FREDDYS DEAD - THE FINAL NIGHTMARE
FADE IN:
INT. DC-10 AIRLINER - NIGHT
JACOB JOHNSON is sleeping. It doesnt look like a pleasant
experience. He is sixteen, dirty blonde, his eyes visibly
moving under closed lids as he sits huddle under a blanket in
his window seat. The lights are dim -- the shade on the
window closed -- a bead of sweat dribbles down his forehead.
The HUMMING of the jets eng
SPHERE
BY
PAUL ATTANASIO
Based on the novel by
Michael Crichton
BARRY LEVINSON VERSION SHOOTING SCRIPT
FADE IN:
EXT. OCEAN FLOOR - DAY
BEGIN TITLES.
MOVING AMONG the hallucinatory variety of creatures --
barbaric, distorted, sublime -- that haunt the ocean floor.
All but unknown to man except in the deep preconscious brain
that houses the family album of the race... Where we remember
that they ar
SISTER ACT
by Paul Rudnick
July 19, 199l
Page 1.
SISTER ACT
FADE IN:
INT. ST. ANNES ACADEMY - AKRON, OHIO - CLASSROOM
We are in a parochial school classroom, in the late
Sixties. The children all wear uniforms and sit at little
desks. SISTER IMMACULATA stands at the front of the room;
she is a middle-aged nun, very severe. The children are
all terrified of her.
SISTER IMMACULATA
Who can name all
"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
THE PATRIOT
by
Robert Rodat
March 26, 1999
FADE IN:
EXT. THE SWAMPS OF SOUTH CAROLINA - NIGHT
Dark. Ominous. Kudzu hangs from the swamps maples. A
dark and forbidding place. A bird CRIES EERILY in the
darkness. Insects HUM ominously.
SUPERIMPOSITION:
FRENCH AND INDIAN WAR
A detachment of French soldiers with several wagons makes
its way along a muddy road cut through the swamp. The
soldiers are w
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.
THE LOST WORLD
JURASSIC PARK
screenplay by
David Koepp
EXT. TROPICAL LAGOON - DAY
A 135-foot-luxury yacht is anchored just offshore in a
tropical lagoon. The beach is a stunning crescent 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
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
CREDITS: White lettering over a back background. The THUNDEROUS SOUNDS OF A MASSIVE NAVAL BARRAGE are heard. The power is astonishing. It roars through the body, blows back the hair and rattles the ears.
FADE IN:
ext. Omaha Beach - normandy - dawn
The ROAR OF NAVAL GUNS continues but now WE SEE THEM FIRING. Huge fifteen inch guns.
A SWARM OF LANDING CRAFT
Heads directly into a nightmare. MASSIVE
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