floor is a limey, institutional green.
??
Paul comes into view, spry for his age, murmurs an occasional
greeting.
??
INT. BREAKFAST ROOM - MORNING
??
DOZENS OF RETIREES are having breakfast, sipping weak coffee
or tea. Some chat and gossip, other are content to keep their
own company, some just stare slackly into space.
??
Paul enters, sees ELAINE CONNELLY sitting with a few other
ladies, sipping
floor in the middle of the room. It
begins to GLOW. Cut to each actor in turn reacting dramatically.
Then suddenly.. THE PICTURE GOES WHITE, LEADER LEADER NUMBERS
APPEAR, with a STUDIO COPYRIGHT notice.
CUT TO:
3 HUNDREDS OF FACES
??
ENTHRALLED LEGIONS of mostly spotty faced male adolescent FANS
staring into camera. For a moment all is silent. A few are
sobbing. Then a BURST OF THUNDEROUS APPLAUS
FLOOR CORRIDOR, FOOTSTEPS
making a racket...
Jamey rushes toward a door marked "JUDGE TATE."
RAISED VOICES from inside Judge Tates chambers:
JOSEPH MILLER (OS)
This construction site is
causing mortal and irreparable
harm to an unsuspecting public!
ANDREW BECKETT (OS)
My client has one of the finest
and most respected safety records
in the business, Your Honor!
Jamey shoves open the door, REVEALI
floor.
The ADULTS try to pull them apart. The NINE year old struggles
ferociously, SCREAMING and kicking like a mad man.
INT. HOSPITAL WARD - 1972 - DUSK
In the b.g. we see the Nine year old Boy sleeping. A DOCTOR
and the boys FATHER, a hard-looking MAN in his forties, walk
through the door. We MOVE with them down the hall.
DOCTOR
The pressures and demands players with
your sons abilities put on
SPHERE
BY
PAUL ATTANASIO
Based on the novel by
Michael Crichton
BARRY LEVINSON VERSION SHOOTING SCRIPT
FADE IN:
EXT. OCEAN FLOOR - DAY
BEGIN TITLES.
MOVING AMONG the hallucinatory variety of creatures --
barbaric, distorted, sublime -- that haunt the ocean floor.
All but unknown to man except in the deep preconscious brain
that houses the family album of the race... Where we remember
that they ar
CALCULATING THE RATE OF DRIFT OR WHAT HAVE YOU...
ABOUT FIVE MONTHS BEFORE IT GETS HERE.
THATS WHY I SAY FOUR FOR REVIEW.
THERES TRANSPORT LEAVING FOR WILLIAMSTOWN, IF YOU CARE TO TAKE THAT.
YES, SIR.
HOSGOOD, WHERE IS THIS COFFEE COMING FROM ?
SUPPLY SAYS ITS THE BEST THEY CAN DO THESE DAYS, SIR.
SHALL I QUERY THEM AGAIN ? NO, NO, NO. IT DOESNT MATTER.
YOU HAVE ANYTHING IMPORTANT TO DO,
calculator.
Thats... thats my motto.
Alrighty. Bye bye.
Hey! There he is!
- What do you sing, partner? - Pretty good. Pretty good.
- How are you doing? - Not too shabby.
- Well, I see youre all moved in. - Oh, yeah. Oh, yeah.
So what brings you by?
Oh, I was just driving by.
I thought Id pop up and see what kind of trouble youd been getting into.
Oh, you know, keeping busy. Keeping busy.
And Id w
floor of the tree house is a
DOOR. Rudy removes a KEY from a chain around his neck and
unlocks it. He climbs inside and pulls Jacob in after him.
INT. TREE HOUSE - CONTINUOUS
Jacob looks back and sees Jeff and Kenny, running over. Rudy
crosses to the door with a BUCKET of liquid.
JACOB
What the hell is that?
RUDY
Piss.
Rudy dumps the piss onto Jeff and Kenny.
EXT. TREE HOUSE - SAME TIME
Now drenc
Mikey?
Teds walking to work.
Big deal.
Guy takes five steps
and hes there.
Monsters, Inc. Please hold.
Monsters, Inc. Please hold.
Monsters, Inc. Please hold.
Morning, Sulley.
Morning, Ricky.
Hey, its the Sullster!
See you on the scare floor,
buddy!
Hey, Marge.
Hey, how was jury duty?
Morning, Sulley!
Hey!
Hey, its still leaning
to the left.
It is not!
Hey, fellas.
Hey, Jerry.
Hey, Mr. Sullivan!
floor, curled up in the entranceway to the bathroom. Halfway in, halfway
out.
Its a womans body. Shes wearing a dress, her legs awkwardly bent. We
cant see her face from this angle. But in her limp hand is a gun. And
all around that hand, speckling the pristine white tile of the bathroom
and the carpeting beyond, is BLOOD.
A shrill BELL shatters the moment.
CUT TO:
INT. COUNSELORS OFFICE -- DAY
T