knife.
*NOTE: At this point we intercut shots of the empty lobby and halls of the
PLAZA THEATER. A POV shot standing outside the LADIES ROOM door.
BEN
(turning pale)
Listen you sick fuck, is this your idea of a joke?
VOICE
More of a game really.
BEN
What kind of a game?
VOICE
You seem to be familiar with the STAB movies.
Heres how we play. I ask you a question.
You get it right, your girlfrie
aerial, man. Wait!
- Is this some story about Izzy?- We call this real life.
So whats withthe fancy Frankenstein brace?
Who is this guy?
- Yo, Tom Tom.- Yo, Geronimo?
- Hi ho, hi ho...- And its off to work we go.
Now stand still and pay attention.
"Fancy Frankenstein"sounds good to me.
I guess special agentsdont like to be called names.
They sure know how to get em, though.
John Dixie,
His is the only one still occupied, and it doesnt look that permanent. In the window is a cardboard, handwritten sign that reads "Kwans Shaolin Kung Fu". What remains visible behind the poster and the security grate is an IMPRESSION of people moving and milling around.
INT. WORKOUT AREA - SAME NIGHT
ESTABLISHING SHOT OF KWANS SHAOLIN KUNG FU SCHOOL.
The students are doing their own thing, and the
shotgun casually at his side, steps in front of them. He smiles laconically, and BLASTS OUT FIVE SHOTS that rip THROUGH US. By the second shot, the whole jungle blazes out with AUTOMATIC FIRE.
Out VIEW TURNS as the men around us are thrown and torn, screaming and scattering into the jungle. More AMERICANS appear; unexplainably, out of the growth. It is now that we fully SEE the bizarre manner in
shot of bourbon courage, then
opens the door and steps from the car.
4 EXT -- PLYMOUTH -- NIGHT (1946) 4
His wingtip shoes crunch on gravel. Loose bullets scatter to
the ground. The bourbon bottle drops and shatters.
He starts up the path, unsteady on his feet. The closer he
gets, the louder the lovemaking becomes. Louder and more
frenzied. The lovers are reaching a climax, their sounds of
Aerial
view of Roberts car driving along an undeveloped coastline.
Producer LOUIS MARKS
Directed by ANTHONY SIMMONS
Richard is looking at some prints in his boat shed
darkroom. Thelma knocks on the door.
RICHARD
Go away!
THELMA
Let me in! Ill tell if you dont let me
in!
RICHARD
What have you got to tell about?
THELMA
About Miss Ma-rissa!
RICHARD
What about Miss Marissa?
Thelma licks her dark p
shot Nell is out of the chair
and turning for a set of FRENCH DOORS across the room. Its
all reflex. Nell catches herself.
KNOCK KNOCK. Richie, lying on the couch like hes sick, raps
on the wall with a wooden CANE and squeals:
RICHIE
Eleanor, help me! Ive got to pee!
Nell REACTS, but rather than being amused or annoyed, a wave
of TRAUMA flickers over her face. The reaction is so strong
we instant
A beautiful golden sun is setting. The sky is on fire. The CAMERA starts to move downwards. A large neon sign rises into shot. It rests on top of a skyscraper and fills the frame. The building is neither past nor future in design but a bit of both.
Slowly we pan downwards revealing the city that spreads below... A glittering conglomeration of elevated transport tubes, smaller square buildings wh
AERIAL POV - LANDSCAPE - LIVING ORGANISM
Rivers, teeming with microscopic life thread like
spaghetti through a geography of living cells. Invaders.
Territory is overrun. The view is like an aerial recon
photo of an alien land -- at war.
SUPER: CATEGORY - FILOVIRUS
STRAIN - EBOLA ZAIRE (Z)
FATALITY - 88% KILL RATIO
SURVIVORS - 12% IMMUNE ANTIBODY
CURE NONE - NONE
MATCH DISSOLVE TO:
EXT. AERIAL POV
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,