Amadeus
1 INT. STAIRCASE OUTSIDE OLD SALIERIS SALON - NIGHT - 1823 1
Total darkness. We hear an old mans voice, distinct and in distress. It is OLD
SALIERI. He uses a mixture of English and occasionally Italian.
OLD SALIERI
Mozart! Mozart! Mozart. Forgive me! Forgive your assassin!
Mozart!
A faint light illuminates the screen. Flickeringly, we see an eighteenth century
balustrade and a flight of
Monkey Business Script
[Fast-paced lively instrumental music]
[Fast-paced lively instrumental music continues]
- What is it? - Sorry to have to report...
there are four stowaways in the forward hatch.
Stowaways? How do you know there are four of them?
They were singing Sweet Adeline.
Get them out of there, you hear?
But we cant find them.
And besides, theyve been writing insulting notes.
So, Im a
of smoke. She shoulders aside the shattered door and rushes inside, gun at the ready in both hands...
CUT TO:
INT. HOTEL ROOM - DAY
CLARICES POV - MOVING - as she first sees, sitting on the edge of a bed - a FEMALE HOSTAGE. Black, late 20s, gagged, hands behind her back. Then, SWIVELLING... she sees a startled MALE SUSPECT - white, mid-20s - standing by a window with a rifle in his hands. He is t
THE TALENTED MR. RIPLEY
Screenplay By
ANTHONY MINGHELLA
Based On The Novel By
PATRICIA HIGHSMITH
1st November 1999
1958
PROLOGUE: INT. RIPLEYS CABIN. EVENING.
Fade up on Ripley, as in the final scene of the film,
sitting, desolate in a ships cabin. The camera rotates
around his face, which begins in light and ends in darkness.
RIPLEY (O/S)
If I could just go back. If I could rub
everything out. S
DARK CITY
by
Alex Proyas
& Lem Dobbs
Revised draft May 9, 1994
INT. OPENING MONTAGE
OVER BLACK a low rumble increases in volume.
FADE UP:
A GLOVED HAND wraps around a bulky scissor-switch, thrusts
DOWN.
SNAP! - Electricity arcs through darkness.
OS SOUND of MACHINERY turning on.
TITLES OVER
MONTAGE OF CLOCKS - VARIOUS. The clocks are frozen, then second
hands turn - TICKING gets louder...
EXT. CI