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Wes Cravens A NIGHTMARE ON ELM STREET1A. INT. (MONTAGE). 1A. NIGHTMARE MUSIC THEME begins as we FADE UP on a SERIES OF SHOTS, all CLOSE and teasing. -- A mans FEET, in shabby work shoes, stalking
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
