terça-feira, agosto 26, 2003
36 EXT TYRANNOSAUR PADDOCK DAY
The two Explorers drive along a high ridge and stop at the edge
of the large, open plain that is separated from the road by a fifteen-
foot fence, clearly marked with "DANGER!" signs and ominous-looking
electrical post.
TIM, LEX, and GENNARO are pressed forward against the windows,
eyes wide, waiting for you-know-who.
IN THE REAR CAR,
The voice of the radio drones on, but GRANT, ELLIE, and MALCOLM
aren't even listening anymore, dying of anticipation.
VOICE (O.S.)
The mighty tyrannosaurus arose late in the dinosaur
history. Dinosaurs ruled the earth for hundred and
fifty million years, but it wasn't until the last- -
GRANT
Will you turn that thing off?
Ellie flips a switch and they wait in silence - - except for
Malcolm, who looks at the ceiling, thinking aloud.
MALCOLM
God creates dinosaurs. God destroys dinosaurs. God
creates man. Man destroys God. Man creates dinosaurs.
ELLIE
(finishing it for him)
Dinosaur eats man. Woman inherits the Earth.
ARNOLD (O.S.)
Hold on, we'll try to tempt the rex.
IN THE PADDOCK,
there is a low HUMMING sound. Out in the middle of the field, a
small cage rises up into view, lifted on hydraulics from underground.
The cage bars slide down, leaving the cage's occupant standing
alone in the middle of the field.
It's a goat, one leg chained to a stake. It looks around,
confused, and BLEATS plaintively.
IN THE FRONT CAR,
LEX and TIM look at the goat with widely different reactions.
LEX
What's going to happen to the goat? He's going to eat
the goat?!
TIM
(in heaven)
Excellent.
GENNARO
(to Lex)
What's the matter, kid, you never had lamb chops?
LEX
I happen to be a vegetarian.
IN THE REAR CAR,
GRANT
(shakes his head)
T-rex doesn't want to be fed; he wants to hunt. You
can't just suppress sixty-five million years of gut
instinct.
IN THE PADDOCK
The goat waits. And waits. From the Explorers, six faces watch
it expectantly. The goat tugs on its chain. It walks back and forth,
nervous. It BLEATS.
IN THE REAR CAR,
Grant watches, his eyes glued, his breathing becoming a little
more rapid.
IN THE FRONT CAR,
Tim and Lex can't tear their eyes away,
IN THE PADDOCK,
finally, the goat - -
- - lays down.
IN THE REAR CAR,
everyone sits back, disappointed again, as the cars pull forward
to continue the tour. Malcolm picks up the microphone.
MALCOLM
Now, eventually you do plan to have dinosaurs on your
dinosaur tour, right?
The two Explorers drive along a high ridge and stop at the edge
of the large, open plain that is separated from the road by a fifteen-
foot fence, clearly marked with "DANGER!" signs and ominous-looking
electrical post.
TIM, LEX, and GENNARO are pressed forward against the windows,
eyes wide, waiting for you-know-who.
IN THE REAR CAR,
The voice of the radio drones on, but GRANT, ELLIE, and MALCOLM
aren't even listening anymore, dying of anticipation.
VOICE (O.S.)
The mighty tyrannosaurus arose late in the dinosaur
history. Dinosaurs ruled the earth for hundred and
fifty million years, but it wasn't until the last- -
GRANT
Will you turn that thing off?
Ellie flips a switch and they wait in silence - - except for
Malcolm, who looks at the ceiling, thinking aloud.
MALCOLM
God creates dinosaurs. God destroys dinosaurs. God
creates man. Man destroys God. Man creates dinosaurs.
ELLIE
(finishing it for him)
Dinosaur eats man. Woman inherits the Earth.
ARNOLD (O.S.)
Hold on, we'll try to tempt the rex.
IN THE PADDOCK,
there is a low HUMMING sound. Out in the middle of the field, a
small cage rises up into view, lifted on hydraulics from underground.
The cage bars slide down, leaving the cage's occupant standing
alone in the middle of the field.
It's a goat, one leg chained to a stake. It looks around,
confused, and BLEATS plaintively.
IN THE FRONT CAR,
LEX and TIM look at the goat with widely different reactions.
LEX
What's going to happen to the goat? He's going to eat
the goat?!
TIM
(in heaven)
Excellent.
GENNARO
(to Lex)
What's the matter, kid, you never had lamb chops?
LEX
I happen to be a vegetarian.
IN THE REAR CAR,
GRANT
(shakes his head)
T-rex doesn't want to be fed; he wants to hunt. You
can't just suppress sixty-five million years of gut
instinct.
IN THE PADDOCK
The goat waits. And waits. From the Explorers, six faces watch
it expectantly. The goat tugs on its chain. It walks back and forth,
nervous. It BLEATS.
IN THE REAR CAR,
Grant watches, his eyes glued, his breathing becoming a little
more rapid.
IN THE FRONT CAR,
Tim and Lex can't tear their eyes away,
IN THE PADDOCK,
finally, the goat - -
- - lays down.
IN THE REAR CAR,
everyone sits back, disappointed again, as the cars pull forward
to continue the tour. Malcolm picks up the microphone.
MALCOLM
Now, eventually you do plan to have dinosaurs on your
dinosaur tour, right?
in Jurassic Park (1973) Realização: Steven Spielberg / Argumento: Michael Crichton & David Koepp - DVD
terça-feira, agosto 12, 2003
31 INT. DENTAL CLINIC - NIGHT
The poker table, and dental chair have been removed to make room for two
long tables from the Mess Hall. At these a sumptuous, candle-lit, stag
banquet is coming to an end. The guests are doctors, administrative
officers, chopper pilots and enlisted men. Duke is on his feet, raising
a glass of champagne in a toast. (All our male cast except Henry and
Frank)
DUKE
Y'all come here to say a final
goodbye to our old friend Walt.
But maybe it ain't so final.
Maybe he's just going on ahead
into the Unknown to do a little
recon job for us all.
During this tribute the guests rise, their eyes on the guest of honor, who
sits with his food untouched, a vacant expression on his face. When Duke
has finished and everyone has drunk the toast, they applaud and sit down
again. Trapper raps for attention and indicates Hawkeye, who rises.
HAWKEYE
I just got this one thing to say.
Nobody ordered Walt to take on this
mission. He volunteered, for
certain death. That's what we
award our highest medal for. That's
what being a soldier is all about.
Except for Painless himself, the gathering is deeply moved by this thought,
some of them to the point of tears. Again Trapper restores order.
TRAPPER
Only one man here can add anything
to that.
He looks to Dago Red, who stands up, dressed for the first time in the
priestly vestments he wears for Sunday Mass. He walks to where Painless
sits and there begins the viaticum (holy communion for those in danger of
death).
DAGO RED
Receive, my brother, this food
for your journey...
A coffin, borne into the room by two enlisted men while Red is still
speaking, is lined with blankets, equipped with a pillow for comfortable
reclining prior to the onset of death, and furnished with momentos of
Painless' earthly career: two fresh decks of cards, a box of poker chips,
a fifth of scotch, some basic dental instruments and the photographs of
his three fiancees. It is set down on the floor next to Painless, who
regards it with the first show of interest he has manifested during the
proceedings.
DAGO RED
(bestowing the
sacred host)
...The body of our Lord Jesus
Christ, that He may guard you from
the wicked enemy and lead you into
everlasting life. Amen.
Red is making the sign of the Cross when Painless' curiousity asserts
itself.
PAINLESS
What the hell's that?
TRAPPER
Coffin. Yours.
PAINLESS
I'm not even dead yet.
HAWKEYE
You're a pretty heavy guy to lug
around. Be a hell of a lot more
convenient for everybody if you got
into the box as soon as you've
taken the capsule.
He produces and opens a small box, inside which, surrounded by pure white
cotton, a black capsule is displayed like a rare jewel. Dago Red,
meanwhile, preferring not to know what happens from here on, makes his
way out.
PAINLESS
(scrutinizing the
capsule)
How do you take it?
DUKE
(appearing at his
side with tumbler
of whiskey)
With whiskey. A good swallow
first and a big one afterwards.
Speeds it into the bloodstream.
Painless takes the tumbler from him with one hand, the capsule with the
other. He downs a good-sized swig of whiskey, then, with the capsule in
front of his face, hesitates.
PAINLESS
You guys sure this'll do the job?
DUKE
We wouldn't give you nothing but
the best.
TRAPPER
We stand behind all our work.
HAWKEYE
You want it straight? Medical
history records no instance of
anyone taking this particular
prescription and surviving.
PAINLESS
Here goes nothing.
He pops the capsule into his mouth and washes it down with a large drink
of whiskey. Hawkeye gestures to the waiting coffin. Painless gets up
and lowers himself into it.
PAINLESS
How much time do I have?
HAWKEYE
Just about enough to say goodbye
to everybody.
(announcing)
Line up over here, men, if you
want to pay your last respects.
Keep moving and file on out when
you're through.
PAINLESS
I wonder, if Red's fix swings it
for me, what's heaven really like?
TRAPPER
It's a bedroom where a man is
always at his peak and doesn't
have to take any time outs.
HAWKEYE
And all the angels are built like
Lieutenant Dish.
The Last Supper guests are filing by the coffin, bending low to shake
Painless' hand and murmur words of farewell.
DUKE
Drink up, Walt. One for the
glory road.
He holds the glass to Painless' lips, helps him down the rest of the
whiskey.
The poker table, and dental chair have been removed to make room for two
long tables from the Mess Hall. At these a sumptuous, candle-lit, stag
banquet is coming to an end. The guests are doctors, administrative
officers, chopper pilots and enlisted men. Duke is on his feet, raising
a glass of champagne in a toast. (All our male cast except Henry and
Frank)
DUKE
Y'all come here to say a final
goodbye to our old friend Walt.
But maybe it ain't so final.
Maybe he's just going on ahead
into the Unknown to do a little
recon job for us all.
During this tribute the guests rise, their eyes on the guest of honor, who
sits with his food untouched, a vacant expression on his face. When Duke
has finished and everyone has drunk the toast, they applaud and sit down
again. Trapper raps for attention and indicates Hawkeye, who rises.
HAWKEYE
I just got this one thing to say.
Nobody ordered Walt to take on this
mission. He volunteered, for
certain death. That's what we
award our highest medal for. That's
what being a soldier is all about.
Except for Painless himself, the gathering is deeply moved by this thought,
some of them to the point of tears. Again Trapper restores order.
TRAPPER
Only one man here can add anything
to that.
He looks to Dago Red, who stands up, dressed for the first time in the
priestly vestments he wears for Sunday Mass. He walks to where Painless
sits and there begins the viaticum (holy communion for those in danger of
death).
DAGO RED
Receive, my brother, this food
for your journey...
A coffin, borne into the room by two enlisted men while Red is still
speaking, is lined with blankets, equipped with a pillow for comfortable
reclining prior to the onset of death, and furnished with momentos of
Painless' earthly career: two fresh decks of cards, a box of poker chips,
a fifth of scotch, some basic dental instruments and the photographs of
his three fiancees. It is set down on the floor next to Painless, who
regards it with the first show of interest he has manifested during the
proceedings.
DAGO RED
(bestowing the
sacred host)
...The body of our Lord Jesus
Christ, that He may guard you from
the wicked enemy and lead you into
everlasting life. Amen.
Red is making the sign of the Cross when Painless' curiousity asserts
itself.
PAINLESS
What the hell's that?
TRAPPER
Coffin. Yours.
PAINLESS
I'm not even dead yet.
HAWKEYE
You're a pretty heavy guy to lug
around. Be a hell of a lot more
convenient for everybody if you got
into the box as soon as you've
taken the capsule.
He produces and opens a small box, inside which, surrounded by pure white
cotton, a black capsule is displayed like a rare jewel. Dago Red,
meanwhile, preferring not to know what happens from here on, makes his
way out.
PAINLESS
(scrutinizing the
capsule)
How do you take it?
DUKE
(appearing at his
side with tumbler
of whiskey)
With whiskey. A good swallow
first and a big one afterwards.
Speeds it into the bloodstream.
Painless takes the tumbler from him with one hand, the capsule with the
other. He downs a good-sized swig of whiskey, then, with the capsule in
front of his face, hesitates.
PAINLESS
You guys sure this'll do the job?
DUKE
We wouldn't give you nothing but
the best.
TRAPPER
We stand behind all our work.
HAWKEYE
You want it straight? Medical
history records no instance of
anyone taking this particular
prescription and surviving.
PAINLESS
Here goes nothing.
He pops the capsule into his mouth and washes it down with a large drink
of whiskey. Hawkeye gestures to the waiting coffin. Painless gets up
and lowers himself into it.
PAINLESS
How much time do I have?
HAWKEYE
Just about enough to say goodbye
to everybody.
(announcing)
Line up over here, men, if you
want to pay your last respects.
Keep moving and file on out when
you're through.
PAINLESS
I wonder, if Red's fix swings it
for me, what's heaven really like?
TRAPPER
It's a bedroom where a man is
always at his peak and doesn't
have to take any time outs.
HAWKEYE
And all the angels are built like
Lieutenant Dish.
The Last Supper guests are filing by the coffin, bending low to shake
Painless' hand and murmur words of farewell.
DUKE
Drink up, Walt. One for the
glory road.
He holds the glass to Painless' lips, helps him down the rest of the
whiskey.
in MASH (1970) Realização: Robert Altman / Argumento: Ring Lardner Jr. - DVD
NARRATOR:
Once upon a time in a faraway land
a young prince lived in a shining castle.
Although he had everything his heart desired
the prince was spoiled, selfish and unkind.
But then, one winter's night
an old beggar woman came to the castle
and offered him a single rose
in return for shelter from the bitter cold.
Repulsed by her haggard appearance,
the prince sneered at the gift and turned the old woman away.
But she warned him not to be deceived by appearances,
for beauty is found within.
And when he dismissed her again,
the old woman's ugliness melted away
to reveal a beautiful enchantress.
The prince tried to apologize, but it was too late
for she had seen that there was no love in his heart.
And as a punishment, she transformed him into a hideous beast,
and placed a powerful spell on the castle and all who lived there.
Ashamed of his monstrous form,
the beast concealed himself inside his castle
with a magic mirror as his only window to the outside world.
The rose she had offered
was truly and enchanted rose
which would bloom until his 21st year.
If he could learn to love another
and earn her love in return by the time the last petal fell,
then the spell would be broken.
If not, he would be doomed to remain a beast for all time.
As the years passed
he fell into despair and lost all hope,
for who could ever learn to love
a beast?
Once upon a time in a faraway land
a young prince lived in a shining castle.
Although he had everything his heart desired
the prince was spoiled, selfish and unkind.
But then, one winter's night
an old beggar woman came to the castle
and offered him a single rose
in return for shelter from the bitter cold.
Repulsed by her haggard appearance,
the prince sneered at the gift and turned the old woman away.
But she warned him not to be deceived by appearances,
for beauty is found within.
And when he dismissed her again,
the old woman's ugliness melted away
to reveal a beautiful enchantress.
The prince tried to apologize, but it was too late
for she had seen that there was no love in his heart.
And as a punishment, she transformed him into a hideous beast,
and placed a powerful spell on the castle and all who lived there.
Ashamed of his monstrous form,
the beast concealed himself inside his castle
with a magic mirror as his only window to the outside world.
The rose she had offered
was truly and enchanted rose
which would bloom until his 21st year.
If he could learn to love another
and earn her love in return by the time the last petal fell,
then the spell would be broken.
If not, he would be doomed to remain a beast for all time.
As the years passed
he fell into despair and lost all hope,
for who could ever learn to love
a beast?
in Beauty and the Beast (1991) Realização: Gary Trousdale & Kirk Wise / Argumento: Roger Allers & Kelly Asbury & others - DVD
sábado, agosto 09, 2003
SONG:
I am a man of constant sorrow
I've seen trouble all my day.
I bid farewell to old Kentucky
The place where I was born and raised.
(The place where he was born and raised )
For six long years I've been in trouble
No pleasures here on earth I found
For in this world I'm bound to ramble
I have no friends to help me now.
(chorus) He has no friends to help him now
It's fare thee well my old lover
I never expect to see you again
For I'm bound to ride that northern railroad
Perhaps I'll die upon this train.
(chorus) Perhaps he'll die upon this train.
You can bury me in some deep valley
For many years where I may lay
Then you may learn to love another
While I am sleeping in my grave.
(chorus) While he is sleeping in his grave.
Maybe your friends think I'm just a stranger
My face you'll never see no more.
But there is one promise that is given
I'll meet you on God's golden shore.
(chorus) He'll meet you on God's golden shore.
I am a man of constant sorrow
I've seen trouble all my day.
I bid farewell to old Kentucky
The place where I was born and raised.
(The place where he was born and raised )
For six long years I've been in trouble
No pleasures here on earth I found
For in this world I'm bound to ramble
I have no friends to help me now.
(chorus) He has no friends to help him now
It's fare thee well my old lover
I never expect to see you again
For I'm bound to ride that northern railroad
Perhaps I'll die upon this train.
(chorus) Perhaps he'll die upon this train.
You can bury me in some deep valley
For many years where I may lay
Then you may learn to love another
While I am sleeping in my grave.
(chorus) While he is sleeping in his grave.
Maybe your friends think I'm just a stranger
My face you'll never see no more.
But there is one promise that is given
I'll meet you on God's golden shore.
(chorus) He'll meet you on God's golden shore.
in O Brother, Where Art Thou? (2000) Realização: Joel Coen / Argumento: Joel Coen & Ethan Coen - DVD
sexta-feira, agosto 08, 2003
HUBERT:
C'est l'histoire d'une société qui tombe
et qui, au fur et à mesure de sa chute,
se répète, pour se rassurer:
Jusqu'ici, tout va bien,
Jusqu'ici, tout va bien,
Jusqu'ici, tout va bien.
L'important, c'est pas la chute...
C'est l'atterrissage.
C'est l'histoire d'une société qui tombe
et qui, au fur et à mesure de sa chute,
se répète, pour se rassurer:
Jusqu'ici, tout va bien,
Jusqu'ici, tout va bien,
Jusqu'ici, tout va bien.
L'important, c'est pas la chute...
C'est l'atterrissage.
in La Haine (1995) Realização e Argumento: Mathieu Kassovitz - DVD
28 INT. MASTER BEDROOM - MUCH LATER - NIGHT
Carol Anne and Robbie are asleep next to Diane and Steve. The TV been left on and the National
Anthem starts to play...
CLOSE - FAMILY
Various positions, asleep.
28-A SLOWLY MOVE IN CLOSER TO THE TELEVISION
The pre-recorded voice of the station manager signs off. A beat...Transmission ceases and the soft
roar of dead air fills the room as the static white snow colors the walls, making shadows flicker
and warp.
It is only now that we first hear it. A SOUND Intermingling with the TV hiss, like a bad
connection from far, far away. A whisper. Not one, but hundreds of them. They say nothing. It’s a
chorus, tonal and inviting.
28-B CLOSE - CAROL ANNE
She turns on her side. And her eyes open surreally. Ever so slowly, she turns her head until fully
facing the TV. Carol Anne smiles. A smile much too sophisticated for a five year old child.
28-C CLOSE - TV SCREEN
The snow mixes with new imagery. Forms. Vague but luminous. Always mingling.
Impressionistic. Never hard-lined.
CAROL ANNE
(whispering)
Come out...come out...
The picture tube starts to SNAP! Little flashes momentarily blind Carol Anne. She blinks and tries
to see deeper. SNAP! CRACK! It's as if flashbulbs were being emitted. Steven and Diane turn
fitfully but remain asleep. FLASH! POP! Robbie is close to waking.
28-D CLOSE - CAROL ANNE
Smiling, on her knees now...she reaches out toward the TV screen when... SOMETHING
REACHES BACK. A Substance. A form, like a wispy, smoky tentacle twists forward,
EXTENDING FROM THE PICTURE TUBE and snaking into the Freeling bedroom.
Transparent and cold, it gives birth to itself, builds upon its own energy, growing brighter as it
seems to hover above Carol Anne, then tower over the family asleep in the king-size bed.
28-E CLOSE - CAROL ANNE
She must bend her neck to look all the way up at the ceiling where this cyclonic shape waltzes..
.studying...a the room, then Carol Anne...
AN EXPLOSION from the TV set. The brightest flash yet experienced. A force that expells the
intruder from the set and into the room. Catapulting it past the family and into the wall RIGHT
OVER THE BED, where it leaves a dark pencil dot stain. The entire room shakes and the family
is awake and panicked.
The window cracks, the curtain rod slips. Books and mementos fall from the open hutch. The
medicine cabinet opens and prescription medicine splatters on the tiled floor. The room lights flare
then die. Every picture topples from the walls.
28-F
Just as quickly as it began, the episode ceases. A HUSH descends. Everyone looks at Carol Anne.
Carol Anne looks at everyone...then intones, almost matter-of-factly.
CAROL ANNE
They're here.
Carol Anne and Robbie are asleep next to Diane and Steve. The TV been left on and the National
Anthem starts to play...
CLOSE - FAMILY
Various positions, asleep.
28-A SLOWLY MOVE IN CLOSER TO THE TELEVISION
The pre-recorded voice of the station manager signs off. A beat...Transmission ceases and the soft
roar of dead air fills the room as the static white snow colors the walls, making shadows flicker
and warp.
It is only now that we first hear it. A SOUND Intermingling with the TV hiss, like a bad
connection from far, far away. A whisper. Not one, but hundreds of them. They say nothing. It’s a
chorus, tonal and inviting.
28-B CLOSE - CAROL ANNE
She turns on her side. And her eyes open surreally. Ever so slowly, she turns her head until fully
facing the TV. Carol Anne smiles. A smile much too sophisticated for a five year old child.
28-C CLOSE - TV SCREEN
The snow mixes with new imagery. Forms. Vague but luminous. Always mingling.
Impressionistic. Never hard-lined.
CAROL ANNE
(whispering)
Come out...come out...
The picture tube starts to SNAP! Little flashes momentarily blind Carol Anne. She blinks and tries
to see deeper. SNAP! CRACK! It's as if flashbulbs were being emitted. Steven and Diane turn
fitfully but remain asleep. FLASH! POP! Robbie is close to waking.
28-D CLOSE - CAROL ANNE
Smiling, on her knees now...she reaches out toward the TV screen when... SOMETHING
REACHES BACK. A Substance. A form, like a wispy, smoky tentacle twists forward,
EXTENDING FROM THE PICTURE TUBE and snaking into the Freeling bedroom.
Transparent and cold, it gives birth to itself, builds upon its own energy, growing brighter as it
seems to hover above Carol Anne, then tower over the family asleep in the king-size bed.
28-E CLOSE - CAROL ANNE
She must bend her neck to look all the way up at the ceiling where this cyclonic shape waltzes..
.studying...a the room, then Carol Anne...
AN EXPLOSION from the TV set. The brightest flash yet experienced. A force that expells the
intruder from the set and into the room. Catapulting it past the family and into the wall RIGHT
OVER THE BED, where it leaves a dark pencil dot stain. The entire room shakes and the family
is awake and panicked.
The window cracks, the curtain rod slips. Books and mementos fall from the open hutch. The
medicine cabinet opens and prescription medicine splatters on the tiled floor. The room lights flare
then die. Every picture topples from the walls.
28-F
Just as quickly as it began, the episode ceases. A HUSH descends. Everyone looks at Carol Anne.
Carol Anne looks at everyone...then intones, almost matter-of-factly.
CAROL ANNE
They're here.
in Poltergeist (1982) Realização: Tobe Hooper / Argumento: Steven Spielberg & Michael Grais & Mark Victor
quinta-feira, agosto 07, 2003
CALLAHAN:
I know what you’re thinking. Did he fire six shots or only five? Well, to tell you the truth, in all this excitement I’ve kinda lost track myself. But being this is a .44 Magnum, the most powerful handgun in the world, and would blow your head clean off—you’ve got to ask yourself one question:
Do I feel lucky?
Well, do ya, punk?
I know what you’re thinking. Did he fire six shots or only five? Well, to tell you the truth, in all this excitement I’ve kinda lost track myself. But being this is a .44 Magnum, the most powerful handgun in the world, and would blow your head clean off—you’ve got to ask yourself one question:
Do I feel lucky?
Well, do ya, punk?
in Dirty Harry (1971) Realização: Don Siegel / Argumento: Harry Julian Fink & Rita M. Fink & Dean Riesner - DVD
SANCHEZ
...Let's be honest here. Twenty million
dollars is more money than these people
have ever dreamed of.
Erin has no patience for this today.
ERIN
Oh, see, now that pisses me off. First
of all -- since the demur, we now have
more than four hundred plaintiffs...and
(mocking her)
"let's be honest", we all know there's
more out there. Now, they may not be the
most sophisticated people, but they do
know how to divide, and twenty million
dollars isn't shit when it's split
between them.
Donald and Anna exchange a look. This is getting
interesting.
ED
Erin --
But there's no stopping her.
ERIN
And second of all -- these people don't
dream about being rich. They dream about
being able to watch their kids swim in a
pool without worrying they'll have to
have a hysterectomy at age 20, like Rosa
Diaz -- a client of ours -- or have their
spine deteriorate like Stan Bloom.
Another client of ours.
Ed sits now with a light smile, content to let Erin
continue.
ERIN (CONT'D)
So before you come back here with another
lame-ass offer, I want you to think real
hard about what your spine is worth, Mr.
Buda -- or what you'd expect someone to
pay you for your uterus, Miss Sanchez --
then you take out your calculator and
multiply that number by a hundred.
Anything less than that is a waste of our
time.
Sanchez, throughout her speech, has been reacting in a
patronizing manner - as if Erin's words were of no import. By
the end of Erin's speech, Sanchez has picked up a glass of
water in front of her and is about to drink, when Erin says:
ERIN
By the way, we had that water brought in
especially for you folks.
Came from a well in Hinkley.
...Let's be honest here. Twenty million
dollars is more money than these people
have ever dreamed of.
Erin has no patience for this today.
ERIN
Oh, see, now that pisses me off. First
of all -- since the demur, we now have
more than four hundred plaintiffs...and
(mocking her)
"let's be honest", we all know there's
more out there. Now, they may not be the
most sophisticated people, but they do
know how to divide, and twenty million
dollars isn't shit when it's split
between them.
Donald and Anna exchange a look. This is getting
interesting.
ED
Erin --
But there's no stopping her.
ERIN
And second of all -- these people don't
dream about being rich. They dream about
being able to watch their kids swim in a
pool without worrying they'll have to
have a hysterectomy at age 20, like Rosa
Diaz -- a client of ours -- or have their
spine deteriorate like Stan Bloom.
Another client of ours.
Ed sits now with a light smile, content to let Erin
continue.
ERIN (CONT'D)
So before you come back here with another
lame-ass offer, I want you to think real
hard about what your spine is worth, Mr.
Buda -- or what you'd expect someone to
pay you for your uterus, Miss Sanchez --
then you take out your calculator and
multiply that number by a hundred.
Anything less than that is a waste of our
time.
Sanchez, throughout her speech, has been reacting in a
patronizing manner - as if Erin's words were of no import. By
the end of Erin's speech, Sanchez has picked up a glass of
water in front of her and is about to drink, when Erin says:
ERIN
By the way, we had that water brought in
especially for you folks.
Came from a well in Hinkley.
in Erin Brockovich (2000) Realização: Steven Soderbergh / Argumento: Susannah Grant - DVD
JACK
Let's pretend. You're the Department of Transportation. And you knew
that our company intentionally left a front seat mounting bracket that
never passed collision tests? Did nothing about leather seats -- that
were cured in third world countries with a chemical we know causes
birth defects? Brake linings that fail after a thousand miles.
Turbochargers that blow up and cut off legs at the knees. Fuel
injectors that burn people alive. All of these accidents where "cause
of failure" is stamped "unknown". I know where the bodies are buried.
Call it job security.
BOSS
Just who the fuck do you think you are?! Get out of here! You're
fired!
JACK
I've got a better idea. You're going to keep me on payroll as an
outside consultant. In exchange for my salary, I'll perform the task
of not telling anyone what I know. I won't need to come into the
office. I can do this job from home. Call it early retirement, with
pension.
Boss stands, moves around his desk, glaring with rage.
JACK
Yes, I am shit and crazy, to you and this whole fucking world, but I'm
your responsibility.
Jack PUNCHES HIMSELF in the nose. Blood starts to trickle down. He
punches himself in the jaw, harder. He throws himself back, acting as
if the force of the punch knocked him. His back SLAMS against a framed
painting and SHATTERS the glass. He and the frame and the glass and
the painting fall to the floor.
JACK (V.O.)
I Am Joe's Smirking Revenge.
JACK
Please don't hit me again. Please.
Jack gets back to his feet and punches himself in the stomach, then
punches himself in the jaw again. He reels backwards and falls into a
hanging shelf, ripping it off the wall, sending it's contents flying.
He falls to the floor again.
JACK (V.O.)
For some reason, I thought of my first fight -- with Tyler.
Jack crawls along the carpet toward Boss, dripping blood. He tries to
keep up the act, but he sporadically GIGGLES. He grabs Boss's leg.
JACK
Please ... give me the paychecks like I asked for. You won't see me
again. You won't have any trouble.
Jack climbs up Boss's leg. Boss, aghast, tries to shake him off, and,
in doing so, stumbles back in to his desk, knocking off photos, stacks
of paper, paperweights.
JACK (V.O.)
Under and behind and inside everything this man took for granted,
something horrible had been growing.
Jack crawls up high enough to grab Boss's belt and hoist himself up
further. He's getting blood all over the Boss's clothes. Jack SMUDGES
blood from his face onto the knuckles of both Boss's hands. The
horrified man SCREAMS.
JACK (V.O.)
And right then, at our most excellent moment, security guards decided
to walk in.
Two SECURITY GUARDS come inside and gape at the sight. Behind them
stands a crowd of curious workers, also taking in the sight.
JACK (gurgling blood)
Please don't hit me again.
Let's pretend. You're the Department of Transportation. And you knew
that our company intentionally left a front seat mounting bracket that
never passed collision tests? Did nothing about leather seats -- that
were cured in third world countries with a chemical we know causes
birth defects? Brake linings that fail after a thousand miles.
Turbochargers that blow up and cut off legs at the knees. Fuel
injectors that burn people alive. All of these accidents where "cause
of failure" is stamped "unknown". I know where the bodies are buried.
Call it job security.
BOSS
Just who the fuck do you think you are?! Get out of here! You're
fired!
JACK
I've got a better idea. You're going to keep me on payroll as an
outside consultant. In exchange for my salary, I'll perform the task
of not telling anyone what I know. I won't need to come into the
office. I can do this job from home. Call it early retirement, with
pension.
Boss stands, moves around his desk, glaring with rage.
JACK
Yes, I am shit and crazy, to you and this whole fucking world, but I'm
your responsibility.
Jack PUNCHES HIMSELF in the nose. Blood starts to trickle down. He
punches himself in the jaw, harder. He throws himself back, acting as
if the force of the punch knocked him. His back SLAMS against a framed
painting and SHATTERS the glass. He and the frame and the glass and
the painting fall to the floor.
JACK (V.O.)
I Am Joe's Smirking Revenge.
JACK
Please don't hit me again. Please.
Jack gets back to his feet and punches himself in the stomach, then
punches himself in the jaw again. He reels backwards and falls into a
hanging shelf, ripping it off the wall, sending it's contents flying.
He falls to the floor again.
JACK (V.O.)
For some reason, I thought of my first fight -- with Tyler.
Jack crawls along the carpet toward Boss, dripping blood. He tries to
keep up the act, but he sporadically GIGGLES. He grabs Boss's leg.
JACK
Please ... give me the paychecks like I asked for. You won't see me
again. You won't have any trouble.
Jack climbs up Boss's leg. Boss, aghast, tries to shake him off, and,
in doing so, stumbles back in to his desk, knocking off photos, stacks
of paper, paperweights.
JACK (V.O.)
Under and behind and inside everything this man took for granted,
something horrible had been growing.
Jack crawls up high enough to grab Boss's belt and hoist himself up
further. He's getting blood all over the Boss's clothes. Jack SMUDGES
blood from his face onto the knuckles of both Boss's hands. The
horrified man SCREAMS.
JACK (V.O.)
And right then, at our most excellent moment, security guards decided
to walk in.
Two SECURITY GUARDS come inside and gape at the sight. Behind them
stands a crowd of curious workers, also taking in the sight.
JACK (gurgling blood)
Please don't hit me again.
in Fight Club (1999) Realização: David Fincher / Argumento: Jim Huls - DVD
quarta-feira, agosto 06, 2003
LAUNCELOT:
Have we got bows?
ARTHUR:
No.
LAUNCELOT:
We have the Holy Hand Grenade.
ARTHUR:
Yes, of course! The Holy Hand Grenade of Antioch! 'Tis one of the sacred relics Brother Maynard carries with him! Brother Maynard! Bring up the Holy Hand Grenade!
MONKS: [chanting]
Pie Iesu domine, dona eis requiem. Pie Iesu domine, dona eis requiem. Pie Iesu domine, dona eis requiem. Pie Iesu domine, dona eis requiem.
ARTHUR:
How does it, um-- how does it work?
LAUNCELOT:
I know not, my liege.
ARTHUR:
Consult the Book of Armaments!
BROTHER MAYNARD:
Armaments, chapter two, verses nine to twenty-one.
SECOND BROTHER:
And Saint Attila raised the hand grenade up on high, saying, 'O Lord, bless this Thy hand grenade that, with it, Thou mayest blow Thine enemies to tiny bits in Thy mercy.' And the Lord did grin, and the people did feast upon the lambs and sloths and carp and anchovies and orangutans and breakfast cereals and fruit bats and large chu--
MAYNARD:
Skip a bit, Brother.
SECOND BROTHER:
And the Lord spake, saying, 'First shalt thou take out the Holy Pin. Then, shalt thou count to three. No more. No less. Three shalt be the number thou shalt count, and the number of the counting shall be three. Four shalt thou not count, nor either count thou two, excepting that thou then proceed to three. Five is right out. Once the number three, being the third number, be reached, then, lobbest thou thy Holy Hand Grenade of Antioch towards thy foe, who, being naughty in My sight, shall snuff it.'
MAYNARD:
Amen.
KNIGHTS:
Amen.
ARTHUR:
Right! One!... Two!... Five!
GALAHAD:
Three, sir!
ARTHUR:
Three!
[angels sing]
[boom]
Have we got bows?
ARTHUR:
No.
LAUNCELOT:
We have the Holy Hand Grenade.
ARTHUR:
Yes, of course! The Holy Hand Grenade of Antioch! 'Tis one of the sacred relics Brother Maynard carries with him! Brother Maynard! Bring up the Holy Hand Grenade!
MONKS: [chanting]
Pie Iesu domine, dona eis requiem. Pie Iesu domine, dona eis requiem. Pie Iesu domine, dona eis requiem. Pie Iesu domine, dona eis requiem.
ARTHUR:
How does it, um-- how does it work?
LAUNCELOT:
I know not, my liege.
ARTHUR:
Consult the Book of Armaments!
BROTHER MAYNARD:
Armaments, chapter two, verses nine to twenty-one.
SECOND BROTHER:
And Saint Attila raised the hand grenade up on high, saying, 'O Lord, bless this Thy hand grenade that, with it, Thou mayest blow Thine enemies to tiny bits in Thy mercy.' And the Lord did grin, and the people did feast upon the lambs and sloths and carp and anchovies and orangutans and breakfast cereals and fruit bats and large chu--
MAYNARD:
Skip a bit, Brother.
SECOND BROTHER:
And the Lord spake, saying, 'First shalt thou take out the Holy Pin. Then, shalt thou count to three. No more. No less. Three shalt be the number thou shalt count, and the number of the counting shall be three. Four shalt thou not count, nor either count thou two, excepting that thou then proceed to three. Five is right out. Once the number three, being the third number, be reached, then, lobbest thou thy Holy Hand Grenade of Antioch towards thy foe, who, being naughty in My sight, shall snuff it.'
MAYNARD:
Amen.
KNIGHTS:
Amen.
ARTHUR:
Right! One!... Two!... Five!
GALAHAD:
Three, sir!
ARTHUR:
Three!
[angels sing]
[boom]
in Monty Python and the Holy Grail (1975) Realização: Terry Gilliam & Terry Jones / Argumento: Graham Chapman & John Cleese & Eric Idle & Terry Gilliam & Terry Jones & Michael Palin - DVD
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