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FADE UP ON THE SOUTH BOSTON HOUSING PROJECTS. A MAZE OF BUILDINGS AGAINST THE HARBOR. COSTELLO (V.O.) I don't want to be a product of my environment. I want my environment to be a product...of me. YELLOW RIPPLES PAST THE CAMERA AND WHEN IT CLEARS WE SEE THROUGH DIESEL SMO
sed back by the wind, her mouth in a euphoric grin. FADE OUT. 2 CREDITS -- ARCHIVAL FOOTAGE 2 MATT (V.O.) My missionary ancestors came to the islands and told the Hawaiians to put on clothes, work hard, believe in Christ, and stop surfing and hula dancing. They made business deals
September 15, 2005 Pink Revisions - September 20, 2005 Green Revisions - October 9, 2005 Yellow Revisions - November 9, 2005 Goldenrod Revisions - November 14, 2005 Salmon Revisions - December 9, 2005 2nd Blue In Progress MUSIC UP FADE IN STEAM ON A MIRROR 1
FOR EDUCATIONAL PURPOSES ONLY DEVIL'S ADVOCATE - Rev. 11/2/96 FADE IN: 1 INT. FLORIDA COURTROOM - DAY 1 Northern Florida in the midst of a heat wave. Air conditioners fighting a losing battle. The gallery is full. The JUDGE a stern, old hand. The PROSECUTOR, an efficient man with a good case. The witness is BARBARA. She is maybe 13. She is a witness in a criminal trial. Her testimony ha
1959 FADE OUT. :FADE IN: INT. DANCE HALL BASEMENT - NIGHT FENWICK walks along the dimly lit basement. Heavy wiatei coats hang from hooks on the wall. In the b.g., there is constant traffic of pecple coming and going from the rest rooms. From above we hear the MUFFLED SOtJV OF THE ROCK AND ROLL BAND. Fenwick is in his early 20s and dressed in the "JOE COLLE
PENING CREDIT SEQUENCE plays, complete with its own SPAGHETTI WESTERN THEME SONG, we see SEVEN shirtless and shoeless BLACK MALE SLAVES connected together with LEG IRONS, being run, by TWO: WHITE MALE HILLBILLIES on HORSEBACK. The location is somewhere in Texas. The Black Men (ROY, BIG SID, BENJAMIN, DJANGO, PUDGY RALPH, FRANKLYN, and BLUEBERRY) are slaves just recently purchased at The Greenville Slave Auction in Greenville
rica is that the black man in white Christian hands has not grown violent. It is a miracle that 22 million black people have not risen up against their oppressors--in which they would have been justified by all moral criteria, and even by the democratic tradition! It is a miracle that a nation of black people has so fervently continued to believe in a turn-the-other-cheek and heaven-for-you-after-you-die philosophy! It is a miracle that the American Black people have remained a peace
EXT. ELECTRIC SIGN It FILLS THE SCREEN (designed to exactly FILL THE FRAME size of whatever ratio we're shooting in). It says: 2:51 This message will be a little cryptic to the movie audience on an essentially BLACK SCREEN. HOLD for a beat, then it changes: the lights flash this sign, which should explain it to everyone:
nation's capital, MOVING IN on the stolid limestone box of FBI HEADQUARTERS. Supered below: FBI HEADQUARTERS. WASHINGTON, D.C. 1981. CUT TO: 2 INT. DAY. FBI HEADQUARTERS A spacious corner OFFICE. American flag, FBI seal, and a plush c arpet-- Fed eral blue . CLENDON HOGUE, 40s, barrel chest, shrewd eyes over half-moon glasses, PRESIDES behind a vast desk. The impressive mien of
nation's capital, MOVING IN on the stolid limestone box of FBI HEADQUARTERS. Supered below: FBI HEADQUARTERS. WASHINGTON, D.C. 1981. CUT TO: 2 INT. DAY. FBI HEADQUARTERS A spacious corner OFFICE. American flag, FBI seal, and a plush c arpet-- Fed eral blue . CLENDON HOGUE, 40s, barrel chest, shrewd eyes over half-moon glasses, PRESIDES behind a vast desk. The impressive mien of
MORRISON'S VOICE The movie will begin in five moments The mindless voice announced All those unseated will await the next show We filed slowly, languidly into the hall The auditorium was fast and silent As we seated and were darkened
by James M. Cain CHARACTERS WALTER NEFF PHYLLIS DIETRICHSON BARTON KEYES LOLA DIETRICHSON MR. DIETRICHSON NINO ZACHETTI MR. NORTON MR. JACKSON SAM GORLOPIS SEQUENCE "A" FADE IN:
James Sallis 09.24.10 1 INT. CAR ENGINE - NIGHT. 1 We're close on a maze of metal rods, tubes, and wires. It's only as we pull out that we realize it's the engine of a car. Over the image we hear a voice talking on a phone.
RED AND DEGRADED." Aime Cesaire PRE-TITLE: FADE IN: EXT. DAN PIENAAR SECONDARY SCHOOL FOR BOYS - DAY Dan Pienaar school is a typical Johannesburg Afrikaan school. The students are mainly from middle-class families. School athletics are in progress. The stu- dents, in their smart school uniforms, are cheering enthusiastically a relay race on the immaculately-kept sports ground. GORDON NGUBENE, a 47-years-old African laborer is work- ing in the school garden. A few feet
the rain. A young Turk (EKREM) runs through the rain with a Turkish newspaper held over his head. He ducks into a traditional barber's shop called Ozim's. 2 INT. OZIM'S BARBER SHOP - EVENING 2 The shutters are drawn. OZIM (a plump middle-aged Turk) is cutting the hair of the last customer of the day (SOYKA). Soyka is a Chechen, well-groomed, wearing a sharp suit beneath the barber's gown. During the conversation we gli
AFT November 20, 1992 FADE IN: INT. HAUNTED MANSION PARLOR - NIGHT We move through a spooky shrouded parlor, as a storm rages outside. THUNDER roars, and lightning flashes in the giant windows. in the center of the room lies an oak coffin. Suddenly the lid starts to creak open. A hand crawls past the edge... and then the lid slams up! Famed psychic CRISWELL pops out. Cris
to sleep. GRANDDAUGHTER I'm not sleepy. Tell me, please. OLD KIM Well, all right. Let's see. I guess it would have to start with scissors. GRANDDAUGHTER Scissors? OLD KIM Well, there are all kinds of scissors. And once there was even a man who had scissors for hands. GRANDDAUGHTER A man? OLD KIM Yes. GRANDDAUGHTER Hands, scissors? OLD KIM No, scissorhands. You know the mansion on top
by Ashley Montagu BLACK FADE IN: ABSTRACT DREAM CLOSE-UP of a gold framed miniature portrait of JOHN MERRICK'S MOTHER (tune or melody over her picture, heartbeat), which DISSOLVES TO CLOSE-UP of real Mother smiling A shadow comes over her face. CLOSE-UP of elephant ears, trunks, faces moving.
d and spoken in Spanish or German as appropriate, and sub-titled.) EXT. TITLE SEQUENCE P 1 Painted images of the Elizabethan age - CAPTION A world divided by religious hatred. The new Protestant faith is spreading. Bodies burned on a pyre - men writhing under torture - a momentary half-recognisable face, gaunt and staring - FATHER
February 10, 1997 FADE IN: EXT. SHENANDOAH NATIONAL PARK, SCENIC VIEW LOT - MORNING Shenandoah mountains. A cold dawn. TWO BLACK TOWN CARS sit side by side, facing a view of a farming valley below. Two MEN in dark suits and long coats stand near the cars, casually on the lookout. If we caught a glimpse underneath the coat of the taller of the two, we'd see that he was carrying a 9mm. Glock.
Copyright 1995 The Saul Zaentz Company 1 EXT. LATE 1942. THE SAHARA DESERT. DAY. SILENCE. THE DESERT seen from the air. An ocean of dunes for mile after mile. The late sun turns the sand every color from crimson to black. An old AEROPLANE is flying over the Sahara. Its shadow swims over the contours of sand. A woman's voice begins to sing unaccompanied on the track. Szerelem, szerelem, she cries, in a haunting lament for her loved one. INSI
enthesis is (not spoken aloud). NOTE ON TITLES: GRAPHIC TITLES pop up throughout. Some are chapter titles, others more like the explanatory arrows found in cartoons. Sometimes the words present themselves in normal fashion. At other times, they're loosely spaced or sharply angled or individual words flash up one after another. i.e., titles ought to be wilder and less uniform than I suggest on the page.
February 1, 1998 EXT. SOUTHERN CALIFORNIA SUBURB, MAIN DRAG - DAY Palms sway ... the sun washes everything in yellow ... cars motor down either side of the landscaped median ... the calls of mockingbirds mingle with the BLIP BLIP of car alarms. ON THE SIDEWALK, a SKATEBOARD CA-LUNKS down the sidewalk, past the foot traffic of Southern Californians: flip-flops, Doc Marten's, Rollerblades, Nikes ... then, in the middle of this pedestr
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
OOTING DRAFT 1993 INT. CAVE NIGHT There is a huge ancient hourglass made of animal skins, and acorns plop through the waist of the hourglass one by one. It sits in a pool of water. In the water swim EYELESS CATFISH in geometric patterns. An underground stream feeds the pool of water and then flows into a huge underground crevass
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
alory Final Draft FADE IN: EXT. FOREST - NIGHT Darkness. The sound of battle cries and the clang of metal upon metal. The forest lights up with huge sparks flying from sword and ax as armored knights hack and swing at each other. Mounted knights collide head-on at full gallop, their armor m
alory Final Draft FADE IN: EXT. FOREST - NIGHT Darkness. The sound of battle cries and the clang of metal upon metal. The forest lights up with huge sparks flying from sword and ax as armored knights hack and swing at each other. Mounted knights collide head-on at full gallop, their armor m
BAKER BOYS" FADE IN: JACK BAKER is standing before a dirty window, looking out at a dirty city street. He is wearing a tuxedo. VOICE (O.S.) Hey. WIDEN ANGLE It's the GIRL from this afternoon. JACK Hey. Jack looks at the Girl, sleepy and warm under the bedcovers, then at the rest of the apartment. Not good. GIRL Whatcha doin' over there? JACK Gotta go. GIRL How come? JACK Job. The Girl glances at t
elephant. Noah's Ark going round... and round... and round... EXT. GRIFFITH PARK CAROUSEL - DAY Disjointed CALLIOPE MUSIC as the wheel of fate and fortune goes around until we PULL BACK to reveal: JON ARCHER (30) rising winged Pegasus. On the adjacent unicorn is his son MATTHEW (5). Clutching a balloon, Matty waves at his dad. A happy moment, like so many certain to follow -- until we realize we are watching them THROUGH...
se by Valerie Plame SFX: SHALLOW, DESPERATE BREATHING. Extreme close ANGLES ON a figure kneels in a cell, in tight stress position. Bound. Blindfold. Convulsed with intense pain. We move closer -- It's a woman. VOICE V/O (VALERIE) Ever
CENTER MALL There are three levels of stores underneath a massive fluorescent roof. Different music comes from each store. It looks seventies-modern, but already used and run-down. Groups of kids cruise the mall, eyeing each other and acting cool. INT. SWENSON'S ICE-CREAM PARLOR - NIGHT The teenage waitresses in their peppermint pattie uniforms are rushing around, trying to keep up with their orders. A good-looking man in his mid-twenties enters and sits. He wears a plastic na
John Green May 1, 2012 FIRST DRAFT HAZEL GRACE LANCASTER (16) lies in the grass, staring up at the stars. We're CLOSE ON her FACE and we hear: HAZEL (V.O.) You have a choice in this world, I believe, about how to tell sad stories.
n Sisters singing "My Favorite Things." A series of sepia images of anti-war protests from the mid-sixties appear one after another on the screen. In the violently scrawled style of Ralph Steadman, the title FEAR AND LOATHING IN LAS VEGAS splashes onto the screen. A beat, and then it runs down and off revealing: TITLE: "He who makes a beast of himself Gets rid of the pain Of being a man." Dr. Johnson The VOICE OF HUNTER S. THOMPSON -- a.k.a. RAOUL DUKE:
REENPLAY 1 FADE IN MONTAGE OF PHOTOS RAY (V.O.) My fathers name was John Kinsella. A faded, sepia shot of a dirty little kid on a farm. RAY (V.O.) Its an Irish name. He was born in North Dakota, in 1896... Young man in doughboy uniform. RAY (V.O.) ...and never saw a big city until he
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
king me, did I know Tyler Durden. FADE IN: INT. SOCIAL ROOM - TOP FLOOR OF HIGH RISE -- NIGHT TYLER has one arm around Jack's shoulder; the other hand holds a HANDGUN with the barrel lodged in JACK'S MOUTH. Tyler is sitting in Jack's lap. They are both sweating and disheveled, both around 30; Tyler is blond, handsome; and Jack, brunette, is appealing in a dry sort of way. Tyler looks at his watch.
LE: Lowell, Massachusetts - 1993 FADE IN: 1 FIVE-CORNER INTERSECTION - LOWELL, MASSACHUSETTS - AFTERNOON. 2 FORWARD MOVING WALKING STEADICAM WIDE ANGLE POV 2 Abandoned textile mills on both sides, a two-story flat-iron style building splits the roads 100 yards ahead. Still hear metal scraping against asphalt.. .then it stops. BOTTOM RIGHT CORNER OF FRAME, a wheelbarrow filled with 250 po
bers: 1ST PHOTO: A man stands in front of the raised sounding board of a piano, playing the viola. Seated on the piano bench, accompanying him, is a woman in a maternity dress: "Isabelle and Nicholas" 2ND PHOTO: A boy of 11, wearing conductor's tails and holding a raised baton in his right hand as if about to gesture a downbeat: "Herbert Kreutzer Dupea" 3RD PHOTO: Another boy of approximately 9, in the act of playing the violin: "Carl
6:12 AM EXT. SOMEWHAT SEEDY TWO-STORY HOTEL IN ATLANTA -- PRE-DAWN It's still more night than day as we look down on the HOTEL ATLANTA. The lit sign for the HOTEL ATLANTA may be the only source of light as we hear a metallic rattle. EXT. HOTEL ATLANTA -- SECOND FLOOR -- PRE-DAWN
ton Groom EXT. A SAVANNAH STREET - DAY (1981) A feather floats through the air. The falling feather. A city, Savannah, is revealed in the background. The feather floats down toward the city below. The feather drops down toward the street below, as people walk past and cars drive by, and nearly lands on a man's shoulder. He walks across the street, causing
see two lines of uniformed cavalry, stretched out across the parade ground. There's a tense silence except for the occasional flourish of hooves. A horseman steps out of each line. LIEUTENANTS HARRY FEVERSHAM and JOHN DURRANCE face each other across the wide expanse. Already we feel the keen sense of competition between them. DURRANCE raises his sabre first. His horse sets off at a slow trot. His troops follow in perfect time. HARRY waits a moment, then raises his own sword. A sea of sabres ri
MAIN TITLES As presentation credits begin, we hear Johnny Cash's "Home of the Blues." Then we see Allison's name, under it Alex's, under that Robert's, under that Quentin's, then under that the title logo for Four Rooms, followed by "Starring Tim Roth as the Bellboy." Then "The Guests" listed in alphabetical order of all the actors playing guests. After the act
Y EARLY MORNING MARK SCHULTZ (27, 180 lbs., cauliflower ears) lifts a human- sized, leather WRESTLING DUMMY from the mat to stand in front of him. He performs a series of repetitive moves - hooking one arm under the dummy's arm, then the other; one side, then other. Again and again. It looks almost as if he's dancing gently with it. Then, very fast, Mark spins quickl
January 6, 2005 CREDITS SEQUENCE: EXTREME CLOSE-UPS An unfinished mechanical device: a scaffold of thin metal pipes, levers, pulleys, wiring, serve-motors. THOMAS CRAWFORD works on it: in his 40s, well-dressed but in disarray, graying stubble, hair and clothes unkempt. Magnifying glasses distort his eyes, making them huge and stran
FRANCES (V.O.) No one ever came up to me and said, 'You're a fool. There isn't such a thing as God. Somebody's been stuffing you.' FADE IN: EXT. PUGET SOUND - DAY On an expanse of water, calm and undisturbed. After a moment, it begins to ripple as something rises toward the surface. A

2) FADE IN: EXT. QUADRANGLE - DAY LONG SHOT The quadrangle of Army buildings is quiet and deserted. A broken-down taxi drives in at one corner and slowly makes its way around the quadrangle. SUPERIMPOSED over shot is the LEGEND:
ight and reflects off of the giant pine trees covering the serene mountain side. It's quiet. So quiet. HARD CUT TO: FROZEN HARD CUT TO: 2 EXT. THE CHAIR LIFT - DAY 2 Tight on a gloved hand as a lever is released. Tight on the cables at the top of a rickety chair lift as
Lawrence River. Cars and trucks line up in different lanes. Customs officials inspect and question impatient drivers. Beyond them a smaller sign: "THANK YOU FOR VISITING MASSENA NEW YORK, IT WORKS, for business, for family, for you". 2 EXT. BELOW THE BRIDGE - DAY 2 The river stretches for miles in either direction, frozen, and still with trees on either side. 3 EXT. RAY'S TRAILER YARD, MASSENA NEW YORK -
Goldenrod (7/19/2012) 2. 1 CONTINUED: 1 2 INT. OSCAR'S APARTMENT- BEDROOOM- NIGHT 2 We open on an expensive looking flip cellphone sitting on a dresser. Next to it, a large zip lock bag of marijuana. We stay here. OSCAR (O.S.) Wh
Goldenrod (7/19/2012) 2. 1 CONTINUED: 1 2 INT. OSCAR'S APARTMENT- BEDROOOM- NIGHT 2 We open on an expensive looking flip cellphone sitting on a dresser. Next to it, a large zip lock bag of marijuana. We stay here. OSCAR (O.S.) Wh
GEORGE SIMMONS, 42, sits in a giant living room watching bad television on a 70-inch flat screen TV. He looks bored and empty. After a few beats he pauses the TV, and picks up the phone. GEORGE (on the phone) Hey, it's George Simmons, I'm coming in. INT. NIGHTCLUB - NIGHT Shots of George doing stand up on stage at a comedy club. The place adores him. We see quick images of him
GEORGE SIMMONS, 42, sits in a giant living room watching bad television on a 70-inch flat screen TV. He looks bored and empty. After a few beats he pauses the TV, and picks up the phone. GEORGE (on the phone) Hey, it's George Simmons, I'm coming in. INT. NIGHTCLUB - NIGHT Shots of George doing stand up on stage at a comedy club. The place adores him. We see quick images of him
OOM - CAPITOL BLDG. - DAY Blinding in their white uniforms, naval flag officers sit in the audience, showing their support for THEODORE HAYES, a 50-year-old civilian. This is his confirmation hearing. Reading from prepared material: HAYES ... last few years have brought many advances in the interests of women in naval service, particularly in the land-based maritime specialties. What's more, the Navy has in
May 18, 2004 INT. LOFT APARTMENT - MANHATTAN - MORNING 1 1 STEVEN SCHWIMMER, a drama critic, asleep on his bed. He wears a sleep mask. 2 The bed is a mattress on a makeshift platform. Papers strewn on the floor. An exercise bike.
ard an Indian city. We are high and far away, only the sound of the wind as we grow nearer and nearer, and through the passing clouds these words appear: "No man's life can be encompassed in one telling. There is no way to give each year its allotted weight, to include each event, each person who helped to shape a lifetime. What can be done is to be faithful in spirit to the record, and
NEON SIGN - THE PRINCE MOTEL - NIGHT The N and the E are not working. So it reads the PR IC motel. ROOMS TO RENT BY DAY, WEEK, MONTH. KITCHENETTES. The Prince Motel has passed its prime. A few beat up cars are parked outside rooms. We CRANE DOWN to ROOM SEVEN. Curtains closed, but someone is holding it open a crack, looking out. We PUSH in CLOSE TO THE WINDOW and the EYE looking over the pa
und his thick neck. He raises a jagged razor to his face, RAKES it across his right cheek, drawing BLOOD. He does not flinch. The sharp SCRAPING of the jagged blade against skin is the first SOUND we hear. VALLON cuts himself similarly on the left cheek, then hands the razor ceremoniously to a BOY standing beside him. The boy, no more than twelve years old, looks at VALLON worshipfully, keen eyes shining with fear and excitement. He starts to wipe the razor blade on the bottom of his jac
rough crackly RADIO) Los Angeles Tower, this is Transworld two-two Heavy, we are going down! Repeat... Engines two and three are... L.A. Tower this is MaydayI Mayday! TOWER (O.S.) (through crackly radio) 2-2 Heavy, Pull upt Pull up! The RADIO NOISE is drowned out by the A CAPELLA, SOPRANO VOICE of a young Indian boy as he sings a melodic Hindi pra
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
) 1971 Turner Entertainment Co All Rights Reserved. Copyright (c) 1971 Mike Hodges All Rights Reserved. FADE IN: EXT. PENTHOUSE APARTMENT - LONDON - NIGHT Framed in the large picture window stands JACK CARTER, alone, looking out at the night. He turns away as the heavy satin curtains close, wiping him from view.
fire engulfing a small two story house. It burns and burns. Out of nowhere a man bursts through a second story window, lands hard and rolls to smother his burning clothes. He crawls away and staggers up and for a moment looks as if he might run back into the flames. But the heat is unbearable. He runs toward us then past us through black shadows. We cannot see his face, 1A EXT. WINDOW - EARLY MORNING (WINTER 193
1 EXT. ROAD. AUGUSTA. 1988. A hot muggy Georgia morning. A pickup truck comes around a corner and moves towards us. Inside, music plays on the radio. We can't quite see who's driving. 2 INT/EXT. PICKUP TRUCK/AUGUSTA STREETS. MOMENTS LATER 2 The driver heads down the road. He beats his hand on the steering wheel to the rhythm of the music. The driver turns up the music. As the rhythm speeds, so does the truck. 3 IN

FADE IN: CARD OVER: SANDERSON PRISON EXT. PRISON YARD - TITLES OVER - DAY DOC McCOY IS BEING WALKED ACROSS THE COMPOUND BY A UNIFORMED GUARD, carrying a riot gun. Other Prisoners around the yard turn and stare as the two men head for the main building. INT. PRISON CORRIDOR DOC WALKS DOWN THE BLEAK HALLWAY: A BLACK PRISONER PASSES Doc in the corridor, they slap hands... the Guard remains at his shoulder. Near the end of the passage another Guard clangs open a barred d
oving dust. Shafts of muted light pierce the dense atmosphere. An eerie netherworld envelops us. Strange ghostly forms appear and disappear in the distance. They seem like apparitions. Broken timbers and dangling cables emerge from the smoky light. We see hints of a huge demolished space. An old white plaster wall FILLS THE SCREEN. Momentary blips of light flash across it. SOU
er) This is the most famous true story of Africa. It happened a hundred years ago, but even now, when children ask about it, you do not tell them at night. (The FIGURE continues to grow) It began with the race to build a railroad across Africa. (beat) But this is not about building a railroad- it is about Patterson. And now we can tell that the FIGURE is a YOUNG MAN, A LIEUTENANT COLONEL. This is PATTERSON. He is gifted and bright and serious, serio
OPENING TITLE SEQUENCE - EVENING We MOVE through the city in a series of brief shots that define and establish our setting, from commercial district to residential neighborhood. Eventually we find ourselves moving down a street of two-story apartment buildings. Many of the windows are lit from within by an EERIE BLUE LIGHT. As we track past at window-level we see:
OPENING TITLE SEQUENCE - EVENING We MOVE through the city in a series of brief shots that define and establish our setting, from commercial district to residential neighborhood. Eventually we find ourselves moving down a street of two-story apartment buildings. Many of the windows are lit from within by an EERIE BLUE LIGHT. As we track past at window-level we see:
he snowy landscape like a scar pointing north to icy desolation. A phone rings - 2 EXT. CABIN - ESTABLISHING A2 2 INT. CABIN - LAKE SILJAN - DAY 2 An elderly man who lives alone in this rustic cabin - a retired policeman - regards the phone, both expecting and dreading the call. He picks up the receiver. MORELL What kind is it?
-- the World." Byron FADE IN: EXT. FOREST - DAY Germania. The far reaches of the Roman Empire. Winter 180 A.D. Incongruously enough, the first sound we hear is a beautiful tenor voice. Singing. A boy's voice. CREDITS as we hear the haunting song float through dense forests. We finally come to a rough, muddy road slashing through the forest. On the road a GERMAN PEASANT FATHER is herding along three sickly looking cows. His two SONS are with him. His y
n...John. Okay. John. John. Look: (pause) The Glengarry Highland's leads, you're sending Roma out. Fine. He's a good man. We know what he is. He's fine. All I'm saying, you look at the board, he's throwing...wait, wait, wait, he's throwing them away, he's throwing the leads away. All that I'm saying, that you're wasting leads.
FFICE (SUMMER 1945) The PARAMOUNT Logo is presented austerely over a black background. There is a moment's hesitation, and then the simple words in white lettering: THE GODFATHER While this remains, we hear: "I believe in America." Suddenly we are watching in CLOSE VIEW, AMERIGO BONASERA, a man of sixty, dressed in a black suit, on the verge of great emotion. BONASERA America has made my fortune. As he speaks, THE VIEW imperceptibly begins to loosen.
is presented over a simple black background, as a single trumpet plays the familiar theme of a waltz. White lettering fades in: Mario Puzo's THE GODFATHER There is a pause, as the trumpet concludes, and there is the additional title: - Part Two - INT. DON CORLEONE'S OLD OFFICE - CLOSE VIEW ON MICHAEL CORLEONE - DAY standing impassively, like a young Prince, recently crowned King. CLOSE VIEW ON Michael's hand. ROCCO LAMPONE kisses his hand. Then it is taken away. W
BEFORE TITLES: The screen is black. First we hear the sound of a single trumpet playing slowly and sadly, the notes faintly resonant as if echoing through the narrow streets of some old hill village in Sicily. Now, confusingly, we see a slant of light move past us and another, and as our surroundings become more visible, we discover that we are moving through a pine forest lit by shafts
"Father of Frankenstein" by Christopher Bram May 30, 1997 SHOOTING DRAFT NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS AND SOME "SCENE OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR THIS SOFT COPY. FADE IN: MAIN TITLES BEGIN Writhing pools of light and dark, out of whic
ir lives and some wider shots of the city. As they continue, the hour gets progressively later in the day until the final sequence which takes place at night. Over this we hear our guy, PATRICK (30). PATRICK (V. 0 . ) To people who grow up here, this city is like family. The thing about family, about the city, about the church, about
sweet candy and such. But one day you look around and see a prison and you're on death row. You wanna run, or scream or cry. But something's locking you up. Are the other folks cows, chewing cud till the hour come and their heads roll? Or are they just keeping quiet, like you... Planning thei
DAY CUT TO: INT. L STREET BAR & GRILLE, SOUTH BOSTON -- EVENING The bar is dirty, more than a little run down. If there is ever a cook on duty, he's not here now. As we pan across several empty tables, we can almost smell the odor of last nights beer and crushed pretzels on the floor. CHUCKIE
DAY CUT TO: INT. L STREET BAR & GRILLE, SOUTH BOSTON -- EVENING The bar is dirty, more than a little run down. If there is ever a cook on duty, he's not here now. As we pan across several empty tables, we can almost smell the odor of last nights beer and crushed pretzels on the floor. CHUCKIE
od, California ------------------------------------------------------------------------------------ 1 EXT. AMPHITHEATRE - DAY SHOT - HELICOPTER'S POV - Moving through clouds. The clouds separate and, far below, we can see a giant outdoor amphitheatre. There is no SOUND but the WIND. As we move closer to the amphitheatre, we can hear SNATCHES OF WORDS and PHRASES as though from a public address system. 2 EXT. AMPHITHEATRE - PODIUM - DAY - SHOT OF BEN in cap and gown,
d teenagers. WALT KOWALSKI stands towards the front of the church. He speaks to an older MAN in a bulky, out-of-date suit. OLDER MAN I'm real sorry about Dorothy, Walt. She was a real peach. WALT Thanks for coming, Al. Walt Kowalski looks young for his age. He has slate blue eyes, physically fit and has had the same buzz cut hairstyle since getting out of the military in 1
an version By William A. Drake SHOOTING DRAFT PROLOGUE Berlin. Season is March. Action of the picture takes place in approximately 36 hours. Picture commences at approximately 12:35 in the day. Time: The Present.
URE IS INSPIRED BY A TRUE STORY, CERTAIN CHARACTERS AND EVENTS ARE FICTIONAL." FADE IN: SUPER: 'SEPTEMBER 1973'. INT. PHIL KAUFMAN'S BEDROOM. NIGHT A phone rings in the dark. A little light falls from the open window, illuminating an old bakelite telephone. It sits on a small table alongside a large amount of empty bottle
Of Wrath" By John Steinbeck AN OKLAHOMA PAVED HIGHWAY in daylight. At some distance, hoofing down the highway, comes Tom Joad. He wears a new stiff suit of clothes, ill-fitting, and a stiff new cap, which he gradually manages to break down into something comfortable. He comes down the left side of the ro
Based on The Great Gatsby by F. Scott Fitzgerald A BLACK SCREEN. The blackness is pierced by a single, pulsing green light... We drift, as if by boat, across a dark bay toward the light. Then, we hear a troubled voice.
---------------------- A SONG BEGINS, distant as a faded memory on an old Victrola: Once I built a railroad, made it run... Made it race against time...Once I built a railroad, now it's done...Brother, can you spare a dime... Opening credit sequence plays against footage of the Great Depression, images haunting and sepia-toned, defining an era. The bread lines...the sou
establishing the race track, Ruidoso Downs (pronounced Ree-oh-do-so), set among the beautiful mountains of New Mexico's Lincoln National Forest, as a white Chrysler turns in with a stream of cars moving toward the parking area. AN ANGLE through the open driver-side window of the Chrysler at LILLY DILLON, 39 but looking younger, beautiful but cold and watchful. WIDE SHOT, track in b.g. as Lilly parks the Chrysler, gets out, locks the car. As she walks toward the track, WIP
residential neighborhood. Yuppie neighbours look on in shock, confused. Two of the troops carry a battering ram to the front door of a white two-storey house. A leashed Rottweiler snarls and barks. In position, their comrades point M-16s into first-floor windows, ready to be ambushed. Pan into a window in the kitchen. An attractive woman in her thirties is making breakfast. Now, in regular motion, the battering ram breaks open t
0.) I saw a severed head once. Except for the, paleness, it looked healthy, well-fed. The end came abruptly you could tell 'cause the mouth froze in mid-sentence. "Shh. ," the curled lips attempted. Like it started saying "shucks" or "Shirley" or... "shit happens." Your eyes don't forget things like that. Like you don't forget the sound animals make when they're humping. Primal.
r, as a title appears on the screen. "God, she's beautiful..." CUT TO: INT. HANNAH'S APARTMENT - NIGHT A full face of Lee, wearing a gray sweater and leaning against the dining room doorway. She gazes into the camera with a half-smile on her face as Elliot speaks over the screen. ELLIOT (V.O.) God, she's beautiful. Lee glances over her shoulder, then turns from the doorway
Falls from low grey clouds. Down below we see... THE RIVER Muddy, slow and powerful, overflowing its banks. In the near distance is... THE RESERVOIR Filled to the maximum, water thundering out of two open gates. We close in on... THE DAM There's a Dam Control Office in the middle of the dam. We MOVE OFF the reservoir and h
PARK - DAY We float down through a serene, leafy park to the children's play area. There, in the sandbox, a BEAUTIFUL FIVE YEAR OLD GIRL plays among a group of kids. GIGI (V.O.) I have a theory about how this all started... A SIX YEAR OLD BOY approaches. He watches the little girl for a moment as she gently shapes her san
ds. A bus pulls in on Beverly. NEIL McCAULEY and a nurse get off. Neil carries a paper bag and wears white pants like a hospital attendant. Neil is an ice-cold professional: very big, very tough. At 42 his short black hair is graying. He spent eight years in McNeil and three in San Quentin. He got out and hit the street in 1987. Four of the McNeil years were spent in the hole. Neil's voice is street, but his language is precise like an engineer's. He's very careful and very good. Neil r
irs of feet running up the track, slipping in the mud . . . desperate. WIDE SHOT . . . reveals TWO GIRLS running up the track, distraught. JULIET HULME: nearly 16 - tall, blond and willowy, and PAULINE RIEPER: 16 - dark-haired, shorter and stockier than Juliet. It is 1954. Both girls are dressed in overcoats on a chilly winter day. They slip and stumble on the dirt track that winds up the steep Victoria Park hillside. Thick vegetation and overhanging trees give the path a tunnel-l
BY DAVID MAMET ROSENSTONE/WENDER AGENCY 3 E. 48th St. N.Y.C. FADE IN: EXT RAILROAD OVERPASS DAY. A LOW FLYING PLANE, MAKING ITS FINAL APPROACH. ANGLE CU. A WELL-BUILT MAN IN HIS FORTIES, JOE MOORE, IN HORN RIMMED GLASSES AND MOUSTACHE, LOOKS UP, AT THE PLANE. CAMERA TAKES HIM TO AN OLD STONE OVERPASS OVER A RAILROAD TRACK. HE CARRIES A FOLDED MAP. HE LOOKS AROUND, AS IF LOST. ANGLE. MOORE, STANDING AT THE SIDE OF A TWO LANE SEMI-SUBURBAN ROAD.
Kathryn Stockett Second Draft, November 9, 2009 WILLIAM FAULKNER wrote of Mammy Callie after her death: "...she gave to my family a fidelity without stint or calculation or recompense and gave to my childhood a
Simon Grim hangs from the back of it. He is a shy, skinny and terrified-looking guy around thirty years old. The truck rumbles to a halt and Simon climbs down off it to go punch out at the time clock. EXT. BEHIND THE WORLD OF DONUTS -- DAY Moments later. He comes walking up a small alley and sits to drink his beer. He begins to relax. This is his quality private ti
retch of interstate. This is HENRY. He looks out at the horizon. It's starting to get light out. There's snow on the ground. He's neither asleep nor awake. INT. TOLL BOOTH - MOMENTS LATER HENRY'S PLASTIC GLOVES unscrew a THERMOS, pour coffee into a Styrofoam cup. There are only a few drops left. A CAR Approaches. Henry straightens, slides open his w

FADE UP ON THE SOUTH BOSTON HOUSING PROJECTS. A MAZE OF BUILDINGS AGAINST THE HARBOR. COSTELLO (V.O.) I don't want to be a product of my environment. I want my environment to be a product...of me. YELLOW RIPPLES PAST THE CAMERA AND WHEN IT CLEARS WE SEE THROUGH DIESEL SMO

sed back by the wind, her mouth in a euphoric grin. FADE OUT. 2 CREDITS -- ARCHIVAL FOOTAGE 2 MATT (V.O.) My missionary ancestors came to the islands and told the Hawaiians to put on clothes, work hard, believe in Christ, and stop surfing and hula dancing. They made business deals

September 15, 2005 Pink Revisions - September 20, 2005 Green Revisions - October 9, 2005 Yellow Revisions - November 9, 2005 Goldenrod Revisions - November 14, 2005 Salmon Revisions - December 9, 2005 2nd Blue In Progress MUSIC UP FADE IN STEAM ON A MIRROR 1

FOR EDUCATIONAL PURPOSES ONLY DEVIL'S ADVOCATE - Rev. 11/2/96 FADE IN: 1 INT. FLORIDA COURTROOM - DAY 1 Northern Florida in the midst of a heat wave. Air conditioners fighting a losing battle. The gallery is full. The JUDGE a stern, old hand. The PROSECUTOR, an efficient man with a good case. The witness is BARBARA. She is maybe 13. She is a witness in a criminal trial. Her testimony ha

1959 FADE OUT. :FADE IN: INT. DANCE HALL BASEMENT - NIGHT FENWICK walks along the dimly lit basement. Heavy wiatei coats hang from hooks on the wall. In the b.g., there is constant traffic of pecple coming and going from the rest rooms. From above we hear the MUFFLED SOtJV OF THE ROCK AND ROLL BAND. Fenwick is in his early 20s and dressed in the "JOE COLLE

PENING CREDIT SEQUENCE plays, complete with its own SPAGHETTI WESTERN THEME SONG, we see SEVEN shirtless and shoeless BLACK MALE SLAVES connected together with LEG IRONS, being run, by TWO: WHITE MALE HILLBILLIES on HORSEBACK. The location is somewhere in Texas. The Black Men (ROY, BIG SID, BENJAMIN, DJANGO, PUDGY RALPH, FRANKLYN, and BLUEBERRY) are slaves just recently purchased at The Greenville Slave Auction in Greenville

rica is that the black man in white Christian hands has not grown violent. It is a miracle that 22 million black people have not risen up against their oppressors--in which they would have been justified by all moral criteria, and even by the democratic tradition! It is a miracle that a nation of black people has so fervently continued to believe in a turn-the-other-cheek and heaven-for-you-after-you-die philosophy! It is a miracle that the American Black people have remained a peace

EXT. ELECTRIC SIGN It FILLS THE SCREEN (designed to exactly FILL THE FRAME size of whatever ratio we're shooting in). It says: 2:51 This message will be a little cryptic to the movie audience on an essentially BLACK SCREEN. HOLD for a beat, then it changes: the lights flash this sign, which should explain it to everyone:

nation's capital, MOVING IN on the stolid limestone box of FBI HEADQUARTERS. Supered below: FBI HEADQUARTERS. WASHINGTON, D.C. 1981. CUT TO: 2 INT. DAY. FBI HEADQUARTERS A spacious corner OFFICE. American flag, FBI seal, and a plush c arpet-- Fed eral blue . CLENDON HOGUE, 40s, barrel chest, shrewd eyes over half-moon glasses, PRESIDES behind a vast desk. The impressive mien of

MORRISON'S VOICE The movie will begin in five moments The mindless voice announced All those unseated will await the next show We filed slowly, languidly into the hall The auditorium was fast and silent As we seated and were darkened

by James M. Cain CHARACTERS WALTER NEFF PHYLLIS DIETRICHSON BARTON KEYES LOLA DIETRICHSON MR. DIETRICHSON NINO ZACHETTI MR. NORTON MR. JACKSON SAM GORLOPIS SEQUENCE "A" FADE IN:

James Sallis 09.24.10 1 INT. CAR ENGINE - NIGHT. 1 We're close on a maze of metal rods, tubes, and wires. It's only as we pull out that we realize it's the engine of a car. Over the image we hear a voice talking on a phone.

RED AND DEGRADED." Aime Cesaire PRE-TITLE: FADE IN: EXT. DAN PIENAAR SECONDARY SCHOOL FOR BOYS - DAY Dan Pienaar school is a typical Johannesburg Afrikaan school. The students are mainly from middle-class families. School athletics are in progress. The stu- dents, in their smart school uniforms, are cheering enthusiastically a relay race on the immaculately-kept sports ground. GORDON NGUBENE, a 47-years-old African laborer is work- ing in the school garden. A few feet

the rain. A young Turk (EKREM) runs through the rain with a Turkish newspaper held over his head. He ducks into a traditional barber's shop called Ozim's. 2 INT. OZIM'S BARBER SHOP - EVENING 2 The shutters are drawn. OZIM (a plump middle-aged Turk) is cutting the hair of the last customer of the day (SOYKA). Soyka is a Chechen, well-groomed, wearing a sharp suit beneath the barber's gown. During the conversation we gli

AFT November 20, 1992 FADE IN: INT. HAUNTED MANSION PARLOR - NIGHT We move through a spooky shrouded parlor, as a storm rages outside. THUNDER roars, and lightning flashes in the giant windows. in the center of the room lies an oak coffin. Suddenly the lid starts to creak open. A hand crawls past the edge... and then the lid slams up! Famed psychic CRISWELL pops out. Cris

to sleep. GRANDDAUGHTER I'm not sleepy. Tell me, please. OLD KIM Well, all right. Let's see. I guess it would have to start with scissors. GRANDDAUGHTER Scissors? OLD KIM Well, there are all kinds of scissors. And once there was even a man who had scissors for hands. GRANDDAUGHTER A man? OLD KIM Yes. GRANDDAUGHTER Hands, scissors? OLD KIM No, scissorhands. You know the mansion on top

by Ashley Montagu BLACK FADE IN: ABSTRACT DREAM CLOSE-UP of a gold framed miniature portrait of JOHN MERRICK'S MOTHER (tune or melody over her picture, heartbeat), which DISSOLVES TO CLOSE-UP of real Mother smiling A shadow comes over her face. CLOSE-UP of elephant ears, trunks, faces moving.

d and spoken in Spanish or German as appropriate, and sub-titled.) EXT. TITLE SEQUENCE P 1 Painted images of the Elizabethan age - CAPTION A world divided by religious hatred. The new Protestant faith is spreading. Bodies burned on a pyre - men writhing under torture - a momentary half-recognisable face, gaunt and staring - FATHER

February 10, 1997 FADE IN: EXT. SHENANDOAH NATIONAL PARK, SCENIC VIEW LOT - MORNING Shenandoah mountains. A cold dawn. TWO BLACK TOWN CARS sit side by side, facing a view of a farming valley below. Two MEN in dark suits and long coats stand near the cars, casually on the lookout. If we caught a glimpse underneath the coat of the taller of the two, we'd see that he was carrying a 9mm. Glock.

Copyright 1995 The Saul Zaentz Company 1 EXT. LATE 1942. THE SAHARA DESERT. DAY. SILENCE. THE DESERT seen from the air. An ocean of dunes for mile after mile. The late sun turns the sand every color from crimson to black. An old AEROPLANE is flying over the Sahara. Its shadow swims over the contours of sand. A woman's voice begins to sing unaccompanied on the track. Szerelem, szerelem, she cries, in a haunting lament for her loved one. INSI

enthesis is (not spoken aloud). NOTE ON TITLES: GRAPHIC TITLES pop up throughout. Some are chapter titles, others more like the explanatory arrows found in cartoons. Sometimes the words present themselves in normal fashion. At other times, they're loosely spaced or sharply angled or individual words flash up one after another. i.e., titles ought to be wilder and less uniform than I suggest on the page.

February 1, 1998 EXT. SOUTHERN CALIFORNIA SUBURB, MAIN DRAG - DAY Palms sway ... the sun washes everything in yellow ... cars motor down either side of the landscaped median ... the calls of mockingbirds mingle with the BLIP BLIP of car alarms. ON THE SIDEWALK, a SKATEBOARD CA-LUNKS down the sidewalk, past the foot traffic of Southern Californians: flip-flops, Doc Marten's, Rollerblades, Nikes ... then, in the middle of this pedestr

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

OOTING DRAFT 1993 INT. CAVE NIGHT There is a huge ancient hourglass made of animal skins, and acorns plop through the waist of the hourglass one by one. It sits in a pool of water. In the water swim EYELESS CATFISH in geometric patterns. An underground stream feeds the pool of water and then flows into a huge underground crevass

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

alory Final Draft FADE IN: EXT. FOREST - NIGHT Darkness. The sound of battle cries and the clang of metal upon metal. The forest lights up with huge sparks flying from sword and ax as armored knights hack and swing at each other. Mounted knights collide head-on at full gallop, their armor m

BAKER BOYS" FADE IN: JACK BAKER is standing before a dirty window, looking out at a dirty city street. He is wearing a tuxedo. VOICE (O.S.) Hey. WIDEN ANGLE It's the GIRL from this afternoon. JACK Hey. Jack looks at the Girl, sleepy and warm under the bedcovers, then at the rest of the apartment. Not good. GIRL Whatcha doin' over there? JACK Gotta go. GIRL How come? JACK Job. The Girl glances at t

elephant. Noah's Ark going round... and round... and round... EXT. GRIFFITH PARK CAROUSEL - DAY Disjointed CALLIOPE MUSIC as the wheel of fate and fortune goes around until we PULL BACK to reveal: JON ARCHER (30) rising winged Pegasus. On the adjacent unicorn is his son MATTHEW (5). Clutching a balloon, Matty waves at his dad. A happy moment, like so many certain to follow -- until we realize we are watching them THROUGH...

se by Valerie Plame SFX: SHALLOW, DESPERATE BREATHING. Extreme close ANGLES ON a figure kneels in a cell, in tight stress position. Bound. Blindfold. Convulsed with intense pain. We move closer -- It's a woman. VOICE V/O (VALERIE) Ever

CENTER MALL There are three levels of stores underneath a massive fluorescent roof. Different music comes from each store. It looks seventies-modern, but already used and run-down. Groups of kids cruise the mall, eyeing each other and acting cool. INT. SWENSON'S ICE-CREAM PARLOR - NIGHT The teenage waitresses in their peppermint pattie uniforms are rushing around, trying to keep up with their orders. A good-looking man in his mid-twenties enters and sits. He wears a plastic na

John Green May 1, 2012 FIRST DRAFT HAZEL GRACE LANCASTER (16) lies in the grass, staring up at the stars. We're CLOSE ON her FACE and we hear: HAZEL (V.O.) You have a choice in this world, I believe, about how to tell sad stories.

n Sisters singing "My Favorite Things." A series of sepia images of anti-war protests from the mid-sixties appear one after another on the screen. In the violently scrawled style of Ralph Steadman, the title FEAR AND LOATHING IN LAS VEGAS splashes onto the screen. A beat, and then it runs down and off revealing: TITLE: "He who makes a beast of himself Gets rid of the pain Of being a man." Dr. Johnson The VOICE OF HUNTER S. THOMPSON -- a.k.a. RAOUL DUKE:

REENPLAY 1 FADE IN MONTAGE OF PHOTOS RAY (V.O.) My fathers name was John Kinsella. A faded, sepia shot of a dirty little kid on a farm. RAY (V.O.) Its an Irish name. He was born in North Dakota, in 1896... Young man in doughboy uniform. RAY (V.O.) ...and never saw a big city until he

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

king me, did I know Tyler Durden. FADE IN: INT. SOCIAL ROOM - TOP FLOOR OF HIGH RISE -- NIGHT TYLER has one arm around Jack's shoulder; the other hand holds a HANDGUN with the barrel lodged in JACK'S MOUTH. Tyler is sitting in Jack's lap. They are both sweating and disheveled, both around 30; Tyler is blond, handsome; and Jack, brunette, is appealing in a dry sort of way. Tyler looks at his watch.

LE: Lowell, Massachusetts - 1993 FADE IN: 1 FIVE-CORNER INTERSECTION - LOWELL, MASSACHUSETTS - AFTERNOON. 2 FORWARD MOVING WALKING STEADICAM WIDE ANGLE POV 2 Abandoned textile mills on both sides, a two-story flat-iron style building splits the roads 100 yards ahead. Still hear metal scraping against asphalt.. .then it stops. BOTTOM RIGHT CORNER OF FRAME, a wheelbarrow filled with 250 po

bers: 1ST PHOTO: A man stands in front of the raised sounding board of a piano, playing the viola. Seated on the piano bench, accompanying him, is a woman in a maternity dress: "Isabelle and Nicholas" 2ND PHOTO: A boy of 11, wearing conductor's tails and holding a raised baton in his right hand as if about to gesture a downbeat: "Herbert Kreutzer Dupea" 3RD PHOTO: Another boy of approximately 9, in the act of playing the violin: "Carl

6:12 AM EXT. SOMEWHAT SEEDY TWO-STORY HOTEL IN ATLANTA -- PRE-DAWN It's still more night than day as we look down on the HOTEL ATLANTA. The lit sign for the HOTEL ATLANTA may be the only source of light as we hear a metallic rattle. EXT. HOTEL ATLANTA -- SECOND FLOOR -- PRE-DAWN

ton Groom EXT. A SAVANNAH STREET - DAY (1981) A feather floats through the air. The falling feather. A city, Savannah, is revealed in the background. The feather floats down toward the city below. The feather drops down toward the street below, as people walk past and cars drive by, and nearly lands on a man's shoulder. He walks across the street, causing

see two lines of uniformed cavalry, stretched out across the parade ground. There's a tense silence except for the occasional flourish of hooves. A horseman steps out of each line. LIEUTENANTS HARRY FEVERSHAM and JOHN DURRANCE face each other across the wide expanse. Already we feel the keen sense of competition between them. DURRANCE raises his sabre first. His horse sets off at a slow trot. His troops follow in perfect time. HARRY waits a moment, then raises his own sword. A sea of sabres ri

MAIN TITLES As presentation credits begin, we hear Johnny Cash's "Home of the Blues." Then we see Allison's name, under it Alex's, under that Robert's, under that Quentin's, then under that the title logo for Four Rooms, followed by "Starring Tim Roth as the Bellboy." Then "The Guests" listed in alphabetical order of all the actors playing guests. After the act

Y EARLY MORNING MARK SCHULTZ (27, 180 lbs., cauliflower ears) lifts a human- sized, leather WRESTLING DUMMY from the mat to stand in front of him. He performs a series of repetitive moves - hooking one arm under the dummy's arm, then the other; one side, then other. Again and again. It looks almost as if he's dancing gently with it. Then, very fast, Mark spins quickl

January 6, 2005 CREDITS SEQUENCE: EXTREME CLOSE-UPS An unfinished mechanical device: a scaffold of thin metal pipes, levers, pulleys, wiring, serve-motors. THOMAS CRAWFORD works on it: in his 40s, well-dressed but in disarray, graying stubble, hair and clothes unkempt. Magnifying glasses distort his eyes, making them huge and stran

FRANCES (V.O.) No one ever came up to me and said, 'You're a fool. There isn't such a thing as God. Somebody's been stuffing you.' FADE IN: EXT. PUGET SOUND - DAY On an expanse of water, calm and undisturbed. After a moment, it begins to ripple as something rises toward the surface. A

2) FADE IN: EXT. QUADRANGLE - DAY LONG SHOT The quadrangle of Army buildings is quiet and deserted. A broken-down taxi drives in at one corner and slowly makes its way around the quadrangle. SUPERIMPOSED over shot is the LEGEND:

ight and reflects off of the giant pine trees covering the serene mountain side. It's quiet. So quiet. HARD CUT TO: FROZEN HARD CUT TO: 2 EXT. THE CHAIR LIFT - DAY 2 Tight on a gloved hand as a lever is released. Tight on the cables at the top of a rickety chair lift as

Lawrence River. Cars and trucks line up in different lanes. Customs officials inspect and question impatient drivers. Beyond them a smaller sign: "THANK YOU FOR VISITING MASSENA NEW YORK, IT WORKS, for business, for family, for you". 2 EXT. BELOW THE BRIDGE - DAY 2 The river stretches for miles in either direction, frozen, and still with trees on either side. 3 EXT. RAY'S TRAILER YARD, MASSENA NEW YORK -

Goldenrod (7/19/2012) 2. 1 CONTINUED: 1 2 INT. OSCAR'S APARTMENT- BEDROOOM- NIGHT 2 We open on an expensive looking flip cellphone sitting on a dresser. Next to it, a large zip lock bag of marijuana. We stay here. OSCAR (O.S.) Wh

GEORGE SIMMONS, 42, sits in a giant living room watching bad television on a 70-inch flat screen TV. He looks bored and empty. After a few beats he pauses the TV, and picks up the phone. GEORGE (on the phone) Hey, it's George Simmons, I'm coming in. INT. NIGHTCLUB - NIGHT Shots of George doing stand up on stage at a comedy club. The place adores him. We see quick images of him

OOM - CAPITOL BLDG. - DAY Blinding in their white uniforms, naval flag officers sit in the audience, showing their support for THEODORE HAYES, a 50-year-old civilian. This is his confirmation hearing. Reading from prepared material: HAYES ... last few years have brought many advances in the interests of women in naval service, particularly in the land-based maritime specialties. What's more, the Navy has in

May 18, 2004 INT. LOFT APARTMENT - MANHATTAN - MORNING 1 1 STEVEN SCHWIMMER, a drama critic, asleep on his bed. He wears a sleep mask. 2 The bed is a mattress on a makeshift platform. Papers strewn on the floor. An exercise bike.

ard an Indian city. We are high and far away, only the sound of the wind as we grow nearer and nearer, and through the passing clouds these words appear: "No man's life can be encompassed in one telling. There is no way to give each year its allotted weight, to include each event, each person who helped to shape a lifetime. What can be done is to be faithful in spirit to the record, and

NEON SIGN - THE PRINCE MOTEL - NIGHT The N and the E are not working. So it reads the PR IC motel. ROOMS TO RENT BY DAY, WEEK, MONTH. KITCHENETTES. The Prince Motel has passed its prime. A few beat up cars are parked outside rooms. We CRANE DOWN to ROOM SEVEN. Curtains closed, but someone is holding it open a crack, looking out. We PUSH in CLOSE TO THE WINDOW and the EYE looking over the pa

und his thick neck. He raises a jagged razor to his face, RAKES it across his right cheek, drawing BLOOD. He does not flinch. The sharp SCRAPING of the jagged blade against skin is the first SOUND we hear. VALLON cuts himself similarly on the left cheek, then hands the razor ceremoniously to a BOY standing beside him. The boy, no more than twelve years old, looks at VALLON worshipfully, keen eyes shining with fear and excitement. He starts to wipe the razor blade on the bottom of his jac

rough crackly RADIO) Los Angeles Tower, this is Transworld two-two Heavy, we are going down! Repeat... Engines two and three are... L.A. Tower this is MaydayI Mayday! TOWER (O.S.) (through crackly radio) 2-2 Heavy, Pull upt Pull up! The RADIO NOISE is drowned out by the A CAPELLA, SOPRANO VOICE of a young Indian boy as he sings a melodic Hindi pra

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

) 1971 Turner Entertainment Co All Rights Reserved. Copyright (c) 1971 Mike Hodges All Rights Reserved. FADE IN: EXT. PENTHOUSE APARTMENT - LONDON - NIGHT Framed in the large picture window stands JACK CARTER, alone, looking out at the night. He turns away as the heavy satin curtains close, wiping him from view.

fire engulfing a small two story house. It burns and burns. Out of nowhere a man bursts through a second story window, lands hard and rolls to smother his burning clothes. He crawls away and staggers up and for a moment looks as if he might run back into the flames. But the heat is unbearable. He runs toward us then past us through black shadows. We cannot see his face, 1A EXT. WINDOW - EARLY MORNING (WINTER 193

1 EXT. ROAD. AUGUSTA. 1988. A hot muggy Georgia morning. A pickup truck comes around a corner and moves towards us. Inside, music plays on the radio. We can't quite see who's driving. 2 INT/EXT. PICKUP TRUCK/AUGUSTA STREETS. MOMENTS LATER 2 The driver heads down the road. He beats his hand on the steering wheel to the rhythm of the music. The driver turns up the music. As the rhythm speeds, so does the truck. 3 IN

FADE IN: CARD OVER: SANDERSON PRISON EXT. PRISON YARD - TITLES OVER - DAY DOC McCOY IS BEING WALKED ACROSS THE COMPOUND BY A UNIFORMED GUARD, carrying a riot gun. Other Prisoners around the yard turn and stare as the two men head for the main building. INT. PRISON CORRIDOR DOC WALKS DOWN THE BLEAK HALLWAY: A BLACK PRISONER PASSES Doc in the corridor, they slap hands... the Guard remains at his shoulder. Near the end of the passage another Guard clangs open a barred d

oving dust. Shafts of muted light pierce the dense atmosphere. An eerie netherworld envelops us. Strange ghostly forms appear and disappear in the distance. They seem like apparitions. Broken timbers and dangling cables emerge from the smoky light. We see hints of a huge demolished space. An old white plaster wall FILLS THE SCREEN. Momentary blips of light flash across it. SOU

er) This is the most famous true story of Africa. It happened a hundred years ago, but even now, when children ask about it, you do not tell them at night. (The FIGURE continues to grow) It began with the race to build a railroad across Africa. (beat) But this is not about building a railroad- it is about Patterson. And now we can tell that the FIGURE is a YOUNG MAN, A LIEUTENANT COLONEL. This is PATTERSON. He is gifted and bright and serious, serio

OPENING TITLE SEQUENCE - EVENING We MOVE through the city in a series of brief shots that define and establish our setting, from commercial district to residential neighborhood. Eventually we find ourselves moving down a street of two-story apartment buildings. Many of the windows are lit from within by an EERIE BLUE LIGHT. As we track past at window-level we see:

he snowy landscape like a scar pointing north to icy desolation. A phone rings - 2 EXT. CABIN - ESTABLISHING A2 2 INT. CABIN - LAKE SILJAN - DAY 2 An elderly man who lives alone in this rustic cabin - a retired policeman - regards the phone, both expecting and dreading the call. He picks up the receiver. MORELL What kind is it?

-- the World." Byron FADE IN: EXT. FOREST - DAY Germania. The far reaches of the Roman Empire. Winter 180 A.D. Incongruously enough, the first sound we hear is a beautiful tenor voice. Singing. A boy's voice. CREDITS as we hear the haunting song float through dense forests. We finally come to a rough, muddy road slashing through the forest. On the road a GERMAN PEASANT FATHER is herding along three sickly looking cows. His two SONS are with him. His y

n...John. Okay. John. John. Look: (pause) The Glengarry Highland's leads, you're sending Roma out. Fine. He's a good man. We know what he is. He's fine. All I'm saying, you look at the board, he's throwing...wait, wait, wait, he's throwing them away, he's throwing the leads away. All that I'm saying, that you're wasting leads.

FFICE (SUMMER 1945) The PARAMOUNT Logo is presented austerely over a black background. There is a moment's hesitation, and then the simple words in white lettering: THE GODFATHER While this remains, we hear: "I believe in America." Suddenly we are watching in CLOSE VIEW, AMERIGO BONASERA, a man of sixty, dressed in a black suit, on the verge of great emotion. BONASERA America has made my fortune. As he speaks, THE VIEW imperceptibly begins to loosen.

is presented over a simple black background, as a single trumpet plays the familiar theme of a waltz. White lettering fades in: Mario Puzo's THE GODFATHER There is a pause, as the trumpet concludes, and there is the additional title: - Part Two - INT. DON CORLEONE'S OLD OFFICE - CLOSE VIEW ON MICHAEL CORLEONE - DAY standing impassively, like a young Prince, recently crowned King. CLOSE VIEW ON Michael's hand. ROCCO LAMPONE kisses his hand. Then it is taken away. W

BEFORE TITLES: The screen is black. First we hear the sound of a single trumpet playing slowly and sadly, the notes faintly resonant as if echoing through the narrow streets of some old hill village in Sicily. Now, confusingly, we see a slant of light move past us and another, and as our surroundings become more visible, we discover that we are moving through a pine forest lit by shafts

"Father of Frankenstein" by Christopher Bram May 30, 1997 SHOOTING DRAFT NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS AND SOME "SCENE OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR THIS SOFT COPY. FADE IN: MAIN TITLES BEGIN Writhing pools of light and dark, out of whic

ir lives and some wider shots of the city. As they continue, the hour gets progressively later in the day until the final sequence which takes place at night. Over this we hear our guy, PATRICK (30). PATRICK (V. 0 . ) To people who grow up here, this city is like family. The thing about family, about the city, about the church, about

sweet candy and such. But one day you look around and see a prison and you're on death row. You wanna run, or scream or cry. But something's locking you up. Are the other folks cows, chewing cud till the hour come and their heads roll? Or are they just keeping quiet, like you... Planning thei

DAY CUT TO: INT. L STREET BAR & GRILLE, SOUTH BOSTON -- EVENING The bar is dirty, more than a little run down. If there is ever a cook on duty, he's not here now. As we pan across several empty tables, we can almost smell the odor of last nights beer and crushed pretzels on the floor. CHUCKIE

od, California ------------------------------------------------------------------------------------ 1 EXT. AMPHITHEATRE - DAY SHOT - HELICOPTER'S POV - Moving through clouds. The clouds separate and, far below, we can see a giant outdoor amphitheatre. There is no SOUND but the WIND. As we move closer to the amphitheatre, we can hear SNATCHES OF WORDS and PHRASES as though from a public address system. 2 EXT. AMPHITHEATRE - PODIUM - DAY - SHOT OF BEN in cap and gown,

d teenagers. WALT KOWALSKI stands towards the front of the church. He speaks to an older MAN in a bulky, out-of-date suit. OLDER MAN I'm real sorry about Dorothy, Walt. She was a real peach. WALT Thanks for coming, Al. Walt Kowalski looks young for his age. He has slate blue eyes, physically fit and has had the same buzz cut hairstyle since getting out of the military in 1

an version By William A. Drake SHOOTING DRAFT PROLOGUE Berlin. Season is March. Action of the picture takes place in approximately 36 hours. Picture commences at approximately 12:35 in the day. Time: The Present.

URE IS INSPIRED BY A TRUE STORY, CERTAIN CHARACTERS AND EVENTS ARE FICTIONAL." FADE IN: SUPER: 'SEPTEMBER 1973'. INT. PHIL KAUFMAN'S BEDROOM. NIGHT A phone rings in the dark. A little light falls from the open window, illuminating an old bakelite telephone. It sits on a small table alongside a large amount of empty bottle

Of Wrath" By John Steinbeck AN OKLAHOMA PAVED HIGHWAY in daylight. At some distance, hoofing down the highway, comes Tom Joad. He wears a new stiff suit of clothes, ill-fitting, and a stiff new cap, which he gradually manages to break down into something comfortable. He comes down the left side of the ro

Based on The Great Gatsby by F. Scott Fitzgerald A BLACK SCREEN. The blackness is pierced by a single, pulsing green light... We drift, as if by boat, across a dark bay toward the light. Then, we hear a troubled voice.

---------------------- A SONG BEGINS, distant as a faded memory on an old Victrola: Once I built a railroad, made it run... Made it race against time...Once I built a railroad, now it's done...Brother, can you spare a dime... Opening credit sequence plays against footage of the Great Depression, images haunting and sepia-toned, defining an era. The bread lines...the sou

establishing the race track, Ruidoso Downs (pronounced Ree-oh-do-so), set among the beautiful mountains of New Mexico's Lincoln National Forest, as a white Chrysler turns in with a stream of cars moving toward the parking area. AN ANGLE through the open driver-side window of the Chrysler at LILLY DILLON, 39 but looking younger, beautiful but cold and watchful. WIDE SHOT, track in b.g. as Lilly parks the Chrysler, gets out, locks the car. As she walks toward the track, WIP

residential neighborhood. Yuppie neighbours look on in shock, confused. Two of the troops carry a battering ram to the front door of a white two-storey house. A leashed Rottweiler snarls and barks. In position, their comrades point M-16s into first-floor windows, ready to be ambushed. Pan into a window in the kitchen. An attractive woman in her thirties is making breakfast. Now, in regular motion, the battering ram breaks open t

0.) I saw a severed head once. Except for the, paleness, it looked healthy, well-fed. The end came abruptly you could tell 'cause the mouth froze in mid-sentence. "Shh. ," the curled lips attempted. Like it started saying "shucks" or "Shirley" or... "shit happens." Your eyes don't forget things like that. Like you don't forget the sound animals make when they're humping. Primal.

r, as a title appears on the screen. "God, she's beautiful..." CUT TO: INT. HANNAH'S APARTMENT - NIGHT A full face of Lee, wearing a gray sweater and leaning against the dining room doorway. She gazes into the camera with a half-smile on her face as Elliot speaks over the screen. ELLIOT (V.O.) God, she's beautiful. Lee glances over her shoulder, then turns from the doorway

Falls from low grey clouds. Down below we see... THE RIVER Muddy, slow and powerful, overflowing its banks. In the near distance is... THE RESERVOIR Filled to the maximum, water thundering out of two open gates. We close in on... THE DAM There's a Dam Control Office in the middle of the dam. We MOVE OFF the reservoir and h

PARK - DAY We float down through a serene, leafy park to the children's play area. There, in the sandbox, a BEAUTIFUL FIVE YEAR OLD GIRL plays among a group of kids. GIGI (V.O.) I have a theory about how this all started... A SIX YEAR OLD BOY approaches. He watches the little girl for a moment as she gently shapes her san

ds. A bus pulls in on Beverly. NEIL McCAULEY and a nurse get off. Neil carries a paper bag and wears white pants like a hospital attendant. Neil is an ice-cold professional: very big, very tough. At 42 his short black hair is graying. He spent eight years in McNeil and three in San Quentin. He got out and hit the street in 1987. Four of the McNeil years were spent in the hole. Neil's voice is street, but his language is precise like an engineer's. He's very careful and very good. Neil r

irs of feet running up the track, slipping in the mud . . . desperate. WIDE SHOT . . . reveals TWO GIRLS running up the track, distraught. JULIET HULME: nearly 16 - tall, blond and willowy, and PAULINE RIEPER: 16 - dark-haired, shorter and stockier than Juliet. It is 1954. Both girls are dressed in overcoats on a chilly winter day. They slip and stumble on the dirt track that winds up the steep Victoria Park hillside. Thick vegetation and overhanging trees give the path a tunnel-l

BY DAVID MAMET ROSENSTONE/WENDER AGENCY 3 E. 48th St. N.Y.C. FADE IN: EXT RAILROAD OVERPASS DAY. A LOW FLYING PLANE, MAKING ITS FINAL APPROACH. ANGLE CU. A WELL-BUILT MAN IN HIS FORTIES, JOE MOORE, IN HORN RIMMED GLASSES AND MOUSTACHE, LOOKS UP, AT THE PLANE. CAMERA TAKES HIM TO AN OLD STONE OVERPASS OVER A RAILROAD TRACK. HE CARRIES A FOLDED MAP. HE LOOKS AROUND, AS IF LOST. ANGLE. MOORE, STANDING AT THE SIDE OF A TWO LANE SEMI-SUBURBAN ROAD.

Kathryn Stockett Second Draft, November 9, 2009 WILLIAM FAULKNER wrote of Mammy Callie after her death: "...she gave to my family a fidelity without stint or calculation or recompense and gave to my childhood a

Simon Grim hangs from the back of it. He is a shy, skinny and terrified-looking guy around thirty years old. The truck rumbles to a halt and Simon climbs down off it to go punch out at the time clock. EXT. BEHIND THE WORLD OF DONUTS -- DAY Moments later. He comes walking up a small alley and sits to drink his beer. He begins to relax. This is his quality private ti

retch of interstate. This is HENRY. He looks out at the horizon. It's starting to get light out. There's snow on the ground. He's neither asleep nor awake. INT. TOLL BOOTH - MOMENTS LATER HENRY'S PLASTIC GLOVES unscrew a THERMOS, pour coffee into a Styrofoam cup. There are only a few drops left. A CAR Approaches. Henry straightens, slides open his w