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:

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 <u>looked</u> 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 <u>not</u>

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? <u>Another</u> 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... <u>two</u>

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 <u>another manila envelope</u>. 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 <u>on</u>?!

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, <u>filming</u> 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 <u>why</u>?

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 <u>Andy's</u> 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 <u>where</u> 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 <u>manila envelope</u>, 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: