Arcade
by
David S. Goyer
Last revised November 6, 1990
INT. ARCADE WORLD -- ELECTRONIC DARKNESS
We dont know if its night or day. Its just black.
And maybe...maybe intermittent SPARKS racing by. So quick we barely
perceive them. Like the sparks you imagine when your eyes are closed.
BREATHING,
slow and hollow, filling up the entire world. Its eerie as hell. A
feeling of utter loneliness.
And now
Silence. Gradually the sound of distant traffic becomes audible. A LOW ANGLE bounded on one side by a chain-link fence and on the other by the one-story public school buildings. Spray-can hieroglyphics and distant streetlight shadows. This is a Los Angeles public school in a blue collar neighborhood.
ANGLE BETWEEN SCHOOL BUILDINGS
Where a trash dumpster looms in a LOW ANGLE, part of the clutter b
Science fiction plucks from within us our deepest fears and hopes then shows them to us in rough disguise: The monster and the rocket.
W.H. Auden
We live, as we dream - alone.
Joseph Conrad
"ALIEN"
FADE IN:
SOMETIME IN THE FUTURE:
INT. ENGINE ROOM
Empty, cavernous.
INT. ENGINE CUBICLE
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
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
SEVEN
by Andrew Kevin Walker
8/8/94
1 INT. OLD HOUSE -- DAY 1
Sunlight comes through the soot on the windows, more brown than
bright. SOMERSET, 45, stands in one corner of this small,
second-story room. He looks over the ceiling, looks down at the
worn wooden floors, looks at the peeling wallpaper.
He walks to the center of the room, continues his study, taking
his time. He halts, turns to one wa
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
NOTE: Aerial dialogue in caps is UHF radio; plane to plane, plane to carrier. Aerial dialogue in small case is ICS; an inter-cockpit system; a live mike, heard by pilot and RIO only.
EXT. NIGHT
THE PACIFIC IS ANYTHING BUT WINDS HOWL. Rain drives horizontal. The sea surges up, nearly to the flight deck of the Aircraft Carrier USS Kitty Hawk. The carrier plunges, driving its bow into a wall of gre
A Chinese GONG SOUNDS and the glittering doors of an art Deco pa-poda slide open to reveal a mammoth silver stairway down which rows of beautiful women start descending.
BEGIN MAIN TITLES
The lovely ladies are a mix of races and they sing a strange, haunting melody - one might think them a heavenly choir, if it werent for their sexy, clinging lame gowns.
INT. CLUB ENTRANCE
From the ethereal beau
Grainy but unmistakably a man and woman making love. Photograph shakes. SOUND of a man MOANING in anguish. The photograph is dropped, REVEALING ANOTHER, MORE compromising one. Then another, and another. More moans.
CURLYS VOICE
(crying out)
Oh, no.
INT. GITTES OFFICE
CURLY drops the photos on Gittes desk. Curly towers over GITTES and sweats heavily through his workmans clothes, his breathing prog