Brazil Page #28

148 INT. HABITATION UNITNIGHT148

- The lurch throws SAM to one side. He picks himself up,

and, fighting the centrifugal force, works his way to the

shuttered window which is at the front end of the house,

in the wall opposite the door. SAM undoes the shutters and

finds himself looking at the rear window of JILL's cab. He

sees the back of the DRIVER's head. The DRIVER is wearing

JILL's cap. He sees the back of the DRIVER's cab. He bangs

on the glass of the cab. The DRIVER raises her head so

that the face is visible to SAM in the driving mirror. He

sees that it is JILL, in a flat cap. She smiles at him.

SAM sobs with relief and love.

149 EXT. THE ROAD NIGHT149

The lorry, travelling slowly now, approaches then breasts

the rise beyond which lies ... looking more than ever ...

JILL'S VALLEY. We ZOOM towards it through a MIX ...

150 INT. TRAVELLING LORRY NIGHT150

Through the windscreen we see the dawn coming up ahead.

The reverse shot shows us JILL driving and SAM next to

her. They glance at each other.

151 EXT. SMALL ROADEARLY MORNING 151

The lorry, travelling slowly now, approaches and then

breasts the rise beyond which lies ... A STUNNINGLY

BEAUTIFUL UNTOUCHED VALLEY. We ZOOM towards it through a

MIX ...

152 EXT. BEAUTIFUL VALLEY DAY 152

Half hidden in the heart of the valley is the truck with

the house on its back. Creepers and wild roses have grown

up over the truck and some of the house. A curl of smoke

rises from a makeshift chimney which has been attached to

one of the walls. A small piece of ground around the truck

has been cleared and made into a pretty garden with a

vegetable plat. There is also a pretty cow, and some

chickens. JILL appears locking like CRUSOE carrying a

basket of eggs.

153 INT. HOUSEMORNING 153

SAM is in the bed, just waking up. He opens his eyes,

locking calm. Off screen we hear the door opening.

JILL (off screen)

Morning. Sleep well?

SAM nods his head slightly, on the pillow.

SAM:

(quietly)

I don't dream anymore.

(he embraces her)

154 EXT. HOUSE AND GARDEN MORNING 154

A high shot. Everything in the garden is definitely

lovely. The music tells us. The music swells and the

camera slowly pulls back, and back. It's a happy ending.

And then, in the foreground, TWO HUGE HEADS appear looking

straight at the camera. It is MR HELPMANN and JACK. They

both shake their heads.

MR HELPMANN:

He's got away from us, Jack.

CUT to their POV.

155 INT. INFORMATION RETRIEVAL ROOM DAY 155

Sam is sitting in the IR chair. He is strapped in. His

eyes are open but miles away. His face is wreathed in a

benign and very happy smile.

JACK:

I'm afraid you're right, Mr.

Helpmann. He's gone.

A wide shot of the room shows us HELPMANN and LINT turn

away and leave. SAM is left alone. He is humming.. The

camera pulls back and back. The Information Retrieval room

with SAM in it floats away into the most beautiful

glorious sky ever.

SAM's humming into a full orchestra, and we hear ......

"Brazil, where hearts were entertained in June,

We stood beneath an amber moon,

And softly murmured 'Some day soon'

We kissed and clung together,

Then, tomorrow was another day.

The morning found me miles away,

With still a million things to say,

Now, when twilight beams the sky above,

Recalling thrills of our love,

There's one thing I'm certain of,

Return, I will,

To old Brazil."

THE END:

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