The camera is moving toward an Indian city. We are high and far away, only the sound of the wind as we grow nearer and nearer, and through the passing clouds these words appear:
No mans life can be encompassed in one telling. There is no way to give each year its allotted weight, to include each event, each person who helped to shape a lifetime. What can be done is to be faithful in spirit to the
Concentrating, MacLeod scans the crowd. Like a predator
catching a scent, he leaves swiftly. The Drunk yells after
him.
DRUNK
Hey! Where ya goin?
CUT TO:
MACLEOD
striding past rows of cars. FOOTSTEPS ECHOING in the Gardens
underground garage. MacLeod senses a presence. Its very
close.
Suddenly, a MANs silhouette appears in a tunnel, blocking
his path, breath steaming in the artic air.
MAN
MacLeod
weight, but its not that heavy, and she holds it up
easily. It bobs its head, scarfs up the goldfish, and eats
it.
Enchanted, Cathy breaks into an enormous grin and returns her
hand, calling back over her shoulder.
CATHY (contd)
Mom! Dad! You gotta come see this!
I found something!
She turns back.
Thirty more compys have come out onto the sand. Theyre
standing there, bobbing anxiously, staring at
ROAR OF NAVAL GUNS continues but now WE SEE THEM FIRING. Huge fifteen inch guns.
A SWARM OF LANDING CRAFT
Heads directly into a nightmare. MASSIVE EXPLOSIONS from German artillery shells and mined obstacles tear apart the beach. Hundreds of German machine guns, loaded with tracers, pour out a red snowstorm of bullets.
OFFSHORE
SUPERIMPOSITION:
OMAHA BEACH, NORMANDY
June 6, 1944
0600 HOURS
A womans face BACKS INTO SHOT, her head resting against grimy wallpaper. She is tense, sweaty, wide-eyed with concentration. This is CLARICE STARLING - mid-20s, trim, very pretty. She wears Kevlar body armor over a navy windbreaker, khaki pants. Her thick hair is piled under a navy baseball cap. A revolver, clutched in her right hand, hovers by her ear. She raises a speedloader, in her left hand,
TRAIN WHEELS grinding against track, slowing. FOLDING TABLE LEGS scissoring open. The LEVER of a train door being pulled. NAMES on lists on clipboards held by clerks moving alongside the tracks.
CLERKS (V.O.)
몭 Rossen 몭 Lieberman 몭 Wachsberg 몭
BEWILDERED RURAL FACES coming down off the passenger train. FORMS being set out on the folding tables. HANDS straightening pens and pencils and ink
TRAIN -- LATER DAY 3
Somerset is in the window seat, looking out the window of the
speeding train, smoking a cigarette. He is near the back of the
car, away from the few other passengers.
Outside, farms, fields, small homes and lawns rush by. The
panorama is dappled by the rays of the soon to be setting sun.
4 INT. AMTRACK TRAIN -- LATER DAY 4
The train is almost full, moving slower. Somerset has
Man Of The House Script
Says your source got religion
while he was in the can.
- You trust him?
- No.
Sharp, were going to a church.
Thats why I didnt bring a helicopter.
Everybody, get your hands up.
Now keep them up...
and say, "Hey!"
Say, "Oh!"
All right. Then go ahead.
We have learned from the three wise men...
The OJays...
Eddie, Walter, and the other guy...
that there is a train coming...
a
weighted with
mud.
Suddenly the storm fades. Light creeps into the scene, and
color, as we 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 shoulder
X-Men
By
Ed Solomon
Revisions:
Chris McQuarrie
Tom DeSanto
Bryan Singer
February 24, 1999
BLACK
Sounds of a train rolling to a halt, a shrill whistle.
EXT. CAMP - DAY
UP ON the door of a weathered cattle car as a German
soldier steps into frame wearing that familiar gray of
the all-too familiar era.
He throws the door to reveal a mass of huddled and
frightened people inside.
The words are not nec