Drama
stringlengths 0
500
|
---|
FADE IN:
EXT. NEIGHBORHOOD STREET - MORNING
TWIN BOYS, RUDY AND JACOB CARGES (12), ride their bikes
through a suburban neighborhood.
Rudy, the more athletic of the two, rides at a breakneck
pace. Jacob rides slowly due to a HOCKEY MASK that he wears
over his face. It's making it difficult for him to see. The
boys turn down a DIRT PATH and ride deep into some WOODS. |
TERMINAL - BAY
CLOSE ON A FACE. A nine year old boy, YOUNG COLE, his eyes wide
with wonder. watching something intently. We HEAR the sounds of
the P.A. SYSTEM droning Flight Information mingled with the
sounds of urgent SHOUTS, running FEET, EXCLAMATIONS.
YOUNG COLE'S POV: twenty yards away, a BLONDE MAN is sprawled on
the floor, blood oozing from his gaudy Hawaiian shirt.
A BRUNETTE in a tight dress, her face obscured from YOUNG COLE'S
view, rushes to the injured man, k |
Y APRIL, 1841-
We are close on a PAIR OF BLACK HANDS as they open A
FINELY WRAPPED PACKET OF VIOLIN STRINGS.
WE CUT TO the hands stringing a VIOLIN. It's not a high
end piece, but it is quite nice.
WE CUT TO a wide shot of the study. Sitting in a chair
with violin in hand is SOLOMON NORTHUP; a man in his late
twenties. Everything about Solomon, his mien and manner,
is distinguished. But he, too, |
show or new year's eve on copacabana beach, but whatever it
is there are thousands and thousands of us. A mexican wave
erupts success, celebration, with so many involved it's
impossible to pick out anyone individually. Critical mass
cyclists, easter crowds at st. Peter's basilica, nyc
marathon, 4,000 flash mobbers doing the silent disco at
london's victoria station, india's kumbh mela, macy's
thanksgiving day para |
N:
CREDITS AND MUSIC OVER:
INT. AUDIENCE ROOM - GRANADA - DAY
We start on a man's elegant slipper. He is seated in a
splendid chair. Moving up the stocking leg, we pass the
garter of Castile, coming to rest on a pair of delicate
hands. His fore finger impatiently plays with a large
topaz ring. Over this, we hear distant footsteps, echoing
on marble floors.
CUT TO:
A Castilian face: aquilaine profile, olive complexion,
dark eyebrows and meticulously s |
EXT. FITCH SENIOR HIGH SCHOOL - DUSK
A few cars scatter the parking lot. WE hear GRUNTS followed
by the distinct sound of basketballs shredding net.
INT. FITCH SENIOR HIGH SCHOOL/GYM - CONTINUOUS
An empty gymnasium except for a shirtless MIKE O'DONNELL, 17.
Mike stands feet BEYOND the 3 point line, grabs balls from a
hopper and rapidly shoots, shoots, shoots. |
USH HOUR
ON a pair of black Dexter penny loafers diligently
pedaling an old Schwinn mountain bike. ADJUST ANGLE now
to meet the bicyclist...
He's African-American. Anywhere from 33 to 40. Wears
wire-rim glasses, a fresh white oxford shirt, creased
slacks and a solid green tie. An unobtrusive figure, at
once familiar and yet undiscerning. The type you'd pass
on a sidewalk and never even notice. He's TREVOR GARFIELD.
ADJUST ANGLE FURTHER now to re |
d Draft
February 19th, 2008
OVER BLACK
We listen to the immortal music of Mozart's Adagio of the
Clarinet Concerto in A.
FADE UP
EXT. THE SOLAR SYSTEM
Space, infinite and empty.
But then, slowly a |
tunning violence. Looped.
Soldiers in a foreign war shoot an unarmed civilian at point-
blank range; a man is set on by a frenzied crowd wielding
clubs and machetes; a woman is necklaced while her killers
cheer and howl.
Pull back to reveal that we are seeing one of many screens in
a bank of monitors, all showing similar images...
Then reve |
Pink Revised - April 19, 2012
Yellow Revised - April 24, 2012
Green Revised - April 27, 2012
Goldenrod Revised - May 9, 2012
Buff Revised - May 29, 2012
Salmon Revised - June 4, 2012 |
slicked... darkest slate-grey cobbles...
And on through streets... Narrow. Grimy. Sooty. Rank...
Deserted...
Pastal-disused Victorian broken-windowed, derelict
buildings and wharf side warehouses with rotten oaky loading
beams and rusted iron chains... Mossy, mildewed walls... Dripping
fetid water from corroded dilapidated ancient ruined
guttering...
Moving... Turning... Into a pinched, arched, alleyway -- If
anything darker, blacker... Fore |
7/2/08
FADE IN:
OPENING TITLE SEQUENCE
EXT. SAN DIEGO - DAY
It's another picture perfect day in San Diego. The beaches,
golf courses, and yacht clubs are packed with hundreds of
rapturous citizens.
EXT. BUS STOP - DAY |
Draft
SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE
WITH A GIRL." When all is said and done, up comes a single
number in parenthesis, like so:
(478)
EXT. PARK - DAY
For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a
park bench. Their names are TOM and SUMMER. Neither one says
a word. |
SEQ. 05 - PROLOGUE
The Focus Features logo appears on screen and we slide INTO
the "O" in Focus.
Stock dissolves from 35mm to 16mm. BLACK & WHITE. GRAINY,
like OLD DOCUMENTARY FOOTAGE.
SCIENTIST'S VOICE
Experiment 208, day 20... |
EXT. A SENTRY TOWER --
-- in the middle of the night, in the middle of nowhere.
Small beams of light coming from lamps attached to the tower
cut through the ground mist. We HEAR all the unidentifiable
sounds of night in the woods. We also HEAR, very, very
faintly, a slow, deliberate drum cadence. And as this starts,
we begin to MOVE SLOWLY UP THE TOWER, more becomes visible |
Forcible Rape: 5,405
Violent Crime: 180,235
Aggravated Assault: 60,329
Property: 1,029,749
Vehicle Theft: 133,041
Robbery: 112,273
Burglary: 360,925
Larceny-Theft: 535,783 |
February 23, 2016
"This is a story of one man's fight against himself, knowing
he would never win but trying anyway. Every fucking day of it
was a war."
- Billy Moore
2.
Based on a true story
1 INT. SHACK (THAILAND) - NIGHT - ON A MAN'S HANDS 1
strong...raw skin, callused, with hard scar tissue build-up.
Knuckles raised and damaged |
TOWN - MAIN ST. - LATE AFTERNOON 1
We come up on... a streetlight. There is no illumination...
and no movement. We hold on it for a long moment when
suddenly... The streetlight bobs... and then begins to sway.
We slowly begin to rise up on the streetlight to reveal... a
small bird has landed on it. We continue to rise to reveal,
behind the bird...
Wind blows through the gargantuan evergreens that seem to
engulf the narrow main |
December 20, 1997
SHOT OF NOTEBOOK PAGE DAPPLED WITH SUNLIGHT
POV of someone skimming a hand-written entry. The
corresponding voice-over is offhand, dispassionate. In the
background, children can be heard laughing and playing.
BOB ARCTOR (V.O.)
Lately, Jerry Fabin stands all day
shaking bugs from his hair. The
doctor says there are no bugs in his
hair.
The sound of fingers scratching |
December 20, 1997
SHOT OF NOTEBOOK PAGE DAPPLED WITH SUNLIGHT
POV of someone skimming a hand-written entry. The
corresponding voice-over is offhand, dispassionate. In the
background, children can be heard laughing and playing.
BOB ARCTOR (V.O.)
Lately, Jerry Fabin stands all day
shaking bugs from his hair. The
doctor says there are no bugs in his
hair.
The sound of fingers scratching |
.
We are looking at an El Greco drawing. It is a study for
one of his paintings.
PULL BACK TO REVEAL --
A bunch of art students are doing sketches of the eyes,
the elongated fingers, the slender hands El Greco drew so
brilliantly.
Most of the students are around 20. A couple of suburban
housewives are there too.
And one older man.
This is LUTHER WHITNEY. Mid 60s, very fit, neatly
dressed. At quick glance, he seems as |
EXT. ROCKY TERRAIN - DAY
Endless barren landscape. No sign of life. The atmosphere
is hazy, toxic-looking. Volcanoes erupt. Meteors bombard.
Lightning strikes, concussing murky pools of water. Silence.
INT. LARGE EMPTY LIVING ROOM - MORNING
SUBTITLE: HOLLYWOOD, CA, FOUR BILLION AND FORTY YEARS LATER
Beamed ceilings and ostentatious fireplace. A few birthday
cards on the mantel, two of them identical: "To Our Dear Son
on His Fortieth Birthday." Charlie Kaufman, a fat, balding
man |
SHOOTING DRAFT
CREDITS
Still-life tableaus. Lawford, N.H., a town of fifty buildings
on a glacial ridge, neither mountain nor plateau. Developed
as 1880's forestland, discarded in the Depression. Winter
has set in. Halloween day. Snowy fields yield to overcast
skies: oppressive, horizonless, flourescent.
-- Wickham's Restaurant. |
REVISED 10/07/08
INT. PAUL'S APARTMENT. BEDROOM - DAY
BLINDING WHITENESS
We hear a MAN GASPING softly. Rhythmically.
A LUMINOUS PALE SHAPE slowly forms out of the searing
whiteness. Gradually we realize we're moving across the
ALABASTER BODY of a WOMAN. Her skin translucent.
ON THE WOMAN'S FACE
Ethereal. Her eyes closed. Her face lifeless. Then...
...h |
ection
saying the rosary.
DISSOLVE TO:
INT - CHAPEL - DAY
A line of nuns kneeling at prayer. Closeups of various individuals.
DISSOLVE TO:
EXT - CONVENT - NIGHT
A single shot of the building.
INT - TOP CORRIDOR - NIGHT
SISTER MARGUERITE is locking up for the night, shutting doors,
turning off lights, finally walks off down the corridor. Suddenly a
terrified scream is heard, the voice of a young woman.
EXT - CONVENT - NIGHT
Lights in the windows flick on.
INT - |
jump packs and combat gear, stare down the deep end of a
greasy ramp into the night sky. Village lights flicker 19,000
feet below.
The STRIKE FORCE LEADER signals to his team.
Without a moment's hesitation, they dive into the darkness
and plummet toward earth.
EXT. MANSION - NIGHT
A military GUARD, old Soviet-style uniform, rounds the corner
of the lar |
Gregory Allen Howard
FADE IN:
EXT. MIAMI STREET - MOVEMENT - NIGHT (1964)
in the dark. Coming toward us. Up and down in sync to an
INSTRUMENTAL LEAD-IN from somewhere. A slip of light. A
glimpse of somebody in shadow under a sweatshirt hood,
staring at us, in and out of the dark as...
INT. THE STAGE, HAMPTON HOUSE CLUB |
- Hesse
ALIEN III
THE SCREEN IS BLACK
A pinpoint of light appears.
Red. An ember.
Unseen BELLOWS blow.
GLASS FURNACE
The embers glow. Flame.
The fire GROWS.
A RIVER OF MOLTEN GLASS
Heated by the furnace to over 1,300 degrees fahrenheit.
White Hot.
GLASS FACTORY
Flickering flame casts dancing shadows on wooden walls.
Coarsely grained wood. Moisture blasted out by years of
intense heat. Timbers split. Patched with new wood,
it too now old and |
NS SHOT of a far distant metallic object hovering
just above the ground -- maybe two or three miles away.
The heat waves and the light refraction off the desert-
scape make the object undulate rhythmically, keeping its
true shape and appearance indistinct.
The VIDEO CAMERA recording this scene zooms back, then
pans over -- revealing a semicircle of US Army vehicles
and personnel. Army Engineers with their tripod-mounted
scopes and binoculars are shoulder to shoulder with the
armed in |
dy. The overall
effect is one of worn elegance and dogged gentility. It is
June.
The CAMERA, as it has been throughout the CREDIT TITLES, is
on the SARAH SIDDONS AWARD. It is a gold statuette, about a
foot high, of Sarah Siddons as The Tragic Muse. Exquisitely
framed in a nest of flowers, it rests on a miniature altar in
the center of the table of honor.
Over this we hear the crisp, cultured, precise VOICE of
ADDISON deWITT:
ADDISON'S VOICE
The Sarah Siddons Award for
D |
NG DRAFT
1949
Interior: Jack Burden's Desk, The Chronicle, Day
Jack Burden is looking over the morning edition of "The
Chronicle." He reads the society page. A man enters and leans
across his desk.
MAN
Burden! Jack Burden! The boss wants
to see you.
He |
"All The President's Men"
by
Carl Bernstein and Bob Woodward
Pre-rehearsal version March, 1975
Start with as few credits as possible. When they're over--
FADE IN ON:
A TINY BLACK PIECE OF TAPE.
We see it in the center of the large, dimly lit screen. As
the tape is press |
, holding a pencil. For a few moments, we hear only
the soft scratching of pencil on paper, as credits are written
in a series of dissolves. The hand carefully erases and
corrects an error or two along the way. And then the sound of
an old friend... the warm crackle of a vinyl record... as we
now hear Alvin and the Chipmunks' "Christmas Song."
2 EXT. PACIFIC OCEAN -- DAY 2
A lone palm tree rises up into a yellow afternoon sky. Behind
it, the sparkling blue of the Paci |
LON - NIGHT - 1823
Total darkness. We hear an old man's voice, distinct and in
distress. It is OLD SALIERI. He uses a mixture of English
and occasionally Italian.
OLD SALIERI
Mozart! Mozart! Mozart. Forgive me!
Forgive your assassin! Mozart!
A faint light illuminates the screen. Flickeringly, we see
an eighteenth cent |
1
EXT. BAR, LAE, NEW GUINEA - DAY
CLOSE on a mud-streaked AIRFIELD in mist and driving RAIN.
A Lockheed ELECTRA sits. Sleek, twin-engine, state-of-the-
art, its metallic surface battered by the monsoon. Waiting.
PULL BACK to see...
...our VIEW down onto the landing strip is from an open-
sided, thatched roof BAR high above the airfield. And |
r I bring a girlfriend home
from school.
(snorts)
What a lame-o. Somebody really should put
him out of his misery.
Her mind wanders for a beat.
RICKY (O.C.)
Want me to kill him for you?
Jane looks at us and sits up.
JANE
(deadpan)
Yeah, would you?
FADE TO BLACK. |
DAY 1
A tall, handsome man in a dark suit emerges from a Lincoln
Towncar and enters a small, basement R&B/Jazz club.
2 INT. JAZZ CLUB - DAY 2
He approaches a booth, says something in the din to the men
there, then calmly shoots them and exits.
AMERICAN GANGSTER
3 EXT. HARLEM STREET - DAY (NOVEMBER) |
s and an
electric humming begins. The eerie light glows brighter and
illuminates a single huge number--11. We hear static and a
large vertical band of red floats mysteriously across the
screen.
Pulling back slowly, we watch the glowing band traverse back
and forth over the amber light and past more numbers appearing--
70... 90... 110... 130. And we begin to hear voices--strange |
the corner and splashes through a puddle from an
earlier rain. TUPAC SHAKUR blares from inside.
INT. HOUSE - TIGHT ON THE EYES
They snap wide as the young woman in the next room MOANS
even louder.
EXT. VENICE BEACH HOUSE - A WET NIGHT
A slight buzz emanates from the power lines and street
lights above the humble VINYARD household. A black FORD
BRONCO rests in the driveway.
EXT. WET STREET - A GRAY TRANS AM
TUPAC'S rapping builds. The window-tinted drive-by
slowly heads do |
2 INT. PLAZA HOTEL WINDOW NYC - DAY
IRVING ROSENFELD, not a small man, gets dressed and
meticulously constructs his combover. Camera WRAPS AROUND,
see his hands with rings adjust his dark velvet suit, up to
his face, serious, concentrated, intense, he is composing
himself before a performance.
Irving is now dressed, ready, and walks down the hall to
another room.
3 SECOND PLAZA HOTEL ROOM
Irving composes |
Of a large, impressive-looking building
on the corner of a busy, New York business
street.
LAP DISSOLVE TO:
2. EXT. BUILDING - DAY - CLOSE SHOT |
EAR shards of
dialogue from various presidential speeches.
MAIN TITLES END ON
EXT. BEAUTIFUL ESTABLISHING SHOT OF THE WHITE HOUSE - DAY
It's an early November morning, and the sun has just come
over this extraordinary building. WE HOLD on this for a moment
before we
CUT TO:
INT. A CORRIDOR IN THE RESIDENCE - DAY
A SECRET SERVICE AGENT presses the button by the private
elevator as he talks into his shir |
e decor is a mixture of chi-chi and rustic, with swagged
silk curtains, handwritten menus and pale pink tablecloths
decorated with arrangements of moss, twigs and hideous
exotic flowers. The clientele is young, wealthy and
confident, dressed in the height of late-eighties style:
pouffy Lacroix dresses, slinky Alaïa, Armani power suits.
CLOSE-UP on a WAITER reading out the specials.
WAITER
With goat cheese profiteroles and I also have an arugula
Caesar salad. For entrées tonig |
Jim DeFelice
All gave some. Some gave all.
1 OVER BLACK 1
The groan of tank treads drowns out THE CALL TO PRAYER as
an entire MARINE COMPANY advances over the top of us.
2 EXT. STREET, FALLUJAH, IRAQ - DAY 2
The sun melts over squat residences on a narrow street.
MARINE COMPANY creeps toward us like a cautious Goliath.
FOOT SOLDIERS walk alongside Humvees and tanks. |
A BEDROOM MIRROR.
The room is dark. A perfectly square mirror hangs crooked on
a wall.
Suddenly, out of the darkness, the reflection of a man's
face comes into focus. He stares straight ahead, perhaps
studying his own unrecognizable reflection. It's quite clear
this is a portrait of sickness; the man's pallor is gray,
his eyes are confused. There is something most def |
Draft 2.1
13.05.09
FADE IN:
1 EXT. DALSLAND, SWEDEN- TWILIGHT 1
A lake.
A forest.
A dacha.
A Saab outside the dacha.
A light within.
2 INT. DACHA- NIGHT 2
JACK (dark, fit, mid-forties) is staring at the embers of a
log fire. He sips from a thick cut crystal glass of whiskey. |
lway is a mess. A window opening onto a light well is
open.
The door to the apartment is suddenly broken open. A plain-
clothes detective, two uniformed police officers and several
firemen - also in uniform - enter and look around. They all
wear gloves and masks that cover their mouths and noses.
Behind them, the superintendent and his wife also push their
way in. They're both holding their no |
n a south west London suburb. We see
girls doing what girls did in a nice girls' school in 1962:
walking with books on their heads, practising their
handwriting, making cakes, playing lacrosse, dancing with
each other.
1A INT. CLASSROOM. DAY 1A
In one of the classrooms, MISS STUBBS, an attractive, |
and cross-connecting
like blood through the veins of a body --
impressionistic, even beautiful, but what we're hearing
is soulful trumpet-based MUSIC, mellow and haunting, the
modern classic -- JAZZ sound of a Wynton Marsalis,
putting a voice to our story. As CREDITS END, we...
DISSOLVE TO:
POV - EXT. FREEWAY - NIGHT
Now the MUSIC is GONE, SOUNDS are MUFFLED and vision
blurred. We get the impression of urgent movement. We
hear BREATHI |
INT. POKROVSKOE--NIGHT
CLOSE--Expert fingers--female, unlovely, capable--shape a small lump of
dough which, with some shreds of cabbage, becomes a filled bun called a pirozhok . . .
which is now placed on a baking tray to join rows of pirozhoki ready for the oven.
CLOSE-- One hand opens the oven, and, mittened by an apron, removes
a tray of perfectly baked pirozhoki, which the other ha |
SLOWLY
SWINGS ROUND
TIGHT CLOSE - SALLY THERRIAN
She's in her mid-thirties, with large deep eyes. She watches
her husband unguarded in sleep. Her pretty face, alert,
she's barely breathing. Traces the just visible lines around
his eyes, and mouth. Brushes fingertips against his
eyelashes.
TIGHT CLOSE - SALLY'S HAND PULLS THE BEDROOM SHADE.
It retracts with a loud WHACK, sun, sky, trees.
STEVEN (O.S.)
And breath...and chataronga...
EXT. POOL AREA - DAY |
UP:
2 EXT. THEATER DISTRICT OF BROADWAY - DUSK 2
The sidewalks are filled with theater-goers heading for
their shows. Cabs line the streets.
SIDE ALLEY
A cab quickly turns into the alley, coming to a
screeching halt. A Man in a Grey Suit jumps out and
rushes to the side entrance of a theater.
In the background we see that the title of the play,
"Anonymous", is written on the theatre's marquee...
3 INT. BROADWAY |
it says: "The coolest thing?"
VOICE
Wow. That's hard. I'd have to say
it's the day we launched Outpost
'98.
We hear a (famous) Seattle alternative band.
EXT. OUTPOST CAMPUS - DAY (BEGIN MAIN TITLES)
Quick cuts, seductive angles: 70 hot-air balloons rise over
a vast, green corporate campus. Their mylar sk |
ers through
the jungle and across a foul swamp. A mist clings to the
trees. This could be the jungle of a million years ago.
Our VIEW MOVES CLOSER, through the mist, TILTING DOWN to
the tepid water. A small bubble rises to the surface;
then another. Suddenly, but quietly, a form begins to
emerge; a helmet. Water and mud pour off revealing a set
of beady eyes just above the mud. Printed on a helmet,
in a psychedelic hand, are the words: "Gook Killer."
The head emerges |
Stephen King
PRODUCTION DRAFT #4A
4/25/96 rev.
FADE IN:
Through the window of a moving vehicle, we see a series of
small, middle-class houses. This could be any suburban street
in America.
INT. CITY BUS - DAY
A boy is seated near the back of a moving bus. Thi |
4/17/11
BLACK.
Over CREDITS we HEAR:
MARIA (O.S.)
...but you took a huge bet on the
housing crisis in the middle of the
biggest boom anybody'd ever seen. Why?
ROBERT (O.S.)
I'm a child of the 50's. My father
welded steel for the Navy. And my
mother worked at the VA. |
uise" by Antonio Mendez.
FADE IN:
BEGINNING LOGO
The familiar logo WARNER BROS. PRESENTS COMES UP.
After a beat, it is consumed by FIRE.
It becomes AN AMERICAN FLAG, BURNING in the street.
1 EXT. U.S. EMBASSY (TEHRAN) - MORNING 1
Effigies of Jimmy Carter and the deposed Shah -- crowds
chanting Magbar Carter! Magbar Ahmrika! Fists in the |
are in
black and white, in format 1.33.
1 TITLES 1
The letters of the titles come up on a title card typical of
the 1920s. Elegant motifs around the edge of the frame, and,
in the background, there are geometrical shapes reminiscent
of the light beams of a film première. Behind is a stylized
town. The titles end in a fade to black. On black, the date
appears on the screen: 1927
2 INT. LABORA |
enormously SWEET-FACED, ELDER WOMAN steps out, bungled up
against the cold -- turning back to call inside to the
unseen love of her long life.
SWEET-FACED WOMAN
I'm just going to get some
flowers, dear. I'll be back in
twenty minutes. It's tulip season
today. I'm so happy.
And now she turns and faces the hallway... her sweetness
dissolves in a flash... replaced by repulsion and that
quickly she has reversed herself and re-entered her
apartment... closing t |
VIRGIL ANDERSON, life ahead of him - someone seemingly at ease with
himself. As we watch. him a moment - SOUNDS become prominent -
whistle of the wind through the grass - a bird's wings as it takes
flight - a tree branch creaking under its own weight. And as he sits
there, listening, we see the last rays of sunlight slip from the
day.
BLACK - and our TITLES come up.
Then out of the darkness come a pair of HEADLIGHTS. - and we're:
EXT. NEW YORK TURNPIKE - INTO PINECREST - |
BEVERLY (OS)
..."Life is very long..."
2 MILES OF STRAIGHT ROAD 2
Two lanes, not a car in sight. Cracked asphalt undulates over
gentle, browned hills, disappears into an infinite horizon.
BEVERLY (OS)
TS Eliot. Not the first person to say
it, certainly not the first person to
think it.
3 A LAKE IN THE GATHERING DUSK |
FADE IN:
EXT. CENTRAL PARK -- SEPTEMBER AFTERNOON
A COUPLE moves down a walkway, deep in subdued conversation.
All around them trees explode with autumn color. Birds sing.
Their path is dappled with leafy shadow.
To their left, on the sunny meadow, TEENAGERS throw saucers
and footballs, smoke cigarettes and joints, drink beer and
soda, savoring the waning hours of summer. |
eads up to a dirt road. She is in a great hurry and becomes a little
annoyed and surprised at seeing her father, a meticulously dressed and
elderly gentleman, standing near the curb busily talking to his chauffeur in
front of a black British car.
ANNA
So, there you are... I've been upstairs looking
all over for you...
There is a moment of silence during which Anna's father deliberately ignores
her presence. She stares at him intently, trying to determine his mood and |
REV.1 0/25/ 89 (YELLOW)
REV.1 1/6/8 9 (GREEN)
REV.1 1/10/ 89 (GOLDENROD
REV .11/1 4/89 (SALMON)
REV .11/1 6/89 (LAVENDER)
REV .11/2 2/89 (CHERRY)
REV .12/4 /89 (WHITE)
REV.1 2/5/8 9 (BLUE)
REV.1 2/12/ 89 (PINK)
REV .12/ 13/89 (YELLO |
1 EXT. YUSSEF AND AHMED'S HOUSE -- MORNING
Day breaks. Hassan (50) arrives at a solitary house made of
adobe, in the southern deserts of Morocco, carrying a satchel
and a large bundle wrapped in cloth.
He walks past a corral made out of branches, where several
goats bleat, and knocks on the front door.
2 EXT. YUSSEF AND AHMED'S HOUSE -- CONTINUOUS |
the morning.
DISSOLVE TO:
INTERIOR. CHARLIE'S BEDROOM
The bedroom of a two-and-a-half-room apartment in the housing
project. It is early morning, but the shades are drawn and
the room is dark. CAMERA moves slowly across the room, over
the large double bed on which Charlie and Helen Samson, a
young couple in their late twenties, are sleeping. They are
sleeping more or less on their sides, facing away from each
other. One of Helen's pajama-clad legs projects |
en the GLINT of a flashlight. Its beam rocks
crazily to and fro across the inside of a small storage room
as we hear two children arguing.
OLDER KID
You're doing it wrong.
YOUNGER KID
Shut up.
OLDER KID
You're doing it wrong.
It's hard, but we get a |
MAY 2012
TEXT OVER BLACK: "Before all else, be armed"
- Niccolo Machiavelli
FADE IN:
LANDSCAPES
A rusted Chevy El Camino drives against dissolving Louisiana
landscapes - broad, barren, pounded by the rain.
I/E. EL CAMINO, TRAVELING - DUSK
Occasional oncoming he |
by Howard Breslin
SHOOTING DRAFT
FADE IN BEFORE MAIN TITLE
BAD DAY AT BLACK ROCK
ESTABLISHING SHOT - BLACK ROCK - PART OF TOWN: FOCAL POINT:
RAILROAD STATION
abandoned, in an extreme state of dilapidation. The structure
is blistered by the resolute sun, the roof is weather-warped.
D |
ng a World Series between the
Mets and the A's. Canseco plays for Oakland, and Strawberry
is still with New York.
DAY ONE:
GAME THREE: LT WINS
EXT: EARLY MORNING - LT'S HOME - QUEENS
This typical QUEENS HOUSE is sandwiched between other
neighboring, nearly identical HOUSES.
The MORNING SOUNDS Of FAMILY BICKERING |
a when I was just a kid. My father had
kept their wedding cake in the freezer for ten whole years. After
the funeral he gave it to the yardman... He tried to act
cheerful, but he could never be consoled by the little stranger
he found in his house. Then, one day, hoping to begin a new life
away from the scene of all his memories, he moved us from Texas
to Ft. Dupree, South Dakota.
HOLD on FULL SHOT of bedroom.
DISSOLVE TO
EXT. ALLEYS AND STREETS - SERIES OF ANGLES - DAWN |
MBOOZLED"
CUT TO CRAWL:
WHITE LETTERS ON BLACK
WE HEAR the VOICE of PIERRE DELACROIX.
DELACROIX (V.O.)
Satire. 1a. A literary work in
which human vice or folly is
ridiculed or attacked scornfully.
B. The branch of literature that
composes such work. 2. Irony,
derision or caustic wit used to
attack or expose folly, vice or
stupidity.
INT. APARTMENT - MORNING
WE are in the living quarters of PIERRE DELACROIX. The
windows overlook the Bro |
- DAY
Brief shot of duel.
RODERICK (V.O.)
My father, who was well-known to the
best circles in this kingdom under
the name of roaring Harry James, was
killed in a duel, when I was fifteen
years old.
EXT. GARDEN - DAY
Mrs. James, talking with a suitor; Roderick, at a
distance.
RODERICK (V.O.)
My mother, after her husband's
death, and her retirement, lived in
such a way as to defy slander. She
refused all offers of marriage,
declaring that she lived now |
man in his thirties, hale but somewhat
bookish. He stands, tuxedoed, in the wings of a theater,
looking out at the stage, listening intently to end of a
performance.
In the shadows behind him an old stagehand leans against a
flat, expressionlessly smoking a cigarette, one hand on a
thick rope that hangs from the ceiling.
The voices of the performing actors echo in from the offscreen
stage:
ACTOR
I'm blowin' out of here, blowin' for
good. I'm kissin' it al |
OUISIANA BAYOU.
Lush and green only a day ago, the foliage below has been
ripped to shreds. The kind of damage that can only be done
by nature.
SUPERIMPOSE:, FEBRUARY 2 - 0630 HOURS - 32 KILOMETERS NORTH
OF FORT MCKINLEY, LOUISIANA
INT. ARMY HELICOPTER (FLYING) -- SUNRISE
Sitting next to the PILOT is COLONEL WILLIAM STYLES. Mid-
40's, normally gruff, but completely cowed by the damage
below. The PILOT, unfazed.
PILOT
Hurricane Beth, huh? Had an ex-wi |
The mother is disturbed. Crying.
The boy looks up, confused and frightened, concerned to see his
mother crying in public. She looks at him tenderly.
Her brow furrows. She stops crying. She stares just above his
eyes.
Something's happening: she looks with wonder at the top of his
head... his eyes roll upward, trying to see - it's a crown!
He raises his hands. He touches it.
A beam of light illuminates the crown, casting its glow on his
mother's face.
The beam gets whiter, th |
the floor of the halls, swirls of whitewash on the
windowpanes, naked light bulbs hung from electric wires. The rooms
contain hardly any furnishings.
The kitchens are still without sinks and stoves.
An agitated bustle, a rhythm of efficiency. Paratroopers go up and
down the stairs, pass along the halls, enter and leave the rooms.
The sounds in the background are indecipherable.
SHOUTED ORDERS, CRIES, HOWLS.
SHOUTS, HALF-SPOKEN REMARKS, LAUGHS.
SOMEWHERE A GRA |
the wet green forest.
The very earth seems to tremble.
A RABBIT
Darts out of a log, lifts itself on its hind legs and sniffs
the air.
LOBBED GRENADE EXPLODES
VOICES and SHOUTS, closer now, mix with the rumbling WAR
SOUNDS in a veritable symphony of violence and confusion.
A DEAD AMERICAN GI lays splayed out, careless in death.
A pair of S |
ne of a motorized tricycle ("tuk-tud") and its Thai driver
A young man, Richard, sits in the back, his rucksack beside him, swaying with the motion of the vehicle. He is worn and sweating.
They travel through nocturnal Bangkok: fleets of tuk-tuks, taxis, road works, food vendors, dogs, tourists.
Music and credits.
EXT. KHAO SAN ROAD. NIGHT
The bright headlight comes to a halt.
Richard climbs down from the tuk-tuk
RICHARD (V.O.)
When you hit Bangkok, there's really only one place t |
May 8th, 2014
SHOOTING SCRIPT
FORWARD NOTE:
The dialogue in this screenplay is faithful in form t |
FINAL DRAFT
Based on the stage play "Juicy and Delicious" by Lucy Alibar
EXT. HUSHPUPPY'S HOUSE - DAWN
An abandoned looking trailer sits on top of two 15-foot-tall
oil drums. Distant thunder trembles through the peeling
metal panels. The structure is in such disrepair, that
surely no one lives here.
But then, a light goes on. |
OM
OLIVER FIELDS clicks on the light to the closet. He looks at
the rack of his parents' clothes.
He begins to put some in a box marked "home", some in a box
marked "thrift".
INT. HAL'S BATHROOM
Oliver enters the bathroom and flushes bottle after bottle of
pills and liquids down the toilet. Next he struggles as he
looks over the old toothbrush, hairbrush, all the bottles and |
WARNER BROS. INC.
Burbank, California 91522 All Rights Reserved
"... and as he stared at the sky and listened to a cow
mooing almost dreamily in a distant village, he tried to
understand what it all meant -- the sky, and the fields,
and the humming telegraph pole; he felt that he was just
at the point of understanding it when his head started to
spin and the lucid languor of the moment became
intolerable..."
Vladimir Naboko |
brick wall. At one end stands the rear of a three-story
brick townhouse; at the other, a one story brick building.
CLASSICAL MUSIC is heard in the distance. A MAN, handsomely
dressed in a well-tailored suit of the 1920's, works in the
garden. A gardener's apron protects his suit from the earth
as he turns the loam along one of the walkways. He works
slowly,-precisely, obviously engrossed in his surroundings.
This man is called CHANCE.
Chance stops working for a moment, takes a |
Final Shooting Script
BLACK SCREEN
RAV ZINGESSER
"And God said to Abraham, 'Take your
son, your only son, whom you love,
Isaac, and go into the land of Moriah
and offer him there for a sacrifice
upon a mountain that I will show yo |
1 *
A series of shots.
Blue sky through shabby windows.
Run down walls. A paint splashed pine floor. Tens of paint
brushes soaking in stained jars.
An artisan's hands - weather-worn, swirling a paint brush
in dirty water that sways at the bottom of one of the jars.
A canvas - the sketched face of a woman - blonde, blue eyed
as the artisan strokes paint into her features - a poster
girl for 18th century portraiture. (We will later
rec |
IN...
EXT. 124 BLUESTONE ROAD - DAWN.
It is winter in Ohio. A house sits isolated beside a barren
field. The field stretches beyond, until a line of distant
woods stops it. Around the back of the house stands a rundown
STORAGE SHED, a cold house, a privy and a water pump. A porch
with a single door serves as the only entrance.
Camera begins a slow move toward the house as we;
SUPER - OHIO, 1865
WE HEAR SOUNDS from inside the house - |
10/01/11
1 OVER BLACK 1
Muffled music; soothing, generic.
AUTOMATED VOICE
Thank you for your patience.
Your call is important to us. We
will be with you shortly.
2 INT. MANSION FLAT, LONDON - DAY 2
A neat, well-appointed flat, tastefully decorated. Framed
again |
aiorca
FADE IN:
EXT. GREEK ISLAND - SUNSET
CREDIT SEQUENCE:
The image is in black and white.
The sun disappears behind arid cliffs which cast giant
shadows on the sea.
A little boy around 8 years old -- tanned from head to toe
-- sprints along the cliffs, scrambles from one rock to
another with amazing agility.
In one hand, he carries a transparent plastic bag. In the
other, a net bag containing flippers, mask, pants and
sweater.
The only thing that slows |
. The pupils are impossibly wide.
Imploring. The watery rims spill a single tear.
We PULL OUT... revealing the eyes belong to a child. A young
girl, fingers clasped pitifully. She's forlorn, alone in a
dirty gray alley. We feel shame. Compassion. Sorrow...
Then -- an IDENTICAL girl SLAPS in front of the first one.
Then another! It's a PRINTING PRESS, the creation of a BLUR
of sad children.
A KINETIC montage |
This is a Southern story, full of lies and fabrications, but
truer for their inclusion.
FADE IN:
A RIVER.
We're underwater, watching a fat catfish swim along.
This is The Beast.
EDWARD (V.O.)
There are some fish that cannot be
caught. It's not that they're faster |
!
KUMAIL (V.O.)
Hello. I grew up in Pakistan. And people
are always asking me, what was that like?
Really not that different from here. I
mean we played cricket, which is just a
spicier version of baseball. And we
prayed a lot. Well not a lot, just five
times a day. And we marry someone our
parents find for us. Arranged marriage,
you |
blowing snow.
INT. POLICE CAR - SAME
A CORPORAL (20s), behind the wheel, with a bored DETECTIVE BOYLE (60s)
at his side.
CORPORAL
So his hand is like, off, right. So he puts on a
tourniquet, puts the hand in his pocket, walks five
miles through the bush til he gets to the highway,
where he passes out, on the road, right. Then this
logging truck comes along... |
1
We hear a clock ticking.
FADE IN:
1 INT. RIGGAN'S DRESSING ROOM - THEATER - DAY 1
Close on the brilliant colors of a middle eastern rug, the
center of what seems to be a makeshift "meditation" space.
We slowly tilt up to discover the back of Riggan Thomson (55).
He is in the proper `Lotus' position, dressed only in tight
white briefs and he |
Daphne Du Maurier
FINAL DRAFT 2nd Revision March 2, 1962
FADE IN:
FULL SHOT - GRANT STREET - SAN FRANCISCO - DAY
It is mid-afternoon, and there is a tempo and pace to the
people walking, the doorman HOOTING for taxicabs, the
policemen directing traffic.
PAN SHOT - PEDESTRIANS
waiting at street corner for light to change.
CLOSE SHOT - MAN
at the end of line of pedestrians. He is looking up at |
theme plays as the low sun catches
her hair. Around her neck is a pair of field binoculars, and
she runs through the meadow with them pressed to her face,
spying butterflies, birds, rabbits. She reaches the top of a
hillock, and jumps into the air, and flies up into the sky.
We float up and up with her as she aims the binoculars up,
up, into the sun. |
End of preview. Expand
in Dataset Viewer.
- Downloads last month
- 0