aneeshas/imsdb-500tokendrama-movie-scripts

Drama stringlengths 0 500
nto a small microphone. THEODORE To my Chris, I have been thinking about how I could possibly tell you how much you mean to me. I remember when I first started to fall in love with you like it was last night. Lying naked beside you in that tiny apartment, it suddenly hit me that I was part of this whole larger thing, just like our parents, and our parents' parents
small kid, TJ FORNEY (13), with a grubby worn cast on his arm, rides his BMX really fast down a street. He chases a tow truck towing a badly wrecked red Volvo. He struggles to keep up. The truck makes a turn. TJ follows, turning dangerously in front of oncoming traffic. The truck makes another turn. TJ turns with it, running straight into the side of a car pulling out of a dri
gistered: WGAw FADE IN INT. ROB'S APARTMENT - NIGHT STEREO Not a minisystem, not a matching set, but coveted audiophile clutter of McIntosh and Nakamichi, each component from a different era, bought piece by piece in various nanoseconds of being flush. ROB (V.O.)
Ben Hecht and Charles MacArthur 1939 SHOOTING DRAFT FADE IN: INT. ANTEROOM CLOSE SHOT SWITCHBOARD Two telephone operators sit at switchboard busy plugging in and out answering calls. 1ST OPERATOR This is the Morning Post... The City
aking of Psycho by Stephen Rebello FADE IN: EXT. MARSHLAND - DUSK We move across smoldering embers and reach a small grass fire. Dirt is thrown over the flames before a BOOT finishes stamping them out. SUPER: PLAINFIELD, WISCONSIN, 1944 HENRY GEIN (O.S.)
1 We follow a small boy's FINGERS on a strange contraption- WIDER SCRATCH, 10 years old, has a `DIDDLEY BOW', a piece of baling wire nailed to the side of the unpainted shack so it is stretched taut. He moves an old corn cob under it as a fret and makes TWANGY, pitch-shifting NOTES as he plucks the wire. His friend LONNIE stands moving his fingers over a BOARD he has laid on the side of the porch floor. A few scrawny CHICKENS run around in the
GRIM'S STALL - MORNING Sunlit illuminates the darkened stable, highlighting the contours of a magnificent HORSE (PILGRIM) in surreal, dream- like imagery: his legs, his muscles, his sheen, his mane... his eyes. He shakes his head and stamps his feet. He seems confined. Eager to run. INT. STABLES - MORNING Pilgrim bursts through the stall and runs out the stables into a blinding white morning. EXT. AN OPEN FIELD LEADING TO WOODS - BRIGHT MORNING Whiteness. Snow a
, PANORAMIC VIEW of The Hospital -- a vast medical complex, a sprawling pastiche of architecture extending ten blocks north and south on First Avenue and east to the river. The Hospital was founded in the late 19th century, and there are still a few begrimed Victorian Bedlams and Bastilles among the buildings. Mostly though, it is Medical Modern 1971, white and chrome and lots
low whup-whup-whup of an LAPD helicopter flashing through the frame, here and gone. LAPD radio transmissions crackle like static electricity around a dirty clapboard bungalow that looks like the puckered asshole of Eagle Rock. A man's terrified voice screams invisibly from the house -- MALIK'S VOICE I'm gonna kill this dog! You make my wife talk to me or I'm gonna shoot this fuckin' dog! A five-member SWAT tactical team app
SCREEN TYPE: THIS IS A TRUE STORY EXT. KIGALI AIRPORT. DAY A burning white sun high in a clear blue sky, PAN DOWN TO: A rundown (sixties) airport, peeling in the heat. A mad traffic jam of cars, vans, motorbikes all stopped at a checkpoint where
First Draft REVISIONS "The rush of battle is a potent and often lethal addiction, for war is a drug." Chris Hedges, WAR IS A FORCE THAT GIVES US MEANING "The worst imaginable news: war thrives becaus
INT. STARBUCKS - 7:30 A.M. We're watching a pair of hands arrange white sugar packets, blue Equal packets, and pink Sweet and Low into small containers. With precision and lightning speed, the mixed up colors and crumpled packets are transformed into neat little color-coded rows. Wait, this container has three Equals and four Sweet 'n' lows. The hand quickly plucks the mutant Sweet 'n' Low. There
4.27.2008 1 EXT. SKY - DAY 1 Fluffy white CLOUDS drift across a clear blue sky. TITLE CARD- "This really happened" FADE TO WHITE: TITLE CARD- "It really did" A dull WHINE is heard building in volume until finally-
INT. PASSAGEWAY - NIGHT The CAMERA briskly retreats as FORTY, HIGHLY CHARGED, ATTRACTIVE, YOUNG PEOPLE march towards it. Each side of the frame is black as this troupe of young actors moves up the middle, everyone talking, grinning, squealing,... everyone having the "high" of their lives. INT. NEW YORK CLUB - NIGHT As the troupe, with geometric precision, spills into a larg
the break of a new day. The train lies dark and motionless, a few flashing yellow emergency lights up front, as a work crew removes debris from the track. INT. TRAIN. PRE-DAWN Various passengers, huddled uncomfortably, cold, asleep. On Paul Hood, 15-and-a-half, stoner-preppie look, hunched up in his seat under the faint emergency exit light. He reads his Fantastic Four comic book by the pale light of the emergency exit sign. Suddenly, the lights begin to flicker on and the hum
standing at a podium on a stage...there is a single spotlight on him. The rest of the stage is dark. Stephen is talking into a mic with no emotion...just matter of factly. STEPHEN I am neither Christian...nor atheist. I am not Jewish or Muslim. What I believe...my religion is called the constitution... A pause. Stephen snaps his fingers in the mic
We are in the midst of a field of tall grass wild flowers. A long rutted road stretches into the distance. Faintly at first and then closer - we hear a woman squealing with laughter. We see her legs cut through the grass and fly up a hill. Close on her heels is a young man, a good ten years younger, in hot pursuit. Over the field - across the tops of blades, sits an ancient apple tree. We rise out of the gra
1/15/03 A SERIES OF GREEN/GOLD VERTICAL STREAKS Moving across the screen from right to left. We hear a happy and informative man's voice.. .We will come to know this voice as MARK WHITACRE'S... WHITACRE (V-0-) You know that orange juice you have every morning? You know what's in that? FREEZE on one of the green/gold streaks as it racks int
NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS AND SOME "OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR THIS SOFT COPY. FADE IN: All we can see is black filling the screen... Black on black... INT. A JEEP, LEBANON - DAY And we're in a speeding SOVIET JEEP... Two men in front, shouldering assault rifles. HEZBOLLAH SOLDIERS... And there are three MEN in the back. A middle-aged Man wearing a tired suit
ng, alabaster white. Beautiful. A WASH CLOTH enters frame. Starts washing the arm with long, tender strokes. A TUMBLE OF HAIR thick and auburn. Being gently washed. FINGERNAILS being clipped with a shiny nail clipper. Short. Uniform. Tidy. EYEBROWS brown with a touch of gold. A BRUSH comes into view. Brushes against the eyebrow hair, t
STORY BY Jonathan Nolan, Kip Thorne & Lynda Obst MARCH 12 2008 SPACE. But not the dark lonely corner of it we're used to. This is
hen Rea Santiago Christian Slater Daniel Malloy Kirsten Dunst Claudia FADE IN: INT. ROOM - NIGHT (SAN FRANCISCO) A small bare room, illuminated only by the streetlight coming through the window. A hand presses a cassette into a recorder and fiddles with a small microphone. Malloy sits over a table fiddling with the tape. He is young, half-shaven, dressed in T-shirt and jeans. He looks too - LOUIS, who stands by the window, looking
Tuesday, April 28th 1992 WIDE-SHOT: A vast, snow-blanketed wilderness that sits beneath the icy summits of the highest mountain range in North America. This is BIG Alaska. A beat up 4x4 pick-up enters very small into the upper left corner of frame on an unkept, snow-packed road, and comes to a stop. A figure exits the passenger side and moves around the front of the truck. We can just make out the rifle sticking out of his backpack. We HEAR a ve
of an early morning sky. BAKER (V.O.) Once upon a time, in a far off kingdom, there lay a small village at the edge of the woods... Suddenly, the WELL-WORN BOOT of Cinderella steps into the frame and lands on what we thought was the sky, but in fact is simply its reflection in a puddle of water. A strong CHORD accents the splash and we begin a musical vamp. EXT. CINDERELLA'S HOUSE - DAYB
TT HOME - STREET (HALEY, ILLINOIS) - DAY 1 (LATE SPRING, 1957) OPENING CREDITS ROLL over a TENT MONTAGE -- ASSORTED ANGLES of a group of men hard at work erecting a large striped "big-top" style canvas tent, INCLUDING: The long steel stakes being sledge-hammered into the lawn, practiced hands rapidly rigging the lines, the tall center poles being leveraged upright, the heavy rolled-up sections of canvas being maneu
Based on material by JOHN CARLIN Second Draft 5/22/07 "Sport has the power to change the world. It has the power to inspire, the power to unite people
or just audible over the sound of Indian music - MARGARET, briefly glimpsed pondering cartons of milk. The electronic PEEP of the cash til. A man on a mobile phone pushes past MARGARET, who takes her place second in the queue. The female shopkeeper piles newspapers on the counter in front of MARGARET. Distracted by images of the bombed hotel on the TV, she hesitates for beat. MAN BEHIND THE COUNTER One forty-nine please. MA
more apartments, above and below, the tiers linked by ramps and crosswalks. It might be a prison cellblock but there are no guards apparent. Indeed, the residents move freely, all notably male, all clad in shearlings, polo shirts and slacks. It is just another day in Sector Four. 3 INT. NUTRITION PLAZA - SECTOR FOUR - DAY Satie's Gymnopedie plays from overhead speakers. A glass wall looks out across a green mountain valley. The plaza, formed in curv
STUDIO DRAFT 3-18-2014 OPEN ON: Rain. Lashing a windowpane. A PIANO PLAYS somewhere off screen. Beethoven's Fur Elise. INT. WILL'S BEDROOM - DAY
Jo Swerling FADE IN: NIGHT SEQUENCE Series of shots of various streets and buildings in the town of Bedford Falls, somewhere in New York State. The streets are deserted, and snow is falling. It is Christmas Eve. Over the above scenes we hear voices praying: GOWER'S VOICE
April 15, 2003 A pure white screen. Idyllic stillness. All of it looking and feeling like the heavens are supposed to. After some seconds of calm, water seems to mist the screen and the slight shifts to the left and then the right suggest this is a man's P.O.V. Then, suddenly, the white screen is
, like strands of soldier ants, seventy-five men, at combat readiness, assemble on the edge of a sweltering wilderness. It is dusk. The mood is lazy, soporific. Members of one platoon huddle close to the ground smoking a joint. JERRY Strong stuff. ROD (to JACOB, a soldier squatting several yards away) Hey, Professor, how many times can you shit in an hour? GEORGE Don't bug 'im. DOUG Where are those gooks already? FRANK So

Charlotte Bronte 2ND DRAFT 6TH MARCH 2008 EXT. A MIDSUMMER DAWN. THORNFIELD - THE GROUNDS. First light. Jane Eyre is running across a meadow, flushed and breathless; the hem of her plain, black dress soaked
JERRY'S VOICE Airight so this is the world and there are five billion people on it. When I was a kid there were three. It's hard to keep up. AMERICA FROM SPACE The great continent through mist and swirling skies. (Satellites and other pieces of skycasting equipment float by.) JERRY'S VOIC
Puis apparaît, sur l'écran, une représentation stylisée du Lion de Saint-Marc, avec ailes et auréole, regardant vers la gauche et la patte avant droite posée sur un évangile ouvert. Sur cette image, une inscription en lettres blanches : Ce Film a obtenu LE LION DE ST-MARC Puis, toujours en lettres blanches sur la même image :
FADE IN Credits run in counterpoint through a 7 to 10 minute sequence of documentary images setting the tone of John F. Kennedy's Presidency and the atmosphere of those tense times, 1960 through 1963. An omniscient narrator's voice marches us through in old time Pathe' newsreel fashion. VOICE January, 1961 - President D
the wheel. We never see her face. Hanging from the mirror is a rosary with a crucifix. Her porcelain hand turns up the volume and the music swells. A silver bracelet dangles from her wrist. EXT. TWO-LANE HIGHWAY - CONTINUOUS A slow-moving semi obstructs her path. The woman leans out the window to see if the road is clear before moving into the oncoming lane. She steps on the gas. She's in the wrong lane and can't get over. There are headlights in the distance and the moan of an airhorn is
DC films that have come before it. We see it as a classic Warner Bros. movie. Gritty, intimate and oddly funny, the characters live in the real world and the stakes are personal. Although it is never mentioned in the film, this story takes place in the past. Let's call it 1981. It's a troubled time. The crime rate in Gotham is at record highs. A garbage strike has crippled the city for the past six weeks. And the divide between the "haves" and the "have- not
curb. It's FALL. Juno is sixteen years old, an artfully bedraggled burnout kid. She winces and shields her eyes from the glare of the sun. The object of her rapt attention is a battered living room set, abandoned curbside by its former owners. There is a fetid-looking leather recliner, a chrome-edged coffee table, and a tasteless latchhooked rug featuring a roaring tiger.
ncient ghetto. Dark corners casting a medieval spell over a modern century oblivious to their romance and mystery. The River is the dividing line. Elegant gardens on the opposite bank embracing the monotonous solemnity of the New Town, tower steeples silhouetted against the sombre sky. An empty motor bus rattles along a deserted street. A Gothic bridge links the two halves of the strange city. Its half-moon arches be
be painful and raw. GIRL (O.S.) Oh yes, oh yes, oh yes, oh yes. INT. BEDROOM - DAY The face of a very pretty young girl with long blond hair. Her face is inches from the CAMERA, the CAMERA is above her, looking down, almost like the POV of the person she's having sex with. She id breathing extremely heavily; her face is red-hot and sweaty. Every time she moves, she makes a deep moaning noise. She looks likes she's on the verge of pain and ecstasy. GIRL Oh yes, Telly it hurts, oh
umming stillness of an American suburb on a summer's day: nannies push strollers, joggers jog, mailmen deliver, dogs are walked, kids shoot hoop in wide open driveways. On a quiet, tree-lined street we pick up two young athletic- looking boys riding bikes. LASER ALLGOOD (15) and his friend, CLAY (15). Like bats out of hell they pass block after block of charming, evenly spaced houses until they round a corner and drop their bikes in front of a large ra

NAL SHOOTING SCRIPT EXT. RIVERSIDE PARK - NIGHT Underwater. Shafts of eroded light slice into the depths of the Hudson River. The ghostly melody of "Lili Marlene," the ache of the war-time lover, plays as a strange SHADOW drifts into view. We realize it is a BODY. ALLEN (V.O.) Some things, once you've loved them, become yours forever. The body BREAKS the surface and we see the face of its owner ---- DAVID KAMMERER, 33, bearde
e from the incessant tapping of rain on the roof of the cab we hear the sounds of the airport: the almost monotonic loudspeaker declaring in French that loitering is not permissible and that should any bags be left unattended that they will be destroyed; the honking of the horns from other automobiles; the unintelligible chatter of people as they get their bearings. Inside the cab, playing on the radio, is Angelique Kidjo's funky
Edgar Wallace 1. EXT. CENTRAL PARK - DAY CLOSE ON: A scrawny MONKEY scratches. ANGLES ON: Defeated, listless ANIMALS, in the bleak environs of a dilapidated ZOO. WIDER: It is CENTRAL PARK ZOO in depression era NEW YORK. The PARK itself is like a GARBAGE DUMP, dotted with squali
N is an attractive-looking young man just past thirty and dressed in a stylish blue suit, broad tie and wide-collared shirt. His shoes are neatly polished, his hair carefully groomed. As the montage continues, we see that he has finished his deliveries and is walking rapidly towards his destination. It turns out to be a television theater north of Times Square whose marquee announces THE JERRY LANGFORD SHOW. It is dusk and the show is about to break. There
enamelled bathtub with gilded lion's legs - bulges in SLOW MOTION to the chords of Handel's "Trumpet Volunteer". A head emerges. White gloved hands, in livery, rush to envelope the surfacing naked wet body in white towels. 2 INT. DRESSING CHAMBER, YORK HOUSE - DAY 2 The ritual continues with crisp military precision. CLOSE ON the Royal Coat Of Arms stamped in gold: lion and unicorn embrace a shield divided into four
L - DAY 2 We're in a kindergarten classroom of 25 SIX YEAR OLDS. All sitting on the floor, legs crossed. Sitting in front of the kids is Little KEVIN FLEURY, flanked by his mom LYLA FLEURY and his dad RONALD FLEURY, in a dark suit. Little Kevin has a large cardboard square with pictures from different stages of his life taped to it. He's telling the class about the photos. We're TIGHT ON the pictures. TIGHT ON the young faces. TIGHT

e happy family and guests. Among them are KLUTE and CABLE. Camera stops at Mrs. Grunemann who sits at the foot of the table opposite her husband. She smiles across at him with pleasure. We cut to Tom Grunemann smiling back at her. We cut back to a closeup of Mrs. Grunemann looking back at her husband with love. We cut back to Tom Grunemann's chair - only now it is empty. The joyous sounds disappear on this cut. It appears that Tom Grunemann has disappeared before our eyes. One mome
, JAY and JASON fight with broom sticks. JONAH drinks beer on the couch spectating. QUICK IMAGES: We see Ben and Jay fighting. At one point they fight with gloves which are on fire, balancing on a plank over a dirty pool. Ben now has a fishbowl filled with weed smoke over his head. There is a smoking joint in his mouth, making the bowl get cloudier and cloudier. He starts coughing hysterically and t
very comfortable office over-looking St. Patrick's Cathedral. At the moment the office is filled to bursting with men and women, slumped in chairs, sitting on desks, all of them very tense. Among the crowd of people we note: MURRAY FISHER, a young and very ambitious junior executive and PHYLLIS BERNARD, an attractive woman in her early thirties. She is a lawyer with the agency.
Characters (in order of appearance) Reting Rinpoche ... Regent of Tibet, served in the years between the death of the Thirteenth Dalai Lama and the discovery of the Fourteenth Dalai Lama. A monk. Lama of Sera ... Keustang Rinpoche A high lama. Lhamo Dhondrup ... The Fourteenth Dalai Lama. Also known as Tenzin Gyatso. Lobsang Samten ... The Dalai Lama's immediate older brother. Tsering Dolma ... Th
November 16, 1995 Minor Revisions FADE IN: OVER the opening strains of "I LOVE YOU, CALIFORNIA," a MONTAGE: a mixture of headlines, newsreel footage and live action. Economy Booming! Postwar Optimism! L.A.: City of the Future! But most prominent among them: GANGLAND! Police photographers document crime scenes. The meat wagon
l. It's a horrific traffic jam. Morning rush hour. Sun beating down, asphalt shimmering in the heat. The blown-out downtown L.A. skyline hovers in the distance. We DRIFT past more CARS. Hear one snippet of audio after another... One driver taps his steering wheel to PROG ROCK. Another sings to OPERA. A third raps along to a HIP-HOP track. We move from a RADIO INTERVIEW to a FRENCH BALLAD to TECHNO, until finally we begin to hear...
ars bottlenecks as it slithers by. An arch of ORANGE AND RED FLARES outlines the area of shattered glass and twisted metal. We are at the site of a gruesome car accident. An ambulance and four police cars are on the scene. Two cars are involved in the crash. The first, a SILVER CADILLAC with its front caved in a perfect semi-circle; there is no-one inside the car. The second car is a different story entirely. A DARK GREEN HONDA PRELUDE crushed against the concrete median that
Nov. 2009 FADE IN SUNRISE Big and orange and full of hope, as sure as fate. A dawn as promising as, well, this new day... Sun is rising over... A flat roof that stretches to the horizon. A vast expanse. A plain of gravel-e
FADE IN: INT. RECORDING ROOM - DAY HARVEY SHINE, mid-60's, sits at a piano in a scruffy recording room, tinkering. We hold on his slightly sad, intense gaze. Just then a shaft of crude light illuminates him, accompanied by a knocking sound. From behind a studio window, JOHNNIE, a young rocker type in his 20's beckons. Harvey closes the piano lid.
a dismal no-man's land, surrounded by trees and overhanging branches. The distant roar of battle RUMBLES ominously. SUPERIMPOSED TITLES appear and hold for a moment. Abruptly, the image springs to life. The gun FIRES deafeningly. The nearby branches shake violently. Another set of TITLES appears. The image FREEZES again as a lone bugle plays a charge. Again and again and again, the image moves, the gun DISCHARGES
Logan Revisions by Edward Zwick & Marshall Herskovitz 1. Fade In: A BRIGHT BLUE TIGER Surrounded by a pack of dogs, ten of them snarling and gnashing their teeth. The TIGER'S, eyes burn with fury as he wheels in a circle, lunging at one dog clawing at another, keeping them all at bay. Suddenly, the TIGER leaps over the dogs and
own way. Leo Tolstoy- Anna Karenina 1 EXT. COUNTRYSIDE. DAY. 1 High angle of the steam train travelling through a wide river valley. The stack belching smoke against the Russian sky. 2 INT. SECOND CLASS CARRIAGE. COUNTRY SIDE. DAY. 2 Leo Tolstoy (80), sits writing on his lapboard. He is quite simply the greatest living writer in the world. His devotion to pacifism, his rejection of the
Bernardo Bertolucci & Franco Arcalli FINAL SHOOTING TRANSCRIPT FADE IN: EXT. PARIS FRANCE - PONT DE BIR-HAKEIM - DAY PAUL (50's) stands on the street under a RAISED TRAIN BRIDGE. He covers his ears in UTTER DISGUST at the UNBEARABLE NOISE a tr
ke, disturbing: A HAND is trying to dial three simple numbers. Trembling fingers miss, try again...we hear boop-boop-boop. 911 OPERATOR (filtered) 911 operator, what is your emergency? The phone rises, gripped tightly. Knuckles white. We're TIGHT, it's dark, we see no face -- just slack, trembling lips. Whoever it is, he can't talk. All we hear is breathing, all we sense is g
CK; '10 P.M. - LOS ANGELES' DISSOLVE TO: 1 INT. SMART BAR IN BEVERLY HILLS - NIGHT It is the kind of bar where the well-to-do folks of LA go to pick up - or be picked up. Lesser-known actors, agents and executives of all ages. Into this bar comes Ben. Ben is in his thirties. He is wearing an Armani suit that could use a visit to the dry-cleaner's. He hasn't shaved in the last twenty-four hours (but neither has any of the actors in the bar). He is a goo
"Les Misérables" Based on the novel by Victor Hugo May 20, 2012 BLACK SCREEN SUPERIMPOSE CAPTION: The yea
T. PRISON CEMETERY -- DAY A handful of people are gathered in an open field under a fierce Mississippi sun. A couple of young inmates, JAKE and LEON, lean on their shovels. They are waiting to bury two identical CASKETS with inmate numbers stenciled on the pinewood lids. A GUARD rests the butt of his rifle on the ground and takes a long, healthy pull from his canteen. He offer
EXT. GEORGE'S BEACH SHACK - MORNING The cottage is a tiny, peeling paint rat-trap set dead center on a small ocean front cul-de-sac, surrounded by four massive post-modern mansions. INT. GEORGE'S BEACH SHACK BEDROOM - MORNING GEORGE NELSON, 42, squints and shivers as the spotty morning light and ocean breeze enter through an open window. Bold waves crash against the cliffs outside the room.
EXT. TWO-LANE HIGHWAY - SUNRISE A dishevelled WOMAN in a business suit (27) runs down a lonely highway in Texas hill country, moving desperately through the thick morning fog. She's carrying a VHS cassette. The sounds of her breathing and SHOES HITTING the PAVEMENT ECHO into the mist. She runs, and runs. She slows, out-of-strength, looks up and down the highway.
a magical fairy tale world in collage - images of fantastic creatures striped and spotted, hoofed and horned. Goats and warthogs mingle in an open field; a baby giraffe tries to reach leaves over a fence; rhinos roll happily in rich red mud, looking like giant muddy boulders, while nearby, black and white Malayan tapirs cool themselves in watering holes. Exotic monkeys with comical faces cling lovingly to one another, swing from trees, climb over
light sleeper. Never meant to be a drug dealer, it just came along. He's been other things: messenger boy, cab driver, model, postal clerk, doorman, nightclub shill -- never meant to be them either. Now he's a D.D. Drug dealer. JOHN LETOUR, well-groomed, khaki slacks, leather jacket, tippet-like scarf, belt pouch, "Beatle" boots, a shadow drifting in and out of other shadows, N
NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS. THEY HAVE BEEN REMOVED FROM THIS SOFT COPY. Wilson's first impression of Los Angeles was blue. He was in the sky at the time, so it was a curious reversal, looking down rather than up at the color he had always felt was nature's finest. Swimming pools. Hundreds of them. Pockmarking the landscape like miniature lakes. A flat landscape of straight st
n By Doris Kearns Goodwin Final Shooting Script December 20, 2011 EXT. BATTLEFIELD, JENKINS' FERRY, ARKANSAS - DAY Heavy grey skies hang over a flooded field, the water two feet deep. Cannons and carts, half-su
July 8, 2006 BANG IN FROM BLACK, FACE OF A MAN MICKEY HALLER, 40, lawyer-- TIGHT on him, as morning light flies across his features. He's fresh-shaved, neat suit, gazes out with a stark/steady focus from the back seat of-- INT. LINCOLN TOWN CAR (MOVING) IN A HARD RAIN-- GRADUALLY FADE IN, under the SOUND of rain & freeway, his
FADE IN: INT. JERRY'S HOUSE, JERRY'S BEDROOM -- MORNING The room is dark and messy. JERRY, a soft, unshaven boy of about eighteen years, sits on the end of his bed in boxers and an old t- shirt. He has not quite woken up yet. Jerry pulls a huge, well-traveled SUITCASE from his closet and tosses it onto the bed. He begins grabbing articles of CLOTHING from the closet and tossing th
singing, and even dancing: the teacher is missing in a 7th Grade classroom. This rare absence of authority is intensely enjoyed by the crowd. It looks like it's party time for these KIDS. They talk and laugh, show each other photos on their phones, draw spaceships and baboons on their notebooks, and fold pieces of paper into airplanes that fly around the room. In a corner, a GROUP OF GIRLS dance to the tune of a song they are listening to on headphone
era stands alone on a wooden tripod surrounded by blackness. Opening credits begin. An almost imperceptible DOLLY in toward the movie camera. The dolly forward continues throughout the credits ending in an EXTREME CU of the camera's lens, filling the frame like a giant, glass full moon. Fade to BLACK. Suddenly a door opens directly in front of the camera, wiping the lens and re
FINAL SHOOTING DRAFT - August 23, 2016 AN LCD BILLBOARD WITH DEFECTIVE PIXELS A BEAUTIFUL COUPLE dance on a giant can of a Red-Bull-like drink-- HYPNO! The label morphs to different flavors. EXT. A VACANT LOT -- NIGHT
. SERGEANT CLIFF POTTS is in the f.g., a plant-and-tree guidebook in hand, as SERGEANT "MIKEY" HOGAN works a metal detector over a large, sandy bank in the b.g. Both are Army career men with a morning off to pursue their hobbies. CLIFF We got ocotillo, devil's walking stick--what's this stuff--it's that whattayoucallit--horse-crippler. Mikey bends to scoop something out of the sand, putting it in a canvas bag slung on his hip. MIKEY This place is a
Assaulted from without by SNOWFLAKES. Wind tossed. INSIDE, a bed, dappled with moon shadow. A LITTLE GIRL, fast asleep. The wind whistles and sighs outside. She DREAMS... Eyelids closed, eyes roving beneath... then suddenly they SNAP open. A stifled cry. She thrashes for her STUFFED BEAR, as a soft voice says: VOICE Shhhhh.
and tie. Black smoke wafts in front of his face. He speaks matter-of-factly, directly into camera. YURI There are over 550 million firearms in worldwide circulation. That's one firearm for every twelve people on the planet. The only question is... (taking a draft and stubbing out the cigarette) ...how do we arm
L EXT. TWO-LANE HIGHWAY - NIGHT We see a clean moving POV illuminated by headlights. We're floating down an old two-lane highway through a desolate, desert landscape. This gliding, eerie POV continues as credits roll. when the credits end, the headlights seem to dim and soon we're moving through BLACKNESS. FADE OUT: FADE IN: INT. THE MADISON HOUSE - BEDROOM - DAY in the blackness, a man, FRED, is sitting on a bed smoking a cigarette. we see his back
FADE IN[1] Over the titles we see SUPERIMPOSED the snow-capped mountains leading to Shangri-La. CLOSE-UP of an impressive-looking book. The covers open and the pages turn. The first page reads:
FADE IN: EXT. NARITA AIRPORT - NIGHT We hear the sound of a plane landing over black. CUT TO: INT. CHARLOTTE'S ROOM - NIGHT The back of a GIRL in pink underwear, she leans at a big window, looking out over Tokyo. CUT TO: Melodra
p basketball court, playing a sexually-charged game of one-one- one. Sweat glistens. Hands pull at clothes. Hips bump and collide. Eyes lock... FADE TO: BLACK. FADE IN: TITLE CARD: "FIRST QUARTER" then "1981" BALDWIN HILLS EXT. MCCALL HOUSE - LATE MORNING An upper middle-class neighborhood, known as the Black Beverly Hills. Big houses, green grass and Caddies in every other driveway. The street is quiet, until -- YOUNG VOICE (O.S.)
et hall. One is BOBBY, the other is RICKY. They are drawn together to start the bout by a bell and a hand gesture as the REFEREE backs away. Immediately the two fighters unload a relentless barrage of POWER PUNCHES. Neither man is holding back, and the punches all find purchase in the swelling faces of their opponent. The crowd rises to its feet in appreciation of this rare level of competition in
OVER BLACK; NARRATOR In the New York Herald, November 26, year 1911, there is an account of the hanging of three men -- CUT TO: Black and White Lumiere Footage Three men hung....bang...bang...bang.
DRAFT October 14, 1997 "... the magic is all around you. All the time. Everywhere. In every thing. The trick... is to see it." IN BLACK... ... the insistent, persistent, eight-to-the-bar beat of BOOGIE-WOOGIE. Hot, exciting, pulsating rhythm, ramping up. THEN... ... in the blackn
n. PEOPLE and KIDS are busy with their own things. SHORTY bops his way down the street. He is a runty, very dark young man of 21 with a mission and a smile on his face. He wears the flamboyant style of the time: the whole zoot-suit, pegged legs and a wide brim hat with a white feather stuck in the hat band. 2 OMIT 3 OMIT 4 OMIT 5 EXT. STREET - DAY FOLLOW SHOT. Shorty dodges through the crowd with his packages. His smile is one of anticipation. He nods to
FIRST DRAFT September 18, 1995 FADE IN: From the BLACKNESS before the first images, we hear a young woman's tortured SCREAM, muffled by her own will. We see her mouth, open in agony; her face, beaded with sweat. Her name is ANNE, and she is Queen of France. She lies in A ROYAL BEDCHAMBER The royal DOCTOR kneels at the foot of her bed; her own royal mother grips her hands... On the opposite side of
1. "Man On Fire" OPENING TITLE SEQUENCE EXT. MEXICO CITY - DAY High over the city on a bright Sunday morning, the sun pounding its way through the orange haze of smog. As we descend toward the clots of traffic blocking the streets: the sounds of a Mass being sung. A CATHOLIC CHURCH The big wooden doors open to release the parishioners inside. Feature a tall, lanky 18-YEAR-OLD. Holding his GIRLFRIEND'S hand, anxious for Sunday to really begin. They
d-down, and he wears the "FRIENDLY WORLD" costume from the Andy Kaufman special. Finally, Andy speaks -- in a peculiar FOREIGN ACCENT. ANDY (AS FOREIGN MAN) Hallo. I am Andy. Welcoom to my movie. (beat; he gets upset) I hoped the story of my life would be nice...but it turned out terrible! It is all LIES! Tings are mixed up... real people I knew play different people. WHAT A MESS! So I broke into Universal and cut out the junk. Now it's much shorter. In fa
MAIN TITLES INT. BUS - (DAY) - MEDIUM CLOSE SHOT Mr. and Mrs. Ben McKenna at the back of a motor coach with their seven year old son, HANK. We do not see much of the background which is receding from us. THEY are studying the countryside from the windows at each side of them. The CAMERA PULLS BACK down the aisle of the bus revealing the other passengers. They are a surprise, consisting of Arab men and women, with an occasional civilian and French Army officer. The CAMERA STOPS
Yeah, I worked in a barbershop. But I never considered myself a barber... We track back from a barber's pole. ED (V.O.) ...I stumbled into it--well, married into it more precisely... We track back from a shopkeeper's bell triggered by an opening door. The pull back and tilt down show the top of the head
FLORIDA, BEACH - GRAHAM + CRAWFORD - DAY The highlit aqua water burns out sections of the two men imposed in front of it. The beach is white sand. JACK CRAWFORD -- mid-forties, large -- came down from Washington. His suitcoat over the driftwood log and his rolled-up white sleeves says City, not Florida Keys. WILL GRAHAM -- late thirties -- in a faded Hawaiian number and sun-bleached vio- let shorts, belongs. Graham smokes. Crawford drinks from a glass of iced tea. Then:
UPPER 70S. DAY. 1 From across Broadway we see a little girl waiting at the curb. She steps off the curb toward us -- A TRUCK BARRELS into frame -- The long lens' flattened perspective makes it look like she's just been crushed. But the truck flashes by and she's fine. More traffic passes to and fro through the frame. CREDITS BEGIN OVER: 2 EXT. ANOTHER CORNER. DAY. 2 The LIGHT CHANGES and a
1 The frame is filled with the face of PETER SULLIVAN, a 27- year-old risk assessment analyst. He has a Doctorate from MIT and is staring intently into a large bank of computer screens. An elevator door opens and FOUR HUMAN RESOURCES PEOPLE come out of the elevator carrying large file boxes. They walk down a long glass enclosed hallway that runs the full length of the trading floor. The scope of the floor now comes into frame. The
t. He lifts the cardboard tray with two hot dogs, a bag of chips, and two Cokes. This is Claude. We follow him: He carefully carries the meal down the aisle, balances it in one hand as he opens the door. The train noise blares as he traverses the area between cars. He enters the new car repeating the balancing act. He waits while a man shoves his back-pack onto the metal rack above the seats. Claude hurries a bit more now, his concentration alte

nto a small microphone. THEODORE To my Chris, I have been thinking about how I could possibly tell you how much you mean to me. I remember when I first started to fall in love with you like it was last night. Lying naked beside you in that tiny apartment, it suddenly hit me that I was part of this whole larger thing, just like our parents, and our parents' parents

small kid, TJ FORNEY (13), with a grubby worn cast on his arm, rides his BMX really fast down a street. He chases a tow truck towing a badly wrecked red Volvo. He struggles to keep up. The truck makes a turn. TJ follows, turning dangerously in front of oncoming traffic. The truck makes another turn. TJ turns with it, running straight into the side of a car pulling out of a dri

gistered: WGAw FADE IN INT. ROB'S APARTMENT - NIGHT STEREO Not a minisystem, not a matching set, but coveted audiophile clutter of McIntosh and Nakamichi, each component from a different era, bought piece by piece in various nanoseconds of being flush. ROB (V.O.)

Ben Hecht and Charles MacArthur 1939 SHOOTING DRAFT FADE IN: INT. ANTEROOM CLOSE SHOT SWITCHBOARD Two telephone operators sit at switchboard busy plugging in and out answering calls. 1ST OPERATOR This is the Morning Post... The City

aking of Psycho by Stephen Rebello FADE IN: EXT. MARSHLAND - DUSK We move across smoldering embers and reach a small grass fire. Dirt is thrown over the flames before a BOOT finishes stamping them out. SUPER: PLAINFIELD, WISCONSIN, 1944 HENRY GEIN (O.S.)

1 We follow a small boy's FINGERS on a strange contraption- WIDER SCRATCH, 10 years old, has a `DIDDLEY BOW', a piece of baling wire nailed to the side of the unpainted shack so it is stretched taut. He moves an old corn cob under it as a fret and makes TWANGY, pitch-shifting NOTES as he plucks the wire. His friend LONNIE stands moving his fingers over a BOARD he has laid on the side of the porch floor. A few scrawny CHICKENS run around in the

GRIM'S STALL - MORNING Sunlit illuminates the darkened stable, highlighting the contours of a magnificent HORSE (PILGRIM) in surreal, dream- like imagery: his legs, his muscles, his sheen, his mane... his eyes. He shakes his head and stamps his feet. He seems confined. Eager to run. INT. STABLES - MORNING Pilgrim bursts through the stall and runs out the stables into a blinding white morning. EXT. AN OPEN FIELD LEADING TO WOODS - BRIGHT MORNING Whiteness. Snow a

, PANORAMIC VIEW of The Hospital -- a vast medical complex, a sprawling pastiche of architecture extending ten blocks north and south on First Avenue and east to the river. The Hospital was founded in the late 19th century, and there are still a few begrimed Victorian Bedlams and Bastilles among the buildings. Mostly though, it is Medical Modern 1971, white and chrome and lots

low whup-whup-whup of an LAPD helicopter flashing through the frame, here and gone. LAPD radio transmissions crackle like static electricity around a dirty clapboard bungalow that looks like the puckered asshole of Eagle Rock. A man's terrified voice screams invisibly from the house -- MALIK'S VOICE I'm gonna kill this dog! You make my wife talk to me or I'm gonna shoot this fuckin' dog! A five-member SWAT tactical team app

SCREEN TYPE: THIS IS A TRUE STORY EXT. KIGALI AIRPORT. DAY A burning white sun high in a clear blue sky, PAN DOWN TO: A rundown (sixties) airport, peeling in the heat. A mad traffic jam of cars, vans, motorbikes all stopped at a checkpoint where

First Draft REVISIONS "The rush of battle is a potent and often lethal addiction, for war is a drug." Chris Hedges, WAR IS A FORCE THAT GIVES US MEANING "The worst imaginable news: war thrives becaus

INT. STARBUCKS - 7:30 A.M. We're watching a pair of hands arrange white sugar packets, blue Equal packets, and pink Sweet and Low into small containers. With precision and lightning speed, the mixed up colors and crumpled packets are transformed into neat little color-coded rows. Wait, this container has three Equals and four Sweet 'n' lows. The hand quickly plucks the mutant Sweet 'n' Low. There

4.27.2008 1 EXT. SKY - DAY 1 Fluffy white CLOUDS drift across a clear blue sky. TITLE CARD- "This really happened" FADE TO WHITE: TITLE CARD- "It really did" A dull WHINE is heard building in volume until finally-

INT. PASSAGEWAY - NIGHT The CAMERA briskly retreats as FORTY, HIGHLY CHARGED, ATTRACTIVE, YOUNG PEOPLE march towards it. Each side of the frame is black as this troupe of young actors moves up the middle, everyone talking, grinning, squealing,... everyone having the "high" of their lives. INT. NEW YORK CLUB - NIGHT As the troupe, with geometric precision, spills into a larg

the break of a new day. The train lies dark and motionless, a few flashing yellow emergency lights up front, as a work crew removes debris from the track. INT. TRAIN. PRE-DAWN Various passengers, huddled uncomfortably, cold, asleep. On Paul Hood, 15-and-a-half, stoner-preppie look, hunched up in his seat under the faint emergency exit light. He reads his Fantastic Four comic book by the pale light of the emergency exit sign. Suddenly, the lights begin to flicker on and the hum

standing at a podium on a stage...there is a single spotlight on him. The rest of the stage is dark. Stephen is talking into a mic with no emotion...just matter of factly. STEPHEN I am neither Christian...nor atheist. I am not Jewish or Muslim. What I believe...my religion is called the constitution... A pause. Stephen snaps his fingers in the mic

We are in the midst of a field of tall grass wild flowers. A long rutted road stretches into the distance. Faintly at first and then closer - we hear a woman squealing with laughter. We see her legs cut through the grass and fly up a hill. Close on her heels is a young man, a good ten years younger, in hot pursuit. Over the field - across the tops of blades, sits an ancient apple tree. We rise out of the gra

1/15/03 A SERIES OF GREEN/GOLD VERTICAL STREAKS Moving across the screen from right to left. We hear a happy and informative man's voice.. .We will come to know this voice as MARK WHITACRE'S... WHITACRE (V-0-) You know that orange juice you have every morning? You know what's in that? FREEZE on one of the green/gold streaks as it racks int

NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS AND SOME "OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR THIS SOFT COPY. FADE IN: All we can see is black filling the screen... Black on black... INT. A JEEP, LEBANON - DAY And we're in a speeding SOVIET JEEP... Two men in front, shouldering assault rifles. HEZBOLLAH SOLDIERS... And there are three MEN in the back. A middle-aged Man wearing a tired suit

ng, alabaster white. Beautiful. A WASH CLOTH enters frame. Starts washing the arm with long, tender strokes. A TUMBLE OF HAIR thick and auburn. Being gently washed. FINGERNAILS being clipped with a shiny nail clipper. Short. Uniform. Tidy. EYEBROWS brown with a touch of gold. A BRUSH comes into view. Brushes against the eyebrow hair, t

STORY BY Jonathan Nolan, Kip Thorne & Lynda Obst MARCH 12 2008 SPACE. But not the dark lonely corner of it we're used to. This is

hen Rea Santiago Christian Slater Daniel Malloy Kirsten Dunst Claudia FADE IN: INT. ROOM - NIGHT (SAN FRANCISCO) A small bare room, illuminated only by the streetlight coming through the window. A hand presses a cassette into a recorder and fiddles with a small microphone. Malloy sits over a table fiddling with the tape. He is young, half-shaven, dressed in T-shirt and jeans. He looks too - LOUIS, who stands by the window, looking

Tuesday, April 28th 1992 WIDE-SHOT: A vast, snow-blanketed wilderness that sits beneath the icy summits of the highest mountain range in North America. This is BIG Alaska. A beat up 4x4 pick-up enters very small into the upper left corner of frame on an unkept, snow-packed road, and comes to a stop. A figure exits the passenger side and moves around the front of the truck. We can just make out the rifle sticking out of his backpack. We HEAR a ve

of an early morning sky. BAKER (V.O.) Once upon a time, in a far off kingdom, there lay a small village at the edge of the woods... Suddenly, the WELL-WORN BOOT of Cinderella steps into the frame and lands on what we thought was the sky, but in fact is simply its reflection in a puddle of water. A strong CHORD accents the splash and we begin a musical vamp. EXT. CINDERELLA'S HOUSE - DAYB

TT HOME - STREET (HALEY, ILLINOIS) - DAY 1 (LATE SPRING, 1957) OPENING CREDITS ROLL over a TENT MONTAGE -- ASSORTED ANGLES of a group of men hard at work erecting a large striped "big-top" style canvas tent, INCLUDING: The long steel stakes being sledge-hammered into the lawn, practiced hands rapidly rigging the lines, the tall center poles being leveraged upright, the heavy rolled-up sections of canvas being maneu

Based on material by JOHN CARLIN Second Draft 5/22/07 "Sport has the power to change the world. It has the power to inspire, the power to unite people

or just audible over the sound of Indian music - MARGARET, briefly glimpsed pondering cartons of milk. The electronic PEEP of the cash til. A man on a mobile phone pushes past MARGARET, who takes her place second in the queue. The female shopkeeper piles newspapers on the counter in front of MARGARET. Distracted by images of the bombed hotel on the TV, she hesitates for beat. MAN BEHIND THE COUNTER One forty-nine please. MA

more apartments, above and below, the tiers linked by ramps and crosswalks. It might be a prison cellblock but there are no guards apparent. Indeed, the residents move freely, all notably male, all clad in shearlings, polo shirts and slacks. It is just another day in Sector Four. 3 INT. NUTRITION PLAZA - SECTOR FOUR - DAY Satie's Gymnopedie plays from overhead speakers. A glass wall looks out across a green mountain valley. The plaza, formed in curv

STUDIO DRAFT 3-18-2014 OPEN ON: Rain. Lashing a windowpane. A PIANO PLAYS somewhere off screen. Beethoven's Fur Elise. INT. WILL'S BEDROOM - DAY

Jo Swerling FADE IN: NIGHT SEQUENCE Series of shots of various streets and buildings in the town of Bedford Falls, somewhere in New York State. The streets are deserted, and snow is falling. It is Christmas Eve. Over the above scenes we hear voices praying: GOWER'S VOICE

April 15, 2003 A pure white screen. Idyllic stillness. All of it looking and feeling like the heavens are supposed to. After some seconds of calm, water seems to mist the screen and the slight shifts to the left and then the right suggest this is a man's P.O.V. Then, suddenly, the white screen is

, like strands of soldier ants, seventy-five men, at combat readiness, assemble on the edge of a sweltering wilderness. It is dusk. The mood is lazy, soporific. Members of one platoon huddle close to the ground smoking a joint. JERRY Strong stuff. ROD (to JACOB, a soldier squatting several yards away) Hey, Professor, how many times can you shit in an hour? GEORGE Don't bug 'im. DOUG Where are those gooks already? FRANK So

Charlotte Bronte 2ND DRAFT 6TH MARCH 2008 EXT. A MIDSUMMER DAWN. THORNFIELD - THE GROUNDS. First light. Jane Eyre is running across a meadow, flushed and breathless; the hem of her plain, black dress soaked

JERRY'S VOICE Airight so this is the world and there are five billion people on it. When I was a kid there were three. It's hard to keep up. AMERICA FROM SPACE The great continent through mist and swirling skies. (Satellites and other pieces of skycasting equipment float by.) JERRY'S VOIC

Puis apparaît, sur l'écran, une représentation stylisée du Lion de Saint-Marc, avec ailes et auréole, regardant vers la gauche et la patte avant droite posée sur un évangile ouvert. Sur cette image, une inscription en lettres blanches : Ce Film a obtenu LE LION DE ST-MARC Puis, toujours en lettres blanches sur la même image :

FADE IN Credits run in counterpoint through a 7 to 10 minute sequence of documentary images setting the tone of John F. Kennedy's Presidency and the atmosphere of those tense times, 1960 through 1963. An omniscient narrator's voice marches us through in old time Pathe' newsreel fashion. VOICE January, 1961 - President D

the wheel. We never see her face. Hanging from the mirror is a rosary with a crucifix. Her porcelain hand turns up the volume and the music swells. A silver bracelet dangles from her wrist. EXT. TWO-LANE HIGHWAY - CONTINUOUS A slow-moving semi obstructs her path. The woman leans out the window to see if the road is clear before moving into the oncoming lane. She steps on the gas. She's in the wrong lane and can't get over. There are headlights in the distance and the moan of an airhorn is

DC films that have come before it. We see it as a classic Warner Bros. movie. Gritty, intimate and oddly funny, the characters live in the real world and the stakes are personal. Although it is never mentioned in the film, this story takes place in the past. Let's call it 1981. It's a troubled time. The crime rate in Gotham is at record highs. A garbage strike has crippled the city for the past six weeks. And the divide between the "haves" and the "have- not

curb. It's FALL. Juno is sixteen years old, an artfully bedraggled burnout kid. She winces and shields her eyes from the glare of the sun. The object of her rapt attention is a battered living room set, abandoned curbside by its former owners. There is a fetid-looking leather recliner, a chrome-edged coffee table, and a tasteless latchhooked rug featuring a roaring tiger.

ncient ghetto. Dark corners casting a medieval spell over a modern century oblivious to their romance and mystery. The River is the dividing line. Elegant gardens on the opposite bank embracing the monotonous solemnity of the New Town, tower steeples silhouetted against the sombre sky. An empty motor bus rattles along a deserted street. A Gothic bridge links the two halves of the strange city. Its half-moon arches be

be painful and raw. GIRL (O.S.) Oh yes, oh yes, oh yes, oh yes. INT. BEDROOM - DAY The face of a very pretty young girl with long blond hair. Her face is inches from the CAMERA, the CAMERA is above her, looking down, almost like the POV of the person she's having sex with. She id breathing extremely heavily; her face is red-hot and sweaty. Every time she moves, she makes a deep moaning noise. She looks likes she's on the verge of pain and ecstasy. GIRL Oh yes, Telly it hurts, oh

umming stillness of an American suburb on a summer's day: nannies push strollers, joggers jog, mailmen deliver, dogs are walked, kids shoot hoop in wide open driveways. On a quiet, tree-lined street we pick up two young athletic- looking boys riding bikes. LASER ALLGOOD (15) and his friend, CLAY (15). Like bats out of hell they pass block after block of charming, evenly spaced houses until they round a corner and drop their bikes in front of a large ra

NAL SHOOTING SCRIPT EXT. RIVERSIDE PARK - NIGHT Underwater. Shafts of eroded light slice into the depths of the Hudson River. The ghostly melody of "Lili Marlene," the ache of the war-time lover, plays as a strange SHADOW drifts into view. We realize it is a BODY. ALLEN (V.O.) Some things, once you've loved them, become yours forever. The body BREAKS the surface and we see the face of its owner ---- DAVID KAMMERER, 33, bearde

e from the incessant tapping of rain on the roof of the cab we hear the sounds of the airport: the almost monotonic loudspeaker declaring in French that loitering is not permissible and that should any bags be left unattended that they will be destroyed; the honking of the horns from other automobiles; the unintelligible chatter of people as they get their bearings. Inside the cab, playing on the radio, is Angelique Kidjo's funky

Edgar Wallace 1. EXT. CENTRAL PARK - DAY CLOSE ON: A scrawny MONKEY scratches. ANGLES ON: Defeated, listless ANIMALS, in the bleak environs of a dilapidated ZOO. WIDER: It is CENTRAL PARK ZOO in depression era NEW YORK. The PARK itself is like a GARBAGE DUMP, dotted with squali

N is an attractive-looking young man just past thirty and dressed in a stylish blue suit, broad tie and wide-collared shirt. His shoes are neatly polished, his hair carefully groomed. As the montage continues, we see that he has finished his deliveries and is walking rapidly towards his destination. It turns out to be a television theater north of Times Square whose marquee announces THE JERRY LANGFORD SHOW. It is dusk and the show is about to break. There

enamelled bathtub with gilded lion's legs - bulges in SLOW MOTION to the chords of Handel's "Trumpet Volunteer". A head emerges. White gloved hands, in livery, rush to envelope the surfacing naked wet body in white towels. 2 INT. DRESSING CHAMBER, YORK HOUSE - DAY 2 The ritual continues with crisp military precision. CLOSE ON the Royal Coat Of Arms stamped in gold: lion and unicorn embrace a shield divided into four

L - DAY 2 We're in a kindergarten classroom of 25 SIX YEAR OLDS. All sitting on the floor, legs crossed. Sitting in front of the kids is Little KEVIN FLEURY, flanked by his mom LYLA FLEURY and his dad RONALD FLEURY, in a dark suit. Little Kevin has a large cardboard square with pictures from different stages of his life taped to it. He's telling the class about the photos. We're TIGHT ON the pictures. TIGHT ON the young faces. TIGHT

e happy family and guests. Among them are KLUTE and CABLE. Camera stops at Mrs. Grunemann who sits at the foot of the table opposite her husband. She smiles across at him with pleasure. We cut to Tom Grunemann smiling back at her. We cut back to a closeup of Mrs. Grunemann looking back at her husband with love. We cut back to Tom Grunemann's chair - only now it is empty. The joyous sounds disappear on this cut. It appears that Tom Grunemann has disappeared before our eyes. One mome

, JAY and JASON fight with broom sticks. JONAH drinks beer on the couch spectating. QUICK IMAGES: We see Ben and Jay fighting. At one point they fight with gloves which are on fire, balancing on a plank over a dirty pool. Ben now has a fishbowl filled with weed smoke over his head. There is a smoking joint in his mouth, making the bowl get cloudier and cloudier. He starts coughing hysterically and t

very comfortable office over-looking St. Patrick's Cathedral. At the moment the office is filled to bursting with men and women, slumped in chairs, sitting on desks, all of them very tense. Among the crowd of people we note: MURRAY FISHER, a young and very ambitious junior executive and PHYLLIS BERNARD, an attractive woman in her early thirties. She is a lawyer with the agency.

Characters (in order of appearance) Reting Rinpoche ... Regent of Tibet, served in the years between the death of the Thirteenth Dalai Lama and the discovery of the Fourteenth Dalai Lama. A monk. Lama of Sera ... Keustang Rinpoche A high lama. Lhamo Dhondrup ... The Fourteenth Dalai Lama. Also known as Tenzin Gyatso. Lobsang Samten ... The Dalai Lama's immediate older brother. Tsering Dolma ... Th

November 16, 1995 Minor Revisions FADE IN: OVER the opening strains of "I LOVE YOU, CALIFORNIA," a MONTAGE: a mixture of headlines, newsreel footage and live action. Economy Booming! Postwar Optimism! L.A.: City of the Future! But most prominent among them: GANGLAND! Police photographers document crime scenes. The meat wagon

l. It's a horrific traffic jam. Morning rush hour. Sun beating down, asphalt shimmering in the heat. The blown-out downtown L.A. skyline hovers in the distance. We DRIFT past more CARS. Hear one snippet of audio after another... One driver taps his steering wheel to PROG ROCK. Another sings to OPERA. A third raps along to a HIP-HOP track. We move from a RADIO INTERVIEW to a FRENCH BALLAD to TECHNO, until finally we begin to hear...

ars bottlenecks as it slithers by. An arch of ORANGE AND RED FLARES outlines the area of shattered glass and twisted metal. We are at the site of a gruesome car accident. An ambulance and four police cars are on the scene. Two cars are involved in the crash. The first, a SILVER CADILLAC with its front caved in a perfect semi-circle; there is no-one inside the car. The second car is a different story entirely. A DARK GREEN HONDA PRELUDE crushed against the concrete median that

Nov. 2009 FADE IN SUNRISE Big and orange and full of hope, as sure as fate. A dawn as promising as, well, this new day... Sun is rising over... A flat roof that stretches to the horizon. A vast expanse. A plain of gravel-e

FADE IN: INT. RECORDING ROOM - DAY HARVEY SHINE, mid-60's, sits at a piano in a scruffy recording room, tinkering. We hold on his slightly sad, intense gaze. Just then a shaft of crude light illuminates him, accompanied by a knocking sound. From behind a studio window, JOHNNIE, a young rocker type in his 20's beckons. Harvey closes the piano lid.

a dismal no-man's land, surrounded by trees and overhanging branches. The distant roar of battle RUMBLES ominously. SUPERIMPOSED TITLES appear and hold for a moment. Abruptly, the image springs to life. The gun FIRES deafeningly. The nearby branches shake violently. Another set of TITLES appears. The image FREEZES again as a lone bugle plays a charge. Again and again and again, the image moves, the gun DISCHARGES

Logan Revisions by Edward Zwick & Marshall Herskovitz 1. Fade In: A BRIGHT BLUE TIGER Surrounded by a pack of dogs, ten of them snarling and gnashing their teeth. The TIGER'S, eyes burn with fury as he wheels in a circle, lunging at one dog clawing at another, keeping them all at bay. Suddenly, the TIGER leaps over the dogs and

own way. Leo Tolstoy- Anna Karenina 1 EXT. COUNTRYSIDE. DAY. 1 High angle of the steam train travelling through a wide river valley. The stack belching smoke against the Russian sky. 2 INT. SECOND CLASS CARRIAGE. COUNTRY SIDE. DAY. 2 Leo Tolstoy (80), sits writing on his lapboard. He is quite simply the greatest living writer in the world. His devotion to pacifism, his rejection of the

Bernardo Bertolucci & Franco Arcalli FINAL SHOOTING TRANSCRIPT FADE IN: EXT. PARIS FRANCE - PONT DE BIR-HAKEIM - DAY PAUL (50's) stands on the street under a RAISED TRAIN BRIDGE. He covers his ears in UTTER DISGUST at the UNBEARABLE NOISE a tr

ke, disturbing: A HAND is trying to dial three simple numbers. Trembling fingers miss, try again...we hear boop-boop-boop. 911 OPERATOR (filtered) 911 operator, what is your emergency? The phone rises, gripped tightly. Knuckles white. We're TIGHT, it's dark, we see no face -- just slack, trembling lips. Whoever it is, he can't talk. All we hear is breathing, all we sense is g

CK; '10 P.M. - LOS ANGELES' DISSOLVE TO: 1 INT. SMART BAR IN BEVERLY HILLS - NIGHT It is the kind of bar where the well-to-do folks of LA go to pick up - or be picked up. Lesser-known actors, agents and executives of all ages. Into this bar comes Ben. Ben is in his thirties. He is wearing an Armani suit that could use a visit to the dry-cleaner's. He hasn't shaved in the last twenty-four hours (but neither has any of the actors in the bar). He is a goo

"Les Misérables" Based on the novel by Victor Hugo May 20, 2012 BLACK SCREEN SUPERIMPOSE CAPTION: The yea

T. PRISON CEMETERY -- DAY A handful of people are gathered in an open field under a fierce Mississippi sun. A couple of young inmates, JAKE and LEON, lean on their shovels. They are waiting to bury two identical CASKETS with inmate numbers stenciled on the pinewood lids. A GUARD rests the butt of his rifle on the ground and takes a long, healthy pull from his canteen. He offer

EXT. GEORGE'S BEACH SHACK - MORNING The cottage is a tiny, peeling paint rat-trap set dead center on a small ocean front cul-de-sac, surrounded by four massive post-modern mansions. INT. GEORGE'S BEACH SHACK BEDROOM - MORNING GEORGE NELSON, 42, squints and shivers as the spotty morning light and ocean breeze enter through an open window. Bold waves crash against the cliffs outside the room.

EXT. TWO-LANE HIGHWAY - SUNRISE A dishevelled WOMAN in a business suit (27) runs down a lonely highway in Texas hill country, moving desperately through the thick morning fog. She's carrying a VHS cassette. The sounds of her breathing and SHOES HITTING the PAVEMENT ECHO into the mist. She runs, and runs. She slows, out-of-strength, looks up and down the highway.

a magical fairy tale world in collage - images of fantastic creatures striped and spotted, hoofed and horned. Goats and warthogs mingle in an open field; a baby giraffe tries to reach leaves over a fence; rhinos roll happily in rich red mud, looking like giant muddy boulders, while nearby, black and white Malayan tapirs cool themselves in watering holes. Exotic monkeys with comical faces cling lovingly to one another, swing from trees, climb over

light sleeper. Never meant to be a drug dealer, it just came along. He's been other things: messenger boy, cab driver, model, postal clerk, doorman, nightclub shill -- never meant to be them either. Now he's a D.D. Drug dealer. JOHN LETOUR, well-groomed, khaki slacks, leather jacket, tippet-like scarf, belt pouch, "Beatle" boots, a shadow drifting in and out of other shadows, N

NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS. THEY HAVE BEEN REMOVED FROM THIS SOFT COPY. Wilson's first impression of Los Angeles was blue. He was in the sky at the time, so it was a curious reversal, looking down rather than up at the color he had always felt was nature's finest. Swimming pools. Hundreds of them. Pockmarking the landscape like miniature lakes. A flat landscape of straight st

n By Doris Kearns Goodwin Final Shooting Script December 20, 2011 EXT. BATTLEFIELD, JENKINS' FERRY, ARKANSAS - DAY Heavy grey skies hang over a flooded field, the water two feet deep. Cannons and carts, half-su

July 8, 2006 BANG IN FROM BLACK, FACE OF A MAN MICKEY HALLER, 40, lawyer-- TIGHT on him, as morning light flies across his features. He's fresh-shaved, neat suit, gazes out with a stark/steady focus from the back seat of-- INT. LINCOLN TOWN CAR (MOVING) IN A HARD RAIN-- GRADUALLY FADE IN, under the SOUND of rain & freeway, his

FADE IN: INT. JERRY'S HOUSE, JERRY'S BEDROOM -- MORNING The room is dark and messy. JERRY, a soft, unshaven boy of about eighteen years, sits on the end of his bed in boxers and an old t- shirt. He has not quite woken up yet. Jerry pulls a huge, well-traveled SUITCASE from his closet and tosses it onto the bed. He begins grabbing articles of CLOTHING from the closet and tossing th

singing, and even dancing: the teacher is missing in a 7th Grade classroom. This rare absence of authority is intensely enjoyed by the crowd. It looks like it's party time for these KIDS. They talk and laugh, show each other photos on their phones, draw spaceships and baboons on their notebooks, and fold pieces of paper into airplanes that fly around the room. In a corner, a GROUP OF GIRLS dance to the tune of a song they are listening to on headphone

era stands alone on a wooden tripod surrounded by blackness. Opening credits begin. An almost imperceptible DOLLY in toward the movie camera. The dolly forward continues throughout the credits ending in an EXTREME CU of the camera's lens, filling the frame like a giant, glass full moon. Fade to BLACK. Suddenly a door opens directly in front of the camera, wiping the lens and re

FINAL SHOOTING DRAFT - August 23, 2016 AN LCD BILLBOARD WITH DEFECTIVE PIXELS A BEAUTIFUL COUPLE dance on a giant can of a Red-Bull-like drink-- HYPNO! The label morphs to different flavors. EXT. A VACANT LOT -- NIGHT

. SERGEANT CLIFF POTTS is in the f.g., a plant-and-tree guidebook in hand, as SERGEANT "MIKEY" HOGAN works a metal detector over a large, sandy bank in the b.g. Both are Army career men with a morning off to pursue their hobbies. CLIFF We got ocotillo, devil's walking stick--what's this stuff--it's that whattayoucallit--horse-crippler. Mikey bends to scoop something out of the sand, putting it in a canvas bag slung on his hip. MIKEY This place is a

Assaulted from without by SNOWFLAKES. Wind tossed. INSIDE, a bed, dappled with moon shadow. A LITTLE GIRL, fast asleep. The wind whistles and sighs outside. She DREAMS... Eyelids closed, eyes roving beneath... then suddenly they SNAP open. A stifled cry. She thrashes for her STUFFED BEAR, as a soft voice says: VOICE Shhhhh.

and tie. Black smoke wafts in front of his face. He speaks matter-of-factly, directly into camera. YURI There are over 550 million firearms in worldwide circulation. That's one firearm for every twelve people on the planet. The only question is... (taking a draft and stubbing out the cigarette) ...how do we arm

L EXT. TWO-LANE HIGHWAY - NIGHT We see a clean moving POV illuminated by headlights. We're floating down an old two-lane highway through a desolate, desert landscape. This gliding, eerie POV continues as credits roll. when the credits end, the headlights seem to dim and soon we're moving through BLACKNESS. FADE OUT: FADE IN: INT. THE MADISON HOUSE - BEDROOM - DAY in the blackness, a man, FRED, is sitting on a bed smoking a cigarette. we see his back

FADE IN[1] Over the titles we see SUPERIMPOSED the snow-capped mountains leading to Shangri-La. CLOSE-UP of an impressive-looking book. The covers open and the pages turn. The first page reads:

FADE IN: EXT. NARITA AIRPORT - NIGHT We hear the sound of a plane landing over black. CUT TO: INT. CHARLOTTE'S ROOM - NIGHT The back of a GIRL in pink underwear, she leans at a big window, looking out over Tokyo. CUT TO: Melodra

p basketball court, playing a sexually-charged game of one-one- one. Sweat glistens. Hands pull at clothes. Hips bump and collide. Eyes lock... FADE TO: BLACK. FADE IN: TITLE CARD: "FIRST QUARTER" then "1981" BALDWIN HILLS EXT. MCCALL HOUSE - LATE MORNING An upper middle-class neighborhood, known as the Black Beverly Hills. Big houses, green grass and Caddies in every other driveway. The street is quiet, until -- YOUNG VOICE (O.S.)

et hall. One is BOBBY, the other is RICKY. They are drawn together to start the bout by a bell and a hand gesture as the REFEREE backs away. Immediately the two fighters unload a relentless barrage of POWER PUNCHES. Neither man is holding back, and the punches all find purchase in the swelling faces of their opponent. The crowd rises to its feet in appreciation of this rare level of competition in

OVER BLACK; NARRATOR In the New York Herald, November 26, year 1911, there is an account of the hanging of three men -- CUT TO: Black and White Lumiere Footage Three men hung....bang...bang...bang.

DRAFT October 14, 1997 "... the magic is all around you. All the time. Everywhere. In every thing. The trick... is to see it." IN BLACK... ... the insistent, persistent, eight-to-the-bar beat of BOOGIE-WOOGIE. Hot, exciting, pulsating rhythm, ramping up. THEN... ... in the blackn

n. PEOPLE and KIDS are busy with their own things. SHORTY bops his way down the street. He is a runty, very dark young man of 21 with a mission and a smile on his face. He wears the flamboyant style of the time: the whole zoot-suit, pegged legs and a wide brim hat with a white feather stuck in the hat band. 2 OMIT 3 OMIT 4 OMIT 5 EXT. STREET - DAY FOLLOW SHOT. Shorty dodges through the crowd with his packages. His smile is one of anticipation. He nods to

FIRST DRAFT September 18, 1995 FADE IN: From the BLACKNESS before the first images, we hear a young woman's tortured SCREAM, muffled by her own will. We see her mouth, open in agony; her face, beaded with sweat. Her name is ANNE, and she is Queen of France. She lies in A ROYAL BEDCHAMBER The royal DOCTOR kneels at the foot of her bed; her own royal mother grips her hands... On the opposite side of

1. "Man On Fire" OPENING TITLE SEQUENCE EXT. MEXICO CITY - DAY High over the city on a bright Sunday morning, the sun pounding its way through the orange haze of smog. As we descend toward the clots of traffic blocking the streets: the sounds of a Mass being sung. A CATHOLIC CHURCH The big wooden doors open to release the parishioners inside. Feature a tall, lanky 18-YEAR-OLD. Holding his GIRLFRIEND'S hand, anxious for Sunday to really begin. They

d-down, and he wears the "FRIENDLY WORLD" costume from the Andy Kaufman special. Finally, Andy speaks -- in a peculiar FOREIGN ACCENT. ANDY (AS FOREIGN MAN) Hallo. I am Andy. Welcoom to my movie. (beat; he gets upset) I hoped the story of my life would be nice...but it turned out terrible! It is all LIES! Tings are mixed up... real people I knew play different people. WHAT A MESS! So I broke into Universal and cut out the junk. Now it's much shorter. In fa

MAIN TITLES INT. BUS - (DAY) - MEDIUM CLOSE SHOT Mr. and Mrs. Ben McKenna at the back of a motor coach with their seven year old son, HANK. We do not see much of the background which is receding from us. THEY are studying the countryside from the windows at each side of them. The CAMERA PULLS BACK down the aisle of the bus revealing the other passengers. They are a surprise, consisting of Arab men and women, with an occasional civilian and French Army officer. The CAMERA STOPS

Yeah, I worked in a barbershop. But I never considered myself a barber... We track back from a barber's pole. ED (V.O.) ...I stumbled into it--well, married into it more precisely... We track back from a shopkeeper's bell triggered by an opening door. The pull back and tilt down show the top of the head

FLORIDA, BEACH - GRAHAM + CRAWFORD - DAY The highlit aqua water burns out sections of the two men imposed in front of it. The beach is white sand. JACK CRAWFORD -- mid-forties, large -- came down from Washington. His suitcoat over the driftwood log and his rolled-up white sleeves says City, not Florida Keys. WILL GRAHAM -- late thirties -- in a faded Hawaiian number and sun-bleached vio- let shorts, belongs. Graham smokes. Crawford drinks from a glass of iced tea. Then:

UPPER 70S. DAY. 1 From across Broadway we see a little girl waiting at the curb. She steps off the curb toward us -- A TRUCK BARRELS into frame -- The long lens' flattened perspective makes it look like she's just been crushed. But the truck flashes by and she's fine. More traffic passes to and fro through the frame. CREDITS BEGIN OVER: 2 EXT. ANOTHER CORNER. DAY. 2 The LIGHT CHANGES and a

1 The frame is filled with the face of PETER SULLIVAN, a 27- year-old risk assessment analyst. He has a Doctorate from MIT and is staring intently into a large bank of computer screens. An elevator door opens and FOUR HUMAN RESOURCES PEOPLE come out of the elevator carrying large file boxes. They walk down a long glass enclosed hallway that runs the full length of the trading floor. The scope of the floor now comes into frame. The

t. He lifts the cardboard tray with two hot dogs, a bag of chips, and two Cokes. This is Claude. We follow him: He carefully carries the meal down the aisle, balances it in one hand as he opens the door. The train noise blares as he traverses the area between cars. He enters the new car repeating the balancing act. He waits while a man shoves his back-pack onto the metal rack above the seats. Claude hurries a bit more now, his concentration alte