aneeshas/imsdb-500tokensci-fi-movie-scripts

Sci-Fi stringlengths 0 500
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
AN DRYLANDS - DROUGHT The remorseless drought had lasted now for ten million years, and would not end for another million. The reign of the ter- rible lizards had long since passed, but here on the continent which would one day be known as Africa, the battle for survival had reached a new climax of ferocity, and the victor was not yet in sight. In this dry and barren land, only the small or the swift or the fierce could flourish, or even hope to exist. a1 A2 INT & EXT
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
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...
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
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
Director's Revision ------------------------------------------------------------------------------ THE ABYSS OMITTED 1 OMITTED 2 TITLE: THE ABYSS -- ON BLACK, DISSOLVING TO COBALT BLUE EXT. OCEAN/UNDERWATER -- DAY 3 Blue, deep and featureless, the twilight of
rowd, but muffled, as if we're inside, and hearing the crowd through a window or door. FADE IN ON: INT. SOME SORT OF LOBBY -- DAY DAVID NORRIS, 33, is having a private moment, looking down, thinking. He wears a suit and tie. He seems relaxed and confident. Content. Completely in his element. In one of his hands he's absentmindedly twirling a couple of individually-wrapped Ricola throat lozenges. We hear the
: Project Sawtooth FADE IN: EXT. SMALL TEXAS TOWN - DAY 1 Beside a 1950 Ford, a quartet of elite intellectuals poses playfully...dressed in the local custom of boots and cowboy hats, the TOW ORIENTAL MEN, A CAUCASIAN MAN, AND A CAUCASIAN WOMAN squint into the hot sun and then down at the jiggling home movie camera, the operator lopsided... NARRATOR The advent of the Soviet nuclear capability ushers in a dangerous phase of the Cold War as the decade of the 1950s looms. S
February 18, 1982 FADE IN: EXT. JUNGLE - DAY A machete slashes INTO FRAME. An American in battered fedora and leather jacket, accompanied by two gunbearers, hacks his way through dense bush. We see him from the back only. He hacks an opening, bats fly out AT CAMERA and the bu
1976 SYNOPSIS En route back to Earth from a far part of the galaxy, the crew of the starship SNARK intercepts a transmission in an alien language, originating from a nearby storm-shrouded planet. Mankind has waited centuries to contact another form of intelligent life in the universe -- they decide to land and investigate. Their search takes them to a wrecked alie
- 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
ne of them picking up acceleration and racing toward us. Our perspective changes, and we catch a quick glimpse as it HURTLES past, and into the gravitational pull of a large brownish planet. Kicking up SPARKS of FRICTION as it hits atmosphere. It seems to be manmade. Or at least artificial. EXT. PLANET SURFACE - DAY The planet is dead, barren. Death Valley on a grand scale. We watch the object plummet through the wispy cloud-cover, emitting a few last burning embers befo
URIGA along the silent, empty corridors, coming at last to a door with two guards standing rigid in front of it. Full armour, powerful shockrifles, expressions empty and cold. INT. MEDLAB Along a row of screens, where we see the first signs of life readouts, lights, data -- all shifting and collating on the blinking screens. As we move ALONG them, a figure-in a labcoat passes through the frame, then another,leading us along the lab to settle on what looks like a Cryogenic
ay 28, 1985 ----------------------------------------------------------------------------- ALIENS FADE IN SOMETIME IN THE FUTURE - SPACE 1 Silent and endless. The stars shine like the love of God...cold and remote. Against them drifts a tiny chip of technology. CLOSER SHOT It is the NARCISSUS, lifeboat of the ill-fated star-freighter Nostromo. Without interio
cing by. So quick we barely perceive them. Like the sparks you imagine when your eyes are closed. BREATHING, slow and hollow, filling up the entire world. It's eerie as hell. A feeling of utter loneliness. And now the breathing recedes, fading into the darkness. Whatever it was...it's gone now. MAIN CREDITS ROLL. We hear CELLOS. Four of them. Weaving an intricate melody. And now the visuals. BRIGHTLY COLORED SHAPES spinning in. Equally intricate, matching the music
to ten thousand nuclear weapons detonating simultaneously. A HUGE DINOSAUR FOOT steps down hard and is VAPORIZED with a deafening ROAR. Voice One hundred trillion tons of dirt and rock hurled into the atmosphere. EARTH, seen from space, is rocked with an IMMENSE SHOCKWAVE. A SHEET OF DEBRIS washes across the North and South Hemispheres. Voice A blanket of dust the sun is powerless to penetrate. For five thousand years our world is robbed of light as a nuclear winter
FADE IN: WE ARE FLYING through mist, a dimly glimpsed forest below. VOICE (V.O.) When I was lying there in the VA hospital, with a big hole blown through the middle of my life, I started having these dreams of flying. We are very low over the forest now, gliding fast, the drums BUILDING to
's mightiest heroes and heroines found themselves united against a common threat. On that day, the Avengers were born--to fight the foes no single superhero could withstand! Through the years, their roster has prospered, changing many times, but their glory has never been denied! Heed the call, then--for now, the Avengers Assemble!" BURNING BLUE FLAMES. A smoky cube shape emerges - THE TESSERACT. Filling th


FROM SPACE, a view of the EARTH. The vibrant BLUE of its OCEANS is striking against the vast BLACK VOID of space. MOVE CLOSER TO THE EARTH, where the shimmering PACIFIC OCEAN meets the CALIFORNIA COASTLINE... A bird's-eye view of LOS ANGELES comes into relief-- a criss- cross of streets, freeways. The buildings not more than dots. Keep MOVING CLOSER as SOUND FADES IN. We notice MOVEMENT through the sprawl of city now
Baba? FATHER Yes, my son? SON Tell me a story . FATHER Which one? SON The story of home . A meteorite drifts into frame , heading towards tiny Earth off in the distance. FATHER Millions of years ago , a meteorite made of vibranium, the strongest
its roll as we FADE UP ON: INT. HOSPITAL, INNER-CITY TRAUMA WARD - NIGHT It's 1967, the Summer of Love and -- BOOM! Entry doors swing open as PARAMEDICS wheel in a FEMALE BLEEDER, VANESSA (20s, black, nine months pregnant). She's deathly pale, spewing founts of blood from a savagely slashed throat -- A SHOCK-TRAUMA TEAM swarms over her, inserting a vacutainer into an artery to draw blood, wrapping a blood pressure cuff around her arm -- NURSE #1 (with stetho
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.
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
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
e neon sign rises into shot. It rests on top of a skyscraper and fills the frame. The building is neither past nor future in design but a bit of both. Slowly we pan downwards revealing the city that spreads below ... A glittering conglomeration of elevated transport tubes, smaller square buildings which are merely huge, with, here and there, the comparatively minuscule relics of previous ages of architecture, pavement level awnings suggesting re
her exquisite face and she drinks it in, as if the wind itself were telling something to her... Catherine sees a FLICKERING LIGHT in the sand. She pulls the reins and the horse stops moments before the dune drops into nothingness. She dismounts, affectionately scratches the horse's neck, and follows the LIGHT. When she looks over her shoulder, the Arabian is now a child's WOODEN HOBBY HORSE. Not surprised, Catherine smiles and walks down a dune, sand sliding beneath her fe
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



ke a cube. There is a kind of door on each side. Each door has a handle. On the walls are weird-looking pictures. They doesn't seem to look like anything seen before. The man stands up in the middle of the room. The camera pans around him. Then he makes some sounds and opens a door in one of the walls. As he looks in to the open door, he sees a new room like the one he is located in, but the light in the new room is blue. He turns around and the door closes by itself. Then he opens the d
DARKNESS A LOW RUMBLE increases in volume. FADE UP: A BLACK-GLOVED HAND wraps around a bulky electrical lever, thrusts FORWARD. SNAP! - Electricity arcs through darkness. O.S. sound of MACHINERY turning ON. TITLES OVER MONTAGE OF CLOCKS starting - various. Second hands turn - TICKING gets louder. INT. BATHROOM - NIGHT SHADOWS DANCE. A bare bulb swings from the ceiling revealing: clo
ises, hollow, metallic. FADE IN on a long TRACKING SHOT through the universe. As the NARRATOR speaks we move through galaxies, nebulae, solar systems, moving from the infinite slowly down to a particular planetary system deep within a maze of suns. NARRATOR (over) It is the mid 22nd Century. Mankind has explored the boundaries of his own
BANG!! A shock chord as we cut from black to a harshly toplit CLOSE SHOT: A man is talking into a cellular phone. He is a paunchy but powerful looking black man, bald with a gray fringe. His baldness makes his head look muscular; he is a tough man whose life has been shaped by the violence of the docks. His name is EDDIE BLACK. In the distance a foghorn moans. We are pulling back.
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
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
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
. INT. ROCK LEDGE - SIETCH TABR - NIGHT BLACK FADE IN to the dark eyes of the mysterious face of the REVEREND MOTHER RAMALLO, who sits against smooth black rock. Her eyes are deep blue-within-blue and her skin is a haunting translucent white. Her voice ECHOES as if in a great cavern. REVEREND MOTHER RAMALLO We are the secret of the Universe. RESPONSE OF TWENTY THOUSAND VOICES Bi-la kaifa.
wers to show a forest against the night sky. EXT: LANDING SITE: NIGHT In an opening in the forest stands a spacecraft. The view of the craft is obscured by tree branches. The atmosphere is misty, with blue lights coming from the spacecraft. [The opening scene is misty and diffused. This forces the audience to pay close attention to the images on the screen. The characters are not clearly seen. This engages the audience, as they attempt to see what the aliens really look like.]
HIGHWAY (DESERT) - NIGHT Three trucks from Chemical Technologies carry barrels of toxic waste. They pass a sign: PROSPERITY, NEVADA, POP 454. INT. THIRD TRUCK (HIGHWAY, DESERT) - NIGHT A sleepy trucker called PIG PEN drives the third truck. SELF-HELP TAPE (V.O.) I will be self-assured and confident around women. PIG PEN I will be self-assured and confident around women. EXT.

SUPERIMPOSE: "1998" FEMALE NARRATOR Forces hostile to the United States grow strong in the late 20th Century. A DARK TABLEAU - CITY STREET - LOS ANGELES - NIGHT Graffiti-smeared walls. Fires raging. Automatic weapons fire. Shadowy figures dash through the southern California night. FEMALE NA
VOICE In 1988, the crime rate in the United States rises four hundred percent. GRAPHIC -- Line-graphic of New York, MANHATTAN ISLAND highlighted. VOICE The once-great city of New York becomes the one maximum-security prison for the entire country. GRAPHIC -- MANHATTAN ISLAND lights up. The word "Prison" is added. VOICE A fifty-foot containment wall is erected along the New Jersey shoreline, across the Harlem river, and down along the Brooklyn shoreline. It completely surr
s haunted, hollow-eyed, sickly. The young receptionist, dressed in a shiny, stretchy one-piece pantsuit, looks up. RECEPTIONIST Oh, hi. OLD WOMAN (apologetically) Hi, I was in the neighborhood and thought I'd see -- RECEPTIONIST I think he's in a conference. Unfortunately. I'm really sorry. OLD WOMAN Would you just try him? You never know. As long as I'm here. You never know. RECEPTIONIST Of course. Please have a seat. The old woman smiles and
s. The gas giant Neptune slowly spins into view. Brilliant and blue and cold against the void. EXT. NEPTUNE - MODEL A BLACK SILHOUETTE stands out against the planet, tiny against Neptune's scale. EXT. NEPTUNE - MODEL DRIFT CLOSER to discern the hard angles of a man-made craft. A ship. No longer dwarfed by the planet, the scale of the vessel emerges: a vast labyrinth of steel
y are typed. main( ) { extrn a, b, c; putchar(a); putchar (b);putchar (c); putchar('!'*n'); } a `hell'; b `o, w'; c `or CUT TO - - a view above an ultra-cool, ultra-designed open-plan office. In a kitchen area, young men and women mill and chat. Casually dressed. Feels like an intelligent, relaxed environment. Behind them, more young men and women sit at desks, in front of

Shooting Script FADE IN: CLOSE ON A MASSIVE STEEL HEAD Our first thought: DR. DOOM? But it's not moving. A welder's torch sparks into frame in the hands of a sculptor on scaffolding. This is art, an epic 20 foot statue going up of a business mogul (VICTOR VON DOOM) in whose generously extended hands sit two intertwined columns of DNA. His
e desert. CREDITS ROLL WRITTEN: EGYPT 1913 OMAR and his mule zigzag along the bottom of sun scorched dunes. 2 EXT. TEMPLE EXCAVATION - DAY The mule and the boy finally reach a camp. A few tents dwarfed by a huge temple door jutting out of the sand. The camp is deserted except for some kids by the temple entrance holding large mirrors, reflecting light into the temple. Omar leaves his mule in the shade, seizes two goatskins and slips inside the temple. 3 INT. TEM

SEVENTH DRAFT January 12, 1992 INT. REGIS & KATHIE LEE SHOW SET A horribly deformed figure--hunchback, misshapen head--sits on a stool in complete silhouette. This is RICK COOGAN. RICK Can you imagine it, Regis, Kathie Lee? One day I'm a hot young movie star, and the next day I'm a
following words sear onto screen: Whenever a new breed of evil emerges, a new breed of solider must fight it. -- GENERAL CLAYTON "HAWK" ABERNATHY EXT. THE BASTILLE - PARIS - NIGHT A HEAVY NIGHT MIST swirls around the imposing stone walls of the Bastille. PRISON GUARDS patrol outside with their pikes as the SCREAMS OF PRISONERS echo out the barred windows. SUPER: PARIS, 1641 IN
want to abuse you Some of them want to be abused - Eurythmics Some years from this exact moment... 1 INT. TRAIN - DAY 1 DARKNESS - NOW The beautiful CHIMING SOUNDS OF SPACE TRAVEL through the COSMOS... DOTS OF LIGHT whiz past our face. They could be stars at lightspeed, or... SUBWAY LIGHTS FLICKER ON - in a flash we see PALE, SULLEN FACES
ADE IN A white title appears on a black screen. "As night-fall does not come at once, neither does oppression...It is in such twilight that we all must be aware of change in the air - however slight - lest we become victims of the darkness." Justice William O. Douglas The title fades off, replaced by a second title. "I not only think that we will tamper wit
FADE IN INT. BARGE - DAY Crewman EPPS (29), wearing a life vest and tool belt, jumps down into the darkness. She stands in a great hollow cavern, oily, wet, resonant with the sound of creaking, rusty steel and WATER MOVING OVER ITS HULL on the other side. INT. BARGE - LATER - DAY Epps comes to a low point in the darkness, shining her light on a lake of salt water sloshing against the bulkhead. She kneels. As the water sloshes back she sees tha
ACT ONE ------- FADE IN: EXT. -- A FARMHOUSE OUTSIDE NEW YORK CITY -- NIGHT On the farmhouse roof a CHICKEN-SHAPED WEATHERVANE stands silhouetted against a FULL, BLOOD-RED MOON. The wind HOWLS and the vane swivels with an EERIE SQUEAK. Then a weird ANIMAL CRY is heard--a cross between a chicken CROWING and a wolf HOWLING. WERECHICKEN (VO) (A CROWING HOWL) CAMERA PANS DOWN TO: CHICKEN PEN A fenced-in dirt area with numerous CHICKENS milling arou
harbor, OVER the Battery and Lower Manhattan to Greenwich Village. EXT. EAST 77TH STREET - DAY A car is being hoisted up by a municipal tow truck while its owner is having a terrible screaming arguement with a parking enforcement officer. DANA BARRETT comes home pushing a baby buggy, struggling with two full bags of groceries, and trying to dig her keys out of her purse. The building superintendent FRANK, sees her struggling but pretends not to notice. DANA (exasper
FADE IN: An iguana... Crawling off its nest, leaving its eggs exposed. 1 EXT. MORUROA ATOLL ISLANDS, FRENCH POLYNESIA - PACIFIC 1 Grainy, Kodak color, nineteen sixties documentary footage of a beautiful Polynesian island. We SEE quick shots of Kimono Dragons, Gila Monsters and Chameleons all in their natural tropical environment. Super: Moruro Atoll Islands, French Polynesia - June 1968 Incongruously o
PRODUCTION DRAFT November 10, 2010 Production Draft - PINK Revised, November 16, 2010 Production Draft - BLUE Revised, November 19, 2010 Production Draft - YELLOW
CARD 1 AT 600 KM ABOVE PLANET EARTH THE TEMPERATURE FLUCTUATES BETWEEN 120 AND -100 DEGREES CELSIUS. SILENCE. CARD 2 THERE IS NOTHING TO CARRY SOUND, NO OXYGEN, AND NO AIR PRESSURE. SILENCE. CARD 3 LIFE HERE IS IMPOSSIBLE.
ltzer first found Gizmo the Mogwai. As LOCALS bustle past, ANGLE FAVORS the stairs to the basement curiosity shop. 2 INT. MR. WING'S STORE MR. WING, the storekeeper who took Gizmo home after the Gremlins' night of carnage, opens the door, beginning his day. As he lights his pipe, he HEARS a commotion upstairs. 3 EXT. STREET 3 PEDESTRIANS dodge a long black LIMOUSINE as it pulls up short.
at glistens in the morning sun. As the camera skims overtop, titles start to roll. Ahead of us an odd-looking service van comes into view, sputtering along a dirt road. Getting closer, we can see the driver, a thin, bookish man with a neat mustache. This is AUSTIN GRIMALDI. The truck pulls up to a strange Victorian house in the middle of the wheatfield. The house has several futuristic radar devices on the roof that rotate constantly. AUSTIN gets out, opens the van's rear doors,
M - INTERVIEW 1 In a photographic DARKROOM: old optical enlargers, porcelain trays, timers, and stills hanging out to dry. GEORGE MATLIN, a slightly obese, nearsighted man in his seventies. OLD MATLIN Is he real? Oh yeah -- Absolutely. Super: CPL. GEORGE MATLIN, combat photographer. OLD MATLIN
nto a small microphone. THEODORE To my Chris, I have been thinking about how I could possibly tell you how much you mean to me. I remember when I first started to fall in love with you like it was last night. Lying naked beside you in that tiny apartment, it suddenly hit me that I was part of this whole larger thing, just like our parents, and our parents' parents
hat shroud a land still in its infancy. Cathedral spires of granite. Cradled lakes. A solitary vastness. VOICE (cont'd) WE HAVE BEEN WORSHIPPED AS GODS MISTAKEN FOR DEMONS AND REVILED'AS WITCHES. WE ARE THE SEEDS OF A MILLION LEGENDS BUT OUR TRUE ORIGINS ARE UNKNOWN. WE SIMPLY ARE. ANCIENT CASTLES dot the landscape, whisper of battles long forgotton. VOICE (cont'd) WE ARE DRIVEN BY THE CEASELESS FIGHT TO ENDURE. NO LIMIT, IT IS A BATTLE THAT KNOWS NO BOUNDRY OF TIME OR PLACE. TWO FIGURE
Douglas Adams Revisions by Karey Kirkpatrick 8/8/03 3rd Revised Draft 1 2. HHGG 3rd Revised Draft 8/8/03 OVER DARKNESS... 1 ...we hear what we will come to know as the VOICE OF THE GUIDE.
gloved hand dangling a rat. The hand shoves the frightened rat into the tube and closes the door behind it. The rat s stark white fur bristles and it begins to pad down the tube s length. After several feet, the tube opens up into a dimly lit cubicle. The rat hesitates and stops. The SOUNDS of gentle BREATHING whispers in the rat s ears. The rat turns round to head back down the tube, but a door swings shut, trapping it in the cubicle. The rat cowers as the BREATHING t
Leppard, Styx, Journey, Poison, or Whitesnake Water cranked to a hundred and three Got my tunes, my snacks, my booze, my skis (Got the) freshest moves you ever seen When I'm soakin in my Hot Tub Time Machine When you're going back to the 80s... And you might be fuckin some ladies... You bring your button fly jeans and some sweet hair gel Want blow? All you gotta do is yell (Yeah you're) lookin re
ts in this film are real. Names and places have been changed to protect the Lorien Six, who remain in hiding. Take this as your first warning. Other civilizations do exist. Some of them seek to destroy you. FADE IN: A BILLION STARS pinprick the velvet-black sky that stretches over a va
..YELLOW...as we realise...It's FIRE... A SOUND. Something SHATTERING... Then. A DISEMBODIED VOICE. Muted. We can't quite make out What it's saying. As it gets LOUDER. And LOUDER. When we finally. Understand... DISEMBODIED VOICE You are in danger... CUT TO: 2 INT. SPOONER'S APARTMENT - CLOSE ON 2 DEL SPOONER'S FACE. His eyes, snappi

he castoff remains of the Apollo mission. Slowly the discarded equipment begins to RATTLE and SHAKE. AN ENORMOUS SHADOW creeps towards us blotting out the horizon, a loud RUMBLE is heard. Suddenly we are covered in DARKNESS as the SHADOW engulfs us. Only the lonely image of our EARTH hangs in the air, until a huge silhouetted OBJECT suddenly blocks our view. CUT TO: EXT. NEW MEXICO - RADIO TELESCOPE VALLEY - NIGHT A field of large satellite dishes scan the sk
he castoff remains of the Apollo mission. Slowly the discarded equipment begins to RATTLE and SHAKE. AN ENORMOUS SHADOW creeps towards us blotting out the horizon, a loud RUMBLE is heard. Suddenly we are covered in DARKNESS as the SHADOW engulfs us. Only the lonely image of our EARTH hangs in the air, until a huge silhouetted OBJECT suddenly blocks our view. CUT TO: EXT. NEW MEXICO - RADIO TELESCOPE VALLEY - NIGHT A field of large satellite dishes scan the sk
STORY BY Jonathan Nolan, Kip Thorne & Lynda Obst MARCH 12 2008 SPACE. But not the dark lonely corner of it we're used to. This is
more apartments, above and below, the tiers linked by ramps and crosswalks. It might be a prison cellblock but there are no guards apparent. Indeed, the residents move freely, all notably male, all clad in shearlings, polo shirts and slacks. It is just another day in Sector Four. 3 INT. NUTRITION PLAZA - SECTOR FOUR - DAY Satie's Gymnopedie plays from overhead speakers. A glass wall looks out across a green mountain valley. The plaza, formed in curv
The 13ths. AGAIN, DARKNESS. OPEN ON: The year is 2455. The place is Old Earth. Barren, void of life, a hazardous and violent planet. The sky is blood red with spiked clouds of dark gray. It is beautiful, but frighteningly foreign. BLUE LIGHTNING CRACKLES as several figures rush through a DUST STORM below. Small groups of people, wearing thick dusters, goggles and masks, work nearby. Some dig in the cracked earth, others take assorted readings with s
March 17, 1994 JUDGE DREDD FADE IN: BLACK SCREEN. NARRATOR In the third millennium, the world... changed. 1 MONTAGE (STOCK - IF DESIRED) 1 Vicious events, both natural and man-made. Earthquakes. Floods. Ice storms. War. Riots. Chaos and injustice.
SCOTCH MARMO 3/14/92 ------------------------------------------------------------------------------ EXTREME CLOSEUP of glowing honey-colored stones. Their shapes ABSTRACT as THE CAMERA EXAMINES air bubbles and crystalline patterns. MOVING UP AND OVER this amber abstraction, the CAMERA FINDS unusual shapes and imperfections caught in the glassy stone: flecks of dirt, hairs, cracks. STILL MOVING. STARBURSTS OF LIGHT ricochet off the different s
EXT. BOAT - DAY 2 Illegal Costa Rican parasail operator ENRIQUE CARDOSO helps Americans BEN HILDEBRAND and twelve-year-old ERIC KIRVY -- already wearing life-vests -- strap themselves into a two- person PARASAIL HARNESS. 3 EXT. BOAT - DAY 3 Ben and Eric clamber onto a makeshift PLATFORM that hangs over the back of the board. Dangling from Ben's neck is a CAMCORDER. BEN You make sure to get us as close as you can, okay? If it's a good trip, I'll
escent of white sand at the jungle fringe, utterly deserted. ISLA SORNA 87 miles southeast of Nublar Two SHIP HANDS, dressed in white uniforms, have set up a picnic table with three chairs on the sand and are carefully laying out luncheon service -- fine china, silver, crystal decanters with red and white wine. PAUL BOWMAN, fortyish, sits in a chair off to the side, reading. MRS. BOWMAN, painfully thin, with the perpetually surprised look of a woman who's had her e
tuart Revised Draft September 8, 1987 FACE IN ON THE SURFACE OF THE OCEAN sunny and placid then slowly WE BEGIN DESCENDING UNDERWATER Moving down from the bright surface waters, through layers of fish and marine life... A school of vibrantly colored fish move with the current, their numbers are enormous, their movement
Alan Glynn December 21, 2009 INT. A BLACK SCREEN EDDIE (V.0.) They found me. INT. CLOSE 0N - A HIGH-TECH RESIDENTIAL STEEL DOOR being POUNDED in. WHAM! WHAM! Whoever's trying to get in is
FINAL SHOOTING DRAFT - August 23, 2016 AN LCD BILLBOARD WITH DEFECTIVE PIXELS A BEAUTIFUL COUPLE dance on a giant can of a Red-Bull-like drink-- HYPNO! The label morphs to different flavors. EXT. A VACANT LOT -- NIGHT
OTE THE CRYSTAL WILL BE USED IN THE LEFT HAND OF ALL CHARACTERS. FADE IN: BEFORE AND DURING TITLES 1 EXT. - SKY NIGHT The moon and stars are visible, but as CAMERA looks down, the SCREEN fills with dark, billowing clouds. CAMERA moves into the clouds and just as they blank out the SCREEN, a distant shimmer of light becomes visible. Moving toward it, the shimmer becomes 2 EXT. - DOME OF GLASS - NIGHT A glowing but not transparent structure stretc
pocket watch. Open. Ticking. Swinging from a chain. Held by a young man named JOE in a clearing beside a Kansas corn field. Sky pregnant with rain. Waiting. He checks the watch, removes his earbud headphones, stands. Without much ceremony a BLOODIED MAN in a suit appears from thin air, kneeling before the young man. Hands and feet tied. Burlap sack over his head. Muffled screams, gagged. With no hesitation Jo
FADE IN[1] Over the titles we see SUPERIMPOSED the snow-capped mountains leading to Shangri-La. CLOSE-UP of an impressive-looking book. The covers open and the pages turn. The first page reads:
iangular CARGO SHIP descends from the dark of space. PILOT (OVER) Mars mining base, this is Grissom One, Request final descent vector. REVERSE ANGLE EXT.-MARS A row of giant red mountains and beneath, on the planet's surface, the spires of A MINING BASE. Illuminated landing crosshairs alight a landing pad, beckoning the ship. CONTROLLER (OVER) Roger, Grissom One, this is Mars Mining, You
BLACK AND WHITE ACADEMY FORMAT THE WASTELAND. DAY. Flurries of dust and sand swirl around us as we move through an eerie, barren land. The only sound is the howl of a rising wind. Ahead something looms out of the storm. As we approach we see that it is the rusting remains of a massive oil pump. The wind drops to be replaced by the voice of a very old man. This is the Narrator:
IN BLACK: 1 Restless bodies. Scuffing of feet. Somebody coughs. 1 MARCO'S VOICE Approximately sixty four hundred hours before Desert Storm, we were on a routine recon inside Iraqi-controlled terrain, assessing troop strength for what Saddam Hussein promised to be the mother of all wars ... but turned
EXT. SPACE - MARS - TO ESTABLISH THE RED PLANET momentarily eclipses the Sun. As sunlight breaks across the edge, warming the surface... EXT. MARS - DAY We're MOVING THROUGH the channels of Acidalia Planitia to find the ARES 3 HAB SITE. LEWIS (OVER RADIO)
sail, like a glider, over the black atmosphere. We DIVE DOWN into the murkiness, through the clouds, into the darker world of the dead surface of Earth, the desert of the real. The rotted skeleton of a massive city is sprawled everywhere. We approach a fissure in the Earth's crust, and as we do, we hear the increasing buzz of multiple hovercraft engines. Blue flashes grow in intensity from the fissure. Radio voices, indistinct at first, grow louder as we approach the
sing with phosphorous light, burning beneath the derma of black-neon glass. A PHONE begins to RING, we hear it as though we were making the call. The cursor continues to throb, relentlessly patient, until -- MAN (V.O.) Hello? Data now slashes across the screen, information flashing faster than we read. SCREEN Call trans opt: received. 2-19-96 13:24:18 REC:Log> WOMAN (V.O.) I'm inside. Anything to report? We listen to the phone con
"UBERMAN - METRO CITY'S HERO AFTER DEFEATING MASTER MIND! PHOTO: A chiseled, statuesque man wearing the COOLEST SUPER HERO SUIT IMAGINABLE, COMPLETE WITH FLOWING CAPE, shines a confident smile at the lens. This is UBERMAN, champion of METRO CITY. "UBERMAN DEFEATS MASTER MIND'S GIANT ROBOT!" PHOTO: Wide-shot of Uberman in mid-flight lifting the GIANT ROBOT in the sky above the city buildings. "MASTER MIND ALL
tlessly on the breeze, wafting along through the crisp Texas air. The insect dips, it banks, it does loop-the-loops -- and then SPLATS unceremoniously against the windshield of a white van that's tearing down the road. INT. VAN -- TEXAS/MEXICO BORDER -- NIGHT The DRIVER of the van, a fifty-year-old American, turns on the wipers, smearing the remains all over. DRIVER Goddamn bugs. He squirts some wiper fluid onto the glass, which clears it up a bit, but now he sees somet
Widen to reveal that, indeed, these glasses are on the sneering face of just such a man. We follow the guard DOWN A DINGY PRISON HALLWAY Paint peeling off the rusty bars. Somewhere, someone is playing harmonica. Prisoners yell complaints as he passes. He meets them all with-- GUARD Shut up, convict! Get yer hands off the bars! The guard passes through several le

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

AN DRYLANDS - DROUGHT The remorseless drought had lasted now for ten million years, and would not end for another million. The reign of the ter- rible lizards had long since passed, but here on the continent which would one day be known as Africa, the battle for survival had reached a new climax of ferocity, and the victor was not yet in sight. In this dry and barren land, only the small or the swift or the fierce could flourish, or even hope to exist. a1 A2 INT & EXT

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

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...

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

Director's Revision ------------------------------------------------------------------------------ THE ABYSS OMITTED 1 OMITTED 2 TITLE: THE ABYSS -- ON BLACK, DISSOLVING TO COBALT BLUE EXT. OCEAN/UNDERWATER -- DAY 3 Blue, deep and featureless, the twilight of

rowd, but muffled, as if we're inside, and hearing the crowd through a window or door. FADE IN ON: INT. SOME SORT OF LOBBY -- DAY DAVID NORRIS, 33, is having a private moment, looking down, thinking. He wears a suit and tie. He seems relaxed and confident. Content. Completely in his element. In one of his hands he's absentmindedly twirling a couple of individually-wrapped Ricola throat lozenges. We hear the

: Project Sawtooth FADE IN: EXT. SMALL TEXAS TOWN - DAY 1 Beside a 1950 Ford, a quartet of elite intellectuals poses playfully...dressed in the local custom of boots and cowboy hats, the TOW ORIENTAL MEN, A CAUCASIAN MAN, AND A CAUCASIAN WOMAN squint into the hot sun and then down at the jiggling home movie camera, the operator lopsided... NARRATOR The advent of the Soviet nuclear capability ushers in a dangerous phase of the Cold War as the decade of the 1950s looms. S

February 18, 1982 FADE IN: EXT. JUNGLE - DAY A machete slashes INTO FRAME. An American in battered fedora and leather jacket, accompanied by two gunbearers, hacks his way through dense bush. We see him from the back only. He hacks an opening, bats fly out AT CAMERA and the bu

1976 SYNOPSIS En route back to Earth from a far part of the galaxy, the crew of the starship SNARK intercepts a transmission in an alien language, originating from a nearby storm-shrouded planet. Mankind has waited centuries to contact another form of intelligent life in the universe -- they decide to land and investigate. Their search takes them to a wrecked alie

- 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

ne of them picking up acceleration and racing toward us. Our perspective changes, and we catch a quick glimpse as it HURTLES past, and into the gravitational pull of a large brownish planet. Kicking up SPARKS of FRICTION as it hits atmosphere. It seems to be manmade. Or at least artificial. EXT. PLANET SURFACE - DAY The planet is dead, barren. Death Valley on a grand scale. We watch the object plummet through the wispy cloud-cover, emitting a few last burning embers befo

URIGA along the silent, empty corridors, coming at last to a door with two guards standing rigid in front of it. Full armour, powerful shockrifles, expressions empty and cold. INT. MEDLAB Along a row of screens, where we see the first signs of life readouts, lights, data -- all shifting and collating on the blinking screens. As we move ALONG them, a figure-in a labcoat passes through the frame, then another,leading us along the lab to settle on what looks like a Cryogenic

ay 28, 1985 ----------------------------------------------------------------------------- ALIENS FADE IN SOMETIME IN THE FUTURE - SPACE 1 Silent and endless. The stars shine like the love of God...cold and remote. Against them drifts a tiny chip of technology. CLOSER SHOT It is the NARCISSUS, lifeboat of the ill-fated star-freighter Nostromo. Without interio

cing by. So quick we barely perceive them. Like the sparks you imagine when your eyes are closed. BREATHING, slow and hollow, filling up the entire world. It's eerie as hell. A feeling of utter loneliness. And now the breathing recedes, fading into the darkness. Whatever it was...it's gone now. MAIN CREDITS ROLL. We hear CELLOS. Four of them. Weaving an intricate melody. And now the visuals. BRIGHTLY COLORED SHAPES spinning in. Equally intricate, matching the music

to ten thousand nuclear weapons detonating simultaneously. A HUGE DINOSAUR FOOT steps down hard and is VAPORIZED with a deafening ROAR. Voice One hundred trillion tons of dirt and rock hurled into the atmosphere. EARTH, seen from space, is rocked with an IMMENSE SHOCKWAVE. A SHEET OF DEBRIS washes across the North and South Hemispheres. Voice A blanket of dust the sun is powerless to penetrate. For five thousand years our world is robbed of light as a nuclear winter

FADE IN: WE ARE FLYING through mist, a dimly glimpsed forest below. VOICE (V.O.) When I was lying there in the VA hospital, with a big hole blown through the middle of my life, I started having these dreams of flying. We are very low over the forest now, gliding fast, the drums BUILDING to

's mightiest heroes and heroines found themselves united against a common threat. On that day, the Avengers were born--to fight the foes no single superhero could withstand! Through the years, their roster has prospered, changing many times, but their glory has never been denied! Heed the call, then--for now, the Avengers Assemble!" BURNING BLUE FLAMES. A smoky cube shape emerges - THE TESSERACT. Filling th

FROM SPACE, a view of the EARTH. The vibrant BLUE of its OCEANS is striking against the vast BLACK VOID of space. MOVE CLOSER TO THE EARTH, where the shimmering PACIFIC OCEAN meets the CALIFORNIA COASTLINE... A bird's-eye view of LOS ANGELES comes into relief-- a criss- cross of streets, freeways. The buildings not more than dots. Keep MOVING CLOSER as SOUND FADES IN. We notice MOVEMENT through the sprawl of city now

Baba? FATHER Yes, my son? SON Tell me a story . FATHER Which one? SON The story of home . A meteorite drifts into frame , heading towards tiny Earth off in the distance. FATHER Millions of years ago , a meteorite made of vibranium, the strongest

its roll as we FADE UP ON: INT. HOSPITAL, INNER-CITY TRAUMA WARD - NIGHT It's 1967, the Summer of Love and -- BOOM! Entry doors swing open as PARAMEDICS wheel in a FEMALE BLEEDER, VANESSA (20s, black, nine months pregnant). She's deathly pale, spewing founts of blood from a savagely slashed throat -- A SHOCK-TRAUMA TEAM swarms over her, inserting a vacutainer into an artery to draw blood, wrapping a blood pressure cuff around her arm -- NURSE #1 (with stetho

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.

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

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

e neon sign rises into shot. It rests on top of a skyscraper and fills the frame. The building is neither past nor future in design but a bit of both. Slowly we pan downwards revealing the city that spreads below ... A glittering conglomeration of elevated transport tubes, smaller square buildings which are merely huge, with, here and there, the comparatively minuscule relics of previous ages of architecture, pavement level awnings suggesting re

her exquisite face and she drinks it in, as if the wind itself were telling something to her... Catherine sees a FLICKERING LIGHT in the sand. She pulls the reins and the horse stops moments before the dune drops into nothingness. She dismounts, affectionately scratches the horse's neck, and follows the LIGHT. When she looks over her shoulder, the Arabian is now a child's WOODEN HOBBY HORSE. Not surprised, Catherine smiles and walks down a dune, sand sliding beneath her fe

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

ke a cube. There is a kind of door on each side. Each door has a handle. On the walls are weird-looking pictures. They doesn't seem to look like anything seen before. The man stands up in the middle of the room. The camera pans around him. Then he makes some sounds and opens a door in one of the walls. As he looks in to the open door, he sees a new room like the one he is located in, but the light in the new room is blue. He turns around and the door closes by itself. Then he opens the d

DARKNESS A LOW RUMBLE increases in volume. FADE UP: A BLACK-GLOVED HAND wraps around a bulky electrical lever, thrusts FORWARD. SNAP! - Electricity arcs through darkness. O.S. sound of MACHINERY turning ON. TITLES OVER MONTAGE OF CLOCKS starting - various. Second hands turn - TICKING gets louder. INT. BATHROOM - NIGHT SHADOWS DANCE. A bare bulb swings from the ceiling revealing: clo

ises, hollow, metallic. FADE IN on a long TRACKING SHOT through the universe. As the NARRATOR speaks we move through galaxies, nebulae, solar systems, moving from the infinite slowly down to a particular planetary system deep within a maze of suns. NARRATOR (over) It is the mid 22nd Century. Mankind has explored the boundaries of his own

BANG!! A shock chord as we cut from black to a harshly toplit CLOSE SHOT: A man is talking into a cellular phone. He is a paunchy but powerful looking black man, bald with a gray fringe. His baldness makes his head look muscular; he is a tough man whose life has been shaped by the violence of the docks. His name is EDDIE BLACK. In the distance a foghorn moans. We are pulling back.

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

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

. INT. ROCK LEDGE - SIETCH TABR - NIGHT BLACK FADE IN to the dark eyes of the mysterious face of the REVEREND MOTHER RAMALLO, who sits against smooth black rock. Her eyes are deep blue-within-blue and her skin is a haunting translucent white. Her voice ECHOES as if in a great cavern. REVEREND MOTHER RAMALLO We are the secret of the Universe. RESPONSE OF TWENTY THOUSAND VOICES Bi-la kaifa.

wers to show a forest against the night sky. EXT: LANDING SITE: NIGHT In an opening in the forest stands a spacecraft. The view of the craft is obscured by tree branches. The atmosphere is misty, with blue lights coming from the spacecraft. [The opening scene is misty and diffused. This forces the audience to pay close attention to the images on the screen. The characters are not clearly seen. This engages the audience, as they attempt to see what the aliens really look like.]

HIGHWAY (DESERT) - NIGHT Three trucks from Chemical Technologies carry barrels of toxic waste. They pass a sign: PROSPERITY, NEVADA, POP 454. INT. THIRD TRUCK (HIGHWAY, DESERT) - NIGHT A sleepy trucker called PIG PEN drives the third truck. SELF-HELP TAPE (V.O.) I will be self-assured and confident around women. PIG PEN I will be self-assured and confident around women. EXT.

SUPERIMPOSE: "1998" FEMALE NARRATOR Forces hostile to the United States grow strong in the late 20th Century. A DARK TABLEAU - CITY STREET - LOS ANGELES - NIGHT Graffiti-smeared walls. Fires raging. Automatic weapons fire. Shadowy figures dash through the southern California night. FEMALE NA

VOICE In 1988, the crime rate in the United States rises four hundred percent. GRAPHIC -- Line-graphic of New York, MANHATTAN ISLAND highlighted. VOICE The once-great city of New York becomes the one maximum-security prison for the entire country. GRAPHIC -- MANHATTAN ISLAND lights up. The word "Prison" is added. VOICE A fifty-foot containment wall is erected along the New Jersey shoreline, across the Harlem river, and down along the Brooklyn shoreline. It completely surr

s haunted, hollow-eyed, sickly. The young receptionist, dressed in a shiny, stretchy one-piece pantsuit, looks up. RECEPTIONIST Oh, hi. OLD WOMAN (apologetically) Hi, I was in the neighborhood and thought I'd see -- RECEPTIONIST I think he's in a conference. Unfortunately. I'm really sorry. OLD WOMAN Would you just try him? You never know. As long as I'm here. You never know. RECEPTIONIST Of course. Please have a seat. The old woman smiles and

s. The gas giant Neptune slowly spins into view. Brilliant and blue and cold against the void. EXT. NEPTUNE - MODEL A BLACK SILHOUETTE stands out against the planet, tiny against Neptune's scale. EXT. NEPTUNE - MODEL DRIFT CLOSER to discern the hard angles of a man-made craft. A ship. No longer dwarfed by the planet, the scale of the vessel emerges: a vast labyrinth of steel

y are typed. main( ) { extrn a, b, c; putchar(a); putchar (b);putchar (c); putchar('!'*n'); } a `hell'; b `o, w'; c `or CUT TO - - a view above an ultra-cool, ultra-designed open-plan office. In a kitchen area, young men and women mill and chat. Casually dressed. Feels like an intelligent, relaxed environment. Behind them, more young men and women sit at desks, in front of

Shooting Script FADE IN: CLOSE ON A MASSIVE STEEL HEAD Our first thought: DR. DOOM? But it's not moving. A welder's torch sparks into frame in the hands of a sculptor on scaffolding. This is art, an epic 20 foot statue going up of a business mogul (VICTOR VON DOOM) in whose generously extended hands sit two intertwined columns of DNA. His

e desert. CREDITS ROLL WRITTEN: EGYPT 1913 OMAR and his mule zigzag along the bottom of sun scorched dunes. 2 EXT. TEMPLE EXCAVATION - DAY The mule and the boy finally reach a camp. A few tents dwarfed by a huge temple door jutting out of the sand. The camp is deserted except for some kids by the temple entrance holding large mirrors, reflecting light into the temple. Omar leaves his mule in the shade, seizes two goatskins and slips inside the temple. 3 INT. TEM

SEVENTH DRAFT January 12, 1992 INT. REGIS & KATHIE LEE SHOW SET A horribly deformed figure--hunchback, misshapen head--sits on a stool in complete silhouette. This is RICK COOGAN. RICK Can you imagine it, Regis, Kathie Lee? One day I'm a hot young movie star, and the next day I'm a

following words sear onto screen: Whenever a new breed of evil emerges, a new breed of solider must fight it. -- GENERAL CLAYTON "HAWK" ABERNATHY EXT. THE BASTILLE - PARIS - NIGHT A HEAVY NIGHT MIST swirls around the imposing stone walls of the Bastille. PRISON GUARDS patrol outside with their pikes as the SCREAMS OF PRISONERS echo out the barred windows. SUPER: PARIS, 1641 IN

want to abuse you Some of them want to be abused - Eurythmics Some years from this exact moment... 1 INT. TRAIN - DAY 1 DARKNESS - NOW The beautiful CHIMING SOUNDS OF SPACE TRAVEL through the COSMOS... DOTS OF LIGHT whiz past our face. They could be stars at lightspeed, or... SUBWAY LIGHTS FLICKER ON - in a flash we see PALE, SULLEN FACES

ADE IN A white title appears on a black screen. "As night-fall does not come at once, neither does oppression...It is in such twilight that we all must be aware of change in the air - however slight - lest we become victims of the darkness." Justice William O. Douglas The title fades off, replaced by a second title. "I not only think that we will tamper wit

FADE IN INT. BARGE - DAY Crewman EPPS (29), wearing a life vest and tool belt, jumps down into the darkness. She stands in a great hollow cavern, oily, wet, resonant with the sound of creaking, rusty steel and WATER MOVING OVER ITS HULL on the other side. INT. BARGE - LATER - DAY Epps comes to a low point in the darkness, shining her light on a lake of salt water sloshing against the bulkhead. She kneels. As the water sloshes back she sees tha

ACT ONE ------- FADE IN: EXT. -- A FARMHOUSE OUTSIDE NEW YORK CITY -- NIGHT On the farmhouse roof a CHICKEN-SHAPED WEATHERVANE stands silhouetted against a FULL, BLOOD-RED MOON. The wind HOWLS and the vane swivels with an EERIE SQUEAK. Then a weird ANIMAL CRY is heard--a cross between a chicken CROWING and a wolf HOWLING. WERECHICKEN (VO) (A CROWING HOWL) CAMERA PANS DOWN TO: CHICKEN PEN A fenced-in dirt area with numerous CHICKENS milling arou

harbor, OVER the Battery and Lower Manhattan to Greenwich Village. EXT. EAST 77TH STREET - DAY A car is being hoisted up by a municipal tow truck while its owner is having a terrible screaming arguement with a parking enforcement officer. DANA BARRETT comes home pushing a baby buggy, struggling with two full bags of groceries, and trying to dig her keys out of her purse. The building superintendent FRANK, sees her struggling but pretends not to notice. DANA (exasper

FADE IN: An iguana... Crawling off its nest, leaving its eggs exposed. 1 EXT. MORUROA ATOLL ISLANDS, FRENCH POLYNESIA - PACIFIC 1 Grainy, Kodak color, nineteen sixties documentary footage of a beautiful Polynesian island. We SEE quick shots of Kimono Dragons, Gila Monsters and Chameleons all in their natural tropical environment. Super: Moruro Atoll Islands, French Polynesia - June 1968 Incongruously o

PRODUCTION DRAFT November 10, 2010 Production Draft - PINK Revised, November 16, 2010 Production Draft - BLUE Revised, November 19, 2010 Production Draft - YELLOW

CARD 1 AT 600 KM ABOVE PLANET EARTH THE TEMPERATURE FLUCTUATES BETWEEN 120 AND -100 DEGREES CELSIUS. SILENCE. CARD 2 THERE IS NOTHING TO CARRY SOUND, NO OXYGEN, AND NO AIR PRESSURE. SILENCE. CARD 3 LIFE HERE IS IMPOSSIBLE.

ltzer first found Gizmo the Mogwai. As LOCALS bustle past, ANGLE FAVORS the stairs to the basement curiosity shop. 2 INT. MR. WING'S STORE MR. WING, the storekeeper who took Gizmo home after the Gremlins' night of carnage, opens the door, beginning his day. As he lights his pipe, he HEARS a commotion upstairs. 3 EXT. STREET 3 PEDESTRIANS dodge a long black LIMOUSINE as it pulls up short.

at glistens in the morning sun. As the camera skims overtop, titles start to roll. Ahead of us an odd-looking service van comes into view, sputtering along a dirt road. Getting closer, we can see the driver, a thin, bookish man with a neat mustache. This is AUSTIN GRIMALDI. The truck pulls up to a strange Victorian house in the middle of the wheatfield. The house has several futuristic radar devices on the roof that rotate constantly. AUSTIN gets out, opens the van's rear doors,

M - INTERVIEW 1 In a photographic DARKROOM: old optical enlargers, porcelain trays, timers, and stills hanging out to dry. GEORGE MATLIN, a slightly obese, nearsighted man in his seventies. OLD MATLIN Is he real? Oh yeah -- Absolutely. Super: CPL. GEORGE MATLIN, combat photographer. OLD MATLIN

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

hat shroud a land still in its infancy. Cathedral spires of granite. Cradled lakes. A solitary vastness. VOICE (cont'd) WE HAVE BEEN WORSHIPPED AS GODS MISTAKEN FOR DEMONS AND REVILED'AS WITCHES. WE ARE THE SEEDS OF A MILLION LEGENDS BUT OUR TRUE ORIGINS ARE UNKNOWN. WE SIMPLY ARE. ANCIENT CASTLES dot the landscape, whisper of battles long forgotton. VOICE (cont'd) WE ARE DRIVEN BY THE CEASELESS FIGHT TO ENDURE. NO LIMIT, IT IS A BATTLE THAT KNOWS NO BOUNDRY OF TIME OR PLACE. TWO FIGURE

Douglas Adams Revisions by Karey Kirkpatrick 8/8/03 3rd Revised Draft 1 2. HHGG 3rd Revised Draft 8/8/03 OVER DARKNESS... 1 ...we hear what we will come to know as the VOICE OF THE GUIDE.

gloved hand dangling a rat. The hand shoves the frightened rat into the tube and closes the door behind it. The rat s stark white fur bristles and it begins to pad down the tube s length. After several feet, the tube opens up into a dimly lit cubicle. The rat hesitates and stops. The SOUNDS of gentle BREATHING whispers in the rat s ears. The rat turns round to head back down the tube, but a door swings shut, trapping it in the cubicle. The rat cowers as the BREATHING t

Leppard, Styx, Journey, Poison, or Whitesnake Water cranked to a hundred and three Got my tunes, my snacks, my booze, my skis (Got the) freshest moves you ever seen When I'm soakin in my Hot Tub Time Machine When you're going back to the 80s... And you might be fuckin some ladies... You bring your button fly jeans and some sweet hair gel Want blow? All you gotta do is yell (Yeah you're) lookin re

ts in this film are real. Names and places have been changed to protect the Lorien Six, who remain in hiding. Take this as your first warning. Other civilizations do exist. Some of them seek to destroy you. FADE IN: A BILLION STARS pinprick the velvet-black sky that stretches over a va

..YELLOW...as we realise...It's FIRE... A SOUND. Something SHATTERING... Then. A DISEMBODIED VOICE. Muted. We can't quite make out What it's saying. As it gets LOUDER. And LOUDER. When we finally. Understand... DISEMBODIED VOICE You are in danger... CUT TO: 2 INT. SPOONER'S APARTMENT - CLOSE ON 2 DEL SPOONER'S FACE. His eyes, snappi

he castoff remains of the Apollo mission. Slowly the discarded equipment begins to RATTLE and SHAKE. AN ENORMOUS SHADOW creeps towards us blotting out the horizon, a loud RUMBLE is heard. Suddenly we are covered in DARKNESS as the SHADOW engulfs us. Only the lonely image of our EARTH hangs in the air, until a huge silhouetted OBJECT suddenly blocks our view. CUT TO: EXT. NEW MEXICO - RADIO TELESCOPE VALLEY - NIGHT A field of large satellite dishes scan the sk

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

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

The 13ths. AGAIN, DARKNESS. OPEN ON: The year is 2455. The place is Old Earth. Barren, void of life, a hazardous and violent planet. The sky is blood red with spiked clouds of dark gray. It is beautiful, but frighteningly foreign. BLUE LIGHTNING CRACKLES as several figures rush through a DUST STORM below. Small groups of people, wearing thick dusters, goggles and masks, work nearby. Some dig in the cracked earth, others take assorted readings with s

March 17, 1994 JUDGE DREDD FADE IN: BLACK SCREEN. NARRATOR In the third millennium, the world... changed. 1 MONTAGE (STOCK - IF DESIRED) 1 Vicious events, both natural and man-made. Earthquakes. Floods. Ice storms. War. Riots. Chaos and injustice.

SCOTCH MARMO 3/14/92 ------------------------------------------------------------------------------ EXTREME CLOSEUP of glowing honey-colored stones. Their shapes ABSTRACT as THE CAMERA EXAMINES air bubbles and crystalline patterns. MOVING UP AND OVER this amber abstraction, the CAMERA FINDS unusual shapes and imperfections caught in the glassy stone: flecks of dirt, hairs, cracks. STILL MOVING. STARBURSTS OF LIGHT ricochet off the different s

EXT. BOAT - DAY 2 Illegal Costa Rican parasail operator ENRIQUE CARDOSO helps Americans BEN HILDEBRAND and twelve-year-old ERIC KIRVY -- already wearing life-vests -- strap themselves into a two- person PARASAIL HARNESS. 3 EXT. BOAT - DAY 3 Ben and Eric clamber onto a makeshift PLATFORM that hangs over the back of the board. Dangling from Ben's neck is a CAMCORDER. BEN You make sure to get us as close as you can, okay? If it's a good trip, I'll

escent of white sand at the jungle fringe, utterly deserted. ISLA SORNA 87 miles southeast of Nublar Two SHIP HANDS, dressed in white uniforms, have set up a picnic table with three chairs on the sand and are carefully laying out luncheon service -- fine china, silver, crystal decanters with red and white wine. PAUL BOWMAN, fortyish, sits in a chair off to the side, reading. MRS. BOWMAN, painfully thin, with the perpetually surprised look of a woman who's had her e

tuart Revised Draft September 8, 1987 FACE IN ON THE SURFACE OF THE OCEAN sunny and placid then slowly WE BEGIN DESCENDING UNDERWATER Moving down from the bright surface waters, through layers of fish and marine life... A school of vibrantly colored fish move with the current, their numbers are enormous, their movement

Alan Glynn December 21, 2009 INT. A BLACK SCREEN EDDIE (V.0.) They found me. INT. CLOSE 0N - A HIGH-TECH RESIDENTIAL STEEL DOOR being POUNDED in. WHAM! WHAM! Whoever's trying to get in is

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

OTE THE CRYSTAL WILL BE USED IN THE LEFT HAND OF ALL CHARACTERS. FADE IN: BEFORE AND DURING TITLES 1 EXT. - SKY NIGHT The moon and stars are visible, but as CAMERA looks down, the SCREEN fills with dark, billowing clouds. CAMERA moves into the clouds and just as they blank out the SCREEN, a distant shimmer of light becomes visible. Moving toward it, the shimmer becomes 2 EXT. - DOME OF GLASS - NIGHT A glowing but not transparent structure stretc

pocket watch. Open. Ticking. Swinging from a chain. Held by a young man named JOE in a clearing beside a Kansas corn field. Sky pregnant with rain. Waiting. He checks the watch, removes his earbud headphones, stands. Without much ceremony a BLOODIED MAN in a suit appears from thin air, kneeling before the young man. Hands and feet tied. Burlap sack over his head. Muffled screams, gagged. With no hesitation Jo

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

iangular CARGO SHIP descends from the dark of space. PILOT (OVER) Mars mining base, this is Grissom One, Request final descent vector. REVERSE ANGLE EXT.-MARS A row of giant red mountains and beneath, on the planet's surface, the spires of A MINING BASE. Illuminated landing crosshairs alight a landing pad, beckoning the ship. CONTROLLER (OVER) Roger, Grissom One, this is Mars Mining, You

BLACK AND WHITE ACADEMY FORMAT THE WASTELAND. DAY. Flurries of dust and sand swirl around us as we move through an eerie, barren land. The only sound is the howl of a rising wind. Ahead something looms out of the storm. As we approach we see that it is the rusting remains of a massive oil pump. The wind drops to be replaced by the voice of a very old man. This is the Narrator:

IN BLACK: 1 Restless bodies. Scuffing of feet. Somebody coughs. 1 MARCO'S VOICE Approximately sixty four hundred hours before Desert Storm, we were on a routine recon inside Iraqi-controlled terrain, assessing troop strength for what Saddam Hussein promised to be the mother of all wars ... but turned

EXT. SPACE - MARS - TO ESTABLISH THE RED PLANET momentarily eclipses the Sun. As sunlight breaks across the edge, warming the surface... EXT. MARS - DAY We're MOVING THROUGH the channels of Acidalia Planitia to find the ARES 3 HAB SITE. LEWIS (OVER RADIO)

sail, like a glider, over the black atmosphere. We DIVE DOWN into the murkiness, through the clouds, into the darker world of the dead surface of Earth, the desert of the real. The rotted skeleton of a massive city is sprawled everywhere. We approach a fissure in the Earth's crust, and as we do, we hear the increasing buzz of multiple hovercraft engines. Blue flashes grow in intensity from the fissure. Radio voices, indistinct at first, grow louder as we approach the

sing with phosphorous light, burning beneath the derma of black-neon glass. A PHONE begins to RING, we hear it as though we were making the call. The cursor continues to throb, relentlessly patient, until -- MAN (V.O.) Hello? Data now slashes across the screen, information flashing faster than we read. SCREEN Call trans opt: received. 2-19-96 13:24:18 REC:Log> WOMAN (V.O.) I'm inside. Anything to report? We listen to the phone con

"UBERMAN - METRO CITY'S HERO AFTER DEFEATING MASTER MIND! PHOTO: A chiseled, statuesque man wearing the COOLEST SUPER HERO SUIT IMAGINABLE, COMPLETE WITH FLOWING CAPE, shines a confident smile at the lens. This is UBERMAN, champion of METRO CITY. "UBERMAN DEFEATS MASTER MIND'S GIANT ROBOT!" PHOTO: Wide-shot of Uberman in mid-flight lifting the GIANT ROBOT in the sky above the city buildings. "MASTER MIND ALL

tlessly on the breeze, wafting along through the crisp Texas air. The insect dips, it banks, it does loop-the-loops -- and then SPLATS unceremoniously against the windshield of a white van that's tearing down the road. INT. VAN -- TEXAS/MEXICO BORDER -- NIGHT The DRIVER of the van, a fifty-year-old American, turns on the wipers, smearing the remains all over. DRIVER Goddamn bugs. He squirts some wiper fluid onto the glass, which clears it up a bit, but now he sees somet

Widen to reveal that, indeed, these glasses are on the sneering face of just such a man. We follow the guard DOWN A DINGY PRISON HALLWAY Paint peeling off the rusty bars. Somewhere, someone is playing harmonica. Prisoners yell complaints as he passes. He meets them all with-- GUARD Shut up, convict! Get yer hands off the bars! The guard passes through several le

Datasets:

aneeshas
/

imsdb-500tokensci-fi-movie-scripts

Dataset Card for "imsdb-500tokensci-fi-movie-scripts"