
second window only.
Many shots.
We see Jeffrey's face in CLOSEUP.
CUT TO:
212. EXT. FRONT STREET - NIGHT
The real scene is before us. Police cars line the street along with a
huge fire truck and several ambulances. Special police marksmen are
crouched behind cars and behind a stone wall opposite Frank's building.
Screams are heard from within and police radios blare. Shots are being
fired into a black window. Once in a while a shot is returned. Two
policeman are dead and one is being loaded onto an ambulance.
POLICEMAN #1
He hasn't fired a shot for six minutes.
maybe we got him. get on the radio. get
Detective Williams. ask him if we can
rush the son of a bitch.
A policeman runs off. more shots are fired into the building but none
are returned. The policeman comes running back.
POLICEMAN #2
It's in the works already. we're in
there. they're goin' down the back stairs
now. It won't be long. and they'll have
us rush 'em from here. one whistle and
we go.
Suddenly there is a long barrage of gunfire into Frank's apartment.
Then a loud whistle.
POLICEMAN #1
That's it. let's go.
Police race across the street to Frank's building.
213. INT. FRANK'S APARTMENT - NIGHT
Police kick the door in and rush into the apartment. It's empty excpt for
a large dog which has been shot. The dog growls and cowers back in a
corner. Every now and then it limps on bloody legs back and forth.
214. INT. DOROTHY'S APARTMENT - NIGHT
Jeffrey hears the radio. He hears the policemen talking at Frank's place. He hears that Frank is gone. He decides to leave Dorothy's apartment.
JEFFREY
(speaking to T.R. Gordon who doesn't
hear him because he's almost dead)
I'm leaving now. I'll let them find you
all on their own. find all this horror
on their own.
(whispers)
Good bye.
He goes out and closes the door.
215. INT. STAIRWAY - APARTMENT BUILDING - NIGHT
The door clicks shut. He makes his way quietly down the hall to the
stairway. thinking. He starts down the stairs.
JEFFREY
So. Frank escaped.
He rounds the corner on a landing on the stairway and goes down another
floor. and another. At the next landing, something out the window catches
his eye. He notices a man get out of the car. He recognizes the man.
It is the well-dressed man he saw with the alligator briefcase. Jeffrey
watches the man come toward Dorothy's building. Then his eye goes back
to the man's car. It is Frank's car. He notices the man is carrying a
police radio.
JEFFREY
(to himself)
Frank's car. Is this man a cop? He has a
radio!. So did Frank though and he's no
cop. that's for sure. and he's driving
Frank's car. who is he?
The man enters the building at the front entrance directly below Jeffrey.
Jeffrey starts climbing back up the stairs. thinking faster.
JEFFREY
What happened that day?.
216. EXT. FRONT STREET - DAY
FLASHBACK:
Jeffrey remembers Frank and the Yellow Man go into Frank's building.
217. INT. STAIRWAY - APARTMENT BUILDING - NIGHT
JEFFREY (V.O.)
They went in together.
218. EXT. FRONT STREET - DAY
FLASHBACK
Jeffrey remembers the well-dressed man come out with the Yellow Man.
219. INT. STAIRWAY - APARTMENT BUILDING - NIGHT
JEFFREY
and out came. No it couldn't be. But I
think it is!! It's Frank!!
Jeffrey runs like mad up to Dorothy's apartment. He looks back once and
sees the well-dressed man hurrying up the stairs.
CLOSEUP on well-dressed man's face. It is Frank, underneath a very good
disguise.
Jeffrey has trouble getting the key out of his pocket. He fumbles with it
and it drops to the floor.
Frank climbs the stairs.
Finally the key goes in and Jeffrey frantically opens the door. He rushes
into the room.
220. INT. DOROTHY'S APARTMENT - NIGHT
The horror and strangeness of the scene within strikes him again. He
rushes to the Yellow Man and takes the police radio out of his pocket.
He runs into the back of the apartment - to the back bedroom where he
crouches down behind a double bed.
JEFFREY
(into the radio)
Detective Williams!! Detective Williams!!
DETECTIVE WILLIAMS
(over radio)
Detective Williams here. Is that you,
Jeffrey?
JEFFREY
Yes it's me!!! Frank is on his way up
to Dorothy's apartment.
(thinks; hits himself in the
forehead; inner voice)
Oh no. Frank has a radio and is hearing
everything we say!!
(thinks some more - fast)
Detective Williams. hurry. I'm in the
apartment. hurry. I'm hiding in the back
bedroom.
DETECTIVE WILLIAMS
We're ten minutes away and moving as fast
as we can.
221. EXT. NEIGHBORHOOD STREET - NIGHT
Sandy runs frantically down a dark street. We see a street sign which
says "Lincoln."
222. INT. DOROTHY'S APARTMENT - NIGHT
Jeffrey drops the radio under the bed and runs back to the living room.
He leaps safely into the closet just as Frank opens the apartment door and
enters. Jeffrey freezes with fear in the darkness of the closet. Frank
is smiling.
FRANK
(calling pleasantly in the direction
of the back bedroom)
Hey neighbor. shit for brains. You forgot
I have a police radio. I know where your
cute little butt is hiding. Here I come!
Ready or not!
He starts down the hall to the back bedroom. The police radio which
Jeffrey planted under the bed and Frank's radio both start broadcasting.
Frank turns his radio off - now only the one under the bed plays.
FRANK
Hey fuck. I can hear you radio! .Hey
you stupid fuck. you got about a
second to live.
Jeffrey watches Frank reach inside his coat for his gun. He watches Frank
sneak to the back bedroom area. Jeffrey turns and looks at the Yellow
Man. He gets an idea. He quickly rushes out of the closet - feels inside
the Yellow Man's coat for his police gun. It's there. He gets it but it
causes the Yellow Man to moan and leap some in another almost death-spasm. Jeffrey takes the bloody pistol and races back inside the closet frantically catching his breath. Just then he hears Frank in the back room.
FRANK (V.O.)
(helium voice)
Hey pretty pretty.
Jeffrey then hears three or four shots - deadly sounding coming from a
pistol with a silencer attached.
FRANK (V.O.)
Hey fuck, where are you?
Jeffrey sees a furious Frank come storming out of the back room and come
slowly up the hall - directly toward him.
Jeffrey raises his pistol - very slowly. Frank enters the living room.
He looks around. The Yellow Man moans. Frank makes a face and blasts the
remainder of the Yellow Man's head away and this time the Yellow Man falls
dead to the floor. Jeffrey tenses in the silence which hangs in the air. Frank looks to the kitchen. all around the living room. He looks at the closet. He smiles - he slowly goes right toward Jeffrey - smiling. Jeffrey points the pistol. His finger
moves to the trigger. He squints his eyes. He doesn't want to kill a man. any man. Frank comes right to the closet door and throws it open, when Jeffrey hears Sandy scream.
SANDY (V.O.)
Jeffrey!!
Frank and Jeffrey lock eyes as Jeffrey pulls the trigger. He yells Sandy's
name and Frank's head is blown off.
We see Sandy's frightened face. We see policemen racing up the stairs in
Dorothy's apartment.
223. EXT. APARTMENT BUILDING - NIGHT
We see cop cars with lights revolving, radios blaring.
224. INT. CONFERENCE ROOM - POLICE STATION - NIGHT
The large room is crowded with policemen and members of the F.B.I.
Everyone is talking excitedly. Jeffrey and Sandy are sitting by Detective
Williams in wooden chairs near the center of the room. We hear bits of
conversation.
DETECTIVE WILLIAMS
(to Jeffrey)
Because of your information I alerted
internal affairs to check out Detective
Gordon. I had to keep on with him as
if nothing was different. He slipped
off on his own when he found out we were
going to raid Frank's place.
JEFFREY
Does Dorothy know her husband is dead?
DETECTIVE WILLIAMS
Not yet.
JEFFREY
Oh my God. Is her son OK?
F.B.I. MAN
We're looking for him. In your opinion,
why did Frank kidnap Dorothy's son and
husband?
JEFFREY
He became obsessed with her. She hated
him. He had to have her. He kidnapped
them to control her. to make her do
things. Then she wanted to commit
suicide so he started cutting off ears
as a warning to her to stay alive. I'm
not kidding. Frank loved blue. blue
velvet. He had to have Dorothy cause
her whole life was blue.
F.B.I. MAN
You seemed to see some very interesting
things on your little escapade with
Dorothy Vallens.
JEFFREY
Yeah. I guess I did.
(He turns to Sandy
with a worried look)
What's going to happen to me?
F.B.I. MAN
We're going to leave that up to Detective
Williams. I'll tell you though. you're
okay. you shot a real son of a bitch.
JEFFREY
Yeah. I sure know that. Yeah, but how
many more are out there?
FADE TO BLACK - DARKNESS
225. EXT. BEAUMONTS' BACK YARD - DAY
A huge low roaring sound comes in.
SLOWLY WE COME UP OUT OF A HUGE DARK HOLE. We see we are rising out of an
ear but still among the crevices. They look enormous. We move up and
float above the ear and traverse across a cheek to an eye. Jeffrey's eye.
His face is bathed in light.
All sorts of springtime-in-the-garden sounds are heard.
We suddenly see that Jeffrey is sleeping in his back yard. Detective
Williams is with Mr. Beaumont working in the garden in the distance.
The sprinkler is turning. Sandy comes out on the back porch and calls.
SANDY
Jeffrey. Lunch is ready.
Jeffrey opens his eyes. He looks around confused for a moment. He sees
Sandy.
JEFFREY
Okay. I'll be right in.
Sandy goes back inside. Suddenly, a big red ROBIN chirps loudly above.
Jeffrey looks up at it sitting in the cherry tree. The Robin and Jeffrey
seems to exchange a special look.
Jeffrey smiles up at the fat bird.
He gets off the lawn chair and walks away from us toward the back door of
the house. As he passes his father and Detective Williams:
JEFFREY
How ya doin' Dad?
MR. BEAUMONT
(distant voice)
Hey Jeff. I'm feelin' so much better.
JEFFREY
Good deal Dad.
He and Detective Williams share a smile.
226. INT. BEAUMONTS' KITCHEN - DAY
Jeffrey enters the kitchen and sees Sandy standing with Aunt Barbara by the
kitchen window. Beyond, in the living room Mrs. Williams and Jeffrey's
mother turn toward the kitchen when they hear the screen door slam.
A large Red Robin has just flown down to the window still carrying a big
bug in its mouth.
SANDY
(Referring to the bird)
Look Jeffrey.
JEFFREY
(As he joins Aunt Barbara and
Sandy to look at the robin)
Yeah. I just saw him outside. Maybe
the robins are here.
AUNT BARBARA
I don't see how they do it. I could
never eat a bug.
JEFFREY AND SANDY
(smiling)
It's a strange world, isn't it?
CUT TO:
227. EXT. FLOWER GARDEN - DAY
Yellow tulips sway in a warm afternoon breeze.
DISSOLVE TO:
228. 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:
229. 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:
230. EXT. TREE - DAY
A songbird SINGS in a tree.
We are in a beautiful park. Slowly we move down and a little hat with a
propeller comes into view. The hat is on the head of a small child who is
dancing slowly toward Dorothy. She is laughing. When the boy gets within
arms reach they embrace. We move close to Dorothy's smiling face. Tears
of happiness come into her eyes, but there is still a distant look as we
hear Bobby Vinton sing the last lines of his song.
"and I still can see Blue Velvet through
my tears."
Blue Velvet dissolves in and takes over the image.
THE END