screenplay by

David Lynch

FADE IN:

FOLDS OF BLUE VELVET UNDULATE EVER SO SLOWLY.

WITH TITLES

DISSOLVE TO:

1. EXT. BEAUMONTS' FRONT LAWN - DAY

Blue skies. PAN SLOWLY DOWN to clean white picket fence, with beautiful

red roses in front of it. Birds CHIRP in the distance. A faint sprinkler

SOUND is heard. Very sweet MUSIC is playing.

DISSOLVE TO:

2. EXT. TREE - DAY

A songbird SINGS in the tree.

DISSOLVE TO:

3. EXT. CROSSWALK - SHADY STREET - DAY

A very clean uniformed, smiling POLICEMAN with arms outstretched allows

clean happy SCHOOL CHILDREN to cross the street safely.

DISSOLVE TO:

4. EXT. SHADY STREET - DAY

A bright red gorgeous fire engine is moving very slowly down the street.

We MOVE IN to see the happy face of a FIREMAN.

DISSOLVE TO:

5. EXT. FLOWER GARDEN - DAY

Yellow tulips sway in a warm afternoon breeze.

DISSOLVE TO:

6. EXT. BEAUMONTS' FRONT LAWN - DAY

The same white picket fence with roses in front of it.

PANNING SLOWLY now away from the roses down to the rich green lawn

and over to the sprinkler which goes around and around shooting water

droplets sparkling in the light.

This is slightly SLOW MOTION and DREAMY.

DISSOLVE TO:

7. EXT. BEAUMONTS' FRONT LAWN - DAY

CLOSER ON WATER DROPLETS. The water droplets are somewhat abstracted

as they dance in the light.

PAN DOWN now to the green grass, traveling along the grass.

The MUSIC becomes fainter as we MOVE SUDDENLY under the grass, now as

if in a dark forest.

SLOWLY MOVING THROUGH.

The grass is like great timbers.

It is GETTING DARKER and ominous SOUNDS come up as we discover black

insects crawling and scratching in the darkness.

FADE TO:

8. EXT. BEAUMONT'S FRONT LAWN - DAY

MR. BEAUMONT is watering flowers and grass with the hose.

He is dressed in khaki trousers, canvas shoes, old white shirt, straw

hat and dark glasses.

CLOSE - MR. BEAUMONT

watches his watering, then looks up.

The sky and the neighborhood are reflected in his dark glasses. He

moves his false teeth around a little in his mouth, jutting out his chin

in the process. He's thinking about who knows what.

He looks back down at his lawn.

CLOSEUP - WATER ON GRASS

The water hits the grass and mats it down.

WIDER - MR. BEAUMONT

moves the hose over a bush and gets a kink in it.

Water stops coming out of the nozzle and there is a LOUD HISSING NOISE

of water under pressure.

CLOSEUP - KINK IN HOSE

Loud HISSING NOISE.

Mr. Beaumont goes around the bush and is undoing the kink when he is

suddenly hit with a tremendous seizure.

CLOSEUP - MR. BEAUMONT

He's doubling over and falls to the ground. He continues to grasp onto

the hose.

Water shoots crazily onto the driveway and his car.

Mr. Beaumont seems to be in tremendous pain.

CUT TO:

9. INT. BEAUMONTS' LIVING ROOM - DAY

Mrs. Beaumont is curled up on the couch, smoking a cigarette and watching

T.V. It's a daytime soap.

CLOSEUP - MRS. BEAUMONT

Takes a big drag of her cigarette and luxuriously french inhales a huge

quantity of blue smoke. She's enjoying her show.

CUT TO:

10. EXT. BEAUMONTS' FRONT LAWN - DAY

CLOSEUP - MR. BEAUMONT

His teeth are crooked in his mouth now as he tries to scream.

No sound is coming out.

WATER SOUND is loud.

WIDER - MR. BEAUMONT

Water is still spraying out over the driveway and onto the car and into

the yard beyond.

A small boy, GREGG, appears wearing only white underpants and a white

t-shirt. He holds a large red popsicle.

Gregg waddles around looking at the crazy water show. He holds his hand

out to get it wet in the spray. This makes him screw up his face in a

laugh.

He waddles over and looks at Mr. Beaumont on the ground.

Mr. Beaumont seems to be worse now, unconscious, but still gripping the

hose tightly. His clothes are sopping wet.

11. EXT. GREGG'S HOUSE - DAY

Screen window of Gregg's house. Gregg's mother calls out but remains

looking at a bowl she is holding in her hands.

GREGG'S MOTHER

(calling out)

Gregg. Billy's waiting for his teddy.

She then turns to look out.

GREGG'S MOTHER

(continuing)

GREGG! Billy's waiting for his teddy, honey.

CUT TO:

12. EXT. BEAUMONTS' FRONT LAWN - DAY

GREGG'S MOTHER P.O.V. THROUGH SCREEN WINDOW

IN THE DISTANCE, she sees Gregg's back, a bush, some legs with wet khaki

trousers and water squirting up in the air.

GREGG'S MOTHER (V.O.)

TOM!!!

CUT TO:

13. EXT. COLLEGE CAMPUS BUILDING - NIGHT

TRAVELING along sidewalk, bushes, to lighted windows of an auditorium.

MUSIC is heard.

14. INT. COLLEGE AUDITORIUM - NIGHT

A dance is going on. Sixties MUSIC plays, performed by a live band on

stage. College kids dance.

A COLLEGE BOY enters the auditorium, urgently looking for someone. He

quickly approaches a GIRL.

COLLEGE BOY

Louise? Where's Jeffrey? His mother's on

the phone - it's an emergency.

LOUISE

He disappeared to the men's room a little

while ago. I'm getting very tired of

waiting - let's go find him.

15. INT. JANITOR'S QUARTERS - COLLEGE - NIGHT

We MOVE INTO the face of JEFFREY. He is hiding behind a furnace. He is

fascinated by a sight beyond in the darkness of this basement room.

He sees a male student trying to rape his girlfriend. She is crying and

telling him to stop but the boy keeps forcing her down toward the ground.

forcing her clothes off her. Jeffrey at this point hears his name being

called. Each time he hears his name the caller is closer. The boy is now

hurting the girl. Before Jeffrey leaves the furnace room he yells out:

JEFFREY

Hey, shit head. Leave her alone. Don't

force girls!

The couple looks up but cannot see Jeffrey. The boy is scared and releases

the girl who promptly pulls farther away, crying.

Jeffrey leaves the furnace room.

16. INT. HALLWAY - COLLEGE - NIGHT

Louise and the college student see him and move quickly toward him.

COLLEGE BOY

Jeffrey, your mother's on the phone. It's

an emergency.

LOUISE

Thanks for keeping me waiting so long.

As Jeffrey moves quickly toward the telephone.

JEFFREY

I'm sorry, Louise.

17. INT. PHONE/HALLWAY - COLLEGE - NIGHT

The phone dangles on its cord in the foreground as Jeffrey moves toward

it in the background. Louise slowly follows Jeffrey, but stays in back

of him. Jeffrey picks up the phone.

JEFFREY

Hello. Mom? What's wrong with Dad?.

What's happening?. Come home? Sure I will.

18. INT. BEAUMONT'S BEDROOM - NIGHT

Mrs. Beaumont sits talking on the phone in a dark quiet bedroom.

MRS. BEAUMONT

I mean, for good, Jeffrey.

CUT TO:

19. INT. PHONE/HALLWAY - COLLEGE - NIGHT

CLOSEUP - JEFFREY

JEFFREY

For good?. I can't. Mom. Not right in

the middle of the term.

CUT TO:

20. INT. BEAUMONT'S BEDROOM - NIGHT

MRS. BEAUMONT

(now looks very tired and

poor health)

Jeffrey. honey. Your father's condition

is serious. It's going to cost so much.

We just won't have the money to keep you

in school. I'm telling you this now, so

that you can get your things together and

check out of school, honey, or whatever you

have to do. it'll save you another trip back.

You're going to have to work at the store.

CUT TO:

21. INT. PHONE/HALLWAY - COLLEGE - NIGHT

CLOSEUP - JEFFREY

JEFFREY

(crying)

Mom.

Louise looks at Jeffrey crying, then turns away. Jeffrey hangs up the

phone.

CUT TO:

22. INT. BEAUMONT'S BEDROOM - NIGHT

Mrs. Beaumont hangs up her phone. just next to the phone traveling into

a shadow is a winged termite.

FADE TO:

23. INT. GIRLS DORM LOBBY - COLLEGE - NIGHT

Jeffrey is waiting in a girls dorm lobby for Louise.

Girls are milling around. Louise gets off an elevator with some other

girls. She forces a smile at Jeffrey as she comes toward him.

JEFFREY

Can't you come to the damn airport?

LOUISE

Jeffrey. I can't. I really can't. I

have to go to that class tonight. I can't

get out of it. I really can't. I love

you, Jeffrey. I'll miss you.

JEFFREY

Alright. I'll call you in a couple of days,

you know. I'll let you know how things are.

LOUISE

Okay. I'll be here. You better git-going. I

gotta go too sweetie. I hope your father's

okay. I love you. I'm sorry, Jeffrey.

JEFFREY

I love you too, Louise. Damn it. I'll see you.

They kiss.

CUT TO:

24. EXT. LANDING STRIP

A PLANE TAKES OFF

DISSOLVE TO:

25. EXT. ANOTHER LANDING STRIP

A PLANE LANDS

26. EXT. AIRPORT - NIGHT

Jeffrey comes walking out of the airport, where his Mother and AUNT

BARBARA, who is a very absent-minded little woman with very thick glasses,

are waiting for him.

They are parked illegally and another car is honking at them. Their

trunk is open in anticipation of Jeffrey's things. They are waving and

yelling at Jeffrey to get his attention. He finally joins them and kisses

his Mother, then his Aunt.

JEFFREY

Hi Mom. Hi Aunt Barbara.

They AD LIB hellos.

MRS. BEAUMONT

(a bit concerned)

Where's all your things, Jeffrey?

JEFFREY

This is it.

Mrs. Beaumont looks at Jeffrey.

JEFFREY

I sent a trunk home yesterday. This is

all I have.

AUNT BARBARA

You look good, Jeffrey. Did you have a nice

flight?

JEFFREY

Yeah. How's Dad?

MRS. BEAUMONT

He's alright. We'll tell you on the way home.

27. INT. BEAUMONT'S CAR - NIGHT

They get in the car. Aunt Barbara is driving. She is not a good driver

and makes Jeffrey nervous. He watches her every move from the back seat.

They drive on surface streets. Many gas stations, traffic lights, bars.

MRS. BEAUMONT

He had a cerebral hemorrhage and they think

there's some sort of clot, or tumor, or

something in there. They're doing all sorts

of tests. On the surface, he looks pretty

good, but there are problems. They think he

may have to stay in two weeks now, at least.

You can go see him though tomorrow, Jeffrey.

AUNT BARBARA

They tore down the A & P, Jeffrey. Did you

see that?

JEFFREY

Aunt Barbara that was 5 years ago.

CUT TO:

28. EXT. BEAUMONTS' HOME - NIGHT

The car pulls into the Beaumonts' driveway. The neighborhood is quiet and

dark.

CUT TO:

29. INT. BEAUMONTS' LIVING ROOM - NIGHT

Jeffrey, Aunt Barbara, and Mrs. Beaumont enter the living room. Mrs.

Beaumont turns on a table lamp. A cold circle of light hits the light

blue rug.

AUNT BARBARA

Home again, home again, jiggidy jog.

They look at Jeffrey. He looks at them.

CUT TO:

30. INT. JEFFREY'S BEDROOM - NIGHT

Jeffrey enters his small attic-type bedroom, turns on the overhead light,

and sets his suitcase down. He goes to his desk and leans across it to

look outside.

JEFFREY'S P.O.V. - EXT. STREET

The street is dark, except for a pool of light from a street light.

CLOSEUP - JEFFREY

A breeze of cold powerful string MUSIC blows as we watch Jeffrey stare into

space.

31. INT. BEAUMONTS' KITCHEN/HALLWAY - DAY

Mrs. Beaumont is calling upstairs to Jeffrey.

MRS. BEAUMONT

Jeffrey, breakfast is ready.

JEFFREY (V.O.)

(calling)

Be right down.

Mrs. Beaumont joins Aunt Barbara at the breakfast table in the kitchen.

AUNT BARBARA

This is marvelous jam. Are you going this

morning?

MRS. BEAUMONT

I think Jeffrey would like to see his father

alone.

Jeffrey comes down the stairs. Everyone says their "good mornings," and

Jeffrey sits down to breakfast.

JEFFREY

What time are visiting hours?

MRS. BEAUMONT

I've made arrangements with Dr. Gynde for

10:30. But Jeffrey, you'll have to walk

over; I need the car this morning.

JEFFREY

Well. Okay.

MRS. BEAUMONT

Jeffrey, when you see your father.

JEFFREY

Yeah?

MRS. BEAUMONT

He doesn't know you're out of school. He

thinks it's a vacation for you.

JEFFREY

What?

MRS. BEAUMONT

It would be too much for him. So please

let him think as he does, that you're

home just to see him.

JEFFREY

Thanks a lot, Mom.

MRS. BEAUMONT

.Jeffrey!. Nobody wanted you to leave

school and go to work in the store. maybe

going back to school will be an option one

day. I hope so.

AUNT BARBARA

I think it's important not to get depressed.

Depression is a terrible thing. They say it

can bring on illness.

JEFFREY

(angry)

Aunt Barbara. I'll try not to get depressed.

CUT TO:

33. INT. HALLWAY - HOSPITAL - DAY

Jeffrey follows a nurse to a hospital room.

NURSE CINDY

Please wait outside while Dr. Gynde prepares

him to see you.

JEFFREY

Prepares him?

She peers into the room. Jeffrey does too.

34. INT. HOSPITAL ROOM - DAY

All he can see are curtains surrounding a bed and stacks of medical

machinery. Doctor Gynde comes out from behind the curtains and walks to

Jeffrey.

DR. GYNDE

Hello Jeffrey.

JEFFREY

Hello, Doctor Gynde. How is he?

DR. GYNDE

He's fighting hard. Jeffrey. it's very

important that your father doesn't try

to move. he's been immobilized. It would

be very painful for him. sit close. you do

the talking and moving. He knows you're

here. He became very emotional. I don't

think he likes the idea of you seeing him

like this.

Nurse Cindy goes to the bed. She begins to pull the curtains back

revealing Mr. Beaumont.

NURSE CINDY

(smiling a big smile)

Mr. Beaumont! Your son is here to visit you.

Then we see Mr. Beaumont. He has numerous tubes and needles going into

different parts of him. A stainless steel device holds his head perfectly

still. Nurse Cindy picks up a tray and leaves.

JEFFREY

(shocked but concealing it)

Hi Dad.

MR. BEAUMONT

(speaking as plainly as possible,

but sounds like mumbling)

Hey Jeff.

Jeffrey goes to him and puts out his hand to shake his father's hand but

remembers his father cannot move. Jeffrey pats him on the shoulder.

JEFFREY

Looks like they've got you strapped in

pretty good.

MR. BEAUMONT

(lips moving but hardly any sound)

uh uh.

JEFFREY

Are you feeling okay?

MR. BEAUMONT

(more mumbling)

uh uh.

Tears well up in Mr. Beaumont's eyes. Before Jeffrey can stop him he

reaches for Jeffrey's hand, then struggling against tremendous pain he

manages to form words.

MR. BEAUMONT

(more plainly but under strain)

Good to see you, son.

JEFFREY

(holding back tears)

It's good to see you, Dad.

Jeffrey squeezes his father's hand.

35. EXT. VACANT FIELD - DAY

Jeffrey is walking down a dirt road on his way home. He kicks up little

clouds of dust as he walks. He has some time to think about things. He

sees a green bottle in the distance. He gathers up a few more rocks and

pitches them one by one at the bottle. He misses.

He looks for a few more good rocks to throw and while looking through some

tall grass and weeds, he sees something strange.

He looks closer. It is a HUMAN EAR, covered with crawling ants.

Jeffrey immediately stands up and looks around. All he sees are houses

- some laundry drying - a very peaceful scene. No one seems to be around -

No one seems to be watching him.

He looks again at the ear.

We are so close we can hear ants racing frantically around the ear into it.

There is dried blood on part of it.

Jeffrey finds a brown paper bad and using a twig, he pushes the ear onto

it. Again, he stands up and looks around.

IN THE DISTANCE, a MAN goes into the back door of a house. Nothing more.

Jeffery hurries off, carrying the bag with the ear in it.

CUT TO:

36. EXT. POLICE DEPARTMENT - DAY

Jeffrey goes up the front steps...

37. INT. POLICE DEPARTMENT - DAY

... and to the Reception Desk. A POLICE OFFICER is standing behind the

counter.

JEFFREY

Hello. could you tell me if Detective

Williams is still working here?

POLICE OFFICER

He's up in Room 221. Right up the stairs.

CUT TO:

38. INT. ROOM 221 - POLICE STATION - DAY

Jeffrey enters Room 221 and sees the desk marked, "DETECTIVE J.D.

WILLIAMS," however, the desk is empty. TWO MEN are talking at the end

of the room; one of them comes toward Jeffrey.

JEFFREY

Are you Detective Williams?

DETECTIVE WILLIAMS

Yes.

JEFFREY

My name is Jeffrey Beaumont - I live near

you. I believe you know my father, Tom

Beaumont - Beaumont's Hardware Store?

DETECTIVE WILLIAMS

Sure I do. I understand he's in the

hospital. How is he?

JEFFREY

He's alright, I guess. I hope. They're

doing tests, that's why I'm home from

school. I was over at the hospital this

morning and I was going home and in the

field behind our neighborhood. there

behind Vista, I found an ear.

DETECTIVE WILLIAMS

(matter of factly)

You did? A human ear?

JEFFREY

Yeah. I've got it here in this bag. I

thought I should bring it to you.

DETECTIVE WILLIAMS

Yep, that's right. Let's take a look at it.

Jeffrey opens the bag and lets Detective Williams look inside.

DETECTIVE WILLIAMS

(continuing)

That sure looks like a human ear, doesn't

it?. Let's run it down to the Coroner's

Office and see what they make of it. Then,

I want you to show me exactly where you

found it.

CUT TO:

39. INT. CORONER'S OFFICE - DAY

Jeffrey, Detective Williams, and an OLD CORONER'S OFFICER are looking at

the ear, which is sitting in a medical dish on a table.

CORONER'S OFFICER

The tests will take awhile. Meanwhile,

we'll check the morgue records. I don't

recall anything coming in minus an ear.

The Coroner's Officer turns to Jeffrey.

CORONER'S OFFICER

(continuing)

Now if you'd found a jaw or let's say, a

heart, or even an arm, we would assume

that there was a corpse, however, a finger

or an ear. the person may very well be

alive somewhere.

JEFFREY

What can you tell about the person from the

ear?

CORONER'S OFFICER

Well. when the tests are done, quite a lot

. Sex, blood type, whether or not the ear

came off a dead person. Right now, I know

what you know. It's a real human ear. The

human was, or is, Caucasian.

. also. It looks like the ear was cut off

with scissors.

40. EXT. VACANT FIELD - DAY

Jeffrey is out with Detective Williams and a CREW OF OFFICERS who have

roped off the area and are doing a grid search.

A POLICE PHOTOGRAPHER is also there taking flash pictures all around the

field, especially where Jeffrey has told them he found the ear.

Detective Williams takes Jeffrey aside.

DETECTIVE WILLIAMS

By the way, Jeffrey, this story isn't going

to the press and I'm going to ask you to

consider all you've heard strictly

confidential. Do not discuss this business

with anyone, but me, or other police

personnel. Got it?

JEFFREY

Got it. Thanks for letting me in on as much

as you did.

DETECTIVE WILLIAMS

Come on. I'll drive you home. It's on my way.

CUT TO:

41. INT. BEAUMONTS' KITCHEN - NIGHT

Mrs. Beaumont and Aunt Barbara are doing the dishes. The news is on a

small portable television. There is a broadcast on the mounting crime

wave.

INSERT T.V. SCREEN

A series of murders are being discussed and a police drawing mug shot is

shown on the screen of the suspect who is at large.

CUT TO:

42. INT. JEFFREY'S BEDROOM - NIGHT

Jeffrey is sitting at his desk daydreaming. He suddenly picks up the

phone, hesitates, then dials.

JEFFREY

Hello?. LOUISE WERTHAM please. Louise?

. is she there?. Louise?

(very happy)

Yeah! How are you? He's okay. in the

hospital for tests.

(very serious)

I miss you so much.

(smiling now)

What have you been up to?. Louise, I don't

know. I've got to see how my father is

. It costs a fortune in that hospital.

When did he ask you to that?. Look. I

can't stop you. Go ahead. Just go ahead

. I may never be back, go. ahead. Look

Louise, stop trying to explain everything.

Just do it. let's talk again in a couple

of days or somethin', okay?. Yeah, I still

love you. Goodbye Louise. Goodbye.

Jeffrey sits alone in his room, thinking things over.

SLOW DISSOLVE TO:

43. INT. CORONER'S OFFICE - NIGHT

CLOSE UP - EAR IN MORTICIAN'S DISH

VERY SLOWLY, we MOVE very close to the ear, gliding slowly around the

crevices approaching the dark hole. A huge, low rushing of air SOUND,

THEN DARKNESS.

SLOW DISSOLVE TO:

44. INT. BEAUMONTS' LIVING ROOM - NIGHT

Low light. Jeffrey enters the room. Aunt Barbara and Mrs. Beaumont are

watching television. Aunt Barbara is knitting.

JEFFREY

I'm going out for awhile.

MRS. BEAUMONT

(looks at her watch)

Do you want the car?

JEFFREY

No, I'm just gonna walk around.

MRS. BEAUMONT

Alright.

AUNT BARBARA

Jeffrey. you're not going down by Lincoln,

are you?

JEFFREY

(yelling back)

No. I'm just going to walk around the

neighborhood. Don't worry.

Aunt Barbara and Mrs. Beaumont continue watching the television.

INSERT T.V. SCREEN

On T.V. we see a man's shoes. He is sneaking slowly up some stairs.

CUT TO:

45. EXT. NEIGHBORHOOD STREET - NIGHT

Jeffrey walks along the dark streets. The same sombre MUSIC plays low

and slow.

Some of the houses have a few lights on, some are dark. Some windows have

a slow uneven blue flashing light, indicating the television is on inside.

Jeffrey continues walking through the night. In the trees, the shadows

continuously re-arrange themselves in mysterious, sometimes frightening

patterns.

46. EXT. WILLIAMS HOME - NIGHT

Jeffrey finally comes to the house he's been looking for.

He goes up the front walk. Now, at the last minute, he feels a little

foolish and has second thoughts about knocking on the door.

He looks in a window. Inside, he sees a nicely-lit living room.

He goes ahead and knocks. A very pleasant-looking middle class WOMAN

answers the door.

JEFFREY

Hello. uh. my name is Jeffrey

Beaumont. Is Detective Williams in?

MRS. WILLIAMS

Oh, yes, Jeffrey. Come in. He'll be back

any minute now. You're welcome to wait.

Is it urgent?

47. INT. WILLIAMS' LIVING ROOM - NIGHT

JEFFREY

I just wanted to ask him a few questions,

that's all. Maybe I better go.

MRS. WILLIAMS

Really, he'll be home soon, would you like

a cup of coffee?

JEFFREY

(thinks a bit)

Alright.

48. INT. WILLIAMS' KITCHEN - NIGHT

She leads him back to the kitchen where she has him sit at the kitchen

table. She pours him a cup of coffee.

MRS. WILLIAMS

I was sorry to hear about your father. I

know your mother from church. It's such a

shame.

JEFFREY

Yeah, I know.

MRS. WILLIAMS

Would you like a piece of cake?

JEFFREY

No. No thank you.

MRS. WILLIAMS

It's a real good chocolate cake. Duncan

Hines' devil's food. real good.

JEFFREY

Yeah. okay.

49. INT. WILLIAMS' LIVING ROOM - NIGHT

Out in the living room, SANDY WILLIAMS and her BOYFRIEND, MIKE SHAW,

come up from the basement. They are both carrying books.

Sandy is a very good looking, high school senior and Mike is a big,

handsome football player type.

50. INT. WILLIAMS' KITCHEN - NIGHT

MRS. WILLIAMS

Sandy?.

Sandy and Mike come into the kitchen. Jeffrey has a big piece of chocolate cake in his mouth.

MRS. WILLIAMS

(continuing)

Jeffery, this is my daughter, Sandy, and.

her boyfriend, Mike.

They all say "Hi" to one another.

SANDY

Mike's gotta go.

(to Jeffrey)

Nice to meet you.

MIKE

Yeah, nice meetin' yuh.

JEFFREY

Yeah. It was nice meeting you too.

They leave and go out the front door.

MRS. WILLIAMS

(smiles)

He comes over to study.

JEFFREY

(smiles big)

Yeah.

The front door opens.

DETECTIVE WILLIAMS (V.O.)

Pam?

MRS. WILLIAMS

In the kitchen, John!

Detective Williams comes into the kitchen surprised to see Jeffrey.

DETECTIVE WILLIAMS

Oh. Hello, Jeffrey. what's up?

He kisses his wife.

DETECTIVE WILLIAMS

Come into the study a minute.

JEFFREY

(getting up)

Excuse me, Mrs. Williams.

MRS. WILLIAMS

Certainly.

Jeffrey follows Detective Williams into his study.

CUT TO:

51. INT. DETECTIVE WILLIAMS' STUDY - NIGHT

Detective Williams' study is filled with filing cabinets. The desk has

two phones and is covered with papers and folders and a picture of Mrs.

Williams and Sandy. The police radio is asking for Detective Williams as

they enter.

DETECTIVE WILLIAMS

(to Jeffrey)

Shut the door.

Detective Williams speaks through the radio while Jeffrey shuts the door.

DETECTIVE WILLIAMS

(continuing; in radio)

Detective Williams here. yeah. Tell him

to go to Sergeant Milton. yeah, copy.

(clicks off radio, turns to Jeffrey)

Well, Jeffrey, you found something which is

very interesting to us. Very interesting.

I know you must be curious to know more.

(scratches the middle of his back)

But. I'm afraid I'm going to have to ask

you not only not to tell anyone about your

find, but also not to ask more about the

case. One day. when it's all sewed up, I'll

let you know all the details. Right now,

though. I can't.

JEFFREY

I understand. I'm just real curious like

you said.

DETECTIVE WILLIAMS

I was the same way when I was you age. I

guess that's what got me into this business.

JEFFREY

It must be great.

DETECTIVE WILLIAMS

And it's horrible too.

(a cold look comes over

Detective Williams)

I'm sorry Jeffrey. That's the way it has to

be. Anyway. I'm sure you do understand.

Jeffrey studies Detective Williams' face as they walk back to the living

room.

52. INT. WILLIAMS' LIVING ROOM - NIGHT

JEFFREY

(calling into the kitchen)

Mrs. Williams? Thanks for the cake.

MRS. WILLIAMS

(coming out from the kitchen)

Oh, you're welcome. Nice to finally meet

you, Jeffrey.

JEFFREY

Say "goodnight" to Sandy.

DETECTIVE WILLIAMS

We will. Good night.

Jeffrey leaves and they shut the door behind him.

53. EXT. WILLIAMS HOME - NIGHT

As Jeffrey leaves the light of the front yard and enters onto the dark

sidewalk, he hears Sandy call out behind him.

SANDY

Are you the one that found the ear.

Jeffrey stops and turns around. Sandy comes up to him.

JEFFREY

Yeah, how did you know?

SANDY

(coyly)

I just know, that's all. I remember you

from Central.

54. EXT. NEIGHBORHOOD STREET - NIGHT

They slowly walk down the street together.

JEFFREY

Oh yeah?

SANDY

You were pretty popular. Didn't you run

for some office?

JEFFREY

Yeah I did. treasurer. Shouldn't you be

studying or something.

SANDY

Am I bothering you?

JEFFREY

No. You're not bothering me. You a senior?

SANDY

Yes.

JEFFREY

How is Central these days?

SANDY

Terrible. boring.

JEFFREY

What else is new?. right?

SANDY

Yeah. What are you doing now?

JEFFREY

I'm home from school. My father's in the

hospital.

SANDY

That's too bad.

JEFFREY

What do you know about the ear?. anything?

SANDY

Didn't my father tell you not to talk about

it?

(she smiles)

JEFFREY

Come on. you brought it up. Do you know

anything?

SANDY

I don't really know much but bits and pieces

. I hear things. My room is right above my

father's office. The ear. there's no corpse

in the morgue missing an ear, and it did come

off a living person. That's direct from the

Coroner's Office. The person is unknown.

There are a couple of cases I get mixed up on,

but I think there are some people who were

brought in for questioning on a murder case

that could have something to do with the ear.

I heard some of the same names.

JEFFREY

Do you know who was brought in for

questioning?

SANDY

There were at least three, maybe four. But

a name that keeps coming up is this woman

who lives in an apartment building very

close to your house and also close to the

field where you found the ear. There's

also a business man over by the Franklin

factory district that was questioned. and

a musician. and some others.

JEFFREY

Were all these people questioned this

afternoon?

SANDY

No. this has been going on for some time

. several months. About six months ago

some parts of bodies were found down by

the river. They were from people who were

reported missing. They never found one

complete body. only parts.

JEFFREY

The ear is from a missing person maybe?

SANDY

Maybe so.

JEFFREY

It's a strange world isn't it? Do you know

what building the woman lives in?

SANDY

Yeah. It's close by. that's what's creepy.

They've had her under surveillance for a

couple of months, except I don't know what

they've found out because my father isn't

in charge of her.

JEFFREY

I guess you have to get back home soon?

SANDY

Not really, why?

(then she understands)

You want to see the building?. Come on,

I'll show you.

CUT TO:

55. EXT. LINCOLN STREET - NIGHT

Jeffrey and Sandy walk through the light of a street light. The street

sign "LINCOLN ST" can be read. They walk into darkness and continue down

to an apartment building on the right side of the street.

SANDY

(nodding toward building)

That's the building. She lives on the

Seventh Floor. Don't stop to look long

. the police are watching.

JEFFREY

Where are they?

SANDY

I don't know. you're not supposed to see

them. They're supposed to see you.

They begin walking slowly back to Sandy's house.

JEFFREY

Did they find out anything when they

questioned her?

SANDY

I don't know. like I said, she's not my

father's case.

JEFFREY

Oh yeah. What about those other people?

. Anything?

SANDY

My father is watching the businessman.

The businessman had a partner who

disappeared. left his whole business and

family, his wife and two kids. They think

he's been murdered.

JEFFREY

You really do hear a lot, don't you?

SANDY

Yeah, I guess so.

(they continue walking)

What are you going to do now that you're

home?

JEFFREY

I have to help out in my father's hardware

store. they're giving me sort of my own

hours for a while. which is nice.

SANDY

Still, it must be kinda rough.

JEFFREY

It's not bad. but it's bad enough.

it's a lot worse for my father.

(Jeffrey points to a house)

I used to know a kid who lived there and who

had the biggest tongue in the world.

Jeffrey and Sandy both laugh.

SANDY

What happened to him?

JEFFREY

I don't know. he moved away.

CUT TO:

56. EXT. NEIGHBORHOOD STREET - NIGHT

A LONG SHOT

Jeffrey and Sandy walking and talking, sometimes laughing in the distance,

while the MUSIC theme, haunting yet warm, plays over.

57. EXT. WILLIAMS HOME - NIGHT

They arrive back at Sandy's home.

CLOSER ON JEFFREY AND SANDY

in front of Sandy's home.

SANDY

I've gotta go in.

JEFFREY

Thanks for the tour. It was nice talking

to you.

Sandy just looks at him shyly before she turns to go up the front walk.

JEFFREY

(continuing)

I guess I'll see you sometime.

SANDY

I guess so. Like you said. It's a

strange world.

JEFFREY

(smiles)

Yeah. Good bye.

Jeffrey watches as Sandy goes inside her house. He watches her house for

a moment and sees her cross the living room. He turns and walks away.

Again, the MYSTERIOUS CHORDS OF MUSIC swell up as Jeffrey walks through

the night.

CUT TO:

58. INT. BEAUMONT'S HARDWARE STORE - DAY

Jeffrey is poking around in the back room. He picks up some bug spraying

devices. He yells out to an old black man who works in the store.

JEFFREY

Hey, Ed, okay if I borrow these bug spraying

rigs later on?

Ed peers into the back room. Spots Jeffrey.

ED

Listen Bud. If you need to spray for bugs

they're yours. It causes me no pain.

JEFFREY

Okidoke Ed. Thanks.

CUT TO:

59. EXT. BEAUMONT'S HARDWARE STORE - DAY

Jeffrey puts the stuff in the trunk of the car. There are several "Awake"

magazines there too. He gets in the front seat and drives off.

CUT TO:

60. INT. BEAUMONTS' CAR - DAY

Jeffrey driving. He looks at his watch. It is 3:30.

61. EXT. CENTRAL HIGH SCHOOL - DAY

Jeffrey is parked across the street from the school. High school kids

are pouring out the front door. In a moment he sees Sandy come out with

two or three other girls. They walk down the sidewalk away from Jeffrey.

He starts the car and slowly follows them to the corner, where he pulls

up alongside of them. very close. Sandy suddenly recognizes him.

JEFFREY

You hungry or thirsty, or both?

SANDY

(taken back)

I don't know.

JEFFREY

I'd like to talk to you about something.

SANDY

Just a minute. pull over and wait a

minute.

Sandy pulls her girlfriends away from Jeffrey's car and says something to

them. There is some whispering and giggling and then,

SANDY

(to the girls)

Please, don't say anything to Mike.

promise?

The girls promise. Sandy goes around and gets in the car.

JEFFREY

I don't want to cause any trouble.

SANDY

I'm here, aren't I?

JEFFREY

(smiling as though he knew)

I guess Mike's got some sort of sports

practice in the afternoon.

SANDY

Ooooo, you are smart. Just don't get too

smart.

CUT TO:

62. INT. DINER - DAY

Jeffrey and Sandy are sitting in a booth. Jeffrey's grilled cheese on

white bread and a coke have just arrived along with Sandy's coke.

SANDY

Alright, now tell me. What is it?

JEFFREY

There are opportunities in life for gaining

knowledge and experience. sometimes, in

some cases. it's necessary to take a risk.

I got to thinking. I'll bet a person could

learn a lot by getting into that woman's

apartment. you know. sneak in and hide

and observe.

SANDY

You said it was a strange world.

and you're the strangest part of it. Are

you crazy.she is possibly involved in

murder. This gives me the creeps.

JEFFREY

Settle down. I have a plan which I think

will work. There is very little for you

to do, but I do need your help.

.Aren't you curious about my plan?

SANDY

(thinking and intrigued, plus she

is beginning to like Jeffrey)

It wouldn't hurt to hear the plan, I guess.

JEFFREY

(getting excited)

Alright. the first thing is to get into her

apartment and open a window that I could

crawl into later.

SANDY

Now, how are you going to do that?

JEFFREY

Right out in the car I happen to have some

old overalls and a bug spraying rig. I will

go to her apartment and be the pest control

man. I will spray her apartment. After a

few minutes you will knock on her door,

drawing her attention away from me and I

will then jimmy a window.

SANDY

What will I say when she comes to the door?

JEFFREY

You will be a Jehovah's Witness. I have a

few "Awake" magazines for you. You don't

have to keep her very long. a few seconds

is all I'll need. Whatiya think?

SANDY

I don't know. it sounds like a good

daydream, . but actually doing it is too

weird. too dangerous.

JEFFREY

Let's just try the first part. If that

goes well, we'll see about the rest. No one

will suspect us, because no one would

believe two people like us would be crazy

enough to do something like this.

SANDY

You've got a point there.

CUT TO:

63. INT. BEAUMONTS' CAR/LINCOLN STREET-DAY

Jeffrey and Sandy are in the car. Jeffrey is struggling to put on the old overalls.

JEFFREY

Now. we'll walk over so there's no license

plates and you give me at least three

minutes. I can stall if it's more, but I

need time to find a good window .alright?

SANDY

Alright.

JEFFREY

Let's go.

64. EXT. LINCOLN STREET - DAY

They get out of the car. Sandy has the "Awake" magazines.

JEFFREY

Okay, I'm going ahead. Wait a minute,

what's her name?

SANDY

Oh bother. Dorothy Vallens, Seventh

Floor. Look on the mailbox for her number,

bright boy.

JEFFREY

Thanks. Dorothy Vallens. Okay. good

luck . three minutes, no sooner.

SANDY

Alright. Good luck, yourself.

Jeffrey takes off in the direction of the apartment building.

CUT TO:

65. EXT. APARTMENT BUILDING - DAY

Jeffrey walks up the front steps and goes in the double outer doors.

66. INT. LOBBY - APARTMENT BUILDING - DAY

He looks up and down the mailboxes and finally finds "D. Vallens,

Apartment Number 710."

Jeffrey goes into the lobby.

CUT TO:

67. INT. STAIRWAY - APARTMENT BUILDING - DAY

Jeffrey climbs the stairs. An OLD LADY is making her way down the stairs.

She sees Jeffrey and his rig.

OLD LADY

Well, it's about time you came.

Jeffrey forces a smile at her and after she's gone.

JEFFREY

(to himself)

That's a good sign.

He keeps climbing. He arrives at the Seventh Floor. and finds Number 710.

He knocks and waits. He looks around. the hallway is empty.

DOROTHY VALLENS opens the door. She is a very beautiful woman in her

late thirties. She has a beautiful full figure, dark eyes, black thick

wavy hair. Full red lips. Right now, however, she looks a bit tired and

a bit frumpy in an old terrycloth robe.

DOROTHY

Yes? What is it?

JEFFREY

Pest control. gotta do your apartment.

DOROTHY

Oh God, that stuff stinks.

JEFFREY

(as he goes in)

Nope. it's new stuff. no smell.

DOROTHY

Oh yeah, that's good.

68. INT. DOROTHY'S APARTMENT - DAY

Jeffrey goes all around the baseboards, spraying. All the while he's

getting a good look around the apartment.

There is a window above the kitchen sink out to the fire escape. Jeffrey

looks around to see what Dorothy is doing and she is watching him spraying.

The apartment is smaller than he thought, so he sprays the kitchen very

slowly and makes believe the sprayer is jammed.

Suddenly, there is knocking at the door.

DOROTHY

What is this. Grand Central Station?

She opens the door. Jeffrey looks. It's not Sandy. A MAN, with a yellow

sports coat, is standing there. Jeffrey begins to sweat, because the MAN

looked around Dorothy to see him. Dorothy says something to the Man which

Jeffrey cannot hear.

The next time Jeffrey looks up, the Man is gone. The whole thing looks

to be turning out badly when Jeffrey spots a key on the counter. On a

long shot, he steals it just as the front door shuts. He wraps things up

and gets out.

JEFFREY

(to Dorothy)

That oughta do it.

DOROTHY

Yeah.

69. INT. STAIRWAY - APARTMENT BUILDING - DAY

Jeffrey leaves. Out on the stairs, he finds Sandy with her "Awake"

magazines.

SANDY

Are you alright?

JEFFREY

Yeah. let's get outta here. What

happened?

As they go downstairs,

SANDY

I was just about to go to the door, when

that man did my job for me. Was it alright?

JEFFREY

Yes and no. Did you recognize him?

SANDY

No. I only saw his back. He went down

another stairwell at the end of the hall.

JEFFREY

I didn't get a good look at him either, but

he sure looked at me. I didn't have time to

get a window, but I found this key.

(he shows it to her)

Pretty nifty, huh?

SANDY

Yeah, if it opens the door.

JEFFREY

Yeah.

70. INT. LOBBY - APARTMENT BUILDING - DAY

They get to the door of the apartment building.

JEFFREY

You go first.

71. EXT. LINCOLN STREET - DAY

They leave the building separately. When Jeffrey gets to the car,

Sandy isn't there. He looks around. He starts the car and drives off.

There, up ahead, he spots her. He pulls over and she gets in.

SANDY

So. what's next?

JEFFREY

Pretty clever. Are you game for more?

SANDY

I owe you. since I goofed up this one.

JEFFREY

You didn't goof it up, but. you still

owe me one. I want to sneak in tonight.

It's Friday. do you have a date tonight?

SANDY

Yes. I do.

JEFFREY

Well, it's Friday night and you're a

beautiful girl. I guess you would have

a date. that does that.

72. INT. BEAUMONTS' CAR/WILLIAMS HOME - DAY

Jeffrey is driving Sandy home.

SANDY

You really want to do this, don't you?

JEFFREY

I don't want you to get involved, really,

I mean, I do, but if something went wrong

I mean, like you said, they may be involved

in murder.

They pull up in front of Sandy's house.

SANDY

(making up her mind - against

her better judgment)

I'll tell Mike I'm sick. There's a game

tonight anyway and he'll never miss me.

Afterwards he can go out with the guys.

Just so the record is kept straight though,

I love Mike. What do want me to do?

JEFFREY

(studies her a moment, then)

First of all, we'll have a nice dinner.

Try to find out where Dorothy sings.

SANDY

I already know. The "Slow Club." It's on

Route 7.

JEFFREY

Great. I'll pick you up around eight

o'clock. Is that good?

SANDY

Yeah, but don't pick me up. my father may

think it's strange. I'll walk over to your

house. I'll be there at eight o'clock.

JEFFREY

Okay. You better get out before someone

sees us.

Sandy gets out of the car and without turning around walks into her

house. Jeffrey calls out after her.

JEFFREY

See ya!

DISSOLVE TO:

73. INT. BEAUMONTS' LIVING ROOM - NIGHT

INSERT T.V. SCREEN

The television is on. Some crime show is playing, but the SOUND is

very low.

The FAMILY DOCTOR is over and is giving Mrs. Beaumont an injection of

medicine. Aunt Barbara is sitting nearby.

DR. GYNDE

That will take care of you, Frances, for

another week. I don't want you to overdo

things either. Take it very easy.

AUNT BARBARA

I'll see to it, Bill.

DR. GYNDE

Good.

MRS. BEAUMONT

I feel fine.

DR. GYNDE

That's not the point. You're under a great

deal of stress. don't overdo it. don't

be foolish.

Jeffrey enters the room - to say goodnight.

JEFFREY

Doctor Gynde. my whole family's sick.

What's going on?

AUNT BARBARA

I'm not sick.

Jeffrey points to his head and makes a circular "crazy" gesture. They

all laugh, except Aunt Barbara.

AUNT BARBARA

(continuing)

We'll see who stays in my will.

They laugh again.

JEFFREY

(to his mother)

Can I use the car tonight?

MRS. BEAUMONT

Of course, Jeffrey.

They say their goodnights.

74. INT. BEAUMONTS' CAR - NIGHT

Jeffrey and Sandy are looking at each other. Jeffrey turns back to

driving.

Sandy watches Jeffrey drive then she turns and watches the stores and

shops go by.

When she is turned away, Jeffrey turns and look at her. Sandy is

thinking.

SANDY

What's the plan.

JEFFREY

First of all, we're going to the Slow Club

to see Dorothy Vallens. We'll watch her for

awhile. I'd like to hear her sing anyway,

and then also we'll know she is there and

not in her apartment.

SANDY

Brilliant.

JEFFREY

Then we'll drive back to her apartment and

I will plant myself there.

SANDY

This is not my usual Friday night!

CUT TO:

75. EXT. "SLOW CLUB" - NIGHT

The SLOW CLUB is a sleazy night club on the outskirts of town. It

has a dirty trash-strewn parking lot in front of it, where Jeffrey and

Sandy park. They get out of the car and enter the club.

CUT TO:

76. INT. "SLOW CLUB" - NIGHT

SLEAZY MAITRE D'

(French accent)

Good evening. two?

JEFFREY

Yeah. Could we get a small table in the

back?

SLEZY MAITRE D'

Surely, come this way.

They follow him and are seated.

MAITRE D'

May I get you something to drink?

JEFFREY

I'd like an ice-cold Heineken.

SANDY

(she might as well)

That sounds good.

JEFFREY

Two.

MAITRE D'

Two Heinekens, thank you.

The Maitre d' leaves.

On stage a FAT COMIC is telling jokes. The jokes are tailored for this

kind of working-class crowd. The people are laughing. The place is

almost full. Jeffrey and Sandy are taking it all in.

JEFFREY

(to Waiter)

When does Dorothy Vallens come on?

WAITER

(flustered; overworked)

I don't know. pretty soon. Who knows.

After the Waiter leaves,

SANDY

That guy was filled with information.

They pour their beers.

JEFFREY

(raising his glass)

Here's to. an interesting experience.

SANDY

I'll drink to that.

They drink.

DISSOLVE TO:

77. INT. "SLOW CLUB" - NIGHT

Later. Jeffrey and Sandy have just finished dinner. The M.C. is arranging

a floral art deco microphone and a SAXOPHONE PLAYER, a BASS PLAYER, and a

DRUMMER are on stage.

M.C.

(very low key)

Ladies and gentlemen. The Blue Lady.

Miss Dorothy Vallens.

There is quite a round of applause, even though most people continue

laughing, talking, and drinking. Dorothy Vallens comes out on stage.

She smiles. The house lights are still up. As she sings the first lines

of "BLUE MOON" the house lights go down and a blue spot light comes up on

her as she sings the word, "Blue." This is a very sexy and slow version of

the song.

During the song, Jeffrey and Sandy look at one another with the thought

that this is the woman whose apartment they are about to break into.

Jeffrey and Sandy leave as Dorothy starts her next song, "BLUE VELVET."

They hear the first few lines before they get out the door.

78. EXT. "SLOW CLUB" - NIGHT

They hurry to the car, get in, and drive off.

CUT TO:

79. INT. BEAUMONTS' CAR - NIGHT

Jeffrey and Sandy drive through dark areas of the city. They don't talk

as they drive, but again they sneak glances at one another.

80. INT. BEAUMONTS' CAR/LINCOLN STREET - NIGHT

They turn in to the street where Dorothy Vallens lives and glide to a stop

close to the building. Jeffery cuts the engine.

It is very quiet. Both are looking around to see if anyone is out or

watching. Jeffrey tries to look up out the front windshield to the

Seventh Floor. It is dark. Sandy moves. Every tiny sound is heard.

Sandy looks at Jeffrey for some time, then back at the building.

SANDY

Jeffrey, I don't think you ought to do it.

JEFFREY

Why not?

SANDY

It's crazy and dangerous. My God. I

shouldn't have told you.

JEFFREY

It'll be okay. I don't think you should

wait out here though. I think you should

go home. Can you drive this car?

SANDY

Yeah. but.

JEFFREY

Leave it in the front of your house for me.

okay?

SANDY

O.K.

JEFFREY

Could you wait a little while. this key may

not fit.

SANDY

. I wish you wouldn't do this. It doesn't

make any sense. Let's go somewhere and

have some coffee.

JEFFREY

I'm going in, Sandy. I'll see you tomorrow

and tell you how it went.

SANDY

I. I don't want to see you tomorrow.

Mike's coming over.

JEFFREY

Oh, okay. can I call?

SANDY

Okay. yeah, call.

JEFFREY

Look. it can wait till Sunday.

SANDY

Call tomorrow. It's okay. Good luck. I hope

you can sneak out okay. You're going to

wait until she's asleep?

JEFFREY

Yeah.

SANDY

I'm going to wait here until she comes.

JEFFREY

Are you sure?

SANDY

I'll honk four times so you'll hear it and

know she's on her way up. Okay?

Jeffrey nods.

JEFFREY

Okay. thanks.

SANDY

I don't know if you're a detective or a

pervert.

JEFFREY

That's for me to know and for you to find

out. I'll see you. I mean call you. okay?

SANDY

Okay, okay. Bye.

Jeffrey gets out of the car and shuts the door. He looks in one more time

at Sandy. They stare at each other silently.

Jeffrey can see her lips in the black darkness of the car. Sandy watches

him cross the lawn and go into the apartment building. She slides over and

sits in the driver's seat.

CUT TO:

81. INT. STAIRWAY - APARTMENT BUILDING - NIGHT

Jeffrey hurries up the stairs to the Seventh Floor.

SOMEONE comes out of an apartment just as Jeffrey gets to the Seventh Floor.

He goes up another flight of stairs to the Eighth Floor and waits until

the man goes downstairs.

Jeffrey then goes back to the Seventh Floor and goes to Door 710.

He takes out the key and looks around. No one. He inserts the key.

It fits. He turns it. The door opens.

82. INT. DOROTHY'S APARTMENT - NIGHT

He quickly enters the very dark apartment and shuts the door. It takes a

moment for his eyes to adjust to the darkness. Soon he finds his way

around. He decides on the closet to hide in. However before he goes in

to the closet he slowly surveys the apartment as well as he can in the

darkness. He goes down the hallway to the back bedroom.

Across the hallway he opens another door and is surprised to find an empty

child's room. In the child's room he sees a small pointed hat with a

propeller on top. The kind that plays music when the propeller turns.

The hat is sitting silently on the bed post. He quietly closes the door.

He returns to the closet. Once inside, he checks out how much he can see.

Through the slats he has a view of half the apartment. This is where he

will stay. He moves around some to relax. He takes several deep breaths.

He looks at his watch. It says "10:17."

83. INT. BEAUMONTS' CAR/LINCOLN STREET - NIGHT

Sandy sits in the car, carefully watching the apartment building and

street.

84. INT. DOROTHY'S APARTMENT - NIGHT

In the closet, Jeffrey shakes his shoulders and moves around some to

stretch his muscles which are getting tired. Again, he takes several

deep breaths. He looks at his watch - it says 12:45.

JEFFREY

(to himself)

Oh no, hurry up Dorothy. Come on!. and I

gotta pee. Great. it's now or never.

Jeffrey sneaks out of the closet and makes his way across the bedroom to

the door of the bathroom. His foot hits the door and it makes a loud

noise. He freezes.

85. INT. DOROTHY'S BATHROOM - NIGHT

He moves again into the bathroom. He starts to pee.

JEFFREY

Heineken.

CUT TO:

86. INT. BEAUMONTS' CAR/LINCOLN STREET - NIGHT

Suddenly Sandy sits up alert.

87. EXT. APARTMENT BUILDING - NIGHT

A car drives up and a MAN helps Dorothy Vallens get out. They walk into

the building.

CUT TO:

88. INT. DOROTHY'S BATHROOM - NIGHT

Jeffrey instinctively has flushed the toilet and because everything else

is so quiet the water SOUNDS seem very loud.

89. INT. BEAUMONTS' CAR/LINCOLN STREET - NIGHT

Sandy begins to honk the horn.

90. INT. DOROTHY'S APARTMENT - NIGHT

Unable to hear the warning horn, Jeffrey nonchalantly leaves the bathroom

as the tank is still filling.

SUDDENLY, he hears something. a key going in the door. He bolts toward

the closet. He flies inside it and is swinging the door shut as the front

door opens.

Just as suddenly, the toilet tank gets full and the water shuts off -

SILENCE, except for Dorothy Vallens at the front door.

DOROTHY (V.O.)

(we're watching Jeffrey trying to

control frightened breathing in

the dark closet)

Thanks Jimmy, see you tomorrow. You want a

drink, or something?

JIMMY (V.O.)

I better get back. thanks anyway.

DOROTHY

Goodnight.

JIMMY

Goodnight now.

The front door shuts and the living room lights go on. Jeffrey can see

Dorothy come toward him. She walks RIGHT UP, almost to his face, when

the phone RINGS.

She turns immediately and goes to answer it. Jeffrey almost passes out.

He thought he'd had it. He overhears.

DOROTHY

(on the phone)

Hello. yes. yes sir, Frank. Let me

talk to him. Please Frank, sir. I like

to sing Blue Velvet. Don? It's okay.

Don't worry. Don??. can you hear me?

Is little Donny OK? Is he there? Don? You

mean Meadow Lane? Frank?! What's the

matter with him? I know. When? Okay. In

an hour. I'll be sweet. Momma loves you.

Okay Frank, sir.

She hangs up the phone hard and puts her head in her hands.

DOROTHY

(to herself)

Frank, you son of a bitch!

She goes and sits down and starts chewing a fingernail. She nervously

gets up again and looks at a framed photograph for a moment then hides

the photograph under a pillow on the couch. She puts on a record, "FOR

YOUR PRECIOUS LOVE." She sits back down and chews her nail again,

listening to the MUSIC; she starts to cry. She stops herself and takes

the record off. She starts taking off her stocking. She then takes off

her dress.

Underneath, she has on a bra and panties. She crosses the living room,

goes down the hallway into the bathroom.

Jeffrey can't see her too well now. She takes off her panties in the

bathroom. She is now naked. She looks at herself in the mirror. We see

Jeffrey's face as he watches her. She disappears from view completely and

we HEAR her start a SHOWER.

DISSOLVE TO:

91. INT. DOROTHY'S APARTMENT - NIGHT

Jeffrey's face. He sees Dorothy - in a towel - come toward him again.

He quickly moves back into the closet as far as he can.

She opens the door, reaches in and gets a blue velvet robe. She doesn't

see Jeffrey even though he isn't well hidden. She closes the door. It

CLICKS shut.

Jeffrey is in almost total darkness. He listens. He can HEAR WALKING

around, then silence. He hears the kitchen sink WATER RUNNING.

He HEARS her WALKING AGAIN. Now he can see her. She sits down on her

bed. She looks up. Just as Jeffrey shifts his weight. She looks at the

closet strangely, but then calmly picks up a book and thumbs through it.

She slowly gets up.

Jeffrey doesn't know what is up. He looks but she walks out of view.

SUDDENLY, he hears a DRAWER OPEN, and just as suddenly, the CLOSET DOOR

FLIES OPEN, and there she is with a pistol pointed right at him. When

she realizes that SOMEONE IS REALLY THERE, she SCREAMS ONCE, very loud.

DOROTHY

(crazy scream, then)

GET OUT OF THERE!! GET OUT!! Put your

hands up, on your head. GO ON!! Get down

on your knees - DO IT!! What are you

doing? Who are you? What's your name?.

WHAT'S YOUR NAME?

JEFFREY

Jeffrey.

DOROTHY

Jeffrey. Jeffrey what?

JEFFREY

Jeffrey nothing.

DOROTHY

You tell me!! Let me see that wallet.

(reads his license)

Jeffrey Beaumont. What're you doing in

my apartment, Jeffrey Beaumont?

JEFFREY

I wanted to see you.

DOROTHY

What? Are you kidding me? Who sent you

here?

JEFFREY

Nobody.

DOROTHY

Shit. You better tell me something.

JEFFREY

I was. an experiment. Just to see if

I could do it.

DOROTHY

An experiment? Hey, I've seen you before.

JEFFREY

I sprayed your apartment. I took your key.

I really didn't mean to do anything but

see you.

DOROTHY

Tell me what you saw tonight. TELL ME.

JEFFREY

(scared, nervous)

. I saw you come in, talk on the phone.

get undressed.

DOROTHY

(interrupting)

The phone. What did you hear on the phone

. Tell me. Word for word.

JEFFREY

(trying to remember)

You said hello. to Frank. You wanted to

talk to someone?. Don?. and little Donny.

You said something about Momma loves you.

and something about a Meadow Lane.

something in an hour. I don't remember

any more.

Dorothy stares at Jeffrey studying him for some time thinking.

DOROTHY

That's right. That's what I said. You

have a good memory. Then what?

JEFFREY

Well.

DOROTHY

THEN WHAT?

JEFFREY

Then you got undressed.

DOROTHY

How many times have you sneaked into girls'

apartments and watched them undress?

JEFFREY

(quietly; feeling guilty)

Never before this.

DOROTHY

How'd you like it if someone sneaked into

your house and watched you.

(gets an idea)

Get undressed. I want to see you.

JEFFREY

No. Come on.

DOROTHY

NO, you come on. Take off your pants. I

want to see you.

JEFFREY

Look. I'm sorry. Just let me leave.

DOROTHY

No way.

Dorothy moves to the kitchen counter and gets a knife. She goes to

Jeffrey. Now she has a knife and a gun. He's scared.

DOROTHY

Get undressed. I want to see you.

Jeffrey begins to undress. First he takes off his shoes and socks,

Then his shirt. He undoes his belt and unzips his pants and takes them

off. Now he is only in his underwear.

DOROTHY

STAND UP.

He does.

DOROTHY

(continuing)

Come closer.

Dorothy has a strange look on her face. She reaches out and pulls

Jeffrey's underpants down to his knees. She looks at him.

DOROTHY

(whispering)

What do you want from me?

JEFFREY

(quietly, getting very hot)

I . I don't know.

DOROTHY

(whispering)

What do you want?

Dorothy is getting very DREAMY and begins to talk in a childlike voice.

She opens her robe and pulls Jeffrey to her breasts.

DOROTHY

Don't move. don't look at me.

Jeffrey's eyes close with nervous ecstasy as Dorothy begins touching him.

DOROTHY

Do you like that?

JEFFREY

Yes.

He tries to touch her.

DOROTHY

Don't move or I'll kill you.

She looks at him.

DOROTHY

(continuing)

Do you like talk like that?

JEFFREY

No.

DOROTHY

Lie down on the bed.

He lies down. He looks frightened.

There's a KNOCK, KNOCK on the door. Dorothy looks VERY frightened. She

quickly moves a finger to her lips in a "quiet" sign and whispers to

Jeffrey.

DOROTHY

(whispers, frantic)

Shut up. Hurry! Go in the closet. Don't

say anything or you'll get killed. I mean

it.

KNOCKING is heard louder at the door. Jeffrey picks up all his clothes

and gets in the closet. He's naked and hiding in the closet. Dorothy

closes her robe and glides to the front door.

Jeffrey sees FRANK come in.

Frank is medium height and stocky with a burr hair cut. He is wearing a

tight blue t-shirt and an old black sports jacket. He's got on a pair of

blue jeans and boots. He has a raw, mean sexuality - a "bomb about to go

off" - presence.

He comes into the room slowly, always looking at Dorothy. He sits on the

couch.

DOROTHY

Hello, baby.

FRANK

(annoyed, condescending)

Shut up. It's daddy. shithead.

DOROTHY

Hello, daddy.

FRANK

(can't-you-remember-

anything-attitude)

. my bourbon.

Dorothy goes into the kitchen to get Frank his drink. As she passes the

closet, Jeffrey can see the fear in her face.

She returns with a small glass of bourbon and hands it to Frank. Frank

sips on it.

FRANK

. sit down. get your chair.

Dorothy brings a small chair over from the wall and sits down. She

adjusts her robe.

FRANK

(studying her)

. spread your legs.

Dorothy slowly spreads her legs. She can see Jeffrey staring out of the

darkness of the closet at her.

FRANK

wider.

She opens her legs wider. Frank looks at her crotch and drinks his

bourbon. He stares at the floor for a moment, then slowly looks back at

Dorothy, her body - her crotch.

Dorothy looks up at the ceiling, waiting. Frank suddenly reaches to his

belt, where he has a small canister and a mask. He opens a valve on the

canister and places the mask over his nose and mouth. The canister is

filled with helium, which makes Frank's voice very high and strange

sounding. The result is frightening.

FRANK

(high voice)

. mommy.

Dorothy jumps. She keeps looking at the ceiling.

FRANK

(continuing, with high voice)

. MOMMY!.

DOROTHY

(frightened)

. mommy's here.

FRANK

(high voice)

Baby wants to fuck.

Then, Frank's voice goes to normal.

FRANK

(normal voice, but loud - like

an army order to himself)

GET READY TO FUCK!

Frank goes to Dorothy and kneels down in front of her. He takes one more

gasp of helium.

FRANK

(high voice)

Baby wants blue velvet.

Dorothy opens her robe and gives a part of the robe to Frank.

DOROTHY

(whispering)

Okay.

Frank slowly moves

Frank slowly moves his mouth to the robe and runs his lips along the

texture of the velvet. His hands rub the velvet and feel Dorothy's body

underneath. His hands start feeling her breasts as he sucks and bites the

velvet robe.

Dorothy is very frightened but she is getting hot in spite of her fear.

Then Frank, in a sort of sickening way, pulls Dorothy down to rug. He

warns her.

FRANK

Don't look at me!

He begins stuffing part of the robe into her mouth. Then, he pushes her

arms back and she keeps them back, letting Frank have his way. Frank

sucks and bites the velvet coming out of her mouth, while he pinches and

feels her breasts in a strange, compulsive, timidly sickening way.

Dorothy is moaning. Frank is breathing very heavily. He feels her crotch.

FRANK

Don't look at me!!!

(heavy breathing)

Daddy's home.

He starts stuffing the robe in his mouth now and he gets on top of Dorothy.

He starts humping her and pulling her nude body up and down him. Faster

and faster, then he has a climax in his pants. Dorothy's head is falling

back. She can see Jeffrey blurred in the distance - in the closet.

Cautiously, she looks sideways at Frank.

FRANK

(screaming)

Don't look at me!!!

He slugs her in the face. His nose is running and he's stifling sobs from

deep within him. On his hands and knees, he moves away. The robe pulls

out of his mouth. His breathing is even heavier now. He stands and

begins to move around the apartment. He goes to a wall, turns off the

lights, then turns and walks into the bathroom, all the while breathing

big, heavy breaths, trying to stop the crying. Dorothy moans softly.

It gets very quiet and still for a moment. Then, Jeffrey hears Frank

with his high helium voice talking to himself in the bathroom. The high,

strange sound reverberates in the distance. Jeffrey can't make it out -

soon, he hears Frank's high laughing. Frank comes back into the living

room. The mask is around his face. All his breathing - every sound is

high . He laughs a little and crosses the darkened room to the door.

FRANK

Stay alive baby. See you next Christmas!

Frank leaves and shuts the door. The apartment is silent except for

Dorothy's moans.

Jeffrey is stunned. He doesn't move. He watches Dorothy in the

half-light. She rolls over and starts crying. The crying is deep and

genuine.

Slowly, Jeffrey emerges from the closet and goes to her. He bends down

and touches her. She flinches and turns to see him. She turns back

sobbing. He tries to get her up.

JEFFREY

Why don't you come lie down. Come on, I'll

help you.

She struggles up with Jeffrey's help and he takes her over to the bed.

She falls down on her side, turned toward the wall. He covers her with

the sheet.

DOROTHY

Don't.

(referring to the sheet)

I don't like that. What do you want?

JEFFREY

Nothing. Are you alright?

DOROTHY

Sure I'm alright.

(she starts crying again)

JEFFREY

I'll go then.

He starts to put on his underwear. They're inside out. He tries to turn

them around.

DOROTHY

Don?

JEFFREY

No.

DOROTHY

Don. Hold me. I'm scared. Hold me.

Please.

Jeffrey turns to her. He studies her. He reaches out and takes her

shoulders. He moves down and holds her.

DOROTHY

(whispering)

Thank you. honey.

JEFFREY

(whispering)

It's okay. It's okay.

They lie together for a long silent moment.

DOROTHY

Do you like the way I feel?

JEFFREY

(hesitates)

Yes.

DOROTHY

See my breasts? . See?

Jeffrey looks.

JEFFREY

Yes.

DOROTHY

See my nipples?

JEFFREY

Yes.

DOROTHY

(whispering)

You can kiss them if you want. Fell them

. They're getting hard.

Jeffrey starts to move closer. Dorothy closes her eyes.

DOROTHY

(continuing)

Go ahead. I don't mind.

Jeffrey can't help himself. He licks and sucks her nipples and feels her

breasts. They both are getting very hot.

DOROTHY

Feel me.

Jeffrey is all over her now. Dorothy suddenly seems to recognize him.

DOROTHY

You can hit me, if you want to.

JEFFREY

No. please. I won't.

Dorothy arches back and whining she throws her head back hard against the

wall.

JEFFREY

Stop it!

She moves and won't let him feel her anymore. She holds his hands away.

DOROTHY

(whispering)

Do you like me?

JEFFREY

(whispering)

Yes, I like you.

DOROTHY

(whispering)

You can be my special friend and come and

put that in me.

They start making love. Suddenly, Dorothy starts crying.

JEFFREY

What's the matter?

Suddenly Dorothy slaps Jeffrey in the face. very hard.

DOROTHY

Get off me.

Jeffrey gets off her, pressing his hand to his face. Dorothy goes into

the bathroom crying all the way. Jeffrey sits, confused.

Suddenly Jeffrey hears a horrible scream from Dorothy. A true scream of

horror. He rushes into the bathroom to see what is wrong.

92. INT. DOROTHY'S BATHROOM - NIGHT

She is just flushing something down the toilet. The water SOUND rushes.

He turns to her. She is trembling and in a state of shock.

DOROTHY

I made it go down the toilet.

JEFFREY

What?

He looks in the swirling water. It looks like an ear revolving around and

around then whatever it is disappears.

DOROTHY

I made it go down the toilet.

Jeffrey looks up. he sees written with a bar of soap the words "look down"

on the mirror.

He looks down into the sink. At the bottom he sees a small clot of blood

and a smear of fresher blood.

Jeffrey suddenly remembers mentally Frank's high helium voice reverberating

in the bathroom.

93. INT. DOROTHY'S BATHROOM - NIGHT

FLASHBACK

Frank in bathroom.

94. INT. DOROTHY'S APARTMENT - NIGHT

FLASHBACK

Frank at door saying "see you next Christmas."

95. INT. DOROTHY'S BATHROOM - NIGHT

JEFFREY

(inner voice)

Next Christmas. Is he Santa Claus who has

left a present for Dorothy? What was it?

An ear? Another ear?!!

(out loud, to Dorothy)

What was it?

DOROTHY

(strangely - extremely frightened

now that Jeffrey may have left it)

Do you know?

JEFFREY

No.

DOROTHY

(breathing heavily, strangely)

You don't?

JEFFREY

No. What is happening?

DOROTHY

Maybe you don't know. I know you though.

You're Jeffrey Beaumont and I know where

you live and I know ways to get you and I

know ways to kill you.

JEFFREY

Please don't talk like that. You're upset.

I'm not helping you. I'm sorry for what I

did. I better go.

DOROTHY

Go then. I can't let you put it in me now

but I want you. I like you.

JEFFREY

Then don't talk about killing.

DOROTHY

Did I say that?. I didn't mean it. or did I?

(laughs)

Sometimes I think it would be fun.

(strange smile)

Go ahead, you better leave now. I can't

open myself to you now. I'll tell you a little

secret.

(she leans close)

I want to die.

JEFFREY

Don't say that.

DOROTHY

It's a secret so don't tell anyone. Some day

I'll show you where. I've gotta go to sleep

now.

JEFFREY

(frightened by her craziness)

O.K.

He takes another look at the blood in the bottom of the sink. He takes

another look at the beautiful dark troubled eyes of Dorothy Vallens, and

turns, goes through the hall to the living room. He crosses slowly to the

door, suddenly he turns back and enters the hallway going down to the

bathroom. He stops and looks at Dorothy who is turned away from him.

She stares into the sink. Jeffrey notices that a square of fabric has

been cut from the bottom of her blue velvet robe

JEFFREY

I'm leaving now.

She is whispering something to herself.

DOROTHY

(very faint whisper)

Help me. help me. please help me.

Jeffrey doesn't know what he can do.

96. INT. DOROTHY'S APARTMENT - NIGHT

Jeffrey turns back, goes through the living room. He looks around and

sees the empty bourbon glass of Frank's. Suddenly he remembers the

photograph that Dorothy hid. He picks up the pillow and sees a picture

of a smiling man and a small boy standing next to him wearing a pointed

hat with a propeller. He turns the photo over and finds an old marriage

license. It reads: Dorothy Vallens to Don.

JEFFREY (V.O.)

Don. Oh my God.

He hides the photo again. He sees Dorothy's telephone. He memorizes the

number - moving his lips with each digit. He goes to the front door and

opens it quietly.

97. EXT. STAIRWAY - APARTMENT BUILDING - NIGHT

He looks out into the hall. It's empty.

97A. INT. HALLWAY - APARTMENT BUILDING - NIGHT

He quickly goes to the back stairway and down the stairs. These steps are

cement and his feet make echoing sounds which seem very loud. He goes

through a door marked "EXIT".

98. EXT. LINCOLN STREET - NIGHT

. and comes out, crosses a lawn and goes out onto the sidewalk.

He walks along taking in deep cleansing breaths. He looks at his watch.

2:30. He feels so confused, exhilarated, so uneasy. He secretly worries

about what he's gotten into.

99. INT. BEAUMONTS' LIVING ROOM - NIGHT

Jeffrey enters the house. THE CAMERA RUSHES along the rug in the dark to a

foot. The lights come on. PAN UP the leg to Mrs. Beaumont waiting in a

chair, staring.

JEFFREY

(startled)

God. you scared me.

MRS. BEAUMONT

Is something wrong? What's happened to

your face?

JEFFREY

Nothing. I'm fine.

MRS. BEAUMONT

You can't just stay out half the night and

carry on, Jeffrey. There's got to be some

order, Jeffrey. I thought it would have

been nice to call your father when you got

home but now it is much too late.

FADE TO:

100. INT. JEFFREY'S BEDROOM - DAY

Jeffrey gets out of bed and goes to the phone. He dials a number.

JEFFREY

Louise Wertham, please. okay.

(waits)

Louise?. Jeffrey. Hi. What's up?

(pause)

MARRIED?! Good night! Louise! Are

you kidding?

(long pause)

Well, Louise, I wish you a lot of

luck and if things don't work out,

I think you should go into comedy.

Jeffrey hangs up the phone hard. He shakes his head.

101. INT. BEAUMONTS' HARDWARE STORE - DAY

Jeffrey's drinking a cup of coffee behind the counter in the store.

He thinks. He takes another drink of coffee and sets the cup down.

He clasps his hands behind his back and begins pacing up and down.

JEFFREY

(to himself, out loud)

How can I help her? I can't tell her to go

to Detective Williams. She'll think I'm a

policeman. She has my address. She can go

there. if she has to. I'll tell her. and

her. and she thinks I'm Don. her husband?

Where the hell is Don? - maybe he died.

Jeffrey dials the phone.

JEFFREY

Hello?. Mrs. Williams?. This is Jeffrey

Beaumont. Fine. Okay. Is Sandy there?

Okay. Hi Sandy. Can you talk? He is?.

Well, I guess I'll talk to you later on.

It went okay. I'll tell you about it.

Dinner?. Tomorrow night? Seven o'clock,

yeah, sounds good. Okay. he's still in

the hospital. Okay, yeah. See you

tomorrow. thanks.

102. INT. HOSPITAL LABORATORY - DAY

The searching, mysterious MUSIC plays over while,

A DOCTOR is looking at various blood samples under a powerful microscope.

Various sophisticated gadgets are seen in CLOSEUPS.

JEFFREY (V.O.)

This is what my father's disease looks like?

DR. GYNDE

Yes.

The BLOOD is seen in CLOSEUP. Cells are moving.

The Doctor makes a change in magnification. The cells are huge - then,

even bigger. They are so big we can hear them moving.

103. EXT. "SLOW CLUB" - NIGHT

The parking lot is half-full. A strong wind is blowing trash around.

Jeffrey parks his car.

104. INT. "SLOW CLUB" - NIGHT

. and enters the club. He speaks to the Maitre d'.

JEFFREY

A table in back, please.

MAITRE D'

Certainly

Dorothy is singing her opening song as the Maitre d' seats Jeffrey.

JEFFREY

I'll have an ice-cold Heineken.

MAITRE D'

One Heineken, certainly, sir.

Jeffrey surveys the place after the Maitre d' leaves. It is very dark and

smoky inside. He has trouble seeing, but suddenly he spots Frank sitting

with some other GUYS watching Dorothy sing. They are sitting two tables

away.

Frank is totally captivated by Dorothy's singing and is very serious-

looking. He looks right up to her eyes. In his hand he works a small

piece of blue velvet cloth with his fingers. Again her first number,

"BLUE MOON," segues into "BLUE VELVET." This song she sings mainly to

Frank. When it is over Frank continues watching Dorothy and everyone else

applauds loudly.

Jeffrey drinks up his Heineken and goes back outside.

EXT. "SLOW CLUB" - NIGHT

He looks around at all the cars but none stand out as Frank's. He gets

into his car and pulls out across the street, re-parks the car and waits.

DISSOLVE TO:

106. EXT. "SLOW CLUB" - NIGHT

Traffic roars past Jeffrey and in the distance several people exit the

SLOW CLUB. Among them are Frank and his friends. They get into a black

Ford Fairlane and drive out of the parking lot - down the highway.

Jeffrey starts his engine and moves out after them. He has to gun the car

up to sixty-five to catch up with them.

107. EXT. CITY STREETS - NIGHT

The mysterious MUSIC plays.

He follows them to an intersection where they turn off to the right.

He waits at a light right behind them. Inside they are lighting

cigarettes. The light turns green and Frank takes off. Jeffrey follows

them through a dark area down by the docks. He follows them up a narrow

street through dark factories.

108. EXT. FRONT STREET - NIGHT

Dark, low MUSIC now.

Up ahead, Frank parks his car. Jeffrey quickly pulls over and kills his

lights and engine. He watches Frank and his friends enter an old apartment

building next to a bookbinding factory. They disappear within. The

electric lines above buzz loudly.

Jeffrey gets out of his car and walks up the deserted street. He reaches

Frank's car which is making popping and clicking NOISES as it cools down.

He looks at the license plates - walks a few paces ahead and then writes it

down in his notebook. He continues on to the apartment building.

109. INT. LOBBY - FRANK'S BUILDING - NIGHT

Inside he looks at the names on the mailboxes. He sees a name - Frank

Booth. The name gives him the chills. The apartment number is 26.

In the distance, he hears footsteps. He quickly leaves.

110. EXT. FRONT STREET - NIGHT

. and crosses the street down to his car. He gets in and waits. Frank

comes out of the building and crosses to his car.

JEFFREY

(out loud to himself)

I'll bet I know where you're going.

He follows Frank as he pulls out.

DISSOLVE TO:

111. EXT. DINER PARKING LOT - NIGHT

Jeffrey discreetly parks just after Frank kills the engine on his car.

He watches Frank leave the parking lot.

112. EXT. VACANT FIELD - NIGHT

He follows Frank through the same vacant lot where he found the ear. He

seems to use the lot as a secret short cut to Dorothy's apartment.

113. EXT. DINER PARKING LOT - NIGHT

Jeffrey goes back to his car to wait.

DISSOLVE TO:

114. EXT. DINER PARKING LOT - NIGHT

A storm is building. There is a roar of thunder as Frank slams his car

door as he gets in. His mouth twists into a smile as he guns the engine

and leaves. Jeffrey waits till Frank is safely gone.

JEFFREY

(thinking out loud)

I shouldn't go in. I shouldn't. but I'm

too curious. and I have to try to help her.

He then gets out of his car as the wind is building.

115. EXT. VACANT FIELD - NIGHT

. and runs through the vacant lot.

116. EXT. APARTMENT BUILDING - NIGHT

. to Dorothy's building.

117. INT. STAIRWAY - APARTMENT BUILDING - NIGHT

He goes up to the seventh floor and knocks twice on 710. A moment passes,

then the door flies open.

Dorothy looks as if she was expecting Frank to be coming back. Dorothy

LOOKS BAD.

JEFFREY

Hi. can I come in?

DOROTHY

(looking around the hallway)

Yeah. hurry up though.

They go inside.

118. INT. DOROTHY'S APARTMENT - NIGHT

JEFFREY

Are you alright?

Dorothy breaks down crying.

DOROTHY

No. I'm not.

Jeffrey goes to her.

DOROTHY

Why are you here. whatiya want?

JEFFREY

. I. uh.

DOROTHY

(still crying)

I looked for you in my closet tonight.

(a little laugh)

It's crazy, I don't know where you came

from but. I like you.

JEFFREY

That's not crazy. I like you too.

Dorothy looks up. They stare at each other for some time.

DOROTHY

I liked being with you last night.

JEFFREY

. same here.

There is a loud knocking on the door.

DOROTHY

(she starts to stagger)

Oh shit.

JEFFREY

(frightened)

Frank? .can you stand up?

DOROTHY

I'm alright. go hide. This won't

take long. Be quiet.

Jeffrey gets in the closet and Dorothy closes the door. She holds her

head collecting her fragile self. Dorothy goes to the door and opens it.

It's the Man with the Yellow Sports Coat - tonight he's wearing a purple

sports coat and light blue double knit pants. His eyes are glazed and his

face is broken out in a sweat.

YELLOW MAN

Frank gone?

DOROTHY

Yeah. but get outta here. He's comin'

back.

YELLOW MAN

Bull.

DOROTHY

Alright, suit yourself.

YELLOW MAN

He's comin' back?. What for?

DOROTHY

(shaking)

'Cause he's comin' back, that's what for.

Frank's got you really loaded tonight.

YELLOW MAN

(getting upset)

Yeah, maybe so. Frank's got me. and you.

and really it's all thanks to Don. isn't

it. remember that. Your husband was the

one who started fucking my mind with drugs.

DOROTHY

Oh he forced you, huh?

YELLOW MAN

He's the reformed dealer though who wanted

to turn himself in. he's the one that caused

Frank to come and Frank's fucking us real

good. I just feel so horny. I'm supposed to

be here watching you why can't I be here

fucking you. Listen. I know his cock's the

size of a pin - let me give you the real

thing. let me wet my whistle, baby.

DOROTHY

(cool, but real mad)

No way. get out. I'm gonna tell Frank.

I'm gonna tell him what you said.

YELLOW MAN

Okay, I'm goin'. You'll see. I'll get you.

Dorothy kicks the door after he closes it, then she chains it. Jeffrey

comes out of the closet.

JEFFREY

(talking softly)

Nice guy. Who's he?

DOROTHY

Who's it, you mean.

SUDDENLY, Dorothy starts to shake and cry.

Jeffrey grabs her and shakes her and holds her tight to him. She starts

sobbing again.

DOROTHY

(continuing)

Oh God. Don!!! Why can't I just die.

JEFFREY

(quietly, soothing her)

There you go again. stop saying that.

You can make it.

DOROTHY

I can't. I can't. You think you know

so much.

JEFFREY

Take it easy. What's goin' on anyway?.

Why are you in so much trouble?

Dorothy is sobbing and Jeffrey is holding her. There is a long silence

and she calms down.

DOROTHY

(whispering)

I. don't. okay. Just don't. just be

with me.

(now very strangely)

Oh God. Come with me. Who are you.

Come up here.

Dorothy takes Jeffrey through the kitchen and out the back.

119. INT. BACK STAIRWAY - APARTMENT BUILDING - NIGHT

. to a back stairway leading to the roof.

120. EXT. ROOFTOP - APARTMENT BUILDING - NIGHT

The storm is closer and the dark clouds move violently in front of a full

moon. The wind continues to moan. They move to the roof top and Dorothy

leads Jeffrey through the chimneys to the edge of the building. A very

sad forlorn version of "Somewhere over the Rainbow" - creeps through the

wind.

DOROTHY

(as she stares down)

Look.

JEFFREY

(turning to her quickly)

No.

DOROTHY

(continuing to look down, her

eyes widening - she whispers)

Falling.

JEFFREY

No. Please, Dorothy. Why are you in so

much trouble?

He moves closer to her.

JEFFREY

(continuing)

Who is Don?

DOROTHY

(very crazy and angry)

Don?. Are you in with them?

JEFFREY

(whispering)

No. But you're in very big trouble.

DOROTHY

Why are you so interested? Why do you

keep asking me?

JEFFREY

I came back to help you. You said do I

let girls sneak into my house. You know

where I live. if you need to. come to

where I live. O.K.?

DOROTHY

Who are you? Maybe I'll need to. you like

me, huh?

JEFFREY

Yes.

DOROTHY

(whispering)

. or do you just want me? I'm going to let

you enter me now.

JEFFREY

No. I should go.

DOROTHY

Please. please stay.

She makes him kiss her. he really likes it. Once again, Jeffrey and

Dorothy get VERY HOT. Dorothy and Jeffrey lie down on the roof. Dorothy

cries out suddenly and bangs her head hard again and again against the

roof.

JEFFREY

Why Dorothy?

We move very close to Jeffrey's ear as Dorothy's lips come up and whisper

into it.

DOROTHY

Don? I have to make it hurt. I want

there to be nothing again. Don!!!

(as she slams her head

again and again)

She reaches up and clutches Jeffrey then pulls him down with a feverish

kiss. Lightening cracks above them and the wind howls.

FADE TO WHITE:

FADE DOWN TO:

121. EXT. LINCOLN STREET - NIGHT

Jeffrey leaves the pool of light from a street light and walks into

darkness. He continues down the sidewalk. He looks up at the starry sky.

The stars are so far away - the feeling is cold and lonely.

DISSOLVE TO:

121A.

Darkness: There are bell tones sounding, and as each one sounds pin points

of light appear on Mr. Beaumonts distorted dream face. He is trying to

speak. He's trying to say "Jeffrey."

121B.

Another dark image appears. A robin sits in a tree at night. Very close.

There is a slow low reverberating chirping sound.

121C.

Now Dorothy's apartment building at night. A very low angle looking up

to the roof. Suddenly a pinpoint of red appears coming toward us from

the roof. It flies toward us very fast growing larger until we see it is

a red high-heeled shoe. As it fills the screen it becomes red lips of

Dorothy's which open into a scream.

121D.

Jeffrey wakes in his room - terrified.

122. INT. BEAUMONTS' LIVING ROOM - NIGHT

Jeffrey is talking with Aunt Barbara in the semi-dark living room.

JEFFREY

Will you tell Mom when she gets home from

the hospital that I've gone to dinner at

Sandy Williams' house?

AUNT BARBARA

Okay honey. that sounds nice. Jeffrey.

I think you've got termites in the house.

JEFFREY

Oh yeah?. Have you seen any?

AUNT BARBARA

I've seen a few.

JEFFREY

Well, I haven't seen any. I wouldn't worry

about it. Look. I better go.

AUNT BARBARA

Okay honey.

Jeffrey leaves and Aunt Barbara moves about tapping on the walls. She

moves into a dark area and taps. Something falls. She reaches down.

In EXTREME CLOSEUP we see a termite walking by her shoe on the thick

carpet. Then in EXTREME CLOSEUP we see Aunt Barbara's fingers pinch the

termite and bring it up in front of her thick glasses for a look. She

looks at the termite, then looks back at the walls.

We GLIDE ALONG the dark walls of the house.

CUT TO:

123. INT. WILLIAMS' DINING ROOM - NIGHT

They all sit around the dining room table. They have their heads bowed

in a prayer before dinner.

SANDY

We thank you in the name of the Father, the

Son, and the Holy Ghost. Amen.

They start passing food around.

MIKE

Like I was saying. if you toss the ball like

this, with your fingers just down here, that

thing'll spin like a beauty. real straight.

DETECTIVE WILLIAMS

(teasing him)

Yeah? Then how come nobody caught anything

last week?.

MIKE

(not laughing)

'Cause we had a bad day.

DETECTIVE WILLIAMS

You play any sports, Jeffrey?

JEFFREY

No.

MIKE

Looks like you'd make a good runner.

JEFFREY

Well.

MIKE

I mean, you don't exactly have the build

for a football. I mean. no offense.

Jeffrey looks around and sees Sandy looking at him. She then gives a

stern look to Mike. Then Mike and Sandy both look at Jeffrey.

JEFFREY

(not offended)

No. you're right.

MIKE

I mean. some guys play anyway but they

usually get slaughtered.

JEFFREY

Yeah, well I never wanted to get

slaughtered much.

MIKE

(not getting any humor)

Well, most guys don't. I mean that's the

point. You all mind if I take my vitamins?

MRS. WILLIAMS

No, Mike. but there are vitamins in the

food, you know.

Everyone laughs.

MIKE

Yeah, but I gotta supplement that. I gotta

take a bunch of zinc too. The body is like

a machine. EVERYTHING has got to stay in

perfect tune for perfect health. That's

what I'm interested in.

Sandy looks at Mike.

MIKE

Oh yeah. and a few other things.

Everyone laughs again.

SANDY

We've got some Heinekens.

DETECTIVE WILLIAMS

Yeah. I like Bud myself.

SANDY

I'll get it. Mike, whatiya want?

MIKE

I guess another glass of water.

Sandy and Jeffrey share a look.

DISSOLVE TO:

124. INT. WILLIAMS' BASEMENT - NIGHT

Mike and Sandy are sitting on a couch in the basement. Jeffrey is sitting

on a chair nearby. The television set 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