ROADSIDE MARKET - EVENING
??
Shooting over a line of ruffled bushes with leaves just
turning towards a rural, time-worn country market. A wide
gravel parking area makes it accessible to the highway
running past it, otherwise, this Mom & Pop store seems almost
like a vision of times gone by.
??
The bushes and overgrown grass, unrestrained by any human
care, strengthen the sense of isolation. The d
picnic. The Dugan family. Roderick.
RODERICK (V.O.)
My uncles family consisted of ten
children, and one of them was the
cause of all my early troubles; this
was the belle of the family, my
cousin, Miss Dorothy Dugan, by name.
EXT. DUGAN MANOR HOUSE - DAY
A sprawling run-down Irish manor house with large garden,
stables, barn and farm.
Idealized images of Dorothy.
RODERICK (V.O.)
Ah! That first af
The Joy Luck Club Script
The old woman remembered
a swan she had bought...
many years ago in Shanghai
for a foolish sum.
"This bird," boasted
the market vendor...
"was once a duck that
stretched its neck...
in hopes
of becoming a goose.
And now look.
It is too beautiful to eat."
Then the woman and the swan
sailed across an ocean...
many thousands of li wide...
stretching their necks
toward Americ
-- TERMINATOR 2 SCRIPT --
1 ext. city street - day 1
Downtown L.A. Noon on a hot summer day. On an EXTREME LONG LENS the
lunchtime crowd stacks up into a wall of humanity. In SLOW MOTION they
move in herds among the glittering rows of cars jammed bumper to bumper.
Heat ripples distort the torrent of faces. The image is surreal,
dreamy... and like a dream it begins very slowly to
dissolve to:
2 e
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
Of glowing honey-colored stones. Their shapes ABSTRACT as THE CAMERA EXAMINES air bubbles and crystalline patterns.
MOVING UP AND OVER this amber abstraction, the CAMERA FINDS unusual shapes and imperfections caught in the glassy stone: flecks of dirt, hairs, cracks. STILL MOVING. STARBURSTS OF LIGHT ricochet off the different surfaces of the stones.
CAMERA TURNS along a creamy stretch of amber.
Jaws
BEACH
Cassidy: Whats your name again?
Chrissie Watkins: Chrissie!
Cassidy: Where are we going?
Chrissie: Swimming!
Cassidy: Slow up, slow down! Im not drunk! Slow down! Wait Im coming! Im
coming! Im definitely
coming! Wait, slow up! I can swim -- just cant walk or dress myself.
Chrissie: Come on in the water!
Cassidy: Take it easy. Take it easy.
Chrissie: Oh! God help me! God! Argh! God hel
Silence. Norland Park, a large country house built in the early part of the eighteenth century, lies in the moonlit parkland.
2 INT. NORLAND PARK. MR DASHWOODS BEDROOM. NIGHT.
In the dim light shed by candles we see a bed in which a MAN (MR DASHWOOD, 52) lies his skin waxy, his breathing laboured. Around him two silhouettes move and murmur, their clothing susurrating in the deathly hush. DOCTORS.
AND REVEALS THE inside of a domed city honeycombed with fantastic arches. The city is inhabited by young beautiful people in luxurious but simple costumes.
THE CAMERA ROAMS through the City, observing some people seated at a kind of cafe sipping drinks and relaxing; other people are in some kind of exercise class doing beautiful graceful movement; and finally a class of five year old children lis
In black, we hear a chain-gang chant, many voices together, spaced around the unison strike of picks against rock. A title burns in:
O muse!
Sing in me, and through me tell the story
Of that man skilled in all the ways of contending...
A wanderer, harried for years on end...
On the sound of an impact we cut to:
A PICK
splitting a rock.
As the chant continues, wider angles show the chain-gang at w