Lost Highway

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 <u>explode</u> 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: