When Rita opens the blue box, Betty becomes Diane as she, herself, becomes Camilla. This is the waking narrative of Mulholland Drive. After Diane opens the blue box, it falls to the bedroom floor of Betty’s aunt. The woman herself appears and checks the room. The box is no longer there. The apartment changes. We now appear to be in Diane’s apartment. She is sleeping. Her slumbering body and slip dress visually echo the corpse of the primary dream narrative. The pink of her sheets also alludes to the shot of the bed at the beginning of the film. Diane’s sleep is interrupted by the same cowboy encountered by the director Adam and finally by a woman neighbour of Diane Selwyn whom we encountered in the dream narrative. Although we now entering the conscious narrative of Mulholland Drive, it must however be said that Diane’s “conscious” decline is subject to hallucinations and hallucinatory figures as it also features a sex scene which is both dynamic and dream-like. The sex scene is both a revelation and a narrative shock. Moreover, the configuration of time in the final 45 minutes of Mulholland Drive manifests the psychotic edginess of the tormented heroine. Diane is looking back as she fragments. Woken up by her neighbour who has come to collect some belongings, Diane notices a “normal” blue key is on the coffee table. The blue key we will see belongs to the hitman and signifies that Camilla has been killed. The neighbour tells us : “By the way, those two detectives came by looking for you.” What follows are hallucinations and flash-backs which show the end of love and reveal Diane’s plans to murder her love. Diane’s dream is broken. As the cowboy tells Diane : “Hey, pretty girl, time to wake up”. We see a fading and utterly dejected woman. The luminous, fair skin of the young blonde woman is now almost grey. Perhaps Diane has become a prostitute. Possibly she is a drug addict. Diane encounters the spectre of the woman we have known as Rita. Rita is now the garishly glamorous Camilla. She disappears. Diane is confronted by herself. Then, abruptly, Camilla “actually” returns to and momentarily responds to a Diane suddenly revived by desire in sexy, “trailer trash” mode. In Mulholland’s other sex scene, the bare-chested and jean-clad Diane is more assertively aroused by the voluptuous temptress, Camilla, who with her painted lips, sculptured breasts and fuck-me look responds to and then immediately spurs her female lover’s advances. Diane reacts by forcing her. The scene is powerful in erotic force and shock value. It’s unforeseen hyper-reality violently disturbs the sepulchral slowness of the previous scene. It also exhibits Diane’s extreme violence. In the next scene, Camilla even provokes Diane’s sexual jealousy through the acting process. On the set, she makes sure that Diane sees her kiss the director in rehearsal. Camilla has left Diane. We see Diane masturbating in teary despair and anger. She literally beats her sex. The phone rings. We recognise this phone and setting as that of the last recipient of a series of calls launched to say “The girl is still missing”. Diane may therefore be identified as the unseen and unnamed force pursuing Rita in the dream narrative. To compound her humiliation, Diane is invited by Camilla to a Hollywood party on Mulholland where she and Adam, the young director of her dream announce their engagement. As the car stops at the house in a scene echoing the beginning of the film where Rita is driven up Mulholland, Diane repeats her beloved’s words “We don’t stop here”. Out of the flora, Camilla appears. Like a full-blooded femme fatale in an exotic and weird technicolor fantasy, she leads a desperate and adoring child-like Diane up to the house. Thus, the tables have been turned. The dark-haired woman is no longer an injured, sexually yielding amnesiac. At the party, we here learn a little of Diane’s history of failure as an actress. She had come to Hollywood from Canada after winning a jitterbugging contest. She had met Camilla at an audition for a leading role in “The Sylvia North Story” and had lost the part to her friend who had subsequently helped her get a few roles. Diane is patronised by the director’s mother (played by Anne Miller, the same actress who plays the friend of her mother - Coco Lenoix - in the dream sequence) who pats her hand in false sympathy. She is also taunted by Camilla’s provocative displays of sexual affection with her fiancée and an ex female lover or lover on the side who is none other than the young blonde Camilla chosen by the Mafia in the primary dream narrative. At the party, we see the “espresso” executive and the cowboy. They are anonymous industry figures. Rejected by her lover, Diane transforms into a murderess as Lynch plays with and reverses the noirish Hollywood myth of the dark homicidal lover. In the apparently archetypal, anonymous diner which we have witnessed earlier in the dream sequence, Winkies of Sunset Boulevard, Diane hires the sleazy young blonde hitman Joe to murder her beloved Camilla. As she shows her photo to him, the glacial brunette is clearly identified as Camilla Rhodes. Joe asks her, “Are you sure you want this ?” Diane answers : “More than anything else in the world”. Joe tells her that when the deed is done, he will put a normal blue key on the table. In the diner two people appear from the primary narrative.