JOHNNY-DEPP.org

Johnny Depp is at once one of the world’s most alluring, yet impenetrable Hollywood leads. Rüdiger Sturm explores the character of this quirkiest of actors and reluctant star.

Title: The Crowed Mind of Johnny Depp

Publication: Vanity Fair

Issue: January 2011

Johnny Depp is on set at Pinewood Studios, outside London, for the last days of shooting the next Pirates of the Caribbean movie—On Stranger Tides. We sit on the floor of his trailer, a brocaded lair worthy of Captain Jack Sparrow, strewn with the talismans of his real-life counterpart: Johnny’s blue lenses; faded bandannas; beat-up boots; Viper Room cap; silver skull rings in a bowl; a copy of Keith Richards’s Life atop a script for Dark Shadows and folded notes from his 8-yeanold son, Jack, and his 11-year-old daughter, Lily Rose. There is an old Stella acoustic guitar that he cannot resist picking up and strumming quietly. Johnny is working l2-hour shifts. The day begins in the makeup trailer, long before morning rush hour. Downtime is divided between press calls, stacks of pictures to sign, scripts to read, and family responsibilities; ever present and ever embraced. There is also the occasional hour of stolen sleep, often with his guitar resting on his chest.

I first met Johnny a few years ago, backstage at the Orpheum Theater, in Los Angeles, where I was performing with my band. When he laughed, l noticed his gapped teeth, a detail borrowed from the engaging smile of his companion, Vanessa Paradis, in preparation for his role as the frenetically pure Mad Hatter,

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This is the theatrical version of the movie, not the script for the movie itself!!

Screenplay by
John Logan
Music and Lyrics by
Stephen Sondheim
Adapted from the Stage Musical
“Sweeney Todd: The Demon Barber of Fleet Street”
Music and Lyrics by Stephen Sondheim
Book by Hugh Wheeler
Based on a version of “Sweeney Todd”
by Christopher Bond
THIS MATERIAL IS THE PROPERTY OF DREAMWORKS PICTURES

1INT. DARK CHAMBER — NIGHT

Foreboding organ music is heard…
We are looking down at a rough brick floor … is it an
alley? … a cobblestone street? … a warehouse? a factory?
… we’re not sure…
The flickering glow of flame is the only illumination…
The ominous organ music continues as…
From the bottom of the frame…
A dark pool of blood slowly begins to spread … moving up
the frame, defying gravity … the flickering flame reflected
in the blood…
Finally, the pool of blood fills the entire frame.
SUDDENLY–
A shrill factory whistle blows–
ENORMOUSLY LOUD — blood-chilling and spine-shattering —
the whistle is a bizarre combination of sound: a factory
whistle; a hog being slaughtered; a dog snarling; a roaring
inferno; a human scream–
And a man’s face appears, upside down, reflected in the pool
of blood.
He is THE GENTLEMAN,

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This is a transcript written by and used with courtsey of the wonderful Whatsername, here still with her introduction.

Key:
-The character speaking is noted by the initial on the left aka if Jack is talking, it’ll be JS: Barbossa: B and so forth
-If a word was indecipherable, it’ll be followed by a (‘) as to being unsure or ______ if the statement was incoherent.
-I’ll update with corrections after recording (bad, I know) again; the final part has not been added because I haven’t gotten it yet, but it’ll be soon!
-I call it a “loose transcript” because it is strictly dialogue; hardly any actions included (if at all) – scenes are separated by ————

PIRATES OF THE CARIBBEAN:
AT WORLD’S END
TRANSCRIPT (Loose)

L: In order to put forth a more timely halt to the deteriorating conditions and to ensure the common good, a state of emergency has been issued for these territories by the decree of Lord Cutler Beckett; duly appointed representative of his majesty the King. For the time being, the following individual rights have been temporarily amended: Right to assembly ‘ suspended; right to habeas corpus ‘ suspended; right to legal council ‘ suspended; and right to a verdict by a jury of peers ‘ suspended. Any person convicted of piracy, or associating with a person convicted of piracy, or aiding a person convicted of piracy,

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with the courtesey of Nevoreiel
here still with her introduction

Screenplay by Terry Rossio and Ted Elliott

For everyone’s reading pleasure, here is the script for “Pirates of the Caribbean: The Dead Man’s Chest”. This one took six days to type up by ear and I think I managed to hurt my elbow in the process. So there will certainly be mistakes and there is a large share of missed words entirely. At this point, corrections are very welcome and should be taken care of in a timely fashion: e-mail me with your comments, corrections (‘– (??)’ or some such mark indicates missing words or uncertain phrases), etc. Post it wherever you want, just give me credit. I must also say that I had nothing to do with the actual writing of the script or any other aspect of the movie. I do not know any of the people involved, including the actors.

Other Notes (please read before e-mailing me, maybe your query has been already answered):

– Foreign languages were treated thus: the French that was spoke I tried my best to write it out in a way that sounded as the words being said and made sense grammatically at the same time. Any correction from fluent speaker are welcome. The two foreign sailors on the first ship we see taken by the Kraken are speaking a language I can’t identify,

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transcript written by and used with the courtesey of Amanda Lazarus <3. Thanks also to Paula for telling me about it!

Scene 1 : Setting : The Motel : Characters : Mort Rainey, Ted Milner, Amy Rainey, Motel Manager.

Mort’s Voice : [Windshield wipers move across car window] Turn around. [Windshield wipers] Turn around. [Makes a face and puts on his glasses] Turn the car around and get the hell out of here. [Placed a hand on steering wheel] Right now. [Shifts into reverse, turns around and backs the car up. Turns the car to the left angrily. Stops] Don’t go back. [Shifts] Do not go back there. [Turns around. Shifts again and backs up] [Gets out of car, goes into motel lobby, grabs a key off the rack]
Motel Manager : [Puts on bathrobe, sees missing key] Hey. [Mort gets into car] Hey! [Mort drives further, stops abruptly, gets out of car. Unlocks and goes into a room] [Amy and Ted cower in their bed]
Mort : Ahhhh! [Grabs head and walks away]
Motel Manager : [Runs in] What the hell is going on in here?

Scene 2 : Setting : The Cabin : Characters : Mort Rainey, John Shooter, Chico.

[Shot pulls out of motel and fades into a scan of Tashmore lake]
COLOMBIA PICTURES PRESENTS
A PARIAH PRODUCTION
JOHNNY DEPP
SECRET WINDOW [Fades to red]
[Closes in on cabin]
JOHN TURTURRO
MARIA BELLO
TIMOTHY HUTTON
CHARLES S.

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used with courtesey of
All Movie Scripts dot Com

FADE IN:
EXT. CARIBBEAN SEA – DAY
A gray, impenetrable wall of fog. From somewhere comes the
FAINT SOUND of a LITTLE GIRL’S VOICE, singing, slow tempo,
almost under her breath.
YOUNG ELIZABETH (O.S.)
Yo, ho, yo, ho, a pirate’s life for me
Yo, ho, yo, ho, it’s a pirate’s life
for me…
Suddenly a massive SHIP emerges from the grey, the Winged
Victory maidenhead looming. It’s a British dreadnought,
the H.M.S. Dauntless. Formidable, frightening, twenty-five
gun ports on a side, and rail guns to boot.
EXT. H.M.S. DAUNTLESS – FORECASTLE – DAY
ELIZABETH SWANN, strawberry blond hair, stands at the bow
railing, gazing at the seas, still singing-ELIZABETH
…drink up me hearties, yo, ho…
JOSHAMEE GIBBS, who was born old, skin a dark leather,
clutches her shoulder, startling her.
GIBBS
(sotto)
Quiet, missy! Cursed pirates sail
these waters. You want to call
’em down on us?
Elizabeth stares wide-eyed at him.
NORRINGTON
Mr. Gibbs.
NORRINGTON, a dashing young man, Royal Navy to the core,
glares sternly at Gibbs. Standing besides him is GOVERNOR
WEATHERBY SWAN, a man of obvious high station, brass
buttons on his thick blue jacket. He is Elizabeth’s
father.
NORRINGTON (CONT’D)
That will do.
GIBBS
She was singing about pirates.

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used with courtesey of Daily Script – Movie Scripts and Movie Screenplays in proper screen writing format.

ON BLACK:

“A MAN MUST LOOK AT HIS LIFE AND THINK LUXURY.”

FADE IN:

EXT. GUARJIRA, COLOMBIA – 1989 – DAY

A majestic panorama of the lush green slopes that are the
Columbian highlands. A faint chopping sound IS HEARD and
then another. WHOOSH. WHOOSH. The view changes and tiny
dots appear on the hillside vegetation. WHOOSH.

CLOSER

We realize the dots are people. Workers swinging long steel
machetes in slow methodical rhythm. WHOOSH. WHOOSH. WE SEE
the South American Indian MEN clearly now. Their tar stained
teeth. Their gaunt faces riddled with crow’s feet. Their
jaws chewing away on huge wads of coca leaves as they collect
the harvest.

EXT. DIRT ROAD – COLOMBIA – DAY

Old rickety trucks carrying the huge green tractor-sized
bales speed along the narrow road.

EXT. CLEARING – COLOMBIA – DAY

The bundles are undone and Columbian women separate out the
leaves. Tribes of underweight workers carry armload after
armload of the harvest and ritualistically dump them into a
gigantic cannibal pot which sits on top of a raging bonfire.

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Dialogue Transcript

Transcript written by and used with the courtesey of Angela Sugden

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Transcript written by and used with the courtesey of Angela Sugden

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