Crash

Crash 

Based on the novel by    J.G. Ballard

Screenplay by      David Cronenberg

Produced by       David Cronenberg

Directed by       David Cronenberg
 
Cast List:

James Spader      James Ballard

Holly Hunter      Dr. Helen Remington

Elias Koteas     Vaughan

Deborah Unger     Catherine Ballard

Rosanna Arquette    Gabrielle

Peter MacNeil      Seagrave

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.

ASSISTANT DIRECTOR

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.

GRIP

I think I saw him in the camera department.

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 spread.

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.

JAMES

Of course. Be there in a minute.

The Camera Girl twists around onto her back and throws her legs over James's shoulders.

CAMERA GIRL

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.

JAMES

Where were you?

CATHERINE
In the private aircraft hangar. Anybody could have walked in.

JAMES

Did you come?