BRAZIL
Screenplay by
Terry Gilliam, Tom Stoppard & Charles McKeown
Final Draft
Copyright (C) October 1983
EXT. CITYSCAPE - SUNSET
A beautiful golden sun is setting. The sky is on fire. The
CAMERA starts to move downwards. A large neon sign rises
into shot. It rests on top of a skyscraper and fills the
frame. The building is neither past nor future in design
but a bit of both.
Slowly we pan downwards revealing the city that spreads
below... A glittering conglomeration of elevated transport
tubes, smaller square buildings which are merely huge,
with, here and there, the comparatively minuscule relics
of previous ages of architecture, pavement level awnings
suggesting restaurants and shops... Transparent tubes carry
whizzing transport cages past us... an elevated highway
carrying traffic composed primarily of large transport
lorries passes through frame. As we descend, the sunlight
is blocked out and street lights & neon signs take over as
illumination. Eventually we reach the upper levels of a
plush shopping precinct.
INT. SHOPPING PRECINCT - NIGHT
Xmas decorations are everywhere. PEOPLE are busy buying,
ogling, discussing, choosing wisely from the goodies on
display. SHOPPERS are going by laden with superbly packaged
goods... the shop windows are full of elaborately boxed
and be-ribboned who-knows-what. In one window is a bank of
TV sets on the great majority of the screens is the face
of Mr. Helpmann the Deputy Minister of Information. He is
being interviewed. No-one bothers to listen to Helpmann.
INTERVIEWER
Deputy minister, what do you believe
is behind this recent increase in
terrorist bombings?
HELPMANN
Bad sportsmanship. A ruthless
minority of people seems to have
forgotten certain good old fashioned
virtues. They just can't stand
seeing the other fellow win. If
these people would just play the
game, instead of standing on the
touch line heckling
INTERVIEWER
In fact, killing people
HELPMANN
In fact, killing people they'd
get a lot more out of life.
We PULL AWAY from the shop to concentrate on the shoppers.
Helpmann's voice carries over the rest of the scene.
INTERVIEWER
Mr. Helpmann, what would you say
to those critics who maintain that
the Ministry Of Information has
become too large and unwieldy... ?
HELPMANN
David... in a free society
information is the name of the
game. You can't win the game if
you're a man short.
Fur bedecked shoppers pass in front of what appears to be
banks of snow but as we pan along with them the "snow"
turns out to be fire-fighting foam. It oozes out of a shop
front that is a charred twisted mass of metal frames.
WORKMEN are busily sealing the opening with plywood sheets,
SHOPPERS pay no attention to this. Xmas carols are being
played by a Salvation Army style band calling themselves
Consumers For Christ. Santa Claus's grotto is busy, all is
well with the world.
INTERVIEWER
And the cost of it all, Deputy
Minister? Seven percent of the
gross national produce...
HELPMANN
I understand this concern on behalf
of the tax-payers. People want
value for money and a cost-effective
service.
INT. OFFICE - NIGHT
CUT TO TV screen with Helpmann still talking.
HELPMANN
That is why we always insist on
the principle of Information
Retrieval Charges. These terrorists
are not pulling their weight, and
it's absolutely right and fair
that those found guilty should pay
for their periods of detention and
the Information Retrieval Procedures
used in their interrogation.
PULL BACK to reveal a rather clinical office. The TV rests
on a desk. A WHITE COATED TECHNICIAN is sorting out his in-
tray. Several Christmas cards are amongst he paperwork. He
comes upon a Christmassy package which he rips open, to
discover a shiny, metal "executive toy".
CUT TO:
THE BEETLE
Droning up near the ceiling.
The Technician is disturbed by the buzz of the BEETLE as
it whirrs around the fluorescent light. He rolls up some
paper and forms and gets up to swat the insect.
INT. OFFICE - NIGHT
The Technician gets up and balances a chair on top of his
desk. He climbs up onto it attempting to swat the Beetle
still buzzing about the room just out of reach. Beneath
him an automatic type-writing machine rattles away compiling
a typed list of names under the heading "Information
Retrieval, Subjects For Detention & Interview". The machine
is being fed from a spool of paper which is being
rhythmically chopped by an automatic guillotine which neatly
leaves each name on a separate sheet, with the title above
each name, each sheet following its predecessor into a
holding basket. In CLOSEUP we see the names on the sheets
of paper building up in the holding basket: "TONSTED,
Simon... TOPPER, Martin F... TROLLOPE, Benjamin G... TURB,
William K... TURNER, John D..." Every name begins with T.
INTERVIEWER
Do you think that the government
is winning the battle against
terrorists?
HELPMANN
On yes. Our morale is much higher
than theirs, we're fielding all
their strokes, running a lot of
them out, and pretty consistently
knocking them for six. I'd say
they're nearly out of the game.
The Technician is tottering on one leg on the chair on the
desk as he strains to swat the Beetle. Swish, swash, oops,
WHAP! Gottcha!!
INTERVIEWER
But the bombing campaign is now in
its thirteenth year...
HELPMANN
Beginner's luck.
The Beetle's career comes to a halt... squashed flat on
the brilliantly clean ceiling... or has it? As the
Technician clambers down from the rickety heights, the
Beetle's carcass comes unstuck from the ceiling and drops
silently into the typewriting machine which hiccoughs,
hesitates and then types the letter "B" and hesitates and
then continues so that the next name is Buttle, Archibald.
The Technician fails to notice this and the machine
continues smoothly "TUTWOOD, Thomas T... TUZCZLOW, Peter..."
INTERVIEWER
Thank you very much, Deputy
Minister.
HELPMANN
Thank you, David... and a very
merry Christmas to you all.
EXT. HOUSING TOWERS - NIGHT
ZOOMING past foreground outdoor Xmas decorations we TIGHTEN
in on one of several massive residential tower blocks that
loom over what appears to be a poorer part of the city
INT. BUTTLE FLAT - NIGHT
Helpmann and Interviewer are on the TV, the end credits
rolling over them to the beat of a Mozart theme tune.
PULLING BACK we reveal that the TV is in a conventional
sitting room, conventionally decorated for Christmas; out
the room is oddly encumbered by huge metal conduits that
snake unpleasantly across and through the walls. Smaller
conduits radiate from the main one connecting the various
services that Central Services (the name emblazoned on the
metal) supply to this household. A conventionally poor but
proud family occupies the room. MRS. BUTTLE is reading
Dickens' Christmas Carol to GIRL BUTTLE who is about six.
BOY BUTTLE plays quietly with a toy machine gun and some
action men dressed in security gear. MR. BUTTLE is putting
the final touches to a neatly wrapped Christmas present
which looks identical to the "executive toy" we have just
seen in he Technician's office.
Faintly from outside comes a burst of laughter. A tilt of
the CAMERA indicates that the laughter is coming from the
floor above.
INT. JILL'S FLAT - NIGHT
The flat is very bare and basic. The laughter is coming
from a cheap portable television showing "Sgt. Bilko. From
BILKO'S POV we look through an open door of a bathroom
straight at a mirror propped up by the bath, to enable the
person in the bath to watch the TV. The person in the bath
is JILL LAYTON, washing the grime off herself while she
watches Bilko in the mirror. From her POV in the mirror,
the TV screen is suddenly obscured by part of the body of
a MAN in uniform.
JILL
(scared)
Who's there?
INT. BUTTLE'S FLAT - NIGHT
The Buttle Family as before. Mrs. Buttle is closing the
book.
MRS. BUTTLE
There, that's enough for tonight.
He won't come Xmas Eve if you don't
get plenty of sleep.
GIRL BUTTLE
Father Christmas can't come if we
haven't got a chimney.
MRS. BUTTLE
You'll see.
The Girl exchanges goodnight kisses with her parents and
leaves the room.
GIRL BUTTLE
How will he get down from upstairs?
BOY BUTTLE
It's a secret.
We follow Girl Buttle out of the sitting room into...
INT. HALLWAY AND CHILDREN'S BEDROOM - NIGHT
Girl Buttle enters her bedroom. There is little or no light
there, and she sees a bulky figure apparently lowering
himself into the room from the direction of the ceiling.
GIRL BUTTLE
(unalarmed)
You've come...
As she moves, the light from the hallway shows us the figure
of what looks like a commando on a night raid, slowly
sliding down a pole in he middle of the room. The pole at
the top end disappears through a hole in the ceiling. Things
become immediately clearer
INT. BUTTLE SITTING-ROOM - NIGHT
Crash! It's a raid! Battle-dressed SECURITY TROOPS smash
trough the door. Another one, swings from a rope, kicks in
the window from the outside and enters that way. Most
alarmingly of all, a shower of plaster comes down from the
ceiling in which a fairly neat round hole appears and
through the hole comes a fireman's pole down which slide
TWO MORE SECURITY TROOPS. The whole thing is short, brutal
and violent.
Buttle is grabbed violently and stuffed into a baglike
canvas device that covers him from head to waist. A metal
clamp goes round his neck, a metal bar slides up the back
of the bag. His hands are handcuffed to the metal bar. In
seconds he has become a canvas parcel. Meanwhile, Girl
Buttle has been carried out of her bedroom and dumped into
the lap of her screaming mother. Boy Buttle has his toy
machine gun knocked out of his hands by a Trooper who we
see is identical in dress to the action men Boy Buttle has
been playing with. He rushes to his mother as guns are
viciously trained on them. Troops are kicking open the
doors of other rooms and generally doing a good job. An
OFFICIAL, wearing plain clothes, now enters from the front
door and during the turmoil is reading aloud from an
official document. It goes something like this:
OFFICIAL
I hereby inform you under powers
entrusted to me under Section 47,
Paragraph 7 of Council Order Number
438476, that Mr. Buttle, Archibald,
residing at 412 North Tower, Shangri
La Towers, has been invited to
assist the Ministry of Information
with certain enquiries, the nature
of which may be ascertained on
completion of application form
BZ/ST/486/C fourteen days within
this date, and that he is liable
to certain obligations as specified
in Council Order 173497, including
financial restitutions which may
or may not be incurred if
Information Retrieval procedures
beyond those incorporated in Article
7 subsections 8, 10 & 32 are
required to elicit information
leading to permanent arrest
notification of which will he served
with the time period of 5 working
days as stipulated by law. In that
instance the detainee will be
debited without further notice
through central banking procedures
without prejudice until and unless
at such a time when re-imbursement
procedures may be instituted by
you or third parties on completion
of a re-imbursement form
RB/CZ/907/X...
... and more of the same, most of which is part of the
audible wall paper while the chaos reigns. As the front
door slams behind the captive relative peace returns, broken
by Mrs. Buttle's anguished sobbing.
OFFICIAL
(proffering a pen
and a thick book
of pink receipts
to Mrs. Buttle)
Sign here please.
MRS. BUTTLE
(dazed; she signs
weakly)
What? Where have you taken him?
OFFICIAL
(taking the book)
Thank you.
(he hands her another
book, this one of
blue receipts)
(indicating place
to sign)
Same again please. Just there.
(checking first
book of receipts)
Press harder his time. Good.
MRS. BUTTLE
(signing again)
What is this all about?
OFFICIAL
(tearing out sheet
from pink book)
That's your receipt for your
husband.
(taking blue book
from her)
Thank you. And this is my receipt
for your receipt.
(he turns to leave
along with troopers)
Jill's shocked face appears looking down through the hole
in the ceiling. The faces of the workmen BILL and CHARLIE
also appear, above and behind her.
JILL
Mrs. Buttle, are you alright?
The helmeted Security Troops in Buttle's flat drop to
defensive positions and swing their machine guns up towards
the hole in the ceiling. All three faces retreat.
INT. JILL'S FLAT - NIGHT
CHARLIE
(starting back from
the hole with Bill
and Jill)
Eh! Eh! Eh! We're Department of
Works! Department of Works up here!
Careful with those bloody things!
Jill, Charlie and Bill are hustled aside by a SECURITY MAN
who clears the fireman's pole from the hole. We can see
the Troops in the room below leaving. A SECOND SECURITY
MAN has untied a rope hanging out of the open window. He
coils the rope up neatly and the two Security Men leave
the flat.
BILL
(to Jill as they
watch this highly
efficient operation)
Don't take any notice, love, it's
their training makes them like
animals. Best in the world, though.
JILL
Who are you?
CHARLIE
Don't you worry love, we'll have
everything shipshape in a jiffy.
BILL
That's it. Nothing to worry about.
CHARLIE
It's Buttle downstairs who can
worry, eh?
JILL
There must be some mistake... Mr.
Buttle's harmless...
BILL
We don't make mistakes.
So saying, he drops the manhole cover, which is faced with
same material as the floor, over the hole in the floor. To
his surprise it drops neatly through the floor into the
flat below.
CHARLIE
Bloody typical, they've gone back
to metric without telling us
INT. BUTTLES' FLAT - NIGHT
Mrs. Buttle stands stunned in the middle of her decimated
flat. The kids wail. Slowly Mrs. Buttle collapses slumping
to the floor with the receipt in her hand: we tighten into
CLOSEUP of "Receipt".
JILL (O.S.)
Mrs. Buttle? Mrs. Buttle?
INT. RECORD CLERK'S POOL - DAY
We come in on a CLOSE-UP of a pink version of the RECEIPT
being stamped and impaled on desk spike as we PULL OUT to
reveal an infinite expanse of regularly arranged metal
desks, each desk with a built-in TV console, and each
(except one) occupied by a CLERK. Every desk is snowed
under with pieces of paper much like the receipts seen in
the previous scene. More pacers are delivered to each desk
intermittently by way of pneumatic tube. OFFICE BOYS bustle
about with even more paperwork. From the back of the room
we get a view of the screens which show graphs, tabulations,
figures... All of this activity is supervised from an
elevated walkway by MR. KURTZMAN. Satisfied that all is
well with his clerks he turns and walks towards his glass
enclosed private office at the top of the room, his name
lettered on the opaque glass door. Mr. Kurtzman goes through
this door and as he closes it behind him, all activity in
the Clerks pool ceases. each Clerk adjusts his TV screen
with the flick of a switch, and all the screens change to
something which looks very like "The Good, The Bad And The
Ugly".
INT. MR. KURTZMAN'S OFFICE - DAY
Mr. Kurtzman also has a TV console. He sits behind his
desk, reaches for his In-tray, and without looking at the
console he turns his screen on. He looks through a number
of files in his In-tray. He is surprised to hear a VOICE
say, "Turn around real slow, amigo". Mr. Kurtzman turns
around real slow, his expression relaxes, he thumps his TV
console with a large fist, and the screen obediently flicks
to a display of figures. He picks up a file which we see
as marked "Buttle, Archibald". He opens the file and starts
punching the keyboard of the console. The TV starts bleeping
in an alarmed way. Mr. Kurtzman is puzzled. He punches
more figures. The screen starts to flash "Error, error,
error". Mr. Kurtzman sighs with frustration. He presses an
intercom.
MR. KURTZMAN
(into intercom)
Mr. Lowry, will you step in here
please?
He returns his attention, puzzled to the file. Nobody comes
into the office. Mr. Kurtzman gets up and walks over to
his door and opens it. Beyond the door the room full of
CLERKS is obediently concentrating on the bleeping and
whirring consoles. From Mr. Kurtzman's POV we see that in
the centre of the room is an unoccupied desk.
MR. KURTZMAN
Does anyone know where Lowry is?
Nobody knows. Mr. Kurtzman closes his door again. A moment
later it seems to him, and to us, that he has heard the
crash of six guns blazing away at each other. He re-opens
the door. The only sound again. He goes back to his desk.
He punches a few keys. The machine starts emitting even
more alarming beeps, then horse whinnies, then "Admit you're
whupped, you drygulching scum". Kurtzman explodes with
anger, and presses the intercom again.
MR. KURTZMAN
(shouting into
intercom)
Where the hell is Sam Lowry?!
EXT. SKY - DAY
CUT TO brilliantly clear sky. From on high an odd bird-
like figure swoops down on the CAMERA. As it comes closer
we can see that it is, in fact, a MAN wearing strange wood
and metal bird wings. In the bright sunshine their flapping
movements create a brilliant, flashing effect. Along with
the wings, SAM LOWRY (for this is he) wears an outfit that
combines the best of Flash Gordon and a WWI fighter pilot.
He sweeps past the CAMERA and then, banking, rises BACK
INTO SHOT IN MEDIUM CLOSEUP. An ethereal voice can be heard
calling "Sam... Sam... Sam". He hovers, looking beyond the
CAMERA to something wonderful. CUT TO face of stunningly
beautiful GIRL, she is the idealised twin of Jill Layton...
Her long hair swirls across her face partially obscuring
it and making her appear slightly mysterious. The CAMERA
PULLS AWAY from her as soft billowing material sinuously
undulates about her. It rises and falls like waves carried
on the wind. As the CAMERA GLIDES BACK through this sea of
gossamer we can see that the Girl is being held aloft by
and in it. A vast landscape stretches below her. The sun
frames her in the sky. She and Sam are engaged in a
beautiful sensual aerial ballet.
Romantic music fills the soundtrack.
Sam swoops up and away. The Girl floats in the distance as
Sam. rises in the foreground. She beckons to him. Sam begins
to flap back towards her. But then the dreamy quality of
this scene is interrupted by threatening rumble. Sam looks
down.
The ground far below him suddenly erupts as a massive,
monolithic stone skyscraper bursts through the surface and
soars upwards with a mighty rush.
CUT TO THE GIRL IN LONG SHOT. The monolith rises up into
FRAME partially cutting her off from view.
Before Sam can do anything, another stone skyscraper breaks
through the ground and rushes upwards. Then another and
another. There is nothing Sam can do. The Girl is being
cut of from him by these gigantic faceless structures. And
then she is finally lost from view somewhere in the depths
of this strange stone metropolis. Sam lies closer. The
stone skyscrapers appear to be solid. No windows. No doors.
Nothing whatsoever to interfere with their clean, harsh,
rectilinear design. As he flies among these towering blocks
he sees no sign of the Girl, only sheer walls rising high
above him. Below him the walls plummet vertiginously into
the darkish streets. No sound but the creaking flapping of
his wings can he heard in this dead place. Coming round a
corner he sees something in the distance. far below him a
dark procession is wending its way through the narrow
passages... away from him.
CUT TO:
LOW ANGLE SHOT
Of the procession making its way past the CAMERA. Black-
robed and cowled, the sinister figures look like heavily
armed monks. These are the FORCES OF DARKNESS. Together
they are straining at several heavy hawsers that rise in
long arcs up to a huge metal cage floating above and behind
the procession. Binding the cage are metal straps to which
ropes are attached. Inside is the Girl still enveloped in
gossamer which billows as if there were a breeze in constant
attendance.
CUT TO:
SAM
As he dives out of shot.
CUT TO:
THE FORCES OF DARKNESS
Suddenly stopping in their tracks. They've seen something.
CUT TO:
THEIR POV
There at the end of the passage between two stone
skyscrapers stands Sam... barring the way.
CUT TO:
SWORDS BEING UNSHEATHED
Cowls being thrown back. Underneath are rotting, broken
dolls' faces. All the faces are the same except for the
manner in which they have decayed. They smile slobbering,
sickeningly. Suddenly the robed bodies change shape some
rising up to become long, others expanding sideways to
become bulbous, others shrinking. From the folds of cloth
come evil weapons. The Forces are massed ready to charge.
CUT TO LONG SHOT of Sam. He removes his arms from his wings
and folds the wings behind him. He is ready.
CUT TO:
THE FORCES
Nothing moves... except for the
constant dribble from their cracked
mouths.
CUT BACK TO SAM
Stillness. The tension is unbearable. Suddenly Sam unleashes
a terrifying scream and charges the fearsome horde. Unarmed!
CUT TO:
THE FORCES
Thundering down to Sam. Weapons
flailing madly.
Sam skillfully dodges the swordthrust of the leading field,
and karate chops him senseless at the same time catching
his sword as he falls. Spinning around he parries a
spearthrust and skewers a third attacker. Slash! Hack!
Stab! He lays waste to the Forces. Nothing can stop this
boy. The pile of black-robed bodies grows with each swing
of Sam's sword. Wham! Bam! Smash! Sam carves his way through
the mob with nary a scratch. And then, suddenly, they are
all dead, but a heap of blackness to commemorate Sam's
prowess. The Girl is beaming as Sam makes his way toward
the hawsers holding the cage. But then a noise behind him
makes him turn. There, behind him the pile of black shapes
begin to rise. The ropes become a mass of flapping black
cloth. This evil churning cloud coalesces and lifts off
the ground. The horrible flapping apparition emits a
terrifying maniacal laughter as it flies away. Sam is about
to rush after it to halt its escape but is stopped by the
sound of a telephone ringing. He looks around confused.
INT. SAM'S BEDROOM - MORNING
TIGHT SHOT of telephone. The ringing continues. A hand
grapples with the receiver. Sam is in bed in a darkened
room. Sleepily he drags receiver to his ear.
SAM
Hello... What... what? Oh... Mr.
Kurtzman!... You're up late. Oh,
is it?
There is an electronic box of tricks by his bed,
incorporating an alarm. Sam thumps it. The alarm goes off.
This sets of a series of other things... The window shutters
roll up letting in the morning light. Both taps turn on in
the bathroom...
SAM
(into phone)
The electronics here are up the
spout. Yours too, sir? Don't worry
sir I'll be there.
Sam puts down the phone and gets into his suit which is
moving towards him. Noticing one of his film posters is
loose he pushes the pin in firmly.
In the kitchen a coffee maker starts up. In the sitting
room the television switches on. Back in the bedroom a
cupboard door springs open and a rack slides out with Sam's
clothes neatly hanging ready to be put on. Sam comes out
of the bathroom, having turned off the bath taps, and starts
to get dressed. In the kitchen the coffee- maker has
finished making s small pot of coffee. Sam pours a quick
cup and is gone at the door. Throughout all this we have
had a chance to get a glimpse of Sam's flat. It is
functional, soulless and, though neat, has not been
assembled with a loving hand. Most of the furnishings are
built in. The walls are divided into two-foot square metal
panels painted a non-committal colour. Certain of the wall
panels have Central Services logos on them with the
admonition "Do not obstruct or remove" below. Sam has
livened his bedroom up with large and colorful film posters.
The sitting room sports several framed pictures of wide
beautiful vistas.
INT. MINISTRY OF INFORMATION LOBBY - DAY
This is a gigantic, vaguely 30's monumental-style building.
The lobby is a vast impressive space containing reception
desks, fountains, statues etc. Prominent are the security
measures, which include automatic mobile cameras, video
screens and groups of SECURITY MEN who search all who enter.
Sam is finishing going through Security when he meets JACK
who is on his way out of the building.
JACK
Sam!
SAM
Jack!
JACK
Long time no see!
SAM
Well, since you disappeared up the
ladder of Information Retrieval...
I don't expect to see you slumming
in Records what's the problem?
JACK
Problem? No problem. Yes,
everything's going fantastically
well, wonderful, marvelous, great
career prospects, Alison in great
shape, kids fine, beautiful home,
I'm on Security Level Five now,
and Mr. Helpmann relies on me more
and more, yes, couldn't be better,
I feel terrifically motivated and
job- rewarded
SAM
You sound worried.
JACK
Me? if I'm worried about anyone,
it's you. What happened to you,
Sam? You were the brightest of us.
As they have been talking, a nearby bank of closed circuit
TV screens has been displaying shots of people entering
the lobby. As each one enters the CAMERA ZOOMS IN TIGHT on
their faces for a frozen CLOSEUP. Jill has just entered
and the CAMERA ZOOMS IN and freezes on her face. Sam happens
to glance up at this moment. He is startled the over-
exposed TV image is the face of the GIRL FROM THE DREAM.
The face is only there a few seconds before being replaced
by another picture. Sam looks about to see where the Girl
is, but Jill, in overalls, has her back to him as she stands
in the queue for the Information desk and so there is no-
one even vaguely reminiscent of the Dream Girl. Sam decides
he must have imagined it. Over this Jack has been talking.
JACK
What's the matter?
SAM
Sorry. Nothing.
(snapping out of it)
See you I'm going to be late.
JACK
(looking at his
watch)
You are late.
SAM
Even later.
JACK
Sam, your life is going wrong let
your friends tell you Records is
a dead end department, no Security
Level worth a damn, it's impossible
to get noticed
SAM
Yes, I know, fantastic, marvellous,
wonderful remember me to Alison
and the er.. Twins.
JACK
Triplets.
SAM
Really? God, how time flies!
As Sam heads off to the lift, he passes a group of MEN
standing around a temporary TV monitor. Several of them
are dressed in white lab coats. They are being explained
the benefits of a new surveillance system by a salesman
type. His assistant is operating the controls. On the
monitor we can see Jill standing in the queue for the
Information desk. The CAMERA appears to he tracking in on
her.
CUT TO:
JILL
At top of queue with several forms in her hand. A strange
prototype radio controlled camera on a wheeled base is
whirring and clicking as it approaches her. Throughout the
next sequence it pokes around Jill in an annoying manner
thrusting itself at her face, trying to see what is written
on the forms, peering over her shoulder. Jill hands a form
to the Information Porter.
JILL
I want to report a wrongful arrest.
PORTER
(looking at form)
You want Information Adjustments.
Different department.
JILL
(exasperated but
controlled)
I've been to Information
Adjustments. They sent me here.
They told me you had a form I had
to fill in.
PORTER
Have you got an Arrest Receipt?
JILL
Yes.
PORTER
Is it stamped?
JILL
(producing Buttle
receipt)
Stamped?
PORTER
(examining receipt)
No, there's no stamp on it. You
see! I can't give you the form
until it's stamped.
JILL
Where do I get it stamped?
PORTER
Information Adjustments.
The radio-controlled camera noses right up to Jill's face
as she turns. She swats the annoying thing with her stack
of forms as she storms off. The camera overbalances and
crashes into the desk sparking and spluttering.
CUTTING BACK TO THE GROUP AROUND THE MONITOR
We see a deeply hurt SALESMAN and several sceptical white-
coated TECHNICIANS.
INT. MR. KURTZMAN'S OFFICE - DAY
Sam is busily working at the console, unraveling a problem
while Kurtzman looks on anxiously and ineffectually.
KURTZMAN
Perhaps the machine's on the blink!
It keeps picking up old films.
That can't he right, can it?
SAM
It's not the machine. There's a
mismatch on the personnel code
numbers... Ah there we go! That's
a B58/732 when it should be a
T47/215... Tuttle... he should
have £31.06, debited against his
account for electrical procedures,
not Buttle.
KURTZMAN
Oh my God, a mistake!
SAM
It's not our mistake!
KURTZMAN
(eagerly)
Isn't it? Whose is it?
SAM
Information Retrieval.
KURTZMAN
Oh, good!
SAM
Expediting has put in for electrical
procedures in respect of Buttle,
Archibald, shoe repair operative,
but Security has invoiced Admin
for Tuttle, Archibald, heating
engineer.
Sam is still punching keys.
KURTZMAN
What a relief! I don't know what
I'd do if you ever got promoted.
SAM
Don't worry.
KURTZMAN
But if they did promote you
SAM
I've told you before. I'd turn it
down.
KURTZMAN
Would you really, Sam?
SAM
Really.
KURTZMAN
(churned up)
You've been promoted.
Kurtzman hands Sam a sheet of printed paper. Sam takes the
paper, not pleased, and glances at it.
CLOSE-UP OF PAPER:
"LOWRY, S. (RECORDS. MIN OF INF.) TRANSFER TO INFORMATION
RETRIEVAL (Expediting, Security Level 3)."
KURTZMAN
It's your mother isn't it? Pulling
strings again.
SAM
(explodes)
What a BITCH!
INT. DOCTOR'S OFFICE DAY
CUT TO AN OLD WOMAN'S FACE
Reflected in triplicate in a three-panelled mirror. A pair
of MAN's hands have a grip on her flabby cheeks, pulling
them out several inches on either side of her face. When I
say several inches that's just what I mean. Not only are
her jowls being stretched like silly putty but they are
also being wrapped around to the back of her neck to
demonstrate how tight and smooth her face can be made by
DOCTOR who is prattling on over this freak show.
DOCTOR
Now, when you come in tomorrow,
Mrs. Lowry, we'll make a little
tuck here... and there...
CUT TO:
WIDE SHOT OF DOCTOR'S SURGERY
It looks a bit like a cross between an operating theatre
and a boudoir. The cold steel, glass and plastic surfaces
are badly disguised with pastel coloured chintz and satin.
At the dressing table sits the old woman, SAM'S MOTHER.
Behind her stands the Doctor. He is much like his surgery.
He has tailored his surgical garments like a gigolo's
dressing gown. It seems that he has done a bit of tuck-
taking on himself. There is a certain plastic smoothness
to his skin, but all in all he has been fairly successful.
Sam is pacing around, raving.
SAM
(angrily)
I just wish you would stop
interfering, mother! I don't want
promotion. I'm happy where I am.
MOTHER
No you're not. Jack Lint is a lesson
to you he never had your brains
but he's got the ambition. You
haven't got the ambition but luckily
you've got me. And Mr. Helpmann.
Mr. Helpmann was very close
DOCTOR
Now, Mrs. Lowry, don't get upset
(so Sam)
Please wait in reception, Mr. Lowry,
you're giving her wrinkles.
MOTHER
You see!
Sam groans.
DOCTOR
Now Mrs. Lowry, try to relax. You
must trust me. I'll make you twenty
years younger...
SAM
Huh!
DOCTOR
(giving Sam a dirty
look)
... twenty-five if we just drain
the excess fluid from the pouches...
MOTHER
Dr. Jaffe, you're a genius. Would
you like to be Surgeon General?
Four Star. I know everybody.
DOCTOR
Well they won't know you when I've
finished with you.
The Doctor reaches into his smock pocket for a coloured
marker. He starts colouring up her face with strokes of
different coloured markers.
DOCTOR
First we must eliminate the excess
derma... so!... Then the flaccid
tissues under the eyes... And now
the forehead... Zip! I lift the
wrinkles and worry lines right up
into the wi into the hairline,
comme ca...
Sam looks disgusted.
DOCTOR
And now the template... There...
there... there... Now a bit of
sticky... There we go!
(triumphantly)
Already she is twice as beautiful
as she was before voila!
The Doctor moves his body aside, revealing Mrs. Lowry's
face, covered with coloured lines and wrapped in cellophane
held in shape by cellotape. Sam stares at her.
SAM
My God, it works.
INT. POSH RESTAURANT (ENTRANCE) - DAY
The conversation between Sam and his Mother takes place
while they are going through the sort of security checks
familiar at airports. They are, however, just outside the
velvet rope of the posh restaurant.
MOTHER
(in full flow)
Mr. Helpmann was very close to
your poor father. He was very close
to me. Still is. He'll take you
under his wing at Information
Retrieval. You'll like it when you
get there.
SAM
You're not listening, mother.
A warning buzzer goes off as Mother's handbag goes thru
security check. It turns out to have been activated by a
gaily wrapped package. A SECURITY GUARD relieves her of it
and unwraps the package which contains the same kind of
executive toy which we have seen twice before.
MOTHER
It's a present for my son.
She takes the toy back and hands it to Sam.
MOTHER
I hope you like it. It's very
exclusive.
SAM
What is it?
MOTHER
It's something for executives.
At this point the MAITRE'D arrives on the scene.
MAITRE'D
Madam Lowry, how exquisite to see
you again. Merry Christmas.
He pulls aside he velvet rope with a grand flourish. He
looks disdainfully at Sam's unfashionable clerk's suite
MOTHER
Hello, Spiro. Merry Christmas.
SPIRO
(blocking Sam's way)
I'm sorry but...
MOTHER
You remember Samuel, my son.
SPIRO
(suddenly unctious)
Oh, but of course...
MOTHER
We're meeting Mrs. Terrain.
SAM
Are we?
SPIRO
Ah yes, the lady is waiting.
Spiro leads the way. Sam and his Mother follow, across the
restaurant which is much like the Palm Court at the Plaza
New York. Trellises, marble columns, antique mirroring,
potted palms combine to impress us with their sophistication
and taste. A string quartet can just be made out against
the far wall. Except for the unfortunate intrusion of metal
tubing and ducting brutally thrusting across areas of the
ceiling, occasionally penetrating right through the middle
of a particularly valuable- looking mirror, the general
effect is one of confident wealth and breeding. Sam, Mother
and Maitre'd make their way across the room. The waltzing
strains of the string quartet accompanying them.
CUT TO:
GROUP OF TABLES WITH DINERS
At one of them sits a wealthy-looking OLDER WOMAN with a
rather plain-looking DAUGHTER in her 20s. The Older Woman
is easily distinguished from the other clientele by a large
bandage that covers a goodish part of her head. The two of
them (the Mother and Daughter, not the Mother and bandage)
are perusing the menus. Sam notes the Daughter, unpleased.
SAM
Mother, I thought we were going to
be able to talk... Oh God, she's
got what's he name with her.
Sam and his Mother arrive at the table.
MRS. TERRAIN
Ida! Sam!
MOTHER
Alma, how are you? You're looking
wonderful! Hello, Shirley.
SHIRLEY
(shy to Sam)
Salt?
MRS. TERRAIN
(to Shirley)
Not yet.
(to Sam and Mother)
Happy Christmas, Sam.
She hands Sam a gaily wrapped package which obviously
contains the same executive toy.
MOTHER
Sorry we're late. Shall we order?
Get it out of the way. What are
you going to have Alma?
She starts to hunt through the huge menu the Maitre'd has
just handed her with full colour photos of the splendid
dishes available.
MRS. TERRAIN
I can't make up my mind whether to
have a number one or a number two.
What do you recommend, Spiro?
SPIRO
(conspiratorially)
Between you and me, Madam, today
the number two.
MRS. TERRAIN
Thank you, Spiro. Shirley, what
are you going to have?
SHIRLEY
(panics quietly)
SPIRO
(conspiratorially)
Between you and me, Mademoiselle,
today the number one. Madam Lowry?
MOTHER
Oh, to hell with the diet, a number
eight, please.
SPIRO
A most perceptive choice, Madam,
if I may say so.
(to Sam)
Monsieur?
SAM
(brusquely)
A steak, please. Rare.
(to his mother)
Mother, I need to...
SPIRO
(piqued)
Monsieur. Quel numero.
SAM
(handing back menu)
I don't know which numero.
SPIRO
(writing on pad)
Numero, trois.
Everyone is a bit embarrassed here. Mother gives Sam a
withering look. Spiro stalks away.
MOTHER
(trying to restart
things)
Alma, you wicked thing...
(indicating bandages)
you've started your treatment.
MRS. TERRAIN
You noticed.
(enthusiastically)
I must tell you all about it.
SAM
(to his mother)
Mother, will you listen to At this
moment the food arrives. Spiro
elaborately lifts off the silver
covers and with a flourish
distributes the plates of food.
Each order looks identical a big
splodge of brown lumpy stuff. The
only differences between the lumps
are the Identifying photographs on
sticks stuck in each. The beautiful
colour photos match the photos
which were on the menus.
SPIRO
(showing off that
he remembers who's
ordered what)
Numero huit, braised veal in wine
sauce.
(he sets it in front
of Sam's Mother)
MRS. TERRAIN
It's too exciting. I've left Dr
Jaffe and gone to Dr. Chapman.
SPIRO
Numero deux, duck a l'orange.
(he sets it in front
of Mrs. Terrain)
MOTHER
The acid man?
MRS. TERRAIN
Really, Ida, just because his
techniques are revolutionary... I
don't go around calling Dr. Jaffe
the knife man.
SPIRO
Numero une, crevettes à la
mayonaaise.
(he sets it in front
of Shirley)
MOTHER
I'm sorry Alma, I didn't mean to
sound so...
MRS. TERRAIN
That's all right Ida... it's just
that he's such an artist. To him,
cutting is so crude... so primitive.
SPIRO
Numero trois, steak.
(he sets this in
front of Sam)
Monsieur, Mesdames, Bon appetit.
ALL BUT SAM
Merci.
MRS. TERRAIN
Acid on the other hand, can be
used for such wonderfully subtle
shading, such delicate nuances
just like a Rembrant etching...
and it's so much quicker. Why, if
it weren't for a teensy-weensy
complication the doctor said it
could have happened to anyone I
would have had these bandages off
yesterday.
SHIRLEY
(to Sam, after
attracting her
mother's attention
and receiving a
nod)
Salt?
They are just about to dip into their respective splodges
when there is a terrific explosion a huge hole is blasted
out of the wall to the kitchen. Chaos erupts around the
carnage as WAITERS try putting out the flames with
extinguishers. PEOPLE, bloody and dying, are moaning. The
DINERS not actually affected by the blast look up for a
moment and then, with a few raised eyebrows, go back to
their meals.
IMMEDIATELY AFTER THE EXPLOSION
MOTHER
What were we saying?
SAM
(picking bomb debris
out of his brown
lump)
This isn't rare!
MOTHER
By the way, I saw a wonderful idea
for Christmas presents at the
chemists. Gift tokens. Medical
gift tokens.
MRS. TERRAIN
Oh, that sounds marvellous.
MOTHER
Yes, they're good at any doctor's
and at many of the major hospitals
and they're accepted for
gynecological complications
including Caesarian section.
Sam, in the act of taking in another forkful of his
unappetising meal, drops his form in disgust
SAM
Look please I'm sorry but
honestly, mother, this is MOTHER.
I quite agree! It's impossible!
Mother raises her arm to gain the attention of the Maitre'd
who is frantically trying to deal with the emergency. The
activity in the background has increased throughout the
conversation. The fire-brigade has arrived with sirens
blaring. Ministry TROOPS have charged in and are arresting
WAITERS. Stretchers have been bought in for the injured
and these are being rushed past our little group's table.
The Maitre'd comes to the table, his DJ now blood-spattered.
MAITRE'D
I am sorry, Madam... I don't know
what to say... this very rarely
happens to us I'll do what I can
straight away He hurries away.
MRS. TERRAIN
Really, Sam when are you going to
do something about these terrorists?
SAM
What? Now? It's my lunch hour.
MOTHER
Actually, Alma, that's one of the
little things I was dying to tell
you... Sam's been promoted to
Information Retrieval.
SAM
(angry and surprised)
Mother!
MRS. TERRAIN
Oh that's wonderful! Congratulations
Sam...
SHIRLEY
You can show those fucking murderous
bastards a thing or two.
MRS. TERRAIN
(shocked and
embarrassed)
Shirley!
SAM
Stop this!
(leaping to his
feet)
I'm not being promoted. I'm not
going to Information Retrieval!
(he scrumples
promotion
notification which
he has been holding
and throws it on
the floor)
If I want you to stick your oar
in, mother, I'll tell you where to
stick it!
Everybody is shocked. He recovers his composure slightly.
Embarrassed, he bends, and picks up the ball of paper which
he starts smoothing back into Its flat state.
SHIRLEY
(back to her
uncertain form)
Pepper...?
SAM
Look I've got to get back As Sam
goes, Maitre'd reappears with a
group of WAITERS those remaining
unarrested whom he has organised
to gut up a folding screen around
the table. This cuts of the sight
if not the noise of the victims of
the explosion.
MOTHER
Sam... you haven't had dessert.
SAM
I'm sorry. I don' t want dessert.
I don't want promotion. I don't
want anything.
MOTHER
Don't be childish, Samuel. Of course
you want something. You must have
hopes, wishes, dreams.
Their voices have been rising towards a shout in order to
rise above the volume of the growing chaos around them.
SAM
(shouts loud)
NO, NOTHING. NOT EVEN DREAMS!
EXT. BRILLIANT SKY - DAY
Sam as his dream-self rises INTO SHOT, his wings straining
as he tows the floating cage imprisoning the girl. They
are rising up and away from the monolithic stone skyscrapers
that stretch away below them.
SAM
I'm taking you to a safe place. A
place where they will never be
able to get at us... ever.
An eyeball is scanning the sky. PULLING BACK we see it is
but one of thousands, tightly packed side by side forming
a landscape that extends as far as we can see. As Sam and
the girl in her cage come into view it becomes apparent
just how big these eyeballs are they are gigantic about
10 feet in diameter. All of them follow Sam as he comes to
rest on a platform high atop a column that rises from the
centre of this bizarre place.
SAM
There's no way they can approach
us without being seen. You're safe
here.
He anchors the hawser holding the cage and takes off his
wings. Just as he starts climbing up to the cage a terrific
cracking noise is heard. Sam freezes.
A dead straight crack is bisecting the sky from somewhere
beyond the horizon running right up the sky and over the
camera. Sam follows it as it continues over the Girl and
down to the opposite horizon. Another crackling noise is
heard. Another crack appears. Then another. And another.
All these cracks are emanating from a vanishing point over
the horizon. Soon the sky is covered with these cracks
from horizon to foreground. Then cracks begin appearing at
right angles to them. Very quickly the sky is covered with
a mammoth grid. Once it is complete, another noise is heard.
Something like massive blocks of stone sliding against one
another. One of the squares formed by the grid pattern
begins to slide upwards as if being pulled out from the
back side of the sky. A square hole is left in its place.
We can see the sides of the hole as it extends upwards
into blackness. As soon as this first block of sky is
withdrawn, another begins to slide up and away. Sam is
frozen in position as this terrifying spectacle goes on
above him. The eyeballs are madly looking this way and
that. The grinding noises are deafening as block after
block of sky is removed. With each successive loss the
light decreases. The Girl is crying out for Sam to save
her. Frantically Sam tries to haul the cage down to the
platform but it's too late. Where the sky was is now pitch
black. Only one block of sky remains. Slowly that final
bit of sky is pulled up and out of shot. Total blackness.
A maniacal laughter can be heard. A beam of light is
switched on. Sam has a searchlight in his hand and is
searching the darkness. The laughter continues. Suddenly
the beam catches something black and moving. it's the same
black, flapping cloth that appeared at the end of the
previous dream. The horrible flapping thing comes thundering
down on Sam. He is engulfed in the black awfulness.
INT. SAM'S BEDROOM - NIGHT
Sam is in bed, grappling with the bedclothes. He is dripping
with sweat and screaming. The room is oppressively hot. He
gets up and looks at the thermostat. It reads 99. He fumbles
with it, but to no avail. It's stuck.
CUT TO:
SAM
Coming into the sitting room. He rushes over to the window
and tries to open it. But it wasn't designed to be opened.
Screws hold it firmly shut. Sam heads to the kitchen He
finds a knife which he uses to unscrew the window. He swings
the window open and takes a deep breath. GAG! COUGH! HACK!
A terrible greeny-brown smog pours in through the window.
Desperately Sam shuts the window and madly tightens up the
screws. Swinging a newspaper, he tries clearing a path
through the clouded atmosphere. He makes it to the front
door and staggers out into the hall gasping for air. CUT
TO telephone being lifted from its cradle. Pull back as
Sam with opened telephone directory in front of him dials.
He is seated in his kitchen. In front of his open
refrigerator. The phone rings at the other end.
SAM
(into phone)
Hello Central Services I'm at
579B Block l9, Northwestern Section
D that's exit 1 on Green Pastures
Highway at the Orange Blossom
Flyover and I've got trouble with
the air- conditioning
PHONE VOICE
Thank you or calling Central
Services. am sorry, due to temporary
staff shortage, Central Services
cannot take service calls centrally
between 2300 and 0900 hours have
a nice day this has not been a
recording, incident-
SAM
This is an emergency!
PHONE VOICE
Thank you for calling Central
Services. I am sorry, due
SAM
Yes, but. I've got to have a heating
engineer
PHONE VOICE
Thank you for calling Cen..
Sam slams the phone down.
CUT TO:
SAM
Sitting in front of the refrigerator. The door is open and
he has wedged a chair into the gap in a desperate bid to
keep cool. He is nodding off. As his head slumps against
one of the shelves, a jar of pickled onions falls to the
floor. The onions scattering everywhere.
EXT. DARKNESS - NIGHT
The milky white spheres tumble everywhere. But they are
not onions, they are the giant eyeballs burtling through
space. Sam is clinging desperately to one. He grabs the
pupil for a better handhold and it opens like a hatch cover.
Sam manages to pull himself inside. Once out of the
intergalactic maelstrom, Sam turns to survey the cramped
and dark space inside the eyeball. It seems to be bisected
by a dividing wall, from which a thin sliver of light is
escaping. Pushing on the wall in the area of the slit, Sam
is able to move a section. More light shaftes into the
tiny space from around the edges of what appears to be a
small hatch. Sam scrunches down and really puts his shoulder
to the hatch. with a metallic rasp it gives way and Sam
crashes through.
CUT TO:
OTHER SIDE OF OPENING
As Sam topples through. He catches himself in the nick of
time as the camera zooms back revealing his close call
with disaster. He is high on a vast wall of what looks
like filing cabinets. The hatch he came through was the
front of one of the millions of files-drawers composing
this wall. As he scrambles back into the opening we can
see that the wall drops away for hundreds of feet, disappear
into a steaming mist. Other walls of files enclose this
vast space. From where Sam is it looks like the view from
the 50th storey of the Time Life building in NYC. These
millions of files are being tended by MEN arising themselves
up and down, as well as sideways, on modern skyscraper
window-cleaners' platforms. The attendants are seen putting
PEOPLE in different period costumes into drawers. Sam's
attention is distracted by a sound overhead. Looking up he
sees a window washer platform being lowered in his
direction. Leaning over the side is a JOLLY GENT, who
happens to look like Mr. Helpmann (as seen on TV).
GENT
Ah ha... there you are, Sam.
SAM
What? How do you know my name?
GENT
We know everything here. This is
the Storeroom of Knowledge.
SAM
(climbing onto the
platform)
Then perhaps you can help me. I've
lost someone who...
GENT
(interrupting)
We know that too. You've come to
the right place.
The platform carries them along the files.
GENT
Oh, yes. We've got everything here.
Every bit of knowledge, wisdom,
learning... every experience, every
thought neatly filed away.
SAM
(incredulous)
What? You mean you've got...
GENT
Well not exactly. But, if you help
us we'll help you. The Forces Of
Darkness have won the day... but,
tomorrow is another one
SAM
What do I have to do.
GENT
You must save the day.
The platform has stopped. The Gent pulls out a drawer. He
reaches inside.
The Gent pulls out a wonderful sword and helmet.
GENT
This is the Sword Of Truth... and
this the Helmet Of Justice.
As Sam begins to strap on the weapon the Gent brings out a
cape.
GENT
And this completes the outfit.
He puts the cape around Sam's shoulders and helps him step
into the drawer. A moment's hesitation and then Sam outs
the helmet on and lies down in the drawer. It fits just
like a coffin.. As he lies back the Gent pushes the drawer
in.
GENT
It won't be pleasant but, trust
me.
As the drawer is pushed in Sam suffers a sudden bout of
claustrophobia. Looking up at the diminishing opening he
is surprised to see not the face of the Jolly Gent but a
terrifying SAMURAI WARRIOR'S MASKED HELMET. Sam struggles
to prevent the drawer being closed.
INT. SAM'S FLAT - NIGHT
Sam is grabbing the walls of the fridge. Water from the
defrosted freezer compartment drips on his head. He wakes
up. Before he can really take in where he is the phone
rings. He staggers over to it.
SAM
Hello... hello...
PHONE VOICE
Hello. Mr. Lowry?
SAM
Who's that?
(pause)
A sound at the kitchen door turns
Sam's head and ours just in time
to half see a quick blurred
movement, but then a rapid voice
in his ear-piece brings his head
back.
PHONE VOICE
Put the phone down and your hands
up.
SAM
(into the phone)
What? Who is this?
Sam realises that the voice is also in the room behind
him. He turns round and sees TUTTLE. Tuttle is middle-aged,
a short tough figure dressed in dark clothes suggesting a
cross between a cat burglar and a night-raid commando. In
one hand he holds a gun pointed at Sam. The other hand is
holding a telephone receiver which Tuttle is in the act of
placing in the large capacious bag at his feet. Sam puts
down his phone, and his hands up.
TUTTLE
Nice and easy now. Keep your hands
where I can see them.
SAM
What is this?
(indignantly)
Who the hell are you?
Tuttle, keeping the gun on Sam, goes to different doors,
leaning backwards into bedroom, bathroom and closet.
Tuttle suddenly relaxes and pockets his gun.
TUTTLE
Harry Tuttle. Heating engineer. At
your service.
SAM
Tuttle! Are you from Central
Services?
TUTTLE
Ha!!
SAM
But... I called Central Services.
TUTTLE
They're a bit overworked these
days. Luckily I intercepted your
call.
SAM
What?
By now, both are pouring with sweat. Tuttle heads across
the room and swiftly begins to undo a wall panel.
SAM
Wait a minute, what was that
business with the gun?
Tuttle hands Sam the panel and plunges his arm into the
space behind it.
TUTTLE
A little precaution, sir. I've had
traps set for me before now. There
are people in Central Services
who'd love to get their hands on
Harry Tuttle.
SAM
Are you saying this is illegal?
By now Tuttle has managed to pull out some sections of
flexible ducting from the welter of mechanical offal behind
the removed panel. It is all very complicated and greasy
and it looks as though there is a lot more where that came
from. Tuttle is amazingly neat and deft as he works. A
real pro. As he works he hums a wee tune... yes...
"BRAZIL"!!
TUTTLE
Well, yes... and no. Officially,
only Central Service operatives
are supposed to touch this stuff...
Could you hold these.
(he hands Sam a
bunch of wires
that he has detached)
... but, with all the new rules
and regulations... unncgh, c'mon,
c'mon... they can't get decent
staff any more... so... they tend
to turn a blind eye... as long as
I'm careful.
(he hands Sam a
torch)
... Mind you, if ever they could
prove I'd been working on their
equipment... well, that's a
different matter... up a bit with
the torch, sir.
SAM
Sorry. wouldn't it be easier just
to work for Central Services?
TUTTLE
Couldn't stand the pa.. Ah, we're
getting warm
SAM
The pace?
TUTTLE
The paperwork, couldn't stand the
paperwork.
(indicating the
torch)
Over to the left please, if you
don't mind sir. Hold it there.
Yes, there's more bits of paper in
Central Services than bits of pipe
read this, fill in that, hand in
the other listen, this old system
of yours could be on fire and I
couldn't even turn on the kitchen
tap without filling in a 27B/6...
Bloody paperwork.
SAM
(mildly)
Well I suppose one has to expect a
certain amount
TUTTLE
Why? I came into this game for
adventure go anywhere, travel light,
get in, get out, wherever there's
trouble, a man alone. Now they've
got the whole country sectioned of
and you can't move without a form.
I'm the last of a breed. Ah ha!
Found it!
(he holds up a small
charred gadget)
There's your problem.
SAM
Can you fix it?
TUTTLE
No. But I can bypass it with one
of these.
He pulls another gadget from his bag.
SAM
Fine.
The door bell. Tuttle grabs for his gun.
TUTTLE
Are you expecting anyone?
SAM
No. Wait here.
He goes out closing the immediate door and goes to the
front door which he opens. He is confronted by two officious
little men in boiler suits who are standing outside his
door. Their names are SPOOR and DOWSER. Dowser is Spoor's
echo.
SAM
Yes?
SPOOR
Central Services.
DOWSER
... ervices.
SAM
Uh what? I...
SPOOR
You telephone, sir.
DOWSER
... elephoned sir.
SPOOR
Trouble with your air-conditioning.
DOWSER
... ditioning.
SAM
(gulps)
No, not at all. I mean, it's all
right. It's fixed.
SPOOR
Fixed?
DOWSER
Fixed?
They don't like that.
SAM
I mean it fixed itself.
SPOOR
Fixed itself.
DOWSER
... ixed itself.
SPOOR
Machines don't fix themselves.
DOWSER
... fix themselves.
SPOOR
He's tampered with it, Dowser.
DOWSER
... ampered. with it, Spoor.
SAM
Look, I'm sorry about your wasted
journey.
Sam tries to close the door but Spoor prevents this.
SPOOR
(to Dowser)
I think we'd better have a look.
DOWSER
... have a look.
SAM
No you can't.
He is pushed aside. Spoor followed by Dowser, heads for
the door behind which is Mr. Tuttle. Sam is paralysed.
Spoor approaches the door as if it is dangerous. He turns
the handle quietly and gives the door a little nudge. The
door begins to swing slowly open. Sam suddenly finds
inspiration.
SAM
Just a minute!
Spoor and Dowser turn round as the door continues to swing
open. When the door is open, behind their backs Tuttle is
seen holding his pistol in a two-handed grip, his knees
slightly bent. Tuttle freezes like that, pointing his pistol
through the open door.
SAM
Have you got a 27B/6?
Dowser looks very angry. Veins stand out on his forehead
and he goes into what looks like some sort of fit. Spoor
knocks him to the ground.
SPOOR
(to Sam)
Now look what you've done to him.
SAM
Have you got one or haven't you?
SPOOR
Not... as such...
Dowser moans and begins to get back on his feet.
SPOOR
But we can get one.
(worried about Dowser)
It's all right, Terry, it's all
right, everything's all right.
SAM
(ushering them to
the door)
I'm sorry, but I'm a bit of a
stickler for paper work. Where
would we be if we didn't follow
the correct procedures?
SPOOR
We'll be back.
DOWSER
... Be back.
SAM
(closing the door
on them)
Thank you.
Sam turns back to Tuttle who is coming forward pocketing
his gun.
TUTTLE
Thanks, Lowry, you're a good man
in a tight corner.
Tuttle returns to work, fitting in the new by-pass gadget
and tightening the nuts, and happily humming "BRAZIL".
SAM
Listen... um... I don't want to
get involved in any of this. But I
work at the Ministry of Information,
and I happen to know that
Information Retrieval have been
looking for an Archibald Tuttle,
Heating Engineer. You wouldn't by
any chance be..
TUTTLE
(pleased)
My friends call me Harry.
Information Retrieval, eh?
Interesting!
SAM
What do they want you or?
TUTTLE
Time to go.
Tuttle finishes the job and throws his tools into the bag.
SAM
Thank you very much. How much will
it...?
TUTTLE
On the house. You did me a favor.
Check the corridor.
Sam goes to the front door, opens it and looks out.
SAM
All clear.
Tuttle slips out and heads off down the balcony corridor.
SAM
Hey that's a dead end.
But Tuttle merely undoes a pre-arranged rope and swings
Tarzan-like off the end of the balcony and across a multi-
story void to a neighboring block. Sam is amazed not to
say stunned.
INT. RECORDS POOL - DAY
Sam is at his desk among all the desks. Documents are being
delivered right, left and centre through the vacuum tubes.
All the CLERKS are busy. The screens are devoted to their
proper use. All this activity is explained by the fact the
Mr. Kurtzman's door is wide open. At the next desk is
another Clerk much like Sam, his Neighbour.
NEIGHBOUR
I think Kurtzman getting is
suspicious.
SAM
What have we got on today?
NEIGHBOUR
Casablanca.
Kurtzman appears in his doorway.
KURTZMAN
(calls out)
Mr. Lowry! Would you step in here
a moment please.
We go with Kurtzman as he closes the office door behind
him, we are now in...
INT. KURTZMAN'S OFFICE - DAY
Kurtzman is pacing anxiously. Sam walks into the office.
During the brief opening and closing of the door we just
manage to hear the piano player in "Casablanca" singing,
"... a kiss is just a kiss..." Kurtzman is too worried to
notice. He is holding a piece of paper gingerly as if it
were contagious. He waves it frantically as Sam enters.
KURTZMAN
(hysterically)
Thank God you're here! We're in
terrible trouble! Look at this!
Look at this!
He thrusts the piece of paper at Sam.
SAM
(taking the paper)
A cheque.
KURTZMAN
The refund for Tuttle!
SAM
(startled)
Tuttle?
KURTZMAN
I mean, Buttle! It's been confusion
from the word go! He's been wrongly
charged for Electromemorytherapy
and someone somewhere is trying to
make us carry the can!
SAM
I've never seen a Ministry cheque
before.
KURTZMAN
We've got to get rid of it! There's
been a balls-up somewhere, and
when the music stops they'll jump
on whoever's holding the cheque!
SAM
Send it to somebody else. Send it
to Buttle. It's his cheque.
KURTZMAN
I've tried that! Population Census
have got him down as dormanted,
the Central Collective Storehouse
computer has got him down as
deleted, and the Information
Retrieval have got him down as
inoperative... Security has him
down as excised., Admin have him
down as completed
SAM
Hang on.
Sam sits down at the console and punches keys. He does
this very efficiently, muttering to himself and generally
demonstrating an expertise which obviously leaves Kurtzman
way out of his depth, until
SAM
He is dead.
KURTZMAN
Dead! Oh no! That's terrible! We'll
never get rid of the damned thing!
What are we going to do?
SAM
Try next of kin.
KURTZMAN
(a revelation)
Next of kin!
Sam punches more keys.
SAM
There we go. Mrs. Veronica Buttle.
What's the number on the cheque?
KURTZMAN
(reading it)
27156789/074328/K.
Sam has been efficiently punching this in.
SAM
Into memory. Now... Central
Banking... Buttle, Veronica...
Deposit Sam rips off a print out,
rapidly stuffs it and the cheque
into a cannister and then into a
vacuum tube. A job well done.
KURTZMAN
(fervently)
Please don't come back! Please
don't come back!
Unfortunately Kurtzman's prayers are not answered and the
vacuum tube returns almost immediately. Sam opens it up.
From the computer screen comes a voice "Play it again,
Sam" Sam and Kurtzman look at the screen. We get a quick
glimpse of Humphrey Bogart before the screen reverts to
numbers.
SAM
Problem. She doesn't have a bank
account.
KURTZMAN
(hysterically)
Well, that's it! I may as well go
and hang myself! This sort of thing
couldn't have happened before the
stupid seventh tier reorganization!
That was Simmons doing! And he and
Jeffries always sit together at
lunch! The bastards!
(he thumps his hand
hard on the desk
top)
Ow!
(he picks up the
offending cheque)
Perhaps we can lose it... behind
the filing cabinet... or destroy
it... burn it... eat it...
Under this tirade Sam has begun to hum "BRAZIL" not
entirely sure what inspired him.
SAM
You'd never get away with it.
Besides, you can't do that to
somebody's refund. It's Christmas.
There is one more option.
KURTZMAN
(depressed, not
really believing
it)
What?
SAM
Drive out to Mrs. Buttle, give her
the cheque, tell her to sign her
name on the back, cash it at the
corner sweet shop.
Kurtzman is dumbfounded by the audacity of this.
KURTZMAN
That's brilliant!
Sam takes over. In no time at all he has battered away at
the keyboard, slammed a cannister into a vacuum tube and
received almost immediately a cannister containing a sheaf
of different coloured papers.
SAM
I'll do it for you. Authorise the
cheque. What's the address?
Kurtzman scribbles it down for him.
KURTZMAN
Here. What do I do next?
SAM
Call the motor pool and authorise
personal transport.
KURTZMAN
Of course, of course. Leave it to
me. How do I authorize a cheque?
SAM
(separating the and
blue sheets)
Here we are. Pink and blue receipts.
All you've got to do is sign these
and the back of the cheque.
Kurtzman takes out his pen and tries to sign the papers
but his hand is giving him trouble.
KURTZMAN
(exhausted after
all the emotion)
Oh God! I think I've broken a bone.
What a pathetic thing I am.
SAM
(taking the pen
from him)
Here.
Sam signs the cheque and receipts. A big CLOSEUP shows
that he is scribbling Kurtzman's signature. Sam pockets
the papers and the pen.
SAM
That's it.
KURTZMAN
You are good to me Sam.
SAM
(leaving)
Don't mention it. See you later.
EXT. MOTORWAY TUNNEL - DAY
CUT TO Sam at the wheel of the little car, beetling along
in a seemingly endless, tube-like tunnel, menaced fore and
aft by huge buses, lorries and other carriers which
literally lift the little three-wheeler from the road
surface and shake it by the scruff of its tiny neck.
CUT TO Sam in interior of the Messerschmidt. He is singing
along to an obscure arrangement of "BRAZIL".
RADIO
(plays music for a
moment which then
fades out)
... We interrupt this programme to
bring you news of a terrorist
bombing at the...
(Sam switches off)
EXT. MOTORWAY TUNNEL - DAY
CUT TO EXTERIOR VIEW OF MESSERSCHMIDT still merrily
progressing in arterial tunnel. CUT TO very tiny exit sign:
"Exit 49"
CUT TO:
SAM
Peering at sign.
CUT TO:
MESSERSCHMIDT
Taking the exit just as a huge lorry roars by.
EXT. BUTTLE FLATS - DAY
Beautiful utopian block of high-rise flats gleam in the
sunlight. Pulling back we reveal it to be an architect's
model in a protective perspex case standing in the centre
of a decorative fountain that has long ceased to work
graffiti and junk are now the only decorations. In the
background is the grim reality of the massive housing tower.
Sam's Messerschmidt is just puling up in the shadow of the
building which is grey, decrepid, vandalised. Huge conduits,
pipes, and tubing frame the scene. Sam gets out of the car
under the cool and none-too-friendly gaze of a few LOCALS.
Self-consciously, Sam looks around him, then at the paper
in his hand. A little group of KIDS sit pitching pennies
against a wall. Sam goes over to them.
SAM
(super polite)
Excuse me. Can you tell me...
But before he can finish, the smallest, tiny KID looks up.
KID
Eff off.
Sam, uncomfortably, effs off.
He is watched, at some distance, imapassively by the little
Girl Butttle. As Sam enters the buildings one of the kids
gets out a can of something and approaches the car. Another
is fiddling, with a box of matches.
INT. BUTTLE FLATS - DAY
CUT TO Sam hesitantly walking into the semi-derelict lobby
of the big block of flats. Graffiti, vandalism are in
evidence everywhere. He walks up to the lift. Pushes the
button. Nothing happens. He pushes again. This time the
lift door shudders and sparks. Sam tries to pull the doors
apart. They jam open with a three-inch gap between them
still shuddering and grinding. In the sparking light, Sam
can make out an interior crammed with garbage, junk, old
furniture, dead cats. Yechhhh. Resignedly, he turns towards
the stairs.
INT. CORRIDOR - DAY
CUT TO Sam coming breathlessly out of the stairwell. On
the wall next to it is the number 37. Walking down the
corridor he looks at the number and starts to knock, but
then notices that the door is cracked open. Sam tries to
knock on the door, but it keeps edging open and he settles
for knocking on the door frame a bit feebly.
SAM
Mrs. Buttle
(silence)
Uh, Mrs. Buttle?
(silence)
Sam stands not knowing what to do.
Sam pushes the door a bit more
open gingerly and puts about 65
per cent of his body into the hall
of the flat. CUT TO SAM'S POV of
darkish hall. Mrs. Buttle...
INT. BUTTLE SITTING ROOM - DAY
CUT TO Sam entering extremely tacky sitting-room shrouded
in half-darkness. This is the same flat from which the
FATHER was taken at the beginning of the film: the hole is
still in the ceiling. Sam becomes aware of a woman sitting
absolutely still at a small table by the only (still broken)
window in the room.
SAM
Are you Mrs. Buttle?
The woman nods very slightly without looking at him.
SAM
My name is Lowry Sam Lowry. I'm
from the Ministry of Information.
(no response)
I've come to give you a cheque.
Sam takes the cheque out of his pocket and puts it on the
table to tempt Mrs. Buttle into a flicker of interest but
she fails to notice it or him for that matter. Sam pushes
the cheque a little way towards Mrs. Buttle but she does
not respond.
SAM
(indicting cheque)
It's a refund... I'm afraid there
was a mistake.
MRS. BUTTLE
Mistake?
SAM
(encouraged)
Yes. Not my department... I'm only
records. It seems that Mr. Buttle
was overcharged by Information
Retrieval. I don't think they
usually make mistakes... but, er...
I suppose we're all human.
Sam looks around and sees the hole in the ceiling.
SAM
Oh... what happened to the...?
He gets nothing back.
Actually, my bringing this here is rather unorthodox...
Usually any payments are made through the central
computer... but, er... there were certain difficulties,
and rather than cause delay, we thought you might appreciate
this now... it being Christmas.
MRS. BUTTLE
My husband's dead, isn't he?
SAM
Er... I assure you Mrs. Buttle,
the Ministry is always very
scrupulous about following up and
eradicating error. If you have any
complaints which you'd like to
make, I'd be more than happy to
send you the appropriate forms.
MRS. BUTTLE
What have you done with his body?
SAM
Um...
Mrs. Buttle starts to cry.
SAM
Look, I'm very sorry, but I'm afraid
I don't know anything about it...
I'm really just delivering the
cheque. Er... If you wouldn't mind
signing these receipts
(producing blue and
pink receipts)
I'll go and leave you in peace.
Sam picks up the cheque and gives it to Mrs. Buttle together
with the receipts. Mrs. Buttle tears them up and throws
them in his face.
SAM
Uh...
MRS. BUTTLE
He hadn't done anything... He was
good... What have you done with
his body?
Sam looks around for an escape and sees a Young Buttle
standing in the doorway. The Boy is looking at him with a
blank tearful face. Suddenly the Boy launches himself at
Sam with terrible ferocity. Sam is knocked against the
wall. A mirror falls off the wall and smashes on the floor.
The Boy is all over Sam kicking and pulling his hair. Mrs.
Buttle's reaction, however, is to try and pull the Boy
away from Sam. By the time she succeeds, Sam is on his
hands and knees, in pain. The Boy is crying and shouting,
and Mrs. Buttle is loudly trying to quieten the Boy. From
SAM'S POV, a piece of broken mirror lying on the floor
reflects the hole in the ceiling... with Jill's head and
shoulders framed in the hole. The moment is unreal for Sam
in his dazed condition. The vision seems unreal too. Jill
is staring at Sam out of the piece of mirror and. she's
very much the Girl from his dream now.
JILL
Are you alright?
SAM
(mumbles)
It's you... it's you...
JILL
Mrs. Buttle, are you alright?
Sam grabs at the image, i.e. at the mirror, shifting the
angle so that the vision disappears. He looks for the vision
on the floor but can't find it. Then he begins to realise
the reality of what he has seen. He stands up, dazed and
battered. Mrs. Buttle has been looking up at the ceiling.
Sam looks up at the ceiling but there is now only the empty
space of the hole.
SAM
Wait! Stop! Come back!!
Mrs. Buttle is shouting. Sam rushes out of the flat.
INT. BUTTLE'S CORRIDOR - DAY
Sam looks both ways and heads for the stairs.
INT. BUTTLE'S STAIRCASE - DAY
Sam runs up the stairs to the floor above and finds himself
in
EXT. SIMILAR CORRIDOR - DAY
He runs along the corridor but has omitted to count the
doors downstairs and now doesn't know which door to knock
at. He hesitates. He rings the bell on what he hopes is
the right door. The bell doesn't work. He bangs on the
door. The door opens a crack. A malevolent eye looks at
him.
SAM
Girl... fair hair...
The door shuts firmly. Sam rushes to the next door.
INT. JILL'S FLAT - DAY
Sam bursts into Jill's flat. He sees the hole in the floor.
The place looks derelict. He hears an explosion and looks
out of a window to see his car in flames. Jill is apparently
retreating from it across the forecourt. She is carrying a
suitcase and bundles.
INT. STAIRCASE - DAY
Sam rushes down the stairs.
EXT. BLOCK OF FLATS - DAY
Sam charges out into the open air. Jill has disappeared.
The Messerchmidt, however, is in flames. Sam doesn't know
which way to turn. Spotting an old mattress lying by the
building he grabs it and throws it over the car in an
attempt to smother the flames. The group of CHILDREN watch
him silently. Suddenly with a great roar, Jill's lorry
comes round the corner at speed. Sam sees that Jill is at
the wheel. Sam runs after the lorry.
SAM
(shouting)
Wait! It was nothing to do with
me!
The lorry roars away. Sam dashes back to his smoldering
three-wheeler. He flings himself into it and starts it up.
He also roars away, except that he doesn't move... all
three wheels have been removed. He turns round in despair
and sees the group of children regarding him
expressionlessly.
They include the little Girl Buttle.
Defeated, he slumps down against his charred vehicle. A
shadow passes across his face. Looking up he sees Girl
Buttle standing over him.
SAM
Go away.
GIRL BUTTLE
Her name is Jill.
SAM
What?... Jill? Jill who? Jill who?
GIRL BUTTLE
Layton.
SAM
Jill Layton...
(getting up)
You're a very good little girl.
What are you doing here?
GIRL BUTTLE
I'm waiting for my daddy.
SAM
(uncomprehending)
He will be pleased when he comes
home.
Girl Buttle doesn't answer and Sam starts to walk away.
After a few yards, the thought strikes him: he turns back
to look at the little Girl Buttle who stands alone patiently
in the vandalised wilderness.
INT. RECORD CLERKS POOL - DAY
It is the end of the work day. The Clerks are busily getting
their coats and leaving the office. As the last one goes
Mr. Kurtzman comes out of his private office with his hat
and coat on. He turns out the office light. He sees Sam
isolated in the empty room, still working at his computer
console. Totally absorbed in what he is doing.
KURTZMAN
Oh... Sam. I've had the transport
pool onto me... You don't know
anything about a personnel
transporter gone missing do you?
Sam doesn't seem to hear him. On the computer screen is a
front and side view picture of Jill. Her name and code
number is at the top of the screen. Sam is punching up
personal dossier information like "age", "height", "weight",
"colour of hair", "colour of eyes", "distinguishing marks"
etc.
SAM
(preoccupied)
A "personnel" transporter? They've
got it wrong. I had a personal
transporter. I'll do the paperwork
tomorrow Sam punches up a few more
categories for Jill's dossier.
KURTZMAN
Is it all right about Mrs. Buttle's
cheque?
SAM
I delivered it.
KURTZMAN
Can I forget it?
SAM
Yes.
Sam punches a few more buttons on the computer.
KURTZMAN
What a relief!
(on reflection)
I shall probably have nightmares.
At this point the word "Classified" superimposes itself
over most of the screen and "IRQ/3" starts agitating at
the bottom
SAM
Damn! Blast!
KURTZMAN
What's the matter?
SAM
You don't happen to know how I can
get around an IRQ/3 do you?
KURTZMAN
All information on 3rd Level
Suspects is classified.
SAM
I know that.
KURTZMAN
All enquiries to Information
Retrieval. Which is hopeless, of
course. They never tell you
anything. But come the time they
want something from us...
Throughout this verbal wallpaper Sam has been punching
keys cancelling the CLASSIFIED overprint. He then punches
in the code for a hard-copy print-out. Jill's two-view
computer portrait rolls out as Sam ponders his options.
SAM
(cutting off Kurtzman)
I've go to accept that promotion
to get behind this, haven't I?
KURTZMAN
Yes.
(realising what
he's suggesting)
NO! You can't! You've only just
turned it down!
(thinking Sam is
joking)
SAM
I never signed the form.
KURTZMAN
I did it for you.
SAM
What! Shit!
KURTZMAN
It's what you wanted isn't it?
SAM
Yes... No... I don't, know.
Kurtzman picks up Jill's print-out and glances at it. He
grimaces and drops it back on the desk with a shudder.
KURTZMAN
Come on, before they turn the lights
out.
Sam nods. He turns off the machine. He stands up and follows
Kurtzman towards the door. The door is some distance away,
and before they get there all the lights go out. Kurtzman
bumps into a desk and curses.
INT. TRANSPORT CAGE - EVENING
Packed tightly between other passengers Sam is busy drawing
long flowing hair with a pencil on the computer print-out
of Jill turning her into the Dream Girl. The transport
cage rattles through its elevated tube towards a tower
block.
INT. SAM'S CORRIDOR - EVENING
The transport cage arrives at the platform forming the end
of Sam's corridor. Passengers disembark and head for various
doors along the corridor. Sam almost fails to get off in
time so concentrated on Jill's picture is he. Looking as
if he's trying to make up his mind about something he heads
for his own front door.
INT. SAM'S FLAT - EVENING
Sam enters. The place is in a state of turmoil. Servicing
panels are off the walls. Conduit, ducting, pipes, unknown
mechanical horrors spew from the wall as if the place was
disemboweled. Spoor stands in the middle of it all trying
to direct two other WORKMEN who are poring over wiring
plans which seem to make little sense to them. Dowser is
not visible but there is a great deal of clunking and
banging going on somewhere behind the wall.
SAM
What the ? How did you ?
SPOOR
Emergency procedures.
DOWSER (O.S.)
(muffled)
... ergency procedures.
SAM
(angrily)
I haven't got an emergency. Get
out of here.
For reply Spoor whips a small tape-recorder out of his bag
and plays back Sam's original phone call to Central
Services, claiming "an emergency". Spoor shuts off his
machine, puts back into his bag and comes out with what
looks like a quite thin phone hook with carbon paper between
each page. Spoor indicates the bottom of page 1.
SPOOR
Sign here please.
SAM
What is it?
SPOOR
(surprised)
It's a 27B/6, what did you think
it was?
Sam takes out Kurtzman's old-fashioned fountain pen from
his pocket, signs where indicated. Spoor registers that
Sam's signature has hardly penetrated through he first
carbon let alone the other 43.
SPOOR
(sourly)
Haven't you got a ballpoint?
Sam resignedly starts signing all the other pages one by
one. Spoor realises that Dowser's echo has gone missing.
SPOOR
Now where's he got to?
(shouts)
Dowser!
Dowser bursts through a panel in the wall. This is the
panel which Tuttle had removed and replaced. A few of the
flat's intestines have come out with Dowser. Dowser has
made a find Tuttle's spare part.
SPOOR
What have you got there?
DOWSER
(highly excited)
Got there!
Dowser points to Tuttle's spare part which is hanging out
of the wall attached to rubber tube. Spoor examines this
closely. Sam watches alarmed. The two men go into a mumbling
huddle.
SPOOR
Mumble... mumble... mumble... Tuttle
DOWSER
Mumble... Tuttle...
SPOOR
Tuttle!... mumble!
(to Sam)
You've had that scab Tuttle here,
haven't you?
DOWSER
... aren't you?
SAM
What?
SPOOR
Who fixed your ducts?
DOWSER
... your ducts?
SAM
I fixed it myself.
SPOOR
Oh yeh? Where'd you get this from
eh...
(he holds up Tuttle's
spare part)
... out yer nostril?
DOWSER
... Yer nostril?
SPOOR
Central Services don't take kindly
to sabotage!
DOWSER
... sabotage!
Spoor and Dowser and the other workmen gather up their
tools put them in the bag, grab everything else that
belongs to them and are leaving. Spoor grabs the form-book
out of Sam's hands, rips out the last page, thrusts that
page at Sam, shoves the book into his bag. The workmen
begin leaving the flat.
SAM
Hang on! Wait a minute! You can't
just go and leave it like this!
SPOOR
(mock innocent)
Why not? All you've got to do is
blow yer nose and fix it, haven't
you?
DOWSER
... ven't you?
SPOOR
(leaving)
You're putting your talents to
very odd use Mr. Lowry yes, odd
use to pit wits against Central
Services
DOWSER
... sod you, stupid twit.
They go, slamming the door behind hem, leaving Sam in the
ruins of his flat.
Sam stands in the maimed sitting-room. Wall panels are
off. Tubes, ducting wires etc. spill out into the room
like greasy intestines. Sam more or less collapses onto a
couch. He stares at the ceiling. The room is gently
hiccoughing and belching around him. He stares at the print-
out of Jill's face. Slowly it dissolves into the Dream
Girl.
EXT. CONDUIT FOREST - NIGHT
Dream Girl's face fills screen. The camera pulls back to
reveal that she is separated from us by a tangled forest
of conduit/ducting-like vines. Sam is struggling through
the vines, which grab at him, entwine and entangle him.
Finally bursting free he reaches out for the Girl hovering
before him, But as he embraces her she dissolves in smoke
and he plummet into a void beneath his feet.
EXT. CLOUDS - NIGHT
CUT TO Sam plummeting down through dense clouds, his cape
twisting around him. Somehow he manages to wrestle it clear
of his body. Gripping the corners he whips the cape up and
over his head. The wind catches it and fills it out until
it acts as a parachute slowing Sam's descent. Suddenly the
clouds thin out and Sam can see below him.
EXT. STRANGE LANDSCAPE ANTI - DAY
Sam is heading down towards a barren landscape. Strange
mounds dot the barrenness they ooze smoke and the
occasional flame. Near one of the mounds are two long lines
of shrouded FIGURES being forced into two giant cages,
suspended beneath two great misshapen balloons. The black-
robed Forces of Darkness (FOD) surround the PRISONERS,
relentlessly herding them towards the cages. The entire
scene is strangely coloured by unearthly light. The sky is
blood red and where the sun should be is a black disc. Sam
descends on his cape-parachute.
CUT TO PRISONERS in their grey shrouds, shuffling towards
the jaws of the brutal cages. They are defeated, destroyed,
without hope. The FOD prod and whip them forward. One of
the FOD raises his spear to force a stumbling PRISONER to
his feet but stops with the spear raised above his head.
He has seen something. Other FODS turn to see what it is.
CUT TO
Sam landing on the beach a short distance away. The
prisoners stop and look up. We see their faces clearly for
the first time. One of them is Mrs. Buttle. Others are
people Sam saw in the flats, and the kids. Sam recognises
them. He is slightly taken aback. A look of determination
crosses his face. He draws the sword. Everyone is frozen
in place. Sam starts forward. But he is stopped by a violent
tremor as the earth begins to tremble and shake. Everyone
looks terrified. With a mighty roar a crack opens up in
the ground between Sam and the others. Brilliant rays of
light shaft upwards from the opening. And then, with a
maniacal shriek, the large black flapping thing shoots out
of the crevasse and streaks high into the sky. Sam hesitates
and turns to look down into the light. There, under several
meters of the earth's crust are fluffy white clouds darting
about in a beautiful blue sky. Sam is delighted but as he
looks up he is frozen in his tracks by an enormous FIGURE
that straddles the crevasse. This terrifying Creature stands
over 12 feet high. He is encased in a frightening concoction
of ancient Japanese armour which seems on closer examination
to he made of computer parts. His face is hidden behind a
horrific steel mask. It is the Giant Samurai Warrior that
was pushing the drawer closed in the Storeroom of Knowledge.
In his hand is an evil-looking spear. Sam is unsure which
way to turn. The grey Prisoners are being loaded into the
cages with more speed. He turns to face the Giant Warrior.
As Sam steps forward the Giant stands ominously still.
Then very slowly he raises his spear in an almost religious
gesture. POOF! He vanishes. As he does the light from the
day is cut off. Looking down, Sam sees that he crevasse
has vanished as well. Maniacal laughter from the flapping
black thing makes Sam look up to see the ballooned cage
packed with grey Prisoners rise up from the ground and
begin to float away escorted by the Black flapping Thing.
Sam rushes after it grabbing one of the trailing ropes.
But as he is hoisted into the air it is severed by the
FODS. He tumbles to the ground. Looking around he sees
that, for some reason, the second ballooned cage is still
tethered nearby. Sam rushes over to it and begins chopping
the tethers away. The cage bobbles ungainlily as Sam cuts
the last restraining rope. Grabbing hold he is pulled
upwards, but before he can reach the cage something clutches
his leg halting his progress. As he struggles his other
leg is caught. He is being pulled back by two giant hands.
Looking down he can see that from the top of one of the
smoking mounds a head an
d two giant arms protrude. The face looks like Mr. Kurtzman.
Sam desperately clings on to the rope as he struggles with
the restraining hands.
MR. KURTZMAN OF THE MOUND
Don't go! It's a trap! She's not
what she seems.
Sam kicks and strains but the hands hold firm.
INT. SAM'S FLAT - NIGHT
Sam wakes up. His feet are entangled in some wiring and
ducting. He is still in his devastated sitting room. As he
untangles himself the door bell rings. It takes a moment
for Sam to recognise it as the door bell. Annoyed and still
disturbed by the dream he gets up and goes to the door. He
opens it. In bursts a GIRL dressed in a silly bell-boy
costume with lots of glitter, net stockings and big-bowed
tap dancing shoes. She launches into a terrible song and
dance routine.
GIRL
(singing)
Mrs. Ida Lowry requests the pleasure
of your companyyyy at her apartment
tonight, from eight thirtyyyy
midnight to celebrate the completion
of her recent cosmetic surgeryyyy
The guest of honour will be Mr.
Conrad Helpmann, Dep. Under Minister
of State for Public Information,
R.S.V.P. by singing telegram.
Sam and the Girl stand looking at each other uneasily for
a moment.
SAM
Er... Thanks...
GIRL
It's reply paid.
SAM
Oh...
(he sings uncertainly)
Thank you very much, mother, but
actually
GIRL
You don't have to sing it.
SAM
Oh, right...
The Girl begins to dance again but this time in a rather
strange strangled fashion.
SAM
(he looks at his
watch)
Aren't you a bit late? the party
started half an hour ago.
GIRL
Yes, I know. It's the backlog,
everybody complains. Was it all
right otherwise?
SAM
Yes, it was... very nice... thank
you.
GIRL
Do you mind if I use your bathroom?
INT. MOTHER' S CORRIDOR - NIGHT
Sam rings the doorbell to his mother's flat. He is wearing.
an unstylish tuxedo and bow tie obviously his only dress
outfit. The door is opened by a LIVERIED FLUNKY who's about
to speak when an attractive 40-year old woman's face appears
over his shoulder and addresses Sam over the threshold.
WOMAN
Sam, I'm so glad you came. Do come
in.
INT. MOTHER'S FLAT - NIGHT
Sam steps inside, where the flunky proceeds to search him.
The place is full of sleek people smartly but less formally
dresses than Sam. It is an elegant baroque room lavishly
appointed but still violated by the ubiquitous Central
Service ducts that thrust through antique tapestries and
gilt mirrors with little regard for aesthetics or the
interior decorator's feelings.
SAM
(bewildered)
Mother? Is that you?
MOTHER
(taking his arm
looking slightly
askance at his
clothes)
Of course. Isn't it wonderful? The
bandages came of this afternoon.
Come and join the fun. Everybody's
here.
SAM
Is Mr. Helpmann here?
MOTHER
Yes he is he wants to talk to
you.
SAM
I want to talk to him.
Sam pushes away the Flunky who is by now passing a metal
detector over him.
MOTHER
It seems you're the first person
ever to turn down a promotion. He
thinks you should see a doctor.
SAM
Actually, I've decided...
DR. JAFFE hoves into view.
MOTHER
Oh, Louis! You know Sam.
Dr. Jaffe is no longer suave. He has been transformed by
drink and success. Mostly by drink.
DR. JAFFE
(as high as a kite)
Can you believe it?! Just me and
my little knife! Snip snip slice
slice Can you believe it?
SAM
(repelled)
Congratulations...
DR. JAFFE
And this is just the beginning!!
SAM
Really?
DR. JAFFE
Chirst yes, you've seen her with
her clothes off. Faces are a doddle
compared to tits and arse.
(explains)
No hairline.
MOTHER
(primly)
Really, Louis.
A handsome young piece of BEEFCAKE delivers a drink to
Mother.
BEEFCAKE
I've been looking everywhere for
you, Ida.
The beefcake takes Mother away.
DR. JAFFE
Ah, dear boy... And what do you
think of your mother now?
VOICE
(off camera)
It will never last.
Sam and Dr. Jaffe turn to see who is speaking. It is DR.
CHAPMAN a tall, pipe-smoking, professional-looking gent.
DR. JAFFE
(a trifle haughtily)
Excuse me, Dr Chapman, did you say
something?
DR. CHAPMAN
That technique... I've tried it. A
nice effect. But highly unstable.
In six months she'll look like
Grandma Moses.
Sam wishing to escape from this bitchery turns away but
suddenly freezes the reflection in the large wall mirror
next to him is not that of the party guests but of the
grey Prisoners in his dream they are massed in the room
looking pleadingly towards him.
DR. JAFFE
(unsuave again)
Now see here, Chapman. At least
mine don't look like they've been
mugged.
Through the grey Prisoners pushes Mrs. Terrain.
MRS. TERRAIN
(calls)
Sam!
Sam turns around to see her pushing through the party
guests.
Mrs. Terrain is limping and is even more heavily swathed
in bandages than the last time.
Dr. Chapman hastily moves away as Mrs. Terrain comes up.
She claims Sam, taking his arm.
SAM
(looking at her
worriedly)
Whatever happened to you?
MRS. TERRAIN
There was a slight complication.
Dr. Chapman says it often happens
with a delicate skin like mine.
Nothing to worry about. He's
promised me I'll have these bandages
off in a...
SAM
(trying to disengage)
Actually, there's someone I want
to meet...
MRS. TERRAIN
(roguishly)
I know, I know...!
She drags Sam through the party and we arrive at her
daughter, SHIRLEY, who is, of course, a wallflower.
MRS. TERRAIN
Here we are! I'm going to leave
you two lovebirds in peace.
SAM
I... uh...
But he is alone with Shirley, standing at the entrance to
his Mother's embarrassingly rampant boudoir style bedroom.
In amongst the diaphanous curtains enclosing the bed Mother
is playing hide and seek with a YOUNG STUD.
SAM
Can I get you a drink, Shirley?
Shirley looks at him terrified.
SAM
Look... Shirley... your mother...
and my mother... they seem to have
got the idea... I mean, I'm terribly
flattered, of course, but, um, the
thing is, I don't want you to be
under any false...
SHIRLEY
(struggling into
speech shyly)
It's... it's... all right... I
don't like you either...
This isn't what Sam expected. He smiles weakly at her.
VOICE
(off camera)
Sam!
Sam turns round, to see Jack Lint a few paces away.
SAM
Hello, Jack!
JACK
You remember Alison?
He indicates his cute blonde perfect junior executive's
WIFE
SAM
Hello, Alison. You look different.
ALISON
Well, I'm two years older.
JACK
And she's been to Dr. Jaffe!
Alison locks displeased.
JACK
(winking at Sam)
She doesn't like me telling anyone
but she's pleased as anything
really.
SAM
Er, I knew you looked different.
JACK
Remember how they used to stick
out?
SAM
What? Oh, yes vividly. I used to
wonder if they were real.
ALISON
What, my ears?
SAM
Your ears?
JACK
Dr. Jaffe has pinned her ears back.
SAM
(covering up
hopelessly)
Quite, absolutely I always thought
they were false.
JACK
(looking past Sam)
Mr. Helpmann!
Sam spins round and sees a very pleasant-looking
distinguished OLD MAN moving in their direction. He is in
a wheelchair.
HELPMANN
Hello, Jack.
JACK
You remember my wife... Alis
HELPMANN
Of course. Barbara isn't it? How
are you?
ALISON
Um...
JACK
(instantly. Conveying
to Alison that she
mustn't object)
Barbara's very well, thank you,
sir. How are you?
HELPMANN
Fine, thank you. Hello, Sam. Ida
said you might be here. Have you
got a minute?
(to Jack)
Would you excuse us?
Jack is taken aback, envious and eager to please.
JACK
Of course... of course... Come on
Alison Barbara Jack propels his
wife away.
HELPMANN
I need your help, Sam.
INT. BATHROOM - NIGHT
It's the sort of bathroom you would expect of Mother, an
adjunct to her boudoir. The pink or purple lavatory is in
the process of flushing, while Sam holds Mr. Helpmann
vertical, grasping him under the armpits, while Mr. Helpmann
is zipping his fly.
HELPMANN
Thanks very much Sam.
SAM
That's all right Mr. Helpmann.
Glad to help.
He is lowering Helpmann into the wheelchair.
HELPMANN
If I can help you...
SAM
(broaching the
subject)
Well, I...
In maneuvering Helpmann Sam clumsily knocks over one of
the pretty pots which fussily decorate Mother's bathroom
shelf. A thin layer of powder is spread over the wash-stand.
SAM
Sorry...
HELPMANN
Your father and I were very close.
Of course Jeremiah was senior to
me but we were close friends...
especially after the bombing...
(he indicates his
legs)
... and I...
(chuckles)
... keep his name alive at the
office every day.
With his finger Helpmann is tracing letters in the powdered
surface.
HELPMANN
It's as though he's there speaking
to me "'ere I am, J.H.!" The ghost
in the machine.
We see that Helpmann has traced the letters "EREIAMJH" in
the powder.
HELPMANN
I know he would have wanted me to
help you... And I promised your
mother I'd take you onto the team
at information Retrieval. But I
gather that...
SAM
Mr. Helpmann. I've changed my mind.
I'd like to accept the transfer
am I too late?
HELPMANN
Too late? That's for me to say.
SAM
Well... well, I...
Helpmann puts out his hand. Sam takes it.
HELPMANN
Welcome to Information Retrieval!
Helpmann blows away the spilled powder and "EREIAMJH" with
it.
INT. INFORMATION RETRIEVAL LOBBY - DAY
CUT TO WIDE SHOT of massive imposing lobby much like the
Records lobby but this one is very austere. No crowds. No
statues. No decoration. Not even the ever-present security
checks. Impressive. And a bit unnerving. Framed in the
doorway is a lone TINY FIGURE. CUT TO CLOSEUP. It's Sam.
He hesitates and then enters.
CUT TO:
VIDEO SCREEN
The video camera follows Sam across the lobby til he stops
in tight profile at Reception Desk. We tilt up revealing
Sam standing facing us just beyond the monitor which is on
the desk.
SAM
(diffidently to the
porter)
My name is Sam Lowry. I have to
report to Mr. Warren.
PORTER
(looking down his
nose at Sam's
unsleek clerk's
suit and then
handing him an
I.D. badge)
Thirtieth floor, sir. You're
expected.
SAM
Er, don't you want to search me?
PORTER
No, sir.
SAM
(taken aback.
Reaching into his
pocket)
My I.D. cards.
PORTER
No need, sir
SAM
(nonplussed)
But I could be anybody.
PORTER
No you couldn't, sir. This is
Information Retrieval.
(indicating to the
right)
the lift's arrived, sir.
INT. 30TH FLOOR CORRIDOR - DAY
Sam steps out of the lift.The lift doors close. Sam looks
up and down the corridor hearing nothing. Silence. Then
he, and we, begin to hear a sound. It is a curious whirring
murmuring tummeling sound, and it seems to be growing
closer. Suddenly a scrum of PEOPLE swings into view around
a corner at the far end of the rather long corridor. At
the centre of the scrum is a TALL MAN with a magisterial
expression and an air of eternal bustle. This is MR. WARREN.
He is surrounded by the EXPEDITERS who are competing for
his attention with bits of paper and bits of sentences.
Mr. Warren is snapping out decisions. Satisfied Expediters
drop out of the scrum at intervals, disappearing one at a
time through one of the many doors which line both sides
of the corridor.The scrum doesn't get any smaller because
new Expediters dart out of other doors and join the milling
MOB. The whole circus is coming by Sam at the rate of knots.
The sound it makes breaks down into something like this.
EXPEDITER #1
(waving pager)
Mr. Warren, this order...
EXPEDITER #2
(waving same)
Mr. Warren...
EXPEDITER #3
(ditto)
About this invoice... Victim's
list...
WARREN
(dealing on all
sides)
Yes... No... send that back...
wrong department... of course...
of course not... yes... no... maybe.
CUT TO Sam watching this caravanserai with awe as it starts
pass him.
EXPEDITER #4
... about these requisitions...
EXPEDITER #5
Mr. Warren... EX/27 has 15 suspects
still outstanding.
EXPEDITER #6
... a decision, Mr. Warren...
WARREN
... cancel that... okay... put
half as terrorists, the rest as
victims... yes... yes... no...
definitely no...
Sam doesn't have the nerve to jump into this. The scrum
sweeps by and fades away along the corridor, and finally
disappearing around the corner at the other end. Sam
follows. Silence has descended again.
INT. CORRIDOR - DAY
Sam gets to the corner of the corridor and finds a similar
corridor at right angles. He hesitates and continues. Then
he starts to hear the sound again. It is coming up from
behind. Mr. Warren has circumnavigated the building. The
same sort of business is being enacted at the same pace.
As the scrum reaches Sam he gathers his nerve and jumps
right in beside Warren, and keeps going.
SAM
(in a hurry)
I'm Lowry, Mr. Warren... Sam Lowry.
WARREN
(putting arm around
Sam)
Ah. Lowry... yes.
(still dealing with
Expediters)
... no, cancel that... glad to
have you aboard... yes... no...
don't be ridiculous Jenkins...
Yes, yes, yes... you'll like it up
here... send that back... we've
got a crack team of... are they
kidding?... decision makers... No,
in triplicate... I'm expecting big
things... two copies to Finance...
of you... send that to Security...
uh, uh, uh.
(poring over forms)
Uh, don't let Progress see this...
between you and me, Lowry, this...
no, no... department... tell Records
to get stuffed... is about to be
upgraded and...
Warren suddenly pivots around, swinging Sam 240 degrees in
the direction they came from plus a bit.
WARREN
Ah, here we are!
(they are standing
facing a door one
of the hundreds of
identical doors
lining these
corridors)
What do you think?
The door says: "OFFICER DZ/015"
Sam has no idea what he ought to say.
WARREN
(solemnly)
Your very own number... on your
very own door... and behind that
door
(he turns the knob
and opens the door)
... your very own office.
Congratulations, DZ/015, welcome
to the team.
Warren whirls off in a flurry of paperwork and Expediters
leaving Sam standing dumfounded at the entrance to his
office.
CUT TO:
SAM'S POV OF THE OFFICE
It is about four feet wide. A small blacked-out window
high on the far wall is bisected by what looks like a
recently constructed side wall. The room is bare except
for a chair and a desk which is also bisected by the new
wall. Pneumatic tubes hang from the ceiling. Sam slowly
enters the room.
INT. SAM'S OFFICE - DAY
Sam looks lost... disoriented. He doesn't know where to
begin because there's nothing to begin with. He squeezes
in behind his desk and for want of anything else to do
starts arranging his "in" and "out" baskets. There in his
"in" basket is one of the ubiquitous executive toys gaily
wrapped with a card from Helpmann Merry Xmas & Welcome.
Sam can't quite believe. He returns to lining up his
pencils, placing a couple of bocks (phone books) against
the wall on the left extreme of his desk. Sam turns his
attention away from the books when suddenly they both fall
over with a "plop". Puzzled, he stands the books up again,
turns his eyes away and "plop". Same result. Intrigued, a
bit exasperated, Sam carefully, and before his very eyes,
the desk begins to disappear into the wall, and "plop",
the books topple over. Puzzled, Sam grabs hold of the desk
and begins to try to pull it back through the wall. The
desk moves back an inch or so, but then stops, somehow
held stubbornly. Sam grits his teeth, reallllly pulls,
grimacing a bit, but the desk won't budge. Intrigued, Sam
gets up, goes around his desk and heads for the door.
INT. CORRIDOR - DAY
CUT TO Sam coming out of his office, turning right and
walking to the next door, the nameplate of which reads:
"OFFICER DV/048."
As is his custom, Sam opens the door without knocking.
INT. LIME'S OFFICE - DAY
CUT TO SAM'S POV. Here is an office much like his. It's
the other half of his room bisected by the partition wall.
The other half of his desk is occupied by a slimy looking,
round-headed little JUNIOR EXECUTIVE wholly occupied with
trying to drag a bit more of the desk into his office. He
is unaware of Sam.
SAM
Hello.
Lime startled, lets go of his desk and vents his irritation
on Sam whom he mistakes for someone else.
LIME
No, you can't have any more chairs!
There's only one left in here now,
and I need that to sit on!
(realizing his
mistake)
Oh... er, sorry. Who are you?
SAM
Sam Lowry.
LIME
(becoming unctuous)
Ah, yes, you're the new boy from
next door, ha ha!
(he advances toward
Sam with hand out
to shake; shaking
hands)
My name's Lime. Harvey Lime. Welcome
to Expediting.
SAM
Ah.
(he pauses looking
around)
Would you mind if I borrowed your
computer console?
LIME
What?
SAM
I'll bring it back in ten minutes.
LIME
You want to take my console into
your office?
SAM
Yes.
LIME
(after a moment's
consideration)
I'll tell you what... You tell me
what and I'll do it for. I'm a bit
of a whizz on this thing.
(indicates computer
console)
Sam hesitates, but sees that there's
no other way.
SAM
(taking print-out
on Jill from his
pocket)
Alright. There's someone I want to
check out. A woman called Gillian
Layton.
LIME
(leering)
A woman eh? I see.
SAM
(trying to ignore
this)
I know her age and distinguishing
marks. But I need an address or a
place of work or something
LIME
(continuing to leer)
This is your dream girl, is it?
SAM
(taken aback)
What?
(recovering)
Look, let me use the console for a
few minutes.
LIME
(trying to be jocular)
You must be joking
(entirely
unconvincing)
When there's a woman involved
there's no stopping me. Now, let
me have that sheet.
He takes Jill's print-out sheet from Sam and begins to
punch the keys laboriously with one finger. Nothing happens.
LIME
Sod it, it's broken!
SAM
You haven't switched it on.
LIME
Oh yes. Look you're putting me
off, standing there! Go back to
your office and I'll give you a
knock when I've finished.
Sam hesitates, but goes.
LIME
Go on. I'm not going to elope with
her.
Sam exits.
INT. SAM'S OFFICE - DAY
Sam is sitting in his office listening to the protracted
one finger exercise which is going on next door. He stares
dumbly at the shining, absolutely useless, executive toy.
EXT. ICY SEA ANTI - DAY
The CAMERA skims along over an icy sea. This is SAM'S POV
as he wings his way over the water with his new gleaming
wings. In the distance rises a strange massive ship.
As he gets closer we can see that the snip is listing
heavily to one side. In fact it is barely afloat. Closer
still, it becomes apparent that the ship is made of stone.
Dark, evil, grey blocks of granite form not only the hull,
but the super-structures and smokestacks. It looks like a
massive medieval fortress gone to sea. The screen is
engulfed in stone. The CAMERA heads up the side of the
ship. Higher and higher we climb past course after course
of mammoth stones. Reaching the first deck, we continue
upwards. There appears to be no entrance. Sam is looking
frustrated and angry. But then he spots an opening. A few
stones have come loose one of them juts out forming a
ledge. As the cage passes, Sam jumps and managed to gain a
foothold on the outcropping. Squeezing thru the gap in the
rocks, he makes his way thru a dark passage. Emerging from
the opening he finds himself teetering over an enormous
abyss formed by the outer hull and the inner stone core of
the ship. Great stone ribs curve downwards thru the darkness
broken only by narrow shafts of brilliant light streaming
from occasional cracks and fissures in the stone core. For
a brief moment Sam gets a glimpse of blue sky thru one of
the openings but his attention is distracted by a distant
moan. Huddled far below him at the bottom of the dark abyss
are hundreds of grey shrouded Prisoners. Their moan blends
with the creaks and groans of the stones as the ship slowly
wallows back and forth. Suddenly a great boom resounds
throughout the ship. Sam is unsure where it comes from.
And then another boom reverberates about him. He has to
steady himself as the ship quivers from the noise. Another
book. He clutches at the wall.
INT. SAM'S OFFICE - DAY
Sam's head is leaning against the wall of his office. The
boom repeats. LIME is knocking on the other side. Sam leaps
up. As he leaves his office he looks back to see the desk
creep through to Lime's office a little bit more.
INT. LIME'S OFFICE - DAY
Sam enters. Lime is standing, proudly holding out a sheet
of paper.
LIME
Computers are my forte.
SAM
(reading)
Gillian Layton, age twenty three,
eyes, blue, hair, black, weight,
one hundred and twenty-one pounds,
distinguishing marks, blemish on
right shoulder, scar on left elbow
He stops, having come to the end.
He looks at the other side of the
paper but there's nothing there.
Is this all you got?
LIME
It's a start isn't it.
SAM
(disbelieving)
But I already knew this!
LIME
Best to take it slowly where some
women are concerned.
Sam sits on Lime's chair and deftly punches the computer
keys.
LIME
Hey that's my desk!
SAM
(working quickly)
Gillian Layton Suspect S/5173.
Truck driver! All enquiries,
reference officer 412/L Room 5001.
(switching off the
machine and getting
up)
That's what I wanted to know. Thank
you very much.
INT. CORRIDOR - DAY
Sam heads off down corridor. WARREN & CO. appear.
WARREN
Ah, Lowry, glad I caught you...
(he continues to
deal with expediters
in between dealing
with Sam)
No, send it back for... Are you
settling down?... I want this order
rescinded... There's a query on a
personnel transporter you took out
from the pool... Tell them no,
tell them yes,... or was it a
personnel carrier you took out
from transportation... Send that
up to Security... Some kind of
eight-wheel- half-track, was it?...
Tell him I want to see him... Send
round the paperwork, Lowry...
Arrange a conference on that one...
Anyway, tidy it up, Lowry, there's
a good chap get a new suit. Did
you want the lift?
The cavalcade is passing the lifts. Sam backs away into
the open lift. The cavalcade passes on out of sight. The
lift contains a CHARLADY with a bucket and mop. She remains
in the lift as Sam joins her.
INT. THE LIFT - DAY
Sam presses the button for the 50th floor. The lift doors
close on him and the Charlady. From somewhere far away
there is the groaning shriek of a man in pain. Sam glances
around the lift. There appears to be an air conditioning
vent in the ceiling.
Sam glances enquiringly at the Charlady who merely smiles
at him. Another scream is heard.
SAM
What's that?
The Charlady smiles again.
SAM
Doesn't that disturb you?
The Charlady fiddles with something in her ears and pulls
out a pair of wax earplugs.
CHARLADY
Beg your pardon?
The lift arrives.
INT. 50TH FLOOR CORRIDOR - DAY
The lift arrives. Sam steps out. The Charlady remains in
the lift. The doors close. Sam heads down surgically clean
white-tiled corridor.
Passing a white-coated TECHNICIAN monitoring what appears
to be electric meters, Sam comes to a door with 5001. Above
the door a red light is glowing. Sam knocks. The red light
goes out and a green light comes on. Sam enters.
INT. ROOM 500L - DAY
Inside there is a connecting door to he next door room but
the only person in the immediate room is a pleasant-looking
FEMALE TYPIST, wearing headphones, chewing gum and typing
with great facility. Sam approaches the Typist who, busily
typing, twinkles a greeting (mimed) and silently mouths
the words...
TYPIST
It won't be long now.
(she carries on
typing)
Sam nods, and stands quietly by
her. He can hear tiny sounds coming
through her headphones. He looks
down at the piece of paper in the
typewriter. He reacts a bit
strangely, perhaps even winces. We
see he close up of the words being
struck crisply on paper.
ON TYPEWRITER
AHHHH, Oh God... No, don't... UHH,
please... I... STOP!! I can't
stand... AIIEEEE.
TYPIST
(quietly, still
typing)
Can I help you?
She is looking at Sam helpfully, holding one of the
earphones away from her ear. From this earphone we can
just hear quietly...
EARPHONE
Oooooooh... aaaaaahhh... please...
arrrrrghhhh no... please... Oh
God, No... No, stop, I don't know...
SAM
I'm looking for Officer 412/L.
The Typist nods smiling. She puts back the earphone and
carries on typing.
TYPIST
I'm sure he won't be long now.
She types a little more but suddenly stops.
TYPIST
I thought so!
She takes off the earphones and takes the paper and
carbonums out of her typewriter and starts collating all
the different copies.
Through the frosted glass door leading into the next area,
Sam can see a FIGURE come through a double door and turn
left, making a silly 'hi' sign to the Typist as he exits
from sight. She is charmed. Almost immediately after them,
a white-coated TECHNICIAN exits, but to the left.
TYPIST
You can go in now.
INT. JACK'S OFFICE - DAY
Sam goes through the glass door and is about to push open
the double doors in front of him. He is halted by a noise
from the Typist she indicates that he is to go to the
left. He does so and enters an office. An antique desk
with a large collection of executive toys and other
tastefully reassuring furniture fill the room which is a
rather oddly shaped... distorted as it by the curved wall
of the much larger room that Sam was stopped from entering.
Nevertheless the feel of the room is confidently successful.
A buzzing noise draws Sam's attention to the wash basin in
the far corner. The Information Retrieval Technician is
standing by a sink massing his temples with old-fashioned
scalp vibrators. His back to us.
SAM
Excuse me. Are you office 412/L?
The Technician makes no sign of having heard this. He
continues vibrating his temples.
SAM
(a bit louder)
Er, excuse me!
Getting no response Sam walks over to the Technician. As
he passes the desk he notices a strange mask lying face
down on the desk top. It seems strangely familiar but as
it is a negative concave image Sam isn't sure. He continues
over to the Technician.
SAM
(louder)
Excuse me.
He touches the Technician on the shoulder, who jumps with
a start. He spins around and turns out to be none other
than Jack Lint. He is amazed to see Sam.
SAM
(surprised)
Jack!!
JACK
(recovering slightly)
SAM! What a surprise!
SAM
(even more surprised)
Are you officer 412/L?
Jack looks confused. He pauses, and then removes ear plugs.
JACK
(shaking Sam's hand)
Sorry about that... Mr. Helpmann
told me you were coming aboard
congratulations!
SAM
Thanks. Are you officer 412/L?
JACK
For my sins. Are you settling in
alright?
SAM
Yes, thanks.
JACK
Terrific. I'm really glad you
dropped by. Unfortunately, I don't
have any time right now I've got a
queue of customers to deal with
er, why don't we have a drink
tonight?
SAM
(diffidently)
Ah...
JACK
What?
SAM
I don't want to take up your time
now, but I was hoping you could
give me some information on
somebody. It's a security level
three matter and Information
Retrieval records says to refer to
you.
JACK
OK. Come back this afternoon, about
four o'clock. If you give me the
number of the case, I'll have the
dossier here waiting.
(he pulls card from
his pocket pushes
it towards Sam)
My tailor,... well worth the
investment.
SAM
(taking print-out
sheets from his
pocket)
I've got numbers all over these
I'm not sure which is the one you
want.
JACK
(looking at the
print-out picture
of Jill over Sam's
shoulder)
Layton! Oh shit!
SAM
What is it?
JACK
You clever bastard! I might have
guessed. You only moved in today
and you're already hot on the bloody
trail.
SAM
Am I?
JACK
Please, Sam, we're going to have
to be open to each other on this
one. If you make a reputation with
this case, it'll be at my expense.
SAM
How do you mean?
JACK
How much do you know?
SAM
Not much.
JACK
Enough though, eh?
SAM
(getting sucked
into this exchange)
Not really, no.
Jack goes over to the sink and turns on the taps full blast,
splashing the water noisily into the basin.
JACK
OK. OK. Let's not fence around...
This is the situation. Some idiot
somewhere in the building, some
insect, confused two of our clients,
B58/732 and T47/215.
SAM
B58/732, that's A. Buttle isn't
it?
JACK
Christ! You do know it all!
SAM
No, no, I don't. I'm just beginning
Honestly. Sorry, carry on.
JACK
Well, your A. Buttle has been
confused with T47/215, an A. Tuttle.
I mean, it's a joke! Somebody should
be shot for that. So B58/732 was
pulled in by mistake.
SAM
You got the wrong man.
JACK
(a little heated)
I did not get the wrong man. I got
the right man. The wrong man was
delivered to me as the right man!
I accepted him, on trust, as the
right man. Was I wrong? Anyway, to
add to the confusion, he died on
us. Which, had he been the right
man, he wouldn't have done.
SAM
You killed him?
JACK
(annoyed)
Sam, there are very rigid parameters
laid down to avoid that event but
Buttle's heart condition did not
appear on Tuttle's file. Don't
think I'm dismissing this business,
Sam. I've lost a week's sleep over
it already.
SAM
I'm sure you have
JACK
There are some real bastards in
this department who don't mind
breaking a few eggs to make an
omelette, but thank God there are
the new boys like me who want to
maintain decent civilized standards
of terrorist eradication. We've
got the upper hand for the moment,
but they're waiting for us to slip
up, and a little slip- up like
this is just the chance they're
looking for.
SAM
So how...?
JACK
What I've got to do now is pick up
Tuttle, interrogate him at the
same voltage as Buttle, to the
same meter reading to the last
penny, and juggle the books in
electrical banking.
SAM
What has Tuttle done?
JACK
We suspect him of freelance
subversion.
SAM
(dumbly)
He's a freelance subversive?
JACK
He's a compulsive heating engineer.
A maverick ex-Central Service repair
man with a grudge against society.
Now, fortunately, we're nearly out
of the wood, I think. At least we
will be when I get this Layton
woman under arrest.
Jack turns off taps and goes behind screen.
SAM
(agitated)
What's she done?
JACK
You didn't know as much about this
business as you pretended to, did
you?
SAM
Er... no.
JACK
Very smart.
SAM
Er... but I would've found out
anyway.
JACK
Yes. I'm impressed.
SAM
(playing the game)
Tell me about Layton.
JACK
She witnessed the Tuttle arrest
the Buttle arrest and since then
she's been making wild allegations,
obviously trying to exploit the
situation she's working for
somebody, and she's not working
for us.
SAM
A terrorist?
Jack comes from behind the screen with a look confirming
just what Sam fears, and hands him a suit.
SAM
Ah... thanks.
Sam begins to put the suit on.
SAM
(hesitantly)
But surely, I mean, perhaps she
just happened to live above the
Buttles, and...
JACK
(picking up
photograph of wife
and kids from his
desk)
Look after that suit, eh. Barbara
chose it for me.
SAM
Right. Er, you're not going to
keep calling her Barbara, are you?
JACK
Barbara's a perfectly good name,
isn't it?
SAM
(preferring to let
his drop)
Look, about the Layton woman maybe
she's just trying to help the Buttle
family.
JACK
Why?
SAM
Why? Hell, not for any reason...
JACK
(baffled)
I don't follow you.
SAM
Out of kindness.
JACK
(utterly baffled)
Kindness? What's the purpose behind
this line of enquiry?
SAM
(deciding to abandon
this line of country)
So what are you going to do about
her?
JACK
Get her out of circulation I've
put her on the detention list.
SAM
(thinking fast)
You mean you're going to invite
her in so that she can spill the
beans inside the department?
JACK
(taken aback)
Well, I... Good point. What do you
suggest?
SAM
Let me try to get to her. I'll
deactivate her.
JACK
What does that mean? I don't want
to be involved in anything
unsavoury.
SAM
Trust me. You do trust me, don't
you?
JACK
Of course. We went to school
together. You're my oldest friend.
SAM
And you're mine.
JACK
You're the only person I can trust.
SAM
Then we'd better keep this business
just between the two of us.
JACK
Right! Just between as and the
Security Forces.
SAM
They weren't at school with us.
JACK
But, I've already put her on the
search and detain list.
SAM
Take her off the list.
JACK
There's no procedure for that until
she's been arrested.
SAM
Say it was a mistake.
JACK
We don't make mistakes.
SAM
Well, I'd better get out there and
try to get to her before security
does. Let me borrow her dossier
for a while.
JACK
Er... alright. For Christ's sake
don't lose it. Here, you'd better
sign for it.
Jack presents Sam with something to sign. He then gives
him the dossier.
SAM
Thanks, Jack. I'll be in touch.
JACK
Do you know what you're doing.
SAM
(about to say no,
then pauses)
Trust me.
JACK
(admiring Sam's new
look)
Sam... we're proud to have you at
Information Retrieval. Merry Xmas.
(he hands Sam another
executive package)
INT. CORRIDOR - DAY
Sam steps out of Room 5001, newly suited with old suit
over arm. TWO GUARDS are guiding a BAGGEE down the corridor
ahead of him. Suddenly, the Baggee breaks away from his
Guards and begins to cannonball down the corridor directly
at Sam. Sam is flattened against the wall as the Baggee
rockets by.
CUT TO GUARDS strolling past Sam.
CUT TO BAGGEE running full tilt to the end of the corridor,
smashing into the wall, bouncing back, getting up (now
cross-ways in the corridor), bouncing off that wall, then
the wall behind him, then...
INT. LIFT - DAY
Slightly unnerved, Sam gets in the lift, pushes the button
for his floor the 30th and immediately begins perusing
Jill's dossier. The lift descends. But unnoticed by Sam
continued past his floor without stopping. It stops at the
Lobby Mezzanine. Sam looks up and realizes he is on the
wrong floor. Angrily he pushes the correct floor number
but before the doors close he hears an angry woman's voice
echoing through the massive lobby. He looks in the direction
of the porters desk. There stands Jill arguing with the
PORTER.
JILL
But you've stamped this form before!
Why won't you stamp it now?
PORTER
You've just said yourself, Miss,
we've already stamped it. Why should
we stamp it twice?
Sam is frozen. He can't believe what he sees. The lift
doors close. Sam is too slow to stop them. Madly he pushes
the buttons to no effect. The lift descends. (At this
point we had better describe the lift. It is a cross between
the old metal grille lifts with accordion grille doors and
the super-sleek modern lifts that rise and fall in glass
tubes so that one can have panoramic views of dramatic
architectural spaces such as the lobbies of the Ministry.)
Sam can see Jill and if Jill were to look up she could see
Sam descending. He is shouting and rattling the bars of
the lift cage but no sound escapes to catch her attention.
Sam sinks below the floor of the lobby desperately trying
to stop the demon lift. From his POV we see Jill
disappearing from view still arguing with the Porter.
INT. BASEMENT - DAY
The lift comes to rest. Sam is still trying to get it to
respond and return him to the lobby. TWO TECHNICIANS are
waiting as the doors open. From Sam's POV he sees them
hang a sign on the door and walk away. He bangs the buttons
for another moment with no result. He looks out of the
lift and is able to read the sign "LIFT OUT OF ORDER".
Frantically he looks around for another lift. All the others
are on distant floors then he spots one off to one side,
its doors standing open. Rushing over to it he leaps inside
and reaches to push the floor number but there are no
numbers on the buttons, only letters. Before he can sort
this out a voice shouts at him.
VOICE
Hey, you get out of there.
A GUARD approaches looking tough and mean.
GUARD
What do you think you're doing...
that's the Deputy Minister's lift.
SAM
Sorry, I'm in a hurry.
GUARD
Hold on, sonny... let's see your
I.D.
Sam fumbles through his pockets desperate to get back to
the lobby before Jill leaves. He has forgotten he is wearing
his new I.D. badge. The Guard can't see it because Jill's
dossier is covering it.
SAM
Shit... it's here somewhere. My
name's Lowry, Sam Lowry
Expediting... can't this wait?
GUARD
No, sir...
(getting out book
of forms)
I'm going to have to file a report
on this. Now... what date is it
today?...
Sam gives up trying to find his I.D. card.
SAM
(frantic)
Sorry, it'll have to wait.
He runs off dropping suit towards some stairs he has
spotted.
GUARD
Stop!! Come back!
He starts to run after Sam. TWO OTHER GUARDS also give
chase.
INT. STAIRS - DAY
Sam scrambles up the stairs. GUARDS in pursuit.
INT. BASEMENT - DAY
The original Guard rushes over to a guard desk and inserts
key into cover of what is clearly an alarm button.
INT. STAIRS - DAY
Sam still running.
INT. LOBBY - DAY
Jill is still arguing with Porter.
JILL
(sweetly)
You're a stupid, fat arsed,
obstructive, fascist moron aren't
you?
PORTER
If you say so.
JILL
You think these are tits don't
you?
PORTER
Ah.
JILL
I bet you'd like to touch them?
PORTER
Oh.
JILL
Well don't. You're looking at twenty
pounds of high explosive! And if
you don't stamp this form I'm going
to blow the place up!
Jill thumps the desk with her fist.
INT. BASEMENT - DAY
The Guard throws the alarm switch.
INT. LOBBY - DAY
Alarm bells start ringing and from secret doors heavily
armed GUARDS leap out, their guns trained on Jill as she
appears to be the only person around.
GUARD
(shouting)
DROP IT!!
Jill has only the form in her hand which she dutifully
drops. She is terrified by the suddenness and size of the
response to her hitting the desk. The Guards close in.
Sam rushes out of the door leading to the stairs. He can't
believe the sight that greets him. He responds
instinctively,
SAM
STOP! Let her go!
He rushes over to the Porter's desk just as the Guards
behind him come through the door. He doesn't have a clue
what he is going to do but, as he reaches the group of
Guards they snap attention. Confused he looks around and
then realizes his I.D. badge, is on his lapel and the Guards
are responding as trained. The Guards chasing him screech
to a halt when they see the others snapping to attention.
Everyone looks confused, embarrassed, hesitant to make the
next move. Sam breaks the silence.
SAM
Well done... uh... excellent work...
quick thinking. I'll take charge
of her now...
Realising he has Jill's dossier, he shows it to everyone
her print-out pictures are on the front page. It's a
classified matter... I'll include your fine handling of
the situation in my report
Sam is suddenly aware he is still holding the executive
toy present he hands it to the Porter.
SAM
(grabbing Jill)
Come with me, please.
He hustles her towards the door.
EXT. INFORMATION RETRIEVAL BUILDING - DAY
Sam marches Jill out of the main door and down the front
steps of the Information Retrieval building. As he struggles
with her some of the papers in the dossier slip out
unbeknownst to Sam and leave a trail of litter behind them.
JILL
Who are you? Let go!
SAM
Don't look back! Act naturally!
JILL
How can I act naturally, when you've
trying to break my arm?
CUT TO THE POV of the Ministry of Information front door
Guards. They are looking down the steps at the retreating
backs of Sam and Jill who are jostling each other. The
Guards see Jill elbow Sam in the ribs.
SAM
(wincing)
Ow! That hurt!
JILL
Good!
VOICE FROM BEHIND
STOP! Come back here!
SAM
Oh, God... no!
He turns around, knowing that the game is up. But instead
of one of the Guards shouting it's an OLD LADY angrily
glaring at him and pointing to a "Keep your city tidy"
sign above a litter bin.
OLD LADY
(screaming)
Can't you read english? You
illiterate foreign pig! You come
here from your own filthy country
and think you can mess our streets
up! You should be fried alive, you
dirty verminous... etc. etc.
Sam sees the trail of dossier litter blowing about the
pavement. He lets go of Jill for a moment to grab at the
papers. The Lady continues screaming at him, her little
Pekinese dog (who incidentally wears a plaster over his
bum hole) yaps at his ankles, ripping Sam's new trousers.
Sam is torn between trying to regain the pages of the
dossier and following Jill who has disappeared round the
corner. He gives up retrieving the paper and rushes after
Jill.
CUTTING BACK to the two Guards, who have been observing
all this bizarre activity, we see one of them reading one
of the pieces of paper.
OTHER GUARD
Hey, you shouldn't be reading that
it's classified.
EXT. JUST AROUND THE CORNER - DAY
Jill is behind the steering wheel of her lorry which is
just starting to move off. Sam frantically runs towards
the lorry, leaps on the running board and pulls himself up
into the cab.
INT. LORRY CAB - DAY
SAM
(climbing in)
Well done, that's it... Let's go!
Vrmmm. Vrmmm.
Sam looks up and down his side of the street anxiously
before realizing that Jill has switched off the engine and
is sitting glaring at him. They are stopped, right in front
of the Ministry building.
SAM
(frantic)
What are you doing? For Christ's
sake! Get moving!
JILL
Who are you?
Desperately Sam pulls roller blind down over window.
SAM
(hurriedly)
Sam Lowry. Hello. This sounds
insane, I know, but I've been
dreaming about you. Even before I
saw you you were in my dreams.
Weird isn't it. I mean... I don't
know what it means... but it might
mean something... mightn't it? I
hope so. Anyway you're in danger
and I think we should get out of
here, now, quick! Come on!
Still Jill does nothing. Sam pulls down roller blind over.
window.
SAM
(desperate)
Bloody hell! Do as I say!
JILL
(hard, icy cool)
No.
SAM
(beginning to lose
his bottle)
Please!
Jill continues to sit, glaring.
Sam delves into his pockets and drags out a handful of
I.D. cards and papers, most of which fall onto the floor.
He then remembers that the badge he's looking for is pinned
to his jacket. He thrusts it forward at Jill.
SAM
(beside himself
with panic)
Alright! Alright! Alright! I'm
Information Retrieval Officer
(he checks the number
somewhere. On the
badge?)
DZ/015, and I'm arresting you for
your own good! Now start up and
get moving before I hand you back
to them!
(indicating M.I.
building)
JILL
Them?
SAM
Us. Them. I don't know... just get
going.
Jill starts up and moves off, very cool, in her own time.
By now Sam has got the shakes.
JILL
(indicting the papers
that Sam has dropped)
Don't litter my cab!
SAM
(picking them up)
Oh, sorry.
EXT. CITY FREEWAY - DAY
A high shot of the lorry, moving through the city among
traffic.
INT. TRAVELLING LORRY - DAY
Jill is preoccupied with driving. She is smoking a
cigarette. Sam occasionally glances at her.
SAM
... This is amazing... for me...
being here with you. I mean, in my
dreams you...
JILL
I don't want to hear about your
fucking dreams!
SAM
Oh. But... Look, I'm sorry I shouted
at you.
JILL
(mainly to herself)
Why are they all pigs at Information
Retrieval?
SAM
I don't know.
(realizing that
this includes him)
Hey, that's not a very nice thing
to say.
Jill blows smoke in Sam's direction.
SAM
(waving the smoke
away)
You know, smoking's bad for you.
JILL
It's my fucking life.
SAM
(winding down the
window)
Yes, of course. Sorry.
JILL
(lighting up another
cigarette)
I know you. I saw you through the
floor, didn't I?
SAM
Yes. Ceiling. Why did you run away?
JILL
I didn't run away. I left the flat.
SAM
Why?
JILL
I didn't like it.
SAM
Why not?
JILL
It had a hole in the floor. Where
are we going? Where are you taking
me?
SAM
What?
JILL
Where are you taking me?
SAM
Ah... Er... It looks as if you're
taking me.
JILL
It does doesn't it?
SAM
(slightly worried)
Where are you taking me?
EXT. TRAVELLING LORRY - DAY
WE PULL BACK and lift off to see that the beautiful
countryside through which we've been travelling is in fact
a solid wall of giant bill-boards, advertising all sorts
of wonders like pine scented lavatory paper, sea spray
flavored cigarettes you name it These advertisements
form an unbroken corridor down which the road travels.
From a bird's eye POV we see that the land behind the
hoardings is blasted and blighted with garbage etc.
EXT. POWER PLANT - DAY (LATE AFTERNOON)
The power plant is an extensive, brutal, Dante's Inferno
of a landscape made mainly of steel... towers, chimneys,
huge pipes, buildings which look like bomb shelters... It
is still daylight but the whole scene is murky and
forbidding because of the swirling steam and smoke. In the
murk can be seen sinister-looking FIGURES in protective
clothing and hard hats.
This is the world which is now entered by Jill's lorry...
The lorry halts at a despatching hut near the crane and
Jill jumps down from the cab. Sam stays inside, looking
around. Something catches his eye.
CUT TO:
FACADE OF HOUSE
Window boxes with flowers and shrubbery surrounded by a
white picket fence provide domestic charm, however, in the
doorway stands a MAN with protective clothing and something
like a gas-mask over his face. He is waving to someone.
Slowly the house rises out of frame.
In a WIDER SHOT we can see the house is suspended from and
a giant crane that swings it through the air air filled
with stead, smoke, evil-smelling fumes. It is lowered onto
the back of a lorry and we can see that the house is one
of many prefabricated houses used in the construction of
the power plant.
INT. LORRY CAB - DAY
Sam watches Jill walk away from the lorry and enter the
despatcher's hut. He looks around uneasily and then he
start examining the inside of the lorry and opens a
compartment which seems to be full of maps, rags, etc. He
gets grease on sleeve of his suit. In the space behind the
seats he finds the pieces of luggage which Jill had carried
away from the flat. He starts to examine this cautiously
and is startled by the sudden opening of the cab door.
JILL
Don't act guilty. Act like me. I'm
just getting on with my job. Or,
are you just getting on with yours?
Jill gets into the cab and closes the door and drives to a
forward looking position.
SAM
What's going on here?
JILL
What does it look like... I'm
collecting empties.
The lorry stops and Jill gets out. From Sam's POV, the
house suspended from the crane starts moving through the
sky towards the lorry. He glances back to see Jill slip a
package out from behind the seat. She glances
surreptitiously over her shoulder and slipping the parcel
inside her jacket she walks away.
EXT. LORRY - LATE AFTERNOON
Sam climbs down from the cab trying to keep an eye on Jill.
He ends up standing next to a rusty Kodak Photospot
standard. The picture on it though faded by pollution is
of the beautiful valley that has now been replaced by the
murk and mess of the power plant. Jill has made her way
over to a rather SHADOWY FIGURE lurking around the corner
of one of the metal structures. They appear to be exchanging
parcels. Sam is worried by this suspicious behaviour
reinforced as it is by a Ministry poster on the side of
the building that illustrates, almost identically, the
action we have just seen along with the warning: "MIND
THAT PARCEL. EAGLE EYES CAN SAVE A LIFE".
CUT TO the house being lowered and secured onto the lorry.
INT. LORRY CAB - LATE AFTERNOON
Jill is starting up the lorry. Sam is glancing over her
shoulder at the suspicious parcel which is tucked behind
her. They move off. The last view of the power plant is of
a group of MEN all in protective clothing and masks happily
playing a game of volleyball.
INT. TRAVELLING LORRY - LATER AFTERNOON
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.
INT. TRAVELLING LORRY IN CITY TRAFFIC - DUSK
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.
EXT. CENTRAL SUPPLIES - DUSK
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.
INT. LORRY - DUSK
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? 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.
EXT. CENTRAL SUPPLIES - DUSK
The lorry skids around a corner and roars down a side street
of containers.
INT. LORRY - DUSK
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.
EXT. CENTRAL SUPPLIES - DUSK
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.
INT. LORRY - DUSK
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.
EXT. CENTRAL SUPPLIES - DUSK
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.
INT. LORRY CAB - DUSK
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!
EXT. DOMESTIC STREETS - DUSK
The lorry roars down a street of terraced houses and then
screeches around a corner.
INT. LORRY - DUSK
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.
EXT. DOMESTIC STREET - DUSK
The house slides off the trailer which is skidding sideways
and crunches to the ground just as the Security vehicles
round the corner.
INT. SECURITY VEHICLE - DUSK
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.
EXT. DOMESTIC STREET - DUSK
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.
INT. JILL'S LORRY - DUSK
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
EXT. DOMESTIC STREET - DUSK
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.
INT. LINGERIE DEPARTMENT / SHOPPING CENTER - DAY
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 was 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.
(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.
INT. STONE SHIPANTI - DAY
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.
INT. BLACK MARIA - EVENING
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.
INT. SAM'S OFFICE - EVENING
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.
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.
WARREN
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)
INT.30TH FLOOR CORRIDOR - DAY
Sam rushes out of his office after Lime. But, Lime has
locked his door. Sam bangs on the door.
SAM
Shit!
INT. SAM'S OFFICE - DAY
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. The 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.
INT. SAM'S CORRIDOR - CONTINUATION
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.
INT. JACK'S OFFICE CORRIDOR & INFORMATION - EVENING
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)
INT. LIFT - EVENING
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.
INT. INFORMATION RETRIEVAL LOBBY - EVENING
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.
EXT. MINISTRY OF INFORMATION RETRIEVAL - NIGHT
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.
EXT. JUST AROUND THE CORNER - NIGHT
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.
INT. STONE SHIPANTI - DAY
DREAM GIRL'S VOICE
I'm here Sam. Don't give up.
Sam is pushing through 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 through the ship and a black shadow
falls across Sam and the wings. Looking round he sees 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.
EXT. JUST AROUND THE CORNER - NIGHT
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.
INT. SAM'S CORRIDOR - NIGHT
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...
INT. SAM'S FLAT - NIGHT
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.
INT. SAM'S CORRIDOR - NIGHT
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.
INT. MOTHER'S CORRIDOR - NIGHT
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.
INT. MOTHER'S FLAT - NIGHT
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.
INT. INFORMATION RETRIEVAL FOYER - NIGHT
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.
INT. BASEMENT - NIGHT
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.
CLOSEUP 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. "Here I am,
J.H."
Sam is already typing the letters "EREIAMJH" into the
keyboard. The lift judders and star s to ascend.
INT. MR. HELPMANN'S OFFICE - NIGHT
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 CLOSEUP 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
CLOSEUP 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.
INT. MOTHER'S FLAT - NIGHT
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.
INT. STONE SHIPANTI - DAY
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.
INT. MOTHER'S BEDROOM - DAWN
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.
INT. PROCESSING AREA - DAY
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. Would you like to
pay the premium for a single room
with a shower and a soft bed? For
a small charge we can keep visits
from friends and relatives down to
to a minimum. Plead guilty, it's
easier, quicker, and cheaper for
everyone. We're doing a survey...
Aimed at providing a better service.
Do you think the present system is
A. efficient, B. inefficient? As
a taxpayer are you A. impressed,
B. unimpressed
INT. STONE SHIP - TIMELESS
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.
INT. CELL DAY / NIGHT
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.
INT. INFORMATION RETRIEVAL ROOM - NIGHT
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!
INT. CORRIDORS - NIGHT
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.
INT. ENDLESS STAIRWAYS - NIGHT
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
INT. INFORMATION RETRIEVAL LOBBY - NIGHT
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.
EXT. FORECOURT - NIGHT
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 TV 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.
EXT. CITY PASSAGES - NIGHT
Sam runs madly through paper-littered passages
EXT. SHOPPING PRECINCT - NIGHT
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.
INT. MOTHER'S FLAT - NIGHT
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.
INT. MOTHER'S BEDROOM - NIGHT
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.
INT. MOTHER'S FRONT DOOR - NIGHT
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?
EXT. A CORNER - NIGHT
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.
INT. CHAPEL OF OUR LADY OF THE CHECK-OUT COUNTER - NIGHT
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.
EXT. MAZE-LIKE DARK PASSAGES - NIGHT
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.
INT. HABITATION UNIT - NIGHT
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.
EXT. CITY - NIGHT
Jill's truck, with the house on its back, is driving
dangerously through he streets. It lurches round the corner.
INT. HABITATION UNIT - NIGHT
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.
EXT. THE ROAD - NIGHT
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...
INT. TRAVELLING LORRY - NIGHT
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.
EXT. SMALL ROAD - EARLY MORNING
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...
EXT. BEAUTIFUL VALLEY - DAY
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.
INT. HOUSE - MORNING
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)
EXT. HOUSE AND GARDEN - MORNING
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:
INT. INFORMATION RETRIEVAL ROOM - DAY
Sam is sitting in the I.R. 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: