bar.
-Wants a drink. That was funny.
Youre a funny guy.
Oh, l dont know.
l mean, its such a giant city.
How can you possibly meet anyone?
You want the secret to making friends?
-Sure.
-l picked this up in the service.
Youll have a lot of buddies
if you remember this one rule:
lnterested is interesting.
Wow. What do you mean?
Well, everybodys got a story, okay?
And all they want is for somebody
to
bar, anybody?
Can we have some candy?
Please, Daddy?
No. Well get treats inside.
Girls, dont ever give money to a kid like this. Its a big scam.
Joad is down low! Hes open.!
Tracy Reynolds, you need to pass the ball!
But Tracy shoots!
Both: And its nothin but...
rim.
And the Knights lose by one.
What was Tracy Reynolds thinking?
No! No!
Man!
Look at the coach.
Hes on fiire!
Lets go back to work,
bar. The room is packed.
A banner over the rostrum says: CHILDRENS RESEARCH AND AID FOUNDATION.
Kimble is handed a glass of champagne, which he promptly sets on another waiters passing tray.
ROBERTS (V.O.): Richard...
DR. ROBERTS, a large surgeon, pulls Kimble over to a group of surgeons gathered around a bar. Smoking cigars.
ROBERTS: Cancun. Nat just talked everybody into it...
A hospital equipm
prey - crawling on the ground. Sirens sound from
a distance.
STACEY (O.S.)
Get down, Danny! Jesus!
TIGHT ON DANNY. His gaze is locked on his brother from
his bedroom window. Derek cocks his piece, points it and
walks toward the man.
TIGHT ON DEREKS FACE. Eyes blistering.
FADE TO BLACK:
THREE YEARS LATER
EXT. POLICE STATION - EARLY MORNING
A black man in a suit and tie, ROBERT SWEENEY, goes
th
American Pie
by
Adam Herz
WHITE REVISION: 7/7/98
NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS
AND SOME "SCENE OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR
THIS SOFT COPY.
INT. JIMS BEDROOM - NIGHT
PAN across details in a bedroom...we see discarded
shirts...pants...socks...and hear
PORNO-CHANNEL CHICK (V.O.)
Oooh, yeah. Oh, baby, youre so good.
JIM (O.S.)
Yeah, Im the best, baby.
Now w
Lover Come Back Script
This is Madison Avenue,
center of the advertising world.
In these steel and concrete
beehives are born the ideas
that decide what we will
eat, drink, drive and smoke,
and how we will dress, sleep,
shave and smell.
In all beehives,
there are workers and drones.
This is a worker.
Thank you.
And this is a drone.
Jerry, Honey...
Youre at work.
Good night, darling.
- Good night.
bar
in the neighbourhood
thats open.
Just pretend like lm not here.
[MUSlC PLAYS]
What can l get you?
Give me a bourbon
and a water, straight up.
Make that two.
Dont drink bourbon.
Youll fall flat on your face.
Give him a beer.
lll have a beer.
[FRANK SlNATRAS
ONE FOR MY BABY PLAYS]
[SlNGlNG]
You guys know each other?
Yeah, we, uh...
We got a-- Or...
We had an act together.
No kidding? Would l ha
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
tie. As he
drives, he talks to himself.
PREACHER
Whats it to be, Lord, another widow? Has it
been six? Twelve? ... I disremember.
He nods, smiles, and touches his hat. We see a farm couple in a poor wagon.
PREACHER
You say the word, and Im on my way.
LAP DISSOLVE TO
CLOSE SHOT -- PREACHER DRIVING
He brakes his car in a small riverside town; then proceeds.
PREACHER
You always send me money to g
tie a large ribbon in her long, dark hair.
SONYA
(whispering)
Princess Anastasia - youre
late and its all my fault!
ANASTASIA
Dont worry, Sonya, no onell
notice. . .
Just then, Sonya lassoes the ribbon around her hair,
stopping Anastasia with a
ANASTASIA
(loudly)
. . . owwwwwwwww!
All eyes turn to Anastasia, who once she realizes that
shes the center of attention, flashes a mischievous
smile an