a silent, stone-face wisp of a child,
watches her father. Margaret races in.
MARGARET
Father! A post rider!
Martin pointedly continues his work without looking up.
MARTIN
Very well.
Margaret waits, then, seeing that her father isnt going
to come, she turns and races out.
EXT. FRESH WATER PLANTATION - DAY
The post rider rides up to the house. ABIGALE AND ABNER,
a middle-aged African couple, ste
finished yourwork?
- Yeah.
Good boy.
- Come on. Come on.
- All right
You look sad, Jude. Are you sorry Im going?
- Yeah.
- So am I.
- Where are you going sir?
- Christminster.
Why do you have to go?
Do you knowwhat a university is?
A university degree?
Do you see it, overthere?
Thats Christminster.
Ifyou wantto do anything in life, Jude,
thats where you have to go.
Even if it mean giving up
every
stone-faced old man. Ive decided to
live away from home for three years.
To prove a point. That I can live on
my own. And to appreciate the value
of a dollar. And Mike is right,
there, I am going to inherit money.
A lot of money
IdAho
The desert in the daytime.
MIKE enters the frame in front of a blue sky filled with white
clouds. He has a Texaco gas station attendants shirt on with a
nam
stone stairs. We are looking down into the wall of the
staircase from the point of view of the landing. Up the stair is coming a branched
candlestick held by Salieris VALET. By his side is Salieris COOK, bearing a
large dish of sugared cakes and biscuits. Both men are desperately worried: the
Valet is thin and middle-aged; the Cook, plump and Italian. It is very cold. They
wear shawls over their
finish off their
martinis, and plop the empty glasses down.
3 EXT. A PARK--THAT NIGHT 3
A HAPPY COUPLE in 50s dress, pushes a baby carriage
through the park cooing toward their bundle of joy
inside.
Father and Mother straggle from the other direction,
creaking forward an ominously closed-up, wickedly de-
signed baby carriage that serves to muffle nasty whining
and thumping noises.
HAPPY COUPLE
Me
Of glowing honey-colored stones. Their shapes ABSTRACT as THE CAMERA EXAMINES air bubbles and crystalline patterns.
MOVING UP AND OVER this amber abstraction, the CAMERA FINDS unusual shapes and imperfections caught in the glassy stone: flecks of dirt, hairs, cracks. STILL MOVING. STARBURSTS OF LIGHT ricochet off the different surfaces of the stones.
CAMERA TURNS along a creamy stretch of amber.
finished film will not be on what the creatures do,
but on what the creatures do to reveal the inner nature of the characters.
For PITCH BLACK is, at its heart, a story of humanity and courage -- and
lack of the same.
David Twohy
CUT IN:
INT. MAIN CABIN
A CRYO-LOCKER BLOWS OPEN, spitting out...
CAROLYN FRY. She hits the deck of the main cabin: Four crew
lockers in a forward section, countless
finish in big
red letters is a brief reminder - You Should Be
Working. Sebastian sighs, leans forward and begins
pecking away again.
LATER:
The television is now only static. We pan by his alarm
clock. 4 am. We find Sebastian pacing in front of his
computer.
He gets an idea... slides back in his chair. Types away
again. The molecule reforms on the computer screen.
He types a few more keys,
A man and woman make love on a brass bed. There are mirrors on the walls and ceiling. On a side table, atop a small mirror, lines of cocaine. A tape deck PLAYS the Stones: "Sympathy for the Devil."
Atop him... she straddles his chest... her breasts in his face. He cups her breasts. She leans down, kisses him...
JOHNNY BOZ is in his late 40s, slim, good-looking. We dont see the womans face. She ha
stone. MacLeod fans his blade.
MACLEOD AND THE MAN"S SWORDS
clang in the tunnel, pulverizing cars, gouging columns in
showers of brilliant sparks.
Running Feet, Shouting VOICES, distant SIRENS.
His opponent is outmatched. Surging forward:
MACLEOD
cuts off the Mans head. A shimmering energy surges between
the corpse and MacLeod. MacLeod starts to glow. The garage
is crackling. Windshields EXPLODE.