The motorcycle becomes airborne and on the way up slices itself in half as it scrapes along the full length of a Datsun Kingcab.
In the air, the rider and motorcycle twist violently as they fly by.
The motorcycle bounces off a black 66 Chevrolet and makes a sound like the end of the world.
The rider hits the same Chevy a moment later. Like a broken ragdoll shot from a canon, the man punches throu
SHOT
EXT. NEW YORK STREET - DAY
IKE (V.O.)
Hey, Fisher, pick up. I have some
column ideas I want to bounce off you.
Not there? Okay. Listen Im thinking
of writing about those mind-numbing
informercials that are always on.
Ike walks out of his apartment building talking on cell phone.
IKE (contd)
What do you think? Good idea, right?
Boring, down to death, pointless -- It
sucks.
Ike yells at
tracks
but the second song it
was like my bra had grown hands.
Excuse me, wannabees, order up.
One callback, shes Margo Channing
Second callback, thank you. Second lead in the feature.
Im so getting this. Soon, I can kiss you losers goodbye
and finally justify moving to this miserable fucking town.
You ever read for Barry Wolf?
Hey, why are we skipping on the fries? Come on, load me up.
Barry Wol
SHOTS: EXPLOSIVE BOLTS RAPID-FIRE around the ships
skin, blowing away non-essentials that hinder aerodynamics --
including big deep-space drives. But this last separation puts
the ship into a dangerous roll.
INT. FLIGHT DECK - DAY
Out the windscreen, cloud strata roll vertiginously. Fry throws
actuators...
EXT. SHIP - PLANETS ATMOSPHERE - DAY
And airbrakes deploy. She manages to kill the roll. Bu
A beautiful golden sun is setting. The sky is on fire. The CAMERA starts to move downwards. A large neon sign rises into shot. It rests on top of a skyscraper and fills the frame. The building is neither past nor future in design but a bit of both.
Slowly we pan downwards revealing the city that spreads below... A glittering conglomeration of elevated transport tubes, smaller square buildings wh
does that mean exactly?
Let me put it this way.
I hunt and track down
the strange and unusual.
Speaking of strange
and unusual...
that cabs been following us
since we left the airport.
-No shit?
-No shit.
You want me to lose him?
I wouldnt mind.
Lets do it.
They really want
something from you.
Shit!
Thats my cab, man!
My boss is gonna
fucking kill me!
My insurance is not
gonna cover this, man!
tracks when she rounds the bend
in the beach. We dont see what she sees, but we hear the
frenzied SQUEAKING of the strange compys. Mr. Bowman and the
Hands race past her to help Cathy as Mrs. Bowman lets loose a
horrified, slack-jawed SCREAM, her mouth a perfect oval.
DISSOLVE TO:
INT. BOARD ROOM - DAY
Mrs. Bowmans screaming face dissolves slowly over the
YAWNING face of a bored CORPORATE EXECUTI
shot at winning.
- Hey, Ma.
- Hey.
- You look great.
- Thank you.
Is this tie all right?
Did someone forget to tell Dad
that this was a semi-formal affair?
He knew.
Anything to crystallize
his advantage, huh?
- Hmm.
- Wheres the chow?
Everyones very proud of you, Eli.
Well, its a damn good thing
I won the Nobel...
because now youre gonna
find it hard as hell to fire me.
Oh, I never threatened
to
Wes Cravens
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 mans 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 MANS HAND, dirty and nail-bitten,
reach INTO FRAME and p
knife.
*NOTE: At this point we intercut shots of the empty lobby and halls of the
PLAZA THEATER. A POV shot standing outside the LADIES ROOM door.
BEN
(turning pale)
Listen you sick fuck, is this your idea of a joke?
VOICE
More of a game really.
BEN
What kind of a game?
VOICE
You seem to be familiar with the STAB movies.
Heres how we play. I ask you a question.
You get it right, your girlfrie