91 INT. TRAVELLING LORRY LATER AFTERNOON91
SAM
OK. What's in the parcel?
JILL
What parcel?
SAM nods knowingly in the direction of the parcel.
JILL I don't know. Christmas present.
SAM picks it up.
SAM
It's heavy.
JILL
A heavy Christmas present.
He glances at her suspiciously.
JILL
Open it if you don't trust me.
SAM hesitates and puts the parcel down.
SAM
I'd rather trust you.
JILL gives him a quizzical look and smiles slightly, in
spite of herself. She turns away so that he won't notice.
92 INT. TRAVELLING LORRY IN CITY TRAFFIC DUSK 92
JILL
What are you doing in Information
Retrieval?
SAM
Looking for you.
JILL
No, really.
SAM
Really.
JILL
I mean, it doesn't suit you.
SAM
(looking at his jacket)
Suit me?
JILL
Don't you know the sort of thing that
Information Retrieval does?
SAM
What do you mean? Would you rather
have terrorists?
JILL
We've got both.
SAM
Things would be worse without
Information Retrieval.
JILL
They couldn't be worse for the
Buttles.
SAM is at a loss.
JILL
Why don't you say, no system is
perfect.
SAM
Well, no system is.
JILL
Say, all wars have innocent victims.
SAM
Well, all wars do -
JILL
Who is this war against, Sam?
SAM
Well, terrorists of course.
JILL
How many terrorists have you met?
Actual terrorists?
SAM
Actual. terrorists? Well ... it's
only my first day.
JILL bursts out laughing. SAM joins in. They are both
laughing hysterically as they approach the Central
Supplies depot.
93 EXT. CENTRAL SUPPLIES DUSK 93
The impression is that the place could be an abandoned
airfield out to the use of a vast open air warehouse whose
contents is arranged in a grid pattern of "streets", all
the streets being lined by stacks, piles, ranks, jumbles
of goods and objects which seem at first to be arbitrarily
grouped, some of them (like the stacks of prefabricated
houses) standing in the open others protected under simple
areas of roofing. Each group of Assorted Supplies lies
inside the squares of the grid of streets. The streets are
eerily lit by lights just being switched on, and each
square is also lit by harsh localized lighting. The effect
is a nightmarish gigantic Aladdin's cave of black shadows
and garishly lit mountains of stuff.
94 INT. LORRY DUSK 94
JILL's lorry starts down one of the "streets".
JILL
(as they pass a clock in
"C"s)
Look at that - right on time.
SAM
What? I thought you were free to come
and go as you please.
JILL
Well, almost ... unfortunately I do
have to punch in by 5.00 every day.
SAM
(slightly surprised)
Every day?
SAM
Turn around!
JILL
What?
SAM
They'll be there waiting.
JILL
Who will?
SAM
Security.
JILL
You're joking.
SAM
No. Please. They're going to arrest
you.
JILL
I thought you arrested me.
SAM
Yes ... but, this is real. Now, stop!
(he grabs for the emergency
brake)
JILL
(pushing his hand away)
Cut it out, Sam.
SAM
(grabbing at the steering
wheel)
Will you please turn back.
JILL
(shoving him back)
Get away!
SAM
(lunging for the steering
wheel)
Turn!
JILL
(unable to control him)
Stop it ... damn you!
SAM throws the lorry into a gut-sucking skid.
95 EXT. CENTRAL SUPPLIES DUSK 95
The lorry skids around a corner and roars down a side
street of containers.
96 INT. LORRY DUSK 96
SAM and JILL are fighting for control of the lorry.
JILL
You're mad! You're out of your mind!
At that moment the air is split apart by the wail of
sirens. SAM and JILL look back.
97 EXT. CENTRAL SUPPLIES DUSK 97
From inside two strategically placed wooden containers
stacked amongst the piles of containers marked
"AUTOMOBILES" burst forth two Security vehicles. Wood
flying, lights flashing, wheels smoking - they squeal away
in pursuit.
98 INT. LORRY DUSK 98
SAM
I was right! Step on it!
JILL
Let go! We've got to stop!
SAM
Now you're the one that's out of your
mind.
JILL
Sam ... we can't outrace them. You'll
kill us!
They struggle for control of the lorry.
99 EXT. CENTRAL SUPPLIES DUSK 99
The lorry rumbles down the street of containers lurching
from side to side as the battle in the cab wages back and
forth. Containers are smashed open and their contents
spill out only to be further damaged as the pursuing
Security vehicles crash through them. The lorry escapes
from the streets of containers and cannons through the
main gate and out on to the streets of the city.
100 INT. LORRY CAB DUSK 100
SAM and JILL are still struggling violently for control of
the lorry. SAM is terribly inexpert as a driver but he
behaves like someone possessed. Through the rear view
mirrors he can see the Security vehicles catching up with
them. He starts fumbling with he multiple gear levers.
JILL
Don't touch those!
101 EXT. DOMESTIC STREETS DUSK 101
The lorry roars down a street of terraced houses and then
screeches around a corner.
102 INT. LORRY DUSK 102
SAM pushes JILL's hand back and grabs for the lever that
he thinks is overdrive. But rather than gaining speed
there is a terrible lurch as the house and trailer
disconnect from the cab.
103 EXT. DOMESTIC STREET DUSK 103
The house slides off the trailer which is skidding
sideways and crunches to the ground just as the Security
vehicles round the corner.
104 INT. SECURITY VEHICLE DUSK 104
From behind the DRIVER we can see that the house has
settled across the roadway at right-angle to the other
houses, making it appear to be a normal dead end street.
So shocked is the DRIVER that he fails to stop in time and
KABLOW!! the car smashes into the house.
105 EXT. DOMESTIC STREET DUSK 105
Hot on the heels of the 1st car, the 2nd vehicle skids and
then smashes into the house which collapses and then
explodes in flames.
106 INT. JILL'S LORRY DUSK 106
SAM sits paralysed with shock. The lorry has come to a
halt. JILL is desperately trying to get him to move.
JILL
Come on, let's go! Let's get out of
here!
SAM
Oh God! What have we done?
JILL
We? Don't blame me!
SAM
It wasn't supposed to happen like
this.
JILL
(looking behind)
Shit! The house is on fire!
SAM
"And your children all gone."
JILL
What?
SAM
"Lady bird, lady bird, fly away home,
your house is on fire and your
children all gone" ... Do you think
anyone's hurt?
JILL
Yes.
(tapping him on the
forehead)
Come out, I know you're in there
107 EXT. DOMESTIC STREET DUSK 107
A Security vehicle in full banshee howl roars through the
streets. We roar along with it as it rounds a corner and
skids to a halt at a safe but striking distance from
JILL's lorry. Heavily armed SECURITY POLICE pour out and
take up firing positions behind parked cars or whatever
other cover is available. Searchlights are played on the
lorry. The OFFICER IN CHARGE appears with a loud-hailer.
OFFICER IN CHARGE
Come out, we know you're in there!
You cannot possibly escape. Throw
your weapons from your vehicle and
come out slowly with your hands on
your heads. Obey my instructions and
no harm will come to you. But if you
force us to shoot we'll shoot to
kill.
During the above speech a SMALL BOY on a tricycle "roars"
around a corner behind the SECURITY POLICE. He rides into
a gap between them, rolls his tricycle over and "takes
cover" behind it. He points his toy rifle at JILL's lorry
and takes shot. In reaction to the noise made by the kid's
rifle the OFFICER IN CHARGE dives for cover and the
SECURITY TROOPS open fire and pepper JILL's lorry cab with
holes. A few of the SECURITY TROOPS then rush forward and
fling open the cab door. The cab is empty. The OFFICER IN
CHARGE gets to his feet and looks about. His uniform is
covered with dust, oil and shit from the street. He just
misses seeing the back of the BOY as he disappears round
the corner on his tricycle.
108 INT. LINGERIE DEPARTMENT/SHOPPING CENTRE 108
To the lush sound of musak we glide through the glittering
sensuous, supportive world of ladies undergarments. As we
slip past girdles, bras, panti-hose for a variety of
exotic occasions we come upon SAM and JILL pushing a
shopping trolley. In the trolley is the "suspicious"
parcel which JILL was given at the power plant.
SAM
This is a hell of a time to buy a
nightie.
JILL
Are you still following me?
SAM
Please, Jill ... I love you.
JILL
Go away.
SAM
There are plenty of other safe
places. Why don't we go back to my
flat?
JILL
Leave me alone!
SAM
You've got to trust me. It sounds
silly but I know we were meant to
meet.
JILL
You mean you were meant to hijack my
truck, make me crash it, and have
every security man in town looking
for me?
SAM
I vas just trying to help. I decided
to trust you. Maybe I was wrong.
Whose side are you on really? Who are
your friends? Who was the man who
gave you the parcel? What's in it?
It's the only thing you saved from
the lorry .... It must he something
very special.
JILL
I saved you from the lorry and you're
not very special.
SAM
........... It's a bomb isn't it?
JILL
(exasperated)
Oh ... Jesus!
SAM grabs the parcel from the trolley and tries to start
tearing it open.
SAM
I'm going to open it!
JILL
(grabbing parcel and trying
to take it from him)
No you're not!
They start an ugly little struggle for the parcel. SAM's
suit gets slightly ripped. Their tug-of-war is interrupted
by a voice off camera.
VOICE
SAM!!
SAM turns to see MRS TERRAIN and SHIRLEY a short distance
away. MRS TERRAIN is heavily bandaged and sitting in a
wheelchair which SHIRLEY is pushing.
MRS TERRAIN
It's me and Shirley!
From the TERRAINS' POV SAM looks as if he is wrestling
with a dummy, or with himself if he is beside a full
length mirror. The mirror or something obscures JILL. MRS
TERRAIN and SHIRLEY exchange puzzled looks and proceed
toward SAM.
SAM
Ah ... hello, Mrs Terrain. SAM lets
go of the parcel and pushes JILL
away. She moves off.
SAM
(after Jill for Mrs
Terrain's benefit)
I think that'll hold it.
(to Shirley)
Hello Shirley. Just helping someone
tie up a Christmas present. How are
you?
MRS TERRAIN
My complication had a complication,
but Dr Chapman says I'll soon be up
and bouncing about like a young
gazelle. Are you buying a Christmas
present for your mother?
SAM
(Trying to keep an eye on
Jill who is disappearing
from sight)
Er, yes ...
MRS TERRAIN
Shirley and I come here regularly. I
love romantic lingerie.
She unwraps a set of red and black, fur trimmed things
with strategic holes in them.
MRS TERRAIN
(coyly)
Picture me in these.
At this moment there is an almighty explosion from the far
corner of the store. It is the corner that we last saw
JILL moving towards. SAM races towards the smoke, dust
covering his suit. He finds bras, knickers, broken shop
dummies, bleeding CUSTOMERS and SHOP ASSISTANTS all over
the place. On the edge of this devastated area he sees
JILL struggling out from under a pile of negligees and
plaster dust. He rushes over to her.
SAM
(frantic)
Are you alright?
JILL
Yes.
SAM
(anxiety giving way to
anger)
You don't deserve to be! You should
be dead, or maimed like them .... How
could you ...?
(indicating the wounded)
What a bloody stupid thing ... I
should. have made you open it in the
lorry
She has dug the parcel out of the debris and has ripped it
open. Under the brown paper are a dozen brightly coloured.
Christmas packages - yes you guessed it - executive toys.
She throws the parcel and its contents hard into SAM's
chest. He topples back-wards - tangling himself up with
the severed limbs of a shop dummy.
JILL
There's your bomb! Our annual bribes
for official ass-holes like you!
SAM sits in the debris - ashamed and relieved. Liquor
oozes from the broken bottle all over SAM's suit. He is at
a loss for words.
JILL's attention is attracted by moans coming from the
badly hurt BOMB VICTIMS. She goes to help them.
JILL
(to Sam)
Come on, make yourself useful, there
are people hurt!
JILL goes around trying to make the INJURED comfortable.
SAM follows her. He takes off his jacket with his
Information Retrieval badge on the lapel and uses it to
make a pillow for one of these VICTIMS. By now sirens are
wailing, water sprinklers are functioning, and there is
general pandemonium. SECURITY GUARDS run into the area and
begin arresting everyone, including the DEAD and INJURED.
ONE OF THE GUARDS tries to drag off the WOMAN whom JILL is
attending.
JILL
Hey stop ... she's hurt!
The GUARD gives JILL a thump in the side of the face with
his gloved hand. SAM sees red.
SAM
DON'T TOUCH HER!!
The GUARD looks up and as he does so he is transformed
into the GIANT WARRIOR from SAM's dream. He towers over
the WOUNDED, the DYING and the debris of the blasted
lingerie department. SAM grabs for a weapon and comes up
with one of the arms (now detached) of the shop dummy. It
makes a passable club.
JILL
SAM .... don't!!
The TWO COMBATANTS square off ... looking for an opening
... a chink in the other's defences - at which point SAM
is flattened from behind by a TROOPER's gun butt.
108a INT. STONE SHIPANTI-DAY108a
SAM is falling down the inner wall of the stone ship. He
tumbles end over end - unable to stop his crashing
descent. With a thud he hits the bottom. Stunned, bruised
and battered he tries to get up. Standing over him are the
GREY PRISONERS. They press forward.
SAM
(feebly)
Where is she? Is she here?
The GREY PRISONERS dissolve into what looks like several
BAGGEES.
109 INT. BLACK MARIA EVENING 109
The BAGGEES hang from a track on the ceiling of the Black
Maria. SAM is lying on the floor, covered by his jacket,
with his badge prominently displayed. He is dazed and
mumbling ... the only BAGGEE in the wagon apart from TWO
GUARDS who have removed their helmets and are relaxing
while travelling back to base.
GUARD A
(scratching his head)
These helmets don't half make your
scalp itch.
GUARD B
Ooh, don't mention it.
(beginning to scratch his
head)
And they make you sweat. Half the
time I can't see where I'm going -
there's a great Niagara of
perspiration coming down.
GUARD A
I'm lucky, I've got thick eyebrows.
That keeps it up and channels it out
to my ears.
SAM stirs and groans
GUARD B
Who's he?
GUARD A
Someone from Information Retrieval
they're always hanging about in
lingerie.
SAM is coming to his senses. He takes in the situation,
sees all the BAGGEES and staggers to his knees.
SAM
Jill! Jill! Are you there?!
He begins rummaging through the BAGGEES. ONE of which is
dressed as FATHER CHRISTMAS. SAM opens the "face vent" of
the BAGGEE'S' hoods. A pair of strange eyes look out.
GUARD A
Excuse me, sir - that's government
property.
SAM
Is here a girl here? Tall, fair hair,
blue eyes?
GUARD A
Dunno sir. They check all that at the
depot.
SAM continues fumbling about the BAGGEES.
GUARD 3
(pulling Sam back)
We can't allow you to do that sir,
it's more than our job's worth.
SAM
(shaking Guard off)
I've got to find her! Jill! Jill!
GUARD A
You can always fill in an application
form, if you're a relative, sir.
Please stop, sir.
SAM takes no notice.
SAM
Jill! Jill!
GUARD A hits SAM, knocking him out again.
GUARD A
Sorry about that sir. Regulations.
We'll have you safely back in your
office in no time.
Scenes 110 & 111 deleted. Scenes 110 & 111 deleted.
112 INT. SAM'S OFFICE EVENING 112
SAM recovers consciousness to find himself sitting at his
desk in his office. He is bruised and battered and has a
black eye. His suit is torn and bloody. MR WARREN is
gripping him by the throat and giving him a lecture.
Behind WARREN, crowding the doorway, are the PEOPLE who
circulate around him and are the cast of the WARREN high
energy circus. LIME is with them.
WARREN
This is a black eye for the
department, Lowry! ... And I don't
care how you behaved when you were at
Records! Information Retrieval is an
executive branch! We're proud of our
reputation and we protect it!
One of his ACCOLYTES thrusts a paper into his hand - he
glances at it.
Damn it, Lowry, that convoy of troop
carriers is still not accounted for
... I thought I told you to deal with
it.
He slams the form down onto the desk which is covered with
other forms.
And what the hell is this mess? An
empty desk is an efficient desk.
He has picked up some of the forms.
Good God! ... queries from Security,
searches from Central Banking about a
cheque, clarification notices from
Accounting concerning unreturned
receipts, another demand from the
Motor Pool.
SAM
Mr Warren ... I have to find out
about ...
WARREN
Shut up! I don't know what's going on
here, Lowry, but don't think you can
intimidate us with your friends and
relatives in high places! Now shape
up!
He dumps the papers and folders onto SAM's desk and storms
off with his ENTOURAGE, leaving a gleeful LIME in the
doorway.
SAM
(grabbing Lime as he starts
to slip away)
Lime, I need to use your computer
LIME
Sorry, a bit busy at the moment.
(he indicates Sam's
smothered desk)
You seem to have quite a lot to do
yourself.
(he disappears into his
office)
112a INT. 30TH FLOOR
CORRIDOR DAY 112a
SAM rushes out of his office after LIME. But, LIME has
locked his door. SAM bangs on the door.
SAM
Shit!
112b INT. SAM'S OFFICE DAY112b
SAM storms back into his office. Reaching a peak of
frustration, he stuffs all his paperwork into the
pneumatic tube and sends it off into oblivion. Within
seconds it returns. SAM sends it off a second time. It
doesn't return a second time, periodically something
passes through the tubes causing them to move. SAM's
pneumatic tubes continue to pulsate, pressure building up.
At this point SAM's desk begins, as before, to creep
through the wall. He grabs it violently. He pulls it.
There is a scream from the other side of the wall. SAM
smiles. Th pneumatic tubes give a final convulsion and
then there appears to be a muffled explosion outside SAM's
office door. It shakes the whole building. SAM goes to his
door and opens it.
113 INT. SAM'S CORRIDOR CONTINUATION 113
Every door in the corridor has been opened by the
occupants of the room. All the occupants stick their heads
into the corridor, all gazing with SAM at the variously
coloured blizzard of paper which has errupted through the
whole length of the corridor ceiling, from which protrudes
the intestines of the pneumatic system.
114 INT. JACK'S OFFICE CORRIDOR & INFORMATION EVENING114
RETRIEVAL CORRIDORS
It is the end of the working day. JACK is leaving for
home. He is putting on his executive-styled bullet-proof
vest and packing his "Secret Connection" briefcase. As the
scene progresses SAM and JACK proceed out of the door and
down he corridor, passing other I.R. OFFICIALS. SAM is
dishevelled and causing acute sartorial embarrassment to
JACK to is trying to distance himself from him.
SAM
Come off it, Jack! Of course you can
check to see if she's been arrested.
JACK
I'm sorry, Sam, I'm afraid this whole
case has become much more complicated
since last we talked.
SAM
(exasperated)
She's innocent, Jack --- she's done
nothing wrong.
JACK
Tell that to the wives of the
Security men she blew up this
afternoon. Listen, we've also had a
report just in from Central Services
that Tuttle has wrecked an entire
flat and sabotaged adjacent Central
Services systems - as a matter of
fact, in your block. I'd keep my eyes
open if I were you, Sam. Bye.
SAM
(catching up with Jack)
You don't really think Tuttle and the
girl are in league?
JACK
I do. Goodbye.
(steps into lift)
115 INT. LIFT EVENING 115
SAM
It could all be coincidental.
JACK
There are no coincidences, Sam.
Everything's connected, all along the
line. Cause and effect. That's the
beauty of it. Our job is to trace the
connections and reveal them.
(whispers)
This whole Buttle/Tuttle confusion
was obviously planned from the
inside. Bye bye.
116 INT. INFORMATION RETRIEVAL LOBBY EVENING 116
JACK and SAM have just emerged from the lift. The lift
doors close. SAM agitatedly speaks.
SAM
Jack, she's innocent!
JACK
Sam - we've always been close,
haven't we?
SAM
(eagerly)
Yes we have, Jack!
JACK
Well, could you stay away from me
until this thing blows over.
117 EXT. MINISTRY OF INFORMATION RETRIEVAL NIGHT 117
BUILDING
SAM is leaving the Ministry of Information Retrieval. The
lights in the foyer are blazing behind him, the street
lamps are lit. He is exhausted and depressed and anxious
about the safety and whereabouts of Jill. He begins to
retrace their first journey together, down the Ministry
front steps and around the corner to where Jill's truck
was parked.
117a EXT. JUST AROUND THE
CORNER NIGHT 117a
SAM stands in the passageway where JILL's lorry was first
parked. The only hint of its once-upon-a-time presence is
a small splodge of oil by the kerb. SAM stands lost and
beaten under a street light. He slumps down to the
pavement unsure his next move. The street light is
reflected in the pool of oil. As he stares at the
reflected light it expands and becomes a patch of blue
cloud-filled sky. SAM turns to look at the actual street
light. It has become a crack of blazing light coming thru
the inner wall of the great stone ship.
117b INT. STONE SHIPANTI-DAY117b
DREAM GIRL'S VOICE
I'm here Sam. Don't give up.
SAM is pushing thru the GREY PRISONERS. The light from the
crack shafts across the space in which they find
themselves imprisoned, striking the opposite wall. There
in the bright pool of light are SAM's wings - beautiful,
shimmering silver... But, nailed to a large stone
cruciform - like a crucified eagle. SAM rushes towards
them and begins to pull them loose, But before he can, a
great cracking noise reverberates thru the ship and a
black shadow falls across SAM and the wings. Looking round
he saees the inner wall has split open to the level of the
floor - but, blocking the opening is the GIANT SAMURAI
WARRIOR. SAM draws his sword and rushes toward the GIANT.
The GIANT stands ominously still. Then very slowly he
raises his spear in front of himself in an almost
religious gesture. Poof! He vanishes! SAM is confused.
Suddenly a PRISONER shouts a warning and SAM spins round
just in time to avoid a slash of the spear by the gigantic
WARRIOR who is now standing directly behind him. SAM
parries a couple more thrusts of the spear and then
strikes with his sword. At thin air! The GIANT has
vanished again. SAM can't figure it out. But he hears
something whoosh and instinctively dodges as the GIANT who
is once again behind him brings the spear crashing down.
Again SAM manages a few parries as he is forced backwards.
He trips and falls to the ground. The spear goes into the
ground.
Before the GIANT can wrench the spear loose, SAM slashes
at him with his sword. But again the GIANT disappears. SAM
spins around. The GIANT is a short distance from him. SAM
rushes him. Again he vanishes. This time he reappears next
to the spear and tries to free it. But SAM attacks again
and the GIANT is forced to do his vanishing act before he
can recover the spear. SAM is becoming exasperated with
his behaviour, and as the GIANT reappears he shouts at him
to hold still, at the same time throwing his sword at the
big fellow. The sword pins the GIANT's foot to the ground
before he can disappear. Instead of blood pouring from the
wound, fire issues forth. SAM takes advantage of the
situation and manages to wrench the spear from the ground.
The GIANT is unable to escape as SAM charges, but manages
to dodge a bit. However the spear catches his arm and
opens a gash. Again fire pours out. As the big GUY tries
to stop the fire, SAM charges again. This time he succeeds
in striking dead centre. The GIANT gasps as fire gushes
from his chest. He staggers and crashes to the ground. The
wounds continue to bleed fire.
SAM gets his breath back and approaches the fallen
WARRIOR. Reaching down he removed the GIANT's mask. Fire
rushes forth from all the facial orifices. But the thing
that makes him catch his breath is the face itself. It's
his ... SAM's! While he stares in amazement the fire
begins to melt the face. In a moment it is unrecognizable.
SAM stands there stunned. Somewhere in the distance a bell
tolls.
118 EXT. JUST AROUND THE CORNER NIGHT 118
SAM's face is reflected in the puddle of oil. He is
staring wide-eyed. A church bell tolls in the distance.
SAM is definitely spooked. He scrambles to his feet. He's
got to get out of here. He heads off down the passageway
but is brought quickly to a halt. There, in the shadows,
is SOMEONE smoking a cigarette. He hesitates and reverses
direction but, before he manages 2 paces a familiar voice
comes from behind him.
JILL
You're late.
SAM spins around. Stepping out from the shadows is JILL -
cigarette in her mouth.
SAM
(stunned)
Jill! What are you do ... I mean ...
how did you ... Are you alright?
JILL
Yes.
SAM
What happened to you after ...
JILL
Your face ... are you hurt?
SAM
No. No. I'm fine. I was worried sick
about you ... I thought ...
A patrol car approaches. Quickly SAM grabs JILL and goes
into a kiss to explain their presence. The car hesitates
for a moment and drives on.
JILL
(through kiss)
They're gone.
SAM
(through kiss)
Are you sure?
JILL
(through kiss)
Yes.
They resume passionate kiss. After a moment
SAM
(urgently)
C'mon, we've got to get you off the
streets.
They head off clutching one another.
119 INT. SAM'S CORRIDOR NIGHT 119
The Elysian Fields train arrives clattering. SAM and JILL
are the only passengers to emerge. They can't keep their
hands off one another. This is young love at its freshest
and most exciting. SAM looks up and down the platform
cautiously but there is no-one in sight as the train
clatters off again into the darkness. SAM and JILL
approach SAM's front door. He puts a key in the door and
tries to open the door but has some difficulty. Something
creaks. He gives the door a heavy shove and the door opens
and a shower of white powdery ice falls on his head..
120 INT. SAM'S FLAT NIGHT 120
SAM enters, followed by JILL. His breath immediately
starts come out of his mouth like clouds of steam. The
flat looks as though it has been disembowelled and then
deep frozen. Icicles are hanging down from everywhere. The
flat looks like a scrap dump. Every wall has spilled out
its disgusting steel and rubber entrails, filling most of
the available space and making progress through the flat
difficult. Half a dozen MEN are at work. They are
impossible to identify because they wear arctic clothing
and look more like spacemen. Their voices however belong
to SPOOR and DOWSER.
SAM
For God's sake, what's happened?
SPOOR
Thermostat's gone. And then some.
DOWSER
... And then some.
SAM
What have you done to my flat?
SPOOR
Sign here, please.
DOWSER
... ere please.
SPOOR offers a clipboard and pencil. He bangs the
clipboard against the furniture to knock the ice off it.
SAM
What is it?
SPOOR
It's a 27B/6 of course.
DOWSER
...B/6 of course.
JILL
(to Dowser)
Do you repeat everying?
DOWSER
(nods)
... Everything.
SPOOR
(indicating the mess)
This is what you get when you have
cowboys round yer ducts.
DOWSER
... yer ducts.
SPOOR
I think you've got your T41 crystal
inductor wired up to a reverse bobbin-
threaded-solenoid-control. It's
either that or a new washer.
DOWSER
... new washer.
SPOOR
Sign the form so we can get to it.
DOWSER
... get to it.
SAM grabs the clipboard and smashes it over SPOOR's head.
The board is so cold that it snaps in two. The paper on it
also snaps in two.
121 INT. SAM'S CORRIDOR NIGHT 121
SAM pulls JILL out into the corridor.
JILL
Don't you like parties?
SAM
C'mon. We've got to get out of here.
As SAM and JILL begin to move down the corridor they see a
cigarette glow brightly in a dark recess.
JILL
(seeing cigarette light)
TOO LATE!
They ere about to run when TUTTLE steps out of the
shadows.
TUTTLE
I'll fix the damage when they've
gone. I'll be ready for you tomorrow.
122 INT. MOTHER'S CORRIDOR NIGHT 122
A venerable PORTER carrying a single key on a large ring
is preceding SAM and JILL along the corridor which we have
seen before. The PORTER's name is MATTHEWS.
SAM
My mother said it would be all right.
MATTHEWS
She didn't say anything about it to
me.
SAM
Well, she's my mother, not yours.
MATTHEWS
I won't be held responsible.
SAM
How long will she he away?
MATTHEWS
(darkly)
There are some who go to Dr. Jaffe's
clinic who never come back at all.
MATTHEWS unlocks MOTHER's door.
MATTHEWS
(to Jill)
You're not a professional, are you?
JILL
No, amateur.
SAM
(firmly)
Thank you, Matthews.
With which he ushers JILL through the door and closes the
door in MATTHEWS' face.
123 INT. MOTHER'S FLAT NIGHT 123
SAM
Make yourself at home. Don't answer
the phone or open he door to anyone.
I won't be long.
JILL
Where are you going?
SAM
I'm going to pull some strings. It's
our only hope.
JILL
Don't do anything silly.
SAM
Thanks for the vote of confidence.
JILL
Take care.
SAM goes.
124 INT. INFORMATION RETRIEVAL FOYER NIGHT 124
SAM arrives at the Ministry of Information Retrieval
reception It's late. GROUPS OF CLEANERS are operating
cleaning machinery. SAM approaches the DESK PORTER who is
playing with the executive toy SAM gave him.
SAM
Excuse me, Dawson, can you put me
through to Mr Helpmann's office?
PORTER
I'm afraid I can't, sir. You have to
go through the proper channels.
SAM
And you can't tell me what the proper
channels are, because that's
classified information?
PORTER
I'm glad to see the Ministry's
continuing its tradition of
recruiting the brightest and best,
sir.
SAM
Thank you, Dawson.
SAM crosses the foyer, checks to see that Dawson is no
longer watching him engrossed as he is with the executive
toy, and slips past the lift which, at that moment,
disgorges a leg-bandaged, be-crutched LIME who hobbles
across the lobby without seeing SAM, who slips down the
stairs which he knows lead to Helpmann's private lift.
125 INT. BASEMENT NIGHT 125
SAM creeps along the corridor to the lift door - avoiding
a GROUP OF SECURITY MEN who are singing carols in close
harmony. ONE GUARD is conducting and giving instruction.
They are all incredibly big and brutal looking.
CHOIR MASTER
(stopping them)
No, no, no, Arthur, you're going flat
on that G. It's your breathing. Take
a breath on the end. of the previous
line, after Noel. Right, one, two,
three.
The CHOIR begins singing again. SAM reaches the lift and
looks at the small panel of letters set into the wall.
CLOSE UP of SAM's face concentrating. He hears, we hear, a
reprise of MR HELPMANN talking to SAM in MOTHER's
bathroom.
HELPMANN (V/O)
Of course, Jeremiah was senior to me,
but we were close friends, and I keep
his name alive at the office every
day. It's as though he's there
speaking to me. "'ere I am, J.H."
SAM is already typing the letters EREIAMJH into the
keyboard. The lift judders and star s to ascend.
126 INT. MR HELPMANN'S OFFICE NIGHT 126
SAM steps out of lift into an ante-room. No-one is there.
Tentatively he knocks on the connecting door into the
office. No reply. He slowly opens door.
SAM
Mr Helpmann? Are you there? Hello?
The office is empty. SAM looks around - not sure what he
wants to do. He notices his MOTHER's picture on HELPMANN's
desk. He is just about to leave when his eye is caught by
an elaborate computer console in a side room. It
occasionally chatters away. Paper print-outs fill a large
bin. Hesitantly SAM approaches it. Looking around to make
sure the room is still empty he punches the On key and the
machine lights up.
He cautiously pushes a couple more keys. The teleprinter
machines have paused but one starts chattering now. He
looks at the one which is busy. A CLOSE UP shows us the
message coming through: TOTAL - TOTAL -TOTAL - CAR 15
REQUEST FEEDBACK STATUS ON SUBJECT BENJAMIN GEORGE
TROLLOPE - VAGRANT - DETAINED TERRORIST/SUSPECT/ASSOCIATE.
This is followed by a code number. The teleprinter falls
silent.
SAM returns to the keyboard and switches it off. He turns
to leave.
The teleprinter starts chattering again. SAM stops and
goes back to it and looks at the page again. A CLOSE UP
shows us: UPDATE - SUBJECT TROLLOPE DECEASED - CAUSE OF
DEATH GUNSHOT RESISTING ARREST. PLEASE DELETE FROM SPECIAL
CATEGORY. The computer spool revolves back and forth for
two or three seconds and then stops. SAM ponders this for
a moment and then heads back to the keyboard and swtiches
on the machine. He has he answer.
127 INT. MOTHER'S FLAT NIGHT 127
SAM enters the flat. JILL is nowhere to be seen. The
lights are out but, from the partially opened bedroom door
beams a shaft of bright light. Music pours forth ... it is
"BRAZIL".
SAM
(cautiously)
Jill?
Getting no answer he goes to the door and peers through.
There is JILL but, transformed. She is wearing one of
SAM's MOTHER's wigs which billows in the air blown by a
fan. She is also wearing a diaphanous nightdress borrowed
from the extensive wardrobe and is dancing slowly. She
looks like the DREAM GIRL. SAM stands open-mouthed. JILL
notices him and smiles.
JILL
What do you think? ... is it me?
SAM
(still stunned)
You don't exist any more. I've killed
you. Jill Layton is dead.
He holds out a print-out. She reads it and slowly looks
up.
JILL
Care for a bit of necrophilia?
They rush together.
128 INT. STONE SHIP ANTI-DAY 128
The screen is filled with brilliant white clouds rushing
about a beautiful blue sky. They course this way and that.
Pulling back we reveal that this patch of sky is inside a
mammoth glass-like cube held aloft by four stone columns.
The absolutely amazing scale of this cube is revealed as
SAM sweeps up into shot - his wings gleaming in the light.
He is a tiny speck but, overjoyed -he has found the day.
far below him the GREY PRISONERS gather beaming with
happiness. Diving back to the ground - SAM unsheaths his
sword and holding it aloft rushes to the base of one of
the great columns. The FORCES OF DARKNESS who have been
lurking in the shadows slink back. SAM, with one mighty
swing, strikes the column - the noise reverberates as
cracks begin to race up and through the column. It is
disintegrating. As it crumbles the mammoth cube begins to
topple. Everyone steps back. Down it plummets. And smashes
into a million pieces. The bright blue sky escapes in all
directions. The GREY PRISONERS' iron collars and chains
fall from their necks as they stand, surrounded by a
beautiful blue sky. They look up to the sun. SAM is
exultant.
129 INT. MOTHER'S BEDROOM DAWN 129
Pull back from the sun through a window. The light falls
on SAM's smiling sleeping face. Showly he wakes. He little
by little remembers where he is and reaches over for JILL.
She isn't there. Sam panics.
JILL
Merry Xmas.
She is sitting at the foot of the bed grinning at him. She
crawls over to him - they start to embrace.
SAM
Everything is going to be all right.
But crash !!! it's a raid! Like a giant drill a whirling
cylinder has plunged through the ornate moulded ceiling of
Mother's bedroom, and we now see what made the neat hole
in the BUTTLE ceiling ... CUTS show doors being burst open
by SECURITY TROOPS. JILL and SAM are frozen in panic.
SECURITY TROOPS are sliding down a fireman's pole" from
the hole in the ceiling.
SAM
(shouts)
She's dead. Check the list!
But it is SAM they have come for. He is being dragged out
of the bed.
GUARDS
(as they struggle with him)
You Turncoat Bastard! JUDAS!!
TRAITOR!!
A canvas bag is plunged over his head. All goes black.
SAM
(muffled)
JILL!!!
A shot rings out. JILL screams. It echoes through the
blackness.
130 INT. PROCESSING AREA 130
In absolute inky darkness, SAM and the CAMERA move through
space and time marked only by voices and sounds
encountered on the way. This sound-sequence fades in and
out a few times, indicating that the journey is longer
than the real-time period of the blacked-out sequence. We
hear:
Footsteps of SAM and GUARDS.
Distant howl of pain.
Muzak.
Iron gate.
Footsteps again.
Lift doors opening and closing.
Muzak.
Typing pool.
FEMALE VOICE
a wonderful gift, I changed it at the
chemist for some antibiotics and
bathroom scales and there's enough
left on the voucher for a
tonsilectomy if I want to treat
myself ...
Office door opens and closes.
GUARD'S VOICE
Christmas Parcel for you, sir ...
sign here please ...
What looks like a rectangular hatch in the blackness
opens. It is the eyeslit on the front of SAM's bag being
opened by a SECURITY GUARD.
The SECURITY GUARD peers in for a moment and then steps
back to reveal two SMART OFFICIALS sitting at a desk. They
are looking up at SAM/us.
OFFICIAL A
93/HKS/608, you are charged with the
following:
Passing confidential documents to
unauthorized personnel - viz IR
dossier/Gillian Layton. Destroying
Government property - viz an
indeterminate number of personnel
carriers. Taking possession under
false pretences of said personnel
carriers. Forging the signature of
the Head of Records, Third
Department. Attempting to misdirect
Ministry funds, in the form of a
cheque to A. Buttle, through
unauthorized channels. Tampering with
Central Services supply ducts.
Employing unqualified suspected
persons for this purpose. Attempting
to conceal a fugitive from justice.
Obstructing the forces of law and
order in the exercise of their duty.
Giving aid and comfort to the enemies
of society.
Bringing into disrepute the good name
of the Government, and the standing
within the community of the
Department of Information Retrieval.
Attempting to disrupt the Ministry of
Information Retrieval's internal
communicating systems. Wasting
Ministry time and paper.
OFFICIAL B
We would advise you that a plea of
guilty will save you and the tax
payer money, and will always be
looked upon more favourably than a
plea of not guilty. All you are
requested to do at this stage is to
sign this form.
OFFICIAL B waves a sheet of paper. We hear SAM's voice.
SAM
Where's Jill?
OFFICIAL A
Not interested?
SAM
What have you done with Jill?
OFFICIAL A
Right. Next!
The SECURITY GUARD appears briefly and zips up the hood
again plunging us back into darkness. We get more muffled
shouts, heavy breathing and subterranean son et lumiere.
Another SECURITY GUARD opens the flap on SAM's hood. We
see another TWO OFFICIALS.
SAM
(more hysterical)
Where's Jill? What's happened to
Jill?
OFFICIAL C
93/HKS/608, you've got quite a list
of misdemeanours here, haven't you?
All this is going to take time and
money, and I'm afraid, according to
your bank statement and credit rating
here, you're likely to be in deep
financial trouble by the end of it.
Now, either you plead guilty to say,
seven or eight of these charges,
which'll bring the costs down to
within your reach, or you can borrow
a sum to be negotiated, from us, at
very competitive rates. We can offer
you something at say, eleven and a
half per cent, over thirty years. But
you will have to buy insurance to
qualify for his scheme.
OFFICIAL D
All you have to do is to agree to
sign the appropriate boxes on these
forms. Yes or no?
SAM
I'm not guilty! Not guilty you stupid
bastar...
THE GUARD closes the flap. Once again darkness and
confusion. until another SECURITY GUARD opens the flap
again to reveal another TWO OFFICIALS.
OFFICIAL E
(examining forms)
Now, since you've elected to plead
not guilty on all these charges,
you'd be well advised to take some
sort of insurance cover. Preferably
comprehensive, or if you'd prefer,
something more specific - say,
against electrical charges over
f70.00. And for food and
accommodation costs of say, £800.00.
Detention can be a very expensive
business.
OFFICIAL F
Now, before we bore you with the
small print perhaps you'd like to
tell us whether you'd like to sign
this insurance acceptance form or
not. Think carefully before you
decide. Thinking ahead in financial
matters is always the wise course.
The flap is closed and opened again very quickly - NEW
OFFICIALS are revealed. This process repeats again and
again - getting faster and faster. The OFFICIALS' faces
seem to become a changing blur. Their voices overlap in a
growing cacophony. The desk and the other items in the
room remain static. To add to this disturbing effect the
FORCES OF DARKNESS begin to gather in the room behind the
OFFICIALS. As they increase in number they begin to press
forward unseen by the OFFICIALS. Soon they fill the view
through the flap.
OFFICIAL
We're here to save you and the tax
payer money.
OFFICIAL
Would you like to pay the premium for
a single room with a shower and a
soft bed?
OFFICIAL
For a small charge we can keep visits
from friends and relatives down to to
a minimum.
OFFICIAL
Plead guilty, it's easier, quicker,
and cheaper for everyone.
OFFICIAL
We're doing a survey ... Aimed at
providing a better service.
OFFICIAL
Do you think the present system is A.
efficient, B. inefficient?
OFFICIAL
As a taxpayer are you A. impressed,
B. unimpressed
131 INT. STONE SHIP TIMELESS 131
CUT to SAM struggling with the FORCES OF DARKNESS. He is
overwhelmed by the black hordes. They fill the screen. SAM
disappears under their onslaught. A pause. Then SAM is
raised, spread-eagled, above the black sea of the FORCES.
Strong hands hold him. The maniacal laughter starts up.
SAM is turned in its direction.
CUT to a shot over the top of the mass of robed FIGURES.
Rising from the ruins of the stone columns, the black
cloth thing flaps menacingly towards camera. We can see
the towering filing cabinet skyscrapers of the Storeroom
of Knowledge in the background.
SAM looks terrified. As the thing hovers above SAM in all
its huge twisting awfulness, it slowly begine to unfold
like some deadly flower blooming in stop motion.
SAM freezes as the interior becomes invisible. There in
the billowing blackness is the GIRL. She is beckoning.
GIRL
Sam.
But the VOICE is no longer the mysterious feminine voice
of before - it is the voice of the maniacal laughter.
SAM struggles with the restraining hands. He twists and
turns, but to no avail. From the darkness above him
descends the JOLLY GENT looking just like MR HELPMANN) on
his window washer's platform. However he is now dressed as
Father Christmas.
GENT
Sam, what are we going to do with
you?
GIRL
Ha ha ha ha ha.
132 INT. CELL DAY/NIGHT 132
The filing cabinets of the Storeroom of Knowledge dissolve
squares of padding that form the walls of a cell. The
laughter echoes round the cell. SAM sees that MR HELPMANN,
in his wheelchair is watching him. He is dressed as Father
Christmas. They are alone in the cell. SAM scrunches up
into the corner.
HELPMANN
Sam, what are we going to do with
you? Can you hear me, Sam?
SAM
(in a hoarse urgent
whisper)
Where's Jill? What have you done to
her? Where is she?!
HELPMANN
Gillian Layton?
SAM
Yes, you've got to get me out of
here. I've got to find her.
HELPMANN
I understand, Sam, I know exactly how
you feel. So I brought you a bottle
of barley water.
HELPMANN holds up a bottle of barley water.
SAM
(desperately)
Help me!
HELPMANN
I assure you, Sam, I'm doing
everything within my power. But the
rules of the game are laid down, and
we all have to play by them - even
me.
SAM
This is all a mistake! Don't you
understand?!
HELPMANN
Yes, well, from the Department's
point of view you're certainly a bit
of an own goal, but ...
SAM
I'm not a terrorist! You must know
that! I'm not guilty! Get me out of
here!
HELPMANN
Sam, if you've been going out there
and playing a straight bat, all the
way down the line, you've got
absolutely nothing to worry about.
SAM
Please, I've got to find Jill.
HELPMANN
Sam, I think I ought to tell you ...
I'm afraid she's upped stumps and
retired to the pavilion.
SAM looks blank.
Thrown in the towel.
SAM
(takes a moment to work
this out)
Dead?
HELPMANN nods.
HELPMANN
Yes, it's all a bit confusing but, it
seems she was killed resisting
arrest.
SAM
(relieved)
No, no ... I did that...
HELPMANN looks surprised. SAM shuts up.
HELPMANN
The odd thing is it appears to have
happened twice ... a bit of a
disputed call, I'm afraid.
SAM has gone catatonic.
HELPMANN
(starting to go)
So, there you are. All I can say is,
don't fall at the last fence. The
finishing post's in sight. See you in
the paddock. Good luck. Keep your eye
on the ball. Got to go .... Can't
keep the orphans waiting.
HELPMANN goes. A GUARD helps him out and then returns with
ANOTHER to help put the restraining bag over SAM.
GUARD
Don't fight it, son .... confess
quickly ... Before they get into the
expensive procedures. If you hold out
too long you could jeopardise your
credit rating.
The bag blacks everything out.
133 INT. INFORMATION RETRIEVAL ROOM 133
The bag comes off. SAM finds himself strapped into an
Information Retrieval chair. The CAMERA tracks back
frighteningly fast revealing that he chair stands in an
unbelievably vast room. The walls curve up and out of
sight.
The floor doesn't seem to be a floor at all - strange
light undulates beneath. The whole effect is one of total
disorientation and overwhelming size. SAM is desperately
trying to take it in. Next to the chair is a porcelain
tray of evil and frighteningly ambiguous instruments.
Worrysome electrical connections and meters are near at
hand. As the GUARDS leave SAM to take up their positions
near the distant door they hand over documents to the
white-coated INFORMATION RETRIEVAL OFFICER.
GUARD
11/AFT/607, sir.
They all sign the document which the I.R. OFFICER retains
after giving carbon copies to the GUARDS. The GUARDS then
proceed to the door and take up positions on either side
of it. The I.R. OFFICER heads toward SAM. We can now see
he wears a mask. It is the face of the FORCES OF DARKNESS.
A smiling baby doll face. SAM sits, mesmerized, watching
him approach. Within fifteen or twenty yards of SAM the
I.R. OFFICER comes to an abrupt halt. He seems to sway.
After a moment he turns slightly, hesitantly, giving the
impression that he may return to the door. He looks at the
GUARDS, pauses, straightens himself up, takes a deep
breath and continues again towards SAM, rather more
briskly than before. SAM watches, terrified and
fascinated. The I.R. OFFICER goes to the table which is
covered with evil-looking surgical-type instruments - he
blunders clumsily into it, knocking a couple of them onto
the floor. He picks then up quickly and replaces them.
SAM
Jack?
The I.R. OFFICER reacts to this as if he's been hit in the
solar plexus, and he tries to disguise it by simulating a
coughing fit. He then picks up a nasty looking implement
and advances on SAM.
SAM
Jack?... Jack?
JACK
(hysterically from behind
mask)
Shut up!
SAM
Jack, I'm innocent! Help me.
JACK
Bastard!!!
SAM
This is all a mistake. Jack, please
take that mask off.
JACK is very close to SAM, he is shaking. He lifts up his
mask to reveal sweaty face, contorted with fear and anger.
JACK
You stupid bastard!
SAM
What?
JACK
How could you do this to me?
SAM
Help me, Jack! I'm frightened!
JACK
How do you think I feel? You shit!
SAM
Jack ...
JACK
(pulling down mask)
Shut up! This is a professional
relationship!
JACK comes at SAM with the horrifying implement.
SAM
JACK!! ... You can't ... No, don't!
SAM's eyes widen in terror. From his POV we look up at
JACK approaching. The ceiling above and behind JACK is
suddenly and. loudly penetrated by the Ceiling Hole
Machine, and in an instant without benefit of "fireman's
pole", the commando-like figure of MR TUTTLE gun in hand,
leaps through the hole.
TUTTLE is immediately followed by similar looking MEN with
balaclavas, guerilla-type clothing, and very efficient
guns. JACK is cut down. So are the TWO GUARDS who have
opened the door from the corridor and are shooting into
the room.
TUTTLE raps out into a walkie-talkie
TUTTLE
Detonate!
From somewhere near at hand there is a large explosion
which rocks the room. TUTTLE is already unstrapping SAM.
TUTTLE
Let's go!
134 INT. CORRIDORS NIGHT 134
CUT to RESCUERS, with SAM in the middle, fighting their
way in the terrific battle with GUARDS, until they get to
a door leading to the stairs.
135 INT. ENDLESS STAIRWAYS NIGHT 135
CUT to RESCUERS, their members thinning, and SAM, fighting
down flight after flight of stairs with lots of neat-oh
violence and blood and, gunshots and ... falling and
bleeding and -
136 INT. INFORMATION RETRIEVAL LOBBY NIGHT 136
CUT to the RESCUERS fighting their way to the entrance.
Another group of RESCUERS at the door are providing cover
fire The PORTER sits behind his desk watching the battle
on his bank of monitors.
2ND GROUP
Quick! We've only got thirty seconds
to get clear!
TUTTLE tosses SAM a dark overcoat to cover his light grey
detainee outfit. Together, the TWO GROUPS burst out
through the door into the large empty forecourt.
137 EXT. FORECOURT NIGHT 137
The forecourt is suddenly illuminated by huge arc lights.
Machine gun installations open fire. The RESCUERS are
totally exposed.
They are cut down left and right.
Desperately they battle their way across the open space.
Time running out. SAM, knowing the way, leads TUTTLE
towards a shielded spot. Will they make it? As the last
RESCUER is cut down SAM and TUTTLE dive for cover.
KOWBLAMMPOW! A massive explosion. Then another. And
another. SECURITY TROOPS caught unprotected are decimated.
SAM looks up. Christ! The building is being blown to bits.
Certain windows are lit. They spell out MERRY XMAS. With a
final massive haemorrhage the building erupts in a geyser
of masonry, steel, paper and dozens of T.V. consoles and
visual aid apparatus including, in large chunks, MR
HELPMANN's masterpiece. But also tons and tons of paper.
Every file in the building has burst its seams and ejected
its load skywards. The night sky is full of white
rectangular wisps. Ashlike they flutter down over the
city. SAM looks around and can't see TUTTLE anywhere. He
shouts for him. But the remaining TROOPS have spotted SAM
and SAM runs.
138 EXT. CITY PASSAGES NIGHT 138
SAM runs madly through paper-littered passages
139 EXT. SHOPPING PRECINCT NIGHT139
Eluding his pursuers, SAM dives into a crowded, garishly
lit, shopping centre. Once among the protective company of
he mindlessly shopping MOB, SAM slows down and proceeds
casually. The SHOPPERS go about their programmed business
paying no attention to the paperwork swirling about them.
Searching the CROWD, SAM spots TUTTLE making his way
towards him. TUTTLE is having a bit of trouble walking
against the steadily increasing wind. As he proceeds
across an open area a blown piece of paper. catches on his
foot. He tries shaking it off.
It remains firmly stuck. While he is struggling with the
piece of paper another, larger piece catches his other
leg. He begins to lose his temper trying to dislodge the
flying debris. Another hits him and twists around his arm.
Still more paper blows against him. He is having
difficulty staying upright. Twisting this way and that he
tries to free himself, but more and more paper covers him.
He is practically obscured from view. SAM can't believe
what he is seeing. SHOPPERS continue about their business,
apparently unaware of TUTTLE'S terrible plight. Apart from
ONE SHOPPER who loses control of her shopping trolley -
and watches it career down the steps of the shopping
precinct. By now TUTTLE is totally encased in this cocoon
of litter. He is now just a ball of paper writhing about
on the ground. SAM has to do something. He rushes out from
his hiding place and tries to pull the litter off TUTTLE.
The pieces come loose with surprising ease. The wind
carries them away as SAM frantically tears at the pile.
But there is no sign of TUTTLE. Nothing. The last few
pieces of paper flutter away leaving SAM standing there
with a couple of posters in his hands. He realises that he
is suddenly very visible. All the shopping bustle has
stopped. They are all staring at him. SAM spots TROOPS
shouldering their way towards him. He turns tail and
dashes off.
140 INT. MOTHER'S FLAT NIGHT 140
The drawing room door burst open as SAM dashes in. SAM
goes straight through and into the bedroom. The room is
empty of all terrestrial human life forms. A hollow wind
blows the curtains.
141 INT. MOTHER'S BEDROOM NIGHT 141
The room is in chaos (and there is a hole in the ceiling).
SAM turns and sees a silhouette in the doorway. He rushes
forwards.
142 INT. MOTHER'S FRONT DOOR NIGHT 142
But it's MATTHEWS the porter who is at the door watching
SAM running towards him.
MATTHEWS
(piously)
A sad loss. Your mother was with her
at the end. The doctor said there was
no pain.
SAM grabs MATTHEWS round the neck and shakes him.
SAM
Where is she?
143 EXT A CORNER NIGHT 143
SAM comes running around corner. He is suddenly bathed in
a strange blue light. He halts and looks up. There
opposite him is a large blue neon cross above the entrance
to a chapel of dully modernistic design. Holy music from
an electric organ can be heard. SAM rushes up the stops
and through the door.
144 INT. CHAPEL OF OUR LADY OF THE CHECK-OUT COUNTER NIGHT 144
CUT to SAM slipping into the chapel (in tight spot) and
suddenly being confronted by SPIRO the Maitre D.
SPIRO
Ah, yes, Mr Lowry. It's so good you
could make it. Right this way.
SAM, dumbfounded, follows.
CUT to SAM being lead into the middle of the cold, modern
chapel which, possibly for the occasion, has been tarted
up with some red velvet curtains that help make it a bit
theatrical. A large flower-smothered coffin rests on some
sort of raised stand in front of the altar, a VICAR stands
in the pulpit, and a fair sprinkling of PEOPLE sit in
stepped seats on three sides of the room.
The coffin is closed, but a length of bandage has escaped
the lid. Standing amidst the floral tributes is a large,
rather idealized, colour portrait of MRS TERRAIN looking
not so much young as beautiful. Among the MOURNERS are DRS
JAFFE and CHAPMAN and others in their operating gowns.
To enlarge on the scene, we see SHIRLEY T snuffling in her
hanky and a few others chatting amongst themselves, the
VICAR standing in his pulpit waiting to get on with it,
etc. CUT to SAM trying to take all this in, stopping in
the middle of the room. Don't forget DR CHAPMAN sobbing.
SPIRO
(stopping and looking back
at Sam)
Mrs Lowry? Mrs Lowry is ...
In the background the VICAR begins speaking, and we hear
his voice throughout the following action. CUT TO SAM'S
POV ....
VICAR (in background)
At these times of giving and
receiving let's remember the greatest
gift of all: not a gift to be
spurned, not a gift to be opened and
carelessly set on one side, not a
gift to be taken back and changed,
but the gift of eternal life. Mrs
Terrain has just received that most
wonderful of all gifts. She came to
us physically new, she goes hence
from us not so physically new. But
the spirit never grows old. And in
the domain of the Eternal Giver, Mrs
Terrain shall dwell in bountiful joy
forever.
..... (CUT to SAM's POV) ... past SPIRO to a section in
the bleachers directly across from the coffin and the
VICAR where a WOMAN (her back to SAM) is surrounded by a
buzzing flock of very handsome and well-dressed YOUNG MEN.
SAM
(trying to take in scene)
what? ... Oh ...
(starts to follow Spiro)
SPIRO
(coming up to back of
woman)
Madam ...
CUT to WOMAN turning, half in flirtatious conversation. It
is SAM's MOTHER, but miraculously another twenty years
younger and ... a parody of SAM's Dream Girl.
MOTHER
Sam!!!
(uncertainty in her
expression)
SAM
(staring dumbly, not
knowing what to say)
Mother? ... What ... what's ...
you've got to help me ...
MOTHER
(embarrassed, unsure)
Not now ... please
YOUNG GALLANT
(belligerently)
Ida, is this fellow bothering you?
(getting up)
I'll -
But before we can find out what he'll:
SFX:
TERRIFIC CRASH.
CUT to entrance to Chapel as a squad of TROOPS come
crashing in. PEOPLE begin to scatter, screaming. The
TROOPS spot SAM who dashes away from his MOTHER and heads
for a door behind the altar. In his panic he crashes
against the coffin which topples over spilling its
contents ... a hundredweight of offal. SAM covers his
mouth and dashes through the door.
145 EXT. MAZE-LIKE DARK PASSAGES NIGHT 145
CUT to SAM, really dashing madly, tripping over things,
hurting himself, getting up running.
He is in a maze of machinery. Every way he turns his path
seems blocked by either TROOPS or FIGURES from his dreams.
The walls of the maze become more simplified as he goes
deeper into it. More rectangular, higher. We see a top
shot of the maze with SAM separate from the pursuing
FORCES but they are closing in on him from all sides. The
maze extends as far as we can see. SAM turns left and
right through it, always there is a chance of turnings.
Until ... he rounds a corner and for the first time there
is nowhere to go. The maze leads straight ahead to a dead
end.
At the end of the maze is a great pile of detritus from
the consumer society. Televisions, washing machines, hair
dryers, junk. SAM can do nothing but try to dig through
this pile.
Maybe he can defend himself with something here. He
scrabbles away. Looking back he sees the massed AGENTS,
TROOPS, FORCES OF DARKNESS heading toward him. No escape.
He digs, harder, faster. Junk flies everywhere. He
actually reaches the end wall. Back to it, he turns to
face the foe. But as he moves against the wall his hand
touches something. A door knob. He turns. It's a door. The
knob turns easily. The door swings open. SAM dives through
it.
146 INT. HABITATION UNIT NIGHT 146
SAM finds himself in a strange little house empty of
furniture except a few fitted cupboards and a fitted bed
frame. He tries to lock the door behind him but there is
no key. He puts his weight against the door to keep it
shut. From outside there is the general noise of pursuit
but this fades and resolves itself into a fairly quiet
uniform engine-sound. SAM lets go of the door carefully.
He looks around but there is only one window and it is
shuttered. He carefully opens the door a crack and he sees-
SAM'S POV: A rapidly receding street.
147 EXT. CITY NIGHT 147
JILL's truck, with the house on its back, is driving
dangerously through he streets. It lurches round the
corner.
148 INT. HABITATION UNIT NIGHT 148
- The lurch throws SAM to one side. He picks himself up,
and, fighting the centrifugal force, works his way to the
shuttered window which is at the front end of the house,
in the wall opposite the door. SAM undoes the shutters and
finds himself looking at the rear window of JILL's cab. He
sees the back of the DRIVER's head. The DRIVER is wearing
JILL's cap. He sees the back of the DRIVER's cab. He bangs
on the glass of the cab. The DRIVER raises her head so
that the face is visible to SAM in the driving mirror. He
sees that it is JILL, in a flat cap. She smiles at him.
SAM sobs with relief and love.
149 EXT. THE ROAD NIGHT 149
The lorry, travelling slowly now, approaches then breasts
the rise beyond which lies ... looking more than ever ...
JILL'S VALLEY. We ZOOM towards it through a MIX ...
150 INT. TRAVELLING LORRY NIGHT 150
Through the windscreen we see the dawn coming up ahead.
The reverse shot shows us JILL driving and SAM next to
her. They glance at each other.
151 EXT. SMALL ROAD EARLY MORNING 151
The lorry, travelling slowly now, approaches and then
breasts the rise beyond which lies ... A STUNNINGLY
BEAUTIFUL UNTOUCHED VALLEY. We ZOOM towards it through a
MIX ...
152 EXT. BEAUTIFUL VALLEY DAY 152
Half hidden in the heart of the valley is the truck with
the house on its back. Creepers and wild roses have grown
up over the truck and some of the house. A curl of smoke
rises from a makeshift chimney which has been attached to
one of the walls. A small piece of ground around the truck
has been cleared and made into a pretty garden with a
vegetable plat. There is also a pretty cow, and some
chickens. JILL appears locking like CRUSOE carrying a
basket of eggs.
153 INT. HOUSE MORNING 153
SAM is in the bed, just waking up. He opens his eyes,
locking calm. Off screen we hear the door opening.
JILL (off screen)
Morning. Sleep well?
SAM nods his head slightly, on the pillow.
SAM
(quietly)
I don't dream anymore.
(he embraces her)
154 EXT. HOUSE AND GARDEN MORNING 154
A high shot. Everything in the garden is definitely
lovely. The music tells us. The music swells and the
camera slowly pulls back, and back. It's a happy ending.
And then, in the foreground, TWO HUGE HEADS appear looking
straight at the camera. It is MR HELPMANN and JACK. They
both shake their heads.
MR HELPMANN
He's got away from us, Jack.
CUT to their POV.
155 INT. INFORMATION RETRIEVAL ROOM DAY 155
Sam is sitting in the IR chair. He is strapped in. His
eyes are open but miles away. His face is wreathed in a
benign and very happy smile.
JACK
I'm afraid you're right, Mr.
Helpmann. He's gone.
A wide shot of the room shows us HELPMANN and LINT turn
away and leave. SAM is left alone. He is humming.. The
camera pulls back and back. The Information Retrieval room
with SAM in it floats away into the most beautiful
glorious sky ever.
SAM's humming into a full orchestra, and we hear ......
"Brazil, where hearts were entertained in June,
We stood beneath an amber moon,
And softly murmured 'Some day soon'
We kissed and clung together,
Then, tomorrow was another day.
The morning found me miles away,
With still a million things to say,
Now, when twilight beams the sky above,
Recalling thrills of our love,
There's one thing I'm certain of,
Return, I will,
To old Brazil."
THE END