walks down a dune, sand
sliding beneath her feet...
She finds herself in a valley of dead trees whose decayed
gnarled limbs appear to form hands. The light dances across
her face. She shades her eyes and pinpoints the source...
A SMALL MIRROR reflecting rays of bright sun, housed within a
locket and chain. Its held by EDWARD, a haunted-looking boy
of seven with a precocious grin and piercing eyes
walk leads to a swimming pool filled with
brackish water and lily pads. A wrought-iron fence encircles the grounds. on the other side,
the street seems like another world.
BACK TO CARLOTTA AND DIEDRE ON THE PORCH CARLOTTA takes a syringe from a bag and injects
DIEDRE, who shows no reaction. CARLOTTA feels her pulse...
CARLOTTA
We numb the body and the mind...but we havent found
a needle yat that
beam settles on a ladder mounted in the wall.
Reaching the rusted ladder, COLE starts to climb awkwardly.
EXT. CITY STREET/FUTURE - MOMENTS LATER (NIGHT)
A SCRAPING NOISE as a heavy man-hole cover is pushed up and moved
aside. COLES helmeted head emerges from below.
COLES POV THROUGH HIS PLASTIC-VISORED HELMET: a city in
moonlight! A surreal image of abandoned buildings. No people
anywhere. The o
walking", reads the novel.
The way people move or are moved
is always highly significant
throughout the film.
The Workers theme - a funeral march.
The night shift enters a cage...
the grate is raised,
the cage sinks, and with it the camera.
A title picks up the movement.
"Even the titles", the young Luis Buel
wrote in his review of the film,
"how they rise and fall,
blend with the movement as a w
walk through one of the drydocks. A
huge void in the shape of a boat, swarming with workers
preparing the shell of a new liner. If Central Park is where
the money is spent, this is clearly where its made. And a
lot of it. Workers nod deferentially to the man with his name
over the buildings behind them.
HERBERT GREENLEAF
Mongibello. Tiny place. South of Naples.
Marge, his uh, the young lade is
su
WALKING DOWN
A CORRIDOR, LOOKING WORRIED.
ANGLE AMES AND CAIN
AMES AND CAIN HAVE STOPPED AT THE END OF THE HALL. BEYOND THEM WE SEE THE
CLEANING PEOPLE COMING IN FROM THE VAN, AND BEING CLEARED THROUGH A METAL
DETECTOR INTO A HOLDING AREA, AND HANDED CLEANING MATERIALS, MOPS, VACUUMS, ET
CETERA, BY A TYPE HOLDING A CLIPBOARD. PART OF THE GROUP, A MAN IN HIS
FORTIES, IN A RATTY JACKET, OPEN COLLAR
SEVEN
by Andrew Kevin Walker
8/8/94
1 INT. OLD HOUSE -- DAY 1
Sunlight comes through the soot on the windows, more brown than
bright. SOMERSET, 45, stands in one corner of this small,
second-story room. He looks over the ceiling, looks down at the
worn wooden floors, looks at the peeling wallpaper.
He walks to the center of the room, continues his study, taking
his time. He halts, turns to one wa
walks towards the source. One
by one a series of LIGHTS turn on. The Technician (TECH ONE)
grabs a pair of headphones. His eyes widen.
INT. SLEEPING QUARTERS - SAME
Sleepily a SUPERVISOR picks up the phone.
SUPERVISOR
If this isnt an insanely
beautiful woman, Im hanging up.
INT. CONTROL CENTER - SAME
TECH ONE
Shut up and listen.
He holds the phone up to a speaker, increases the volume. A
strange
walk outta here, we hit that
road, whats the first thing youre
gonna do.
RUDY
Aint there yet.
NICK
Three days, man.
RUDY
Not yet.
NICK
Fuckin Christmas, man. Fuckin,
Christmas on the outs.
Dozens of uniformed INMATES wander the yard, stamping feet, hands
tucked away, breath frosting. Nick tries to light his cig, but the
wind plays havoc. Nick curses, tosses it.
RUDY
Hot chocolate.
NICK
What?
RUDY
beam into the
grandstand.
CUT TO
INT. AIRPORT. WASHROOM -- AFTERNOON
CLOSE UP of a three year old girl, staring up into the lens.
Her face is full of sweetness and trust.
ANGLE ON
??
??
??
??
??
??
MITCHELL STEPHENS in a crowded airport washroom, watching a
young father, PETER, trying to change the diaper on his
three year old daughter.
MITCHELL stares at the little girl, his face registering a
w