The Shangri-Las - How Pretty Can You Get
Man parking a 1950s convertible. He puts on lipstick in his rearview mirror; his nails are painted red.
Elvis Presley - Good Time Charlie's Got the Blues
Inside of an old timey Louisiana country bar. Women walk by, shot in slow motion from below, in tight knee-length pencil skirts. Old men, shot the same way, turn from their barstools to gawk. People are seen reflected in the beer mugs clinking glasses and saying "cheers." Now a close up on one of the women, a very done-up rockabilly-stripper type with a Betty Page wig. She winks and leans over the bar, and we see that she is the man from the car.
Johnny Cash & June Carter Cash - Another Man Done Gone
Montage sequence in black and white with a young boy putting on women's clothing and an old man laughing maniacally. Then for no reason the laughing man is consumed in fire. Cut to an old black lady sitting on the porch of an even older broken-down house miming the Johnny Cash part of this song.
H.B. Barnum - Freeway
Barbeque in the backyard of a 1950s southern suburban house. Housewives chatting with each other, and husbands doing the same; one man barbecuing, It's Jane but now as the perfect husband. He is standing by the grill and talking, his wife walks over and kisses his cheek, grabs his hand playfully and then notices a red smudge on one finger. A tight shot of fire, evocative of the laughing man ablaze, and then cut to a wide shot of the grill from above, red hot, and then lighter fluid coming down into the shot, feeding the fire.
The Crystals - He Hit Me (It Felt Like a Kiss)
Jane, still as a man, arguing with his wife. He beats her to death. As this happens, the shots shift between the wife's progressively more mangled face and Jane progressively dressed more as a woman. Once he's done, he uses her blood as lipstick and rouge.
Shangri-Las – Remember (Walking in the Sand)
Jane as a man, in a bar with some good ole boys talking about women. Flashes throughout to his dancing with the dead body of his wife, dressed and blood-covered as at the end of the last scene.
Jonathan Richman - Affection
Jane at a lesbian bar, talking with some girls about women. The girls and the shots roughly match up with the men in the previous scene. One girl is very interested in Jane, and they obviously have sparks. A touching and romantic scene.
Patsy Cline - Crazy Arms
Jane and bar girl driving in Jane's convertible on a great American highway. They pull off to take photos in front of a tremendous, clumsy wooden Paul Bunyan. It's all very touching and a little reminiscent of Thelma and Louise. As the car pulls out, the camera pans right to a giant blue ox. To the side is a garbage can with an old newspaper discarded beside it. On the paper is a photo of Jane as a man and a smaller shot of his wife's mutilated face, both beneath the headline "What Sort of Man?".
Percy Mayfield - Life is Sucide
Jane's wife in a stained, slutty camisole smoking a cigarette and reading a copy of the same paper in the bed of a motel room. The song is playing on an old radio. A man whose face we don't see gets out of the bed, puts on his pants and hastily throws some bills on the bed. She doesn't bother to look up, but begins fanning herself with the newspaper. She looks beautiful, except for a giant scar on her torso.
The Clovers – Rotten Cocksucker's Ball
Young greasers on the streets of the Bronx singing do-wop. Then cut to a nightclub (not necessarily in the Bronx) and Jane, her lesbian friend from the bar and Jane's wife, all in leotards, heels, fishnet stockings and top hats.They are all cabaret dancing in a fashion that would fit nicely in an old time musical. Though lights are on, there is no one else in the nightclub. At scenes end, ecstatic reaction
shots from suddenly present regulars; an unlikely mix of sophisticated dandies and shady strip club devotees.
The Shangri-Las - Good Taste Tip
Jane with her girl sharing an ice cream cone at the bar of a soda shoppe. Jane pays and puts her arm around his girl, as the jerk focuses his attention on an imagined stain on the spotless counter.
The Moonglows - The Ten Commandments of Love
The girls look fondly into each others eyes. The lights lower and the girls drop their cones on the floor and start slow dancing. The jerk continues to clean the counter.
Lori Burton - Nightmare
As they are dancing the wife comes in wearing the same outfit from the dance number, but this time with a cane. A vicious girl fight ensues; wigs and top hats go flying.
Ryan Adams - Shakedown on Ninth Street
The fight continues. Finally, midgets appear and sing in a chorus of helium voices as the camera cuts to blood slowly spreading on the black and white checkered floor.
The Tammys - Egyptian Shumba
Jane driving away, bloody and alone. He takes off his wig and makeup.
Duane Eddy-Rebel 'Rouser
Jane, again a man, in a diner drinking coffee and watching a teenage girl put money in a juke box. Jane has the greedy, slitted eyes of a wolfish teenage boy.
Chuck Berry - Downbound Train
Cops walk into the diner, sit at the counter and look over at Jane. He leaves, walks out and turns into a dark and depraved street with hooker scattered everywhere. He talks to one and they walk away together.
Gene Vincent & The Blue Caps - Race with the Devil
In a motel room. They are getting it on (as they say) and Jane starts choking the prostitute. There is a struggle, during which he turns back into a woman.
Esquerita - Esquerita and the Voola
After the killing, Jane does the twist.
Jackie Wilson - Reet Petite
Night. Jane, all dolled up, exits the motel room, a cigarette between her lips and hips swinging, walks toward the hookers. She talks to some of them for a moment and then joins them.
Jerry Lee Lewis - Chantilly Lace
Montage of Jane hookering and having a damned good time doing so.
Freddy Fender - Wasted Days and Wasted Nights
Jane sitting in a bar with a John Doe talking. He is telling her that he loves her and wants to marry her, take her away from her horrible lifestyle. He goes on to explain that it is because he loves her that he has never "known" her in the biblical sense. She signals to the bartender, tells him "Bring me something very expensive."
Kitty Wells - Making Believe
Montage of Jane and the John together as a happy suburban family.
Roy Orbison - Pretty One
John Doe walks up to the group of hookers looking for Jane. He finds her and hands her some bills. She slips them into her bra, locks arms with him and they walk away together.
Emmylou Harris - You Don't Know Me
They walk to a motel room, where she sits down. They begin to kiss but John Doe stops himself. They sit and talk, with the John doing most of the talking. Jane never reveals her extra appendage.
Ray Price - Prisoner of Love
The John Doe leaves the motel and walks slowly and pensively away. Jane is lying on the bed smoking a cigarette. John stops, waits, turns around and begins to walk back to the motel. The scene cuts back and forth from Jane, looking content, and John, looking haunted.
Tony Bennett - Boulevard of Broken Dreams
John Doe forcefully opens the door and stands, looking very threatening, in the door frame. Jane feigns impassiveness and turns slowly to put out her cigarette, keeping her eyes on him. John Doe lunges at her, and she screams. He rips off her clothes and discovers her not so little secret. He is enraged and starts hitting her.
The Shangri-Las - Dating Courtesy Tip
John fixing up the now battered, tattered and dead Jane. He makes her look somewhat decent, lies her in the bed, lights a cigarette and puts it in between her fingers.
The Louvin Brothers - In the Pines
John looking very sad at a bar, drinking beer and exchanging tales of woe and lost love with the bartender and the patrons.
Dean Martin - Return to Me
John Doe, looking very dapper in a 1940s style, singing this song into an old fashioned microphone on an empty stage. Jane, his wife and his lesbian lover, appear on the stage in matching white gowns and long white gloves and sing the chorus. Fade to white, roll credits.
Special bonus not-a-spoof Public Service Announcement from David Lynch — Don't litter or rats will gnaw through your leg, into your soul…
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