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1INT -- 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...

2EXT -- 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.

3INT -- 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.

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