coffee
or tea. Some chat and gossip, other are content to keep their
own company, some just stare slackly into space.
??
Paul enters, sees ELAINE CONNELLY sitting with a few other
ladies, sipping tea. Shes 80, refined and elegant, his best
friend here. She gives him a good-morning smile. He gives her
a rakish wink in return, which makes her smiles all the more.
??
Paul reaches past the people at
coffee?
- Wheres the boss?
- Hes upstairs.
Thanks.
Come on!
Youre telegraphing that wheel kick.
Johnny!
What a surprise, man!
Yes!
Whats this? You moving in?
This is "I give up. " I came to say good-bye.
- Here are the dojo keys.
- What are you talking about?
Ill pay you that back rent soon.
You think I bought that place for the rent?
I bought it for you.
- Mr. Silver?
- What?
The plutonium deal.
coffee houses.
Dr. Susan Bright (WOMAN) steps out of her door. She is
the scientist that we saw in the OPENING SCENE.
She is in a hurry, juggling a briefcase, an armful of
books, a cup of coffee and her keys as she heads for her
car.
She is bent to the car door as we GLIDE UP BEHIND her.
MAN
Hello, Susan.
The voice hits her like the Hymlich maneuver.
SUSAN
Oh my God...
MAN
What god would that be?
coffee cups, and a confusion
of wires and very low-tech, high-tech equipment BECK sits at
the monitor controls. He is younger than we expected,
twenties, clean cut good looks. Hell be a hell of a good-
looking man at thirty-five, he just needs to be hardened.
From the looks of the coffee cups around him hes on his
way.
BECKS VOICE/ RADIO
Okay, Six, lets wrap this container
and call it a day.
Abov
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
London Script
Tell me when youre gonna come.
- Are you coming? Youre coming?
- Yeah.
Hello.
Hey, bro, whats up?
Im crashed out.
What are you doing?
What party?
What are you talking about?
Are you fucking kidding me?
Are you fucking kidding me?
Where?
Fuck!
Fuck!
The number you have reached has
been disconnected. If you feel you...
No fucking way!
Wheres the phone? Payphone.
Straight to the back,
"BATMAN RETURNS"
1 INT. A STUFFY MANSION--A NIGHT ABOUT FORTY YEARS AGO 1
The viewer floats through an overbearing mansion and
up its sweeping staircase to where a stern man in
conservative dress is pacing back and forth, smoking a
cigarette in a cigarette holder. He is the FATHER. The
throes-of-labor pants and moans of the MOTHER can be
heard from down the hall.
Now, eerie Gaas and Goos chill th
CREDITS: White lettering over a back background. The THUNDEROUS SOUNDS OF A MASSIVE NAVAL BARRAGE are heard. The power is astonishing. It roars through the body, blows back the hair and rattles the ears.
FADE IN:
ext. Omaha Beach - normandy - dawn
The ROAR OF NAVAL GUNS continues but now WE SEE THEM FIRING. Huge fifteen inch guns.
A SWARM OF LANDING CRAFT
Heads directly into a nightmare. MASSIVE
Norma Rae Script
Thats all youre eatin for lunch - an apple?
Im dietin.
I gotta keep my strength up.
I put these preserves up myself.
Sunday, Roscoe and I put up
over quarts of peaches.
Whatd you do over the weekend, Norma?
I soaked my feet.
I saw you in town Sunday.
Your friend drives a mighty big car.
Well, if youd looked on the motel register,
youd have seen my name there too.
Its none of my b
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