Nightmare on Elm Street
script used with courtesey of Daily Script
Wes Craven’s A NIGHTMARE ON ELM STREET
1A. INT. (MONTAGE). 1A.
NIGHTMARE MUSIC THEME begins as we FADE UP on a SERIES OF SHOTS, all CLOSE and teasing.
— A man’s FEET, in shabby work shoes, stalking through a junk bin in a dark, fire-lit, ash- dusted place. A huge BOILER ROOM is what it
is, although we only glimpse it piecemeal. Then we SEE a MAN’S HAND, dirty and nail-bitten, reach INTO FRAME and pick up a piece of METAL.
— ANOTHER ANGLE as the HAND grabs a grimey WORKGLOVE and slashes at it with a straight razor, until its fingertips are off.
— CLOSE ON SAME HANDS dumping four fishing knives out of a filthy bag. Their blades are thin, curved, gleaming sharp.
— MORE ANGLES, EVEN CLOSER. We can HEAR the MAN’s wheezing BREATHING, but we still haven’t seen
his face. We never will. We just SEE more metal being assembled with crude tools, into some sort of linkage — a splayed, spidery sort of apparatus, against a background light of FIRE, and a deep rushing of STEAM and HEAVY, DARK ENERGY.
— And then we see this linkage attached to the glove.
— Then the BLADES attached to all of it.
— Then the MAN’S HAND slips into this glove-like apparatus, filling it out and transforming it into an awesome, deadly claw-hand with four razor/talons gleaming at its blackened
fingertips. Suddenly the HAND arches and STRIKES FORWARD, SLASHING THROUGH a DARK CANVAS, tearing it to shreds.
1. EXT. LOS ANGELES. NIGHT. (2nd Unit) 1.
A PULSATION OF LIGHT AND SHADOW. MUSIC DROPS AWAY to a hushed
RUSHING OF WIND and DISTANT SIRENS. CAMERA RACKS INTO FOCUS on a HIGH PANORAMA of the San Fernando Valley, its night sky lit from within by a strange GREENISH LIGHT. TITLES BEGIN.
CAMERA TILTS DOWN and ZOOMS SWIFTLY into the valley’s web of light.
CUT TO:
2. INT. CONCRETE PASSAGEWAY. 2.
TITLES CONTINUE as TINA GRAY, a strong girl of fifteen in a thin night shift, moves towards us down a dark concrete corridor. Her steps quicken as TITLES appear in the portion of frame she leaves
free.
A subliminal COLLAGE of SOUND threads in and out of the MUSIC. Distant insane LAUGHTER. Slamming iron DOORS. A bleating animal CRY. A LAMB, white and blank-faced, skitters across her path and on into the dark. No reason why it’s there.
Then another SOUND, much nearer — the slithering SCRAPE of something like fingernails across slate. It sets our teeth on edge, twists the MUSIC, and sends TINA running.
3. INT. BOILER ROOM. 3.
Suddenly TINA’s a tiny figure running among huge boilers steam
pipes and catwalks — a shadowed forest of iron and stone. She stops, listening intently as the SOUND of tiny hooves suddenly turns into the rattle of DISTANT RAIN.
Then she hears RIPPING FABRIC.
Someone is shouldering behind a ragged screen of dirty canvas,
approaching TINA.
CLOSER ON THE CANVAS. The long curved fingerblades suddenly
punch through, flashing in the firelight, and begin ripping through the thick fabric, as easily as scalpels through flesh. They make a hideous, extended RIPPING SOUND.
TINA rushes away, hands over her ears.
ANOTHER ANGLE — as the blinded girl stumbles backwards. Then the canvas flaps free. The blades are gone. The TITLES END, and everything goes silent.
CAMERA CIRCLES until TINA’s looking right into our eyes. The
light from a nearby boiler pours through her thin night dress, leaving her naked and vulnerable. Then a deep, ragged VOICE whispers at her as CAMERA CLOSES IN ON HER FACE.
VOICE (O.S.) One two, Freddie’s coming for you…
TINA opens her mouth to scream but only a dry, yellow dust pours out. And at that precise moment a huge shadowy MAN with a grimey red and yellow sweater and a weird hat pulled over his scarred face lunges at her. And it’s his fingers that are tipped with the long blades of steel, glinting in the boney light and giving the hulk the look of an otherworldly predator.
TINA dodges away, her legs suddenly elephantine and slow. The MAN seizes the trailing hem of her nightgown and hauls her back.
The MUSIC shrieks as TINA manages to tear free — the MAN lurches after her with a hoarse SHOUT as we —
SMASH CUT TO:
4. INT. TINA’S BEDROOM. NIGHT. 4.
TINA convulses in bed with a SCREAM, looking around wildly. Someone is KNOCKING on her door.
WOMAN’S VOICE (O.S.) You okay, Tina?
TINA’S MOTHER sticks her head in with a worried look. TINA sits up and blows out a breath, groggy.
TINA Just a dream, Ma… (more to herself)
Damn dream, is all…
The woman, once attractive, ventures a step into the room. A MAN hovers BACKGROUND. TINA’S mother waves him away without looking, shoving a strand of bleached hair from her eyes. She appraises her daughter.
TINA’S MOTHER Some dream, judging from that.
She nods at TINA’s nightshift.
TINA looks down at her nightgown, only now aware of the chill penetrating it from the room. There are four long slashes up its
middle, cleanly cut as if by scalpels.
MAN (OS) (distant, annoyed) You coming back to the sack or what?
TINA’S MOTHER Hold your horses. (lower, to Tina as she stands to leave) You gotta cut your nails or stop that kind of dreaming, Tina. One
or the other.
The woman shuts the door behind her. TINA looks back to her nightgown.
TINA (low)
Oh, shit.
She suddenly snatches up the cross that hangs over her head, her face white as her sheet.
FADE TO BLACK
BURN ON
5. THE FIRST DAY 5.
CHILDREN (OS) (singing) One two, Freddie’s coming for you… Three four better lock your door Five six grab your crucifix…
6. EXT. HIGH SCHOOL. DAY. 6.
FADE UP ON SHOT OF this large highschool and its crowds of STUDENTS. FOREGROUND, TINA climbs out of a cherry-red 1959 Cadillac convertible with two other students, best friend NANCY WILSON, and Nancy’s boyfriend and owner of the car, GLEN LANTZ.
FOREGROUND several GRADESCHOOLERS are playing jump-rope, and the old ditty they sing continues unbroken from TINA’s bedroom.
ROPE JUMPERS Seven eight, gonna stay up late! Nine ten — never sleep again!
7. MOVING ANGLE FAVORING NANCY. She’s a pretty girl in a letter 7. sweater, with an easy, athletic stride and the look of a natural leader. GLEN, holding her hand, wears one of the school’s football jerseys; a good-natured, bright kid. Tina’s in mid-conversation.
TINA
(referring to kids’ song) That’s what it reminded me of — that old jump rope song. (shudders) Worst nightmare I ever had. You wouldn’t believe it.
Nancy nods.
NANCY Matter of fact I had a bad dream last night myself…
TINA turns to NANCY, but before either can say more, ROD LANE, a
lean, Richard Gere sort in black leather and New Wave studs joins up with them and interupts.
ROD (to Tina) Had a hardon this morning when I woke up, Tina. Had your name
written all over it.
Tina cracks her gum with a look of withering indifference.
TINA There’s four letters in my name, Rod. How could there be room
on your joint for four letters?
The guy’s stopped in his tracks.
ROD Hey, up yours with a twirling lawn mower!
He cuts off across the lawn.
TINA Rod says the sweetest things.
NANCY He’s nuts about you.
TINA Yeah, nuts.
TINA makes a face and rakes her fingernails across a tree as she passes.
TINA (CONTD)
(yawns) Anyway, I’m too tired to worry about the creep. Couldn’t get back to sleep at all. (beat) So what you dream?
NANCY Forget it, the point is, every- body has nightmares once in a while. No biggy.
GLEN
Next time you have one, just tell yourself that’s just all it is, right while you’re having it, y’know? That’s the trick. Once you do that, you wake right up. At least it works for me.
TINA looks at GLEN sharply. He kisses NANCY and darts off for class.
TINA Hey! You have a nightmare too?
But GLEN’s gone.
TINA (CONTD) Maybe we’re gonna have the Big Earthquake. They say things get weird just before that…
BELLS ARE RINGING, and STUDENTS crowding; TINA and NANCY are
drawn into the crush.
FADE TO BLACK
8. EXT. A VALLEY STREET. NIGHT. 8.
ANGLE ON A MODEST HOME; no car, just a couple of BIKES in the
drive. Every light in the house and yard is turned on. We HEAR
the rock group MADNESS played at a ‘No adults home’ volume.
9. INT. TINA’S LIVING ROOM. NIGHT. 9.
ON GLEN, dialing. Nancy and TINA are watching, giggling.
TINA I can’t believe his mother let him
come over here.
NANCY Right. Well, she didn’t, exactly…
GLEN shoves a cassette into TINA’s Ghetto Blaster.
GLEN
(to TINA) See, I got this cousin who lives near the airport, that it’s okay for me to stay with, right? So I found this sound effects tape at Licorice Pizza, and…
The phone is answered. GLEN jerks the tone arm off the record with a SCRUUPT!!
GLEN (CONTD) Hello, Mom? (pushes the ‘play’ button)
Yeah, out here at Barry’s.
A JET PLANE begins to make itself heard on the tape. GLEN moves the machine closer to the phone. It’s a big plane — sounds like a 747 coming in for a landing.
GLEN (CONT)
Huh? Yeah, noisy as usual. Glad we don’t live here — huh? Yeah, Aunt Eunice says hello.
The Jet is SCREAMING IN now, full flaps and howling like a monstrous banshee. NANCY and TINA dissolve into muffled giggles.
GLEN (CONT) (shouting over the din) Right, right — I’ll call you in the morning! Right! Huh? Yeah, sure, I, huh?…
Suddenly the tape goes silent. GLEN blanches. Next moment another ENGINE is heard, but this one is a FORD LOTUS screaming by at 180 mph.
GLEN (CONT) (reacting to his mother’s reaction)
Uh… some kid’s drag racing outside, I think…
The sound effect changes abruptly to a SPEEDING SEDAN — and the ages-old SCREECH of BRAKES, last-second SCREAM and horrible COLLISION. NANCY gamely tries to find the right button to turn it off, but misses. There’s a loud SCREEK of fast-forward mayhem
— Glen improvises desperately.
GLEN (CONT) Listen, Mom, I got to go — I think there’s been an accident out front — I —
NANCY jumps back from the cassette player — WORLD WAR II bursts out at top volume — MACHINE GUNS, HAND GRENADES, DIVING BEARCATS and SHOUTS of charging Huns. GLEN makes a last-ditch dive and flings the cassette out of the machine.
Blessed silence at last.
GLEN (CONT) Right. I’ll call the police. No, just some neighbors having a fight, I guess. I’m fine, I’m fine! Call you in the morning!
He hangs up and sags back.
NANCY Worked like a charm.
GLEN Jesus.
TINA shoves another cassette in, and MICHAEL JACKSON’S ‘THRILLER’
blasts from the STEREO. The kids relax, the CAMERA GLIDES PAST THEM TO THE WINDOW.
The WIND is moving the bare TREE BRANCH outside. CAMERA PANS BACK to the comfortably threadbare room, uneasy. We see NANCY poking at a flame in the hearth as TINA comes FOREGROUND to draw the drapes.
NANCY Nice to have a fire.
TINA Really. Turn ‘er up a little.
NANCY turns a nearby valve handle, and the gas fire climbs
brightly over its artificial log. TINA joins her, heartened.
NANCY Maybe we should call Rod, have him come over too. He might get jealous.
TINA
Rod and I are done. He’s too much of a maniac.
GLEN He should join the Marines, they could make something out of him. Like a hand grenade.
TINA laughs despite herself. NANCY brightens.
NANCY See? You’ve forgotten the bad dream. Didn’t I tell you?
TINA shakes her head, wishing she had forgotten.
TINA All day long I been seeing that guy’s weird face, and hearing those fingernails…
NANCY looks up with a flinch.
NANCY Fingernails? (blinks, laughing) That’s amazing, you saying that. It made me remember the dream I had last night.
TINA looks up.
TINA What you dream?
NANCY I dreamed about this guy in a
dirty red and yellow sweater; I dream in color, y’know; he walked into the room I was in, right, right through the wall, like it was smoke or something, and just stared at me. Sort of
…obscenely. Then he walked out through the wall on the other side. Like he’d just come to check me out…
The story has left the room deathly quiet. Especially TINA seems effected.
TINA (quietly) So what about the fingernails?
NANCY remembers, imitating the frightful coincidence.
NANCY
He scraped his fingernails along things — actually, they were more like fingerknives or something, like he’d made them himself? Anyway, they made this horrible nose —
(imitates) sssssccrrrtttt….
TINA pales.
TINA Nancy. You dreamed about the
same creep I did, Nancy…
The girls stare at each other.
GLEN That’s impossible.
They look at him. He looks away, as if suddenly listening.
TINA What?
GLEN Nothing.
TINA
There’s somebody out there, isn’t there…
NANCY I didn’t hear anything…
Then there’s an unmistakeable SOUND. A distinct SCRAPING against
the house, just outside the window. Something multiple, thin and sharp. Something like metal fingernails. NANCY’s mouth opens a fraction of an inch.
10. EXT. FRONT OF HOUSE. NIGHT. 10.
CLOSE ON FRONT DOOR as a BOLT UNLOCKS, a KEY TURNS, a CHAIN is
REMOVED. At last the door swings open and GLEN swaggers out.
GLEN I’m gonna punch out your ugly lights, whoever you are.
No answer but a slight RUSTLE in the bushes. GLEN does a 180 and
walks right back inside. The girls prod him right back out, giddy with giggling fear.
GLEN It’s just a stupid cat.
NANCY
Then bring us back its tail and whiskers.
The girls push him farther. GLEN edges towards the shadows. Then the SCRITCHING again. GLEN stops; TINA edges back into the house.
TINA Anyway, I don’t have a cat…
ANGLE INTO THE SHADOWS. Turned from the girls, GLEN sobers, listening. IN HIS POV we see the street. Silent houses. Motionless trees on empty lawns.
GLEN Kitty-kitty? Chow chow chow?
Not a living, or dead, soul. GLEN turns back to the girls with a shrug. Instantly, a large FIGURE pounces and throws him to the ground with a shout.
The girls SCREAM in panic and run for the house.
11. REVERSE — ROD leaps up and shouts like a sportscaster — 11.
ROD And it’s number thirty-six, Rod Lane, bringing Lantz down just three yards from the goal with a
brilliant tackle! And the fans go wild!
ROD dances into the light, flashing a wild gypsy’s grin at TINA. The girl’s relieved and frightened at the same time.
TINA
What the hell you doing here?
ROD Came to make up, no big deal. Your ma home?
TINA
Of course. What’s that?
ROD takes the spindly hand rake he’s found and scraps the house’s wall. It makes a terrible SCRIIITCHING SOUND. He grins and tosses it aside.
ROD
Intense, huh? (sizes up the three) So what’s happening, an orgy or something?
GLEN Maybe a funeral, you dickhead.
ROD wheels, a knife suddenly in his hand, as if ready to take Glen’s throat out. NANCY breaks between —
NANCY — Just a sleep-over date, Rod. Just Tina and me. Glen was just
leaving.
ROD eyes GLEN, laughs and flips the knife closed and away, putting his arm around TINA’s shoulder and laughing as if it’s all a great joke.
ROD
You see his face? (lower) Your ma ain’t home, is she? (to Nancy & Glen) Me and Tina got stuff to discuss.
He pulls TINA inside without further ceremony.
NANCY Rod…
But ROD’s already got himself and TINA halfway through the living room, heading into the darker part of the house.
ROD We got her mother’s bed. You two got the rest.
ANGLE BACK ON GLEN AND NANCY.
NANCY
We should get her out of here…
TINA darts to the front door, her blouse half out.
TINA Hey — you guys’re hanging around — right?
(fake laughing/whine) Don’t leave me alone with this lunatic — Pleeeeze, NANCY!
She disappears. GLEN looks at NANCY. Too innocent.
GLEN
So we’ll guard her together. Through the night. (moving closer) In each others’ arms like we always said.
NANCY
Glen. Not now. I mean, we’re here for Tina now, not for ourselves.
She kisses him lightly, then pushes him back.
GLEN
(frustrated) Why’s she so bothered by a stupid nightmare, anyway?
NANCY Because he was scary, that’s why.
GLEN Who was scary?
NANCY turns and looks at him.
NANCY Don’t you think it’s weird, her
and me dreaming about the same guy? (GLEN looks away; NANCY stares closer) You didn’t have a bad dream last night, did you?
GLEN gives her a funny look.
GLEN Me? I don’t dream.
He takes her inside. Over the SOUNDS of locks falling shut we
FADE TO BLACK
13. INT. TINA’S LIVING ROOM. NIGHT. 13.
FADE UP ON an old 50’s CLOCK, one of those set into the black plaster body of a stalking panther. It’s just past 2 AM.
PAN the cold hearth and darkened living room to REVEAL GLEN on the couch, cacooned in sheets. He’s listening miserably to the
SOUNDS OF LOVEMAKING coming from the next room. TINA peaks, ROD howls. Then silence.
GLEN Morality sucks.
CUT TO:
14. INT. TINA’S MOTHER’S BEDROOM. NIGHT. 14.
This is a slightly larger room than TINA’s. Adult. Female. Spare in its appointments. The streetlight throws the narrow bed into broken shadow and light. TINA AND ROD lie in each other’s arms in the middle of the big bed. Satiated.
TINA I knew there was sometihng about you I liked…
ROD yawns into the pillows, happy.
ROD
You feel better now, right?
TINA Jungle man fix Jane.
ROD No more fights?
TINA No more fights.
ROD (sleepily) Good. No more nightmares for
either of us then.
He pulls the covers over his head. He’s almost out already.
TINA (beat) When did you have a nightmare?
ROD (under the blankets) Guys can have nightmares too, y’know. You ain’t got a corner on the fucking market or something.
He rolls over, practically snoring, and pulls another cover over his head. A dirty red and yellow cover.
TINA (sleepily) Where’d you get this snotty old thing?
SNORES from ROD. TINA yawns, turns off the light and snuggles against ROD, pulling the cover gingerly over herself, too.
15. INT. TINA’S BEDROOM. NIGHT 15.
CAMERA MOVES across the room of the original nightmare to find NANCY alone in TINA’s bed, staring at the slanting ceiling above
the bed. Thinking. We can just hear her HEART beating. She sighs and turns on her side.
Immediately the wall above her head turns a faint reddish hue, with a broad yellow smear across its center. All unseen by NANCY, the wall begins to pulse in exact time with her heart’s beat.
CLOSE ON NANCY’S FACE. She closes her eyes.
ANGLE BACK UP ON THE CEILING JUST ABOVE HER HEAD. SOMETHING presses against the surface from the inside. The plaster buldges out as if suddenly elastic, taking the shape of the thing pressing from inside — taking the shape of a man’s face. The
face opens its mouth. The knives rake through the surface.
ANGLE ON NANCY — as plaster dust snows down on her.
She jerks awake, sitting bolt upright. The face retracts suddenly — the wall is normal.
ANGLE DOWN ON NANCY as she looks up to the ceiling, touching her
hair and feeling the plaster dust.
REVERSE IN HER POV TO THE CEILING. There are three parallel cuts in the plaster there. About eight inches long. As if cut by sharp knives. Nothing else.
Back on NANCY. She draws the covers around her and shivers.
Eyes wide open.
16. EXT. TINA’S HOUSE. NIGHT. 16.
Not a car or person in sight. A stricken breeze dies in the trees.
17. ZOOM IN on the window of the room where TINA sleeps. By the time 17.
we’re FULL IN CLOSE on it, the air is again still as death. A moment later a PEBBLE bounces off the pane. The NIGHTMARE THEME appears in the lower registers and holds its breath.
Another PEBBLE strikes, with a sharper RAP.
18. INT. TINA’S MOTHER’S BEDROOM. NIGHT. 18.
CLOSE ON TINA’S FACE as her eyes open.
19. REVERSE IN HER POV. Another PEBBLE clatters off the glass. 19.
20. TINA raises slowly. 20.
TINA ROD…
SNORES FROM ROD. TINA sits up.
PAST HER TO THE WINDOW. The WIND MOVES AGAIN; the trees brush the window with their shadows. Then another pebble. RAP! TINA slips to the window.
21. EXT. TINA’S BACKYARD. NIGHT. 21.
She looks out on an old yard with a patch of bananna trees rattling in the Santa Ana winds. It seems deserted, though the welling dark won’t let her be sure. Then another pebble — PAP!
— hitting with a sharp RACK FOCUS.
22. A LOW ANGLE TO WINDOW as TINA jumps back, startled. She hadn’t 22.
seen that one coming. But she’s drawn back to the glass out of curiousity, straining to see in the dark. It’s as if the stones are materializing out of thin air.
23. INT. TINA’S MOTHER’S ROOM. NIGHT. 23.
WHAP! This time a heavier stone, and a thin crack bristles
across the glass.
TINA (low) Who the fuck you think you are, whoever you are?
24. EXT. TINA’S BACK YARD. NIGHT. 24.
WIDE ANGLE ON THE REAR OF THE HOUSE. A LIGHT COMES ON. TINA
appears in the doorway.
TINA (listening)
Somebody there?
She can see through the backward to a yawning gate and the back alley. No one there. But a word is spoken, as if by wind.
VOICE (garbled)
Tina.
TINA straightens, unable to swallow. There’s a ragged, obscene GIGGLE. Deep in the throat. Phlegmy.
TINA Who the hell is that?
TINA charges across the yard and through the gate, the MUSIC chasing after.
25. EXT. A SERVICE ALLEY. NIGHT. 25.
She brakes in the middle of the alley and whirls around. Listening. Shivering in the same thin slashed nightgown.
A sharp crank of METAL, and fifty feet down the alley the lid of an ash can rolls from the dark like a huge tin coin and spirals noisily down.
26. LOW REVERSE ACROSS LID TO TINA. Despite herself she comes over 26. and touches it. She comes up with long worms on her fingers.
Next moment the exact same shambling MAN from her nightmare staggers into view fifty feet behind her. TINA falls back into the shadows, shaking the worms off her fingers in repulsion. The MAN turns and starts directly for her, something shining on his right hand as he spreads his arms wide. He starts scraping the steel FINGERNAILS along a cinderblock wall. Orange sparks spurt
out — his arms elongate until they reach from one side of the alley to the other — and TINA is cut off from her home!
CLOSE ON HER as the SCRAPING of the blades gets louder and
closer. She begins to shake uncontrollably.
TINA
Oh, shit, please God…
KILLER (softly, approaching) This is God…
He holds up his steel-tipped hand like a surgical-steel spider.
TINA runs for her life.
27. WIDER ANGLE IN THE ALLEY — a terrifying, all-out footrace 27. between the girl and her pursuer. The MAN is fast; the distance between them closes with each heartbeat. TINA overturns ashcans — claws her way through a rotten back fence, hammers against a window. Ashen FACES appear, recoil, pull curtains closed and
disappear in fright.
28. EXT. TINA’S STREET. NIGHT. 28.
TINA runs out onto front lawns, SCREAMING for help. No help comes. In fact, the only response is for all the porch lights on the block to be turned off. The MAN roars out from behind a tree
— a tree too narrow to have hidden him — nearly upon the girl! TINA runs in panic — at last making her own home, only to be trapped against its locked front door.
She hammers against its thick wood.
TINA
Nancy! Open the door — Nancy!
The MAN slows. He has TINA now and knows it.
MAN She’s still awake. Nancy can’t hear you.
TINA turns and looks full at the approaching MAN. Smudged by deep shadow, he’s big and hideous. He wears the same dirty yellow sweater from the first nightmare — from the wall-hanging and blanket too — and has the same sagging hat and leering grin over his misshapen face. And on his fingers are the steel talons.
29. CLOSE ON HIM as he takes the blade on the end of his right index 29. finger and lopes off one of the fingers of his left hand. Then another. We SEE the PIECES OF FINGERS fall past TINA’S face in SLOW MOTION.
ANGLE ON THE GROUND of the FINGERS squirming on the ground, one
flopping onto TINA’s naked foot.
TINA leaps back, sickened, and begins stamping on then as if they were huge bugs.
The MAN snaps up his arm and the FINGERS fly back into place on his hand. He leers at TINA — then suddenly lunges at her, sweeping with his cutting hand!
TINA’s no weak sister — blocks his arm, deflecting the spines, and grabs the MAN’s ugly face with her other hand. But the face only slides off to the bone. The MAN presses in, and TINA contorts in horror as the knives slash across her shoulder — cutting her deeply.
29A. TINA staggers backward, GROANING, her foot now inexplicably 29A. caught in bedclothes! She falls over her bed’s conformter, twists away from the man and, like a child, pulls the cover over her! The skull-faced MAN crushes down, and there’s a fierce grappling — punctuated by his GRUNTS and the girl’s DEAFENING SCREAMS — and they both become totally wrapped in the comforter — until
they’re beneath it, fighting for life and death.
30. INT. TINA’S BEDROOM. NIGHT. 30.
ROD lurches up into CLOSE UP in the lightless bedroom, half-awakened by the tremendous struggle somewhere, somehow inside the dark bed. ROD grabs groggily, lifting the blanket.
30A. IN HIS POV we glimpse the dark underside of the blanket — see 30A. TWO SHADOWY FIGURES flailing and clawing under the bedspread — TINA and the MAN — or a shape that could be a man — raging against each other.
ROD drops the blanket and leaps from the bed, scared full awake and terrified. Then the horrible TINA’s GASPS change to the
CRIES of a terribly wounded victim. ROD instantly jerks back the bedspread.
IN HIS POV we SEE TINA struggling and flailing along on the sheets, the MAN nowhere in sight.
ROD
T-tina!?
Suddenly TINA — eyes turned inward to her tormentor — give an awful jolt — her arms and legs are spraddled as if by overwhelming force and pinned to the bed. Next instant, her nightgown flies apart and four long gashes chase across her torso. From no visible instruments! A huge irrigation of blood
floods the bed.
Terrified, ROD dives for the light — but at the same moment something invisible grabs TINA, wielding her body in the air and bringing it around in a swift blow that knocks ROD crashing into the light — smashing it to bits.
31. CLOSER ON HIM as he struggles around. In the blue FLASHES OF 31. ELECTRICITY ROD sees TINA sliding up the bedroom wall in a dark smear, dragged feet first!
ANGLE ON ROD — paralized by terror!
ANGLE ON TINA’S DYING EYES — moving with her up the wall and
bumping around the corner onto the ceiling. She’s just looking
at who’s dragging her, eyes glazing.
REVERSE IN HER POV — to the shadowy, horrendously ugly MAN, dragging her with fierce glee across the ceiling, literally swabbing the ceiling with her bloody body. SEEN in FORCED PERSPECTIVE, the SHOT carries her across a great distance without seeming to get anywhere — as if the ceiling is an endless
plane.
ANGLE DOWN ON ROD — on his hands and knees — the lamp next to him blurting blue SPARKS and STROBING the nightmare room. ROD’S screaming up at TINA’S invisible tormentor.
ROD
What the hell’s going ON here! Tina!
ANGLE ON TINA — upside down, clawing at the hanging swag lamp
above her mother’s dressing table — desperate for some anchor. But she’s dragged away from it. The lamp swings back, it’s wires gushing more SPARKS.
CLOSER along the ceiling as TINA rakes a long furrow in the
ceiling with her fingernails. But her eyes are glazing, glazing. And then they fall closed.
WIDE, UP ON THE CEILING, as her body suddenly flops loose,
hanging for an awful moment by the feet over the bed.
REVERSE ON ROD — staring like a terrified child.
ROD Tina —
REVERSE IN HIS POV — as the body falls like a sack of rocks onto the devastated bed, in SLOW MOTION, striking with a huge splash
of blood. A sick, awful GIGGLE floats around the room, then ECHOES off into infinity. ROD staggers up, staring around as if hoping to see this phantom.
ROD You motherfucker! I’ll kill you for that!
32. INT. TINA’S BEDROOM. NIGHT. 32.
NANCY is sitting straight up in bed, terrified. The CRIES of ROD are ringing through the whole house. She forces herself to move — bolting from the bed despite her terror and sense of dread.
33. INT. HALLWAY. NIGHT. 33.
NANCY flies into the dark hall — crashing directly into SOMEONE who lurches out of the dark before her. She SCREAMS and jumps back —
GLEN What the hell’s going on!?
NANCY Oh — jeez — Glen! Rod’s gone ape!
ROD (OS) (sobbing)
I’ll kill you!
NANCY grabs the door; it’s locked; she pounds on it. BAM! BAM! BAM!
Things fall into sudden, awful silence on the other side. GLEN’s voice cracks with fear.
GLEN Rod? (silence) Rod, you better not hurt Tina…
ROD erupts into terrible HOARSE LAUGHTER AND SOBBING. Then they
hear BREAKING GLASS.
GLEN barrels into the door like the football player he is. The frame splinters and they’re in.
34. INT. TINA’S MOTHER’S BEDROOM. NIGHT. 34.
Just inside the door NANCY slips and goes down hard. GLEN finds
her in the dark more by touch than sight.
GLEN You okay?
NANCY Yeah. Something slippering all
over here… (feeling) Tina?
No answer. The room is quiet as a tomb. Except for a stead DRIPPING, from all over. Then GLEN finds a LIGHT SWITCH.
On the CLICK the devastation is revealed. There’s BLOOD everywhere: up the walls, over the clawed ceiling, soaking the killing floor of the bed, and pooling in the dark red puddle where NANCY has slipped and fallen.
GLEN Oh, shit…
NANCY wobbles up and sees TINA in the center of the ravaged bed. Unmistakeably and utterly dead. NANCY presses against the wall, then contorts and chokes.
GLEN (CONTD) (numb)
I…I’m gonna call the cops —
He bursts from the room.
35. TIGHT ON NANCY. She turns away from the body in repulsion, 35. sticking her head through the shattered window ROD LANE used for his escape, sucking in the cold night air and moaning.
