• Re-watching the movie, I was again struck by the interplay of light and darkness, and in particular the inversion by which the former suggests danger and the latter relative safety:
the ominous headlights on Visser's car and the passing truck; the bright daylight in which Marty attacks Abby; the death - enabling ceiling fixture in Abby's apartment; and the contrast between Visser's vulnerability in the lit bathroom and Abby's safety in the darkness next door.