<title>Superbad Script at IMSDb.</title><meta name="description" content="Superbad script at the Internet Movie Script Database."><meta name="keywords" content="Superbad script, Superbadmovie script, Superbad film script"><meta name="viewport" content="width=device-width, initial-scale=1" /><meta name="HandheldFriendly" content="true"><meta http-equiv="content-type" content="text/html;charset=iso-8859-1"><meta http-equiv="Content-Language" content="EN"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT="INDEX, FOLLOW"><meta name=SubjectCONTENT="Movie scripts, Film scripts"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT="2 days"><link href="/style.css" rel="stylesheet"type="text/css">

     <tdvalign="bottom" bgcolor="#FF0000">
The Internet Movie Script Database (IMSDb)

 The web's largest
movie script resource!

           Search IMSDb
<form method="post" action="/search.php">            <tdwidth="180">
                <input type="text" name="search_query" maxlength="255" size="15">                <input type="submit" value="Go!"name="submit">
	</form>

Alphabetical<tralign="center">        #         A        B        C        <ahref="/alphabetical/D">D        E        F        G        H<tralign="center">         I        J        K        L        <ahref="/alphabetical/M">M        N        O        P        Q<tralign="center">         R        S        T        U        <ahref="/alphabetical/V">V        W        X        Y        <ahref="/alphabetical/Z">Z

Genre
 ActionAdventure Animation
 Comedy Crime <ahref="/genre/Drama">Drama
 Family Fantasy Film-Noir
 <ahref="/genre/Horror">Horror Musical Mystery
 Romance <ahref="/genre/Sci-Fi">Sci-Fi Short
 Thriller War <ahref="/genre/Western">Western

  Sponsor

TV Transcripts
Futurama
 Seinfeld
 South Park
 Stargate SG-1
 Lost
 The 4400

International
 French scripts

MovieSoftware

 Rip from DVD
 <ahref="/software/rip-blu-ray">Rip Blu-Ray

Latest Comments
Star Wars: Revenge of the Sith10/10
Star Wars: The ForceAwakens10/10
Batman Begins9/10
Collateral10/10
Jackie Brown8/10

Movie Chat
 <tdalign="center"><form class="yellbox" action="https://www.yellbox.com/addmessage.php" method="post" target="ybframe"name="yellform">  <input type="hidden" name="sub_username" value="imsdb"> <input class="yellbox" name="sub_name" value="Name" size=21 maxlength=10 onFocus="if(this.value == 'Name')this.value = '';return;">
 <textarea class="yellbox" cols=15 rows=4 name="sub_message" wrap onFocus="if(this.value == 'Message')this.value = ''; return;">Message</textarea>

 <buttononClick="javascript:makeNewWindow(); return false;"></button> <button type="submit" value="Post" onClick="returnclearMessageBox();">Yell !</button>
</form>

      ALL SCRIPTS

	<tdvalign="top">

                                SUPERBAD                               Written by                      Seth Rogen & EvanGoldberg                                                      July 20, 2006    OPENING CREDITS OVER SUPER-FUNKY BLAXPLOITATION-STYLE MUSIC,    which builds to an exciting crescendo filling us with the    expectationof a thrilling, action-packed opening sequence.    Instead we get:    INT. SETH'S CAR - MORNING    Seth, seventeen, a bit heavyset, in the midst of a sad    attempt at growing a goatee and clearly a terribledriver,    cruises along while fiddling with the CD player. He pulls out    his cell and dials.                           SETH              Yo.    INTERCUT WITH:    INT. EVAN'S HOUSE - KITCHEN -CONTINUOUS2                                                                   2    Evan, seventeen, a little too tall and slim, a boy who    clearly never figured out how to style his hair, is finishing    off a bowl of cereal.He is on his cell phone.                           EVAN              What's up?                        SETH              I was doing research last night, for next              year, and I think I'm gonna go withBang              Bus.                        EVAN              Which one's Bang Bus?                        SETH              The one where they bang the chicks on the              bus. Thirteen bucks a month.Total              access, live Web Cam feed. The works.              It'll be like I'm on the bus, banging              them myself.                        EVAN              That stuff's bullshit, they're all faking              it. Andplus, your parents are gonna look              at the bill.                         SETH              It shows up under a different name.                  (beat)              I hope. Bang Bus.                         (MORE)                                                      (CONTINUED)                                                                     2.2   CONTINUED:                                                         2                           SETH(CONT'D)                 That wouldn't look good. Maybe I should                 just pick the one with the least dirty                 sounding name.                           EVAN                 Weapons of Ass Destruction'sout then.    Seth pulls up in front of a house.                           SETH                 I could tell my parents I'm doing a                 project on Rome and I have to research                 orgies.    EXT. EVAN'SHOUSE - CONTINUOUS3                                                                         3    Evan walks out his front door. WE REVEAL he is walking    towards Seth'scar.                           EVAN                     (still into phone)                 Yeah. Just tell them your taking a class                 on blow jobs.    They both hang up and Evan gets in the car. Seth is about to    pullaway, when EVAN'S MOTHER comes out the front door.                           EVAN'S MOM                 Thanks for taking him, Seth.    Evan changes the radio station. Seth slaps hishand.                           SETH                 Don't touch that!                           EVAN'S MOM                 You two are so funny. I can't imagine                 what you'll do without each othernext                 year. Evan told me you didn't get into                 State.                           SETH                 Yeah, you know. I got some other places.                 Good places. I think we'll befine.                           EVAN'S MOM                 Are you going to miss each other?                           EVAN                 Miss each other? No!                                                            (CONTINUED)                                                                     3.3   CONTINUED:                                                         3                           SETH                 That'sdisgusting.                              MOM                 Bye, boys.    Seth and Evan drive off.                           SETH                 I am truly, truly jealous that you got to                 suck on those tits whenyou were a baby.                           EVAN                 Fuck you, man.    EXT. CLARK SECONDARY- SOON AFTER4                                                                         4    They drive up toClark Secondary. There is a giant sign that    reads "Seniors - Two Glorious Weeks Until Graduation". Seth    turns into the STAFF parking lot.    INT/EXT. 7-11 STORE - MOMENTSLATER5                                                                         5    Seth and Evan walk past a group of smokers, towards the 7-11.                           EVAN                 You're being an idiot, man.You really                 shouldn't park there.                           SETH                 Fuck it. I'm a senior about to graduate.                 They should be suckin' my balls. It's the                 least they can do forstealing three                 years of my life.    They walk past DIMITRI (18, big Native American guy) as they    enter the store. Dimitri aggressively bumps his shoulderinto    Seth.                           EVAN                 What the hell's wrong with Dimitri?                           SETH                 Oh, yeah dude, I forgot to tell you. I                 knocked the fuckin' shit out ofhim in                 capture the flag last week.                           EVAN                 Good! 9th Grade Camp he gave me whiplash                 in "King of the Ring." I fucking hate                 that guy.    They go tothe magazine rack and stare at a Maxim cover.                                                            (CONTINUED)                                                                    4.5   CONTINUED:                                                        5                           EVAN (CONT'D)                 Look at those nipples.                           SETH                 They're like baby toes.                           EVAN                 It'snot fair. I have to hide every                 erection I get.                           SETH                 Sometimes I get boners so big I can't                 hide them. And then I get nervous and my                 heart startspounding, and it all just,                 like, feeds my boner. It just becomes                 this...thing...that's attached to me. And                 it won't go away.                           EVAN                 Just imagine ifgirls weren't weirded out                 by our boners and they actually wanted to                 see `em, like this shit.                           SETH                 You know it's been, like, a year and a                 half sinceI've seen an actual human                 female nipple. Besides my mom's. I saw it                 last month, and it was sick.                           EVAN                 Holy shit. Liat was two years ago? I                 guessso. She was insanely hot, though.                           SETH                 Exactly. Too hot. That's what sucks.                           EVAN                 How can that possibly suck? I'd be                 fuckin'psyched if I'd gotten with a girl                 that hot. You got, like, two dozen                 handjobs!                           SETH                 And three quarters of a blowjob, But that                 was fuckin' it. It wasthe peak of my ass-                 gettin' career, and it happened way, way,                 way too early.                           EVAN                 You're like OrsonWelles.                                                           (CONTINUED)                                                                  5.5   CONTINUED:(2)                                                  5                        SETH              Exactly! If I'd built up to it, I'd              probably at least be having steady sex              with a mediocre-looking girl atthis              point. I honestly now see why Orson              Welles ate his fat ass to death.                        EVAN              You'll have sex in college. Everyone              does. And if not, you'll have theBang              Bus.                        SETH              But the key is to be good at sex by the              time you're in college. You don't want              girls to think you suck dick atfucking.                        EVAN              I still think you've got a chance with              Jules. She got mad hot over last summer,              and clearly hasn't realized it, `cause              she still flirts withyou.                        SETH              Are you joking, man? Let's see here...she              dated Dan Remick, Matt Muir, Josh Corber              and what's-his-face. All of those were              cool guys. She's beenhot way longer than              you think. Why would she end her high              school career with me?                        EVAN              Well, Helen got with ArielShafir.                        SETH              Yeah, and he was a complete fucking              loser. You're a step up from that. Which              is why you should stop being a pussy and              do her! You couldnailthe shit out of              her for, like, two months before you              leave. That bitch looks like a good              fucker.                        EVAN              Hey! I'm sick of you talking about her              likethat, man!    Evan starts to walk out. Seth follows.                        SETH              What, you can talk about that bitch all              day every single day, but I can't say one              thing abouther?                                                         (CONTINUED)                                                                  6.5   CONTINUED:(3)                                                  5                        EVAN              I don't constantly insult her.                        SETH              I didn't insult her! I said she looks              like a good fucker!She looks like she              can take a dick. That's a good thing.              Some women pride themselves on their dick-              taking abilities.    EXT. 7-11 -CONTINUOUS6                                                                      6    Seth and Evan come out the front doors. TERRY, one of the    rough-looking smokers, callsout.                        TERRY              Yo. Seth. Did you hear I'm having the big              grad party?    Evan, a little scared, keeps hisdistance.                        SETH              No.                        TERRY              Yeah.    Terry spits on Seth's shirt.                        TERRY (CONT'D)              And you're not coming. Tell yourfucking              faggot friend he can't come either.    Seth wipes the spit off. He looks at Terry and seems as    though he's about to say something, but is interrupted when    Terry starts hocking up more spit. Sethruns away as Terry    and his friends laugh. He catches up to Evan and they head    back to school.                        EVAN              Wow. You really bitched out on thatone.                         SETH              I bitched out? You bitched out! You were              across the street before I even realized              what was going on.                  (beat)              That guy's such a


ï»¿The Project Gutenberg EBook of The Flea, by Harold RussellThis eBook is for the use of anyone anywhere in the United States and mostother parts of the world at no cost and with almost norestrictionswhatsoever.  You may copy it, give it away or re-use it under the terms ofthe Project Gutenberg License included with this eBook or online atwww.gutenberg.org.  If you are not located in the United States,you'll haveto check the laws of the country where you are located before using this ebook.Title: The FleaAuthor: Harold RussellRelease Date: December 2, 2014 [EBook #47513]Language: EnglishCharacter setencoding: UTF-8*** START OF THIS PROJECT GUTENBERG EBOOK THE FLEA ***Produced by Giovanni Fini, Bryan Ness and the OnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced fromimages generously made availableby The Internet Archive/American Libraries.)                         TRANSCRIBERâS NOTES:âObvious print and punctuation errors were corrected.âUnderlined text has beenrendered as *underlined text*.The Cambridge Manuals of Science and Literature                               THE FLEA                      CAMBRIDGE UNIVERSITY PRESS                       London: FETTER LANE,E.C.                          C. F. CLAY, MANAGER[Illustration: LOGO]                    Edinburgh: 100, PRINCES STREET             London: H. K. LEWIS, 136, GOWER STREET, W.C.            WILLIAM WESLEY & SON, 28, ESSEXSTREET, STRAND                       Berlin: A. ASHER AND CO.                       Leipzig: F. A. BROCKHAUS                     New York: G. P. PUTNAMâS SONS             Bombay and Calcutta: MACMILLAN AND CO.,LTD.                         _All rights reserved_[Illustration:  _After a drawing by Dr Jordan_Oriental rat-flea (_Xenopsylla cheopis_ Rothsch.). Male.][Illustration; DECORATED FRONT PAGE:                               THEFLEA                                  BY                            HAROLD RUSSELL,                        B.A., F.Z.S., M.B.O.U.                        With nine illustrations                              Cambridge:                        at the UniversityPress                                 1913]                               Cambridge                      PRINTED BY JOHN CLAY, M.A.                        AT THE UNIVERSITY PRESS_With the exception of the coat of arms at the foot, the designonthe title page is a reproduction of one used by the earliest knownCambridge printer, John Siberch, 1521_PREFACETHE aim of this book is to give in plain language some account of asmall, but noteworthy, group ofinsects. I have avoided, whenever Icould, using the technical terms of zoology. To avoid doing so entirelyis impossible in a book which describes insects in some detail. Notechnical term has, I hope, been used withoutan explanation.Over thirty years have elapsed since Taschenbergâs German book, _DieFlÃ¶he_, appeared. Our knowledge has made enormous strides since then.More species of flea are now known from the BritishIslands alonethan were then known from the whole world. So far as I am aware, nobook, devoted to what is known about fleas, has ever been published inEnglish. The statements about these insects in the generaltext-booksof entomology are frequently antiquated and inaccurate. But there isa fairly extensive literature on the _Siphonaptera_ scattered throughscientific periodicals mostly in English, German, Italian, DutchandRussian. I have given some references in the Bibliography.The naturalists now living who have devoted any time to the specialstudy of fleas may almost be counted on oneâs fingers. In England thereare MrCharles Rothschild and Dr Jordan; in the Shetland Islands, theRev. James Waterston; in Germany, Taschenberg of Halle and Dampf ofKÃ¶nigsberg; in Russia, Wagner of Kieff; in Holland, Oudemans of Arnhem;in Italy,Tiraboschi of Rome; in the United States, Carl Baker and afew others. I have not mentioned medical men who have investigatedfleas in connection with plague.There are small collections of fleas in the Natural HistoryMuseums atSouth Kensington (London), Paris, Berlin, KÃ¶nigsberg, Vienna, Budapest,S. Petersburg and Washington. Of private collections Mr CharlesRothschildâs at Tring is by far the best in the world. Itcontainssomething like a hundred thousand specimens and is most admirably kept.I must express profound and sincere gratitude to Mr Rothschild forhaving helped me in numberless ways and advised me in manydifficulties.It is well known that the mere mention of fleas is not only considereda subject for merriment, but in some people produces, by subjectivesuggestion, violent irritation of the skin. The scientific studyof fleashas, however, received a great impetus since it has beenascertained that they are the active agents in spreading plague.Rat-fleas are of various kinds, and not all fleas will bite man. Aknowledge of the different specieshas suddenly become useful. Thehumble, but ridiculous, systematist with his glass tubes of alcohol forcollecting fleas, his microscopic distinctions, and Latin nomenclaturehas become a benefactor of humanity. Somepeople seem to be practicallyimmune to the bites of fleas, but even to such persons their visits areunwelcome. A famous Frenchwoman once declared: â_Quant Ã  moi ce nâestpas la morsure, câest lapromenade._â                                                     H. R.  LONDON,  _September, 1913_.CONTENTS  CHAP.                                                     PAGE         Preface                                               v      I.Introductory                                          1     II. The external structure of a flea                     21    III. The mouth-parts and sense-organs                     38     IV. The internal organs of a flea                        52      V.The Human flea and other species                     62     VI. The Chigoes and their allies                         74    VII. Fleas and Plague                                     83   VIII. Rat-fleas andBat-fleas                              97  Appendix A. Systematic view of the order _Siphonaptera_    108      â    B. A list of British fleas and their hosts        110      â    C. On collecting and preservingfleas             113      â    D. Bibliography                                   118  Index                                                      122LIST OF ILLUSTRATIONS     Male Orientalrat-flea                    _frontispiece_  FIGURE                                                     PAGE  1. The larva of a flea                                       6  2. Types of genal and thoracic combs of a flea              26  3. The hind leg of aflea                                   30  4. The mouth-parts of a flea                                43  5. The antenna of a flea                                    47  6. The alimentary canal of a flea                           53  7. The head of a femaledog-flea and a female cat-flea      71  8. Pregnant female of _Dermatophilus cÃ¦cata_                81CHAPTER IINTRODUCTORYFLEAS form a group of insects that have, until recently, been littlestudied by zoologists. Wecall them insects because they are jointedanimals, or Arthropods, with three pairs of legs in the adultcondition. The reader will best understand the position which fleasoccupy in the general classification of animals byremembering thatthe arthropods, or jointed animals, are one of a dozen subkingdoms, orphyla, to which the various members of the great animal kingdom havebeen assigned. There is good ground for believing that allthe animalsincluded in each phylum trace their ancestry back to a common primitiveform which lived in more or less remote ages. Besides (1) _Insects_,the arthropods, or jointed animals, include (2) _Crustaceans_,such ascrabs, lobsters, shrimps, wood-lice, water-fleas and barnacles; (3)_Myriapods_, such as centipedes and millipedes; and (4) _Arachnids_,such as spiders, scorpions, mites and ticks. To all these varied formsofanimal life fleas, and other insects, are therefore more or lessnearly related.The animals belonging to this large and important collection, whichcompose the arthropod phylum, have certain commoncharacteristicfeatures. We find a body made up of a series of more or less completelysimilar segments placed one behind the other. In this they resemblecertain worms which are far less highly organised. The bodyiselongated, symmetrical on either side, and the mouth and anus are atopposite ends. There is, however, an important advance on the segmentedworms. Each typical segment carries a pair of appendages which areverydifferent from the foot-stumps that are found on certain worms. Theseappendages of arthropods are divisible into distinct limb-segments,separated from one another by moveable joints, and acted upon byspecialmuscles.The common ancestor of all the various arthropods which are foundliving on the earth to-day, was probably composed of a series ofsegments each very similar to the last and each bearing a pair of verysimilarappendages. In the course of ages, these appendages have beenastoundingly modified in form and in function. So it happens thatwe find in the arthropods of the present day pairs of antennÃ¦, ofmandibles and othermouth-parts, of pincers, of legs, of swimming-feetand of tail pieces which on close examination can all be traced back toa common structure. The body-segments, also, have been strangely fusedtogether and modified.All that has been so far said applies equally tofleas and to other insects.It is of great interest, when one comes to make a minute study ofthe form and external structure of a flea, to try and trace themodifications thatmust have taken place in the course of descent fromthe ancestral arthropod; but the relationship of fleas to other insectsliving at the present day is of more immediate concern. Insects arehighly specialized arthropodsand fleas are highly specialized insects.This means that they have become vastly modified from the primitiveancestral type and fitted thereby for a life among certain defined andpeculiar surroundings.It will beunnecessary to remind the reader who knows anything ofzoology or of botany that all classification is now based on descent.Since naturalists have abandoned a belief in the special creationof the various species ofanimals now living on the earth and haveconclusively shown that they have arisen by descent and modificationfrom other forms, the problem is to reconstruct a vast genealogicaltree. What then were the ancestors ofthe fleas and to what otherinsects, in consequence, do they appear to be related?It is probable that the ancestors of the fleas were winged insects, andthat the organs of flight were gradually lost, as they becameuseless,when a partially parasitic life was adopted. At one time entomologistsregarded fleas as wingless flies and placed them in the order Diptera.Certain supposed scaly plates on their bodies were regarded astheatrophied relics of wings. It is, however, more than doubtful whetherthis view is correct; and all modern entomologists who have given anyspecial study to fleas are agreed that they are sufficiently unlikeany otherliving insects to deserve a place in an order by themselves.To this order the name _Siphonaptera_ has been given: which means thatthe insects comprised in it are provided with sucking mouths and aredestitute ofwings. Another name for the order is Aphaniptera, but thisis gradually falling into disuse. LinnÃ¦us (1758) only mentions twospecies of flea: the human flea which he appropriately named _Pulexirritans_, and the chigoeof hot countries which he called _Pulexpenetrans_, from the habit which the female has of burrowing under theskin of her victims. At the time of writing, about 460 species of fleahave been described and named; butsome of the names are doubtlesssynonymous, and the actual number of separable species that have beendiscovered is somewhere about four hundred. The vast majority of thesehave been described within the last fewyears, which shows what can bedone when attention is turned to any neglected group of animals. Therecan be no doubt that many undiscovered species still remain, and willnow, in due course, be collected, describedand named.The position which should be assigned to the order Siphonaptera in thegeneral scheme of insect classification is a question on which the mostlearned modern entomologists have disputed with considerablevigour.Some see the nearest relatives among the beetles, others among theflies. The majority, as we shall see later on, would place them nearthe Diptera: but since no convincing arguments have been producedoneither side it may be wisest to regard the question as still at presentunsolved.Fleas belong to one of the groups of insects which go through acomplete metamorphosis. Their life-history consequently falls intofourdivisions: egg, larva, pupa and imago. If the climate permits,the female flea lays her eggs all the year round, and from one to fiveare dropped at a time. Unlike those of many other parasites they arenever attached tothe hairs of the hosts, but appear to be depositedindiscriminately on the floors of houses or in the nests and sleepingplaces of their hosts. The eggs generally hatch in a few days, and aminute, white, wormlike larvaemerges (Fig. 1). The larvÃ¦, of some, andpossibly of all, fleas are provided with a wonderful adaptation in theshape of an egg-breaker or hatching-spine. This is a thin plate, likethe edge of a knife, where the point ofthe head comes in contact withthe shell. The movements of the prisoner make a slight split in theegg-shell, which then bursts asunder. This organ has vanished in laterlarval life, and it is probably lost after the firstmoult. The larvais legless and has thirteen segments. It grows rapidly, and, as itgrows, moults its skin several times. It is provided with mouth-partsadapted for biting, and eats any decaying organic refuse. The larvÃ¦maybe reared on the sweepings of an ordinary room or the dirty scurf whichcollects at the bottom of old birdsâ nests. It is hardly necessary toadd that the mother takes no interest whatever in the larvÃ¦ andthatthe belief that she feeds them on dried blood is not based on any soundfoundations.[Illustration: Fig. 1. The larva of a flea. The body consists ofthirteen segments and is legless. On the fore part of the head aretheantennÃ¦ and on the upper part of the head is shown the knife-like edgeof the egg-breaker. The mouth-parts are adapted for biting. On the lastsegment of the body are the two caudal stylets.]The larval stage lastssome days, and the animal spins a small cocoonbefore pupating. In the course of a few more days, the time probablydepending on the weather, the perfect flea emerges. The larvÃ¦ generallylive in places where theperfect insects will have an opportunity offinding a host as soon as they leave the pupal envelope. The nestsof their hosts where the young are being reared are always favouriteplaces. It seems possible that thecomparative immunity from fleaswhich hoofed mammals or Ungulates enjoy may be due to the fact thatthe young beast follows its mother from the time of birth instead ofpassing its early life helpless in anest.Observations made on the development of the dog-flea (_Ctenocephaluscanis_) in India show that eggs laid on October 17 hatched on October19. The larva spun its cocoon on October 25 and the mature fleaemergedon November 2. In Northern Europe the human flea takes about four weeksin summer and six weeks in winter to pass through its metamorphosis.Unlike many parasitic insects, fleas do not constantly passtheirtime upon the bodies of their victims. The greater part of theirlife is probably spent on the ground, in the house, or nest, of themammal or bird which serves them with blood. In this respect there isconsiderabledifference in the habits of different species of flea.Some attach themselves to an animal and actually burrow into the skin.These are the most parasitic species. Some only come to feed and leaveto lay their eggs. Manyprobably do not suck blood more than once intheir lives.An animal which harbours fleas and which nourishes the adult insectwith blood is called a _host_. No fleas are more than what is calledtemporary parasites; whichmeans that they pass but a portion of theirlives on their hosts and frequently take occasion to hop on and off.All fleas, apparently, go from host to host. The labours of diligentcollectors have proved that the greatmajority of mammals and birdshave fleas. As a general rule, it is true to say that certain speciesof flea are associated with certain species of host. Thus man is thetrue host of _Pulex irritans_; the cat family are the truehosts ofthe cat-flea (_Ctenocephalus felis_); and the dog family are the truehosts of the dog-flea (_Ctenocephalus canis_). But the human flea issometimes found on cats and dogs, and cat and dog-fleasoccasionallybite human beings; and cat-fleas are found on dogs and dog-fleas arefound on cats. All fleas, so far as we know, may occasionally pass fromone species of host to another; but they do not, for the mostpart,seem to flourish in unaccustomed quarters. Some fleas are more catholicin their tastes than others. Some seem to be very strictly confined toone host, and even when starving only suck strange blood underprotest.There is a species of flea that has only (except by accident) beenfound on the long-tailed field-mouse and another that has only beenfound on the hedgehog. Other fleas are commonly found on twoabsolutelydistinct animals; a good instance of this is the human flea which, atall events in certain parts of England, is a regular parasite of thebadger.As distinguished from true or natural hosts one must separatewhatmay be termed casual or accidental hosts. All animals which come incontact with one another, or which live in close proximity, mayexchange fleas. So even bird-fleas may be collected from mammals andtypicallymammalian fleas from birds. In this fashion puzzles mayarise which tax the ingenuity of the collector to solve. Bird-fleasare sometimes found on bats, and this may be obviously attributed tothe bats having inhabited ahole which was tenanted by starlings or anold loft infested with the fleas of pigeons. All beasts of prey aresometimes found to harbour the fleas of animals they have devoured.Rabbitsâ fleas are found on wild-cats;hedgehogsâ fleas on foxes; micefleas on weasels; and fleas characteristic of small birds on stoats.So also in the case of mice, rats and voles with holes and runs in thesame hedgerow, the parasites usually peculiarto one are not uncommonlyfound on the others. It is sometimes difficult to determine the truehost of a flea.Much more puzzling to explain are the reasons which confine a flea toa certain host and which cause closelyallied hosts to have differentfleas. The fleas from the house-martin and the sand-martin are quitedifferent; those from the domestic fowl and the domestic pigeon aredistinct species. The causes which have affected theevolution of thevarious forms of flea are too obscure to enable anyone at the presentday to offer any satisfactory explanation.Speaking generally, the fleas found on birds have points in common,and they probably forma natural group to themselves. What may becalled true bird-fleas have been collected from almost all Europeanbirds. An unwieldy genus (_Ceratophyllus_) comprises many species ofdifferent flea. Some species arevery abundant and infest the nests ofmany different birds. Others are extremely rare. One of these rarities(_C. vagabundus_) is found in the nests of puffins and other sea-birds.Another has been collected on antarcticpetrels. Penguins have aspecial genus of flea to themselves. A specimen, unique at one time(_Ceratophyllus borealis_), in Mr N. C. Rothschildâs collection wasobtained from the gannet. It has now been found onrock-pipits in theShetland Islands.Two very rare fleas (_C. farreni_ and C. _rothschildi_) are found inthe nests of house-martins; yet the nests of these birds are infestedwith common species besides. A plague flea(_Xenopsylla_) has beenfound on an African swift.Forty-six different species of flea have been found in the BritishIslands, but many of these are extremely scarce.We know too little about the geographical distribution offleas to laydown many accurate generalities. When a great deal more material hasbeen collected and studied, it may be possible to show that certaingroups are associated with certain regions of the earth orcertainorders of animals. To some extent this is already seen to be the case.The fleas indigenous to the New World are distantly related to thoseof the Old World. Broadly speaking the geographical distribution oftheparasite must follow that of the host. But sometimes the parasite isimpatient of cold and cannot follow the host out of the tropics. Thechigoes and their allies are fleas of hot countries. Different kindsof bats are foundfrom the tropics to the Arctic circle, but the samebat-fleas are not found everywhere.When a flea has a cosmopolitan range it is probable that it hastravelled over the world in company with its host.Monkeys have no


<title>Thunderheart Script at IMSDb.</title><meta name="description" content="Thunderheart script at the Internet Movie Script Database."><meta name="keywords" content="Thunderheart script,Thunderheart movie script, Thunderheart film script"><meta name="viewport" content="width=device-width, initial-scale=1" /><meta name="HandheldFriendly" content="true"><meta http-equiv="content-type"content="text/html; charset=iso-8859-1"><meta http-equiv="Content-Language" content="EN"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT="INDEX, FOLLOW"><metaname=Subject CONTENT="Movie scripts, Film scripts"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT="2 days"><link href="/style.css"rel="stylesheet" type="text/css">

The Internet Movie Script Database (IMSDb)

 Theweb's largest
movie script resource!

           Search IMSDb
<form method="post" action="/search.php">            <tdwidth="180">
                <input type="text" name="search_query" maxlength="255" size="15">                <input type="submit" value="Go!"name="submit">
	</form>

Alphabetical<tralign="center">        #         A        B        C        <ahref="/alphabetical/D">D        E        F        G        H<tralign="center">         I        J        K        L        <ahref="/alphabetical/M">M        N        O        P        Q<tralign="center">         R        S        T        U        <ahref="/alphabetical/V">V        W        X        Y        <ahref="/alphabetical/Z">Z

Genre
 ActionAdventure Animation
 Comedy Crime <ahref="/genre/Drama">Drama
 Family Fantasy Film-Noir
 <ahref="/genre/Horror">Horror Musical Mystery
 Romance <ahref="/genre/Sci-Fi">Sci-Fi Short
 Thriller War <ahref="/genre/Western">Western

  Sponsor

TV Transcripts
Futurama
 Seinfeld
 South Park
 Stargate SG-1
 Lost
 The 4400

International
 French scripts

MovieSoftware

 Rip from DVD
 <ahref="/software/rip-blu-ray">Rip Blu-Ray

Latest Comments
Star Wars: Revenge of the Sith10/10
Star Wars: The ForceAwakens10/10
Batman Begins9/10
Collateral10/10
Jackie Brown8/10

Movie Chat
 <tdalign="center"><form class="yellbox" action="https://www.yellbox.com/addmessage.php" method="post" target="ybframe"name="yellform">  <input type="hidden" name="sub_username" value="imsdb"> <input class="yellbox" name="sub_name" value="Name" size=21 maxlength=10 onFocus="if(this.value == 'Name')this.value = '';return;">
 <textarea class="yellbox" cols=15 rows=4 name="sub_message" wrap onFocus="if(this.value == 'Message')this.value = ''; return;">Message</textarea>

 <buttononClick="javascript:makeNewWindow(); return false;"></button> <button type="submit" value="Post" onClick="returnclearMessageBox();">Yell !</button>
</form>

      ALL SCRIPTS

	<tdvalign="top">

                                       THUNDERHEART                                        Written by                                        JohnFusco                                                                Fourth draft                                                                Oct. 5, 1990                               A DRUM. Beating slow. And deep. Like a heart.               FADEIN:               EXT. THE GREAT PLAINS SOUTH DAKOTA - DAWN               Something is rising from the Black Hills. A sphere of light,                too red to be the sun. A sphere of contained fire,undulating                in crimson and ochre, and rising slowly, majestically, to                the pulse. To the DRUM. It is the sun. But it is a Paha Sapa                sunrise. A Black Hills sunrise. And it isspectacular.               The DRUM, pounds deeper, bigger, as the sun gets higher.                Stronger. Igniting a vast landscape of gentle slopes and                foothills; throwing shadows on the plains that look like,as                the Indians say, an old man dancing. The grass is golden.                And high. The wind moves through it, snakes through it.                Slowly.               BEGIN CREDITS.               Voices; aTRADITIONAL INDIAN SONG (Lakota), summoning Wakan                Tanka - The Great Mystery.               And now, rising up over one of the small land waves, a head                comes into view. Shoulders. A man,running in ghostly SLOW                MOTION, his long black hair trailing in the wind. The INDIAN                MAN wears only buckskin pants and a bone choker around his                neck.               Legs and armschurning, the man runs with antelope grace,                backlit by the sunrise, bounding toward us. Running... his                heart pounding. SONG RISING... DRUM POUNDING... FIVE MORE                VOICES inhigh-pitched tremolo join the song.               And then the runner soars, like an eagle from a bluff,                airborne, flying over a small dip, arms outstretched, and it                would be a wondrous thing if therewere not a fine, crimson,                mist all around him and if slow motion was not suddenly                overtaken by LIVE SPEED, revealing the brutal force of gunfire                which has slammed the Indian into theair, throwing him.                Slamming him hard into the grass. And it is over as quickly                and violently as a deer shot dead.               LAKOTA SONG ends abruptly.               LONG SHOT - THE GREATPLAINS               the sun burns like lava at the horizon. DRUM beats like a                heart. And Somewhere off in a distant cottonwood, an OWL.                Then Silence. Deep, disturbingstillness.               EXT. CAPITAL BELTWAY - WASHINGTON. D.C - DAY               ROCK N'ROLL shatters the silence.               Cars -- a multicolored metallic criss-cross reflecting off a                building madeof mirrors -- races past an electronic billboard                that blinks in red skyhigh digital: PRUDENTIAL LIFE INSURANCE.                7:59. 73 degrees.               The D.C. Superhighway. And off behind it, in thedistance,                Capital Hill holds imposing vigil, the massive cast iron                dome of The Capital, catching the sun. But everything is                soon smothered by a METRO BUS, hogging the far lane ofthe                Beltway, leaning on its HORN.               Good morning.               And the rock n'roll is everybody's radio, everybody's tempo.               CARBON MONOXIDE WAVE               shimmers across thebeltway hugging then releasing a solitary                vehicle that we stay with... move with... A black Nissan 240                SX, hard-waxed.               INT. 240 SX - TRAVELING               Behind the wheel --an intense young man with close-cropped                black hair, eyes hidden by sunglasses. Whatever he does for                a living, he does in a suit (not expensive but well-fit. But                we might also note thatany extra suit cash has gone instead                into the silver-plated watch on his left wrist). Lean as a                rake, sallow in the cheeks, there is something insatiable                about him -- a hungry energy thatwon't let him go.               RAY LEVOI, late 20's, early 30's, pulls out of a threatening                traffic jam and races on the narrow right between thirty                cars and a cement girder.               EXT. TSTREET - OUTSIDE WEST-CENTRAL               The black SX has jumped off an exit and has entered the light-               industrial section of Washington. It pulls up near a loading                dock behind an old graybuilding and several parked cars and                vans. Ray steps out, smooths his jacket, locks and SETS HIS                CAR ALARM.               Another young man -- chubby, clean-shaven; in a nicersuit                than Ray's -- steps out from a parked Miata, and approaches                Ray. CARL PODJWICK balances a coffee, a U.S.A. Today and a                black eel-skinbriefcase.                                     CARL                         Hey.                                     RAY                         Hey. Nice tie.                                     CARL                         Don't get tooattached.               They start walking briskly toward the loading dock.                                     RAY                         Ya got the paper?               They mountsteps.                                     CARL                         Yeah.                                     RAY                         You're my hero, Carl.                                     CARL                         Heroes ain'tsupposed to shake. I'm                          shakin', man, look at me.                                     RAY                         Breathe, Carl. Four, nice, deep ones.               They stop at the door of a service elevator andCarl breathes.                Expanding his chest, exhaling. Ray adjusts Carl's tie for                him, his collar. He speaks quietly. Quickly.                                     RAY                         Anyone stops us going in,we're with                          the Bowen-Hamilton Textile Company.                          We have rug samples.                                     CARL                         Rugsamples.                                     RAY                         We are one-dimensional, boring                          peddlers of fine carpet, Carl.               Carl nods. Ray hesitates, adjusts his own collar andenters                the service elevator. Carl follows. Door closes.               BEGIN CREDITS END.               INT. GRAY BUILDING - FENCING OPERATION               Carl follows Ray into the big sparseroom of unfinished                sheetrock walls. There is nothing in here but cardboard boxes,                and two people; a bearded HISPANIC MAN standing behind a                counter, writing on a clipboard. The otheris a middle-aged                BLACK MAN in a purple silk shirt sitting in a chair with a                newspaper held open. He barely looks over the top of the                Wall StreetJournal.                                     BLACK MAN                         Hey, look who's here.                                     RAY                         Louis, my man, what's happenin'?               Ray walks up to thecounter. Carl lingers, fidgeting. Ray                sets his briefcase on the counter and click-clicks it open.                The Hispanic fence man looks inside, and begins pulling out                stacks of treasurychecks.                                     FENCE MAN                         Clean ones?                                     RAY                         Immaculate.               Ray gestures to Carl and he nervously sets hisbriefcase on                the counter, fumbles with the first latch. The second. He                flips it open.               The fence man casts his eyes down at a neat cache of Grade A                Treasury. A lot of it. Then hiseyes rise to Carl.                                     FENCE MAN                         What ya got there, seventy-five                          thousand?                                     CARL                         A hundred andten. Count it.                                     LOUIS (BLACK MAN)                         Have the girl count it, we can't sit                          around here countin' bonds, we got                          things to dohere.               The fence man pushes an intercom button and yells into a                speaker.                                     FENCE MAN                         SALLLLY!               Carl's eyes flit to Ray. Ray'seyes flit to Carl.               Louis crushes his newspaper down and lifts a big Colt Python                from his lap just as --               A section of sheetrock kicks open and THREE FEDERAL OFFICERS                bust out,each clutching a handgun, SHOUTING inaudibly.                                     LOUIS                         F.B.I.! Get your face on the fuckin'                          floor! MOVE!               Carl startled, does an almosteffeminate dip down to one                knee, but that knee is swept out from under him, slapping                him flat onto plywood where he is instantly frisked down by                the fence man who is wielding a 9 mmhandgun. But the white                collar criminal is more stunned by the fact that --               Ray is walking across the floor with his hands in his pockets                over to the Mr. Coffee. He pours one, and adds somemilk.                Turns and watches the bust while opening a packet of Sweet                n'Low.                                     RAY                         Slamdunk.                                     LOUIS                         Beauty. Beauty...               Ray rests his weight against the coffee station, takes a                careful sip. Carl is yanked to his feet by the fence manand                he stands there, looking at Ray, baffled. Completely shocked.                                     CARL                         Jesus Christ, Larry, what the fu--                          Larry. That's not even yourname, is                          it? What's your real name, you fucking                          scumbag?                                     RAY                         Don't have one, Carl. I have a number,                          man. Justlike the numbers on those                          treasury checks. You stole from your                          own country, Carl. Shame on you.               Coffee in hand, Ray walks briskly toward thedoor.                                     LOUIS                         Sugar Ray.               Ray turns. Louis takes a few steps toward him, putting his                gun back in hiswaistband.                                     LOUIS                         They want ya Home. Upstairs wants to                          see ya.               Ray stands frozen, holding the door knob, and digestingwhat                are apparently influential words.                                     LOUIS                         Make sure ya spell my name right.               Ray just stares for a moment. Then hurries out thedoor.               Carl, being arm-gripped by two agents and photographed like                a trout, gazes bewildered at thedoor.                                     CARL                              (incredulous)                         We just spent four months together...                          I thought he was my friend... what                          the fuck,


<title>Meet Joe Black Script at IMSDb.</title><meta name="description" content="Meet Joe Black script at the Internet Movie Script Database."><meta name="keywords" content="Meet Joe Blackscript, Meet Joe Black movie script, Meet Joe Black film script"><meta name="viewport" content="width=device-width, initial-scale=1" /><meta name="HandheldFriendly" content="true"><metahttp-equiv="content-type" content="text/html; charset=iso-8859-1"><meta http-equiv="Content-Language" content="EN"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT="INDEX,FOLLOW"><meta name=Subject CONTENT="Movie scripts, Film scripts"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT="2 days"><linkhref="/style.css" rel="stylesheet" type="text/css">

The Internet Movie Script Database (IMSDb)

 Theweb's largest
movie script resource!

           Search IMSDb
<form method="post" action="/search.php">            <tdwidth="180">
                <input type="text" name="search_query" maxlength="255" size="15">                <input type="submit" value="Go!"name="submit">
	</form>

Alphabetical<tralign="center">        #         A        B        C        <ahref="/alphabetical/D">D        E        F        G        H<tralign="center">         I        J        K        L        <ahref="/alphabetical/M">M        N        O        P        Q<tralign="center">         R        S        T        U        <ahref="/alphabetical/V">V        W        X        Y        <ahref="/alphabetical/Z">Z

Genre
 ActionAdventure Animation
 Comedy Crime <ahref="/genre/Drama">Drama
 Family Fantasy Film-Noir
 <ahref="/genre/Horror">Horror Musical Mystery
 Romance <ahref="/genre/Sci-Fi">Sci-Fi Short
 Thriller War <ahref="/genre/Western">Western

  Sponsor

TV Transcripts
Futurama
 Seinfeld
 South Park
 Stargate SG-1
 Lost
 The 4400

International
 French scripts

MovieSoftware

 Rip from DVD
 <ahref="/software/rip-blu-ray">Rip Blu-Ray

Latest Comments
Star Wars: Revenge of the Sith10/10
Star Wars: The ForceAwakens10/10
Batman Begins9/10
Collateral10/10
Jackie Brown8/10

Movie Chat
 <tdalign="center"><form class="yellbox" action="https://www.yellbox.com/addmessage.php" method="post" target="ybframe"name="yellform">  <input type="hidden" name="sub_username" value="imsdb"> <input class="yellbox" name="sub_name" value="Name" size=21 maxlength=10 onFocus="if(this.value == 'Name')this.value = '';return;">
 <textarea class="yellbox" cols=15 rows=4 name="sub_message" wrap onFocus="if(this.value == 'Message')this.value = ''; return;">Message</textarea>

 <buttononClick="javascript:makeNewWindow(); return false;"></button> <button type="submit" value="Post" onClick="returnclearMessageBox();">Yell !</button>
</form>

      ALL SCRIPTS

	<tdvalign="top">

 M E E T   J O E   B L A C K Screenplay by Bo Goldman -------------------------------------------------------------- EXT.ANNANDALE-ON-HUDSON, N.Y. - 4:00 AM A patch of water. PULL BACK TO REVEAL more water.  BACK FARTHER TO REVEAL an expanse of river, up the bank to massive lawn running up to a great, classic HudsonRiver manor house; the country estate of William Parrish. INT. PARRISH COUNTRY ESTATE - 4:00 AM MOVE THROUGH French doors that lead from a wide terrace into an expansive living room, DOWN widecorridors lined with Bierstadt and Cole paintings, the Hudson River School, mists and trees and small boats and distant humans. INT. PARRISH BEDROOM - 4:00 AM MOVE THROUGH the doorway to reveal amaster bedroom furnish- ed with exquisite simplicity, revelatory of its sleeping occupant, WILLIAM PARRISH, 64, a warm but commanding face, a man of maturity yet who exudes a glow of enthusiasm. Although asleep,there is an uncommon restlessness to him. Parrish grips his upper arm as if in pain.  Now the severity of the pain wakes him, he squeezes his arm.  The wind comes up, through the wind a VOICE is heard distantly, or isit the wind itself:      VOICE (V.O.) ... Yes. Parrish blinks, has he heard something, has he not, he is not sure, he releases his arm, his grimace of pain fades, the discomfort seems momentarily to havesubsided. He rises now, crosses to the bathroom.  As he pees, a breeze outside the window, the wind again, but then the Voice comes up:      VOICE (V.O.) Yes... It is unmistakably a Voice, it is not the wind,Parrish has heard something, he looks around, but no one is there.  He can't finish peeing, turns back to his bedroom.  All beweild- ered, Parrish looks around once more, climbs back into bed, trying to trace the sourceof what he has heard or hasn't heard; he is not sure. He pulls the covers up now, not a SOUND, tries to close his eyes.      VOICE (V.O.) Yes. Parrish sits up again, frightened, but still there is no one there, heseems fraught with indecision, should he get up, should he not, what is happening?  He looks out: absolute stillness and silence, CRICKETS chirp down by the river, a light FLICKERS from a shadboat, Parrish closes hiseyes but then they flutter open, he glances up at the ceiling and finally, exhausted, falls back asleep. EXT. REAR TERRACE, PARRISH COUNTRY ESTATE - NEXT MORNING The great lawn infested with workmen,planting stakes, un- rolling a huge canvas tent, gardeners fashioning topiary and adding landscaping of their own, crews setting up platforms, speakers, lights.  Ubiquitous is ALLISON, 35, Parrish's older daughter,foremen competing for her attention and she relishing every moment. A Painter approaches.      PAINTER The big tent, Miss Allison --      ALLISON Paint is rust and moss green. Medieval colors --Daddy's like an old knight. A Florist stops her.      FLORIST The head table --?      ALLISON What about it?      FLORIST The flowers, ma'am--?      ALLISON Freesia, freesia,everywhere.  Daddy loves freesia -- and you, over there, lights.  Not too bright.  I'm looking for a saffron glow -- sort of tea- dance twenties. EXT. GREAT HALL, COUNTRY ESTATE - MORNING Parrish, groomedfor the day, trots down the stairs, observ- ing the activity outside through the windows.  He checks his watch, strides down the hall, encounters MAY, 50, a family retainer who is opening the doors to the terrace asParrish passes.      PARRISH What do you think of all this, May?      MAY It's going to be beautiful.  And Miss Allison says the President may come.      PARRISH Oh, the President's got betterthings to do than come to my birthday party.      MAY (smiling) What? Parrish grins, continues on, is intercepted by Allison who, on catching sight of him, bounces in from the terrace.      ALLISONDaddy!      PARRISH Hi, Allison --      ALLISON Have you got a minute?      PARRISH Not much more.  Big day in the big city.  What's on your mind?      ALLISONFireworks.  Update -- we're con- structing the number '65' on the barge, archers from the State College at New Paltz will shoot flaming arrows at it, when it catches fire it will give us the effect of a Viking funeral withnone of the morbidity... The Hudson River Authority says, for you, they'll make a special dispensation - of course there'll be an overtime bill for the Poughkeepsie Fire Dept...      PARRISH Allison, I trustyou.  This is your thing.      ALLISON But it's your birthday. Parrish smiles complaisantly, they continue on into a break- fast room where SUSAN, 30, Parrish's younger daughter, is grazing at a table laden withcereals and fruits and coffee.      SUSAN Good morning, Dad.      PARRISH Hi, honey.      ALLISON (to Susan) I'm Allison, you're 'honey'.      SUSAN (smiling) Drew called from theAStar, they're still two minutes away.      PARRISH Drew's aboard?      SUSAN He wanted to ride back down with you. Now sit and relax, get some- thing in that flat tummy of yours -- But Parrishonly pours coffee.      SUSAN (cont'd) (to Allison) You coming?      ALLISON You've got patients waiting, I've got three hysterical chefs, one loves truffles, the other hates truffles, the third one doesn't knowwhat truffles are.  I'd better drive down. Parrish gazes at the going-on outside which are increasing in intensity.      PARRISH (unconsciously) I hate parties --      ALLISON Calm down, Daddy, you'llsee, you're going to love it.      PARRISH Isn't it enough to be on this earth sixty-five years without having to be reminded of it.      ALLISON No. Allison goes, Susan observes Parrish fidgeting.     SUSAN Will you relax?  I know it is a big deal day --      PARRISH How did you know?      SUSAN Drew told me.      PARRISH Does Drew tell you everything?      SUSAN Ihope so.      PARRISH You like him, don't you?      SUSAN Yeah.  I guess so. A moment.      PARRISH I don't like to interfere.      SUSAN ...Then don't. The helicopter CHOPS inoverhead.      SUSAN (cont'd) -- Here comes our boy now -- Shall we? EXT. COUNTRY ESTATE - MORNING A BUTLER and May carry the overnight bags for the family as led by Parrish, they hurry towards thehelicopter.  En route they pass QUINCE, 38, Allison's husband, who is perched at a portable bar with AMBROSE, the head caterer, tasting wines.      QUINCE ...This shit's not bad.      AMBROSE -- Thelate harvest Riesling, Mr. Quince, a possibility for dessert.      QUINCE (pointing to another bottle) And that?      AMBROSE Pinot Grigio.  We're considering it for the appetizer. Ambrose takes a sip,swishes the wine in his mouth, spits it in a bucket.      QUINCE What do you do that for?      AMBROSE Well sir, it's 9:30 in the morning.      QUINCE 9:30's almost 10:30.  Where I comefrom, the sun's over the yardarm, m'boy, and the cocktail lamp is lit. Quince drains his wine, presents it for a refill, when he is hailed by Allison.      ALLISON Quince!  Everybody's waiting! Quince downs thisglass too, runs for the helicopter as DREW, 34, a young man going places, emerges from it, approaches Parrish and Susan.      DREW (to Susan) Hello, Beautiful.      SUSAN Hi. Drew kisses her, overher shoulder he glances at Parrish.      PARRISH Good morning, Drew.  Thanks for coming out.      DREW Well, it's a big day.  Wanted to line up a few ducks before kickoff. Any thoughts?  Last minuterefine- ments or variations?      PARRISH 'Thoughts'?  Not a one -- but I did hear a voice last night.      DREW A voice?      PARRISH In my sleep.      DREW What'd it say?     PARRISH 'Yes'.      DREW 'Yes' to the deal?      PARRISH Maybe, who knows?  You know how voices are.  Let's go. Quince comes running up now.      QUINCE Hi, Bill --     PARRISH Good morning, Quince.      QUINCE How're you doing--?      PARRISH I'm doing great.  You ready?      QUINCE I am, this is it.  B Day.      PARRISH How's that,Quince?      QUINCE Bontecou Day.  Going to close with Big John -- Look at you, Bill, all cool as a cat and over at Bontecou's, I'll bet he's shitting in his pants.      ALLISON (to Quince) Honey,please.      QUINCE Okay.  All aboard - New York, New York!      ALLISON Remember everybody, tonight, dinner in the city at Daddy's.  You too, Drew.  We've still got some loose ends --     PARRISH Not my birthday again?      SUSAN You're only six-five once.      PARRISH Thank God.  Now could we go?  Let's get this day started. Drew ushers everybody on, first Parrish, thenSusan and Quince, Drew the last to climb on, shuts the door behind him As Allison hurries away from the whirling rotors. INT. ASTAR HELICOPTER - DAY The configuration of seats has Drew beside Parrish, infront of them Quince and Susan opposite each other in single seats. Just as Drew removes color-coded folders from his attache case and spreads them out for Parrish on his tray table, the pilot waves to Drew, indicating'phone call'.  Drew gets up and heads for the cockpit, Parrish scans the folders, glances over at Susan who is making some notes on a file of her own. He motions to her to please come sit beside him, she checks thatDrew is still busy in the cockpit, tucks her papers into her carryall, and crosses over to Parrish who folds away the work that Drew set before him into his tray table, locks it.      SUSAN I thought you were in ameeting--?      PARRISH I am.  With you. He peers up ahead at Drew, on the telephone and gesticulat- ing intensely, right at home in the cockpit despite the CHOP of the blades and the pilot pressed upagainst him.      PARRISH (cont'd) Do you love Drew?      SUSAN ...There's a start for a meeting.      PARRISH I know it's none of my business -- Susan doesn't answer for a moment, then impulsivelykisses her father on the cheek.      SUSAN No, it's none of your business. Another moment.      PARRISH Do you love Drew?      SUSAN You mean like you loved Mom?     PARRISH Forget about me and Mom -- are you going to marry him?      SUSAN Probably. A moment.      PARRISH (smiles) Don't get carried away.      SUSAN Uh oh --     PARRISH Susan, you're a hell of a woman. You've got a great career, you're beautiful --      SUSAN And I'm your daughter and no man will ever be good enough for me.      PARRISH Well, Iwasn't going to say that --      SUSAN What were you going to say?      PARRISH Listen, I'm crazy about the guy -- He's smart, he's aggressive, he could carry Parrish Communications into the 21stcentury and me along with it.      SUSAN So what's wrong with that?      PARRISH That's for me.  I'm talking about you.  It's not so much what you say about Drew, it's what you don't say.     SUSAN You're not listening --      PARRISH Oh yes, I am.  Not an ounce of excitement, not a whisper of a thrill, this relationship has all the passion of a pair of titmice.      SUSAN Don't get


ï»¿The Project Gutenberg EBook of Eastern Standard Tribe, by Cory DoctorowThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.net** This is a COPYRIGHTED Project Gutenberg eBook, Details Below ****     Please follow the copyrightguidelines in this file.     **Title: Eastern Standard TribeAuthor: Cory DoctorowRelease Date: November 20, 2005 [EBook #17028]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK EASTERNSTANDARD TRIBE ***Eastern Standard TribeCory DoctorowCopyright 2004 Cory Doctorowdoctorow@craphound.comhttp://www.craphound.com/estTor Books, March 2004ISBN:0765307596--=======Blurbs:======="Utterly contemporary and deeply peculiar -- a hard combination to beat(or, these days, to find)."- William Gibson,Author of Neuromancer--"Cory Doctorow knocks me out. Ina good way."- Pat Cadigan,Author of Synners--"Cory Doctorow is just far enough ahead of the game to give you that authenticchill of the future, and close enough to home for us to know that he's talkingabout wherewe live as well as where we're going to live; a connected worldfull of disconnected people. One of whom is about to lobotomise himself throughthe nostril with a pencil. Funny as hell and sharp as steel."- WarrenEllis,Author of Transmetropolitan--=======================A note about this book:=======================Last year, in January 2003, my first novel [ http://craphound.com/down ] cameout. Iwas 31 years old, and I'd been calling myself a novelist since the age of12. It was the storied dream-of-a-lifetime, come-true-at-last. I was and amproud as hell of that book, even though it is just one book among manyreleasedlast year, better than some, poorer than others; and even though the print-run(which sold out very quickly!) though generous by science fiction standards,hardly qualifies it as a work of mass entertainment.Thething that's extraordinary about that first novel is that it was releasedunder terms governed by a Creative Commons [ http://creativecommons.org ]license that allowed my readers to copy the book freely and distributeit farand wide. Hundreds of thousands of copies of the book were made and distributedthis way. *Hundreds* of *thousands*.Today, I release my second novel, and my third[http://www.argosymag.com/NextIssue.html ], a collaboration with Charlie Strossis due any day, and two [http://www.fantasticmetropolis.com/show.html?fn.preview_doctorow ] more[http://www.craphound.com/usrbingodexcerpt.txt ] are under contract. My career asa novelist is now well underway -- in other words, I am firmly afoot on a longroad that stretches into the future: my future, sciencefiction's future,publishing's future and the future of the world.The future is my business, more or less. I'm a science fiction writer. One wayto know the future is to look good and hard at the present. Here's a thingI'venoticed about the present: MORE PEOPLE ARE READING MORE WORDS OFF OF MORESCREENS THAN EVER BEFORE. Here's another thing I've noticed about the present:FEWER PEOPLE ARE READING FEWER WORDSOFF OF FEWER PAGES THAN EVER BEFORE. Thatdoesn't mean that the book is *dying* -- no more than the advent of the printingpress and the de-emphasis of Bible-copying monks meant that the book was dying-- butit does mean that the book is changing. I think that *literature* isalive and well: we're reading our brains out! I just think that the complexsocial practice of "book" -- of which a bunch of paper pages between twocoversis the mere expression -- is transforming and will transform further.I intend on figuring out what it's transforming into. I intend on figuring outthe way that some writers -- that *this writer*, right here, wearingmyunderwear -- is going to get rich and famous from his craft. I intend onfiguring out how *this writer's* words can become part of the social discourse,can be relevant in the way that literature at its best can be.I don'tknow what the future of book looks like. To figure it out, I'm doingsome pretty basic science. I'm peering into this opaque, inscrutable system ofpublishing as it sits in the year 2004, and I'm making a perturbation.I'mstirring the pot to see what surfaces, so that I can see if the system revealsitself to me any more thoroughly as it roils. Once that happens, maybe I'll beable to formulate an hypothesis and try an experiment or twoand maybe -- justmaybe -- I'll get to the bottom of book-in-2004 and beat the competition tomaking it work, and maybe I'll go home with all (or most) of the marbles.It's a long shot, but I'm a pretty sharp guy, and Iknow as much about thisstuff as anyone out there. More to the point, trying stuff and doing researchyields a non-zero chance of success. The alternatives -- sitting pat, or worse,getting into a moral panic about "piracy"and accusing the readers who areblazing new trail of "the moral equivalent of shoplifting" -- have a *zero*percent chance of success.Most artists never "succeed" in the sense of attaining fame and modest fortune.Acareer in the arts is a risky long-shot kind of business. I'm doing what I canto sweeten my odds.So here we are, and here is novel number two, a book called Eastern StandardTribe, which you can walk into shops allover the world and buy [http://craphound.com/est/buy.php ] as a physical artifact -- a very nicephysical artifact, designed by Chesley-award-winning art director Irene Galloand her designer Shelley Eshkar, publishedby Tor Books, a huge, profit-makingarm of an enormous, multinational publishing concern. Tor is watching whathappens to this book nearly as keenly as I am, because we're all very interestedin what the book isturning into.To that end, here is the book as a non-physical artifact. A file. A bunch oftext, slithery bits that can cross the world in an instant, using the Internet,a tool designed to copy things very quickly from one placeto another; and usingpersonal computers, tools designed to slice, dice and rearrange collections ofbits. These tools demand that their users copy and slice and dice -- rip, mixand burn! -- and that's what I'm hoping youwill do with this.Not (just) because I'm a swell guy, a big-hearted slob. Not because Tor is runby addlepated dot-com refugees who have been sold some snake-oil about thee-book revolution. Because you -- thereaders, the slicers, dicers and copiers-- hold in your collective action the secret of the future of publishing.Writers are a dime a dozen. Everybody's got a novel in her or him. Readers are aprecious commodity. You'vegot all the money and all the attention and you runthe word-of-mouth network that marks the difference between a little book, soonforgotten, and a book that becomes a lasting piece of posterity for its author,changingthe world in some meaningful way.I'm unashamedly exploiting your imagination. Imagine me a new practice of book,readers. Take this novel and pass it from inbox to inbox, through your IMclients, over P2P networks.Put it on webservers. Convert it to weird, obscureebook formats. Show me -- and my colleagues, and my publisher -- what the futureof book looks like.I'll keep on writing them if you keep on reading them. But as cooland wonderfulas writing is, it's not half so cool as inventing the future. Thanks for helpingme do it.Here's a summary of the license: http://creativecommons.org/licenses/by-nd-nc/1.0 Attribution. The licensor permitsothers to copy, distribute, display, and perform the work. In return, licensees must give the original author credit. No Derivative Works. The licensor permits others to copy, distribute, display and perform only unalteredcopies of the work -- not derivative works based on it. Noncommercial. The licensor permits others to copy, distribute, display, and perform the work. In return, licensees may not use the work for commercial purposes-- unless they get the licensor's permission.And here's the license itself: http://creativecommons.org/licenses/by-nd-nc/1.0-legalcode THE WORK (AS DEFINED BELOW) IS PROVIDED UNDER THE TERMS OF THISCREATIVE COMMONS PUBLIC LICENSE ("CCPL" OR "LICENSE"). THE WORK IS PROTECTED BY COPYRIGHT AND/OR OTHER APPLICABLE LAW. ANY USE OF THE WORK OTHER THAN AS AUTHORIZED UNDER THISLICENSE IS PROHIBITED. BY EXERCISING ANY RIGHTS TO THE WORK PROVIDED HERE, YOU ACCEPT AND AGREE TO BE BOUND BY THE TERMS OF THIS LICENSE. THE LICENSOR GRANTS YOU THE RIGHTSCONTAINED HERE IN CONSIDERATION OF YOUR ACCEPTANCE OF SUCH TERMS AND CONDITIONS. 1. Definitions a. "Collective Work" means a work, such as a periodical issue, anthology or encyclopedia, in which theWork in its entirety in unmodified form, along with a number of other contributions, constituting separate and independent works in themselves, are assembled into a collective whole. A work that constitutes a CollectiveWork will not be considered a Derivative Work (as defined below) for the purposes of this License. b. "Derivative Work" means a work based upon the Work or upon the Work and other pre-existing works, such as atranslation, musical arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other form in which the Work may be recast, transformed,or adapted, except that a work that constitutes a Collective Work will not be considered a Derivative Work for the purpose of this License. c. "Licensor" means the individual or entity that offers the Work under the termsof this License. d. "Original Author" means the individual or entity who created the Work. e. "Work" means the copyrightable work of authorship offered under the terms of this License. f. "You" means an individual orentity exercising rights under this License who has not previously violated the terms of this License with respect to the Work, or who has received express permission from the Licensor to exercise rights under thisLicense despite a previous violation. 2. Fair Use Rights. Nothing in this license is intended to reduce, limit, or restrict any rights arising from fair use, first sale or other limitations on the exclusive rights of the copyrightowner under copyright law or other applicable laws. 3. License Grant. Subject to the terms and conditions of this License, Licensor hereby grants You a worldwide, royalty-free, non-exclusive, perpetual (for the durationof the applicable copyright) license to exercise the rights in the Work as stated below: a. to reproduce the Work, to incorporate the Work into one or more Collective Works, and to reproduce the Work as incorporated inthe Collective Works; b. to distribute copies or phonorecords of, display publicly, perform publicly, and perform publicly by means of a digital audio transmission the Work including as incorporated in Collective Works;The above rights may be exercised in all media and formats whether now known or hereafter devised. The above rights include the right to make such modifications as are technically necessary to exercise the rights inother media and formats. All rights not expressly granted by Licensor are hereby reserved. 4. Restrictions. The license granted in Section 3 above is expressly made subject to and limited by the following restrictions: a.You may distribute, publicly display, publicly perform, or publicly digitally perform the Work only under the terms of this License, and You must include a copy of, or the Uniform Resource Identifier for, this License withevery copy or phonorecord of the Work You distribute, publicly display, publicly perform, or publicly digitally perform. You may not offer or impose any terms on the Work that alter or restrict the terms of this License orthe recipients' exercise of the rights granted hereunder. You may not sublicense the Work. You must keep intact all notices that refer to this License and to the disclaimer of warranties. You may not distribute, publiclydisplay, publicly perform, or publicly digitally perform the Work with any technological measures that control access or use of the Work in a manner inconsistent with the terms of this License Agreement. The aboveapplies to the Work as incorporated in a Collective Work, but this does not require the Collective Work apart from the Work itself to be made subject to the terms of this License. If You create a Collective Work, uponnotice from any Licensor You must, to the extent practicable, remove from the Collective Work any reference to such Licensor or the Original Author, as requested. b. You may not exercise any of the rights granted toYou in Section 3 above in any manner that is primarily intended for or directed toward commercial advantage or private monetary compensation. The exchange of the Work for other copyrighted works by means ofdigital file-sharing or otherwise shall not be considered to be intended for or directed toward commercial advantage or private monetary compensation, provided there is no payment of any monetary compensation inconnection with the exchange of copyrighted works. c. If you distribute, publicly display, publicly perform, or publicly digitally perform the Work or any Collective Works, You must keep intact all copyright notices for theWork and give the Original Author credit reasonable to the medium or means You are utilizing by conveying the name (or pseudonym if applicable) of the Original Author if supplied; the title of the Work if supplied. Suchcredit may be implemented in any reasonable manner; provided, however, that in the case of a Collective Work, at a minimum such credit will appear where any other comparable authorship credit appears and in amanner at least as prominent as such other comparable authorship credit. 5. Representations, Warranties and Disclaimer a. By offering the Work for public release under this License, Licensor represents and warrantsthat, to the best of Licensor's knowledge after reasonable inquiry: i. Licensor has secured all rights in the Work necessary to grant the license rights hereunder and to permit the lawful exercise of the rights grantedhereunder without You having any obligation to pay any royalties, compulsory license fees, residuals or any other payments; ii. The Work does not infringe the copyright, trademark, publicity rights, common law rightsor any other right of any third party or constitute defamation, invasion of privacy or other tortious injury to any third party. b. EXCEPT AS EXPRESSLY STATED IN THIS LICENSE OR OTHERWISE AGREED IN WRITING ORREQUIRED BY APPLICABLE LAW, THE WORK IS LICENSED ON AN "AS IS" BASIS, WITHOUT WARRANTIES OF ANY KIND, EITHER EXPRESS OR IMPLIED INCLUDING, WITHOUT LIMITATION, ANY WARRANTIESREGARDING THE CONTENTS OR ACCURACY OF THE WORK. 6. Limitation on Liability. EXCEPT TO THE EXTENT REQUIRED BY APPLICABLE LAW, AND EXCEPT FOR DAMAGES ARISING FROM LIABILITY TO A THIRD PARTYRESULTING FROM BREACH OF THE WARRANTIES IN SECTION 5, IN NO EVENT WILL LICENSOR BE LIABLE TO YOU ON ANY LEGAL THEORY FOR ANY SPECIAL, INCIDENTAL, CONSEQUENTIAL, PUNITIVE OR EXEMPLARYDAMAGES ARISING OUT OF THIS LICENSE OR THE USE OF THE WORK, EVEN IF LICENSOR HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. 7. Termination a. This License and the rights grantedhereunder will terminate automatically upon any breach by You of the terms of this License. Individuals or entities who have received Collective Works from You under this License, however, will not have their licensesterminated provided such individuals or entities remain in full compliance with those licenses. Sections 1, 2, 5, 6, 7, and 8 will survive any termination of this License. b. Subject to the above terms and conditions, thelicense granted here is perpetual (for the duration of the applicable copyright in the Work). Notwithstanding the above, Licensor reserves the right to release the Work under different license terms or to stop distributingthe Work at any time; provided, however that any such election will not serve to withdraw this License (or any other license that has been, or is required to be, granted under the terms of this License), and this Licensewill continue in full force and effect unless terminated as stated above. 8. Miscellaneous a. Each time You distribute or publicly digitally perform the Work or a Collective Work, the Licensor offers to the recipient a licenseto the Work on the same terms and conditions as the license granted to You under this License. b. If any provision of this License is invalid or unenforceable under applicable law, it shall not affect the validity orenforceability of the remainder of the terms of this License, and without further action by the parties to this agreement, such provision shall be reformed to the minimum extent necessary to make such provision validand enforceable. c. No term or provision of this License shall be deemed waived and no breach consented to unless such waiver or consent shall be in writing and signed by the party to be charged with such waiver orconsent. d. This License constitutes the entire agreement between the parties with respect to the Work licensed here. There are no understandings, agreements or representations with respect to the Work not specifiedhere. Licensor shall not be bound by any additional provisions that may appear in any communication from You. This License may not be modified without the mutual written agreement of the Licensor andYou.--DedicationFor my parents.For my family.For everyone who helped me up and for everyone I let down. You know who you are.Sincerest thanks and most heartfelt apologies.Cory--1.I once had a Tai Chi instructorwho explained the difference between Chinese andWestern medicine thus: "Western medicine is based on corpses, things that youdiscover by cutting up dead bodies and pulling them apart. Chinese medicine isbased onliving flesh, things observed from vital, moving humans."The explanation, like all good propaganda, is stirring and stilted, and notparticularly accurate, and gummy as the hook from a top-40 song, sticky in yourmind inthe sleep-deprived noontime when the world takes on a hallucinatoryhypperreal clarity. Like now as I sit here in my underwear on the roof of asanatorium in the back woods off Route 128, far enough from theperpetualconstruction of Boston that it's merely a cloud of dust like a herd of distantbuffalo charging the plains. Like now as I sit here with a pencil up my nose,thinking about homebrew lobotomies and wouldn't it benice if I gave myself one.Deep breath.The difference between Chinese medicine and Western medicine is the dissectionversus the observation of the thing in motion. The difference between reading astory and studyinga story is the difference between living the story andkilling the story and looking at its guts.School! We sat in English class and we dissected the stories that I'd escapedinto, laid open their abdomens and tagged theirorgans, covered their genitalswith polite sterile drapes, recorded dutiful notes *en masse* that told us whatthe story was about, but never what the story *was*. Stories are propaganda,virii that slide past your criticalimmune system and insert themselves directlyinto your emotions. Kill them and cut them open and they're as naked as anightclub in daylight.The theme. The first step in dissecting a story is euthanizing it: "What isthetheme of this story?"Let me kill my story before I start it, so that I can dissect it and understandit. The theme of this story is: "Would you rather be smart or happy?"This is a work of propaganda. It's a story aboutchoosing smarts over happiness.Except if I give the pencil a push: then it's a story about choosing happinessover smarts. It's a morality play, and the first character is about to take thestage. He's a foil for the theme,so he's drawn in simple lines. Here he is:2.Art Berry was born to argue.There are born assassins. Bred to kill, raised on cunning and speed, they arethe stuff of legend, remorseless and unstoppable. There are bornballerinas,confectionery girls whose parents subject them to rigors every bit as intense asthe tripwire and poison on which the assassins are reared. There are childrenborn to practice medicine or law; children born toserve their nations and dieheroically in the noble tradition of their forebears; children born to tread theboards or shred the turf or leave smoking rubber on the racetrack.Art's earliest memory: a dream. He is stuck inthe waiting room of one of theinnumerable doctors who attended him in his infancy. He is perhaps three, andhis attention span is already as robust as it will ever be, and in his dream --which is fast becoming anightmare -- he is bored silly.The only adornment in the waiting room is an empty cylinder that once held toyblocks. Its label colorfully illustrates the blocks, which look like they'd be ahell of a lot of fun, if someone


<title>Die Hard 2 Script at IMSDb.</title><meta name="description" content="Die Hard 2 script at the Internet Movie Script Database."><meta name="keywords" content="Die Hard 2 script, Die Hard2 movie script, Die Hard 2 film script"><meta name="viewport" content="width=device-width, initial-scale=1" /><meta name="HandheldFriendly" content="true"><meta http-equiv="content-type"content="text/html; charset=iso-8859-1"><meta http-equiv="Content-Language" content="EN"><meta name=objecttype CONTENT=Document><meta name=ROBOTS CONTENT="INDEX, FOLLOW"><metaname=Subject CONTENT="Movie scripts, Film scripts"><meta name=rating CONTENT=General><meta name=distribution content=Global><meta name=revisit-after CONTENT="2 days"><link href="/style.css"rel="stylesheet" type="text/css">

The Internet Movie Script Database (IMSDb)

 Theweb's largest
movie script resource!

           Search IMSDb
<form method="post" action="/search.php">            <tdwidth="180">
                <input type="text" name="search_query" maxlength="255" size="15">                <input type="submit" value="Go!"name="submit">
	</form>

Alphabetical<tralign="center">        #         A        B        C        <ahref="/alphabetical/D">D        E        F        G        H<tralign="center">         I        J        K        L        <ahref="/alphabetical/M">M        N        O        P        Q<tralign="center">         R        S        T        U        <ahref="/alphabetical/V">V        W        X        Y        <ahref="/alphabetical/Z">Z

Genre
 ActionAdventure Animation
 Comedy Crime <ahref="/genre/Drama">Drama
 Family Fantasy Film-Noir
 <ahref="/genre/Horror">Horror Musical Mystery
 Romance <ahref="/genre/Sci-Fi">Sci-Fi Short
 Thriller War <ahref="/genre/Western">Western

  Sponsor

TV Transcripts
Futurama
 Seinfeld
 South Park
 Stargate SG-1
 Lost
 The 4400

International
 French scripts

MovieSoftware

 Rip from DVD
 <ahref="/software/rip-blu-ray">Rip Blu-Ray

Latest Comments
Star Wars: Revenge of the Sith10/10
Star Wars: The ForceAwakens10/10
Batman Begins9/10
Collateral10/10
Jackie Brown8/10

Movie Chat
 <tdalign="center"><form class="yellbox" action="https://www.yellbox.com/addmessage.php" method="post" target="ybframe"name="yellform">  <input type="hidden" name="sub_username" value="imsdb"> <input class="yellbox" name="sub_name" value="Name" size=21 maxlength=10 onFocus="if(this.value == 'Name')this.value = '';return;">
 <textarea class="yellbox" cols=15 rows=4 name="sub_message" wrap onFocus="if(this.value == 'Message')this.value = ''; return;">Message</textarea>

 <buttononClick="javascript:makeNewWindow(); return false;"></button> <button type="submit" value="Post" onClick="returnclearMessageBox();">Yell !</button>
</form>

      ALL SCRIPTS

	<tdvalign="top">

                                      DIE HARD 2                                     Written by                                  DougRichardson                                    Revisions by                                 Steven E. de Souza                                                        SHOOTING SCRIPT                                                      November 16,1989                                                                           (X)                         DIE HARD 2          WHILE WE'RE IN BLACK we HEAR a PNEUMATIC "KA-CHUNK" andthen                         MCCLANE'S VOICE          Holy shit, whoa, whoa -                         FADE IN:          1 EXT. DULLES TERMINAL - DAY 1          JOHN MCCLANE, long topcoat FLAPPING,comes running out of the          terminal towards an AIRPORT COP in plastic covered uniform who is          supervising a TOW TRUCK DRIVER who in turn is manhandling a          sedate sedan with Virginia plates and a"GRANDMOTHER ON BOARD"          sign on the rear window.                         MCCLANE          I'm here, I'm here, false alarm, let's          just let her down nice and easy-                         COP          Sure. At the impound lot.                         (POINTING)          Next time, read the sign.                         MCCLANE          You don't understand, I'm justmeeting          my wife's-plane - you gotta give me          this car back.                         COP          Sure. Tomorrow 8 to four, you pay          40 bucks, we give itback.                         MCCLANE          This is my mother in law's car. She          already hates me because I'm not a                         DENTIST-                         (SHOWING-BADGE)          See, I'm a cop. LAPD. How about          some team spirit?                         COP          I was in LA once. Hatedit.                         CONTINUED                                                                                2                         (X)                         1 CONTINUED-                         MCCLANE          (going with the flow)          I can relate to that. Hate it myself-          (turning to tow guy)          Hey, that's a plastic fender, Jesus-          (back to cop)          See, Iused to be a New York cop still          got my ID somewhere -I only moved          'cause my wife got promoted - look,          maybe we can settle this right here,          we're in Washington, heartbeatof          Democracy, one hand washes the other          He realizes the truck is DRIVING AWAY one way while the cop is          i going off the other way - McClane votes for the cop-                          MCCLANE           Hey, c'mon, it's Christmas -                          COP          So Ask Santa to bring youanother          car.                         I                         MCCLANE                         (SOTTO)          You son of a -          BEEP drowns out his last word. McClave sweeps aside hiscoat,          finds the beeper on his belt. He looks at the obviously          unfamilar number on the read out in puzzlement, then runs into          the terminal.          2 INT. DULLES TERMINAL - DAY2          CHRISTMAS MUSIC wafting through the building from a SCHOOL CHOIR          perched in front of a massive, three-story window. Blase          travelers PAUSE in their hectic rush to applaud theangelic          voices.          McClane shoves his way through some people - when they GLARE at          him he quickly APPLAUDS the kids, pulls up at an INFORMATION          BOOTH - the girl there is watching a LITTLETV on the shelf out          of sight from the public.          MCCLANE 1ST NEWSCASTER          Telephones? (on TV)           .and that White Christmas          INFORMATION GIRL may be here for a while,if          (pointing) that new storm front moves          Right over there. to the Metro area this           afternoon as predicted.          McClane nods, serves across the slicklinoleum.                          CONTINUED                                                                                3                         (X)                         2 CONTINUED -2          1ST NEWSCASTER(cont'd)          Correspondent Leonard Adkins is in          a warmer clime, with a story that          grows hotter by the minute.          2A WITH MCCLANE 2A          he fairlySKIDS to a halt at a line of PHONE BOOTHS - and outside          each booth a long LINE of people with their armfuls of luggage                         A          and gifts.          McClane's BEEPER goes offagain.                         MCCLANE                         (DESPONDENT)          Ho - ho - ho...                         3 3          thru OMITTED thru                         44                         CUT TO:          EXT. AIRPORT - THROUGH WINDOW - SAME TIME                         I          A plane TAKES OFF. We PULL BACK and realize we're in aMOTEL          ROOM. The TV is on and we SEE the TV PICTURE CHANGE to a          TROPICAL AIRFIELD. Khaki-clad heavily armed SOLDIERS form a          cordon as a stiff-backed handsome MAN of 60 in handcuffs andleg          chains is hustled aboard a plane.                         2ND NEWSCASTER          Security was tight today at Escalon          airport in the Republic of Val Verde,          where government authoritiesescorted          General Ramon Esperanza to the          military transport that will bring          him to the United States to stand          trial for narcotics trafficking.          A HAND thrusts in front of the CAMERA -FINGERS clenching and          curling oddly.                         6 WIDER 6          A half naked MAN is doing Tai Ch'i EXERCISES. This is COLONEL          WILLIAM STUART, U.S.A. (Ret.) His body is hard, withSCARS from          knives and bullets.          On the TV, the words "FILE TAPE" blink under Esperanza's IMAGE,.          here resplendent in a Latin American uniform, reviewing troops in          the field and then movingto a table under a tarp to sign          documents with American military officers. He hands a COLONEL the          pen just used on the document - asouvenir.                         CONTINUED                                                                                4                         (X)                         6 CONTINUED -6                         NEWSCASTER          Only two years ago the controversial          General lead his country's Army in          its campaign against Communists          insurgents - a campaign foughtwith          American money and advisors.          Esperanza's fall from power caused                         1          ripples not only in his country'.s          recent election, but closer to home          I aswell...          PICTURE CHANGES to some WASHINGTON STEPS. The AMERICAN COLONEL          we just.saw exits a Federal building with some JUNIOR OFFICERS          and attorneys - avoidsreporters.                         1                         NEWSCASTER(CONT'D)          .when high ranking Pentagon          officials were chargedwith supplying          I him with weapons despitethe          congressional ban.          The exercises finished, Stuart FREEZES in an eerie pose, until          7 HIS HUER CHRONOMETER          BEEPS an alarm -          8 BACK TO SCENE 8          Theman uncoils. Composes himself. Goes to the closet.                         NEWSCASTER(CONT'D)          But mounting evidence that Esperanza's          forces violated the neutrality of          neighboring countriesmade Congress          withhold funds-funds which Esperanza          I s accused of replacing by going into          the'lucrative business of cocaine          smuggling.          ,.One topcoat, one suit there, shirt and tie laidout like a          costume not usually worn. On the shelf above, one PACKAGE in          DISTINCTIVE CHRISTTMAS WRAP.          Stewart puts on the shirt. In the pocket is a PEN - the same pen          we justsaw on TV. If we haven't realized it yet, we realize it          now; t s is the same man.91          Suddenly Stuart WHIRLS like a GUNFIGHTER. But all he's got in          his hand is the remote control, snatched from thenightstand.                         9 TV9                         CONTINUED                                                                                5                         (X)                         9 CONTINUED -9                         Q          It clicks OFF -                         CUT TO:          10 INT. AIRPORT MOTEL - CORRIDOR - DAY 10          CLOSE on the hallway door as Stuart COMES OUT, thepackage in          i his hand, the Huer ticking away. We WIDEN, TRUCK with him as          he moves down the corridor.          And now we SEE THEM - ten more TALL, HARD men, all coming into          the hallway fromtheir adjoining rooms within seconds of each          other, all carrying SIMILAR GIFT WRAPPED PACKAGES.          They get into two adjoining. elevators, the stark LIGHTS above          their heads and their unmovingexpressions making them look like          Aliens ready to beam up. As the doors CLOSE we                         CUT TO:          11 INT. TERMINAL - DAY 11           McClane SQUEEZES past an enormousWOMAN exiting a phone booth           with a PRESENT as big as she is. Catching his breath, he drops           his quarter, dials.                         12 12          aru OMITTED thru                         1313                         CUT TO:          14 INT. A JETLINER - INTERCUT 14          HOLLY MCCLANE is here, AirPhone at her ear and a beautiful          SUNSET over the plane's wing visible throughthe nearby window.          With the Compaq portable computer, filofax and calculator piled          on it, Holly'.s seat back table looks like a traveling office.                         MCCLANE          Hello. This isLieutenant McClane          - Somebody there beep me?                         HOLLY          I'd like to think I'm somebody.                         MCCLANE          Holly! Did youland?                         HOLLY          John, wake up. It's the nineties.          Microchips, microwaves, faxes and          airphones.                         MCCLANE          As far as I'm concerned,progress          peaked with the frozenpizza.                         CONTINUED                                                                                6                         (X)                         14 CONTINUED -