Blue Velvet Page #17

Synopsis: College student Jeffrey Beaumont (Kyle MacLachlan) returns home after his father has a stroke. When he discovers a severed ear in an abandoned field, Beaumont teams up with detective's daughter Sandy Williams (Laura Dern) to solve the mystery. They believe beautiful lounge singer Dorothy Vallens (Isabella Rossellini) may be connected with the case, and Beaumont finds himself becoming drawn into her dark, twisted world, where he encounters sexually depraved psychopath Frank Booth (Dennis Hopper).
Production: MGM
  Nominated for 1 Oscar. Another 18 wins & 16 nominations.
 
IMDB:
7.8
Metacritic:
76
Rotten Tomatoes:
94%
R
Year:
1986
120 min
1,035 Views


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 f*** 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, F***. 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 f***. 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 f***in' 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, f***er. You know what a

love letter is? It's a bullet. straight

from my gun, f***er. Once you get a love

letter from me, you're f***ed forever.

Understand, F***?

JEFFREY:

Yes.

FRANK:

I'll send you straight to hell, F***!

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

"F*** 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.

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David Lynch

David Keith Lynch (born January 20, 1946) is an American director, screenwriter, visual artist, musician, actor, and author. Known for his surrealist films, he has developed a unique cinematic style. The surreal and, in many cases, violent elements contained within his films have been known to "disturb, offend or mystify" audiences. more…

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