Brazil Page #26

Synopsis: Low-level bureaucrat Sam Lowry (Jonathan Pryce) escapes the monotony of his day-to-day life through a recurring daydream of himself as a virtuous hero saving a beautiful damsel. Investigating a case that led to the wrongful arrest and eventual death of an innocent man instead of wanted terrorist Harry Tuttle (Robert De Niro), he meets the woman from his daydream (Kim Greist), and in trying to help her gets caught in a web of mistaken identities, mindless bureaucracy and lies.
Genre: Drama, Sci-Fi
Production: Universal Pictures
  Nominated for 2 Oscars. Another 8 wins & 3 nominations.
 
IMDB:
8.0
Metacritic:
88
Rotten Tomatoes:
98%
R
Year:
1985
132 min
1,232 Views


HELPMANN goes. A GUARD helps him out and then returns with

ANOTHER to help put the restraining bag over SAM.

GUARD:

Don't fight it, son .... confess

quickly ... Before they get into the

expensive procedures. If you hold out

too long you could jeopardise your

credit rating.

The bag blacks everything out.

133 INT. INFORMATION RETRIEVAL ROOM 133

The bag comes off. SAM finds himself strapped into an

Information Retrieval chair. The CAMERA tracks back

frighteningly fast revealing that he chair stands in an

unbelievably vast room. The walls curve up and out of

sight.

The floor doesn't seem to be a floor at all - strange

light undulates beneath. The whole effect is one of total

disorientation and overwhelming size. SAM is desperately

trying to take it in. Next to the chair is a porcelain

tray of evil and frighteningly ambiguous instruments.

Worrysome electrical connections and meters are near at

hand. As the GUARDS leave SAM to take up their positions

near the distant door they hand over documents to the

white-coated INFORMATION RETRIEVAL OFFICER.

GUARD:

11/AFT/607, sir.

They all sign the document which the I.R. OFFICER retains

after giving carbon copies to the GUARDS. The GUARDS then

proceed to the door and take up positions on either side

of it. The I.R. OFFICER heads toward SAM. We can now see

he wears a mask. It is the face of the FORCES OF DARKNESS.

A smiling baby doll face. SAM sits, mesmerized, watching

him approach. Within fifteen or twenty yards of SAM the

I.R. OFFICER comes to an abrupt halt. He seems to sway.

After a moment he turns slightly, hesitantly, giving the

impression that he may return to the door. He looks at the

GUARDS, pauses, straightens himself up, takes a deep

breath and continues again towards SAM, rather more

briskly than before. SAM watches, terrified and

fascinated. The I.R. OFFICER goes to the table which is

covered with evil-looking surgical-type instruments - he

blunders clumsily into it, knocking a couple of them onto

the floor. He picks then up quickly and replaces them.

SAM:

Jack?

The I.R. OFFICER reacts to this as if he's been hit in the

solar plexus, and he tries to disguise it by simulating a

coughing fit. He then picks up a nasty looking implement

and advances on SAM.

SAM:

Jack?... Jack?

JACK:

(hysterically from behind

mask)

Shut up!

SAM:

Jack, I'm innocent! Help me.

JACK:

Bastard!!!

SAM:

This is all a mistake. Jack, please

take that mask off.

JACK is very close to SAM, he is shaking. He lifts up his

mask to reveal sweaty face, contorted with fear and anger.

JACK:

You stupid bastard!

SAM:

What?

JACK:

How could you do this to me?

SAM:

Help me, Jack! I'm frightened!

JACK:

How do you think I feel? You sh*t!

SAM:

Jack ...

JACK:

(pulling down mask)

Shut up! This is a professional

relationship!

JACK comes at SAM with the horrifying implement.

SAM:

JACK!! ... You can't ... No, don't!

SAM's eyes widen in terror. From his POV we look up at

JACK approaching. The ceiling above and behind JACK is

suddenly and. loudly penetrated by the Ceiling Hole

Machine, and in an instant without benefit of "fireman's

pole", the commando-like figure of MR TUTTLE gun in hand,

leaps through the hole.

TUTTLE is immediately followed by similar looking MEN with

balaclavas, guerilla-type clothing, and very efficient

guns. JACK is cut down. So are the TWO GUARDS who have

opened the door from the corridor and are shooting into

the room.

TUTTLE raps out into a walkie-talkie

TUTTLE:

Detonate!

From somewhere near at hand there is a large explosion

which rocks the room. TUTTLE is already unstrapping SAM.

TUTTLE:

Let's go!

134 INT. CORRIDORSNIGHT134

CUT to RESCUERS, with SAM in the middle, fighting their

way in the terrific battle with GUARDS, until they get to

a door leading to the stairs.

135 INT. ENDLESS STAIRWAYS NIGHT135

CUT to RESCUERS, their members thinning, and SAM, fighting

down flight after flight of stairs with lots of neat-oh

violence and blood and, gunshots and ... falling and

bleeding and -

136 INT. INFORMATION RETRIEVAL LOBBY NIGHT136

CUT to the RESCUERS fighting their way to the entrance.

Another group of RESCUERS at the door are providing cover

fire The PORTER sits behind his desk watching the battle

on his bank of monitors.

2ND GROUP

Quick! We've only got thirty seconds

to get clear!

TUTTLE tosses SAM a dark overcoat to cover his light grey

detainee outfit. Together, the TWO GROUPS burst out

through the door into the large empty forecourt.

137 EXT. FORECOURTNIGHT137

The forecourt is suddenly illuminated by huge arc lights.

Machine gun installations open fire. The RESCUERS are

totally exposed.

They are cut down left and right.

Desperately they battle their way across the open space.

Time running out. SAM, knowing the way, leads TUTTLE

towards a shielded spot. Will they make it? As the last

RESCUER is cut down SAM and TUTTLE dive for cover.

KOWBLAMMPOW! A massive explosion. Then another. And

another. SECURITY TROOPS caught unprotected are decimated.

SAM looks up. Christ! The building is being blown to bits.

Certain windows are lit. They spell out MERRY XMAS. With a

final massive haemorrhage the building erupts in a geyser

of masonry, steel, paper and dozens of T.V. consoles and

visual aid apparatus including, in large chunks, MR

HELPMANN's masterpiece. But also tons and tons of paper.

Every file in the building has burst its seams and ejected

its load skywards. The night sky is full of white

rectangular wisps. Ashlike they flutter down over the

city. SAM looks around and can't see TUTTLE anywhere. He

shouts for him. But the remaining TROOPS have spotted SAM

and SAM runs.

138 EXT. CITY PASSAGES NIGHT138

SAM runs madly through paper-littered passages

139 EXT. SHOPPING PRECINCTNIGHT139

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.

Rate this script:5.0 / 1 vote

Terry Gilliam

Terrence Vance "Terry" Gilliam is an American-born British screenwriter, film director, animator, actor, comedian and member of the Monty Python comedy troupe. more…

All Terry Gilliam scripts | Terry Gilliam Scripts

0 fans

Submitted by aviv on November 15, 2016

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Brazil" Scripts.com. STANDS4 LLC, 2024. Web. 26 Nov. 2024. <https://www.scripts.com/script/brazil_634>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Brazil

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What does "parenthetical" refer to in screenwriting?
    A A description of the setting
    B A character's inner thoughts
    C An instruction for how dialogue should be delivered
    D A scene transition