Lost Highway

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.



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