one elbow. She wears a plastic plaque on her red and yellow
sweater that reads 'Hall Guard'. Her nose is bleeding from the
impact.
HALLGUARD
Y-you're not supposed to run.
W-where's your pass -- you got a
pass?
NANCY leaps up --
NANCY
Screw your stupid pass!
53. She turns -- sees the body bag halfway down this darker, narrower 53.
hall, upright again. But just as she sees it, it tips and
pitches headlong through a doorway -- like some godawful rotten
tree finally timbering down. She can hear the sickening
CRUNCHING of it falling down a long flight of stairs.
NANCY runs for it again. The HALLGUARD staggers up FOREGROUND,
bleeding profusely from her eyes and ears.
HALLGUARD
Hey, no running in the halls!
The HALLGUARD raises her hand and we see it's tipped with long
metal spikes.
REVERSE ANGLE AT THE DOOR as NANCY runs up. NANCY turns to check
out the HALLGUARD. She's vanished. NANCY turns and looks down
through the open door. The MUSIC sweeps through a strange,
brooding movement of strings, mounting towards the NIGHTMARE
THEME.
54. INT. A STAIRWELL. 54.
NANCY edges into the stairwell and looks down. Looks like
there's a fire somewhere down there, from the way the orange
light dances. But there's only a low WHITE NOISE.
NANCY
Tina?
No answer. NANCY starts down the stairs.
55. INT. BOILER ROOM. DAY. 55.
NANCY comes off the stairs into a dank boiler room. The smear
trail is there. It runs behind a cracking, red-hot boiler the
size of a diesel locomotive. Everything about the place feels
dreadfully wrong, and the MUSIC is deep into the NIGHTMARE THEME
when it pauses.
TIGHT ON NANCY. Slow terror moves into her face. There's a low,
sinister GIGGLE.
56. REVERSE IN HER POV -- we see a tangle of pipes, shadows, and the 56.
tainted fire of the huge boiler. Then from behind this, deeply
shadowed but still identifiable, steps TINA's KILLER. The same
filthy red and yellow sweater and slouch hat, the same melted
face twisting into a smile, the same GARBLED LAUGH as he slides
the long blades from beneath his shirt and fans them on the ends
of his bony fingers.
NANCY
Who
are you?
MAN
Gonna get you.
57. The leering MAN brings the bloodied scalpel-fingernails across 57.
his own chest, splitting a nipple. Yellow fluid pours out.
MAGGOTS and WORMS.
NANCY forgets the question -- jerks around and flees in blind
panic into the first opening she sees -- a dark pipe tunnel.
58. INT. PIPE TUNNEL. 58.
ANGLE IN THE NARROW PASSAGEWAY. In the BACKGROUND the killer
shambles towards her; FOREGROUND NANCY breaks into a run.
The killer sprints -- NANCY tears ahead into darkness.
She flees deeper and deeper into the labyrinth of steaming,
SIZZLING pipes, squeezing through smaller and smaller openings.
The killer is just yards behind her, and soon she's trapped, just
as TINA was before her.
She presses her back to the wet bricks. There's no hope of
fighting him off, for NANCY is not as strong as TINA. But she is
smart as hell, and thinking even in this nightmare. So by the
time the creep has raised his knives to strike, NANCY has
realized something.
She wheels and shoves her arm against one of
the scalding steam pipes. In the sme split second we HEAR her
flesh scald, we
CUT TO:
59. INT. ENGLISH CLASS. DAY. 59.
NANCY lurches up SCREAMING, arm raised to ward off the invisible
blow, books clattering to the floor -- other GIRLS nearby SCREAM
in surprise as she stumbles over them. Then she stops, confused
and groggy from the nightmare.
WIDER ANGLE. EVERYBODY is staring at NANCY as if she's gone
mad. The ENGLISH TEACHER rushes over, herself frightened by the
terror in the girl's eyes.
TEACHER
Okay -- Okay, Thompson! Every-
thing's all right now -- Nancy!.
60. NANCY jerks around with panicked eyes, expecting the killer to 60.
leap from any direction. But there's only the sea of staring
eyes.
NANCY begins methodically picking up her books.
TEACHER
I'll call your mother.
NANCY
No! No, really, I'm fine. I'll go
straight home. I'm okay.
She marches for the door.
TEACHER
You'll need a hall pass!
But the girl's gone.
61. EXT. THE SCHOOL. DAY. 61.
NANCY walks out of the building, shaken. Then she pauses at one
of the big pine trees out front, stops and rests her head against
its bark, teeth set. NANCY starts to shake, and next second
she's sobbing like a broken-hearted, frightened child. OMIT 61A.
OMIT 61A.
62. But she shakes herself silent. Wipes the tears away with a slash 62.
of sleeve. She rubs her arm absently, lost in thought, then
reacts in surprise and pain. She lifts her arm and stares at the
spot she's touched.
INSERT ON HER ARM and the BURN there; about the size and shape of
a half-dollar.
WIDER ON NANCY. Utterly, chillingly confused.
62A. TINA, against the tree inches from NANCY, (SC 7) -- turns to her and
says --
TINA
Couldn't get back to sleep
at all.
(beat)
What
you dream?
63. EXT. A BUSY STREET. DAY. 63.
NANCY is walking quickly, head erect, jaw set. Then she enters
her father's Police Station.
64. INT. VAN NUYS POLICE STATION. DAY. 64.
NANCY crosses directly to the GARCIA.
NANCY
My dad here?
GARCIA looks up from his paperwork.
SERGEANT GARCIA
Lieutenant.
LT THOMPSON emerges from another room, uneasy to see NANCY.
LT THOMPSON
Decide to take a day off after
all?
NANCY
Dad, I want to see Rod Lane.
THOMPSON doesn't miss a beat.
LT THOMPSON
Only family allowed, Nancy. You
know the drill.
NANCY
Just want to talk to him a second.
LT THOMPSON
He's dangerous.
NANCY
You don't know he did it.
LT THOMPSON
No, I know, thanks to your
own testimony, that he was
locked in a room with a girl
who went in alive and came
out in a rubber bag.
NANCY flinches; her father shows the first signs of color in his
neck.
NANCY
I just want to talk to him.
(beat, lower)
Please, Dad.
THOMPSON shifts almost imperceptibly towards GARCIA, then turns
back to NANCY.
LT THOMPSON
Make it fast.
DISSOLVE TO:
65. INT. CELL AREA. DAY. 65.
A GUARD exits pushing a cart of food trays. NANCY waits warily
until he's gone, then looks back to ROD LANE. ROD looks more
like a captured coyote than a human; haggard, ribbed, expecting
poisoned bait. His hair is wet, his clothes are borrowed jeans
and work shirt.
NANCY
(low)
And then what happened?
ROD
I told you.
(reluctantly)
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