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Poetics

By Aristotle

Written 350 B.C.E

Translated by S. H. Butcher

      HYPERLINK "http://classics.mit.edu/Aristotle/poetics.html"   Table
of Contents

Section 1      HYPERLINK
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Part I

I propose to treat of Poetry in itself and of its various kinds, noting
the essential quality of each, to inquire into the structure of the plot
as requisite to a good poem; into the number and nature of the parts of
which a poem is composed; and similarly into whatever else falls within
the same inquiry. Following, then, the order of nature, let us begin with
the principles which come first.

Epic poetry and Tragedy, Comedy also and Dithyrambic poetry, and the
music of the flute and of the lyre in most of their forms, are all in
their general conception modes of imitation. They differ, however, from
one another in three respects- the medium, the objects, the manner or
mode of imitation, being in each case distinct.

For as there are persons who, by conscious art or mere habit, imitate and
represent various objects through the medium of color and form, or again
by the voice; so in the arts above mentioned, taken as a whole, the
imitation is produced by rhythm, language, or 'harmony,' either singly or
combined.

Thus in the music of the flute and of the lyre, 'harmony' and rhythm
alone are employed; also in other arts, such as that of the shepherd's
pipe, which are essentially similar to these. In dancing, rhythm alone is
used without 'harmony'; for even dancing imitates character, emotion, and
action, by rhythmical movement.

There is another art which imitates by means of language alone, and that
either in prose or verse- which verse, again, may either combine
different meters or consist of but one kind- but this has hitherto been
without a name. For there is no common term we could apply to the mimes
of Sophron and Xenarchus and the Socratic dialogues on the one hand; and,
on the other, to poetic imitations in iambic, elegiac, or any similar
meter. People do, indeed, add the word 'maker' or 'poet' to the name of
the meter, and speak of elegiac poets, or epic (that is, hexameter)
poets, as if it were not the imitation that makes the poet, but the verse
that entitles them all to the name. Even when a treatise on medicine or
natural science is brought out in verse, the name of poet is by custom
given to the author; and yet Homer and Empedocles have nothing in common
but the meter, so that it would be right to call the one poet, the other
physicist rather than poet. On the same principle, even if a writer in
his poetic imitation were to combine all meters, as Chaeremon did in his
Centaur, which is a medley composed of meters of all kinds, we should
bring him too under the general term poet.

So much then for these distinctions.
There are, again, some arts which employ all the means above mentioned-
namely, rhythm, tune, and meter. Such are Dithyrambic and Nomic poetry,
and also Tragedy and Comedy; but between them originally the difference
is, that in the first two cases these means are all employed in
combination, in the latter, now one means is employed, now another.

Such, then, are the differences of the arts with respect to the medium of
imitation

Part II

Since the objects of imitation are men in action, and these men must be
either of a higher or a lower type (for moral character mainly answers to
these divisions, goodness and badness being the distinguishing marks of
moral differences), it follows that we must represent men either as
better than in real life, or as worse, or as they are. It is the same in
painting. Polygnotus depicted men as nobler than they are, Pauson as less
noble, Dionysius drew them true to life.

Now it is evident that each of the modes of imitation above mentioned
will exhibit these differences, and become a distinct kind in imitating
objects that are thus distinct. Such diversities may be found even in
dancing, flute-playing, and lyre-playing. So again in language, whether
prose or verse unaccompanied by music. Homer, for example, makes men
better than they are; Cleophon as they are; Hegemon the Thasian, the
inventor of parodies, and Nicochares, the author of the Deiliad, worse
than they are. The same thing holds good of Dithyrambs and Nomes; here
too one may portray different types, as Timotheus and Philoxenus differed
in representing their Cyclopes. The same distinction marks off Tragedy
from Comedy; for Comedy aims at representing men as worse, Tragedy as
better than in actual life.

Part III

There is still a third difference- the manner in which each of these
objects may be imitated. For the medium being the same, and the objects
the same, the poet may imitate by narration- in which case he can either
take another personality as Homer does, or speak in his own person,
unchanged- or he may present all his characters as living and moving
before us.

These, then, as we said at the beginning, are the three differences which
distinguish artistic imitation- the medium, the objects, and the manner.
So that from one point of view, Sophocles is an imitator of the same kind
as Homer- for both imitate higher types of character; from another point
of view, of the same kind as Aristophanes- for both imitate persons
acting and doing. Hence, some say, the name of 'drama' is given to such
poems, as representing action. For the same reason the Dorians claim the
invention both of Tragedy and Comedy. The claim to Comedy is put forward
by the Megarians- not only by those of Greece proper, who allege that it
originated under their democracy, but also by the Megarians of Sicily,
for the poet Epicharmus, who is much earlier than Chionides and Magnes,
belonged to that country. Tragedy too is claimed by certain Dorians of
the Peloponnese. In each case they appeal to the evidence of language.
The outlying villages, they say, are by them called komai, by the
Athenians demoi: and they assume that comedians were so named not from
komazein, 'to revel,' but because they wandered from village to village
(kata komas), being excluded contemptuously from the city. They add also
that the Dorian word for 'doing' is dran, and the Athenian, prattein.

This may suffice as to the number and nature of the various modes of
imitation.

Part IV

Poetry in general seems to have sprung from two causes, each of them
lying deep in our nature. First, the instinct of imitation is implanted
in man from childhood, one difference between him and other animals being
that he is the most imitative of living creatures, and through imitation
learns his earliest lessons; and no less universal is the pleasure felt
in things imitated. We have evidence of this in the facts of experience.
Objects which in themselves we view with pain, we delight to contemplate
when reproduced with minute fidelity: such as the forms of the most
ignoble animals and of dead bodies. The cause of this again is, that to
learn gives the liveliest pleasure, not only to philosophers but to men
in general; whose capacity, however, of learning is more limited. Thus
the reason why men enjoy seeing a likeness is, that in contemplating it
they find themselves learning or inferring, and saying perhaps, 'Ah, that
is he.' For if you happen not to have seen the original, the pleasure
will be due not to the imitation as such, but to the execution, the
coloring, or some such other cause.

Imitation, then, is one instinct of our nature. Next, there is the
instinct for 'harmony' and rhythm, meters being manifestly sections of
rhythm. Persons, therefore, starting with this natural gift developed by
degrees their special aptitudes, till their rude improvisations gave
birth to Poetry.

Poetry now diverged in two directions, according to the individual
character of the writers. The graver spirits imitated noble actions, and
the actions of good men. The more trivial sort imitated the actions of
meaner persons, at first composing satires, as the former did hymns to
the gods and the praises of famous men. A poem of the satirical kind
cannot indeed be put down to any author earlier than Homer; though many
such writers probably there were. But from Homer onward, instances can be
cited- his own Margites, for example, and other similar compositions. The
appropriate meter was also here introduced; hence the measure is still
called the iambic or lampooning measure, being that in which people
lampooned one another. Thus the older poets were distinguished as writers
of heroic or of lampooning verse.
As, in the serious style, Homer is pre-eminent among poets, for he alone
combined dramatic form with excellence of imitation so he too first laid
down the main lines of comedy, by dramatizing the ludicrous instead of
writing personal satire. His Margites bears the same relation to comedy
that the Iliad and Odyssey do to tragedy. But when Tragedy and Comedy
came to light, the two classes of poets still followed their natural
bent: the lampooners became writers of Comedy, and the Epic poets were
succeeded by Tragedians, since the drama was a larger and higher form of
art.

Whether Tragedy has as yet perfected its proper types or not; and whether
it is to be judged in itself, or in relation also to the audience- this
raises another question. Be that as it may, Tragedy- as also Comedy- was
at first mere improvisation. The one originated with the authors of the
Dithyramb, the other with those of the phallic songs, which are still in
use in many of our cities. Tragedy advanced by slow degrees; each new
element that showed itself was in turn developed. Having passed through
many changes, it found its natural form, and there it stopped.

Aeschylus first introduced a second actor; he diminished the importance
of the Chorus, and assigned the leading part to the dialogue. Sophocles
raised the number of actors to three, and added scene-painting. Moreover,
it was not till late that the short plot was discarded for one of greater
compass, and the grotesque diction of the earlier satyric form for the
stately manner of Tragedy. The iambic measure then replaced the trochaic
tetrameter, which was originally employed when the poetry was of the
satyric order, and had greater with dancing. Once dialogue had come in,
Nature herself discovered the appropriate measure. For the iambic is, of
all measures, the most colloquial we see it in the fact that
conversational speech runs into iambic lines more frequently than into
any other kind of verse; rarely into hexameters, and only when we drop
the colloquial intonation. The additions to the number of 'episodes' or
acts, and the other accessories of which tradition tells, must be taken
as already described; for to discuss them in detail would, doubtless, be
a large undertaking.

Part V

Comedy is, as we have said, an imitation of characters of a lower type-
not, however, in the full sense of the word bad, the ludicrous being
merely a subdivision of the ugly. It consists in some defect or ugliness
which is not painful or destructive. To take an obvious example, the
comic mask is ugly and distorted, but does not imply pain.

The successive changes through which Tragedy passed, and the authors of
these changes, are well known, whereas Comedy has had no history, because
it was not at first treated seriously. It was late before the Archon
granted a comic chorus to a poet; the performers were till then
voluntary. Comedy had already taken definite shape when comic poets,
distinctively so called, are heard of. Who furnished it with masks, or
prologues, or increased the number of actors- these and other similar
details remain unknown. As for the plot, it came originally from Sicily;
but of Athenian writers Crates was the first who abandoning the 'iambic'
or lampooning form, generalized his themes and plots.
Epic poetry agrees with Tragedy in so far as it is an imitation in verse
of characters of a higher type. They differ in that Epic poetry admits
but one kind of meter and is narrative in form. They differ, again, in
their length: for Tragedy endeavors, as far as possible, to confine
itself to a single revolution of the sun, or but slightly to exceed this
limit, whereas the Epic action has no limits of time. This, then, is a
second point of difference; though at first the same freedom was admitted
in Tragedy as in Epic poetry.

Of their constituent parts some are common to both, some peculiar to
Tragedy: whoever, therefore knows what is good or bad Tragedy, knows also
about Epic poetry. All the elements of an Epic poem are found in Tragedy,
but the elements of a Tragedy are not all found in the Epic poem.

Part VI

Of the poetry which imitates in hexameter verse, and of Comedy, we will
speak hereafter. Let us now discuss Tragedy, resuming its formal
definition, as resulting from what has been already said.

Tragedy, then, is an imitation of an action that is serious, complete,
and of a certain magnitude; in language embellished with each kind of
artistic ornament, the several kinds being found in separate parts of the
play; in the form of action, not of narrative; through pity and fear
effecting the proper purgation of these emotions. By 'language
embellished,' I mean language into which rhythm, 'harmony' and song
enter. By 'the several kinds in separate parts,' I mean, that some parts
are rendered through the medium of verse alone, others again with the aid
of song.

Now as tragic imitation implies persons acting, it necessarily follows in
the first place, that Spectacular equipment will be a part of Tragedy.
Next, Song and Diction, for these are the media of imitation. By
'Diction' I mean the mere metrical arrangement of the words: as for
'Song,' it is a term whose sense every one understands.

Again, Tragedy is the imitation of an action; and an action implies
personal agents, who necessarily possess certain distinctive qualities
both of character and thought; for it is by these that we qualify actions
themselves, and these- thought and character- are the two natural causes
from which actions spring, and on actions again all success or failure
depends. Hence, the Plot is the imitation of the action- for by plot I
here mean the arrangement of the incidents. By Character I mean that in
virtue of which we ascribe certain qualities to the agents. Thought is
required wherever a statement is proved, or, it may be, a general truth
enunciated. Every Tragedy, therefore, must have six parts, which parts
determine its quality- namely, Plot, Character, Diction, Thought,
Spectacle, Song. Two of the parts constitute the medium of imitation, one
the manner, and three the objects of imitation. And these complete the
fist. These elements have been employed, we may say, by the poets to a
man; in fact, every play contains Spectacular elements as well as
Character, Plot, Diction, Song, and Thought.
But most important of all is the structure of the incidents. For Tragedy
is an imitation, not of men, but of an action and of life, and life
consists in action, and its end is a mode of action, not a quality. Now
character determines men's qualities, but it is by their actions that
they are happy or the reverse. Dramatic action, therefore, is not with a
view to the representation of character: character comes in as subsidiary
to the actions. Hence the incidents and the plot are the end of a
tragedy; and the end is the chief thing of all. Again, without action
there cannot be a tragedy; there may be without character. The tragedies
of most of our modern poets fail in the rendering of character; and of
poets in general this is often true. It is the same in painting; and here
lies the difference between Zeuxis and Polygnotus. Polygnotus delineates
character well; the style of Zeuxis is devoid of ethical quality. Again,
if you string together a set of speeches expressive of character, and
well finished in point of diction and thought, you will not produce the
essential tragic effect nearly so well as with a play which, however
deficient in these respects, yet has a plot and artistically constructed
incidents. Besides which, the most powerful elements of emotional
interest in Tragedy- Peripeteia or Reversal of the Situation, and
Recognition scenes- are parts of the plot. A further proof is, that
novices in the art attain to finish of diction and precision of
portraiture before they can construct the plot. It is the same with
almost all the early poets.

The plot, then, is the first principle, and, as it were, the soul of a
tragedy; Character holds the second place. A similar fact is seen in
painting. The most beautiful colors, laid on confusedly, will not give as
much pleasure as the chalk outline of a portrait. Thus Tragedy is the
imitation of an action, and of the agents mainly with a view to the
action.

Third in order is Thought- that is, the faculty of saying what is
possible and pertinent in given circumstances. In the case of oratory,
this is the function of the political art and of the art of rhetoric: and
so indeed the older poets make their characters speak the language of
civic life; the poets of our time, the language of the rhetoricians.
Character is that which reveals moral purpose, showing what kind of
things a man chooses or avoids. Speeches, therefore, which do not make
this manifest, or in which the speaker does not choose or avoid anything
whatever, are not expressive of character. Thought, on the other hand, is
found where something is proved to be or not to be, or a general maxim is
enunciated.

Fourth among the elements enumerated comes Diction; by which I mean, as
has been already said, the expression of the meaning in words; and its
essence is the same both in verse and prose.

Of the remaining elements Song holds the chief place among the
embellishments

The Spectacle has, indeed, an emotional attraction of its own, but, of
all the parts, it is the least artistic, and connected least with the art
of poetry. For the power of Tragedy, we may be sure, is felt even apart
from representation and actors. Besides, the production of spectacular
effects depends more on the art of the stage machinist than on that of
the poet.

Part VII

These principles being established, let us now discuss the proper
structure of the Plot, since this is the first and most important thing
in Tragedy.

Now, according to our definition Tragedy is an imitation of an action
that is complete, and whole, and of a certain magnitude; for there may be
a whole that is wanting in magnitude. A whole is that which has a
beginning, a middle, and an end. A beginning is that which does not
itself follow anything by causal necessity, but after which something
naturally is or comes to be. An end, on the contrary, is that which
itself naturally follows some other thing, either by necessity, or as a
rule, but has nothing following it. A middle is that which follows
something as some other thing follows it. A well constructed plot,
therefore, must neither begin nor end at haphazard, but conform to these
principles.

Again, a beautiful object, whether it be a living organism or any whole
composed of parts, must not only have an orderly arrangement of parts,
but must also be of a certain magnitude; for beauty depends on magnitude
and order. Hence a very small animal organism cannot be beautiful; for
the view of it is confused, the object being seen in an almost
imperceptible moment of time. Nor, again, can one of vast size be
beautiful; for as the eye cannot take it all in at once, the unity and
sense of the whole is lost for the spectator; as for instance if there
were one a thousand miles long. As, therefore, in the case of animate
bodies and organisms a certain magnitude is necessary, and a magnitude
which may be easily embraced in one view; so in the plot, a certain
length is necessary, and a length which can be easily embraced by the
memory. The limit of length in relation to dramatic competition and
sensuous presentment is no part of artistic theory. For had it been the
rule for a hundred tragedies to compete together, the performance would
have been regulated by the water-clock- as indeed we are told was
formerly done. But the limit as fixed by the nature of the drama itself
is this: the greater the length, the more beautiful will the piece be by
reason of its size, provided that the whole be perspicuous. And to define
the matter roughly, we may say that the proper magnitude is comprised
within such limits, that the sequence of events, according to the law of
probability or necessity, will admit of a change from bad fortune to
good, or from good fortune to bad.

Part VIII

Unity of plot does not, as some persons think, consist in the unity of
the hero. For infinitely various are the incidents in one man's life
which cannot be reduced to unity; and so, too, there are many actions of
one man out of which we cannot make one action. Hence the error, as it
appears, of all poets who have composed a Heracleid, a Theseid, or other
poems of the kind. They imagine that as Heracles was one man, the story
of Heracles must also be a unity. But Homer, as in all else he is of
surpassing merit, here too- whether from art or natural genius- seems to
have happily discerned the truth. In composing the Odyssey he did not
include all the adventures of Odysseus- such as his wound on Parnassus,
or his feigned madness at the mustering of the host- incidents between
which there was no necessary or probable connection: but he made the
Odyssey, and likewise the Iliad, to center round an action that in our
sense of the word is one. As therefore, in the other imitative arts, the
imitation is one when the object imitated is one, so the plot, being an
imitation of an action, must imitate one action and that a whole, the
structural union of the parts being such that, if any one of them is
displaced or removed, the whole will be disjointed and disturbed. For a
thing whose presence or absence makes no visible difference, is not an
organic part of the whole.

Part IX

It is, moreover, evident from what has been said, that it is not the
function of the poet to relate what has happened, but what may happen-
what is possible according to the law of probability or necessity. The
poet and the historian differ not by writing in verse or in prose. The
work of Herodotus might be put into verse, and it would still be a
species of history, with meter no less than without it. The true
difference is that one relates what has happened, the other what may
happen. Poetry, therefore, is a more philosophical and a higher thing
than history: for poetry tends to express the universal, history the
particular. By the universal I mean how a person of a certain type on
occasion speak or act, according to the law of probability or necessity;
and it is this universality at which poetry aims in the names she
attaches to the personages. The particular is- for example- what
Alcibiades did or suffered. In Comedy this is already apparent: for here
the poet first constructs the plot on the lines of probability, and then
inserts characteristic names- unlike the lampooners who write about
particular individuals. But tragedians still keep to real names, the
reason being that what is possible is credible: what has not happened we
do not at once feel sure to be possible; but what has happened is
manifestly possible: otherwise it would not have happened. Still there
are even some tragedies in which there are only one or two well-known
names, the rest being fictitious. In others, none are well known- as in
Agathon's Antheus, where incidents and names alike are fictitious, and
yet they give none the less pleasure. We must not, therefore, at all
costs keep to the received legends, which are the usual subjects of
Tragedy. Indeed, it would be absurd to attempt it; for even subjects that
are known are known only to a few, and yet give pleasure to all. It
clearly follows that the poet or 'maker' should be the maker of plots
rather than of verses; since he is a poet because he imitates, and what
he imitates are actions. And even if he chances to take a historical
subject, he is none the less a poet; for there is no reason why some
events that have actually happened should not conform to the law of the
probable and possible, and in virtue of that quality in them he is their
poet or maker.

Of all plots and actions the episodic are the worst. I call a plot
'episodic' in which the episodes or acts succeed one another without
probable or necessary sequence. Bad poets compose such pieces by their
own fault, good poets, to please the players; for, as they write show
pieces for competition, they stretch the plot beyond its capacity, and
are often forced to break the natural continuity.

But again, Tragedy is an imitation not only of a complete action, but of
events inspiring fear or pity. Such an effect is best produced when the
events come on us by surprise; and the effect is heightened when, at the
same time, they follows as cause and effect. The tragic wonder will then
be greater than if they happened of themselves or by accident; for even
coincidences are most striking when they have an air of design. We may
instance the statue of Mitys at Argos, which fell upon his murderer while
he was a spectator at a festival, and killed him. Such events seem not to
be due to mere chance. Plots, therefore, constructed on these principles
are necessarily the best.

Part X

Plots are either Simple or Complex, for the actions in real life, of
which the plots are an imitation, obviously show a similar distinction.
An action which is one and continuous in the sense above defined, I call
Simple, when the change of fortune takes place without Reversal of the
Situation and without Recognition

A Complex action is one in which the change is accompanied by such
Reversal, or by Recognition, or by both. These last should arise from the
internal structure of the plot, so that what follows should be the
necessary or probable result of the preceding action. It makes all the
difference whether any given event is a case of propter hoc or post hoc.

Part XI

Reversal of the Situation is a change by which the action veers round to
its opposite, subject always to our rule of probability or necessity.
Thus in the Oedipus, the messenger comes to cheer Oedipus and free him
from his alarms about his mother, but by revealing who he is, he produces
the opposite effect. Again in the Lynceus, Lynceus is being led away to
his death, and Danaus goes with him, meaning to slay him; but the outcome
of the preceding incidents is that Danaus is killed and Lynceus saved.

Recognition, as the name indicates, is a change from ignorance to
knowledge, producing love or hate between the persons destined by the
poet for good or bad fortune. The best form of recognition is coincident
with a Reversal of the Situation, as in the Oedipus. There are indeed
other forms. Even inanimate things of the most trivial kind may in a
sense be objects of recognition. Again, we may recognize or discover
whether a person has done a thing or not. But the recognition which is
most intimately connected with the plot and action is, as we have said,
the recognition of persons. This recognition, combined with Reversal,
will produce either pity or fear; and actions producing these effects are
those which, by our definition, Tragedy represents. Moreover, it is upon
such situations that the issues of good or bad fortune will depend.
Recognition, then, being between persons, it may happen that one person
only is recognized by the other- when the latter is already known- or it
may be necessary that the recognition should be on both sides. Thus
Iphigenia is revealed to Orestes by the sending of the letter; but
another act of recognition is required to make Orestes known to
Iphigenia.

Two parts, then, of the Plot- Reversal of the Situation and Recognition-
turn upon surprises. A third part is the Scene of Suffering. The Scene of
Suffering is a destructive or painful action, such as death on the stage,
bodily agony, wounds, and the like.

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Part XII

The parts of Tragedy which must be treated as elements of the whole have
been already mentioned. We now come to the quantitative parts- the
separate parts into which Tragedy is divided- namely, Prologue, Episode,
Exode, Choric song; this last being divided into Parode and Stasimon.
These are common to all plays: peculiar to some are the songs of actors
from the stage and the Commoi.

The Prologue is that entire part of a tragedy which precedes the Parode
of the Chorus. The Episode is that entire part of a tragedy which is
between complete choric songs. The Exode is that entire part of a tragedy
which has no choric song after it. Of the Choric part the Parode is the
first undivided utterance of the Chorus: the Stasimon is a Choric ode
without anapaests or trochaic tetrameters: the Commos is a joint
lamentation of Chorus and actors. The parts of Tragedy which must be
treated as elements of the whole have been already mentioned. The
quantitative parts- the separate parts into which it is divided- are here
enumerated.

Part XIII

As the sequel to what has already been said, we must proceed to consider
what the poet should aim at, and what he should avoid, in constructing
his plots; and by what means the specific effect of Tragedy will be
produced.

A perfect tragedy should, as we have seen, be arranged not on the simple
but on the complex plan. It should, moreover, imitate actions which
excite pity and fear, this being the distinctive mark of tragic
imitation. It follows plainly, in the first place, that the change of
fortune presented must not be the spectacle of a virtuous man brought
from prosperity to adversity: for this moves neither pity nor fear; it
merely shocks us. Nor, again, that of a bad man passing from adversity to
prosperity: for nothing can be more alien to the spirit of Tragedy; it
possesses no single tragic quality; it neither satisfies the moral sense
nor calls forth pity or fear. Nor, again, should the downfall of the
utter villain be exhibited. A plot of this kind would, doubtless, satisfy
the moral sense, but it would inspire neither pity nor fear; for pity is
aroused by unmerited misfortune, fear by the misfortune of a man like
ourselves. Such an event, therefore, will be neither pitiful nor
terrible. There remains, then, the character between these two extremes-
that of a man who is not eminently good and just, yet whose misfortune is
brought about not by vice or depravity, but by some error or frailty. He
must be one who is highly renowned and prosperous- a personage like
Oedipus, Thyestes, or other illustrious men of such families.

A well-constructed plot should, therefore, be single in its issue, rather
than double as some maintain. The change of fortune should be not from
bad to good, but, reversely, from good to bad. It should come about as
the result not of vice, but of some great error or frailty, in a
character either such as we have described, or better rather than worse.
The practice of the stage bears out our view. At first the poets
recounted any legend that came in their way. Now, the best tragedies are
founded on the story of a few houses- on the fortunes of Alcmaeon,
Oedipus, Orestes, Meleager, Thyestes, Telephus, and those others who have
done or suffered something terrible. A tragedy, then, to be perfect
according to the rules of art should be of this construction. Hence they
are in error who censure Euripides just because he follows this principle
in his plays, many of which end unhappily. It is, as we have said, the
right ending. The best proof is that on the stage and in dramatic
competition, such plays, if well worked out, are the most tragic in
effect; and Euripides, faulty though he may be in the general management
of his subject, yet is felt to be the most tragic of the poets.

In the second rank comes the kind of tragedy which some place first. Like
the Odyssey, it has a double thread of plot, and also an opposite
catastrophe for the good and for the bad. It is accounted the best
because of the weakness of the spectators; for the poet is guided in what
he writes by the wishes of his audience. The pleasure, however, thence
derived is not the true tragic pleasure. It is proper rather to Comedy,
where those who, in the piece, are the deadliest enemies- like Orestes
and Aegisthus- quit the stage as friends at the close, and no one slays
or is slain.

Part XIV

Fear and pity may be aroused by spectacular means; but they may also
result from the inner structure of the piece, which is the better way,
and indicates a superior poet. For the plot ought to be so constructed
that, even without the aid of the eye, he who hears the tale told will
thrill with horror and melt to pity at what takes Place. This is the
impression we should receive from hearing the story of the Oedipus. But
to produce this effect by the mere spectacle is a less artistic method,
and dependent on extraneous aids. Those who employ spectacular means to
create a sense not of the terrible but only of the monstrous, are
strangers to the purpose of Tragedy; for we must not demand of Tragedy
any and every kind of pleasure, but only that which is proper to it. And
since the pleasure which the poet should afford is that which comes from
pity and fear through imitation, it is evident that this quality must be
impressed upon the incidents.

Let us then determine what are the circumstances which strike us as
terrible or pitiful.

Actions capable of this effect must happen between persons who are either
friends or enemies or indifferent to one another. If an enemy kills an
enemy, there is nothing to excite pity either in the act or the
intention- except so far as the suffering in itself is pitiful. So again
with indifferent persons. But when the tragic incident occurs between
those who are near or dear to one another- if, for example, a brother
kills, or intends to kill, a brother, a son his father, a mother her son,
a son his mother, or any other deed of the kind is done- these are the
situations to be looked for by the poet. He may not indeed destroy the
framework of the received legends- the fact, for instance, that
Clytemnestra was slain by Orestes and Eriphyle by Alcmaeon- but he ought
to show of his own, and skilfully handle the traditional. material. Let
us explain more clearly what is meant by skilful handling.

The action may be done consciously and with knowledge of the persons, in
the manner of the older poets. It is thus too that Euripides makes Medea
slay her children. Or, again, the deed of horror may be done, but done in
ignorance, and the tie of kinship or friendship be discovered afterwards.
The Oedipus of Sophocles is an example. Here, indeed, the incident is
outside the drama proper; but cases occur where it falls within the
action of the play: one may cite the Alcmaeon of Astydamas, or Telegonus
in the Wounded Odysseus. Again, there is a third case- [to be about to
act with knowledge of the persons and then not to act. The fourth case]
is when some one is about to do an irreparable deed through ignorance,
and makes the discovery before it is done. These are the only possible
ways. For the deed must either be done or not done- and that wittingly or
unwittingly. But of all these ways, to be about to act knowing the
persons, and then not to act, is the worst. It is shocking without being
tragic, for no disaster follows It is, therefore, never, or very rarely,
found in poetry. One instance, however, is in the Antigone, where Haemon
threatens to kill Creon. The next and better way is that the deed should
be perpetrated. Still better, that it should be perpetrated in ignorance,
and the discovery made afterwards. There is then nothing to shock us,
while the discovery produces a startling effect. The last case is the
best, as when in the Cresphontes Merope is about to slay her son, but,
recognizing who he is, spares his life. So in the Iphigenia, the sister
recognizes the brother just in time. Again in the Helle, the son
recognizes the mother when on the point of giving her up. This, then, is
why a few families only, as has been already observed, furnish the
subjects of tragedy. It was not art, but happy chance, that led the poets
in search of subjects to impress the tragic quality upon their plots.
They are compelled, therefore, to have recourse to those houses whose
history contains moving incidents like these.

Enough has now been said concerning the structure of the incidents, and
the right kind of plot.

Part XV

In respect of Character there are four things to be aimed at. First, and
most important, it must be good. Now any speech or action that manifests
moral purpose of any kind will be expressive of character: the character
will be good if the purpose is good. This rule is relative to each class.
Even a woman may be good, and also a slave; though the woman may be said
to be an inferior being, and the slave quite worthless. The second thing
to aim at is propriety. There is a type of manly valor; but valor in a
woman, or unscrupulous cleverness is inappropriate. Thirdly, character
must be true to life: for this is a distinct thing from goodness and
propriety, as here described. The fourth point is consistency: for though
the subject of the imitation, who suggested the type, be inconsistent,
still he must be consistently inconsistent. As an example of motiveless
degradation of character, we have Menelaus in the Orestes; of character
indecorous and inappropriate, the lament of Odysseus in the Scylla, and
the speech of Melanippe; of inconsistency, the Iphigenia at Aulis- for
Iphigenia the suppliant in no way resembles her later self.

As in the structure of the plot, so too in the portraiture of character,
the poet should always aim either at the necessary or the probable. Thus
a person of a given character should speak or act in a given way, by the
rule either of necessity or of probability; just as this event should
follow that by necessary or probable sequence. It is therefore evident
that the unraveling of the plot, no less than the complication, must
arise out of the plot itself, it must not be brought about by the Deus ex
Machina- as in the Medea, or in the return of the Greeks in the Iliad.
The Deus ex Machina should be employed only for events external to the
drama- for antecedent or subsequent events, which lie beyond the range of
human knowledge, and which require to be reported or foretold; for to the
gods we ascribe the power of seeing all things. Within the action there
must be nothing irrational. If the irrational cannot be excluded, it
should be outside the scope of the tragedy. Such is the irrational
element the Oedipus of Sophocles.

Again, since Tragedy is an imitation of persons who are above the common
level, the example of good portrait painters should be followed. They,
while reproducing the distinctive form of the original, make a likeness
which is true to life and yet more beautiful. So too the poet, in
representing men who are irascible or indolent, or have other defects of
character, should preserve the type and yet ennoble it. In this way
Achilles is portrayed by Agathon and Homer.

These then are rules the poet should observe. Nor should he neglect those
appeals to the senses, which, though not among the essentials, are the
concomitants of poetry; for here too there is much room for error. But of
this enough has been said in our published treatises.

Part XVI

What Recognition is has been already explained. We will now enumerate its
kinds.

First, the least artistic form, which, from poverty of wit, is most
commonly employed- recognition by signs. Of these some are congenital-
such as 'the spear which the earth-born race bear on their bodies,' or
the stars introduced by Carcinus in his Thyestes. Others are acquired
after birth; and of these some are bodily marks, as scars; some external
tokens, as necklaces, or the little ark in the Tyro by which the
discovery is effected. Even these admit of more or less skilful
treatment. Thus in the recognition of Odysseus by his scar, the discovery
is made in one way by the nurse, in another by the swineherds. The use of
tokens for the express purpose of proof- and, indeed, any formal proof
with or without tokens- is a less artistic mode of recognition. A better
kind is that which comes about by a turn of incident, as in the Bath
Scene in the Odyssey.

Next come the recognitions invented at will by the poet, and on that
account wanting in art. For example, Orestes in the Iphigenia reveals the
fact that he is Orestes. She, indeed, makes herself known by the letter;
but he, by speaking himself, and saying what the poet, not what the plot
requires. This, therefore, is nearly allied to the fault above mentioned-
for Orestes might as well have brought tokens with him. Another similar
instance is the 'voice of the shuttle' in the Tereus of Sophocles.

The third kind depends on memory when the sight of some object awakens a
feeling: as in the Cyprians of Dicaeogenes, where the hero breaks into
tears on seeing the picture; or again in the Lay of Alcinous, where
Odysseus, hearing the minstrel play the lyre, recalls the past and weeps;
and hence the recognition.

The fourth kind is by process of reasoning. Thus in the Choephori: 'Some
one resembling me has come: no one resembles me but Orestes: therefore
Orestes has come.' Such too is the discovery made by Iphigenia in the
play of Polyidus the Sophist. It was a natural reflection for Orestes to
make, 'So I too must die at the altar like my sister.' So, again, in the
Tydeus of Theodectes, the father says, 'I came to find my son, and I lose
my own life.' So too in the Phineidae: the women, on seeing the place,
inferred their fate- 'Here we are doomed to die, for here we were cast
forth.' Again, there is a composite kind of recognition involving false
inference on the part of one of the characters, as in the Odysseus
Disguised as a Messenger. A said [that no one else was able to bend the
bow; ... hence B (the disguised Odysseus) imagined that A would]
recognize the bow which, in fact, he had not seen; and to bring about a
recognition by this means- the expectation that A would recognize the
bow- is false inference.

But, of all recognitions, the best is that which arises from the
incidents themselves, where the startling discovery is made by natural
means. Such is that in the Oedipus of Sophocles, and in the Iphigenia;
for it was natural that Iphigenia should wish to dispatch a letter. These
recognitions alone dispense with the artificial aid of tokens or amulets.
Next come the recognitions by process of reasoning.

Part XVII

In constructing the plot and working it out with the proper diction, the
poet should place the scene, as far as possible, before his eyes. In this
way, seeing everything with the utmost vividness, as if he were a
spectator of the action, he will discover what is in keeping with it, and
be most unlikely to overlook inconsistencies. The need of such a rule is
shown by the fault found in Carcinus. Amphiaraus was on his way from the
temple. This fact escaped the observation of one who did not see the
situation. On the stage, however, the Piece failed, the audience being
offended at the oversight.
Again, the poet should work out his play, to the best of his power, with
appropriate gestures; for those who feel emotion are most convincing
through natural sympathy with the characters they represent; and one who
is agitated storms, one who is angry rages, with the most lifelike
reality. Hence poetry implies either a happy gift of nature or a strain
of madness. In the one case a man can take the mould of any character; in
the other, he is lifted out of his proper self.

As for the story, whether the poet takes it ready made or constructs it
for himself, he should first sketch its general outline, and then fill in
the episodes and amplify in detail. The general plan may be illustrated
by the Iphigenia. A young girl is sacrificed; she disappears mysteriously
from the eyes of those who sacrificed her; she is transported to another
country, where the custom is to offer up an strangers to the goddess. To
this ministry she is appointed. Some time later her own brother chances
to arrive. The fact that the oracle for some reason ordered him to go
there, is outside the general plan of the play. The purpose, again, of
his coming is outside the action proper. However, he comes, he is seized,
and, when on the point of being sacrificed, reveals who he is. The mode
of recognition may be either that of Euripides or of Polyidus, in whose
play he exclaims very naturally: 'So it was not my sister only, but I
too, who was doomed to be sacrificed'; and by that remark he is saved.

After this, the names being once given, it remains to fill in the
episodes. We must see that they are relevant to the action. In the case
of Orestes, for example, there is the madness which led to his capture,
and his deliverance by means of the purificatory rite. In the drama, the
episodes are short, but it is these that give extension to Epic poetry.
Thus the story of the Odyssey can be stated briefly. A certain man is
absent from home for many years; he is jealously watched by Poseidon, and
left desolate. Meanwhile his home is in a wretched plight- suitors are
wasting his substance and plotting against his son. At length, tempest-
tost, he himself arrives; he makes certain persons acquainted with him;
he attacks the suitors with his own hand, and is himself preserved while
he destroys them. This is the essence of the plot; the rest is episode.

Part XVIII

Every tragedy falls into two parts- Complication and Unraveling or
Denouement. Incidents extraneous to the action are frequently combined
with a portion of the action proper, to form the Complication; the rest
is the Unraveling. By the Complication I mean all that extends from the
beginning of the action to the part which marks the turning-point to good
or bad fortune. The Unraveling is that which extends from the beginning
of the change to the end. Thus, in the Lynceus of Theodectes, the
Complication consists of the incidents presupposed in the drama, the
seizure of the child, and then again ... [the Unraveling] extends from
the accusation of murder to

There are four kinds of Tragedy: the Complex, depending entirely on
Reversal of the Situation and Recognition; the Pathetic (where the motive
is passion)- such as the tragedies on Ajax and Ixion; the Ethical (where
the motives are ethical)- such as the Phthiotides and the Peleus. The
fourth kind is the Simple. [We here exclude the purely spectacular
element], exemplified by the Phorcides, the Prometheus, and scenes laid
in Hades. The poet should endeavor, if possible, to combine all poetic
elements; or failing that, the greatest number and those the most
important; the more so, in face of the caviling criticism of the day. For
whereas there have hitherto been good poets, each in his own branch, the
critics now expect one man to surpass all others in their several lines
of excellence.

In speaking of a tragedy as the same or different, the best test to take
is the plot. Identity exists where the Complication and Unraveling are
the same. Many poets tie the knot well, but unravel it Both arts,
however, should always be mastered.

Again, the poet should remember what has been often said, and not make an
Epic structure into a tragedy- by an Epic structure I mean one with a
multiplicity of plots- as if, for instance, you were to make a tragedy
out of the entire story of the Iliad. In the Epic poem, owing to its
length, each part assumes its proper magnitude. In the drama the result
is far from answering to the poet's expectation. The proof is that the
poets who have dramatized the whole story of the Fall of Troy, instead of
selecting portions, like Euripides; or who have taken the whole tale of
Niobe, and not a part of her story, like Aeschylus, either fail utterly
or meet with poor success on the stage. Even Agathon has been known to
fail from this one defect. In his Reversals of the Situation, however, he
shows a marvelous skill in the effort to hit the popular taste- to
produce a tragic effect that satisfies the moral sense. This effect is
produced when the clever rogue, like Sisyphus, is outwitted, or the brave
villain defeated. Such an event is probable in Agathon's sense of the
word: 'is probable,' he says, 'that many things should happen contrary to
probability.'

The Chorus too should be regarded as one of the actors; it should be an
integral part of the whole, and share in the action, in the manner not of
Euripides but of Sophocles. As for the later poets, their choral songs
pertain as little to the subject of the piece as to that of any other
tragedy. They are, therefore, sung as mere interludes- a practice first
begun by Agathon. Yet what difference is there between introducing such
choral interludes, and transferring a speech, or even a whole act, from
one play to another.

Part XIX

It remains to speak of Diction and Thought, the other parts of Tragedy
having been already discussed. concerning Thought, we may assume what is
said in the Rhetoric, to which inquiry the subject more strictly belongs.
Under Thought is included every effect which has to be produced by
speech, the subdivisions being: proof and refutation; the excitation of
the feelings, such as pity, fear, anger, and the like; the suggestion of
importance or its opposite. Now, it is evident that the dramatic
incidents must be treated from the same points of view as the dramatic
speeches, when the object is to evoke the sense of pity, fear,
importance, or probability. The only difference is that the incidents
should speak for themselves without verbal exposition; while effects
aimed at in should be produced by the speaker, and as a result of the
speech. For what were the business of a speaker, if the Thought were
revealed quite apart from what he says?

Next, as regards Diction. One branch of the inquiry treats of the Modes
of Utterance. But this province of knowledge belongs to the art of
Delivery and to the masters of that science. It includes, for instance-
what is a command, a prayer, a statement, a threat, a question, an
answer, and so forth. To know or not to know these things involves no
serious censure upon the poet's art. For who can admit the fault imputed
to Homer by Protagoras- that in the words, 'Sing, goddess, of the wrath,
he gives a command under the idea that he utters a prayer? For to tell
some one to do a thing or not to do it is, he says, a command. We may,
therefore, pass this over as an inquiry that belongs to another art, not
to poetry.

Part XX

Language in general includes the following parts: Letter, Syllable,
Connecting Word, Noun, Verb, Inflection or Case, Sentence or Phrase.

A Letter is an indivisible sound, yet not every such sound, but only one
which can form part of a group of sounds. For even brutes utter
indivisible sounds, none of which I call a letter. The sound I mean may
be either a vowel, a semivowel, or a mute. A vowel is that which without
impact of tongue or lip has an audible sound. A semivowel that which with
such impact has an audible sound, as S and R. A mute, that which with
such impact has by itself no sound, but joined to a vowel sound becomes
audible, as G and D. These are distinguished according to the form
assumed by the mouth and the place where they are produced; according as
they are aspirated or smooth, long or short; as they are acute, grave, or
of an intermediate tone; which inquiry belongs in detail to the writers
on meter.

A Syllable is a nonsignificant sound, composed of a mute and a vowel: for
GR without A is a syllable, as also with A- GRA. But the investigation of
these differences belongs also to metrical science.

A Connecting Word is a nonsignificant sound, which neither causes nor
hinders the union of many sounds into one significant sound; it may be
placed at either end or in the middle of a sentence. Or, a nonsignificant
sound, which out of several sounds, each of them significant, is capable
of forming one significant sound- as amphi, peri, and the like. Or, a
nonsignificant sound, which marks the beginning, end, or division of a
sentence; such, however, that it cannot correctly stand by itself at the
beginning of a sentence- as men, etoi, de.

A Noun is a composite significant sound, not marking time, of which no
part is in itself significant: for in double or compound words we do not
employ the separate parts as if each were in itself significant. Thus in
Theodorus, 'god-given,' the doron or 'gift' is not in itself significant.

A Verb is a composite significant sound, marking time, in which, as in
the noun, no part is in itself significant. For 'man' or 'white' does not
express the idea of 'when'; but 'he walks' or 'he has walked' does
connote time, present or past.

Inflection belongs both to the noun and verb, and expresses either the
relation 'of,' 'to,' or the like; or that of number, whether one or many,
as 'man' or 'men'; or the modes or tones in actual delivery, e.g., a
question or a command. 'Did he go?' and 'go' are verbal inflections of
this kind.

A Sentence or Phrase is a composite significant sound, some at least of
whose parts are in themselves significant; for not every such group of
words consists of verbs and nouns- 'the definition of man,' for example-
but it may dispense even with the verb. Still it will always have some
significant part, as 'in walking,' or 'Cleon son of Cleon.' A sentence or
phrase may form a unity in two ways- either as signifying one thing, or
as consisting of several parts linked together. Thus the Iliad is one by
the linking together of parts, the definition of man by the unity of the
thing signified.

Section 3
Part XXI

Words are of two kinds, simple and double. By simple I mean those
composed of nonsignificant elements, such as ge, 'earth.' By double or
compound, those composed either of a significant and nonsignificant
element (though within the whole word no element is significant), or of
elements that are both significant. A word may likewise be triple,
quadruple, or multiple in form, like so many Massilian expressions, e.g.,
'Hermo-caico-xanthus [who prayed to Father Zeus].'

Every word is either current, or strange, or metaphorical, or ornamental,
or newly-coined, or lengthened, or contracted, or altered.

By a current or proper word I mean one which is in general use among a
people; by a strange word, one which is in use in another country.
Plainly, therefore, the same word may be at once strange and current, but
not in relation to the same people. The word sigynon, 'lance,' is to the
Cyprians a current term but to us a strange one.

Metaphor is the application of an alien name by transference either from
genus to species, or from species to genus, or from species to species,
or by analogy, that is, proportion. Thus from genus to species, as:
'There lies my ship'; for lying at anchor is a species of lying. From
species to genus, as: 'Verily ten thousand noble deeds hath Odysseus
wrought'; for ten thousand is a species of large number, and is here used
for a large number generally. From species to species, as: 'With blade of
bronze drew away the life,' and 'Cleft the water with the vessel of
unyielding bronze.' Here arusai, 'to draw away' is used for tamein, 'to
cleave,' and tamein, again for arusai- each being a species of taking
away. Analogy or proportion is when the second term is to the first as
the fourth to the third. We may then use the fourth for the second, or
the second for the fourth. Sometimes too we qualify the metaphor by
adding the term to which the proper word is relative. Thus the cup is to
Dionysus as the shield to Ares. The cup may, therefore, be called 'the
shield of Dionysus,' and the shield 'the cup of Ares.' Or, again, as old
age is to life, so is evening to day. Evening may therefore be called,
'the old age of the day,' and old age, 'the evening of life,' or, in the
phrase of Empedocles, 'life's setting sun.' For some of the terms of the
proportion there is at times no word in existence; still the metaphor may
be used. For instance, to scatter seed is called sowing: but the action
of the sun in scattering his rays is nameless. Still this process bears
to the sun the same relation as sowing to the seed. Hence the expression
of the poet 'sowing the god-created light.' There is another way in which
this kind of metaphor may be employed. We may apply an alien term, and
then deny of that term one of its proper attributes; as if we were to
call the shield, not 'the cup of Ares,' but 'the wineless cup'.

A newly-coined word is one which has never been even in local use, but is
adopted by the poet himself. Some such words there appear to be: as
ernyges, 'sprouters,' for kerata, 'horns'; and areter, 'supplicator', for
hiereus, 'priest.'

A word is lengthened when its own vowel is exchanged for a longer one, or
when a syllable is inserted. A word is contracted when some part of it is
removed. Instances of lengthening are: poleos for poleos, Peleiadeo for
Peleidou; of contraction: kri, do, and ops, as in mia ginetai amphoteron
ops, 'the appearance of both is one.'

An altered word is one in which part of the ordinary form is left
unchanged, and part is recast: as in dexiteron kata mazon, 'on the right
breast,' dexiteron is for dexion.

Nouns in themselves are either masculine, feminine, or neuter. Masculine
are such as end in N, R, S, or in some letter compounded with S- these
being two, PS and X. Feminine, such as end in vowels that are always
long, namely E and O, and- of vowels that admit of lengthening- those in
A. Thus the number of letters in which nouns masculine and feminine end
is the same; for PS and X are equivalent to endings in S. No noun ends in
a mute or a vowel short by nature. Three only end in I- meli, 'honey';
kommi, 'gum'; peperi, 'pepper'; five end in U. Neuter nouns end in these
two latter vowels; also in N and S.

Part XXII

The perfection of style is to be clear without being mean. The clearest
style is that which uses only current or proper words; at the same time
it is mean- witness the poetry of Cleophon and of Sthenelus. That
diction, on the other hand, is lofty and raised above the commonplace
which employs unusual words. By unusual, I mean strange (or rare) words,
metaphorical, lengthened- anything, in short, that differs from the
normal idiom. Yet a style wholly composed of such words is either a
riddle or a jargon; a riddle, if it consists of metaphors; a jargon, if
it consists of strange (or rare) words. For the essence of a riddle is to
express true facts under impossible combinations. Now this cannot be done
by any arrangement of ordinary words, but by the use of metaphor it can.
Such is the riddle: 'A man I saw who on another man had glued the bronze
by aid of fire,' and others of the same kind. A diction that is made up
of strange (or rare) terms is a jargon. A certain infusion, therefore, of
these elements is necessary to style; for the strange (or rare) word, the
metaphorical, the ornamental, and the other kinds above mentioned, will
raise it above the commonplace and mean, while the use of proper words
will make it perspicuous. But nothing contributes more to produce a
cleanness of diction that is remote from commonness than the lengthening,
contraction, and alteration of words. For by deviating in exceptional
cases from the normal idiom, the language will gain distinction; while,
at the same time, the partial conformity with usage will give
perspicuity. The critics, therefore, are in error who censure these
licenses of speech, and hold the author up to ridicule. Thus Eucleides,
the elder, declared that it would be an easy matter to be a poet if you
might lengthen syllables at will. He caricatured the practice in the very
form of his diction, as in the verse:

"Epicharen eidon Marathonade badizonta,

"I saw Epichares walking to Marathon, "

or,

"ouk an g'eramenos ton ekeinou elleboron.

"Not if you desire his hellebore. "

To employ such license at all obtrusively is, no doubt, grotesque; but in
any mode of poetic diction there must be moderation. Even metaphors,
strange (or rare) words, or any similar forms of speech, would produce
the like effect if used without propriety and with the express purpose of
being ludicrous. How great a difference is made by the appropriate use of
lengthening, may be seen in Epic poetry by the insertion of ordinary
forms in the verse. So, again, if we take a strange (or rare) word, a
metaphor, or any similar mode of expression, and replace it by the
current or proper term, the truth of our observation will be manifest.
For example, Aeschylus and Euripides each composed the same iambic line.
But the alteration of a single word by Euripides, who employed the rarer
term instead of the ordinary one, makes one verse appear beautiful and
the other trivial. Aeschylus in his Philoctetes says:

"phagedaina d'he mou sarkas esthiei podos.

"The tumor which is eating the flesh of my foot. "

Euripides substitutes thoinatai, 'feasts on,' for esthiei, 'feeds on.'
Again, in the line,

"nun de m'eon oligos te kai outidanos kai aeikes,

"Yet a small man, worthless and unseemly, "

the difference will be felt if we substitute the common words,

"nun de m'eon mikros te kai asthenikos kai aeides.

"Yet a little fellow, weak and ugly. "
Or, if for the line,

"diphron aeikelion katatheis oligen te trapezan,

"Setting an unseemly couch and a meager table, "

we read,

"diphron mochtheron katatheis mikran te trapezan.

"Setting a wretched couch and a puny table. "

Or, for eiones booosin, 'the sea shores roar,' eiones krazousin, 'the sea
shores screech.'

Again, Ariphrades ridiculed the tragedians for using phrases which no one
would employ in ordinary speech: for example, domaton apo, 'from the
house away,' instead of apo domaton, 'away from the house;' sethen, ego
de nin, 'to thee, and I to him;' Achilleos peri, 'Achilles about,'
instead of peri Achilleos, 'about Achilles;' and the like. It is
precisely because such phrases are not part of the current idiom that
they give distinction to the style. This, however, he failed to see.

It is a great matter to observe propriety in these several modes of
expression, as also in compound words, strange (or rare) words, and so
forth. But the greatest thing by far is to have a command of metaphor.
This alone cannot be imparted by another; it is the mark of genius, for
to make good metaphors implies an eye for resemblances.

Of the various kinds of words, the compound are best adapted to
dithyrambs, rare words to heroic poetry, metaphors to iambic. In heroic
poetry, indeed, all these varieties are serviceable. But in iambic verse,
which reproduces, as far as may be, familiar speech, the most appropriate
words are those which are found even in prose. These are the current or
proper, the metaphorical, the ornamental.

Concerning Tragedy and imitation by means of action this may suffice.

Part XXIII

As to that poetic imitation which is narrative in form and employs a
single meter, the plot manifestly ought, as in a tragedy, to be
constructed on dramatic principles. It should have for its subject a
single action, whole and complete, with a beginning, a middle, and an
end. It will thus resemble a living organism in all its unity, and
produce the pleasure proper to it. It will differ in structure from
historical compositions, which of necessity present not a single action,
but a single period, and all that happened within that period to one
person or to many, little connected together as the events may be. For as
the sea-fight at Salamis and the battle with the Carthaginians in Sicily
took place at the same time, but did not tend to any one result, so in
the sequence of events, one thing sometimes follows another, and yet no
single result is thereby produced. Such is the practice, we may say, of
most poets. Here again, then, as has been already observed, the
transcendent excellence of Homer is manifest. He never attempts to make
the whole war of Troy the subject of his poem, though that war had a
beginning and an end. It would have been too vast a theme, and not easily
embraced in a single view. If, again, he had kept it within moderate
limits, it must have been over-complicated by the variety of the
incidents. As it is, he detaches a single portion, and admits as episodes
many events from the general story of the war- such as the Catalogue of
the ships and others- thus diversifying the poem. All other poets take a
single hero, a single period, or an action single indeed, but with a
multiplicity of parts. Thus did the author of the Cypria and of the
Little Iliad. For this reason the Iliad and the Odyssey each furnish the
subject of one tragedy, or, at most, of two; while the Cypria supplies
materials for many, and the Little Iliad for eight- the Award of the
Arms, the Philoctetes, the Neoptolemus, the Eurypylus, the Mendicant
Odysseus, the Laconian Women, the Fall of Ilium, the Departure of the
Fleet.

Part XXIV

Again, Epic poetry must have as many kinds as Tragedy: it must be simple,
or complex, or 'ethical,'or 'pathetic.' The parts also, with the
exception of song and spectacle, are the same; for it requires Reversals
of the Situation, Recognitions, and Scenes of Suffering. Moreover, the
thoughts and the diction must be artistic. In all these respects Homer is
our earliest and sufficient model. Indeed each of his poems has a twofold
character. The Iliad is at once simple and 'pathetic,' and the Odyssey
complex (for Recognition scenes run through it), and at the same time
'ethical.' Moreover, in diction and thought they are supreme.

Epic poetry differs from Tragedy in the scale on which it is constructed,
and in its meter. As regards scale or length, we have already laid down
an adequate limit: the beginning and the end must be capable of being
brought within a single view. This condition will be satisfied by poems
on a smaller scale than the old epics, and answering in length to the
group of tragedies presented at a single sitting.

Epic poetry has, however, a great- a special- capacity for enlarging its
dimensions, and we can see the reason. In Tragedy we cannot imitate
several lines of actions carried on at one and the same time; we must
confine ourselves to the action on the stage and the part taken by the
players. But in Epic poetry, owing to the narrative form, many events
simultaneously transacted can be presented; and these, if relevant to the
subject, add mass and dignity to the poem. The Epic has here an
advantage, and one that conduces to grandeur of effect, to diverting the
mind of the hearer, and relieving the story with varying episodes. For
sameness of incident soon produces satiety, and makes tragedies fail on
the stage.

As for the meter, the heroic measure has proved its fitness by hexameter
test of experience. If a narrative poem in any other meter or in many
meters were now composed, it would be found incongruous. For of all
measures the heroic is the stateliest and the most massive; and hence it
most readily admits rare words and metaphors, which is another point in
which the narrative form of imitation stands alone. On the other hand,
the iambic and the trochaic tetrameter are stirring measures, the latter
being akin to dancing, the former expressive of action. Still more absurd
would it be to mix together different meters, as was done by Chaeremon.
Hence no one has ever composed a poem on a great scale in any other than
heroic verse. Nature herself, as we have said, teaches the choice of the
proper measure.

Homer, admirable in all respects, has the special merit of being the only
poet who rightly appreciates the part he should take himself. The poet
should speak as little as possible in his own person, for it is not this
that makes him an imitator. Other poets appear themselves upon the scene
throughout, and imitate but little and rarely. Homer, after a few
prefatory words, at once brings in a man, or woman, or other personage;
none of them wanting in characteristic qualities, but each with a
character of his own.

The element of the wonderful is required in Tragedy. The irrational, on
which the wonderful depends for its chief effects, has wider scope in
Epic poetry, because there the person acting is not seen. Thus, the
pursuit of Hector would be ludicrous if placed upon the stage- the Greeks
standing still and not joining in the pursuit, and Achilles waving them
back. But in the Epic poem the absurdity passes unnoticed. Now the
wonderful is pleasing, as may be inferred from the fact that every one
tells a story with some addition of his knowing that his hearers like it.
It is Homer who has chiefly taught other poets the art of telling lies
skilfully. The secret of it lies in a fallacy For, assuming that if one
thing is or becomes, a second is or becomes, men imagine that, if the
second is, the first likewise is or becomes. But this is a false
inference. Hence, where the first thing is untrue, it is quite
unnecessary, provided the second be true, to add that the first is or has
become. For the mind, knowing the second to be true, falsely infers the
truth of the first. There is an example of this in the Bath Scene of the
Odyssey.

Accordingly, the poet should prefer probable impossibilities to
improbable possibilities. The tragic plot must not be composed of
irrational parts. Everything irrational should, if possible, be excluded;
or, at all events, it should lie outside the action of the play (as, in
the Oedipus, the hero's ignorance as to the manner of Laius' death); not
within the drama- as in the Electra, the messenger's account of the
Pythian games; or, as in the Mysians, the man who has come from Tegea to
Mysia and is still speechless. The plea that otherwise the plot would
have been ruined, is ridiculous; such a plot should not in the first
instance be constructed. But once the irrational has been introduced and
an air of likelihood imparted to it, we must accept it in spite of the
absurdity. Take even the irrational incidents in the Odyssey, where
Odysseus is left upon the shore of Ithaca. How intolerable even these
might have been would be apparent if an inferior poet were to treat the
subject. As it is, the absurdity is veiled by the poetic charm with which
the poet invests it.

The diction should be elaborated in the pauses of the action, where there
is no expression of character or thought. For, conversely, character and
thought are merely obscured by a diction that is over-brilliant
Part XXV

With respect to critical difficulties and their solutions, the number and
nature of the sources from which they may be drawn may be thus exhibited.

The poet being an imitator, like a painter or any other artist, must of
necessity imitate one of three objects- things as they were or are,
things as they are said or thought to be, or things as they ought to be.
The vehicle of expression is language- either current terms or, it may
be, rare words or metaphors. There are also many modifications of
language, which we concede to the poets. Add to this, that the standard
of correctness is not the same in poetry and politics, any more than in
poetry and any other art. Within the art of poetry itself there are two
kinds of faults- those which touch its essence, and those which are
accidental. If a poet has chosen to imitate something, [but has imitated
it incorrectly] through want of capacity, the error is inherent in the
poetry. But if the failure is due to a wrong choice- if he has
represented a horse as throwing out both his off legs at once, or
introduced technical inaccuracies in medicine, for example, or in any
other art- the error is not essential to the poetry. These are the points
of view from which we should consider and answer the objections raised by
the critics.

First as to matters which concern the poet's own art. If he describes the
impossible, he is guilty of an error; but the error may be justified, if
the end of the art be thereby attained (the end being that already
mentioned)- if, that is, the effect of this or any other part of the poem
is thus rendered more striking. A case in point is the pursuit of Hector.
if, however, the end might have been as well, or better, attained without
violating the special rules of the poetic art, the error is not
justified: for every kind of error should, if possible, be avoided.

Again, does the error touch the essentials of the poetic art, or some
accident of it? For example, not to know that a hind has no horns is a
less serious matter than to paint it inartistically.

Further, if it be objected that the description is not true to fact, the
poet may perhaps reply, 'But the objects are as they ought to be'; just
as Sophocles said that he drew men as they ought to be; Euripides, as
they are. In this way the objection may be met. If, however, the
representation be of neither kind, the poet may answer, 'This is how men
say the thing is.' applies to tales about the gods. It may well be that
these stories are not higher than fact nor yet true to fact: they are,
very possibly, what Xenophanes says of them. But anyhow, 'this is what is
said.' Again, a description may be no better than the fact: 'Still, it
was the fact'; as in the passage about the arms: 'Upright upon their
butt-ends stood the spears.' This was the custom then, as it now is among
the Illyrians.

Again, in examining whether what has been said or done by some one is
poetically right or not, we must not look merely to the particular act or
saying, and ask whether it is poetically good or bad. We must also
consider by whom it is said or done, to whom, when, by what means, or for
what end; whether, for instance, it be to secure a greater good, or avert
a greater evil.

Other difficulties may be resolved by due regard to the usage of
language. We may note a rare word, as in oureas men proton, 'the mules
first [he killed],' where the poet perhaps employs oureas not in the
sense of mules, but of sentinels. So, again, of Dolon: 'ill-favored
indeed he was to look upon.' It is not meant that his body was ill-shaped
but that his face was ugly; for the Cretans use the word eueides, 'well-
flavored' to denote a fair face. Again, zoroteron de keraie, 'mix the
drink livelier' does not mean 'mix it stronger' as for hard drinkers, but
'mix it quicker.'

Sometimes an expression is metaphorical, as 'Now all gods and men were
sleeping through the night,' while at the same time the poet says: 'Often
indeed as he turned his gaze to the Trojan plain, he marveled at the
sound of flutes and pipes.' 'All' is here used metaphorically for 'many,'
all being a species of many. So in the verse, 'alone she hath no part...
, oie, 'alone' is metaphorical; for the best known may be called the only
one.

Again, the solution may depend upon accent or breathing. Thus Hippias of
Thasos solved the difficulties in the lines, didomen (didomen) de hoi,
and to men hou (ou) kataputhetai ombro.

Or again, the question may be solved by punctuation, as in Empedocles:
'Of a sudden things became mortal that before had learnt to be immortal,
and things unmixed before mixed.'

Or again, by ambiguity of meaning, as parocheken de pleo nux, where the
word pleo is ambiguous.

Or by the usage of language. Thus any mixed drink is called oinos,
'wine'. Hence Ganymede is said 'to pour the wine to Zeus,' though the
gods do not drink wine. So too workers in iron are called chalkeas, or
'workers in bronze.' This, however, may also be taken as a metaphor.

Again, when a word seems to involve some inconsistency of meaning, we
should consider how many senses it may bear in the particular passage.
For example: 'there was stayed the spear of bronze'- we should ask in how
many ways we may take 'being checked there.' The true mode of
interpretation is the precise opposite of what Glaucon mentions. Critics,
he says, jump at certain groundless conclusions; they pass adverse
judgement and then proceed to reason on it; and, assuming that the poet
has said whatever they happen to think, find fault if a thing is
inconsistent with their own fancy.

The question about Icarius has been treated in this fashion. The critics
imagine he was a Lacedaemonian. They think it strange, therefore, that
Telemachus should not have met him when he went to Lacedaemon. But the
Cephallenian story may perhaps be the true one. They allege that Odysseus
took a wife from among themselves, and that her father was Icadius, not
Icarius. It is merely a mistake, then, that gives plausibility to the
objection.
In general, the impossible must be justified by reference to artistic
requirements, or to the higher reality, or to received opinion. With
respect to the requirements of art, a probable impossibility is to be
preferred to a thing improbable and yet possible. Again, it may be
impossible that there should be men such as Zeuxis painted. 'Yes,' we
say, 'but the impossible is the higher thing; for the ideal type must
surpass the realty.' To justify the irrational, we appeal to what is
commonly said to be. In addition to which, we urge that the irrational
sometimes does not violate reason; just as 'it is probable that a thing
may happen contrary to probability.'

Things that sound contradictory should be examined by the same rules as
in dialectical refutation- whether the same thing is meant, in the same
relation, and in the same sense. We should therefore solve the question
by reference to what the poet says himself, or to what is tacitly assumed
by a person of intelligence.

The element of the irrational, and, similarly, depravity of character,
are justly censured when there is no inner necessity for introducing
them. Such is the irrational element in the introduction of Aegeus by
Euripides and the badness of Menelaus in the Orestes.

Thus, there are five sources from which critical objections are drawn.
Things are censured either as impossible, or irrational, or morally
hurtful, or contradictory, or contrary to artistic correctness. The
answers should be sought under the twelve heads above mentioned.

Part XXVI

The question may be raised whether the Epic or Tragic mode of imitation
is the higher. If the more refined art is the higher, and the more
refined in every case is that which appeals to the better sort of
audience, the art which imitates anything and everything is manifestly
most unrefined. The audience is supposed to be too dull to comprehend
unless something of their own is thrown by the performers, who therefore
indulge in restless movements. Bad flute-players twist and twirl, if they
have to represent 'the quoit-throw,' or hustle the coryphaeus when they
perform the Scylla. Tragedy, it is said, has this same defect. We may
compare the opinion that the older actors entertained of their
successors. Mynniscus used to call Callippides 'ape' on account of the
extravagance of his action, and the same view was held of Pindarus.
Tragic art, then, as a whole, stands to Epic in the same relation as the
younger to the elder actors. So we are told that Epic poetry is addressed
to a cultivated audience, who do not need gesture; Tragedy, to an
inferior public. Being then unrefined, it is evidently the lower of the
two.

Now, in the first place, this censure attaches not to the poetic but to
the histrionic art; for gesticulation may be equally overdone in epic
recitation, as by Sosistratus, or in lyrical competition, as by
Mnasitheus the Opuntian. Next, all action is not to be condemned- any
more than all dancing- but only that of bad performers. Such was the
fault found in Callippides, as also in others of our own day, who are
censured for representing degraded women. Again, Tragedy like Epic poetry
produces its effect even without action; it reveals its power by mere
reading. If, then, in all other respects it is superior, this fault, we
say, is not inherent in it.

And superior it is, because it has an the epic elements- it may even use
the epic meter- with the music and spectacular effects as important
accessories; and these produce the most vivid of pleasures. Further, it
has vividness of impression in reading as well as in representation.
Moreover, the art attains its end within narrower limits for the
concentrated effect is more pleasurable than one which is spread over a
long time and so diluted. What, for example, would be the effect of the
Oedipus of Sophocles, if it were cast into a form as long as the Iliad?
Once more, the Epic imitation has less unity; as is shown by this, that
any Epic poem will furnish subjects for several tragedies. Thus if the
story adopted by the poet has a strict unity, it must either be concisely
told and appear truncated; or, if it conforms to the Epic canon of
length, it must seem weak and watery. [Such length implies some loss of
unity,] if, I mean, the poem is constructed out of several actions, like
the Iliad and the Odyssey, which have many such parts, each with a
certain magnitude of its own. Yet these poems are as perfect as possible
in structure; each is, in the highest degree attainable, an imitation of
a single action.

If, then, tragedy is superior to epic poetry in all these respects, and,
moreover, fulfills its specific function better as an art- for each art
ought to produce, not any chance pleasure, but the pleasure proper to it,
as already stated- it plainly follows that tragedy is the higher art, as
attaining its end more perfectly.

Thus much may suffice concerning Tragic and Epic poetry in general; their
several kinds and parts, with the number of each and their differences;
the causes that make a poem good or bad; the objections of the critics
and the answers to these objections....
A Nightmare on Elm Street Screenplay

                       A Nightmare on Elm Street
                           A Screenplay By:
                              Wes Craven

     INT. (MONTAGE).

     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 linage attached to the glove.

             -- Then the BLADES attached to all of it.

             -- Then the MAN'S HAND slips into this glove-like
                aparatus, 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.


     EXT. LOS ANGELES. NIGHT. (2nd Unit)

     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:

INT. CONCRETE PASSAGEWAY.

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 teet on
edge, twists the MUSIC, and sends TINA running.


INT. BOILER ROOM.

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:

INT. TINA'S BEDROOM. NIGHT.

TINA convulses in bed with a SCREAM, loking 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 (O.S.)
                      (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 bed, her
face white as her sheet.

                                         FADE TO BLACK
                                         BURN ON

                         THE FIRST DAY

                            CHILDREN (O.S.)
                      (singing)
               One two, Freddie's coming for you...
               Three four better lock you door
               Five six grab your crucifix...


EXT. HIGH SCHOOL. DAY.

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
THOMPSON, and Nancy's boyfriend and owner of the car, GLEN LANTZ.

FOREGROUND seeral 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!

MOVING ANGLE FAVORING NANCY. She's a pretty girl in a letter
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 can say more, ROD LANE, a
lean, Richard Gere sort in black leather and New Wave studs joins
up with them and interupts.

                            ROD
                      (to Tina)
               Had a hardon this morning when
               I woke up, Tina. Had your name
               written all over it.

Tina cracks her gum with a look of withering indifference.

                            TINA
               There's four letters in my name,
               Rod. How could there be room
               on your joint for four letters?

The guy's stopped in his tracks.

                            ROD
               Hey, up yours with a twirling lawn
               mower!

He cuts off across the lawn.

                            TINA
               Rod says the sweetest things.

                            NANCY
               He's nuts about you.

                               TINA
               Yeah, nuts.

TINA makes a face and rakes her fingernails across a tree as she
passes.

                            TINA (CONTD)
                      (yawns)
               Anyway, I'm too tired to worry
               about the creep. Couldn't get
               back to sleep at all.
                      (beat)
               so what you dream?

                            NANCY
               Forget it, the point is, every-
               body has nightmares once in a while.
               No biggy.

                            GLEN
               Next time you have one, just
               tell yourself that's just all
               it is, right while you're having
               it, y'know? That's the trick.
               once you do that, you wake right
               up. At least it works for me.

TINA looks at GLEN sharply.    He kisses NANCY and darts off for
class.

                             TINA
               Hey!   You have a nightmare too?

But GLEN's gone.

                            TINA   (CONTD)
               Maybe we're gonna   have the Big
               Earthquake. They    say things get
               weird just before   that...

BELLS ARE RINGING, and STUDENTS crowding; TINA and NANCY are
drawn into the crush.

                                        FADE TO BLACK

EXT. A VALLEY STREET. NIGHT.

ANGLE ON A MODEST HOME; no car, just a couple of BIKES in the
drive. Every light in the house and yard is turned on. We HEAR
the rock group MADNESS played at a 'No adults home' volume.


INT. TINA'S LIVING ROOM. NIGHT.

ON GLEN, dialing.   Nancy and TINA are watching, giggling.

                            TINA
               I can't believe his mother let him
               come over here.

                             NANCY
               Right.   Well, she didn't exactly...

GLEN shoves a cassette into TINA's Ghetto Blaster.

                            GLEN
                      (to TINA)
               See, I got this cousin who lives
               near the airport, that it's okay
               for me to stay with, right? So I
               found this sound effects tape at
               Licorice Pizza, and...

The phone is answered.   GLEN jerks the tone arm off the record
with a SCRUPPT!!

                            GLEN (CONTD)
               Hello, Mom?
                      (pushes the 'play' button)
               Yeah, out here at Barry's.

A JET PLANE begins to make itself heard on the tape. GLEN moves
the machine closer to the phone. It's a big plane -- sounds like
a 747 coming in for a landing.

                            GLEN (CONTD)
               Huh? Yeah, noisy as usual. Glad
               we don't live here -- huh? Yeah,
               Aunt Eunice says hello.

The Jet is SCREAMING IN now, full flaps and howling like a
monstrous banshee. NANCY and TINA dissolve into muffled
giggles.

                            GLEN (CONTD)
                      (shouting over the din)
               Right, right -- I'll call you in the
               morning! Right! Huh? Yeah, sure,
               I, huh?...

Suddenly the tape goes silent. GLEN blanches. Next moment
another ENGINE is heard, but this one of a FORD LOTUS screaming
by at 180 mph.

                            GLEN (CONTD)
                      (reacting to his mother's
                       reaction)
               Uh...some kid's drag racing
               outside, I think...

The sound effect changes abruptly to a SPEEDING SEDAN -- and the
ages-old SCREECH of BRAKES, last-second SCREAM and horrible
COLLISION. NANCY gamely tries to find the right button to turn
it off, but misses. There's a loud SCREEK of fast-forward mayhem
-- Glen improvises desperately.

                             GLEN (CONTD)
               Listen, Mom, I got to go -- I
               think there's been an accident out
               front -- I --

NANCY jumps back from the cassette player -- WORLD WAR II bursts
out at top volume -- MACHINE GUNS, HAND GRENADES, DIVING BEARCATS
and SHOUTS of charging Huns. GLEN makes a last-ditch dive and
     flings the cassette out of the machine.

     Blessed silence at last.

                                 GLEN (CONTD)
                    Right. I'll call the police. No,
                    just some neighbors having a fight,
                    I guess. I'm fine, I'm fine!
                    Call you in the morning!

     He hangs up and sags back.

                                 NANCY
                    Worked like a charm.

                                    GLEN
                    Jesus.

     TINA shoves another cassette in, and MICHAEL JACKSON'S 'THRILLER'
     blasts from the STEREO. The kids relax, the CAMERA GLIDES PAST
     THEM TO THE WINDOW.

      The WIND is moving the bare TREE BRANCH outside. CAMERA PANS BACK
to the comfortably threadbare room, uneasy. We see NANCY       poking at
a flame in the hearth as TINA comes FOREGROUND to draw   the drapes.

                                 NANCY
                    Nice to have a fire.

                                    TINA
                    Really.     Turn 'er up a little.

     NANCY turns a nearby valve handle, and the gas fire climbs
     brightly over its artificial log. TINA joins her, heartened.

                                 NANCY
                    Maybe we should call Rod, have him
                    come over too. He might get jealous.

                                 TINA
                    Rod and I are done.     He's too much
                    of a maniac.

                                 GLEN
                    He should join the Marines, they
                    could make something out of him.
                    like a hand grenade.

     TINA laughs despite hereself.    NANCY brightens.

                                NANCY
                    See? You've forgotten the bad
                    dream. Didn't I tell you?
TINA shakes her head, wishing she had forgotten.

                              TINA
                 All day long I been seeing that
                 guy's weird face, and hearing
                 those fingernails...

NANCY looks up with a flinch.

                              NANCY
                 Fingernails?
                        (blinks, laughing)
                 That's amazing, you saying that.
                 It made me remember the dream I
                 had last night.

TINA looks up.

                              TINA
                 What you dream?

                              NANCY
                 I dreamed about this guy in a
                 dirty red and yellow sweater;
                 I dream in color, y'know; he
                 walked into the room I was in,
                 right, right through the wall,
                 like it was smoke or something,
                 and just stared at me. Sort of
                 ...obscenely. Then he walked
                 out through the wall on the
                 other side. Like he'd just
                 come to check me out...

The story has left the room deathly quiet.    Especially TINA seems
effected.

                              TINA
                        (quietly)
                 So what about fingernails?

NANCY remembers, imitating the frightful coincidence.

                              NANCY
                 He scraped his fingernails
                 along things -- actually, they
                 were more like fingerknives or
                 something, like he'd made them
                 himself? Anyway, they made
                 this horrible noise --
                        (immitates)
                 sssssccrrrtttt...

TINA pales.
                                 TINA
                    Nancy. You dreamed about the
                    same creep I did, Nancy...

     The girls stare at each other.

                                 GLEN
                    That's impossible.

     They look at him.   He looks away, as if suddenly listening.

                                   TINA
                    What?

                                   GLEN
                    Nothing.

                                 TINA
                    There's somebody out there.
                    isn't there...

                                 NANCY
                    I didn't hear anything...

     Then there's an unmistakeable SOUND. A distinct SCRAPING against
     the house, just outside the window. Something multiple, thin and
     sharp. Something like metal fingernails. NANCY's mouth opens a
     fraction of an inch.


     EXT. FRONT OF HOUSE. NIGHT.

     CLOSE ON FRONT DOOR as a BOLT UNLOCKS, a KEY TURNS, a CHAIN is
     REMOVED. At last the door swings open and GLEN swaggers out.

                                 GLEN
                    I'm gonna punch out your ugly
                    lights, whoever you are.

     No answer but a slight RUSTLE in the bushes. GLEN does a 180 and
     walks right back inside. The girls prod him right back out,
     giddy with giggling fear.

                                 GLEN
                    It's just a stupid cat.

                                  NANCY
                    Then bring us back its tail
                    and whiskers.

      The girls push him farther. GLEN edges towards the shadows.   Then
the SCRITCHING again. GLEN stops; TINA edges back into the    house.
                            TINA
               Anyway, I don't have a cat...

ANGLE INTO THE SHADOWS. Turned from the girls, GLEN sobers,
listening. IN HIS POV we see the street. Silent houses.
Motionless trees on empty lawns.

                              GLEN
               Kitty-kitty?    Chow chow chow?

Not a living, or dead, soul. GLEN turns back to the girls with a
shrug. Instantly, a large FIGURE pounces and throws him to the
ground with a SHOUT.

The girls SCREAM in panic and run for the house.

REVERSE -- ROD leaps up and shouts like a sportscaster --

                            ROD
               And it's number thirty-six, Rod
               Lane, bringing Lantz down just
               three yards from the goal with a
               brilliant tackle! And the fans
               go wild!

ROD dances into the light, flashing a wild gypsy's grin at TINA.
The girl's relieved and frightened at the same time.

                            TINA
               What the hell you doing here?

                             ROD
               Came to make up, no big deal.
               Your ma home?

                             TINA
               Of course.   What's that?

ROD takes the spindly hand rake he's found and scraps the house's
wall. It makes a terrible SCRIIITCHING SOUND. He grins and
tosses it aside.

                             ROD
               Intense, huh?
                      (sizes up the three)
               So what's happening, an orgy or
               something?

                            GLEN
               Maybe a funeral, you dickhead.

ROD wheels, a knife suddenly in his hand, as if ready to take
Glen's throat out. NANCY breaks between --
                               NANCY
                  -- Just a sleep-over date, Rod.
                  Just Tina and me. Glen was just
                  leaving.

ROD eyes GLEN, laughs and flips the knife closed and away,
putting his arm around TINA's shoulder and laughing as if it's
all a great joke.

                               ROD
                  You see his face?
                         (lower)
                  Your ma ain't home, is she?
                         (to Nancy & Glen)
                  Me and Tina got stuff to discuss.

He pulls TINA inside without further ceremony.

                               NANCY
                  Rod...

But ROD's already got himself and TINA halfway through the living
room, heading into the darder part of the house.

                               ROD
                  We got her mother's bed.
                  You two got the rest.

ANGLE BACK ON GLEN AND NANCY.

                               NANCY
                  We should get out of here...

TINA darts to the front door, her blouse half out.

                               TINA
                  Hey -- you guys're hanging around --
                  right?
                         (fake laughing/whine)
                  Don't leave me alone with this
                  lunatic -- Pleeeeze, NANCY!

She disappears.    GLEN looks at NANCY.   Too innocent.

                               GLEN
                  So we'll guard her together.
                  Through the night.
                         (moving closer)
                  In each others' arms like
                  we always said.

                               NANCY
                  Glen. Not now. I mean,
                  we're here for Tina now,
               not for ourselves.

She kisses him lightly, then pushes him back.

                            GLEN
                      (frustrated)
               Why's she so bothered by a
               stupid nightmare, anyway?

                            NANCY
               Because he was scary, that's
               why.

                            GLEN
               Who was scary?

NANCY turns and looks at him.

                            NANCY
               Don't you think it's weird, her
               and me dreaming about the same
               guy?
                      (GLEN looks away;
                       NANCY stares closer)
               You didn't have a bad dream
               last night, did you?

GLEN gives her a funny look.

                               GLEN
               Me?     I don't dream.

He takes her inside.    Over the SOUNDS of locks falling shut we

                                        FADE TO BLACK


INT. TINA'S LIVING ROOM. NIGHT.

FADE UP ON an old 50's CLOCK, one of those set into the black
plaster body of a stalking panther. It's just past 2 AM.

PAN the cold hearth and darkened living room to REVEAL GLEN on the
couch, cacooned in sheets. He's listening miserably to the SOUNDS
OF LOVEMAKING coming from the next room. TINA peaks, ROD howls.
Then silence.

                            GLEN
               Morality sucks.

                                        CUT TO:


INT. TINA'S MOTHER'S BEDROOM. NIGHT.
This is a slightly larger room that TINA's. Adult. Female.
Spare in its appointments. THe streetlight throws the narrow bed
into broken shadow and light. TINA AND ROD lie in each other's
arms in the middle of the big bed. Satiated.

                            TINA
               I knew there was something
               about you I liked...

ROD yawns into the pillows, happy.

                            ROD
               You feel better now, right?

                            TINA
               Jungle man fix Jane.

                            ROD
               No more fights?

                            TINA
               No more fights.

                            ROD
                      (sleepily)
               Good. No more nightmares for
               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 someting.

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. INA yawns, turns off the light and snuggles
against ROD, pulling the cover gingerly over herself, too.


INT. TINA'S BEDROOM. NIGHT.
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.


EXT. TINA'S HOUSE. NIGHT.

Not a car or person in sight.   A stricken breeze dies in the
trees.

ZOOM IN on the window of the room where TINA sleeps. By the time
we're FULL IN CLOSE on it, the air is agian still as death. A
moment later a PEBBLE bounces off the plane. The NIGHTMARE THEME
appears in the lower registers and holds its breath.

Another PEBBLE strikes, with a sharper RAP.


INT. TINA'S MOTHER'S BEDROOM. NIGHT.

CLOSE ON TINA'S FACE as her eyes open.

REVERSE IN HER POV.   Another PEBBLE clatters off the glass.

TINA raises slowly.
                             TINA
               Rod...

SNORES from ROD.   TINA sits up.

PAST HER TO THE WINDOW. The WIND MOVES AGAIN; the trees brush
past the window with their shadows. THen another pebble. RAP!
TINA slips to the window.


EXT. TINA'S BACK YARD. NIGHT.

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.

A LOW ANGLE TO WINDOW as TINA jumps back, startled. She hadn't
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.


INT. TINA'S MOTHER'S ROOM. NIGHT.

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?


EXT. TINA'S BACK YARD. NIGHT.

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 backyard to a yawning gate and the back
alley. No one there. But a word is spoken, as if by wind.

                              TINA
                        (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.


EXT. A SERVICE ALLEY. NIGHT.

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.

LOW REVERSE ACROSS LID TO TINA. Despite herself she comes over
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 begind 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 scrapping 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.

WIDER ANGLE IN THE ALLEY -- a terrifying, all-out footrace 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.


EXT. TINA'S STREET. NIGHT.

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 beg and hideous. He wears the same dirty yellow
sweater from the first nightmare -- from the wall-hanging and
blanket oo -- and has the same sagging hat and leering grin over
his misshapen face. And on his fingers are the steel talons.

CLOSE ON HIM as he takes the blade on the end of his right index
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 them 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 the 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.

TINA staggers backward, GROANING, her foot now inexplicably caught
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.


INT. TINA'S BEDROOM. NIGHT.
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.

IN HIS POV we glimpse the dark underside of the blanket -- see TWO
SHADOWY FIGURES flailing and clawing under teh 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.

CLOSER ON HIM as he struggles around. In the blue FLASHES OF
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, horrenously 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!
REVERSE IN HIS POV -- as the body falls like a sack of rocks onto
the devestated 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!


INT. TINA'S BEDROOM. NIGHT.

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.


INT. HALLWAY. NIGHT.

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 barrelsinto the door like the football player he is.      THe
frame splinters and they're in.
INT. TINA'S MOTHER'S BEDROOM. NIGHT.

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 steady
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.

TIGHT ON NANCY. She turns away from the body in rpulsion,
sticking her head through the shattered window ROD LANE used for
his escape, sucking in the cold night air and moaning.

                                       FADE TO BLACK


EXT/INT. POLICE STATION. NIGHT.

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 nothin was
               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,
               arrests for brawling, dope --

                            LT THOMPSON
               Terrific. What the hell was
               she doing there?

                            PARKER
               She lived there.
                             LT THOMPSON
                I don't mean her --


INT. LT THOMPSON'S OFFICE. NIGHT.

THOMPSON enters his office and confronts NANCY and her mother,
MARGE THOMPSON.

                             LT THOMPSON (CONTD)
                I mean you.
                       (accusingly, to Marge)
                What the hell was she doing there?

MARGE THOMPSON is in her middle thirties; a good-looking woman
despite the hour and circumstances.

                             MARGE
                Hello to you, too, Donald.

THOMPSON stops, the steam suddenly out of him.     THe girl is a
wreck and he winces to see it.

                               LT THOMPSON
                Marge.

THOMPSON glances at PARKER and the other UNIFORMED COPS who are in
the room. As a man they head for the door. There's no question
who the boss is here. THOMPSON turns to NANCY. She fumbles a
smile.

                             LT THOMPSON (CONTD)
                How you doing, pal?

                               NANCY
                Okay.    Hi, dad.

NANCY's dress is dark with dried blood, her skin clammy and the
color of paste. MARGE shoots her ex-husband a worried glance.
THOMPSON pulls a chair close to NANCY.

                             LT THOMPSON
                I don't want to get into this now,
                God knows you need time.
                       (hotter)
                But I'd sure would like to know
                what the hell you were doing
                shacked up with three other kids
                in the middle of the night --
                especially a delinquent lunatic
                like Lane.

NANCY weaves.
                            NANCY
               Rod's not a lunatic.

                            LT THOMPSON
               You got a sane explanation for
               what he did?

The girl is shreddin a Kleenex, staring off.

                             MARGE
               Apparantly he was crazy jealous.
               Nancy said they'd had a fight,
               Rod and Tina.

                            NANCY
                      (quietly)
               It wasn't that serious...

                            MARGE
               Maybe you don't think murder's
               serious --

NANCY sits bolt upright in her chair, her eyes flashing.

                            NANCY
               She was my best friend! Don't
               you dare say I don't take her
               death seriously!
                      (lower, near tears)
               I just meant their fights
               weren't that serious.

The girl holds the woman's eyes a moment, then looks away.

                            NANCY (CONTD)
                      (to herself)
               She dreamed this would happen...

                            THOMPSON
               What?

                            NANCY
               She had a nightmare about somebody
               trying to kill her, last night.
               That's why we were there; she was
               afraid to sleep alone.

A tear splashes off the arm of her chair.

                            MARGE
               She's been through enough for one
               night. You have her statement.

The mother and daughter rise; THOMPSON raps on the door and PARKER
opens it.

                             LT THOMPSON
                       (to MARGE)
               I suggest you keep a little better
               track of her -- she's still a kid,
               y'know.

MARGE wheels on him.

                            MARGE
               You think I knew there were boys
               there!? You try raising a
               teenager alone.

THen she and hte girl are gone.   THOMPSON glares at PARKER.

                            LT THOMPSON
                      (low, to PARKER)
               See they get home okay.

PARKER shoves his hands in his pockets.   ON HIS FACE we

                                        FADE TO BLACK

INT. NANCY'S KITCHEN. MORNING.

                                        BURN ON

                       THE SECOND DAY

FADE UP ON MARGE THOMPSON opening a new bottle of gin, pouring
herself a careful shot, drinking it, then chasing it with coffee.
Nearby a TV drones the morning news. We can't yet see the SCREEN.

                            TV NEWSCASTER (OS/FILTER)
               In the headlines this morning --
               a local teenage girls was brutally
               murdered during an all-night party.

MARGE TURNS, startled, seeing NANCY coming downstairs.

THe girl looks a little better than she did in the Police Station,
but her eyes are still red-rimmed, and a vacant stress masks her
face. She looks to the TV. Stops.

                            TV NEWSCASTER (CONTD)
               Police say the victim, fifteen-year
               -old Christina Grey, had quarrelled
               earlier with her boyfriend, Rod
               Lane, a punk rocker with a history
               of delinquency. Lane is now the
               subject of a city-wide manhunt.
               According to --
THe TV PICTURE has begun featuring a HANDHELD NEWSREEL SHOT of a
dark rubber BODY BAG being carried to a CORONER'S VAN. Just
before the thing is lifted inside, TINA's bloodied, white ARM
slips from its zippered side and lolls into the dark night air. A
man rudely shaoves it back inside and pulls the zipper up the rest
of the way.

WIDER -- as NANCY pales visible. MARGE darts to the TV and slaps
it off, then turning to NANCY. She looks at the girl a moment,
then goes to her and hugs her.

                            MARGE
                      (kind)
               Where you think you're going?

                            NANCY
               School.

                            MARGE
               I could hear you tossing and
               turning all night, kiddo. You've
               no business going to school.

NANCY pulls away, determined.

                             NANCY
               I gotta go to school, Mom.
               Please. Otherewise I'll just
               sit up there and go crazy
               or something.

MARGE studies her face a moment.

                            MARGE
               Did you sleep?

                            NANCY
               I'll sleep in study hall, promise.
               I'd rather keep busy, you know?

She absently drains the woman's coffee cup -- then pecks her
cheek.

                            MARGE
               Right home after.

                            NANCY (CONTD)
               Right home after. See you.

MARGE watches the firl disappear outside, then lights a cigarette
from the one already burning in her fingers.
EXT. STREET. DAY.

MUSIC slips back in,   subtle but tense as we TRACK with NANCY as
she walks alone down   a sidewalk edged with thick flowering
Oleander. She cocks    her head, puzzled, as if sensing something.
MUSIC mounts. NANCY    looks across the street.

REVERSE IN HER POV. A MAN is over there in dark clothes, reading
a newspaper, but really watching her.

NANCY shrugs and continues on, then stops and looks back again.

IN HER POV we SEE the MAN is gone.

Next moment -- with a MUSIC STING -- a BLOODIED HAND jumps out
from the opposite direction, clamps over NANCY's mouth and drags
her into the bushes.


EXT. BUSHES. DAY.

NANCY struggles, twisting against the powerful assailant.

A WIDER ANGLE REVEALS ROD LANE -- barefoot, clad only in jeans and
leather jacket, still caked with dark blood. The rest of his skin
is pale as a ghost's.

                            ROD
               I'm not gonna hurt you.

He releases her warily. NANCY makes no move to run or scream,
even though several STUDENTS pass on the nearby sidewalk. This
reassures ROD just a little.

                            ROD
               Your old man thinks I did it,
               don't he?

                            NANCY
               He doesn't know you.
                      (eyeing the blood)
               Couldn't you change?

                            ROD
               The cops were all over my house.
                      (shivers)
               They'll kill me for sure.

                            NANCY
               Nobady's gonna kill you.

He runs his hands down his face, trying to believe that.    The two
study each other.
                            ROD
               I never touched her.

                            NANCY
               You were screaming like crazy.

NANCY says this without accusation, just cool observation.

                            ROD
               Someone else was there.

                            NANCY
               The door was locked from your
               side.

ROD grabs her hard.   His muscular body tenses.

                            ROD
               Don't look at me like I'm some
               kind of fucking fruitcake or
               something, I'm warning you.

                            VOICE (O.S.)
               Morining, Mr Lane.

The boy jerks round. NANCY's father, his .38 leveled right at
ROD's belly, eases out of the bushes.

                            LT THOMPSON
               Now just step away from her, son.
               Like your ass depended on it.
               I'm warning you.

ROD backs away, looking once at NANCY with a look of terrible
sadness. Then he dives out of the bushes and runs like hell.

THOMPSON snaps his revolver to fire -- but instinctively NANCY
jumps between --

                             NANCY
               No!

THOMPSON jerks his gun into the air, furious.

                            LT THOMPSON
               Jesus -- are you crazy!?

He plunges past the girl.


EXT. STREET. DAY.

ROD races like a frightened animal across the lawns -- but is soon
cut off by the PLANECLOTHESMAN NANCY saw watching her before --
and then TWO UNIFORMED POLICEMEN, who close from another angle.
The chase is short and pitifully off-balance, and ROD is soon
wrestled to the ground. Next moment one of the cops is holding
ROD's knife into the air for THOMPSON to see. THOMPSON looks at
NANCY, as if to say 'I told you.' Background, ROD's SHOUTS can be
heard as he's shoved into a SQUAD CAR.

                            ROD (O.S.)
               I didn't do it -- !
                      (fading)
               I didn't kill her, Nancy!


The car's door slams and ROD is gone.    NANCY turns to her father,
livid.

                            NANCY
               You used me, daddy!

                            LT THOMPSON
                      (exasperated)
               What the hell you doing going to
               school today, anyway -- your
               mother told me you didn't even
               sleep last night!

NANCY spins angrily and walks away.

                               LT THOMPSON
               Nancy!   Hey!

But she just keeps going.

                                      FADE TO BLACK

INT. CLASSROOM. DAY.

FADE UP ON an ENGLISH TEACHER and CLASS, NANCY among the kids,
trying to concentrate.

                            TEACHER
               According to Shakespeare, there
               was something operating in Nature,
               perhaps inside human nature itself,
               that was rotten -- a canker, as
               he put it.

The TEACHER's eyes glance across the room.    ANGLE ON NANCY;
yawning but listening.

                            TEACHER (CONTD)
               Of course Hamlet's response to
               this, and to his mother's lies,
               was to continually probe and
               did -- just like the gravediggers --
               always trying to get beneath the
               surface. THe same was true in a
               different way in Julius Caesar.
               Jon, go ahead...

She nods to a SURFER who's been waiting uncomfortably in front of
the class. He squints at his book and begins, the recitation a
struggle between baked and salted brain adn the poetry of the
Bard.

                            SURFER
                      (reading aloud)
               Uh, in the most high and palmy
               state of Rome...

                            WISEGUY STUDENT (O.S.)
               California's the most high and
               palmy state, man.

The SURFER halts with a grin; KIDS snicker.

                              ENGLISH TEACHER
               Can it.

She glares them back into silence.   The SURFER starts over, as we
CUT TO NANCY.

She's nodding off now, barely able to keep her eyes open in the
warm, close boredom of the classroom.

                            SURFER (O.S.)
               In the most high and palmy state
               of Rome, a little ere the mightiest
               Julius fell...
                      (NANCY's head pitches
                       forward; she jerks it
                       back up, barely awake)
               The graves stood tenatless, and
               the sheeted dead did squeak and
               gibber in the Roman street...

NANCY's head has sunk again, eyelids drawn as if by enormous
weight. By the time her cheek's against the desk, the SURFER's
VOICE is ECHOED and DISTANT. But another voice, TINA's, is very
near, very much present. A sad, thin plaint.

                              TINA (O.S.)
               Nancy.

NANCY gives a start.    Her eyes lock onto something.

REVERSE. TILTED SIDEWAYS, IN HER HEAD's POV, we look straight out
through the open doorway of the classroom into the hall. There,
      standing in a black pool of fluid, is a full-sized rubber body
      bag. Dark red and yellow. Weaving slightly, the merest suggesting
of movement within it.

     BACK ON NANCY, sitting upright, wiping the sleep from her eyes,
     shaking her head like a punchy prozefighter. She looks back out
     the door.

     REVERSE IN 'NORMAL' POV -- the hallway is empty.      But there's a
     dark smear on its floor tiles.

     NANCY looks nervously towards the rest of the class. No one else
     has noticed a thing outside the door. All are dumbly spellbound
     by the SURFER, who now recites like a deep-voiced robot, his face
     wreathed by white hair.

                                 SURFER
                    O God, I could be bounded in a
                    nutshell and count myself a king
                    of infinite space, were it not
                    that I have bad dreams...

     ANGLE BACK ON NANCY. She slips from her seat, eye warily on the
     teacher and class. But no one turns as she disappears through the
     doorway.


     INT. SCHOOL HALLWAY. DAY.

     NANCY turns and looks both directions.      No sign of anybody.

                                   TINA (O.S.)
                             (distant)
                    Nancy.

     NANCY whells and sees the bag, prone on the tiles at the far end
     of the hall, at the end of long snail's trail of slime. A pale
     invisible gravity, the bag slides out of sight into an
     intersecting corridor.

                                    NANCY
                    Tina!

     NANCY starts running for it.

     ANGLE AT THE CORNER as NANCY races blindly around the turn and
     smashes straight into a BODY lunging at her from the opposite
     direction! Both go down.

     ANGLE AT THE FLOOR. A dazed freshman HALLGUARD cranks herself up
     on 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!

She turns -- sees the body bag halfway down this darker, narrower
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 slickening 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.


INT. A STAIRWELL.

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.


INT. BOILER ROOM. DAY.

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.
REVERSE IN HER POV -- we see a tangle of pipes, shadows, and the
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.

The leering MAN brings the bloodied scalpel-fingernails across 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.


INT. PIPE TUNNEL.

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, form 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 same split second we HEAR her flesh
scald, we

                                      CUT TO

INT. ENGLISH CLASS. DAY.

NANCY lurches up SCRAMING, 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!

NANCY jerks around with panicked eyes, expecting the killer to
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.


EXT. THE SCHOOL. DAY.

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.

But she shakes herself silent. Wipes the tears away with a slash
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.

TINA, aginst the tree inches from NANCY, turns to her and says --

                                TINA
                  Couldn't get back to sleep
                  at all.
                          (beat)
                  What you dream?


EXT. A BUSY STREET. DAY.
NANCY is walking quickly, head erect, jaw set.        Then she enters
her father's Police Station.


INT. VAN NUYS POLICE STATION. DAY.

NANCY crosses directly to 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:

INT. CELL AREA. DAY.

A GUARD exits pushing a cart. 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)
                 It was dark, but I'm sure there
                 was someone else in there, under
                 the covers with her.

NANCY reacts.

                              NANCY
                 How could somebody get under
                 the covers with you guys
                 without you knowing it?

                              ROD
                 How the fuck do I know?
                        (beat)
                 I don't expect you to believe
                 me.

NANCY studies his encrypted eyes. Surprisingly, she looks like
she just might believe him. She leans closer with a new thought.

                              NANCY
                 What he look like?       You get
                 a look at him?

He looks away.

                                  ROD
                 No.

                                  NANCY
               Well then how can you say
               somebody else was there?

                            ROD
               Because somebody cut her.   While
               I watched.

Now the place is so quiet you can hear heartbeats.

                            NANCY
               Somebody cut her while you watched
               and you don't know what he looked
               like?

ROD smiles an insane smile, stuck with a reality no one will buy.

                            ROD
               You couldn't see the fucker.
               You could just see the cuts
               happening, all at once.

NANCY gives a twitch.

                            NANCY
               What you mean 'all at once'?

                            ROD
                      (low)
               I mean, it was as if there were
               four razors cutting her at the
               same time. BUt invisible razors.
               She just...opened up...

By now he's picking at a clot of dark blood on his jacket, as if
it was a scab on his own body. Then he catches NANCY watching and
turns away to the back of the cell. He smashes his fist into the
wall -- bone-crushing blows that scare the wits out of NANCY.

                            NANCY
               Rod!

He stops, and his fist is dripping blood as he says in a small,
sad voice.

                            ROD
               I probably could've saved her
               if I'd moved sooner...But I
               thought it was just another
               nightmare, like the one I had
               the night before.
                      (beat)
               There...was this guy who had
               knives for fingers...
CLOSE ON NANCY, unable to swallow the gorge rising in her throat.
ROD turns to her, and to his surprise she's ashen.

                            ROD (CONTD)
               Do you think I did it?

                               NANCY
               No.

                                       FADE TO BLACK

EXT. ELM STREET/NANCY'S HOME. NIGHT.

FADE UP ON ESTABLISHING SHOT as a spooky WIND sets a DOG BARKING
down the block. A CAR goes by, then this pleasant residential
street falls into silence. CAMERA has MOVED IN on NANCY's
well-tended two-story home.


INT. NANCY'S KITCHEN. NIGHT.

The house is in shadow. Alone, MARGE scrapes the last of the
evening's dishes and slips them into the dishwasher. Neither she
nor her daughter has touched the food. But MARGE is well into a
bottle of gin; her appetite for that is growing, right along with
her dread. She turns and looks up the stairs, calling.

                            MARGE
               Nancy, don't fall asleep in
               there.

                               NANCY (O.S.)
               I won't.

                               MARGE
               Get into bed.


INT. UPSTAIRS BATHROOM. NIGHT.

                               NANCY
               I will.

NANCY's in the tub, so drowsy she can hardly rinse without falling
asleep. The water in the tub is opaque with suds. Luxurious.

CLOSER ANGLE, AT WATER LEVEL ON NANCY. Her eyes droop. She
slides closer to the surface of the water, letting its heat sooth
her nerves. Her eyes stare straight up, glazed, her breathing
deepens.

REVERSE, across to her legs, crooked, one knee on each side of the
tub. THere's a ripple in the water between. Then something tiny
and shiny breaks the surface between them. It pops up with a
slithering MUSIC CUE and catches a sliver of light.   Then it
begins to rise.

Higher and higher it rises, soon accompanied by another, then two
more shining, gleaming blades, and then the full glove and dark
hairy hand and then the wrist and arm, straight up like an evil
sapling between the girl's knees, the knives bloosoming into a
bright flower of razor sharp steel in the air, moving over the
girl's belly. The hand rears back, the claws arch to strike.

                            MARGE (OS/APPROACHING)
               Nancy?

MARGE raps on the door. The instant she does NANCY jerks up,
opening her eyes groggily. The dark wet arm, hand and knifes are
gone.

                            NANCY
               What?

                            MARGE (O.S.)
                      (through the door)
               You're not falling asleep,
               are you? You could drown,
               you know.

                            NANCY
               Mother, for petesakes.

                            MARGE (O.S.)
               It happens all the time.
                      (brighter)
               I've got some warm milk all
               ready for you. Why don't you
               jump into bed?
                      (fading)
               I'm gonna turn on your electric
               blanket, too. C'mon, now.
                      (then she's gone into
                       another room)

                            NANCY
                      (low)
               Warm mile. Gross.

She slides down to water level again, and sings softly,
thoughtfully to herself.

                            NANCY (CONTD)
               One, two, Freddie's coming for
               you, three, four, beter lock
               your door, five, six, grab your
               crucifix, seven eight gonna
               stay up late, nine, ten, never
                sleep again...

The next instant she's jerked with incredible violence straight
down beneath the surface of the tub -- as if the bottom had
suddenly dropped out and she was in a bottomless well!


EXT. UNDERWATER SHOT.    NIGHT.

LOOKING UP PAST HER ANKLES we SEE NANCY pulled sharply down into
really deep water, the dim light of the surface and bathroom
beyond receding with each yank. And yet she somehow flails and
gasps and struggles back towards the surface, managing by pure
panic to break the surface with her hands!


INT. HALLWAY OUTSIDE BATHROOM.

MARGE rushes to the door and listens, alarmed at the wild
SPLASHING audible through the locked door.

                              MARGE
                Nancy!   NANCY!


EXT. UNDERWATER SHOT. NIGHT.

MARGE's VOICE reaches to the girl, who thrusts up through main
force and breaks the surface with her head and shoulderes.


INT. BATHTUB.

Gasping and choking, NANCY breaks the surface of her bathwater,
like a drowning sailer getting one last chance. Her mother's
VOICE booms over her, ECHOED and frantic -- and hte loud BANGING
on the door finally opens her eyes. She turns and calls gasping
to her mother --

                               NANCY
                Mommy!

REVERSE ON THE DOOR -- as MARGE, using the old hangar through the
doorhandle trick, makes it into the room. SHe rushes across to
the tub. NANCY is staggering up in the bathwater, again with
solid porcelin beneath her feet.

                             MARGE
                I told you! Hundreds of people
                a year drown like that!

The mother throws a towel around the gasping girl, helps her from
the tub and begins drying her like a child. NANCY looks like
she's lparalized with some sort of weird dread.
                              MARGE
               You okay?

                              NANCY
               Great.

                            MARGE
                      (not believing it for
                       a minute)
               To bed with you, c'mon.

MARGE rushes out to get the room ready. NANCY turns and looks at
herself in the cabinet mirror, then opens the medicine chest and
begins a quick, furtive search.

CLOSER as she takes out the box of No Doze and slips it into her
robe.


INT. HALLWAY. NIGHT.

NANCY emereges from the bathroom yawning.    MARGE follows as the
girl plods obediently to her room.

                            MARGE
               No television, forget the
               homework, no phone calls.

                              NANCY
               No, Mother.    Yes, Mother.
               No, Mother.


INT. NANCY'S ROOM. NIGHT.

                            MARGE
               And no school tomorrow, either.
               You take a little vacation, relax
               and rest fro a change.

                              NANCY
               Yes, Mother.    G'night.

MARGE offers a smile, and a little yellow pill.

                            MARGE
               Take this, it'll help you sleep.

                              NANCY
               Right.

NANCY pops it in her mouth and swallows obediently.   MARGE leans
to her with a kiss.
                             marge
               Sleep tight, don't let the
               bedbugs bite.

MARGE goes out, relieved. NANCY closes the door, leans against it
and spits the pill into her hand. She tosses it straight out her
window and takes a NoDoz.

                                      FADE TO BLACK

FADE UP ON INSERT OF TELEVISION SCREEN.

A MONSTER MOVIE in BLACK AND WHITE.   NO SOUND from the set.

PULL BACK to REVEAL NANCY propped in bed, furtively watching.    Or
is she just thinking? A bedside CLOCK reads 12:45 pm.

The girl YAWNS. She shakes herself violently and sits up
straighter, forcing herself to concentrate on the movie.

ON THE TELEVISION SCREEN.   A DIVER struggles to keep facing a
large circling shark.

ON NANCY. Her eyes droop shut -- then she jerks awake, rattling
her head as if it were a radio drifting off station. She tumbles
out of bed, throws open the windwo and takes a deep breath f the
cool night air.


EXT. NANCY'S HOUSE AND STREET. NIGHT.

HIGH ANGLE, AT SECOND-STORY LEVEL. NANCY looks directl across the
street to a lighted, open window. Its curtains, sucked out and
waving in the night breeze, give the only motion to the deserted
street.

Then someone pitches out of the dark at her. NANCY gives a YELP
-- then clamps her hand over her mouth as she recognizes GLEN,
balanced precariously on the rose trellis outside her window.

                            GLEN
               Sorry! Saw your light on.
               Thought I'd see how you were.

She gets herself together, barely.

                            NANCY
               Sometimes I wish you didn't live
               right across the street.

                            GLEN
               Shut up and let me in. You ever
               stand on a rose trellis in your
               bare feet?


INT. NANCY'S ROOM. NIGHT.

NANCY looks over her shoulder to be sure her mother hasn't heard.
GLEN's already through her window and planted on her bed. NANCY
points to a chair.

                            NANCY
               If you don't mind.

GLEN crosses to the chair and plops down.

                            GLEN
               So. I heard you freaked out
               in English class today.

There's no maliciousness in his voice, and the familiar frankness
is actually comforting to NANCY.

                              NANCY
               Guess I did.

                            GLEN
               Haven't slept, have you?

                              NANCY
               Not really.

NANCY tries to smile, but can't fake it very well.   GLEN looks her
over.

                            GLEN
               You lookdead and rained on, if
               you wnat the ugly truth. And
               what you do to your arm?

She shrugs, trying to keep it casual.

                            NANCY
               Burned myself in English class.

She hazards a look in a mirror, and her jaw drops.

                            NANCY
               M'god, I look twenty years old.
                      (turning back to him)
               You have any weird dreams last
               night?

                            GLEN
               Slept like a rock.
                             NANCY
                       (pleased)
                Well at least I have an objective
                wall to bounce this off.
                       (beat)
                You believe it's possible to dream
                about what's going to happen?

                             GLEN
                No.

                             NANCY
                You believe in the Boogey Man?

                             GLEN
                One, two, Freddie's coming
                for you? No. Rod killed Tina.
                He's a fruitcake and yu know it.

                             NANCY
                You believe in anything?

                             GLEN
                I believe in you, me, and
                Rock and Roll. And I'm not
                too sure about you lately.

NANCY thinks.

                             NANCY
                Listen, I've got a crazy favor
                to ask.

                             GLEN
                Uh-oh...

                             NANCY
                It's nothing hard or anything.
                       (beat)
                I'm just going to... look
                for someone, and... I want
                you to be sort of a guard.
                Okay?

GLEN makes the Twilight Zone sound.

                             NANCY
                Okay?

                             GLEN
                Okay, okay.
                       (beat)
                I think.
She comes very close to him.

                             NANCY
                You won't screw up, righ? I
                mean, a whole lot might depend
                on it.

The way she's looking at him gives him the creeps.

                             GLEN
                Okay, I won't screw up.

NANCY takes a deep breath.    Then without another word turns off
the TV and the light.

                             GLEN (IN DARK)
                Jesus, it's dark in here.

                             NANCY
                Shhh. Now listen, here's what
                we're gonna do...

EXT.   ELM STREET. NIGHT.

FADE UP ON NANCY, still in her pajamas, walking through the
shadowy streets ear her home, listening for the slightest sound.
We MOVE with her. But nothing, not even the dog barking earlier,
is there now. NANCY peers into the darkness of lawns and trees
behind her.

                             NANCY
                       (stage whisper)
                You still there?

Across the street and a distance away, GLEN steps from behind a
tree.

                               GLEN
                Yeah.   So?

                             NANCY
                Just checking -- keep out of
                sight!

GLEN throws up his hands in exasperation and walks back out of
sight. NANCY turns and looks down between the houses, deep into a
dark alleyway. Then she forces herself to walk into it.


EXT. ALLEY. NIGHT.

MOVING WITH HER as she makes herself go deeper and deeper into
shadows. Each time she pauses and waits, the MUSIC grows more
threatening and expectant. The feeling is of immense tension --
we're sure the killer will come screaming out on her at any
second.

But he doesn't. In fact absolutely nothing happens, and NANCY
emerges from the far end of the alley unscathed. The only thing
strange is that she now finds herself looking across the mall to


EXT. POLICE STATION. NIGHT.

The Plice Station. It takes her a little by surprise; it just
seems to have appeared.

MUSIC creeps into the NIGHTMARE THEME as NANCY whispers hoarsely
back down the dark alley.

                              NANCY (CONTD)
               Still there?


EXT. ALLEY. NIGHT.

We only HEAR teh DISTANT VOICE, slightly ECHOED.

                            GLEN'S VOICE (OS)
                      (yawning)
               Still here!

                            NANCY
               On your toes, right?

NANCY stares into the dark trying to see him, but she can't. She
turns back and makes up her mind to move without him in sight.


EXT. POLICE STATION. NIGHT.

MUSIC MOUNTS as we MOVE WITH NANCY across the lawns to the police
station, creeping to the first lighted window she sees. It's a
low, barred basement window, and NANCY reacts as soon as she looks
through it.


INT. ROD'S CELL. NIGHT.

NANCY'S POV down into ROD LANE's cell. The boy is on his rough
cot, twitching in disturbed sleep. And a long SHADOW is sliding
across the wall.

A big SHAPE appears in the shadowed corridor outside the boy's
cell, and as IT walks closer NANCY can barely see it's the
shambling, grimly scarred man with the filthy red and yellow
sweater and strange slouch hat pulled across his brow. The KILLER
from all of their nightmares.
And this giant shadow of a man passes through the bars of the
cell, like so much evil Jello. Halfway through he pauses, turning
to check over his shoulder. We see the bars clearly penetrating
his body, going in his head, passing out his ankles. Then he
turns back to ROD and moves forward, and within another heartbeat
is beside the boy.


EXT. POLICE STATION. NIGHT.

NANCY draws back sharply, swallowing in terror.   She looks behind
her for help.

                              NANCY (CONTD)
               Glen.

No answer.

                              NANCY (CONTD)
                        (louder)
               Glen?!

The street is absolutely deserted. THere is no motion, and no
sound save one: the distant but unmistakeable sound of GLEN
SNORING.

                              NANCY (CONTD)
               GLEN!

A beat of silence after the shout's echoes die, then the steady,
boyish SNORES again. NANCY swears under her breath and jerks back
around, forcing herself to look again into ROD's cell.


INT. ROD'S CELL.

IN HER POV -- the killer picks up ROD's bedsheet and tests it
between his powerful hands. Without thinking, NANCY bangs against
the glass.

                              NANCY (CONTD)
               Rod!    Look out!

The KILLER wheels around, locking eyes with NANCY. The girl goes
white. The man's face is in the light, and it's horrible --
seething with hatred and a twisted, insane intelligence.

The hold of those eyes is only broken when ROD rols up on an elbow
with a deep, troubled GROAN. The instant ROD does this, the
KILLER fades into the shadows in the cell. But even then his eyes
hold on NANCY's until the last second he's visible.

ROD looks around the cell groggily, runs his fingers through his
matted hair, then collapses back on his pillow. No matter how
hard NANCY screams, ROD never once looks at the window. He just
pulls the twisted covers about his shoulders and succumbs once
more to sleep.

And now the bed sheet is no longer on the bed. THe KILLER,
materializing out of the shadow again, is holding it between his
hands like a garrote. He looks up and leers at NANCY, then moves
for ROD.


EXT. POLICE STATION. NIGHT.

ANGLE BACK ON NANCY. She pounds on the window, then turns in
frustration and yells into the night.

                              NANCY
               Glen!!

She turns back to the cell in desperation.


INT. ROD'S CELL.

IN NANCY'S POV we look into a cell that is quite deserted save for
ROD. Sleeping peacefully.


EXT. POLICE STATION. NIGHT.

NANCY puls back from the window, stunned.

                              NANCY
               I swear...

Suddenly NANCY feels utterly exposed. SHe shivers, chilled and
vulnerable to the bone in her thin night clothes. SHe can't move.
It's as if some great nerve between her instincts and bady had
been severed. And she hears the SOUND behind her. A sort of
filling-vibrating Scrriiitchh.

MUSIC sneaks in -- the unmistakeable NIGHTMARE THEME, creeping
over her. NANCY forces herself, by sheer wil, to look.

Ahead of her perhaps twenty-five feet, covered with a thick
plastic body bag through which we can barely see her face, is
TINA. Standing square in the middle of the street. A dark ooze
of BLACK EELS roil out of its bottom, and at its top, the zipper
CHATTERS down and the greenish-white face of TINA lolls out. SHe
gestures, supplicating, her watery eyes desperate to convey some
desperate message.

The MUSIC FALLS TO A HUSH.
NANCY backs away, eyes streaming tears.

                            NANCY
               Glen, where are you!   Wake up!
               Glen!

                             DEEP RAGGED VOICE (O.S.)
               I'm here.

NANCY twists around in horror at the same instant the KILLER grabs
for her face with his knife-fingers! The girl intinctively
pitches back, then scrambles up and runs like hell!

                             NANCY
               Glen!   Glen!!!


EXT. ELM STREET. NIGHT.

MOVING WITH NANCY at full gallop, running blind. She crashes
through a sawhorse into a new sidewalk, sinking into th ewet
cement over her ankles. The stuff sticks to her legs in long
gluey globs and she can barely pull her feet loose.

The KILLER looms nearby, mocking her -- his scalpel claws gleaming
in the streeetlight. He just misses the girl as she wrenches free
and flees again, now so winded she can only stagger.

MOVING WITH THEM. Tim after time NANCY just barely manages o
elude the shadowy form, leaping from his reach by inches and
pouring on more steam. It's too close to even bother screaming
now; and besides, theat would take breath she doesn't have. THe
only SOUND is of RUNNING FOOTSTES, RASPING BREATH and the KNIFE-
FINGERS WHISTLING through the air.


EXT. NANCY'S HOME. NIGHT.

NANCY tears across her front lawn and into the open front door of
her home, SLAMMING it with all her might. There's a tremendously
satisfying CONCUSSION of wood against dorrframe, and the LOCKS
fall shut.


INT. NANCY'S LIVING ROOM. NIGHT.

                             NANCY
               Glennn!!!

But her voice is garbled as if she's under water, and there's no
answer. The only clue to Glen being there at all is his distant
SNORING. Innocent. Persistent. Deep.

NANCY stops, breath in shreds, face smeared with dirt and tears
     something is clawing the window in the dark of the kitchen. NANCY
     looks and catches the MAN prying at the glass with his big knife-
     fingers, the shrp blades SIZZLING against the edges of the glass
     as they crack it away from the frame. NANCY runs upstairs in
     blind panic.


     INT. NANCY'S ROOM. NIGHT.

     NANCY darts into her unlit bedroom, slams the door and locks it.
     Safe at last.

     She listens at the door. Nothing. She crosses to her bed. Next
     second the KILLER dives through her window and seizes her in a
     shower of shattered glass!

     NANCY twists and manages to grab the wrist of his knife hand with
     both of hers, barely keeping the blades from her throat.

     The two fall backwards in a terrible, gasping struggle, crashing
     onto NANCY's bed. Her grip is broken -- the MAN stabs -- NANCY
     twists away, backed into a corner of bed and walls. Defenseless,
     she snatches a pillow up; the KILLER lashes out -- disemboweling
     the pilow and sending a great gush of feathers flying. NANCY
     dives for escape in a virtual blizzard.

     The KILLER manages to snare her with his other hand, and the two
     crash across the bedside table to the floor, the table and all its
     contents cascading around them in a whiteout of feathers.

     ANGLE AT FLOOR LEVEL -- CLOSE ON NANCY's AND THE KILLER's HEADS.
     The blades inch towards the girl's face -- the drool of the
     grizzled shadow with the horribly scarrred face spills into her
     eyes. Feathers are everywhere; MUSIC is absolutely insane!

     But just when the points of steel are less than an inch from her
     eyes, the old fashioned alarm clock thrown to the floor next to
     NANCY's head goes off with a jarring RINGGGGGGG!

     Instantly the MUSIC STOPS.   ANd a moment later the room is light.

     WIDER as NANCY reels up, blinded by the sudden light, SCREAMING
     AND FIGHTING on her bed.

      ANGLE ON GLEN, lurching from his own sleep at the frightening
      noise. He discovers NANCY pressed in terror against her headboard,
clutching a pillow like a drowning woman would a straw.

     It's an intact pillow, and there isn't a feather in sight.

     NANCY stares incredulously at GLEN, then around the room,
     untangling herself from her bedclothes. Wary and furious, her
     voice hoarse.
                            NANCY
               Glen, you bastard...

The boy looks at his friend in groggy alarm. SHe's absolutely
livid, more angry than he's ever seen her, and more strange.

                               GLEN
               What I do?

He reaches for her -- she flattens against the wall, eyes hard,
and terribly hurt, too.

                            NANCY
                      (low)
               I asked you to do just one thing.
               Just stay awake and watch me --
               Just wake me if it looked like
               I was having a bad dream.
                      (eyes wild)
               But you. You shit -- what do
               you do -- you fall asleep!

She stops herself, wiping a bit of her lip, alarmed at how out of
control she's become. And suddenly she breaks, sinking into her
torn bedclothes and rubbing her head.

                            NANCY (CONTD)
                      (mostly to herself)
               I must be going nuts...

                               MARGE (O.S.)
               Nancy?

Her mother's door opens O.S.

                               GLEN
               Oh, shit.

NANCY composes her voice as best she can.

                             NANCY
               Yes, mother?
MARGE's flip-flops approach outside the door. GLEN barrels out
the window -- NANCY dives for the bed, jams off thelight and
disappears under the covers. MARGE, bleary eyed herself, opens
the door and flicks on the light.

                            MARGE
                      (beat)
               You okay?

                              NANCY
                        (weakly)
               Yeah.    Just had a little dream.
                 I'm falling right back to sleep.

                              MARGE
                        (beat)
                 Okay... You need anything, just call.

                              NANCY
                 Okay.

MARGE closes the door. NANCY immediately sits up and looks at the
window. A single bone-white feather floats down in the moonlight.
Then it's sucked outside and is gone.


EXT. POLICE STATION. NIGHT.

GLEN's CADILLAC CONVERTABLE careens into the parking lot and
SCREECHES to a stop. GLEN and NANCY jump out and head for the
station.

                              GLEN
                 You mind telling me what's
                 going on?

NANCY races into the station without answering.

                              GLEN (CONTD)
                 Oh, I see. That makes it all
                 perfectly clear.


INT. POLICE STATION. NIGHT.

NANCY goes straight to the SERGEANT's desk.

                              NANCY
                 Garcia, I want to see Rod
                 Lane again.

GARCIA winces.

                              SGT GARCIA
                 I thought when I took the
                 night shift I'd have peace
                 and quiet for a change.

                              NANCY
                 It's urgent, we've gotta see Rod.

                              SGT GARCIA
                 It's three in the morning.
                 Your mother know you're out this
                 late?
                             NANCY
                      (faking it)
               Of course -- look, at least go
               back and look at him. Just see
               if he's okay.

GARCIA glances at GLEN.

                            GLEN
                      (faking it)
               We have reason to think there
               might be something weird going
               on.

                            LT THOMPSON (O.S.)
               Oh, no argument on that.

NANCY jumps around at the sound of her father's voice.   LT
THOMPSON emerges from his office, rumpled and yawning.

                            NANCY
               Dad -- what you doing here?

                            LT THOMPSON
               It so happens I work here, and
               there's an unsolved murder. I
               don't like unsolved murders,
               especially ones my daughter's
               mixed up in -- hwat are you
               doing here at this hour? You're
               supposed to be getting some
               sleep.

                            GLEN
               Listen, sir, this is serious.
               Nancy had a nightmare about Rod
               being in danger, or something,
               and so she thinks...

He trails off, loosing it under LT THOMPSON's glare. Besides, he
doesn't know exactly what the hell's really going on himself.
GARCIA puts his beefy hand on NANCY's shoulder.

                            NANCY
               I just want to see if he's okay!

                            SGT GARCIA
               Take my word for it, Nancy.   The
               guy's sleeping like a baby.   He's
               not going anywhere.


INT. CELL BLOCK. NIGHT.
ANGLE ON ROD in his cell. He's asleep, all right, but not safely
so. His bedsheet has come alive. It twitches, pulsates, then
snakes towards his throat.

ROD stirs, the sheet falls still; ROD slips into deeper sleep, and
the sheet moves again, completing the noose around his neck!


INT. BOOKING ROOM. NIGHT.

NANCY makes a move for the cell block --

                            NANCY
               This isn't you average nightmare,
               Daddy -- damn it!

The door's locked; she hauls on it in desperation.

                            LT THOMPSON
               Now look, Nancy, don't push
               it. You've already rubbed my nose
               in sex, drugs and violence -- don't
               start throwing in insanity!

NANCY tkaes that one to heart. She wheels on him and pleads, her
intensity sobering even to him.

                            NANCY
               Just go back and check -- please!

The man takes a beat, then shrugs and nods towards SGT GARCIA.

                               LT THOMPSON
               Okay, Garcia.     WHat the hell.

                            SGT GARCIA
               Right...
                      (feeling in his pockets)
               Now where'd I put hte key...

He mumbles backs towards his desk.    MUSIC BUILDS as we HOLD ON
NANCY's FACE.


INT. ROD'S CELL. NIGHT.

With a terrible SNAP ROD's sheet jerks tight around his neck. The
startled teenager is hauled upright -- eyes popping, face purple.
He claws at the steet, but despite his strenght he can't get his
fingers between the noose and his windpipe. He's dragged
backwards across the cot.


INT. BOOKING ROOM. NIGHT.
GARCIA finally has the keys.    Urged on by NANCY he fumbles with
the lock.


INT. ROD'S CELL. NIGHT.

ROD's being dragged backward's, gasping and struggling in vain
against the powerful pull -- fight across his cell and up the
wall, too. He clutches blindly at his throat at the far end of
the sheet coils around the bars of the high window. Then there's
a powerful wrench of the sheet, and ROD's neck SNAPS. The kid's
body sags lifeless.

ANGLE THROUGH THE BARS as NANY, GLEN, LT THOMPSON and GARCIA
appear in the corridor outside, the girl sprinting ahead.

                               NANCY
               Rod!

But it's too late; NANCY sinks back in horror as her father and
GARCIA rush into the cell.

                            LT THOMPSON
               Gimme a hand, dammit!

GLEN, pale as the sheet that's killed ROD, climbs to the bars and
unties the knot. ROD slides down over the SERGEANT's shoulders,
limp as a marrionette with its strings slashed.

                            SGT GARCIA
               Goddam loco kid -- he didn't
               have t'do that -- Madre dios!

They lay ROD at NANCY's feet; a strange Pieta.     NANCY's father
looks at her in spooked suspicion.

                            LT THOMPSON
               How'd you know he was gonna do
               this?

NANCY says nothing.

                                        FADE TO BLACK


EXT. FOREST LAWN CEMETERY. DAY.

                                        BURN ON:

                      THE FOURTH DAY

FADE UP ON a stark afternoon. On a hill of sere grass overlooking
the valley, the casket of ROD LANE is lowered into its grave.
A small group of FAMILY and FRIENDS watches soberly as the
MINISTER raises his hand in benediction.

                            MINISTER
               Ashes to ashes, dust to dust.
               may God be with this young man's
               soul.

ON THE FACES of MARGE, LT THOMPSON, TINA's MOTHER and ROD's
PARENTS. Just for a second or two, in looks too rapid for an
outsider to even notice, these adults exchange looks. Furtive,
quick glances that suggest an immense something that they all
share, something beyond even this second death among their
children. THen they are all staring ahead again, as if the others
weren't even there.

                            MINISTER (CONTD O.S.)
               His life and his death attest to
               the Scripture's warning that he who
               lives by the sword shall die by
               the sword.

ANGLE ON GLEN, watching --

NANCY, standing alone, not believing it for a minute.

                            MINISTER (CONTD O.S.)
               But let us recall also our Lord's
               admonition that we 'Judge not,
               lest we be judged.' Let us
               attempt only to love. And may
               Rod Lane rest in peace.

                            NANCY
                      (quietly)
               Amen to that much.

The mourners walk away from the grave, MARGE among them. She
pauses near a MAN and two WOMEN in black -- TINA's MOTHER, ROD's
PARENTS. They almost, it seems, speak. Then MARGE hurries on.

WE MOVE WITH HER as she's joined by LT THOMPSON. Both are worn
and on edge. THOMPSON absently lights another cigarette, offering
one to MARGE.

                            LT THOMPSON
               How's Nancy doing?

                            MARGE
               I don't think she's slept since
               Tina died.
                      (shakes her head)
               She's always been a delicate
               kid.

THOMPSON lights her cigarette, attempting some sort of
nonchalance.

                            LT THOMPSON
               She's tougher than you think.
               Any idea how she knew Rod was
               gonna kill himself?

                            MARGE
               No. All I know is, this reminds
               me too much of ten years ago.

THOMPSON blows a plume of smoke against the hard sky and looks
away.

                            LT THOMPSON
               Yeah. Well... Let's not start
               digging up bodies just because
               we're in a cemetery.

He gives her a look that could cut stone. MARGE toses down her
cigarete and crosses to NANCY. The girl is simply staring offf
over the valley.

                            MARGE
                      (very gently)
               Time to go home, baby.

She moves her awy from the brink of the hill.


EXT. CEMETERY PARKING AREA. DAY.

MARGE opens the door of the station wagon for NANCY.   NANCY turns
to them both, speaking in a still, small voice.

                            NANCY
               The killer's still loose,
               you know.

She has a wild, Cassandra aspect that sends a chill right up
MARGE's spine.

                            LT THOMPSON
               You saying somebody else killed
               Tina? Who?

NANCY smiles a weird sort of smile.

                            NANCY
               I don't know who he is. BUt he's
               burned, he wears a weird hat, a
               red and yellow sweater, real
               dirty, and he uses some sort of
               knifes he's got made into a sort
               of...glove. Like giant finger-
               nails.

As NANCY has described this monster from her dream, unseen by her,
the faces of MARGE and LT THOMPSON have drained completely of
color.

                            LT THOMPSON
                      (low, even, to MARGE)
               I think you should keep Nancy
               at home a few days. 'Till she's
               really over the shock.

                            MARGE
               I got something better...
                      (to NANCY)
               I'm gonna get you help, baby.
               So no one will threaten you
               any more.

She takes the girl by the arm and guides her into the car, locking
the door from outside. NANCY never taking her eyes from her
father's as the car bears her away.

                                      FADE TO BLACK

                                      BURN ON:

                      THE FIFTH DAY


EXT. UCLA SCHOOL OF MEDICINE. DAY.

FADE UP ON UCLA's WESTWOOD CAMPUS and PAN TO SIGN:

                       UCLA SCHOOL OF MEDICINE
                          INSTITUTE FOR THE
                      STUDY OF SLEEP DISORDERS


INT. A LABORATORY SLEEPING CHAMBER.

A NURSE applies sencors to the head, breast, arms, and fingers of
NANCY THOMPSON. The girl is lying on a simple broad cot, in her
pajamas. The room is subdued in color and holds only this single
bed. A large mirror set into one wall hides an observation room
beyond.

                            NANCY
               But I just don't feel...ready
               to sleep yet. Please, do I
               have to?

WIDER, REVEALING DR SAMUEL KING, a young, curly-haired internist;
intelligent and wry. He treats NANCY at all times like a young
adult, never patronizing. He winks as the NURSE finishes.

                            DR KING
               Don't worry, you're not gonna
               change into Bride of Frankenstein
               or anything.

NANCY manages a smile, but she's hagard and visibly thinner.
MARGE, background, looks downright distraught.

                            DR KING (CONTD)
               Nancy have any severe childhood
               illnesses? Scarlet Fever?
               High temperatures -- concussions?

                              MARGE
               No, nothing.

                            NANCY
               He means, did you ever drop me
               on my head.

The doctor and girl share a nervous laugh;   MARGE doesn't even
smile.

                            DR KING
               Nightmares are expected after
               psychological trauma. Don't
               worry, they go away.

                            MARGE
               I sure as hell hope so.

                            NANCY
               I don't see why you couldn't
               just give me a pil to keep me
               from dreaming...

                             DR KING
               Everyone's got to dream.
               If you don't dream, you go...
                      (he drills his finger
                        at his temple)
               All set?

                              NANCY
               No.

                            MARGE
               They're just simple tests,
               Nan. We'll both be right
               here.

                            DR KING
               Look, I know it's been fright-
               ening, I know your dreams have
               seemed real. But...it's
               okay. Okay?

                            MARGE
               Please, Nancy. Trust us.

The girl gauges her mother, the doctor, the situation very
carefully. Then lowers her eyes.

                             NANCY
               It's not you I don't trust.
               It's...
                       (gives up)
               Okay. Let's do it.

Greatly relieved, MARGE gives NANCY a goodnight kiss, then follows
the doctor through a doorway near the mirror. As soon as her
mother is out of sight, NANCY's eyes drift to the mirror itself.
In its reflection she sees herself looking back, alone on the bed.

                                                DISSOLVE TO:


INT. THE OBSERVATION ROOM.

MARGE and DR KING overlook NANCY's sleeping chamber through the
one-way mirror. And KINGmonitors the girl even more closely with
a bank of instruments -- a mass of glowing dials, graphs and
meters. His manner with MARGE is slightly more sober.

                            DR KING
               How long's this been going on?

                            MARGE
               Since the murder. She was fine
               before that.

                            DR KING
               Not to worry. No signs of path-
               ology in Nancy's EEG or pulse
               rate. I'd guess what we've got
               is a normal young girl who just
               happens to have gone through
               two days of hell.

                            MARGE
               It's just made her think...
               her dreams are real...
KING adjusts a dial, watching the EKG like a hawk.

                            DR KING
               Ever hear the old BUddhist tale
               about the King who dreamed he
               was a beggar who dreamed he
               was a king?

MARGE twitches. THen there's a slight alteration in the sound of
the EKG. KING nods in satisfaction.

                             DR KING (CONTD)
               Okay, good.   She's asleep.

                            MARGE
                      (immensely relieved)
               Thank God.

MUSIC RISES SOLEMNLY, MAJESTICALLY into a haunting transition as
we

                                               DISSOLVE TO

A MONTAGE OF SHOTS, of the EKG GRAPH, its inky needles calming, or
a METER tracing the quieting of NANCY's pulse, and of OTHER
INSTRUMENTS, indicating life processes we can only guess. All
smoothing out.

CLOSE ON NANCY on TV MONITOR, asleep like the child she is.
Innocent.

MARGE lights a cigarette, angry at her helplessness.

                            MARGE
               What the hell are dreams, anyway?

                            DR KING
               Mysteries. Incredible body
               hookus pokus. Truth is we
               still don't know what they
               are or where they come from.
               As for nightmares...
                      (leans closer)
               Did you know that in the last
               three years twenty Philipino
               refugees in California died
               in the middle fo nightmares?
               Not from heart attacks, either.
               They just died.

He gives a "Ah don' know" shrug. MARGE looks out into the
sleeping room. NANCY is a motionless bundle in the middle of the
bed.
ANGLE ON A NEEDLE on an EKG dipping to a lower reading.

WIDER ANGLE -- the mother and DOCTOR watching.

                            MARGE
               What happened? That needle
               sank like a rock.

                            DR KING
                      (quietly)
               She's entering deep sleep now.
               Heart rate's a little high due
               to anxiety, but otherwise she's
               nicely relaxed. All normal.
               She could dream at any time now.
               Right now she's like a diver
               on the bottom of an ocean no
               one's mapped yet. Waiting to
               see what shows up.


INT. THE SLEEPIGN ROOM.

We can see NANCY drift from the initial stage, over the brink into
deep slee. Her hair falls into her eyes; her face relaxes; her
shoulders curl round her like comforters. THE MUSIC DEEPENS, and
begins to hint at the tones of the NIGHTMARE THEME.


INT. CONTROL ROOM. DAY.

DR KING and MARGE watch the instruments' every move.

One of the machines begins a slight CHIRPING.    KING scans it,
liking what he sees.

                            DR KING
               Okay, she's started to dream.

He leans forward in his chair, like a pilot starting an instrument
approach. MARGE THOMPSON licks her dry lips, fightining a turn of
nausea.

                            MARGE
               How can you tell?

                            DR KING
               R.E.M.'s. Rapid eye movements.
               The eyes follow the dream --
               their movement picks up on
               this --

He prods a dial with his pencil and scribbles the time on a note
pad.

                            DR KING (CONTD)
               Beta Waves are slowing, too.
               She's dreaming, all right.
               A good one, too.

MARGE watches the TV MONITOR. It's in extra-close on NANCY's eyes
-- and they're darting beneath the lids, reacting to events lost
behind a skein of flesh and neurons.

KING points to a moving graph. A needle's begun waving lazily
between plus and minus three. The DOCTOR nods, asured.

                            DR KING (CONTD)
               Typical dream parameter. A
               nightmare, now, would be plus or
               minus five or six; she's just
               around three point --

He stops. Outside, visible through the glass, NANCY twists
around. Eyes still closed, she's nevertheless holding her head in
the attitude of prey listening to the first faint sound of the
predator's approach.

MARGE looks from her daugeter to the DOCTOR, color draining from
her face.

                            MARGE
               What the hell's this?   She
               awake or asleep?

The needle of the graph gives a jagged pitch up, plunges, then
surges well above the eight mark. A strange MUSIC CUE -- disonant
and threatening, creeps in -- the NIGHTMARE THEME slurred into
awful minors and weird disonance. KING stares at the gauge in
disbelief, rapping his finger on its glass.

                             DR KING
               Can't be. It never gets
               this high...
The needle swings even higher, behind.

                            DR KING (CONTD)
               Jesus H. Christ.

He's cut off by the high-pitched KEENING of the girl, the SOUND
cutting through the double thickness of the glass like a lasar. A
warning BEEPER has begun, the instruments light up like a
Christmas tree -- and outside in the sleepign room, NANCY is
contorting as if shot through with a thousand volts. KING knocks
over his chair in his sprint for the door.
INT. SLEEPING ROOM.

The DOCTOR and MARGE come in on the run -- NANCY's flainling and
screaming as if the devil himself were after her. KING grabs her
to shake her awake.

ANGLE ON NANCY (eyes open) -- lookin in terror -- SOUND ECHOED
STRANGELY.

IN HER POV -- dressed in KING's clothes -- the horribly scarred
MAN reaches out.

WIDER -- (NANCY's eyes closed in sleep) as the girl's fist shoots
out with incredible force and knocks DR KING flying!

The NURSE and MARGE both descend on her --

and again in her SLEEPING POV we see the MAN stagger for her.

WIDER ON NANCY -- (still in her nightmare) -- fighting like a
tiger with both MARGE and the NURSE -- sending the NURSE sprawling
-- leaving MARGE hanging on for dear life.

ANGLE on the stunned DOCTOR fumbling with a hyperdermic needle,
spilling most of the stuff on himself with his shaking hands --
the SCREAMS AND CURSES of NANCY are deafening and worthy of a
stevador fighting off his worst enemy. Stranger still, her hair
is electrified, standing on end and greying before their very
eyes!

MARGE screams at the top of her lungs.

                               MARGE
                 NANCY!!!   IT'S MOM -- NANCY!!!!

Some deep bolt of psychic power smacks through the girl, and her
eyes flap open -- they're glazed with terror and fury, but open.
NANCY's awake.

She stares   around like a cornered animal in the middle of the bed,
her purple   face gasping out gut-wrenchign SOBS. The NURSE and
MARGE dare   to go back in and hold the sweat-drenched girl as DR
KING comes   for her with the needle.

                              DR KING
                 Now, this is just going to let
                 you relax and sleep, Nan --

With incredible swiftness, NANCY backhands the hypodermic into a
far wall, shattering it into a million pieces.

                               NANCY
                 No.   That's enough sleep.
Her eyes are windows straight into white fire as she locks into
KING'S face. He dabs his splidt lip, swallowing painfully.

                              DR KING
               Okay, kid.    Okay. Fair enough.

He holds out his hand.    NANCY at last takes it, and sags back into
her pillow, exhausted.    Then KING comes up with blood on his hand.

He stares at it, dumbfounded, then at the girl. Across her left
forearm, a deep gash is bleeding freely, as if made by a very
sharp instrument.

                            MARGE
               Oh my god, oh my god...

                            DR KING
                      (to the NURSE)
               Get the kit!

The NURSE scrambles away as the DOCTOR claps his hand over the
wounds. He looks into NANCY's face. What he sees frightens him
even more: NANCY's haunted, ghost-like eyes turn from him to her
mother, and a terrible, chilling smile opens across NANCY's white
lips.

                            NANCY
               You believe this?

She pulls her free arm from beneath the sheets and reveals a
strange hat, filthy and worn -- the KILLER's hat. The sight of it
frightens MARGE more than anything that's come before.


                            MARGE
                      (deathly pale)
               Where the hell you get that?

NANCY fixes her with Xray eyes.

                            NANCY
               I grabbed it off his head.

MARGE stares at the hat as if it held her whole future, and her
future was a horror.

                                               FADE TO BLACK


EXT. NANCY'S HOUSE. DAY.

                                               BURN ON

                         THE SIXTH DAY
     FADE UP ON NANCY'S HOUSE, early morning.


     INT. NANCY'S KITCHEN. DAY.

     MARGE is on the telephone, the dirty hat in her hand.   Nearby is a
     nearly empty bottle of gin.

                                  MARGE
                     She said she snatched it off
                     his head in a dream.
                            (listens)
                     No, I'm not crazy, I've got
                     the damn thing in my hand!
                            (listens)
                     I know we did, we all...
                            (hears NANCY
                             approaching)
                     Gotta go.

     She hangs up and stuffs the hat and bottle into a drawer,
     screening the action with her body. NANCY enters.

      By now the girl has an extraordinary look. Her hair is ashen, her
      skin transluscent, and eyes dark-ringed. Her forearm is heavily
      bandaged over the slashes. In short, instead of the girl next
      door, we now could be looking at the lunatic from the next cell.
      MARGE, though she does her best to hide it, is downright frightened
of her.

                                  MARGE (CONTD)
                     You didn't sleep, did you?
                     The doctor says you have to
                     sleep or you'll --

     NANCY pours herself a cup of black coffee.

                                  NANCY
                     Go even crazier?

                                  MARGE
                     I don't think you're going
                     crazy -- and stop drinking
                     that damn coffee!

                                   NANCY
                     Did you ask Daddy to have the
                     hat examined?

                                  MARGE
                     I threw that filthy thing away --
                     I don't know what you're trying
                     to prove with it, but --
NANCY comes closer, her eyes shining with a new sureness.

                            NANCY
               What I learned at the dream
               clinic, that's what I'm trying
               to prove. Rod didn't kill Tina,
               and he didn't hang himself.
               It's this guy -- he's after
               us in our dreams.

                            MARGE
               But that's just not reality,
               Nancy!

Furious, NANCY janks open the drawer before MARGE can stop her and
spills the bottle and hat onto the counter.

MARGE grabs away the bottle protectively -- but it's the hat NANCY
goes for. She waves it triumphantly -- demonically.

                            NANCY
               It's real, Mamma. Feel it.

                            MARGE
                      (horrified)
               Put that damned thing down!

MARGE lunges for it -- NANCY leaps out of reach --

                            NANCY
               His name is even in it -- written
               right in here -- Fred Krueger --
               Fred Krueger! You know who that
               is, Mamma? You better tell me,
               cause now he's after me!

MARGE swallows, then persists in the lie.

                            MARGE
               Nancy, trust your mother for
               once -- you'll feel better as
               soon as you sleep!

NANCY shoots a hard humorless laugh, holding up her slashed arm.

                            NANCY
               You call this feeling better?
               Or should I grab a bottle and
               veg out with you -- avoid
               everything happening to me
               by just getting good and loaded --

MARGE slaps her hard.
                            MARGE
                      (losing it)
               Fred Krueger can't be after you,
               Nancy -- he's dead!

The room falls silent, both women staring at the other.

                            MARGE (CONTD)
                      (low, raw)
               Fred Krueger is dead. Dead and
               gone. Believe me, I know. Now
               go to bed. I order you, go to
               bed.

MARGE snatches the hat away.    NANCY is furious, betrayed.

                            NANCY
               You knew about him all
               this time, and you've been acting
               like he was someone I made up!

MARGE pulls away.
                            MARGE
               You're sick, Nancy. Imagining
               things. You need to sleep,
               it's as simple as that.

NANCY wheels and smashes MARGE's bottle of gin in the sink.

                               NANCY
               Screw sleep!

                               MARGE (CONTD)
               Nancy!

But NANCY runs past her mother for the front door.

                            MARGE (CONTD)
               Nancy -- it's only a nightmare!

NANCY turns in the doorway.

                            NANCY
               That's enough!

On the door SLAM, we

                                               CUT TO


EXT. SHAKESPEARE BRIDGE. DAY.

ANGLE ON A NEIGHBORHOOD STREET.    We hear GLEN's VOICE and PAN UP
to REVEAL NANCY and GLEN high above, two tiny figures walking
across this strange white bridge in old Los Angeles. CAMERA
BEGINS A SLOW ZOOM.

                            GLEN
               Whenever I get nervous I eat.

                            NANCY
               And if you can't do that, you
               sleep.

                             GLEN
               Used to.   Not anymore.

GLEN jams more Big Mack into his face. By now our ZOOM reveals
he's attacking a huge bag of Big Macks, and furtively eyeing
NANCY. The girl's hair is startlingly white in the sunlight.
She's reading a book, hardly paying attention.

                            GLEN (CONTD)
               You ever read about the Balinese
               way of dreaming?

                             NANCY
               No.

                            GLEN
               They got a whole system they
               call 'dream skills'. So, if
               you have a nightmare, for
               instance like falling, right?

                             NANCY
               Yeah.

                             GLEN
               Instead of screaming and getting
               nuts, you say, okay, I'm gonna
               make up my mind that I fall
               into a magic world where I can
               get something special, like a
               poem or song.
                      (grins hopefully)
               They get all their art literature
               from dreams. Just wake up and
               write it down. Dreamskills.

He stops, seeing the look on NANCY's face. Our ZOOM is much
closer now, a wide medium, and still coming in on the kids.

                            NANCY
               And what if they meet a monster
               in their dream? Then what?
                            GLEN
               They turn their back on it.
                      (grins hopefully)
               Takes away its energy, and
               it disappears.

                            NANCY
               What happens if they don't do
               that?

                            GLEN
                      (shrugs)
               I guess those people don't
               wake up to tell what happens.

                            NANCY
               Great.

She leans over the railing, poking her face back into her book.
GLEN tips its cover and reads its title. OUR ZOOM IS STILL MOVING
CLOSER, a MEDIUM CLOSE UP NOW.

                            GLEN
               'Booby Traps and Improvised
               Anti-personel Devices'!

                            NANCY
               I found it at this neat
               survivalist bookstore on
               Ventura.

                            GLEN
                      (shocked)
               Well what you reading it for?

OUR ZOOM LOCKS IN ON A TIGHT TWO ON THEIR FACES, NANCY's grimly
determined.

                            NANCY
               I'm into survival.

She walks away, OUT OF FRAME, leaving GLEN watching after her in
astonishment.

                            GLEN
               She's starting to scare the
               living shit out of me.


EXT. ELM STREET/NANCY'S HOME/EVENING

ANGLE ACROSS NANCY's "TREE LAWN", the grass between the sidewalk
and the street, in the general direction of GLEN's home. This
ANGLE doesn't quite reveal NANCY's house.
FOREGROUND is a utility truck in which a half dozen Hispanic
WORKERS are loading tools, extension cords and hardware. They
look like they've put in one hell of a hard day's work.

MARGE appears and hands a check to the FOREMAN of the crew, a
white guy in clean coveralls and a gold chain. he scrutinizes it.

                            FOREMAN
               And the other...

MARGE forks over a wad of cash, hands trembling in her half-drunk,
helpless rage.

                            MARGE
               Where's you mask and gun?

The FOREMAN counts the money swiftly.

                            FORMAN
               Don't bust my chops, lady.
               If the city found out I put
               'em in without inside releases
               I'd loose my license.

He shoves the money in his pocket and climbs in his truck.    MARGE
EXITS FRAME for her house.

PAN WITH THE TRUCK as it pulls away, THEN PICK UP NANCY, walking
across the street from the corner. Alone. Dispirited. She lifts
her eyes to her home and stops in her tracks.


                              NANCY
               Oh gross...

WIDENING TO REVEAL THE HOUSE as NANCY walks across her front yard.
Every single window has been covered with brand-new ornamental
iron bars, bolted deeply into their frames.

CLOSER, AT A WINDOW. NANCY    gives a set of bars a powerful shake.
They don't budge. Then the    girl looks up and sees even the window
to her second floor bedroom   is barred. And the rose trellis has
been ripped down and heaped   at the foundation in a tangle of wood,
thorns and broken flowers.


INT. MARGE'S ROOM. EVENING.

ANGLE ON THE DOORWAY INTO THE HALL. easy listening MUSIC wafts
through the air. NANCY appears in the doorway.

                            NANCY (OS)
               Mom, what's with the bars!?
REVERSE to MARGE, propped against the headboard of her bed, a
crooked shadow in the gloom. A fresh bottle of Gin glints in her
hand.

                            NANCY
               Oh, Mom...

The girls crosses and reaches gently for the bottle.   MARGE
snatches it away.

                            MARGE
               's'mine...

She rocks the bottle in her arms.

                            NANCY
               What's with the bars?


                            MARGE
               S'curity.

NANCY sits on the bed, a surprining compassion entering her voice.

                            NANCY
               Mom, I want to know what you
               know about Fred Krueger.

                            MARGE
               Dead and gone.

                            NANCY
               I want to know how, where --
               if you don't tell me, I'm going
               to call daddy.

MARGE gives a laugh -- a rasping chachination from deep in her
chest.

                            MARGE (CONTD)
               Your father the cop. That's a
               good one.
                      (colder)
               Forget Fred Krueger. You don't
               want to know, believe me.

                            NANCY
               I do want to know. He's not
               dead and gone -- he's after me
               and if I sleep he'll get me!
               I've got to know!

MARGE blinks at her a moment, then cracks a terrible, crooked
grin.

                              MARGE
               All right.


INT. NANCY'S CELLAR. NIGHT.

MARGE drags NANCY headlong down the cellar stairs and across the
room with a crazy fury, twisting her down near the foundation.
And she thrusts her fac so close to her daughter's that NANCY
reels from the alcohol.

                            MARGE
               You want to know who Fred
               Krueger was? He was a filthy
               child killer who got at least
               twenty kids, kids from our
               area, kids we all knew. It
               drove us all crazy when we
               didn't know who was doing it --
               but it was even worse when
               they caught him.

MARGE draws herself up with a shake.

                            MARGE (CONTD)
               Oh lawyers got fat and the judge
               got famous, but someone forgot to
               sign the search warrant in the
               right place, and Fred Krueger
               was free, just like that.

                            NANCY
               So he's alive?

MARGE smiles grimly.

                            MARGE
               He wouldn've stopped. The
               bastard would've got mare
               kids first chance he got --
               they found nearly ten bodies
               in his boiler room as it
               was. But the law couldn't
               touch him.

At the mention of "boiler room", NANCY gives a shake. MARGE
misses this, too busy taking a pull on the bottle that's never
left her hand.

                            MARGE (CONTD)
               What was needed were some private
               citizens willing to do what had
               to be done.

She reels slowly, looking at NANCY is defiance.

                            NANCY
                      (hushed)
               What did you do, mother?

MARGE cradles the bottle.

                            MARGE
               Bunch of us parents tracked him
               down after they let him go. Found
               him in an old boiler room, just
               like before. Saw him lying there
               in that caked red and yellow sweater
               he always wore, drunk an' asleep
               with his weird knives by his side...

                            NANCY
                      (dreading it)
               Go on...

MARGE reaches over and taps a dusty two-gallon jug of gasoline
near the lawn mower.

                            MARGE
               We poured gasoline all around
               the place, left a trail out the
               door, locked the door, then...

She mimes striking a match --

                             MARGE (CONTD)
               WHOOSH!!!

Her arms shoot up and her eyes go wide with the light of that
fire. There's awe in her voice. Then she drops her arms.

                             MARGE (CONTD)
                       (hushed, remembering)
               But just when it seemed not
               even the devil could live
               in there any more -- he crashed
               out like a banshee, all on fire
               -- swinging those fingerknives
               every which direction and
               screaming he... he was going
               to get us by killing all our
               kids...

She stops with a sudden quake and drinks for a long moment. But
the intake doesn't hide the image. Her face bathed in tears, she
looks at her daughter and shakes her head.
                            MARGE (CONTD)
               There were all those men, Nancy,
               even your father, oh yes, even
               him. But none could do what
               had to be done -- Krueger rolling
               and screaming so loud the whole
               state could hear -- no one could
               take your father's gun and kill
               him good and proper except me.

She sweeps her hand across the air in a terrific slash, then
stops, her hand shaking, her voice hoarse and terrified. She
looks at her daughter, begging.

                            MARGE (CONTD)
               So he's dead Nan. He can't
               get you. Mommy killed him.

For someone who started this film at a very young seventeen,
NANCY's now the battle-tempered veteran as she takes her mother in
her arms and rocks her.

                            NANCY
               Who was there? Were Tina's
               parents there? Were Rod's?

MARGE sags back.

                            MARGE
               Sure, and Glen's. All of us.
               But that's in the past now,
               baby. Really. It's over.
                      (slyly)
               We even took his knives.

The woman twists around and opens the door on an old furnace -- a
furnace unused since the newer gas one nearby was put in. SHe
fishes inside the cavity -- as then we hear a touch of the
familiar 'SCRRIITCH'. Next moment she pulls out an object wrapped
in rags, opens it and displays the long, rusted blades and their
glove-like apparatus.

                            MARGE (CONTD)
               See?

NANCY stares at the damn things, chilled.

                            NANCY
               All these years you've kept those
               things buried down here? In our
               own house?

                            MARGE (CONTD)
               Proof he's declawed. As for him,
               we buried him good and deep.

MARGE shoves the knives into their hiding place, closes the little
iron door.

                            MARGE (CONTD)
               So's okay, you can sleep.

She lurches up and staggers upstairs.

NANCY shivers and looks down at her arm. The cut beneath her
bandage has begun to bleed again. And from inside the furnace, as
if from deep below, the PULSING of the boundless nightmare-boiler
room can be faintly heard.


EXT. ELM STREET. NIGHT.

WIDE ON THE STREET AND BOTH HOUSES, GLEN's on the right, NANCY's
on the left. A TELEPHONE RINGS. ZOOM IN ON GLEN's UPSTAIRS
BEDROOM WINDOW.


INT. GLEN'S & NANCY'S BEDROOMS - INTERCUT. NIGHT.

GLEN, yawning, crosses and picks up his telephone.

                              GLEN
               Hello?

                              NANCY (telephone)
               Hi.

                             GLEN
               Oh.   Hi, how y'doing?

NANCY looks out the window and touches her hair.

                            NANCY (CONTD)
               Fine. Stand by your window
               so I can see you. you sound
               a million miles away.

In the lighted window across the way, she can SEE GLEN move into
sight. In his shot, we can SEE NANCY step into her window begind
the bars.

                              NANCY (CONTD)
               Much better.

                            GLEN
               I heard your ma went ape at the
               security store today. You look
               like the Prisoner of Zenda or
               something. How long's it been
               since you slept?

                            NANCY
               Coming up on the seventh day. It's
               okay, I checked Guiness. The
               record's eleven, and I'll beat
               that if I have to.
                      (beat)
               Listen, I... I know who he is.

                             GLEN
               Who?

                             NANCY
               The killer.

                             GLEN
               You do?

                            NANCY
               Yeah, and if he gets me, I'm
               pretty sure you're next.

GLEN is appalled.

                           GLEN
               Me!? Why would anyone want to
               kill me?!

                            NANCY
               Don't ask -- just give me some
               help nailing this guy when I
               bring him out.

GLEN pales.

                            GLEN
               Bring him out of what?

                             NANCY
               My dream.

                            GLEN
               How you plan to do that?

                            NANCY
               Just like I did the hat. Have
               a hold of the sucker when you
               wake me up.

                             GLEN
               Me?
                       (switching back to a more
                        comfortable reality)
                Wait a minute, you can't bring
                someone out of a dream!

                             NANCY
                If I can't, then you all can
                relax, because it'll just be a
                simple case of me being nuts.

                             GLEN
                I can save you the trouble.
                You're nutty as a fruitcake.
                I love you anyway.

                             NANCY
                Good, then you won't mind cold-cocking
                this guy when I bring him out.

                              GLEN
                What!?

                             NANCY
                       (simplicity itself)
                You heard me. I grab him in the
                dream -- you see me struggling
                so you wake me up. We both come
                out, you cold cock the fucker,
                and we got him. Clever, huh?

                              GLEN
                You crazy?   Hit him with what?

                             NANCY
                You're a jock. You must have
                a baseball bat or something.
                Come to my window at midnight.
                And meanwhile...

                              GLEN
                       (weakly)
                Meanwhile...?

                             NANCY
                Meanwhile whatever you do
                don't fall asleep. Midnight.

She hangs up.   GLEN's eyes bug out.

                             GLEN
                Holy shit! Midnight. Baseball
                bats and boogemen. Unfucking
                real.
EXT. THE VALLEY AND HILLS. NIGHT.

HIGH, WIDE SHOT. The moon is above the horizon. A cool wind
slides a bank of white fog inland. The valley and its lights
stretch forever, an endless net of illumination and darkness.      A
coyote HOWLS on the dark hill.


EXT. POLICE STATION. NIGHT.

A palm frond scuttles across the center of the parking lot.       LT
THOMPSON arrives in an unmarked car.

                            COP (passing)
               Lieutenant Thompson -- what
               you doing in at this time?

                            LT THOMPSON
               Can't sleep, thought I'd come
               break up the poker game.

The COP laughs and goes his way.    THOMPSON's smile evaporates.


INT. POLICE STATION. NIGHT.

THOMPSON enters and checks the log.    Nearby, SGT GARCIA pours
coffee.

                            SERGEANT GARCIA
               If it was any more quiet we
               could hear owls farting.

                            LT THOMPSON
               Is quiet, isn't it?

                            SERGEANT GARCIA
                      (too casually)
               How's your girl?

THOMPSON looks at the Desk Sergeant a moment, then tosses down the
log.

                            LT THOMPSON
               She's sensible. SHe'll sleep
               sooner or later.


EXT. ELM STREET. NIGHT.

The neighborhood is utterly still, most of the homes already dark.
But not NANCY's. Or GLEN's.
ZOOM TO GLEN'S LIGHTED LIVING ROOM WINDOW.


INT. GLEN'S LIVING ROOM. NIGHT.

GLEN's father watches eleven o'clock news, a dreary FILM CLIP
(STOCK) of war and refugees in a far-awy land.

MR LANTZ takes a pull on his Bud.

                            MR LANTZ
               You'd think they'd have some-
               thing 'bout the Lane kid hanging
               himself.

MRS LANTZ walks through the room, drying her hands on a dishtowel.

                            MRS LANTZ
               Maybe we're all making more out
               of it than we should.

She heads upstairs.    MR LANTZ pops the automatic tuner.   CARSON
blinks ON.

                            CARSON (TV)
               I wouldn't touch that line with
               a ten foot pole.

ED MCMAHON and the AUDIENCE laugh in delight.


INT. GLEN'S HOUSE/UPSTAIRS CORRIDOR. NIGHT.

MRS LANTZ comes along the upstairs hall and knocks gently at the
closed door.

                              MRS LANTZ
               Glen?    you all right?

She puts her ear to the door and listens.

                              MRS LANTZ (CONTD)
               Glen honey?

No answer.


INT. GLEN'S ROOM. NIGHT.

GLEN lies sprawled across the bed, long legs flung over the end,
head not visible.

his mother enters. She looks at the boy, turns off the TV. Looks
at him again. From this angle she can see his head, earphones
     crammed over it rasping their tinny noise. But no movement from
     the kid at all. MRS LANTZ crosses and pokes him in the ribs.
     GLEN lurches up, arms windmilling.

                                   GLEN
                    Whuu?

     He refocuses his eyes, takes off his earphones.

                                 MRS LANTZ
                    How can you listen to Carson and
                    a record at the same time?

     GLEN swings his legs over the edge of the bed and shakes his head
     to clear the cobwebs.

                                 GLEN
                    Wasn't listening to the tube,
                    just watching. Miss Nude
                    America's supposed to be on
                    tonight.

                                 MRS LANTZ
                    Well how you gonna hear what
                    she says?

                                 GLEN
                    Who cares what she says?

     The mother gives up.

                                 MRS LANTZ
                    You should get ot sleep soon,
                    Glen. It's almost midnight.
                    Goodness knows we've all had
                    enough of a time the last few
                    days...

                                 GLEN
                    I will, Mom...in a while.
                    You guys turning in?

                                   MRS LANTZ
                    Pretty soon.

     His MOTHER sighs and goes out, closing the door behind her.   GLEN
     flips the TV back on and glances at the clock.

     INSERT OF CLOCK.   It's 11:42.

      TIGHT ON GLEN's face. He clamps the earphones back on, and turns
      the volume up high. The MUSIC is so loud we can hear it resonating
inside his skull.
CAMERA MOVES PAST GLEN to his eindow, then ZOOMS through to:


EXT. ELM STREET/NANCY'S HOUSE. NIGHT.

CONTINUE ZOOMING into the LIGHTED window of NANCY's barred second
floor bedroom and

                                              CUT TO:

INT. NANCY'S ROOM. NIGHT

CLOSE ON MARGE, weaving on the edge of NANCY's bed, stroking the
girl's hair. NANCY's still something of a wreck, but less than
MARGE.

                             MARGE
               We'll go away, take a vacation.
               Get your hair colored nice, the
               way it was. No one will ever
               know.
                       (sniffs)
               This whole room smells of coffee,
               y'know?

She gathers up NANCY's coffee cups and empty NoDoz boxes, leans
down and kisses her.

                            MARGE (CONTD)
               It's all over now, baby. The
               nightmare's over. Please.

NANCY nods her head, half stubborn, half sadly.    She can barely
keep her eyes open now.

                              NANCY
               Okay.

She scrunches intoher pillow. MARGE smiles haggardly and shuts
off the light, taking the coffee pot with her as she leaves.

                              NANCY (CONTD)
               Night-night.

MARGE smiles, relieved. The girl pulls the blanket around her
shoulders. Her eyes flutter closed, her breathing becomes regular
and deep. Once again she's the litle girl MARGE fantasizes she
is.

The mother tiptoes out of the room, closing the door behind her.
HOLD ON NANCY's sleeping face as the DOOR CLOSES. Her eyes remain
closed another beat, then open wide.

She quietly jumps out of bed and shakes herself savagely to
scatter the sleep settling so quickly.

Still in the dark, she fishes a full electric coffepot from under
her bed and pours herself a fresh fix into a mug she digs from
beneath her pillow. The face illuminated by the neon light on the
pot is set in absolute determination.

NANCY drains the cup, then crosses   to her closet, retrieves a
pitcher of ice water from behind a   heap of clothes and splashes
her eyes and the back of her neck.    That done she eases open her
window and presses her face to the   bars, sucking in cool night air
until every shred of sleep is gone   from her brain.

Then she starts pulling on clothes.


INT. NANCY'S HOUSE/DOWNSTAIRS. NIGHT..

ANGLE ON MARGE as she checks the lock on the backdoor.    Firm.

ANGLE IN THE LIVING ROOM as she pads through the darkened house,
feels her way to a wall of shelves and takes down a book. Then
another, and a third. Then reaches in and fishes out a bottle of
gin.


EXT. NANCY'S HOUSE AND ELM STREET. NIGHT.

The sky has gathered in greater darkness. LOW, DISTANT THUNDER
rolls around the horizon like a great drum.

ANGLE ON NANCY'S HOUSE from across the street. The moon glints
off the barred windows. CAMERA ZOOMS to NANCY's window. The
imprisoned girl hovers in the darkness behind the grill like a
ghost, her eyes turned towards GLEN's. Then she switches to
something much CLOSER TO CAMERA ANGLE, and she draws back.

REVERSE ON GLEN's father, standing on the front porch of his home,
also in the shadows, looking straight across and up at NANCY. He
draws on his cigarette; his face glows red.

NANCY pulls down the shade.

GLEN's father grinds the cigarette beneath his shoe.

                            MRS LANTZ
               Shouldn't stare.

As the man turns our SHOT WIDENS TO REVEAL MRS LANTZ.

                            MR LANTZ
               Know what I think? I think
               that kid's some kinda lunatic.
The woman spoons more sweetness into her mouth and rubs her
forehead.

                            MRS LANTZ
               Shouldn't say such a thing about
               the poor child. If you mean the
               bars, Marge's just being cautious,
               her being alone and Nancy acting
               so nervous lately.

The woman rises and pulls him gently towards the living room.   As
he goes inside he takes one last look.

                            MR LANTZ (CONTD)
               Well, she ain't gonna hang around
               our boy no more.

Once the two are inside, the door is locked.


INT. NANCY'S ROOM. NIGHT.

CLOSE ON NANCY's face. VERY CLOSE. Her eyes stare ahead, red-
rimmed, anxious. She picks absently at the thick bandage covering
her forearm. The long cuts from Fred Krueger's fingers are
bleeding agin, but she doesn't even care anymore. Too late to
sweat the small stuff. She crosse the room.

On the bedside table with the nearly empty Pyrex coffee maker, the
empty cup and the empty box of No-Doz, is her old fashioned alarm
clock, and a phone.

NANCY pours herself the last of the coffee and drinks it to the
dregs, then looks to the clock.

INSERT CLOCK -- ten minutes to midnight.

NANCY's eyes go to the door.

WIDER. Fully clothed and in a jacket now, she creeps to the door
and cracks it, just to make sure. Then freezes.


INT. HALLWAY OUTSIDE NANCY'S DOOR.

IN NANCY'S POV though the door we see MARGE, rummaging around in
the linen closet not fifteen feet away. There's no way NANCY can
get past her. The woman pulls out a full bottle of gin in
satisfaction and begins fumbling with its cap.


INT. NANCY'S ROOM.   NIGHT.

NANCY eases the door closed again and sinks to the key hole,
watching through it with a sinking heart.

                            NANCY
                      (very quiet, very intense)
               Hang on GLEN...


INT. GLEN'S ROOM. NIGHT.

GLEN, coat now on, goes to his window, cheching.


INT. ELM STREET. NIGHT.

GLEN'S POV -- NANCY'S porch is deserted; front door closed, lights
out. No sign of NANCY.


INT. GLEN'S ROOM. NIGHT.

GLEN shrugs, takes off his jacket and plops back onto his bed.

                            GLEN
               Well, I'm not gonna risk
               sneaking out until she does.

He puts the earphones back on.


INT. NANCY'S ROOM. NIGHT.

Absolutely frustrated, NANCY turns from the keyhole to the window.
She opens the blind and eases back the curtain.


EXT. ELM STREET. NIGHT.

IN NANCY'S POV THROUGH THE BARS we ZOOM directly across to GLEN's
window.


INT. GLEN'S ROOM. NIGHT.

GLEN lies on his bed, fully clothed, earphones over his ears,
CARSON droning from the TV. And the boy's eyes begin to droop.


INT. NANCY'S BEDROOM. NIGHT.

NANCY picks up her phone, bites her lip, then begins dialing.


INT. GLEN'S ROOM. NIGHT.
TIGHT ON PHONE as it begins RINGING loudly.

WIDER SHOT, revealing GLEN asleep BACKGROUND, the MUSIC still LOUD
in his earphones.


INT. GLEN'S LIVING ROOM. NIGHT.

RINGING here, too, just as MR LANTZ is turning out the lights for
bed. he stops in the dark, scowling.

                            MR LANTZ
               Who at this hour?

He refuses to turn the light back on.   His wife picks her way to
the telephone.


                            MRS LANTZ
               Hello?
                      (listens, frowns
                       slightly)
               Oh... Hold on.
                      (covers the mouthpiece)
               It's her. She wants to talk to
               Glen.

The father crosses to the telephone, suspicious.

                            MR LANTZ
                      (whispering)
               About what?

                            MRS LANTZ
                      (into phone)
               What's this about, Nancy?

She listens, covers up again.

                            MRS LANTZ (CONTD)
               She says it's private. Very
               private and very important.

MR LANTZ grabs the telephone from his wife and barks into it.

                            MR LANTZ
               Glen's asleep. Talk to him
               tomorrow!

He SLAMS down the telephone with a grunt of satisfaction to his
wife.

                            MR LANTZ (CONTD)
               Just got to be firm with kids,
               is all.

Then as a refinement he takes the phone off the hook and lays it
on the table.


INT. NANCY'S ROOM. NIGHT.

NANCY dials again. This time she gets a BUSY SIGNAL. She slams
the phone down in frustration and looks out the window.

                              NANCY
               Glen.    Don't fall asleep...

She goes and sits on the bed, propping her chin on her fists.
yawns. The TELEPHONE RINGS.

NANCY snatches it up.

                              NANCY
               Glen?

TIGHT ON HER, ZOOMING EVEN CLOSER ON HER EAR AND THE EARPIECE as
we HEAR the awful SCRITCHING SCRAPE of STEEL FINGERKNIVES.

NANCY slaps the phone down as if it were diseased -- then, in pure
rage, rips the thing's cord from the wall.

Spent instantly, she puts the receiver   back on the cradle and
lays it on her bed, chiding herself.

                              NANCY
               Brilliant.    Now what if Glen
               calls?

She wraps the phone cord around the useless machine and puts it on
her bed, then sneaks back to the door. This timeshe gives an
expression of relief, and opens the door. MARGE is gone.

Then the TELEPHONE RINGS again.

CAMERA MOVES IN ON NANCY as she turns slowly.

REVERSE IN HER POV. THE TELEPHONE RINGS again, despite the fact
that the end of its yanked-out cord is clearly visible. The
NIGHTMARE MUSIC THEME slips right up our spines.

BACK ON NANCY. She starts to shake. She goes to the telephone as
we WIDEN, unwraps it as it RINGS even louder. She's shaking so
hard by now she can barely manage to lift the receiver. MOVE IN
CLOSE ON HER, so close we can HEAR her teeth chattering as she
brings the phone to her ear.

                              NANCY (CONTD)
               Hello?

The unmistakeable VOICE of FRED KRUEGER comes over the phone,
garbled by time and unknown dimensions, but clear enough.

                            KRUEGER (FILTER)
                      (triumphant)
               I'm your boyfriend now...

CLOSE ON THE MOUTHPIECE. It's changed from a normal telephone
mouthpiece to an actual mouth -- Fred Krueger's mouuth -- and his
long, slick tongue flicks out and darts into the startled girl's
mouth!

WIDER -- as NANCY explodes from her micro-dream -- absolutely mad.
She jerks the telephone away from her and smashes it against her
wall, then attacks it with her feet and hands, smashing it to
smithereens.

ANGLE ON THE TELEPHONE PIECES.    Normal pieces of a normal
telephone.

She pinches herself hard -- until tears come and her flesh is
nearly bleeding.

                            NANCY
               I'm awake, I am awake.       This is
               not a dream! I am --

She stops, realizing what Krueger meant.

                            NANCY (CONTD)
               My boyfriend...!


INT. NANCY'S LIVING ROOM. NIGHT.

NANCY barrels down the stairs and across the darkened living room
to the front door.

It takes her a moment of tugging and fumbling to realize the
deadbolt is locked from inside. And there's no key in it now.

She races to a porch window and throws it open, shaking and
banging on the bars like a mad woman. But there's no getting
through. She staggers back. stymied and furious. Then somebody
moves behind her in the dark.

                               VOICE (OS)
               Locked.

NANCY jumps around in shock.    Her mother has posted herself on the
couch with her bottle.
                            NANCY
                      (furious)
               Give me the key, mother.

                             MARGE
               I don't even have it on me,
               so forget it.

The word is final. NANCY runs past the woman to the back door, to
one window after the other, shaking bars and slamming locks and
SCREAMING in teenage fury. But it's no good. The house is her
prison.

                            MARGE (CONTD)
                      (drunk satisfaction)
               Paid the guy damn good to make
               sure you stayed put. You ain't
               goin' nowhere, kid. You're
               gonna sleep tonight if it kills
               me.

NANCY clenches her fists and screams at the top of her lungs, a
heart-wrenching, eardrum-breaking cry of love in despair --

                              NANCY
               GLEEENNNNNN!

                                          SMASH CUT TO:

INT. GLEN'S ROOM. NIGHT.

CLOSE ON GLEN'S FROM DIRECTLY ABOVE. The MUSIC is tinny from the
earphones, the TV SOUND DIDTANT AND ECHOED. The boy is breathing
deeply now, slowly and gently. Then, unmistakeably, ge begins to
SNORE. Very faintly, far in the background, we can hear NANCY.

                             NANCY (OS)
               Glen!!   Don't fall asleeeeeep!

CAMERA PULLS BACK AND STRAIGHT UP as the SNORES merge with a
weird, unsettling MUSIC CUE. The boy lies sprawled, still
clothed, in the middle of his bed. Save for the bedside lamp, the
room is dark.

FULL WIDE ANGLE FROM THIS HIGH SPOT looking down at him as from
the eyes of some great fly hung on the ceiling. THE MUSIC REACHES
A TERRIFYING PITCH OF ANTICIPATION -- THEN STOPS ABRUPTLY.

There's a heartbeat's pause. Then with tremendous force, two
powerful arms shoot up beneath the red and yellow bedspread and
grab GLEN around the waist!

next moment the young man's body is dragged straight down into the
bed, as if some huge beast had grabbed him and heaved him down!
His feet and his arms shoot up -- there's another hauling yank --
and the boy disappears except for his hands and fingers -- down
into the pit in the middle of the bed! His hands are last to go,
clawing for a hold. But soon they vanish as well, dragging
blankets and dedsheets, wires and stereo across the caved-in bed
and into the abyss.

There's HIDEOUS SCREECHING of MUSIC jamming in with GLEN'S ECHOING
SCREAMS -- then an unholy, sudden silence.

Next moment what's left of GLEN is vomited up from the pit of the
nightmare bed...a horrible mess of blood and bone and hair and
wires...streaming out and over the bed. Then the pit in the bed
is gone as if it were never there.

Drawn by the terribly scrams and struggle, GLEN's mother bursts
into the room. The women stares for one moment of horrified
disbelief, then reels back and lets out th emost god-awful SCREAM
imaginable. The cry splits the night.


EXT. ELM STREET. NIGHT.

The SOUND of the SCREAM CROSS-FADES WITH the WAIL of the AMBULANCE
as it screeches to a halt at the curb, followed by two BLACK AND
WHITES and an UNMARKED CAR. Uniformed POLICEMEN spill out
FOREGROUND.

LT THOMPSON and PARKER exit the unmarked car. By habit or by
premonition THOMPSON glances at the house that was his home. His
eye is caught by a movement; his daughter is at her upstairs
window, white-haired, hollow-eyed, looking down on him through her
bars. She gives a little wave.

Unnerved, THOMPSON waves back, then walks rapidly for GLEN's home.
MR LANTZ, pale as a ghost himself, waits on the porch; we can hear
the mother's WAILING inside.


INT. NANCY'S ROOM. NIGHT.

CLOSE ON NANCY'S BIG OLD WINDUP ALARM CLOCK.   Its big and little
hands sweep together at midnight.

                                        BURN ON:

                      THE FIFTH NIGHT

There's a BABBLE of POLICE RADIOS, SIRENS WINDING DOWN, RUNNING
FOOT-STEPS, SHOUTS, NEIGHBORHOOD KIDS and DOGS BARKING as CAMERA
LIFTS TO NANCY'S FACE. Set. Unafraid. Ruthless.

The girl pulls the window shade on it all, then looks at her bed.
                            NANCY
               Okay, Krueger, you bastard.
               We play in your court.


INT. GLEN'S LIVING ROOM/NANCY'S KITCHEN -- INTERCUT. NIGHT.

LT THOMPSON is halfway across the living room when he stops.
Something dark and red is welling from a crack in the ceiling.
One of his men is rigging a bucket beneah to catch the leaking.
The telephone rings and PARKER picks it up.

                            PARKER
               Lieutenant. It's your daughter.
               Says it's urgent.

THOMPSON turns away from the dripping.

                            LT THOMPSON
                      (low)
               Tell her I'm not here, tell
               her...

                            PARKER
               Uh, she just saw you, sir...

THOMPSON nods, crosses and picks up the telephone.   SCREEN SPLITS;
we see both.

                              LT THOMPSON (CONTD)
               Hello Nancy.

                             NANCY
               Hi daddy.   I know what happened.

                            LT THOMPSON
               Then you know more than I do --
               I haven't even been upstairs.

                            NANCY
                      (guessing)
               You know he's dead though, right?

THOMPSON debates, then admits it.

                            LT THOMPSON
               Yeah, apparantly he's dead.
               How the hell'd you know?

A tear coarses down NANCY's cheek, but her voice remains firm.

                            NANCY
               I've got a proposition for
               you. Listen very carefully,
                   please.

                                  LT THOMPSON
                   Nan, I --

                                NANCY
                   Please. I'm gonna go get
                   the guy who did it and bring
.                  him to you. I just need you
                   to be right there to arrest him.
                   Okay?

                                LT THOMPSON
                   Just tell me who did it and
                   I'll go get him, baby.

                                NANCY
                   Fred Krueger did it, Daddy,
                   and only I can get him. It's
                   my nightmare he comes to.

    The detective flinches at the name.

                                LT THOMPSON
                   Where'd you hear about Krueger --

    NANCY presses, very firm, very rational.

                                NANCY
                   -- I want you to come over here
                   and break the door down exactly
                   twenty minutes from now -- can
                   you do that?

                                  LT THOMPSON
                   Sure, but...

                                NANCY
                   That'll be exactly half past
                   midnight. Time for me to fall
                   asleep and find him.

                                LT THOMPSON
                   Sure, sure, honey. You just
                   do that -- get yourself some
                   sleep -- that's what I've been
                   saying all along.

                                NANCY
                   And you'll be here to catch
                   him, right?

                                PARKER
                   Lieutenant -- they're waiting
               upstairs.

THOMPSON waves curtly, still speaking to NANCY.

                            LT THOMPSON
               Sure, okay, I'll be there.
               Now you just turn in and get
               some rest, sweetheart. Please.
               Deal?

                              NANCY
               Deal.

NANCY hangs up. LT THOMPSON starts upstairs. But then he stops,
and as an afterthought he could never really explain, turns to
PARKER.

                            LT THOMPSON (CONTD)
               Get outside and watch her house.
               If you see anything funny call
               me.

                            PARKER
               'Anything funny' like what?

THOMPSON shakes his head, embarassed.

                             LT THOMPSON
               I don't know -- but one thing
               for sure, I don't want her
               coming over here. She's way
               too far gone to be able to
               handle this.
As PARKER exits, ANGLE CUTS TO NANCY'S KITCHEN as the girl hangs
up and sinks back agiainst the wall, trapped by her own
resolution. She looks at her watch.

INSERT -- five past midnight. NANCY switches modes to stopwatch
and sets the COUNTDOWN going at twenty-five minutes.


INT. GLEN'S BEDROOM. NIGHT.

LT THOMPSON steps into GLEN's room, anxious to be done with it.
He hits a wall of stench and horror even before he takes it in
with his eyes, and as soon as he sees the bed he claps his hand
over his mouth, pivots and walks right back into the hallway.


INT. HALLWAY. NIGHT.

He sags against the wall, unable to look at the COPS who hover
there.
                                  COP #2
                            (faint)
                     What the hell did that,
                     Lieutenant? There ain't even
                     a head left.

                                  LT THOMPSON
                     Goddamed if I know.
                            (tries to straighten)
                     What's the Coronor say?

                                  COP #2
                     he's in the john puking since
                     he saw it.


     INT. CELLAR. NIGHT.

     NANCY pulls tools and hardware out with grim resolution. Hammer,
     nails, spools of wire, an old square of heavy fishneting, some old
     shotgun shells, a file -- referring only once to the booklet in
     her hand.


     INT. NANCY'S LIVING ROOM. NIGHT.

     Barely able to control her shaking hands, NANCY starts stringing
     off the spool of wire across the living room, crying and swearing
     at the same time.

      DISSOLVE TO HER HANDS wrapping bare lamp wire around two thumbtacks
stuck into the insides of the pinchers of a common wooden clothespin.
The wire goes OFF SCREEN.

     ANOTHER ANGLE as she insersts a Lifesaver between the two prongs.
     One end of the fishline is tied to the lifesaver. The whole now

     is stretched taut about three inches off the living room carpet.

     ON NANCY carefully filing a hole in a LIGHTBULB.

     OH HER pouring powder and shot from shotgun shells into the
     opening in the bulb until it's full, then sealing it with tape.

     DISSOLVE TO HER screwing the bulb back into the floor lamp, and
     placing the thing near the foot of the stairs.


     INT. NANCY'S UPSTAIRS HALLWAY. NIGHT.

     -- NANCY completes installing a sturdy sliding bolt to the outside
     of her own bedroom door.

     -- NANCY screws a hinge into the wall directly above her door.
Attached to the hinge is the shank of something -- some kind of
tool. We can't see what it is because CAMERA never quite frames
the whole thing.

-- NANCY tiptoes to her mother's door and peeks in.


INT. MARGE'S BEDROOM. NIGHT.

MARGE lies propped in her bed looking back at NANCY. Her
drunkeness has been altered by the SIRENS and BABBLE outside into
a sort of comatose clarity.

                            MARGE
               Guess I should'n'a done it.

                            NANCY
               Just sleep now, Mom.

                            MARGE
               Just wanted to protect you,
               Nan. Just wanted to protect
               you...

MARGE slides over on her side. NANCY smooths her hair, covers her
as she would a child, then exits the room.


INT. NANCY'S ROOM. NIGHT.

The girl enters, turns out her bedside light, slips out of her
dress and puts on her nightgown. Then she kneels by her bed.

                            NANCY (quietly)
               Now I lay me down to sleep,
               I pray the Lord my soul to keep.
               If I should die before I wake,
               I pray the Lord my soul to take.

She gets into bed and pulls the blankets to her chin.

CLOSE ON NANCY's face. She stares straight up at the ceiling for
a long moment, then closes her eyes.

                                       CUT TO:


INT. GLEN'S LIVING ROOM. NIGHT.

LT THOMPSON trudges down the stais and confronts GLEN'S FATHER.

                            LT THOMPSON
               I know it's hard to think at
               a time like this, Walter, but
               can you think of anyone who
               could've done such a thing?

The father stares away, his voice low and dull.

                             MR LANTZ
               He done it.

THOMPSON looks at theman, baffled.

                             LT THOMPSON
               Who?   Who did that?

                             MR LANTZ
               Krueger.

                             LT THOMPSON
               Krueger?

The father gives him the strangest look.

                            MR LANTZ
               Had to've done it. No one
               else was in there.

                            LT THOMPSON
               How you know that?

                            MR LANTZ
               Cause I thought glen was
               gonna sneak out to see your
               lunatic daughter, that's why.
               So I locked him in his room!
                      (gettign control)
               Sorry. Anyways, the door was
               still locked when we heard the
               screams.

He blinks.

                            MR LANTZ (CONTD)
               Maybe god's punishing us all...

                            LT THOMPSON
                      (much lower and hard)
               Keep you head -- this is a
               fucking flesh and blood killer
               we're talking about.

                            MR LANTZ
               Like Rod Lane?

A voice calls down from upstairs.
                            COP #2 (OS)
               Lieutenant Thompson. Coronor
               wants to show you something.

THOMPSON gives MR LANTZ one final look, then heads upstairs.

                                         CUT TO:


INT. DOWNSTAIRS. NANCY'S HOUSE. NIGHT.

LOW ANGLE UP STAIRS as NANCY appears at head. As she comes
downstairs, CAMERA MOVES WITH HER through the hallway to the
cellar door. She opens the door.


INT. NANCY'S CELLAR. NIGHT.

NANCY appears at top of these stairs, hesitates, then comes down.

WIDER as NANCY approaches center of room, stops in CU, then turns
eyes. We HEAR the distant SOUND of the boiler room now, faint but
unmistakeable. NANCY MOVES, and CAMERA PANS HER to the cellar's
side WALL, where another, new doorway is REVEALED. NANCY opens
this door and looks down. FIRELIGHT is on NANCY's face now, and
the SOUND of the Boiler Room is very clear. NANCY goes through
the door.


INT. BOILER ROOM.

NANCY decends like Orpheus into hell, but without wepon save her
wits.

She decends a steel stair to the lowest level, then hears the
SOUND of the knives from donw another shaft. She sees there's an
even deeper place down there. She starts down.

Again, and then again, NANCY decends, each ladder narrower or more
twisting, each level deeper, wetter, darker, more airless. Soon
she's gasping for air, but still she pushes herself on. She
doesn't stop until she breaks out at last at the very bottom of
the place, a wet, firelit sump deep in the bowels of the place.

CAMERA NOW PANS AROUND WITH HER, and for the first time we SEE the
vast maul of the empty boiler behind her.

She stares at it. It's seething with some dark WIND that soughs
and whines like a huge dying dog.

NANCY crosses to it, touching the pile of old, coal-dusted dirt at
its base. It looks almost like an old grave.

She turns suddenly, listening.   Then, hearing nothing, she looks
down.

NANCY'S POV as she picks up GLEN's earphones.

WIDER as she suddenly drops them, staring at her fingers.   They're
dripping blood.

There's another BEEP.

INSERT ON NANCY'S WATCH -- the COUNT-DOWN a blur of black digits
counting down to zero. They've just crossed the ten minute
warning.

CLOSE ON NANCY'S FACE.   She speaks into the night.

                             NANCY
                       (quietly)
                Come out and show yourself,
                you bastard.

No sooner are these words off her lips than the huge bulk of FRED
KRUEGER lurches up behind her! The man is even more hideous
hatless, his bald head and tormented face veiled in skeins of
ruined flesh, his ragged teeth barred, the great spider of razor-
blades flashing from his fingertips.

He leaps, but the girl leaps just as fast, a fierce jump, that
sends her out over black space and down into a huge, dark sump of
blackness.


EXT. THE HEAVENS. NIGHT.

CLOSE ANGLE ON NANCY as she curves like a swan though her apogee,
and begins falling, diving, planing through black air, the wind
ripping at her hair and eyes. Suddenly the complex, glittering
skein of light that is the San Fernando Valley seen from the air
slides INTO FRAME, and we see she's falling from high, high over
the earth.

NANCY falls, falls in slow motion against the spinning lights,
free as a sky diver freefalling -- a giddy, acrophobic plunge.


EXT. ELM STREET. NANCY'S HOUSE. NIGHT.

NANCY crashes suddenly out of the night and into a hedge just
outside her own front door, rolling out at its bottom scratched
and bloodied. If she were in any normal reality she'd be a mass
of broken bones -- but somehow she's able to claw her way up and
look at her watch once more.

INSERT.   Just a few seconds from zero.
She staggers for her house's front door -- but a moment later
KRUEGER crashes down atop her! NANCY struggles to her knees just
as the man lunges with that godawful handful of blades. But
instead of running, she ducks inside the deadly grab and seizes
him in a desperate bearhug!

The surprise move sends him pitching backwards, her still on him -
-and they fall into the jumble of torn-down trellis of roses
beneath her window. Almost at that very second we HEAR the
jarring, deafening RINGING of NANCY's alarm clock!

                                        SMASH CUT TO:


INT. NANCY'S BEDROOM. NIGHT.

NANCY sprawls out of her bed onto the floor, twisting from the
jabs of the already vanished thorns, briars and brush. Gasping,
she takes a second to get her bearings, and sees next instant that
she's actually lyig on the surface of a wall, half-way up over her
bed, in a crazy half-dream, half-waking gravity mistake.
Instantly she plunges to the bed like a sack of rocks!

ANGLE ON THE BED as she recovers quick as she can, snatching up
the net, ready for an assault from any direction.

But the room is empty.

Hardly able to catch her breath, her hair tangled, her nightgown
torn, she drops the net. She sits on the bd, turns on the bedside
lamp and re-examins her room. no one there but herself.

It's a terrible blow, despite the fact that she's safe. Her face
is covered with tears, she's shaking and reathless. She rattles
her head in confusion and despair, realizing her own madness.

                            NANCY
               I'm crazy after all...

At that very instant FRED KRUEGER leaps up from the far side of
the bed with an EXPLOSIVE SHOUT of rage!

He lunges across the table for her, missing by inches as NANCY
pitches backwards and scrambles for the window. But she's stopped
by the bars.

KRUEGER, incredibly fast, regains his feet and leaps again -- the
girl wheels and shatters the coffeepot over his head. As he
crashes backwards NANCY flings open the door of her room and dives
through -- only to rebound off someone on the other side --


INT. HALLWAY. NIGHT.
MARGE, knocked flying by NANCY's charge, hits the floor hard,
knocking the wind out of herself. NNCY sees what she's done,
jumps over the body and slams the door and throws the new bolt
home. Next instant she gingerly ties a string to the door's knob,
a string that trails down from the ceiling, attached to something
up there that's still just barely out of sight.

Next instant she's dragging her MOTHER towards the woman's bedroom
as fast as she can.

KRUEGER is already splintering the doorway behind her as NANCY
dips and makes it into MARGE's room, SLAMMING the DOOR behind her
and locking it in a flash.

The MANIAC breaks the bolt and rips open the door.

But in the very act of doing this he of course unknowingly pulls
the string attached to the outside doorknob with terrific force.

CLOSE ANGLE ON THE CEILING. The string jerks against a single-
edged razor, which in turn cuts a tight wind of cord holding a
heavy wedge of steel to the ceiling.

WIDER as the thing falls free, pivoting at the hinge at the far
end of its handle, and drives straight into KRUEGER's groin with a
terrific blow. As he catapaults backwards withan incredulous
shriek, the twenty pound sledge hammer swings back and reveals to
the camera just what it is!

ANGLE DOWN ON KRUEGER, clawwing his way up despite his agony,
lurching and cursing forward like an enraged bull.

WIDER ANGLE IN THE HALLWAY as KRUEGER roars out -- only to
immediately strike the length of WIRE strung across the hallway,
catching it just above the thigh. He carwheels head-over-heels
and lands flat on his back!

Instantly the DOOR to NANCY's MOTHER's bedroom flies open and
NANCY brings a brass lamp down over KRUEGER's head with all her
might! It sounds like a line-drive caroming off a metal flagpole.

NANCY SLAMS the DOOR as KRUEGER struggles up, clutching his head.

Enraged, the huge man CRASHES against the door with terrific
force, and rears back and starts smashign against the door like
the utter homocidal lunatic that he is.

                                             CUT TO:


EXT. ELM STREET/NANCY'S HOME. NIGHT.

HIGH ANGLE at the second floor level. NANCY jerks open the window
to her MOTHER's bedroom and jams her face to the bars. The
AMBULANCE is pulling away with a tremendous WAIL of its SIREN as
NANCY SCREAMS down, trying to make herself heard.

                            NANCY
               Help! Hey -- Daddy -- I got
               him trapped! Where are you!?

ANGLE ON the street. PARKER, assigned to guard the house, sees
NANCY -- hair white, eyes wide -- pounding on the bars and
screaming like a lunatic. But her meaning is utterly lost in the
noise of the ambulance next to him.

                            PARKER
                      (yelling up at her)
               Everything's going to be all
               right! Everything's under
               control!

ANGLE at the window.    Close on NANCY's face, incredulous at his
response.

                            NANCY
               Get my father, you asshole!

PARKER does a little take.   That almost sounded sane.

                            PARKER (OS)
               You heard what I said! Now get
               back inside or I'll tell your
               dad!

Behind her the DOOR SPLINTERS. NANCY whirls around just in time
to see KRUEGER bull in! NANCY's eyes go wide -- she's trapped
against the bars and has nowhere to go. The man bunches his
knives into a single thick blade and rushes her, stabbing. NANCY
closes her eyes --

Then from OUT OF FRAME MARGE leaps between the two.

                              MARGE
               No!

She blocks the charge perfectly -- blockign the knives. Both she
and NANCY are slammed backwards against the bars behind. MARGE,
thought she is drunk, is hanging onto KRUEGER's weapon hand,
keeping the knives inside herself, away from her daughter!

                            MARGE
               Nancy -- for god's sake's run!

But NANCY turns ot teh window instead, screaming for her father.

                              NANCY
               Daddy!    Where are you!
EXT. ELM STREET. NIGHT.

PARKER, just about to turn back to the business at GLEN's house,
sees NANCY and SOMEONE else fall just inside the window.
Something begins to dawn on the man. Just a little.

                            PARKER
               Poor woman's got her hands full
               with that kid. Maybe I better
               tell the lieutenant.

He turns and jogs towards GLEN's house.


INT. MARGE'S BEDROOM. NIGHT.

ANGLE ON KRUEGER, hauling MARGE up in rage, knocking her senseless
across her bed and climbing after her with his knives raised.
NANCY wheels behind him and whams him in the kidneys with her
fists, spilling him back off the bed, then running past him for
the door. She makes it to safety, then turning back. She flips
the monster the bird, her eyes wild with pain and fury.

                            NANCY
               Hey fuckface -- can't catch me!

The bait works -- KRUEGER leaves MARGE and howls after NANCY.


INT. UPSTAIRS HALLWAY. NIGHT.

As NANCY clears he hall and make sth estairs, KRUEGER lurches
through the shattered doorway after her.


INT. LIVING ROOM. NIGHT.

The girl careens down the stairs, across the room and to the front
door, banging against it with terrified fury.

                             NANCY
                       (screaming)
               Come on -- he's in here!
               Daddy! Don't let him kill
               me too!

behind her the huge MAN is thumping down the stairs, KNOCKING
THINGS OVER, SCRAPING his LONG STEEL FINGERNAILS along the wall
with a horrible sound!

NANCY flings a heavy ash tray through the porch window and screams
through the bars.
                               NANCY (CONTD)
               HEELLLPPP!!!     Daddyyyyyyy!!!!

KRUEGER, bloody and spewwing threats, staggers for her -- NANCY
dives behind the couch.

CLOSE ON KRUEGER'S EET as they hit another wire.

CLOSE ON the Lifesaver jerking out -- the clothespin snapping
together, completing the circuit with a CRACKLING SPARK.

WIDER ON THE EXPLOSION that rips out of the floor lamp next to
KRUEGER and knocks him sprawling across the room.

NANCY peeks out from behind the couch. The man lies in a smoking
heap. NANCY runs to the windows and screams out again.

                               NANCY (CONTD)
               Hey -- Daddy!     Hey! I got the
               bastard!

KRUEGER roars up behind her -- she throws herself sideways -- he
crashes into the window frame, smashing glass and wood to bits.

NANCY turns SCREAMING and runs deeper into the house.


INT. CELLAR. NIGHT.

She careens down the stairs, throwing on the lights, the man
thundering after her.

ANGLE AT THE FAR END OF THE CELLAR.    NANCY brakes at the wall.
Nowhere left to hide.

THE SCRAPING of the blades against brick turns her to see the huge
killer holding his knife-laden fingers up for her.

                            KRUEGER
               Ready for these?

ON NANCY -- she ducks behind the furnace -- comes out the other
side with the big jug of gasoline and lets KRUEGER have it
straight over the head. The heavy container shatters, showering
its contents over every square inch of the man.

He stagers backwards with a ROAR of fury, NANCY screaming after
him with a box of kitchen matches. Before the man can realize
what she's up to, she ignites the whole box and throws it in
KRUEGER's face.

There's a blinding WHOOSH -- and KRUEGER goes up in a terrific
BALL OF FIRE. Faster than a flash the girl runs past the howling
maniac and makes for the stairs, KRUEGER after her in full pyrrhic
rage.


INT. NANCY'S KITCHEN. NIGHT.

NANCY holds the heavy door until the precisely right moment. Just
as the burning, blind monster tops the stairs, NANCY brings the
heavy oak door round with all her might and catches him in a great
RINGING CONCUSSION. It sends him windmilling backwards and down
the stairs in an ass-over-teakettle sprawl of sparks and flames.

NANCY slams the door and throws the deadbolt home.

No sooner does she accomplish this than the man is SLAMMING again
and again against the door from the cellar.

The terrible SCREAMS and CURSES PEAK, THEN GROW WEAKER AND MORE
GARBLED. Then there's just silence.

NANCY staggers, half blind, from the kitchen.

As the room begins seething SMOKE from every pore, we

                                          CUT TO:


INT. GLEN'S UPSTAIRS HALLWAY. NIGHT.

The CORONER steps out of the bathroom peeling bloody rubber
gloves. Pale and sweating.

                            CORONER
               Found you something, Donald.
               Should remind you of something...

The man shoves out his hand to LT THOMPSON. THOMPSON stares at it
without touching it. A long, thin steel blade, razor sharp,
attached to some sort of ring and armature -- broken off...

The CORONER gives a sweaty, grim smile.

                             CORONER (CONTD)
               Only place I ever heard of such
               a thing before was ten years
               ago. Remember that fucker
               Fred Krueger?

LT THOMPSON has just knocked PARKER sprawling in his race to the
stairs.

                            PARKER
               Hey -- your daughter's acting
               kinda -- !
                      (THOMPSON's gone)
               Strange...


EXT. NANCY'S HOME. NIGHT.

CRASH as NANCY breaks another window and presses against the bars.
She sees her father bursting out the front door of Glen's house!

                             NANCY
               DAD!   GET US OUTTA HERE!

                            LT THOMPSON
               Oh, Jesus -- Nancy!
                      (to his men)
               Hey! We got a fire!

ANGLE ON NANCY'S FRONT DOOR. Many MEN batter the door down as
black smoke pours from the windows and NANCY's SCREAMS and SHOUTS
fill the air. Within the moments they've destroyed the door and
LT THOMPSON has pulled his daughter into the safety of his arms.
But NANCY immediately fights free and darts right back to the
front door -- beckoning him to follow -- gesturing like a wild
woman.

                            NANCY
               I got him -- I got Fred Krueger!

THOMPSON stares at his wild little girl in astonishment, then runs
in after her. The others follow, coughing and choking.


INT. LIVING ROOM. NIGHT.

THOMPSON collides with NANCY as she brakes, frozen. THE SMOKE IS
BELCHING OUT OF THE CELLAR, but whoever was locked in there
certainly isn't now. The door is flat on the kitchen floor.

                            LT THOMPSON
               What the hell you talking about,
               Nancy?

NANCY wheels without answering. A series of tiny, isolated fires
burn across the living room and up the stairs. Firesteps.

                            NANCY (CONTD)
               He's after Mom!

She darts across the living room, following the flaming footprints
of FRED KRUEGER up the stairs before THOMPSON can stop her.

                             LT THOMPSON
               NANCY!
INT. MARGE'S BEDROOM. NIGHT.

NANCY STOPS IN THE SPLINTERED DOORWAY -- a ragged gold-red light
splashing her horrified face.

REVERSE IN HER POV -- FRED KRUEGER, literally a man of fire, has a
screaming MARGE pinned to the bed and is crawling all over her!
NANCY gives a banshee's howl, snatches up a chair and brings it
down over the back of the firey beast, stunning him.

By the time LT THOMPSON races into the room NANCY's seized a heavy
blanket and has thrown it over both of them, fighting the flames.
The father joins his daughter without a second thought, heaving
another blanket over the bed and smothering the last of the
flames.

                            NANCY
               He's under there! Watch it!

THOMPSON pushes the girl back -- yanks out his .38 and pulls off
the first cover. No movement. He pulls back a second one, ready
to fire. But the only thing he sees is the blackened half-
skeleton of his ex-wife, smoking and seething and sinking into the
fluid-like mattress, sinking right down through it as if she were
sinking into a lake. A blackened, gnarled hand goes last, then
the bed solidifies over the place she's disappeared. And it's as
if no one was ever there.

NANCY turns and looks at LT THOMPSON, her face white as her
ghostly hair. THOMPSON shoves his .38 back in its holster and
finds a cigarette, his hands shaking so badly he can barely
manage.

                            NANCY
               Now do you believe me?

PARKER barges in. The room is filled with smoke, the bed is
stripped, but other than that, the place seems normal.

                             PARKER
               You find him?
                      (looking closer
                       at THOMPSON)
               Sir?

LT THOMPSON just walks by him.   PARKER chases after.

                            PARKER (CONTD OS)
                      (fading)
               Sir -- here, let me light that
               for you -- Lieutenant? What
               happened?
                      (gone)
WIDER, ON NANCY alone in the room. She turns and looks at the
bed. MUSIC slips in and builds. The bed has changed color. It's
now an ash-darkened red and yellow.

CLOSER ON NANCY from the direction of the bed. MUSIC SUDDENLY
STOPS, and the surface of the red and yellow bed gets a bump in
its center that keeps raising, raising until it's a hump that's a
head and shoulders, still raising until it looms over NANCY.

Then FRED KRUEGER's entire shape sweeps up into the yellow and red
mass -- and the garish head, smoking and seething, pops through.

NEW ANGLE -- KRUEGER, a burned, sizzling black hump of a killer,
clumps onto the floor between NANCY and the door.

NANCY falls absoltely still, and her face goes through a strange,
almost sublime transformation.

                            NANCY
                      (quietly)
               I know you're there, Krueger.

She turns and faces him.

                             FREDDY
               You think you was gonna get
               away from me?

NANCY shakes her head.

                            NANCY
               I know you too well now,
               Freddy.

KRUEGER smiles bitterly.   Coming closer.

                            FREDDY
               And now you die...

There's a SLICKERING RATTLE at his side, and he raises the only
thing on him not charred -- the gleaming steel talons.

NANCY simply shakes her head again, as if seeing a light at the
end of her long, long tunnel. And the way she says the words,
they might be appearing o the inside of her eyes.

                            NANCY
               It's too late, Krueger. I
               know the secret now -- this
               is just a dream, too -- you're
               not alive -- the whole thing
               is a dream -- so fuck off!
               I want my mother and friends
                 again.

KRUEGER grins insanely, confused and amused at the same time.

                              FREDDY
                 You what?

                              NANCY
                        (even, firm)
                 I take back every bit of
                 energy I ever gave you.
                 You're nothing. You're
                 shit.

And then she turns her back on him. KRUEGER bunches his fingers,
producing a single ragged bundle of razor talons nd raises his
hand over the back of her head and neck.

NANCY closes her eyes and steps to the door.

CLOSE ON HER HAND, touching the door knob.

CLOSE ON KRUEGER'S KNIFE-FINGERS poised.

MUSIC BUILDS then SHRIEKS as KRUEGER stabs down, right through
NANCY -- as if she were an optical illusion -- loosing his balance
and falling down, down, down... And he's gone.

                                   CUT TO:


EXT. ELM STREET. DAY.

CLOSE ON NANCY'S FRONT DOOR AS NANCY jerks it open and blinks in
the bright, diffused light. The MUSIC FADES on a transitional
note, into light.

We hear BIRDS.

CHILDREN playing.

Early morning SOUNDS.

                              NANCY
                        (to herself)
                 God, it's bright.

MARGE sticks her head out, squinting, and nods.   Sober.

                              MARGE
                 Gonna burn off soon or it
                 wouldn't be so bright.

NANCY turns and looks her mother over.
                             NANCY
                Feeling better?

                              MARGE
                They say you've bottomed out
                when you can't remember the
                night before.
                       (shakes her head)
                No more drinking, Baby, suddenly
                I just don't feel like it
                any more.

She touches NANCY.

                             MARGE (CONTD)
                Didn't keep you up last night,
                did I? You look a little
                peeked.

NANCY smiles.

                              NANCY
                Nah.   Just slept heavy.

The girl gives a wave and goes off.     MARGE calls after.

                              MARGE
                See ya.

NANCY turns and waves.

                              NANCY
                See ya.

WIDER ON NANCY as she walks to the curb. The whole scene is
wrapped in an unseasonal tule fog, bright yet diffuse. We notice
that NANCY's house no longer has bars on its windows. Then we see
a familiar convertible pull up at the curb, top down. TINA and
ROD are in the back seat. They all wave to MARGE as NANCY climbs
in.

                             GLEN
                       (calling)
                You believe this fog?

                             MARGE
                       (laughs)
                I believe anything's possible.

TINA slaps five with NANCY.

                             TINA
                Lookin' good, girl!
ANGLE INSIDE THE CONVERTIBLE. GLEN slips into the seat next to
NANCY. Someone else is driving, it seems. NANCY looks up to the
DRIVER. The big MAN turns and grins at NANCY, a terrible,
scarred, hideous leer of a grin -- FRED KRUEGER's grin!

ANGLE BACK OUTSIDE THE CONVERTIBLE as its top clamps over the kids
within -- a bright red and yellow top that closes as fast and hard
as a beartrap! NANCY's frightened face flies to the window,
pressing against the thick glass as the car roars away from the
curb and into the thick fog.

CAMERA PANS TO a group of LITTLE GIRLS, half-hidden by the fog,
jumping rope and singing gayly.

                             GIRLS
               One two --
               Freddy's coming for you!
               Three four --
               Better lock your door!
               Five six --
               Get your Crucifix
               Seven eight --
               Gonna stay up late!
               Nine ten --
               Never sleep again!

MUSIC CROSSFADES WITH THIS SONG, expanding the simple tune to
symphonic, boundless dimensions as the little girls fade into
thein air, and we

                                  FADE TO BLACK

                      ROLL END TITLES.
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 Terry Rossio & Ted Elliott .
http://www.wordplayer.com

Writer’s Store. Copyright © 2002-2004 The Writers' Computer
Store(r), LLC All Rights Reserved.
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Writing World. Copyright © 2001 Moira Allen
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A Nightmare on   Elm   Street: This Script   Provided B y :     T h e
 S t o n e d     P a   g e         H Y P E   R L I N K
 " h t t p : /   / w   w w . f l a s h . n   e t / ~ v i a t o r "
     h t t p :   / /   w w w . f l a s h .   n e t / ~ v i a t o r

 P o e t i c s    P r o v i d e d     a s      P u b l i c   D o m a i n

 S a m p l e   S t e p   O u t l i n e ,   T r e a t m e n t ,   a n d
 Q u e r y   L e t t e r   f r o m   F i n a l   D r a f t
 t e m p l a t e s ,   f r o m   F i n a l   D r a f t ,   I n c .
  T h e   S c r e e n w r i t i n g    B i b l e "!
S i r   W i l l i a m   K .   C o e "!


  P A G E        4


T h i s     m a t e r i a l   i s   ©   a n d




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q   hH0ã 5 •CJH OJ QJ ^J aJH                                                                                      -
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  ãÐÀµ¦µ•¦µ¦Ð~ÐpgpKÐpµ¦µ                                 7 • jg
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 ãÐÀµ¦µ•¦µ¦Ð~ÐpgpKÐÀµ¦µ                                        7 • jU
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   ãÐÀµ¦µ•¦µ¦Ð~ÐpgpKÐÀµ¦µ                                       7 • j
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    ²     ³     ´     Î     öè̹©žž~ž¹g¹èöèK¹©žž                                                 7 •
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     ãÐÀµ¦µ•¦µ¦Ð{ÐmdmHÐÀµ¦µ                                                 7 • jG9             h¾gñ
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   ãÐÀµ¦µ•¦µ¦Ð~ÐpgpKÐÀµ¦µ                                                   7 • j B
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   ãÐÀµ¦µ•¦µ¦Ð~ÐpgpKÐÀµ¦µ                                    7 • j'h
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. G. ãÐÀµ¦µ•¦µ¦Ð~ÐpgpKÐÀµ¦µ                                        7 • j k
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/   G/    ãÐÀµ¦µ•¦µ¦Ð~ÐpgpKÐÀµ¦µ                                        7 • j n
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1 :1 ãÐÀµ¦µ•¦µ¦Ð~ÐpgpKÐÀµ¦µ                                             7 • jßs
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¨·¨Ð€ÐÂwÂ[ÐK·¨·                                                  -
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¨·¨Ð€ÐÂwÂ[ÐK·¨·                                          -
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