Lost Highway Page #2

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
628 Views


FRED:

Does it say anything on the tape?

RENEE:

(looking it over)

No, nothing.

Fred walks over and picks up the tape.

FRED:

Well, let's see what's on it.

Fred takes the tape to the VCR. He inserts it into the

machine, and turns it on. Fred goes toward the couch.

FRED (CON'T)

(to Renee)

Come on.

They sit on the couch in front of the television.

The TV monitor:
We begin on the TV, then the videotape fills

the entire frame. The videotape shows the front of THE MADISON

HOUSE, the camera panning slowly over it. The picture is

accompanied by an eerie DRONING SOUND. After the camera pans

back to the front door, the tape image turns to snow.

Fred and Renee stare at the snow for a few moments. Renee

looks relieved.

RENEE:

It must be from a real estate agent.

FRED:

Maybe.

We see a WIDE SHOT encompassing Fred, Renee, and the snowy

image on the TV.

FADE OUT:

FADE IN:

INT. THE MADISON HOUSE - DINING ROOM - DAY

Renee is seated at the dining room table - coffee cup and

grapefruit in front of her. She is wearing glasses, reading

a book. Fred enters, and sees Renee, who does not look up or

acknowledge him. Fred goes into the kitchen, which is just

off the dining room. He comes back into the dining room with

a cup of coffee, and sits down with it opposite Renee. He

lights up a cigarette, sips his coffee, and looks at her.

FRED:

Good book, huh?

RENEE:

(she looks up)

Huh?... oh, yeah, it is.

FRED:

Same one you were reading the other

night?

RENEE:

What night?

FRED:

When you didn't come to the club.

RENEE:

Oh. Oh, yeah. No. This is a different

one.

FRED:

I called, you know.

RENEE:

Called? When?

FRED:

From the club. You didn't answer.

RENEE:

I must have fallen asleep. I was

asleep when you got home, wasn't I?

FRED:

You were asleep when I got home,

yes.

Renee goes back to her book. Fred sips his coffee and smokes.

RENEE:

(without looking up)

I told you you could wake me up if

you wanted to.

Renee looks up at him now, takes off her glasses, and stares

at him.

CLOSE UP OF FRED'S FACE - a disturbed expression.

Renee seems about to say something more, but stops, puts her

glasses back on and resumes reading.

FADE OUT:

FADE IN:

INT. THE MADISON HOUSE - BEDROOM - NIGHT

Fred is in bed waiting for Renee. He hears noises from the

bathroom - bottles clinking, drawers opening and closing.

Renee comes out wearing a robe, which she sheds just before

getting into bed. Naked under the covers, she switches out

her bedside lamp. The only light in the room comes from the

outside, through the windows. Fred moves closer to Renee,

puts his lips to her cheek, a hand on her breast. She does

not respond. Fred pulls Renee to him, and kisses her

passionately. Renee accedes to his demands, but does not

participate willingly. He makes love to her voraciously, but

her lack of passion disturbs him. Fred can't stop, however,

and when he comes she acts consolingly, stroking him

maternally while he calms down. He climbs off of her and

retreats to his side of the bed.

CLOSE UP ON FRED'S EYES - which express his horror and

humiliation.

They lie there in the dark silence for a while.

Fred turns back toward Renee in the darkness.

FRED:

I had a dream about you last night...

RENEE:

Yeah?

FRED:

You were in the house... calling my

name... but I couldn't find you.

CUT TO:

INT. THE MADISON HOUSE - NIGHT

FRED'S DREAM

Fred is walking slowly across the living room.

Fred's POV:
moving - searching.

Fred stops and listens.

RENEE:

(tentatively - distant

and off screen)

Fred? Fred, where are you?

The camera turns slowly back toward the hallway, and as it

drifts it RISES UP following along the hall and turning slowly

into the bedroom. Renee is lying below in the bed.

FRED (V.O.)

Then there you were... lying in bed...

but it wasn't you... It looked like

you... but it wasn't.

The camera suddenly dives violently at Renee - into a TIGHT

CLOSE UP. Her face registers TOTAL FEAR.

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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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