1 INT -- CABIN -- NIGHT (1946)
A dark, empty room.
The door bursts open. A MAN and WOMAN enter, drunk and giggling, horny as hell. No sooner is the door shut than they're all over each other, ripping at clothes, pawing at flesh, mouths locked together.
He gropes for a lamp, tries to turn it on, knocks it over instead. Hell with it. He's got more urgent things to do, like getting her blouse open and his hands on her breasts. She arches, moaning, fumbling with his fly. He slams her against the wall, ripping her skirt. We hear fabric tear.
He enters her right then and there, roughly, up against the wall. She cries out, hitting her head against the wall but not caring, grinding against him, clawing his back, shivering with the sensations running through her. He carries her across the room with her legs wrapped around him. They fall onto the bed.
CAMERA PULLS BACK, exiting through the window, traveling smoothly outside...
2 EXT -- CABIN -- NIGHT (1946) 2
...to reveal the bungalow, remote in a wooded area, the lovers' cries spilling into the night...
...and we drift down a wooded path, the sounds of rutting passion growing fainter, mingling now with the night sounds of crickets and hoot owls...
...and we begin to hear FAINT MUSIC in the woods, tinny and incongruous, and still we keep PULLING BACK until...
...a car is revealed. A 1946 Plymouth. Parked in a clearing.
3 INT -- PLYMOUTH -- NIGHT (1946) 3
ANDY DUFRESNE, mid-20's, wire rim glasses, three-piece suit. Under normal circumstances a respectable, solid citizen; hardly dangerous, perhaps even meek. But these circumstances are far from normal. He is disheveled, unshaven, and very drunk. A cigarette smolders in his mouth. His eyes, flinty and hard, are riveted to the bungalow up the path.
He can hear them fucking from here.
He raises a bottle of bourbon and knocks it back. The radio
plays softly, painfully romantic, taunting him:
You stepped out of a dream... You are too wonderful... To be what you seem...
He opens the glove compartment, pulls out an object wrapped in a rag. He lays it in his lap and unwraps it carefully --
-- revealing a .38 revolver. Oily, black, evil.
He grabs a box of bullets. Spills them everywhere, all over the seats and
floor. Clumsy. He picks bullets off his lap, loading them into the gun, one by one, methodical and grim. Six in the chamber. His gaze goes back to the bungalow.
He shuts off the radio. Abrupt silence, except for the distant lovers' moans. He takes another shot of bourbon courage, then opens the door and steps from the car.
4 EXT -- PLYMOUTH -- NIGHT (1946) 4
His wingtip shoes crunch on gravel. Loose bullets scatter to the ground. The bourbon bottle drops and shatters.
He starts up the path, unsteady on his feet. The closer he gets, the louder the lovemaking becomes. Louder and more frenzied. The lovers are reaching a climax, their sounds of passion degenerating into rhythmic gasps and grunts.
Oh god...oh god...oh god...
Andy lurches to a stop, listening. The woman cries out in
orgasm. The sound slams into Andy's brain like an icepick. He
shuts his eyes tightly, wishing the sound would stop.
It finally does, dying away like a siren until all that's left
is the shallow gasping and panting of post-coitus. We hear
languorous laughter, moans of satisfaction.
Oh god...that's sooo good...you're the best...the best I ever had...
Andy just stands and listens, devastated. He doesn't look like much of a killer now; he's just a sad little man on a dirt path in the woods, tears streaming down his face, a loaded gun held loosely at his side. A pathetic figure, really.
FADE TO BLACK: 1ST TITLE UP
5 INT -- COURTROOM -- DAY (1946) 5
THE JURY listens like a gallery of mannequins on display, pale-faced and stupefied.
Mr. Dufresne, describe the confrontation you had with your wife the night she was murdered.
is on the witness stand, hands folded, suit and tie pressed, hair meticulously combed. He speaks in soft, measured tones:
It was very bitter. She said she was glad I knew, that she hated all the sneaking around. She said she wanted a divorce in Reno.
What was your response?
I told her I would not grant one.