aught 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.
FADE TO BLACK
36. EXT/INT. POLICE STATION. NIGHT. 36.
FADE UP ON RED LIGHTS and SIREN as an unmarked POLICE CAR speeds
to the curb.
LT DON THOMPSON, a decent-looking man in his mid-40's, exits and
punches a cigarette from his pack. His shaken aide, a uniformed
patrolman named PARKER, greets him. (CAMERA FOLLOWS them from
the car straight into the station and eventually to THOMPSON'S
OFFICE.)
PARKER
Lieutenant Thompson. Sorry to
wake you, but --
LT THOMPSON
I'd've canned your ass if you
hadn't. What you got?
PARKER stumbles to open the door for THOMPSON as the man bulls
into the station at a furious pace.
PARKER
Her name was Tina Gray. It
was her home. Father abandoned
ten years ago, mother's in
Vegas with a boyfriend. We're
trying to reach her now.
LT THOMPSON grimaces as if he knows the story.
LT THOMPSON
What's the Coroner got to say?
PARKER
Something like a razor was
the weapon, but nothing
found on the scene.
THOMPSON is already to the desk officer SERGEANT GARCIA. The big
MAN shoves him a sheaf of papers --
SERGEANT GARCIA
(wary)
Leautenant. You know who --
LT THOMPSON
Where is she?
SERGEANT GARCIA
I put her in your office...
PARKER scurries after.
PARKER
Looks like her boyfriend did
it. Rod Lane. Musician type,
arre
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