Wes Craven’s New Nightmare Page #22

Synopsis: Reality and fantasy meet in unsettling ways in this installment of the long-running horror series, which finds director Wes Craven and actors Heather Langenkamp and Robert Englund all portraying themselves. As Heather (Heather Langenkamp) considers making another film with Craven, her son, Dylan (Miko Hughes), falls under the spell of the iconic disfigured villain Freddy Krueger (Robert Englund). Eventually, Langenkamp must confront Freddy's demonic spirit to save the soul of Dylan.
Year:
1994
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But then he looks up and reacts.

AND IN HIS POV WE SEE

the night sky. A giant bank of clouds, moving, twisting,

changing into a huge, DARK FIGURE in a wide-brimmed hat,

peering out from behind the clouds in frightening silhouette.

It looks down on him with glowing, leering eyes. And then

the huge steel claws poke through the very fabric of the

night, rendering it asunder as the light of the full moon

catches in their wicked curves.

Without another choice, Dylan turns and runs into traffic.

Instantly, there's a BLARE OF AIRHORNS and semi-tractor

trailer is screaming down on him. Momentarily blinded by its

headlights, Dylan barely manages to dance sideways enough,

and the truck misses him by inches! But this puts Dylan

directly in the path of a SPEEDING CAR coming up in the next

lane. He freezes, the car swerves and screams around him so

close his clothes are ruffled by the wind!

ON HEATHER:

hearing the BRAKES AND HORNS. She convulses in horror and

lets out a scream of her own. Then redoubles her efforts,

clawing her way over the fence and up the hill!

WITH DYLAN:

staggering for the median strip, three howling lanes away!

WITH HEATHER:

topping the embankment.

IN HER POV:

seeing in horror her son, missed and missed again by inches,

unable to cross the last two lanes.

CUTTING WITH DYLAN

as a huge CLAWED HAND stabs into FRAME, plucking him up and

swinging him with merciless sport, in and out of the path of

oncoming cars!

BACK TO HEATHER:

about to start after him, then, to her amazement, SEEING

DYLAN:

no claw visible whatsoever, just lifting into the air against

all laws of physics, nearly dashed to oblivion time and time

again.

HEATHER (cont'd)

Freddy! You bastard! Take me!

And she runs straight for him!

A TANKER TRUCK:

slams on all brakes, hews sideways. Heather sees it coming,

turns and runs for her life. But it's coming too fast.

She dives, tucks and looks up just in time to see the whole

massive tanker sweep right over her head! Cars are slewing

every which way, but she stumbles back up and presses on.

Her terror surpassed only by her utter resolve to get to

DYLAN:

the blade of the claw cuts clear through his PJ's. He drops

hard. He jumps up and darts through a gap in the median

fence.

HEATHER:

leaps for her life as a station wagon blurs past her without

even seeing her. Then she looks up to see a second car,

brakes smoking and screaming, coming right at her! She's too

paralyzed by fear to move, and the car hits her just before

it stops, knocking her flying. A moment later the freeway on

her side grinds to a halt.

Already people are out of their cars and running to her aid.

But on the other side of the median strip, the brakes are

still SCREAMING!

WITH DYLAN:

looking back to his mother's side. Then seeing dozens and

dozens of FREDDYS suddenly peering at him over the brink of

the median wall. Dylan turns and runs, and somehow, by

absolute miracle, makes it to the far side, plunging down the

embankment!

WITH HEATHER:

dazed, but fighting her way up. She pulls away from the

helping arms and staggers after her son!

EXT. HEATHER'S STREET - NIGHT

Heather stumbles and limps down the street, bloodied and

bruised, but moving. She stops in front of her house.

The front door is open. She runs in

INT. KITCHEN/DEN

HEATHER:

Dylan!!!

She listens, hears something, then sees the shadow of a man

ease out from the dark kitchen! She gives a scream and

shrinks back. Then sees it's

JOHN SAXON:

JOHN SAXON:

Holy...

HEATHER:

Where's Dylan?! Have you seen him?

Saxon tries to soothe her.

JOHN SAXON:

Relax, Nancy. Relax!

He points. Heather, not knowing what the hell's going on

with him using Nancy's name, turns and looks:

DYLAN:

toddling out of his room, holding his guard dinosaur, Rex.

The child's eyes are still glazed, and he's definitely not

awake, but he's singing softly...

DYLAN:

One two, Freddy's coming...Freddy's

coming...

Heather races over and hugs him. So hard Saxon's afraid

she'll hurt the kid.

JOHN SAXON:

What in the world happened?

Heather just hugs Dylan, trying not to cry.

HEATHER:

I know how Chase really died.

JOHN SAXON:

What are you talking about?

HEATHER:

Fred Krueger did it.

JOHN SAXON:

Yeah, sure.

Heather looks at Dylan.

HEATHER:

You saw him, didn't you, Dylan!?

DYLAN:

(in deep trance)

Coming for you...

Saxon gently pulls Heather away.

JOHN SAXON:

Hey, come outside a minute. I need to

talk to you.

He pulls her up and marches her towards the front door.

HEATHER:

Dylan!

Dylan, sucking his thumb now, has turned to stare back at his

bedroom, apparently not hearing her.

JOHN SAXON:

Jesus, what the hell's going on, Nancy?

heather looks at him, dazed. Saxon pulls her outside and

closes the door.

EXT. HEATHER'S FRONT YARD

Something is different. Heather registers it subconsciously

the moment they're through the door, but she's too focused on

Saxon's strange misnomer for her...

HEATHER:

John, why are you calling me Nancy?

Saxon looks at her.

JOHN SAXON:

Why are you calling me John?

She glances back at the house, trying to see Dylan. Can't.

She looks back at Saxon, and reacts in shock!

He's staring back at her from in front of an UNMARKED POLICE

CAR with its magnetic dome light flashing. Those of us with

a good memory might even realize that it's the identical car

that LT. THOMPSON drove in NIGHTMARE I. And even more mind-

boggling, he's now dressed in the wardrobe of Lt. Thompson

from the same film!

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Wes Craven

Wesley Earl Craven was an American film director, screenwriter, producer, actor, and editor, who was known for his pioneering work in the horror genre, particularly slasher films, where he mixed horror cliches with humor and satire. The cultural impact and influence of his work have dubbed him a “Master of Horror”. more…

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Submitted by jameslanderson on March 31, 2019

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