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script without owner found at Weekly Script, where they call the use of it fair use. If the owner of the script has anything against his script posted here, please contact me.

“DONNIE BRASCO”

by

Paul Attanasio

Based on the book, “Donnie Brasco”

by

Joseph D. Pistone with Richard Woodley

REVISED DRAFT

July 27, 1992

EXT. DAY. WASHINGTON, D.C.

An AERIAL VIEW of the nation’s capital, MOVING IN on the
stolid limestone box of FBI HEADQUARTERS. Supered below:

FBI HEADQUARTERS. WASHINGTON, D.C. 1981.

CUT TO:

INT. DAY. FBI HEADQUARTERS

A spacious corner OFFICE. American flag, FBI seal, and a
plush carpet — Federal blue.

CLENDON HOGUE, 40s, barrel chest, shrewd eyes over half-moon
glasses, PRESIDES behind a vast desk. The impressive mien of
earned authority. Before him:

JULES BONOVOLONTA, late 40s, Green Beret veteran, SUPERVISOR,
140 pounds of pugnacity and gristle. Ex-street agent cramped
by headquarters.

PAT MARSHALL, late 30s, a CASE AGENT,

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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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script used with courtesey of Daily Script

Sleepy Hollow

Being the true storie of one Ichabod Crane
and the Headless Horseman

Kevin Yagher and Andrew Kevin Walker

Based on “The Legend of Sleepy Hollow” by Washington Irving

Screenplay by Andrew Kevin Walker

Third Draft
4/10/95

A pleasing land of drowsy head it was,
of dreams that wave before the half shut eye…

EXT. GNARLED FOREST-NIGHT

An UGLY MAN charges through on a horse, holding a lantern
forward on a long pole. He looks back, terrified.

INSERT TITLE: 1799 Sleepy Hollow, New York

THUNDEROUS HOOFBEATS are HEARD behind.

The ugly man glances back again. His lantern swings wild…
SHATTERS against a tree. The jammed-up pole SLAMS the ugly
man off his horse…

He hits the ground. He runs, trips, falls and scrambles up.

DEEP IN THE FOREST, we glimpse the source of the HOOFBEATS: a
HUGE FORM on a HUGE BLACK HORSE, already gone.

The ugly man pushes through thorny bushes. Jagged branches
slit his hands and cheeks.

He bursts from the briar patch and tumbles to a trail. He
lifts his bloodied face. He runs.

IN THE FOREST BEHIND: the hooves of the black horse rip
underbrush. HOOFBEATS DEAFENING. A spur digs into the
snorting steed’s already bleeding flank.

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used with courtesey of
All Movie Scripts dot Com

Movie Title: Pirates of the Caribbean

Screenwriter(s): Ted Elliot, Terry Rossio

Draft Date: Unspecified

Genre(s): Action, Adventure, Comedy

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 the side, and rail guns to boot.

EXT. H.M.S. DAUNTLESS – FORECASTLE – DAY

ELIZABETH SWANN, strawberry blonde hair, stands at the bow
rail, gazing at the sea, 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?

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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 it is, the script for “Pirates of the Caribbean: The Curse of the Black Pearl”. It took me hours to complete typing it all up by ear. So there will certainly be mistakes and there is a large share of missed words entirely. Post it wherever you want just give me credit. Enjoy and if you have a correction, e-mail it to me and I will fix it ASAP.

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

There has been more discrepancy in the word ‘parley’, ‘parlay’, or a French version. The Disney book uses ‘parley’ so that’s the one I’ll be using.
Of course, a great big thank you to those who’ve sent in corrections and comments. I update when I’ve amassed a considerable amount of updates.
[NEW] This recent correction is mostly from the captions on the DVD, so the lines should be mostly correct and complete.

SCRIPT LAST UPDATED: April 22nd, 2004 (8:05 pm EST)

Nevoreiel

*****

Scene 1: (Dream sequence of Will ‘s rescue)

Young Elizabeth : [standing at the bow of a ship and singing] …We pillage,

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script used with coutesey of Daily Script

PLATOON

FADE IN:

A QUOTATION AGAINST A BLACK SCREEN:

‘REJOICE, O YOUNG MAN, IN THY YOUTH …’

The sound now of a C-130 air cargo plane roaring over us and we cut sharply to:

EXT.AIRSTRIP – BASE CAMP – VIETNAM – DAY

As the C-130 coasts to a stop, the hatch rotating down on a hot, dusty lifeless airstrip somewhere in Vietnam. Nothing seems to live or move in the midday sun.

TITLES RUN

A DOZEN NEW RECRUITS step off the plane, unloading their duffel bags, looking around like only the new can look around, their hair regulation-clipped, crisp, new green fatigues fitting them like cardboard.

CHRIS TAYLOR is just another one of them – as he turns into a tight closeup, to look at a motorized cart pulling up alongside … He’s about 21. Newmeat. His face, unburned yet by the sun, is tense, bewildered, innocent, eyes searching for the truth.

They fall now on a heap of BODY BAGS in the back of the cart. Two soldiers begin loading them onto the plane. Flies – hundreds of flies – buzz around them, the only cue to their contents.

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Transcript written by and used with the courtesey of Angela Sugden, Spanish text parts added/corrected by varguitas

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script used with courtesey of Daily Script

Wes Craven’s

A NIGHTMARE ON ELM STREET

1A. INT. (MONTAGE). 1A.

NIGHTMARE MUSIC THEME begins as we FADE UP on a SERIES OF SHOTS,
all CLOSE and teasing.

— A man’s FEET, in shabby work shoes, stalking
through a junk bin in a dark, fire-lit, ash-
dusted place. A huge BOILER ROOM is what it

is, although we only glimpse it piecemeal.
Then we SEE a MAN’S HAND, dirty and nail-bitten,
reach INTO FRAME and pick up a piece of METAL.

— ANOTHER ANGLE as the HAND grabs a grimey
WORKGLOVE and slashes at it with a straight
razor, until its fingertips are off.

— CLOSE ON SAME HANDS dumping four fishing knives
out of a filthy bag. Their blades are thin,
curved, gleaming sharp.

— MORE ANGLES, EVEN CLOSER. We can HEAR the MAN’s
wheezing BREATHING, but we still haven’t seen

his face. We never will. We just SEE more metal
being assembled with crude tools, into some sort
of linkage — a splayed, spidery sort of apparatus,
against a background light of FIRE,

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used with coutesey of Daily Script

THE NINTH GATE

A Screenplay by Roman Polanski, John Brownjohn and Enrique Urbizu

Based on a novel by Arturo Perez-Reverte

1. TELFER HOUSE: LIBRARY INT/NIGHT

ANDREW TELFER, a scrawny seventy-year-old, is writing a note at
his desk in one corner of a big, book-lined room. Dangling from
the central chandelier is a noose. A chair stands beneath it.

TELFER looks up for a moment. Blankly, he eyes a framed
photoportrait on his desk: a beautiful, thirty-something blonde
returns his gaze with an enigmatic smile.

He stops writing and folds the sheet, scrawls something on the
back, and leaves it on the desk. Then he walks to the centre of
the room and climbs on the chair. He puts his head through the
noose and tightens it around his neck.

He kicks away the back of the chair, but it doesn’t fall.
Frantically, he tries again: this time the chair topples over.
The chandelier squeaks as it swings on its hook, but it holds.
Fragments of plaster come raining down.

TELFER’s neck isn’t broken: he starts to choke. His feet perform
a convulsive dance in mid-air only six inches above the floor;

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