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.
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