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.
PEARL HARBOR
by
Randall Wallace
EARLY DRAFT
Out of BLACK we hear the sound of an airplane roaring by.
EXT. POV OF AN AIRPLANE
Flying over American heartland. We see the earth through the
pilots perspective as sky and ground swap positions, the
plane swooping down and storming over the ground.
THE PLANE
is a biplane, racing over a field lush with young plants. It
releases a trail of crop spray, an
"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
Into The Blue Script
-Stay on the beacon!
-Manolo, we lost the beacon.
My God! My God!
-Whats our heading?
-l dont know.
We lost all navigation.
-Pull the nose up!
-l cant!
Come on, pool is closed, everyone.
Out of the water.
Stow that gear and get out of here.
Get these divers out of the water.
Lets go, lets go. Come on, back here.
-Taking too long.
-Watch your step. Here you go.
-Assholes and e
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:
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.
Bone Collector Script
Hows it look?
The cops bodys about 300 yards
down in an abandoned tunnel.
-Howie?
-Right behind you, captain.
Keep back till
I process the scene, okay?
Watch out! Its falling!
So where the hell is the car?
I dont know.
Thats the last time
I take a goddamn redeye.
We can take a cab.
Im gonna fire this son of a bitch.
Hes always got some excuse.
Well, come on.
Well be home bef
AMERICAN HISTORY X
screenplay by
David McKenna
February 6, 1997
??
INT. HOUSE - CLOSED EYES
A young mans blue eyes slowly open. A girl moans from the next room.
EXT. STREET CORNER - A LARGE TIRE
turns the corner and splashes through a puddle from an
earlier rain. TUPAC SHAKUR blares from inside.
INT. HOUSE - TIGHT ON THE EYES
They snap wide as the young woman in the next room MOANS
even louder.
E
A VIDEO IMAGE FLICKERS TO LIFE. A ruggedly handsome man with dark, haunted eyes. Eyes that have seen hell.
NEVILLE
My name is Robert Neville. Today is October 17th,
the year 2002. I was born in 1960, on this very day,
so that makes today my birthday. (remembering)
Every year for my birthday, my wife Ellen would throw
me a party. A kids party. Cake, ice cream, funny hats,
"Pin the Tail on the Donk
POINT BREAK
by James Cameron & Kathryn Bigelow
From the Screenplay by
W. Peter Iliff
??
??
FADE IN:
We are in the belly of a wave.
Light refracts in a constant collision of water.
SLOW MOTION, the hallucinatory prisms, like liquid
diamonds taking flight, dreamlike...
??
EXT. OCEAN - DUSK
Backlit against a flaming sun a solitary SURFER glides
across the green glassy peak. TIME IS STRETCHED until h