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
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.