Brazil Page #4

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.

24 INT. SAM'S BEDROOM MORNING24

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.

25 INT. MINISTRY OF INFORMATION LOBBYDAY 25

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 CLOSE-UP. 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.

26 INT. MR KURTZMAN'S OFFICEDAY 26

SAM is busily working at the console, unraveling a problem

while KURTZMAN looks on anxiously and ineffectually.

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