closed.
His burned suit is smoldering. He has a sly but tired face, late-
20s, sandy hair, cold and scarred. This is RUDY DUNCAN.
He opens his eyes.
RUDY (v.o.)
I never was much for the holidays.
CUT TO BLACK.
THE SOUND OF A WINTER WIND
rises, as a TITLE appears: "SEVEN DAYS BEFORE..."
And then, to complete the sentence: "... XMAS."
FADE IN:
EXT. IRON MOUNTAIN STATE PRISON - DAY
Snow drifts down
CLOSER IN
Aaron feeling from a blow -- his lip bleeding -- his teeth
covered with blood...as he gets to his feet. He is livid --
something primal triggered by this brutality.
AARON
Go ahead, Stephen -- take your
last licks.
(points at his
face)
But this will heal -- what Im
going to say to you will scar you
forever. Ready? Here it is.
He dodges as they come after him. They catch him by the hair
a
CLOSE, scared, then turns
back to the dune and runs a few yards.
Stops and stares, raises his rifle. He aims at the figure on
the horizon.
POV THROUGH RIFLE SCOPE
The Iraqi soldier in the cross hairs. Hear Troys breathing,
loud, as he pulls trigger slowly. Slow motion RIFLE sound.
Silent pause. The Iraqi soldier stands there, then his neck
explodes like a sack of blood. Silent, except for sound o
WITNESS
??
Screenplay by
EARL W. WALLACE
WILLIAM KELLEY
??
from a
story by
WILLIAM KELLEY
??
REVISED DRAFT
APRIL 23, 1984
??
??
1 EXT. LANCASTER COUNTY, PA. COUNTRYSIDE - DAY
(TITLE SEQUENCE)
The faces of several young children are presented in
CLOSEUP, as they walk TOWARD US across a ploughed
field. On the SOUND TRACK, the haunting SOUNDS OF A
GREGORIAN FUNERAL CHANT. The CAMERA PANS UP to the
f
close to the cliff walls.
EXEC
(low, to Captain)
Its getting tight in here.
CAPTAIN
We can still give him a haircut. Helm, come
right to oh six niner, down five degrees.
HELMSMAN
Coming right to oh six niner, sir. Down five
degrees.
NAVIGATOR
Port side clearance one hundred twenty feet
narrowing to seventy-five. Sir, we have a
proximity warning light.
EXEC
Thats too damn close! Weve gotta back of
closed.
Is it a Colombian national holiday?
What do you figure, Sam?
No idea.
- No idea at all?
- Some idea.
Like when?
When it comes, it comes.
I got some reds.
You dont mean communists,
do you?
Is everything a joke
to you, Fletch?
Everything, Sam.
- Hey, Gummy!
- Hey, Fletch. Hey, Sam.
Hows the eye?
Its OK.
The cops did it.
They always
beating up on me.
- He doesnt know.
- Son of a bitch!
Thats
closed door; on it, a plaque reads Erics Room above a picture of an antique car.
Farther down is another closed door. Brian pauses, listening to the sounds of Mom and Dad arguing; no words can be made out, only the tones, the rise, fall, sharpness of voices.
Brian looks away from the door. Prepares for his assault on the stairs. He reaches his foot down - and the step CREAKS loudly. Brian freezes
THE MATRIX
by Larry and Andy Wachowski
FADE IN:
ON COMPUTER SCREEN
so close it has no boundaries.
A blinking cursor pulses in the electronic darkness like a
heart coursing with phosphorous light, burning beneath the
derma of black-neon glass.
A PHONE begins to RING, we hear it as though we were
making the call. The cursor continues to throb,
relentlessly patient, until --
MAN (V.O.)
Yeah?
Data no
CLOSE ON A SECTION OF PAVEMENT as we hear THE SOUND OF SLUGGISH
FOOTSTEPS approaching. A SHADOW appears at the bottom of the
frame. It gets longer and takes on the shape of a man.
TIGHT ON THE AFTERNOON SUN, blinding us. Into the FOREGROUND
lurches THE FIGURE which cast the shadow. Glare obscures all
facial detail until the head jogs into position directly in
front of the fiery ball in the sky. T
wedged shoulder to shoulder.
THE PILOT glances back, CHUCKLES and BANKS THE PLANE.
모
5 EXT. PROP PLANE - BARREL-ROLLING - DAY
Bulk and Skull rotate into frame. Now, facing straight down --
they FALL INTO CAMERA, CLINGING TO EACH OTHER DESPERATELY
BULK AND SKULL
YEAAAAAAHHHHHH!!
6 EXT. SKY - DAY
The Rangers pull off more SPECTACULAR MANEUVERS
then swoop TOGETHER, interlocking hands and forming a