Crash
- Year:
- 2005
- 10 min
- 4,451 Views
EXT. AIRFIELD - DAY
We are moving through a small airfield full of parked light
planes. There are no people around. We move through the cluster of
planes towards a hangar on the edge of the field.
INT. HANGAR - DAY
We are still moving through light planes, but now we are inside
the hangar. Some of the planes have their engine covers open,
parts strewn around. Others are partially covered with tarps or
have sections missing. There is even a sleek executive jet parked
in one corner.
As we float past the planes we notice a woman leaning against the
wing of a Piper Cub, her chest against the wings trailing edge,
her arms spread out to each side, as though flying herself. As we
get closer we see that her jacket is pulled open to expose one of
her breasts, which rests on the metal of the wing.
CLOSEUP - Breast on metal.
CLOSEUP - Hard nipple and rivets.
CLOSEUP - WOMAN - CATHERINE
Early thirties, dark, short hair, stylish executive clothes. Her
eyes are wide open but unfocussed. A hand grips her shoulder from
behind. We follow the hand down behind Catherine and discover a
man crouched behind her, kissing her back.
Catherine is standing on a low mechanic's platform and her skirt
has been raised and hooked over the wing's flap. She wears garters
and stockings but no panties.
The man, handsome, cruel-looking, rises up behind her, enters her,
kisses her neck. Catherine half closes her eyes. She rotates her
pelvis gently against his thrusting.
We are floating towards the modest gates of a small film studio -
the sign above the gates says "CineTerra" in Art Deco script
We now float through a film set on which a commercial for a min-
van is being shot. Lights are being reset, the van polished for a
beauty tracking shot.
We pick up an Assistant Director as he strides through the action,
looking for someone.
ASSISTANT DIRECTOR
I'm looking for James. Has anybody seen
James Ballard? You know who I mean? The
producer of this epic?
A Dolly Grip with very close-cropped hair looks up from a section
of dolly track which he is adjusting with small wooden wedges.
GRIP:
I think I saw him in the camera
department.
INT. FILM STUDIO - CAMERA ROOM - DAY
We float towards the door marked "Camera Dept." Inside the room we
find a young woman, a Camera Assistant, wearing a T-shirt and
heavy woolen socks and work boots and nothing else. She is draped
across a table strewn with camera parts, stomach down, head
resting on a black, crackle-finish camera magazine, her legs
spread.
Camera parts and cases, tripods, changing bags everywhere.
A man is behind her, kissing the backs of her thighs.
We hear the sound of the Assistant Director approaching with
deliberately heavy footsteps. The Assistant Director pauses just
outside the door.
ASSISTANT DIRECTOR (O.S.)
James? James, are you in there? Could we
please get your stamp of approval on our
little tracking shot?
The man, James, looks up from the woman's thighs.
JAMES:
Of course. Be there in a minute.
The Camera Girl twists around onto her back and throws her legs
over James's shoulders.
CAMERA GIRL:
It'll take more than a minute.
EXT. BALLARD APT. BALCONY - NIGHT
Catherine stands at the railing of the balcony of the Ballard
apartment, which overlooks a busy expressway near the airport. Her
arms are spread wide as they were in the airplane hangar, only
now, it is James, her husband, standing, who is behind her. They
are both half-naked, and he is inside her.
Their sex-making is disconnected, passionless, as though it would
disappear if they noticed it. An urgent, uninterrupted flow of
JAMES:
Where were you?
CATHERINE:
In the private aircraft hangar. Anybody
could have walked in.
JAMES:
Did you come?
CATHERINE:
No. What about your camera girl? Did she
come?
JAMES:
We were interrupted. I had to go back to
the set...
Catherine turns towards James and pulls open her blouse, exposing
her left breast. She pulls James's face down and presses her
nipple against his cheek.
CATHERINE:
Poor darling.
(pause)
What can I do about Karen? How can I
arrange to have her seduce me? She
desperately needs a conquest.
JAMES:
I've been thinking about that, about you
and Karen.
INT. DEPARTMENT STORE - LINGERIE - DAY
James lingers amongst racks of nightdresses outside a change
cubicle. Monitored by a bored, seen-it-all middle-aged saleslady,
James glances now and then through the curtains to watch Karen
help Catherine try on underwear.
Karen, Catherine's secretary, a moody, unsmiling girl, is
methodically involved in the soft technology of Catherine's
breasts and the brassieres designed to show them off.
Karen touches Catherine with peculiar caresses, tapping her
lightly with the tips of her fingers, first upon the shoulders
along the pink grooves left by her underwear, then across her
back, where the metal clasps of her brassiere have left a
medallion of impressed skin, and finally to the elastic-patterned
grooves beneath Catherine's breasts themselves.
Catherine stands through this in a trance-like state, gabbling to
herself in a low voice, as the tip of Karen's right forefinger
surreptitiously touches her nipple.
INT. UNDERGROUND PARKING LOT - DAY
James sits in the car beside his wife. She watches as his fingers
move across the control panel, switching on the ignition, the
direction indicator, selecting the drive lever, fastening his seat
belt.
As the car moves off, James puts his free hand between Catherine's
thighs.
INT. FILM STUDIO - JAMES'S OFFICE - NIGHT
James studies storyboards for an automotive battery commercial
which are spread out over a broad architects' table. He makes
notes on each panel of the boards with a sharp pencil.
As we move around him, we reveal his secretary Renata sitting and
watching him intently from the vantage point of her corner chair,
her hand poised to write down anything he might say in a small,
leather-bound notebook.
From her point of view, we watch James from behind as he works.
Every movement he makes - bending over to correct a panel,
manipulating the pencil, touching the sharp point of the pencil to
his lip, straightening up again - provokes a different tiny
response from Renata, so attuned to him is she.
But he says nothing to her, and she remains poised and vigilant.
EXT. FILM STUDIO PARKING LOT - NIGHT
James settles into his car - a boring American four-door sedan -
running through his control-panel routine like a pilot before
driving off. This time his routine ends with the switching on of
the windshield wipers because it has begun to rain heavily.
Driving home from the studio, James hits a deep puddle at 60 miles
an hour and suddenly finds himself heading into the oncoming lane.
The car hits the central reservation with a thump and the offside
tire explodes and spins off its rim.
INT. JAMES'S CAR - NIGHT
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"Crash" Scripts.com. STANDS4 LLC, 2024. Web. 5 Nov. 2024. <https://www.scripts.com/script/crash_241>.
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