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
Knocked Up Script
Light your nuts on fire.
Fuck! Fuck! My hands!
Too hot for Jonah!
I got fucking water in my mouth!
Oh, my God!
I got to get off! I got to get off!
Got to get off! Got to get off!
Sadie, wake up!
Oh, my gosh!
Daddy, wake up!
Okay, Im up.
Is that my genius over here?
Is that my genius?
I need you to take the kids
to school this morning.
- I would, but Im supposed to work out.
- Wh
13 Going On 30 Script
Move it, dorkus.
Okay, I think youre next. Ill take your ticket.
Come right around this way. Keep your back straight.
Put your books down on your lap.
Now, look right up at the camera, okay? Nice smile. Here we go.
Let me focus right over here. Okay. Get you in.
Thats good.
Swing around this way just a little bit, Gina.
- Its Jenna. - Look over here, Gina.
Its Jenna!
Oh, God
The following is Matt Damon and Ben Afflecks Award Winning Script for Good Will Hunting. It is what Matt Damon and Ben Affleck originally wrote on paper before the movie was made.
FADE IN:
EXT. SOUTH BOSTON ST. PATRICKS DAY PARADE -- DAY
CUT TO:
INT. L STREET BAR & GRILLE, SOUTH BOSTON -- EVENING
The bar is dirty, more than a little run down. If there is
ever a cook on duty, hes not here now. As
Contact
??
FADE IN:
INT. ARROWAY HOUSE - EVENING
We open on the upstairs of a two-story house, where we see a young girl
talking into a radio transmitter.
YOUNG ELLIE
CQ, this is W9GFO. CQ, this is W9GFO here, come back. CQ, this is
W9GFO here, come back. CQ, CQ, this is W9GFO, is anybody out
there? (looks to her father) It not getting anything.
TED ARROWAY
Small moves Ellie, small moves.
YOUNG E
The mule and the boy finally reach a camp. A few tents dwarfed by a huge temple door jutting out of the sand. The camp is deserted except for some kids by the temple entrance holding large mirrors, reflecting light into the temple.
Omar leaves his mule in the shade, seizes two goatskins and slips inside the temple.
3 INT. TEMPLE - DAY
Omar makes his way uneasily down a pillared corridor that open
The Abyss
AN ORIGINAL SCREENPLAY
BY
JAMES CAMERON
August 2, 1988
Directors Revision
THE ABYSS
OMITTED 1
OMITTED 2
TITLE: THE ABYSS -- ON BLACK, DISSOLVING TO COBALT BLUE
EXT. OCEAN/UNDERWATER -- DAY 3
Blue, deep and featureless, the twilight of five hundred feet down.
PROPELLER SOUND. Materializing out of the blue limbo is the enormous but
sleek form of an Ohio-class SSBN ballistic missile submar
DAVE
BY
GARY ROSS
FADE IN:
EXT. WASHINGTON D.C. - AERIAL SHOT - DAY
It sits like a jewel off in the distance -- all glittering
and white. The deep blue of the Potomac stands out against
the monuments as the sound of a HELICOPTER plays O.s..
SMASH CUT
TO:
EXT. WHITE HOUSE GROUNDS - DAY
The most famous helicopter in the world lumbers toward the
most famous house. Scores of reporters are camped out
DUNE
the motion picture screenplay
Foreword by Matthew Robinson and Kirk Boweat City University, London England
There are a number of things to note about this script:
The formatting is not exactly the same as the script that it was copied from. However, the scenes are all on the same pages that they appear in the script.
The pages are not numbered because the original script contained inconsi
Escape From L.A.
Screenplay by John Carpenter
Debra Hill
Kurt Russell
Produced by Debra Hill
Kurt Russell
Directed by John Carpenter
Cast List:
Kurt Russell Snake Plissken
Stacy Keach Malloy
Steve Buscemi Map to the Stars Eddie
Peter Fonda Pipeline
George Corraface Cuervo Jones
Valeria Golino Taslima
Pam Grier Hershe
Michael Forbes Brazen
Cliff Robertson President
A.J. Langer Utopia
Bruce Campbe