moment all is quiet. Then, faintly, the HUM of many
VOICES, rising and falling, LAUGHTER.
The CAMERA PANS to the open windows of a building somewhat larger
than the others. The SOUNDS grow louder.
INT. BLUE BAY AUDITORIUM - DAY
A hundred high school kids sit before a raised, hardwood stage.
The students are not unlike the campus, radiant, well-tended -- a
veritable sea of adolescent sexuality --
his breathing laboured. Around him two silhouettes move and murmur, their clothing susurrating in the deathly hush. DOCTORS. A WOMAN (MRS DASHWOOD, 50) sits by his side, holding his hand, her eyes never leaving his face.
MR DASHWOOD (urgent)
Is John not yet arrived?
MRS DASHWOOD
We expect him at any moment, dearest.
MR DASHWOOD looks anguished.
MR DASHWOOD
The girls - I have left so little.
moment.
My big chance to impress
the girl ofmy dreams.
-Kev, I got a great idea.
-What?
Why dont we just sing
the ballad that I wrote...
dedicate it to her...
and then when its over,
just ask her out.
What are you, stupid?
Shes right there.
All right,
lets do the ballad.
I can do this.
GIRL: Granite!
GUITARIST:
Yeah, Kevin, you can do it.
-Come on, Kevin.
-Dont be such a wuss.
-Come on, just do i
GONE IN 60 SECONDS
by Scott Rosenberg
4/6/99
"I wonder," Toad said to himself presently, "I wonder
if this sort of car starts easily?"
Next moment, hardly knowing how it came about, he
found that he had hold of the handle and was turning
it. As the familiar sound broke forth, the old
passion seized on Toad and completely mastered him,
body and soul ... He increased his pace, and as the
car devour
De-la-croix.
CHEEBA
Yknow what I mean. Got a gig yet
for Manray and I yet?
5.
DELACROIX
Not yet.
Delacroix hands Cheeba a ten dollar bill.
CHEEBA
Gracias.
Delacroix moves towards the revolving doors of CNS.
DELACROIX
Manray, Sloan says youre too
talented to be dancing on the street.
MANRAY
Well do something about it.
INT. ELEVATOR - MORNING
Delacroix is the lone person of color in the elevator.
I
de menthe.
Yes, maam.
- With water.
- Yes, maam.
Aldin, please. Come home.
Dont de studdorn.
Go away!
Be reasonadle.
Come on, lets go home.
Leave me alone!
Come on.
No, later.
Lovely day, isnt it?
Do you want something
to drink?
Where are we going?
Whats going on?
Drive away.
- Where to, love dirds?
- To the right.
- Where are you taking me?
- To the left.
I mustnt get home late.
I have a dance c
moment we still hear the CELLOS. And in the eye, the last of
the fractals are spinning away, leaving us with the iris. A nice blue
one. This is ALEX MANNINGS eye.
ALEX (V.O.)
Time. Thats all I ever think about
anymore. Its like theres never enough of
it, you know?
CUT TO:
INT. MANNING HOUSE, HALLWAY -- DAY
This is a flashback, in case youre wondering. Well continue to hear
Alexs VOICE as we move
moments before the dune drops into
nothingness. She dismounts, affectionately scratches the
horses neck, and follows the LIGHT. When she looks over her
shoulder, the Arabian is now a childs WOODEN HOBBY HORSE.
Not surprised, Catherine smiles and 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 li
moment,
then unconscious the next.
How is he?
Wonderful.
The Argentinean is unconscious.
Now the play will not be ready to
present to the financier tomorrow.
- I still have to finish the music.
- Someone else can read the part.
Where on earth will we find
someone to play...
...a young, sensitive
Swiss poet goatherder?
Soon I was upstairs, standing in
for the unconscious Argentinean.
The hills ani
moment,
I thought of Shakespeare again.
He said, "Hey, life is pretty stupid.
Lots of hubbub to keep you busy
but really not ammounting to much."
Of course Im paraphrasing.
"Life is a tale told by an idiot,
full of
sound and fury, signifying nothing."
You look nice.
Like this one better? I could change.
- No, thats all right.
Who are we having lunch with?
Friends and friends of friends.
And some