{"doc_id":"doc_0","qid":"","text":"Miami Vice Script at IMSDb.

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Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V Indiana Jones and the Temple of Doom Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount','UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' ==document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga,s); })();

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Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V Interstellar Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount','UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' ==document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga,s); })();

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Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Big White, The Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount','UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' ==document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga,s); })();

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Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Zerophilia Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount','UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' ==document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga,s); })();

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Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V _\"Et ignotas animum dimittit in artes.\"Ovid, Metamorphoses, VIII.,18._

Chapter 1Once upon a time and a very good time it was there was a moocow comingdownalong the road and this moocow that was coming down along the roadmet a nicens little boy named babytuckoo...His father told him that story: his father looked at him through aglass: he had a hairy face.Hewas baby tuckoo. The moocow came down the road where Betty Byrnelived: she sold lemon platt. O,the wild rose blossoms On the little green place.He sang that song. That was his song. O, the greenwothe botheth.When you wet the bed first it is warm then it gets cold. His mother puton the oilsheet.That had the queer smell.His mother had a nicer smell than his father. She played on the pianothe sailor'shornpipe for him to dance. He danced: Tralala lala, Tralala tralaladdy, Tralala lala, Tralalalala.Uncle Charles and Dante clapped. They were older than his father andmother but uncle Charles wasolder than Dante.Dante had two brushes in her press. The brush with the maroon velvetback was forMichael Davitt and the brush with the green velvet backwas for Parnell. Dante gave him a cachou everytime he brought her apiece of tissue paper.The Vances lived in number seven. They had a different fatherandmother. They were Eileen's father and mother. When they were grown uphe was going to marryEileen. He hid under the table. His mother said:--O, Stephen will apologize.Dante said:--O, if not, theeagles will come and pull out his eyes.-- Pull out his eyes, Apologize, Apologize, Pull out hiseyes. Apologize, Pull out his eyes, Pull out his eyes, Apologize.* * * * *The wide playgroundswere swarming with boys. All were shouting and theprefects urged them on with strong cries. Theevening air was pale andchilly and after every charge and thud of the footballers the greasyleather orbflew like a heavy bird through the grey light. He kept onthe fringe of his line, out of sight of his prefect,out of the reachof the rude feet, feigning to run now and then. He felt his body smalland weak amid thethrong of the players and his eyes were weak andwatery. Rody Kickham was not like that: he would becaptain of thethird line all the fellows said.Rody Kickham was a decent fellow but Nasty Roche was astink. RodyKickham had greaves in his number and a hamper in the refectory. NastyRoche had big hands.He called the Friday pudding dog-in-the-blanket.And one day he had asked:--What is your name?Stephenhad answered: Stephen Dedalus.Then Nasty Roche had said:--What kind of a name is that?And whenStephen had not been able to answer Nasty Roche had asked:--What is your father?Stephen hadanswered:--A gentleman.Then Nasty Roche had asked:--Is he a magistrate?He crept about from point topoint on the fringe of his line, makinglittle runs now and then. But his hands were bluish with cold. Hekepthis hands in the side pockets of his belted grey suit. That was a beltround his pocket. And belt wasalso to give a fellow a belt. One day afellow said to Cantwell:--I'd give you such a belt in asecond.Cantwell had answered:--Go and fight your match. Give Cecil Thunder a belt. I'd like to seeyou.He'd give you a toe in the rump for yourself.That was not a nice expression. His mother had told him notto speakwith the rough boys in the college. Nice mother! The first day in thehall of the castle when shehad said goodbye she had put up her veildouble to her nose to kiss him: and her nose and eyes were red.But hehad pretended not to see that she was going to cry. She was a nicemother but she was not so nicewhen she cried. And his father had givenhim two five-shilling pieces for pocket money. And his father hadtoldhim if he wanted anything to write home to him and, whatever he did,never to peach on a fellow.Then at the door of the castle the rectorhad shaken hands with his father and mother, his soutanefluttering inthe breeze, and the car had driven off with his father and mother onit. They had cried to himfrom the car, waving their hands:--Goodbye, Stephen, goodbye!--Goodbye, Stephen, goodbye!He was"} {"doc_id":"doc_62","qid":"","text":"Manhunter Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount','UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' ==document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga,s); })();

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Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V \"Beloved,\" early draft, by Richard LaGravenese 
                               BELOVED                              Screenplay                                  by                          Richard LaGravenese                         Based on the Novel by                             ToniMorrison     HARPO FILMS     345 N. Maple Drive     Beverly Hills, CA 90210     (310) 278-5559 -O     (310) 278-6110 - F                           October 11, 1996     FADE IN...     EXT. 124 BLUESTONEROAD - DAWN.     It is winter in Ohio. A house sits isolated beside a barren     field. The field stretchesbeyond, until a line of distant     woods stops it. Around the back of the house stands arundown     STORAGE SHED, a cold house, a privy and a water pump. A porch     with a single doorserves as the only entrance.     Camera begins a slow move toward the house as we;     SUPER -OHIO, 1865     WE HEAR SOUNDS from inside the house - BUMPS, A CHAIRFALLING     OVER...and FEET RUNNING on wooden floorboards.                                                            CUT TO:     INT. 124 BLUESTONE ROAD -DAWN.     C.U. - THE HANDS OF TWO BROTHERS HOLDING EACH OTHER AS THEY     RUN DOWN THESTAIRS..     BULGAR (13 yrs. old) and HOWARD (14 yrs. old) run down the     steps from the secondfloor. They are fully dressed, carrying     a small bag ofbelongings.                         HOWARD               We gonna need food. Wait here.     Bulgar reluctantlylets go of Howard's hand as the latter     runs into the kitchen. Alone, he edges towards the front     door,when suddenly;     THE DOOR SLOWLY CREAKS OPEN on it's own. Scared, he steps     awayslowly.     INT. KITCHEN - DAWN.     Howard is trying to toss some food into a bag. He spots A     CAKEsitting on top the wooden table, with some pieces     already eaten. He finds a knife and approaches thetable.     He is about to cut into the cake when he sees TWO TINY HAND     PRINTS appear on the cake'ssurface. Howard stops cold -     dropping the knife.     INT. FRONT ENTRANCE - DAWN.     Howard exitsthe kitchen and takes Bulgar's hand;                         HOWARD               Comeon!                         DENVER (OS)               Bul?     The boys look up the stairs and see their baby sister,nine     year old DENVER.                         DENVER               Where you goin?     The brothers arebrokenhearted at the sight of her. They love     their sister. But there are stronger forces here.     AMIRROR on a wall beside Howard cracks down the middle.                         HOWARD               We gottago!     Bulgar looks up to Denver. They exchange a look of deep     affection and pained longing. Hewants to take her.                         HOWARD               Bye, Denver. You takecare.                         DENVER               Bye? Bul?     Bulgar is starting to cry. He rushes up the stepsand hugs     his sister. He kisses her hard then breaks away. Denver's     outstretched hand misses hisshirt and hangs mid-air.                         DENVER               No..Bul...     Bulgar flies down the steps anddisappears out of the house     holding Howard's hand once more.     Denver sits alone at the top of thestairs.  She sadly looks     up and weeps, as if to the house itself:                         DENVER               Nowwhat you go and do that for?     EXT. ROAD TO THE TRAIN - DAWN.     THE VOICE OF SETHE HUMMING AMELODY carries over the images     of:     The two boys running for their lives towards thetrain,     holding hands all the way.  Howard is the first to reach it.     As it passes by, he throws his bagupon it and jumps in.     Bulgar races beside it as Howard reaches for him.     C.U. - HOWARD'S HANDreaching for BULGAR's...They connect.     WIDE SHOT - The boys are on the train as it leaves town.     Onit's route, the train passes a ramshackle GRAVEYARD.     CAMERA MOVES SLOWLY INTO THEGRAVEYARD until it reaches A     HEADSTONE, made with flecked pink stone. Upon the headstone     isonly one word:     BELOVED.     EXT. 124 BLUESTONE RD. - CONTINUOUS.     Camera movesslowly towards the side exterior of 124, into a     Close-Up of a WOMAN looking out of a second floorbedroom     window. It is SETHE, mother of the two boys and Denver. She     hums her melody, softly,sadly, with a resigned understanding     of why her boys are running away...and a deep pain thatis     too constant to notice.                                                          FADE OUT;     FADE IN:     INT. 124 -BABY SUGGS BEDROOM - LATER THAT DAY.     BABY SUGGS, grandmother and mother-in-law to Sethe,sits in     her bed fondling colored fabric of BRIGHT GREEN..It is the     only vibrant color in an otherwise"}
{"doc_id":"doc_111","qid":"","text":"The Project Gutenberg EBook of The Mystery of a Hansom Cab, by Fergus HumeThis eBook is for theuse of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give itaway orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.netTitle: The Mystery of a Hansom CabAuthor: Fergus HumePosting Date: July 2, 2009[EBook #4223]Release Date: July, 2003First Posted: December 8, 2001Last updated: February 28,2013Last updated: June 8, 2013Language: English*** START OF THIS PROJECT GUTENBERG EBOOKTHE MYSTERY OF A HANSOM CAB ***Produced by Col Choat.  HTML version by Al Haines.The Mystery ofa Hansom CabbyFergus HumeCONTENTS      I.  WHAT THE ARGUS SAID.     II.  THE EVIDENCE AT THEINQUEST.    III.  ONE HUNDRED POUNDS REWARD.     IV.  MR. GORBY MAKES A START.      V.  MRS.HAMILTON UNBOSOMS HERSELF.     VI.  MR. GORBY MAKES FURTHER DISCOVERIES.    VII.  THE WOOLKING.   VIII.  BRIAN TAKES A WALK AND A DRIVE.     IX.  MR. GORBY IS SATISFIED AT LAST.      X.  INTHE QUEEN'S NAME.     XI.  COUNSEL FOR THE PRISONER.    XII.  SHE WAS A TRUEWOMAN.   XIII.  MADGE MAKES A DISCOVERY.    XIV.  ANOTHER RICHMOND IN THE FIELD.     XV.  AWOMAN OF THE PEOPLE.    XVI.  MISSING.   XVII.  THE TRIAL.  XVIII.  SAL RAWLINS TELLS ALL SHEKNOWS.    XIX.  THE VERDICT OF THE JURY.     XX.  THE \"ARGUS\" GIVES ITS OPINION.    XXI.  THREEMONTHS AFTERWARDS.   XXII.  A DAUGHTER OF EVE.  XXIII.  ACROSS THE WALNUTS AND THEWINE.   XXIV.  BRIAN RECEIVES A LETTER.    XXV.  WHAT DR. CHINSTON SAID.   XXVI.  KILSIP HAS ATHEORY OF HIS OWN.  XXVII.  MOTHER GUTTERSNIPE JOINS THE MAJORITY. XXVIII.  MARK FRETTLBYHAS A VISITOR.   XXIX.  MR. CALTON'S CURIOSITY ISSATISFIED.    XXX.  NEMESIS.   XXXI.  HUSH-MONEY.  XXXII.  DE MORTUIS NIL NISI BONUM.XXXIII.  THE CONFESSION.  XXXIV.  THE HANDS OF JUSTICE.   XXXV.  \"THE LOVE THATLIVES.\"PREFACEIn its original form, \"The Mystery of a Hansom Cab\" has reached thesale of 375,000copies in this country, and some few editions in theUnited States of America. Notwithstanding this, thepresent publishershave the best of reasons for believing, that there are thousands ofpersons whom thebook has never reached. The causes of this havedoubtless been many, but chief among them was theform of thepublication itself. It is for this section of the public chiefly thatthe present edition is issued. Inplacing it before my new readers, Ihave been asked by the publishers thoroughly to revise the work,and,at the same time, to set at rest the many conflicting reportsconcerning it and myself, which havebeen current since its initialissue. The first of these requests I have complied with, and themanytypographic, and other errors, which disfigured the first edition,have, I think I can safely say, nowdisappeared. The second request Iam about to fulfil; but, in order to do so, I must ask my readers togoback with me to the beginning of all things, so far as this specialbook is concerned.The writing of thebook was due more to accident than to design. I wasbent on becoming a dramatist, but, being quiteunknown, I found itimpossible to induce the managers of the Melbourne Theatres to accept,or even toread a play. At length it occurred to me I might further mypurpose by writing a novel. I should at allevents secure a certainamount of local attention. Up to that time I had written only one ortwo shortstories, and the \"Cab\" was not only the first book I everpublished, but the first book I ever wrote; so toyouth and lack ofexperience must be ascribed whatever was wanting in the book. I repeatthat the storywas written only to attract local attention, and no onewas more astonished than I when it passed beyondthe narrow circle forwhich it had originally been intended.My mind made up on this point, I enquired of aleading Melbournebookseller what style of book he sold most of. He replied that thedetective stories ofGaboriau had a large sale; and as, at this time, Ihad never even heard of this author, I bought all hisworks--eleven orthereabouts--and read them carefully. The style of these storiesattracted me, and Idetermined to write a book of the same class;containing a mystery, a murder, and a description of lowlife inMelbourne. This was the origin of the \"Cab.\" The central idea i.e. themurder in a cab--came to mewhile driving at a late hour to St. Kilda,a suburb of Melbourne; but it took some time and much thoughtto workit out to a logical conclusion. I was two months sketching out theskeleton of the novel, but evenso, when I had written it, the resultproved unsatisfactory, for I found I had not sufficiently wellconcealed"}
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Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X \"Demolition Man,\" by Daniel Waters; and JonathanLemkin
                             DEMOLITIONMAN                          Participating Writers:                              PeterLenkov                              Robert Reneau                              Daniel Waters                               FredDecker                             Jonathan Lemkin                                Story by:                              PeterLenkov                              Daniel Waters                             Screenplay by:                              DanielWaters                             Jonathan Lemkin        SILVERPICTURES                                                  November 19, 1992                                                  c1992        [NOTE: THE FOLLOWING SCREENPLAY HAD NUMBERED SCENES.        THESE HAVE BEENOMITTED FOR THIS SOFT COPY.]                                 \"The world of the futurewill                                 be an ever more demanding                                 struggle against thelimitations                                 of our intelligence...\"                                                    NorbertWiener                                 \"On the whole, I'd rather be in                                 Philadelphia...\"                                                    W.C.  Fields                             DEMOLITION MAN        FADEIN:        EXT. BLACK SKY - NIGHT        Dark, ominous clouds of smoke.  A beat of semi-calm.        Andthen... A long blast of TRACER FIRE cuts through.        And another.  And another.  We TILT DOWN todiscover we        are --        EXT. LOS ANGELES - AIRBORNE - MOVING - NIGHT (1998)        A city onfire.  A block here, block there.  More TRACER        FIRE.  A cross between the LA riots and GulfWar.  A        SUPERED TITLE:  LA RIOT III.  And then FADING IN BELOW:        MONTH 4.  We CONTINUEMOVING ABOVE the ravaged city --                                VOICE #1(V.O.)                         (filtered)                  You imagine what it was like when                  they had tofly choppers through                  this shit?                                VOICE #2 (V.O.)                  Noteven.        Gliding totally silently INTO FRAME is the biggest,        darkest, midnight blue blimp you'veever seen.  Small        gold letters on the side -- LAPD.  Fully armored beneath.        Woven kevlar on thesides.  BULLETS REBOUND with a long        ZZZZZIP off the sides.  PING SOFTLY off the plasticarmor        on the bottom.                                VOICE #1 (V.O.)                  I don't understand wherewe're                  going and why the hell we're                  bothering anyhow...        A new voiceresponds.  This one brooks no discussion --                                SPARTAN (V.O.)                  Becausethere's anger and there's                  frustration, and then there's pure                  fuckingevil...        INT. BLIMP POD - CONTINUOUS ACTION - NIGHT        JOHN SPARTAN peers down into thefiery landscape.                                SPARTAN                  Where we're going is purefucking                  evil.                         (beat)                  Thirty people who were ridingthat                  muni bus are still missing.  I've                  got this bad hunch about whotook                  them and where they are...        EXT. EXTREME SOUTH CENTRAL LA - FROM ABOVE -AIRBORNE -        NIGHT        Way up ahead, amid the flames, is a fortress.  A square        cityblock.  Walled.  Something out of the middle ages.        The walls are entirely made from stackedabandoned cars.        INT. BLIMP POD - NIGHT        Spartan is dragging a heavy bag up towards thedoor.        PILOT #2 looks at him curiously.                                PILOT #2                  How come theycall you Demolition                  Man?  Are you with the bomb squad?        Spartan gets his bag intoposition.                                SPARTAN                  Ijust...                         (shrugs                          apologetically)                  ... demolish things.        Hechecks out the window.  They're not quite there.                                SPARTAN                  I do my job,shit happens.                         (to Pilot #1)                  Get a thermo.        The PILOT takes athermogram of the building in the        middle of the compound.  We see a series ofheat-outlined        figures moving inside.                                PILOT #1                  Six.  One still, in themiddle.                  The rest moving around.  I don't                  see any thirtypeople.                                SPARTAN                         (checking the thermo)                  What'sthat?        To the naked eye, out the window, tucked against the        wall of cars, a large tarp.  To the"}
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Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V Pump Up The Volume Transcript
Happy Harry Hardon - Did you ever get thefeeling that everything in America is completely fucked up. You know that feeling that the whole countryis like one inch away from saying 'That's it, forget it.' You think about it. Everything is polluted. Theenvironment, the government, the schools you name it. Speaking of schools. I was walking thehouseholds the other day and I asked myself. Is there live after high school? Because I can't facetomorrow, let alone a whole year of this shit. Yeah, you got it folks. It's me again with a little attitude forall you out here and waiting for Atlanta. All you nice people living in the middle of America the beautiful.Lets see, we're on er 92 FM tonight and it feels like a nice clean little band so far. No one else is using it.The price is right. Heh, heh. And yes folks you guest it. Tonight I am as horny as a ten peckerd house, sostay tuned because this is Happy Harry Hardon reminding you to eat your cereal with a fork and do yourhomework in the dark..Murdock - Mr. Travis, Louis Travis. It's just for a second.Mr Woodward - So, I'llpick you up after your yearbook.Paige Woodward - Okay, dad.Mr Woodward - And no big dates tonight,you have to be well rested for your History examtomorrow.Paige - Okay.Mazz - Yo Paige, anytimeanywhere beautiful. Mr. Paige.Nora Diniro - Oh, Miss Paige Woodward arriving.Janie - So rich, sosmart.Nora - So perfect.Murdock - Cheryl, good to see you. You're going to see the principal thismorning.Cheryl - Can you tell me what this is about.Murdock - We'll see. Excuse Misses Creswood.LuisChavez - Yes.Nora  - Check this out.Janie - What is it?Nora -  It's this guy. He's got a pirate radio station.Hiss name is Happy Harry Hardon. He's a total sex maniac.Janie - Off course.Nora - He comes on everynight at ten o'clock.Happy Harry Hardon - Okay, down to business. I got my wild cherry diet Pepsi and Igot my Black Jack gum here and I got that feeling, mmm that familiar feeling that something rank isgoing down up there. Yeah, I can smell it. I can almost taste it. The rankness in the air. It's everywhere.It's running through that old pipeline out there, trickling along the dumb concrete river and coming upthe drains of those lovely tracktones we all live in. I mean I don't know. Everywhere I look it seemseverything is sold out.Annie - They say this is where the reception is the coolest.Johnathan - Then he'llprobably live right around here.Mazz - Fucking Yuppies.Happy Harry Hardon - My dad sold out. And mymom sold out years ago when she had me. And then they sold me out when they brought me to this holein the world. They made me everything I am today so naturally I hate the bastards. Speaking of which, Iam running a contest on the best way to put them out of their misery. Tonight we have number twelve ofone hundred things to do with your body when you're all alone. Now are you ready of the incrediblesound of Happy Harry Hardon coming on his own face. Oh, my god, it's very possible you know. Oh, ohthis is a champion one. I'm going for it. He's still growing. This... Yes, Happy Harry Hardon will go to anylanguage to keep his three listeners glued with Huwy Bluwy to their radios. But the question is. How farwill you go? How far can you go to amaze and discuss the sensational Happy Harry Hardon. I mean. Howserious are you? I ask you that. dear listener.Mr Woodward - Hi beautiful. You know I can't figure out howyou manage to get such greatgrades and you listen to that radio all night. You know. Tomorrow don'tforget Yale interview. And I don't want you to look too sleepy. You know. Goodnight Sweetheart.HappyHarry Hardon - I'm getting a lot of letters here guys. Here. Dear Happy Harry Hardon, my boyfriend won'ttalk to me anymore. How do I show him that I really love him? Look, I don't know anything about theseletters asking for love advice. I mean, if I knew anything about love I would be out there making itinstead of talking to you guys. So just send me stuff to box 20710, USA Mail Paradise Hill Mess Arizona84012. Replies guarantied. Dear Harry, I think your boring and upknocktius and have a high opinion ofyourself. Course I'm you I'll probably thinking I sent this to myself. I think school is okay. if you just lookat it right. I like your music, but I really don't see why you can't be cheerful for one second. I tell yousince you ask. I just arrived in this stupid suburb. I have no friends, no money, no car, no licence. Andeven if I did have a licence all I can do is drive out to some stupid mall. Maybe if I'm lucky play somefucking video games, smoke a joint and get stupid. You see, there's nothing to do anymore. Everythingdecents been done. All the great themes have been used up. Turned into theme parks. So I don't reallyfind it cheerful to be living in totally exhausted decade where there is nothing to look forward to and no"}
{"doc_id":"doc_234","qid":"","text":"The Project Gutenberg EBook of Shadows in Zamboula, by Robert E. HowardThis eBook is for the useof anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.org/licenseTitle: Shadows in ZamboulaAuthor: Robert E. HowardRelease Date: February25, 2013 [EBook #42196]Language: English*** START OF THIS PROJECT GUTENBERG EBOOKSHADOWS IN ZAMBOULA ***Produced by Greg Weeks, Mary Meehan and the OnlineDistributedProofreading Team at http://www.pgdp.net                          SHADOWS INZAMBOULA                          By Robert E. Howard    [Transcriber's Note: This etext was first published inWeird Tales    November 1935. Extensive research did not uncover any evidence that    the U.S.copyright on this publication was renewed.]1 A Drum Begins'Peril hides in the house of Aram Baksh!'Thespeaker's voice quivered with earnestness and his lean, black-nailedfingers clawed at Conan's mightilymuscled arm as he croaked hiswarning. He was a wiry, sun-burnt man with a straggling black beard,andhis ragged garments proclaimed him a nomad. He looked smaller and meanerthan ever in contrast tothe giant Cimmerian with his black brows, broadchest, and powerful limbs. They stood in a corner of theSword-Makers'Bazar, and on either side of them flowed past the many-tongued,many-colored stream ofthe Zamboula streets, which is exotic, hybrid,flamboyant and clamorous.Conan pulled his eyes back fromfollowing a bold-eyed, red-lippedGhanara whose short skirt bared her brown thigh at each insolentstep,and frowned down at his importunate companion.'What do you mean by peril?' he demanded.Thedesert man glanced furtively over his shoulder before replying, andlowered his voice.'Who can say? Butdesert men and travelers _have_ slept in the house ofAram Baksh, and never been seen or heard ofagain. What became of them?_He_ swore they rose and went their way--and it is true that no citizenofthe city has ever disappeared from his house. But no one saw thetravelers again, and men say that goodsand equipment recognized astheirs have been seen in the bazars. If Aram did not sell them, afterdoingaway with their owners, how came they here?''I have no goods,' growled the Cimmerian, touching theshagreen-boundhilt of the broadsword that hung at his hip. 'I have even sold myhorse.''But it is notalways rich strangers who vanish by night from the houseof Aram Baksh!' chattered the Zuagir. 'Nay,poor desert men have sleptthere--because his score is less than that of the other taverns--andhave beenseen no more. Once a chief of the Zuagirs whose son had thusvanished complained to the satrap, JungirKhan, who ordered the housesearched by soldiers.''And they found a cellar full of corpses?' asked Conanin good-humoredderision.'Nay! They found naught! And drove the chief from the city with threatsandcurses! But--' he drew closer to Conan and shivered--'something elsewas found! At the edge of thedesert, beyond the houses, there is aclump of palm trees, and within that grove there is a pit. Andwithinthat pit have been found human bones, charred and blackened! Not once,but many times!''Whichproves what?' grunted the Cimmerian.'Aram Baksh is a demon! Nay, in this accursed city which Stygiansbuiltand which Hyrkanians rule--where white, brown and black folk mingletogether to produce hybrids ofall unholy hues and breeds--who can tellwho is a man, and who a demon in disguise? Aram Baksh is ademon in theform of a man! At night he assumes his true guise and carries his guestsoff into the desertwhere his fellow demons from the waste meet inconclave.''Why does he always carry off strangers?'asked Conan skeptically.'The people of the city would not suffer him to slay their people, butthey carenaught for the strangers who fall into his hands. Conan, youare of the West, and know not the secrets ofthis ancient land. But,since the beginning of happenings, the demons of the desert haveworshipped Yog,the Lord of the Empty Abodes, with fire--fire thatdevours human victims.'Be warned! You have dwelt formany moons in the tents of the Zuagirs,and you are our brother! Go not to the house of AramBaksh!''Get out of sight!' Conan said suddenly. 'Yonder comes a squad of thecity-watch. If they see youthey may remember a horse that was stolenfrom the satrap's stable--'The Zuagir gasped, and movedconvulsively. He ducked between a booth anda stone horse-trough, pausing only long enough to chatter:'Be warned,my brother! There are demons in the house of Aram Baksh!' Then he darteddown a narrowalley and was gone.Conan shifted his broad sword-belt to his liking, and calmly returnedthe searching"}
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                        POINTBREAK                             by                       JamesCameron                             &                      Kathryn Bigelow                   From the Screenplayby                       W. Peter IliffFADE IN:We are in the belly of a wave.Light refracts in a constant collisionof water.SLOW MOTION, the hallucinatory prisms, like liquiddiamonds taking flight,dreamlike...EXT.  OCEAN - DUSKBacklit against a flaming sun a solitary SURFER glidesacross the greenglassy peak.  TIME IS STRETCHED until hismovements gain a grace and fluidity not of this world.TotalZen concentration.  Body weight centered, eyesforward and on the next section.EXT.  URBAN STREET -DUSKSLOW MOTION ON a black sedan.Creeping along store fronts.  Past a Winchell's.PEOPLE splashsteps down rain-washed sidewalks in DREAMMOTION.  The sedan turns past the FIRST VIRGINIA BANKandinto an alley.INT.  BLACK SEDANTWO MEN and ONE WOMAN in SUSPENDED TIME put onovercoatsand hats.  Under their hats strips of Scotch tape stretchtaut from the base of their nose to theirforehead,hideously distorting their features.  Makes them look likehuman PIGS.EXT.  OCEANSILVERY inthis light, almost metallic, as if from somefuture-scape.  The lone surfer SHREDS a long, endlessrightwall.ACCELERATING INTO REAL TIME -- as he stares into the pit,digs in, drops into the sweet spot on thewave, hunkersdown.His moves becoming aggressive, frenzied--INT.  BLACK SEDANAn M-16 clip isSMACKED into place and cocked with aCACHACK!  Ammo clips are SNICK-SNICKED into handgunbuttsand a long clip is SSSNICKED into an UZI.Watches are checked.  The PIG NOSE people nod toeachother.EXT.  BANKPig Nose #1, steals into position near the glass doors,slams his back to the wall,weapon to cheek, breath fast.EXT.  OCEANFAST NOW -- the surfboard rips a brutal gash in the faceof thewave.  The surfer TRIMS down the line, pivoting theboard and going straight down, CARVING thebottom.  Heslashes viciously back toward the lip and--In a radical INVERTED AIR ATTACK sails SIX feetabove thewave in an explosion of water--INT.  BANK--BAAAAAAMMM!Glass doors explode OPEN and PigNose #1 SPINS inside.  Hefires a burst into the ceiling.  BRRAAMM!!                         PIG NOSE#1          EVERYBODY on the floor!PEOPLE drop.VERY FAST HERE--Two bandits handle BANK EMPLOYEESand customers--Another PIG NOSE watches the door--Pig Nose #1 moves behind counter, Uzi and canvassack inhand.INT.  SURVEILLANCE VANDark. Monitors SHOW SLOW SCANS of the bank INTERIOR.TwoMEN wear headphones and black windbreakers with FBIstenciled on the back.  One watches withbinoculars.                         BINOCULARS          Bingo.  We're on.  Let's go.          Where's the bigcollege          quarterback?!  Are you with us,          Utah?EXT.  BANK WALLA MAN in his twenties.  Hishead spins revealing rain-slicked hair and face, eyes wide, bright.  An edgyhandsomeness to him.He popsa stick of Wrigley's in his mouth, rests a shotgunon one leg and leans against the wall.  He wearsaheadset... through which we hear the FBI guy yelling forhim.This is JOHNNYUTAH.                         BINOCULARS (FILTERED)          Utah, where the hell are ya!?Utah takes hisheadset off...INT.  BANKPig Nose #1 LEAPS over the counter, holds a canvas sackfilled with booty fromtellers' drawers.                         PIG NOSE #1          Fuckin' shake it!Pig Nose #2 nods with his snubbynose, hurries toward theexit.EXT.  FIRST VIRGINIA BANKThe bandits burst through the doors and sprintto thealley where they jump into the SEDAN.  THE DRIVER, theWOMAN PIG NOSE, punches it and theTIRES WHIRRR on theslick pavement.The sedan launches down the alley.Utah running.  Like a freighttrain.  Splashing through across-alley.  He doesn't break stride as he slams hisshoulder into a large, steelGARBAGE DUMPSTER.DRIVING it like a football training sled into the ALLEYwhere--THE SEDAN LOCKS'EM UP seconds too late as it SKIDS andSLAMS into it, CRUNCHING into the brick wall and--Still alive --GRINDS into reverse back down the alley,HEADLIGHTS SMASHED, it guns it backward as--UTAH leapsover the dumpster and sprints after the car.He has a brick in his right hand.  He cocks it back.JohnnyHEAVES the brick thirty yards and--SMASH!  The brick EXPLODES into the windshield,SPIDERWEBBINGthe glass.Lady Pignose flinches from the glass fragments thrown intoher face.                         LADYPIGNOSE          Son of a bitch!The car slews backward onto the street, slamming a parkedcar.  LadyPignose slams the thing into DRIVE, cuts thewheel hard, and punches it, skidding on wet pavement.UTAH"}
{"doc_id":"doc_268","qid":"","text":"The Project Gutenberg EBook of Palamon and Arcite, by John DrydenThis eBook is for the use ofanyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it awayorre-use it under the terms of the Project Gutenberg License includedwith this eBook or online atwww.gutenberg.orgTitle: Palamon and ArciteAuthor: John DrydenEditor: George E. EliotRelease Date:February, 2005 [EBook #7490]This file was first posted on May 10, 2003Last Updated: May 10,2013Language: English*** START OF THIS PROJECT GUTENBERG EBOOK PALAMON AND ARCITE***Produced by Ted Garvin, Charles Franks and the DistributedProofreaders TeamDRYDEN'S PALAMONAND ARCITEEdited With Introduction And Notes By George E. Eliot, A.M.English Master In The MorganSchoolToHenry A. BeersProfessor Of English Literature In Yale UniversityWho First Aroused My Interest InDrydenAnd Directed My Study Of His WorksThis Volume Is Respectfully InscribedPREFACE.To edit anEnglish classic for study in secondary schools is difficult.The lack of anything like uniformity in the type ofexamination requiredby the colleges and universities complicates treatment. Not only do twodistinctinstitutions differ in the scope and character of theirquestions, but the same university varies its demandsfrom year to year.The only safe course to pursue is, therefore, a generally comprehensiveone. But here,again, we are hampered by limited space, and are forcedto content ourselves with a bare outline, whichthe individualinstructor can fill in as much or as little as he pleases.The ignorance of most of our classicalstudents in regard to the historyof English literature is appalling; and yet it is impossible properly tostudya given work of a given author without some knowledge of thebackground against which that particularwriter stands. I have,therefore, sketched the politics, society, and literature of the age inwhich Drydenlived, and during which he gave to the world his _Palamonand Arcite_. In the critical comments of theintroduction I havecontented myself with little more than hints. That particular line ofstudy, whether itconcerns the poet's style, his verse forms, or thepossession of the divine instinct itself, can be muchmoresatisfactorily developed by the instructor, as the student's knowledgeof the poem grows.It iscertainly a subject for congratulation that so many youth will beintroduced, through the medium ofDryden's crisp and vigorous verse, toone of the tales of Chaucer. May it now, as in his owncentury,accomplish the poet's desire, and awaken in them appreciative admirationfor the old bard, thebest story-teller in the English language.G. E. E. CLINTON, CONN., July 26, 1897.INTRODUCTION.THEBACKGROUND.The fifty years of Dryden's literary production just fill the last halfof the seventeenthcentury. It was a period bristling with violentpolitical and religious prejudices, provocative of strife thatamountedto revolution. Its social life ran the gamut from the severity of theCommonwealth Puritan to theunbridled debauchery of the RestorationCourtier. In literature it experienced a remarkable transformationinpoetry, and developed modern prose, watched the production of thegreatest English epics, smartedunder the lash of the greatest Englishsatires, blushed at the brilliant wit of unspeakable comedies,andapplauded the beginnings of English criticism.When the period began, England was a Commonwealth.Charles I., byobstinate insistence upon absolutism, by fickleness and faithlessness,had increased andstrengthened his enemies. Parliament had seized thereins of government in 1642, had completelyestablished its authority atNaseby in 1645, and had beheaded the king in front of his own palace in1649.The army had accomplished these results, and the army proposed toenjoy the reward. Cromwell, theidolized commander of the Ironsides, wasplaced at the head of the new-formed state with the title ofLordProtector; and for five years he ruled England, as she had been ruled byno sovereign since Elizabeth.He suppressed Parliamentary dissensionsand royalist uprisings, humbled the Dutch, took vengeance ontheSpaniard, and made England indisputably mistress of the ocean. He wassucceeded, at his death in1658, by his son Richard; but the father'sstrong instinct for government had not been inherited by theson. Thenation, homesick for monarchy, was tiring of dissension and bickering,and by the Restoration of1660 the son of Charles I became Charles II ofEngland.Scarcely had the demonstrations of joy at theRestoration subsided whenLondon was visited by the devouring plague of 1665. All who could fledfromthe stricken city where thousands died in a day. In 1666 came thegreat fire which swept from the Towerto the Temple; but, while itdestroyed a vast deal of property, it prevented by its violentpurification a"}
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The Internet Movie Script Database(IMSDb)


The web's largest
movie script resource!

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Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V Inglourious Basterds Script at IMSDb.

The Internet Movie Script Database(IMSDb)


The web's largest
movie script resource!

Search IMSDb

Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V 12 Monkeys Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount','UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' ==document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga,s); })();

The Internet Movie Script Database(IMSDb)


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movie script resource!

Search IMSDb

Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V 12 and Holding Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount','UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga =document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' ==document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s =document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga,s); })();

The Internet Movie Script Database(IMSDb)


The web's largest
movie script resource!

Search IMSDb

Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V