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.