aneeshas/imsdb-500tokendrama-movie-scripts

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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.

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

. 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.