A blurred image forms on a white screen. A horizontal strip of face, eyes motionless and unblinking.
DAVID (V.O.)
Take trust, for instance, or friendship: these are the important things in life, the things that matter, that help you on your way. If you cant trust your friends, well, what then?
EXT. DAWN
A series of fast-cut static scenes of empty streets.
DAVID (V.O.)
This could have been any
Macbeth Script
Double, double, toil and trouble;
Fire burn and cauldron bubble.
Pour in sows blood
that hath eaten her nine farrow;
grease thats sweaten from the muderers gibbet
throw into the flame;
finger of birth-strangled babe,
ditch-deliverd by a drab;
Make the gruel thick and slab,
like a hell-broth boil and bubble,
for a charm of powerful trouble.
When shall we three meet again?
In thunder
All around this is an almost totally black screen. Now, as the camera moves slowly towards the window which is almost a postage stamp in the frame, other forms appear; barbed wire, cyclone fencing, and now, looming up against an early morning sky, enormous iron grille work. Camera travels up what is now shown to be a gateway of gigantic proportions and holds on the top of it - a huge initial "K"
Me Myself And Irene Script
I got a star on my car and one on my chest
A gun on my hip and the right to arrest
Im the guy whos the boss on this highway
So watch out what youre doin when youre drivin my way
If you break the law youll hear from me l know
Im working for the state Im the highway patrol
Well, you know me when you see me cause my doors painted white
My siren a- screamin and my flashin r
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