Barely audible, an organ plays a haunting theme. The title credits appear. They are simple green lettering on a black background.
BLACK
TV MONITOR
Point of view from inside a small medicine cabinet. The door is opened creating a low hum, and throwing light on THX 1138, a man about thirty-five years old. He has a closely shaved head: which makes him appear bald. The image is distorted as seen over
An ancient house, standing lonely in the middle of a deserted landscape in Northern Germany; lying there like a sleeping giant under the starry sky.
But something seems strange: All of the windows and doors have been nailed shut.
Text chart: 몷1976몸
The headlights of a car pierce the darkness. A car halts in the yard. Three MEN step out. One of them is wearing a police uniform. The men switch
THE MESSENGER: THE STORY OF JOAN OF ARC
by
Andrew Birkin
and
Luc Besson
??
FADE IN:
EXT. CHURCH - DOMREMY - DAY
FADE UP on ripples on the surface of a puddle. Slow PAN
UP: the water becomes placid, and in it we see the
reflection of an inverted CROSS on the top of a small
church. We move across the little churchyard and in
through the open doors.
??
INT. CHURCH - DOMREMY - DAY
Utter simplicity --
Riders on horseback cross the desert. From this distance they appear to be a company of Army Cavalry Soldiers.
CLOSER ANGLES ON THE RIDERS
Reveal only details of saddles, hooves and uniforms. The riders are silhouetted against the rising sun as they ride into an ancient CLIFF PUEBLO.
The OFFICER IN COMMAND raises his hand halting his troops.
OFFICER
Dis-mount!
RIDERS climb down from their mounts.
"WHO SHOT ROGER RABBIT?"
(working title)
Written by
Jeffrey Price and Peter S. Seaman
THIRD DRAFT
September 2, 1986
WHO SHOT ROGER RABBIT?
This movie starts the way all movies should... with a
cartoon. Its not a Disney or a Warners. Its not a
Fleischer, an MGM, or a Lanz. This is a lesser known
studio.
FADE IN:
ON A "MAROON CARTOON"
Accompanied by zany CARTOON MUSIC, the TITLE CARD reads:
MAROON
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
"BATMAN RETURNS"
1 INT. A STUFFY MANSION--A NIGHT ABOUT FORTY YEARS AGO 1
The viewer floats through an overbearing mansion and
up its sweeping staircase to where a stern man in
conservative dress is pacing back and forth, smoking a
cigarette in a cigarette holder. He is the FATHER. The
throes-of-labor pants and moans of the MOTHER can be
heard from down the hall.
Now, eerie Gaas and Goos chill th
COPYCAT
Third draft by
Frank Pierson
Participating writers:
Ann Biderman
Jay Presson Allen
INT. LECTURE HALL BERKELEY - DAY
The hall is full. On the stage, DR. HELEN HUDSON is
speaking. HELEN is a forensic psychologist. Behind her is
a projected diagram: PREDISPOSITION, DISSOCIATION, TRAUMA,
FANTASY, VIOLENT FANTASY, FACILITATORS, MURDER, and
TRAUMA-REINFORCEMENT which she can point to with a las
Tiled roofs, the stark white stucco of a colonial town square. Black iron bars at a bank. A briefcase carried in a mans hand. A snipers rifle being assembled. Thick blocks of hundred dollar bills. Placed in the briefcase. A mans teeth as he smiles grimly at the sight.
Sounds over a SUBJECTIVE VIEW. The BRIEFCASE SNAPS SHUT. A VAULT DOOR SLAMS. RUBBER SOLES WALK a tiled floor. Ahead, brilliant, w
V 3.30 (ASCII)
This is the Semi-Official ASCII Version of the Lion King Script,
originally cast into textual form by the legendary Phil "Leopold Stokowski"
Pollard, of JMU, and re-edited several times into the form you see here by
Brian Tiemann (FDCMuck Timon) of Caltech. This is your guarantee of
quality, that what you see here on your screen is as close to what was
presented in the movie as is