EXT. AIRFIELD - DAY
We are moving through a small airfield full of parked light
planes. There are no people around. We move through the cluster of
planes towards a hangar on the edge of the field.
INT. HANGAR - DAY
We are still moving through light planes, but now we are inside
the hangar. Some of the planes have their engine covers open,
parts strewn around. Others are partially covered with tarps or
have sections missing. There is even a sleek executive jet parked
in one corner.
As we float past the planes we notice a woman leaning against the
wing of a Piper Cub, her chest against the wings trailing edge,
her arms spread out to each side, as though flying herself. As we
get closer we see that her jacket is pulled open to expose one of
her breasts, which rests on the metal of the wing.
CLOSEUP - Breast on metal.
CLOSEUP - Hard nipple and rivets.
CLOSEUP - WOMAN - CATHERINE
Early thirties, dark, short hair, stylish executive clothes. Her
eyes are wide open but unfocussed. A hand grips her shoulder from
behind. We follow the hand down behind Catherine and discover a
man crouched behind her, kissing her back.
Catherine is standing on a low mechanic's platform and her skirt
has been raised and hooked over the wing's flap. She wears garters
and stockings but no panties.
The man, handsome, cruel-looking, rises up behind her, enters her,
kisses her neck. Catherine half closes her eyes. She rotates her
pelvis gently against his thrusting.
EXT. FILM STUDIO - DAY
We are floating towards the modest gates of a small film studio -
the sign above the gates says "CineTerra" in Art Deco script
INT. FILM STUDIO - DAY
We now float through a film set on which a commercial for a min-
van is being shot. Lights are being reset, the van polished for a
beauty tracking shot.
We pick up an Assistant Director as he strides through the action,
looking for someone.
I'm looking for James. Has anybody seen
James Ballard? You know who I mean? The
producer of this epic?
A Dolly Grip with very close-cropped hair looks up from a section
of dolly track which he is adjusting with small wooden wedges.
I think I saw him in the camera
INT. FILM STUDIO - CAMERA ROOM - DAY
We float towards the door marked "Camera Dept." Inside the room we
find a young woman, a Camera Assistant, wearing a T-shirt and
heavy woolen socks and work boots and nothing else. She is draped
across a table strewn with camera parts, stomach down, head
resting on a black, crackle-finish camera magazine, her legs
Camera parts and cases, tripods, changing bags everywhere.
A man is behind her, kissing the backs of her thighs.
We hear the sound of the Assistant Director approaching with
deliberately heavy footsteps. The Assistant Director pauses just
outside the door.
ASSISTANT DIRECTOR (O.S.)
James? James, are you in there? Could we
please get your stamp of approval on our
little tracking shot?
The man, James, looks up from the woman's thighs.
Of course. Be there in a minute.
The Camera Girl twists around onto her back and throws her legs
over James's shoulders.
It'll take more than a minute.
EXT. BALLARD APT. BALCONY - NIGHT
Catherine stands at the railing of the balcony of the Ballard
apartment, which overlooks a busy expressway near the airport. Her
arms are spread wide as they were in the airplane hangar, only
now, it is James, her husband, standing, who is behind her. They
are both half-naked, and he is inside her.
Their sex-making is disconnected, passionless, as though it would
disappear if they noticed it. An urgent, uninterrupted flow of
cars streams below them.