Lost Highway Page #21

CLOSE UP BEAUTIFUL GIRL - she looks exactly like Renee except

she is about eight years younger. The girl is staring right

into Pete's eyes.

Mr. Eddy steps between Pete and the girl - blocking her from

Pete. Mr. Eddy smiles at Pete - not noticing or not letting

on that he notices the serious eye contact going on between

Pete and the girl.

MR. EDDY

I'm leavin' the Caddy, like I told

you. Think you'll get a chance to

give her a once over today?

PETE:

(regaining his

composure)

Sure... Sure, Mr. Eddy. You gonna

pick it up later, or tomorrow?

MR. EDDY

If you think you can finish it, I'll

be back later today.

PETE:

It'll be ready.

MR. EDDY

You're my man, Pete.

Mr Eddy pinches Pete's cheek - which Pete doesn't like, but

aliows. Mr. Eddy gives Pete a big smile then turns, goes

back to his car, escorts the beautiful girl outside where

the Pullman is waiting.

Pete watches her walk and move. He watches her until Mr.

Eddy drives her away. She steals one last glance back at

Pete before she disappears.

When she is gone, Pete replays the scene of seeing this

beautiful girl over again in his mind. The scene is

accompanied by Lou Reed's version of "This Magic Moment".

FADE OUT:

FADE IN:

INT. DAYTON HOUSE - NIGHT

Pete is sitting perched unsteadily on the very edge of his

bed. He HEARS a succession of highly-amplified SOUNDS at

intervals with eerie stretches of silence: CRICKETS in

fractured cadence a distant TELEVISION - a FLY buzzing slowly

in the room a MOTH'S wings beating against light bulbs in

the ceiling fixture - the washing of DISHES.

Pete's reaction to these sounds is one of petrified confusion.

Underlying these sounds is a kind of unearthly, steady DRONE.

Pete gets up off the bed, unsteadily. He moves toward his

bedroom door. As he moves the amplified SOUNDS shift.

He can hear laughter. The laughter seems to be LOUD, but at

the same time coming from people who are trying to contain

the laughter - to hide it.

Pete opens his door and peers out.

Pete's POV down the hall toward the living room - his mother

and father have stopped laughing and are turned with guilty

smiles in his direction. They are smoking a joint, passing

it back and forth. They are not looking directly at him.

They seem to be looking, but not seeing.

Pete's parents POV down the hall toward Pete's room. There

is no one there - just an empty hallway.

Pete's parents continue to stare, but then turn away toward

each other - they start to laugh quietly again.

Pete's Pov - the hallway and the living room - there is no

one in the living room. It's empty.

CUT TO:

INT. DAYTON HOUSE - PETE'S BEDROOM - NIGHT

Pete turns from the hallway and comes back in his room -

unsettled and confused.

He can hear laughter coming from the living room.

CUT TO:

EXT. DAYTON HOUSE - NIGHT

Ed is behind the wheel. Al is in the passenger seat. Ed is

looking at the Dayton house. Al's head is bent, looking down.

At first we hear nothing, then the sound of Al's piss

streaming into an empty coffee cup. The camera stays on the

top of Al's head until he has completed the last few spurts

of his micturition. Al's head comes up and he opens the

passenger side door and dumps the urine into the street. He

closes the door and zips up his trousers.

CUT TO:

INT. DAYTON HOUSE - PETE'S BEDROOM - NIGHT

Pete paces the room. Finally he stops himself, throws on his

black leather jacket and opens his bedroom door. He looks

down the hall. No one is in the living room. He walks out of

the house.

CUT TO:

EXT. DAYTON HOUSE - NIGHT

Ed and Al watch Pete get in his Camaro and drive off. They

follow.

CUT TO:

EXT. STREETS - NIGHT

Pete drives through the night - up Ventura Boulevard with

the "Cruisers". He looks in the other cars and looks at the

GIRLS on the street.

He drives past "Tops", but doesn't see anyone he knows.

He turns off the boulevard and drives through San Fernando

valley neighborhood streets.

He pulls up in front of Sheila's house and honks his horn.

He lights a cigarette while he waits.

In a few minutes Sheila comes out and leans in the passenger

side window.

SHEILA:

What do you want?

PETE:

Nothin'... You want to go for a drive?

SHEILA:

I don't know.

PETE:

Come on... get in.

Sheila hesitates for a moment, then gets in.

CUT TO:

EXT. STREETS - NIGHT

Pete and Sheila drive along dark streets.

PETE:

Come here.

Sheila slides across and sits close to Pete. Pete puts his

arm around her. She takes a drag from his cigarette and puts

her head on his shoulder.

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