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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
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
SHOOTING SCRIPT April 11, 1991 THE ADDAMS FAMILY - 11/6/90 FADE IN: A1 EXT. ADDAMS MANSION FRONT STEPS - CHRISTMAS EVE A1 A GROUP OF CAROLERS, their eager faces upturned, SINGS an endless and cloying roundelay of "Little Drummer Boy." They sing with self-righteous good cheer. As they pompously begin their umpteenth verse, THE CAMERA SLOWLY PANS UP THE ADDAM
REVISED 10/07/08 INT. PAUL'S APARTMENT. BEDROOM - DAY BLINDING WHITENESS We hear a MAN GASPING softly. Rhythmically. A LUMINOUS PALE SHAPE slowly forms out of the searing whiteness. Gradually we realize we're moving across the ALABASTER BODY of a WOMAN. Her skin translucent. ON THE WOMAN'S FACE Ethereal. Her eyes closed. Her face lifeless. Then... ...h
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
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
1 EXT. FOREST - NIGHT A dense forest on a dark, misty night. YOUNG EDWARD CARNBY (age 10), small, thin, and terrified, runs for his life. 2 The forest is pitch black. Young Edward ducks between trees, under branches, not stopping for anything, GASPING for breath. He doesn't turn to look behind him. He jus
e decor is a mixture of chi-chi and rustic, with swagged silk curtains, handwritten menus and pale pink tablecloths decorated with arrangements of moss, twigs and hideous exotic flowers. The clientele is young, wealthy and confident, dressed in the height of late-eighties style: pouffy Lacroix dresses, slinky Alaïa, Armani power suits. CLOSE-UP on a WAITER reading out the specials. WAITER With goat cheese profiteroles and I also have an arugula Caesar salad. For entrées tonig
, the main title is superimposed. An American Werewolf in London We continue to retreat from the moon, looking on as it grows farther from us, continuing credits until the full moon is the size it appears to us from earth. 2 EXT. CROSSROADS ON THE MOORS - NIGHT Tree branches enter into the frame, the camera pans down and we see a truck approaching. We are at a crossroads in the moors, looking sinister enough to have ear
27TH JULY 2012 Against BLACK SCREEN a TITLE CARD appears: "The boundaries which divide Life from Death are at best shadowy and vague. Who shall say where the one ends, and where the other begins?" - Edgar Allan Poe TITLE CARD dissolves.
July 30, 1986 FADE IN EXT. FERRY LANDING - NEW ENGLAND SHORE - DAY The sparkling waters. The chirping spring day. We are on an isolated stretch of country shore , and a quiet, sheltered island is visible distantly across the Sound. There is asense of anticipation, excitement. VOICES can be heard.
n Raimi. All rights reserved. Shooting Script 2/26/91 ------------------------------------------------------------------------------ 1 GRAINY BLACK AND WHITE - CLOSE-UP - A MAN'S DESPERATE FACE 1 This is Ash, mid twenties, square jaw firmly set and a pair of haunted eyes which dart about quickly in fear. Ash speaks to the CAMERA with urgency: ASH Why would you say that I am insane? I wouldn't say that I've lost my mind simply because I've
d the mountains. In the middle of a field stands a bare-chested man facing the sunset. He is HARRIS, forty-ish, greying but handsome, and very fit. His hands are outstretched as if embracing an invisible entity. He seems filled with some sort of transcendental power. Now, an air of fulfillment and resolve settles over him. He turns and walks away from us. CAMERA ADJUSTS and reveals-- 2 EXT. UNITY HOUSE - LONG SHOT - SUNSET 2
Daphne Du Maurier FINAL DRAFT 2nd Revision March 2, 1962 FADE IN: FULL SHOT - GRANT STREET - SAN FRANCISCO - DAY It is mid-afternoon, and there is a tempo and pace to the people walking, the doorman HOOTING for taxicabs, the policemen directing traffic. PAN SHOT - PEDESTRIANS waiting at street corner for light to change. CLOSE SHOT - MAN at the end of line of pedestrians. He is looking up at
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
, snowy pavement. ANGLE ON a PALE FIGURE standing across the street. He looks feverish and strung-out, in serious need of a fix. This is JARED NOMAK, 20s. He starts towards the clinic. INT. COMMUNITY BLOOD BANK - ENTRANCE - NIGHT Potential DONORS sit in a waiting area, filling out forms, leafing through informational material. A sign in the window reads: "Se habla Espanol". Others read: "YOU ARE
l unexplored because there are as yet no words to enable us to get there. (beat) But I was there for the end. I took part in it. And I think my words can help shed light on what happened. My name is Abigail. This is our story. FADE IN: EXT. IRAQI DESERT - DAWN Harsh sunlight beats down
ts left on the block. A MIDDLE-AGED AFRICAN-AMERICAN MAN carries his single bag of groceries. The man listens and watches carefully, as he negotiates the darkness between the few pools of light on the street. We won't see his face until he reaches the next pool of light, but he walks with shoulders hunched in fear. Moving down the block, all shops abandoned. Broken windows. Rats. The
e see an Italian village at the height of the plague. Funeral processions, decrepit houses with their windows boarded up... the stench of death all around. TITLE: EUROPE. THE DARK AGES Through the filth a KNIGHT walks his horse. He is weary but not so dingy as his surrounding; a stranger in these parts. He comes to an inn, where a boy takes his horse round back. He enters the inn.
re of a piece of solid matter, less of a mystery. It's the EXT. WHITE BUNGALOW (OR HOUSE) DAY 1. FILLING THE FRAME like a picture postcard. Modest, old-fashioned, spotless a vision of small town normalcy and virtue. This is the home of MARGARET WHITE and her daughter CARRIE. It seems to have been scrubbed from roof to porch; it is white. Even the lawn seems to have been washed and bleached. Antiseptic. We hear a woman's voice:
INSPIRED BY REAL EVENTS 1. Pitch black. We hear FOOTSTEPS sneaking up an old wooden staircase. Two people moving as one. Topping the stairs, they creep down the hall to the closed door that protects us. We can hear them behind it, whispering, bickering insanely, one shushing the other. The squeak of a door k
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
ir from the pillow and examines it curiously. There is a noise outside and Ed gets up to investigate. INT. HALLWAY - NIGHT Ed walks through the dark hallway and into the living room of his small house. INT. LIVING ROOM By the front door, hanging on the wall, is a framed picture of Eve, Ed's wife. Ed passes by it and looks outside through the window. There is some wind outside, but nothing else. INT. BATHROOM Ed looks longingly at his reflection. Ed Saxon, 4
kwell land, red barns on dirt roads, a square in the center of town. But things are hidden here. The barns are locked, the shades are drawn. Dissolve to: EXT. LOVER'S LANE A romantic turn-off used exclusively for parking. A river gushes by. Crickets chirp. The trees blow in the autumn wind. A single car sits on the lonely road. The muffled sound of a young couple making out drifts through the streamed up windows. INT. CAR A teenage boy's hand is under a teenage girl's
Frank Cappello EARLY PRODUCTION DRAFT November 14, 2002 FADE IN: EXT. ISTANBUL - DUSK Glimpses of an ancient city. Almost motionless against the tide of time. Sea swelled along an endless wall. Billowing silk frozen against the sky. Birds lighting on Byzantine columns. FINAL IMAGE is of an imposing STRUCTURE beyond the trees. INT. PRISON FOR THE CRIMINALLY INSANE Corri
PREDISPOSITION, DISSOCIATION, TRAUMA, FANTASY, VIOLENT FANTASY, FACILITATORS, MURDER, and TRAUMA-REINFORCEMENT which she can point to with a laser pointing device. We see her from a considerable distance... the back of the balcony. Her voice is crisp and assured. HELEN Our society creates these socially and psychically disenfranchised men, and their revenge on society is terrible. They are hard to catch. They are "the nice guy next door," their employers --
ently wielded. INT. MYSTERY ROOM - DIMNESS X-CLOSE. A SCALPEL returned to its place in a neat array of TAXIDERMY TOOLS. Long surgical TWEEZERS taken. A steady HAND grasps a CLAY BIRD FORM. Then sets the second eye. Unhurried. Meticulous. A MYSTERY MAN, features obscured, sets the tweezers aside, reaches for a black lump on the table, revealed to be shiny feathers
of a perched crow large in the f.g. TIGHT ANGLE - FRESH GRAVE As a spade smooths the walls of a new double-decker plot. DIMITRI (O.S.) We're losing the light; let's pack it in. ANGLE - DIMITRI AND ALEXI TWO GRAVEDIGGERS. Scoop digger parked f.g. towering gothic- style church b.g. Rolls of astro turf. They look up toward the sky. ALEXI Snow, maybe? DIMITRI What, you gonna ski on this? He indicates the mound of fresh dirt. Spits into
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
ate. A mix of subtle sounds begin to fade in. As they get louder, we can discern what sounds like a busy office area. It is actually a frantic television studio with the hum of panic in a national emergency. The woman's moans get louder and more desperate as the background sounds reach full volume and the credits stop. The woman sits up, snapping awake. 2 She lurches forwards into the arms of a strong young man. She is Francine, twenty three years old and very attractive,
ITY - DAY We hear THE SOUND OF A STRONG WIND. DEBRIS flutters through the streets. A LARGE ALLIGATOR slithers into frame, stops and looks around. MONTAGE: as MORE GATORS explore the empty streets, knocking over GARBAGE CANS, upsetting the MANNEQUINS in A DEPARTMENT STORE WINDOW. A GATOR crawls out through the open doors of AN ABANDONED BANK. LOOSE BILLS are dragged along under the animal's tail. They flutter away on the WIND. 3 EXT. THE CITY - DAY GATORS crawl over A '79
ed Draft Jan. 1st, 1996 OPEN TO: A FLASH OF LIGHTNING rips the HOLLYWOOD PICTURES LOGO away, and we find ourselves in the middle of... 1 STORMY SEA - NIGHT 1 SUPERIMPOSED: SOUTH CHINA SEA The dark blue waters roil and boil and foam. THUNDER CRACKS. LIGHTING FLASHES.
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
anie Browne is jarred from a peaceful sleep as the alarm clock BUZZES. She hits the snooze button and plops back down onto the pillow. After a few seconds of pure sleeping bliss, she wills herself up. She moves through her Ikea furnished bedroom, past a "Hang in there, baby" poster and into the bathroom. INT. BATHROOM - A MOMENT LATER Stephanie turns on the shower. While waiting for the water to heat up,
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.
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
r - I Exterior - E Day - D Night - N Twilight - T LOCATION CODING CAR - Car B - Bridge CAB - Surrounding area outside cabin W - Woods M.R. - Main Room D.R. - Dining Room K - Kitchen C - Cellar W.S. - Work Shed L.B. - Linda's Bedroom S.B. - Shelly's Bedroom C.B. - Cheryl's Bedroom B.T.R- Bathroom EXAMPLE 12 ID - D.R. TRANSLATION Scene #12, Interior, Day, Dining Room 1 ED - W Something evil is lurking
DE IN: DE LAURENTIIS ENTERTAINMENT GROUP LOGO FADE OUT. FADE IN: RENAISSANCE PICTURES LOGO FADE OUT. 00 BLACKNESS 00 A sound is building. Like a living wind. A thousand screams in agony. From the blackness, gusts of smoke pull together quickly, forming
EXT. DESERT -- DAY The white sun beats down on the rocky terrain. There's not a cloud in the blue sky and the wind is at a standstill. Far in the distance, a MEDIUM SIZED FLAT-BED TRUCK makes its way to the entrance of a large cavern opening. Two VULTURES perched on a barren tree watch the intruders. EXT. DESERT -- DAY The truck screeches to a dusty stop. Three men in m
e. The BLACK SILENT SCREEN senses this moment before a distant blues harp introduces a contemporary band's cover of Blood, Sweat, and Tears' campy, yet haunting, gospel, "And When I Die." As the Introduction closes, RESONATES... A FLASH OF LIGHTING! A CRACK OF THUNDER! CUT TO: INT. ALEX'S BEDROOM - NIGHT - CLOSE - BED An airline ticket is tossed INTO FRAME beside a suitcase; "EURO-AIR. FLIGHT #180. New York City (JFK) - Paris, Charl
r "FOWLER BROTHERS KILLED IN COAL MINE MISHAP." Another series of articles reads, "JEWISH PROFESSOR DENIED ADMITTANCE TO HINDENBURG" and "PROFESSOR RABINOWITZ KILLED IN AVALANCHE." Etc... Continuing along the wall, the newspaper articles all focus on the fates of the original SURVIVORS of the FLIGHT 180 CRASH. We DISSOLVE between the various headlines depicting the gruesome deaths of Tod, Terry, Ms. Lewton, Billy Hitchcock, Carter and Alex Browning. Also in the mix are various CRIM

of CHILDREN CHANTING increases. DREAM CHILDREN (in chorus) One... two... Freddy's coming for you. On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. DREAM CHILDREN (continuing; chant
Gradually we can begin to hear, in the BG, the SOUNDS of CHILDREN playing. CUT TO: 2 EXT. SOFTBALL FIELD - DAY In the BG a few dozen CHILDREN, in camp uniforms, are enjoying a game of softball. In the FG CLAUDETTE is looking for someone. CLAUDETTE is 17 years old. She is pretty. She wears a t-shirt with "Assistant
view. A few scattered streetlights. Dilapidated cabins. An abandoned campsite. CAMP CRYSTAL LAKE. We continue to drift towards it, hearing the faint sound of seductive music and an occasional giggle. A small HOUSEBOAT floats into our foreground, its interior light flickering as TWO BODIES move around inside. INT. HOUSEBOAT - NIGHT A teenage boy and girl, JIM and SUZY, are slow-dancing. Jim's lips softly touch her lissome shoulders. JIM Well...how do you
- the basic elements are all the same, just mixed differently. A gloomy night, no moon. And a slightly ominous pattern emerges... Green, thriving lawns and meticulously tended homes abut brown yards and porches littered with old newspapers and pizza joint flyers. Each third or fourth house is FOR SALE or, worse, seemingly abandoned. This area is in danger of becoming a ghost town. A deep, commandin
Sep 6th, 1984 1. FADE IN: EXT. FULL MOON - NIGHT (AND CREDITS. ROLL) Clouds obscure the starless heavens for a moment, heavy and ominous in the black firmament. Then suddenly they clear, exposing a full moon streaked with red like a killer's face, a stalking moon staring down at man's evil on the earth below. A HOWL breaks the night, a wolf pursuing
read and formatted by ueli riegg email: webmaster@studiour.tsx.org; url: http://studiour.tsx.org Cast List: Quentin Tarantino Richard Gecko George Clooney Seth Gecko Brenda Hillhouse Hostage Gloria Harvey Keitel Jacob Juliette Lewis Kate Ernest Liu Scott Cheech Marin Border Guard, Chet Pussy, Carlos Selma Hayek Santanico Pande
present your bodies as a living sacrifice, holy and acceptable to God, which is your spiritual worship. Do not be conformed to this world, but be transformed by the renewal of your mind, that by testing you may discern what is the will of God, what is good and acceptable and perfect. -Romans 12:1-2 EXT. THE SHAW'S HOUSE - FRONT LAWN - NIGHT
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
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
for male and female psychiatric patients. Its primary clientele are those who have histories of committing criminal offenses and are either committed to the Department of Mental Health by the Circuit Courts of the State or who are admitted under authority of an appointed guardian. FADE IN: OPENING CREDITS OVER QUICK CUTS: INT. MIRANDA AND DOUG'S BEDROOM - DAWN PUSH in on a sleeping couple in the dark. The ALARM CLOCK reads 5:59 AM. The woman's eyes o
PRODUCTION DRAFT November 10, 2010 Production Draft - PINK Revised, November 16, 2010 Production Draft - BLUE Revised, November 19, 2010 Production Draft - YELLOW
thing. RAND PELTZER walks through the owd. An American businessman.1-He wears a tas eful g3,y suit. He's thin, with distinguished good looks and thin brown hair. He's 56 years old. Rand looks around; fascinated by the vast array of people and merchandise. He stops at a booth. A tiny ORIENTAL, WOMAN stands behind the counter. Rand gives her a polite smile. RAND Hi. I'm fro
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.
By Takashi Shimizu Production Draft - BLUE Revised, January 26, 2004 1 INT. PETER & MARIA'S BEDROOM - DAY 1 FADE IN on MARIA (late 20s), asleep in bed. She's breathtakingly beautiful. Morning light fill
, ILLINOIS OCTOBER 30 EXT. SMITH'S GROVE STATE HOSPITAL. DAY A cold brick building. Isolated. Surrounded on all sides by barbed-wire fencing. A RENTAL CAR pulls up to the SECURITY GATE. A SECURITY GUARD
DUNGEON - TUNNELS - NIGHT (DISTORTED) The agonizing SCREAMS continue as we MOVE rapidly through a labyrinth of winding underground tunnels. Glowing torches light the way. Blurry, indistinct silhouettes of grim FIGURES wearing black-cowled robes flash along the dank, craggy walls. As we BLAST around dark corners, we realize we are looking from the P.O.V. of a SCREAMING young woman being pushed forward on a gurney. Plunging deeper into this hellish maze. A door is SLAMMED.
September 8, 1999 INT MIDWIVES OFFICE DAY. FAIRLY RUNDOWN OFFICE. OLD AND DIRTY HEALTH NOTICES TACKED TO A BULLETIN BOARD. "COMMON SENSE FOR NURSING MOTHERS," ET CETERA. A LOWER-CLASS WOMAN, PREGNANT, WITH A SMALL CHILD IN TOW, OPENS THE DOOR, AND ENTERS. SHE IS SWELTERING, AND MOPS HER BROW AS SHE WALKS TO THE REGISTRATION DESK. MOTHER
11/10/98 Initial Shooting Script NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS. THEY HAVE BEEN REMOVED FOR THIS SOFT COPY. BEGIN MAIN TITLE SEQUENCE. At the very edge of hearing, the tone of human VOICES. Unintelligible, babbling, eerie. Then a loud FLAPPING SOUND. It shifts from one side of the theater to the other, like something moving among the wall hangings. As the TITLE appears, the
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
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,
November 1, 1987 FADE IN: 1 TITLES The screen is composed of large, straight-edge areas of black and white that rest against each other in a manner that suggests some kind of pattern, without making a final sense; it is as if we are too close to something that, could we see it from a distance, would be clear to us. These areas shift and change - both their own shape and their relationship to their neighbors. New patterns are being made, new soluti
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
an Film Productions Ltd (C) Clive Barker 28.7.86 115 Flood Street, London. SW3 01-352-4195 1 TITLE SEQUENCE In darkness, a blood-curdling cacophony: the squeal of unoiled winches, the rasp of hooks and razors being sharpened; and worse, the howl of tormented souls. Above this din one particular victim yells for mercy - a mixture of tears and roars of rage. B
& Tony Randel 1st Draft May 8 1991 Bobbi Thomson Revised May 29 1991 William Morris Agency Revised June 13 1991 151 El Camino Drive Revised July 1 1991 Beverly Hills CA 90212
begins to shake. Slow motion. Graceful. WE HEAR a low rhythmic THUMP, THUMP, THUMP... The surface slowly peels off like flecks of dried old paint as we pull back a little wider and realize that we're looking at an OLD DOOR. THUMP, THUMP, THUMP... The door continues to rattle. Something or someone is behind it, desperately fighting to get out. THUMP, THUMP, THUMP... Wider still to include the rusted, worn doorknob twisting back and forth and shaki
tractive, late twenties, warmly sophisticated. Something makes her smile. She turns to the driver and thinks real hard as she says this. KIRSTY Okay. Cubic root of nine thousand two hundred and sixty one. TREVOR is her husband, late twenties as well. God gave him brains and beauty. He has used them both prodigiously. TREVOR Twenty one. Why do we have to do this now Kirsty? KIRST
EXT. DESERT HILLS - DAY Open on a GEIGER COUNTER scanning over a rocky terrain. A SAND STORM blows over the landscape. We are lost somewhere in the middle of the New Mexico desert. According to the instrument, the area contains high levels of radiation... THREE MEN WEARING FULL ANTI-RADIATION SUITS have left their jeep behind to collect samples of contaminated rocks.
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
We see a LITTLE GIRL dancing around in a grainy super 8 home movie. A LITTLE BOY wearing a monster MASK enters the frame. He struggles to lift a double barrel shotgun. He points it at the girl and pretends to SHOOT. GIRL (V.O.) (whispering slowly) Once I had a cat, he was the sweetest little guy. Then one day he got
lling along behind her. Even dressed down, this city girl can't hide her natural beauty and panache. She makes her way across the street and to an SUV. she opens the trunk and tosses in the suitcase among several other bags. She closes it, and walks to the driver's side. We see that the entire cargo bay of the SUV is filled with boxes and personal affects. Al INT. SUV, CITY STREET - DAY Al
ges of STAINED GLASS and lead. FOOTSTEPS ECHO across the marble floor. REVEAL - JULIE JAMES A little older, a little wiser, yet still very pretty, no doubt. But she's all alone in the house of the Lord. And those doleful eyes of hers clearly telegraph a very heavy burden still rests upon her soul. She reluctantly walks past the rows of empty pews toward a curtained CONFESSIONAL BOOTH. 2 INT. CONFESSIONAL BOOTH - DAY Julie slides the drapes shut behind her as she
advancing himself stays the further ahead of himself, By not confining himself to himself, sustains himself outside himself. --LAOZI 2. FADE IN INT. DARKENED BEDROOM - NIGHT A spherical black monolith rises up from a wh
hen Rea Santiago Christian Slater Daniel Malloy Kirsten Dunst Claudia FADE IN: INT. ROOM - NIGHT (SAN FRANCISCO) A small bare room, illuminated only by the streetlight coming through the window. A hand presses a cassette into a recorder and fiddles with a small microphone. Malloy sits over a table fiddling with the tape. He is young, half-shaven, dressed in T-shirt and jeans. He looks too - LOUIS, who stands by the window, looking
STUDIO DRAFT 3-18-2014 OPEN ON: Rain. Lashing a windowpane. A PIANO PLAYS somewhere off screen. Beethoven's Fur Elise. INT. WILL'S BEDROOM - DAY
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
Peter Benchley From the novel by Peter Benchley OVER BLACK Sounds of the innerspaces rushing forward. Then a splinter of blue light in the center of the picture. It breaks wide, showing the top and bottom a silhouetted curtain of razor sh
Howard Sackler FADE IN: UNDERWATER - DAY Dramatically lit by sunlight filtering down from the surface. A dim shape, massive, threatening, swims towards us from the distance. Then it divides -- what was one is two, and the shape becomes reality; two divers in Scuba gear swimming side by side. They are wearing minimal rubber, consideri
WOMEN'S CORRECTIONAL HOSPITAL - DAY ANITA "NEEDY" LESNICKI, 17, sits on her hospital bed in pajamas. She's a plain-faced girl with a haunted expression. As she stares out the window, she winds colored yarn around a pair of Popsicle sticks to create a "god's eye." Out a single window, we see an imposing nine-foot SECURITY FENCE. Next to Needy, we see a pile of unopened mail
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
ic CRY of a LOON. SLOWLY FADE IN TO: EXT. BLACK LAKE - NIGHT The loon continues its hypnotic call, as the steamy mist lifts off the dark water, which doesn't even ripple. The loon continues her nocturnal cry, as we savor the beauty of the lake, the elegance of the bird, and the haunting echo of her lonely call... until suddenly the bird is crisply pulled under, silenced forever. A lone feather surfaces and floats as: Credits roll
S Copyright 2004 All Rights Reserved BLACK. THE SOUND OF CHANNELS BEING TURNED ON A TV. TITLE UP: "SOME TIME AGO". NEWSCASTER (O.S.) It's hard for us here to believe what we're reporting to you, but it does seem to be a fact. CLICK! In a corner of the BLAC
"Come, ye children, listen to me. I will teach you the fear of the LORD." PSALM 34:11 THE MOJAVE DESERT - DUSK Vast. Barren. No signs of life. A BLOOD RED SUN is sinking behind the distant mountains. The unbearable heat will soon become an unbearable cold. A YOUNG WOMAN'S VOICE. Solemn. Weary. Determined.
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
a limb. He has a bottle of wine, some sandwiches, a Walkman. Suddenly the lights turn on. PEEPER (whispering) Showtime! We see a young mother walk into the room outside the Peeper's window. She is wearing business attire. PEEPER (CONT'D) Rough day at the office Mrs. Dunleavy? (takes bite of sandwich) Well you'll feel better once you slip off those work clothes and get into some sweats. The mother sits on the bed and pulls off her shoes, rubbi
Disturbing. WE LAP DISSOLVE between details of their twisted anatomies: headlamp eyes, bright metal claws, broken glass teeth. EXT. NEVADA ROADS - DESERT - DAY Two vehicles, one a Volkswagen "bus" decorated with stylized flames, the other a '66 Thunderbird, speeding along a series of eerily empty desert roads, somewhere in a wilderness of sand and heat. END CREDITS. CUT WIDE TO; EXT. NEVADA DESERT - DAY A violent WIND HOWLS around, but through the sand we-
L EXT. TWO-LANE HIGHWAY - NIGHT We see a clean moving POV illuminated by headlights. We're floating down an old two-lane highway through a desolate, desert landscape. This gliding, eerie POV continues as credits roll. when the credits end, the headlights seem to dim and soon we're moving through BLACKNESS. FADE OUT: FADE IN: INT. THE MADISON HOUSE - BEDROOM - DAY in the blackness, a man, FRED, is sitting on a bed smoking a cigarette. we see his back
FLORIDA, BEACH - GRAHAM + CRAWFORD - DAY The highlit aqua water burns out sections of the two men imposed in front of it. The beach is white sand. JACK CRAWFORD -- mid-forties, large -- came down from Washington. His suitcoat over the driftwood log and his rolled-up white sleeves says City, not Florida Keys. WILL GRAHAM -- late thirties -- in a faded Hawaiian number and sun-bleached vio- let shorts, belongs. Graham smokes. Crawford drinks from a glass of iced tea. Then:
Guillermo del Toro June 19th 1996 NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS. THEY HAVE BEEN REMOVED FOR THIS SOFT COPY. FADE IN: THE SCREEN Stygean darkness. Wet CLICKING SOUNDS. A BEAM of purplish ULTRA-VIOLET LIGHT reveals a mosaic of moving forms... COCKROACHES. They skitt
rrors are the gates through which death comes and goes. Tell no one." Orphée, Jean Cocteau 1 OMITTED 1 1A INT. NIGHT - HARLEM SUBWAY STATION 1A A subway screeches by at full speed revealing a station platform somewhere in Harlem. A man runs for his life in the de
n King FADE IN ON: A SINGLE CIGARETTE. A MATCH. A HOTEL ICE BUCKET that holds a bottle of champagne. The cigarette is unlit. The match is of the kitchen variety. The champagne, unopened, is Dom Perignon. There is only one sound at first: a strong WIND-- --now another sound, sharper--a sudden burst of TYPING as we PULL BACK TO REVEAL PAUL
he closer sound of a car - its headlights illumine an oleander bush and the limbs of an Eucalyptus tree. Then the headlights turn - a street sign is suddenly brightly lit. The words on the sign read... "Mulholland Drive." The car moves under the sign as it turns and the words fall once again into darkness. CUT TO: EXT. NIGHT - MULHOLLAND DRIVE Gliding we follow the car - an older black Cadillac limousine - as it winds its way up Mulholland Drive through the dar
rises up. WE PUSH IN on it, towards a CITY along the Nile, it's name written in hierarchic. WE KEEP PUSHING IN until the golden map turns to golden sand and we find ourselves DESCENDING on this ancient Egyptian city. Only it's not ancient. SUPERIMPOSED across the SCREEN are the WORDS. THEBES - 2,134 B.C Accompanied by a NARRATOR with a very thi
channels. After we've heard different channels, the scanning stops on a channel with jazz music. With a loud sound, the credits stop, the black screen moves away to the right and is replaced by : FILM SET - BEDROOM - INTERIOR DAY (it is actually day-time, but the scene in the film being shot is supposed to take place during the night. So all the artificial lights make us believe it is night-time) We still hear the sound of the radio. We are on a film set, even though

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

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

SHOOTING SCRIPT April 11, 1991 THE ADDAMS FAMILY - 11/6/90 FADE IN: A1 EXT. ADDAMS MANSION FRONT STEPS - CHRISTMAS EVE A1 A GROUP OF CAROLERS, their eager faces upturned, SINGS an endless and cloying roundelay of "Little Drummer Boy." They sing with self-righteous good cheer. As they pompously begin their umpteenth verse, THE CAMERA SLOWLY PANS UP THE ADDAM

REVISED 10/07/08 INT. PAUL'S APARTMENT. BEDROOM - DAY BLINDING WHITENESS We hear a MAN GASPING softly. Rhythmically. A LUMINOUS PALE SHAPE slowly forms out of the searing whiteness. Gradually we realize we're moving across the ALABASTER BODY of a WOMAN. Her skin translucent. ON THE WOMAN'S FACE Ethereal. Her eyes closed. Her face lifeless. Then... ...h

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

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

1 EXT. FOREST - NIGHT A dense forest on a dark, misty night. YOUNG EDWARD CARNBY (age 10), small, thin, and terrified, runs for his life. 2 The forest is pitch black. Young Edward ducks between trees, under branches, not stopping for anything, GASPING for breath. He doesn't turn to look behind him. He jus

e decor is a mixture of chi-chi and rustic, with swagged silk curtains, handwritten menus and pale pink tablecloths decorated with arrangements of moss, twigs and hideous exotic flowers. The clientele is young, wealthy and confident, dressed in the height of late-eighties style: pouffy Lacroix dresses, slinky Alaïa, Armani power suits. CLOSE-UP on a WAITER reading out the specials. WAITER With goat cheese profiteroles and I also have an arugula Caesar salad. For entrées tonig

, the main title is superimposed. An American Werewolf in London We continue to retreat from the moon, looking on as it grows farther from us, continuing credits until the full moon is the size it appears to us from earth. 2 EXT. CROSSROADS ON THE MOORS - NIGHT Tree branches enter into the frame, the camera pans down and we see a truck approaching. We are at a crossroads in the moors, looking sinister enough to have ear

27TH JULY 2012 Against BLACK SCREEN a TITLE CARD appears: "The boundaries which divide Life from Death are at best shadowy and vague. Who shall say where the one ends, and where the other begins?" - Edgar Allan Poe TITLE CARD dissolves.

July 30, 1986 FADE IN EXT. FERRY LANDING - NEW ENGLAND SHORE - DAY The sparkling waters. The chirping spring day. We are on an isolated stretch of country shore , and a quiet, sheltered island is visible distantly across the Sound. There is asense of anticipation, excitement. VOICES can be heard.

n Raimi. All rights reserved. Shooting Script 2/26/91 ------------------------------------------------------------------------------ 1 GRAINY BLACK AND WHITE - CLOSE-UP - A MAN'S DESPERATE FACE 1 This is Ash, mid twenties, square jaw firmly set and a pair of haunted eyes which dart about quickly in fear. Ash speaks to the CAMERA with urgency: ASH Why would you say that I am insane? I wouldn't say that I've lost my mind simply because I've

d the mountains. In the middle of a field stands a bare-chested man facing the sunset. He is HARRIS, forty-ish, greying but handsome, and very fit. His hands are outstretched as if embracing an invisible entity. He seems filled with some sort of transcendental power. Now, an air of fulfillment and resolve settles over him. He turns and walks away from us. CAMERA ADJUSTS and reveals-- 2 EXT. UNITY HOUSE - LONG SHOT - SUNSET 2

Daphne Du Maurier FINAL DRAFT 2nd Revision March 2, 1962 FADE IN: FULL SHOT - GRANT STREET - SAN FRANCISCO - DAY It is mid-afternoon, and there is a tempo and pace to the people walking, the doorman HOOTING for taxicabs, the policemen directing traffic. PAN SHOT - PEDESTRIANS waiting at street corner for light to change. CLOSE SHOT - MAN at the end of line of pedestrians. He is looking up at

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

, snowy pavement. ANGLE ON a PALE FIGURE standing across the street. He looks feverish and strung-out, in serious need of a fix. This is JARED NOMAK, 20s. He starts towards the clinic. INT. COMMUNITY BLOOD BANK - ENTRANCE - NIGHT Potential DONORS sit in a waiting area, filling out forms, leafing through informational material. A sign in the window reads: "Se habla Espanol". Others read: "YOU ARE

l unexplored because there are as yet no words to enable us to get there. (beat) But I was there for the end. I took part in it. And I think my words can help shed light on what happened. My name is Abigail. This is our story. FADE IN: EXT. IRAQI DESERT - DAWN Harsh sunlight beats down

ts left on the block. A MIDDLE-AGED AFRICAN-AMERICAN MAN carries his single bag of groceries. The man listens and watches carefully, as he negotiates the darkness between the few pools of light on the street. We won't see his face until he reaches the next pool of light, but he walks with shoulders hunched in fear. Moving down the block, all shops abandoned. Broken windows. Rats. The

e see an Italian village at the height of the plague. Funeral processions, decrepit houses with their windows boarded up... the stench of death all around. TITLE: EUROPE. THE DARK AGES Through the filth a KNIGHT walks his horse. He is weary but not so dingy as his surrounding; a stranger in these parts. He comes to an inn, where a boy takes his horse round back. He enters the inn.

re of a piece of solid matter, less of a mystery. It's the EXT. WHITE BUNGALOW (OR HOUSE) DAY 1. FILLING THE FRAME like a picture postcard. Modest, old-fashioned, spotless a vision of small town normalcy and virtue. This is the home of MARGARET WHITE and her daughter CARRIE. It seems to have been scrubbed from roof to porch; it is white. Even the lawn seems to have been washed and bleached. Antiseptic. We hear a woman's voice:

INSPIRED BY REAL EVENTS 1. Pitch black. We hear FOOTSTEPS sneaking up an old wooden staircase. Two people moving as one. Topping the stairs, they creep down the hall to the closed door that protects us. We can hear them behind it, whispering, bickering insanely, one shushing the other. The squeak of a door k

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

ir from the pillow and examines it curiously. There is a noise outside and Ed gets up to investigate. INT. HALLWAY - NIGHT Ed walks through the dark hallway and into the living room of his small house. INT. LIVING ROOM By the front door, hanging on the wall, is a framed picture of Eve, Ed's wife. Ed passes by it and looks outside through the window. There is some wind outside, but nothing else. INT. BATHROOM Ed looks longingly at his reflection. Ed Saxon, 4

kwell land, red barns on dirt roads, a square in the center of town. But things are hidden here. The barns are locked, the shades are drawn. Dissolve to: EXT. LOVER'S LANE A romantic turn-off used exclusively for parking. A river gushes by. Crickets chirp. The trees blow in the autumn wind. A single car sits on the lonely road. The muffled sound of a young couple making out drifts through the streamed up windows. INT. CAR A teenage boy's hand is under a teenage girl's

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

PREDISPOSITION, DISSOCIATION, TRAUMA, FANTASY, VIOLENT FANTASY, FACILITATORS, MURDER, and TRAUMA-REINFORCEMENT which she can point to with a laser pointing device. We see her from a considerable distance... the back of the balcony. Her voice is crisp and assured. HELEN Our society creates these socially and psychically disenfranchised men, and their revenge on society is terrible. They are hard to catch. They are "the nice guy next door," their employers --

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

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

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

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

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

ed Draft Jan. 1st, 1996 OPEN TO: A FLASH OF LIGHTNING rips the HOLLYWOOD PICTURES LOGO away, and we find ourselves in the middle of... 1 STORMY SEA - NIGHT 1 SUPERIMPOSED: SOUTH CHINA SEA The dark blue waters roil and boil and foam. THUNDER CRACKS. LIGHTING FLASHES.

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

anie Browne is jarred from a peaceful sleep as the alarm clock BUZZES. She hits the snooze button and plops back down onto the pillow. After a few seconds of pure sleeping bliss, she wills herself up. She moves through her Ikea furnished bedroom, past a "Hang in there, baby" poster and into the bathroom. INT. BATHROOM - A MOMENT LATER Stephanie turns on the shower. While waiting for the water to heat up,

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.

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

r - I Exterior - E Day - D Night - N Twilight - T LOCATION CODING CAR - Car B - Bridge CAB - Surrounding area outside cabin W - Woods M.R. - Main Room D.R. - Dining Room K - Kitchen C - Cellar W.S. - Work Shed L.B. - Linda's Bedroom S.B. - Shelly's Bedroom C.B. - Cheryl's Bedroom B.T.R- Bathroom EXAMPLE 12 ID - D.R. TRANSLATION Scene #12, Interior, Day, Dining Room 1 ED - W Something evil is lurking

DE IN: DE LAURENTIIS ENTERTAINMENT GROUP LOGO FADE OUT. FADE IN: RENAISSANCE PICTURES LOGO FADE OUT. 00 BLACKNESS 00 A sound is building. Like a living wind. A thousand screams in agony. From the blackness, gusts of smoke pull together quickly, forming

EXT. DESERT -- DAY The white sun beats down on the rocky terrain. There's not a cloud in the blue sky and the wind is at a standstill. Far in the distance, a MEDIUM SIZED FLAT-BED TRUCK makes its way to the entrance of a large cavern opening. Two VULTURES perched on a barren tree watch the intruders. EXT. DESERT -- DAY The truck screeches to a dusty stop. Three men in m

e. The BLACK SILENT SCREEN senses this moment before a distant blues harp introduces a contemporary band's cover of Blood, Sweat, and Tears' campy, yet haunting, gospel, "And When I Die." As the Introduction closes, RESONATES... A FLASH OF LIGHTING! A CRACK OF THUNDER! CUT TO: INT. ALEX'S BEDROOM - NIGHT - CLOSE - BED An airline ticket is tossed INTO FRAME beside a suitcase; "EURO-AIR. FLIGHT #180. New York City (JFK) - Paris, Charl

r "FOWLER BROTHERS KILLED IN COAL MINE MISHAP." Another series of articles reads, "JEWISH PROFESSOR DENIED ADMITTANCE TO HINDENBURG" and "PROFESSOR RABINOWITZ KILLED IN AVALANCHE." Etc... Continuing along the wall, the newspaper articles all focus on the fates of the original SURVIVORS of the FLIGHT 180 CRASH. We DISSOLVE between the various headlines depicting the gruesome deaths of Tod, Terry, Ms. Lewton, Billy Hitchcock, Carter and Alex Browning. Also in the mix are various CRIM

of CHILDREN CHANTING increases. DREAM CHILDREN (in chorus) One... two... Freddy's coming for you. On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. DREAM CHILDREN (continuing; chant

Gradually we can begin to hear, in the BG, the SOUNDS of CHILDREN playing. CUT TO: 2 EXT. SOFTBALL FIELD - DAY In the BG a few dozen CHILDREN, in camp uniforms, are enjoying a game of softball. In the FG CLAUDETTE is looking for someone. CLAUDETTE is 17 years old. She is pretty. She wears a t-shirt with "Assistant

view. A few scattered streetlights. Dilapidated cabins. An abandoned campsite. CAMP CRYSTAL LAKE. We continue to drift towards it, hearing the faint sound of seductive music and an occasional giggle. A small HOUSEBOAT floats into our foreground, its interior light flickering as TWO BODIES move around inside. INT. HOUSEBOAT - NIGHT A teenage boy and girl, JIM and SUZY, are slow-dancing. Jim's lips softly touch her lissome shoulders. JIM Well...how do you

- the basic elements are all the same, just mixed differently. A gloomy night, no moon. And a slightly ominous pattern emerges... Green, thriving lawns and meticulously tended homes abut brown yards and porches littered with old newspapers and pizza joint flyers. Each third or fourth house is FOR SALE or, worse, seemingly abandoned. This area is in danger of becoming a ghost town. A deep, commandin

Sep 6th, 1984 1. FADE IN: EXT. FULL MOON - NIGHT (AND CREDITS. ROLL) Clouds obscure the starless heavens for a moment, heavy and ominous in the black firmament. Then suddenly they clear, exposing a full moon streaked with red like a killer's face, a stalking moon staring down at man's evil on the earth below. A HOWL breaks the night, a wolf pursuing

read and formatted by ueli riegg email: webmaster@studiour.tsx.org; url: http://studiour.tsx.org Cast List: Quentin Tarantino Richard Gecko George Clooney Seth Gecko Brenda Hillhouse Hostage Gloria Harvey Keitel Jacob Juliette Lewis Kate Ernest Liu Scott Cheech Marin Border Guard, Chet Pussy, Carlos Selma Hayek Santanico Pande

present your bodies as a living sacrifice, holy and acceptable to God, which is your spiritual worship. Do not be conformed to this world, but be transformed by the renewal of your mind, that by testing you may discern what is the will of God, what is good and acceptable and perfect. -Romans 12:1-2 EXT. THE SHAW'S HOUSE - FRONT LAWN - NIGHT

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

for male and female psychiatric patients. Its primary clientele are those who have histories of committing criminal offenses and are either committed to the Department of Mental Health by the Circuit Courts of the State or who are admitted under authority of an appointed guardian. FADE IN: OPENING CREDITS OVER QUICK CUTS: INT. MIRANDA AND DOUG'S BEDROOM - DAWN PUSH in on a sleeping couple in the dark. The ALARM CLOCK reads 5:59 AM. The woman's eyes o

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

thing. RAND PELTZER walks through the owd. An American businessman.1-He wears a tas eful g3,y suit. He's thin, with distinguished good looks and thin brown hair. He's 56 years old. Rand looks around; fascinated by the vast array of people and merchandise. He stops at a booth. A tiny ORIENTAL, WOMAN stands behind the counter. Rand gives her a polite smile. RAND Hi. I'm fro

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.

By Takashi Shimizu Production Draft - BLUE Revised, January 26, 2004 1 INT. PETER & MARIA'S BEDROOM - DAY 1 FADE IN on MARIA (late 20s), asleep in bed. She's breathtakingly beautiful. Morning light fill

, ILLINOIS OCTOBER 30 EXT. SMITH'S GROVE STATE HOSPITAL. DAY A cold brick building. Isolated. Surrounded on all sides by barbed-wire fencing. A RENTAL CAR pulls up to the SECURITY GATE. A SECURITY GUARD

DUNGEON - TUNNELS - NIGHT (DISTORTED) The agonizing SCREAMS continue as we MOVE rapidly through a labyrinth of winding underground tunnels. Glowing torches light the way. Blurry, indistinct silhouettes of grim FIGURES wearing black-cowled robes flash along the dank, craggy walls. As we BLAST around dark corners, we realize we are looking from the P.O.V. of a SCREAMING young woman being pushed forward on a gurney. Plunging deeper into this hellish maze. A door is SLAMMED.

September 8, 1999 INT MIDWIVES OFFICE DAY. FAIRLY RUNDOWN OFFICE. OLD AND DIRTY HEALTH NOTICES TACKED TO A BULLETIN BOARD. "COMMON SENSE FOR NURSING MOTHERS," ET CETERA. A LOWER-CLASS WOMAN, PREGNANT, WITH A SMALL CHILD IN TOW, OPENS THE DOOR, AND ENTERS. SHE IS SWELTERING, AND MOPS HER BROW AS SHE WALKS TO THE REGISTRATION DESK. MOTHER

11/10/98 Initial Shooting Script NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS. THEY HAVE BEEN REMOVED FOR THIS SOFT COPY. BEGIN MAIN TITLE SEQUENCE. At the very edge of hearing, the tone of human VOICES. Unintelligible, babbling, eerie. Then a loud FLAPPING SOUND. It shifts from one side of the theater to the other, like something moving among the wall hangings. As the TITLE appears, the

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

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,

November 1, 1987 FADE IN: 1 TITLES The screen is composed of large, straight-edge areas of black and white that rest against each other in a manner that suggests some kind of pattern, without making a final sense; it is as if we are too close to something that, could we see it from a distance, would be clear to us. These areas shift and change - both their own shape and their relationship to their neighbors. New patterns are being made, new soluti

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

an Film Productions Ltd (C) Clive Barker 28.7.86 115 Flood Street, London. SW3 01-352-4195 1 TITLE SEQUENCE In darkness, a blood-curdling cacophony: the squeal of unoiled winches, the rasp of hooks and razors being sharpened; and worse, the howl of tormented souls. Above this din one particular victim yells for mercy - a mixture of tears and roars of rage. B

& Tony Randel 1st Draft May 8 1991 Bobbi Thomson Revised May 29 1991 William Morris Agency Revised June 13 1991 151 El Camino Drive Revised July 1 1991 Beverly Hills CA 90212

begins to shake. Slow motion. Graceful. WE HEAR a low rhythmic THUMP, THUMP, THUMP... The surface slowly peels off like flecks of dried old paint as we pull back a little wider and realize that we're looking at an OLD DOOR. THUMP, THUMP, THUMP... The door continues to rattle. Something or someone is behind it, desperately fighting to get out. THUMP, THUMP, THUMP... Wider still to include the rusted, worn doorknob twisting back and forth and shaki

tractive, late twenties, warmly sophisticated. Something makes her smile. She turns to the driver and thinks real hard as she says this. KIRSTY Okay. Cubic root of nine thousand two hundred and sixty one. TREVOR is her husband, late twenties as well. God gave him brains and beauty. He has used them both prodigiously. TREVOR Twenty one. Why do we have to do this now Kirsty? KIRST

EXT. DESERT HILLS - DAY Open on a GEIGER COUNTER scanning over a rocky terrain. A SAND STORM blows over the landscape. We are lost somewhere in the middle of the New Mexico desert. According to the instrument, the area contains high levels of radiation... THREE MEN WEARING FULL ANTI-RADIATION SUITS have left their jeep behind to collect samples of contaminated rocks.

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

We see a LITTLE GIRL dancing around in a grainy super 8 home movie. A LITTLE BOY wearing a monster MASK enters the frame. He struggles to lift a double barrel shotgun. He points it at the girl and pretends to SHOOT. GIRL (V.O.) (whispering slowly) Once I had a cat, he was the sweetest little guy. Then one day he got

lling along behind her. Even dressed down, this city girl can't hide her natural beauty and panache. She makes her way across the street and to an SUV. she opens the trunk and tosses in the suitcase among several other bags. She closes it, and walks to the driver's side. We see that the entire cargo bay of the SUV is filled with boxes and personal affects. Al INT. SUV, CITY STREET - DAY Al

ges of STAINED GLASS and lead. FOOTSTEPS ECHO across the marble floor. REVEAL - JULIE JAMES A little older, a little wiser, yet still very pretty, no doubt. But she's all alone in the house of the Lord. And those doleful eyes of hers clearly telegraph a very heavy burden still rests upon her soul. She reluctantly walks past the rows of empty pews toward a curtained CONFESSIONAL BOOTH. 2 INT. CONFESSIONAL BOOTH - DAY Julie slides the drapes shut behind her as she

advancing himself stays the further ahead of himself, By not confining himself to himself, sustains himself outside himself. --LAOZI 2. FADE IN INT. DARKENED BEDROOM - NIGHT A spherical black monolith rises up from a wh

hen Rea Santiago Christian Slater Daniel Malloy Kirsten Dunst Claudia FADE IN: INT. ROOM - NIGHT (SAN FRANCISCO) A small bare room, illuminated only by the streetlight coming through the window. A hand presses a cassette into a recorder and fiddles with a small microphone. Malloy sits over a table fiddling with the tape. He is young, half-shaven, dressed in T-shirt and jeans. He looks too - LOUIS, who stands by the window, looking

STUDIO DRAFT 3-18-2014 OPEN ON: Rain. Lashing a windowpane. A PIANO PLAYS somewhere off screen. Beethoven's Fur Elise. INT. WILL'S BEDROOM - DAY

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

Peter Benchley From the novel by Peter Benchley OVER BLACK Sounds of the innerspaces rushing forward. Then a splinter of blue light in the center of the picture. It breaks wide, showing the top and bottom a silhouetted curtain of razor sh

Howard Sackler FADE IN: UNDERWATER - DAY Dramatically lit by sunlight filtering down from the surface. A dim shape, massive, threatening, swims towards us from the distance. Then it divides -- what was one is two, and the shape becomes reality; two divers in Scuba gear swimming side by side. They are wearing minimal rubber, consideri

WOMEN'S CORRECTIONAL HOSPITAL - DAY ANITA "NEEDY" LESNICKI, 17, sits on her hospital bed in pajamas. She's a plain-faced girl with a haunted expression. As she stares out the window, she winds colored yarn around a pair of Popsicle sticks to create a "god's eye." Out a single window, we see an imposing nine-foot SECURITY FENCE. Next to Needy, we see a pile of unopened mail

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

ic CRY of a LOON. SLOWLY FADE IN TO: EXT. BLACK LAKE - NIGHT The loon continues its hypnotic call, as the steamy mist lifts off the dark water, which doesn't even ripple. The loon continues her nocturnal cry, as we savor the beauty of the lake, the elegance of the bird, and the haunting echo of her lonely call... until suddenly the bird is crisply pulled under, silenced forever. A lone feather surfaces and floats as: Credits roll

S Copyright 2004 All Rights Reserved BLACK. THE SOUND OF CHANNELS BEING TURNED ON A TV. TITLE UP: "SOME TIME AGO". NEWSCASTER (O.S.) It's hard for us here to believe what we're reporting to you, but it does seem to be a fact. CLICK! In a corner of the BLAC

"Come, ye children, listen to me. I will teach you the fear of the LORD." PSALM 34:11 THE MOJAVE DESERT - DUSK Vast. Barren. No signs of life. A BLOOD RED SUN is sinking behind the distant mountains. The unbearable heat will soon become an unbearable cold. A YOUNG WOMAN'S VOICE. Solemn. Weary. Determined.

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

a limb. He has a bottle of wine, some sandwiches, a Walkman. Suddenly the lights turn on. PEEPER (whispering) Showtime! We see a young mother walk into the room outside the Peeper's window. She is wearing business attire. PEEPER (CONT'D) Rough day at the office Mrs. Dunleavy? (takes bite of sandwich) Well you'll feel better once you slip off those work clothes and get into some sweats. The mother sits on the bed and pulls off her shoes, rubbi

Disturbing. WE LAP DISSOLVE between details of their twisted anatomies: headlamp eyes, bright metal claws, broken glass teeth. EXT. NEVADA ROADS - DESERT - DAY Two vehicles, one a Volkswagen "bus" decorated with stylized flames, the other a '66 Thunderbird, speeding along a series of eerily empty desert roads, somewhere in a wilderness of sand and heat. END CREDITS. CUT WIDE TO; EXT. NEVADA DESERT - DAY A violent WIND HOWLS around, but through the sand we-

L EXT. TWO-LANE HIGHWAY - NIGHT We see a clean moving POV illuminated by headlights. We're floating down an old two-lane highway through a desolate, desert landscape. This gliding, eerie POV continues as credits roll. when the credits end, the headlights seem to dim and soon we're moving through BLACKNESS. FADE OUT: FADE IN: INT. THE MADISON HOUSE - BEDROOM - DAY in the blackness, a man, FRED, is sitting on a bed smoking a cigarette. we see his back

FLORIDA, BEACH - GRAHAM + CRAWFORD - DAY The highlit aqua water burns out sections of the two men imposed in front of it. The beach is white sand. JACK CRAWFORD -- mid-forties, large -- came down from Washington. His suitcoat over the driftwood log and his rolled-up white sleeves says City, not Florida Keys. WILL GRAHAM -- late thirties -- in a faded Hawaiian number and sun-bleached vio- let shorts, belongs. Graham smokes. Crawford drinks from a glass of iced tea. Then:

Guillermo del Toro June 19th 1996 NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS. THEY HAVE BEEN REMOVED FOR THIS SOFT COPY. FADE IN: THE SCREEN Stygean darkness. Wet CLICKING SOUNDS. A BEAM of purplish ULTRA-VIOLET LIGHT reveals a mosaic of moving forms... COCKROACHES. They skitt

rrors are the gates through which death comes and goes. Tell no one." Orphée, Jean Cocteau 1 OMITTED 1 1A INT. NIGHT - HARLEM SUBWAY STATION 1A A subway screeches by at full speed revealing a station platform somewhere in Harlem. A man runs for his life in the de

n King FADE IN ON: A SINGLE CIGARETTE. A MATCH. A HOTEL ICE BUCKET that holds a bottle of champagne. The cigarette is unlit. The match is of the kitchen variety. The champagne, unopened, is Dom Perignon. There is only one sound at first: a strong WIND-- --now another sound, sharper--a sudden burst of TYPING as we PULL BACK TO REVEAL PAUL

he closer sound of a car - its headlights illumine an oleander bush and the limbs of an Eucalyptus tree. Then the headlights turn - a street sign is suddenly brightly lit. The words on the sign read... "Mulholland Drive." The car moves under the sign as it turns and the words fall once again into darkness. CUT TO: EXT. NIGHT - MULHOLLAND DRIVE Gliding we follow the car - an older black Cadillac limousine - as it winds its way up Mulholland Drive through the dar

rises up. WE PUSH IN on it, towards a CITY along the Nile, it's name written in hierarchic. WE KEEP PUSHING IN until the golden map turns to golden sand and we find ourselves DESCENDING on this ancient Egyptian city. Only it's not ancient. SUPERIMPOSED across the SCREEN are the WORDS. THEBES - 2,134 B.C Accompanied by a NARRATOR with a very thi

channels. After we've heard different channels, the scanning stops on a channel with jazz music. With a loud sound, the credits stop, the black screen moves away to the right and is replaced by : FILM SET - BEDROOM - INTERIOR DAY (it is actually day-time, but the scene in the film being shot is supposed to take place during the night. So all the artificial lights make us believe it is night-time) We still hear the sound of the radio. We are on a film set, even though