Lost Highway
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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. 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. 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. 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. INT THE MADISON HOUSE FRONT DOOR - DAY Ed is checking the door for marks. 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. 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. 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. 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. 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. 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. 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 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. 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. VOCABULARY angle - kąt, punkt widzenia apprehension - obawa, lęk bandstand - estrada, podium bewildered - oszołomiony, skonsternowany bray - ryczeć break in - włamywać się clamp down on - przyhamowywać, opanowywać contorted - wykrzywiony disturbed - poruszony, wzburzony draw up - rozprostowywać się droning - (o dźwięku) monotonny drop off - tu: podrzucać eerie - niesamowity equally - równo, w tym samym stopniu freeze (a video, a tape, etc.) - zatrzymać (np. film) ghastly - straszliwy, okropny, upiorny glide - sunąć go off - (about an alarm or alarm clock- to make noise); robić hałas grimace - grymas gyrate - wirować hand-held - ręczny, z ręki hang back - ociągać się honk - trąbić interior - wnętrze maid - pokojówka, służąca manila - tekturowy mark - ślad oblivious (to/ of) - nieświadomy, niepomny pace - kroczyć, chodzić pained - urażony property - własność, posiadłość puff - zaciągać się dymem puzzled - zakłopotany roughly - tu: szorstko, brutalnie, gwałtownie snow - śnieżyć (tu: o ekranie) soundproofed - wyciszony, dźwiękoszczelny stacked - ułożone w stertę stairwell - klatka schodowa surrounding - otoczenie tentatively - niezobowiązująco tone-deaf - niemuzykalny tormented - udręczony unsettled - niespokojny, niepewny warily - nieufnie, ostrożnie eyes wide with horror - oczy szerokie z przerażenia GRAMMAR to be about to Konstrukcja be about to + czasownik opisuje sytuację, która, według naszych przewidywań, nastąpi w niedalekiej przyszłości: The Detectives are about to depart. - Detektywi zaraz odjadą. He is about to start the tape. - On zaraz włączy kasetę. TEST
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