Lost Highway

El Brenty · Post by **El Brenty** » Mon Jun 07, 2004 3:29 pm

Lost Highway
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.

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 with Brent written on it.

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, just Brent.

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.

ED
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.

AL
Very strange.

RENEE
What is?

AL
The angle. The high angle shot on the
tape.

ED
How'd the camera get so high like that?

AL
And smooth... Almost no movement - back
and forth, I mean.

ED
Like you'd get if it was hand held.

AL
Right ... This just glided along.

CUT TO:

INT. THE MADISON HOUSE - BEDROOM - DAY

The Detectives enter the bedroom. Fred and Renee follow.

ED
This is the bedroom.

The Detectives look around without touching anything.

AL
Do you always sleep here?... In this
room?... Both of you?

FRED
This is our bedroom.

ED
There's no other bedroom?

FRED
No... There is, I mean, I use it as a
practice room... it's soundproofed.

AL
You're a musician?

FRED
Yes, I thought my wife ...

ED
What's your axe?

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

ED
(shakes his head)
Tone deaf.

AL
(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.

AL
What do you mean by that?

FRED
How I remember them. Not necessarily the
way they happened.

ED
Do you have an alarm system?

RENEE
Yes, actually we do... but we haven't
been using it.

AL
Why not?

FRED
It kept going off for some reason. False
alarms.

ED
Might be a good time to try using it
again.

AL
Anybody else have a key to the house.

RENEE
No.

AL
Maid? Relative?

RENEE
No, one of us is always here to let the
maid in. Nobody else has a key.

ED
(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.

AL

We'll keep a watch on the house.

ED
As best we can.

AL
If anything else happens, you'll call us.
Al hands Fred a card. Ed hands Renee a card.

RENEE
We will.

FRED
Thanks, guys.

ED
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.

AL
You don't remember being awakened? It
looks like you were aware of someone.

ED
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?

AL
Has anyone made any threats to either of
you recently?

ED
Or not so recently?

FRED
No, not to me.

Al, Ed and Fred all look at Renee.

RENEE
I... no. No. No threats.

ED
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.

AL
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.

ED
Did you use the alarm system since we
were here last?

FRED
The first night ... Not the last two.

AL
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.

AL
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 nob, 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 f*** 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.

ED
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
s***, that wife killer's lookin' pretty
f*** 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 s*** 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 pass

UFProductions · Post by **UFProductions** » Mon Jun 07, 2004 5:47 pm

Where's the rest? I really liked it so far though, the only suggestion I have is to use less fade in, fade out's.

edinc90 · Post by **edinc90** » Mon Jun 07, 2004 7:47 pm

Noooooo! I want the rest! Keep going, it's excellent! I wish I could write something like that. Where are you getting your actors/actresses? Not many girls (at least the ones I know) would be naked for a movie, much less do it with somebody.

El Brenty · Post by **El Brenty** » Mon Jun 07, 2004 10:47 pm

Nah, I'm going to concentrate on the rest of the B-Team - Mission Kebab instead! You guys make up an ending for this!

edinc90 · Post by **edinc90** » Mon Jun 07, 2004 10:50 pm

You have a great thing going here. I wouldn't concentrate on anything else if I had a script this good! Unless the B-Team script is even better than this. That would be amazing!

Truggy · Post by **Truggy** » Tue Jun 08, 2004 1:08 am

wow, i wonder where anyone could go with this, lemme get back to you on this one and ill post an ending..hehe

edinc90 · Post by **edinc90** » Tue Jun 08, 2004 1:54 am

May I use this? I'll give credit to you of course for the script, but I caould probably do something really cool with this.

SgtPadrino · Post by **SgtPadrino** » Wed Jun 09, 2004 5:39 am

Oh man, you gotta be kidding! s***, I really wanna pick this up now, like edinc90, but damn you can't just leave something this good unfinished!!

UFProductions · Post by **UFProductions** » Wed Jun 09, 2004 6:29 pm

Make it an open challenge for anybody here to make it. Hopefully several different versions can come out and we can compare!

edinc90 · Post by **edinc90** » Thu Jun 10, 2004 12:13 am

CamClub, could you at least stop the script at the end of a sentence? Right now it stops in mid word.

foxwood · Post by **foxwood** » Thu Jun 10, 2004 4:27 am

that was some f*** up s***, man you have got to finish that, now I'm just going to try and think of an endding all day tommarow, where did this come from in your brain?

SgtPadrino · Post by **SgtPadrino** » Thu Jun 10, 2004 5:24 am

I actually came up with an ending, with a "slight" alteration of the story. Well, not a complete rest of the script, but I at least know what the ending would be.

AA · Post by AA » Fri Jun 11, 2004 12:54 am

Great story!!
I think BILL PULLMAN would be the perfect actor to play "Fred"
I saw him play a very convincing Jazz man in an obscure David
Lynch movie, but I can't remember what it was called.

edinc90 · Post by **edinc90** » Fri Jun 11, 2004 9:01 pm

OK, here's my idea. Everyone in the forum who has read this will finish the script and produce it. When you get done, upload the ending to the web (if you have a website) so we can compare them. I will gladly host some endings an my site, if I have room.

foxwood · Post by **foxwood** » Fri Jun 11, 2004 9:32 pm

Well I have an idea, or two, I'll fittle with them.

I3lade203 · Post by **I3lade203** » Sat Jun 12, 2004 3:54 am

Looks great, remeinds me of a road near here!

foxwood · Post by **foxwood** » Sat Jun 12, 2004 4:39 pm

I3lade203 wrote:Looks great, remeinds me of a road near here!

That must be one hell of a strange road.

foxwood · Post by **foxwood** » Fri Jul 09, 2004 3:56 am

I know this is a dubble post but want to get it to the top.

I have started an outline of the rest of this script, and hope to have a ruff draft up within a week or so. Its some really messed up stuff.

El Brenty · Post by **El Brenty** » Tue Aug 17, 2004 12:04 am

I'm working on my new script now! Far better than this one in different respects, I've got more focus on the whole story, including an ending. It's called Kingdom of Lygra - Sci-fi Fantasy adventure. BUT I don't have a lotta free time at the moment so bear with me!

foxwood · Post by **foxwood** » Tue Aug 17, 2004 12:20 am

Will have to, I kind of gave up on finishing the lost highway, I had a good therie but I'm not sure how to actualy end the movie, its just really strange.

camiziodeltoro · Post by **camiziodeltoro** » Tue Aug 17, 2004 12:32 am

naaaah i was thinking more of calling the movie a different name; zork's wonderfull journey into the visceral memories of the mighty alhambra monk, part 6...

El Brenty · Post by **El Brenty** » Tue Aug 17, 2004 10:02 am

Well that's why I was having problems with the ending for it.

foxwood · Post by **foxwood** » Tue Aug 17, 2004 4:22 pm

Ya, I came up with an entire explanation for what happoned to him, actualy went to the lost highway, made the conection with Laurent, but just can't come up with a conclution.

camiziodeltoro · Post by **camiziodeltoro** » Thu Aug 19, 2004 7:00 pm

it's all VOODOO don't you see....

foxwood · Post by **foxwood** » Thu Aug 19, 2004 7:06 pm

well here is what I did, you have to ignore that last sequence that Cam wrote and didn't finish with the cops.

EXT. HIGHWAY -NIGHT
we see Fred laying in the middle of the road, he looks asslep, he is covred in his oven blood and vomet. The Cammera pans around him, and then pulls out we see standing over him, the Mistory Man from the party. He kicks Fred in the chest. Fred, shakes and comes to looking around, he quickly shoots up.
FRED
Where the....?
MYSTERY MAN
Good Evening, you have been asslep for a while.
FRED
What, my head...it doesnÃ¢â‚¬â„¢t hurt anymore.
MYSTERY MAN
Good for you.
FRED
Your the man form the Party, who was in my house. Who are you.
MYSTERY MAN
That is not important right now, what is more important is where.
FRED
Where am I?
MYSTERY MAN
Oh here and there, there and here. Limbo, the lost demintion.
FRED
The f***?
MYSTERY MAN
Reality, existance, you see it as a single existance, I never did like explaning this. You take bubble baths?
FRED
What?
MYSTERY MAN
Do you take bubble baths, you know a tub hot soapy water.
FRED
Ya, Renee and I used to take them togther.
MYSTERY MAN
Ok good.
FRED
But what does this have to do with anything, I was just on death row, my head hurt, and now IÃ¢â‚¬â„¢m here, what is this some sort of f*** up dream?
MYSTERY MAN
If you would just stop interupting me for a sec, I will explane everything.
(beat)
Picture that bubble bath, now focus on each bubble, that is your perseved reality. now all the other bubbles are other realitys, other times.
(beat)
You following?
FRED
Not really but go on.
MYSTERY MAN
Some times, those bubbles intersect, and you have a crossed over reality, and sometimes they pop.
FRED
That still doesnÃ¢â‚¬â„¢t explane where the hell I am.
MYSTERY MAN
Yes it does, you know that area between the bubbles, the tiny bubbles, the foam?
FRED
Your telling me IÃ¢â‚¬â„¢m in a bubble bath?
MYSTERY MAN
No that is just an analogy, you are in the area between realitys, the lost highway. You are unstuck in reality, as are many people, almost all people they just donÃ¢â‚¬â„¢t know it.
FRED
What are you talking about.
MYSTERY MAN
Everybodies mind travles freely when they sleep, only some people have the ablity, to travil when they are awake, and others when they are asslep they concesly take other people. That is what has happoned to you.
FRED
I donÃ¢â‚¬â„¢t buy that, this is some f*** up dream.
MYSTERY MAN
No, well ya, but not really. Your going to have to come to terms with that on your own. You my friend have become unstuck in both time and reality. There is no other way to put it, I canÃ¢â‚¬â„¢t really explane it to you, more show it to you.
FRED
I still think your full of s***, but OK.
MYSTERY MAN
Come with me there is nothing more we can do right now, and you look terable, come.
The Mystery Man starts walking down the street, Fred shakes his head, slowly stands up and starts walking after him.
FRED
Where are we going?
MYSTERY MAN
To see somebody.
FRED
Who?
MYSTERY MAN
Dick Laurent.
FRED
Who is he.
MYSTERY MAN
You will see soon enough.
FRED
Wait, isnÃ¢â‚¬â„¢t he dead?
MYSTERY MAN
In a manor of speeking yes he is.
FRED
The how are we going to see him.
MYSTERY MAN
Oh youÃ¢â‚¬â„¢ll see.
They keep walking.
FADE TO:
INT. SHACK -NIGHT
We see The Mystery man and Fred sitting in a little shack eatting a light meal. Fred has changed into a white shirt and blue jeans, as oposed to his filthy prison outfit.
FRED
So when are we going to see Dick?
MYSTERY MAN
Soon, donÃ¢â‚¬â„¢t worry about it get some sleep.
TIME CUT
We see Fred laying on the ground, in an uneasy sleep. the Camera is high above him. It slowly pans across the room towards him then moves into his eye.
CUT TO:
INT LUNA LAUNGE -NIGHT
We pull out of FredÃ¢â‚¬â„¢s eye we see him sitting in a table in the Luna lounge, sitting next to him is the Mystory Man. We spin around the two, to see Fred on stage playing. Back on the two men, Fred turns to the Mystery Man in shock.
FRED
IÃ¢â‚¬â„¢m on stage?
MYSTERY MAN
Well where ealse would you be.
FRED
Right here.
MYSTERY MAN
You think to single relaityed.
FRED
What.
MYSTERY MAN
You can be here and there, where is not really the question you need to ask.
FRED
When?
MYSTERY MAN
Persisly.
FRED
(hesittently)
When are we.
MYSTERY MAN
Ten mouths ago, just before all of this started.
FRED
We traveled through Time, when?
MYSTERY MAN
Just now. No it is still the presant, to us and to them, its just our presant is their future, and their future our presant, and future. And our past is also their future...
FRED
(cutting him off.)
And...
MYSTERY MAN
We have to get you wrapping you head around this. Some realitys move slower then others, the time is the same, but they are just slower, its like a really long version of daylight savings time.
FRED
Why are we here?
MYSTERY MAN
You already know that.
FRED
To see Dick Laurent?
MYSTERY MAN
Your catching on. We had to come to the past, because as you so aptly put it Dick Laurent is dead.
FRED
How did he die.
MYSTERY MAN
YouÃ¢â‚¬â„¢ll see.
FRED
If he is the key and this is a diffrent time, canÃ¢â‚¬â„¢t we stop his death.
MYSTERY MAN
That would screw everything up and contrary to what Star Trek has led us to beleve, mother nature has already worked it out for us.
FRED
How?
MYSTERY MAN
Questions, questions, not to go into the quatiom physics of it, we are not in temporal sync with them, they can not see us, or hear us. We are not here to them.
The show ends, the croud stands up and gives a standing ovation. Our attention is cought by a tall man walking out of the Launge, out the back door, he is DICK LAURENT (45). We see Fred(Alternet) Bow and walk out after Dick.
FRED
Wait I donÃ¢â‚¬â„¢t remember doing that.
MYSTERY MAN
Because you didnÃ¢â‚¬â„¢t.
FRED
But I am here.
MYSTERY MAN
As you were back in your time, come on.
The two get up and follow Dick and Fred(alternet) out the door.
CUT TO:
EXT ALLYWAY -NIGHT
We see (Alternet) Fred walk down the ally standing at the end smoking a Cigar is Dick.
FRED (ALTERNET)
Dick Laurent?
DICK
WhoÃ¢â‚¬â„¢s asking?
FRED
I am.
DICK
And you would be?
FRED
Fred Madason.
DICK
The Jazz player, I thought you sounded fermiler, what do you want?
Dick finaly turns around and looks him in the eyes.
FRED
I want what you have.
DICK
And what would that be, I donÃ¢â‚¬â„¢t think that a proment musiction like yourself would be robbies poor old me outhere in the allyway. But you can have my wallet if you want it, things only materal.
Dick throughs his wallet onto the ground. We see Fred(Alternet) look at it, before he kicks it aside.
FRED
I donÃ¢â‚¬â„¢t want that, as you said only materal, I want what you have, I need to see, what you see. Need to control what you have given me.
DICK
Who are you?
FRED
Who, I donÃ¢â‚¬â„¢t even know.
Fred (alternet) lunges forward and grabs Dick by the collor of his jacket.
FRED (CONTÃ¢â‚¬â„¢D)
But you know, you cocksucker, you did this to me, IÃ¢â‚¬â„¢m him now, I want to be me, I want to know what you did to me!
DICK
Pete?
FRED
Bingo, we met on the road, you did somthing to me, the next day I woke up as, him.
(looking down at himself)
As me. I donÃ¢â‚¬â„¢t know anymore, but I know your the key.
DICK
Really, well Pete, Fred, I think you are in for a reel shock when you find out that I had nothing to do with what happoned to you.
FRED
Bullshit!
DICK
What has happoned to you is a qoensadence, a quirk of nature, I just happoned to be there on the same day.
We hear a Gun shot. We see Dick fall back, a bullet wound in his chest, and we see Fred(alternet) holding the gun.
FRED
No that was a querk of fate, I donÃ¢â‚¬â„¢t want to be him everynight, You want to tell me its fate now.
DICK
What ealse is there to say, this is fate, that is fate, killing me will not un-stick you, youÃ¢â‚¬â„¢ll have to do that yourself.
FRED
Un-stick myself?
DICK
Your not toatly attached to your reality, I would go into detal....but...damn.
We see DickÃ¢â‚¬â„¢s eyes gloss over, as the life fades away from his body.
FRED
Unstuck. What the hell does that mean, am I stuck as this jazz f*** every night for the rest of my life, or for the rest of his?
We see a strange sick smile creep across Fred(alternetÃ¢â‚¬â„¢s) face as he walks away.
We pan back to the Mystory man and Fred(real)
FRED (CONTÃ¢â‚¬â„¢D)
Renee, that is what happoned.
MYSTERY MAN
Yep. Its a sick thing, if I was him I would have just had sex with her nightly, as oposed to killing her.
FRED
You know thatÃ¢â‚¬â„¢s my wife your talking about.
MYSTERY MAN
Well she is dead, well not here, but you know to you she is dead.
FRED
WouldnÃ¢â‚¬â„¢t suiside have been easier?
MYSTERY MAN
You would think.
We pan over, we see the Alternet Fred with his gun to his timple trying to pull the trigger.
MYSTERY MAN (CONTÃ¢â‚¬â„¢D)
Just because he is in his body does not mean that he can destroy it, though driving it close to the brink, that he can do.
FRED
ThatÃ¢â‚¬â„¢s why he killed her, that Son of a b**ch...
He runs towards the alternet, and goes right through him.
MYSTERY MAN
Rememeber not syiced you canÃ¢â‚¬â„¢t do that. Look, his death row, escapade, drove you to the brink, and sent you to the highway, your bodie reacted by insted of just letting him kill you, you left, jumped away, and took him in, because he was part of you.
FRED
So we are conected?
MYSTERY MAN
Well not anymore, as far as Pete knows you are nolonger in his head and that is all that matters to him. And as far as your reality is consurned you are gone.

MattHawkins Online - Film Making Forum

Lost Highway

Should we tell Foxwood and Sgt. Padroni what we're all on about???

Lost Highway

lost highway