by Gil Bettman
Brendan continues walking, then spots Tommy coming toward him. The brothers make eye contact. Stop. Then approach each other warily.
BRENDAN
Been looking all over for you. How’s it going?
TOMMY
It’s going.
Good Will Hunting
by Matt Damon and Ben Affleck
http://hollywoodfilmdirecting.com/directing-the-camera.html — scene only
http://screenplayexplorer.com/wp-content/scripts/Good-Will-Hunting.pdf — entire script
This scene is on page 80.
This is the scene that ends, famously, with Will telling Skylar “I don’t love you.” They are in the midst of an intense romance, and at the start of the scene, she lovingly asks him, “Come to California with me.” Essentially this is an invitation on her part to take their romance to the next stage and make it long-lasting. Will is a work in progress. He has not yet discovered that he associates love with pain. So when she suggests making their love permanent, he freaks out and sabotages the relationship.
INT. SKYLAR’S ROOM – NIGHT
Will and Skylar lie in bed. Skylar watches Will sleep.
SKYLAR
Will? Are you awake?
WILL
No.
Sex, Lies and Videotape
by Steven Soderbergh
http://hollywoodfilmdirecting.com/directing-the-camera.html — scene only
http://www.imsdb.com/scripts/Sex,-Lies-and-Videotape.html — entire script
This scene is Scene #24.
This is a great mutual seduction scene. Cynthia has found out that her half-sister, Anne, is doing “something sexual” with Graham. Cynthia is locked in an intense sibling rivalry with Anne. To her mind, she is the hot sister, while Anne is the prude. So Cynthia goes to Graham’s apartment and introduces herself, with the intention of doing whatever it is that Anne has been doing with Graham involving sex. Cynthia is thinking along the lines of whips or chains, but, in this scene, she finds out that Graham is kinky in a way she never dreamed of.
24 INT. GRAHAM’S APARTMENT – DAY
Graham sits smoking a cigarette. There is a knock at his door.
GRAHAM
It’s open.
Cynthia enters. Graham looks up at her.
GRAHAM
Who are you?
Basic Instinct
by Joe Ezterhas
http://hollywoodfilmdirecting.com/directing-the-camera.html — scene only
http://screenplayexplorer.com/wp-content/scripts/Basic-Instinct.pdf — entire script
This scene is on page 42.
Nick is a brilliant homicide detective who has done a lot of bad things in his life. In this scene he meets his match in equally bad, equally brilliant Catherine. Nick has just uncovered some evidence that he is certain implicates Catherine in a ruthless ice-pick murder. Armed with this evidence he goes to interrogate her, thinking he can get her to crack. But it is Catherine who almost cracks Nick.
EXT. THE STINSON BEACH HOUSE – NEXT DAY
He pulls up to the house, gets out of his unmarked police car. He stands there a beat, thinking. He walks down to the beach entrance of the house. He hears a Rolling Stones SONG playing inside. He stands there.
The door suddenly opens.
Catherine stands there, smiles. She wears very tight-fitting spandex leotards.
CATHERINE
Hi.
He looks at her a beat, then –
NICK
Am I . . . disturbing you?
CATHERINE
No. Come in.
They have their eyes on each other. A beat, and she turns to go in.
Jerry Maguire
by Cameron Crowe
http://hollywoodfilmdirecting.com/directing-the-camera.html — scene only
http://www.imsdb.com/scripts/Jerry-Maguire.html — entire script
This scene is on page 109.
This is the scene which ends, famously, with Cuba Gooding shouting the final line, “I’m all heart, motherfucker!” Gooding plays NFL star-in-the-making Rod Tidwell. Jerry (Tom Cruise) is Rod’s sports agent. They have bonded as friends, but that bond is now strained to the breaking point, because Jerry has failed to get Rod the rich contract that he promised him in the previous “Show me the money!” scene. They meet after Rod has had a disappointing game. Rod gives Jerry some friendly advice about Jerry’s troubled marriage, which deeply huts Jerry. Jerry retaliates and tells Rod he is a “paycheck player” who plays with no heart.
EXT. PHILADELPHIA LOCKER ROOM – NIGHT
Finally, here comes Tidwell, moving very slowly with garment bag.
JERRY
How’s your head? Bubblicious.
TIDWELL
The quarterback sucks, man. He’s gonna get me killed.
Almost Famous
by Cameron Crowe
http://hollywoodfilmdirecting.com/directing-the-camera.html — scene only
http://www.dailyscript.com/scripts/almost_famous.html — entire script
Scene 118.
It is 1972. Rock music is at its zenith. William, a precocious sixteen-year-old, who aspires to become a rock ‘n’ roll journalist, befriends the up-and-coming rock band Stillwater and gets invited to follow them on tour. Also on the bus are the groupies following Stillwater, led by the enchanting Penny Lane. In the weeks that follow William becomes everyone’s pet. Most important, the rock god, lead guitarist Russell Hammond, takes him under his wing. Rolling Stone promises William that they will publish William’s profile of Stillwater if William can land an interview with reclusive Russell. So William must stay in Russell’s good graces, but this becomes increasingly difficult as William falls in love with Penny while Penny falls in love with Russell. The tour is about to arrive in New York, where, in any case, Penny and the groupies will have to disappear because Russell’s wife is going to join him. Russell solves the problem by selling Penny and the other groupies to another band for $50 and a case of Heineken. William knows this, but Penny doesn’t, and William is dying to set her straight and tell her.
118 EXT. CONCORD PAVILLION BACKSTAGE – EARLY MORNING
William exits a backstage Portosan. Penny catches him by the grilling area where catering is preparing for the outdoor event. Their laminated passes swing from around their necks. Thudding in the distance, Stillwater plays for a cheering outdoor crowd. The sound of summer insects in the air.
PENNY
So it wasn’t a birthday party, it was a farewell.
William doesn’t answer. He looks at her, blowing some hair out of her face.
PENNY (CONT’D)
You think you can fool me. I read you. I know what you’re thinking.
WILLIAM
What’s that?
PENNY
(touched)
You’re worried about me and Russell.
Seven
by Andrew Kevin Walker
http://hollywoodfilmdirecting.com/directing-the-camera.html — scene only
http://sfy.ru/?script=se7en — entire script
There are no page or scene numbers in the file above. This is the last scene in the script.
Throughout this film, Detectives Mills and Somerset have been tracking down psycho-killer John Doe. They have finally caught Doe and are on the verge of bringing him to justice. But Doe intends to derail the process by baiting Mills into shooting him. This would ruin Mills’ life as a police detective. Doe has a piece of news, which, in the course of the scene, he reveals bit by bit to Mills, certain that once Mills knows this horrible truth he will blow Doe’s brains out. Somerset struggles to intervene.
EXT. MARSHLANDS – EARLY EVENING
Mills sees Somerset coming and pulls Doe so that Doe stands.
JOHN DOE
(quietly, watching)
Here he comes.
MILLS
(shouts to Somerset)
What the fuck is going on?
LA Confidential
by Brian Helgeland
http://hollywoodfilmdirecting.com/directing-the-camera.html — scene only
http://www.imsdb.com/scripts/L.A.-Confidential.html — entire script
No page or scene numbers. The scene comes a little before halfway through the script.
Bud White is a homicide detective in Los Angeles in the 1930s. He has the ideals of Sir Galahad. But he does not hesitate to use Dirty Harry methods to enforce them. Bud is investigating the murder of Sue Lefferts, a high-class call girl who, like the other prostitutes managed by Pierce Patchett, has been altered by plastic surgery to look like a specific movie star. The trail leads Bud to the house of Lynn Bracken, one of Pierce’s other call girls. Bud enters the scene assuming that Lynn is a dumb broad who will reveal incriminating evidence if he merely growls at her. But when Bud growls, Lynn just laughs and brilliantly calls him out on his Sir Galahad complex. Bud leaves in love with her and hating himself for it.
INT. 1736 NOTTINGHAM (LYNN BRACKEN’S) – DAY
A nice breezy feel. The perfect place to shack up.
LYNN
I’ve been expecting you. Pierce called. Told me what happened to Sue.
(beat)
It’s Officer White, isn’t it?
Bud nods, eyeballs the place.
Carlito’s Way
by David Koepp
http://hollywoodfilmdirecting.com/directing-the-camera.html — scene only
http://www.bhplayhouse.com/62-Drama-Man-Woman-Acting-Scenes/933-Carlito-s-Way/View-details — scene only
Go to website above and click on “Carlito’s Way 2.doc” in the middle of the page. Scene 64 will pop up.
Carlito and Gail have become live-in lovers since Carlito’s release from jail. Carlito has been a gangster all his life, but he is trying to go straight. It is a struggle. Carlito owes his mob lawyer, Dave, a favor, and Dave is calling it in by pressuring Carlito to help spring a gangster client out of jail. Gail loves Carlito and wants the best for him, but she is afraid his old mob connections will drag him down. Gail has just gotten wind of Dave’s scheme and she intends to put an end to it.
64. INTERIOR. GAIL’S APARTMENT – NIGHT
GAIL steams in the door to her apartment, furious. CARLITO, right behind her, closes the front door and follows her.
GAIL
I don’t like him. I didn’t like him the minute I met him.
CARLITO
Well, you’re not listening to me.
GAIL
All right – so what is the boat thing? What is that asshole manipulating you into? Tell me!
CARLITO
I’m just helping him out with something, that’s all. I owe him.
The Bridges of Madison County
by Richard LaGravenese
http://hollywoodfilmdirecting.com/directing-the-camera.html — scene only
http://sfy.ru/?script=bridges_madison_county — entire scipt
No pages or scene numbers. This scene is 7/8th through the script. It is one of the last between Francesca and Robert.
Francesca is a passionate, intelligent, middle-aged woman who would love to bust out of her secure, humdrum life in rural Iowa. She gets her chance when her husband and children are away at the Illinois State Fair in the summer of 1965. By chance, she meets Robert, a globe-trotting photographer who has come to this Iowa backwater to photograph the famous covered bridges. They have a torrid, four-day affair, and almost elope, but in the end, she pulls back to save her family. This scene takes place the day before her husband and children are due to return.
INT. KITCHEN – MORNING
Francesca is serving Robert breakfast, then sits down beside him. Silence. We can sense some tension between them — this being their last day together. Francesca seems ingeniously friendly. Robert is suspicious.
FRANCESCA
Sleep all right?
ROBERT
Yes, thanks.
Kramer vs. Kramer
by Robert Benton
http://hollywoodfilmdirecting.com/directing-the-camera.html — scene only
http://www.awesomefilm.com/script/kramerVsKramer.txt — entire script
Scenes 13 & 14
This is the first real dialogue scene in the film. Before it all we have seen is Joanna Kramer, a stylish, young, Manhattan mother, lovingly tuck her five-year-old son into bed and then pack a suitcase. This is intercut with scenes of her husband Ted, at the Madison Avenue ad agency where he works. Ted has just landed a lucrative new account with Revlon Cosmetics. His boss is showering him with praise. Ted announces, “This is one of the five best days of my life.” But that all is going to change when he finds out what Joanna has planned.
13 INT. FOYER – NIGHT
WIDE SHOT — Joanna carries in the suitcase, sets it by the front door, then she crosses to the living room and sits down at the dining table.
CLOSER IN ON HER — She takes out a list made on the back of an old envelope. As she begins to review it, checking off some items:
CUT TO:
HER P.O.V.: as the door swings open to reveal Ted Kramer, an enormous grin on his face, a bottle of champagne in his hand. He is so full of himself that he doesn’t notice there is anything wrong.
Note: Throughout the entire scene he carries the bottle of champagne, never putting it down.
TED
I thought you might just like to know that at five-fifteen this afternoon we were officially handed the Fire and Ice account by Revlon.
JOANNA
(she takes a deep breath, then:)
Ted, I’m leaving you.
The Stepford Wives (1975 Version)
by William Goldman
http://hollywoodfilmdirecting.com/directing-the-camera.html — scene only
Joanna Eberhart is on the verge of a terrifying discovery. The men of her town, Stepford, Connecticut, have banded together and used their talents as scientists to turn their wives into robots who slavishly fulfill their every need. Feminist Joanna appeals to her husband for help, only to discover that he is in on the plot and has abducted their two children. In this scene she bursts in on her friend Bobbie, who up until recently, was the only other woman in Stepford who suspected that the other wives in town had become horribly transformed. But in this scene she discovers that Bobbie too has fallen victim to this conspiracy.
INT. KITCHEN – DAY
Bobbie drying off dishes. Joanna enters scene. She is drenched in water from the rain.
BOBBIE
(concerned)
Why look at you, for heaven sake.
JOANNA
Bobbie, Bobbie listen.
BOBBIE
You need a fresh perked cup of coffee.
(She grabs a kettle.)
JOANNA
I don’t want any coffee! I just want my children!
Back to the Future
by Robert Zemeckis and Bob Gale
http://hollywoodfilmdirecting.com/directing-the-camera.html — scene only
Marty MacFly has a big problem. He has accidently traveled through time from 1985 to 1955 in a time machine, which has run out of fuel. He needs to get the time machine working again so he can get back to the future. The only person who can help him figure out how to do that is the man who will invent the time machine in 1985 — Marty’s best friend, mad scientist Dr. Emmett Brown. But in 1955 Marty has not been born yet; he and Doc Brown have not become friends. So at the start of this scene, when Marty knocks on Doc Brown’s door in 1955 and begs Doc to help him, Brown suspects he is just a kid from the neighborhood playing a practical joke. Marty has to prove to Doc that he came from the future in a time machine that Brown invented.
61 EXT. BROWN’S FRONT DOOR – CLOSER ANGLE
Marty runs up and pounds on the door knocker.
We hear a barking dog from within; then YOUNG DOCTOR BROWN opens the door. He’s wearing an OUTRAGEOUS CONTRAPTION on his head, a bizarre conglomeration of vacuum tubes, rheostats, gauges, wiring, and antennas; but there can be no doubt that it’s the same Dr. Brown,
some 30 years younger. Beside him is another DOG.
Marty stares at Brown’s weird headgear. Brown yanks him inside.
61-A INT. BROWN’S HOUSE – NIGHT
BROWN
Don’t say a word!
(to the barking dog)
Quiet, Copernicus! Down, boy!
Brown attaches a suction cup to Marty’s forehead, which is connected to a wire into Brown’s contraption.
MARTY
Doctor Brown, I really---
BROWN
No, don’t tell me anything. I’m going to read your thoughts.
Batman Forever
by Akiva Goldsman
http://hollywoodfilmdirecting.com/directing-the-camera.html — scene only
This scene is the first meeting of Bruce Wayne and his love-interest-to-be, beautiful, brainy psychiatrist, Chase Meridian. Bruce has been receiving creepy messages from a disturbed employee, and comes to Chase’s office seeking her professional opinion of the motive behind these messages. Chase, in sweats and boxing gloves, is working out in her office, hitting a heavy bag. Bruce approaches her door and mistakes her high-pitched exertions for sounds of distress. He breaks down the door.
INT. CHASE’S OFFICE – DAY
as Bruce, fearing Chase under attack, crashes through the door, always saving the world. Quickly valor slips into embarrassment as he scans the room.
CHASE, startled yet the consummate cool cookie, stops her daily workout, sizing up her unexpected intruder. A tilt of the head and scrunched face sends an inquisitive signal.
Quite embarrassed, Bruce’s impish grin subjugates a usually self-confident man to schoolboy status. Partially from current circumstances, mostly the stunning presence of Chase.
BRUCE
I, I guess I am early. I have an appointment. I’m Bruce Wayne.
Chase wiping the sheen from her self-confident brow.
CHASE
Good! Then you can afford to buy me a new door.
City of Angels
by Dana Stevens
http://hollywoodfilmdirecting.com/directing-the-camera.html — scene only
Seth is an angel who watches over the dying and then guides them to the next life. He falls in love with Maggie, a beautiful heart surgeon, after watching her struggle heroically to save a patient’s life. Seth makes himself visible to Maggie and they strike up a friendship. She invites him to her house for dinner, but then thinks better of it when she discovers that Seth is not exactly what he appears to be.
