Lost Highway - The Screen Play

Lost Highway - The Screenplay

Typed (well, scanned actually) by Mike Dunn

A 21st Century Noir Horror Film.
A graphic investigation into parallel identity crises.

A world where time is dangerously out
of control.

A terrifying ride down the lost highway.

David Lynch, 21 June 1995

AS CREDITS ROLL

EXT. TWO-LANE HIGHWAY - NIGHT

We see a clean moving POV illuminated by headlights. We're

floating down an old two-lane highway through a desolate,

desert landscape. This gliding, eerie POV continues as

credits roll. when the credits end, the headlights seem to

dim and soon we're moving through BLACKNESS.

FADE OUT:

FADE IN:

INT. THE MADISON HOUSE - BEDROOM - DAY

in the blackness, a man, FRED, is sitting on a bed smoking a

cigarette. we see his back, but with each glow of the

cigarette ash, we see his face reflected in a mirror on the

wall across from him. In the darkness, there starts the

sound of a motor which draws curtains back across a large

picture window just off screen. As the curtain moves, hard-edged

light begins crawling across the room, and we see

everything clearly. Fred is wearing a robe and pajamas, it's

early morning.

CLOSE UP ON FRED'S FACE IN THE MIRROR - Blank expression -

face somewhat obscured or distorted by smoke from the

cigarette.

CLOSE UP 0N FRED'S ACTUAL FACE - Unshaven, haggard look, eyes

seem empty, glazed over. Fred is 32 years old, with dark

hair.

THE DOORBELL RINGS. Fred looks up, startled by the noise.

He looks at the digital clock: 5:30 a.m.

FRED STANDS, goes to an INTERCOM on the wall next to the

mirror. He pushes a button.

A VOICE comes over the intercom.

VOICE OVER

INTERCOM

Dick Laurent is dead.

Fred leaves the bedroom and goes through the house. He is on

the upstairs level. He looks through a narrow slot window,

but can't see the front door below. He goes further in the

house to a picture window that overlooks the street below.

There is NOBODY there.

CUT TO:

EXT. THE MADISON HOUSE - DAY

We can see Fred standing at the picture window, looking out.

FADE OUT:

FADE IN:

INT. THE MADISON HOUSE - LIVING ROOM - NIGHT

Fred is dressed to go out: Black sport coat and slacks,

buttoned up white shirt. He picks up a music case. A woman

comes into the room. This is Fred's wife, RENEE, 30 years

old, dark hair, dressed smartly, a drink in her hand.

RENEE

You don't mind that I'm not coming

tonight?

FRED

What are you going to do?

RENEE

I thought I'd stay home and read.

Fred looks her over, she's sexy without trying.

FRED

Read?... Read what, Renee?

Renee sits down on a couch and sips her drink. Fred comes

over to her, kisses her on the neck, which makes her laugh.

FRED

It's nice to know I can still make you

laugh.

RENEE

I like to laugh, Fred.

FRED

That's why I married you.

RENEE

Wake me up when you get home.

Fred brushes her cheek with his fingers, allowing them to

linger for a moment on her face.

CUT TO:

EXT. CITY STREET - NIGHT

A blue neon sign reads: LUNA LOUNGE.

CUT TO:

INT. LUNA LOUNGE - NIGHT

Fred is on the bandstand. He takes a solo on his saxophone.

Fred plays hot, hard, neo-bop. The BAND wails madly behind

him. The PATRONS explode onto the dance floor, making it a

wild scene. Fred Is a lion now, roaring away on his tenor,

driving everyone nuts.

CUT TO:

INT. LUNA LOUNGE - LATER

After the band quits to take a break, FEMALE FANS come onto

Fred, but he moves away, refusing their attentions.

CUT TO:

INT. LUNA LOUNGE - BACKSTAGE - LATER

Fred dials a pay phone.

CUT TO:

INT. The MADISON HOUSE - NIGHT

We move through the empty living room - empty bedroom, etc.

The ringing telephone goes unanswered.

CUT TO:

INT. LUNA LOUNGE - BACKSTAGE - NIGHT

CLOSE UP 0N FPED'S FACE as he listens to the ringing.

Sweat is still rolling off his face. His eyes are blank.

CUT TO:

EXT. THE MADISON HOUSE - NIGHT

Fred's car pulls up in the driveway in front of his house.

Fred gets out, and goes into the house carrying his music

case.

CUT TO:

INT. THE MADISON HOUSE - NIGHT

Fred puts down his music case, goes to the bedroom, and sees

Renee sleeping soundly.

FADE OUT:

FADE IN:

EXT. THE MADISON HOUSE - DOORSTEPS - DAY

Renee in a bathrobe, opens the front door to collect the

mail. She sees a plain, clean, manila envelope lying on the

step. She picks it up.

CLOSE UP ON THE ENVELOPE - No stamp, no writing, blank. She

takes the mail from the box, and goes back into the house.

CUT TO:

INT. THE MADISON HOUSE - LIVING ROOM - DAY

Renee opens the manila envelope. She's noticeably nervous

when she sees a videotape inside. She stares at it.

Fred enters, also wearing a bathrobe. He sees Renee staring

at the videotape - before she hears him enter. When she does

hear him, her eyes jerk away from the tape.

FRED

What's that?

RENEE

A videotape.

FRED

Who's it from?

RENEE

I don't know... There's no return address

on the envelope... In fact, there's no

address on it.

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.0.

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.

CUT TO:

INT. THE MADISON HOUSE - BEDROOM - NIGHT

Fred is lying in bed with Renee, who is now backlit by her

bedside lamp. Fred looks at her shadowed face, but it's not

Renee's face. It's a face Fred has never seen before. Fred

quickly turns and switches on his bedside lamp, and looks

quickly back at Renee, whose face is now her own.

RENEE

Fred, are you all right?

Fred reaches out a hand and tenderly touches her face. Renee

covers his hand with her own, and closes her eyes.

FADE OUT:

FADE IN:

EXT. THE MADISON HOUSE - DAY

Renee finds another envelope on the doorstep. She opens it,

pulls out a videotape. A large dog is BARKING incessantly

somewhere in the neighborhood. Renee looks around to see if

she can see the dog.

CUT TO:

INT. THE MADIS0N HOUSE - LIVING ROOM - DAY

Renee brings the videotape upstairs with the rest of the

mail. She is a bit puzzled and unsettled. She puts the tape

down on a table. She stares at it. Fred comes in.

FRED

You're up early.

RENEE

That dog woke me. I lay there for a

while, then decided to get up.

FRED

Who the hell owns that dog?

Fred notices the tape and manila envelope on the table.

FRED

What's that? Another tape?

RENEE

Yes, I just found it on the step.

Fred picks it up.

FRED

Don't you want to watch it?

RENEE

I guess so.

Fred goes to the VCR and inserts the tape. He turns the

television on. He is about to start the tape - he looks up

for Renee. She's hanging back.

FRED

Well, do you wanna watch it?

Again, Renee seems to be nervous about what could be on the

tape, but she hides this from Fred and walks toward the

couch.

RENEE

Yeah.

Renee sits on the couch. Fred starts the VCR and joins her.

As before, we first see it on the TV, then the videotape

fills the frame. This tape shows the front of the house, as

before, then shows the INTERIOR of Fred and Renee's house -

AT NIGHT.

The eerie DRONING SOUND goes throughout.

The camera glides at a very high angle near the ceilings

looking down as it travels along a hallway and turns into

their bedroom, where we see Fred and Renee sleeping. The

tape image then goes to snow.

Fred and Renee stare at the snowy TV picture. After a few

moments of silence, Renee gets up and switches off the set.

She is visibly shaken, trembling. She stares fearfully at

Fred who seems less disturbed.

RENEE

We've got to call the police.

FRED

All right.

CUT TO:

INT. THE MADISON HOUSE - LIVING ROOM - DAY

Renee is on the telephone. Fred is pacing, smoking, behind

her.

RENEE

...yes, I've been on hold for ten

minutes... I can't... All right, thanks.

Renee looks around anxiously. Fred gives her his cigarette,

which she puffs on. He lights another and continues pacing.

RENEE

Hello, yes... Good... My name is Renee

Madison... My husband is Fred Madison,

the jazz musician... we live at 442

Hollis Street... Right... 442 Hollis...

near the observatory... Someone's been in

the house... at night... while we were

sleeping... I know because they sent,

dropped off a videotape... two

videotapes... to show us... That's

right... Yes... it... the second one...

shows us asleep... Someone broke in and

taped us while we slept!... Isn't that

enough?... Okay, sure... We will... 442

Hollis... Yes, we'll be here.

Renee hangs up.

FRED

So?

RENEE

Two detectives are coming out.

CUT TO:

INT. THE MADISON HOUSE - LIVING ROOM - DAY

Two men in suits - the Detectives, ED and AL, are seated on

the couch, watching the last part of the second videotape.

The screen goes to snow and stays that way for several

moments, until Fred shuts it off.

FRED

That's it.

Let's have a look at the hallway outside

the bedroom.

CUT TO:

INT. THE MADISON HOUSE - HALLWAY - DAY

All four of them go to the hallway, where Ed and Al look

around, especially up toward the ceiling.

Very strange.

RENEE

What is?

The angle. The high angle shot on the

tape.

How'd the camera get so high like that?

And smooth... Almost no movement - back

and forth, I mean.

Like you'd get if it was hand held.

Right ... This just glided along.

CUT TO:

INT. THE MADISON HOUSE - BEDROOM - DAY

The Detectives enter the bedroom. Fred and Renee follow.

This is the bedroom.

The Detectives look around without touching anything.

Do you always sleep here?... In this

room?... Both of you?

FRED

This is our bedroom.

There's no other bedroom?

FRED

No... There is, I mean, I use it as a

practice room... it's soundproofed.

You're a musician?

FRED

Yes, I thought my wife ...

What's your axe?

FRED

Tenor... Tenor saxophone. Do you...

(shakes his head)

Tone deaf.

(to Renee)

Do you own a video camera?

RENEE

No. Fred hates them.

The Detectives both look at Fred.

FRED

I like to remember things my own way.

What do you mean by that?

FRED

How I remember them. Not necessarily the

way they happened.

Do you have an alarm system?

RENEE

Yes, actually we do... but we haven't

been using it.

Why not?

FRED

It kept going off for some reason. False

alarms.

Might be a good time to try using it

again.

Anybody else have a key to the house.

RENEE

No.

Maid? Relative?

RENEE

No, one of us is always here to let the

maid in. Nobody else has a key.

(to Al)

Let's check the doors and windows... See

if there's been a break-in.

They all leave the bedroom.

CUT TO:

INT THE MADISON HOUSE FRONT DOOR - DAY

Ed is checking the door for marks.

CUT TO:

INT. THE MADISON HOUSE LIVING ROOM - DAY

Fred's POV: He's watching Ed and Al with Renee who are

outside the house, walking around the property, checking

it out.

CUT TO:

EXT. THE MADISON HOUSE - DRIVEWAY - DAY

Ed and Al are standing by an unmarked police car with Fred

and Renee. The Detectives are about to depart.

We'll keep a watch on the house.

As best we can.

If anything else happens, you'll call us.

Al hands Fred a card. Ed hands Renee a card.

RENEE

We will.

FRED

Thanks, guys.

It's what we do.

Ed and Al get into the car and drive off. Renee and Fred

look at each other, warily, then go back into the house. THE

CAMERA SLOWLY PANS OVER THE FRONT OF THE HOUSE AS IN THE

VIDEOTAPE.

FADE OUT:

CUT TO:

INT. LUNA LOUNGE - NIGHT

Fred is on the bandstand, sweating, and honking his

saxophone. He handles the horn roughly, braying like a beast

as the CROWD gathered in front of the stage gyrates as one

swept away in the madness of the moment.

CUT TO:

INT. LUNA LOUNGE - SAME

At the back, near the side door, Renee can be seen with TWO

MEN, only one of whose faces we see. The trio are going out

the side door led by one of the men; we see only the back of

his head. Renee glances briefly at the bandstand before she

exits with the two men.

CUT TO:

INT. LUNA LOUNGE - BANDSTAND - SAME

CLOSE UP OF FRED as he plays, seemingly oblivious to his

surroundings. His eyes open and shut as he clamps down on

the horn.

CUT TO:

INT. LUNA LOUNGE - SAME

In the back of the club, the side door slowly closes.

FADE OUT:

CUT TO:

INT. THE MADISON HOUSE - STAIRWELL / LIVING ROOM - DAY

Fred is standing in the living room looking in the direction

of the stairwell. We HEAR someone's steps coming up the

stairs. It's Renee, who eventually comes into view. She is

holding another manila envelope. She arrives at the top

step.

She and Fred lock eyes.

Fred takes the envelope, opens it, and pulls out a third

videotape. without saying anything, Fred takes the tape to

the VCR. He inserts it very carefully, slowly. He hits

play, turns on the television and he and Renee sit down on

the couch together and begin to watch with great

apprehension.

Again we begin with a WIDE SHOT and then the TV monitor fills

the screen: We see the interior of the house at night. The

camera glides looking down from a high angle along the

hallway and into the bedroom, where Fred and Renee are

sleeping.

Again, the DRONING SOUND plays throughout.

in the bedroom where Fred and Renee are seen sleeping,

SUDDENLY, Fred, on the tape, slowly awakens as the camera

holds on him. He rises and turns unnaturally in the bed, as

if drawn up by his awareness of some strange presence in the

room. He comes to a sitting position, his head straining

upwards, looking in the direction of the camera. At this

point, the videotape image turns to snow.

CUT TO:

INT. THE MADISON HOUSE - LIVING ROOM - DAY

Fred and Renee are on the couch. The TV remains on, showing

snow.

Renee is very upset, crying.

RENEE

What the hell is going on?!

FRED

(equally horrified -

frightened)

I wish I knew.

Fred reaches over and tentatively takes Renee's hand in his.

She trembles, allows him to touch her, but otherwise does not

respond. Suddenly, she jumps with fright.

RENEE

What was that?!!!

FRED

What?

RENEE

On the tape! There was something else on

the tape.

Fred gets up and rewinds it, passing an image.

RENEE (CON'T)

There! Play it!

Fred runs the tape forward.

We see snow - then a half-second long MEDIUM SHOT of Fred on

his knees near the bedroom wall on Renee's side of the bed.

He is looking directly at the camera - his face a ghastly

grimace, contorted. His eyes are WIDE WITH HORROR.

Fred runs it back again and FREEZES the tape there on his

tormented image. This image fills the screen. He and Renee

stare at it.

DISSOLVE TO:

INT. THE MADISON HOUSE - LIVING ROOM - DAY

The Detectives, with Fred and Renee are seated on chairs and

the couch. The three videotapes in their manila envelopes

are stacked on a coffee table in the center.

You don't remember being awakened? It

looks like you were aware of someone.

Or something.

FRED

No, I don't remember anything. it looks

like I... but... I don't remember.

RENEE

Why would anyone do something like this?

Has anyone made any threats to either of

you recently?

Or not so recently?

FRED

No, not to me.

Al, Ed and Fred all look at Renee.

RENEE

I... no. No. No threats.

We'll take the tapes with us, if that's

all right with you?

Ed looks at Fred, then Renee, both of whom nod their

agreement.

We'll see that the patrol of the house is

doubled.

RENEE

I don't know if I want to stay here. I

don't feel safe.

FRED

Where would you feel safe?

RENEE

I don't know. maybe a hotel.

Ed and Al are watching this exchange between Fred and Renee

with keen interest.

There is a strained silence between them.

Did you use the alarm system since we

were here last?

FRED

The first night ... Not the last two.

Why not?

FRED

(shrugs)

I forgot. Anyway, I hate the idea of

acting paranoid.

RENEE

Acting paranoid?!!! Someone is in our

house while we're sleeping, filming us,

and you don't want to act paranoid?!!! I

thought you set the alarm!

Fred gets up, lights a cigarette, paces.

FRED

I'll make sure the alarm is set from now

on.

RENEE

But that doesn't solve the problem. Who

is doing this? And why?

Ed and Al rise from their chairs. Ed picks up the envelopes.

We'll find out, Mrs. Madison.

Renee stands with the Detectives. Fred stands apart - his

expression, pained and bewildered.

CUT TO:

INT. ANDY'S HOUSE - NIGHT

A swinging party is in progress at Andy's house - the man

whose face we saw at the Luna Lounge with Renee. ANDY, 37

years old, a slick guy, is seen moving through the crowd,

making small talk, kissing and being kissed. The PEOPLE here

are wannabe players, the men mostly shady, gold-chain-

wearing, slightly unsavory types; the women dressed

provocatively, big hair and skin-tight dresses. Through

sliding glass doors we see nude and semi-nude people

cavorting in a swimming pool. Everyone has a drink in his or

her hand. Renee finishes her drinkt and hands the empty

glass to Fred who walks away with it. Andy grabs Renee, and

dances with her. They laugh and talk. Renee appears to be a

bit intoxicated.

Fred, who appears less than thrilled with the carryings on,

makes his way to the open bar where he orders two drinks.

When the drinks arrive he drains one of them completely, then

sets the empty glass down on the bar. Then he swallows the

other drink, too, and sets down the glass.

A MYSTERY MAN, tall, well-dressed and groomed, older than

Fred, approaches him.

MYSTERY MAN

We've met before, haven't we?

FRED

I don't think so. Where was it that you

think we've met?

MYSTERY MAN

At your house. Don't you remember?

FRED

(surprised)

No, no I don't. Are you sure?

MYSTERY MAN

Of course. In fact, I'm there right now.

FRED

(incredulous)

What do you mean? You're where right

now?

MYSTERY MAN

At your house.

FRED

That's absurd.

The Mystery Man reaches into his coat pocket, takes out a

cellular phone and holds it out to Fred.

MYSTERY MAN

Call me.

Fred snickers, like this is a bad joke. The Mystery Man puts

the phone into Fred's hand.

MYSTERY MAN

(CON-T)

Dial your number.

Fred hesitates, puzzled.

MYSTERY MAN

(CON-T)

Go ahead.

Fred shrugs, laughs, dials his number. We HEAR a pick up as

we stay on FRED'S FACE.

PHONE VOICE OF

MYSTERY MAN

I told you I was here.

Fred, still holding the phone, stares at the man standing in

front of him.

FRED

How did you do that?

The Mystery Man points to the phone.

MYSTERY MAN

Ask me.

Fred, mirthful at first, as if it is a party trick of some

kind, suddenly turns serious - it's obvious he's thinking now

of the videotapes. He speaks into the phone.

FRED

(angrily)

How did you get into my house?

PHONE VOICE OF

MYSTERY MAN

You invited me. It's not my habit to go

where I'm not wanted.

Fred looks at the man in front of him, but speaks again into

the phone.

FRED

Who are you?

The man laughs - identical laughs - both over the phone and in person.

PHONE VOICE OF

MYSTERY MAN

Give me my phone back.

The man in front of Fred reaches out his hand for the phone.

Fred hears the line go dead, and he slowly passes the phone

back to the Mystery Man who takes it, folds it, and puts it in his pocket.

MYSTERY MAN

It's been a pleasure talking to you.

The man walks away from Fred. Renee appears and comes up to Fred.

RENEE

I thought you were getting me a drink?

FRED

Just a minute.

He takes Renee by the arm and goes over to the host of the

party, Andy. He grabs Andy and points across the room toward

the Mystery Man, who is engaged in conversation with OTHER

GUESTS.

FRED

Andy, who is that guy?

ANDY

(looking at the Mystery Man)

I don't know his name. He's a friend of

Dick Laurent's, I think.

FRED

Dick Laurent?

ANDY

Yes, I believe so.

FRED

(remembering something)

But Dick Laurent is dead, isn't he?

ANDY

He is? I didn't think you knew Dick.

How do you know he's dead?

Andy and Renee exchange a worried look, which Fred does not notice.

FRED

I don't. I don't know him.

ANDY

(angrily)

Dick can't be dead. Who told you he was

dead?

RENEE

Honey, who?... Who's dead?

Fred takes Renee by the arm away from Andy.

FRED

Let's go home.

RENEE

But...

FRED

Now! We're leaving now! I didn't want

to come here in the first place.

Fred drags the reluctant Renee out of Andy's house.

CUT TO:

INT. CAR - NIGHT

Fred is driving fast and recklessly. Renee is drunk and is

smiling at him.

FRED

How'd you meet that asshole, Andy,

anyway?

Renee stares out the front window - thinks back.

RENEE

It was a long time ago... I met him at

this place called Moke's... We... became

friends... He told me about a job...

FRED

What job?

RENEE

I don't remember... Anyway, Andy's

okay...

FRED

He's got some fucked up friends.

CUT TO:

EXT. THE MADISON HOUSE - DRIVEWAY - NIGHT

Fred and Renee's car pulls up in front of their house. Fred

jumps out of the car.

FRED

Stay in the car!

Fred enters the house, careful to turn off the alarm first.

CUT TO:

INT. THE MADISON HOUSE - NIGHT

There are only a couple of dim lights on, the house is mostly

dark. Fred moves slowly and carefully through his house -

searching each room for a possible intruder.

Fred's POV - moving creepily room by room through the dark

house - past the telephone - down the hall to the bedroom.

There is NO ONE there.

He goes back outside for Renee.

CUT TO:

EXT. THE MADISON HOUSE - DRIVEWAY - NIGHT

Renee is standing next to the car, shivering.

FRED

I told you to stay in the car!

RENEE

Why? what is it? Why did you make me

wait out here?

FRED

I thought there might be somebody inside.

RENEE

Was there?

FRED

No... of course not.

They enter the house.

CUT TO:

INT. THE MADISON HOUSE - NIGHT

Fred switches on more lights.

RENEE

It's so odd... Waiting out there, I had

the strangest feeling... Like this had

happened before. I mean, your telling me

to stay outside while you went in like

that.

Fred looks at Renee, then continues to look around the house,

disturbed, seriously disquieted. Renee, still tipsy, follows

him, moving from room to room.

CUT TO:

INT. THE MADISON HOUSE - BEDROOM, ETC. - NIGHT

Fred and Renee are preparing to go to bed. Renee goes into

the bathroom off the bedroom. Fred takes another look out

into the hallway.

CUT TO:

INT. THE MADISON HOUSE - HALLWAY - NIGHT

Fred walks down the hallway.

CUT TO:

INT. THE MADISON HOUSE - LIVING ROOM - NIGHT

Fred looks around the dark living room. Then absentmindedly,

he begins to inspect objects. He picks up an ashtray and

studies it - lost in thought.

CUT TO:

INT. THE MADISON HOUSE - BATHROOM - NIGHT

Renee is washing her face, standing at the sink in her slip.

CUT TO:

INT. THE MADISON HOUSE - LIVING ROOM - NIGHT

Fred is staring at himself in a mirror.

CUT TO:

INT. THE MADISON HOUSE - BEDROOM - NIGHT

Renee comes in. Fred is not there. She goes to the door and

peeks down the hallway.

RENEE

(tentatively)

Fred? Fred, where are you?

CUT TO:

INT. THE MADISON HOUSE - LIVING ROOM - NIGHT

No one is in the living room now - but a SHADOW moves slowly

across a wall.

CUT TO:

INT. THE MADISON HOUSE - HALLWAY - NIGHT

Renee's POV - down the hallway. There is just darkness at

the end of the hall. It is EERIE. After a moment, Fred

slowly walks out of the darkness toward Renee. He walks out

of the shot and the camera remains on the rectangle of

darkness at the end of the hall.

FADE OUT:

FADE IN:

INT. THE MADISON HOUSE - LIVING ROOM - DAY

Footsteps can be heard on the stairs. Fred's head appears at

the top of the stairway. He comes up into the living room

carrying a manila envelope, like the ones previously

received. His expression is strained. He is alone. Fred

pulls a videotape out of the envelope and inserts it in the

VCR, turns it on. He sits on the couch and watches. We go

from a WIDE SHOT to a FULL FRAME SHOT of the video.

On the tape is the same nighttime interior of the house,

accompanied by the DRONING SOUND. The camera moves eerily

down the hall toward the bedroom, sliding at a high angle.

The camera turns slowly into the bedroom - looking down.

BLOOD is splattered over the floor, bed, walls. The camera

drifts. THE DEAD BODY OF RENEE lies on the floor at the foot

of the bed. She is badly mutilated. Fred is hovering over

her on the tape, ON HIS KNEES, A HORRIFIED, UNBELIEVING

EXPRESSION ON HIS FACE. On the tape, Fred turns away from

Renee - his hands raised, dripping blood - her blood. His

movements are almost mechanical, constricted, as he strains

strangely upwards seemingly against his will, as if feeling

some enormous pressure. He looks directly at the camera, his

face a ghastly grimace, contorted, just before the taped

image goes to snow.

CUT TO:

INT. THE MADISON HOUSE - LIVING ROOM - DAY

Fred, sitting in front of the TV, shudders as the tape ends.

He sits trembling, attempts to speak, almost chokes, and

finally releases a tortured, warbly cry.

FRED

Renee!

Fred looks up as if seeing something, he starts to stand,

-staggering, partially paralyzed.

FRED (CON'T)

(Shouting)

RENEE!

CUT TO:

INT. POLICE STATION - INTERROGATION ROOM - NIGHT

Fred's POV: A BIG FIST slams into Fred's face, knocking him

back in a chair. Ed and Al are standing in front of Fred.

Stay put, killer!

The Detectives' POV: Fred's face is a bloody mask. He is

crying, whimpering.

FRED

I didn't kill her! Tell me I didn't kill

her!

CUT TO:

INT. JAIL CELL - DAY

Fred, his lips and eyes swollen, sits on a cot, dressed in

jail clothes. He studies his hands, which appear crippled.

He flexes the fingers, slowly, painfully.

CUT TO:

EXT. THE MADISON HOUSE - DAY

We are in back of the house tracking slowly past the bedroom

and living room windows. Inside the house, INVESTIGATORS and

FORENSIC EXPERTS are moving around, measuring, scraping

samples of carpet, searching for fingerprints on furniture.

CUT TO:

INT. CITY MORGUE - NIGHT

Renee's CORPSE on a slab is rolled into an examining room by

an ATTENDANT. The entrance of the body is shown reflected in

a chrome-framed mirror that juts out from a tile wall. The

Attendant prepares for the impending autopsy, laying out a

rack of instruments, positioning the corpse. As he is doing

these things, the MEDICAL EXAMINER enters, accompanied by his

GIRLFRIEND. The M.E. is dressed formally, in a tuxedo. The

young woman is wearing a slinky dress with a fur wrap,

pearls, spike heels. The couple are close; she has an arm

through his, and she laughs, nervously. He is smoking a

cigarette.

ATTENDANT

Hi, doc. Workin' late tonight, huh?

M.E.

Party at the mayor's house, George. This

is his daughter, Joyce.

ATTENDANT

Howdy, Joyce.

JOYCE

Howdy, George.

The Attendant uncovers the body - individual parts are

wrapped like packages from a butcher's shop, and labeled: L.

ARM, HEAD, R. BREST (misspelled).

M.E.

(looking at the packages)

Just like Christmas.

He begins to unwrap them.

JOYCE

I don't know if I can watch this.

The M.E. tosses his cigarette down on the floor. The camera

goes down on the smoking cigarette butt on the floor drain;

smoldering there among hair and flesh gristle on the drain's

filter screen.

M.E.

(Voice-over)

Leave any time you want, lover. I won't

take it personally.

The camera stays on the drain as we HEAR the M.E. unwrapping

the packaged body parts. Joyce's high heels enter the frame

around the drain. She is stepping nervously, like a spooked

horse. The clatter of her heels is very loud. We hear the

M.E. chuckle.

M.E.

(Voice-over)

Easy, girl, easy.

JOYCE

You talking to me or... her?

M.E.

(laughs)

A corpse can tell you plenty, Joyce.

CUT TO:

INT. COURTROOM - DAY

The camera is behind a female FOREMAN in the jury box. The

shot begins on her shoes and travels up her body as she

stands. Over her left shoulder we see Fred standing at the

defense table. Over her right shoulder the JUDGE is seated.

JUDGE

Have you reached a verdict?

FOREMAN

Yes, we have, your honor.

JUDGE

Please hand it to the bailiff.

The BAILIFF goes to the Foreman, takes the paper from her,

then takes it to the Judge. The Judge opens it and reads it

to himself, then hands it back to the Bailiff, who returns it

to the Foreman.

JUDGE

And what is your verdict?

The camera moves to Fred, registering his tension. The

camera goes to the Foreman's face.

FOREMAN

We the jury find the defendant guilty of

murder in the first degree.

Fred faints. Fe is lifted up by his ATTORNEY and GUARDS in

attendance. Fred revives slightly.

JUDGE

Fred Madison, the jury having found you

guilty of murder in the first degree, it

is my order that on a date to be

determined, you be put to death in the

electric chair.

We see Fred's eyes roll open as he cranes his neck around and

upwards, looking at the video camera high on the wall of the

courtroom, pointing down on him.

CUT TO:

INT. LINGERIE SHOP - DAY

MARIAN and RAQUEL, two exquisite young women, are looking

over the merchandise.

RAQUEL

Did you see that about the guy who

chopped up his wife into a million

pieces?

MARIAN

How could I miss it? The TV won't quit

with that stuff.

RAQUEL

They're gonna cook him.

MARIAN

Andy's from Utah. He says there you have

a choice... You can die by hanging or by

firing squad.

RAQUEL

Which would you choose?

Marian holds up a black teddy to her body.

MARIAN

Andy would go for this, don't you

think?... Firing squad, definitely.

RAQUEL

Do they aim for the head or for the

heart?

MARIAN

The heart, I guess.

RAQUEL

I wouldn't... The brain would know what's

going on. Your heart would be ripped

open trying to pump blood, blood pouring

into the chest cavity. Savage pain,

Marian.

Raquel takes a red teddy and holds it up to her chest.

MARIAN

Oh, that's hot... So you'd rather be

hung, huh?

They both giggle at the obvious joke.

RAQUEL

Absolutely... Soon as your neck snaps,

you black out. It might take a while for

the body to die, but you wouldn't feel

it.

Marian reaches for a pair of panties with a hole in the crotch.

MARIAN

You might be right, Raquel.

Marian sticks a finger through the hole in the panties and

wiggles it. The girls giggle. Raquel sees Andy walking into

the store. He is sneaking up behind Marian, and motions with

a finger to his lips to Raquel not to say anything. When

Andy gets directly behind Marian, he puts his hands over her

eyes.

ANDY

Guess who?

CUT TO:

INT. PRISON - DEATH ROW - DAY

Fred, in the custody of GUARDS, wearing handcuffs and leg

irons, is being escorted to his cell. He appears zombie-like

as the guards open the cell door, unlock and remove his

shackles, and lock him in.

GUARD

Make yourself to home, fella.

The guards leave. Fred stands near the cell door, begins to

look around at the four walls, the single cot, the wash

basin, and the toilet bowl without a seat. He hears the

muffled, DISTORTED NOISES - VOICES from the surrounding

cells. Lost voices - the voices of death row. Fred

realizes where he is now. He walks over to the cot and

slowly sinks down and sits on the edge. Fred perched on the

cot in his cell resembles a man adrift on a tiny raft in the

middle of an ocean.

FADE OUT:

FADE IN:

INT. PRISON - DEATH ROW - DAY

A TRUSTEE is pushing a meal cart along the row. At each

door, the Trustee stops and takes a tray off the cart. He

shoves the meal tray through a slot in the door. We watch

him distribute the trays down the long row of cells.

DISSOLVE TO:

INT. PRIS0N - DEATH ROW HALLWAY - NIGHT

The hallway is quiet - distant sounds reverberate.

DISSOLVE TO:

INT. PRISON - FRED'S CELL - DAY

Fred sits on the edge of his bed, a tray of prison food sits

on the floor - uneaten.

DISSOLVE TO:

INT. PRISON - FRED'S CELL NIGHT

Fred lies awake on his cot he stares at the ceiling.

DISSOLVE TO:

INT. PRISON - DEATH ROW HALLWAY - NIGHT

The hallway is quiet - distant sounds reverberate.

DISSOLVE TO:

INT. PRISON - EXERCISE YARD - DAY

This is a small narrow yard, not the large exercise yard for

population. This yard is for use by death row prisoners

only, to exercise in one hour each day, by himself. Fred is

released into the area, which is more like a dog run. The

Guards watch Fred as he walks slowly up and down the exercise

yard.

CUT TO:

INT. PRISON - DEATH ROW - NIGHT

There is more activity on the row tonight than usual. A

COUPLE of MEN in suits walk through with an air of authority.

There is a building murmur among the prisoners.

CUT TO:

INT. PRISON - FRED'S CELL - NIGHT

Fred sits on the edge of his bed, listening as sound of

the prisoners builds. He's shaking.

CUT TO:

INT. PRIS0N - DEATH ROW - NIGHT

TWO GUARDS are standing at the guard station.

GUARD #1

(very quietly - solemnly)

Here he comes.

Several of the men in suits, along with several GUARDS, and a

CLERGYMAN, a PRISONER in the middle of the group, enter the

hallway. They proceed past the guard station down the hall.

As the procession files by, DEATH ROW INMATES come to their

doors and talk to the prisoner.

INMATE #1

See you soon, Sammy. Don't think takin'

a jolt is gonna get you outta payin' me

back the twenty you owe me.

INMATE #2

Don't take it personal, pal.

INMATE #3

Un fuerte abrazo, amigo!

As the men march down the hallway, they pass Fred's cell.

His window panel is empty. The camera stops on Fred's cell

door, as we HEAR other prisoners talking to the inmate on his

way to the ELECTRIC CHAIR.

INMATE #4

Hang in there, honey.

INMATE #5

Keep an eye out for me, Sammy G.

CUT TO:

INT. PRISON - FRED'S CELL - NIGHT

Fred sits on his bed, listening fearfully. The camera stays

on Fred as we HEAR:

INMATE #6

Show 'em you got big stones, bro.

CUT TO:

INT. PRISON - DEATH CHAMBER - NIGHT

The prisoner is strapped into the electric chair. Behind a

glass partition WITNESSES are seated. One of the men in

suits, the WARDEN, goes to a telephone on the wall and stands

with his hand on the receiver. He picks it up.

WARDEN

(into phone)

Line check.

(pause)

Okay.

The Warden hangs up the telephone and stays next to it.

We see one of the condemned man's WRISTS being clamped with

an electrical device. The other wrist is clamped.

A metal halo is placed around the condemned man's head. A

large electrical cable leads off from the halo.

Electrically conductive ointment is smeared around the areas

where the clamps have been placed.

The Clergyman moves close to the condemned man continuing to

give the man his last rites. When he is finished, he nods to

the Warden. The Warden approaches the condemned man.

WARDEN

Any final words, Sam?

The condemned man shakes his head "no".

The Warden and the others clear the room and the doors are

locked.

The EXECUTIONER steps into place near a huge lever. He looks

to the Warden.

The Witnesses sit in silent anticipation.

The hands of the clock on the wall have moved past midnight.

The Warden takes one last look through a window at the

condemned man - then nods to the Executioner.

CUT TO:

INT. PRISON - FRED'S CELL - NIGHT

Fred sits frozen at the edge on his bed.

A distant but LOUD ELECTRICAL HUM begins.

Fred's head jerks upward to the light on his ceiling. It has

dimmed to almost nothing.

Fred sits in the humming darkness.

SLOW DISSOLVE TO:

INT. PRIS0N - EXERCISE YARD - DAY

The Guards release Fred into the yard for his exercise. At

first the sunlight is blinding, and Fred covers his eyes. He

moves along the wall, tentative, his fingers feeling the way.

Fnally he slumps down on his haunches, back leaned

against the wall, eyes closed, letting the sun hit his face. Very

soon, however, the sun passes behind a cloud and Fred is

bathed in shade. Fred stands up, but is almost immediately

hit by a searing pain in his head. Fred holds his head with

his hands, sinks down to his knees. The Guard, who has been

observing Fred from the doorway, comes over to him.

GUARD

Something wrong?

FRED

My... My head.

GUARD

Headache, huh? Too much sun, I guess.

You want to come in? Still got forty-

five minutes outside if you want it.

FRED

No, no. I want to go in.

The guard assists Fred back inside the building.

CUT TO:

INT. PRISON - FRED'S CELL - DAY

Fred is on his cot, holding his head. He is obviously in

pain. He gets up and staggers to the cell door. Fred pushes

a CALL button next to the door to summon a guard. The GUARD

comes and speaks to Fred through a double mesh opening.

GUARD

What's botbering you, Madison?

FRED

The pain is getting worse. I need more

aspirin.

GUARD

I can't give you anymore. I'll talk to

the doctor.

The guard leaves. Fred collapses to the floor of the cell,

writhing in pain.

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

Shit, that wife killer's lookin' pretty

fucked up.

GUARD #2

(not looking up from his

magazine)

Which one?

They both laugh.

CUT TO:

INT. PRIS0N - 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 MADIS0N 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.

We move into the eye sockets and beyond.

DISSOLVE TO:

EXT. TWO-LANE HIGHWAY - NIGHT

We see a clean moving POV illuminated by headlights. We are

floating down an old two-lane highway through a desolate,

desert landscape. This gliding, eerie POV continues until the

headlights illuminate a figure standing at the side of the

road. This figure is a man, PETE DAYTON. Pete turns,

unsettled, as he looks directly at us as we move closer to

him. The ghost image of a house appears behind Pete. There

is a girl, SHEILA, standing on the lawn in front of the

house. She is afraid and is trying to communicate with Pete.

Pete doesn't seem to hear her and continues to stare directly

at us. Now Pete seems to move toward us as we move toward

him. His head fills the screen.

DISSOLVE TO:

INT. PRISON - FRED'S CELL - NIGHT

Fred's blank face begins to contort and take on the

appearance, feature by feature, of Pete Dayton.

Fred Madison is becoming Pete Dayton.

FADE OUT:

FADE IN:

EXT. PRISON - DAWN

We watch the sun rise outside the prison, ascending over the

strands of barbed-wire above the wall.

CUT TO:

INT. PRISON - DEATH ROW - MORNING

A GUARD is making his early morning rounds. He stops at each

cell and looks in, making a mark with a pencil on a piece of

paper on a clipboard. when he comes to Fred's cell, he is

about to make a check-mark, but looks in again and appears

confused. THE MAN INSIDE IS NOT FRED.

GUARD

Who are you? What are you doing in this

cell?

The MAN in the cell sits still on the cot, staring straight

ahead. The man is thin, younger than Fred.

CUT TO:

INT. PRISON - DEATH ROW HALLWAY - MORNING

The guard hurries over to the guard station. He picks up the

telephone and dials. He begins to sweat.

GUARD

This is Johnny Mack at station 8. Yeah,

look, somethin' crazy's happened. No, I

mean, Madison ain't in his cell. No,

there's somebody in there, but it ain't

Madison! Right, right. Okay... Captain

Henderson's comin''?... Right.

Johnny Mack hangs up. He sweats. He walks back down the row

and looks in again at Fred's cell.

JOHNNY MACK

F-u-u-u-ck me!

He walks back to the station. A supervisor arrives, CAPTAIN

HENDERSON.

CAPTAIN HENDERSON

Now, Mack, what's the situation?

JOHNNY MACK

I'm not entirely certain, Captain.

You'll have to see for yourself.

Together they walk quickly to Fred's cell and look in.

CAPTAIN HENDERSON

That's not Fred Madison?

JOHNNY MACK

No, sir, it's not.

CAPTAIN HENDERSON

Who is it?

JOHNNY MACK

I couldn't say, sir... Captain Henderson?

CAPTAIN HENDERSON

Yeah, Mack?

J0HNNY MACK

Captain... this is some spooky shit we

got here.

CUT TO:

INT. PRISON - WARDEN'S OFFICE - DAY

Captain Henderson is standing in front of a desk, behind

which the Warden is seated. A nameplate on the desk reads:

WARDEN MARSHALL R. CLEMENTS.

WARDEN

Repeat that, Bill.

CAPTAIN HENDERSON

Warden, it's not him. It .was not Fred

Madison in that cell.

WARDEN

Of course, it's Madison!!! Who else

could it be?

CAPTAIN HENDERSON

I don't know. The guards say they've

never seen him before.

WARDEN

Where is he now?

CAPTAIN HENDERSON

He's in the infirmary, being examined.

WARDEN

Did you ask him who he is?

CAPTAIN HENDERSON

He... He can't talk. it appears as if he

can't talk, anyway.

WARDEN

If he's not Madison, then where's

Madison?

CAPTAIN HENDERSON

I've got men searching the building and

the grounds now.

The Warden stands up and comes around the desk.

WARDEN

I want to take a look at this man myself.

CUT TO:

INT. PRISON - INFIRMARY - DAY

The man from Fred's cell is just finishing being

fingerprinted.

The doctor with serious eyebrows - DR. ROGOFF - is inspecting

the man's face. The Warden enters with Captain Henderson.

GUARDS are standing by the door and at strategic spots in the

room.

WARDEN

What is this, Rogoff?

DR. ROGOFF

I don't know yet.

Dr. Rogoff begins to draw blood from the man's arm. He takes

several vials. The man watches the blood coming out of his

arm, but doesn't seem to understand where he is or what is

happening to him.

WARDEN

Who is this man?

DR. ROGOFF

He's just been fingerprinted, and I'll

run these blood tests right away. We'll

find out soon enough.

Dr. Rogoff opens the man's mouth and peers in with a pencil

light.

WARDEN

He's not Madison?

DR. ROGOFF

(slowly, deliberately

Not even close.

Dr. Rogoff stands up, puts the light in his breast pocket.

DR. ROGOFF (CON'T)

I examined Madison last night, Marshall.

He had a headache.

WARDEN

A headache?

DR. ROGOFF

I did a routine once-over, and gave him a

sleeping pill. I've never seen this man

before. Neither have the guards. I

don't think he's in the system.

The Warden moves closer to the man - he looks closely at him.

WARDEN

Where the hell did you come from, mister?

CLOSE UP OF THE MAN - he's staring straight up.

CUT TO:

INT. PRISON - WARDEN'S OFFICE - DAY

Present are the Warden, Captain Henderson and TWO other

PRISON OFFICIALS. The Warden is looking at a computer next

to his desk.

WARDEN

Well, gentlemen, we know who the stranger

is. His name is Peter Raymond Dayton.

He's twenty-four years old. His birthday

is April 21st. He was born and raised

right here. He lives with his parents,

William and Claire Dayton at 814 Garland

Avenue. Pete Dayton was arrested five

(MORE)

WARDEN (cont'd)

years ago for auto theft, for which he

was put on probation for one year. That

was his first and only offense. No

record since then.

Warden Clements looks up, takes a deep breath and stares at

the men in front of him.

WARDEN (CON-T)

How about Madison? Have we had even a

hint of his whereabouts?

CAPTAIN HENDERSON

Nothing, Marsh. Vanished. There's an

APB out on him. His photo's been faxed

nationwide.

PRISON OFFICIAL #1

I had a call from the governor's office

about this.

WARDEN

How the hell does she know?

PRISON OFFICIAL #1

There's press outside right now.

WARDEN

How the hell... 7

CAPTAIN HENDERSON

One of the guards must have leaked it.

WARDEN

What's the word on the street?

PRISON OFFICIAL #2

Only that Madison has apparently escaped.

Nothing about the other guy.

WARDEN

Good, let's keep it that way. Keep a lid

on Dayton. Nothing gets out about him.

CUT TO:

INT. PRISON - DEATH ROW - DAY

Johnny Mack walks down the row and enters Fred's cell.

CUT TO:

INT. PRISON - FRED'S CELL - DAY

Johnny Mack looks around, up and down the walls, half peers

under the cot, then - checking first to see no other guard is

watching him - he looks inside the toilet bowl, then gets

down on his knees and really looks under the cot. He gets up

and sits down on the bed. He rubs a hand over his face.

Johnny Mack is clearly perplexed.

CUT TO:

INT. PRISON - MEDIA ROOM - DAY

A press conference is being held. Present are REPORTERS, TV

cameras, et al. The Warden and Captain Henderson represent

the prison.

WARDEN

I have a statement to read... Fred

Madison, an inmate being held on death

row has, apparently... has escaped. An

all-points bulletin has been issued to

authorities not only statewide, but

nationwide. We are confindent that he

will be apprehended very soon. No

further details are available at this

time. Thank you very much.

REPORTER

Warden, nobody's ever escaped from death

row before. How did he get out?

The Warden and Captain Henderson leave the room without

answering.

CUT TO:

INT. PRISON - LONG CORRIDOR - DAY

Pete's parents, BILL and CLAIRE DAYTON, escorted by a PRISON

GUARD, are approaching the Warden's office. It is a long

walk along the corridor and the camera examines them in

detail as they get closer and closer to the office. The

Daytons are a middle-aged, San Fernando Valley couple. Bill

Dayton is wearing a sport shirt with the short-sleeves rolled

up. His skin is leathery, tanned and his thinning hair is

slicked back in a duck-tail. He's working-class, ex-biker.

Claire Dayton was obviously a good looking "chick" who's gone

to seed from too much sun, cigarettes and booze. She retains

the remnants of a good figure, but it's going fast. Claire

is wearing sunglasses.

CUT TO:

INT. PRISON - WARDEN'S OFFICE - DAY

The Daytons are ushered in by the guard. The Warden is

standing behind his desk. Dr. Rogoff is standing to one

side, and next to him is Captain Henderson. The Daytons

stand just inside the room for a moment before the Warden

extends his right hand.

WARDEN

I'm Warden Clements. This is Captain

Henderson and Dr. Rogoff. Please, sit

down.

Bill and Claire move to the chairs in front of the desk and

sit down. The Warden, Dr. Rogoff and Captain Henderson all

sit down.

WARDEN (CON'T)

Mr. and Mrs. Dayton, as you were told

over the phone, your son, Peter, is here.

Claire Dayton removes her sunglasses. She and Bill wait -

the warden is searching for words.

WARDEN (CON'T)

He... He was discovered this morning...

in a cell on death row.

Bill and Claire look at each other - bewildered.

WARDEN (CON'T)

A cell that was supposed to be

occupied by an inmate named Fred Madison.

BILL

The wife killer?

WARDEN

Yes.

CLAIRE

How is this possible, Warden?

The warden shakes his head.

WARDEN

...Tell me, what was Peter's condition

the last time you saw him?

Bill and Claire look at each other again - briefly.

BILL

His condition? What do you mean?

WARDEN

His physical condition.

BILL

(hesitates)

Same as always. Pete takes care of

himself.

Bill and Claire look at each other once again.

CLAIRE

I saw him before he went to the garage

day before yesterday. He's a mechanic.

Look, is he okay? Can we see him?

The Warden looks at Dr. Rogoff.

DR. ROGOFF

He has a hematoma on his forehead and a

condition called blepharitis... that's

redness and swelling around the eyes.

BILL

Was he in a fight?

DR. ROGOFF

These conditions don't indicate a fight.

CLAIRE

But what is the cause then? ... And how

did he get in that cell?

DR. ROGOFF

He can't talk. Or won't.

BILL

That doesn't sound like Pete.

DR. ROGOFF

Your son has experienced some sort of

trauma, I'm afraid. We were hoping that

the two of you could help explain the

cause of the trauma and how he came to be

here.

CAPTAIN HENDERSON

You don't know Fred Madison?

BILL

No... Only what was in the news.

CAPTAIN HENDERSON

Do you think Pete knows him?

CLAIRE

I wouldn't know how.

WARDEN

(to Claire)

You say you haven't seen your son since

the day before yesterday?

CLAIRE

When he went to work, right.

WARDEN

What about yesterday?

CLAIRE

He didn't come home.

BILL

Sometimes he stays at a friend's.

CAPTAIN HENDERSON

Any particular friends?

BILL

A girl's, a buddy's. I don't know. He's

his own man; he comes and goes as he

pleases.

CLAIRE

I want to see him.

WARDEN

Yes, and we need to talk to him... if we

can.

(to Dr. Rogoff)

Mel, let's get Peter in here.

Dr. Rogoff leaves the room. While he's gone, nobody talks,

increasing the tension. Dr. Rogoff returns with Pete Dayton,

dressed in his own clothes: jeans, boots, sport shirt.

Pete's forehead is lumpy and his eyes are red and swollen.

He can walk, but unsteadily.

Pete looks around the room - sees his parents.

Claire jumps up.

CLAIRE

(tenderly)

Pete...

She and Dr. Rogoff help get Pete settled in a chair. Bill is

taken aback at the sight of his son, but says nothing.

WARDEN (CON'T)

Pete, can you tell us now, anything about

this?

CLAIRE

Pete, what happened to you?

Pete has a dazed look on his face. He starts to speak, then

stops.

CLAIRE (CON'T)

It's okay. Take your time, honey.

Pete's gaze drifts from his mother's face around the room and

back to her face.

PETE

(afraid - quiet)

Where ... am I?

The Warden and Captain Henderson look to Dr. Rogoff.

DR. ROGOFF

You're in the state penitentiary. You

were found in a cell on death row.

PETE

My head hurts.

Pete rubs his head like it's about to explode with pain.

WARDEN

A man named Fred Madison was occupying

that cell. He's missing. we're trying

to find out how it is you were in there

and not him.

PETE

I... I don't know.

CAPTAIN HENDERSON

Do you know Fred Madison?

PETE

(straining)

No.

There is a silence in the room, as Pete massages his

throbbing temples.

CLAIRE

(worried)

Warden, can we take him home?

The Warden looks at Dr. Rogoff.

DR. ROGOFF

(to Warden)

From a medical standpoint, I don't see

why not.

CAPTAIN HENDERSON

We need to find out what happened here.

BILL

(standing up)

Have you made any charges against him?

WARDEN

No.

BILL

Then he's coming home with his mother and

me.

WARDEN

All right... but you see our

predicament... Legally we can't hold

him, but he may be able to help us...

perhaps later. For now, he's free to

leave.

Bill and Claire help Pete up and carefully escort him out of

the warden's office. With a nod from the Warden, the guard

accompanies them out of the room. The Warden, Captain

Henderson and Dr. Rogoff stand but remain in the office.

CAPTAIN HENDERSON

(to warden)

You just gonna let him go?

WARDEN

We'll get a tail put on him.

CUT TO:

EXT. DAYTON HOUSE - SAN FERNANDO VALLEY - DAY

Bill, Claire and Pete pull into the driveway of a bleached

out, 60's ranch-style house on a street lined with many more

of the same.

Bill and Claire get out of the car first, then help Pete out

and up into the house.

CUT TO:

INT. DAYTON HOUSE - DAY

Bill and Claire take Pete to his room, which has a bed, desk,

two chairs and a sea of disassembled motorcycle parts

belonging to a classic Indian motorbike which Pete is

rebuilding. Each part is shiny and clean.

Pete sits down on his bed and looks up at his parents -

shaking his head with confusion and embarrassment.

BILL

Just rest easy, Pete. You're gonna be

okay.

CLAIRE

Are you hungry, honey? I'll fix you

something.

PETE

No... I don't feel so good. I would

like some aspirin.

CLAIRE

Coming up.

DISSOLVE TO:

INT. DAYTON HOUSE - NIGHT

Pete sleeps.

In the living room, Bill is drinking a beer and watching

television.

In the kitchen, Claire is finishing the dishes. She goes

into the living room and leans down and whispers something in

Bill's ear. Bill nods and Claire walks quietly down the

hallway and opens Pete's door.

She looks in on him sleeping.

CUT TO:

EXT. DAYTON HOUSE - DAY

An unmarked police car pulls up across the street from the

Dayton house. In the front seat are the Detectives, Ed and

Al. Al, who is on the passenger side, is holding two

styrofoam cups filled with coffee. Ed removes from his

inside jacket pocket a 5" x 7" photo of Pete Dayton, which he

props up on the dashboard so that it is visible for both

himself and Al. Al hands one of the cups to Ed.

Thanks, Al.

Al studies Pete Dayton's face in the photo.

Now we'll see what this son of a bitch is

up to.

Yeah.

Ed and Al sip their coffee and stare at the house.

FADE OUT:

FADE IN:

EXT. DAYTON HOUSE - BACKYARD - DAY

Pete Dayton is lying on a chaise lounge. His forehead is

still swollen, but his eyes are less red. He stares up into

the sky - a hot breeze blows over him.

CUT TO:

INT. DAYTON HOUSE - DAY

The camera moves slowly through the interior of the empty

house cast with shadows. The refrigerator running is the

only sound.

CUT TO:

EXT. DAYTON HOUSE - BACKYARD - DAY

Pete slowly moves up to a sitting position, then stands. He

stretches and walks around the yard feeling the dry,

unwatered lawn on his bare feet.

He walks over and leans over the neighbor's fence. His eyes

fall on a plastic toy boat floating in b child's plastic

swimming pool. He watches the boat as the warm breeze blows

it lazily in a circle.

A small plane drones overhead.

In the distance, a WOMAN finishes hanging out some wash and

goes in the back door of her house. The slamming of her

screen door sounds a thousand miles away.

Pete continues to observe these seemingly peaceful

surroundings - but something doesn't feel right to him.

CUT TO:

INT. DAYTON HOUSE - NIGHT

Pete is eating a sandwich - he is looking much better.

Claire opens a bag of chips and sets them in front of Pete as

Bill comes in the front door.

CLAIRE

I'm in the kitchen.

Bill comes in and pops a beer - looks around.

BILL

Where's Pete?

CLAIRE

Out in back.

BILL

You talk to him?

CLAIRE

(urgent)

No... Here he comes.

Their gazes follow a path from the backyard into where Pete

has been sitting all the time.

BILL

How're you feelin'?

Pete looks at his parents - he can't figure out what has just

happened.

PETE

(unsure - brow furrowed)

Better.

BILL

Arnie called this morning while you were

sleepin'. They miss you pretty bad down

at the garage. I told 'im you still had

a "fever".

PETE

Okay. Thanks.

BILL

Nice to know they can't seem to get along

without ya.

PETE

Yeah.

BILL

You really don't remember the other

night, do you?

PETE

What night is that?

BILL

The night before you showed up in the

slammer...

CLAIRE

Do you remember?

PETE

No... I don't. Why?

Bill and Claire just stare at him. Pete shakes his head and

takes another bite of his sandwich - but inside the worrisome

feeling returns.

DISSOLVE TO:

INT. DAYTON HOUSE - PETE'S BEDROOM - NIGHT

Pete is stretched out on his bed watching television. He

hears the front door bell ring - footsteps, and a moment or

two later the door to his bedroom opens and three of his

friends, CARL, LANIE and STEVE ("V") saunter in.

"V"

Where the fuck have you been?

Pete pulls himself up to a sitting position.

PETE

Hey.

CARL

You look like shit.

LANIE

What happened?

PETE

Just haven't been feelin' well.

"V"

You're not contagious are you?

PETE

I don't think so.

"V"

Good... You up for a drive?

PETE

Where to? Hey, Lanie, I heard you were

out of it for a while, too.

LANIE

They found a cyst on my god damn ovary.

Had to cut it out. You wanna see the

scar?

Lanie pulls up her shirt and pulls down her pants a ways

revealing a fresh scar about three inches long.

CARL

(winking)

Hadn't slowed her down none.

LANIE

(smacking him)

Shut up, bone-head.

Then Lanie laughs good-naturedly.

"V"

Just goin' up'ta "Tops"... Maybe the "Ten

Pin".

PETE

Sheila'll be at "Tops".

"V"

Sure, what's wrong with that?

PETE

Okay.

Pete hauls himself up off the bed and throws on a black

leather jacket.

The four of them go through the living room where Bill and

Claire are drinking and watching TV.

PETE

(to Bill and Claire)

Goin' out with these clowns for a while.

BILL

Do ya good.

After Pete leaves with his friends, Bill and Claire look at

each other.

CUT TO:

INT. "V'S" CAR - VAN NUYS BOULEVARD - NIGHT

"V" drives a black, beat-up '66 Grand Prix. Carl and Lanie

are in the back seat, and Pete rides shotgun. The four of

them., are cruising down Van Nuys Boulevard along with many

other MUSCLE CARS and LOW-RIDERS filled with KIDS looking for

action. "V's" car is making a hell of a noise.

PETE

I hate ridin' in this fuckin' car.

CARL

Take it easy, Pete, "V" loves this rod.

"V"

Look at that goin' my way.

"V" has seen a couple. of GIRLS in short, tight dresses

walking up the boulevard.

"V" (CON'T)

Oh my, oh my.

LANIE

Keep it in your pants, "V".

Some big cars nearby rev their engines. "V" guns his car and

it lurches roughly forward. The sound of the rough running

engine reverberates in Pete's brain.

PETE

This rod is a fuckin, embarrassment,

Carl. Whatiya burn in this thing, "V"?

"V"

Texaco... What's wrong with that?

PETE

Listen.

"V"

You gotta be kiddin'... This is the

boulevard... You can't hear yourself

think.

Pete shakes his bead with disgust.

"V" pulls the car off the boulevard into "Tops" drive-in.

Cars are lined up at the "to go" window and all along the

side of the building where people are hanging out under a

long metal awning. MUSIC is playing LOUD.

"V" pulls into a parking spot by the awning. The headlights

illuminate a group of HIPSTERS - some dancing, some just

hanging out. THREE or FOUR GIRLS hanging out together turn

toward "V's" car. They see Pete in the front seat, and one

of the girls, Sheila, smiles and walks toward him.

SHEILA

Hey. Where have you been?

Pete talks to her through the open window while "V", Carl and

Lanie climb out through "V's" door. "V" leans back in.

"V"

(to Pete)

You want somethin'?

PETE

No, I'm okay.

"V" walks off with the others to the "take out" window.

Sheila leans in closer to Pete.

SHEILA

I missed you.

PETE

Yeah?...

SHEILA

Yeah.

Sheila's girlfriends saunter over and lean on the car around

her - looking in at Pete.

GIRL #1

What happened to your face?

PETE

Nothin'.

SHEILA

What are you guys doin'?

PETE

Guess we're goin' over to the "Ten Pin".

SHEILA

You want some company?

PETE

Sure.

"V", Carl and Lanie return with burgers and drinks. "V's"

got a mouthful of burger.

"V"

(muffled)

What's happenin'?

PETE

They're comin' with us.

"V"

(muffled and spitting)

Pile in.

Sheila and her girlfriends jump in the car with "V", Carl,

Lanie and Pete. "V" fires up the rough-running engine and

pulls out - leaving behind a cloud of smoke.

CUT TO:

INT. TEN PIN BOWLING ALLEY - NIGHT

The bowling alley is divided into a game room area, a bar/

restaurant area and a bowling area.

Pete and the group stroll into the bar and take a large

booth. MUSIC is playing LOUD.

A WAITRESS takes orders for drinks.

Bowling pins clatter loudly in the distance.

"V" takes one of Sheila's friends and dances with her.

Sheila takes Pete by the arm and pulls him up to dance. The

music is fast, but they dance slow.

SHEILA

Why haven't you called me?

PETE

Sorry... I...

Sheila looks around and moves closer to Pete. She whispers

urgently, worried.

SHEILA

(whispering)

What's happening to you? What happened

to your face?

PETE

I don't know.

SHEILA

(whispering)

What do you mean? ... You've been acting

strange lately ... Like the other night.

PETE

What night?

SHEILA

Last time I saw you.

PETE

I don't remember... What happened that

night?

SHEILA

You sure weren't acting like the Pete

Dayton I've always known.

PETE

Whatiya mean?

SHEILA

You were acting like a different person.

Pete laughs, but Sheila doesn't.

PETE

Who else could I be7

Sheila stares seriously at Pete, but then laughs too.

SHEILA

I don't know.

Sheila leans in very close to Pete and whispers in his ear.

SHEILA (CON'T)

You still care about me?

PETE

Sure. Sure I do.

Sheila pushes her mouth on Pete's and they kiss., Pete breaks

away - looks at Sheila - serious.

PETE (CON'T)

What else about that night?... Did

anything happen?

SHEILA

You really don't remember?

PETE

No... I told you.

SHEILA

It was weird...

PETE

Whatiya mean, Sheila?

SHEILA

I don't want to talk about it...

PETE

Sheila?!

SHEILA

No... I really don't want to talk about

it.

CUT TO:

EXT. TEN PIN BOWLING ALLEY - NIGHT

Ed and Al sit in their unmarked police car watching the

bowling alley entrance and "V's" car.

FADE OUT:

CUT TO:

EXT. DAYTON HOUSE - MORNING

Pete fires up his souped up Camaro and listens happily to the

engine purring. He eases the big Camaro out of the driveway

and blasts off down the street.

CUT TO:

EXT. ARNIE'S GARAGE - MORNING

Pete cruises into his parking place and cuts the engine.

ARNIE comes rushing toward him, sporting a big smile.

ARNIE

Wonderful!!... Wonderful to see you,

Pete. How are you?

PETE

(climbing out of the Camaro)

Feeling good, Arnie. Ready to get to

work.

ARNIE

Wonderful, Pete. Really wonderful.

Alotta people Pete... alotta people are

gonna be very happy.

Arnie takes Pete by the arm and they go inside the garage.

CUT TO:

INT. ARNIE'S GARAGE - MORNING

Other MECHANICS give Pete the "hi" sign and yell their

greetings over the din. Arnie pulls Pete closer and shouts.

ARNIE

Mr. Smith has been waiting for you and

Mrs. Trueworthy. Can you take care of

Mr. Smith now?

PETE

Sure.

ARNIE

Mr. Eddy's called every day... Can I call

him to come in?

PETE

Sure, Arnie. Bring 'em on, I'm ready.

Pete walks over to a Ford Station wagon and pops the hood. A

happy MR. SMITH comes out of the office to join Pete at his

car.

CUT TO:

EXT. ARNIE'S GARAGE - MORNING

Ed and Al pull to a stop down the street from the garage. Ed

kills the engine and they stare at Arnie's.

DISSOLVE TO:

INT. ARNIE'S GARAGE - DAY

Pete is leaning down into the engine well of a Chevy Caprice

working hard for Mrs. Trueworthy.

Arnie's Garage is busy.

CUT TO:

EXT. ARNIE'S GARAGE - DAY

A large black Mercedes 600 Pullman pulls into the garage.

CUT TO:

INT. ARNIE'S GARAGE - DAY

The Mercedes pulls to a stop and MR. EDDY and TWO of his

ASSISTANTS climb out.

Arnie waves to Mr. Eddy from the office.

MR. EDDY

PETE!!! WHERE'S PETE?!!

Pete comes up out of the well and turns. When he sees Mr.

Eddy, he heads across ihe garage to greet him. Mr. Eddy

opens his arms wide and embraces Pete. When he pulls away,

he sees Pete's face.

MR. EDDY (CON'T)

What happened? Somebody givin' you

trouble?

PETE

No, it's nothin'... I'm all right.

MR. EDDY

Because if anybody's givin' you trouble,

Pete, I can take care of the problem...

like that.

(snaps his finger - loud)

PETE

No, no... It's okay, Mr. Eddy.

MR. EDDY

I mean it, Pete... Like THAT!!

(snaps his finger - loud)

PETE

Thanks, Mr. Eddy ... whatiya need? Just

the regular tune-up?

MR. EDDY

I want you to ride with me. Somethin'

doesn't sound right.

PETE

Okay... Lemme clear it with...

MR. EDDY

It's okay with Arnie... Come on, let's

go.

CUT TO:

EXT. ARNIE'S GARAGE - DAY

Ed and Al don't notice that Pete is in the big black

Mercedes, as it cruises past them.

CUT TO:

INT. MR. EDDY'S 600 PULLMAN - DAY

Mr. Eddy drives. Pete is in the passenger seat up front, and

the two, stone-faced assistants ride in back.

MR. EDDY

Now listen... It only happens when I'm

accelerating. I think it's the

carburetors.

Mr. Eddy pulls out after a light turns green and gives the

car a stab forward.

PETE

No, it's not the carburetors. Pull over,

but keep it runnin'.

Mr. Eddy smiles as he pulls over.

MR. EDDY

Best god damn ears in town.

(to the guys in back)

You guys are lookin' at him. The man

with the best god damn ears in town.

When the car stops, Pete gets out, pops the hood and

disappears down by the engine.

Mr. Eddy sits, smiling at Pete as he works.

Pete pops up and gives Mr. Eddy the "thumbs up" and gets back

into the car.

PETE

Give that a try.

MR. EDDY

All right!

Mr. Eddy carefully pulls out into traffic and accelerates

when he gets the chance.

MR. EDDY (CON'T)

Beautifull Smooth as shit from a duck's

ass. Let's take a ride.

PETE

Whatever you say, Mr. Eddy.

Mr. Eddy hangs a right turn and heads up into the hills.

DISSOLVE TO:

EXT. MULHOLLAND DRIVE - DAY

Mr. Eddy takes the big Pullman along the scenic Mulholland

Drive - cruising smoothly. A silver-gray Infiniti is moving

up fast behind the Mercedes.

CUT TO:

INT. MR. EDDY'S 600 PULLMAN - DAY

Mr. Eddy looks into his rearview mirror.

MR. EDDY

Oh, shit... Is that what I think it is?

Pete turns and looks back. A car is TAILGATING them, the

silver-gray Infiniti. The two assistants in the backseat

turn nonchalantly to take a look - then they return their

look to Mr. Eddy.

Mr. Eddy starts to take a slow burn - keeps looking at the

Infiniti in the rearview mirror.

The assistants look to one another take a deep breath.

Mr. Eddy slows slightly and then keeps the Pullman steady at

32 m.p.h. The Infiniti moves up ten feet behind the Pullman,

and blows its horn.

Mr. Eddy rolls down his window.

The assistants are paying close attention - they buckle their

seatbelts.

Pete notices a tension in the car. He watches Mr. Eddy's

face.

Mr. Eddy pulls slightly to the right of the road, pastes a

polite, courteous smile on his face, puts his left arm out

the window and waves the Infiniti by.

The Infiniti jets forward and swerves around the Pullman.

When the cars are side by side, the irate DRIVER in the

Infiniti gives Mr. Eddy "the bird" and flies past.

CLOSE ON MR. EDDY'S RIGHT FOOT as it slams down on the gas

pedal.

The Pullman catapults forward toward the Infiniti.

Pete is thrown back - he grabs on to the door handle and the

seat for support.

The Pullman gains on the Infiniti in a flash. The Infiniti

tries to go faster, but Mr. Eddy's Pullman has much more

power.

MR. EDDY

(clenched teeth)

This is where power and mechanical

excellence pays off.

Mr. Eddy jams the Pullman into the back of the Infiniti and

pushes it faster and faster along Mulholland. The Driver of

the Infiniti tries to brake and blue-gray smoke streams out

from beneath the Infiniti with a scream of burning rubber.

At a turn, Mr. Eddy steers his massive Mercedes and the

Infiniti ahead on a gut-wrenching path off the road, up a

mountain and into a little glade of trees. Dust and brush

fly everywhere.

Mr. Eddy and his assistants leap from the Pullman and make

for the Driver's side of the Infiniti.

Mr. Eddy throws open the Infiniti's door and pulls the

trembling and screaming Driver out like a rag doll.

Mr. Eddy pulls out his .44 Ruger Blackhawk and pistol whips

the Driver to the ground. He smashes the butt of his gun

across the man's face, tearing a gash which starts to gush

with blood.

Mr. Eddy's assistants each draw .45's and point them at the

Driver.

Mr. Eddy, red-faced with anger, leans close to the man.

MR. EDDY

DON'T YOU EVER FUCKIN' TAILGATE.

Mr. Eddy hits the Driver in the side of the head with his

gun.

MR. EDDY (CON'T)

WHAT DID YOU SAY?

DRIVER

(scared shitless)

I... I didn't say anything...

ASSISTANT #1

Tell him you won't tailgate.

MR. EDDY

EVER!!!!

DRIVER

I won't ever tailgate.

MR. EDDY

DO YOU KNOW HOW MANY FUCKIN' CAR LENGTHS

IT TAKES TO STOP A CAR AT 35 M.P.H.?

DRIVER

No.

MR. EDDY

SIX FUCKIN' CAR LENGTHS... THAT'S ABOUT A

HUNDRED AND SIX FUCKIN' FEET, MISTER!

YOU WERE FOLLOWING TEN FEET BEHIND ME...

IF I'D HAD TO STOP SUDDENLY, YOU WOULD

HAVE HIT ME. I WANT YOU TO GET A

DRIVER'S MANUAL, AND I WANT YOU TO STUDY

THAT MOTHERFUCKER... AND I WANT YOU TO

OBEY THE GOD DAMN RULES. FIFTY FUCKIN'

THOUSAND PEOPLE WERE KILLED ON THE ROAD

LAST YEAR.

(hitting the driver once again

- hard)

CAUSE OF FUCKIN' ASSHOLES LIKE YOU.

TELL ME YOU'RE GONNA GET A MANUAL.

DRIVER

I'll get a manual.

(almost a whisper)

and study it.

MR. EDDY

(kicking the man)

FUCKIN' "A".

Mr. Eddy and his assistants return to the Pullman - get in

and slam their doors.

Mr. Eddy throws the Pullman into reverse and pulls back off

the hill onto Mulholland Drive. He eases the car into

"drive" and leaves the crying and beaten tailgater behind.

CUT TO:

INT. MR. EDDY'S 600 PULLMAN - DAY

Mr. Eddy rotates his neck - shaking out some adrenaline

remnants. Pete is visibly shaken by what he has seen.

MR. EDDY

Sorry about that, Pete, but tailgating is

one thing I can't tolerate.

PETE

I can see that.

MR. EDDY

I'll bet you know how many car lengths it

takes to stop at... say 45 m.p.h.

PETE

Eight, nine car lengths. A hundred and

sixty-two feet.

MR. EDDY

At sixty?

PETE

Fifteen car lengths. About two hundred

and seventy feet.

MR. EDDY

(to his companions in the

reariew)

What'd I tell ya.

Mr. Eddy smiles and they continue along their way.

CUT TO:

EXT./INT. ARNIE'S GARAGE - DAY

The Pullman pulls off the street into Arnie's. Mr. Eddy and

his assistants stay in the car. Pete opens his door.

MR. EDDY

Wait a minute ...

Mr. Eddy takes out a couple of one hundred dollar bills and

puts them into Pete's hand.

PETE

Thanks, Mr. Eddy.

MR. EDDY

No... Thank you!... I'll be bringin' the

"Caddy" by tomorrow.

Mr. Eddy reaches into the glove compartment and takes out a

videotape. He holds it out to Pete.

MR. EDDY (CON'T)

You like pornos?

PETE

Pornos?

MR. EDDY

Yeah. Give ya a boner.

PETE

No thanks, Mr. Eddy.

Mr. Eddy tosses the tape back in the glove compartment.

MR. EDDY

Suit yourself, champ.

PETE

Okay... Well, I'll see ya then.

MR. EDDY

You will.

CUT TO:

EXT. ARNIE'S GARAGE - DAY

Ed and Al are staring at the Pullman. They see Pete get out.

They notice the man driving the Pullman.

You recognize that guy?

Yeah... Laurent.

FADE OUT:

FADE IN:

EXT. DAYTON HOUSE - MORNING

Pete walks out his front door with a lunch box and jumps in

the Camaro.

He fires up the big engine and heads off for work.

Ed and Al follow.

DISSOLVE TO:

INT. ARNIE'S GARAGE - DAY

Pete is on a skate - working under a car. The radio is on

and a tune comes on that begins to drive Pete crazy - it

gives him a headache. The tune is one of Fred Madison's be-

bop saxophone pieces. Pete gets out from under the car and

goes to the radio. He changes the station. PHIL, another

mechanic working nearby, looks at Pete.

PHIL

Why'd you change it? I liked that.

PETE

Well, I didn't.

Pete rubs his throbbing head and when he gets back under the

car, he lays on the skate - unable to work.

A car horn honks and the sound reverberates inside the

garage.

Pete looks up - from under the car he sees the wheels of a

Cadillac roll up just outside the open garage doors. He sees

a car door open and Mr. Eddy's feet appear and walk in his

direction.

Pete winces and wheels himself out from under the car. He

stands as Mr. Eddy walks up to him, then freezes as he sees -

back behind Mr. Eddy, sitting in the passenger seat of the

car - a beautiful blonde-haired GIRL, who looks exactly like

Renee.

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.

Pete pulls over into a dark shadow under a tree and stops the

car.

He cuts the engine, turns to Sheila and kisses her. She

breaks away.

SHEILA

Why don't you like me?

PETE

I do like you, Sheila.

Sheila puts her lips up' close to his and whispers.

SHEILA

How much?

Pete kisses her and she kisses him back. They start to feel

each other and Sheila takes off her tight sweater. She's

wearing no bra and Pete begins to feel her breasts while she

unbuttons his shirt. They continue to kiss hard throughout.

CUT TO:

EXT. STREET - NIGHT

Ed and Al are stopped a half a block behind Pete and Sheila.

They're watching the couple as they make love in the front

seat of Pete's car.

CUT TO:

EXT. STREET - NIGHT

Pete and Sheila are naked in the front seat. Sheila clings

to Pete as they make love. She's hopelessly in love with

him.

FADE OUT:

FADE IN:

INT. ARNIE'S GARAGE - LATE AFTERNOON

Pete and the other MECHANICS are working in the garage. The

clock on the wall reads: 4:45 p.m.

Some of the guys are cleaning up - washing their hands -

putting tools away.

Pete is ragging off some grease from his hands when he

notices a CAB pull up to the front of the garage. The

beautiful blonde steps out of the cab and comes up to him.

Pete's heart races - she smiles at him.

BEAUTIFUL BLONDE

(ALICE)

Hi. I'm Alice Wyatt.

PETE

Pete Dayton.

ALICE

I was here yesterday.

PETE

Yeah, I remember.

ALICE

How would you like to take me to dinner?

PETE

(laughs uncomfortably)

I don't know.

ALICE

Okay, then, I'll take you to dinner.

Pete hesitates - thinks.

PETE

Look, I don't think it's a good idea.

Alice looks hard at him, then smiles.

ALICE

Where's your phone? I have to call

another taxi.

PETE

(pointing)

Over there.

Alice walks to the office inside the garage - picks up the

phone and dials information.

ALICE

(into phone)

Can you give me the number for United

Cab?

She turns and looks at Pete while she's speaking, then

listening.

ALICE (CON'T)

(into phone)

Thanks.

Alice dials the number.

ALICE (CON'T)

(into phone)

Yes, I need a taxi at Arnie's Auto

Repair, the corner of Fifth and...

Pete has walked over. He takes the telephone out of her

hand.

PETE

(into phone)

We won't be needing a cab, thanks anyway.

He hangs up the phone.

ALICE

Why don't we just skip dinner7

CUT TO:

EXT. ARTHUR'S HIDEAWAY MOTEL - NIGHT

Pete and Alice pull up to the cheap motel in Pete's Camaro.

Pete gets out and leaves Alice in the car.

She waits and watches him go into the office.

CUT TO:

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

Ed and Al are watching Pete and Alice. They watch Pete come

out of the office and take Alice into one of the motel rooms.

'Fucker gets more pussy than a toilet

seat.

Al shakes his head with anger mixed with a lot of envy.

CUT TO:

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

Pete and Alice enter the room. There is a double bed, a

little desk, two bedside tables with lamps, a floor lamp, and

a bathroom. They don't notice any of this.

Just inside the room Alice takes Pete's hand and they turn to

each other. Alice puts Pete's hand between her legs. She

moves up close to him and closes her eyes.

They kiss tenderly at first - then hotter.

ALICE

(whispers)

Take off my clothes.

DISSOLVE TO:

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

Pete and Alice are naked on the double bed in just the glow

of the motel's neon lights coming in between the window

curtains.

They're up on their knees - right next to each other. They

look in each other's eyes as their hands move and touch.

Alice smiles with a wild, dreamy look in her eyes.

Pete puts his hand between her legs and Alice kisses him with

a frenzy.

They fall back on the bed.

DISSOLVE TO:

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

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 tralfic 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 (CON'T)

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.

"V"

You okay, man?

PETE

What?

"V"

You okay?... What's wrong7

Pete looks up at "V". He doesn't seem to recognize him -

"V's" head is a featureless blur. Pete shakes his head

trying to drive out the pain.

He looks over again for Sheila. He sees her there dancing

with her girlfriend.

"V"

Pete... You okay?

PETE

Yeah.

Pete stands back up against the post - turns to "V" -

recognizing him.

PETE (CON'T)

I'm, okay... You okay?

"V"

Sure, I'm okay.

Some drunk GUYS move over to Sheila and her girlfriend. They

cut in on the girls. The guy with Sheila puts his hand

around her waist and pulls her against her will into a grind.

She tries to push him away, but he holds on tighter -

laughing with his buddy.

"V" and Carl look at Pete as he pushes off the post. Pete

crosses quickly to the man dancing with Sheila. He slams his

fist into the man's nose - almost snapping the man's neck in

the process. The man goes down bleeding.

Pete attacks the other man who is turning toward him ready

for a fight. He hits the man in the gut - the man's head

goes down and Pete brings his knee up cracking the man's

face. The man's torso flies up with Pete's knee - then

continues on as the man falls to the floor. Pete picks him

up, ready to hit him again, but the crowd pulls him off.

Pete stands and turns - pulsating with anger. Sheila is

there beside him.

SHEILA

Where'd you come from?

PETE

I've been here. You were lookin, right

at me.

SHEILA

I was?

PETE

Yeah.

Sheila sinks into his arms.

SHEILA

I didn't know you cared.

PETE

Come on.

Pete takes her to the Harley and they blast off.

CUT TO:

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

Pete is making desperate love to Sheila in the same room -

the same bed, as with Alice.

SHEILA

(whispered pain)

Pete... Pete...

Pete keeps on - harder - obsessed. When he comes, he crashes

down on Sheila, who wraps her arms around him tight. She

doesn't know what is going on with him. Her eyes are open

wide as she listens to his frantic breathing.

She doesn't know what to say - or what questions to ask.

CUT TO:

EXT. ARTHUR'S HIDEAWAY MOTEL - NIGHT

Ed and Al are staring silently at the motel and the Harley

parked out in front.

What a fuckin' job.

His or ours?

Ours, Ed.

DISSOLVE TO:

INT. DAYTON HOUSE - NIGHT

Pete enters through the front door. His parents are sitting

as if they have been waiting for him.

PETE

Hey.

BILL

Sit down a minute.

PETE

What's up?

BILL

Sit down.

Pete sits in a chair opposite Bill and Claire.

BILL (CON'T)

You don't look so good.

PETE

I gotta headache... What's goin' on?

BILL

The police called us.

PETE

Yeah? what did they want?

BILL

They wanted to know if we'd had a chance

to find out what happened to you the

other night. They wanted to know if you

remembered anything.

PETE

But I don't remember anything. What did

you tell 'em?

CLAIRE

(whispers)

We saw you that night, Pete.

BILL

You came home. Your friend Sheila

brought you here.

PETE

Sheila?

BILL

Yes, there was a man with you... She

brought you here... She didn't know what

else to do.

PETE

What is this? Why didn't you tell me?

What?... I don't remember any of this.

CLAIRE

We know that.

PETE

Who was the man?

BILL

Never saw him before in my life.

PETE

Did you tell the police this?

BILL

We're not saying anything about that

night to the police. We should all

forget that night.

PETE

What happened to me?

Bill and Claire just stare at Pete.

PETE (CON'T)

Please tell me.

BILL

No.

FADE OUT:

FADE IN:

INT. DAYTON HOUSE - NIGHT

The clock on the wall reads: 1:30 a.m. The house is

completely quiet, except for the refrigerator motor.

Pete is on the phone in the kitchen talking quietly.

PETE

Why didn't you tell me you brought me

here that night?

(he listens)

To my house... my parents told me. What

are you tryin' to hide?

(he listens)

Sheila... Tell me... Who was with me?...

Who was the man?...

(he listens)

...When you brought me home!

(he listens)

What was he doin' there?

(he listens)

What are you cryin' about?... Sheila?

FADE OUT:

FADE IN:

INT. ARNIE'S GARAGE - DAY

Pete is working on a car. The Mercedes Pullman pulls into

the shop. Mr. Eddy gets out with his two assistants. They

stay by the car while Mr. Eddy walks over to Pete. Mr. Eddy

smiles.

MR. EDDY

How ya doin', Pete?

PETE

Okay.

MR. EDDY

I'm sure you noticed that girl that was

with me the other day... Good lookin'

blonde? She stayed in the car?...

Pete just stares at Mr. Eddy. His heart begins to race.

MR. EDDY (CON'T)

Her name is Alice. You know I love that

girl to death. If I ever found out

somebody was makin' out with her, I'd

take this ...

(he opens his coat and pulls

out his .44 Ruger Blackhawk

and holds it up in front of

Pete's face)

...and shove it so far up his ass it

would come out his mouth... Then you

know what?...

PETE

(very quietly)

What?

MR. EDDY

I'd pull the trigger and shoot him right

between the eyes.

Abruptly, Mr. Eddy becomes cool - he holsters his pistol and

smiles at Pete.

MR. EDDY (CON'T)

So, Pete, you're lookin, better. What

have you been up to?

CLOSE UP ON PETE'S FACE - staring at Mr. Eddy.

CUT TO:

INT. DAYTON HOUSE - NIGHT

The phone rings in the kitchen.

PETE

(voiceover)

I'll get it.

Pete moves into the kitchen and picks up the phone.

PETE

Hello.

ALICE

Meet me at the Starlight Motel on

Sycamore... I'll be there in twenty

minutes.

PETE

(hesitates)

Okay.

Alice hangs up. Pete stares at the phone for a moment, then

hangs it up slowly.

CUT TO:

EXT. STARLIGHT MOTEL - NIGHT

Pete pulls his Camaro into the parking lot. When he gets out

of the car, he hears a voice and looks.up.

ALICE

Up here... Come on.

Pete takes a stairway past a "Coke" machine and meets Alice

in front of a second floor room where the door stands open.

ALICE (CON'T)

I already got the room.

Pete follows Alice into the motel room and she shuts the

door.

CUT TO:

EXT. STARLIGHT MOTEL - NIGHT

Ed and Al are parked across the street - watching.

DISSOLVE TO:

INT. STARLIGHT MOTEL - ROOM - NIGHT

Pete and Alice are sitting on the bed - dressed. A bedside

table lamp is on.

ALICE

He'll kill us.

PETE

Are you positive he knows?

ALICE

I'm not positive... but... he knows.

PETE

So what do we do?

ALICE

I don't know.

PETE

We should stop seeing each other.

ALICE

No... no.

Alice moves closer to Pete and melts into him. She places

his hand on her breast and looks in his eyes.

ALICE (CON'T)

I don't want to live without you.

She kisses Pete and pulls up her sweater to let him feel her

bare breasts. Pete kisses her back - lost in his longing for

her.

Alice breaks away.

ALICE (CON'T)

We have to get away... We have to get

some money.

Pete just stares at her.

ALICE (CON'T)

I know a guy... He pays girls to party

with him... He always has alotta cash...

Alice puts her band up to Pete's cbeek and lets it drift

around.

ALICE (CON'T)

He'd be easy to rob... Then we'd have the

money... and we could get away ... We'd be

together.

Alice kisses Pete's lips over and over - looking in his eyes.

PETE

Have you partied with him?

ALICE

I used to.

Inside, Pete goes crazy with jealousy.

PETE

You like it?

ALICE

No, honey... It was part of the deal.

PETE

What deal?

ALICE

He works for Mr. Eddy.

PETE

What's he do?

ALICE

He makes films for Mr. Eddy.

PETE

Pornos.

ALICE

Yeah.

PETE

How'd you get in with these fuckin'

people?

ALICE

Pete... Don't...

PETE

How'd it happen, Alice?

ALICE

It was a long time ago... I met someone

at this place called Moke's... we became

friends. He told me about a job...

PETE

In pornos?

ALICE

No... A job... I didn't know what. He

set up an appointment for me to see a

man.

CUT TO:

ALICE'S STORY

We see Alice wearing a sexy tight dress in a plain room. It

feels like we are inside of a large building - maybe an

office building.

Alice is waiting nervously.

A SLICKSTER in shiny shirt and pants is leaning against a

closed door.

There is another door off the room which is open onto a room

where a MUSCLE MAN in tiny briefs is doing bench presses.

No one is saying anything.

ALICE

(voiceover)

I went to this place... They made me wait

forever. There was some guy guardin' the

door... I started gettin' nervous... In

another room I could see some guy liftin'

(MORE)

ALICE (cont'd)

weights... Both these guys gave me the

creeps... They never said anything to

me... So I just smoked cigarettes and

waited.

We move in on a nervous EXHALE OF SMOKE to a CLOSE UP of

Alice waiting.

We see a CLOSE UP of the man guarding the door.

We see a CLOSE SHOT of the man bench pressing a lot of

weight.

Suddenly, there are two knocks on the other side of the

closed door. The Slickster moves off the door and opens it a

crack. He talks quietly to someone Alice can't see, then he

turns, opens the door and gestures for Alice to go through.

Alice puts out her cigarette - her hand is shaking.

She walks over past the Slickster and enters a much larger

room. There are about FIFTEEN MEN in the room - all leaning

comfortably at different points on the walls. There is only

one chair in the room - Mr. Eddy is sitting in it.

No one says anything to her, but one man nods his head and

from this nod, Alice feels she should walk to the center of

the room. She does, and she instinctively turns to the man

sitting in the chair.

They all just stare at her silently. She looks around

nervously - her eyes return to Mr. Eddy's.

Suddenly, a man steps quickly up to her - draws a pistol and

cocks it against her head.

Alice goes weak in the knees. Her eyes fill with fear.

The men continue to stare.

Mr. Eddy gives Alice a small gesture as if to say "well?".

Somehow she knows what they want, even though they haven't

asked for it with words.

Alice starts to undress - slowly - in as sexy a way as she

knows how.

The men just stare without expression.

When she is completely naked, Mr. Eddy gestures her over to

him. Soon she is on her knees in front of him - making

herself available for whatever he wants.

Mr. Eddy's POV - Alice looks in his eyes. She reaches her

hand up to stroke his cheek...

CUT TO:

INT. STARLIGHT MOTEL - ROOM - NIGHT

Alice's hand reaches up and strokes Pete's cheek.

PETE

Why didn't you just leave?

Alice doesn't say anything. She drops her hand - looks down.

PETE (CON'T)

You liked it.

ALICE

If you want me to go away, I'll go away.

The feelings shift inside Pete. Alice looks in his eyes.

PETE

I don't want you to go away.

Alice smiles a little - leans in and they kiss.

ALICE

(whispers)

I love you, Pete.

They kiss some more.

PETE

(desperate whisper)

I love you, Alice.

They start to make love - undressing each other and kissing

all the while. Alice stops.

ALICE

So, should I call Andy?

PETE

Andy?

ALICE

That's his name...Andy. Our ticket out

of here.

PETE

Yeah. Call him.

Alice gets serious.

ALICE

I'll set it up for tomorrow night.

You'll meet me at his place at eleven

o'clock... Don't drive there... Take a

bus ... Make sure no one follows you...

His address is easy to remember... It's

2224 Deep Dell Place... It's a white

stucco job on the south side of the

street... I'll be upstairs with Andy...

The back door will be open... That leads

into the kitchen - go through the kitchen

to the living room - there's a bar

there... At eleven fifteen, I'll ask Andy

to fix me a drink... When he does, you

can crack him in the head... Okay?

PETE

Okay...

ALICE

Lemme call him now. Make sure he's not

already busy tomorrow night.

PETE

Okay.

Still entwined with each other, Alice reaches for the phone

and dials a number. It starts to ring and she smiles at Pete

when she hears it being answered.

ALICE

Andy?... It's me, Alice. How ya doin?...

(whispers)

Andy... I can get away tomorrow night...

I could come to your house... That sounds

good... Around nine... Yeah, me too,

Andy... Great... See ya then.

She hangs up the phone.

ALICE (CON'T)

Set.

PETE

Why are ya goin' so early?

ALICE

'Cause that's how long it's gonna take,

baby.

PETE

What if Andy tips off Mr. Eddy?

ALICE

Are you kidding?... I've got so much on

Andy, it isn't funny.

PETE

What about tonight?... Whatiya gonna do

about Mr. Eddy tonight?

ALICE

I'm not goin' home tonight ... I'm goin'

somewhere else..

(off his look)

To a girlfriend's house.

(she smiles)

But, we still have a coupla things to

take care of...

PETE

Oh, yeah?... What else?

Alice reaches down between their legs. Pete smiles.

ALICE

This... and this.

They start to go at it again - at first slowly and tenderly -

then wildly. Alice tears herself away and looks up at Pete.

ALICE (CON'T)

Are you my man?

PETE

(getting hotter)

Yes.

ALICE

Are you gonna be a man about this, Pete?

Pete looks at her - starting to understand what she means.

ALICE (CON'T)

Are you?

Pete stares at her - then nods.

DISSOLVE TO:

EXT. DAYTON HOUSE - NIGHT

Pete drives up and parks his Camaro in the driveway. When he

gets out of the car, he sees Sheila standing by the front

step. She is looking in his direction, but doesn't seem to

see him. She SUDDENLY turns and looks up the street - she

YELLS.

SHEILA

(total horror)

THERE'S SOMEONE WITH HIM!!

As she yells, she starts to look around wildly - then her

eyes follow the path the Camaro took into the driveway - then

the path Pete took to where he has been standing all this

time. Her eyes find Pete and she stands by the front step.

PETE

(frightened)

Sheila?

She heads toward him.

PETE

Sheila, what is it?... What are you doin'

here?

SHEILA

You've been fucking somebody else haven't

you?

PETE

Sheila...

SHEILA

You fuck me whenever you want... You

don't call... Tell me who she is.

Sheila has come up and is grabbing Pete by the front of his

shirt.

PETE

Hey... Sheila.

SHEILA

What's the BITCH'S name?!

PETE

Look Sheila... I'm sorry...

SHEILA

YOU'RE SORRY!!

PETE

Go home, Sheila.

Sheila starts beating him in the face and chest.

SHEILA

YOU'RE SORRY!! YOU PIECE OF SHIT!!

YOU'RE SORRY!!

She starts crying and hitting him harder.

SHEILA (CON'T)

FUCK YOU!!

Sheila's screaming is reverberating around the neighborhood.

INSIDE PETE'S MIND the SOUNDS are even LOUDER.

Bill comes out of the house. Claire is behind him waiting on

the front porch.

Sheila beats Pete and trips him to the ground. She is

sobbing as she tears at him.

PETE

Sheila... Stop...

SHEILA

FUCK YOU!! FUCK YOU!!

Bill comes up to Sheila and takes her gently by the

shoulders.

Sheila jerks around and looks up at Bill.

BILL

Why don't you two come inside and talk

things over quietly... Come on... Come on

in, Sheila.

Sheila gets to her feet - crying. She looks down at Pete,

who remains lying on the front lawn.

For Pete, every word and every sound is LOUD and DISTORTED.

The DRONING SOUND returns.

SHEILA

(to Pete)

You are different.

BILL

Sheila...

SHEILA

(to Bill)

TELL HIM!

The phone inside the house starts to ring. Claire turns in

the doorway and goes to answer it.

BILL

Sheila... Don't.

SHEILA

I don't care anyway... I'm sorry, Mr.

Dayton... I won't bother you or any

member of your family again.

Sheila runs off crying. Pete and Bill watch her go.

Claire comes to the door.

CLAIRE

Pete... There's a man on the phone. He's

called a couple of times tonight.

Pete pulls himself up.

PETE

Who is it?

CLAIRE

He won't give his name.

Pete walks slowly inside - stares at the phone and picks it

up.

PETE

Hello.

MR. EDDY

(phone voice)

Hey, Pete... How ya doin'?

PETE

Who is this?

MR. EDDY

You know who it is.

Bill and Claire have stopped in the living room - watching

Pete. Pete is going crazy with Mr. Eddy on one end, and his

parents staring at him on the other. He waves his parents

away, but they leave slowly and reluctantly.

PETE

Mr. Eddy?

MR. EDDY

Yeah... How ya doin', Pete?

PETE

Okay.

MR. EDDY

You're doin, okay? That's good, Pete.

PETE

Look... It's late, Mr. Eddy... I ...

MR. EDDY

I'm really glad you're doin' okay, Pete.

Pete doesn't know what to say.

MR. EDDY

You sure you're doin' okay? Everything

all right?

PETE

Yeah.

MR. EDDY

That's good, Pete. Hey... I want you to

talk to a friend of mine.

Pete can hear the phone being handed over to someone. There

is a long silence. Pete can hear breathing.

VOICE

We've met before, haven't we?

Pete freezes. His mind is scrambling.

PETE

I don't think so. Where was it that you

think we've met?

VOICE

At your house. Don't you remember?

PETE

No. No, I don't.

VOICE

We just killed a couple of people...

PETE

What?

Pete can hear Mr. Eddy laugh in the background.

VOICE

You heard me... We thought we'd come over

and tell you about it.

Pete is getting pale with fear.

PETE

What's goin' on?

VOICE

Great question!! In the east ... the far

east... when a person is sentenced to

death... they're sent to a place where

they can't escape... never knowing when

an executioner will step up behind them

and fire a bullet into the back of their

head... it could be days... weeks... or

even years after the death sentence has

been pronounced... This uncertainty adds

an exquisite element of torture to the

situation, don't you think? It's been a

pleasure talking to you.

Pete can hear the phone being passed again.

MR. EDDY

Pete... I just wanted to jump on and tell

you I'm really glad you're doin' okay.

The phone goes dead and Pete sits - fearfully pondering his

fate. He hears a NOISE and turns.

Down at the far end of the hall he sees his parents staring

at him.

CLOSE UP ON PARENTS staring in the direction of the living

room as if sensing something, but not seeing.

PARENTS POV - The hall and living room beyond. There is no

one there.

DISSOLVE TO:

EXT. STREET - BUS STOP - NIGHT

A City Bus pulls up to the stop. The doors open and Pete

climbs on.

CUT TO:

INT. BUS - NIGHT

Pete rides along in the empty bus. He stares at his

reflection in the dark window.

CUT TO:

EXT. STREET - BUS STOP - NIGHT

The bus stops and Pete gets out. He starts walking.

CUT TO:

EXT. DEEP DELL PLACE - NIGHT

We see a street sign saying "Deep Dell Place". Pete walks up

the street looking at numbers.

He finds 2224 Deep Dell Place - Andy's House.

He stares at the house from the sidewalk.

Lights are on upstairs and down. The hot wind moves big

shadows of trees over the front of the house.

Pete looks at his watch. It reads: 11:05 p.m.

He walks down the driveway, crosses through some bushes and

comes to a fence separating the front yard from the back.

He stops and listens. He pulls himself up and over the

fence, but crashes on something on the other side.

He freezes - listening. He hears the wind blowing through

the trees, and distant music from inside - a slow jazz piece.

He hears echoing sounds of love making.

He makes his way around back - goes up the stairs and tries

the back door. It opens.

CUT TO:

INT. ANDY'S HOUSE - NIGHT

Pete sneaks through the kitchen and comes into the living

room. Pete stops short and stares. A movie projector is

running in the living room. A porno film is being projected

on a huge screen at the far end. Alice is in the porno film.

A man is fucking her from behind - with LOUD SLAPPING SOUNDS

of flesh banging flesh. Her face is in the foreground. Her

eyes look out directly at Pete. She is loving every minute

of it. Inside Pete, jealousy starts to rage out of control.

He looks around. He sees clothes scattered about. He picks

up a girl's sweater and smells it. He looks up the stairs.

Feet appear at the top of the stairs. They start down.

Pete runs for the bar.

Along the way, he grabs a heavy, bronze figurine of a well-

stacked woman off a rectangular glass-topped coffee table,

and ducks behind the bar.

He can hear Andy approaching. He can hear Andy gather two

glasses. He can hear Alice being fucked harder in the porno

film. He clenches his teeth with rage.

Suddenly, Andy moves right in front of him. They see each

other. Andy's eyes widen - Pete leaps up, and thwacks the

bronze figurine down on the top of Andy's head. Andy falls.

The breasts of the figurine have made two bloody holes in his

forehead.

Pete turns.

Alice is coming quickly down the stairway - naked, except for

a pair of panties. Lipstick is smeared around her mouth.

She is carrying a half-filled pillowcase. Her porno film is

playing on the wall

behind her.

These images jump and spin in Pete's mind. He moves

unsteadily toward her.

ALICE

You got him.

PETE

(still holding the figurine)

Alice, I...

Pete starts to tremble. He drops the figurine. He tries to

embrace her.

There is a crashing noise behind him.

Pete turns and sees Andy staggering, blood streaming from the

wound in his head, THEN CHARGING FULL SPEED AT PETE.

Andy hits him hard, and Pete goes down. When Pete hits the

ground, he pushes Andy up and throws out his arms. This, and

Andy's momentum, catapult Andy into the corner of the

rectangular glass-topped coffee table. There is a sound like a

hammer going through a bucket of eggs as the glass corner

embeds about eight inches into Andy's forehead.

CLOSE UP OF ANDY'S HEAD - impaled on the sharp corner of the

table, his chest area suspended, his legs and stomach

touching the floor.

ALICE

(amazement - no feeling)

Wow!

Pete pulls himself off the floor.

Pete moves close to Alice, they drift to the glass coffee

table, staring for a few moments at Andy's dead body.

While Pete stares, unbelieving, at Andy - Alice hurriedly

picks up her sweater and puts it on. On the sofa next to it

lay Andy's trousers. She goes through the pockets, finds a

roll of cash bound by a rubber band. Alice hands the roll to

Pete.

ALICE (CON'T)

Put this in your pocket.

Alice kneels next to Andy's body and quickly removes his

Rolex wristwatch, a couple of rings and the gold chain

dangling from his neck. These items she puts inside the

empty pillowcase.

Alice finds the rest of her clothes scattered about the

living room and puts them on. Pete watches her, trembling,

unable to say anything.

She comes back to Pete, who starts breathing irregularly,

hyperventilating.

ALICE (CON'T)

You all right?

PETE,

We killed him.

ALICE

You killed him.

PETE

Alice?

Alice slides up close to Pete.

ALICE

It was an accident... Accidents happen

every day.

Pete clutches her, eyes squeezed tight, as if he is holding

on for dear life.

PETE

Alice...

ALICE

(pushing back)

We gotta get the stuff and get out of

here.

Alice starts off across the living room with the pillowcase.

Pete opens his eyes, he sees Alice move as a blur. He looks

around the room, which spins in and out of focus. His eyes

land on, a PHOTOGRAPH in a frame on the wall. This photo

troubles him. Pete squints, then points to the photograph.

PETE

Is that you? Are both of them you?

CLOSE UP OF THE PHOTOGRAPH - Four people appear in the frame:

Andy, Renee, Alice and Mr. Eddy.

Alice stops and comes back. She looks at the photo, walks

closer to it, and points at herself.

ALICE

That's me.

She turns to Pete. Pete is staring at the photograph - at

Alice and Renee in the photograph. His nose is bleeding

profusely.

ALICE (CON'T)

Pete?...

Pete starts to reel - blood from his nose soaking his shirt.

PETE

Where's the bathroom?

ALICE

Up the stairs - down the hall.

Pete runs up the stairs - about to get sicker. Alice watches

him go with a nuance of disdain.

CUT TO:

INT. ANDY'S HOUSE - UPSTAIRS - NIGHT

Pete staggers toward the bathroom at the rear right of the

hallway. THE HALLWAY SUDDENLY BECOMES HAZY, DIFFERENT AND

LONGER THAN IT APPEARED TO BE.

Pete wanders down this "changed" hall. On his left, he

identifies a door with the number 25 on it. He pauses for a

moment in front of it, then goes on until, on his right, he

comes to a door with the number 26 on it. He enters through

this door.

Inside is a WOMAN in front of a mirror with a MAN. Her arms

are resting on a shelf under the mirror as the man takes her

from behind. The man's face is blank, featureless, and is

buried in the woman's back - we can't see it.

Pete now sees that the woman is an extremely whorish version

of Alice - she's looking at Pete's reflection in the mirror.

He's looking at her reflection in the mirror. Pete's head is

pounding.

WOMAN/ALICE

(to Pete)

Did you want to talk to me?

Pete rubs his head - the pain is severe.

WOMAN/ALICE

(CON'T)

(laughs)

Did you want to ask me "why"?

Pete staggers out of the room.

He closes the door. The hallway has "changed" back to Andy's

hallway. The doors no longer have numbers.

Pete walks, unsteadily, back down the hall - faltering. He

starts down the stairs.

CUT TO:

INT. ANDY'S HOUSE - LIVING ROOM - NIGHT

Pete comes downstairs to the living room and sees Alice at

the desk in the corner, filling the pillowcase with cash and

jewelry.

She has a PISTOL in her hand.

Alice turns when she hears Pete and they study each other's

face as Pete makes his way to her. His head is still

throbbing with pain. His focus goes from her face to the gun

- which is pointing right at him - back to her. Alice

smiles.

ALICE

Don't you trust me, Pete?...

She laughs and hands him the pistol.

ALICE (CON'T)

Stick that in your belt.

She shows him the pillowcase filled with loot.

ALICE (CON'T)

(going through the loot)

Look at all this shit... I know a

fence... he'll give us money and get us

passports in exchange for this and the

car...

(looks up at him)

We can go anywhere.

PETE

Alice?

Alice grabs Pete's arm and hurries him toward the door.

ALICE

Come on, baby.

CUT TO:

EXT. ANDY'S HOUSE - DRIVEWAY - NIGHT

Alice takes Pete to Andy's car and throws him the keys.

ALICE

You drive.

Alice jumps in Andy's car and tosses the bulging pillowcase

in the back. Pete takes the revolver out of his belt. He

opens the driver's side door of Andy's car and slowly sits

inside. He sets the pistol on the seat between them. He

looks up at her. She smiles wildly. Pete slalms the door -

starts the car and they drive off.

CUT TO:

EXT. RESIDENTIAL STREET - EDGE OF THE DESERT - NIGHT

Alice and Pete pull up into the driveway of a house at the

end of a street at the edge of a desert. Alice gets out into

a hot wind. Pete stays in the car as she goes up to the

house.

Pete's POV: He watches Alice ring the doorbell. She waits

in front of the door for a few moments, her hair blowing in

the wind.

A HOUSEBOY opens the door. Alice says something to him -

Pete cannot bear anything that is said, even though his

driver's side window is down. All he can hear is the hot

wind blowing.

The Houseboy moves out to where he can see Pete, waiting in

the car. The Houseboy and Alice exchange information. The

Houseboy points out toward the desert. Alice turns back to

the car. The Houseboy watches her.

CUT TO:

INT. ANDY'S CAR - NIGHT

Alice gets into the car.

ALICE

Come on.

Pete starts the car and begins backing it out the drive. The

Houseboy is still standing - watching them.

ALICE (CON'T)

We have to go to the desert. He's at his

cabin.

Pete and Alice drive off. The Houseboy continues to watch

them.

CUT TO:

EXT. DESERT - TWO-LANE HIGHWAY - NIGHT

We see the clean moving POV illuminated by headlights. We're

floating down an old two-lane highway through a desolate,

desert landscape.

CUT TO:

EXT. DESERT - NIGHT

Pete and Alice pull off the two-lane highway onto a barely

discernible dirt road that cuts through the dark desert.

CUT TO:

EXT. DESERT - NIGHT

Pete and Alice drive up to a ONE ROOM CABIN built on stilts

next to a dry lakebed. They both get out and go up the

stairs to a porch where Alice knocks on the door. There is

no answer.

Alice opens the door, but there is NOBODY INSIDE.

ALICE

We'll have to wait.

The hot wind continues to blow.

Alice and Pete walk back down to the car.

The HEADLIGHTS are on and Alice reaches in through the window

and switches on the RADIO. She can't get anything in but

static, with bits and pieces of old tunes fading in and out.

She hits the "seek" button. The radio starts to search.

Pete is standing in the glare of the headlights watching her.

Alice walks slowly to him.

The camera captures this from a back seat perspective - then

drifts toward them.

PETE

Why me, Alice? Why choose me?

The radio sticks on a particular tune - a tune filled with

longing. Alice begins to dance. She takes Pete's hand and

pulls him close to her.

ALICE

So we can be together... You still want

to be with me, don't you Pete?

Alice gives Pete that wild smile.

ALICE (CON'T)

More than ever?

She kisses Pete over and over. He begins to kiss her back.

She starts to move him in a dance to the music in the glare

of the headlights, the hot wind caressing them.

The scene is out of a dream. Alice and Pete help each other

undress as they dance in and out of the light, and the wind

whips at their bodies.

They sink down on the soft ground and start making love.

The lights from the headlights combine with the starlight,

bathing them in a pristine glow.

The music fades and the radio begins to "seek" through static

for another station. The music it finds now is LOUD and

INTENSE.

Alice - her hunger appearing, now becomes carnivorous in her

approach to love making with Pete. She is the aggressor,

highly-charged - she wants more and more - taking, not

giving, insatiable.

The headlights flare their bodies in blinding light. They

become amorphous, glowing shapes burning in the light.

Pete is trying desperately to please her - to have her.

The driving music fills with cracks of piercing static. The

radio strains to hold the station.

Pete's white-hot body clings to Alice. He chokes with

emotion.

PETE

I want you... I want you...

With a burning smile, Alice rolls them out of the beams of

light into the darkness. The wind billows a black cloud of

dust around them.

Alice pulls away from Pete and brings her dark mouth to his

ear.

ALICE

You'll never have me.

Alice glides away from Pete and stands up looking down at him

from above.

She turns and walks, naked, to the cabin where she disappears

within it.

Pete turns, face down on the ground in the darkness. He's

holding his head and shaking.

As he starts to stand - he turns into the glare of the

headlights and we see that it is NOT PETE - BUT FRED.

As Fred stands up, the car's LIGHTS DIM and the RADIO FADES.

Fred looks at the car. He sees some movement inside. Fred

looks closer and sees the figure of a man in the back seat.

CLOSE UP OF THE MAN - it's the Mystery Man from Andy's party.

VOICE FROM BEHIND

FRED

Hello.

Fred turns toward the cabin and sees the Mystery Man now

standing in the doorway.

Fred turns again to the car, but this time it's empty. He

looks back at the cabin and sees the Mystery Man still in the

doorway.

MYSTERY MAN

Here I am.

Fred is dizzy with fear and confusion.

He pulls on his trousers and shoes and walks up the steps to

the cabin toward the Mystery Man, who goes inside. Fred

stops in the doorway. He looks around.

FRED

Where's Alice?

MYSTERY MAN

Alice who?

Fred looks around again but there is no one there except the

Mystery Man - standing in the center of the room. Fred

stares at him.

MYSTERY MAN

(CON'T)

Her name is Renee. If she's told you her

name is Alice, she's lying.

(filled now with anger)

AND YOUR NAME, WHAT THE FUCK IS YOUR

NAME?!

Fred freaks, scared to death. He bolts down the stairs to

the car, stumbling more than once.

Fred attempts to start the car which is drained of electrical

charge by the use of the headlights and radio.

The Mystery Man appears in the doorway of the cabin. He

starts toward Fred.

The starter motor moans as Fred twists the key frantically.

The smiling Mystery Man is almost at the car,

The engine catches. Fred revs it - throws the car in reverse

and peels out away from the Mystery Man, whose hand is

reaching for him.

Fred swerves the car around - throws it in drive, and takes

off across the dark desert.

CUT TO:

EXT. DESERT HIGHWAY - NIGHT

Fred pulls up onto the two-lane highway. An old, rusted

roadsign is posted there. It reads: "LOST HIGHWAY".

CUT TO:

Fred is driving along the two-lane desert "lost highway".

The wind is picking up even stronger than before. A big

storm is blowing in.

Fred sees a sign glowing just ahead that reads: LOST HIGHWAY

HOTEL. The sign is swaying and blinking as the gusts hit it.

Fred pulls in and stops under the sign and stares at it.

He gets out of the car, tucks the pistol in his belt under

his shirt and enters the hotel, which is an old two-story

building.

CUT TO:

INT. LOST HIGHWAY HOTEL - OFFICE - NIGHT

Fred walks up to the registration desk, where a CLERK is

smiling at him in a half-baked way.

CLERK

You just got in before the big storm

hits.

Fred pulls the roll of bills from his pocket.

FRED

I need a room.

CUT TO:

INT. LOST HIGHWAY HOTEL - UPSTAIRS HALLWAY - NIGHT

The hallway is strangely similar to Pete's vision upstairs at

Andy's. Fred comes to the door numbered 25, looks at his key

which says "25" and unlocks the door and enters.

CUT TO:

INT. LOST HIGHWAY HOTEL - ROOM 25 - NIGHT

Fred takes the revolver out of his shirt and puts it under

the pillow on the bed.

He sits on the edge of the bed. He takes a cigarette from a

pack in his shirt pocket and lights it with a match from a

book of "Lost Highway Hotel" matches.

Fred smokes the cigarette, listening to the wind blow.

Lightning cracks outside the window.

Fred crushes the cigarette out in the ashtray on the bedside

table. As the last of the blue smoke drifts away, Fred falls

back on the bed.

Fred closes his eyes.

FADE OUT:

FADE IN:

INT. LOST HIGHWAY HOTEL - CORRIDOR - NIGHT

The camera moves in on the door numbered 26.

CUT TO:

INT. LOST HIGHWAY HOTEL - ROOM 26 - NIGHT

Renee is in bed with Mr. Eddy/Laurent. He and Renee are

feverishly making love as the storm rages outside.

DISSOLVE TO:

INT. ANDY'S HOUSE - NIGHT

A criminal investigation is under way. Ed and Al are

present, among a fleet of LAW ENFORCEMENT PERSONNEL who are

busy dusting for fingerprints and examining the murder site.

Hey, Al, look at this.

Al walks over to where Ed is looking at the photo on the

wall. Al looks at it.

It's her, all right. Fred Madison's

wife ... with Dick Laurent and Mr. Dent-

head over there.

CLOSE UP ON THE PHOTOGRAPH - that shows RENEE AS THE ONLY

WOMAN IN THE PICTURE, standing between Andy and Mr. Eddy/

Laurent.

We've got Pete Dayton's prints all over

this place.

You know what I think?

What's that, Ed?

There's no such thing as a bad

coincidence.

CUT TO:

INT. LOST HIGHWAY HOTEL - ROOM 26 - PRE-DAWN

Renee is sitting half dressed on the edge of the bed, pulling

on her stockings. Mr. Eddy/Laurent is asleep next to her.

Renee stands up, finishes dressing, then leans down and

kisses her lover while he sleeps. Renee leaves the room,

closing the door as quietly as possible behind her.

As the door CLICKS, Mr. Eddy/Laurent wakes up. He sits up

and gets a pack of cigarettes from the bedside table, shakes

one out, lights it with a book of "Lost Highway Hotel"

matches, and smokes it while seated on the edge of the bed.

CUT TO:

INT. LOST HIGHWAY HOTEL - ROOM 25 - PRE-DAWN

Fred, still fully dressed, is waking up, AS IF IN A TRANCE -

the same attitude he had on the videotape. He strains

upwards and looks eerily around the room. He gets up and

crosses slowly to a window. He takes the edge of the window

curtain and pulls it back.

The view is of the gravel parking lot of the hotel.

Fred's POV: He sees Renee, down below, walk over to a car,

get in and drive away.

Fred walks back to his bed, picks up his revolver from under

the pillow, crosses the room to the door and walks out.

CUT TO:

INT. LOST HIGHWAY HOTEL - CORRIDOR - PRE-DAWN

Fred crosses over to Room 26 and knocks softly on the door.

CUT TO:

INT. LOST HIGHWAY HOTEL - ROOM 26 - PRE-DAWN

Mr. Eddy/Laurent is standing - almost dressed, when he hears

the knock.

MR. EDDY/LAURENT

Renee?

He goes to the door and opens it a crack.

As the door opens, Fred smashes the gun into Mr. Eddy/

Laurent's face and pushes his way inside the room.

Fred hits Mr. Eddy/Laurent viciously again with the gun

barrel.

Mr. Eddy/Laurent is bleeding profusely from gashes on his

forehead and nose.

MR. EDDY/LAURENT

What the fuck? What's going on?

FRED

(pointing the gun at him)

You're coming with me.

Fred puts the pistol up against Mr. Eddy/Laurent's head and

marches him out of the room - past the camera's eye.

The camera stays in the room and moves slowly toward the

window, through which we see Fred and Mr. Eddy/Laurent appear

down below in the back lot.

Still watching out the window, the camera sees Fred knock Mr.

Eddy/Laurent over the head with the gun butt and put him into

the trunk of a car. Fred slams the trunk lid and climbs into

the driver's side of what is obviously Mr. Eddy/Laurent's car

- the Mercedes 600 Pullman.

As Fred drives away, a HAND appears in our window foreground.

The hand moves the window curtain further to one side. The

camera pulls back to reveal it as the hand of the Mystery

Man. The Mystery Man leans fully into the frame and watches

Fred drive off down the Lost Highway as day breaks.

CUT TO:

EXT. DESERT HIGHWAY - DAYBREAK

Fred is driving along the road. Suddenly he pulls the car

off the road and drives over the dirt and brush to a deserted

spot, stops and gets out.

Fred opens the trunk. When he does ...

Suddenly, Mr. Eddy/Laurent charges up and attacks Fred -

knocking them both to the ground. Mr. Eddy/Laurent tries to

strangle Fred, but Fred's anger is too great. Fred tears

loose and gets Mr. Eddy/Laurent in a hold bending his head

back. Fred's hand reaches out behind him - feeling,

searching.

A KNIFE appears.

it comes into Fred's hand from another.

Fred slices Mr. Eddy/Laurent's throat, and throws him down.

Mr. Eddy/Laurent squirms on the ground - his hand grasped

around his throat - trying to hold his neck together. Blood

is flowing rapidly through his fingers and over the front of

him as be turns and opens his mouth with a gurgling sound.

Fred stands, facing him, his pistol out now - pointing right

at Mr. Eddy/Laurent's forehead.

CLOSE UP ON MR. EDDY/LAURENT - he lifts his head and stares

at Fred. Blood is rushing out of him.

MR. EDDY/LAURENT

(wet and jagged)

What do you guys want?

The camera pans around to Fred - we see that the Mystery Man

is standing beside Fred, and it is the Mystery Man who is

holding the gun, not Fred.

The Mystery Man reaches into his pocket and pulls out a

little watchman TV. He turns it on and hands it over to Mr.

Eddy/Laurent, who manages to take it.

Mr. Eddy/Laurent looks down at the small television screen.

Mr. Eddy/Laurent's POV: As he watches the TV screen, we move

in until the screen fills the frame - as with the former

videotapes. The full frame of the TV screen reveals -

INT. ANDY'S HOUSE - LIVING ROOM - NIGHT

We see the movie screen on a wall in Andy's living room.

Marian, Raquel and RENEE'S images are being projected on this

screen, simultaneously involved in pornographic acts with two

men. Watching this movie in Andy's living room are several

people in shadows behind the light of the projector. Among

them we see RENEE and MR. EDDY/LAURENT standing next to ANDY.

Mr. Eddy/Laurent and Renee are hot - kissing - his hand is up

under her skirt. They are watching the porno film. They are

watching murky images of sex turning to violence.

In a CLOSE UP we see Renee and Mr. Eddy/Laurent in the

shadows looking out at the film, both half-smiling, stoned,

aroused.

The image on the Watchman changes now.

EXT. DESERT - DAYBREAK

On the Watchman TV screen Mr. Eddy/Laurent sees an image of

Fred and the Mystery Man staring at him. The Mystery Man's

image speaks.

MYSTERY MAN

(on TV screen)

Now you can hand it back to me.

Mr. Eddy/Laurent sees the Mystery Man's image reach out a

hand.

Mr. Eddy/Laurent looks up. The Mystery Man has his arm

outstretched just as it was on the video image. Mr. Eddy/

Laurent hands the Watchman back, and locks eyes with the

Mystery Man.

MR. EDDY/LAURENT

(wet and jagged)

You and me, mister, we can really out-

ugly the sumbitches, can't we?

The mystery Man unloads the pistol into Mr. Eddy/Laurent, who

jerks and dies in the dust.

The Mystery Man then leans close to Fred and whispers in his

ear.

The camera moves in, past the Mystery Man to a CLOSE UP OF

FRED'S EYES as he listens.

The camera cuts back wide to reveal Fred holding the gun. He

is standing alone - there is no Mystery Man. Fred turns to

go back to the car.

CUT TO:

EXT. THE MADISON HOUSE - DRIVEWAY - EARLY MORNING

Fred drives up to his house in Mr. Eddy/Laurent's Mercedes

600 Pullman and stops in front. He gets out of the car, goes

to the front door and RINGS THE DOORBELL. There is a BEEP sound.

FRED

(into intercom)

Dick Laurent is dead.

CUT TO:

EXT. THE MADISON HOUSE - STREET - EARLY MORNING

As Fred finishes this sentence we see the cop car containing

Ed and Al pull in to the curb just up the street from Fred

and Renee's house.

CUT TO:

EXT. THE MADISON HOUSE - DRIVEWAY - EARLY MORNING

Fred turns and sees the cop car. He jumps in his car, fires

it up, and peels out. The cops give chase.

CUT TO:

EXT. DESERT HIGHWAY - DAY

Fred is behind the wheel of his car. Behind him are the

cops.

CLOSE UP ON FRED'S FACE - through the front windshield. The

shot is wide enough to reveal the cop car in hot pursuit.

Fred's face begins to change again, grotesquely contorting as

he races into the vortex. His tormented SCREAM blends with

the howling SIREN of the police car gaining on him.

THE END