DISSOLVE TO:
INT. COUNSELORS OFFICE -- DAY
AN EYE
For a brief moment we still hear the CELLOS. And in the eye, the last of
the fractals are spinning away, leaving us with the iris. A nice blue
one. This is ALEX MANNINGS eye.
ALEX (V.O.)
Time. Thats all I ever think about
anymore. Its like theres never enough of
it, you know?
CUT TO:
INT. MANNING HOUSE, HALLWAY -- DAY
This is a flashback, in case
metal-on-metal, but more
piercing, more pained. As if made by a living thing.
CATHERINE (CONTD)
(familiar with the noise, a
warning to him)
Ed-ward...
The boys FACE CONTORTS, turning into something half-human,
half-animal. A monster. Mocky-Lock. He SCREECHES, trying
to frighten Catherine, but she cocks her head...
CATHERINE (CONTD)
We agreed. No more Mocky-Lock.
The creature sticks its tongue out
at it, leveling the city with one of their stupid juvenile smack-fights.
We CROSS-DISSOLVE from three-hundred foot Beavis shaking Butt-Kong to Butt-Head asleep on the couch with Beavis shaking him.
INT. B&BS HOME - DAY
BEAVIS (O.C.)
Butt-Head! Butt-Head! Hey, Butt-Head!
Butt-Head is dead asleep on the couch. Beavis shakes him.
BEAVIS
Butt-Head, wake up, wake up!
Butt-Head comes around.
BUTT-HEAD
INDIANA JONES AND THE SONS OF DARKNESS
SCREENPLAY BY:
JEFFREY BOAM
STORY BY:
GEORGE LUCAS
"INDY IV"
FROM THE PARAMOUNT LOGO
MATCH DISSOLVE TO:
A mound of sand which resembles the Paramount Logos mountain
peak. On the mounds summit, a CHILDS BRONZE-SKINNED HAND sets
down a crudely fashioned toy ship.
WIDE - A DESERT WASTELAND CAMP
3 BEDOUIN TEENAGERS are performing before a small audience made u
metallic, as if from some
future-scape. The lone surfer SHREDS a long, endless
right wall.
ACCELERATING INTO REAL TIME -- as he stares into the pit,
digs in, drops into the sweet spot on the wave, hunkers
down.
His moves becoming aggressive, frenzied--
??
INT. BLACK SEDAN
An M-16 clip is SMACKED into place and cocked with a
CACHACK! Ammo clips are SNICK-SNICKED into handgun butts
and a long clip
filled with dread as he falls to his knees,
staring, always staring at THE CRATES...
EXT. DOCKS - NIGHT
The crew tends to business and the Santa Lucia points out of the
harbor, disappears into the night.
DISSOLVE TO:
EXT. LOUISIANNA COAST - DAY... TITLE CARD... JUNE
Squad cars roar down the back roads, sirens flashing. In the center of
the column is an unmarked car.
INT. UNMARKED CAR - DAY
A
Downtown L.A. Noon on a hot summer day. On an EXTREME LONG LENS the lunchtime crowd stacks up into a wall of humanity. In SLOW MOTION they move in herds among the glittering rows of cars jammed bumper to bumper. Heat ripples distort the torrent of faces. The image is surreal, dreamy... and like a dream it begins very slowly to...
DISSOLVE TO:
EXT. CITY RUINS - NIGHT
Same spot as the last shot, bu
SHOWER OF SPARKS, A SCREECH OF RUBBER AND METAL
As the gear hits the deck. The hook catches the 3 wire and the F-14 TOMCAT is slammed to a halt. Its the scariest thing youve ever seen, the most dangerous maneuver in aviation and just another day at the office for a Naval Aviator.
TITLES OVER
HARD DRIVING ROCK AND ROLL - The Cars - "Ride Me High".
FLIGHT DECK - THE LANDING SIGNAL OFFICER - (LSO)
DISSOLVE TO:
THE PACIFIC OCEAN
melting into a hazy morning sky. In a box canyon off the
coast highway, we see row after neat row of trailer homes, a
makeshift village for beach bums.
INT. TRAILER - DAY
CLAYTON BOONE opens his eyes. He is 26, handsome in a
rough-hewn, Chet Baker-like way, with broad shoulders and a
flattop haircut. He grabs a crumpled pack of Lucky Strikes,
lights a bent cigarette
The Abyss
AN ORIGINAL SCREENPLAY
BY
JAMES CAMERON
August 2, 1988
Directors Revision
THE ABYSS
OMITTED 1
OMITTED 2
TITLE: THE ABYSS -- ON BLACK, DISSOLVING TO COBALT BLUE
EXT. OCEAN/UNDERWATER -- DAY 3
Blue, deep and featureless, the twilight of five hundred feet down.
PROPELLER SOUND. Materializing out of the blue limbo is the enormous but
sleek form of an Ohio-class SSBN ballistic missile submar