A beautiful, sprawling suburban estate at sunset. Classic wrought-iron gates protect a winding driveway which snakes its way up through a neatly manicured lawn.
INT. WAYNE LIVING ROOM - NIGHT
ALFRED PENNYWORTH, the Wayne family butler, fluffs up a cushion in the large, elegant living room. A kind-looking man in his late forties with dark moustache and hair, he epitomizes the proper British moor d
Stars in the black of space. PAN DOWN to sapphire blue sky, the brighter stars still shining through. Its Arctic midnight, the weak sun tiny on the distant horizon. We skim along the water, in and around looming glacial cliffs-- The top of an iceberg pushes through the waters surface. Carved into the ice is a single mammoth word:
G o d z i l l a
We continue past, along the ocean, and discover:
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
THE HAUNTING OF HILL HOUSE
By
David Self
Revisions by
Michael Tolkin
Based on the Novel
by Shirley Jackson
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 fro
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 interior or running lights it seems devoid of life. The PING of a RANGING RADAR grows louder, closer. A shadow engulfs the Narcissus. Searchlights flash on, playing over the tiny ship
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
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 surfaces of the stones.
CAMERA TURNS along a creamy stretch of amber.
Sleepy Hollow
Being the true storie of one Ichabod Crane
and the Headless Horseman
Kevin Yagher and Andrew Kevin Walker
Based on "The Legend of Sleepy Hollow" by Washington Irving
Screenplay by Andrew Kevin Walker
A pleasing land of drowsy head it was,
of dreams that wave before the half shut eye...
EXT. GNARLED FOREST -- NIGHT
An UGLY MAN charges through on a horse, holding a lantern
forward on
The camera is moving toward 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 mans 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