Wes Craven’s Page #15

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TIGHT ON HEATHER AND DYLAN. Heather has heard the above

exchange. Near tears, she looks down to Dylan curled against

her, eyes open but unseeing. Staring not so much at her as

past her, out the window.

HEATHER:

Dylan, can you hear me?

Just barely perceptibly, the terrified boy shakes his head

'no'.

HEATHER (cont'd)

Dylan, you've got to fight it, whatever

it is that's after you. And you've got

to come back to me. You can't make it

alone. Do you hear?

ON DYLAN:

No response to this. But then a single tear courses down his

cheek. And then he nods 'yes'.

HEATHER (cont'd)

Yes. And if you can hear me, you can

tell me what you need to feel safe.

He says nothing. But then Heather is aware of movement. She

looks down and sees Dylan's hand moving under the covers,

reaching, reaching down towards the bottom of the bed, for

something that clearly is not there.

HEATHER (cont'd)

(realizing)

Rex? Is that what you want? Rex is

home, Dylan. That's where you should be,

too. You've got to get better so they'll

let you come home, understand?!

DYLAN:

(very, very quietly)

Home.

HEATHER:

Home, that's right.

She points out the window.

HEATHER (cont'd)

That's where I want you, Dylan. You know

we're not that far. Right out there past

the freeway is our home. But to get

there you've got to come out from where

you are. Then they'll let you come back

home to Rex...and to me.

She kisses him gently on his forehead, crying herself now.

Then a NURSE ENTERS with a paper cup.

NURSE:

Time for your medicine, cowboy.

Dylan looks at it solemnly.

HEATHER:

What is that?

NURSE:

(quietly)

Just something to help him sleep.

Heather looks at Dylan and nods. Then as if he were a

thousand years old, Dylan puts it in his mouth. The nurse

gives him water and he swallows.

NURSE (cont'd)

Attaboy. Now take a little nap.

(to Heather)

You'll have to leave now. He'll be fine.

We'll run tests tonight. You can visit

again in the morning.

The nurse leaves. Heather turns to Dylan.

HEATHER:

Okay, Dylan. I'll be back here first

thing tomorrow. I love you.

Heather kisses him again, gives a little wave, and leaves.

Dylan closes his eyes.

But when Heather disappears through the doorway behind, he

brings his hand to his mouth and spits the sleeping pill into

his palm. A moment later he's hidden it deep in his bed

covers, and his eyes are wide open, staring out through the

window again, to his home over there, so near yet so far

away.

EXT. HOSPITAL PARKING LOT - DAY

Heather, in her Volvo, starts to back out, lost in thought.

Instantly there's a BLARE OF HORN and CURSES from the car

she's almost backed into. Heather pulls back into the

parking place and kills the engine.

She just sits there and sobs, for one moment all the

confusion and dread surging out of her. Then she forces

herself to breathe. Swipes away the tears. Swears to

herself. And starts the engine.

INT/EXT. HEATHER'S VOLVO - DAY

Heather drives and drinks 7/11 coffee. She's got the RADIO

on loud to fight drooping eyes.

RADIO NEWSCASTER

Seismologists at CalTech have counted

over 300 of the temblors so far. Though

most were too faint for us to feel, seven

have shaken our community in the last two

weeks. And now scientists are

speculating there might be an unknown

fault running beneath Los Angeles, a

fault that could...

Heather turns it OFF. Thinks a moment, then punches numbers

on the carphone and listens to it cycle and RING. Somebody

picks up immediately.

PATRICE (SPEAKER)

Robert?

HEATHER:

This is Heather, Patrice. I was calling

for Robert. He's not there?

INT. ROBERT ENGLUND'S HOUSE/STUDIO - DAY

PATRICE, Robert's wife, 33, a face of great strength and

beauty, looking a bit dazed and edgy right now, moves through

the living room with a suitcase. She puts is down with two

others, then starts for the studio.

PATRICE:

He's...out of the house, Heather.

HEATHER (FILTER)

Will he be back any time soon?

PATRICE:

Uh...actually, we're ducking out of town

for a while.

ON HEATHER:

sensing the woman's near panic.

PATRICE (cont'd)

(on speaker)

And you should get away, too, Heather.

You really should.

CUTTING BACK TO ENGLUND'S

Patrice has stopped in the studio to grab Robert's glasses.

She stuffs them into a pocket, turns and looks off

PATRICE (cont'd)

Just a little break away from L.A.

CUT TO WHAT SHE'S LOOKING AT

The IMPRESSIONISTIC PAINTING Englund was working on. A

LARGE, FRIGHTENING PORTRAIT OF FREDDY HIMSELF. A being far

more dark and ominous that the usual version. The one we

(and Heather) glimpsed in Chase's coffin. As different in

kind as the film Batman was from the TV version.

He's larger, quick and feral, yet at the same time imbued

with enormous strength and intelligence. A truly primal

threat from the lowest ring of hell. And the large gleaming

steel hand and claws, cocked and ready to strike, grow right

out of the end of his arm.

PATRICE (cont'd)

We could all use a break right about now,

don't you think?

BACK ON HEATHER:

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