Tomorrow Never Dies
Screenplay
by
Bruce Feirstein
(for educational purposes only)
FADE IN ON:
EXT. DESOLATE MOUNTAIN RANGE - HIGH ANGLE - DAWN
Super: THE KHYBER PASS, AFGHANISTAN
Were looking down at what used to be called "The End of the Known
World." A landscape that is both beautiful, and forbidding.
In the center of this vista, there is a deep ravine.
Pushing in on the ravine, there appears t
Amadeus
1 INT. STAIRCASE OUTSIDE OLD SALIERIS SALON - NIGHT - 1823 1
Total darkness. We hear an old mans voice, distinct and in distress. It is OLD
SALIERI. He uses a mixture of English and occasionally Italian.
OLD SALIERI
Mozart! Mozart! Mozart. Forgive me! Forgive your assassin!
Mozart!
A faint light illuminates the screen. Flickeringly, we see an eighteenth century
balustrade and a flight of
Krypton, is empty for the moment. But the signs of its members are ever-present: around the great floating slab that is their conference table each has his (or her) own console of crystals - a transparent container marked with the identifying insignia, c.f. the symbols on each of their robes in Part I.
As Non and Ursa follow two paces behind. Zod strides along the slab, ignoring console after con
PAN DOWN TO A ROW OF 몷TELLERS몶 CAGES몸 with long lines of PEOPLE waiting to collect their unemployment checks. A sign above the first window says 몷A - F몸, the second window is designated 몷G - L몸 and so on.
CLOSE ON THE SECOND WINDOW -- Waiting his turn at the head of the line is a BLACK MAN in his early 30몶s. He kills time by trying to make a beat-up old wooden yo-yo perform the ba
Luther Script
Help me: Dont let me die
like a dog on this road:
Dont let me die:
Ill become a monk:
Ill become a monk:
Ill give myself to God:
Ill give myself to God:
Ill give myself to You:
Ill give myself to You:
Just spare me: Spare me:
Just help me:
Your fathers here.
Hes brought
the whole family.
Hes leaving.
Father, please stay for supper:
Father:
Your first Mass,
and you crap yourself:
I h
The Witching Hour
Screenplay by ANNE RICE
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FADE IN:
EXT. A SCOTTISH MOOR - NIGHT - 1670 A.D.
Far off, a massive stone castle looms. Trees silhouetted an
the horizon against the star-dotted, qreen-purple sky. The branches of one tree seem to reach
for the stars...
TRACKING IN - the tree is A HOODED FIGURE: SUZANNE - 20, golden hair spilling from her hood,
dazzling green eyes. Nestled in the f
AND REVEALS THE inside of a domed city honeycombed with fantastic arches. The city is inhabited by young beautiful people in luxurious but simple costumes.
THE CAMERA ROAMS through the City, observing some people seated at a kind of cafe sipping drinks and relaxing; other people are in some kind of exercise class doing beautiful graceful movement; and finally a class of five year old children lis
In black, we hear a chain-gang chant, many voices together, spaced around the unison strike of picks against rock. A title burns in:
O muse!
Sing in me, and through me tell the story
Of that man skilled in all the ways of contending...
A wanderer, harried for years on end...
On the sound of an impact we cut to:
A PICK
splitting a rock.
As the chant continues, wider angles show the chain-gang at w
RELIC
a screenplay by Amy Holden Jones
based on the book by Douglas Preston and Lincoln Child
March 16, 1995
TITLE CARD... BELEM BRAZIL - JULY...
EXT. BELEM STREETS - NIGHT
A taxi careens down narrow roadways at breakneck speeds.
INT. TAXI - NIGHT
In the back seat is WHITTLESLEY. Early 40s, the wreck of a once
handsome man. Unshaven. Sweat stained. Rail thin. Scratches on his
arms, a fresh scar
CLARENCE WORLEY, a young hipster hepcat, is trying to pick up an older lady named LUCY. She isnt bothered by him, in fact, shes a little charmed. But, you can tell, that she isnt going to leave her barstool.
CLARENCE
In "Jailhouse Rock" hes everything rockabillys about. I mean he is rockabilly: mean, surly, nasty, rude. In that movie he couldnt give a fuck about anything except rockin and rollin,