over
the face of EDDIE HUDSON HAWKINS causing him to break out
of an eye-closed trance.
Before the viewer can get a good look at him, Hudson
Hawk turns to an oddball version of the "Mona Lisa" that
has his face and tears it off the cell back-wall.
INT. PRISON BLOCK WALKWAY
TWO PRISON GUARDS, One WISE and BLACK, the other YOUNG
and GREEN march down a cell block. The Former is smoking
a pipe which
blocks, all hanging in
their places. All very well-worn.
BENJAMIN MARTIN methodically works his lathe, turning a
piece of hardwood, shaving off tiny curls of wood with a
razor-sharp chisel. Hes in his late-forties, strong and
weathered. His hands, though big and callused, handle the
chisel with a surgeons precision. Self-educated and
self-sufficient, he has built himself, as he built his
farm, br
Alice Script
("Limehouse Blues" by Jackie Gleason)
- (man) Hey. Where are you now?
- Nowhere.
Its late. I have to go.
Oh, oh, oh.
- John and Susan confirmed for dinner.
- Yes.
Dont sit her by Ray Pooles wife. Shell
ask if hes moving to Kidder Peabody.
- Ill put her next to the Gimbels.
- Mrs Tait! Were ready for school.
Were all bundled up. Come on. Lets go.
Theres Mommy.
Give her a big wave and
blocking
his path, breath steaming in the artic air.
MAN
MacLeod.
A huge sword appears in the Mans hands. He swings. MacLeod
sidesteps, drawing a weapon from inside his coat.
A Samurai sword, carved handguard, razor-sharp,
feather-light.
The Mans overhead slams onto concrete, ripping up hunks of
stone. MacLeod fans his blade.
MACLEOD AND THE MAN"S SWORDS
clang in the tunnel, pulverizing cars, gou
"GODS AND MONSTERS"
Screenplay
by
Bill Condon
Based on the novel
"Father of Frankenstein"
by
Christopher Bram
May 30, 1997
SHOOTING DRAFT
NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS
AND SOME "SCENE OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR
THIS SOFT COPY.
FADE IN:
MAIN TITLES BEGIN
Writhing pools of light and dark, out of which emerge images
from "The Bride of Frankenstein," direc