Legally Blonde Script
Here it is!
Thanks.
Did you guys sign it?
Did you sign the card?
And five and four and--
Hey, girls, sign!
All right! Here you go!
- Elles gonna love it! - Thanks.
You go, girl!
Hi, girls! Here, sign!
Thanks!
There she is.
Thank you.
I love that restaurant!
I heard Madonna went into labor there.
Oh, gosh! I have to go shopping!
Ill see you tonight. Bye.
Bruiser, whats this?
THE SAME SCENE; THE SAME SHOTS. Suddenly time RUSHES FORWARD. Als voice squeaks, the action accellerates.
LEADER (VO)
Run past this stuff.
THE VISUALS SPEED EVEN FASTER. SOMEBODY is running the tapes of
the EXPERIMENT right before the attack...FAST FORWARD.
INTRUDER
You wont believe this.
INT. LAB - The INTRUDERS SLOW the tape and watch with interest.
CU.- THE BEAKER on the pedestal surrounded by
Pitch black. Dead quiet. Dim faint light appears in the distance, approaching, growing larger. As the light nears, we recognize car headlights. Closer and closer until the car is bearing down upon us with great force. . .
2 INT. CAR 2
Two men in the front seat, FISHER and MOORE. Fisher drives. All seems quite normal until we take a closer look, sweat matts hair, dirt stains on white tuxedo shirts
WHITE SQUALL
by
Todd Robinson
FADE IN:
SUPER: A TRUE STORY - MYSTIC HARBOR CONNECTICUT 1994
CREDITS OVER
Wind on the water. Soaring gulls and sand pipers glide
over the pilings and sagging bulkheads.
OLDER CHUCK (V.O.)
Though I hadnt seen or spoken to
Sheldrake in over thirty years, it
seemed impossible that his heart was
the thing that had finally failed
him...
??
INT. LATE MODEL CAR - SAME
CHUC
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
Mirror Has Two Faces Script
Notice the elegance of the proof. lts beautiful!
lt reminds me of a quote from Socrates:
lf measure and symmetry are absent from any composition, -
- the ruin awaits both the ingredients and the composition.
Measure and symmetry are beauty and virtue the world over.
- Do you think hes straight? - Yeah, hes too boring to be gay.
- ls it 5:15? - Yes, it is.
Thank you ...
termination.
COMMANDER
Activate the Omega 13.
The crewmates exchange expectant and terrified glances. CLOSE UP
of a crewmans hand as he operates a series controls which in
turn opens five layers of mechanical locks revealing a serious
looking lever. The Commander pulls that lever. A MACHINE Is
revealed, rising from the floor in the middle of the room. It
begins to GLOW. Cut to each actor in turn
Shawshank Redemption, The
- By Frank Darabont.
1 INT -- CABIN -- NIGHT (1946)
A dark, empty room.
The door bursts open. A MAN and WOMAN enter, drunk and
giggling, horny as hell. No sooner is the door shut than
theyre all over each other, ripping at clothes, pawing at
flesh, mouths locked together.
He gropes for a lamp, tries to turn it on, knocks it over
instead. Hell with it. Hes got mor
H A N N I B A L
Screenplay
by
Steven Zaillian
Based on the Novel
by
Thomas Harris
Revision
February 9, 2000
INT. PANEL VAN - DAY
Clarice Starling is dead, laid out in fatigues across a bench
in the back of a ratty, rattling undercover van. Three other
agents sit perched on the opposite bench, staring at her
lifeless body.
BURKE
How can she sleep at a time like this?
BRIGHAM
Shes on a jump-out squ
PHILADELPHIA
by RON NYSWANER
September 21, 1992
FADE IN:
VARIOUS SHOTS OF PHILADELPHIA EXTERIORS (EXT./DAY) ...
which may include the Liberty Bell, the Italian Market,
scenes along the Delaware and Schuylkill Rivers,
Independence Square, the Russian Orthodox neighborhood, the
ghettos of North Philly.
MAIN TITLES PLAY OVER THIS SEQUENCE which culminates in a
SHOT OF...
CUT TO:
PHILADELPHIAS GLORIO