aneeshas/imsdb-500tokendrama-movie-scripts

Drama stringlengths 0 500
930s. Clips from prize fights featuring two different boxers against various opponents. One a light heavyweight--pure finesse, a counterpunches; the other, stouter and stronger, a headhunting puncher. The intercutting of the two fighters suggests a possible showdown at the end of the newsreel. No such luck. END CREDITS CLOSE UP ON: A TRIPLE CARBON LAPD "INCIDENT REPORT" FORM trapped in an old Corona typewriter. The keys pound le
CK SCREEN: Various voices: "Big six"... "That's six the hard way"... "Seven or eleven"... "Play two"... FADE IN: EXT. UPPER EAST SIDE - NEW YORK CITY - NIGHT One of the pristine blocks of brownstones where even the garbage seems gift wrapped. The VOICES continue over as we move in on a particular building where a DOORMAN is holding open the door for a dowager and her poodle. The voices continue: "Hit me"... "Double down"... "Let it ride"... "Hit me"... "Any
EXT. RONNIE'S TRAILER - EARLY DAWN RAE is naked. Wrapped around her shoulders is a loose-knit spread that conceals her slender form. She is in her 20's: a strawberry blond, with cinnamon freckles spotted across her pale skin. She is beautiful without trying. She stares at the distant trees. This is the South; the small town of FISHERVILLE, TE
1 OPENING CREDITS: A SPOTLIGHT slices black space. In its beam, a DANCER materializes. She is fair-skinned. Beautiful and pure. The maiden twirls on pointe, a smile on her face, light as air and carefree. She pauses, her face grows worried. Sensing someone watching.
Kevin Willmott & Spike Lee FADE IN: SCENE FROM "GONE WITH THE WIND" Scarlett O'Hara, played by Vivian Leigh, walks through the Thousands of injured Confederate Soldiers pulling back to reveal the Famous Shot of the tattered Confederate Flag in "Gone with the Wind" as The Max Stein Music Score swells from Dixie to Taps.
s Inc. 1420 No. Beachwood Drive Hollywood, Calif. 90028 **************** INT. TYRELL CORPORATION LOCKER ROOM - DAY 1 THE EYE 2 It's magnified and deeply revealed. Flecks of green and yellow in a field of milky blue. Icy filaments surround the undulating center.
N CREDITS as a NAVY JET drops down into the picture. PUSH IN on the jet's exhaust flame. Have the words "THE BLAST" come out of the flame. Then there is a SLIGHT EXPLOSION and the flame intensifies. The words "FROM THE PAST" jump out of the exhaust as the jet momentarily shakes. INT. JET The PILOT feels the jet shake. But he looks at his indicators and everything appears to be normal. He relaxes. EXT. JET
Michael Lewis 04/28/09 1 OVER BLACK... 1 A distinctly SOUTHERN VOICE... LEIGH ANNE'S VOICE There's a moment of orderly silence before a football play begins. Players are in position, linemen are frozen, and anything's possible. Then, like a traffic accident, stuff
evision March 16, 2012 Learn from yesterday, live for today, hope for tomorrow. @KhloeKardashian 2. 1 EXT. HOLLYWOOD HILLS MANSION - NIGHT 1 A Toyota parks and five teenagers get out and walk towards us, down a quiet residential street in the Hollywood Hills. One of them, a slightly drunk girl in a pale blue Juicy sweat suit stumbles.
HANDS men's hands, nicely groomed, hold a small white terry towel spoiled by blood-red spots. The hands rinse the towel in a copper bar sink. The stains soften but stay. A tan jacket sleeve, spotted the same way, moves INTO FRAM. The hands dab the wet towel at the spots, with no more success, and throw it into the sink. It falls half in, still dripping the stains a drop at a time to the floor. A
landscapes--broad, bare, and lifeless. VOICE-OVER The world is full of complainers. But the fact is, nothing comes with a guarantee. I don't care if you're the Pope of Rome, President of the United States, or even Man of the Year--something can always go wrong. And go ah
e view changes and tiny dots appear on the hillside vegetation. WHOOSH. CLOSER We realize the dots are people. Workers swinging long steel machetes in slow methodical rhythm. WHOOSH. WHOOSH. WE SEE the South American Indian MEN clearly now. Their tar stained teeth. Their gaunt faces riddled with crow's feet. Their jaws chewing away on huge wads of coca leaves as they collect the harvest. EXT. DIRT ROAD - COLOMBIA - DAY Old rickety trucks carrying the huge gree
A 5-year old girl wearing pajamas wanders alone down the street. FRANKIE (BARELY AUDIBLE) Me-gan! INT. PERIERA HOME - PRESENT DAY 2 2 FRANKIE crawls through a dog door. She walks into the living room where the TV is on loud.
front of it. Birds CHIRP in the distance. A faint sprinkler SOUND is heard. Very sweet MUSIC is playing. DISSOLVE TO: 2. EXT. TREE - DAY A songbird SINGS in the tree. DISSOLVE TO: 3. EXT. CROSSWALK - SHADY STREET - DAY A very clean uniformed, smiling POLICEMAN with arms outstretched allows clean happy SCHOOL CHILDREN to cross the street safely. DISSOLVE TO: 4. EXT. SHADY STREET - DAY A bright red gorgeous fire engine is moving very slowl

, quick scuffle, a heavy fall of bodies. THREE BOOMING GUNSHOTS. Two from one gun, one from another. So fast and close, they're barely distinguish- able. The sound of the SHOTS ECHOES against concrete walls and dies away. Silence. SLOW, SLOW, FADE IN: 1 INT. UNDERGROUND GARAGE (NEW YORK) - NIGHT 1 FRANK FARMER'S FACE - mid to late 30s, peers intently over a smoking gun. He is The Bodyguard. ANGLE - HIT MAN dead on his
Rev. 05/10/90 (Blue) Rev. 05/18/90 (Yellow) Rev. 05/25/90 (Green) Rev. 06/11/90 (Gold) Rev. 06/12/90 (Buff) Rev. 07/09/90 (Salmon) Rev. 07/1
plying lipstick and eye make-up. As the camera slowly pulls back from the closeup we see that we have been looking into a mirror. She is standing before the full-length mirror in her bedroom doing her make-up. She overdoes it in the style of the time: rosebud mouth and so forth. As the film progresses her make-up will be refined until, at the end, there is none. The camera pulls back and continues to move very slowly throughout the first part of this scene. As the camera continue
MERA (STEADICAM) moves across the street, towards the car, landing close; From the Seville steps, JACK HORNER (50s) and AMBER WAVES (early 30s). CAMERA follows them (this is one continous shot) as they pass the crowd, greet a DOORMAN and enter -- INSIDE THE NIGHTCLUB. Twice as packed inside as outside. Music is full blast. Amber and Jack are greeted by; MAURICE t.t. RODRIGUEZ (30s). Owner of the nightclub. Puerto Rican. Wearing a suit and fifteen gold chains.
A civilization is destroyed only when its gods are destroyed. - Emil Cioran EXT. FOREST - DAWN Bare as all hell. The trees stripped of their bark and white like ghosts. Some torn violently from their roots and felled. STARK GRAY SUNLIGHT shafts between the tre
T, BOSTON -- MORNING The boulevard is empty, eerie silence. No cars, no people. A man walks down the middle of the street, long trench, dark shades. Though he does not speak, we hear... MAN V.O. There's two kinds of people in this world when you boil it all down. You got your talkers and you got your doers.
'S DAY DOWNTOWN BOSTON As we open we see the inside of an enormous church. A young looking PRIEST in his mid-thirties is finishing the delivery of the Lords Prayer. In the back of the church, in the last pew, there are two who kneel on the cold, stone floor. They do not stand to sing, nor do they offer signs of peace when told, but they pray. They grip and rub their rosaries
n through the center of the darkness. As we begin to descend, voices echo in our head. VIOLET (V.O.) I had this image of you, inside of me, like a part of me. We move past a shelf filled with hatboxes and handbags. It is a woman's closet. CORKY (V.O.) You planned this whole thing, didn'
PARIS DRAFT 9/20/00 DARKNESS. THE SOUND OF WIND AND SPRAY. MUSIC. TITLES. EXT. OCEAN -- NIGHT The darkness is actually water. A SEARCHLIGHT arcs across heavy ocean swells. Half-a-dozen flashlights -- weaker beams -- racing along what we can see is the deck of an aging FISHING TRAWLER. FISHERMEN struggling with

Richard Matheson Sep 30th, 2006 OVER A BLACI: SCREEN: Crickets chirp in the night. A DOORBELL rings. Sheets rustle... A BEDSIDE LAMP is turned on. INT. LEWIS HOUSE -- MASTER BEDROOM -- NIGHT NORMA LEWIS ( 31) sits up in bed. The soft glow of the lamp casts her in silhouett
im. MOM Hey, love bug. You ready? He is quickly on his feet and they are walking toward the car. MASON Yeah. Hey, guess what, Mom? MOM What? MASON I figured out where wasps come from. MOM Oh, yeah? Where? MASON Well, I think it m
uty: cobalt mountains beneath a glowering purple sky fringed with pink, as if the clouds were a lid too small for the earth; a cascading landscape of boulders shrouded in deep green grass; and the blue lochs, reflecting the sky. We hear a voice, husky, Scottish... VOICE OVER I will tell you of William Wallace. EXT. MACANDREWS FARM - DAY
Small, student's French-type garret decorated in deep-red, suitcase on bed. Anthony to his desk, hurriedly examining his thick papers and books, and throwing them on the floor. Takes a book (closeup photograph of Genet, book's author, a photo from early 50's, in his burglar's T-shirt, his name in large, Visible letters at base of photo) off night table, puts it in suitcase, locks suitcase, opens door, suitcase out door. A. back into the room, wine bottle fr
worlds are immune to your consultations. They're quite aware of what they're going through... - David Bowie" The Blank Screen and Title Card SHATTER to reveal... 1. EXT. SHERMER HIGH SCHOOL - DAY During Brian's monologue, we see various views of things inside the school including Bender's locker. BRIAN (VO) Saturday...March 24, 1984. Shermer High
EXT. QUARRY OUTSKIRTS - DAY 1 A narrow dirt road totally surrounded by thick vegetation. Here and there we see a huge block of stone blocking the road. The sun is shining but it has a hard time making it through the foliage. In the distance we see four guys walking TOWARD the CAMERA. There is a swagger to their walk. MIIï¿½ is singing. The others are humming along. The melody of the song of "0 Bury Me Not On th
Over a grimy concrete wall creeping by. We emerge from... EXT. RUNOFF TUNNEL - EARLY MORNING A gaping hole in the concrete side of a freeway. On the embankment beside the hole BRENDAN FRYE squats, shoulders hunched. His dark eyes behind thin glasses watch the shallow stream of water which flows into the tunnel. THE WATER not
From the novel by Joseph Connelly After World War One it was called Shell Shock. After World War Two it was called Battle Fatigue. After Vietnam it was called Post Traumatic Stress Disorder. Frank Pierce, 28, drives an EMS vehicle for Our Lady of Mercy Hospital, New York City. He has been a paramedic for five years.
e for him. He moves towards the cab of the truck and gets inside as we SUPER: KANSAS CITY, MO. - 1963 INT. TRUCK - DAY As he sits down beaming over his recent good fortune... now we REVEAL his twelve-year-old son, TOM, seated quietly beside him. He seems a bit down. Gerald glances at his son. GERALD I don't know a recent Saturday I've sold more. You didn't think I'd sell that health restaurant, did you? TOM No. Not even you. GERALD Why
huge clock marks 7:55 p.m. (The clock belongs to some landmark building, to be determined). Immediately following, the building goes dark. Establishing shot of the Eiffel Tower, lit. Suddenly, all the lights go out. The same thing happens with the Granada's Alhambra, Seville's Giralda Tower, the Guggenheim at Bilbao, the Gate of Alcala. All these well- known architectonic wonders turn dark, abruptly. (Beauty that
NARRATOR As far as con man stories go, I think I've heard them all. Of grifters, ropers, faro fixers, tales drawn long and tall. But if one bears a bookmark in the confidence man's tome, twould be that of Penelope, and of the brothers Bloom. 2 EXT. COUNTRY HOUSE - MORNING 2 The car deposits two shabby boys (10
art and mind of America had better learn baseball. --Jacques Barzun You could look it up. --Casey Stengel Titles over -- FADE IN: A series of still photos. Black and white. Ancient. BABE RUTH SWINGS -- An icon of American history. His giant upper body balanced delicately on tiny
nfined and contained. We then hear the sound of a man, PAUL CONROY, groaning, making confused attempts at words. We hear his movement; short, abrupt shifting, ending almost immediately with the sound of his body banging against wood. He screams, though it's clear from the sound that his mouth is covered by something. After attempting to sit up, he immediately bangs his head against something. It's terribly wa
MUSIC A series of tight CLOSE-UP shots of dancers moving in high energy fast paced sexy choreography. Very provocative. Legs. Arms. Butts. Boas. Sequins. Costumes. High heels. A kaleidoscope of images and colors. END TITLES ON A BLACK SCREEN FADE IN sounds of PEOPLE TALKING -- GLASSES CLINKING -- all the BACKGROUND SOUNDS of a BUSY, HIP NIGHTCLUB. SUDDENLY.. .a loud DRUM ROLL. CAMERA is low, movi
PRODUCTION DRAFT 1-12-02 FADE IN: Abrupt CLOSE UP on MAX, a plain wall behind him. 1 INT. LIMBO RADIO 1 He is 20, normal looking, not too nebbish, punkish, book
EVAN, 20, good-looking but with dark haunted eyes, frantically hides himself in an unlit Doctor's office. His face and chest are covered in blood. He holds his forehead in pain. FLASHLIGHT BEAMS stab through the darkened corridor hunting for him. ALARMS SOUND. GUARDS are heard shouting to each other. Evan grabs a cardboard box and hides under a doctor's desk. He grabs some paper and begins wri
h one can make out thefaint image of a television program. Every few moments the channel changes, revealing a new ghostly image. The camera pulls back very slowly. We reveal that this image is coming from a twenty seven inch television. The camera pulls back some more and we see a man's hand enter frame holding a remote control. The hand changes channels frantically. The camera pulls back into its final position and we see STEVEN BARTOWSKY, thirty years old, sitting on his couch
(phone filter) There's never been anyone like you, since you. I love you Vaughn. I love you like no-one else ever has, or could. I'm not going to try to persuade you. Just follow your heart. OK? FADE IN ON 1.01 INT. SALOON CAR EVENING The car is stuck in rush-hour traffic, which surrounds VAUGHN (40), as he wrestles with the hardest decision of his life.
T. FARMHOUSE - MORNING The CAMERA follows a SIXTEEN YEAR OLD GIRL, long hair, pretty Sunday church dress, walking toward a peaceful farmhouse. At the door she lifts the knocker. The door opens slightly. The girl turns and looks past the camera at her MOTHER, sitting in an old Plymouth idling in the driveway. Her mother shrugs, motions for her to go inside. INT. FARMHOUSE - CON
T. FARMHOUSE - MORNING The CAMERA follows a SIXTEEN YEAR OLD GIRL, long hair, pretty Sunday church dress, walking toward a peaceful farmhouse. At the door she lifts the knocker. The door opens slightly. The girl turns and looks past the camera at her MOTHER, sitting in an old Plymouth idling in the driveway. Her mother shrugs, motions for her to go inside. INT. FARMHOUSE - CON
March 13, 1998 FADE IN: EXT. MARFA, TEXAS - 1993 - WIDE - DAY The Texas plains, horizon to horizon, nothing but the browns and ochres of earth and the blue and violet of the sky. The sheer scope of it sinks in: the blank slate of nature, the absence of man. On the screen superimpose: MARFA, TEXAS, 1993. CREDITS BEGIN. A plume of dust comes into frame. The dust is from a TRUCK, orange and white and violet, with "Fed
A simple GAME SHOW SET -- one long desk-that houses four "CELEBRITY PANELISTS," a small pulpit with attached microphone for the host, BUD COLLYER, who walks through the curtain to the delight of the audience. Bud bows and waves to the celebrities -- ORSON BEAN, KITTY CARLISLE, TOM POSTON, and PEGGY CASS. BUD COLLYER Hello, panel, and welcome everyone to another exciting day on "To Tell

e're looking at THE SUN. In the distance lie the gorgeous San Gabriel Mountains and the Downtown Los Angeles skyline. In ONE LONG TRACKING SHOT, we CRANE PAST some trees to reveal the vast expansive homes scattered in the hills of Brentwood. HOMEOWNERS walk dogs, a PAPERBOY chucks papers fr9m a gleaming mountain bike... It's early in the morning, and the landscapers haven't come with their leaf blowers yet. CONTINUE BOOMING DOWN to road level to face the resplendent Martin residence.
ars: EVERYTHING YOU ARE ABOUT TO SEE, HAPPENED The words slowly FADE OUT, taking us hard into EXT. COLLINS HOME - PRE-DAWN A small, pleasant house on a tree-lined street in Los Angeles circa 1928. 210 North Avenue 23. Not far from Dodger Stadium. SUPERIMPOSE: LOS ANGELES, MARCH 9, 1928. INT. COLLINS HOME - CHRISTINE'S BEDROOM - PRE-DAWN
REDITS: A1 EXT. PEARL STREET BRIDGE- NIGHT A1 CLOSE ON... A BRONZE PLAQUE which reads, "PEARL STREET BRIDGE." ON THE BRIDGE... RAIN POURS DOWN. An SUV steers out of control and CRASHES into a STALLED OUT VEHICLE. It's quiet NOW, EXCEPT FOR THE INCESSANT pounding rain. IN THE DISTANCE, police lights approach. SMASH CUT TO: 1 EXT. PEARL STREET BRIDG
RESIDENCE - ANDREW'S ROOM The room is dingy. Unkempt. The camera sits on the bed, on its side, facing the door. We can hear someone moving around off screen. The door handle clicks; someone's trying it. Then nothing. Then, suddenly, loud pounding on the door. Andrew's voice is scratchy and prone to cracking. He speaks with a rushed mix of fear and anxiety. ANDREW (O.S.) What do you want, I'm getting ready for sch
C.S. Lewis Transcribed by Stuart C BOMBING LONDON Random German Ejaculations MRS. PEVENSIE Edmund Get Away from there! What do you think you're doing?! Peter! PETER (grabs Edmund) C
EXT. ST CLOUD'S - TRAIN STATION - DAWN An establishing shot of the rundown train station on an overcast morning. There's snow on the station platform. A train arrives and departs. LARCH (V.O.) In other parts of the world, young men of promise leave home to make their fortunes, battle evil, or solve
SHOOTING DRAFT - 1965 FADE IN: SERIES OF ESTABLISHING SHOTS - DAY Exterior scenes of St. Louis, particularly the riverside industrial district. Even more important to establish than the place is the time: end of summer, 1936. Election posters would help, with the Republican ones stressing such themes as "Burst the Roosevelt Bubble," "Save the American W
slashes through the gray clouds, cuts across the shadow towards the sea, along the coast where the new suburbs of the city of Giancaldo have been built up. Bright light streams through the windows, glancing off the white walls in an almost blinding reflection. MARIA, a woman a little over sixty, is trying to find somebody on the phone. MARIA ...Salvatore, that's right, Salvatore. Di Vita Salvatore ...But, miss, what do you mean you don't know him?!...I...Yes
PROLOGUE FADE IN: EXT. XANADU - FAINT DAWN - 1940 (MINIATURE) Window, very small in the distance, illuminated. All around this is an almost totally black screen. Now, as the camera moves slowly towards the window which is almost a postage stamp in the frame, other forms appear; barbed wire, cyclone fencing, and now, looming up against an early morning sky, enormous i
ff the parched earth in shimmering waves. After a moment, we see what appear to be figures coming out of the haze, one by one. A family with their few belongings: HASARI PAL, 33, his wife, ALOKA, 28, and their children, daughter, AMRITA, 13, sons MANOOJ and SHAMBU, 11 and 9; HASARI'S MOTHER and FATHER. They embark toward the night, the rising sun behind them. EXT. ROADSIDE - BUS STOP - DAY (DAWN) Hasari's Father passes a gourd of precious water. Hasari serves the children first. Sh
May 28, 2008 FADE IN: EXT. ALLEYWAY (VILLAGE) - DUSK Gloomy, last light. From out of the shadows comes -- A DOG. A dog of war. Big, mangy, muscular, scary. As he moves down the alley, the way becomes increasingly choked with fallen structures. and signs of tumult. EXT. BATTLEF
e, and The Dark Knight Returns. A FRAMED DIPLOMA, dusty and unkempt, hangs askew on the wall. A snapshot of a girl is stuck in the corner, and a bra weighs one end down. A PHONE sits quietly atop a bundle of laundry. It suddenly explodes with a resounding ring-once, twice, three times. A CLOSET DOOR swings open, and a half-clad figure falls out. THE PHONE rings yet again, and a hand falls upon the receiver, yanking it off the trash can, O.C. THE RUMPLED FIGURE lays with his bac

Dylan Thomas Nice guys finish last. Leo Durocher 1 INT. OLD OFFICE (SANTA BARBARA, CA) - DAY (1960) 1 The room is California Spanish, thick walls, arches, and light spills in from a mission window. But we don't have any sense of place just yet. At first there are just details. EXTREME CLOSEUP ON TYPEWRITER KEYS of an old Underwood upright, well-worn and ancient. A woman's fingertips with red nail
SHOOTING DRAFT 1985 EXT. CHICAGO - NIGHT TO DAWN Thundering north through the glass canyons of the Loop, the elevated train SCREECHES through the city awakening. As it races north across the river past ancient factories giving way to high rise splendor, lights glistening against the dawn, we see the complex bus
EXT. COLD MOUNTAIN TOWN, NORTH CAROLINA. DAY ON A BLACK SCREEN: Credits. A RAUCOUS VOICE (SWIMMERS) CHANTING IN THE CHEROKEE LANGUAGE. A RANGE OF MOUNTAINS SLOWLY EMERGES: shrouded in a blue mist like a Chinese water color. Below them, close to a small town, YOUNG MEN, armed with vicious sticks and stripped to the waist, come charging in a muscular, steaming
CLOSE ON A PAGE OF A LARA CROFT COMIC BOOK Being copied, with uncanny precision, down to the last detail, by a ten year old hand clutching a pencil. VOICE Cataleya! The page of a notebook turns, revealing neat cursive handwriting, covers the comic. PULL BACK TO
evised) May 5, 1998 MUSIC IN: OMINOUS ORCHESTRAL TEXT, WHITE ON BLACK: This film is a reenactment of actual events. It is based on Mr. Barris's private journals, public records, and hundreds of hours of taped interviews. FADE IN: EXT. NYC STREET - NIGHT SUBTITLE: NEW YORK CITY, FALL 1981 It's raining. A cab speeds down a dark, bumpy side-street. INT. CAB - CONTINUOUS L
ound grate. It's the dark place between buildings that a reasonable person avoids. We see JAKE VIG, a guy in his late 20's whose fashionable suit and good looks are in obvious contrast to the surroundings-- At first glance, you'd think he could run for Congress some day. At first glance. Jake faces a garbage dumpster on his knees, execution style. His face gives away nothing-- He could be kneeling in a strawberry field. JAKE (V.O.) And I think it's be
Frank Cappello EARLY PRODUCTION DRAFT November 14, 2002 FADE IN: EXT. ISTANBUL - DUSK Glimpses of an ancient city. Almost motionless against the tide of time. Sea swelled along an endless wall. Billowing silk frozen against the sky. Birds lighting on Byzantine columns. FINAL IMAGE is of an imposing STRUCTURE beyond the trees. INT. PRISON FOR THE CRIMINALLY INSANE Corri
Frank Cappello EARLY PRODUCTION DRAFT November 14, 2002 FADE IN: EXT. ISTANBUL - DUSK Glimpses of an ancient city. Almost motionless against the tide of time. Sea swelled along an endless wall. Billowing silk frozen against the sky. Birds lighting on Byzantine columns. FINAL IMAGE is of an imposing STRUCTURE beyond the trees. INT. PRISON FOR THE CRIMINALLY INSANE Corri
ddenly a star sparkles to life in the distance. Gives rise to another... and another... until we're looking at a whole galaxy of stars. No, not stars. LIGHTS. NEON LIGHTS. A throbbing skyline of neon. LAS VEGAS, NEVADA. As seen from a descending aerial shot. We PLUNGE down into her shimmering embrace... DISSOLVING TO: EXT. LAS VEGAS STRIP - NIGHT Cruising the
INT. DARKENED ROOM - DAY The blade of a knife. Pulled from its sheath, intricate tribal etchings on the blade catching the light. The blade being pulled across a sharpening stone. Swoosh- swoosh-swoosh. Rhythmic. A well-practiced hand. A muscular, tattooed arm. The blade held up. Razor sharp. The glow of a TV in the darkened room is the

IN: EXT. STREETS (LOS ANGELES) - DAY End of the day. An armored truck moves through the city of Los Angeles. EXT. JEWELRY EXCHANGE - DAY The armored truck pulls up. An ARMORED TRUCK GUARD emerges from the back with a satchel and heads inside. INT. JEWELRY EXCHANGE - LOBBY - CONTINUOUS ACTION A large foyer. Security station and elevators. PARTY SOUNDS can be heard from a second floor balcony. DOUGLAS is the security guard manning the station. Seeing the Armored car Guard
FADE IN: VIDEO SCREEN 1 EXTREME CU: PACMAN, from the old video game, just a yellow ball with a mouth, fills the screen in all it's lo-res glory. The camera tracks along as it rolls along a tight corridor, gobbling dots. 2
EXT. AIRFIELD -- DAY We are moving through a small airfield full of parked light planes. There are no people around. We move through the cluster of planes toward a hangar on the edge of the field. INT. HANGAR -- DAY We are still moving through light planes, but now we are inside the hangar. Some of the planes have their engine covers open, parts str
FADE IN: 1 INT. FRENCH RESTAURANT (PASADENA, CA) - EVENING 1 Soft music. A classy joint. Below the tables, WE PAN well-heeled feet nuzzling. Finally we SETTLE ON: A PAIR OF FEET WHITE SNEAKERS sitting opposite FANCY HIGH HEELS. These feet aren't nuzzling. There's distance here.
INT. BEDROOM - APARTMENT - DAY The sweet silence of slumber. Suddenly, an alarm clock on a nightstand SHRIEKS the operatic tones of Maria Callas. A well-manicured hand, nails painted pink, slaps the snooze button and mutes Maria. A few seconds reprieve. Then, another clock, stationed on a dresser, broadcasts the FORTISSIMO POUNDING of the "William Tell Overture." Toes, a
8) and Horace (6). "Past" means the summer of 1850, when Darwin was 41. The children are: Willy (11), Annie (9) Etty (6) George (5), Betty (3) Franky (2y) and baby Lenny. 1 1 INT. DARK ROOM. THE PAST. DAY 1 In darkness, chemicals wash over a copper plate. Strange silvery patterns evolve in the half-light. 2 EXT. TERRA DEL FUEGO. DAY
village. One of the men recognizes him. WORKER Master Li is here! ANGLE ON: Li Mu Bai, thirties, powerful and handsome. In the background, old Aunt Wu, at the sight of Li Mu Bai, drops her parcels and runs excitedly into the building. INT. YUAN HALLWAY - DAY Aunt Wu runs hurriedly through the halls. AUNT WU Shu Lien! INT. YU'S ROOM - DAY Yu, a beautiful woman in her early 30s, is finishing packing for the convoy, wrapping a few small items in a linen wr
e table. The PUNTERS place their bets. TWELVE PLAYERS, nine men, three women. The FACES of the men, all ages, intense, hopeful, fearful. Which of them is JACK? JACK'S VOICE Now he had become the still centre of that spinning wheel of misfortune. A MAN'S hand spins the wheel. The ball is thrown against the spin
ently wielded. INT. MYSTERY ROOM - DIMNESS X-CLOSE. A SCALPEL returned to its place in a neat array of TAXIDERMY TOOLS. Long surgical TWEEZERS taken. A steady HAND grasps a CLAY BIRD FORM. Then sets the second eye. Unhurried. Meticulous. A MYSTERY MAN, features obscured, sets the tweezers aside, reaches for a black lump on the table, revealed to be shiny feathers
of a perched crow large in the f.g. TIGHT ANGLE - FRESH GRAVE As a spade smooths the walls of a new double-decker plot. DIMITRI (O.S.) We're losing the light; let's pack it in. ANGLE - DIMITRI AND ALEXI TWO GRAVEDIGGERS. Scoop digger parked f.g. towering gothic- style church b.g. Rolls of astro turf. They look up toward the sky. ALEXI Snow, maybe? DIMITRI What, you gonna ski on this? He indicates the mound of fresh dirt. Spits into
February 10, 1998 1 EXT. MANHATTAN SKYLINE - DAY 1 We circle around the island of Manhattan moving closer and closer till we're looking down on Fifth Avenue. As the melody continues to play we MOVE towards a building and ZOOM into a window. 2 INT. THERAPIST'S OFFICE - DAY 2 A fifty-year old female therapist (DR. GREENBAUM) sits at her desk, frowning as she ta
ir. The black man is drunk, and is tossing rings around a bowling pin. JODY And that's cricket, hon. An attendant hands him the teddy bear. It looks ridiculous in his huge hands. He gives it to the girl. JODY You want it? GIRL Sure. JODY Doesn't matter if you don't. He puts his arm around her and drags her on.
As all things do, it begins in the dark. EYES blink open. Blue eyes. The first thing they see is a WOMAN near 40, standing looking out a window, watching the wind blowing, rattling a window. A WOMAN'S (V.O.) What are you looking at? CAROLINE The wind, Mother... They say a hurricane is on its way... You've been asleep... I was waiting to see
the CROWD, RODEO, SEX, and a strange RINGING fade in along with IMAGES of... A COWBOY riding a BULL in an enclosed RODEO ring. RON WOODROOF, early 40's, handsome, long sandy hair, denim clad, worn snakeskin boots, dusty, cowboy hat, mirrored aviators, is engaged in wild SEX with a WOMAN. He watches the rodeo through open slats in a BULL STALL as the STEER throws the COWBOY violently thru the air; he lands hard on the dirt. Another WOMAN snorts cocaine
aden skies over the arachnoid stands and floodlights of Elland Road stadium: home to Leeds United football club. And rain. Sheets of angry, Yorkshire rain. TITLE: "THE DAMNED UNITED" 2 INT. BOARDROOM - ELLAND ROAD - DAY - (1974) 2 Flashlights pop as DON REVIE, (late 40's), the most successful manager in English football, walks out in front of a pack of newspaper and TV REPORTERS. He is flanked by the Chairman of Leeds United, (MA
INT. FIELD HOSPITAL TENT - DAY A black screen. The sound of a knife cutting through boot leather. Fade in on the waists of two men (THE SURGEONS) hovering around a crude operating table. In the extreme background, TWO STRETCHER BEARERS are just leaving. SURGEON 1 (O.S.) Is this the last one?
attered cliffs. Silver waves are whipped by a wind that flies at us, stinging, relentless. Somewhere, unseen in the barren landscape, something is at its mercy - we hear the RUSTLE and PUNCH of the weather going at it... DISSOLVE TO: INT. WOMAN'S EYE The same scene reflected across the surface of a woman's brown eye, intense with emotion, curiosity. Gradually, the WEATHER SOUNDS are overtaken by VOICES coming up. At first t
ate. A mix of subtle sounds begin to fade in. As they get louder, we can discern what sounds like a busy office area. It is actually a frantic television studio with the hum of panic in a national emergency. The woman's moans get louder and more desperate as the background sounds reach full volume and the credits stop. The woman sits up, snapping awake. 2 She lurches forwards into the arms of a strong young man. She is Francine, twenty three years old and very attractive,
ITY - DAY We hear THE SOUND OF A STRONG WIND. DEBRIS flutters through the streets. A LARGE ALLIGATOR slithers into frame, stops and looks around. MONTAGE: as MORE GATORS explore the empty streets, knocking over GARBAGE CANS, upsetting the MANNEQUINS in A DEPARTMENT STORE WINDOW. A GATOR crawls out through the open doors of AN ABANDONED BANK. LOOSE BILLS are dragged along under the animal's tail. They flutter away on the WIND. 3 EXT. THE CITY - DAY GATORS crawl over A '79
D... AND TAUGHT HIM HOW TO PRAY. AND AS I SEARCHED FOR BETTER WAYS HIS GUIDE AND HELP TO BE... I FOUND, AS WE WALKED HAND IN HAND, THAT HE WAS LEADING ME. "THE DAY THE CLOWN CRIED" COLD OPENING EXT. PARIS CIRCUS - NIGHT The normal activity and excitement of showtime around the circus is in evidence where we see the half dark street and alley directly adjacent to the circus tent which (in Paris is an enclosure)... the animals, the midgets, the people and
ebruary 21, 1951 EXT. BEACH - PACIFIC ISLAND - MED. SHOT - DAY Backgrounded by palm trees and rolling surf, an American army radar operator sits at his huge instrument, intently tracking a target. Without interrupting this, he speaks with tense excitement into a telephone transmitter strapped to his chest. (It is 8:00 a.m.) (In this and the subsequent scen
The owner of a vast wheat ranch ("bonanza") in the Texas Panhandle. URSULA: Abby's younger sister, a reckless child of14. BENSON: The bonanza foreman, an enemy of the newcomers. MISS CARTER: Chief domestic at the Belvedere, Chuck's home. McLEAN: Chuck's accountant. GEORGE: A young pilot who interests Ursula. A PREACHER, A DOCTOR, AN ORGANIST, VARIOUS HARVEST HANDS, LAWMEN, VAUDEVILLIANS, etc. "Troops of nomads swept over the country at harvest time like a visitation of locusts, re
oy and his brother line up for a photograph PHOTOGRAPHER Okay, put your arm around your brother. That's it. And breathe in. The young boy blinks as the flash goes off. PHOTOGRAPHR Okay, one more. An old man lights a single candle. A teacher goes over the old man's duties. TEACHER Now just to review, you're going to follow along the procession until you get to the headmaster. At that point he will indicate to you to light the candles of the boys
race war" has erupted at one of the nation's oldest and most prestigious institutions. Glued to this are our story's subjects, who we meet in... 2 A SERIES OF SHOTS 2 TROY FAIRBANKS, 21, Black. He drags a brush through his finger waves anxiously. The look of guilt is the only mark of imperfection in his privileged and chiseled demeanor. ANCHOR (O.S.)
to spill on her from the right - revealing her face, lost in thought. This is RACHEL SINGER - pretty, painfully young looking. A surgical dressing covers half her face. As we pull back a little we see that two YOUNG MEN sit either side of her. They are STEPHAN GOLD (thirties) thick- set, capable, and DAVID PERETZ (late twenties), dark-haired and pale-faced. The three faces in the darkness, each looking straight ahead - something from a Caravaggio
resting face up on a black surface. A beat of silence -- is broken by its abrupt RING... RING... RING... Move in tighter on the phone's LCD DISPLAY. A number comes up: 555-3827 RING... RING... RING... A hand enters frame. We follow it to a pad and pen we now discover to the left of the phone. The hand picks up the pen, brings it to the pad, on which we find a list of handwritten numbers. At least f
ce from the tops of guyed metal flues. Steam rises in clouds from vents and chimneys and the sound of it all -- the hissing, the clanging, the rumbling, the shrieking -- comes faintly, muted by the falling snow. In the foreground is a street -- COLUMBINE STREET -- which inhabits the bottom of a narrow ravine and plunges directly down the hillside, straight at the mill. Columbine is a sad looking street, a grim-looking street, a street hanging on by the skin of its teeth. Dilapidated s
MAN waits with his MIDDLE-AGED SON in THE RAIN. MIDDLE-AGED SON (as they climb in) 23rd and Lex. The CABBIE grunts a reply. MIDDLE-AGED SON (CONT'D) How ya doin', Papa, you doin' alright? ELDERLY MAN Fine, fine... MIDDLE-AGED SON This is just a check-up, okay? Doctor Katz says you'll outlive us all. (looks out the window)

930s. Clips from prize fights featuring two different boxers against various opponents. One a light heavyweight--pure finesse, a counterpunches; the other, stouter and stronger, a headhunting puncher. The intercutting of the two fighters suggests a possible showdown at the end of the newsreel. No such luck. END CREDITS CLOSE UP ON: A TRIPLE CARBON LAPD "INCIDENT REPORT" FORM trapped in an old Corona typewriter. The keys pound le

CK SCREEN: Various voices: "Big six"... "That's six the hard way"... "Seven or eleven"... "Play two"... FADE IN: EXT. UPPER EAST SIDE - NEW YORK CITY - NIGHT One of the pristine blocks of brownstones where even the garbage seems gift wrapped. The VOICES continue over as we move in on a particular building where a DOORMAN is holding open the door for a dowager and her poodle. The voices continue: "Hit me"... "Double down"... "Let it ride"... "Hit me"... "Any

EXT. RONNIE'S TRAILER - EARLY DAWN RAE is naked. Wrapped around her shoulders is a loose-knit spread that conceals her slender form. She is in her 20's: a strawberry blond, with cinnamon freckles spotted across her pale skin. She is beautiful without trying. She stares at the distant trees. This is the South; the small town of FISHERVILLE, TE

1 OPENING CREDITS: A SPOTLIGHT slices black space. In its beam, a DANCER materializes. She is fair-skinned. Beautiful and pure. The maiden twirls on pointe, a smile on her face, light as air and carefree. She pauses, her face grows worried. Sensing someone watching.

Kevin Willmott & Spike Lee FADE IN: SCENE FROM "GONE WITH THE WIND" Scarlett O'Hara, played by Vivian Leigh, walks through the Thousands of injured Confederate Soldiers pulling back to reveal the Famous Shot of the tattered Confederate Flag in "Gone with the Wind" as The Max Stein Music Score swells from Dixie to Taps.

s Inc. 1420 No. Beachwood Drive Hollywood, Calif. 90028 **************** INT. TYRELL CORPORATION LOCKER ROOM - DAY 1 THE EYE 2 It's magnified and deeply revealed. Flecks of green and yellow in a field of milky blue. Icy filaments surround the undulating center.

N CREDITS as a NAVY JET drops down into the picture. PUSH IN on the jet's exhaust flame. Have the words "THE BLAST" come out of the flame. Then there is a SLIGHT EXPLOSION and the flame intensifies. The words "FROM THE PAST" jump out of the exhaust as the jet momentarily shakes. INT. JET The PILOT feels the jet shake. But he looks at his indicators and everything appears to be normal. He relaxes. EXT. JET

Michael Lewis 04/28/09 1 OVER BLACK... 1 A distinctly SOUTHERN VOICE... LEIGH ANNE'S VOICE There's a moment of orderly silence before a football play begins. Players are in position, linemen are frozen, and anything's possible. Then, like a traffic accident, stuff

evision March 16, 2012 Learn from yesterday, live for today, hope for tomorrow. @KhloeKardashian 2. 1 EXT. HOLLYWOOD HILLS MANSION - NIGHT 1 A Toyota parks and five teenagers get out and walk towards us, down a quiet residential street in the Hollywood Hills. One of them, a slightly drunk girl in a pale blue Juicy sweat suit stumbles.

HANDS men's hands, nicely groomed, hold a small white terry towel spoiled by blood-red spots. The hands rinse the towel in a copper bar sink. The stains soften but stay. A tan jacket sleeve, spotted the same way, moves INTO FRAM. The hands dab the wet towel at the spots, with no more success, and throw it into the sink. It falls half in, still dripping the stains a drop at a time to the floor. A

landscapes--broad, bare, and lifeless. VOICE-OVER The world is full of complainers. But the fact is, nothing comes with a guarantee. I don't care if you're the Pope of Rome, President of the United States, or even Man of the Year--something can always go wrong. And go ah

e view changes and tiny dots appear on the hillside vegetation. WHOOSH. CLOSER We realize the dots are people. Workers swinging long steel machetes in slow methodical rhythm. WHOOSH. WHOOSH. WE SEE the South American Indian MEN clearly now. Their tar stained teeth. Their gaunt faces riddled with crow's feet. Their jaws chewing away on huge wads of coca leaves as they collect the harvest. EXT. DIRT ROAD - COLOMBIA - DAY Old rickety trucks carrying the huge gree

A 5-year old girl wearing pajamas wanders alone down the street. FRANKIE (BARELY AUDIBLE) Me-gan! INT. PERIERA HOME - PRESENT DAY 2 2 FRANKIE crawls through a dog door. She walks into the living room where the TV is on loud.

front of it. Birds CHIRP in the distance. A faint sprinkler SOUND is heard. Very sweet MUSIC is playing. DISSOLVE TO: 2. EXT. TREE - DAY A songbird SINGS in the tree. DISSOLVE TO: 3. EXT. CROSSWALK - SHADY STREET - DAY A very clean uniformed, smiling POLICEMAN with arms outstretched allows clean happy SCHOOL CHILDREN to cross the street safely. DISSOLVE TO: 4. EXT. SHADY STREET - DAY A bright red gorgeous fire engine is moving very slowl

, quick scuffle, a heavy fall of bodies. THREE BOOMING GUNSHOTS. Two from one gun, one from another. So fast and close, they're barely distinguish- able. The sound of the SHOTS ECHOES against concrete walls and dies away. Silence. SLOW, SLOW, FADE IN: 1 INT. UNDERGROUND GARAGE (NEW YORK) - NIGHT 1 FRANK FARMER'S FACE - mid to late 30s, peers intently over a smoking gun. He is The Bodyguard. ANGLE - HIT MAN dead on his

Rev. 05/10/90 (Blue) Rev. 05/18/90 (Yellow) Rev. 05/25/90 (Green) Rev. 06/11/90 (Gold) Rev. 06/12/90 (Buff) Rev. 07/09/90 (Salmon) Rev. 07/1

plying lipstick and eye make-up. As the camera slowly pulls back from the closeup we see that we have been looking into a mirror. She is standing before the full-length mirror in her bedroom doing her make-up. She overdoes it in the style of the time: rosebud mouth and so forth. As the film progresses her make-up will be refined until, at the end, there is none. The camera pulls back and continues to move very slowly throughout the first part of this scene. As the camera continue

MERA (STEADICAM) moves across the street, towards the car, landing close; From the Seville steps, JACK HORNER (50s) and AMBER WAVES (early 30s). CAMERA follows them (this is one continous shot) as they pass the crowd, greet a DOORMAN and enter -- INSIDE THE NIGHTCLUB. Twice as packed inside as outside. Music is full blast. Amber and Jack are greeted by; MAURICE t.t. RODRIGUEZ (30s). Owner of the nightclub. Puerto Rican. Wearing a suit and fifteen gold chains.

A civilization is destroyed only when its gods are destroyed. - Emil Cioran EXT. FOREST - DAWN Bare as all hell. The trees stripped of their bark and white like ghosts. Some torn violently from their roots and felled. STARK GRAY SUNLIGHT shafts between the tre

T, BOSTON -- MORNING The boulevard is empty, eerie silence. No cars, no people. A man walks down the middle of the street, long trench, dark shades. Though he does not speak, we hear... MAN V.O. There's two kinds of people in this world when you boil it all down. You got your talkers and you got your doers.

'S DAY DOWNTOWN BOSTON As we open we see the inside of an enormous church. A young looking PRIEST in his mid-thirties is finishing the delivery of the Lords Prayer. In the back of the church, in the last pew, there are two who kneel on the cold, stone floor. They do not stand to sing, nor do they offer signs of peace when told, but they pray. They grip and rub their rosaries

n through the center of the darkness. As we begin to descend, voices echo in our head. VIOLET (V.O.) I had this image of you, inside of me, like a part of me. We move past a shelf filled with hatboxes and handbags. It is a woman's closet. CORKY (V.O.) You planned this whole thing, didn'

PARIS DRAFT 9/20/00 DARKNESS. THE SOUND OF WIND AND SPRAY. MUSIC. TITLES. EXT. OCEAN -- NIGHT The darkness is actually water. A SEARCHLIGHT arcs across heavy ocean swells. Half-a-dozen flashlights -- weaker beams -- racing along what we can see is the deck of an aging FISHING TRAWLER. FISHERMEN struggling with

Richard Matheson Sep 30th, 2006 OVER A BLACI: SCREEN: Crickets chirp in the night. A DOORBELL rings. Sheets rustle... A BEDSIDE LAMP is turned on. INT. LEWIS HOUSE -- MASTER BEDROOM -- NIGHT NORMA LEWIS ( 31) sits up in bed. The soft glow of the lamp casts her in silhouett

im. MOM Hey, love bug. You ready? He is quickly on his feet and they are walking toward the car. MASON Yeah. Hey, guess what, Mom? MOM What? MASON I figured out where wasps come from. MOM Oh, yeah? Where? MASON Well, I think it m

uty: cobalt mountains beneath a glowering purple sky fringed with pink, as if the clouds were a lid too small for the earth; a cascading landscape of boulders shrouded in deep green grass; and the blue lochs, reflecting the sky. We hear a voice, husky, Scottish... VOICE OVER I will tell you of William Wallace. EXT. MACANDREWS FARM - DAY

Small, student's French-type garret decorated in deep-red, suitcase on bed. Anthony to his desk, hurriedly examining his thick papers and books, and throwing them on the floor. Takes a book (closeup photograph of Genet, book's author, a photo from early 50's, in his burglar's T-shirt, his name in large, Visible letters at base of photo) off night table, puts it in suitcase, locks suitcase, opens door, suitcase out door. A. back into the room, wine bottle fr

worlds are immune to your consultations. They're quite aware of what they're going through... - David Bowie" The Blank Screen and Title Card SHATTER to reveal... 1. EXT. SHERMER HIGH SCHOOL - DAY During Brian's monologue, we see various views of things inside the school including Bender's locker. BRIAN (VO) Saturday...March 24, 1984. Shermer High

EXT. QUARRY OUTSKIRTS - DAY 1 A narrow dirt road totally surrounded by thick vegetation. Here and there we see a huge block of stone blocking the road. The sun is shining but it has a hard time making it through the foliage. In the distance we see four guys walking TOWARD the CAMERA. There is a swagger to their walk. MIIï¿½ is singing. The others are humming along. The melody of the song of "0 Bury Me Not On th

Over a grimy concrete wall creeping by. We emerge from... EXT. RUNOFF TUNNEL - EARLY MORNING A gaping hole in the concrete side of a freeway. On the embankment beside the hole BRENDAN FRYE squats, shoulders hunched. His dark eyes behind thin glasses watch the shallow stream of water which flows into the tunnel. THE WATER not

From the novel by Joseph Connelly After World War One it was called Shell Shock. After World War Two it was called Battle Fatigue. After Vietnam it was called Post Traumatic Stress Disorder. Frank Pierce, 28, drives an EMS vehicle for Our Lady of Mercy Hospital, New York City. He has been a paramedic for five years.

e for him. He moves towards the cab of the truck and gets inside as we SUPER: KANSAS CITY, MO. - 1963 INT. TRUCK - DAY As he sits down beaming over his recent good fortune... now we REVEAL his twelve-year-old son, TOM, seated quietly beside him. He seems a bit down. Gerald glances at his son. GERALD I don't know a recent Saturday I've sold more. You didn't think I'd sell that health restaurant, did you? TOM No. Not even you. GERALD Why

huge clock marks 7:55 p.m. (The clock belongs to some landmark building, to be determined). Immediately following, the building goes dark. Establishing shot of the Eiffel Tower, lit. Suddenly, all the lights go out. The same thing happens with the Granada's Alhambra, Seville's Giralda Tower, the Guggenheim at Bilbao, the Gate of Alcala. All these well- known architectonic wonders turn dark, abruptly. (Beauty that

NARRATOR As far as con man stories go, I think I've heard them all. Of grifters, ropers, faro fixers, tales drawn long and tall. But if one bears a bookmark in the confidence man's tome, twould be that of Penelope, and of the brothers Bloom. 2 EXT. COUNTRY HOUSE - MORNING 2 The car deposits two shabby boys (10

art and mind of America had better learn baseball. --Jacques Barzun You could look it up. --Casey Stengel Titles over -- FADE IN: A series of still photos. Black and white. Ancient. BABE RUTH SWINGS -- An icon of American history. His giant upper body balanced delicately on tiny

nfined and contained. We then hear the sound of a man, PAUL CONROY, groaning, making confused attempts at words. We hear his movement; short, abrupt shifting, ending almost immediately with the sound of his body banging against wood. He screams, though it's clear from the sound that his mouth is covered by something. After attempting to sit up, he immediately bangs his head against something. It's terribly wa

MUSIC A series of tight CLOSE-UP shots of dancers moving in high energy fast paced sexy choreography. Very provocative. Legs. Arms. Butts. Boas. Sequins. Costumes. High heels. A kaleidoscope of images and colors. END TITLES ON A BLACK SCREEN FADE IN sounds of PEOPLE TALKING -- GLASSES CLINKING -- all the BACKGROUND SOUNDS of a BUSY, HIP NIGHTCLUB. SUDDENLY.. .a loud DRUM ROLL. CAMERA is low, movi

PRODUCTION DRAFT 1-12-02 FADE IN: Abrupt CLOSE UP on MAX, a plain wall behind him. 1 INT. LIMBO RADIO 1 He is 20, normal looking, not too nebbish, punkish, book

EVAN, 20, good-looking but with dark haunted eyes, frantically hides himself in an unlit Doctor's office. His face and chest are covered in blood. He holds his forehead in pain. FLASHLIGHT BEAMS stab through the darkened corridor hunting for him. ALARMS SOUND. GUARDS are heard shouting to each other. Evan grabs a cardboard box and hides under a doctor's desk. He grabs some paper and begins wri

h one can make out thefaint image of a television program. Every few moments the channel changes, revealing a new ghostly image. The camera pulls back very slowly. We reveal that this image is coming from a twenty seven inch television. The camera pulls back some more and we see a man's hand enter frame holding a remote control. The hand changes channels frantically. The camera pulls back into its final position and we see STEVEN BARTOWSKY, thirty years old, sitting on his couch

(phone filter) There's never been anyone like you, since you. I love you Vaughn. I love you like no-one else ever has, or could. I'm not going to try to persuade you. Just follow your heart. OK? FADE IN ON 1.01 INT. SALOON CAR EVENING The car is stuck in rush-hour traffic, which surrounds VAUGHN (40), as he wrestles with the hardest decision of his life.

T. FARMHOUSE - MORNING The CAMERA follows a SIXTEEN YEAR OLD GIRL, long hair, pretty Sunday church dress, walking toward a peaceful farmhouse. At the door she lifts the knocker. The door opens slightly. The girl turns and looks past the camera at her MOTHER, sitting in an old Plymouth idling in the driveway. Her mother shrugs, motions for her to go inside. INT. FARMHOUSE - CON

March 13, 1998 FADE IN: EXT. MARFA, TEXAS - 1993 - WIDE - DAY The Texas plains, horizon to horizon, nothing but the browns and ochres of earth and the blue and violet of the sky. The sheer scope of it sinks in: the blank slate of nature, the absence of man. On the screen superimpose: MARFA, TEXAS, 1993. CREDITS BEGIN. A plume of dust comes into frame. The dust is from a TRUCK, orange and white and violet, with "Fed

A simple GAME SHOW SET -- one long desk-that houses four "CELEBRITY PANELISTS," a small pulpit with attached microphone for the host, BUD COLLYER, who walks through the curtain to the delight of the audience. Bud bows and waves to the celebrities -- ORSON BEAN, KITTY CARLISLE, TOM POSTON, and PEGGY CASS. BUD COLLYER Hello, panel, and welcome everyone to another exciting day on "To Tell

e're looking at THE SUN. In the distance lie the gorgeous San Gabriel Mountains and the Downtown Los Angeles skyline. In ONE LONG TRACKING SHOT, we CRANE PAST some trees to reveal the vast expansive homes scattered in the hills of Brentwood. HOMEOWNERS walk dogs, a PAPERBOY chucks papers fr9m a gleaming mountain bike... It's early in the morning, and the landscapers haven't come with their leaf blowers yet. CONTINUE BOOMING DOWN to road level to face the resplendent Martin residence.

ars: EVERYTHING YOU ARE ABOUT TO SEE, HAPPENED The words slowly FADE OUT, taking us hard into EXT. COLLINS HOME - PRE-DAWN A small, pleasant house on a tree-lined street in Los Angeles circa 1928. 210 North Avenue 23. Not far from Dodger Stadium. SUPERIMPOSE: LOS ANGELES, MARCH 9, 1928. INT. COLLINS HOME - CHRISTINE'S BEDROOM - PRE-DAWN

REDITS: A1 EXT. PEARL STREET BRIDGE- NIGHT A1 CLOSE ON... A BRONZE PLAQUE which reads, "PEARL STREET BRIDGE." ON THE BRIDGE... RAIN POURS DOWN. An SUV steers out of control and CRASHES into a STALLED OUT VEHICLE. It's quiet NOW, EXCEPT FOR THE INCESSANT pounding rain. IN THE DISTANCE, police lights approach. SMASH CUT TO: 1 EXT. PEARL STREET BRIDG

RESIDENCE - ANDREW'S ROOM The room is dingy. Unkempt. The camera sits on the bed, on its side, facing the door. We can hear someone moving around off screen. The door handle clicks; someone's trying it. Then nothing. Then, suddenly, loud pounding on the door. Andrew's voice is scratchy and prone to cracking. He speaks with a rushed mix of fear and anxiety. ANDREW (O.S.) What do you want, I'm getting ready for sch

C.S. Lewis Transcribed by Stuart C BOMBING LONDON Random German Ejaculations MRS. PEVENSIE Edmund Get Away from there! What do you think you're doing?! Peter! PETER (grabs Edmund) C

EXT. ST CLOUD'S - TRAIN STATION - DAWN An establishing shot of the rundown train station on an overcast morning. There's snow on the station platform. A train arrives and departs. LARCH (V.O.) In other parts of the world, young men of promise leave home to make their fortunes, battle evil, or solve

SHOOTING DRAFT - 1965 FADE IN: SERIES OF ESTABLISHING SHOTS - DAY Exterior scenes of St. Louis, particularly the riverside industrial district. Even more important to establish than the place is the time: end of summer, 1936. Election posters would help, with the Republican ones stressing such themes as "Burst the Roosevelt Bubble," "Save the American W

slashes through the gray clouds, cuts across the shadow towards the sea, along the coast where the new suburbs of the city of Giancaldo have been built up. Bright light streams through the windows, glancing off the white walls in an almost blinding reflection. MARIA, a woman a little over sixty, is trying to find somebody on the phone. MARIA ...Salvatore, that's right, Salvatore. Di Vita Salvatore ...But, miss, what do you mean you don't know him?!...I...Yes

PROLOGUE FADE IN: EXT. XANADU - FAINT DAWN - 1940 (MINIATURE) Window, very small in the distance, illuminated. All around this is an almost totally black screen. Now, as the camera moves slowly towards the window which is almost a postage stamp in the frame, other forms appear; barbed wire, cyclone fencing, and now, looming up against an early morning sky, enormous i

ff the parched earth in shimmering waves. After a moment, we see what appear to be figures coming out of the haze, one by one. A family with their few belongings: HASARI PAL, 33, his wife, ALOKA, 28, and their children, daughter, AMRITA, 13, sons MANOOJ and SHAMBU, 11 and 9; HASARI'S MOTHER and FATHER. They embark toward the night, the rising sun behind them. EXT. ROADSIDE - BUS STOP - DAY (DAWN) Hasari's Father passes a gourd of precious water. Hasari serves the children first. Sh

May 28, 2008 FADE IN: EXT. ALLEYWAY (VILLAGE) - DUSK Gloomy, last light. From out of the shadows comes -- A DOG. A dog of war. Big, mangy, muscular, scary. As he moves down the alley, the way becomes increasingly choked with fallen structures. and signs of tumult. EXT. BATTLEF

e, and The Dark Knight Returns. A FRAMED DIPLOMA, dusty and unkempt, hangs askew on the wall. A snapshot of a girl is stuck in the corner, and a bra weighs one end down. A PHONE sits quietly atop a bundle of laundry. It suddenly explodes with a resounding ring-once, twice, three times. A CLOSET DOOR swings open, and a half-clad figure falls out. THE PHONE rings yet again, and a hand falls upon the receiver, yanking it off the trash can, O.C. THE RUMPLED FIGURE lays with his bac

Dylan Thomas Nice guys finish last. Leo Durocher 1 INT. OLD OFFICE (SANTA BARBARA, CA) - DAY (1960) 1 The room is California Spanish, thick walls, arches, and light spills in from a mission window. But we don't have any sense of place just yet. At first there are just details. EXTREME CLOSEUP ON TYPEWRITER KEYS of an old Underwood upright, well-worn and ancient. A woman's fingertips with red nail

SHOOTING DRAFT 1985 EXT. CHICAGO - NIGHT TO DAWN Thundering north through the glass canyons of the Loop, the elevated train SCREECHES through the city awakening. As it races north across the river past ancient factories giving way to high rise splendor, lights glistening against the dawn, we see the complex bus

EXT. COLD MOUNTAIN TOWN, NORTH CAROLINA. DAY ON A BLACK SCREEN: Credits. A RAUCOUS VOICE (SWIMMERS) CHANTING IN THE CHEROKEE LANGUAGE. A RANGE OF MOUNTAINS SLOWLY EMERGES: shrouded in a blue mist like a Chinese water color. Below them, close to a small town, YOUNG MEN, armed with vicious sticks and stripped to the waist, come charging in a muscular, steaming

CLOSE ON A PAGE OF A LARA CROFT COMIC BOOK Being copied, with uncanny precision, down to the last detail, by a ten year old hand clutching a pencil. VOICE Cataleya! The page of a notebook turns, revealing neat cursive handwriting, covers the comic. PULL BACK TO

evised) May 5, 1998 MUSIC IN: OMINOUS ORCHESTRAL TEXT, WHITE ON BLACK: This film is a reenactment of actual events. It is based on Mr. Barris's private journals, public records, and hundreds of hours of taped interviews. FADE IN: EXT. NYC STREET - NIGHT SUBTITLE: NEW YORK CITY, FALL 1981 It's raining. A cab speeds down a dark, bumpy side-street. INT. CAB - CONTINUOUS L

ound grate. It's the dark place between buildings that a reasonable person avoids. We see JAKE VIG, a guy in his late 20's whose fashionable suit and good looks are in obvious contrast to the surroundings-- At first glance, you'd think he could run for Congress some day. At first glance. Jake faces a garbage dumpster on his knees, execution style. His face gives away nothing-- He could be kneeling in a strawberry field. JAKE (V.O.) And I think it's be

Frank Cappello EARLY PRODUCTION DRAFT November 14, 2002 FADE IN: EXT. ISTANBUL - DUSK Glimpses of an ancient city. Almost motionless against the tide of time. Sea swelled along an endless wall. Billowing silk frozen against the sky. Birds lighting on Byzantine columns. FINAL IMAGE is of an imposing STRUCTURE beyond the trees. INT. PRISON FOR THE CRIMINALLY INSANE Corri

ddenly a star sparkles to life in the distance. Gives rise to another... and another... until we're looking at a whole galaxy of stars. No, not stars. LIGHTS. NEON LIGHTS. A throbbing skyline of neon. LAS VEGAS, NEVADA. As seen from a descending aerial shot. We PLUNGE down into her shimmering embrace... DISSOLVING TO: EXT. LAS VEGAS STRIP - NIGHT Cruising the

INT. DARKENED ROOM - DAY The blade of a knife. Pulled from its sheath, intricate tribal etchings on the blade catching the light. The blade being pulled across a sharpening stone. Swoosh- swoosh-swoosh. Rhythmic. A well-practiced hand. A muscular, tattooed arm. The blade held up. Razor sharp. The glow of a TV in the darkened room is the

IN: EXT. STREETS (LOS ANGELES) - DAY End of the day. An armored truck moves through the city of Los Angeles. EXT. JEWELRY EXCHANGE - DAY The armored truck pulls up. An ARMORED TRUCK GUARD emerges from the back with a satchel and heads inside. INT. JEWELRY EXCHANGE - LOBBY - CONTINUOUS ACTION A large foyer. Security station and elevators. PARTY SOUNDS can be heard from a second floor balcony. DOUGLAS is the security guard manning the station. Seeing the Armored car Guard

FADE IN: VIDEO SCREEN 1 EXTREME CU: PACMAN, from the old video game, just a yellow ball with a mouth, fills the screen in all it's lo-res glory. The camera tracks along as it rolls along a tight corridor, gobbling dots. 2

EXT. AIRFIELD -- DAY We are moving through a small airfield full of parked light planes. There are no people around. We move through the cluster of planes toward a hangar on the edge of the field. INT. HANGAR -- DAY We are still moving through light planes, but now we are inside the hangar. Some of the planes have their engine covers open, parts str

FADE IN: 1 INT. FRENCH RESTAURANT (PASADENA, CA) - EVENING 1 Soft music. A classy joint. Below the tables, WE PAN well-heeled feet nuzzling. Finally we SETTLE ON: A PAIR OF FEET WHITE SNEAKERS sitting opposite FANCY HIGH HEELS. These feet aren't nuzzling. There's distance here.

INT. BEDROOM - APARTMENT - DAY The sweet silence of slumber. Suddenly, an alarm clock on a nightstand SHRIEKS the operatic tones of Maria Callas. A well-manicured hand, nails painted pink, slaps the snooze button and mutes Maria. A few seconds reprieve. Then, another clock, stationed on a dresser, broadcasts the FORTISSIMO POUNDING of the "William Tell Overture." Toes, a

8) and Horace (6). "Past" means the summer of 1850, when Darwin was 41. The children are: Willy (11), Annie (9) Etty (6) George (5), Betty (3) Franky (2y) and baby Lenny. 1 1 INT. DARK ROOM. THE PAST. DAY 1 In darkness, chemicals wash over a copper plate. Strange silvery patterns evolve in the half-light. 2 EXT. TERRA DEL FUEGO. DAY

village. One of the men recognizes him. WORKER Master Li is here! ANGLE ON: Li Mu Bai, thirties, powerful and handsome. In the background, old Aunt Wu, at the sight of Li Mu Bai, drops her parcels and runs excitedly into the building. INT. YUAN HALLWAY - DAY Aunt Wu runs hurriedly through the halls. AUNT WU Shu Lien! INT. YU'S ROOM - DAY Yu, a beautiful woman in her early 30s, is finishing packing for the convoy, wrapping a few small items in a linen wr

e table. The PUNTERS place their bets. TWELVE PLAYERS, nine men, three women. The FACES of the men, all ages, intense, hopeful, fearful. Which of them is JACK? JACK'S VOICE Now he had become the still centre of that spinning wheel of misfortune. A MAN'S hand spins the wheel. The ball is thrown against the spin

ently wielded. INT. MYSTERY ROOM - DIMNESS X-CLOSE. A SCALPEL returned to its place in a neat array of TAXIDERMY TOOLS. Long surgical TWEEZERS taken. A steady HAND grasps a CLAY BIRD FORM. Then sets the second eye. Unhurried. Meticulous. A MYSTERY MAN, features obscured, sets the tweezers aside, reaches for a black lump on the table, revealed to be shiny feathers

of a perched crow large in the f.g. TIGHT ANGLE - FRESH GRAVE As a spade smooths the walls of a new double-decker plot. DIMITRI (O.S.) We're losing the light; let's pack it in. ANGLE - DIMITRI AND ALEXI TWO GRAVEDIGGERS. Scoop digger parked f.g. towering gothic- style church b.g. Rolls of astro turf. They look up toward the sky. ALEXI Snow, maybe? DIMITRI What, you gonna ski on this? He indicates the mound of fresh dirt. Spits into

February 10, 1998 1 EXT. MANHATTAN SKYLINE - DAY 1 We circle around the island of Manhattan moving closer and closer till we're looking down on Fifth Avenue. As the melody continues to play we MOVE towards a building and ZOOM into a window. 2 INT. THERAPIST'S OFFICE - DAY 2 A fifty-year old female therapist (DR. GREENBAUM) sits at her desk, frowning as she ta

ir. The black man is drunk, and is tossing rings around a bowling pin. JODY And that's cricket, hon. An attendant hands him the teddy bear. It looks ridiculous in his huge hands. He gives it to the girl. JODY You want it? GIRL Sure. JODY Doesn't matter if you don't. He puts his arm around her and drags her on.

As all things do, it begins in the dark. EYES blink open. Blue eyes. The first thing they see is a WOMAN near 40, standing looking out a window, watching the wind blowing, rattling a window. A WOMAN'S (V.O.) What are you looking at? CAROLINE The wind, Mother... They say a hurricane is on its way... You've been asleep... I was waiting to see

the CROWD, RODEO, SEX, and a strange RINGING fade in along with IMAGES of... A COWBOY riding a BULL in an enclosed RODEO ring. RON WOODROOF, early 40's, handsome, long sandy hair, denim clad, worn snakeskin boots, dusty, cowboy hat, mirrored aviators, is engaged in wild SEX with a WOMAN. He watches the rodeo through open slats in a BULL STALL as the STEER throws the COWBOY violently thru the air; he lands hard on the dirt. Another WOMAN snorts cocaine

aden skies over the arachnoid stands and floodlights of Elland Road stadium: home to Leeds United football club. And rain. Sheets of angry, Yorkshire rain. TITLE: "THE DAMNED UNITED" 2 INT. BOARDROOM - ELLAND ROAD - DAY - (1974) 2 Flashlights pop as DON REVIE, (late 40's), the most successful manager in English football, walks out in front of a pack of newspaper and TV REPORTERS. He is flanked by the Chairman of Leeds United, (MA

INT. FIELD HOSPITAL TENT - DAY A black screen. The sound of a knife cutting through boot leather. Fade in on the waists of two men (THE SURGEONS) hovering around a crude operating table. In the extreme background, TWO STRETCHER BEARERS are just leaving. SURGEON 1 (O.S.) Is this the last one?

attered cliffs. Silver waves are whipped by a wind that flies at us, stinging, relentless. Somewhere, unseen in the barren landscape, something is at its mercy - we hear the RUSTLE and PUNCH of the weather going at it... DISSOLVE TO: INT. WOMAN'S EYE The same scene reflected across the surface of a woman's brown eye, intense with emotion, curiosity. Gradually, the WEATHER SOUNDS are overtaken by VOICES coming up. At first t

ate. A mix of subtle sounds begin to fade in. As they get louder, we can discern what sounds like a busy office area. It is actually a frantic television studio with the hum of panic in a national emergency. The woman's moans get louder and more desperate as the background sounds reach full volume and the credits stop. The woman sits up, snapping awake. 2 She lurches forwards into the arms of a strong young man. She is Francine, twenty three years old and very attractive,

ITY - DAY We hear THE SOUND OF A STRONG WIND. DEBRIS flutters through the streets. A LARGE ALLIGATOR slithers into frame, stops and looks around. MONTAGE: as MORE GATORS explore the empty streets, knocking over GARBAGE CANS, upsetting the MANNEQUINS in A DEPARTMENT STORE WINDOW. A GATOR crawls out through the open doors of AN ABANDONED BANK. LOOSE BILLS are dragged along under the animal's tail. They flutter away on the WIND. 3 EXT. THE CITY - DAY GATORS crawl over A '79

D... AND TAUGHT HIM HOW TO PRAY. AND AS I SEARCHED FOR BETTER WAYS HIS GUIDE AND HELP TO BE... I FOUND, AS WE WALKED HAND IN HAND, THAT HE WAS LEADING ME. "THE DAY THE CLOWN CRIED" COLD OPENING EXT. PARIS CIRCUS - NIGHT The normal activity and excitement of showtime around the circus is in evidence where we see the half dark street and alley directly adjacent to the circus tent which (in Paris is an enclosure)... the animals, the midgets, the people and

ebruary 21, 1951 EXT. BEACH - PACIFIC ISLAND - MED. SHOT - DAY Backgrounded by palm trees and rolling surf, an American army radar operator sits at his huge instrument, intently tracking a target. Without interrupting this, he speaks with tense excitement into a telephone transmitter strapped to his chest. (It is 8:00 a.m.) (In this and the subsequent scen

The owner of a vast wheat ranch ("bonanza") in the Texas Panhandle. URSULA: Abby's younger sister, a reckless child of14. BENSON: The bonanza foreman, an enemy of the newcomers. MISS CARTER: Chief domestic at the Belvedere, Chuck's home. McLEAN: Chuck's accountant. GEORGE: A young pilot who interests Ursula. A PREACHER, A DOCTOR, AN ORGANIST, VARIOUS HARVEST HANDS, LAWMEN, VAUDEVILLIANS, etc. "Troops of nomads swept over the country at harvest time like a visitation of locusts, re

oy and his brother line up for a photograph PHOTOGRAPHER Okay, put your arm around your brother. That's it. And breathe in. The young boy blinks as the flash goes off. PHOTOGRAPHR Okay, one more. An old man lights a single candle. A teacher goes over the old man's duties. TEACHER Now just to review, you're going to follow along the procession until you get to the headmaster. At that point he will indicate to you to light the candles of the boys

race war" has erupted at one of the nation's oldest and most prestigious institutions. Glued to this are our story's subjects, who we meet in... 2 A SERIES OF SHOTS 2 TROY FAIRBANKS, 21, Black. He drags a brush through his finger waves anxiously. The look of guilt is the only mark of imperfection in his privileged and chiseled demeanor. ANCHOR (O.S.)

to spill on her from the right - revealing her face, lost in thought. This is RACHEL SINGER - pretty, painfully young looking. A surgical dressing covers half her face. As we pull back a little we see that two YOUNG MEN sit either side of her. They are STEPHAN GOLD (thirties) thick- set, capable, and DAVID PERETZ (late twenties), dark-haired and pale-faced. The three faces in the darkness, each looking straight ahead - something from a Caravaggio

resting face up on a black surface. A beat of silence -- is broken by its abrupt RING... RING... RING... Move in tighter on the phone's LCD DISPLAY. A number comes up: 555-3827 RING... RING... RING... A hand enters frame. We follow it to a pad and pen we now discover to the left of the phone. The hand picks up the pen, brings it to the pad, on which we find a list of handwritten numbers. At least f

ce from the tops of guyed metal flues. Steam rises in clouds from vents and chimneys and the sound of it all -- the hissing, the clanging, the rumbling, the shrieking -- comes faintly, muted by the falling snow. In the foreground is a street -- COLUMBINE STREET -- which inhabits the bottom of a narrow ravine and plunges directly down the hillside, straight at the mill. Columbine is a sad looking street, a grim-looking street, a street hanging on by the skin of its teeth. Dilapidated s

MAN waits with his MIDDLE-AGED SON in THE RAIN. MIDDLE-AGED SON (as they climb in) 23rd and Lex. The CABBIE grunts a reply. MIDDLE-AGED SON (CONT'D) How ya doin', Papa, you doin' alright? ELDERLY MAN Fine, fine... MIDDLE-AGED SON This is just a check-up, okay? Doctor Katz says you'll outlive us all. (looks out the window)