Lost Highway Page #11

Synopsis: From this inventory of imagery, Lynch fashions two separate but intersecting stories, one about a jazz musician (Bill Pullman), tortured by the notion that his wife is having an affair, who suddenly finds himself accused of her murder. The other is a young mechanic (Balthazar Getty) drawn into a web of deceit by a temptress who is cheating on her gangster boyfriend. These two tales are linked by the fact that the women in both are played by the same actress (Patricia Arquette).
Genre: Mystery, Thriller
Production: Universal Pictures
  1 win & 2 nominations.
 
IMDB:
7.6
Metacritic:
52
Rotten Tomatoes:
60%
R
Year:
1997
134 min
661 Views


CUT TO:

INT. PRISON - INFIRMARY DAY

Fred is brought in wearing handcuffs and leg irons, a GUARD

on either arm. He is placed on a chair in the middle of the

room. The guards stand one on each side of him. A DOCTOR

enters. He is in late-middle age, with serious eyebrows.

Fred's head is hanging down, chin on chest. The Doctor lifts

Fred's head and we see dark circles under Fred's eyes; his

face is pale, teeth clenched, eyes tearing. The Doctor takes

a light utensil from his pocket, and inspects each of Fred's

eyes. He feels Fred's forehead. After this, he allows Fred's

head to drop down again. The Doctor takes Fred's pulse. He

drops Fred's wrist. He next takes Fred's blood pressure.

DOCTOR:

You sleeping okay?

FRED:

(strained whisper)

I can't sleep.

The Doctor goes over to a cabinet, unlocks a drawer, and

removes a large blue pill. He fills a paper cup with water

from a dispenser, goes back to Fred and places the pill in

Fred's mouth. The Doctor tilts Fred's head up and pours the

water down his throat, some of it dribbling down the front

of Fred's shirt. The Doctor looks into Fred's mouth to make

sure he swallowed the pill.

DOCTOR:

You'll sleep now.

(to Guards)

Take him back to his cell.

The guards lift Fred by his arms, and shuffle march him out

of the infirmary.

CUT TO:

INT. PRISON - FRED'S CELL - NIGHT

Fred awakens on his cot. He turns and sits up in the darkness.

A stream of light through the slot window illumines Fred's

head, the forehead of which is swollen and discolored. He

staggers up and shuffles over to the call button, which he

leans on. A few moments later, a GUARD appears on the other

side of the mesh.

GUARD:

What is it?

FRED:

Aspirin... fly head. I gotta have

more aspirin.

GUARD:

The doctor said not to give you

anything. You can see him in the

morning.

FRED:

But my head...

The guard looks at Fred through the window, and what he sees

disturbs him. The guard makes a strange face.

CUT TO:

INT. PRISON - DEATH ROW HALLWAY - NIGHT

The guard walks away from Fred's door to the guard station,

where another GUARD is sitting at a table, reading a magazine.

GUARD #1

Sh*t, that wife killer's lookin'

pretty f***ed up.

GUARD #2

(not looking up from

his magazine)

Which one?

They both laugh.

CUT TO:

INT. PRISON - FRED'S CELL - SAME - NIGHT

Fred is on the floor lying on back. The camera comes slowly

down at him from the ceiling, like a weight pressing on his

head. Fred's pain is demonstrably overwhelming him now. He

moans and rolls from side to side in the dimness, making

grotesque, otherworldly sounds. As the camera moves into a

CLOSE UP, the last image of Fred's head shows the discolored

swelling has increased. Fred looks up, sensing something.

CUT TO:

EXT. THE MADISON HOUSE - NIGHT

There is a "For Sale" sign posted in front. The camera pans

slowly as in the videotape across the front of the house.

The interior of the house is dark, but fleetingly we are

aware of movement, shadows inside.

CUT TO:

INT. ANDY'S HOUSE - NIGHT

Marian and Raquel are in the living room, attired in the

undergarments they purchased at the lingerie store. HOT MUSIC

is BLARING from a stereo. Marian and Raquel are dancing, as

sexy and wild as it is possible for them to be. Andy is lying

on his back on the rug, dressed only in undershorts and socks,

the girls stomping feet stepping furiously around his head

and body. His eyes are closed at first, but when he opens

them, he sees their feet in a blur. He tries to get up, but

he is too strung out, and he collapses again. Marian and

Raquel take him by his hands and feet and begin pulling him

around the room as they dance. Andy is blitzed, smiling

moronically. The girls' breasts tumble out of their teddies.

Raquel drops her end of Andy, turns up the music even louder,

and dances into a frenzy. Marian drops to her knees, Andy's

feet on either side of her, shaking her shoulders and whipping

her hair around. Andy makes another attempt to sit up - he

looks at Marian, reaches for her but falls back, dead to the

world. Raquel and Marian don't quit.

CUT TO:

INT. PRISON - FRED'S CELL - NIGHT

Fred is still curled on the floor, but spasms begin to rock

his body. He goes into convulsions, blood gushes from his

nostrils. His head is badly swollen. Fred vomits repeatedly,

and drags around in his mess. Fred turns, straining upwards

as we've seen him do before. His face and head are hideously

deformed.

Fred brings his shaking, tortured hand to his forehead. He

pulls his hand down across his face squeezing it as it goes.

As his hand passes over his face, Fred's features are removed

leaving a blank, white mass with eye sockets.

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Barry Gifford

Barry Gifford is an American author, poet, and screenwriter known for his distinctive mix of American landscapes and film noir- and Beat Generation-influenced literary madness. more…

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