Lost Highway Page #23

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


Pete and Alice make violent love on the bed. Alice is hungry.

DISSOLVE TO:

INT. ARTHUR'S HIDEAWAY MOTEL - THE ROOM - NIGHT

Alice and Pete are dressed. Alice is still breathing hard.

She moves up close to Pete by the motel room door. Her hand

is shaking as she touches his cheek.

ALICE:

(whispers)

I want more.

PETE:

Me, too.

ALICE:

Can I call you?

PETE:

Yeah... Call me at home. I'll give

you the number.

ALICE:

(kissing him)

Okay, baby.

CUT TO:

EXT. ARTHUR'S HIDEAWAY MOTEL - ACROSS THE STREET - NIGHT

Ed and Al watch Pete and Alice leave the motel room, get in

the car and drive off.

Ed starts his car and he and Al follow them.

CUT TO:

INT. PETE'S CAMARO - NIGHT

Pete and Alice are riding side by side - Alice's head is on

his shoulder.

Alice looks up at Pete as he drives - she smiles.

The light from headlights behind them catch Alice's attention.

Her eyes dart back to a car that could be following them.

ALICE:

(fear)

Is that car following us?

Pete glances in the rearview mirror - sees the headlights.

At the last moment he pulls a hard right and accelerates

down the street. The car follows - they both see it.

PETE:

I'll lose 'em at the light.

Alice steals a look back.

ALICE:

I don't recognize the car...

At a traffic light, Pete revs up the big Camaro and expertly

peels out between on-coming cross traffic. He swerves between

two cars going in opposite directions - blasts up a block

and hangs a hard right - disappearing from view.

Ed and Al go out into the traffic after them, but the

swerving, screeching cars braking around them form a barrier

and trap them. ANGRY DRIVERS lean on their horns.

Pete and Alice have lost them.

FADE OUT:

FADE IN:

EXT. DAYTON HOUSE - NIGHT

Establish.

CUT TO:

INT. DAYTON HOUSE - NIGHT

CLOSE UP ON TELEPHONE - it starts to ring.

PETE:

(voiceover)

I'll get it!

Pete enters the kitchen where his mother goes for the ringing

phone and gets to it before she does.

PETE:

(into phone)

Hello.

ALICE:

(phone voice)

It's me...

PETE:

Hi.

ALICE:

I can't see you tonight.

PETE:

(disappointed)

Okay...

ALICE:

I have to go somewhere with Mr. Eddy.

PETE:

Sure.

ALICE:

I think he suspects something... We

have to be careful... I miss you.

Pete is silent.

ALICE:

Pete?

PETE:

Me, too.

ALICE:

I'll call you again.

Alice hangs up.

Pete throws the phone back down on the cradle. It bounces

off and he has to hang it up again. He slams it down.

CLAIRE:

What's the matter?

PETE:

Nothin'.

CUT TO:

EXT. DAYTON HOUSE - NIGHT

Pete kick-starts his big Harley and roars angrily out of the

driveway.

CUT TO:

EXT. STREETS - NIGHT

Pete rides his cycle fast through neighborhoods.

CUT TO:

EXT. VAN NUYS BOULEVARD - NIGHT

Pete rides up the boulevard with the "Cruisers". He spots

"V's" car parked at "Tops".

He pulls in beside "V's" car and shuts down the engine. The

usual crowd is at the drive-in, including Sheila.

Pete goes up to "V" and Carl and says hello. He lights a

cigarette and leans up against a steel pole supporting the

awning above. "V" and Carl both notice that Pete is in a bad

mood.

Sheila is over with her girlfriends. She hasn't seen Pete

arrive.

Suddenly Sheila looks over in Pete's direction. She looks

like she's seeing something, yet not seeing anything. She

keeps looking - staring.

Sheila's POV she sees "V", Carl and a lot of PEOPLE, but

Pete is not there.

Pete looks at Sheila. He's unsettled and confused by her

staring, but not seeming to see him. He watches her turn

away and take one of her girlfriend's hands - leading her

out to dance to the LOUD music.

Pete watches her dance. Suddenly, he can't see her. He thinks

maybe she may be dancing on the other side of the building -

out of view. He moves to look and his head is struck by a

violent pain. He grabs his head with his hand and leans

forward. "V" grabs his arm.

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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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