Then huge CLOSEUP of EYES opening, gazing into mirror, HAND applying makeup, sudden BLACKNESS, then -
PRINCE (CONTD)
Thats right... a world of never-ending happiness,
You can always see the sun -
Day or night.
BURN IN MAIN TITLE: "PURPLE RAIN"
PRINCE (CONTD)
So when you call up that shrink in Beverly Hills,
You know the one - Doctor
Everythingll Be Alright -
Just Like Heaven Script
Elizabeth.
- How long was I out?
- About six minutes.
Thanks.
- OK. Ill be right there.
- OK, Ill be outside. Hey, Fran.
What are you still doin here?
- How long you been on?
- Twenty-three.
Twenty-three?
Time to go, Elizabeth.
Thats not gonna get me
an attending slot.
Adams? She needs to know
how to redress her sutures,
but then she can be discharged.
No, no. Ellis needs
Note: Hows this for a change from the finished product?!? ... and NO mention of the powerful Opening Vistas! This is how the script begins ...
[FADE IN]
The screen is a microcosm of leaf, crystal drops of precipitation, a stone, emerald green moss. Its a landscape in miniature. We HEAR the forest. Some distant birds. Their sound seems to reverberate as if in a cavern. A piece of sunlight refracts
The dense, lush rain forests of the eastern slopes of the Andes, the place known as "The Eyebrow of the Jungle". Ragged, jutting canyon walls are half-hidden by the thick mists.
The MAIN TITLE is followed by this:
"PERU"
A narrow trail across the green face of the canyon. A group of men make their way along it. At the head of the party is an American, INDIANA JONES. He wears a short leather jacke
SERIAL MOM
by
John Waters
Second Draft: July 22, 1992
1. Film opens with prologue title: "This is a true
story. The screenplay is based on court testimony,
sworn declarations, and hundreds of interviews
conducted by the film-makers". Fade out.
Fade in to second prologue title: "Some of the
innocent characters names have been changed in the
interests of a larger truth". Fade out.
Fade in to final
A top-secret, experimental, offensive/defensive military installation hidden away in the countryside outside Philadelphia, Pennsylvania.
CLOSE on a beautiful, intricate, state of the art computer panel as it is lifted out of a large console. A huge, dimly lit display board, sporting a galaxy of small running lights, looms above.
The panels removal creates a large, vulnerable opening, inside of wh
Jimmy Hollywood Script
Ready.
Gloria Swanson.
Maurice Chevalier.
Ralph Bellamy.
Lon Chaney.
Phillips Lord.
One of my favorites,
Humphrey Bogart.
Heres an actress, Snow White.
Ann Miller.
Jean Harlow.
Blank.
Rex Harrison.
Burgess Meredith.
Ray Bolger.
Blank. Steve McQueen.
Danny Kaye.
Sarah Vaughan.
Jimmy Stewart.
Victor Mature.
Edward G. Robinson.
Blank.
Dinah Shore.
Adolphe Menjou.
Erich von Str
COPYCAT
Third draft by
Frank Pierson
Participating writers:
Ann Biderman
Jay Presson Allen
INT. LECTURE HALL BERKELEY - DAY
The hall is full. On the stage, DR. HELEN HUDSON is
speaking. HELEN is a forensic psychologist. Behind her is
a projected diagram: PREDISPOSITION, DISSOCIATION, TRAUMA,
FANTASY, VIOLENT FANTASY, FACILITATORS, MURDER, and
TRAUMA-REINFORCEMENT which she can point to with a las
The very loud sound of people having sex. The sounds of deep moaning and sexual huffs and puffs. After a few seconds the sound grows even louder. It should sound as if the two people are fucking into a microphone. The sounds should be painful and raw.
GIRL (O.S.)
Oh yes, oh yes, oh yes, oh yes.
INT. BEDROOM - DAY
The face of a very pretty young girl with long blond hair. Her face is inches from t
PITCH BLACK
Screenplay
by
David Twohy
Based on material by Ken and Jim Wheat
Revised First Draft
3/3/98
Though mentioned often in the script, the creatures in PITCH BLACK are
seldom seen at length; rather, they are glimpsed, they are heard, they are
felt. They are, really, the embodiment of your nocturnal fears: A howling
coyote that jars you awake; the painting on the wall that comes to life